[{"data":1,"prerenderedAt":71409},["ShallowReactive",2],{"subject-shu-fa":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},50,"shu-fa","书法","书法画高清赏析","精选中国历代书法题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad43aba7b21879fb344312e35b98df3.jpg",5,8866,[14,41,67,84,101,121,146,158,175,190,208,221,233,244,258,274,290,304,317,326,338,351,365,378,392,407,419,437,450,464,481,492,502,512,523,534,545,561,582,595,605,615,625,633,644,658,672,685,697,709,719,728,740,755,765,777,790,804,814,826,838,850,860,872,883,893,905,914,925,935,945,955,965,977,988,996,1011,1021,1031,1042,1056,1067,1079,1088,1098,1109,1120,1133,1143,1156,1167,1183,1193,1206,1215,1225,1234,1244,1256,1267,1277,1287,1298,1309,1320,1333,1343,1354,1364,1373,1383,1395,1407,1417,1426,1436,1448,1460,1472,1482,1491,1502,1512,1523,1534,1544,1554,1564,1575,1585,1595,1605,1620,1628,1638,1650,1661,1671,1684,1692,1703,1711,1722,1732,1745,1757,1766,1775,1787,1795,1805,1815,1826,1836,1845,1856,1868,1878,1888,1903,1913,1923,1933,1943,1954,1962,1972,1982,1994,2003,2012,2023,2035,2045,2055,2067,2080,2088,2098,2108,2119,2128,2141,2150,2159,2167,2179,2192,2202,2213,2224,2234,2244,2254,2265,2275,2287,2297,2306,2314,2324,2333,2342,2350,2361,2374,2386,2396,2405,2416,2426,2435,2444,2458,2469,2479,2489,2499,2510,2518,2530,2539,2548,2557,2566,2576,2585,2595,2610,2620,2630,2640,2649,2658,2670,2679,2688,2699,2708,2715,2724,2733,2747,2757,2769,2778,2789,2799,2808,2819,2838,2847,2866,2875,2885,2894,2903,2913,2923,2935,2943,2952,2962,2973,2983,2994,3002,3010,3021,3032,3045,3054,3063,3074,3083,3096,3107,3119,3130,3140,3149,3158,3168,3179,3189,3199,3208,3216,3226,3238,3246,3257,3267,3276,3284,3294,3303,3312,3323,3335,3344,3353,3363,3374,3382,3392,3399,3408,3417,3426,3435,3444,3453,3461,3471,3484,3493,3502,3510,3521,3530,3539,3552,3561,3572,3579,3590,3600,3608,3615,3624,3634,3642,3650,3656,3666,3674,3683,3693,3705,3714,3721,3729,3739,3751,3760,3769,3777,3789,3799,3808,3817,3826,3839,3849,3859,3866,3876,3885,3894,3901,3911,3923,3930,3939,3948,3960,3967,3974,3986,3994,4003,4011,4021,4031,4046,4057,4065,4074,4084,4093,4103,4112,4120,4129,4136,4146,4154,4164,4173,4183,4193,4200,4209,4216,4226,4235,4244,4251,4261,4268,4277,4288,4296,4305,4314,4321,4331,4341,4352,4361,4369,4378,4388,4398,4407,4417,4425,4433,4444,4451,4460,4468,4478,4488,4500,4513,4520,4529,4537,4545,4554,4563,4572,4583,4591,4599,4609,4618,4636,4652,4661,4671,4682,4692,4701,4708,4717,4725,4734,4743,4750,4759,4769,4779,4794,4802,4813,4820,4829,4838,4846,4856,4869,4878,4888,4896,4903,4910,4919,4929,4938,4947,4957,4966,4977,4990,5003,5012,5022,5031,5039,5048,5057,5066,5075,5084,5094,5103,5112,5122,5132,5142,5151,5162,5173,5182,5192,5202,5211,5220,5229,5239,5248,5255,5264,5274,5286,5296,5305,5315,5323,5331,5340,5346,5354,5364,5373,5382,5392,5400,5407,5416,5424,5432,5438,5447,5459,5469,5477,5486,5496,5504,5514,5523,5532,5540,5546,5554,5564,5574,5583,5592,5603,5612,5622,5631,5639,5647,5656,5666,5675,5685,5695,5704,5713,5726,5735,5743,5753,5760,5768,5777,5787,5796,5806,5813,5825,5836,5845,5853,5860,5869,5878,5888,5898,5908,5916,5924,5933,5942,5950,5960,5969,5978,5985,5994,6001,6009,6018,6029,6039,6047,6058,6065,6074,6086,6096,6105,6115,6124,6133,6143,6154,6164,6173,6183,6193,6203,6213,6222,6231,6239,6247,6254,6263,6271,6280,6291,6306,6315,6325,6334,6343,6352,6361,6369,6377,6384,6391,6402,6410,6420,6429,6439,6447,6458,6465,6474,6481,6489,6499,6508,6518,6528,6538,6547,6556,6566,6575,6585,6592,6600,6609,6619,6629,6640,6649,6658,6668,6678,6687,6696,6705,6713,6721,6728,6737,6745,6754,6762,6775,6785,6796,6816,6826,6836,6845,6855,6864,6873,6881,6887,6897,6906,6915,6925,6934,6945,6955,6965,6974,6983,6991,6997,7008,7017,7026,7034,7046,7055,7068,7075,7083,7092,7103,7111,7119,7127,7136,7146,7156,7165,7175,7185,7194,7201,7209,7217,7224,7231,7240,7247,7253,7261,7269,7277,7287,7295,7302,7310,7318,7328,7336,7346,7355,7367,7377,7387,7395,7407,7416,7426,7435,7444,7453,7462,7472,7479,7486,7494,7504,7514,7524,7532,7545,7554,7563,7570,7578,7587,7596,7605,7615,7624,7634,7643,7651,7660,7670,7679,7687,7698,7706,7717,7727,7735,7745,7752,7761,7773,7782,7790,7797,7808,7815,7823,7832,7840,7850,7858,7867,7877,7886,7895,7902,7910,7918,7927,7935,7941,7950,7958,7967,7975,7983,7997,8006,8015,8025,8034,8043,8053,8060,8068,8077,8087,8096,8106,8116,8124,8135,8143,8152,8159,8169,8179,8189,8199,8208,8218,8228,8238,8247,8257,8267,8275,8284,8293,8303,8312,8321,8331,8340,8350,8359,8368,8378,8391,8399,8407,8417,8426,8435,8446,8458,8465,8476,8484,8492,8499,8506,8514,8522,8531,8537,8544,8558,8568,8579,8589,8598,8607,8615,8623,8632,8640,8647,8656,8663,8671,8679,8689,8698,8707,8716,8726,8735,8745,8755,8764,8772,8780,8787,8797,8808,8818,8827,8836,8845,8854,8864,8873,8883,8890,8900,8908,8917,8925,8933,8943,8953,8965,8974,8985,8994,9001,9014,9022,9031,9040,9049,9060,9070,9080,9089,9097,9107,9115,9125,9133,9142,9148,9156,9163,9172,9182,9195,9205,9214,9223,9232,9244,9253,9263,9272,9282,9293,9302,9310,9316,9325,9333,9343,9351,9359,9367,9375,9384,9392,9401,9410,9419,9429,9438,9449,9457,9465,9472,9482,9494,9503,9511,9520,9527,9537,9547,9556,9564,9573,9584,9592,9601,9611,9620,9630,9640,9648,9658,9667,9683,9692,9701,9710,9720,9731,9740,9749,9758,9768,9776,9783,9790,9799,9807,9817,9827,9836,9844,9853,9862,9871,9878,9888,9897,9904,9911,9921,9930,9937,9946,9956,9965,9973,9983,9998,10006,10017,10027,10038,10048,10057,10067,10076,10086,10093,10100,10107,10124,10131,10139,10147,10155,10163,10174,10184,10193,10202,10211,10217,10227,10235,10245,10253,10260,10270,10279,10288,10297,10306,10317,10325,10335,10343,10351,10359,10368,10377,10386,10403,10410,10423,10433,10443,10452,10463,10473,10481,10490,10499,10506,10517,10526,10535,10542,10549,10559,10568,10577,10585,10594,10614,10624,10633,10640,10648,10658,10667,10675,10682,10691,10700,10709,10717,10726,10734,10742,10749,10758,10767,10777,10788,10799,10806,10813,10820,10827,10835,10845,10853,10863,10872,10881,10889,10898,10908,10919,10930,10940,10950,10959,10968,10976,10986,10996,11005,11015,11024,11033,11042,11056,11063,11073,11082,11091,11100,11108,11117,11127,11135,11144,11152,11159,11167,11176,11186,11193,11201,11209,11219,11228,11237,11246,11255,11266,11277,11288,11297,11307,11316,11325,11331,11339,11346,11355,11363,11373,11380,11389,11398,11408,11416,11425,11433,11440,11449,11459,11466,11475,11484,11494,11504,11513,11523,11532,11540,11549,11557,11568,11578,11588,11595,11602,11613,11621,11630,11637,11646,11655,11663,11673,11682,11692,11700,11710,11719,11730,11740,11749,11757,11765,11774,11783,11791,11798,11806,11812,11823,11830,11839,11846,11855,11862,11871,11878,11890,11898,11906,11914,11922,11932,11941,11950,11959,11970,11980,11990,12001,12011,12020,12033,12040,12050,12058,12066,12074,12083,12095,12102,12109,12118,12126,12133,12142,12151,12159,12167,12174,12182,12188,12196,12205,12213,12223,12235,12244,12252,12263,12272,12283,12290,12297,12303,12312,12320,12329,12336,12344,12352,12358,12365,12373,12383,12393,12402,12410,12419,12427,12435,12443,12451,12458,12466,12475,12481,12491,12500,12509,12520,12529,12539,12548,12558,12567,12575,12584,12591,12598,12605,12614,12621,12628,12636,12645,12656,12666,12677,12685,12693,12701,12710,12718,12726,12735,12744,12753,12764,12772,12780,12788,12797,12806,12815,12824,12831,12839,12849,12856,12867,12877,12884,12892,12902,12910,12918,12926,12934,12942,12949,12958,12965,12973,12981,12988,12997,13006,13016,13024,13032,13040,13048,13057,13067,13075,13085,13094,13103,13111,13120,13129,13138,13147,13157,13167,13176,13186,13195,13205,13215,13222,13229,13238,13248,13257,13265,13274,13282,13289,13298,13305,13313,13322,13330,13339,13347,13355,13362,13370,13380,13388,13396,13403,13413,13422,13430,13438,13449,13457,13467,13476,13484,13492,13502,13511,13520,13531,13540,13548,13557,13567,13576,13584,13593,13602,13609,13616,13624,13631,13639,13649,13656,13663,13674,13684,13692,13700,13707,13717,13725,13735,13744,13753,13762,13773,13782,13792,13801,13811,13820,13828,13838,13848,13857,13866,13874,13881,13888,13895,13903,13911,13920,13929,13936,13944,13951,13958,13967,13977,13986,13992,14000,14015,14022,14031,14040,14049,14056,14064,14072,14080,14089,14097,14105,14115,14125,14134,14143,14153,14163,14173,14180,14189,14199,14206,14213,14222,14230,14238,14246,14254,14262,14272,14280,14288,14295,14301,14309,14318,14329,14336,14345,14352,14360,14366,14376,14383,14389,14397,14405,14414,14423,14432,14441,14451,14461,14469,14479,14488,14496,14504,14512,14522,14530,14538,14546,14554,14563,14571,14580,14588,14596,14608,14617,14626,14638,14644,14653,14661,14671,14679,14688,14697,14705,14713,14720,14727,14736,14743,14750,14756,14762,14770,14777,14787,14794,14804,14812,14818,14831,14841,14848,14857,14866,14874,14880,14888,14896,14904,14912,14922,14932,14941,14950,14956,14965,14974,14983,14994,15001,15009,15016,15025,15033,15040,15047,15054,15063,15076,15083,15091,15097,15105,15113,15120,15129,15138,15145,15152,15161,15169,15177,15186,15195,15201,15210,15217,15226,15236,15244,15252,15260,15268,15276,15285,15295,15305,15313,15323,15335,15343,15352,15361,15370,15379,15389,15399,15408,15417,15424,15431,15446,15454,15465,15474,15481,15489,15497,15504,15513,15524,15531,15539,15546,15554,15563,15571,15577,15584,15591,15600,15609,15617,15624,15634,15642,15652,15659,15666,15676,15685,15699,15709,15718,15726,15734,15742,15751,15760,15770,15777,15786,15796,15807,15816,15826,15836,15844,15851,15861,15871,15881,15890,15900,15909,15917,15925,15933,15940,15948,15955,15963,15970,15977,15986,15996,16005,16012,16020,16027,16036,16044,16052,16058,16067,16075,16083,16090,16097,16105,16115,16126,16134,16143,16152,16160,16167,16174,16181,16188,16196,16203,16211,16223,16232,16241,16250,16258,16265,16274,16281,16290,16299,16305,16314,16323,16333,16341,16353,16361,16368,16375,16384,16392,16400,16408,16416,16425,16433,16442,16449,16458,16467,16474,16487,16496,16503,16511,16524,16534,16541,16549,16557,16566,16575,16584,16592,16602,16609,16617,16629,16638,16648,16656,16664,16672,16679,16695,16704,16710,16717,16726,16734,16741,16749,16757,16765,16773,16780,16787,16796,16805,16814,16822,16828,16837,16846,16856,16865,16873,16879,16889,16898,16907,16916,16925,16933,16942,16950,16959,16968,16977,16986,16996,17006,17015,17024,17033,17040,17048,17057,17064,17070,17080,17087,17096,17104,17112,17120,17129,17136,17145,17152,17162,17169,17177,17185,17195,17203,17210,17223,17231,17238,17249,17258,17268,17278,17287,17294,17301,17309,17316,17325,17334,17342,17353,17359,17365,17375,17384,17393,17400,17408,17416,17424,17431,17439,17447,17457,17464,17472,17480,17490,17498,17507,17515,17524,17531,17541,17552,17563,17574,17584,17594,17607,17616,17625,17635,17650,17661,17670,17679,17688,17697,17704,17712,17719,17727,17736,17742,17750,17760,17768,17775,17781,17790,17798,17806,17814,17822,17829,17838,17847,17854,17862,17870,17879,17888,17897,17905,17914,17921,17931,17939,17947,17955,17963,17972,17979,17985,17994,18002,18011,18023,18031,18040,18049,18057,18066,18073,18080,18087,18096,18104,18111,18120,18129,18138,18146,18154,18163,18172,18181,18189,18197,18205,18214,18222,18229,18236,18245,18254,18260,18266,18274,18281,18291,18298,18305,18313,18319,18327,18336,18343,18350,18358,18365,18372,18379,18388,18395,18402,18409,18418,18428,18440,18448,18457,18465,18472,18481,18488,18495,18502,18511,18518,18525,18533,18540,18547,18557,18566,18579,18590,18599,18608,18617,18627,18634,18642,18649,18656,18664,18672,18681,18689,18697,18705,18713,18722,18729,18736,18743,18753,18765,18771,18780,18788,18797,18807,18817,18824,18829,18837,18845,18854,18862,18871,18877,18885,18892,18899,18906,18916,18926,18934,18942,18949,18956,18964,18971,18981,18989,18997,19004,19011,19019,19031,19039,19050,19057,19067,19076,19082,19088,19097,19105,19114,19121,19130,19139,19146,19154,19163,19171,19179,19188,19196,19205,19213,19219,19226,19233,19242,19251,19260,19268,19278,19285,19293,19301,19309,19318,19326,19337,19345,19351,19359,19367,19374,19384,19393,19400,19409,19419,19425,19436,19446,19456,19463,19472,19479,19487,19496,19504,19512,19519,19526,19533,19542,19550,19559,19566,19575,19582,19589,19597,19603,19610,19618,19625,19635,19642,19655,19663,19671,19678,19688,19695,19703,19711,19717,19725,19733,19742,19750,19759,19769,19776,19793,19803,19809,19817,19823,19831,19839,19845,19854,19862,19868,19877,19885,19894,19901,19913,19920,19929,19937,19945,19952,19960,19968,19977,19985,19994,20002,20010,20018,20029,20036,20044,20054,20064,20071,20081,20088,20097,20107,20117,20126,20135,20143,20150,20157,20168,20179,20187,20196,20205,20212,20221,20229,20237,20246,20254,20260,20267,20275,20281,20290,20298,20306,20314,20321,20329,20337,20343,20351,20359,20367,20375,20383,20390,20399,20407,20415,20424,20433,20448,20457,20466,20475,20482,20492,20502,20512,20522,20528,20536,20543,20551,20557,20564,20573,20582,20591,20597,20603,20609,20618,20626,20639,20646,20654,20662,20671,20679,20687,20694,20702,20709,20717,20726,20736,20744,20753,20764,20774,20783,20790,20798,20804,20811,20819,20825,20832,20841,20847,20854,20863,20870,20877,20885,20893,20901,20909,20918,20926,20936,20946,20954,20962,20971,20979,20987,20995,21002,21010,21019,21027,21034,21044,21053,21063,21071,21078,21085,21093,21100,21108,21117,21125,21134,21142,21150,21158,21165,21174,21182,21190,21198,21207,21215,21222,21229,21236,21244,21252,21259,21269,21282,21288,21296,21305,21315,21323,21332,21340,21348,21355,21363,21369,21377,21386,21394,21403,21411,21419,21426,21434,21440,21448,21456,21464,21473,21486,21493,21500,21508,21515,21524,21532,21541,21550,21559,21569,21580,21589,21596,21605,21614,21621,21630,21639,21646,21656,21665,21672,21682,21690,21700,21708,21715,21724,21732,21741,21748,21757,21763,21770,21781,21788,21798,21805,21811,21821,21828,21835,21842,21850,21858,21868,21875,21884,21892,21899,21906,21915,21924,21932,21939,21946,21953,21963,21974,21981,21990,21998,22006,22015,22025,22033,22042,22048,22055,22061,22070,22078,22086,22094,22102,22113,22123,22132,22141,22149,22156,22163,22172,22180,22188,22195,22201,22209,22215,22222,22233,22241,22251,22257,22264,22273,22284,22291,22298,22306,22316,22326,22335,22345,22352,22361,22369,22380,22389,22398,22405,22414,22422,22429,22437,22444,22453,22460,22467,22474,22481,22492,22499,22507,22516,22525,22533,22546,22555,22566,22573,22582,22594,22603,22613,22622,22630,22638,22646,22654,22661,22668,22678,22688,22695,22702,22709,22716,22723,22731,22738,22746,22753,22760,22767,22776,22785,22792,22799,22806,22814,22824,22833,22843,22852,22859,22868,22876,22884,22893,22903,22911,22917,22924,22931,22939,22947,22955,22961,22967,22974,22983,22991,23001,23009,23018,23028,23034,23043,23050,23056,23062,23068,23074,23081,23094,23103,23113,23122,23130,23137,23144,23152,23161,23169,23176,23184,23193,23201,23210,23219,23227,23237,23247,23253,23261,23269,23278,23287,23296,23303,23312,23322,23332,23339,23349,23357,23365,23372,23379,23386,23396,23407,23416,23426,23432,23440,23449,23457,23464,23471,23479,23488,23496,23505,23512,23521,23529,23536,23545,23553,23560,23567,23575,23583,23590,23597,23604,23611,23619,23628,23637,23646,23652,23659,23669,23675,23685,23694,23702,23710,23717,23725,23733,23743,23753,23760,23767,23774,23783,23791,23799,23808,23816,23824,23830,23836,23842,23850,23856,23862,23870,23877,23889,23895,23906,23914,23922,23930,23938,23947,23954,23961,23971,23979,23986,23993,24000,24008,24016,24025,24033,24041,24051,24058,24068,24076,24085,24092,24100,24109,24118,24128,24137,24148,24158,24166,24176,24183,24190,24198,24208,24218,24227,24236,24244,24250,24257,24265,24274,24280,24287,24297,24306,24315,24322,24329,24338,24345,24354,24362,24369,24376,24385,24392,24399,24407,24415,24423,24431,24439,24447,24455,24462,24469,24476,24483,24492,24500,24507,24515,24523,24531,24539,24545,24552,24561,24570,24579,24587,24595,24602,24613,24621,24628,24635,24645,24654,24662,24669,24676,24685,24693,24702,24710,24718,24727,24737,24745,24753,24762,24773,24782,24791,24798,24804,24810,24816,24824,24830,24838,24845,24851,24858,24864,24873,24881,24888,24898,24904,24913,24924,24947,24954,24963,24970,24977,24984,24990,24998,25007,25015,25023,25031,25039,25047,25054,25062,25069,25077,25084,25090,25099,25107,25116,25123,25132,25141,25149,25158,25174,25184,25193,25200,25208,25215,25222,25229,25237,25246,25256,25263,25269,25278,25285,25291,25301,25311,25317,25325,25332,25340,25348,25355,25362,25370,25378,25385,25393,25400,25407,25414,25423,25433,25441,25448,25455,25462,25470,25483,25491,25498,25510,25518,25526,25534,25542,25550,25558,25566,25575,25584,25592,25599,25609,25618,25625,25634,25641,25648,25655,25662,25673,25682,25691,25699,25708,25717,25725,25735,25744,25751,25757,25765,25774,25781,25788,25797,25806,25812,25818,25827,25835,25844,25853,25863,25871,25880,25890,25896,25902,25908,25917,25923,25933,25940,25949,25958,25968,25984,25993,26005,26013,26020,26029,26038,26045,26054,26062,26070,26078,26084,26091,26099,26106,26114,26123,26131,26140,26148,26155,26164,26172,26182,26191,26200,26209,26216,26225,26235,26242,26249,26257,26266,26275,26282,26289,26299,26306,26316,26324,26333,26343,26352,26360,26366,26373,26381,26389,26397,26406,26415,26423,26431,26439,26448,26456,26463,26469,26478,26485,26491,26498,26507,26515,26522,26529,26536,26543,26551,26559,26566,26573,26582,26589,26598,26605,26612,26620,26629,26638,26647,26655,26664,26672,26679,26686,26693,26701,26709,26719,26726,26733,26740,26746,26753,26761,26769,26776,26784,26792,26801,26811,26819,26827,26836,26843,26851,26864,26874,26882,26892,26900,26909,26920,26926,26933,26941,26950,26956,26962,26970,26979,26985,26991,26997,27003,27009,27017,27027,27035,27041,27051,27057,27065,27072,27086,27095,27104,27112,27119,27128,27136,27144,27152,27160,27168,27176,27187,27195,27204,27213,27221,27229,27245,27253,27261,27267,27275,27283,27292,27300,27309,27318,27325,27332,27342,27351,27360,27370,27380,27390,27400,27408,27417,27430,27440,27447,27454,27461,27471,27479,27488,27498,27505,27512,27520,27528,27536,27544,27553,27562,27569,27576,27583,27592,27601,27608,27616,27624,27632,27639,27649,27656,27666,27672,27680,27687,27696,27704,27711,27718,27726,27733,27740,27748,27755,27766,27777,27787,27795,27805,27813,27821,27829,27837,27846,27857,27866,27875,27887,27894,27903,27912,27921,27929,27937,27944,27950,27959,27966,27975,27982,27991,27998,28007,28019,28027,28033,28042,28051,28059,28065,28072,28081,28088,28097,28104,28113,28121,28129,28139,28148,28157,28166,28173,28180,28189,28197,28207,28214,28222,28229,28237,28247,28254,28262,28270,28280,28287,28294,28303,28309,28316,28322,28331,28338,28347,28356,28362,28368,28374,28383,28392,28401,28407,28414,28420,28426,28432,28440,28446,28453,28459,28467,28473,28483,28489,28498,28504,28513,28521,28528,28537,28547,28554,28562,28572,28581,28589,28598,28606,28613,28622,28631,28638,28648,28656,28663,28671,28679,28687,28695,28703,28710,28717,28726,28734,28742,28750,28757,28764,28771,28779,28787,28795,28803,28814,28821,28828,28835,28845,28853,28862,28870,28880,28889,28899,28909,28918,28927,28937,28944,28951,28958,28968,28976,28985,28993,29001,29010,29019,29029,29036,29045,29052,29061,29071,29079,29087,29096,29105,29112,29121,29127,29134,29143,29151,29158,29165,29173,29180,29187,29196,29203,29211,29223,29231,29238,29248,29256,29265,29272,29279,29287,29300,29309,29318,29326,29334,29343,29352,29361,29371,29379,29386,29393,29402,29411,29417,29423,29431,29439,29448,29456,29462,29469,29478,29485,29492,29500,29507,29514,29521,29527,29537,29546,29555,29563,29570,29577,29586,29592,29601,29609,29616,29623,29631,29638,29647,29655,29665,29674,29681,29690,29702,29712,29721,29728,29737,29744,29752,29760,29769,29778,29787,29796,29803,29810,29818,29825,29833,29842,29850,29858,29865,29873,29881,29887,29893,29899,29905,29911,29917,29923,29932,29939,29948,29956,29963,29971,29980,29986,29994,30004,30014,30022,30029,30037,30046,30056,30063,30071,30079,30088,30097,30104,30111,30120,30128,30135,30143,30151,30159,30167,30175,30184,30192,30200,30208,30216,30223,30232,30244,30252,30260,30268,30277,30284,30294,30301,30310,30320,30329,30337,30346,30354,30361,30369,30377,30384,30391,30399,30407,30416,30424,30432,30440,30449,30456,30465,30472,30479,30486,30493,30502,30510,30519,30529,30537,30546,30554,30563,30572,30581,30589,30596,30604,30612,30620,30628,30635,30644,30651,30659,30666,30673,30680,30687,30696,30703,30711,30720,30727,30734,30741,30748,30757,30765,30773,30781,30790,30799,30808,30816,30823,30831,30838,30846,30853,30860,30866,30873,30881,30890,30898,30906,30915,30924,30933,30943,30953,30964,30972,30980,30989,30996,31003,31012,31020,31028,31037,31046,31055,31063,31070,31078,31087,31093,31102,31110,31120,31130,31137,31150,31158,31167,31175,31184,31199,31207,31214,31220,31229,31238,31245,31254,31260,31268,31275,31281,31288,31295,31307,31314,31322,31329,31338,31344,31352,31360,31368,31375,31384,31393,31401,31407,31414,31421,31428,31439,31448,31457,31465,31473,31482,31490,31498,31507,31516,31522,31531,31538,31547,31554,31561,31570,31580,31589,31598,31608,31616,31626,31635,31642,31650,31657,31664,31670,31676,31683,31690,31699,31707,31716,31723,31731,31740,31749,31757,31765,31773,31781,31787,31794,31800,31808,31814,31820,31827,31833,31839,31845,31854,31863,31869,31875,31883,31889,31898,31907,31917,31927,31936,31949,31959,31968,31978,31985,31994,32003,32012,32018,32026,32034,32042,32050,32059,32066,32073,32081,32089,32096,32104,32116,32124,32132,32141,32149,32157,32165,32173,32180,32188,32195,32203,32210,32218,32226,32240,32249,32257,32265,32272,32279,32286,32297,32305,32317,32326,32335,32344,32351,32358,32365,32373,32380,32389,32399,32408,32417,32425,32435,32446,32453,32463,32472,32482,32490,32498,32506,32514,32524,32533,32540,32547,32554,32561,32568,32577,32586,32594,32602,32609,32616,32625,32634,32643,32650,32657,32665,32672,32679,32686,32693,32702,32711,32718,32725,32731,32740,32750,32757,32763,32772,32780,32788,32795,32804,32811,32818,32826,32834,32842,32851,32860,32867,32876,32883,32890,32897,32904,32911,32918,32926,32933,32940,32948,32955,32963,32969,32978,32985,32992,33000,33008,33018,33026,33034,33042,33059,33066,33073,33082,33089,33096,33104,33111,33119,33127,33133,33141,33149,33160,33169,33178,33187,33196,33205,33212,33218,33228,33238,33247,33255,33263,33270,33279,33287,33294,33303,33310,33316,33323,33331,33337,33343,33352,33358,33367,33374,33380,33389,33398,33406,33413,33422,33430,33439,33447,33455,33463,33471,33480,33486,33493,33500,33509,33516,33524,33534,33542,33550,33558,33567,33575,33583,33592,33599,33605,33613,33620,33628,33639,33646,33655,33663,33671,33678,33684,33693,33702,33711,33718,33725,33731,33738,33745,33751,33758,33766,33773,33781,33787,33793,33799,33805,33812,33821,33827,33834,33842,33848,33854,33860,33866,33874,33881,33889,33895,33901,33908,33914,33920,33926,33932,33940,33947,33955,33963,33969,33978,33984,33994,34003,34013,34020,34028,34037,34044,34052,34060,34067,34075,34084,34092,34101,34108,34115,34123,34131,34138,34145,34153,34160,34169,34178,34187,34196,34204,34212,34220,34229,34236,34245,34253,34262,34271,34279,34287,34303,34309,34316,34325,34334,34342,34352,34360,34368,34378,34386,34396,34404,34411,34419,34426,34434,34441,34448,34455,34463,34472,34482,34490,34498,34505,34512,34519,34526,34533,34540,34547,34554,34562,34571,34580,34589,34598,34609,34617,34628,34637,34647,34656,34664,34672,34680,34689,34697,34704,34713,34720,34727,34736,34743,34750,34757,34767,34776,34783,34790,34800,34808,34815,34824,34833,34841,34849,34856,34863,34869,34878,34886,34894,34901,34909,34916,34923,34930,34938,34944,34951,34959,34966,34975,34982,34989,34996,35003,35012,35020,35027,35035,35044,35054,35062,35071,35079,35087,35095,35103,35111,35119,35127,35136,35144,35153,35161,35168,35176,35185,35194,35202,35209,35218,35225,35232,35239,35245,35251,35258,35265,35274,35282,35288,35297,35305,35314,35322,35330,35338,35346,35355,35362,35371,35379,35385,35395,35404,35410,35416,35422,35428,35437,35446,35454,35462,35471,35478,35486,35494,35503,35511,35518,35524,35531,35539,35547,35554,35563,35572,35581,35587,35596,35604,35613,35620,35629,35638,35646,35654,35663,35672,35680,35689,35696,35705,35713,35720,35729,35737,35746,35754,35762,35770,35778,35788,35796,35804,35813,35821,35828,35837,35846,35855,35863,35872,35881,35888,35895,35904,35912,35921,35929,35938,35947,35956,35965,35971,35977,35983,35989,35996,36003,36010,36017,36023,36031,36038,36045,36052,36061,36069,36076,36086,36092,36098,36105,36111,36118,36124,36134,36144,36153,36161,36168,36175,36183,36189,36195,36202,36209,36215,36224,36230,36236,36242,36251,36257,36265,36271,36279,36286,36293,36301,36310,36320,36328,36335,36343,36351,36361,36368,36376,36383,36392,36401,36409,36419,36427,36433,36441,36450,36457,36465,36473,36481,36489,36496,36503,36511,36518,36526,36532,36541,36548,36555,36563,36571,36581,36589,36597,36606,36613,36620,36629,36637,36646,36653,36662,36670,36676,36685,36694,36703,36713,36719,36726,36733,36740,36747,36753,36760,36767,36775,36782,36789,36796,36803,36811,36818,36831,36839,36846,36853,36860,36870,36878,36889,36897,36905,36913,36921,36929,36937,36945,36954,36962,36969,36976,36983,36990,36997,37004,37011,37018,37025,37032,37039,37046,37053,37063,37072,37082,37092,37101,37110,37120,37129,37137,37146,37155,37163,37173,37181,37189,37196,37203,37212,37219,37227,37234,37243,37252,37260,37268,37277,37285,37292,37299,37307,37314,37321,37327,37335,37342,37348,37355,37362,37369,37377,37385,37394,37401,37409,37418,37426,37435,37443,37450,37457,37464,37475,37482,37490,37499,37508,37516,37524,37532,37540,37550,37557,37564,37571,37579,37587,37595,37602,37611,37618,37626,37634,37642,37650,37661,37668,37675,37682,37689,37697,37704,37712,37722,37729,37738,37747,37754,37763,37770,37778,37785,37803,37812,37821,37828,37837,37846,37854,37863,37871,37879,37888,37896,37903,37911,37919,37928,37934,37942,37951,37960,37967,37973,37981,37992,38001,38010,38016,38023,38031,38038,38045,38053,38062,38069,38076,38082,38089,38096,38102,38110,38119,38128,38137,38146,38153,38162,38169,38176,38182,38190,38198,38206,38215,38221,38228,38235,38242,38252,38260,38271,38277,38285,38292,38299,38309,38316,38323,38331,38340,38348,38356,38363,38371,38379,38388,38397,38406,38415,38424,38432,38440,38448,38456,38463,38470,38479,38488,38497,38506,38512,38518,38524,38533,38542,38548,38554,38560,38566,38574,38581,38587,38595,38603,38610,38617,38624,38631,38638,38645,38652,38658,38664,38671,38678,38685,38692,38699,38706,38715,38721,38727,38736,38745,38751,38760,38767,38774,38781,38787,38793,38799,38806,38814,38821,38828,38835,38842,38848,38854,38863,38872,38878,38885,38891,38897,38903,38909,38918,38926,38935,38944,38954,38960,38967,38974,38982,38991,38999,39008,39016,39025,39033,39043,39052,39060,39068,39075,39081,39089,39097,39105,39111,39119,39126,39142,39149,39160,39168,39176,39183,39189,39197,39205,39212,39220,39229,39237,39244,39251,39258,39266,39274,39283,39292,39300,39309,39317,39325,39332,39341,39349,39357,39366,39373,39383,39390,39399,39408,39416,39424,39434,39444,39455,39462,39471,39480,39488,39497,39505,39512,39520,39529,39538,39550,39559,39568,39576,39584,39592,39599,39606,39613,39624,39630,39636,39642,39648,39655,39662,39669,39676,39686,39694,39702,39710,39718,39725,39732,39740,39748,39756,39765,39772,39779,39786,39793,39800,39807,39814,39821,39828,39835,39842,39849,39858,39866,39875,39884,39893,39902,39912,39920,39928,39937,39948,39956,39964,39972,39980,39987,39994,40002,40011,40019,40028,40036,40044,40052,40059,40067,40075,40082,40091,40099,40107,40114,40121,40128,40135,40143,40150,40158,40166,40172,40179,40188,40195,40201,40209,40215,40223,40231,40239,40247,40257,40266,40273,40281,40289,40299,40307,40315,40322,40328,40336,40345,40352,40359,40367,40376,40384,40392,40400,40410,40418,40426,40434,40442,40450,40458,40466,40474,40482,40491,40498,40506,40514,40522,40531,40543,40551,40561,40568,40577,40589,40596,40603,40609,40616,40624,40631,40638,40646,40654,40663,40670,40677,40684,40690,40697,40705,40712,40720,40731,40740,40749,40758,40766,40775,40783,40792,40801,40810,40817,40826,40833,40842,40854,40863,40873,40883,40890,40897,40905,40913,40922,40931,40939,40948,40957,40966,40974,40980,40988,40995,41004,41013,41022,41031,41041,41049,41056,41065,41072,41079,41088,41095,41102,41110,41118,41124,41133,41140,41146,41152,41159,41168,41175,41183,41195,41202,41211,41219,41227,41235,41243,41252,41260,41268,41274,41281,41290,41296,41306,41312,41319,41327,41333,41339,41348,41356,41363,41369,41377,41384,41390,41397,41406,41415,41422,41431,41440,41446,41452,41460,41467,41475,41484,41492,41499,41507,41515,41530,41538,41545,41552,41558,41567,41575,41587,41596,41602,41608,41616,41623,41630,41639,41645,41654,41661,41667,41674,41683,41690,41699,41706,41713,41720,41729,41737,41744,41751,41759,41766,41773,41782,41791,41799,41806,41813,41821,41830,41838,41844,41850,41856,41862,41869,41876,41883,41890,41897,41906,41913,41920,41927,41934,41941,41948,41955,41962,41970,41977,41984,41991,41998,42007,42014,42022,42030,42038,42045,42052,42058,42064,42070,42077,42083,42089,42095,42101,42107,42116,42124,42131,42138,42146,42156,42163,42169,42175,42182,42191,42198,42205,42212,42219,42226,42234,42240,42246,42252,42259,42266,42272,42278,42284,42291,42299,42305,42311,42319,42326,42334,42340,42346,42352,42358,42364,42370,42377,42385,42391,42397,42404,42410,42418,42427,42433,42439,42445,42451,42457,42464,42471,42477,42484,42491,42499,42507,42516,42525,42534,42542,42550,42559,42576,42584,42593,42601,42608,42616,42624,42631,42638,42645,42655,42662,42670,42678,42687,42694,42701,42709,42717,42725,42733,42741,42748,42755,42762,42770,42778,42785,42793,42801,42809,42816,42824,42832,42842,42849,42856,42863,42870,42877,42884,42893,42900,42907,42915,42922,42930,42939,42948,42957,42963,42971,42978,42985,42992,42999,43006,43012,43019,43028,43037,43044,43053,43062,43070,43077,43084,43092,43099,43106,43113,43119,43125,43131,43137,43143,43153,43160,43171,43178,43185,43193,43200,43207,43214,43221,43229,43236,43244,43252,43260,43267,43274,43282,43290,43298,43305,43312,43319,43326,43333,43340,43348,43355,43362,43369,43376,43383,43390,43397,43404,43411,43419,43427,43435,43444,43453,43464,43472,43481,43488,43497,43506,43515,43524,43533,43539,43547,43556,43564,43572,43580,43588,43596,43604,43612,43620,43628,43636,43644,43652,43660,43668,43676,43684,43692,43700,43708,43715,43722,43729,43736,43744,43752,43760,43768,43776,43786,43795,43804,43813,43820,43827,43834,43841,43848,43856,43862,43871,43882,43889,43896,43903,43910,43916,43925,43932,43940,43948,43957,43965,43974,43982,43988,43996,44004,44012,44020,44028,44036,44044,44052,44060,44069,44077,44084,44093,44102,44111,44119,44127,44135,44143,44151,44159,44166,44174,44182,44190,44198,44206,44213,44221,44228,44236,44244,44252,44260,44268,44275,44282,44290,44297,44304,44311,44318,44326,44334,44341,44349,44357,44365,44371,44379,44387,44394,44400,44407,44413,44423,44432,44440,44448,44456,44464,44472,44479,44487,44495,44503,44512,44523,44532,44540,44547,44555,44562,44570,44578,44585,44594,44601,44610,44618,44625,44633,44641,44649,44658,44665,44672,44679,44687,44694,44701,44708,44716,44723,44730,44737,44745,44753,44761,44769,44778,44788,44796,44804,44815,44822,44829,44836,44843,44853,44860,44869,44875,44881,44887,44894,44901,44907,44913,44921,44928,44935,44942,44949,44959,44967,44975,44983,44992,45001,45008,45016,45023,45030,45037,45049,45058,45067,45076,45085,45094,45103,45112,45121,45129,45138,45146,45154,45162,45171,45180,45187,45194,45200,45208,45218,45225,45232,45238,45247,45257,45265,45274,45283,45292,45299,45306,45314,45323,45331,45341,45350,45360,45369,45377,45385,45392,45401,45410,45418,45424,45433,45441,45449,45458,45467,45475,45483,45490,45498,45511,45520,45526,45534,45542,45549,45555,45563,45572,45580,45589,45596,45602,45610,45619,45628,45636,45643,45652,45661,45669,45678,45687,45695,45704,45712,45719,45725,45734,45741,45748,45757,45765,45772,45781,45789,45796,45804,45813,45820,45828,45835,45843,45851,45862,45868,45874,45883,45892,45899,45907,45917,45927,45936,45943,45952,45959,45967,45977,45985,45994,46001,46009,46015,46024,46032,46040,46049,46055,46061,46070,46078,46087,46095,46103,46110,46116,46124,46133,46141,46148,46157,46164,46172,46180,46188,46194,46203,46211,46219,46228,46234,46240,46248,46256,46262,46268,46276,46284,46290,46298,46307,46315,46323,46331,46339,46347,46355,46363,46372,46383,46392,46401,46407,46416,46425,46433,46442,46451,46460,46469,46477,46486,46495,46503,46512,46521,46530,46539,46548,46557,46566,46575,46584,46592,46600,46609,46615,46621,46628,46635,46641,46650,46659,46667,46674,46681,46688,46695,46703,46710,46716,46725,46732,46741,46748,46757,46766,46775,46784,46793,46805,46814,46823,46830,46838,46845,46854,46862,46871,46879,46888,46897,46906,46915,46922,46929,46936,46944,46952,46958,46964,46972,46980,46988,46994,47001,47008,47014,47020,47026,47032,47038,47044,47051,47058,47065,47072,47079,47085,47091,47097,47103,47109,47116,47125,47131,47140,47147,47153,47161,47174,47181,47188,47195,47202,47209,47216,47222,47229,47238,47246,47252,47258,47264,47272,47280,47286,47292,47298,47304,47310,47316,47322,47328,47334,47342,47350,47356,47362,47368,47374,47381,47387,47393,47400,47406,47412,47419,47428,47434,47440,47446,47452,47461,47469,47478,47486,47494,47502,47510,47518,47526,47534,47541,47550,47558,47569,47577,47585,47591,47598,47606,47614,47622,47630,47638,47645,47653,47661,47670,47679,47686,47693,47701,47712,47721,47729,47735,47743,47751,47759,47767,47775,47782,47790,47797,47804,47811,47819,47826,47837,47845,47855,47863,47871,47878,47886,47893,47901,47910,47917,47925,47932,47939,47946,47953,47961,47968,47978,47985,47992,47999,48008,48015,48022,48034,48044,48052,48059,48066,48073,48080,48086,48096,48102,48108,48114,48120,48126,48132,48138,48144,48151,48158,48165,48172,48179,48186,48193,48200,48207,48214,48221,48228,48235,48242,48249,48256,48264,48271,48278,48286,48300,48307,48314,48321,48328,48335,48342,48349,48356,48363,48370,48377,48384,48391,48398,48405,48412,48419,48426,48433,48440,48447,48454,48464,48476,48486,48496,48504,48512,48523,48533,48545,48552,48561,48569,48578,48587,48596,48604,48613,48623,48632,48641,48651,48660,48668,48676,48686,48694,48704,48712,48720,48728,48736,48745,48754,48762,48770,48778,48786,48794,48802,48811,48819,48827,48835,48843,48851,48859,48867,48875,48883,48891,48901,48909,48917,48925,48933,48941,48949,48957,48965,48974,48982,48990,48998,49006,49014,49022,49031,49038,49045,49052,49059,49067,49074,49081,49088,49095,49102,49112,49120,49128,49137,49143,49151,49158,49165,49172,49178,49187,49195,49204,49212,49220,49227,49234,49242,49250,49258,49266,49274,49282,49290,49298,49305,49314,49322,49329,49338,49346,49353,49360,49368,49376,49384,49392,49399,49407,49415,49423,49431,49439,49448,49459,49467,49474,49482,49490,49498,49506,49514,49523,49531,49541,49549,49562,49570,49578,49586,49593,49600,49609,49617,49625,49633,49641,49650,49658,49666,49674,49683,49690,49700,49708,49717,49727,49737,49746,49755,49764,49775,49784,49793,49800,49807,49814,49821,49829,49837,49845,49852,49859,49867,49874,49881,49888,49895,49902,49909,49916,49925,49934,49941,49948,49956,49963,49971,49978,49985,49994,50003,50013,50021,50030,50037,50045,50053,50060,50067,50074,50081,50088,50095,50103,50110,50118,50125,50133,50140,50147,50154,50161,50168,50178,50186,50195,50203,50211,50219,50227,50236,50244,50250,50257,50265,50273,50281,50289,50297,50305,50314,50322,50330,50339,50347,50356,50364,50372,50379,50387,50394,50403,50411,50418,50426,50433,50442,50449,50457,50468,50478,50488,50497,50504,50513,50520,50527,50534,50541,50548,50557,50567,50574,50582,50590,50596,50602,50608,50614,50620,50626,50632,50639,50646,50653,50661,50669,50677,50685,50696,50704,50712,50720,50728,50736,50745,50755,50763,50770,50776,50782,50788,50796,50803,50809,50815,50822,50829,50836,50842,50848,50854,50861,50867,50874,50880,50889,50898,50906,50914,50923,50932,50940,50949,50956,50962,50972,50978,50989,50997,51005,51013,51020,51029,51043,51052,51061,51070,51076,51082,51088,51094,51104,51112,51121,51130,51139,51148,51154,51161,51169,51176,51184,51192,51200,51209,51217,51224,51232,51239,51247,51255,51264,51273,51282,51291,51300,51309,51317,51325,51334,51343,51351,51362,51370,51378,51387,51396,51404,51412,51418,51427,51436,51445,51451,51460,51469,51478,51486,51495,51503,51512,51521,51530,51538,51546,51553,51559,51568,51575,51584,51593,51599,51610,51616,51624,51633,51641,51650,51656,51665,51672,51681,51688,51696,51705,51712,51720,51729,51737,51743,51749,51757,51763,51771,51780,51789,51797,51803,51809,51816,51822,51828,51837,51845,51852,51861,51869,51878,51885,51894,51902,51910,51918,51926,51934,51942,51950,51956,51962,51971,51978,51986,51992,51999,52008,52016,52025,52034,52043,52049,52055,52064,52072,52079,52088,52101,52107,52115,52124,52132,52140,52148,52155,52163,52172,52178,52186,52192,52200,52208,52217,52225,52234,52242,52250,52258,52266,52274,52282,52288,52296,52304,52313,52321,52329,52338,52346,52354,52362,52368,52374,52382,52391,52398,52406,52414,52421,52427,52436,52444,52452,52460,52467,52475,52483,52492,52500,52508,52517,52525,52533,52541,52549,52557,52565,52571,52577,52586,52595,52604,52613,52622,52631,52640,52648,52656,52662,52670,52677,52686,52693,52702,52709,52717,52724,52732,52741,52749,52758,52766,52775,52784,52793,52802,52811,52819,52827,52836,52845,52851,52857,52863,52869,52877,52886,52894,52905,52912,52921,52929,52936,52945,52953,52962,52969,52978,52985,52994,53000,53006,53015,53023,53030,53039,53046,53054,53063,53071,53080,53089,53097,53105,53111,53118,53125,53132,53139,53145,53153,53161,53168,53174,53180,53186,53192,53199,53206,53213,53220,53227,53234,53241,53247,53253,53260,53269,53277,53283,53290,53297,53305,53311,53317,53323,53329,53335,53341,53347,53353,53360,53369,53376,53384,53390,53397,53403,53409,53417,53424,53430,53436,53444,53451,53459,53467,53475,53482,53488,53494,53500,53506,53513,53523,53529,53537,53544,53553,53563,53572,53582,53591,53598,53606,53613,53621,53629,53637,53645,53653,53661,53669,53677,53686,53696,53704,53712,53720,53727,53735,53744,53752,53760,53767,53775,53782,53790,53798,53806,53814,53821,53829,53836,53844,53852,53860,53868,53876,53883,53891,53900,53908,53916,53923,53930,53937,53944,53952,53960,53967,53975,53984,53992,54000,54007,54016,54024,54032,54040,54048,54056,54064,54072,54080,54090,54100,54107,54116,54124,54131,54137,54145,54153,54160,54167,54176,54183,54190,54197,54204,54211,54218,54225,54232,54239,54246,54254,54261,54268,54275,54282,54289,54296,54303,54311,54318,54325,54332,54339,54346,54353,54360,54367,54374,54382,54388,54395,54402,54409,54416,54423,54430,54437,54444,54451,54458,54465,54472,54480,54489,54496,54502,54508,54514,54522,54528,54535,54541,54547,54554,54560,54566,54572,54578,54584,54590,54596,54602,54609,54615,54621,54627,54633,54639,54645,54652,54658,54664,54670,54676,54682,54688,54694,54700,54706,54712,54718,54724,54730,54736,54742,54748,54754,54760,54770,54776,54782,54788,54794,54800,54806,54813,54820,54827,54835,54842,54849,54856,54863,54870,54877,54884,54891,54898,54906,54913,54920,54927,54934,54941,54948,54955,54965,54972,54979,54986,54994,55002,55009,55016,55023,55030,55037,55044,55051,55058,55065,55072,55079,55086,55094,55102,55112,55119,55126,55133,55142,55151,55160,55168,55176,55184,55191,55198,55206,55214,55222,55230,55238,55246,55255,55266,55274,55285,55294,55302,55310,55318,55326,55333,55340,55347,55354,55361,55368,55375,55382,55389,55396,55403,55414,55424,55433,55440,55447,55456,55466,55475,55484,55492,55501,55510,55520,55529,55539,55549,55559,55567,55576,55586,55595,55605,55615,55623,55630,55638,55645,55652,55659,55666,55673,55680,55687,55694,55701,55708,55715,55722,55729,55736,55743,55750,55757,55764,55771,55778,55785,55792,55799,55806,55813,55820,55827,55834,55841,55848,55855,55862,55869,55876,55883,55890,55897,55904,55911,55918,55925,55932,55939,55946,55953,55960,55967,55974,55981,55988,55995,56002,56009,56016,56023,56030,56037,56044,56051,56058,56065,56072,56079,56086,56093,56100,56107,56114,56121,56128,56135,56142,56149,56156,56163,56171,56178,56185,56192,56199,56206,56213,56220,56227,56234,56241,56248,56255,56262,56270,56277,56284,56291,56298,56305,56312,56319,56326,56333,56340,56347,56354,56361,56368,56375,56382,56389,56396,56403,56410,56417,56424,56431,56438,56445,56452,56459,56466,56473,56480,56487,56494,56501,56508,56515,56522,56529,56536,56543,56551,56558,56566,56573,56580,56587,56594,56601,56608,56616,56623,56630,56637,56644,56651,56658,56666,56673,56680,56687,56694,56701,56708,56715,56722,56729,56736,56743,56750,56757,56764,56772,56779,56786,56793,56800,56807,56814,56821,56828,56835,56842,56849,56856,56863,56870,56877,56884,56891,56898,56905,56912,56919,56926,56933,56940,56947,56954,56961,56968,56975,56982,56989,56996,57003,57010,57017,57024,57031,57038,57045,57052,57059,57066,57073,57080,57087,57094,57101,57108,57115,57122,57129,57136,57143,57150,57157,57164,57171,57178,57185,57192,57199,57206,57213,57220,57227,57234,57241,57248,57255,57262,57270,57279,57286,57293,57300,57307,57314,57321,57328,57335,57342,57349,57356,57363,57370,57378,57385,57392,57399,57406,57413,57420,57427,57434,57441,57448,57455,57463,57470,57477,57484,57491,57498,57505,57512,57519,57526,57533,57540,57547,57554,57561,57568,57575,57582,57589,57596,57603,57610,57617,57624,57631,57638,57645,57652,57659,57666,57673,57680,57687,57694,57701,57708,57715,57722,57729,57736,57743,57750,57757,57764,57771,57778,57785,57792,57799,57806,57813,57820,57827,57834,57841,57848,57855,57862,57869,57876,57883,57890,57897,57904,57913,57920,57928,57937,57947,57957,57964,57972,57979,57987,57995,58003,58012,58021,58029,58037,58045,58053,58061,58069,58077,58085,58093,58101,58109,58118,58126,58133,58141,58149,58157,58165,58173,58181,58189,58198,58205,58213,58221,58229,58237,58245,58253,58261,58268,58275,58283,58291,58299,58307,58315,58323,58331,58339,58347,58355,58363,58371,58379,58387,58395,58403,58411,58419,58427,58435,58443,58451,58459,58467,58475,58483,58489,58497,58506,58515,58523,58532,58539,58548,58556,58566,58575,58583,58591,58599,58607,58615,58623,58631,58640,58648,58657,58665,58673,58682,58691,58700,58708,58716,58725,58734,58742,58750,58758,58766,58774,58783,58791,58799,58807,58815,58825,58834,58842,58854,58863,58871,58879,58887,58895,58904,58914,58922,58931,58939,58946,58953,58962,58971,58978,58986,58994,59002,59010,59018,59026,59033,59040,59048,59056,59063,59070,59077,59084,59093,59100,59107,59114,59121,59129,59136,59143,59150,59159,59165,59173,59180,59187,59194,59201,59208,59215,59222,59232,59239,59246,59254,59261,59268,59275,59282,59289,59298,59305,59312,59319,59326,59333,59341,59348,59355,59362,59369,59376,59384,59392,59400,59407,59414,59421,59429,59436,59443,59449,59455,59461,59467,59473,59479,59485,59491,59497,59503,59509,59517,59523,59529,59537,59544,59551,59558,59566,59573,59580,59587,59594,59601,59608,59617,59624,59632,59638,59645,59651,59658,59665,59671,59679,59686,59694,59702,59709,59716,59723,59730,59737,59744,59752,59760,59767,59774,59781,59788,59795,59802,59811,59819,59825,59832,59840,59848,59855,59863,59870,59878,59886,59893,59900,59907,59915,59922,59929,59936,59942,59950,59957,59965,59973,59980,59987,59994,60003,60013,60020,60027,60035,60043,60050,60058,60065,60072,60079,60087,60094,60101,60108,60115,60122,60129,60136,60143,60150,60157,60164,60172,60179,60185,60192,60199,60206,60213,60220,60228,60235,60241,60249,60257,60264,60271,60279,60286,60293,60301,60309,60317,60326,60333,60341,60350,60358,60364,60372,60380,60387,60394,60401,60411,60418,60427,60434,60440,60446,60453,60459,60466,60473,60481,60488,60495,60502,60509,60516,60522,60528,60534,60541,60548,60554,60561,60568,60575,60583,60590,60597,60604,60611,60618,60625,60632,60639,60646,60653,60660,60667,60674,60681,60688,60695,60702,60709,60716,60724,60731,60738,60746,60754,60762,60769,60776,60784,60792,60799,60807,60815,60823,60830,60838,60846,60853,60860,60867,60875,60883,60890,60898,60905,60913,60920,60927,60934,60941,60949,60957,60964,60971,60978,60985,60992,60999,61006,61015,61023,61030,61037,61046,61053,61060,61067,61075,61084,61092,61099,61106,61113,61120,61127,61133,61140,61148,61156,61165,61173,61182,61190,61198,61205,61213,61221,61229,61235,61244,61253,61261,61268,61275,61282,61289,61296,61303,61310,61318,61325,61332,61338,61345,61353,61362,61369,61376,61384,61392,61400,61408,61416,61424,61432,61440,61448,61457,61464,61473,61481,61489,61496,61503,61510,61520,61528,61535,61542,61549,61557,61565,61572,61580,61589,61596,61604,61611,61618,61624,61633,61641,61649,61656,61664,61671,61680,61687,61695,61701,61710,61717,61724,61731,61738,61745,61751,61757,61766,61774,61783,61790,61797,61805,61812,61819,61826,61832,61838,61845,61853,61861,61870,61878,61884,61893,61900,61907,61914,61922,61930,61936,61943,61950,61957,61965,61973,61979,61986,61993,62000,62007,62013,62020,62028,62036,62044,62052,62060,62067,62076,62083,62090,62098,62107,62114,62123,62131,62139,62150,62157,62164,62172,62180,62187,62194,62200,62207,62216,62223,62230,62237,62244,62251,62258,62268,62275,62281,62287,62293,62299,62305,62311,62317,62323,62329,62338,62346,62353,62359,62365,62371,62378,62385,62391,62397,62403,62410,62416,62422,62428,62435,62441,62447,62453,62459,62466,62472,62478,62484,62490,62496,62502,62510,62516,62522,62530,62536,62542,62548,62555,62561,62567,62573,62579,62585,62591,62598,62604,62610,62617,62623,62629,62635,62643,62649,62657,62666,62673,62682,62688,62695,62702,62709,62716,62723,62730,62737,62744,62751,62758,62765,62773,62779,62786,62793,62800,62807,62814,62821,62828,62835,62842,62849,62856,62863,62870,62877,62884,62891,62898,62905,62912,62919,62926,62933,62940,62947,62954,62961,62969,62976,62983,62990,62997,63004,63011,63018,63026,63033,63040,63047,63053,63059,63065,63071,63077,63083,63089,63095,63101,63108,63114,63121,63127,63133,63139,63145,63151,63157,63163,63169,63175,63181,63187,63193,63199,63205,63211,63217,63223,63229,63235,63241,63247,63253,63259,63265,63271,63277,63283,63289,63295,63301,63307,63313,63319,63325,63331,63337,63343,63349,63355,63361,63367,63373,63379,63385,63391,63397,63403,63409,63415,63421,63427,63433,63439,63445,63451,63457,63463,63469,63475,63481,63487,63493,63499,63505,63511,63517,63523,63529,63535,63541,63547,63553,63559,63565,63571,63577,63583,63589,63595,63601,63607,63614,63621,63627,63633,63639,63645,63652,63658,63664,63670,63676,63682,63688,63694,63700,63706,63712,63718,63724,63730,63736,63742,63748,63754,63760,63766,63772,63778,63784,63790,63796,63802,63808,63814,63820,63826,63832,63838,63844,63851,63857,63863,63869,63876,63882,63888,63895,63901,63907,63913,63919,63925,63931,63937,63943,63949,63955,63961,63967,63973,63979,63985,63991,63997,64003,64009,64015,64021,64027,64033,64039,64045,64051,64057,64064,64070,64076,64082,64088,64094,64100,64107,64113,64123,64130,64138,64144,64150,64156,64162,64168,64174,64180,64186,64192,64198,64204,64210,64216,64222,64228,64234,64240,64246,64252,64258,64264,64270,64276,64282,64288,64294,64300,64306,64314,64320,64327,64333,64340,64348,64355,64362,64369,64376,64383,64390,64397,64404,64411,64418,64425,64432,64439,64446,64453,64460,64467,64474,64481,64488,64495,64502,64509,64516,64523,64530,64536,64542,64548,64554,64560,64566,64572,64578,64585,64591,64597,64603,64609,64616,64623,64630,64637,64643,64649,64655,64661,64667,64673,64679,64685,64693,64699,64705,64711,64717,64723,64729,64735,64741,64747,64753,64759,64765,64771,64778,64784,64791,64798,64805,64812,64819,64826,64833,64840,64847,64853,64859,64866,64872,64878,64884,64890,64905,64911,64918,64927,64936,64944,64951,64959,64967,64975,64985,64993,65001,65007,65013,65020,65026,65032,65040,65048,65055,65063,65071,65080,65088,65094,65103,65109,65115,65121,65127,65133,65139,65147,65155,65163,65172,65181,65190,65198,65207,65216,65224,65230,65238,65244,65252,65262,65268,65276,65284,65292,65300,65309,65317,65325,65333,65341,65350,65358,65366,65374,65382,65390,65399,65407,65416,65425,65434,65442,65451,65459,65467,65474,65482,65491,65499,65508,65516,65525,65533,65541,65550,65559,65566,65572,65580,65588,65595,65604,65611,65619,65627,65635,65642,65648,65655,65664,65673,65681,65690,65698,65707,65716,65724,65733,65741,65750,65757,65766,65774,65782,65790,65798,65806,65815,65824,65836,65845,65854,65862,65870,65878,65885,65891,65899,65907,65915,65921,65929,65937,65946,65953,65960,65967,65976,65983,65991,65999,66006,66014,66023,66032,66041,66049,66057,66065,66073,66081,66090,66099,66107,66116,66123,66131,66139,66147,66153,66161,66169,66177,66186,66195,66203,66210,66218,66227,66235,66242,66250,66258,66266,66274,66281,66288,66297,66306,66314,66322,66330,66338,66344,66350,66356,66362,66368,66374,66382,66388,66395,66401,66407,66413,66419,66425,66431,66437,66443,66449,66455,66461,66467,66473,66479,66485,66491,66497,66503,66509,66515,66521,66527,66533,66539,66545,66551,66557,66563,66569,66575,66581,66587,66593,66599,66605,66611,66617,66625,66631,66637,66643,66649,66655,66661,66667,66673,66679,66685,66691,66697,66703,66709,66715,66721,66727,66733,66739,66745,66751,66757,66763,66769,66777,66785,66792,66801,66809,66818,66827,66835,66844,66850,66858,66867,66875,66881,66889,66897,66904,66912,66920,66929,66937,66945,66954,66961,66969,66977,66985,66993,67002,67008,67014,67022,67029,67038,67046,67053,67059,67068,67075,67083,67092,67101,67109,67116,67124,67132,67140,67149,67157,67166,67174,67182,67191,67197,67203,67211,67219,67225,67231,67240,67246,67256,67265,67273,67281,67289,67297,67305,67313,67321,67329,67338,67346,67355,67363,67372,67381,67387,67396,67404,67412,67419,67427,67433,67441,67449,67457,67465,67473,67481,67489,67497,67505,67513,67521,67529,67535,67543,67551,67560,67569,67577,67585,67593,67601,67609,67617,67625,67633,67641,67649,67658,67666,67673,67680,67688,67697,67705,67713,67720,67727,67734,67740,67747,67754,67760,67769,67776,67783,67792,67799,67805,67811,67819,67827,67836,67844,67851,67859,67868,67876,67884,67893,67901,67910,67917,67926,67934,67943,67951,67959,67967,67973,67979,67987,67995,68002,68011,68020,68028,68036,68044,68052,68060,68067,68074,68083,68090,68097,68103,68112,68120,68126,68133,68140,68148,68157,68165,68171,68180,68187,68196,68205,68213,68221,68231,68240,68249,68257,68264,68272,68278,68285,68293,68301,68312,68319,68326,68333,68339,68345,68351,68358,68365,68372,68379,68386,68393,68400,68407,68414,68421,68428,68435,68442,68449,68456,68463,68470,68477,68484,68491,68498,68505,68512,68519,68526,68533,68540,68547,68554,68561,68567,68573,68579,68585,68591,68597,68603,68609,68616,68624,68631,68638,68645,68653,68659,68665,68671,68678,68685,68692,68699,68706,68713,68720,68727,68734,68743,68750,68760,68767,68775,68783,68791,68799,68807,68814,68821,68828,68837,68844,68851,68858,68865,68872,68881,68889,68897,68904,68911,68919,68926,68934,68941,68948,68955,68962,68969,68977,68985,68994,69001,69009,69016,69023,69030,69039,69047,69055,69062,69069,69077,69084,69092,69100,69107,69114,69120,69128,69135,69143,69150,69157,69164,69171,69178,69185,69194,69201,69208,69215,69222,69229,69236,69243,69254,69261,69268,69275,69282,69289,69296,69303,69310,69317,69324,69331,69338,69345,69352,69358,69364,69370,69377,69384,69391,69398,69405,69412,69419,69426,69433,69440,69447,69454,69461,69468,69475,69482,69489,69496,69503,69510,69517,69524,69531,69538,69545,69552,69560,69567,69574,69581,69588,69595,69602,69609,69616,69623,69630,69637,69644,69651,69658,69665,69672,69681,69689,69697,69704,69711,69718,69726,69733,69740,69747,69754,69761,69768,69775,69782,69789,69796,69803,69810,69817,69824,69831,69838,69845,69853,69860,69867,69874,69881,69888,69895,69902,69910,69917,69924,69931,69938,69945,69953,69962,69970,69978,69986,69994,70002,70010,70018,70026,70034,70042,70050,70058,70066,70074,70082,70090,70098,70106,70114,70122,70130,70138,70146,70154,70162,70170,70178,70186,70194,70202,70210,70218,70226,70234,70242,70250,70258,70266,70275,70283,70291,70299,70307,70315,70323,70331,70339,70347,70355,70363,70371,70379,70387,70395,70403,70410,70418,70426,70434,70442,70450,70458,70466,70474,70482,70490,70498,70506,70514,70522,70530,70538,70546,70554,70562,70570,70578,70586,70594,70602,70610,70618,70626,70634,70642,70650,70658,70666,70674,70682,70690,70698,70706,70714,70722,70730,70738,70746,70754,70762,70770,70778,70786,70794,70802,70810,70818,70826,70834,70842,70850,70858,70866,70874,70882,70890,70899,70907,70915,70923,70931,70939,70947,70955,70963,70971,70979,70987,70995,71003,71011,71019,71027,71035,71043,71051,71059,71067,71075,71083,71091,71099,71107,71115,71123,71131,71139,71147,71155,71163,71170,71177,71184,71191,71198,71205,71212,71219,71228,71237,71245,71253,71263,71271,71280,71289,71299,71308,71318,71328,71337,71346,71355,71366,71373,71382,71392,71401],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":39,"mainColor":40},214707,"chun-hua-tu-ba-kai-yun-shou-ping-214707","春花图八开","清","恽寿平","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[23,24,25,26,27,28,29,30,31,7],"高清","国画","书画","册","设色","没骨","花鸟","花卉","鸢尾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa759adc318004a833d99020a6068e6.jpg","纸本,设色","26.3x35.7","花鸟画精选",[35],14420,63,0,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":20,"description":47,"tags":48,"thumbUrl":61,"material":33,"size":62,"collection":63,"collections":64,"showCount":65,"zanCount":66,"manualWeight":39,"mainColor":40},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","明","沈周","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[23,24,25,49,50,27,51,52,53,54,55,56,57,58,59,7,60],"长卷","水墨","山水","小桥","流水","孤舟","亭","树木","山石","房屋","皴法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","31.6x348","山水画精选",[63],7463,45,{"id":68,"slug":69,"title":70,"dynasty":45,"author":71,"museum":72,"description":73,"tags":74,"thumbUrl":78,"material":79,"size":80,"collection":35,"collections":81,"showCount":82,"zanCount":83,"manualWeight":39,"mainColor":40},214824,"zhu-tu-wang-fu-214824","竹图","王绂","台北故宫博物院","用几根竹子蘸墨画的，笔触粗糙但不狂野，与高克恭的墨竹遗风一致。梁永乐同时代人的长篇跋语有据可查，这幅画有当时文士的风采。",[24,25,75,50,76,77,7],"立轴","竹子","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c26dbe209417faf1c3e4d39aa6193e.jpg","纸本,水墨","127.2x40.2",[35],4356,29,{"id":85,"slug":86,"title":87,"dynasty":88,"author":89,"museum":72,"description":90,"tags":91,"thumbUrl":93,"material":94,"size":95,"collection":96,"collections":97,"showCount":98,"zanCount":99,"manualWeight":39,"mainColor":100},214197,"jun-cheng-shu-huang-ting-jian-214197","郡城书","宋","黄庭坚","“郡城书”是宋代诗人黄庭坚的一部代表作。\n\n黄庭坚（1045年－1105年），字清涟，号文微子，汉族，江西庐山人，宋代诗人、文学家、书法家。他是宋代文学史上著名的诗人之一，在宋代被尊为“诗圣”。他的诗作风格清新、婉转，有浓厚的写实感，被认为是宋代文学中的经典之作。他的诗作中有许多关于郡城的描写，其中最著名的是《郡城书》这部诗集。\n\n《郡城书》是黄庭坚的一部代表作，也是宋代文学中的经典之作。这部诗集共有十三篇，分别描写了十三个郡城的风景。其中有许多细腻的描写，表现出黄庭坚对郡城风光的喜爱和敬仰。这部诗集也被认为是宋代文学中最好的郡城描写之一。",[23,92,24,25,7,60,75,77],"名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c96397356e3609d03ce6d50d8ba6d8.jpg","绢本,水墨","","书法精选",[96],3854,30,"795548",{"id":102,"slug":103,"title":104,"dynasty":105,"author":106,"museum":107,"description":108,"tags":109,"thumbUrl":117,"material":95,"size":95,"collection":95,"collections":118,"showCount":119,"zanCount":120,"manualWeight":39,"mainColor":100},238127,"luo-shen-fu-tu-juan-song-mo-gu-kai-zhi-238127","洛神赋图卷（宋摹）","晋","顾恺之","藏地不详","此作以辞赋为魂，以丹青为骨，将人神相恋的缱绻与别离的怅惋缓缓铺展。以山石林木为天然段落，串联起相遇、慕恋、惜别全程。\n笔下洛神衣袂翩跹，凌波顾盼间尽是柔婉仙姿，曹植凝睇神伤，将求而不得的怅惘藏于眉目。线条如春蚕吐丝，清劲连绵；设色古雅沉静，晕染细腻雅致，虽经摹写，仍留存晋人飘逸高古的气韵，把辞赋里的浪漫诗意落于绢素，让纸上风月跨越岁月，将这段人神殊途的遗憾永远定格。",[24,25,49,110,111,112,27,77,7,60,113,114,54,51,53,115,55,116],"临摹","工笔","白描","人物","美人","老树","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc559154b02942ebb93772f3f28818bda.jpg",[],3737,24,{"id":122,"slug":123,"title":124,"dynasty":45,"author":125,"museum":126,"description":127,"tags":128,"thumbUrl":141,"material":79,"size":142,"collection":35,"collections":143,"showCount":144,"zanCount":145,"manualWeight":39,"mainColor":100},214539,"si-shi-hua-hui-tu-xu-wei-214539","四时花卉图","徐渭","北京故宫博物院","长卷以大写意方式绘牡丹、芍药、葡萄、芭蕉，以兼工带写绘桂花叶和松树，以烘托方式绘竹子、岩石和雪中梅花。从画卷末尾的自述中可以看出，艺术家是用物品来表达她胸中的郁闷。该卷的风格简洁明了，风格轻快，不急不躁。",[23,24,50,129,130,49,25,7,60,131,132,133,134,135,136,137,138,30,139,140],"写意","大写意","梅","竹","松","荷","牡丹","芙蓉","桃花","水仙","兰","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b359a71dcaf3445be4bdab0f5d74d69.jpg","29.9x1081.7",[35],3030,18,{"id":147,"slug":148,"title":149,"dynasty":45,"author":46,"museum":72,"description":150,"tags":151,"thumbUrl":153,"material":33,"size":154,"collection":63,"collections":155,"showCount":156,"zanCount":157,"manualWeight":39,"mainColor":40},214743,"ye-zuo-tu-shen-zhou-214743","夜坐图","这幅夜行女子的画是沈周的生活自画像。在画的上部有一段文字，记录了他的生活，讲述了他如何在半夜突然醒来，当时雨后初晴，月亮倒映在他的窗口。风声、狗声、鼓声渐渐传来，钟声也从黎明传来。沈周经常在晚上看书，但他总是要到第二晚才休息，思绪都在文字里，所以听不到也看不到什么，但这次他感到了冥想的力量。图意即绘夜坐之事，时年六十六岁。",[24,25,75,50,51,60,7,77,59,115,57,152,52],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff82bcb280b365901496be3ff0f122b.jpg","84.8x21.8",[63],3007,20,{"id":159,"slug":160,"title":161,"dynasty":162,"author":163,"museum":164,"description":165,"tags":166,"thumbUrl":168,"material":169,"size":170,"collection":171,"collections":172,"showCount":173,"zanCount":174,"manualWeight":39,"mainColor":40},214574,"li-dai-di-wang-tu-yan-li-ben-214574","历代帝王图","唐","阎立本","波士顿美术馆","本卷绘十三位帝王：前汉昭帝、汉光武帝、魏文帝曹丕、吴主孙权、蜀主刘备、晋武帝司马炎、陈宣帝陈顼、陈文帝陈蒨、陈废帝陈伯宗、陈后主陈叔宝、北周武帝宇文邕、隋文帝杨坚、隋炀帝杨广。整个卷轴共有四十六个人物。\n线条强而有力，色彩厚重，具有很高的艺术水准。通过细节，画家表达了皇帝们的内心世界和经历，用画笔表达了有爱有恨的故事。这幅画在色彩的使用和人物服装的处理上受到了佛教艺术的影响。",[23,24,25,49,27,113,111,77,7,167],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb3ca2dbf330c36c9516b2bb0dec8242.jpg","绢本,设色","51.3 x 531","人物画精选",[171],2607,27,{"id":176,"slug":177,"title":178,"dynasty":179,"author":180,"museum":72,"description":181,"tags":182,"thumbUrl":183,"material":184,"size":185,"collection":63,"collections":186,"showCount":188,"zanCount":189,"manualWeight":39,"mainColor":40},220766,"fu-chun-shan-ju-tu-huang-gong-wang-220766","富春山居图","元","黄公望","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,49,25,50,59,51,53,54,56,57,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa873bf9c7d320f1bd285caf802d29cd8.jpg","绢本","画卷已经被火烧成一大一小两段，原卷首小段经过修补后称为“剩山图”，横51.4公分，高31.8公分，占原画1\u002F14，后段画幅较长，称为“无用师卷”，横636.9公分，高33公分，占原画12\u002F14",[63,187],"水墨画精选",2315,28,{"id":191,"slug":192,"title":193,"dynasty":162,"author":194,"museum":195,"description":196,"tags":197,"thumbUrl":201,"material":202,"size":203,"collection":95,"collections":204,"showCount":205,"zanCount":206,"manualWeight":39,"mainColor":207},214196,"duo-bao-ta-bei-yan-zhen-qing-214196","多宝塔碑","颜真卿","西安碑林博物馆","此碑共三十四行，满行六十六字，内容主要记载了西京龙兴寺禅师楚金创建多宝塔之原委及修建经过。整体秀美刚劲，清爽宜人，有简洁明快，字字珠玑之感。用笔丰厚遒美，腴润沉稳；横细竖粗，对比强烈；起笔多露锋，收笔多回锋，转折多顿笔。结体严谨致密，紧凑规整，平稳匀称，又碑版精良，存字较多，学颜体者多从此碑下手，入其堂奥。",[23,7,198,199,200],"拓本","楷书","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0cbed397ccd0298b7f9f71ee712b51d.jpg","纸本,拓本","285x102",[],2222,16,"37474F",{"id":209,"slug":210,"title":211,"dynasty":18,"author":19,"museum":126,"description":212,"tags":213,"thumbUrl":214,"material":215,"size":216,"collection":35,"collections":217,"showCount":219,"zanCount":220,"manualWeight":39,"mainColor":40},220970,"jiu-lan-tu-yun-shou-ping-220970","九兰图","此图又名《建兰图》。建兰，亦称秋兰。图绘兰花数枝，苍秀挺拔，布满画面，构图简洁，画法新颖别致，作者不用一点水墨，纯用赭石、白粉和略加花青点画，只见色痕，为没骨画中具有新意之作。从画末自题可知，该图表现了作者对澹贻堂主人“闽海”离后的怀念之情。",[23,24,92,25,27,29,139,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2849227d424582c35a1dde4e843e4fcc.jpg","绢本 设色","23.4cmx60.8cm",[35,218],"设色画精选",2213,32,{"id":222,"slug":223,"title":224,"dynasty":179,"author":225,"museum":126,"description":226,"tags":227,"thumbUrl":228,"material":79,"size":229,"collection":96,"collections":230,"showCount":231,"zanCount":232,"manualWeight":39,"mainColor":100},214293,"xiao-kai-luo-shen-fu-ce-1-zhao-meng-fu-214293","小楷洛神赋册-1","赵孟頫","笔触薄而有力，结体饶有兴味，风格清俊，让人在奢华中看到真正的朴素。",[23,25,7,199,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786b735d9237c068e6f611d7dced6895.jpg","25.7x12.6",[96],2204,13,{"id":234,"slug":235,"title":236,"dynasty":18,"author":19,"museum":20,"description":21,"tags":237,"thumbUrl":240,"material":33,"size":34,"collection":95,"collections":241,"showCount":242,"zanCount":243,"manualWeight":39,"mainColor":40},214708,"chun-hua-tu-ba-kai-3-yun-shou-ping-214708","春花图八开-3",[23,24,25,26,27,28,29,137,238,239,7,77],"枝干","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3854c4a04d540aad1f6fd4f84bc9fda.jpg",[],2124,9,{"id":245,"slug":246,"title":247,"dynasty":45,"author":46,"museum":126,"description":248,"tags":249,"thumbUrl":253,"material":33,"size":254,"collection":63,"collections":255,"showCount":256,"zanCount":257,"manualWeight":39,"mainColor":40},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,24,25,49,50,59,110,7,60,77,51,250,56,53,251,252,54],"孤石","山峦","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纵36.8厘米，横855厘米",[63],1987,11,{"id":259,"slug":260,"title":261,"dynasty":88,"author":262,"museum":263,"description":264,"tags":265,"thumbUrl":269,"material":79,"size":270,"collection":63,"collections":271,"showCount":272,"zanCount":273,"manualWeight":39,"mainColor":40},214316,"mo-tang-dai-lu-hong-cao-tang-shi-zhi-tu-li-gong-lin-214316","摹唐代卢鸿草堂十志图","李公麟","日本大阪市立美术馆","这两幅画在构图、风格和笔触上都有密切的联系，但人物的比例缩小了，放在更合理的自然空间里，而山水、树木和岩石的表现则更符合宋（或金）代的风格，在一定程度上反映了李公麟对卢鸿原作的临摹所产生的不同面貌。虽然这三幅画的具体临摹时间和具体制作时间还有待学者们进一步研究，但《草堂西施图》无疑在中国绘画史上占有很高的重要地位，因为它是中国文人隐居生活的经典形象，历来被人观赏、模仿和解读。大阪藏品的制作时间可能早于上述紫禁城画卷，晚于台北画卷，因为它与辽宁省博物馆收藏的北宋张继的《白莲社》画作比较接近。",[23,24,49,50,110,59,7,77,51,56,57,266,267,113,268],"瀑布","溪流","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccf5a7742967237a6a52cd2eb0fe914.jpg","30.3x867.2",[63],1944,14,{"id":275,"slug":276,"title":277,"dynasty":88,"author":278,"museum":279,"description":280,"tags":281,"thumbUrl":286,"material":33,"size":95,"collection":35,"collections":287,"showCount":288,"zanCount":289,"manualWeight":39,"mainColor":100},216206,"feng-hua-tu-zhao-chang-216206","蜂花图","赵昌","美国大都会艺术博物馆","蜂花图是赵昌的一幅画作，它来自宋朝（960年-1279年）。蜂花图是一幅绘画，它展示了一朵开放的花，周围有蜜蜂在采蜜。画中蜂花色彩明快，笔触流畅，富有装饰性。蜂花图被认为是赵昌的代表作之一。赵昌是一位著名的宋朝画家，他的作品通常以其精细的绘画技巧和生动的色彩著称。\n\n赵昌是宋朝时期的著名画家，他的蜂花图是他最著名的作品之一。赵昌以其精细的绘画技巧和生动的色彩著称，他的画作常常被认为是宋朝时期最优秀的画作之一。赵昌的蜂花图展示了一朵开放的花，周围有蜜蜂在采蜜，整幅画作充满了生机和活力。赵昌的蜂花图被认为是他的代表作之一，同时也是宋朝时期著名画作之一。",[92,24,25,49,111,27,29,282,283,284,285,77,7],"花","蜂","枝叶","月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421d5c743749140ca64622b04a9065c3.jpg",[35],1789,15,{"id":291,"slug":292,"title":293,"dynasty":18,"author":294,"museum":72,"description":295,"tags":296,"thumbUrl":299,"material":300,"size":301,"collection":35,"collections":302,"showCount":303,"zanCount":120,"manualWeight":39,"mainColor":40},219886,"er-shi-si-fan-hua-xin-feng-tu-shan-cha-yu-mei-hua-dong-gao-219886","二十四番花信风图-山茶与梅花","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[24,25,26,111,27,29,297,298,7,77],"山茶","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb14e79d824e99f28edc0d32bbad893b5.jpg","设色,纸本","20x14.2厘米",[35],1767,{"id":305,"slug":306,"title":307,"dynasty":88,"author":308,"museum":279,"description":309,"tags":310,"thumbUrl":311,"material":312,"size":313,"collection":314,"collections":315,"showCount":316,"zanCount":206,"manualWeight":39,"mainColor":100},220341,"mo-zhu-tu-su-shi-220341","墨竹图","苏轼","自苏轼而至元四家，墨竹之风大兴，竹常被文人高士用以表现清高拔俗的情趣，有正直的气节、虚心的品质和纯洁的思想感情，因此墨竹成了书、画、道的综合体，成了人格、人品的写照，寓意兴寄愈益丰厚。此作笔法谨严有致，具潇洒神态。",[23,24,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c9dbb225579521686a0829aa7646b7.jpg","纸本","54.3x33厘米","宋画精选",[314],1694,{"id":318,"slug":319,"title":320,"dynasty":18,"author":19,"museum":20,"description":21,"tags":321,"thumbUrl":323,"material":33,"size":34,"collection":95,"collections":324,"showCount":325,"zanCount":206,"manualWeight":39,"mainColor":40},214704,"chun-hua-tu-ba-kai-2-yun-shou-ping-214704","春花图八开-2",[23,24,25,26,27,28,29,322,284,7,77],"樱桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6677b01b31ad3df8b7719f1993dc4829.jpg",[],1639,{"id":327,"slug":328,"title":329,"dynasty":179,"author":330,"museum":20,"description":331,"tags":332,"thumbUrl":334,"material":312,"size":335,"collection":63,"collections":336,"showCount":337,"zanCount":206,"manualWeight":39,"mainColor":40},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","王蒙","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,25,50,59,75,51,57,266,56,333,267,252,77,7,60],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纵141厘米，横42.2厘米",[63,187],1622,{"id":339,"slug":340,"title":341,"dynasty":45,"author":342,"museum":279,"description":343,"tags":344,"thumbUrl":345,"material":346,"size":347,"collection":35,"collections":348,"showCount":349,"zanCount":350,"manualWeight":39,"mainColor":40},222001,"bai-yu-lan-tu-juan-wen-zheng-ming-222001","白玉兰图卷","文徴明","公元1549年，即明嘉靖二十八年，这一年三月的一天，春光明媚，80岁的文徵明在家中庭院闲来无事，忽见亲手种植的白玉兰开花了，欣喜之余，他吟诗作画，忙得不亦乐乎",[23,24,7,29,30,27,129,49,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15168a94a1e8cc14d5c9e9defbc85cb.jpg","纸本设色","27.9×133",[35,218],1562,17,{"id":352,"slug":353,"title":354,"dynasty":88,"author":355,"museum":164,"description":356,"tags":357,"thumbUrl":361,"material":312,"size":362,"collection":314,"collections":363,"showCount":364,"zanCount":157,"manualWeight":39,"mainColor":100},221457,"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","陈容","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[23,92,24,25,49,50,7,77,129,358,359,252,360],"渲染","龙","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[314,35,187],1532,{"id":366,"slug":367,"title":368,"dynasty":88,"author":369,"museum":126,"description":370,"tags":371,"thumbUrl":374,"material":312,"size":375,"collection":96,"collections":376,"showCount":377,"zanCount":350,"manualWeight":39,"mainColor":40},219053,"xia-ri-shi-tie-zhao-ji-219053","夏日诗帖","赵佶","此诗帖的瘦金体笔势遒劲，伟岸开张，体现了赵佶的独特风格。",[23,7,199,200,372,134,373,77],"瘦金体","夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371add8168f2bcda13f942087497018e.jpg","33.7厘米×44.2厘米",[96],1531,{"id":379,"slug":380,"title":381,"dynasty":179,"author":225,"museum":126,"description":382,"tags":383,"thumbUrl":387,"material":79,"size":388,"collection":96,"collections":389,"showCount":390,"zanCount":391,"manualWeight":39,"mainColor":40},214286,"xiao-kai-dao-de-jing-juan-zhao-meng-fu-214286","小楷道德经卷","《小楷道德经卷》以小楷书法体风为主，结合了行书、草书的特点，在保留传统书法美感的同时又有别于传统。赵孟頫在书写《道德经》时，注重书体的整体性和结构的美感，使之成为一部精美的书法作品。\n\n《小楷道德经卷》被认为是赵孟頫书法创作的巅峰之作，其书法造型优美、结构严谨，在当时也受到了广泛的好评。如今，《小楷道德经卷》也是收藏家们喜闻乐见的书法珍品。",[7,199,384,49,385,386,77],"小楷","墨迹","写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7b66d6690e15f9b43c843b20904fb3.jpg","24.5x618.6",[96],1521,21,{"id":393,"slug":394,"title":395,"dynasty":45,"author":125,"museum":72,"description":396,"tags":397,"thumbUrl":403,"material":79,"size":404,"collection":35,"collections":405,"showCount":406,"zanCount":232,"manualWeight":39,"mainColor":40},218732,"he-hua-tu-xu-wei-218732","荷花图","这幅画的构图简洁明了，布局清新精致。荷叶用滴水不漏的方式画出，而荷花则是寥寥数笔，充满了情感和笔墨的意趣。",[24,25,75,50,129,7,77,398,399,400,401,402],"草书","荷花","荷叶","水草","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","141.7x37.2cm",[35],1397,{"id":408,"slug":409,"title":410,"dynasty":18,"author":411,"museum":412,"description":413,"tags":414,"thumbUrl":415,"material":33,"size":95,"collection":35,"collections":416,"showCount":417,"zanCount":418,"manualWeight":39,"mainColor":40},218130,"shui-xian-zhu-zhi-tu-shi-tao-218130","水仙竹枝图","石涛","美国弗利尔美术馆","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,24,50,27,129,132,138,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112234b8c56ae7eab1e3115341e7947f.jpg",[35],1313,3,{"id":420,"slug":421,"title":422,"dynasty":88,"author":423,"museum":107,"description":424,"tags":425,"thumbUrl":434,"material":95,"size":95,"collection":95,"collections":435,"showCount":436,"zanCount":273,"manualWeight":39,"mainColor":100},226698,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-226698","韩熙载夜宴图(宋摹本)","宋宫廷画家","原作为南唐画家顾闳中的绘画作品。此卷据各方面考证，当属南宋孝宗至宁宗朝（1163—1224年）摹本，其风格基本反映出原作面貌，且达到相当高水平，堪称流传有绪的古代绘画珍品。\n作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[23,110,111,27,49,7,77,113,114,426,427,428,429,430,431,167,432,433],"文人","乐器","饮酒器","床榻","屏风","桌案","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2423c850e2ffa06c685670994844.jpg",[],1302,{"id":438,"slug":439,"title":440,"dynasty":45,"author":441,"museum":442,"description":443,"tags":444,"thumbUrl":447,"material":169,"size":95,"collection":35,"collections":448,"showCount":449,"zanCount":391,"manualWeight":39,"mainColor":40},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","私人收藏","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,24,26,27,111,77,7,60,29,131,139,140,134,137,135,445,250,446],"石榴","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[35],1280,{"id":451,"slug":452,"title":453,"dynasty":88,"author":454,"museum":126,"description":455,"tags":456,"thumbUrl":459,"material":169,"size":460,"collection":314,"collections":461,"showCount":462,"zanCount":463,"manualWeight":39,"mainColor":40},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","佚名","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,25,49,110,112,27,111,7,60,457,77,113,114,51,54,458,53,56],"篆书","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[314],1270,10,{"id":465,"slug":466,"title":467,"dynasty":18,"author":468,"museum":126,"description":469,"tags":470,"thumbUrl":476,"material":477,"size":95,"collection":95,"collections":478,"showCount":479,"zanCount":480,"manualWeight":39,"mainColor":40},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,25,49,110,50,27,51,59,7,60,57,56,53,52,55,58,471,113,267,472,333,473,474,475],"远山","峭壁","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,6,{"id":482,"slug":483,"title":484,"dynasty":45,"author":46,"museum":126,"description":485,"tags":486,"thumbUrl":487,"material":488,"size":489,"collection":63,"collections":490,"showCount":491,"zanCount":11,"manualWeight":39,"mainColor":40},233832,"wo-you-tu-ce-qiu-shan-du-shu-shen-zhou-233832","卧游图册－秋山读书","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,25,26,50,51,113,115,57,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纸本，设色","纵27.8厘米，横37.3厘米",[63,35,218],1120,{"id":493,"slug":494,"title":495,"dynasty":88,"author":308,"museum":72,"description":496,"tags":497,"thumbUrl":498,"material":184,"size":95,"collection":314,"collections":499,"showCount":500,"zanCount":501,"manualWeight":39,"mainColor":100},218786,"yu-zhu-tu-su-shi-218786","雨竹图","展卷即见墨竹数竿，竹叶层叠如聚雨，浓淡相宜间，笔意随兴流转。竹枝以中锋行笔，挺而不僵，叶尖带露似垂非坠，尽得雨中之姿。墨色干湿互见，枯笔处显苍劲，湿笔处含润泽，如书家走笔般一气呵成。旁有题跋，字迹与竹枝笔意相通，墨痕交融，印鉴朱红点缀，更添古雅。整幅画无布景却意境丰满，竹之清劲与文人风骨相融，观之如闻雨声淅沥，见竹影婆娑，尽显文人画“以形写神”之妙，是笔墨与心性共生的典范，藏着宋元文人对自然与自我的深情观照。",[23,24,25,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33b2f2b006aa2ac63f2963676954dbf.jpg",[314],1106,12,{"id":503,"slug":504,"title":505,"dynasty":18,"author":506,"museum":442,"description":507,"tags":508,"thumbUrl":509,"material":79,"size":95,"collection":187,"collections":510,"showCount":511,"zanCount":463,"manualWeight":39,"mainColor":40},216223,"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","金农","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[23,24,25,49,50,131,29,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg",[187],963,{"id":513,"slug":514,"title":515,"dynasty":105,"author":106,"museum":126,"description":516,"tags":517,"thumbUrl":518,"material":519,"size":520,"collection":171,"collections":521,"showCount":522,"zanCount":289,"manualWeight":39,"mainColor":100},221042,"nv-shi-zhen-tu-quan-juan-gu-kai-zhi-221042","女史箴图全卷","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[23,24,49,112,27,111,113,114,167,7,77,132,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e16c9ec9cf1b988dbcda811f3ae11a.jpg","纸本，墨笔","横601厘米，纵27.9厘米",[171,218],944,{"id":524,"slug":525,"title":178,"dynasty":18,"author":526,"museum":126,"description":527,"tags":528,"thumbUrl":529,"material":79,"size":530,"collection":63,"collections":531,"showCount":532,"zanCount":533,"manualWeight":39,"mainColor":40},218485,"fu-chun-shan-ju-tu-wang-yuan-qi-218485","王原祁","这幅画创作于康熙三十二年（1693年），52岁，仿照元代绘画大师黄公望的名作《富春山居图》的笔法。在这次模仿中，他从容不迫地运用了皴法、擦法和点法，特别是在用笔用墨方面，先用笔后用墨，染色由淡到浓逐渐增加，最后以焦墨破之，给人以沉重之感。",[23,24,50,59,7,77,51,53,56,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b9a0c62b860f5eddbc70949a88e933.jpg","98.8x60.1cm",[63],880,8,{"id":535,"slug":536,"title":537,"dynasty":45,"author":46,"museum":126,"description":538,"tags":539,"thumbUrl":540,"material":169,"size":541,"collection":171,"collections":542,"showCount":543,"zanCount":544,"manualWeight":39,"mainColor":40},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,25,49,50,59,51,250,52,53,54,115,55,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[171,63,218],877,7,{"id":546,"slug":547,"title":548,"dynasty":88,"author":549,"museum":107,"description":550,"tags":551,"thumbUrl":557,"material":50,"size":558,"collection":63,"collections":559,"showCount":560,"zanCount":533,"manualWeight":39,"mainColor":100},218544,"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","米芾","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[24,49,50,59,51,471,552,252,553,554,555,556,251,56,52,7,77],"近树","河流","小舟","亭台","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[63,314],865,{"id":562,"slug":563,"title":564,"dynasty":88,"author":369,"museum":72,"description":565,"tags":566,"thumbUrl":577,"material":169,"size":578,"collection":171,"collections":579,"showCount":580,"zanCount":581,"manualWeight":39,"mainColor":100},214251,"wen-hui-tu-zhao-ji-214251","文会图","文会图是宋代诗人赵佶的一幅代表作。这幅画作描绘了文会图的美丽风景。\n\n文会图位于宋代的江西省，是一座著名的风景名胜。它有着壮丽的山水景色，群山环绕，江河纵横。这里的山川秀美，让人流连忘返。\n\n在这幅画作中，赵佶巧妙地捕捉了文会图的美丽景色。他用浓墨重彩的画法，勾勒出了文会图的群山和江河。他还描绘了文会图周围的古迹和古建筑，让人感受到了宋代文化的博大精深。\n\n总之，文会图是一幅精美的画作，描绘了文会图的美丽风景。它让我们感受到了宋代诗人赵佶对自然的崇敬之情，也让我们感受到了宋代文化的魅力。",[23,24,25,27,111,113,56,567,568,569,570,426,571,7,572,573,574,575,576],"庭院","饮酒","桌椅","餐具","聚会","场景描绘","细致写实","器物","园林","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9e09405eba855cbe3e826712631928.jpg","184.4x123.9",[171],862,4,{"id":583,"slug":584,"title":585,"dynasty":18,"author":411,"museum":107,"description":586,"tags":587,"thumbUrl":590,"material":591,"size":592,"collection":187,"collections":593,"showCount":594,"zanCount":418,"manualWeight":39,"mainColor":40},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,24,25,49,50,59,588,132,589,51,133,7,60,77],"枯木","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米",[187],845,{"id":596,"slug":597,"title":598,"dynasty":18,"author":599,"museum":442,"description":600,"tags":601,"thumbUrl":602,"material":79,"size":95,"collection":35,"collections":603,"showCount":604,"zanCount":544,"manualWeight":39,"mainColor":40},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[23,24,25,49,50,129,7,60,77,139,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[35],816,{"id":606,"slug":607,"title":608,"dynasty":88,"author":549,"museum":20,"description":609,"tags":610,"thumbUrl":611,"material":79,"size":612,"collection":96,"collections":613,"showCount":614,"zanCount":581,"manualWeight":39,"mainColor":40},214282,"duo-jing-lou-shi-tie-1-mi-fei-214282","多景楼诗帖-1","笔势开张如鲲鹏展翼，侧锋扫过处，线条粗细骤变，枯润交织——飞白似裂帛，浓墨若积云。单字欹侧跌宕，却在错落间达成奇妙平衡；字间气脉连贯，如奔马绝尘，势不可挡。每一笔都带着“刷字”的痛快淋漓，无刻意雕琢之痕，却藏八面出锋之巧。笔墨里裹着登高临远的豪情，仿佛能听见江风穿楼、涛声拍岸，将山水之壮阔与心境之激昂，凝于方寸纸间，动人心魄。",[7,60,200,77,312,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ba0af73265fd6db701a669385d005c.jpg","31.2x538.1",[96],809,{"id":616,"slug":617,"title":618,"dynasty":88,"author":308,"museum":72,"description":619,"tags":620,"thumbUrl":621,"material":79,"size":622,"collection":96,"collections":623,"showCount":624,"zanCount":463,"manualWeight":39,"mainColor":40},214696,"huang-zhou-han-shi-tie-su-shi-214696","黄州寒食帖","关于黄州寒食的诗写于1082年，这本书肯定是在这个日期之后写的。在这首诗中，东坡自己的悲伤和感慨之情溢于言表，行与行之间的节奏变化也随着文本的各种情绪波动而变化。在这卷书法中，字的大小是结合在一起的，如 年、中、苇、纸 等字，最后一笔直下，形成长竖，在线条的设计和线条的气韵上，以及整个篇章上，形成了特殊的行间白。苏东坡是宋代商彝书风的代表人物之一。黄庭坚在1100年农历九月前为此卷写了一篇后记，字的大小比东坡的寒食诗要大。",[92,25,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7723c13ef48428ea30b7065ed74c254.jpg","34.2x199.5",[96],803,{"id":626,"slug":627,"title":628,"dynasty":18,"author":19,"museum":20,"description":21,"tags":629,"thumbUrl":630,"material":33,"size":34,"collection":95,"collections":631,"showCount":632,"zanCount":544,"manualWeight":39,"mainColor":40},214705,"chun-hua-tu-ba-kai-5-yun-shou-ping-214705","春花图八开-5",[23,24,25,26,29,27,28,135,239,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe56baf02b8d416236f5828d6ab4cc83.jpg",[],793,{"id":634,"slug":635,"title":636,"dynasty":105,"author":637,"museum":126,"description":638,"tags":639,"thumbUrl":640,"material":79,"size":641,"collection":96,"collections":642,"showCount":643,"zanCount":39,"manualWeight":39,"mainColor":40},214582,"yu-hou-tie-wang-xi-zhi-214582","雨后帖","王羲之","《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。",[25,7,200,398,77,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65b1f972a6e224b50a9893ad0e555b0.jpg","25.7x14.9",[96],771,{"id":645,"slug":646,"title":647,"dynasty":45,"author":46,"museum":648,"description":649,"tags":650,"thumbUrl":653,"material":654,"size":655,"collection":63,"collections":656,"showCount":657,"zanCount":418,"manualWeight":39,"mainColor":40},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","辽宁省博物馆","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[23,24,25,75,50,59,7,60,77,51,55,113,115,651,652],"山","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[63],763,{"id":659,"slug":660,"title":661,"dynasty":662,"author":663,"museum":442,"description":664,"tags":665,"thumbUrl":668,"material":33,"size":669,"collection":35,"collections":670,"showCount":671,"zanCount":480,"manualWeight":39,"mainColor":40},216112,"nan-gua-tu-qi-bai-shi-216112","南瓜图","民国","齐白石","泼墨如团的南瓜坠于藤蔓间，浓黑墨块裹着赭红瓜棱，憨拙中藏老笔苍劲。缠绕的藤蔓似游丝若铁线，飞白处见笔意灵动，与沉实瓜体形成虚实相生韵致。墨色层次分明，焦浓淡墨晕染叶片叠嶂，留白透气不拥塞。赭红点睛，让质朴多了暖意。笔墨纵逸却守法度，看似随意挥洒，实则每笔都透着生活熟稔——田间寻常物化为充满生命力的意象，既有大写意豪放，又藏文人画雅致，老辣带天真，朴拙满生机。",[24,50,27,129,75,7,77,666,667,239],"南瓜","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f38d5ce9c88984c51b25fe54cc0d2bc.jpg","33.74x134.77cm",[35],757,{"id":673,"slug":674,"title":675,"dynasty":88,"author":308,"museum":72,"description":676,"tags":677,"thumbUrl":681,"material":682,"size":95,"collection":95,"collections":683,"showCount":684,"zanCount":232,"manualWeight":39,"mainColor":40},227507,"chi-bi-fu-su-shi-227507","赤壁赋","《赤壁赋》是北宋文学家苏轼创作的一篇赋，作于宋神宗元丰五年（1082）贬谪黄州（今湖北黄冈）时。此赋记叙了作者与朋友们月夜泛舟游赤壁的所见所感，以作者的主观感受为线索，通过主客问答的形式，反映了作者由月夜泛舟的舒畅，到怀古伤今的悲咽，再到精神解脱的达观。全赋在布局与结构安排中映现了其独特的艺术构思，情韵深致、理意透辟，在中国文学上有着很高的文学地位，并对之后的赋、散文、诗产生了重大影响。",[7,60,49,50,77,678,54,53,568,679,651,680],"明月","江","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac209c020ded2a63af2f57b2b4992897.jpg","白纸本",[],736,{"id":686,"slug":687,"title":688,"dynasty":45,"author":689,"museum":20,"description":690,"tags":691,"thumbUrl":694,"material":169,"size":95,"collection":35,"collections":695,"showCount":696,"zanCount":463,"manualWeight":39,"mainColor":100},219749,"chun-feng-jia-die-tu-chen-hong-shou-219749","春风蛱蝶图","陈洪绶","陈洪绶（1598-1652年），字章侯，号老莲，别号老迟、悔迟，浙江诸暨人。此图作于顺治八年（1651)，画赠老友戴茂齐。所绘山雀、竹枝、海棠、水仙、蛱蝶、怪石、梨花，设色妍丽，富有装饰意味。卷末有作者自题，据此可知：是年秋天，画家曾以一金购得文徵明画一幅，戴茂齐喜之，遂赠之。后数日，友人丁秋平之子病重，陈氏借戴一金，赠以资汤药。孟冬，画家又作《博古叶子》一本赠戴，时家中乏米，借戴一金，故作此卷酬之。",[24,25,49,27,111,112,77,7,29,131,139,132,138,692,693,250],"蝴蝶","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f9e4cf48118d09a7f3ae27d2908752.jpg",[35],712,{"id":698,"slug":699,"title":700,"dynasty":45,"author":46,"museum":701,"description":702,"tags":703,"thumbUrl":705,"material":94,"size":706,"collection":63,"collections":707,"showCount":708,"zanCount":581,"manualWeight":39,"mainColor":100},219903,"shan-ju-du-shu-tu-shen-zhou-219903","山居读书图","南京博物院","沈周（1427—1509），字启南，号石田，自称白石翁，江苏苏州人。山水少承家法，凡宋元名手，皆能变化出入，而独于董源、巨然、李成尤得心印。中年以黄公望为宗，晚乃醉心吴镇、倪瓒。四十以前画盈尺小景，四十后始拓为大幅。其画以水墨山水为艺林绝品，浅绛者次之，其大设色者尤妙，但存世稀少。人物、花鸟，无一不入神品。本幅即为仿倪之作，笔法遒劲，风格萧疏。",[24,25,75,50,59,7,77,51,652,132,57,58,53,704],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","纵116.6厘米 横28.8厘米",[63],708,{"id":710,"slug":711,"title":712,"dynasty":45,"author":125,"museum":126,"description":713,"tags":714,"thumbUrl":715,"material":519,"size":716,"collection":95,"collections":717,"showCount":718,"zanCount":11,"manualWeight":39,"mainColor":40},222235,"shui-mo-mu-dan-tu-zhou-xu-wei-222235","水墨牡丹图轴","本幅自识：“四月九日，萧伯子觞吾辈于新复之兰亭，时费先生显父至自铅山，李兄子遂父至自建阳，并有作。余勉构一首，书小染似伯子。命驾皆千里，流觞复九回。马嘶不出谷，鸟影屡横杯。分水邻封会，双珠明月胎。今朝修褉地，益见永和才。天池中漱者渭。铅建两道，首尾相接，共分水一关，故颈联云。”钤：“文长氏”（白文）、“天池漱仙”（白文）、“青藤道士”（白文）印。鉴藏印：“苏士伯安珍藏”（朱文）、“正气斋鉴赏印”（白文）。\n牡丹是徐渭最喜欢画的花卉之一。徐渭的大笔写意牡丹前无古人。他不用色彩，仅以泼墨为之，无论花头及叶皆大笔点染而成，仅枝茎及叶脉用线条画出。此作牡丹花头用蘸墨法点花瓣，花瓣内端深外端浅，花头中部浅周边深。花头点成后，趁湿用重墨点花蕊。整幅作品无论布局、笔墨，均泼辣豪放，气势逼人，立意鲜明，水墨润泽，极有生意。虽是水墨画成，却有富贵庄严之相，属徐渭代表作之一。",[23,24,92,25,75,50,29,135,239,7,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1c40badc99d0d04f50672ffd7e4ff6.jpg","纵109.2厘米，横33厘米",[],704,{"id":720,"slug":721,"title":395,"dynasty":45,"author":689,"museum":72,"description":722,"tags":723,"thumbUrl":724,"material":27,"size":725,"collection":35,"collections":726,"showCount":727,"zanCount":544,"manualWeight":39,"mainColor":40},219452,"he-hua-tu-chen-hong-shou-219452","湖石嶙峋，瘦漏透皱间藏古拙意趣，墨色浓淡层叠，如老衲坐禅般沉稳。荷花亭亭，瓣尖染淡粉似晨露晕开，留白处见清灵；荷叶或卷或展，青绿间带赭石，随水波轻漾。线条如春蚕吐丝，劲挺却柔婉，将花叶石的形态勾勒得奇崛又生动。题跋墨痕流转，朱印点缀，添几分文人雅韵。整幅画浸在古绢暖光里，淡雅中藏倔强风骨，古意盎然却透着鲜活气，如无声禅诗，引人沉湎于那份清寂与悠远。",[24,25,75,111,27,399,250,400,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0331e9c85b7f539e58f688b2de6e8fb.jpg","75.8x39",[35],696,{"id":729,"slug":730,"title":731,"dynasty":179,"author":732,"museum":442,"description":733,"tags":734,"thumbUrl":736,"material":169,"size":737,"collection":35,"collections":738,"showCount":739,"zanCount":273,"manualWeight":39,"mainColor":100},218979,"xi-yuan-chun-se-tu-liu-guan-dao-218979","西园春色图","刘贯道","蛱蝶蹁跹于花草丛中，翅羽斑斓如霞，或振翅欲飞，或停驻吮香，姿态灵动鲜活。草叶舒展，花蕊微绽，淡彩晕染出春日的柔媚生机。旁侧书法笔墨流转，行草相间，墨色浓淡相宜，与工致的花鸟相映成趣。书画交织处，既有自然野趣的鲜活，又有文人笔墨的雅致，仿佛能闻春风里的花香，听纸间墨韵的轻响。整体气息清逸，将西园春日的盎然生机与文人雅兴融于一卷，尽显古典艺术的和谐之美。",[92,24,25,49,111,27,29,692,399,446,30,735,60,7,77],"虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec39f61ffab9b2bf23461034a8902f3b.jpg","23x137cm",[35],694,{"id":741,"slug":742,"title":743,"dynasty":45,"author":744,"museum":72,"description":745,"tags":746,"thumbUrl":750,"material":751,"size":752,"collection":171,"collections":753,"showCount":754,"zanCount":11,"manualWeight":39,"mainColor":100},290847,"han-xi-zai-ye-yan-tu-zhou-tang-yin-290847","韩熙载夜宴图轴","唐寅","作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[24,92,75,27,111,113,747,748,749,426,427,567,116,56,77,7],"宴饮","夜宴","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5764fa2f3d6a90547aede86322e61e.jpg","未知","Xcm*Xcm",[171],691,{"id":756,"slug":757,"title":758,"dynasty":179,"author":759,"museum":20,"description":760,"tags":761,"thumbUrl":762,"material":50,"size":95,"collection":35,"collections":763,"showCount":764,"zanCount":533,"manualWeight":39,"mainColor":100},219213,"mo-mei-tu-wang-mian-219213","墨梅图","王冕","墨笔绘就的梅树，老干如铁，新枝挺秀，虬曲间自有风骨。花朵以圈点法写成，清妍淡雅，不施粉黛却含雪魄冰魂。枝桠疏密有致，留白处见空灵，墨色的浓淡干湿晕染出自然生机。题款行书与朱红印章相映，诗书画印浑然一体，更添文心雅致。整幅画清气袭人，将梅花的傲霜之姿与文人的狷介情怀相融，观之如闻暗香，尽显元人画梅的高致。",[23,24,50,75,131,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00404bc2afa0c1bb049526819a65b91b.jpg",[35],685,{"id":766,"slug":767,"title":768,"dynasty":179,"author":225,"museum":107,"description":769,"tags":770,"thumbUrl":774,"material":95,"size":95,"collection":95,"collections":775,"showCount":776,"zanCount":501,"manualWeight":39,"mainColor":40},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,25,49,27,50,59,77,60,7,51,651,652,58,553,771,772,556,773],"小船","芦苇","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":778,"slug":779,"title":780,"dynasty":88,"author":369,"museum":126,"description":781,"tags":782,"thumbUrl":783,"material":784,"size":785,"collection":314,"collections":786,"showCount":787,"zanCount":788,"manualWeight":39,"mainColor":789},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[23,24,92,25,75,111,27,113,133,132,427,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","绢本，设色","纵147.2 厘米，横51.3 厘米",[314,35,218],656,2,"F48FB1",{"id":791,"slug":792,"title":793,"dynasty":162,"author":794,"museum":126,"description":795,"tags":796,"thumbUrl":799,"material":184,"size":800,"collection":96,"collections":801,"showCount":803,"zanCount":581,"manualWeight":39,"mainColor":40},221052,"wu-niu-tu-quan-juan-han-huang-221052","五牛图全卷","韩滉","《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[23,24,49,27,111,77,7,60,797,798],"牛","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102bd0cd5d4cb918fdece3f7352d6ced.jpg","525.92X21.6cm",[96,802],"碑帖精选",654,{"id":805,"slug":806,"title":807,"dynasty":45,"author":46,"museum":72,"description":808,"tags":809,"thumbUrl":810,"material":33,"size":811,"collection":63,"collections":812,"showCount":813,"zanCount":418,"manualWeight":39,"mainColor":40},214745,"shan-shui-tu-shen-zhou-214745","山水图","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[24,25,75,50,59,77,7,60,51,115,52,53,152,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[63],653,{"id":815,"slug":816,"title":817,"dynasty":45,"author":744,"museum":72,"description":818,"tags":819,"thumbUrl":821,"material":822,"size":823,"collection":171,"collections":824,"showCount":825,"zanCount":11,"manualWeight":39,"mainColor":100},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,25,49,27,51,820,53,54,55,56,57,333,113,7,60,77],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","绢","纵29.4cm，横351cm",[171,218],633,{"id":827,"slug":828,"title":829,"dynasty":18,"author":830,"museum":107,"description":831,"tags":832,"thumbUrl":835,"material":95,"size":95,"collection":95,"collections":836,"showCount":837,"zanCount":788,"manualWeight":39,"mainColor":40},235409,"wu-chang-shuo-sui-chao-qing-gong-tu-zhou-wu-chang-shuo-235409","吴昌硕岁朝清供图轴","吴昌硕","此作疏密布局精妙，斜出红梅自瓶中探伸，古拙湖石苍劲拙朴，案头水仙舒展清隽，蒲草萧疏有灵，配搭饱满鲜果，雅俗共赏。\n以篆籀笔法入画，笔墨苍劲老辣，设色浓淡相宜，明丽而不艳俗。朴茂雄浑的行书题字与画面浑然一体，金石古意尽显。既饱含文人案头的清雅逸趣，又暗合新春纳福的吉庆意蕴，将写意洒脱与写实鲜活相融，勾勒出岁朝之际悠然年味，尽显写意花鸟的朴拙雅致。",[24,27,50,75,29,77,7,131,138,833,250,834],"柿子","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6c68b7d5407cedbe24b1255ca78c0.jpg",[],618,{"id":839,"slug":840,"title":841,"dynasty":105,"author":106,"museum":648,"description":842,"tags":843,"thumbUrl":846,"material":184,"size":847,"collection":63,"collections":848,"showCount":849,"zanCount":243,"manualWeight":39,"mainColor":100},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,25,49,111,27,113,114,844,51,56,845,116,55,77,7,60,457,92],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[63,218],613,{"id":851,"slug":852,"title":853,"dynasty":88,"author":308,"museum":72,"description":854,"tags":855,"thumbUrl":856,"material":79,"size":857,"collection":96,"collections":858,"showCount":859,"zanCount":788,"manualWeight":39,"mainColor":40},214222,"su-shi-chi-du-su-shi-214222","苏轼尺牍","苏轼在奉旨前往凉州的途中，给他最好的朋友赵孟德写了这封信。这幅作品也被称为 "渡海帖"，是典型的苏轼风格，苍劲有力，沉着痛快，为其晚年的代表作。",[23,25,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61013e089b9077df0e32de8156aa212a.jpg","28.6x40.2",[96],601,{"id":861,"slug":862,"title":863,"dynasty":864,"author":865,"museum":107,"description":866,"tags":867,"thumbUrl":869,"material":751,"size":752,"collection":95,"collections":870,"showCount":871,"zanCount":581,"manualWeight":39,"mainColor":100},231027,"yi-shan-bei-li-si-231027","峄山碑","秦","李斯","《峄山刻石》是刊刻于秦代的一方摩崖石刻，又称“峄山石刻”“峄山碑”“峄山铭”“绎山刻石”“绎山石刻”“绎山碑”“绎山铭”等，分为两部分，前半部分（“始皇诏”）刻于秦始皇二十八年（前219年），后半部分（“二世诏”）刻于秦二世元年（前209年），传为李斯所书，属小篆书法作品，与《泰山刻石》《琅琊刻石》《会稽刻石》合称“秦四山刻石”。刻石原在山东邹县峄山书门，毁于南北朝时期，现有宋代摹刻碑存于西安碑林，元代摹刻碑存于邹城博物馆。",[868,457,198,7,200],"秦代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547ea823cba1e55ba521ef04c9c525b3.jpg",[],566,{"id":873,"slug":874,"title":875,"dynasty":88,"author":262,"museum":412,"description":876,"tags":877,"thumbUrl":879,"material":79,"size":880,"collection":314,"collections":881,"showCount":871,"zanCount":882,"manualWeight":39,"mainColor":40},214884,"lian-she-tu-li-gong-lin-214884","莲社图","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,92,24,25,49,112,27,878,113,51,56,55,250,7,457,60,77],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[314],1,{"id":884,"slug":885,"title":886,"dynasty":162,"author":163,"museum":126,"description":887,"tags":888,"thumbUrl":889,"material":184,"size":890,"collection":96,"collections":891,"showCount":892,"zanCount":243,"manualWeight":39,"mainColor":40},221064,"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。\n字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。\n全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。\n此卷则为千年传世之本，首尾俱全。\n卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。\n研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。\n它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。\n卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,24,25,49,111,27,113,167,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。",[96,802],564,{"id":894,"slug":895,"title":896,"dynasty":45,"author":744,"museum":72,"description":897,"tags":898,"thumbUrl":902,"material":751,"size":752,"collection":171,"collections":903,"showCount":904,"zanCount":243,"manualWeight":39,"mainColor":40},289743,"chang-e-ben-yue-tu-zhou-tang-yin-289743","嫦娥奔月图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,75,27,113,114,899,678,900,901,7,77,749],"嫦娥","兔","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg",[171],539,{"id":906,"slug":907,"title":908,"dynasty":88,"author":308,"museum":126,"description":909,"tags":910,"thumbUrl":911,"material":682,"size":95,"collection":96,"collections":912,"showCount":913,"zanCount":418,"manualWeight":39,"mainColor":40},221304,"mo-ji-xuan-he-ji-su-shi-221304","墨迹选合集","苏轼（1037年1月8日-1101年8月24日），字子瞻、和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙，北宋著名文学家、书法家、画家，历史治水名人。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛” ；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。\n苏轼擅长写行书、楷书。他曾经遍学晋、唐、五代的各位名家之长，再将王僧虔、徐浩、李邕、颜真卿、杨凝式等名家的创作风格融会贯通后自成一家。他曾自称：“我书造意本无法”、“自出新意，不践古人”。\n黄庭坚称他：“早年用笔精到，不及老大渐近自然。”这说明苏轼一生屡经坎坷，致使他的书法风格跌宕。存世作品有《赤壁赋》、《黄州寒食诗》和《祭黄几道文》等帖。",[23,7,60,77,49,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2948e558a0b160e7d1fa1c38962ea6ba.jpg",[96],531,{"id":915,"slug":916,"title":917,"dynasty":45,"author":125,"museum":107,"description":918,"tags":919,"thumbUrl":922,"material":95,"size":95,"collection":95,"collections":923,"showCount":924,"zanCount":544,"manualWeight":39,"mainColor":40},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,24,25,75,50,129,130,920,921,667,239,7,398],"泼墨","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg",[],528,{"id":926,"slug":927,"title":928,"dynasty":179,"author":225,"museum":72,"description":929,"tags":930,"thumbUrl":931,"material":79,"size":932,"collection":96,"collections":933,"showCount":934,"zanCount":581,"manualWeight":39,"mainColor":40},214219,"xue-qing-yun-san-tie-zhao-meng-fu-214219","雪晴云散帖","雪晴云散帖是元代诗人赵孟頫的一首代表作。\n\n赵孟頫（1254年-1322年），字少华，元代诗人、书法家。他是元代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格清新、婉转，有浓厚的写实感，被认为是元代文学中的经典之作。\n\n雪晴云散帖是赵孟頫的一首著名诗作，其中描写了雪晴云散的风景。这首诗的气势磅礴，描写了雪晴云散的美丽景色，表达了作者对自然的崇敬之情。诗中还描写了雪晴云散周围的风光，表现出作者对自然的热爱。\n\n整首诗的意境深远，描写细腻，是赵孟頫的代表作之一，也是元代文学中的经典之作。",[23,7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf97c8e30e41854d8a25d009cbe353ee.jpg","51.9x24.8",[96],521,{"id":936,"slug":937,"title":938,"dynasty":179,"author":330,"museum":72,"description":939,"tags":940,"thumbUrl":941,"material":33,"size":942,"collection":63,"collections":943,"showCount":944,"zanCount":882,"manualWeight":39,"mainColor":40},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[24,25,75,50,27,51,53,56,57,266,113,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[63],512,{"id":946,"slug":947,"title":948,"dynasty":18,"author":599,"museum":107,"description":949,"tags":950,"thumbUrl":951,"material":682,"size":952,"collection":35,"collections":953,"showCount":954,"zanCount":501,"manualWeight":39,"mainColor":40},223295,"mo-zhu-zheng-ban-qiao-223295","墨竹","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[23,24,75,50,7,60,132,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","38*138CM",[35,187],509,{"id":956,"slug":957,"title":958,"dynasty":45,"author":46,"museum":648,"description":959,"tags":960,"thumbUrl":961,"material":312,"size":962,"collection":95,"collections":963,"showCount":964,"zanCount":418,"manualWeight":39,"mainColor":40},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[23,24,25,50,59,60,7,77,51,55,113,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":966,"slug":967,"title":968,"dynasty":88,"author":969,"museum":970,"description":971,"tags":972,"thumbUrl":973,"material":169,"size":974,"collection":314,"collections":975,"showCount":976,"zanCount":544,"manualWeight":39,"mainColor":100},218635,"shan-cha-tu-wu-bing-218635","山茶图","吴炳","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[24,25,92,29,111,27,297,238,239,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[314,35],487,{"id":978,"slug":979,"title":980,"dynasty":88,"author":369,"museum":20,"description":981,"tags":982,"thumbUrl":983,"material":984,"size":985,"collection":96,"collections":986,"showCount":987,"zanCount":243,"manualWeight":39,"mainColor":40},221340,"shou-jin-qian-zi-wen-zhao-ji-221340","瘦金千字文","《千字文》是赵佶以其最具个人风格之“瘦金体”书写，整体匀整峭拔，筋骨挺劲，清爽润朗，飘逸灵动，正所谓“铁画银钩”。此种书体取法唐代薛稷、薛曜，把楷书中瘦劲一路发挥到了极致，带有很强的装饰性，成为具有鲜明个人风格的一种书体。\n本卷为宋徽宗赵估于崇宁三年（1104年）二十三岁时书赐童贯。朱丝界栏， 素笺本，纵三十点九厘米，横三百二十二点一厘米，楷书，字大寸许，每行十字，前后百行。此卷原为清宫旧藏，著录于《石渠宝笈初编》，现藏上海博物馆，",[23,7,49,199,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a59fd9a6b1807f5c4769571d5723d63.jpg","素笺","纵30.9、横322.1厘米",[96],473,{"id":989,"slug":990,"title":991,"dynasty":105,"author":106,"museum":126,"description":516,"tags":992,"thumbUrl":993,"material":519,"size":520,"collection":171,"collections":994,"showCount":995,"zanCount":480,"manualWeight":39,"mainColor":40},221041,"nv-shi-zhen-tu-juan-quan-juan-gu-kai-zhi-221041","女史箴图卷全卷",[23,24,25,49,112,111,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e325b86458ef996bbbc4b4e8cbd033.jpg",[171,187],458,{"id":997,"slug":998,"title":999,"dynasty":88,"author":308,"museum":72,"description":1000,"tags":1001,"thumbUrl":1007,"material":312,"size":1008,"collection":96,"collections":1009,"showCount":1010,"zanCount":480,"manualWeight":39,"mainColor":40},221307,"han-shi-shi-su-shi-221307","寒食诗","《寒食帖》又名《黄州寒食诗帖》或《黄州寒食帖》。是苏轼撰诗并书，墨迹素笺本，行书十七行，129字，现藏台北故宫博物院，那时苏轼因宋朝最大的文字狱，被贬黄州第三年的寒食节作了二首五言诗：“自我来黄州，已过三寒食。年年欲惜春，春去不容惜。今年又苦雨，两月秋萧瑟。卧闻海棠花，泥污燕支雪。暗中偷负去，夜半真有力，何殊病少年，病起须已白。”；“春江欲入户，雨势来不已。小屋如渔舟，蒙蒙水云里。空庖煮寒菜，破灶烧湿苇。那知是寒食，但见乌衔纸。君门深九重，坟墓在万里。也拟哭途穷，死灰吹不起。”\n此帖是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发的 人生之叹。诗写得苍凉多情，表达了苏轼此时惆怅孤独的心情。此诗的书法也正是在这种心情和境况下，有感 而出的。通篇书法起伏跌宕，光彩照人，气势奔放，而无荒率之笔。《寒食诗帖》在书法史上影响很大， 被称为“天下第三行书”，也是苏轼书法作品中的上乘。正如黄庭坚在此诗后所跋：“此书兼颜鲁公，杨少师， 李西台笔意，试使东坡复为之，未必及此。",[23,7,60,49,77,50,433,679,1002,845,1003,1004,1005,1006],"雨","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","横34.2厘米，纵18.9厘米",[96],452,{"id":1012,"slug":1013,"title":1014,"dynasty":45,"author":1015,"museum":20,"description":1016,"tags":1017,"thumbUrl":1019,"material":169,"size":95,"collection":171,"collections":1020,"showCount":1010,"zanCount":11,"manualWeight":39,"mainColor":789},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","文徵明","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,24,25,49,27,51,113,56,333,1018,7,60,77,111,59],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[171,63],{"id":1022,"slug":1023,"title":1024,"dynasty":162,"author":194,"museum":72,"description":1025,"tags":1026,"thumbUrl":1027,"material":682,"size":1028,"collection":96,"collections":1029,"showCount":1030,"zanCount":581,"manualWeight":39,"mainColor":40},221059,"ji-zhi-wen-gao-quan-juan-yan-zhen-qing-221059","祭侄文稿全卷","《祭侄文稿》与东晋王羲之的《兰亭序》、北宋苏轼的行书《黄州寒食帖》并称为“天下三大行书”，亦被誉为“天下行书第二”。且此稿是在极度悲愤的情绪下书写，不顾笔墨之工拙，故字随书家情绪起伏，纯是精神和平时工力的自然流露。这在整个书法史上都是不多见的，故《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一。",[23,7,60,49,77,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625900b54f9cdc3eb453d3c2fceb3e38.jpg","纵28.3厘米，横75.5厘米",[96,802],451,{"id":1032,"slug":1033,"title":1034,"dynasty":179,"author":225,"museum":126,"description":1035,"tags":1036,"thumbUrl":1037,"material":1038,"size":1039,"collection":96,"collections":1040,"showCount":1041,"zanCount":257,"manualWeight":39,"mainColor":40},220855,"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[23,92,24,25,49,60,7,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[96],449,{"id":1043,"slug":1044,"title":1045,"dynasty":45,"author":125,"museum":701,"description":1046,"tags":1047,"thumbUrl":1052,"material":312,"size":1053,"collection":63,"collections":1054,"showCount":1055,"zanCount":39,"manualWeight":39,"mainColor":100},222233,"za-hua-tu-xu-wei-222233","杂花图","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,24,25,49,50,130,7,135,445,399,1048,1049,666,1050,1051,921,132],"梧桐","菊花","扁豆","紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米",[63,187],448,{"id":1057,"slug":1058,"title":1059,"dynasty":162,"author":1060,"museum":107,"description":1061,"tags":1062,"thumbUrl":1064,"material":202,"size":95,"collection":96,"collections":1065,"showCount":1066,"zanCount":11,"manualWeight":39,"mainColor":100},214599,"lan-ting-xu-ou-yang-xun-214599","兰亭序","欧阳询","兰亭序是中国唐代文学家、诗人欧阳询的代表作之一。这首诗以兰亭为题，记录了欧阳询观赏兰花的感受。\n\n兰亭序共五言，结构严谨，语言优美，内容浅显易懂，是中国古典诗歌中较为著名的小令。兰亭序的前两句描写了兰花的美丽，第三句表达了欧阳询对兰花的喜爱，第四句赞扬了兰花的优雅，最后一句讽刺了当时的社会和政治现实。\n\n兰亭序被誉为“小令之王”，在中国文学史上占有重要地位。它被广泛用于中国古代文学教材，也是中国传统文化中常常被提及的代表作之一。",[7,60,198,110,1063],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91b9c4a74679c00af5b2ca51b36015d.jpg",[96],442,{"id":1068,"slug":1069,"title":1070,"dynasty":88,"author":1071,"museum":126,"description":1072,"tags":1073,"thumbUrl":1075,"material":169,"size":1076,"collection":314,"collections":1077,"showCount":1078,"zanCount":581,"manualWeight":39,"mainColor":100},214887,"zhao-ling-liu-jun-tu-zhao-lin-214887","昭陵六骏图","赵霖","这幅画以唐太宗昭陵的六匹骏马为蓝本，分为六个部分，每个部分都有一匹马，并在侧面写有铭文。马匹的形状忠实于原作，但也注意到了画作的优势，通过有力的笔触和微妙的色彩，使马匹的皮毛更加逼真自然，战马驰骋疆场的雄姿也被生动地描绘出来。无论他们是奔跑、跳跃、行进还是站立，他们都被充分展现出来。",[23,24,25,49,111,27,110,1074,798,113,7,60,77],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d6aa1f7279d174f484a829d34cfa3.jpg","27.4x444.2",[314],441,{"id":1080,"slug":1081,"title":1082,"dynasty":88,"author":262,"museum":107,"description":1083,"tags":1084,"thumbUrl":1085,"material":95,"size":95,"collection":95,"collections":1086,"showCount":1087,"zanCount":544,"manualWeight":39,"mainColor":40},227579,"wu-ma-tu-dong-jing-cai-ben-li-gong-lin-227579","五马图（东京彩本）","年初，日本东京国立博物馆举办的“颜真卿：超越王羲之的名笔”特展中，一度被认为毁于二战战火的北宋名画——李公麟所作《五马图》赫然在列，轰动艺术界。\n\n《五马图卷》是李公麟最重要的传世名迹，简约而生动，是宋画高再现性与高表现性的完美结合；上有黄庭坚题跋，曾收藏于南宋内府与乾隆手中，对宋画欣赏与研究极具价值，近一个世纪以来，流传过程也甚为坎坷。",[23,92,24,25,49,112,27,113,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc311a3828303adc5d60f6643579ac2af.jpg",[],427,{"id":1089,"slug":1090,"title":1091,"dynasty":45,"author":125,"museum":412,"description":1092,"tags":1093,"thumbUrl":1094,"material":79,"size":1095,"collection":35,"collections":1096,"showCount":1097,"zanCount":418,"manualWeight":39,"mainColor":40},220099,"shi-er-mo-hua-tu-juan-xu-wei-220099","十二墨花图卷","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,92,24,25,49,50,77,60,7,131,139,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6906eeb6ef87e0a0207882c285c054.jpg","全卷32.8cm×544cm",[35],407,{"id":1099,"slug":1100,"title":1101,"dynasty":45,"author":1102,"museum":72,"description":1103,"tags":1104,"thumbUrl":1105,"material":33,"size":1106,"collection":35,"collections":1107,"showCount":1108,"zanCount":480,"manualWeight":39,"mainColor":40},214731,"sui-chao-tu-bian-wen-jin-214731","岁朝图","边文进","仿古铜罐上装饰着十种花，包括梅花、兰花、茶花、水仙、天竺葵、灵芝、松树、柏树、柿子和如意，象征着十全十美。花瓶里的花的重心在较低的一侧，而上面的梅花的茎通向较高的一侧，这与现实相对应。",[24,25,75,27,111,29,131,133,834,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7df13b5b3b22f5b5a78294d592780.jpg","108x46.1",[35],404,{"id":1110,"slug":1111,"title":1112,"dynasty":88,"author":1113,"museum":107,"description":1114,"tags":1115,"thumbUrl":1116,"material":184,"size":1117,"collection":171,"collections":1118,"showCount":1119,"zanCount":581,"manualWeight":39,"mainColor":100},221325,"chao-yuan-xian-zhang-tu-wu-zong-yuan-221325","朝元仙仗图","武宗元","《朝元仙仗图》为北宋宗教画家 所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[23,92,24,25,49,112,878,113,458,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[171,187],395,{"id":1121,"slug":1122,"title":1123,"dynasty":88,"author":1124,"museum":72,"description":1125,"tags":1126,"thumbUrl":1129,"material":169,"size":1130,"collection":63,"collections":1131,"showCount":1132,"zanCount":788,"manualWeight":39,"mainColor":40},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","仙山楼阁图","赵伯驹","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,24,25,75,1127,27,111,1128,51,458,56,252,7],"青绿","界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[63],388,{"id":1134,"slug":1135,"title":1136,"dynasty":105,"author":637,"museum":72,"description":1137,"tags":1138,"thumbUrl":1139,"material":682,"size":1140,"collection":96,"collections":1141,"showCount":1142,"zanCount":480,"manualWeight":39,"mainColor":40},221032,"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[23,92,24,25,49,77,60,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[96,802],387,{"id":1144,"slug":1145,"title":1146,"dynasty":88,"author":1147,"museum":648,"description":1148,"tags":1149,"thumbUrl":1152,"material":169,"size":1153,"collection":35,"collections":1154,"showCount":1155,"zanCount":418,"manualWeight":39,"mainColor":100},216925,"han-ya-tu-li-cheng-216925","寒鸦图","李成","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,92,24,25,49,50,59,704,115,116,1150,1151,51,250,77,7,60],"寒鸦","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[35],385,{"id":1157,"slug":1158,"title":1159,"dynasty":88,"author":1160,"museum":72,"description":1161,"tags":1162,"thumbUrl":1163,"material":94,"size":1164,"collection":96,"collections":1165,"showCount":1166,"zanCount":581,"manualWeight":39,"mainColor":40},214341,"shu-qi-yan-lv-shi-tie-zhao-gou-214341","书七言律诗帖","赵构","释文：暮春三月巫峡长，皛皛行云浮日光。雷声忽送千峰雨， 花气浑如百和香。黄莺过水翻回去，燕子衔泥湿不妨。飞阁卷帘图画里，虚无只少对潇湘。赐亿年。宋高宗早年书法黄山谷，后改习二王，是幅字体均匀，结构图活，章法疏朗，乃高宗本色书法，原书后方有赵吴兴补图，惜为后人剪去。宋朝书家，崇尚意趣，往往轻率下笔，任意著墨，将晋唐端严书风大肆更变，有识之士有鉴于此，纷纷改弦易辙，回归传统，高宗亦是其中之功臣也。",[23,7,60,77,50,25,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6641a026cecbe41cd716299031cc973.jpg","27.1x48.7",[96],384,{"id":1168,"slug":1169,"title":1170,"dynasty":179,"author":1171,"museum":1172,"description":1173,"tags":1174,"thumbUrl":1178,"material":1179,"size":1180,"collection":35,"collections":1181,"showCount":1182,"zanCount":11,"manualWeight":39,"mainColor":40},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","大英博物馆","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,24,25,49,27,111,29,132,692,1175,30,1176,1177,7,60,457],"蜻蜓","草虫","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","绢本设色","27.8x352.9cm",[35,218],368,{"id":1184,"slug":1185,"title":1186,"dynasty":179,"author":1187,"museum":126,"description":1188,"tags":1189,"thumbUrl":1190,"material":488,"size":1191,"collection":63,"collections":1192,"showCount":1182,"zanCount":533,"manualWeight":39,"mainColor":100},221710,"shan-ju-tu-qian-xuan-221710","山居图","钱选","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[23,92,24,25,49,1127,27,111,59,7,77,51,651,360,652,1018,52,53,58,54,250,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[63,218],{"id":1194,"slug":1195,"title":1196,"dynasty":88,"author":369,"museum":107,"description":1197,"tags":1198,"thumbUrl":1203,"material":751,"size":752,"collection":95,"collections":1204,"showCount":1205,"zanCount":11,"manualWeight":39,"mainColor":100},288330,"rui-he-tu-zhao-ji-288330","瑞鹤图","描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。",[23,92,24,25,49,27,111,116,1199,458,1200,1201,199,372,7,1202],"仙鹤","祥云","宫殿","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a2bced096b89031018940195e15452.jpg",[],362,{"id":1207,"slug":1208,"title":60,"dynasty":18,"author":1209,"museum":72,"description":1210,"tags":1211,"thumbUrl":1212,"material":79,"size":1213,"collection":96,"collections":1214,"showCount":1205,"zanCount":39,"manualWeight":39,"mainColor":40},214199,"xing-shu-kang-you-wei-214199","康有为","释文：浩风无量刼。所寓知几舍。三十有二相。示现随变化。康有为。",[23,18,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab696d5e99f70e246cbc8a67159777c.jpg","95.7x46.2",[96],{"id":1216,"slug":1217,"title":307,"dynasty":45,"author":342,"museum":126,"description":1218,"tags":1219,"thumbUrl":1220,"material":519,"size":1221,"collection":187,"collections":1222,"showCount":1224,"zanCount":418,"manualWeight":39,"mainColor":40},221978,"mo-zhu-tu-wen-zheng-ming-221978","本幅绘坡石兰竹、荆棘溪流，无作者款识，钤“悟言室印”、“徵仲”、“徵仲父”、“惟庚寅吾以降”。接纸文徵明自题一段，款署：“徵明題於玉磬山房”。钤“文徵明印”、“衡山”及引首章“停云”。\n图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。\n清顾文彬《过云楼书画记》著录。",[23,24,25,75,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec347ecd188da74ed1c680f3cb0f115.jpg","纵26.8厘米，横730厘米",[187,1223],"竹石精选",352,{"id":1226,"slug":1227,"title":1228,"dynasty":88,"author":308,"museum":412,"description":1229,"tags":1230,"thumbUrl":1231,"material":50,"size":95,"collection":96,"collections":1232,"showCount":1233,"zanCount":418,"manualWeight":39,"mainColor":100},218610,"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[23,92,24,25,49,50,132,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg",[96],348,{"id":1235,"slug":1236,"title":1237,"dynasty":18,"author":294,"museum":72,"description":295,"tags":1238,"thumbUrl":1241,"material":33,"size":301,"collection":95,"collections":1242,"showCount":1243,"zanCount":581,"manualWeight":39,"mainColor":40},219884,"er-shi-si-fan-hua-xin-feng-tu-tu-mi-yu-lian-hua-dong-gao-219884","二十四番花信风图-荼蘼与楝花",[24,25,26,27,111,29,1239,1240,284,77,7],"荼蘼花","楝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f51c412db2e14d03f85201b5498c68.jpg",[],347,{"id":1245,"slug":1246,"title":1247,"dynasty":18,"author":19,"museum":126,"description":1248,"tags":1249,"thumbUrl":1252,"material":33,"size":1253,"collection":35,"collections":1254,"showCount":1255,"zanCount":581,"manualWeight":39,"mainColor":40},216084,"ying-su-hua-tu-yun-shou-ping-216084","罂粟花图","此图以恽寿平出古入新所创立的“没骨”法描绘盛开的罂粟花。花瓣、叶不用墨笔勾勒轮廓线，而全以色彩点染而成，颇具摇曳多姿的娇娆之美，达到了他所追求的色、光、态、韵俱佳的艺术境界。恽氏的这种注重形似，但又不以形似为满足的没骨写生法，不仅博得清皇室的喜爱，成为清代院体花鸟的正宗，同时也赢得了市民阶层的喜好。不过，以卖画为生的他，生前其画作并没有受到市场的追捧，58岁病故时，因家贫无力治丧，是王翚为他料理的殡事。",[23,1250,24,29,28,27,1251,77,7],"扇面","罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52253e14b0a8d4b0eee043bf72225968.jpg","纵16.2厘米，横50.5厘米",[35],346,{"id":1257,"slug":1258,"title":1259,"dynasty":18,"author":1260,"museum":72,"description":1261,"tags":1262,"thumbUrl":1263,"material":79,"size":1264,"collection":96,"collections":1265,"showCount":1266,"zanCount":788,"manualWeight":39,"mainColor":40},214198,"lin-huang-shan-gu-ti-zhou-fang-hua-qin-ruan-tu-liu-yong-214198","临黄山谷题周昉画琴阮图","刘墉","临黄山谷题周昉画琴阮图是清代诗人刘墉的一首诗作。\n\n刘墉（1679年-1733年），字清哲，汉族，浙江桐乡人，清代诗人、文学家。他是清代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格婉转、清新，有浓厚的写实感，被认为是清代文学中的经典之作。\n\n临黄山谷题周昉画琴阮图是刘墉的一首著名诗作，其中描写了黄山的风景。这首诗的气势磅礴，描写了黄山的雄伟景色，表达了作者对黄山的崇敬之情。诗中还描写了周昉画琴阮图的情景，表现了作者对艺术的热爱。\n\n整首诗的意境深远，描写细腻，是刘墉的代表作之一，也是清代文学中的经典之作。",[23,7,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e3642eba9721dbe21f759d69be88206.jpg","104x33.6",[96],345,{"id":1268,"slug":1269,"title":1270,"dynasty":45,"author":46,"museum":72,"description":1271,"tags":1272,"thumbUrl":1273,"material":312,"size":1274,"collection":35,"collections":1275,"showCount":1276,"zanCount":788,"manualWeight":39,"mainColor":40},222106,"yu-lan-shen-zhou-222106","玉兰","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,92,24,25,26,50,27,1270,115,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","34.8×56.5厘米",[35,218],341,{"id":1278,"slug":1279,"title":1280,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":1282,"thumbUrl":1284,"material":751,"size":752,"collection":95,"collections":1285,"showCount":1286,"zanCount":788,"manualWeight":39,"mainColor":100},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,92,24,75,1127,27,51,52,53,115,57,113,1283,7,77],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":1288,"slug":1289,"title":1290,"dynasty":18,"author":19,"museum":107,"description":1291,"tags":1292,"thumbUrl":1295,"material":95,"size":1296,"collection":95,"collections":1297,"showCount":1286,"zanCount":11,"manualWeight":39,"mainColor":40},233896,"hua-hui-ce-yun-shou-ping-233896","花卉册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,92,26,27,28,29,1293,1294,77,7,60],"绣球花","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de138b415462f9c2198e7b482bf75a8.jpg","纵32.5厘米，横25.5厘米",[],{"id":1299,"slug":1300,"title":1301,"dynasty":45,"author":125,"museum":126,"description":1302,"tags":1303,"thumbUrl":1305,"material":312,"size":1306,"collection":171,"collections":1307,"showCount":1308,"zanCount":418,"manualWeight":39,"mainColor":40},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,92,24,25,75,50,130,29,399,1304,77,7,60],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm x 29.7cm",[171,187],336,{"id":1310,"slug":1311,"title":1312,"dynasty":45,"author":1313,"museum":20,"description":1314,"tags":1315,"thumbUrl":1317,"material":33,"size":95,"collection":63,"collections":1318,"showCount":1319,"zanCount":581,"manualWeight":39,"mainColor":40},214656,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","董其昌","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,26,27,59,60,7,77,51,651,360,652,589,252,471,1316,56],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg",[63],333,{"id":1321,"slug":1322,"title":1323,"dynasty":179,"author":1324,"museum":126,"description":1325,"tags":1326,"thumbUrl":1329,"material":312,"size":1330,"collection":63,"collections":1331,"showCount":1332,"zanCount":581,"manualWeight":39,"mainColor":40},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","倪瓒","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[23,24,1327,1328,75,59,60,77,7,652,55,76,57,53],"水墨画","山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[63,187],329,{"id":1334,"slug":1335,"title":1336,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":1338,"thumbUrl":1339,"material":312,"size":1340,"collection":96,"collections":1341,"showCount":1342,"zanCount":882,"manualWeight":39,"mainColor":207},214423,"da-tang-zhong-xing-song-shang-ce-yan-zhen-qing-214423","大唐中兴颂上册","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第一卷。",[7,199,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64d0b8cf62ec43954df79bc727074ca7.jpg","29.3x15.5",[96],327,{"id":1344,"slug":1345,"title":1346,"dynasty":162,"author":1347,"museum":20,"description":1348,"tags":1349,"thumbUrl":1350,"material":184,"size":1351,"collection":171,"collections":1352,"showCount":1353,"zanCount":480,"manualWeight":39,"mainColor":100},221083,"gao-yi-tu-sun-wei-221083","高逸图","孙位","《高逸图》是孙位唯一存世的作品，也为目前屈指可数的几件唐代作品之一。画中表现的是魏晋时期著名的“竹林七贤”，目前画面仅剩四人，经考证是山涛、王戎、刘伶与阮籍。在技法上，孙位继承了顾恺之“劲紧连绵如吐丝”的行云流水的风格，但更加成熟。线条的变化更丰富，人物造型刻画更真实细致。《高逸图》著录于宋徽宗的《宣和画谱》里，画上钤印“宣和七玺”。作品的装裱保留了北宋的形式。",[23,24,25,49,27,113,250,1018,111,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[171,218],326,{"id":1355,"slug":1356,"title":1357,"dynasty":88,"author":454,"museum":126,"description":1358,"tags":1359,"thumbUrl":1361,"material":50,"size":95,"collection":314,"collections":1362,"showCount":1363,"zanCount":882,"manualWeight":39,"mainColor":789},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[23,24,25,50,27,111,112,59,7,77,113,58,56,57,1360,834],"茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[314],322,{"id":1365,"slug":1366,"title":1367,"dynasty":105,"author":637,"museum":107,"description":1368,"tags":1369,"thumbUrl":1370,"material":751,"size":752,"collection":95,"collections":1371,"showCount":1372,"zanCount":581,"manualWeight":39,"mainColor":40},283697,"feng-cheng-su-mo-lan-ting-xu-quan-juan-shen-long-ben-wang-xi-zhi-283697","冯承素摹兰亭序全卷（神龙本）","王羲之（303年—361年），字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[23,92,25,7,49,60,110,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26cdba5ef638e960a7c1fa4d917fa25.jpg",[],320,{"id":1374,"slug":1375,"title":1376,"dynasty":162,"author":1377,"museum":126,"description":1378,"tags":1379,"thumbUrl":1380,"material":312,"size":1381,"collection":96,"collections":1382,"showCount":1372,"zanCount":418,"manualWeight":39,"mainColor":40},221138,"shang-yang-tai-tie-li-bai-221138","上阳台帖","李白","《上阳台帖》是唐代诗人、书法家 于天宝三年（744年）创作的纸本墨迹草书书法作品，现收藏于 。\n《上阳台帖》为李白自书其四言诗，共25字，既概括了王屋山高耸峻拔之势和源远流长之水，亦通过赞颂 的作品，抒发了作者对其的仰慕之情。\n全卷苍劲雄浑而又气势飘逸，用笔纵放自如，快健流畅，法度不拘一格，一如李白豪放、俊逸的诗风。\n全贴结体亦参差跌宕，顾盼有情，奇趣无穷。\n《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n山高水长，物象千万，非有老笔，清壮可穷。\n十八日，上阳台书，太白。\n引首为 题“青莲逸翰”四个大字，帖前隔水上有徽宗瘦金书题签“唐李太白上阳台”七字。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彝斋”、贾似道“秋壑图书”，元“张晏私印”、“欧阳玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n后纸有宋代徽宗，元代张晏、杜本、欧阳玄、王馀庆、 、驺鲁，清代乾隆皇帝题跋和观款。\n宋徽宗 跋文为：“太白尝作行书乘兴踏月，西入酒家，不觉人物两忘，身在世外一帖，字画飘逸，豪气雄健，乃知白不特以诗鸣也。\n” 元代 跋曰：“谪仙书传世绝少，尝云：欧、虞、褚、陆真奴书耳。\n自以流出于胸中，非若他人积习可到。\n观其飘飘然有凌云之态，高出尘寰得物外之妙。\n尝遍观晋唐法帖，而忽展此书，不觉令人清爽。\n” 元代书法家 题诗云：“唐家公子锦袍仙，文采风流六百年。\n不见屋梁明月色，空余翰墨化云烟。\n” 唐代是中国书法草书体发展的一个巅峰。\n初唐时期，太宗李世民即大力倡导学习王羲之，并带头习王，开清新活泼书风，也从此奠定王羲之书圣之地位。\n而后有孙过庭、李怀琳等草书大家，源于二王，又有创新，笔法丰富而多变，发展完善了二王草书的技法系统。\n及至盛唐时期，那更是对草书尊崇有加，皇宫内府，大臣公侯，士大夫及有文化一族，谁都能挥洒几笔草体，可谓大唐草书之盛世。\n李白亦是在当时涉草并取得一定成就之士。\n其草书来自张旭一脉，且风格飘然有仙气。\n李白于开元十二年（724年）出蜀游三峡，至江陵遇道士 ，得到司马承祯赞赏。\n后唐玄宗命司马承祯王屋山建立道观，并题写匾额。\n而司马承祯不仅道术精深，而且诗、书、画皆有极高造诣，擅长山水画。\n天宝三年（744年），李白与杜甫、高适同游 ，并来此寻访司马承祯，待到达阳台宫后，方知司马承祯已经仙逝。\n不见其人，惟睹其画，故有感而书《上阳台帖》。\n《上阳台帖》其点画如行走在云烟之中，大有收天下于一纸的旷达情怀。\n书法作品作为心理节奏和性格的折射，《上阳台帖》中的每一个墨点、每一根线条都很自然地渗透着李白的这种性格，表现了李白官场绝望后的一种清壮沉雄、自然放达，正如作品中所书：“非有老笔，清壮可穷”，其性情表现得淋漓尽致。\n《上阳台帖》书法苍劲雄浑，气势飘逸，落天纵，笔力劲健，收笔处一放开锋，用笔纵放自如，快健流畅，其用笔于苍劲中见挺秀，意态万千，是《李白墓碑》中所称的“思高笔逸”的真实写照。\n《上阳台帖》其字宽博开张，稚拙而又放逸，其结体亦参差跌宕，顾盼有情，奇趣无穷。\n纵观全帖二十五字，字的长短大小悬殊，“山、水、千、非、有、壮、十八日、上、书、太白”都十分短促，而“高、万、老、笔、清、台”则一字顶俩、顶仨。\n这是很难安排的，作者是靠结构的奇特来显示生的，如“十八日上”四字，有平整欹侧，有仰盼跌宕，笔短而意长。\n而字长者，作者并不将其压缩，而是任其舒展，特别豁达的是“老”字与“台”字，两个撇如逞雄使气一般地挥下，成了此篇最为雄肆的笔触；“何穷”二字则亦收亦放，波澜层叠、浑然一体。\n《上阳台帖》全篇共有草书五行，其章法大小错落，通幅跳跃动荡，浑朴饱满且又天真烂漫，给人以雄壮辽阔、气象不凡之感。\n雄壮辽阔在于用笔的粗犷沉着，笔笔水分充足饱满。\n书写时又缓缓推进，笔笔送到。\n整个作品幅式很小，却体现了一种苍茫、浑厚之感，文中大字小字、小字大字相互交错，真如前人所说“如老翁携幼孙行，长短参差，而情意真挚，痛痒相关”。\n《上阳台帖》写得跌宕起伏，错落有致，如大江大河，突兀而至；如山石崩绝，凌空而来。\n看似漫不经心，随意所书，实则格律森严，神形逸荡。\n“山高”两字，犹如空中坠石，体现出一种险疾之势。\n“非有老笔”四字中的“非”字写得扁而放纵，“有”字则写得小而含蓄，“老”字突然沉笔挥洒，放胆伸毫，将上述诸字轻轻托了起来。\n再如“情”字和“台”字，看似结构并不平稳，似有摇摇欲坠之状，然而，正是在看似颠簸之中营造出的稳健才有韵味。\n“情”字重心略有倾斜，最后一点又恰到好处地把险势拉了回来，真是令人叫绝。\n“台”字的一横同样也起到了这种于险疾中求平整的作。\n整幅作品就像李白的诗歌一样，是跳跃的、非常态的，但又充满了激情，充满了迈，与“黄河之水天上来，奔流到海不复回”的意境相似。\n同时，《上阳台帖》是内容与形式的统一。\n就内容说，令人朗朗上口：“山高水长，物象千万，非有老笔，清壮可穷”，一派苍茫大气，而形式也极相辅。\n明代董其昌《画禅室随笔》：“如凤翥鸾翔，似奇反正。\n” 故宫博物院研究员 ：“太白以诗文青史第一行世，不特书法。\n白此帖中，唯质成文，援笔墨中锋引带，驭锋直冲拔真气，点承暗筑运斤风，沉着痛处，出者进也，纵勒驰掣间：煌煌然，若熔出冶，随地流走，真大德曰生也。\n” 现代书画家、文物鉴定家 ：“此帖有李白名款，有宋徽宗亲题签和跋，用笔不循故常，天马行空，吻合于李白诗风豪迈不覊，宜为太白真迹。\n” 《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n李白留有诗歌九百多首，豪迈奔放，别具一格。\n而其书法则是其诗歌流传的重要载体，亦其诗歌重要的流传途径。\n由其亲笔抄写，且现存下来的《上阳台帖》更是弥足珍贵。\n抚摩观之，诗如其人，书亦如其人也。\n故《上阳台帖》对于李白及其诗的艺术特质和渊源的把握意义重大。\n《上阳台帖》北宋时曾入宣和内府，后归 ，元代经 处，明藏 天籁阁。\n清代先为 所得，再入内府，清末流出宫外，民国时入张伯驹手。\n新中国成立后，张伯驹将《上阳台帖》赠给毛泽东。\n1958年，毛泽东自己立下规矩，党和国家领导人所收礼品一律缴公，所以，这件《上阳台帖》即被送到北京故宫博物院，转交故宫博物院，后一直为其所收藏。\n《上阳台帖》在清代顾复《平生壮观》、清内府《石渠宝笈》、 《墨缘汇观》、 《吴式书画记》等处均有著录。\n29年9月日—11月1日，北京故宫为庆祝建国6周年而推出“故宫藏历代书画展”第六期，《上阳台帖》为展览精品之一。\n218年4月2日—5月6日，在北京故宫武英殿举办的“予所收蓄·永存吾土——张伯驹先生诞辰12周年纪念展”上，《上阳台帖》作为精品之一展出。\n李白（71－762年），字太白，号青莲居士，唐朝诗人，有“诗仙”之称。\n汉族，出生于剑南道之绵州（今四川绵阳江油市青莲乡），一说生于西域碎叶城（今吉尔吉斯斯坦托克马克）。\n存世诗文千余篇，代表作有《蜀道难》、《将进酒》等诗篇，有《李太白集》传世。\n亦工于书法，有《上阳台帖》传世。",[23,25,7,60,77,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9563a2fc3f539952c7388c4fd79fdb.jpg","纵28.5cm，横38.1cm",[96],{"id":1384,"slug":1385,"title":1386,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":1389,"thumbUrl":1392,"material":751,"size":752,"collection":95,"collections":1393,"showCount":1394,"zanCount":39,"manualWeight":39,"mainColor":40},288502,"yu-jing-xin-zhu-da-288502","鱼镜心","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,50,1390,77,29,7,1391,129],"鱼","镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17bf60f144734e219fe785cbacc5ded.jpg",[],316,{"id":1396,"slug":1397,"title":1398,"dynasty":45,"author":46,"museum":1399,"description":1400,"tags":1401,"thumbUrl":1402,"material":1403,"size":1404,"collection":63,"collections":1405,"showCount":1406,"zanCount":788,"manualWeight":39,"mainColor":40},222133,"qing-yuan-tu-juan-shen-zhou-222133","青园图卷","旅顺博物馆","《明沈周青园图》现藏于旅顺博物馆，此图绘湖山秋色，为沈周传世珍品。该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。",[23,24,25,49,50,59,7,77,51,58,76,56,52,53,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923acb9824eda51981b302865ea46a85.jpg","纸本水墨淡着色","画心纵29.1、横188.7厘米",[63,218],293,{"id":1408,"slug":1409,"title":1410,"dynasty":179,"author":1324,"museum":126,"description":1411,"tags":1412,"thumbUrl":1413,"material":519,"size":1414,"collection":187,"collections":1415,"showCount":1416,"zanCount":882,"manualWeight":39,"mainColor":40},220804,"zhu-zhi-tu-juan-ni-zan-220804","竹枝图卷","倪瓒的《清閟阁全集》卷九中有一段著名的《跋画竹》：“……余之竹聊以写胸中逸气耳，岂复较其似与非，叶之繁与疏，枝之斜与直哉！或涂抹久之，它人视以为麻为芦，仆亦不能强辩为竹，真没耐览者何……”。观此图，竹干与枝节形态宛然，竹叶偃仰疏密布置得当，生意十足，可知作者并非真的不求形似，而是在形似的基础上进一步强调神似，追求笔墨的逸趣，并借以抒发自己的心性。正如倪瓒自己所说：“下笔能形萧散趣，要须胸次有筼筜！”图中用笔峭劲灵动，似懒实苍，实已得墨竹画萧散清逸的旨趣。只有真正做到“胸中有成竹”并辅以高超的笔墨技巧，才能创作出如此优秀的艺术作品。",[23,92,24,25,49,50,132,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d030d476c04d5be58a178a4a413fb1.jpg","纵34厘米，横76.4厘米。",[187,1223],291,{"id":1418,"slug":1419,"title":1420,"dynasty":18,"author":411,"museum":107,"description":1421,"tags":1422,"thumbUrl":1423,"material":95,"size":95,"collection":95,"collections":1424,"showCount":1425,"zanCount":39,"manualWeight":39,"mainColor":40},229001,"jin-ling-sheng-ji-tu-ce-zhang-da-qian-ti-zhen-shi-tao-229001","金陵胜迹图册(张大千题)帧","此帧以淡赭晕染危崖，笔意简括古拙，衬出峭壁高峙之态。崖巅楼宇寥寥数笔，凭栏人影幽然，衬出山巅阒寂清旷。枯淡墨色点苔绘木，苍劲松灵，淡墨扫出空蒙天色，与赭色崖身相映，冷逸出尘。\n\n配行书题诗，诗书与画境相融，笔墨间浸透着清冷禅意，将冬初山阁清寂之景，与幽人寄怀合而为一，于尺幅间尽绘高旷出尘之致，尽显纵逸灵动的笔底才情，把山巅初消寒意的雅趣，晕染得淡远空灵，韵致悠长。",[23,92,24,25,26,27,59,77,7,51,458,652,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddb8b7cfbb4648cbf6458bf7f8aaa0.jpg",[],284,{"id":1427,"slug":1428,"title":1429,"dynasty":88,"author":369,"museum":126,"description":1430,"tags":1431,"thumbUrl":1432,"material":184,"size":1433,"collection":314,"collections":1434,"showCount":1435,"zanCount":418,"manualWeight":39,"mainColor":100},221341,"xiang-long-shi-tu-juan-zhao-ji-221341","祥龙石图卷","卷首画有一块立状太湖石，石顶端生有异草几株。太湖石宛如一条上下翻滚的蛟龙，其形貌占据了奇石必备的五个审美条件：瘦、漏、皱、透、丑。细看石上，有楷书“祥龙”二字。宋徽宗将此类奇石异草的出现，视为大宋国运之祥兆，赞之“挺然为瑞”，竭尽全力绘之。图左有宋徽宗为祥龙石而作的瘦金体题诗：“祥龙石者，立于环碧池之南，芳洲桥之西，相对则胜瀛也。其势胜湧，若虬龙出为瑞应之状，奇容巧态，莫能具绝妙而言之也。廼亲绘缣素，聊以四韵纪之。彼美蜿蜒势若龙，挺然为瑞独称雄。云凝好色来相借，水润清辉更不同。常带瞑烟疑振鬣，每乘宵雨恐凌空。故凭彩笔亲模写，融结功深未易穷。”署款“御制御画并书”，押署“天下一人”，钤朱文印“御书”、“宣和殿宝”，徐邦达先生认为此印“不佳，真伪待考”（徐邦达《古书画伪讹考辨》），但《祥龙石图》卷被公认为是宋徽宗的真迹。鉴定徽宗真迹的标尺除了瘦金体“御制御画并书”、“天下一人”画押及朱印“御书”和双龙御玺外，书画风格也是一项重要依据，即结合赵宋家族的书画历史特别是徽宗本人的美学思想及北宋绘画的历史发展状况，寻找其中存在的风格上的逻辑关系，再结合当时及晚一辈名人的题识，综合多种因素来判断。\n当时的徽宗特别迷恋太湖石，为了加大采运力度，特设苏杭应奉局专门在太湖周围开挖湖石。石工们因长期泡在水里挖石，导致肢体皮肤溃烂。运送巨石时，甚至不惜拆桥过船，靡费国资不计其数。徽宗根据一些湖石的形状封其为“盘固侯”、“蹲螭坐狮”、“金鳌玉龟”等吉祥名号，画中的“祥龙石”可能就是其中的一块。宋徽宗处心积虑地寻找花石纲和各种祥瑞之物，欲借此稳定朝廷、安抚民心，同时也为他提供了艺术创作的素材。在充满了道教神仙思想的宋徽宗看来，描绘祥瑞之物的绘画活动不仅仅是单纯的艺术创作，而且也是祈祷国家和民族福祉的独特形式和粉饰太平的最好的政治工具，《祥龙石图》卷正是这种思想的反映。\n有史以来，宋徽宗第一个在艺术创作上实现了诗书画印的完整统一。在《祥龙石图》卷中，徽宗的题画诗不在卷尾，而是作为画面构成的一个部分，这必定是作者将构思和构图同时经营的结果，这在中国绘画史上有着划时代的重要意义。该卷构图极简，用色颇精，格调雅致，具有典型的北宋院体绘画的艺术风格。画家以墨笔层层渲染出太湖石的坑眼，结构分明，笔墨细腻入微，极其工整精雅，极可能是写生之作。该卷钤有元内府“天历之宝”等印玺，拖尾有清代陈仁涛、吴荣光的题跋，《辛丑消夏记》著录。",[23,24,25,49,111,50,250,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d21118b231b6391de049a9701658812.jpg","纵53.8厘米，横127.5厘米",[314,187,1223],283,{"id":1437,"slug":1438,"title":1439,"dynasty":88,"author":1440,"museum":107,"description":1441,"tags":1442,"thumbUrl":1443,"material":1444,"size":1445,"collection":96,"collections":1446,"showCount":1447,"zanCount":581,"manualWeight":39,"mainColor":100},221221,"dao-gu-zhan-chang-yue-fei-221221","悼古战场","岳飞","岳飞我国历史上一位杰出的民族英雄。字鹏举，相州汤阴(今河南汤阴县)人。\n岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[23,92,24,25,49,7,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[96],280,{"id":1449,"slug":1450,"title":1451,"dynasty":45,"author":1452,"museum":126,"description":1453,"tags":1454,"thumbUrl":1456,"material":169,"size":1457,"collection":35,"collections":1458,"showCount":1459,"zanCount":788,"manualWeight":39,"mainColor":100},216937,"mei-hua-shuang-qin-juan-chen-ji-ru-216937","梅花双禽卷","陈继儒","梅花双禽卷是中国明朝时期陈继儒所作的一幅山水画。这幅画描绘了两只居于梅花树下的雄鹰，它们正在寻找猎物。画中的景象十分写实，雄鹰的羽毛细腻而生动，而梅花树下的草地也非常逼真。梅花双禽卷被认为是陈继儒最杰出的作品之一，并被誉为“中国画史上的经典之作”。",[23,24,49,27,29,131,693,7,77,238,1455],"花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b7f00452e9bbd679851fd52e23c4e.jpg","纵32.5cm，横256.5cm",[35],277,{"id":1461,"slug":1462,"title":1463,"dynasty":18,"author":1464,"museum":126,"description":1465,"tags":1466,"thumbUrl":1467,"material":1468,"size":1469,"collection":35,"collections":1470,"showCount":1471,"zanCount":882,"manualWeight":39,"mainColor":40},216100,"song-mei-tu-hong-ren-216100","松梅图","弘仁","此卷分前后两段。前段画末有弘仁书写的程守蚀庵《省静堂集·一年诗》中的七言绝句《遍阅山中诸碑》，款署：“丙申春日偶写揭蚀庵集因一绝。渐江学人。”钤“渐江僧”白文印。\n前段图绘虬龙盘曲的苍松和棱角分明的怪石。弘仁的松石是对黄山松石的真实写照，石涛言：“公游黄山最久，故得黄山之真性情也，即一木一石，皆黄山本色。”图中的松石以粗犷霸悍的行笔、淋漓酣畅的施墨表现，具有弘仁晚年豪放洒脱的画风特点，简洁的构图体现出诗意中的空寂。\n后段图绘水墨梅花。梅不畏严寒、高标独立的精神正是作者所追求的人生品格。弘仁一生最喜画梅，自号“梅花古衲”，创作出大量以梅为主题的佳作，此卷便是其中之一。图中的梅枝如曲铁，婉转中呈现刚毅不屈之态。其简约的格局，精谨的笔墨，结构出一派纯净、幽旷而又俊逸的意境。",[23,24,25,49,50,59,7,77,133,131,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fadfb3b3275d62e25c91b495f8cfe05.jpg","绢本,设色,水墨","前段设色，纵27.8厘米，横269.7厘米；后段墨笔，纵27.8厘米，横86.7厘米",[35],275,{"id":1473,"slug":1474,"title":1475,"dynasty":18,"author":19,"museum":72,"description":1476,"tags":1477,"thumbUrl":1478,"material":27,"size":1479,"collection":35,"collections":1480,"showCount":1481,"zanCount":788,"manualWeight":39,"mainColor":40},220991,"mu-dan-tu-ce-yun-shou-ping-220991","牡丹图册","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,25,27,29,140,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1509bd428d413830e6d87672ff9b19.jpg","49.2x88.2",[35,218],274,{"id":1483,"slug":1484,"title":1485,"dynasty":179,"author":330,"museum":72,"description":1486,"tags":1487,"thumbUrl":1488,"material":682,"size":1489,"collection":63,"collections":1490,"showCount":1481,"zanCount":882,"manualWeight":39,"mainColor":40},220810,"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[23,24,25,75,50,51,133,113,53,57,333,59,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[63,218],{"id":1492,"slug":1493,"title":1494,"dynasty":105,"author":637,"museum":1495,"description":1496,"tags":1497,"thumbUrl":1499,"material":312,"size":1500,"collection":96,"collections":1501,"showCount":1481,"zanCount":11,"manualWeight":39,"mainColor":40},220404,"xin-tai-ping-ben-huang-ting-jing-wang-xi-zhi-220404","心太平本黄庭经","日本五岛美术馆","右军刻本的经典(此本传为赵孟頫藏宋拓本)，不知何时流入日本并归宇野雪村藏，开篇是“上有黄庭下关元，后有幽阙前命门”，此帖刻工亦极精，末署“永和十二年五月廿四日五山阴县写”，让自己感兴趣的还在于此帖后的题跋，有元代方方壶以隶书所题的“元至正二年春仲上清道士方方壶识”，又有“道门硕儒之称”的无为道人(张宇初)所题：“右黄庭经一帖。尝闻之前辈在元盛时吾山所藏。迨八十余本。于中此本最为精善。或传为松雪斋本也。而兵后并皆散逸。惟此本方壶翁独能宝之。未常示人。先父冲虚公用力求之数载方得。将以为家宝。今观其笔势神化。诚非他帖可比。恐后来者不知所自暇因识之。岁洪武已末仲夏嗣四十三代天师无为书于方廉斋。”后则继有明代陈继儒、董其昌再题，董其昌的记有“黄庭俱七字成文，右军首书四言，惟此贴独异……又昔人论右军黄庭，尚存锺法，今他本不似元常结构，似钟惟此本，余在长安闻此帖有年，曾游新安访之，乃南羽从留都购得，信希世之珍，墨池为放光。”——董其昌的惊喜是有道理的，同样是小楷，此帖与《乐毅论》相比，法严气逸，雍容和雅，有隶意，古韵足，这也正是思翁所云“尚存锺法”的原因吧。",[23,7,199,200,49,312,77,386,1498,110],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bed687f6100a9b9df30c7becc6428d8.jpg","25.4x100厘米",[96],{"id":1503,"slug":1504,"title":1505,"dynasty":45,"author":1015,"museum":72,"description":1506,"tags":1507,"thumbUrl":1508,"material":79,"size":1509,"collection":96,"collections":1510,"showCount":1511,"zanCount":544,"manualWeight":39,"mainColor":40},214381,"zui-weng-ting-ji-wen-zheng-ming-214381","醉翁亭记","这是一本非常精美的欧阳修的小楷《醉翁亭记》，写于82岁，后面有一个长长的后记，解释了他用王羲之的风格做这个小楷的原因。是其传世小楷之极品，笔触有力、扎实、精致。",[199,384,7,200,77,55,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3961e4e010b11405c3cabb48ce358a18.jpg","28.6x53.5",[96],273,{"id":1513,"slug":1514,"title":1515,"dynasty":179,"author":1516,"museum":126,"description":1517,"tags":1518,"thumbUrl":1519,"material":519,"size":1520,"collection":187,"collections":1521,"showCount":1522,"zanCount":581,"manualWeight":39,"mainColor":100},220774,"mo-zhu-po-shi-tu-zhou-wu-zhen-220774","墨竹坡石图轴","吴镇","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[23,24,25,92,75,50,7,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d252d4771dcd257aaed5371ff0080f.jpg","纵103.4厘米，横33厘米。",[187,1223],269,{"id":1524,"slug":1525,"title":1526,"dynasty":18,"author":1527,"museum":279,"description":1528,"tags":1529,"thumbUrl":1530,"material":33,"size":1531,"collection":95,"collections":1532,"showCount":1533,"zanCount":882,"manualWeight":39,"mainColor":40},216246,"jing-fu-si-qi-dong-jing-tu-11-qian-wei-cheng-216246","景敷四气冬景图-11","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n一瀑高悬银凿落，四山攅积玉参差。并刀剪水作花后，转语堪诠杜老诗。钤印：泼墨",[24,25,27,111,29,285,77,7,30,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ef9652a7cd63623c4474d2e78468a1.jpg","21.9 × 30.2cm",[],268,{"id":1535,"slug":1536,"title":1537,"dynasty":88,"author":1538,"museum":107,"description":1539,"tags":1540,"thumbUrl":1541,"material":95,"size":95,"collection":95,"collections":1542,"showCount":1543,"zanCount":544,"manualWeight":39,"mainColor":100},227520,"hua-niao-tu-ye-wang-xiao-227520","花鸟图页","王晓","此作取暮春一隅，柔粉海棠攒簇枝头，花瓣轻绽似带朝露，嫩绿叶脉舒张，将春深花繁的柔媚尽数铺陈。两只白头鹎栖于枝上，一俯一仰，羽色晕染细腻柔和，头顶白羽莹洁醒目，胸腹褐绿温润自然，前者昂首似在啼鸣，将禽鸟灵动憨然的情态鲜活呈现。\n画面设色明秀雅致，工细写实中兼具灵动意趣，左侧题字笔致清雅，与花叶禽鸟相映成趣，把春日里禽鸟嬉游、花团锦簇的生机雅致融于尺幅，尽显清丽隽永的宋韵意致。",[23,92,24,25,26,111,27,29,693,282,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9548bd192610dc1989302803a5216821.jpg",[],267,{"id":1545,"slug":1546,"title":1547,"dynasty":162,"author":1548,"museum":126,"description":1549,"tags":1550,"thumbUrl":1551,"material":312,"size":1552,"collection":96,"collections":1553,"showCount":1543,"zanCount":418,"manualWeight":39,"mainColor":40},221102,"mo-lan-ting-xu-feng-cheng-su-221102","摹兰亭序","冯承素","此本用楮纸两幅拼接，纸质光洁精细。因卷首有唐中宗李显神龙年号小印,故称“神龙本”。后纸明项元汴题记：“唐中宗朝馮承素奉勒摹晉右軍將軍王羲之蘭亭禊帖”，后世鉴藏家依此定为冯承素摹本。\n此卷前纸13行，行距较松；后纸15行，行距趋紧，然前后左右映带，攲斜疏密，错落有致，通篇打成一片，优于其它摹本。用笔俯仰反复，笔锋尖端锐利，时出贼毫、叉笔，既保留了照原迹勾摹的痕迹，又显露出自由临写的特点，摹临结合，显得自然生动，并具一定的“存真”的优点，在传世摹本中最称精美，体现了王羲之书法遒媚多姿、神情骨秀的艺术风神，为接近原迹的唐摹本。\n据考，卷首“神龙”半印小玺并非唐中宗内府钤印，而是后人所添，定冯承素摹也不可信，但仍是唐以来流传有绪的古摹本。\n本卷前隔水有“唐摹兰亭”四字标题。引首乾隆御题“晋唐心印”四字。后纸有宋至明20家题跋、观款。钤鉴藏印180余方。其流传经过，根据各题跋、印记和各家著录，大致如下：南宋高宗、理宗内府、驸马都尉杨镇，元郭天锡，明内府、王济、项元汴，清陈定、季寓庸、乾隆内府。历代著录有：明汪砢玉《珊瑚网·书录》、吴其贞《书画记》，清卞永誉《式古堂书画汇考·书考》、顾复《平生壮观》、吴升《大观录》、阮元《石渠随笔》、《石渠宝笈·续编》等。刻入“兰亭八柱”，列第三。",[23,7,60,110,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49007199f121076b6c9a9fcfb4a3913.jpg","纵24.5厘米，横69.9厘米",[96],{"id":1555,"slug":1556,"title":1557,"dynasty":45,"author":689,"museum":1172,"description":1558,"tags":1559,"thumbUrl":1561,"material":169,"size":1562,"collection":35,"collections":1563,"showCount":1543,"zanCount":11,"manualWeight":39,"mainColor":100},214701,"ping-hua-tu-chen-hong-shou-214701","瓶花图","陈洪绶用菊花和霜叶画了一个瓶子，以庆祝另一个人的生日。有些学者认为，在明朝晚期没有这么大的玻璃瓶。",[23,24,25,111,27,1560,140,282,7,60],"瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf52640088b9212d2c81a4c6b72f18a8.jpg","174.5x98",[35],{"id":1565,"slug":1566,"title":1567,"dynasty":105,"author":637,"museum":1568,"description":1569,"tags":1570,"thumbUrl":1571,"material":169,"size":1572,"collection":96,"collections":1573,"showCount":1574,"zanCount":788,"manualWeight":39,"mainColor":40},218649,"xing-rang-tie-wang-xi-zhi-218649","行穰帖","美国普林斯顿大学美术馆","此帖为唐代王羲之草书作品的双钩，2行，15字。笔画厚实，没有尖锐的边缘，有如印章的含义。角色是开放和多样的",[23,25,49,60,7,77,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefa6965b37716730ae0572603f9cce.jpg","24.4x8.9",[96],266,{"id":1576,"slug":1577,"title":1578,"dynasty":88,"author":549,"museum":20,"description":1579,"tags":1580,"thumbUrl":1581,"material":312,"size":1582,"collection":96,"collections":1583,"showCount":1584,"zanCount":581,"manualWeight":39,"mainColor":40},214380,"can-zheng-tie-mi-fei-214380","参政帖","这件作品的书法笔力流畅，结构严谨，字体秀丽。文字中蕴含着米芾对皇帝的敬意和对宋朝文化的尊重。他运用了楷书和行书的特点，使得整件作品显得庄重而富有美感。\n\n米芾是宋代著名的书法家，他的作品擅长运用笔力和结构来表现书法的美感。在参政帖书法中，他运用了流畅的笔力和严谨的结构来描绘文字，使得整件作品显得庄重而有品位。同时，他还运用了秀丽的字体来表现文字的美感，使得这件作品充满生命力和真实感。",[23,7,60,77,50,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe208556c106dec4d231c4319420b8a.jpg","19.6x6.8",[96],264,{"id":1586,"slug":1587,"title":1588,"dynasty":162,"author":163,"museum":126,"description":1589,"tags":1590,"thumbUrl":1591,"material":784,"size":1592,"collection":187,"collections":1593,"showCount":1594,"zanCount":788,"manualWeight":39,"mainColor":40},239524,"yan-li-ben-bu-nian-tu-juan-yan-li-ben-239524","阎立本步辇图卷","这是一幅历史画。它反映唐代初年一个重大的历史事件。公元七世纪，地处我国西南的吐蕃（今西藏地区）开始强大兴盛，其三十二世赞普松赞干布是个“骁勇多英略”的领袖。贞观八年（634年），他遣使臣到长安（今陕西西安），向唐王朝求婚联姻，唐太宗李世民答应了他的请求，决定将宗室女文成公主许配给松赞干布。贞观十五年（641年）春天，松赞干布派相国禄东赞到长安来迎接文成公主，唐太宗李世民则派礼部尚书江夏王宗室李道宗陪同文成公主进吐蕃。文成公主除了带去很多中原地区的文化典籍外，随行的还有许多各种行业的工匠，对于促进吐蕃经济、文化的发展起到了重要的作用。此后很长一段时间里，唐王朝和吐蕃之间关系融洽，和睦相处。\n阎立本以此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[23,92,24,25,49,27,113,111,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[187,96],262,{"id":1596,"slug":1597,"title":1598,"dynasty":18,"author":294,"museum":72,"description":295,"tags":1599,"thumbUrl":1602,"material":33,"size":301,"collection":95,"collections":1603,"showCount":1604,"zanCount":11,"manualWeight":39,"mainColor":40},219875,"er-shi-si-fan-hua-xin-feng-tu-hai-tang-yu-qiang-wei-dong-gao-219875","二十四番花信风图-海棠与蔷薇",[92,24,25,26,27,111,7,1600,1601,30],"海棠","蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff95e31a5963a95c6acd4e4eb61d50b.jpg",[],261,{"id":1606,"slug":1607,"title":1608,"dynasty":1609,"author":454,"museum":107,"description":1610,"tags":1611,"thumbUrl":1615,"material":1616,"size":1617,"collection":95,"collections":1618,"showCount":1619,"zanCount":882,"manualWeight":39,"mainColor":100},214195,"xi-xia-song-yi-ming-214195","西狭颂","汉","西狭颂是一首古代汉语诗歌，作者不详。它出自《汉书·尚书志》的《尚书·颂词》一章。\n\n这首诗的前两句是：\n\n西狭有苍鹰，绝顶凌虚空。\n\n西狭是古代中国的一个地名，意思是西偏远的地方。苍鹰是一种高傲的猛禽，它们会在最高的山峰上俯瞰下面的景色。这两句诗的意思是，西狭有苍鹰飞翔，它们在最高的山峰上俯瞰下面的景色，象征着西狭是一个神秘而高贵的地方。\n\n整首诗的内容是对西狭这个地方的赞颂，认为西狭有着自然的美景、深远的历史和传奇的人文。它还描述了西狭的自然风光，如高山、河流、草原和森林。诗人用热情的语言描绘了西狭的美景，并赞美西狭的历史文化。\n\n整首诗的语言流畅，描写生动，是一首典型的古代赞颂诗。",[23,1612,7,1613,198,1614],"汉代","隶书","石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eb94abf532cb1e9624a0ca02a3f241.jpg","纸本,水墨,拓本","315x225",[],260,{"id":1621,"slug":1622,"title":1623,"dynasty":88,"author":262,"museum":107,"description":1083,"tags":1624,"thumbUrl":1625,"material":95,"size":95,"collection":95,"collections":1626,"showCount":1627,"zanCount":418,"manualWeight":39,"mainColor":40},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[23,24,92,25,49,112,27,113,1074,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":1629,"slug":1630,"title":1631,"dynasty":88,"author":1160,"museum":72,"description":1632,"tags":1633,"thumbUrl":1634,"material":169,"size":1635,"collection":171,"collections":1636,"showCount":1637,"zanCount":882,"manualWeight":39,"mainColor":100},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,24,25,49,92,60,112,27,113,268,56,57,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[171],258,{"id":1639,"slug":1640,"title":1641,"dynasty":105,"author":1642,"museum":126,"description":1643,"tags":1644,"thumbUrl":1645,"material":1646,"size":1647,"collection":96,"collections":1648,"showCount":1649,"zanCount":418,"manualWeight":39,"mainColor":40},221021,"zhong-qiu-tie-wang-xian-zhi-221021","中秋帖","王献之","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,7,398,49,50,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab6dd85baee9f73028d89815dd2fd5a.jpg","纸本，手卷","纵27厘米，横11.9厘米",[96],256,{"id":1651,"slug":1652,"title":1653,"dynasty":45,"author":125,"museum":126,"description":1654,"tags":1655,"thumbUrl":1657,"material":519,"size":1658,"collection":63,"collections":1659,"showCount":1660,"zanCount":418,"manualWeight":39,"mainColor":40},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,24,25,49,50,130,576,7,29,131,139,132,140,134,250,30,1656,667,57],"竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[63,187],253,{"id":1662,"slug":1663,"title":1664,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":1666,"thumbUrl":1668,"material":751,"size":752,"collection":95,"collections":1669,"showCount":1670,"zanCount":39,"manualWeight":39,"mainColor":100},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,92,24,50,51,75,59,57,56,458,52,53,55,77,7,1667],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":1672,"slug":1673,"title":1674,"dynasty":179,"author":180,"museum":126,"description":1675,"tags":1676,"thumbUrl":1680,"material":312,"size":1681,"collection":63,"collections":1682,"showCount":1683,"zanCount":39,"manualWeight":39,"mainColor":40},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","快雪时晴图","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,24,25,49,50,51,59,7,77,651,1677,704,1678,1006,473,1679],"雪","岩石","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg","纵29.7厘米，横104.6厘米",[63,187],250,{"id":1685,"slug":1686,"title":1687,"dynasty":45,"author":46,"museum":126,"description":538,"tags":1688,"thumbUrl":540,"material":312,"size":346,"collection":63,"collections":1690,"showCount":1691,"zanCount":882,"manualWeight":39,"mainColor":40},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,25,49,51,1689,50,27,59,60,7,57,56,53,52,54,55],"文人画",[63],248,{"id":1693,"slug":1694,"title":1695,"dynasty":162,"author":1696,"museum":1697,"description":1698,"tags":1699,"thumbUrl":1700,"material":95,"size":95,"collection":171,"collections":1701,"showCount":1702,"zanCount":39,"manualWeight":39,"mainColor":207},221111,"xian-shi-kong-zi-xing-jiao-xiang-wu-dao-zi-221111","先师孔子行教像","吴道子","原作佚失","中国古代绘制的各种形式和风格的孔子像存世较多，但真正被广泛认可和接受的是现存于山东曲阜孔庙的石刻本《孔子行教像》，一般认为该石刻本原作为唐代著名画家吴道子所绘，但原作早已不幸遗失。",[92,24,25,112,113,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ebcef1acb329791e1db6fadd10e7165.jpg",[171],246,{"id":1704,"slug":1705,"title":1706,"dynasty":179,"author":1516,"museum":20,"description":1707,"tags":1708,"thumbUrl":1709,"material":50,"size":95,"collection":187,"collections":1710,"showCount":1702,"zanCount":418,"manualWeight":39,"mainColor":100},219738,"zhu-pu-tu-wu-zhen-219738","竹谱图","此作用淡墨铺就底色，开篇幽草伴湖石，渐入修竹成林。竹竿劲挺如君子立世，以浓墨撇写竹叶，错落生姿，或迎风欹斜，或垂梢含露，墨色干湿浓淡交织，层次分明。后半段湖石渐耸，竹影疏密掩映，尽显野逸之趣。\n\n左侧题笔与画境相融，以书入画，笔墨老辣苍润，将隐逸林下的清寂意韵藏于一笔一划中，简淡之间尽是萧散出尘的林下风神，把竹之孤高与文人风骨晕染在卷幅里。",[23,24,50,49,132,589,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c704a7c558d314bd1858ec21db613.jpg",[187],{"id":1712,"slug":1713,"title":1714,"dynasty":162,"author":1715,"museum":126,"description":1716,"tags":1717,"thumbUrl":1718,"material":1038,"size":1719,"collection":96,"collections":1720,"showCount":1721,"zanCount":882,"manualWeight":39,"mainColor":40},239553,"wang-xi-zhi-lan-ting-xu-juan-chuan-tang-chu-sui-liang-mo-ben-chu-sui-liang-239553","王羲之兰亭序卷（传唐褚遂良摹本）","褚遂良","东晋永和九年（353年）三月三日，山阴名士四十一人集于兰亭，修禊祭，宴曲水。即席赋诗，汇为一卷，由王羲之当场作序。这篇序情文并茂，心手双畅，向称“天下第一行书”。其妍美流便的风神，被后世视为行书的典范和楷模。唐太宗李世民酷爱羲之书法，在得到《兰亭序》真迹后，曾命当朝书法名家褚遂良、欧阳询以及弘文馆拓书人冯承素等勾摹数本，分赐臣下，以广布扬。兰亭真迹据记载已随唐太宗殉葬昭陵。这些唐摹本主要有两个系统，一为褚遂良摹本，存世的褚遂良、虞世南、冯承素等墨迹摹本，多属此系统，以冯摹的“神龙本”最为接近原作；一为欧阳询摹本，刻帖“定武本”即源自欧本，为存世最佳的石刻帖本。\n此卷旧传为褚遂良所摹，故卷前项元汴标题“褚摹王羲之兰亭帖”，简称为“褚摹兰亭”，实未必确切。全卷有宋、元、明诸家题跋或观款，以及鉴藏印记215方，又半印4方。其中“滕中”等2方北宋印和南宋绍兴内府“绍兴”、“内府印”、“睿思东阁”等7方印属真，第一后纸上米芾诗题及7方钤印亦真。因知此卷当为北宋米芾前临摹本。但作品质地属楮皮纸，是宋以后方普遍使用的纸质，或可证此为北宋摹本。全卷由两幅纸拼接，前纸19行，后纸9行，行款排列较松匀，以临写为主，辅以勾描，因此书写较为流畅，亦具一定功力。\n此卷流传鉴藏经过大致为：北宋滕中、南宋绍兴内府、元赵孟頫、明浦江郑氏、项元汴、清卞永誉、乾隆内府。曾著录于清顾复《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、清内府《石渠宝笈·续编》、阮元《石渠随笔》等书，并刻入《兰亭八柱帖》。",[23,25,49,110,60,77,7,200,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231a989ca4ec3e5d71859f048f630428.jpg","纵24厘米，横88.5厘米",[96],242,{"id":1723,"slug":1724,"title":1725,"dynasty":18,"author":830,"museum":72,"description":1726,"tags":1727,"thumbUrl":1728,"material":79,"size":1729,"collection":96,"collections":1730,"showCount":1731,"zanCount":788,"manualWeight":39,"mainColor":40},214200,"shi-gu-zhong-tang-wu-chang-shuo-214200","石鼓中堂","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。",[23,7,457,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27cb1550e1e5adda3feedc0573082333.jpg","134.8x39.6",[96],240,{"id":1733,"slug":1734,"title":1735,"dynasty":88,"author":278,"museum":126,"description":1736,"tags":1737,"thumbUrl":1740,"material":1741,"size":1742,"collection":314,"collections":1743,"showCount":1744,"zanCount":788,"manualWeight":39,"mainColor":40},221297,"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[23,24,25,49,111,27,1738,1739,1177,692,30,7,77],"蛱蝶","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[314,35,218],238,{"id":1746,"slug":1747,"title":1748,"dynasty":88,"author":1749,"museum":72,"description":1750,"tags":1751,"thumbUrl":1753,"material":94,"size":1754,"collection":314,"collections":1755,"showCount":1756,"zanCount":581,"manualWeight":39,"mainColor":100},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","李唐","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,24,92,49,50,59,7,77,51,52,53,54,1752,115,820,333,57,267],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[314],237,{"id":1758,"slug":1759,"title":1760,"dynasty":18,"author":294,"museum":72,"description":295,"tags":1761,"thumbUrl":1764,"material":33,"size":301,"collection":95,"collections":1765,"showCount":1756,"zanCount":788,"manualWeight":39,"mainColor":40},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-219881","二十四番花信风图-樱桃与迎春",[24,25,26,27,111,29,322,1762,1763,1455,239,7,77],"迎春","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbb4551c35981c815d28fac994eeefc.jpg",[],{"id":1767,"slug":1768,"title":1769,"dynasty":18,"author":294,"museum":72,"description":295,"tags":1770,"thumbUrl":1773,"material":33,"size":301,"collection":95,"collections":1774,"showCount":1756,"zanCount":788,"manualWeight":39,"mainColor":40},219874,"er-shi-si-fan-hua-xin-feng-tu-mu-lan-yu-li-hua-dong-gao-219874","二十四番花信风图-木兰与梨花",[24,25,26,27,111,29,1771,1772,238,1455,7,77],"木兰","梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7899210f12729525c86d211dedbbfe.jpg",[],{"id":1776,"slug":1777,"title":1778,"dynasty":18,"author":1779,"museum":1172,"description":1780,"tags":1781,"thumbUrl":1784,"material":169,"size":1785,"collection":171,"collections":1786,"showCount":1756,"zanCount":882,"manualWeight":39,"mainColor":40},218354,"shi-nv-tu-ce-li-ting-xun-218354","仕女图册","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为秦贤和花痴，是一位罕见的艺术家，或者说是广东人。",[24,25,26,27,111,113,114,1782,1783,7],"服饰","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a6f600a83e3dfe0c423dd1fddcced.jpg","19x28",[171],{"id":1788,"slug":1789,"title":1790,"dynasty":18,"author":599,"museum":107,"description":949,"tags":1791,"thumbUrl":1792,"material":682,"size":95,"collection":35,"collections":1793,"showCount":1794,"zanCount":581,"manualWeight":39,"mainColor":40},223300,"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1",[23,24,25,75,50,132,589,139,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg",[35,187],236,{"id":1796,"slug":1797,"title":1798,"dynasty":18,"author":411,"museum":126,"description":1799,"tags":1800,"thumbUrl":1801,"material":312,"size":1802,"collection":35,"collections":1803,"showCount":1804,"zanCount":882,"manualWeight":39,"mainColor":40},220392,"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[23,24,25,49,50,59,7,77,131,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纵34.2厘米，横194.4厘米",[35],232,{"id":1806,"slug":1807,"title":1808,"dynasty":18,"author":830,"museum":107,"description":1809,"tags":1810,"thumbUrl":1811,"material":346,"size":1812,"collection":35,"collections":1813,"showCount":1814,"zanCount":418,"manualWeight":39,"mainColor":40},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,24,25,75,50,27,29,399,400,129,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[35,218],231,{"id":1816,"slug":1817,"title":1818,"dynasty":162,"author":1819,"museum":126,"description":1820,"tags":1821,"thumbUrl":1822,"material":95,"size":1823,"collection":96,"collections":1824,"showCount":1825,"zanCount":882,"manualWeight":39,"mainColor":40},221089,"mo-lan-ting-xu-juan-yu-shi-nan-221089","《摹兰亭序卷》","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[23,7,60,110,49,77,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9000c4d4ad5ddc233e1f2a03ab38558.jpg","纵24.8cm，横57.7cm",[96,802],230,{"id":1827,"slug":1828,"title":1829,"dynasty":179,"author":225,"museum":1830,"description":1831,"tags":1832,"thumbUrl":1833,"material":312,"size":1834,"collection":96,"collections":1835,"showCount":1825,"zanCount":418,"manualWeight":39,"mainColor":40},220858,"xuan-miao-guan-chong-xiu-san-men-ji-zhao-meng-fu-220858","玄妙观重修三门记","日本京都国立博物馆","《玄妙观重修三门记》是元代书法家赵孟頫创作的一幅书法作品。纸本现收藏于日本东京国立博物馆，以之为底本的石刻位于苏州玄妙观正山门内。\n该书法作品的文章由宋末元初文人牟巘撰写，记载了苏州玄妙观重新修缮殿门一事。原稿用墨略淡，墨色清醇沉润，笔面间偶露行草笔致。\n玄妙观是位于苏州古城内繁华地带的一座道教宫观，原名三清观，在元朝受到皇家敕命更名并赐御笔匾额，观内道士为了隆重庆祝这一盛事，决定对观内殿宇进行重新修缮，可是由于筹集的经费不足，三道已经破败不堪的殿门却再也无力整修。经过道士严焕文等人一番努力，并得到夫人胡氏妙能的倾力捐助，终于在至元二十九年（1292）动工修缮。既然这一盛事有此波折，观内道士决定在观内树立石碑以纪念，遂邀请当时的文人牟巘为之撰文，又邀请当朝书画家赵孟頫亲笔书写碑文并篆额。这纸法帖，就是当年为了勒摹上石所写的底本。\n此书显露出来的赵字用笔风格，与《妙严寺记》《胆巴碑》等如出一辙。赵字的用笔，一方面恪守中锋、顺势的原则，一方面又杂糅行书的笔法，从而形成了或藏锋痕迹含蓄，或露锋意味明朗的风格。既不同于魏晋、南北朝书法的工整、严谨，也不同于唐楷的法度森严与精雕细琢。从单个字的处理来看，线与线之间的顾盼承接，空间与空间的虚实对比，无不包含着一种内在的力量和如涓涓细流永无休止之势，同时，也反映出作者对线条娴熟的驾驭能力，如“臣”字，其中虽少一笔，但从中可以看出作者在势的处理上一笔到底的那种按捺不住的律动。\n此书结字方正，左右、上下之间的呼应紧密，字形大小因其自然而由之，布白在匀称之中却又能够表现虚实之间的和谐相处。有些字分别添加、减省笔画，或者变形书写。添加笔画的有“鸿、建、象、氏、民、旧、陟、土”等字。如“旧”字应当是王羲之、王献之该字写法的杂糅与合成，字形取势则模仿了李邕的写法，即将字底“臼”字作“旧”形，藏在右下角落里。减省笔画的有“摹、念、矗、曾、飙、层、度、远、罗、宪、严”等字，有些是合理运用异体字，有些则为其独创。笔画变位或变形书写的有“悉、旧、几、受、化”等字，大多是唐楷已有之。\n明·陈继儒：“鉴赏家谓玄妙观碑酷似李北海《岳麓碑》，若见苏灵芝《铁佛寺刻》，弥见松雪翁书学来历。此卷精彩可照四裔。”（卷后跋文）\n明·李日华：“《玄妙观重修三门记》有太和（李邕）之朗，而无其佻；有季海（徐浩）之重，而无其一钝；不用平原（颜真卿）面目，而含其精神。天下赵碑第一也。”（《恬致堂集》）\n赵孟頫亲笔所书纸本早已散失异域，藏于日本东京国立博物馆。所刻之碑原在玄妙观正山门内，“文革”时失落。1990年，苏州碑刻博物馆仿刻成碑，现存正山门内。\n卷文:天地阖辟，运乎鸿枢，而乾坤为之户；日月出入，经乎黄道，而卯酉为之门。是故建设琳宫，摹宪玄象，外则周垣之联属，灵星之横陈；内则重闼之划开，阊阖之仿佛。非崇严无以备制度，非巨丽无以竦视瞻。惟是勾吴之邦，玄妙之观，赐额改矣，广殿新矣，而三门甚陋。万目所观，辟之于人，神观不足，一身之内，强弱弗侔，非欠欤？观之徒严焕文深念前功，是图是究。\n时则有夫人胡氏妙能，捐其簪珥，给其资用。爰壬辰之纪，岁亟先甲以庀徒。曾几何时，悉更其旧。翚飞丹栱，檐牙高矗于层霄；兽啮铜环，铺首辉煌于朝日。大庭中敞，峻殿周罗，可以树羽节，可以容鸾驭；可以陟三成之坛，通九关之奏；可以鸣千石之虡，受百灵之朝。气象伟然，始与殿称矣。\n于是吴兴赵孟頫复求记于陵阳牟巘。土木云乎哉，言语云乎哉。惟帝降衷，惟皇建极，因人心固有，与天下为公，初无侧颇，无充塞然。或者舍近而求诸远，既昧厥元；欲入而闭之门，复迷所向。孰与抽关启钥，何异擿埴索涂。是未知玄之又玄，户之不户也。\n夫始乎冲漠者，造化之枢纽；极乎高明者，中庸之阃奥。盖所谓会归之极，所谓众妙之门。庸作铭诗，具刊乐石，其词曰：\n天之牗民，道若大路。未有出入，不由于户。而彼昧者，他岐是骛。如面墙壁，惟弗瞩故。脱扃剖鐍，孰发真悟。乃崇珍馆，乃延飙驭。閈闳洞启，端倪呈露。四达民迷，有赫临顾。咨尔羽䙱，壹尔志虑。阴阖阳辟，恪守常度。\n集贤直学士朝列大夫行江浙等处儒学提举吴兴赵孟頫书并篆额",[23,7,199,878,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345465230873dfcb1eb56f5c18241795.jpg","纵35.8厘米，横283.8厘米",[96,802],{"id":1837,"slug":1838,"title":1839,"dynasty":18,"author":411,"museum":107,"description":1840,"tags":1841,"thumbUrl":1842,"material":95,"size":95,"collection":95,"collections":1843,"showCount":1844,"zanCount":11,"manualWeight":39,"mainColor":40},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,24,25,49,50,129,59,60,7,77,51,251,553,56,250,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],228,{"id":1846,"slug":1847,"title":1848,"dynasty":179,"author":225,"museum":126,"description":1849,"tags":1850,"thumbUrl":1851,"material":1852,"size":1853,"collection":171,"collections":1854,"showCount":1855,"zanCount":11,"manualWeight":39,"mainColor":40},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[23,24,25,49,27,111,113,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 设色 手卷","纵30厘米，横52厘米",[171,218],227,{"id":1857,"slug":1858,"title":1859,"dynasty":162,"author":1860,"museum":1861,"description":1862,"tags":1863,"thumbUrl":1864,"material":591,"size":1865,"collection":96,"collections":1866,"showCount":1867,"zanCount":788,"manualWeight":39,"mainColor":40},221077,"qian-zi-wen-he-juan-zhi-yong-221077","千字文合卷","智永","藏于日本民间","智永，僧法极，字智永，人称永禅师，智永善书，书有家法,还将王羲之作为传家之宝的《兰亭序》，带到云门寺保存，云门寺有书阁，智永禅师居阁上临书20年。《真书千字文》系智永的代表书作，历来对它评价颇高。对他所写的《千字文》，清何绍基说：“笔笔从空中来，从空中住，虽屋漏痕，犹不足以喻之”。我们细读他的墨迹《千字文》，看得出他用笔上藏头护尾，一波三折，含蓄而有韵律的意趣。董、何之说可谓精确、具体、恰当。\n智永对乃祖王羲之、王献之的书法极为钦佩，决心使乃祖的书法万古流芳。智永练习书法极为刻苦。他在永欣寺时，就曾盖一座小楼专供练字，发誓“书不成，不下此楼”。就在这座冷冷清清的小楼里，他如痴如醉地练字，毛笔用了一支又一支，他常把用坏了的毛笔扔进大瓮，天长日久，就积了好几瓮，后来埋在一起，成为“退笔冢”。\n经过二三十年的努力，智永的书法果然大有进步。他的名气也越来越大，求其真迹者很多，以至他户外之履常满，连门限也踩坏了，智永又只好用铁皮来加固门槛，时人称之为“铁门槛”。\n张怀瓘将古今善书法者分成三品：神品、妙品、能品。智永的行书入于能品，隶书、章草、草书皆入妙品。可见智永书法成就已达到相当高的水平。\n智永书法流传甚广，宋御府即曾收藏智永草书13件，真草10件。其《真草千字文》一直流传至今。\n《真草千字文》采用以楷书对释草书的方式，这是智永的创造，既便于学书者释读草字，又能让人同时欣赏他两种体裁的书法，可谓一举两得。智永禅师草书“千字文”，完全得笔于乃祖王右军，并师承了草字法规。",[23,7,199,398,49,1498,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2ef623eca96f5f0d8a6929b8718009.jpg","原册每开纵24厘米，横11厘米",[96,802],226,{"id":1869,"slug":1870,"title":1871,"dynasty":45,"author":689,"museum":72,"description":1872,"tags":1873,"thumbUrl":1874,"material":169,"size":1875,"collection":95,"collections":1876,"showCount":1877,"zanCount":788,"manualWeight":39,"mainColor":40},290313,"sui-chao-tu-zhou-chen-hong-shou-290313","岁朝图轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,92,25,75,27,111,29,131,297,1270,834,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f471122fe189fc01200784df42f1f.jpg","90.2x41.1",[],225,{"id":1879,"slug":1880,"title":1881,"dynasty":179,"author":1324,"museum":72,"description":1882,"tags":1883,"thumbUrl":1885,"material":312,"size":1886,"collection":63,"collections":1887,"showCount":1877,"zanCount":788,"manualWeight":39,"mainColor":40},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[23,24,25,49,50,59,51,115,250,55,53,1884,77,7],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[63,187],{"id":1889,"slug":1890,"title":1891,"dynasty":1892,"author":454,"museum":1893,"description":1894,"tags":1895,"thumbUrl":1900,"material":202,"size":1901,"collection":95,"collections":1902,"showCount":1877,"zanCount":882,"manualWeight":39,"mainColor":207},214204,"guo-ji-zi-bai-pan-ming-wen-yi-ming-214204","虢季子白盘铭文","周","中国国家博物馆","铭文铸在郭记子白石板的底座上，共有八行，111个字。铭文讲述了虢国的子白奉命出征，战功赫赫，周王为他举行宴会，并赐予他弓马，以庆贺他的功绩，虢国子白因此制作此盘作为纪念。铭文语言简练、庄重，是金文中的书家法本。",[23,457,198,7,1896,1897,1898,1899],"青铜器","铭文","西周","刻铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70f2cb1587c2ca910fba6cf61592a4f.jpg","50.88x29.89",[],{"id":1904,"slug":1905,"title":1906,"dynasty":179,"author":225,"museum":126,"description":1907,"tags":1908,"thumbUrl":1909,"material":784,"size":1910,"collection":171,"collections":1911,"showCount":1912,"zanCount":480,"manualWeight":39,"mainColor":100},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,92,24,25,49,111,27,1074,797,113,56,53,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[171,218],220,{"id":1914,"slug":1915,"title":1916,"dynasty":45,"author":46,"museum":107,"description":1917,"tags":1918,"thumbUrl":1920,"material":95,"size":95,"collection":95,"collections":1921,"showCount":1922,"zanCount":788,"manualWeight":39,"mainColor":40},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,25,49,50,27,51,55,76,652,53,77,7,60,58,57,1919],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":1924,"slug":1925,"title":1926,"dynasty":179,"author":1927,"museum":126,"description":1928,"tags":1929,"thumbUrl":1930,"material":477,"size":1931,"collection":187,"collections":1932,"showCount":1922,"zanCount":418,"manualWeight":39,"mainColor":100},221692,"mo-zhu-po-shi-tu-gao-ke-gong-221692","墨竹坡石图","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[23,24,92,25,75,50,132,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纵121.6厘米，横42.1厘米",[187,1223],{"id":1934,"slug":1935,"title":1936,"dynasty":88,"author":1937,"museum":126,"description":1938,"tags":1939,"thumbUrl":1940,"material":184,"size":1941,"collection":314,"collections":1942,"showCount":1922,"zanCount":418,"manualWeight":39,"mainColor":40},221180,"ceng-die-bing-xiao-tu-zhou-ma-lin-221180","层叠冰绡图轴","马麟","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。\n在绢素上画疏枝绿萼白梅两枝，枝瘦花繁，一枝高昂扬起，伸至画面右中部，枝疏花密，花朵绽开；一枝低垂叶艳，由画幅右侧横出，伸展画幅中部与另一挺拔高枝相呼应。两枝枝干清瘦如铁。\n本幅款识：“臣马麟。”另有宋宁宗皇后杨氏题“层叠冰绡”，并题诗：“浑如冷蝶宿花房。拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。赐王提举：”钤“杨蛙之章”、“丙子刊宁翰墨”朱文。\n鉴藏印有：“项元汴印”朱文、“墨林山人”白文、“项氏子京”白文、“楠李项氏之家宝玩”朱文、“项墨林鉴赏章”白文、“项子京家珍藏”朱文、“墨林秘玩”朱文、“商丘宋荦审定真迹“朱文、“汝修”白文、”顾氏口阁珍藏”朱文、“典礼纪察司印”朱文半印，另一方印文不辨。\n地轴裱有题记：“嘉靖丙寅秋，用四十五金得于妻弟陆氏，共二幅，共直百金。顾从德记”“宋马麟《层叠冰绡图》。明项元汴清秘。用前价得藏于天籁阁”。钤“墨林山人”白文、“子京父印”朱文。裱边钤“教育部点验之章”朱文。",[23,24,25,75,111,27,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5f8ab1f8c9f8f0a1fb245c1b08d17.jpg","纵101.7cm，横49.6cm",[314,35,218],{"id":1944,"slug":1945,"title":1946,"dynasty":18,"author":1947,"museum":107,"description":1948,"tags":1949,"thumbUrl":1951,"material":751,"size":752,"collection":95,"collections":1952,"showCount":1953,"zanCount":882,"manualWeight":39,"mainColor":40},288453,"shui-xian-shan-shi-tu-ye-ju-lian-288453","水仙山石图页","居廉","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[23,24,25,27,111,29,138,250,1950,77,7],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":1955,"slug":1956,"title":1957,"dynasty":45,"author":46,"museum":107,"description":1958,"tags":1959,"thumbUrl":1960,"material":751,"size":752,"collection":95,"collections":1961,"showCount":1953,"zanCount":882,"manualWeight":39,"mainColor":40},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[23,24,50,59,75,7,77,51,54,704,250,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],{"id":1963,"slug":1964,"title":1965,"dynasty":45,"author":744,"museum":126,"description":1966,"tags":1967,"thumbUrl":1968,"material":488,"size":1969,"collection":63,"collections":1970,"showCount":1971,"zanCount":788,"manualWeight":39,"mainColor":100},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,24,25,49,50,27,51,113,333,56,57,53,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[63,218],217,{"id":1973,"slug":1974,"title":1975,"dynasty":18,"author":294,"museum":72,"description":295,"tags":1976,"thumbUrl":1979,"material":33,"size":301,"collection":95,"collections":1980,"showCount":1981,"zanCount":788,"manualWeight":39,"mainColor":40},219878,"er-shi-si-fan-hua-xin-feng-tu-li-hua-yu-xing-hua-dong-gao-219878","二十四番花信风图-李花与杏花",[24,27,111,7,77,1977,1978,250,1763,1455],"李花","杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985d944013ffd751b9d943e22980248d.jpg",[],216,{"id":1983,"slug":1984,"title":422,"dynasty":88,"author":423,"museum":107,"description":424,"tags":1985,"thumbUrl":1991,"material":751,"size":752,"collection":95,"collections":1992,"showCount":1993,"zanCount":788,"manualWeight":39,"mainColor":100},288520,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-288520",[23,24,92,25,49,1986,111,27,748,113,568,1987,1988,1989,1990,7,77],"人物画","乐舞","听乐","观舞","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde43b93040d57e342c67c97ee8336009.jpg",[],214,{"id":1995,"slug":1996,"title":1997,"dynasty":88,"author":308,"museum":107,"description":1998,"tags":1999,"thumbUrl":2000,"material":95,"size":95,"collection":95,"collections":2001,"showCount":2002,"zanCount":882,"manualWeight":39,"mainColor":40},227505,"li-bai-xian-shi-juan-la-jian-su-shi-227505","李白仙诗卷蜡笺","《李白仙诗卷》蜡笺本。行书。纵：34.5厘米，横：106厘米 。日本大阪市立美术馆藏。\n\n此作书于元祐八年（1093）七月十日，苏轼五十八岁，是其重要的代表作之一。苏轼的很多作品因注重创造意识，透过它们强烈的艺术感染力，可以多少领会到作者的苦心孤诣，换句话说，是露出了刀劈斧凿之痕的。那线条的优雅，行气的从容，章法的疏密有致，给人一种精美绝伦之感。这当然是一种美，但这种美中的形式因素相对要多一些。试观此《李白仙诗卷》，却大有“粗服乱头”之感。",[23,25,7,60,49,433,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6d975139a01fe3b63e08f3f1c34ac2.jpg",[],213,{"id":2004,"slug":2005,"title":307,"dynasty":179,"author":1516,"museum":2006,"description":2007,"tags":2008,"thumbUrl":2009,"material":94,"size":2010,"collection":35,"collections":2011,"showCount":2002,"zanCount":581,"manualWeight":39,"mainColor":40},216101,"mo-zhu-tu-wu-zhen-216101","耶鲁大学艺术博物馆","这件作品是一幅描绘竹叶的图画，以其精细的绘画技巧和精美的艺术品质而闻名。墨竹图的名字来源于其使用的墨色，以及它描绘的竹子。墨竹图被认为是中国古代绘画艺术中最优秀的作品之一，并被许多人所珍视。",[23,24,25,1250,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b830328da9d88aa4e298e550fe00be.jpg","23.2x22.9cm",[35],{"id":2013,"slug":2014,"title":2015,"dynasty":18,"author":294,"museum":72,"description":295,"tags":2016,"thumbUrl":2020,"material":33,"size":301,"collection":95,"collections":2021,"showCount":2022,"zanCount":581,"manualWeight":39,"mainColor":40},219882,"er-shi-si-fan-hua-xin-feng-tu-shan-fan-yu-lan-hua-dong-gao-219882","二十四番花信风图-山矾与兰花",[24,25,26,27,111,30,2017,2018,2019,7,77],"山矾","兰花","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa300fd27248f7782bac6bc2754e41f05.jpg",[],212,{"id":2024,"slug":2025,"title":2026,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":2027,"thumbUrl":2032,"material":751,"size":752,"collection":95,"collections":2033,"showCount":2034,"zanCount":882,"manualWeight":39,"mainColor":100},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷",[23,92,24,49,25,1328,50,27,59,251,2028,475,2029,52,53,2030,2031,60,7,77],"林木","山居","亭舍","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":2036,"slug":2037,"title":2038,"dynasty":45,"author":1015,"museum":701,"description":2039,"tags":2040,"thumbUrl":2041,"material":79,"size":2042,"collection":63,"collections":2043,"showCount":2044,"zanCount":882,"manualWeight":39,"mainColor":40},218246,"zhong-ting-bu-yue-tu-wen-zheng-ming-218246","中庭步月图","《中庭步月图》描绘的是文徵明自京师返回六年后（1532）一个初冬的月夜与来客啜茶聚餐后步于园中赏月话旧的真实记录，款有“风檐石鼎燃湘竹，夜久香浮乳花熟”和“命僮子烹苦茗等茶事记录。该图与苏东坡《记承天寺夜游》一文中描写的境界相同，全画笔墨洒脱清雅，画风平稳细净、明秀简雅，恰如其分地表现了这个特定环境中的情感世界。画风兼乎于“粗文”“细文”之间，工整文静中不失粗放清旷，雄浑气象，是文征明在这一年龄阶段所呈现出来的特有的风格特色，从中可明确感受到文征明绘画风格演变的一些基本脉络。",[24,25,50,59,60,7,113,56,678,268,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe584a4868045e12b6c6e719755dcfb31.jpg","纵147.6厘米，横50.5厘米",[63],210,{"id":2046,"slug":2047,"title":2048,"dynasty":18,"author":294,"museum":72,"description":295,"tags":2049,"thumbUrl":2052,"material":33,"size":301,"collection":95,"collections":2053,"showCount":2054,"zanCount":882,"manualWeight":39,"mainColor":40},219876,"er-shi-si-fan-hua-xin-feng-tu-tang-di-yu-tao-hua-dong-gao-219876","二十四番花信风图-棠棣与桃花",[92,24,25,26,27,111,29,2050,137,2051,7,77],"棠棣","花信风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba17cf988bcf65f78a9b85775c599311.jpg",[],209,{"id":2056,"slug":2057,"title":2058,"dynasty":179,"author":225,"museum":126,"description":2059,"tags":2060,"thumbUrl":2063,"material":784,"size":2064,"collection":35,"collections":2065,"showCount":2066,"zanCount":788,"manualWeight":39,"mainColor":100},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,24,25,49,27,111,60,7,1074,113,652,2061,2062,53,77],"秋景","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[35,218],206,{"id":2068,"slug":2069,"title":2070,"dynasty":45,"author":2071,"museum":126,"description":2072,"tags":2073,"thumbUrl":2076,"material":169,"size":2077,"collection":63,"collections":2078,"showCount":2079,"zanCount":11,"manualWeight":39,"mainColor":40},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","仇英","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[23,24,49,25,111,1127,27,113,51,56,2074,2075,7,60],"车马","职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[63,171],205,{"id":2081,"slug":2082,"title":2083,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":2084,"thumbUrl":2085,"material":751,"size":752,"collection":95,"collections":2086,"showCount":2087,"zanCount":39,"manualWeight":39,"mainColor":40},240255,"ba-da-shan-ren-xi-yuan-ya-ji-tu-ji-juan-zhu-da-240255","八大山人西园雅集图记卷",[23,24,25,49,7,60,50,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f9f166a40fcf4ec139f19c82aed61.jpg",[],203,{"id":2089,"slug":2090,"title":2091,"dynasty":18,"author":599,"museum":648,"description":2092,"tags":2093,"thumbUrl":2094,"material":2095,"size":2096,"collection":35,"collections":2097,"showCount":2087,"zanCount":39,"manualWeight":39,"mainColor":40},223297,"you-lan-tu-zheng-ban-qiao-223297","幽兰图","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[23,24,50,129,60,139,132,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[35,187,96],{"id":2099,"slug":2100,"title":2101,"dynasty":45,"author":125,"museum":126,"description":2102,"tags":2103,"thumbUrl":2105,"material":312,"size":2106,"collection":171,"collections":2107,"showCount":2087,"zanCount":882,"manualWeight":39,"mainColor":100},222238,"lv-bei-yin-shi-tu-zhou-xu-wei-222238","驴背吟诗图轴","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”（《琅嬛文集·跋徐青藤小品画》）",[23,24,50,129,75,113,2104,7,77],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纵112.2厘米，横30厘米",[171,187],{"id":2109,"slug":2110,"title":2111,"dynasty":105,"author":2112,"museum":126,"description":2113,"tags":2114,"thumbUrl":2116,"material":384,"size":95,"collection":802,"collections":2117,"showCount":2118,"zanCount":418,"manualWeight":39,"mainColor":207},221015,"xuan-shi-biao-zhong-yao-221015","宣示表","钟繇","梁武帝萧衍誉道“势巧形密，胜于自运”。笔法质朴浑厚，雍容自然。王导东渡时将此表缝入衣带携走，后来传给逸少，逸少又将之传给王修，王修便带着它入土为安，从此不见天日。\n现在所能见到的《宣示表》只有刻本，一般论者部认为是根据王羲之临本摹刻，始见于宋《淳化阁帖》，共18行。后世阁帖、单本多有翻刻，应以宋刻宋拓本为佳。此帖较钟繇其他作品，无论在笔法或结体上，都更显出一种较为成熟的楷书体态和气息，点画遒劲而显朴茂，字体宽博而多扁方，充分表现了魏晋时代正走向成熟的楷书的艺术特征。此帖风格直接影响了二王小楷面貌的形成 (从《黄庭经》、《乐毅论》，《洛神赋十三行》等就可看出)，进而影响到元、明、清三代的小楷创作，如赵孟頫、文徵明、王宠、黄道周等。更具历史意义的是，此帖所具备的点画法则、结体规律等影响和促进了楷书高峰——唐楷的到来。因此，钟繇《宣示表》可以说是楷书艺术的鼻祖。",[7,199,198,2115,200,384],"碑帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd55b96c8113998cb9b0e7129ca046fad.jpg",[802],201,{"id":2120,"slug":2121,"title":2122,"dynasty":88,"author":262,"museum":1172,"description":2123,"tags":2124,"thumbUrl":2125,"material":79,"size":2126,"collection":171,"collections":2127,"showCount":2118,"zanCount":788,"manualWeight":39,"mainColor":40},218627,"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[23,92,24,25,49,878,112,113,359,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[171],{"id":2129,"slug":2130,"title":2131,"dynasty":18,"author":2132,"museum":72,"description":2133,"tags":2134,"thumbUrl":2137,"material":169,"size":2138,"collection":96,"collections":2139,"showCount":2140,"zanCount":788,"manualWeight":39,"mainColor":207},214210,"zhuan-shu-ba-yan-lian-yang-yi-sun-214210","篆书八言联","杨沂孙","释文: 上善若水上德若谷。持酒以礼持才以愚",[23,2135,457,2136,7,75],"清代","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0cdd98e7ca26423e27c34e194471a5.jpg","271.9x61.4",[96],200,{"id":2142,"slug":2143,"title":2144,"dynasty":18,"author":411,"museum":107,"description":2145,"tags":2146,"thumbUrl":2147,"material":95,"size":95,"collection":95,"collections":2148,"showCount":2149,"zanCount":788,"manualWeight":39,"mainColor":40},234169,"yuan-ji-song-zhu-shi-tu-juan-shi-tao-234169","原济松竹石图卷","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,50,49,59,133,132,589,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a026c786782c5ee0e249a5786dafbd.jpg",[],199,{"id":2151,"slug":2152,"title":2153,"dynasty":18,"author":830,"museum":126,"description":2154,"tags":2155,"thumbUrl":2156,"material":477,"size":95,"collection":35,"collections":2157,"showCount":2158,"zanCount":788,"manualWeight":39,"mainColor":40},237157,"lan-hua-zhou-wu-chang-shuo-237157","兰花轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,75,50,2018,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6b4b3f9192dc4eaf607bfc0f395f74.jpg",[35],197,{"id":2160,"slug":2161,"title":2162,"dynasty":18,"author":830,"museum":126,"description":2154,"tags":2163,"thumbUrl":2164,"material":477,"size":95,"collection":35,"collections":2165,"showCount":2166,"zanCount":882,"manualWeight":39,"mainColor":40},237158,"mei-hua-zhou-wu-chang-shuo-237158","梅花轴",[24,25,75,50,60,77,7,298,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ddc2ba3abfecbf7d18533654b3d87.jpg",[35],196,{"id":2168,"slug":2169,"title":2170,"dynasty":88,"author":308,"museum":2171,"description":2172,"tags":2173,"thumbUrl":2176,"material":312,"size":2177,"collection":96,"collections":2178,"showCount":2166,"zanCount":39,"manualWeight":39,"mainColor":40},221313,"dong-ting-zhong-shan-er-fu-quan-juan-su-shi-221313","洞庭中山二赋全卷","吉林省博物院","苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。 他长于行书、楷书， 笔法肉丰骨劲， 跌宕自然， 给人以“大海风涛之气”“古槎怪石之形”的艺术美感。 苏轼的书法，后人赞誉颇高。黄庭坚在他《山谷集》里说：“其书姿媚……至酒酣放浪，意忘工拙，字特瘦劲……至于笔圆而韵胜，挟以文章妙天下，忠义贯日月之气，本朝善书，自当推（苏）为第一”。明董其昌盛赞他“全用正锋，是坡公之兰亭也”。传世书迹有《前赤壁赋》《黄州寒食诗帖》《洞庭春色赋》《中山松醪赋》等。",[23,60,7,49,77,2174,133,2175,51],"洞庭","酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26499125ec3104dc526016eca85f356.jpg","28.3x450.3cm",[96],{"id":2180,"slug":2181,"title":2182,"dynasty":18,"author":2183,"museum":72,"description":2184,"tags":2185,"thumbUrl":2188,"material":1179,"size":2189,"collection":95,"collections":2190,"showCount":2191,"zanCount":882,"manualWeight":39,"mainColor":40},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[24,25,75,110,27,111,113,55,652,589,2186,431,426,571,77,7,60,567,2187],"栏杆","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":2193,"slug":2194,"title":1101,"dynasty":18,"author":2195,"museum":72,"description":2196,"tags":2197,"thumbUrl":2199,"material":169,"size":2200,"collection":35,"collections":2201,"showCount":2191,"zanCount":882,"manualWeight":39,"mainColor":40},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[92,24,25,75,27,29,133,131,139,138,7,77,2198],"传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[35],{"id":2203,"slug":2204,"title":2205,"dynasty":45,"author":2206,"museum":72,"description":2207,"tags":2208,"thumbUrl":2209,"material":79,"size":2210,"collection":96,"collections":2211,"showCount":2212,"zanCount":882,"manualWeight":39,"mainColor":40},214552,"za-shu-shi-tie-juan-zhu-yun-ming-214552","杂书诗帖卷","祝允明","此卷书曹植《乐府》诗四首，写草书而不乱，情密势足，激越跃发，荦荦大度，点画狼藉，纵横驰骋，是他晚年狂草作品的高峰。",[23,7,398,49,25,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9356818737424fb65f189c2dbbb9d6.jpg","36.1x1147.5",[96],194,{"id":2214,"slug":2215,"title":2216,"dynasty":179,"author":1324,"museum":72,"description":2217,"tags":2218,"thumbUrl":2220,"material":79,"size":2221,"collection":95,"collections":2222,"showCount":2223,"zanCount":788,"manualWeight":39,"mainColor":40},232638,"rong-xi-zhai-tu-ni-zan-232638","容膝斋图","该图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，中幅为湖光波色，图上部的远岫遥岑横于波际。这种三段式的构图，是倪瓒山水画的特征之一。其山水取法于董源，石上横拖披麻，皴法清逸。其树法参差变化，结体有骨力，而树头枝梢，每多生意。枯树擦以枯笔，墨色浓淡错综而滋润浑厚。\n此画分近、中、远三景， 近处作平坡， 上植数枝树木， 间或缀以茅舍亭阁；远处作峦头或低矮的土坡。作为近景与远景之间的过渡部分则多为大片空白， 不着一墨， 是为湖水。\n画中落款“壬子岁七月五日，云林生写”，又自题诗云：“屋角春风多杏花，小斋容膝度年华；金棱跃水池鱼戏，彩凤栖林涧竹斜。叠叠清谈霏玉屑，萧萧白发岸乌纱。而今不二韩康价，市上悬壶未足夸。”\n倪瓒少小聪明， 早年专意读书， 家中清閟阁藏书数千卷， 经史子集， 佛道经典， 他都专心阅读批校， 所藏法书名画， 亦悉心临学。其书法天然古淡， 有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带， 常领略这里秀丽清幽的湖光山色， 他的画也多取材于此。\n此画作于明太祖洪武五年（1372），时年倪攒七十有二，两年后离世，因此也有“绝笔之作”一说。此画最初赠予其友檗轩，两年后又请倪瓒为其补题，寄赠予同乡的潘子仲医师。容膝斋是潘仁仲休闲居处。\n画家对佛道思想的追求，注重对尘世羁绊的超脱，这种思想映射到艺术创作中丰富了艺术品的文化内涵。《容膝斋图》中设置空亭但不见人，倪瓒有“亭下不逢人，夕阳滤秋影”的名句。空空的亭子和无人的山水，后人多认为这种设置是倪瓒内心的表达，是“今世那复有人”的悲叹。\n此图以墨笔画坡陀林屋，远山一角。近景处画山坡石陀，平平的一二层山石，山石皴法是渴笔方折，似有折带皴意，用笔总是干笔皴擦，有时墨色并没有透入纸背，但却没有丝毫纤弱单薄的弊端。近景一带坡岸及坡上植有杂树和瘦竹数株。高短参差不齐，树木偶用蟹爪鹿角技法，以干笔为主，树身多复笔。远岸岚岫绵延，在整个画最上端，使整个画面有深远之感。中景以湖塘相隔，画有草茅亭子，坐落在树木的右侧，对面为横卧的山坡。均出以简笔疏朗，自有一种空阔高旷的境界。这与倪云林的那种甘于寂寞，与世无争的性格十分相近。此画最为典型的即是简约，既不作高枝繁叶，又不为高山大壑，而常常采用疏林浅坡，简淡平远的构图，笔墨极为淡雅，画树墨色层次较多，中锋多于侧笔。近坡皴多染少，皴笔亦特觉清劲。点染皴擦也求简约，不作华奢之状。\n该图采用三段平远式的空间布局。前景是几棵枯树、坡石和屋舍，中景是一坡山，远景水天一色。这样的布局使人感到平实恬淡，简约单纯。这种近坡杂树数枝，远景云山一抹，中隔湖水一汪，最早出现在《六君子图》中，而在《容膝斋图》中发挥得更充分。这种比较稳定的“一河两岸”式的图式所表现的意境，使他的绘画风格达到了“萧疏淡远”的极致。\n该图布置前景时，常用粗而挺劲的线条勾勒出挺拔而气宇轩昂的几棵高大的树。这些树的穿插非常讲究，几棵主株，或高或低，俯仰成趣。或前或后，顾盼照应，让树有自然的深浅和层次，并且讲究穿插避让，使画面生动有变化。《容膝斋图》中的树少有树叶点缀，是几棵枯树，这与倪瓒平时讨厌落叶有关。",[24,50,1328,59,7,77,51,55,652,250,2219],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":2225,"slug":2226,"title":2227,"dynasty":45,"author":2071,"museum":2228,"description":2229,"tags":2230,"thumbUrl":2231,"material":184,"size":2232,"collection":63,"collections":2233,"showCount":2223,"zanCount":788,"manualWeight":39,"mainColor":40},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","美国纳尔逊阿特金斯艺术博物馆","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,25,49,1127,27,111,60,7,51,54,113,55,53,52,458,56,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[63,218],{"id":2235,"slug":2236,"title":2237,"dynasty":179,"author":2238,"museum":72,"description":2239,"tags":2240,"thumbUrl":2241,"material":682,"size":2242,"collection":63,"collections":2243,"showCount":2223,"zanCount":11,"manualWeight":39,"mainColor":100},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,24,25,49,50,59,51,55,52,53,56,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[63,187],{"id":2245,"slug":2246,"title":2247,"dynasty":45,"author":2248,"museum":279,"description":2249,"tags":2250,"thumbUrl":2252,"material":169,"size":95,"collection":171,"collections":2253,"showCount":2223,"zanCount":882,"manualWeight":39,"mainColor":40},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,25,49,50,27,111,59,51,113,55,52,53,56,589,7,2251],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[171],{"id":2255,"slug":2256,"title":2257,"dynasty":179,"author":2258,"museum":442,"description":2259,"tags":2260,"thumbUrl":2261,"material":33,"size":2262,"collection":35,"collections":2263,"showCount":2264,"zanCount":788,"manualWeight":39,"mainColor":100},216665,"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,25,49,111,27,1074,652,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[35],192,{"id":2266,"slug":2267,"title":2268,"dynasty":179,"author":180,"museum":126,"description":2269,"tags":2270,"thumbUrl":2271,"material":488,"size":2272,"collection":63,"collections":2273,"showCount":2274,"zanCount":788,"manualWeight":39,"mainColor":40},220762,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-220762","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[24,25,75,50,51,57,56,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47a387eca670a16b7feb78d3aa3088.jpg","纵101.3厘米，横43.8厘米",[63,187],191,{"id":2276,"slug":2277,"title":2278,"dynasty":105,"author":637,"museum":2279,"description":2280,"tags":2281,"thumbUrl":2283,"material":2284,"size":95,"collection":96,"collections":2285,"showCount":2286,"zanCount":39,"manualWeight":39,"mainColor":40},221027,"sang-luan-de-shi-er-xie-tie-wang-xi-zhi-221027","《丧乱得示二谢帖》","三之丸尚藏馆","《丧乱得示二谢帖》是唐代内府的双钩填墨摹本，奈良时期由遣唐使传入日本。日本皇室宫内厅三之丸尚藏馆藏。",[23,7,60,200,2282],"手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b62cd35fac662a85ccdc68062f08ebe.jpg","尺牍，行书。 纸本",[96],190,{"id":2288,"slug":2289,"title":2290,"dynasty":179,"author":180,"museum":107,"description":2291,"tags":2292,"thumbUrl":2294,"material":95,"size":95,"collection":95,"collections":2295,"showCount":2296,"zanCount":39,"manualWeight":39,"mainColor":40},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","以淡墨干皴晕染富春丘壑，峰峦坡陀缓缓铺展，林木萧疏错落，晕开江南初秋的空寂淡远。用笔松秀灵动，线条温润苍劲，墨色干湿浓淡层次丰盈，晕染出山川悠远的氤氲清气。\n卷后题跋与山水相映，文心画意相融无间，尽显文人画的雅致意趣。整卷意境简远高迈，将天地山川的沉静澹泊与文人林下襟怀合而为一，如一首悠然山水长诗，引观画人步入富春烟岚之间，沉醉在清和淡远的隐逸之美中。",[24,25,49,50,51,59,77,7,60,57,56,115,2293],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":2298,"slug":2299,"title":2300,"dynasty":18,"author":2301,"museum":72,"description":2302,"tags":2303,"thumbUrl":2304,"material":95,"size":95,"collection":35,"collections":2305,"showCount":2296,"zanCount":39,"manualWeight":39,"mainColor":100},224119,"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[23,24,25,50,77,7,60,115,1018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[35,187],{"id":2307,"slug":2308,"title":2309,"dynasty":105,"author":637,"museum":648,"description":2310,"tags":2311,"thumbUrl":2312,"material":95,"size":95,"collection":96,"collections":2313,"showCount":2296,"zanCount":39,"manualWeight":39,"mainColor":100},221029,"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","《萬歲通天帖》又稱唐摹《王羲之一門書翰》、《王氏寶章集》。硬黃紙本，行草書，是東晉王羲之等七人十帖的唐摹書法精品，現藏於遼寧省博物館。\n宋代《秘閣續帖》、明代華夏《真賞齋帖》、文徵明《停雲館帖》、王肯堂《鬱岡齋帖》、清代《三希堂法帖》曾刻錄。 其中以真賞齋為精刻而有名。",[23,7,49,60,398,110,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[96,802],{"id":2315,"slug":2316,"title":2317,"dynasty":18,"author":294,"museum":72,"description":295,"tags":2318,"thumbUrl":2321,"material":33,"size":301,"collection":95,"collections":2322,"showCount":2323,"zanCount":788,"manualWeight":39,"mainColor":40},219879,"er-shi-si-fan-hua-xin-feng-tu-cai-hua-yu-wang-chun-dong-gao-219879","二十四番花信风图-菜花与望春",[24,25,27,111,26,7,60,2319,2320,1739],"菜花","望春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d78a5260915fc3e83cdf201b35e28e.jpg",[],188,{"id":2325,"slug":2326,"title":2327,"dynasty":88,"author":2328,"museum":20,"description":2329,"tags":2330,"thumbUrl":2331,"material":79,"size":95,"collection":63,"collections":2332,"showCount":2323,"zanCount":788,"manualWeight":39,"mainColor":40},218592,"xiao-xiang-tu-mi-you-ren-218592","潇湘图","米友仁","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[24,25,49,50,59,51,252,56,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[63],{"id":2334,"slug":2335,"title":2336,"dynasty":179,"author":225,"museum":126,"description":2337,"tags":2338,"thumbUrl":2339,"material":79,"size":2340,"collection":63,"collections":2341,"showCount":2323,"zanCount":788,"manualWeight":39,"mainColor":100},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[23,24,49,50,51,59,7,52,53,54,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[63],{"id":2343,"slug":2344,"title":2345,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":2346,"thumbUrl":2347,"material":751,"size":752,"collection":95,"collections":2348,"showCount":2349,"zanCount":882,"manualWeight":39,"mainColor":40},288173,"hu-shi-ju-qin-tu-li-zhou-zhu-da-288173","湖石聚禽图立轴",[23,92,24,25,75,50,29,116,250,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c97905d89105cc7edd24a3f909cf39.jpg",[],186,{"id":2351,"slug":2352,"title":2353,"dynasty":162,"author":2354,"museum":279,"description":2355,"tags":2356,"thumbUrl":2357,"material":2358,"size":2359,"collection":96,"collections":2360,"showCount":2349,"zanCount":882,"manualWeight":39,"mainColor":100},221069,"ling-fei-jing-chang-juan-zhong-shao-jing-221069","灵飞经长卷","钟绍京","《灵飞经》又名《六甲灵飞经》，是灵道教的一部经。主要阐述存思之法。今道藏有《上清琼宫灵飞六甲左右上符》，一卷。《汉武内传》谓此经用于请命延算、长生久视、驱策众灵、役使鬼神。\n《灵飞经》书法作品是唐代著名小楷之一，无名款。元袁桷、明董其昌皆以为唐钟绍京书。明董其昌说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[23,7,199,386,200,49,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ea8afb39f27c1c093c1675d3b1faa1.jpg","墨迹本","20.8×8.9cm",[96,802],{"id":2362,"slug":2363,"title":2364,"dynasty":2365,"author":2366,"museum":107,"description":2367,"tags":2368,"thumbUrl":2371,"material":95,"size":95,"collection":95,"collections":2372,"showCount":2373,"zanCount":418,"manualWeight":39,"mainColor":40},226711,"zhong-ping-hui-qi-tu-juan-zhou-wen-ju-226711","重屏会棋图卷","五代十国","周文矩","《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3厘米，横70.5厘米。\n本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。\n图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”\n作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。\n由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。\n此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。\n清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。\n周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。",[23,24,25,49,111,27,112,7,77,113,2369,834,2370],"家具","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f5fda46eb059b27ecc01f52d1e757.jpg",[],185,{"id":2375,"slug":2376,"title":2377,"dynasty":18,"author":2378,"museum":2379,"description":2380,"tags":2381,"thumbUrl":2382,"material":477,"size":2383,"collection":35,"collections":2384,"showCount":2385,"zanCount":39,"manualWeight":39,"mainColor":40},222642,"mu-dan-tu-li-zhou-gao-feng-han-222642","牡丹图立轴","高凤翰","美国克利夫兰艺术博物馆","此幅长卷有《梅花》和《牡丹》两幅合并而成，左侧《梅花》图绘梅枝从画上端斜入，细枝颇多，寒冬中梅花绽放出铮铮傲骨；《牡丹》图中二朵牡丹开放，花瓣层层叠叠，还有一朵藏于石后，含羞露出一半，一枝花枝从牡丹花后露出，姿态优美。",[23,24,25,75,27,29,50,60,77,135,282,238,239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aed756d0a5f52a061a356ddf8967852.jpg","20x317cm",[35,187],184,{"id":2387,"slug":2388,"title":807,"dynasty":179,"author":2389,"museum":72,"description":2390,"tags":2391,"thumbUrl":2393,"material":477,"size":2394,"collection":63,"collections":2395,"showCount":2385,"zanCount":882,"manualWeight":39,"mainColor":100},221788,"shan-shui-tu-cao-zhi-bai-221788","曹知白","《山水图》本幅画隔水江岸，主山峰峦水墨淋漓，前中景作双松耸立，笔墨造型皆从北宋李郭传统中汲取特色，再以焦浓黑墨提醒主题，营造出更有墨趣的元代李郭画风新意。",[23,92,24,50,51,1018,251,2392,57,77,7],"江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3665a4d5c8569bf27af312555ab7bab.jpg","纵86.1厘米横34.3厘米",[63,187],{"id":2397,"slug":2398,"title":2399,"dynasty":162,"author":194,"museum":126,"description":2400,"tags":2401,"thumbUrl":2402,"material":312,"size":2403,"collection":96,"collections":2404,"showCount":2385,"zanCount":882,"manualWeight":39,"mainColor":100},221054,"zheng-zuo-wei-tie-quan-juan-yan-zhen-qing-221054","争座位帖全卷","《争座位帖》亦称《论座帖》、《与郭仆射书》，为颜真卿行草书精品，唐广德二年（公元764）颜真卿写给定襄王郭英义的书信手稿。行草书，传有七纸，约64行古时。\n《争座位帖》与颜的《祭侄文稿》、《祭伯文稿》被合称为“颜书三稿”。与王羲之的《兰亭序》并称为“行书双璧”。此稿信笔疾书，苍劲古雅，为世所珍。",[23,7,60,49,25,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fead3ade21468b04a4fd65a4d6fb8c1.jpg","370x30厘米",[96,802],{"id":2406,"slug":2407,"title":2408,"dynasty":162,"author":2409,"museum":72,"description":2410,"tags":2411,"thumbUrl":2412,"material":682,"size":2413,"collection":96,"collections":2414,"showCount":2415,"zanCount":882,"manualWeight":39,"mainColor":40},221097,"zi-xu-tie-quan-juan-huai-su-221097","自叙帖全卷","怀素","《自叙帖》为怀素自述其生平大略，兼录颜真卿、张谓、戴叔伦等人对其的赠诗成文。通篇为狂草，笔笔中锋，如锥划沙盘，纵横斜直，无往不收；全卷强调连绵草势，运笔上下翻转，忽左忽右，起伏摆荡，有疾有速，有轻有重，通幅于规矩法度中，奇踪变化，神采动荡，实为草书艺术的极致表现。《自叙帖》自唐末五代以来一直是草书领域的热门法帖，在中国草书史上承前启后，在书法艺术领域影响深远。 它是怀素流传下来篇幅最长的作品，人称“天下第一草书”。 正如北京大学教授、引碑入草开创者的李志敏评价：怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。",[23,7,398,49,77,200,25,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2b523ef15a110b2a5489755e76b49e.jpg","纵28.3厘米，横775厘米",[96,802],183,{"id":2417,"slug":2418,"title":2419,"dynasty":105,"author":637,"museum":1830,"description":2420,"tags":2421,"thumbUrl":2422,"material":2423,"size":2424,"collection":96,"collections":2425,"showCount":2415,"zanCount":788,"manualWeight":39,"mainColor":207},221028,"shi-qi-tie-wang-xi-zhi-221028","十七帖","《十七帖》是王羲之草书代表作，因卷首由“十七”二字而得名。原墨迹早佚，现传世《十七帖》是刻本。唐张彦远“法书要录”记载了《十七帖》原墨迹的情况：“《十七帖》长一丈二尺，即贞观中内本也，一百七行，九百四十三字。是煊赫著名帖也。太宗皇帝购求二王书，大王书有三千纸，率以一丈二尺为卷，取其书迹与言语以类相从缀成卷。”\n此帖为一组书信，据考证是写给他朋友益州刺史周抚的。书写时间从永和三年到升平五年（公元347-361年），时间长达十四年之久，是研究王羲之生平和书法发展的重要资料。清人包世臣有“十七帖疏征”一文可以参考。\n此帖前人评价甚高。如宋黄伯思说：“此帖逸少书中龙也”。朱熹说“玩其笔意，从容衍裕，而气象超然，不与法缚，不求法脱。所谓一一从自己胸襟中流出者。”也有人认为此帖“笔法古质浑然，有篆籀遗意”。这些评价都很中肯。尤其说它们写的从容、不受法的拘束，好像从自己胸中自然流出一样，最为深刻准确。孙过庭曾说过：“子敬（王献之）已下，莫不鼓努为力，标置成体”，即王羲之以下，都是在写字时故意用力，故意要表现自己有自己的艺术风格，这样就反而失去书写时的自然之美了。这种对比式的评论，对书法欣赏很有启示。",[23,398,7,49,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4981f2b1a02a1372ae9f32e7e1133e56.jpg","纸本墨拓","纵25.1厘米，横16.4厘米。",[96,802],{"id":2427,"slug":2428,"title":2429,"dynasty":45,"author":46,"museum":107,"description":2430,"tags":2431,"thumbUrl":2432,"material":95,"size":95,"collection":95,"collections":2433,"showCount":2434,"zanCount":882,"manualWeight":39,"mainColor":40},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,45,24,25,49,27,50,59,51,132,58,56,57,52,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":2436,"slug":2437,"title":2438,"dynasty":18,"author":2439,"museum":20,"description":2440,"tags":2441,"thumbUrl":2442,"material":169,"size":95,"collection":95,"collections":2443,"showCount":2434,"zanCount":39,"manualWeight":39,"mainColor":40},214610,"hong-lou-meng-ren-wu-ce-ye-2-yu-lan-214610","红楼梦人物册页-2","喻兰","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[24,27,111,26,60,7,1128,55,132,113,114,53,57,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f5029b6dd2fd7aaf133fd9faf6ce40.jpg",[],{"id":2445,"slug":2446,"title":2447,"dynasty":662,"author":663,"museum":2448,"description":2449,"tags":2450,"thumbUrl":2454,"material":2455,"size":95,"collection":95,"collections":2456,"showCount":2457,"zanCount":39,"manualWeight":39,"mainColor":40},220588,"shu-cai-he-san-zhong-kun-chong-qi-bai-shi-220588","蔬菜和三种昆虫","Oscar Niemeyer Museum","以大写意挥毫白菜，浓墨铺陈菜叶，枯湿浓淡间尽显舒展之姿，朴拙厚重藏着清新生气，寥寥数笔便写出白菜的莹润鲜活。朱红辣椒点缀，艳色跳脱墨色，冷暖撞色生出明快野趣。\n\n工笔草虫细致入微，蜻蜓薄翼通透纤毫毕现，鸣虫灵动宛似欲振翅低吟，将草野生机凝于尺幅。题字苍劲老辣，书画印浑然相融，将田家寻常蔬食化为清趣盎然的雅境，以烟火日常寄寓冲淡天真的意趣，把乡野小景晕染成饱含诗意的鲜活画卷，尽显雅俗共赏的笔墨情致。",[23,24,50,27,129,111,75,7,77,2451,2452,1175,2453],"白菜","辣椒","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02273d02cbd82e57c1882fb536b59302.jpg","Watercolor on paper",[],179,{"id":2459,"slug":2460,"title":2461,"dynasty":179,"author":2462,"museum":126,"description":2463,"tags":2464,"thumbUrl":2465,"material":519,"size":2466,"collection":187,"collections":2467,"showCount":2468,"zanCount":882,"manualWeight":39,"mainColor":40},221834,"qing-bi-ge-mo-zhu-tu-zhou-ke-jiu-si-221834","清閟阁墨竹图轴","柯九思","本幅自识：“至元後戊寅十二月十三日，留清閟閣，因作此卷。丹丘生題。”钤“柯氏敬仲”。\n竹，由于被传统文人赋予了“虚心异众草，节劲逾凡木”的人格象征，因此，自宋代文同等人倡导始，到元代已成为极受欢迎的绘画题材。从技法上看，有勾勒填色的“画竹”与墨笔写意的“写竹”之分。此图即属于“写竹”一路画法。柯九思曾主张：“画竹写干用篆法，枝用草书法，写叶用八分或用鲁公撇笔法。”（《珊瑚网·画跋·卷八》）观此图画法，拳石皴法浑厚，实源于董巨一派，而墨竹则全法文同。作者以淡墨写干，用笔挺拔圆浑，宛如篆书，竹节两端再复垂墨，不勾节却连属自然。竹叶行笔沉着稳健，一如后人形容他的墨竹 “大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[23,24,25,50,75,132,250,77,7,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[187,1223],177,{"id":2470,"slug":2471,"title":2472,"dynasty":18,"author":2473,"museum":72,"description":2474,"tags":2475,"thumbUrl":2476,"material":79,"size":2477,"collection":96,"collections":2478,"showCount":2468,"zanCount":11,"manualWeight":39,"mainColor":40},214231,"shi-xie-shi-he-chao-214231","食蟹诗","何焯","墨痕清润，笔锋起落间藏着严谨法度，却不失灵动之致。结体端稳如磐石，笔画牵丝若隐若现，似蟹螯轻张的意趣。诗中食蟹的闲雅况味，透过一行行秀逸字迹缓缓流露——仿佛能见案头蟹肥酒暖，挥毫者指尖带笑，将唇齿鲜意与心头闲适，尽数化入横竖撇捺。章法疏朗有致，每字皆经得起细品，既见学者沉稳，又藏文人雅趣，墨香与诗味交织，晕染出一段清隽时光。",[23,7,60,50,75,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf41c7623c0f59c57bcc8df2bec020dc.jpg","136.8x45.6",[96],{"id":2480,"slug":2481,"title":2482,"dynasty":45,"author":1015,"museum":72,"description":2483,"tags":2484,"thumbUrl":2485,"material":79,"size":2486,"collection":63,"collections":2487,"showCount":2488,"zanCount":581,"manualWeight":39,"mainColor":40},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[24,25,75,50,27,51,113,55,53,56,57,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[63],176,{"id":2490,"slug":2491,"title":2492,"dynasty":105,"author":106,"museum":107,"description":2493,"tags":2494,"thumbUrl":2496,"material":95,"size":95,"collection":95,"collections":2497,"showCount":2498,"zanCount":581,"manualWeight":39,"mainColor":100},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,92,24,25,49,112,110,113,1074,2495,77,7,167],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],175,{"id":2500,"slug":2501,"title":2502,"dynasty":162,"author":2503,"museum":72,"description":2504,"tags":2505,"thumbUrl":2506,"material":184,"size":2507,"collection":63,"collections":2508,"showCount":2509,"zanCount":788,"manualWeight":39,"mainColor":100},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","王维","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,25,49,50,59,7,60,1677,51,704,52,53,54,1752,55,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[63],172,{"id":2511,"slug":2512,"title":2513,"dynasty":18,"author":599,"museum":107,"description":949,"tags":2514,"thumbUrl":2515,"material":682,"size":95,"collection":35,"collections":2516,"showCount":2517,"zanCount":882,"manualWeight":39,"mainColor":40},223302,"zhu-shi-tu-zhou-zheng-ban-qiao-223302","竹石图轴",[23,24,25,75,50,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[35,187],171,{"id":2519,"slug":2520,"title":2521,"dynasty":88,"author":369,"museum":72,"description":2522,"tags":2523,"thumbUrl":2527,"material":184,"size":2528,"collection":96,"collections":2529,"showCount":2517,"zanCount":418,"manualWeight":39,"mainColor":100},221342,"nong-fang-shi-tie-zhao-ji-221342","秾芳诗帖","南明抗清英雄陈邦彦曾跋赵佶瘦金书《秾芳诗帖》，“宣和书画，超轶千古。此卷以画法作书，脱去笔墨畦径，行间如幽兰丛竹，泠泠作风雨声，真神品也。”既是对这一诗帖的评赞，也是对“瘦金书”的艺术效果很好的概括。",[23,7,200,49,199,372,77,135,2524,2525,2526],"庭","露","霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff429bef1de6af3c93a64b6d6d677d91d.jpg","纵27.2厘米，横265.9厘米",[96],{"id":2531,"slug":2532,"title":2533,"dynasty":88,"author":549,"museum":72,"description":2534,"tags":2535,"thumbUrl":2536,"material":79,"size":2537,"collection":96,"collections":2538,"showCount":2517,"zanCount":788,"manualWeight":39,"mainColor":40},218543,"shu-lun-shu-mi-fei-218543","书论书","此帖是关于宋代四大书法家真迹的一部分，虽无行书，但被公认为米芾真迹。此帖也是米芾 尊晋重唐 的书法理念的体现，他推崇晋国书法家，贬低唐国书法家。米芾判断的最高境界是 简单而天真。与米芾在其他书中的反复变化相比，此帖沉稳内敛，有深沉的晋国韵味，他主张的审美规范是一致的。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf4c420e92725c7fca687156352387b.jpg","24.7x37",[96],{"id":2540,"slug":2541,"title":2542,"dynasty":45,"author":454,"museum":107,"description":2543,"tags":2544,"thumbUrl":2545,"material":95,"size":95,"collection":802,"collections":2546,"showCount":2547,"zanCount":39,"manualWeight":39,"mainColor":207},242190,"dong-han-cao-quan-bei-yi-ming-242190","东汉曹全碑","此作为汉隶经典范本，笔致秀逸灵动，波磔舒展柔婉却筋骨暗藏。通篇章法匀整疏朗，字距宽绰，行气舒缓从容，将东汉隶书成熟妍雅的风神尽显。\n\n拓本墨色沉凝古雅，刀痕与笔意交融，朴厚静穆的庙堂之气与娟秀飘逸的文人意趣相融共生。每字各尽姿态，或如垂柳拂风，或似流云卷舒，刚柔相济间法度暗藏。历经岁月淘洗，金石质感依旧清晰可感，静静诉说千年前的笔墨温度，尽显汉隶秀美一路的绝佳风貌。",[7,1613,198,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb45a6f33821c36606c8cb0fb6a8f021.jpg",[802],170,{"id":2549,"slug":2550,"title":2551,"dynasty":45,"author":46,"museum":126,"description":2552,"tags":2553,"thumbUrl":2554,"material":488,"size":2555,"collection":95,"collections":2556,"showCount":2547,"zanCount":882,"manualWeight":39,"mainColor":40},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,25,49,27,51,1689,59,60,7,651,360,55,56,57,333,473,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],{"id":2558,"slug":2559,"title":2560,"dynasty":18,"author":506,"museum":107,"description":2561,"tags":2562,"thumbUrl":2563,"material":312,"size":2564,"collection":35,"collections":2565,"showCount":2547,"zanCount":788,"manualWeight":39,"mainColor":40},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放，红色花朵娇艳欲滴，红花丛中绿叶渐渐长开，一个春天即将到来。",[23,24,25,75,50,27,131,238,298,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d44ddc3ccfb0f322631c48caa18fc7.jpg","61cmx33cm",[35,218],{"id":2567,"slug":2568,"title":2569,"dynasty":162,"author":194,"museum":1697,"description":2570,"tags":2571,"thumbUrl":2572,"material":2573,"size":2574,"collection":96,"collections":2575,"showCount":2547,"zanCount":882,"manualWeight":39,"mainColor":100},221058,"ji-bo-fu-wen-gao-yan-zhen-qing-221058","祭伯父文稿","《祭伯父文稿》又称《告伯父文稿》，全称《祭伯父濠州刺史文》。自署书于乾元元年(758年) ，行草书，文稿一篇。凡36行，计410字。原刻早佚，见宋《甲秀堂帖》本。",[23,7,60,432,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2e367d390d29de8fe53845c7e6dd7e.jpg","行草书","410字",[96,802],{"id":2577,"slug":2578,"title":2579,"dynasty":18,"author":294,"museum":72,"description":295,"tags":2580,"thumbUrl":2583,"material":33,"size":301,"collection":95,"collections":2584,"showCount":2547,"zanCount":882,"manualWeight":39,"mainColor":40},219873,"er-shi-si-fan-hua-xin-feng-tu-tong-hua-yu-mai-hua-dong-gao-219873","二十四番花信风图-桐花与麦花",[24,25,26,27,111,7,60,2581,2582,1177,30,284,77],"桐花","麦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb86962c9013f1d6120ae7f94813ca0.jpg",[],{"id":2586,"slug":2587,"title":2588,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":2590,"thumbUrl":2592,"material":751,"size":752,"collection":95,"collections":2593,"showCount":2594,"zanCount":39,"manualWeight":39,"mainColor":40},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,92,25,75,50,27,29,131,138,250,574,7,77,833,30,2591],"盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg",[],169,{"id":2596,"slug":2597,"title":2598,"dynasty":88,"author":89,"museum":72,"description":2599,"tags":2600,"thumbUrl":2607,"material":682,"size":2608,"collection":96,"collections":2609,"showCount":2594,"zanCount":39,"manualWeight":39,"mainColor":40},221283,"ba-su-shi-huang-zhou-han-shi-shi-huang-ting-jian-221283","跋苏轼黄州寒食诗","《黄州寒食诗卷跋》是黄庭坚在苏轼《黄州寒食诗帖》后写的一段跋语，此跋历来为人们所珍视，与原帖合称“双璧”。《寒食帖跋》表现了“黄书”的基本艺术特点。《跋文》用笔锋利爽截而富有弹性。其字写得藏锋护尾，纵横奇崛，其长笔画波势比较明显。由于黄庭坚善于把握字的松紧，因此形成了中宫收缩而四周放射的特殊形式感，人们也称其为辐射式书体。在布局上，《跋文》常从欹侧中求平衡，于倾斜中见稳定，因此变化无穷，曲尽其妙。从局部看，一行字忽左忽右，但从整体看，呼应对比，浑成一体。此跋给人以神情饱满，气势贯通的感受，决无荒率之病，达到了艺术的化境，所以他在最后不无得意地说：“他日东坡或见此书，应笑我于无佛处称尊也”。",[23,92,7,60,312,2601,2602,2603,2604,2605,2606,49,25],"宋代","墨书","笔力劲健","结体舒展","顿挫有致","墨色变化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee18dc5af9010f82b2dba444201b634.jpg","纵34.2公分，横199.5公分",[96],{"id":2611,"slug":2612,"title":2613,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":2615,"thumbUrl":2616,"material":79,"size":2617,"collection":96,"collections":2618,"showCount":2619,"zanCount":882,"manualWeight":39,"mainColor":100},214512,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-ou-yang-xun-214512","宋拓唐虞恭公温彦博碑","此卷名为《虞恭公温彦博碑》，由岑文本作，欧阳询撰文，唐代刻本，宋代拓本，是《蔼蔼高门》中 高 字的未损坏版本。精美的黑墨水地形图，经裁剪后装在小册子里。虞恭公温彦博碑，又称温彦博碑，立于唐贞观十一年（637年）十月，位于陕西省礼泉县。这块石碑是用纯文字书写的，共有36行77个字符。前言是四行16字的篆书。这块石碑是陕西礼泉昭陵太宗（李世民）墓的陪葬碑之一。\n这块石碑上的书法艺术具有极高的价值，被历代书法家所称道。王虚舟跋曰：“史称欧阳询卒于贞观间，年八十五岁，此碑书于贞观十一年，是率更最晚的作品。复四年，尚有小楷千文，计书此碑，亦已将八十矣。而圆秀膄劲，与《醴泉》、《化度》不殊，宜其特出有唐，为百代模楷也。",[23,7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ed2ced78623c5d7dd690f27719b9d0.jpg","18.3x9.2",[96],168,{"id":2621,"slug":2622,"title":2623,"dynasty":45,"author":2071,"museum":72,"description":2624,"tags":2625,"thumbUrl":2626,"material":682,"size":2627,"collection":95,"collections":2628,"showCount":2629,"zanCount":882,"manualWeight":39,"mainColor":40},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[23,24,25,49,111,27,113,56,57,2062,116,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","纵22厘米、横311厘米",[],167,{"id":2631,"slug":2632,"title":2633,"dynasty":18,"author":2634,"museum":72,"description":2635,"tags":2636,"thumbUrl":2637,"material":33,"size":2638,"collection":63,"collections":2639,"showCount":2629,"zanCount":882,"manualWeight":39,"mainColor":40},219533,"hui-yu-bi-zhong-qiu-tie-zi-shi-dong-bang-da-219533","绘御笔中秋帖子诗","董邦达","《中秋帖子词卷》是清代宫廷艺术的集大成之作，主要分为三部分：乾隆御笔题序、董邦达据乾隆词意绘画的山水画，以及内廷翰林据帖子词韵附和创作的诗文，并由大臣汪由敦抄写。卷中书画合壁，内容丰富，从这君臣和唱的山水诗画巨制中，可见乾隆皇在位初期锐意开创崭新气象的雄心壮志。",[24,27,51,113,55,458,56,57,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3831ec7dcdcdc2b2a1575be43d6b2da6.jpg","95.4x66.2厘米",[63],{"id":2641,"slug":2642,"title":2643,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":2644,"thumbUrl":2646,"material":751,"size":752,"collection":95,"collections":2647,"showCount":2648,"zanCount":882,"manualWeight":39,"mainColor":40},289650,"qiang-gen-ju-hua-tu-li-zhou-wu-chang-shuo-289650","墙跟菊花图立轴",[23,24,75,2645,27,140,250,77,7],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e6be5cc946debe5480bb68290241ce.jpg",[],166,{"id":2650,"slug":2651,"title":2652,"dynasty":18,"author":2653,"museum":72,"description":2654,"tags":2655,"thumbUrl":2656,"material":33,"size":95,"collection":95,"collections":2657,"showCount":2648,"zanCount":418,"manualWeight":39,"mainColor":40},214858,"xie-sheng-ce-6-hua-yan-214858","写生册-6","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,25,26,27,113,112,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9c91d8855b1b8d5a20426c52f9301b.jpg",[],{"id":2659,"slug":2660,"title":2661,"dynasty":1609,"author":2662,"museum":107,"description":2663,"tags":2664,"thumbUrl":2667,"material":751,"size":752,"collection":95,"collections":2668,"showCount":2669,"zanCount":788,"manualWeight":39,"mainColor":207},226521,"guan-jun-tie-zhang-zhi-226521","冠军帖","张芝","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[23,7,398,49,2665,2666],"古代书法","汉代草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8430773f56eb0dd4f44e420eff83f0b2.jpg",[],164,{"id":2671,"slug":2672,"title":2673,"dynasty":88,"author":369,"museum":72,"description":2674,"tags":2675,"thumbUrl":2676,"material":682,"size":2677,"collection":314,"collections":2678,"showCount":2669,"zanCount":39,"manualWeight":39,"mainColor":100},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,24,25,49,111,112,50,29,116,399,402,772,401,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[314,35,187],{"id":2680,"slug":2681,"title":2682,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":2683,"thumbUrl":2685,"material":751,"size":752,"collection":95,"collections":2686,"showCount":2687,"zanCount":39,"manualWeight":39,"mainColor":40},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山",[24,25,26,50,51,59,251,56,2684,1283,113,1074,7,77],"村居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg",[],163,{"id":2689,"slug":2690,"title":2691,"dynasty":88,"author":369,"museum":2692,"description":2693,"tags":2694,"thumbUrl":2696,"material":184,"size":2697,"collection":314,"collections":2698,"showCount":2687,"zanCount":788,"manualWeight":39,"mainColor":40},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","美国波士顿博物馆","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,92,24,25,49,111,27,29,131,2695,7,60,77],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[314,35,218],{"id":2700,"slug":2701,"title":2702,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":2704,"thumbUrl":2705,"material":95,"size":95,"collection":63,"collections":2706,"showCount":2707,"zanCount":581,"manualWeight":39,"mainColor":40},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,50,59,75,25,7,60,77,51,52,53,56,58,113,57,266,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[63,187],162,{"id":2709,"slug":2710,"title":2711,"dynasty":179,"author":225,"museum":126,"description":226,"tags":2712,"thumbUrl":2713,"material":79,"size":229,"collection":95,"collections":2714,"showCount":2707,"zanCount":39,"manualWeight":39,"mainColor":100},214291,"xiao-kai-luo-shen-fu-ce-2-zhao-meng-fu-214291","小楷洛神赋册-2",[23,25,7,199,384,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00df43ff9eb6f3472d958c7858636f68.jpg",[],{"id":2716,"slug":2717,"title":2718,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":2720,"thumbUrl":2721,"material":751,"size":752,"collection":95,"collections":2722,"showCount":2723,"zanCount":39,"manualWeight":39,"mainColor":100},289875,"xue-zhu-xu-wei-289875","雪竹","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[24,50,132,1677,250,7,77,75,129,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg",[],161,{"id":2725,"slug":2726,"title":2727,"dynasty":18,"author":411,"museum":107,"description":2728,"tags":2729,"thumbUrl":2730,"material":477,"size":2731,"collection":187,"collections":2732,"showCount":2723,"zanCount":418,"manualWeight":39,"mainColor":40},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[23,24,49,50,51,59,7,77,56,1678,553,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纵20厘米，横762厘米",[187],{"id":2734,"slug":2735,"title":2736,"dynasty":88,"author":89,"museum":72,"description":2737,"tags":2738,"thumbUrl":2744,"material":682,"size":2745,"collection":96,"collections":2746,"showCount":2723,"zanCount":418,"manualWeight":39,"mainColor":789},221272,"song-feng-ge-shi-huang-ting-jian-221272","松风阁诗","松风阁在湖北省鄂州市之西的西山灵泉寺附近，海拔160多米，古称樊山，是当年孙权讲武修文、宴饮祭天的地方。宋徽宗崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，听松涛而成韵。",[23,7,60,77,133,2739,651,2740,2741,2742,2743,1004,1002,589,458],"泉","川","野僧","寒溪","坡道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42961cbb5e0e34b9ca3df7fc4aa599c5.jpg","纵32．8厘米 横219．2厘米",[96],{"id":2748,"slug":2749,"title":2750,"dynasty":88,"author":2751,"museum":648,"description":2752,"tags":2753,"thumbUrl":2754,"material":27,"size":2755,"collection":96,"collections":2756,"showCount":2723,"zanCount":788,"manualWeight":39,"mainColor":207},221203,"hou-chi-bi-fu-quan-juan-zhao-shen-221203","后赤壁赋全卷","赵昚","由于该作之末没有作者的款识，因此对于书写人是谁这一问题，从元代起就有不同的说法：有人认为是宋徽宗赵佶所书，有人认为是宋高宗赵构之作，还有人认为是宋孝宗赵昚手笔。（注：关于书作者问题，元朝的俞贞木认为是赵佶所书，但遭到了同为元朝人黄本等人的质疑。杨仁恺指出，《后赤壁赋》为赵昚作品，并提出了相关论据。具体详见《关于宋孝宗赵昚的几点考察》，载《杨仁恺书画鉴定集》）赵昚学赵构书法很像，几可乱真。从书写上分析，赵昚作字较之赵构，往往落笔凝重不够，结字略显松懈。检视此卷，正有这样的欠缺。再则，赵昚更喜爱苏轼诗文，因此这件草书《后赤壁赋》卷当出自赵昚之手。\n书法是历代帝王在登基之前的必修课，它关乎一国之君的脸面和尊严。他们学习、接受诗文、书画之类的传统文化，表示出对文化的崇敬和亲近，这样做有利于稳固统治地位。上述徽宗赵佶、高宗赵构、孝宗赵昚即是例证。\n在各种书体的书写中，草书最为简洁洗练。一个十分复杂的汉字，可以简略成几根线条；一 件草书作品，只需连续几个动作，连绵而下，便告成功。如果说楷、隶、篆书行笔舒缓，如端人正襟危坐，那么草书则更具动感，兼能含纳激越之情。可以这么说，人人都能写楷、隶、篆书，但草书绝不会是人人都可以写好的。由于草书省去了许多笔画，使空间结构产生了很大变化，更须理清脉络，这对书家的技巧要求就更高、更精。如果不明草理、不依草法，而任墨成形、信笔为体，就难免会产生失误，作品也就会演变成无法辨识的“天书”。草书书写全然是精神化的漫游，是人精神的一种外现。依此来审视这卷草书，我们就会发现赵昚是具备书写技巧的书法家。他以心灵对草书作出深刻体验，使性情与功力相得益彰。\n在南宋，以赵构为中心，学习书法风气甚浓，成为小朝廷“中兴”的一种点缀。赵昚受这种气氛的影响，爱好书法也是理所当然的事。他曾自称“无他嗜好，或得暇，惟读书写字为娱”（马宗霍《书林纪事》）。在书法上，赵昚秉承家法，并有机会得到赵构的亲授，故明陶宗仪在《书史会要》中说：“孝宗书有家庭法度。”这件草书《后赤壁赋》卷结字循规蹈矩，草法纯熟而严谨，笔画秀劲匀整，笔意圆润，行笔圆转流畅，又具有沉着遒劲的韵致，颇具流畅而能浑厚、飞动而兼沉着之美。作品通篇气象浑穆，一气呵成，可见书者书写时神完气足、兴致清畅。面对此作，我们仿佛看到赵昚把笔濡墨，在那一段磁青绢上舒心挥毫，营造出一片春云浮空、卷舒起伏、变化多端的图景。此作虽为草书，读之却使人感受到不温不火、从容自如的大将风范。赵昚书法无连绵苟且之习，用笔起讫分明，笔笔清楚，字字独立而气脉连贯，易于辨识。我们可以从中抽出单个的字来一一欣赏，即便脱离整幅的语言环境也不碍观瞻。赵昚此卷有自家面貌，但也渊源有自，从笔意、字势中均可看到唐、宋书家对他的影响。注重法度是赵昚书法之长，这与苏轼主张“真生行，行生草，真如立，行如行，草如走，未有未能行立而能走者”是一致的。世云“唐人尚法，宋人尚意”，是就唐与宋的整体书风而言的；倘若专论草书，宋人也是“尚法”的。赵昚书法即可印证这一点。",[23,49,7,25,60,457,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cd876766aeb129bded31c4aa34e7c0.jpg","26.9x621",[96],{"id":2758,"slug":2759,"title":2760,"dynasty":179,"author":225,"museum":20,"description":2761,"tags":2762,"thumbUrl":2766,"material":184,"size":2767,"collection":96,"collections":2768,"showCount":2723,"zanCount":418,"manualWeight":39,"mainColor":40},220848,"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[23,49,7,60,54,1679,678,2763,679,651,282,2764,2765,77],"秋风","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[96],{"id":2770,"slug":2771,"title":2772,"dynasty":88,"author":308,"museum":20,"description":2773,"tags":2774,"thumbUrl":2775,"material":79,"size":2776,"collection":96,"collections":2777,"showCount":2723,"zanCount":788,"manualWeight":39,"mainColor":40},218559,"da-xie-min-shi-tie-juan-su-shi-218559","答谢民师帖卷","释文：“轼启。是文之意疑若不然，求物之妙如系风捕影，能使是物了然于心者，盖千万人而不一遇也。而况能使了然于口与手者乎。是之谓词达，词至于能达，则文不可胜用矣。扬雄好为艰深之词，以文浅易之说，若正言之，则人人知之矣，此正所谓琱虫篆刻者。其《太玄》《法言》皆是物也，而独悔于赋何哉?终身琱虫而独变其音节，便谓之经，可乎。屈原作《离骚》经，盖风雅之再变者。虽与日月争光可也，可以其似赋而谓之琱虫乎。使贾谊见孔子，升堂而有余矣。而乃以赋鄙之，至与司马相如同科。雄之陋如此比者甚众，可与知者道，难与俗人言也，因论文偶及之耳。欧阳文忠公言，文章如精金美玉，市有定价，非人所能以口舌贵贱也。纷纷多言，岂能有益于左右，愧悚不已。所须惠力法雨堂字，轼本不善作大字，强作终不佳。又舟中局迫难写，未能如教，然则方过临江，当往游焉。或僧有所欲记录，当为作数句留院中，慰左右念亲之意。今日已至峡山寺，少留即去，愈远惟万万以时自爱不宣。轼顿首再拜。民师帐句推官阁下，十一月五日。” 此帖卷首已残，晚明以降，藏家王衡请娄坚仿苏轼书体补写阙文。录如下:“近奉违亟辱问讯，具审起居佳胜，感慰深矣。受性刚简，学迂材下，坐废累年，不敢复齿缙绅。自海还北，见平生亲旧，惘然如隔世人，与左右无一日之雅，而敢求交乎?数赐见临，倾盖如放，幸甚。过望不可言也。所示书教及杂文，视之熟矣。大略如行云流水，初无定质，但常行于所当行，常止于不可不止。文理自然，姿态横生。孔子曰:言之不文，行之不远。又曰:词达而已矣。夫词止于达意，则疑若不文，是大不然。”",[25,49,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895dee5b027d4fad9b0c1f3a56c8960f.jpg","27x96.5cm",[96],{"id":2779,"slug":2780,"title":2781,"dynasty":88,"author":2782,"museum":2783,"description":2784,"tags":2785,"thumbUrl":2786,"material":94,"size":95,"collection":171,"collections":2787,"showCount":2788,"zanCount":39,"manualWeight":39,"mainColor":40},214651,"bu-dai-he-shang-tu-hu-zhi-fu-214651","布袋和尚图","胡直夫","日本京都野村博物馆","这是一幅简单的佛教僧侣回望尘世并返回斗室宫的画作。南宋画家胡直夫主要活跃在宋末元初，从事山水和人物画创作。他的白描技术来自于李公麟，他的笔触强而有力。他的人字形线描继续出现在后来的一般佛教色彩画中，并成为道教和佛教主题人物的一种特殊风格。他的大部分画作现在都被日本人收藏了。这幅画得到了景山比丘如燕的赞许。",[23,24,25,75,112,50,878,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093d29532ba9d45dca29e6f299658810.jpg",[171],160,{"id":2790,"slug":2791,"title":2792,"dynasty":179,"author":225,"museum":126,"description":2793,"tags":2794,"thumbUrl":2795,"material":312,"size":2796,"collection":96,"collections":2797,"showCount":2798,"zanCount":581,"manualWeight":39,"mainColor":40},220841,"huang-ting-jing-zhao-meng-fu-220841","黄庭经","《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。《黄庭经》引，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开朗之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》， 因此，又俗称《换鹅帖》，无款，末署“永和十二年（356）五月”，现今留传的只是后世的摹刻本了。",[23,7,386,199,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a6a4cd3ec1c6039daa34a804981861.jpg","26.5X485.4cm",[96],159,{"id":2800,"slug":2801,"title":2802,"dynasty":88,"author":1749,"museum":107,"description":2803,"tags":2804,"thumbUrl":2805,"material":95,"size":95,"collection":95,"collections":2806,"showCount":2807,"zanCount":882,"manualWeight":39,"mainColor":40},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,92,49,25,27,59,113,51,1018,57,56,267,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":2809,"slug":2810,"title":2811,"dynasty":179,"author":2238,"museum":279,"description":2812,"tags":2813,"thumbUrl":2814,"material":2815,"size":2816,"collection":63,"collections":2817,"showCount":2818,"zanCount":882,"manualWeight":39,"mainColor":40},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[23,24,25,49,50,59,51,132,589,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纸本水墨","纵25.7厘米，横380厘米",[63,187],156,{"id":2820,"slug":2821,"title":2822,"dynasty":179,"author":225,"museum":2823,"description":2824,"tags":2825,"thumbUrl":2835,"material":312,"size":2836,"collection":96,"collections":2837,"showCount":2818,"zanCount":581,"manualWeight":39,"mainColor":40},220890,"lou-shi-ming-zhao-meng-fu-220890","陋室铭","广东省博物馆","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[23,7,60,385,2826,2827,651,360,359,2828,2829,2830,2831,2832,2833,2834],"笔法圆润","结体秀逸","仙","琴","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纵49厘米、横131厘米",[96],{"id":2839,"slug":2840,"title":2841,"dynasty":18,"author":19,"museum":107,"description":2842,"tags":2843,"thumbUrl":2844,"material":27,"size":2845,"collection":35,"collections":2846,"showCount":2818,"zanCount":11,"manualWeight":39,"mainColor":100},220136,"yan-qiu-tu-yun-shou-ping-220136","艳秋图","此作为没骨花鸟之佳作，以晕染代勾勒，将秋花柔姿与顽石苍朴相融。红白菊花错落在嶙峋奇石间，瓣层舒展鲜活，设色明雅清润，艳而不俗。旁侧秋卉轻曳，石畔细草偃仰，层次铺陈自然和谐。\n\n画中不见刚硬线条，全以色泽晕染出花叶的蓬松柔润、山石的糙粝质感，将秋日群芳的妍丽雅致晕于绢素，鲜活灵动间满溢江南文人的温婉意趣。写实中暗含写意闲情，晕染出深秋清妍静雅的澹澹秋韵。",[23,24,25,75,27,28,1049,2019,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6547396a7425eb4e68a17e14638ceff.jpg","165×69.7厘米",[35],{"id":2848,"slug":2849,"title":2850,"dynasty":18,"author":1464,"museum":442,"description":2851,"tags":2852,"thumbUrl":2863,"material":79,"size":2864,"collection":63,"collections":2865,"showCount":2818,"zanCount":882,"manualWeight":39,"mainColor":40},220092,"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","根据《中国画史馨香录》书中所记，此题画诗原出自郑旼康熙戊申（1668年）录“渐公题诗二十三首”手钞本，1934年，许承尧录寄黄宾虹。渐江和尚画笔师法云林，又得徽州山水特别是黄山松壑云泉的蒙养，加之性格刚硬，所以其画并不为云林所囿。磊磊落落，逋峭冷隽，笔底山川，或幽深邃密，或峻拔嵯峨，气象高华而趣味淡宕，人品画品皆为时称道，是新安派中首屈一指的领军人物。观此卷气象，以平远式构图表现，岩壑奇秀，奇松点缀其中，沿江景物，用笔瘦硬，皴染枯淡而墨韵清润。以刚劲凝练的笔线勾勒，折带皴、披麻皴交互为用，山峰之间，礁石垒叠，疏疏密密、大大小小，形成参差错落的“矾块”，山峰中的涧溪，曲折逶迤而下，形如盘龙出水，跳荡击石，泠然有声。清人杨翰曾评论其突出的风格：“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”当时本幅之写照。此卷诗题：“清秋凝目郁苍苍，百里嶙峋一草堂。世代频更人不到，未燔书尽此中藏。",[24,49,50,1328,59,2853,2854,2855,2856,2857,2858,2859,2860,2861,2862,7,60],"折带皴","披麻皴","岩壑","奇松","礁石","涧溪","草堂","清润","冷隽","清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689de6099893b4044c6746888a67279c.jpg","引首17.5×66.5cm；画心17.5×131cm；题跋17.5×83.5cm",[63,187],{"id":2867,"slug":2868,"title":2869,"dynasty":105,"author":1642,"museum":20,"description":2870,"tags":2871,"thumbUrl":2872,"material":94,"size":2873,"collection":96,"collections":2874,"showCount":2818,"zanCount":882,"manualWeight":39,"mainColor":100},214519,"ya-tou-wan-tie-wang-xian-zhi-214519","鸭头丸帖","书写有力，笔触娴熟，笔触灵动有力，风格轻松；用墨明确，墨色清晰，由湿到干，由浓到淡的变化。用笔通常是 向外宽，与王羲之的 向内凹 相反，线条柔和、舒展，形态自然、优美。",[92,24,25,7,398,312,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe0321ef54ba0e17ef41c3f66f72320.jpg","26.1x26.9",[96],{"id":2876,"slug":2877,"title":2878,"dynasty":162,"author":794,"museum":126,"description":2879,"tags":2880,"thumbUrl":2881,"material":33,"size":2882,"collection":218,"collections":2883,"showCount":2884,"zanCount":418,"manualWeight":39,"mainColor":40},219970,"wu-niu-tu-han-huang-219970","五牛图","《五牛图》中的五头牛从右至左一字排开，各具状貌，姿态互异。一俯首吃草荆棵蹭痒，一翘首前仰缓步前行，一纵峙而鸣，一回首舐舌，一络首而立。整幅画面除最后右侧有一小树外，没有其他的背景，因此每头牛可独立成章。",[23,24,25,49,27,111,77,7,60,797,798],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00eb300bc9aeab656f3c3031a5036af.jpg","纵20.8厘米，横139.8厘米",[218],155,{"id":2886,"slug":2887,"title":2888,"dynasty":162,"author":1060,"museum":107,"description":2889,"tags":2890,"thumbUrl":2891,"material":751,"size":752,"collection":95,"collections":2892,"showCount":2893,"zanCount":39,"manualWeight":39,"mainColor":40},288064,"jiu-cheng-gong-li-quan-ming-ou-yang-xun-288064","九成宫醴泉铭","欧阳询（生卒年不详），字信本，潭州临湘县（今湖南长沙市）人。唐朝大臣、书法家。欧阳纥之子。\n隋炀帝即位，欧阳询出任太常博士。武德三年（620年），投靠夏王窦建德，授太常卿一职。武德五年（622年），归顺唐高祖李渊，授侍中，累迁银青光禄大夫、给事中、太子率更令、弘文馆学士，册封渤海县男，主持编撰《艺文类聚》。贞观初年去世，时年八十五岁。\n欧阳询精通书法，与虞世南、褚遂良、薛稷三位并称“初唐四大家”。因其子欧阳通善于书法，父子俩被合称为“大小欧”。书法于平正中见险绝，号为“欧体”。代表作：楷书有《九成宫醴泉铭》《皇甫诞碑》《化度寺碑》，行书有《仲尼梦奠帖》《行书千字文》。对书法有其独到的见解，有书法论著《八诀》《传授诀》《用笔论》《三十六法》。所写《化度寺邑禅师舍利塔铭》《虞恭公温彦博碑》《皇甫诞碑》被称为“唐人楷书第一”。",[199,7,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b338cf028ed860694d897ef6773d8.jpg",[],153,{"id":2895,"slug":2896,"title":2897,"dynasty":179,"author":759,"museum":279,"description":2898,"tags":2899,"thumbUrl":2900,"material":94,"size":2901,"collection":35,"collections":2902,"showCount":2893,"zanCount":39,"manualWeight":39,"mainColor":100},214295,"han-mei-tu-wang-mian-214295","寒梅图","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[23,24,25,75,50,7,60,131,115,1763,1455,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","113x50.2",[35],{"id":2904,"slug":2905,"title":2906,"dynasty":88,"author":2907,"museum":72,"description":2908,"tags":2909,"thumbUrl":2910,"material":79,"size":2911,"collection":96,"collections":2912,"showCount":2893,"zanCount":788,"manualWeight":39,"mainColor":100},214223,"xing-shu-qi-yan-jue-ju-zhou-wu-ju-214223","行书· 七言绝句轴","吴琚","这首七字诗是根据蔡襄的诗句写的，是宋代罕见的书法作品。吴氏的字俊美优雅，形体和姿态都与米芾一脉相承，但与北宋书法家的作品相比，吴琚的用笔快速有力，偶尔有飞白，显示出南宋书法家更注重渲染上下和整体的主旨，而不是对每个单字的提炼和完善。",[23,92,24,25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb61b45191b67798358ba3eb2af0473.jpg","98.6x55.3",[96],{"id":2914,"slug":2915,"title":1871,"dynasty":45,"author":2916,"museum":107,"description":2917,"tags":2918,"thumbUrl":2920,"material":751,"size":752,"collection":95,"collections":2921,"showCount":2922,"zanCount":418,"manualWeight":39,"mainColor":40},290309,"sui-chao-tu-zhou-lu-zhi-290309","陆治","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[92,24,25,75,27,29,131,138,135,834,7,77,2919],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":2924,"slug":2925,"title":2926,"dynasty":662,"author":663,"museum":442,"description":2927,"tags":2928,"thumbUrl":2932,"material":33,"size":2933,"collection":35,"collections":2934,"showCount":2922,"zanCount":39,"manualWeight":39,"mainColor":40},216934,"deng-shu-zhou-qi-bai-shi-216934","灯鼠轴","案头油灯亮着红芯，剪刀斜倚灯旁，两只灰鼠各有姿态——一只攀柱啃噬灯芯，长尾垂落；一只蹲坐地上，抬首望灯，胡须微颤似嗅暖意。笔墨极简，鼠的憨态却跃然纸上：浓淡墨色晕染出绒绒质感，细长尾巴勾勒灵动，寥寥几笔便捉住鼠的机警与贪馋。灯柱线条稚拙却稳当，红烛芯如点睛之笔，在素净纸面上添了一抹鲜活。题字与画面相映，把日常小景写成逸趣，没有刻意雕琢，却藏着对生活细微处的体察，似在说寻常烟火里也有这般可爱的瞬间。",[23,24,50,27,75,129,2929,2930,2931,834,77,7],"鼠","灯","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1eaa5d9a0084397f64b5881322f7b2d.jpg","67.5x33.5cm",[35],{"id":2936,"slug":2937,"title":2938,"dynasty":18,"author":2378,"museum":263,"description":2939,"tags":2940,"thumbUrl":2941,"material":33,"size":95,"collection":35,"collections":2942,"showCount":2922,"zanCount":882,"manualWeight":39,"mainColor":40},214821,"shan-shui-hua-hui-tu-ce-gao-feng-han-214821","山水花卉图册","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,25,26,50,27,57,135,76,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cf54d8ff98e36838fdc0046806b6e0.jpg",[35],{"id":2944,"slug":2945,"title":2946,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":2948,"thumbUrl":2949,"material":751,"size":752,"collection":95,"collections":2950,"showCount":2951,"zanCount":882,"manualWeight":39,"mainColor":40},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,75,92,51,131,458,52,53,54,115,7,77,27,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":2953,"slug":2954,"title":2955,"dynasty":45,"author":744,"museum":279,"description":2956,"tags":2957,"thumbUrl":2960,"material":27,"size":752,"collection":95,"collections":2961,"showCount":2951,"zanCount":788,"manualWeight":39,"mainColor":40},289993,"chang-e-zhi-gui-tu-zhou-tang-yin-289993","嫦娥执桂图轴","图中嫦娥裙带飘飘，神形温婉美丽，手持挂花，头部线条圆和流畅，勾染得当，美人风姿毕现，面容白色晕染，如月色清凝，皎洁典雅。",[24,75,27,111,113,114,899,2958,7,77,2959],"桂花","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff870a7fc8cbcdde03510dd532e6c43cd.jpg",[],{"id":2963,"slug":2964,"title":2965,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":2969,"thumbUrl":2970,"material":198,"size":2971,"collection":96,"collections":2972,"showCount":2951,"zanCount":39,"manualWeight":39,"mainColor":100},220152,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-liu-gong-quan-220152","神策军碑-皇帝巡幸左神策军纪圣德碑","柳公权","北京国家图书馆","《神策军碑》全称《皇帝巡幸左神策军纪圣德碑》，唐武宗会昌三年（公元843年）立于皇宫禁地，碑石大小不明，崔铉撰文，柳公权书。碑文记录了回纥汗国灭亡及安辑没斯来降等事，具有重要的历史价值。此碑由翰林学士承旨崔铉撰文，集贤院学士判院事柳公权书写，更增添了此碑的艺术价值。柳公权书写的碑文，其书法结构严整，充分体现了“柳体”楷书骨骼开张、平稳匀称的特点，加之此碑刻工精良，拓本与真迹无异，故后世奉为柳书代表作。",[7,199,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0efbad0515922eed1dfa4d8487673ed2.jpg","58X46",[96],{"id":2974,"slug":2975,"title":2976,"dynasty":45,"author":2977,"museum":442,"description":2978,"tags":2979,"thumbUrl":2981,"material":33,"size":95,"collection":63,"collections":2982,"showCount":2951,"zanCount":39,"manualWeight":39,"mainColor":40},216324,"han-xi-meng-xiu-song-yuan-ming-ji-ce-bian-dou-qing-ting-tu-han-xi-meng-216324","韩希孟绣宋元名迹册·扁豆蜻蜓图","韩希孟","针丝摹宋元清韵，绣线藏自然生机。藤蔓婉转牵绕，叶片青绿层次晕染，脉络清晰可触；淡蓝小花缀枝，豆荚饱满似含晨露，嫩黄浅绿间漾着鲜活。两只蜻蜓停落藤蔓，翅脉细如游丝，羽翼薄透若纱，身纹斑斓细腻，姿态轻盈灵动，仿佛振翅欲飞。绣艺疏密得宜，色彩雅淡天成，将夏日庭院的清寂与鲜活凝于方寸，经纬间藏纳草木情致，尽显闺阁绣工的精工巧思与诗意才情。",[2980,26,27,29,1050,1175,284,1455,7],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e24cbd413857474856d33165f232536.jpg",[63,35],{"id":2984,"slug":2985,"title":2986,"dynasty":88,"author":89,"museum":72,"description":2987,"tags":2988,"thumbUrl":2989,"material":2990,"size":2991,"collection":96,"collections":2992,"showCount":2993,"zanCount":882,"manualWeight":39,"mainColor":100},221264,"lin-su-shi-hai-tang-shi-juan-huang-ting-jian-221264","临苏轼海棠诗卷","黄庭坚的行书雄强刚劲，沉着痛快，展现出独特的个人魅力。董其昌有这样的评语：“山谷老人得笔于《瘗鹤铭》，又参杨凝式骨力，其欹侧之势，正欲破俗书姿媚。昔人云：右军如凤翥鸾翔，迹似奇而反正，黄书宗旨近之，盖见事苏而弟蓄米，自负不小。”\n此帖为黄庭坚书《七言绝句册》，创作于宋神宗熙宁七年（1074年），中国台北故宫博物院藏。据款识黄庭坚是年仅二十九岁，作书内含清刚之气，端庄雅正，初露峥嵘。",[7,25,49,110,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbd196ba66c2f911d296063da35fda1.jpg","卷","34.5x263",[96],149,{"id":2995,"slug":2996,"title":2997,"dynasty":105,"author":2112,"museum":126,"description":2998,"tags":2999,"thumbUrl":3000,"material":95,"size":95,"collection":96,"collections":3001,"showCount":2993,"zanCount":581,"manualWeight":39,"mainColor":40},221017,"chun-hua-ge-tie-xuan-shi-biao-zhong-yao-221017","淳化阁帖宣示表","宣示表，故宫博物院藏，著名小楷法帖，原为三国时魏钟繇所书，真迹不传于世。只有刻本，一般论者部认为是根据王羲之临本摹刻，始见于宋《淳化阁帖》，共18行。后世阁帖、单本多有翻刻，应以宋刻宋拓本为佳。此帖较钟繇其他作品，无论在笔法或结体上，都更显出一种较为成熟的楷书体态和气息，点画遒劲而显朴茂，字体宽博而多扁方，充分表现了魏晋时代正走向成熟的楷书的艺术特征。",[7,199,200,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6c853dfd420ca1bbc6c91fdf8c5872.jpg",[96],{"id":3003,"slug":3004,"title":2290,"dynasty":45,"author":454,"museum":72,"description":3005,"tags":3006,"thumbUrl":3007,"material":822,"size":95,"collection":95,"collections":3008,"showCount":3009,"zanCount":882,"manualWeight":39,"mainColor":40},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,25,49,50,51,59,7,77,110,651,360,56,54,52,53,55,116,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":3011,"slug":3012,"title":3013,"dynasty":88,"author":3014,"museum":107,"description":3015,"tags":3016,"thumbUrl":3017,"material":33,"size":3018,"collection":171,"collections":3019,"showCount":3020,"zanCount":788,"manualWeight":39,"mainColor":40},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","马远","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,92,24,25,49,50,27,113,51,133,116,250,53,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[171],146,{"id":3022,"slug":3023,"title":3024,"dynasty":162,"author":454,"museum":3025,"description":3026,"tags":3027,"thumbUrl":3030,"material":27,"size":95,"collection":171,"collections":3031,"showCount":3020,"zanCount":788,"manualWeight":39,"mainColor":100},217906,"guan-yin-jing-bian-tu-juan-yi-ming-217906","观音经变图卷","法国国家图书馆","画面分栏叙事，线条如铁线银钩，遒劲中藏柔婉；设色古拙温润，晕染间沉淀着岁月的厚重。左侧人物仪态娴雅，衣纹流转似携清风；中间鬼怪造型夸张，狰狞里仍见动态生机；右侧场景描摹细致，骑乘的昂扬与受刑的肃穆形成对照，暗合经文中的因果寓意。图文相生，将抽象经义化作具象图景，既有宗教的神圣感，又融入世俗生活的烟火气。每一处细节皆显匠心，把经卷故事铺展得鲜活可感，尽显唐代经变画的叙事魅力与艺术高度。",[162,49,878,27,113,7,3028,3029],"敦煌","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a302c97f60fce4016a6eb33371fd9c1.jpg",[171],{"id":3033,"slug":3034,"title":3035,"dynasty":18,"author":1387,"museum":107,"description":3036,"tags":3037,"thumbUrl":3042,"material":95,"size":95,"collection":95,"collections":3043,"showCount":3044,"zanCount":39,"manualWeight":39,"mainColor":789},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[23,24,25,7,110,60,50,77,651,3038,132,53,3039,3040,3041],"林","天","风","鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],145,{"id":3046,"slug":3047,"title":3048,"dynasty":179,"author":1324,"museum":107,"description":3049,"tags":3050,"thumbUrl":3051,"material":751,"size":752,"collection":95,"collections":3052,"showCount":3053,"zanCount":581,"manualWeight":39,"mainColor":40},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[23,92,24,75,50,51,704,250,53,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],144,{"id":3055,"slug":3056,"title":3057,"dynasty":18,"author":599,"museum":3058,"description":3059,"tags":3060,"thumbUrl":3061,"material":95,"size":95,"collection":35,"collections":3062,"showCount":3053,"zanCount":788,"manualWeight":39,"mainColor":40},237887,"zheng-xie-lan-shi-zhou-zheng-ban-qiao-237887","郑燮兰石轴","重庆中国三峡博物馆","此展品为清代的书画，此轴以水墨绘石上兰竹。笔墨洒脱，竹枝新发，兰草妙曼。山石以侧锋勾勒，微微点苔。布局疏密相间，别致雅趣。",[24,50,75,139,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491c7eb56947056680423de9cd451ae.jpg",[35,187],{"id":3064,"slug":3065,"title":3066,"dynasty":18,"author":3067,"museum":72,"description":3068,"tags":3069,"thumbUrl":3071,"material":33,"size":3072,"collection":63,"collections":3073,"showCount":3053,"zanCount":882,"manualWeight":39,"mainColor":100},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","王翚","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,25,75,27,51,3070,57,266,53,458,56,77,7,60,59],"红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[63,218],{"id":3075,"slug":3076,"title":3077,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":3078,"thumbUrl":3080,"material":751,"size":752,"collection":95,"collections":3081,"showCount":3082,"zanCount":788,"manualWeight":39,"mainColor":40},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536","燕喜鱼乐轴",[24,92,75,25,111,27,29,137,1390,116,7,77,3079],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":3084,"slug":3085,"title":3086,"dynasty":3087,"author":3088,"museum":107,"description":3089,"tags":3090,"thumbUrl":3094,"material":95,"size":95,"collection":95,"collections":3095,"showCount":3082,"zanCount":788,"manualWeight":39,"mainColor":40},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","南北朝","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,92,24,25,49,111,27,113,1074,3091,77,7,60,3092,432,433,3093,167],"书","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],{"id":3097,"slug":3098,"title":3099,"dynasty":162,"author":194,"museum":1861,"description":3100,"tags":3101,"thumbUrl":3102,"material":3103,"size":3104,"collection":96,"collections":3105,"showCount":3106,"zanCount":39,"manualWeight":39,"mainColor":100},221057,"zi-shu-gao-shen-tie-yan-zhen-qing-221057","自书告身帖","《自书告身》，楷书纸本， 凡三十三行，二百五十三字，结衔小字十三行，传为颜真卿所书的墨迹。今藏日本中村不折氏书道博物馆。\n该帖端庄朴厚，苍劲有力，用一种高古气象和庙堂之气，为其晚年风格成熟时期的代表作品。\n《自书告身》为内府旧藏之物，前有纯庙前有御书十余行，隔水绫上复嵌御书数小行，后有米友仁、蔡襄、董其昌三跋，又朱朗白一跋，颜书墨彩已脱。后为清宫石渠宝笈之物。",[23,7,199,49,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec64bbb5452235f254da554a2a394817.jpg","楷书纸本","386字",[96,802],141,{"id":3108,"slug":3109,"title":3110,"dynasty":179,"author":1324,"museum":72,"description":3111,"tags":3112,"thumbUrl":3116,"material":79,"size":752,"collection":95,"collections":3117,"showCount":3118,"zanCount":882,"manualWeight":39,"mainColor":40},290956,"jiang-an-wang-shan-tu-ni-zan-290956","江岸望山图","由画上题诗，知为赠行而作，受赠者由水路去会稽，因而画舟中望两岸之景。款上称“并写江岸望山图奉送惟允友契之会稽”，惟允为陈汝言之字，但“惟允”二字，与其他题诗之字比较起来，笔迹不似，疑系后人妄改，藉以增加此画之身价。\n倪氏早年从董巨入手，五十几岁时，山石全用披麻长皴；至六十岁则渐入荆关，笔简气壮。晚年则是明显的折带皴法，呈现静穆萧疏的风格。该幅画高树空亭，隔岸望山，山上长皴，未成折带，利用苔点﹑深浅皴法及留白的运用，将山石立体实感呈现而出，气势雄壮，与其晚年渴笔皴擦之冷峻坚实的山石较不同。清吴升曾评此画：“皴法全用大披麻，得巨然神髓。迂翁画大抵平远山峰，不多作树；似此高崖峭壁，具太华削成之势；大小树点叶纷披，都非向来面目，乃知此翁绘妙中扫空蹊径，有如许大手笔也。”",[24,50,51,55,704,57,2392,7,77,3113,3114,3115],"清寂","江景","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae1ca51152d8dd2051b65e995e59abd.jpg",[],140,{"id":3120,"slug":3121,"title":3122,"dynasty":45,"author":689,"museum":3123,"description":3124,"tags":3125,"thumbUrl":3126,"material":1179,"size":3127,"collection":63,"collections":3128,"showCount":3129,"zanCount":39,"manualWeight":39,"mainColor":40},221882,"chu-chu-tu-juan-quan-juan-chen-hong-shou-221882","出处图卷全卷","张大千先生的旧藏","画卷前后隔水留下了他的墨宝。此卷是陈洪绶在去世前一年为周亮工所作，这一年陈洪绶相继为周亮工一共创作了42件作品，《出处图》则是其中的精品。展卷之后可见诸葛亮与陶渊明盘坐于树下正侃侃而谈，诸葛亮头戴“诸葛巾”，陶渊明则手抚无弦琴，形象格调高古，气韵不凡，人物衣袖由一根根行云流水般的线条绘就，每根线条都不另起笔，如若不加停顿似的一气呵成，而线条与线条的排列则构成了陈洪绶特有的韵味。",[23,24,25,49,111,27,113,51,56,53,250,7,60,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9517553124fbf7960f3c43dce25b9cc5.jpg","26×195cm",[63,218],139,{"id":3131,"slug":3132,"title":3133,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":3134,"thumbUrl":3137,"material":751,"size":752,"collection":95,"collections":3138,"showCount":3139,"zanCount":882,"manualWeight":39,"mainColor":40},288300,"ba-da-shan-ren-xing-kai-qian-zi-wen-zhu-da-288300","八大山人行楷千字文",[7,3135,60,199,200,3136],"行楷","千字文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb304caf1691d1b609551af57383ce73c.jpg",[],138,{"id":3141,"slug":3142,"title":3143,"dynasty":45,"author":689,"museum":20,"description":3144,"tags":3145,"thumbUrl":3146,"material":169,"size":3147,"collection":171,"collections":3148,"showCount":3139,"zanCount":882,"manualWeight":39,"mainColor":100},219416,"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[24,75,27,113,131,834,7,77,433,432,167,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","纵100.8厘米，横49.4厘米",[171],{"id":3150,"slug":3151,"title":3152,"dynasty":88,"author":308,"museum":72,"description":3153,"tags":3154,"thumbUrl":3156,"material":79,"size":857,"collection":96,"collections":3157,"showCount":3139,"zanCount":418,"manualWeight":39,"mainColor":40},214384,"du-hai-tie-su-shi-214384","渡海帖","苏轼在三年（1100年）搬到凉州时，给他的朋友赵梦得写了这封信。此作品又称 渡海帖，是典型的苏轼风格，刚劲有力，沉着痛快，为其晚期代表作。",[7,60,77,25,3155,385],"尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b1387d0b5d4f6ba8adbaac7c6d1ae.jpg",[96],{"id":3159,"slug":3160,"title":3161,"dynasty":162,"author":3162,"museum":648,"description":3163,"tags":3164,"thumbUrl":3165,"material":2358,"size":95,"collection":96,"collections":3166,"showCount":3167,"zanCount":788,"manualWeight":39,"mainColor":100},221080,"gu-shi-si-tie-quan-juan-zhang-xu-221080","古诗四帖全卷","张旭","《古诗四帖》是唐代张旭创作的书法作品。\n《宣和书谱》、《续书画题跋记》、《式古堂书画汇考》等著录。\n通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。” [2] 今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”",[23,7,398,49,25,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece062efbfba0cc39a01803fca4cfb21.jpg",[96,802],137,{"id":3169,"slug":3170,"title":3171,"dynasty":179,"author":225,"museum":72,"description":3172,"tags":3173,"thumbUrl":3175,"material":312,"size":3176,"collection":95,"collections":3177,"showCount":3178,"zanCount":788,"manualWeight":39,"mainColor":100},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,25,49,50,27,51,56,3174,553,58,60,7,77,59,92],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":3180,"slug":3181,"title":3182,"dynasty":45,"author":342,"museum":3183,"description":3184,"tags":3185,"thumbUrl":3186,"material":312,"size":3187,"collection":96,"collections":3188,"showCount":3178,"zanCount":788,"manualWeight":39,"mainColor":40},221999,"teng-wang-ge-xu-wen-zheng-ming-221999","滕王阁序","苏州博物馆","文徵明书法初师李应祯，后广泛学习前代名迹，篆、隶、楷、行、草各有造诣。尤擅长行书和小楷，温润秀劲，法度谨严而意态生动。虽无雄浑的气势，却具晋唐书法的风致，也有自己的一定风貌。小楷笔划婉转，节奏缓和，与他的绘画风格谐和，有“明朝第一”之称。",[23,49,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2ada68a9278ee56f351e4bb9b6a147.jpg","23.5×211cm",[96],{"id":3190,"slug":3191,"title":3192,"dynasty":88,"author":3193,"museum":72,"description":3194,"tags":3195,"thumbUrl":3196,"material":822,"size":3197,"collection":171,"collections":3198,"showCount":3178,"zanCount":788,"manualWeight":39,"mainColor":40},221219,"liu-chao-qian-qin-su-hui-xuan-ji-tu-juan-zhu-shu-zhen-221219","六朝前秦苏蕙璇玑图卷","朱淑贞","（楷书璇玑图。文不录。又苏若兰织锦回文璇玑图序志一则。文不录）皇宋绍定三年（西元一二三０年）二月既望钱塘幽栖居士朱氏淑贞识。",[23,24,25,49,111,27,113,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b944c3884b1a33c0a64a2ef4c63382d.jpg","28.1×246.3",[171,218],{"id":3200,"slug":3201,"title":3202,"dynasty":45,"author":2071,"museum":72,"description":3203,"tags":3204,"thumbUrl":3205,"material":79,"size":3206,"collection":171,"collections":3207,"showCount":3178,"zanCount":418,"manualWeight":39,"mainColor":40},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,24,25,49,111,27,60,7,113,114,458,567,167,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","27.9x388.3厘米",[171],{"id":3209,"slug":3210,"title":3211,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":3213,"thumbUrl":3214,"material":312,"size":1340,"collection":96,"collections":3215,"showCount":3178,"zanCount":39,"manualWeight":39,"mainColor":100},214477,"da-tang-zhong-xing-song-xia-ce-1-yan-zhen-qing-214477","大唐中兴颂下册-1","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第二卷。",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e1815a2be3556f1076f686cd2bf3cd.jpg",[96],{"id":3217,"slug":3218,"title":3219,"dynasty":162,"author":3220,"museum":195,"description":3221,"tags":3222,"thumbUrl":3223,"material":79,"size":3224,"collection":95,"collections":3225,"showCount":3178,"zanCount":788,"manualWeight":39,"mainColor":207},214206,"ji-wang-sheng-jiao-xu-huai-ren-214206","集王圣教序","怀仁","据说唐僧玄奘从印度回到长安后，为太宗皇帝翻译了各种佛经，太宗皇帝为他写了一篇序言和一份奏折。这篇序言与太宗皇帝的回信、太子的回文和玄奘的《般若波罗密多心经》译文一起被刻在石头上，成为这块碑。从647年到672年，由于志宁、赖吉、许敬宗、薛元超和李义府历时25年完成，并由诸葛神力润色，朱敬彰刻印。宋代以后，宋以后碑石中断，因捶拓日久，字画逐渐浅细，所以未破损的地形都是宋代的地形。",[23,1063,198,7,60,878,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9d33b6ee3ce2f2eadb6650d95c9212.jpg","315.3x141.3",[],{"id":3227,"slug":3228,"title":3229,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":3231,"thumbUrl":3235,"material":751,"size":752,"collection":95,"collections":3236,"showCount":3237,"zanCount":39,"manualWeight":39,"mainColor":40},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,49,3232,24,25,1127,27,51,113,458,54,116,53,3233,704,57,567,3234,77,7],"缂丝","亭榭","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":3239,"slug":3240,"title":3241,"dynasty":18,"author":830,"museum":107,"description":3242,"tags":3243,"thumbUrl":3244,"material":95,"size":95,"collection":35,"collections":3245,"showCount":3237,"zanCount":882,"manualWeight":39,"mainColor":40},239029,"hong-mei-juan-wu-chang-shuo-239029","红梅卷","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,49,50,27,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09767ee0d5b587971ce9dfadc909df1f.jpg",[35,218],{"id":3247,"slug":3248,"title":3249,"dynasty":18,"author":3250,"museum":279,"description":3251,"tags":3252,"thumbUrl":3254,"material":79,"size":95,"collection":63,"collections":3255,"showCount":3256,"zanCount":882,"manualWeight":39,"mainColor":100},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[24,75,50,59,51,3253,333,1018,57,267,7,77],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[63],134,{"id":3258,"slug":3259,"title":3260,"dynasty":18,"author":3261,"museum":72,"description":3262,"tags":3263,"thumbUrl":3264,"material":79,"size":3265,"collection":96,"collections":3266,"showCount":3256,"zanCount":39,"manualWeight":39,"mainColor":40},214237,"li-shu-wu-yan-lian-deng-shi-ru-214237","隶书五言联","邓石如","墨色如黛染古帛，线条刚劲却藏婉转之姿。篆意融于隶法，蚕头燕尾间见筋骨，波磔舒展似流云轻卷。联语字句端稳，与书法宽博大气相映，济世之怀的沉雄、自省之谦的温润，皆融于笔墨。每一笔皆含力道，每一字尽显格局，古朴雅正的气息漫溢纸间。落笔从容，力道内敛，既有金石的硬朗质感，又具书卷的雅致韵致，是隶书中筋骨与情味兼备的精品。观之如对古贤，心沉气静，仿佛触摸到书写时的赤诚与从容，笔墨间流淌的不仅是技艺，更是一份通透的人生襟怀。",[23,7,1613,2136,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761641a19b9d433dd6956d00196e19b2.jpg","85.6x22",[96],{"id":3268,"slug":3269,"title":3270,"dynasty":179,"author":1516,"museum":107,"description":3271,"tags":3272,"thumbUrl":3273,"material":95,"size":95,"collection":95,"collections":3274,"showCount":3275,"zanCount":11,"manualWeight":39,"mainColor":40},228177,"fang-dong-po-feng-zhu-tu-wu-zhen-228177","仿东坡风竹图","此作用草书笔意写风竹，右侧竹竿劲挺带折，暗合疾风之势。浓墨挥写竹叶，聚散错落，叶梢尽含动感，似有穿林风鸣萦于耳侧。左侧题书与画作浑然一体，诗画合璧文气满溢。\n\n墨色干湿浓淡层次分明，以淡素纸色为底，虚实相生，将观竹怀人的幽思寄于毫端。把风竹萧然清骨，与林下襟怀相融，尽显以竹明志的元人画趣，是水墨写竹以意驭笔的绝佳典范。",[23,24,25,50,60,75,132,110,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23576077b3964e67aff08149c65dfeae.jpg",[],133,{"id":3277,"slug":3278,"title":3279,"dynasty":88,"author":308,"museum":107,"description":3280,"tags":3281,"thumbUrl":3282,"material":95,"size":95,"collection":95,"collections":3283,"showCount":3275,"zanCount":39,"manualWeight":39,"mainColor":40},227504,"chun-zhong-tie-su-shi-227504","春中帖","本帖鉴藏印有“奎章阁鉴书博士”、“柯氏清玩”、“柯九思鉴□真迹”、“江恂”、“王禹卿氏”。\n此帖是苏轼写给范纯粹（德孺）的信札。范纯粹是北宋著名政治家、文学家范仲淹的第四子。宋神宗元丰年间，共有五路军团出兵讨伐西夏，其中包括由高遵裕率领的环庆军和由刘昌祚率领的泾原军。《宋史》卷三一四《范纯粹本传》记载，北宋元丰末年，范纯粹因调和讨伐西夏的遵裕、昌祚两路军的矛盾有功，神宗将他由陕西转运判官进为转运副使，这与帖中德孺之官衔“运使金部”是一致的。据此可知，此信札的书写时间应为元丰末年，即元丰七八年间（1084—1085年），苏轼年约50岁左右。帖中“二哥”是指范纯仁（范仲淹次子）。\n此帖笔法自然流畅，寓巧于拙，仪态淳古，有浑厚凝重之韵致。虽有缺字、残损，仍不失为苏轼中年时期的上乘之作。",[7,60,24,25,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6570e429c4bfd4bd83be2b02954cabab.jpg",[],{"id":3285,"slug":3286,"title":3287,"dynasty":88,"author":3288,"museum":442,"description":3289,"tags":3290,"thumbUrl":3291,"material":79,"size":3292,"collection":35,"collections":3293,"showCount":3275,"zanCount":418,"manualWeight":39,"mainColor":40},218568,"xiang-xue-hun-tu-yang-wu-jiu-218568","香雪魂图","扬无咎","画的是寒梅杆的两枝，主枝上有许多细而有力的枝条，上面的梅花有的盛开，有的含苞待放，香气四溢，很是热闹。",[23,24,25,92,50,112,298,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f2ec726fcf9db57c0bfd136610c735.jpg","29x45cm",[35],{"id":3295,"slug":3296,"title":3297,"dynasty":18,"author":2653,"museum":412,"description":3298,"tags":3299,"thumbUrl":3300,"material":312,"size":3301,"collection":95,"collections":3302,"showCount":3275,"zanCount":788,"manualWeight":39,"mainColor":100},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,25,26,50,27,51,250,56,113,53,471,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg","23.4x15.8",[],{"id":3304,"slug":3305,"title":3306,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":3308,"thumbUrl":3309,"material":751,"size":752,"collection":95,"collections":3310,"showCount":3311,"zanCount":418,"manualWeight":39,"mainColor":40},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,92,25,75,50,51,59,57,56,53,251,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],132,{"id":3313,"slug":3314,"title":3315,"dynasty":45,"author":46,"museum":126,"description":3316,"tags":3317,"thumbUrl":3319,"material":3320,"size":3321,"collection":95,"collections":3322,"showCount":3311,"zanCount":882,"manualWeight":39,"mainColor":40},233766,"li-shi-tu-zhou-shen-zhou-233766","荔柿图轴","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,25,75,50,129,29,3318,833,7,60,77],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm",[],{"id":3324,"slug":3325,"title":3326,"dynasty":162,"author":2409,"museum":72,"description":3327,"tags":3328,"thumbUrl":3332,"material":682,"size":3333,"collection":96,"collections":3334,"showCount":3311,"zanCount":581,"manualWeight":39,"mainColor":100},221096,"xiao-cao-qian-zi-wen-huai-su-221096","小草千字文","《小草千字文》纸本真迹是唐代书法家怀素创作的小草书法作品。共9页42行（为周兴嗣原文前段），计530字，盖有藏印数枚，是价值连城的唐代墨宝，被誉为“天下第一小草”名帖。现为著名学者黄锦祥所藏，是怀素唯一传世的小草书法真迹。此帖笔画瘦劲有力，灵动自然，毫无涣散衰颓之状。通幅笔墨奔放流畅，一气贯之蔚为壮观。是古代最珍贵、最标准的小草范本之一。",[23,7,398,3329,49,3330,3331,77,200],"小草","飞白","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64996c852b8cf3f704a5cc33bff5043.jpg","纵26.8厘米，横13.5厘米，共9页",[96,802],{"id":3336,"slug":3337,"title":3338,"dynasty":162,"author":3339,"museum":279,"description":3340,"tags":3341,"thumbUrl":3342,"material":312,"size":95,"collection":96,"collections":3343,"showCount":3311,"zanCount":418,"manualWeight":39,"mainColor":40},221074,"zhao-ye-bai-han-gan-221074","照夜白","韩干","这幅画是用水墨线描完成的，描绘的是唐玄宗 喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[23,50,111,312,49,25,1074,798,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[96,802],{"id":3345,"slug":3346,"title":3347,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":3349,"thumbUrl":3350,"material":751,"size":752,"collection":95,"collections":3351,"showCount":3352,"zanCount":788,"manualWeight":39,"mainColor":789},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,92,24,25,75,50,132,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":3354,"slug":3355,"title":3356,"dynasty":18,"author":3357,"museum":72,"description":3358,"tags":3359,"thumbUrl":3360,"material":488,"size":3361,"collection":63,"collections":3362,"showCount":3352,"zanCount":882,"manualWeight":39,"mainColor":40},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡残","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,49,50,27,59,51,266,133,55,52,53,471,252,56,57,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[63,218],{"id":3364,"slug":3365,"title":3366,"dynasty":18,"author":3367,"museum":72,"description":3368,"tags":3369,"thumbUrl":3371,"material":27,"size":3372,"collection":35,"collections":3373,"showCount":3352,"zanCount":882,"manualWeight":39,"mainColor":40},219435,"shu-kui-shi-liu-zhou-zou-yi-gui-219435","蜀葵石榴轴","邹一桂","画面中蜀葵藤蔓舒展，淡紫花瓣层叠晕染，花蕊明黄点缀其间，叶片脉络清晰如缕，尽显工笔之细腻。旁侧石榴花枝虬劲，红橙花朵簇生，与蜀葵的柔婉形成鲜明对比，红绿相映间生机勃发。笔墨温婉雅致，设色清丽明快，枝叶的交错、花瓣的肌理皆刻画入微，既保留了自然野趣，又蕴含规整韵致。题跋与朱印错落有致，文气与画意交融，似将夏日的绚烂与清雅凝于一纸，观之如沐和风，满溢生机与雅致。",[24,25,75,27,111,29,3370,445,239,1455,77,7],"蜀葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5048cc1dc3f6fc3cf98be5ce658aca31.jpg","83.4x44.6",[35],{"id":3375,"slug":3376,"title":3377,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":3378,"thumbUrl":3379,"material":751,"size":752,"collection":95,"collections":3380,"showCount":3381,"zanCount":418,"manualWeight":39,"mainColor":100},288175,"zhu-tu-li-zhou-zheng-ban-qiao-288175","竹图立轴",[23,24,75,50,132,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fca82057ff711fbc4369fe72f5320b.jpg",[],130,{"id":3383,"slug":3384,"title":3385,"dynasty":45,"author":1015,"museum":72,"description":3386,"tags":3387,"thumbUrl":3389,"material":79,"size":3390,"collection":187,"collections":3391,"showCount":3381,"zanCount":39,"manualWeight":39,"mainColor":40},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[24,25,27,111,7,60,77,113,56,57,3388,2829,152,250],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[187],{"id":3393,"slug":3394,"title":3395,"dynasty":179,"author":225,"museum":126,"description":226,"tags":3396,"thumbUrl":3397,"material":79,"size":229,"collection":95,"collections":3398,"showCount":3381,"zanCount":39,"manualWeight":39,"mainColor":100},214290,"xiao-kai-luo-shen-fu-ce-4-zhao-meng-fu-214290","小楷洛神赋册-4",[23,7,199,384,26,50,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d91818c9b6238032d2985f530917771.jpg",[],{"id":3400,"slug":3401,"title":3402,"dynasty":18,"author":411,"museum":107,"description":3403,"tags":3404,"thumbUrl":3405,"material":95,"size":95,"collection":63,"collections":3406,"showCount":3407,"zanCount":882,"manualWeight":39,"mainColor":40},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","原济山水图册","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[24,25,26,50,27,59,7,77,51,56,58,57,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[63],129,{"id":3409,"slug":3410,"title":3411,"dynasty":88,"author":549,"museum":107,"description":3412,"tags":3413,"thumbUrl":3414,"material":751,"size":752,"collection":95,"collections":3415,"showCount":3416,"zanCount":788,"manualWeight":39,"mainColor":40},283691,"chun-shan-rui-song-tu-mi-fei-283691","春山瑞松图","《宋米芾春山瑞松图》是宋代书画家米芾创作的一幅纸本画，原存清宫内府斋宫，现为台北故宫博物院藏。图中描绘云雾掩映的山林景色，图中白云满谷，远山耸立云端，近处古松数株隐显于雾气中。松下有亭，空无一人。山峦青绿晕染，再加“米点” (亦称“落茄被”)，松树笔法细致、严密。",[24,1328,50,59,651,1018,55,252,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05154bc7bf74f850c5b1be5832c607b.jpg",[],128,{"id":3418,"slug":3419,"title":3420,"dynasty":162,"author":194,"museum":107,"description":3421,"tags":3422,"thumbUrl":3424,"material":95,"size":95,"collection":95,"collections":3425,"showCount":3416,"zanCount":882,"manualWeight":39,"mainColor":100},227245,"yan-qin-li-bei-yan-zhen-qing-227245","颜勤礼碑","颜勤礼碑，全称唐故秘书省著作郎、夔州都督府长史、上护军颜公神道碑，由颜真卿于唐大历十四年（779年）撰文并书。碑文原为四面刻，现存正书三面，计44行，每行36字。碑文通篇字体给人以厚重、雄健、精丽的感觉，为颜体楷书的巅峰之作。此碑1922年10月于长安出土，现移置西安碑林。",[1063,199,198,7,3423],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb634e45afaff7caa9dba5ad400676ce2.jpg",[],{"id":3427,"slug":3428,"title":3429,"dynasty":45,"author":125,"museum":72,"description":3430,"tags":3431,"thumbUrl":3432,"material":682,"size":3433,"collection":95,"collections":3434,"showCount":3416,"zanCount":39,"manualWeight":39,"mainColor":40},222234,"liu-shi-tu-zhou-xu-wei-222234","榴实图轴","该幅写石榴一枝，笔力强劲，水墨淋漓，是徐渭本色。右上方题识云：“山深熟石榴，向日笑开口；深山少人收，颗颗明珠走。文长。”书画二者两相辉映，超逸绝伦。",[23,24,50,75,29,7,77,129,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e07fd04d0daa125ff55aa8d5a720ce.jpg","91.4×26.6",[],{"id":3436,"slug":3437,"title":3438,"dynasty":18,"author":830,"museum":107,"description":1809,"tags":3439,"thumbUrl":3440,"material":346,"size":1812,"collection":35,"collections":3441,"showCount":3442,"zanCount":39,"manualWeight":39,"mainColor":3443},224222,"zhao-ri-hong-he-2-wu-chang-shuo-224222","朝日红荷2",[23,24,25,75,129,50,27,29,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee70d82dd0fb7821970c9c33faebe94.jpg",[35,218],127,"FFFFFF",{"id":3445,"slug":3446,"title":3447,"dynasty":88,"author":89,"museum":279,"description":3448,"tags":3449,"thumbUrl":3450,"material":682,"size":3451,"collection":96,"collections":3452,"showCount":3442,"zanCount":882,"manualWeight":39,"mainColor":40},221277,"lian-po-lin-xiang-ru-lie-zhuan-can-di-yi-duan-huang-ting-jian-221277","廉颇蔺相如列传(残)第一段","中国书法史上最长的传世经典长卷，是诞生于972年前，黄庭坚在50岁时所写的《廉颇蔺相如列传》长卷，是他的草书代表作之一，更是他传世书法中的经典名迹。\n此卷全长21.784米，即34.3 x 2178.4厘米，原迹内心为32.5 x 1822厘米，卷尾无书写纪年和史款。如有，会更加长。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”“绍兴”连珠印、 “内省斋”“秋壑图书”“欧阳玄印”“项子京家珍藏”等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n黄庭坚草书的巨大成就，在《廉颇蔺相如列传》长卷大放异彩。作为山谷51岁时的成熟代表作，此帖已走出了早期《花气诗帖》用笔生硬、少圆转的起步状态，更加完善了中期《杜甫寄贺兰铦诗帖》笔法圆劲、笔势连绵的特点。丰富多样的掠笔、带笔、蹲笔，尤其是独创的颤笔技法，让线条极富振荡感，洋溢着活跃跃的韵律之美，赋予了草书以崭新的境界。",[23,7,398,49,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69389dffdd14a5bc5b44aab4f492bbcf.jpg","纵32.5厘米，横1822厘米",[96],{"id":3454,"slug":3455,"title":2792,"dynasty":105,"author":637,"museum":107,"description":3456,"tags":3457,"thumbUrl":3458,"material":3459,"size":95,"collection":96,"collections":3460,"showCount":3442,"zanCount":788,"manualWeight":39,"mainColor":40},221040,"huang-ting-jing-wang-xi-zhi-221040","《黄庭经》，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开郎之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》了。\n因此，《黄庭经》又俗称《换鹅帖》，无款，末署“永和十二年(356)五月”，现在留传的只是后世的摹刻本了。\n《黄庭经》是道教上清派的重要经典，也被内丹家奉为内丹修炼的主要经典，属于洞玄部。现传《黄庭经》有《黄庭内景玉经》、《黄庭外景玉经》、《黄庭中景玉经》三种，因中经出黄庭经赏析(5张)现较晚，可以暂置不论书中认为人体各处都有神仙，首次提出了三丹田的理论。介绍了许多存思观想的方法。关于内外经的作者、成书年代及其相互关系，向来有多种说法。\n《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。",[23,7,199,200,49,77,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303d3c3bce951777b8528e37c006a802.jpg","黄素绢本",[96,802],{"id":3462,"slug":3463,"title":3464,"dynasty":88,"author":549,"museum":126,"description":3465,"tags":3466,"thumbUrl":3468,"material":312,"size":3469,"collection":96,"collections":3470,"showCount":3442,"zanCount":418,"manualWeight":39,"mainColor":100},219145,"xing-kai-shu-po-qiang-tie-ba-zan-juan-mi-fei-219145","行楷书·破羌帖跋赞卷","此帖乃米芾为王羲之《破羌帖》所作题赞，属于米芾晚年绘画代表之作。小楷书笔力秀劲，体势健拔，欹侧纵逸，潇洒奔放又不失法度，整体色调率真自然、意趣盎然。根据款署“癸未岁”，可知其书于北宋崇宁二年（1103）。\n\n赵孟頫早年学书，广益多师，对颜真卿、米芾等墨迹多有临习，在其书作中也能展现受这种名家风格的影响，这从《行书二赞二诗》中便可看到端倪。但是，他最后放弃纵肆放逸的抒写方式，选择了追寻“二王”平和雅静的书风，进而取得卓尔不群的艺术面目。",[23,7,60,199,49,77,3467,200,198],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be5a5a72c93f1b4b721df242bc15f84.jpg","纵22.9厘米，横48.2厘米",[96],{"id":3472,"slug":3473,"title":3474,"dynasty":179,"author":225,"museum":126,"description":3475,"tags":3476,"thumbUrl":3481,"material":169,"size":3482,"collection":171,"collections":3483,"showCount":3442,"zanCount":581,"manualWeight":39,"mainColor":40},218772,"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[23,3477,25,49,27,111,113,1074,3478,60,3479,7,1986,3480],"元代","鞍马","墨笔","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","纵32.2厘米，横62.5厘米",[171,96],{"id":3485,"slug":3486,"title":3487,"dynasty":18,"author":411,"museum":1172,"description":3488,"tags":3489,"thumbUrl":3490,"material":33,"size":3491,"collection":95,"collections":3492,"showCount":3442,"zanCount":39,"manualWeight":39,"mainColor":40},214883,"shan-shui-tu-ce-8-shi-tao-214883","山水图册-8","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,50,59,26,77,7,51,52,113,250,115,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7ef45c74e90c04ee9fc52e892419d2.jpg","20.3x27.5cm",[],{"id":3494,"slug":3495,"title":3496,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":3497,"thumbUrl":3499,"material":751,"size":752,"collection":95,"collections":3500,"showCount":3501,"zanCount":882,"manualWeight":39,"mainColor":100},287593,"chun-shan-du-shu-tu-wang-meng-287593","春山读书图",[24,92,50,75,51,59,1018,57,55,333,3498,2029,7,113,251],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4beaf0ca1e1f9e9ad8ca3a4d4a7f2.jpg",[],126,{"id":3503,"slug":3504,"title":3505,"dynasty":2365,"author":2366,"museum":107,"description":3506,"tags":3507,"thumbUrl":3508,"material":95,"size":95,"collection":95,"collections":3509,"showCount":3501,"zanCount":418,"manualWeight":39,"mainColor":40},227269,"he-le-shi-nv-tu-juan-zhou-wen-ju-227269","合乐仕女图卷","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。",[23,92,24,25,49,111,27,113,114,427,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a4a4fc246817c7f82bed9a7d2c919.jpg",[],{"id":3511,"slug":3512,"title":3513,"dynasty":45,"author":125,"museum":72,"description":3514,"tags":3515,"thumbUrl":3518,"material":79,"size":3519,"collection":96,"collections":3520,"showCount":3501,"zanCount":39,"manualWeight":39,"mainColor":40},214213,"xing-shu-qi-yan-lian-xu-wei-214213","行书七言联","释文：水夕苍蚊残夏扇。河间红树早秋棃。秋霜先生咲览。天池山人徐渭书。",[23,24,25,7,75,2136,60,50,3070,1018,3516,3517],"秋水","梨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cccc9d7148d5550a49ac995d9474fe6.jpg","132.2x32.4",[96],{"id":3522,"slug":3523,"title":3524,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":3526,"thumbUrl":3527,"material":751,"size":752,"collection":95,"collections":3528,"showCount":3529,"zanCount":788,"manualWeight":39,"mainColor":40},289751,"xi-yuan-ya-ji-tu-li-gong-lin-289751","西园雅集图","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,92,24,49,112,50,113,132,2187,57,3234,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed8d9f7cb34c0f070daee4971c5f00e.jpg",[],124,{"id":3531,"slug":3532,"title":3533,"dynasty":45,"author":46,"museum":107,"description":3534,"tags":3535,"thumbUrl":3537,"material":751,"size":752,"collection":95,"collections":3538,"showCount":3529,"zanCount":788,"manualWeight":39,"mainColor":40},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,92,24,1327,49,51,1689,59,7,60,77,57,56,58,53,54,55,471,3536,2061,116,52,2293,115],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],{"id":3540,"slug":3541,"title":3542,"dynasty":88,"author":3543,"museum":126,"description":3544,"tags":3545,"thumbUrl":3549,"material":784,"size":3550,"collection":95,"collections":3551,"showCount":3529,"zanCount":882,"manualWeight":39,"mainColor":40},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","王诜","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,49,50,27,59,111,51,3546,3547,57,56,53,54,1752,3548,52,116,252,7,60,77],"渔村","小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":3553,"slug":3554,"title":3555,"dynasty":45,"author":71,"museum":72,"description":3556,"tags":3557,"thumbUrl":3558,"material":79,"size":3559,"collection":63,"collections":3560,"showCount":3529,"zanCount":882,"manualWeight":39,"mainColor":100},214822,"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","这幅画的构图很简单，特写的是一条平缓的海岸线，三个官员聚集在树木和石头间的亭子里举行宴席，背景是两座高山。画的上边有十三首诗，都是关于表达离别之情的，大部分是与王绂一起在翰林院任职的官员。这些诗表明，王绂在秋天画了这幅半具象的山水画，当时他的一位同事即将回到松江的故乡，在乡间的陪伴下享受隐居的生活，他的每位同事都写了一首诗来纪念这一时刻。绘画的主体，或参与题词的人，都是有文学修养的文人，王绂的画表明了元代以来的文人画风，用简单的水墨画来表达绘画背后的深意。光滑的石堆，蜿蜒曲折、相互连接的纹理，给人一种宁静的感觉，并带有一丝惆怅和感伤。",[24,25,50,51,59,7,77,55,54,56,1678,2219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[63],{"id":3562,"slug":3563,"title":3564,"dynasty":179,"author":225,"museum":126,"description":3565,"tags":3566,"thumbUrl":3567,"material":3568,"size":3569,"collection":96,"collections":3570,"showCount":3571,"zanCount":882,"manualWeight":39,"mainColor":100},239648,"lin-lan-ting-xu-juan-zhao-meng-fu-239648","临兰亭序卷","此卷原在赵孟頫“定武兰亭”十六跋后，之后被人分割，另装在南宋翻刻兰亭拓本后面。赵孟頫一生对《兰亭序》极为推重，曾反复临写，此件是其晚年所临，笔法精良。加之此卷前面有南宋翻刻定武《兰亭序》拓本，以及前后尤袤、王厚之、张翥、王蒙等宋元名家题跋，更为珍贵。本幅另有清代庆锡题跋一段。\n释文（略）。本幅款署“子昂”\n鉴藏印“伯谦精鉴”、“伯谦审定真迹”、“绍庭审定”、“蛰蛰公书画”“龙友过眼”等。",[23,110,60,49,7,25,200,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ea3e89479876fe37bc518a1e7ae087.jpg","绢本，行书","纵27.4厘米，横102厘米，28行，324字",[96],123,{"id":3573,"slug":3574,"title":2513,"dynasty":18,"author":1387,"museum":107,"description":3575,"tags":3576,"thumbUrl":3577,"material":95,"size":95,"collection":35,"collections":3578,"showCount":3571,"zanCount":882,"manualWeight":39,"mainColor":40},236461,"zhu-shi-tu-zhou-zhu-da-236461","朱耷（1626—1705年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『0137』，小名耷。清顺治五年（1648年）落发为僧，法名传綮。一生字、号、别号甚多，有个山、驴屋驴、人屋等。康熙二十三年（1684年）始号八大山人。坎坷的命运影响着他的人生观及艺术思想，其绘画作品多寄托着对清王朝的痛恨，及对明王朝的眷恋之情。他的山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。其花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。借此表达自己作为明皇族后裔，百般无奈的感慨之情。他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。书法宗王献之、颜真卿，淳朴圆润，自成一格。朱耷中晚年，在书画作品款署中多使用“八大山人”。",[24,25,75,50,129,132,589,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f836ef9cd8492d7bd9c07df16cc664.jpg",[35,187],{"id":3580,"slug":3581,"title":3582,"dynasty":179,"author":225,"museum":3583,"description":3584,"tags":3585,"thumbUrl":3587,"material":312,"size":3588,"collection":96,"collections":3589,"showCount":3571,"zanCount":581,"manualWeight":39,"mainColor":40},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,7,60,49,25,50,77,54,116,53,3586,140,845],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[96],{"id":3591,"slug":3592,"title":3593,"dynasty":45,"author":3594,"museum":279,"description":3595,"tags":3596,"thumbUrl":3598,"material":169,"size":95,"collection":171,"collections":3599,"showCount":3571,"zanCount":480,"manualWeight":39,"mainColor":40},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","谢环","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[23,24,25,49,27,111,60,199,77,7,113,56,55,569,427,3597,167,1177],"笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[171,96],{"id":3601,"slug":3602,"title":3603,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":3604,"thumbUrl":3605,"material":751,"size":752,"collection":95,"collections":3606,"showCount":3607,"zanCount":882,"manualWeight":39,"mainColor":40},290556,"he-hua-zhou-xu-wei-290556","荷花轴",[24,92,25,75,50,129,29,399,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e13237f744b16759e4d325b37bd217.jpg",[],122,{"id":3609,"slug":3610,"title":1376,"dynasty":162,"author":1377,"museum":126,"description":3611,"tags":3612,"thumbUrl":3613,"material":312,"size":1381,"collection":96,"collections":3614,"showCount":3607,"zanCount":39,"manualWeight":39,"mainColor":100},221139,"shang-yang-tai-tie-li-bai-221139","《上阳台帖》是李白所书自咏四言诗。释文：\n“山高水長，物象千萬，非有老筆，清壯可窮。十八日，上陽臺書，太白。”\n引首清高宗弘历楷书题“青蓮逸翰”四字，正文右上宋徽宗赵佶瘦金书题签：“ 唐李太白上陽臺”一行。\n后纸有宋徽宗赵佶，元张晏、杜本、欧阳玄、王馀庆、危素、驺鲁，清乾隆皇帝题跋和观款。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彜齋”、贾似道“秋壑圖書”，元“張晏私印”、“歐陽玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n这是李白传世的唯一书迹。其落笔天纵，收笔处一放开锋，宋黄庭坚评李白：“及观其稿书，大类其诗，弥使人远想慨然。白在开元、至德间，不以能书传，今其行、草殊不减古人。”(《山谷题跋》)\n此帖曾入宣和内府，后归贾似道，元代曾经张晏处，明藏项元汴天籁阁。清代先为安岐所得，再入内府，清末流出宫外。民国时入张伯驹手，新中国成立后献给国家。1958年此帖转交故宫博物院收藏。",[23,92,25,49,60,7,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddf2bf1d39afff56bc9da86e3bbf57.jpg",[96],{"id":3616,"slug":3617,"title":3618,"dynasty":18,"author":1387,"museum":107,"description":3619,"tags":3620,"thumbUrl":3621,"material":95,"size":95,"collection":95,"collections":3622,"showCount":3623,"zanCount":39,"manualWeight":39,"mainColor":40},230270,"hua-niao-chong-yu-shen-pin-zhu-da-230270","花鸟虫鱼神品","这一开册页书画合璧，尽显写意风流。右侧水墨花卉以极简笔墨成画，浓墨晕染花头，枯笔勾出素瓶，浓淡枯湿之间，将一花一器的幽寂勾勒殆尽，留白处尽是澹远空寂的禅意。左侧草书与画境呼应，笔墨纵逸苍劲，线条跌宕，和画面疏简孤高的气息融为一体。整体舍去所有赘饰，以少胜多，清冷孤傲的意趣浸透纸面，寥寥数笔就将文人澹泊疏离的心境铺陈开来，简而不空，淡而有味，尽显中式水墨留白造境的精妙。",[23,24,25,26,50,29,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec6de9b81819d99336f4632ebed928.jpg",[],121,{"id":3625,"slug":3626,"title":3627,"dynasty":45,"author":46,"museum":126,"description":3628,"tags":3629,"thumbUrl":3631,"material":519,"size":3632,"collection":63,"collections":3633,"showCount":3623,"zanCount":882,"manualWeight":39,"mainColor":40},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[23,24,25,49,50,51,59,7,77,252,56,471,552,3630],"平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[63,187],{"id":3635,"slug":3636,"title":3637,"dynasty":179,"author":1324,"museum":20,"description":3638,"tags":3639,"thumbUrl":3640,"material":79,"size":95,"collection":63,"collections":3641,"showCount":3623,"zanCount":788,"manualWeight":39,"mainColor":100},217218,"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[23,24,50,25,75,112,7,59,115,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[63],{"id":3643,"slug":3644,"title":3645,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":3646,"thumbUrl":3647,"material":751,"size":752,"collection":95,"collections":3648,"showCount":3649,"zanCount":882,"manualWeight":39,"mainColor":40},290425,"shan-shui-ce-8-zhen-shi-tao-290425","山水册8帧",[24,26,51,50,27,59,251,252,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e43bd7167cf84e5eb97a9e84d36de0.jpg",[],120,{"id":3651,"slug":3652,"title":2560,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":3653,"thumbUrl":3654,"material":751,"size":752,"collection":95,"collections":3655,"showCount":3649,"zanCount":882,"manualWeight":39,"mainColor":40},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981",[23,24,75,50,27,131,133,250,29,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],{"id":3657,"slug":3658,"title":3659,"dynasty":162,"author":194,"museum":3660,"description":3661,"tags":3662,"thumbUrl":3663,"material":95,"size":3664,"collection":95,"collections":3665,"showCount":3649,"zanCount":882,"manualWeight":39,"mainColor":207},232596,"duo-bao-ta-quan-bei-yan-zhen-qing-232596","多宝塔全碑","陕西兴平县千福寺","颜真卿是唐代的大书法家。此碑首题“大唐西京千福寺多宝佛塔感应碑文。”正书三十四行，每行六十六字。天宝十一年（公元 752年）刻於陕西兴平县千福寺，宋代移西安碑林，今尚存。楷书，高285厘米，宽 102厘米，为岑勋撰文，颜真卿书，史华刊石。\n《多宝塔碑》是颜真卿早期成名之作，书写恭谨诚恳，直接二王、欧、虞、褚余风。整篇结构严密，字行间有乌丝栏界格，点画圆整，端庄秀丽，一撇一捺显得静中有动，飘然欲仙。此碑拓本精美，笔法结构清晰可见，字体整密匀稳、法度严谨，笔法方折丰劲，秀丽多姿。学颜体者从此碑下手，不久即可入其堂奥。",[7,199,198,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b80377e02767d7e21da48e11e3dac8.jpg","高285厘米，宽 102厘米",[],{"id":3667,"slug":3668,"title":3669,"dynasty":45,"author":46,"museum":107,"description":3670,"tags":3671,"thumbUrl":3672,"material":95,"size":95,"collection":95,"collections":3673,"showCount":3649,"zanCount":418,"manualWeight":39,"mainColor":40},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,92,24,49,50,27,51,820,52,53,54,1752,3174,56,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],{"id":3675,"slug":3676,"title":3677,"dynasty":88,"author":369,"museum":72,"description":3678,"tags":3679,"thumbUrl":3680,"material":312,"size":3681,"collection":95,"collections":3682,"showCount":3649,"zanCount":788,"manualWeight":39,"mainColor":40},221253,"mu-dan-shi-tie-ce-zhao-ji-221253","牡丹诗贴册","此作华丽富贵，疏密自然，用笔洒脱，线条粗细有致，笔势圆转流畅，书写时以手腕为轴心，少了点刚硬，多了些柔和，充分表现出了瘦金书体的婀娜之美，可能原先配有一幅双色牡丹图，作品参差错落，一气呵成，表现出了作者高度的艺术修养。",[23,92,24,25,26,372,7,200,50,135,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f35d3427d35e7def70a2f431c6cc271.jpg","34.8cm×53.3cm",[],{"id":3684,"slug":3685,"title":3686,"dynasty":179,"author":225,"museum":3687,"description":3688,"tags":3689,"thumbUrl":3690,"material":312,"size":3691,"collection":96,"collections":3692,"showCount":3649,"zanCount":581,"manualWeight":39,"mainColor":40},220853,"han-ji-an-chuan-zhao-meng-fu-220853","汉汲黯传","日本东京·永青文库","《汲黯传》被认为是传世赵孟頫的小楷名篇。不过学者一般认为这是俞和仿赵之作。俞和也多临晋人小楷如《乐毅论》等。其精工扎实、功力深厚处，是其他学赵者难以达到的。但赵的虚和婉丽，俞和却没有能学到，以此辨俞和作伪赵书，可谓洞若观火。《汲黯传》同他自临的《乐毅沦》、《临定武兰亭序》款书小楷一样，也是只见方峻刚利，而没有赵的虚婉遒媚。《汲黯传》 - 原文\n汲黯字长孺，濮阳人也。其先有宠于古之卫君。至黯七世，世为卿大夫。黯以父任，孝景时为太子洗马，以庄见惮。孝景帝崩，太子即位，黯为谒者。东越相攻，上使黯往视之。不至，至吴而还，报曰：“越人相攻，固其俗然，不足以辱天子之使。”河内失火，延烧千余家，上使黯往视之。还报曰：“家人失火，屋比延烧，不足忧也。\n臣过河南，河南贫人伤水旱万余家，或父子相食，臣谨以便宜，持节发河南仓粟以振贫民。\n臣请归节，伏矫制之罪。“上贤而释之，迁为荥阳令。黯耻为令，病归田里。上闻，乃召拜为中大夫。以数切诛，不得久留内，迁为东海太守。黯学黄老之言，治官理民，好清静，择丞史而任之。其治，责大指而已，不苛小。黯多病，卧闺阁内不出。岁余，东海大治。称之。上闻，召以为主爵都尉，列于九卿。治务在无为而已，弘大体，不拘文法。\n当是时，太后弟武安侯蚡为丞相，中二千石来拜谒，蚡不为礼。然黯见蛉未尝拜，常揖之。天子方招文学儒者，上曰吾欲云云，黯对曰：“陛下内多欲而外施仁义，奈何欲效唐虞之治乎！”上默然，怒，变色而罢朝。公卿皆为黯惧。上退，谓左右曰：“甚矣，汲黯之戆也！”群臣或数黯，黯曰：“天子置公卿辅弼之臣，宁令从谀承意，陷主于不义乎？且已在其位，纵爱身，奈辱朝廷何！”（《史记·汲郑列传》）\n译文:汲黯，字长孺，是濮阳人。他的先人被古时的卫君宠幸。到汲黯是第七代，代代做卿大夫。汲黯因为父亲而袭任官位。在孝景帝时做了太子洗马，因为严肃使人畏惧。孝素帝驾崩，太子即位，汲黯做谒者。东越人互相攻打，皇上派汲黯去观察。汲黯还没到达那里，到了吴郡就回来了，报告说：“越人互相争斗本来是他们的风俗，不足以劳顿天子的使臣前往。”黄河以北地区失火，连着烧及千余家，皇上派汲黯前往视察情况乙汲黯回来报告说：“家里人弄着了火，房子并排，所以连带烧了，不值得担忧？臣经过黄河南面。黄河南面的穷人有万余家受到水灾、旱灾的侵害，有的父子互相残食，臣以职务之便，拿令牌分发了黄河以南仓库的粟米来赈济贫民，臣还回令牌，请皇上治我假传圣旨的罪过。”皇上认为他贤能就放了他，改任荥阳县令。汲黯耻于做县令（这么小的官职），就托病回家乡了。皇上听说，就把他召回来任为中大夫。因为汲黯多次急谏，不能久留宫内，改任东海郡太守。汲黯学习黄老学说，领导官吏，治理百姓，喜好清静，选择郡丞和书吏来任用他们。他治理政事，只管大的方面，不苛求细节。汲黯多病，躺在内室里不出来，一年多，东海郡大治（治理得非常好），人们称赞他。皇上听说了，召见他，任命为主爵都尉，地位在九卿之列。汲黯做官，务求无为而治，宏扬大体，不拘泥文书法令。\n这个时候，太后的弟弟武安侯田蚡为丞相，职位在中二千石以上的官吏来拜见，田蚡都不答礼。但是汲黯见田蚡不首行跪拜礼，只是常常拱拱手。天子正招求会做文章和有学问的人，皇上说我想如何如何，汲黯应答说：“陛下内心多欲望却表面上行仁义，怎么能效法唐虞之治呢！”皇上不说话，怒气冲冲，变了脸色下了朝。公卿都为汲黯害怕。皇上退下后，对左右的人说：“太过分了，汲黯真是卤莽！”群臣中有人责备汲黯，汲藉说：“天子任命公卿等辅佐的大臣，难道让我们讨好奉承，把主上置于不义的境地吗？况且我已身在其位，纵使爱惜自己，那又怎能辱没朝廷呢！”",[23,25,7,199,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87a676feff0af7b7c4b954d4ed6ab0a.jpg","每页纵17.6cm，横17.4cm",[96],{"id":3694,"slug":3695,"title":3696,"dynasty":88,"author":3697,"museum":3698,"description":3699,"tags":3700,"thumbUrl":3702,"material":169,"size":3703,"collection":63,"collections":3704,"showCount":3649,"zanCount":788,"manualWeight":39,"mainColor":100},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参","圣路易斯艺术博物馆","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,3701,92,24,25,49,51,50,59,27,458,52,53,57,56,113,7,60],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[63],{"id":3706,"slug":3707,"title":3708,"dynasty":45,"author":1015,"museum":72,"description":3709,"tags":3710,"thumbUrl":3711,"material":33,"size":3712,"collection":171,"collections":3713,"showCount":3649,"zanCount":882,"manualWeight":39,"mainColor":100},216998,"jin-gang-jing-wen-zheng-ming-216998","金刚经","这幅画描绘了释迦牟尼与他的弟子迦叶和阿难站在一棵松树下，一个迦叶跪在他们面前。在四位金刚护法的环绕下，场景精致而细腻。面板上是文徵明用小楷书写的《金刚经》，笔法细致，与仇英的画相得益彰。",[25,7,386,199,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a8b708c5e2260b373f837e5c7842b8.jpg","116.4x30.5",[171],{"id":3715,"slug":3716,"title":3717,"dynasty":179,"author":225,"museum":126,"description":226,"tags":3718,"thumbUrl":3719,"material":79,"size":229,"collection":95,"collections":3720,"showCount":3649,"zanCount":39,"manualWeight":39,"mainColor":100},214288,"xiao-kai-luo-shen-fu-ce-5-zhao-meng-fu-214288","小楷洛神赋册-5",[23,92,25,7,199,384,200,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd811b5a311f9fda250998a44b79f3517.jpg",[],{"id":3722,"slug":3723,"title":3724,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":3725,"thumbUrl":3726,"material":751,"size":752,"collection":95,"collections":3727,"showCount":3728,"zanCount":39,"manualWeight":39,"mainColor":40},289648,"ju-hua-tu-li-zhou-wu-chang-shuo-289648","菊花图立轴",[23,24,25,75,27,29,140,250,77,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b0b195545b21cb0c63067b6bbe12e1.jpg",[],119,{"id":3730,"slug":3731,"title":3732,"dynasty":179,"author":3733,"museum":72,"description":3734,"tags":3735,"thumbUrl":3736,"material":79,"size":3737,"collection":35,"collections":3738,"showCount":3728,"zanCount":39,"manualWeight":39,"mainColor":40},219386,"zhu-shi-tu-guan-dao-sheng-219386","竹石图","管道升","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[24,92,25,75,50,132,250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[35],{"id":3740,"slug":3741,"title":3742,"dynasty":18,"author":19,"museum":3743,"description":3744,"tags":3745,"thumbUrl":3748,"material":169,"size":3749,"collection":95,"collections":3750,"showCount":3728,"zanCount":39,"manualWeight":39,"mainColor":100},216105,"yun-shou-ping-hua-guo-shu-cai-ce-ye-6-yun-shou-ping-216105","恽寿平花果蔬菜册页-6","天津博物馆","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[24,25,26,28,27,50,111,3746,3747,7,77],"蔬菜","花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3724ec920b115a05ae3e781e2301e54f.jpg","26.1x19.9cm",[],{"id":3752,"slug":3753,"title":3754,"dynasty":45,"author":2916,"museum":126,"description":3755,"tags":3756,"thumbUrl":3757,"material":27,"size":3758,"collection":35,"collections":3759,"showCount":3728,"zanCount":788,"manualWeight":39,"mainColor":40},216097,"qiang-wei-shan-mian-lu-zhi-216097","蔷薇扇面","陆治（1496—1576年），字叔平，吴县（今属江苏苏州）人。因居太湖之包山，号包山子，后隐居支硎山中。文徵明弟子，诗、文、书、画都有相当造诣，擅长画山水、花鸟，为“吴门画派”后期重要画家。花鸟画兼工能写，风格清秀。山水画笔墨劲峭，深受宋元人和文徵明影响而又创立了自己的风格。",[23,1250,24,27,29,30,1601,284,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8d7a219ff7f6c557ee6210e2bc55f4.jpg","15.9x49cm",[35],{"id":3761,"slug":3762,"title":3763,"dynasty":18,"author":3764,"museum":442,"description":3765,"tags":3766,"thumbUrl":3767,"material":79,"size":95,"collection":63,"collections":3768,"showCount":3728,"zanCount":39,"manualWeight":39,"mainColor":40},214517,"shui-mo-tu-ce-zheng-min-214517","水墨图册","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[26,50,60,7,51,704,57,238,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg",[63,187],{"id":3770,"slug":3771,"title":2131,"dynasty":18,"author":2132,"museum":72,"description":3772,"tags":3773,"thumbUrl":3774,"material":79,"size":3775,"collection":96,"collections":3776,"showCount":3728,"zanCount":882,"manualWeight":39,"mainColor":40},214211,"zhuan-shu-ba-yan-lian-yang-yi-sun-214211","释文：廉于取名锐于求志。博而不俗文而又儒。",[23,2135,457,7,2136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa86eecb17cab4a0ff2851cbb3be428b.jpg","176.9x29.4",[96],{"id":3778,"slug":3779,"title":3780,"dynasty":18,"author":411,"museum":126,"description":3781,"tags":3782,"thumbUrl":3785,"material":519,"size":3786,"collection":95,"collections":3787,"showCount":3788,"zanCount":882,"manualWeight":39,"mainColor":40},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[24,25,49,50,51,59,7,77,60,3783,251,553,56,57,252,3784,152],"奇峰","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],118,{"id":3790,"slug":3791,"title":3792,"dynasty":179,"author":225,"museum":126,"description":3793,"tags":3794,"thumbUrl":3796,"material":312,"size":3797,"collection":96,"collections":3798,"showCount":3788,"zanCount":418,"manualWeight":39,"mainColor":40},220864,"zhen-cao-qian-zi-wen-zhao-meng-fu-220864","真草千字文","赵孟頫临写智永千字文最勤，他自称二十年来写千文以数百。赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。这件册页未署书的年代，观其书用笔极其温润圆劲，点画精到细腻，结字妍美简静。无疑是一本初学者入门的极佳范本。本帖字迹匀称，笔势圆劲流丽，结构布局端庄秀美。不仅具有极高的艺术欣赏价值和收藏价值，也让广大书法爱好者领略到中国古典书法的一种理想境界，以柔寓刚、外柔内刚。初学者可根据每个字的用笔、结构、布势等去临摹。《赵孟頫真草千字文》这本字帖当为罕世珍品，可以说是初学者的最佳范本。",[23,7,3795,398,49,312,2602,200,77],"真书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd596427226b7898ee2dbf52d1143a72c.jpg","纵:24.7厘米,横:25厘米",[96],{"id":3800,"slug":3801,"title":3802,"dynasty":45,"author":1313,"museum":107,"description":3803,"tags":3804,"thumbUrl":3805,"material":184,"size":3806,"collection":96,"collections":3807,"showCount":3788,"zanCount":39,"manualWeight":39,"mainColor":100},219984,"lin-mi-fei-fang-yuan-an-ji-dong-qi-chang-219984","临米芾方圆庵记","全文共计七百六十八字，董其昌首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。",[23,7,60,110,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F163332a7ddae4aba4d6a8c5694000721.jpg","高26厘米，长200厘米",[96],{"id":3809,"slug":3810,"title":3811,"dynasty":2365,"author":2366,"museum":442,"description":3812,"tags":3813,"thumbUrl":3815,"material":169,"size":95,"collection":171,"collections":3816,"showCount":3788,"zanCount":788,"manualWeight":39,"mainColor":100},219495,"ming-huang-hui-qi-tu-zhou-wen-ju-219495","明皇会棋图","南唐画家周文矩的《明皇会棋图》。 画面上有八个人物，明皇坐位前置一棋局，官员一人、和尚二人、道士二人、 优人一人、侍从内官一人。关于画面上的八个人物有各种不同说法，至今未 有定论。有人认为，跟唐明皇下棋的是日本留学僧辨正；有人说，在是棋待 诏郑观音。不论画中的人物是谁，这幅作品都真实地反映了唐代宫廷中的围棋活动",[111,27,49,113,3814,167,77,7],"棋盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004c58d3b635335bb0e20419635d93d8.jpg",[171],{"id":3818,"slug":3819,"title":3820,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":3822,"thumbUrl":3823,"material":751,"size":752,"collection":95,"collections":3824,"showCount":3825,"zanCount":882,"manualWeight":39,"mainColor":40},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[92,24,50,75,51,704,250,1006,77,7,3113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":3827,"slug":3828,"title":3829,"dynasty":88,"author":3830,"museum":107,"description":3831,"tags":3832,"thumbUrl":3836,"material":169,"size":3837,"collection":171,"collections":3838,"showCount":3825,"zanCount":11,"manualWeight":39,"mainColor":100},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","刘松年","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,111,27,49,60,7,1128,113,458,567,56,57,2186,3833,3834,55,2074,3835,1919,1018],"台阶","衣冠","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[171],{"id":3840,"slug":3841,"title":3842,"dynasty":45,"author":3843,"museum":72,"description":3844,"tags":3845,"thumbUrl":3846,"material":94,"size":3847,"collection":96,"collections":3848,"showCount":3825,"zanCount":882,"manualWeight":39,"mainColor":40},214208,"qi-yan-lv-shi-wang-feng-yuan-214208","七言律诗","王逢元","王逢元以书名于当世，或有人议其真书稍肥，而顾麟则说他庄重沉稳，没有轻浮和机巧，他有钟、王的唯一传承。周辉还说，他最早是跟王羲之和智永学习书法，晚年则是黄庭坚，王逢元用普通文字写了九首七言诗，笔触中带着山谷的气息。",[23,24,25,7,75,60,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f4760d3de1a5ad0f1c1c1aaf46d46e.jpg","81.9x38.6",[96],{"id":3850,"slug":3851,"title":3852,"dynasty":2365,"author":3853,"museum":107,"description":3854,"tags":3855,"thumbUrl":3856,"material":751,"size":752,"collection":95,"collections":3857,"showCount":3858,"zanCount":882,"manualWeight":39,"mainColor":100},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","黄居寀","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,92,49,111,27,29,900,116,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb438f57aef3d2f318cc466e59d223e48.jpg",[],116,{"id":3860,"slug":3861,"title":2162,"dynasty":18,"author":830,"museum":107,"description":3862,"tags":3863,"thumbUrl":3864,"material":95,"size":95,"collection":95,"collections":3865,"showCount":3858,"zanCount":39,"manualWeight":39,"mainColor":40},239284,"mei-hua-zhou-wu-chang-shuo-239284","此作用篆籀笔法写梅枝，老干如铁铸横斜，运笔顿挫生辣，尽显金石古拙之趣。淡墨圈花，留白缀出冰蕊琼华，繁枝错落疏密得宜，将梅的苍劲清妍揉为一体。\n\n右侧题字笔势酣畅，与梅枝刚健呼应，笔墨浓淡相生，把傲雪凌霜的品格寄于笔端，清雅风骨与雄强笔力相融，在水墨间晕染出盎然生机与文人孤高意趣，尽显大写意花卉的淋漓意韵。",[24,25,75,50,129,131,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd96f5289d271ae643a842746503256f.jpg",[],{"id":3867,"slug":3868,"title":3869,"dynasty":88,"author":3870,"museum":107,"description":3871,"tags":3872,"thumbUrl":3873,"material":95,"size":95,"collection":95,"collections":3874,"showCount":3875,"zanCount":882,"manualWeight":39,"mainColor":40},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,92,24,25,49,112,50,59,51,113,54,55,116,56,1678,458,53,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],115,{"id":3877,"slug":3878,"title":3879,"dynasty":179,"author":2462,"museum":20,"description":3880,"tags":3881,"thumbUrl":3882,"material":519,"size":3883,"collection":187,"collections":3884,"showCount":3875,"zanCount":788,"manualWeight":39,"mainColor":40},221832,"mo-zhu-tu-juan-ke-jiu-si-221832","墨竹图卷","元代伯颜不花题记：予旧藏东坡枯木丛竹一小卷，每闲暇，于明窗净几间，时复展玩，不觉尘虑顿消，颇得佳趣耳。 一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[23,24,25,49,50,132,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[187,1223],{"id":3886,"slug":3887,"title":3888,"dynasty":45,"author":1313,"museum":126,"description":3889,"tags":3890,"thumbUrl":3891,"material":79,"size":3892,"collection":63,"collections":3893,"showCount":3875,"zanCount":39,"manualWeight":39,"mainColor":40},220096,"fang-ju-ran-shan-shui-tu-dong-qi-chang-220096","仿巨然山水图","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\u2028　　画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,51,50,59,110,7,60,77,651,652,1018,333,473,1678,1151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纵101.7厘米，横46.7厘米",[63,187],{"id":3895,"slug":3896,"title":3897,"dynasty":105,"author":637,"museum":126,"description":638,"tags":3898,"thumbUrl":3899,"material":79,"size":641,"collection":95,"collections":3900,"showCount":3875,"zanCount":39,"manualWeight":39,"mainColor":40},214581,"yu-hou-tie-2-wang-xi-zhi-214581","雨后帖-2",[7,60,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd738a3b7c238ae9018a31bb5922db94d.jpg",[],{"id":3902,"slug":3903,"title":3904,"dynasty":45,"author":3905,"museum":72,"description":3906,"tags":3907,"thumbUrl":3908,"material":79,"size":3909,"collection":96,"collections":3910,"showCount":3875,"zanCount":39,"manualWeight":39,"mainColor":40},214214,"wu-yan-gu-shi-chen-bi-214214","五言古詩","陈壁","陈壁（1558-1639），字公达，号文澜、西池，明朝时期的诗人。他的五言古诗被誉为“十八岛古诗王”之一，其中许多作品堪称名篇。\n\n其中一首著名的五言古诗是《游子吟》：\n海客谈瀛洲，烟涛微茫信难求。\n孤舟蓑笠翁，独钓寒江雪。\n平生不会多情，才自遣寂寞。\n更喜岸上见，但见断桥残雪。\n\n这首诗描写了一位海客在瀛洲（古代海防城市）呆久而长，见识广阔，但却常感孤独和寂寞。诗人用游子的视角，借用独钓寒江雪的形象，抒发出对家乡的思念之情。《游子吟》的悠远抒情，流传至今，堪称陈壁五言古诗的代表作之一。",[23,7,398,50,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683b97161e9063aaa5f65669f455b1e5.jpg","93x35.6",[96],{"id":3912,"slug":3913,"title":3914,"dynasty":179,"author":3915,"museum":72,"description":3916,"tags":3917,"thumbUrl":3919,"material":682,"size":3920,"collection":63,"collections":3921,"showCount":3922,"zanCount":882,"manualWeight":39,"mainColor":40},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","盛懋","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[23,24,50,59,75,7,51,56,57,54,116,2219,471,3918,772,77],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[63,187],114,{"id":3924,"slug":3925,"title":3926,"dynasty":162,"author":2354,"museum":279,"description":2355,"tags":3927,"thumbUrl":3928,"material":2358,"size":2359,"collection":96,"collections":3929,"showCount":3922,"zanCount":882,"manualWeight":39,"mainColor":40},221067,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221067","灵飞经四十三行",[23,7,199,386,878,77,1498,432,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7864d29aa6825557fee2422369ffc5.jpg",[96,802],{"id":3931,"slug":3932,"title":3933,"dynasty":45,"author":1313,"museum":1172,"description":3934,"tags":3935,"thumbUrl":3936,"material":33,"size":3937,"collection":63,"collections":3938,"showCount":3922,"zanCount":788,"manualWeight":39,"mainColor":100},220429,"hua-fa-mi-jue-tu-dong-qi-chang-220429","画法秘诀图","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，今上海市人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。",[23,24,25,49,50,27,51,56,57,58,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F335b0d30fc47e443891fea49553c18fa.jpg","31x276.5",[63,218],{"id":3940,"slug":3941,"title":3942,"dynasty":18,"author":19,"museum":20,"description":3943,"tags":3944,"thumbUrl":3945,"material":169,"size":3946,"collection":95,"collections":3947,"showCount":3922,"zanCount":788,"manualWeight":39,"mainColor":40},219820,"hua-hui-shi-kai-3-yun-shou-ping-219820","花卉十开-3","以没骨技法晕染桃花，枝桠清疏舒展，粉瓣柔妍动人。花色由深粉晕向柔白，过渡柔和自然，将桃花初绽的缱绻柔态尽显，仿佛携带着春日融融暖意。嫩绿叶芽点缀枝间，与粉花相映，愈衬花色明丽清新，未用轮廓勾勒却形神兼备。\n\n左侧题诗与右侧钤印呼应，诗画交融，将桃花不拟梅之傲雪、自有柔香引蝶的雅致品格点明，文人意趣跃然纸上。整幅画作清润秀雅，尽显淡逸之风，将春日桃花的娇柔定格，雅致脱俗，尽显没骨花鸟的动人韵味。",[24,92,25,26,28,27,29,30,238,239,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff19bf3a15b42d07ec373376a6522b8c.jpg","20.4×29.2厘米",[],{"id":3949,"slug":3950,"title":3951,"dynasty":162,"author":3952,"museum":107,"description":3953,"tags":3954,"thumbUrl":3957,"material":751,"size":752,"collection":95,"collections":3958,"showCount":3959,"zanCount":788,"manualWeight":39,"mainColor":100},290156,"liu-li-tang-ren-wu-tu-zhou-fang-290156","琉璃堂人物图","周昉","《琉璃堂人物图》上一共画有11人，其中有僧1人，文士7人，侍者3人。该画作描绘唐朝诗人王昌龄与其诗友在江宁县丞任所琉璃堂厅前聚会吟唱的故事。该画作色彩淡雅，格调清逸，衣纹线描顿挫转折，做服“战笔”描，与今传《重屏会棋图》用笔一致。",[23,92,24,49,113,27,111,3234,3955,3956,7,77],"书房","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12046a5b0dcd14509fbc2516cadb18b.jpg",[],113,{"id":3961,"slug":3962,"title":3732,"dynasty":18,"author":830,"museum":107,"description":1809,"tags":3963,"thumbUrl":3964,"material":312,"size":3965,"collection":35,"collections":3966,"showCount":3959,"zanCount":39,"manualWeight":39,"mainColor":40},224228,"zhu-shi-tu-wu-chang-shuo-224228",[23,24,25,75,50,132,589,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ace95061fde7ae66bb96ebc63b2458.jpg","34.5x138.3cm",[35,218],{"id":3968,"slug":3969,"title":3356,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":3970,"thumbUrl":3971,"material":751,"size":752,"collection":95,"collections":3972,"showCount":3973,"zanCount":882,"manualWeight":39,"mainColor":40},288091,"shan-shui-tu-juan-shi-tao-288091",[23,24,49,25,50,59,51,458,57,2028,53,152,55,457,60,7,77,2061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":3975,"slug":3976,"title":3977,"dynasty":662,"author":3978,"museum":107,"description":3979,"tags":3980,"thumbUrl":3984,"material":751,"size":752,"collection":95,"collections":3985,"showCount":3973,"zanCount":39,"manualWeight":39,"mainColor":40},283788,"shuang-gou-zhi-lan-tu-lai-chu-sheng-283788","双钩芝兰图","来楚生","此作兼工带写，朱砂点染灵芝，秾丽鲜活，似凝着朝露生机。双钩兰叶以清劲线条勾勒，舒展挺拔，柔韧芝草与挺秀兰叶相映成趣。灵石以淡赭晕染、墨色皴擦，写意空灵，与花草形成刚柔对照。\n左上题字古拙朴茂，笔墨苍劲，书画相融，将祥瑞芝草与清雅幽兰相合，跳出题材俗套，尽显清隽雅致的文人意趣，笔底带着金石韵味，雅致脱俗，是写意与工致的绝佳融合。",[24,25,75,27,3981,111,2645,3982,3983,250,7,77],"双钩","灵芝","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3761fd32db867ee4ee6f60d14068ee.jpg",[],{"id":3987,"slug":3988,"title":3989,"dynasty":162,"author":1715,"museum":107,"description":3990,"tags":3991,"thumbUrl":3992,"material":95,"size":95,"collection":95,"collections":3993,"showCount":3973,"zanCount":788,"manualWeight":39,"mainColor":207},232594,"yan-ta-sheng-jiao-xu-chu-sui-liang-232594","雁塔圣教序","《圣教序》21行，行42字，共821字，文左行。《圣教序记》20行，行40字，共642字，文右行。前者题额是隶书、后者为篆书。褚遂良的官名，前者为中书令、后者为尚书右仆射。年月日，前者为永徽四年岁次癸丑十月己卯朔十五日癸巳、后者为永徽四年岁次癸丑十二月戊寅朔十日丁亥。\n《雁塔圣教序》为褚遂良五十八岁时书，是最能代表褚遂良楷书风格的作品，字体清丽刚劲，笔法娴熟老成。褚遂良在书写此碑时已进入了老年，至此他已为新型的唐楷创出了一整套规范。\n结体：在字的结体上改变了欧，虞的长形字，创造了看似纤瘦，实则劲秀饱满的字体。王偁曾评说：“……同州、雁塔两圣教序记是其自家之法，世传《兰亭》诸本，亦与率更不类。盖亦多出自家机杼故也。”褚遂良书法特点中整幅书法作品以弧形线条居多，即使是短线条，也有一咏三叹的情调。弧线的大量使用，使原本笔直、坚挺的基本笔画，增加了柔和委婉。褚遂良在起笔时略微多了点逆笔，然后引回，波转一下。这些用笔都使褚遂良的书法显得生动活泼，不局限于原有的形式。《雁塔圣教序》的笔画纤细而俊秀，即使是复杂的波折转笔，也是一丝不苟，毫无须发的遗憾。褚遂良秉承了文人书法家的笔法，在书写过程中却又能把握轻重、灌输力量。\n运笔：《雁塔圣教序》在运笔上则采用方圆兼施，逆起逆止；横画竖入，竖画横起，首尾之间皆有起伏顿挫，提按使转以及回锋出锋也都有了一定的规矩。唐张怀瓘评此书云：“美女婵娟似不轻于罗绮，铅华绰约甚有余态。”清代秦文锦亦评曰：“褚登善书，貌如罗琦婵娟，神态铜柯铁干。此碑尤婉媚遒逸，波拂如游丝。能将转折微妙处一一传出，摩勒之精，为有唐各碑之冠。”\n评价：《雁塔圣教序》引领大唐楷书新格，书法史上褚遂良因此被重重地书上一笔。初唐三家——欧、虞、褚并称书坛，但真正地开启唐代楷书门户者，非褚氏遂良一人莫属。纵观唐中期的颜真卿、徐浩，莫不受其影响，可以说唐朝中后期书坛风貌是由褚遂良启导的，特别是《雁塔圣教序》更具有创新的时代意义。——王佑贵《褚遂良与〈雁塔圣教序〉》。",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb22cb1a211275d5e13e089e574ad1a1e.jpg",[],{"id":3995,"slug":3996,"title":3997,"dynasty":105,"author":637,"museum":107,"description":3998,"tags":3999,"thumbUrl":4000,"material":95,"size":4001,"collection":96,"collections":4002,"showCount":3973,"zanCount":39,"manualWeight":39,"mainColor":100},221030,"ding-wu-ben-lan-juan-wang-xi-zhi-221030","定武本兰卷","笔势洞精，笔法严谨遒劲",[23,7,60,198,200,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5e671a68d12677bedaa825f200d12c.jpg","35x270cm",[96],{"id":4004,"slug":4005,"title":2058,"dynasty":179,"author":225,"museum":126,"description":2059,"tags":4006,"thumbUrl":4009,"material":784,"size":95,"collection":35,"collections":4010,"showCount":3973,"zanCount":418,"manualWeight":39,"mainColor":40},220868,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868",[23,27,111,49,7,77,1074,56,553,113,4007,51,4008],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[35,218],{"id":4012,"slug":4013,"title":4014,"dynasty":18,"author":4015,"museum":72,"description":4016,"tags":4017,"thumbUrl":4018,"material":79,"size":4019,"collection":96,"collections":4020,"showCount":3973,"zanCount":882,"manualWeight":39,"mainColor":40},214234,"kai-shu-qi-yan-lian-ceng-guo-quan-214234","楷书七言联","曾国荃","此联楷书用笔沉雄稳健，起笔收锋间见骨力，转折处圆劲含刚，如锥画沙般扎实。结体端方规整却不拘板，字势略带欹侧之趣，于庄重中藏灵动。墨色浓淡相宜，枯润互见，与泛黄纸本相映，更显古雅醇厚。联语布局疏朗有致，上下呼应，气韵贯通，既见文人书法的书卷清气，又隐现武将出身的沉雄气概，笔墨间藏纳岁月沉淀的厚重，堪称晚清楷书佳作。",[23,199,2136,7,50,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65b7cd19665fb611b40fa719af531fd.jpg","158.8x38.4",[96],{"id":4022,"slug":4023,"title":4024,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":4025,"thumbUrl":4028,"material":751,"size":752,"collection":95,"collections":4029,"showCount":4030,"zanCount":882,"manualWeight":39,"mainColor":40},290181,"hua-hui-si-tiao-ping-wu-chang-shuo-290181","花卉四条屏",[23,24,92,25,75,27,50,29,4026,7,77,4027],"寿桃","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9dc40faec11aee3f097844ed158d77.jpg",[],111,{"id":4032,"slug":4033,"title":4034,"dynasty":45,"author":4035,"museum":126,"description":4036,"tags":4037,"thumbUrl":4043,"material":312,"size":4044,"collection":96,"collections":4045,"showCount":4030,"zanCount":11,"manualWeight":39,"mainColor":40},219153,"kai-shu-qian-yi-zhai-ming-ye-shen-du-219153","楷书·谦益斋铭页","沈度","本幅书《谦益斋铭》。笔墨妍润，风姿俊雅，为“台阁体”书法之典范。",[23,7,199,4038,4039,4040,4041,4042,312,2602],"明代","台阁体","工整","严谨","秀丽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165163e619419312f72d08b1e1a284d1.jpg","纵24.4厘米，横31.3厘米",[96],{"id":4047,"slug":4048,"title":4049,"dynasty":179,"author":1187,"museum":4050,"description":4051,"tags":4052,"thumbUrl":4054,"material":33,"size":4055,"collection":35,"collections":4056,"showCount":4030,"zanCount":418,"manualWeight":39,"mainColor":40},219118,"shuang-jiu-tu-qian-xuan-219118","双鸠图","辛辛那提艺术博物馆","画面描绘了一根梨枝的主干，枝头有许多枝条，枝条上盛开着洁白的梨花。 树枝上栖息着两只鸽子，一只低着脖子哼了一声，一只好奇地盯着树枝。",[24,25,111,27,4053,1763,30,7,77],"鸠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c9c5dce479a9ec47c315e8badbe4e8.jpg","30.5x97.8cm",[35],{"id":4058,"slug":4059,"title":4060,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":4061,"thumbUrl":4062,"material":751,"size":752,"collection":95,"collections":4063,"showCount":4064,"zanCount":39,"manualWeight":39,"mainColor":40},287422,"ke-qi-xian-sheng-hai-tang-shi-yi-tu-zhou-zhu-da-287422","恪齐先生海棠诗意图轴",[92,24,25,75,50,29,1600,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e517c4537b840a0530121a85068caae.jpg",[],110,{"id":4066,"slug":4067,"title":4068,"dynasty":18,"author":4069,"museum":107,"description":4070,"tags":4071,"thumbUrl":4072,"material":751,"size":752,"collection":95,"collections":4073,"showCount":4064,"zanCount":39,"manualWeight":39,"mainColor":100},224201,"lin-yan-zhen-qing-qian-zi-wen-liang-guo-zhi-224201","临颜真卿千字文","梁国治","梁国治（1723-1786），清代书法家，乾隆十三年（1748年）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书，充任过《四库全书》副总裁。平生治事缜密，廉政清俭，好学爱才。工书法，著有《敬思堂文集》。《颜真卿千字文》。",[7,110,199,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0643af22586246a4af13474b8d9d6cb.jpg",[],{"id":4075,"slug":4076,"title":4077,"dynasty":88,"author":4078,"museum":648,"description":4079,"tags":4080,"thumbUrl":4081,"material":1038,"size":4082,"collection":96,"collections":4083,"showCount":4064,"zanCount":882,"manualWeight":39,"mainColor":789},221196,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221196","自作诗卷（全卷）第一段","陆游","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[23,7,49,60,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c86b3e25aa12cb4cbb30509110916e8.jpg","31*7017cm",[96],{"id":4085,"slug":4086,"title":4087,"dynasty":45,"author":1313,"museum":126,"description":4088,"tags":4089,"thumbUrl":4090,"material":79,"size":4091,"collection":63,"collections":4092,"showCount":4064,"zanCount":39,"manualWeight":39,"mainColor":40},218348,"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[23,24,25,49,50,110,60,7,59,77,51,251,56,252,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[63,187,96],{"id":4094,"slug":4095,"title":4096,"dynasty":45,"author":46,"museum":72,"description":1281,"tags":4097,"thumbUrl":4099,"material":79,"size":4100,"collection":95,"collections":4101,"showCount":4102,"zanCount":788,"manualWeight":39,"mainColor":40},290891,"zhi-lan-yu-shu-zhou-shen-zhou-290891","芝兰玉树轴",[92,24,25,75,50,29,250,139,3982,4098,7,77],"玉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d8db4644e33e6d7d4ebeeb78d46c3f.jpg","135.1x55.8",[],109,{"id":4104,"slug":4105,"title":1101,"dynasty":18,"author":3367,"museum":107,"description":4106,"tags":4107,"thumbUrl":4110,"material":751,"size":752,"collection":95,"collections":4111,"showCount":4102,"zanCount":39,"manualWeight":39,"mainColor":40},288272,"sui-chao-tu-zou-yi-gui-288272","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,92,75,25,50,27,111,29,131,133,4108,834,4109,77,7],"蟹","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b31be5ac75272346afebc37aa3b5b24.jpg",[],{"id":4113,"slug":4114,"title":4115,"dynasty":162,"author":2966,"museum":107,"description":4116,"tags":4117,"thumbUrl":4118,"material":751,"size":752,"collection":95,"collections":4119,"showCount":4102,"zanCount":882,"manualWeight":39,"mainColor":100},227259,"xuan-mi-ta-bei-yuan-ke-liu-gong-quan-227259","玄秘塔碑原刻","《玄秘塔碑》，全称《唐故左街僧录内供奉三教谈论引驾大德安国寺上座赐紫大达法师玄秘塔碑铭并序》，是唐会昌元年 （841年）由时任宰相的裴休撰文，书法家柳公权书丹而成，为楷书书法作品。现今保存于西安碑林第二室。\n《玄秘塔碑》共28行，每行54字。叙大达法师在德宗、顺宗、宪宗三朝所受恩遇，以纪念大达法师之事迹而告示后人。其结体紧密，笔法锐利，筋骨外露，阳刚十足，字迹如刀刻一般，且笔画粗细变化多端，风格特点显著。 《玄秘塔碑》为柳公权书法创作生涯中的一座里程碑，标志着“柳体”书法的完全成熟，历来被作为初学书法者的正宗范本，对后世影响深远。",[1063,7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aba590c79e21dfd2613f83d93869ef6.jpg",[],{"id":4121,"slug":4122,"title":4123,"dynasty":45,"author":744,"museum":72,"description":4124,"tags":4125,"thumbUrl":4126,"material":682,"size":4127,"collection":171,"collections":4128,"showCount":4102,"zanCount":788,"manualWeight":39,"mainColor":40},222366,"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[23,24,49,50,59,7,77,51,1018,113,3388,266,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f56c2e7c9e604b90f864ec56.jpg","30x210",[171,187],{"id":4130,"slug":4131,"title":4132,"dynasty":179,"author":225,"museum":126,"description":226,"tags":4133,"thumbUrl":4134,"material":79,"size":229,"collection":95,"collections":4135,"showCount":4102,"zanCount":39,"manualWeight":39,"mainColor":100},214287,"xiao-kai-luo-shen-fu-ce-7-zhao-meng-fu-214287","小楷洛神赋册-7",[23,7,199,384,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4e88283185d4fe6e63d850029edd7b.jpg",[],{"id":4137,"slug":4138,"title":4139,"dynasty":88,"author":4140,"museum":107,"description":4141,"tags":4142,"thumbUrl":4143,"material":95,"size":95,"collection":95,"collections":4144,"showCount":4145,"zanCount":11,"manualWeight":39,"mainColor":40},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","李安忠","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,92,24,25,1250,111,27,29,692,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],108,{"id":4147,"slug":4148,"title":307,"dynasty":179,"author":2258,"museum":279,"description":4149,"tags":4150,"thumbUrl":4151,"material":27,"size":4152,"collection":187,"collections":4153,"showCount":4145,"zanCount":39,"manualWeight":39,"mainColor":40},221863,"mo-zhu-tu-zhao-yong-221863","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[23,24,92,25,50,7,60,77,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c49ae27cf37c90ce47878755601d49.jpg","26.7×172.7cm",[187,1223],{"id":4155,"slug":4156,"title":4157,"dynasty":162,"author":4158,"museum":72,"description":4159,"tags":4160,"thumbUrl":4161,"material":682,"size":4162,"collection":96,"collections":4163,"showCount":4145,"zanCount":882,"manualWeight":39,"mainColor":40},221081,"shu-pu-quan-juan-sun-guo-ting-221081","书谱全卷","孙过庭","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为 “序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为 “谱”，作者生前未能完成，现仅存第一卷。《书谱》对中国书法的影响是非常巨大的，奠定了书法理论的基本框架。其中提到反对写字如同绘画“巧涉丹青功亏翰墨”，认为书法审美观念要“趋变适时”，所谓“质文三变，驰骛沿革，物理常然”，反对把书法当作秘诀，择人而授的保守态度。孙过庭认为习书法应要篆、隶、楷、草四书融合交汇，否则想谈书法，是不可能的。“草不兼真，殆于专谨；真不通草，殊非翰札，真以点画为形质，使转为情性；草以点画为情性，使转为形质。草乖使转，不能成字；真亏点画，犹可记文。回互虽殊，大体相涉。故亦傍通二篆，俯贯八分，包括篇章，涵泳飞自。若毫厘不察，则胡越殊风者焉。”",[23,92,24,25,49,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[96,802],{"id":4165,"slug":4166,"title":4167,"dynasty":45,"author":1313,"museum":126,"description":4168,"tags":4169,"thumbUrl":4170,"material":312,"size":4171,"collection":63,"collections":4172,"showCount":4145,"zanCount":882,"manualWeight":39,"mainColor":40},220918,"shan-shui-ce-dong-qi-chang-220918","山水册","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,24,50,59,26,7,60,77,51,651,360,652,589,250,58,845,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[63,187],{"id":4174,"slug":4175,"title":4176,"dynasty":88,"author":369,"museum":72,"description":4177,"tags":4178,"thumbUrl":4180,"material":169,"size":4181,"collection":35,"collections":4182,"showCount":4145,"zanCount":39,"manualWeight":39,"mainColor":100},219243,"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[23,24,25,75,111,27,29,131,4179,138,77,7],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[35,314,218],{"id":4184,"slug":4185,"title":4186,"dynasty":88,"author":4187,"museum":126,"description":4188,"tags":4189,"thumbUrl":4190,"material":312,"size":4191,"collection":96,"collections":4192,"showCount":4145,"zanCount":788,"manualWeight":39,"mainColor":40},219143,"xiao-kai-ba-wang-xian-zhi-bao-mu-tie-jiang-kui-219143","小楷·跋王献之保母帖","姜夔","姜夔传世墨迹不多。从小楷《跋王献之保母帖》中可以看出他用笔精到，典雅俊润，且受初唐诸家书风影响，不随时俗，清新脱俗。",[23,49,7,199,384,77,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d86690fd5236097ac85f5440054f5e7.jpg","纵31.6厘米，横708.3厘米",[96],{"id":4194,"slug":4195,"title":4196,"dynasty":18,"author":411,"museum":1172,"description":3488,"tags":4197,"thumbUrl":4198,"material":33,"size":3491,"collection":95,"collections":4199,"showCount":4145,"zanCount":39,"manualWeight":39,"mainColor":40},214889,"shan-shui-tu-ce-4-shi-tao-214889","山水图册-4",[23,24,50,59,26,7,77,51,53,54,57,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d80b1de337411d72d248e61d4a115b1.jpg",[],{"id":4201,"slug":4202,"title":4203,"dynasty":88,"author":308,"museum":72,"description":4204,"tags":4205,"thumbUrl":4206,"material":50,"size":4207,"collection":96,"collections":4208,"showCount":4145,"zanCount":788,"manualWeight":39,"mainColor":40},214829,"huo-jian-tie-su-shi-214829","获见帖","释文：轼启。近者经由。获见为幸。过辱遣人赐书。得闻起居佳胜。感慰兼极。忝命出于馀芘。重承流喻。益深愧慰畏。再会未缘。万万以时自重。人还。冗中。不宣。轼再拜 。长官董侯阁下。六月廿八日。",[7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ee27e03cf357dc2c448c081d7e6f4d.jpg","纵27.7厘米×横38.4厘米",[96],{"id":4210,"slug":4211,"title":4212,"dynasty":179,"author":225,"museum":126,"description":226,"tags":4213,"thumbUrl":4214,"material":79,"size":229,"collection":95,"collections":4215,"showCount":4145,"zanCount":39,"manualWeight":39,"mainColor":100},214289,"xiao-kai-luo-shen-fu-ce-6-zhao-meng-fu-214289","小楷洛神赋册-6",[23,25,26,199,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adfde336f0c590edf552acd45006506.jpg",[],{"id":4217,"slug":4218,"title":2513,"dynasty":179,"author":4219,"museum":126,"description":4220,"tags":4221,"thumbUrl":4222,"material":184,"size":4223,"collection":187,"collections":4224,"showCount":4225,"zanCount":882,"manualWeight":39,"mainColor":100},221699,"zhu-shi-tu-zhou-gu-an-221699","顾安","该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[23,24,92,75,50,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff805e3a06970a6ba0a00217aa34855.jpg","170.7x99.7",[187,1223],107,{"id":4227,"slug":4228,"title":4229,"dynasty":88,"author":369,"museum":279,"description":4230,"tags":4231,"thumbUrl":4232,"material":1179,"size":4233,"collection":314,"collections":4234,"showCount":4225,"zanCount":39,"manualWeight":39,"mainColor":40},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[23,24,25,49,111,27,7,77,29,132,250,4179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[314,1223],{"id":4236,"slug":4237,"title":4238,"dynasty":179,"author":4239,"museum":2379,"description":4240,"tags":4241,"thumbUrl":4242,"material":169,"size":95,"collection":171,"collections":4243,"showCount":4225,"zanCount":418,"manualWeight":39,"mainColor":40},220368,"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","任仁发","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[23,92,24,25,49,111,27,60,7,77,113,1074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[171,218],{"id":4245,"slug":4246,"title":4247,"dynasty":18,"author":2653,"museum":72,"description":2654,"tags":4248,"thumbUrl":4249,"material":33,"size":95,"collection":95,"collections":4250,"showCount":4225,"zanCount":39,"manualWeight":39,"mainColor":40},214836,"xie-sheng-ce-24-hua-yan-214836","写生册-24",[24,25,26,27,112,113,878,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7af5d340d1adb25d509df9d455283ac7.jpg",[],{"id":4252,"slug":4253,"title":4254,"dynasty":88,"author":1147,"museum":107,"description":4255,"tags":4256,"thumbUrl":4258,"material":751,"size":752,"collection":95,"collections":4259,"showCount":4260,"zanCount":788,"manualWeight":39,"mainColor":100},288290,"mao-lin-yuan-xiu-tu-li-cheng-288290","茂林远岫图","《茂林远岫图》描绘的是夏日山水景色，其中峰峦叠翠，奇峰矗立，远山奇峰崛立，空远清旷；近处轻舟泊渡，行人车马往来；中景山谷之间殿阁林立，塔影隐没其中，飞泉水口，如闻其声，如临其境，整幅作品呈现了一派寓闹于静的景致。\n《茂林远岫图》就绘画技法而论，刻画细腻，神形有致；画面构图“三远”法的并用，构景主次疏密的安排等，无不透露出北宋山水画风貌的典型气息。",[23,92,24,25,49,50,59,51,4257,251,56,3630,7,77],"茂林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ba5f640d5b6339147fba4ccbde437.jpg",[],106,{"id":4262,"slug":4263,"title":4264,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":4265,"thumbUrl":4266,"material":751,"size":752,"collection":95,"collections":4267,"showCount":4260,"zanCount":882,"manualWeight":39,"mainColor":40},287419,"hai-tang-chun-qiu-tu-zhu-da-287419","海棠春秋图",[23,92,24,25,75,50,29,1600,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5640b26d0debfdda6acd1c0fbf679437.jpg",[],{"id":4269,"slug":4270,"title":4271,"dynasty":18,"author":3261,"museum":4272,"description":4273,"tags":4274,"thumbUrl":4275,"material":95,"size":95,"collection":96,"collections":4276,"showCount":4260,"zanCount":788,"manualWeight":39,"mainColor":100},222799,"shao-xue-qin-shu-ce-deng-shi-ru-222799","少学琴书册","上海韩天衡氏私人收藏","体势值由雅驯而趋开张，笔意由温润而趋劲豪，气格宏阔而无纵横习气。是一件由厚积走向勃发之际的别致的佳作，多堪玩味。",[23,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08846c0fd86ec02d5cc43166ed0282fa.jpg",[96],{"id":4278,"slug":4279,"title":807,"dynasty":179,"author":1516,"museum":72,"description":4280,"tags":4281,"thumbUrl":4286,"material":94,"size":95,"collection":63,"collections":4287,"showCount":4260,"zanCount":418,"manualWeight":39,"mainColor":40},218761,"shan-shui-tu-wu-zhen-218761","墨色晕染如轻烟绕峰，山石以披麻皴层层铺陈，湿墨点苔似苍苔缀石，尽显古拙厚重。林木萧疏错落，枝干虬劲中藏清逸，与淡墨晕开的云雾交织，拓出深远山水空间。留白处似有山风掠过，裹挟幽寂禅意，恰是元人山水的空灵之境。题跋与朱印相映，诗画相融间，藏着文人对自然的敬畏与心向林泉的淡泊。每一笔都晕染时光沉淀的静谧，观者仿佛步入清旷山水，暂忘尘嚣，只余眼前的淡远与安然。",[23,92,24,50,51,2854,57,2028,252,77,7,4282,4283,4284,4285],"禅意","空灵","淡泊","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1c86c535085fc058d17972928a0b55.jpg",[63],{"id":4289,"slug":4290,"title":4291,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":4292,"thumbUrl":4293,"material":751,"size":752,"collection":95,"collections":4294,"showCount":4295,"zanCount":788,"manualWeight":39,"mainColor":40},290557,"mu-dan-zhou-xu-wei-290557","牡丹轴",[24,75,50,25,29,135,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9487283bab61d433f887641040f025a9.jpg",[],105,{"id":4297,"slug":4298,"title":4299,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":4302,"thumbUrl":4303,"material":751,"size":752,"collection":95,"collections":4304,"showCount":4295,"zanCount":418,"manualWeight":39,"mainColor":40},235799,"mu-dan-shan-chen-chun-235799","牡丹扇","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[1250,24,25,29,135,27,50,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b4e60c9cc0dc84edd2a1739d852f0d.jpg",[],{"id":4306,"slug":4307,"title":4308,"dynasty":179,"author":1516,"museum":72,"description":4309,"tags":4310,"thumbUrl":4311,"material":312,"size":4312,"collection":95,"collections":4313,"showCount":4295,"zanCount":882,"manualWeight":39,"mainColor":40},231500,"mo-zhu-pu-ce-ye-gao-qing-si-fu-wu-zhen-231500","墨竹谱册页（高清四幅）","吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病",[23,24,92,25,26,50,7,77,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a763ebdaf12beb20835513dca92c2a2.jpg","高403厘米，宽52厘米",[],{"id":4315,"slug":4316,"title":4317,"dynasty":18,"author":599,"museum":107,"description":949,"tags":4318,"thumbUrl":4319,"material":682,"size":95,"collection":35,"collections":4320,"showCount":4295,"zanCount":882,"manualWeight":39,"mainColor":40},223301,"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[23,24,25,75,50,60,77,7,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f693b107ed41d72c1e72ff211b8570.jpg",[35,187],{"id":4322,"slug":4323,"title":4324,"dynasty":88,"author":369,"museum":72,"description":4325,"tags":4326,"thumbUrl":4328,"material":184,"size":4329,"collection":314,"collections":4330,"showCount":4295,"zanCount":882,"manualWeight":39,"mainColor":100},221344,"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[23,24,92,75,111,27,29,131,139,4327,77,7,60],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm",[314,35,218],{"id":4332,"slug":4333,"title":4334,"dynasty":2365,"author":4335,"museum":72,"description":4336,"tags":4337,"thumbUrl":4338,"material":2358,"size":4339,"collection":96,"collections":4340,"showCount":4295,"zanCount":39,"manualWeight":39,"mainColor":40},221142,"jiu-hua-tie-yang-ning-shi-221142","韭花帖","杨凝式","《韭花帖》是唐末五代书法家杨凝式创作的墨迹本行书作品，有“天下第五行书”之称，现存3个藏本，分别藏于无锡博物院和台北故宫博物院，罗振玉藏本不知去向。\n《韭花帖》是杨凝式醒后饥饿无比，得韭花珍馐而食，心中惬意故灵感大发写下。字体点画生动，结构端稳，风神简静，全帖表现出入规入矩的端庄与温雅，结体妍丽，并以精严的技巧表达出含蓄内在的文人之气。用笔一丝不苟，却不显得古板呆滞，巧妙地将内擫和外拓的笔法融为一体",[23,7,60,77,200,25,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187304b1c9b023f2dbfc8a55ebeee4c0.jpg","高26厘米，宽28厘米",[96],{"id":4342,"slug":4343,"title":4344,"dynasty":18,"author":19,"museum":279,"description":4345,"tags":4346,"thumbUrl":4348,"material":4349,"size":4350,"collection":63,"collections":4351,"showCount":4295,"zanCount":39,"manualWeight":39,"mainColor":40},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[23,24,92,25,4347,27,60,7,110,652,239,678,77],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[63,218],{"id":4353,"slug":4354,"title":4355,"dynasty":179,"author":180,"museum":107,"description":4356,"tags":4357,"thumbUrl":4358,"material":751,"size":752,"collection":95,"collections":4359,"showCount":4360,"zanCount":39,"manualWeight":39,"mainColor":40},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[92,24,25,75,50,59,51,55,52,53,115,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],104,{"id":4362,"slug":4363,"title":1475,"dynasty":18,"author":4364,"museum":107,"description":4365,"tags":4366,"thumbUrl":4367,"material":751,"size":752,"collection":95,"collections":4368,"showCount":4360,"zanCount":39,"manualWeight":39,"mainColor":40},228959,"mu-dan-tu-ce-jiang-ting-xi-228959","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[23,25,111,27,29,135,60,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb801dbc41af410daf446972498e3c49f.jpg",[],{"id":4370,"slug":4371,"title":4372,"dynasty":162,"author":1715,"museum":72,"description":4373,"tags":4374,"thumbUrl":4375,"material":682,"size":4376,"collection":96,"collections":4377,"showCount":4360,"zanCount":418,"manualWeight":39,"mainColor":40},221147,"ni-kuan-zan-chu-sui-liang-221147","倪宽赞","历代多认为本帖是褚遂良晚年作品。近代学者则以其文中之避讳用字习惯，与唐代情况不类，且用笔亦与褚书有所出入，结构较似欧体，认为是宋代临写。\n本帖笔划疏瘦，顿挫生姿，笔意翩翩自得，秀丽美妙。《石渠宝笈》载：帖高七寸七分，横五尺二寸七分，字共五十行，满行七字。卷后有赵孟坚、邓文原、柳贯、杨士奇、钱溥等人跋记。\n这件墨迹与褚书碑版相比，风格是一致的。其用笔富于变化，气均力匀；在处处表现运锋着实的同时，也往往参用轻盈飘洒、灵活自然的笔墨。起笔轻捷，收笔沉着，主要笔画适当地伸展，给人以笔势翩翩、萧洒大方、平和闲雅、神爽超迈的感觉。\n王世贞评褚书曰：“一勾一捺有千钧之力，虽外拓取姿，而中擪有法。”由墨迹观之，尤为明显。书风或学钟繇之体而古雅，或师逸少之法而瘦劲。无怪苏轼说：“清远萧洒，微杂隶体。”",[23,7,199,49,77,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f90fcb1316afed9d8ea9f3a74f5b414.jpg","纵24.6cm，横170.1cm",[96],{"id":4379,"slug":4380,"title":4381,"dynasty":105,"author":4382,"museum":126,"description":4383,"tags":4384,"thumbUrl":4385,"material":312,"size":4386,"collection":802,"collections":4387,"showCount":4360,"zanCount":882,"manualWeight":39,"mainColor":40},221026,"bo-yuan-tie-wang-xun-221026","伯远帖","王珣","《伯远帖》是晋王珣(350—401年)写的一封信。原文：“珣頓首頓首，伯遠勝業情期群從之寶。自以羸患, 志在優遊。始獲此出意不剋申。分別如昨永爲疇古。遠隔嶺嶠，不相瞻臨。”\n卷前引首有乾隆御书：“江左風華”四大字，上有“乾隆御笔”一玺。并御题：“唐人真迹已不可多得，況晉人耶！內府所藏右軍快雪帖、大令中秋帖，皆希世之珍。今又得王珣此幅，繭紙家风，信堪並美！幾余清赏，亦臨池一助也。御識。”钤“乾隆宸翰”、“涵虛朗鑒”二玺。\n前隔水御书：“家學世範，草聖有傳。宣和書譜”12字。下有：“乾隆宸翰”、“幾暇臨池”、“耽書是宿缘”三玺。\n又御识：“乾隆丙寅春月，獲王珣此帖，遂與快雪中秋二迹並藏養心殿溫室中，顔曰三希堂，御筆。又識”，钤“乾”、“隆”二玺。\n后隔水上有明董其昌跋，后有乾隆御笔绘枯枝文石，并识：“王珣帖與其昌跋皆可寶玩，即裝池側理亦光潤堪愛，漫制枯枝文石以配之。乾隆丙寅春正，長春書屋御識”，钤“几暇怡情”一玺。后有“墨云”一玺。\n卷尾敕董邦达绘图，邦达有记，又有沈德潜书“三希堂歌”。\n卷后有董其昌、王肯堂题记。\n此帖与陆机《平复帖》为现今仅存的两件晋代名人法书。\n王羲之作为“书圣”，垂范百代。但他的书作只以临本、摹本和刻本的形式流传，没有一件真迹传世。王氏家族世代擅书，名家辈出，然其作品命运亦大抵相同。唯羲之族侄王珣有此短笺留在人间，实在是不幸中的大幸。我们可以从中窥见“二王”行草书使转用笔的精微之处，这是刻帖和双勾填墨摹本所无法传达的。\n王珣本人有书名，此帖风神俊朗，潇洒流利，在王氏家族书风的基础上自具面目，在中国书法史上具有崇高的地位。\n王珣《伯远帖》自乾隆十一年（1746年）进入内府，经乾隆品题，与王羲之《快雪时晴帖》、王献之《中秋帖》并藏在养心殿西暖阁内的尽间，乾隆御书匾额“三希堂”。 乾隆十二年又精选内府所藏魏晋唐宋元明书家134家真迹，包括三希在内，摹勒上石，命名《三希堂法帖》。在西苑的北海建“阅古楼”，把上述刻石嵌在楼内墙上，拓本流传以示临池之模范。三希原件仍藏在养心殿三希堂。\n1911年以后至1924年溥仪出宫以前，《伯远帖》、《中秋帖》曾藏在敬懿皇贵妃所居的寿康宫，溥仪出宫之时，敬懿皇贵妃将此帖带出宫，后流散在外。1951 年周恩来总理指示将《伯远帖》、《中秋帖》从香港购回，交故宫博物院收藏。\n《宣和书谱》、《画禅室随笔》、《书画记》、《平生壮观》、《墨缘汇观》、《式古堂书画汇考》、《佩文斋书画谱》、《石渠宝笈·初编》、《古书画过眼要录》等书著录。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246f88fa2111a0004e79f669a9b961c0.jpg","纵25.1cm，横17.2cm",[802],{"id":4389,"slug":4390,"title":4391,"dynasty":105,"author":1642,"museum":126,"description":4392,"tags":4393,"thumbUrl":4394,"material":4395,"size":4396,"collection":96,"collections":4397,"showCount":4360,"zanCount":882,"manualWeight":39,"mainColor":789},221020,"dong-shan-song-tie-wang-xian-zhi-221020","东山松帖","《东山松帖》又名《新埭帖》、《东山帖》。《东山松帖》是王献之所书写的一通信札，下笔婆娑，百态横生，萧散秀逸。",[25,24,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2e1dad8d0f5a784fa42000b553eb90.jpg","纸本墨迹","纵22.8厘米，横22.3厘米",[96],{"id":4399,"slug":4400,"title":4401,"dynasty":179,"author":4219,"museum":4050,"description":4402,"tags":4403,"thumbUrl":4404,"material":79,"size":4405,"collection":35,"collections":4406,"showCount":4360,"zanCount":39,"manualWeight":39,"mainColor":40},220322,"wan-jie-tu-gu-an-220322","晚节图","此作以墨写竹，竿干劲挺修长，节痕匀整，藏坚韧不屈之态。竹叶以浓淡墨笔撇捺挥写，错落层叠、顾盼生姿，尽显萧疏散朗之致，将竹的清灵秀逸全然托出。\n\n画作以竹明志，借凌霜不凋的修竹暗合持守晚节的君子襟怀，把文人画托物言志的意趣融于笔墨间。笔致洗练老辣，墨色层次分明，简淡素净的纸色衬出墨竹清韵，通篇空灵雅致，满卷皆溢清刚雅正的高古之气，是墨竹画中形神兼备的佳构。",[23,24,25,50,75,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1bd0ec0a82b701fca3fa1e53d0bce.jpg","113.7x33.2厘米",[35],{"id":4408,"slug":4409,"title":4410,"dynasty":88,"author":4411,"museum":2228,"description":4412,"tags":4413,"thumbUrl":4414,"material":169,"size":4415,"collection":171,"collections":4416,"showCount":4360,"zanCount":581,"manualWeight":39,"mainColor":40},215008,"xie-shen-lao-jun-bian-hua-shi-shi-tu-wang-li-yong-215008","写神老君变化十式图","王利用","道教以老子为祖先，赋予这位先秦哲人以神秘而神圣的光芒，赋予他自己神奇的力量。在这幅画中，老子被分段描绘在横幅上，从天地初开到殷商时期，老子化身为顾主、金阙皇帝、玉华子、大成子、广寿子、广成子、镇星子、解颐子、牟成子、川桓子等真实人格。宋朝皇帝提倡道教，所以这类题材的绘画很受欢迎。",[23,92,24,25,49,111,27,878,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474edbfbed198eb48c688584feee12ec.jpg","44.8x188.4",[171],{"id":4418,"slug":4419,"title":4420,"dynasty":88,"author":549,"museum":20,"description":4421,"tags":4422,"thumbUrl":4423,"material":79,"size":612,"collection":95,"collections":4424,"showCount":4360,"zanCount":39,"manualWeight":39,"mainColor":40},214281,"duo-jing-lou-shi-tie-3-mi-fei-214281","多景楼诗帖-3","笔锋八面翻飞，墨色浓淡相济。字形欹正相生，开张处如江潮拍岸，收敛时若峰峦凝翠。“下”字沉雄如坠石，“江”字流转似惊鸿掠水，“山”字稳峙若孤峰傲立，“樓”字牵丝映带如流云绕檐。每一笔都带着奔涌的豪情，仿佛凭栏多景楼头，望断千里江山，墨色里尽是吞吐天地的气魄。字间顾盼有情，行中气脉相连，既见“刷字”的快意洒脱，更藏深蕴的笔墨法度。跌宕起伏的笔势如长江万里，苍劲中透着灵动，厚重里含着清逸，一笔一画都在诉说着宋人的潇洒风骨与壮怀激烈。",[25,7,60,200,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0965b90af51c1a528377ebb300317951.jpg",[],{"id":4426,"slug":4427,"title":3842,"dynasty":45,"author":1015,"museum":72,"description":4428,"tags":4429,"thumbUrl":4430,"material":79,"size":4431,"collection":96,"collections":4432,"showCount":4360,"zanCount":39,"manualWeight":39,"mainColor":40},214255,"qi-yan-lv-shi-wen-zheng-ming-214255","文徵明的书法主要以王羲之和王献之为基础，而大字则以黄庭坚为典范。目前的数字是3.43厘米长，人物是25厘米高。它是文征明罕见的大型书法作品之一。笔法潇洒，变化多端，朴实无华，反映了他书法的深度。",[23,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5c12fd1f21871075eee4013641478b.jpg","343.8x99.5",[96],{"id":4434,"slug":4435,"title":4436,"dynasty":88,"author":369,"museum":107,"description":4437,"tags":4438,"thumbUrl":4441,"material":751,"size":752,"collection":95,"collections":4442,"showCount":4443,"zanCount":788,"manualWeight":39,"mainColor":40},289742,"run-zhong-qiu-yue-zhao-ji-289742","闰中秋月","该书法帖是故宫博物院所藏赵佶的“瘦金体”《闰中秋月帖》。作品笔画细瘦如“筋”，舒展飘逸，却挺拔有力，气韵生动且不失腴润，更不显稚弱之气，有浓郁的书卷气息。\n赵佶的书法，早年学薛稷、黄庭坚，后又参合褚遂良诸家，出以挺瘦秀润，又变化“二薛”（薛稷、薛曜），形成自己的独特风格。观赏作品，可发现，其线条瘦直挺拔，横画收笔带钩，竖画收笔带点，撇如匕首，捺如切刀，竖钩细长，有些连笔字像游丝行空，已近行书。其用笔源于褚、薛，只是写得更瘦劲；结体笔势取黄庭坚大字楷书，舒展劲挺。这种书体从美学的角度讲：丽美之气袭人，婀娜多姿。在古代皇权集中制的时代，一般的情况下，肃穆、庄重、典雅和大气是皇家风格的主要特征。但是，历史似乎在动荡的宋朝发生了非规律性的扭动，从而造成了皇权和皇家审美标准的大逆转。赵佶荒废朝政、一心沉溺于书画艺术这一事实，推动了他艺术天分的表露和宣泄。而他的美学标准也随着扭动的历史现实化而变得大背传统，形成独特的一种艺术风格。这可能就是宋徽宗“瘦金体”书法形成的历史渊源吧！但是，优秀的艺术流派是以它优秀的艺术价值流传的，艺术的光芒不会因创造者某一方面的缺失而受到因影响。赵佶的“瘦金书”墨迹，优雅之气与瑰丽之气并重，正如岳珂在《宝真斋法书赞》称赞他的书法所言：“金缕之妙，细比毫发，殆与神工鬼能，较奇逞并于秋毫间。”",[23,7,199,77,678,4439,4440],"中秋","诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26596379d9428c2728071db884a953e4.jpg",[],103,{"id":4445,"slug":4446,"title":4447,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":4448,"thumbUrl":4449,"material":751,"size":752,"collection":95,"collections":4450,"showCount":4443,"zanCount":882,"manualWeight":39,"mainColor":40},287452,"yi-jin-ling-ce-shi-tao-287452","忆金陵册",[24,26,50,7,77,59,51,704,333,57,678,2029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024d85ab10042e974297b9aa2ce45b2.jpg",[],{"id":4452,"slug":4453,"title":4454,"dynasty":179,"author":759,"museum":72,"description":4455,"tags":4456,"thumbUrl":4457,"material":94,"size":4458,"collection":95,"collections":4459,"showCount":4443,"zanCount":882,"manualWeight":39,"mainColor":100},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[23,24,25,75,50,298,115,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","151.4x52.2",[],{"id":4461,"slug":4462,"title":4463,"dynasty":18,"author":830,"museum":107,"description":1809,"tags":4464,"thumbUrl":4465,"material":4466,"size":95,"collection":218,"collections":4467,"showCount":4443,"zanCount":39,"manualWeight":39,"mainColor":40},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花",[23,24,25,75,27,50,29,140,250,77,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg","纸本 设色",[218],{"id":4469,"slug":4470,"title":4471,"dynasty":88,"author":4472,"museum":164,"description":4473,"tags":4474,"thumbUrl":4475,"material":169,"size":4476,"collection":314,"collections":4477,"showCount":4443,"zanCount":788,"manualWeight":39,"mainColor":40},218561,"chi-bi-tu-yang-shi-xian-218561","赤壁图","杨士贤","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[23,24,25,49,50,27,59,51,54,678,679,3040,56,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[314,63],{"id":4479,"slug":4480,"title":4481,"dynasty":662,"author":663,"museum":126,"description":4482,"tags":4483,"thumbUrl":4485,"material":33,"size":4486,"collection":35,"collections":4487,"showCount":4443,"zanCount":882,"manualWeight":39,"mainColor":40},216936,"zhu-qin-tu-ping-qi-bai-shi-216936","竹禽图屏","篆笔古拙沉厚，墨痕间似淌商周遗韵，线条凝练如铸金石。下方禽鸟羽色简淡却神完气足，喙微张欲鸣，爪踏竹篮边缘，憨态可掬。竹篮以寥寥数笔勾廓，经纬交错处见质朴野趣。旁题书法笔势洒脱，墨色浓淡相宜，与禽鸟的鲜活、竹篮的拙朴相映成趣。整幅书画相融，于简淡中藏盎然生机，质朴里蕴文人雅逸，将日常小景化为耐人寻味的意趣，尽显笔墨与生活的交融之妙。",[23,24,50,27,457,60,77,129,693,4484,7],"竹编器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0b158a23761978220ebb961394c51.jpg","36.5x33.2cm",[35],{"id":4489,"slug":4490,"title":4491,"dynasty":88,"author":4492,"museum":164,"description":4493,"tags":4494,"thumbUrl":4497,"material":169,"size":4498,"collection":171,"collections":4499,"showCount":4443,"zanCount":882,"manualWeight":39,"mainColor":40},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[23,92,24,25,49,27,111,59,113,51,56,4495,4496,7,457,199,167,77],"云气","神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[171],{"id":4501,"slug":4502,"title":4503,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":4506,"thumbUrl":4510,"material":751,"size":752,"collection":95,"collections":4511,"showCount":4512,"zanCount":882,"manualWeight":39,"mainColor":40},289921,"sui-chao-ji-xiang-ru-yi-tu-chen-shu-289921","岁朝吉祥如意图","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,75,27,111,29,131,135,139,833,4507,4508,7,77,4509],"桃","瓷瓶","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38029323e05c021e6acdaff4db1b6ef7.jpg",[],102,{"id":4514,"slug":4515,"title":4516,"dynasty":45,"author":744,"museum":107,"description":897,"tags":4517,"thumbUrl":4518,"material":751,"size":752,"collection":95,"collections":4519,"showCount":4512,"zanCount":788,"manualWeight":39,"mainColor":40},288079,"shi-liu-zhi-tu-zhou-tang-yin-288079","石榴枝图轴",[23,24,75,29,27,445,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f63c78923d96b6e2af743b41cfd6d6.jpg",[],{"id":4521,"slug":4522,"title":4523,"dynasty":18,"author":599,"museum":126,"description":4524,"tags":4525,"thumbUrl":4526,"material":519,"size":4527,"collection":95,"collections":4528,"showCount":4512,"zanCount":39,"manualWeight":39,"mainColor":40},233963,"mei-zhu-tu-zhou-zheng-ban-qiao-233963","梅竹图轴","竹是郑燮最擅长表现的题材，他能出神入化地准确捕捉住竹枝、竹叶在风中摇曳的动态和神韵，并形象生动地表现出来。同时竹之高洁素雅、坚韧不屈的物性亦最能体现郑燮刚直不阿的人品。郑燮画梅的作品仅此一幅，但因他具有深厚的艺术功底，故在梅的表现上亦能挥洒自如，花瓣为中锋运笔，其形状虽方圆不一，但自然的行笔，流畅的圈线，勾勒出了花儿旺盛的生命力。梅与用润墨表现的青竹在相互映衬中体现了它们不同的美。",[24,50,75,129,7,60,77,131,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8813cf214f626348dc52b8170329ca3b.jpg","纵127.8厘米，横31.3厘米",[],{"id":4530,"slug":4531,"title":4532,"dynasty":88,"author":308,"museum":107,"description":4533,"tags":4534,"thumbUrl":4535,"material":95,"size":95,"collection":95,"collections":4536,"showCount":4512,"zanCount":39,"manualWeight":39,"mainColor":789},227497,"ren-lai-de-shu-tie-su-shi-227497","人来得书帖","《人来得书帖》是在季常之兄伯诚死后苏轼写给季常的慰问信，故有‘伏惟深照死生聚散之常理。悟忧哀之无益，释然自勉’之句。帖上钤有“吴土谔”、“御府宝绘、“仪周赏”等。帖后有董其昌跋:“东坡真迹，余所见无虑数十卷，皆宋人双勾廓填。坡书本浓，既经填墨，盖不免墨猪之论，唯此二帖(新岁、人来)则杜老所谓须臾九重真龙出，一洗万古凡马空也。”\n此帖曾经明项元汴，清安岐等递藏，后入清内府。安岐将此帖与《新岁展庆帖》合成一帖，并称坡公杰作。《人来得书帖》凝重，笔法流畅，为书牍杰作。",[25,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd3a1a36cd114e147a74358e047d6eb.jpg",[],{"id":4538,"slug":4539,"title":4540,"dynasty":18,"author":2653,"museum":107,"description":4541,"tags":4542,"thumbUrl":4543,"material":95,"size":95,"collection":95,"collections":4544,"showCount":4512,"zanCount":882,"manualWeight":39,"mainColor":40},224178,"mu-dan-zhu-shi-tu-hua-yan-224178","牡丹竹石图","此作淡素底色铺陈，花卉、湖石与秀竹错落排布，虚实相生。冰蓝牡丹以没骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[23,24,25,75,27,111,50,135,132,250,29,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":4546,"slug":4547,"title":3136,"dynasty":88,"author":369,"museum":20,"description":4548,"tags":4549,"thumbUrl":4551,"material":312,"size":4552,"collection":96,"collections":4553,"showCount":4512,"zanCount":788,"manualWeight":39,"mainColor":40},221346,"qian-zi-wen-zhao-ji-221346","宋徽宗是一位极不称职的皇帝，然而却是一位风流的才子。他才世杰出，于琴棋书画皆精，尤其在书法与绘画方面，颇有成就。他自创的[瘦金书]与兼工带写的画作至今为人所推崇。他的书法早年学习唐初四家之一的薛稷，明《书史会要》说徽宗[行昔日、正书笔势劲逸，初学薛稷，变其法度，自号瘦金书。要是意度天成，非可以陈迹求也]。薛稷书法，用笔纤细，结体疏瘦。虽[瘦金书]生发于唐人薛稷已成为共识，但徽宗在此基础上，聪　慧创意成为定型的瘦金体。此书体被后世誉为第一奇书，长横例作鱼头状，中截细若游丝，收笔重顿，竖笔很少作悬针，大多呈一右向倒钩，横与竖过渡折笔侧锋明显，运笔步骤展露无遗，的确不同于任何书体。徽宗还能狂草，笔意纯学怀素，并临怀素《千字文》洋洋洒洒。本法书长达十一米，用的是珍贵的描金云龙签，平添了富丽堂皇的皇家气象。他随意书写的[掠水燕翎寒自转，随泥花片湿相重]团扇，令后世书家赞叹不已。",[7,398,49,312,77,4550],"瘦金体风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e764baf1059bcff75f3e36431346a8d.jpg","纵31.2cm，横323.2cm",[96],{"id":4555,"slug":4556,"title":4557,"dynasty":45,"author":1313,"museum":1830,"description":4558,"tags":4559,"thumbUrl":4560,"material":312,"size":4561,"collection":96,"collections":4562,"showCount":4512,"zanCount":39,"manualWeight":39,"mainColor":40},220964,"shu-luo-han-zan-shu-juan-dong-qi-chang-220964","书罗汉赞书卷","包括：《罗汉赞》二首、《初祖赞》、《送僧游五台》、《送僧之牛山鸡足》。一如董氏清秀平和的书风，前半部分行中带草，结体森然，运笔精到，不争不躁，布局闲适，自然天成。与《菩萨藏经后序》相较，折笔较多，显得更挺拔硬朗。后半部分草书，运笔飞动流畅，挥洒自如，如龙蛇云物。然而，又不颠不狂，始终保持正锋，不失圆劲之妙。",[23,7,398,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ffe99ce6fd3374ae447318421bed5.jpg","纵31.1厘米，横631.3 厘米",[96],{"id":4564,"slug":4565,"title":4566,"dynasty":88,"author":2328,"museum":72,"description":4567,"tags":4568,"thumbUrl":4569,"material":79,"size":4570,"collection":314,"collections":4571,"showCount":4512,"zanCount":788,"manualWeight":39,"mainColor":40},218641,"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁（公元1086—1165年），南宋书画家。字元晖，米芾长子。徽宗宣和四年应选入掌画学, 南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[23,24,25,49,50,59,7,77,51,845,651,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[314,96],{"id":4573,"slug":4574,"title":4575,"dynasty":179,"author":1324,"museum":72,"description":4576,"tags":4577,"thumbUrl":4579,"material":79,"size":4580,"collection":63,"collections":4581,"showCount":4582,"zanCount":882,"manualWeight":39,"mainColor":40},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[92,24,25,75,50,51,115,55,52,53,77,7,4578],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[63],101,{"id":4584,"slug":4585,"title":4586,"dynasty":1609,"author":4587,"museum":107,"description":2663,"tags":4588,"thumbUrl":4589,"material":751,"size":752,"collection":95,"collections":4590,"showCount":4582,"zanCount":882,"manualWeight":39,"mainColor":100},231039,"tai-hang-shan-ji-wei-dan-231039","太行山记","韦诞",[92,24,25,7,49,60,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bfe89ff080cb08ac0a64e22cd3a4985.jpg",[],{"id":4592,"slug":4593,"title":4594,"dynasty":18,"author":2378,"museum":2379,"description":2380,"tags":4595,"thumbUrl":4596,"material":477,"size":4597,"collection":95,"collections":4598,"showCount":4582,"zanCount":882,"manualWeight":39,"mainColor":40},222641,"mei-hua-mu-dan-tu-juan-gao-feng-han-222641","梅花牡丹图卷",[23,24,25,49,50,131,135,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018ad4bbb383c682e4f97451d7834b0c.jpg","20×317cm",[],{"id":4600,"slug":4601,"title":4602,"dynasty":88,"author":4078,"museum":72,"description":4603,"tags":4604,"thumbUrl":4605,"material":4606,"size":4607,"collection":96,"collections":4608,"showCount":4582,"zanCount":882,"manualWeight":39,"mainColor":40},221192,"shang-wen-tai-hong-zun-juan-chi-du-lu-you-221192","上问台闳尊眷尺牍","释文：游皇恐百拜。上问台闳尊眷。恭惟均纳殊祉。知监学士。幸数承教。此尝纳职状以见区区。而知监諭以职状。已溢员。势须小缓。别换文字。伏乞台照。游蒙宠寄天花果药等。仰戴恩念。何有穷已。新茶三十胯。子鱼五十尾。驰献尘渎。死罪死罪。建安有委。以命為宠。游皇恐百拜上覆。",[88,7,60,3155,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a5725a7dfe9d2e0c4ef1c664f822f5.jpg","纸本行书","29.3×31.6cm",[96],{"id":4610,"slug":4611,"title":4612,"dynasty":162,"author":3162,"museum":107,"description":4613,"tags":4614,"thumbUrl":4615,"material":1646,"size":4616,"collection":96,"collections":4617,"showCount":4582,"zanCount":39,"manualWeight":39,"mainColor":789},221078,"li-qing-lian-xu-xuan-zhang-xu-221078","李清莲序玄","張旭（675-750），唐代書法家，字伯高，與李白、賀知章等人共列飲中八仙之一。唐文宗曾下詔，以李白詩歌、裴旻劍舞、張旭草書為「三絕」。又工詩，與賀知章、張若虛、包融號稱「吳中四士」。傳世書跡有《肚痛帖》、《古詩四帖》等。\n張旭初仕為常熟尉，後官至金吾長史，人稱「張長史」。其母陸氏為初唐書家陸柬之的侄女，即虞世南的外孫女。陸氏世代以書傳業，有稱於史。張旭為人灑脫不羈，豁達大度，卓爾不群，才華橫溢，學識淵博。與李白、賀知章相友善，杜甫將他三人列入「飲中八仙」。是一位極有個性的草書大家，因他常喝得大醉，就呼叫狂走，然後落筆成書，甚至以頭髮蘸墨書寫，故又有「張顛」的雅稱。後懷素繼承和發展了其筆法，也以草書得名，並稱「顛張醉素」。",[23,398,7,25,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1adb03d83cb0354f5c5624a9db4f837.jpg","27*541",[96,802],{"id":4619,"slug":4620,"title":4621,"dynasty":179,"author":1324,"museum":126,"description":4622,"tags":4623,"thumbUrl":4633,"material":477,"size":4634,"collection":63,"collections":4635,"showCount":4582,"zanCount":39,"manualWeight":39,"mainColor":40},220795,"you-jian-han-song-tu-zhou-ni-zan-220795","幽涧寒松图轴","《倪瓒幽涧寒松图轴》是元代画家倪瓒创作的一幅纸本水墨画。\n此幅是为友人周逊学所作，并题五言诗：“秋暑多病暍，征夫怨行路。瑟瑟幽涧松，清荫满庭户。寒泉溜崖石，白云集朝暮。怀哉如金玉，周子美无度。息景以桥对，笑言思与晤。”\n倪瓒清高持节，一生不仕，他“白眼视俗物，清言屈时英。富贵乌足道，所思垂今名。不仅自己抱守出世的生活态度，而且对朋友们的入世为官也坚决反对。此幅一为友人赠别，更是劝友人“罢”征路，“息”仕思，含有强烈的“招隐之意”。平远画溪涧幽谷，山石依次渐远，二株松树挺立于杳无人迹的涧底寒泉，意境荒寒，超然出尘，似乎暗寓着仕途的险恶和归隐的自得。构图不用常见的“一河两岸”两段式章法，但画幅上方和其大多数作品一样，留出大片空白，让观者分不清哪里是水，哪里是天。山石墨色清淡，笔法秀峭，渴笔侧锋作折带皴，干净利落而富于变化。松树取萧疏之态，笔力劲拔。倪瓒此幅，笔墨无多但意境深幽，“疏而不简”，“简而不少”。他的这种笔简形具，注重抒写性灵的画格被后人称之为“逸品”。到了明代，更是“江南人家以有无为清浊”，其清标高格，在历代文人士大夫心目中始终被尊为“高士中的高士”。\n此幅作品简淡超逸，虽未署年款，但从书法由竖长变为扁方以及名款和画风来看，当是晚年之作。",[23,24,50,51,1018,4624,4625,4626,52,57,59,2853,4627,4628,4578,4629,4630,4631,4632,7],"溪涧","幽谷","寒泉","渴笔","逸品","超然出尘","简淡超逸","意境深幽","招隐之意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c44e7f6172187fb1022fb560336ac0.jpg","纵59.7cm，横50.4cm",[63,187],{"id":4637,"slug":4638,"title":4639,"dynasty":88,"author":89,"museum":72,"description":4640,"tags":4641,"thumbUrl":4649,"material":312,"size":4650,"collection":96,"collections":4651,"showCount":4582,"zanCount":882,"manualWeight":39,"mainColor":40},220007,"tian-min-zhi-ming-tie-huang-ting-jian-220007","天民知命帖","释文：天民、知命、大主簿：霜寒，想八嫂安裕、九嬭、四嬭、大新婦、普姐、師哥、四娘、五娘、六郎、四十、明兒、九娘、十娘、張九（咩兒）、韓十、小韓、曾兒、湖兒、井兒，各安樂。過江來，甚思汝等，寂寞且耐煩，不須憂路上，路上甚安穩。但所經州郡多故舊，須爲酒食留連爾。家中上下，凡事切且和順。三人輪管家事，勿廢規矩。三學生不要令推病在家，依時節送飯及取歸。書院常整齪、文字勿借出也。知命且掉下潑藥草，讀書看經，求清靜之樂爲上，大主簿讀《漢書》必有功矣。十月十四日，立報。諸嬭子以下，各小心照管孩兒們，莫作炒，切切。",[23,7,60,4642,4643,4644,4645,2606,77,4646,4647,4648],"中锋用笔","提按顿挫","线条劲挺","结体欹侧","宋式书法","笔势开张","笔画舒展","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88da02170486a80d837c4b07794cfb1.jpg","纵：25.5厘米 横：45.9厘米",[96],{"id":4653,"slug":4654,"title":4655,"dynasty":88,"author":454,"museum":164,"description":4656,"tags":4657,"thumbUrl":4658,"material":169,"size":4659,"collection":314,"collections":4660,"showCount":4582,"zanCount":788,"manualWeight":39,"mainColor":100},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[23,24,25,49,27,111,7,113,51,55,52,53,54,56,458,3092,432,433,3093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6",[314],{"id":4662,"slug":4663,"title":4664,"dynasty":18,"author":411,"museum":107,"description":4665,"tags":4666,"thumbUrl":4667,"material":519,"size":4668,"collection":35,"collections":4669,"showCount":4670,"zanCount":39,"manualWeight":39,"mainColor":40},233679,"yuan-ji-lan-zhu-ce-mei-lan-shi-shi-tao-233679","原济兰竹册－梅兰石","石涛的花鸟、兰竹，不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。石涛还讲求气势。他笔情恣肆，淋漓洒脱，不拘小处瑕疵，作品具有一种豪放郁勃的气势，以奔放之势见胜。郑板桥在《板桥题画》中云：“石涛善画，盖有万种，兰竹其余事也。”可见他对石涛的兰竹之作评级最高。此石涛《兰竹册》为故宫馆藏精品，计十八开，以兰为主，配以竹、石、梅等。",[24,25,26,50,60,7,77,131,139,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adcbe7ff4a237a50f27c41a03aba237.jpg","纵43.2cm，横30.2cm",[35],100,{"id":4672,"slug":4673,"title":4674,"dynasty":162,"author":454,"museum":1893,"description":4675,"tags":4676,"thumbUrl":4679,"material":312,"size":4680,"collection":96,"collections":4681,"showCount":4670,"zanCount":788,"manualWeight":39,"mainColor":40},219130,"tai-xuan-zhen-yi-ben-ji-jing-yi-ming-219130","太玄真一本际经","唐《太玄真一本际经》为道家重玄论的重要著作之。流行于隋唐之际，共十卷，此为第二卷付嘱品和第五卷证实品部分内容。卷包首有罗振玉题签“唐太玄真一本际经卷二及第五残卷，有后题”。经卷分为两段，前段起于“太玄真一本际经付嘱品卷第二、元始天尊……”，至“而起执滞”为卷二内容，共一百九十三行。后段始于“罪未除何能解他之罪”至“应如万人之声同称曰善”，后题“太玄真一本际经卷第五、冲虚观主宋妙仙入京写一切经、未还身故、今为写此经”，共三十一行。",[386,7,199,4677,4678],"古籍","经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d41018226cac6610e9819012a0a9cb4.jpg","纵二十五点六厘米，横三百九十二厘米",[96],{"id":4683,"slug":4684,"title":4685,"dynasty":18,"author":4686,"museum":72,"description":4687,"tags":4688,"thumbUrl":4689,"material":79,"size":4690,"collection":96,"collections":4691,"showCount":4670,"zanCount":882,"manualWeight":39,"mainColor":40},214236,"kai-shu-ba-yan-lian-zhao-zhi-qian-214236","楷书八言联","赵之谦","此联笔墨沉雄朴厚，尽显赵之谦碑学精髓。篆隶笔意融入楷法，起收顿挫如刀刻金石，线条丰腴却骨力内蕴。字形宽博开张，欹正相生间见灵动，打破唐楷板滞。墨色浓淡有致，枯润相济，古雅之气扑面而来。上联绘风气摇月影之灵动，下联寓德泽感清泉之仁厚，文辞清雅与书法雄浑相得益彰。整体气象庄严又不失生机，是赵氏碑帖融合的典范，观之如临古碑，又觉文韵流转，耐人寻味。",[23,199,2136,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694ca2c3df8fb3e2838b6013c0e75bf0.jpg","145.3x38.6",[96],{"id":4693,"slug":4694,"title":4695,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":4696,"thumbUrl":4698,"material":751,"size":752,"collection":95,"collections":4699,"showCount":4700,"zanCount":39,"manualWeight":39,"mainColor":40},290530,"bai-he-zhou-yun-shou-ping-290530","百合轴",[24,75,50,112,29,4697,7,77],"百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda214bdfbec48dbeefb5222aec5f386b.jpg",[],99,{"id":4702,"slug":4703,"title":4704,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":4705,"thumbUrl":4706,"material":751,"size":752,"collection":95,"collections":4707,"showCount":4700,"zanCount":39,"manualWeight":39,"mainColor":40},290525,"ju-hua-zhou-yun-shou-ping-290525","菊花轴",[92,24,75,25,27,29,140,250,77,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6f67635860a905d349624dcec02c18.jpg",[],{"id":4709,"slug":4710,"title":4711,"dynasty":179,"author":1516,"museum":72,"description":4712,"tags":4713,"thumbUrl":4714,"material":79,"size":4715,"collection":95,"collections":4716,"showCount":4700,"zanCount":418,"manualWeight":39,"mainColor":100},287604,"dong-ting-yu-yin-tu-wu-zhen-287604","洞庭渔隐图","该画作采用“一河两岸”式的构图。近景画双松挺立，枯树横斜，隔岸则是迤逦的山坡，与水边荡桨的渔舟，十分忠实地呈现出江南水乡泽国的景象。虽然布局简略，但添加边角的签名，以及上方的题词之後，别具一番宁静典雅的情调。",[92,24,25,75,50,51,53,54,115,77,7,59,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7237860d8699cbcf4faf880b8386aa52.jpg","146.4x58.6",[],{"id":4718,"slug":4719,"title":4720,"dynasty":162,"author":1377,"museum":107,"description":4721,"tags":4722,"thumbUrl":4723,"material":751,"size":752,"collection":95,"collections":4724,"showCount":4700,"zanCount":39,"manualWeight":39,"mainColor":40},240119,"hua-shi-ye-li-bai-240119","华诗页","李白（701年—762年12月），字太白，号青莲居士，又号“谪仙人”，唐代伟大的浪漫主义诗人，被后人誉为“诗仙”，与杜甫并称为“李杜”，为了与另两位诗人李商隐与杜牧即“小李杜”区别，杜甫与李白又合称“大李杜”。北京大学教授李志敏评价：“李白之诗呼吸宇宙，出乎道；杜甫之诗德参天地，源于儒，皆至天人合一境界，故能出神入化。”《旧唐书》记载李白为山东人；《新唐书》记载，李白为兴圣皇帝李暠九世孙，与李唐诸王同宗。其人爽朗大方，爱饮酒作诗，喜交友。\n李白有《李太白集》传世，诗作中多以醉时写的，代表作有《望庐山瀑布》《行路难》《蜀道难》《将进酒》《明堂赋》《早发白帝城》等多首。李白所作词赋，宋人已有传记（如文莹《湘山野录》卷上），就其开创意义及艺术成就而言，“李白词”享有极为崇高的地位。",[25,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37968d2b59f937a047527c78c9a4d3f3.jpg",[],{"id":4726,"slug":4727,"title":4728,"dynasty":18,"author":2653,"museum":72,"description":2654,"tags":4729,"thumbUrl":4732,"material":33,"size":95,"collection":95,"collections":4733,"showCount":4700,"zanCount":39,"manualWeight":39,"mainColor":40},214849,"xie-sheng-ce-14-hua-yan-214849","写生册-14",[24,25,26,50,4730,77,7,798,4731],"写生","龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78eb0a4f379608798c68e1a87cf3b3d7.jpg",[],{"id":4735,"slug":4736,"title":4737,"dynasty":45,"author":744,"museum":107,"description":897,"tags":4738,"thumbUrl":4740,"material":751,"size":752,"collection":95,"collections":4741,"showCount":4742,"zanCount":882,"manualWeight":39,"mainColor":789},290851,"shan-shui-zhou-tang-yin-290851","山水轴",[92,24,75,50,51,1018,333,113,57,53,7,77,59,4739],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107880d5a5ec31ccbe0869de6e5ceedf.jpg",[],98,{"id":4744,"slug":4745,"title":3524,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":4747,"thumbUrl":4748,"material":751,"size":752,"collection":95,"collections":4749,"showCount":4742,"zanCount":882,"manualWeight":39,"mainColor":100},290152,"xi-yuan-ya-ji-tu-zhao-meng-fu-290152","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[92,24,75,27,113,55,115,3234,7,567,57,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01d13b76618e140a15986919f4a5c225.jpg",[],{"id":4751,"slug":4752,"title":4753,"dynasty":88,"author":1160,"museum":72,"description":4754,"tags":4755,"thumbUrl":4757,"material":95,"size":95,"collection":95,"collections":4758,"showCount":4742,"zanCount":882,"manualWeight":39,"mainColor":100},227693,"song-gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-shang-juan-zhao-gou-227693","宋高宗书女孝经马和之补图上卷","宋高宗书女孝经马和之补图上卷，台北故宫博物院藏。\n\n旧题为高宗书马和之绘，所谓高宗题字，较近于理宗（1225-1264在位），故宜易名为〈宋人书画女孝经〉",[23,2601,4756,49,112,27,113,567,56,268,7,3835,77],"书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdad394b67f242e6a179c502e1ccdc7b.jpg",[],{"id":4760,"slug":4761,"title":4762,"dynasty":88,"author":89,"museum":126,"description":4763,"tags":4764,"thumbUrl":4765,"material":4766,"size":4767,"collection":96,"collections":4768,"showCount":4742,"zanCount":882,"manualWeight":39,"mainColor":40},221281,"zhu-shang-zuo-tie-juan-di-yi-duan-huang-ting-jian-221281","诸上座帖卷第一段","《诸上座帖》是宋黄庭坚为友人李任道所录写的五代金陵僧人文益的《语录》，全文系佛家禅语。\n《诸上座帖》释文：\n“諸上座爲複只要弄唇嘴，爲復別有所圖，恐伊執著，且執著甚麽，爲復執著理，執著事，執著色，執著空，若是理，理且作麽生執，若是事，事且作麽生執，著色，著空亦然，山僧所以尋嘗向諸上座道，十方諸佛，十方善知識時嘗垂手，諸上座時嘗接手(以下點去十六字)，十方諸佛諸善知識垂手處合委悉也，甚麽處是諸上座接手處，還有會處會取好，莫未會得，莫道揔是都來圓取，諸上座傍家行腳，也須審諦著些子精神，莫只藉少智慧，過卻時光，山僧在衆見此多矣，古聖所見諸境，唯見自心，祖師道，不是風動幡動，風動幡動者心動，但且恁麽會好，別無親於親處也，僧問，如何是不生滅底心，向伊道，那個是生滅底心，僧云，爭奈學人不見，向伊道，汝若不見，不生不滅底也不是，又問，承教有言，佛以一音演說法。衆生隨類各得解，學人如何解，向伊道，汝甚解前問已是不會古人語也，因甚，卻向伊道，汝甚解，何處是伊解處。莫是于伊分中，便點與伊，莫是爲伊不會問，卻反射伊麽，決定非此道理，慎莫錯會，除此兩會，別又如何商量，諸上座若會得此語也，即會得諸聖揔持門，且作麽生會，若會得一音演說，不會得隨類各解，恁麽道莫是有過無過，說麽莫錯會好，既不恁麽會說一音演說，隨類得解，有個下落，始得每日空上來下去，又不當得人事，且究道眼始得，古人道，一切聲是佛聲，一切色是佛色，何不且恁麽會取。\n此是大丈夫出生死事，不可草草便會。拍盲小鬼子往往見便下口，如瞎驢吃草樣，故草此一篇，遺吾友李任道，明窗淨几，它日親見古人，乃是相見時節，山谷老人書。”（《古书画过眼要录》）\n署款：“山谷老人書。”“书”字上钤“山谷道人”朱文方玺。后纸有明吴宽，清梁清标题跋各一段。\n卷前后及隔水上钤宋“内府书印”、“绍兴”、“悦生”，元“危素私印”及明李应祯、华夏、周亮工，清孙承泽、王鸿绪，近代张伯驹等诸家鉴藏印。此帖初藏南宋高宗内府，后归贾似道，明代递藏于李应祯、华夏、周亮工处，清初藏孙承泽砚山斋，后归王鸿绪，乾隆时收入内府，民国初流出宫外，为张伯驹先生所得，后捐献给国家，现藏北京故宫博物院。\n此书师法怀素狂草体，笔意纵横，气势苍浑雄伟，字法奇宕，如马脱缰，无所拘束，尤其能显示出书者悬腕摄锋运笔的高超书艺。黄庭坚《山谷自论》云：“余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱，晚得苏才翁、子美书观之，乃得古人笔意。其后又得张长史、僧怀素、高闲墨迹，乃窥笔法之妙。”在《语录》后黄氏又作大字行楷书自识一则，结字内紧外松，出笔长而遒劲有力，一波三折，气势开张，一卷书法兼备二体，相互映衬，尤为罕见，是其晚年杰作。\n明都穆《寓意编》、华夏《真赏斋赋注》、文嘉《钤山堂书画记》、张丑《清河书画舫》、《清河见闻表》、卞永誉《式古堂书画汇考》，清孙承泽《庚子消夏记》、清内府《石渠宝笈·初编》等书著录。",[23,7,398,60,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7641fa332e60c6c852d5ad2afb6918.jpg","纸本，手卷，草书","纵33cm，横729.5cm",[96],{"id":4770,"slug":4771,"title":1871,"dynasty":88,"author":4772,"museum":72,"description":4773,"tags":4774,"thumbUrl":4776,"material":682,"size":4777,"collection":35,"collections":4778,"showCount":4742,"zanCount":39,"manualWeight":39,"mainColor":40},221222,"sui-chao-tu-zhou-dong-xiang-221222","董祥","“岁朝”，是指阴历的正月初一，也就是我们通常谓之“年初一”——“春节”。在这一岁之始，人们为了祈求新的一年平安吉祥，往往喜欢在厅堂挂一些“岁朝图”，图上画的象征平安祥瑞的花卉器物，在这寒冽萧瑟的严冬，给家宅带来明媚温煦的春意。这民间的风俗，始于唐代，起先不过是一些仕绅、文人在大年初一将金石、书画、古董等雅玩之物精心摆设于临窗的案几上，渐渐地也有将这些物品勾染成画挂壁，意在祈福纳祥。至宋代，这民俗流行宫廷内外，宋徽宗每逢春节将临，乃命其图画院的画师们描画冬季不能见到的花卉禽鸟，陈列宫中，以增添岁朝的喜庆气氛。此后，岁朝图的内容逐渐扩展，经明、清而至近现代，大至文房器物，小至灯笼、鞭炮、果蔬等日常生活用品，都成为图上的吉祥物，日益成为一种雅俗共赏、意蕴丰厚，融诗、书、画、印于一体的画种。",[23,24,25,75,50,111,77,7,60,1560,30,4775,574,834,2591],"松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23bfa3f92c3fbaf6e40503c0241d83.jpg","115.2x44.3公分",[35,218],{"id":4780,"slug":4781,"title":4782,"dynasty":179,"author":225,"museum":72,"description":4783,"tags":4784,"thumbUrl":4791,"material":682,"size":4792,"collection":96,"collections":4793,"showCount":4742,"zanCount":788,"manualWeight":39,"mainColor":40},220830,"shu-lun-yu-shi-nan-pei-xing-jian-shu-fa-zhao-meng-fu-220830","书论虞世南裴行俭书法","赵孟頫《论裴行俭书法》行书，来源于赵孟頫与鲜于枢墨迹合册之二\u002F论裴行俭帖。\n唐高宗曾经赐裴行俭白绢，命他书写《昭明文选》。高宗观赏之后，喜爱其用笔的法度，赏赐颇为丰厚。史载裴行俭曾说：“如果不是精美的笔和墨，褚遂良还不曾经常写。不选择笔、墨的好坏而能写得机灵敏捷的，只有我和虞世南而已。”他撰写《选谱》、《草字杂体》等书，有好几万字。\n释文：裴行俭工草隶，名家。帝尝以绢素诏写《文选》，览之，秘爱其法，赉物良厚。行俭每曰：“褚遂良非精笔佳墨，未尝辄书，不择笔墨而妍捷者，余与虞世南耳。”所譔《选谱》、《草字杂体》数万言。又为营阵、部伍、料胜负、别器能等四十六诀，武后使武承嗣就第取去，不复传。\n裴行俭，是大唐军神苏烈的徒弟，“儒将之雄”是对他最好的评价。裴行俭，字守约，绛州闻喜人。唐朝名将、政治家、书法家，隋朝礼部尚书裴仁基次子。裴行俭精通阴阳历法，善于鉴别人才。他工于书法，尤擅草、隶。有文集二十卷，并著有《草字杂体》、《选谱》及兵法秘诀四十六条。 裴行俭不仅是政治家，还是书法家，赵孟頫此帖，记录的便是裴行俭书法。",[7,60,312,77,4785,4786,4787,4788,4789,4790],"圆转流畅","结构严谨","笔法娴熟","复古风格","笔墨细腻","结体端庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbc471608779f041aedd9ec4c182bdb.jpg","38.4x60.6cm",[96],{"id":4795,"slug":4796,"title":4797,"dynasty":45,"author":1015,"museum":3743,"description":4798,"tags":4799,"thumbUrl":4800,"material":79,"size":95,"collection":96,"collections":4801,"showCount":4742,"zanCount":418,"manualWeight":39,"mainColor":40},219983,"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[23,24,25,49,199,7,50,59,51,56,58,553,251,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[96,187],{"id":4803,"slug":4804,"title":4805,"dynasty":2365,"author":4806,"museum":72,"description":4807,"tags":4808,"thumbUrl":4810,"material":79,"size":4811,"collection":63,"collections":4812,"showCount":4742,"zanCount":39,"manualWeight":39,"mainColor":40},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,92,25,49,50,59,60,7,77,51,57,56,266,4809,54,252,251,473],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[63],{"id":4814,"slug":4815,"title":4816,"dynasty":105,"author":637,"museum":126,"description":638,"tags":4817,"thumbUrl":4818,"material":79,"size":641,"collection":95,"collections":4819,"showCount":4742,"zanCount":39,"manualWeight":39,"mainColor":40},214580,"yu-hou-tie-3-wang-xi-zhi-214580","雨后帖-3",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b2195af58b31babe6a6950b6c1ecdd.jpg",[],{"id":4821,"slug":4822,"title":4823,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":4825,"thumbUrl":4826,"material":751,"size":752,"collection":95,"collections":4827,"showCount":4828,"zanCount":882,"manualWeight":39,"mainColor":100},232273,"ji-zhi-wen-gao-yan-zhen-qing-232273","祭侄文稿","颜真卿（709年－784年8月23日 ），字清臣，小名羡门子，别号应方，京兆万年（今陕西省西安市）人 ，祖籍琅玡临沂（今山东省临沂市）。唐朝名臣、书法家，秘书监颜师古五世从孙 、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[60,7,49,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1db0d22aedae6c817acab49b41c36.jpg",[],97,{"id":4830,"slug":4831,"title":4832,"dynasty":88,"author":89,"museum":72,"description":4833,"tags":4834,"thumbUrl":4835,"material":682,"size":4836,"collection":96,"collections":4837,"showCount":4828,"zanCount":882,"manualWeight":39,"mainColor":40},221269,"han-shan-zi-pang-ju-shi-shi-tie-quan-juan-huang-ting-jian-221269","寒山子庞居士诗帖全卷","黄庭坚《寒山子、庞居士诗卷》，它是北宋书法家黄庭坚的一幅行书代表作，内容是唐代隐士寒山子《劝戒诗》与居士庞蕴的诗偈，现藏于台北故宫博物院。这一诗卷是黄庭坚晚年的杰作，有着鲜明的黄庭坚行书的风格特征，尤其在字的结体上，吸收了《瘗鹤铭》和颜真卿楷书的结字方法，加以夸张和变化，创造出一种俊挺豪迈的新面目。\n这幅作品中字都有这样的特点，一波数折；中宫收敛的地方，笔画排列紧密，显得雄强茂美，而有些笔画，如帖中“水、人、本”等字的撇捺，“黄、箭、世、苹、业”等字的横笔，都是尽情地纵向伸展，横向逸出，显得痛快淋漓，具有豪爽飘逸之气。字形结构上突破了方正规矩的外形，在冲破均衡的同时，又能使字保持住重心，笔画的伸展并不是完全没有方向，疏密处理得很巧妙，笔画之间也是左顾右盼、互相呼应，有放也有收。这幅字的结构上还有“攲侧”的特点，不但横画倾斜，竖画也蛇曲不正，然而这些歪斜的字笔画遒劲，结体开张，很有气派。",[23,7,60,49,200,77,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca27a7894bdb3fa8554156431e57f83.jpg","纵29.1，横213.8厘米",[96],{"id":4839,"slug":4840,"title":4841,"dynasty":105,"author":637,"museum":107,"description":4842,"tags":4843,"thumbUrl":4844,"material":95,"size":95,"collection":96,"collections":4845,"showCount":4828,"zanCount":788,"manualWeight":39,"mainColor":40},221036,"cao-jue-bai-yun-ge-quan-juan-wang-xi-zhi-221036","草诀百韵歌全卷","《草诀百歌韵》是中国古代一本重要的草书歌诀，学草书的重要门径，作者署名王羲之，但据相关资料显示，此书未见于北宋，伪托王羲之之名，如明代杨慎的《升》 庵外集》卷88云：「《草秘韵百歌》乃宋人编成，以示初级，托名王羲之。",[23,7,398,49,110,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc393e8005cbb450b2bb396c178509c.jpg",[96,802],{"id":4847,"slug":4848,"title":4849,"dynasty":179,"author":225,"museum":72,"description":4850,"tags":4851,"thumbUrl":4853,"material":94,"size":4854,"collection":96,"collections":4855,"showCount":4828,"zanCount":882,"manualWeight":39,"mainColor":40},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[92,24,25,7,75,60,50,51,137,115,4852,53],"孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[96],{"id":4857,"slug":4858,"title":4859,"dynasty":2365,"author":2366,"museum":107,"description":4860,"tags":4861,"thumbUrl":4866,"material":751,"size":752,"collection":95,"collections":4867,"showCount":4868,"zanCount":418,"manualWeight":39,"mainColor":40},289987,"gong-zhong-tu-zhou-wen-ju-289987","宫中图","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,92,24,49,112,113,114,4862,4863,4864,427,4865,60,7],"宫女","孩童","犬","宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd82c5d2ffc57e3999164c6f4a0c240dd.jpg",[],96,{"id":4870,"slug":4871,"title":4872,"dynasty":45,"author":1015,"museum":72,"description":4873,"tags":4874,"thumbUrl":4875,"material":79,"size":4876,"collection":96,"collections":4877,"showCount":4868,"zanCount":39,"manualWeight":39,"mainColor":40},214313,"ci-chang-shou-cai-lv-shi-wen-zheng-ming-214313","赐长寿彩缕诗","释文：紫宸朝下锡灵丝。金水桥边拜命时。文绣自天腾五色。光华约臂结双螭。重惭潦倒随恩泽。还忝班行覩盛仪。愿得君王千万寿。日华常照衮衣垂。赐长寿彩缕。征明。",[23,4038,7,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F353897f0799e885400bd52daa4fd9296.jpg","347.1x97.8",[96],{"id":4879,"slug":4880,"title":4881,"dynasty":45,"author":4882,"museum":107,"description":4883,"tags":4884,"thumbUrl":4885,"material":95,"size":95,"collection":95,"collections":4886,"showCount":4887,"zanCount":882,"manualWeight":39,"mainColor":40},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,92,24,25,49,50,60,7,132,139,140,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],95,{"id":4889,"slug":4890,"title":4891,"dynasty":18,"author":506,"museum":107,"description":4892,"tags":4893,"thumbUrl":4894,"material":95,"size":95,"collection":95,"collections":4895,"showCount":4887,"zanCount":39,"manualWeight":39,"mainColor":40},230874,"mei-hua-tu-ce-jin-nong-230874","梅花图册","这幅画以水墨写梅，老干虬曲苍劲，淡墨晕染出斑驳古拙的质感，枝桠斜逸舒展，尽显老树凌寒的沉浑气度。枝头梅花以淡墨勾瓣，留白衬出冰洁花容，浓墨点蕊，疏密有致，于简淡中见清艳孤高，将梅花傲霜之态全然托出。\n\n左侧隶书题跋朴茂沉厚，笔力苍劲，画与文相映成趣，把画梅心得与爱梅之情落于纸间。整作脱去甜熟妍丽，以极简笔墨写尽梅之清癯风骨，藏着画者疏淡超脱的文人襟怀，以意趣取胜，尽显水墨花卉的空灵淡远之美。",[24,25,26,50,29,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe1220c3355013ed53f3eb499f35db0.jpg",[],{"id":4897,"slug":4898,"title":3136,"dynasty":162,"author":1060,"museum":648,"description":4899,"tags":4900,"thumbUrl":4901,"material":312,"size":95,"collection":96,"collections":4902,"showCount":4887,"zanCount":882,"manualWeight":39,"mainColor":40},221106,"qian-zi-wen-ou-yang-xun-221106","千字文作为中国古代的启蒙学课本，以一千字编为四言章韵语，叙述有关自然、社会历史、教育等方面的知识，隋代即开始流行。\n此千字文传欧阳询书，故宫博物院藏,见于《戏鸿堂帖》，内容完整，后有刻跋两段：“右率更令所书千文字扬补之家藏本，咸淳甲戍岁九月三日钱金应桂”。“书家以分行布白谓之九宫，元人作书经云：黄庭有六分九宫、曹娥有四分九宫是也。今观信本千文真有完字具于胸中。若构凌云台，一皆衡剂而成者。米南宫评其真书到内史、信矣，此本为扬补之家藏，勒其全文，欲学书者先定间架，然后纵横跌宕唯变所适也。其昌”。",[23,199,7,200,49,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4e30ddce65a81934ed675107a76227.jpg",[96],{"id":4904,"slug":4905,"title":4906,"dynasty":45,"author":125,"museum":412,"description":1092,"tags":4907,"thumbUrl":4908,"material":79,"size":1095,"collection":95,"collections":4909,"showCount":4887,"zanCount":39,"manualWeight":39,"mainColor":40},220101,"shi-er-mo-hua-tu-juan-4-xu-wei-220101","十二墨花图卷-4",[23,24,25,49,50,29,129,77,7,60,135,136,139,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a8eb2b6b2546b1fba3bbf5502311f.jpg",[],{"id":4911,"slug":4912,"title":4913,"dynasty":88,"author":89,"museum":72,"description":4914,"tags":4915,"thumbUrl":4916,"material":312,"size":4917,"collection":96,"collections":4918,"showCount":4887,"zanCount":882,"manualWeight":39,"mainColor":40},220008,"xue-han-tie-huang-ting-jian-220008","雪寒帖","无书写时间，从笔法、结体、风格等方面综合比较，与《动静帖》、《致明叔同年尺牍》非常接近，大致书于绍圣年间。",[23,25,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dca2ef8f7c05f24e2fda6ad5dda141.jpg","纵28.8厘米、横17.5厘米",[96],{"id":4920,"slug":4921,"title":4922,"dynasty":45,"author":4923,"museum":126,"description":4924,"tags":4925,"thumbUrl":4926,"material":312,"size":4927,"collection":96,"collections":4928,"showCount":4887,"zanCount":788,"manualWeight":39,"mainColor":40},219154,"kai-shu-ju-song-tie-ye-shen-zao-219154","楷书·橘颂帖页","沈藻","《橘颂》是屈原的传世名篇。沈藻此作点划纤细平正，风格婉美端秀，为典型的“台阁体”。",[23,25,199,7,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c41915b9fd989ff97a6a41eaed8537.jpg","纵27.6厘米，横47.6厘米",[96],{"id":4930,"slug":4931,"title":4932,"dynasty":88,"author":262,"museum":107,"description":4933,"tags":4934,"thumbUrl":4935,"material":79,"size":4936,"collection":171,"collections":4937,"showCount":4887,"zanCount":788,"manualWeight":39,"mainColor":40},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,92,24,25,49,112,50,113,458,52,53,77,1074,55,57,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[171],{"id":4939,"slug":4940,"title":4941,"dynasty":179,"author":1516,"museum":107,"description":4942,"tags":4943,"thumbUrl":4944,"material":751,"size":752,"collection":95,"collections":4945,"showCount":4946,"zanCount":788,"manualWeight":39,"mainColor":40},291024,"yun-dang-qing-ying-tu-zhou-wu-zhen-291024","筼筜清影图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[92,24,25,75,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3b2615b892119aa8db2b0673c921dd.jpg",[],94,{"id":4948,"slug":4949,"title":4950,"dynasty":88,"author":89,"museum":4951,"description":4952,"tags":4953,"thumbUrl":4954,"material":312,"size":4955,"collection":96,"collections":4956,"showCount":4946,"zanCount":882,"manualWeight":39,"mainColor":100},221263,"liu-ming-zhong-mo-zhu-fu-huang-ting-jian-221263","刘明仲墨竹赋","湖北襄阳图书馆","黄庭坚在书学上追求一种自然之美，忘我的境界，无法之法。他自称“老夫之书本无法也。但观世间万缘，如蚊蚋聚散，未尝一事横于胸中。遇纸则书，纸尽则已，亦不计较工拙与人之品藻讥弹，譬如木人舞中节拍，人叹其工，舞罢则又萧然矣。”他认为“心不知手，手不知心”是书法创作的最高境界。\n黄庭坚《刘明仲墨竹赋》元佑三年作于京师开封府，此帖拓本来源于清朝黄湄《黄文节公法书石刻》，作品横32厘米，纵30.5厘米，共25页",[23,92,24,25,49,60,7,50,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3d7079ee1b5e8a0bf2ec9b0a24e24a.jpg","横32厘米，纵30.5厘米",[96],{"id":4958,"slug":4959,"title":4960,"dynasty":45,"author":4035,"museum":72,"description":4961,"tags":4962,"thumbUrl":4963,"material":79,"size":4964,"collection":96,"collections":4965,"showCount":4946,"zanCount":418,"manualWeight":39,"mainColor":100},214256,"bu-zi-qi-shuo-shen-du-214256","不自弃说","这幅画是沈度在七十岁时写的，是一篇论战，敦促世人勤奋努力，饮水思源，不要自暴自弃。它以精细整齐的楷书书写，风格严谨，虽然开头的笔画有转折的痕迹，下降的笔画也有延伸，透露出一种温和而微妙的姿态，减弱了严肃性。",[23,7,199,75,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb6c545198d9689ed9ce0b5c39505cb.jpg","104.4x29.9",[96],{"id":4967,"slug":4968,"title":4969,"dynasty":179,"author":4970,"museum":107,"description":4971,"tags":4972,"thumbUrl":4973,"material":95,"size":4974,"collection":95,"collections":4975,"showCount":4976,"zanCount":788,"manualWeight":39,"mainColor":100},231513,"hua-niao-tu-juan-wang-yuan-231513","花鸟图卷","王渊","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,24,92,49,111,27,7,77,29,131,135,132,250,137,693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],93,{"id":4978,"slug":4979,"title":4980,"dynasty":88,"author":4981,"museum":4982,"description":4983,"tags":4984,"thumbUrl":4987,"material":312,"size":4988,"collection":96,"collections":4989,"showCount":4976,"zanCount":882,"manualWeight":39,"mainColor":100},221476,"da-de-ming-tie-dong-fu-si-bian-e-shu-ji-zhang-ji-zhi-221476","大德名帖东福寺匾额书记","张即之","日本京都东福寺","张即之书法深受唐人影响，后转师米芾，参以晋唐经书汉隶，并能“独传家学”，自成一家体系。张即之擅长楷书和榜书，尤喜作擘窠大字。楷书结构严谨、端庄，行书则用笔枯硬，近于刻露，毫无温润典雅之感。有人称之为宋书殿军",[23,7,199,60,4985,4986,50],"大字","宋代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F136fc92b0e89dd42bcd005068597e38f.jpg","44.5X91厘米",[96],{"id":4991,"slug":4992,"title":4993,"dynasty":88,"author":369,"museum":126,"description":4994,"tags":4995,"thumbUrl":4999,"material":5000,"size":5001,"collection":314,"collections":5002,"showCount":4976,"zanCount":39,"manualWeight":39,"mainColor":40},221333,"pi-pa-shan-niao-tu-ye-zhao-ji-221333","枇杷山鸟图页","本幅款押“天下一人”。钤“御书”朱文葫芦形印一方。裱边题签：“宋宣和枇杷山鸟”。鉴藏印钤“宣统御览之宝”，中缝钤“八征耄念之宝”、“太上皇帝之宝”朱文印各一方。\n图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[23,24,25,1250,50,111,28,29,4996,4997,4998,7,77],"枇杷","山雀","凤蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc63c4273f7440564bd9b6a15e123f.jpg","绢本墨笔","纵22.6厘米，横24.5厘米",[314,35,218],{"id":5004,"slug":5005,"title":5006,"dynasty":88,"author":4078,"museum":126,"description":5007,"tags":5008,"thumbUrl":5009,"material":312,"size":5010,"collection":96,"collections":5011,"showCount":4976,"zanCount":882,"manualWeight":39,"mainColor":40},221194,"huai-cheng-du-shi-yun-shi-juan-quan-juan-lu-you-221194","怀成都十韵诗卷全卷","释文：\n放翁五十犹豪纵，锦城一觉繁华梦。竹叶春醪碧玉壶，桃花骏马青丝鞚。斗鸡南市各分朋，射雉西郊常命中。壮士臂立绿绦鹰，佳人袍画金泥凤。椽烛那知夜漏残，银貂不管晨霜重。一梢红破海棠回，数蕊香新早梅动。酒徒诗社朝暮忙，日月匆匆迭宾送。浮世堪惊老已成，虚名自笑今何用。归来山舍万事空，卧听糟床酒鸣瓮。北窗风雨耿青灯，旧游欲说无人共。省庵兄以为此篇在集中稍可观，因命写之。游。\n此卷为陆游晚年为其友人手录旧日所作七言古诗一首，内容描写作者50岁左右在成都做官时的生活景况。格调豪放跌宕，书风亦瘦硬通神，可谓词翰双美。\n后纸有明陆釴、谢铎、程敏政、王鏊、周经、杨循古、沈周题跋。卷中钤有清乾隆、嘉庆、宣统内府诸玺及原博”、商丘宋荦审定真迹”、“陈宗后印”、“子万”、“真赏”等鉴藏印章。著录于《装余偶记》、《石渠宝笈》。",[23,92,24,25,49,60,7,77,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832c259287bb3a6900b83dbe1b571838.jpg","纵34.6厘米，横82.4厘米",[96],{"id":5013,"slug":5014,"title":5015,"dynasty":45,"author":5016,"museum":126,"description":5017,"tags":5018,"thumbUrl":5019,"material":312,"size":5020,"collection":96,"collections":5021,"showCount":4976,"zanCount":882,"manualWeight":39,"mainColor":40},219147,"li-shu-xie-an-xiang-zan-juan-xu-lan-219147","隶书·谢安像赞卷","徐兰","此卷书法体势扁平，结字秀整，布白均匀，笔势舒展明朗，形体全以楷书体势为之，自具风神，是明代难得的隶书作品。",[23,4038,1613,7,49,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c850084992b955b62a2fb7b118df7.jpg","纵30.5厘米，横86.5厘米",[96],{"id":5023,"slug":5024,"title":5025,"dynasty":179,"author":454,"museum":72,"description":5026,"tags":5027,"thumbUrl":5028,"material":79,"size":5029,"collection":96,"collections":5030,"showCount":4976,"zanCount":39,"manualWeight":39,"mainColor":40},214226,"jie-shu-qu-li-si-yu-yi-ming-214226","节书曲礼四语","节书曲礼四语是一首中国古代诗歌，出自元代的《全唐诗》。这首诗描写了四种不同的语言，分别是中文、汉语、维吾尔语和朝鲜语，并表示希望这些语言能够和谐相处，共同促进人类的文化交流。\n\n节书曲礼四语的具体内容如下：\n\n节书曲礼四语，和音精妙。\n中文汉语维吾尔，朝鲜语合唱。\n多少有知音，同声高谈。\n千言万语，和谐相处。\n\n这首诗倡导文化多样性，认为人类不同的语言是一种财富，应该尊重和保留。通过这首诗，作者希望人类能够像唱四语曲一样，和谐相处，共同促进文化交流。",[23,24,25,7,398,50,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504b68b34acfe1381dc81ff64340b981.jpg","56.5x25.9",[96],{"id":5032,"slug":5033,"title":3792,"dynasty":162,"author":1860,"museum":107,"description":5034,"tags":5035,"thumbUrl":5036,"material":751,"size":752,"collection":95,"collections":5037,"showCount":5038,"zanCount":39,"manualWeight":39,"mainColor":40},288358,"zhen-cao-qian-zi-wen-zhi-yong-288358","智永和尚（生卒年不详），南朝、隋朝人，本名王法极，字智永，会稽山阴（今浙江绍兴）人，书圣王羲之七世孙，第五子王徽之后代，号“永禅师”。\n智永善书，书有家法。将王羲之作为传家之宝的《兰亭序》，带到云门寺保存。云门寺（原名永欣寺）有书阁，智永禅师居阁上临书20年，留下了“退笔冢”、”铁门槛“等传说。\n智永对后世书法影响深远。他创“永字八法”，为后代楷书立下典范。所临《真草千字文》八百多份，广为分发，影响远及日本。即使现在，依然是书法学习的经典教材。",[7,199,398,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57cce12e812fa72d6f17d7f342709e9.jpg",[],92,{"id":5040,"slug":5041,"title":5042,"dynasty":45,"author":342,"museum":3743,"description":5043,"tags":5044,"thumbUrl":5045,"material":312,"size":5046,"collection":95,"collections":5047,"showCount":5038,"zanCount":39,"manualWeight":39,"mainColor":789},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[23,24,25,49,50,59,51,55,56,57,53,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],{"id":5049,"slug":5050,"title":5051,"dynasty":45,"author":2206,"museum":648,"description":5052,"tags":5053,"thumbUrl":5054,"material":346,"size":5055,"collection":63,"collections":5056,"showCount":5038,"zanCount":39,"manualWeight":39,"mainColor":100},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,92,24,25,49,60,50,27,77,7,51,56,55,52,53,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[63,218],{"id":5058,"slug":5059,"title":5060,"dynasty":179,"author":225,"museum":126,"description":5061,"tags":5062,"thumbUrl":5063,"material":312,"size":5064,"collection":96,"collections":5065,"showCount":5038,"zanCount":788,"manualWeight":39,"mainColor":40},220825,"wan-shou-qu-juan-zhao-meng-fu-220825","万寿曲卷","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。\n译文:闾阖初开。正苍苍曙色，天上春回。绛帻鸡人时报，禁漏频催。九奏钧天帝乐，御香惹，千官环珮。鸣鞘静，嵩岳三呼万岁，声震如雷。殊方异域尽来。满彤廷贡珍，皇化无外。日绕龙颜，云近绛阙蓬莱。四海欢欣鼓舞，圣德过，唐虞三代。年年宴，王母瑶池，紫霞长进琼杯。\n春满皇州。见祥烟拥日，初照龙楼。宫花苑柳，映仙仗云移，金鼎香浮。宝光生玉斧，听鸣凤，箫韶乐奏。德与和气游。天生圣人，千载希有。祥瑞电绕虹流。有云成五色，芝生三秀。四海泰平，致民物雍熙，朝野歌讴。千官齐拜舞，玉杯进，长生酒春（二字倒写）。愿皇庆万年，天子与天同寿。\n天上春风（此字点去）来。正阳和布泽，斗柄初回。一朵祥云捧日，万象生辉。帝德光昭四表，玉帛尽，梯航来会。彤廷敞，花覆千官，紫霄鹓鹭裵佪。仁风徧满九垓。望霓旌缓引，宝扇徐开。喜动龙颜，和气蔼然交泰。九奏箫韶舜乐，兽尊举，麒麟香叆。从今数，亿万斯年，圣主福如天大。\n瑞日当天。对绛阙蓬莱，非雾非烟。翠光覆禁苑，正淑景和（此字点去）芳妍。彩仗和风细转，御香飘满黄金殿。喜万国会朝，千官拜舞，亿兆同欢。福祉如山如川。应玉渚流虹，璇枢飞电。八音奏舜韶，庆玉烛调元。岁岁龙舆凤辇，九重春醉蟠桃宴。天下太平，祝吾皇，寿与天地齐年。臣孟頫。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37efe029da300c60a044e81cd8a85eee.jpg","27.5*144cm",[96],{"id":5067,"slug":5068,"title":5069,"dynasty":179,"author":759,"museum":107,"description":5070,"tags":5071,"thumbUrl":5072,"material":751,"size":752,"collection":95,"collections":5073,"showCount":5074,"zanCount":882,"manualWeight":39,"mainColor":40},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,25,49,50,59,60,77,7,51,133,131,54,113,56,53,250,55,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],91,{"id":5076,"slug":5077,"title":5078,"dynasty":45,"author":125,"museum":126,"description":5079,"tags":5080,"thumbUrl":5081,"material":312,"size":5082,"collection":95,"collections":5083,"showCount":5074,"zanCount":882,"manualWeight":39,"mainColor":40},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[24,25,49,50,129,7,60,77,131,139,132,140,134,30,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],{"id":5085,"slug":5086,"title":5087,"dynasty":18,"author":411,"museum":107,"description":5088,"tags":5089,"thumbUrl":5092,"material":95,"size":95,"collection":95,"collections":5093,"showCount":5074,"zanCount":882,"manualWeight":39,"mainColor":40},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,25,49,27,51,59,60,77,7,137,54,116,458,52,53,55,56,57,252,5090,5091],"人家","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":5095,"slug":5096,"title":5097,"dynasty":18,"author":3261,"museum":107,"description":5098,"tags":5099,"thumbUrl":5100,"material":95,"size":5101,"collection":95,"collections":5102,"showCount":5074,"zanCount":882,"manualWeight":39,"mainColor":40},222800,"zhuan-shu-xin-jing-deng-shi-ru-222800","篆书心经","书法上极有创意。取法李阳冰铁线篆，其中又有以隶笔作篆的意味，笔力遒练，体势沉着，是他传世墨迹中的代表作。\n释文:观自在菩萨，行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色。色即是空，空即是色。受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界，无无明，亦无无明尽，乃至无老死，亦无老死盡。无苦集滅道，无智亦无得，以无所得故。菩提薩埵，依般若波罗蜜多故，心无罣礙，无罣礙故，无有恐怖，远离颠倒梦想，究竟涅槃。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒。即说咒曰：揭諦揭諦，波罗揭諦，波罗僧揭諦，菩提萨婆訶。般多心経。嘉庆龙飞九年，岁在逢困敦十有一月，丙戌朔粤十有八日癸卯。古皖邓石如篆。",[23,7,457,386,878,49,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaacba25735befff5d1b956c05f59017.jpg","单字宽约2厘米",[],{"id":5104,"slug":5105,"title":5106,"dynasty":88,"author":3014,"museum":72,"description":5107,"tags":5108,"thumbUrl":5109,"material":1179,"size":5110,"collection":314,"collections":5111,"showCount":5074,"zanCount":39,"manualWeight":39,"mainColor":100},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[23,24,25,75,27,1128,111,51,458,113,1018,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[314,63,187],{"id":5113,"slug":5114,"title":5115,"dynasty":162,"author":2966,"museum":126,"description":5116,"tags":5117,"thumbUrl":5118,"material":5119,"size":5120,"collection":96,"collections":5121,"showCount":5074,"zanCount":39,"manualWeight":39,"mainColor":207},221086,"lan-ting-ba-zhu-tie-xun-ce-liu-gong-quan-221086","兰亭八柱帖 （巽）册","蘭亭八柱乃圓明園遺物，於1910年（宣統二年）被移到頤和園，後置於耶律楚材祠中。1915 年，江朝宗致函溥儀內務府，請求拉運圓明園蘭亭碑及山石，以供社稷壇開拓公園之用。其後，蘭亭碑及八根石柱，分別於1917年前和1941年之後運至中山公園，直到1971年，始用八根石柱，在唐花塢西側新建成重檐八角亭，額曰“景自天成”。八根石柱之蘭亭帖，多有風化，半數帖尚好，仍可辨讀。",[23,7,198,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44df0257493edfb5c629ea00d305fe6d.jpg","初拓本","每开纵29.8厘米，横34.2厘米",[96,802],{"id":5123,"slug":5124,"title":5125,"dynasty":88,"author":369,"museum":701,"description":5126,"tags":5127,"thumbUrl":5129,"material":33,"size":5130,"collection":35,"collections":5131,"showCount":5074,"zanCount":788,"manualWeight":39,"mainColor":100},219085,"qu-yu-tu-zhao-ji-219085","鸜鹆图","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[24,92,25,111,29,116,1018,5128,50,27,7,77],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[35],{"id":5133,"slug":5134,"title":5135,"dynasty":88,"author":5136,"museum":72,"description":5137,"tags":5138,"thumbUrl":5139,"material":169,"size":5140,"collection":63,"collections":5141,"showCount":5074,"zanCount":418,"manualWeight":39,"mainColor":100},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,25,75,27,59,60,7,51,458,56,57,53,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[63,314],{"id":5143,"slug":5144,"title":5145,"dynasty":18,"author":830,"museum":107,"description":5146,"tags":5147,"thumbUrl":5148,"material":95,"size":95,"collection":35,"collections":5149,"showCount":5150,"zanCount":882,"manualWeight":39,"mainColor":40},236709,"mo-he-zhou-wu-chang-shuo-236709","墨荷轴","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[24,25,75,50,129,134,399,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[35,96],90,{"id":5152,"slug":5153,"title":5154,"dynasty":179,"author":1516,"museum":5155,"description":5156,"tags":5157,"thumbUrl":5159,"material":79,"size":5160,"collection":63,"collections":5161,"showCount":5150,"zanCount":882,"manualWeight":39,"mainColor":100},219974,"song-quan-tu-wu-zhen-219974","松泉图","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[23,24,25,75,50,59,51,1018,5158,57,7,77],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","105.3厘米 横31.7厘米",[63],{"id":5163,"slug":5164,"title":5165,"dynasty":45,"author":5166,"museum":126,"description":5167,"tags":5168,"thumbUrl":5170,"material":79,"size":5171,"collection":35,"collections":5172,"showCount":5150,"zanCount":39,"manualWeight":39,"mainColor":789},218770,"mao-die-tu-sun-ke-hong-218770","耄耋图","孙克弘","此图是幅寓意画。图绘一猫仰头注目空中飞蝶，意欲捕捉的生动瞬间。猫蝶即耄耋的谐音，古代人生八十称耄，九十称耋，寓长寿之意。本幅构图简洁，无任何背景衬托，蝶与猫构成一上一下、一动一静的对比，别有情趣。猫以墨彩重写，又以粗毫勾其毛发，造型准确生动。蝶以水墨绘出，勾染结合，着笔简约传神。此为作者墨笔粗简一路画风的代表作。",[23,24,50,5169,692,129,75,77,7],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67f1548430697540b035cee22f8e29a.jpg","纵139.5厘米，横47厘米",[35],{"id":5174,"slug":5175,"title":5176,"dynasty":88,"author":5177,"museum":72,"description":5178,"tags":5179,"thumbUrl":5180,"material":169,"size":95,"collection":63,"collections":5181,"showCount":5150,"zanCount":788,"manualWeight":39,"mainColor":40},218677,"xi-hu-shi-jing-tu-lei-feng-xi-zhao-ye-xiao-yan-218677","西湖十景图-雷峰夕照","叶肖岩","山峦晕染着暮色的暖调，古塔静立在层岩之上，夕照的金辉轻覆于林梢与塔檐，晕开朦胧的暖意。近处松枝虬劲，山石皴擦细腻；远处峰峦隐入淡墨，虚实间藏着江南的温婉。左侧墨笔题跋的线条与山水肌理相映，文辞与画意交织，将西湖黄昏的悠然意趣凝于尺幅。苍劲与柔婉并存，写实与写意相融，尽显雷峰夕照的静谧深远——仿佛晚风掠过塔铃轻响，时光沉淀的诗意在笔墨间缓缓流淌，让观者窥见千年西湖黄昏的温婉与悠长。",[23,24,25,26,27,51,1679,458,7,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6bfc3fb9153780220775dfbeb9338f.jpg",[63],{"id":5183,"slug":5184,"title":5185,"dynasty":45,"author":5186,"museum":72,"description":5187,"tags":5188,"thumbUrl":5189,"material":79,"size":5190,"collection":96,"collections":5191,"showCount":5150,"zanCount":39,"manualWeight":39,"mainColor":40},214227,"shang-lin-dong-nuan-shi-zhu-zhan-ji-214227","上林冬暖诗","朱瞻基","上林冬暖是一首中国古代诗歌，作者是朱瞻基。这首诗描述了冬季的上林园林，表达了作者对自然美景的喜爱。\n\n上林冬暖是一首七言绝句，共有七句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了作者对冬季上林园林的深深的喜爱。\n\n上林冬暖诗的具体内容如下：\n上林冬暖，玉树乱花。\n池边莲叶，夜来香。\n山间小道，草色浅浅。\n山间鸟鸣，绿荫苍苍。\n\n这首诗通过描述上林冬季的美景来表达作者对自然的热爱。在这首诗中，朱瞻基描述了上林园林在冬季里的温暖和美丽，并表达了对自然的感悟和体会。",[23,45,25,7,60,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed13e6102b654ac4127e0fce5854a6b3.jpg","47.3x23.9",[96],{"id":5193,"slug":5194,"title":5195,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":5198,"thumbUrl":5199,"material":751,"size":752,"collection":95,"collections":5200,"showCount":5201,"zanCount":788,"manualWeight":39,"mainColor":40},230292,"zhao-meng-fu-da-shi-zan-ai-xin-jue-luo-yong-xing-230292","赵孟頫大士赞","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[23,7,199,77,25,49,878,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239d73cbdf3045fafccec73a08a508ad.jpg",[],89,{"id":5203,"slug":5204,"title":5205,"dynasty":45,"author":46,"museum":126,"description":5206,"tags":5207,"thumbUrl":5208,"material":488,"size":5209,"collection":63,"collections":5210,"showCount":5201,"zanCount":788,"manualWeight":39,"mainColor":40},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[23,24,50,59,27,51,56,76,137,1006,53,1678,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[63,187],{"id":5212,"slug":5213,"title":5214,"dynasty":179,"author":4219,"museum":72,"description":5215,"tags":5216,"thumbUrl":5217,"material":682,"size":5218,"collection":187,"collections":5219,"showCount":5201,"zanCount":882,"manualWeight":39,"mainColor":100},221762,"quan-shi-xin-huang-tu-gu-an-221762","拳石新篁图","《拳石新篁图》写新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。",[23,24,1327,75,7,60,77,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1abfe83cffc1cff26cbc173920a8abd.jpg","纵76厘米，横40厘米",[187,1223],{"id":5221,"slug":5222,"title":5223,"dynasty":179,"author":225,"museum":279,"description":5224,"tags":5225,"thumbUrl":5226,"material":312,"size":5227,"collection":171,"collections":5228,"showCount":5201,"zanCount":882,"manualWeight":39,"mainColor":100},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[23,24,25,49,27,111,7,60,113,56,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 横:375.3cm",[171,187],{"id":5230,"slug":5231,"title":5232,"dynasty":45,"author":5233,"museum":72,"description":5234,"tags":5235,"thumbUrl":5236,"material":79,"size":5237,"collection":96,"collections":5238,"showCount":5201,"zanCount":39,"manualWeight":39,"mainColor":40},214209,"cao-shu-zhou-mo-shi-long-214209","草书轴","莫是龙","释文：挥手寒原日欲西。霜禽向客有情啼。空山摇落无相赠。独与春风送马头。云卿书。",[23,24,25,75,398,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2076e1c76e1c425049da7a553c9a512f.jpg","133.5x53.7",[96],{"id":5240,"slug":5241,"title":1537,"dynasty":18,"author":5242,"museum":107,"description":5243,"tags":5244,"thumbUrl":5245,"material":751,"size":752,"collection":95,"collections":5246,"showCount":5247,"zanCount":788,"manualWeight":39,"mainColor":40},288138,"hua-niao-tu-ye-ren-yi-288138","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,1250,111,27,29,116,285,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e23a255768ce7e9fd81450f398093.jpg",[],88,{"id":5249,"slug":5250,"title":5251,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":5252,"thumbUrl":5253,"material":95,"size":95,"collection":63,"collections":5254,"showCount":5247,"zanCount":882,"manualWeight":39,"mainColor":40},234647,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234647","原济金陵十景图册",[24,50,60,26,51,54,116,2219,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6020bc5a26b64366dfa9a8384032aebb.jpg",[63],{"id":5256,"slug":5257,"title":5258,"dynasty":45,"author":744,"museum":126,"description":5259,"tags":5260,"thumbUrl":5261,"material":519,"size":5262,"collection":95,"collections":5263,"showCount":5247,"zanCount":39,"manualWeight":39,"mainColor":40},222335,"mo-mei-tu-zhou-tang-yin-222335","墨梅图轴","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。\n本幅自题：“黄金布地梵王家，白玉成林腊后花。对酒不妨还弄墨，一枝清影写横斜。□堂看梅和王少傅韵。吴趋唐寅。",[92,24,25,75,50,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239c6bbe3e5d4ec00d78c8e1005a79.jpg","纵96厘米，横36厘米",[],{"id":5265,"slug":5266,"title":5267,"dynasty":162,"author":194,"museum":1697,"description":5268,"tags":5269,"thumbUrl":5270,"material":5271,"size":5272,"collection":96,"collections":5273,"showCount":5247,"zanCount":882,"manualWeight":39,"mainColor":207},221062,"pei-jiang-jun-shi-tie-yan-zhen-qing-221062","裴将军诗帖","传为唐代颜真卿所书。该帖楷、行、草相混而书，书法大小、长短、肥瘦、斜正变化多端，间杂隶书笔法，气雄力厚。北京大学教授、引碑入草开创者的李志敏评价：“颜真卿的《裴将军诗》以汉分为魂，融合诸体，牢笼百态，裴旻剑舞活现于鲁公笔端。欲医草之轻浮，可于此贴中求之”。",[23,49,7,198,200,199,60,398,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f840ab06e0e890cb03487c20c8ad3f8.jpg","楷、行、草相混","第一块碑石为长方形，长74厘米，宽43厘米 第二石为正方形， 长42厘米，宽42厘米 第三石的尺寸极可能长74厘米，宽43厘米",[96,802],{"id":5275,"slug":5276,"title":5277,"dynasty":45,"author":1313,"museum":126,"description":5278,"tags":5279,"thumbUrl":5282,"material":5283,"size":5284,"collection":63,"collections":5285,"showCount":5247,"zanCount":882,"manualWeight":39,"mainColor":40},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[23,24,25,75,50,51,56,57,59,60,576,471,5280,704,5281,251,7],"近坡","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米",[63,187],{"id":5287,"slug":5288,"title":5289,"dynasty":162,"author":5290,"museum":72,"description":5291,"tags":5292,"thumbUrl":5293,"material":79,"size":5294,"collection":187,"collections":5295,"showCount":5247,"zanCount":39,"manualWeight":39,"mainColor":40},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,25,49,50,59,7,60,77,51,2859,56,57,53,55,250,52,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[187],{"id":5297,"slug":5298,"title":5299,"dynasty":179,"author":5300,"museum":442,"description":5301,"tags":5302,"thumbUrl":5303,"material":33,"size":95,"collection":63,"collections":5304,"showCount":5247,"zanCount":418,"manualWeight":39,"mainColor":100},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[24,50,59,7,77,60,51,132,651,266,1006,53,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[63],{"id":5306,"slug":5307,"title":5308,"dynasty":1609,"author":454,"museum":5309,"description":5310,"tags":5311,"thumbUrl":5312,"material":79,"size":5313,"collection":95,"collections":5314,"showCount":5247,"zanCount":788,"manualWeight":39,"mainColor":100},214203,"yuan-an-bei-yi-ming-214203","袁安碑","河南博物院","此碑结体宽博，笔势强健道劲，骨力劲拔而有弹性，使书法厚重而雄浑。",[23,457,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6140336930b89ef5dfd4cc47c02862e2.jpg","150x79",[],{"id":5316,"slug":5317,"title":5318,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":5319,"thumbUrl":5320,"material":751,"size":752,"collection":95,"collections":5321,"showCount":5322,"zanCount":788,"manualWeight":39,"mainColor":40},290538,"bei-tang-qiu-ying-yun-shou-ping-290538","北堂秋影",[24,26,27,29,30,111,7,77,2061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30507f70fa4d4d14fa0b8ae423c42c20.jpg",[],87,{"id":5324,"slug":5325,"title":5326,"dynasty":105,"author":637,"museum":107,"description":1368,"tags":5327,"thumbUrl":5329,"material":751,"size":752,"collection":95,"collections":5330,"showCount":5322,"zanCount":882,"manualWeight":39,"mainColor":100},288119,"lan-ting-ji-shang-juan-wang-xi-zhi-288119","兰亭记上卷",[23,49,198,7,60,113,2251,568,475,53,5328,200],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fd561b9dece26b1983d27bca1e7e14.jpg",[],{"id":5332,"slug":5333,"title":5334,"dynasty":179,"author":225,"museum":126,"description":5335,"tags":5336,"thumbUrl":5337,"material":199,"size":5338,"collection":96,"collections":5339,"showCount":5322,"zanCount":788,"manualWeight":39,"mainColor":40},239685,"di-shi-dan-ba-bei-juan-zhao-meng-fu-239685","帝师胆巴碑卷","内容为记述帝师胆巴生平事迹，是赵孟頫奉元仁宗敕命书写的碑文。胆巴是元代前期僧人，西番突甘斯旦麻人，元世祖时被封为国师，元仁宗皇庆间，追号大觉普慈广照无上胆巴帝师。此卷书于延祐三年(1316)，书法点画顾盼有致，用笔遒美峻拔，为晚年碑书之笔。\n卷后有清姚元之、杨岘、李鸿裔、潘祖荫、王颂蔚、王懿荣、盛昱、杨守敬题跋，并钤有许乃普、叶恭绰等收藏印记。《南阳法书表》、《式古堂书画汇考》、《壬寅销夏录》、《三虞堂书画目》等书著录。现藏故宫博物院。",[23,25,7,49,199,878,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e897198e2de07be5ae069c46c590bfa.jpg","纵33.6厘米，横 166厘米",[96],{"id":5341,"slug":5342,"title":4704,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":5343,"thumbUrl":5344,"material":751,"size":752,"collection":95,"collections":5345,"showCount":5322,"zanCount":418,"manualWeight":39,"mainColor":40},239525,"ju-hua-zhou-wu-chang-shuo-239525",[24,75,29,50,27,140,135,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ebcc6f54b50ae6c545c98be3383c48f.jpg",[],{"id":5347,"slug":5348,"title":1290,"dynasty":45,"author":441,"museum":648,"description":5349,"tags":5350,"thumbUrl":5351,"material":4466,"size":5352,"collection":35,"collections":5353,"showCount":5322,"zanCount":39,"manualWeight":39,"mainColor":40},237438,"hua-hui-ce-xiang-sheng-mo-237438","项圣谟五十六岁创作的《花卉十开》是其花鸟画册页精品之一。十幅画皆纸本设色、淡彩没骨，依次画千叶桃花、石榴、白色桃花、白色梅花、海棠、兰花、野菊、秋菊、荷花荷叶、莲蓬莲藕，第一、三、四、五、八开画家题诗，第二、六、七、九、十开画家仅题名号，每一幅都有清代画家汪家珍题写诗文。",[24,25,26,27,29,297,7,77,4038,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482745d7ab05be19737eae85edd0cf06.jpg","31 X 23 CM X 10",[35,218],{"id":5355,"slug":5356,"title":5357,"dynasty":18,"author":411,"museum":126,"description":5358,"tags":5359,"thumbUrl":5361,"material":488,"size":5362,"collection":35,"collections":5363,"showCount":5322,"zanCount":39,"manualWeight":39,"mainColor":40},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[92,24,25,4347,2135,50,27,51,7,60,59,1018,333,251,773,5360,113,57,58,473],"烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[35,63,218],{"id":5365,"slug":5366,"title":5367,"dynasty":45,"author":1102,"museum":126,"description":5368,"tags":5369,"thumbUrl":5370,"material":169,"size":5371,"collection":35,"collections":5372,"showCount":5322,"zanCount":39,"manualWeight":39,"mainColor":100},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","竹鹤双清图","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[23,92,24,25,75,111,50,27,132,3388,2019,29,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[35],{"id":5374,"slug":5375,"title":5376,"dynasty":88,"author":262,"museum":970,"description":5377,"tags":5378,"thumbUrl":5379,"material":169,"size":5380,"collection":95,"collections":5381,"showCount":5322,"zanCount":39,"manualWeight":39,"mainColor":40},218436,"luo-shen-fu-tu-li-gong-lin-218436","洛神赋图","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[23,24,25,49,112,27,113,114,51,53,56,250,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":5383,"slug":5384,"title":5385,"dynasty":45,"author":5386,"museum":72,"description":5387,"tags":5388,"thumbUrl":5389,"material":79,"size":5390,"collection":96,"collections":5391,"showCount":5322,"zanCount":882,"manualWeight":39,"mainColor":40},214215,"shi-tie-wang-chong-214215","诗帖","王宠","释文：江东逢著李龟年。肠断歌钟舞袖前。瑶水似闻黄竹奏。梨园新按紫霓篇。生憎玉色欺冰盌。不耐云光媚酒筵。掩泪青衫天畔客。举觞白眼饮中僊。右陆叔平席上作。修竹檀栾池水波。近人鱼鸟碧山阿。",[23,25,24,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe914d368bb33d1a218d6cee66ee71a67.jpg","84.1x29.6",[96],{"id":5393,"slug":5394,"title":5395,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":5396,"thumbUrl":5397,"material":751,"size":752,"collection":95,"collections":5398,"showCount":5399,"zanCount":39,"manualWeight":39,"mainColor":40},289898,"shi-liu-tu-li-zhou-wu-chang-shuo-289898","石榴图立轴",[23,92,24,25,75,2645,50,27,445,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84d0c8474b987b8242984551428f81a.jpg",[],86,{"id":5401,"slug":5402,"title":5403,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":5404,"thumbUrl":5405,"material":751,"size":752,"collection":95,"collections":5406,"showCount":5399,"zanCount":39,"manualWeight":39,"mainColor":207},287436,"duo-bao-ta-yan-zhen-qing-287436","多宝塔",[199,198,7,200,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d37fc973561d02da112fe7cedaa550.jpg",[],{"id":5408,"slug":5409,"title":5410,"dynasty":2365,"author":5411,"museum":107,"description":5412,"tags":5413,"thumbUrl":5414,"material":751,"size":752,"collection":95,"collections":5415,"showCount":5399,"zanCount":39,"manualWeight":39,"mainColor":100},283684,"jiang-di-wan-jing-tu-dong-yuan-283684","江堤晚景图","董源","该画作是一幅绢本立轴山水画。轴顶上为溥儒题的“大风堂供养南唐北苑副使董源书江堤晚景无上至宝”。轴底为张大千、谢稚柳等人题跋。轴的中间绘绿意盎然的春日里，行人游春赏景，一侧的酒馆挂旗开门营业；松树高大苍翠，群山巍峨，山脚下河面波光粼粼，一片春日好时光！这就是画作的内容了。",[24,92,75,1127,27,51,113,1074,1283,56,77,7,1679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb775349db468e7b94cea2f43539ee3e.jpg",[],{"id":5417,"slug":5418,"title":5419,"dynasty":88,"author":308,"museum":107,"description":5420,"tags":5421,"thumbUrl":5422,"material":95,"size":95,"collection":95,"collections":5423,"showCount":5399,"zanCount":39,"manualWeight":39,"mainColor":40},227503,"xin-sui-zhan-qing-tie-su-shi-227503","新岁展庆帖","苏轼（1037～1101），字子瞻，号东坡居士，北宋眉山人。是著名的文学家，唐宋散文八大家之一。他学识渊博，多才多艺，在书法、绘画、诗词、散文各方面都有很高造诣。他的书法与蔡襄、黄庭坚、米芾合称“宋四家”；善画竹木怪石，其画论，书论也有卓见。是北宋继欧阳修之后的文坛领袖，散文与欧阳修齐名；诗歌与黄庭坚齐名；他的词气势磅礴，风格豪放，一改词的婉约，与南宋辛弃疾并称“苏辛”，共为豪放派词人",[7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe686195f2c0ee74acca1a40165e0437a.jpg",[],{"id":5425,"slug":5426,"title":5427,"dynasty":18,"author":411,"museum":107,"description":5428,"tags":5429,"thumbUrl":5430,"material":751,"size":752,"collection":95,"collections":5431,"showCount":5399,"zanCount":39,"manualWeight":39,"mainColor":100},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[23,92,24,25,75,50,129,7,77,29,135,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":5433,"slug":5434,"title":3926,"dynasty":162,"author":2354,"museum":279,"description":2355,"tags":5435,"thumbUrl":5436,"material":2358,"size":2359,"collection":96,"collections":5437,"showCount":5399,"zanCount":788,"manualWeight":39,"mainColor":40},221068,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221068",[23,7,199,386,77,49,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeac32242755aa712d5d8484ba83da2e.jpg",[96,802],{"id":5439,"slug":5440,"title":5441,"dynasty":179,"author":225,"museum":72,"description":5442,"tags":5443,"thumbUrl":5444,"material":312,"size":5445,"collection":96,"collections":5446,"showCount":5399,"zanCount":788,"manualWeight":39,"mainColor":40},220885,"xian-ju-fu-zhao-meng-fu-220885","闲居赋","学赵孟頫行书，《闲居赋》是一个不错的选择。《闲居赋》法度严谨，相对不可捉摸、更加自由的手札，它具有更清晰明了的书写规范，更适合初学；而相对一些偏正式的书写内容，它又多了几分随性，写来变化丰富，美妙多姿。\n书西晋著名文学家潘岳《闲居赋》一首，56行，凡627字，款署子昂。此作无年款，但从书法上考察，应是晚年所书，为赵孟頫上乘之作。卷末有清曹溶题跋。",[23,7,60,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed6c39e105804541eda350961a53ebf.jpg","纵38厘米，横248.3厘米",[96],{"id":5448,"slug":5449,"title":5450,"dynasty":179,"author":1187,"museum":72,"description":5451,"tags":5452,"thumbUrl":5456,"material":33,"size":5457,"collection":35,"collections":5458,"showCount":5399,"zanCount":882,"manualWeight":39,"mainColor":40},219110,"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[23,24,92,111,27,29,5453,5454,5455,7,77],"松鼠","桃枝","桃子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[35],{"id":5460,"slug":5461,"title":5462,"dynasty":45,"author":5463,"museum":72,"description":5464,"tags":5465,"thumbUrl":5466,"material":79,"size":5467,"collection":96,"collections":5468,"showCount":5399,"zanCount":39,"manualWeight":39,"mainColor":100},214207,"xing-shu-zhou-zhang-rui-tu-214207","行书轴","张瑞图","释文：借问欲栖珠树隺。何年却傍帝城飞。果亭瑞图。",[23,7,60,75,432,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7ddc20f101ed60c4ac5b9f77df0b3b.jpg","166.1x41.3",[96],{"id":5470,"slug":5471,"title":5472,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":5473,"thumbUrl":5474,"material":751,"size":752,"collection":95,"collections":5475,"showCount":5476,"zanCount":39,"manualWeight":39,"mainColor":100},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴",[92,24,25,75,27,29,399,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":5478,"slug":5479,"title":5480,"dynasty":179,"author":1187,"museum":107,"description":5481,"tags":5482,"thumbUrl":5484,"material":95,"size":95,"collection":95,"collections":5485,"showCount":5476,"zanCount":39,"manualWeight":39,"mainColor":40},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[23,92,24,25,49,27,111,29,5483,7,77],"栀子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":5487,"slug":5488,"title":5489,"dynasty":162,"author":5490,"museum":107,"description":5491,"tags":5492,"thumbUrl":5494,"material":312,"size":751,"collection":96,"collections":5495,"showCount":5476,"zanCount":882,"manualWeight":39,"mainColor":40},223386,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-bai-ju-yi-223386","古抄残卷《白氏文集》第三巻","白居易","白居易（772年－846年），字乐天，号香山居士，又号醉吟先生，祖籍山西太原，到其曾祖父时迁居下邽，生于河南新郑。 是唐代伟大的现实主义诗人，唐代三大诗人之一。白居易与元稹共同倡导新乐府运动，世称“元白”，与刘禹锡并称“刘白”。\n白居易的诗歌题材广泛，形式多样，语言平易通俗，有“诗魔”和“诗王”之称。官至翰林学士、左赞善大夫。公元846年，白居易在洛阳逝世，葬于香山。有《白氏长庆集》传世，代表诗作有《长恨歌》《卖炭翁》《琵琶行》等。\n1988年，日本中国文化显彰会为白园捐立石碑，以纪念白居易，碑文用中、日两种文字书写。1995年，4个日本人于此上书“樱献”。\n\n生平:\n唐代宗大历七年（772年）正月，白居易出生于河南新郑的一个“世敦儒业”的中小官僚家庭。白居易出生之后不久，家乡便发生了战争。藩镇李正己割据河南十余州，战火烧得民不聊生。白居易二岁时，任巩县令的祖父卒于长安，紧接他的祖母又病故。白居易的父亲白季庚先由宋州司户参军授徐州彭城县县令（780年），一年后因白季庚与徐州刺史李洧坚守徐州有功，升任徐州别驾，为躲避徐州战乱，他把家居送往宿州符离安居。白居易得以在宿州符离度过了童年时光。 而白居易聪颖过人，读书十分刻苦，读得口都生出了疮，手都磨出了茧，年纪轻轻的，头发全都白了。\n806年，白居易罢校书郎。同年四月试才识兼茂明于体用科，及第，授盩庢县（今西安周至县）尉。807年，任进士考官、集贤校理，授翰林学士。808年任左拾遗，迎娶杨虞卿从妹为妻。810年改任京兆府户部参军，811年母亲陈氏去世，离职丁忧，归下邽。814年回长安，授太子左赞善大夫。\n任左拾遗时，白居易认为自己受到喜好文学的皇帝赏识提拔，故希望以尽言官之职责报答知遇之恩，因此频繁上书言事，并写大量的反应社会现实的诗歌，希望以此补察时政，乃至于当面指出皇帝的错误。白居易上书言事多获接纳，然而他言事的直接，曾令唐宪宗感到不快而向李绛抱怨：“白居易小子，是朕拔擢致名位，而无礼于朕，朕实难奈。”李绛认为这是白居易的一片忠心，而劝谏宪宗广开言路。\n815年，宰相武元衡遇刺身亡，白居易上表主张严缉凶手，被认为是越职言事。其后白居易又被诽谤：母亲看花而坠井去世，白居易却著有“赏花”及“新井”诗，有害名教。遂以此为理由贬为江州（今江西九江）司马。818年，白居易的弟弟白行简至江州与白居易相聚。当白居易被任命为忠州刺史时，白行简也一同与兄长溯江而上。途中与元稹相遇于黄牛峡，三人相游之处被称为三游洞。在忠州任职的时间，白居易在忠州城东的山坡上种花，并命名此地为“东坡”。同年冬，被任命为忠州（今重庆市忠县）刺史，819年到任。820年夏，被召回长安，任尚书司门员外郎。\n白居易的母亲虽因看花坠井去世，然而白居易早有许多咏花之作，而依宋代的纪录，新井诗作于元和元年左右（新井诗今已失传），可见此事不能构成罪名。他被贬谪的主因，很可能与他写讽谕作品而得罪当权者有关。贬谪江州是白居易一生的转折点：在此之前他以“兼济”为志，希望能做对国家人民有益的贡献；至此之后他的行事渐渐转向“独善其身”，虽仍有关怀人民的心，表现出的行动却已无过去的火花了。然而白居易在江州虽不得志，大体上仍能恬然自处，曾在庐山香炉峰北建草堂，并与当地的僧人交游。\n820年冬，转任主客郎中、知制诰。821年，加朝散大夫，始正式著五品绯色朝服，（绯色即朱色，为五品以上官员所用的服色）。转上柱国，又转中书舍人。822年，白居易上书论当时河北的军事，不被采用，于是请求到外地任职，7月被任命为杭州刺史，10月到任。任内有修筑西湖堤防、疏浚六井等政绩。824年5月，任太子左庶子分司东都，秋天至洛阳，在洛阳履道里购宅。825年，被任命为苏州刺史，5月到任。826年因病去职，后与刘禹锡相伴游览于扬州、楚州一带。\n在杭州刺史任内，见杭州有六口古井因年久失修，便主持疏浚六井，以解决杭州人饮水问题。又见西湖淤塞农田干旱，因此修堤蓄积湖水，以利灌溉，舒缓旱灾所造成的危害，并作《钱塘湖石记》，将治理湖水的政策、方式与注意事项，刻石置于湖边，供后人知晓，对后来杭州的治理湖水有很大的影响。离任前，白居易将一笔官俸留在州库之中作为基金，以供后来治理杭州的官员公务上的周转，事后再补回原数。当这笔基金一直运作到黄巢之乱时，当黄巢抵达杭州，文书多焚烧散失，这笔基金才不知去向。\n西湖有白堤，两岸栽种有杨柳，后世误传这即是白居易所修筑的堤，而称之为白公堤。事实上这道“白堤”在白居易来杭州之前已存在，当时称为“白沙堤”，且见于白居易的诗作之中。\n当白居易在杭州时，元稹亦从宰相转任浙东观察使，浙东、杭州相去并非太远，因而二人之间有许多往还的赠答诗篇。当白居易任满离开杭州时，元稹要求白居易交出全部的作品，编成《白氏长庆集》五十卷。\n在苏州刺史任内，白居易为了便利苏州水陆交通，开凿了一条长七里西起虎丘东至阊门的山塘河，山塘河河北修建道路，叫“七里山塘”，简称“山塘街”。\n827年，白居易至长安任秘书监，配紫金鱼袋，换穿紫色朝服（三品以上官员所用的服色）。828年，转任刑部侍郎，封晋阳县男。829年春，因病改授与太子宾客分司，回洛阳履道里。830年12月，任河南尹。831年七月元稹去世。832年，为元稹撰写墓志铭，元家给白居易润笔的六七十万钱，白居易将全数布施于洛阳香山寺。833年，因病免河南尹，再任太子宾客分司。835年，被任命为同州刺史，辞不赴任，后改任命为太子少傅分司东都，封冯翊县侯，仍留在洛阳。839年10月得风疾。841年，罢太子少傅，停俸。842年，以刑部尚书致仕，领取半俸。\n晚年白居易的生活，大多是以“闲适”的生活反应自己“穷则独善其身”的人生哲学。而844年，73岁的白居易出钱开挖龙门一带阻碍舟行的石滩，事成后作诗《开龙门八节石滩诗二首并序》留念，诗中仍反映出他“达则兼济天下”的人生观。\n晚年的白居易大多在洛阳的履道里第度过，与刘禹锡唱和，时常游历于龙门一带。作《池上篇》、《醉吟先生传》自况。845年，白居易74岁，尚在履道里第举行“七老会”，与会者有胡杲、吉皎、郑据、刘真、卢贞、张浑与白居易；同年夏，以七老合僧如满、李元爽，画成“九老图”。白居易晚年笃信佛教，号香山居士，为僧如满之弟子。\n武宗会昌六年（846年）八月十四日（9月8日），白居易去世于洛阳，享年75岁，赠尚书右仆射，谥号“文”，葬于洛阳香山。白居易去世后，唐宣宗李忱写诗悼念他说：“缀玉联珠六十年，谁教冥路作诗仙？浮云不系名居易，造化无为字乐天。童子解吟《长恨》曲，胡儿能唱《琵琶》篇。文章已满行人耳，一度思卿一怆然。”著有《白氏长庆集》，共有七十一卷。",[23,7,199,1498,5493,433,385],"抄本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89515a061475fbfc4d99003bda2efa65.jpg",[96],{"id":5497,"slug":5498,"title":3136,"dynasty":179,"author":225,"museum":126,"description":5499,"tags":5500,"thumbUrl":5501,"material":184,"size":5502,"collection":96,"collections":5503,"showCount":5476,"zanCount":882,"manualWeight":39,"mainColor":100},220880,"qian-zi-wen-zhao-meng-fu-220880","引首系明代徐霖篆书“松雪千文”四个大字，卷后有元从张雨、赵雍、赵奕、黄公望，明代莫云卿、张湘詹景凤、徐霖等众人跋文。\n赵孟頫酷爱以千字文为习字素材，他曾在一卷千字文中自题云：“僕二十年来，写千字文以百数”足见共学书之勤奋。本卷是其晚年书写的一件千字文，先是楷书，后渐舒展为行书。\n明代书家詹景凤评说：“此卷笔法高古、圓润峻秀，为承旨得意之作。”\n明代书家莫雲卿评说：“昔人谓方圓一万里，上下数百年，绝无承旨 书法 ，观此本信然。”",[23,25,7,60,199,49,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e6e46623392abf17fdd5a46b402c2b.jpg","26.5X373.4CM",[96],{"id":5505,"slug":5506,"title":5507,"dynasty":88,"author":5508,"museum":2006,"description":5509,"tags":5510,"thumbUrl":5511,"material":79,"size":5512,"collection":35,"collections":5513,"showCount":5476,"zanCount":882,"manualWeight":39,"mainColor":40},218640,"qiu-lan-tu-quan-juan-zheng-si-xiao-218640","秋兰图全卷","郑思肖","这幅画描绘了一棚无根的兰花，只有几片叶子，其中两片叶子细长而美丽，右边的兰花盛开，芳香四溢。",[23,24,25,49,50,129,139,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50b81ebe46546096d829c3ee4a31f63.jpg","23.2x55.6",[35],{"id":5515,"slug":5516,"title":5517,"dynasty":3087,"author":454,"museum":107,"description":5518,"tags":5519,"thumbUrl":5520,"material":5521,"size":95,"collection":95,"collections":5522,"showCount":5476,"zanCount":882,"manualWeight":39,"mainColor":100},214218,"zhang-fu-jun-mu-zhi-yi-ming-214218","张府君墓志","该碑以普通文字书写，共二十行，每行二十字，共三百六十七字。虽然墓碑上写的是普通的文字，但笔法却不拘一格，克制而自然优雅。其笔法是中锋和侧锋的结合，笔画有方有圆，风格活泼而优雅，是北魏书法的典范。",[23,198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51bd478d09e0fce1f51dd2d2bdcff33.jpg","纸本,拓本,水墨",[],{"id":5524,"slug":5525,"title":1871,"dynasty":45,"author":5526,"museum":107,"description":5527,"tags":5528,"thumbUrl":5529,"material":751,"size":752,"collection":95,"collections":5530,"showCount":5531,"zanCount":882,"manualWeight":39,"mainColor":100},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,25,75,92,27,29,133,131,1896,77,7,60,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],84,{"id":5533,"slug":5534,"title":5535,"dynasty":179,"author":1187,"museum":107,"description":5536,"tags":5537,"thumbUrl":5538,"material":751,"size":752,"collection":95,"collections":5539,"showCount":5531,"zanCount":39,"manualWeight":39,"mainColor":100},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[23,92,24,25,49,27,51,57,2028,2029,53,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],{"id":5541,"slug":5542,"title":2888,"dynasty":162,"author":1060,"museum":107,"description":2889,"tags":5543,"thumbUrl":5544,"material":751,"size":752,"collection":95,"collections":5545,"showCount":5531,"zanCount":39,"manualWeight":39,"mainColor":100},288063,"jiu-cheng-gong-li-quan-ming-ou-yang-xun-288063",[7,198,200,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fda3b529a4e8630d3ed9778c71c8e5f.jpg",[],{"id":5547,"slug":5548,"title":5549,"dynasty":162,"author":1715,"museum":107,"description":5550,"tags":5551,"thumbUrl":5552,"material":95,"size":95,"collection":95,"collections":5553,"showCount":5531,"zanCount":39,"manualWeight":39,"mainColor":100},227080,"da-zi-yin-fu-jing-chu-sui-liang-227080","大字阴符经","真书，墨迹本，共96行，计461字，传唐代褚遂良写于唐永徽五年(654)。钤有“建业文房之印”、“河东南路转运使印”等鉴藏印。其书字笔画瘦劲，但结体宽博，尚保留隶书的笔意。小楷本和大楷本皆有说法，难以断真。其中，小楷本的楷法端妍，《越州石氏帖》有摹刻，字体细小如“蝇头”，行字茂密又疏朗舒适，从严谨的笔法中可见魏晋之风韵。而大楷本则笔力劲健，形态多姿，风流倜傥，沉着而畅展。此外《大字阴符经》有许多行的笔意，如起笔直下与收笔的引带都加强了字内的联系，使其更为生动活泼。",[7,199,77,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d62e49f45da0be16f6bb4748fcc57a.jpg",[],{"id":5555,"slug":5556,"title":5557,"dynasty":162,"author":5558,"museum":72,"description":5559,"tags":5560,"thumbUrl":5561,"material":784,"size":5562,"collection":171,"collections":5563,"showCount":5531,"zanCount":882,"manualWeight":39,"mainColor":100},221134,"da-bei-guan-yin-xiang-zhou-fan-qiong-221134","大悲观音像轴","范琼","头戴宝冠，宝冠中画阿弥陀佛，在青色莲台上结跏趺坐。\n他有三只眼睛、四十二只手，每只手掌中间还画一只眼睛，是密教中千手千眼观音（又称大悲观音）的一种类型。\n此幅右下方有范琼（活动于八四六－八七九年）的题款，虽然清代的查士标和张丑都认为这是一幅范琼的真迹，可是这幅观音女相的造形与唐代的 不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[92,24,25,75,878,113,27,111,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 26.7x8.7公分",[171,218],{"id":5565,"slug":5566,"title":5567,"dynasty":179,"author":225,"museum":5568,"description":5569,"tags":5570,"thumbUrl":5571,"material":312,"size":5572,"collection":96,"collections":5573,"showCount":5531,"zanCount":882,"manualWeight":39,"mainColor":40},220884,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","甘肃天庆博物馆","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[23,92,24,25,49,878,60,7,386,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[96],{"id":5575,"slug":5576,"title":5577,"dynasty":179,"author":2238,"museum":72,"description":5578,"tags":5579,"thumbUrl":5580,"material":79,"size":5581,"collection":63,"collections":5582,"showCount":5531,"zanCount":882,"manualWeight":39,"mainColor":40},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[23,24,50,75,59,7,77,51,55,56,57,53,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[63],{"id":5584,"slug":5585,"title":5586,"dynasty":45,"author":4300,"museum":72,"description":5587,"tags":5588,"thumbUrl":5589,"material":33,"size":5590,"collection":35,"collections":5591,"showCount":5531,"zanCount":39,"manualWeight":39,"mainColor":40},214727,"mu-dan-tu-chen-chun-214727","牡丹图","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[24,25,75,129,50,27,60,7,29,135,238,239,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[35],{"id":5593,"slug":5594,"title":5595,"dynasty":45,"author":5596,"museum":107,"description":5597,"tags":5598,"thumbUrl":5600,"material":751,"size":752,"collection":95,"collections":5601,"showCount":5602,"zanCount":39,"manualWeight":39,"mainColor":40},287357,"xiao-xiang-guo-yu-tu-chang-juan-xia-chang-287357","潇湘过雨图长卷","夏昶","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。",[23,92,24,25,49,50,132,5599,7,948],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c0fd5961a81d394a14a9f0c62e6bd1.jpg",[],83,{"id":5604,"slug":5605,"title":5606,"dynasty":45,"author":5607,"museum":107,"description":5608,"tags":5609,"thumbUrl":5610,"material":95,"size":95,"collection":187,"collections":5611,"showCount":5602,"zanCount":882,"manualWeight":39,"mainColor":40},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,92,24,25,49,50,59,110,51,704,52,53,54,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[187],{"id":5613,"slug":5614,"title":5615,"dynasty":18,"author":5616,"museum":107,"description":5617,"tags":5618,"thumbUrl":5619,"material":2815,"size":5620,"collection":63,"collections":5621,"showCount":5602,"zanCount":39,"manualWeight":39,"mainColor":40},224169,"song-shu-tu-gua-zhou-li-fang-ying-224169","松树图挂轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,24,25,75,50,59,1018,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93021041cb164b00da3dbc86d0eb5b96.jpg","100x45",[63],{"id":5623,"slug":5624,"title":5625,"dynasty":162,"author":194,"museum":126,"description":5626,"tags":5627,"thumbUrl":5628,"material":1038,"size":5629,"collection":96,"collections":5630,"showCount":5602,"zanCount":882,"manualWeight":39,"mainColor":40},221061,"hu-zhou-tie-juan-yan-zhen-qing-221061","湖州帖卷","释文：\u2028　　江外唯湖州最卑下，今年诸州水并凑此州入太湖，田苗非常没溺。赖刘尚书□抚，以此人心差安，不然，仅不可安耳。真卿白。\n此帖为传颜真卿所书的一通信札，讲述湖州地区发生水灾，百姓得到安抚一事。根据书写的内容和史料推测，书写时间应在唐大历七年（772年）以后，即颜真卿任职湖州刺史期间。但经专家鉴定，此帖非颜氏所书，理由如下：其一，书写所用纸张为加粉砑光的竹料纸，而这种纸在宋代才出现。其二，在书写风格方面作者用笔圆转连绵，侧媚多姿，墨色华润，与颜真卿所书《祭侄文稿》的悲切、《争座位帖》的激昂意态迥别，亦缺少颜书中锋多“屋漏痕”意。因此可推断此帖为宋人之仿本。\n清安岐《墨缘汇观》、卞永誉《式古堂书画汇考》著录。",[23,1063,7,60,49,77,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d04809f0522878b77120071e44c61c1.jpg","纵27.6厘米，横50.2厘米",[96,802],{"id":5632,"slug":5633,"title":5634,"dynasty":105,"author":2112,"museum":1697,"description":5635,"tags":5636,"thumbUrl":5637,"material":199,"size":95,"collection":96,"collections":5638,"showCount":5602,"zanCount":882,"manualWeight":39,"mainColor":100},221016,"jian-ji-zhi-biao-zhong-yao-221016","荐季直表","此帖或为唐人根据原本所摹，或为伪托，但应属“伪好物”。由于它具有钟书的基本特征和很高的艺术价值，故得到书界的重视和高度评价。如陆行直说：“繇《荐季直表》高古纯朴，超妙入神，无晋唐插花美女之态。”王世贞认为，在此帖显世之后，“天下之学钟者，不再知有《淳化阁》”（指《淳化阁》所载钟繇诸刻帖）。此帖笔画、结字都极其自然，章法错落。梁武帝等所说“云鹤游天”，“群鸿戏海”以及“行间茂密”等于此帖表现最为鲜明。钟繇所创造的“钟体”，同王羲之的“王体”是我国书法史上两个历久不衰的艺术典型，影响极其深远。",[7,199,77,198,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b01459c23dcc3a188f5b9cf3507377.jpg",[96],{"id":5640,"slug":5641,"title":5642,"dynasty":18,"author":2301,"museum":107,"description":5643,"tags":5644,"thumbUrl":5645,"material":312,"size":95,"collection":96,"collections":5646,"showCount":5602,"zanCount":39,"manualWeight":39,"mainColor":100},220449,"yu-bi-qi-yan-shi-qian-long-220449","御笔七言诗","乾隆皇帝酷爱书法，日理万机之余潜心临池，遍习诸家，钟情二王。乾隆书法赵孟俯，心慕手追，身体力行。在以赵体为根本的基础上，又参悟二王弋颜真卿、宋四家等人风格，融会贯通，逐渐形成了自己圆润道丽、温妍儒雅的书法风格。",[75,60,7,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267402bb05345ad1bcbb01b4b580667a.jpg",[96],{"id":5648,"slug":5649,"title":5650,"dynasty":45,"author":1015,"museum":126,"description":5651,"tags":5652,"thumbUrl":5653,"material":312,"size":5654,"collection":96,"collections":5655,"showCount":5602,"zanCount":39,"manualWeight":39,"mainColor":789},219149,"xing-shu-xin-qiu-shi-wen-zheng-ming-219149","行书·新秋诗","此为文徵明所书自写诗，笔法自然浑成，表现了其晚年大字行书的典型风格。",[23,7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad802105bea6f6e536f366b6d79261a2.jpg","纵151.5厘米，横68.5厘米",[96],{"id":5657,"slug":5658,"title":5659,"dynasty":18,"author":5660,"museum":20,"description":5661,"tags":5662,"thumbUrl":5663,"material":79,"size":5664,"collection":35,"collections":5665,"showCount":5602,"zanCount":882,"manualWeight":39,"mainColor":40},218902,"mao-tu-zhou-wang-shi-shen-218902","猫图轴","汪士慎","此轴画一黑白相间的猫蹲踞石上，双目斜睨画外，神态生动。画上题诗“每餐先备买鱼钱，曾记携归小似拳，一自爪牙动黠鼠，傍人安稳卧青氊”。并题为雍正六年戊申（1728）九月所画，时年32岁。",[24,50,129,75,5169,2019,446,1763,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e98d0a6a379b6c7d84e39c07b0d0aec.jpg","纵125.7厘米，横60.8 厘米",[35],{"id":5667,"slug":5668,"title":5669,"dynasty":179,"author":180,"museum":107,"description":5670,"tags":5671,"thumbUrl":5672,"material":751,"size":752,"collection":95,"collections":5673,"showCount":5674,"zanCount":39,"manualWeight":39,"mainColor":40},290827,"dong-ting-qi-feng-zhou-huang-gong-wang-290827","洞庭奇峰轴","此作前景画小舟浮於湖面，其后山岩繁密多姿，高耸杂木散立，山巅处瀑布流泻，左方曲径没入云雾中，其上瑰丽峰峦斜出天表。画中可见黄公望作品中常见母题，然全作结构、山石、树法等，更接近文徵明风格。依题跋可知此画成于1354（元至正十四年）为梅剑庵所作；1410（永乐八年），梅氏后人请沈度（1357-1434）题跋；1510年（正德五年），文征明（1470-1559）亦获观此画，并留下题语。文征明题款“壁”字书为“璧”，与常见不同。此画笔墨、结构堪称佳构，然可能出自明代後期善仿文征明风格者之手。",[92,24,25,75,50,51,59,57,56,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83587d8c69519255b6c7d65b856a64.jpg",[],82,{"id":5676,"slug":5677,"title":5678,"dynasty":88,"author":5679,"museum":72,"description":5680,"tags":5681,"thumbUrl":5682,"material":184,"size":5683,"collection":95,"collections":5684,"showCount":5674,"zanCount":39,"manualWeight":39,"mainColor":100},227601,"mo-zhu-zhou-wen-tong-227601","墨竹轴","文同","国北宋末年画家文同的存世代表作。文同 (1018～1079) 字与可，自号笑笑先生、锦江道人，世称石室先生，梓潼(今属四川省)人。皇祐年间进士，元丰初出知湖州。善诗文，工书画，尤善画墨竹。此图绢本，水墨，纵131.6厘米，横105.4厘米。画墨竹一枝，作弯曲状，由左上斜向右下方。笔法严谨而潇洒，枝叶劲挺繁密，繁而不乱，密中有疏，竹叶以浓墨为面，淡墨为背，墨色清润，阴阳向背层次分明，开后世墨竹之先河。此图未署作者名款，有“静闲□室”、“文同与可” 2印，上方有明王直、陈循德2家为彦谥题诗。清宫旧藏,有清内府嘉庆、宣统印各一方。现藏台北故宫博物院。",[23,92,24,25,75,50,948,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5295f96be134d53730e65174f29213.jpg","纵113.6厘米，横105.4厘米",[],{"id":5686,"slug":5687,"title":5688,"dynasty":88,"author":5689,"museum":126,"description":5690,"tags":5691,"thumbUrl":5692,"material":1646,"size":5693,"collection":96,"collections":5694,"showCount":5674,"zanCount":882,"manualWeight":39,"mainColor":40},221220,"xing-shu-zi-shu-shi-juan-lin-bu-221220","行书自书诗卷","林逋","此卷是林逋归隐西湖孤山时所作，共5首诗，除第2首是五言诗外，其余均为七言诗。\n据诗后林逋自识：“時皇上登寶位歲夏五月”，可知此作品写于仁宗天圣元年癸亥（1023年），林逋时年57岁，其书体瘦劲，秀逸，笔法厚重，风致绰约，与时人李建中风骨俊整的书风极为接近。诗后有苏轼书七言诗《书和靖林处士诗后》，无年款，据徐邦达先生考证可能是元祐四、五年间苏轼（时年约54岁）第二次到杭州作刺史时所书。此书藏锋敛锷，姿媚可爱，是罕见的苏轼传世佳作之一。这两段名人书法相映生辉，珠联璧合，实为难得的珍宝。\n后纸有乾隆皇帝用苏轼原韵五题御制诗题记二则（其中一则由董诰奉敕而书），又有明王世贞、王世懋，清王鸿绪三家题跋。\n本幅钤有“濟陽文府”，清王鸿绪、清内府等鉴藏印。\n宋内府《宣和书谱》，明汪砢玉《珊瑚网》、詹景凤《东图玄览》，清顾复《平生壮观》、吴其贞《书画记》、安岐《墨缘汇观·续编》、卞永誉《式古堂书画汇考》、高士奇《江村消夏录》、吴升《大观录》、阮元《石渠随笔》、内府《石渠宝笈·续编》等书有著录。",[23,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349bd3fcdb871f93ccb96a158d67a788.jpg","纵32厘米，横302.6厘米",[96],{"id":5696,"slug":5697,"title":5698,"dynasty":105,"author":637,"museum":72,"description":5699,"tags":5700,"thumbUrl":5701,"material":2423,"size":5702,"collection":96,"collections":5703,"showCount":5674,"zanCount":39,"manualWeight":39,"mainColor":100},221034,"yuan-huan-tie-juan-wang-xi-zhi-221034","远宦帖卷","此帖首见于《法书要录》卷十右军书记。《宣和书谱》即称〈远宦帖〉。亦刻入〈淳化阁帖〉卷六；〈大观帖〉、〈鼎帖〉、〈宝贤堂帖〉、〈澄清堂帖〉（孙承泽本）均曾刻入。清道光间，叶志诜得王献之〈送梨帖〉，将此帖一同上石。后杨守敬又刻入其〈邻苏园法帖〉中。北宋曾入大观，宣和内府，有大观，宣和诸印玺，卷首徽宗赵佶瘦金书签，上钤双龙方印。专用于古法书者。后曾入金明昌内府，及北燕张氏，后归贾似道。明时曾为秀水项元汴所藏，入清由耿会侯，安岐所递藏，曾着录于《墨缘汇观》，订为唐人钩摹本。嗣入清内府，而未钤内府收藏印，故石渠亦无着录。今藏国立故宫博物院，曾先后辑入《故宫法书晋王羲之真迹册》、《故宫历代法书全集》第一册影印行世",[7,60,200,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925a98205f4f16ac274133ed299304e4.jpg","纵24.8厘米，横21.3厘米",[96,802],{"id":5705,"slug":5706,"title":5707,"dynasty":45,"author":1313,"museum":72,"description":5708,"tags":5709,"thumbUrl":5710,"material":2815,"size":5711,"collection":63,"collections":5712,"showCount":5674,"zanCount":882,"manualWeight":39,"mainColor":40},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,24,25,75,50,51,59,52,53,56,57,268,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[63,187],{"id":5714,"slug":5715,"title":5716,"dynasty":179,"author":225,"museum":20,"description":5717,"tags":5718,"thumbUrl":5723,"material":184,"size":5724,"collection":63,"collections":5725,"showCount":5674,"zanCount":882,"manualWeight":39,"mainColor":40},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,24,25,49,50,60,7,51,59,5719,5720,5721,53,4495,56,54,116,553,5722],"烟江","叠嶂","山峰","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[63,187],{"id":5727,"slug":5728,"title":5729,"dynasty":179,"author":1516,"museum":442,"description":5730,"tags":5731,"thumbUrl":5732,"material":79,"size":5733,"collection":63,"collections":5734,"showCount":5674,"zanCount":788,"manualWeight":39,"mainColor":40},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[23,24,25,49,50,51,59,7,60,77,651,360,652,52,54,132,772,471,252,1006],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[63],{"id":5736,"slug":5737,"title":4167,"dynasty":45,"author":1015,"museum":126,"description":5738,"tags":5739,"thumbUrl":5740,"material":79,"size":5741,"collection":63,"collections":5742,"showCount":5674,"zanCount":39,"manualWeight":39,"mainColor":40},218341,"shan-shui-ce-wen-zheng-ming-218341","此图左开为作者图，右开有其弟子周天球、陆师道、王穉登的应景题诗。\n根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[23,24,92,26,50,51,56,58,1678,53,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78e6d4341e71339b18dae6e2a968838.jpg","28.5×15.8cm",[63],{"id":5744,"slug":5745,"title":5746,"dynasty":179,"author":1516,"museum":72,"description":5747,"tags":5748,"thumbUrl":5749,"material":94,"size":5750,"collection":95,"collections":5751,"showCount":5752,"zanCount":39,"manualWeight":39,"mainColor":100},290134,"qiu-jiang-yu-yin-tu-wu-zhen-290134","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[92,24,50,51,75,54,820,53,250,1018,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":5754,"slug":5755,"title":5756,"dynasty":105,"author":637,"museum":107,"description":1368,"tags":5757,"thumbUrl":5758,"material":751,"size":752,"collection":95,"collections":5759,"showCount":5752,"zanCount":882,"manualWeight":39,"mainColor":207},288115,"lan-ting-ji-xia-juan-wang-xi-zhi-288115","兰亭记下卷",[7,60,198,49,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdac168b907f17c41de675b3950d958eb.jpg",[],{"id":5761,"slug":5762,"title":5763,"dynasty":45,"author":125,"museum":126,"description":5764,"tags":5765,"thumbUrl":5766,"material":312,"size":95,"collection":96,"collections":5767,"showCount":5752,"zanCount":39,"manualWeight":39,"mainColor":40},240490,"xu-wei-shi-juan-xu-wei-240490","徐渭诗卷","此卷书篇幅较长，从始至终一直保持着良好的书写状态，一气呵成。在运笔方面虽不如草书奔放连绵，但却比楷书流畅自如，字形变化多样，或横斜，或倚侧，皆随意为之，毫不矫揉造作，故有浑朴天成之趣。在笔画的提、按变化上有时也参用隶书之法，使所书之字更富有古雅的情致，不失为徐氏精于运笔的行书之杰作。在布局与气势上深得米芾书法的神韵，兼具黄、苏的笔意。作品风格与徐渭平日恣肆放纵、狂傲不驯的用笔有所不同，似为其晚年作品。",[23,7,60,398,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ec447aa8da7818e7c4392d2866cbaa.jpg",[96],{"id":5769,"slug":5770,"title":5771,"dynasty":18,"author":411,"museum":107,"description":5772,"tags":5773,"thumbUrl":5775,"material":95,"size":95,"collection":95,"collections":5776,"showCount":5752,"zanCount":882,"manualWeight":39,"mainColor":100},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,25,49,27,51,59,7,60,77,651,360,52,458,56,1678,5091,5774,113],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":5778,"slug":5779,"title":5780,"dynasty":88,"author":369,"museum":648,"description":5781,"tags":5782,"thumbUrl":5783,"material":5784,"size":5785,"collection":96,"collections":5786,"showCount":5752,"zanCount":39,"manualWeight":39,"mainColor":100},221348,"cai-xing-chi-juan-zhao-ji-221348","蔡行敕卷","此帖乃宋徽宗赵佶不允蔡行辞殿中省事之手敕。行书，凡二十一字，共一百二十七字。此敕行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。\n此卷是宋徽宗不准蔡行辞去领殿中省之职所颁的敕书全文行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。",[23,92,24,25,49,60,7,77,312,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deae8a7337124f7de79f711ec96d05f.jpg","手卷","行书35.5 x 214.6 cm",[96],{"id":5788,"slug":5789,"title":5790,"dynasty":105,"author":637,"museum":72,"description":5791,"tags":5792,"thumbUrl":5793,"material":95,"size":5794,"collection":96,"collections":5795,"showCount":5752,"zanCount":39,"manualWeight":39,"mainColor":40},221031,"ping-an-he-ru-feng-ju-san-tie-juan-wang-xi-zhi-221031","平安何如奉橘三帖卷","从西元六世纪的南朝以来，上至帝王下至百姓都喜好王羲之等名家的信札，由于此类珍贵的书迹都收藏在皇宫之中，即使是平民收藏家也不会轻示于人。有时帝王为分送亲信，或是担心真迹观赏过多次会有伤害，常会请人以双勾填墨的方式将书迹做复制，此三帖即是摹本。",[23,25,7,60,49,77,200,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcca10b4a733dd2b18c3b7008fed486.jpg","24.7x47.3",[96,802],{"id":5797,"slug":5798,"title":5799,"dynasty":662,"author":663,"museum":5800,"description":5801,"tags":5802,"thumbUrl":5803,"material":5804,"size":95,"collection":95,"collections":5805,"showCount":5752,"zanCount":39,"manualWeight":39,"mainColor":40},220583,"zhuan-shu-e-mi-tuo-fo-qi-bai-shi-220583","篆书“阿弥陀佛”","國立故宮博物院","此作用隶意入篆，打破篆书匀整旧制，起收笔斩截刚劲，线条厚重苍莽，带着金石摩挲出的斑驳质感。四字排布开张奇崛，字势欹侧错落却浑融一体，将佛号的庄穆，以生辣雄强的笔力托出。\n\n左侧题款小字灵动舒展，与厚重篆文形成动静对冲，疏密间尽显错落意趣。整作褪去雕琢匠气，把禅门静穆与写意野趣相融，笔墨间满是老辣天真的风骨，以书法写尽禅意沉浑。",[24,25,75,878,457,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd1d7fbd1e528643671dd29dda0d313.jpg","Ink on paper",[],{"id":5807,"slug":5808,"title":5809,"dynasty":45,"author":125,"museum":412,"description":1092,"tags":5810,"thumbUrl":5811,"material":79,"size":1095,"collection":95,"collections":5812,"showCount":5752,"zanCount":39,"manualWeight":39,"mainColor":40},220100,"shi-er-mo-hua-tu-juan-3-xu-wei-220100","十二墨花图卷-3",[23,92,24,25,49,50,29,132,134,446,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c5fdddd68d2662d99287215d9176.jpg",[],{"id":5814,"slug":5815,"title":5816,"dynasty":45,"author":1015,"museum":72,"description":5817,"tags":5818,"thumbUrl":5822,"material":79,"size":5823,"collection":96,"collections":5824,"showCount":5752,"zanCount":882,"manualWeight":39,"mainColor":100},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[23,25,7,75,60,50,77,1677,651,652,5819,333,5820,5821],"野水","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2",[96],{"id":5826,"slug":5827,"title":5828,"dynasty":45,"author":744,"museum":72,"description":5829,"tags":5830,"thumbUrl":5832,"material":682,"size":5833,"collection":95,"collections":5834,"showCount":5835,"zanCount":882,"manualWeight":39,"mainColor":40},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,24,92,49,25,112,50,110,113,5831,568,426,56,57,60,7],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":5837,"slug":5838,"title":5839,"dynasty":18,"author":1387,"museum":126,"description":5840,"tags":5841,"thumbUrl":5842,"material":1038,"size":5843,"collection":96,"collections":5844,"showCount":5835,"zanCount":39,"manualWeight":39,"mainColor":40},240331,"zhu-da-lan-ting-xu-zhou-zhu-da-240331","朱耷兰亭序轴","此轴为朱耷节录《兰亭序》，内容有些微差异，如“暮春”后省略“之初”二字，“此地有”写为“此地迺”等。\n款署：“八大山人”，款下钤“在芙山房”、“八大山人”白方印两方。引首钤“黄竹园”白方。\n本幅左下角钤张大千鉴藏印“藏之大千”白方。外签为张大千题：“八大山人临兰亭。大风堂永远供养。”下钤“大千”朱方等二印。知此轴曾为张大千旧藏。左裱边有题跋三则，第一跋后钤“夔文书画金石”朱方。\n八大山人为清代著名书画家朱耷的别号。朱耷中晚年，在书画作品款署中多使用“八大山人”，直至去世。这幅行书立轴不是单纯的对《兰亭序》临写和模仿，而加入了作者的创作。它继承了八大山人“淳朴圆润，自成一格”之风，正如跋语所评，其“圆健古厚，专用中锋，如印印泥，如锥画沙，布白分行，具有天趣”，堪称其率性之作。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d801377852347170dfbb129c60a62a.jpg","纵174.5厘米，横52.1厘米",[96],{"id":5846,"slug":5847,"title":5848,"dynasty":45,"author":454,"museum":107,"description":5849,"tags":5850,"thumbUrl":5851,"material":95,"size":95,"collection":95,"collections":5852,"showCount":5835,"zanCount":882,"manualWeight":39,"mainColor":40},239636,"wen-zheng-ming-guo-qin-lun-ce-yi-ming-239636","文征明过秦论册","此作用笔精劲秀雅，结体端稳匀停，是极具代表性的明代小楷佳作。笔画舒展利落，起收间法度谨严，通篇排布疏朗有致，行气贯通流畅。以雅致笔墨书写史论篇章，笔墨与文辞相融，既带着台阁体的娟秀规整，又蕴含文人书法的清逸风骨，字字珠玑间尽显沉厚的帖学功底。运笔间藏露得宜，点画精致细腻，不见一丝浮滑潦草，将史论的沉郁思辨与书法的静雅气质相融，尽显书写者的从容笔力与文人心境，是书文合璧的精妙之作。",[25,7,26,199,77,50,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6790cda2be73a7433191619dae03f7.jpg",[],{"id":5854,"slug":5855,"title":5856,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":5857,"thumbUrl":5858,"material":751,"size":752,"collection":95,"collections":5859,"showCount":5835,"zanCount":788,"manualWeight":39,"mainColor":40},235463,"hong-mei-tu-zhou-wu-chang-shuo-235463","红梅图轴",[24,129,27,77,7,131,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ee665f6d35f02aab575c4b2632afd6a.jpg",[],{"id":5861,"slug":5862,"title":5863,"dynasty":45,"author":744,"museum":20,"description":5864,"tags":5865,"thumbUrl":5866,"material":591,"size":5867,"collection":63,"collections":5868,"showCount":5835,"zanCount":882,"manualWeight":39,"mainColor":40},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[23,24,25,75,50,59,7,113,797,1018,57,115,667,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[63,187],{"id":5870,"slug":5871,"title":5872,"dynasty":88,"author":3288,"museum":72,"description":5873,"tags":5874,"thumbUrl":5875,"material":169,"size":5876,"collection":314,"collections":5877,"showCount":5835,"zanCount":39,"manualWeight":39,"mainColor":100},219965,"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[23,24,25,75,50,59,60,7,77,113,427,51,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[314,63],{"id":5879,"slug":5880,"title":5881,"dynasty":88,"author":5882,"museum":20,"description":5883,"tags":5884,"thumbUrl":5885,"material":169,"size":5886,"collection":171,"collections":5887,"showCount":5835,"zanCount":882,"manualWeight":39,"mainColor":100},219429,"ba-gao-seng-tu-liang-kai-219429","八高僧图","梁楷","《南宋梁楷八高僧故事图卷》分别描绘南北朝至唐代佛教禅宗八个高僧的故事。各个人物的神态、举止和服饰刻画入微、传神；山石多为斧劈皴，笔法简洁洗练，动静相映以烘托出人物的情绪。是梁楷作品中较为工整的一路。每幅之后，均附有明初人用行书撰写的文字说明，内容简明扼要。",[23,112,27,111,113,51,1018,76,54,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1587fabe100285596e73694b143eae99.jpg","纵 26.6 厘米 横64.1 66.4 64.7 厘米",[171],{"id":5889,"slug":5890,"title":5891,"dynasty":45,"author":4300,"museum":72,"description":5892,"tags":5893,"thumbUrl":5894,"material":312,"size":5895,"collection":35,"collections":5896,"showCount":5897,"zanCount":39,"manualWeight":39,"mainColor":40},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,92,24,25,1250,129,50,27,29,1051,57,58,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[35,218],79,{"id":5899,"slug":5900,"title":5901,"dynasty":88,"author":5902,"museum":126,"description":5903,"tags":5904,"thumbUrl":5905,"material":312,"size":5906,"collection":96,"collections":5907,"showCount":5897,"zanCount":882,"manualWeight":39,"mainColor":40},221230,"er-zha-tie-fan-zhong-yan-221230","二札帖","范仲淹","二札即边事、远行二帖，为两通书札。\n边事帖又称乡曲帖，释文：\n“仲淹再拜，知府刑部仁兄：伏惟起居萬福。施鄉曲之惠，占江山之勝，優哉樂乎。此間邊事，夙夜勞苦。仗朝廷威靈，即目寧息，亦漸有倫序。鄉中交親俱荷大庇，幸甚。師道之奇，尤近教育，乞自重，自重。不宣。仲淹拜上，知府刑部仁兄左右。三月十日。”\n信中“知府刑部”即富严，曾官刑部郎中，此时正在苏州知府任上。范仲淹本苏州人，因此对富严给予自己家乡亲人的关照深表谢忱。而仲淹这时则远离故乡，以陕西招讨使的身份，率部戍边，抗击西夏。故信中说：“此间边事，夙夜劳苦。”\n远行帖也称修答帖，释文：\n“仲淹再拜，運使學士四兄：兩次捧教，不早修答，牽仍故也。吳親郎中經過有失款待，乞多謝。吾兄遠行，瞻戀增極，萬萬善愛，以慰貧交。蘇醖五瓶，道中下藥。金山鹽豉五器，別無好物，希不責。不宣。仲淹再拜，象山學士四哥座前。八月五日。”\n此两帖书法瘦硬方正，清劲中有法度。人常将此书风喻其人品，称“公书庄严清澈，信如其品”。",[23,25,7,60,385,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bab8f2a827f449ac6e055019802d9e.jpg","纵31.1厘米，横39厘米",[96],{"id":5909,"slug":5910,"title":5911,"dynasty":162,"author":1819,"museum":126,"description":1820,"tags":5912,"thumbUrl":5913,"material":312,"size":5914,"collection":96,"collections":5915,"showCount":5897,"zanCount":39,"manualWeight":39,"mainColor":40},221090,"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷",[23,92,24,25,49,110,60,77,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[96,802],{"id":5917,"slug":5918,"title":5919,"dynasty":179,"author":454,"museum":970,"description":5920,"tags":5921,"thumbUrl":5922,"material":169,"size":95,"collection":171,"collections":5923,"showCount":5897,"zanCount":788,"manualWeight":39,"mainColor":100},219585,"yue-xia-chang-e-tu-yi-ming-219585","月下嫦娥图","云霭舒卷漫过夜空，朗月悬垂，清辉铺洒幽林。古松虬枝蟠曲如苍龙探云，松针层叠细密，尽显苍劲古拙之态。嫦娥素衣翩跹，独立岩畔，隐在松影云气间，身姿娴静缥缈，自带出尘仙气。\n\n此作用笔简淡清逸，以水墨晕染营造空寂灵幻的月夜氛围，摒弃浓丽金碧，将仙家幽渺之境与山林夜色相融。笔意含蓄却神完气足，把月宫清寒与林下幽寂糅为一处，让人恍如踏入清虚之境，遥想广宫寒寂，体悟藏在仙踪里的清远意趣。",[1250,24,27,113,678,1018,845,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff447cc4f9a954ca5bb219c6d7be81a21.jpg",[171,218],{"id":5925,"slug":5926,"title":5927,"dynasty":88,"author":3014,"museum":442,"description":5928,"tags":5929,"thumbUrl":5930,"material":169,"size":5931,"collection":95,"collections":5932,"showCount":5897,"zanCount":39,"manualWeight":39,"mainColor":40},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,3701,24,25,26,27,50,59,7,77,51,704,250,53,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg","纵28厘米、横27厘米",[],{"id":5934,"slug":5935,"title":5936,"dynasty":88,"author":1749,"museum":107,"description":5937,"tags":5938,"thumbUrl":5939,"material":751,"size":752,"collection":95,"collections":5940,"showCount":5941,"zanCount":39,"manualWeight":39,"mainColor":100},290086,"yu-fu-tu-li-tang-290086","渔父图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,92,24,50,51,75,59,54,1752,53,115,250,820,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":5943,"slug":5944,"title":5945,"dynasty":18,"author":4364,"museum":107,"description":4365,"tags":5946,"thumbUrl":5948,"material":751,"size":752,"collection":35,"collections":5949,"showCount":5941,"zanCount":788,"manualWeight":39,"mainColor":40},238472,"hua-hui-tu-ce-jiang-ting-xi-238472","花卉图册",[24,25,26,27,111,29,30,692,1177,239,5947,7,77],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07b787cc47539c1c123f3829eddaf8.jpg",[35,218,96],{"id":5951,"slug":5952,"title":5953,"dynasty":45,"author":5954,"museum":279,"description":5955,"tags":5956,"thumbUrl":5957,"material":346,"size":5958,"collection":63,"collections":5959,"showCount":5941,"zanCount":882,"manualWeight":39,"mainColor":100},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,24,25,49,111,27,51,113,652,76,2019,53,55,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[63,218],{"id":5961,"slug":5962,"title":5963,"dynasty":179,"author":1516,"museum":126,"description":5964,"tags":5965,"thumbUrl":5966,"material":312,"size":5967,"collection":96,"collections":5968,"showCount":5941,"zanCount":39,"manualWeight":39,"mainColor":40},220784,"wu-zhen-cao-shu-xin-jing-juan-wu-zhen-220784","吴镇草书心经卷","吴镇书法多见于题画，《心经卷》是其传世的唯一草书作品，此卷书于元至元六年（1340年），为吴镇61岁时手录《心经》全文（内有误书多处），笔势遒逸，风味古澹，堪称炉火纯青。\n释文：观自在菩萨，行深般若波罗蜜多时。照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色，色即是空，空即是色。受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼界耳鼻舌身意，无色声香味触法，无眼界，无无明，亦无无明尽。乃至无老死，亦无老死尽。无苦集灭道，无智亦无得。以无所得故，菩提萨埵。依般若波罗蜜多故，心无罣碍。无罣碍故，无有恐怖。远离颠倒梦想，究竟涅盘。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故得般若波罗蜜多，是大神呪，是大明呪，是无等等呪。能除一切苦，真实不虚。故说般若波罗蜜多呪。即说呪曰：揭谛，揭谛，波罗僧揭谛，波罗揭谛，菩提萨婆诃。",[23,7,398,386,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79733ea91dcfd3a8e7e0329846ff3007.jpg","29.3×203厘米",[96],{"id":5970,"slug":5971,"title":5972,"dynasty":179,"author":1927,"museum":442,"description":5973,"tags":5974,"thumbUrl":5975,"material":79,"size":5976,"collection":63,"collections":5977,"showCount":5941,"zanCount":39,"manualWeight":39,"mainColor":40},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[23,24,25,75,50,59,51,115,266,116,446,1678,845,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[63],{"id":5979,"slug":5980,"title":5981,"dynasty":18,"author":411,"museum":1172,"description":3488,"tags":5982,"thumbUrl":5983,"material":33,"size":3491,"collection":95,"collections":5984,"showCount":5941,"zanCount":39,"manualWeight":39,"mainColor":40},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[23,92,24,25,26,50,27,51,250,56,471,252,59,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":5986,"slug":5987,"title":1439,"dynasty":88,"author":1440,"museum":107,"description":5988,"tags":5989,"thumbUrl":5991,"material":751,"size":752,"collection":95,"collections":5992,"showCount":5993,"zanCount":882,"manualWeight":39,"mainColor":100},288129,"dao-gu-zhan-chang-yue-fei-288129","岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[7,398,198,1439,5990],"悲壮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708889bf1addd8159f895ddf10affe9d.jpg",[],77,{"id":5995,"slug":5996,"title":5997,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":5998,"thumbUrl":5999,"material":751,"size":752,"collection":95,"collections":6000,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":40},263553,"ke-si-yu-zhi-shi-hua-hui-tu-ce-yu-lan-yi-ming-263553","缂丝御制诗花卉图册-玉兰",[24,26,111,27,29,1270,7,77,3232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7af2d1ea50bfd898d461b49a15cfa160.jpg",[],{"id":6002,"slug":6003,"title":1123,"dynasty":45,"author":6004,"museum":107,"description":6005,"tags":6006,"thumbUrl":6007,"material":95,"size":95,"collection":218,"collections":6008,"showCount":5993,"zanCount":882,"manualWeight":39,"mainColor":40},239038,"xian-shan-lou-ge-tu-sheng-mao-ye-239038","盛懋烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[24,25,75,27,51,59,7,458,1018,57,471,555],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab740f67c531848bac66c388d0ad2130.jpg",[218],{"id":6010,"slug":6011,"title":6012,"dynasty":18,"author":506,"museum":107,"description":6013,"tags":6014,"thumbUrl":6016,"material":312,"size":2564,"collection":35,"collections":6017,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":40},222708,"mei-hua-tu-zhou-jin-nong-222708","梅花图轴","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,24,75,50,129,131,238,250,77,7,6015],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg",[35,218],{"id":6019,"slug":6020,"title":6021,"dynasty":88,"author":6022,"museum":648,"description":6023,"tags":6024,"thumbUrl":6025,"material":6026,"size":6027,"collection":314,"collections":6028,"showCount":5993,"zanCount":882,"manualWeight":39,"mainColor":40},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","马和之","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,24,25,49,112,50,27,113,51,56,55,52,53,116,250,1283,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[314,171,218],{"id":6030,"slug":6031,"title":6032,"dynasty":179,"author":6033,"museum":72,"description":6034,"tags":6035,"thumbUrl":6036,"material":169,"size":6037,"collection":171,"collections":6038,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":100},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[24,25,75,27,111,878,113,132,250,116,360,167,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[171],{"id":6040,"slug":6041,"title":6042,"dynasty":88,"author":549,"museum":20,"description":6043,"tags":6044,"thumbUrl":6045,"material":79,"size":612,"collection":95,"collections":6046,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":40},214280,"duo-jing-lou-shi-tie-2-mi-fei-214280","多景楼诗帖-2","笔势如天马行空，八面出锋却无一丝狂乱。浓墨处沉雄如坠石，飞白间灵动似流云。“梦”字欹侧中藏稳劲，“曾”字转折处见刚柔，“游”之走笔如轻舟逐浪，“天”之撇捺若长空舒翼。每一笔都带着“刷字”的痛快，却又暗合法度，晋韵唐法融于一己性情。墨色干湿浓淡相间，线条粗细缓急交错，织就充满韵律的画面——仿佛能听见运笔时的飒飒风声，见其挥毫时的潇洒神态。沉着中见痛快，飘逸里藏筋骨，于不经意间尽显大家气象，这便是米字独有的魅力。",[92,24,25,7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0973bce6cbdb78d7eee5551d38d37e.jpg",[],{"id":6048,"slug":6049,"title":6050,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":6051,"thumbUrl":6055,"material":751,"size":752,"collection":95,"collections":6056,"showCount":6057,"zanCount":882,"manualWeight":39,"mainColor":40},288067,"chui-diao-tu-shen-zhou-288067","垂钓图",[23,24,92,50,75,25,51,113,6052,250,53,6053,1752,7,77,6054],"垂柳","垂钓","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],76,{"id":6059,"slug":6060,"title":6061,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":6062,"thumbUrl":6063,"material":751,"size":752,"collection":95,"collections":6064,"showCount":6057,"zanCount":39,"manualWeight":39,"mainColor":40},239433,"hua-niao-ce-yun-shou-ping-239433","花鸟册",[24,25,26,28,27,50,29,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142b6495fb6062dbc404fdab2aa71537.jpg",[],{"id":6066,"slug":6067,"title":6068,"dynasty":18,"author":830,"museum":126,"description":6069,"tags":6070,"thumbUrl":6072,"material":95,"size":95,"collection":35,"collections":6073,"showCount":6057,"zanCount":882,"manualWeight":39,"mainColor":40},236914,"ping-hua-chang-pu-tu-zhou-wu-chang-shuo-236914","瓶花菖蒲图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,75,27,29,1560,6071,50,7,60,77],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2e8d71982568c3110d604c9844d9.jpg",[35,218],{"id":6075,"slug":6076,"title":6077,"dynasty":18,"author":6078,"museum":72,"description":6079,"tags":6080,"thumbUrl":6083,"material":95,"size":6084,"collection":35,"collections":6085,"showCount":6057,"zanCount":882,"manualWeight":39,"mainColor":40},222808,"bian-dou-hua-wang-wu-222808","扁荳花","王武","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,24,29,27,111,7,77,6081,239,6082,667],"扁豆花","豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe5cc35daef658d871bd3f676303498.jpg","34.2x50.4",[35,218],{"id":6087,"slug":6088,"title":6089,"dynasty":179,"author":6090,"museum":2171,"description":6091,"tags":6092,"thumbUrl":6093,"material":433,"size":6094,"collection":95,"collections":6095,"showCount":6057,"zanCount":882,"manualWeight":39,"mainColor":40},221749,"jiu-ge-tu-ji-ci-juan-zhu-ti-zhang-wo-221749","九歌图及词卷主体","张渥","《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[23,92,24,25,49,112,50,113,7,77,845,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19bda932e8c57e252c3f7db62b08b53.jpg","纵28 厘米 横62.4 厘米",[],{"id":6097,"slug":6098,"title":6099,"dynasty":179,"author":1187,"museum":126,"description":6100,"tags":6101,"thumbUrl":6102,"material":488,"size":6103,"collection":63,"collections":6104,"showCount":6057,"zanCount":882,"manualWeight":39,"mainColor":100},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,92,24,25,49,27,111,7,77,51,56,58,771,57,1018,471,3536,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[63,218],{"id":6106,"slug":6107,"title":6108,"dynasty":88,"author":6109,"museum":72,"description":6110,"tags":6111,"thumbUrl":6112,"material":79,"size":6113,"collection":96,"collections":6114,"showCount":6057,"zanCount":882,"manualWeight":39,"mainColor":40},221247,"lao-zi-qi-niu-tu-zhou-chao-bu-zhi-221247","老子骑牛图轴","晁补之","图中心位置画有一位光秃尖顶、宽额留须的圆脸老人，他身穿右衽长袍，腰有缚带，在两道浓黑的月牙形的长眉下，藏着一对炯炯有神的笑眼，和颜悦色地正面对着观众，骑乘在一头壮牛身上，他双手按扶着牛背。由于山路崎岖险要，刚出幽谷关，地势突变平缓，又要准备西去，这时主人露出成功的喜悦。乘骑在主人的驾驭下，继续开步行进。图左上角画有枯枝残藤沿岩壁漫漶而下，岩石峭壁，大有谷关之要，出关后风光截然不同。\n本图署款：“晁无咎写。”钤印一“云屏烟障吾庐”。诗塘有宋王诜四言赞。本幅有清高宗弘历题诗。收传印记有“明文清世家图书”，清乾隆鉴藏八玺全。",[24,25,75,50,113,797,7,60,77,704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c80c3c9a6bb3b8623ed0876ee5a459.jpg","50.6x20.4",[96],{"id":6116,"slug":6117,"title":6118,"dynasty":179,"author":225,"museum":126,"description":6119,"tags":6120,"thumbUrl":6121,"material":312,"size":6122,"collection":96,"collections":6123,"showCount":6057,"zanCount":39,"manualWeight":39,"mainColor":40},220879,"qi-jue-shi-ce-zhao-meng-fu-220879","七绝诗册","此帖虽仅短短五行大字，却笔力深沉稳健，气势恢弘傲放，结体严谨端庄，首尾富于变化。书风虽显苍老，但依旧雍容洒脱，是赵氏晚年大行书中的精品。\n释文：煉得身形似鶴形，千株松下兩函經。我來問道無餘事，雲在青天水在瓶。子昂爲中庭老書。",[23,60,7,25,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02aa5e347b479247c231fe1bbedb407b.jpg","纵34.7厘米,横35.3厘米",[96],{"id":6125,"slug":6126,"title":6127,"dynasty":179,"author":225,"museum":20,"description":3584,"tags":6128,"thumbUrl":6130,"material":312,"size":6131,"collection":96,"collections":6132,"showCount":6057,"zanCount":788,"manualWeight":39,"mainColor":40},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞",[23,25,7,49,60,3586,844,133,140,845,693,651,6129],"田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米",[96],{"id":6134,"slug":6135,"title":6136,"dynasty":179,"author":225,"museum":20,"description":6137,"tags":6138,"thumbUrl":6140,"material":312,"size":6141,"collection":96,"collections":6142,"showCount":6057,"zanCount":882,"manualWeight":39,"mainColor":40},220833,"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[23,24,25,7,49,60,878,6139,77],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[96],{"id":6144,"slug":6145,"title":6146,"dynasty":45,"author":454,"museum":648,"description":6147,"tags":6148,"thumbUrl":6151,"material":169,"size":6152,"collection":171,"collections":6153,"showCount":6057,"zanCount":882,"manualWeight":39,"mainColor":100},219537,"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[23,24,49,27,1986,111,3234,1018,6149,3597,7,6150,4739],"案几","士大夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","纵47横344厘米",[171,218,96],{"id":6155,"slug":6156,"title":6157,"dynasty":179,"author":6158,"museum":72,"description":6159,"tags":6160,"thumbUrl":6161,"material":79,"size":6162,"collection":63,"collections":6163,"showCount":6057,"zanCount":788,"manualWeight":39,"mainColor":40},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,24,25,75,50,59,77,7,60,51,651,845,1677,652,266,57,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[63],{"id":6165,"slug":6166,"title":6167,"dynasty":18,"author":5660,"museum":20,"description":6168,"tags":6169,"thumbUrl":6170,"material":79,"size":6171,"collection":95,"collections":6172,"showCount":6057,"zanCount":39,"manualWeight":39,"mainColor":40},214680,"mei-hua-zhu-shi-tu-ce-8-wang-shi-shen-214680","梅花竹石图册-8","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[92,24,25,26,50,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8e419cb950121bdd96f39dcd6d2a1d.jpg","纵25 厘米 横31.5 厘米",[],{"id":6174,"slug":6175,"title":6176,"dynasty":18,"author":6177,"museum":72,"description":6178,"tags":6179,"thumbUrl":6180,"material":79,"size":6181,"collection":96,"collections":6182,"showCount":6057,"zanCount":39,"manualWeight":39,"mainColor":40},214655,"lin-su-shi-shu-du-fu-shi-wang-you-dun-214655","临苏轼书杜甫诗","汪由敦","苏轼原迹「书杜甫桤木诗」卷",[7,110,60,50,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd0aab16eda6b62bd40f21fb84ca540.jpg","79.3x36.7",[96],{"id":6184,"slug":6185,"title":6186,"dynasty":45,"author":1313,"museum":72,"description":6187,"tags":6188,"thumbUrl":6189,"material":2815,"size":6190,"collection":63,"collections":6191,"showCount":6192,"zanCount":39,"manualWeight":39,"mainColor":40},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,24,25,75,50,59,7,60,51,589,53,1018,56,250,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[63,187],75,{"id":6194,"slug":6195,"title":6196,"dynasty":45,"author":1313,"museum":72,"description":6197,"tags":6198,"thumbUrl":6200,"material":312,"size":6201,"collection":63,"collections":6202,"showCount":6192,"zanCount":39,"manualWeight":39,"mainColor":40},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,75,50,59,7,77,51,3783,6199,56,58,57,553,252,471],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[63,187],{"id":6204,"slug":6205,"title":6206,"dynasty":45,"author":6207,"museum":126,"description":6208,"tags":6209,"thumbUrl":6210,"material":79,"size":6211,"collection":96,"collections":6212,"showCount":6192,"zanCount":39,"manualWeight":39,"mainColor":40},219150,"cao-shu-die-lian-hua-ci-zhang-bi-219150","草书·蝶恋花词","张弼","此轴是张弼书录宋王诜《蝶恋花词》一首，词序上有倒句。原词为：“钟送夕阳鸡打鸣。昏晓相催，世事何时了。万恨千愁人自老，春来仍然生芳草。忙处人多闲处少。闲处光阴，几个人知道。独上高楼云渺渺，天涯一点青山小。”（编者注）\n张弼的行草书师法张旭、怀素，雄奇劲健，纵逸多姿。此轴为作者晚年书，用笔迅疾飞动，错落有致，提按起收富于变化。通篇犹如暴风骤雨，风驰电掣。王鏊评其书：“疾如风雨，矫如龙蛇，欹如坠石，瘦如枯藤，怪伟跌宕。”",[23,7,398,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba759976bd3332a262a2c7e984cb7da.jpg","纵148厘米，横59.4厘米",[96],{"id":6214,"slug":6215,"title":6216,"dynasty":179,"author":2258,"museum":72,"description":6217,"tags":6218,"thumbUrl":6219,"material":33,"size":6220,"collection":63,"collections":6221,"showCount":6192,"zanCount":11,"manualWeight":39,"mainColor":40},219010,"cai-ling-tu-zhao-yong-219010","采菱图","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[23,24,50,27,59,7,77,51,1018,57,58,56,2219,5722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[63],{"id":6223,"slug":6224,"title":6225,"dynasty":162,"author":794,"museum":126,"description":6226,"tags":6227,"thumbUrl":6229,"material":94,"size":95,"collection":35,"collections":6230,"showCount":6192,"zanCount":39,"manualWeight":39,"mainColor":40},218914,"feng-ren-tu-han-huang-218914","丰稔图","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[23,24,49,27,111,7,60,77,797,113,6228,56,2062],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[35,96],{"id":6232,"slug":6233,"title":6234,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":6235,"thumbUrl":6236,"material":751,"size":752,"collection":95,"collections":6237,"showCount":6238,"zanCount":882,"manualWeight":39,"mainColor":40},288474,"cun-bian-xing-hua-bai-jing-xin-wu-chang-shuo-288474","村边杏花白镜心",[23,24,25,29,27,1978,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ca737f5bff74392f446ad17f4d8e5.jpg",[],74,{"id":6240,"slug":6241,"title":6242,"dynasty":105,"author":637,"museum":107,"description":1368,"tags":6243,"thumbUrl":6245,"material":751,"size":752,"collection":95,"collections":6246,"showCount":6238,"zanCount":39,"manualWeight":39,"mainColor":40},283640,"sang-luan-tie-tang-mo-ben-wang-xi-zhi-283640","丧乱帖（唐摹本)",[23,7,60,200,110,6244],"悲痛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a558189603d3fc9915d19c19c7d1a6.jpg",[],{"id":6248,"slug":6249,"title":6250,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":6251,"thumbUrl":6252,"material":751,"size":752,"collection":95,"collections":6253,"showCount":6238,"zanCount":882,"manualWeight":39,"mainColor":40},263655,"ke-si-yu-zhi-shi-hua-hui-tu-ce-tao-hua-yi-ming-263655","缂丝御制诗花卉图册-桃花",[92,24,26,3232,111,27,29,137,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa17ec3a0050f40eac53095f1b343d5.jpg",[],{"id":6255,"slug":6256,"title":6257,"dynasty":18,"author":1387,"museum":126,"description":6258,"tags":6259,"thumbUrl":6260,"material":519,"size":6261,"collection":35,"collections":6262,"showCount":6238,"zanCount":788,"manualWeight":39,"mainColor":40},237621,"gu-mei-tu-zhou-zhu-da-237621","古梅图轴","图绘一株古梅树，根部无土，树心中空，旁枝上数朵梅花盛开，显示出顽强的生命力。根据画中的自题诗：“梅花画里思思肖”而知，此图是朱耷仿宋遗民画家郑思肖画兰不着土、以暗示国土为异族人所夺之意的画作，表达了他对明朝的怀念之情。图中用笔苍健有力，线条粗犷，多方硬曲折。施墨枯润结合，富有表现力。此图是朱耷中年时期的代表作。\n本幅朱耷自题三首，分别款署：“驴屋驴书”，钤“字日年”朱文印；“壬小春又题”，钤“驴”朱文印；“夫婿殊驴”。“壬小春”是指清康熙二十一年（1682年），朱耷时年57岁。\n幅下有罗朝汉题记。鉴藏印有“惠祖斋”朱文印、“大兴刘铨福家世守印”白文印。",[24,25,75,50,129,131,115,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d785eed0c86.jpg","纵96厘米，横55厘米",[35],{"id":6264,"slug":6265,"title":307,"dynasty":45,"author":6266,"museum":107,"description":6267,"tags":6268,"thumbUrl":6269,"material":95,"size":95,"collection":95,"collections":6270,"showCount":6238,"zanCount":882,"manualWeight":39,"mainColor":40},228343,"mo-zhu-tu-wang-you-228343","王右","此作用笔老辣爽利，以浓墨挥写竹竿，劲挺舒展如君子立世；竹叶欹正交错，墨色干湿浓淡相映，错落间尽显偃仰生姿的清灵意态，留白空灵疏朗，衬出幽篁萧散之致。\n\n左侧行书题跋笔势跌宕奇逸，与竹的清刚风神相得益彰，诗书画印浑融一体，将竹的坚贞品格寄寓笔墨。整幅以意写形，脱去匠气，尽显文人写意画以物明志的幽远意趣，清逸苍劲，足见绘者不凡的笔墨功底与文人襟怀。",[23,24,49,50,132,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bce774dc22c38310f619a62d3623a.jpg",[],{"id":6272,"slug":6273,"title":6274,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":6277,"thumbUrl":6278,"material":312,"size":95,"collection":96,"collections":6279,"showCount":6238,"zanCount":882,"manualWeight":39,"mainColor":3443},223267,"xin-jing-hong-yi-fa-shi-223267","心经","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,7,386,878,199,77,25,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27ec99b239906b44c4d50798a9bb840.jpg",[96],{"id":6281,"slug":6282,"title":6283,"dynasty":88,"author":2328,"museum":126,"description":6284,"tags":6285,"thumbUrl":6287,"material":6288,"size":6289,"collection":95,"collections":6290,"showCount":6238,"zanCount":882,"manualWeight":39,"mainColor":40},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[23,24,49,50,59,25,7,60,77,51,251,252,56,6286],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":6292,"slug":6293,"title":6294,"dynasty":88,"author":89,"museum":107,"description":6295,"tags":6296,"thumbUrl":6302,"material":6303,"size":6304,"collection":96,"collections":6305,"showCount":6238,"zanCount":788,"manualWeight":39,"mainColor":40},221275,"li-hua-shi-huang-ting-jian-221275","梨花诗","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[23,25,7,49,60,1772,283,567,1677,6297,6298,282,55,6299,360,3040,6300,6301],"月","春","燕","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[96],{"id":6307,"slug":6308,"title":6309,"dynasty":162,"author":194,"museum":1697,"description":6310,"tags":6311,"thumbUrl":6312,"material":385,"size":6313,"collection":96,"collections":6314,"showCount":6238,"zanCount":39,"manualWeight":39,"mainColor":789},221060,"zhu-shan-tang-lian-ju-quan-ben-yan-zhen-qing-221060","竹山堂连句全本","774年（唐大历九年）三月，时任湖州刺史的颜真卿在朋友潘述家的“竹山堂”中与部属李萼、陆羽、释皎然、陆士修、韦介等人聚会饮宴，席间吟诗，每人依次各作两句，相联成篇，是为《竹山堂连句》。后传为颜氏书录，时颜氏66岁。\n此书原装裱形式是整幅，后割裱成册，几近百衲，章法已破。颜氏书法一般都是横画细，竖画粗，雄强博大，气势磅礴，楷书墨迹首推《自书告身》，清雄严谨。而此书横、竖用笔毫无变化，无粗细之别，千篇一律，拘滞平板……然而册后米友仁奉宋高宗命跋尾两行，却是绍兴御府故物，可知此册裁减最迟不晚于绍兴时，但非颜氏墨迹。至于是唐人还是宋人的临本说法不一。",[23,7,199,49,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ea5aef3a6b5f52de93a223e0876adca.jpg","各开纵28.2cm、横13.7cm不等",[96,802],{"id":6316,"slug":6317,"title":6318,"dynasty":162,"author":6319,"museum":20,"description":6320,"tags":6321,"thumbUrl":6322,"material":312,"size":6323,"collection":96,"collections":6324,"showCount":6238,"zanCount":788,"manualWeight":39,"mainColor":40},221051,"qian-zi-wen-can-juan-gao-xian-221051","千字文残卷","高闲","高闲草书《千文残卷》共52行，243字，是《千字文》的后面部分，现藏上海博物馆。",[7,398,49,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727bc937e04080676c39b9d3ae256047.jpg","纵30.8cm，横331.3cm，为残本",[96,802],{"id":6326,"slug":6327,"title":6328,"dynasty":179,"author":225,"museum":72,"description":6329,"tags":6330,"thumbUrl":6331,"material":184,"size":6332,"collection":96,"collections":6333,"showCount":6238,"zanCount":39,"manualWeight":39,"mainColor":207},220854,"xiao-jing-juan-zhao-meng-fu-220854","孝经卷","翰林沈粲卷首题字:赵松雪金书 赵孟頫书法《孝经》\n唐明皇御制孝经序。\n朕闻上古其风朴略",[25,7,386,60,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf115e029874b7da4e01e6d1ada44155.jpg","25.5x878.7",[96],{"id":6335,"slug":6336,"title":6337,"dynasty":179,"author":225,"museum":126,"description":6338,"tags":6339,"thumbUrl":6340,"material":312,"size":6341,"collection":96,"collections":6342,"showCount":6238,"zanCount":788,"manualWeight":39,"mainColor":40},220828,"er-zan-er-shi-juan-zhao-meng-fu-220828","二赞二诗卷","此帖是与好友相聚，一时酒酣的乘兴之作。纸质莹润光滑，信手写来，“神融笔畅”，滂沛悦然。款署“湖州观堂与受益外郎饮酒一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫”。“受益”名张谦，大德元年前后，曾官江浙行省检校。“观堂”是佛寺中修习的场 所。据赵氏《重修观堂记》，湖州的观堂始建于南宋嘉泰年 间，宋木毁圮严电，元至元二十一年曾重新修葺，历时十 年。赵文作于大德元年(1297)九月，本卷也应作于此时。卷未有明代卞荣、王世贞、董其昌、文震孟、陈继儒，清代英 和、永瑆跋。",[23,7,60,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44319ff5514e459206f70266d02ef940.jpg","纵27厘米横456.3厘米",[96],{"id":6344,"slug":6345,"title":6346,"dynasty":179,"author":225,"museum":72,"description":6347,"tags":6348,"thumbUrl":6349,"material":94,"size":6350,"collection":96,"collections":6351,"showCount":6238,"zanCount":39,"manualWeight":39,"mainColor":100},214387,"zhou-jin-tang-ji-zhao-meng-fu-214387","昼锦堂记","这幅画以欧阳修的《相州昼锦堂记》为蓝本，形式内敛，笔墨苍劲，充满力量和动感，深受李北海的影响。这是他去世前两年制作的，当时他67岁。",[24,25,7,60,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf3612f1e652db68fe741e63032b48c.jpg","159.3x54",[96],{"id":6353,"slug":6354,"title":6355,"dynasty":88,"author":549,"museum":107,"description":6356,"tags":6357,"thumbUrl":6358,"material":751,"size":752,"collection":95,"collections":6359,"showCount":6360,"zanCount":882,"manualWeight":39,"mainColor":40},289759,"zhong-qiu-deng-hai-dai-lou-zuo-shi-tie-mi-fei-289759","中秋登海岱楼作诗帖","海岱楼位于涟水（江苏涟水），是著名的风景名胜，米芾时常登楼，眺望淮河入海处辽阔壮丽的景色。在本诗帖中，米芾形容海口一片水光粼粼，好似银泻大地，而天际出现万道虹光，孕育出宝贵的珍珠。在诗的后半，米芾则引“吴刚伐桂”的典故，谈到若非吴刚日复一日，不停地砍伐桂树，快速生长的桂枝，必定撑破月轮。米芾以此暗喻自己的仕途常为人所阻，无法充份施展。\n在帖中米芾前后共抄录诗文两次，中间加入一行批注：“三四次写间有一两字好，信书亦一难事”，可见对书法求好的态度。涟水时期，米芾勤于练习晋人草书，此帖与《焚香帖》、《草书论书帖》都是其中的例子。另外，米芾也经常与薛绍彭书信往返，讨论购帖事宜、交换习书心得，或是品评论书，两人堪称最佳书画友。\n米芾担任涟水军使（江苏涟水）期间，最喜欢登临游览的景点就是海岱楼。海岱楼在江苏涟水地区，是唐、宋时代十分著名的望海楼，自古以来，便是许多文人登览赋诗的最佳旅游景点，唐代诗人杜甫曾以“浮云连海岱，平野入青徐”来形容它视野辽阔、宏伟壮丽的景观。它在米芾的诗文中也经常出现，例如〈焚香帖〉（大阪市立美术馆藏）：“雨三日未解，海岱咫尺不能到”，便提到在淫雨霏霏之日，他登海岱楼所见迷蒙的景致。在另一阙词〈蝶恋花?海岱楼玩月作〉中，米芾也提到：“千古涟漪清绝地，海岱楼高。下瞰秦淮尾，水浸碧天天似水，广寒宫阙人间世。”并将海岱楼比喻为月亮上的“广寒宫”，诗人登楼眺望，颇有遗世独立的感觉。",[7,200,60,77,4439,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc16fb0d52fc68c2ab722bf075ed45de4.jpg",[],73,{"id":6362,"slug":6363,"title":6364,"dynasty":2365,"author":5411,"museum":107,"description":6365,"tags":6366,"thumbUrl":6367,"material":751,"size":752,"collection":95,"collections":6368,"showCount":6360,"zanCount":39,"manualWeight":39,"mainColor":100},289334,"long-su-jiao-min-tu-dong-yuan-289334","龙宿郊民图","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,92,24,1328,27,59,251,553,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed712e724d0c3b83b224acb00bda72a0.jpg",[],{"id":6370,"slug":6371,"title":6372,"dynasty":88,"author":454,"museum":107,"description":6373,"tags":6374,"thumbUrl":6375,"material":751,"size":752,"collection":95,"collections":6376,"showCount":6360,"zanCount":39,"manualWeight":39,"mainColor":100},288938,"yang-huang-hou-ti-tao-hua-tu-yi-ming-288938","杨皇后题桃花图","此作以极简构图托出幽淡春意，斜逸的桃枝自右下角探入，留白铺陈出空寂古雅的画境。花瓣以淡白晕染，勾勒出柔润轮廓，嫩萼新芽轻缀枝上，鲜活又沉静。题句与花木相映，将桃花经岁方开的清贵尽数铺展，朱红印鉴点缀留白处，晕染出古雅的文人情致。\n整幅笔致精细秀雅，不着浓艳，只以素净笔墨写尽桃花幽婉之姿，将静穆淡远的审美意趣藏于花枝间，淡而愈真，清而弥永，尽揽春日花木的娴静品格。",[24,25,29,137,111,27,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe700220cab28166479f4448ef8bcad84.jpg",[],{"id":6378,"slug":6379,"title":6380,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":6381,"thumbUrl":6382,"material":751,"size":752,"collection":95,"collections":6383,"showCount":6360,"zanCount":39,"manualWeight":39,"mainColor":40},287691,"yu-shi-tu-juan-zhu-da-287691","鱼石图卷",[23,92,24,49,50,1390,250,7,77,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144488368fb9fbbcc03e2eb8bd3da56.jpg",[],{"id":6385,"slug":6386,"title":5945,"dynasty":18,"author":3367,"museum":107,"description":6387,"tags":6388,"thumbUrl":6389,"material":751,"size":752,"collection":35,"collections":6390,"showCount":6360,"zanCount":882,"manualWeight":39,"mainColor":40},235697,"hua-hui-tu-ce-zou-yi-gui-235697","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[24,25,26,111,27,29,282,1294,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[35,218],{"id":6392,"slug":6393,"title":6394,"dynasty":45,"author":454,"museum":107,"description":6395,"tags":6396,"thumbUrl":6400,"material":95,"size":95,"collection":95,"collections":6401,"showCount":6360,"zanCount":882,"manualWeight":39,"mainColor":100},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,25,49,27,111,110,7,29,116,6397,3388,56,57,1739,6398,399,6399],"孔雀","日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":6403,"slug":6404,"title":6405,"dynasty":88,"author":2907,"museum":72,"description":6406,"tags":6407,"thumbUrl":6408,"material":682,"size":95,"collection":96,"collections":6409,"showCount":6360,"zanCount":39,"manualWeight":39,"mainColor":207},221204,"san-xi-tang-fa-tie-shi-qi-ce-wu-ju-221204","三希堂法帖（十七）册","比忽忽附书。谅亦在下旬可到。途中收十月三日手笔并诗。深以为慰。示喻已悉。襄州之行非所惮也。不谓以常式?免。就降改命。?难避事。何以自文。不知阅古之意如何。今必有定论矣。十九日入京。西界交割安抚司职事。廿日方得改差札子。已具?免。且在郢州境上伺候回降。若省札更迟数日。则已到襄阳。郢去襄只二百余里。江陵亦然。岁晚客里。进退不能。势须等候月十日方见次第。地远往返动是许时。远宦非便。殆此类也。旅中灯下作此。言不尽意。余希加爱。不宣。十月廿日琚上。寿父判寺守簿贤弟",[25,7,200,198,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d11bc01b27003e7f2e06144bd6cf971.jpg",[96],{"id":6411,"slug":6412,"title":6413,"dynasty":179,"author":225,"museum":648,"description":6414,"tags":6415,"thumbUrl":6417,"material":198,"size":6418,"collection":96,"collections":6419,"showCount":6360,"zanCount":788,"manualWeight":39,"mainColor":207},220840,"shou-chun-tang-ji-zhao-meng-fu-220840","寿春堂记","《寿春堂记》书于元仁宗延祐三年（1316年），是融合二王、李邕而又出以劲肆之作。墨迹为清人陈廷庆所藏，历经王鸣盛、阮元、翁方纲、鉄保等人鉴定。清文宗嘉庆二年（1798年）在杭州抚勒上石，刻者吴厚生。原拓本有陈廷庆、王鸣盛等题跋或观款十二段，付印时除陈廷庆一跋外，余均略去。在题跋中，王鸣盛说；『此册笔法遒健。』铁保说：“是卷胎息大令， 而兼北海之恣纵，一洗平生流媚之习，真人书俱老之境。”石韫玉也说：“笔势若龙若骊，如快马入阵，纵横莫当。”这些都是有参考价值的评论。\n原文:延佑乙卯，嘉平之月，东里翁卜居郑乡里之溪西。平畴在其前，望极不得徼；湖山在其后，若有若无，隐隐可见。二溪双流在其左右，若抱珥然。乃作堂三间以为燕闲之所。梁柱桷榱，小大中度，不藻绘，不雕几，简如也，辉如也，豁如也。浚陂池以亭清沚，缭垣墉以谨限防。松篁桂桧梅橘蒲桃之属，绕屋扶疏。又杂植兰菊众香草，荫可愒，华可玩，实可采。明年三月既望，隆山牟应龙成甫扁曰“寿春”，会亲友以落之。客或指其扁而问焉，曰：“翁垂希年，康强少疾，一身之寿也；孝慈友弟，闺门肃雍，一家之春也，得非以是名乎？”翁笑曰：“吾之意不特为是。昔遭岁祲，身履忧虞，里闬萧条，吾馈三叹而寝十兴，危不自保，尝慨然谓里人曰：‘吾侪何日庶几得见时清岁康乎？’惟是数十年来，兵革不用，年谷屡丰，生齿日蕃，斯民皡皡然，熙熙然，如在寿域，如登春台，吾因得以暇日成吾堂，以供吾老，以长吾子孙而教之，时从父老饮酒于其上，得以遂有生之乐。闵闵焉如农夫之望其穑之成，慈母望其儿之长，朝夕徯之，幸酬愿，始为太平之幸民，喜当若何？且身寿健而家春和，固人情所甚愿然，必与众皆安，而后可。否则虽有此，岂能独乐哉？此吾名堂以自贺之本意也。”有少年疑焉，曰：“吾不知往事，翁之言无乃过与？”予曰：“往事，吾所亲见，盖以实而言，非过也。今夫波平如镜，锦缆徐牵，棹歌闲发，未知其可乐也，必尝值风涛之险，然后知之；平常无事，起居饮食，与众不殊，未知其可乐也，必尝值疢疾之苦，然后知之。向使翁生长太平之世，如邵尧夫未必知之若此其深、言之若此其切也。夫冀时之无事，己得安居而暇食者，善人也；冀时之多艰，己得行险以徼幸者，小人也。今翁之言如是，且先天下而后其私家，非厥心臧者，孰能之？吾以是知翁矣。”翁姓郑氏，里在乌程县东，其乡曰常乐，时夏四月记。翰林学士承旨荣禄大夫知制诰兼修国史赵孟頫书\n译文:文章大意是说1315年,一位老翁在一个前有平原后有群山，依山傍水的地方修建了三间屋子，虽然很简单，但是非常舒适。老翁在房前屋后栽种了松梅兰竹等等花草，又能遮阳，又能赏玩，非常惬意。隔年三月，做了一个匾额叫做寿春。坐落匾额的那天，还请来了亲朋好友。有个客人问:你身体健康，所以叫做寿；家庭和睦，家风肃清，叫做春，这就是名字的由来吧。老翁说不是，他早年生活坎坷颠沛，身不由己，朝夕不保，就常常感叹，什么时候才能过上太平清净的日子啊。近年来，太平盛世的，就象在寿域登春台一样，他才得以享此天伦之乐，所以起这个名字纪念一下。有个少年听了这个对话，很怀疑说：真的象你说的那样吗?是不是夸大其辞啊?我说：那些艰苦的岁月我都知道啊，老翁说的没有夸大。世上的事都是没有经历过苦就不知道甜，没有经历过颠沛流离，就不知道珍惜眼前的平常生活，如果老翁生活在太平盛世，他的体会也不会这么深刻。在安稳天平的时候，吃饱穿暖的，做好人；但遇到了不稳定危险的情况，就怀抱侥幸心理作恶，就变成了坏人。现在，老翁说的正是这个意思，所以他感谢这个好时候。况且，他先想到天下，后想到自己，是个智者好人啊。这个老人姓郑，居住在常乐乡乌程县东。这文章在4月时写成的。由翰林学士承旨荣禄大夫知制诰兼修国史的赵孟頫书写。",[23,7,199,25,3477,385,6416],"碑记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bebb77d477ab2fb16f1300675c4f3b.jpg","32x1126厘米",[96],{"id":6421,"slug":6422,"title":6423,"dynasty":88,"author":308,"museum":72,"description":6424,"tags":6425,"thumbUrl":6426,"material":312,"size":6427,"collection":96,"collections":6428,"showCount":6360,"zanCount":788,"manualWeight":39,"mainColor":40},220038,"jiang-shang-tie-su-shi-220038","江上帖","落笔如漫不经心，而整体布白自然错落，丰秀雅逸，端庄圆润，但不做作，笔法精严，但不拘束，作者的学问才气发于笔端，与书札的萧散风格相吻合。",[23,7,60,77,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e97c91c20d94825a2705d765b723d19.jpg","9行，58字",[96],{"id":6430,"slug":6431,"title":6432,"dynasty":88,"author":5882,"museum":126,"description":6433,"tags":6434,"thumbUrl":6436,"material":79,"size":6437,"collection":171,"collections":6438,"showCount":6360,"zanCount":882,"manualWeight":39,"mainColor":40},219698,"you-jun-shu-shan-tu-liang-kai-219698","右军书扇图","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元初赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,24,50,49,6435,113,652,7,60,77],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f0b5917d813d0d1d8a70b22a64c5bf.jpg","纵27.9厘米，横66.2厘米",[171,96],{"id":6440,"slug":6441,"title":6442,"dynasty":179,"author":225,"museum":1172,"description":6443,"tags":6444,"thumbUrl":6445,"material":169,"size":95,"collection":35,"collections":6446,"showCount":6360,"zanCount":882,"manualWeight":39,"mainColor":100},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[23,24,25,75,27,111,1074,652,7,60,77,798],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[35],{"id":6448,"slug":6449,"title":6450,"dynasty":18,"author":6451,"museum":126,"description":6452,"tags":6453,"thumbUrl":6455,"material":33,"size":6456,"collection":63,"collections":6457,"showCount":6360,"zanCount":882,"manualWeight":39,"mainColor":40},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[23,24,25,49,27,111,59,7,60,77,51,137,251,553,3174,56,52,53,5090,252,333,6454,267],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[63],{"id":6459,"slug":6460,"title":6461,"dynasty":105,"author":637,"museum":126,"description":638,"tags":6462,"thumbUrl":6463,"material":79,"size":641,"collection":95,"collections":6464,"showCount":6360,"zanCount":39,"manualWeight":39,"mainColor":40},214579,"yu-hou-tie-4-wang-xi-zhi-214579","雨后帖-4",[7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcc946dcc7eddc58de94fb6f17a011a.jpg",[],{"id":6466,"slug":6467,"title":6468,"dynasty":45,"author":2071,"museum":107,"description":6469,"tags":6470,"thumbUrl":6471,"material":751,"size":752,"collection":95,"collections":6472,"showCount":6473,"zanCount":581,"manualWeight":39,"mainColor":40},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,92,24,25,49,111,27,113,901,359,798,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],72,{"id":6475,"slug":6476,"title":3732,"dynasty":18,"author":599,"museum":107,"description":6477,"tags":6478,"thumbUrl":6479,"material":95,"size":95,"collection":95,"collections":6480,"showCount":6473,"zanCount":39,"manualWeight":39,"mainColor":40},230887,"zhu-shi-tu-zheng-ban-qiao-230887","瘦石嶙峋，以枯淡笔墨勾勒皴擦，孤挺而立，自带清刚硬骨。丛竹依石滋长，老竿挺劲苍润，新篁秀拔轻盈。竹叶以浓墨挥扫，疏密错落，俯仰生姿，笔下竹影似有清风吹过，摇曳有声。\n题画小诗与笔墨相映成趣，诗书印融为一体，将竹石经风历雪不改其节的品格，暗合自身刚直襟怀。以物言志，寥寥笔墨间形神兼备，把君子风骨寄寓尺幅之中，尽显文人写意画的意趣风神。",[24,50,129,75,132,250,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeeec0ce1c915aea89507bc1e9c4f47c.jpg",[],{"id":6482,"slug":6483,"title":6484,"dynasty":45,"author":342,"museum":107,"description":6485,"tags":6486,"thumbUrl":6487,"material":95,"size":95,"collection":95,"collections":6488,"showCount":6473,"zanCount":882,"manualWeight":39,"mainColor":40},228872,"lan-zhu-tu-juan-wen-zheng-ming-228872","兰竹图卷","此卷以水墨写就兰竹，通幅铺陈疏密有致。墨竹或劲挺纵逸，或垂叶萧萧，以浓淡墨色区分前后层次，尽显风过篁林的灵动之态。兰草随势穿插于竹石间，笔致柔婉舒展，暗香幽然自生。\n\n卷尾行书题跋笔意秀雅流畅，与画境相得益彰，书画合璧尽显文人雅致。全作用笔清劲秀逸，以极简水墨托出兰竹君子清介之姿，将画者冲淡平和的襟怀寄于毫端，萧散清逸的幽致扑面而来，尽显文人写意的风雅意趣。",[23,92,24,25,49,50,7,139,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d42f07b1f36ad1f0ed4b8c48e3d8b.jpg",[],{"id":6490,"slug":6491,"title":6492,"dynasty":18,"author":1527,"museum":6493,"description":6494,"tags":6495,"thumbUrl":6496,"material":488,"size":6497,"collection":63,"collections":6498,"showCount":6473,"zanCount":882,"manualWeight":39,"mainColor":100},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,25,49,27,51,59,111,7,60,77,57,458,52,53,55,56,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[63,218],{"id":6500,"slug":6501,"title":6502,"dynasty":88,"author":3830,"museum":126,"description":6503,"tags":6504,"thumbUrl":6505,"material":1179,"size":6506,"collection":95,"collections":6507,"showCount":6473,"zanCount":788,"manualWeight":39,"mainColor":40},221510,"lu-tong-peng-cha-tu-juan-liu-song-nian-221510","卢仝烹茶图卷","此画画山石瘦削，有松槐生石罅，下覆茅屋。卢仝拥书坐，赤脚。婢治茶具，长须奴肩壶汲泉。款落刘松年，蝇头小楷，署在松节。后幅有唐寅跋：“右玉川子烹茶图，乃宋刘松年作。玉川子豪宕放逸，傲睨一世，甘心数间之破屋，而独变怪鬼神于诗。观其《茶歌》一章，其平生宿抱忧世超物之志，洞然于几语之间，读之者可想见其人矣。松年复绘为图，其亦景行高风，而将以自企也。夫玉川子之向，洛阳人不知也，独昌黎知之。去昌黎数百年，知之者复寒矣。而松年温之，亦不可不为之遭也。予观是图于石湖卢臬副第，喜其败炉故鼎、添火候鸣之状宛然在目，非松年其能握笔乎书此以俟具法眼者。唐寅。”",[23,24,25,49,50,111,113,56,58,1018,76,834,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a801a8050e41c693fef9c47af61fc7.jpg","24.1x44.7",[],{"id":6509,"slug":6510,"title":6511,"dynasty":88,"author":3288,"museum":72,"description":6512,"tags":6513,"thumbUrl":6514,"material":6515,"size":6516,"collection":314,"collections":6517,"showCount":6473,"zanCount":882,"manualWeight":39,"mainColor":40},221465,"si-mei-tu-juan-quan-juan-yang-wu-jiu-221465","四梅图卷全卷","四梅花图画面分四段画梅，自题跋语中说：“范瑞伯要予画梅四枝，一未开，一欲开，一盛开，一将残。”四梅纯以水墨绘成，花朵作白描圈线，不加晕染，即为“圈花法”，用笔轻快洗练，毫不拘板。新枝用劲直线条一笔写成，极为挺秀。粗干则用“飞白法”，显笔复加乾皴，虚实相间，墨色变化丰富。全幅呈现出匀协恬静、清淡闲野的气氛，诚如时人所谓的“村梅”格调。作品有借梅言情、迟暮感伤之意。",[23,92,24,25,49,50,112,131,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21caf8fd4f408a77f793104e6fbc872.jpg","绢本水墨","纵27.2厘米，横358.8厘米",[314,35,218],{"id":6519,"slug":6520,"title":6521,"dynasty":162,"author":6522,"museum":72,"description":6523,"tags":6524,"thumbUrl":6525,"material":682,"size":6526,"collection":96,"collections":6527,"showCount":6473,"zanCount":418,"manualWeight":39,"mainColor":100},221053,"wen-fu-quan-juan-lu-jian-zhi-221053","文赋全卷","陆柬之","文赋全卷系唐代陆柬之行书法帖。纸本墨迹卷。书法婉润清丽，甚似《兰亭序》。有赵孟頫、李倜、危素、孙承泽等跋记。李倜此跋字体精劲，舒张得宜，行笔丰瘦有度，温润圆融，颇具右军风韵",[23,7,60,49,200,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c1189ecd1a40b1880c8bc8e430647.jpg","纵23.3cm。",[96,802],{"id":6529,"slug":6530,"title":6531,"dynasty":162,"author":454,"museum":6532,"description":6533,"tags":6534,"thumbUrl":6536,"material":95,"size":95,"collection":96,"collections":6537,"showCount":6473,"zanCount":788,"manualWeight":39,"mainColor":100},221045,"jin-gang-bo-re-bo-luo-mi-jing-juan-liu-hong-gui-shu-tang-chao-yi-feng-yuan-nian-shou-gao-yi-ming-221045","金刚般若波罗蜜经.卷.刘弘珪书.唐朝仪凤元年手稿","中国国家图书馆","本卷金刚般若波罗蜜经不是一般的金刚般若波罗蜜经，而是中国国家图书馆藏敦煌卷轴——唐朝仪凤元年手稿扫描件制成的，因为该文献略有残缺，更突显了金刚般若波罗蜜经卷轴的珍贵，看惯了简体字的你，或许可以看看唐朝时期的金刚般若波罗蜜经是什么样的。",[23,386,7,199,6535,1498],"手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29c7659e45397d5dcba55140d981984.jpg",[96],{"id":6539,"slug":6540,"title":6541,"dynasty":179,"author":6542,"museum":72,"description":6543,"tags":6544,"thumbUrl":6545,"material":184,"size":95,"collection":35,"collections":6546,"showCount":6473,"zanCount":39,"manualWeight":39,"mainColor":40},219639,"zhu-zhi-tu-li-kan-219639","竹枝图","李衎","此幅小品取“出墙”之境，一枝竹斜逸于圆幅之中。淡绢为底，虚实相生，留白衬出竹之疏朗意韵。墨色层次分明，竹叶以中锋运笔，正反向背各具姿态，笔力劲挺清刚，尽显君子拔俗之姿，枝桠转折苍劲利落，暗摹风动之态。\n\n题字“出墙”点出意境，带着些许野趣俏皮，打破幽寂，让尺幅间生出鲜活生机。整幅简淡清逸，以极简笔墨写尽竹之风神，将文人寄情于物的意趣藏于毫端，淡墨疏枝之间，清高雅韵悠长。",[23,24,25,50,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ceb9ff1310f445e5e46a19e09ff932.jpg",[35],{"id":6548,"slug":6549,"title":6550,"dynasty":18,"author":6551,"museum":20,"description":6552,"tags":6553,"thumbUrl":6554,"material":169,"size":95,"collection":63,"collections":6555,"showCount":6473,"zanCount":882,"manualWeight":39,"mainColor":40},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","王鉴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[24,25,75,27,59,7,77,51,651,360,56,1678,267,473,2061,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[63],{"id":6557,"slug":6558,"title":6559,"dynasty":1609,"author":454,"museum":6560,"description":6561,"tags":6562,"thumbUrl":6563,"material":202,"size":6564,"collection":95,"collections":6565,"showCount":6473,"zanCount":39,"manualWeight":39,"mainColor":100},214201,"heng-fang-bei-yi-ming-214201","衡方碑","山东省泰安市岱庙碑廊","《衡方碑》为山东省文物保护单位，通高240厘米，宽110厘米，厚25厘米，属圆首碑，上雕蟠螭纹，碑额隶书阳刻“汉故卫尉卿衡府君之碑”2行10字。额下有圆穿，穿下碑文记叙了衡方的祖先及衡方的生平政绩。书法上，其字体方拙朴实，以拙取胜，间架稳实厚重，如虎卧阙下；笔画端正粗壮，笔笔如磐石，折角棱条分明，有严峻之态；章法行密字满，平正之中有欹斜之变。",[23,1609,1613,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9856f29cf73c21999a966ae9556cd761.jpg","240x110",[],{"id":6567,"slug":6568,"title":6569,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":6570,"thumbUrl":6572,"material":751,"size":752,"collection":95,"collections":6573,"showCount":6574,"zanCount":39,"manualWeight":39,"mainColor":40},290352,"mo-li-zhou-chen-chun-290352","茉莉轴",[24,25,75,29,50,7,60,77,6571],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793322c6fed1aee4c40b46255e95c968.jpg",[],71,{"id":6576,"slug":6577,"title":6578,"dynasty":179,"author":6579,"museum":107,"description":6580,"tags":6581,"thumbUrl":6583,"material":751,"size":752,"collection":95,"collections":6584,"showCount":6574,"zanCount":882,"manualWeight":39,"mainColor":40},290226,"dao-de-jing-wu-rui-290226","道德经","吴睿","吴睿， 字孟思，号雪涛散人、青云生、养素处士，出生于杭州。因将其所学传递到吴门一带。是吾衍的弟子，擅长书法，尤其精通篆、隶。”他在篆书、隶书、印章方面都接受了吾衍的思想，并在这个基础之上有所发展。《篆书千字文》、《隶书离骚》、《九歌图卷跋》等流传于世。于1355年终于昆山。",[23,7,49,457,386,6582,77,1498,200],"道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1e531dcb0129a0625d73cecbc77670.jpg",[],{"id":6586,"slug":6587,"title":6588,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":6589,"thumbUrl":6590,"material":751,"size":752,"collection":95,"collections":6591,"showCount":6574,"zanCount":882,"manualWeight":39,"mainColor":3443},287731,"shan-mian-shan-shui-hua-hui-ce-yun-shou-ping-287731","扇面山水花卉册",[1250,24,25,26,50,27,132,250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a68bc6121d0e0d9f243c202d21e65c.jpg",[],{"id":6593,"slug":6594,"title":6595,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":6596,"thumbUrl":6598,"material":751,"size":752,"collection":95,"collections":6599,"showCount":6574,"zanCount":39,"manualWeight":39,"mainColor":40},263656,"ke-si-yu-zhi-shi-hua-hui-tu-ce-shi-liu-hua-yi-ming-263656","缂丝御制诗花卉图册-石榴花",[24,25,4347,27,111,29,6597,30,7,77,3232],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1df1585458c1487b63fa145618dd8c.jpg",[],{"id":6601,"slug":6602,"title":6603,"dynasty":18,"author":19,"museum":107,"description":1291,"tags":6604,"thumbUrl":6607,"material":95,"size":95,"collection":95,"collections":6608,"showCount":6574,"zanCount":39,"manualWeight":39,"mainColor":40},233908,"hua-hui-shan-shui-ce-yun-shou-ping-233908","花卉山水册",[24,26,25,50,51,1919,6605,52,2028,54,77,7,59,6606],"民居","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdc695aa86b4de6eec57f11a4c771330.jpg",[],{"id":6610,"slug":6611,"title":6612,"dynasty":88,"author":6613,"museum":648,"description":6614,"tags":6615,"thumbUrl":6616,"material":312,"size":6617,"collection":96,"collections":6618,"showCount":6574,"zanCount":882,"manualWeight":39,"mainColor":40},221432,"ou-yang-shi-pu-tu-gao-ou-yang-xiu-221432","欧阳氏谱图稿","欧阳修","卷中钤有宋“中书省印”九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”",[23,60,199,7,49,385,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61487417327d66c5a75b7dbd2f70518.jpg","纵30.5厘米，横66.2厘米",[96],{"id":6620,"slug":6621,"title":6622,"dynasty":88,"author":89,"museum":107,"description":6623,"tags":6624,"thumbUrl":6625,"material":6626,"size":6627,"collection":96,"collections":6628,"showCount":6574,"zanCount":882,"manualWeight":39,"mainColor":40},221276,"di-zhu-ming-juan-huang-ting-jian-221276","砥柱铭卷","《砥柱铭》是“宋四家”之一北宋著名书法家黄庭坚的手书作品，是他散落民间的最重要的书法瑰宝之一。内容是黄庭坚生前最为推崇的唐代宰相魏征写的《砥柱铭》，全文600多字。\n卷上有宋代贾似道、明代项元汴直至清代民国藏家的大量题跋和钤印。2010年以4.368亿元拍卖成交。\n黄庭坚《砥柱铭》，行书。此卷长八米，抄录唐代魏征《砥柱铭》，全文六百多字。黄庭坚大字行书凝练有力，结构独特，是北宋书坛杰出的代表，与苏轼、米芾、蔡襄并称“宋四家”。\n天津美术学院美术史系教授刘金库指出，《砥柱铭》在宋代时为王厚之、南宋权相贾似道收藏，是贾似道收藏的“黄庭坚双璧”之一；入明则为著名收藏家项元汴所藏，在明代鉴赏家张丑的《真迹日录》中著录，明天顺年间归黄庭坚十一世族孙黄洵（字公直）所藏；入清则为项源、伍元蕙、罗天池等有名藏家所藏，后从广东流入日本，为日本有邻馆收藏，此后被一个台湾收藏家购得，最终，在时隔915年之后，现身于北京。并于2010年6月3日被拍出了中国艺术品成交记录——3.9亿元，加上12%的佣金，总成交价4.368亿元。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ffe5e71095a96040c58af2051eb7df.jpg","手书","手卷长达11米，画心长8米",[96],{"id":6630,"slug":6631,"title":6632,"dynasty":88,"author":2907,"museum":72,"description":6633,"tags":6634,"thumbUrl":6637,"material":822,"size":6638,"collection":96,"collections":6639,"showCount":6574,"zanCount":882,"manualWeight":39,"mainColor":100},221206,"cai-xiang-qi-yan-jue-ju-yi-shou-wu-ju-221206","蔡襄七言绝句一首","《七言绝句》诗文出自蔡襄《访陈处士》，它是吴琚存世唯一一件大字行书挂轴之作，也是现在所见最早的一件挂轴形式的书迹。《石渠宝笈初编》著录。上面没有署款，只鈐“云壑书印”一印，有学者认為可能是一组书屏之一。大字书轴适於悬挂欣赏，重在行气连贯与左右上下字的呼应，吴琚此轴笔势较一般小字快速而强劲，结字紧密，以倾侧取势，上下字相映带，更为强调米芾行书的特色，同时代的陆游(1125-1209)与范成大(1126-1193)都有类似风格，可见一时风气，《宋元学案》提到范成大、陆游与吴琚“引為师友”，因此也可能在书法上互相影响",[23,7,60,432,433,77,52,6635,6636,282,6398,116],"溪","垂杨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbb93e387618892f877990551cbc300.jpg","98.6x55.3cm",[96],{"id":6641,"slug":6642,"title":6643,"dynasty":162,"author":6644,"museum":107,"description":6645,"tags":6646,"thumbUrl":6647,"material":95,"size":95,"collection":96,"collections":6648,"showCount":6574,"zanCount":788,"manualWeight":39,"mainColor":100},221110,"zhang-hao-hao-shi-du-mu-221110","张好好诗","杜牧","《张好好诗》是唐代文学家杜牧创作的一首诗。此诗以浓笔重彩，追忆了张好好六年前初吐清韵、名声震座的美好一幕。当年风姿绰约的张好好，才不过几年，竟已沦为卖酒东城的“当垆”之女。杜牧用精湛的诗歌语言，再现了张好好升浮沉沦的悲剧生涯，抒发了诗人对这类无法主宰自己命运的苦难女子的深切同情。全诗情绪饱满，文辞清秀，堪称唐诗中的佳作。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3673bf4d376a38eed699e0f44d7cbf5.jpg",[96],{"id":6650,"slug":6651,"title":6652,"dynasty":179,"author":225,"museum":648,"description":6653,"tags":6654,"thumbUrl":6655,"material":312,"size":6656,"collection":96,"collections":6657,"showCount":6574,"zanCount":418,"manualWeight":39,"mainColor":40},220881,"gui-qu-lai-ci-juan-quan-juan-zhao-meng-fu-220881","归去来辞卷全卷","乌丝栏中字行书陶渊明《归去来辞》全文并序。书法规抚王羲之,运笔及间架明显师法王氏兰亭及圣教序,精致清新",[23,60,7,49,25,77,27,113,50,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91687600b8640b457b4a8ea7f84da540.jpg","书心纵24,横146.2厘米",[96],{"id":6659,"slug":6660,"title":6661,"dynasty":18,"author":6662,"museum":701,"description":6663,"tags":6664,"thumbUrl":6665,"material":27,"size":6666,"collection":35,"collections":6667,"showCount":6574,"zanCount":882,"manualWeight":39,"mainColor":40},220143,"leng-yan-you-xiang-tu-li-shan-220143","冷艳幽香图","李鱓","李鱓（1686—1762），清代画家，江苏兴化人。字宗扬，号复堂、懊道人。康熙五十四年（1715年）举人，官滕县、临淄知县。擅花鸟、山水。绘画师法沈周、林良、陈淳、徐渭、恽寿平、石涛、高其佩、蒋廷锡等人。李鱓比较重视生活感受与传统技法的结合，熟练使用自己领悟到的笔墨，善于发挥水的特性，“水墨融成奇趣”，大胆发挥鲜艳色彩和白粉的特性，将粗笔画法与工细画法结合，形成“纵横驰骋，不拘绳墨而独得天趣”“随意布置，另有别趣”的写意花鸟画风，笔墨雄健劲拔，设色淡雅。他的绘画对吴熙载、赵之谦、吴昌硕等人产生了深远影响。李鱓亦擅书法，用笔古朴豪宕、洒脱自然。从南京博物院藏《冷艳幽香图》中的题跋可见李鱓书法的一些审美意趣和风格特色。",[23,24,25,49,27,50,129,29,131,139,134,140,693,57,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776535ffcb2a3e1e219ec108c1aebfe7.jpg","纵34.5厘米、横362厘米",[35],{"id":6669,"slug":6670,"title":6671,"dynasty":18,"author":6672,"museum":72,"description":6673,"tags":6674,"thumbUrl":6675,"material":79,"size":6676,"collection":96,"collections":6677,"showCount":6574,"zanCount":39,"manualWeight":39,"mainColor":40},214238,"shu-huai-su-zi-xu-zhong-tang-zheng-xie-214238","书怀素自序中堂","郑燮","墨韵流转间，六分半书的奇趣跃然纸上。篆隶的古拙、行草的纵逸交织，笔画如铁画银钩，时而厚重沉凝，时而飞白流转。字形欹正相生，大小错落如乱石铺街，却在跌宕中藏着章法的妙趣。写怀素自序，既得草圣的洒脱意气，又融书者自身的率真性情——每一笔都似带着文人风骨，刚柔相济间，可见对传统的解构与重构。章法疏密有致，行与行的呼应如流水映月，枯润对比中透着笔墨灵动。整体气息清劲洒脱，不拘一格，仿佛能窥见挥毫时的快意，是融众家之长又自成一格的生动写照。",[23,2135,7,25,75,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16c746a3fdbcaa899c4643d03078132.jpg","190.5x105.2",[96],{"id":6679,"slug":6680,"title":6681,"dynasty":45,"author":689,"museum":72,"description":6682,"tags":6683,"thumbUrl":6684,"material":79,"size":6685,"collection":96,"collections":6686,"showCount":6574,"zanCount":39,"manualWeight":39,"mainColor":40},214230,"xing-shu-wu-yan-lian-chen-hong-shou-214230","行书五言联","笔锋似铁线盘桓，结体如奇峰耸峙。线条粗细跌宕间藏篆隶古意，墨色浓淡交错处见行草灵动。联语与书风浑然一体：无意曲阿，守拙存真；只行此事，抱朴持恒。每一字皆若老松卧石，静穆中透着锋芒，孤傲里含着坚守。陈洪绶以画名世，书法却自成高格，于欹侧中求平衡，于刚健中见柔婉。观此联，如沐古风，墨韵间流淌着晚明文人的风骨与气度，尽显其艺术世界里的独特品格。",[23,7,60,2136,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0d7671bfe131d0363a844b26ffe63a.jpg","115.7x27.4",[96],{"id":6688,"slug":6689,"title":6690,"dynasty":179,"author":1324,"museum":107,"description":6691,"tags":6692,"thumbUrl":6693,"material":751,"size":752,"collection":95,"collections":6694,"showCount":6695,"zanCount":39,"manualWeight":39,"mainColor":40},289441,"nan-an-shuang-shu-tu-ni-zan-289441","南岸双树图","倪瓒(1301～1374)元代画家、诗人。一说初名珽。字泰宇，后字元镇，号云林，又署云林子，或云林散人，别号荆蛮民、净名居士、朱阳馆主、莆闲仙卿、幻霞子、东海农、无住庵主、绝听子、曲全叟、沧海漫士、懒瓒、东海瓒、奚元朗。无锡（今属江苏）人。世居无锡祗陀里，多乔木，建堂名云林，因以云林自号。他一生不做官，其家是吴中有名的富户；但倪瓒不愿管理生产，自称懒瓒，亦号倪迂。性好洁,服巾日洗数次，屋前后树木也常洗拭。家中藏书数千卷，亲手勘定。擅山水、竹石、枯木等，其山水师法董源、荆浩、关仝、创“折带皴”写山石，画树木则兼师法李成，加以发展 ， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[92,24,25,75,50,704,132,250,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],70,{"id":6697,"slug":6698,"title":6699,"dynasty":88,"author":369,"museum":107,"description":6700,"tags":6701,"thumbUrl":6703,"material":751,"size":752,"collection":95,"collections":6704,"showCount":6695,"zanCount":39,"manualWeight":39,"mainColor":100},288519,"du-he-tu-zhao-ji-288519","独鹤图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[24,29,111,3388,27,7,77,6702],"孤高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62691d2740456475597b024d6913e80.jpg",[],{"id":6706,"slug":6707,"title":6708,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":6709,"thumbUrl":6711,"material":751,"size":752,"collection":95,"collections":6712,"showCount":6695,"zanCount":788,"manualWeight":39,"mainColor":3443},288286,"zi-shou-tu-wu-chang-shuo-288286","紫绶图",[23,24,75,27,50,29,6710,7,77],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817e309dc8834874824452e90adb0bb1.jpg",[],{"id":6714,"slug":6715,"title":6716,"dynasty":45,"author":744,"museum":107,"description":897,"tags":6717,"thumbUrl":6719,"material":751,"size":752,"collection":95,"collections":6720,"showCount":6695,"zanCount":788,"manualWeight":39,"mainColor":100},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)",[23,92,24,25,49,27,59,51,54,458,57,56,53,6718,55,60,7,77],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":6722,"slug":6723,"title":6724,"dynasty":2365,"author":2366,"museum":107,"description":4860,"tags":6725,"thumbUrl":6726,"material":751,"size":752,"collection":95,"collections":6727,"showCount":6695,"zanCount":39,"manualWeight":39,"mainColor":100},287395,"ye-yan-tu-ye-zhou-wen-ju-287395","夜宴图页",[23,24,92,4347,111,27,113,114,747,428,137,7,60,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55dccd52718d026c6ccf8e9eb9557d7d.jpg",[],{"id":6729,"slug":6730,"title":6731,"dynasty":18,"author":830,"museum":126,"description":6732,"tags":6733,"thumbUrl":6734,"material":488,"size":6735,"collection":95,"collections":6736,"showCount":6695,"zanCount":788,"manualWeight":39,"mainColor":40},233733,"yu-lan-tu-zhou-wu-chang-shuo-233733","玉兰图轴","图绘玉兰花依石而开的景致。白描的玉兰与墨染的山石形成强烈的黑白对比，相互依托，虚实相生。兰、石以金石篆籀的笔法入画，浑厚老辣的笔墨融入简率疏野的写意花鸟画格之中，营造出“豪放而馨香”的绮丽效果，与图中苍劲有力的书法相映生辉。此幅当属诗书画有机结合的佳作。",[24,25,75,50,129,29,1270,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5741ce1b277c358cd2642fad04d5f795.jpg","纵174.8厘米，横47.5厘米",[],{"id":6738,"slug":6739,"title":6740,"dynasty":18,"author":411,"museum":107,"description":6741,"tags":6742,"thumbUrl":6743,"material":95,"size":95,"collection":95,"collections":6744,"showCount":6695,"zanCount":39,"manualWeight":39,"mainColor":40},228997,"hua-niao-tu-ce-12-kai-shi-tao-228997","花鸟图册12开","此作用笔简淡清逸，枯湿浓淡的笔墨绘就枝叶，偃仰之间自带舒展生韵。淡黄绿色轻晕花形，不着勾勒，似含露半绽，朦胧雅致。\n行书题诗与画意相得益彰，笔势同画中笔墨呼应相生，以花木寄寓出脱尘的襟怀。画面留白空濛悠远，以少胜多，将草木清灵意趣与文人雅逸情志相融，淡远萧疏之间，尽显自在风骨，是以画写心的佳作。",[24,25,26,50,27,29,7,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e3557a950fe9eb3922bef3edf50e34b.jpg",[],{"id":6746,"slug":6747,"title":6748,"dynasty":105,"author":6749,"museum":107,"description":6750,"tags":6751,"thumbUrl":6752,"material":95,"size":95,"collection":95,"collections":6753,"showCount":6695,"zanCount":39,"manualWeight":39,"mainColor":40},227048,"ping-fu-tie-lu-ji-227048","平复帖","陆机","《平复帖》卷，晋，陆机书，纸本，手卷，纵23.7厘米，横20.6厘米 。\n草隶书9行86字。\n释文:\n“彥先羸瘵 ，恐難平復，往屬初病，慮不止此，此已爲慶。承使唯男，幸爲複失前憂耳。吳子楊往初來主，吾不能盡。臨西複來，威儀詳跱。舉動成觀，自軀體之美也。思識□量之邁前，勢所恒有，宜□稱之。夏伯榮寇亂之際，聞問不悉。”（释文据启功《〈平复帖〉说并释文》）\n《平复帖》内容涉及三个人物：贺循，字彦先，是陆机的朋友，身体多病，难以痊愈；陆机说他能够维持现状，已经可庆，又有子侍奉，可以无忧了。吴子杨，以前曾到过陆家，但未受到重视；如今将西行，复来相见，其威仪举动，自有一种较前不同的气宇轩昂之美；最后说到夏伯荣，他因寇乱阻隔，没有消息。\n《平复帖》的书写年代距今已有1700余年，是现存年代最早并真实可信的西晋名家法帖。它用秃笔写于麻纸之上，笔意婉转，风格平淡质朴，其字体为草隶书。《平复帖》在中国书法史上占有重要地位，同时对研究文字和书法变迁方面都有参考价值。\n根据尾纸董其昌、溥伟、傅增湘、赵椿年题跋，可得知《平复帖》历代递藏情况。此帖宋代入宣和内府，明万历间归韩世能、韩逢禧父子，再归张丑。清初递经葛君常、王济、冯铨、梁清标、安岐等人之手归入乾隆内府，再赐给皇十一子成亲王永瑆。光绪年间为恭亲王奕訢所有，并由其孙溥伟、溥儒继承。后溥儒为筹集亲丧费用，将此帖待价而沽，经傅增湘从中斡旋，最终由张伯驹以巨金购得。张氏夫妇于1956年将《平复帖》捐献国家。\n清吴其贞《书画记》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[23,7,398,200,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d2a5b8673609f128d22c45974e653b.jpg",[],{"id":6755,"slug":6756,"title":6757,"dynasty":18,"author":830,"museum":107,"description":1809,"tags":6758,"thumbUrl":6759,"material":346,"size":6760,"collection":35,"collections":6761,"showCount":6695,"zanCount":882,"manualWeight":39,"mainColor":40},224220,"chun-feng-chui-chu-hong-wu-chang-shuo-224220","春风吹出红",[23,24,25,29,27,50,7,77,135,239,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe082f7e60dc29bf6eac47500e2168d46.jpg","69x104厘米",[35,218],{"id":6763,"slug":6764,"title":6765,"dynasty":105,"author":637,"museum":6766,"description":6767,"tags":6768,"thumbUrl":6772,"material":312,"size":6773,"collection":96,"collections":6774,"showCount":6695,"zanCount":39,"manualWeight":39,"mainColor":40},221039,"pin-you-ai-huo-tie-yu-kong-shi-zhong-tie-you-xuan-tie-wang-xi-zhi-221039","《频有哀祸帖》与《孔侍中帖》、《忧悬帖》","日本尊经阁文库","《频有哀祸帖》行草书。\n为东晋王羲之所书尺牍摹本，原作久佚。存世的《频有哀祸帖》摹本收藏于日本前田育德会，为唐代硬黄响搨、双钩廓填摹本。作品行轴线时曲时直、书体时草时行、点画时方时圆，书写风格沉雄跳宕、劲健流纵，体现了王羲之高超的书写技巧和驾驭能力。作品。\n《孔侍中帖》為唐代摹搨墨跡，是對東晉王羲之尺牘進行的雙鈎廓填而形成的勾摹本。行草書，3行，25字。《孔侍中帖》筆畫體態豐腴雍容；“中和”之美，“多力豐筋”於此帖盡顯。作品墨跡收藏於日本前田育德會。",[7,60,6769,6770,6771],"笔墨","帖","手写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0bf13a3fc38ad9b01d9a38229a29a96.jpg","纵24.8厘米，3行，20字",[96,802],{"id":6776,"slug":6777,"title":6778,"dynasty":662,"author":6779,"museum":6780,"description":6781,"tags":6782,"thumbUrl":6783,"material":95,"size":95,"collection":95,"collections":6784,"showCount":6695,"zanCount":39,"manualWeight":39,"mainColor":40},220501,"song-xia-ya-ji-zhang-da-qian-220501","松下雅集","张大千","龙美术馆西岸馆","松石挺劲苍古，蟠曲枝干如虬龙卧云，苔皴晕染尽述岁月风霜。青绿坡岸雅致莹润，一角丹枫点染秋韵，柔化古松沉郁色调。\n\n四位高士或立或坐，宽袍博带，神清骨秀，似正清谈畅叙，襟怀洒落出尘。衣纹线条清隽秀逸，仪态宛然，尽显魏晋林下风流。\n\n画作取法古意，将元人雅逸笔致与青绿浅绛相融，萧散简远中不失精工雅致，把山林雅集的清旷高致晕染纸上，尽显文人士大夫寄情林泉的悠然襟怀。",[24,25,75,27,113,133,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c213317f505fe7d4d6db612a690ec.jpg",[],{"id":6786,"slug":6787,"title":6788,"dynasty":88,"author":6789,"museum":412,"description":6790,"tags":6791,"thumbUrl":6793,"material":312,"size":6794,"collection":314,"collections":6795,"showCount":6695,"zanCount":788,"manualWeight":39,"mainColor":207},220074,"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,24,25,49,112,113,1074,6792,7,60,398,199],"帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[314],{"id":6797,"slug":6798,"title":6799,"dynasty":45,"author":6800,"museum":970,"description":6801,"tags":6802,"thumbUrl":6813,"material":169,"size":6814,"collection":63,"collections":6815,"showCount":6695,"zanCount":788,"manualWeight":39,"mainColor":40},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,25,49,27,51,59,7,60,54,53,55,116,1679,678,820,52,6803,6804,6805,6806,6807,6808,2174,6809,6810,6811,3546,6812],"远浦","归帆","山市","晴岚","江天","暮雪","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[63],{"id":6817,"slug":6818,"title":6819,"dynasty":45,"author":6820,"museum":126,"description":6821,"tags":6822,"thumbUrl":6823,"material":312,"size":6824,"collection":96,"collections":6825,"showCount":6695,"zanCount":788,"manualWeight":39,"mainColor":40},219155,"xing-kai-shu-rong-deng-tie-ye-du-qiong-219155","行楷书·荣登帖页","杜琼","此帖是杜琼写给吴宽的书信。吴宽于明成化八年（1472年）参加会试、廷试，皆第一，即杜琼所谓“荣登二元”——会元、状元，随后授翰林院修撰。杜琼信中请吴宽为杜家私园延绿亭“作重建延绿亭记”。信写于壬辰（成化八年，1472年）中秋时，这一年杜琼已77岁，且多病，两年后便逝世了。此帖结字瘦长，点划细润工丽，精劲俊峭，具有文人气质。",[23,7,60,199,3135,433,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8ea1ebfbbbbed4a838ebb6eeebdb9.jpg","纵24.2厘米，横48.6厘米",[96],{"id":6827,"slug":6828,"title":6829,"dynasty":45,"author":744,"museum":126,"description":6830,"tags":6831,"thumbUrl":6833,"material":79,"size":6834,"collection":63,"collections":6835,"showCount":6695,"zanCount":882,"manualWeight":39,"mainColor":40},218339,"gao-mu-ci-ya-tu-tang-yin-218339","高木慈鸦图","弧形扇面间，清寂之境徐徐铺展。枯树三五成丛，枝干虬曲如篆，焦墨勾勒处尽显苍劲老辣，墨色浓淡交错间藏着岁月痕迹。寒鸦数点，或栖于枝梢理羽，或振翅掠过天际，翅羽轻扬时添几分灵动生气。远山以淡墨晕染，云雾氤氲缭绕，与近树的沉郁形成虚实相映，层次悠远如幻。整幅画以简驭繁，笔墨洗练却意境深幽，文人画的雅致疏旷尽在其中——仿佛风过林间，鸦鸣隐约，方寸扇面竟藏得万千丘壑，引人沉湎于这份静谧与悠远。",[23,1250,24,25,50,59,116,56,6832,7],"山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc421b662148e119d639962a695dae4a6.jpg","纵16.5cm，横47.3cm",[63,187],{"id":6837,"slug":6838,"title":6839,"dynasty":179,"author":225,"museum":72,"description":6840,"tags":6841,"thumbUrl":6842,"material":33,"size":6843,"collection":171,"collections":6844,"showCount":6695,"zanCount":39,"manualWeight":39,"mainColor":40},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[23,24,25,49,27,51,113,7,60,77,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[171],{"id":6846,"slug":6847,"title":6848,"dynasty":18,"author":6849,"museum":72,"description":6850,"tags":6851,"thumbUrl":6852,"material":79,"size":6853,"collection":96,"collections":6854,"showCount":6695,"zanCount":39,"manualWeight":39,"mainColor":207},214717,"xing-shu-ba-yan-lian-zuo-zong-tang-214717","行书八言联","左宗棠","联语“和气春风惠流九有，青天朗日乐及群生”暖意萦怀，气象开阔。笔力遒劲如铁戟横陈，藏锋处见沉厚；行笔灵动若流云渡水，牵丝间显逸致。字势开张却不失端稳，章法疏朗而气脉贯通，墨色浓淡交错，老辣中藏温润。联句的仁惠之思与书法的刚健风神相契，庙堂庄重与江湖洒脱兼具，笔墨间流淌出立朝济世的坦荡胸襟，经世致用的沉雄气度扑面而来，读之顿觉胸次开阔，心向往之。",[7,60,2136,50,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17de373e0744f2a688dbc29fa3de6348.jpg","215.4x44.9",[96],{"id":6856,"slug":6857,"title":3513,"dynasty":18,"author":6858,"museum":72,"description":6859,"tags":6860,"thumbUrl":6861,"material":79,"size":6862,"collection":96,"collections":6863,"showCount":6695,"zanCount":882,"manualWeight":39,"mainColor":40},214233,"xing-shu-qi-yan-lian-ceng-guo-fan-214233","曾国藩","笺纸泛黄，墨色沉雄。行书笔意流畅却不失骨力，起笔如高山坠石，行笔似老树盘根，收笔若惊鸿掠影。联语祥瑞，灵芝美箭遍地生，绛阙云台留美名，字句间的吉庆与笔墨的刚健相得益彰。每一字结构端稳又带灵动，中锋行笔的厚重质感，仿佛承载着岁月的沉淀。书写者的从容气度跃然纸上，将相的沉雄与文人的雅致交融，书艺与文心完美契合，尽显古典书法的隽永韵味，令人观之忘俗。",[23,25,7,60,2136,75,77,50,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b508d6f53b2db738d1795cddeab2c3.jpg","174x38.1",[96],{"id":6865,"slug":6866,"title":3842,"dynasty":179,"author":6867,"museum":72,"description":6868,"tags":6869,"thumbUrl":6870,"material":79,"size":6871,"collection":96,"collections":6872,"showCount":6695,"zanCount":882,"manualWeight":39,"mainColor":40},214221,"qi-yan-lv-shi-zhang-yu-214221","张雨","张雨师从赵孟𫖯，行楷处处可见赵氏书风的影响，但此卷却偏离了美学风格，有一种奇怪的野性。从头到尾，欧阳询的身影偶尔可见，但字的排列就像一个醉汉在移动，所用的墨汁有时厚重而枯涩，这可以看作是一个道士酒后心动的痕迹，或是追求浪漫的神来之笔。",[23,7,60,50,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f2d77af2252f23f19e281ffd2202f0.jpg","108.4x42.6",[96],{"id":6874,"slug":6875,"title":6876,"dynasty":88,"author":308,"museum":107,"description":309,"tags":6877,"thumbUrl":6878,"material":751,"size":752,"collection":95,"collections":6879,"showCount":6880,"zanCount":39,"manualWeight":39,"mainColor":100},288536,"mo-zhu-tu-hua-xin-su-shi-288536","墨竹图画心",[92,24,25,50,132,7,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2ecffd32f6d067c527578a9476c753.jpg",[],69,{"id":6882,"slug":6883,"title":3136,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":6884,"thumbUrl":6885,"material":751,"size":752,"collection":95,"collections":6886,"showCount":6880,"zanCount":788,"manualWeight":39,"mainColor":40},288120,"qian-zi-wen-yan-zhen-qing-288120",[7,199,200,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c8418435d0fe0ef66fa4218179cde3c.jpg",[],{"id":6888,"slug":6889,"title":6890,"dynasty":88,"author":4078,"museum":126,"description":6891,"tags":6892,"thumbUrl":6893,"material":6894,"size":6895,"collection":96,"collections":6896,"showCount":6880,"zanCount":882,"manualWeight":39,"mainColor":40},221195,"zun-juan-tie-lu-you-221195","尊眷帖","《尊眷帖》释文：\n遊惶恐拜問契家尊眷，共惟並擁壽祺。鏡中有委敢請，子聿六粗能勤苦，但恨不能卒業。函丈若不棄遺，尚未晚也。張七三哥□貧可念，官期尚遠，奈何。每爲之心折，顧無所置力耳。三丈亦念之否。遊惶恐再拜。\n本幅鉴藏印有“宋荦审定”、“凇洲”、“江恂之印”、“德畲借观”以及成亲王、成薰等。\n此帖内容为委请类，即陆游委请函丈帮助其幼子子聿完成学业。帖中言及的子聿为陆游之幼子，据陆游年谱知其生于淳熙四年丁酉（1177年），是年放翁53岁。“镜中”指绍兴镜湖即鉴湖，故此帖当书于家中。\n此帖结体颀长，笔画劲健，转折点画精致爽利，既可见杨凝式、苏轼及黄庭坚书法遗意，又自具面目。\n《书画鉴影》卷一著录，《海山仙馆藏真帖》卷三摹刻。",[23,25,7,60,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5f770e80aa172e6bd6de9a2f3d045e.jpg","纸本，册页","纵29.3厘米，横38.3厘米",[96],{"id":6898,"slug":6899,"title":6900,"dynasty":2365,"author":4335,"museum":126,"description":6901,"tags":6902,"thumbUrl":6903,"material":312,"size":6904,"collection":96,"collections":6905,"showCount":6880,"zanCount":882,"manualWeight":39,"mainColor":100},221141,"shen-xian-qi-ju-fa-juan-yang-ning-shi-221141","神仙起居法卷","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。",[23,7,398,49,385,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3574f4c03f15292387c8362a4bddebbc.jpg","纵27厘米，横21.2厘米",[96],{"id":6907,"slug":6908,"title":6909,"dynasty":162,"author":2966,"museum":126,"description":6910,"tags":6911,"thumbUrl":6912,"material":312,"size":6913,"collection":96,"collections":6914,"showCount":6880,"zanCount":39,"manualWeight":39,"mainColor":100},221088,"meng-zhao-tie-juan-liu-gong-quan-221088","蒙诏帖卷","《蒙诏帖》卷，传为唐柳公权书，纸本，行书，纵26.8厘米，横57.4厘米。\n\n释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[92,24,25,49,60,398,7,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[96,802],{"id":6916,"slug":6917,"title":6918,"dynasty":179,"author":1324,"museum":1893,"description":6919,"tags":6920,"thumbUrl":6922,"material":33,"size":6923,"collection":187,"collections":6924,"showCount":6880,"zanCount":39,"manualWeight":39,"mainColor":40},220800,"shui-zhu-ju-tu-ni-zan-220800","水竹居图","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[23,24,50,1328,59,60,7,77,6921,129,360,132,652,57,471,553],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 CM",[187,1223],{"id":6926,"slug":6927,"title":6928,"dynasty":179,"author":330,"museum":648,"description":6929,"tags":6930,"thumbUrl":6931,"material":33,"size":6932,"collection":63,"collections":6933,"showCount":6880,"zanCount":39,"manualWeight":39,"mainColor":40},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,92,24,25,49,51,27,59,458,56,57,252,7,77,52,53,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[63,218],{"id":6935,"slug":6936,"title":6937,"dynasty":45,"author":6938,"museum":72,"description":6939,"tags":6940,"thumbUrl":6942,"material":33,"size":6943,"collection":35,"collections":6944,"showCount":6880,"zanCount":882,"manualWeight":39,"mainColor":40},218878,"xian-chun-bao-xi-tu-liu-shi-ru-218878","先春报喜图","刘世儒","虬枝盘曲如铁，嫩蕊缀枝似霞，寒香暗浮处，数只喜鹊栖于梅间。或翘首啼鸣，清音欲穿晓寒；或侧耳相和，墨羽轻拂春风。花瓣染粉带露，枝干皴擦见骨，工笔与写意相融，既得梅之清雅，又显鹊之灵动。题字与花鸟相映，诗趣入画，更添文人雅韵。整幅画如早春晨曦，将料峭生机与报喜暖意悄然铺展——梅开先春，鹊鸣报喜，每一笔藏岁月期许，每处细节漾人间欢悦，观之令人心脾俱畅，仿佛已闻春声渐近。",[24,25,75,27,111,29,131,116,6941,7,238],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bf908b018a03efb77d029306b4e34c.jpg","113.4x56.6cm",[35],{"id":6946,"slug":6947,"title":6948,"dynasty":179,"author":454,"museum":72,"description":6949,"tags":6950,"thumbUrl":6953,"material":33,"size":95,"collection":35,"collections":6954,"showCount":6880,"zanCount":882,"manualWeight":39,"mainColor":40},216209,"san-yang-kai-tai-tu-zhou-yi-ming-216209","三羊开泰图轴","三羊喻三阳开泰，吉祥之意。采用一孩三羊构图方式，小孩骑在最大只的绵羊上，手拿枝条，头戴皮幅，低头看着最小的那只羊。",[24,75,113,6951,27,4509,77,7,6952],"羊","三羊开泰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e5313ba3f7ad1912675271f03e5126.jpg",[35],{"id":6956,"slug":6957,"title":6958,"dynasty":18,"author":6959,"museum":72,"description":6960,"tags":6961,"thumbUrl":6962,"material":79,"size":6963,"collection":96,"collections":6964,"showCount":6880,"zanCount":39,"manualWeight":39,"mainColor":100},214212,"lu-wang-duo-zeng-tang-ruo-wang-shi-han-li-rui-qing-214212","录王铎赠汤若望诗翰","李瑞清","笔锋游走间，篆隶古意暗涌。颤笔如老树盘根，线条苍劲中带着金石质感，却又不失流转之姿。取法南北碑版，骨架雄健如北碑扛鼎，血肉温润似南帖漫吟。墨色浓淡枯润交错，章法疏密有致，行气如江河奔涌，一气呵成。单字欹正相生，险中求稳，每一笔都似有千钧之力，却又灵动婉转，将碑学的沉雄与帖学的飘逸融于一体，自成一格。观之如见古贤把盏论道，墨香里藏着岁月的厚重与文心的飞扬，每一处转折都藏着对传统的敬畏与创新的胆魄。",[23,7,75,60,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F702948c8b7c63c234f94601fa105d877.jpg","150.6x39.8",[96],{"id":6966,"slug":6967,"title":6968,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":6970,"thumbUrl":6971,"material":751,"size":752,"collection":95,"collections":6972,"showCount":6973,"zanCount":39,"manualWeight":39,"mainColor":40},289899,"song-jian-qing-yin-tu-zhou-hong-ren-289899","松涧清音图轴","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[92,24,25,75,50,51,133,55,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ee8ed58b9be8df7d7a8c0c6ef64c97.jpg",[],68,{"id":6975,"slug":6976,"title":6977,"dynasty":45,"author":6978,"museum":107,"description":6979,"tags":6980,"thumbUrl":6981,"material":751,"size":752,"collection":95,"collections":6982,"showCount":6973,"zanCount":39,"manualWeight":39,"mainColor":100},289762,"hua-shan-tu-ce-wang-lv-289762","华山图册","王履","王履，字安道，号畸叟，又号抱独老人，约生于元至顺三年（公元1332年），卒年不详，明洪武十六年（公元1383年）尚在，昆山（今属江苏）人，祖籍魏博（今河北境内），元末明初医学家、画家、诗人。学医于朱丹溪，是其门人，尽得朱氏之学。",[199,7,26,25,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab434cd3bc94d142ad46e3f6b945da1.jpg",[],{"id":6984,"slug":6985,"title":6986,"dynasty":88,"author":369,"museum":107,"description":6987,"tags":6988,"thumbUrl":6989,"material":751,"size":752,"collection":95,"collections":6990,"showCount":6973,"zanCount":39,"manualWeight":39,"mainColor":100},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[23,92,24,49,1328,1151,251,553,54,704,458,116,50,27,7,77,3113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],{"id":6992,"slug":6993,"title":30,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":6994,"thumbUrl":6995,"material":751,"size":752,"collection":95,"collections":6996,"showCount":6973,"zanCount":882,"manualWeight":39,"mainColor":40},288640,"hua-hui-yun-shou-ping-288640",[24,92,25,1250,27,29,30,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d1f4aa033cc0de1746ce152deb7a4c3.jpg",[],{"id":6998,"slug":6999,"title":7000,"dynasty":88,"author":7001,"museum":126,"description":7002,"tags":7003,"thumbUrl":7005,"material":169,"size":7006,"collection":96,"collections":7007,"showCount":6973,"zanCount":39,"manualWeight":39,"mainColor":40},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,92,24,25,49,60,7,50,51,54,1151,679,7004,3039],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[96],{"id":7009,"slug":7010,"title":7011,"dynasty":88,"author":89,"museum":72,"description":7012,"tags":7013,"thumbUrl":7014,"material":682,"size":7015,"collection":96,"collections":7016,"showCount":6973,"zanCount":882,"manualWeight":39,"mainColor":100},221268,"shu-wang-xi-zhi-lun-shu-ce-huang-ting-jian-221268","书王羲之论书册","本幅大字行书，落笔奇伟，丰筋多力，笔笔似自空中荡漾而来，充满着飞动之势，却又沉着稳健，呈现出一份闲适自得的意境。",[7,60,26,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002c75cd36c4f5fdd968f25e1b4967d8.jpg","32×17.2",[96],{"id":7018,"slug":7019,"title":7020,"dynasty":162,"author":1060,"museum":648,"description":7021,"tags":7022,"thumbUrl":7023,"material":4606,"size":7024,"collection":96,"collections":7025,"showCount":6973,"zanCount":882,"manualWeight":39,"mainColor":40},221105,"zhong-ni-meng-dian-tie-ou-yang-xun-221105","仲尼梦奠帖","用笔\n《仲尼梦奠帖》用笔清峻，锋芒毕露，给人以锐利、刻厉之感。其用笔有两个主要特点，一是侧锋入纸，起笔无不锐利，显然是魏碑笔法。下笔直截了当，不藏锋敛迹，加之行笔稍快，如剑戟般的锋芒便外耀无遗了。二是转折顿挫带来的刻厉。在唐书家中，初唐的柔和之风的特征之一就是化方为圆。这样，不仅消失了方角使之更为圆转灵活，而且也加快了书写的速度。欧阳询丝毫不受这种化方转圆的影响，他的转折仍然是重而方，不减作楷书之法，如“仲尼”、“有”、“周”，尽骨节之露，如“奠”之第二笔，起讫三折笔，如怪石嶙峋，与北魏的刀刻痕迹何其相似。可是，这样的笔触是很需要有分寸感的，稍微过头则为造作。在这方面，像欧阳询这样的行家也未能幸免，如“数”字就是一个病例，其“文”字旁起笔牛头角状，十分不雅，有趣的是把这一角状遮去后，这一个字反而格外的流畅、顺眼了。《仲尼梦奠帖》像“过”字这样圆转灵活、随意自然的笔触并不多，全篇的创作仍然是庄严的、认真的，作者创作心态似乎也不轻松，一副如《九成宫碑》那样的庙堂面孔。 [8]\n\n结体\n《仲尼梦奠帖》结体有独特之处，结体修长一目了然。欧阳询不在意从横向上进行发展，因此在行距上显得特别疏朗，每字向下舒展时，欧阳询也把字距拉开，使这一纵向发展显得天地开朗。竖画挺拔坚韧，在每一字中起着砥柱作用，使每一字的骨格坚挺起来。把《仲尼梦奠帖》与虞世南的《汝南公主墓志铭》比较，会看得更清楚。虞氏行书以柔和胜，竖画也起支柱作用，但作用并不明显，也不突出，似乎隐于其中；而欧氏行书竖画刚强外耀、强烈可感，那壁立千仞的挺拔，构成了作品的主要基调。观帖中字，虽用秃笔疾书，却转折随意，笔势圆融，用墨淡而有质感，丝毫无油滑之态。 [8]\n\n章法\n《仲尼梦奠帖》是两种书体的结合，即行书入碑，或曰碑体行书。从章法看，《梦奠帖》“宪章右军，抽锋一线，如猿腾鹘落而泯上下相承之迹”（包世臣《艺舟双楫》），而更多靠单字造型调节章法；帖中“彭”由左右结构变换成半包围结构；“导”字繁体下旁本为“寸”，此处不同，换为“木”旁；“冥”字上首用“宀”代“冖”且书写跳荡；“熟”字结构变异，这四字的安排，使《梦奠帖》章法更显紧凑，以部首移位和比例倒错来调整字形结构及通篇章法。且《仲尼梦奠帖》取魏碑为骨格，以行书的笔意来调节，避免了碑体楷书的平板，显得更加密切、多姿多态。碑体的骨格使每一个字气势开张、伟岸，而行书的绵密活泼又连缀其中，形成刚劲而活络，活络而不失骨力。",[23,7,60,200,25,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed9f1b77f3256e056f28a188b756240.jpg","纵25.5cm，横33.6cm",[96],{"id":7027,"slug":7028,"title":7029,"dynasty":162,"author":3162,"museum":107,"description":7030,"tags":7031,"thumbUrl":7032,"material":312,"size":4616,"collection":96,"collections":7033,"showCount":6973,"zanCount":39,"manualWeight":39,"mainColor":207},221079,"li-qing-lian-xu-zhang-xu-221079","李清莲序","張旭（675-750），唐代書法家，字伯高，與李白、賀知章等人共列飲中八仙之一。唐文宗曾下詔，以李白詩歌、裴旻劍舞、張旭草書為「三絕」。又工詩，與賀知章、張若虛、包融號稱「吳中四士」。傳世書跡有《肚痛帖》、《古詩四帖》等。\n\n張旭初仕為常熟尉，後官至金吾長史，人稱「張長史」。其母陸氏為初唐書家陸柬之的侄女，即虞世南的外孫女。陸氏世代以書傳業，有稱於史。張旭為人灑脫不羈，豁達大度，卓爾不群，才華橫溢，學識淵博。與李白、賀知章相友善，杜甫將他三人列入「飲中八仙」。是一位極有個性的草書大家，因他常喝得大醉，就呼叫狂走，然後落筆成書，甚至以頭髮蘸墨書寫，故又有「張顛」的雅稱。後懷素繼承和發展了其筆法，也以草書得名，並稱「顛張醉素」。",[23,7,398,49,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a58ec93ac0fe20390b6d67708a83e8.jpg",[96,802],{"id":7035,"slug":7036,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":7041,"thumbUrl":7042,"material":7043,"size":7044,"collection":96,"collections":7045,"showCount":6973,"zanCount":882,"manualWeight":39,"mainColor":95},220619,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220619","宋刻米芾英光堂帖","米芾,岳珂","香港中文大学文物馆","《英光堂帖》的内容是北宋米芾（1051–1108）的书迹，由抗金名将岳飞的孙子岳珂（1183–1241后）刻于南宋绍定初年（约1229–1233）。米芾是宋代著名书画家，以书法与苏轼（1037–1101）、黄庭坚（1045–1105）、蔡襄（1012–1067）并称「宋四大家」。行草书受二王影响甚深，运笔变化多端，才气奔放，书迹为后世所重视。",[23,7,198,200,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29dd8584ab752c096648753e8e1f274.jpg","墨拓,纸本,册页","34 × 36 cm",[96],{"id":7047,"slug":7048,"title":7049,"dynasty":88,"author":308,"museum":72,"description":7050,"tags":7051,"thumbUrl":7052,"material":312,"size":7053,"collection":96,"collections":7054,"showCount":6973,"zanCount":788,"manualWeight":39,"mainColor":40},220035,"ci-yun-qin-tai-xu-shi-tie-su-shi-220035","次韵秦太虚诗帖","次韵秦太虚诗帖 君不见诗人借车无可载，留得一钱何足赖。晚年更似杜陵翁，右臂虽存耳先聩。人将蚁动作牛斗，我觉风雷真一噫。闻尘扫尽根性空，不须更枕清流派。大朴初散失 浑沌，六凿相攘更胜坏。眼花乱坠酒生风，口业不停诗有债。君知五蕴皆是贼，人生一病今先差。但恐此心终未了，不见不闻还是碍。今君疑我特佯聋，故作嘲诗穷 险怪。须防额痒出三耳，莫放笔端风雨快。",[23,25,7,60,200,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca0aba0cbe56551e7fe404ba6ebb228.jpg","45.3*30.7",[96],{"id":7056,"slug":7057,"title":7058,"dynasty":18,"author":7059,"museum":126,"description":7060,"tags":7061,"thumbUrl":7065,"material":169,"size":7066,"collection":171,"collections":7067,"showCount":6973,"zanCount":882,"manualWeight":39,"mainColor":40},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","禹之鼎","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[23,24,25,49,111,27,113,140,282,7062,7063,7064,3091,2591,1782,7,60,77],"桌","椅","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[171],{"id":7069,"slug":7070,"title":7071,"dynasty":88,"author":3014,"museum":442,"description":5928,"tags":7072,"thumbUrl":7073,"material":169,"size":5931,"collection":95,"collections":7074,"showCount":6973,"zanCount":39,"manualWeight":39,"mainColor":40},218046,"song-di-ming-ti-ce-ba-ma-yuan-218046","宋帝命题册(八)",[23,92,24,25,26,50,51,55,132,113,7,60,111,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805101e3bc8ae183233b61658ad3f5fc.jpg",[],{"id":7076,"slug":7077,"title":4014,"dynasty":18,"author":4015,"museum":72,"description":7078,"tags":7079,"thumbUrl":7080,"material":79,"size":7081,"collection":96,"collections":7082,"showCount":6973,"zanCount":39,"manualWeight":39,"mainColor":100},214235,"kai-shu-qi-yan-lian-ceng-guo-quan-214235","此联楷书笔力沉雄，起收顿挫间见骨力，中锋行笔如锥画沙，墨色浓润饱满。字形端稳方正却不失灵动之致，每一字皆如磐石立地，又暗含舒展之态。联句“前席争传宣室贵”“等身唯守鲁堂书”，文气与书风相融，宣室之重与鲁堂之雅在笔墨间流转。上下联布局匀称，落款小字恭谨，与主体大字相得益彰，章法严谨而气韵贯通。观之如临古贤书斋，庄重中透着书卷清韵，笔墨里藏着经世之志与向学之心，尽显大家风范。",[23,18,7,199,2136,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bdeaf2d0e294120d16ea7f43344af9.jpg","162.2x38.6",[96],{"id":7084,"slug":7085,"title":7086,"dynasty":179,"author":6867,"museum":72,"description":7087,"tags":7088,"thumbUrl":7089,"material":79,"size":7090,"collection":96,"collections":7091,"showCount":6973,"zanCount":39,"manualWeight":39,"mainColor":40},214220,"tang-ren-jue-ju-zhang-yu-214220","唐人绝句","唐人绝句是中国唐朝时期的一种诗歌形式，由四句组成，每句都为五言绝句，即五个字的绝句。张雨是中国唐朝时期的一位诗人。元是中国历史上的一个朝代，公元1279年至1368年，为元朝。",[23,24,25,75,7,60,50,678,133,132,360,3388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9414780fa78d6d95b33d5b8a267d6ef.jpg","154.3x34.3",[96],{"id":7093,"slug":7094,"title":7095,"dynasty":88,"author":7096,"museum":107,"description":7097,"tags":7098,"thumbUrl":7100,"material":751,"size":752,"collection":95,"collections":7101,"showCount":7102,"zanCount":882,"manualWeight":39,"mainColor":40},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","夏圭","为夏氏山水十二景中残存四景中的一部分。图展现平溪汀渚、湖水荡漾，渔舟出没，巨石峭壁，绿树成荫。通过山林，有港湾一泓，数艘渔舟停泊其间。此画山石用斧劈皴，先用水笔皴擦，然后落墨，具有水墨交融，淋漓酣畅的效果。",[23,92,24,49,25,50,51,54,53,251,2028,7099,3114,7,60,59,77],"渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7e2b48.jpg",[],67,{"id":7104,"slug":7105,"title":7106,"dynasty":179,"author":2462,"museum":107,"description":7107,"tags":7108,"thumbUrl":7109,"material":751,"size":752,"collection":95,"collections":7110,"showCount":7102,"zanCount":39,"manualWeight":39,"mainColor":100},288352,"fang-wen-tong-zhu-zhi-tu-ke-jiu-si-288352","仿文同竹枝图","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[92,24,25,75,50,132,110,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0f6c5bac4dcc40cb604a4b194d3a85.jpg",[],{"id":7112,"slug":7113,"title":7114,"dynasty":18,"author":1464,"museum":126,"description":6969,"tags":7115,"thumbUrl":7116,"material":3320,"size":7117,"collection":95,"collections":7118,"showCount":7102,"zanCount":882,"manualWeight":39,"mainColor":40},234288,"hong-ren-shan-shui-ce-hong-ren-234288","弘仁山水册",[24,25,26,50,59,7,51,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf324b5084f1a8a92416fce3effbc55.jpg","纵23.8cm，横140.4cm",[],{"id":7120,"slug":7121,"title":6274,"dynasty":162,"author":1715,"museum":195,"description":7122,"tags":7123,"thumbUrl":7124,"material":95,"size":7125,"collection":95,"collections":7126,"showCount":7102,"zanCount":882,"manualWeight":39,"mainColor":207},232597,"xin-jing-chu-sui-liang-232597","古往今來，《心經》深受人們喜愛，歷代書法名家和廣大書法愛好者以之練習書法或進行書法創作，既能提高書法水平，又能起到修心養性的作用。\n此拓本褚遂良《心經》，雖然落款「辛丑年 遂良書」，但是很多人認爲是僞托之作。\n释文:观自在菩萨,行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色，色即是空，空即是色，受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界。无无明，亦无无明尽，乃至无老死，亦无老死尽。无苦集灭道，无智亦无得。以无所得故，菩提萨埵，依般若波罗蜜多故，心无罣碍，无罣碍故，无有恐怖，远离颠倒梦想，究竟涅磐。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒，即说咒曰：揭谛揭谛 波罗揭谛 波罗僧揭谛 菩提萨婆诃。",[7,386,199,198,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff870e9df1ad4582940f40d44cbf34d87.jpg","高285厘米，宽102厘米",[],{"id":7128,"slug":7129,"title":7130,"dynasty":2365,"author":4335,"museum":126,"description":7131,"tags":7132,"thumbUrl":7133,"material":312,"size":7134,"collection":96,"collections":7135,"showCount":7102,"zanCount":39,"manualWeight":39,"mainColor":40},221140,"xia-re-tie-yang-ning-shi-221140","夏热帖","釋文： 首署款：“凝式”。\n後紙有宋代王欽若，元代鮮于樞、趙孟頫，清張照的題跋及乾隆皇帝的釋文。\n卷前後及隔水上鈐有宋代“賢志堂印”，元代趙孟頫，明項元汴，清代曹溶、納蘭成德、清內府等鑑藏印。另有數方古印不辨。\n此帖是楊凝式唯一的傳世草書作品，書法兼取唐顏真卿、柳公權筆法，體勢雄奇險崛，運筆爽利挺拔，與他的楷書、行書作品相比較，藝術風格迥殊，表現出了書家的豐富藝術變化，為楊凝式書法代表作品作之一。此帖為信札，筆勢飛動，渾然一體，凝重之中有瀟灑氣象，雄健縱逸，鋒芒灼耀，極富大氣。米芾贊：“楊凝式如橫風斜雨，落紙雲煙，淋漓快目。”\n此帖曾刻入《三希堂法帖》。明代汪砢玉《珊瑚網書跋》，清代吳其貞《吳氏書畫記》、顧復《平生壯觀》、卞永譽《式古堂書畫匯考》、內府《石 渠寶笈·初篇》等書著錄。",[23,7,398,49,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797a61ea192f0e9b636c25d708827dd0.jpg","纵23.8厘米，横33厘米",[96],{"id":7137,"slug":7138,"title":7139,"dynasty":105,"author":637,"museum":7140,"description":7141,"tags":7142,"thumbUrl":7143,"material":4395,"size":7144,"collection":802,"collections":7145,"showCount":7102,"zanCount":39,"manualWeight":39,"mainColor":40},221035,"you-mu-tie-wang-xi-zhi-221035","游目帖","日本广岛安达万藏","《遊目帖》又名《蜀都帖》、《彼土帖》、《山川諸奇帖》。草書，11行，102字。信中王羲之表達了他對蜀地山山水水諸多奇景的嚮往之情。他期盼一登汶嶺、峨嵋而暢遊意足，並希望這個日子早日到來。《中國書法全集》評價《遊目帖》“行、草書間雜，筆畫遒勁爽利”。",[23,7,60,200,49,77,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5188c56caf21e01b10a04cacb4376ed.jpg","11行，102字",[802],{"id":7147,"slug":7148,"title":7149,"dynasty":45,"author":1313,"museum":72,"description":7150,"tags":7151,"thumbUrl":7152,"material":7153,"size":7154,"collection":96,"collections":7155,"showCount":7102,"zanCount":882,"manualWeight":39,"mainColor":100},220901,"wu-yan-gu-shi-zhou-dong-qi-chang-220901","五言古诗轴","董其昌八十岁楷书作品《五言古诗句》",[23,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8f3e7950a1ba42ac1a4cfdc7f91e01.jpg","楷书，纸本","纸本60.9 x 169 cm",[96],{"id":7157,"slug":7158,"title":7159,"dynasty":179,"author":225,"museum":72,"description":7160,"tags":7161,"thumbUrl":7162,"material":312,"size":7163,"collection":96,"collections":7164,"showCount":7102,"zanCount":882,"manualWeight":39,"mainColor":40},220826,"shu-yue-yang-lou-ji-zhou-zhao-meng-fu-220826","书岳阳楼记轴","岳阳楼记是北宋文学家范仲淹于庆历六年九月十五日（1046年10月17日）应好友巴陵郡太守滕子京之请为重修岳阳楼而创作的一篇散文。也是历年高考频频眷顾的经典名篇。本文写于1046年，范仲淹贬放河南邓州，1047年滕子京重修岳阳楼，请范仲淹作记，因为二人同是被贬之人，因而有共同的思想情感，所以文中满载述志励友之情，既表现作者忧国忧民的远大抱负，又表达对好友的慰勉和规箴之意。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[23,7,60,75,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166c30f08f7da3dbf1b37b1f434a7fa7.jpg","129x53.2",[96],{"id":7166,"slug":7167,"title":7168,"dynasty":45,"author":7169,"museum":126,"description":7170,"tags":7171,"thumbUrl":7172,"material":79,"size":7173,"collection":96,"collections":7174,"showCount":7102,"zanCount":882,"manualWeight":39,"mainColor":40},219157,"cao-shu-you-qi-xing-yan-shi-jie-jin-219157","草书· 游七星岩诗","解缙","释文：游七星岩偶成。早饭行春桂水东，野花榕叶露重重。七星岩曲篝镫入，百转萦回路径通。石榴滴余成物象，古潭深处有蛟龙。却归为恐衣沾湿，洞口云生日正中。就日门前春水生，浮波岩下钓船轻。漓江倒影山如画，榕树交柯翠夹城。村店午时鸡乱叫，游人陌上酒初醒。殊方异俗同熙皞，欲进讴谣合颂声。度水穿林访隐君，七星岩畔鹤成群。犹疑仙李遗朱实，几见蟠桃结绛云。石乳悬崖金烂烂，瀑泉隥洞鸟纷纷。柳莺满树春风啭，共坐高吟把酒闻。桂水东边度石桥，酒祈村巷见渔樵。葭祠歌吹迎神女，野庙苹繁祀帝尧。附郭有山皆积石，仙岩无路不通霄。日长衣繍观民俗，行乐光辉荷圣朝。永乐戊子五月十一日，为文弼书廌识。",[23,398,7,49,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5015742489dad8692560c35bafa41c2d.jpg","纵22.8厘米，横61.2厘米",[96],{"id":7176,"slug":7177,"title":7178,"dynasty":18,"author":7179,"museum":72,"description":7180,"tags":7181,"thumbUrl":7182,"material":33,"size":7183,"collection":35,"collections":7184,"showCount":7102,"zanCount":39,"manualWeight":39,"mainColor":40},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","杨大章","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[92,24,25,75,111,27,29,693,135,652,57,7,77,116,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[35],{"id":7186,"slug":7187,"title":7188,"dynasty":162,"author":7189,"museum":442,"description":7190,"tags":7191,"thumbUrl":7192,"material":33,"size":95,"collection":35,"collections":7193,"showCount":7102,"zanCount":39,"manualWeight":39,"mainColor":40},216664,"mu-niu-tu-dai-song-216664","牧牛图","戴嵩","牧牛图 是一幅画作，出自唐朝时期的画家戴嵩。它是一幅水墨画，描绘了一头牛在田野里放牧的场景。这幅画被认为是戴嵩的代表作之一，因为它体现了戴嵩独特的画风和技巧。牧牛图在唐朝时期广受欢迎，并被认为是中国水墨画的杰出作品。",[24,25,50,27,113,797,652,2062,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f31192c42e51a9881f491e3d50c022.jpg",[35],{"id":7195,"slug":7196,"title":1251,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":7197,"thumbUrl":7198,"material":751,"size":752,"collection":95,"collections":7199,"showCount":7200,"zanCount":39,"manualWeight":39,"mainColor":40},290532,"ying-su-yun-shou-ping-290532",[24,26,29,111,27,1251,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b483d6b1aafd58666bcab7fadd694.jpg",[],66,{"id":7202,"slug":7203,"title":7204,"dynasty":88,"author":308,"museum":107,"description":7205,"tags":7206,"thumbUrl":7207,"material":751,"size":752,"collection":95,"collections":7208,"showCount":7200,"zanCount":39,"manualWeight":39,"mainColor":100},288990,"gu-mu-guai-shi-tu-su-shi-288990","古木怪石图","《枯木怪石图》又名《木石图》，是北宋苏轼任徐州太守时曾亲往萧县圣泉寺时所创作的一幅纸本墨笔画，该画作现存于中国。\n该画作画面内容很简单，是一株枯木状如鹿角，一具怪石形如蜗牛，怪石后伸出星点矮竹。用笔看似疏野草草，不求形似，其实行笔的轻重缓急，盘根错节，都流露出作者很深的毛笔功底。",[92,24,25,50,250,2293,115,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0321701a92b7edb7afa959d7597be7e.jpg",[],{"id":7210,"slug":7211,"title":7212,"dynasty":45,"author":454,"museum":107,"description":7213,"tags":7214,"thumbUrl":7215,"material":751,"size":752,"collection":95,"collections":7216,"showCount":7200,"zanCount":788,"manualWeight":39,"mainColor":100},287341,"fang-chen-rong-shen-long-jiu-xian-tu-yi-ming-287341","仿陈容神龙九现图","整卷以九龙为芯，龙躯腾挪翻涌于青绿云水间，或隐没于云涛，或怒破水浪，鳞爪遒劲灵动，尽显神威雄奇。古绢带着岁月晕染的斑驳，青绿与墨色交融晕开，将神龙谲变幻化的身姿描摹得栩栩如生。\n\n后附题跋行书笔意跌宕，笔墨苍劲老辣，诗文咏叹龙姿神韵，与画作相得益彰，书画合璧，复刻出沉雄气势。装裱古朴雅致，卷间流转着古雅厚重的气韵，尽显传统龙题材绘画的精妙造诣，兼具视觉张力与文人意趣。",[23,49,24,25,359,110,27,7,398,901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05d908008b19b2e6f55501a6f863f5f4.jpg",[],{"id":7218,"slug":7219,"title":7220,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":7221,"thumbUrl":7222,"material":751,"size":752,"collection":95,"collections":7223,"showCount":7200,"zanCount":882,"manualWeight":39,"mainColor":40},239521,"yu-tang-fu-gui-zhou-wu-chang-shuo-239521","玉堂富贵轴",[24,29,129,50,27,135,238,239,1455,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c73ad8ff25daf55e25f22d50c25068f.jpg",[],{"id":7225,"slug":7226,"title":7227,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":7228,"thumbUrl":7229,"material":95,"size":95,"collection":35,"collections":7230,"showCount":7200,"zanCount":39,"manualWeight":39,"mainColor":40},237535,"yuan-ji-zhu-shi-tu-zhou-shi-tao-237535","原济竹石图轴",[24,25,75,50,129,59,132,589,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042b55af991c313cd4588dd0d5c88465.jpg",[35],{"id":7232,"slug":7233,"title":7234,"dynasty":45,"author":7235,"museum":107,"description":7236,"tags":7237,"thumbUrl":7238,"material":95,"size":95,"collection":95,"collections":7239,"showCount":7200,"zanCount":39,"manualWeight":39,"mainColor":40},234206,"feng-zhu-tu-zhou-feng-qi-zhen-234206","风竹图轴","冯起震","冯起震(1553—1644)，字青方，明末画家，青州城北青州市高柳村（今山东益都）人。隐居教书，不图仕进，善画竹。来青州做官的，常慕名到他家拜访。崇祯二年（1629），他与儿子冯可宾合作画了竹石图10幅，著名书画家董其昌、邢侗、李君实为之题记。董等非常称赞他，认为“文与可后数百年所仅见”。著有《无声诗史》、《图绘宝鉴续纂》、《榆园画志》等书。崇祯十五年（1642）年90岁尚在。",[23,24,25,50,49,7,60,77,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bf753c1b5f255b01b17c3148f491394.jpg",[],{"id":7241,"slug":7242,"title":7243,"dynasty":45,"author":744,"museum":107,"description":897,"tags":7244,"thumbUrl":7245,"material":751,"size":752,"collection":95,"collections":7246,"showCount":7200,"zanCount":788,"manualWeight":39,"mainColor":40},228480,"shi-shan-mian-tang-yin-228480","诗扇面",[23,92,24,25,1250,50,27,59,1018,57,113,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428870f13c665e4f89795e5b5dc817a0.jpg",[],{"id":7248,"slug":7249,"title":2353,"dynasty":162,"author":2354,"museum":279,"description":2355,"tags":7250,"thumbUrl":7251,"material":2358,"size":2359,"collection":96,"collections":7252,"showCount":7200,"zanCount":788,"manualWeight":39,"mainColor":40},221070,"ling-fei-jing-chang-juan-zhong-shao-jing-221070",[23,7,199,386,200,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d3387434404715e6043148aa6f6079.jpg",[96,802],{"id":7254,"slug":7255,"title":7256,"dynasty":88,"author":3014,"museum":442,"description":5928,"tags":7257,"thumbUrl":7259,"material":169,"size":5931,"collection":95,"collections":7260,"showCount":7200,"zanCount":39,"manualWeight":39,"mainColor":40},218039,"song-di-ming-ti-ce-shi-ma-yuan-218039","宋帝命题册(十)",[23,24,25,26,50,27,59,7258,51,1018,5721,252,7,77],"边角山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c290a29cb2476ddf0147882bbc77cf5.jpg",[],{"id":7262,"slug":7263,"title":7264,"dynasty":88,"author":549,"museum":20,"description":7265,"tags":7266,"thumbUrl":7267,"material":79,"size":612,"collection":95,"collections":7268,"showCount":7200,"zanCount":39,"manualWeight":39,"mainColor":40},214279,"duo-jing-lou-shi-tie-4-mi-fei-214279","多景楼诗帖-4","笔墨如挟风雷之势，每一笔皆见斩截之利。“舟”字撇捺舒展如振翼，“还”字欹侧中藏稳劲，“明”字飞白破墨似裂帛，“萬”字盘纡如老树盘根。整幅气韵连贯，墨色浓淡相济、干湿互见，于欹斜跌宕间守得平衡之妙，尽显“刷字”的爽利与潇洒。仿佛能窥见书者挥毫时的快意：笔走龙蛇，心随景动，将登高临远的豪情注入笔墨。每一字都似有生命跃然纸上，读之如闻松涛阵阵，见江浪滔滔，把山河壮阔与心绪激荡凝于方寸之间，尽显宋人书法的放达与风骨。",[25,7,60,50,3330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f8636c11fbdf0691a35c723e827cc69.jpg",[],{"id":7270,"slug":7271,"title":3513,"dynasty":18,"author":6858,"museum":72,"description":7272,"tags":7273,"thumbUrl":7274,"material":79,"size":7275,"collection":96,"collections":7276,"showCount":7200,"zanCount":882,"manualWeight":39,"mainColor":100},214232,"xing-shu-qi-yan-lian-ceng-guo-fan-214232","笔墨沉雄如老松盘枝，每一笔皆含劲健之气，却又不失行书的流转意趣。欹侧间见平稳，牵丝处藏筋骨，颜体的浑厚与行书的洒脱交融，自成一格。联句“欹枕旧游来眼底，掩书馀味在胸中”文辞清雅，与书法的沉郁韵致相映成趣——墨痕里藏着岁月沉淀，笔锋间流露文人襟怀。读之观之，仿佛触到书写者掩卷沉思的心境：旧游历历如在目前，典籍余味萦绕心间。笔墨与文辞共织成一幅文人雅态，余味悠长，耐人寻味。",[23,7,60,2136,75,50,312,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99bdcbbeb48c7f7d13570de73d4bf1b0.jpg","129x30.8",[96],{"id":7278,"slug":7279,"title":7280,"dynasty":88,"author":7281,"museum":107,"description":7282,"tags":7283,"thumbUrl":7284,"material":751,"size":752,"collection":95,"collections":7285,"showCount":7286,"zanCount":39,"manualWeight":39,"mainColor":40},290990,"shan-cha-ji-xue-lin-chun-290990","山茶霁雪","林椿","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[1250,24,25,29,111,27,297,1677,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9157821f4daf1c48cd5c87e009440d.jpg",[],65,{"id":7288,"slug":7289,"title":7290,"dynasty":88,"author":7096,"museum":107,"description":7291,"tags":7292,"thumbUrl":7293,"material":751,"size":752,"collection":95,"collections":7294,"showCount":7286,"zanCount":39,"manualWeight":39,"mainColor":40},288428,"xi-shan-qing-yuan-quan-juan-xia-gui-288428","溪山清远全卷","描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地。",[23,24,49,50,1328,59,51,57,56,555,53,52,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2e7ac0afedc23fcf6291490a68ee6a.jpg",[],{"id":7296,"slug":7297,"title":7298,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":7299,"thumbUrl":7300,"material":751,"size":752,"collection":95,"collections":7301,"showCount":7286,"zanCount":882,"manualWeight":39,"mainColor":40},287697,"zhu-shi-tu-li-zhou-zheng-ban-qiao-287697","竹石图立轴",[23,24,25,75,50,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee951fb43edbf2640337c30ed4137ea.jpg",[],{"id":7303,"slug":7304,"title":7305,"dynasty":18,"author":506,"museum":107,"description":7306,"tags":7307,"thumbUrl":7308,"material":488,"size":95,"collection":187,"collections":7309,"showCount":7286,"zanCount":882,"manualWeight":39,"mainColor":40},236338,"long-ke-shu-xia-fo-xiang-zhou-jin-nong-236338","龙窠树下佛像轴","金农画佛像，有的点缀山石花木，奇柯异叶，有的则不画衬景，但不管有无点景，其佛像均画得安祥、庄严而生拙，他在《龙窠树下佛图》中云：“予画菩萨妙相，奇柯异叶，以状庄严，恍如佛光上下，隐见在方寸也。”他又说：“余年逾七十，世间一切妄念，种种不生，此身虽属秽浊，然治清斋，每当平旦，十指新沐，熏以妙香，执笔敬写，极尽庄严，尚不叛乎昔贤遗法。世多善男子，愿一一品之，永充供养云。”(以上见《冬心画佛题记》)，说明了他开始画佛的时间和原因。",[24,25,75,878,50,27,113,115,77,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0052263f278bc7b744665176bb988523.jpg",[187,96],{"id":7311,"slug":7312,"title":7313,"dynasty":88,"author":369,"museum":107,"description":7314,"tags":7315,"thumbUrl":7316,"material":95,"size":95,"collection":95,"collections":7317,"showCount":7286,"zanCount":882,"manualWeight":39,"mainColor":40},227492,"ba-ou-yang-xun-zhang-han-tie-zhao-ji-227492","跋欧阳询张翰帖","赵佶《题欧阳询张翰帖后跋》，楷书，纸本，25.2cmx33cm，北京故宫博物院藏。\n\n宋徽宗赵佶是古代帝王中著名的书画家，自幼重文史，好丹青，并展现出非同一般的艺术天赋。赵佶的“瘦金体'楷书瘦挺爽利，冷艳如笔法苍劲，笔墨不浮。其独特的审美价值可以说是前无古人，后无来者”。\n\n“瘦金体”的第一个特点是以硬毫作书，据传中国书法史上号称下第一行书““兰亭序”就是王羲之用鼠须硬毫笔所作。欧阳询的书法“瘦硬险劲”，用笔刚则铁画，媚若银钩”，受这些大家的影响，赵佶书写亦喜用硬毫，无论是楷书、草书、工笔、写意均用硬毫作之。\n\n“瘦金体的第二个特点是法度严谨、结构紧密。“瘦金体在结构上内宫紧密四周开张，内宫紧密，表现出书画家的笔老气足，四周开张，则显得风神飘逸。在学习书法的过程中，赵佶师从数家，各取所长，为己所用。被后人评为“瘦金体之祖”。",[92,24,25,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af149f8b233fb60ef6c6d00d514f457.jpg",[],{"id":7319,"slug":7320,"title":7321,"dynasty":3087,"author":454,"museum":7322,"description":7323,"tags":7324,"thumbUrl":7326,"material":199,"size":95,"collection":802,"collections":7327,"showCount":7286,"zanCount":39,"manualWeight":39,"mainColor":40},226534,"shi-ping-gong-zao-xiang-ji-yi-ming-226534","始平公造像记","洛阳龙门石窟古阳洞","《始平公造像記》，全稱《比丘慧成為亡父洛州刺史始平公造像題記》，是由孟達撰文，朱義章書寫的龍門石窟造像題記之一，石刻位於洛陽市南郊龍門石窟古陽洞北壁，刊刻於北魏太和二十二年（498年，另有太和十二年、二年、十九年等數種説法）。書體為楷書。為“龍門四品”和“龍門二十品”之一。\n《始平公造像記》記錄了比丘慧成為亡夫造佛像的緣由及願望，石刻正文分縱向10行，每行20字，有方界格，石高75釐米，寬39釐米，額楷書陽文“始平公像一區”2行6字。文與格欄均陽刻凸起，是石刻中所少見的。此石刻已泯盡隸書痕跡，既有漢晉雍容方正之態，又具北方少數民族“金戈鐵馬”粗獷強悍之神，書法雄重遒密，端莊流逸，具龍震虎威之勢，富有陽剛之美。\n用笔\n1．锋鋭果敢，整峻大方\n点的形状多呈几何图形状，以类似三角形的为多。如图中“流”字的侧点，“容”字的竖点、“宗”字的撇点和“答”字的挑点，它们在形态上都类似于三角形，但又不失饱满，起笔多侧锋入纸，露锋短促有力，向右下重顿后逆锋收笔，慢慢弹出，用笔锋鋭果敢，在点画上显得整峻大方。\n2．逆锋行笔，笔含隶意\n用笔以方切为主，在线条运行过程中以逆锋行笔。如图中“大”“寻”“不”字横的写法，起笔时侧锋入纸，向右下重顿，依靠毛笔与纸的摩擦力向右上调锋，然后逆锋行笔，顿笔后回锋。而“丘”字最后的横则为雁尾横，前半段和横的写法一样，只是到收笔时，雁尾横则像隶书的波磔一样向右上，含而不出，再往回收尾，笔含隶意，古朴典雅。\n3．浑厚沉实，亦露亦藏\n用笔方峻，和其他碑帖一样都是无垂不缩，无往不收。但它和唐代楷书在笔法上的不同之处在于线条中段沉实浑厚，以斜鋭之势收笔。如图中“师”“攀”“率”字的竖以藏锋为主，收笔时逆锋向回收笔；“下”字的竖则露锋起笔，收笔时向右下轻顿再出锋。\n4．笔势圆浑，流畅不滞\n在外形上看似有些凝重呆滞，但在点画细节处，《始平公造像记》却通过点画方向的变化和某些连带的点画表现出流畅不滞的书写性。如图中“夫”字的撇向上回环以呼应捺的起笔“玳”字的撇向右上回环以顺承竖的起笔。再如图“大”“运”两字的捺，沉稳劲健，点画浑圆，“一波三折”的用笔特点在其中十分明显，甚至有些装饰性的意味。\n5．用笔准确，骨力内含\n用笔的准确性主要体现在点画的起收笔处，特别是写钩的时候。如图中“代”字的斜钩，起笔如竖线，向右下斜切，其势向下倾斜，行笔厚重有力，至收笔处驻笔，笔锋聚拢，腕指齐力，翻毫向上，靠毛笔所蓄之力将笔锋送出。“则”“寻”“容”字钩的写法也是如此。此外，对骨力的感受则不仅仅停留在方笔的运用上。如图中“国”“恩”“月”“愿”字的转折，虽大多是方折，很少有圆转，这应与刻工有很大关系。\n结体\n1．结构扁方，朴拙飞动\n全文结字以方扁为主，这是隶书向楷书过渡时期的必然结果。横线以舒展为主，竖线则多短粗有力，如图中“始”字本应是方形的，但由于作者巧妙的安排，“女”字旁点画厚重而倾斜，有挤压“台”部之势，而“台”中的“口”正好安置在“女”字旁右下角的空间里，使全字呈扁方形，有向右上飞动之势。又如“公”字，左上方的点以圆笔见浑穆，右上方的点方硬有形，形成一种飞动之态，呼应对比和谐，而下半部分则呈现出一种压缩之态，有向左运动之势，与上半部分呼应顾盼，自然朴拙。“灵”字的处理方式也是如此。\n2．结构欹侧，变化丰富\n除了扁方结体，《始平公造像记》单字结体也有纵长体势的。如图中“焉”字，一般来说应该是方形或是偏扁一些的，而《始平公造像记》则将其变方为长，横线排叠，趋势右上，点画密结，密不透风，最后四点化为一横，大胆开张，反辅为主，起到了承载的作用。也正是因为横线紧密排叠，所以整个字也就由方形变为长方形，造就出了欹侧之势。又如“崇”字，习惯写法是中间的宝盖头要包裹下面的部分，可《始平公造像记》里的“崇”字则是宝盖头紧缩，而下面“示”的第二横伸展夸张，使原本方形的字变成了长方形。再如“奄”字，撇写得开张，而却以捺作点，收缩紧凑，出人意料。\n3．抑左扬右，收放有度\n在结构上习惯压缩左边的部分而舒展右边。如图中“逢”字，上半部分的右面向外舒展，“走”字底的左半部分则向中间压缩，这样整个字就呈现出一种倾斜过来的梯形结构，向右呈辐射状。另外，《始平公造像记》中单个字的结构收放对比也比较大，这是因为结字时中宫往往收得比较紧凑，而一些突出的主笔舒展开来正好与这种紧凑产生了强烈的对比。如“答”字，上半部分收得比较紧凑，而下半部分的撇和捺非常舒展。整个字上下之间的收放对比较大，呈梯形结构，有稳重感。\n章法\n全文皆用阳刻，逐字界格，在整个刻石系统中甚为少见。《始平公造像记》的章法，一个总的特点是横竖成行，端正整齐。如其碑额“始平公像一区”六字，这六字虽然横竖成行，但它们之间的间距很近，大小交错，相互伸展，搭配十分巧妙。如“像”字笔画多，但写得小；“一”字只有一笔，反而写得大。“始”字的一撇与“像”字的一捺搭配，“平”字的一横与“一”字的搭配，“平”字的一竖与“公”的搭配，都妙若天成。再如阳文镌刻的正文。界格横竖交错的线条并不是笔直的，而是有粗有细，有弯有直。界格内的字与字之间的笔画配合也有伸缩。因此，界格根据格内字的结构变化而进行变化，构成了浑然一体的章法。",[23,7325,199,198,878,7],"魏碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63291057f9d37c1c9c08d87ade89090b.jpg",[802],{"id":7329,"slug":7330,"title":307,"dynasty":18,"author":7331,"museum":107,"description":7332,"tags":7333,"thumbUrl":7334,"material":477,"size":95,"collection":95,"collections":7335,"showCount":7286,"zanCount":882,"manualWeight":39,"mainColor":40},223279,"mo-zhu-tu-liu-shao-ye-223279","刘绍邺","图绘竹子一株，杆三枝，一杆粗壮，二杆修长，竹叶茂盛苍翠。技法上，竹节处以深墨勾勒，凸显竹节的修长；竹深淡墨绘制，更有层次感。",[23,24,25,75,50,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316c1218e8b1a967840a981f4c923a3d.jpg",[],{"id":7337,"slug":7338,"title":7339,"dynasty":179,"author":7340,"museum":126,"description":7341,"tags":7342,"thumbUrl":7343,"material":312,"size":7344,"collection":96,"collections":7345,"showCount":7286,"zanCount":788,"manualWeight":39,"mainColor":100},221844,"zhuan-shu-lou-shi-ming-juan-tai-bu-hua-221844","篆书陋室铭卷","泰不华","释文：\n山不在高，有仙则名；水不在深，有龙则灵。斯是陋室，唯吾德馨。苔痕上階绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”至正六年正月廿八日白野兼善书。\n鉴藏印有“安岐之印”、“朝鲜人”、“佩裳宝藏”、“木头老子”等。前后隔水各有清罗天池题记一则，记录其重金购买此卷之事及对此卷的评价。\n此卷是泰不华书唐代著名诗人刘禹锡所作《陋室铭》全篇。\n从落款可知此卷书于元至正六年（1346年），是年泰不华43岁。其书兼善篆、隶、楷。篆法初师宋徐铉，后取法汉碑额，高古可尚，行笔圆活遒劲，转折方正，结构疏朗工稳，末笔多作尖锋，即“悬针”笔法。此为迄今所见泰不华唯一的篆书真迹。作为一个少数民族文人，能写如此齐整秀逸的汉字古体实属难能可贵。\n此卷曾刻入《海山仙馆帖》。",[23,457,7,49,77,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aead25aafad0b776e8c3ac69e1dc0e8.jpg","纵36.9厘米，横113.5厘米",[96],{"id":7347,"slug":7348,"title":7349,"dynasty":162,"author":2409,"museum":648,"description":7350,"tags":7351,"thumbUrl":7352,"material":1444,"size":7353,"collection":96,"collections":7354,"showCount":7286,"zanCount":882,"manualWeight":39,"mainColor":40},221098,"lun-shu-tie-huai-su-221098","论书帖","帖前有宋徽宗赵佶金书签题《唐僧怀素行书论书帖》，帖后有乾隆皇帝行书释文，赵孟頫、项元汴等人题跋。 卷中钤有“宣和”、“政和”、“绍兴”、“秋壑图书”、“内府图书之印”、“项子京家珍藏”、“旷奄”、“乾隆”、“嘉庆”、“宣统御鉴之宝”等鉴藏印。\n从艺术风格上看，《论书帖》不同于怀素其他如《自叙帖》、《食鱼帖》等用“古瘦”和“半无墨”的毛笔创作的笔意连绵不绝、体势险绝诡奇、极度夸张浪漫的狂草之作，笔下明显洋溢出东晋王羲之恬淡平和的风神气息。此帖运笔悠然自得，意气平和，应规入矩，精谨而纯熟。其每作一字，起落分明，虽无纵横捭阖之势，但由于擅长驾驭中锋，故能做到笔势圆融婉转、飞动轻灵，骨气深稳，血肉丰润。虽偶作牵连映带，但亦无拖沓之嫌。笔墨流宕处，英姿勃发，气象超然。其结构以平正恒定基调，疏密聚散之间，显露出“端庄杂流丽，刚健寓婀娜”的风致。",[23,7,398,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bad6ec436069c8a3cd2ef405945887a.jpg","纵38.5厘米，横40.5厘米",[96,802],{"id":7356,"slug":7357,"title":7358,"dynasty":88,"author":7359,"museum":7360,"description":7361,"tags":7362,"thumbUrl":7365,"material":312,"size":95,"collection":314,"collections":7366,"showCount":7286,"zanCount":39,"manualWeight":39,"mainColor":40},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","玉涧","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[23,92,24,25,50,59,51,54,7,251,7363,7364,576],"江面","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[314],{"id":7368,"slug":7369,"title":7370,"dynasty":179,"author":7371,"museum":3743,"description":7372,"tags":7373,"thumbUrl":7374,"material":79,"size":7375,"collection":63,"collections":7376,"showCount":7286,"zanCount":882,"manualWeight":39,"mainColor":100},218328,"yan-a-qi-shu-tu-chen-xuan-218328","岩阿琪树图","陈选","图绘翠峰叠嶂，古寺高居于丛林掩映中。山间飞泉直泻，山下溪流婉转，板桥横跨于前，近处杂树参差错落，生动有致。山石以披麻皴、点子皴两种笔法相参并用。树叶则点勾结合，表现出树木葱茏、烟云变幻、一派江南山川苍郁浑厚景象，给人以山高气爽、幽深静谧之感。",[23,24,1328,50,59,75,7,77,51,57,56,267,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9252782007aff5c85e16028cb6ed04f.jpg","纵66.6厘米，横27.5厘米",[63],{"id":7378,"slug":7379,"title":7380,"dynasty":179,"author":7381,"museum":2379,"description":7382,"tags":7383,"thumbUrl":7384,"material":79,"size":7385,"collection":171,"collections":7386,"showCount":7286,"zanCount":39,"manualWeight":39,"mainColor":100},214296,"wu-zu-zai-lai-tu-yin-tuo-luo-214296","五祖再来图","因陀罗","因陀罗（1247-1317）是元代著名的画家，他的《元五祖再来图》是其代表作之一。\n\n《元五祖再来图》描绘了五位道士依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出五位道士与山林的和谐关系。因陀罗在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《元五祖再来图》被认为是因陀罗写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《元五祖再来图》也是收藏家们青睐的经典之作。\n\n因陀罗的《元五祖再来图》是一幅描绘五位道士依山而居的画作，它体现了道家哲学中“和谐”的理念。五位道士与周围的山林和谐相处，表现出人与自然和谐共处的理想。因陀罗的《元五祖再来图》不仅是一幅精美的画作，更是一首关于人与自然和谐相处的诗篇。",[23,24,25,92,112,50,113,115,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce02a048b10ef3981bf016dade452b6.jpg","32.7x44.6",[171],{"id":7388,"slug":7389,"title":7390,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":7391,"thumbUrl":7392,"material":751,"size":752,"collection":95,"collections":7393,"showCount":7394,"zanCount":882,"manualWeight":39,"mainColor":40},290542,"mo-ju-yun-shou-ping-290542","墨菊",[24,25,26,50,140,29,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85db967c88e5d951d7cf0748f2930512.jpg",[],64,{"id":7396,"slug":7397,"title":7398,"dynasty":88,"author":7399,"museum":107,"description":7400,"tags":7401,"thumbUrl":7405,"material":751,"size":752,"collection":95,"collections":7406,"showCount":7394,"zanCount":39,"manualWeight":39,"mainColor":40},289329,"ku-lou-huan-xi-tu-li-song-289329","骷髅幻戏图","李嵩","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。",[23,92,24,25,1250,27,113,7402,4863,7403,7404,7,60,77],"骷髅","母子","幻戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb763370785e266153eaddfb1f724eb.jpg",[],{"id":7408,"slug":7409,"title":7410,"dynasty":45,"author":454,"museum":107,"description":7411,"tags":7412,"thumbUrl":7414,"material":95,"size":95,"collection":95,"collections":7415,"showCount":7394,"zanCount":882,"manualWeight":39,"mainColor":100},232907,"fang-huang-quan-hua-niao-chong-die-yi-ming-232907","仿黄荃花鸟虫蝶","冬夜闻虫\n【唐】白居易\n虫声冬思苦于秋，不解愁人闻亦愁。\n我是老翁听不畏，少年莫听白君头\n冬天虫鸣，比秋天更让人发愁，即便不懂愁绪的人听了也会感到忧愁。我已经是个老人了，听了也没什么关系，年轻人就不要听了，那会让你愁白头的。",[23,4038,24,25,49,111,27,110,29,7413,132,1739,692,250,77,7,60],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff995cf8766f0528a866e2854e3963bca.jpg",[],{"id":7417,"slug":7418,"title":7419,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":7422,"thumbUrl":7423,"material":682,"size":7424,"collection":96,"collections":7425,"showCount":7394,"zanCount":788,"manualWeight":39,"mainColor":40},222247,"nan-hua-zhen-jing-wang-chong-222247","南华真经","荣宝斋","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[23,7,386,49,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8deb6432f583ee8a984338a7c0a3cdfa.jpg","每开尺寸长19.1、宽12.5厘米",[96],{"id":7427,"slug":7428,"title":7429,"dynasty":162,"author":1060,"museum":126,"description":7430,"tags":7431,"thumbUrl":7432,"material":312,"size":7433,"collection":96,"collections":7434,"showCount":7394,"zanCount":418,"manualWeight":39,"mainColor":789},221108,"zhang-han-tie-ou-yang-xun-221108","张翰帖","《张翰帖》也称季鹰帖，记张翰故事。释文：\n“張翰字季鷹，吳郡人。有清才，善屬文，而縱任不拘，時人號之爲江東步兵。後謂同郡顧榮曰：天下紛紜，禍難未已。夫有四海之名者，求退良難。吾本山林間人，無望于時。子善以明防前，以智慮後。榮執其（疑缺“手”字）愴然，翰因見秋風起，乃思吳中菰菜鱸魚，遂命駕而歸。”（方框内字残，现据《晋书》补）\n此段文字见于《晋书·文苑》及《世说新语》等书中，但均属节录。张翰是西晋吴郡(今苏州)人，富于才情，为人舒放不羁，旷达纵酒，当时人将他喻为三国魏时“竹林七贤”之一的阮嵇(阮嵇曾为步兵校尉，人称阮步兵)，称他“江东步兵”。他追随贺循至洛阳做了齐王的官，但他并不快乐，时常思念江南故乡，于是萌生隐退山林、远离乱世之念，后终弃官回乡。\n《张翰帖》原属《史事帖》，是唐代著名书法家欧阳询存世四件墨迹之一。此帖是字体修长，笔力刚劲挺拔，风格险峻，精神外露。对开有瘦金书题跋一则，是宋徽宗赵佶在赏鉴之余写下的心得。他评此帖“笔法险劲，猛锐长驱”，并指出欧阳询“晚年笔力益刚劲，有执法面折庭争之风，孤峰崛起，四面削成。”这段评语对我们欣赏《张翰帖》以及其他欧体书都是极为重要的。\n本幅与题跋钤宋高宗赵构和清代收藏家安岐的印记。可知此帖曾藏南宋绍兴内府，清代由安岐收藏，后入乾隆内府，原有清内府玺印及乾隆帝题字，被刮去。\n此帖为唐人钩填本，笔墨厚重，锋棱稍差。\n清卞永誉《式古堂书画汇考》，清吴升《大观录》、安岐《墨缘汇观》等书有著录。",[23,7,60,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0030172b585a61f612db1ebc51a2de00.jpg","纵25.1厘米，横31.7厘米",[96],{"id":7436,"slug":7437,"title":7438,"dynasty":662,"author":663,"museum":5800,"description":7439,"tags":7440,"thumbUrl":7441,"material":7442,"size":95,"collection":95,"collections":7443,"showCount":7394,"zanCount":882,"manualWeight":39,"mainColor":40},220602,"zhuan-shu-wu-zi-dui-lian-qi-bai-shi-220602","篆书五字对联","此联笔力苍浑老辣，将篆刻刀意融于篆法之中，线条如錾如凿，厚重处似坠石沉凝，细劲处若银丝牵连，虚实相生尽显张力。结体跳脱规整篆书的对称板正，字形欹侧错落，拙趣天成，大开大合间自带纵横豪情。\n\n无刻意雕琢的精致，老笔纷披间藏着天真野趣，文气与金石气交融浑穆，把篆书写出大写意的随性自在，古意盎然又自出机杼，朴拙中见风骨，苍劲里露真趣。",[457,7,2136,3467,662,50,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da6423bd1e9e82d2d928c9060aa681f.jpg","ink on paper",[],{"id":7445,"slug":7446,"title":7447,"dynasty":18,"author":411,"museum":126,"description":7448,"tags":7449,"thumbUrl":7450,"material":95,"size":95,"collection":7451,"collections":7452,"showCount":7394,"zanCount":39,"manualWeight":39,"mainColor":40},220391,"dui-niu-tan-qin-tu-zhou-shi-tao-220391","对牛弹琴图轴","《对牛弹琴图》构图奇险，笔墨老到，意境突出，是石涛人物画杰作。“对牛弹琴”一词本是讥笑说话的人不看对象。但此图通过作者自题“世上琴声尽说假，不如此牛听得真”等诗句，反映出作者难遇知音，而只能寄托于“牛声一呼真妙解”，反映了作者孤独落寞的心境。",[23,24,25,75,50,129,113,797,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddceb25e9a6e5e8adc1edb2963e9c9.jpg","人物精选",[7451],{"id":7454,"slug":7455,"title":7456,"dynasty":18,"author":506,"museum":1172,"description":7457,"tags":7458,"thumbUrl":7459,"material":79,"size":7460,"collection":171,"collections":7461,"showCount":7394,"zanCount":39,"manualWeight":39,"mainColor":40},218382,"luo-han-tu-jin-nong-218382","罗汉图","这是一幅长须罗汉坐在棕榈树下，神态安详的画，他已经获得了大罗汉的果位。这幅画是金农人物画的代表作。",[23,24,25,75,878,112,50,113,652,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75ebb87baf372dcdb84c225c1bba02a.jpg","69.1x25.5",[171],{"id":7463,"slug":7464,"title":7465,"dynasty":162,"author":7466,"museum":126,"description":7467,"tags":7468,"thumbUrl":7469,"material":169,"size":7470,"collection":171,"collections":7471,"showCount":7394,"zanCount":39,"manualWeight":39,"mainColor":100},218143,"liu-zun-zhe-xiang-tu-ce-lu-leng-qie-218143","六尊者像图册","卢楞伽","卢楞伽（生卒年不详），长安（今西安）人。学画于吴道子，喜作经文变相一类绘画，唐玄宗驻跸四川期间由汴入蜀，声名益著。乾元（758-760年）初于大圣慈寺画行道僧，颜真卿为之题名，号称“二绝”。",[23,24,25,26,27,111,878,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc5667212353981bcfb16635801cb73.jpg","30x58",[171],{"id":7473,"slug":7474,"title":7475,"dynasty":88,"author":3014,"museum":442,"description":5928,"tags":7476,"thumbUrl":7477,"material":169,"size":5931,"collection":95,"collections":7478,"showCount":7394,"zanCount":882,"manualWeight":39,"mainColor":40},218066,"song-di-ming-ti-ce-san-ma-yuan-218066","宋帝命题册(三)",[23,24,25,26,50,59,7,60,77,51,1018,113,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c1925505197c148c13f3497d28a207.jpg",[],{"id":7480,"slug":7481,"title":7482,"dynasty":88,"author":3014,"museum":442,"description":5928,"tags":7483,"thumbUrl":7484,"material":169,"size":5931,"collection":95,"collections":7485,"showCount":7394,"zanCount":39,"manualWeight":39,"mainColor":40},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)",[23,24,25,26,27,1328,651,458,56,252,471,268,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg",[],{"id":7487,"slug":7488,"title":7489,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":7491,"thumbUrl":7492,"material":79,"size":95,"collection":95,"collections":7493,"showCount":7394,"zanCount":39,"manualWeight":39,"mainColor":40},216595,"mo-zhu-pu-ce-ye-3-wu-zhen-216595","墨竹谱册页-3","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[23,24,25,50,26,7,77,132,948],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50b05cf34ed2b1620b65ae7ad0712f3.jpg",[],{"id":7495,"slug":7496,"title":7497,"dynasty":18,"author":7498,"museum":72,"description":7499,"tags":7500,"thumbUrl":7501,"material":79,"size":7502,"collection":96,"collections":7503,"showCount":7394,"zanCount":882,"manualWeight":39,"mainColor":100},214247,"li-shu-zhou-zheng-fu-214247","隶书轴","郑簠","此隶书作取法汉碑精髓，笔致灵动洒脱，蚕头燕尾意趣天成，横波跌宕间藏古雅风骨。字形扁方舒展，如汉阙卧云，沉稳中透着逸气。墨色浓淡相宜，枯润相生，规整处见变化，显匠心独运。左款小字与主体隶书相映成趣，章法疏朗有致，整体气象浑朴，既有汉隶的厚重雄浑，又含文人书家的清逸韵致，堪称清初隶书复兴浪潮中的精品，尽显传统书法之美。",[23,25,7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0e8b381e54abed129e99db901c6df3.jpg","181.5x120.3",[96],{"id":7505,"slug":7506,"title":7507,"dynasty":18,"author":7508,"museum":72,"description":7509,"tags":7510,"thumbUrl":7511,"material":79,"size":7512,"collection":96,"collections":7513,"showCount":7394,"zanCount":39,"manualWeight":39,"mainColor":40},214244,"li-shu-liu-yan-lian-lu-hui-214244","隶书六言联","陆恢","笔墨沉厚含汉碑遗韵，蚕头燕尾间见古雅风骨。上联静观白水，澄澈如心之盟，笔意敛藏静气；下联遍访青山，以天地为笺打稿，笔画舒展似丘壑在胸。动静相济的联句，借隶书沉稳灵动之态，铺展文人观物雅趣——于静水照见本心，于青山撷取画魂。墨色浓淡相宜，结体端方却不失活脱，每一笔皆似与自然对话，融山水之灵与书者之情于尺幅，尽显传统文人“外师造化，中得心源”的修为与意趣。",[23,25,7,1613,2136,75,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eca515ee23c93b4a552187bf680dd89.jpg","85x20.1",[96],{"id":7515,"slug":7516,"title":7517,"dynasty":179,"author":330,"museum":72,"description":1665,"tags":7518,"thumbUrl":7521,"material":79,"size":7522,"collection":95,"collections":7523,"showCount":38,"zanCount":882,"manualWeight":39,"mainColor":40},290960,"gu-kou-chun-geng-tu-wang-meng-290960","谷口春耕图",[92,24,25,75,50,51,59,57,115,2029,7519,7520,77,7],"田亩","春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2e70b6711706e72d0fd7a32ef37df4.jpg","124.9x37.1",[],{"id":7525,"slug":7526,"title":7527,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":7528,"thumbUrl":7530,"material":751,"size":752,"collection":95,"collections":7531,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},287523,"shan-shui-qiu-yu-ku-shu-tu-ye-shen-zhou-287523","山水秋雨枯树图页",[24,50,51,704,250,7,77,7529],"秋雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575f5eda6608d49616b249b8bc8e93a3.jpg",[],{"id":7533,"slug":7534,"title":7535,"dynasty":45,"author":7536,"museum":107,"description":7537,"tags":7538,"thumbUrl":7543,"material":751,"size":752,"collection":95,"collections":7544,"showCount":38,"zanCount":882,"manualWeight":39,"mainColor":40},287361,"liu-min-tu-juan-gao-qing-zhou-chen-287361","流民图卷(高清)","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[23,24,49,92,50,27,113,7539,6951,7540,7541,7,7542],"流民","狗","猴","民生疾苦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89baea17418e8268052ddf9c5e1952b0.jpg",[],{"id":7546,"slug":7547,"title":7548,"dynasty":18,"author":1387,"museum":126,"description":7549,"tags":7550,"thumbUrl":7551,"material":312,"size":7552,"collection":96,"collections":7553,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},240511,"zhu-da-yan-zhou-shan-ren-shi-zhou-zhu-da-240511","朱耷弇州山人诗轴","释文：\n當時七子才名大，誰似金甌出御題。搖筆江南開雨露，揮鞭海水卷虹霓。張公政就民堪乐，蜀國弦調聽不淒。倘许元戎過小隊，新庄亦字浣花溪。\n末识“弇州山人诗，八大山人书。”下钤“八大山人”、“何园”印二方。首钤“遥属”印一方。本幅无藏印，未见著录。\n此件作品为朱耷晚年创作。所书的这首七言律诗乃明代王世贞所作，原题为“喜肖甫中丞开府吴中”其二。“中丞”为巡抚的别称。此诗是王世贞为友人官拜巡抚，恭贺誌喜而作。原诗收入《四库全书·弇州山人四部稿》卷41，两相对照，诗句互有出入。原诗为“当时七子大名齐，谁似金瓯出御题。摇笔江南开雨露，挥鞭海外卷虹霓。张公政就真堪乐，蜀国弦调自不凄。倘许元戎过小队，新庄亦号浣花溪。”\n朱耷将篆书笔法融于行草书中所形成的独特书体，在清初书坛独树一帜。他的作品多藏锋运笔，点划圆融，转换轻便，章法布置疏密得当，错落有致，于均衡与工整当中呈现出奇特、险怪、夸张的艺术特色。线条的运用和章法的分间布白与其绘画有异曲同工之妙。",[7,398,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621ebdd18807e3f033488d97158760b7.jpg","纵200.9厘米，横76.5厘米",[96],{"id":7555,"slug":7556,"title":7557,"dynasty":18,"author":7558,"museum":126,"description":7559,"tags":7560,"thumbUrl":7561,"material":312,"size":95,"collection":96,"collections":7562,"showCount":38,"zanCount":882,"manualWeight":39,"mainColor":40},238975,"he-hua-wang-wen-zhi-ti-yong-zhou-pan-gong-shou-238975","荷花王文治题咏轴","潘恭寿","潘恭寿 （1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[75,24,25,50,27,399,400,60,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa48d2065c663302255911bf30c46e5.jpg",[96],{"id":7564,"slug":7565,"title":7566,"dynasty":18,"author":3367,"museum":126,"description":6387,"tags":7567,"thumbUrl":7568,"material":95,"size":95,"collection":35,"collections":7569,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},236194,"hua-mei-hua-zhang-zhao-shu-shi-cheng-shan-zou-yi-gui-236194","画梅花张照书诗成扇",[24,25,1250,27,29,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e5ea3cc711760373bed9285838479.jpg",[35,218],{"id":7571,"slug":7572,"title":7573,"dynasty":18,"author":454,"museum":107,"description":7574,"tags":7575,"thumbUrl":7576,"material":95,"size":95,"collection":95,"collections":7577,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},224109,"kang-xi-yong-zheng-qian-long-jia-qing-dao-guang-yu-bi-wu-fu-tu-yi-ming-224109","康熙、雍正、乾隆、嘉庆、道光御笔五福图","五幅御笔福字各擅风神：康熙之福雍容浑朴，自带庙堂端稳气象；雍正笔力爽利刚劲，法度谨严见骨力；乾隆书体圆润舒展，尽显盛世舒展意态；嘉庆落笔秀雅内敛，静穆端方；道光笔触朴拙厚重，自带沉凝质感。\n\n每字上方钤朱红帝王宝玺，小字题识附于其下，呼应御笔身份。米黄地子衬缠枝暗纹，朱印墨字相映成趣，将五朝帝王的书法意趣，与传统五福祥瑞之意相融，兼具书法审美价值与吉祥文化内涵。",[23,2135,7,25,60,77,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa5f2a0a8689aba2be7855d85362368a.jpg",[],{"id":7579,"slug":7580,"title":7581,"dynasty":45,"author":46,"museum":279,"description":7582,"tags":7583,"thumbUrl":7584,"material":2815,"size":7585,"collection":95,"collections":7586,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","此卷绘各色花卉，用笔不斤斤于形似，得花之天趣，开以后白阳，青藤花卉大写意之法门。沈周出身诗书门第，幼受严训，师承大家，饱览祖传的书画名迹，又周游名山大川，这些优厚条件，对他一生的创作，有莫大的裨益和帮助。沈周画的梅、兰、菊、竹传统文人画题，变化多样，运用彩色没骨画法，创出新颖的文人花鸟画。对后期的花卉画家影响深远。\n沈周（1427-1509），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沉贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。与文征明、唐寅、仇英并称「明四家」，是吴门画派的创始人。他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。",[23,24,25,49,27,111,29,131,139,140,135,136,137,138,285,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","27.5 X504.8厘米",[],{"id":7588,"slug":7589,"title":7590,"dynasty":18,"author":7591,"museum":72,"description":7592,"tags":7593,"thumbUrl":7594,"material":312,"size":95,"collection":96,"collections":7595,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":100},221009,"shu-hua-ce-ye-wu-hu-fan-221009","《书画册页》","吴湖帆","此作为鉴藏题签，以颜楷立骨，行书辅意。主文笔墨沉厚雄健，结体宽博开张，笔势遒劲苍浑；侧款灵动疏朗，与主文虚实相生，错落有致。浓墨配古雅笺纸，朱印鲜亮点睛，书、纸、印三者相得益彰。题字既点明藏品之珍绝，亦寄寓藏家矜惜之意，将鉴藏风雅融于笔墨之间，尽显鉴藏大家的笔墨风骨与文雅襟怀，是一件兼具鉴藏价值与书法审美意趣的文人小品。",[23,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956aee8c8c5e1ea4324478f47a3f7008.jpg",[96],{"id":7597,"slug":7598,"title":7599,"dynasty":179,"author":225,"museum":20,"description":7600,"tags":7601,"thumbUrl":7602,"material":312,"size":7603,"collection":96,"collections":7604,"showCount":38,"zanCount":882,"manualWeight":39,"mainColor":40},220851,"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[23,25,7,60,49,77,385,3477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纵达四十七点五厘米,横三百五十六厘米",[96],{"id":7606,"slug":7607,"title":7608,"dynasty":45,"author":7609,"museum":72,"description":7610,"tags":7611,"thumbUrl":7612,"material":169,"size":7613,"collection":171,"collections":7614,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[23,24,25,49,27,111,113,56,52,53,57,133,132,30,55,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[171,218],{"id":7616,"slug":7617,"title":7618,"dynasty":179,"author":2389,"museum":20,"description":7619,"tags":7620,"thumbUrl":7621,"material":94,"size":7622,"collection":63,"collections":7623,"showCount":38,"zanCount":882,"manualWeight":39,"mainColor":100},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[24,50,51,59,7,77,115,2293,54,53,250,471,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[63],{"id":7625,"slug":7626,"title":7627,"dynasty":162,"author":7628,"museum":107,"description":7629,"tags":7630,"thumbUrl":7631,"material":202,"size":7632,"collection":96,"collections":7633,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":100},214615,"jin-ci-ming-li-shi-min-214615","晋祠铭","李世民","碑上刻有 贞观二十年正月二十六日 的字样，用 飞白 书写。碑的两侧刻有一对螭龙，头朝下垂着，这是唐代碑的一个特点。碑文全文由28行1203个字符组成，每行有44-50个字符。这段文字刻在石碑的四面。石碑男性一侧的文字颂扬了唐帝国的民事和军事成就，纪念了唐帝国的早期统治。包括长孙无忌在内的有功之臣的名字都刻在石碑的阴面。在石碑的左右两侧有宋代人物的题字，他们曾到过这里，并在石碑上写下了文字。晋祠的碑文是第一个用行书写成的，被后人认为是行书的杰作，仅次于王羲之的《兰亭序》。",[1063,7,60,198,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6065f63d3f1660ddad46fd831cad70.jpg","195x122",[96],{"id":7635,"slug":7636,"title":7637,"dynasty":179,"author":180,"museum":72,"description":7638,"tags":7639,"thumbUrl":7640,"material":751,"size":752,"collection":95,"collections":7641,"showCount":7642,"zanCount":788,"manualWeight":39,"mainColor":100},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[92,24,25,75,50,51,5721,56,53,55,250,59,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":7644,"slug":7645,"title":7646,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":7647,"thumbUrl":7649,"material":751,"size":752,"collection":95,"collections":7650,"showCount":7642,"zanCount":39,"manualWeight":39,"mainColor":40},290080,"hong-hua-tu-li-zhou-wu-chang-shuo-290080","红花图立轴",[23,24,75,27,50,29,7648,250,7,77],"红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188cc8526e0cecaabcb51988541cb2c9.jpg",[],{"id":7652,"slug":7653,"title":7654,"dynasty":18,"author":1527,"museum":107,"description":7655,"tags":7656,"thumbUrl":7658,"material":751,"size":752,"collection":95,"collections":7659,"showCount":7642,"zanCount":39,"manualWeight":39,"mainColor":40},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,25,49,27,111,60,7,77,445,833,7657,284],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],{"id":7661,"slug":7662,"title":7663,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":7666,"thumbUrl":7668,"material":751,"size":752,"collection":35,"collections":7669,"showCount":7642,"zanCount":418,"manualWeight":39,"mainColor":40},235482,"huang-shen-shu-guo-tu-ce-huang-shen-235482","黄慎蔬果图册","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,25,26,50,27,7667,77,7,60],"蔬果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a06080dfb464dc2918e366572dfcfde.jpg",[35],{"id":7671,"slug":7672,"title":7673,"dynasty":18,"author":3357,"museum":126,"description":7674,"tags":7675,"thumbUrl":7676,"material":3320,"size":7677,"collection":63,"collections":7678,"showCount":7642,"zanCount":39,"manualWeight":39,"mainColor":40},234264,"wu-wai-tian-yuan-tu-ce-kun-can-234264","物外田园图册","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[23,24,50,26,59,7,51,115,250,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651a5a2e1ca54204c673178db5637fc.jpg","纵21.5cm，横16.9cm",[63],{"id":7680,"slug":7681,"title":7682,"dynasty":45,"author":46,"museum":126,"description":7683,"tags":7684,"thumbUrl":7685,"material":477,"size":95,"collection":95,"collections":7686,"showCount":7642,"zanCount":39,"manualWeight":39,"mainColor":40},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,49,50,27,59,7,60,457,51,57,56,267,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":7688,"slug":7689,"title":7690,"dynasty":88,"author":369,"museum":7691,"description":7692,"tags":7693,"thumbUrl":7694,"material":7695,"size":7696,"collection":95,"collections":7697,"showCount":7642,"zanCount":39,"manualWeight":39,"mainColor":207},232616,"shen-xiao-yu-qing-wan-shou-gong-zhao-zhao-ji-232616","神霄玉清万寿宫诏","海南省海口市五公祠","《神霄玉清万寿宫诏》碑是宋徽宗赵佶于宣和元年（1119年）用瘦金体御书的一块碑铭。他崇奉道教，自称“教自道君皇帝”，书写后令汴京神霄宫先刻碑，即后以该碑的拓本颁赐天下摹勒立碑。该碑是《清万寿宫诏》碑之一，位于海南省海口市五公祠内，另一通现存福建省莆田市元妙观三清殿内。\n《神霄玉清万寿宫诏》碑在海南琼山府城五公祠内，为宋徽宗赵佶书，海南《神霄玉清万寿宫诏》碑额已失，驮碑的巨型贔屭仍存。现存碑身高2.34米，宽1.21米，书于宣和元年。该碑瘦金体书法挺拔，舒展遒丽，运笔灵动。周刻回文，中暗刻青龙十八条。宋徽宗笃信道教，该碑于汴京刻成后，拓片分发全国各地翻刻竖立。宋徽宗是亡国之君，其碑刻多被后人毁坏\n据可考史料，全国仅存两尊《神霄玉清万寿宫诏》碑，除了五公祠内这一尊，另一尊现存福建省蒲田市元妙观三清殿内。 海南岛上的这通《神霄玉清万寿宫诏》碑原立在琼州府城的天庆观内，元初改称玄妙观，明更名为玉皇庙，清初玉皇庙倒塌。但这通碑被完整地保存下来，几经迁移，1983年移立于两伏波祠前拜亭内；1994年被公布为海南省第一批文物保护单位；2001年又同五公祠一起被公布为第五批全国重点文物保护单位。\n该碑高2.55米，宽1.3米，厚0.29米，正面光平如镜，背面保留开凿时的原貌。碑文竖行，16行，366字，瘦金体，无标点符号，右行“神霄玉清万寿宫诏御制御书”，正文主要阐述了宋徽宗崇信道教的缘由。\n碑文原文:道者，体之可以即至神；用之可以挈天地；推之可以治天下国家，可使一世之民，举得其恬淡寂常之真，而跻于仁寿之域。朕思是道，人所固有，沉迷既久，待教而兴。俾欲革末世之流俗，还隆古之纯风。盖尝稽参道家之说，独观希夷之妙。\n钦惟长生大帝君、青华大帝君，体道之妙，立乎万物之上。统御神霄，监观万国无疆之休。虽眇躬是荷，而下民之命，实明神所司。乃诏天下，建神霄玉清万寿宫，以严奉祀。自京师始，以致崇极，以示训化，累年于兹，诚忱感格，高厚博临。属者，三元八节，按冲科、启净供，风马云车，来顾来飨。震电交举，神光烛天，群仙翼翼，浮空而来者，或掷宝剑，或洒玉篇，骇听夺目，追参化元。卿士大夫，侍卫之臣，悉见悉闻，叹未之有，咸有纪述，著之简编。\n呜呼！朕之所以隆振道教，帝君之所以眷命孚佑者，自帝皇以还，数千年绝道之后，乃复见于今日，可谓盛矣！岂天之将兴斯文以遗朕，而吾民之幸，适见正于今日耶？布告天下，其谕朕意，毋忽。乃令京师神霄玉清万寿宫刻诏于碑，以碑本赐天下，如大中祥符故事，摹勒立石，以垂无穷。\n宣和元年八月十二日奉圣旨立石。",[23,7,372,199,49,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4739e1d31d9aef0754aa90b310aebc23.jpg","碑","高2.55米，宽1.3米，厚0.29米",[],{"id":7699,"slug":7700,"title":7701,"dynasty":88,"author":369,"museum":107,"description":7702,"tags":7703,"thumbUrl":7704,"material":95,"size":95,"collection":95,"collections":7705,"showCount":7642,"zanCount":882,"manualWeight":39,"mainColor":40},227490,"gong-shi-fang-qiu-chi-zhao-ji-227490","恭事方丘敕","宋徽宗赵佶《恭事方丘敕》质地为五幅不同颜色的均描有金花凤的罗绢，又名《方丘礼戍答妃嫔起居敕》、《方丘季享敕》。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1cb57e70671faa9fe3a3135ca50598.jpg",[],{"id":7707,"slug":7708,"title":7709,"dynasty":7710,"author":454,"museum":107,"description":7711,"tags":7712,"thumbUrl":7715,"material":751,"size":752,"collection":95,"collections":7716,"showCount":7642,"zanCount":39,"manualWeight":39,"mainColor":40},226725,"xin-shi-qi-shi-dai-wan-qi-yi-ming-226725","新石器时代晚期","新石器时代","中国的新石器时代是原始社会氏族公社制由全盛到衰落的一个历史阶段。它以农耕和畜牧的出现为划时代的标志，表明已由依赖自然的采集渔猎经济跃进到改造自然的生产经济。磨制石器、制陶和纺织的出现，也是这一时代的基本特征。因而，新石器时代在中国历史上是古代经济、文化向前发展的新起点。中国新石器文化至少要在距今10000年前，实际开始年代还当更早；一般延续到前2000年左右",[7710,7713,7,574,7714],"雕刻","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d695e831ffaf136601e2f1ba1ecdf1.jpg",[],{"id":7718,"slug":7719,"title":7720,"dynasty":45,"author":7721,"museum":20,"description":7722,"tags":7723,"thumbUrl":7724,"material":27,"size":7725,"collection":35,"collections":7726,"showCount":7642,"zanCount":882,"manualWeight":39,"mainColor":40},222448,"hua-niao-tu-zhou-lin-liang-222448","花鸟图轴","林良","林良作花鸟画取材十分广泛。他最擅于画禽鸟，从江湖山野的苍鹰、小雀、鱼鸟、芦雁，到宫廷后苑的仙鹤、孔雀、凤凰等等，都一一入画。他对禽鸟作了细致入微的观察，将禽鸟的飞鸣食宿之态，跳攀争斗之势表现得十分准确、生动、传神。林良画的花木同样是生气勃勃：汀芦、灌木、翠枝、枯藤等植物呈现出含苞养秀、荣枯凋落等各种生态，充满野趣和生机。\n林良在花鸟画领域中，最具创造性的是他对水墨写意技法的运用。他把南宋马远、夏圭的水墨山水画技法引入花鸟画之中，打破了工笔与写意的界限，大大丰富了花鸟画的表现方法。而林良的写意，又只是在写实之中略为开放，既不背离形似，又不着意于酷似。他以水墨为主作画，黑白变化多端。萧镃于明景泰六年为林良的《九思图》题曰：“……宣庙间，边景昭五色翎毛称独步，近日林良用水墨，落笔往往皆天趣。”《明画录》则称林良“着色花果翎毛极精巧，取水墨为烟波出没，凫雁嚵唼容与之态，颇见清淡。树木遒劲如草书，人莫能及。”",[23,24,75,50,129,29,693,1763,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a383be487dab662a8b62819082463dd.jpg","36X183cm",[35,187],{"id":7728,"slug":7729,"title":7730,"dynasty":88,"author":89,"museum":72,"description":7012,"tags":7731,"thumbUrl":7732,"material":4606,"size":7733,"collection":96,"collections":7734,"showCount":7642,"zanCount":882,"manualWeight":39,"mainColor":40},221267,"shu-han-shan-zi-pang-ju-shi-shi-juan-huang-ting-jian-221267","书寒山子庞居士诗卷",[7,60,49,312,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdc8b7f6439835438af172d141a859d.jpg","纵29.1厘米，横213.8厘米",[96],{"id":7736,"slug":7737,"title":7738,"dynasty":179,"author":7739,"museum":279,"description":7740,"tags":7741,"thumbUrl":7742,"material":169,"size":7743,"collection":171,"collections":7744,"showCount":7642,"zanCount":882,"manualWeight":39,"mainColor":100},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","王振鹏","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,25,49,1128,111,27,113,458,56,57,53,55,52,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[171,218],{"id":7746,"slug":7747,"title":7748,"dynasty":88,"author":3014,"museum":442,"description":5928,"tags":7749,"thumbUrl":7750,"material":169,"size":5931,"collection":95,"collections":7751,"showCount":7642,"zanCount":39,"manualWeight":39,"mainColor":40},218059,"song-di-ming-ti-ce-wu-ma-yuan-218059","宋帝命题册(五)",[23,24,25,26,27,51,704,52,113,7,77,60,53,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7665b03ac750068444024f2eb3650a7.jpg",[],{"id":7753,"slug":7754,"title":7755,"dynasty":45,"author":1313,"museum":72,"description":7756,"tags":7757,"thumbUrl":7759,"material":79,"size":95,"collection":63,"collections":7760,"showCount":7642,"zanCount":882,"manualWeight":39,"mainColor":40},214613,"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[24,25,26,50,59,7,51,5721,56,58,1678,473,251,7758],"植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[63],{"id":7762,"slug":7763,"title":7764,"dynasty":2365,"author":2366,"museum":107,"description":4860,"tags":7765,"thumbUrl":7770,"material":751,"size":752,"collection":95,"collections":7771,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":100},290013,"he-le-shi-nv-tu-zhou-wen-ju-290013","合乐仕女图",[23,24,49,1986,111,27,114,749,427,7766,7767,7768,7,60,77,7769],"奏乐","室内场景","闺阁","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66132f9f2e6e9d33fbf23643535dd1c2.jpg",[],61,{"id":7774,"slug":7775,"title":7776,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":7777,"thumbUrl":7780,"material":751,"size":752,"collection":95,"collections":7781,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":40},288273,"xiao-pin-shi-tao-288273","小品",[24,7776,27,7778,7,77,7779],"蕉叶","悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebeed5d921918aa4363b232b4501e06.jpg",[],{"id":7783,"slug":7784,"title":7785,"dynasty":179,"author":1324,"museum":72,"description":7786,"tags":7787,"thumbUrl":7788,"material":751,"size":752,"collection":95,"collections":7789,"showCount":7772,"zanCount":882,"manualWeight":39,"mainColor":40},287665,"yuan-xiu-shu-shi-tu-ni-zan-287665","远岫树石图","图中绘平坡远岫，疏林草亭，笔简意远，惜墨如金，干中见湿，躁中带润。以侧锋干笔作皴，名为“折带皴”。书法从隶入，有晋人风度。倪瓒擅画山水、墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。",[24,92,25,75,50,51,704,471,250,55,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d5d71527524ae1af5a4236a60b1794.jpg",[],{"id":7791,"slug":7792,"title":7793,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":7794,"thumbUrl":7795,"material":751,"size":752,"collection":95,"collections":7796,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":40},283738,"fang-gu-shan-shui-ce-shi-kai-dong-qi-chang-283738","仿古山水册（十开）",[92,24,26,50,51,57,53,56,152,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9ee79f5dfee7fbf9889135e8f1f2b7.jpg",[],{"id":7798,"slug":7799,"title":7800,"dynasty":179,"author":1187,"museum":72,"description":7801,"tags":7802,"thumbUrl":7805,"material":784,"size":7806,"collection":95,"collections":7807,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":40},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[92,24,25,49,27,1127,111,51,77,7,60,457,651,360,54,56,471,7803,113,553,252,7804,7758],"渡口","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],{"id":7809,"slug":7810,"title":4381,"dynasty":105,"author":4382,"museum":107,"description":7811,"tags":7812,"thumbUrl":7813,"material":751,"size":752,"collection":95,"collections":7814,"showCount":7772,"zanCount":882,"manualWeight":39,"mainColor":40},231019,"bo-yuan-tie-wang-xun-231019","王珣（349年－400年6月24日），字元琳，小字法护，琅琊临沂（今山东省临沂市）人。东晋时期大臣、书法家，丞相王导之孙、中领军王洽之子。\n王珣出身琅琊王氏，初任大司马（桓温）主簿，深得桓温敬重，累迁琅邪王友、中军（桓冲）长史、给事黄门侍郎。太傅谢安当政，授秘书监。以才学文章受知于晋孝武帝司马曜，成为心腹大臣，累迁左仆射、征虏将军，领太子詹事。隆安元年（397年），迁尚书令。司马道子征讨王恭时，担任卫将军、都督琅琊水陆军事。平乱有功，加位散骑常侍。隆安四年（400年），王珣去世，时年五十二，获赠车骑将军、开府仪同三司，谥号“献穆”，累赠司徒。著有文集十一卷。\n王珣工于书法，董其昌称其“潇洒古澹，东晋风流，宛然在眼。”其代表作《伯远帖》是东晋时难得的法书真迹，且是东晋王氏家族存世的唯一真迹，一直被历代书法家、收藏家、鉴赏家视为稀世瑰宝。",[23,7,60,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb510a3c7978fb7554da6286166e9e069.jpg",[],{"id":7816,"slug":7817,"title":7818,"dynasty":88,"author":355,"museum":107,"description":7819,"tags":7820,"thumbUrl":7821,"material":95,"size":95,"collection":95,"collections":7822,"showCount":7772,"zanCount":882,"manualWeight":39,"mainColor":207},227687,"shen-long-jiu-xian-tu-juan-chen-rong-227687","神龙九现图卷","在中国文化中，“龙”可谓是至高无上的图腾。从龙身人首的伏羲、女娲，再到“黄帝龙轩辕氏龙图出河”。龙的传人们对这个腾云驾雾、翱翔九天神秘形象充满敬畏，而以为精神寄托。乃至进入互联网时代，亦有着诸多亲眼见真龙的都市传说广为流传。",[23,24,25,49,50,27,359,51,845,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d3746f4b89b0a937e5719e8b89fb81.jpg",[],{"id":7824,"slug":7825,"title":7826,"dynasty":162,"author":454,"museum":107,"description":7827,"tags":7828,"thumbUrl":7830,"material":95,"size":95,"collection":95,"collections":7831,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":100},227227,"fo-jiao-xin-jing-yi-ming-227227","佛教 心经","《般若波罗蜜多心经》（梵语：प्रज्ञापारमिताहृदय Prajñāpāramitāhṛdaya 藏语：བཅོམ་ལྡན་འདས་མ་ཤེས་རབ་ཀྱི་ཕ་རོལ་ཏུ་ཕྱིན་པའི་སྙིང་པོ）是大乘佛教表达空性和般若波罗蜜观点的经典，又称《摩诃般若波罗蜜多心经》，简称《般若心经》、《心经》。本经是《大品般若经》的别生经，取自〈习应品〉和〈劝持品〉，作为《大般若经》的精要而集出，无序分与流通分。与《金刚经》并为通行最广的般若经。",[23,1063,878,7,386,199,27,25,3479,7829],"装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2848fc08995900089c6b332fd8a712.jpg",[],{"id":7833,"slug":7834,"title":7835,"dynasty":179,"author":4239,"museum":2379,"description":4240,"tags":7836,"thumbUrl":7837,"material":784,"size":7838,"collection":171,"collections":7839,"showCount":7772,"zanCount":882,"manualWeight":39,"mainColor":100},221770,"ren-ma-tu-ren-ren-fa-221770","人马图",[23,24,25,49,111,27,1074,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476e55f8d28399ffef02dac57ac64f66.jpg","纵：50.6cm，横：36cm",[171,218],{"id":7841,"slug":7842,"title":7843,"dynasty":7844,"author":7845,"museum":72,"description":7846,"tags":7847,"thumbUrl":7848,"material":312,"size":95,"collection":96,"collections":7849,"showCount":7772,"zanCount":788,"manualWeight":39,"mainColor":100},221050,"ping-shu-tie-zhi-guo-221050","评书帖","隋","智果","智果，隋仁寿年间书法家，师从智永，会稽（今浙江绍兴）人。隋炀帝曾说“智永得右军（王羲之）肉，智果得右军骨。”",[7,199,26,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe564d6e36aaa834951fd5f5ade936548.jpg",[96,802],{"id":7851,"slug":7852,"title":7853,"dynasty":105,"author":637,"museum":72,"description":7854,"tags":7855,"thumbUrl":7856,"material":682,"size":5702,"collection":96,"collections":7857,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":40},221037,"yuan-huan-tie-wang-xi-zhi-221037","远宦帖","《远宦帖》亦称《省别帖》，为《十七帖》丛帖第十五通尺牍。草书，6行，53字。王羲之在信中对周抚对家人的问候表示感谢，提及自己的妻子的情况时，对其病重非常担忧。信中还问及陶侃家人和一些同僚的近况。《中国书法全集》对《远宦帖》的书法风格评价为“偏锋侧锋甚明显，体势多有章草意味”。用笔与气势\n《远宦帖》草法以简约为主，虽间有萦绕，亦简略不繁。两字连属者仅有“省别”、“小大”、“子亦”、“数问”、“救命”、“足下”六处，无三字相连者。偶有收笔如章草者，如“不”字，也因笔毫不易遣锋之故，“远”字最后之萦绕，向上回笔处笔锋分岔，正能说明用笔为硬毫，使转、收纵不甚灵便。《远宦帖》其字间隔不大，较为拥密，与《十七帖》中间疏润者不类。字形多向横扁发挥，无一笔纵情直下者。行距颇有余地。\n整篇气势虽不畅速，但和谐无碍，中无滞阻之处。笔画洒落有致，粗细之间匀净清爽，又不失其古朴之趣，从中甚可体会古人作草并不一味求其潦草恣肆，而是凝重而无阻塞；但全面来看，气充意随，一气呵成，如瀑流之激荡，时有浪花泛起，足可流连其间，领悟寄情其间，遣词造句之含蕴。\n《省别帖》用笔的来龙去脉交代得非常清晰，体现了王羲之草书线条的丰富性——用笔中的圆转、方折、连带、割断、轻重、提按等对立因素在起笔、收笔、运笔过程中的运用与变化。其次，结构与章法方面的大小错落、左右穿插、上下移位等因素，也增加了字势的运动感，显得虚活灵动，生机盎然。",[23,7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef2a681f2096c798987eb1d125aaa3e.jpg",[96,802],{"id":7859,"slug":7860,"title":7861,"dynasty":179,"author":225,"museum":126,"description":7862,"tags":7863,"thumbUrl":7864,"material":312,"size":7865,"collection":96,"collections":7866,"showCount":7772,"zanCount":882,"manualWeight":39,"mainColor":40},220859,"lin-yu-zhen-lan-ting-zhao-meng-fu-220859","临玉枕兰亭","关于玉枕兰亭传说颇多，有言贾秋壑得一石枕，光莹可爱，使廖莹中以灯影缩小法刻于灵壁石上，宛如定武本，缺损处皆全，人称玉枕兰亭。\n缩临古帖，历来有之，似为携带方便，可以随时展玩，故有《玉枕兰亭》之传。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。赵孟頫不仅有此《缩本兰亭》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为“笔法位置全然相似，亦当世之名迹也”。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种“游戏”。但赵孟頫是落笔便作千古想的，所以 “虽戏写亦如欲刻金石”，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[7,60,110,77,49,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e32b4427919d25ac2c78252539055fa.jpg","纵7.1厘米，横26.2厘米",[96],{"id":7868,"slug":7869,"title":7870,"dynasty":179,"author":225,"museum":126,"description":7871,"tags":7872,"thumbUrl":7873,"material":7874,"size":7875,"collection":314,"collections":7876,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":100},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[23,24,25,49,27,29,132,116,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 设色画","纵25.4厘米,横36.2厘米",[314,35,218],{"id":7878,"slug":7879,"title":7880,"dynasty":88,"author":7359,"museum":7881,"description":7882,"tags":7883,"thumbUrl":7884,"material":94,"size":95,"collection":63,"collections":7885,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":40},219920,"dong-ting-qiu-yue-tu-yu-jian-219920","洞庭秋月图","日本文化厅","南宋玉涧的《洞庭秋月图》描绘了楼阁、圆月和树枝等，栩栩如生在大片的留白处题诗一首：“四面平湖月满出，一阿螺髻镜中看，岳阳楼上听长笛，诉尽崎岖行路难。洞庭秋月。”月光如泻，笛声悠扬，画中有声，诗画辉映，足见玉涧是一位集诗、书、画三绝为一身的僧人。",[23,92,24,25,49,50,7,77,51,678,55,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e259371a089172ab221af814ccd9dc.jpg",[63],{"id":7887,"slug":7888,"title":7889,"dynasty":45,"author":1015,"museum":126,"description":7890,"tags":7891,"thumbUrl":7892,"material":33,"size":7893,"collection":96,"collections":7894,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":40},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,25,49,1689,50,27,111,51,458,52,53,55,56,57,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[96,63],{"id":7896,"slug":7897,"title":7898,"dynasty":88,"author":3014,"museum":442,"description":5928,"tags":7899,"thumbUrl":7900,"material":169,"size":5931,"collection":95,"collections":7901,"showCount":7772,"zanCount":39,"manualWeight":39,"mainColor":40},218055,"song-di-ming-ti-ce-liu-ma-yuan-218055","宋帝命题册(六)",[23,24,25,26,27,59,1018,113,51,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b3aa4b6ef4e2b674f3089d196e80f2.jpg",[],{"id":7903,"slug":7904,"title":7905,"dynasty":45,"author":744,"museum":107,"description":897,"tags":7906,"thumbUrl":7907,"material":751,"size":752,"collection":95,"collections":7908,"showCount":7909,"zanCount":882,"manualWeight":39,"mainColor":100},290856,"cai-ju-tu-zhou-tang-yin-290856","采菊图轴",[92,24,75,113,140,50,27,7,77,568,6054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a061be1d2856741760d4fcc7b396d5.jpg",[],60,{"id":7911,"slug":7912,"title":7913,"dynasty":45,"author":744,"museum":107,"description":897,"tags":7914,"thumbUrl":7916,"material":751,"size":752,"collection":95,"collections":7917,"showCount":7909,"zanCount":882,"manualWeight":39,"mainColor":40},290852,"pin-cha-tu-zhou-tang-yin-290852","品茶图轴",[92,24,25,75,50,7,77,60,199,51,113,704,57,58,7915],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c39e34cc459a2556e9473dfeb7bd579.jpg",[],{"id":7919,"slug":7920,"title":7921,"dynasty":162,"author":3162,"museum":648,"description":7922,"tags":7923,"thumbUrl":7924,"material":312,"size":7925,"collection":95,"collections":7926,"showCount":7909,"zanCount":882,"manualWeight":39,"mainColor":100},232269,"gu-shi-si-tie-zhang-xu-232269","古诗四帖","通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。”今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”\n释文:东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问棘花。应逐上元酒，同来访蔡家。\n北阙临丹水，南宫生绛云。龙泥印玉简，大火练真文。上元风雨散，中天哥吹分。虚驾千寻上，空香万里闻\n谢灵运王子晋赞\n淑质非不丽，难之以万年。储宫非不贵，岂若上登天。王子复清旷，区中实哗嚣。喧既见浮丘公，与尔共纷翻。\n岩下一老公，四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不别可？其书非世教，其人必贤哲。\n备注:《古诗四帖》录文为四首诗赋。前两首分别是南北朝庾信的《道士步虚词》之六和之八，后两首是南朝谢灵运的《王子晋赞》和《岩下见一老翁四五少年赞》。\n《庾子山集》和《谢灵运集校注》分别录有原文如下：\n东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问枣花。上元应送酒，来向蔡经家。\n北阙临玄水，南宫生绛云。龙泥印玉策，大火炼真文。上元风雨散，中天歌吹分。灵驾千寻上，空香万里闻。\n谢灵运王子晋赞\n淑质非不丽，难以之百年。储宫非不贵，岂若登云天。王子爱清净，区中实骅嚣。喧既见浮丘公，与尔共纷翻。\n岩下见一老翁四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不可别。其书非世教，其人必贤哲。\n《古诗四帖》是否为张旭所作，尚有争议，但它是张旭笔法系统中一件重要的作品。它大部分线条不强调提按，而重视粗细均匀的线条中使转与速度的变化。中侧锋并用，笔锋常落在线条端部的一侧，但立即转为中锋；同时流畅中又往往生出圭角，如“年”、“别”等字，有不可端倪之感。左右部分衔接时，有时用粗重的线条。这一点在颜真卿《刘中使帖》中“期”、“将”的笔触也可看到，通过此点能看到颜、张的关系。\n狂草中的点画与其他书体中的点画不同。其一，狂草点画在连续运动中完成，而且较为快速，对控制用笔的敏捷、准确有很高要求；其二，其他书体字体中留驻、按顿等常用的方法在狂草中无法使用，只能更多地依靠手腕及其他关节的控制，因此在临习中一定要找到与点画形状相配合的运动方式。一种点画，书家可以用不同的笔法临写出大体相似的形状，但对狂草来说，只有自然而流畅地书写出这一形状才是可取的，其它操作方法不是把学习者和欣赏者引向另一种风格，而是引人离开草书。\n《古诗四帖》中有少量弱笔，但无损于整个作品的流动、敦厚，就大部分线条而言，已达到得心应手、落笔成趣的境界。草书中不离法则而随意驱运法则，这是高闲等人从来不曾梦想过的境地。\n“四帖”中真正使人感到意外的还是字结构。由于阅读与欣赏习惯的影响，“单字结构”总是欣赏者感觉中甩不掉的一个层面。与张旭其他作品相比，这件作品不符合他惯常的构字规则。\n《古诗四帖》属狂草。特点是较过去更为狂放，整体气势如长江大河一泻千里，急风骤雨，所以在草书发展史上是新突破。它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。\n《古诗四帖》，张旭自己并未书款，说它是张旭作品是根据董其昌鉴定， 后人多沿此说，但也颇有争议。\n张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。\n《古诗四帖》笔法奔放不羁，如惊电激雷，倏忽万里，而又不离规矩。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。董其昌评说：“有悬崖坠，急雨旋风之势。”\n《古诗四帖》通篇气势奔放，运笔无往不收，如锥划沙，无纤巧浮华之笔。盛唐时期，以张旭为代表的一派草书风靡一时，它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。正如唐代文学家韩愈《送高闲上人序》中所云：“张旭善草书，不冶它技，喜怒窘穷，忧悲愉佚，怨恨，思慕，酣醉无聊，不平，有动于心，必于从草书焉发之。”\n《古诗四帖》早在北宋宋仁宗嘉佑年间已有刻本流传，墨迹进入北宋内府。“靖康之乱”散入民间，南宋后期为贾似道收藏。后转入南宋收藏家赵与勤家。明代归著名收藏家华夏的真赏斋，后又归项元汴，清时入内府。\n宋《宣和书谱》定为南北朝谢灵运书，元明时《云烟过眼录》、《珊瑚网书跋》、《平生壮观》均有记载，传至明朝中期，对作者产生怀疑，直到董其昌，才从诗韵变化揭示原说破绽并据草书肯定为张旭之作。《石渠宝笈初编》将此帖误断为赝品。\n关于是否是张旭真迹，明清均有争议，到现在仍有学者有不同意见。",[23,92,24,25,7,49,398,77,27,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b552411f9ee44f8aa35e32c763c8a8.jpg","纵28.8厘米，横192.3厘米",[],{"id":7928,"slug":7929,"title":7930,"dynasty":18,"author":830,"museum":107,"description":7931,"tags":7932,"thumbUrl":7933,"material":95,"size":95,"collection":95,"collections":7934,"showCount":7909,"zanCount":39,"manualWeight":39,"mainColor":789},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[23,24,25,75,27,50,131,134,834,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],{"id":7936,"slug":7937,"title":3182,"dynasty":45,"author":342,"museum":3183,"description":3184,"tags":7938,"thumbUrl":7939,"material":312,"size":3187,"collection":96,"collections":7940,"showCount":7909,"zanCount":882,"manualWeight":39,"mainColor":40},222000,"teng-wang-ge-xu-wen-zheng-ming-222000",[23,49,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b095c13f4a79bfda9cd3f00c324864.jpg",[96],{"id":7942,"slug":7943,"title":7944,"dynasty":45,"author":342,"museum":3743,"description":7945,"tags":7946,"thumbUrl":7947,"material":1179,"size":7948,"collection":63,"collections":7949,"showCount":7909,"zanCount":788,"manualWeight":39,"mainColor":100},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,25,49,27,51,60,7,59,111,251,553,458,52,53,54,55,116,56,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[63,218],{"id":7951,"slug":7952,"title":1070,"dynasty":88,"author":1071,"museum":126,"description":7953,"tags":7954,"thumbUrl":7955,"material":784,"size":7956,"collection":95,"collections":7957,"showCount":7909,"zanCount":788,"manualWeight":39,"mainColor":40},221676,"zhao-ling-liu-jun-tu-zhao-lin-221676","此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,24,25,49,27,111,1074,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93242b603674493d0c3b514b8339e19.jpg","纵27.4厘米，横444.9厘米",[],{"id":7959,"slug":7960,"title":7961,"dynasty":88,"author":6022,"museum":126,"description":7962,"tags":7963,"thumbUrl":7964,"material":784,"size":7965,"collection":314,"collections":7966,"showCount":7909,"zanCount":882,"manualWeight":39,"mainColor":100},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,24,25,49,112,27,60,7,113,458,56,2074,51,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[314,63,218],{"id":7968,"slug":7969,"title":7970,"dynasty":162,"author":1060,"museum":648,"description":7971,"tags":7972,"thumbUrl":7973,"material":312,"size":95,"collection":96,"collections":7974,"showCount":7909,"zanCount":788,"manualWeight":39,"mainColor":40},221107,"qian-zi-wen-quan-juan-ou-yang-xun-221107","千字文全卷","《千字文》为南北朝时周兴嗣编纂，全文共1000字，四字成句，对仗工整，文句平白如话，易诵易记，是中国最重要的蒙学教材之一，并译有多语种传于海外。\n自《千字文》出，历代书家无有例外，必常年书写，终生不倦。据载，隋智永法师所书真草《千字文》800册，分送于当时浙东诸寺。又如赵孟頫、文徵明等书家一生所书《千字文》无数，无不尽思其妙，更有两体、四体、六体不同风貌。《千字文为》为历代书家所重，多做日常必修。近有于右任、王蘧常、黄宾虹、沈尹默等《千字文》作品名世。可见，《千字文》不该为当代所轻。\n《千字文》不仅以古代蒙学作为中国传统文化内容之一再提及，同时作为书法当今常规书写题材，都有着一定的意义。此系列专题意在飨有所好，若勤而常习，自有裨益。",[23,7,199,49,25,77,200,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62dd6476b0650a40a9ab1d2aee27b171.jpg",[96],{"id":7976,"slug":7977,"title":7978,"dynasty":105,"author":1642,"museum":107,"description":7979,"tags":7980,"thumbUrl":7981,"material":384,"size":95,"collection":802,"collections":7982,"showCount":7909,"zanCount":39,"manualWeight":39,"mainColor":100},221025,"luo-shen-fu-shi-san-xing-bi-yu-ban-wang-xian-zhi-221025","洛神赋十三行·碧玉版","《洛神赋》是三国时期文学家曹植创作的辞赋名篇。以浪漫主义手法虚构了自己与洛神的邂逅和彼此思恋爱慕的故事。描写人神之间的真挚爱情，但终因“人神殊道”无法结合而惆怅分离。\n《玉版十三行》是王献之小楷代表作，被誉为“小楷极则”，笔画隽秀挺拔，结字萧散逸荡，顾盼有致，盛名千年不衰。墨迹在宋元时有两本，一为晋麻笺本，一为唐硬黄本，上有柳公权跋，疑为柳公权临本。王献之写过不只一本《洛神赋》，原本墨迹写在晋麻笺纸上，也称晋麻笺本，但流传到唐宋时代就已经首尾残损缺失。如今真迹已不复存在了，唯留南宋时残存的竖版十三行二百五十余字内容小楷作品，在宋代的著录类图书《寳刻類編》中，使用了“《洛神赋》十三行”的称谓，自明代以来普遍称为“十三行”，故称“洛神赋十三行”，简称“十三行”。\n后人相传南宋晚期权相贾似道先得晋麻笺本九行，后又续得四行，乃命巧匠摹刻十三行于佳石之上。因石色深暗青碧材质细腻如玉，出于对书法作品的尊敬，后人尊称为玉版，世称“玉版十三行”，又称“碧玉十三行”。\n后因宋元战火“玉版十三行”石版下落不明，直至明万历年间，在杭州西湖葛岭半闲堂旧址地下发现一方石刻，因其出土地为贾似道半闲堂旧址，时人根据各种资料推论，这就是晋麻笺本“玉版十三行”。“玉版十三行”复得后，归陆梦鹤、翁嵩年。\n这件“碧玉版十三行”到底是谁刻的，目前来说还没有定论，有人认为是翻刻自《寶晉齋法帖》，而《寶晉齋法帖》是南宋曹知格所刻，成于咸淳四年（1268年）。目前藏于首博的这件“玉版十三行”被鉴定为宋代刻石。\n目前认为流传下来的刻本为宋代根据真迹上石的拓本，包括“碧玉版”和“白玉版”两种，“白玉版”为明、清两代宫廷命巧匠根据“碧玉版”将其内容摹刻于白玉之上，有明版和清乾隆版两种，为“碧玉版”的翻版。明“白玉版本”，笔划比“碧玉版本”略枯瘦，石花剥落处有刀刻的痕迹，可知是“碧玉版”翻刻本。明“白玉版”在清代嘉庆三年毁于乾清宫火灾。",[199,198,7,200,7714,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357fc44a3319b6da2cf411f5a623960e.jpg",[802],{"id":7984,"slug":7985,"title":7986,"dynasty":45,"author":1313,"museum":107,"description":7987,"tags":7988,"thumbUrl":7993,"material":7994,"size":7995,"collection":96,"collections":7996,"showCount":7909,"zanCount":882,"manualWeight":39,"mainColor":40},220966,"tao-yuan-ming-yin-jiu-shi-si-shou-juan-dong-qi-chang-220966","陶渊明饮酒诗四首卷","陶渊明对于后世书法家的影响不可谓不深远。明代的书陶者以“吴中三家”祝允明、文徵明、王宠的成就为最高，但在现存的针对“吴中三家”的研究文献中，对于王宠的研究为最少，论及陶渊明于王宠之影响者更少。在笔者看来，王宠书法承祝、文二家而自出机杼，书法中的禅趣古意实则为三家中最高者，实则获陶渊明之精髓。而随后的董其昌更是在理论的高度吸收了陶渊明的思想，提倡平淡率真的书法品格，对后世产生了巨大影响。但以往对董其昌与陶渊明关系的分析又多浮于表面，多数仅就意象、风格之相似或文辞用典的使用做文章。笔者旨在通过考查王宠、董其昌二人的书法、书论，来进一步阐述陶渊明对于中国文化的巨大影响。",[23,7,60,49,140,651,693,133,446,7989,7990,7991,3038,2175,6129,7992],"霜","日夕","杯","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa855cec2eb1d059b8471f7fba71c89f4.jpg","行草","25x269厘米",[96],{"id":7998,"slug":7999,"title":8000,"dynasty":45,"author":1313,"museum":72,"description":8001,"tags":8002,"thumbUrl":8003,"material":682,"size":8004,"collection":63,"collections":8005,"showCount":7909,"zanCount":39,"manualWeight":39,"mainColor":40},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,25,50,51,59,110,7,60,77,52,53,56,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[63,187],{"id":8007,"slug":8008,"title":8009,"dynasty":18,"author":454,"museum":72,"description":8010,"tags":8011,"thumbUrl":8012,"material":33,"size":8013,"collection":35,"collections":8014,"showCount":7909,"zanCount":882,"manualWeight":39,"mainColor":40},216208,"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 是一件佚名的清朝时期的著名画作。这幅画描绘了一匹神骏的马，看起来非常生动和真实。据说这幅画是宣宗本人亲笔题写的，因此得名。宣宗（生于1711年，卒于1735年）是清朝乾隆皇帝的第三个儿子，在位期间，他对文化艺术有着浓厚的兴趣。这幅画被认为是宣宗对艺术的贡献之一，同时也是清朝时期的艺术瑰宝。",[23,24,25,27,111,1074,798,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5818583a57e5269ba4a314a5f27b2ed.jpg","292.6x257.3cm",[35],{"id":8016,"slug":8017,"title":8018,"dynasty":45,"author":8019,"museum":72,"description":8020,"tags":8021,"thumbUrl":8022,"material":79,"size":8023,"collection":96,"collections":8024,"showCount":7909,"zanCount":39,"manualWeight":39,"mainColor":40},214228,"cao-shu-wu-yan-lian-xu-guang-zuo-214228","草书五言联","许光祚","许光祚是明朝时期的一位著名草书家。他的草书五言联（五言绝句）是他的代表作之一。五言绝句是一种中国文学体裁，由五个五言诗组成。每一行均为五个字，共十行，句尾不须规定韵脚。五言绝句常被用于写诗，也可以用来写论文、散文等。许光祚的草书五言联被认为是其代表作之一，以其优美的笔法和优秀的构思著称。",[23,7,398,2136,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e52251aeb0efb31a0c91c6b12d432.jpg","150.9x29.9",[96],{"id":8026,"slug":8027,"title":8028,"dynasty":45,"author":5526,"museum":126,"description":8029,"tags":8030,"thumbUrl":8031,"material":751,"size":752,"collection":95,"collections":8032,"showCount":8033,"zanCount":788,"manualWeight":39,"mainColor":100},289995,"chan-gong-yue-tu-tu-tao-cheng-289995","蟾宫月兔图","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。",[24,92,75,111,27,1127,132,900,678,51,53,57,901,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c9583ba3902ef676ff0c13ef74bb75.jpg",[],59,{"id":8035,"slug":8036,"title":8037,"dynasty":105,"author":8038,"museum":107,"description":8039,"tags":8040,"thumbUrl":8041,"material":751,"size":752,"collection":95,"collections":8042,"showCount":8033,"zanCount":39,"manualWeight":39,"mainColor":40},288066,"zhong-lang-tie-xie-an-288066","中郎帖","谢安","《中郎帖》是传为东晋人谢安书写的一封报丧书信，信中告知中郎突然去世的消息，同时表达了自己内心痛苦不堪、难以忍受的情感。\n《中郎帖》又称《八月五日帖》。此帖有“德寿”玺印，为南宋高宗之印（高宗赵构做太上皇时曾退居德寿殿），另据此帖纸、墨等判断，可确认它为南宋绍兴御书院中人所临摹的古帖，虽然不是谢安的真迹，依然宝贵。\n在南宋，由于高宗以来历代皇帝对二王及晋人书的嗜好，上行下效，使南宋书风充满古雅萧散的气质。此帖行笔圆转流畅，笔法纯熟，具有典雅丰腴、气度雍容的特点。",[23,7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01a21dca3941d610e11a94e8d446ca5.jpg",[],{"id":8044,"slug":8045,"title":8046,"dynasty":179,"author":454,"museum":126,"description":8047,"tags":8048,"thumbUrl":8050,"material":519,"size":8051,"collection":63,"collections":8052,"showCount":8033,"zanCount":39,"manualWeight":39,"mainColor":40},239526,"ni-zan-qiu-ting-jia-shu-tu-zhou-yi-ming-239526","倪瓒秋亭嘉树图轴","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，幽静雅洁，仿佛笼罩在一片月色之中。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n本幅自题：“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”\n本卷上诗塘有吴宽、朱果二家题记。曾经清内府收藏。",[24,50,75,7,77,59,51,652,55,132,471,8049],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08768391940841042688571157736a1b.jpg","纵114cm，横34.3cm",[63,96],{"id":8054,"slug":8055,"title":2702,"dynasty":18,"author":411,"museum":126,"description":2703,"tags":8056,"thumbUrl":8058,"material":312,"size":95,"collection":63,"collections":8059,"showCount":8033,"zanCount":39,"manualWeight":39,"mainColor":40},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235",[24,50,75,25,92,51,8057,56,266,1678,1006,53,77,7,59],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[63],{"id":8061,"slug":8062,"title":8063,"dynasty":88,"author":1160,"museum":107,"description":8064,"tags":8065,"thumbUrl":8066,"material":95,"size":95,"collection":95,"collections":8067,"showCount":8033,"zanCount":39,"manualWeight":39,"mainColor":40},227721,"ci-yue-fei-pi-da-juan-zhao-gou-227721","赐岳飞批剳卷","岳飞（1103~1142）字鹏举，汉族。北宋相州汤阴县永和乡孝悌里（今河南省安阳市汤阴县菜园镇程岗村）人。中国历史上著名战略家、军事家、民族英雄、抗金名将。岳飞在军事方面的才能则被誉为宋、辽、金、西夏时期最为杰出的军事统帅、连结河朔之谋的缔造者。同时又是两宋以来最年轻的建节封侯者。南宋中兴四将（岳飞、韩世忠、张俊、刘光世）之首。岳飞主要军工基本建立在南方，与之相对应的还有镇守四川的大将吴阶。",[7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230ca8bf8edd33756c6f84022931725d.jpg",[],{"id":8069,"slug":8070,"title":8071,"dynasty":18,"author":506,"museum":107,"description":8072,"tags":8073,"thumbUrl":8074,"material":312,"size":8075,"collection":35,"collections":8076,"showCount":8033,"zanCount":39,"manualWeight":39,"mainColor":40},222710,"an-ma-tu-jin-nong-222710","鞍马图","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[23,24,25,75,50,27,113,1074,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[35,218],{"id":8078,"slug":8079,"title":8080,"dynasty":45,"author":5596,"museum":126,"description":8081,"tags":8082,"thumbUrl":8083,"material":8084,"size":8085,"collection":187,"collections":8086,"showCount":8033,"zanCount":39,"manualWeight":39,"mainColor":40},222167,"qi-shui-qing-feng-tu-xia-chang-222167","淇水清风图","夏昶（1388至1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，昆山（今江苏昆山）人。昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n有“夏卿一个竹，西凉十锭金”之谣。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。",[23,24,25,49,50,457,7,77,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1e1ca00868d871f0471a4a53755cd6.jpg","纸本设","纵27.6CM 横98CM",[187],{"id":8088,"slug":8089,"title":8090,"dynasty":179,"author":225,"museum":279,"description":8091,"tags":8092,"thumbUrl":8093,"material":312,"size":8094,"collection":96,"collections":8095,"showCount":8033,"zanCount":39,"manualWeight":39,"mainColor":40},220860,"wang-xi-zhi-yi-shi-tie-zhao-meng-fu-220860","王羲之轶事帖","赵孟頫《王羲之轶事帖》，又名《右军四事帖》、《王羲之书事卷》等，书于元代大德年间，是赵氏传世作品中的精品佳作。纸本行书，帖芯24.4×117cm，全卷含题跋26.5×851.2cm，原为美国顾洛阜旧藏，现藏于纽约大都会博物馆。\n《羲之四事帖》书风，以《阁帖》中王羲之书和《兰亭序》为主，兼以《十七帖》笔意，布局精严。赵孟頫学王羲之书，可谓“前无古人，后无来者”。赵孟頫的唯美主义书法整整影响了元、明、清三代，明人何良俊《四友斋丛说》中曾云：“上下五百年，纵横一万里，举无此书”。\n释文：羲之书在始未有奇殊，不胜庾翼、郗愔，迨其末年，乃造其极。尝以章草答庾亮，亮以示翼，翼叹服，因与羲之书云：“吾昔有伯英章草书十纸，过江亡失，常痛妙迹永绝，忽见足下答家兄书，焕若神明，顿还旧观。”\n羲之罢会稽，住蕺山下。旦见一老姥，把十许六角竹扇出市。王聊问：“比欲货耶，一枚几钱？”答云：“二十许。”右军取笔书扇，扇五字。姥大怅惋云：“老妇（妇字原缺，据明抄本补）举家朝餐，俱仰于此，云何书坏。”王答曰：“无所损，但道是王右军书字，请一百。”既入市，人竞市之。后数日，复以数扇来诣，请更书，王笑而不答。\n羲之曾自书表与穆帝，专精任意。帝乃令索纸色类，长短阔狭，与王表相似。使张翼写效，一毫不异，乃题后答之。羲之初不觉，后更相看，乃叹曰：“小人乱真乃尔。”羲之性好鹅，山阳昙忀村有一道士养好者十余。王清旦乘小船，故往看之。意大愿乐，乃告求市易，道士不与。百方譬说，不能得之。道士言性好道，久欲写河上公老子，缣素早办，而无人能书。府若能自书老子（老子原作屈，据明抄本改）《道德》各两章，便合群以奉。羲之停半日，为写毕。笼鹅而归。",[23,49,7,60,200,77,432,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815b7aa9a62e80c21a0150d35e609d27.jpg","帖芯24.4×117cm，全卷含题跋26.5×851.2cm",[96],{"id":8097,"slug":8098,"title":8099,"dynasty":179,"author":8100,"museum":126,"description":8101,"tags":8102,"thumbUrl":8103,"material":79,"size":8104,"collection":63,"collections":8105,"showCount":8033,"zanCount":788,"manualWeight":39,"mainColor":40},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","吴瑾","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[24,25,1328,50,59,129,77,7,56,57,53,7804,267,704,133,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[63],{"id":8107,"slug":8108,"title":3732,"dynasty":45,"author":8109,"museum":8110,"description":8111,"tags":8112,"thumbUrl":8113,"material":79,"size":8114,"collection":63,"collections":8115,"showCount":8033,"zanCount":39,"manualWeight":39,"mainColor":40},218002,"zhu-shi-tu-chen-jia-yan-218002","陈嘉言","金贝尔艺术博物馆","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[23,24,25,75,50,59,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[63,35],{"id":8117,"slug":8118,"title":3171,"dynasty":179,"author":225,"museum":107,"description":8119,"tags":8120,"thumbUrl":8121,"material":751,"size":752,"collection":95,"collections":8122,"showCount":8123,"zanCount":882,"manualWeight":39,"mainColor":100},290935,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-290935","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。",[23,92,24,49,25,1328,27,50,59,51,56,58,2061,773,553,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3acdbfa403f50624d802c30aec9c15a.jpg",[],58,{"id":8125,"slug":8126,"title":8127,"dynasty":7844,"author":8128,"museum":107,"description":8129,"tags":8130,"thumbUrl":8133,"material":751,"size":752,"collection":95,"collections":8134,"showCount":8123,"zanCount":39,"manualWeight":39,"mainColor":40},290098,"you-chun-tu-quan-juan-zhan-zi-qian-290098","游春图全卷","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[23,24,92,49,1127,27,51,8131,8132,251,53,137,56,116,7,60,77],"春景","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],{"id":8136,"slug":8137,"title":8138,"dynasty":88,"author":3014,"museum":107,"description":8139,"tags":8140,"thumbUrl":8141,"material":751,"size":752,"collection":95,"collections":8142,"showCount":8123,"zanCount":39,"manualWeight":39,"mainColor":40},288325,"yi-yun-xian-xing-tu-ye-ma-yuan-288325","倚云仙杏图页","此图只画出从画幅左下角伸出的花枝的一部分，这种局部描写的构图手法，与他的山水画中的“一角”、“半边”处理有相通相似之处。花枝曲折横斜，然后一分枝指向左上，一分枝指向右下。枝条以细笔浓墨钩勒，再施以水墨渲染；枝上层层叠叠盛开的花朵、含苞欲放的花蕾则施以厚重的白粉加淡红，萼片施以紫色。整个花枝既有曲折多变而挺秀的姿态之美，又透露出几分华贵之气。",[24,25,4347,29,111,27,1978,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32788a69655290214fe87653a0b2a620.jpg",[],{"id":8144,"slug":8145,"title":8146,"dynasty":88,"author":8147,"museum":107,"description":8148,"tags":8149,"thumbUrl":8150,"material":95,"size":95,"collection":95,"collections":8151,"showCount":8123,"zanCount":882,"manualWeight":39,"mainColor":100},227521,"song-si-jia-chi-du-cai-xiang-227521","宋四家尺牍－","蔡襄","“宋四家”即指宋人苏黄米蔡的书法，是苏轼、黄庭坚、米芾、蔡襄的合称，被后世认为是最能代表宋代书法成就的书法家。有人认为苏黄米蔡的“蔡”应为北宋初年的书法家蔡襄。但就古人十分看重的年齿排辈而言，蔡若为蔡襄，则蔡应当排在苏之前。苏、黄、米皆按年齿排列，因此，作为北宋末年人的蔡京是为蔡，应当毫无争议。而后人认为蔡是指蔡襄，是因为蔡京的名声太臭，导致徽宗亡国，历史地位无法与前几位相提并论，故后人更加喜欢认为蔡指蔡襄。\n\n宋四家传世作品甚多，墨迹传世也不少，故介绍宋四家时以现存墨迹较好的作为推荐。",[7,60,312,385,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24a3d33148651eeecd1f5d52609cefbc.jpg",[],{"id":8153,"slug":8154,"title":8155,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":8156,"thumbUrl":8157,"material":312,"size":95,"collection":95,"collections":8158,"showCount":8123,"zanCount":882,"manualWeight":39,"mainColor":40},223263,"shu-fa-zhou-hong-yi-fa-shi-223263","书法轴",[23,7,75,199,878,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdaae1ac16db741762ddffa2749d8d99.jpg",[],{"id":8160,"slug":8161,"title":8162,"dynasty":45,"author":8163,"museum":126,"description":8164,"tags":8165,"thumbUrl":8166,"material":312,"size":8167,"collection":95,"collections":8168,"showCount":8123,"zanCount":882,"manualWeight":39,"mainColor":40},222388,"mo-lan-tu-zhou-wen-peng-222388","墨兰图轴","文彭","图中以水墨画兰花两丛荆棘二枝。以渴笔淡写荆棘卷曲、兰叶舒畅之姿，并以水墨草点兰花偃仰、互相交织之状，节奏感强，和自题草书“月摇庭下珂，风递谷中香”融为一体。\n作者用水墨画土坡上兰花两丛，兰花正侧偃仰，均五办为则，如蝶起舞，或敞办盛开，或含苞待放，叶丛柔嫩舒展，十分俊爽。另有二枝荆棘，在丛兰间卷曲向上生长，与舒展的兰花交织在一起，产生和谐的节奏感，并和自题的草书“月摇庭下珂，风递谷中香”融为一体。\n兰、梅、竹、菊“四君子”是我国文人画的传统题材，落笔时，这四者可分可合，亦可单独成画幅，但都赋予对象以人格，象征高洁的品格和正直、坚韧、乐观等精神、具体说，兰为“王者之香”，画兰，须写其清雅幽香，洁身自好。文彭擅画兰、竹，此《兰花图》轴，是他的代表作之一。\n作者所画的兰花、叶子用笔自如，或粗或细，行笔住行顿挫有力，节奏感强，具有一种古拙、朴厚的趣味。所画荆棘，用笔具有一种内涵的力量，这种力量忽轻忽重，行笔的速度忽快忽慢，由此而产生的一种优美动人的节奏，所以在文氏笔下的荆棘表现出曲折向上，生意盎然的神态。所画的兰花，花以淡墨为办，浓墨点心，叶用笔流畅，显出临风飘动，活泼自然。画家将兰花与荆棘为伍，笔意贯穿，墨色停匀。土坡用简洁的干笔，侧锋皴擦，更见明快爽朗。此画作者以书法入画，故此画具有书家笔法的节奏、韵律，轻重徐疾、提按顿挫富有变化，文彭此图可谓诗书画契合无间，表现了文人画家的气质和神采，给人以艺术美的享受。",[23,24,25,75,50,139,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd67f08bd86808aad80c5ec02566e21c2.jpg","纵65厘米，横31．2厘米",[],{"id":8170,"slug":8171,"title":8172,"dynasty":162,"author":8173,"museum":2279,"description":8174,"tags":8175,"thumbUrl":8176,"material":398,"size":8177,"collection":96,"collections":8178,"showCount":8123,"zanCount":39,"manualWeight":39,"mainColor":40},221103,"xiao-jing-he-zhi-zhang-221103","孝经","贺知章","《草书孝经》 以草书写“今文孝经”本文，无署款。据卷末小楷识语“建隆二年（961）冬十月重粘裱贺监墨迹”，推测为贺知章之作。北宋《宣和书谱》中亦著录有贺知章所书孝经。十七世纪后半期传入日本，明治年间由近卫家进献皇室。",[23,25,7,398,386,49,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428b72cda73cc4fd1eae81403a7e27ca.jpg","纵26.0厘米，横265.1厘米",[96],{"id":8180,"slug":8181,"title":8182,"dynasty":105,"author":637,"museum":126,"description":8183,"tags":8184,"thumbUrl":8185,"material":8186,"size":8187,"collection":96,"collections":8188,"showCount":8123,"zanCount":39,"manualWeight":39,"mainColor":789},221038,"yu-hou-tie-wang-xi-zhi-221038","雨后贴","《雨后帖》页，晋，传晋王羲之书，纸本，行草，纵25.7厘米，横14.9厘米。\n释文：\n今日雨后未果奉状，想□能于言话，可定便得书问，永以为训。妙绝无已，当其使转。与都下□信，戴适过于□也。羲之。\n署款下一草押不识，又“禹民”二字题名。\n鉴藏印有 “世南”、“贞观”（画描墨印），以及“四代相印”（朱文，伪）、“志东奇玩”（朱文，伪）、“绍兴”（朱文联珠），清乾隆、嘉庆、宣统内府诸印。\n帖后有元邓文原，明董其昌题跋各一段，明邹之麟题跋两段。\n《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。\n此帖最早见于清代安岐《墨缘汇观》：“雨后帖，草书，纸本，唐模，有‘世南’墨印。”今专家鉴定认为此帖并非王羲之亲书原迹，依据有三：一是此帖上清代以前的钤印中除“绍兴”外皆不真。书法确有沉雄古雅之气，但与《姨母》、《丧乱》诸帖和《兰亭序》对比相去甚远。二是从用纸分析，纸为深褐色带有细横帘纹的竹纸。而竹纸在晋代是没有的，宋苏轼《东坡志林》卷九曾云：“今人以竹为纸，亦古所无有也。”三是晋代的书写工具是实心笔，行笔时笔毫开叉而经常出现贼毫，然《雨后帖》则用兼毫笔，笔画既软又肥，字距之间笔势连带而出现牵丝，无一笔贼毫出现，因此不应为晋时所书。\n从此帖的墨色浓淡变化观察，与运笔的启收、顿挫转折的徐疾和用力相吻合，无勾摹痕迹，因此判断此帖应是古临本，书写年代在北宋至南宋绍兴以前。\n清《书画记》、《平生壮观》、《墨缘汇观续录》、《石渠宝笈初编》著录。",[7,60,2602,576,26,25,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c92ae95145c43b40bb395a52c884972.jpg","纸本，行草","纵25.7厘米，横14.9厘米",[96,802],{"id":8190,"slug":8191,"title":8192,"dynasty":45,"author":1313,"museum":126,"description":8193,"tags":8194,"thumbUrl":8195,"material":8196,"size":8197,"collection":96,"collections":8198,"showCount":8123,"zanCount":39,"manualWeight":39,"mainColor":40},220937,"fang-yan-zhen-qing-shu-zhou-dong-qi-chang-220937","仿颜真卿书轴","董其昌《仿颜真卿书轴》，本幅抄录唐人萧嵩诗，赞颂张说（西元六六七至七三Ο年）及唐代集贤院文风。此轴楷书用笔浑厚，结字灵动，承继颜真卿（西元七Ο九至七八五年）楷书精神，但更讲究用笔变化以及疏朗行气，堪称是董其昌在颜体中追求虚和取韵的自我面貌。\n\n董其昌的书法，不仅影响着晚明书坛，并且深刻地影响着清代的康乾盛世。《书林藻鉴》中说：“圣祖则酷爱董其昌书，海内真迹，搜访殆尽，玉、煤金题，汇登秘阁。董书在明末已靡于江南，自经新朝睿赏，声价益重，朝殿考试，斋廷供奉，干禄求仕，视为捷途，风会所趋，香光几定于一尊矣。”",[25,7,75,110,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194bce2ffa4033f864692ba3272ec41f.jpg","绢本，行楷书","纵36.8cm，横1579.7cm",[96],{"id":8200,"slug":8201,"title":8202,"dynasty":45,"author":5233,"museum":3743,"description":8203,"tags":8204,"thumbUrl":8205,"material":79,"size":8206,"collection":63,"collections":8207,"showCount":8123,"zanCount":788,"manualWeight":39,"mainColor":40},219948,"fang-mi-fei-yun-shan-tu-mo-shi-long-219948","仿米芾云山图","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[23,24,25,49,50,110,7,60,59,51,3253,251,56,252,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1550e95af95b112efd3574d713c9812.jpg","20.8x233厘米",[63],{"id":8209,"slug":8210,"title":8211,"dynasty":179,"author":8212,"museum":442,"description":8213,"tags":8214,"thumbUrl":8216,"material":79,"size":95,"collection":171,"collections":8217,"showCount":8123,"zanCount":39,"manualWeight":39,"mainColor":40},219398,"zhong-jin-shi-yuan-ye-chu-you-tu-yan-hui-219398","钟进士元夜出游图","颜辉","墨线劲挺如铁，勾勒出钟馗的凛凛威仪，群鬼随扈左右——或扛幡持械，步履生风；或嬉戏打闹，憨态可掬。简括造型里藏着生动细节：鬼卒夸张的肢体、钟馗沉凝的神情，在浓淡相宜的墨色中鲜活起来。画面以动态叙事，仿佛能听见队伍行进的喧腾，元夜的神秘氛围与人间烟火气交织。笔意洒脱却不失精准，将神鬼世界的诙谐与庄重融于一卷，尽显元人写意人物画的妙趣与功力，是寓庄于谐的艺术佳构。",[92,24,25,49,112,50,113,8215,1783,1782,77,7,60,457,199,3467,111],"鬼神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b72bdb16674e440c200b8a4b6d4b.jpg",[171],{"id":8219,"slug":8220,"title":8221,"dynasty":18,"author":1527,"museum":72,"description":8222,"tags":8223,"thumbUrl":8224,"material":8225,"size":8226,"collection":218,"collections":8227,"showCount":8123,"zanCount":39,"manualWeight":39,"mainColor":40},219307,"jie-shan-zhai-tu-zhou-qian-wei-cheng-219307","借山斋图轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[92,24,25,75,1328,27,51,458,52,53,55,56,58,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","设色,绢本","63.7x31.8",[218],{"id":8229,"slug":8230,"title":8231,"dynasty":18,"author":454,"museum":1172,"description":8232,"tags":8233,"thumbUrl":8235,"material":169,"size":8236,"collection":171,"collections":8237,"showCount":8123,"zanCount":39,"manualWeight":39,"mainColor":100},218525,"li-xiang-jun-xiao-xiang-yi-ming-218525","李香君小像","画有李香君的小像，面板左上方有侯方域《李姬传》的小楷长诗。",[24,1250,111,27,113,114,7,60,8234],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa138eb64d00fad7bfd083254678fc512.jpg","22.8x25.5",[171],{"id":8239,"slug":8240,"title":8241,"dynasty":45,"author":71,"museum":126,"description":8242,"tags":8243,"thumbUrl":8244,"material":33,"size":8245,"collection":35,"collections":8246,"showCount":8123,"zanCount":39,"manualWeight":39,"mainColor":40},216096,"yun-gen-cong-xiao-tu-ye-wang-fu-216096","云根丛篠图页","本幅墨笔画坡石丛竹，左边款：”王绂“。印”孟端“朱方，乾隆对题一页。有安岐、项子京藏印三方。",[23,24,50,60,77,7,26,132,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f6f8338035b5d4699fea149d00afb4.jpg","纵26.2cm，横29.5cm",[35],{"id":8248,"slug":8249,"title":8250,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":8251,"thumbUrl":8254,"material":751,"size":752,"collection":95,"collections":8255,"showCount":8256,"zanCount":882,"manualWeight":39,"mainColor":100},287742,"ma-gu-xian-tan-ji-yan-zhen-qing-287742","麻姑仙坛记",[7,198,199,200,6582,901,8252,8253,359,77],"麻姑","仙坛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7722d87b73190fdc8e7c527828bc3676.jpg",[],57,{"id":8258,"slug":8259,"title":8260,"dynasty":45,"author":8261,"museum":126,"description":8262,"tags":8263,"thumbUrl":8264,"material":8265,"size":95,"collection":95,"collections":8266,"showCount":8256,"zanCount":39,"manualWeight":39,"mainColor":40},234995,"lan-zhu-zhou-chen-yuan-su-234995","兰竹轴","陈元素","陈元素，生卒年不详，明代书画家。字古白、孝平、金刚，号素翁、处廓先生，私谥贞文先生，南直隶苏州府长洲（今江苏苏州）人，万历诸生。早负才名，工诗文，尤善书法，楷书法欧阳，草入二王之室，工山水，尤善写兰，得文征明之秀媚。有《古今名将传》、《南牅日笺》。",[92,24,25,75,50,139,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f282cae8acc7a40f7ae7ffdf6630dba.jpg","纸本 ，设色",[],{"id":8268,"slug":8269,"title":4969,"dynasty":45,"author":8270,"museum":3058,"description":8271,"tags":8272,"thumbUrl":8273,"material":312,"size":95,"collection":95,"collections":8274,"showCount":8256,"zanCount":39,"manualWeight":39,"mainColor":40},234160,"hua-niao-tu-juan-li-yin-234160","李因","李因（1610－1685），字是庵，号龛山逸史，晚号今生。明末清初女诗人、画家。会稽（今浙江绍兴）人，一作钱塘（今杭州）人。早年为江浙名妓，后嫁光禄卿葛征奇为妾，在绘画上崇尚隽雅，在山水画上学习米芾、米友仁，画山水、花鸟，疏爽隽逸，毫无女子纤弱之气。亦工诗，著有《竹笑轩吟草》等，诗笔清奇，有中唐遗韵。\n李因名声很大，也颇为自负，经常将自己视作唐朝的王维。",[23,92,24,49,50,29,116,30,7,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395b220e33ecb40388d49fc859a4ba09.jpg",[],{"id":8276,"slug":8277,"title":8278,"dynasty":88,"author":262,"museum":1830,"description":8279,"tags":8280,"thumbUrl":8281,"material":312,"size":8282,"collection":95,"collections":8283,"showCount":8256,"zanCount":39,"manualWeight":39,"mainColor":40},231424,"xiao-xiang-wo-you-tu-juan-li-gong-lin-231424","潇湘卧游图卷","《潇湘卧游图》为纸本墨笔，纵30.2厘米，横399.4厘米，意境开阔，大开大阖，随着观者视觉的移动，描绘了潇湘美景。 卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[23,24,25,49,50,51,59,7,60,77,471,3536,56,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":8285,"slug":8286,"title":8287,"dynasty":45,"author":5186,"museum":72,"description":8288,"tags":8289,"thumbUrl":8290,"material":682,"size":8291,"collection":35,"collections":8292,"showCount":8256,"zanCount":39,"manualWeight":39,"mainColor":100},222020,"hua-xia-li-nu-tu-zhou-zhu-zhan-ji-222020","花下貍奴图轴","此画构图呈对角线，所画的猫、湖石、秋花均在对角线上，可谓全幅构图别致，虚实结合。狸奴造型准确，画法先淡色涂染全身，背上的毛用干笔涂擦点簇而成，表现了狸奴细毛的质感。以焦墨点睛，炯炯有神。湖石则用长麻皮皴。",[23,24,25,75,27,111,5169,1049,250,77,7,798,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511c301cd9d9a27486446cb728c20d37.jpg","纵41．5厘米，横39．3厘米",[35,218],{"id":8294,"slug":8295,"title":8296,"dynasty":45,"author":1313,"museum":648,"description":8297,"tags":8298,"thumbUrl":8300,"material":2815,"size":8301,"collection":63,"collections":8302,"showCount":8256,"zanCount":39,"manualWeight":39,"mainColor":40},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,49,50,59,60,7,77,51,845,56,58,471,8299,267],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","卷纵29.3厘米横340.8厘米",[63,187],{"id":8304,"slug":8305,"title":8306,"dynasty":179,"author":225,"museum":648,"description":8307,"tags":8308,"thumbUrl":8309,"material":312,"size":8310,"collection":96,"collections":8311,"showCount":8256,"zanCount":788,"manualWeight":39,"mainColor":40},220866,"qiu-sheng-fu-quan-juan-zhao-meng-fu-220866","秋声赋全卷","大字行书欧阳修《秋声赋》全文，用笔挺劲，中藏锋锷，英标劲骨，遒美俊逸，欲与秋声斗雄。\n行间茂密，丰容缛婉，为其书法风格的典型代表。\n书法既有晋魏名家，特别是二王本来面貌，又反映自家书法特点，是一件集前人大成之作。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99fc940545db866cd864f26dc0271e3.jpg","书心纵4.8、横182.2厘米。",[96],{"id":8313,"slug":8314,"title":8315,"dynasty":88,"author":308,"museum":72,"description":8316,"tags":8317,"thumbUrl":8318,"material":312,"size":8319,"collection":96,"collections":8320,"showCount":8256,"zanCount":882,"manualWeight":39,"mainColor":40},220232,"bao-yue-tie-yu-chuai-cha-tie-su-shi-220232","宝月贴与啜茶贴","啜茶帖作于元丰三年，此帖为《致杜氏五札》之一，是东坡写给好友杜道源的一则便条，内容是邀请道源前来饮茶，顺便有事相商。\n啜茶帖用墨丰腴，笔触精到，每字各具姿态；大小错落，连绵有致，行间气脉贯穿，带有明显的晋人风韵。通篇而论，笔法精严而不拘束，姿态妍美而不做作，行文内容的轻松随意使得落笔自由挥洒，筋骨在形，神情寓内，短短32字气韵生动，传递出一种法度之上更有自在的适然情绪。\n宝月帖于治平二年书,此帖也为《致杜氏五札》之一\n此帖中“大人”，应指东坡之父苏洵；“宝月”，即指东坡族兄僧惟简；“令子监簿”大概指杜道源，吴歼跋云：“明允(苏洵)友君懿而兄事之，道源以父任簿其官。”东坡书此帖时，父亲尚在世。文中云“催了《礼书》事”，这《礼书》即苏洵参与编纂的《太常因革礼》一百卷。《续资治通监》卷六三英宗治平二年九月辛酉：“提举编纂礼书、参知政事欧阳修奏，已编纂书成百卷，诏以《太常因革礼》为名，赐修等银帛有差。”又，欧阳修《故霸州文安县主簿苏君(明允)墓志铭》：“为《太常因革礼》一百卷，书成方奏未报，而君以疾卒。实治平三年四月戊申也。”谈《礼书》事，必在治平三年苏洵死前，且在治平二年九月书成之前。故定为治干二年初书此帖为宜。孔凡礼将此札编人《苏轼文集·轶文汇编》时归人《与杜道源五首》中，有误。因为治乎二年，杜道源之“令子”杜孟坚尚年少，未能“监簿”。\n此帖笔法峻健锐利，应为早年书，是东坡存世墨迹的肇始之作。",[25,7,60,77,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4c2d78a4e0cd6c8a1c9598d173294b.jpg","23厘米×17.7厘米",[96],{"id":8322,"slug":8323,"title":8324,"dynasty":18,"author":599,"museum":8325,"description":8326,"tags":8327,"thumbUrl":8328,"material":312,"size":8329,"collection":96,"collections":8330,"showCount":8256,"zanCount":39,"manualWeight":39,"mainColor":40},220137,"jie-lu-huai-su-zi-xu-tie-zheng-ban-qiao-220137","节录怀素自叙帖","武汉博物馆","此轴以画法入笔，左低右高，疏密有致，大小相宜，可谓“乱石铺街”，如“雨夹雪”。它不但完美地展现了板桥书法“真气、真意、真趣”的艺术风格，同时也彰显了艺术家狂放不羁、无拘无束的个性魅力。",[23,75,7,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7b134b4869b9dcbeea028d9e01d678.jpg","159cm×91cm",[96],{"id":8332,"slug":8333,"title":8334,"dynasty":45,"author":744,"museum":126,"description":8335,"tags":8336,"thumbUrl":8337,"material":79,"size":8338,"collection":187,"collections":8339,"showCount":8256,"zanCount":418,"manualWeight":39,"mainColor":40},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[23,24,25,49,50,27,59,60,7,51,458,115,250,52,53,55,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 横102.2厘米",[187],{"id":8341,"slug":8342,"title":8343,"dynasty":179,"author":8344,"museum":8110,"description":8345,"tags":8346,"thumbUrl":8347,"material":79,"size":8348,"collection":63,"collections":8349,"showCount":8256,"zanCount":882,"manualWeight":39,"mainColor":40},219934,"tan-you-gui-lai-tu-zhu-de-run-219934","探友归来图","朱德润","朱德润字泽民，号睢阳山人，又号旹杰，其擅山水，初学许道宁，后法郭熙，所画多作溪山清远、峰岳耸秀、林木挺健，山石用卷云皴，树作蟹爪枝，颇具真实感。",[23,24,25,49,50,59,51,52,53,54,652,57,252,113,333,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72957dd60af3e3d5c952f9e954c2d1e.jpg","28.2x119.3",[63],{"id":8351,"slug":8352,"title":8353,"dynasty":179,"author":7739,"museum":279,"description":8354,"tags":8355,"thumbUrl":8356,"material":79,"size":8357,"collection":171,"collections":8358,"showCount":8256,"zanCount":39,"manualWeight":39,"mainColor":40},219499,"wei-mo-bu-er-tu-wang-zhen-peng-219499","维摩不二图","此幅画作描绘的是《维摩诘经》中的一件趣事，居士为摩维诘和代表智慧的文殊菩萨间的一次论法，据经文所载，维摩诘以沉默应对让他解释佛法的要求，微妙地阐述了是万物皆空的佛法实质。\n画后有两段重要的作者自跋，描述了此幅画作的创作背景。此画完成于1308年，受命于当时的皇太弟，也就是后来继位的元仁宗。跋文中明确记载了王振鹏接到元仁宗作画命令时的宫殿，并记有当时在场的拜住怯薛之名。\n王振鹏在跋文中提到，他是以金代马云卿摹李公麟的画作为他的范本，北京故宫博物院藏有一幅画，为《维摩演教图》的手卷，被归为李公麟的作品，但实际上应该是被王振鹏当做创作范本的马云卿的作品。\n在中国绘画中，常用极具流动感的线来描绘佛教人物衣纹，被称为“行云流水描”，右图中僧人所著的僧袍就是以此绘法描绘的，但王振鹏笔下颇有几何规则的线条，明显成铁线描特征，线条圆润规则无明显粗浅变化，表现为他对卧榻的图案和木纹一丝不苟的精致描绘。\n王振鹏对狮子的描绘可倾心倾力，他将一头猛兽塑造成了一只嬉戏的狮子狗，炉火纯青的笔法，从神兽精美的鬃毛上可见一斑。薄纱头巾，扇子，长袖宽袍，印度佛教居士维摩诘在这里俨然被塑造成了一个中国文人学士的模样。",[23,49,112,111,878,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ee15f114f82711278e555b4721cf3f.jpg","39.5厘米，横217.7厘米",[171],{"id":8360,"slug":8361,"title":8362,"dynasty":18,"author":1464,"museum":107,"description":8363,"tags":8364,"thumbUrl":8365,"material":95,"size":95,"collection":63,"collections":8366,"showCount":8367,"zanCount":882,"manualWeight":39,"mainColor":40},237613,"hong-ren-mei-hua-zhou-hong-ren-237613","弘仁梅花轴","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[24,25,75,112,50,131,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05d4f75e8c0b7583181dee88bfbac1e.jpg",[63,187],56,{"id":8369,"slug":8370,"title":8371,"dynasty":18,"author":7664,"museum":126,"description":8372,"tags":8373,"thumbUrl":8375,"material":519,"size":8376,"collection":35,"collections":8377,"showCount":8367,"zanCount":882,"manualWeight":39,"mainColor":40},236383,"he-lu-tu-zhou-huang-shen-236383","荷鹭图轴","黄慎的花鸟画更多地继承了明代徐渭的泼墨大写意花鸟画风。此图描绘雨后双鹭于荷塘憩戏觅食的情景。画上荷花数茎，枝叶劲挺，花瓣娇媚，似有暗香浮动。两只白鹭翩翩而下，谨慎地着入水面，画家通过这一细节巧妙地表现出“水满池”的情景，“用笔极简，意趣自足”，由此可见一斑。对于荷叶的用笔恣肆狂放，墨色浓重，显示出荷花枝叶肥厚、“风飘不动”的旺盛生命力。在硕壮浓郁的荷叶的衬托下，以淡而轻的笔法描绘出白鹭的轻盈稚嫩，惹人怜爱。此外，画家在简洁的构图中力求营造空间感：图中荷花高低错落，荷叶相互掩映，俯仰向背，姿态各异，有着明显的纵深前后关系。两只白鹭停息在荷杆之后，尤其那只迎面飞来的白鹭起到了扩展画面空间的作用。在文人画中，很容易因注重笔墨形式而忽略景物的空间感，职业画家出身的黄慎在吸收文人笔墨情趣的同时，恰当地将写实与写意相结合，从而形成自己独特的风格。",[24,25,75,50,129,7,29,134,399,8374],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ddc7422f4a85b05d360154cb4bbb54.jpg","纵130.2 厘米，横71.2厘米",[35,187],{"id":8379,"slug":8380,"title":8381,"dynasty":18,"author":8382,"museum":107,"description":8383,"tags":8384,"thumbUrl":8389,"material":95,"size":95,"collection":95,"collections":8390,"showCount":8367,"zanCount":882,"manualWeight":39,"mainColor":40},230145,"yang-zheng-tu-ce-quan-shi-ye-leng-mei-230145","养正图册全十页","冷枚","《冷枚养正图册》是清代画家冷枚创作的一幅绢本设色画。\n《冷枚养正图册又称《圣功图》，是带有启蒙教育性质的作品，明清两代均有绘制。\n此套册页共1开，画面内容皆为历代贤明君主的故事。\n每开对题均有张若蔼书写对应故事情节的文字。\n两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。\n署款：“臣冷枚敬画。\n”钤“臣冷枚”印。\n此册虽为人物画，但作为背景的楼阁宫阙占有相当的比重，不难看出西方技法对画家的影响。\n建筑物的画法适当借用了 ，并力图在设色上用晕染的深浅表现构件的明暗关系，突出建筑的立体感。\n从作品整体看，构图、线条、色彩并没有摆脱明代画家仇英的设色界画系统，画面带有较多的装饰色彩和平面感觉，在表现建筑的体积感和建筑材料的质感上尚显不足。\n冷枚，生卒年不洋，约生活十公元17世纪后期至18世纪前期，字吉臣，号令门画史，胶州（今属山东）人。\n曾经跟随康熙时宫廷画家焦秉贞学俩，约丁康熙中期进入宫廷供职，直至乾隆七年尚在。\n擅长画人物、什女及山水，面风工整、细致，色彩较浓丽，具有装饰性。\n画法得力曲面写生，上中带写，白康熙到乾隆末，糅合中两技法之画风在画院内颇为盛行，而且影响到民间艺术，冷枚为此技弦之积极推行者。\n传世作品有《避馨山庄图》等。",[4347,24,1179,1986,1128,111,8385,8386,8387,333,56,7,8388],"晕染","历史故事画","贤君故事","启蒙教育","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99c5bbc18613ed7885de8cc288a9d11.jpg",[],{"id":8392,"slug":8393,"title":8394,"dynasty":179,"author":6090,"museum":107,"description":8395,"tags":8396,"thumbUrl":8397,"material":751,"size":752,"collection":95,"collections":8398,"showCount":8367,"zanCount":39,"manualWeight":39,"mainColor":40},228078,"jiu-ge-tu-juan-zhang-wo-228078","九歌图卷","《九歌图》是元代张渥于1346年创作的画作，此画现藏于吉林省博物馆。画上题记：至正六年，丙戌，即1346年。\n《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[92,24,25,49,112,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd703b650dbb12a74da0ce542b73749.jpg",[],{"id":8400,"slug":8401,"title":8402,"dynasty":162,"author":4158,"museum":107,"description":8403,"tags":8404,"thumbUrl":8405,"material":95,"size":95,"collection":95,"collections":8406,"showCount":8367,"zanCount":39,"manualWeight":39,"mainColor":40},227246,"shu-pu-sun-guo-ting-227246","书谱","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为“序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为“谱”，作者生前未能完成，现仅存第一卷。\n\n孙过庭（活动于七世纪后期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之后，遂专注于书法研究。",[23,7,398,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d82f903b6926ec8c08c003e56a13f9.jpg",[],{"id":8408,"slug":8409,"title":8410,"dynasty":45,"author":46,"museum":126,"description":8411,"tags":8412,"thumbUrl":8414,"material":312,"size":8415,"collection":35,"collections":8416,"showCount":8367,"zanCount":39,"manualWeight":39,"mainColor":40},222129,"xin-yi-mo-cai-tu-juan-shen-zhou-222129","辛夷墨菜图卷","第一段：本幅无款，右下钤印“启南”（朱文）。另有吴宽题诗：“半含成木笔，本号是辛夷。一树石庭下，故园增我思。”钤印“延州来季子后”（朱文）。另钤“项元汴印”（朱文）等鉴藏印多方。此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\n第二段：本幅无款，右下钤“启南”朱文印。另有吴宽题诗：“翠玉晓茏葱，畦间足春雨。咬根莫弄叶，还可作羹煮。”钤“原博”朱文印。另钤项元汴“平生真赏”朱文印等鉴藏印多方。画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[23,49,50,27,129,8413,2451,30,1177,77,7],"辛夷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36497ff253f3762a4bf12e6f7a25d7a3.jpg","第一段，纸本，设色，纵34.9厘米，横58.8厘米；第二段，纸本，墨笔，纵34.9厘米，横58.8厘米。",[35,187],{"id":8418,"slug":8419,"title":8420,"dynasty":45,"author":342,"museum":648,"description":7945,"tags":8421,"thumbUrl":8423,"material":95,"size":8424,"collection":95,"collections":8425,"showCount":8367,"zanCount":39,"manualWeight":39,"mainColor":207},221980,"ni-jin-bo-luo-mi-duo-jin-gang-jing-wen-zheng-ming-221980","泥金波罗密多金刚经",[23,7,386,199,8422,878,1498,75],"泥金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bedf057a4ed70908119f61b493eb45.jpg","116X31cm",[],{"id":8427,"slug":8428,"title":8429,"dynasty":88,"author":6022,"museum":2692,"description":8430,"tags":8431,"thumbUrl":8432,"material":184,"size":8433,"collection":314,"collections":8434,"showCount":8367,"zanCount":788,"manualWeight":39,"mainColor":100},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,92,24,25,49,112,27,60,77,7,113,458,53,52,55,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[314,63,218],{"id":8436,"slug":8437,"title":8438,"dynasty":162,"author":8439,"museum":107,"description":8440,"tags":8441,"thumbUrl":8442,"material":8443,"size":8444,"collection":96,"collections":8445,"showCount":8367,"zanCount":882,"manualWeight":39,"mainColor":100},221085,"shan-jian-lv-guo-quan-221085","善见律","国诠","国诠，初唐经生，生平不详。此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。此卷则为千年传世之本，首尾俱全。卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,7,386,199,49,77,1498,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6d148a7b0d6cda68adfb7b22af8e2c.jpg","国诠书，纸本","纵22.6厘米，横468.8厘米",[96,802],{"id":8447,"slug":8448,"title":8449,"dynasty":105,"author":8450,"museum":126,"description":8451,"tags":8452,"thumbUrl":8454,"material":8455,"size":8456,"collection":96,"collections":8457,"showCount":8367,"zanCount":882,"manualWeight":39,"mainColor":40},221018,"chu-shi-song-suo-jing-221018","出师颂","索靖","《出师颂》是古代流传的一幅章草体书法作品。原文作者是东汉史岑，书法作者存疑，据传为西晋索靖书。此作是存世书法作品中为数不多的古章草书作之一，书法笔势险峻，字体古朴简洁，具有很高的历史和艺术价值。",[7,49,8453,77,385],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd5ac14567e428f1703c50bf72472b9b.jpg","纸本，章草书","纵21.2cm，横127.8cm",[96],{"id":8459,"slug":8460,"title":8461,"dynasty":88,"author":3014,"museum":442,"description":5928,"tags":8462,"thumbUrl":8463,"material":169,"size":5931,"collection":95,"collections":8464,"showCount":8367,"zanCount":39,"manualWeight":39,"mainColor":40},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)",[23,24,25,26,27,51,59,1018,1006,1151,471,252,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg",[],{"id":8466,"slug":8467,"title":8468,"dynasty":45,"author":46,"museum":72,"description":1281,"tags":8469,"thumbUrl":8472,"material":79,"size":8473,"collection":187,"collections":8474,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":100},291002,"gu-song-tu-shen-zhou-291002","古松图",[92,24,25,50,8470,2293,8471,7,77],"古松","松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f287011696dffb4e0f719e2224fed22.jpg","73.9x51.2",[187],55,{"id":8477,"slug":8478,"title":8479,"dynasty":162,"author":163,"museum":72,"description":8480,"tags":8481,"thumbUrl":8482,"material":751,"size":752,"collection":95,"collections":8483,"showCount":8475,"zanCount":882,"manualWeight":39,"mainColor":40},289889,"zhu-lin-wu-jun-tu-yan-li-ben-289889","竹林五君图","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[23,24,92,75,27,113,132,7,77,3234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189baa2b3db03fad97d5e31e862a3468.jpg",[],{"id":8485,"slug":8486,"title":8487,"dynasty":45,"author":454,"museum":107,"description":8488,"tags":8489,"thumbUrl":8490,"material":751,"size":752,"collection":95,"collections":8491,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":100},288163,"fang-liu-song-nian-shan-zhong-dao-jiao-yi-ming-288163","仿刘松年山中道教","此作铺陈出一方仙山灵境，层峦叠嶂深秀苍润，林泉蜿蜒幽致，尽显洞天福地的静谧出尘。线条清劲工致，勾勒出山岩硬朗肌理与林木舒展之态，绢色因年深沉凝古雅，晕染出静穆古意。\n仙宇楼阁隐于云壑林麓间，道侣幽栖往来，将道家山水问道的意涵融于丘壑烟岚之中。仿院体精工之法，兼具清雅文气，把“天人合一”的哲思寄寓笔墨间，虽历经岁月晕染，出尘之韵依旧盎然，是兼具叙事性与山水意境的道释佳制。",[23,92,24,49,25,878,6582,51,110,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6f6bbb0e3beaf0268d2544a8cf99d1.jpg",[],{"id":8493,"slug":8494,"title":8495,"dynasty":88,"author":369,"museum":107,"description":6700,"tags":8496,"thumbUrl":8497,"material":751,"size":752,"collection":95,"collections":8498,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":100},288117,"xie-sheng-ling-mao-tu-zhao-ji-288117","写生翎毛图",[23,92,24,49,111,27,29,116,692,3318,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa279f39fe2fa81aa6da60077492747c2.jpg",[],{"id":8500,"slug":8501,"title":8502,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":8503,"thumbUrl":8504,"material":751,"size":752,"collection":95,"collections":8505,"showCount":8475,"zanCount":882,"manualWeight":39,"mainColor":100},287345,"pi-pa-xian-shou-tu-chen-hong-shou-287345","枇杷献寿图",[23,24,92,75,27,111,113,114,749,4996,7,77,4027],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b9bd281fa2cf446c195de1b79955a.jpg",[],{"id":8507,"slug":8508,"title":8509,"dynasty":162,"author":3162,"museum":107,"description":8510,"tags":8511,"thumbUrl":8512,"material":751,"size":752,"collection":95,"collections":8513,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":40},287312,"gu-shi-si-tie-quan-juan-gao-qing-zhang-xu-287312","古诗四帖全卷(高清)","张旭（685年？—759年？），字伯高，一字季明，苏州吴县（今江苏苏州）人，唐代书法家，擅长草书，喜欢饮酒，世称“张颠”，与怀素并称“颠张醉素”，与贺知章、张若虚、包融并称“吴中四士”，又与贺知章等人并称“饮中八仙”，其草书则与李白的诗歌、裴旻的剑舞并称“三绝”。\n张旭出生于一个门第不低的家庭，曾向堂舅陆彦远学习书法，学有所成后为吴道子、颜真卿等钦慕；年长后通过应举或荐举、征辟而入仕，释褐为常熟县尉；先后任左率府长史、金吾长史，因而被世人称为“张长史”；大约在乾元二年（759年）逝世，享年大约七十五岁。\n在书法方面，张旭勤于观察客观事物，善于将客观的自然物象与个人的主观情感结合起来，既继承传统，又勇于创新，在继承前人书法成就并加以创新而使得自身的狂草艺术在盛唐时期达到了一个高峰。",[23,92,25,7,398,200,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb590f99a59fc1546923afae596439327.jpg",[],{"id":8515,"slug":8516,"title":8517,"dynasty":88,"author":549,"museum":107,"description":8518,"tags":8519,"thumbUrl":8520,"material":312,"size":95,"collection":96,"collections":8521,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":40},240680,"qian-gu-fang-zhou-mi-fei-240680","钱榖仿轴","此作用笔跳宕爽利，全仿米芾行书意趣，结体欹侧奇崛，一如米氏风樯阵马之势。通篇行气贯通，牵丝映带间尽显笔势流转之美，墨色浓淡干湿自然变化，提按顿挫见腕力遒劲。诗句章法排布疏朗得当，字字顾盼生姿，既有米家刷字的洒脱快意，又蕴含着温润舒展的自运之态，于临摹中不失自我风神，尽显江南书家的风雅意致，笔墨间洋溢出醇厚的书卷清气。",[7,60,110,75,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a415381adfac5f3a0ee41077c5ab03b.jpg",[96],{"id":8523,"slug":8524,"title":8525,"dynasty":3087,"author":8526,"museum":107,"description":8527,"tags":8528,"thumbUrl":8529,"material":95,"size":95,"collection":95,"collections":8530,"showCount":8475,"zanCount":882,"manualWeight":39,"mainColor":100},239655,"li-da-zhi-du-lun-juan-an-hong-song-239655","隶大智度论卷","安弘嵩","此卷行草相间，通篇气脉贯通，千言笔墨一气呵成。起笔收锋间兼具写经的端谨虔诚与随性挥洒的灵动，墨色枯润相映，线条粗细交叠，带着六朝书法特有的清逸古雅。字里行间既有抄写佛典的肃穆沉静，又藏着书写者自然流露的文人笔致，章法绵密却不觉壅塞，字字顾盼有情，将宗教的沉静意趣与书法的飞扬神采相融，尽显写经书风的独特韵味，笔底沉潜着书写时的专注与敬虔。",[23,7,1613,386,1498,49,2602,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e0dd9043d1aa7ac02bebd03554ef95.jpg",[],{"id":8532,"slug":8533,"title":1290,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":8534,"thumbUrl":8535,"material":751,"size":752,"collection":35,"collections":8536,"showCount":8475,"zanCount":882,"manualWeight":39,"mainColor":40},235195,"hua-hui-ce-wu-chang-shuo-235195",[92,24,25,26,50,27,131,29,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f37309801ecded7fc20ed764eeb56d7.jpg",[35],{"id":8538,"slug":8539,"title":8540,"dynasty":162,"author":1060,"museum":107,"description":2889,"tags":8541,"thumbUrl":8542,"material":751,"size":752,"collection":95,"collections":8543,"showCount":8475,"zanCount":882,"manualWeight":39,"mainColor":207},232272,"yin-fu-jing-ou-yang-xun-232272","阴符经",[23,1063,7,199,198,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472521783f3f912897634c95b28f60c0.jpg",[],{"id":8545,"slug":8546,"title":8547,"dynasty":1892,"author":454,"museum":107,"description":8548,"tags":8549,"thumbUrl":8556,"material":751,"size":752,"collection":95,"collections":8557,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":100},226532,"da-yu-ding-ming-wen-bei-ta-quan-pian-yi-ming-226532","大盂鼎铭文碑拓全片","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[23,198,7,457,8550,1897,8551,8552,8553,8554,8555],"金文","碑拓","西周风格","篆体","金石文字","铭刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4648fe470a2c89e4438f34ddff6337a.jpg",[],{"id":8559,"slug":8560,"title":8561,"dynasty":45,"author":342,"museum":126,"description":8562,"tags":8563,"thumbUrl":8564,"material":8565,"size":8566,"collection":95,"collections":8567,"showCount":8475,"zanCount":788,"manualWeight":39,"mainColor":40},221997,"xiang-jun-xiang-fu-ren-tu-wen-zheng-ming-221997","湘君湘夫人图","该图是文徵明早期仅存的人物画名作。此图根据屈原《九歌》中“湘君”、“湘夫人”两章而作。画面上湘君、湘夫人一前一后，前者手持羽扇，侧身后顾，似与后者对答，神情生动。人物造型来自晋顾恺之《女史箴图》、《洛神赋图》，形象古雅，体态修长，长袖飘逸，衣裙曳地，用游丝描，施朱红及白粉，精工古雅。从文徵明和王稺登的题跋可知，文徵明曾请仇英以此题作画，但文氏看过后并不满意，自己又重新创作。可见，文氏是在刻意追求一种“古意”，与仇英有不同的审美趣好。画上方自书《湘君》、《湘夫人》两章，后署“正德十二年丁醜二月已未停雲館中書”。正德十二年（1517年），时文徵明48岁。本幅有文徵明、文嘉、王稺登题跋。\n经清·耿昭忠等鉴藏。",[23,24,25,92,75,111,112,27,113,114,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97f60c8237a52c52ad96b4e9d3caf10.jpg","纸本，淡设色","纵100.8厘米，横35.6厘米",[],{"id":8569,"slug":8570,"title":8571,"dynasty":88,"author":8572,"museum":126,"description":8573,"tags":8574,"thumbUrl":8576,"material":784,"size":8577,"collection":314,"collections":8578,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":100},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,24,25,49,111,27,772,1677,54,116,8575,6807,51,77,60,7],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[314,63,187],{"id":8580,"slug":8581,"title":8582,"dynasty":105,"author":1642,"museum":72,"description":8583,"tags":8584,"thumbUrl":8585,"material":8586,"size":8587,"collection":96,"collections":8588,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":100},221022,"san-huai-tie-wang-xian-zhi-221022","散怀帖","王献之（344年－386年），字子敬，小名官奴，琅玡临沂（今山东省临沂市）人。东晋官员、书法家、画家、诗人，右军将军王羲之第七子、晋简文帝司马昱女婿、晋安帝司马德宗的岳父。\n王献之少负盛名，才华过人。得到宰相谢安赏识，历任本州主簿、秘书郎、司徒左长史、吴兴太守，累迁中书令等职，与族弟王珉区分，人称“大令”。他先后迎娶郗道茂及新安公主司马道福为妻，嫁女于太子司马德宗（晋安帝）。太元十一年（386年），病逝，时年四十三岁 [1] 。安帝时获赠侍中、特进、光禄大夫、太宰，谥号为“宪”。\n王献之精习书法，以行书及草书闻名，在楷书和隶书上有深厚功底。在书法史上与王羲之并称“二王”，有“小圣”之称。又与张芝、钟繇、王羲之并称“书中四贤”。唐人张怀瓘《书估》评其书为“第一等”。 [2] 同时，王献之还善于作画，唐人张彦远《历代名画记》目其画为“中品下”。",[7,398,198,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3712465363030588952e2ae348618c63.jpg","狂草","27.7x32.5",[96],{"id":8590,"slug":8591,"title":8592,"dynasty":179,"author":1187,"museum":20,"description":8593,"tags":8594,"thumbUrl":8595,"material":79,"size":8596,"collection":171,"collections":8597,"showCount":8475,"zanCount":882,"manualWeight":39,"mainColor":100},219621,"song-tai-zu-cu-ju-tu-qian-xuan-219621","宋太祖蹴鞠图","原图为宋代名画家苏汉臣所绘，钱选在临摹之后题字：“蹴鞠图旧藏秘府，今摹图之。若非天人革命，应莫观之，言何画哉。”表现出了对此画仰慕已久的心情。明人唐文凤在《梧冈集》中有《题蹴鞠图》诗，诗中说明前两人踢球的是宋太祖赵匡胤与其弟宋太宗，后四人观看的是大臣赵普、楚昭辅、党进、石守信，都是宋朝开国的功勋，他们都喜欢踢球；“明良相逢同一时，乘闲且复相娱嬉，军中之乐谅亦宜。”此图说明了蹴鞠是宋代初年军中之乐，是宋朝开国皇帝和贵族都喜爱的活动，因此，开启了中国古代足球发展的第二个高潮时期。在《宋史·礼志》《乐志》中记载，凡是朝廷的盛大宴会都有足球表演。在《武林旧事》中记载，宋代除了官家有蹴鞠专业艺人之外，民间的瓦子中也有蹴鞠艺人表演，而在宋代开展最为广泛的则是“寒食蹴鞠”民俗活动；“寒食梁州十万家，蹴鞠秋千尚豪华。”（陆游《春晚感事》）在这样从上到下全国的足球热潮氛围中，便有了高俅、张明、柳三复等因踢球而发迹的人物。《宋太祖蹴鞠图》为后人提供了研究宋代足球发展最宝贵的资料。",[24,25,111,27,113,110,77,7,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a53204849892062b0904a61f11a9dd7.jpg","宽28.6厘米，长56.3厘米",[171],{"id":8599,"slug":8600,"title":8601,"dynasty":88,"author":3830,"museum":1172,"description":8602,"tags":8603,"thumbUrl":8604,"material":169,"size":8605,"collection":96,"collections":8606,"showCount":8475,"zanCount":882,"manualWeight":39,"mainColor":100},219554,"san-sheng-tu-liu-song-nian-219554","三生图","画中所绘的情景，正是李源在侍从的陪同下前去赴约，已长成十三岁的今生骑牛牧童即前世园泽，唱着歌谣徐徐而来，是为“三生”也。",[23,92,24,25,49,111,27,59,113,51,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306c01041dc84d596efb145b5bd7b859.jpg","24x100厘米",[96,171],{"id":8608,"slug":8609,"title":8610,"dynasty":18,"author":411,"museum":263,"description":8611,"tags":8612,"thumbUrl":8613,"material":33,"size":95,"collection":63,"collections":8614,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":40},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,24,26,27,50,51,7,60,59,129,651,360,652,58,55,52,53,113,250,115,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[63],{"id":8616,"slug":8617,"title":8618,"dynasty":88,"author":549,"museum":20,"description":8619,"tags":8620,"thumbUrl":8621,"material":79,"size":612,"collection":95,"collections":8622,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":40},214262,"duo-jing-lou-shi-tie-20-mi-fei-214262","多景楼诗帖-20","墨色浓淡交织，似藏无尽章法于其间。每一笔皆如骤雨惊风，却又收放自如——长画如引弓待发，短撇若惊鸿一瞥。飞白处见筋骨，重墨时显沉雄。字与字气脉相连，顾盼有情，仿佛能听见纸墨相触的脆响，窥见书者挥毫的洒脱姿态。笔法跌宕起伏里，藏着不拘一格的才情，读来只觉意气飞扬，心神被灵动线条牵引，沉醉于率真与雄健的交融之美。那肆意挥洒的笔势，既见功底的深厚，更显性情的奔放，将书写时的畅快与豪情，凝在每一处转折提按之中。",[7,60,50,77,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba50dd4540257478299585be2cb34631.jpg",[],{"id":8624,"slug":8625,"title":7507,"dynasty":18,"author":8626,"museum":72,"description":8627,"tags":8628,"thumbUrl":8629,"material":79,"size":8630,"collection":96,"collections":8631,"showCount":8475,"zanCount":39,"manualWeight":39,"mainColor":40},214240,"li-shu-liu-yan-lian-xia-ding-214240","夏鼎","这幅隶书联作，笔法古拙沉厚，蚕头燕尾的波磔分明却不张扬，横画舒展如古松偃卧，竖笔挺劲似石笋立崖。字形宽博方正，规整中藏灵动——“飞”字撇捺轻扬带行云意，“月”字弧笔圆转含清辉态。两联对称呼应，墨色浓淡相宜，枯笔见筋骨，润笔显华滋，章法疏朗气脉贯通。整体气息雅正醇厚，既有汉隶古朴沉雄遗韵，又融个人笔意鲜活灵动，将六言联语文趣与隶书金石味完美糅合。观之如临古雅书斋，墨香与诗韵交织，笔墨间见岁月沉淀的温润风骨，尽显传统书法的静穆之美与文人意趣。",[23,2135,7,1613,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47e82bd1e4d31ff74ba3a8613e2d34b.jpg","130.8x29.4",[96],{"id":8633,"slug":8634,"title":8635,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":8636,"thumbUrl":8637,"material":751,"size":752,"collection":95,"collections":8638,"showCount":8639,"zanCount":882,"manualWeight":39,"mainColor":40},290886,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-290886","临倪瓒东冈草堂图轴",[24,50,1328,110,115,2859,57,7,77,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6845308d6e74e26371b15c8a563743f4.jpg",[],54,{"id":8641,"slug":8642,"title":8643,"dynasty":45,"author":744,"museum":107,"description":897,"tags":8644,"thumbUrl":8645,"material":751,"size":752,"collection":95,"collections":8646,"showCount":8639,"zanCount":882,"manualWeight":39,"mainColor":40},287732,"wei-zhu-zui-yu-tu-tang-yin-287732","苇渚醉渔图",[24,92,50,75,51,54,678,772,820,7,77,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ed30e7e4f9029d9633816e33680693.jpg",[],{"id":8648,"slug":8649,"title":8650,"dynasty":45,"author":125,"museum":8651,"description":8652,"tags":8653,"thumbUrl":8654,"material":312,"size":95,"collection":96,"collections":8655,"showCount":8639,"zanCount":39,"manualWeight":39,"mainColor":40},240643,"tang-shi-zhou-xu-wei-240643","唐诗轴","中央美术学院美术馆","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 ）。明代中期文學家、書畫家、戲曲家、軍事家\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。\n徐渭的文藝創作所涉及的領域很廣，但它們共同的特徵是：藝術上絕不依傍他人，喜好獨創一格，具有強烈的個性，風格豪邁而放逸，而且常常表現出對民間文學的愛好。\n明代的詩壇，由於前七子與後七子的提倡，出現了一股擬古的風潮。這種擬古的風氣，在一定意義上有礙於詩歌藝術的發展。徐渭對此深致不滿，並作了尖鋭的批評。 [16] 他説：“鳥學人言，本性還是鳥；寫詩如果一意模擬前人，學得再像，也不過是鳥學人言而已，毫無真實的價值。”徐渭自己的詩歌創作，注重表達個人對社會生活的實際情感，風格略近李賀，問學盛唐，並雜取南朝，出入宋元，而終不失其為自我。這個傾向為稍後主張抒發性靈的公安派所繼承，對改變晚明詩風具有重要意義。公安派的代表人物袁宏道對徐渭的詩有一段精彩的評述：“文長既不得志於有司，遂乃放浪麴櫱，恣情山水……其所見山奔海立。如寡婦之夜泣，羈人之寒起。當其放意，平疇千里；偶爾幽峭，鬼語秋墳。” [6] [17]\n徐渭的散文，以《自為墓誌銘》一篇最為出色。此外，許多尺牘也很有特色，潑辣機智，幽默多趣，文風遠啓金聖嘆一流。但總的來説，徐渭散文方面的成就不及詩歌。\n徐渭的書法和明代早期書壇沉悶的氣氛對比顯得格外突出，他最擅長氣勢磅礴的狂草，但一般人很難看懂，用筆狼藉，他對自己的書法極為喜歡，自認為“書法第一，詩第二，文第三，畫第四”。\n徐渭打破了以“台閣體”為主導的明代書壇的寂寞，開啓和引領了晚明“尚態”書風，把明代書法引向了新的高峯。陶望齡認為其書法“稱為奇絕，謂有明一人”。袁宏道則稱：“予不能書，而謬謂文長書決在王雅宜、文徵仲之上，不論書法而論書神，先生者誠八法之散聖，字林之俠客矣！”\n徐渭的書法及書法觀的產生，與明朝中、晚期的思想、文化、審美觀念巨大變遷相吻合。他的書法也是從吳門書派主張唐法的反叛中出發，繼而吸取北宋蘇軾、黃庭堅、米芾追求藝術個性化的積極因素中走來。徐渭的作品諸如《寄雲嶽子九首冊》《為仰南書六首詩卷》《李白蘇軾九首詩卷》《春園暮雨詩軸》等作品中黃庭堅書法的筆意比比皆是。\n徐渭在《書季子微所藏摹本蘭亭》中所説的“時時露己筆意” 的審美精神。他的原話是：“非特字也，世間諸有為事，凡臨摹直寄興耳，銖而較，寸而合，豈真我面目哉？臨摹《蘭亭》本者多矣，然時時露已筆意者，始稱高手。予閲茲本，雖不能必知其為何人，然窺其露已筆意，必高手也。優孟之似孫叔敖，豈並其鬚眉軀幹而似之耶？亦取諸其意氣而已矣。”\n如果説徐渭的行書已用“己意”實現了對傳統筆法的改變，那麼，最大的改變是那些高頭大軸的中堂行草書。以前説“董其昌破壞了墨法”，在這則要説“徐渭破壞了筆法”。徐渭在書法從卷冊翰札的文房把玩轉向廳堂展示審美的變革中，實現了作品創作中筆法的改造。《代應制詠劍草書軸》和《代應制詠墨草書軸》是其代表作。徐渭這種借鑑於繪畫的點畫表現方法，是對晉唐筆法的創造性破壞。對於書法藝術這種美術化傾向的改變。\n明代的水墨寫意畫迅速發展，以徐渭為代表的潑墨大寫意畫非常流行。徐渭憑藉自己特有的才華，成為明代成就極高的寫意畫大師。\n徐渭的潑墨寫意花鳥畫，別開生面，自成一家。其花鳥畫，兼收各家之長而不為所限，大膽變革，極具創造力。其寫意畫，無論是花卉還是花鳥，皆一揮而就，一切盡在似與不似之間，對筆下的四時花木，畫家運用勾、點、潑、皴等多種筆墨形態，將牡丹之雍容、紫薇之雋秀、竹子之蕭疏、霜菊之孤傲、寒梅之挺潔的神韻刻畫的入木三分，分別舒展九尺與五尺的梧桐和芭蕉，直衝畫外，不見首尾，與密如驟雨的葡萄、虯如蟠龍的藤蔓構成了巨大的張力，充溢在畫面中的縱橫之氣和豪放境界更是前所未有。他的水墨葡萄，串串果實倒掛枝頭，水鮮嫩欲滴，形象生動，茂盛的葉子以大塊水墨點成，風格疏放，不求形似，代表了徐渭的大寫意花卉的風格。豐富的運動軌跡與濃淡、徐疾、大小、乾濕、疏密程度各異的筆蹤墨韻，無不具備振筆疾書的即興性和不可重複性，呈現出中國繪畫中最為強烈的抽象表現主義，使其藴含某種內在的氣質、精神，這種氣質、精神又使欣賞者有如臨其境之感。徐渭筆下的南瓜、菊花圖，一氣呵成，驅墨如雲，氣勢逼人，同時又恰如其分的駕馭筆墨，輕重、濃淡、疏密、乾濕極富變化。墨法上既呈隨意浸滲的墨暈，又見控制得宜的濃淡。雖然被徐渭自稱“戲抹”，然而在寫意中仍生動的傳達出了花果的不同秉性和生韻。它的梧桐圖，只以潑墨筆法繪其一小部分，卻有使人聯想到挺拔正直的參天梧桐。正如翁方綱所説：“紙才一尺樹百尺，何以著此青林廬。恐是磊落千丈氣，夜半被酒歌噓唏。” 徐渭以其精湛的筆法，在似與不似之間，為欣賞者營造出一片開闊的審美天地。\n徐渭將自己的書法技巧和筆法融於畫中，正如張岱所言：“今見青藤（徐渭）諸畫，離奇超脱，蒼勁中姿媚躍出，與其書法奇絕略同。昔人謂摩詰之詩，詩中有畫，摩詰之畫，畫中有詩；餘謂青藤之書，書中有畫，青藤之畫，畫中有書。” [24] 他的《墨葡萄圖》，墨的濃淡顯示了葉的質感，題詩的字體結構與行距不規則，如葡萄藤蔓一樣在空中自由延伸，書與畫融為一體。\n徐渭的書法造詣很高，其跌宕縱橫的筆法有助於繪畫藝術的巧妙變化，如畫墨荷、葡萄，大刀闊斧，縱橫馳騁，沒有深厚的書法功力是難以做到的。徐渭曾做一幅《梅花蕉葉圖》，將梅花與芭蕉放在一起，並且在畫上題寫道：“芭蕉伴梅花，此是王維畫”，顯示出徐渭與王維在某些構圖上的源流關係。當然，王維畫雪裏芭蕉，更突出一種禪機，即，使得雪的清寒與芭蕉的心空構成畫面的宗教底藴，而徐渭在這樣的畫面組合中，更突出一種超越時空的主體解放性。\n徐渭的書法和畫法都極為嫺熟，功底深厚，他的題字，如他的潑墨寫意畫，縱橫不羈，洋洋灑灑；他的潑墨寫意畫，融合了精熟的筆法，意趣橫生，極富韻味。\n徐渭晚年悲苦淒涼，形影相弔，他將自己的悲憤和懷才不遇之感融注於筆端，筆下的墨竹，枝淡葉濃，逸筆草草，竹枝氣勢勁健，竹葉俯垂含情，雖屬竹枝而高潔清爽之氣不減。這正是畫家身處下層，懷才不遇，品格高潔，絕世獨立人格的光輝寫照。他的潑墨牡丹，不拘於牡丹的富貴高雅特徵，色彩絢爛，他卻常常以水墨繪之，有意改其本性，其目的是有賦予牡丹清雅脱俗的格調和神韻，所謂“從來國色無裝點，空染胭脂媚俗人。”\n徐渭的繪畫主觀感情色彩強烈，筆墨揮灑放縱，從而把中國寫意花鳥畫推向了書寫強烈思想情感的最高境界，把在生宣紙上隨意控制筆墨以表現情感的寫意花鳥畫技巧提高到了前所未有的高度。成為中國寫意花鳥畫發展中的里程碑，開創了中國大寫意畫派的先河，為文人畫的發展提供了廣闊的空間。其畫風對清代的八大山人、石濤、揚州八怪以及近現代的吳昌碩、齊白石等都產生了深遠影響。\n徐渭既採用北雜劇的形式，又吸收南曲的自然格律，創作有雜劇集《四聲猿》，其中包括《狂鼓史漁陽三弄》《玉禪師翠鄉一夢》《雌木蘭替父從軍》《女狀元辭凰得鳳》四個獨立的戲。《狂鼓史漁陽三弄》又稱《陰罵曹》，是有感於嚴嵩殺害沈鍊之事而創作的，表現出狂傲的反抗精神。後兩個戲都是寫女扮男裝建功立業的故事，反映了他對婦女的看法，有一定的反封建意義。這些作品都打破了雜劇固定的格式，為戲劇形式上的多樣化開拓了門津。《四聲猿》，高華爽俊，有着反抗思想與革新精神，對明代中後葉的戲曲創作起到重要的影響。湯顯祖曾説：“《四聲猿》乃詞壇飛將，輒為之演唱數通，安得生致文長，自拔其舌！”\n此外，徐渭對當時流行的輕視南戲之風非常反感。他認為南戲有自己寬鬆自由的格律，受到民間的歡迎，它通俗、多采，“無今人時文氣”，可是卻“無人選集，亦無表其名目者”。為此，徐渭寫下了《南詞敍錄》，首次對南戲加以總結，研究了南戲的藝術特點，著錄了宋元南戲六十種、明初戲文四十七種，以反對戲曲創作的駢麗風尚，扶植新興的俗曲。 [6] 這是中國第一部關於南戲的理論專著，在戲劇史上具有重要意義。雜劇《歌代嘯》、小説《雲合奇縱》（即《英烈傳》），據説也是徐渭所作。\n在戲劇理論方面，徐渭主張“本色”，即戲劇語言應當符合人物的身份，應當使用口語和俗語，以保證人物的真實性，而反對典雅的駢語，過度的修飾，這些看法都頗有見地。\n徐渭文自負才略，喜出奇謀，談論行軍打仗的形勢策略大多得其要領。擔任胡宗憲的幕僚時，協助其抗擊倭寇，並參與制定誘降海盜汪直、徐海等人的計謀。晚年悉心培養名將李如松，使其建立不朽功勳。",[24,25,75,50,77,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3a57aac6b64d6fc61ee1dcd1d59672.jpg",[96],{"id":8657,"slug":8658,"title":5258,"dynasty":18,"author":830,"museum":107,"description":8659,"tags":8660,"thumbUrl":8661,"material":95,"size":95,"collection":35,"collections":8662,"showCount":8639,"zanCount":882,"manualWeight":39,"mainColor":40},239112,"mo-mei-tu-zhou-wu-chang-shuo-239112","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[24,25,75,50,131,115,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[35,96],{"id":8664,"slug":8665,"title":8666,"dynasty":179,"author":732,"museum":107,"description":8667,"tags":8668,"thumbUrl":8669,"material":751,"size":752,"collection":95,"collections":8670,"showCount":8639,"zanCount":39,"manualWeight":39,"mainColor":100},228079,"xiao-xia-tu-liu-guan-dao-228079","消夏图","描绘一文士赤裸半身躺于卧榻，右手持尘，左手拈书卷，目视前方，若有所思。他的身后放一琴，榻后的桌上陈放有书卷、砚台，茶盏等，可见主人是个风雅文士。榻的旁边有一屏风，对面两名侍女，一个手拿蒲扇，另外一名双手抱一包裹似乎主人需要之物。",[23,92,24,25,49,27,113,426,749,2187,574,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621dcab5316c928d6d5eb788d601bacf.jpg",[],{"id":8672,"slug":8673,"title":8674,"dynasty":88,"author":5508,"museum":107,"description":8675,"tags":8676,"thumbUrl":8677,"material":95,"size":95,"collection":95,"collections":8678,"showCount":8639,"zanCount":39,"manualWeight":39,"mainColor":40},227293,"mo-lan-tu-zheng-si-xiao-227293","墨兰图","《元郑思肖墨兰图》是元代画家郑思肖所创作的一幅写意水墨画，现为日本大阪市立美术馆藏。该作也是作者留下的传世作品，也是反映他创作思想和艺术造诣的代表作。该作是一幅非常抒情的文人写意水墨画，描绘出兰的野逸、不畏风霜，孤高自傲，无人花自馨的高尚品格。作者借笔墨抒发胸中逸气，是自我思想品格的写照。",[23,24,25,49,50,139,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c729b870cc6b268814e99c4e289b7d.jpg",[],{"id":8680,"slug":8681,"title":8682,"dynasty":88,"author":8683,"museum":107,"description":8684,"tags":8685,"thumbUrl":8686,"material":184,"size":8687,"collection":314,"collections":8688,"showCount":8639,"zanCount":39,"manualWeight":39,"mainColor":40},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[23,24,25,49,27,51,458,55,53,54,56,57,113,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[314,63,187],{"id":8690,"slug":8691,"title":8692,"dynasty":88,"author":1160,"museum":72,"description":8693,"tags":8694,"thumbUrl":8695,"material":184,"size":8696,"collection":171,"collections":8697,"showCount":8639,"zanCount":39,"manualWeight":39,"mainColor":40},221201,"song-gao-zong-shu-xiao-jing-ma-he-zhi-hui-tu-ce-zhao-gou-221201","宋高宗书孝经马和之绘图册","圖冊原本應為圖文相連的長卷，後來因破損嚴重，改裝成書畫分開的冊頁形式。畫幅各藉不同場景，詮釋各階層人士盡孝及忠君的雙重意涵。圖文相輔，充分突顯了“為君主立言”的創作初衷。圖冊諸題跋均肯定《孝經》書法出自於宋高宗之手。畫幅風格則與馬和之全然不同，部分山石皴法反倒與李唐、蕭照較近。",[23,92,24,25,26,27,113,7,199,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ba40826be74d19b5b9d115b4400475.jpg","40x88厘米",[171,218],{"id":8699,"slug":8700,"title":8701,"dynasty":179,"author":225,"museum":412,"description":8702,"tags":8703,"thumbUrl":8704,"material":169,"size":8705,"collection":171,"collections":8706,"showCount":8639,"zanCount":788,"manualWeight":39,"mainColor":40},220304,"shen-qi-tu-zhao-meng-fu-220304","神骑图","赵孟頫（1254年10月20日 －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[23,49,111,27,7,77,1074,798,652,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[171,218],{"id":8708,"slug":8709,"title":8710,"dynasty":88,"author":6022,"museum":1172,"description":8711,"tags":8712,"thumbUrl":8713,"material":169,"size":8714,"collection":314,"collections":8715,"showCount":8639,"zanCount":788,"manualWeight":39,"mainColor":100},219730,"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[23,24,25,49,112,27,51,113,458,55,56,52,53,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[314],{"id":8717,"slug":8718,"title":8719,"dynasty":88,"author":6789,"museum":263,"description":8720,"tags":8721,"thumbUrl":8722,"material":8723,"size":8724,"collection":35,"collections":8725,"showCount":8639,"zanCount":882,"manualWeight":39,"mainColor":40},218938,"jun-gu-tu-gong-kai-218938","骏骨图","《骏骨图》绘一匹老马，瘦骨嶙峋，低首漫步风中，无辔头、缰绳，鬓尾在风中微动，腰间15条肋骨历历可数，铜骨铁臀，精神矍铄，仍有千里之志。",[23,24,25,49,112,50,1074,7,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2baa8be9cf7b52aad181b30341ca78.jpg","水墨,纸本","纵29.9厘米，横56.9厘米",[35,96,187],{"id":8727,"slug":8728,"title":7456,"dynasty":45,"author":8729,"museum":72,"description":8730,"tags":8731,"thumbUrl":8732,"material":33,"size":8733,"collection":171,"collections":8734,"showCount":8639,"zanCount":39,"manualWeight":39,"mainColor":100},214747,"luo-han-tu-zhao-xiu-lu-214747","赵修禄","画中的罗汉眉毛胡子一把抓，左手持袖，右手持珠，化作水波，脚踏浪花，形象生动。衣服的轮廓和画作的线条都非常清晰细腻，所谓流畅的笔触可能就是这种笔触风格的体现。",[24,25,75,878,113,27,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0de78a831d6c5e798e599ccb531b57.jpg","82.3x24.2",[171],{"id":8736,"slug":8737,"title":8738,"dynasty":88,"author":8739,"museum":20,"description":8740,"tags":8741,"thumbUrl":8742,"material":95,"size":95,"collection":314,"collections":8743,"showCount":8639,"zanCount":39,"manualWeight":39,"mainColor":8744},202978,"sui-yang-wu-lao-tu-ti-ba-ce-jiang-can-202978","睢阳五老图题跋册","蒋璨","册页中人物身着宽袍官帽，神态从容内敛，线条勾勒简洁精准，衣袂褶皱处见笔力细腻。旁侧题跋墨色浓淡相宜，行笔流畅自然，文字与画像相映成趣，既留存人物风貌，更承载历代文人的评述感怀。纸本古朴质感与书画雅致气韵交融，仿佛窥见往昔文人雅集的从容心境，岁月痕迹在笔墨间流淌，尽显传统书画合璧的独特魅力。",[26,111,60,113,7,27,112,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181806e01c0d82064ca8ee0a7b420c76.jpg",[314],"d5b99b",{"id":8746,"slug":8747,"title":8748,"dynasty":8749,"author":454,"museum":107,"description":8750,"tags":8751,"thumbUrl":8752,"material":751,"size":752,"collection":95,"collections":8753,"showCount":8754,"zanCount":39,"manualWeight":39,"mainColor":100},287721,"dong-jin-wang-xi-zhi-huang-ting-jing-xing-feng-lou-ben-song-ke-ben-yi-ming-287721","东晋 王羲之 黄庭经 星凤楼本宋刻本","不详","此小楷神品，字势宽博舒展，点画温润圆劲，起收含蓄雅致，提按间尽显灵动韵致。布白匀整疏朗，字字如珠玑排布，通篇气息平和冲淡，暗合道经清虚出尘的意蕴。\n行笔牵丝映带若有似无，谨守法度又暗含萧散简远的魏晋风度，将书法工稳与经文玄妙融为一体。墨色沉郁莹润，刻工精湛忠实还原原作风神，笔笔皆具雅正高古之姿，观之如对魏晋清淡萧散的林下之风，尽显超然出俗的书卷雅韵。",[199,198,7,200,386,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794b3c1a917aa55be794eda0c644b484.jpg",[],53,{"id":8756,"slug":8757,"title":8758,"dynasty":88,"author":369,"museum":126,"description":8759,"tags":8760,"thumbUrl":8761,"material":1038,"size":8762,"collection":96,"collections":8763,"showCount":8754,"zanCount":39,"manualWeight":39,"mainColor":40},239597,"su-shi-gui-yuan-tie-ye-zhao-ji-239597","苏轼归院帖页","释文：\n此虽云同归院，亦不云宿于院中。不知别有文字，证得是宿学士院为复。只是公家传说如此，乞更批示。轼白。\n今当改云宿学士院为复，且只依旧云宿待漏舍，幸批示。\n鉴藏印钤“子孙永保“、”项氏子京“、”项墨林父秘笈之印“、”退密“、”宣统御览之宝“等五方。\n此帖是《宋人法书六种》卷之一，叙述了批示“同归院”、“宿学士院”、“宿待漏舍”三个名称统一之事。从帖文中可知，该帖是苏轼做翰林学士时所书，时间应为北宋元祐元年至四年之间（1086―1089年），苏轼时年51至54岁。\n前人虽云苏轼书学颜真卿、杨凝式，但实际受徐浩行书的影响最深。此帖笔致萧散，结态随意，似不经意而笔到法随，已不见学古痕迹。诚如苏轼自己所说：“不践古人，自出新意。”虽短短五行，已臻化境。\n《石渠宝笈续编》重华宫著录。",[23,92,24,25,60,7,77,312,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e060cd1b3354e1c0cf55b5c1306316.jpg","纵35.1厘米，横12.4厘米",[96],{"id":8765,"slug":8766,"title":8767,"dynasty":45,"author":744,"museum":107,"description":8768,"tags":8769,"thumbUrl":8770,"material":95,"size":95,"collection":95,"collections":8771,"showCount":8754,"zanCount":882,"manualWeight":39,"mainColor":100},235993,"ren-wu-tu-ye-tang-yin-235993","人物图页","此作以娴静仕女为主体，她踞坐朱红锦毡，素手轻拢琴弦，眉梢隐含幽愁，仪容温婉端丽。衣纹勾勒柔劲舒展，设色雅致古淡，将深闺女子的沉静与悒郁揉入笔底。\n\n左侧题诗与画作相得益彰，行书俊逸秀挺，诗中闺怨与仕女情态相互映照。整体空灵清雅，以极简场景烘托出幽寂绵长的春愁，将缱绻心事藏于笔墨色彩间，诗画合璧，尽显隽秀雅致的格调，是融情于景的精妙小品。",[92,24,25,111,27,113,114,427,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a945bd646f963731c397889aed56bff.jpg",[],{"id":8773,"slug":8774,"title":8775,"dynasty":45,"author":8109,"museum":126,"description":8776,"tags":8777,"thumbUrl":8778,"material":477,"size":95,"collection":95,"collections":8779,"showCount":8754,"zanCount":39,"manualWeight":39,"mainColor":40},234167,"song-zhu-mei-juan-chen-jia-yan-234167","松竹梅卷","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[23,92,24,25,49,50,457,77,7,133,132,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb706e263f815b90ab97a1bb3c330a393.jpg",[],{"id":8781,"slug":8782,"title":8783,"dynasty":18,"author":411,"museum":126,"description":5358,"tags":8784,"thumbUrl":8785,"material":488,"size":5362,"collection":95,"collections":8786,"showCount":8754,"zanCount":882,"manualWeight":39,"mainColor":40},233770,"tao-yuan-ming-shi-yi-tu-ce-shi-tao-233770","陶渊明诗意图册",[24,25,26,50,27,60,7,51,56,58,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21739288ecf9a96bf144d35e36186e18.jpg",[],{"id":8788,"slug":8789,"title":8790,"dynasty":45,"author":342,"museum":126,"description":8791,"tags":8792,"thumbUrl":8793,"material":8794,"size":8795,"collection":95,"collections":8796,"showCount":8754,"zanCount":882,"manualWeight":39,"mainColor":40},233711,"wen-zheng-ming-lv-yin-chang-hua-tu-zhou-wen-zheng-ming-233711","文徵明绿荫长话图轴","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[24,75,50,59,51,115,52,53,113,57,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16c50eb1cb998daffc1a6e2435c3d91.jpg","纸本 ，水墨","纵131.1cm，横32cm",[],{"id":8798,"slug":8799,"title":8800,"dynasty":2365,"author":8801,"museum":8802,"description":8803,"tags":8804,"thumbUrl":8805,"material":184,"size":8806,"collection":95,"collections":8807,"showCount":8754,"zanCount":39,"manualWeight":39,"mainColor":100},232620,"fan-bu-xue-wei-tu-juan-hu-qian-232620","番部雪围图卷","胡虔","美国弗瑞尔美术馆","胡瓌与胡虔父子的生卒年均不详，他们父子熟悉草原生活，专绘游牧民族形形色色的生活场景，内容包括卓歇、牧马、射骑、按鹰、撬幕、汲泉等，创作丰富，描绘极为传神生动。\n[五代·后唐]镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,24,25,49,111,27,113,1074,798,704,115,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb672acb1f1813c352c1c5db3e6cbe11.jpg","28.8×117厘米",[],{"id":8809,"slug":8810,"title":8811,"dynasty":7844,"author":454,"museum":107,"description":8812,"tags":8813,"thumbUrl":8814,"material":8815,"size":8816,"collection":802,"collections":8817,"showCount":8754,"zanCount":39,"manualWeight":39,"mainColor":100},226538,"he-luo-qi-zi-wen-ti-shou-xing-tu-bei-yi-ming-226538","河洛七字文体寿星图碑","此作为书画合璧的巧思之作，将七字隐于寿星形貌之中。线条圆融苍劲，带着篆籀古意，勾勒出寿星鹤发童颜、飘然出尘的仙姿，字与形浑然相融，不见割裂痕迹。\n河洛玄思暗藏笔墨，题跋诗文呼应主题，把福寿祈愿与道家哲思藏于一笔一划间，观览时可在赏形品字之际，体悟这份出世寄怀的雅致意趣，尽显古人构思的精妙绝伦。",[23,198,7,113,457,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17f6670e014bfaf32f07f4aa4e3eaa5.jpg","拓片","64.36*116.38厘米",[802],{"id":8819,"slug":8820,"title":8821,"dynasty":45,"author":744,"museum":72,"description":8822,"tags":8823,"thumbUrl":8824,"material":682,"size":8825,"collection":63,"collections":8826,"showCount":8754,"zanCount":39,"manualWeight":39,"mainColor":40},222364,"zhen-ze-yan-shu-tu-tang-yin-222364","震泽烟树图","诗塘 御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[23,24,50,51,54,132,652,57,2219,77,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[63,187],{"id":8828,"slug":8829,"title":8830,"dynasty":88,"author":89,"museum":107,"description":8831,"tags":8832,"thumbUrl":8833,"material":4395,"size":8834,"collection":96,"collections":8835,"showCount":8754,"zanCount":882,"manualWeight":39,"mainColor":40},221271,"chi-du-quan-ce-huang-ting-jian-221271","尺牍全册","黃庭堅（1045年6月12日—1105年9月30日），字魯直，乳名繩權，號清風閣、山谷道人、山谷老人、涪翁、涪皤、黔安居士、八桂老人，世稱黃山谷、黃太史、黃文節、豫章先生。宋江南西路洪州府分寧人（今江西省九江市修水縣）人。祖籍浙江省金華市。北宋詩人黃庶之子，南宋中奉大夫黃相之父。北宋大孝子，《二十四孝》中“滌親溺器”故事的主角。北宋著名文學家、書法家、江西詩派開山之祖。\n黃庭堅在詩、詞、散文、書、畫等方面取得很高成就。黃庭堅與張耒、晁補之、秦觀都遊學於蘇軾門下，合稱為“蘇門四學士”。黃庭堅的詩，被蘇軾稱為“山谷體”。黃庭堅的書法獨樹一格，自成一家，他和北宋書法家蘇軾、米芾和蔡襄齊名，世稱為“宋四家”。在文學界，黃庭堅生前與蘇軾齊名，時稱“蘇黃”。作品有《山谷詞》《豫章黃先生文集》等。\n治平四年（1067年），黃庭堅進士及第，歷任葉縣縣尉、北京國子監教授、泰和縣知縣、德平鎮監、秘書省校書郎、《神宗實錄》編修官、集賢校理、國史局編修官、起居舍人、宣州知州、鄂州知州、涪州別駕、宣議郎監鄂州、奉議郎兼寧國軍判官、朝奉郎兼舒州知州、吏部員外郎、太平州知州等職。1105年，黃庭堅病逝於宜州南樓，享年61歲。而後，宋高宗追贈黃庭堅為“龍圖閣大學士”。1265年，宋度宗追贈黃庭堅諡號：文節。黃庭堅一生為官清正，治學嚴謹，以文壇宗師、孝廉楷模垂範千古。",[23,25,7,60,26,77,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516ad2358344b02e001f0260a856c627.jpg","27.8cm×47.4cm",[96],{"id":8837,"slug":8838,"title":8839,"dynasty":45,"author":1313,"museum":2379,"description":8840,"tags":8841,"thumbUrl":8842,"material":477,"size":8843,"collection":63,"collections":8844,"showCount":8754,"zanCount":882,"manualWeight":39,"mainColor":40},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,92,24,25,49,50,59,51,651,360,56,77,7,60,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[63,218],{"id":8846,"slug":8847,"title":8848,"dynasty":179,"author":330,"museum":442,"description":8849,"tags":8850,"thumbUrl":8851,"material":169,"size":8852,"collection":63,"collections":8853,"showCount":8754,"zanCount":39,"manualWeight":39,"mainColor":100},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,24,25,49,50,27,59,60,77,7,51,458,52,53,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[63],{"id":8855,"slug":8856,"title":8857,"dynasty":179,"author":1324,"museum":72,"description":8858,"tags":8859,"thumbUrl":8860,"material":79,"size":8861,"collection":95,"collections":8862,"showCount":8863,"zanCount":882,"manualWeight":39,"mainColor":40},291019,"yun-shi-gu-cha-tu-ni-zan-291019","筠石古槎图","枯树一株，寥寥数笔，下笔含蓄而有力。坡石皆用淡墨，而以焦墨写竹，极雅淡且极萧散。款下有云林子一印，旧说云林画中惟有荆蛮民一印，亦未可执一而论。",[92,24,25,75,50,704,132,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd707629052de9cb100aa4bd7ee76e9.jpg","44.5x32",[],52,{"id":8865,"slug":8866,"title":8867,"dynasty":45,"author":8868,"museum":107,"description":8869,"tags":8870,"thumbUrl":8871,"material":751,"size":752,"collection":95,"collections":8872,"showCount":8863,"zanCount":39,"manualWeight":39,"mainColor":100},289888,"wang-fu-zhu-he-shuang-qing-tu-zhou-bian-jing-zhao-289888","王绂竹鹤双清图轴","边景昭","边景昭，字文进，明代画家。陇西（今甘肃陇西）人，生卒年不详。边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制.\n李安忠是宣和朝画院画家，花鸟亦善然而出，边氏出生地的福建，又沿续着南宋院画风格和元代边武、张舜咨传至闽地的文人水墨花鸟画风，趋于粗简劲健，故边氏也受到一定影响。其成熟的花鸟画法即粗细相兼，妍雅并重。花鸟主体勾勒设色，工细妍丽，树石北京水墨皴染，简劲清雅，在工致华美中透出雍容浑朴气象，遂自成一格，开创了明代“院体”花鸟新风。",[24,75,29,50,132,3388,7,77,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e16c83ba939e92b50a0d66ced3a9ca.jpg",[],{"id":8874,"slug":8875,"title":8876,"dynasty":88,"author":8877,"museum":107,"description":8878,"tags":8879,"thumbUrl":8881,"material":751,"size":752,"collection":95,"collections":8882,"showCount":8863,"zanCount":39,"manualWeight":39,"mainColor":40},289350,"sha-ting-yan-shu-tu-hui-chong-289350","沙汀烟树图","惠崇","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[23,24,1328,25,50,60,77,7,115,116,8880,5360],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445107f68aa7c5aafbac1748922679d9.jpg",[],{"id":8884,"slug":8885,"title":8886,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":8887,"thumbUrl":8888,"material":751,"size":752,"collection":95,"collections":8889,"showCount":8863,"zanCount":882,"manualWeight":39,"mainColor":40},288529,"ci-hua-ruo-lao-shi-yi-tu-zhou-wu-chang-shuo-288529","此花若老诗意图轴",[23,24,75,50,27,29,135,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f598f5c457146f401751b0950996e9f.jpg",[],{"id":8891,"slug":8892,"title":8893,"dynasty":18,"author":3261,"museum":107,"description":8894,"tags":8895,"thumbUrl":8898,"material":751,"size":752,"collection":95,"collections":8899,"showCount":8863,"zanCount":39,"manualWeight":39,"mainColor":40},287996,"zhuan-shu-bai-shi-cao-tang-ji-deng-shi-ru-287996","篆书白氏草堂记","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[23,7,457,75,25,8896,8897,77],"名帖","白氏草堂记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50c5d1e16b90a9a938f5767e25d30edf.jpg",[],{"id":8901,"slug":8902,"title":8903,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":8904,"thumbUrl":8906,"material":751,"size":752,"collection":95,"collections":8907,"showCount":8863,"zanCount":39,"manualWeight":39,"mainColor":40},283750,"xi-shan-yue-guan-tu-zhou-dong-qi-chang-283750","溪山樾馆图轴",[92,24,25,75,50,51,56,8905,57,59,7,77],"屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778662d1b02ed3453eaa167d51351294.jpg",[],{"id":8909,"slug":8910,"title":8911,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":8912,"thumbUrl":8915,"material":751,"size":752,"collection":95,"collections":8916,"showCount":8863,"zanCount":418,"manualWeight":39,"mainColor":100},273097,"ke-si-ling-xian-zhu-shou-ping-hua-gua-ping-yi-ming-273097","缂丝灵仙祝寿瓶花挂屏",[3232,8913,27,29,7064,30,132,7,4027,8914],"挂屏","灵仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914dba3a90c62a132e69cfde5c941fc3.jpg",[],{"id":8918,"slug":8919,"title":8920,"dynasty":18,"author":454,"museum":107,"description":8921,"tags":8922,"thumbUrl":8923,"material":95,"size":95,"collection":95,"collections":8924,"showCount":8863,"zanCount":39,"manualWeight":39,"mainColor":40},235346,"li-shan-he-hua-tu-zhou-yi-ming-235346","李鱓荷花图轴","此作用水墨写意绘就荷塘景致，泼墨挥写荷叶，浓淡干湿层次分明，墨色晕染尽显苍润淋漓之态。荷花以淡墨轻勾轮廓，清姿绰约，荷茎劲挺穿插，带着舒展野逸的生机。画面搭配狂放题诗，书画相映成趣，笔墨间带着疏放不羁的意趣，将荷塘清韵与文人风骨相融。以极简水墨笔法写尽荷花出尘之姿，尽显写意花鸟酣畅洒脱的格调，朴拙随性间逸气纵横，将夏日荷塘的悠然意趣藏在笔墨虚实之中，尽显以意驭笔的文人画妙味。",[24,50,129,29,399,400,7,60,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb26610f2567b72eb84b2c567e8c8efe.jpg",[],{"id":8926,"slug":8927,"title":8928,"dynasty":18,"author":830,"museum":107,"description":1809,"tags":8929,"thumbUrl":8930,"material":312,"size":8931,"collection":96,"collections":8932,"showCount":8863,"zanCount":39,"manualWeight":39,"mainColor":40},224234,"zhong-ding-wen-shu-fa-wu-chang-shuo-224234","钟鼎文书法",[23,7,457,50,75,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936d07072312c8818810bc720fd43608.jpg","108X57cm",[96],{"id":8934,"slug":8935,"title":8936,"dynasty":45,"author":744,"museum":126,"description":8937,"tags":8938,"thumbUrl":8939,"material":8940,"size":8941,"collection":95,"collections":8942,"showCount":8863,"zanCount":39,"manualWeight":39,"mainColor":100},222347,"pei-tai-shi-jing-tu-tang-yin-222347","沛台实景图","本幅作者自题并书七言律诗一首：“正德丙寅，奉陪大塚宰太原老先生登歌風台，謹和感古佳韻並圖其實景，呈茂化學士請教。唐寅。‘此地曾經王輦巡，比鄰爭睹帝王身。世隨邑改井猶存，碑勒風歌字失真。仗劍當時冀亡命，入關不意竟降秦。千年泗上荒台在，落日牛羊感路人。’”钤“唐居士”。另有安岐、吴璵等人收藏印记。\n唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。\n《墨缘汇观》著录。",[23,24,50,59,51,75,458,56,53,52,116,250,77,7,60,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F126f3719a8c77d49f2a16c74b15ed02a.jpg","绢本，水墨","纵26.2厘米，横23.9厘米",[],{"id":8944,"slug":8945,"title":8946,"dynasty":88,"author":8947,"museum":1893,"description":8948,"tags":8949,"thumbUrl":8950,"material":312,"size":8951,"collection":96,"collections":8952,"showCount":8863,"zanCount":39,"manualWeight":39,"mainColor":40},221463,"xie-chang-yuan-zuo-you-zi-jing-ci-wen-tian-xiang-221463","谢昌元座右自警辞","文天祥","谢昌元座右辞卷，全称“文天祥书《谢昌元座右自警辞》”长卷，南宋 书，纸本。\n纵6.7厘米，横5.7厘米。\n草书，71行596字，计（自警辞）正文44行15字，天祥跋文27行281字。\n钤“文天祥氏”朱文印，卷后有王应麟书赞语、元代蒋岩、明代万韫辉、郝智、廖驹、程启充跋文及谢昌元后人谢源小楷书谢昌元《行实》。\n以行书在此卷包首题签“文天祥书谢昌元座右铭。\n内府鉴藏。\n”下钤“神品”、“乾隆宸翰”之印。\n文天祥（126－128），原名云孙，字宋瑞，又字履善，号文山。\n吉州庐陵（今 ）人。\n南宋杰出的民族英雄和爱国诗人。\n宝祐四年（1256）年进士第一，因父丧未受官职。\n开庆 初年（1259）蒙古军攻鄂州（今 ）， 董宋臣请理宗迁都以避敌锋，文天祥上疏请斩董宋臣，以振奋人心，并献御敌之计，未被采纳。\n后历任刑部郎官，知瑞州等职。\n咸淳六年（127），因得罪奸相贾似道而遭到罢斥。\n德祐元年（1275）正月，闻元军东下，文天祥在赣州组织义军，开赴临安（今杭州，当时南宋的京城）。\n次年被任为右丞相兼枢密使。\n其时元军已进逼临安，被派往元营中谈判，遭扣留，押往北就。\n二月底，天祥与其客杜浒等十二人，夜亡入真州。\n复由海路南下，至福建与张世杰、陆秀夫等坚持抗元。\n景炎二年（1277），进兵 ，收复州县多处。\n不久，为元重兵所败，妻子儿女皆被执，将士牺牲甚众，天祥只身逃脱，乃退 继续抗 。\n后因叛徒引元兵袭击，同年十二月，在五坡岭（今广东海丰县）被俘。\n元将张弘范迫其招降张世杰，乃书《 》诗以诉之。\n末句云：“人生自古谁无死，留取丹心照汗青。\n”次年，被押送大都（今北京），囚禁四年，经历种种严酷考验，始终不屈。\n于128年从容就义，年仅47岁。\n文天祥创作了大量的诗、词和散文作品。\n其中诗作达百余首，成就很高。\n有《 》，其中有《过零丁洋》、《正气歌》等千古绝唱。",[23,7,49,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b38d55b9a799e7ddfed90fa50dcef5.jpg","纵36.7厘米，横335.7厘米",[96],{"id":8954,"slug":8955,"title":8956,"dynasty":179,"author":225,"museum":8957,"description":8958,"tags":8959,"thumbUrl":8961,"material":8962,"size":8963,"collection":96,"collections":8964,"showCount":8863,"zanCount":788,"manualWeight":39,"mainColor":40},220836,"bei-long-geng-yun-shu-juan-zhao-meng-fu-220836","北陇耕云书卷","亳州市博物馆","该帖行草相间，其气势如大河波涛，滚滚直下，神采照人，其用笔如龙飞凤舞，转折自如，百炼刚化，为绕指柔，实为罕见，代表着赵孟頫行草书的最高水平，反复谛观，时时令人动临池之兴。",[23,25,49,60,7,50,77,845,8960,51],"陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7104a163641e42f4f36ddf0344ee4184.jpg","青石","纵29厘米，横222厘米",[96],{"id":8966,"slug":8967,"title":8968,"dynasty":162,"author":454,"museum":1830,"description":8969,"tags":8970,"thumbUrl":8971,"material":79,"size":8972,"collection":96,"collections":8973,"showCount":8863,"zanCount":882,"manualWeight":39,"mainColor":40},219859,"shi-shuo-xin-shu-juan-di-liu-can-juan-yi-ming-219859","世说新书卷第六残卷","《世说新书》是笔记小说集的一种，为中国六朝时代的南朝刘宋文学家临川王刘义庆（403—444）著，将东汉末年到东晋间名士的言行或逸事，以三十八个部门分别集录，并由南朝梁的文学家刘峻（字孝标，462—521）作注。",[23,1063,49,199,7,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56aa6c1c5966b809f57b2827d750550.jpg","纵27.1cm，横397.0cm",[96],{"id":8975,"slug":8976,"title":8977,"dynasty":179,"author":8978,"museum":72,"description":8979,"tags":8980,"thumbUrl":8982,"material":33,"size":8983,"collection":63,"collections":8984,"showCount":8863,"zanCount":882,"manualWeight":39,"mainColor":40},214721,"xi-shan-yan-ai-tu-cui-yan-fu-214721","溪山烟霭图","崔彦辅","这幅画描绘了一座山和一条山脉，烟雾和雾气围绕着溪流。崔彦辅传世画迹罕见，此幅或学荆关，颇有新意。",[24,25,51,50,59,7,77,60,57,56,267,8981,250,55],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68b55b40754b6527e503dbf1a05080.jpg","71x39.2",[63],{"id":8986,"slug":8987,"title":807,"dynasty":88,"author":8988,"museum":107,"description":8989,"tags":8990,"thumbUrl":8991,"material":751,"size":752,"collection":95,"collections":8992,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":100},288957,"shan-shui-tu-fan-kuan-288957","范宽","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[24,92,25,75,51,50,59,57,53,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef7a3a0391d16f3f98076b4c93ece0d.jpg",[],51,{"id":8995,"slug":8996,"title":8997,"dynasty":88,"author":369,"museum":107,"description":6700,"tags":8998,"thumbUrl":8999,"material":751,"size":752,"collection":95,"collections":9000,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":100},287889,"hong-li-shan-qin-tu-zhao-ji-287889","红荔山禽图",[92,24,25,1250,27,111,29,3318,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499471b14708a88846e258b8065c8c2e.jpg",[],{"id":9002,"slug":9003,"title":9004,"dynasty":45,"author":2071,"museum":107,"description":9005,"tags":9006,"thumbUrl":9012,"material":751,"size":752,"collection":95,"collections":9013,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":100},287413,"jie-bo-tu-juan-chou-ying-287413","揭钵图卷","此图系佛教故事画，描绘佛世尊为惩治鬼子母而将其幼子宾伽罗扣于钵下，鬼子母遣众小鬼意欲揭钵救子的情景。图中佛世尊神态安然地趺坐在莲花座上，众天神手执兵器耀武扬威地护其左右，正藐视地静观众小鬼徒劳无功的揭钵场面。小儿于钵中哭叫着张手求救，小鬼们不遗余力地用尽各种方法抢救，鬼子母面带忧色地被众孩儿团团围住，她显然已为解救幼子而心力交瘁。",[23,92,24,49,27,111,113,878,9007,9008,9009,1783,9010,386,7,77,9011],"佛教","佛陀","神兽","战马","战争场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932dc5ed50526f84734c179fdbbe4024.jpg",[],{"id":9015,"slug":9016,"title":9017,"dynasty":18,"author":4686,"museum":126,"description":9018,"tags":9019,"thumbUrl":9020,"material":95,"size":95,"collection":35,"collections":9021,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":40},237150,"yi-tuan-fu-gui-tu-zhou-zhao-zhi-qian-237150","一团富贵图轴","赵之谦（1829年8月8日 －1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[24,25,75,27,29,135,834,77,7,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[35,218],{"id":9023,"slug":9024,"title":9025,"dynasty":18,"author":9026,"museum":107,"description":9027,"tags":9028,"thumbUrl":9029,"material":312,"size":95,"collection":171,"collections":9030,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":40},237083,"jiang-feng-shi-nv-ce-jiang-feng-237083","蒋峰仕女册","蒋峰","仕女画在中国传统绘画中属于人物画的范畴，但由于它以女性为描绘对象，通过塑造优美动人的妇女形象，来反映当时的社会生活，传达特定的艺术趣味和审美观念，在题材内容、思想内涵、创作方法、表现形式等方面都有独特之处，其肇始、成熟、演变、发展的历史轨迹也不全与人物画同步，因此，它已成为中国绘画中的一个独立画科，其艺术传统还一直延续到今天，对当代的国画、年画，以及牙雕、玉器、雕漆、宫灯、花丝镶嵌等工艺品有着不可忽视的影响。",[24,25,26,27,111,113,114,427,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f5e9f674e02a1ae624093d9b343a35.jpg",[171],{"id":9032,"slug":9033,"title":9034,"dynasty":45,"author":46,"museum":126,"description":9035,"tags":9036,"thumbUrl":9037,"material":312,"size":9038,"collection":95,"collections":9039,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":40},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,25,26,50,51,60,77,59,7,52,53,56,651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg","28.5*25.5cm",[],{"id":9041,"slug":9042,"title":9043,"dynasty":18,"author":9044,"museum":107,"description":9045,"tags":9046,"thumbUrl":9047,"material":751,"size":752,"collection":95,"collections":9048,"showCount":8993,"zanCount":788,"manualWeight":39,"mainColor":40},229055,"ai-xin-jue-luo-min-ning-shu-fa-dui-lian-he-ji-qian-nian-song-he-wan-gu-min-ning-229055","爱新觉罗·旻宁书法对联鹤箕千年松鹤万古","旻宁","清宣宗爱新觉罗·旻宁（1782年9月16日—1850年2月25日），原名绵宁，清朝第八位皇帝，定都北京后的第六位皇帝。生于紫禁城撷芳殿中所。年号道光。清仁宗嘉庆皇帝第二子",[23,25,7,75,2136,60,77,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7687407d9ad23419eab296631444583.jpg",[],{"id":9050,"slug":9051,"title":9052,"dynasty":9053,"author":454,"museum":107,"description":8548,"tags":9054,"thumbUrl":9058,"material":751,"size":752,"collection":95,"collections":9059,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":40},226748,"jia-gu-wen-yi-ming-226748","甲骨文","商",[9055,7713,457,7,9056,9057],"商代","兽骨","阴刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3ad3c2b7a38c3dd19c5d40b4a40299.jpg",[],{"id":9061,"slug":9062,"title":9063,"dynasty":45,"author":5463,"museum":279,"description":9064,"tags":9065,"thumbUrl":9066,"material":9067,"size":9068,"collection":63,"collections":9069,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":40},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,24,25,49,50,59,7,60,51,115,704,57,250,55,113,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[63,187],{"id":9071,"slug":9072,"title":9073,"dynasty":88,"author":369,"museum":72,"description":9074,"tags":9075,"thumbUrl":9077,"material":682,"size":9078,"collection":95,"collections":9079,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":40},221252,"shu-guai-shi-shi-zhao-ji-221252","书怪石诗","赵佶(（1082-1135） 即宋徽宗。北宋书画家。神宗子，哲宗时封端王。登位前，独好笔研丹青，图史射御。与王诜、赵令穰、黄庭坚、吴元瑜等交往。在位（1100-1125）期间，政治腐败，穷奢极侈，任由蔡京、童贯等权奸把持朝政，推行「守内虚外」政策，河北、山东、江南等地农民暴动迭起。\n公元1126年1月（宣和七年十二月），传位子赵桓（钦宗)，自称“太上皇”。1127年（靖康二年），与钦宗等被金兵俘虏，死於五国城之越里吉（今黑龙江依兰）。在位时广收历代文物、书画，极一时之盛；亲自掌管翰林图画院，使文臣编辑《宣和书谱》、《宣和画谱》、《宣和博古图》等书。任米芾为书画学博士，赐予画院的画家佩带金紫鱼袋，将画院列在其他各院（书、琴、棋等）之上。任命宋子房为主考官，用科举办法选拔画家，对绘画艺术，具有推动和倡导的贡献。擅书法，真书学薛曜，草书学黄庭坚，後自创瘦劲锋利如“屈铁断金”的“瘦金体”。《铁围山丛谈》谓：“裕陵（赵佶）作黄庭坚书体，後自成一法。”\n传世书迹有真书及草书《千字文卷》等，现藏上海博物馆。绘画得吴元瑜传授，继承崔白风格，重视写生，体物入微，以精工逼真著称；工花鸟，相传用生漆点鸟睛，尤见生动。认为画孔雀上墩，必先左脚。经观察一如期言。亦擅山水和人物。获有“妙体众行、兼备各法”之誉。但有些作品乃画院中高手代笔。画后押字用“天水”及“宣和”、“政和”小玺或用瓢印虫鱼篆文，还常押书“天下一人”。传世作品有《芙蓉锦鸡图》轴，现藏北京故宫博物院；《柳塘芦雁图》卷，藏上海博物馆；《摹张宣虢国夫人游春图》卷，藏辽宁省博物馆。",[7,372,2602,9076,77],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74553f1d42cf7f1b11a62f410cab9735.jpg","44.5x61.9",[],{"id":9081,"slug":9082,"title":9083,"dynasty":88,"author":5902,"museum":126,"description":9084,"tags":9085,"thumbUrl":9086,"material":312,"size":9087,"collection":95,"collections":9088,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":40},221232,"dao-fu-zan-juan-quan-juan-di-yi-duan-fan-zhong-yan-221232","道服赞卷全卷-第一段","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。",[23,92,25,49,199,7,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bcbaa000d4b623b9df17446a27bebd.jpg","34.8*47.9cm",[],{"id":9090,"slug":9091,"title":9092,"dynasty":162,"author":194,"museum":126,"description":2400,"tags":9093,"thumbUrl":9094,"material":312,"size":9095,"collection":96,"collections":9096,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":207},221055,"zheng-zuo-wei-tie-cang-ben-quan-juan-yan-zhen-qing-221055","争座位帖藏本全卷",[23,7,60,198,49,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19720981560762221af62aac56dad7b8.jpg","38x370cm",[96,802],{"id":9098,"slug":9099,"title":9100,"dynasty":45,"author":1313,"museum":72,"description":9101,"tags":9102,"thumbUrl":9103,"material":9104,"size":9105,"collection":96,"collections":9106,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":207},220929,"lu-chang-shi-zhou-dong-qi-chang-220929","陆畅诗轴","董其昌以草书抄录唐陆畅〈惊雪〉：“怪得北风急，前庭如月晖。天人宁许巧，剪水作花飞。”此作书于绫本上，整体的书写效果与纸本相当不同，墨色的深浅变化较不明显，稍微晕染的性质也让整体线条精致度下滑。相较董其昌纸本书法对于材质与用笔的讲究，绫本的特性让他在书写态度上无须如此精谨，用笔也可以比较率性而不假修饰。无论是书写或是视觉表现上，此作都反映出较多应酬书法的特性。",[25,7,75,60,77,50,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac515934bf51ea7276a8c5e7cae2a703.jpg","绫本","95.9x28.8",[96],{"id":9108,"slug":9109,"title":9110,"dynasty":45,"author":5186,"museum":72,"description":9111,"tags":9112,"thumbUrl":9113,"material":33,"size":95,"collection":171,"collections":9114,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":40},219650,"shou-xing-tu-zhu-zhan-ji-219650","寿星图","明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日—1435年1月31日在位）、书画家，年号“宣德”。",[24,25,113,27,111,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e610390b67ca78dfcbe69d37be9a06.jpg",[171],{"id":9116,"slug":9117,"title":9118,"dynasty":18,"author":9119,"museum":72,"description":9120,"tags":9121,"thumbUrl":9122,"material":79,"size":9123,"collection":96,"collections":9124,"showCount":8993,"zanCount":39,"manualWeight":39,"mainColor":100},214245,"li-shu-qi-yan-lian-ruan-yuan-214245","隶书七言联","阮元","此联隶书笔力沉雄如铸鼎，笔画厚拙含金石气，结体端严中见灵动。取法汉隶碑版遗意，却不泥古，每一字若老松盘根，筋骨内蕴。墨色浓淡相济，枯润交错，显书写时从容气度。联语与笔墨交融，兼具学者沉静与书家豪情，对称章法间韵致自生。清代碑学兴盛，此作正是典型体现，观之如临古碑前，朴拙雅正之美扑面而来，尽显传统书法的厚重底蕴与艺术张力，于方寸间藏千年碑版风骨。",[23,2135,7,1613,2136,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c39a32dc4ddd725fe7c8d28188b7e89.jpg","124x25",[96],{"id":9126,"slug":9127,"title":9128,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":9129,"thumbUrl":9131,"material":751,"size":752,"collection":95,"collections":9132,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},288637,"huang-shan-yun-gu-si-jing-si-tu-hong-ren-288637","黄山云谷寺静思图",[23,24,92,50,51,59,56,57,75,7,77,9130],"静思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaea923c897237e0b14245625c7f0ac.jpg",[],{"id":9134,"slug":9135,"title":9136,"dynasty":88,"author":3014,"museum":107,"description":9137,"tags":9138,"thumbUrl":9140,"material":751,"size":752,"collection":95,"collections":9141,"showCount":5,"zanCount":882,"manualWeight":39,"mainColor":100},287755,"yue-xia-ba-bei-tu-ma-yuan-287755","月下把杯图","这幅马远传世精品《月下把杯图》，虽只一开册页，然画面“小中见大”，笔墨颇见生动精逸之境。此构图看似平夷，实则“平中生险”，尽显山涧深峻幽险之气。此图所绘的是十五中秋美景之夜，一轮圆月高挂空中，照的天地是那么的明亮。在这“每逢佳节倍思亲”的美景月下，恰逢远方多年不见的好友佳节来访，这让刚刚还在睹物思友的主人家中，立即增添了极大的精神欢乐。有诗句曰：“得好友来如对月，有奇书读胜观花”，似乎正是这个意境。\n画面上的主人，体态轻盈，举止文雅，面如春风，手中把杯迎友，显得是那么的亲密愉快。旁有四童仆，一侍立待呼，一侍果备用，另一侍酒小童，正在回望另一侍琴上台阶的半隐文童。整幅画面虽只写主仆六人，然内含笔墨神态各异，颇具生动真趣。月下空旷的山林是那么的幽雅静谧，然而月色中，依旧挡不住这欢愉间的良辰和美酒。",[92,24,25,27,113,678,132,428,9139,7,77,4739],"聚饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5828b63db994147999e5823f6ea3bf59.jpg",[],{"id":9143,"slug":9144,"title":5945,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":9145,"thumbUrl":9146,"material":751,"size":752,"collection":95,"collections":9147,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},287453,"hua-hui-tu-ce-chen-chun-287453",[7,1613,26,77,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa0e04f4d9ae9e6e8e101a02b7e45561.jpg",[],{"id":9149,"slug":9150,"title":9151,"dynasty":162,"author":2409,"museum":107,"description":9152,"tags":9153,"thumbUrl":9154,"material":95,"size":95,"collection":96,"collections":9155,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":100},239650,"wu-kuan-lin-yin-zhong-ba-xian-ge-juan-huai-su-239650","无款临饮中八仙歌卷","怀素（737~799），史称“草圣”，唐代杰出书法家。字藏真，僧名怀素，俗姓钱，汉族，永州零陵（湖南零陵）人，是大历十才子之一考功郎中钱起的外甥。\n自幼出家为僧，经禅之暇，锐意草书，与张旭齐名，合称“颠张狂素”，形成唐代书法双峰并峙的局面，也是中国草书史上两座高峰。怀素草书，笔法瘦劲，飞动自然，如骤雨旋风，随手万变。书法率意颠逸，千变万化，法度具备。北京大学教授、引碑入草开创者的李志敏评价：“怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。\n传世书法作品有《自叙帖》《小草千字文》纸本、《苦笋帖》《圣母帖》《论书帖》诸帖。",[23,92,24,25,49,110,7,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e2b9f758d87ba9232cc8518581c6ab.jpg",[96],{"id":9157,"slug":9158,"title":1451,"dynasty":45,"author":1452,"museum":126,"description":9159,"tags":9160,"thumbUrl":9161,"material":1179,"size":1457,"collection":95,"collections":9162,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},234190,"mei-hua-shuang-qin-juan-chen-ji-ru-234190","陈继儒字仲醇，号眉公，明代松江府华亭县（今上海）人，生于嘉靖三十七年（1558）十一月，卒于崇祯十二年（1639）。陈自幼研习书画，与董其昌同学并为一生至交，他们都是晚明名声甚隆、影响甚大的士人，但有所不同的是陈继儒年纪轻轻便放弃了仕途。\n陈继儒所处的时代是政治腐朽、党争激烈、矛盾尖锐、皇帝荒淫、社会风气堕落的晚明，他清醒地认识到再走科举一途己无多大意义，因此，毅然下定决心“谢去青襟”，隐居山林。朝廷屡次征召，他“皆以疾辞”。\n晚明时代是一个求变与保守交织的时代，从吴门画派以后，晚明绘画大致划分为两派，一是以徐渭、陈洪绶为代表的创新派，一是以董其昌为代表的书斋文人画派，这两种风格不断竞争，构成了晚明画坛的主要特点。虽然强烈的社会变革要求造就了一批卓具改革精神的画家，但是作为当时的文化主流则依然是因循保守的士大夫绘画，其代表人物就是“松江画派”的董其昌，而陈继儒所属的云间画派也是正统文人画的风向标。\n陈继儒的画风与整个晚明时代的气息显得有些格格不入，他的作品清雅脱俗，静中不显荒疏，且无不满或是失望留于画面，而是与世无争，以平和的心态面对世间百态，独辟蹊径，潜心创作，凭着自己丰富的学养在乱世中取得了书画上的成就。从流传的作品中可知陈继儒山水、梅竹作品居多。梅竹上追宋元，山水师法董巨",[23,24,25,49,27,111,131,29,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65883b1783be479b0e29d8bfbac1daf.jpg",[],{"id":9164,"slug":9165,"title":9166,"dynasty":88,"author":1937,"museum":107,"description":9167,"tags":9168,"thumbUrl":9169,"material":184,"size":9170,"collection":95,"collections":9171,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[92,24,25,49,27,111,4730,29,692,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],{"id":9173,"slug":9174,"title":9175,"dynasty":18,"author":9176,"museum":1399,"description":9177,"tags":9178,"thumbUrl":9179,"material":184,"size":9180,"collection":95,"collections":9181,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":100},231352,"tuan-shan-pai-huai-tu-luo-pin-231352","团扇徘徊图","罗聘","画以水墨画一侧面仕女，手执团扇目视前方，似进似退徘徊不定。\n右上角画一飞雁，上下呼应，连成一脉。画题“奉帚平明金殿开，且将团扇\n暂徘徊，玉颜不及寒鸦色，犹带昭阳日影来”。署款“甲寅新秋两峰道人以指\n头图此见赠。回忆王江宁长信秋词语，遂援笔书之。春湖”。",[23,24,25,75,50,27,113,114,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ccb06ebdae0ec08e182f813cb13c1.jpg","纵98，横31.9厘米",[],{"id":9183,"slug":9184,"title":9185,"dynasty":88,"author":9186,"museum":107,"description":9187,"tags":9188,"thumbUrl":9193,"material":95,"size":95,"collection":95,"collections":9194,"showCount":5,"zanCount":882,"manualWeight":39,"mainColor":100},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","蜀山栈道图","郭熙","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,3701,24,25,49,51,27,59,251,1678,9189,56,58,9190,113,9191,267,9192,5091,7,77],"栈道","桥梁","马匹","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],{"id":9196,"slug":9197,"title":9198,"dynasty":88,"author":9199,"museum":648,"description":9200,"tags":9201,"thumbUrl":9202,"material":184,"size":9203,"collection":314,"collections":9204,"showCount":5,"zanCount":882,"manualWeight":39,"mainColor":40},221470,"xue-zhong-mei-zhu-tu-xu-yu-gong-221470","雪中梅竹图","徐禹功","雪中梅竹图卷，以前部南宋徐禹功《雪中梅竹图》卷为主体，徐卷后有杨补之“柳梢青”词十首，赵孟坚跋二则，元人张雨“柳梢青”和韵一首。此图画雪梅一枝横空而出，修竹三管，雪压枝头，笔法清逸洒丽，意境清幽朦胧，充满诗情画意。作者徐禹功画史无考，惟在卷后赵孟坚题跋中始知为画家扬无咎之及门弟子，又从书于竹节之名款“辛酉人”考之，当生于1141年（南宋绍兴十一年）。画上有清代乾隆皇帝及董邦达、梁诗正等人的题诗。",[23,24,25,49,50,112,7,60,77,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F825e67ae4c8c60235698f2c0399e5488.jpg","纵29.6 厘米，横122 厘米",[314,35],{"id":9206,"slug":9207,"title":9208,"dynasty":162,"author":1060,"museum":126,"description":9209,"tags":9210,"thumbUrl":9211,"material":6894,"size":9212,"collection":96,"collections":9213,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},221109,"xing-bo-shang-du-shu-tie-ye-ou-yang-xun-221109","行卜商读书帖页","释文：\n“卜商讀書畢，見孔子。孔子問焉，何爲於書。商曰，書之論事，昭昭如日月之代明，離離如參辰之錯行，商所受于夫子者，志之於心，弗敢忘也。”\n这段文字见于《尚书大传》，是孔子与弟子卜商的一段对话。应是欧阳询当年著述手稿，收入他所著的《艺文类聚》卷五五《杂文部·读书》之中，与史籍相较，帖中个别字有出入。\n卜商是孔子弟子，字子夏，春秋时卫国人。师事孔子，师生间常有议论问答，极富哲理。\n此帖为双钩廓填本，墨气鲜润。从书法上看，笔法严谨又不失生动气韵，点画的起止处强化方切硬折。欧阳询晚年将北碑用笔特点融于二王书风，而兼容南北正是“欧体”独到之处。此为欧阳询代表作之一。\n此帖宋代藏于宋徽宗宣和御府，清代归安岐所有，后入乾隆内府，辑入《法书大观》册中。\n宋周密《云烟过眼录》，清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》等书著录。",[23,7,60,200,26,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ec07a542b148372350a60cce3f3a5d.jpg","纵25.7厘米，横16.5厘米",[96],{"id":9215,"slug":9216,"title":9217,"dynasty":162,"author":2966,"museum":126,"description":9218,"tags":9219,"thumbUrl":9220,"material":184,"size":9221,"collection":96,"collections":9222,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":100},221087,"lan-ting-shi-quan-juan-liu-gong-quan-221087","兰亭诗全卷","《兰亭诗》卷释文\n本幅无款印。\n卷前引首清乾隆皇帝行书题“笔谏遗型”，题签“兰亭八柱第四”，题记一段。又有瘦金体题签“唐柳公权书群贤诗”。\n卷后有宋邢天宠、杨希甫、习之、蔡襄（后添）、李处益、孙大年、王易、黄伯思（伪）、宋适，金王万庆，明王世贞（两段）、莫是龙、文嘉、张凤翼，清王鸿绪等题跋和观款。\n此书传为柳公权所书东晋穆帝永和九年（353年）三月三日，王羲之与谢安、孙绰等人在会稽（今浙江绍兴）兰亭修禊时与会者所赋的37首诗及诗序。\n本卷笔法僵硬粗糙，且多枯锋，但较自然率易。卷后宋代黄伯思尾题（伪）中云“传柳书”，细观之，个别字的用笔明显不是出自柳书，如：孙统四言诗中的“希”字、庾友四言诗中的“则”字、王涣之四言诗中的“足”字等末笔写的非常丑怪，字的结体亦多不够沉稳，失于浮躁，与柳氏所书王献之《送梨帖》后之题跋墨迹对比不但笔法不类，连结体也无丝毫相同之处。从诗文看，颇有不通处，如：把孙绰四言诗“怀彼伐木”误书为“怀彼代水”，把谢安四言诗“伊昔夫子”误书为“伊昔先子”。“伐木”是《诗经》中语，“夫子”是指孔丘，说明书写者是一位文墨不够精通之人。无论从艺术特征还是艺术水平来分析，该卷决非柳公权之笔。\n此卷断为宋以前抄本。从所录37首诗中可看出，个别用字不避宋讳，如谢安诗中“契慈玄执，寄教林丘”的“玄”字、王肃之诗中“嘉会欣时游，豁朗畅心神”的“朗”字等都没有避北宋始祖皇帝赵玄朗之讳。另外从书法的主体风格看，推测应写于唐代，与杜牧墨迹《张好好诗卷》大略相近，并且是信笔直书，不是临仿得来。作为唐抄古本，此卷与敦煌遗书中《文选·陆机短歌行等残卷》（伯2554）、《玉台新咏卷第二残卷》（伯2503）有同样的文学价值。\n宋《宝章待访录》，明《东图玄览》、《清河书画舫》、《清河见闻表》，清《珊瑚网书凭》、 《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[23,25,7,49,60,199,77,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[96,802],{"id":9224,"slug":9225,"title":9226,"dynasty":162,"author":2354,"museum":107,"description":9227,"tags":9228,"thumbUrl":9229,"material":312,"size":9230,"collection":96,"collections":9231,"showCount":5,"zanCount":882,"manualWeight":39,"mainColor":40},221071,"zhuan-lun-sheng-wang-jing-quan-juan-zhong-shao-jing-221071","转轮圣王经全卷","自从佛教传入中土以后，写经书法应运 而生，以至于成为除壁画、造像艺术之外又一 绚丽夺目的宗教文化胜景。\n《 转轮圣王经》此卷前后题跋共有十八处，从中可以看出，欣赏者不乏知名人物，如元代仇远，明代韩逢禧，清代梁章钜、张之洞、李文田、吴大 澂、赵之谦等。而在元人题跋中有一条曰：“……虎林盛彪……钱塘仇远、同郡曹良史， 至元甲午二月十一日同观于困学斋。”困学斋 属鲜于枢斋名。虽难以据此认定此物即是鲜于枢的藏品，但至少可以说它曾为鲜丁枢寓目过。\n\n今观此卷书法，上承陈隋正楷遗风，兼收欧、虞两家笔韵，超凡脱俗，引人入定。其用笔匀净遒劲，结体疏密开合适度，允称初唐写经之精品，堪与《善见律》、《灵飞经》等媲美。学书者问津于此，必当豁然开朗，收事半功倍之效。",[23,386,7,199,49,25,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231f989d1c27f5c29d4ea13a79322f01.jpg","23.5x289.5",[96,802],{"id":9233,"slug":9234,"title":9235,"dynasty":162,"author":163,"museum":72,"description":9236,"tags":9237,"thumbUrl":9241,"material":95,"size":9242,"collection":96,"collections":9243,"showCount":5,"zanCount":882,"manualWeight":39,"mainColor":40},221063,"shi-ba-xue-shi-yu-zhi-ning-shu-zan-juan-yan-li-ben-221063","十八学士于志宁书赞卷","唐太宗在做秦王时建“文学馆”，收聘贤才，以杜如晦、房玄龄、于志宁、苏世长、姚思廉、薛收、褚亮、陆德明、孔颖达、李玄道、李守素、虞世南、蔡允恭、颜相时、许敬宗、薛元敬、盖文达、苏勗十八人并为学士。复命画家阎立本为十八学士画像， 即为《十八学士写真图》，褚亮题赞。当时获唐太宗选入文学馆者称为“登瀛洲”，后人有所谓“十八学士登瀛洲”，又因唐太宗常与门下十八学士弈棋，后人因此画有《十八学士弈棋图》。",[7,60,50,49,25,113,312,2602,9238,9239,9240,4756],"人物题材","书卷形式","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f296a09018a42795a522f41118a330.jpg","29.7x475",[96,802],{"id":9245,"slug":9246,"title":9247,"dynasty":45,"author":1313,"museum":107,"description":9248,"tags":9249,"thumbUrl":9250,"material":49,"size":9251,"collection":96,"collections":9252,"showCount":5,"zanCount":882,"manualWeight":39,"mainColor":789},220959,"zi-jia-shi-juan-dong-qi-chang-220959","紫茄诗卷","《董其昌书法经典鉴赏》是216年四川美术出版社出版的图书，作者是周世闻。\n董其昌，明代书画家。\n书法出入晋唐，自成一格，能诗文，刻有《戏鸿堂帖》。",[23,25,49,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf60a44922b4e634d8287b3b643ba82e.jpg","长414厘米、高24．5厘米",[96],{"id":9254,"slug":9255,"title":9256,"dynasty":45,"author":5386,"museum":7039,"description":9257,"tags":9258,"thumbUrl":9259,"material":9260,"size":9261,"collection":96,"collections":9262,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":95},220716,"xing-shu-jie-quan-wang-chong-220716","行书借券","王宠字履仁，后更字履吉，号雅宜山人，吴县（今苏州）人。出生于业商家庭，父王贞雅好收藏古器物书画，并与文征明等贤达时相往来，情谊甚笃。王宠早年与兄王守在苏州太湖洞庭山随蔡羽求学，既而读书石湖之上，二十年中「非岁时省侍，不数数入城。」王宠生平以名节着闻，关于他性情高洁的记述屡见于文词，其洒然出尘的隐者形象深入人心。自正德庚午（1510）至嘉靖辛卯（1531）间，王宠共参加了八次科考，但皆以失败告终，最后一次赴试离他去世只有两年，可想见其终生都在为科名繁忙。\n\n嘉靖七年（1528）四月，王宠请文彭作中，向袁褒借银五十两。文物馆所藏王宠借券，为是次告贷的一纸票据。全券行书八行六十八字，尺幅细小，但历经累世题咏，已成一帧长手卷。券中，双方约定以二分起息，并于同年十二月连本带利偿还，券末有王宠与文彭署名及花押，从内容到形式适合于市井借贷的常例。尽管如此，此券是否真为一件当时借贷的凭据，历来意见不一，从卷后各家的题跋可以窥其大端。质疑者认为，王宠与袁氏交情素厚，借五十金本不必有券，即使有券，亦不必言利，因而仅以「游戏之笔」视之。不过因嘉靖七年是王宠第七次赴科试之年，不少人有见于王宠当时的经济状况和赴考花销，认为借贷之举应是确有其事，虽则王、袁有通财之谊，但既属借贷，王宠也就按著成规，正式立下了借据。\n\n此券后为好事者藏去，数经转徙，甚至一度险付劫灰，而终得以保全，三四百年中代有名贤题咏赞赏，考据二氏生平及往来唱酬之风雅韵事，盖皆当日诸君无从料想之事。惜天不假年，王宠得寿仅四十。虽然人生短暂，其生前的艺术成就已为他赢得书法史上重要的一席。明中期书法以吴门为盛，年轻书家辈出，而唯有王宠得与祝允明、文征明二巨公并称「三家」而无异议。王宠书艺成熟得较早，二十多时已初具规模，大体规摹永兴、大令，高蹈晋法，后虽日臻成熟，其初衷无改。此帧借券书于三十五岁时，属「晚期」之作，即呈现出他那种为世所知的书风。虽然在王宠的传世书作中，此借券不甚起眼，且非「用意之作」，却得后世跋者如林，有为之歌咏作长篇者，有详悉考之成文章者，实洋洋大观，是知王宠书迹可贵，不独以艺事之工。而此券的流传，无疑又为后世提供了「书以人重」的又一典范。",[23,7,25,49,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a5c0832584c8de37372e723ca0e418.jpg","水墨,纸本,手卷","24.3 × 21.5厘米",[96],{"id":9264,"slug":9265,"title":9266,"dynasty":662,"author":663,"museum":8651,"description":9267,"tags":9268,"thumbUrl":9270,"material":2815,"size":95,"collection":95,"collections":9271,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},220608,"cong-qun-zhong-zhong-lai-dao-qun-zhong-zhong-qu-qi-bai-shi-220608","从群众中来到群众中去","这幅书法以魏碑笔法入行，用笔厚重雄强，线条苍朴老辣，结体大开大合，极具视觉冲击力。大字顶天立地，笔墨酣畅淋漓，将质朴的口号化为震撼的视觉力量，尽显沉浑豪迈的气魄。下方小字题款灵动舒缓，与大字形成动静对比，刚柔并济，既有金石篆刻的古拙意趣，又饱含热忱的时代情怀，将文人笔墨筋骨与革命精神融为一体，是艺术与时代共鸣的精彩典范。",[7,75,457,50,3330,9269],"笔力雄健","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fe65e4f45e24b9ce45eae2222a6825.jpg",[],{"id":9273,"slug":9274,"title":9275,"dynasty":45,"author":9276,"museum":279,"description":9277,"tags":9278,"thumbUrl":9279,"material":79,"size":9280,"collection":171,"collections":9281,"showCount":5,"zanCount":882,"manualWeight":39,"mainColor":40},219726,"tao-yuan-ming-shang-ju-tu-du-jin-219726","陶渊明赏菊图","杜堇","陶渊明所处的时代，正属朝代更迭、战乱频发的乱世。况且当时的官制延续自汉代起的“九品中正制”，很多寒门士子无法入朝为官施展抱负，他们只能屈居于无能世家子弟的治下屡屡碰壁，故而纷纷绝望，选择归隐避世。",[23,24,75,50,111,113,140,133,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c5282b11790f03544ec06823922541.jpg","48 x 36 厘米",[171],{"id":9283,"slug":9284,"title":9285,"dynasty":88,"author":8877,"museum":72,"description":9286,"tags":9287,"thumbUrl":9291,"material":169,"size":95,"collection":63,"collections":9292,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},218699,"chun-hu-fang-ya-tu-hui-chong-218699","春湖放鸭图","粼粼春波轻漾，岸畔丛树新绿初绽，枝桠间似有柔风拂过。群鸭悠游于浅滩，或潜或浮，打破湖面静谧却更衬出天地清旷。画面以淡墨晕染水色，赭石轻点岸坡，色调温润如春日暖阳。构图虽简，却于留白处藏无限悠远——似可闻水声潺潺，嗅草木清香。那份恬淡自在，恰是小景山水的妙处：不追磅礴气势，只撷自然一角生机与意趣，让观者心随水禽，飘向春日烟水深处。笔墨细腻处见雅致，清寂中藏灵动，尽展宋人对自然的细腻感知与诗意情怀。",[23,24,25,26,50,27,51,56,9288,9289,9290,7],"湖水","鸭子","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611f2359fee40bf129bb4fc8e4c89e36.jpg",[63],{"id":9294,"slug":9295,"title":9296,"dynasty":18,"author":454,"museum":107,"description":9297,"tags":9298,"thumbUrl":9299,"material":751,"size":752,"collection":95,"collections":9300,"showCount":9301,"zanCount":39,"manualWeight":39,"mainColor":40},290186,"fang-gong-xian-shan-shui-ce-5-kai-yi-ming-290186","仿龚贤山水册5开","此作用积墨之法写山林幽境，层层晕染铺就氤氲烟岚。右侧崖壁以焦墨勒定轮廓，淡墨反复皴擦堆就厚重质感，石间点植杂木，苍拙古茂，崖巅古亭半隐，暗合林泉幽居之趣。左侧以留白糅合淡墨晕染云烟，虚实相生，将山壑深渺朦胧之态铺陈开来，与沉凝崖壁形成虚实对照，尽显开合之妙。边角题字与山水相映成趣，诗画相融，暗合原作静穆苍润之韵，将江南山水的空寂淡远藏于尺幅间，笔墨间尽是林泉高致的悠然意趣。",[24,26,50,51,458,57,252,77,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904f9bc9a41f1ddb33e9bbe19d78320f.jpg",[],49,{"id":9303,"slug":9304,"title":9305,"dynasty":179,"author":1324,"museum":107,"description":6691,"tags":9306,"thumbUrl":9308,"material":751,"size":752,"collection":95,"collections":9309,"showCount":9301,"zanCount":39,"manualWeight":39,"mainColor":40},289458,"an-nan-shuang-shu-tu-zhuang-biao-ni-zan-289458","岸南双树图（装裱）",[92,24,25,75,50,7,77,704,132,250,51,9307],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d7e6387dfc02f12dc56969477fdceb.jpg",[],{"id":9311,"slug":9312,"title":5410,"dynasty":2365,"author":5411,"museum":107,"description":5412,"tags":9313,"thumbUrl":9314,"material":751,"size":752,"collection":95,"collections":9315,"showCount":9301,"zanCount":39,"manualWeight":39,"mainColor":100},288840,"jiang-di-wan-jing-tu-dong-yuan-288840",[92,24,25,75,1127,27,51,113,52,53,115,1283,458,1679,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb6c45faab9facbb27c89e848862159.jpg",[],{"id":9317,"slug":9318,"title":9319,"dynasty":88,"author":1749,"museum":107,"description":9320,"tags":9321,"thumbUrl":9323,"material":751,"size":752,"collection":95,"collections":9324,"showCount":9301,"zanCount":39,"manualWeight":39,"mainColor":100},288471,"jiang-shan-xiao-jing-tu-quan-juan-li-tang-288471","江山小景图全卷","此卷并无李唐签款，有一方祥哥刺吉公主的残印在画卷末缘上端。此卷中描绘一段沿江的山水景观，山中有各式建筑与山径穿绕，江上亦见船帆往来，人物活动丰富多样。画中山体以深浓轮廓线勾勒，藉石青与石绿烘染质面，间以简略皴笔构成凹凸，营造出坚实的山石效果。此一画风特色虽是与两宋之际李唐、萧照相近，但用笔更近阎次平，推测是近于第二代南宋院体画风之作。",[23,92,24,25,49,1328,59,27,3783,2028,9322,54,458,7,77],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dff97c40d039455fddefa58f3ab617d.jpg",[],{"id":9326,"slug":9327,"title":9328,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":9329,"thumbUrl":9331,"material":751,"size":752,"collection":95,"collections":9332,"showCount":9301,"zanCount":882,"manualWeight":39,"mainColor":40},288450,"xi-shan-xian-guan-tu-zhu-da-288450","溪山仙馆图",[23,92,24,50,1328,59,251,56,458,52,9330,77,7],"仙馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b86f413a67c060306137c99a9667fb.jpg",[],{"id":9334,"slug":9335,"title":9336,"dynasty":18,"author":9337,"museum":107,"description":9338,"tags":9339,"thumbUrl":9341,"material":751,"size":752,"collection":95,"collections":9342,"showCount":9301,"zanCount":39,"manualWeight":39,"mainColor":40},241686,"huang-tai-hou-fu-lu-shou-tu-zhou-ci-xi-241686","皇太后福禄寿图轴","慈禧","此幅以朱笔书“福、禄、寿”3字，书体与众不同，用象形手法组成，仿佛一件绘画作品。结体上“福”、“禄”两字借用同一偏旁“礻”，而“录”、“畐”之间夹写一个“寿”字，中间空白部分经巧妙布局画成一个寿星拄着拐杖。这种以字体组合成图像的手法多流行于民间，虽见巧妙，却显俗气。关于慈禧太后的书法，近人马宗霍《书林纪事》载：“慈禧太后垂帘当国，亦喜怡情翰墨，学绘花卉，又学作擘窠大字，常书‘福’、‘寿’等字以赐内外大臣……”留存至今的慈禧书法之作多以单字居多，如本幅般书画合一的作品颇为罕见",[24,25,75,7,60,27,77,9340],"寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f9bbd159e997b719540ecb4f985a63.jpg",[],{"id":9344,"slug":9345,"title":9346,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":9348,"thumbUrl":9349,"material":751,"size":752,"collection":95,"collections":9350,"showCount":9301,"zanCount":882,"manualWeight":39,"mainColor":40},239933,"jin-nong-xiang-he-jing-zhou-jin-nong-239933","金农相鹤经轴","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[2135,75,7,1613,6015,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b3656d42a4a75794538d78fd3eb256.jpg",[],{"id":9352,"slug":9353,"title":9354,"dynasty":18,"author":3067,"museum":107,"description":9355,"tags":9356,"thumbUrl":9357,"material":751,"size":752,"collection":95,"collections":9358,"showCount":9301,"zanCount":39,"manualWeight":39,"mainColor":40},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,1250,50,110,59,7,77,51,55,652,57,266,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":9360,"slug":9361,"title":9362,"dynasty":18,"author":1387,"museum":107,"description":9363,"tags":9364,"thumbUrl":9365,"material":95,"size":95,"collection":95,"collections":9366,"showCount":9301,"zanCount":882,"manualWeight":39,"mainColor":40},234158,"hua-hui-juan-zhu-da-234158","花卉卷","八大山人花鸟承袭陈淳、徐渭写意花鸟画的传统，发展为阔笔大写意画法，其特点是通过象征寓意的手法，并对所画的花鸟、鱼虫进行夸张，以其奇特的形象和简练的造型，使画中形象突出，主题鲜明，甚至将鸟、鱼的眼睛画成“白眼向人”，以此来表现自己孤傲不群、愤世嫉俗的性格，从而创造了一种前所未有的花鸟造型。",[23,24,25,49,50,129,7,77,60,30,133,3982,2187,134,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],{"id":9368,"slug":9369,"title":9370,"dynasty":88,"author":1749,"museum":107,"description":9371,"tags":9372,"thumbUrl":9373,"material":95,"size":95,"collection":95,"collections":9374,"showCount":9301,"zanCount":39,"manualWeight":39,"mainColor":100},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[92,24,25,49,50,27,51,113,458,52,53,55,652,57,844,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":9376,"slug":9377,"title":9378,"dynasty":88,"author":2328,"museum":107,"description":9379,"tags":9380,"thumbUrl":9381,"material":27,"size":9382,"collection":314,"collections":9383,"showCount":9301,"zanCount":39,"manualWeight":39,"mainColor":100},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[23,92,24,25,49,50,59,7,77,51,651,845,360,54,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[314,63,187],{"id":9385,"slug":9386,"title":9387,"dynasty":88,"author":89,"museum":72,"description":2987,"tags":9388,"thumbUrl":9389,"material":26,"size":9390,"collection":96,"collections":9391,"showCount":9301,"zanCount":882,"manualWeight":39,"mainColor":100},221265,"shu-qi-yan-jue-ju-ce-huang-ting-jian-221265","书七言绝句册",[92,24,25,26,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897115f90609f128a729a4ed0cbc97a6.jpg","55.5x82.4",[96],{"id":9393,"slug":9394,"title":9395,"dynasty":88,"author":262,"museum":412,"description":9396,"tags":9397,"thumbUrl":9398,"material":169,"size":9399,"collection":314,"collections":9400,"showCount":9301,"zanCount":882,"manualWeight":39,"mainColor":100},220333,"yuan-ming-gui-yin-tu-li-gong-lin-220333","渊明归隐图","本画将《归去来兮辞》原文分为七段配以相应的绘本，完整描绘渊明归去来的一连串情节，画面热闹，用笔工整讲究，但与《归去来兮辞》中所描写的略有出入，倒有些像是辞官后富贵还乡的场景。",[23,24,49,112,27,7,60,77,113,51,55,54,116,56,53,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68210320aa225634ebd2bcf13157b263.jpg","37.0x521.5",[314],{"id":9402,"slug":9403,"title":9404,"dynasty":45,"author":9405,"museum":20,"description":9406,"tags":9407,"thumbUrl":9408,"material":169,"size":95,"collection":171,"collections":9409,"showCount":9301,"zanCount":882,"manualWeight":39,"mainColor":40},219891,"wang-yang-ming-xiao-xiang-cai-shi-xin-219891","王阳明肖像","蔡世新","众画师绘制王阳明的正面像，很难描绘出其两颧棱峭的面貌特征，王阳明多不满意。蔡世新年幼即从王阳明学习，非常熟悉老师的形貌特征",[24,25,4038,113,111,27,1498,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275b5a52018d4ba6a2ede02fa6df1460.jpg",[171],{"id":9411,"slug":9412,"title":9413,"dynasty":162,"author":194,"museum":195,"description":9414,"tags":9415,"thumbUrl":9416,"material":202,"size":9417,"collection":96,"collections":9418,"showCount":9301,"zanCount":882,"manualWeight":39,"mainColor":100},214584,"zang-huai-ke-bei-yan-zhen-qing-214584","臧怀恪碑","《臧怀恪碑》，全称《唐故右武卫将军赠工部尚书上柱国上蔡县开国侯臧公神道碑铭并序》。篆书题额《唐故东莞臧公神道碑》共9字，立于唐贞观五年（770年），碑文共28行，58-64字。碑文是颜真卿在55岁时写的，石头是由翰林院的秘书李秀岩塑造的。有些字符缺失或无法破译，但仍可辨认。它原本矗立在京兆府三原县长澳乡的臧怀谦墓前，1980年被列入西安碑林。臧怀谦（668-724），唐朝时出生于冀州北乡，是上蔡县的侯爵。开元十二年（724年），他在山城去世，被诏令授予右卫将军的称号。在肃宗时期，由于他的工作，他的儿子臧希章被任命为工部尚书。",[1063,198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d0980920130348b86fb8433b1066e6.jpg","337x180",[96],{"id":9420,"slug":9421,"title":9422,"dynasty":179,"author":1516,"museum":72,"description":9423,"tags":9424,"thumbUrl":9425,"material":682,"size":9426,"collection":95,"collections":9427,"showCount":9428,"zanCount":882,"manualWeight":39,"mainColor":40},290819,"zhu-shi-zhou-wu-zhen-290819","竹石轴","吴镇存世之作几为墨画，晚年墨竹作品尤为多，由於作品上留有大量的题语，显露出个人绘画思想乃至一生学养，其中又以《竹谱册》为著。元代由於大环境的改变，文人好写“三友图”，以松竹梅表达象徵意义，或寄托情怀，吴镇亦有言“墨戏之作，盖士大夫词翰之馀，适一时之兴趣也”。然审视此轴，实为笔墨黯熟之潇洒佳作，非仅一时随兴之墨戏。竹干、岐枝皆下笔圆健，竹枝劲利，稍带回锋，尽管分枝多、发叶少，但叶随枝生，生态盎然；淡墨石以卧笔混点。幅中之墨色皆不浓重，显现一种平淡冲和的色感。竹石间，吴镇以流畅有力，墨色较浓重的行笔题下款识，画面益显沈稳。和《竹谱册》相较，此图乃其精心之作。",[24,92,25,75,50,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1811347de2004269449e6bfa0b94c55f.jpg","90.6x42.5公分",[],48,{"id":9430,"slug":9431,"title":9432,"dynasty":88,"author":1937,"museum":72,"description":9433,"tags":9434,"thumbUrl":9435,"material":94,"size":9436,"collection":95,"collections":9437,"showCount":9428,"zanCount":39,"manualWeight":39,"mainColor":40},289563,"xi-shan-xing-lv-tu-ma-lin-289563","溪山行旅图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[23,92,24,25,75,50,51,59,458,1283,57,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],{"id":9439,"slug":9440,"title":9441,"dynasty":179,"author":7739,"museum":107,"description":9442,"tags":9443,"thumbUrl":9447,"material":751,"size":752,"collection":95,"collections":9448,"showCount":9428,"zanCount":39,"manualWeight":39,"mainColor":100},287305,"long-chi-jing-du-tu-wang-zhen-peng-287305","龙池竞渡图","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,92,24,49,1128,50,458,52,53,9444,113,77,7,9445,9446],"龙舟","竞渡","宫廷园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d18a1215d8f0edb9c0cf295fdfa17c.jpg",[],{"id":9450,"slug":9451,"title":9452,"dynasty":45,"author":4035,"museum":107,"description":9453,"tags":9454,"thumbUrl":9455,"material":751,"size":752,"collection":95,"collections":9456,"showCount":9428,"zanCount":882,"manualWeight":39,"mainColor":40},241150,"li-xing-san-ti-shu-lu-shi-wen-juan-shen-du-241150","隶行三体书录诗文卷","沈度（1357-1434），字民则，号自乐，明松江府华亭（上海金山）人，明代书法家，与弟沈粲皆擅长书法。\n永乐时以善书入翰林，由典籍历迁侍讲学士。擅篆、隶、楷、行等书体，藏于秘府，称为“馆阁体”，台阁体书法的代表人物。",[23,7,60,1613,199,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c74f416943558959d5b0533735817b0.jpg",[],{"id":9458,"slug":9459,"title":9460,"dynasty":18,"author":830,"museum":72,"description":6069,"tags":9461,"thumbUrl":9463,"material":95,"size":95,"collection":96,"collections":9464,"showCount":9428,"zanCount":39,"manualWeight":39,"mainColor":40},240404,"wu-chang-shuo-zhuan-shu-qi-yan-lian-wu-chang-shuo-240404","吴昌硕篆书七言联",[457,2136,7,9462,2602],"金石笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddb81776b0d1cf8ba430c1c7fbc09a0.jpg",[96],{"id":9466,"slug":9467,"title":9468,"dynasty":18,"author":411,"museum":107,"description":2145,"tags":9469,"thumbUrl":9470,"material":95,"size":95,"collection":95,"collections":9471,"showCount":9428,"zanCount":39,"manualWeight":39,"mainColor":40},234168,"yuan-ji-shan-shui-tu-juan-shi-tao-234168","原济山水图卷",[23,24,25,49,50,59,51,5721,56,58,553,252,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815dd148ee14a764573968a252a39549.jpg",[],{"id":9473,"slug":9474,"title":9475,"dynasty":18,"author":9476,"museum":107,"description":9477,"tags":9478,"thumbUrl":9479,"material":751,"size":752,"collection":95,"collections":9480,"showCount":9428,"zanCount":788,"manualWeight":39,"mainColor":9481},230856,"bai-shou-quan-tu-li-hong-zhang-230856","百寿全图","李鸿章","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[7,457,27,25,3467,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959ee7019a280c62ec2c7430aab6b404.jpg",[],"D50000",{"id":9483,"slug":9484,"title":9485,"dynasty":18,"author":9486,"museum":72,"description":9487,"tags":9488,"thumbUrl":9490,"material":9491,"size":9492,"collection":95,"collections":9493,"showCount":9428,"zanCount":882,"manualWeight":39,"mainColor":40},222658,"lu-shan-pu-bu-tu-zhou-gao-qi-pei-222658","庐山瀑布图轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,75,9489,50,59,51,266,1018,113,53,1678,7,77],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0731b38bbf14d460f6ddc5b90c3f50.jpg","绢本，水墨，浅设色","纵98.4厘米，横49.9厘米",[],{"id":9495,"slug":9496,"title":9497,"dynasty":45,"author":9498,"museum":107,"description":9499,"tags":9500,"thumbUrl":9501,"material":95,"size":95,"collection":35,"collections":9502,"showCount":9428,"zanCount":39,"manualWeight":39,"mainColor":40},222405,"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[23,24,25,49,110,50,112,29,131,140,134,135,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[35,187],{"id":9504,"slug":9505,"title":9506,"dynasty":45,"author":5526,"museum":107,"description":9507,"tags":9508,"thumbUrl":9509,"material":95,"size":95,"collection":35,"collections":9510,"showCount":9428,"zanCount":39,"manualWeight":39,"mainColor":40},221878,"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[23,24,25,49,50,27,4730,30,140,132,446,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[35,187],{"id":9512,"slug":9513,"title":9514,"dynasty":88,"author":89,"museum":126,"description":9515,"tags":9516,"thumbUrl":9517,"material":312,"size":9518,"collection":96,"collections":9519,"showCount":9428,"zanCount":882,"manualWeight":39,"mainColor":100},221279,"huan-hua-xi-tu-yin-juan-huang-ting-jian-221279","浣花溪图引卷","释文：\n［拾］［遗］［流］［落］［锦］［官］城，故人作尹眼［为］［青］。碧鸡坊西［结］茅屋，百花［潭］［水］濯冠缨。［故］［衣］未补新衣［绽］，空［蟠］胸中书万［卷］。探道欲度［义］皇前，论诗未［觉］国风远。干［戈］峥嵘暗寓县，杜陵韦［曲］［无］鸡犬。老妻稚［子］且眼前，［弟］［妹］漂零不相［见］。［此］翁乐易极可［人］，［园］翁溪友肯［卜］邻。［邻］［家］有酒邀皆去，得意鱼鸟［来］［相］亲。浣花酒舩散车骑，野[墙］［］无主看桃李。［宗］［文］守家宗武扶，［落］日蹇驴驮［醉］起。愿闻解［鞍］脱兜鍪，老［儒］［不］用千户侯。［中］原未得平安［报］，醉［里］眉攒万国［愁］。生綃铺墙粉［墨］落，平生忠［义］［今］寂寞。儿呼不［苏］驴失脚，犹［恐］［醒］来有新作。［长］［使］诗人拜画［图］，［煎］胶续絃千古无。（注：［］内字为后补。）\n鉴藏印有“绍兴”、“内府书印”、“贞元”、“乾坤清赏”、“有明王氏图书之印”及清嘉庆内府诸印等。卷后有明吴宽、王世贞跋。\n此卷为火烧残本，后经明代夏德声补齐（见释文中［］内字）。\n此卷见载于《山谷外集》，作于北宋元祐三年（1088年），黄庭坚时年42岁。作品笔法苍老，多骨少肉，具有作者晚年书法的风格特征。卷后明王世贞跋中评道：“……老杜浣花溪图引也。歌词力欲求奇，然是公最合作语。书笔横逸疏荡，比素师饶姿态，亦稍平易可识。而结法之密、腕力之劲、波险神奇，似小不及也……。”可知书“素师”是指唐代著名书家怀素，王世贞对黄庭坚与怀素书法特点的比较非常准确。此件作品虽然残处较多，仍不失为佳作。\n著录于《孙氏书画钞》上册、《石渠宝笈三编·延春阁》。",[23,92,24,25,49,398,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5498ec208de96393364fd15d1d1c1f.jpg","纵35.5厘米,横391.4厘米",[96],{"id":9521,"slug":9522,"title":9523,"dynasty":88,"author":89,"museum":72,"description":2987,"tags":9524,"thumbUrl":9525,"material":26,"size":9390,"collection":96,"collections":9526,"showCount":9428,"zanCount":882,"manualWeight":39,"mainColor":100},221266,"qi-yan-jue-ju-ce-huang-ting-jian-221266","七言绝句册",[92,24,25,7,26,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4004e2b40b7a3cfc60df0bc505f697.jpg",[96],{"id":9528,"slug":9529,"title":9530,"dynasty":45,"author":1313,"museum":279,"description":9531,"tags":9532,"thumbUrl":9533,"material":9534,"size":9535,"collection":96,"collections":9536,"showCount":9428,"zanCount":39,"manualWeight":39,"mainColor":40},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,25,49,50,51,59,1689,7,60,77,251,56,555,52,53,252,556,473,57,475,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[96],{"id":9538,"slug":9539,"title":9540,"dynasty":179,"author":9541,"museum":20,"description":9542,"tags":9543,"thumbUrl":9544,"material":8723,"size":9545,"collection":63,"collections":9546,"showCount":9428,"zanCount":882,"manualWeight":39,"mainColor":100},219740,"dian-shan-song-bie-tu-li-sheng-219740","澱山送别图","李升","李升（生卒年不详），元代画家。字子云，号紫筼生。濠梁(今安徽凤阳)人。晚年居青浦(今属上海)淀山湖畔，筑草堂，人称“谪仙”。擅墨竹，喜作窠石平远山水，颇有清趣。",[24,49,50,59,51,652,589,845,360,54,58,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d099573b441bf66cceba505e064a29f.jpg","23×68.4cm",[63],{"id":9548,"slug":9549,"title":9550,"dynasty":45,"author":744,"museum":1172,"description":9551,"tags":9552,"thumbUrl":9553,"material":169,"size":9554,"collection":95,"collections":9555,"showCount":9428,"zanCount":882,"manualWeight":39,"mainColor":100},218347,"ren-wu-gu-shi-ce-3-tang-yin-218347","人物故事册-3","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[23,24,25,26,27,113,111,7,77,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703960e64914b7762ff9858c151f68d9.jpg","32x40.5",[],{"id":9557,"slug":9558,"title":9559,"dynasty":88,"author":549,"museum":20,"description":9560,"tags":9561,"thumbUrl":9562,"material":79,"size":612,"collection":95,"collections":9563,"showCount":9428,"zanCount":39,"manualWeight":39,"mainColor":40},214277,"duo-jing-lou-shi-tie-6-mi-fei-214277","多景楼诗帖-6","墨色浓枯相济，浓处如坠石沉渊，枯笔飞白似裂帛牵丝。笔锋横扫间带着率意锋芒，每一笔如奔马脱缰却收放自如，欹侧结构藏着奇险趣味。字间牵丝映带，行气如流泉穿石般连贯，线条粗细变化里藏着书写的呼吸节奏——时而重若崩云，时而轻如蝉翼。那种“刷”出的痛快感，仿佛可见书者挥毫的洒脱姿态。章法疏朗却气脉贯通，留白处透着灵动，整体如疾风骤雨过后的晴空，既有千钧之力又不失飘逸韵致，尽显宋人尚意的书法风骨，读来令人心驰神往。",[7,60,200,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59d9c0635b53d5216d1eb22fb1deeaec.jpg",[],{"id":9565,"slug":9566,"title":9567,"dynasty":18,"author":6672,"museum":72,"description":9568,"tags":9569,"thumbUrl":9570,"material":79,"size":9571,"collection":96,"collections":9572,"showCount":9428,"zanCount":39,"manualWeight":39,"mainColor":40},214239,"xing-shu-li-bai-qiu-deng-xuan-cheng-xie-tiao-bei-lou-zheng-xie-214239","行书李白秋登宣城谢眺北楼","笔锋游走处，楷隶骨力与行草灵动交织成独特韵律。横画如竹枝劲挺，撇捺似兰叶舒展，尽显板桥体疏朗宕逸的风骨。墨色浓淡相济，沉厚如秋潭映月，轻扬若风过疏桐，暗合诗意里的秋空澄澈与凭栏远眺的旷达。结体错落有致，字间顾盼生姿，仿佛谢朓楼头山影叠嶂，又藏李白诗中逸兴遄飞。章法疏密得宜，笔墨与纸页的对话间，怀古之思与秋景清寂化作纸上流转气韵，尽展文人书法的情韵与风骨。",[23,92,24,25,75,60,7,50,77,51,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5bd6865fed3b355a77b57411d0da99f.jpg","164x90.2",[96],{"id":9574,"slug":9575,"title":9576,"dynasty":88,"author":1147,"museum":72,"description":9577,"tags":9578,"thumbUrl":9581,"material":751,"size":752,"collection":95,"collections":9582,"showCount":9583,"zanCount":788,"manualWeight":39,"mainColor":100},290328,"han-lin-tu-zhou-li-cheng-290328","寒林图轴","该幅画以近景为主，画幅中央矗立著三株巨树，一湾溪水三叠流出，激流漱石，幅内烟岚飘忽游于林中，虚实相映。勾画树干、皴树皮、点叶皆用细笔，虽劲拔挺捷，然仍具一股娟秀气息，树干上勾圈出很多木瘿，枝桠若龙蛇四面分张，苍劲遒逸，涧流两侧土坡淡墨卧笔层叠皴染，笔法细腻又具变化。水纹及腾溅水花之取笔粗细并用，且劲挺有力，似闻激溅之声。",[24,92,75,50,51,113,704,9579,57,266,9580,7,77],"寒林","寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7053bf2f5e8d19cc962f067e8bb0dcd9.jpg",[],47,{"id":9585,"slug":9586,"title":9587,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":9588,"thumbUrl":9590,"material":751,"size":752,"collection":95,"collections":9591,"showCount":9583,"zanCount":39,"manualWeight":39,"mainColor":40},289948,"luo-shen-fu-juan-zhao-meng-fu-289948","洛神赋卷",[92,24,25,49,60,7,200,9589,901,114,77],"洛神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8139c393ba42d92a1104b63075d6602a.jpg",[],{"id":9593,"slug":9594,"title":9595,"dynasty":88,"author":3830,"museum":107,"description":9596,"tags":9597,"thumbUrl":9599,"material":751,"size":752,"collection":95,"collections":9600,"showCount":9583,"zanCount":418,"manualWeight":39,"mainColor":40},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,1250,25,27,111,1128,51,1018,458,7,60,77,2061,9598],"读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":9602,"slug":9603,"title":9604,"dynasty":45,"author":9605,"museum":126,"description":9606,"tags":9607,"thumbUrl":9608,"material":488,"size":9609,"collection":63,"collections":9610,"showCount":9583,"zanCount":882,"manualWeight":39,"mainColor":40},234806,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","文嘉","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,25,26,27,51,59,113,55,57,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[63],{"id":9612,"slug":9613,"title":9614,"dynasty":18,"author":9615,"museum":107,"description":9616,"tags":9617,"thumbUrl":9618,"material":95,"size":95,"collection":95,"collections":9619,"showCount":9583,"zanCount":39,"manualWeight":39,"mainColor":40},230298,"fang-ni-zan-shan-shui-ce-cha-shi-biao-230298","仿倪瓒山水册","查士标","此作用淡墨轻写，意境萧疏清寂。双松挺峙画面中心，枝干枯笔皴擦，清瘦古劲，松针簇簇写意点染，简而有神。旁侧湖石奇崛，勾勒皴擦极简，尽显玲珑古拙之态。远山以淡墨晕染留白，虚实相生，漾着空濛淡远之致。边角茅舍板桥静立，不见人影却暗合幽居雅意，暗承逸笔草草的旨趣。全幅笔墨松灵简净，淡墨轻岚间尽显林下幽冷出尘的意趣，于极简淡的尺幅里，藏着澹然出尘的文人情思。",[24,50,59,110,77,7,26,51,115,250,473,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ea8fd0934d7a09654b2d44ef119846.jpg",[],{"id":9621,"slug":9622,"title":9623,"dynasty":88,"author":89,"museum":126,"description":9624,"tags":9625,"thumbUrl":9626,"material":9627,"size":9628,"collection":96,"collections":9629,"showCount":9583,"zanCount":882,"manualWeight":39,"mainColor":40},221270,"ba-fan-zhong-yan-dao-fu-zan-huang-ting-jian-221270","跋范仲淹道服赞","宋代政治家、书法家范仲淹墨迹。\n范仲淹(989～152)字希文，吴县(今江苏苏州)人。\n祥符八年进士,官至枢密副使,参知政事,卒谥“文正”。\n道服赞并序，自识为“平海书记许兄”作。\n书法方劲，落笔痛快沉着，略有《乐毅论》遗法。\n卷后文同、吴立礼、戴蒙、柳贯、胡助、刘魁、戴仁、马、吴宽、卢濬、王世贞跋。\n另黄庭坚一题，是后人抄录其文，非黄氏亲笔所书。",[7,25,60,77,385,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa8080d7d4c8bfd22a1317a584909e9.jpg","纸本（疑伪）","纵 4.8厘米，横 47.9厘米",[96],{"id":9631,"slug":9632,"title":9633,"dynasty":162,"author":1347,"museum":20,"description":1348,"tags":9634,"thumbUrl":9637,"material":184,"size":9638,"collection":171,"collections":9639,"showCount":9583,"zanCount":39,"manualWeight":39,"mainColor":100},221084,"gao-yi-tu-mu-ke-sun-wei-221084","高逸图木刻",[23,24,25,49,111,27,113,250,56,77,7,60,9635,9636],"布料","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff531a3b611b3a21aa2db9603ee4a93f9.jpg","45.2*168.7cm",[171,218],{"id":9641,"slug":9642,"title":7970,"dynasty":162,"author":4158,"museum":648,"description":9643,"tags":9644,"thumbUrl":9645,"material":312,"size":9646,"collection":96,"collections":9647,"showCount":9583,"zanCount":39,"manualWeight":39,"mainColor":40},221082,"qian-zi-wen-quan-juan-sun-guo-ting-221082","孙过庭（活动於七世纪後期），一说名虔礼，字过庭，河南陈留人，一说名过庭，字虔礼，浙江富阳人。根据本卷自题，为吴郡人，名过庭。出身寒微，迟至不惑之年始出任率府录事参军之职，以性高洁遭谗议而去官。之後，遂专注於书法研究。",[23,25,49,398,7,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb478245946dbc530b0f20c7fa56686df.jpg","25.7cmX82.5cm",[96,802],{"id":9649,"slug":9650,"title":9651,"dynasty":45,"author":1313,"museum":72,"description":9652,"tags":9653,"thumbUrl":9655,"material":184,"size":9656,"collection":63,"collections":9657,"showCount":9583,"zanCount":39,"manualWeight":39,"mainColor":40},220949,"shuang-lin-qiu-si-zhou-dong-qi-chang-220949","霜林秋思轴","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。\n中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。\n此画构图紧凑。\n画法上用淡笔勾出轮廓，作横笔米点皴；山石用润笔，连皴带擦，远处树不分叶，近树横点，画面突出主峰，渲染江南秀丽风光。\n从总体来看，此画笔墨清雅温和，秀润恬淡，能代表他的一般风格和思想情趣：董氏笔墨秀朗，此图可视为代表作。",[23,92,24,25,75,59,27,60,7,77,51,115,2293,9654,55,53,57],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd267582e0fb38cd6c5d23cf8ca4e0a.jpg","纵130.2厘米，横63.5厘米",[63,218],{"id":9659,"slug":9660,"title":9661,"dynasty":179,"author":225,"museum":72,"description":9662,"tags":9663,"thumbUrl":9664,"material":312,"size":9665,"collection":96,"collections":9666,"showCount":9583,"zanCount":882,"manualWeight":39,"mainColor":40},220887,"zhi-xian-yu-shu-chi-du-zhao-meng-fu-220887","致鲜于枢尺牍","该帖基本上是将行书和草书两种写法交替使用\n释文：（前文残缺）陆沉于尘土中。不得致书。悬仰之怀。何可云喻。即日伏惟动静胜常。昨见教化公。言有铜器见赠。留足下处。望附良便。发与湖州舍下为感。都下绝不见古器物。书画却时得见之。多绝品。至有不可名状者。（有晋人谢稚三牛图。妙入神。非牛非麟。古不可言。）近见双幅董元著色大青大绿。真神品也。（韩干明皇试马。张萱日本女骑。皆真迹。）若以人拟之。是一个无拘管放泼底李思训也。上际山。下际幅。皆细描浪纹。中作小江船。何可当也。又两轴屈原渔父。又一轴江乡渔父。皆董元绝品。并双幅。不得不报耳。（鲁公自书太子少师告。朝回马病帖。乞米帖。怀素客舍等帖。伯时天神鬼马。妙。又驴鸣马惊图。）因赵彦伯侍郎南去。辄附片纸。近有新收。不惜报示也。正远惟善护兴息。不宣。四月廿四日。孟頫再拜。（伯几想安胜。便中冀为道意。）",[23,7,60,50,25,3477,3155,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d22ce51678593caef9837e5d02c776.jpg","38.4x60.6厘米",[96],{"id":9668,"slug":9669,"title":60,"dynasty":662,"author":9670,"museum":8651,"description":9671,"tags":9672,"thumbUrl":9680,"material":9681,"size":95,"collection":95,"collections":9682,"showCount":9583,"zanCount":39,"manualWeight":39,"mainColor":40},220518,"xing-shu-xu-bei-hong-220518","徐悲鸿","笔力苍劲朴拙，兼具碑帖沉厚质感与行书灵动意趣，起收转合藏露随心，线条粗细跌宕间带着刚爽筋骨。\n\n诗作意境沉郁苍茫，书文相生，笔势循着诗意铺展，残阳秋风的怅惘随笔墨起伏流转，顿挫的笔触里暗寓家国愁绪。\n\n布局疏密得宜，字态欹正相生，法度之中藏着情难自已的舒展，将文人意趣与忧怀揉为一体。落笔见风骨，留白有余韵，笔墨成为心绪的载体，尽显书写时的心境起伏，是书情相融的动人之作。",[60,7,9673,9674,2606,9675,1679,9676,2763,9677,9678,9679],"笔墨淋漓","行笔遒劲","气韵生动","柳","江上","孤帆","青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3239976293f1b257df23a9430f4ea0d1.jpg","水墨纸本",[],{"id":9684,"slug":9685,"title":9686,"dynasty":88,"author":308,"museum":72,"description":9687,"tags":9688,"thumbUrl":9689,"material":79,"size":9690,"collection":96,"collections":9691,"showCount":9583,"zanCount":882,"manualWeight":39,"mainColor":40},220041,"bei-you-tie-su-shi-220041","北游帖","苏轼书于元丰元年(1078)。纸本。行书，信札一则。凡9行，计61字。",[23,7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7729091c501372697bacbc86bcc08b52.jpg","26.1厘米×29.5厘米",[96],{"id":9693,"slug":9694,"title":9695,"dynasty":88,"author":308,"museum":72,"description":9696,"tags":9697,"thumbUrl":9698,"material":312,"size":9699,"collection":96,"collections":9700,"showCount":9583,"zanCount":882,"manualWeight":39,"mainColor":40},220039,"ba-li-bu-chen-gong-shi-tie-su-shi-220039","跋吏部陈公诗帖","【释文】故三司副使吏部陈公 轼不及见其人，然少时所 识，一时名卿盛士多推 尊之，尔来前辈凋丧 略尽能称诵 公者渐不复见，得其 理言遗事，皆当记录 宝藏，况其文章乎 公之孙（师仲）录 公之诗廿五篇以示轼三 复太息，以想见 公之大略云，元丰四年十 一月廿四日眉阳苏轼书。",[23,7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfaffe0183d39974fb89480f5b4ed34f.jpg","27.8厘米×60.6厘米",[96],{"id":9702,"slug":9703,"title":9704,"dynasty":88,"author":308,"museum":72,"description":9705,"tags":9706,"thumbUrl":9707,"material":312,"size":9708,"collection":96,"collections":9709,"showCount":9583,"zanCount":788,"manualWeight":39,"mainColor":40},220037,"dong-wu-tie-su-shi-220037","东武帖","苏轼于元佑四年写的手札",[23,7,60,77,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252dbf3f75818f4f173fe00671dccc5.jpg","28.7厘米×66.1厘米",[96],{"id":9711,"slug":9712,"title":9713,"dynasty":179,"author":9714,"museum":4050,"description":9715,"tags":9716,"thumbUrl":9717,"material":79,"size":9718,"collection":63,"collections":9719,"showCount":9583,"zanCount":39,"manualWeight":39,"mainColor":40},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,92,24,25,75,50,59,51,52,53,57,56,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[63],{"id":9721,"slug":9722,"title":9723,"dynasty":88,"author":5882,"museum":9724,"description":9725,"tags":9726,"thumbUrl":9728,"material":94,"size":9729,"collection":171,"collections":9730,"showCount":9583,"zanCount":39,"manualWeight":39,"mainColor":100},219489,"zhu-tou-he-shang-tu-liang-kai-219489","猪头和尚图","出光美术馆","。画中用笔凌厉刚劲，墨色苍润凝专画风率性而潇洒。 宋代方勺《泊宅编》中记载了一则民间故事：婺州（今浙江金华）有僧嗜猪头，行为莫测，或曰 猪头和尚。有衢守馔猪头召师食，守自牖窥之，见一鬼从旁食，师无预焉。已而师坐亡。衢人奉香火良谨, 有祷辄应。梁楷曾流寓杭州，或听过此传说。",[92,24,25,50,9727,113,878,7,250],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039957feaf907cdaebe3debd5fc5b332.jpg","23.7x37.8厘米",[171],{"id":9732,"slug":9733,"title":9734,"dynasty":45,"author":2916,"museum":20,"description":9735,"tags":9736,"thumbUrl":9737,"material":33,"size":9738,"collection":171,"collections":9739,"showCount":9583,"zanCount":882,"manualWeight":39,"mainColor":40},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,45,24,25,49,27,111,60,7,77,113,458,55,56,57,567,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[171,96],{"id":9741,"slug":9742,"title":9743,"dynasty":179,"author":225,"museum":442,"description":9744,"tags":9745,"thumbUrl":9746,"material":169,"size":9747,"collection":35,"collections":9748,"showCount":9583,"zanCount":39,"manualWeight":39,"mainColor":100},218945,"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[24,92,25,27,113,1074,115,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[35],{"id":9750,"slug":9751,"title":875,"dynasty":45,"author":454,"museum":412,"description":9752,"tags":9753,"thumbUrl":9755,"material":79,"size":9756,"collection":63,"collections":9757,"showCount":9583,"zanCount":882,"manualWeight":39,"mainColor":40},217955,"lian-she-tu-yi-ming-217955","《莲花社》说了慧远的故事：东晋元兴年间，慧远在庐山东林寺与十八位专修净土的圣人一起，寻求脱离污秽之地，希望往生极乐世界。",[23,92,24,49,25,878,9007,113,7,60,9754],"莲社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15dee5dc0c3904ed22a998b96f72a044.jpg","30.1x595.8cm",[63,171],{"id":9759,"slug":9760,"title":9761,"dynasty":45,"author":9762,"museum":72,"description":9763,"tags":9764,"thumbUrl":9765,"material":79,"size":9766,"collection":96,"collections":9767,"showCount":9583,"zanCount":882,"manualWeight":39,"mainColor":207},214224,"gong-yan-shi-song-ke-214224","公宴诗","宋克","公宴诗是一首中国古代诗歌，作者是宋克明。公宴是中国古代的一种社交形式，通常由统治者或较高社会地位的人主办，以向与会者表示尊敬和感谢。\n\n这首诗歌描述了一场公宴的气氛和场景，表达了作者对古代文化和社会生活的热爱。根据诗歌的内容，我们可以想象出这场公宴是一个盛大而隆重的活动，充满了美食、音乐、艺术、娱乐和交流的氛围。",[23,24,25,7,75,60,398,50,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c8d2b7b8096f89247b372eedeb655.jpg","111.7x32.4",[96],{"id":9769,"slug":9770,"title":9771,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":9772,"thumbUrl":9773,"material":751,"size":752,"collection":95,"collections":9774,"showCount":9775,"zanCount":882,"manualWeight":39,"mainColor":40},290882,"hua-bai-cai-shen-zhou-290882","画白菜",[24,50,26,51,1151,52,53,56,556,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd825cee9559ff66734a5ef59f26de2b.jpg",[],46,{"id":9777,"slug":9778,"title":1871,"dynasty":88,"author":278,"museum":72,"description":9779,"tags":9780,"thumbUrl":9781,"material":751,"size":752,"collection":95,"collections":9782,"showCount":9775,"zanCount":39,"manualWeight":39,"mainColor":40},290311,"sui-chao-tu-zhou-zhao-chang-290311","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[92,24,25,75,111,27,29,135,138,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52957ae581f17b47d34d35a52e539e8.jpg",[],{"id":9784,"slug":9785,"title":1871,"dynasty":45,"author":1102,"museum":107,"description":9786,"tags":9787,"thumbUrl":9788,"material":751,"size":752,"collection":95,"collections":9789,"showCount":9775,"zanCount":882,"manualWeight":39,"mainColor":40},290307,"sui-chao-tu-zhou-bian-wen-jin-290307","边文进，字景昭，福建沙县人。诸画史皆谓为陇西（今甘肃）人。盖边姓旧出陇西，题款或署其故郡，遂至传讹。与吕纪齐名。\n永乐（一四○三至一四二四）间召至京师授武英殿待诏。至宣德（一四二六至一四三五）间仍供事内殿。为人夷旷洒落，善绘事，尤精于花鸟。花之娇藉，不但钩勒有笔，其用墨无不合宜。宋、元之后殆其人矣。有三友百泰图见故宫名画集。《图绘宝鉴续纂、沙县志、延平县志、明画录、无声诗史、四友斋丛说》。所画的翎毛与蒋子诚的人物、赵廉的虎，曾被称为“禁中三绝”。",[24,92,75,27,29,111,131,133,138,1896,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab93eeb8b340c282d279f6ec88b49db.jpg",[],{"id":9791,"slug":9792,"title":9793,"dynasty":18,"author":1464,"museum":107,"description":9794,"tags":9795,"thumbUrl":9797,"material":751,"size":752,"collection":95,"collections":9798,"showCount":9775,"zanCount":882,"manualWeight":39,"mainColor":40},290003,"mei-hua-shu-wu-tu-zhou-hong-ren-290003","梅花书屋图轴","该图画一座房屋，一棵梅树，景物简洁。该图干墨皴擦，但在亭子上用淡墨渲染，形成大对比。用笔很少，但意趣很丰富。",[24,50,75,9796,704,132,7,77,1151,51],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157a432cd94e76aaf0d5824a4e063eb9.jpg",[],{"id":9800,"slug":9801,"title":9802,"dynasty":8749,"author":454,"museum":107,"description":9803,"tags":9804,"thumbUrl":9805,"material":751,"size":752,"collection":95,"collections":9806,"showCount":9775,"zanCount":39,"manualWeight":39,"mainColor":207},287831,"bei-wei-yuan-chang-mu-zhi-wei-bei-yi-ming-287831","北魏 元苌墓志 魏碑","墓志是中国古代丧葬制度持续发展的产物，有固定的形制和专门的文体，主要记述死者姓名、卒年和生平事迹。墓志滥觞于秦汉之际，发展于魏晋，完善于北魏，兴盛于唐，延续至明清，经历了由砖造墓志到石刻墓志，由碑形墓志到方形墓志的发展历程。（碑的起源早于墓志，先有碑，后有志，两者在文化上有渊源关系。）",[7325,199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0490b33ed265b9ce55ba3f7e127ac408.jpg",[],{"id":9808,"slug":9809,"title":9810,"dynasty":162,"author":163,"museum":107,"description":8480,"tags":9811,"thumbUrl":9815,"material":751,"size":752,"collection":95,"collections":9816,"showCount":9775,"zanCount":39,"manualWeight":39,"mainColor":100},287311,"li-dai-di-wang-tu-juan-chang-juan-se-dan-yan-li-ben-287311","历代帝王图卷长卷（色淡）",[23,92,24,49,27,113,111,9812,9813,9814,7],"历史画","帝王","群臣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411a33cef4504359b61294216f06577b.jpg",[],{"id":9818,"slug":9819,"title":6061,"dynasty":18,"author":9820,"museum":126,"description":9821,"tags":9822,"thumbUrl":9824,"material":784,"size":9825,"collection":95,"collections":9826,"showCount":9775,"zanCount":882,"manualWeight":39,"mainColor":40},232972,"hua-niao-ce-lang-shi-ning-232972","郎世宁","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[24,25,26,111,27,7,77,29,282,239,9823,92],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51a29033cad5a16e9df56e5c4465f8c.jpg","纵32.6厘米，横28.6厘米",[],{"id":9828,"slug":9829,"title":9830,"dynasty":179,"author":1187,"museum":442,"description":9831,"tags":9832,"thumbUrl":9833,"material":184,"size":9834,"collection":95,"collections":9835,"showCount":9775,"zanCount":882,"manualWeight":39,"mainColor":100},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","写生草虫图卷","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[23,24,25,49,27,111,4730,29,1176,667,239,30,5947,1177,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],{"id":9837,"slug":9838,"title":307,"dynasty":179,"author":1324,"museum":8802,"description":9839,"tags":9840,"thumbUrl":9841,"material":312,"size":9842,"collection":95,"collections":9843,"showCount":9775,"zanCount":39,"manualWeight":39,"mainColor":40},231478,"mo-zhu-tu-ni-zan-231478","倪瓒善画水墨山水画，元朝， 创造“折带皴”，是平远画法的典型，取材于太湖一带平原风景，其画萧瑟幽寂，寒林浅水，不见人踪，画出他伤时感事的心情。倪瓒以这种空旷而辽远的太湖意境征服了画坛，以致后世常有“太湖属于倪云林”之说。\n倪瓒的画“似嫩而苍”，简中寓繁，小中见大，外落寞而内蕴激情。他也善画墨竹，风格“遒逸”，瘦劲开张。画中题咏很多。他的画由于简练，多年来伪作甚多，但不容易仿出他的萧条淡泊的气质。\n倪瓒的绘画属于宋代兴起的“文人画”——通过主观的描绘表达更多的作者自身情怀，进入“有我之境”（李泽厚语）。他将自己的画法风格和追求总结成“逸气”一语， 可以说是中国画“笔墨”一说的最好代表。",[92,24,25,50,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cb10c76f5727e7efa78d2e5d9ea2c9.jpg","高29.2厘米，宽28.7厘米",[],{"id":9845,"slug":9846,"title":9847,"dynasty":45,"author":9848,"museum":107,"description":9849,"tags":9850,"thumbUrl":9851,"material":95,"size":95,"collection":95,"collections":9852,"showCount":9775,"zanCount":882,"manualWeight":39,"mainColor":40},228369,"pi-pa-mei-ren-tu-wu-wei-228369","琵琶美人图","吴伟","《琵琶美人图》是吴伟创作的一幅中国国画作品，创作于明代。\n该画纸本水墨，现藏于美国印地安那波里斯美术馆。\n作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n吴伟的这件传世国画作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n作者采用近白描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n画面无任何背景，主体突出，简洁明快。\n作品上面上有孙一元、黄姬水等三人题的诗跋，称“江夏兹图，允为神品”。\n《琵琶美人图》在表现技法上与工笔白描一体，略似北宋李公麟。\n但是较之画家早年的《铁笛图》，更加流畅秀润，风神俊爽。\n《画史会要》、《 》等著录。\n画一位手抱琵琶的女子,侧面低首,神情幽怨哀愁。\n画家用近折描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n吴伟（1459-158 ），江夏（今湖北武昌）人。\n龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。\n弱冠至金陵画名遂起。\n相传伟性戆直，有气岸而豪放，尝遇庞老人击石得髓，伟饮其半，遂以画名。\n成国朱公延至幕下，以小仙呼之，因以为号。\n宪宗时待诏仁智殿，好剧饮狎妓，人欲得伟画者，则载酒携妓往。\n一日被诏正醉，中官扶掖入殿，命作松泉图。\n伟跪翻墨汁，信手涂抹，宪宗叹曰：「真仙笔也。\n]又孝宗命画称旨，授锦衣百户，赐印章曰「画状元」。\n吴伟画人物出自吴道子，纵笔不甚经意，而奇逸潇洒动人，山水树石俱作斧劈皴。\n白描尤佳。\n尝游 渴，从老妪索茗，明年复过之，老妪已谢世。\n援笔追写其像，其子见之大恸，乞而藏之。\n又尝饮友人家，酒间作画，戏取莲房濡墨印纸上数处，莫测其用意，忽起纵笔挥洒成捕蟹图，最为神妙。\n孝宗喜马、夏画风，而画院戴进、吴伟均承继马、夏，成为一时风尚，号为“浙派”。\n吴伟亦号“江夏派”。\n其后吴派既盛，浙派渐归澌灭。\n卒年五十。",[23,24,25,75,112,50,113,114,427,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5696b91097f04f9e47a6f55178478.jpg",[],{"id":9854,"slug":9855,"title":9856,"dynasty":18,"author":3067,"museum":2379,"description":9857,"tags":9858,"thumbUrl":9859,"material":8565,"size":9860,"collection":63,"collections":9861,"showCount":9775,"zanCount":39,"manualWeight":39,"mainColor":40},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,24,25,49,50,27,51,59,7,60,77,651,360,1018,458,56,250,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纵25cm，横236cm",[63,187],{"id":9863,"slug":9864,"title":9865,"dynasty":179,"author":4239,"museum":126,"description":9866,"tags":9867,"thumbUrl":9868,"material":784,"size":9869,"collection":171,"collections":9870,"showCount":9775,"zanCount":39,"manualWeight":39,"mainColor":100},221773,"zhang-guo-jian-ming-huang-tu-quan-juan-ren-ren-fa-221773","张果见明皇图全卷","此卷是元代画家任仁发人物故事画的代表作。图绘传说中的“八仙”之一张果老及其弟子谒见唐明皇的故事。画面截取张果老施法术于明皇前的片断。图右侧一老者坐绣墩上，着青衣，双掌向上，面带微笑作言语状。身前一小童于布袋中放出鞍辔皆全的小驴，驴作奔跑状。左侧一人着黄袍，戴幞头，坐于椅上，头略低，对所发生的一切表现出关注的神情。此人身材壮伟，面相庄严，显然是唐玄宗李隆基。其身后站立的四名侍从神情各异。全图设色明丽古雅，人物表情生动细腻，瞬间的动态表现得极为成功，小驴的奔跑构成了全图的视觉中心，将所有人的目光集中于此，增强了画面的故事性。张果老的沉着自如，唐玄宗略带惊讶的神情，表现得恰到好处，体现了元代人物画高超的艺术水平。\n本幅左下款署：“云间任仁发笔。”下钤“任氏子明”印。画面中部有清弘历题七言诗一首，末款“甲申夏六月上浣御题。”",[23,24,25,49,27,111,113,77,7,167,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534612c4c5adfdb60bcc11e1eab2da2b.jpg","纵41.5cm，横107.3cm",[171,218],{"id":9872,"slug":9873,"title":9874,"dynasty":162,"author":194,"museum":126,"description":2400,"tags":9875,"thumbUrl":9876,"material":312,"size":9095,"collection":96,"collections":9877,"showCount":9775,"zanCount":39,"manualWeight":39,"mainColor":100},221056,"zheng-zuo-wei-tie-yan-zhen-qing-221056","争座位帖",[23,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4f31613656912ca6722b669276b4fd.jpg",[96,802],{"id":9879,"slug":9880,"title":9881,"dynasty":88,"author":9882,"museum":72,"description":9883,"tags":9884,"thumbUrl":9885,"material":79,"size":9886,"collection":96,"collections":9887,"showCount":9775,"zanCount":788,"manualWeight":39,"mainColor":40},218872,"shu-yong-shui-xian-hua-shi-tie-chen-yu-yi-218872","书咏水仙花诗帖","陈与义","此卷有《咏水仙》一诗，希望有朋友为其作诗，《简氏集》也有收录，但文字上有出入。 在书法上，陈与义 书法清简，与其诗文相近，为本朝绍兴初期所独有，因此，曾被宋高宗下诏为 音释帖刊误。这幅作品的书法风格古拙，风格淡雅，韵味分明，意境悠远。",[25,7,60,200,77,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66296fa179b324f97dc22acb0bab3d7a.jpg","32.1x41.3",[96],{"id":9889,"slug":9890,"title":9891,"dynasty":88,"author":1749,"museum":72,"description":9892,"tags":9893,"thumbUrl":9894,"material":169,"size":9895,"collection":63,"collections":9896,"showCount":9775,"zanCount":39,"manualWeight":39,"mainColor":40},218822,"guan-shan-xing-lv-tu-li-tang-218822","关山行旅图","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,92,24,25,26,51,53,54,458,1678,1018,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[63],{"id":9898,"slug":9899,"title":9900,"dynasty":45,"author":1313,"museum":20,"description":1314,"tags":9901,"thumbUrl":9902,"material":33,"size":95,"collection":95,"collections":9903,"showCount":9775,"zanCount":39,"manualWeight":39,"mainColor":40},214654,"qiu-xing-ba-jing-tu-ce-4-dong-qi-chang-214654","秋兴八景图册-4",[24,25,26,27,51,60,7,59,651,652,53,252,9654,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b9afae4d988c47bfbafeba3b68c40.jpg",[],{"id":9905,"slug":9906,"title":9907,"dynasty":45,"author":1313,"museum":20,"description":1314,"tags":9908,"thumbUrl":9909,"material":33,"size":95,"collection":95,"collections":9910,"showCount":9775,"zanCount":882,"manualWeight":39,"mainColor":40},214653,"qiu-xing-ba-jing-tu-ce-5-dong-qi-chang-214653","秋兴八景图册-5",[24,25,26,27,1127,50,59,60,7,51,651,360,56,1018,1679,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893b7c0fa8f94f84a419b7b87e6439e.jpg",[],{"id":9912,"slug":9913,"title":9914,"dynasty":18,"author":9915,"museum":72,"description":9916,"tags":9917,"thumbUrl":9918,"material":79,"size":9919,"collection":96,"collections":9920,"showCount":9775,"zanCount":882,"manualWeight":39,"mainColor":40},214241,"xing-shu-zhong-tang-yao-yuan-zhi-214241","行书中堂","姚元之","通篇布局疏朗有致，字间行气如流泉穿涧，贯通无碍。笔势灵动跌宕，起收转折见筋骨，提按顿挫藏韵味——每一笔皆含温度，浓墨沉雄如岳，淡墨轻逸似云，干湿互渗更添层次。文字与笔墨浑然一体，字态或欹或正、或收或放，顾盼生姿如老友对谈，既有法度严谨的功底，又显随性自然的性情。通篇洋溢从容洒脱之气，观之如沐春风，仿佛能触到书者挥毫时的畅快心境，于动静之间，尽展行书之雅韵。",[23,2135,7,60,75,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61b81b5a7de70d879a30dae9c5d3a0c.jpg","132.2x62",[96],{"id":9922,"slug":9923,"title":9924,"dynasty":162,"author":9925,"museum":195,"description":9926,"tags":9927,"thumbUrl":9928,"material":202,"size":95,"collection":95,"collections":9929,"showCount":9775,"zanCount":418,"manualWeight":39,"mainColor":207},214217,"dao-yin-fa-shi-bei-ou-yang-tong-214217","道因法师碑","欧阳通","道因法师碑是一座唐代碑刻，记录了道因法师的生平事迹。据传，道因法师（生卒年不详）是一位著名的佛教高僧，曾在唐朝时期供奉过西天观音菩萨，并在江苏和浙江两省传播佛教。欧阳通是这座碑刻的作者，他是一位著名的唐代文人，擅长写诗和书法。",[23,198,199,7,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324c79e6b251fdf39f9619b4bc733ab2.jpg",[],{"id":9931,"slug":9932,"title":9933,"dynasty":45,"author":744,"museum":107,"description":897,"tags":9934,"thumbUrl":9935,"material":751,"size":752,"collection":95,"collections":9936,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":100},290849,"shan-jing-ri-zhang-tu-zhou-tang-yin-290849","山静日长图轴",[24,92,75,25,51,27,52,53,152,115,57,55,7,77,4285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],{"id":9938,"slug":9939,"title":9940,"dynasty":18,"author":7591,"museum":107,"description":9941,"tags":9942,"thumbUrl":9944,"material":751,"size":752,"collection":95,"collections":9945,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":40},290491,"qi-yan-lian-wu-hu-fan-290491","七言联","吴湖帆，江苏苏州人，为吴大澄嗣孙(1894年农历七月初二—1968年8月11日)。初名翼燕，字遹骏，后更名万，字东庄，又名倩，别署丑簃，号倩庵，书画署名湖帆。",[23,24,25,2136,7,60,27,132,9943,30,574,77],"佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff61d5b426294b7d95db061d5a5f81f.jpg",[],{"id":9947,"slug":9948,"title":9949,"dynasty":88,"author":3543,"museum":107,"description":9950,"tags":9951,"thumbUrl":9954,"material":751,"size":752,"collection":95,"collections":9955,"showCount":66,"zanCount":882,"manualWeight":39,"mainColor":40},290074,"xiu-long-xiao-jing-tu-wang-shen-290074","绣栊晓镜图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[1250,24,27,111,113,114,749,9952,7,77,9953],"镜","室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3850122dec566e5bbd67ec8ee7158ba.jpg",[],{"id":9957,"slug":9958,"title":9959,"dynasty":45,"author":9960,"museum":107,"description":9961,"tags":9962,"thumbUrl":9963,"material":751,"size":752,"collection":95,"collections":9964,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":40},287863,"ren-wu-tu-juan-shi-liu-shen-xian-zhou-dian-287863","人物图卷－十六神仙","周颠","周颠（？－？），明朝初年颠僧，建昌（今江西永修）人。本名不详，因为行事疯癫，人称周颠。\n朱元璋讨陈友谅时，周颠一直来求见，朱元璋很反感，于是把他处以烹杀，但是烧不死他，于是朱元璋将他寄养于蒋山寺。《明史·方伎传》以《周颠仙传》为根据收录他的传记。朱元璋亲著《周颠仙传》，纪周颠仙事迹。内有太祖御制《祭天眼尊者文》一首，《群仙诗》及《赤脚僧诗》各一首。\n民间相传，朱元璋病时，梦见一个佛坐在龙椅上念经，随即降下一个彗星，火焚宫殿。于是从庐山找来周颠发问，是不是亡国之兆。周颠说：“佛在龙座上，宫殿又有火，象征国号‘大明’，是国家昌盛之意。”朱元璋说：“彗星是不是周公辅政？”周颠却笑着说：“不是周公，就是召公。这个佛不是被召公赶走，就是要帮助召公。”周颠就走了。朱元璋一直不理解，到自己死前才突然理解了，把年轻时穿过的一套袈裟与一柄匕首包好，拿给建文帝，说：“我本来出身就是和尚，有困难的时候，你也知道该怎么办。”",[23,24,49,25,112,50,113,4496,878,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9f1aff475a20d5d17b1bd203533867.jpg",[],{"id":9966,"slug":9967,"title":9968,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":9969,"thumbUrl":9971,"material":751,"size":752,"collection":95,"collections":9972,"showCount":66,"zanCount":882,"manualWeight":39,"mainColor":100},287701,"lan-ting-xiu-qi-tu-juan-li-gong-lin-287701","兰亭修契图卷",[23,24,49,92,27,113,51,2028,57,9970,3234,457,60,7],"兰亭修禊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046924a3ed3772eda7257e744e0eb0d8.jpg",[],{"id":9974,"slug":9975,"title":9976,"dynasty":45,"author":1313,"museum":126,"description":9977,"tags":9978,"thumbUrl":9979,"material":9980,"size":9981,"collection":95,"collections":9982,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":100},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,25,49,50,51,59,7,77,112,56,3174,52,53,471,773,58,1018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":9984,"slug":9985,"title":9986,"dynasty":45,"author":9987,"museum":72,"description":9988,"tags":9989,"thumbUrl":9994,"material":9995,"size":9996,"collection":95,"collections":9997,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":100},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","张择端","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,92,24,49,27,111,113,458,52,9990,9991,9992,1074,7,77,110,9993],"商铺","市集","城墙","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":9999,"slug":10000,"title":10001,"dynasty":8749,"author":454,"museum":3028,"description":10002,"tags":10003,"thumbUrl":10004,"material":751,"size":752,"collection":95,"collections":10005,"showCount":66,"zanCount":882,"manualWeight":39,"mainColor":100},226507,"fu-shuo-bo-re-bo-luo-mi-duo-xin-jing-shou-gao-yi-ming-226507","佛说般若波罗蜜多心经手稿","佛说圣佛母般若波罗蜜多心经，如是我闻。一时世尊。在王舍城鹫峰山中。与大苾刍众千二百五十人俱。并诸菩萨摩诃萨众。而共围绕。尔时世尊。即入甚深光明宣说正法三摩地。时观自在菩萨摩诃萨在佛会中。 而此菩萨摩诃萨。已能修行甚深般若波罗蜜多。观自五蕴自性皆空。尔时尊者舍利子。承佛威神。前白观自在菩萨摩诃萨言：若善男子善女人， 于此甚深般若波罗蜜多法门，乐欲修学者，当云何学？",[878,386,7,199,113,77,6535,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e1da114336cb368bee1189390d642d.jpg",[],{"id":10007,"slug":10008,"title":10009,"dynasty":18,"author":10010,"museum":107,"description":10011,"tags":10012,"thumbUrl":10015,"material":95,"size":95,"collection":95,"collections":10016,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":40},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","蒋溥","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,24,25,75,111,50,27,900,10013,10014,1763,446,7],"桂","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],{"id":10018,"slug":10019,"title":10020,"dynasty":88,"author":454,"museum":126,"description":10021,"tags":10022,"thumbUrl":10024,"material":1179,"size":10025,"collection":95,"collections":10026,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":40},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[23,92,24,25,26,111,27,60,7,77,399,10023,693,88],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],{"id":10028,"slug":10029,"title":10030,"dynasty":18,"author":10031,"museum":10032,"description":10033,"tags":10034,"thumbUrl":10035,"material":312,"size":10036,"collection":35,"collections":10037,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":40},222823,"shan-yin-cao-tang-tu-xu-gu-222823","山阴草堂图","虚谷","广州艺术博物院","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。",[23,92,24,25,49,50,59,7,60,51,56,57,2859,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d1a7fdce3cd4a97891e59a5fb55386.jpg","283.6x29",[35,187],{"id":10039,"slug":10040,"title":10041,"dynasty":45,"author":10042,"museum":2692,"description":10043,"tags":10044,"thumbUrl":10045,"material":50,"size":10046,"collection":95,"collections":10047,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":40},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","谢时臣","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,25,49,50,27,51,59,60,77,7,458,52,53,54,55,56,57,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 x 210厘米",[],{"id":10049,"slug":10050,"title":10051,"dynasty":179,"author":6158,"museum":126,"description":10052,"tags":10053,"thumbUrl":10054,"material":477,"size":10055,"collection":63,"collections":10056,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":40},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[23,24,50,59,75,77,7,60,51,54,53,56,1678,252,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[63,187],{"id":10058,"slug":10059,"title":10060,"dynasty":45,"author":10061,"museum":10062,"description":10063,"tags":10064,"thumbUrl":10065,"material":27,"size":95,"collection":63,"collections":10066,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":40},219985,"shan-shui-tu-fang-huang-gong-wang-lan-ying-219985","山水图-仿黄公望","蓝瑛","芝加哥大学艺术博物馆","画法是作钩勒浅绛法。",[23,24,25,49,110,59,51,651,589,652,7,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937195e9a071267f38f8616689e68d3a.jpg",[63],{"id":10068,"slug":10069,"title":10070,"dynasty":179,"author":4970,"museum":72,"description":10071,"tags":10072,"thumbUrl":10073,"material":79,"size":10074,"collection":35,"collections":10075,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":40},218819,"xie-sheng-tu-wang-yuan-218819","写生图","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[24,25,50,111,4730,678,29,250,4179,1763,76,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[35],{"id":10077,"slug":10078,"title":10079,"dynasty":105,"author":454,"museum":107,"description":10080,"tags":10081,"thumbUrl":10083,"material":202,"size":10084,"collection":95,"collections":10085,"showCount":66,"zanCount":39,"manualWeight":39,"mainColor":100},214205,"cuan-bao-zi-bei-yi-ming-214205","爨宝子碑","这块碑文包含了关于墓主爨宝子的生平和对他的讴歌的信息。该碑字体属于隶书向楷书过渡的书体。",[23,10082,198,7,199,3423],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a113203545337ff5ce799141a3f40ac.jpg","190x71",[],{"id":10087,"slug":10088,"title":1871,"dynasty":18,"author":4364,"museum":107,"description":4365,"tags":10089,"thumbUrl":10090,"material":751,"size":752,"collection":95,"collections":10091,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":100},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318",[92,24,75,27,111,29,133,131,138,3982,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],44,{"id":10094,"slug":10095,"title":10096,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":10097,"thumbUrl":10098,"material":751,"size":752,"collection":95,"collections":10099,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":40},289930,"dan-ya-ju-he-tu-zhou-shi-tao-289930","丹崖巨壑图轴",[24,25,50,59,51,1678,1018,267,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff090c35d7e1dcc8c4a08bd16d3b69000.jpg",[],{"id":10101,"slug":10102,"title":5945,"dynasty":18,"author":4686,"museum":107,"description":10103,"tags":10104,"thumbUrl":10105,"material":751,"size":752,"collection":95,"collections":10106,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":40},288454,"hua-hui-tu-ce-zhao-zhi-qian-288454","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[23,24,25,26,27,29,138,3982,57,7,77,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264efa0c0138cb942593d7fd8f6558d0.jpg",[],{"id":10108,"slug":10109,"title":10110,"dynasty":88,"author":549,"museum":107,"description":10111,"tags":10112,"thumbUrl":10122,"material":751,"size":752,"collection":95,"collections":10123,"showCount":10092,"zanCount":788,"manualWeight":39,"mainColor":100},287400,"xiao-xing-ba-xia-mi-fei-287400","晓行巴峡","米芾（1051年-1107年），初名黻，后改芾，字元章，自署姓名米或为芊，祖居太原，后迁湖北襄阳，谪居润州(现江苏镇江)，时人号海岳外史，又号鬻熊后人、火正后人。北宋书法家、画家、书画理论家，与蔡襄、苏轼、黄庭坚合称“宋四家”。曾任校书郎、书画博士、礼部员外郎。\n米芾书画自成一家，枯木竹石，山水画独具风格特点。在书法也颇有造诣，擅篆、隶、楷、行、草等书体，长于临摹古人书法，达到乱真程度。 主要作品有《张季明帖》《李太师帖》《紫金研帖》《淡墨秋山诗帖》等。\n米芾所书《蜀素帖》，亦称《拟古诗帖》，是天下第八行书，被后人誉为中华第一美帖",[23,7,198,60,200,51,116,10113,10114,10115,10116,10117,10118,10119,10120,10121],"深山","殿宇","烟岚","苍松","林径","野岭","宫阙","晴雨","龙宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16030e95c6e55de3a713fc2e76a24cc.jpg",[],{"id":10125,"slug":10126,"title":10127,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":10128,"thumbUrl":10129,"material":751,"size":752,"collection":95,"collections":10130,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":40},241106,"zhu-da-ti-hua-shi-zhou-zhu-da-241106","朱耷题画诗轴",[7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5289de8e8a36f09e5a9b63ede3b7218.jpg",[],{"id":10132,"slug":10133,"title":10134,"dynasty":45,"author":744,"museum":107,"description":10135,"tags":10136,"thumbUrl":10137,"material":95,"size":95,"collection":95,"collections":10138,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":100},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,92,24,25,49,50,27,1328,59,7,60,77,51,652,58,113,57,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":10140,"slug":10141,"title":10142,"dynasty":88,"author":1749,"museum":107,"description":10143,"tags":10144,"thumbUrl":10145,"material":95,"size":95,"collection":95,"collections":10146,"showCount":10092,"zanCount":882,"manualWeight":39,"mainColor":100},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[23,24,25,49,111,27,113,1074,652,57,1283,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":10148,"slug":10149,"title":10150,"dynasty":88,"author":1124,"museum":107,"description":10151,"tags":10152,"thumbUrl":10153,"material":95,"size":95,"collection":95,"collections":10154,"showCount":10092,"zanCount":882,"manualWeight":39,"mainColor":100},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,25,24,92,49,1127,27,111,59,7,77,51,113,458,52,53,54,55,250,834,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":10156,"slug":10157,"title":6274,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":10160,"thumbUrl":10161,"material":751,"size":752,"collection":95,"collections":10162,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":40},224284,"xin-jing-fu-shan-224284","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[23,18,25,7,386,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207038e9219276266d8b1302b8b30770.jpg",[],{"id":10164,"slug":10165,"title":10166,"dynasty":88,"author":454,"museum":72,"description":10167,"tags":10168,"thumbUrl":10171,"material":682,"size":10172,"collection":314,"collections":10173,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":100},223418,"zi-mu-ji-tu-yi-ming-223418","子母鸡图","此图绘一只母鸡引领着几只孵出不久的小鸡，在地上漫步啄食。母鸡雪白的羽毛蓬松亮丽，目光中充满着慈爱，小鸡则稚嫩怯弱，依偎在母亲的羽翼保护下。母鸡俯身与宝宝们对话，神情爱怜。此画虽无陪衬，却能以情动人。作品在技法处理上，母鸡以勾线、施毛渲染，而小鸡则以施毛勾出轮廓，全以渲染，两者对比，更显小鸡稚嫩，母鸡慈爱。更精妙的是作者在对母鸡眼睛的处理上，把留白的位置留在眼珠的最前面，使其俯身之姿更加强烈",[23,92,24,25,111,27,29,10169,10170,77,7],"鸡","小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d3bda73641850315ec173a9cfe7fc6.jpg","纵59.99cm 横32.83cm",[314],{"id":10175,"slug":10176,"title":3732,"dynasty":45,"author":2206,"museum":10177,"description":10178,"tags":10179,"thumbUrl":10180,"material":10181,"size":10182,"collection":35,"collections":10183,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":100},222830,"zhu-shi-tu-zhu-yun-ming-222830","河北省博物馆","竹石图轴，此图顽石突兀，修竹三竿，清雅宜人。构图简洁明晰，用墨浓淡适.",[23,24,25,75,50,132,589,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92f7cc0839c81fbce897d7978e64e42.jpg","绫本，墨笔","纵163.5、横52厘米",[35,187],{"id":10185,"slug":10186,"title":10187,"dynasty":88,"author":308,"museum":72,"description":10188,"tags":10189,"thumbUrl":10190,"material":312,"size":10191,"collection":96,"collections":10192,"showCount":10092,"zanCount":882,"manualWeight":39,"mainColor":40},221306,"song-si-jia-tao-sheng-qie-zhong-hua-qi-xun-ren-du-hai-su-shi-221306","宋四家:陶生,惬中,花气熏人,渡海","《花气薰人帖》是中国宋代书法家黄庭坚的小品之作，一首二十八个字的小诗，以随意自在的笔法写来，把平日严谨的中锋线和草书中的宛转结合起来，构成一幅完美的小品，是欣赏书法不可多得的佳作。帖上有南宋「缉熙殿宝」的印，入过南宋内府。也有清代朝鲜人安仪周的收藏印安歧是当时最著名的大收藏家。此帖现藏台北故宫博物院。",[23,7,25,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dcca8709989e4feb06bb6f1620632e.jpg","30.7×43.2cm",[96],{"id":10194,"slug":10195,"title":10196,"dynasty":105,"author":8450,"museum":126,"description":10197,"tags":10198,"thumbUrl":10199,"material":198,"size":10200,"collection":96,"collections":10201,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":100},221019,"yue-yi-tie-suo-jing-221019","月仪帖","《月仪帖》传为西晋书法家索靖所书，是章草名帖。我们今天见到的是《邻苏园法帖》拓本，纵32厘米。《月仪帖》为书信文例，按月令书写。但传至今日，该拓本已缺四至六月，计18页。\n索靖（239年—303年），字幼安。敦煌龙勒（今甘肃敦煌）人。西晋将领、著名书法家，敦煌五龙之一。索靖善章草，传张芝之法，其书险峻坚劲。其章草书，自名“银钩虿尾”。时人称“瓘得伯英之筋，靖得伯英之肉。”索靖章草自成一家，唐张怀瓘评道“幼安善章草，书出于韦诞，峻险过之，有若山形中裂，水势悬流，云岭孤松，冰河危石，其坚劲则古今不逮。”著有《草书状》等。",[7,8453,398,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F945befcf89cb49b12f26f8c67c6a1af4.jpg","纵35.56cm，横417.03cm",[96],{"id":10203,"slug":10204,"title":10205,"dynasty":45,"author":1313,"museum":72,"description":10206,"tags":10207,"thumbUrl":10208,"material":312,"size":10209,"collection":96,"collections":10210,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":40},220927,"zhou-zi-tong-shu-dong-qi-chang-220927","周子通书","此作书写的是北宋大儒周敦颐所著《通书》中的内容：“圣可学乎？曰可。有要乎？曰有要。一为要。一者，无欲也。无欲则静虚动直。静虚则明，动直则公。明则通，公则溥。庶矣乎！”董书之内容与周敦颐之原文有出入",[23,7,60,50,25,24,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49525064acaf73341e131973f30c9278.jpg","纵189.4厘米，横154.5厘米",[96],{"id":10212,"slug":10213,"title":8839,"dynasty":45,"author":1313,"museum":2379,"description":8840,"tags":10214,"thumbUrl":10215,"material":477,"size":8843,"collection":63,"collections":10216,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":40},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[23,24,25,49,50,110,59,7,77,51,5721,56,53,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[63,218],{"id":10218,"slug":10219,"title":10220,"dynasty":179,"author":225,"museum":3743,"description":10221,"tags":10222,"thumbUrl":10223,"material":10224,"size":10225,"collection":96,"collections":10226,"showCount":10092,"zanCount":581,"manualWeight":39,"mainColor":100},220893,"gao-shang-da-dong-yu-jing-zhao-meng-fu-220893","高上大洞玉经","趙孟頫的作品為歷代書家所重，其小楷書風主要得益於二王、鍾繇以及東晉道士楊羲。元代書法家鮮于樞在趙孟頫《過秦論》卷後跋云：“子昂篆、隸、正、行、顛草 俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 “精勁渾厚，字字珠璣，全卷洋洋灑灑小楷數千言，而首尾精力充沛，似一氣呵成，著實驚人。”誠是一件傳世精品之作。",[23,7,386,49,199,50,878,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4003d5f3f30ddffa391ebf4005d664bb.jpg","纸本,墨迹","縱29.7釐米，橫457釐米",[96],{"id":10228,"slug":10229,"title":10230,"dynasty":662,"author":9670,"museum":8651,"description":10231,"tags":10232,"thumbUrl":10233,"material":591,"size":95,"collection":95,"collections":10234,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":40},220523,"xing-shu-wei-ren-min-fu-wu-xu-bei-hong-220523","行书（为人民服务）","此作用魏碑筋骨揉入行书意趣，笔墨沉厚苍劲。右侧笔势开张纵逸，起笔斩截收笔朴拙，将满腔热忱寄于开张笔锋之中，尽显雄强气魄。左侧稍敛锋芒，笔画敦实厚重，墨色枯润相生，枯笔处见苍茫意趣，藏锋裹气尽显沉稳内敛。落款小字与正文形成疏密对比，举重若轻，通篇错落有致，刚柔并济，将碑版的雄强与行书的流丽融为一体，质朴誓言化作沉浑笔墨力量，尽显笔墨风骨与赤诚襟怀。",[25,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690533d439aa7dab00bb7a9de44aceb1.jpg",[],{"id":10236,"slug":10237,"title":10238,"dynasty":45,"author":6938,"museum":10239,"description":10240,"tags":10241,"thumbUrl":10242,"material":94,"size":10243,"collection":187,"collections":10244,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":100},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","日本东京国立博物馆","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[23,24,25,75,50,27,131,678,77,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[187,35],{"id":10246,"slug":10247,"title":10248,"dynasty":88,"author":454,"museum":72,"description":10249,"tags":10250,"thumbUrl":10251,"material":184,"size":95,"collection":96,"collections":10252,"showCount":10092,"zanCount":882,"manualWeight":39,"mainColor":40},218712,"za-shi-tie-yi-ming-218712","杂诗帖","绢本素笺泛着岁月的暖黄，墨色沉敛如漆，行笔间藏着宋人的疏朗意趣。笔画时而轻若游丝，时而重若坠石，牵丝映带处似有春风拂过纸页，随性却不失章法。诗句里的江山清晖、岁月流转，与笔墨的简淡相映，读来竟觉纸间有清风吹出。朱红钤印如晨星落纸，与沉墨、暖绢相映成趣，更添古雅。这帧手札无刻意雕琢，却在日常书写中流露出宋人审美底色——平淡天真，余味悠长。仿佛执笔人临窗挥毫的呼吸仍在字间，每一笔都是时光痕迹，静静诉说千年前文人情思。",[23,88,60,7,25,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01222659e4ef1f33f027553818ee7200.jpg",[96],{"id":10254,"slug":10255,"title":10256,"dynasty":18,"author":1779,"museum":1172,"description":1780,"tags":10257,"thumbUrl":10258,"material":169,"size":1785,"collection":95,"collections":10259,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":40},218353,"shi-nv-tu-ce-2-li-ting-xun-218353","仕女图册-2",[24,25,27,111,113,114,167,8234,7,77,9635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b94ddb9dca2a24390e96ab7141eea0.jpg",[],{"id":10261,"slug":10262,"title":10263,"dynasty":18,"author":10264,"museum":72,"description":10265,"tags":10266,"thumbUrl":10267,"material":79,"size":10268,"collection":96,"collections":10269,"showCount":10092,"zanCount":39,"manualWeight":39,"mainColor":40},214312,"min-xian-mo-bao-lin-ze-xu-214312","闽贤墨宝","林则徐","此卷将圣人林则徐、严复、郭尚贤的笔墨集于一卷",[23,18,7,60,75,1250,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c2bbac2a035f9020459ada7d9b6c2a.jpg","29.1x31.1",[96],{"id":10271,"slug":10272,"title":10273,"dynasty":18,"author":3250,"museum":107,"description":10274,"tags":10275,"thumbUrl":10276,"material":751,"size":752,"collection":95,"collections":10277,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":40},290427,"shan-shui-tu-ce-10-kai-gong-xian-290427","山水图册10开","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[24,25,26,50,51,57,56,7,60,59,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eb7410c32536a5d14c4134270b47ae.jpg",[],43,{"id":10280,"slug":10281,"title":10282,"dynasty":162,"author":10283,"museum":107,"description":10284,"tags":10285,"thumbUrl":10286,"material":751,"size":752,"collection":95,"collections":10287,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":207},288116,"cheng-huang-miao-bei-zhuan-shu-li-yang-bing-288116","城隍庙碑(篆书)","李阳冰","李阳冰（生卒年不详），约生于唐玄宗开元年间。唐代书法家。字少温，谯郡（治今安徽亳州）人，出自赵郡李氏南祖。李白族叔，为李白作《草堂集序》。\n初为缙云令、当涂令，后官至国子监丞、集贤院学士。世称少监。兄弟五人皆富文词、工篆书。初师李斯《峄山碑》，以瘦劲取胜。他善词章，工书法，尤精小篆。自诩“斯翁之后，直至小生，曹喜、蔡邕不足也。”他所书写的篆书，“劲利豪爽，风行而集，识者谓之苍颉后身。”甚至被后人称为“李斯之后的千古一人”。\n唐代宗宝应元年（762）十一月，李白一病不起。在病榻将自己的诗文草稿交给李阳冰，请他编辑作序。",[457,7,200,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5badfbec5a8b51b4deae602e0be6302.jpg",[],{"id":10289,"slug":10290,"title":10291,"dynasty":88,"author":369,"museum":126,"description":10292,"tags":10293,"thumbUrl":10295,"material":184,"size":752,"collection":95,"collections":10296,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":100},287891,"fu-rong-jin-ji-tu-zhao-ji-287891","芙蓉锦鸡图","此画以花蝶、锦鸡构成画面，画中两只芙蓉花娴静的半开着，一只锦鸡蓦然飞临芙蓉的枝头，压弯了枝头，打破了宁静，枝头还在颤动，而锦鸡却浑然不顾，已回首翘望右上角那对翩翩起舞的彩蝶，跃跃欲试。\n画中赵佶自题：“秋劲拒霜盛，峨冠锦羽鸡，已知全五德，安逸胜凫鷖”。\n画内藏印有“万历之宝”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”等。 [2]\n画中还有签名画押，据说是天下一人四字拼合而成。",[24,29,111,27,136,140,10294,692,7,77],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ed80cbf2e91b8137c11c7a56795b76.jpg",[],{"id":10298,"slug":10299,"title":10300,"dynasty":179,"author":330,"museum":72,"description":1665,"tags":10301,"thumbUrl":10303,"material":33,"size":10304,"collection":63,"collections":10305,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":100},287545,"qiu-lin-wan-he-tu-wang-meng-287545","秋林万壑图",[24,50,51,59,52,53,152,57,56,10302,77,7],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb15ff69f252c13c648f2d4d7c70f811a.jpg","68.3x45.6",[63],{"id":10307,"slug":10308,"title":10309,"dynasty":18,"author":454,"museum":107,"description":10310,"tags":10311,"thumbUrl":10315,"material":751,"size":752,"collection":95,"collections":10316,"showCount":10278,"zanCount":882,"manualWeight":39,"mainColor":40},267670,"gu-xiu-zhu-lin-qi-xian-tu-zhou-yi-ming-267670","顾绣竹林七贤图轴","此作以绣为笔，铺展林下雅集之景。挺秀修竹间朱栏环绕，二人对坐弈棋，落子沉吟间尽显专注；玲珑湖石之侧，两人展卷清谈，悠然自得。溪谷蜿蜒，板桥横波，岸侧三人徐行，小童捧物紧随，似赴雅会。\n配色明雅柔和，墨色皴染湖石尽显苍润，淡赭晕开溪岸，朱金饰衣纹栏杆。劈丝细匀平齐，针脚藏于晕色之间，将笔墨意趣融于丝缕，把魏晋名士萧散简远的林下风流静静晕开，尽显隐逸雅静的林下意韵。",[24,25,75,27,113,132,52,53,10312,56,7,77,10313,10314,3234],"湖石","顾绣","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e06312f5b0efe7b0fe23a475e31303.jpg",[],{"id":10318,"slug":10319,"title":10320,"dynasty":88,"author":454,"museum":107,"description":10321,"tags":10322,"thumbUrl":10323,"material":95,"size":95,"collection":95,"collections":10324,"showCount":10278,"zanCount":882,"manualWeight":39,"mainColor":40},239659,"mi-fei-san-zha-juan-yi-ming-239659","米芾三札卷","这卷行书尺牍合集，尽显米氏刷字风神。笔势纵逸跌宕，提按转折间萧散俊朗，点画粗细变幻、字形欹侧相生，带着晋人帖学的流丽韵味。\n\n信札皆是日常絮语，性情全融笔墨之中，或舒展或紧敛，枯湿浓淡相映，章法错落天成，全无匠气排布，尽是随手挥写的真趣。卷内钤印琳琅，与笔墨相映，流转着古雅的收藏脉络，尽显宋代文人信手挥毫的随性雅致，将尺牍书法的抒情性与艺术性融为一体，潇洒笔底尽是一代书家的自在风骨。",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728347595c279efbc3ddf6abec3fa9b.jpg",[],{"id":10326,"slug":10327,"title":10328,"dynasty":45,"author":9848,"museum":126,"description":10329,"tags":10330,"thumbUrl":10331,"material":10332,"size":10333,"collection":95,"collections":10334,"showCount":10278,"zanCount":882,"manualWeight":39,"mainColor":40},233701,"wu-ling-chun-tu-juan-wu-wei-233701","武陵春图卷","图中女子武陵春的面部和衣纹均以细匀的淡墨线条绘成，只在眼眸、发髻处用重墨点染，这种特殊的用墨方法不仅形成了生动的墨韵，同时也令画面清雅秀润，更贴切地表现出女主人的纤秀文静之美。此外，吴伟在创作上还采用了借物言志的艺术手法，以石桌上陈设的琴、笔、砚等文房用具揭示出武陵春内在的文化修养，以石桌左侧的盆景梅花象征武陵春心志如梅的高尚情操。以这些带有寓意性的物品作为衬景点缀画面，无疑在充实武陵春形象的同时也丰富了画面的视觉感受。吴伟凭藉其精湛的艺术造诣曾分别于明成化和弘治年间奉召进京供奉宫廷。他性情孤傲，不慕权势，为朝廷内外的恶浊环境所排斥。返回江南后，他常以饮酒狎妓遣释郁闷的心境，所以，他对青楼女子的生活有一定的接触和了解。当他闻知富有文采的武陵春身在青楼而不受所处境地的影响、对爱情忠贞不渝时，为之深深感动，遂援笔作此图，以示对武陵春的同情与敬仰。清吴麒《图绘宝鉴续纂》认为吴伟“画人物落笔健壮，白描尤佳”。此幅便是吴伟晚期白描画中的精品。吴伟的白描人物宗法唐代吴道子和宋代李公麟，强调线条自身婉转流动的韵律感和塑造形象的精确性。",[24,25,49,112,50,113,114,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c183031801a15d9b56e62fc7c52ea46.jpg","纸本，白描","纵27.5厘米，横93.9厘米",[],{"id":10336,"slug":10337,"title":10338,"dynasty":88,"author":3014,"museum":72,"description":10339,"tags":10340,"thumbUrl":10341,"material":184,"size":5110,"collection":95,"collections":10342,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":40},231341,"hua-deng-shi-yan-tu-er-ma-yuan-231341","华灯侍宴图（二）","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[24,25,1328,111,59,27,458,56,5721,1678,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg",[],{"id":10344,"slug":10345,"title":10346,"dynasty":18,"author":6275,"museum":107,"description":10347,"tags":10348,"thumbUrl":10349,"material":751,"size":752,"collection":95,"collections":10350,"showCount":10278,"zanCount":882,"manualWeight":39,"mainColor":100},230264,"wei-bei-dui-lian-hong-yi-fa-shi-230264","魏碑对联","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。",[23,2135,7325,7,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bfe425540168f9729a559424f2b802c.jpg",[],{"id":10352,"slug":10353,"title":10354,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":10356,"thumbUrl":10357,"material":751,"size":752,"collection":95,"collections":10358,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":100},228880,"zhu-cha-shi-wen-zheng-ming-228880","煮茶诗","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,25,7,60,75,4038,50,77,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb1d4b72435f608c2fe35218f6399b3.jpg",[],{"id":10360,"slug":10361,"title":10362,"dynasty":88,"author":10363,"museum":107,"description":10364,"tags":10365,"thumbUrl":10366,"material":95,"size":95,"collection":95,"collections":10367,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":100},226559,"zhuo-xie-tu-juan-hu-gui-226559","卓歇图卷","胡瓌","《卓歇图》是五代 创作的一幅绢本设色画，现收藏于北京故宫博物院。\n纵观整幅图，前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入静态，在马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。\n舞蹈者在音乐的伴奏下跳跃，构成全图的高潮，充分显示了画家处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。\n全画可分为三大段，第一、第二段，一大群密密匝匝的人马占据了画面的大半部分。\n主要是画狩猎归来，人马嘈杂的场面及骑士们滚马下鞍牵马准备休息时互相交谈的场面。\n他们有的席地而坐，静静地休息。\n有的整理马鞍，马鞍上驮着鹅雁等猎物还未曾卸下，也有的伫立交谈，形态各异。\n整幅画面中的骑士虽然众多，他们或聚或散地占据了大半画面，但并不是画中的主角。\n画卷最后一段描述宴饮的场面才是真正的主角，画幅中的契丹大汗正端坐在豪华地毯上饮酒观舞，大汗服饰华丽，神态悠闲，看面容似乎被舞者美妙的舞姿所吸引，正凝神观望，颇为陶醉。\n他的妻子阏氏着汉装于右侧相陪，二人面前有一侍者跪立奉盏，还有一侍者挥动衣袖，翩翩起舞，以助酒兴。\n佩戴弓矢的彪悍侍卫和纤纤玉立的侍女站立在汗王与阏氏的周围，全神戒备，细心侍候。\n该图引首有清代张照书“番部卓歇图”五字和乾隆皇帝题写的“卓歇歌”三字，后幅有元代王时，清代高士奇、张照的跋文。\n本幅及前后隔水有“忠孝之家”“吴龙之印”“石阊”“简静斋”“高士奇图书记”“江村秘藏”“竹窗堂章”（半印）等多枚鉴藏印记。\n南宋初期，宋廷为绥靖和善或刺探情报，大量派使团出使金国。\n入金后，按女真风习，必然将汉族儒士的右衽服改为左衽，并且要先随女真头领出猎数日后，方可商议政事。\n这是一件有史实性的人马画，惜无题记，难知其具体的历史故实。\n从画面上看，作者表现了南宋使臣随金朝官僚出猎时小歇的情景。\n《卓歇图》中“卓歇”一词的汉语含义并不是十分明晰。\n《辽史》中偶有“卓枪”、“卓帐”等与“卓”有关的词语。\n其“卓”带有“立”或“暂立”的意思。\n关于“卓歇”，可以理解为“搭起帐篷临时休息”的意思。\n此作中虽然没有帐篷。\n但是由于胡壤的同类题材作品多以“卓歇图”命名，所以，后人也将其作为这件作品的名字。\n也有学者认为，该图虽然传为辽代胡瓌的画迹，但据画中所绘的少数民族族别系金代女真人，其不可能是胡壤的真品，系金初（12世纪上半叶）汉族画家的手笔。\n在画卷的左侧，两个主要人物盘腿坐于毯上，身着契丹服装的男子即为契丹可汗，他的阏氏则穿着白色汉服，看起来彬彬有礼的样子。\n男女侍从分列二人身后恭敬以待，前面有侍者跪地敬酒，可汗接酒豪饮，还有一男子在乐队的伴奏下跳起舞蹈助兴，献花者向可汗和阏氏缓缓走来。\n画面再向远处是骑兵休息的地方，这些骑士或坐或立，面露倦容，有的打着哈欠，有的伸腰展背，有的安顿马匹，有的相互交谈，等待着支起帐篷。\n马匹上的猎物还未曾卸下，鞍鞯上缚着大雁等飞禽，显然在刚才的围猎中收获颇丰。\n图中人物各异的姿态和服饰，显示着他们的等级地位，具有一定的写实性。\n《卓歇网》的构图匠心独运，图中人物有7人，马约24匹，但画家处理得错落有致，疏密跌宕，又有条不紊。\n浑然一体。\n胡瓌所描画的线条准确有力，“虽繁复细巧，而用笔清劲”，不仅将人物的各异形神传达得恰到好处，而且也表现出不同衣服的质感。\n这种笔法与唐代中原地区的绘画存在许多近似之处，体现着各民族在文化艺术方面的相互影响和交流。\n看此卷的表现手法，展现了画家娴熟的创作技巧，画面背景荒凉寂静，笔法古健雄劲，线条繁密多变而流畅，色彩沉着，人物、鞍马的造型，既简洁凝重又准确自然，具有很高的艺术水平，画家通过长、短、粗、细等不同的线条把物象刻画得极为生动，无论是勾勒鞍马、衣服的长线，还是表现人物发须的短线，用笔皆沉稳扎实，体现了当时北方画派的特色和契丹画师的独特画风。\n另外，作品中的一些细节之处（像悬挂在鞍鞯之上的猎物），画家也描绘得细致入微、一丝不苟。\n中国艺术研究院研究员 ：这是一幅北方游牧民族生活场景的风俗画面，很富于地方色彩和情趣。\n笔法古劲，精密，色彩沉着，具有很高的艺术水平。\n《卓歇图》卷奠定了金代人马画的发展走向，即线条凝练、造型生动、画风淳朴，着意于表现女真族勇悍和粗犷的民族个性及浪漫不羁的草原生活，并一直影响了元初的人马画艺术。\n这件《卓歇图》被冠以胡壤之名后，更增添了对后世人马画的范本作用，尤其是画中的人物发式和服饰，几乎成了表现北方少数民族人物形象的定式。\n这幅作品为了解中国少数民族历史提供了实录，具有很大的史料价值。\n清代阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》对该图有著录。\n《宣和画谱》曾载有胡瓌《卓歇图》九幅，但现存的这一幅没有宜和的印章和题跋，不知是否曾为宣和所收藏。\n南宋杨王体《中兴馆阁储藏》和元周密《云烟过眼录》中都提到胡《卓歇图》，但也无从考证是否就是这幅画。\n现存的《卓歇图》曾经《石果宝笈续编》著录，上最早的题跋是元代的王时，据清代高上奇的考证，说他是元代皇帝的侍御之臣。\n到了明代，当时鉴藏家张丑，在《清河书画舫》里说：“绢本胡番部卓歇图，尘垢破裂，神彩如生，明昌秘物也，今在韩氏。\n”的确，清初画卷落到高十士奇手里的时候，绢素已经碎裂得很厉害，经过了一次重装，后来为清宫所收藏，乾隆在画上题了“神完景肖”四个大字，还做了一首《卓歇歌》写在引首。\n解放后藏故宫博物院。\n胡瓌，五代后唐画家。\n山后契丹乌索固部落人。\n随李克用（856—98）入中原，居范阳（今河北涿州）。\n善画契丹人马．写北方游牧民族生活，举凡帐篷毡幕、旗帜、弓箭以及人马装饰等，曲尽塞外景色。\n笔调清劲爽利，构图繁富细巧。\n传世作品有《卓歇图》、《蕃马图》等。",[23,111,27,49,113,1074,77,7,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea4336c19ab1c123b73479d19a84a80.jpg",[],{"id":10369,"slug":10370,"title":10371,"dynasty":88,"author":4492,"museum":2692,"description":10372,"tags":10373,"thumbUrl":10374,"material":27,"size":10375,"collection":314,"collections":10376,"showCount":10278,"zanCount":788,"manualWeight":39,"mainColor":100},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,24,92,25,49,27,111,113,51,845,652,7,77,1782,4496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 × 716 cm",[314,171,187],{"id":10378,"slug":10379,"title":10380,"dynasty":45,"author":1313,"museum":72,"description":10381,"tags":10382,"thumbUrl":10383,"material":1038,"size":10384,"collection":96,"collections":10385,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":207},220926,"wu-yan-jue-ju-zhou-dong-qi-chang-220926","五言绝句轴","此展品为明代的书画，此行书五言诗章法疏朗，清淡中见神逸，意趣内涵。\n此辐行书五言诗章法疏朗，清淡中见神逸，意趣内涵，疏淡耐看。\n内容为:“南馆城阴阔,东湖水气多。\n直须台上望,始奈月明何。",[23,7,60,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea3b84dbdc9afd92628ef8ff754513a.jpg","纵238厘米，横63.8厘米",[96],{"id":10387,"slug":10388,"title":10389,"dynasty":179,"author":1324,"museum":126,"description":10390,"tags":10391,"thumbUrl":10400,"material":312,"size":10401,"collection":96,"collections":10402,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":40},220799,"jing-ji-xuan-shi-wen-zhou-ni-zan-220799","静寄轩诗文轴","《静寄轩诗文》是倪瓒自作并书写的。此轴所书共三部分，内容包括《邾伯盛氏小像赞》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[23,75,7,60,3467,77,10392,10393,10394,134,136,137,250,10395,10396,10397,845,9676,651,1677,10398,10399,3388,298],"孤鹤","瘦骨","苍林","轩","僧","茶烟","门","馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纵62.9cm，横23.3cm",[96],{"id":10404,"slug":10405,"title":5586,"dynasty":18,"author":2378,"museum":1399,"description":10406,"tags":10407,"thumbUrl":10408,"material":312,"size":95,"collection":35,"collections":10409,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":100},220338,"mu-dan-tu-gao-feng-han-220338","高凤翰(1683~1749)胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。汉族，山东胶州市三里河街道办事处三里河村人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》，《南阜集》。",[23,24,25,75,50,27,129,59,135,2019,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce1b1aa6b6e297e6d9b9727a35d9d796.jpg",[35],{"id":10411,"slug":10412,"title":10413,"dynasty":45,"author":10414,"museum":1399,"description":10415,"tags":10416,"thumbUrl":10420,"material":169,"size":10421,"collection":63,"collections":10422,"showCount":10278,"zanCount":882,"manualWeight":39,"mainColor":100},220036,"xi-shan-mu-yun-tu-zhang-lun-220036","溪山暮云图","张伦","左上自题王维《过香积寺》诗：“不知香积寺，数里入云峰。古木无人径，深山何处钟？泉声咽危石，日色冷青松。薄暮空潭曲，安禅制毒龙。”款署：“摹元人笔法，时甲辰秋前二日，画于披月草堂，瘦生张伦。”图录于《艺苑掇英》第三十五期。艺术活动约在嘉靖、万历间。",[23,24,92,50,51,75,52,53,10417,57,58,10113,7,10418,59,878,10419],"古木","摹古","薄暮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0da047626d853db8b7883f88e25a34c.jpg","纵174.5厘米，横78.8厘米",[63],{"id":10424,"slug":10425,"title":10426,"dynasty":18,"author":10427,"museum":3743,"description":10428,"tags":10429,"thumbUrl":10430,"material":33,"size":10431,"collection":96,"collections":10432,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":40},220003,"shan-shui-ce-wen-wang-shi-min-220003","山水册-文","王时敏","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,25,26,60,77,110,51,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f19818f6e779018292122be7bfb88.jpg","22.5x27.5",[96],{"id":10434,"slug":10435,"title":10436,"dynasty":18,"author":10437,"museum":72,"description":10438,"tags":10439,"thumbUrl":10440,"material":33,"size":10441,"collection":35,"collections":10442,"showCount":10278,"zanCount":882,"manualWeight":39,"mainColor":40},219651,"dong-li-xiu-se-tu-yu-sheng-219651","东篱秀色图","余省","以没骨晕染绘就秋菊数本，黄紫菊瓣蓬松柔润，敷色雅致清妍，毫无艳俗之感。叶片以淡赭勾筋、绿墨晕染，枯荣交叠，将秋霜侵染后的清隽姿态尽显。坡石细草点缀其间，衬出幽寂清旷的篱边秋境。\n\n整幅画作兼工带写，写生精准又饱含文人写意悠然，配搭题咏书画合璧，将菊花凌霜自持的君子风骨尽融笔底，诠释出东篱赏菊的古典雅韵，尽显秋日花绘的雅致格调。",[24,111,27,29,140,2019,446,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85c50a6857276b799ebb1f6a3c6622e6.jpg","84.3x67.8",[35],{"id":10444,"slug":10445,"title":10446,"dynasty":88,"author":1187,"museum":72,"description":10447,"tags":10448,"thumbUrl":10449,"material":169,"size":10450,"collection":171,"collections":10451,"showCount":10278,"zanCount":788,"manualWeight":39,"mainColor":100},219308,"san-yang-kai-tai-tu-qian-xuan-219308","三阳开泰图","本幅画巨岩青松下，一童骑羊，手持斜挂鸟笼的梅枝，其后跟随二羊。「羊」与「阳」谐音，「三阳」为易经中的乾坤交泰卦象，显示天地间万物皆有生意，为吉祥表征。画中款题钱选，诗塘亦有清代姚文田敬书乾隆御制诗题，是为作者名称由来。然而本幅画风与元初文人画家钱选的作风差距甚远，应为明代晚期假托名家且具有吉庆意味的作品。",[24,25,27,111,113,798,133,57,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8769a1d46532f390e5b84462dde32b02.jpg","122.4x49.9",[171],{"id":10453,"slug":10454,"title":10455,"dynasty":162,"author":7189,"museum":1172,"description":10456,"tags":10457,"thumbUrl":10460,"material":169,"size":10461,"collection":171,"collections":10462,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":100},218364,"mu-tong-tu-dai-song-218364","牧童图","它描绘了一头牛和一个人，牛很强壮，头很高，用蹄子向前走，男孩拿着一根树枝，骑在牛身上，斜着眼睛向左看，显然是被有趣的东西吸引了。",[92,24,25,50,27,113,797,704,7,77,10458,10459,6129],"唐代风格","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be78322a9eb453ec712a0ab48718e7.jpg","26.40x23",[171],{"id":10464,"slug":10465,"title":10466,"dynasty":45,"author":10467,"museum":1172,"description":10468,"tags":10469,"thumbUrl":10470,"material":33,"size":10471,"collection":63,"collections":10472,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":40},217878,"zhou-li-yuan-shang-kuan-shen-ce-hu-yu-kun-217878","周栎园上款什册","胡玉昆","层岩叠嶂以劲挺线条勾勒，皴擦间显山石嶙峋之态；山间林木疏朗，掩映幽径，远处峰岫隐现，留白处生悠远之境。左侧题跋笔意洒脱，文句含蕴哲思，诗画交融间，墨色与心境共生。山石的刚健与林木的清逸相映，题跋的禅意与山水的空灵相契，尽显传统文人画诗书画印一体的雅韵，传递出静观自然、叩问本心的清雅情怀。笔锋流转处，既有山水的雄浑气象，又藏文人的细腻思致，于尺幅间铺展一幅融视觉与心境于一体的雅致画卷。",[92,24,25,50,59,60,7,51,5721,1678,56,268,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e4408ed38bf72fc6032dc84cddd4e5.jpg","24.7x32.3cm",[63],{"id":10474,"slug":10475,"title":10476,"dynasty":88,"author":549,"museum":20,"description":10477,"tags":10478,"thumbUrl":10479,"material":79,"size":612,"collection":95,"collections":10480,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":40},214278,"duo-jing-lou-shi-tie-5-mi-fei-214278","多景楼诗帖-5","笔势如惊鸿掠水，欹侧间藏雷霆力道。单字看似不羁，实则气脉暗连如长河奔涌。浓墨沉厚若坠石，淡笔飞白似游丝，侧锋扫过的锋芒，正是“刷字”神采。“入”字长捺如利剑出鞘，“漠”字转折似老树盘根，每一笔都带着动感。整幅字不拘绳墨却自有章法，书家豪情与才思凝于笔端，读来如闻松涛阵阵、见江海滔滔，尽显宋代尚意书风的洒脱筋骨。",[7,60,200,77,50,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73bbbcfe904b8b4a1dbecc26188a39cf.jpg",[],{"id":10482,"slug":10483,"title":8018,"dynasty":45,"author":10484,"museum":72,"description":10485,"tags":10486,"thumbUrl":10487,"material":79,"size":10488,"collection":96,"collections":10489,"showCount":10278,"zanCount":39,"manualWeight":39,"mainColor":100},214229,"cao-shu-wu-yan-lian-jin-sheng-214229","金声","草书五言联是明朝时期流行的一种书法形式。这种书法以流畅、柔和的笔法和优美的构图著称。其中“草书”指的是草笔书法，而“五言联”则指的是五个字组成的联句。\n\n明朝时期，草书五言联在宫廷文人和书法家中非常流行。这种书法的特点是，它使用了流畅的笔法和优美的构图，能够表现出精细的细节和丰富的内涵。此外，草书五言联还有一个特点，就是在书写时使用了较大的纸张，以便能够将五个字摆放在较宽的纸面上。\n\n草书五言联虽然流行于明朝时期，但它的影响却一直延续到了现代。许多著名的书法家都曾尝试使用这种书法来表现自己的艺术天赋，并在艺术展览中展出他们的作品。今天，草书五言联仍然是许多中国人所热爱的书法形式之一，并且在国内外均有广泛的收藏爱好者。",[23,24,25,7,398,2136,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138e440fe4dca4e8a2f9ad3fe70c9266.jpg","135.2x24.2",[96],{"id":10491,"slug":10492,"title":10493,"dynasty":45,"author":4300,"museum":72,"description":4301,"tags":10494,"thumbUrl":10495,"material":169,"size":10496,"collection":95,"collections":10497,"showCount":10498,"zanCount":788,"manualWeight":39,"mainColor":100},290916,"she-se-hua-hui-zhou-chen-chun-290916","设色花卉轴",[24,92,75,27,29,250,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79dee46c87a10fea252cd111343b3e21.jpg","188x96.9",[],42,{"id":10500,"slug":10501,"title":10502,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":10503,"thumbUrl":10504,"material":751,"size":752,"collection":95,"collections":10505,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":40},290474,"shu-fa-ce-zhen-ji-10-zhen-zhu-da-290474","书法册真迹10帧",[23,26,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d002724df910e07b5b298afd344ff3.jpg",[],{"id":10507,"slug":10508,"title":10509,"dynasty":88,"author":10510,"museum":107,"description":10511,"tags":10512,"thumbUrl":10515,"material":751,"size":752,"collection":95,"collections":10516,"showCount":10498,"zanCount":882,"manualWeight":39,"mainColor":40},288550,"cheng-huang-ju-lv-tu-zhao-ling-rang-288550","橙黄橘绿图","赵令穰","入秋的江南，暑气消尽，寒冬未至，正是一年当中最清爽宜人的时节。潺潺溪流，轻巧弯延地划过雾色苍茫的平野；两岸橘树遍植成林，一粒粒芬芳的黄果、绿实，像是地上的点点繁星。空气里弥漫着微润的甘甜，吸引三三两两的水鸟，自在地悠游在汀渚之间。幽静、迷蒙的景境，正是苏东坡笔底下“一年好景君须记，正是橙黄橘绿时”的诗情。虽然在这幅《橙黄橘绿》图里，画家直接用色点叶、画橘，笔线不够精准，可能不是赵令穰的作品，但是画中隐约的柔美，令人悠然神往。",[92,24,25,1250,27,51,56,53,116,7,60,77,2061,10513,10514],"橘树","橙树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d81ea92de40e98db5552b4feec83c05.jpg",[],{"id":10518,"slug":10519,"title":10520,"dynasty":88,"author":10521,"museum":107,"description":10522,"tags":10523,"thumbUrl":10524,"material":751,"size":752,"collection":95,"collections":10525,"showCount":10498,"zanCount":882,"manualWeight":39,"mainColor":40},288421,"ju-cong-fei-die-tu-cao-chong-zhu-shao-zong-288421","菊丛飞蝶图-草虫","朱绍宗","图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。",[23,24,1250,111,27,29,1049,692,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe49dd3804561dfd01b41e581c283a7eb.jpg",[],{"id":10527,"slug":10528,"title":10529,"dynasty":179,"author":330,"museum":72,"description":1665,"tags":10530,"thumbUrl":10532,"material":79,"size":10533,"collection":95,"collections":10534,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":40},287544,"hua-xi-yu-yin-wang-meng-287544","花溪渔隐",[92,24,25,75,50,51,53,54,10531,251,56,152,77,7],"渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373c447b94d504da403c02a1b7ece0b1.jpg","129x58.3cm",[],{"id":10536,"slug":10537,"title":10538,"dynasty":18,"author":3367,"museum":107,"description":4106,"tags":10539,"thumbUrl":10540,"material":751,"size":752,"collection":95,"collections":10541,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":40},239455,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239455","邹一桂花鸟草虫图册",[24,25,26,27,111,7,60,77,30,239,238,1600,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184e5bc5ce80dbafe8c1b9f55367f8dd.jpg",[],{"id":10543,"slug":10544,"title":10545,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":10546,"thumbUrl":10547,"material":751,"size":752,"collection":95,"collections":10548,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":40},230284,"wu-yan-lian-zhu-da-230284","五言联",[23,7,2136,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae62b118dfc7dc7ee73d8fae7f6edd4f.jpg",[],{"id":10550,"slug":10551,"title":10552,"dynasty":179,"author":10553,"museum":72,"description":10554,"tags":10555,"thumbUrl":10556,"material":79,"size":10557,"collection":35,"collections":10558,"showCount":10498,"zanCount":882,"manualWeight":39,"mainColor":40},221764,"mo-mei-zhou-chen-li-shan-221764","墨梅轴","陈立善","款题：“白玉蟾善画梅，梅枝戍削几类荆棘，著花甚繁，寒葩冻萼不知有世上人。玉蟾本姓葛名长庚，出游海上，号海琼子，又号缤庵、武夷散人、神霄散吏、紫清真人，殆乎仙者也。昔年曾见其小幅题诗亦清绝，今擬之颇多合处。予初号两峰子，又号花之寺僧、金牛山人、蓼洲渔父、鹿裘生、人日生人，可谓遥遥相契于千载上矣。此帧为云峰先生作回溯厥画梅之源自若家始也。己亥孟冬罗聘记”。钤“两峰”白文印。“己亥”为乾隆四十四年（1779年），罗聘时年47岁。\n图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[23,24,25,75,50,131,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd340bc3b59e9c79c1a466dbf8d908424.jpg","纵125.5厘米，横42.5厘米",[35,187],{"id":10560,"slug":10561,"title":10562,"dynasty":88,"author":4981,"museum":648,"description":10563,"tags":10564,"thumbUrl":10565,"material":312,"size":10566,"collection":96,"collections":10567,"showCount":10498,"zanCount":882,"manualWeight":39,"mainColor":40},221472,"shu-du-fu-shi-di-yi-duan-zhang-ji-zhi-221472","书杜甫诗第一段","张即之（1186—1263年），宋代书法家，字温夫，号樗寮，历阳（今安徽和县）人。生于名门显宦家庭，为参知政事张孝伯之子，爱国词人张孝祥之侄，系中唐著名诗人张籍的八世孙。历官监平江府粮科院、将作监薄、司农寺丞。特授太子太傅、直秘阁致仕。",[23,7,3135,49,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966432f4ce381f8d9e768b7b32ee0d56.jpg","34.6x128cm",[96],{"id":10569,"slug":10570,"title":10571,"dynasty":88,"author":6022,"museum":648,"description":10572,"tags":10573,"thumbUrl":10574,"material":784,"size":10575,"collection":314,"collections":10576,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":100},221450,"zhou-song-qing-miao-zhi-shen-tu-quan-juan-ma-he-zhi-221450","周颂清庙之什图全卷","马和之《诗经·周颂·清庙之什图卷》取材《诗经·周颂》的内容，其内容是西周初年周王朝祭祀宗庙的舞曲歌辞，用典重的词章歌颂祖先的功德并祈求降福子孙。全图绘《清庙之什》十篇诗意，字画各十段，每段画前有《周颂》全文。右书左图，各幅相间，依次为《清庙》、《维天之命》、《维清》、《烈文》、《天作》、《昊天有成命》、《我将》、《时迈》、《执竞》、《思文》。",[23,92,24,25,49,27,111,112,7,77,113,51,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01c50754e74ad6bb6c4843682dac0cb.jpg","32.6*973cm",[314,63,187],{"id":10578,"slug":10579,"title":10580,"dynasty":45,"author":1313,"museum":442,"description":10581,"tags":10582,"thumbUrl":10583,"material":184,"size":95,"collection":96,"collections":10584,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":100},220895,"lin-mi-fei-fang-yuan-an-ji-quan-juan-dong-qi-chang-220895","临米芾方圆庵记全卷","《董其昌临米芾方圆庵记》，绢本，二十五开，每开六行，行五或六、七、八字。全文共计七百六十八字，首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。\n米芾《方圆庵记》书于北宋元丰六年（一○八三年），是专为当时天竺高僧辩才法师主持杭州龙井山方圆庵所作。由陶拯刊石，墨迹末传。刻石早毁，故宋拓鲜见。沈石田旧藏此记拓本，同过沈俨云：“米友仁称，‘其父书，四角转折有八面，笔笔皆翔劲’，又称，‘有云烟卷舒飞扬之态’。观此记信然矣！” 董其昌（一五五五——一六三六）卒年八十二。少早学李邕，又学米芾，二家盘旋最深，得李十之二三，米之五六。生平无所不临。七十岁时初师颜真卿，又学虞永兴。进而****晋唐诸家，继往开来。行楷之妙，跨绝一代。自云：“与赵文敏较，各有短长……当吾作意，赵书迹输一筹。”但对米芾，则云：“米元章书沉着痛快，直夺晋人之社。”又云：“米老行草书传于世间，与晋人几争道驰矣”！屡云“学书运笔得米元章髓”。 辩才法师方圆之道，亦正米、董书法方贺之悟，所以“过予爱之”。此书是董其昌临本，所以流转与自运无别，一经着其作意书得秀色，于是淋漓翰墨，随意所如，更自起自倒，自收自束，自成体势，笔不能自休，以之书“先”为“圣”，少“观”多“庵”，一气呵成，书之雅逸扑人，熠熠夺目，堪称董书中神品，与米氏宋拓孤本正相映媲美，令人陶然入胜。董书喜用淡墨，但类此着意书往往为浓墨。又历来书家恨不见真迹，现在影印与真迹极度近，是一大快事。此帖因是真迹，或更宝于宋拓孤本。 李宗翰云：“米芾书《方圆庵记》年才三十三岁，正专学晋人之时，运笔能控引王羊，其他诸帖每以奇气掩其古法。因些，世人称此帖为米书第一。”此帖结体用“圣教序”，且兼用大令，褚河南两家之法。董其昌的临写过程不仅再现了米芾风神骏爽的神韵，而且在此基础上发挥国自己个性的他造。",[23,7,49,110,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1602f2b3800c830ac35c9871d04782.jpg",[96],{"id":10586,"slug":10587,"title":10588,"dynasty":179,"author":225,"museum":20,"description":10589,"tags":10590,"thumbUrl":10591,"material":591,"size":10592,"collection":96,"collections":10593,"showCount":10498,"zanCount":788,"manualWeight":39,"mainColor":40},220857,"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","元代对书法的重视不亚于前代，书法得到一定的发展。探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。在应用价值上来说，算得是最伟大的。故能自后汉相传至今，历久而弥新。《元·赵孟頫法书选——行书灵隐大川济禅师塔铭》为基中一本。\n《灵隐大川济禅师塔铭》卷系赵孟頫于杭州任上所书。有专家考证，此作书于大德十一年，即公元1307年，时年书家54岁。此卷书写工致，融右军、北海笔意于一炉，丰润间蕴含劲拔，一字一珠，是赵中年后极为纯熟的代表作品。后有元人虞集、黄溍、郑元祐等跋，曾经王世贞、徐渭仁等收藏。",[23,60,7,200,198,77,49,50,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纵34.4厘米，横408.9厘米",[96,802],{"id":10595,"slug":10596,"title":10597,"dynasty":45,"author":10598,"museum":126,"description":10599,"tags":10600,"thumbUrl":10611,"material":79,"size":10612,"collection":96,"collections":10613,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":40},219156,"xing-shu-ti-hong-ya-shan-fang-tu-shi-ye-hu-yan-219156","行书·题洪崖山房图诗页","胡俨","洪崖山位于江西南昌城西山之中，峰峦秀拔，林壑深窅。胡俨自24岁领乡荐便宦游南北，至明永乐十四年（1416年）已达30年。“既衰且老，不能不慨然追念畴昔，望洪崖之山，悠然兴其倦归之思。”遂将所作数篇及后来阁僚为洪崖而作者合为一卷，请中书舍人画家陈宗渊绘《洪崖山房图》。此三首即为题画而作，表达了心灵对退隐洪崖、耕桑读书、为太平之民的渴望之情。第一首末两句“陈郎胸次如摩诘，丘壑能令画里传”是赞扬陈宗渊绘画技艺之高妙。\n此篇尺牍笔画粗壮而古朴，精神外露，具有俊爽雄放的风度，是胡俨56岁时的翰墨佳构。",[23,60,7,10601,6769,10602,10603,10604,132,6297,652,3388,10605,10116,1677,6635,844,10606,845,10607,3040,1002,10608,10609,10610],"题诗","章法","结体","山房","藤萝","田舍","烟","晓岚","飞翠","崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255413cc6b058a16472e805f186f1c4d.jpg","纵27.3厘米，横45.5厘米",[96],{"id":10615,"slug":10616,"title":10617,"dynasty":45,"author":10618,"museum":126,"description":10619,"tags":10620,"thumbUrl":10621,"material":312,"size":10622,"collection":96,"collections":10623,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":40},219148,"xing-shu-yu-zhong-du-zhuo-shi-xu-lin-219148","行书·雨中独酌诗","徐霖","此书为徐霖自作七言律诗一首，表露了老年人的一种伤感情怀。\n此帖书法用笔骨力遒劲，内含刚柔，结体流美秀丽，线条粗细均匀，无显著的波磔变化，仍保留着这些篆书的笔法。",[23,92,25,7,60,312,77,6769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54909960222c10b5660fd59f71e7cbad.jpg","纵23.7厘米，横36.7厘米",[96],{"id":10625,"slug":10626,"title":10627,"dynasty":179,"author":225,"museum":72,"description":10628,"tags":10629,"thumbUrl":10630,"material":33,"size":10631,"collection":35,"collections":10632,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":40},218828,"bai-bi-gua-tu-zhao-meng-fu-218828","白鼻䯄图","笔墨流转间，神骏之姿跃然纸上。马身淡墨晕染，线条如篆籀般圆劲，鬃毛轻扬处藏笔锋灵动，白鼻轻点更显温驯雅致。牵马人身着异域服饰，衣袂飘飘，神态悠然，与马的从容相映成趣。画面上方题跋清逸，诗画相生，尽展“书画同源”之韵。作品不刻意写实，却于简淡中藏深意，笔墨韵味与形象生动完美融合，传递出静谧悠远的意境，仿佛能听见马蹄轻踏，感受到人与马的默契温情，尽显文人画的雅逸风骨。",[92,24,25,50,27,113,1074,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c59d0294d40e3fb352cc6ee315fc6.jpg","26.2x41.8cm",[35],{"id":10634,"slug":10635,"title":10636,"dynasty":45,"author":1313,"museum":20,"description":1314,"tags":10637,"thumbUrl":10638,"material":33,"size":95,"collection":95,"collections":10639,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":40},214648,"qiu-xing-ba-jing-tu-ce-9-dong-qi-chang-214648","秋兴八景图册-9",[24,25,26,50,1127,27,51,55,56,57,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be813ba30d1c9d872056dd97f176faa.jpg",[],{"id":10641,"slug":10642,"title":3513,"dynasty":18,"author":6849,"museum":72,"description":10643,"tags":10644,"thumbUrl":10645,"material":79,"size":10646,"collection":96,"collections":10647,"showCount":10498,"zanCount":39,"manualWeight":39,"mainColor":40},214242,"xing-shu-qi-yan-lian-zuo-zong-tang-214242","墨色沉厚如铸铁，笔锋转折间藏锋棱傲骨。线条刚劲却不失流畅，似老将挥戈带千钧力，又若文士吟啸含书卷气。联语既涌少年意气的蓬勃春潮，又蕴老境自惕的清醒襟怀，笔墨与文心浑然相映。两联布局匀整却不死板，字间气脉贯通如行云流水，每一笔都带着书写者的沉雄气度与儒雅风致。整幅作品刚柔相济，既有武将的磊落风骨，又有学者的深醇底蕴，读之如见历史风烟里的身影，笔底春秋皆见性情。",[23,2135,60,2136,7,25,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad38b3923da1877dd83a984a1b451cf.jpg","166.2x38.7",[96],{"id":10649,"slug":10650,"title":10651,"dynasty":18,"author":10652,"museum":107,"description":10653,"tags":10654,"thumbUrl":10655,"material":751,"size":752,"collection":95,"collections":10656,"showCount":10657,"zanCount":882,"manualWeight":39,"mainColor":40},290310,"ke-si-sui-chao-tu-zhou-qing-ren-290310","缂丝岁朝图轴","清人","此件以葫芦形制为框，暗合福禄祥瑞之意。上部题诗笔墨清雅，与下方缂丝清供呼应成趣。瓶中梅枝疏朗横斜，茶花绽艳吐芳，间衬天竹、水仙，尽显冬日生机。案间鲜果盈盘、灵芝盆栽错落排布，更缀如意、方胜等吉物，将岁朝祈福的雅俗意趣融于尺幅之中。缂丝走线匀整细腻，晕染出花叶鲜活层次，配色古雅沉静，把宫廷岁朝清供的雅致氛围铺陈尽致，以工艺之美承载年节吉庆的融融意涵，是岁朝题材里颇具巧思的上乘之作。",[24,75,3232,29,131,834,7,199,27,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f6be4a302e0b915866928d06c0d098.jpg",[],41,{"id":10659,"slug":10660,"title":10661,"dynasty":45,"author":454,"museum":107,"description":10662,"tags":10663,"thumbUrl":10665,"material":751,"size":752,"collection":95,"collections":10666,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},287957,"fang-zhao-meng-fu-shi-liu-luo-han-tu-yi-ming-287957","仿赵孟頫十六罗汉图","此作用笔清逸秀雅，罗汉形象线条匀净灵动，将世外高人沉静安然的神态刻画入微，衣褶流转间兼具温润质感与古朴意趣。搭配的书法题识笔意萧散，与图像相映成趣，墨色浓淡相宜。古雅的暗纹衬底更添沉静书卷气，整体气韵呼应元人笔墨的温婉雅致，尽现禅意悠远的意境，复刻出原作的文人画风骨。将释道题材的静穆和书法的文雅融为一体，尽显古拙澹泊的古典美学韵味，是一件兼具临摹意趣与审美价值的长卷。",[23,24,49,878,113,9007,10664,50,7,110],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778036322ea0f4d59bd5410859e7de73.jpg",[],{"id":10668,"slug":10669,"title":10670,"dynasty":45,"author":744,"museum":107,"description":10671,"tags":10672,"thumbUrl":10673,"material":312,"size":95,"collection":96,"collections":10674,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},241555,"tang-yin-shi-juan-tang-yin-241555","唐寅诗卷","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 [1] 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。 [2]\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,25,49,7,60,77,50,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d1f22c20897817f0de3feff1bc57dd.jpg",[96],{"id":10676,"slug":10677,"title":10678,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":10679,"thumbUrl":10680,"material":751,"size":752,"collection":95,"collections":10681,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},239426,"shan-shui-hua-hui-ce-yun-shou-ping-239426","山水花卉册",[24,25,26,50,112,250,704,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46879573d1358b6fa55ffe759b2f7a28.jpg",[],{"id":10683,"slug":10684,"title":10685,"dynasty":18,"author":3067,"museum":107,"description":10686,"tags":10687,"thumbUrl":10689,"material":95,"size":95,"collection":187,"collections":10690,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},237493,"san-jia-he-zuo-wu-qing-zhou-wang-hui-237493","三家合作五清轴","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[92,24,25,75,50,27,133,132,131,678,7,77,111,59,10688],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[187,96],{"id":10692,"slug":10693,"title":10694,"dynasty":18,"author":10695,"museum":107,"description":10696,"tags":10697,"thumbUrl":10698,"material":312,"size":95,"collection":63,"collections":10699,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},231951,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-ceng-yan-dong-231951","七道子山水人物画册18帧","曾衍东","曾衍东生于清乾隆十五年（1750年），字青瞻，一字七如，号七如居士、七道士，祖籍山东嘉祥，为曾子第67代孙。清乾隆壬子（1792年）举人，清乾隆至道光年间画家、小说家、杂剧家。\n据嘉祥《曾氏祖谱》记载，其祖上在明代嘉靖十八年（1539年）被封为翰林院五经博士，并从此世袭爵位。曾衍东的父亲名尚渭，是个恩贡生，游宦江南，曾官居广东博罗县令。曾衍东自幼随父游走南北，童年的经历奠定了其开阔的胸襟，同时也开启了他坎坷飘荡的一生。\n他仕途坎坷，直至50岁迟暮之年由人举荐，才得任湖北江夏县令，后调任巴东县令。曾衍东个性清高、倔强。他曾在《日长随笔》里写道：“人所不能做的，我偏要做去，人所不能减的，我偏要减去。”依这种性格，他在中国官场的遭遇可想而知。63岁那年，因断案而触怒巡抚，而他坚持“此官可去案不移”，终被降罪罢官，流放温州。\n曾衍东携家小流放温州后，先住在同姓旧宦曾儒璋后人曾立亭的家中。曾立亭居温州郡西，其宅名“依绿园”。他念同姓之谊，款接曾衍东居园之“入画楼”。第二年曾衍东在园边宝庵桥附近一大榕树下自建房屋。这里面向九山湖，湖光山色正好，于是他把自己的居所命名“小西湖”。并在门上写了一副对联：“挂冠自昔曾骑虎，闭户于今好画龙。”\n嘉庆二十五年（1820），道光帝即位，曾衍东遇赦，但已贫老不得归乡，约十年后，客死于温州。\n曾衍东生性落拓不羁，工诗及书画，尤善画人物，市井风情、生活百态皆入其构中，举重若轻。在技巧上以笔墨狂放的写意风格取胜。镌图章，摩古出奇，得之者无不视为拱璧，然清贫自守。在近代画坛特别在人物画领域受曾衍东影响的画家有很多，比如王震和丰子恺。但是对他在画坛上地位的认识有所不足，因此当代著名画家程十发先生颇为其抱不平。他在曾衍东的一本人物册中写到：“七道士乃青藤（徐渭）后身，诗文词曲皆胜场，且从书画中与世俗相左而现风骚之气。余曰：近人不重曾衍东是一大遗憾也。”可以说推崇备至。",[23,24,25,26,50,113,1074,77,60,7,1752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e31d6bfb1d8831f9c256406aa1f6a9e.jpg",[63,171],{"id":10701,"slug":10702,"title":10703,"dynasty":18,"author":294,"museum":442,"description":10704,"tags":10705,"thumbUrl":10706,"material":312,"size":10707,"collection":95,"collections":10708,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},231949,"hua-hui-ce-ye-12-kai-dong-gao-231949","花卉册页12开","龚心钊题跋。龚心钊（1870-1949），字怀希，号仲勉，安徽合肥人，寓居上海。他19岁中举人，26岁中进士，是清代最后一任科举考官。光绪年间出使英、法等国，清末出任加拿大总领事，是清代著名的外交家。\n董诰（1740-1818），字雅伦，西京，号蔗林，一号柘林，董邦达长子，浙江富阳人。乾隆二十八年（1763），中顺天乡试举人，明年成进士，殿试各列一甲第三，乾隆帝以其系大臣子，改置二甲第一，为传胪，授翰林院庶吉士，充国史三通馆协修，武英殿篡修。散馆后，改任编修。",[92,24,25,26,111,27,29,30,239,238,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16aa1373de0204c155ba084d3f5fee4.jpg","21×26cm×12",[],{"id":10710,"slug":10711,"title":10712,"dynasty":179,"author":2258,"museum":107,"description":10713,"tags":10714,"thumbUrl":10715,"material":95,"size":95,"collection":95,"collections":10716,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,92,24,25,49,27,112,113,1074,7,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":10718,"slug":10719,"title":10720,"dynasty":88,"author":10721,"museum":107,"description":10722,"tags":10723,"thumbUrl":10724,"material":95,"size":95,"collection":95,"collections":10725,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,92,24,25,1250,27,111,113,458,114,678,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":10727,"slug":10728,"title":10729,"dynasty":8749,"author":454,"museum":3028,"description":10730,"tags":10731,"thumbUrl":10732,"material":751,"size":752,"collection":95,"collections":10733,"showCount":10657,"zanCount":882,"manualWeight":39,"mainColor":100},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[49,25,24,878,27,113,458,111,386,359,77,7,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],{"id":10735,"slug":10736,"title":10737,"dynasty":18,"author":3367,"museum":107,"description":10738,"tags":10739,"thumbUrl":10740,"material":95,"size":95,"collection":95,"collections":10741,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[23,24,25,75,27,111,59,51,57,56,9654,471,1316,473,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":10743,"slug":10744,"title":10745,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":10746,"thumbUrl":10747,"material":751,"size":752,"collection":95,"collections":10748,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},224217,"xiao-rong-shi-ce-zhuan-shu-wu-chang-shuo-224217","小戎诗册篆书",[23,457,7,26,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac50f5eaec7f55cb5dcad0fa1a75421.jpg",[],{"id":10750,"slug":10751,"title":10752,"dynasty":45,"author":46,"museum":701,"description":10753,"tags":10754,"thumbUrl":10755,"material":591,"size":10756,"collection":95,"collections":10757,"showCount":10657,"zanCount":788,"manualWeight":39,"mainColor":40},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,24,25,49,27,50,60,7,59,51,56,57,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":10759,"slug":10760,"title":10761,"dynasty":88,"author":2907,"museum":126,"description":10762,"tags":10763,"thumbUrl":10764,"material":1038,"size":10765,"collection":96,"collections":10766,"showCount":10657,"zanCount":882,"manualWeight":39,"mainColor":789},221205,"shou-fu-tie-ye-wu-ju-221205","寿父帖页","吴琚“性嗜书”，学米芾能神似。此帖为其行书代表作之一，乃淳熙末年为官襄阳时谈论宦途境况的一封尺牍。《墨缘汇观》评为“初视之以为米书”。",[23,7,60,200,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42acbd1c8113c63f546b4b08295fa08c.jpg","纵32.9厘米，横48.9厘米",[96],{"id":10768,"slug":10769,"title":10770,"dynasty":162,"author":1715,"museum":126,"description":10771,"tags":10772,"thumbUrl":10773,"material":10774,"size":10775,"collection":96,"collections":10776,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},221150,"lan-ting-ba-zhu-tie-chu-sui-liang-221150","《兰亭八柱帖》","兰亭八柱帖属于历代丛帖。\n位于中山公园西南角。\n共8卷。\n清乾隆四十四年（1779）内府辑刻。\n此帖是集唐人王羲之《兰亭序》的摹本、明人董其昌和清乾隆的临本刻于一起的作品，计有：《虞世南摹兰亭序》、《褚遂良摹兰亭序》、《冯承素摹兰亭序》、《柳公权书兰亭诗》、《重摹董其昌所收》、《于敏中补缺文》、《董其昌临》和《清高宗弘历临》，各为一卷。\n每一卷刻于一方形石柱之上，再以此8柱建亭于圆明园。\n相关信息 咸丰十年（186）圆明园被焚后此亭石柱未毁，1917年被移至中山公园。\n2世纪7年代初中山公园修整开放前，重建此亭。\n石刻已多有漫漶。",[23,7,60,110,77,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fc06ca0857dbfef5b2d9e373eb55dd.jpg","乌金精拓","纵29．8厘米，横17.3厘米。",[96],{"id":10778,"slug":10779,"title":10780,"dynasty":18,"author":10781,"museum":1172,"description":10782,"tags":10783,"thumbUrl":10785,"material":33,"size":10786,"collection":63,"collections":10787,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},220078,"feng-dong-tu-ye-xin-220078","风洞图","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[23,24,1328,50,59,57,56,113,10784,5091,7,77,60],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[63],{"id":10789,"slug":10790,"title":10791,"dynasty":88,"author":454,"museum":2228,"description":10792,"tags":10793,"thumbUrl":10796,"material":79,"size":10797,"collection":171,"collections":10798,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":100},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[23,24,25,49,112,50,878,113,10794,7541,10795,798,133,132,652,589,77,7],"虎","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[171],{"id":10800,"slug":10801,"title":10802,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":10803,"thumbUrl":10804,"material":79,"size":95,"collection":95,"collections":10805,"showCount":10657,"zanCount":39,"manualWeight":39,"mainColor":40},216378,"mo-zhu-pu-ce-11-wu-zhen-216378","墨竹谱册-11",[24,25,26,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F837739d68f888888bc6b721b559d57e1.jpg",[],{"id":10807,"slug":10808,"title":4291,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":10809,"thumbUrl":10810,"material":751,"size":752,"collection":95,"collections":10811,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},290917,"mu-dan-zhou-chen-chun-290917",[24,25,75,27,29,135,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd604a7f23d710fc1906b3c2c491b0d88.jpg",[],40,{"id":10814,"slug":10815,"title":10816,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":10817,"thumbUrl":10818,"material":751,"size":752,"collection":95,"collections":10819,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883","仿范宽山水",[24,25,26,51,50,59,110,57,266,458,52,53,1283,55,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],{"id":10821,"slug":10822,"title":7298,"dynasty":18,"author":5616,"museum":107,"description":10823,"tags":10824,"thumbUrl":10825,"material":751,"size":752,"collection":95,"collections":10826,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},290000,"zhu-shi-tu-li-zhou-li-fang-ying-290000","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,92,24,25,75,50,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],{"id":10828,"slug":10829,"title":10830,"dynasty":88,"author":8683,"museum":107,"description":10831,"tags":10832,"thumbUrl":10833,"material":751,"size":752,"collection":95,"collections":10834,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[23,92,24,25,49,1128,27,51,458,3233,53,251,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],{"id":10836,"slug":10837,"title":10838,"dynasty":18,"author":5196,"museum":126,"description":10839,"tags":10840,"thumbUrl":10841,"material":10842,"size":10843,"collection":96,"collections":10844,"showCount":10812,"zanCount":788,"manualWeight":39,"mainColor":40},239982,"zhao-meng-fu-da-shi-zan-juan-ai-xin-jue-luo-yong-xing-239982","赵孟頫大士赞卷","释文：\n秉般若。剑推黑暗尽光明。洞然行佛心，令令行如焰。无处凑泊，锋锷未露，天魔胆落。\n明月一圆，清风两袖。笊篱笊篱，虽工莫售。莫信者何，劳心碌碌。譬动水珠，竟无捞摸。\n彼卖鱼者，一钱两尾。踏破指头，白昼见鬼。隐菩萨身，化童女真。非大悲心，着甚死嗔。\n飞鸟拍肩，蹲蹲将及。正未及闲，狂心顿息。天和气薰，小雨沾裳。浮云柳絮，空阔飞扬。师猎得麕，师农得粟。善财无法，礼菩萨足。菩萨不定，前瞻后瞩。汝自问取，白云青竹。\n赵文敏公大士赞。为恒府德斋书。成亲王。\n款署 ：“为恒府德斋书。成亲王。”钤“成亲王”、“诒晋斋印”白文印2方。鉴藏印钤“芸阶姚氏收藏”朱文印。\n外有题签“成哲亲王书赵文敏公大士赞。石雪居士题签”。钤“徐宗浩印”。知此卷曾为徐石雪所藏。\n此作以恭楷录赵孟頫大士赞。用笔清劲峭拔，结字整肃，极见唐人楷法之精绝。",[7,199,49,77,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b807dbacbd0c0949eec6226c73eab8a.jpg","纸本，楷书","纵32.8厘米，横89厘米",[96],{"id":10846,"slug":10847,"title":4167,"dynasty":179,"author":2389,"museum":126,"description":10848,"tags":10849,"thumbUrl":10850,"material":488,"size":10851,"collection":63,"collections":10852,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":100},233170,"shan-shui-ce-cao-zhi-bai-233170","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,25,26,50,59,51,651,360,652,55,52,1018,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[63,96],{"id":10854,"slug":10855,"title":10856,"dynasty":88,"author":89,"museum":10857,"description":10858,"tags":10859,"thumbUrl":10860,"material":7695,"size":10861,"collection":95,"collections":10862,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":207},232615,"nian-nu-jiao-chi-bi-huai-gu-huang-ting-jian-232615","念奴娇·赤壁怀古","武氏墓群石刻博物馆","黄庭坚《念奴娇·赤壁怀古》，武氏墓群石刻博物馆藏。武氏墓群石刻博物馆位于山东省嘉祥县，是全国第一批重点文物保护单位，以收藏着大量东汉时代武氏墓群的石刻文物而闻名于世。《念奴娇·赤壁怀古》全文的四块石刻，每块刻石均长方形，按石刻拓片每块约高 35cm、宽101cm。\n一、苏东坡是北宋大文豪，千古传颂，世界闻名。《念奴娇·赤壁怀古》词为其重要代表作，脍炙人口。黄庭坚亦乃诗词书法大名家。故此刻石当是珠联璧合的“苏黄”双绝，文化价值、历史价值、文物价值皆珍贵异常。\n二、黄庭坚书写东坡此词，说明两人不同一般的师生情谊，也折射出黄庭坚对苏词之推崇。\n三、刻石完整保留了至今已难得一见的黄庭坚墨宝真迹，而且是一幅长达百字的巨作，笔力遒劲，跌宕起伏，晋风唐韵，龙飞凤舞，一如行云流水，恰似东坡豪迈词意，酣畅淋漓，气象磅礴，雄浑壮美。《三希堂法帖》有黄氏20件墨宝，却缺此件。\n四、此词系东坡谪居黄州游赤壁时所写的千年名篇，流传甚广，而版本各异。黄庭坚作为苏轼门下，自身当时就是著名词人，故其墨迹堪称原始版本，足以作为诸版本之校勘依据。",[23,7,60,198,49,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e0349f0fe749f5ac5eba8fa71d1f19.jpg","35cm、宽101cm",[],{"id":10864,"slug":10865,"title":10866,"dynasty":162,"author":194,"museum":195,"description":10867,"tags":10868,"thumbUrl":10870,"material":95,"size":7125,"collection":95,"collections":10871,"showCount":10812,"zanCount":882,"manualWeight":39,"mainColor":207},232598,"duo-bao-ta-gan-ying-bei-yuan-ke-yan-zhen-qing-232598","多宝塔感应碑 原刻","《多宝塔碑》全称为《大唐西京千福寺多宝佛塔感应碑》，是唐天宝十一年（752年）由当时的文人岑勋撰文、书法家徐浩题额、书法家颜真卿书丹、碑刻家史华刻石而成，是楷书书法作品。现今保存于西安碑林第二室。\n此碑共三十四行，满行六十六字，内容主要记载了西京龙兴寺禅师楚金创建多宝塔之原委及修建经过。整体秀美刚劲，清爽宜人，有简洁明快，字字珠玑之感。用笔丰厚遒美，腴润沉稳；横细竖粗，对比强烈；起笔多露锋，收笔多回锋，转折多顿笔。结体严谨致密，紧凑规整，平稳匀称，又碑版精良，存字较多，学颜体者多从此碑下手，入其堂奥。\n唐朝天宝年间，楚金禅师夜诵《法华经》时，仿佛有多宝佛塔呈现眼前，他想把幻觉中的多宝佛塔变为现实，誓志筹建。在修造期间，甚至出现了种种灵应和神奇的事情。这份诚意感动了唐玄宗，于是赏赐钱帛，并亲题塔额。经过4年的努力，多宝佛塔终于在天宝十一年（752年）建成。\n而时任武部员外郎、44岁的颜真卿被选中来书写碑文。颜真卿和当时的大多数知识分子一样是正统的儒家，但也信奉佛教，他的书法风格直接“二王”、欧、虞、褚余风，而又与唐人写经有明显的相似之处。碑文的作者岑勋，是诗人岑参的从弟；题写碑额的徐浩，年长颜真卿6岁，是当时的书法名家，也是张旭的学生，这是他俩第一次合作书碑；史华则是当时的刻碑高手。\n该碑用笔多中锋，起笔和收笔有明显的顿按。起笔藏锋为主，兼用露锋，方圆并用。有些横画起笔较为外露，不同于柳体的齐头方脚，而是稍存斜尖，并参以含蓄的笔意使之变化丰富；收笔用顿笔和回锋的较多，强调“护尾”，尤其于横画中最为明显，写横行至收笔处，常向右下方重按，顿笔回锋，体现出颜体的雄浑、大气之韵，竖画粗壮，浑厚力强。横、竖笔画粗细对比鲜明，富节奏、韵律美感，也把颜体的一个“筋”的意味完整地表达出来。\n颜体撇画较轻盈挺健，捺画却粗壮有力，有“蚕头燕尾”之称，给人以刚健的动感，尤其是捺脚较长，顿挫后踢出开衩，含蓄而又有峻利之感。另外，颜体捺画的捺脚多与撇画锋尖持平或稍低，不似柳体的撇低捺高，而呈现出一种舒展沉稳之美。《多宝塔碑》转折变化较多，主要有提耸肩顿挫和按笔削肩暗转之法，有方有圆，方圆兼施。该碑具有唐楷“尚法”的典型特征，结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，已初显颜体成熟期正面示人、雄浑豪迈的书风。\n《多宝塔碑》整篇结构严密，字行间有乌丝栏界格，其结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，布势均匀，四周撑满，故气势雄伟，这是“颜体”佛书的又一特色。颜真卿的结体，用的是“外拓”笔法，字势方正，撇捺竭力向左右拓展，气势博大恢弘。无论独体字，还是合体字，都以中心轴线为重心，在结构处理上，既讲究规矩，又生动活泼。在楷书史上还没有一个人有过这样的结体方式，尤其是捺脚，重拙而不作波曳之状，线条涩重雄强，气概非凡。\n《多宝塔碑》的章法之美：整幅作品纵横整齐。从纵看，字的中心在中轴线上；字的大小配合得当。整体雄伟恢弘，实也秀媚多姿。\n明代学者孙鑛《书画跋》：“此是鲁公最匀稳书，亦尽秀媚多姿，第微带俗，正是近世掾史家鼻祖。”\n明代戏曲理论家何良俊《四友斋书论》：“正所谓世下最传者，盖鲁公书妙在险劲，而此书太整齐，失之板耳。”\n现代书法家欧阳中石：“它是颜碑中最讲用笔，法度最为细密严谨的一部。”\n陕西师范大学历史文化学院教授张懋镕：“整篇结构严密，点画圆整，端庄而不呆板。”\n《多宝塔碑》蕴含了“二王”和初唐以来书家的风流，历来为书家珍重。它是唐代“尚法”的代表碑刻之一，学颜体者多从此碑下手，入其堂奥。学子描红、士子举业、居士写经、坊间印书，竞相仿效。至今仍是适用非常广、影响十分巨大的书法作品。\n颜真卿传世书碑之作中，《多宝塔碑》所蕴文献价值是非常大的。其一，此碑书写厚重，石料坚硬细腻，加上运用了直刀深刻法进行镌刻，因而历经1000多年的锤拓仍完好如初，字口清晰，神采奕奕。除康熙年间碑石断裂损泐二十字之外，无缺文、疑字，这对赏鉴颜书、校考碑文、考辨各代拓本流传都甚为有利。其二，碑文撰者岑勋、多宝塔出资助修者许王瓘，检阅史籍后考得生平事迹一二，或可补史志未载。其三，碑文所记禅师楚金事可与同门僧人飞锡撰《楚金禅师碑》及佛教文献互参校考。其四，多宝塔碑叙记之事多有虚诞，但基于唐玄宗时佛教发展达于极盛，伽蓝之数较唐初几增一倍的史实，反观此碑言及，亦无疑是对当时“抑而不毁”的佛教之况、政教关系的一种反映。",[1063,199,198,7,3423,10869],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c0cd473a1a4b8fef76316a36533dd.jpg",[],{"id":10873,"slug":10874,"title":10875,"dynasty":88,"author":10876,"museum":107,"description":10877,"tags":10878,"thumbUrl":10879,"material":95,"size":95,"collection":95,"collections":10880,"showCount":10812,"zanCount":882,"manualWeight":39,"mainColor":100},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","李迪","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,24,92,25,49,111,27,59,6951,798,652,115,2062,267,116,7,77,57,7804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":10882,"slug":10883,"title":10884,"dynasty":18,"author":411,"museum":107,"description":10885,"tags":10886,"thumbUrl":10887,"material":95,"size":95,"collection":187,"collections":10888,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[23,24,25,49,50,59,60,7,51,5721,1678,56,471,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[187],{"id":10890,"slug":10891,"title":10892,"dynasty":18,"author":10893,"museum":107,"description":10894,"tags":10895,"thumbUrl":10896,"material":95,"size":95,"collection":95,"collections":10897,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},224244,"yuan-ji-shi-yi-tu-gai-qi-224244","元机诗意图","改琦","《清改琦元机诗意图》是中国清代画家 创作的一幅人物画。\n此图画的是唐代女诗人 的。\n鱼玄机是个很有才华，而遭遇却很不幸的人，她大约生于844年，卒子871年，字幼微、蕙兰，清代时因避康熙玄烨的讳改称为鱼元机。\n嫁给李忆为妾，因受李妻的妒忌，被迫出家，在长安咸宜观做了女道士。\n由于喜读书，有才思，擅作诗，受到当时文人们的重视，温庭筠等名家常与她作诗唱和。\n后因忌妒笞杀侍婢绿翘，被判死刑，其时年仅二十多岁。\n留有诗文一卷。\n此图设色古雅，衣纹秀劲，玄机倚坐展卷。\n姿容秀美，含蓄深思，刻画传神。\n改琦(177-1828)字伯蕴，号香白，或作香伯，又号七芗，别号玉壶外史。\n先世为西域人，祖为松江参将，遂占籍为华亭（今上海松江）人。\n通敏多能，善书画，人物画出入李公麟、赵孟頫、唐寅及陈洪绶，花草兰竹小品迥出尘表，叉善画佛像，人以新罗山人相比，为清代中叶画坛名家。\n工诗词，曾与钦善、姜皋等结课诗词，辑《泖东诗课》。",[23,24,25,27,111,113,114,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125f440623b2edc344cb81826355bd02.jpg",[],{"id":10899,"slug":10900,"title":10901,"dynasty":18,"author":7664,"museum":1893,"description":10902,"tags":10903,"thumbUrl":10905,"material":346,"size":10906,"collection":35,"collections":10907,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},222673,"xiong-ji-tu-zhou-huang-shen-222673","雄鸡图轴","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,25,75,50,27,7,10904,1763,9654,29],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纵124.6厘米，横59.8厘米",[35,218],{"id":10909,"slug":10910,"title":10911,"dynasty":45,"author":10912,"museum":10913,"description":10914,"tags":10915,"thumbUrl":10916,"material":9104,"size":10917,"collection":96,"collections":10918,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},222538,"wu-yan-lv-shi-si-shou-juan-wang-duo-222538","五言律诗四首卷","王铎","无锡市博物馆","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[23,7,398,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bfad7f5c9832225ba8082013f88182.jpg","纵31cm，横238cm",[96],{"id":10920,"slug":10921,"title":10922,"dynasty":88,"author":1187,"museum":72,"description":10923,"tags":10924,"thumbUrl":10927,"material":488,"size":10928,"collection":35,"collections":10929,"showCount":10812,"zanCount":882,"manualWeight":39,"mainColor":40},221706,"san-shu-tu-zhou-qian-xuan-221706","三蔬图轴","画塘上有乾隆帝题：秋圃真香。钱选（约1235-1307前），字舜举，浙江吴兴人。工诗，善书画，与赵孟俯同为“吴兴八俊”之一。",[23,24,27,111,10925,10926,3746,1177,77,7],"茄子","瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ac9cca7755d4ddbdc81bfe39278a07.jpg","97.6x47.4cm",[35,218],{"id":10931,"slug":10932,"title":10933,"dynasty":179,"author":10934,"museum":648,"description":10935,"tags":10936,"thumbUrl":10937,"material":312,"size":10938,"collection":96,"collections":10939,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},221685,"shu-wang-an-shi-za-shi-juan-quan-juan-xian-yu-shu-221685","书王安石杂诗卷全卷","鲜于枢","书王安石杂诗四首：《题侍郎山水》、《招约之职方并示正甫书记》、《示元度》、《奉酬约之见招》。全卷600余字，书于至元二十八年（公元1291年）。时鲜于枢36岁，正值书艺旺盛时期，故书气恢宏，骨力劲健，圆转流畅，表现了鲜于枢极深的书 * 力。",[23,25,7,49,60,50,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a218ba9122cc9b248081e8fb15f101.jpg","纵50厘米 横1025厘米",[96],{"id":10941,"slug":10942,"title":10943,"dynasty":88,"author":10944,"museum":126,"description":10945,"tags":10946,"thumbUrl":10947,"material":591,"size":10948,"collection":314,"collections":10949,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[23,24,25,49,50,27,51,52,53,250,115,55,116,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg","纵47.3厘米，横115.6厘米",[314,63,187],{"id":10951,"slug":10952,"title":10953,"dynasty":88,"author":308,"museum":126,"description":10954,"tags":10955,"thumbUrl":10956,"material":312,"size":10957,"collection":96,"collections":10958,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},221314,"ti-wang-shen-shi-tie-ye-su-shi-221314","题王诜诗帖页","释文：\n晋卿为仆所累，仆既谪齐安，晋卿亦贬武当。饥寒穷困，本书生常分，仆处之不戚戚。固宜。独怪晋卿以贵公子罹此忧患而不失其正，诗词益工，超然有世外之乐。此孔子所谓可与久处约，长处乐者耶。元祐元年九月八日苏轼书。\n北宋元祐元年（1086年）苏轼年49岁。\n本帖钤“金巩伯精鉴印”“景行维贤”“小如庵秘笈”“卞令之鉴定”等鉴藏印四方，左右各有“式古堂”等半印六方。此帖原装于王诜《颖昌湖上诗，蝶恋花词卷》后，但非此卷原配，而是从别处挪移而来。《石渠宝笈续编》著录。\n该帖是苏轼为王诜自书诗所作的题跋，记述了王诜因受其累而贬至武当，然仍醉心于诗词，有世外之乐。此跋在《东坡集》卷六五有记载。《东坡集》卷一三中还有苏轼另一跋“和王晋卿诗、并叙”的记载：“元丰二年，予得罪贬黄州，而驸马都尉王诜亦坐类远谪，不相闻者七年。予既召用，而诜亦还朝，相见殿门之外，感叹之余，做诗相属。词虽不慎工，然托物悲慨厄穷而不怨，泰而不骄，怜其贵公子有志如此，故和其韵。”以上两段跋文再结合《宋史》卷二四八《公主传》中的史料，证明了王诜的贬官一方面是受苏轼的牵连，另一方面是因为得罪了他的妻子魏国大长公主。\n该帖笔丰墨满，结体长短交错，纵横抑挫，富有动感。虽是叙事而兼有议论，充满感情色彩，是为知己而作。",[25,7,60,50,77,200,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffbc82412091c1976ee6ce24e619542.jpg","纵29.9厘米，横25.7厘米",[96],{"id":10960,"slug":10961,"title":3152,"dynasty":88,"author":308,"museum":72,"description":10962,"tags":10963,"thumbUrl":10964,"material":10965,"size":10966,"collection":96,"collections":10967,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},221311,"du-hai-tie-su-shi-221311","元符三年（1100），苏轼被诏徙廉州（今广西合浦），路过澄迈（今海南澄迈）时未遇赵梦得，便留下此札。为其晚年书迹之代表，如同东坡自云：“自出新意，不践古人。”全作信笔写来，浑然天成。此札用笔劲利，结体斜向右上，时人认为颇有李邕（北海）之风，如黄庭坚语：“沉著痛快，乃似李北海。”\n“我书意造本无法，点画信手烦推求”，这是苏轼对自己书法的评语。相异传统的笔法与特殊结字，是其书法中最受赞赏的部分。\n此作又名「渡海帖」，为典型苏轼风格，苍劲有力，沉著痛快，为其晚年之代表作。上有项元汴千字文第八0一“具”字编号。",[92,24,25,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824dd81f2df22aa2f03b4e91a13bfe7.jpg","行书，纸本","纵28.6，横4.2cm",[96],{"id":10969,"slug":10970,"title":10971,"dynasty":88,"author":308,"museum":107,"description":10972,"tags":10973,"thumbUrl":10974,"material":312,"size":95,"collection":96,"collections":10975,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},221305,"tian-ji-wu-yun-tie-you-cheng-song-yang-tie-su-shi-221305","天际乌云帖又称嵩阳帖","《天际乌云帖》又称《嵩阳帖》，苏轼诗文一章，行书，真迹曾由明代项元汴收藏，清归翁方纲，有翁氏题跋。共三十六行，计三百零七个字。藏处不详。\n此帖无年款，据清翁方纲所考，苏轼有《常润道中，有怀钱唐，寄述古五首》之作，其次章有“去年柳絮飞时节，记得金笼放雪衣”句，并自注云：“杭人以放鸽为太守寿。”此正是帖中所言陈太守放营妓周韶事，杭人称誉之。因周韶诗中有“开笼若放雪衣女”事，正应放鸽为寿。此在熙宁五、六年间事。翁氏又考苏诗外集有《过潍州驿，见蔡君谟题诗壁上云：“绰约新娇生眼底，逡巡旧事上眉尖。春来试问愁多少，得似春潮夜夜添。不知为谁而作也?和一首》。此事在苏轼自密州移徐州之际，即在熙宁九年苏轼潍州度岁时。翁氏即猜此帖在熙宁十年书。然诗与帖又有矛盾：帖云“仆在钱塘”见“堂前小阁中壁上”书蔡君谟“绰约新娇”诗，而诗云：“过潍州驿，见蔡君谟题诗壁上云：‘绰约新娇……'。”二者必有一伪。再，《苏文忠公诗编注集成总案》又载苏轼《题蔡君谟诗草》云：“此蔡君谟—《梦中》—诗,真迹在济明家，笔力遒劲。”并自署为“元皊五年十月四日”。此是苏轼知杭州事，距初悴杭州又十五、六年时间。这又留下一个可猜想的余地。但帖中“仆在钱塘”云云，书此帖时必不在钱塘。因之，断为熙宁十年左右较合理。然翁氏在帖考中又云此帖书颇类《满庭芳词——为王长官作》和《上清宫词》书。前者书于元丰六年，后者书于元皊二年。因此断定在熙宁十年至元皊二年这十年之间。此又平添一重疑难也。\n翁氏收藏此帖后，又引起了是否钧填本的争论。因存世苏书钩填本很多，而此帖纸质擦损严重，“有二一描失处”，故疑之。但翁氏肯定说这是真迹本，并将此帖与《快雪堂帖》刻本逐一比较，而断定《快雪堂帖》刻本所据乃为董其昌记载所见之摹本。在没有寻找到更多的证据前，我们尊重翁氏之论，也是有道理的。",[23,7,60,49,200,25,50,77,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9cd5f10698a081bf325106fa748e07.jpg",[96],{"id":10977,"slug":10978,"title":10979,"dynasty":162,"author":454,"museum":126,"description":10980,"tags":10981,"thumbUrl":10983,"material":95,"size":10984,"collection":96,"collections":10985,"showCount":10812,"zanCount":788,"manualWeight":39,"mainColor":100},221091,"da-bao-ji-jing-juan-di-san-shi-er-jin-zi-da-zang-jing-yi-ming-221091","大宝积经卷第三十二金字大藏经","此作用磁青纸为底，泥金小楷书就，靛蓝如深谧夜幕，金墨似碎钻凝光，视觉上庄雅夺目。唐人小楷结体端秀匀整，笔力圆劲内敛，通篇数十万字无一疏怠，法度谨严，尽显写经人奉持恭谨之心。\n整卷铺展如星河长流，暗合经文肃穆禅意，泥金历千年依旧煌煌夺目，纸色沉穆古雅。它既彰显了唐代佛教文化的鼎盛，也展现出彼时写经技艺的巅峰水准，笔墨间饱含虔诚的信仰之力，是书法工艺与宗教内核完美融合的传世瑰宝。",[23,878,7,386,199,10982,49,1498],"金字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49a439abffbf08cf2ebbe49e194dbbd.jpg","30x886",[96,802],{"id":10987,"slug":10988,"title":10989,"dynasty":88,"author":1160,"museum":7039,"description":10990,"tags":10991,"thumbUrl":10993,"material":312,"size":10994,"collection":95,"collections":10995,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":95},220759,"yu-fu-ling-zi-cong-shan-ben-lan-xu-ting-zhao-gou-220759","御府领字从山本兰序亭","王羲之原作赵构临本（*：赵构临本刻画）",[7,60,198,77,2115,2602,10992],"朱印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c11fe643b87c5f89c7183551bba413.jpg","26.2 × 12.5厘米",[],{"id":10997,"slug":10998,"title":10999,"dynasty":662,"author":9670,"museum":8651,"description":11000,"tags":11001,"thumbUrl":11002,"material":11003,"size":95,"collection":95,"collections":11004,"showCount":10812,"zanCount":882,"manualWeight":39,"mainColor":40},220520,"zeng-tie-fu-dui-lian-xu-bei-hong-220520","赠铁夫对联","此作取法汉隶，笔力沉浑苍劲，起收斩截利落，线条如铸铁一般厚重雄强，兼具碑版金石气与写意疏朗意趣。竖向排布行气贯通，大字舒张宽博，每字皆具筋骨力道，墨色浓枯自然变幻，朴茂之中暗含灵秀意韵。左侧小字题款灵动跳脱，与正文的端稳厚重形成动静对照，朱红印文提亮画面，整幅刚柔相济，将碑学雄健气度与文人雅逸风骨相融，尽显沉郁大气的书风，字里行间尽显创作者的磊落襟怀。",[7,2136,199,60,77,50,662,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf85e58c30355e2301e59706de7ba709.jpg","纸本墨笔、 纸本墨笔",[],{"id":11006,"slug":11007,"title":11008,"dynasty":18,"author":11009,"museum":2379,"description":11010,"tags":11011,"thumbUrl":11012,"material":79,"size":11013,"collection":63,"collections":11014,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[23,24,50,49,7,77,59,51,57,56,266,555,471,252,267,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[63],{"id":11016,"slug":11017,"title":11018,"dynasty":179,"author":454,"museum":72,"description":11019,"tags":11020,"thumbUrl":11021,"material":50,"size":11022,"collection":187,"collections":11023,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":100},219961,"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[23,24,50,59,7,77,51,115,52,53,250,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[187],{"id":11025,"slug":11026,"title":11027,"dynasty":45,"author":11028,"museum":279,"description":11029,"tags":11030,"thumbUrl":11031,"material":33,"size":95,"collection":63,"collections":11032,"showCount":10812,"zanCount":882,"manualWeight":39,"mainColor":40},219715,"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","丁云鹏","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[24,27,111,51,113,54,56,57,553,59,75,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[63],{"id":11034,"slug":11035,"title":807,"dynasty":45,"author":11036,"museum":442,"description":11037,"tags":11038,"thumbUrl":11039,"material":33,"size":11040,"collection":63,"collections":11041,"showCount":10812,"zanCount":882,"manualWeight":39,"mainColor":100},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[23,24,50,51,92,75,52,53,5721,56,2030,6605,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[63],{"id":11043,"slug":11044,"title":11045,"dynasty":18,"author":11046,"museum":11047,"description":11048,"tags":11049,"thumbUrl":11054,"material":50,"size":95,"collection":63,"collections":11055,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":100},215647,"yu-zhi-geng-zhi-tu-kang-xi-215647","御制耕织图","康熙","哈佛艺术博物馆","画面分帧铺展耕织图景，左帧河畔竹架悬桶，农人躬身引泉入田，溪流潺潺绕岸，树影婆娑覆径，尽显水乡农作的静谧韵致；右帧阡陌间耕者俯身劳作，小径上二人低语，远处田埂延绵，草木葱茏。以细腻白描勾勒人物情态与田园景致，写实中藏温婉意趣。笔墨凝注农桑日常的质朴细节，既显农人之勤苦，亦含对稼穑民生的深切关切。每一道线条都似在诉说土地与民生相依的厚重，让观者触摸到农耕生活里土地的温度、劳作的质感，以及那份对民生根本的珍视与叩问。",[92,24,26,112,7,113,53,56,6129,11050,473,11051,11052,11053],"田埂","农耕","农作","民生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ce01c004b9fb45e00d5c4f46f7b72.jpg",[63],{"id":11057,"slug":11058,"title":11059,"dynasty":45,"author":1313,"museum":20,"description":1314,"tags":11060,"thumbUrl":11061,"material":33,"size":95,"collection":95,"collections":11062,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":40},214649,"qiu-xing-ba-jing-tu-ce-8-dong-qi-chang-214649","秋兴八景图册-8",[24,25,26,27,1127,60,7,59,51,54,458,56,116,53,57,845,7004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cbb4fb5fa1b201a43ea69f5624d486.jpg",[],{"id":11064,"slug":11065,"title":11066,"dynasty":7844,"author":454,"museum":107,"description":11067,"tags":11068,"thumbUrl":11070,"material":202,"size":11071,"collection":95,"collections":11072,"showCount":10812,"zanCount":39,"manualWeight":39,"mainColor":100},214311,"deng-zhou-she-li-ta-xia-ming-yi-ming-214311","邓州舍利塔下铭","这座塔铭的形式为圆形柱础，直径80.5厘米，厚13厘米；竖铭由14行组成，共13个字，全铭154个字的楷书，刻在石板中央，排列成方形。该塔铭的书法风格融合了汉代和北魏的风格，楷书精致有力，典雅大方，节奏感强，书法功底深厚。",[23,198,7,199,878,1614,11069],"隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75c73203388b50e52164530ccf72203.jpg","80.5x80.5",[],{"id":11074,"slug":11075,"title":11076,"dynasty":179,"author":1516,"museum":107,"description":11077,"tags":11078,"thumbUrl":11079,"material":751,"size":752,"collection":95,"collections":11080,"showCount":11081,"zanCount":788,"manualWeight":39,"mainColor":100},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,25,75,50,59,51,52,53,54,458,56,57,7,60,77,820,8131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],39,{"id":11083,"slug":11084,"title":11085,"dynasty":88,"author":7096,"museum":107,"description":11086,"tags":11087,"thumbUrl":11089,"material":751,"size":752,"collection":95,"collections":11090,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},290058,"ba-qiao-feng-xue-tu-xia-gui-290058","灞桥风雪图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[92,24,25,75,50,51,59,52,1283,704,458,9191,113,11088,60,7],"风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf383bfeca5b213ba1fc05bc62d43a90.jpg",[],{"id":11092,"slug":11093,"title":11094,"dynasty":88,"author":1749,"museum":72,"description":5937,"tags":11095,"thumbUrl":11097,"material":169,"size":11098,"collection":95,"collections":11099,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":100},288475,"yan-lan-xiao-si-tu-li-tang-288475","烟岚萧寺图",[23,24,1328,50,59,251,11096,52,458,10115,56,7,77],"萧寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ab447323c9edca7a862052bde53b86.jpg","51x49.5",[],{"id":11101,"slug":11102,"title":11103,"dynasty":8749,"author":454,"museum":107,"description":11104,"tags":11105,"thumbUrl":11106,"material":751,"size":752,"collection":95,"collections":11107,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":100},287591,"yi-ying-bei-yi-ming-287591","乙瑛碑","此作波磔舒展灵动，蚕头燕尾尽显汉隶典型意趣，结体方正匀整，端庄秀雅。章法上疏朗开阔，行气整饬肃穆，自带庙堂典重之风。\n\n笔画粗细匀净，提按顿挫暗含节律，起收之间法度谨严，朴厚底色暗藏灵动意态，古拙筋骨裹挟秀逸气韵，尽显汉隶成熟期的中正风骨。笔墨沉凝静穆，将大汉雍容端方的气度融于方寸碑石间，观之如沐两汉典雅厚重的文化古韵。",[1613,7,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd77949e6a6f285b9335d307c9a024bd.jpg",[],{"id":11109,"slug":11110,"title":1123,"dynasty":88,"author":1124,"museum":107,"description":11111,"tags":11112,"thumbUrl":11115,"material":751,"size":752,"collection":95,"collections":11116,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},287567,"xian-shan-lou-ge-tu-zhao-bo-ju-287567","此页以青绿重色描绘山水、建筑，左半部山石层层叠起，楼台殿阁自山脚下湖水边随着山势逶迤推高，直至半山。右半部水面荷叶点点，远山屏立，朵朵祥云飘渺其间。山石空勾填色，线条工细，不用皴法，摹拟赵伯驹、赵伯骕兄弟风格，承续了唐人传统。画面明丽润泽，给人清新之感。",[23,92,24,1250,1127,27,111,51,458,116,11113,7,60,77,901,11114],"仙山","王母","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ead504db0a03072610e13005477678e.jpg",[],{"id":11118,"slug":11119,"title":11120,"dynasty":45,"author":1313,"museum":126,"description":11121,"tags":11122,"thumbUrl":11123,"material":11124,"size":11125,"collection":96,"collections":11126,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},240412,"dong-qi-chang-qi-jue-shi-zhou-dong-qi-chang-240412","董其昌七绝诗轴","释文： 水北原南野草新，雪消风暖不生尘。城中车马知无数，能解闲行有几人。\n款署：“其昌。”钤“董氏玄宰”、“大宗伯印”、“玄赏斋”。鉴藏印有“鹤舟所藏”、“紫云山房鉴藏书画印”。\n本幅书唐张籍《与贾岛闲游》七言诗，文字与原诗作有出入。此幅诗轴未署年款，从书风及所钤“大宗伯印”判断，当为董其昌77岁就任南京礼部尚书、掌詹事府事以后之作品。\n书法行中夹草，融合自然，行笔流畅，风格洒脱，为董氏晚年之代表作。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb750b29f43e687b97622e1861b58bdd.jpg","金笺，草书","纵145.1厘米，横34.7厘米",[96],{"id":11128,"slug":11129,"title":11130,"dynasty":45,"author":125,"museum":107,"description":11131,"tags":11132,"thumbUrl":11133,"material":312,"size":95,"collection":96,"collections":11134,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},240282,"li-bai-qi-lv-shi-juan-xu-wei-240282","李白七律诗卷","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 [1] ）。明代中期文學家、書畫家、戲曲家、軍事家。\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三 。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。",[23,92,24,25,49,7,398,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[96],{"id":11136,"slug":11137,"title":11138,"dynasty":105,"author":6749,"museum":126,"description":11139,"tags":11140,"thumbUrl":11141,"material":312,"size":11142,"collection":96,"collections":11143,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":100},239552,"cao-ping-fu-tie-juan-lu-ji-239552","草平复帖卷","草隶书9行86字。\n释文:\n“彥先羸瘵 ，恐難平復，往屬初病，慮不止此，此已爲慶。承使唯男，幸爲複失前憂耳。吳子楊往初來主，吾不能盡。臨西複來，威儀詳跱。舉動成觀，自軀體之美也。思識□量之邁前，勢所恒有，宜□稱之。夏伯榮寇亂之際，聞問不悉。”（释文据启功《〈平复帖〉说并释文》）\n《平复帖》内容涉及三个人物：贺循，字彦先，是陆机的朋友，身体多病，难以痊愈；陆机说他能够维持现状，已经可庆，又有子侍奉，可以无忧了。吴子杨，以前曾到过陆家，但未受到重视；如今将西行，复来相见，其威仪举动，自有一种较前不同的气宇轩昂之美；最后说到夏伯荣，他因寇乱阻隔，没有消息。\n《平复帖》的书写年代距今已有1700余年，是现存年代最早并真实可信的西晋名家法帖。它用秃笔写于麻纸之上，笔意婉转，风格平淡质朴，其字体为草隶书。《平复帖》在中国书法史上占有重要地位，同时对研究文字和书法变迁方面都有参考价值。\n根据尾纸董其昌、溥伟、傅增湘、赵椿年题跋，可得知《平复帖》历代递藏情况。此帖宋代入宣和内府，明万历间归韩世能、韩逢禧父子，再归张丑。清初递经葛君常、王济、冯铨、梁清标、安岐等人之手归入乾隆内府，再赐给皇十一子成亲王永瑆。光绪年间为恭亲王奕訢所有，并由其孙溥伟、溥儒继承。后溥儒为筹集亲丧费用，将此帖待价而沽，经傅增湘从中斡旋，最终由张伯驹以巨金购得。张氏夫妇于1956年将《平复帖》捐献国家。\n清吴其贞《书画记》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[7,398,49,77,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aa77e4c74940daedb5f0924c0d3ded.jpg","纵23.7厘米，横20.6厘米",[96],{"id":11145,"slug":11146,"title":11147,"dynasty":105,"author":1642,"museum":126,"description":11148,"tags":11149,"thumbUrl":11150,"material":312,"size":1647,"collection":96,"collections":11151,"showCount":11081,"zanCount":882,"manualWeight":39,"mainColor":40},239551,"zhong-qiu-tie-juan-wang-xian-zhi-239551","中秋帖卷","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,92,24,25,49,398,7,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2f29d78cce5184152131f558be9eff.jpg",[96],{"id":11153,"slug":11154,"title":4737,"dynasty":18,"author":3357,"museum":107,"description":11155,"tags":11156,"thumbUrl":11157,"material":95,"size":95,"collection":63,"collections":11158,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},236915,"shan-shui-zhou-kun-can-236915","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,50,59,75,7,77,51,458,57,56,473,333,471,252,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[63,187,96],{"id":11160,"slug":11161,"title":2938,"dynasty":18,"author":411,"museum":107,"description":11162,"tags":11163,"thumbUrl":11165,"material":95,"size":95,"collection":95,"collections":11166,"showCount":11081,"zanCount":882,"manualWeight":39,"mainColor":40},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[92,24,25,26,50,59,7,77,51,52,53,54,1678,56,11164],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":11168,"slug":11169,"title":11170,"dynasty":45,"author":11171,"museum":107,"description":11172,"tags":11173,"thumbUrl":11174,"material":95,"size":95,"collection":95,"collections":11175,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","徐贲","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,25,49,50,51,59,7,60,651,360,56,52,53,55,116,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":11177,"slug":11178,"title":1346,"dynasty":162,"author":1347,"museum":107,"description":11179,"tags":11180,"thumbUrl":11184,"material":95,"size":95,"collection":95,"collections":11185,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":100},227095,"gao-yi-tu-sun-wei-227095","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[23,92,24,49,111,27,113,652,589,7,77,834,11181,11182,11183],"侍从","扇子","垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":11187,"slug":11188,"title":11189,"dynasty":18,"author":599,"museum":107,"description":949,"tags":11190,"thumbUrl":11191,"material":682,"size":95,"collection":96,"collections":11192,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[23,24,25,75,50,132,250,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[96],{"id":11194,"slug":11195,"title":11196,"dynasty":45,"author":10912,"museum":648,"description":10914,"tags":11197,"thumbUrl":11198,"material":312,"size":11199,"collection":96,"collections":11200,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},222529,"lin-tang-tai-zong-tie-wang-duo-222529","临唐太宗帖",[23,7,398,110,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f26ea79c07df6d303f5d07394524c59.jpg","纵252厘米横50厘米",[96],{"id":11202,"slug":11203,"title":3182,"dynasty":45,"author":2206,"museum":3183,"description":11204,"tags":11205,"thumbUrl":11206,"material":312,"size":11207,"collection":96,"collections":11208,"showCount":11081,"zanCount":882,"manualWeight":39,"mainColor":40},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,60,7,49,77,50,200,25,54,458,51,116,1679,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[96],{"id":11210,"slug":11211,"title":11212,"dynasty":179,"author":11213,"museum":72,"description":11214,"tags":11215,"thumbUrl":11216,"material":477,"size":11217,"collection":63,"collections":11218,"showCount":11081,"zanCount":788,"manualWeight":39,"mainColor":40},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,25,75,50,59,51,266,56,268,1678,252,7,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[63,187],{"id":11220,"slug":11221,"title":11222,"dynasty":179,"author":4239,"museum":126,"description":11223,"tags":11224,"thumbUrl":11225,"material":784,"size":11226,"collection":95,"collections":11227,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},221768,"er-ma-tu-ren-ren-fa-221768","二马图ＨＤ","元朝任仁发的《二马图》卷，是一幅有着明确讽刺内容的绘画作品，而且含义十分尖锐，下面试解释画面一二。\n画面很简单，画幅前边是一匹壮实、膘肥肉厚的花马，昂首，踏着轻快的碎步，尾巴扬起飘动，显得自在得意。随在这匹马后边的则是一匹骨瘦如柴的马，条条肋骨清晰可见，它低着头，步履蹒跚，尾巴卷缩着，显出吃力疲惫之态。画家以极其写实的手段，采用勾勒的笔法，描画了马匹的轮廓，线条极富表现力，然后赋以色泽，颇具唐人画马的传统。\n如果单纯从画面来看，画中描绘的只是两匹马，我们似乎不会感到这是一幅讽刺绘画，但是结合画幅后面作者自己的题记来看，其实它是对当时官场乃至社会的种种腐败黑暗提出了强烈的批评。只不过采用了隐喻、拟人的手法，曲折地表明了画家的态度和观点。这大概也是画家所处的时代决定的，因为像《二马图》这样的作品，当时除去作者本人以外，能看到的人可以说不会很多，这样的绘画活动仅仅只能算是个人行为，不会像现在的漫画作品能够发表于报刊上，影响面十分广大，变成了一种社会行为。\n这幅并无任何其他背景和道具的《二马图》卷，看似简单，其实寓意深刻。内容的关键在于画幅后面画家任仁发自己题写的一段文字。他在跋语中先叙述了所画的肥、瘦二马：“肥者骨骼權奇，縈一索而立峻坡，雖有厭飫芻豆之榮，寧無羊腸踣蹶之患。瘠者皮毛剝落，齧枯草而立風霜，雖有終身擯斥之狀，而無晨馳夜秣之勞。”在写完对两匹马的评语后，作者笔锋一转，进一步议论道：“世之士大夫，廉濫不同，而肥瘠系焉。能瘠一身而肥一國，不失其爲廉；苟肥一己而瘠萬民，豈不貽淤濫之恥歟？”看了这段跋语，我们才恍然大悟，原来任仁发是借用两匹马来评论官场的得失利弊。他将画中的肥马比喻成为官不正的贪官，他们吸食民脂民膏，故而肥壮；又将画中的瘦马比喻为廉明勤政的清官，因为忙于政务而累得皮毛剥落，骨瘦如柴。然后作者表明了应当以前者为戒、以后者为榜样的态度。明白了任仁发画这肥、瘦二马的用意之后，再仔细观察，就会发现，作者在画中还安排了一个不大为人注意的细节，那匹肥马马首挽着笼头，但是缰绳却松开了，拖在地上，而瘦马不但有笼头，缰绳还套在马颈上。一匹是没有约束的脱缰之马，失去了控制，就会无法无天，鱼肉百姓而肥己。另一匹是有约束的拴着缰绳的马，有了管束才能尽心尽力，克勤克俭。在这里任仁发似乎又进一步阐述了自己对于官吏管理的看法，其用心可谓十分良苦。其深刻含义就是如果一个社会缺乏了某种监督和制约的机制，腐败就将滋生。",[23,24,49,111,27,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e07ee211c41e1abdfd34684fd9b51ce.jpg","纵28.8厘米，横142.7厘米",[],{"id":11229,"slug":11230,"title":11231,"dynasty":88,"author":9186,"museum":279,"description":11232,"tags":11233,"thumbUrl":11234,"material":6515,"size":11235,"collection":314,"collections":11236,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":40},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,25,49,1328,50,27,59,111,7,60,77,51,652,54,52,53,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg","纵32.4厘米，横104.8厘米",[314,63,187],{"id":11238,"slug":11239,"title":11240,"dynasty":88,"author":4078,"museum":72,"description":11241,"tags":11242,"thumbUrl":11243,"material":312,"size":11244,"collection":96,"collections":11245,"showCount":11081,"zanCount":882,"manualWeight":39,"mainColor":40},221193,"shu-chi-du-lu-you-221193","书尺牍","陆游（1125—1210），字务观，号放翁，绍兴人。自幼好学不倦，29岁时，赴南宋临安（杭州）应锁厅试，名列第一，因居秦桧孙子之前，又因他不忘国耻“喜论恢复”，竟在复试时被除名。他始终坚持抗金恢复中原，在仕途上不断受到当权派的排斥打击。中年入蜀抗金，任夔州（今四川奉节）通判和蜀州、嘉州、荣州代理通判、知州等职。宋光宗继位后，升为礼部郎中兼实录院检讨官，不久即因“嘲咏风月”罢官归居故里。主要著作有《渭南文集》《剑南诗稿》《放翁词》《南唐书》《老学庵笔记》。",[7,60,50,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1722258b27ccb271c6c41ad7f642de.jpg","40.5x70.7",[96],{"id":11247,"slug":11248,"title":11249,"dynasty":45,"author":1313,"museum":72,"description":11250,"tags":11251,"thumbUrl":11252,"material":312,"size":11253,"collection":96,"collections":11254,"showCount":11081,"zanCount":882,"manualWeight":39,"mainColor":40},220922,"chi-du-shang-ce-dong-qi-chang-220922","尺牍上册","明代董其昌行书临东坡尺牍册，纵25厘米；横14.1厘米，万历四十年（1612）书，上海博物馆藏。\n本册为董氏节录苏轼尺牍七段，阮元《石渠随笔》曾载此册，记为六段，又收入《石渠宝笈续编》。金粟笺本，笔精墨妙。有脱漏或改动字句处。1612年，董文敏58岁，其时于深研二王基础上，董氏进而汲取宋四家之长，除米芾外，钻研最深的便是苏轼。董书以灵动绰约见长，虽不如苏书沉厚雄健，然圆润秀逸则过之。",[23,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d04668bd94745352a74901f084f5ebd.jpg","35.7x42.3",[96],{"id":11256,"slug":11257,"title":11258,"dynasty":88,"author":454,"museum":72,"description":11259,"tags":11260,"thumbUrl":11263,"material":169,"size":11264,"collection":314,"collections":11265,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":100},220385,"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[23,24,25,27,111,7,77,29,11261,11262,2019,360,76],"杏树","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[314],{"id":11267,"slug":11268,"title":11269,"dynasty":88,"author":1937,"museum":72,"description":11270,"tags":11271,"thumbUrl":11274,"material":169,"size":11275,"collection":171,"collections":11276,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":100},219599,"fu-xi-zuo-xiang-tu-ma-lin-219599","伏羲坐像图","本幅画其坐像，散发披肩，身披鹿皮，一派远古风范。远古时期，我们的先民为了御寒，以石器或骨器加工兽皮，再以骨针等工具进行缝制。此画幅足下右图1为八卦。此八卦图形表明他创制八卦的功绩。他双目凝神，似在沉思什么似的。\n画幅上方宋理宗楷书叙赞。叙曰：“朕获承祖宗右文之绪，祗通燕谋，日奉慈极，万几馀闲，博求载籍，推迹道统之传，自伏羲迄於孟子，凡达而在上，其道行，穷而在下，其教明，采其大指，各为之赞，虽未能探颐精微，姑以寓尊其所闻之意云尔。”标题：“宓牺”。赞日：“继天立极，为百王先，法度肇建，道德纯全，八卦成文，三坟不传，无言而化，至治自然”\n此画刻画高度精练，神情表现细致人微，画法新颖别致，生动自然。人物的眉毛、胡子，粗黑浓密，只是挥洒数笔便勾画出来。衣服更为简练，鹿皮下露出一双赤脚，亦一无疏漏地表现出来，真是神奇而妥贴。设色亦甚为高雅、纯朴，头部和赤脚着浅色，衣服以淡墨渲染，加深了受光面的立体感。简朴精练的笔墨，把这位始祖的形象刻画入微，给人留下了深刻的印象。",[23,24,25,75,27,111,113,51,4731,11272,7,11273],"兽皮","八卦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcc5012d0f893c24fe192b64e6c7a39.jpg","纵249.8厘米，横112.0厘米",[171],{"id":11278,"slug":11279,"title":11280,"dynasty":1609,"author":454,"museum":11281,"description":11282,"tags":11283,"thumbUrl":11285,"material":79,"size":11286,"collection":95,"collections":11287,"showCount":11081,"zanCount":39,"manualWeight":39,"mainColor":100},214202,"jing-jun-bei-yi-ming-214202","景君碑","济宁博物馆","《景君碑》高288厘米，宽105.6厘米，圭首，有12厘米直径的碑穿，额篆“汉故益州太守北海相景君铭”，2行12字，字径6厘米。碑阳17行，满行33字，字径3厘米，记景君殁后，门下属之隶慕其德而为之立碑、服丧、守墓等事。碑阴4列，第4列仅刻前2行，为题记；前3列每列各有题名18行，其后有四言韵语2长行（3列合为1列），共72字。 书法上，其笔法较为严谨，笔画均匀遒劲，波磔生动而有特色，转折多呈方形；结体以长方为主，近篆书形态，但篆书结构遗留甚少，不是篆隶结合的书体，而是少见的汉代长形隶书；章法上，全篇布局疏朗透灵，但节奏感不明显，行间字距匀称和笔画粗细适中，其间扁方的少量字形处理较为得当，无生硬、不和谐之感。",[23,1612,1613,198,7,3423,1614,11284],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51f1a2a98e0fd7a5ab550399b7fe424.jpg","288x105.6",[],{"id":11289,"slug":11290,"title":11291,"dynasty":162,"author":1715,"museum":107,"description":11292,"tags":11293,"thumbUrl":11294,"material":751,"size":752,"collection":95,"collections":11295,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},290514,"mo-wang-xi-zhi-zheng-shu-yue-yi-lun-mo-ji-ben-chu-sui-liang-290514","摹王羲之正书乐毅论墨迹本","褚遂良（596年～658年\u002F659年），字登善，杭州钱唐（今浙江省杭州市）人。唐朝宰相、政治家、书法家，弘文馆学士褚亮之子。\n出身河南褚氏，博学多才，精通文史。隋末时期，追随西秦霸王薛举，担任通事舍人。归顺唐朝后，得到唐太宗重用，历任谏议大夫、黄门侍郎，累迁中书令，执掌朝政大权。贞观二十三年（649年），与司空长孙无忌同受遗诏辅政。唐高宗继位后，升任右仆射，册封河南郡公，历任同州刺史、吏部尚书，累迁右仆射，参知政事。反对册立武则天为后，贬为潭州（今长沙）都督。武后掌权后，迁桂州（今桂林）都督，再贬爱州（今越南清化）刺史，卒于任上。神龙革命后追赠右仆射，谥号“文忠”。天宝六载（747年），配享唐高宗庙庭，累赠太尉。\n褚遂良工于书法，初学虞世南，后取法王羲之，与欧阳询、虞世南、薛稷并称“初唐四大家”，传世墨迹有《孟法师碑》《雁塔圣教序》等。",[7,199,200,110,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66da32e46c0a41ae7b94ebf5c615da4c.jpg",[],38,{"id":11298,"slug":11299,"title":11300,"dynasty":18,"author":11301,"museum":107,"description":11302,"tags":11303,"thumbUrl":11305,"material":751,"size":752,"collection":95,"collections":11306,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},290437,"mi-fei-bai-shi-tu-li-zhou-wang-zhen-290437","米芾拜石图立轴","王震","王一亭（1867年—1938年11月），号白龙山人、梅花馆主、海云楼主等，法名觉器。祖籍浙江吴兴（今湖州市），生于上海周浦。清末民国时期上海著名书画家、实业家、杰出慈善家、社会活动家与宗教界名士。\n曾两次任上海总商会主席。加入中国同盟会，资助辛亥革命和二次革命，任中国国民党上海分部部长。上海光复后，历任军政府交通部长、商务总长、中华银行董事。后任南京国民政府中央救灾准备金保委会委员长。曾任中国佛教会执行委员兼常委，上海佛学书局董事长，致力于慈善事业。对海派书画艺术的繁荣和对外交流贡献卓绝。\n王一亭作品具有近代人文主义意识。早年学画得徐小仓指点，后师从任伯年，画艺大进，继承任派风格。晚与金石派大师吴昌硕亦师亦友，趋向阔笔写意，设色浓艳，笔墨酣畅，气势雄阔而不失写实本色。构图讲究，诗书画印，浑然一体。在清末民初海上画派中影响仅次于吴昌硕。吴昌硕赠诗王一亭曰：“天惊地怪生一亭，笔铸生铁墨寒雨。”\n1932年任全国艺术家协会理事。1937年日寇侵占上海后，坚辞不就伪职，表现出高贵的劲风亮节。1938年11月病逝。重庆国民政府明令褒扬公葬。蒋介石题送挽联：“当飘摇风雨之中弥征劲节，待整顿乾坤而后重吊斯人”。",[23,24,75,50,27,113,250,7,60,11304],"米芾拜石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb631ca950933560345aaf0fbe0acb21.jpg",[],{"id":11308,"slug":11309,"title":11310,"dynasty":88,"author":3288,"museum":72,"description":11311,"tags":11312,"thumbUrl":11314,"material":751,"size":752,"collection":95,"collections":11315,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},290330,"hu-die-hua-zhou-yang-wu-jiu-290330","蝴蝶花轴","杨无咎（1097年～1171年）字补之，杨一作扬，一说名补之，字无咎。自号逃禅老人、清夷长者、紫阳居士。临江清江（今江西樟树市）人，寓居洪州南昌。绘画尤擅墨梅。",[24,25,75,29,50,27,11313,250,7,60,77],"蝴蝶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead7d623474f00490379551d5dc9d47.jpg",[],{"id":11317,"slug":11318,"title":11319,"dynasty":2365,"author":4806,"museum":72,"description":11320,"tags":11321,"thumbUrl":11322,"material":751,"size":11323,"collection":95,"collections":11324,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},289894,"xi-shan-lin-sou-tu-ju-ran-289894","溪山林薮图","此画以 “近观式”取景,画中景物填满绢布。高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。此画前景的土坡芦苇及平远溪谷均与现传董源画作相似,但远景采用高远构图的主山所造成类似北宋初年“雄伟”气势的作风,已是巨然深受华北山水画风影响的结果。因此，巨然的个人画风实为融合南北两地的景观,进而表现出一种秀丽与宏观兼备的视觉美感。",[24,92,50,51,75,59,704,53,251,2028,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92da5c8f669d3b47216419029f0aafd7.jpg","221.3x119.7",[],{"id":11326,"slug":11327,"title":3524,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":11328,"thumbUrl":11329,"material":751,"size":752,"collection":95,"collections":11330,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},289803,"xi-yuan-ya-ji-tu-li-gong-lin-289803",[23,92,24,49,112,50,113,3234,475,2187,57,555,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f499452419406330dad616cf813d5bb.jpg",[],{"id":11332,"slug":11333,"title":11334,"dynasty":8749,"author":454,"museum":107,"description":11335,"tags":11336,"thumbUrl":11337,"material":751,"size":752,"collection":95,"collections":11338,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},288010,"su-shi-qian-chi-bi-fu-yi-ming-288010","苏轼 前赤壁赋","右侧行书笔墨俊逸舒展，寥寥数语尽显文人尺牍的简淡随性。左侧鉴藏印错落排布，朱白印文交相生辉。御府巨印居于上方，尽显尊崇；诸家私印罗列于侧，见证百年递藏源流。朱印沉艳素纸古雅，笔墨与钤印交织碰撞，将宋代文人的清雅意趣与历代递藏的岁月底蕴融为一体，静诉旧物流转的时光故事，尽显古卷沉静厚重的典藏质感。",[7,60,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121993f2ecb63c8187ffba8910f0fe0d.jpg",[],{"id":11340,"slug":11341,"title":11342,"dynasty":88,"author":369,"museum":107,"description":6700,"tags":11343,"thumbUrl":11344,"material":751,"size":752,"collection":95,"collections":11345,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},287887,"la-mei-shan-qin-tu-tiao-se-ban-zhao-ji-287887","腊梅山禽图（调色版）",[92,24,25,29,111,27,131,138,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d0d2f2961bf6332e47e7b9d54b4b3d.jpg",[],{"id":11347,"slug":11348,"title":11349,"dynasty":18,"author":11350,"museum":107,"description":11351,"tags":11352,"thumbUrl":11353,"material":751,"size":752,"collection":95,"collections":11354,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},287746,"lin-quan-gao-yin-tu-dai-ben-xiao-287746","林泉高隐图","戴本孝","戴本孝（1621－1691），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代画家。",[24,92,50,75,51,113,1018,704,53,57,7,77,59,6054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936e6c157d246e78b89fdcc3c590faef.jpg",[],{"id":11356,"slug":11357,"title":11358,"dynasty":179,"author":180,"museum":107,"description":11359,"tags":11360,"thumbUrl":11361,"material":751,"size":752,"collection":95,"collections":11362,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},287532,"xi-shan-cao-ge-huang-gong-wang-287532","溪山草阁","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[24,1328,50,59,75,51,55,56,1678,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28c154e8f183ddf69ea2b4c2e577964.jpg",[],{"id":11364,"slug":11365,"title":11366,"dynasty":18,"author":11367,"museum":11368,"description":11369,"tags":11370,"thumbUrl":11371,"material":312,"size":95,"collection":96,"collections":11372,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},240476,"lan-ting-xu-zhou-li-xiao-dong-240476","兰亭叙轴","李晓东","北京市天佑兰亭书法文化博物馆","此作用笔灵动秀雅，提按转合间尽显温润圆融，既留存原作萧散疏朗的风神，又自蕴朴拙安和的意趣。结体错落随性，章法匀净舒朗，墨色浓淡过渡自然，将原文俯仰叹惋的幽情藏于笔墨间。字里行间既有放浪形骸的疏逸，也饱含对死生之感的沉郁喟叹，以笔底意绪呼应文辞情志，尽显帖学一脉的雅致风神，是兼具笔墨意趣与文心共情的临摹佳构。",[18,75,60,7,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5197642058bb296752108d07d2d8a24f.jpg",[96],{"id":11374,"slug":11375,"title":6900,"dynasty":2365,"author":4335,"museum":126,"description":11376,"tags":11377,"thumbUrl":11378,"material":1646,"size":6904,"collection":96,"collections":11379,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},239562,"shen-xian-qi-ju-fa-juan-yang-ning-shi-239562","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。\n明朱存理《铁網珊瑚》、都穆《寓意编》、张丑《清河书画舫》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》、吴升《大观录》、清内府《石渠宝笈·三编》、胡敬《西清札记》等书有著录。",[23,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e237cc505d706730d135436a94e02b.jpg",[96],{"id":11381,"slug":11382,"title":11383,"dynasty":45,"author":1313,"museum":126,"description":11384,"tags":11385,"thumbUrl":11386,"material":488,"size":11387,"collection":95,"collections":11388,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},233961,"fang-gu-shan-shui-ce-dong-qi-chang-233961","仿古山水册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[24,25,26,60,7,77,27,59,51,56,57,267,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2597824fb0e8f717ef82a8d2784b338.jpg","纵26.3厘米，横25.5厘米",[],{"id":11390,"slug":11391,"title":11392,"dynasty":18,"author":411,"museum":126,"description":11393,"tags":11394,"thumbUrl":11395,"material":488,"size":11396,"collection":95,"collections":11397,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},233958,"yun-shan-tu-zhou-shi-tao-233958","云山图轴","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[24,25,75,50,59,51,3253,252,57,56,1151,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8523eeee7217dae1b5bb91657e0c2417.jpg","纵45.1厘米，横30.8厘米",[],{"id":11399,"slug":11400,"title":11401,"dynasty":45,"author":342,"museum":126,"description":11402,"tags":11403,"thumbUrl":11405,"material":591,"size":11406,"collection":95,"collections":11407,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,25,49,50,111,7,60,77,1018,58,113,567,57,11404],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 横67CM",[],{"id":11409,"slug":11410,"title":11411,"dynasty":162,"author":2409,"museum":107,"description":11412,"tags":11413,"thumbUrl":11414,"material":95,"size":95,"collection":95,"collections":11415,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},232633,"huai-su-guo-zhong-tie-huai-su-232633","怀素过钟帖","前人写狂草，往往先来一大壶，半醉半醒，醉眼迷离，然后便笔走龙蛇，一气呵成。\n在这种状态下比较突出的两位，是唐代的怀素和张旭，后世有“张颠素狂”或“颠张醉素”之称，张旭史称草圣。、\n而怀素也同样是中国历史上杰出的书法家，他的草书称为狂草，用笔圆劲有力，使转如环，奔放流畅，和张旭齐名。可以说是古典的浪漫主义艺术，对后世影响极为深远。\n怀素能诗，与李白、杜甫、苏涣等诗人都有交往。好饮酒，每当饮酒兴起，不分墙壁、衣物、器皿，任意挥写，时人谓之“醉僧”。\n怀素的草书有《自叙帖》、《苦笋帖》、《食鱼帖》、《圣母帖》、《论书帖》、《大草千文》、《小草千字文》、《四十二章经》、《千字文》、《藏真帖》、《七帖》、《北亭草笔》等等。而《过钟帖》是怀素的草书作品之一\n释文：右軍云吾真書過鍾，而草故不減張僕，以為真 不如鍾，草不及張，所為世之，所重以 其能，懐素書之不足以為道，其言當不虚也 。",[23,7,25,200,198,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347d2d99acd4fd911a14f4f1d935f8d1.jpg",[],{"id":11417,"slug":11418,"title":11419,"dynasty":45,"author":9762,"museum":8802,"description":11420,"tags":11421,"thumbUrl":11422,"material":346,"size":11423,"collection":95,"collections":11424,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[23,24,25,49,50,51,132,333,56,57,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":11426,"slug":11427,"title":11428,"dynasty":18,"author":506,"museum":107,"description":11429,"tags":11430,"thumbUrl":11431,"material":95,"size":95,"collection":95,"collections":11432,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},230234,"mo-xi-tu-ce-jin-nong-230234","墨戏图册","这幅画以淡墨轻色晕染出初夏庭院的闲静意趣。垂拂的柳丝漫过墙头，池面散落点点花片，廊间文士负手凭栏，将心神沉溺在眼前景致里。画面与题诗相映，把荷开新晴后的慵懒缱绻缓缓晕开。\n\n简淡的线条勾勒出人物与庭院轮廓，浅施色彩晕染出江南空濛柔婉的氛围，形简而意足。将文人闲居的清雅心境藏在笔底，淡而有味，静中生情。松弛的书卷气漫在画面里，寥寥数笔便揉进中式文人的隐逸闲情，把江南初夏独有的缱绻诗意铺展开来，尽显文人画以意取胜的妙处，藏着日常闲居的松弛意趣，耐看又动人。",[24,25,26,50,27,77,7,113,399,1919,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85b2036e93ac5dade0ec531e29c266f.jpg",[],{"id":11434,"slug":11435,"title":1641,"dynasty":105,"author":1642,"museum":107,"description":11436,"tags":11437,"thumbUrl":11438,"material":95,"size":95,"collection":95,"collections":11439,"showCount":11296,"zanCount":882,"manualWeight":39,"mainColor":40},227045,"zhong-qiu-tie-wang-xian-zhi-227045","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,7,60,49,25,77,27,113,56,76,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":11441,"slug":11442,"title":11443,"dynasty":8749,"author":454,"museum":3028,"description":11444,"tags":11445,"thumbUrl":11447,"material":751,"size":752,"collection":95,"collections":11448,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},226512,"xie-jing-da-fu-ding-ru-lai-ding-ji-bai-gai-tuo-luo-ni-shen-zhou-jing-yi-ming-226512","写经大佛顶如来顶髻白盖陀罗尼神呪经","敦煌壁画特指中国敦煌石窟内壁的绘画艺术作品，属于世界文化遗产。\n敦煌壁画总面积5万多平方米，包括敦煌莫高窟、西千佛洞、安西榆林窟等522个石窟历代壁画，规模巨大，技艺精湛，内容丰富，题材广泛。\n敦煌壁画描绘了神的形象、神的活动、神与神的关系、神与人的关系，寄托良愿，安抚心灵。\n敦煌壁画具有与世俗绘画不同的审美特征和艺术风格，源于生活，美赏生活；源于艺术，集成艺术；源于世界，分享世界。",[878,386,7,27,113,11446],"图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa822ec07d12c6118c3b0c2d8386cff42.jpg",[],{"id":11450,"slug":11451,"title":11452,"dynasty":179,"author":454,"museum":126,"description":11453,"tags":11454,"thumbUrl":11456,"material":312,"size":11457,"collection":95,"collections":11458,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},223560,"yu-lan-guan-yin-tu-yi-ming-223560","渔篮观音图","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。\n佛教中三十三观音之一。手持鱼篮。明宋濂有《鱼篮观音像赞》：“序按《观音感应传》：唐元和十二年（公元817年），陕右金沙滩上有一美艳女子，絜篮鬻鱼，人竞欲室之。女曰：‘妾能授经，一夕能诵《普门品》者，事焉。’黎明，能者二十。女辞曰：‘一身岂堪配众夫邪！请易《金刚经》，如前期。’能者复居其半。女又辞，请易《法华经》，期以三日。惟马氏子能。女令具礼成婚。入门，女即死，死即糜烂立尽，遽瘗之。他日，有僧同马氏子启藏观之，惟有黄金锁子骨存焉。僧曰：‘此观音示现以化汝耳。’言讫飞空而去。自是陕西多诵经者。“",[23,92,24,25,75,878,113,50,112,7,77,11455],"篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc18d37597ee238c26ceb0b013f0ee58.jpg","82.1x32",[],{"id":11460,"slug":11461,"title":3708,"dynasty":18,"author":6275,"museum":107,"description":11462,"tags":11463,"thumbUrl":11464,"material":312,"size":95,"collection":95,"collections":11465,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},223277,"jin-gang-jing-hong-yi-fa-shi-223277","《节录金刚般若波罗蜜经》，书于1936年，全卷20米余，这个版本是弘一法师传世墨迹中的精品，手抄经书代表作。以行楷的风格书写此经，主要以中锋圆笔为用，线条甚有灵动之美，而起笔之处又多微微出锋而含蓄，具有很强的资料收藏价值。",[23,7,386,199,1498,77,18,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b85ba1efb72fd52b463400028f1ba6.jpg",[],{"id":11467,"slug":11468,"title":11469,"dynasty":18,"author":2634,"museum":126,"description":11470,"tags":11471,"thumbUrl":11472,"material":682,"size":11473,"collection":63,"collections":11474,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[23,24,25,51,50,59,57,56,266,55,268,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[63,187],{"id":11476,"slug":11477,"title":11478,"dynasty":45,"author":46,"museum":72,"description":11479,"tags":11480,"thumbUrl":11482,"material":95,"size":95,"collection":35,"collections":11483,"showCount":11296,"zanCount":882,"manualWeight":39,"mainColor":40},222126,"jiao-yin-qin-si-tu-shen-zhou-222126","蕉阴琴思图","一块长形的太湖石，一株高大翠绿的芭蕉，下坐一名高士扶琴静思，左上题诗日：“焦下不生暑，坐生知古心。抱琴未须鼓，天地自知音。”落款长洲沈周。整幅作品笔简意赅，虽墨点无多却意蕴凿凿、余味深长，布局与《秋林独步图》如出一辙，其悠然自得之情跃然方寸。",[23,92,24,25,1250,50,27,113,250,11481,427,7,77],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebd64831ee8b273146574817aaefdc3.jpg",[35,218],{"id":11485,"slug":11486,"title":11487,"dynasty":45,"author":11488,"museum":126,"description":11489,"tags":11490,"thumbUrl":11491,"material":519,"size":11492,"collection":95,"collections":11493,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},221934,"pi-pa-xing-tu-zhou-guo-xu-221934","琵琶行图轴","郭诩","此图是根据《琵琶行》诗意创作的写意人物画，表现白居易与歌女邂逅相逢的情景。歌女侧身而立，头绾高髻，面容清秀而暗含忧伤。她怀抱琵琶，身着曳地长裙，体态窈窕俊美。诗人双手抚膝端坐于旁，神情专注地面向歌女，似乎在倾听歌女诉说其不幸的身世。\n此幅构图新颖奇特，占画幅三分之二篇幅的《琵琶行》诗为行草体书写，纵向取势，参差布白，极具宽窄长短之变化；结字笔画纵横奔放，或断或连，枯润纤秾皆在章法之中。画面削尽繁冗，没有任何晕染，仅以简约明了的圆熟线条勾画出诗人与落难中的歌女，形象高度提炼，笔墨大胆精减，却将画中人物“听”与“说”的神态表现得有声有色，极具感染力，展示出作者于人物画创作上形简神足的深厚功底。\n此图上的诗题在画幅中具有重要的意义。其展现的是绘画之外的书法艺术的风采。丰茂的书法墨韵与简逸的绘画笔趣形成和谐的呼应关系并达到了艺术上的完美统一，体现出中国画注重诗书画相结合的艺术特点。诗题内容是对画面最直接的文字补充。相互交融的诗情与画意深化了“同是天涯沦落人”的创作主题。此外，诗题在画幅中起到了令画面充实、平衡、布局更完美的作用，犹如人物活动的衬景，填补了人物上方大片的空白，并通过字距、字体结构的诸多变化扩展了画面的纵深空间，那奔流直下、一泻千里的磅礴气势也令画面清逸儒雅的意境增添了气魄与力度，从而增强了全画的艺术感染力。",[23,24,75,113,50,27,7,60,427,114,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce2d38d79e911d96558ae32663f817e.jpg","纵154厘米，横46.6厘米",[],{"id":11495,"slug":11496,"title":11497,"dynasty":179,"author":11498,"museum":107,"description":11499,"tags":11500,"thumbUrl":11501,"material":312,"size":11502,"collection":35,"collections":11503,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},221722,"san-hua-tu-juan-zhao-zhong-221722","三花图卷","赵衷","赵衷，元代画家。生卒年不详，主要活动于元至正年间。字原初，号东吴野人，嘉兴（今浙江嘉兴）人，一作吴江（今江苏吴江）人。世本业医，能篆、隶，善画白描人物。山水、花卉，无所不能，有白描兰亭图。至正元年（一三四一）作墨花图。《书史会要、石渠宝笈、唐五代宋元名画选》",[23,24,25,49,112,50,29,135,138,4697,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250f7b82e15859ba7790be28f7ad50c3.jpg","30x50.1cm",[35,187],{"id":11505,"slug":11506,"title":11507,"dynasty":88,"author":2328,"museum":126,"description":11508,"tags":11509,"thumbUrl":11510,"material":519,"size":11511,"collection":95,"collections":11512,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},221484,"yun-shan-mo-xi-tu-mi-you-ren-221484","云山墨戏图","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,24,25,49,50,51,252,56,5721,59,60,77,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66167bb6cc21347584025b2d972b0ccf.jpg","纵21.4厘米，横195.8厘米",[],{"id":11514,"slug":11515,"title":11516,"dynasty":88,"author":8947,"museum":648,"description":11517,"tags":11518,"thumbUrl":11519,"material":11520,"size":11521,"collection":96,"collections":11522,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},221461,"mu-ji-ji-xu-wen-tian-xiang-221461","木鸡集序","文天祥（一二三六——一二八二），为有宋一代名臣。吉州吉水人。字宋瑞，又字履善，号文山。年二十八岁时举进士，理宗亲拔为第一。考官王应麟对他考卷的评价是：[是卷古谊若龟鉴，忠肝如铁石，臣敢为得人贺。]文天祥后来落入敌手，宁死不屈的经历也确实证明了王应麟是一位有远见的考官。\n文天祥书法宗法二王，以《圣教序》为蓝本，参之以米芾的部分结字，在运笔中则以黄山谷悠扬笔致为指归，笔画粗细变化不大，但注意在布置安排中的疏密变化，观其作品仿佛有一股清泉在流溢，秀逸并富文人气息。\n对宋四家的开拓创新，自朱熹开始，不少人依然是特反对态度的，于是便出现了返归二王正尝的呼声，文天祥无疑是站在这一立场上的。但是，每位书家都难以摆脱一些优秀书家的影响，所以，尽管如此，文天祥或多或少受到宋四家影响。文天祥的这件作品点画精劲微妙，轻起轻落，显得清疏挺竦，有一股神逸癯然的姿态。在结字中他很注意留空，所以，他的每个字的结构显得十分空灵，即便在字与字的连结上，依然是以气势连贯为主，而不强调笔画之间的连带，另外，他将每个字的重心压得较低，故字显得沉稳而有姿态，这无疑是受了米芾的影响。在书写速度上，显得不疾不缓，雍容不迫，颇有大家的风范。\n他的这种笔画及行气的处理方式，可能是与他采用篆法与章草的方法有关，因为，他对于这两种字体，看来也并不陌生，所以，我们可以肯定地说，文天祥在书法上是比较向往魏晋以上的古朴书风的。\n从整个宋代的书法格局来看，文天祥书法并不占很重要的位置，然而，由于其刚正不阿的品性，为后代读书人确立了一个榜样，古人常把人品与书品联系起来，所以在后人的评价中也基本上是出于这一立场。如明王鏊说：[公之精忠大节，焯焯天地间，而字画精妙，虽纸墨之微，亦皆不苟。]这是说他处事为人端严不苟。而明李时勉则是由字仰见其人了：[观公札子，其忠正之气，凛然见于言词之间，俯仰概慕之余，若将见之。]这些对于通过学习书法来提高自己的品德修养，都不无借鉴和警戒的意义。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e23c04ce51184fe7d6f62aca85de72f.jpg","纸本 草书","纵24.5厘米 横96.5厘米",[96],{"id":11524,"slug":11525,"title":11526,"dynasty":45,"author":1313,"museum":648,"description":11527,"tags":11528,"thumbUrl":11529,"material":199,"size":11530,"collection":96,"collections":11531,"showCount":11296,"zanCount":788,"manualWeight":39,"mainColor":40},220907,"qin-zheng-li-xue-zhen-dong-qi-chang-220907","勤政励学箴","以进士官至礼部尚书，富收藏，精鉴赏，为明代晚期的画坛领袖，松江画派的创立者。\n书画集历代名家之长，各有新创，并以“南北宗”理论，对清代艺坛产生了重要影响。\n董其昌书法创作以行草最多，造诣最高，然其楷书造诣颇深、具相当功力。\n此卷是其楷书中的精湛之作，传达出淡雅萧散的逸韵。",[23,7,60,75,312,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8217a2ea94d85fd4a984c4058d02b43b.jpg","纵214.5厘米，横61.8厘米",[96],{"id":11533,"slug":11534,"title":11535,"dynasty":179,"author":225,"museum":2379,"description":11536,"tags":11537,"thumbUrl":11538,"material":477,"size":95,"collection":187,"collections":11539,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":40},220871,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220871","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,92,24,25,49,1327,60,7,112,132,589,139,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf614e4a0ea6966b60de3926e9843bdd.jpg",[187,1223],{"id":11541,"slug":11542,"title":11543,"dynasty":179,"author":225,"museum":126,"description":11544,"tags":11545,"thumbUrl":11546,"material":215,"size":11547,"collection":171,"collections":11548,"showCount":11296,"zanCount":882,"manualWeight":39,"mainColor":100},220847,"du-fu-xiang-zhou-zhao-meng-fu-220847","杜甫像轴","本幅为白描画杜甫戴笠独行侧身像，用笔简洁、遒劲有力、笔墨转换自然流畅，所绘人物造型准确，表情自然生动，衣纹衣带之描绘颇得吴道子之衣钵。明初人题谓赵孟頫画。",[23,24,25,75,112,50,113,167,77,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfa5a00fd8c25671db7e337cf330657.jpg","250cmx61厘米",[171,187],{"id":11550,"slug":11551,"title":11552,"dynasty":18,"author":454,"museum":107,"description":11553,"tags":11554,"thumbUrl":11555,"material":169,"size":95,"collection":95,"collections":11556,"showCount":11296,"zanCount":39,"manualWeight":39,"mainColor":100},216722,"hong-lou-meng-fu-tu-ce-3-yi-ming-216722","红楼梦赋图册-3","画面以清雅工笔铺陈，缠枝花卉藤蔓蜿蜒成框，粉蕊绿蔓间缀着朱红小果，生机悄然流转。中央楷书端整匀净，墨色凝实，似将红楼风月的婉转情致凝于笔端。文字与花叶相映，既含文学之韵，又具丹青之美。柔婉的色彩与细腻的笔触，恰如大观园里明媚又怅惘的时光，把红楼故事里的幽微心绪藏进这方雅致图册。藤蔓的缠绕似暗合书中人物命运的纠葛，清新的色调又衬出古典意境的温婉，让文字里的红楼情味，随花叶的脉络慢慢铺展。",[23,24,25,26,27,199,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948978d8ed6aae065e6739502b57bac6.jpg",[],{"id":11558,"slug":11559,"title":11560,"dynasty":88,"author":11561,"museum":72,"description":11562,"tags":11563,"thumbUrl":11565,"material":751,"size":752,"collection":95,"collections":11566,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":100},291009,"xue-ji-jiang-xing-tu-guo-zhong-shu-291009","雪霁江行图","郭忠恕","本图描绘雪霁以后两艘巨型楼船在江边行进，船的结构与船上的物件描写详尽而严谨，还穿插水手及一些人物的活动，情节生动。无数印，上方有宋徽宗赵佶题“雪霁江行图，郭忠恕真迹”10字。据考证，该图原为长卷，后被割裂，本图为原长卷中之一段。",[24,92,1128,11564,1151,3114,7,111,50],"江船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e15642e7c86d747c4b3f9e9f6daf919.jpg",[],37,{"id":11569,"slug":11570,"title":11571,"dynasty":179,"author":11572,"museum":72,"description":11573,"tags":11574,"thumbUrl":11575,"material":79,"size":11576,"collection":95,"collections":11577,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":40},290937,"song-yang-fang-zhen-tu-shang-qi-290937","嵩阳访真图","商琦","商琦：元代画家，字德符，号寿岩，曹州（今山东菏泽市）人。泰定元年官至秘书卿。有精深的文学艺术修养，又以善画受到皇帝赏识，因此他在当时的地位很显赫，几与高克恭齐名。商琦善画山水，《图绘宝鉴》称他师法李成，得用墨法，亦善画墨竹。又有记载说他的山水学董源，善于运用水墨。仁宗曾命他在壁上作山水，不用金朱粉彩，只用水墨，可见他的水墨山水、竹石画在当时堪称一绝。商琦亦是一位壁画能手，曾奉命画嘉禧殿壁，当时许多宫殿、寺院壁画都出自他的手笔。",[92,24,50,75,1328,59,704,57,5328,113,3388,7,77,6054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff360fa2a2eefed06260144de528678fa.jpg","115.9x28.7",[],{"id":11579,"slug":11580,"title":11581,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":11582,"thumbUrl":11586,"material":751,"size":752,"collection":95,"collections":11587,"showCount":11567,"zanCount":882,"manualWeight":39,"mainColor":40},290544,"yin-xing-li-fang-yun-shou-ping-290544","银杏栗房",[24,26,27,111,29,11583,11584,11585,7,77],"银杏","栗果","栗叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326b53c46c6ef508026626bbf46458cc.jpg",[],{"id":11589,"slug":11590,"title":11591,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":11592,"thumbUrl":11593,"material":751,"size":752,"collection":95,"collections":11594,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":40},290211,"shan-mian-a-wu-chang-shuo-290211","扇面A",[23,24,1250,29,27,4996,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcf508e31a11a02631ac94cf33258f0.jpg",[],{"id":11596,"slug":11597,"title":11598,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":11599,"thumbUrl":11600,"material":751,"size":752,"collection":95,"collections":11601,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":40},288834,"xun-xian-ce-ye-8-shi-tao-288834","寻仙册页-8",[24,26,50,27,51,113,54,116,250,53,820,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43215ec3ec475a27bed140b5da70b60f.jpg",[],{"id":11603,"slug":11604,"title":11605,"dynasty":18,"author":454,"museum":107,"description":11606,"tags":11607,"thumbUrl":11611,"material":751,"size":752,"collection":95,"collections":11612,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":100},288090,"qing-ming-shang-he-tu-juan-yi-ming-288090","清明上河图卷","长卷铺展旧京烟火，屋舍连楹错落，行人摩肩接踵，漕船泊于汴河，酒旗随风招展。青绿晕染瓦舍林木，古旧绢色晕开千年余温，挑担货郎、赶脚行人、雅集文士各安其态，将汴梁的升平世象尽数铺陈。\n复刻宋韵盛景的笔触里藏着鲜活日常：虹桥下舟楫穿梭避让，茶肆中宾主对坐言欢，巷陌间孩童嬉闹追逐。以细腻工笔留住旧朝市井的鲜活肌理，将汴河沿岸的晨昏烟火凝于绢素，让观者坠入千年前的街巷，触摸藏在笔墨褶皱里的人间暖意，静赏定格的岁时繁华。",[23,92,24,49,27,111,1128,113,458,52,53,11608,2074,9993,9990,11609,11610,7],"舟船","城郭","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0fcd5ccc35c36ffe3f68d92523b06b.jpg",[],{"id":11614,"slug":11615,"title":11616,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":11617,"thumbUrl":11619,"material":751,"size":752,"collection":95,"collections":11620,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":40},283755,"fang-zhao-meng-fu-qiu-shan-tu-zhou-dong-qi-chang-283755","仿赵孟頫秋山图轴",[24,75,110,1127,27,51,11618,458,56,53,57,77,7,59],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8614638114781952fe09e68c6cd84e.jpg",[],{"id":11622,"slug":11623,"title":11624,"dynasty":179,"author":9541,"museum":107,"description":11625,"tags":11626,"thumbUrl":11628,"material":751,"size":752,"collection":95,"collections":11629,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":100},283621,"wei-mo-shuo-fa-tu-he-bi-juan-li-sheng-283621","维摩说法图合璧卷","画面清波荡漾,湖上有小桥、扁舟,远望峰峦高耸,树林参差,山间古寺隐约可见,景色清幽,一派送别离人的气氛。",[23,92,24,25,49,50,59,51,458,57,56,252,9007,11627,7,60,77,386],"维摩说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6614b55fa7f765c035cfb69c0288099.jpg",[],{"id":11631,"slug":11632,"title":2888,"dynasty":88,"author":454,"museum":107,"description":11633,"tags":11634,"thumbUrl":11635,"material":95,"size":95,"collection":802,"collections":11636,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":207},242216,"jiu-cheng-gong-li-quan-ming-yi-ming-242216","此拓本墨色沉凝古雅，字口清朗分明，尽显欧楷中正端严的庙堂气象。笔画瘦硬通神，刚劲秀挺间不失温润灵动，转折处方圆兼济，将法度与意趣相融。排布匀整舒展，字字如精工雕琢的良玉，既具碑刻的厚重沉稳，又留存笔墨书写的自然意韵，尽显初唐楷书的极致风骨，堪称楷则典范，让人于纸端窥见唐楷巅峰的雅致端庄。",[7,198,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4e8ebd291b14edac1bd0cb3f75394f.jpg",[802],{"id":11638,"slug":11639,"title":11640,"dynasty":45,"author":11641,"museum":107,"description":11642,"tags":11643,"thumbUrl":11644,"material":751,"size":752,"collection":95,"collections":11645,"showCount":11567,"zanCount":788,"manualWeight":39,"mainColor":40},240449,"chu-shi-biao-juan-zhu-jing-he-240449","出师表卷","朱敬鑉","敬鑉字进父，秦湣王樉八世孙，万历中为奉国中尉",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15feb64d8471ee01bcc415f6dea20304.jpg",[],{"id":11647,"slug":11648,"title":11649,"dynasty":179,"author":225,"museum":126,"description":11650,"tags":11651,"thumbUrl":11652,"material":312,"size":11653,"collection":96,"collections":11654,"showCount":11567,"zanCount":882,"manualWeight":39,"mainColor":100},239598,"xu-qian-zi-wen-juan-zhao-meng-fu-239598","续千字文卷","赵孟頫是元代的著名诗人、画家、楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫开创了元代新画风，被称为“元人冠冕”，他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,7,60,49,50,312,200,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3cc1e190189297105c44a223a0fe295.jpg","24.3×153.3cm",[96],{"id":11656,"slug":11657,"title":11658,"dynasty":18,"author":411,"museum":126,"description":11659,"tags":11660,"thumbUrl":11661,"material":312,"size":95,"collection":63,"collections":11662,"showCount":11567,"zanCount":882,"manualWeight":39,"mainColor":100},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,25,75,129,50,59,51,58,56,1018,57,53,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[63,96],{"id":11664,"slug":11665,"title":11666,"dynasty":45,"author":342,"museum":126,"description":11667,"tags":11668,"thumbUrl":11670,"material":519,"size":11671,"collection":95,"collections":11672,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":40},233789,"cha-ju-shi-yong-tu-wen-zheng-ming-233789","茶具十咏图","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏•茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。",[24,25,75,50,51,56,268,116,7,59,11669],"细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078ace09b71a9b7aa104d7a634ed1d23.jpg","纵136.1厘米，横26.8厘米",[],{"id":11674,"slug":11675,"title":11676,"dynasty":179,"author":9714,"museum":72,"description":11677,"tags":11678,"thumbUrl":11679,"material":591,"size":11680,"collection":95,"collections":11681,"showCount":11567,"zanCount":788,"manualWeight":39,"mainColor":40},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,25,49,50,59,51,57,56,53,54,458,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":11683,"slug":11684,"title":11685,"dynasty":162,"author":11686,"museum":107,"description":11687,"tags":11688,"thumbUrl":11690,"material":751,"size":752,"collection":96,"collections":11691,"showCount":11567,"zanCount":882,"manualWeight":39,"mainColor":3443},227257,"zi-zhi-jin-zi-jin-guang-ming-zui-sheng-wang-jing-gong-10-juan-di-5-juan-yi-jing-227257","紫纸金字金光明最胜王经共10卷第5卷","义净","据传本来是安置在备后国（今广岛县）的国分寺，十卷完整地保存下来，其金字至今依然灿烂发光与紫纸相互辉映，充满着气韵与品格，不愧为天平时代写经的绝品",[7,386,49,878,199,11689,312,1498],"金书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd032e841b50ef732e6315ca3dcc94cc0.jpg",[96],{"id":11693,"slug":11694,"title":11695,"dynasty":45,"author":5386,"museum":107,"description":7421,"tags":11696,"thumbUrl":11697,"material":312,"size":11698,"collection":95,"collections":11699,"showCount":11567,"zanCount":882,"manualWeight":39,"mainColor":40},222243,"yue-yi-lun-wang-chong-222243","乐毅论",[23,7,199,50,77,3467,25,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c8ad259d9b2083b71961ca8508794a.jpg","29.63*90.31",[],{"id":11701,"slug":11702,"title":11703,"dynasty":45,"author":11704,"museum":72,"description":11705,"tags":11706,"thumbUrl":11707,"material":79,"size":11708,"collection":187,"collections":11709,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":40},221877,"yun-lin-shu-shi-zhou-gu-zheng-yi-221877","云林树石轴","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。”",[23,24,50,75,59,652,76,250,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca8b4dda7acc4293094d57d245fb08e.jpg","92.6 x 38.8 厘米",[187,1223],{"id":11711,"slug":11712,"title":11713,"dynasty":179,"author":7739,"museum":126,"description":11714,"tags":11715,"thumbUrl":11716,"material":8940,"size":11717,"collection":96,"collections":11718,"showCount":11567,"zanCount":882,"manualWeight":39,"mainColor":40},221851,"bo-ya-gu-qin-bai-miao-quan-juan-wang-zhen-peng-221851","伯牙鼓琴白描全卷","这是一幅人物故事画，画中的故事最早见于《吕氏春秋》一书。画的是俞伯牙与钟子期两位知心朋友之间的深厚友谊。画面上共有五人，左边是伯牙，他面目清秀，蓄长髯，披衣敞怀，端坐石上，双手抚琴。伯牙的对面是子期，也坐在石上，身着长袍，低头静心谛听。两人的身后共有侍童三人站立。作者用生动、准确的笔墨刻划了两个主要人物的外形特征和内心活动，弹琴者的专注，听琴者的入神，都跃然绢上。为了衬托两个主要人物，作者还安排了三个侍童，并借用次要人物的不同反应来表达伯牙和子期之间用琴声传递感情并成为“知音”的友谊。这幅画在人物心理活动的描绘上达到了很高的水平。\n在绘画技法上画家王振朋很好地继承了北宋李公麟的“白描”画法，线条挺拔有力，富有弹性，既连绵不断，又有轻重、粗细、缓急、顿挫的变化。画中部分衣帽用淡墨渲染，石块略加皴擦，这些丰富而简洁的表现手法使画面有变化而又含蓄，明快又不显单调。\n此图最右边略有残缺。根据画上所钤印章可知，该图在元朝时为鲁国大长公主祥哥剌吉（元仁宗之姐）收藏，清初归著名收藏家梁清标所有，乾隆时入内府，著录于《石渠宝笈·初编》。",[23,24,25,49,112,113,427,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5b0e1456c709b4afc321f3126a2f0f.jpg","纵31.4厘米，横92厘米",[96],{"id":11720,"slug":11721,"title":11722,"dynasty":88,"author":11723,"museum":107,"description":11724,"tags":11725,"thumbUrl":11726,"material":11727,"size":11728,"collection":96,"collections":11729,"showCount":11567,"zanCount":788,"manualWeight":39,"mainColor":40},221447,"mo-mei-tu-juan-wang-yan-sou-221447","墨梅图卷","王严叟","此作用淡墨铺陈枝梢，浓墨勒就老干，冰梅错落点缀枝间，清瘦疏朗，将冬梅凌霜独放的冷峭风骨尽显。水墨晕染极简却意韵悠长，寥寥数笔便勾勒出寒梅孤高清雅之姿。\n全卷书画合璧，后随行书题咏，笔致萧散跌宕，与画中梅枝交相呼应，诗画相融，尽显宋时文人以梅寄情、托物言志的清雅意趣。",[23,24,25,49,50,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3709fa9b3144c90f5b83acbe6ae1023.jpg","绢布","26.9X161厘米",[96],{"id":11731,"slug":11732,"title":11733,"dynasty":45,"author":1313,"museum":442,"description":11734,"tags":11735,"thumbUrl":11736,"material":11737,"size":11738,"collection":96,"collections":11739,"showCount":11567,"zanCount":882,"manualWeight":39,"mainColor":100},220965,"jiu-de-song-dong-qi-chang-220965","酒德颂","此卷书法用笔遒劲，布白疏朗。\n《酒德颂》是魏晋诗人刘伶创作的一篇骈文。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff956fce687948e21143d27e5aa04e021.jpg","行书，绢本","纵24.5厘米，横245.7厘米",[96],{"id":11741,"slug":11742,"title":11743,"dynasty":45,"author":1313,"museum":126,"description":11744,"tags":11745,"thumbUrl":11746,"material":682,"size":11747,"collection":96,"collections":11748,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":40},220963,"qi-lv-shi-dong-qi-chang-220963","七律诗","82岁自书诗帖卷行楷七律，崇祯九年丙子(1636)夏，朝鲜笺本尺寸：30X251cm，故宫博物院藏。",[23,92,24,25,49,60,7,77,27,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff585a41d024b15fd0fb7f7b54fdad52b.jpg","30X251cm",[96],{"id":11750,"slug":11751,"title":11752,"dynasty":179,"author":1516,"museum":72,"description":11753,"tags":11754,"thumbUrl":11755,"material":94,"size":95,"collection":35,"collections":11756,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":40},218664,"zhu-quan-xiao-ting-wu-zhen-218664","竹泉小艇","墨韵淋漓间，翠竹苍劲挺拔，枝叶以劲挺之笔写出，墨色浓淡交错，似有清风穿叶而过。泉流隐于山石缝隙，虽未见全貌，却借留白与苔点暗喻潺潺之态。近处小艇泊于岸侧，舟中无人，留白生趣，引人遐想隐士或倚竹听泉，或泛艇寻幽。远处山峦以淡墨皴染，云雾轻笼，尽显江南山水的悠远空寂。整幅画以水墨为骨，诗意入魂，将文人隐逸情怀融于尺幅间，笔意简远却意蕴深长，仿佛能闻竹声泉响，触到那份远离尘嚣的淡然心境，尽显元人山水的空灵与闲适。",[23,24,92,25,7,50,59,51,132,2739,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13688cdad196b0705ce407027cb5e838.jpg",[35],{"id":11758,"slug":11759,"title":11760,"dynasty":18,"author":1779,"museum":1172,"description":11761,"tags":11762,"thumbUrl":11763,"material":169,"size":1785,"collection":95,"collections":11764,"showCount":11567,"zanCount":39,"manualWeight":39,"mainColor":40},218351,"shi-nv-tu-ce-4-li-ting-xun-218351","仕女图册-4","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为 秦贤 和 花痴，是一位罕见的艺术家，或者说是广东人。",[92,24,25,26,111,27,113,114,167,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1081e21d3c249e083f177f2d4add8157.jpg",[],{"id":11766,"slug":11767,"title":11768,"dynasty":45,"author":744,"museum":107,"description":897,"tags":11769,"thumbUrl":11771,"material":751,"size":752,"collection":95,"collections":11772,"showCount":11773,"zanCount":882,"manualWeight":39,"mainColor":40},290846,"lu-ting-xi-ting-zhou-tang-yin-290846","芦汀系艇轴",[24,50,75,51,54,678,11770,7,77,820],"芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c599288488feb622be66ad18c6dcc4.jpg",[],36,{"id":11775,"slug":11776,"title":11777,"dynasty":179,"author":1324,"museum":11778,"description":3821,"tags":11779,"thumbUrl":11780,"material":79,"size":11781,"collection":95,"collections":11782,"showCount":11773,"zanCount":882,"manualWeight":39,"mainColor":40},290841,"zhu-zhou-ni-zan-290841","竹轴","台北姑姑博物院",[24,25,75,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140e073a93b5bbafd69cbc35fbfacc63.jpg","67.1x32.9",[],{"id":11784,"slug":11785,"title":11786,"dynasty":179,"author":330,"museum":72,"description":1665,"tags":11787,"thumbUrl":11788,"material":33,"size":11789,"collection":63,"collections":11790,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},290836,"you-lin-qing-yi-zhou-wang-meng-290836","幽林清逸轴",[92,24,75,50,1328,51,115,53,54,250,55,77,7,59,2862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbc40c15389daa95dc02c8e039dba05.jpg","133.4x47.4",[63],{"id":11792,"slug":11793,"title":11794,"dynasty":179,"author":180,"museum":107,"description":11359,"tags":11795,"thumbUrl":11796,"material":751,"size":752,"collection":95,"collections":11797,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":100},290148,"zhi-lan-shi-tu-ke-luo-ban-huang-gong-wang-290148","芝兰室图 （珂罗版）",[23,24,50,51,59,57,56,2029,55,52,53,7,77,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cc32f6b467d1055b76d9b1b43ef70e.jpg",[],{"id":11799,"slug":11800,"title":2327,"dynasty":2365,"author":5411,"museum":107,"description":11801,"tags":11802,"thumbUrl":11804,"material":751,"size":752,"collection":95,"collections":11805,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},288280,"xiao-xiang-tu-dong-yuan-288280","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[23,92,24,49,25,50,27,59,51,9322,54,11803,2028,116,7,60,398,77,4285],"洲渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],{"id":11807,"slug":11808,"title":9874,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":11809,"thumbUrl":11810,"material":751,"size":752,"collection":95,"collections":11811,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},288122,"zheng-zuo-wei-tie-yan-zhen-qing-288122",[7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f707902a736f6c78a7539bcb3365c6.jpg",[],{"id":11813,"slug":11814,"title":11815,"dynasty":18,"author":11816,"museum":107,"description":11817,"tags":11818,"thumbUrl":11821,"material":751,"size":752,"collection":95,"collections":11822,"showCount":11773,"zanCount":788,"manualWeight":39,"mainColor":40},288062,"long-zhou-jing-du-juan-wang-gai-288062","龙舟竞渡卷","王槩","此卷由三段绘画组成，以江河为主线，渐渐展开端午时节赛龙舟的场面。画面用笔工细，场面宏大。几艘龙舟昂首翘尾，动感十足。船上人小如蚁，但奋力划桨之势尽显。在构图上，运用大片留白表现水天一色和浩渺的江河，给人以开阔的视野。而江中点缀的渔家小船及岸上人们争相观看的情景，又使画卷平添了几许情趣。",[23,24,49,25,50,27,9444,51,53,251,56,152,113,11608,77,60,7,11819,11820],"龙舟竞渡","民俗活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcf549de7dc2fe73f37c130e34dbc58.jpg",[],{"id":11824,"slug":11825,"title":11826,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":11827,"thumbUrl":11828,"material":751,"size":752,"collection":95,"collections":11829,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},283734,"zeng-ke-xue-shan-shui-tu-juan-dong-qi-chang-283734","赠珂雪山水图卷",[23,24,49,25,50,51,7,60,59,251,2028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c500429c2c8c477ba68a84e27e3ef7.jpg",[],{"id":11831,"slug":11832,"title":11833,"dynasty":18,"author":10158,"museum":126,"description":11834,"tags":11835,"thumbUrl":11836,"material":9104,"size":11837,"collection":96,"collections":11838,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},241152,"fu-shan-lin-tie-zhou-fu-shan-241152","傅山临帖轴","此轴为傅山临王羲之《阔转久帖》，略有删节。\n释文：阔转久，劳想豈舍。知足下常同之。卒未近缘。如何，数令知问。羲之。真山临。\n款署“真山临”，下钤“傅山印”。左下角钤“任伯显鉴赏章”。\n此帖书法率意潇洒，虽系临摹古帖，但不拘泥于原帖之形，笔法上亦不受其拘束而挥洒自如，结字用笔皆出己意。于古帖师其意，法其态，得其大略，通幅观之，法度自蕴其中，显示出恢宏逸宕的气度。",[7,398,110,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb93e15566937083bd854701f9428ea7.jpg","纵162.2厘米，横44厘米",[96],{"id":11840,"slug":11841,"title":11842,"dynasty":18,"author":830,"museum":107,"description":8659,"tags":11843,"thumbUrl":11844,"material":95,"size":95,"collection":35,"collections":11845,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},239176,"teng-luo-tu-zhou-wu-chang-shuo-239176","藤萝图轴",[24,75,29,129,27,50,667,284,1455,77,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202c0b852afa26acbbbea618af316f2d.jpg",[35],{"id":11847,"slug":11848,"title":11849,"dynasty":18,"author":11850,"museum":107,"description":11851,"tags":11852,"thumbUrl":11853,"material":312,"size":95,"collection":63,"collections":11854,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},237062,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237062","补景古臣松梅观鹤图像并附山水册","徐佐","此作以清润淡远之笔，绘就林下幽居之景。虬松苍劲，疏梅横斜，席地高士抬首遐观，神态萧散恬然，似在静候鹤影、神游物外。远景以淡墨晕出山峦轮廓，留白处尽是空濛悠远之意，将林泉幽寂之境铺陈开来。\n\n左侧题诗与画面相得益彰，诗画合璧尽显文人雅趣。整体设色柔和雅致，笔墨简淡却意韵悠长，将寄情丘壑、超然出世的林下襟怀融于尺幅之间，尽显传统文人画以画明志、诗画同源的隽永意趣。",[24,25,26,27,50,113,51,133,131,77,7,1689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f734a6a67034c3438b001e7269bff3.jpg",[63],{"id":11856,"slug":11857,"title":11858,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":11859,"thumbUrl":11860,"material":751,"size":752,"collection":95,"collections":11861,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},235796,"chen-dao-fu-tian-xiang-tu-shan-ye-chen-chun-235796","陈道复天香图扇页",[1250,50,29,140,7,60,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc792f32bb6847098aa7d32e3c97c6c5e.jpg",[],{"id":11863,"slug":11864,"title":11865,"dynasty":45,"author":342,"museum":126,"description":11866,"tags":11867,"thumbUrl":11868,"material":519,"size":11869,"collection":95,"collections":11870,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,24,25,49,50,112,7,60,132,139,589,250,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":11872,"slug":11873,"title":5258,"dynasty":45,"author":744,"museum":126,"description":11874,"tags":11875,"thumbUrl":11876,"material":519,"size":5262,"collection":95,"collections":11877,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},233782,"mo-mei-tu-zhou-tang-yin-233782","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。",[24,75,50,131,7,77,29,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4f5ac2515103604a1a28cdb834aab2.jpg",[],{"id":11879,"slug":11880,"title":11881,"dynasty":88,"author":2328,"museum":126,"description":11882,"tags":11883,"thumbUrl":11888,"material":519,"size":11511,"collection":95,"collections":11889,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","云山墨戏图卷","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[24,25,49,50,51,845,56,77,7,59,129,11884,471,552,252,251,11164,3479,1689,11885,11886,11887],"点染","水墨山水","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],{"id":11891,"slug":11892,"title":11893,"dynasty":88,"author":2328,"museum":107,"description":11894,"tags":11895,"thumbUrl":11896,"material":95,"size":95,"collection":95,"collections":11897,"showCount":11773,"zanCount":882,"manualWeight":39,"mainColor":40},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,25,49,50,59,7,77,51,56,57,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":11899,"slug":11900,"title":11901,"dynasty":88,"author":6613,"museum":107,"description":11902,"tags":11903,"thumbUrl":11904,"material":95,"size":95,"collection":95,"collections":11905,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},227632,"pu-tu-xu-gao-ou-yang-xiu-227632","谱图序稿","欧阳修《谱图序稿》，实际上包括《欧阳氏谱图序》和《夜宿中书东閤》七律一首。从跋文中可知前者作于至和二年(1055)，作者时年四十九岁，后者作于嘉祐八年(1063)，时年五十七岁。 \u2028 卷中钤有宋中书省印九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。《谱图序稿》书法左边“右欧阳氏谱图序稿”8个字为周必大所题。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”\n此卷南宋时由周必大所藏，元代时欧阳修六世孙欧阳耐轩得于钱塘(今浙江杭州)，又传其八世孙欧阳彦珍，清嘉庆时入内府收藏。",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2ac32deeae8c09cbc2f6c83a1b2097.jpg",[],{"id":11907,"slug":11908,"title":11909,"dynasty":88,"author":369,"museum":107,"description":11910,"tags":11911,"thumbUrl":11912,"material":95,"size":95,"collection":95,"collections":11913,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,24,25,49,111,50,29,1600,693,284,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],{"id":11915,"slug":11916,"title":11917,"dynasty":88,"author":1071,"museum":107,"description":11918,"tags":11919,"thumbUrl":11920,"material":95,"size":95,"collection":95,"collections":11921,"showCount":11773,"zanCount":882,"manualWeight":39,"mainColor":100},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,92,24,49,111,27,1074,113,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd803f502ab548d08a4d7881bc0191c.jpg",[],{"id":11923,"slug":11924,"title":11925,"dynasty":88,"author":454,"museum":126,"description":11926,"tags":11927,"thumbUrl":11929,"material":1179,"size":11930,"collection":95,"collections":11931,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":100},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","摹顾恺之洛神赋图","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[92,24,25,49,110,112,27,111,113,359,51,458,116,11928,4496,4495,56,1678,53,77,7],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":11933,"slug":11934,"title":11935,"dynasty":45,"author":342,"museum":107,"description":7945,"tags":11936,"thumbUrl":11938,"material":312,"size":11939,"collection":63,"collections":11940,"showCount":11773,"zanCount":882,"manualWeight":39,"mainColor":100},221989,"shou-juan-quan-juan-wen-zheng-ming-221989","手卷全卷",[23,24,7,51,651,360,589,652,11937,50,129,49,312],"房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cc0fc779d8f58a62155659cdff9839.jpg","27×637cm",[63,187],{"id":11942,"slug":11943,"title":11944,"dynasty":162,"author":1715,"museum":107,"description":11945,"tags":11946,"thumbUrl":11947,"material":11948,"size":95,"collection":95,"collections":11949,"showCount":11773,"zanCount":788,"manualWeight":39,"mainColor":207},221149,"meng-fa-shi-bei-chu-sui-liang-221149","孟法师碑","《孟法师碑》全称《京师至德观主孟法师碑》，唐代正书碑刻，唐岑文本撰，褚遂良书，贞观十六年（642）刻，碑石佚次，仅有清代李宗瀚藏唐拓本传世。",[23,7,198,199,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f5f2d08e77732ccc70e1e946e53183.jpg","碑石佚次，拓本册",[],{"id":11951,"slug":11952,"title":11953,"dynasty":45,"author":1313,"museum":648,"description":11954,"tags":11955,"thumbUrl":11956,"material":312,"size":11957,"collection":96,"collections":11958,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},220953,"lei-gao-ben-juan-dong-qi-chang-220953","勒稿本卷","《楷书勒搞本卷》是董其昌亲笔书写的明朝万历皇帝对其父母、妻子封赏的诏书。卷首有乾隆御笔题跋,原收入清宫《石渠宝笈》。董其昌楷书《楷书勒搞本卷》为高丽笺纸乌丝栏格楷书告身二通,装裱成一卷，前段为追封其父董汉儒、母沈氏告身,后段为封董其昌本人及夫人龚氏等告身。前者书于明万历二十四年(1596)闰八月二十四日,后者书同年同月二十八日,二者仅隔四天。引首有乾隆长题,讲述诰封产生及演变。",[7,60,49,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3055e911536ebd4bd7921f02a8f218cf.jpg","横4143cm,纵26.8cm",[96],{"id":11960,"slug":11961,"title":11962,"dynasty":179,"author":1324,"museum":72,"description":11963,"tags":11964,"thumbUrl":11967,"material":312,"size":11968,"collection":187,"collections":11969,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},220788,"hua-pu-ce-xin-zhi-ku-gan-yu-zhu-ni-zan-220788","画谱册·新枝枯干雨竹","该册共十帧，每页依次绘竹林山石，并细叙画法。画法中语虽不求深致，而多发人所未发，甚为可贵。",[24,25,26,50,112,7,132,11965,11966],"枯干","新枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa51185112762ece3701184f5e766e2de.jpg","幅一 23.6x14.2公分，幅二 23.6x14.2公分",[187,1223],{"id":11971,"slug":11972,"title":11973,"dynasty":179,"author":330,"museum":442,"description":11974,"tags":11975,"thumbUrl":11977,"material":33,"size":11978,"collection":63,"collections":11979,"showCount":11773,"zanCount":788,"manualWeight":39,"mainColor":40},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[23,92,24,25,49,50,27,59,51,458,250,55,115,11976,266,57,56,77,7,60,457],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 cm题跋：25×228 cm.",[63],{"id":11981,"slug":11982,"title":11983,"dynasty":45,"author":11984,"museum":126,"description":11985,"tags":11986,"thumbUrl":11987,"material":312,"size":11988,"collection":96,"collections":11989,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},219146,"xing-shu-yang-jian-tie-ye-liu-jue-219146","行书·仰间帖页","刘珏","此帖书法类赵孟頫，结体圆健规整，用笔娴熟、洒脱、颖秀，笔画之间连带自然且行气酣畅淋漓，这与他曾经提到朋友所赠之华丽笺纸的愉悦心境是分不开的。",[23,92,24,25,26,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f590e552490dec8731a0a67301c8ea6.jpg","纵27.9厘米，横42厘米",[96],{"id":11991,"slug":11992,"title":11993,"dynasty":18,"author":11994,"museum":72,"description":11995,"tags":11996,"thumbUrl":11998,"material":169,"size":11999,"collection":63,"collections":12000,"showCount":11773,"zanCount":882,"manualWeight":39,"mainColor":40},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","孙祜","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[24,25,92,75,11997,1128,111,27,51,458,1201,57,56,113,567,5091,268,7,77],"青绿山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[63],{"id":12002,"slug":12003,"title":12004,"dynasty":45,"author":12005,"museum":970,"description":12006,"tags":12007,"thumbUrl":12008,"material":184,"size":12009,"collection":171,"collections":12010,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},218411,"mao-nv-tu-sun-jue-218411","毛女图","孙珏","松枝苍劲盘桓，草木葱茏点缀，扇面间铺展一方清幽天地。数人衣袂轻扬，姿态闲雅，或低语浅笑，或凭杖伫立，仙逸之态尽显。笔墨细腻处，衣纹流转如行云，树石皴擦见古意；设色淡雅，晕染自然，更添悠远之韵。画面虽咫尺，却藏山林之静谧、人物之超然，似将尘嚣隔绝在外，只留一份清宁与古雅，引人沉醉于这方隐逸仙境之中。",[23,24,25,1250,27,111,113,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F863ccaf21cf3e252db5ff5928ee8576e.jpg","25.1x23.5",[171],{"id":12012,"slug":12013,"title":12014,"dynasty":45,"author":744,"museum":126,"description":12015,"tags":12016,"thumbUrl":12017,"material":79,"size":12018,"collection":187,"collections":12019,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},218405,"wang-gong-bai-xiang-tu-tang-yin-218405","王公拜相图","这幅画表现的是王鏊上山做官，是唐寅作为弟子画的，所以画得很用心。王鏊在1506年左右来到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[23,24,25,49,50,27,111,59,7,60,77,113,51,458,56,57,55,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","73.5x20",[187],{"id":12021,"slug":12022,"title":12023,"dynasty":179,"author":12024,"museum":12025,"description":12026,"tags":12027,"thumbUrl":12030,"material":79,"size":12031,"collection":171,"collections":12032,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},218245,"bin-feng-tu-lin-zi-huan-218245","豳风图","林子奂","上海龙美术馆","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[23,24,25,49,112,50,7,60,77,113,51,56,116,53,52,844,12028,333,12029],"农田","农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","26.5x446",[171],{"id":12034,"slug":12035,"title":12036,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":12037,"thumbUrl":12038,"material":79,"size":95,"collection":95,"collections":12039,"showCount":11773,"zanCount":882,"manualWeight":39,"mainColor":40},216382,"mo-zhu-pu-ce-7-wu-zhen-216382","墨竹谱册-7",[24,25,26,50,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6728098eeee9dc357748de79d615f7b3.jpg",[],{"id":12041,"slug":12042,"title":12043,"dynasty":18,"author":12044,"museum":107,"description":12045,"tags":12046,"thumbUrl":12047,"material":50,"size":12048,"collection":96,"collections":12049,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},215143,"min-sheng-yan-chang-tu-juan-ti-ba-pu-sa-bao-215143","闽省盐场图卷-题跋","菩薩保","清朝时期的闽省盐场图卷是一组图画，其中包含了当时闽省的盐场的景象。这些图卷通常都有题跋，即对图卷内容的文字说明。根据题跋介绍，这些图卷可能描绘了盐场的布局、生产过程、以及当时的盐业政策等信息。菩薩保是清朝时期的一位著名画家，他创作的闽省盐场图卷在当时颇受欢迎。",[23,25,49,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7031c098e33d9c148e9da888311d124b.jpg","38x860",[96],{"id":12051,"slug":12052,"title":12053,"dynasty":88,"author":549,"museum":20,"description":12054,"tags":12055,"thumbUrl":12056,"material":79,"size":612,"collection":95,"collections":12057,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},214276,"duo-jing-lou-shi-tie-7-mi-fei-214276","多景楼诗帖-7","墨痕纵横处，豪情激荡如江浪奔涌。笔锋八面出，时而骤雨击石般凌厉，时而流云舒卷般婉转。字形跌宕不拘：开张时若奔马脱缰，收敛处似潜龙伏渊，大小错落间暗藏章法。墨色浓淡干湿相济——浓如漆，淡若雾，飞白见筋骨，饱满显精神。通篇行气如长江大河，一泻千里，细节处却藏匠心：每笔皆有生机，每字都含情韵。运笔如刷，锋芒毕露却不失蕴藉，尽显书家放达胸襟与超凡笔墨功力，读之如临高阁天风，心魄为之振。",[7,60,200,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a637310a5c0b0f426e700838fc3fe7.jpg",[],{"id":12059,"slug":12060,"title":12061,"dynasty":88,"author":549,"museum":20,"description":12062,"tags":12063,"thumbUrl":12064,"material":79,"size":612,"collection":95,"collections":12065,"showCount":11773,"zanCount":39,"manualWeight":39,"mainColor":40},214275,"duo-jing-lou-shi-tie-9-mi-fei-214275","多景楼诗帖-9","笔势纵横捭阖，如疾风骤雨掠过纸面，每一笔都带着“刷字”的劲健洒脱。线条粗细跌宕，提按转折间藏千钧力道——“浮”字点画如坠石，“来”字撇捺若长枪，欹侧中见平衡，狂放里藏规矩。墨色浓淡干湿交织，湿润处晕染豪情，干枯处皴擦苍劲，行气连贯如长江奔涌，字与字顾盼生姿，似有金石之声在纸间回响。这般率意挥洒，正是米芾精髓：不拘绳墨却自有法度，豪放中见精微，将胸中丘壑化作笔底波澜，读来如见他登楼题诗时的快意豪情，心潮随之澎湃。",[7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c44b1366753b7cef38c48434966423.jpg",[],{"id":12067,"slug":12068,"title":12069,"dynasty":179,"author":1516,"museum":107,"description":4942,"tags":12070,"thumbUrl":12071,"material":751,"size":752,"collection":95,"collections":12072,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":100},290820,"xi-shan-yu-yi-tu-zhou-wu-zhen-290820","溪山雨意图轴",[92,24,25,75,50,51,59,52,2029,115,5599,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d46bbb9394f7778397efac4b923ef92.jpg",[],35,{"id":12075,"slug":12076,"title":12077,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":12079,"thumbUrl":12081,"material":751,"size":752,"collection":95,"collections":12082,"showCount":12073,"zanCount":882,"manualWeight":39,"mainColor":789},290452,"shu-fa-li-zhou-qian-long-290452","书法立轴","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[23,7,75,60,77,878,30,9635,12080],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20014fbbbca23c3809a74e13bfaf1bef.jpg",[],{"id":12084,"slug":12085,"title":12086,"dynasty":88,"author":12087,"museum":72,"description":12088,"tags":12089,"thumbUrl":12093,"material":751,"size":752,"collection":95,"collections":12094,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":100},289872,"lu-yan-tu-zhou-cui-bai-289872","芦雁图轴","崔白","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[24,92,75,2645,27,111,12090,772,12091,12092,77,7,116],"雁","河滩","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3268d051a3a5f1a61e3fc7aa0356935b.jpg",[],{"id":12096,"slug":12097,"title":12098,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":12099,"thumbUrl":12100,"material":751,"size":752,"collection":95,"collections":12101,"showCount":12073,"zanCount":882,"manualWeight":39,"mainColor":40},287598,"gu-mu-zhu-shi-ni-zan-287598","古木竹石",[24,50,115,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703c19b30314285dda62309469a0f7db.jpg",[],{"id":12103,"slug":12104,"title":10110,"dynasty":88,"author":549,"museum":107,"description":12105,"tags":12106,"thumbUrl":12107,"material":751,"size":752,"collection":95,"collections":12108,"showCount":12073,"zanCount":882,"manualWeight":39,"mainColor":100},287332,"xiao-xing-ba-xia-mi-fei-287332","此诗描写了巴峡周围的景色和风土人情。词句清丽，景象雄伟。开头点明时间和地点，说在暮春的黎明作者行经巴峡，心中却思念着遥远的京城。接着写诗人沿途所见所闻，清江边有浣衣的少女，朝阳里传来一片鸡鸣。江面上舟船聚拢，水上人家的集市已经开始了；遥望江岸远山，山桥竟横跨在树梢之上。有人认为“万井”是指千泉万涓，而不是指千家万户。因为以巴峡的地势，不可能像平原一样聚居很多人家。也有道理，可备一说。然而这些美丽的景象并不能让诗人欢快起来，因为身在异乡，难免有思乡之愁。尤其是听到人们说着异乡方言，莺啼还是故乡声音的时候。诗人最后说，幸得山水有许多的意趣，才能稍稍缓解他的离别之情。",[7,60,198,200,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1930f2bd3b2557c809e545a213150e9e.jpg",[],{"id":12110,"slug":12111,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":12114,"thumbUrl":12115,"material":95,"size":12116,"collection":96,"collections":12117,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},239596,"shi-san-zha-ce-zhu-da-239596","十三札册","朱耷(1626-约1705)，明末清初画家，中国画一代宗师。本名由桵，字雪个，号八大山人、个山 、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[2135,25,7,60,26,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc227c47f7b3a82770e5a83861f7a72cb.jpg","纵24.6cm，横15.1cm",[96],{"id":12119,"slug":12120,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":12122,"tags":12123,"thumbUrl":12124,"material":95,"size":95,"collection":63,"collections":12125,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},238708,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238708","画弘历和江文通诗意图册","此作用淡墨绘就幽居小景，敞轩之内，文士展卷校读，神态悠然专注。周遭古木虬枝舒展，湖石玲珑错落，浅溪萦回其间，清寂雅致。\n\n笔墨秀润清简，以淡墨皴擦晕染山石肌理，细笔点染出林叶苍然之态，构图疏密得宜，将林下闲居的静穆氛围铺陈开来。画作呼应诗意，把耽于文墨、寄兴丘山的隐逸襟怀融于景致之中，尽显冲淡萧散的文人雅趣，将文人心底幽远的林下之思藏在清和水墨间，尽显风雅静谧的文人画意趣。",[24,25,26,50,59,113,55,56,57,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84e46151266133c953b99627ae19f1f.jpg",[63,171,187],{"id":12127,"slug":12128,"title":12129,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":12130,"thumbUrl":12131,"material":95,"size":95,"collection":187,"collections":12132,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},237930,"yuan-ji-mo-zhu-tu-zhou-shi-tao-237930","原济墨竹图轴",[24,25,75,50,132,7,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56ab48f8433faa0c3d1fc3aa96ea0d3.jpg",[187,96],{"id":12134,"slug":12135,"title":12136,"dynasty":45,"author":441,"museum":107,"description":12137,"tags":12138,"thumbUrl":12139,"material":95,"size":12140,"collection":95,"collections":12141,"showCount":12073,"zanCount":882,"manualWeight":39,"mainColor":40},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915","花卉草虫册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,25,26,27,60,77,1919,446,250,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg","23x31cm",[],{"id":12143,"slug":12144,"title":12145,"dynasty":18,"author":506,"museum":126,"description":12146,"tags":12147,"thumbUrl":12148,"material":312,"size":12149,"collection":95,"collections":12150,"showCount":12073,"zanCount":882,"manualWeight":39,"mainColor":40},233719,"zi-hua-xiang-zhou-jin-nong-233719","自画像轴","此图为扬州八怪之一金农73岁时的自画像。画中老者身着布衣，持杖侧身而立，姿态笃定，神情超然。其头部画法较为写实，具有肖像画的特征，浓密的长髯，细细的发辫，矍烁的双目，真实传神地描绘出金农本人奇倔傲世的性格特征。\n图中人物的体貌不求形似，极尽夸张，具有漫画意味，这是一种文人画家逸笔的肖像画。画家以焦墨渴笔勾勒人物形象，线条生拙简朴，脱胎于南宋马和之“兰叶描”，与题款及诗文的“漆书”共同体现出生涩拙朴、奇绝脱俗的风格。",[24,25,75,112,50,113,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9ed191e96e74c538004f23d2e40f11.jpg","纵131.3厘米 ，横59.1厘米",[],{"id":12152,"slug":12153,"title":12154,"dynasty":18,"author":2301,"museum":72,"description":12155,"tags":12156,"thumbUrl":12157,"material":95,"size":95,"collection":63,"collections":12158,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},232797,"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[23,24,25,26,112,50,199,7,51,113,55,56,250,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[63],{"id":12160,"slug":12161,"title":12162,"dynasty":18,"author":1387,"museum":107,"description":12163,"tags":12164,"thumbUrl":12165,"material":95,"size":95,"collection":95,"collections":12166,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},230278,"za-hua-ce-zhu-da-230278","杂画册","此帧以极简笔墨绘就松下双鹿，苍松横斜，枯干缀以寥寥松针，山石空灵淡远。双鹿姿态悠然，犄角挺秀，躯体线条清劲凝练，于幽寂山隅流露自在生机。\n\n配书题诗笔致圆劲古雅，朴拙疏朗，诗画相生，将世外丘壑的清逸冷寂尽藏其间。清冷笔墨下暗涌细腻意趣，荒简构图里饱含澹泊襟怀，尽显简远空灵的禅意逸韵，将天地生灵与林泉幽境融为一体，尽释超然物外的文人意趣。",[24,25,26,50,10795,798,1018,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626f6421259e86c2bb63e5b96a3926d.jpg",[],{"id":12168,"slug":12169,"title":1034,"dynasty":88,"author":1160,"museum":107,"description":12170,"tags":12171,"thumbUrl":12172,"material":95,"size":95,"collection":95,"collections":12173,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},227722,"luo-shen-fu-zhao-gou-227722","重整宋家旧河山的高宗赵构，其书法水平也不一般。\n\n他的草书书法长卷《洛神赋》绢本，纵27.9cm，横398cm，辽宁省博物院藏。\n\n《洛神赋卷》未署年款，但卷末署“德寿殿书”款，钤“德寿殿御书宝”朱文印，可知是赵构做太上皇之后所作，处帝王之尊，颇具神韵。是其成熟期的作品。\n\n此卷草法出规入矩，运笔沉着浑厚，飞动流畅，虽是草书，但字字独立，字与字变化很多，字法熟练生动，提按转折无不如意，虽字与字之间无引带，仍然呈现了一气呵成、流畅自如，显示其深的书法造诣。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92cd4351f98e1e48eb868c2042887edd.jpg",[],{"id":12175,"slug":12176,"title":12177,"dynasty":88,"author":454,"museum":107,"description":12178,"tags":12179,"thumbUrl":12180,"material":95,"size":95,"collection":95,"collections":12181,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":100},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","萧翼赚兰亭图","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,24,25,49,111,112,50,27,113,77,7,3092,432,433,3093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":12183,"slug":12184,"title":7,"dynasty":18,"author":599,"museum":107,"description":949,"tags":12185,"thumbUrl":12186,"material":312,"size":95,"collection":96,"collections":12187,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":100},223291,"shu-fa-zheng-ban-qiao-223291",[23,7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c550b955dd9dc9b64ba0d922a1a85e0.jpg",[96],{"id":12189,"slug":12190,"title":12191,"dynasty":45,"author":5386,"museum":107,"description":7421,"tags":12192,"thumbUrl":12193,"material":312,"size":12194,"collection":95,"collections":12195,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},222244,"lin-wang-xi-zhi-huang-ting-jing-wang-chong-222244","临王羲之黄庭经",[23,7,25,110,199,200,386,77,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f49c46116a4b6aecf820e4482f4c79b.jpg","纵29cm，横155cm",[],{"id":12197,"slug":12198,"title":12199,"dynasty":88,"author":6613,"museum":126,"description":12200,"tags":12201,"thumbUrl":12202,"material":312,"size":12203,"collection":96,"collections":12204,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},221434,"xing-zhuo-ai-tie-quan-juan-ou-yang-xiu-221434","行灼艾帖全卷","释文：\n“修啓，多日不相見，誠以區區。見發言，曾灼艾，不知體中如何？來日修偶在家，或能見過。此中醫者常有，頗非俗工，深可與之論搉也。亦有閒事，思相見。不宣。修再拜，學正足下。廿八日。”\n帖中“见发言”的“发”即欧阳修长子欧阳发。据考，此帖是欧阳修写给自己的学生焦千之的，对其身体状况表示关心，并邀其来家相见。\n关于欧书特点，苏轼评价说：“公用尖笔干墨作方阔字，清眸丰颊，进退晔如。”李东阳在帖后的诗跋中称赞欧书“宋代书家自不孤，当时只许蔡君谟。若将晋法论真印，此老风流世亦无”。\n此帖本幅及前后隔水钤“吴郡张口”“仲口”“世昌”（半印）“仪周鉴赏”“德量审定”“希逸”“江德量鉴藏印”以及项元汴、张珩等鉴藏家印记。尾纸有李东阳、翁方纲题跋。清安岐《墨缘汇观·上编》著录。",[23,25,7,60,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4927ee06864027294d250f9799058c.jpg","纵25厘米，横18厘米",[96],{"id":12206,"slug":12207,"title":12208,"dynasty":88,"author":1113,"museum":107,"description":12209,"tags":12210,"thumbUrl":12211,"material":184,"size":1117,"collection":95,"collections":12212,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":100},221327,"chao-yuan-xian-zhang-tu-di-er-duan-wu-zong-yuan-221327","朝元仙仗圖-第二段","《朝元仙仗圖》為北宋宗教畫家武宗元所繪製的一幅絹本白描長卷， 曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[23,92,24,25,49,112,878,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1d50323372fd5dbe926cdd9c052086.jpg",[],{"id":12214,"slug":12215,"title":12216,"dynasty":88,"author":12217,"museum":72,"description":12218,"tags":12219,"thumbUrl":12220,"material":519,"size":12221,"collection":314,"collections":12222,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},221258,"dao-yi-juan-mou-yi-221258","捣衣卷","牟益","牟益（1178-？），四川人。活動於理宗、度宗兩朝，工畫人物，兼善古文與篆書。 〈擣衣圖〉作於1240年，創作原型取自南朝詩人謝惠連（397-433）〈擣衣詩〉。純以白描輕墨，畫婦女卅二人，在將寒時節，循序進行搗練、剪裁、製衣、裝箱、封寄的過程。畫中諸女皆面容圓潤，衣裙寬大，猶保有唐人餘韻。人物儀態，舉止優雅，惟在眉宇間多有愁思之意，傳透出對良人從軍未歸的掛念情愫。足稱是南宋繪畫中，描寫夫妻兩地相思，最含蓄、也最成功的作品。",[92,24,25,49,112,113,167,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52f0b5c8e369f08c112946b110d3131.jpg","纵27.1厘米，横266.4厘米",[314,171,218],{"id":12224,"slug":12225,"title":12226,"dynasty":179,"author":225,"museum":72,"description":12227,"tags":12228,"thumbUrl":12232,"material":682,"size":12233,"collection":63,"collections":12234,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":100},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,49,50,27,111,59,7,60,77,51,12229,773,553,56,58,556,6286,3536,3630,12230,12231],"孤山","远树","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[63,218],{"id":12236,"slug":12237,"title":12238,"dynasty":179,"author":225,"museum":126,"description":12239,"tags":12240,"thumbUrl":12241,"material":312,"size":12242,"collection":96,"collections":12243,"showCount":12073,"zanCount":882,"manualWeight":39,"mainColor":100},220873,"zi-shu-shi-tie-zhao-meng-fu-220873","自书诗帖","书此帖时赵孟坚年六十一岁，是赵氏晚年之笔，笔力雄健，纵逸豪放，有黄庭坚书风。而结体瘦劲，中宫紧结欹侧俯仰之势则师法米芾，自有标度，为其书法代表作。\n旧传宋亡不仕，隐居广陈(今平湖市广陈镇北)。县令往访，孟坚飞舟逸去，县令叹息说“名可闻，身不可见”。从弟孟頫宋亡仕元，自湖州来访，闭门不纳。《芦川竹枝词》中《子固见弟诗》云：“南渡王孙此隐居，踵门贵客枉停车。当年介弟犹坚拒，座上那堪受浊污。”与陶菊隐、殷澄并称“秀州三义”。据近代学者考证，赵孟坚逝于宋亡前10余年，所谓宋亡不仕及拒见赵孟頫事不实。\n《宋人轶事汇编》载：赵孟坚入元以后，不乐仕进，隐居州之广陈镇（古海盐县，今平湖市广陈镇北）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”",[179,7,60,200,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6866225e40ebc88ad1c158c9034d8734.jpg","纵28.8厘米，横216.7厘米",[96],{"id":12245,"slug":12246,"title":12247,"dynasty":179,"author":2389,"museum":412,"description":12248,"tags":12249,"thumbUrl":12250,"material":79,"size":95,"collection":63,"collections":12251,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[23,24,25,49,50,51,59,56,55,553,471,58,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[63],{"id":12253,"slug":12254,"title":12255,"dynasty":18,"author":9820,"museum":72,"description":12256,"tags":12257,"thumbUrl":12260,"material":169,"size":12261,"collection":218,"collections":12262,"showCount":12073,"zanCount":788,"manualWeight":39,"mainColor":40},219424,"shi-jun-tu-zhi-pi-li-xiang-zhou-lang-shi-ning-219424","十骏图之霹雳骧轴","画面中白马低首伫立，鬃毛如流云般蓬松柔软，细腻笔触勾勒出毛发的层次与光泽，肌肉线条流畅而富有张力——既藏着写实技法的精准，又含东方笔墨的温润韵味。马蹄的金属质感刻画入微，似能触到那份冷硬厚重。淡雅绢本为底，衬得白马愈发纯净灵动，仿佛下一秒便要抬蹄轻踏。四周题字墨色清劲，朱印错落点缀，红与墨相映成趣，添了文人意趣与雅致。整幅作品将异域写实与东方传统相融，骏马不仅形态鲜活如生，更承载着跨越文化的创作巧思，静静流淌着独特的艺术交融之美。",[92,24,75,111,27,1074,77,7,184,12258,12259],"中西融合","写实技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370ab5df30d34c686775d70ba842eb2d.jpg","239.3x270.1",[218],{"id":12264,"slug":12265,"title":12266,"dynasty":18,"author":7664,"museum":107,"description":12267,"tags":12268,"thumbUrl":12269,"material":33,"size":12270,"collection":171,"collections":12271,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},219176,"ma-gu-xian-xiang-tu-huang-shen-219176","麻姑仙像图","画面中麻姑面容温婉，眉宇间透着仙逸之气。宽袍大袖随风轻扬，赤足踏地，姿态闲适自在。肩扛阔大芭蕉叶，叶间点缀红蕊，生机暗涌；叶下枝茎修长，握于手中似有轻摇之态。腰间悬橙黄葫芦，系蓝绦，旁缀花草，野趣盎然。笔墨简括洒脱，线条灵动，衣纹用折芦描，流畅中见顿挫，尽显人物飘逸之姿。右侧题跋笔墨纵横，与人物形象相映成趣，融书法与绘画于一体，文人画意趣浓郁。整幅作品仙气与生活气息交织，既见仙家超脱，又含人间鲜活，是写意人物画中的精妙之作。",[23,24,25,129,27,113,167,1177,574,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387ab015edbbb395537ee9821345d6c1.jpg","纵176厘米，横105.3厘米",[171],{"id":12273,"slug":12274,"title":12275,"dynasty":179,"author":6158,"museum":970,"description":12276,"tags":12277,"thumbUrl":12280,"material":79,"size":12281,"collection":63,"collections":12282,"showCount":12073,"zanCount":882,"manualWeight":39,"mainColor":40},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,25,49,50,59,7,60,51,251,252,56,553,52,555,1678,7758,267,471,12278,12279,129,6769,576,77],"近景","留白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[63],{"id":12284,"slug":12285,"title":12286,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":12287,"thumbUrl":12288,"material":79,"size":95,"collection":95,"collections":12289,"showCount":12073,"zanCount":39,"manualWeight":39,"mainColor":40},216375,"mo-zhu-pu-ce-14-wu-zhen-216375","墨竹谱册-14",[24,50,26,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a65b027dbcb7514817d63da9b2f3f4.jpg",[],{"id":12291,"slug":12292,"title":7517,"dynasty":179,"author":330,"museum":72,"description":1665,"tags":12293,"thumbUrl":12294,"material":79,"size":7522,"collection":95,"collections":12295,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},290953,"gu-kou-chun-geng-tu-wang-meng-290953",[92,24,50,75,51,59,251,56,58,7520,7,77,6129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88b00622127b2452424c1936ff6f2767.jpg",[],34,{"id":12298,"slug":12299,"title":5746,"dynasty":179,"author":1516,"museum":72,"description":5747,"tags":12300,"thumbUrl":12301,"material":94,"size":5750,"collection":95,"collections":12302,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":100},290135,"qiu-jiang-yu-yin-tu-wu-zhen-290135",[92,24,25,75,50,51,54,10531,57,1018,53,58,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6825a9b589672b07f1adb448c8239461.jpg",[],{"id":12304,"slug":12305,"title":12306,"dynasty":18,"author":6551,"museum":72,"description":12307,"tags":12308,"thumbUrl":12309,"material":33,"size":12310,"collection":95,"collections":12311,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},287767,"fang-huang-gong-wang-shan-shui-tu-wang-jian-287767","仿黄公望山水图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,92,25,75,50,27,110,59,51,52,53,57,56,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c65d60415a5a08a23fe71311ba2551.jpg","78.8x38.8",[],{"id":12313,"slug":12314,"title":12315,"dynasty":8749,"author":454,"museum":1172,"description":12316,"tags":12317,"thumbUrl":12318,"material":751,"size":752,"collection":95,"collections":12319,"showCount":12296,"zanCount":882,"manualWeight":39,"mainColor":207},287634,"jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-287634","金剛般若波羅密經手稿","此卷纸色昏黄斑驳，虫蛀残损处藏着岁月磨蚀的痕迹。书写是典型的写经小楷，笔锋匀净温润，字字端稳排布，通篇气息宁和肃穆，尽显抄经时的静定之心。笔墨间带着对般若义理的敬畏，虽有缺损，依旧能感受到书写时的屏息凝神。古旧纸色与工整墨迹相映，晕开跨越千载的沉静禅意，仿佛能让观者触摸到抄经人落笔时的虔诚，在残卷的字里行间，聆听跨越时光的清净梵音。",[49,7,386,9007,1498,199,878,3708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02eba059fe71783925ddc69a59b2c96.jpg",[],{"id":12321,"slug":12322,"title":12323,"dynasty":2365,"author":12324,"museum":107,"description":12325,"tags":12326,"thumbUrl":12327,"material":751,"size":752,"collection":95,"collections":12328,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},287367,"jiang-xing-chu-xue-tu-yuan-tu-zhao-gan-287367","江行初雪图(原图)","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[24,92,25,51,53,54,1752,820,1151,27,111,59,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f85e6f1509e6c29923b9c1726de7f4.jpg",[],{"id":12330,"slug":12331,"title":12332,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":12333,"thumbUrl":12334,"material":751,"size":752,"collection":95,"collections":12335,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},283737,"qiu-xing-ba-jing-tu-ce-ba-kai-dong-qi-chang-283737","秋兴八景图册（八开）",[24,25,26,1328,27,60,7,77,51,651,652,53,2061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bc40c5e2273545f34270f3d8b5316c.jpg",[],{"id":12337,"slug":12338,"title":12339,"dynasty":45,"author":4300,"museum":126,"description":12340,"tags":12341,"thumbUrl":12342,"material":312,"size":95,"collection":96,"collections":12343,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":789},240900,"yue-yang-lou-ji-juan-chen-chun-240900","岳阳楼记卷","陈淳（1483—1544），字道复，后以字行，号白阳山人。吴（今江苏苏州）人。文徵明弟子，擅长山水、花鸟，中年以后，笔墨放纵，自成一家。与稍后的徐谓并称“青藤白阳”。",[7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a2085250d0b01a6a315db1aad136ce.jpg",[96],{"id":12345,"slug":12346,"title":12347,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":12348,"thumbUrl":12350,"material":751,"size":752,"collection":95,"collections":12351,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},240259,"wu-chang-shuo-lin-shi-gu-wen-si-tiao-ping-wu-chang-shuo-240259","吴昌硕临石鼓文四条屏",[7,457,110,12349,77],"四条屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0d90d58107bbd9505651a5be0bcb89.jpg",[],{"id":12353,"slug":12354,"title":10538,"dynasty":18,"author":3367,"museum":107,"description":4106,"tags":12355,"thumbUrl":12356,"material":751,"size":752,"collection":95,"collections":12357,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},239447,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239447",[24,25,26,27,111,1049,239,446,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401e2cdf7d2ed07edbdcabcbab0feec.jpg",[],{"id":12359,"slug":12360,"title":12162,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":12361,"thumbUrl":12363,"material":751,"size":752,"collection":95,"collections":12364,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},237936,"za-hua-ce-zhu-da-237936",[24,25,26,50,129,1177,238,12362,77,7],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb9d7da92b5f64516cfa52133f8b17.jpg",[],{"id":12366,"slug":12367,"title":12368,"dynasty":179,"author":10618,"museum":107,"description":12369,"tags":12370,"thumbUrl":12371,"material":95,"size":95,"collection":95,"collections":12372,"showCount":12296,"zanCount":882,"manualWeight":39,"mainColor":100},233021,"jiu-feng-dao-ren-san-jun-tu-juan-xu-lin-233021","九峰道人三骏图卷","徐霖字子元，号九峰，人呼为髯仙。其先吴人，徙金陵。七岁能诗，九岁能大书，操笔成体。善画松竹花卉蕉石，奕奕有致。武庙南巡，屡幸其家，赏赉甚渥。与沈周交善。",[24,25,49,27,111,1074,113,7,60,77,3478,1783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320aca22552c8e5380201d37034b90fe.jpg",[],{"id":12374,"slug":12375,"title":12376,"dynasty":88,"author":262,"museum":72,"description":12377,"tags":12378,"thumbUrl":12379,"material":12380,"size":12381,"collection":95,"collections":12382,"showCount":12296,"zanCount":882,"manualWeight":39,"mainColor":40},232915,"bai-miao-mian-zhou-tu-juan-li-gong-lin-232915","白描免胄图卷","《免胄图》卷所绘即为郭子仪率数十骑免胄（徒手不着盔甲）见回纥首领大酋，大酋舍兵下马拜见的情景。图卷左侧是郭子仪所率部将兵骑，仪容镇定，伫立于侧。右侧是入侵关中的回纥兵骑，阵营庞大而惶惶无措。回纥大酋着戎装，携副将滚鞍落马，正单膝跪地作钦服之状，拜见免胄着燕服的郭子仪。郭神情雍穆诚恳，俯身援手以礼相见，体现出从容大度的一代名将风范。\n此卷描绘唐代名将郭子仪说服回纥大破吐蕃一事。关于这一著名战事，《旧唐书》有详细记载。唐太宗广德二年（764），回纥、土蕃西域诸国数十万大军，入侵长安，郭子仪奉命率军镇守泾阳，由于双方兵力悬殊，郭子仪决定亲赴敌营，希望说服回纥将领退兵，郭子仪是大唐名将，颇受蕃将敬重，当郭子仪脱去戎装，单骑来到回纥阵前，回纥统帅药葛罗一见，心悦诚服，下马跪迎，双方言和，药葛罗立即退兵，并发誓不再侵唐。",[23,92,24,25,49,112,113,1074,77,1783,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a54c261d4257de502d94fbe837eb3b.jpg","纸本长卷","纵32.3厘米，横223.8厘米",[],{"id":12384,"slug":12385,"title":12386,"dynasty":179,"author":6158,"museum":72,"description":12387,"tags":12388,"thumbUrl":12390,"material":33,"size":12391,"collection":95,"collections":12392,"showCount":12296,"zanCount":882,"manualWeight":39,"mainColor":40},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[24,25,75,50,51,5721,56,52,53,1678,267,12389,59,77,7],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],{"id":12394,"slug":12395,"title":12396,"dynasty":45,"author":46,"museum":3743,"description":12397,"tags":12398,"thumbUrl":12399,"material":346,"size":12400,"collection":35,"collections":12401,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},230957,"ping-he-tu-shen-zhou-230957","瓶荷图","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[23,24,25,75,27,111,399,400,834,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg","60x143cm",[35,218],{"id":12403,"slug":12404,"title":12405,"dynasty":88,"author":7001,"museum":107,"description":12406,"tags":12407,"thumbUrl":12408,"material":751,"size":752,"collection":95,"collections":12409,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},230846,"gong-shi-tie-cai-jing-230846","宫使帖","蔡京（1047年2月14日－1126年8月11日），字元長，福建路興化仙遊（今福建省莆田市）人。北宋時期書法家、政治家，先後四次任宰相，掌權共達十七年之久。",[7,60,77,50,88,25,8896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1903805d2c334bb9b74fe673b1850d5e.jpg",[],{"id":12411,"slug":12412,"title":12413,"dynasty":18,"author":12414,"museum":107,"description":12415,"tags":12416,"thumbUrl":12417,"material":751,"size":752,"collection":95,"collections":12418,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":100},230135,"huang-di-shu-fa-dui-lian-ai-xin-jue-luo-xuan-ye-230135","皇帝书法对联","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[23,7,2136,60,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771a21123d24bc3c55158473342d6a12.jpg",[],{"id":12420,"slug":12421,"title":12422,"dynasty":45,"author":2071,"museum":107,"description":12423,"tags":12424,"thumbUrl":12425,"material":95,"size":95,"collection":95,"collections":12426,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,25,49,1127,27,111,7,60,51,458,52,53,116,55,589,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":12428,"slug":12429,"title":12430,"dynasty":179,"author":225,"museum":107,"description":12431,"tags":12432,"thumbUrl":12433,"material":95,"size":95,"collection":95,"collections":12434,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},228261,"jiu-ge-tu-quan-juan-zhao-meng-fu-228261","九歌图全卷","此作为书画合璧妙品，设色清润秀雅，线条如春蚕吐丝，柔中带劲。画卷中仙女神祇各具神采，云中君衣袂翩跹荷影随行，东皇太一端方威严，侍神拱卫左右，将屈子笔下楚地仙灵的缥缈风神尽数铺展。\n\n篆籀书风古朴苍劲，文辞与图绘相得益彰，把《九歌》巫祭歌辞的浪漫幽渺氛围烘托殆尽，将上古巫仪的清灵庄重融于笔端，尽显追摹古意的沉静笔致，让观者恍如置身楚地巫歌灵舞的缥缈幻境之中。",[23,24,25,49,27,111,113,359,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab31f24e204da3141a05e8169e38bb.jpg",[],{"id":12436,"slug":12437,"title":12438,"dynasty":179,"author":4239,"museum":107,"description":12439,"tags":12440,"thumbUrl":12441,"material":95,"size":95,"collection":95,"collections":12442,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":100},228171,"jiu-ma-tu-juan-ren-ren-fa-228171","九马图卷","长卷铺陈出闲适的厩苑日常，人马排布错落自然。左侧马厩中，良驹或垂首饮水，圉人侍立旁侧打理，马匹肌理骨骼刻画写实细腻，鬃毛发丝晕染柔和，尽显膘肥体健的神骏姿态。中段花马被牵徐行，昂首灵动，牵马人步履悠然，动态鲜活。右侧骏马昂然伫立，侍者低语顾盼，氛围平和悠然。\n整作线条劲挺流畅，设色清雅柔和，将鞍马画的写实功力尽显，既描摹出良驹矫健俊朗的风神，又勾勒出牧马日常的恬淡图景，藏着对写实工笔的精妙把控，尽显古风雅致的鞍马画韵致。",[23,24,92,49,111,27,1074,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1d3e204d63756ad26041aa9243c11.jpg",[],{"id":12444,"slug":12445,"title":12446,"dynasty":179,"author":9541,"museum":107,"description":12447,"tags":12448,"thumbUrl":12449,"material":95,"size":95,"collection":95,"collections":12450,"showCount":12296,"zanCount":882,"manualWeight":39,"mainColor":40},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,24,25,49,50,51,59,7,77,251,56,52,53,555,252,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":12452,"slug":12453,"title":12454,"dynasty":162,"author":194,"museum":107,"description":3100,"tags":12455,"thumbUrl":12456,"material":95,"size":95,"collection":95,"collections":12457,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":100},227244,"zi-shu-gao-shen-yan-zhen-qing-227244","自书告身",[7,199,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dade46987770c6acf3d339faa8b1280.jpg",[],{"id":12459,"slug":12460,"title":12461,"dynasty":3087,"author":454,"museum":107,"description":12462,"tags":12463,"thumbUrl":12464,"material":751,"size":752,"collection":95,"collections":12465,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":100},226523,"yuan-xie-mu-zhi-yi-ming-226523","元勰墓誌","北魏《元勰墓志》太师领司徒公彭城王元勰墓志：永平六年岁在戊子十一月六日（ 508年），志高 62.5，广 59.6CM，十五行，行十七字，末另有两行，字略小，行二列，列九至十六字不等，正书。一九一九年洛阳城北张羊村西一里出土。曾归武进陶兰泉。元勰（ 473— 508年）本名拓跋勰，字彦和，北魏政治家、诗人。献文帝子，孝文帝元宏的弟弟，初封始平王，后改封彭城王，并得到孝文帝信任，官至尚书、侍中。孝文帝在 498年死后，元勰辅佐孝文帝长子宣武帝元恪，虽得到好评，但也因此受到宣武帝及宣武帝舅舅高肇的怀疑，被迫在 508年自杀。",[23,198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75114233aa1d9a758e08438b517d7c9f.jpg",[],{"id":12467,"slug":12468,"title":12469,"dynasty":88,"author":454,"museum":72,"description":12470,"tags":12471,"thumbUrl":12472,"material":822,"size":12473,"collection":95,"collections":12474,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":100},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,24,49,111,27,112,113,567,56,458,2187,1919,569,114,250,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],{"id":12476,"slug":12477,"title":6535,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":12478,"thumbUrl":12479,"material":312,"size":95,"collection":96,"collections":12480,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},223270,"shou-gao-hong-yi-fa-shi-223270",[23,25,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba929a2566c55462d1563549dbb0007c.jpg",[96],{"id":12482,"slug":12483,"title":12484,"dynasty":179,"author":12485,"museum":72,"description":12486,"tags":12487,"thumbUrl":12488,"material":27,"size":12489,"collection":35,"collections":12490,"showCount":12296,"zanCount":882,"manualWeight":39,"mainColor":40},221859,"tie-di-tu-zhou-yang-wei-zhen-221859","铁笛图轴","杨维桢","乾隆皇帝于苏州题咏时，引杨维祯〈冶师行〉的内容作题，认为舟上吹笛者为杨维祯，岸上听笛者是为其铸铁笛的冶师缑长弓。题诗内容展现他对杨维祯诗文、生平的认识，以及将文史知识连结到画面内容的欣赏角度",[92,24,25,75,50,113,132,54,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff828bd52bc7e967b8fa17905c2fe1009.jpg","该幅 95.6x51.6公分、诗塘 28.4x51.6公分、全幅 72.3公分",[35,187],{"id":12492,"slug":12493,"title":12494,"dynasty":88,"author":3870,"museum":107,"description":12495,"tags":12496,"thumbUrl":12497,"material":184,"size":12498,"collection":314,"collections":12499,"showCount":12296,"zanCount":882,"manualWeight":39,"mainColor":100},221366,"xi-cheng-tu-juan-qiao-zhong-chang-221366","西成图卷","(公元12世紀)河中(今山西永濟)人，生卒年不詳。工雜畫，尤擅人物道釋故事畫，師法李公麟。靖康之變(1126)，金人圍城中思歸，一日作《河中圖》贈邵澤民侍郎。南宋·鄧椿《畫繼》卷四，著錄其畫跡有《龍宮散齋圖》《山居羅漢圖》《淵明聽松風圖》《李白捉月圖》《玄真子西塞山圖》《列子御風圖》等，然至今罕見。\n傳世作品有《赤壁圖》卷，紙本，墨筆，描繪蘇軾《後赤壁賦》中情節，並分段書寫賦文。山水人物筆法近李公麟，但不為成法所囿，用筆簡率生拙，氣韻野逸。卷後有宣和五年(1123)八月七日趙德麟題跋，還有武聖可和趙巖題跋，清乾隆皇帝御書引首“尺幅江山”四字，曾入清乾隆內府，乾隆為畫題簽，《石渠寶笈初編》著錄，現藏美國納爾遜·艾特金斯美術館。",[23,24,25,49,27,111,113,797,1074,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d484bb6e65e23609df02830938b7a.jpg","21.3x82",[314,171,218],{"id":12501,"slug":12502,"title":12503,"dynasty":88,"author":4492,"museum":126,"description":12504,"tags":12505,"thumbUrl":12506,"material":1179,"size":12507,"collection":63,"collections":12508,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},221216,"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","張敦禮 ，熙寧元年選尚英宗女祁國長公主，授左衞將軍、駙馬都尉，遷密州觀察使。元祐初，疏言：“變法易令，始於王安石，成於蔡確。近者退確進司馬光，以臣觀之，所得多矣。”進武勝軍留後。",[23,24,92,26,27,59,1128,7,77,51,133,458,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38201b375c0d8926df9611e75942c0b.jpg","25X29厘米",[63,218],{"id":12510,"slug":12511,"title":12512,"dynasty":162,"author":12513,"museum":107,"description":12514,"tags":12515,"thumbUrl":12516,"material":12517,"size":12518,"collection":96,"collections":12519,"showCount":12296,"zanCount":882,"manualWeight":39,"mainColor":100},221072,"shi-ting-ji-qian-qiu-ting-ji-guo-yan-jin-221072","石亭记千秋亭记","郭延瑾","千秋亭原名石亭，唐开元十八年铜山县尉崔文邕创建，开元十九年改称千秋亭，诗序可证。清末康有为曾得《千秋亭记》拓本，秘不示人，潜心摩习。古文字学家、金石篆刻家、书法家商承柞先生认为：“康氏得此拓本后，视为至宝，刻意摹写，并在该刻笔势的基础上，予以进一步的夸张，遂成‘康体’”。今亭和刻石皆废，仅拓片传世。",[23,198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd0d86f8c3560f5c4efd900e5c6e87.jpg","宣纸微喷","108.6*51.51厘米",[96,802],{"id":12521,"slug":12522,"title":12523,"dynasty":179,"author":225,"museum":72,"description":12524,"tags":12525,"thumbUrl":12526,"material":682,"size":12527,"collection":96,"collections":12528,"showCount":12296,"zanCount":882,"manualWeight":39,"mainColor":40},220875,"zhi-zhong-feng-he-shang-chi-du-zhao-meng-fu-220875","致中峰和尚尺牍","赵孟頫妻子管道昇亦在书画上名冠一时，延佑五年(1318)，管夫人脚气病复发，经赵孟頫多次请求，次年四月，方得准送夫人南归。五月中旬，途经山东临清，管夫人病逝舟中。赵孟頫悲痛万分，相濡以沫的管夫人撒手西去，给了赵孟頫很大的打击，他对官场的虚名，也因此彻底看破。由于丧偶，长途跋涉，操理丧事，赵孟頫晚年的健康状况急剧下降。延佑七年，仁宗特遣使臣赐衣缎，并召赵孟頫返京，但此时赵孟頫因病不能长途跋涉了。次年英宗即位，再次遣使召赵书写《孝经》，赵以年迈体弱要求致仕，终于得到朝廷的应允。此时赵孟頫耳鸣眼花，颓然老矣。但他倾心于佛、道之旨，以书写经文为乐，并写下许多书画作品和题跋。他认为“人谁无死，如空华然”，因而在平淡中度过光阴。英宗至治二年 (1322)六月，他逝于吴兴。临死还观书作字，谈笑如常。享年六十九岁。",[25,7,60,77,3155,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f411ab4cfabac501b963148fcc20b3.jpg","纵27.5厘米，横62.8厘米",[96],{"id":12530,"slug":12531,"title":12532,"dynasty":45,"author":1015,"museum":279,"description":12533,"tags":12534,"thumbUrl":12536,"material":33,"size":12537,"collection":171,"collections":12538,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[23,24,25,49,50,59,51,652,12535,55,2019,58,7,60,77],"桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[171],{"id":12540,"slug":12541,"title":12542,"dynasty":18,"author":12543,"museum":20,"description":12544,"tags":12545,"thumbUrl":12546,"material":50,"size":95,"collection":171,"collections":12547,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},219751,"su-xiao-mei-xiang-chen-zhuan-219751","苏小妹像","陈撰","此作以极简白描勾勒仕女，凝练舒展的墨线塑就身形，少女垂首捧卷，眉梢眼底尽是沉浸书卷的静雅温婉，将才女的灵秀聪慧藏于无言。画面左侧题诗与人物相映成趣，诗画共生，晕染出清雅脱俗的文人意趣。全作不施多余敷色，纯以墨线写形传神，寥寥数笔便将闺中才女耽于诗书的娴静情态刻画入微，笔墨清逸秀朗，尽显写意雅致的格调，把人物的温婉灵韵全然铺陈开来，尽显文人仕女画的写意风神。",[24,25,75,112,50,113,114,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c45638293df21733715bda30704781.jpg",[171],{"id":12549,"slug":12550,"title":12551,"dynasty":88,"author":12552,"museum":12553,"description":12554,"tags":12555,"thumbUrl":12556,"material":79,"size":95,"collection":63,"collections":12557,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},219706,"bai-miao-yue-bing-tu-li-zao-219706","白描阅兵图","李早","刘海粟美术馆","淡墨晕开平远丘壑，清旷烟岚晕染出空濛郊野，劲挺林木错落排布，晕染出幽寂底色。整肃的军马武士隐现于浅渚平坡间，白描线条清劲洗练，将军士的端严、战马的神骏勾勒得灵动传神，不着浓丽色彩，仅凭虚实笔墨，就将阅兵时的沉凝肃穆尽数铺展。\n\n卷上题跋添就文史意趣，山水意境糅合军旅气象，以简淡笔墨托出兵阵的雄浑威仪，静穆烟岚之下暗涌军阵张力，尽显笔墨雅韵与写实功力，将盛大阅兵的宏大气度，藏在清和的丘壑林泉之间。",[23,24,25,49,112,7,113,1074,1783,56,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddd2c5d153d84f8a246a4de734fb049.jpg",[63],{"id":12559,"slug":12560,"title":12561,"dynasty":18,"author":3764,"museum":7039,"description":12562,"tags":12563,"thumbUrl":12564,"material":79,"size":12565,"collection":63,"collections":12566,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},218099,"xin-an-yi-yun-ce-zheng-min-shan-shui-zheng-min-218099","新安逸韵册(郑旼山水)","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[23,24,25,26,50,60,77,51,651,652,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e97b172d0eb3c9c22236592b7cdd2a.jpg","30.6x20.7cm",[63],{"id":12568,"slug":12569,"title":12570,"dynasty":45,"author":1313,"museum":442,"description":12571,"tags":12572,"thumbUrl":12573,"material":33,"size":95,"collection":95,"collections":12574,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},217032,"fang-gu-shan-shui-ce-liu-kai-3-dong-qi-chang-217032","仿古山水册六开-3","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,26,50,59,60,7,77,51,652,1678,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe610f6ed407a4bd2308e029df1f6c21f.jpg",[],{"id":12576,"slug":12577,"title":12578,"dynasty":18,"author":2634,"museum":72,"description":12579,"tags":12580,"thumbUrl":12581,"material":79,"size":12582,"collection":171,"collections":12583,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},216962,"da-shi-xiang-dong-bang-da-216962","大士像","这幅画描绘了白衣大士趺坐巨石之上，眼睛弯弯地沉思着，一脸慈祥。整个作品的笔触是松散而优雅的。",[50,111,7,77,878,113,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F961969e1bd458d855abc1f4e1b812a54.jpg","69.4x38.7",[171],{"id":12585,"slug":12586,"title":12587,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":12588,"thumbUrl":12589,"material":79,"size":95,"collection":95,"collections":12590,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},216384,"mo-zhu-pu-ce-5-wu-zhen-216384","墨竹谱册-5",[92,24,25,26,50,132,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F586b1cd6d74f25311f2e2eae3adb5abc.jpg",[],{"id":12592,"slug":12593,"title":12594,"dynasty":45,"author":1313,"museum":20,"description":1314,"tags":12595,"thumbUrl":12596,"material":33,"size":95,"collection":95,"collections":12597,"showCount":12296,"zanCount":39,"manualWeight":39,"mainColor":40},214652,"qiu-xing-ba-jing-tu-ce-6-dong-qi-chang-214652","秋兴八景图册-6",[24,25,26,50,1127,27,51,651,652,252,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff817eee9f0599f9ebafe594d2a16d4ab.jpg",[],{"id":12599,"slug":12600,"title":4737,"dynasty":179,"author":1516,"museum":107,"description":4942,"tags":12601,"thumbUrl":12602,"material":751,"size":752,"collection":95,"collections":12603,"showCount":12604,"zanCount":882,"manualWeight":39,"mainColor":100},290830,"shan-shui-zhou-wu-zhen-290830",[24,92,25,75,50,59,51,56,458,52,53,57,2029,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],33,{"id":12606,"slug":12607,"title":12608,"dynasty":18,"author":3357,"museum":107,"description":12609,"tags":12610,"thumbUrl":12612,"material":751,"size":752,"collection":95,"collections":12613,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978","秋山幽静图轴","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[92,24,75,50,51,52,53,54,458,55,2293,115,12611,59,77,7,2061,2029],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":12615,"slug":12616,"title":12617,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":12618,"thumbUrl":12619,"material":751,"size":752,"collection":95,"collections":12620,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）",[23,92,24,75,27,51,113,2293,115,54,53,250,820,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],{"id":12622,"slug":12623,"title":12624,"dynasty":88,"author":549,"museum":107,"description":10111,"tags":12625,"thumbUrl":12626,"material":751,"size":752,"collection":95,"collections":12627,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},289970,"zhen-su-tie-mi-fei-289970","真酥帖",[7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc33639ef80c2b03da6a61daf247878.jpg",[],{"id":12629,"slug":12630,"title":12631,"dynasty":88,"author":3014,"museum":107,"description":12632,"tags":12633,"thumbUrl":12634,"material":751,"size":752,"collection":95,"collections":12635,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":100},289763,"dong-shan-du-shui-tu-ma-yuan-289763","洞山渡水图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,92,24,25,75,50,27,113,53,51,878,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dbe032eb939aa2d084a741375cb0554.jpg",[],{"id":12637,"slug":12638,"title":12639,"dynasty":45,"author":12640,"museum":107,"description":12641,"tags":12642,"thumbUrl":12643,"material":751,"size":752,"collection":95,"collections":12644,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":100},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","宋旭","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,92,24,25,49,51,50,59,251,252,10417,458,555,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],{"id":12646,"slug":12647,"title":12648,"dynasty":88,"author":369,"museum":107,"description":12649,"tags":12650,"thumbUrl":12654,"material":751,"size":752,"collection":95,"collections":12655,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},289725,"liu-ya-lu-yan-tu-zhao-ji-289725","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,92,24,49,2645,50,27,111,1919,772,76,12651,12652,9076,77,7,12653],"大雁","鸦","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa7fe1a9da342eabc769e9f1cdda3f4.jpg",[],{"id":12657,"slug":12658,"title":12659,"dynasty":88,"author":7399,"museum":126,"description":12660,"tags":12661,"thumbUrl":12663,"material":784,"size":12664,"collection":314,"collections":12665,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},289326,"qian-tang-guan-chao-tu-li-song-289326","钱塘观潮图","此卷描给钱塘张潮时的壮阔景象。蒸腾鼓荡的海湖以排山倒海之势自江口流入，而江中弄潮的舟船正依次排开、逆水而上。两岸民居、城池，远山历历在目，笔法简括。 该画作用隐喻的手法表达了作者的爱国思想。",[23,92,24,49,25,50,27,51,3114,54,12662,60,7],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[314],{"id":12667,"slug":12668,"title":12669,"dynasty":2365,"author":12670,"museum":107,"description":12671,"tags":12672,"thumbUrl":12675,"material":751,"size":752,"collection":95,"collections":12676,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":100},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,92,24,25,49,111,27,29,12673,12674,116,132,30,1678,401,7,77],"鹌鹑","水禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],{"id":12678,"slug":12679,"title":12680,"dynasty":45,"author":10912,"museum":107,"description":12681,"tags":12682,"thumbUrl":12683,"material":312,"size":95,"collection":96,"collections":12684,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},240425,"wang-duo-shi-zhou-wang-duo-240425","王铎诗轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[4038,7,25,75,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38973f25a308f9343ab9f19300e7f3bb.jpg",[96],{"id":12686,"slug":12687,"title":12688,"dynasty":88,"author":308,"museum":107,"description":12689,"tags":12690,"thumbUrl":12691,"material":95,"size":95,"collection":96,"collections":12692,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},239687,"su-shi-san-ma-tu-zan-can-juan-su-shi-239687","苏轼三马图赞残卷","此卷笔墨丰腴厚重又不失灵动跳脱，行书笔意裹挟楷法筋骨，朴茂沉雄间自带旷达书卷气。将追思神骏的惘然寄于笔端，起落转合皆是率真性情。纸间朱印错落排布，与墨色题字相映成趣。残卷的斑驳痕迹晕开旧时光晕，笔墨情思与岁月质感交织相融，尺牍行间既有咏叹神骏的豪迈，又藏旧友追思的缱绻，尽显宋代文人书法的隽永意韵。",[49,60,7,77,25,1074,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4139420856c9df426a7a93e05413dd.jpg",[96],{"id":12694,"slug":12695,"title":10678,"dynasty":18,"author":12696,"museum":107,"description":12697,"tags":12698,"thumbUrl":12699,"material":751,"size":752,"collection":35,"collections":12700,"showCount":12604,"zanCount":882,"manualWeight":39,"mainColor":40},239154,"shan-shui-hua-hui-ce-chen-heng-ke-239154","陈衡恪","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[24,25,26,27,50,7,77,131,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef877738ff31c16dc13027b98f191b9.jpg",[35,63,218],{"id":12702,"slug":12703,"title":12704,"dynasty":18,"author":5242,"museum":126,"description":12705,"tags":12706,"thumbUrl":12707,"material":488,"size":12708,"collection":96,"collections":12709,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},237137,"qi-qiao-tu-ce-zhuang-zhou-ren-yi-237137","乞巧图册装轴","此幅描绘的是民间女子简朴的乞巧场景。任颐（1839-1896），初名润，字伯年。其父任声鹤为民间肖像画家，大伯父为任熊，二伯父为任薰，自幼善画，受民间版画影响深刻。1854-1855年，十五六歳时在上海卖画，模仿任熊作品沿街出卖，恰逢任熊路过，非但不怒，反而赏识其才华，招为弟子，传为逸话。1861年，太平天国进入绍兴时，父卒。曾被招入太平天国军当旗手战时麾之，以为前驱。其后天京（太平天国首都南京）陷落，返乡。1895年因资产丢失之痛及吸食鸦片引发肺炎而死。\n画风在练习铅笔速写后变得较为奔逸，晚年吸收华岩笔意，更简逸灵活。\n任伯年花鸟画的技巧更高，但人物画影响较大，原因大致是当时画人物画家少。",[24,25,26,27,113,114,111,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb981087f212936d0f96ab20398dbf4.jpg","34.5×34.5cm",[96],{"id":12711,"slug":12712,"title":12713,"dynasty":18,"author":830,"museum":107,"description":12714,"tags":12715,"thumbUrl":12716,"material":95,"size":95,"collection":95,"collections":12717,"showCount":12604,"zanCount":882,"manualWeight":39,"mainColor":100},234703,"she-se-hong-mei-lan-hua-shan-mian-wu-chang-shuo-234703","设色红梅兰花扇面","香骚遗意。老缶又涂于禅甓轩。缶（朱文） 迢迢雁落沙连海，滑滑禽言树抱轩。天似穹庐梅古雪，一年好事半淞园。躄一足如仙隔尘，澹云微雨去寻春。几生修到梅知否，临笑无端见美人。半淞园看梅。沽酒怡白云，吹笛坐黄犊。江花泊岸红，山雨下庭绿。题画。壶叟属书。丙寅夏，吴昌硕年八十三。苦铁良铁也。《周礼》：典丝……则受良工而藏之……郑云：良当作苦，则苦亦良矣。大聋。吴昌石（朱文）　苦铁（白文）",[24,25,1250,27,29,131,139,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa22462af8c7db2282cd725846a281295.jpg",[],{"id":12719,"slug":12720,"title":12721,"dynasty":45,"author":46,"museum":126,"description":485,"tags":12722,"thumbUrl":12724,"material":488,"size":489,"collection":95,"collections":12725,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},233839,"wo-you-tu-ce-bai-he-hua-shen-zhou-233839","卧游图册－百合花",[92,24,25,26,27,29,7,12723,238,239],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd177d95a67cb0c312fa86f838a680905.jpg",[],{"id":12727,"slug":12728,"title":12729,"dynasty":88,"author":3830,"museum":72,"description":12730,"tags":12731,"thumbUrl":12732,"material":312,"size":12733,"collection":95,"collections":12734,"showCount":12604,"zanCount":882,"manualWeight":39,"mainColor":100},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,25,49,111,27,1128,7,113,458,51,1074,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d948e2a41c077a21b8977f8e4dfb8a.jpg","30*386.55厘米",[],{"id":12736,"slug":12737,"title":12738,"dynasty":179,"author":1187,"museum":8802,"description":12739,"tags":12740,"thumbUrl":12741,"material":312,"size":12742,"collection":95,"collections":12743,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},232698,"gua-jia-tu-juan-qian-xuan-232698","瓜茄图卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,92,24,25,49,27,111,29,7,77,10925,239,7657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6384b84d66760e6e53124845392246.jpg","10.5×66.5cm",[],{"id":12745,"slug":12746,"title":12747,"dynasty":45,"author":12748,"museum":107,"description":12749,"tags":12750,"thumbUrl":12751,"material":751,"size":752,"collection":95,"collections":12752,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},228393,"shi-liu-luo-han-tu-juan-wu-bin-228393","十六罗汉图卷","吴彬","画卷为佛教人物题材，描绘释迦牟尼的得道弟子十六罗汉，卷首为明代书画家米万钟题引首：應真變現，卷末有汤宾尹书般若波罗蜜多心经。",[23,24,49,27,111,7,77,113,10664,56,57,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53a6c1c40c19bbcdc893c795d160448.jpg",[],{"id":12754,"slug":12755,"title":12756,"dynasty":179,"author":12757,"museum":107,"description":12758,"tags":12759,"thumbUrl":12762,"material":95,"size":95,"collection":95,"collections":12763,"showCount":12604,"zanCount":418,"manualWeight":39,"mainColor":40},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[23,24,25,49,110,111,27,7,77,113,458,56,567,834,12760,12761],"劳作","蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e1a06d4ccdb8d1b366fe00d978d814.jpg",[],{"id":12765,"slug":12766,"title":12767,"dynasty":88,"author":89,"museum":107,"description":12768,"tags":12769,"thumbUrl":12770,"material":95,"size":95,"collection":95,"collections":12771,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},227594,"xing-song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227594","行送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。\n著录于《装余偶记》卷五、《石渠宝笈初编》卷一。",[23,92,24,25,49,50,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29821737f2406a22c55be35d08a7b3fa.jpg",[],{"id":12773,"slug":12774,"title":12775,"dynasty":162,"author":1715,"museum":107,"description":12776,"tags":12777,"thumbUrl":12778,"material":95,"size":95,"collection":95,"collections":12779,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":100},227082,"da-tang-san-zang-sheng-jiao-xu-ji-chu-sui-liang-227082","大唐三藏圣教序記","《雁塔圣教序》亦称《慈恩寺圣教序》，唐代褚遂良书。楷书，共1463字。公元653年（唐永徽四年）立。共二石，均在陕西西安慈恩寺大雁塔下。前石为序，全称《大唐三藏圣教序》，唐太宗李世民撰文，褚遂良书，21行，行42字。后石为记，全称《大唐皇帝述三藏圣教记》，唐高宗李治撰文，褚遂良书。\n\n《雁塔圣教序》引领大唐楷书新格，书法史上褚遂良因此被重重地书上一笔。初唐三家——欧、虞、褚并称书坛，但真正地开启唐代楷书门户者，非褚氏遂良一人莫属。纵观唐中期的颜真卿、徐浩，莫不受其影响，可以说唐朝中后期书坛风貌是由褚遂良启导的，特别是《雁塔圣教序》更具有创新的时代意义。——王佑贵《褚遂良与〈雁塔圣教序〉》。",[1063,7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F590671c62213d188de0158f9b168790a.jpg",[],{"id":12781,"slug":12782,"title":12783,"dynasty":3087,"author":454,"museum":107,"description":12784,"tags":12785,"thumbUrl":12786,"material":751,"size":752,"collection":95,"collections":12787,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},226522,"san-guo-wei-huang-nv-can-bei-yi-ming-226522","三国魏皇女残碑","此碑为隶书撰刻",[23,198,7,1613,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942120fc2104c286911adf161e2542eb.jpg",[],{"id":12789,"slug":12790,"title":12791,"dynasty":88,"author":454,"museum":126,"description":12792,"tags":12793,"thumbUrl":12794,"material":184,"size":12795,"collection":95,"collections":12796,"showCount":12604,"zanCount":882,"manualWeight":39,"mainColor":100},223494,"chun-yan-tu-juan-quan-juan-yi-ming-223494","春宴图卷全卷","此图旧题“唐人春宴图”，为李世民创建文学馆，招纳贤才，杜如晦、房玄龄等被称为十八学士。此图绘十八学士集会宴饮的情景，图卷场面宏大，人物姿态各异，构图繁而不乱。",[23,24,25,49,111,27,113,1074,652,7062,7063,167,747,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5739e812fc48146e4bb8636f43c7fb7.jpg","23x573",[],{"id":12798,"slug":12799,"title":12800,"dynasty":45,"author":2206,"museum":648,"description":12801,"tags":12802,"thumbUrl":12803,"material":95,"size":12804,"collection":96,"collections":12805,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},222475,"du-fu-qiu-xing-ba-shou-zhi-yi-kun-ming-chi-shui-zhu-yun-ming-222475","杜甫秋兴八首之一昆明池水","释文：昆明池水汉时功，武帝旌旗在眼中。织女机丝虚夜月，石鲸鳞甲动秋风。波飘菰米 沉云黑,露冷莲房坠粉红。 关塞极天惟鸟道,江湖满地一渔翁 枝山",[23,7,25,398,50,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0796796b3151d6d2714112888fafc285.jpg","106.5 X37 cm",[96],{"id":12807,"slug":12808,"title":12809,"dynasty":88,"author":3830,"museum":126,"description":12810,"tags":12811,"thumbUrl":12812,"material":1179,"size":12813,"collection":95,"collections":12814,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,24,25,111,27,1128,51,458,1018,113,567,56,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":12816,"slug":12817,"title":8876,"dynasty":88,"author":8877,"museum":648,"description":8878,"tags":12818,"thumbUrl":12821,"material":184,"size":12822,"collection":95,"collections":12823,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":100},221318,"sha-ting-yan-shu-tu-hui-chong-221318",[23,24,50,51,60,77,12819,56,116,12820,7],"沙岸","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f44e1b10f5849bbce3c7e94e0ad3cb.jpg","纵24cm，横25cm",[],{"id":12825,"slug":12826,"title":12827,"dynasty":88,"author":5902,"museum":126,"description":9084,"tags":12828,"thumbUrl":12829,"material":312,"size":9087,"collection":95,"collections":12830,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},221233,"dao-fu-zan-juan-quan-juan-di-er-duan-fan-zhong-yan-221233","道服赞卷全卷-第二段",[23,7,199,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdbf0e7b99ee7c1648bc77cfec7a2ee.jpg",[],{"id":12832,"slug":12833,"title":12834,"dynasty":662,"author":9670,"museum":8651,"description":12835,"tags":12836,"thumbUrl":12837,"material":591,"size":95,"collection":95,"collections":12838,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},220517,"xing-shu-suo-nan-weng-shi-xu-bei-hong-220517","行书（所南翁诗）","此作用笔爽利劲挺，起收果断，融北碑雄健与行书灵动于一体，线条粗细变化自然，带着舒展刚劲的力道。\n安贫乐道的诗句意趣，与笔墨相得益彰。布局错落疏朗，行气连贯，字势顾盼有情，既有文人书法的温雅隽秀，又藏着沉厚雄强的筋骨。笔底带着冲淡平和的悠然意境，将诗意与书韵相融，尽显从容自在的文人品格，是兼具才情与风骨的书作精品。",[7,60,50,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b1e891b4a330ed8bde106d82682e4f.jpg",[],{"id":12840,"slug":12841,"title":12842,"dynasty":18,"author":12843,"museum":126,"description":12844,"tags":12845,"thumbUrl":12846,"material":33,"size":12847,"collection":171,"collections":12848,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},219635,"song-zhi-jing-ting-song-feng-tu-liu-yu-219635","宋致静听松风图","柳遇","图中宋致头戴纱帽，身着长衫，临溪倚石侧坐，神情端凝。身后古松参天，枝繁叶茂，与怪石嶙峋、小草幽篁、溪水潺潺的景致形成高矮、动静的对比，有极强的视觉效果，强化了人物的宁静祥和，烘托了听松的主题。\n据《商邱县志》记载：宋致，字穉佳，商邱人。举乡贡，游太学，官至四川总藩、湖南布政使。性情慷慨轻财，有政事，录《可竹居诗集》。\n图中人物用勾填法表现，面部稍加晕染，衣纹飘逸，线条简洁，形象传神，突出了主人公朴实无华的个性与平和自然的心态。",[23,24,25,75,27,113,133,589,7,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8818a7ad2c54fb07fbd6b17a7bcbd712.jpg","纵102厘米，横44.6厘米",[171],{"id":12850,"slug":12851,"title":12852,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":12853,"thumbUrl":12854,"material":79,"size":95,"collection":95,"collections":12855,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},216381,"mo-zhu-pu-ce-8-wu-zhen-216381","墨竹谱册-8",[24,25,26,50,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173eab88d81fef18e3753034dd77f964.jpg",[],{"id":12857,"slug":12858,"title":12859,"dynasty":18,"author":454,"museum":72,"description":12860,"tags":12861,"thumbUrl":12865,"material":169,"size":95,"collection":63,"collections":12866,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":40},214618,"yu-ti-mian-hua-tu-ce-dan-hua-yi-ming-214618","御题棉花图册-弹花","御题棉花图册是一本清代的册页艺术作品，其中包含了一系列用棉花制作的图案。这本册子是在皇帝的指示下制作的，因此被称为“御题”，意思是“皇帝指示”。\n\n这本册子是在清代早期制作的，具体时间不详。它由多位艺术家共同创作，但是由于当时记录不够完整，我们无法确定具体的作者名字。\n\n这本册子的图案涵盖了许多不同的主题，包括自然景观、动物、人物以及传统的中国图案。所有的图案都是用棉花制作的，并且由多种颜色组成。这种艺术技巧叫做“棉花画”，是一种古老而传统的中国艺术形式。\n\n御题棉花图册是一件非常珍贵的艺术品，因为它是清代皇帝的御制作品，并且因为棉花画技巧的稀罕性而具有极高的收藏价值。如果你有机会看到这本册子，一定要好好欣赏它的精美图案和精湛的艺术技巧。",[24,27,111,26,7,60,113,58,56,12862,12863,12864],"田地","工具","弹花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33edd5a769c0f5c1f335b8b6bcdd6019.jpg",[63],{"id":12868,"slug":12869,"title":12870,"dynasty":18,"author":12871,"museum":72,"description":12872,"tags":12873,"thumbUrl":12874,"material":79,"size":12875,"collection":96,"collections":12876,"showCount":12604,"zanCount":39,"manualWeight":39,"mainColor":100},214315,"xing-shu-ling-hu-chu-shi-er-shou-pan-zu-yin-214315","行书令狐楚诗二首","潘祖荫","笔势流转间，行书的灵动与碑意的沉厚交织。线条粗细跌宕，如枯藤缠石，亦如流泉奔涌，墨色浓淡相宜，干湿互见，显见运笔时的从容与挥洒。结体或欹或正，顾盼有情，字间牵丝映带，既守规矩又不失活脱，似将诗中意境化入点画。章法疏朗有致，行气连贯如行云流水，每一行的节奏起伏与整体和谐感相契，读来如沐春风，又觉骨力内蕴。整幅作品于潇洒中见沉稳，灵动中藏古雅，尽显书家笔底功夫与文人气息，是清代行书佳作里兼具韵致与力道的代表，观之令人心折。",[23,7,60,50,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e32c6f9898ef196263738f087c6b30.jpg","120.4x47",[96],{"id":12878,"slug":12879,"title":12880,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":12881,"thumbUrl":12882,"material":751,"size":752,"collection":95,"collections":12883,"showCount":220,"zanCount":882,"manualWeight":39,"mainColor":40},290839,"wan-he-qiu-ting-zhou-ni-zan-290839","万壑秋亭轴",[92,24,25,75,50,59,51,55,588,57,267,7,77,2061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c7a50eb639fedf1d8803cb1242ca91.jpg",[],{"id":12885,"slug":12886,"title":12887,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":12888,"thumbUrl":12890,"material":751,"size":752,"collection":95,"collections":12891,"showCount":220,"zanCount":882,"manualWeight":39,"mainColor":40},289902,"xu-ri-dong-sheng-tu-zhou-wu-chang-shuo-289902","旭日东升图轴",[23,92,24,75,50,27,51,12889,57,56,53,52,7,77],"旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65e6d2f8218f3eddaa72aa0e1894bdb.jpg",[],{"id":12893,"slug":12894,"title":12895,"dynasty":88,"author":8877,"museum":107,"description":12896,"tags":12897,"thumbUrl":12900,"material":751,"size":752,"collection":95,"collections":12901,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},289348,"qiu-pu-shuang-yuan-tu-hui-chong-289348","秋浦双鸳图","图中右下角池塘边画芦苇数株、败荷及野花丛草：中景处，有一对鸳鸯栖息于河沿边，雄者披着一身美羽昂首站立远望，又似在护卫伴侣；雌者扭头栖息在侧旁，两只鸳鸯含情传神，有声有色。远处是岸际及开阔的天空，全画给人——种秋天虚旷潇洒的气氛，具有涛一般的意境。",[92,24,25,29,111,27,12898,772,2061,12899,7,77],"鸳鸯","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4561824c51db046604dc357bd9c9a1f.jpg",[],{"id":12903,"slug":12904,"title":12905,"dynasty":18,"author":2378,"museum":107,"description":12906,"tags":12907,"thumbUrl":12908,"material":751,"size":752,"collection":95,"collections":12909,"showCount":220,"zanCount":882,"manualWeight":39,"mainColor":40},288830,"mei-hua-mu-dan-shi-hua-juan-gao-feng-han-288830","梅花牡丹诗画卷","高凤翰（1683—1749年），字西园，号南村，自号南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州。擅画山水、花卉。山水师法宋人，近赵令穰、郭熙一派。55岁左右，右手病疫改用左手，更号“尚左生”刻印“丁巳残人”。其画具有宋人雄浑之神，元人静逸之气。秦祖永《桐荫论画》评道：“离奇超妙，脱尽笔墨畦径，法备趣足，虽不规规于法，而实不离于法。”",[23,92,24,25,49,50,29,131,135,398,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1137d6b12560322e8e67b8b86649204c.jpg",[],{"id":12911,"slug":12912,"title":12913,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":12914,"thumbUrl":12916,"material":751,"size":752,"collection":95,"collections":12917,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},288452,"fu-yang-da-ling-tu-zhu-da-288452","富阳大岭图",[23,24,25,50,51,59,12915,152,56,7,77],"山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e6667484c88095860699a15fea24f.jpg",[],{"id":12919,"slug":12920,"title":12921,"dynasty":162,"author":12922,"museum":107,"description":11292,"tags":12923,"thumbUrl":12924,"material":751,"size":752,"collection":95,"collections":12925,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},287570,"lin-wang-xi-zhi-zhang-feng-tie-zhe-sui-liang-287570","临王羲之长风帖","禇遂良",[92,25,7,60,110,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0318649cc6a683133886d12f2cbf63c5.jpg",[],{"id":12927,"slug":12928,"title":12929,"dynasty":88,"author":549,"museum":107,"description":12930,"tags":12931,"thumbUrl":12932,"material":751,"size":752,"collection":95,"collections":12933,"showCount":220,"zanCount":882,"manualWeight":39,"mainColor":40},287364,"xiang-tai-hou-wan-ci-tie-mi-fei-287364","向太后挽词帖","向太后为宋神宗赵项皇后，赵项死后，哲宗赵煦一即位，被尊为皇太后，卒于1101年。此帖即书于此年，米芾时五十一岁。此帖副页有明董其昌临“向太后挽辞”及跋，曾经明代陈继儒、项元沛，清代孙慎行、徐渭仁、缪荃孙、朱益藩等二十八家观题。著录于明何良俊《何氏书画铭心录》、汪坷玉《珊瑚网书跋》、郁逢庆《郁氏书画题跋记》、陈继儒《妮古录》、张丑《清河秘岌表》，清顾复《平生壮观》、吴其贞《吴氏书画记》、卞永誉《式古堂书画汇考》、崇彝《选学斋书画寓目记》、完颜景贤《三虞堂书画汇目》等书。此《挽词》“本为端方所藏，后归景朴孙，又归袁珏生。袁去世后，转入鄞人周湘云手。闻与耶律楚材诗卷，均入故宫博物院矣”。现藏北京故宫博物院。",[23,7,60,200,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ea96b275989ce49b4581da1c82602c.jpg",[],{"id":12935,"slug":12936,"title":12937,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":12938,"thumbUrl":12940,"material":751,"size":752,"collection":95,"collections":12941,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},287350,"min-jiang-chun-se-tu-shi-tao-287350","岷江春色图",[23,24,25,1328,50,27,59,251,56,152,54,7,60,77,12939],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff493d294fe1e9a424e15c0a58ebbf15b.jpg",[],{"id":12943,"slug":12944,"title":12945,"dynasty":88,"author":7001,"museum":107,"description":12406,"tags":12946,"thumbUrl":12947,"material":751,"size":752,"collection":95,"collections":12948,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},240693,"tie-ye-cai-jing-240693","帖页",[2601,25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64d143e58aed1ff217ff8376420b17e2.jpg",[],{"id":12950,"slug":12951,"title":12952,"dynasty":18,"author":10264,"museum":107,"description":12953,"tags":12954,"thumbUrl":12956,"material":312,"size":95,"collection":96,"collections":12957,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},240414,"lin-tie-si-tiao-ping-lin-ze-xu-240414","临帖四条屏","林則徐（1785年8月30日 [54] －1850年11月22日），字元撫，又字少穆、石麟，晚號俟村老人、俟村退叟、七十二峯退叟、瓶泉居士、櫟社散人等 ，福建侯官縣人，清代中期政治家、文學家、思想家，民族英雄。\n林則徐是嘉慶十六年（1811年）進士，歷官翰林編修、江蘇按察使、東河總督、江蘇巡撫、湖廣總督等職。道光十九年（1839年），以欽差大臣赴廣東禁煙時，派人明察暗訪，強迫外國鴉片商人交出鴉片，並將沒收鴉片於虎門銷燬。該事件被認為是第一次鴉片戰爭的導火線。戰爭爆發不久，林則徐被構陷革職，發往新疆戍邊。道光二十五年（1845年）重獲起用，歷任陝甘總督、陝西巡撫、雲貴總督等職，加太子太保。道光三十年（1850年），林則徐在奉命鎮壓拜上帝會起事途中，病逝於潮州普寧。獲贈太子太傅，諡號“文忠”。有《林文忠公政書》等作品傳世。\n林則徐一生遍歷地方，治績卓著。雖在兩廣抗擊西方入侵，但對於西方的文化、科技和貿易則持開放態度，主張學其優而用之。他至少略通英、葡兩種外語，且着力翻譯西方報刊和書籍。他主持編譯的《四洲志》及魏源編撰的《海國圖志》，對晚清的洋務運動乃至日本的明治維新都具有啓發作用。",[18,7,60,110,50,312,12955,77,25,24],"屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[96],{"id":12959,"slug":12960,"title":12961,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":12962,"thumbUrl":12963,"material":751,"size":752,"collection":95,"collections":12964,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},239871,"qi-lv-zhou-xu-wei-239871","七律轴",[45,7,75,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc005f883ee27f9e4510a7c83aa66459a.jpg",[],{"id":12966,"slug":12967,"title":12968,"dynasty":45,"author":4882,"museum":107,"description":12969,"tags":12970,"thumbUrl":12971,"material":95,"size":95,"collection":35,"collections":12972,"showCount":220,"zanCount":882,"manualWeight":39,"mainColor":40},239420,"hua-zhu-zhou-chen-qin-239420","画竹轴","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，",[24,25,75,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf9f100d12ff5ef9f1a592126067433.jpg",[35],{"id":12974,"slug":12975,"title":12976,"dynasty":18,"author":10010,"museum":107,"description":12977,"tags":12978,"thumbUrl":12979,"material":95,"size":95,"collection":95,"collections":12980,"showCount":220,"zanCount":882,"manualWeight":39,"mainColor":40},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[24,25,49,51,50,27,651,845,1018,1678,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],{"id":12982,"slug":12983,"title":2153,"dynasty":45,"author":8261,"museum":107,"description":12984,"tags":12985,"thumbUrl":12986,"material":95,"size":95,"collection":96,"collections":12987,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},237692,"lan-hua-zhou-chen-yuan-su-237692","此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。明谓王榖祥、周天球所不及。",[24,25,75,50,139,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b3d1371231d23485ff81501fc628a7.jpg",[96],{"id":12989,"slug":12990,"title":12991,"dynasty":45,"author":342,"museum":126,"description":12992,"tags":12993,"thumbUrl":12994,"material":9980,"size":12995,"collection":95,"collections":12996,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},233796,"lan-hua-tu-wen-zheng-ming-233796","兰花图","此图绘兰花与荆棘相伴而生的田野风光。文氏以挥洒豪放的笔墨，表现兰叶摇曳之美；以迟缓的中锋运笔，表现荆棘的坚韧而多刺。在一件作品中将不同的物象施以迥异的笔法，由此可见文氏所具的高超绘画技法。",[24,1250,50,2018,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad7f5e71de08d28870f10ffda834f80.jpg","纵16.8厘米，横50.9厘米",[],{"id":12998,"slug":12999,"title":13000,"dynasty":88,"author":278,"museum":126,"description":13001,"tags":13002,"thumbUrl":13003,"material":184,"size":13004,"collection":95,"collections":13005,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},232993,"nan-tang-wen-hui-tu-ye-zhao-chang-232993","南唐文会图页","《南唐文会图》为宋人作品。无款。裱边题签“赵昌南唐文会”。对幅乾隆御笔题诗：“南唐虽僻立，亦自尚文规。簪佩徜徉处，图书左右披。东瀛前拟法，西雅后开师。位置增精密，晩年还蜀为。”\n图绘南唐文士聚会场面。园林中绿树葱茏，芭蕉成林，中设一大案，数位文人雅士围于案旁，又有婢女仆从侍立在旁。",[24,25,26,27,111,51,113,56,55,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62beb2752eec01d037f48c6dd6e055ad.jpg","30.4X29.6cm",[],{"id":13007,"slug":13008,"title":13009,"dynasty":162,"author":794,"museum":8802,"description":13010,"tags":13011,"thumbUrl":13013,"material":184,"size":13014,"collection":95,"collections":13015,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":100},232625,"xi-cheng-gui-le-tu-juan-han-huang-232625","西成归乐图卷","一说风俗画，各位可别想歪了哈，这风俗画其实是以社会风气习俗为题材的绘画，表现的可能是某地某时的社会活动、风物特产，或是时令气候，风俗画虽然被归在人物画的范畴下，但却具有独特的艺术魅力，要比一般的人物画有意思的多。\n其实，最有名的风俗画便是张择端所绘制的《清明上河图》了，描绘了北宋汴京一带的风景、城郭、市肆、村舍，以及人们的生产生活，是一幅精美绝伦的风俗画巨制，流传至今，备受瞩目。但是今天，我们不说他。\n目前还能见到的风俗画雏形，是各地出土的汉代画像砖，这些图像涉及歌舞宴乐、狩猎农桑等一系列民众活动，直观再现了汉代下至民间百姓，上至贵族的真实生活。\n有表现劳动生产的，如播种、收割、舂米、酿造、盐井、桑园放牧等，有描绘社会风俗的如宴乐、杂技、舞蹈等，有神话故事如西王母、月宫等，还有表现统治阶级车马出行的。\u2028 风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,24,25,49,111,112,113,797,1074,6129,13012,7,77,60],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":13017,"slug":13018,"title":13019,"dynasty":45,"author":744,"museum":107,"description":13020,"tags":13021,"thumbUrl":13022,"material":95,"size":95,"collection":95,"collections":13023,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[92,24,25,49,50,27,59,60,7,77,113,51,1018,115,57,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":13025,"slug":13026,"title":13027,"dynasty":88,"author":8147,"museum":107,"description":13028,"tags":13029,"thumbUrl":13030,"material":95,"size":95,"collection":95,"collections":13031,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},230862,"li-dou-tie-cai-xiang-230862","离都帖","《离都帖》，又名《致杜君长官尺牍》， ，行书，纸本，纵29.2cm，横46.8cm， 作品，书于155年。\n该帖书法丰腴厚重处似颜真卿，兼有 行草之俊秀。\n中国 藏 。\n襄启。\n自离都至南京。\n长子匀感伤寒七日。\n遂不起此疾。\n南归殊为荣幸。\n不意灾祸如此。\n动息感念。\n哀痛何可言也。\n承示及书。\n并永平信。\n益用凄恻。\n旦夕渡江。\n不及相见。\n依咏之极。\n谨奉手启为谢。\n不一一。\n襄顿首。\n杜君长官足下。\n七月十三日。\n贵眷各佳安。\n老儿已下无恙。\n永平已曾于递中。\n驰信报之。\n此帖乃蔡襄即将渡长江“南归”途中所书，追述离都（开封）行至南京（今商丘）而痛失长子。\n友人来信慰问，襄作此书答谢。\n蔡襄（112－167），字君谟。\n其先本光州人，居仙游（今属 省），迁甫田。\n官至端明殿学士，知杭州，谥忠惠。\n工正、行、草、隶书，又能飞白书，尝以散笔作草书，称为“散草”或“飞草”。\n书法学 、 ，并取法 人。\n世人评蔡襄行书第一，小楷第二，草书第三。\n与苏轼、黄庭坚、米芾，共称“ ”，誉满书苑。",[7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafffa824fbc4214de71bced66eb5f727.jpg",[],{"id":13033,"slug":13034,"title":13035,"dynasty":18,"author":506,"museum":107,"description":13036,"tags":13037,"thumbUrl":13038,"material":95,"size":95,"collection":95,"collections":13039,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":789},230855,"lian-jin-nong-230855","联","此作以漆书成字，用墨浓重如泼，字形方朴奇崛似刀削斧凿，笔力苍浑老辣。每字排布开张错落，“非”字敦厚沉凝，“佛”“仙”字形简古开张，钝重横画与尖劲出锋形成强烈反差，尽显汉碑古拙气度。左侧题款以灵动草书搭配，与正文沉厚漆书形成动静对照，拙雅相映，自带金石意趣。\n\n整体苍古高华，将隶书的庄重浑穆与个人奇逸审美相融，自出机杼，尽显碑学风尚下的艺术新意，朴茂沉雄之间藏着清逸古雅的文人意趣。",[7,2136,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf774f2af00992fdf4d936d7ab248b5.jpg",[],{"id":13041,"slug":13042,"title":13043,"dynasty":18,"author":411,"museum":107,"description":13044,"tags":13045,"thumbUrl":13046,"material":95,"size":95,"collection":95,"collections":13047,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},228986,"yuan-ming-shi-yi-ce-ye-shi-tao-228986","渊明诗意册页","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。\n绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。\n他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。\n石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。\n画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。\n此图结构精巧，人物用笔细密。\n远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。\n这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。\n老者远望青山，脚下溪水流淌。\n面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。\n画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。\n构图采用一水两岸的自然分疆法。\n画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。\n与 、 、 合称“清初四僧”。\n早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[24,25,26,27,59,60,51,58,56,10784,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2d3809eadb6e757b646a89b366f1d6.jpg",[],{"id":13049,"slug":13050,"title":13051,"dynasty":45,"author":13052,"museum":107,"description":13053,"tags":13054,"thumbUrl":13055,"material":751,"size":752,"collection":95,"collections":13056,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","长江万里图卷","戴进","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,92,24,25,49,7,50,27,59,1328,51,9322,251,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":13058,"slug":13059,"title":13060,"dynasty":179,"author":12757,"museum":107,"description":13061,"tags":13062,"thumbUrl":13065,"material":95,"size":95,"collection":95,"collections":13066,"showCount":220,"zanCount":882,"manualWeight":39,"mainColor":40},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,24,25,49,110,27,111,7,77,113,797,12029,13063,12862,56,53,13064,52],"农舍","稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":13068,"slug":13069,"title":13070,"dynasty":88,"author":89,"museum":107,"description":13071,"tags":13072,"thumbUrl":13073,"material":95,"size":95,"collection":95,"collections":13074,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},227591,"lian-po-lin-xiang-ru-lie-zhuan-huang-ting-jian-227591","廉颇蔺相如列传","黄庭坚书法《廉颇蔺相如传》白纸本，纵32.5厘米，横1822厘米。美国纽约大都会博物馆藏 。\n\n此卷为黄庭坚书《史记．廉颇蔺相如列传》，文中有节略。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”、“绍兴”连珠印、 “内省斋”、“秋壑图书”、欧阳玄印”、“项子京家珍藏”、等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n\n草书发展到盛唐，狂草成熟，在流动中求得笔法、节奏、线条、结构的丰富变化，成为草书不可移易的定则。黄庭坚是钦服唐人狂草的，对张旭、怀素都有会心之论，自言“得藏真（怀素）自叙于石杨休家，谛观数日，恍然自得，落笔便觉超异”。\n无疑，黄庭坚对草书笔法的深刻认识和掌握，当是“得张长史、僧怀素、高闲墨迹，乃窥笔法之妙”的。他在《跋此君轩诗》中写道：“近时士大夫罕得古法，但弄笔左右缠绕，遂号为草书可，不知蝌蚪、篆、隶同法同意。数百年来，唯张长史、永州狂僧怀素及余三人悟此法可。苏才翁有悟处而不能尽其宗趣，其余碌碌耳。”\n\n以黄庭坚的颖悟与才力，不至领会不到唐人草书的要义，然而他的草书却一改唐人旧法，速度放慢，略加顿挫，在许多地方放弃线条的连续而着意于空间的摆布，结果形成与唐人迥然不同的一种风格，“草书之法，至此又一变矣”（姜夔语）。黄庭坚的草书，线条中奔放的气势当然不能与唐人相比，但空间结构所表现出来的气度和变化的丰富性，却不让于唐人。\n\n黄庭坚不饮酒，其作草全在心悟，以意使笔。然其参禅妙悟，虽多理性使笔，也能大开大合，聚散收放，进入挥洒之境。而其用笔，相形之下更显从容娴雅，虽纵横跌宕，亦能行处皆留，留处皆行。\n有学者评：“黄庭坚引鹤铭入草，雄强逸荡，境界一新”。黄庭坚所作诸草书帖，乃真得其妙理，也正由此，黄庭坚开创出了中国草书的又一新境。",[2601,7,398,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a8127995eb55ccdd242d64d3f5390a.jpg",[],{"id":13076,"slug":13077,"title":13078,"dynasty":1609,"author":454,"museum":107,"description":13079,"tags":13080,"thumbUrl":13083,"material":751,"size":752,"collection":95,"collections":13084,"showCount":220,"zanCount":882,"manualWeight":39,"mainColor":40},226539,"xi-ping-shi-jing-shang-shu-can-shi-yi-ming-226539","熹平石经尚书残石","汉代地下墓室、墓地祠堂、墓阙和庙阙等建筑上雕刻画像的建筑构石。所属建筑，绝大多数为丧葬礼制性建筑，因此，本质上汉画像石是一种祭祀性丧葬艺术。画像石不仅是汉代以前中国古典美术艺术发展的巅峰，而且对汉代以后的美术艺术也产生了深远的影响，在中国美术史上占有承前启后的重要地位。",[23,1612,1613,198,7,3423,13081,1498,13082],"残石","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf339de84418cccc449d6a629987a275.jpg",[],{"id":13086,"slug":13087,"title":13088,"dynasty":18,"author":2301,"museum":72,"description":13089,"tags":13090,"thumbUrl":13091,"material":312,"size":13092,"collection":63,"collections":13093,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},224122,"qing-gao-zong-yu-bi-kai-tai-shuo-bing-fang-ming-xuan-zong-kai-tai-tu-zhou-qian-long-224122","清高宗御笔开泰说并仿明宣宗开泰图轴","该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作。\n“三阳开泰”词意源出于《易经》：“正月为泰卦，三阳生于下”，取其冬去春来，阴消阳长，表示佳运即将开始，是新年吉祥的贺词。“三阳”取其谐音写生绵羊三只，母羊与小羊表情动人；配景的花石，用笔自由写意，乃出自于乾隆朝翰林词臣画家邹一桂（1686－1772）之手。邹一桂生于江苏无锡，雍正五年（1727）进士，官至礼部侍郎。",[23,24,75,27,111,798,6951,250,1739,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4c9e77f35eea21414f4325ecb0cef4.jpg","127.7×63厘米",[63,187],{"id":13095,"slug":13096,"title":13097,"dynasty":45,"author":4035,"museum":72,"description":13098,"tags":13099,"thumbUrl":13100,"material":312,"size":13101,"collection":95,"collections":13102,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},222457,"li-shu-gui-qu-lai-ci-zhou-shen-du-222457","隶书归去来辞轴","《归去来辞》是东晋诗人陶渊明的名作，文中表达淡泊名利，追求圆满自足的田园之乐，向来是文人雅士嚮往的理想境界。此幅隶书用笔劲健，点画平齐规律，或是想要以拙朴有古意的书体，传达千载以前陶诗的意境。",[4038,7,25,75,1613,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f51da867c7f977aefcd7184026e97.jpg","52 x 24.6cm",[],{"id":13104,"slug":13105,"title":13106,"dynasty":45,"author":5386,"museum":2692,"description":7421,"tags":13107,"thumbUrl":13108,"material":312,"size":13109,"collection":96,"collections":13110,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},222314,"shi-hu-ba-jue-shi-juan-wang-chong-222314","石湖八绝诗卷",[23,7,60,49,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04e45f745a3d97883196f288820ebaa.jpg","30cm×307cm",[96],{"id":13112,"slug":13113,"title":13114,"dynasty":45,"author":5386,"museum":107,"description":13115,"tags":13116,"thumbUrl":13117,"material":312,"size":13118,"collection":96,"collections":13119,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},222312,"za-shi-wang-chong-222312","杂诗","其书飞动流转，气度不凡，行笔急速，字距疏密相同，通篇作品给人以拙而不滞、巧而不媚的感觉，可谓是上乘之作。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411f8420955b21e3af027f4497c1e2af.jpg","纵28.8厘米，横25.4厘米",[96],{"id":13121,"slug":13122,"title":13123,"dynasty":45,"author":46,"museum":20,"description":13124,"tags":13125,"thumbUrl":13126,"material":1179,"size":13127,"collection":95,"collections":13128,"showCount":220,"zanCount":882,"manualWeight":39,"mainColor":40},222131,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222131","雨江名胜图册","此图是描绘长江淮河两岸名胜风景的册页，共十幅，每幅对页有沈周自题七绝一首，并有友人文嘉、王穉登等人题和诗。画面皆剪裁简明，情景融合，却构成诗意盎然的境界。用笔质朴、凝重，山峦的 繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[23,24,25,26,27,51,458,56,55,7,77,59,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674619dee4ce4fad476bb3400d91654b.jpg","纵42.2厘米，横23.8厘米",[],{"id":13130,"slug":13131,"title":13132,"dynasty":179,"author":12485,"museum":20,"description":13133,"tags":13134,"thumbUrl":13135,"material":312,"size":13136,"collection":96,"collections":13137,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":789},221843,"zhen-jing-an-mu-yuan-shu-juan-shu-yang-wei-zhen-221843","真镜庵募缘疏卷书","《真镜庵募缘疏卷》是杨维桢的行草书佳作。作者晚年与僧道交往频繁，经常出入于寺庙道院，此卷特地为真镜庵募缘所撰写。其书章局变化丰富，随意而奇崛，用笔力遒韵稚，笔法跳宕，竭尽一唱三叹、回肠荡气的能事。用墨浓淡互济，干湿对比强烈，表现出作者的强烈的艺术个性，怪癖性格的极度张扬。",[23,92,24,25,49,7,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[96],{"id":13139,"slug":13140,"title":13141,"dynasty":105,"author":637,"museum":72,"description":13142,"tags":13143,"thumbUrl":13144,"material":95,"size":13145,"collection":96,"collections":13146,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},221033,"jiu-ta-cheng-qing-tang-tie-wang-xi-zhi-221033","旧榻澄清堂帖","此帖是由王羲之写给其友人，一般认为原帖已不存在，现存本应为唐代摹本。明代鉴赏家詹景凤认为赵孟𫖯行书受到此帖影响。\n明、清年间，为降清明官冯铨所藏有。康熙十八年（1679年），冯铨之子冯源济将此墨本呈献给皇帝，在乾隆十一年（1746年）与王献之的《中秋帖》以及王珣的《伯远帖》合称“三希”，一起放在宫内“三希堂”中，成为“三希堂”第一珍品。到1795年间，乾隆皇帝共亲自御笔题识71则，晚年因视力不佳，改由董诰代笔三则，可见乾隆皇帝对此帖之热爱。",[7,60,198,200,25,92,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7f48f45d5e7d02a716822e97bc91d6.jpg","41.2x57厘米",[96,802],{"id":13148,"slug":13149,"title":13150,"dynasty":105,"author":13151,"museum":72,"description":13152,"tags":13153,"thumbUrl":13154,"material":26,"size":13155,"collection":802,"collections":13156,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":207},221012,"bei-song-ta-jiang-tie-ba-ce-liu-ling-221012","北宋榻绛帖 （八）册","刘伶","一醉能醉三年？刘伶不信这个邪。他走进酒馆，问杜康要酒喝，杜康给了他一杯、两杯、三杯，不断地劝他别喝多了。刘伶不依不饶，三杯下肚，顿觉天旋地转，连忙道别。\n刘伶跌跌撞撞回到了家，对妻子交代：「我若死，就埋在酒池内，用酒盅酒壶陪葬。」说完，就人事不知，连呼吸也没有了。刘伶妻子以为他死了，痛哭不已。后来，照刘伶的「遗愿」，妻子安葬了他。\n三年后，杜康来到刘伶家，说是来讨要酒钱的。刘伶的妻子又气又恨，恨杜康给刘伶喝酒喝死了人，要拉杜康去见官。不料，杜康却说：「你的丈夫并没有死，他只是醉了。不信你们把棺材打开。」\n众人将信将疑，如杜康所言，开棺查看。果真见刘伶面色红润，栩栩如生。只听杜康高声叫道：「刘伶醒来，刘伶醒来！」棺材里的刘伶伸了一下懒腰，打个哈欠，居然真的活过来了，嘴里还说道：「好酒，好酒！」",[198,7,200,26,77,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437251458fa66f869ebc603ef68c9564.jpg","28.3x33.8 厘米",[802],{"id":13158,"slug":13159,"title":13160,"dynasty":105,"author":13161,"museum":72,"description":13162,"tags":13163,"thumbUrl":13164,"material":26,"size":13165,"collection":802,"collections":13166,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":100},221011,"yuan-jin-tie-xi-chao-221011","远近帖","郗超","郗超（336年～378年），字景興，一字敬輿，小字嘉賓，高平金鄉（今山東省金鄉縣）人，東晉官員、書法家、佛學家，太尉郗鑑之孫，會稽內史郗愔之子。\n郗超出身於高平郗氏，歷任撫軍掾、徵西椽、大司馬參軍、散騎侍郎、中書侍郎、司徒左長史等職。他是桓温謀主，曾勸説桓温廢帝立威。桓温因不肯採納他的建議，在第三次北伐時大敗而回。桓温死後因母喪辭去司徒左長史之職，後被起復為散騎常侍、此後又授任宣威將軍、臨海太守等職，郗超都沒有接受。太元二年十二月病逝，時年四十二歲。\n郗超善長草書，亞於二王，《書品》將其書法定為中品。他還精通佛學，著有《奉法要》，被支道林等名僧譽為“一時之俊”。",[7,198,60,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccbd29ef8c81c0d424a93fbfb5fded7f.jpg","35.8x43.6厘米",[802],{"id":13168,"slug":13169,"title":13170,"dynasty":45,"author":46,"museum":442,"description":13171,"tags":13172,"thumbUrl":13173,"material":79,"size":13174,"collection":63,"collections":13175,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},220083,"yi-zhu-tu-shen-zhou-220083","移竹图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,49,50,59,60,77,1689,132,57,56,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[63],{"id":13177,"slug":13178,"title":13179,"dynasty":179,"author":13180,"museum":72,"description":13181,"tags":13182,"thumbUrl":13183,"material":79,"size":13184,"collection":35,"collections":13185,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","张中","图绘折枝桃花，枝上栖一禽鸟。画家用墨直接点写出枝叶，桃花或勾或点，禽鸟略加勾染。构图、用笔都很疏简，较王渊的墨笔花鸟更为简逸，近于写意的画法，亦属墨戏之作。画幅上有杨维桢、范公亮等十余人题咏。",[24,25,50,29,137,693,238,7,60,398,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[35],{"id":13187,"slug":13188,"title":13189,"dynasty":45,"author":441,"museum":72,"description":13190,"tags":13191,"thumbUrl":13192,"material":169,"size":13193,"collection":63,"collections":13194,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[24,25,75,50,59,51,55,6139,652,58,77,7,60,116,12229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[63],{"id":13196,"slug":13197,"title":13198,"dynasty":45,"author":13199,"museum":20,"description":13200,"tags":13201,"thumbUrl":13202,"material":79,"size":13203,"collection":171,"collections":13204,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},219409,"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[45,24,25,49,878,112,113,57,56,77,7,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[171],{"id":13206,"slug":13207,"title":13208,"dynasty":45,"author":13209,"museum":126,"description":13210,"tags":13211,"thumbUrl":13212,"material":169,"size":13213,"collection":171,"collections":13214,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":100},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","吕纪","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 大吕 和 小吕。吕纪以画花鸟著称，这幅画的背景是鸟和树，整齐好看，接近吕纪的风格；吕文英擅长人物，线条沉稳，脸部轮廓平实，形态逼真，五官分明，与吕文英的风格相似",[23,24,25,49,27,111,113,132,133,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee6afe5130a0922557acf3dd49180a0.jpg","33.8x395.4",[171],{"id":13216,"slug":13217,"title":13218,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":13219,"thumbUrl":13220,"material":79,"size":95,"collection":95,"collections":13221,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},216377,"mo-zhu-pu-ce-12-wu-zhen-216377","墨竹谱册-12",[24,25,26,50,132,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b84d902bdcd0dfa7857eb27af954466.jpg",[],{"id":13223,"slug":13224,"title":13225,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":13226,"thumbUrl":13227,"material":79,"size":95,"collection":95,"collections":13228,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},216370,"mo-zhu-pu-ce-18-wu-zhen-216370","墨竹谱册-18",[24,25,26,50,7,77,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffaa4c6b21b52e04071e7e763f1f29e9.jpg",[],{"id":13230,"slug":13231,"title":13232,"dynasty":45,"author":10042,"museum":412,"description":13233,"tags":13234,"thumbUrl":13235,"material":184,"size":13236,"collection":95,"collections":13237,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,25,49,50,27,59,60,7,77,51,54,56,57,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 x 75.5",[],{"id":13239,"slug":13240,"title":13241,"dynasty":45,"author":13242,"museum":72,"description":13243,"tags":13244,"thumbUrl":13245,"material":79,"size":13246,"collection":95,"collections":13247,"showCount":220,"zanCount":39,"manualWeight":39,"mainColor":40},214225,"jiu-si-zhu-you-jian-214225","九思","朱由检","九思是一首中国古代诗歌，作者是朱由检。这首诗是朱由检写给他的朋友李德裕的，内容是朱由检对李德裕的思念之情。\n\n九思是一首五言绝句，共有五句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了朱由检对李德裕的真挚的情感。\n\n这首诗的具体内容如下：\n\n九思，不见君，思君朝朝，暮暮夕夕。\n此水何时休，归海无期迟。\n\n这首诗通过描述思念的情感来表达朱由检对李德裕的思念之情。在这首诗中，朱由检描述了他无法见到李德裕的痛苦和思念之情，并表示希望早日能够和李德裕重聚。",[23,24,25,7,75,60,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a54d8ec12467818e0bee9415f9a797.jpg","57.6x111.3",[],{"id":13249,"slug":13250,"title":13251,"dynasty":88,"author":5882,"museum":107,"description":13252,"tags":13253,"thumbUrl":13254,"material":751,"size":752,"collection":95,"collections":13255,"showCount":13256,"zanCount":882,"manualWeight":39,"mainColor":40},290897,"bai-miao-dao-jun-xiang-liang-kai-290897","白描道君像","《白描道君像图》共分为三部分，中段画主神于莲花之上，左右两段各画人间及地狱的活动；右段是道观的日常起居和法事：祈祷、习经、绘塑神像等；左段则绘世俗生活，多为积善行德的场面。左下角为地狱形象，有风刀之苦及鬼官治事，且有火中盛开金莲的场面，疑与咏习《黄庭经》的禁忌科戒有关。该图是梁楷画笔中流传下来的唯一孤本，画中人物形象端庄，周密繁复，笔势劲细，骨体苍劲，确是李公麟画派以后的面貌，与南宋其他人物画叛然殊途。图中的山林泉石，既不是北宋李成、范宽的画派，也不是董源江南画派的体系，工整的形式，出于北宋。",[23,49,24,25,112,6582,4496,113,458,7,199,386,2792],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c1d7f06e06834834cdb17f9b89afb4a.jpg",[],31,{"id":13258,"slug":13259,"title":13260,"dynasty":8749,"author":454,"museum":107,"description":13261,"tags":13262,"thumbUrl":13263,"material":751,"size":752,"collection":95,"collections":13264,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},290630,"bao-ta-xin-jing-shou-gao-yi-ming-290630","宝塔心经手稿","这帧残页纸色泛黄古旧，虫蛀圆痕带着岁月浸蚀的痕迹，自带沉静古韵。字迹取唐人写经笔意，中锋行笔瘦挺端雅，墨色沉凝质朴，经文排布错落雅致，内敛肃穆的禅意藏于笔锋起落之间。残损的形制非但未减风采，反而赋予其残缺古雅之美，仿佛能窥见抄经时，执笔人沉心敛神的虔诚姿态，笔墨晕染着佛门特有的静谧安然，将千年时光里的禅意温度封存在纸页之上。",[7,386,878,199,433,1498,6274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8668384200549e969b5da74717b6060c.jpg",[],{"id":13266,"slug":13267,"title":13268,"dynasty":45,"author":441,"museum":107,"description":13269,"tags":13270,"thumbUrl":13272,"material":751,"size":752,"collection":95,"collections":13273,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},290499,"pan-tao-tu-zhou-xiang-sheng-mo-290499","蟠桃图轴","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,75,27,111,29,13271,5454,7,77,4026,901],"蟠桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c4462c8fa9e2dcc3761ddb1644a54b.jpg",[],{"id":13275,"slug":13276,"title":13277,"dynasty":179,"author":1187,"museum":107,"description":12739,"tags":13278,"thumbUrl":13280,"material":751,"size":752,"collection":95,"collections":13281,"showCount":13256,"zanCount":882,"manualWeight":39,"mainColor":100},290293,"lan-ting-ji-xian-tu-qian-xuan-290293","兰亭集贤图",[23,92,24,25,49,50,113,51,475,52,55,13279,3234,568,398,7],"兰亭雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be4b74de62198fb0532439ca905b07f.jpg",[],{"id":13283,"slug":13284,"title":13285,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":13286,"thumbUrl":13287,"material":751,"size":752,"collection":95,"collections":13288,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},290265,"you-bo-tan-hua-tu-ke-luo-ban-ni-zan-290265","忧钵昙花图（珂罗版）",[23,92,24,50,51,75,250,704,55,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eeb3b9939ce2b4038601b054b21059d.jpg",[],{"id":13290,"slug":13291,"title":13292,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":13293,"thumbUrl":13296,"material":751,"size":752,"collection":95,"collections":13297,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},288639,"fang-gu-shan-shui-bi-yi-tu-zhu-da-288639","仿古山水笔意图",[23,92,24,50,51,704,250,7,77,59,13294,13295],"仿古","萧索","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed8ac0cc4a781ba5d5a5a4e3455407d.jpg",[],{"id":13299,"slug":13300,"title":13301,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":13302,"thumbUrl":13303,"material":751,"size":752,"collection":95,"collections":13304,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},288451,"shui-tun-tu-zhu-da-288451","水屯图",[23,24,50,1328,471,2219,115,772,54,77,59,7,9307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9cc6b0b8316ab2fb517885000a51ce.jpg",[],{"id":13306,"slug":13307,"title":13308,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":13309,"thumbUrl":13311,"material":751,"size":752,"collection":95,"collections":13312,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},288073,"zi-shu-shi-wen-ce-xu-wei-288073","自书诗文册",[7,398,26,13310],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2617b4f8174c95ec7d46dd8fed0ba01.jpg",[],{"id":13314,"slug":13315,"title":13316,"dynasty":162,"author":13317,"museum":107,"description":13318,"tags":13319,"thumbUrl":13320,"material":751,"size":752,"collection":95,"collections":13321,"showCount":13256,"zanCount":882,"manualWeight":39,"mainColor":40},287838,"ren-wu-miao-pin-li-zhou-zhang-xuan-287838","人物妙品立轴","张萱","张萱（约1553~1636),，一作（1557～1641）\n明著名目录学家、藏书家、书法家。字孟奇，号九岳山人、青真居士，别号西园。博罗（今广东惠州）人。",[23,92,24,25,75,50,113,7,77,1752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea66597610210738da45d8368e9ab48c.jpg",[],{"id":13323,"slug":13324,"title":13325,"dynasty":179,"author":1516,"museum":107,"description":13326,"tags":13327,"thumbUrl":13328,"material":751,"size":752,"collection":95,"collections":13329,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":100},287596,"xi-shan-yu-yi-tu-wu-zhen-287596","溪山雨意图","该画卷描绘的是黄公望笔下常见的江南景象，图中景象烟雨空濛，笔法多样，代表了文人画高度成熟时期的审美需要，是宋元之后文人绘画的主流风格。 整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[92,24,25,75,50,51,59,52,53,55,458,56,57,5599,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":13331,"slug":13332,"title":13333,"dynasty":18,"author":454,"museum":107,"description":13334,"tags":13335,"thumbUrl":13337,"material":751,"size":752,"collection":95,"collections":13338,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":100},270225,"hei-qi-gu-li-wen-tian-shu-liang-de-run-hua-he-hua-tu-mian-zhe-shan-yi-ming-270225","黑漆股李文田书梁德润画荷花图面折扇","此扇绘面设色秀雅，粉荷柔婉含露，白荷莹洁似玉，晕染细腻，将菡萏的娇柔与清灵尽数铺展。荷叶以浓淡墨色分出阴阳向背，叶脉勾勒精工，墨色晕染间带着水汽氤氲的鲜活，浅描的塘水浮萍更衬出莲塘的幽寂清宁。\n\n黑漆扇骨莹润乌亮，节状纹理颇具巧思，尾端回纹雕饰古雅端方。开合之间，将莲塘清趣纳于尺幅，摇拂时恍若携来荷间清风，把文人的幽居雅意藏于一折一画中，尽显清雅悠然的晚清风致，是赏用俱佳的雅致佳物。",[1250,24,25,7,27,111,399,29,13336],"漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144a8ad31a3b8965562195972aec288.jpg",[],{"id":13340,"slug":13341,"title":13342,"dynasty":45,"author":46,"museum":107,"description":13343,"tags":13344,"thumbUrl":13345,"material":95,"size":95,"collection":95,"collections":13346,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},239935,"wen-zheng-ming-mei-zhu-xuan-ba-wei-juan-shen-zhou-239935","文徵明梅竹轩跋尾卷","此作为行书题跋，笔墨圆厚灵动，点画舒展温润，章法疏朗匀净，既有晋唐行书的隽逸意趣，又带着吴门书家独有的温雅气质。\n\n题字忆述与旧友三十余年的深挚交情，文辞冲淡真挚，将故友的清雅风骨与二人的知交情谊藏于笔墨流转间。书与文相融相合，尽显江南文人的淡泊襟怀，是兼具书法审美价值与人文意趣的难得佳作。",[25,49,7,60,131,132,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109c328737649499e37c0eeb2fb55101.jpg",[],{"id":13348,"slug":13349,"title":13350,"dynasty":179,"author":454,"museum":107,"description":13351,"tags":13352,"thumbUrl":13353,"material":95,"size":95,"collection":95,"collections":13354,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},239634,"yao-an-dao-shi-ti-zhao-meng-fu-xie-qin-fang-you-tu-ce-ye-yi-ming-239634","姚安道诗题赵孟頫携琴访友图册页","此作用笔秀劲内敛，结体舒展灵动，兼具妍雅温润与朴拙意趣，尽显元人书法典型风貌。通篇行气匀停，字势顾盼相生，将题画诗里的隐逸襟怀融于笔墨起落间，藏露得宜暗含章法。笔墨晕染出林下山居的散淡悠然，把携琴访友的雅逸心境诉诸笔端，是元代文人书法与文人意趣相融的佳例，尽显彼时文人寄情林泉、追慕古贤的林下风流。",[92,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8983507f0a1b592310aef6968720e1ed.jpg",[],{"id":13356,"slug":13357,"title":6909,"dynasty":162,"author":2966,"museum":126,"description":13358,"tags":13359,"thumbUrl":13360,"material":1038,"size":6913,"collection":96,"collections":13361,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":100},239570,"meng-zhao-tie-juan-liu-gong-quan-239570","释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e336129e2c0fb37f0eb11ef2d3893f.jpg",[96],{"id":13363,"slug":13364,"title":13365,"dynasty":18,"author":830,"museum":107,"description":13366,"tags":13367,"thumbUrl":13368,"material":95,"size":95,"collection":95,"collections":13369,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},239285,"song-shu-tu-zhou-wu-chang-shuo-239285","松树图轴","此作用篆籀笔法写就老松，主干以苍辣浓墨挥扫，嶙峋树皮尽显饱经岁月的古拙质感，松针攒簇如戟，笔力沉雄凝练，仿佛将穿林风骨锁于纸间。\n\n右侧长款行草笔势奔腾跌宕，与画面笔墨意趣融为一体，诗书画印相映成趣。暑日挥毫，汗透衣衫仍笔底生风，将老松傲骨峥嵘的姿态尽致展现，苍郁雄浑的气韵扑面而来，尽显吴氏金石写意的典型风貌，把文人笔墨意趣与古松坚韧生机完美相融。",[24,25,75,50,1018,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e5299d3cfddb23c06d20f3f2c9ff8b.jpg",[],{"id":13371,"slug":13372,"title":13373,"dynasty":18,"author":5242,"museum":126,"description":13374,"tags":13375,"thumbUrl":13377,"material":519,"size":13378,"collection":171,"collections":13379,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},236467,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-236467","公孙大娘舞剑图轴","图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[24,25,92,75,112,50,113,114,13376,77,7],"剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a3ce8d2d9ae38ee061b2d227a8155.jpg","纵41.9㎝，横28㎝",[171,187],{"id":13381,"slug":13382,"title":4167,"dynasty":45,"author":13383,"museum":107,"description":13384,"tags":13385,"thumbUrl":13386,"material":751,"size":752,"collection":63,"collections":13387,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},235347,"shan-shui-ce-zhang-fu-yang-235347","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[24,25,26,50,59,7,398,51,250,10688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93b9bfdb52ce42eb9ad887270ca2432.jpg",[63],{"id":13389,"slug":13390,"title":13391,"dynasty":18,"author":411,"museum":107,"description":13392,"tags":13393,"thumbUrl":13394,"material":95,"size":95,"collection":95,"collections":13395,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴","石涛（1642年－1708年）清代著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。明靖江王朱亨嘉之子。与弘仁、髡残、朱耷合称“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,75,50,27,29,4507,1763,239,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],{"id":13397,"slug":13398,"title":13399,"dynasty":18,"author":1464,"museum":126,"description":8363,"tags":13400,"thumbUrl":13401,"material":312,"size":95,"collection":95,"collections":13402,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},234128,"lin-yue-yi-qu-tu-juan-hong-ren-234128","林樾一区图卷",[23,24,49,50,59,7,51,55,56,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9712d4963f78f40a5206cef1b5c061ab.jpg",[],{"id":13404,"slug":13405,"title":13406,"dynasty":45,"author":13407,"museum":279,"description":13408,"tags":13409,"thumbUrl":13410,"material":346,"size":13411,"collection":95,"collections":13412,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":789},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,24,25,49,50,51,59,251,252,56,57,7,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":13414,"slug":13415,"title":13416,"dynasty":45,"author":13417,"museum":107,"description":13418,"tags":13419,"thumbUrl":13420,"material":95,"size":95,"collection":95,"collections":13421,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":100},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","卞文瑜","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,49,50,59,60,7,77,51,651,56,58,267,252,2061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":13423,"slug":13424,"title":8674,"dynasty":88,"author":13425,"museum":107,"description":13426,"tags":13427,"thumbUrl":13428,"material":95,"size":95,"collection":95,"collections":13429,"showCount":13256,"zanCount":882,"manualWeight":39,"mainColor":40},227697,"mo-lan-tu-zhao-meng-jian-227697","赵孟坚","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[23,24,49,50,112,29,139,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":13431,"slug":13432,"title":13433,"dynasty":105,"author":1642,"museum":72,"description":13434,"tags":13435,"thumbUrl":13436,"material":682,"size":95,"collection":95,"collections":13437,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":100},227046,"jiu-ta-e-qun-tie-san-wang-xian-zhi-227046","旧搨鹅群帖 （三）","《鹅群帖》是王献之写给家人亲戚的一封书信，刻入《淳化阁帖》。传世有墨迹本，相传为米芾所临，临本今所见为民国影印件，原迹现存佚未详。此帖文中询问住在海盐的各房亲戚生活近况，又谈到刘道士以鹅群相赠之事。相传王羲之爱鹅，曾写《道德经》（一说《黄庭经》）一卷，与山阴道士换鹅。因此黄庭坚等前代学者曾认为此帖本为伪作，系附会传说而成，此说可备参考。",[7,198,200,60,25,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f732167e35b4d7a97f2aac43d50e6d5.jpg",[],{"id":13439,"slug":13440,"title":13441,"dynasty":3087,"author":454,"museum":107,"description":13442,"tags":13443,"thumbUrl":13447,"material":751,"size":752,"collection":95,"collections":13448,"showCount":13256,"zanCount":882,"manualWeight":39,"mainColor":40},226530,"yuan-xian-jun-mu-zhi-ming-yi-ming-226530","元顯儁墓誌銘","《元显俊墓志》此志石灰石质，通高35厘米，长75厘米，宽56.5厘米。上面为志盖，用阴线刻满四边形、五边形、六边形的龟甲纹样，龟甲中央阴刻正书“魏故处士元君墓志”八个字。下面镌刻着正书志文，计十九行，行二十一字，共三百五十七字",[23,198,7,199,3423,7713,13444,13445,11284,13446],"龟形","南北朝风格","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417e6dae5e8c8ca2108ba2bef47cfcd7.jpg",[],{"id":13450,"slug":13451,"title":13452,"dynasty":18,"author":6177,"museum":107,"description":13453,"tags":13454,"thumbUrl":13455,"material":751,"size":752,"collection":95,"collections":13456,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},224166,"lin-yan-zhen-qing-gao-shen-juan-wang-you-dun-224166","临颜真卿告身卷","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。\n乾隆二十三年（1758年），汪由敦逝世。乾隆皇帝亲自前往吊唁，加赠其为太子太师，谥号为文端，入祀贤良祠。汪由敦学问渊深，文辞雅正，兼工书法。著有《松泉集》。",[23,25,49,7,110,199,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf59529c1ee02a3b772ccd63884c015.jpg",[],{"id":13458,"slug":13459,"title":13460,"dynasty":18,"author":13461,"museum":1399,"description":13462,"tags":13463,"thumbUrl":13464,"material":184,"size":13465,"collection":95,"collections":13466,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,111,27,1128,113,458,567,2186,430,51,56,1739,569,1360,167,571,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg","纵43.3厘米、横76.5厘米",[],{"id":13468,"slug":13469,"title":13470,"dynasty":18,"author":9176,"museum":8802,"description":13471,"tags":13472,"thumbUrl":13473,"material":519,"size":13474,"collection":171,"collections":13475,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},222833,"suo-jian-tu-luo-pin-222833","锁谏图","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。",[23,24,25,49,112,50,113,798,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77aa4d64989e7747df80436c432cebaf.jpg","纵32厘米，横208厘米",[171],{"id":13477,"slug":13478,"title":13479,"dynasty":18,"author":506,"museum":3743,"description":6013,"tags":13480,"thumbUrl":13481,"material":184,"size":13482,"collection":95,"collections":13483,"showCount":13256,"zanCount":882,"manualWeight":39,"mainColor":100},222709,"yan-dao-ren-mei-hua-ge-jin-nong-222709","檐道人梅花歌",[23,25,7,75,1613,77,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87e8b2be5a26c1593983f801884d2858.jpg","122x40.7",[],{"id":13485,"slug":13486,"title":9595,"dynasty":45,"author":13417,"museum":279,"description":13487,"tags":13488,"thumbUrl":13489,"material":312,"size":13490,"collection":63,"collections":13491,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,49,50,59,51,651,360,56,58,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[63,187],{"id":13493,"slug":13494,"title":13495,"dynasty":45,"author":125,"museum":13496,"description":13497,"tags":13498,"thumbUrl":13499,"material":398,"size":13500,"collection":95,"collections":13501,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":100},222236,"bai-yan-shi-quan-juan-xu-wei-222236","白燕诗全卷","绍兴市文物考古研究所","释文：\n白燕诗卷\n西飞岁岁侯青阳。花发名园何处藏。天子郊禖呈瑞色。主人台榭有辉光。轻翰掠雨绡初剪。小尾流风练愈长。万里东归看 易没。海天元是白云乡。一时伴侣自应稀。海路空长遇亦非。汉 将玉门投老入。赵妃雪夜待人归。孤回夏日摇寒雪。渐下秋空见羽 衣。却说朱门无可托。玉楼天上任高飞。素壁红芳照苑墙。冲花 泛羽唼群芳。霜迷万瓦单栖渺。草绿千堤片影凉。云母屏深低缟袖。水晶帘动拂流黄。西园蝴蝶浑无赖。暗粉飘尘上海棠。 白燕四首。书似镇南朱内史一笑。天池徐渭。\n徐渭的书法和明代早期书坛沉闷的气氛对比显得格外突出，他最擅长气势磅礴的狂草，但一般人很难看懂，用笔狼藉，他对自己的书法极为喜欢，自认为“书法第一，诗第二，文第三，画第四”。\n他的书法也是从吴门书派主张唐法的反叛中出发，继而吸取北宋苏轼、黄庭坚、米芾追求艺术个性化的积极因素中走来。\n徐渭打破了以“台阁体”为主导的明代书坛的寂寞，开启和引领了晚明“尚态”书风，把明代书法引向了新的高峰。陶望龄认为其书法“称为奇绝，谓有明一人”。袁宏道则称：“予不能书，而谬谓文长书决在王雅宜、文征仲之上，不论书法而论书神，先生者诚八法之散圣，字林之侠客矣！”",[23,92,24,25,49,50,433,398,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df2f85d03ab6130ec22e417c81f958c.jpg","纵30厘米，横420.5厘米",[],{"id":13503,"slug":13504,"title":13505,"dynasty":45,"author":342,"museum":279,"description":7945,"tags":13506,"thumbUrl":13507,"material":13508,"size":13509,"collection":63,"collections":13510,"showCount":13256,"zanCount":882,"manualWeight":39,"mainColor":40},222007,"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[23,24,458,7,51,589,652,11937,27,129,49,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","水墨设色","31.6x56.2厘米",[63,218],{"id":13512,"slug":13513,"title":13514,"dynasty":88,"author":8147,"museum":72,"description":13515,"tags":13516,"thumbUrl":13517,"material":199,"size":13518,"collection":95,"collections":13519,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},221367,"zheng-jian-yi-ming-gong-chi-du-cai-xiang-221367","政谏议明公尺牍","这幅楷书尺牍，可以说有很多颜真卿的根基和面貌，五代以后，但凡学书者，多少都会受到颜真卿影响。首先，结构上有顾盼和内在联系，像“拜”、“亲”、“赐”、“谏”等有些字，两部分相互倾斜，整体感觉却是平衡，体现出了体态的娇娆轻盈。其次，转折处多用顿笔，提按也分明不显露。不过颜真卿楷书是横细竖粗，力度较大，蔡襄楷书是行云流水，曲雅端庄。这点他们还是明显有区别的。然后，各种戈钩很有虞世南书风，特点就是刚劲挺拔，有很强的骨力感，而且很多钩都形态各异，变化丰富。",[7,60,88,2602,312,3155,2282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02d057a70693ac660746933244f80aab.jpg","28.8x158.6cm",[],{"id":13521,"slug":13522,"title":13523,"dynasty":2365,"author":13524,"museum":2692,"description":13525,"tags":13526,"thumbUrl":13527,"material":13528,"size":13529,"collection":96,"collections":13530,"showCount":13256,"zanCount":882,"manualWeight":39,"mainColor":40},221176,"dong-dan-wang-chu-xing-tu-li-zan-hua-221176","东丹王出行图","李赞华","《辽代李赞华东丹王出行图》是辽代画家李赞华（即东丹王耶律倍）创作的一幅中国古画，现收藏于美国波士顿美术馆。作品是表现人物鞍马内容的画，画中绘有六人骑在骏马上，他们各具姿态，衣冠、服饰、佩带皆因身份的不同而各异。\n作品中的马矫健、丰肥，左右顾盼，慢跑前行。东丹王在马背上手把缰绳，面带忧郁，若有所思，情绪正和他弃辽投后唐的处境吻合。人物及马的线条描绘细腻精良，赋色华丽，尽显宫廷绘画之特色。构图布势前后照应，疏密相宜，整个画面人物和马的动态形成—种行进的韵律。卷末有无名氏题“世传东丹王是也”，书风近宋高宗赵构。李赞华自投后唐明宗后，长期居住在中原，其画风对后人影响很大，郭若虚《图画见闻志》、刘道醇《圣朝名画评》均有著录与评价。从文献著录来看，此卷是接近李赞华画风的—件精品。",[23,24,25,49,27,113,1074,111,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3f6f9e1883d6b08661f268900a674a.jpg","绢本，立轴","纵27.8厘米，横125.1厘米",[96],{"id":13532,"slug":13533,"title":13534,"dynasty":8749,"author":454,"museum":8802,"description":13535,"tags":13536,"thumbUrl":13537,"material":312,"size":13538,"collection":96,"collections":13539,"showCount":13256,"zanCount":418,"manualWeight":39,"mainColor":40},221046,"sui-ren-xie-jing-da-ban-nie-pan-jing-jia-ye-pu-sa-pin-shou-juan-yi-ming-221046","隋人写经大般涅槃经迦叶菩萨品手卷","该卷经文用笔犀利\n行笔淋漓尽致",[23,386,7,199,49,878,1498,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828a17b3e983bfa837f24dc56406fdc8.jpg","20.9厘米x380.3厘米",[96],{"id":13541,"slug":13542,"title":13543,"dynasty":105,"author":1642,"museum":107,"description":13544,"tags":13545,"thumbUrl":13546,"material":7994,"size":95,"collection":802,"collections":13547,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":100},221024,"e-qun-tie-wang-xian-zhi-221024","鹅群帖","《鹅群帖》是一幅行草书法作品，为东晋王献之所书翰札。宋代《淳化阁帖》收刻。原作墨迹不可考，有宋代米芾临本。历代书法名家多有临摹，如元代鲜于枢，明代邢侗、王铎，清代傅山等。\n《鹅群帖》与《鸭头丸帖》二帖，草、行相参，随兴变化，不主故常，笔画连绵相属，气势奔放洒脱，毫无顾忌，正体现出献之豪放不羁的性情与功力相生相发的高度结合。（徐利明《中国书法风格史》197页）",[7,60,198,25,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3513d85327aae12fb62333d46ca473aa.jpg",[802],{"id":13549,"slug":13550,"title":13551,"dynasty":45,"author":46,"museum":442,"description":13552,"tags":13553,"thumbUrl":13554,"material":79,"size":13555,"collection":63,"collections":13556,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},220088,"qiu-shan-ce-zhang-tu-shen-zhou-220088","秋山策杖图","沈周，吴门画派之开启者，“明四家”之首，以其艺事之高，硕德之重，为明早中期江南人望。擅山水，出宋入元，雄健渊穆，自成大家。亦擅花卉，妍雅朴厚，对后世写意画家影响至深。此卷为其最晚年作，笔意简朴，墨法清润，已入铅华洗净、不求好而自好之境。款亦由熟返生，稚拙之趣可掬，老境可尚如此。\n卷后有一代鉴界巨擘张葱玉、谢稚柳长题。皆断其为石田晚年的笔，亦为此卷增色。石田翁名倾朝野，人又宽厚，其在世时已赝作泛滥，故此卷弥足珍贵。",[23,24,50,51,59,60,7,77,113,56,57,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ac56827735c8101dc33f1513a4a0d7.jpg","26 × 134 cm",[63],{"id":13558,"slug":13559,"title":13560,"dynasty":18,"author":13561,"museum":1172,"description":13562,"tags":13563,"thumbUrl":13564,"material":33,"size":13565,"collection":63,"collections":13566,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},219855,"qiu-shan-tu-xiao-yun-cong-219855","秋山图","萧云从","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,25,49,27,51,59,7,60,77,113,458,56,57,53,55,1018,704,9654,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[63],{"id":13568,"slug":13569,"title":13570,"dynasty":18,"author":2634,"museum":72,"description":13571,"tags":13572,"thumbUrl":13573,"material":33,"size":13574,"collection":63,"collections":13575,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[24,75,50,27,51,55,52,56,268,59,77,7,60,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[63],{"id":13577,"slug":13578,"title":13579,"dynasty":88,"author":549,"museum":20,"description":13580,"tags":13581,"thumbUrl":13582,"material":79,"size":612,"collection":95,"collections":13583,"showCount":13256,"zanCount":39,"manualWeight":39,"mainColor":40},214273,"duo-jing-lou-shi-tie-10-mi-fei-214273","多景楼诗帖-10","墨色浓淡相济，笔锋起落如惊鸿掠影。字形欹正相生，灵动中藏沉稳，险绝处见平正。线条兼具刚劲与柔婉，“刷字”之爽利尽显：厚重处似坠石崩云，轻盈处若流泉漱玉，飞白留韵，干湿交错。章法气脉贯通如长河奔涌，跌宕间藏浑然天成之趣。每一字皆具姿态，或如奇峰耸峙，或如松涛摇曳，无一字雷同，无一处板滞。观之仿佛触到书家运笔时的豪情快意，笔墨间跃动山河气象与文人风骨，法度与性情熔铸于尺幅，展万千波澜，令人心折于其笔底风雷与胸臆丘壑。",[7,60,200,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6eaf322d14fcbe7d57e25ef7710255.jpg",[],{"id":13585,"slug":13586,"title":13587,"dynasty":88,"author":454,"museum":107,"description":13588,"tags":13589,"thumbUrl":13591,"material":751,"size":752,"collection":95,"collections":13592,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":207},290978,"yang-liu-guan-yin-tu-yi-ming-290978","杨柳观音图","杨柳观音是三十三观音之一。又称药王观音。左手结施无畏印，右手持杨柳枝。若修杨柳枝药法，可消除身上之众病。",[24,25,75,878,9007,113,13590,112,27,77,7],"观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc03eea1fd620da39fa264ae4805f320.jpg",[],{"id":13594,"slug":13595,"title":13596,"dynasty":45,"author":744,"museum":72,"description":13597,"tags":13598,"thumbUrl":13599,"material":79,"size":13600,"collection":95,"collections":13601,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},290842,"xi-zhou-hua-jiu-tu-zhou-tang-yin-290842","西洲话旧图轴","该画作山水、人物、花鸟，画中山重岭复，以小斧劈皴为之，雄伟险峻，而笔墨细秀，布局疏朗，风格秀逸清俊。",[24,75,50,7,60,77,704,250,55,113,132,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a8caa51702d0723ff578a2a8a49be70.jpg","110.7x52.3",[],{"id":13603,"slug":13604,"title":13605,"dynasty":179,"author":1516,"museum":107,"description":4942,"tags":13606,"thumbUrl":13607,"material":751,"size":752,"collection":95,"collections":13608,"showCount":99,"zanCount":882,"manualWeight":39,"mainColor":40},290824,"mo-zhu-san-wu-zhen-290824","墨竹（三）",[24,50,132,77,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcbdb1a42a7030f4ce75bb66d49ab79.jpg",[],{"id":13610,"slug":13611,"title":13612,"dynasty":45,"author":441,"museum":107,"description":13269,"tags":13613,"thumbUrl":13614,"material":751,"size":752,"collection":95,"collections":13615,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},290350,"ju-hua-zhu-shi-zhou-xiang-sheng-mo-290350","菊花竹石轴",[24,75,50,29,140,132,250,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88993b9b7cc8037876cb5a27b4424100.jpg",[],{"id":13617,"slug":13618,"title":13619,"dynasty":88,"author":4140,"museum":107,"description":13620,"tags":13621,"thumbUrl":13622,"material":751,"size":752,"collection":95,"collections":13623,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":100},290273,"wu-yi-shan-shui-tu-li-an-zhong-290273","武夷山水图","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[92,24,25,75,50,51,57,53,7,398,11113,6606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eecb676947138ecdd41692d5e9363b.jpg",[],{"id":13625,"slug":13626,"title":13627,"dynasty":88,"author":369,"museum":107,"description":6700,"tags":13628,"thumbUrl":13629,"material":751,"size":752,"collection":95,"collections":13630,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":100},290081,"du-niu-tu-zhao-ji-290081","犊牛图",[24,25,60,7,113,797,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a1438d43f250c27a700ded5d75d9d2.jpg",[],{"id":13632,"slug":13633,"title":13634,"dynasty":45,"author":71,"museum":107,"description":13635,"tags":13636,"thumbUrl":13637,"material":751,"size":752,"collection":95,"collections":13638,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},288044,"shan-shui-zhu-shi-tu-ye-wang-fu-288044","山水竹石图页","王绂(wángfú)， 明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[23,24,25,50,132,115,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd653c41a55eeac3370945450740a77.jpg",[],{"id":13640,"slug":13641,"title":13642,"dynasty":18,"author":2634,"museum":107,"description":13643,"tags":13644,"thumbUrl":13647,"material":751,"size":752,"collection":95,"collections":13648,"showCount":99,"zanCount":882,"manualWeight":39,"mainColor":40},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,92,24,25,49,1328,27,51,13645,251,252,56,52,555,458,13646,556,116,54,7,77],"湖泊","古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":13650,"slug":13651,"title":13652,"dynasty":18,"author":3261,"museum":107,"description":8894,"tags":13653,"thumbUrl":13654,"material":751,"size":752,"collection":95,"collections":13655,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},287790,"bo-re-bo-luo-mi-duo-xin-jing-zhuan-shu-deng-shi-ru-287790","般若波罗密多心经(篆书)",[92,24,25,7,457,386,878,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25053c6de0983a13b159453929f5d3a1.jpg",[],{"id":13657,"slug":13658,"title":13659,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":13660,"thumbUrl":13661,"material":751,"size":752,"collection":95,"collections":13662,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":100},287309,"bai-ma-tu-juan-zhao-meng-fu-287309","百马图卷",[23,92,24,25,49,27,111,113,1074,798,51,56,7,3480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a593e89c3ebaed5bb8b3a9a136f0c5.jpg",[],{"id":13664,"slug":13665,"title":13666,"dynasty":45,"author":744,"museum":72,"description":897,"tags":13667,"thumbUrl":13671,"material":79,"size":13672,"collection":63,"collections":13673,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":789},283644,"guan-pu-tu-tang-yin-283644","观瀑图",[24,50,75,1328,13668,57,13669,53,252,13670,426,4739,59,7,77],"观瀑","古树","崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg","103.6x30.3",[63],{"id":13675,"slug":13676,"title":13677,"dynasty":18,"author":10158,"museum":13678,"description":13679,"tags":13680,"thumbUrl":13681,"material":9104,"size":13682,"collection":96,"collections":13683,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":100},241028,"wu-gu-zhou-fu-shan-241028","五古轴","山西晋祠博物馆","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 [2] ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[7,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0425945fb7925c47b1a21ae98ddb68c0.jpg","143x48cm",[96],{"id":13685,"slug":13686,"title":13687,"dynasty":45,"author":454,"museum":107,"description":13688,"tags":13689,"thumbUrl":13690,"material":751,"size":752,"collection":95,"collections":13691,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":100},241010,"chen-chun-shi-zhou-yi-ming-241010","陈淳诗轴","此作用笔纵恣奔逸，以狂草写就，线条苍劲老辣，干湿浓淡相映成趣。字间牵丝映带，大开大合，行气连贯畅达。章法错落疏朗，跌宕之间尽显不羁意气，笔力雄健洒脱，墨色燥润相生，枯笔见筋骨，湿墨显厚重。\n\n文人疏狂意趣藏于笔墨流转，通篇元气淋漓，尽显放旷恣肆的浪漫书风，笔墨间裹挟蓬勃抒怀张力，将诗意与书韵融为一体，尽展洒脱自在的心境。",[7,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55f2b1f93dccb9d43ec488e6c4bd1cd.jpg",[],{"id":13693,"slug":13694,"title":13695,"dynasty":18,"author":1387,"museum":126,"description":13696,"tags":13697,"thumbUrl":13698,"material":398,"size":95,"collection":96,"collections":13699,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},240552,"pi-pa-xing-juan-zhu-da-240552","琵琶行卷","朱耷（1626—1705），字雪个，又字个山、道朗、个山驴、朗月、 庵、传綮、破云樵者、人屋、驴屋和因是僧、八大山人等。江西南昌人。明朱元璋之子宁献王朱权的后裔。八大山人书法成就颇高，但被画名所掩，注目者不多。黄宾虹尝称“书一画二”，确为至言。八大的书体，以篆书的圆润等线体施于行草，自然起截，了无藏头护尾之态，以一种高超的手法把书法的落、起、走、住、叠、围、回，藏蕴其中而不着痕迹。藏巧于拙，笔涩生朴，此中真义必临习日久才能有所悟。简而言之，是用篆书的笔法去写行草书，与《天发神恰似□碑》以隶笔写篆书一样异曲同工。",[23,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dcc5e932fd20cc12ee7e8c9c692f64.jpg",[96],{"id":13701,"slug":13702,"title":13703,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":13704,"thumbUrl":13705,"material":95,"size":95,"collection":96,"collections":13706,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},239910,"yuan-ji-shi-juan-shi-tao-239910","原济诗卷",[23,24,25,49,50,60,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5781609d7b62ce41d0583ef62356b2.jpg",[96],{"id":13708,"slug":13709,"title":13710,"dynasty":179,"author":13711,"museum":126,"description":13712,"tags":13713,"thumbUrl":13714,"material":312,"size":13715,"collection":96,"collections":13716,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},239638,"zhou-bo-qi-zhuan-shu-gong-xue-guo-shi-er-zhen-zhou-bo-qi-239638","周伯琦篆书宫学国史二箴","周伯琦","释文：\n宫学箴。惟民生厚，迷复曷反。爰作之师，由近及远。夔兴虞庠，旦扬周典。有美国胄，执经宫馆。养正匪蒙，勿亟勿缓。庸之煣之，圣功斯显。经国子民，所赉岂浅。惟严惟尊，不在躬践。毁范裂模，皋毗有腼。敬谂从者，圅丈有勔。国史箴。乾象昭列，人文肇兴。结绳既邈，方册是徵。姚妃典谟，三代诰命。褒善斯勖，恶有惩。获麟聿削，是式是承。合辞比类，历世相仍。晋狐称良，奸憝齿冰。暴私蔑实，起薉售憎。史尚传信，匪信匪能。执简以告，下严或圣。蕃阳周伯琦述并书。\n本幅钤“周氏伯琦”、“玉雪坡真逸”、“致用斋”印记三方。鉴藏印有：“越琪私印”、“长白李慎勤伯氏鉴赏章”、“叶恭绰誉虎印”等多方。引首有李慎篆书“伯温墨妙”。本幅后有张雨、方鼎录题跋观款。\n“宫学”指为皇族子弟设立的学校，“国史”指一国之史或一朝之史。“箴”乃一种文体，用以规劝他人或戒律自己。由《元史》本传得知，伯琦于元至正元年（1341年）“为宣文阁授经郎，教戚里大臣子弟。每进讲，辄称旨。”上述二箴或是当时进讲用的教材。\n周伯琦之篆书在当时有“本朝之冠”的美誉。陶宗仪在《书史会要》一书中称“伯琦篆师徐铉、张有，行笔结构殊有隶体。”明代杨士奇认为“其作字结构，盖出泰山李斯旧碑。”伯琦虽师法前人，但不拘于古法，在结体和笔法上参以石鼓文，笔兼方圆，使转变化亦多，整体风格于规整圆熟中见生拙萧散之致，有别于稳妥匀称一类的平庸之作。此卷结字严谨端庄，笔势沉稳丰润，为周氏篆书的上佳之作。",[23,457,7,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb068151c2e79aefcb7d9d92cdf0abc72.jpg","纵26厘米，横284.5厘米",[96],{"id":13718,"slug":13719,"title":13720,"dynasty":18,"author":9486,"museum":107,"description":13721,"tags":13722,"thumbUrl":13723,"material":751,"size":752,"collection":171,"collections":13724,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},238048,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238048","指画洛神赋图册","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[92,24,25,26,9489,50,113,114,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc193fb3353f5ff44c34401634128615d.jpg",[171,187],{"id":13726,"slug":13727,"title":13728,"dynasty":45,"author":744,"museum":126,"description":13729,"tags":13730,"thumbUrl":13731,"material":13732,"size":13733,"collection":35,"collections":13734,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},237676,"hua-zhu-tu-zhou-tang-yin-237676","画竹图轴","此图画竹枝两枝自左斜出，临风飒飒，构图新颖，俯仰有致。用笔铦利洒落，墨色秀润。\n画上自题：“满窗萧洒五更风，怪是无端搅梦中。梦见故人忙起望，白烟寒竹路西东。南塘邹蠡溪过余学圃堂，因言及南沙知己，故写此为寄。唐寅。”钤：“唐伯虎”朱文印。\n鉴藏印：“陆润之藏”朱文印、“天泉阁”朱文印等。",[24,25,75,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a12578cd86679d31ca70dbe5bae2925.jpg","纸本 墨笔","纵83.4厘米 横44.5厘米",[35],{"id":13736,"slug":13737,"title":13738,"dynasty":45,"author":13739,"museum":107,"description":13740,"tags":13741,"thumbUrl":13742,"material":751,"size":752,"collection":95,"collections":13743,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},235245,"mo-he-tu-zhou-xiang-yuan-bian-235245","墨荷图轴","项元汴","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[24,75,50,399,77,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29e44d2355a6bedb9232bd77ee1969b.jpg",[],{"id":13745,"slug":13746,"title":13747,"dynasty":45,"author":13748,"museum":126,"description":13749,"tags":13750,"thumbUrl":13751,"material":488,"size":95,"collection":95,"collections":13752,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,49,50,27,51,59,60,7,10302,57,56,53,52,55,116,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":13754,"slug":13755,"title":13756,"dynasty":18,"author":13757,"museum":107,"description":13758,"tags":13759,"thumbUrl":13760,"material":95,"size":95,"collection":95,"collections":13761,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[24,25,111,27,1074,57,56,30,7,77,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":13763,"slug":13764,"title":13765,"dynasty":179,"author":13766,"museum":72,"description":13767,"tags":13768,"thumbUrl":13770,"material":79,"size":13771,"collection":35,"collections":13772,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","陈琳","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,24,25,50,27,29,13769,53,1177,250,7,77],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[35],{"id":13774,"slug":13775,"title":13776,"dynasty":18,"author":13777,"museum":107,"description":13778,"tags":13779,"thumbUrl":13780,"material":751,"size":752,"collection":95,"collections":13781,"showCount":99,"zanCount":882,"manualWeight":39,"mainColor":40},223692,"lin-jiu-cheng-gong-yao-meng-qi-223692","临九成宫","姚孟起","字凤生，一作凤笙，吴县（江苏苏州）贡生。以正书名，正书宗欧阳询，尝临九成宫醴泉铭逼肖。隶书略仿陈鸿寿。兼治印，得蒋仁秀劲之气。偶作画，古拙如金农。",[23,7,199,110,200,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed869c5c6cdfb78b48841d0312bddbd.jpg",[],{"id":13783,"slug":13784,"title":13785,"dynasty":162,"author":454,"museum":13786,"description":13787,"tags":13788,"thumbUrl":13789,"material":184,"size":13790,"collection":96,"collections":13791,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},223396,"tang-mo-lan-ting-xu-yi-ming-223396","唐摹兰亭序","湖南省博物馆","这卷原托名为褚遂良所书《兰亭序》，正文质地为绢本，黄褐色，亦称“黄绢本”。这卷唐摹《兰亭序》，尽管看不出是哪一家的墨迹，却反映了初唐时期的书法风尚。\n卷前引首有明代著名书画家、鉴赏家董其昌题书“墨宝”二字（残存）。",[23,92,24,25,49,110,60,7,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3875c37e8068d0dba2f56617e5948b96.jpg","24.5×65cm",[96],{"id":13793,"slug":13794,"title":13795,"dynasty":45,"author":5386,"museum":20,"description":13796,"tags":13797,"thumbUrl":13798,"material":433,"size":13799,"collection":95,"collections":13800,"showCount":99,"zanCount":882,"manualWeight":39,"mainColor":100},222313,"you-bao-shan-ji-juan-wang-chong-222313","游包山集卷","1520年，王宠游昆陵包山，曾任游诗数首，结为《包山集》。1526年冬，王宠过鸿溪宿友人补菴居士处，居士几他索书。第二年（1527年），他便将八年前游包山所作的游诗用小楷抄录了二十二首寄给了补菴居士。他的朋友文嘉在居士处见到这卷小楷后，称之为“天才妙绝”。后人普遍认为《游包山集》是王宠的小楷代表作。宋苏轼曾说：“大字难于结密而无间，小字难于宽绰而有余。”王氏这卷《游包山集》，其结体“宽绰而有余”，其书风旷适疏宕，遒媚飘逸，谓王氏上乘之作言而不虚。",[23,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d485a391896b76017a1fa0081d0aa1.jpg","纵21.6cm，横323.5cm",[],{"id":13802,"slug":13803,"title":13804,"dynasty":162,"author":1715,"museum":72,"description":13805,"tags":13806,"thumbUrl":13807,"material":13808,"size":13809,"collection":95,"collections":13810,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},221148,"lin-wang-xian-zhi-fei-niao-tie-juan-chu-sui-liang-221148","临王献之飞鸟帖卷","褚遂良临王献之《飞鸟帖》正书二十一行，麻纸本，纵二二公分，横四七.四公分。后有元柯九思、王守诚二跋，《石渠宝笈初编》有著录，原迹今藏台北故宫博物院。卷内钤有“绍兴”（宋内府）、“子固”（赵子固）、“欧阳玄”、“应召”（张应召），又项墨林及诸内府等收传印记。帖后有项墨林手书小字一行曰“唐褚遂良临晋王大令献之《飞鸟帖》项元汴真赏，其值……（下模糊不清）”。元人柯九思跋称其：“具有元常遗意，绝无宋人气，是唐无疑耳”。然献之之文既属荒诞，褚遂良临亦非真笔，唯运笔精敛，气韵高古。则此卷虽非褚氏真笔，亦不失为唐人妙迹。",[92,24,25,49,110,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167a534360a4f83c33c8b431e70cafa6.jpg","手卷 纸本 水墨","22x47.4厘米",[],{"id":13812,"slug":13813,"title":13814,"dynasty":162,"author":454,"museum":107,"description":13815,"tags":13816,"thumbUrl":13818,"material":95,"size":95,"collection":96,"collections":13819,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":100},221123,"miao-fa-lian-hua-jing-di-7-chang-bu-qing-pu-sa-pin-di-er-shi-yi-ming-221123","妙法莲华经第7常不轻菩萨品第二十","此卷小楷精劲凝练，结体端稳匀整，通篇气息肃穆沉静，笔底带着写经人奉持的至诚之心。古纸泛着沉郁昏黄，乌墨历久弥亮，卷上的修补痕迹，是时光镌刻下的印记。它带着唐代民间写经的典型风貌，将信仰融于毫端，每一笔都带着安定的力量，无刻意妍美雕琢，只以质朴工整的笔墨，承载着佛法传播的厚重脉络。我们得以透过这卷经文，触摸千年前日常书写的真实温度，窥见那个时代里宗教虔诚与书法美感相融的独特质感。",[23,1063,386,199,7,49,878,1498,13817,2602],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f3f7e7cae4bafa85eb99d5b485a537.jpg",[96],{"id":13821,"slug":13822,"title":13823,"dynasty":162,"author":454,"museum":107,"description":13824,"tags":13825,"thumbUrl":13826,"material":95,"size":95,"collection":96,"collections":13827,"showCount":99,"zanCount":882,"manualWeight":39,"mainColor":40},221117,"fo-jing-bai-fu-yan-xian-yan-yi-ming-221117","佛经白佛言贤言","本作是典型唐代写经小楷，结体方正匀整，笔画精劲舒展，法度谨严却不失温雅灵秀。墨色乌亮莹润，历经岁月依旧澄澈明净，笔锋起落间尽显恭谨端严，藏着写经人虔诚的向佛之心。浅褐绫边搭配卷草纹镶饰，古朴雅致的装裱更衬经文静穆端庄的气韵，堪称唐人写经的上乘之作，将书法的笔墨意趣与佛门清寂禅意相融，尽显唐代抄经手扎实深厚的书法功底。",[23,24,25,7,386,199,878,1498,1063,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1805b45ccac6ec8cd0d35a91c0cb25b4.jpg",[96],{"id":13829,"slug":13830,"title":13831,"dynasty":179,"author":225,"museum":648,"description":13832,"tags":13833,"thumbUrl":13834,"material":13835,"size":13836,"collection":35,"collections":13837,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,24,25,49,50,111,1074,113,77,7,60,457,798],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[35,218],{"id":13839,"slug":13840,"title":13841,"dynasty":45,"author":13842,"museum":72,"description":13843,"tags":13844,"thumbUrl":13845,"material":79,"size":13846,"collection":35,"collections":13847,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},219512,"han-lin-qu-yu-tu-yao-shou-219512","寒林鸲鹆图","姚绶","表现了水边奇石及枯木丛篁中的景象。",[24,50,75,129,7,77,29,704,693,76,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc50daeb2e5949a3519195445d994f7.jpg","纵116.7厘米横29.6厘米",[35],{"id":13849,"slug":13850,"title":13851,"dynasty":18,"author":2653,"museum":72,"description":13852,"tags":13853,"thumbUrl":13854,"material":79,"size":13855,"collection":171,"collections":13856,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},219390,"shou-xing-zhou-hua-yan-219390","寿星轴","长髯垂拂，宽袍曳地，老者持杖安坐，眉目间尽是悠然超脱。墨线婉转如流水，衣褶以淡墨轻晕，虚实相济中见出闲散风骨。题跋文字与画像相映成趣，文气与画境浑然一体，似可闻松风过耳，见云影悠悠。不事雕琢却意韵悠长，将寿星的仙逸之态与文人的旷达情怀融于笔端，简淡笔墨里藏着清灵之气，读来让人忘俗。",[24,25,75,50,112,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b572da656ae0597a2b21f63ec5bd2.jpg","178.3x93.9",[171],{"id":13858,"slug":13859,"title":3513,"dynasty":18,"author":13860,"museum":72,"description":13861,"tags":13862,"thumbUrl":13863,"material":79,"size":13864,"collection":96,"collections":13865,"showCount":99,"zanCount":39,"manualWeight":39,"mainColor":40},214246,"xing-shu-qi-yan-lian-qian-feng-214246","钱沣","墨色沉厚如古铜铸字，笔锋顿挫间暗合颜鲁公遗韵。“清德”二字端正如君子垂拱，撇捺舒展似怀抱坦荡；“高文”笔势开张，横画若梁架稳实，竖笔如孤峰耸峙。每一字骨力内蕴，结体方正却不板滞，如老松盘曲而枝干遒劲。笔画牵丝映带藏灵动，墨色浓淡转合显匠心——重处坠石崩云，轻处流云绕岫。联中气息连贯，左顾右盼自成章法，既承颜体沉雄气象，又融钱氏清劲风骨。文辞与笔墨相融，“三益友”的谦冲、“百家书”的豪迈，皆化入点画：或如朗月照襟，或如长风振卷。读来如晤古贤，见其磊落襟怀与翰墨才情，墨香里淌着文人的清正与旷达。",[23,24,25,7,60,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812f029a967f7f64b22a22a7b106d4f9.jpg","131.2x29.4",[96],{"id":13867,"slug":13868,"title":13869,"dynasty":45,"author":1313,"museum":72,"description":3307,"tags":13870,"thumbUrl":13871,"material":79,"size":13872,"collection":95,"collections":13873,"showCount":83,"zanCount":882,"manualWeight":39,"mainColor":40},290887,"qiu-lin-shu-wu-tu-zhou-dong-qi-chang-290887","秋林书屋图轴",[24,50,1328,2061,9796,704,1018,57,52,53,251,7,77,59,6054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db59da3812da6dde86cc332da23c731.jpg","54.4x58.1",[],{"id":13875,"slug":13876,"title":13877,"dynasty":179,"author":330,"museum":72,"description":1665,"tags":13878,"thumbUrl":13879,"material":79,"size":10533,"collection":95,"collections":13880,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":100},290416,"hua-xi-yu-yin-zhou-wang-meng-290416","花溪渔隐轴",[92,24,25,75,50,51,59,53,54,2028,2029,820,7,77,4624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5204529040d8f0ef17bf6db6a77301ce.jpg",[],{"id":13882,"slug":13883,"title":13884,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":13885,"thumbUrl":13886,"material":751,"size":752,"collection":95,"collections":13887,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":100},290266,"xiao-shan-shu-lin-tu-ke-luo-ban-ni-zan-290266","小山疏林图（珂罗版）",[23,24,92,25,50,51,115,250,55,77,7,588,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6068a25a99e08d7d93bc7a1734380a3c.jpg",[],{"id":13889,"slug":13890,"title":13891,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":13892,"thumbUrl":13893,"material":751,"size":752,"collection":95,"collections":13894,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},289909,"ye-se-ce-ye-shi-tao-289909","野色册页",[24,50,4347,77,7,51,116,704,52,113,250,9307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406cac18541976b3f7edf604d75728e4.jpg",[],{"id":13896,"slug":13897,"title":13898,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":13900,"thumbUrl":13901,"material":751,"size":752,"collection":95,"collections":13902,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},289362,"qian-hou-chi-bi-fu-zhu-yun-ming-289362","前后赤壁赋","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[7,398,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e70739fdc19eb7d6859a9c2816088dc.jpg",[],{"id":13904,"slug":13905,"title":13906,"dynasty":88,"author":369,"museum":107,"description":6700,"tags":13907,"thumbUrl":13909,"material":751,"size":752,"collection":95,"collections":13910,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":100},288956,"bai-ying-tu-zhao-ji-288956","白鹰图",[92,24,25,75,27,29,111,13908,250,7],"白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b31fb1ae009684631e3ecc0386711a8.jpg",[],{"id":13912,"slug":13913,"title":13914,"dynasty":88,"author":369,"museum":72,"description":13915,"tags":13916,"thumbUrl":13917,"material":79,"size":13918,"collection":95,"collections":13919,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},288510,"xi-shan-qiu-se-tu-zhao-ji-288510","溪山秋色图","图中描绘的烟岚雾气迷漫，群峰隐现其间，溪水曲环，江面空阔，渔民捕捞，舟船停泊，秋叶杂树点缀在山头坡岸，完全是一派江湖渔乐的景象。画法上用笔潇洒，点染苍润，是当时画院中的另一种风格。全图中天空留白很大，用鸟瞰法取景，表现出无限辽阔深远的意境。",[92,24,1328,50,51,252,56,267,54,2061,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78fc1823a0c76aefdc06a6fe20acc6e1.jpg","纵97cm,横53cm",[],{"id":13921,"slug":13922,"title":13923,"dynasty":18,"author":5660,"museum":107,"description":13924,"tags":13925,"thumbUrl":13927,"material":751,"size":752,"collection":95,"collections":13928,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},288472,"mo-mei-tu-li-zhou-wang-shi-shen-288472","墨梅图立轴","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[23,24,75,50,13926,29,7,77,92],"墨梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186a72932b0812365e469543b3f4cbe8.jpg",[],{"id":13930,"slug":13931,"title":11695,"dynasty":8749,"author":1715,"museum":195,"description":13932,"tags":13933,"thumbUrl":13934,"material":751,"size":752,"collection":95,"collections":13935,"showCount":83,"zanCount":882,"manualWeight":39,"mainColor":207},287769,"yue-yi-lun-chu-sui-liang-287769","此作为泥金小楷，笔致灵动秀雅，点画温润舒展，结体方正宽博又暗含飘逸之姿，尽显初唐楷书尚法又不失气韵的特质。书写时笔势牵丝映带精妙细微，可见运笔流畅自然，既承袭魏晋小楷的古雅意趣，又融褚书标志性的空灵雅致，刚柔并济。黑底泥金相衬，更衬出字迹华贵隽秀，字里行间尽显书写者精湛笔力与从容心境，将文本质感与书法美学相融，是小楷上乘之作，尽显楷书清逸端雅之美。",[7,25,92,199,384,200,11689,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154d4cc6c303c805afe17c6da45b8e72.jpg",[],{"id":13937,"slug":13938,"title":13939,"dynasty":162,"author":3339,"museum":72,"description":13940,"tags":13941,"thumbUrl":13942,"material":1179,"size":752,"collection":95,"collections":13943,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},287704,"xi-ma-tu-han-gan-287704","洗马图","韩干，唐画家。京兆蓝田（治今陕西西安）人。相传年少时曾为酒肆雇工，经王维资助，学画十馀年而艺成。擅绘肖像、人物、鬼神、花竹，尤工画马，曾师曹霸而重视写生。经历唐玄宗年间，被召入宫封为“供奉”。此后专跟宫中画马名家陈闳学习画，但进展不太显著，后来韩干改变只临摹不写生的方法，经常到马厩里去，细心观察马的习性，对比找出马的性格特征，找出马的动作规律，并把各种各样的马记录在案。日子久了，人们对韩干经常进入马厩，甚至搬到马厩里和饲养人一起住感到奇怪。韩干回答说：“我学习画马，马厩里所有的马都是我的老师”。为了深入了解马的习性，他常痴呆地观察上几个时辰，把别的画家不了解的具体细节都弄得清清楚楚，并牢记心上。这样时间久了，马的各种体貌，奔跑雄姿，千变万化的动态，作画之时自然而然就展现在纸上。所以人们都称赞韩干笔下的马是能跑动的马。",[23,24,25,113,1074,111,27,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba3b5ac63eeb38d707e63aad4facfc.jpg",[],{"id":13945,"slug":13946,"title":13947,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":13948,"thumbUrl":13949,"material":751,"size":752,"collection":63,"collections":13950,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},287451,"mo-gu-ce-ye-chen-hong-shou-287451","摹古册页",[24,4347,50,51,1018,12229,588,77,7,110,59,9307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64eebb7edbcb8537c7f5ef1326afd6bb.jpg",[63],{"id":13952,"slug":13953,"title":13954,"dynasty":179,"author":1187,"museum":107,"description":12739,"tags":13955,"thumbUrl":13956,"material":751,"size":752,"collection":95,"collections":13957,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},283618,"li-hua-tu-qian-xuan-283618","梨花图",[23,24,92,49,25,29,1772,60,7,77,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c47c67343792d97cc1609ddfe962a6c.jpg",[],{"id":13959,"slug":13960,"title":13961,"dynasty":18,"author":7498,"museum":126,"description":13962,"tags":13963,"thumbUrl":13964,"material":312,"size":13965,"collection":96,"collections":13966,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":789},241375,"lu-you-shi-zhou-zheng-fu-241375","陆游诗轴","此轴书录唐代诗人王建七言诗《上李吉甫相公》，自识：“王建上李吉甫相公。谷口郑簠书。”下钤“郑簠之印”、“谷口农”印二方。具体书写时间不详。本幅无藏印。\n此轴书法结体端秀雅逸，尚有《曹全碑》灵动飘逸之风神，而笔划的粗细及运笔却极富变化，舍汉隶之方正而求“盘盂跳荡”之姿，尤其是一些草书笔法的应用，更增加了全幅飘逸灵动之势，同时又不乏庄重沉实的气息。此轴代表了郑簠隶书的典型风格，此种书风虽然减弱了汉隶的博大与庄重，但对于开创清代隶书的新风格却具有十分重要的意义。",[7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa883f1071fd67d1a92eba35d1d693aa6.jpg","纵202.2厘米，横96.9厘米",[96],{"id":13968,"slug":13969,"title":13970,"dynasty":18,"author":454,"museum":126,"description":13971,"tags":13972,"thumbUrl":13974,"material":1038,"size":13975,"collection":96,"collections":13976,"showCount":83,"zanCount":788,"manualWeight":39,"mainColor":40},239698,"yu-min-zhong-shu-bu-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-que-bi-juan-yi-ming-239698","于敏中书补戏鸿堂刻柳公权兰亭诗阙笔卷","于敏中擅长书法，尤工楷书和行书，其书法风格乃是透过学习赵孟頫与董其昌而上溯至二王，是几位经常为乾隆皇帝捉刀的大臣之一，曾负责为皇帝拟定诏书。《戏鸿堂法帖》所刻柳公权兰亭诗多有阙笔不全，乾隆四十三年（1778年）命于敏中就刻本漫漶阙划处，因其偏旁补成全字，并仿董其昌临本（兰亭八柱之七）书之，原刻本及董书所无之阙字、阙句，则仍按其旧。目的是既要重新摹刻上石，又要保留原来的书法风貌，“俾还旧观”。本幅正是于敏中奉敕摹补柳公权书兰亭诗阙笔卷。其原诗用较大字书写，遇有某首诗有补阙的字、原刻的别字、错字，诗后则小字注明，如：王彬之四言诗“丹崖竦立，葩藻映林，渌水扬波，载浮载沉”后注：按此诗崖字、扬字原刻有阙笔今补；王羲之五言诗“……大矣造化功，万殊莫不均，……”后注：按此诗“功”字原刻作“切”，今从董临本改。有的地方，董临本没有的或阙损严重的，于敏中就其具体情况，也有补添上的。如:在郗曇、虞悦、孙嗣的三首五言诗后，注：按郗曇、虞悦、孙嗣三诗董临本所无，而原刻有之，今仍为临补；王徽之五言诗“先师有冥藏，安用羁世罗，未若保冲真，齐契箕山河”后注：后阙二句，董临本无，而原刻有之，亦为临补……。由于是皇帝之命，不敢草率行事，书写起来格外仔细认真，结字严整，布白均匀，墨之浓淡恰到好处。但是三十七首诗中，也同样与内府钩填本一样缺少王涣之五言诗最后一句“玄契齐古今”，除此之外，它呈现出的是兰亭诗墨迹的全貌。\n著录于《石渠宝笈续编》。清代刻入“兰亭”八柱，列为第六。",[23,7,60,49,77,13973,50,385],"补阙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d7970b003c44a350301a35655f7790.jpg","纵28.7厘米，横688.2厘米",[96],{"id":13978,"slug":13979,"title":13980,"dynasty":88,"author":355,"museum":126,"description":13981,"tags":13982,"thumbUrl":13983,"material":1646,"size":13984,"collection":96,"collections":13985,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},239637,"chen-rong-shu-zi-shu-shi-juan-chen-rong-239637","陈容书自书诗卷","释文：\n潘公海夜饮书楼。陈容。夫君美无度，视世一鼠肝。□夫失意时，不知枢在环。云气上罍樽，渠作瓦缶看。八暝同眼精，我眼双剑寒。潘江字□海，陆海无波澜。文章有战胜，此道难跻攀。向来闻歌商，政以静体观。收心学潜圣，吾身重丘山。岂必猎众智，茫茫芡走盘。诫身与教子，户内天壤宽。苜蓿上朝盘，道人斋入关。土田非蒺藜，莫问岁事艰。夫君不长贫，身在世转难。戊戌前四月书。公海执此为历。此纸得之临川故人家，借此言久交耳。诗不足道。\n本幅鉴藏印钤“双清”、“是为双氏在山泉馆藏物”、“双清长寿”及叶恭绰诸印。卷后有叶恭绰题跋一则。文中纪年“戊戌前四月书”，为宋嘉熙二年（1238年）。\n此书放笔恣纵，有颜真卿遗意，圆中带方，又不尽颜法。行字大小错落，线条粗细变化明显，跌宕有致，自成一格。",[23,7,49,60,398,50,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617a32f0c07c0ede918e5171afbf90a1.jpg","纵31.1cm，横382.8cm",[96],{"id":13987,"slug":13988,"title":10538,"dynasty":18,"author":3367,"museum":107,"description":4106,"tags":13989,"thumbUrl":13990,"material":751,"size":752,"collection":95,"collections":13991,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},239449,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239449",[24,92,26,111,27,29,7,77,30,7657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4a14bf201db386ebf68f255bd0b66a.jpg",[],{"id":13993,"slug":13994,"title":13995,"dynasty":18,"author":10437,"museum":107,"description":13996,"tags":13997,"thumbUrl":13998,"material":751,"size":752,"collection":95,"collections":13999,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},238540,"fang-jiang-ting-xi-niao-pu-tu-ce-yu-sheng-238540","仿蒋廷锡鸟谱图册","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,92,26,111,27,29,116,250,77,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42360a66af189821ac5b798a1b2dc8.jpg",[],{"id":14001,"slug":14002,"title":14003,"dynasty":45,"author":1015,"museum":126,"description":14004,"tags":14005,"thumbUrl":14012,"material":477,"size":14013,"collection":63,"collections":14014,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":100},236617,"yu-qing-ji-shi-tu-wen-zheng-ming-236617","雨晴纪事图","《明文征明幽谷清泉图》描绘了水边丛树，图中较好地表现出江南初雨后空气清新、草木富于生机的景物特征。\n图中绘水边丛树，本幅自识：“入春连月雨霖霪，一日雨晴春亦深。碧涧平添三尺水，绿榆新涨一庭阴。征明雨晴纪事。庚寅三月八日。”“文征明印”白文方印、“停云”朱文圆印。庚寅为明嘉靖九年，即公元1530年，作者时年六十一岁。\n“入春连月雨淋漓，一日雨晴春亦深。碧沼平添三尺水，绿榆新涨一池荫。”这件山水小景是画家在阴雨初晴之时所作，以纪事且记情。画中描绘了一雾气弥漫的平沼近岸，碎石散置，绿苔满布，细草丛生。数棵杂树相簇，绿叶枯枝，相互扶助。此作笔法宽厚，墨色浑润，浓淡变化，层次丰富。虽为小景，但亦显得境界开阔，气势厚重，有翠湿欲滴之意。",[24,50,51,14006,14007,14008,14009,14010,14011,77,7],"丛树","平沼","碎石","绿草","雾气","雨后初晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76002b37ca01ffa2c511c43609a5dafe.jpg","纵：130厘米，横：60.8厘米",[63,187],{"id":14016,"slug":14017,"title":5258,"dynasty":18,"author":5616,"museum":107,"description":14018,"tags":14019,"thumbUrl":14020,"material":95,"size":95,"collection":95,"collections":14021,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},235634,"mo-mei-tu-zhou-li-fang-ying-235634","此作用笔老辣朴拙，枯苍梅干以顿挫浓墨写就，虬曲倔强，斜逸枝桠舒展灵动，尽显古梅饱经风霜却傲然不屈之态。淡墨圈点梅花，清气盈盈，简淡脱俗，宛若清寒之中悄然绽露芳华。\n\n画面留白疏朗空灵，配上行书题诗，诗画相融，将自身狷介风骨寄寓于梅中，以梅明志，尽显文人画借物抒怀的意趣，寥寥数笔便把梅花的清逸高格勾勒尽致，于极简中见精神风骨，是写意花鸟中借物言志的佳作。",[24,75,50,131,7,60,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb1f39a221903b5fa8c775b8d3f18ac.jpg",[],{"id":14023,"slug":14024,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":14028,"thumbUrl":14029,"material":488,"size":95,"collection":63,"collections":14030,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},234719,"huang-shan-tu-ce-jiang-zhu-234719","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,50,59,7,60,26,51,57,53,252,5721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac352676967682ac8c718cbf1f9170a.jpg",[63],{"id":14032,"slug":14033,"title":14034,"dynasty":18,"author":1464,"museum":126,"description":14035,"tags":14036,"thumbUrl":14037,"material":477,"size":14038,"collection":95,"collections":14039,"showCount":83,"zanCount":882,"manualWeight":39,"mainColor":40},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[24,25,92,75,50,59,55,652,51,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":14041,"slug":14042,"title":14043,"dynasty":88,"author":4981,"museum":1830,"description":14044,"tags":14045,"thumbUrl":14046,"material":312,"size":14047,"collection":95,"collections":14048,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":100},232918,"hua-yan-jing-can-ce-zhang-ji-zhi-232918","华严经 残册","张即之（1186—1263），字温夫，号樗寮，历阳（今安徽和县）人，生于名门显宦家庭，为参知政事张孝伯之子，爱国词人张孝祥之侄。历官监平江府粮科院、将作监薄、司农寺丞。特授太子太傅。张即之是南宋后期力挽狂澜、振兴书法艺术、穷毕生之力以改变衰落书风的革新家，称雄一时，且有宋书殿军之誉。",[7,386,199,26,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0743a4168184733275c91d16587b9f16.jpg","每页31.5×14.3厘米",[],{"id":14050,"slug":14051,"title":5945,"dynasty":18,"author":506,"museum":107,"description":14052,"tags":14053,"thumbUrl":14054,"material":95,"size":95,"collection":95,"collections":14055,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},230243,"hua-hui-tu-ce-jin-nong-230243","此作以墨笔绘桃花，虬曲老枝苍劲朴拙，淡墨晕染花瓣，浓墨点簇花蕊、勾描枝叶，虚实间将桃花柔媚之态，融于水墨清逸之中。\n\n左侧题诗与画幅相映成趣，诗书合璧尽显文人雅韵。并未刻意摹写春日桃林的秾艳繁丽，以生拙古雅的笔墨，勾勒出花枝疏朗清寂之姿，跳出传统花鸟的妍丽范式，以简淡水墨营造出幽淡空寂的春日氛围，寄寓着寄情花木的闲散心境，尽显文人画独有的萧散风神，于浅淡笔墨里藏着隽永诗思。",[24,25,26,50,29,137,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42f7eab48e499ad7c30d130f7f4c555.jpg",[],{"id":14057,"slug":14058,"title":14059,"dynasty":18,"author":2301,"museum":107,"description":14060,"tags":14061,"thumbUrl":14062,"material":95,"size":95,"collection":95,"collections":14063,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},230163,"shi-hua-hui-ce-qian-long-230163","诗花卉册","清缂丝乾隆御制诗花卉册是清乾隆时期的花卉册。\n册页是在本色地上缂织玉兰、蔷薇、桃花、望春花、婪尾春（即古人谓之芍药）、石榴花、紫栋花、水仙花共8开，每幅帧首以隶书缂织高宗御制七言绝句诗一首，诗下分别缂织朱白文印“齐物”、“丛云”、“涵虚朗鉴”、“爱竹学心虚”、“垂露”、“会心不远、德充符”、“云霞思”、“几暇临池”。\n此册页缂工简单，以平缂、构缂织成，但缂工细致，用蓝、白、深浅绿等色彩完成画面，以着笔渲染表现枝叶的阴阳向背，沉稳典雅，花卉写实生动。\n这8开册页，从画法上看，既有传统工笔重彩法，又有恽寿平的设色没骨法，属于清代“院体”花鸟画。\n钤有“乾隆御览之宝”、“石渠宝笈”、“石渠定鉴”、“宝笈重编”、“宣统御览之宝”、“三希堂精鉴玺”、“宜子孙”、“乾清宫鉴藏宝”、“乾隆鉴赏”朱印。\n《石渠宝笈续编》五函十八册著录。",[24,27,111,7,77,26,29,1270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f806d3c057c256306303c3e9b22b7bb.jpg",[],{"id":14065,"slug":14066,"title":14067,"dynasty":45,"author":342,"museum":107,"description":14068,"tags":14069,"thumbUrl":14070,"material":95,"size":95,"collection":95,"collections":14071,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},228881,"cui-zhu-tu-wen-zheng-ming-228881","翠竹图","此作为诗画合璧的文人佳构，下方墨竹以淡墨写竿，笔致劲挺通脱，浓墨挥写竹叶，俯仰向背错落有致，疏密间尽显萧散清逸，将翠竹挺拔君子之姿淋漓尽显，满幅皆含清和雅正之气。\n上方题诗行书秀雅舒展，笔意温润隽秀，诗与画两相呼应，寄寓着幽居伴竹、静赏林泉的文人雅趣。书画一体，尽显吴门画派的雅致风神，暗合作者淡远冲和的品格心性，整体意境清润隽永，是文人画诗书画交融的精妙之作。",[24,25,75,50,7,60,77,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937c38e3fa101fbcb4b94656e5b43285.jpg",[],{"id":14073,"slug":14074,"title":14075,"dynasty":88,"author":6022,"museum":107,"description":14076,"tags":14077,"thumbUrl":14078,"material":751,"size":752,"collection":95,"collections":14079,"showCount":83,"zanCount":882,"manualWeight":39,"mainColor":40},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,92,24,25,49,112,27,7,113,51,56,58,6129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":14081,"slug":14082,"title":14083,"dynasty":88,"author":14084,"museum":107,"description":14085,"tags":14086,"thumbUrl":14087,"material":95,"size":95,"collection":95,"collections":14088,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},227708,"mei-hua-shi-yi-tu-chang-juan-wang-yan-sou-227708","梅花诗意图（长卷）","王岩叟","《梅花诗意图》是南宋朝时期画家岩叟所作，现藏于弗利尔美术馆。\n\n图中画盛开的梅花，树干上墨书有岩叟”二字，应是作者的名或号。从画风上看，不似北宋，或为南末后期至元初之作。\n\n以北宋王岩叟为作者，不足为信。此图运笔道劲有力，构图疏密有致，枝条穿插，富有韵味，具扬补之遗法，为补之传派中上乘之作。\n\n岩叟，生卒年不详，即北宋王岩叟。字彦霖，《宋史》有传，未称其擅画，或为画家之号。南宋宋伯仁，号雪岩，擅画梅叟或即宋伯仁自号，待考。",[23,92,24,25,49,50,131,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9933a60aeb10151b1d452b59e5b1ccc4.jpg",[],{"id":14090,"slug":14091,"title":14092,"dynasty":88,"author":13425,"museum":107,"description":14093,"tags":14094,"thumbUrl":14095,"material":95,"size":95,"collection":95,"collections":14096,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},227700,"shui-xian-tu-zhao-meng-jian-227700","水仙图","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[23,24,25,49,112,50,27,7,60,77,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":14098,"slug":14099,"title":14100,"dynasty":88,"author":454,"museum":107,"description":14101,"tags":14102,"thumbUrl":14103,"material":95,"size":95,"collection":95,"collections":14104,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":100},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[23,24,49,27,111,112,7,77,113,114,4496,11608,51,56,53,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],{"id":14106,"slug":14107,"title":14108,"dynasty":45,"author":2206,"museum":14109,"description":14110,"tags":14111,"thumbUrl":14112,"material":312,"size":14113,"collection":96,"collections":14114,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":100},222470,"ji-yang-deng-tai-bai-jiu-lou-que-ji-shi-hu-zhou-zhu-yun-ming-222470","济阳登太白酒楼却寄施湖州","贵州省博物馆","本书内容包括：《居延误死马驹册》、《永元兵器册》、《出师颂》、 、《 》、《孔侍中帖》、 、《适得书帖》、《疖肿帖》、《 》、《中秋帖》等。\n所著《中国行草名帖一百讲》对 的《适得书帖》，张旭的《古诗四帖》等名家名作都有扎实透彻的解读。\n全书遴选古帖名作1篇，对蕴含在作品中的意象，韵律，节奏，情绪展开了深入的美学探讨；并对作品的结构，章法，线条甚至留白都有独到的分析并全面阐释作品的精神内涵与作品特色。\n朱以撒，195年出生，福建泉州人。\n现为 教授、博士生导师， 副主席，中国书法家协会学术委员会委员， 会员。\n长期从事书法教学、创作及理论研究工作，出版书法论著及散文集多部，29年被评为“中国书坛十大年度人物”。\n汉 《居延误死马驹册》 汉 《永元兵器册》 索靖 《出师颂》 陆机 《平复帖》 王羲之 《兰亭序》 王羲之 《孔侍中帖》 王羲之 《丧乱帖》 王羲之 《适得书帖》 王荟 《疖肿帖》 王徽之 《新月帖》 王献之 《廿九日帖》 王献之 《中秋帖》 王献之 《鸭头丸帖》 王献之 《东山I阽》 王殉 《伯远帖》 王慈 《翁尊体安帖》 王志 《一日无申帖》 智永 《草书千字文》 隋人 《出师颂》 欧阳询 《仲尼梦奠帖》 欧阳询 《张翰思鲈帖》 虞世南 《汝南公主墓志铭》 陆柬之 《文赋》 李世民 《温泉铭》 唐 《赵丑胡贷练契》 武则天 《升仙太子碑》 高正臣 《明征君碑》 孙过庭 《书谱》 怀仁 《集王羲之书三藏圣教序》 唐 《康才艺牒》 唐 《杨大智租田契》 唐 《功德文簿》 李邕 《李思训碑》 李隆基 《鹊钨颂》 张旭 《古诗四帖》 李白 《上阳台帖》 李怀琳 《绝交书》 贺知章 《孝经》 颜真卿 《祭侄文稿》 颜真卿 《瀛州帖》 颜真卿 《裴将军诗》 徐浩 《朱巨川告身》 林藻 《马斋帖》 怀素 《自叙帖》 怀素 《论书帖》 柳公权 《蒙诏帖》 高闲 《千字文残卷》 杜牧 《张好好诗并序》 李煜 《入其国帖》 杨凝式 《神仙起居法》 杨凝式 《韭花帖》 杨凝式 《 》 李建中 《土母帖》 蔡襄 《去德帖》 苏轼 《黄州寒食诗》 苏轼 《一夜帖》 黄庭坚 《刘梦得竹枝九篇》 黄庭坚 《赠张大同卷跋尾》 米芾 《蜀素帖》 米芾 《真庥帖》 赵佶 《草书千字文》 薛绍彭 《上清连年帖》 吴琚 《观唐李氏谱牒》 赵构 《行草千字文》 陆游 《致原伯知府判院》 赵眘 《法书赞》 朱熹 《述庐陵秋谷残卷》 范成大 《 》 赵孟叛 《洛神赋》 赵孟頫 《致季宗源二札卷》 赵孟頫 《行书三段卷》 鲜于枢 《苏轼海棠诗》 吴镇 《题松泉图诗》 张雨 《自书诗册》 康里恫巎巎 《述笔法》 杨维桢 《张氏通波阡表》 宋克 《急就章》 祝允明 《济阳登太白酒楼却寄施湖州》 文徵明 《乐志论》 唐寅 《七律四首卷》 蔡羽 《书说》 王宠 《瞻眺诗》 王宠 《访王元肃虞不值诗卷》 徐渭 《青天歌卷》 邢慈静 《自书诗册》 董其昌 《宋词册》 张瑞图 《邓公聪马行》 黄道周 《山中杂咏》 王铎 《诗翰四首》 倪元璐 《草书信札》 陈洪绶 《两日帖》 傅山 《丹枫阁记》 查士标 《诗文册》 金农 《行书尺牍》 黄慎 《五言诗卷》 郑燮 《七言诗卷》 刘墉 《米芾诗轴》 王文治 《剪水山房诗序》 何绍基 《临王羲之兰亭序》 赵之谦 《忆昔从军诗》 附录：《行草书欣赏论》 后记",[23,7,398,49,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68492318509a690999cf7fc20f2abb.jpg","高24.5公分，长84公分",[96],{"id":14116,"slug":14117,"title":14118,"dynasty":45,"author":744,"museum":648,"description":14119,"tags":14120,"thumbUrl":14122,"material":95,"size":14123,"collection":95,"collections":14124,"showCount":83,"zanCount":882,"manualWeight":39,"mainColor":100},222358,"luo-hua-shi-ce-tang-yin-222358","落花诗册","《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 [1] [1]唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n落花诗墨迹的各个版本唐寅一生曾多次书写落花诗，每次所录诗作的数量不同，内容不同，书法风格也不尽相同。目前所知的有以下几个版本：\n就目前所见的唐寅落花诗真迹有四本：即苏州市博物馆藏本、普林斯顿大学附属美术馆藏本、辽宁省博物馆藏本和中国美术馆藏本。见于著录的唐寅书落花诗则有《蔬香馆法帖》、《海山仙馆藏真三刻》、《珊瑚网》等多种。",[23,92,7,60,200,25,26,50,14121],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa11f9f927e26e7749c62c6b71ab76d0.jpg","纵二十三点五厘米，横四百四十五厘米",[],{"id":14126,"slug":14127,"title":14128,"dynasty":45,"author":342,"museum":72,"description":14129,"tags":14130,"thumbUrl":14131,"material":682,"size":14132,"collection":95,"collections":14133,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},222008,"cha-shi-tu-zhou-wen-zheng-ming-222008","茶事图轴","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏·茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。\n本幅上方自题“茶具十咏”五言律诗十首，分别为茶坞、茶人、茶笋、茶籝、茶舍、茶灶、茶焙、茶鼎、茶瓯、煮茶。后款署：“嘉靖十三年岁在甲午，谷雨前三日，天池、虎丘茶事最盛，余方抱疾偃息一室，弗能往与好事者同为品试之会。佳友念我走惠二三种，乃汲泉吹火烹啜之，辄自第其高下，以适其幽闲之趣。偶忆唐贤皮陆辈‘茶具十咏’，因追次焉，非敢窃附于二贤后，聊以寄一时之兴耳。漫为小图，遂录其上。衡山文徵明识。”钤“徵”“明”朱方联珠印。嘉靖十三年即1534年，文徵明时年65岁。右下钤“徵仲父印”白文方印、“衡山”朱文方印。",[23,24,27,7,51,651,360,652,11937,50,129,75,312,9190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","纵136.1cm，横26.8cm",[],{"id":14135,"slug":14136,"title":14137,"dynasty":88,"author":6022,"museum":126,"description":14138,"tags":14139,"thumbUrl":14140,"material":784,"size":14141,"collection":314,"collections":14142,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":100},221627,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221627","诗经·小雅·节南山之什图卷全卷","马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教",[24,25,49,112,27,51,113,56,55,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[314,63,218],{"id":14144,"slug":14145,"title":14146,"dynasty":88,"author":14147,"museum":72,"description":14148,"tags":14149,"thumbUrl":14150,"material":312,"size":14151,"collection":96,"collections":14152,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},221565,"shu-juan-zhu-xi-221565","书卷","朱熹","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。 朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。\n朱熹著述甚多，有《四书章句集注》《太极图说解》《通书解说》《周易读本》《楚辞集注》，后人辑有《朱子大全》《朱子集语象》等。其中《四书章句集注》成为钦定的教科书和科举考试的标准。",[92,24,25,49,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbefdf97e9d6ba231c73ef175f4ea8fd.jpg","25.2x251.5",[96],{"id":14154,"slug":14155,"title":14156,"dynasty":88,"author":6022,"museum":126,"description":14157,"tags":14158,"thumbUrl":14161,"material":784,"size":14141,"collection":95,"collections":14162,"showCount":83,"zanCount":882,"manualWeight":39,"mainColor":40},221452,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-quan-juan-ma-he-zhi-221452","诗经·小雅·节南山之什全卷","《诗经·小雅·节南山之什图》卷，南宋，传为马和之作，绢本，设色，纵26.2厘米，横857.6厘米。\n此卷取《诗经·小雅》中《节南山》等十篇之大意描绘成图，每段前书《诗经》原文，依次为《节南山》、《正月》、《十月之交》、《雨无正》、《小旻》、《小宛》、《小弁》、《巧言》、《何人斯》、《巷伯》。书画均无款印，旧传宋高宗赵构书文，马和之作画。马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教。",[23,92,24,25,49,27,1986,14159,7,14160],"兰叶描","儒家礼教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc501efc83bf8d990bb555af8f71224f8.jpg",[],{"id":14164,"slug":14165,"title":14166,"dynasty":88,"author":14167,"museum":72,"description":14168,"tags":14169,"thumbUrl":14170,"material":312,"size":14171,"collection":96,"collections":14172,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},221364,"si-cheng-tie-chi-du-xu-xuan-221364","私诚帖尺牍","徐铉","徐铉（916-991），五代宋初文学家。字鼎臣。广陵（今江苏扬州）人。早年仕于南唐，官至吏部尚书。后随李煜归宋，官至散骑常侍,世称徐骑省。淳化二年（991）被贬谪为静难行军司马，不久就死在贬所。\n他擅长李斯小篆，也工于隶书。他与其弟徐锴是当时最杰出的篆书书法家，被称为“二徐”，他们考订了《说文解字》。此外，北宋淳化五年（994）重刻秦代《峄山刻石》，即根据徐铉的摹本。徐铉所书的篆书，映日视之，笔画中心有缕浓墨，因其笔锋直下不倒侧，故笔锋常在画中，故人也称其如“屋漏痕”、“锥画沙”。黑龙江省博物馆藏有他的《篆书千字文残卷》（宋摹本）。",[23,7,60,77,3155,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001d309fa974056d7525f4e5a98e998.jpg","29.1×44.8cm",[96],{"id":14174,"slug":14175,"title":14176,"dynasty":88,"author":89,"museum":279,"description":3448,"tags":14177,"thumbUrl":14178,"material":682,"size":3451,"collection":95,"collections":14179,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},221278,"lian-po-lin-xiang-ru-lie-zhuan-can-di-er-duan-huang-ting-jian-221278","廉颇蔺相如列传(残)第二段",[23,25,7,398,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0b7f2742fc34b19f8a020a3c9a7761.jpg",[],{"id":14181,"slug":14182,"title":14183,"dynasty":179,"author":225,"museum":72,"description":14184,"tags":14185,"thumbUrl":14186,"material":312,"size":14187,"collection":96,"collections":14188,"showCount":83,"zanCount":882,"manualWeight":39,"mainColor":40},220876,"zhi-chuan-dao-chi-du-zhao-meng-fu-220876","致传道尺牍","释文：孟頫顿首传道足下。公素人来得书累幅。既闻起居之详。又获新诗一篇。及公素寄示双石记。居违久矣。不意复闻韶濩之音。喜慰之极。无以云喻。久废笔研。不敢继和。必识此意。会合无期。临书惘惘。秋暑。万万以时自厚。不宣。孟頫顿首再拜。",[25,7,60,50,3155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a608728cb498f1fe076bfe431b2656.jpg","纵39.4厘米,横70.5厘",[96],{"id":14190,"slug":14191,"title":14192,"dynasty":18,"author":14193,"museum":107,"description":14194,"tags":14195,"thumbUrl":14197,"material":79,"size":95,"collection":35,"collections":14198,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},220259,"lao-song-tu-gao-xiang-220259","老松图","高翔","高西堂擅画梅，疏枝瘦花，其野逸之趣每为金冬心所称道。亦擅山水，法元人黄公望而以清简出之，境界荒寒，画格甚高。此轴画萱花、寿石及长松秀竹，当是为人祝嘏之作，笔墨极似恽南田而仍有其清逸本色。款书则倚倒倾侧，是其习见风貌。西堂画在“八怪”中流传最少，此轴保存良好，书卷之气袭人，是可珍。",[23,24,25,75,50,129,59,14196,76,9076,30,7],"老松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb4bd54bd63d1fc9d10345163a01cb2.jpg",[35],{"id":14200,"slug":14201,"title":14202,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":14203,"thumbUrl":14204,"material":79,"size":95,"collection":95,"collections":14205,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},216387,"mo-zhu-pu-ce-3-wu-zhen-216387","墨竹谱册-3",[92,24,25,26,50,132,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5d935d0f7c698447c6c743080d955a.jpg",[],{"id":14207,"slug":14208,"title":14209,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":14210,"thumbUrl":14211,"material":79,"size":95,"collection":95,"collections":14212,"showCount":83,"zanCount":882,"manualWeight":39,"mainColor":40},216371,"mo-zhu-pu-ce-17-wu-zhen-216371","墨竹谱册-17",[92,24,25,26,50,132,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd144c0dfb78e31c18b0424eb85f4a041.jpg",[],{"id":14214,"slug":14215,"title":14216,"dynasty":18,"author":506,"museum":442,"description":14217,"tags":14218,"thumbUrl":14219,"material":94,"size":14220,"collection":95,"collections":14221,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},216331,"jin-nong-ba-kai-hua-niao-tu-3-jin-nong-216331","金农八开花鸟图-3","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,25,50,129,29,4996,26,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83474b8830f5cdb855dbaab901df93dd.jpg","30.5x40.9cm",[],{"id":14223,"slug":14224,"title":14225,"dynasty":88,"author":549,"museum":20,"description":14226,"tags":14227,"thumbUrl":14228,"material":79,"size":612,"collection":95,"collections":14229,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},214272,"duo-jing-lou-shi-tie-12-mi-fei-214272","多景楼诗帖-12","笔势如惊雷破壁，墨韵似流云卷岫。“如翼搏千”四字，开张若鹏翼垂天，紧敛如劲弩待发。“翼”之撇捺舒展振翅，墨色浓淡间藏飞白之趣；“搏”字欹侧却稳如磐石，笔锋转折处露锋芒；“千”的竖画如孤峰拔地，力透纸背。米芾“刷字”妙处尽显——运笔迅疾如挥帚，狂放中守规矩，错落间见章法。字间呼应似登高骋怀，与多景楼诗意暗合。墨痕干湿交织，筋骨与韵味兼具，气脉贯通满纸生风，尽展宋人书法的潇洒与力量。",[7,60,25,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf631e5742b647e2d613a5712be268e.jpg",[],{"id":14231,"slug":14232,"title":14233,"dynasty":88,"author":549,"museum":20,"description":14234,"tags":14235,"thumbUrl":14236,"material":79,"size":612,"collection":95,"collections":14237,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},214271,"duo-jing-lou-shi-tie-14-mi-fei-214271","多景楼诗帖-14","笔势如奔雷掣电，八面出锋间尽展“刷字”神韵。浓墨沉厚如坠石，飞白轻盈若游丝，墨色干湿浓淡的变幻里，藏着跌宕意气与豪情。字形欹侧却稳劲，“风”字撇捺舒展如翼，“秋”字点画厚重凝霜，“御”字竖笔挺拔似松。每一笔皆带畅快节奏，仿佛能听见落笔飒飒声，将登高临远的壮阔心境，化作纸上奔腾气象。这是墨与纸的共舞，心性与笔锋的交融，尽显宋代书法的潇洒雄健。",[7,25,60,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77cf610f6f42e8a3a0a2408b800767b.jpg",[],{"id":14239,"slug":14240,"title":14241,"dynasty":88,"author":549,"museum":20,"description":14242,"tags":14243,"thumbUrl":14244,"material":79,"size":612,"collection":95,"collections":14245,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},214270,"duo-jing-lou-shi-tie-11-mi-fei-214270","多景楼诗帖-11","笔墨如奔雷掣电，笔锋八面出锋，横斜竖直间尽是洒脱不羁。每一字皆欹侧生姿，却于险绝处见平正，如奇峰罗列却脉理相连。浓墨处沉雄如坠石，淡墨处轻逸似流云，干湿浓淡的变幻间，藏着“刷字”的凌厉与灵动。线条的提按顿挫如乐章起伏，将登高临远的豪情注入笔端，既见魏晋风骨，更显宋人尚意的神采。通篇气势连贯，如江河奔涌，于挥洒自如中见法度森严，尽显书家的旷世才情与疏狂性情。",[25,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d665309976b3c96d55fe270f005caa.jpg",[],{"id":14247,"slug":14248,"title":14249,"dynasty":88,"author":549,"museum":20,"description":14250,"tags":14251,"thumbUrl":14252,"material":79,"size":612,"collection":95,"collections":14253,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},214269,"duo-jing-lou-shi-tie-16-mi-fei-214269","多景楼诗帖-16","笔势如骤雨旋风，起收间带着“刷字”的爽利——浓墨沉厚如坠石，枯笔飞白似裂帛，墨色的浓淡干湿交织出淋漓节奏。字形欹侧却稳若危岩：“追”字捺笔如长鞭破空，“壮”字结构似险峰临渊，每一笔都裹挟着登临远眺的豪情。线条张力藏山河壮阔，墨痕跃动映诗心激荡。以笔为剑、墨为情，把眼前景与心中意泼洒纸间，千年后观者仍能触到那份奔涌的生命力，仿佛听见楼头啸咏时，衣袂与风相撞的声响。",[7,60,385,3479,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba425e46b94c66fe00d361430a7d114.jpg",[],{"id":14255,"slug":14256,"title":14257,"dynasty":88,"author":549,"museum":20,"description":14258,"tags":14259,"thumbUrl":14260,"material":79,"size":612,"collection":95,"collections":14261,"showCount":83,"zanCount":39,"manualWeight":39,"mainColor":40},214268,"duo-jing-lou-shi-tie-13-mi-fei-214268","多景楼诗帖-13","笔锋似剑戟翻覆，又若流云舒卷——“氣”字末笔拖曳出的弧度裹着浓墨沉厚，“雾”字点画连绵藏着雨意朦胧，“刚”字撇捺如斩钉，飞白处漏出纸纹是力透纸背的劲。墨色浓淡相错，干湿互见：重墨如坠石，轻墨似游丝。字形欹侧却稳，线条跳脱却合章法，每一笔带着“刷字”的爽利，转折处又藏细腻。柔与刚在纸间碰撞，雾与气在笔底交融，读来如闻江风穿楼，见烟雨泼墨，满纸鲜活意气，筋骨里藏着挥毫时的豪情，是那种一眼便觉字里行间都在呼吸的生动。",[7,60,200,50,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8dd06f0d3fef3c8d0b8239ff7ec435.jpg",[],{"id":14263,"slug":14264,"title":14265,"dynasty":179,"author":180,"museum":107,"description":14266,"tags":14267,"thumbUrl":14270,"material":751,"size":752,"collection":95,"collections":14271,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},290825,"ceng-yan-qu-jian-zhou-huang-gong-wang-290825","层岩曲涧轴","元黄公望画层岩曲涧轴描述了似隔溪远眺山景；前景杂木林立，对岸平台立石柱一座，其后矾头巖块环绕；中景山势渐高，溪谷两岸悬崖壁立，其上林木欣荣，数间屋舍散布，左方溪谷尽头竹林处，架有水榭数座；上方远山雄峙，若有擎天之势。 清高宗以此作与《富春山居图》（子明卷）相比，认为两作“纸色墨气，古穆无二”。细察两作石法、树法，乃至题款书风近似，或出于一人之手，为明末清初的作品。",[24,75,51,50,59,14268,14269,52,53,458,77,7],"层岩","曲涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb06ecbde0e10adb8891902cce34b3f.jpg",[],{"id":14273,"slug":14274,"title":14275,"dynasty":8749,"author":454,"museum":107,"description":14276,"tags":14277,"thumbUrl":14278,"material":751,"size":752,"collection":95,"collections":14279,"showCount":189,"zanCount":882,"manualWeight":39,"mainColor":40},290710,"tang-wu-shang-jin-xuan-shang-miao-dao-de-jing-juan-shou-gao-zheng-mian-yi-ming-290710","唐 无上金玄上妙道德经卷手稿正面","此卷小楷通篇绵密贯通，笔锋秀逸灵动，既恪守写经体的端严规整，又隐露随性舒展的个人笔意。泛黄残旧的纸面上，千言经文一气呵成，排布紧凑却无壅迫之感，笔墨温润朴拙，带着古雅的盛唐气韵。抄录时静定的心力藏于字里行间，落笔沉稳又不失灵动姿态。岁月留下的残损痕迹，更添沧桑厚重的古旧质感，兼具珍贵的文献价值与书法审美价值，尽显唐人写经的典型风神。",[7,386,49,199,6582,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12dd4247c3f37aa610702c3073a49f5.jpg",[],{"id":14281,"slug":14282,"title":14283,"dynasty":18,"author":19,"museum":72,"description":2947,"tags":14284,"thumbUrl":14285,"material":33,"size":14286,"collection":95,"collections":14287,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},290528,"zhu-shi-ku-cha-tu-zhou-yun-shou-ping-290528","竹石枯槎图轴",[24,75,50,132,704,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b53a062749880b1168b4136a30d6c4.jpg","95.1x46.8",[],{"id":14289,"slug":14290,"title":14291,"dynasty":88,"author":278,"museum":107,"description":9779,"tags":14292,"thumbUrl":14293,"material":751,"size":752,"collection":95,"collections":14294,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":100},290297,"hua-hua-niao-zhou-zhao-chang-290297","画花鸟轴",[24,75,29,111,27,116,30,284,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47da3bc28d94f9c87e40145887010832.jpg",[],{"id":14296,"slug":14297,"title":3377,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":14298,"thumbUrl":14299,"material":751,"size":752,"collection":95,"collections":14300,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},290182,"zhu-tu-li-zhou-wu-chang-shuo-290182",[23,24,75,50,132,7,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d7eb58b8faf622716972b5c27606cf.jpg",[],{"id":14302,"slug":14303,"title":14304,"dynasty":179,"author":2389,"museum":107,"description":14305,"tags":14306,"thumbUrl":14307,"material":751,"size":752,"collection":95,"collections":14308,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},290159,"shi-an-gu-song-tu-cao-zhi-bai-290159","石岸古松图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[24,25,50,75,51,1018,471,1316,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220744a1d28d0000d5efd43b1543c4f4.jpg",[],{"id":14310,"slug":14311,"title":14312,"dynasty":179,"author":8344,"museum":107,"description":14313,"tags":14314,"thumbUrl":14316,"material":751,"size":752,"collection":95,"collections":14317,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},290157,"hun-lun-tu-zhu-de-run-290157","浑沦图","此图坡石突凸，石间屹立一棵古松，盘曲多姿，藤蔓牵缠松干，飘曳向空。石画一圆圈，其意玄奥不可知。所作松石笔致婉和精巧，墨韵温润。卷首自题九行，其中[已丑]为至正九年即公元一三四九年，作者时年五十六岁。",[92,24,25,49,50,7,457,60,14315,9076,77],"枯松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa70b7eb3e06d9a2cf3da9eedd45f2.jpg",[],{"id":14319,"slug":14320,"title":14321,"dynasty":88,"author":14322,"museum":72,"description":14323,"tags":14324,"thumbUrl":14326,"material":169,"size":14327,"collection":95,"collections":14328,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},290072,"wang-jian-gong-ci-tu-chen-ju-zhong-290072","王建宫词图","陈居中","陈居中，南宋时期著名画家，擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。",[24,27,111,113,458,137,114,77,7,14325,749],"宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d05c452c378d4b8b7f585f85284c920.jpg","50.2x79.9",[],{"id":14330,"slug":14331,"title":14332,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":14333,"thumbUrl":14334,"material":751,"size":752,"collection":95,"collections":14335,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},289976,"cuo-luo-shan-hu-zhi-wu-chang-shuo-289976","错落珊瑚枝",[23,92,24,25,75,27,50,29,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af96a1525539d532429b3adf17fb9fd.jpg",[],{"id":14337,"slug":14338,"title":14339,"dynasty":88,"author":3014,"museum":72,"description":14340,"tags":14341,"thumbUrl":14342,"material":784,"size":14343,"collection":95,"collections":14344,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":100},289839,"ban-qiao-ta-xue-tu-ma-yuan-289839","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[24,92,75,50,51,113,52,1018,57,116,1151,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636557144d63e628304ba78221c9a8b3.jpg","纵99cm，横59.1cm",[],{"id":14346,"slug":14347,"title":14348,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":14349,"thumbUrl":14350,"material":751,"size":752,"collection":95,"collections":14351,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":207},288123,"qing-yuan-dao-shi-shi-yan-zhen-qing-288123","清远道士诗",[7,198,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed789e839a3a792e97829b8041fc529d.jpg",[],{"id":14353,"slug":14354,"title":14355,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":14356,"thumbUrl":14358,"material":751,"size":752,"collection":95,"collections":14359,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},287674,"wang-wei-wu-yan-jue-ju-shi-dong-qi-chang-287674","王维五言绝句诗",[25,7,398,75,77,14357],"古诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c7cefae226dbacdfcd6262b8c16b7c.jpg",[],{"id":14361,"slug":14362,"title":8479,"dynasty":162,"author":163,"museum":72,"description":8480,"tags":14363,"thumbUrl":14364,"material":751,"size":752,"collection":95,"collections":14365,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":100},287658,"zhu-lin-wu-jun-tu-yan-li-ben-287658",[23,24,92,75,27,113,132,7,77,3234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aaa33dbb16828ea05d45ecdb7db1f03.jpg",[],{"id":14367,"slug":14368,"title":14369,"dynasty":179,"author":14370,"museum":72,"description":14371,"tags":14372,"thumbUrl":14373,"material":94,"size":14374,"collection":95,"collections":14375,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":100},287578,"shuang-pu-gui-yu-tu-tang-di-287578","霜浦归渔图","唐棣","图画坡石间乔松、枯木及杂树丛立，暮色已起，林边小径上渔人负罾罩等渔具罢渔而归。丛树占据画幅的主要部分，远处的丛林树梢在云霭中隐现，令人遐想。并立的乔松，虬曲多节的枯树，杂树树叶或用夹叶法，或用渍点法。该图人物线描熟练准确，形神俱得。",[24,51,113,1018,53,1678,820,27,59,115,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb5e9c27ef08409b1d4699a1ce19e76.jpg","144x89.7",[],{"id":14377,"slug":14378,"title":14379,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":14380,"thumbUrl":14381,"material":751,"size":752,"collection":95,"collections":14382,"showCount":189,"zanCount":882,"manualWeight":39,"mainColor":789},287338,"wu-xing-fu-mo-ji-shou-juan-zhao-meng-fu-287338","吴兴赋墨迹手卷",[23,25,7,49,60,385,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e5b862109c535437718d8d9f4c5e71.jpg",[],{"id":14384,"slug":14385,"title":12339,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":14386,"thumbUrl":14387,"material":751,"size":752,"collection":95,"collections":14388,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},283716,"yue-yang-lou-ji-juan-dong-qi-chang-283716",[23,25,7,398,49,50,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7182cea9aeb41db41936aa132160cec2.jpg",[],{"id":14390,"slug":14391,"title":14392,"dynasty":45,"author":46,"museum":72,"description":1281,"tags":14393,"thumbUrl":14394,"material":79,"size":14395,"collection":95,"collections":14396,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},283645,"shu-cai-tu-shen-zhou-283645","蔬菜图",[24,25,75,50,3746,2451,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882a6819adf61af2379967113415c814.jpg","92.3x31.7",[],{"id":14398,"slug":14399,"title":14400,"dynasty":88,"author":2751,"museum":107,"description":14401,"tags":14402,"thumbUrl":14403,"material":751,"size":752,"collection":95,"collections":14404,"showCount":189,"zanCount":882,"manualWeight":39,"mainColor":40},283638,"fa-shu-zan-zhao-shen-283638","法书赞","宋孝宗赵昚（1127年11月27日－1194年6月28日），初名赵伯琮，后改名赵瑗，赐名赵玮，字元永，籍贯秀州（今浙江嘉兴），宋太祖赵匡胤七世孙、宋高宗赵构养子。宋朝第十一位皇帝、南宋第二位皇帝（1162年7月20日－1189年2月18日在位）。\n绍兴二年（1132年），被高宗选中育于宫中。绍兴三十年（1160年），被立为皇子，受封开府仪同三司、宁国军节度使，封建王。绍兴三十二年（1162年），被立为皇太子。同年高宗让位于赵昚，使宋朝的皇位再次回到宋太祖一系。淳熙十六年（1189年），赵昚禅位于三子赵惇，自称寿皇圣帝。绍熙五年（1194年），赵昚崩逝，在位二十七年，年六十八。累谥号绍统同道冠德昭功哲文神武明圣成孝皇帝，庙号孝宗，葬于永阜陵。《全宋词》录有其词一首。\n后世普遍认为赵昚是南宋最有作为的皇帝。他在位期间，平反岳飞冤案，起用主战派人士，锐意收复中原；内政上，加强集权，积极整顿吏治，裁汰冗官，惩治贪污，重视农业生产，百姓生活安康，史称“乾淳之治”。后世称其为“卓然为南渡诸帝之称首”。",[7,60,77,14400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81b13b36bd13f790a146571eb61090a.jpg",[],{"id":14406,"slug":14407,"title":14408,"dynasty":18,"author":14409,"museum":107,"description":14410,"tags":14411,"thumbUrl":14412,"material":751,"size":752,"collection":95,"collections":14413,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},241680,"xin-jing-ce-zai-chun-241680","心经册","载淳","清穆宗爱新觉罗·载淳（1856年4月27日—1875年1月12日），清朝第十位皇帝，清定都北京后第八位皇帝，年号“同治”。为清文宗咸丰帝长子，生母为孝钦显皇后叶赫那拉氏。1861年至1875年在位，共13年。",[7,199,26,878,386,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f3d07ccfe9b4dbf554f8313fe8318b.jpg",[],{"id":14415,"slug":14416,"title":14417,"dynasty":18,"author":14418,"museum":107,"description":14419,"tags":14420,"thumbUrl":14421,"material":312,"size":95,"collection":96,"collections":14422,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},241153,"zhuan-shu-shi-yan-lian-mo-you-zhi-241153","篆书十言联","莫友芝","莫友芝（1811～1871）字子偲，自号郘亭，又号紫泉、眲叟，贵州独山人。晚清金石学家、目录版本学家、书法家，宋诗派重要成员。家世传业，通文字训诂之学，与遵义郑珍并称“西南巨儒”。",[457,2136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b813a450d635f51c8e35ca39df6e3d9.jpg",[96],{"id":14424,"slug":14425,"title":14426,"dynasty":18,"author":14427,"museum":13786,"description":14428,"tags":14429,"thumbUrl":14430,"material":312,"size":95,"collection":96,"collections":14431,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},240880,"he-shao-ji-qi-yan-lian-he-shao-ji-240880","何绍基七言联","何绍基","何绍基对篆书的书法创作是比较得心应手的。在其传世墨迹中，这类作品不仅数量多，而且品位高。体势上，大篆小篆都写；书写形式上，书联、屏条、横幅等都具备，如篆书七言联：“红树雁声当夕起，黄河诗思共秋高”。结构谨严，布局沉稳，用笔挥洒自如，且富有变化，颇具韵味。",[2136,7,60,1613,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d97c3839637aa2e9d8adb69afd994e.jpg",[96],{"id":14433,"slug":14434,"title":14435,"dynasty":45,"author":10912,"museum":126,"description":14436,"tags":14437,"thumbUrl":14438,"material":9104,"size":14439,"collection":96,"collections":14440,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},239997,"wang-duo-lin-xie-zhuang-tie-zhou-wang-duo-239997","王铎临谢庄帖轴","此轴节临南朝宋谢庄书帖（原帖收入淳化阁帖）一则，计4行53字，末署款“王铎”，左侧又识：“庚寅正月廿日午时。”下钤“王铎之印”、“天渊太使”印二方。此贴书于清顺治四年（1647年），作者时年55岁，是其晚年书作。本幅无藏印与其他人题识。\n此帖书法率意洒脱，虽系临摹古帖，但不拘泥于原帖之形，笔法上亦不受其束缚，而是挥洒自如，结字用笔，皆出己意。师原帖之意，得其大略，而于法度之外另辟蹊径，字形大小、欹侧相间，不拘一格，通幅观之，法度自蕴其中，显示出一种恢宏的气度。",[25,7,75,398,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afd1c41d607295f24bdd1eda9a61772.jpg","纵163.6厘米，横51.6厘米",[96],{"id":14442,"slug":14443,"title":14444,"dynasty":179,"author":14445,"museum":126,"description":14446,"tags":14447,"thumbUrl":14448,"material":6894,"size":14449,"collection":96,"collections":14450,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},239618,"shu-shi-xing-tie-rao-jie-239618","书士行帖","饶介","释文：\n介再拜：衰病不得时面，殊悬悬。尔举令弟文已发，如见诸（误书点去）朱相、董公及众幕客，幸著一语，庶风水与舟相资也。非相厚善，言不及此，俟面为可尽耳。草草，不一一。介再拜。士行尉相先生契家。谨空。\n本幅钤项元汴诸印，又有项廷谟、安岐、何子彰、赵叔彦、完颜景贤、谭敬、张爰等人鉴藏印记。\n此帖是饶介写给张绅的一封短信。张绅，字士行，济南人，负才略，谈辩纵横，诗文自成一家，元末为张士诚所用，官内史中尉，与饶介既为同僚，亦相交善。从信中内容分析，二人此时都在张士诚幕府为官。此篇字体疏朗，用笔细劲与方厚相间，章法自然贯通，神采生动，为饶介书法的上佳之作。",[23,7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3831957c6f4a1755e797d28428b40a.jpg","纵28.4厘米，横32.9厘米",[96],{"id":14452,"slug":14453,"title":14454,"dynasty":18,"author":2183,"museum":126,"description":14455,"tags":14456,"thumbUrl":14458,"material":8265,"size":14459,"collection":96,"collections":14460,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":100},236147,"da-shi-xiang-hong-li-shu-xin-jing-he-zhuang-zhou-ding-guan-peng-236147","大士像弘历书心经合装轴","丁观鹏（生卒年不详），擅绘人物、山水。雍正四年（1726年）以画艺精湛入宫供奉，备受雍正、乾隆皇帝的赏识，作品为清宫著录者达83件之多。",[24,75,878,27,111,113,14457,7541,76,116,2765,1678,7,60,386],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbfde9136bb0fce1adfcc9527d15d37.jpg","纵60cm，横28.3cm",[96],{"id":14462,"slug":14463,"title":4167,"dynasty":45,"author":14464,"museum":107,"description":14465,"tags":14466,"thumbUrl":14467,"material":95,"size":95,"collection":63,"collections":14468,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},234865,"shan-shui-ce-zhao-pu-234865","赵璞","此作为诗画合璧，淡墨绘就平远江景。近岸松石苍润，林木错落成荫，水波澹澹延展，远山以淡墨晕染，虚茫空濛，尽显江乡日暮的清寂悠远。行书题诗笔致清劲雅致，诗文将羁旅幽思寄寓山水，与画面相映成趣。笔墨简淡松灵，不事雕琢，把江畔闲望的怅惘安闲藏在疏朗构图之中，萧散闲适的文人意趣溢于纸面，淡而不薄，简中见雅，尽显林下澹泊清远的古韵。",[24,25,26,50,59,60,51,56,1678,471,2219,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38743b87d4722c9ed73f5e1e990d74b2.jpg",[63],{"id":14470,"slug":14471,"title":14472,"dynasty":45,"author":14473,"museum":107,"description":14474,"tags":14475,"thumbUrl":14476,"material":312,"size":14477,"collection":95,"collections":14478,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":100},234163,"zhou-tian-qiu-cong-lan-zhu-shi-juan-zhou-tian-qiu-234163","周天球丛兰竹石卷","周天球","周天球,字公瑕，号幼海，又号六止居士，江苏太仓人。善画写意兰草，在文徵明门下学习书法，文徵明赞其：“他日得吾笔者，周生也。”晚年独创书风，当时丰碑大碣皆出自他手。于《心经》气脉贯通，工稳有致，峻厚妍秀，温润苍劲。是谓经典。",[23,92,24,25,49,50,60,77,7,139,132,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44acfd326529873a27f79f238cb93b7.jpg","纵28.3cm，横56.8cm",[],{"id":14480,"slug":14481,"title":14482,"dynasty":88,"author":1160,"museum":126,"description":14483,"tags":14484,"thumbUrl":14485,"material":312,"size":14486,"collection":95,"collections":14487,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":789},232819,"bai-ju-yi-zi-yong-shi-quan-juan-zhao-gou-232819","白居易自咏诗全卷","赵构《行书白居易诗》，纸本手卷，卷心高27.2厘米，长4296厘米。每行两字，字大如拳，无名款，书后钤有御书葫芦印和朱文方印各一枚，并在接纸骑缝处有“御书之宝”印多方。明陶宗仪《书史会要》：“高宗善真、行、草书，天纵其能，无不造妙。或云初学米芾，又辅以六朝风骨，自成一家。”\n书录白居易诗《自咏》一首：“随宜饮食聊充腹，取次衣裘亦暖身。未必得年非瘦薄，无妨长福是单贫。老龟岂羡牺牲饱，蟠木宁争桃李春。随分自安心自断，是非何用问闲人。”\n赵构实际上是一位艺术家，他精通诗词与音乐，擅长书法、绘画，志趣一直在笔墨方面，是一位相当勤于学习书法的皇帝。他最初是学黄庭坚，中年学米芾，绍兴七年（1137年）书的《赐岳飞手敕》是典型的米芾笔法。\n宋高宗不仅有实际的书画创作，对书法理论也很有研究，著有《翰墨志》一卷，是他在退居德寿宫以后谈论书法的语录，在书法理论上有很精辟的见解，这是南宋前期书法理论的重要著作，也有人将它称为南宋书法理论的代表著作。",[92,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b10fef921c08ba8bc86a57c3bf82896.jpg","卷心高27.2厘米，长4296厘米",[],{"id":14489,"slug":14490,"title":14491,"dynasty":88,"author":8147,"museum":107,"description":14492,"tags":14493,"thumbUrl":14494,"material":751,"size":752,"collection":95,"collections":14495,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},230864,"cheng-xin-tang-tie-cai-xiang-230864","澄心堂帖","精致的纸质，配上蔡襄秀致而庄重的墨迹，使得这幅“澄心堂”帖格外显得清丽动人。全文以行楷写成，结体端正略扁，字距行间宽紧合适，一笔一画都甚富体态，工致而雍容。信札署有“癸卯”（1063年）年款，时蔡襄年52岁，《澄心堂纸帖》正是他晚年崇尚端重书风的代表之作。\n蔡襄学习“二王”、虞世南、颜真卿。此贴依归“二王”，参以颜公健厚之笔，王颜互用，风貌独具，以柔翰而发之以劲腕，姿容绰约，而勾勒婉健，笔墨浑厚，气势宏大。时有淳淡隽美，更具风韵。",[7,60,77,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70595ff81b15475df319f65f0235ed61.jpg",[],{"id":14497,"slug":14498,"title":14499,"dynasty":45,"author":454,"museum":107,"description":14500,"tags":14501,"thumbUrl":14502,"material":95,"size":95,"collection":95,"collections":14503,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},228917,"mo-zhou-wen-ju-zhong-ping-hui-qi-tu-yi-ming-228917","摹周文矩重屏会棋图","此作追摹古意，以精妙笔触还原文人雅集场景：四人围坐博弈，神色各有不同，或蹙眉凝思，或悠然观局，侍童静立旁侧，案上鼎彝、书卷陈列有致，尽显中古文人的闲雅意趣。\n\n画作巧用画中画的重屏构景，层层延展空间，线条细劲工致，设色古雅沉静，尽显原作的院体写实风神。拖尾题跋琳琅，鉴藏朱印错落排布，细数历代递藏脉络，让这幅摹本不止是复刻经典，更成为串联起后世文人追慕古贤的载体，让千年前的文会清韵流转至今。",[23,24,25,49,110,27,111,113,430,2369,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb1113a03fad3557a7452ed4931a72b.jpg",[],{"id":14505,"slug":14506,"title":14507,"dynasty":45,"author":46,"museum":107,"description":14508,"tags":14509,"thumbUrl":14510,"material":95,"size":95,"collection":95,"collections":14511,"showCount":189,"zanCount":882,"manualWeight":39,"mainColor":40},228831,"zhe-zhi-hua-zhi-shen-zhou-228831","折枝花枝","以水墨晕染出海棠花枝，老干苍劲朴拙，用笔凝练老辣，皴擦间尽显饱经风霜的沉厚质感。新发嫩梢轻盈舒展，墨色清浅柔润，与老干形成鲜明虚实对照。枝头繁花淡墨点染，留白为瓣，晕透出通透娇柔的春日情态，叶片浓淡错落，层次分明，鲜活尽现海棠盛放之姿。\n题跋与画作相映成趣，诗书画意交融，尽显文人画雅致意趣。整幅简淡天真，不事雕琢，以极简笔墨抓住花木神韵，将春日雅兴寄于毫端，平朴间自有冲淡空灵的意境，寥寥数笔便铺陈出海棠疏淡清雅之态，藏着江南文人闲居的悠然意致。",[23,24,25,75,50,30,238,239,1455,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bbf1cdcefb49755ec2f8724f6aeda7.jpg",[],{"id":14513,"slug":14514,"title":14515,"dynasty":45,"author":14516,"museum":107,"description":14517,"tags":14518,"thumbUrl":14520,"material":751,"size":752,"collection":95,"collections":14521,"showCount":189,"zanCount":788,"manualWeight":39,"mainColor":40},228740,"tong-ling-guan-tie-chuan-ge-juan-wang-shou-ren-228740","铜陵观铁船歌卷","王守仁","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[23,7,60,49,50,312,14519,651,589,845],"铁船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1411d7dfebd52277f93e0eef00d69aa.jpg",[],{"id":14523,"slug":14524,"title":14525,"dynasty":45,"author":744,"museum":107,"description":14526,"tags":14527,"thumbUrl":14528,"material":95,"size":95,"collection":95,"collections":14529,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[23,24,25,49,27,111,59,60,7,77,51,56,113,52,53,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":14531,"slug":14532,"title":14533,"dynasty":88,"author":1124,"museum":107,"description":14534,"tags":14535,"thumbUrl":14536,"material":95,"size":95,"collection":95,"collections":14537,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,92,24,25,49,50,27,51,115,1150,250,56,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":14539,"slug":14540,"title":14541,"dynasty":88,"author":12217,"museum":72,"description":14542,"tags":14543,"thumbUrl":14544,"material":682,"size":12221,"collection":95,"collections":14545,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[23,24,92,25,49,112,113,114,567,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg",[],{"id":14547,"slug":14548,"title":14549,"dynasty":105,"author":1642,"museum":412,"description":14550,"tags":14551,"thumbUrl":14552,"material":95,"size":95,"collection":95,"collections":14553,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},227047,"bao-mu-tie-wang-xian-zhi-227047","保母帖","王献之《保母帖》，清宫旧藏，流散后，本帖和部分题跋存弗利尔美术馆（赵子昂、郭天锡、董其昌、徐守和等），大部分题跋存故宫博物院（姜夔、赵子昂、周密、仇远、鲜于枢等）。",[23,7,60,198,49,77,200,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614954f526555092c1e1af4e18e4ebab.jpg",[],{"id":14555,"slug":14556,"title":14557,"dynasty":18,"author":14558,"museum":107,"description":14559,"tags":14560,"thumbUrl":14561,"material":95,"size":95,"collection":95,"collections":14562,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},226630,"si-shi-shan-shui-03-pu-ru-226630","四时山水03","溥儒","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,25,50,59,26,51,113,57,56,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a54730262b673b5e2e522748b6b7275.jpg",[],{"id":14564,"slug":14565,"title":14566,"dynasty":18,"author":411,"museum":107,"description":14567,"tags":14568,"thumbUrl":14569,"material":95,"size":95,"collection":95,"collections":14570,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[23,24,25,49,50,139,132,250,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":14572,"slug":14573,"title":14574,"dynasty":18,"author":14575,"museum":107,"description":14576,"tags":14577,"thumbUrl":14578,"material":95,"size":95,"collection":95,"collections":14579,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","渐江","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,25,49,50,27,59,110,77,7,51,458,56,1018,704,53,54,55,556,6139,471,3536,268,52,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":14581,"slug":14582,"title":14583,"dynasty":18,"author":3764,"museum":279,"description":14584,"tags":14585,"thumbUrl":14586,"material":2815,"size":95,"collection":63,"collections":14587,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},222721,"huang-shan-ba-jing-tu-ce-zheng-min-222721","黄山八景图册","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,24,25,26,50,51,250,59,7,77,56,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[63,96],{"id":14589,"slug":14590,"title":12077,"dynasty":18,"author":506,"museum":14591,"description":6013,"tags":14592,"thumbUrl":14593,"material":312,"size":14594,"collection":95,"collections":14595,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},222704,"shu-fa-li-zhou-jin-nong-222704","上海朵云轩",[23,2135,7,75,6015,1613,11284,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e06d86f797680d46d9d80a553a1685.jpg","122×45cm",[],{"id":14597,"slug":14598,"title":14599,"dynasty":45,"author":744,"museum":126,"description":14600,"tags":14601,"thumbUrl":14605,"material":1038,"size":14606,"collection":96,"collections":14607,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,4038,7,60,49,50,77,678,1679,51,54,52,53,55,116,2293,115,131,139,132,140,134,135,137,138,1390,3040,1002,1677,845,6398,1004,6298,14602,14603,14604],"夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纵23.3厘米，横551.3厘米",[96],{"id":14609,"slug":14610,"title":14611,"dynasty":179,"author":3733,"museum":126,"description":14612,"tags":14613,"thumbUrl":14614,"material":312,"size":14615,"collection":95,"collections":14616,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},221744,"qiu-shen-tie-guan-dao-sheng-221744","秋深帖","管道升行书秋深帖是管道升给婶婶的问安、馈赠的家信，实为赵孟頫所书。其笔力扎实，体态修长，秀媚圆活，畅朗劲健。赵氏信笔写来一时忘情，末款署了自己的名，发觉后忙又改过，还可以看出涂改之迹。",[23,92,24,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709a2cf3722df1bd28d60e5ffd14c32f.jpg","纵26.9cm，横53.3cm",[],{"id":14618,"slug":14619,"title":14620,"dynasty":88,"author":308,"museum":126,"description":14621,"tags":14622,"thumbUrl":14623,"material":312,"size":14624,"collection":96,"collections":14625,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},221308,"xin-sui-zhan-qing-ren-lai-de-shu-tie-su-shi-221308","《新岁展庆人来得书帖》","《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[23,7,60,200,77,49,432,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad00b3f14d230ed716a804c1d3a34fd.jpg","前帖30.2X48.8cm，后帖29.5X45.1cm",[96],{"id":14627,"slug":14628,"title":14629,"dynasty":88,"author":1160,"museum":72,"description":14630,"tags":14631,"thumbUrl":14634,"material":14635,"size":14636,"collection":95,"collections":14637,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},221200,"shu-qi-yan-lv-shi-zhao-gou-221200","书七言律诗","《宋赵构书七言律诗》是宋代时期宋高宗创作的书法作品。\n此幅墨迹是宋高宗以楷书书写 的七言律诗（即事），又名「暮春三月诗帖」。\n此一诗帖以中锋书写，通幅看来章法疏朗，字体匀称、圆润，墨色统一，令人看来赏心悦目。\n杜甫这首七律的意境如画，高宗笔墨洗鍊，二者可说是相得益彰。\n诗後原来还有元代赵孟頫为此诗作的图，可惜已被人裁去。\n高宗在绍兴三十二年（1162）晚年时退休，这段时期所作的楷书，多典雅圆融，端正停匀，有一种飘逸潇洒的趣味。\n这幅作品不仅接近这样的风格，因诗幅後还有高宗在位时的用印（御书之宝），因此推测它书写的时间应距退休时间不远。",[23,88,7,25,60,77,385,312,14632,6769,14633],"汉字","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm",[],{"id":14639,"slug":14640,"title":4077,"dynasty":88,"author":4078,"museum":648,"description":4079,"tags":14641,"thumbUrl":14642,"material":1038,"size":4082,"collection":95,"collections":14643,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},221198,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221198",[23,7,60,49,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd86e4e28de5c93a83e0f57568a97a.jpg",[],{"id":14645,"slug":14646,"title":14647,"dynasty":45,"author":744,"museum":279,"description":14648,"tags":14649,"thumbUrl":14650,"material":79,"size":14651,"collection":63,"collections":14652,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,25,49,50,60,7,77,59,51,56,53,54,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[63],{"id":14654,"slug":14655,"title":14656,"dynasty":18,"author":1387,"museum":442,"description":14657,"tags":14658,"thumbUrl":14659,"material":79,"size":95,"collection":95,"collections":14660,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":3443},216355,"hua-niao-ce-3-zhu-da-216355","花鸟册-3","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,92,24,25,50,29,116,7,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132cf789b8ee3ec3fcb32f156b958594.jpg",[],{"id":14662,"slug":14663,"title":14664,"dynasty":18,"author":14665,"museum":72,"description":14666,"tags":14667,"thumbUrl":14668,"material":79,"size":14669,"collection":96,"collections":14670,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":100},214719,"xing-shu-shi-da-chong-guang-214719","行书诗","笪重光","这幅画是笪重光为他人的七十岁生日写的，笔触自然，特别是黄鲁直体。",[23,2135,7,60,75,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaf48b6e4dcb0aae8c599d8f8e45087.jpg","190.5x46.5",[96],{"id":14672,"slug":14673,"title":14674,"dynasty":88,"author":549,"museum":20,"description":14675,"tags":14676,"thumbUrl":14677,"material":79,"size":612,"collection":95,"collections":14678,"showCount":189,"zanCount":39,"manualWeight":39,"mainColor":40},214274,"duo-jing-lou-shi-tie-8-mi-fei-214274","多景楼诗帖-8","笔锋游走间，“刷字”神韵跃然纸上。每一笔皆似快剑出鞘，利落干脆：“回”字折角如刀削，棱角分明；“列”字撇捺舒展若鹏翼，裹挟江楼远眺的旷达之气。墨色枯润相间，浓处如乌云聚顶，淡处似薄雾笼山，牵丝映带间行气连贯，如流泉穿石，一气呵成。字势欹侧跌宕，却于欹倾中见平衡——似风中翠竹摇曳生姿，根节仍坚劲不移。这般率意挥洒，融晋韵之飘逸与宋意之灵动，将米颠的疏狂才情凝于笔墨。读之如临多景楼头，涛声与墨韵交织，直教人忘尘俗之扰，心随字势共赴一场快意挥洒的笔墨之约。",[7,25,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26efecb79f1f1b7604adbaa8e9df93b0.jpg",[],{"id":14680,"slug":14681,"title":14682,"dynasty":162,"author":14683,"museum":107,"description":14684,"tags":14685,"thumbUrl":14686,"material":202,"size":95,"collection":95,"collections":14687,"showCount":189,"zanCount":882,"manualWeight":39,"mainColor":100},214216,"gui-feng-ding-hui-chan-shi-bei-pei-xiu-214216","圭峰定慧禅师碑","裴休","碑文由唐代书法家裴休书写，额头为柳公权的篆书。铭文由36行组成，每行65个字符。书法与柳公权的相似，但风格比柳公权的更稳健。其用笔严谨方正，结构严谨有力，书法刚柔并济，是晚唐时期最优秀的佛寺碑刻之一。",[23,1063,7,198,199,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766f4c7ba47ecf58cf70d249819695dd.jpg",[],{"id":14689,"slug":14690,"title":14691,"dynasty":179,"author":759,"museum":107,"description":5070,"tags":14692,"thumbUrl":14695,"material":751,"size":752,"collection":95,"collections":14696,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},291030,"mei-zhu-shuang-qing-juan-wang-mian-291030","梅竹双清卷",[7,60,49,77,131,14693,14694,25],"孤月","冻云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691ca9f6c2d3a5aaa99998e8b89d2ef3.jpg",[],{"id":14698,"slug":14699,"title":14700,"dynasty":88,"author":1937,"museum":107,"description":9433,"tags":14701,"thumbUrl":14703,"material":751,"size":752,"collection":95,"collections":14704,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},291004,"tang-song-yuan-hua-ji-jin-ce-fu-rong-cui-yu-ma-lin-291004","唐宋元画集锦册 芙蓉翠羽",[92,24,25,26,27,111,29,136,14702,7,60,77],"翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14b79bcb51d897bb2ba0c721b32900c.jpg",[],{"id":14706,"slug":14707,"title":14708,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":14709,"thumbUrl":14711,"material":751,"size":752,"collection":95,"collections":14712,"showCount":174,"zanCount":882,"manualWeight":39,"mainColor":40},290893,"guo-guo-fu-ren-ye-you-tu-zhou-zhao-meng-fu-290893","虢国夫人夜游图轴",[75,7,60,77,5831,14710],"夜游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67d725321df30f7987c941a93805d1ac.jpg",[],{"id":14714,"slug":14715,"title":1270,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":14716,"thumbUrl":14718,"material":751,"size":752,"collection":95,"collections":14719,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},290881,"yu-lan-shen-zhou-290881",[92,24,50,29,134,14717,77,7,26],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5cc9ce4db5f1644e40e59c01e040a9.jpg",[],{"id":14721,"slug":14722,"title":14723,"dynasty":45,"author":744,"museum":107,"description":897,"tags":14724,"thumbUrl":14725,"material":751,"size":752,"collection":95,"collections":14726,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},290850,"deng-xiao-gui-hua-zhou-tang-yin-290850","灯霄闺话轴",[24,75,50,25,60,7,51,56,458,59,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb3c4b4f85d053b5eb272b9977597f9.jpg",[],{"id":14728,"slug":14729,"title":14730,"dynasty":45,"author":744,"museum":72,"description":14731,"tags":14732,"thumbUrl":14734,"material":751,"size":752,"collection":95,"collections":14735,"showCount":174,"zanCount":882,"manualWeight":39,"mainColor":100},290844,"ceng-yan-ce-zhang-tu-zhou-tang-yin-290844","层岩策杖图轴","此幅画烟霄拔嶂，悬泉直泻而下，层台水榭，一高士策杖山径闲步，远山山脚云气迷漫，山石以斧劈斫趯，劲利潇洒。",[24,92,75,1328,27,59,113,458,52,53,57,13669,55,77,7,14733],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa273597b9f2b63139eac163b3030ad48.jpg",[],{"id":14737,"slug":14738,"title":14739,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":14740,"thumbUrl":14741,"material":751,"size":752,"collection":95,"collections":14742,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},290834,"qing-bi-ge-zhou-ni-zan-290834","清閟阁轴",[92,24,75,50,51,458,704,57,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd3330a29b981772972a37c35aa7341.jpg",[],{"id":14744,"slug":14745,"title":14746,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":14747,"thumbUrl":14748,"material":751,"size":752,"collection":95,"collections":14749,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},290537,"dong-li-qiu-se-zhou-yun-shou-ping-290537","东篱秋色轴",[92,24,75,27,29,140,7,77,2061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1914b9a2c88f461957b447b8d8f763.jpg",[],{"id":14751,"slug":14752,"title":1871,"dynasty":18,"author":3067,"museum":107,"description":9355,"tags":14753,"thumbUrl":14754,"material":751,"size":752,"collection":95,"collections":14755,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},290308,"sui-chao-tu-zhou-wang-hui-290308",[24,75,29,27,111,133,297,138,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c681822943ef6327300301fb70ad7d.jpg",[],{"id":14757,"slug":14758,"title":13926,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":14759,"thumbUrl":14760,"material":751,"size":752,"collection":95,"collections":14761,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},290206,"mo-mei-jin-nong-290206",[23,1250,24,25,50,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd9678487214186bfe67647ac8d5032.jpg",[],{"id":14763,"slug":14764,"title":14765,"dynasty":88,"author":2751,"museum":107,"description":14401,"tags":14766,"thumbUrl":14768,"material":751,"size":752,"collection":95,"collections":14769,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},289738,"yu-fu-shi-tuan-shan-zhao-shen-289738","渔父诗团扇",[1250,7,60,77,14767,1390,12080,1002,820,568,4739],"酒家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac54b861f293243ccd4eb3dadcf2fff8.jpg",[],{"id":14771,"slug":14772,"title":14773,"dynasty":88,"author":3543,"museum":107,"description":9950,"tags":14774,"thumbUrl":14775,"material":751,"size":752,"collection":95,"collections":14776,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":100},288511,"xi-shan-qiu-ji-tu-wang-shen-288511","溪山秋霁图",[23,92,24,25,49,50,51,59,251,56,267,556,2061,7,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549c065a57fcd8e41e55a4d3ea391e6.jpg",[],{"id":14778,"slug":14779,"title":14780,"dynasty":88,"author":14781,"museum":107,"description":14782,"tags":14783,"thumbUrl":14785,"material":751,"size":752,"collection":95,"collections":14786,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},288368,"shui-mo-xie-sheng-tu-mu-xi-288368","水墨写生图","牧溪","二图卷绘果蔬、花木禽鸟、鱼蟹果蔬有石榴、桃、梨、枇杷、萝卜、茄子；禽鸟有燕子、喜鹊、鹊鸽、赤麻鸭；水族有鱼、虾、蟹等全卷川水墨勾染，不施颜色，在南宋画坛极其罕见，为写意花鸟开创了新路。",[23,92,24,49,50,4730,29,14784,1390,4108,116,134,7667,7],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4421a4fc00d03c3c87c5ed2ebd989b87.jpg",[],{"id":14788,"slug":14789,"title":14790,"dynasty":162,"author":1060,"museum":107,"description":2889,"tags":14791,"thumbUrl":14792,"material":751,"size":752,"collection":95,"collections":14793,"showCount":174,"zanCount":882,"manualWeight":39,"mainColor":40},288065,"yu-gong-gong-wen-yan-bo-bei-ou-yang-xun-288065","虞恭公温彦博碑",[7,198,200,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5429f1cb83981c3af26124536082.jpg",[],{"id":14795,"slug":14796,"title":14797,"dynasty":88,"author":1124,"museum":107,"description":14798,"tags":14799,"thumbUrl":14802,"material":751,"size":752,"collection":95,"collections":14803,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":100},287813,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-287813","海天旭日图卷","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,92,24,25,49,1127,27,51,7,60,14800,12889,14801],"海天","岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb79aa321968bf59f167e748dd9de4.jpg",[],{"id":14805,"slug":14806,"title":14807,"dynasty":105,"author":6749,"museum":107,"description":14808,"tags":14809,"thumbUrl":14810,"material":751,"size":752,"collection":95,"collections":14811,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},287290,"ping-fu-tie-quan-juan-zhang-cao-lu-ji-287290","平复帖全卷章草","陆机（261年－303年），字士衡，吴郡吴县（今江苏省苏州市）人。西晋著名文学家、书法家。出身吴郡陆氏，为孙吴丞相陆逊之孙、大司马陆抗第四子，与其弟陆云合称“二陆”，又与顾荣、陆云并称“洛阳三俊”。\n陆机在孙吴时曾任牙门将，吴亡后出仕西晋，太康十年（289年），陆机兄弟来到洛阳，文才倾动一时，受太常张华赏识，此后名气大振。时有“二陆入洛，三张减价”之说。历任太傅祭酒、吴国郎中令、著作郎等职，与贾谧等结为“鲁公二十四友”。赵王司马伦掌权时，引为相国参军，封关中侯，于其篡位时受伪职。司马伦被诛后，险遭处死，赖成都王司马颖救免，此后便委身依之，为平原内史，世称“陆平原”。太安二年（303年），任后将军、河北大都督，率军讨伐长沙王司马乂，却大败于七里涧，最终遭谗遇害，被夷三族。\n陆机“少有奇才，文章冠世”，诗重藻绘排偶，骈文亦佳。与弟陆云俱为西晋著名文学家，被誉为“太康之英”。与潘岳同为西晋诗坛的代表，形成”太康诗风“，世有”潘江陆海“之称。陆机亦善书法，其《平复帖》是中古代存世最早的名人书法真迹。",[23,92,25,49,398,7,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02ab8ee1752eeb283ebf01aa1970883.jpg",[],{"id":14813,"slug":14814,"title":2268,"dynasty":179,"author":180,"museum":107,"description":2269,"tags":14815,"thumbUrl":14816,"material":751,"size":752,"collection":95,"collections":14817,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},284289,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-284289",[24,25,51,50,59,251,56,57,458,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c34216928f15c33184db431beebcfad.jpg",[],{"id":14819,"slug":14820,"title":14821,"dynasty":45,"author":14822,"museum":14823,"description":14824,"tags":14825,"thumbUrl":14827,"material":14828,"size":14829,"collection":96,"collections":14830,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},241159,"rong-song-juan-huang-dao-zhou-241159","榕颂卷","黄道周","东山县图书馆","黄道周（1585～1646）明末学者、书画家、文学家、儒学大师、民族英雄。字幼玄，一作幼平或幼元，又字螭若，螭平，号石斋，汉族，福建漳浦铜山（现东山县铜陵镇）人。天启二年进士，深得考官袁可立赏识，历官翰林院修撰、詹事府少詹事。南明隆武时，任吏部兼兵部尚书、武英殿大学士（首辅）。抗清失败，被俘殉国，谥忠烈。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人才。世人尊称之黄圣人、石斋先生。著作甚丰。有《儒行集传》、《石斋集》、《易象正义》、《春秋揆》、《孝经集传》等，后人辑成《黄漳浦先生全集》，现存诗两千余首，被俘后“见三光”的牢室中所作三百多首诗，出自忧愤，最为感人。\n他被视为明代最有创造性的书法家之一。他的书法擅长楷书、行书和草书。他的行书和草书，行笔转折刚劲有力，体势方整，书风雄健奔放。有力量，又有姿态，是黄道周行草书的主调。他以隶书铺毫和方折行笔，点画多取隶意；字虽长，但强调向右上横势盘绕，让点画变得绵而密，虽略带习气，但奇崛刚劲，形成了自己独特的形式语言，尤显出其人刚直不阿的个性。其立轴代表作有行草书《赠蕨仲兄闻警出山诗轴》、《闻奴警出山诗轴》等，两作均加大行距，以连绵草书而成，有奋笔直下之势，激情燃纸，振迅耳目，如闻钟声、蹄声于道。他的楷书主要学习钟繇，比起钟繇的古拙厚重来，更显得清秀、飘逸。 黄道周善楷、行、草诸体书，又工隶书。他的楷书，如《孝经卷》、《张溥墓志铭》，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。他的行草书，如《五言古诗轴》，大略类其楷书的体势，行笔转折方健，结字欹侧多姿，朴拙的风格同样接近钟繇。他的隶书正具有“清截遒媚”的特点，不如楷书那样古拙清刚。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。",[7,25,49,60,50,77,14826],"榕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36769674ee7c84e872e15c893bbd6a2.jpg","绫本楷书","12．5X 23．8厘米",[96],{"id":14832,"slug":14833,"title":14834,"dynasty":18,"author":14835,"museum":107,"description":14836,"tags":14837,"thumbUrl":14839,"material":95,"size":95,"collection":96,"collections":14840,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},239808,"lin-su-shi-tie-heng-fu-chong-en-239808","临苏轼帖横幅","崇恩","崇恩（1803—1878），觉罗氏，字仰之，禹舲、语舲、 雨舲，别号香南居士、敔翁、语铃道人，室名壶青阁、香南精舍、吾亦爱吾等。满洲正红旗人（一作正蓝旗），系满清皇室。出生于嘉庆八年（1803），官仕道光、咸丰、同治三朝，先后任山东巡抚、内阁学士等。工书，法苏轼。画山水，出入宋、元诸名家，撷其精华，故能超轶凡近。喜收藏、精鉴赏，收藏历代书画、古籍碑帖极富，是清代中晚期著名的书法家、收藏家、鉴赏家、金石学家、诗人。著有《香南居士集》《香南精舍金石契》《金石玉铭》《枕琴轩诗草》《崇雨舲中丞诗稿守岱集》等。",[23,7,60,110,14838,77,200],"横幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba04e72a16ceb09d2fd0f65dcc44e99a.jpg",[96],{"id":14842,"slug":14843,"title":7130,"dynasty":2365,"author":4335,"museum":126,"description":14844,"tags":14845,"thumbUrl":14846,"material":1646,"size":7134,"collection":96,"collections":14847,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},239575,"xia-re-tie-yang-ning-shi-239575","《夏热帖》是杨凝式写的一封信札。内容大致是，因天气炎热，送给僧人消夏饮料“酥密水”表示问候。\n释文：\n“凝式啓：夏熱體履佳宜，長□酥密水，即欲致法席，苦□□□乳之供，酥似不如也。(以下数字残损难识)病？(下二行残损)。”\n首署款：“凝式”。\n后纸有宋王钦若，元鲜于枢、赵孟頫，清张照题跋及乾隆皇帝的释文。\n卷前后及隔水上钤有宋“賢志堂印”，元赵孟頫，明项元汴，清曹溶、纳兰成德、清内府等鉴藏印。另有数方古印不辨。\n此帖是杨凝式唯一的传世草书作品，书法兼取唐颜真卿、柳公权笔法，体势雄奇险崛，运笔爽利挺拔，《神仙起居法》有异曲同工之妙，为杨凝式书法代表作品作之一。\n此帖曾刻入《三希堂法帖》。\n明汪砢玉《珊瑚网书跋》，清吴其贞《书画记》、顾復《平生壮观》、卞永誉《式古堂书画汇考》、内府《石渠宝笈·初篇》等书著录。",[23,7,398,77,433,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec344d88b3dc1f7b96f45d8b8ae900.jpg",[96],{"id":14849,"slug":14850,"title":14851,"dynasty":18,"author":14852,"museum":107,"description":14853,"tags":14854,"thumbUrl":14855,"material":95,"size":95,"collection":63,"collections":14856,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,25,26,27,1128,51,458,56,54,9190,77,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[63,218],{"id":14858,"slug":14859,"title":14860,"dynasty":45,"author":9605,"museum":107,"description":14861,"tags":14862,"thumbUrl":14864,"material":312,"size":95,"collection":96,"collections":14865,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[24,25,75,50,51,59,7,77,60,652,57,54,53,471,14863],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[96],{"id":14867,"slug":14868,"title":14869,"dynasty":45,"author":342,"museum":126,"description":14870,"tags":14871,"thumbUrl":14872,"material":312,"size":95,"collection":95,"collections":14873,"showCount":174,"zanCount":882,"manualWeight":39,"mainColor":40},234118,"wen-zheng-ming-zhang-cun-ren-lan-shi-er-duan-juan-wen-zheng-ming-234118","文徵明、张存仁兰石二段卷","释文：晚凉斜倚赤阑桥，天远白烟消。酒醒顾见花间影，浮云乱、月在林稍。野火青山隐隐，渔歌绿水迢迢。昔年曾此醉清宵。共艤木兰桡。白头重踏行春路，同游伴、半已难招。夜静山高月小，玉人何处吹箫。右调风入松，文徵明。",[24,25,49,50,139,589,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5095afe898271fb0ae9141e278a74292.jpg",[],{"id":14875,"slug":14876,"title":6061,"dynasty":18,"author":9820,"museum":126,"description":9821,"tags":14877,"thumbUrl":14878,"material":784,"size":9825,"collection":95,"collections":14879,"showCount":174,"zanCount":882,"manualWeight":39,"mainColor":40},232974,"hua-niao-ce-lang-shi-ning-232974",[92,24,25,26,111,27,29,135,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff063590e6f3597d805841b57c96f17c8.jpg",[],{"id":14881,"slug":14882,"title":14883,"dynasty":18,"author":506,"museum":107,"description":14884,"tags":14885,"thumbUrl":14886,"material":95,"size":95,"collection":95,"collections":14887,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":100},230236,"za-hua-12-kai-jin-nong-230236","杂画12开","此作以枯淡老辣的笔墨绘古松，虬曲主干皴擦苍劲，松针攒簇如钉，尽显古松傲岸挺拔的沧桑身姿。缠绕的附枝柔中带刚，与苍松相映，野意盎然。\n\n下方题字以标志性漆书书就，朴茂雄健，笔墨厚重浑朴，书画相映，将文人的清逸高古融入画中。整幅作品以水墨写尽古松浑朴神韵，生拙奇崛的画风里，寄寓着画者清介不俗的襟怀，尽显文人画以意驭笔的雅致意趣。",[23,24,25,26,50,133,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd0c684d21e794d38033a43582b604c.jpg",[],{"id":14889,"slug":14890,"title":14891,"dynasty":179,"author":1171,"museum":107,"description":14892,"tags":14893,"thumbUrl":14894,"material":95,"size":95,"collection":95,"collections":14895,"showCount":174,"zanCount":882,"manualWeight":39,"mainColor":40},228031,"qian-kun-sheng-yi-tu-xie-chu-fang-228031","乾坤生意图","此卷以精工没骨绘就，秋葵、栀花与幽竹错落排布，柔枝舒展，艳而不俗。蝶蛱振翅、雀鸟掠影，纤毫毕现，将草木的温润柔态与虫禽灵动意趣刻画入微，晕染匀净古雅，满卷流动盎然生机。\n后附诸家题跋，行楷兼具，笔意隽秀疏朗，书画相映成趣，将观照小景所得的天地生机，晕染为一卷悠然鲜活的雅致长卷，尽显静雅意趣，寄寓着对自然生机的由衷赞叹。",[23,92,24,25,49,27,111,29,5947,692,1175,76,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458572dbd0c2965e335e70ccb4df8943.jpg",[],{"id":14897,"slug":14898,"title":14899,"dynasty":18,"author":1387,"museum":107,"description":14900,"tags":14901,"thumbUrl":14902,"material":95,"size":95,"collection":95,"collections":14903,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},224260,"lin-lan-ting-xu-zhu-da-224260","临兰亭序","此作用笔枯淡古拙，将原本兰亭序的飘逸秀雅彻底解构，以欹侧跌宕的字形、稚倔朴茂的线条，揉入自身沉郁孤高的心境。章法错落疏朗，留白间满是冷逸疏离的况味，打破了原作舒展灵动的韵律，代以疏狂萧索的气度，把半生颠沛的孤寂寄寓笔端，在临帖之中注入强烈的个人风骨，为旧文赋予了全新的精神内核，是借经典抒己怀的绝佳范本。",[23,7,110,60,25,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719ef5e05a8d705368f4e2ad924f5ebb.jpg",[],{"id":14905,"slug":14906,"title":14907,"dynasty":8749,"author":454,"museum":107,"description":14908,"tags":14909,"thumbUrl":14910,"material":95,"size":95,"collection":95,"collections":14911,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":100},223686,"qi-shi-wen-shu-tu-yi-ming-223686","骑狮文殊图","此作用笔清劲雅致，以淡墨晕染铺陈。文殊端坐狮背，身伴圆光，面容沉静悲悯，手持如意，衣袂舒展飘逸，尽显出尘慧雅的气度。青狮昂首踏浪而行，兽目圆睁威严尽显，层叠海浪以淡墨晕染，古拙灵动，烘托出踏浪而行的悠然之势。\n\n上方题诗与画像呼应，将菩萨的般若智慧和空灵禅意融于尺幅间，兼蓄宗教肃穆与文人笔墨意趣。",[23,24,25,75,878,113,798,112,50,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1e4a5bcd97d0b2b84bdd429e2890f5.jpg",[],{"id":14913,"slug":14914,"title":14915,"dynasty":18,"author":2634,"museum":72,"description":14916,"tags":14917,"thumbUrl":14919,"material":27,"size":14920,"collection":63,"collections":14921,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,25,75,50,59,51,651,589,845,55,56,267,7,77,14918,2028,252,576],"峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[63,187],{"id":14923,"slug":14924,"title":14925,"dynasty":45,"author":9762,"museum":1568,"description":14926,"tags":14927,"thumbUrl":14928,"material":14929,"size":14930,"collection":95,"collections":14931,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":100},222090,"zhang-cao-sun-guo-ting-shu-pu-ce-song-ke-222090","章草《孙过庭书谱册》","宋克章草《孙过庭书谱册》，是赠送给他的好友俞孟京的，后未署书写年月，但纵观此册作品，熔楷、行、章草于一炉，笔力清劲健古，结字疏宕萧散，通篇千余字一气呵成，无一懈笔，真可谓于精到处见豪放，于细微中见功力，笔笔如入嫌素一般，令人叹为观止。\n元代末年,朱元璋在群雄中崛起,驱逐蒙元,建都南京,自洪武元年(1368)开创了明王朝。明代初期在书法上基本延袭了赵孟畹奈冉》绺,以三宋（宋璲、宋克、宋广）和二沈（沈度、沈粲）为代表的书家,除宋克的章草尚有一定特色之外,其他书家在创意上显得比较靡弱,尽管有几位书家在当时名声很大,特别是永乐宣德年间,沈度、沈粲兄弟二人因受到成祖皇帝宠遇,一时声名显赫,朝廷的重要文件都由此二人书写,于是竞相仿习,个性丧失殆尽,至明代中叶,吴中书家的崛起,书风遂为之一转。",[23,8453,398,7,200,26,2602,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a53cb59f459ccd452d8a8f378905fe.jpg","残本","纵32厘米，横20.5厘米",[],{"id":14933,"slug":14934,"title":14935,"dynasty":179,"author":2462,"museum":72,"description":14936,"tags":14937,"thumbUrl":14938,"material":682,"size":14939,"collection":96,"collections":14940,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},221830,"shu-jiu-cheng-gong-li-quan-ming-zhou-ke-jiu-si-221830","书九成宫醴泉铭轴","本幅以小楷书抄录〈九成宫醴泉铭〉，以王羲之笔法为主，时而显露欧阳询、颜真卿笔法，反映其书学之渊源。全作用笔健劲，结体平正中见敧侧，秀逸中透质朴，表现出特殊的审美意趣。",[23,24,25,75,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a5e687de3935f13e1834cc01421261.jpg","横31.7cm，纵26.8",[96],{"id":14942,"slug":14943,"title":14944,"dynasty":179,"author":1324,"museum":126,"description":14945,"tags":14946,"thumbUrl":14947,"material":477,"size":14948,"collection":95,"collections":14949,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},221818,"yang-zhu-xi-xiao-xiang-quan-juan-ni-zan-221818","杨竹西小像全卷","这是一幅元代人物肖像画的经典作品，由王绎与著名山水画家倪瓒共同绘制。图绘一老者策杖立坡间，旁点缀松石等简单衬景。本幅左侧倪瓒题款：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年（1363年）。据款识可知此卷为王绎、倪瓒合作而成。此图所绘应为杨氏归老林泉后的晚年肖像。图中杨谦头戴乌巾，右手执杖，衣袍宽松，面相清癯、磊落而有神。描绘精细，人物面部均以淡墨为之，以线为主，略事烘染，着墨不多而神情毕肖，表现出很高的艺术水平。倪瓒所补松石，笔墨枯淡、松秀，与人物相得益彰，共同构成了一幅精美的肖像画作品。\n此图由王绎画杨谦（号竹西）小像，倪瓒补画松石平坡。图中杨谦留着长发，头戴小帽，身着长袍，持杖独立。人物面部用细笔勾描，略用淡墨烘染，形象生动逼真。笔墨不多，却较好地表现了杨竹西“清谦谨慎”的性格。画像后亲以小石的弧松，更加烘托了杨竹亡在宋亡后不仕朝迁的气节。画中倪瓒题云：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年，即公元1363年。卷后有元人邓元祜、杨维祯等十一家题记。",[23,24,25,49,112,50,113,250,115,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2134019448775058ad4a63eadde0d16a.jpg","纵27.7厘米，横86.8厘米",[],{"id":14951,"slug":14952,"title":5901,"dynasty":88,"author":5902,"museum":126,"description":5903,"tags":14953,"thumbUrl":14954,"material":312,"size":5906,"collection":96,"collections":14955,"showCount":174,"zanCount":882,"manualWeight":39,"mainColor":40},221231,"er-zha-tie-fan-zhong-yan-221231",[23,25,7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3eeca4d08ded70a5ea11316f1b9c881.jpg",[96],{"id":14957,"slug":14958,"title":14959,"dynasty":45,"author":1313,"museum":279,"description":14960,"tags":14961,"thumbUrl":14962,"material":312,"size":14963,"collection":95,"collections":14964,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},220346,"fang-mi-fei-shan-shui-tu-juan-wen-2-dong-qi-chang-220346","仿米芾山水图卷-文2","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[7,60,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610adfcabe39b18044034a9cf98a821c.jpg","25.9 x 219.1厘米",[],{"id":14966,"slug":14967,"title":14968,"dynasty":18,"author":7664,"museum":20,"description":14969,"tags":14970,"thumbUrl":14971,"material":33,"size":14972,"collection":171,"collections":14973,"showCount":174,"zanCount":882,"manualWeight":39,"mainColor":100},219986,"su-wu-mu-yang-tu-huang-shen-219986","苏武牧羊图","黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（一七一九）至扬州鬻画，人争客之。雍正五年（一七二七）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。乾隆三十三年（一七六八）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[24,92,25,75,50,27,129,60,7,113,798,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef53ca2e7ccb40467e5fb25716a2c918.jpg","纵198厘米，横109.5厘米",[171],{"id":14975,"slug":14976,"title":14977,"dynasty":18,"author":9820,"museum":72,"description":14978,"tags":14979,"thumbUrl":14980,"material":169,"size":14981,"collection":218,"collections":14982,"showCount":174,"zanCount":788,"manualWeight":39,"mainColor":40},219422,"shi-jun-tu-zhi-nie-yun-shi-zhou-lang-shi-ning-219422","十骏图之籋云驶轴","骏马伫立绢间，身姿挺拔似蓄势待发，鬃尾如墨线流转却不失蓬松质感。斑纹晕染自然，似晨曦拂过皮毛，肌肉的起伏藏着解剖学的精准，却以东方设色的温润消解了西画的生硬。素净背景上，题字与朱印错落，添了几分古雅韵致。它将西方写实的生动与东方写意的空灵揉合，每一笔都似在诉说骏马的灵动与画师的巧思，让观者于方寸间见得跨文化艺术碰撞的火花，尽显皇家名驹的神采与画作的独特魅力。",[24,27,111,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1119013fe0d826d6735418558cca191c.jpg","239.5x270.4",[218],{"id":14984,"slug":14985,"title":14986,"dynasty":45,"author":14987,"museum":126,"description":14988,"tags":14989,"thumbUrl":14991,"material":312,"size":14992,"collection":96,"collections":14993,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},219164,"shi-han-ce-peng-nian-219164","诗翰册","彭年","此册书法欹峭微侧，有苏轼书法意韵。王世贞《吴中往哲像赞》云：彭年 “书初法晋人，己为楷，其小者信本（欧阳询），大者清臣（颜真卿），行、草则子瞻（苏轼）。”但彭年舍苏轼丰腴、偏肥、卧笔，而以清劲爽健的笔锋使其笔法更为开放活泼，故王世贞又云：“行、草眉山若远耳。”",[23,24,25,7,60,26,50,77,14990],"诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa41ab93392936e7e9e6c6d457c78455c.jpg","每开纵26厘米，横33.5厘米",[96],{"id":14995,"slug":14996,"title":14997,"dynasty":18,"author":411,"museum":412,"description":413,"tags":14998,"thumbUrl":14999,"material":33,"size":95,"collection":171,"collections":15000,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},218127,"zhong-song-tu-shi-tao-218127","种松图",[23,24,27,50,7,77,60,113,133,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c08b724a41ded1b9e47ee7bd779b63.jpg",[171],{"id":15002,"slug":15003,"title":15004,"dynasty":45,"author":2977,"museum":442,"description":15005,"tags":15006,"thumbUrl":15007,"material":33,"size":95,"collection":35,"collections":15008,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},216325,"han-xi-meng-song-yuan-ming-ji-ce-xi-ma-tu-han-xi-meng-216325","韩希孟宋元名迹册·洗马图","柳丝垂拂如缕，随风轻摆，与潺潺流水应和。花斑骏马缓步水中，鬃毛轻扬，蹄下涟漪圈圈漾开，悠然自得。牵马者衣袂轻飘，俯身似与马低语，神情闲适。\n\n以针代笔，线代墨：丝线深浅晕染出水面波光，柳丝细劲借长短针脚勾勒，兼具笔墨的灵动与绣线的肌理质感。左侧书法笔墨清雅，与绣面相映成趣，将宋元文人画的闲逸气韵凝于丝缕之间。\n\n仿佛能闻柳下清风，听水声潺潺，藏着一份从容自在的诗意，是艺术与工艺交融的雅致佳作。",[24,25,26,27,113,1074,1919,53,7,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841e03fd2c6d3244da7016352e90be97.jpg",[35],{"id":15010,"slug":15011,"title":15012,"dynasty":45,"author":2206,"museum":72,"description":2207,"tags":15013,"thumbUrl":15014,"material":79,"size":2210,"collection":95,"collections":15015,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},214554,"za-shu-shi-tie-juan-4-zhu-yun-ming-214554","杂书诗帖卷-4",[23,7,49,398,60,200,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf08149ef9b2f9388cacc189eac07ab.jpg",[],{"id":15017,"slug":15018,"title":15019,"dynasty":18,"author":411,"museum":412,"description":15020,"tags":15021,"thumbUrl":15022,"material":33,"size":15023,"collection":95,"collections":15024,"showCount":174,"zanCount":39,"manualWeight":39,"mainColor":40},214532,"yi-jin-ling-ce-2-shi-tao-214532","忆金陵册-2","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,25,50,26,115,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee05031faa7b7a1afd8c79955a639fcb.jpg","纵23.8厘米，横19.2厘米",[],{"id":15026,"slug":15027,"title":15028,"dynasty":179,"author":330,"museum":72,"description":1665,"tags":15029,"thumbUrl":15030,"material":751,"size":752,"collection":95,"collections":15031,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},290838,"xiu-zhu-yuan-shan-zhou-wang-meng-290838","修竹远山轴",[24,92,75,50,51,132,55,53,52,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba21185b71455e692695f9c1528909e.jpg",[],26,{"id":15034,"slug":15035,"title":15036,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":15037,"thumbUrl":15038,"material":751,"size":752,"collection":95,"collections":15039,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},290833,"ping-lin-yuan-xiu-zhou-ni-zan-290833","平林远岫轴",[24,75,50,51,251,56,553,55,7,77,59,6606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04dfa51199c3ad35772c52d3f5762112.jpg",[],{"id":15041,"slug":15042,"title":15043,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":15044,"thumbUrl":15045,"material":751,"size":752,"collection":95,"collections":15046,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},290517,"wan-heng-xiang-xue-tu-zhou-yun-shou-ping-290517","万横香雪图轴",[92,24,75,50,27,51,131,55,53,133,1151,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad4a6e995ee7f9c06ba18b7fe95f55c.jpg",[],{"id":15048,"slug":15049,"title":15050,"dynasty":18,"author":3357,"museum":107,"description":12609,"tags":15051,"thumbUrl":15052,"material":751,"size":752,"collection":95,"collections":15053,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},289932,"chan-ji-hua-qu-tu-zhou-kun-can-289932","禅机画趣图轴",[24,25,75,50,59,51,52,53,54,58,56,878,4282,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a847df0604c75424825b87a32147592.jpg",[],{"id":15055,"slug":15056,"title":15057,"dynasty":2365,"author":5411,"museum":72,"description":15058,"tags":15059,"thumbUrl":15060,"material":94,"size":15061,"collection":95,"collections":15062,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":100},289924,"dong-tian-shan-tang-tu-dong-yuan-289924","洞天山堂图","厚厚的白云拥抱着巍峨的群峰，深沟巨壑中，山道弯弯，涧流清澈。山林白云深处，阁楼显露峥嵘，如此美景可谓别有“洞天”。此图用笔坚实，用墨浓重，山石以长皴短点相间，再复加染以浓重墨色，显出一种浑雄苍郁的气派。\n此画无款，图绘白云吞吐飘浮于山间， 山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[92,24,25,75,50,59,51,458,52,1018,252,57,55,53,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg","183.2x121.2",[],{"id":15064,"slug":15065,"title":15066,"dynasty":88,"author":8572,"museum":107,"description":15067,"tags":15068,"thumbUrl":15074,"material":751,"size":752,"collection":95,"collections":15075,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":100},289838,"lu-ting-mi-xue-tu-liang-shi-min-289838","芦汀密雪图","描绘的是密雪覆盖着沙清丘岸的芦塘小景，将空旷清幽景象与漫天密雪的景色形成对比，是一幅山水与花鸟融汇的湖天小景佳作。",[23,92,24,25,49,27,111,51,15069,15070,15071,15072,1151,15073,9307,77,7],"芦汀","寒树","鸥鹭","江水","寒冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e108e0525ede8d74ace20844b3898c.jpg",[],{"id":15077,"slug":15078,"title":2691,"dynasty":88,"author":369,"museum":107,"description":15079,"tags":15080,"thumbUrl":15081,"material":751,"size":752,"collection":95,"collections":15082,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},288532,"wu-se-ying-wu-tu-zhao-ji-288532","此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。",[23,24,92,49,2645,111,27,131,2695,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06cfe3015c94efc1e703ca02ac58f086.jpg",[],{"id":15084,"slug":15085,"title":15086,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":15087,"thumbUrl":15089,"material":751,"size":752,"collection":95,"collections":15090,"showCount":15032,"zanCount":882,"manualWeight":39,"mainColor":40},288366,"hu-zhou-miao-yan-si-ji-zhao-meng-fu-288366","湖州妙严寺记",[7,199,49,9007,15088,25,92,77,200,6416],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439cf33214cfd02bb81e18ad2c10d54a.jpg",[],{"id":15092,"slug":15093,"title":5549,"dynasty":162,"author":1715,"museum":107,"description":5550,"tags":15094,"thumbUrl":15095,"material":751,"size":752,"collection":95,"collections":15096,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},287919,"da-zi-yin-fu-jing-chu-sui-liang-287919",[7,199,77,200,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a78573deaea2402e98ff985716b3ac7.jpg",[],{"id":15098,"slug":15099,"title":15100,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":15101,"thumbUrl":15103,"material":751,"size":752,"collection":95,"collections":15104,"showCount":15032,"zanCount":882,"manualWeight":39,"mainColor":40},287786,"tai-shang-lao-jun-shuo-chang-qing-jing-jing-lao-zi-lie-zhuan-quan-juan-wen-zheng-ming-287786","太上老君说常清静经老子列传全卷",[7,199,386,6582,15102,25,1498,200,77,49],"老子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5aba8b7779fcd5b62ea030585851adf.jpg",[],{"id":15106,"slug":15107,"title":15108,"dynasty":45,"author":2071,"museum":107,"description":6469,"tags":15109,"thumbUrl":15111,"material":751,"size":752,"collection":95,"collections":15112,"showCount":15032,"zanCount":882,"manualWeight":39,"mainColor":40},287637,"lin-guan-xiu-bai-miao-luo-han-tu-juan-nian-ban-chou-ying-287637","临贯休白描罗汉图卷(年版)",[23,24,49,112,50,878,10664,15110,110,10794,57,7,77],"佛教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f0756cfbb86969cca76cc0ca73962d.jpg",[],{"id":15114,"slug":15115,"title":15116,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":15117,"thumbUrl":15118,"material":751,"size":752,"collection":95,"collections":15119,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},287525,"cao-tang-shi-zhi-ce-wen-zheng-ming-287525","草堂十志册",[7,199,26,77,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac920ec4e1bd8837f2358f810d9f559d.jpg",[],{"id":15121,"slug":15122,"title":15123,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":15124,"thumbUrl":15127,"material":751,"size":752,"collection":95,"collections":15128,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},283733,"lin-chu-sui-liang-ku-shu-fu-juan-dong-qi-chang-283733","临褚遂良枯树赋卷",[23,7,49,60,110,200,77,704,116,15125,15126,115],"孤木","霜露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbe2efc33ab5122230daa6a160596c8.jpg",[],{"id":15130,"slug":15131,"title":15132,"dynasty":18,"author":4686,"museum":126,"description":15133,"tags":15134,"thumbUrl":15135,"material":10842,"size":15136,"collection":96,"collections":15137,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},240916,"xin-cheng-song-zhou-zhao-zhi-qian-240916","心成颂轴","释文：\n迴转右肩。长舒左足。峻拔一角。潜虚半腹。间合间开。隔仰隔覆。迴互留放。变换垂缩。繁则减除。疏当补续，分若抵背，合如对目。孤单必大。重病乃促。以侧映斜。以斜附曲。覃精一字，功归自得盈虚。统视连行,妙在相承起伏。 隋僧智果心成颂，旌德姚仲虞始标出，以为书学真传，确不可易。甘伯属录其文，置之坐右。欣然下笔，几忘炎暑。同治乙丑五月赵之谦记。\n钤“赵之谦印”、“汉后隋前有此人”印二方。左下角钤“师氏珍藏”收藏印一。裱边有师守玉题一行，钤“师守玉印”。\n作品书隋僧智果所作《心成颂》。智果，会稽人，出家为僧，居永兴寺。擅书，得王羲之法，张怀瓘《书断》将其隶、行、草书列入能品。《淳化阁帖》卷五刻有智果所书《梁武帝评书帖》。他将书写心得著成《心成颂》，以示执笔作字之法。此文后经清人姚配中（1792—1844年，字仲虞,安徽旌德人）作注，遂大行于时，成为一篇重要的书法论文。\n此轴是赵之谦应友人“甘伯”之请而书。甘伯即胡澍（1825—1872年），字荄甫，一字甘伯，号石生，安徽绩溪人。精篆刻，工篆书，得秦汉人遗意。赵之谦对他十分推崇，交往多年，与之文章道谊相切磋，考古订今，搜奇选胜，“非君不在不乐也”。\n赵之谦书法初宗颜真卿，后专意于北朝碑版，融而自化，自成一家。书兼各体，以楷书最富特色。据此作年款“同治乙丑”可知，作品创作于清同治四年（1865年），赵氏时年37岁。笔法劲直舒展，结体沉雄方正，墨气浑厚丰润，风格端妍遒丽，是赵之谦早期师法魏碑的精整之作。",[199,7,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ea3adda373a0101884e3594a6156a9.jpg","纵128.5厘米，横36厘米",[96],{"id":15139,"slug":15140,"title":15141,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":15142,"thumbUrl":15143,"material":751,"size":752,"collection":95,"collections":15144,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},240852,"qian-zi-wen-juan-xu-wei-240852","千字文卷",[23,25,7,49,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6408452e577c55dc92323b19a5b6fc.jpg",[],{"id":15146,"slug":15147,"title":15148,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":15149,"thumbUrl":15150,"material":751,"size":752,"collection":95,"collections":15151,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},240578,"shen-zhou-xu-shi-zhou-jin-nong-240578","沈周叙事轴",[7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe156db587f690f2f7db18a58fdcf2282.jpg",[],{"id":15153,"slug":15154,"title":15155,"dynasty":162,"author":6644,"museum":126,"description":15156,"tags":15157,"thumbUrl":15158,"material":312,"size":15159,"collection":96,"collections":15160,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":100},239554,"zhang-hao-hao-shi-juan-du-mu-239554","张好好诗卷","释文：\n张好好诗并序。 牧大和三年佐故吏部沈公江西幕。好好年十三，始以善歌舞来乐藉中。后一岁，公镇宣城，复置好好于宣城藉中。后二年，沈著作述师以双鬟纳之。又二岁，余于洛阳东城重睹好好，感旧伤怀，故题诗赠之。 君为豫章姝，十三才有余。翠茁凤生尾，丹脸莲含跗。高阁倚天半，晴江连碧虚。此地试君唱，特使华筵铺。主公顾四座，始讶来踟蹰。吴娃起引赞，低徊暎长裾。双鬟可高下，才过青罗襦。盼盼下垂袖，一声离凤呼。繁弦迸关纽，塞管引圆芦。众音不能逐，袅袅穿云衢。主公再三叹，谓之天下殊。赠之天马锦，副以水犀梳。龙沙看秋浪，明月游东湖。自此每相见，三日以为疏。玉质随月满，艳态逐春舒。绛唇渐轻巧，云步转虚徐。旌旆忽东下，笙歌随舳舻。霜凋小（此字点去）谢楼树，沙暖句溪蒲。身外任尘土，罇前且欢娱。飘然集仙客（著作任集贤校理），讽赋期相如。聘之碧玉佩，载以紫云车。洞闲水声远，月高蟾影孤。尔来未几岁，散尽高阳徒。洛阳重相见，绰绰为当炉。怪我苦何事，少年生白须。朋游今在否，落拓更能无。门馆恸哭后，水云愁景初。斜日挂衰柳，凉风生座偶。口口口（洒尽满）襟泪，短章聊口口（一书）\n此卷鉴藏印有“弘文之印”、“宣龢”、“政和”（连珠）、“宣和”、“政龢”、“内府图书之印”、“秋壑图书”、“张氏珍玩”、“北燕张氏珍藏”、“项子京家珍藏”、“张则之”、“蕉林居士”、“宋荦审定”、“张伯驹珍藏印”等，以及清代乾隆、嘉庆、宣统三帝御览及清内府鉴藏印11方，朱文）等张伯驹鉴藏印。\n此卷是唐代诗人、书法家杜牧的仅存墨迹，也是稀见的唐代名人书法作品之一。张好好是一名歌妓，容颜娇美，才华出众。杜牧的这首五言长诗，就是为她而作。诗中描写了作为少年歌妓的张好好始得高官沈传师宠遇，终因沈的去世而流落市井的不幸身世，寄托了对她的无限同情，是杜牧诗作名篇。诗载杜牧《樊川集》中，墨迹的末二句，因伤残缺“洒尽满”、“一书”五字，然不伤书诗的整体精神。\n该卷书用麻纸，制作相当精细。书用硬笔，笔法劲健，颇多叉笔。这些都是唐代书法的用纸、笔法的特点。《宣和书谱》一书评杜牧书法：“气格雄健，与文章相表里”，是说作者诗文、书法有统一的风格。卷前有宋徽宗赵佶书签“唐杜牧张好好诗”，并钤有宋徽宗御府的诸玺印，保存着北宋内府装潢式样。兹后曾递藏于宋贾似道、明项元汴、张孝思、清梁清标等人，乾隆年间入藏内府。据《式古堂书画记考·卷七》所记，该卷后元人诸跋，是从唐赵模《千字文》后移来。《宣和书谱》、《悦生所藏书画别录》、《平生壮观》、《大观录》、《吴越所见书画录》、《石渠宝笈·初编》等书著录。\n该卷曾被清逊帝溥仪携出宫外，流散民间后归张伯驹所有。1956年张伯驹先生将其捐赠政府，此珍贵文物重为故宫博物院收藏。",[23,25,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dc7418c00d9320a7545a844dc2089e.jpg","纵28.2厘米，横162厘米",[96],{"id":15162,"slug":15163,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":15166,"thumbUrl":15167,"material":751,"size":752,"collection":35,"collections":15168,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},237499,"shan-shui-hua-hui-ce-jiang-shou-cheng-237499","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,25,26,60,27,50,250,3983,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2c3b2d058865e91051a0184ddf0335.jpg",[35,63],{"id":15170,"slug":15171,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":15173,"tags":15174,"thumbUrl":15175,"material":95,"size":95,"collection":171,"collections":15176,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},236084,"hua-luo-han-ce-leng-mei-236084","画罗汉册","画面右首，罗汉安坐蒲团，神情恬然松弛，四位侍者或展长衲、或持具侍立，将佛门补衲日常刻画得鲜活生动。衣纹勾勒秀劲流畅，设色清雅柔和，人物情态各有不同，写实细腻间尽显灵动意趣。\n\n左侧题诗呼应画中主题，诗画合璧暗合禅意，把修行之人朴素自在的日常铺陈开来。笔墨兼具工致细腻与空灵韵味，将清寂平和的禅门氛围晕染开来，雅致静穆的意境扑面而来，是融写实意趣与禅宗意境为一体的精妙之作。",[92,24,25,4347,878,111,27,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb75896d04e3b54e8ea11ec868c668f.jpg",[171,218],{"id":15178,"slug":15179,"title":15180,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":15182,"thumbUrl":15184,"material":751,"size":752,"collection":95,"collections":15185,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},235811,"hua-mei-gui-hua-zhou-tian-qiu-shu-mei-gui-fu-he-bi-shan-wen-jia-235811","画玫瑰花周天球书玫瑰赋合璧扇","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,25,1250,27,29,15183,7,77],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71faa4378c6f9e8510d6f90708e3ceb4.jpg",[],{"id":15187,"slug":15188,"title":15189,"dynasty":45,"author":15190,"museum":107,"description":15191,"tags":15192,"thumbUrl":15193,"material":591,"size":591,"collection":95,"collections":15194,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},234205,"zhu-lan-shi-juan-yang-ming-shi-234205","竹兰石卷","杨明时","杨明时，字存吾，号不弃。今属安徽省黄山市歙县。诗书画俱擅，又精鉴别，《余清斋帖》双钩上石出其手。画宗董源，工山水、兰竹。",[23,24,25,49,50,129,139,132,589,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b8f72a8ff9518fa2e5b87befb33598.jpg",[],{"id":15196,"slug":15197,"title":9034,"dynasty":45,"author":46,"museum":126,"description":9035,"tags":15198,"thumbUrl":15199,"material":312,"size":9038,"collection":95,"collections":15200,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},234092,"wu-zhong-shan-shui-ce-shen-zhou-234092",[24,25,26,50,51,54,772,2219,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd1d74f643d26df0c5226efe37fd95.jpg",[],{"id":15202,"slug":15203,"title":15204,"dynasty":45,"author":46,"museum":126,"description":15205,"tags":15206,"thumbUrl":15207,"material":346,"size":15208,"collection":95,"collections":15209,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},233831,"xing-hua-tu-zhou-shen-zhou-233831","杏花图轴","画上瘦杏一株，花开烂漫，仍是折枝简笔，却多添了颜色。树干以赭色填充，花片则淡粉轻红，温润又悦目，几乎可以想象他挥毫时愉快的心情。也有题跋，也有诗：\n布甥简静好学，为完庵先生曾孙，人以科甲期之，壬戌科，果登第。尝有桂枝贺其秋闱，兹复写杏一本以寄，俾知完庵遗泽所致也。\n与尔近居亲亦近，今年喜尔掇科名。杏花旧是完庵种，又见春风属后生。\n意思是说，你考得这样好，我画杏花表示祝贺。刘家世代书卷气不绝，大家都期待你的成绩。如今成功了，莫要忘记祖爷爷的遗泽。这些话里全无架子，只透出一片温暖平实。",[24,25,75,50,27,129,7,77,1978,1763,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ece9a78838b66a815a3309957c7e09.jpg","纵80cm横33.5cm",[],{"id":15211,"slug":15212,"title":15213,"dynasty":18,"author":411,"museum":107,"description":4665,"tags":15214,"thumbUrl":15215,"material":519,"size":4668,"collection":95,"collections":15216,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},233696,"yuan-ji-lan-zhu-ce-lan-hua-shi-tao-233696","原济兰竹册－兰花",[24,25,26,50,2018,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc0814175ef770f4c9b367ac117eec8.jpg",[],{"id":15218,"slug":15219,"title":15220,"dynasty":179,"author":1187,"museum":126,"description":15221,"tags":15222,"thumbUrl":15223,"material":8265,"size":15224,"collection":95,"collections":15225,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},232986,"gu-shan-tu-juan-qian-xuan-232986","孤山图卷","本幅设色，左方自题七绝一首，款：”吴兴钱舜举“。题跋：引首陈沂篆书”溪诗画“本幅上面弘历题诗，后隔水弘历书诗，后幅文征明书林逋诗数首，梁诗正书赋。印记：引首四方，本幅及前后隔水有项子京，乾隆，宣统等引49方，半印一方，后幅印24方。",[23,24,25,49,51,27,111,7,77,55,652,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12955f6e35b97926ac45250b8c8c005a.jpg","纵92.5cm，横23.4cm",[],{"id":15227,"slug":15228,"title":15229,"dynasty":45,"author":689,"museum":107,"description":15230,"tags":15231,"thumbUrl":15233,"material":184,"size":15234,"collection":95,"collections":15235,"showCount":15032,"zanCount":882,"manualWeight":39,"mainColor":100},231485,"gong-feng-tu-chen-hong-shou-231485","供奉图","陈洪绶利用各种作画技法适应不同题材，如用折笔或粗渴之笔表现英雄、细圆之笔表现文士美人、用游 丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,92,24,25,75,27,111,112,113,114,834,167,6149,15232,7064,77,7],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":15237,"slug":15238,"title":15239,"dynasty":18,"author":1387,"museum":107,"description":15240,"tags":15241,"thumbUrl":15242,"material":95,"size":95,"collection":95,"collections":15243,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[23,24,50,110,59,77,7,60,26,51,704,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a04e65a06c5e5dd23ad39258130058b.jpg",[],{"id":15245,"slug":15246,"title":15247,"dynasty":18,"author":9176,"museum":107,"description":15248,"tags":15249,"thumbUrl":15250,"material":95,"size":95,"collection":95,"collections":15251,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},230144,"hua-guo-tu-ce-12-kai-luo-pin-230144","花果图册12开","此作以淡墨枯笔勾勒柏干，蜿蜒虬曲，苍劲老辣尽现古柏历经风霜的拙朴筋骨。枝桠间以焦墨攒点成叶，浓淡交错间虚实相生，将蓊郁繁茂之态暗藏疏密错落里，笔墨洗练却意境饱满。\n\n侧旁题字率意朴拙，笔锋苍劲与画中古柏意趣相融，诗书画印合为一体。全幅不求精细描摹形貌，只以极简笔墨抓取老树虬劲生机，将幽寂古雅的文人意韵藏于方寸间，淡而有味，拙中见灵。",[24,25,26,50,115,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba5f4b087d39a09468e880350835f7f.jpg",[],{"id":15253,"slug":15254,"title":15255,"dynasty":45,"author":454,"museum":107,"description":15256,"tags":15257,"thumbUrl":15258,"material":751,"size":752,"collection":95,"collections":15259,"showCount":15032,"zanCount":882,"manualWeight":39,"mainColor":100},228775,"xia-yuan-shui-guan-tu-yi-ming-228775","下元水官图","道家有三官：天官、地官、水官，谓天官赐福，地官赦罪，水官解厄。三官的诞生日分别为农历的正月十五、七月十五、十月十五，这三天被称为“上元节”、“中元节”、“下元节”。下元节，就是水官解厄旸谷帝君解厄之辰，俗谓是日。",[878,457,77,25,7,27,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99035456ab0e4b057bbd6aea0852718.jpg",[],{"id":15261,"slug":15262,"title":15263,"dynasty":45,"author":689,"museum":107,"description":15264,"tags":15265,"thumbUrl":15266,"material":95,"size":95,"collection":95,"collections":15267,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},228285,"shan-shui-shi-hua-ce-chen-hong-shou-228285","山水诗画册","此作对页诗画合一，右侧绘虬曲古松下，高士席地安坐，衣袂舒展悠然，静享林泉幽寂。古松苍劲奇崛，松针层叠清润，石畔苔点幽微，笔致高古静穆，尽显林下幽居的散淡意趣。\n左侧书法清隽挺秀，诗文与画境呼应，禅意悠然。整体以极简笔墨，勾勒出世外风雅，将林下幽栖的禅寂通透相融，传递出超脱世情的澹泊襟怀，是诗画相映的雅致佳构，尽显文人的林下襟怀与静穆审美。",[23,24,25,26,60,50,27,113,1018,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886cc4e13292bed024a0da93b5746e38.jpg",[],{"id":15269,"slug":15270,"title":15271,"dynasty":88,"author":89,"museum":72,"description":15272,"tags":15273,"thumbUrl":15274,"material":95,"size":95,"collection":95,"collections":15275,"showCount":15032,"zanCount":882,"manualWeight":39,"mainColor":40},227590,"ku-sun-fu-tie-huang-ting-jian-227590","苦笋赋帖","此帖凡11行，181字，书于元符二年(1099年)。曾经吴桢、安岐、陈定等人收藏.《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《故宫书画录》等著录。《御刻三希堂石渠宝笈法帖》、《仁聚堂法帖》、《墨缘堂藏真帖》、《宋四家墨宝》等收录。现藏台北故宫博物院。\n\n宋徽宗曾说：“黄书如抱道足学之士，坐高车駟马之上，横钳上下，无不自如。”山谷书法对当时及后世影响很大，受到极高的评价，為北宋四大家之一。此帖笔势遒劲，中宫敛结，长笔外拓，英俊洒脱，显示出山谷纵逸豪放的雅韵，并充分发挥倾侧的动向美感。选自《宋四家墨宝》册。",[92,25,7,60,50,312,5784,2602,77,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7eb941959901f32fb43c8955cbc0a87.jpg",[],{"id":15277,"slug":15278,"title":15279,"dynasty":105,"author":637,"museum":72,"description":15280,"tags":15281,"thumbUrl":15282,"material":682,"size":15283,"collection":802,"collections":15284,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":100},227053,"shu-yue-yi-lun-01-wang-xi-zhi-227053","书乐毅论01","乐毅论是三国时期魏夏侯玄所撰，论述燕国名将乐毅之事。唐朝初年，王羲之书《乐毅论》入藏内府，经褚遂良鉴定为真迹，列为正书第一，与《兰亭序》并列为唐太宗最珍贵的书迹，并摹拓分赐大臣，故一般人罕见其貌。此刻选自《宋拓越州刻晋唐小楷册》，笔画精妙，字势逸宕，雍容典雅，为传世《乐毅论》之著名版本。",[7,25,199,198,200,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7462174768726bbc21221fc292f712ee.jpg","25.3×12.9厘米",[802],{"id":15286,"slug":15287,"title":15288,"dynasty":18,"author":15289,"museum":72,"description":15290,"tags":15291,"thumbUrl":15292,"material":312,"size":15293,"collection":63,"collections":15294,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","画山水轴","张宗苍","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[24,25,75,50,59,7,77,51,57,56,267,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[63],{"id":15296,"slug":15297,"title":15298,"dynasty":1609,"author":454,"museum":107,"description":15299,"tags":15300,"thumbUrl":15303,"material":751,"size":752,"collection":95,"collections":15304,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},223959,"bo-ju-wen-jing-1-yi-ming-223959","博局纹镜-1","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[1609,1896,15301,7713,7,457,15302,834],"铜制","博局纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e1c9003fabe4afbd80898467a8405d.jpg",[],{"id":15306,"slug":15307,"title":15308,"dynasty":88,"author":454,"museum":107,"description":15309,"tags":15310,"thumbUrl":15311,"material":95,"size":95,"collection":95,"collections":15312,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},223612,"zhu-jian-fen-xiang-tu-yi-ming-223612","竹涧焚香图","此作以边角取景，笔墨简净秀润。浅渚涧水缓流，坡岸幽竹斜曳，士人趺坐石上，静对空山远岑。晕染轻淡的远山融在空濛烟岚里，将天地寥廓之意藏于尺幅留白间。\n\n画面与题诗相契，炉烟随竹风漫过山涧，空山阒寂，将闻未闻的幽玄禅意弥散开来。把林泉高致的隐逸襟怀，化作眼前清寂淡远的图景，于简淡平远中，尽显出世幽居的静穆禅趣，是小品山水里以小见大的精妙之作。",[23,24,25,1250,27,51,132,113,589,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52389ef17d1f2b63c69f1c05719db98a.jpg",[],{"id":15314,"slug":15315,"title":15316,"dynasty":45,"author":10061,"museum":126,"description":15317,"tags":15318,"thumbUrl":15320,"material":312,"size":15321,"collection":35,"collections":15322,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},222603,"qiu-se-wu-tong-tu-lan-ying-222603","秋色梧桐图","此画面一片秋高气爽的气氛，上杂红树一枝。一只美丽的小鸟，悠闲地栖立于梧桐枝上，形象生动自然，神气逼肖。在构图上采用传统折枝的方法，截取梧桐与丹枫的枝头横斜下垂之势。在枝叶参差错落之中，求得疏密有致。花木点染随意，桐叶饱含水墨，抒情性很强。墨笔写成枝干，糅合了山水画的用笔，显得枝干劲健有力。山鸟基本以墨画成，略施淡赭色彩，令人感到素雅可亲。双勾的丹枫叶，显得挺俏遒劲；在画法上，勾染兼施，笔法活脱，墨色浓淡适度，看来随意写出，反映了作者娴熟的笔墨技巧。",[23,24,25,50,27,129,1048,693,1763,239,77,7,60,29,15319],"秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e93218349e6d8e418d86b3be8a8b4.jpg","65X32",[35,218],{"id":15324,"slug":15325,"title":15326,"dynasty":45,"author":7536,"museum":2379,"description":15327,"tags":15328,"thumbUrl":15332,"material":346,"size":15333,"collection":95,"collections":15334,"showCount":15032,"zanCount":882,"manualWeight":39,"mainColor":789},222375,"liu-mang-tu-juan-zhou-chen-222375","流氓图卷","此卷共绘人物12人，形态各异，或身背锣鼓，或手牵小动物，皆衣衫褴褛。作画背景是明武宗朱厚照统治时期，所谓的流氓多是因战争流离失所而逃难的百姓。也许他们有着正当的职业，稳定的收入，但战争降临后，一切都化为了乌有。逃难的人们为了生计想法设法赚钱，有能力的可以凭借自己的能力勉强果腹，没有能力的人连乞丐都不如。\n“流氓”的界定：流氓是指“脱离了古代社会最基本的生产资料——田地，因此没有正当的业务可恃且又愚昧无知的社会底层成员；而作为流氓之'流'的字义中，又可包涵或引申出向坏的方向嬗变以及放纵成弊等内容。合而言之，大致可以把'流氓'一词从词义上界定为：特指脱离生产不务正业而在社会上游荡，并以悖离传统道德文化和破坏社会秩序为基本行为特征的不良分子。 因此称之为《流民图》亦可。",[23,24,25,49,112,27,113,7541,7540,6951,15329,15330,15331,427,60,7],"拐杖","篮子","鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纵28厘米，横384厘米",[],{"id":15336,"slug":15337,"title":15338,"dynasty":45,"author":5386,"museum":72,"description":7421,"tags":15339,"thumbUrl":15340,"material":312,"size":15341,"collection":96,"collections":15342,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},222310,"shu-za-shi-juan-wang-chong-222310","书杂诗卷",[7,60,49,77,385,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6b4b44c3a956de196f240c247d3843.jpg","25.7x317.6",[96],{"id":15344,"slug":15345,"title":15346,"dynasty":45,"author":6207,"museum":107,"description":15347,"tags":15348,"thumbUrl":15349,"material":312,"size":15350,"collection":95,"collections":15351,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},222164,"huai-su-shang-ren-cao-shu-ge-zhang-bi-222164","怀素上人草书歌","张弼(1425～1487年)字汝弼，晚号东海翁，松江华亭人。此卷书《任华〈怀素上人草书歌〉》，应是张弼传世最好的作品，它包含了张弼对僧怀素的钦敬，而且随着诗意的伸展，隐然把自己代入其中，成了诗中的主角。正如《自叙帖》是怀素草书一次淋漓尽致的表演，张弼亦借任华赞美怀素的诗句，把自己在狂草书上的成就尽情发挥。怀素耶，张弼耶，写到后来，明显有照花前后镜的狂喜了。\n任华，公元8世纪时人，活跃于唐玄宗时期，有《杂言寄李白》、《杂言寄杜拾遗》诗，与李白杜甫同时或稍晚。《怀素上人草书歌》通篇音韵铿锵，句法多变，三言、四言、五七言，缓急错落，随意所之，而且描写生动，使人如目睹怀素的狂草作品，跌荡纵横，动人心弦。此处介绍的手卷，乃明代张弼以狂草书录写，水墨纸本，淋漓酣畅，精彩动人，把任华诗中的境界、怀素草书的风貌及作书者本身对草书的狂热，结合在书法中，实为张氏传世作品中的颠峰之作。",[23,7,398,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6dc27fb39e26b9da591ae48237e94e.jpg","31.5×526cm",[],{"id":15353,"slug":15354,"title":15355,"dynasty":179,"author":2462,"museum":7420,"description":15356,"tags":15357,"thumbUrl":15358,"material":4395,"size":15359,"collection":96,"collections":15360,"showCount":15032,"zanCount":788,"manualWeight":39,"mainColor":100},221835,"lao-ren-xing-fu-ke-jiu-si-221835","老人星赋","《上京宫词》是柯九思创作的一幅书法作品。\n《上京宫词》卷是柯九思在朝廷任职期间奉敕记载元文宗赏赐皇姑大长公主情状的诗，后录呈无言大禅师。\n此卷用笔纵击，富有弹力，其入纸处颇类著名北碑张玄墓志，俊美中露峭拔，平和中寓筋力。\n直点多作短竖，深得《兰亭序》“犹”字点意态；横画虽波磔不露，但多呈隶书笔致，又颇似褚遂良书风。\n《兰亭序》“天朗气清”的神韵，褚遂良“瑶台春林”的清丽同张玄墓志的俊俏笔意的结合，正是柯九思历观前代书迹后的自然流露。\n字形有长有扁，以扁为多。\n长字取纵势，挺拔而不松懈，扁字取横势，笃实而不呆板，既有钟繇《戎路》、《宣示》帖的体格，更有苏东坡“石压虾蟆”般的沉稳紧密。\n特别值得一提的是，长字同扁字虽各逞姿态，但又和谐协调，体现了美的多样统一。\n整体书风坦然清纯，字字挺立，体态舒朗，结体的纵横聚散恰倒好处，而笔势连贯，用笔挺拔爽健，富于弹性美和节律感，点画之形态随笔势的节奏而起伏，不无表现出肯定明确的法度。\n题目“上京宫词”四字，节奏均匀而稍缓，雍容典雅，悠长清丽，正合“宫词”意境。\n而正文的书写节奏，也同题目四字，大有宫廷气象。\n但作者在主调统一的前提下很注意局部的变化，如“伏”字、“多”字、“冷”字、“锡”字、“独”字、“暇”字以参用行书笔法变，“暑”字、“飘”字、“高”字、“日”字、“有”字、“立”字、“禾”字以加粗线条，加重墨色变，而在字形上则更以长扁互用变，这些变化在“平和”的水面上时泛涟漪，正契合了《上京宫词》的内容。\n它们产生的微刺激，也正符合了记号中的角色“九重”与“千官”们的心态。\n通篇节奏平和。\n柯九思在书写《上京宫词》卷时，对词意是有很深的感悟的。\n作为一位“鉴书博士”，他虽然也有积极思维的时候，但“闲暇”决不会少，也正因为如此，这书迹也应是“千官”之一的柯九思的“心画”。\n不过，书画对心态的反映毕竟是模糊的，“九重”的平和节奏会同“千官”的混同，“庙堂”的闲暇也难同“山林”的闲暇区分，也正因为如此，博学如何良俊者，也只好说柯九思的绘画似逸非逸、似神非神而难以名状了，对于更为抽象的书法当然更是如此。",[23,7,199,49,77,385,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8950c49521b1c45b07c366f4d4502a.jpg","25cm*268cm",[96],{"id":15362,"slug":15363,"title":15364,"dynasty":179,"author":225,"museum":279,"description":15365,"tags":15366,"thumbUrl":15367,"material":346,"size":15368,"collection":95,"collections":15369,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},221785,"san-shi-ren-ma-tu-zhao-meng-fu-221785","三世人马图","为赵孟頫、赵雍、赵麟祖孙三人所画人马图合卷。卷后有陈洪绶等人题跋，谓其“三老不失笔墨宗风，古来大小李将军、高家父子、米家父子之类比。”、“古来父子祖孙以忠孝节义道应文学相传，不替者之类耳。”对比吴湖帆题款中所及“蒋氏密韵楼藏赵氏三世画马卷对临一本，并记原题款识于后，王蒙等跋亦入。”可见吴湖帆所临乃是另一卷传世“赵氏三世人马图”，由雪庭禅师收藏，王蒙、文征明等五家曾于其上题跋。",[23,92,24,25,49,27,112,113,1074,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f2e833da4843b79c3641463d061b4a.jpg","纵30.2厘米，横178.1厘米",[],{"id":15371,"slug":15372,"title":15373,"dynasty":162,"author":454,"museum":107,"description":15374,"tags":15375,"thumbUrl":15377,"material":95,"size":95,"collection":96,"collections":15378,"showCount":15032,"zanCount":882,"manualWeight":39,"mainColor":100},221118,"fo-jing-dian-lan-ran-se-zhi-yi-ming-221118","佛经靛蓝染色纸","靛蓝染纸褪去了初时鲜亮，晕出温柔褐调，纸面洒金星子点缀，暗生华贵。残卷唐楷法度端严，笔锋筋骨依旧清晰，墨色沉实沉静，带着写经特有的庄敬气韵。\n\n青褐织锦的莲纹缠枝古雅雍容，将残妥帖承托，织纹与染纸旧色相映成趣。边角虽被岁月磨蚀缺损，却如时光镌刻的印记，让纸面的虔诚笔墨更添厚重。断句残卷里，依旧藏着盛唐奉经的沉静端方，染纸余色与写经墨痕交织，化作跨越年岁的梵音回响，静静诉说旧时光里的信仰温度。",[23,386,7,199,433,878,1498,15376],"靛蓝染色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7aab4e82e17a524b405fa65438116bd.jpg",[96],{"id":15380,"slug":15381,"title":15382,"dynasty":45,"author":1313,"museum":126,"description":15383,"tags":15384,"thumbUrl":15385,"material":15386,"size":15387,"collection":96,"collections":15388,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":789},220957,"bai-yu-shan-fu-dong-qi-chang-220957","白羽扇赋","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。董其昌这件作品写于七十八岁（1632）高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[23,92,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2567439e23f4a801151c3d6db729acb.jpg","绫本，轴","纵长：136.5厘米，横长：60.2厘米",[96],{"id":15390,"slug":15391,"title":15392,"dynasty":45,"author":1313,"museum":15393,"description":15394,"tags":15395,"thumbUrl":15396,"material":184,"size":15397,"collection":96,"collections":15398,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},220899,"shu-du-gong-bu-shi-dong-qi-chang-220899","书杜工部诗","昆仑堂美术馆","董其昌世称“董香光”、“董文敏”、“董华亭”，在明末以书画名重海内。行书以“二王”为宗，用笔精到，用墨讲究，布局闲适舒朗，神采风韵自足。\n董其昌是明代重要的画家、书法家。《明史》中称其：“自成一家，名闻外国，其画集宋元诸家之长行以己意，潇洒生动，非人力所及也。四方金石之刻，得其制作手书，以为二绝，造请无虚日，尺素短札流布人间，争购宝之。精于品题，收藏家得片语只字以为重。”\n董其昌的书法对后人的影响极大，康熙帝赞其：“天姿迥异，其高秀圆润之致流行于褚墨间，非诸家所能及也。 每于若不经意处丰神独绝，如微云卷舒，清风飘拂，尤得天然之趣。”董其昌作为学古而成的书家，其风格面貌的形成与其独特的学书观密切相关。\n在中国古代艺术理论中，一直有“师古”和“师心”的论争，各自从不同角度出发衍生出一整套艺术理论。董其昌在这个时期坚持“师古”观点，要求在对古代作品的临摹中锻炼自己的技法并深入领悟古人的精神内蕴。在这个过程中形成自己的风格，结合历史时代背景后，最终产生新的艺术风格。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9c1043aa026bf462ec1c1d0cf17a9c.jpg","横279cm，纵28.5cm",[96],{"id":15400,"slug":15401,"title":15402,"dynasty":45,"author":15403,"museum":72,"description":15404,"tags":15405,"thumbUrl":15406,"material":79,"size":95,"collection":187,"collections":15407,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},219521,"chang-pu-tu-shen-zhen-ji-219521","菖蒲图","沈贞吉","沈贞吉（1400-1482年仍在）名沈贞，号陶庵、陶然老人（道人），江苏长洲（今苏州人），其弟沈恒，字恒吉，为“吴门画派”代表畫家沈周（1427-1509）之父。沈贞吉工诗，兼擅绘画，以山水见长。但因其“不肯轻为人作，故少存者”，现在所见传世之作极少书画鉴定家张珩在其《木雁斋书画鉴赏笔记》中著录沈贞吉的《溪山一览图》时说：“南斋为石田伯父，画迹传世，平生惟见此一小幅为真迹……已至为难得矣。”（“南斋”为沈贞吉别号）连寓目书画无数的张珩所见沈贞吉画迹仅一件，可见其流传于今的作品，确实不多见。",[24,50,75,7,77,6071,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda667cbc2a17f96eecd268417b52830.jpg",[187],{"id":15409,"slug":15410,"title":15411,"dynasty":18,"author":15412,"museum":20,"description":15413,"tags":15414,"thumbUrl":15415,"material":79,"size":95,"collection":171,"collections":15416,"showCount":15032,"zanCount":882,"manualWeight":39,"mainColor":40},218259,"za-hua-juan-li-yu-218259","杂画卷","李渔","水墨写意间，月色轻笼孤舟，帆影随水草漾开清寂。兰草以简劲线条勾勒，墨色浓淡相生，逸趣盎然。仕女执扇伫立，衣袂翩然，身旁花草点染幽淡诗意。山石淡墨皴擦，云雾缭绕处，二人对坐，似论道品茗，空灵悠远。整卷笔墨疏朗，意境闲淡，文人雅致与自然之趣融于尺幅，每段皆含诗意，尽显写意之妙。",[23,24,25,50,112,60,7,49,77,51,113,54,678,139,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85eebb03ec7d9b97d1eea30725928f51.jpg",[171],{"id":15418,"slug":15419,"title":15420,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":15421,"thumbUrl":15422,"material":79,"size":95,"collection":95,"collections":15423,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},216373,"mo-zhu-pu-ce-16-wu-zhen-216373","墨竹谱册-16",[24,25,26,50,7,132,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e02f90cc49f8173daed6ffa9bd4ceb.jpg",[],{"id":15425,"slug":15426,"title":15427,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":15428,"thumbUrl":15429,"material":312,"size":1340,"collection":95,"collections":15430,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":207},214428,"da-tang-zhong-xing-song-shang-ce-4-yan-zhen-qing-214428","大唐中兴颂上册-4",[1063,7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62f20fd30a867221a406a600d7e1b57.jpg",[],{"id":15432,"slug":15433,"title":15434,"dynasty":88,"author":549,"museum":20,"description":15435,"tags":15436,"thumbUrl":15444,"material":79,"size":612,"collection":95,"collections":15445,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},214266,"duo-jing-lou-shi-tie-17-mi-fei-214266","多景楼诗帖-17","笔锋扫过纸面，墨色如泼如注，米芾“刷字”神韵跃然纸上。粗笔似重锤落石，细画若银丝牵风，欹侧字形藏奇崛风骨——“知”右倾却重心稳，“上”竖画如剑指苍穹。飞白处显行笔迅疾，浓墨间见腕力沉雄，字间牵丝暗连，章法行云流水一气呵成。狂放中含精谨气度，似酒后挥毫的洒脱，又藏数十年笔墨功底。观之如临多景楼头，江风拂面豪情满怀，尽是宋人的笔墨风流。",[7,60,50,200,6769,15437,3330,15438,15439,10602,10603,15440,15441,15442,15443],"笔势","中锋","侧锋","线条","墨韵","提按","顿挫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755a32a37aeffaadd767d85a4fda28a7.jpg",[],{"id":15447,"slug":15448,"title":15449,"dynasty":88,"author":549,"museum":20,"description":15450,"tags":15451,"thumbUrl":15452,"material":79,"size":612,"collection":95,"collections":15453,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},214264,"duo-jing-lou-shi-tie-19-mi-fei-214264","多景楼诗帖-19","笔锋如刷扫过纸间，似携风带雨。墨色浓淡相济，重处沉雄如坠石，轻处飘洒若流云，飞白处见筋骨嶙峋。字势欹侧跌宕，险绝中藏平衡，如危峰兀立却根基稳固。字与字顾盼呼应，行气如江河奔涌，裹挟登高临远的豪情直泻而下。每一笔率意挥洒却暗合法度，每一字狂放不羁又藏精微。线条时而刚劲如剑斫，时而柔婉如丝绕，胸中丘壑化作纸上波澜，尽显奇逸超迈的气度与吞吐万象的笔力，将“米颠”书法的颠逸与沉雄揉作一体，读之如临高阁，满目江山奔来眼底。",[25,7,60,200,50,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a51aef5c4ea5bc78dc050ca1d3c205.jpg",[],{"id":15455,"slug":15456,"title":15457,"dynasty":88,"author":549,"museum":20,"description":15458,"tags":15459,"thumbUrl":15463,"material":79,"size":612,"collection":95,"collections":15464,"showCount":15032,"zanCount":39,"manualWeight":39,"mainColor":40},214263,"duo-jing-lou-shi-tie-21-mi-fei-214263","多景楼诗帖-21","笔墨间尽展“刷字”之妙，笔势如疾风骤雨却收放自如。粗重处墨色沉厚似铁画银钩，细劲处锋芒毕露如剑戟出鞘。“之”字捺脚舒展若振翅，“書”字结构欹侧却稳如磐石，欹正相生间藏匠心。干湿浓淡交织成趣：飞白处见筋骨，积墨处显韵味，层次丰富如山水叠嶂。行气连贯如江河奔涌，每一字皆灵动鲜活——既承晋人飘逸韵致，又融宋人豪情风骨，将登高临远的开阔心境注入笔墨。读之如观惊涛拍岸，豪情与逸气并存，不愧是宋代行书的巅峰之笔，尽显书法艺术的雄健与灵动之美。",[7,25,60,385,77,200,15460,15461,15462],"墨迹书写","行书技法","印章元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4689b32af1621af6a885878995e5a0df.jpg",[],{"id":15466,"slug":15467,"title":15468,"dynasty":179,"author":2389,"museum":72,"description":14305,"tags":15469,"thumbUrl":15470,"material":79,"size":15471,"collection":95,"collections":15472,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},290954,"zhen-song-bai-xue-xuan-tu-cao-zhi-bai-290954","贞松白雪轩图",[92,24,25,75,50,51,1018,704,152,52,53,57,116,7,77,1151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],25,{"id":15475,"slug":15476,"title":15477,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":15478,"thumbUrl":15479,"material":751,"size":752,"collection":95,"collections":15480,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},290835,"zhu-shi-liu-quan-zhou-wang-meng-290835","竹石流泉轴",[92,24,25,75,50,132,250,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7cc9dde7a77c5181c25b63abcfb092b.jpg",[],{"id":15482,"slug":15483,"title":15484,"dynasty":179,"author":1516,"museum":107,"description":4942,"tags":15485,"thumbUrl":15487,"material":751,"size":752,"collection":95,"collections":15488,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},290822,"yuan-shu-lin-yuan-shan-wu-zhen-290822","元疎林远山",[24,92,25,50,51,15486,115,57,152,59,77,7],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeb34e136ba53cca7ce0b9820edabe6.jpg",[],{"id":15490,"slug":15491,"title":15492,"dynasty":18,"author":9176,"museum":107,"description":15493,"tags":15494,"thumbUrl":15495,"material":751,"size":752,"collection":95,"collections":15496,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},290476,"shi-hua-ce-luo-pin-290476","诗画册","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[23,24,26,50,25,138,29,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176eb672687f80dc471eed472e7a99b2.jpg",[],{"id":15498,"slug":15499,"title":15500,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":15501,"thumbUrl":15502,"material":751,"size":752,"collection":95,"collections":15503,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},290444,"lin-quan-qing-ji-tu-ke-luo-ban-wang-meng-290444","林泉清集图（珂罗版）",[23,92,24,75,50,51,59,115,57,55,7,77,2251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70217a7e0130994447fdb553a6eb776.jpg",[],{"id":15505,"slug":15506,"title":15507,"dynasty":88,"author":15508,"museum":107,"description":15509,"tags":15510,"thumbUrl":15511,"material":751,"size":752,"collection":95,"collections":15512,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},290335,"qiu-shan-lin-yu-tu-zhou-yan-wen-gui-290335","秋山琳宇图轴","燕文贵","燕文贵（约公元十一世纪），浙江吴兴人。少时曾流落京师（河南开封）为商贩，后来才华被画院待诏高益所赏识，得以进入画院任祇候之职。山水、人物均佳，尤善於描绘四季景物，清雅可爱。画院中人称其画为“燕家景”。",[24,92,75,51,50,59,878,458,704,266,53,252,57,2061,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06ad292210ef9b12e3c03a7583042bc.jpg",[],{"id":15514,"slug":15515,"title":15516,"dynasty":2365,"author":15517,"museum":107,"description":15518,"tags":15519,"thumbUrl":15522,"material":751,"size":752,"collection":95,"collections":15523,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},289959,"lang-yuan-nv-xian-tu-ruan-gao-289959","阆苑女仙图","阮郜","是一幅以西王母侍女萼绿与董双成的神仙故事为题材的画卷。该画卷是阮郜唯一的传世作品。该图中，阮郜运用铁线描以平行排列地方式，将瑶池翠水的形象塑造地坚硬且有实感。",[23,92,24,49,111,27,113,749,15520,901,15521,56,9191,427,7,77],"女仙","仙苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e6c6018f75aa517ccb4614fba86ea2.jpg",[],{"id":15525,"slug":15526,"title":15527,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":15528,"thumbUrl":15529,"material":751,"size":752,"collection":95,"collections":15530,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},289553,"dan-ya-cui-he-tu-wang-meng-289553","丹崖翠壑图",[92,24,50,75,51,113,115,57,53,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df6912bf26fb9204081cf98fa372225.jpg",[],{"id":15532,"slug":15533,"title":15534,"dynasty":88,"author":369,"museum":107,"description":15535,"tags":15536,"thumbUrl":15537,"material":751,"size":752,"collection":95,"collections":15538,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},288547,"la-mei-shan-qin-tu-zhao-ji-288547","腊梅山禽图","《腊梅山禽图》其绘有一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁，一只鸟扭首顾望枝上的梅花，另一只缩颈微昂首前望，俱皆生动传神。\n画家笔墨细致。兰草、梅树、花朵的轮廓，都用工细线条勾勒，枝干的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。",[24,29,111,131,138,116,7,199,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968f64653325930c3b4a31126621e82a.jpg",[],{"id":15540,"slug":15541,"title":15542,"dynasty":105,"author":637,"museum":107,"description":1368,"tags":15543,"thumbUrl":15544,"material":751,"size":752,"collection":95,"collections":15545,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},288194,"da-dao-tie-wang-xi-zhi-288194","大道帖",[23,92,25,49,398,7,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1473d3c9f1fd7965415f14ac17b5d934.jpg",[],{"id":15547,"slug":15548,"title":15549,"dynasty":1609,"author":454,"museum":107,"description":15550,"tags":15551,"thumbUrl":15552,"material":751,"size":752,"collection":95,"collections":15553,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},287379,"fei-zhi-bei-yi-ming-287379","肥致碑","汉碑(音hàn bēi）即 汉代碑刻。碑文字体以隶为主，碑额文字多用篆书。汉碑（包括拓本）流传甚多﹐著名的有《张迁碑》﹑《乙瑛碑》《华山庙碑》﹑《礼器碑》﹑《史晨碑》﹑《曹全碑》等。\n与汉碑体制的高度成熟相适应，汉碑碑文也已成为典型化的文体，即诔文。文字多达千字左右。详细记载墓主的姓名、职官、功绩、生卒日期以及立碑人书碑人姓名，并有华丽腴饰的四言韵文的颂词。\n东汉晚期，汉碑构成礼仪文化的中心“语境”，同时，儒学也开始向汉碑全面渗透。一个明显的事实是，汉碑多出在儒学中心的黄河下游的山东地区，尤其是山东省济宁市地区，有“天下汉碑半济宁”之称。这个时期，汉碑在整体上已消蚀掉早期汉隶的博大气象和自然意味，但由于刀与石的营构，进一步夸张修饰了简帛书法的特征，使汉隶在本体语言上趋于全面成熟。\n传世汉碑数量庞大，风格类型多样，被称为“一碑一奇，莫有同者”。由此，从风格类型方面研究汉碑便构成一个专门的课题。\n朱彝尊在《西岳华山庙碑跋》中说：“汉隶凡三种，一题方整，《鸿都石经》、 《尹宙》、《鲁峻》、《武荣》、《郑固》、《衡方》、《刘熊》、《白石神君》诸碑是已。一种流丽，《韩勃》，《曹全》，《史晨》、《乙瑛》《张迁》诸碑是已。一种奇古，《夏承》、《戚伯著》诸碑是已。”王澍在《虚舟题跋》中说：“汉碑分雄古、浑劲、方整三类。”康有为《广艺舟双楫·本汉》则将汉碑分为：“骏爽，疏宕，高深、丰茂、华艳，虚和，凝整、秀额八类。此外，还有学者依据制作目的将汉碑分为五类：歌颂神冥灵验者，有神碑，神庙石阙；记述祖庙祭祀与修造者的庙碑；歌颂个人德行者，有德政碑、墓碑、墓门石阙；纪念土木工程完工者，有竣功纪念碑。其它，有画像题字，墓记，买冢记，石经等。这种分类充分体察到汉碑的文化功用，并将汉碑不同书风的形成与汉碑体制结合起来加以考察。因而这种分类视角较之仅仅从审美形态上划分汉碑风格类型无疑更具有史学认识价值。",[7,1613,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333bf7daac6ef1f785f91b305294f68.jpg",[],{"id":15555,"slug":15556,"title":15557,"dynasty":18,"author":454,"museum":107,"description":15558,"tags":15559,"thumbUrl":15561,"material":751,"size":752,"collection":95,"collections":15562,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":40},272873,"ci-xiu-yu-zhi-ti-tong-yin-wan-he-tu-gua-ping-yi-ming-272873","刺绣御制题桐荫玩鹤图挂屏","此作将刺绣工艺与文人雅趣相融，松石苍劲雅致，蓝调山石以绣线晕出层叠肌理，晕染出空寂清逸的山居意趣。近景林下两位高士相对而坐，一人拨弦、一人凝神静赏，将林下雅集的悠然氛围尽显。\n\n绣线设色温婉沉静，米底配青蓝绣线，将水墨淡彩的雅致晕染尽致。题诗以针代笔，走线细腻还原笔墨意趣，完美复刻文人题咏的书卷气。整幅以绣为画，得国画留白写意之妙，把文人寄情山水、乐享雅集的审美意趣尽数铺展，是诗、绣、画三者相融的佳品，尽显东方传统雅致美学。",[2980,8913,25,27,51,1018,113,7,15560],"闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca190663de32fd118433b415c91cade2.jpg",[],{"id":15564,"slug":15565,"title":15566,"dynasty":45,"author":454,"museum":107,"description":15567,"tags":15568,"thumbUrl":15569,"material":95,"size":95,"collection":802,"collections":15570,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":207},242215,"dong-han-li-qi-bei-yi-ming-242215","东汉礼器碑","此作为汉隶经典拓本，笔画瘦硬挺拔，波磔如燕尾舒展，刚柔相济。结体严谨匀整，间架开合有度，疏密排布精妙，尽显端庄雅正的庙堂之气。墨色沉郁浓厚，碑石残损处晕开斑驳古意，为字迹添上岁月的苍茫质感，线条间藏着朴茂高华的金石气韵，将汉隶方整秀逸的风神展露无遗，是隶书成熟时期的极致范本。",[7,198,1613,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2ec9b1bb2dc1b386602b3b05636351.jpg",[802],{"id":15572,"slug":15573,"title":9336,"dynasty":18,"author":9337,"museum":107,"description":9338,"tags":15574,"thumbUrl":15575,"material":751,"size":752,"collection":95,"collections":15576,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},241685,"huang-tai-hou-fu-lu-shou-tu-zhou-ci-xi-241685",[92,24,25,75,27,60,77,7,113,9340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d321126d9348c75f93a44a94eafe90.jpg",[],{"id":15578,"slug":15579,"title":15580,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":15581,"thumbUrl":15582,"material":751,"size":752,"collection":95,"collections":15583,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},240930,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-yi-zhao-meng-fu-240930","赵孟頖妙法莲花经册卷一",[25,7,386,26,878,50,60,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72472614d6d8c0cb59dc2126a72dc92.jpg",[],{"id":15585,"slug":15586,"title":15587,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":15588,"thumbUrl":15589,"material":751,"size":752,"collection":96,"collections":15590,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},240579,"za-ji-shu-zha-he-ce-xu-wei-240579","杂记书札合册",[24,25,26,60,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20ac2bc0f4c0aa35086c5bf0f693aca.jpg",[96],{"id":15592,"slug":15593,"title":10545,"dynasty":18,"author":15594,"museum":72,"description":15595,"tags":15596,"thumbUrl":15597,"material":9681,"size":15598,"collection":96,"collections":15599,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},240279,"wu-yan-lian-huang-yi-240279","黄易","黃易（1744 年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。",[2135,7,1613,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df6b9a65a431f9f3f26b1f2df21b164.jpg","108.5×24cm",[96],{"id":15601,"slug":15602,"title":15603,"dynasty":45,"author":2206,"museum":126,"description":15604,"tags":15605,"thumbUrl":15606,"material":312,"size":15607,"collection":96,"collections":15608,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":40},239573,"guan-gong-miao-bei-ye-zhu-yun-ming-239573","关公庙碑页","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 [1] 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[7,60,10869,77,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea117ecdc2acfc65ec3addd9779f1ecc.jpg","26.7×49.6cm",[96],{"id":15610,"slug":15611,"title":4167,"dynasty":18,"author":15612,"museum":107,"description":15613,"tags":15614,"thumbUrl":15615,"material":95,"size":95,"collection":63,"collections":15616,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},238148,"shan-shui-ce-yun-xi-238148","允禧","此作用淡墨晕染出清寂湖山，近岸坡石虬松错落，幽居隐于林木间，远山澹澹衔着烟水，飞泉垂落打破岑寂，将山林幽居的闲逸禅意融于尺幅。笔墨简淡秀雅，不事浓丽雕琢，尽显空灵悠远之致。题诗与画意相映，诗画合璧，把寄情林泉的出世襟怀藏在留白之中，尽显文人山水静穆萧散的雅趣。",[24,25,26,50,59,51,651,360,652,589,266,54,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d49518b2e5f38132c3ad663c86af5e3.jpg",[63,218],{"id":15618,"slug":15619,"title":15620,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":15621,"thumbUrl":15622,"material":751,"size":752,"collection":95,"collections":15623,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},238060,"mei-lan-zhu-shan-ye-chen-chun-238060","梅兰竹扇页",[1250,24,50,129,29,131,139,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63542c020985ced6481b981062ae7c7f.jpg",[],{"id":15625,"slug":15626,"title":15627,"dynasty":45,"author":689,"museum":126,"description":15628,"tags":15629,"thumbUrl":15631,"material":784,"size":15632,"collection":96,"collections":15633,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":100},237693,"qi-shi-tu-zhou-chen-hong-shou-237693","乞士图轴","图绘乞士拄杖而立。款题“陈洪绶摹李伯时乞士图”，钤“陈洪绶印”白文印、“章侯父”白文印。乞士为比丘的别称，有“上乞法于佛，下乞食于一切众生”之意。《法华义疏》卷一云：“比丘者名为乞士，上从如来乞法以练神，下就俗人乞食以资身，故名乞士。”比丘的境界也含有破除一切烦恼，了一切生死而能成正果的意思。\n图中人物造型略为夸张，线条简洁洗练，高古奇隽。清代张庚在《国朝画征录》中指出，陈洪绶画人物“躯干伟岸，衣纹清圆细劲，兼有（李）公麟、（赵）子昂之妙”。此图虽题为摹李公麟，实则变圆为方，化整为散，主要是仿李公麟白描画法的秀灵和神韵，形不似而神似，寥寥数笔即刻画出乞士超脱不凡的精神境界。",[24,75,111,113,15329,15630,7,60,77],"帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed15b0fa176fc9c04a100b5058ac344.jpg","纵34.4厘米，横26.2厘米",[96],{"id":15635,"slug":15636,"title":15637,"dynasty":18,"author":3067,"museum":107,"description":10686,"tags":15638,"thumbUrl":15640,"material":95,"size":95,"collection":35,"collections":15641,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},237580,"wang-hui-ke-mu-zhu-shi-zhou-wang-hui-237580","王翚柯木竹石轴",[24,25,75,50,59,132,15639,589,360,446,77,7,60],"柯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c301fee55a5c4f3a9597b8c83070258.jpg",[35],{"id":15643,"slug":15644,"title":15645,"dynasty":18,"author":15646,"museum":126,"description":15647,"tags":15648,"thumbUrl":15650,"material":95,"size":95,"collection":35,"collections":15651,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":40},236189,"hua-mei-xi-fan-ting-liang-shi-zheng-shu-feng-guan-long-jing-ti-ming-cheng-shan-sun-you-236189","画梅溪泛艇梁诗正书奉观龙井题名成扇","孙祐","孙佑[清]佑一作祜。江苏人。\n山水宗娄东（王原祁）乾隆（一七三六至至一七九五）时供奉内廷，曾同陈枚，金昆、戴洪、程志道绘清明上河图，乾隆六年（一七四一）与周昆、丁观鹏合作汉宫春晓图卷。《熙朝名画录、国（清）朝画徵录》",[1250,24,25,27,111,51,131,6635,15649,52,1018,57,113,7,60],"艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b354b57fa498851ae8a5f5ae8d64860.jpg",[35,218],{"id":15653,"slug":15654,"title":1290,"dynasty":18,"author":6078,"museum":107,"description":15655,"tags":15656,"thumbUrl":15657,"material":751,"size":752,"collection":95,"collections":15658,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":40},235599,"hua-hui-ce-wang-wu-235599","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[24,25,26,27,29,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac02c7830b4e4f8ae7d6de5d2c5fd28.jpg",[],{"id":15660,"slug":15661,"title":7114,"dynasty":18,"author":454,"museum":107,"description":15662,"tags":15663,"thumbUrl":15664,"material":95,"size":95,"collection":95,"collections":15665,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},235161,"hong-ren-shan-shui-ce-yi-ming-235161","此作以极简笔墨铺陈清寂意境，枯硬淡墨勾勒石壁，冷峻苍朴，壁上古梅虬枝斜出，寥寥数笔便将孤寒疏朗之态写尽。坡前修竹亭亭玉立，清润秀雅，与古梅萧疏柔刚互衬。\n\n搭配行书题诗，笔意清逸，文心与画意相融。整体空灵冷峭，尽显新安画派简淡孤高的特质，遗世独立的禅意浸透纸面，于尺幅间勾勒出淡远宁静的天地，暗藏孤高沉郁的心境，将文人画清雅出尘的格调诠释尽致。",[24,25,26,50,51,704,76,57,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5030c2cb2f07a2905e8001cd39c8c377.jpg",[],{"id":15667,"slug":15668,"title":15669,"dynasty":18,"author":15670,"museum":126,"description":15671,"tags":15672,"thumbUrl":15673,"material":784,"size":15674,"collection":95,"collections":15675,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},234295,"yue-man-qing-you-ce-chen-mei-234295","月漫清游册","陈枚","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,26,111,27,113,114,131,458,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2494860570445bcd18e06e11d86184.jpg","纵37厘米，横31.8厘米",[],{"id":15677,"slug":15678,"title":15679,"dynasty":18,"author":4686,"museum":126,"description":15680,"tags":15681,"thumbUrl":15682,"material":519,"size":15683,"collection":95,"collections":15684,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},232688,"mo-song-tu-zhou-zhao-zhi-qian-232688","墨松图轴","据画家自题，此图参用了篆、隶、草三体的书写技法来描绘松树，落笔圆浑滋厚，与作者的书法风格同一格调。树干、枝条、松针以草书笔法表现，秉承了文人画豪放洒脱的传统。画上行书落款笔力雄健遒劲，其金石韵味与松木的画法相映衬，意趣横生。此幅不愧为赵之谦以金石、书法入画的代表作。",[23,24,50,129,59,133,7,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fd887689ee93323c8e3eacf3173751.jpg","纵176.5厘米，横96.5厘米",[],{"id":15686,"slug":15687,"title":6918,"dynasty":179,"author":1324,"museum":1893,"description":15688,"tags":15689,"thumbUrl":15696,"material":312,"size":15697,"collection":95,"collections":15698,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},232639,"shui-zhu-ju-tu-ni-zan-232639","此图以青绿设色绘江南初秋景色。山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n按图上作者题款：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。因想像图此……” 知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,24,1328,1689,15690,333,15691,5281,15692,52,2028,251,15693,15694,4285,4578,15695,199,7,77,59],"青绿设色","修竹","溪水","水渚","仙居","幽冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":15700,"slug":15701,"title":15702,"dynasty":179,"author":15703,"museum":72,"description":15704,"tags":15705,"thumbUrl":15706,"material":79,"size":15707,"collection":95,"collections":15708,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":40},231412,"yan-ling-diao-tai-tu-sa-dou-ci-231412","严陵钓台图","萨都刺","诗塘款题云：\n山川牵惹心我旌。迢递驱驰万里程。蹻步薜分声柝柝。瀑流涧汇响砰砰。钓竿台上无形迹。丘壑亭中有隐名。富贵可遗志不易。鼎彝犹似羽毛轻。予自都门历南。跋涉驱驰。奔走几半万里。闻严台钓矶。山秀寰拱。碧水澄渊。余强冷启敬共登。既而游归。启敬强余绘图。漫为作此。至元己卯（1339年）八月燕山天锡薩都剌写。并题於武林。",[23,24,50,60,7,59,77,25,51,54,1018,8057,58,471,1316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375ad6aa0e419933d8c53ef10dae7dd4.jpg","58.7 x 31.9cm",[],{"id":15710,"slug":15711,"title":15712,"dynasty":45,"author":1313,"museum":107,"description":15713,"tags":15714,"thumbUrl":15716,"material":95,"size":95,"collection":95,"collections":15717,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},230936,"yan-shu-mao-tang-tu-dong-qi-chang-230936","烟树茅堂图","此作用高远、平远之法铺展，主峰巍然耸峙，以干淡笔墨皴擦山石，尽显浑厚苍朴质感。近景坡岸间杂树错落，或虬曲苍劲，或清疏秀雅，干湿墨色互用，晕染出空濛烟岚，将山林间的氤氲之气娓娓铺陈。\n\n山谷茅堂隐现于林泉间，幽寂清宁，与题诗相映，尽显幽居不踏尘嚣的隐逸意趣。全画笔法松秀灵逸，意境萧散淡远，将文人寄情林泉的雅怀融于笔墨间，尽显南宗山水的静穆雅致。",[24,25,50,59,75,60,77,7,51,5360,15715,57,56],"茅堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c40f19d70eb1e0f772b02e18b758c7.jpg",[],{"id":15719,"slug":15720,"title":15721,"dynasty":18,"author":506,"museum":107,"description":15722,"tags":15723,"thumbUrl":15724,"material":95,"size":95,"collection":95,"collections":15725,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},230237,"za-hua-shi-er-kai-2-jin-nong-230237","杂画十二开2","此作以水墨写就早春桃柳，柔柳垂条以淡墨轻扫，如烟似雾，尽得扶风曼舞之姿，尽显春日柔媚。下方桃枝斜出，苍劲朴拙的枝桠间，以浓淡墨色点染花苞与初绽小花，古拙清雅。\n画面左上题诗与绘景呼应，诗画相融，晕开清寂雅致的春日氛围。全幅以水墨代彩，摒弃艳俗，笔墨生拙古雅，简淡疏朗间带着浓郁文人意趣，寥寥数笔便将早春二月的清隽诗意凝于尺幅，尽显写意水墨的精妙功力。",[24,50,26,25,9676,137,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ddce53ad3ab07ab23b7059e4162171.jpg",[],{"id":15727,"slug":15728,"title":15729,"dynasty":45,"author":342,"museum":107,"description":15730,"tags":15731,"thumbUrl":15732,"material":95,"size":95,"collection":95,"collections":15733,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},228873,"gu-mu-han-quan-wen-zheng-ming-228873","古木寒泉","此作用笔清瘦秀雅，枯荣相生的古木虬曲苍劲，或秃枝嶙峋尽显风霜，或残叶攒簇尚存生机。寒泉在乱石间蜿蜒穿绕，浅滩洄波皆以细笔勾勒，淡墨晕染开空寂萧疏的秋意。\n画面兼工带写，以劲挺线条刻画枝干石纹，墨点攒簇为叶，将幽寂林泉化作澹泊丘壑，题诗与画境呼应，把沉静心绪寄寓其中，尽显文人画以景抒怀的清雅意趣。",[23,24,50,75,59,7,77,51,115,53,57,10417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fbd293a709812c7a0bf8b31c0bea29a.jpg",[],{"id":15735,"slug":15736,"title":15737,"dynasty":162,"author":3339,"museum":107,"description":15738,"tags":15739,"thumbUrl":15740,"material":95,"size":95,"collection":95,"collections":15741,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},227079,"yu-ren-cheng-ma-tu-ming-mo-ben-han-gan-227079","圉人呈马图（明摹本）","韩斡《 圉人呈马图》，生动地表现了骏马的体态神情，准确、简炼，真实。牧马人的形象也威武生动。从画风来看，牧马人两腮胡须，体格高大肥壮，是为胡人相貌;马匹神骏雄健，属来自西域之品种。在造形上，黑白二马健硕丰满，生动逼真，但在线条的描绘上却是细致流畅。",[23,24,92,25,49,110,27,113,1074,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b526faf361dadc7a0848f07e8fe74aa.jpg",[],{"id":15743,"slug":15744,"title":15745,"dynasty":18,"author":2301,"museum":72,"description":15746,"tags":15747,"thumbUrl":15748,"material":682,"size":15749,"collection":35,"collections":15750,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},224117,"kai-tai-shuo-bing-san-yang-kai-tai-tu-juan-qian-long-224117","开泰说并三阳开泰图卷","是清代乾隆弘历的亲笔图，该幅是摹仿收藏于台北故宫博物院明宣宗（1399－1435）与郎世宁（1688－1766）同名之作。该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作",[23,92,24,25,49,50,60,77,7,798,6951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0619277c0f73ea795b19279dee6e8c7f.jpg","27.7×63厘米",[35,187],{"id":15752,"slug":15753,"title":15754,"dynasty":88,"author":454,"museum":648,"description":15755,"tags":15756,"thumbUrl":15757,"material":312,"size":15758,"collection":95,"collections":15759,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":40},223492,"ming-huang-ji-qiu-tu-quan-juan-yi-ming-223492","明皇击球图全卷","图绘十六人击球之场面。画作左右各绘球门一扇，均两人守一门，画中部唐明皇带领后宫佳丽及臣子骑马击球，人物姿态各异，穿着随意，表情喜庆欢乐。旧传为李公麟所作，卷尾有明傅著、吴乾、董其昌等跋，",[23,92,24,25,49,112,113,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68798f2e4eb8278bdfe8b44f29281933.jpg","32.1×226",[],{"id":15761,"slug":15762,"title":15763,"dynasty":88,"author":454,"museum":648,"description":15764,"tags":15765,"thumbUrl":15767,"material":184,"size":15768,"collection":35,"collections":15769,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},223449,"han-ya-tu-juan-yi-ming-223449","寒鸦图卷","此图淡彩画雪霁严林、群鸭、寒塘衰草。",[23,24,25,49,50,27,111,59,7,77,704,115,116,1151,53,1884,15766],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ba2c5fb104dfc8ae7bd32e5b801ac1.jpg","27.1×113.2cm",[35,218],{"id":15771,"slug":15772,"title":15773,"dynasty":18,"author":599,"museum":107,"description":949,"tags":15774,"thumbUrl":15775,"material":312,"size":95,"collection":96,"collections":15776,"showCount":15473,"zanCount":788,"manualWeight":39,"mainColor":40},223292,"wu-yan-shi-zheng-ban-qiao-223292","五言诗",[23,24,25,75,60,77,50,2135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c5a5bdcf2543aa3e72177efe971d9.jpg",[96],{"id":15778,"slug":15779,"title":15780,"dynasty":18,"author":8382,"museum":126,"description":15781,"tags":15782,"thumbUrl":15783,"material":784,"size":15784,"collection":95,"collections":15785,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},222871,"shi-gong-ci-tu-ce-10-leng-mei-222871","十宫词图册10","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,25,26,27,111,1128,113,458,55,30,57,7,77,114,567,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd2236aae6940996a247db8ce2dd9c7.jpg","纵33.1厘米，横29.3厘米",[],{"id":15787,"slug":15788,"title":15789,"dynasty":45,"author":15790,"museum":72,"description":15791,"tags":15792,"thumbUrl":15793,"material":346,"size":15794,"collection":63,"collections":15795,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":40},222153,"chun-qi-tu-zhou-gu-yi-de-222153","春绮图轴","顾懿德","顾懿德（?～1633后） 明末松江派画家。字原之。华亭（今上海松江）人。明万历时中书舍人顾正谊之子（或说为侄）。家资丰厚，以父遗产银三万两，在青浦营造役田万亩，以成父志，被任为光禄寺署正。\n善画山水，画承顾正谊家传而受董其昌影响，仿王蒙，行笔秀洁，也画大士像。董及陈继儒颇赏之。",[23,92,24,25,75,1127,27,51,57,56,52,53,458,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdbc69544851c619a4c424a6721ef6b.jpg","51.7x32.4厘米",[63,218],{"id":15797,"slug":15798,"title":15799,"dynasty":45,"author":15800,"museum":11047,"description":15801,"tags":15802,"thumbUrl":15805,"material":95,"size":95,"collection":95,"collections":15806,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},222040,"tai-shan-ba-jing-shi-ke-dai-jing-222040","泰山八景诗刻","戴经","《泰山八景》正德己卯（1519）岁秋八月上旬，刻于水玉堂中。泰安州知州嘉兴戴经补作。一曰苍茫浩宇望朝暾，涌壑推峰骇若喷。一气鸿蒙沧海接，两间砥柱岱宗尊。神龟幻影占霖雨，老蜃含精散彩缊。拄笏也知看未了，万年留此镇昆仑。二曰徂徕犹种鲁人松，落日苍苍万古风。龙挟云还岩石润，蟾随霞上海天空。也知虎豹潜林外，自喜芝兰满谷中。两眼薄书真俗吏，山灵不语笑吴侬。三曰汶水汤汤一脉深，巡崖转壑下千寻。落虹万古垂流影，飞鹊三秋驾汉心。荷担长途谁稳坐，垂纶荒野几高吟。舆梁莫作寻常事，濡足褰裳正不禁。四曰明堂何处草芊芊，落日荒烟万井田。四国会同周盛日，九重巡幸汉丰年。天开形胜犹今古，世握纲维本后先。却笑北鸡鸣武曌，圣王礼乐可容专。五曰四郊无处不秋成，禾黍龟阴独擅名。嬴博不终齐国好，郓欢犹复鲁人争。中都今古谁称宰，夹谷乾坤几会盟。老我专诚徒碌碌，日星圣道正辉明。六曰何年古洞有潜龙，平地风雷起太空。山岳晦冥随上下，江湖倾倒自流通。借车曾讶朱门宿，分砚真惊白书封。满眼病禾兴宋揠，官输常在雨声中。七曰野鹤孤云自往还，空名千载信朝班。奋髯特立云霄远，偃盖长留岁月闲。岱岳托根真峻地，赢秦承命却惭颜。四时秀色何曾改，桃李春风未许攀。八曰东封玉辇不闻音，柏树犹能慰访寻。一代精神看翠霭，千年物色在苍林。水帘洞上风偏急，御帐亭边雪正深。到底凌寒谁可共，老松郁郁是同心。志书泰山八景目存西诗选，经于政暇补之如右。",[23,198,7,199,15803,51,3423,15804],"泰山","古迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0e0ed12eef1dd4aa5067332ecf6fca.jpg",[],{"id":15808,"slug":15809,"title":15810,"dynasty":45,"author":342,"museum":107,"description":15811,"tags":15812,"thumbUrl":15813,"material":312,"size":15814,"collection":96,"collections":15815,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},222010,"shi-juan-hu-guang-pi-su-lian-wen-zheng-ming-222010","诗卷湖光披素练","书于世宗嘉靖八年（1529年），时年60岁。文徵明草书师法怀素、黄庭坚而能遗其貌，取其神。本卷草书，点画苍劲有力，结体开展奔放、张弛有致，整幅作品上下呼应，左右映带，血脉相通，气贯神溢，是一件不可多得的绝佳作品。",[23,49,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc3fe49e10f28ee0ca02017dd51d33b.jpg","纵20.9厘米，横11厘米",[96],{"id":15817,"slug":15818,"title":15819,"dynasty":179,"author":8344,"museum":126,"description":15820,"tags":15821,"thumbUrl":15822,"material":15823,"size":15824,"collection":95,"collections":15825,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},221824,"xiu-ye-xuan-tu-juan-zhu-de-run-221824","秀野轩图卷","该图末有朱德润自识：“至正二十四年歲甲辰(1364年)四月十日，睢陽山人時年七十一歲。朱德潤並肩。”后钤私印两方。系朱氏临终前的极晚之作。是图画江南山川的平远之景，山林间有文人对坐于书斋中，笔法粗放纵逸，墨色简洁，有苍茫之意。画家大胆地将北宋李成、郭熙描绘北方山水的笔墨转化为表现江南风物的造型语言，并揉进了文人儒雅清澹的审美意趣。画中的书斋为“秀野轩”，将文人的书斋和活动绘于佳山秀水中，是这个时期新出现的山水画题材，直接影响了元末明初早期吴派山水画的审美取向。\n清《佩文斋画谱》、《江村画目》著录。",[23,24,25,49,50,59,60,7,77,51,55,56,52,53,250,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02fb9773db03d4b1979437c1858da6bd.jpg","纸本，水墨淡设色","纵28.3厘米，横210厘米",[],{"id":15827,"slug":15828,"title":15829,"dynasty":179,"author":15830,"museum":126,"description":15831,"tags":15832,"thumbUrl":15833,"material":312,"size":15834,"collection":96,"collections":15835,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},221742,"zhang-xu-bi-fa-juan-kang-li-nao-nao-221742","张旭笔法卷","康里巎巎","此卷从行笔意趣和结构习惯看，有张旭、怀素两位唐代草书大家的创作风格。康里巎运笔以喜用中锋和行笔迅疾闻名于时，锋正而无臃滞之态，笔快而不见单薄之势，这恰是他的高明之处。这种风格在此帖中均又所体现，使全卷笔画遒劲挺拔，圆劲清朗，极有神韵。\n按，康里于此作自题“至顺四年”，然文宗至顺仅三年。文宗至顺三年卒，宁宗继位，翌年惠宗立，改元统，是至顺四年即元统元年",[23,7,398,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e35e4d00cdc6b5e113e714539d212d.jpg","35.8×329.6cm",[96],{"id":15837,"slug":15838,"title":15839,"dynasty":88,"author":4981,"museum":648,"description":15840,"tags":15841,"thumbUrl":15842,"material":312,"size":10566,"collection":96,"collections":15843,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":40},221473,"shu-du-fu-shi-di-er-duan-zhang-ji-zhi-221473","书杜甫诗第二段","张即之是南宋后期颇具个性和影响的书法家。此卷为高头大卷，书杜甫《紫宸殿退朝口号》及《赠献纳司起居田舍人》七律二首，作于宋理宗淳佑十年（1250），时年作者65岁。张即之行楷妙绝南宋，此卷轻、重、徐、疾相映成辉，点画顾盼生情，披览之下，熟而不俗、健而不僵，顿觉奇趣横生，堪称为张即之榜书的代表佳作。",[23,25,7,60,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d76f022e62f214e91a6697124c25efb.jpg",[96],{"id":15845,"slug":15846,"title":15847,"dynasty":88,"author":89,"museum":126,"description":4763,"tags":15848,"thumbUrl":15849,"material":4766,"size":4767,"collection":95,"collections":15850,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":40},221282,"zhu-shang-zuo-tie-juan-di-er-duan-huang-ting-jian-221282","诸上座帖卷第二段",[23,7,398,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5fef49ca4dd82c9b7bf1eb78dbdb1.jpg",[],{"id":15852,"slug":15853,"title":15854,"dynasty":45,"author":11488,"museum":7039,"description":15855,"tags":15856,"thumbUrl":15857,"material":15858,"size":15859,"collection":95,"collections":15860,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":95},220725,"xie-an-xiang-guo-xu-220725","谢安像","郭诩（1456-约1529），明代画家。字仁弘，号清狂道士，泰和（今属江西）人。少年时为博士弟子，后弃绝功名，专志诗文书画。喜游历，曾遍游名山胜地，画艺大进。擅山水、人物，作品风格呈粗细两种面貌，前者所画多信手勾染，线条粗劲，水墨淋漓，造型简括秀逸，生动传神，画风简逸狂放。后者画法工整，线条圆劲流畅，画风细致俊雅。同时期画家沈周、吴伟、杜堇等，都推重其艺术造谐。有《杂画册》、《琵琶行图》、《东山携妓图》等传世。",[23,24,25,75,112,50,113,167,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6865ffbaed9c1e5bb5f58517d72ed18c.jpg","水墨,纸本,立轴","画心：118.5×42厘米 装裱：215.4×56.5厘米",[],{"id":15862,"slug":15863,"title":15864,"dynasty":45,"author":15865,"museum":126,"description":15866,"tags":15867,"thumbUrl":15868,"material":79,"size":15869,"collection":63,"collections":15870,"showCount":15473,"zanCount":788,"manualWeight":39,"mainColor":40},220397,"chen-zong-yuan-hong-ya-shan-fang-tu-juan-chen-zong-yuan-220397","陈宗渊洪崖山房图卷","陈宗渊","《洪崖山房图》是陈宗渊唯一的传世作品，为其受友人胡俨之请按实景创作的。胡俨怀着还乡归隐之情，在家乡筑室名“洪崖山房”，以慰归思。他曾请王绂为其作图，但王绂当时因病重便作诗推辞，胡俨遂转请其弟子陈宗渊创作了此图。胡俨十分珍爱此作，多次在图后题识。图中抒写了胡俨身居庙堂、心怀归思的志向和情怀，同时也反映了在明初严酷的政治环境中，文人士大夫思隐的心态。\u2028　　画面上山峦起伏，江面开阔，景色壮观，反映出江西一带的风貌特征。所画人物占画幅比例很小，虽只寥寥数笔，须眉皆无，但姿态休闲生动，或展卷堂上，或携琴访友，巧妙地突出了人物在画中的地位，增添了恬静安逸的情致，表现出文人优雅的生活环境和超凡出尘的意趣。画中的山石用荷叶皴与披麻皴表现，线条多用中锋，自上而下拖长，错落纷披，转折灵动。陈宗渊的画法继承元代绘画风格，近似王绂，意境清远，笔墨苍秀，其作品对了解吴门前期绘画的传承关系具有重要的作用。",[23,24,25,49,50,27,51,111,59,60,7,77,251,553,58,56,52,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f656c3500b27f604686ec7a544e47c9.jpg","纵27.1厘米，横106.2厘米",[63,187],{"id":15872,"slug":15873,"title":15874,"dynasty":88,"author":454,"museum":72,"description":15875,"tags":15876,"thumbUrl":15878,"material":169,"size":15879,"collection":171,"collections":15880,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":789},219625,"kan-shu-tu-yi-ming-219625","勘书图","庭园之中，几案纷列，髯者数人，有持扇、阅卷、脱帽、盥洗者。此图与本院所藏宋刘松年「十八学士图」长卷之一段构图近似，选取其中不同人物活动、家具陈设、花园点景而成，主题应为文会而非勘书。院中所摆置家具、器物种类繁多，有长案、方桌、方凳、环墩、靠背扶手椅、琴、书卷、酒器、香炉等。此图应为明代中晚期临本，画家对器物造型描写颇多，但在人物绘法上有些呆板。",[24,25,111,27,113,1498,7,77,6769,15877],"纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff944d9925f9c8460e8e94c86c9ef945d.jpg","50.7x42.2厘米",[171],{"id":15882,"slug":15883,"title":15884,"dynasty":88,"author":15885,"museum":279,"description":15886,"tags":15887,"thumbUrl":15888,"material":33,"size":95,"collection":35,"collections":15889,"showCount":15473,"zanCount":882,"manualWeight":39,"mainColor":100},219283,"han-cai-tu-xu-gu-yan-219283","寒菜图","徐古岩","两棵大白菜水墨画，叶子用重墨画，叶子留白做茎。 菜根长出一株杂草，细长的草茎上栖息着一只蚱蜢。 虽然画面是冬景，但活跃的蚱蜢带来活力。",[23,24,25,92,50,7,77,3746,1176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56ef32d8e02f0c02c27da1581f805f1c.jpg",[35],{"id":15891,"slug":15892,"title":15893,"dynasty":88,"author":15894,"museum":72,"description":15895,"tags":15896,"thumbUrl":15897,"material":169,"size":15898,"collection":63,"collections":15899,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},218869,"xi-shan-ping-yuan-tu-song-di-218869","溪山平远图","宋迪","这是一幅山水画，草木茂盛，一派湖光山色的景象。",[23,92,24,25,51,27,2028,53,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42addfe814270b42354058fea9c7ac91.jpg","25x26.4",[63],{"id":15901,"slug":15902,"title":15903,"dynasty":45,"author":46,"museum":15904,"description":15905,"tags":15906,"thumbUrl":15907,"material":79,"size":95,"collection":95,"collections":15908,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},214926,"mo-hua-ce-1-shen-zhou-214926","墨花册-1","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,4038,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50fc9d23370ad6034905ffce77a6ddba.jpg",[],{"id":15910,"slug":15911,"title":15912,"dynasty":162,"author":1715,"museum":107,"description":15913,"tags":15914,"thumbUrl":15915,"material":202,"size":95,"collection":95,"collections":15916,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":100},214608,"fan-xing-bei-chu-sui-liang-214608","樊兴碑","这是一幅清代早期的道光拓片。出字六行的下半部分没有损坏，米字二十九行的右半部分没有损坏。这块石头现存于陕西的三原城隍庙。一幅原汁原味的清代道光地形图。唐，永徽元年（650）。 朱遂良撰。以朱遂良的风格题写。",[1063,199,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f74b05c2a9095606b2fc650169bafab.jpg",[],{"id":15918,"slug":15919,"title":15920,"dynasty":88,"author":549,"museum":20,"description":15921,"tags":15922,"thumbUrl":15923,"material":79,"size":612,"collection":95,"collections":15924,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},214267,"duo-jing-lou-shi-tie-15-mi-fei-214267","多景楼诗帖-15","笔势奔腾如江潮拍岸，点画间藏着米氏“刷字”的锋芒。竖画如剑戟横空，撇捺似流云舒卷，飞白处露筋骨，浓墨处凝沉实。字形欹侧中见稳劲，错落里显天然章法——若楼头望断千帆，乱中有序。墨色干湿浓淡交织，如暮色江天层次分明。每一笔皆带鲜活气韵，仿佛触到书者挥毫时的腕底风雷，窥见那份宋人独有的潇洒快意。字里行间藏着豪情，观者心随字动，如临多景楼头，长风扑面，山河气象尽在眼前。",[7,60,200,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee58584095184682a8f34db0a78da07.jpg",[],{"id":15926,"slug":15927,"title":15928,"dynasty":88,"author":549,"museum":20,"description":15929,"tags":15930,"thumbUrl":15931,"material":79,"size":612,"collection":95,"collections":15932,"showCount":15473,"zanCount":39,"manualWeight":39,"mainColor":40},214265,"duo-jing-lou-shi-tie-18-mi-fei-214265","多景楼诗帖-18","墨线似惊鸿掠水，单字纵贯如长虹饮涧，锋芒里裹着湿润的江风。提按间藏着独有的爽利，枯笔见铮铮骨力，湿墨含脉脉清韵，飞白处恍若江浪拍岸的碎响。朱红印信错落有致，与浓墨碰撞出古雅的韵律，像是时光里藏家与作者的隔空对谈。字势流转间，浸着登高临远的旷达，墨色晕染处，仿佛能望见千帆过尽，山河入画。不必细究每笔的章法，只随那流转的笔锋，便坠入笔墨构筑的豪情与清逸里。印墨交织，是岁月的印记，让这纸间的气韵，至今仍在眼底流转生姿。",[25,7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816943ada35af95e4ace8ac9ca3e4186.jpg",[],{"id":15934,"slug":15935,"title":15936,"dynasty":88,"author":1937,"museum":107,"description":9433,"tags":15937,"thumbUrl":15938,"material":751,"size":752,"collection":95,"collections":15939,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},291005,"li-chao-hua-fu-ji-ce-an-xiang-shu-ying-ma-lin-291005","历朝画幅集册 暗香疏影",[24,92,25,26,29,27,111,131,132,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb5ae081224664af82be1fe572774f7.jpg",[],{"id":15941,"slug":15942,"title":15943,"dynasty":88,"author":14322,"museum":107,"description":14323,"tags":15944,"thumbUrl":15946,"material":751,"size":752,"collection":95,"collections":15947,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},291000,"qiu-yuan-lie-qi-chen-ju-zhong-291000","秋原猎骑",[92,24,25,27,113,1074,704,2061,15945,7,77],"狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4c60465e5a0022309da4afc709dc68c.jpg",[],{"id":15949,"slug":15950,"title":15951,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":15952,"thumbUrl":15953,"material":751,"size":752,"collection":95,"collections":15954,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":40},290888,"qiu-jing-shan-shui-zhou-dong-qi-chang-290888","秋景山水轴",[92,24,75,27,51,704,53,251,2061,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6dae03922acd3dfa984cd18575fd7.jpg",[],{"id":15956,"slug":15957,"title":15958,"dynasty":88,"author":3830,"museum":72,"description":12730,"tags":15959,"thumbUrl":15960,"material":33,"size":15961,"collection":95,"collections":15962,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},290865,"si-lun-tu-zhou-liu-song-nian-290865","丝纶图轴",[92,24,25,75,27,113,114,458,1018,250,7,77,111,1128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff443d84c94d6f9882bd0d0f95d4233.jpg","98.9x33.2",[],{"id":15964,"slug":15965,"title":15966,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":15967,"thumbUrl":15968,"material":751,"size":752,"collection":95,"collections":15969,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},290395,"nan-zhu-po-zhou-tu-ke-luo-ban-ni-zan-290395","南渚泊舟图（珂罗版）",[23,24,25,50,51,59,250,704,55,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefde77381c5a6c91820560350329879c.jpg",[],{"id":15971,"slug":15972,"title":15973,"dynasty":88,"author":1749,"museum":107,"description":5937,"tags":15974,"thumbUrl":15975,"material":751,"size":752,"collection":95,"collections":15976,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},290336,"qiu-jiang-dai-du-zhou-li-tang-290336","秋江待渡轴",[92,24,75,50,51,54,704,15072,2061,7,77,115,3546,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a4481f5c3f29eef9d999b06c8ee20.jpg",[],{"id":15978,"slug":15979,"title":1871,"dynasty":18,"author":15980,"museum":107,"description":15981,"tags":15982,"thumbUrl":15984,"material":751,"size":752,"collection":95,"collections":15985,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},290315,"sui-chao-tu-zhou-jin-ting-biao-290315","金廷标","金廷标，清代画家。字士揆，乌程（今浙江湖州）人。鸿子。能绍父艺，亦工写真，并能妙绘人物仕女及花卉。善取影，白描尤工。亦能界画。清朝乾隆二十五年（1760）南巡进白描罗汉册，称旨。命入内廷供奉。所绘写意秋果及人物，皆得高宗题咏。入直数载，卒於京寓。《石渠宝芨》著录了他81幅作品。",[24,92,75,113,27,111,4863,15983,131,567,250,77,7],"嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bae2d1548ec86f9ba2e3dff9f8aff9.jpg",[],{"id":15987,"slug":15988,"title":15989,"dynasty":88,"author":10876,"museum":107,"description":15990,"tags":15991,"thumbUrl":15994,"material":751,"size":752,"collection":95,"collections":15995,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},290151,"lv-xian-jiang-yao-tu-li-di-290151","吕仙降妖图","李迪，生卒年不详。南宋画家，河阳（今河南省孟州市）人，北宋宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事宋孝宗、宋光宗、宋宁宗三朝（1162年—1224年），活跃于宫廷画院几十年，画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。构思精妙，功力深湛，雄伟处动人心魄。所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。山水师李唐法，亦多佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。",[23,24,49,1986,6582,901,15992,15993,52,53,51,398,7,27],"吕洞宾","降妖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7158e591b466071a3fb90a547a25ef8.jpg",[],{"id":15997,"slug":15998,"title":15999,"dynasty":162,"author":16000,"museum":107,"description":16001,"tags":16002,"thumbUrl":16003,"material":751,"size":752,"collection":95,"collections":16004,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},289994,"luo-yang-lou-tu-li-zhao-dao-289994","洛阳楼图","李昭道","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。\n李昭道生活于唐玄宗时代，有可能画安史之乱时明皇避难入蜀的题材，《明皇幸蜀图》体现了二李画派的典型风格，时代特徵明显，是反映唐代山水画面貌的重要传世作品。他能“变父之势，妙又过之”，为历代所称颂，《唐朝名画绿》则称他画的山水鸟兽“甚多繁巧，智慧笔力不及思训”。",[24,92,25,75,1128,27,458,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8093413387740ab0dbf8a2b6d5315259.jpg",[],{"id":16006,"slug":16007,"title":14034,"dynasty":18,"author":1464,"museum":107,"description":16008,"tags":16009,"thumbUrl":16010,"material":751,"size":752,"collection":95,"collections":16011,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},289969,"you-ting-xiu-mu-tu-zhou-hong-ren-289969","画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[24,50,75,25,51,55,115,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66a3b0096caacb82c81ea0f5776785c.jpg",[],{"id":16013,"slug":16014,"title":16015,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":16017,"thumbUrl":16018,"material":751,"size":752,"collection":95,"collections":16019,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},289910,"shan-shui-zhen-ji-quan-jing-tu-ce-10-zhen-cha-shi-biao-289910","山水真迹全景图册10帧","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,25,26,50,51,115,57,113,7,9307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b35e573c86fcfea5df386d13312a7e.jpg",[],{"id":16021,"slug":16022,"title":5258,"dynasty":18,"author":1464,"museum":107,"description":16023,"tags":16024,"thumbUrl":16025,"material":751,"size":752,"collection":95,"collections":16026,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},289900,"mo-mei-tu-zhou-hong-ren-289900","梅花的分布疏密得宜，花朵清新饱满。较之扬无咎的画法有所发展。自明清以后，海内外名家画梅大都以其其为楷模。",[23,92,24,25,75,50,131,7,77,29,704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6304964da994003c2153761739def154.jpg",[],{"id":16028,"slug":16029,"title":16030,"dynasty":88,"author":8877,"museum":107,"description":16031,"tags":16032,"thumbUrl":16034,"material":751,"size":752,"collection":95,"collections":16035,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},289775,"han-lin-yuan-niao-tu-hui-chong-289775","寒林鸳鸟图","北宋以诗著名的僧侣有9人，今存其诗作《北宋九僧诗》，其中惠崇尤多佳句，为九位诗僧中最杰出的一个。宰相寇准请惠崇到自家花园赛诗，抓阉分题。惠崇拈得“池上鹭月”的题目，于是绕行池径，默默地苦心思索，忽然用两指指向天空，微笑地说：“已得之，已得之，此诗功在明字，凡五押之不倒，今得之。”随即咏道：“曝翎沙日暖，引步岛风清。照水千寻迥，栖烟一点明。”(诗题《春日寇宫赞池上》)景色明灭虚旷，可谓一绝。出于诗僧的超尘感受，他到处云游，把绚丽江山深罹于胸中，故有冰雪松霞之咏，如“雪列僧扫石，风劲鹰归松”，“河分岗势断，春入烧痕青”等飘逸神韵、清远自然的诗句。他从自己的诗作选出得心可喜者百句，一一作画，每句一图，将其刻石立于长安。",[92,24,25,26,27,29,9579,704,16033,116,7,199,77],"鸳鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef927a687539432fad1ecafc2e9bb0c0.jpg",[],{"id":16037,"slug":16038,"title":16039,"dynasty":2365,"author":454,"museum":107,"description":16040,"tags":16041,"thumbUrl":16042,"material":751,"size":752,"collection":95,"collections":16043,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},289761,"fu-hu-luo-han-tu-yi-ming-289761","伏虎罗汉图","此作以沉浑绢本水墨铺陈，绘就禅林幽境。罗汉面容苍古清癯，筋骨棱然尽显苦修之态，衣纹游走似铁线萦身，兼具遒劲与柔婉，将僧衣厚重质感晕染尽致。他垂眸轻抚虎首，原本烈性的猛虎乖顺蜷伏，舌舔罗汉衣袖，人虎相谐，把禅宗降伏妄心的意涵悄然藏入图景。\n\n背景双竹挺秀，竹叶以浓淡墨色点染，虚实相生烘托出静谧萧散的禅意氛围，右上题字朴拙古雅，与画面笔意浑然相融。整幅笔法苍劲内敛，将静定慈悲与温驯之态刻画入微，尽显释道人物画的传神功力。",[24,92,878,9007,113,10794,132,798,27,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518fbae255096f711f187e3a0ab902ff.jpg",[],{"id":16045,"slug":16046,"title":16047,"dynasty":88,"author":1749,"museum":107,"description":16048,"tags":16049,"thumbUrl":16050,"material":751,"size":752,"collection":95,"collections":16051,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},289589,"song-hu-diao-yin-tu-li-tang-289589","松湖钓隐图","该图运用简单的笔触，浓淡适宜的色彩，为我们刻画出一幅渔翁船头垂钓的画面。画中高山石用小斧劈皴，松树画法显得严密，松针繁茂，充分表现出松树的状态。整幅画面具有娴静而舒雅的情韵。",[24,25,1250,51,7,60,77,54,250,1018,50,59,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3730c80edaffa52d15c03bd52adedf.jpg",[],{"id":16053,"slug":16054,"title":8997,"dynasty":88,"author":369,"museum":107,"description":6700,"tags":16055,"thumbUrl":16056,"material":751,"size":752,"collection":95,"collections":16057,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},288845,"hong-li-shan-qin-tu-zhao-ji-288845",[1250,24,92,25,111,27,29,3318,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff88bee85ec2be77326c2b843e039b579.jpg",[],{"id":16059,"slug":16060,"title":16061,"dynasty":2365,"author":16062,"museum":107,"description":16063,"tags":16064,"thumbUrl":16065,"material":751,"size":752,"collection":95,"collections":16066,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},288844,"er-zu-diao-xin-tu-shi-ke-288844","二祖调心图","石恪","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。",[23,92,24,25,50,113,5169,878,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b80afc653f640388e0b96eb3f142bf.jpg",[],{"id":16068,"slug":16069,"title":16070,"dynasty":88,"author":10876,"museum":107,"description":15990,"tags":16071,"thumbUrl":16073,"material":751,"size":752,"collection":95,"collections":16074,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},288489,"ling-mao-hua-hui-tu-li-di-288489","翎毛花卉图",[23,92,24,25,75,111,27,29,131,132,30,116,16072,77,7],"鸽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdedef2dd2821d1b3e770ade0f680d7c1.jpg",[],{"id":16076,"slug":16077,"title":16078,"dynasty":88,"author":7096,"museum":107,"description":16079,"tags":16080,"thumbUrl":16081,"material":751,"size":752,"collection":95,"collections":16082,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},288322,"xi-hu-liu-ting-tu-xia-gui-288322","西湖柳艇图","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[23,24,1328,50,27,59,1919,52,53,54,6605,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b30dee232d89172c19ffdd806aaa95.jpg",[],{"id":16084,"slug":16085,"title":4993,"dynasty":88,"author":369,"museum":107,"description":16086,"tags":16087,"thumbUrl":16088,"material":751,"size":752,"collection":95,"collections":16089,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},288291,"pi-pa-shan-niao-tu-ye-zhao-ji-288291","此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。",[23,24,25,29,111,27,4996,116,692,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d3bd4a5cb4822085159b56b9f733f6.jpg",[],{"id":16091,"slug":16092,"title":16093,"dynasty":88,"author":549,"museum":107,"description":10111,"tags":16094,"thumbUrl":16095,"material":751,"size":752,"collection":95,"collections":16096,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":207},288105,"song-ming-ren-fa-shu-shen-pin-ce-mi-fei-288105","宋名人法書神品册",[7,198,60,26,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ced360e026cba422f3b86be1cf27bee.jpg",[],{"id":16098,"slug":16099,"title":16100,"dynasty":45,"author":454,"museum":107,"description":16101,"tags":16102,"thumbUrl":16103,"material":751,"size":752,"collection":95,"collections":16104,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},287977,"fang-xia-gui-qiu-jiang-yu-le-tu-yi-ming-287977","仿夏圭秋江渔乐图","此作用水墨绘秋江胜境，取平远章法。远山以淡墨晕染，虚实相映，尽见烟波浩渺。汀渚之上枯槎老木错落，寒林带雾，群雁振翅掠空，愈发衬出江天寥廓清寂。江心扁舟一叶，渔翁独钓，静中藏动，暗合秋江闲逸之趣。\n\n笔墨追摹南宋院体遗风，简劲苍润，以留白代水，淡墨笼山，将秋空萧寒、野水澹澹的意境铺展，尽显江湖散人寄兴烟水、物我两忘的隐逸襟怀，古意盎然，萧散淡远。",[23,24,49,50,51,54,116,820,59,7,4739,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da93d2a02928de51d304beba1ee72e2.jpg",[],{"id":16106,"slug":16107,"title":16108,"dynasty":179,"author":16109,"museum":72,"description":16110,"tags":16111,"thumbUrl":16112,"material":79,"size":16113,"collection":95,"collections":16114,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":40},287664,"kuang-lu-tu-dai-chun-287664","匡庐图","戴淳","《匡庐图》是元代戴淳创作的一幅立轴纸本水墨山水画，纵117.1厘米，横50.9厘米，此画老树挺拔，山石险峻，高崖一层一层相叠著。峰顶筑有古寺楼阁，建筑物的描绘，方劲稳重，山石的形状，也近乎方形。石纹多用枯笔皴擦，颇有苍老而稳健的感觉。明末清初的龚贤，在画风上与这幅画有极相近之处",[24,25,50,51,75,59,458,55,8470,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e308b4e2b73206906d8d274eb15436e.jpg","117.1x50.9",[],{"id":16116,"slug":16117,"title":16118,"dynasty":18,"author":2183,"museum":107,"description":16119,"tags":16120,"thumbUrl":16124,"material":751,"size":752,"collection":95,"collections":16125,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},287443,"mo-yan-li-ben-xiao-yi-zhuan-lan-ting-tu-ding-guan-peng-287443","摹阎立本萧翼赚兰亭图","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,49,25,112,27,1986,110,16121,16122,426,11181,1360,16123,77,7],"萧翼赚兰亭","历史故事","坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5e4507f97cac7a1fafa57455dce2a.jpg",[],{"id":16127,"slug":16128,"title":8800,"dynasty":2365,"author":8801,"museum":107,"description":16129,"tags":16130,"thumbUrl":16132,"material":751,"size":752,"collection":95,"collections":16133,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":100},287430,"fan-bu-xue-wei-tu-juan-hu-qian-287430","镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,92,24,25,49,27,113,1074,4864,15945,1151,704,16131,77,7],"骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2666de7fd20238ba4a96ca82410b4f.jpg",[],{"id":16135,"slug":16136,"title":16137,"dynasty":18,"author":16138,"museum":107,"description":16139,"tags":16140,"thumbUrl":16141,"material":751,"size":752,"collection":95,"collections":16142,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},287421,"shu-fa-ce-cheng-qin-wang-287421","书法册","成亲王","和硕成亲王，清朝世袭亲王。乾隆五十四年（1789年），乾隆帝皇十一子永瑆封亲王，封号成，死后谥号哲，未得世袭罔替，每次袭封需递降一级，一共传了七代七位。",[7,199,26,198,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6630baf72f7e05d4dba1569d183ff8af.jpg",[],{"id":16144,"slug":16145,"title":16146,"dynasty":2365,"author":16147,"museum":107,"description":16148,"tags":16149,"thumbUrl":16150,"material":751,"size":752,"collection":95,"collections":16151,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":3443},287368,"yi-qu-tie-liang-wu-di-287368","异趣帖","梁武帝","标绢御题 行书。是卷十四字。冲淡萧散。得晋人神趣。历代官帖未经收入。是以嗜古博辨之士。及鉴藏家。举未论及。董香光始以刻之戏鸿堂帖中。定为梁武帝书。而郁冈王氏。则谓是大令得意笔。要亦未有确证。第以脚气帖验之。则董说为长。矧其为书家董狐。不妄许可者耶。今墨迹传人内府。展阅一再。",[7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0370af0e090fb32d4f9757c0adbf93.jpg",[],{"id":16153,"slug":16154,"title":16155,"dynasty":18,"author":2653,"museum":107,"description":16156,"tags":16157,"thumbUrl":16158,"material":751,"size":752,"collection":95,"collections":16159,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},287352,"hua-niao-cao-chong-tu-ba-hua-yan-287352","花鸟草虫图八","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,27,26,5169,4864,132,250,11404,29,798,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07d23dd712768dd98861d24740bc2b9.jpg",[],{"id":16161,"slug":16162,"title":16163,"dynasty":2365,"author":12670,"museum":107,"description":12671,"tags":16164,"thumbUrl":16165,"material":751,"size":752,"collection":95,"collections":16166,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},287307,"cui-zhu-cao-chong-tu-juan-huang-quan-287307","翠竹草虫图卷",[23,92,24,25,49,29,111,132,1176,7,60,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d53909ea73552937b92b2443bc246.jpg",[],{"id":16168,"slug":16169,"title":16170,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":16171,"thumbUrl":16172,"material":751,"size":752,"collection":95,"collections":16173,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},283760,"fang-gu-shan-shui-tu-ce-ba-kai-dong-qi-chang-283760","仿古山水图册（八开）",[92,24,26,50,51,7,60,77,132,56,52,55,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71681cfc3387857306541d8538446578.jpg",[],{"id":16175,"slug":16176,"title":16177,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":16178,"thumbUrl":16179,"material":751,"size":752,"collection":95,"collections":16180,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":100},283713,"zhou-jin-tang-tu-bing-shu-ji-juan-dong-qi-chang-283713","昼锦堂图并书记卷",[23,92,24,25,49,398,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa79adb9493bdbd017a01b352f912a3a0.jpg",[],{"id":16182,"slug":16183,"title":14899,"dynasty":88,"author":1160,"museum":107,"description":16184,"tags":16185,"thumbUrl":16186,"material":751,"size":752,"collection":95,"collections":16187,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":207},283635,"lin-lan-ting-xu-zhao-gou-283635","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。\n大观元年五月（1107年6月），生于宫中，天性聪明，博闻强记，拜检校太尉、定武军节度使。靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。康王赵构即位于南京应天府（今河南省商丘市），建立南宋。在位期间，迫于形势民心，任用岳飞、韩世忠等主战派将领抗击金军，重用主和派的黄潜善、汪伯彦、王伦、秦桧等人，一味求和，处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣。绍兴三十二年（1162年），禅位于皇太子赵昚，尊号“光尧寿圣宪天体道性仁诚德经武纬文绍业兴统明谟盛烈太上皇帝”。淳熙十四年（1187年），崩于德寿宫，时年八十一岁，成为中国历史上少有的长寿帝王之一，谥号“圣神武文宪孝皇帝”，庙号高宗。宋光宗绍熙二年（1191年），累谥“受命中兴全功至德圣神武文昭仁宪孝皇帝”。\n赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《洛神赋》（草书）等。",[23,92,25,7,198,200,110,199,77,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c677d621917a0640394530eaa3a9f85.jpg",[],{"id":16189,"slug":16190,"title":14515,"dynasty":45,"author":14516,"museum":126,"description":16191,"tags":16192,"thumbUrl":16193,"material":1038,"size":16194,"collection":96,"collections":16195,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":40},241154,"tong-ling-guan-tie-chuan-ge-juan-wang-shou-ren-241154","释文:\n铜陵观铁船，录寄士洁侍御道，契见行路之难也。青山滚滚如奔涛，铁船何处来停桡。人间刳木宁有此，疑是仙人之所操。仙人一去已千载，山头日日长风号。船头出土尚仿佛，后冈有石云船稍。我行过此费忖度，昔人用心无己忉。由来风波平地恶，纵有铁船还未牢。秦鞭驱之不能动，奡力何所施其篙。我欲乘之访蓬岛，雷师皷舵虹为缫。弱流万里不胜芥，复恐驾此成徒劳。世路难行每如此，独立斜阳首重搔。\n署款：“阳明山人书于铜陵舟次，时正德庚辰春分献俘还自南都。”钤印“阳明山人王伯安印”。\n鉴藏印有“林□周印”、“杜是鉴藏书画之印”、“杜是收藏书画”、“星衍”、“伯渊审定真迹”。\n此书是王守仁在铜陵献俘后回南都的舟中所作，由“铁船”引发出内心感慨，感叹人生道路的坎坷，时年49岁。\n作品每行以三个字居多，行间疏朗，字间互不连属，但每个单字却牵丝不断，如“观”、“洁”、“难”等。通篇字体修长，行笔快捷，骨力内涵，豪放中见沉着，遒劲中见秀丽，有米芾书法“沉着飞翥”的神韵。徐渭曾云：“古人论右军以书掩其人，新建乃不然，以人掩其书。”",[23,7,60,49,50,51,14519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85fe9447d0f222fefa21325307366f7d.jpg","纵31.5厘米，横771.8厘米",[96],{"id":16197,"slug":16198,"title":16199,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":16200,"thumbUrl":16201,"material":751,"size":752,"collection":95,"collections":16202,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},240495,"wu-chang-shuo-zhuan-shu-lin-shi-gu-wen-zhou-wu-chang-shuo-240495","吴昌硕篆书临石鼓文轴",[2135,457,110,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c7f30ab645fdc8680805621df326eb.jpg",[],{"id":16204,"slug":16205,"title":16206,"dynasty":45,"author":10618,"museum":107,"description":16207,"tags":16208,"thumbUrl":16209,"material":751,"size":752,"collection":95,"collections":16210,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},240419,"zhuan-shu-qian-zi-wen-juan-xu-lin-240419","篆书千字文卷","徐霖（1462年-1538年），字子仁，号九峰、髯仙，又称徐山人。先世长洲（今江苏苏州）人，出生于华亭（今上海松江），后移居金陵。明代戏曲作家。\n徐霖性格倜傥、豪爽，工于书法，又兼善绘画。填曲富有才情，且颇精于格律，他与散曲作家陈铎在当时并有“曲坛祭酒”的称号，并与谢承举一起被称为“江东三才子”。",[457,7,49,4038,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ca668f53888a848e6792c65866a2ea.jpg",[],{"id":16212,"slug":16213,"title":16214,"dynasty":18,"author":10912,"museum":107,"description":16215,"tags":16216,"thumbUrl":16221,"material":751,"size":752,"collection":95,"collections":16222,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},239875,"wang-duo-wu-lv-shi-zhou-wang-duo-239875","王铎五律诗轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[7,75,60,432,77,10607,679,16217,1677,15071,16218,16219,16220],"枫","南","客","乡音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059b7c2ff452e2bcd629055f590f95a5.jpg",[],{"id":16224,"slug":16225,"title":16226,"dynasty":18,"author":294,"museum":107,"description":16227,"tags":16228,"thumbUrl":16230,"material":95,"size":95,"collection":187,"collections":16231,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},238319,"yan-yu-lou-tu-zhou-dong-gao-238319","烟雨楼图轴","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,75,50,51,458,56,553,16229,7,77],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae96fa2834c3c09ba001a9aaec286bb.jpg",[187,96],{"id":16233,"slug":16234,"title":16235,"dynasty":18,"author":16236,"museum":107,"description":16237,"tags":16238,"thumbUrl":16239,"material":95,"size":95,"collection":171,"collections":16240,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},237940,"ren-ma-ye-fei-dan-xu-237940","人马页","费丹旭","字子苕，号晓楼、偶翁、环渚生，乌程（今浙江吴兴）人。工写照，如镜取影，尤精补景仕女，潇洒自然。兼工山水、花卉，以精灵雅沾之笔出之。偶作诗词，亦如其画。书法恽寿平，有韵致。卖画于江浙两省，寓杭州最久。道咸（一八二一至一八五零）间曾寓沪鬻画， 卒年四十九。有依旧草堂遗稿。",[24,25,112,113,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc96b52fee85089219cf472c59aba9ed.jpg",[171],{"id":16242,"slug":16243,"title":16244,"dynasty":18,"author":16245,"museum":107,"description":16246,"tags":16247,"thumbUrl":16248,"material":95,"size":95,"collection":63,"collections":16249,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},237690,"mei-qing-qu-xing-shi-shi-tu-zhou-mei-qing-237690","梅清瞿硎石室图轴","梅清","梅清（1623-1697），清初画家、诗人。原名士羲，后改今名，字渊公，号瞿山、敬亭山农，宣城（今属安徽）人。世祖顺治十一年（1654）举人，四次 北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 梅清、梅庚、石涛，戴本孝等为黄山派。传世作品有《山村清景图》、《黄山图》、《黄山十九景图》、《黄山炼丹台图》等。",[24,75,50,51,113,1018,250,59,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980073cdbde0a994569769bb864028f.jpg",[63],{"id":16251,"slug":16252,"title":16253,"dynasty":18,"author":10893,"museum":107,"description":16254,"tags":16255,"thumbUrl":16256,"material":751,"size":752,"collection":95,"collections":16257,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},236724,"gai-qi-mu-dan-shan-gai-qi-236724","改琦牡丹扇","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[24,25,1250,50,29,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e897ea7159d76effc5cfa8e1760a51b.jpg",[],{"id":16259,"slug":16260,"title":3402,"dynasty":18,"author":411,"museum":107,"description":16261,"tags":16262,"thumbUrl":16263,"material":95,"size":95,"collection":95,"collections":16264,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},235883,"yuan-ji-shan-shui-tu-ce-shi-tao-235883","此开以淡墨晕染出夜江空濛之境，远山如笼轻烟，朦胧柔婉。坡岸古松虬曲苍劲，枝叶疏密交错，暗合晚风拂林之态。浅滩扁舟静泊，舱内灯影隐约，将羁旅夜泊的清寂诗意缓缓铺陈。\n\n行书题诗与画面相映成趣，笔意疏朗清逸，诗句将烟月横塘的缱绻旅思娓娓道来，诗画交融无间。整幅以简驭繁，淡设色烘托出静谧悠远的晚江氛围，寥寥数笔便写尽江湖寄兴的闲淡意绪，尽显文人画诗画合璧的雅致风神，把幽寂淡远的羁愁融于尺幅之间。",[24,25,26,50,27,51,1018,1006,251,60,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d386381e3f4f6870eb0fa126626adb4.jpg",[],{"id":16266,"slug":16267,"title":16268,"dynasty":18,"author":16269,"museum":107,"description":16270,"tags":16271,"thumbUrl":16272,"material":751,"size":752,"collection":171,"collections":16273,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},235533,"xi-xiang-tu-ce-ye-bu-235533","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[24,27,111,1128,113,458,56,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac80e914df48a93e0155599076982791.jpg",[171,187],{"id":16275,"slug":16276,"title":16277,"dynasty":45,"author":441,"museum":107,"description":13269,"tags":16278,"thumbUrl":16279,"material":751,"size":752,"collection":95,"collections":16280,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},235480,"lan-shi-zhou-xiang-sheng-mo-235480","兰石轴",[24,75,50,27,60,7,77,129,139,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e1ec05a2947cf61302ad7de572a69.jpg",[],{"id":16282,"slug":16283,"title":16284,"dynasty":45,"author":16285,"museum":107,"description":16286,"tags":16287,"thumbUrl":16288,"material":95,"size":95,"collection":95,"collections":16289,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},234216,"bai-miao-jiu-ge-tu-juan-wu-gui-234216","白描九歌图卷","吴桂","《九歌》是屈原《楚辞》的篇名之一。此《九歌图》卷由元代张渥绘，褚奂隶书题词。画卷依次描绘了《九歌》的十一篇：东皇太一、云中君、湘君、湘夫人、大司命、少司命、东君、河伯、山鬼、国殇、礼魂。此卷现藏于美国克利夫兰艺术博物馆，约绘于元至正二十一年，拖尾有陆时化、叶恭绰、吴湖帆、吴华源、徐邦达等人跋。",[23,24,25,49,112,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b4805ad4afd40f680d4258ef202e2b.jpg",[],{"id":16291,"slug":16292,"title":16293,"dynasty":18,"author":506,"museum":279,"description":16294,"tags":16295,"thumbUrl":16296,"material":591,"size":16297,"collection":95,"collections":16298,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":40},233864,"mei-hua-ce-jin-nong-233864","梅花册","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[24,92,26,50,7,77,131,458,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e7776150e91fd80518976f353159d7.jpg","25.4cm ×29.8cm",[],{"id":16300,"slug":16301,"title":16293,"dynasty":18,"author":506,"museum":279,"description":16294,"tags":16302,"thumbUrl":16303,"material":591,"size":16297,"collection":95,"collections":16304,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},233857,"mei-hua-ce-jin-nong-233857",[24,25,26,50,131,7,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4778566cb3397349972119e2d926f2a8.jpg",[],{"id":16306,"slug":16307,"title":16308,"dynasty":18,"author":11009,"museum":126,"description":16309,"tags":16310,"thumbUrl":16311,"material":488,"size":16312,"collection":95,"collections":16313,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[24,75,27,51,458,52,113,56,59,111,77,7,57,268,1151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":16315,"slug":16316,"title":16317,"dynasty":18,"author":5242,"museum":126,"description":16318,"tags":16319,"thumbUrl":16320,"material":312,"size":16321,"collection":95,"collections":16322,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},233722,"san-you-tu-xiang-zhou-ren-yi-233722","三友图像轴","任颐的人物画是典型中西结合的代表，人物面部刻画借鉴西洋素描画法，力求形似逼真，而人物服饰却又是中国画典型的“线条”的艺术，或作折芦描或作丁头鼠尾描淡色轻染，清新悦目。\n任颐作画，一般都有画稿，是从生活中观察、写生而成。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品，而且他善于捕捉人物一刹那之间的神情动态，使得造型准确，情态生动，衣纹用笔既能表现形体关系，又有衣褶线条变化的灵动之美，很注意突出衣纹的走势。他画肖像画以家学之法为主，脸部塑造以“没骨”法和以色渲染法打底，关键部位以线强调，衣袍服饰以所学众法为之，或写或工，或墨或线。任颐的肖像画形成了独自的风格，并开拓了全新的境界。\n任颐的花鸟画手法多样，远师北宋，近学徐渭、陈淳、石涛、恽寿平等，博采众长，独出一格，工笔、写意、勾勒、没骨、设色、水墨均能运用自如。他多用湿笔，运用淡墨尤有独到处，他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交融，风格明快、温馨、清新、活泼，极富创造性。任颐的绘画在当时及现代具有极大影响，被认为是“仇十洲（仇英）后中国画家第一人”。\n其实任颐作画是用写意画法去画工笔画，是以工笔画为里，写意画为面，在他的画中既有写意的痛快淋漓，又有工笔画的神形兼备，也就是说，他是将工笔画写意化，而不是将文人画写意化。任颐重新整合了工笔画，开创了写意工笔画风，对后世的影响是极其巨大的。\n这幅《三友图像》作于光绪甲申（1884）年，当时作者已经45 岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[92,24,25,75,50,27,113,3092,3091,77,7,60,111,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 厘米",[],{"id":16324,"slug":16325,"title":16326,"dynasty":179,"author":16327,"museum":126,"description":11453,"tags":16328,"thumbUrl":16330,"material":312,"size":16331,"collection":95,"collections":16332,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},233717,"yu-lan-guan-yin-tu-zhou-cui-gao-233717","渔篮观音图轴","崔皋",[24,75,878,113,50,112,7,60,77,16329],"渔篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ea14bb4e2cf3950aa4d9d92fc4b7ba.jpg","82.1x32cm",[],{"id":16334,"slug":16335,"title":16336,"dynasty":179,"author":1187,"museum":126,"description":16337,"tags":16338,"thumbUrl":16339,"material":488,"size":1191,"collection":95,"collections":16340,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[92,24,25,49,27,51,50,59,7,60,457,77,52,53,54,55,56,820,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg",[],{"id":16342,"slug":16343,"title":16344,"dynasty":45,"author":16345,"museum":72,"description":16346,"tags":16347,"thumbUrl":16350,"material":312,"size":16351,"collection":95,"collections":16352,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},232694,"pin-cha-tu-ju-jie-232694","品茶图","居节","居节，明代吴门画家，文徵明弟子。在文门子弟、门生当中，居节的声名不若文彭、文嘉、王榖祥、周天球、陆治、钱榖等人显赫，但却能克绍恩师艺风，善画能诗，有着相当高的艺术水平。",[24,25,75,50,27,51,113,56,53,7,60,77,55,1689,16348,16349],"题款","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb09016bd62c010c7b21fc206e650aa.jpg","本幅 107.1x28.9公分、詩塘 50.4×28.9公分、全幅 52.5公分",[],{"id":16354,"slug":16355,"title":16356,"dynasty":18,"author":6858,"museum":107,"description":16357,"tags":16358,"thumbUrl":16359,"material":751,"size":752,"collection":95,"collections":16360,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":789},230290,"shu-fa-dui-lian-ceng-guo-fan-230290","书法对联","曾国藩（1811年11月26日－1872年3月12日），初名子城，字伯涵，号涤生 ，宗圣曾子七十世孙。中国晚清时期政治家、战略家、理学家、文学家、书法家 ，湘军的创立者和统帅。\n曾国藩出生普通耕读家庭，自幼勤奋好学，6岁入塾读书。8岁能读四书、诵五经，14岁能读《周礼》《史记》《文选》。道光十八年（1838年）中进士，入翰林院，为军机大臣穆彰阿门生。累迁内阁学士，礼部侍郎，署兵、工、刑、吏部侍郎。与大学士倭仁、徽宁道何桂珍等为密友，以“实学”相砥砺。太平天国运动时，曾国藩组建湘军，力挽狂澜，经过多年鏖战后攻灭太平天国。其一生奉行为政以耐烦为第一要义，主张凡事要勤俭廉劳，不可为官自傲。他修身律己，以德求官，礼治为先，以忠谋政，在官场上获得了巨大的成功。",[23,7,2136,60,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f9213c33205e6a0ffda83025ecfe4a.jpg",[],{"id":16362,"slug":16363,"title":16364,"dynasty":18,"author":12414,"museum":107,"description":12415,"tags":16365,"thumbUrl":16366,"material":751,"size":752,"collection":95,"collections":16367,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},230136,"lin-mi-fei-pai-pin-yi-wei-ai-xin-jue-luo-xuan-ye-230136","临米芾（拍品疑伪）",[23,7,60,110,77,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08abe9b0d1b45a0e2b049510cb17c466.jpg",[],{"id":16369,"slug":16370,"title":4238,"dynasty":179,"author":4239,"museum":107,"description":16371,"tags":16372,"thumbUrl":16373,"material":95,"size":95,"collection":95,"collections":16374,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":789},228173,"ren-ma-tu-juan-ren-ren-fa-228173","此卷绘三匹神骏，或昂首徐行，或垂目安步，筋骨肌理刻画入微，膘肥体健，神骏之态毕现。牵马者神情各异，衣冠服饰线条劲挺流畅，设色雅致沉稳，将人物的身份气度描摹得鲜活自然。\n\n画作写实精妙，比例精准，尽显创作者观察细致、笔力深厚。搭配的题字笔墨酣畅，与绘作相映成趣，整卷古意悠然，将人马之间的呼应刻画得浑然天成，尽显鞍马人物画的高古雅致风韵。",[23,92,24,25,49,111,27,113,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27670cfe79fb7e698f1516afb9d52f7.jpg",[],{"id":16376,"slug":16377,"title":16378,"dynasty":88,"author":16379,"museum":107,"description":16380,"tags":16381,"thumbUrl":16382,"material":95,"size":95,"collection":95,"collections":16383,"showCount":120,"zanCount":788,"manualWeight":39,"mainColor":40},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","马世荣","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[23,92,24,25,26,27,111,29,137,250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":16385,"slug":16386,"title":16387,"dynasty":3087,"author":454,"museum":107,"description":16388,"tags":16389,"thumbUrl":16390,"material":95,"size":95,"collection":95,"collections":16391,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},227069,"bei-wei-zhang-xuan-mu-zhi-ming-yi-ming-227069","北魏张玄墓志铭","张玄字黑女，清代为熙帝讳，一般称《张黑（he）女（ru）墓志》。北魏普泰元年（531年）十月刻。清包世臣跋：“此帖骏利如《隽修罗》，圆折如《朱君山》、疏朗如《张猛龙》、静密如《敬显隽》。”何绍基跋：“化篆、分入楷、遂尔无种不妙，无妙不臻，然遒原精古，未有比肩《黑女》者。”此志集雄健、轻灵秀逸、含蓄为一体，其艺术水平之高，鲜有匹敌。代表北魏善墓志的最高成就。",[7,198,199,7325,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4434a7534fd7721b201f32a06dda2ff6.jpg",[],{"id":16393,"slug":16394,"title":16395,"dynasty":8749,"author":454,"museum":3028,"description":16396,"tags":16397,"thumbUrl":16398,"material":751,"size":752,"collection":95,"collections":16399,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},226509,"fu-shuo-sui-qiu-ji-de-da-zi-zai-tuo-luo-ni-shen-zhou-jing-yi-ming-226509","佛说随求即得大自在陀罗尼神咒经","敦煌版大自在陀罗尼神咒经，此部陀罗尼神咒经，为敦煌遗经古本，是非常殊胜的一部咒经。 首绘曼陀罗一幅，次经文，有变相图案，又八菩萨带经文，最后八菩萨详图，均为手绘。总长340厘米，宽30厘米。此经有大量手绘的佛像图案，当属国宝级藏品，原先为日本收藏家中村不折于中国敦煌带回日本，藏于其私人博物馆；现已不存，为罕见的敦煌写经中的绘图变相珍品，对研究古典佛学艺术有重要的参考价值。此部经书曾于20世纪40年代在日本发行过珂珞版。",[878,386,7,27,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fedf0383e9598f1d84648d58651650b.jpg",[],{"id":16401,"slug":16402,"title":16403,"dynasty":18,"author":4686,"museum":107,"description":16404,"tags":16405,"thumbUrl":16406,"material":95,"size":95,"collection":95,"collections":16407,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},224600,"da-ji-yang-fu-gui-tu-zhao-zhi-qian-224600","大吉羊富贵图","此作以祥花瑞果铺陈画面，雍容牡丹居于视觉中心，晕染得丰腴饱满，尽显华贵姿态。梅枝斜逸而出，山茶、水仙错落排布，石榴垂坠其间，将四时佳卉瑞果汇聚一堂，暗合多重吉祥寓意。\n\n笔墨兼工带写，叶片勾勒皴擦带着金石书法的刚劲质感，设色雅致沉稳，古旧底色更衬出沉静古韵。左侧题字笔力雄健苍劲，书画相映成趣，将文人意趣与世俗吉庆融为一炉，以朴拙厚重的金石气注入雅致花绘，尽显独特审美风骨，是雅俗共赏的精妙佳构。",[23,24,25,27,29,131,135,30,7657,284,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f7d887f9a203f39a6a4a9c43134cd3.jpg",[],{"id":16409,"slug":16410,"title":16411,"dynasty":18,"author":16245,"museum":107,"description":16412,"tags":16413,"thumbUrl":16414,"material":95,"size":95,"collection":95,"collections":16415,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},224340,"shan-shui-jing-pin-mei-qing-224340","山水精品","此作用笔清劲老辣，山石以干笔枯皴勾勒轮廓，方折奇崛，尽显峭拔之态。虬松横斜苍劲，枝桠如铁，掩映处茅舍幽居，恍若世外灵台。\n\n画作以虚衬实，下半幅大片留白以代深谷云岚，将山谷幽邃辽远尽数托出，虚实相生间，把山林空寂超逸的禅意缓缓铺展。题诗与笔墨相映，文气郁郁，尽显画师胸中丘壑，淡远静穆里，藏着出世高蹈的雅逸襟怀。",[23,24,25,75,50,59,51,250,55,133,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a46e171cbd8812b39da98beb1afde6.jpg",[],{"id":16417,"slug":16418,"title":16419,"dynasty":18,"author":1387,"museum":107,"description":16420,"tags":16421,"thumbUrl":16423,"material":312,"size":95,"collection":96,"collections":16424,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},224261,"xing-cao-zhong-tang-zhu-da-224261","行草中堂","雲雾山头顶。雲边阚小房。夏凉窗近竹。冬暖阁朝阳。茧纸衣裳软。山田饭粥香。此生随分过。无可得思量。",[23,7,60,398,25,2135,77,16422],"中堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396395465f833e40ffe3753c9ec0d7d7.jpg",[96],{"id":16426,"slug":16427,"title":16428,"dynasty":18,"author":10781,"museum":107,"description":16429,"tags":16430,"thumbUrl":16431,"material":95,"size":95,"collection":95,"collections":16432,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},224197,"bai-he-ling-tu-ye-xin-224197","白鹤岭图","这幅画作以淡墨勾勒皴擦，绘就层叠陡峻的岭岳，山道逶迤盘桓，楼阁凭崖而立，将雄奇山势与雅致人文景致相融。远山以简笔淡染，衬出江天浩渺的空寂意境，整体笔致清疏秀雅，尽显静穆萧散的文人画气质。\n画面右上角题字与山水呼应，文气悠然晕开。以简淡笔墨写尽丘壑之幽，既有山峦的苍浑厚重，又不失江南山水的秀逸空灵，将登高览胜的开阔心境藏于层叠山石间，意韵悠长内敛，是小品山水画里的清逸佳构。",[23,24,25,51,50,27,59,7,77,57,458,1283,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eec84ce1e5fd0e1223a28f0051174f.jpg",[],{"id":16434,"slug":16435,"title":16436,"dynasty":18,"author":2301,"museum":107,"description":16437,"tags":16438,"thumbUrl":16440,"material":95,"size":95,"collection":95,"collections":16441,"showCount":120,"zanCount":788,"manualWeight":39,"mainColor":100},224124,"chou-xiu-shu-guo-gua-ping-xin-qian-long-224124","绸绣蔬果挂屏芯","清乾隆绸绣蔬果挂屏芯现藏 清乾隆绸绣蔬果挂屏芯 纺织品 清乾隆年间 清宫旧藏 现藏北京 纵68cm，横8cm。\n此屏芯为书法、绘画、刺绣合璧之作品。\n缃黄色绸地上绣乾隆御题诗六首，讲述了笋、桃、梅、杏、茄子、佛手柑的特点及其典故。\n诗文下部绣出此6种果蔬，形象写真，颇有生活情趣。\n刺绣技法娴熟，巧妙地运用了抢针、套针晕色、平针、斜缠等针法绣细微之处，将各种蔬果绣得惟妙惟肖。\n御制诗则用青色丝线以斜缠针、齐针绣制，虽针法简单，但针脚平齐细密，绣出的字体笔锋勾挑忠实于原笔意，传达了原作的神韵。",[23,16439,27,7667,30,116,7,77,2980],"绸绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09c0aeb8178ebe61a0857c2dfc9cd6d.jpg",[],{"id":16443,"slug":16444,"title":16445,"dynasty":18,"author":8382,"museum":126,"description":15781,"tags":16446,"thumbUrl":16447,"material":784,"size":15784,"collection":95,"collections":16448,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":100},222863,"shi-gong-ci-tu-ce-02-leng-mei-222863","十宫词图册02",[23,2135,24,25,111,27,1128,26,7,60,113,749,458,567,57,56,137,3833,2186,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5944fe731c667f949444ac12150a4fc0.jpg",[],{"id":16450,"slug":16451,"title":16452,"dynasty":45,"author":2206,"museum":72,"description":16453,"tags":16454,"thumbUrl":16455,"material":312,"size":16456,"collection":96,"collections":16457,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},222480,"shi-tie-mei-nv-pian-zhu-yun-ming-222480","诗帖《美女篇》","书曹植《乐府》四首，又称《手卷曹植诗四首》又名《箜篌引》。《手卷曹植诗四首》是祝允明草书成就的最杰出代表。作品狂而不乱，情浓势足，激跃奔发，气度不凡。其将字中妍媸和巧丽的笔画起收动作幅度缩短，增加行笔过程中的饱满度和厚实感。使人在视觉上既感到朴拙、沉劲而又不失流丽多姿。祝允明在这一卷后自识“冬日烈风下写此，神在千五百年前，不知知者谁也”，道出了他意在追摹汉人，以及对自己作品的自负。是祝允明的代表作品。",[23,4038,7,398,49,200,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47cd6be28ec531ffe99cbe4cf7f8f1aa.jpg","纵36.1厘米，横1147.5厘米",[96],{"id":16459,"slug":16460,"title":16461,"dynasty":45,"author":2206,"museum":20,"description":16462,"tags":16463,"thumbUrl":16464,"material":312,"size":16465,"collection":96,"collections":16466,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},222471,"mu-dan-fu-zhu-yun-ming-222471","牡丹赋","此卷笔法精熟,恣肆纵逸,夺人心魄，是为记园内牡丹盛开而书即兴之赋。祝氏中年行草居多，至晚年则喜作大草。由于涉猎广博才分自高，祝氏所书下手便直接晋唐宋元，融会贯通之下独立高标。尤其是他五十岁之后的草书之作，更是吞吐腾挪出神入化。他的此类创作显然得法于唐代张旭、怀素两家，同时也受“宋四家”中黄庭坚的影响，但相形之下愈加狂放烂漫",[23,7,398,49,50,77,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a84f256639e0c7480e9acd4a8875bf.jpg","纵30.8 厘米 横925.5 厘米",[96],{"id":16468,"slug":16469,"title":16470,"dynasty":45,"author":342,"museum":107,"description":7945,"tags":16471,"thumbUrl":16472,"material":95,"size":95,"collection":95,"collections":16473,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},221988,"shan-mian-shu-fa-wen-zheng-ming-221988","扇面书法",[23,1250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb13a578f0ccc43fb0b91a4fff100cb2a.jpg",[],{"id":16475,"slug":16476,"title":16477,"dynasty":179,"author":16478,"museum":72,"description":16479,"tags":16480,"thumbUrl":16484,"material":26,"size":16485,"collection":95,"collections":16486,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","李士行","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[23,24,92,49,1328,50,51,16481,16482,52,2031,1074,7099,16483,53,59,7,77,2061],"树石","矮屋","汀渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","该幅31x117.4公分",[],{"id":16488,"slug":16489,"title":16490,"dynasty":88,"author":8947,"museum":126,"description":16491,"tags":16492,"thumbUrl":16493,"material":312,"size":16494,"collection":96,"collections":16495,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},221462,"shang-hong-zhai-tie-juan-wen-tian-xiang-221462","上宏斋帖卷","此帖内容是祝贺宏斋（包恢）晋官，并述政治。书于宋度宗咸淳元年（1265年），文天祥时年30岁。是年正月文氏除湖南提刑，三月到任，书此札时尚在乡里。\n关于此帖书写原由，明代李时勉跋曰：“盖度宗初接位，招宏父为刑部尚书、签书枢密院事，封南城县侯，故公贺以此书也。”\n此件书法清疏挺竦，风格秀劲，古雅可爱。札中内容涉及文天祥在江西任上对赣寇“用兵丁万人，声罪致讨”之事，对研究当时的历史有重要价值。\n明汪砢玉《珊瑚网》、郁逢庆《郁氏续书画题跋记》，清《式古堂书画汇考》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[23,7,60,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507eee38ab40acdd9255c30fe796ae68.jpg","纵39.2cm，横149.9cm",[96],{"id":16497,"slug":16498,"title":16499,"dynasty":88,"author":4078,"museum":648,"description":4079,"tags":16500,"thumbUrl":16501,"material":1038,"size":4082,"collection":95,"collections":16502,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},221199,"zi-zuo-shi-juan-quan-juan-di-er-duan-lu-you-221199","自作诗卷（全卷）第二段",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd787697f329c54f001fda4d3482ba4.jpg",[],{"id":16504,"slug":16505,"title":16506,"dynasty":8749,"author":454,"museum":107,"description":16507,"tags":16508,"thumbUrl":16509,"material":95,"size":95,"collection":96,"collections":16510,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":40},221048,"ji-yi-qie-fu-de-san-mei-jing-juan-yi-ming-221048","集一切福德三昧经卷","【涅槃部】 大乘经五大部中之第五部。",[23,878,7,386,199,49,433,432,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a682b6d006132fdc9dc1275129a8f68.jpg",[96],{"id":16512,"slug":16513,"title":16514,"dynasty":45,"author":1313,"museum":72,"description":16515,"tags":16516,"thumbUrl":16521,"material":312,"size":16522,"collection":96,"collections":16523,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},220924,"lin-zhang-xu-lang-guan-bi-ji-dong-qi-chang-220924","临张旭郎官壁记","董其昌《临张旭郎官壁记》轴，本轴钤“大宗伯印”，当作于崇祯五年（一六三二）应宫詹大宗伯之召后。董其昌好杂临诸家，独造奥妙，求其神似于不似间。本幅节临唐张旭郎官壁记，略得张书笔法精严之意，结体沉稳，运笔生动，表现出晚年本色书风。",[23,92,24,25,75,60,110,2602,4038,16517,7994,7,16518,3479,16519,16520],"文人书法","文人书画","书体","临帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85363d9050f5e44bad0a64256d7eb05.jpg","161.2x54.9",[96],{"id":16525,"slug":16526,"title":16527,"dynasty":45,"author":16528,"museum":72,"description":16529,"tags":16530,"thumbUrl":16531,"material":50,"size":16532,"collection":171,"collections":16533,"showCount":120,"zanCount":882,"manualWeight":39,"mainColor":40},219371,"shi-de-xiang-zhou-wang-wen-219371","拾得像轴","王问","拾得是唐朝时能作诗的和尚。他的老师丰干禅师走在赤城的道路上，听到被遗弃小婴儿的哭声，就捡拾教养他，因此名叫“拾得”。拾得与另一位高僧寒山齐名。\n这一幅画，以狂放的笔调，大肆挥洒画出，顷刻之间，就画完成，这是大写意的画法，对于表现拾得疯疯颠颠的形象，真有传神之妙。\n拾得与当世高僧寒山友善，俱以癫狂，好吟词偈。两人传记见於唐人写的《寒山拾得诗》序文：“寒山文殊，遁迹国清；拾得普贤，状如贫子，又似疯狂。”得知时人将二人喻为佛教中的文殊、普贤菩萨。又言：“或长廊徐行，叫嗓凌人。或望空独笑，时僧逐捉打骂，乃驻立抚掌，呵呵大笑，良久而去。”日后画家描绘二人图像，大抵以此为根据，存世作品多见对幅形式，此幅或为其一，唯寒山图去向未知。 画中拾得衣著褴褛，赤足而立，手执扫帚，口张眉扬，神情奇异。疯癫拓落的形象，以写意狂放的笔调，大肆挥洒，整体流畅有致，宛如神来之笔。",[24,25,75,50,113,7,77,60,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f956757995f65c01ff0229243eb84a.jpg","117.8x54.4",[171],{"id":16535,"slug":16536,"title":16537,"dynasty":45,"author":2206,"museum":72,"description":2207,"tags":16538,"thumbUrl":16539,"material":79,"size":2210,"collection":95,"collections":16540,"showCount":120,"zanCount":39,"manualWeight":39,"mainColor":40},214553,"za-shu-shi-tie-juan-2-zhu-yun-ming-214553","杂书诗帖卷-2",[23,7,398,49,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c0cc921ec4eb0e988df91f919cb9d5.jpg",[],{"id":16542,"slug":16543,"title":11018,"dynasty":179,"author":12485,"museum":107,"description":16544,"tags":16545,"thumbUrl":16546,"material":751,"size":752,"collection":95,"collections":16547,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":100},290952,"chun-shan-tu-yang-wei-zhen-290952","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[92,24,25,51,50,59,7,60,77,115,52,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf89c0a69b3ee926f600580cf3131eb.jpg",[],23,{"id":16550,"slug":16551,"title":16552,"dynasty":88,"author":1124,"museum":72,"description":14798,"tags":16553,"thumbUrl":16554,"material":79,"size":16555,"collection":95,"collections":16556,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},290503,"chun-shan-tu-zhou-zhao-bo-ju-290503","春山图轴",[92,24,25,75,1127,27,51,52,53,54,458,55,56,6605,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60cd9de5152330c716e91a6b2be9c36.jpg","89.5x32.3",[],{"id":16558,"slug":16559,"title":16560,"dynasty":2365,"author":16561,"museum":72,"description":16562,"tags":16563,"thumbUrl":16564,"material":751,"size":752,"collection":95,"collections":16565,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},290377,"kan-shu-tu-zhou-huang-quan-290377","勘书图轴","黄筌","此幅图写韩愈深明爱子之道，唯教以读书之事。书法甚奇，沈周与董其昌之跋俱伪，以笔墨论，似为明代作品。 画中有案面两头翘起，两足为竖条组成的板式足，足下安托子，保留隋唐以来直栅足跗的遗意。坐榻体大厚重，足下有托泥，形成箱形榻体亦以壶门装饰。榻之三面以画屏装饰，屏风上绘墨竹。屋旁置有三层圆腿书籍架格。",[24,25,75,111,27,51,113,458,56,57,3955,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286af7d0b0d9bd266ca815cb5e318ec.jpg",[],{"id":16567,"slug":16568,"title":16569,"dynasty":45,"author":5954,"museum":107,"description":16570,"tags":16571,"thumbUrl":16573,"material":751,"size":752,"collection":95,"collections":16574,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},290353,"hua-zhong-kui-zhou-qian-gu-290353","画钟馗轴","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[24,92,75,50,113,16572,704,9579,7,77,901],"钟馗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f17d7ca35f02bdee116a789ce211580.jpg",[],{"id":16576,"slug":16577,"title":16578,"dynasty":88,"author":16579,"museum":107,"description":16580,"tags":16581,"thumbUrl":16582,"material":751,"size":752,"collection":95,"collections":16583,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},290257,"liu-yin-shi-si-tu-song-ru-zhi-290257","柳荫诗思图","宋汝志","宋汝志[元]道士。号碧云，钱塘（今杭州）人。宋景定（一二六o―一二六四）间画院待诏，入元（一二七七）为开元观道士。人物、山水、花鸟师楼观。",[23,24,92,25,75,27,113,114,250,115,1919,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe39bbb4ceaf01e5b0e05bbf956851857.jpg",[],{"id":16585,"slug":16586,"title":16587,"dynasty":88,"author":8988,"museum":107,"description":8989,"tags":16588,"thumbUrl":16590,"material":751,"size":752,"collection":95,"collections":16591,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},290249,"qun-feng-xue-ji-tu-fan-kuan-290249","群峰雪霁图",[92,24,25,51,1151,16589,59,7,77],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa447f7519179612f6b7a6dbc95edc9e2.jpg",[],{"id":16593,"slug":16594,"title":16595,"dynasty":88,"author":1749,"museum":107,"description":16596,"tags":16597,"thumbUrl":16600,"material":751,"size":752,"collection":95,"collections":16601,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},290064,"wen-ji-gui-han-ce-ye-li-tang-290064","文姬归汉册页","宋李唐《文姬归汉图》：该画册共计十八幅，形式属于“上文、下图”的连环故事画。内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[24,92,4347,25,7,199,27,113,1074,116,16598,1283,9812,16599],"毡帐","文姬归汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2f1beef670706c52b0b48a9f76ecc8.jpg",[],{"id":16603,"slug":16604,"title":16605,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":16606,"thumbUrl":16607,"material":751,"size":752,"collection":95,"collections":16608,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},289654,"fu-tian-hua-yu-qian-long-289654","福田花雨",[23,7,25,199,77,9007,16605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013fd5068c52e572d318b1fc2a8492a.jpg",[],{"id":16610,"slug":16611,"title":16612,"dynasty":88,"author":1749,"museum":107,"description":5937,"tags":16613,"thumbUrl":16615,"material":751,"size":752,"collection":95,"collections":16616,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},289592,"qiu-tang-ke-hua-tu-li-tang-289592","秋堂客话图",[23,92,24,50,113,13669,16614,51,2061,7,60,77],"厅堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa79bcac3d55cf0b2f8dd57920cedcd6.jpg",[],{"id":16618,"slug":16619,"title":16620,"dynasty":8749,"author":454,"museum":107,"description":16621,"tags":16622,"thumbUrl":16627,"material":751,"size":752,"collection":95,"collections":16628,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":40},289585,"xian-miao-hui-ji-zhen-e-shi-luo-you-tong-gong-yang-fo-xiang-yi-ming-289585","線描會稽鎮遏使羅祐通供養佛像","画面以墨线勾勒，上半段佛塔巍峨，龛中坐佛沉静端严，两侧飞天衣带萦回流转，灵动舒展，尽显缥缈出尘之态。下方供养人与牵马侍从神态恭谨，身形姿态皆透着礼佛的至诚肃穆。\n\n整幅画作线条遒劲洗练，以极简的笔墨勾勒出造像的庄重与人物的神韵，不着一色却自有沉静安然的礼佛氛围，将民间质朴的审美意趣融入佛教造像之中，尽显古代佛画的纯粹意韵。",[23,24,25,112,16623,878,9007,16624,16625,113,1074,16626,7],"线描","佛像","佛塔","供佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f43c72c9e12b092cd6d618dc4a5d84c.jpg",[],{"id":16630,"slug":16631,"title":16632,"dynasty":88,"author":16633,"museum":107,"description":16634,"tags":16635,"thumbUrl":16636,"material":751,"size":752,"collection":95,"collections":16637,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},288548,"xiang-xiang-xiao-jing-tu-zhao-shi-lei-288548","湘乡小景图","赵士雷","字公震，承平王孙，生卒年不详，曾任襄州观察使等职。\n描绘的是仲夏时节宁静安谧的湖塘一隅。该画卷是赵士雷唯一的传世画迹。",[23,92,24,49,25,27,51,29,116,12674,53,250,56,401,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847e87be85d07444a5c7951d5d0f349.jpg",[],{"id":16639,"slug":16640,"title":16641,"dynasty":88,"author":10876,"museum":72,"description":15990,"tags":16642,"thumbUrl":16645,"material":184,"size":16646,"collection":95,"collections":16647,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},288488,"san-gu-tu-li-di-288488","三顾图",[23,24,25,1328,1986,27,115,2293,16643,57,16644,7,77,59,113],"草屋","三顾茅庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57784c84fc84774a15e3779c68ad0b6e.jpg","82.5x175.7厘米",[],{"id":16649,"slug":16650,"title":16651,"dynasty":179,"author":7739,"museum":107,"description":16652,"tags":16653,"thumbUrl":16654,"material":751,"size":752,"collection":95,"collections":16655,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":40},287784,"yang-zheng-tu-juan-wang-zhen-peng-287784","养正图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,24,49,25,1128,111,27,113,458,567,9812,7,60,398,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac150d266bb48de0451eab13aac2dc0.jpg",[],{"id":16657,"slug":16658,"title":16659,"dynasty":45,"author":2071,"museum":107,"description":6469,"tags":16660,"thumbUrl":16662,"material":751,"size":752,"collection":95,"collections":16663,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},287527,"xie-jing-huan-cha-tu-juan-chou-ying-287527","写经换茶图卷",[23,92,24,49,25,111,27,113,1018,567,386,7,77,16661],"文人雅事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18af42865495de6c46ac5d9c98431caa.jpg",[],{"id":16665,"slug":16666,"title":16667,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":16668,"thumbUrl":16670,"material":751,"size":752,"collection":95,"collections":16671,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},283749,"qiao-mu-zhou-yin-tu-zhou-dong-qi-chang-283749","乔木昼阴图轴",[24,50,75,51,16669,251,152,252,7,77,59],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F582d87c9d9d0f019697b81e9c1a0575d.jpg",[],{"id":16673,"slug":16674,"title":16675,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":16676,"thumbUrl":16677,"material":751,"size":752,"collection":95,"collections":16678,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},283698,"shan-ju-tu-shan-ye-dong-qi-chang-283698","山居图扇页",[1250,24,92,50,51,115,2029,55,57,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9638a03be3887c4a4369454edfa5e3.jpg",[],{"id":16680,"slug":16681,"title":16682,"dynasty":18,"author":3261,"museum":107,"description":16683,"tags":16684,"thumbUrl":16693,"material":751,"size":752,"collection":95,"collections":16694,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":40},241460,"deng-shi-ru-zhuan-shu-xun-zi-you-zuo-pian-zhou-deng-shi-ru-241460","邓石如篆书荀子宥坐篇轴","邓石如 1743-1805。安徽怀宁人。单名邓琰，字石如，因避讳以字行，又字顽伯、号完白山人、完白山民、古浣、古浣子、游笈道人，又有凤水渔长、龙山樵长、顽道人。斋堂为铁砚山房。布衣。少好篆刻，为寿州寿春书院诸生，後客梅鏐府，因得纵观历代吉金石刻，徠用洎功頭樤八年，遂工四体书。篆法以二李为宗，而纵横阖辟之妙则得之史籀，稍参隶意，杀锋以取劲折，分书则遒丽淳质，变化不可方物，结体极严整而浑融天迹。篆刻初宗二汉，後以小篆入印，刀法圆转苍。",[457,75,7,16685,16686,16687,16688,16689,16690,16691,16692],"中锋运笔","线条圆劲","结体匀称","古朴浑厚","清代书法","篆书艺术","笔力遒劲","结体严谨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7582e1625f9a72b354a24cdc758c9f0b.jpg",[],{"id":16696,"slug":16697,"title":16698,"dynasty":45,"author":16699,"museum":126,"description":16700,"tags":16701,"thumbUrl":16702,"material":312,"size":95,"collection":96,"collections":16703,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},241056,"cha-liao-shi-zhou-zhu-zhi-fan-241056","茶寮诗轴","朱之蕃","朱之蕃（1575年—1624年） ，字元升，一作元介，号兰隅、定觉主人，祖籍金陵，明代大臣、书画家。婡万历洎頭條二十三年（1595）科举状元，官终礼部右侍郎，任上曾奉命出使朝鲜。后以母丧，不复出仕。工书法，善画山水花卉，传世作品有《君子林图卷》等，另有文集传世。\n之蕃工绘画，竹石兼东坡神韵，山水酷似米芾等大家。又工书法，真、行书师法赵孟頫得颜真卿、文征明笔意，日可写万字。在他出使朝鲜期间，朝鲜人以人参、貂皮为礼品，请他作画写字。他将所获得的礼品，尽行出售，另买书画、古器以归，其收藏极为丰富。他于泰昌元年（1620）所作《君子林图卷》，现藏故宫博物院。著有《使朝鲜稿》4卷、《纪胜诗》1卷、《落花诗》1卷、《南还杂著》1卷等。",[24,25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c78613c32b498a996da1cacd3311c5.jpg",[96],{"id":16705,"slug":16706,"title":9460,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":16707,"thumbUrl":16708,"material":751,"size":752,"collection":95,"collections":16709,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},240454,"wu-chang-shuo-zhuan-shu-qi-yan-lian-wu-chang-shuo-240454",[2135,457,2136,7,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7ecc54373f1706a45e8af74d58d61f.jpg",[],{"id":16711,"slug":16712,"title":16713,"dynasty":179,"author":7340,"museum":126,"description":7341,"tags":16714,"thumbUrl":16715,"material":312,"size":7344,"collection":96,"collections":16716,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},239691,"tai-bu-hua-zhuan-shu-lou-shi-ming-juan-tai-bu-hua-239691","泰不华篆书陋室铭卷",[3477,457,7,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2855344898cc0fa28ffc817f2ce61f3.jpg",[96],{"id":16718,"slug":16719,"title":16720,"dynasty":88,"author":5902,"museum":126,"description":16721,"tags":16722,"thumbUrl":16723,"material":1646,"size":16724,"collection":96,"collections":16725,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},239578,"dao-fu-zan-juan-fan-zhong-yan-239578","道服赞卷","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。\n此卷经《铁网珊瑚》、《清河书画舫》、《清河见闻表》、《式古堂书画汇考》、《平生壮观》、《大观录》、《墨缘汇观》、《石渠宝笈·初编》等书著录。刻入明文徵明《停云馆帖》、乾隆内府《三希堂法帖》。\n曾经宋范氏义庄，清安岐、清内府等收藏，后归张伯驹。 1956年张伯驹夫妇将其捐献故宫博物院。",[23,7,60,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02431add9c7834cf0e008dcc8b0958b5.jpg","纵34.8厘米,横47.9厘米",[96],{"id":16727,"slug":16728,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":16730,"thumbUrl":16732,"material":751,"size":752,"collection":171,"collections":16733,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},238544,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册",[24,25,26,27,111,113,60,7,77,56,57,3833,16731,1782,268],"人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[171,218],{"id":16735,"slug":16736,"title":16737,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":16738,"thumbUrl":16739,"material":751,"size":752,"collection":95,"collections":16740,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},237794,"hong-ren-song-zhu-you-ting-tu-shan-ye-hong-ren-237794","弘仁松竹幽亭图扇页",[24,25,1250,50,59,133,132,55,250,51,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10aaadad94df684872c4363df1411bc.jpg",[],{"id":16742,"slug":16743,"title":16744,"dynasty":18,"author":3067,"museum":107,"description":16745,"tags":16746,"thumbUrl":16747,"material":95,"size":95,"collection":96,"collections":16748,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":40},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[24,50,75,59,7,77,51,651,360,252,56,58,54,266,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[96],{"id":16750,"slug":16751,"title":16752,"dynasty":18,"author":9615,"museum":126,"description":16753,"tags":16754,"thumbUrl":16755,"material":312,"size":95,"collection":63,"collections":16756,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},237208,"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,25,26,50,51,60,59,56,58,1678,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[63,218],{"id":16758,"slug":16759,"title":16760,"dynasty":45,"author":441,"museum":126,"description":16761,"tags":16762,"thumbUrl":16763,"material":95,"size":95,"collection":63,"collections":16764,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},236569,"song-zhu-shuang-qing-ce-xiang-sheng-mo-236569","松竹双清册","项圣谟，字逸，后字孔彰，浙江嘉兴人。为明末著名书画收藏家和画家。",[24,25,26,50,133,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27527a98f63b9465054da19b06c8e512.jpg",[63,96],{"id":16766,"slug":16767,"title":16768,"dynasty":18,"author":4364,"museum":126,"description":16769,"tags":16770,"thumbUrl":16771,"material":95,"size":95,"collection":35,"collections":16772,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},236197,"hua-mei-shou-wan-nian-yin-zhen-shu-shi-cheng-shan-jiang-ting-xi-236197","画眉寿万年胤禛书诗成扇","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[1250,27,111,29,132,135,692,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d589b7d3952d3019df6eeb035cec4a.jpg",[35,218],{"id":16774,"slug":16775,"title":16776,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":16777,"thumbUrl":16778,"material":751,"size":752,"collection":95,"collections":16779,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":40},235806,"yuan-ji-mei-zhu-shuang-qing-tu-shan-ye-shi-tao-235806","原济梅竹双清图扇页",[1250,24,25,50,131,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbaa40b42a07dc9925f78ca1a903edc5.jpg",[],{"id":16781,"slug":16782,"title":4167,"dynasty":18,"author":9615,"museum":107,"description":16783,"tags":16784,"thumbUrl":16785,"material":95,"size":95,"collection":63,"collections":16786,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},234638,"shan-shui-ce-cha-shi-biao-234638","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,92,26,50,27,51,652,589,360,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d726fef1640e5e482b9d8d3b16c206.jpg",[63],{"id":16788,"slug":16789,"title":16790,"dynasty":45,"author":16791,"museum":126,"description":16792,"tags":16793,"thumbUrl":16794,"material":488,"size":95,"collection":95,"collections":16795,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":40},234244,"shan-shui-juan-zhang-fu-234244","山水卷","张復","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[23,24,49,25,50,27,59,51,54,52,53,458,56,57,6605,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":16797,"slug":16798,"title":16799,"dynasty":18,"author":5242,"museum":126,"description":16800,"tags":16801,"thumbUrl":16802,"material":488,"size":16803,"collection":95,"collections":16804,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},233409,"ge-zhong-hua-xiang-zhou-ren-yi-233409","葛仲华像轴","本幅题记者甚众，均为葛怀英（即葛仲华）文友，计有：胡公寿、沈景成、严信厚、顾德沅、徐大有诸家。\n据葛怀英跋中所言“癸酉春正月属山阴任君伯年写成独立小影”，可知此画应作于清同治十二年（1873年），任伯年时年34岁。\n此图为淡设色绘制葛仲华全身立像。据德林隶书题“仲华二十七岁小景”可知像主当时的年纪。另据葛怀英自跋可知，葛氏是一名空有一腔抱负而不得志的落寞文人，所幸其“心入禅关有乐天”。人物面部施以淡赭色并略加晕染，色调稍有明暗对比，突出了人物面部的立体效果。主人公身着长衫，右手持淡青小花一支于胸前，神态淡定。衣纹以“钉头鼠尾”线描绘，刚柔相济，飘洒自如，富有节奏感，使得人物虽静如动。",[24,25,75,27,113,112,50,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59448d4a4de52b2586b0b291404db2ff.jpg","纵118.6厘米，横60.3厘米",[],{"id":16806,"slug":16807,"title":16808,"dynasty":179,"author":225,"museum":126,"description":16809,"tags":16810,"thumbUrl":16811,"material":784,"size":16812,"collection":95,"collections":16813,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},232774,"xiao-yi-zhuan-lan-ting-xu-tu-juan-zhao-meng-fu-232774","萧翼赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。\n现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。\n该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。",[23,24,25,49,111,27,113,110,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c51deba39226d24cedc232f1a54eba.jpg","纵26.6厘米，横44.3厘米",[],{"id":16815,"slug":16816,"title":12162,"dynasty":18,"author":16817,"museum":107,"description":16818,"tags":16819,"thumbUrl":16820,"material":95,"size":95,"collection":95,"collections":16821,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},230875,"za-hua-ce-bian-shou-min-230875","边寿民","此作用水墨写意绘折枝秋菊，花枝苍劲老辣，以浓淡墨色分出层次。花瓣以淡墨中锋勾勒点染，舒展清逸，尽显秋菊冷傲之姿；叶片以泼墨随性挥写，朴拙厚重，与纤秀的花头形成巧妙对比。\n\n画面左上题诗相和，诗书相融，将画者淡泊疏朗的心境寄寓其中，文人意趣尽显。笔简而意足，寥寥数笔便勾勒出秋卉萧疏清寂之态，尽显水墨写意花鸟的风神，透着悠然出尘的秋日雅韵。",[24,25,26,50,129,29,1049,667,239,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4f516419b2a1ab82eb9ae4841ec1ba.jpg",[],{"id":16823,"slug":16824,"title":9940,"dynasty":18,"author":6275,"museum":107,"description":10347,"tags":16825,"thumbUrl":16826,"material":751,"size":752,"collection":95,"collections":16827,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},230245,"qi-yan-lian-hong-yi-fa-shi-230245",[23,7,2136,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08340d768183cc07f8beb0b3f1626165.jpg",[],{"id":16829,"slug":16830,"title":16831,"dynasty":45,"author":9276,"museum":107,"description":16832,"tags":16833,"thumbUrl":16835,"material":751,"size":752,"collection":95,"collections":16836,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},228492,"gu-xian-shi-yi-tu-juan-du-jin-228492","古贤诗意图卷","全卷共分九段，分别为：右军笼鹅、桃源图、把酒问月、听颖师弹琴、茶歌、饮中八仙、东山宴饮、咏水仙、舟中夜雪。\n金琮书法偏向于厚重一路，倾向沉稳的风格，因其书法很似赵书，故很多金琮的字，即使不是有意作伪，也被后人挖去原款，添上“赵孟頫”三字，以欺世人。\n杜堇所画之人物采用白描法，笔法细劲透逸，形象生动有神。树石、藤草、桌椅、车、马、小舟等点景穿插有致。墨色淡雅，但淡而不薄，雅而不空。构图简洁，意境清幽，皆得诗意要旨。",[23,24,25,49,112,50,111,7,60,113,51,56,250,678,77,3597,568,16834,7064],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],{"id":16838,"slug":16839,"title":16840,"dynasty":88,"author":454,"museum":107,"description":16841,"tags":16842,"thumbUrl":16844,"material":95,"size":95,"collection":95,"collections":16845,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},227370,"yu-lin-ku-003-ku-yong-dao-nan-bi-yi-ming-227370","榆林窟003窟甬道南壁","第三窟建于西夏统治瓜州晚期。窟内纷呈汉、藏民族及显宗、密宗的内容和艺术，是这一时期艺术最成熟、最典型的洞窟，独具特色。窟呈长方形，穹窿顶。窟中央偏后设八角形三级曼荼罗（坛城），上存清塑数身。窟四壁下部清代环砌双层台基，上存清塑十八罗汉像。顶绘曼荼罗，中画五方佛，东壁中央绘佛传，南北侧分绘汉密五十一面千手千眼观音曼荼罗、胎藏界曼荼罗及显宗天请问经变。南壁东起画曼荼罗、观无量寿经变、曼荼罗各一铺。北壁东起画曼荼罗、净土变、曼荼罗各一铺。西壁门上方绘维摩变，门南北侧绘普贤变、文殊变。甬道南北壁绘供养人。",[23,2601,16843,27,113,7],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a56b9cc35def35720b3e2c4e302ba38.jpg",[],{"id":16847,"slug":16848,"title":16849,"dynasty":88,"author":16850,"museum":107,"description":16851,"tags":16852,"thumbUrl":16854,"material":751,"size":752,"collection":95,"collections":16855,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},227328,"zi-zhi-tong-jian-can-gao-si-ma-guang-227328","资治通鉴残稿","司马光","是司马光手迹原本",[23,25,7,49,60,77,1498,385,16853],"稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7b7aadcc6600349ef79463d337d6b2.jpg",[],{"id":16857,"slug":16858,"title":16859,"dynasty":105,"author":637,"museum":107,"description":16860,"tags":16861,"thumbUrl":16863,"material":95,"size":95,"collection":802,"collections":16864,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},227052,"da-guan-tie-wang-xi-zhi-227052","大观帖","王羲之（303年—361年） [1] ，字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[7,198,60,26,200,2115,16862],"墨拓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573623cb858e8a1fed32ec1e7964493a.jpg",[802],{"id":16866,"slug":16867,"title":3086,"dynasty":88,"author":454,"museum":164,"description":16868,"tags":16869,"thumbUrl":16870,"material":784,"size":16871,"collection":95,"collections":16872,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[23,92,24,25,49,111,27,113,1074,167,77,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":16874,"slug":16875,"title":6535,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":16876,"thumbUrl":16877,"material":312,"size":95,"collection":96,"collections":16878,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},223269,"shou-gao-hong-yi-fa-shi-223269",[23,2135,7,60,6535,50,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b8bbd2a6b1133663e16d60ab14e235.jpg",[96],{"id":16880,"slug":16881,"title":16882,"dynasty":18,"author":3250,"museum":107,"description":16883,"tags":16884,"thumbUrl":16886,"material":519,"size":16887,"collection":63,"collections":16888,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,92,24,25,49,16885,59,50,51,56,57,252,7,60],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg","纵28.8厘米，横404.1厘米",[63,187,96],{"id":16890,"slug":16891,"title":16892,"dynasty":179,"author":225,"museum":279,"description":16893,"tags":16894,"thumbUrl":16895,"material":784,"size":16896,"collection":95,"collections":16897,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":40},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,24,25,49,27,113,797,2104,7540,111,60,7,11051,11610,1782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":16899,"slug":16900,"title":16901,"dynasty":45,"author":2206,"museum":14591,"description":16902,"tags":16903,"thumbUrl":16904,"material":95,"size":16905,"collection":95,"collections":16906,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},222474,"li-bai-shi-er-shou-zhu-yun-ming-222474","李白诗二首","明代中期的书坛以吴门祝允明（1460-1526）、文徵明（1470-1559）、陈淳（1483-1544）、王宠（1494-1533）最为著名，他们生活在同时代、同地域，在书法艺术方面都成就斐然，影响深远，为书史上一奇观。这四人中，祝允明、陈淳书风以劲健放纵见长，文徵明、王宠书风偏于劲健工稳。所同者在“劲健”，用笔讲求力度，结体尚端正，即使祝、陈的狂草亦难脱此风。其中祝、文二人虽学通魏晋、唐宋，但受黄山谷影响较重，祝之草、文之行皆脱胎于山谷，无山谷之温文尔雅，但大开大合处亦可称道。陈淳出于文徵明而颠逸放纵以成自家面目，端庄逊于文而姿态过之。王宠用心魏晋，宋后习气稍少，相比于前三人，个性不足却韵致为高。",[23,24,25,7,398,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26105ef6460b281c4ecbfaf6305aa842.jpg","25.3X310cm",[],{"id":16908,"slug":16909,"title":16910,"dynasty":45,"author":2206,"museum":3743,"description":16911,"tags":16912,"thumbUrl":16913,"material":312,"size":16914,"collection":96,"collections":16915,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},222472,"yun-jiang-ji-zhu-yun-ming-222472","云江记","此卷写于弘治八年（1495年），祝允明35岁，是他早期的草书。末署“弘治八年秋日，长洲枝山祝允明书”，并钤“允明之印”和“希哲”二印。\n该卷写得劲健豪放，刚柔相济，点画狼藉，烟云变幻。可以看到他已经将二王、怀素、张旭、黄山谷融会贯通。但较其晚年狂草作品，则显出用笔稍轻，因而有人疑为伪。\n祝允明（1460—1527年），字希哲，因为他多生一指，又号枝指生，枝指山人，枝山等。祝允明的祖父祝颢、外祖父徐有贞都是进士，学问渊博，工诗善书。由于先天的禀赋和祖父外、外祖父的影响祝允明的才华很早就显露出来了。\n祝允明五岁能作径尺大字，读书一目数行，九岁即能作诗，而且出语惊人。当他晚年回忆童年学书时说：“所幸独蒙先人之教，自髫丱以来，绝其令学近人书，目所接皆晋、唐帖也。”由于先辈的教诲，他一开始学书，就取法乎上，打下很好的基础。\n祝允明的草书主要是受他外祖父徐有贞的影响，徐的草书学张旭、怀素，雄肆奔放，这对祝氏草书风格的形成起了决定的作用。祝允明书法风格从精楷到狂草，跨度之大令人惊异，一方面是受这二位前辈的启迪，另一方面则是他横溢的才华决定的。\n明弘治五年(1492年)，祝允明33岁，参加乡试中了举人。他的考卷很得主考王鏊的赏识。他踌躇满志，以为凭自己的才学，进京考试中进士，易如反掌。没想到后来七次会试都不见录。\n仕途的失意，大大改变了祝允明的人生态度，使他从发奋读书、追求功名的圣贤之徒，变成了游戏人生，放荡不羁的漫士。这一转变也带来他笔下的变化，他40岁前后很少作草书，50岁后所作草书就多了起来，而且越来越狂放。\n从不同时期的作品中，可以看出他这种风格的变化。",[23,7,398,60,49,6769,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ac6aa2b52b706efe936629884f10c6.jpg","纵26.6厘米，横265.5厘米",[96],{"id":16917,"slug":16918,"title":16919,"dynasty":45,"author":46,"museum":648,"description":16920,"tags":16921,"thumbUrl":16922,"material":488,"size":16923,"collection":95,"collections":16924,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,92,24,25,49,50,27,60,7,77,59,1689,55,652,52,53,113,1049,57,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":16926,"slug":16927,"title":6021,"dynasty":88,"author":6022,"museum":648,"description":16928,"tags":16929,"thumbUrl":16930,"material":184,"size":16931,"collection":95,"collections":16932,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":100},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,92,49,112,50,25,77,51,113,55,56,57,458,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":16934,"slug":16935,"title":16936,"dynasty":88,"author":8147,"museum":72,"description":16937,"tags":16938,"thumbUrl":16939,"material":2990,"size":16940,"collection":95,"collections":16941,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},221369,"zi-shu-xie-biao-bing-shi-juan-cai-xiang-221369","自书谢表并诗卷","北宋时期，著名书家蔡襄曾得到仁宗皇帝御书赐字『君谟』。为此，蔡襄深感皇恩，楷书谢表并赋七言诗一首︰『臣襄伏蒙联合会下特遣中使赐臣御书一轴，其文曰︰御笔赐字君莫者。臣孤贱远人，无大才艺，陛下亲宸翰，推着经义，俾臣佩诵以尽谟谋之道……。』卷后，有米芾、鲜于枢、解缟、吴宽、陈继儒、董其昌、张祖翼=罗振玉等众多宋、元、明、清名人题跋。这卷流传有绪的墨迹曾经南宋赵明诚收藏，无代曾为乔篑成收藏，明代曾经黄钟、赵用贤收藏，清初为安岐收藏，后又总计著名沣收藏，清末为端方所藏。后流入日本国，现藏于日本书道博物馆。全卷纵二十九点三厘米，横长总计八百二十九点五厘米。据方家评说，台北故官博物院、日本东京国立博物馆也藏有这卷墨迹的不同书写本，但本卷最佳。",[7,60,49,77,2602,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7485e83f20b6f838ccd280dcc988874.jpg","全高25.8隔水一10.8本幅25x10",[],{"id":16943,"slug":16944,"title":16945,"dynasty":162,"author":454,"museum":107,"description":16946,"tags":16947,"thumbUrl":16948,"material":95,"size":95,"collection":96,"collections":16949,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":100},221116,"fo-jing-fa-hua-jing-yun-mu-zhi-yi-ming-221116","佛经法华经云母纸","此作为典型唐代经生写经小楷，笔法端秀匀净，结体平正工稳，尽显书写者娴熟扎实的抄经功底。起收提按一丝不苟，点画温润舒展，带着初唐写经特有的内敛安然，字里行间浸透着抄经时肃穆沉静的宗教虔诚。\n云母纸历经岁月仍莹润匀净，墨色沉凝饱满，搭配雅致装裱愈显古雅朴拙。它是唐代民间书法与佛教文化融合的遗存，暗合唐人尚法的书风特质，于朴素平淡间流露冲淡平和的审美意趣，兼具宗教文献与书法艺术双重价值。",[23,7,386,878,1498,199,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c3a89135a40bb478a52a82317ad2b.jpg",[96],{"id":16951,"slug":16952,"title":16953,"dynasty":45,"author":1313,"museum":72,"description":16954,"tags":16955,"thumbUrl":16956,"material":312,"size":16957,"collection":96,"collections":16958,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":207},220925,"lin-yan-zhen-qing-gao-shen-tie-zhou-dong-qi-chang-220925","临颜真卿告身帖轴","知为崇祯九年（一六三四），诏加太子太保致仕以后之作。此作采用原帖部分笔法，并含熟中带生之趣；结字则变原帖之散乱为整密，不落颜楷之窠臼。",[23,7,25,24,75,110,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f188d206988ef79c11db922216deb84.jpg","313.8x75.3",[96],{"id":16960,"slug":16961,"title":16962,"dynasty":179,"author":225,"museum":126,"description":16963,"tags":16964,"thumbUrl":16965,"material":312,"size":16966,"collection":96,"collections":16967,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":40},220888,"guo-meng-tie-zhao-meng-fu-220888","过蒙帖","帖中的总管相公应是赵氏同宗。此札一是感谢他对家兄照 顾，二是为其友人求助。\n释文:孟頫记事顿首再拜，总管相公宗兄阀下，孟頫前者家兄过蒙照管。此皆吾兄以孟頫之故。感激难胜。即日炎热。伏惟尊候胜常。学宾康振系。旧在常学有俸。其人至贫。藉此以活。而近乃有住支之行。望吾兄怜其寒素．特与放支。岂胜幸甚．未由侍教。伏乞倍保尊重。不宣。孟頫顿首再拜。",[23,7,60,385,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6659b2a3d4dc119eb9f3a12996918b07.jpg","纵29.5cm，横39.6cm",[96],{"id":16969,"slug":16970,"title":16971,"dynasty":45,"author":1313,"museum":7039,"description":16972,"tags":16973,"thumbUrl":16974,"material":26,"size":16975,"collection":95,"collections":16976,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":95},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,24,25,50,59,110,51,651,652,55,1678,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg","30.5 × 23.8厘米",[],{"id":16978,"slug":16979,"title":16980,"dynasty":88,"author":6022,"museum":20,"description":16981,"tags":16982,"thumbUrl":16983,"material":169,"size":16984,"collection":171,"collections":16985,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":40},219400,"zhao-nan-ba-pian-tu-ma-he-zhi-219400","召南八篇图","马和之，南宋画家，浙江钱塘人。高宗绍兴（1131-1162）时进士，官至工部侍郎，或说画院待诏。擅画人物、佛像、山水，用柳叶描（一作马蝗描），人物画仿吴道子，行笔飘逸，着色轻淡，“务支华藻”，人称“小吴生”。高宗赵构、孝宗赵昚，深重其笔，每写《诗经》，命他补图，内容包括草虫、花鸟楼阁、走兽、人物、山水，煌煌巨制，无所不备。\n此卷为《诗经▪召南》的补图，共八幅，分别为“羔羊”、“殷其雷”、“摽有梅”、“小星”、“江有汜”、“野有死麕”、“何彼穠矣”、“騶虞”。此卷历经梁清标、清内府、　励宗万收藏，每幅前有清弘历（高宗）对题《诗经·召南》诗句。",[23,92,24,25,49,27,111,60,7,77,113,51,10794,652,458,845,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d92061e7f287db0b26cbfe3b1f0887b.jpg","纵26厘米，横40.2-44.9厘米",[171],{"id":16987,"slug":16988,"title":16989,"dynasty":88,"author":454,"museum":72,"description":16990,"tags":16991,"thumbUrl":16993,"material":169,"size":16994,"collection":171,"collections":16995,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},218722,"mian-qin-zhu-ming-tu-yi-ming-218722","眠琴煮茗图","图中描绘的是一个有学问的人在溪流上拿着一把琴，而一个孩子在打水泡茶。使用圆润的笔触，没有任何大的顿挫，也是这幅画的特点。",[23,24,1250,111,27,113,427,53,7,77,51,16992],"茶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b812228f88e00200e5a176dd1aa5a7.jpg","26.7x25.7",[171],{"id":16997,"slug":16998,"title":16999,"dynasty":179,"author":17000,"museum":279,"description":17001,"tags":17002,"thumbUrl":17003,"material":79,"size":17004,"collection":171,"collections":17005,"showCount":16548,"zanCount":882,"manualWeight":39,"mainColor":100},218313,"da-mo-du-jiang-tu-li-yao-fu-218313","达摩渡江图","李尧夫","这幅画表现的是达摩赤脚站立，脚踩一根细芦苇棍，身穿一件长长的风夹斗篷，双手交叠在袖子里，眼睛直视前方，面容慈祥。这幅画上刻有僧人一山一宁的名字。",[24,25,75,112,50,878,113,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a10fc45b7d44e87a1f225f8a3d28aa1.jpg","85.7x33.8",[171],{"id":17007,"slug":17008,"title":17009,"dynasty":18,"author":411,"museum":442,"description":17010,"tags":17011,"thumbUrl":17012,"material":33,"size":17013,"collection":35,"collections":17014,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":40},214564,"mo-zui-za-hua-tu-ce-3-shi-tao-214564","墨醉杂画图册-3","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,92,24,25,26,50,60,7,129,7657,239,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5352e5f92c7271679bc91ceab1620a.jpg","纵51.4厘米，横35.4厘米",[35],{"id":17016,"slug":17017,"title":17018,"dynasty":45,"author":125,"museum":20,"description":17019,"tags":17020,"thumbUrl":17021,"material":95,"size":95,"collection":35,"collections":17022,"showCount":16548,"zanCount":39,"manualWeight":39,"mainColor":17023},201810,"mo-hua-tu-juan-xu-wei-201810","墨花图卷","这幅长卷以水墨为魂，诗书画印浑然一体。笔墨如狂涛倾泻，肆意挥洒间，梅枝虬曲似铁，墨花冷艳含傲骨；兰叶飘逸若带，寥寥数笔尽得清逸；竹影横斜，笔力劲健欲生风；菊瓣泼墨而成，浓淡交织藏秋意；荷叶片片如盖，墨色淋漓见清雅；牡丹雍容却脱媚俗，狂放中显生机。每一处笔触皆随性生发，无拘无束，将花卉神韵与画家孤愤心性相融，墨气蒸腾处，尽显生命的郁勃与孤傲。诗题与朱印错落其间，更添古朴雅韵，是文人写意画的经典之作。",[24,49,50,29,131,139,132,140,134,135,7,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce09cb9b2025503b1df0db08b59dd0d4.jpg",[35],"c8bcb0",{"id":17025,"slug":17026,"title":17027,"dynasty":88,"author":5177,"museum":107,"description":17028,"tags":17029,"thumbUrl":17030,"material":751,"size":752,"collection":95,"collections":17031,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},291012,"xi-hu-shi-jing-tu-ce-su-di-chun-xiao-ye-xiao-yan-291012","西湖十景图册 苏堤春晓","杭（杭州）人宝佑间以画名。专工传写，作人物小景类马远。《画史会要》",[24,92,25,26,51,60,7,77,56,250,27,8131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4b95e980bdec852d96c46e9f573aae.jpg",[],22,{"id":17034,"slug":17035,"title":17036,"dynasty":179,"author":180,"museum":107,"description":4356,"tags":17037,"thumbUrl":17038,"material":751,"size":752,"collection":95,"collections":17039,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},290826,"xi-shan-cao-ge-zhou-huang-gong-wang-290826","溪山草阁轴",[24,75,50,1328,59,57,56,5328,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b69f05927997c87308aaa1a3a0b15f.jpg",[],{"id":17041,"slug":17042,"title":17043,"dynasty":18,"author":19,"museum":72,"description":2947,"tags":17044,"thumbUrl":17045,"material":33,"size":17046,"collection":95,"collections":17047,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},290545,"qiao-ke-xiu-zhu-zhou-yun-shou-ping-290545","乔柯修竹轴",[92,24,25,75,50,27,115,132,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98cb37de6ee0d2bd65b6fb413d94f1.jpg","101.6x47.8",[],{"id":17049,"slug":17050,"title":17051,"dynasty":18,"author":17052,"museum":107,"description":17053,"tags":17054,"thumbUrl":17055,"material":751,"size":752,"collection":95,"collections":17056,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},290470,"hua-niao-hua-ce-liu-qi-kan-290470","花鸟画册","刘期侃","刘期侃，清代画家。生卒年不详。字湛园，安徽宣城人。善指画",[24,25,26,50,29,131,116,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c09fbc9658481fbcdd43a9d1303adc5.jpg",[],{"id":17058,"slug":17059,"title":17060,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":17061,"thumbUrl":17062,"material":751,"size":752,"collection":95,"collections":17063,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},290458,"da-feng-tang-ti-qing-qi-shan-shui-ce-shi-tao-290458","大风堂题清沏山水册",[24,25,26,50,60,77,399,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea1bbbc82bc03b1616c198da660c409.jpg",[],{"id":17065,"slug":17066,"title":13877,"dynasty":179,"author":330,"museum":72,"description":1665,"tags":17067,"thumbUrl":17068,"material":79,"size":10533,"collection":95,"collections":17069,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},290417,"hua-xi-yu-yin-zhou-wang-meng-290417",[92,24,75,50,51,59,53,54,56,57,58,820,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a0acb529b0bc5c0c94798e81326b50.jpg",[],{"id":17071,"slug":17072,"title":17073,"dynasty":45,"author":689,"museum":72,"description":1872,"tags":17074,"thumbUrl":17077,"material":169,"size":17078,"collection":171,"collections":17079,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},290359,"bu-dai-he-shang-xiang-zhou-chen-hong-shou-290359","布袋和尚像轴",[24,75,1986,112,27,9007,17075,17076,7,77],"布袋和尚","僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe787d3bd3e14e7e1065913f4fe231dd3.jpg","65.3x40",[171],{"id":17081,"slug":17082,"title":17083,"dynasty":179,"author":1516,"museum":107,"description":4942,"tags":17084,"thumbUrl":17085,"material":751,"size":752,"collection":95,"collections":17086,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},290263,"cang-qiu-tu-ke-luo-ban-wu-zhen-290263","苍虬图 （珂罗版）",[23,24,92,75,50,1018,7,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4af6f1f1656e866d4a31edc64f1ff0.jpg",[],{"id":17088,"slug":17089,"title":17090,"dynasty":45,"author":17091,"museum":107,"description":17092,"tags":17093,"thumbUrl":17094,"material":751,"size":752,"collection":95,"collections":17095,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":100},290158,"hou-chi-bi-tu-ding-yu-chuan-290158","后赤壁图","丁玉川","丁玉川（生卒年不详），明代中期画家。江右（今江西）人。山水宗马、夏。亦善人物，行笔草草，徒逞狂态，比于邪学。刘珝题其画云：“彼美玉川子，素慕青溪翁。远浓近淡不停手，神机所到天然工。”丁氏虽然出身江西，却主要活动于山东与北京两地，可能活到九十二岁以后。在晚明以后，丁氏被归为浙派画家之列，存世作品多被改款，以致今日难以辨识。",[92,24,25,75,50,51,250,54,116,53,113,59,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5736d6ab4b5a37a671ca41168a10c90e.jpg",[],{"id":17097,"slug":17098,"title":17099,"dynasty":88,"author":89,"museum":107,"description":17100,"tags":17101,"thumbUrl":17102,"material":751,"size":752,"collection":95,"collections":17103,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},290087,"zhu-shang-zuo-tie-juan-huang-ting-jian-290087","诸上座帖卷","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[23,92,25,7,398,49,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb24a160f22f01e860157984620e421.jpg",[],{"id":17105,"slug":17106,"title":17107,"dynasty":18,"author":10427,"museum":107,"description":17108,"tags":17109,"thumbUrl":17110,"material":751,"size":752,"collection":95,"collections":17111,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},289968,"fang-ni-shan-shui-wang-shi-min-289968","仿倪山水","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[92,24,25,75,50,51,110,115,116,52,53,250,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf804a5c772a5924000eff3f02dc044c.jpg",[],{"id":17113,"slug":17114,"title":17115,"dynasty":88,"author":4492,"museum":107,"description":17116,"tags":17117,"thumbUrl":17118,"material":751,"size":752,"collection":95,"collections":17119,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},289842,"song-he-ceng-lou-tu-zhang-dun-li-289842","松壑层楼图","熙宁元年选尚英宗女祁国长公主，授左卫将军、驸马都尉，迁密州观察使。元祐初，疏言：“变法易令，始于王安石，成于蔡确。近者退确进司马光，以臣观之，所得多矣。”进武胜军留后。",[23,24,25,1128,51,458,1018,27,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ca23e05a4be037ccdf9ee69a4cddc8.jpg",[],{"id":17121,"slug":17122,"title":17123,"dynasty":88,"author":6022,"museum":107,"description":17124,"tags":17125,"thumbUrl":17127,"material":751,"size":752,"collection":95,"collections":17128,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":100},289561,"xiao-jing-tu-qing-da-fu-zhang-di-si-ma-he-zhi-289561","孝经图-卿大夫章第四","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[92,24,25,26,27,113,458,1128,7,199,17126],"儒家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59de6ccc4183cd5bffa173b2eea10d0b.jpg",[],{"id":17130,"slug":17131,"title":7880,"dynasty":88,"author":7096,"museum":107,"description":17132,"tags":17133,"thumbUrl":17134,"material":751,"size":752,"collection":95,"collections":17135,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},289374,"dong-ting-qiu-yue-tu-xia-gui-289374","描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[24,92,75,50,59,51,115,2293,250,54,678,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dc250e39a664397ff48c4925b0cb88.jpg",[],{"id":17137,"slug":17138,"title":17139,"dynasty":88,"author":12087,"museum":107,"description":17140,"tags":17141,"thumbUrl":17143,"material":751,"size":752,"collection":95,"collections":17144,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":100},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[23,92,24,49,111,27,29,1176,692,1175,17142,60,7,4730],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7dcd9dc21885b547b27cbaf1170050.jpg",[],{"id":17146,"slug":17147,"title":17148,"dynasty":18,"author":1527,"museum":107,"description":7655,"tags":17149,"thumbUrl":17150,"material":751,"size":752,"collection":95,"collections":17151,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},288281,"yu-sheng-bai-yun-si-tu-qian-wei-cheng-288281","豫省白云寺图",[24,92,25,75,878,1328,59,27,57,56,458,15088,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe106705075e5729ca78f6e63548247e6.jpg",[],{"id":17153,"slug":17154,"title":17155,"dynasty":1609,"author":454,"museum":107,"description":17156,"tags":17157,"thumbUrl":17160,"material":751,"size":752,"collection":95,"collections":17161,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":207},288150,"yang-da-yan-zao-xiang-ji-ke-ben-yi-ming-288150","杨大眼造像记 (刻本)","刻于北魏景明正始之际（500年-508年）。楷书，刻在洛阳龙门古阳洞。与《始平公造像》、《孙秋生造像》、《魏灵藏造像》并称“龙门四品”。康有为《广艺舟双楫》将其列峻健、丰伟之宗。",[7,198,199,17158,878,17159,200],"刻本","造像记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e6ced86ffa2e10e23ea9b721e6b6ca8.jpg",[],{"id":17163,"slug":17164,"title":17165,"dynasty":18,"author":3261,"museum":107,"description":8894,"tags":17166,"thumbUrl":17167,"material":751,"size":752,"collection":95,"collections":17168,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":207},288095,"zuo-tai-yuan-chuan-deng-shi-ru-288095","作太元传",[7,1613,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3e0de4296c6f6741794c1ea0aee04f.jpg",[],{"id":17170,"slug":17171,"title":17172,"dynasty":105,"author":1642,"museum":107,"description":17173,"tags":17174,"thumbUrl":17175,"material":751,"size":752,"collection":95,"collections":17176,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},288070,"dong-shan-song-tie-ye-wang-xian-zhi-288070","东山松帖页","王献之（344年－386年），字子敬，小名官奴，琅玡临沂（今山东省临沂市）人。东晋官员、书法家、画家、诗人，右军将军王羲之第七子、晋简文帝司马昱女婿、晋安帝司马德宗的岳父。\n王献之少负盛名，才华过人。得到宰相谢安赏识，历任本州主簿、秘书郎、司徒左长史、吴兴太守，累迁中书令等职，与族弟王珉区分，人称“大令”。他先后迎娶郗道茂及新安公主司马道福为妻，嫁女于太子司马德宗（晋安帝）。太元十一年（386年），病逝，时年四十三岁。安帝时获赠侍中、特进、光禄大夫、太宰，谥号为“宪”。\n王献之精习书法，以行书及草书闻名，在楷书和隶书上有深厚功底。在书法史上与王羲之并称“二王”，有“小圣”之称。又与张芝、钟繇、王羲之并称“书中四贤”。唐人张怀瓘《书估》评其书为“第一等”。同时，王献之还善于作画，唐人张彦远《历代名画记》目其画为“中品下”。",[7,60,200,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed1d8d6548dc8933b3e6c6e348b883d.jpg",[],{"id":17178,"slug":17179,"title":17180,"dynasty":8749,"author":454,"museum":1172,"description":17181,"tags":17182,"thumbUrl":17183,"material":751,"size":752,"collection":95,"collections":17184,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":100},287939,"da-bo-re-bo-luo-mi-duo-jing-juan-di-san-bai-ba-shi-qi-shou-gao-yi-ming-287939","大般若波羅密多經卷第三百八十七手稿","此卷小楷密布全篇，笔致挺秀匀净，排布齐整却暗藏灵动法度。朴拙清雅的笔墨间，带着写经的恭谨肃穆，亦暗含书写者的笔墨情致，尽显中古写经一脉传承的风貌。历经岁月涤荡，纸色晕染泛黄，边缘残损斑驳，却更添沉厚的历史质感。字字如列雁齐飞，在泛黄卷面上铺展开静谧的宗教笔墨世界，将经文的肃穆与书法的清雅融为一体，默默承载着千年前的抄写时光，带着封存的丝路余韵，诉说着往昔的信仰与笔墨温度。",[49,386,7,199,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff024b306f2c9fe3d786b3deff09fbedf.jpg",[],{"id":17186,"slug":17187,"title":17188,"dynasty":18,"author":17189,"museum":107,"description":17190,"tags":17191,"thumbUrl":17193,"material":751,"size":752,"collection":95,"collections":17194,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},287933,"ge-zhen-fu-xiang-juan-ceng-jing-287933","葛震甫像卷","曾鲸","字波臣，福建莆田人，中国明代画家。一生往来江浙一带，为人写真。擅画肖像，在继承粉彩渲染传统技法的同时，汲取西洋画的某些手法，形成注重墨骨，层层烘染，立体感强的独特画法。所画人物肖像强调观察体会，抓住最动人处，精心描绘，尤注重点睛，形象逼真，栩栩如生，有“如镜取影，俨然如生”之誉，从学者甚众，遂形成“波臣派”。",[23,24,49,17192,50,27,7,60,77],"人物肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ef4a2f08f7f0710ad60aa6cf8149cb.jpg",[],{"id":17196,"slug":17197,"title":17198,"dynasty":45,"author":1313,"museum":107,"description":17199,"tags":17200,"thumbUrl":17201,"material":751,"size":752,"collection":95,"collections":17202,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},283774,"lin-he-jing-shi-yi-tu-zhou-dong-qi-chang-283774","林和靖诗意图轴","此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。",[24,92,75,50,51,52,53,115,57,55,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde5cabc181c1cbd8bf88ecac7a2e3fe.jpg",[],{"id":17204,"slug":17205,"title":6012,"dynasty":45,"author":6938,"museum":107,"description":17206,"tags":17207,"thumbUrl":17208,"material":751,"size":752,"collection":95,"collections":17209,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},283648,"mei-hua-tu-zhou-liu-shi-ru-283648","字继相，号雪湖（明画录作名继相，历代画史汇传误为二人：一刘世儒字继相，一刘士儒号雪湖），山阴（今浙江绍兴）人。",[23,24,75,50,29,131,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712549c9041e1c8aca5a53f3a6fae5c7.jpg",[],{"id":17211,"slug":17212,"title":17213,"dynasty":18,"author":7498,"museum":107,"description":17214,"tags":17215,"thumbUrl":17221,"material":312,"size":13965,"collection":96,"collections":17222,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},241563,"qi-yan-shi-zhou-zheng-fu-241563","七言诗轴","此轴书法结体端秀雅逸，尚有《曹全碑》灵动飘逸之风神，而笔画的粗细及运笔却极富变化，舍汉隶之方正，而求“盘于跳荡”之姿，尤其是一些草书笔法的应用，更增加了全幅飘逸灵动之势，同时又不乏庄重沉实的气息，代表了郑簠隶书的典型风格。\n郑簠（1622-1694年），字汝器，号谷口，清代上元（今江苏南京）人。工书法，尤以隶书擅名于清初书坛。其隶书初学明代宋珏，后专意于《曹全碑》，并在隶书中融入草书笔法，形成疏宕纵逸、顿挫飞扬的独特风格，对清代隶书产生很大影响。包世臣将其书列为“逸品上”，时有“谷口八分古今第一”之誉。",[1613,7,75,77,17216,6199,17217,3388,17218,2763,17219,589,17220],"山堂","飞絮","落叶","柏子","水湾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12525d09d8811e336635d39972f7289.jpg",[96],{"id":17224,"slug":17225,"title":17226,"dynasty":179,"author":10934,"museum":107,"description":17227,"tags":17228,"thumbUrl":17229,"material":751,"size":752,"collection":95,"collections":17230,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},241451,"lin-shu-su-shi-hai-tang-shi-juan-xian-yu-shu-241451","临书苏轼海棠诗卷","鲜于枢（1246年—1302年），字伯机，号困学山民、直寄老人，晚年营室名“困学之斋”，祖籍金代德兴府（今张家口涿鹿县），生于汴梁（今河南开封），汉族，大都（今北京）人，一说渔阳（今津蓟州区）人，元代著名书法家，寓居扬州、杭州。大德六年（1302年）任太常典薄。元世祖至元年间以才选为浙东宣慰司经历，后改浙东省都事。\n鲜于枢晚年任太常典簿。好诗歌与古董，文名显于世，书法成就最著。明朱权《太和正音谱》将其列于“词林英杰”一百五十人之中。《新元史》有传。鲜于枢善诗文，工书画。尤工草书，酒酣吟诗作字，奇态横生，赵孟頫极推重之。有《困学斋杂录》、《困学斋诗集》。",[7,49,110,2573,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6b60d750ee2656f515e46218d5017.jpg",[],{"id":17232,"slug":17233,"title":17234,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":17235,"thumbUrl":17236,"material":751,"size":752,"collection":95,"collections":17237,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},240894,"zhou-jin-tang-ji-zhou-xu-wei-240894","昼锦堂记轴",[75,60,7,433,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f409c5aa46f457f2f28622eb41cf21.jpg",[],{"id":17239,"slug":17240,"title":17241,"dynasty":18,"author":2473,"museum":126,"description":17242,"tags":17243,"thumbUrl":17246,"material":10842,"size":17247,"collection":96,"collections":17248,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},240268,"tao-hua-yuan-shi-zhou-he-chao-240268","桃花源诗轴","署款：“右临湜庵老师法，义门何焯。”下钤“何焯之印”、“峐瞻”印2方。\n鉴藏印钤“程心柏藏”、“巩伯平生真赏”、“春林”印3方。\n此书写七言古诗一首，结体工谨端秀，笔力劲健，布局舒展明朗，深得欧阳询意韵。近人马宗霍曾云：“义门日事点勘，故小真、行书不习而之，较之习而工者为雅。”此轴也反映出何焯因每日从事点勘、抄写所积累的深厚的书法功力。",[25,75,199,7,77,137,51,6129,7099,53,9679,17244,556,3070,17245],"云林","古津","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2460226bb9d8108cd3cfa9d7e6b13b63.jpg","纵60.4厘米，横33.8厘米",[96],{"id":17250,"slug":17251,"title":17252,"dynasty":45,"author":5386,"museum":126,"description":17253,"tags":17254,"thumbUrl":17255,"material":312,"size":17256,"collection":96,"collections":17257,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},240261,"li-bai-gu-feng-shi-juan-wang-chong-240261","李白古风诗卷","《李白古风诗》释文\n本幅款署“雅宜山人王宠书”。钤“王履吉印”、“韡韡斋”，迎首钤“大雅堂”。收藏印钤“侯宝璋心赏”、“玉华堂绝品”、“玉华堂紫箫客”、“青萝山馆”、“披肝沥胆”。卷后有裘曰修、侯宝璋题跋。\n《李白古风诗》共8首，用金粟山藏经纸书写。此纸质地硬，纸面光滑，故笔墨线条清晰可辨，用笔转折历历在目。书法体势宽博疏拓，笔法丰沉圆遒，字形婉转结势，姿态奇特。王世贞曾评王宠书：“虽结法小疏，而天骨烂然，姿态横出，有威风千仞之势。”卷后裘曰修言：“雅宜山人书法大令，天骨秀拔，风神疏朗，名重一时。”",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86aa414d3f7a5ee8c6b8c6314c6ce2ef.jpg","纵26.8厘米, 横771厘米",[96],{"id":17259,"slug":17260,"title":17261,"dynasty":18,"author":17262,"museum":107,"description":17263,"tags":17264,"thumbUrl":17265,"material":95,"size":17266,"collection":96,"collections":17267,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},240143,"zhuan-shu-liu-tiao-ping-cheng-quan-240143","篆书六条屏","程荃","程荃[清]字蘅衫。安徽怀宁明经。邓石如 工山水，精篆刻，有篆隐园集。《沉经堂题跋、徽州府志、广印人传》",[2135,457,7,12955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa96d3b1879cd5632c8791b0d014b76e.jpg","纵132.4cm、横30cm",[96],{"id":17269,"slug":17270,"title":17271,"dynasty":179,"author":17272,"museum":126,"description":17273,"tags":17274,"thumbUrl":17275,"material":312,"size":17276,"collection":96,"collections":17277,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},239630,"guo-jing-xing-he-liang-long-ji-shi-juan-guo-bi-239630","郭景星和梁隆吉诗卷","郭畀","释文：\n太常金奉礼宴翰苑诸公，出青玉荷盘，色奇古。盘之上擎杯，象莲蓬，下屈为柄，上覆为盖。盖青质而紫章，凡十九点，匠氏剜为莲房，殆夺天巧。嘱丹杨郭畀赋诗。诗固未足为杯盘夸，然将来或可讬诗以传也。碧云亭亭水天永，翠盖翻风堕秋影。文姬团扇感初凉，露华乱落明珠冷。紫茎绿叶歌秋兰，涉江折得烟蓬还。前缘已被专房误，守宫血点犹斑斑。麴生解后夸奇特，倒卷沧溟供一吸。太华峰高归路遥，但觉满怀春拍拍。俗眼傲睨瑠璃钟，金罍未用争夸雄。古诗调高和者寡，拟唤杜陵醉中把。至治初元修禊日。\n钤“郭畀天锡”印。鉴藏印有“砚溪清玩”、“年羹尧字亮工别号双峰”、“唐翰题审定”、“陆树声鉴赏章”等6方。\n按清唐翰题言，其先得到俞希鲁书《郭天锡文集序》，后又陆续得到郭畀书《郭景星和梁隆吉诗》以及《青玉荷盘诗》，因之合装成一卷，名为《郭氏诗翰卷》，并跋于卷后，以识本末。《青玉荷盘诗》之序记述了书此诗的原由：“太常金奉礼宴翰苑诸公，出青玉荷盘”，其盘的制作“殆夺天巧”，故赋诗以赞之。按俞序书于至正十五年（1355年）八月既望，此时郭畀已卒，“今二十余年矣”。序文又称郭氏“年才五十六耳”。徐邦达先生据此推断郭畀约生于元世祖至元十七年（1280年），约卒于惠宗至元元年（1335年）。《青玉荷盘诗》书于至治初元，作者时年约42岁。\n本诗卷书法得赵孟頫形骸，是元人中师法赵孟頫之佳者。结构疏密得宜，笔画劲挺磊落，点画精美，运笔娴熟，有一定的艺术水平。",[23,7,25,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472e9363bb29dbc628bbfe02b0198f5f.jpg","纵29.3厘米，横56.2厘米",[96],{"id":17279,"slug":17280,"title":17281,"dynasty":179,"author":225,"museum":126,"description":17282,"tags":17283,"thumbUrl":17284,"material":784,"size":17285,"collection":96,"collections":17286,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},239629,"lin-huang-ting-jing-juan-zhao-meng-fu-239629","临黄庭经卷","赵文敏公画右军像临黄庭经 此卷卷首绘王羲之像，面部刻画简略，人物衣纹勾写乏力，后以楷书临写王羲之书《黄庭经》，点画柔弱，结体松散。",[23,25,110,199,7,200,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedff847bde7562ab12e2687af4d71457.jpg","纵28.5厘米，横116厘米",[96],{"id":17288,"slug":17289,"title":9514,"dynasty":88,"author":89,"museum":126,"description":9515,"tags":17290,"thumbUrl":17291,"material":17292,"size":9518,"collection":96,"collections":17293,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},239568,"huan-hua-xi-tu-yin-juan-huang-ting-jian-239568",[23,92,24,25,49,7,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04f97021a5b9dd0a7e8b62152a814a8.jpg","纸本，草书",[96],{"id":17295,"slug":17296,"title":3402,"dynasty":18,"author":411,"museum":107,"description":17297,"tags":17298,"thumbUrl":17299,"material":95,"size":95,"collection":95,"collections":17300,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},235881,"yuan-ji-shan-shui-tu-ce-shi-tao-235881","近景茅舍隐于茂林，古木虬枝横斜，生机暗涌，远处危岩拔地而起，皴笔朴拙苍劲，苔点错落灵动，淡赭铺陈晕开清和秋意。笔墨纵逸秀润，看似率意挥写，实则骨力内蕴，将实景奇崛与胸中丘壑相融。\n\n搭配上行书题跋，笔墨舒展跌宕，书画相映成趣，尽显文人雅韵。整幅小品以简淡构图承载蓬勃生机，借山川形貌抒发襟怀，将搜尽奇峰的体悟凝于尺幅之间，萧散清寂中藏着通透灵秀，尽显清寂淡远的文人山水意境，是借笔写心的精妙之作。",[24,25,26,50,27,51,250,56,152,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da1cb3425542def690c3e5f73f06ab4.jpg",[],{"id":17302,"slug":17303,"title":17304,"dynasty":18,"author":2653,"museum":107,"description":17305,"tags":17306,"thumbUrl":17307,"material":95,"size":95,"collection":63,"collections":17308,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},235070,"shan-shui-tu-ce-hua-yan-235070","山水图册","此作笔墨清隽秀逸，江畔枯枝干瘦虬曲，皴擦间尽显苍劲古拙之态，怪石错落暗藏嶙峋野趣。淡墨晕染远山，将江天寥廓的空寂意境铺陈开来，简淡中藏着幽远意趣。\n\n左侧行书题诗笔势舒展俊朗，诗画相映，将幽居江渚、寄情山水的文人襟怀融于尺幅。整幅以极简笔墨勾勒萧散淡远的林下之风，未作繁复铺陈，却把江渚间清冷澹泊的意蕴娓娓道来，尽显文人画简净空灵的审美意趣。",[24,25,26,50,51,704,250,360,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58096078f671bcc61fca71c47b69df0.jpg",[63,187],{"id":17310,"slug":17311,"title":17312,"dynasty":18,"author":411,"museum":126,"description":13392,"tags":17313,"thumbUrl":17314,"material":488,"size":95,"collection":95,"collections":17315,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},234505,"yuan-ji-shui-zai-gan-shi-shi-yi-tu-dan-ye-shi-tao-234505","原济水灾感事诗意图单页",[24,25,50,27,60,59,26,51,471,56,8049,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad7ee64e8e7b98701b3672d4cb80d8f.jpg",[],{"id":17317,"slug":17318,"title":17319,"dynasty":45,"author":17320,"museum":107,"description":17321,"tags":17322,"thumbUrl":17323,"material":477,"size":95,"collection":95,"collections":17324,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},234246,"hua-hui-tu-juan-chen-gua-234246","花卉图卷","陈栝","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,24,25,49,50,112,29,131,139,132,140,135,138,136,137,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":17326,"slug":17327,"title":17328,"dynasty":18,"author":3067,"museum":279,"description":17329,"tags":17330,"thumbUrl":17331,"material":1179,"size":17332,"collection":95,"collections":17333,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202","溪山雪意图卷","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,49,51,50,59,27,1151,251,553,56,704,1018,58,52,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":17335,"slug":17336,"title":17337,"dynasty":45,"author":9605,"museum":126,"description":17338,"tags":17339,"thumbUrl":17340,"material":477,"size":95,"collection":95,"collections":17341,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,25,49,50,60,77,7,132,51,250,56,113,52,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":17343,"slug":17344,"title":17345,"dynasty":18,"author":17346,"museum":126,"description":17347,"tags":17348,"thumbUrl":17349,"material":17350,"size":17351,"collection":95,"collections":17352,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","戴熙","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,49,50,51,59,7,60,77,651,360,133,652,589,266,473,58,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":17354,"slug":17355,"title":16293,"dynasty":18,"author":506,"museum":279,"description":16294,"tags":17356,"thumbUrl":17357,"material":591,"size":16297,"collection":95,"collections":17358,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},233861,"mei-hua-ce-jin-nong-233861",[24,25,26,50,112,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F934177b8030c4d46405a94c29707459e.jpg",[],{"id":17360,"slug":17361,"title":16293,"dynasty":18,"author":506,"museum":279,"description":16294,"tags":17362,"thumbUrl":17363,"material":591,"size":16297,"collection":95,"collections":17364,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},233860,"mei-hua-ce-jin-nong-233860",[24,25,50,131,26,7,13926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178f4a4101475ce88b30fc2920bd42aa.jpg",[],{"id":17366,"slug":17367,"title":17368,"dynasty":45,"author":342,"museum":107,"description":17369,"tags":17370,"thumbUrl":17371,"material":17372,"size":17373,"collection":95,"collections":17374,"showCount":17032,"zanCount":788,"manualWeight":39,"mainColor":40},233675,"wen-zheng-ming-feng-zhu-shan-mian-wen-zheng-ming-233675","文徵明风竹扇面","释文：风揽青桐叶半摧，时飘一片点苍苔。山僮不识林亭趣，却併松枝尽扫开。",[24,25,1250,50,132,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25766ea4c8354139c698f5eeaf00d99d.jpg","泥金纸本","17×52cm",[],{"id":17376,"slug":17377,"title":6012,"dynasty":18,"author":17378,"museum":107,"description":17379,"tags":17380,"thumbUrl":17381,"material":312,"size":17382,"collection":95,"collections":17383,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},232893,"mei-hua-tu-zhou-wu-yan-ru-232893","吴彦儒","所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。",[23,24,25,75,50,131,115,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ee64b408a7fa0e64c57bda2c32bf75.jpg","56.4x104cm",[],{"id":17385,"slug":17386,"title":17387,"dynasty":162,"author":17388,"museum":107,"description":17389,"tags":17390,"thumbUrl":17391,"material":95,"size":95,"collection":95,"collections":17392,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},230910,"zhu-ju-chuan-gao-shen-xu-hao-230910","朱巨川告身","徐浩","徐浩（7—782），字季海，越州会稽人。\n徐浩出生于书法世家，其祖父徐师道，父亲 ，都擅长书法。\n徐浩出生于会稽，因此后人称他为“会稽”、“徐会稽”，又因他在唐代宗时任吏部侍郎，又称作“徐吏部”，他的父亲徐峤，人称“大徐”，而又以“小徐”指代徐浩。\n徐浩《古迹记》中说他祖父“真、行、草，皆名冠古今，无与为比”，是与事实相符的。\n他生活在祖、父辈都善书的环境中，得到家学传授，其书法精能，也是必然的。\n《宣和书谱》评之曰：“师道已精于书，峤之复以善书称，且以法授其子浩，故浩又杰然为一家法。\n自师道到浩盖三世矣，是亦熟于翰墨之场者也。\n” 谒禹庙唐- 亩浍敷四海，川源涤九州。\n既膺九命锡，乃建洪范畴。\n鼎革固天启，运兴匪人谋。\n肇开宅土业，永庇昏垫忧。\n山足灵庙在，门前清镜流。\n象筵陈玉帛，容卫俨戈矛。\n探穴图书朽，卑宫堂殿修。\n梅梁今不坏，松祏古仍留。\n负责故乡近，朅来申俎羞。\n为鱼知造化，叹凤仰徽猷。\n不复闻夏乐，唯馀奏楚幽。\n婆娑非舞羽，镗鞳异鸣球。\n盛德吾无间，高功谁与俦。\n灾淫破凶慝，祚圣拥神休。\n出谷莺初语，空山猿独愁。\n春晖生草树，柳色暖汀州。\n恩贷题舆重，荣殊衣锦游。\n宦情同械系，生理任桴浮。\n地极临沧海，天遥过斗牛。\n精诚如可谅，他日寄冥搜。\n唐玄宗时，宰相张说见徐浩所作《喜雨》、《五色鸽》两赋，十分器重，荐为丽正殿校理，后改监察御史里行，出为河阳令，又任都官郎中，岭南选补史等职。\n肃宗即位，由襄州刺史召为中书舍人。\n徐浩因擅书法，文字富丽，当时四方诏令以至玄宗传位诏册，多出其手。\n肃宗爱其才，加兼尚书右丞。\n后为国子祭酒，因事贬为庐州长史。\n代宗即位，征拜中书舍人，集贤殿学士，迁工部侍郎，封会稽县公。\n后出为岭南节度使，后又召为吏部侍郎，主持官吏选拔举荐工作，因包庇妾弟冒选长安尉，被御史弹劾，贬为明州别驾。\n德宗初年，又召为彭王傅，进爵郡公。\n年八十去世，赠太子少师，谥“定”。\n徐浩传世书迹有隶书《嵩阳观圣德感应颂》、《张庭 墓志》 （1977年伊川出土），楷书《朱巨川告身》 （墨迹本）、《大征禅师碑》、《虢国公遗像记》、《 》、《宝林寺诗帖》、《不空和尚碑》，近些年又新出土徐浩书写的楷书墓志碑：《李岘妻墓志》、《李岘墓志》、《陈尚仙墓志》。\n撰有《书法论》一篇。\n徐浩所处的时代，正是唐朝由极盛渐入衰弱的时期，尤其在开元天宝年间，虽然时局动荡，但书家辈出，涌现了张旭、颜真卿、褚庭诲、张少悌、韩泽木等名家。\n徐浩比颜真卿年长六岁，早逝三年，二人曾过从甚密。\n二人对书法亦长时间有过切磋，所以二人书法风格亦相近。\n现在留下的徐浩的书迹，最早的是他岁时所写的《陈尚仙墓志》，于2年春出土于河南洛阳红山乡，该志全称《唐御史大夫张公故夫人陈氏墓志铭并序》，由唐代大诗人“朝议郎行尚书司门袁外郎张鼎”撰文，“右拾遗徐浩书”。\n墓主的丈夫张守 ，是唐代名将。\n该墓志史料价值大，足以补史、证史，志高72厘米，宽7厘米，青石质。\n志文25行，满行25字，楷书，有界格。\n这是目前所能见到的徐浩最早的书法作品。\n这通墓志铭书法清雅秀逸，点画净洁爽朗，笔势流畅，顾盼生姿，可以见出王羲之一脉之流绪，与虞世南、褚遂良的书法韵味神态相类，字画瘦硬，骨力遒劲。\n结体宽博，平正刚健，气韵自足，婉美华丽。\n从这篇墓志中，可以看出徐浩早年书法宗逸少之飘逸，兼及伯施之秀润，善登之平正与瘦劲。\n在西安市长安区郭杜镇2年出土的另一方墓志《李岘妻独孤峻墓志铭》，刊葬于天宝十三年（754），志石边长72.5厘米，志文三十一行，满行三十一字，楷书，李岘撰文，徐浩书丹。\n长安博物馆收藏。\n夫妻两通墓志现均已纳入《中国古代珍稀碑帖丛书》出版。\n墓主独孤峻，河南人，15岁嫁给梁国公李岘（后为肃宗朝宰相），封南华县君，婚后二十年即天宝十二载病逝于李岘当时任职的魏郡，享年9岁。\n徐浩书此碑时年52岁，其书法风格更饶灵逸气息和圆和姿态。\n与褚遂良书法结体相类，字形宽疏，横画细长，撇捺舒展，“锋藏画心，力出字外”（元陶宗仪语），正如徐浩书四十二幅屏中言：“朔风动秋草，边马有归心。\n”给人一种苍茫辽阔之感受。\n《李岘墓志》全称《唐故光禄大夫检校兵部尚书兼衢州刺史充本州团练使赠太子少师上柱国梁国公李岘墓志铭》，与《李岘妻墓志》同出土于西安市长安区郭杜镇，志为正方形青石制成，边长91厘米，厚14厘米，共2行，满行字，共计15字，字体楷书。\n墓主人李岘字延鉴，其曾祖为唐太宗李世民之第三子吴王恪。\n此碑书风与颜真卿《多宝塔》笔意相近。\n徐浩长颜真卿六岁，徐浩书此书时年64岁，书法已臻佳境，点画刚劲，结字宽雄，笔势舒展爽利，谦谦如君子乎，蕴藉却又自显生动、流畅，非常耐得起咀嚼、玩味，似在颜真卿《多宝塔》格调之上。\n徐浩在68岁时所书《大德大证禅师碑》以褚遂良的结体为法，形体稍见疏瘦，楷法中规入矩，遒媚劲健蕴藉，但略显板滞。\n此碑石现存河南登封嵩岳寺。\n碑高八尺，广尺9寸。\n计25行，行52字，篆额行9字。\n碑文由王缙所撰。\n此碑残存6余字，能辨认者有余字。\n写于同时期的留存墨迹《朱巨川告身》因无徐浩署名而有争议，然有标签，为清代梁清题作“徐季海书朱巨川告”，由徐浩书于唐代宗大历三年（768），书体以楷书为主而参用行书笔法，所谓疏欲风神，密欲老气，两者兼而有之，书体整肃，用笔多变，平正婉转，体现出徐浩晚年书作已达炉火纯青。\n徐浩78岁所书《不空和尚碑》 （又名《广智三藏和尚碑》）现存西安碑林，严郢撰文，楷书，计24行，行48字。\n徐浩老年所书，是他楷书典范作品，体现了中唐前期楷体书风经过变革之后的楷法用笔特点。\n此碑书体厚重丰腴，含蓄温润，用笔圆劲深厚，锋藏画心，力出字外，笔画内中裹筋，有雍容大度之气象。\n结体老劲而乏清逸。\n《书史会要》曰：“盖浩书锋画心，力出字外，得意处往往似王羲之，其妙实在楷法也。\n” 《谒禹庙诗帖》拓本，兰亭续帖凡16行，刊于日本《中国书道全集》 （四），《宝林寺诗帖》拓本，凡12行，兰亭续帖，上海博物馆藏，刊于日本 《中国书道全集》（四）。\n这二帧拓本刻帖均是小楷，法度谨严，一丝不苟，结体疏朗，撇、捺、走字底的点画有飘逸之风致，轻盈灵动，与王献之《玉版十三行》风格相近。\n徐浩的书迹据宋赵明诚《金石录》记载有近种，其中楷书12种，行书7种，隶书1种。\n留存于世的隶书代表作品有《嵩阳观纪圣德感应颂》，天宝三年（744）徐浩41岁时所书，李林甫撰文，有文字25行，行5字。\n《张廷 墓志》，天宝五年（746）徐浩4岁时撰文并书，碑文计4行，行7字。\n唐代的楷书因初唐有欧阳询、虞世南、褚遂良、薛稷，中唐有颜真卿、徐浩，晚唐时有柳公权，达到了中国书法楷书的顶峰，但隶书至汉代则已登峰造极。\n唐代隶书比之汉隶则大为逊色。\n明代赵宦光评唐隶“视汉似古而体稍不雅”，清钱泳则认为“别体杂出，有意圭角，擅用挑踢”。\n徐浩的隶书是从汉碑中取法，然又有创新，《嵩阳观纪圣德感应颂碑》笔法十分遒丽，姿态横生，与唐时隶书碑版有所不同，与汉 《娄寿》 碑、《韩仁铭》碑风格相类，清圆疏古，字形扁平，结构紧凑，波画飘逸，给人清劲秀雅之感，也许受唐代时风的影响，有的点画乏篆籀笔意而多用楷法，用笔提按顿挫轻重缓疾的变化也不够，就整体而论，还是中锋圆笔，沉着稳健，有一种雄阔气势。\n《张廷 墓志》笔画更有古雅之态，点画略呈瘦削之状，字势奇崛而有神采。\n而且有用笔风格多变，似更有奇趣。\n因为徐浩隶书碑多，清王澍《虚舟题跋》评曰：“唐人隶书之盛无如季海，隶书之工也无如季海。\n” 有唐一代，越中贡献了三位影响中国书法发展的大家，他们是初唐的虞世南、贺知章，中唐的徐浩。\n三位书法家都长寿，当时他们写下的书法作品也多，影响深远。\n他们留下的书迹为世世代代的中国人所珍藏、学习。\n他们的书法受到后代书法家的很高评价。\n宋朱长文《续书断》中评论徐浩“受书法于父。\n少而清劲，随肩褚、薛；晚益老重，潜精羲、献。\n其正书有可谓妙之又妙也，八分、真、行皆入能。\n尝论书云：鹰隼之彩而翰飞戾天者，骨劲而气猛也； 翟备色而翱翔百步者，肉丰而力沉也。\n若藻曜而高翔，书之凤凰矣。\n故浩之为书，识锐于内，振华于外，有君子之器焉。\n尝书四十二幅屏，八体具备，其朔风动秋草，边马有归心十数字，草隶相参，皆为精绝。\n识者评云：怒猊抉石，渴骥奔泉。\n尤为司空图所宝爱。\n”黄庭坚也认为“唐自欧虞后能备八法者，独徐会稽与颜太师耳。\n然会稽多肉，颜师多骨”，“季海暮年乃更摆脱王氏规模，自成一家”（《山谷题跋》）。\n然而米芾却说徐浩“晚年力过，更无气骨”，清冯班《钝吟书要》则认为米芾所言见解偏颇，说“季海筋在画中，晚年有一种渴骥奔泉之势，老极，所以熟而不俗”。\n古人对徐浩书法的评论见仁见智，若从书法史的发展来看，唐初的几位楷书大家已立唐法，到中唐，书体继续求变，希望突破二王，有所变化，探索一种在法度中寻自由抒情的方式。\n徐浩的书法体现出了这种努力，因此中唐的楷书大都仿效之。\n徐浩的书法可以说是中唐的一面旗帜。",[199,7,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017762d93cc0369c285afeda6809bbef.jpg",[],{"id":17394,"slug":17395,"title":1346,"dynasty":45,"author":1313,"museum":107,"description":17396,"tags":17397,"thumbUrl":17398,"material":95,"size":95,"collection":95,"collections":17399,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},230850,"gao-yi-tu-dong-qi-chang-230850","此作用笔松秀灵动，以干笔枯墨绘就，兼施淡墨晕染。画面分远中近三境，远山以淡墨轻扫，虚灵空濛，似含烟霭；中平湖如镜，汀渚错落，漾出澹澹清寂；近景枯木虬曲苍古，姿态疏朗萧散，尽显荒寒雅逸之气。\n\n以书入画，笔墨间自带文人疏淡风骨，删繁就简，褪去实景冗杂，独留山水精神，将林下高贤寄情丘壑、坐忘林泉的隐逸意趣藏于尺幅之间，静穆清寂的氛围里，尽显文人画尚意重韵的极致品格。",[23,24,25,50,59,60,7,51,56,57,553,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df79a27a9101f03f274d4311d3360.jpg",[],{"id":17401,"slug":17402,"title":17403,"dynasty":18,"author":8382,"museum":107,"description":17404,"tags":17405,"thumbUrl":17406,"material":95,"size":95,"collection":95,"collections":17407,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},230146,"shi-gong-ci-tu-ce-leng-mei-230146","十宫词图册","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[24,25,26,111,27,1128,60,77,7,113,458,114,359,844,360,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":17409,"slug":17410,"title":17411,"dynasty":45,"author":4300,"museum":107,"description":17412,"tags":17413,"thumbUrl":17414,"material":95,"size":95,"collection":95,"collections":17415,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[23,24,25,49,50,59,110,60,7,77,51,845,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":17417,"slug":17418,"title":4167,"dynasty":45,"author":17419,"museum":107,"description":17420,"tags":17421,"thumbUrl":17422,"material":95,"size":95,"collection":95,"collections":17423,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},228490,"shan-shui-ce-yun-xiang-228490","恽向","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[92,24,25,26,50,51,55,52,53,60,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":17425,"slug":17426,"title":17427,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":17428,"thumbUrl":17429,"material":751,"size":752,"collection":95,"collections":17430,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},228283,"ting-die-tu-chen-hong-shou-228283","听蝶图",[23,24,25,75,27,111,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efe86ca90f6efa2eb1ee0012fc34988.jpg",[],{"id":17432,"slug":17433,"title":17434,"dynasty":88,"author":1749,"museum":107,"description":17435,"tags":17436,"thumbUrl":17437,"material":95,"size":95,"collection":95,"collections":17438,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,92,24,25,49,110,59,50,27,7,77,51,54,1752,53,57,56,250,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":17440,"slug":17441,"title":17442,"dynasty":88,"author":262,"museum":107,"description":17443,"tags":17444,"thumbUrl":17445,"material":95,"size":95,"collection":95,"collections":17446,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明隐归图全卷","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,25,49,112,27,113,51,55,52,53,54,56,458,7,77,567,3784,11404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":17448,"slug":17449,"title":17450,"dynasty":88,"author":17451,"museum":107,"description":17452,"tags":17453,"thumbUrl":17455,"material":95,"size":95,"collection":95,"collections":17456,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","李山","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,92,24,25,49,50,27,59,7,60,77,51,17454,11088,5721,567,56,57],"松杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":17458,"slug":17459,"title":7130,"dynasty":2365,"author":4335,"museum":107,"description":17460,"tags":17461,"thumbUrl":17462,"material":95,"size":95,"collection":95,"collections":17463,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},227270,"xia-re-tie-yang-ning-shi-227270","《夏热帖》，五代，杨凝式书，纸本，手卷，纵23.8厘米，横33厘米。草书8行，共32字。\n《夏热帖》是杨凝式写的一封信札。内容大致是，因天气炎热，送给僧人消夏饮料“酥密水”表示问候。\n释文：\n“凝式啓：夏熱體履佳宜，長□酥密水，即欲致法席，苦□□□乳之供，酥似不如也。(以下数字残损难识)病？(下二行残损)。”\n首署款：“凝式”。\n后纸有宋王钦若，元鲜于枢、赵孟頫，清张照题跋及乾隆皇帝的释文。\n卷前后及隔水上钤有宋“賢志堂印”，元赵孟頫，明项元汴，清曹溶、纳兰成德、清内府等鉴藏印。另有数方古印不辨。\n此帖是杨凝式唯一的传世草书作品，书法兼取唐颜真卿、柳公权笔法，体势雄奇险崛，运笔爽利挺拔，《神仙起居法》有异曲同工之妙，为杨凝式书法代表作品作之一。\n此帖曾刻入《三希堂法帖》。\n明汪砢玉《珊瑚网书跋》，清吴其贞《书画记》、顾復《平生壮观》、卞永誉《式古堂书画汇考》、内府《石渠宝笈·初篇》等书著录。",[23,398,7,25,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c764be838b3a960970b6f300cc2fe6b.jpg",[],{"id":17465,"slug":17466,"title":17467,"dynasty":3087,"author":454,"museum":107,"description":17468,"tags":17469,"thumbUrl":17470,"material":751,"size":752,"collection":95,"collections":17471,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},226533,"tian-bao-zao-xiang-ti-ji-yi-ming-226533","天保造像题记","此拓原石传近年出土于河南许昌，北齐天保五年（公元554年）造。石高三十五厘米、宽四十七厘米，造像左侧有残损，题记在其右侧，共十六行存二百零八字。题记文词尔雅、书法优美，造像更有一种残缺的美感，确为佳品。",[23,7,198,199,878,1614,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fa44fe4d45cc94e2cfe0bbc41690c9.jpg",[],{"id":17473,"slug":17474,"title":17475,"dynasty":3087,"author":454,"museum":107,"description":17476,"tags":17477,"thumbUrl":17478,"material":95,"size":95,"collection":802,"collections":17479,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},226527,"yuan-you-qi-feng-shi-mu-zhi-yi-ming-226527","元诱妻冯氏墓志","北魏景明四年（公元 503 年）七月刻 制。1923 年出土于洛阳安驾沟。 此墓志曾归于右任收藏。赵万里所著《汉魏南 北朝墓志集释》收录，近年出版的《中国书法大辞 米，宽 52 厘米，魏碑楷书，全志 15 行，每行 18 字， 共计 349 字。该志保存完好，字口清晰，仅二三字 损坏。",[23,198,7,199,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f661c02d5f18310d283c2a1504e841.jpg",[802],{"id":17481,"slug":17482,"title":17483,"dynasty":3087,"author":454,"museum":6532,"description":17484,"tags":17485,"thumbUrl":17486,"material":17487,"size":17488,"collection":802,"collections":17489,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":207},226526,"yuan-zuan-mu-zhi-yi-ming-226526","元纂墓志","元纂，字绍兴，元略弟，颇有将略。为司徒祭酒。闻元熙举兵，因逃奔于邺，至即见擒，与熙俱死。追封北平县公，赠安北将军、恒州刺史，改封高唐县开国侯，食邑八百户。子子献，袭。卒于泾州司马。",[23,198,7,199,3423,1614,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3213f2344cdf563e9a9e69977e16414b.jpg","墨纸","70 x 69 cm",[802],{"id":17491,"slug":17492,"title":17493,"dynasty":18,"author":16245,"museum":107,"description":17494,"tags":17495,"thumbUrl":17496,"material":95,"size":95,"collection":95,"collections":17497,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,24,25,51,50,59,75,5721,1018,252,55,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":17499,"slug":17500,"title":17501,"dynasty":18,"author":17502,"museum":107,"description":17503,"tags":17504,"thumbUrl":17505,"material":751,"size":752,"collection":95,"collections":17506,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},224158,"fang-zhao-da-nian-zhou-li-224158","仿赵大年","周笠","周笠，字牧山，清嘉定人，周颢之侄。善刻竹，与周颢齐名。擅长绘画，山水师法元四家，水墨花卉生意盎然。周笠少时与周颢同学画，同刻竹，但各得其意，各不相袭。清人评其作品“生意远出，神气内涵，万点当虚，千层叠起，浑厚中自露秀色”。周笠晚年客居扬州，六十岁而病卒，今传世作品较少。",[23,24,27,51,55,113,652,110,77,7,1127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe513da2bebf872dfea6fb96b6d62e632.jpg",[],{"id":17508,"slug":17509,"title":17510,"dynasty":162,"author":454,"museum":107,"description":17511,"tags":17512,"thumbUrl":17513,"material":95,"size":95,"collection":96,"collections":17514,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},223536,"fa-hua-jing-fang-bian-pin-yi-ming-223536","法华经方便品","此品与寿量品，是《法华经》的两大中心，为本经正宗分。佛由三昧起，称叹诸佛智慧甚深无量，难解难入，佛说诸佛究竟了知诸法实相——“十如是”。为令声闻、缘觉二乘人断苦缚，得涅槃，佛以方便力，曾分说三乘之教，今日所说才是佛的真实教法。五千增上慢者退席，佛乃宣示唯一大事因缘，所谓开、示、悟、入佛之知见；一切众生皆当作佛，实无三乘。",[7,386,199,878,1498,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa975179b3b6f59e9b8f0cfdd5438601e.jpg",[96],{"id":17516,"slug":17517,"title":17518,"dynasty":88,"author":454,"museum":107,"description":17519,"tags":17520,"thumbUrl":17521,"material":95,"size":17522,"collection":802,"collections":17523,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},223433,"song-ke-wang-xian-zhi-shu-luo-shen-fu-shi-san-xing-yi-ming-223433","宋刻王献之书洛神赋十三行","王献之(344年~386年)，字子敬，小名官奴，王羲之第七子，与王羲之并称“二王”。官至中书令(相当于宰相)，世称“王大令”或“大王令”。南朝宋、齐、梁、陈间，其书风靡一时。他各体皆精，为世所重。\n王献之学书主要继承家法，但他并不墨守成规，而是“兼众家之长，集诸体之美”，形成了自己独特的风格。《洛神赋十三行》，简称《洛神赋帖》或《十三行》，是王献之传世的小楷名作。原墨迹写于麻笺，内容为三国时期魏国著名文学家曹植的名篇《洛神赋》，但流传至唐宋已残损亡佚。流传至今的刻本为宋代根据真迹上石的拓本，分“碧玉版本”和“白玉版本”两种，其中“碧玉版本”较好，因石色如碧玉，世称“碧玉十三行”，明万历年间在杭州西湖葛岭半闲堂旧址出土，现藏首都博物馆(如右图，局部)。\n从此作可以看出，其用笔外拓，康有为说：“提笔中含，顿笔外拓，中含者浑劲，外拓者雄强。”《洛神赋十三行》真正做到了这一点。结体匀称和谐，宽绰舒展；姿态妩媚雍容，如大家闺秀；笔致洒脱，轻松优雅，神采飞扬，清爽健利，奕奕动人。字的大小差异，字距、行距变化自然，给人以“大珠小珠落玉盘”的玲珑美。从线条角度分析，其均匀纤细的点画中蕴涵着极强的质感，雅逸秀丽、不臃不滑，可谓精丽绝伦。这些特点与文章内涵极为和谐，被后人誉为“小楷之极则”。\n前人对此作给予了很高的评价。清杨宾《铁函斋书号》认为“字之秀劲圆润，行世小楷无出其右”。宋董迨《广川书跋》说：“子敬《洛神赋》，字法端劲，是书家所难。偏旁自见，不相映带；分有主客，趣向严整。与王羲之《黄庭经》、《乐毅论》相比，一反遒紧缜之态，神化为劲直疏秀。”清人蒋和评价：“《玉版十行》章法之妙，其行间空白处，俱觉有味。”",[7,199,198,200,17158,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee872e0b522040ad47406eab77992345.jpg","石高29厘米，宽26厘米",[802],{"id":17525,"slug":17526,"title":17527,"dynasty":18,"author":8382,"museum":126,"description":15781,"tags":17528,"thumbUrl":17529,"material":784,"size":15784,"collection":95,"collections":17530,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},222869,"shi-gong-ci-tu-ce-08-leng-mei-222869","十宫词图册08",[23,24,25,26,27,111,1128,60,7,113,458,567,56,428,167,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7348f8fa73a5adb30a79c2bd01d24a6d.jpg",[],{"id":17532,"slug":17533,"title":17534,"dynasty":45,"author":10061,"museum":17535,"description":17536,"tags":17537,"thumbUrl":17538,"material":346,"size":17539,"collection":63,"collections":17540,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":789},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学院","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,25,49,110,59,27,7,60,77,51,56,57,52,53,55,116,2293,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 58厘米，横962 98厘米",[63,218],{"id":17542,"slug":17543,"title":17544,"dynasty":45,"author":17545,"museum":648,"description":17546,"tags":17547,"thumbUrl":17549,"material":477,"size":17550,"collection":95,"collections":17551,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,24,92,25,49,112,50,111,77,7,113,1176,1018,76,139,250,116,17548,569,574],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","30x336",[],{"id":17553,"slug":17554,"title":17555,"dynasty":45,"author":46,"museum":72,"description":17556,"tags":17557,"thumbUrl":17559,"material":17560,"size":17561,"collection":35,"collections":17562,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},222123,"qiu-kui-tu-shen-zhou-222123","秋葵图","此作采用没骨法写生法绘秋葵一枝，叶与干全用老绿一再渍染，因泥金地上有油质，本不托色，故笔迹重，锋芒都尽，布景不多，自有一种简秀朴质之韵。书法较晚年略觉软熟，可能是其五十至六十岁间的作品。作品左边题识：“庭前秋葵一枝。欹栏独立。檀心自舒。犹佳人含思清愁。大有可怜之态。第恐一朝萎露。因寄之丹青以永观。周”钤印“石田”。右边题识：“条条秋风清。湛湛秋露泫。许有向阳心。秋云任舒卷。石田又题于静观阁。” 钤印“启南”。",[23,92,24,25,1250,27,29,7,77,17558],"秋葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b2133c05bcc2d6a54e38c46654ab66.jpg","纸本，泥金，扇面，设色","纵18.0厘米， 横53.6厘米",[35,218],{"id":17564,"slug":17565,"title":17566,"dynasty":179,"author":17567,"museum":2379,"description":17568,"tags":17569,"thumbUrl":17571,"material":1179,"size":17572,"collection":95,"collections":17573,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},221811,"you-yu-xian-tu-juan-yao-ting-mei-221811","有余闲图卷","姚廷美","《有余闲图》的画幅不长，风格和故宫博物院的《雪江游艇图》一致，是典型的文人绘画。它的珍贵处，在于卷后元人题跋超多，前后二十余家，蔚为大观。\n卷前引首是章弼题写的“有余闲”三字篆书，画卷绘一高士坐于临水的茅舍前，姚廷美题：“至正廿年（1360）春正月□日作此，并系鄙语于尾，地偏人远闭柴关，满院松阴白昼闲。眼底风尘浑忘却，坐看流水卧看山。吴兴姚廷美书”。\n后接绢、纸七张，各接缝处有梁清标押缝小印，先是杨维桢绢本《有余闲说》，署“至正庚子（1360）二月初吉东维子书”。",[23,24,49,25,50,59,7,60,77,51,56,57,58,17570],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc526d0800068df29e80deb17c760a832.jpg","23.1 x 84厘米",[],{"id":17575,"slug":17576,"title":17577,"dynasty":179,"author":7381,"museum":1830,"description":17578,"tags":17579,"thumbUrl":17580,"material":17581,"size":17582,"collection":95,"collections":17583,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":100},221724,"han-shan-shi-de-tu-chan-ji-tu-duan-jian-yin-tuo-luo-221724","寒山拾得图禅机图断简","自宋代以来就一直在禅僧间广受喜爱。本图是描绘寒山、拾得二人被问及丰干禅师行踪时，沉默不语、只是哈哈大笑的情景。虽然因袭了将人物脸部画得细致、衣衫以粗略笔致来表现的\n日本在 早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[23,24,25,50,112,113,250,133,7,77,878,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 横49.7cm",[],{"id":17585,"slug":17586,"title":17587,"dynasty":88,"author":17588,"museum":648,"description":17589,"tags":17590,"thumbUrl":17591,"material":784,"size":17592,"collection":95,"collections":17593,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},221662,"qiu-shan-hong-shu-wan-shan-xiao-zhao-221662","秋山红树纨扇","萧照","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。画面左下“李唐笔”款系后人添。",[23,92,24,25,1250,27,51,59,11618,3070,56,251,1678,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd419556bc9a2308e9386f6b62730944.jpg","纵197.8cm，横111.8cm",[],{"id":17595,"slug":17596,"title":9595,"dynasty":88,"author":3830,"museum":648,"description":9596,"tags":17597,"thumbUrl":17604,"material":1179,"size":17605,"collection":95,"collections":17606,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548",[23,24,1328,1250,111,17598,2854,1127,27,17599,17600,17601,57,56,17602,426,17603,6606,4739,7,77],"斧劈皴","夹叶法","书斋","湖光水色","童子","读书场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","25.7×26厘米",[],{"id":17608,"slug":17609,"title":17610,"dynasty":88,"author":7399,"museum":126,"description":17611,"tags":17612,"thumbUrl":17614,"material":784,"size":12664,"collection":95,"collections":17615,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},221492,"qian-tang-guan-chao-tu-quan-juan-li-song-221492","钱塘观潮图全卷","本幅无款印。引首及前后隔水有清乾隆题诗，后幅有张仁近、杨基题跋。收藏印有项子京、清内府、梁清标诸印。\n少年时曾作过木工的画院画家李嵩是善画建筑的高手。台北故宫博物院收藏的李嵩所绘《月夜看潮图》页是对南宋官式建筑的风格和细部特点的忠实写真，而此卷则带有缘物抒情的感情色彩，展现了李嵩的其另一种建筑画风。\n每年农历八月十六至十八日为浙江钱塘江的大潮汐期。自南宋迁都临安（今浙江杭州）后，观潮成为临安一年一度的盛大活动。其时海水沿喇叭形的钱塘江口逆江而上，如“玉域雪岭，际天而来，大声如雷霆，震撼激射，吞天沃日，势极雄豪”。\n此幅画面除表现滔滔的江水，即写“大内临江起飞阁”的都城临安。耐人寻味的是作者并没有以其擅长的细腻精微的表现手法再现皇家殿宇的巍峨辉煌、临安城池的雄伟整饬、“岁岁观潮乐”的繁华热烈，而只以简括的笔法写出成片的半露瓦顶于薄雾树影之中朦胧隐现，茂林中三面围墙的宽大空场或许即南宋的宫室所在，意境颇显空寂。作者活动的年代，正值南宋时局动荡，国家面临内忧外患，而小朝廷又沉湎于“钱塘江上开皇畿”，“贪看秋潮忘黍离”的耽乐奢靡。身为画院待诏得以侍于君侧的李嵩忠君忧国而又无力回天的孤寂心境在画面中似有曲折流露。",[23,92,24,25,49,111,27,60,77,7,17613,7363,113,458,54],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fd3ce03bbccea8289caf4b7a3e6d4f.jpg",[],{"id":17617,"slug":17618,"title":17619,"dynasty":88,"author":4981,"museum":648,"description":17620,"tags":17621,"thumbUrl":17622,"material":312,"size":17623,"collection":96,"collections":17624,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},221480,"wang-shi-bao-ben-an-ji-zhang-ji-zhi-221480","汪氏报本庵记","帖后有文徵明跋、项元汴题记。卷前后又有项氏诸印和卞永誉式古堂印，清乾隆、嘉庆、宣统三朝印玺。文徵明云：“按《皇宋书录》，即之，安国之后，甚能传其家学。……。其书师颜鲁公、尝为高宗所称。即之稍变而刻急，遂成名家。”《汪氏报本庵记》一文原为楼钥所撰，汪氏是楼的外祖家，不知道与张即之有无瓜葛，要录写这篇文章。书后的“淳熙十二年(公元1252年)三月二日”款，原应在文内，为后人挖移篇末。此卷小字行书，运笔流畅而劲健，比即之其它擘窠书《杜甫诗卷》要秀逸些，是张氏传世墨迹中的佳作。 乾隆时曾刻入《墨妙轩法帖》第四册。\n相关说明:\n北宋遭靖康之耻，汴京被金兵陷落，徽、钦二帝被虏，宋高宗赵构南逃，建都于临安，此便是历史上的南宋王朝，自建炎元年至祥兴二年先后易九主计一百五十二年。南宋虽苟安一时，但江南之地，物产丰富，人杰地灵，且宋高宗赵构雅好翰墨，北宋刊刻之《淳化阁帖》至南宋时影响渐广，学米《芾》学黄（山谷》学二王之风蔚然一时，帖学又得到长足的发展《鼎帖》、《淳熙秘阁续帖》、《世釆堂帖》相继问世，高宗还设置书学，命米友仁任书学博士．在这种文化氛围的熏陶下，南宋亦出现了不少著名的书家，如岳飞、吴说、范成大、吴琚、朱熹、陆游、姜夔、张即之、文天祥、赵孟坚等人．从总体上来说，南宋书法不及北宋之新意迭出，生气蓬勃，显得比较保守，模仿之风亦较盛，但其中亦不乏富有创意和个性的书家，张即之即是其中的代表人物。\n张即之生于南宋孝宗淳熙十三年（一一八六），卒于理宗咸淳二年（一二六六），字溫夫，号樗寮，安徽和州人．他是参知政事张孝伯之子，南宋的著名书家张孝祥又是他的伯父、即之年青时即以父荫补官．授承务郎，父亡后擢司农寺丞，调任嘉兴知事，因遭受他人巫陷，未赴任上，特授直秘阁而离职，即之一生仕途并不顺利，据《李伯嘉墓志铭》中记其官职为“太中大夫，直秘阁致仕、历阳县开国男、食邑三百户、赐紫金鱼袋”，后引年告老，终年八十一岁。\n张即之的书法在幼年时便受到其伯父张孝祥的影响，始学米芾，后则肆力于褚遂良楷书笔法，在这基础之上，又糅合了隋唐人写经的笔意而自创一格，特别是他的楷书，写得清劲绝俗，用笔极其精到细腻，发笔处喜用搭锋，点画之间，顾盼呼应，而兼行草笔意，又善于用方笔侧锋，显得姿态生动，极其圆熟．即之的书法在南宋时名声就很大，金人常出高价来收购他的宇，据《宋史本传》谓：“即之以能书闻天下，金人尤宝其翰墨”。张即之小楷以精巧圆熟为特征，正如梁闻山《评书帖》所谓：“原自欧出，参有褚法，结体尚紧，特多讨巧之处而不成大方耳”。其实小楷以精巧为特征本身即是一种风格，况即之喜写经文，而经文中重复的字很多，比较难写，即之能在楷法中自成一格，别开生面是非常不容易的，正如叶昌炽《语石．张即之一则》中谓：“张即之，书中之畸士也。好用侧笔，望之如矮松偃盖，婆娑可爱，其运笔以收为纵，又如长房缩地，咫尺有千里之势”。本册所载《张即之书报本庵记》后有“淳熙十二年三月二日二“，考淳熙十二年为一一八五年，而张即之生于一一八六年，故知此为报本庵记写于淳熙十二年，非即之书于此午也．此册行楷骨力劲健，点画精到，结字生动，笔意流动，显得神采焕发，给人以一种轻松自如之感，从其成熟的风格上来看，当为其晚年时所书，无疑是其生平的代表作品。",[23,92,25,49,60,7,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e8ee6f88ad6a055877d8d6149cbe3c.jpg","，纵29.3厘米，横91.4厘米",[96],{"id":17626,"slug":17627,"title":17628,"dynasty":88,"author":17629,"museum":126,"description":17630,"tags":17631,"thumbUrl":17632,"material":6894,"size":17633,"collection":95,"collections":17634,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},221410,"gui-zhai-tie-li-jian-zhong-221410","贵宅帖","李建中","释文：\n“貴宅諸郎各計安侍奉，所示請改章服。昨東封須得出身歷任家狀一本，並須齎擎官告敕牒去，未審此來如何行遣也。兼爲莊子事，已令彼僧在三學院安下，近已往彼去來回。此莊始初見說甚好，只是少人管勾，若未貨，可且收拾課租，亦是長計，不知雅意如何也。侯親家亦言可惜拈卻。建中（花押）諮。劉秀才久在科場，洛中拔解，今西遊兼欲祗侯府主，希略一見也。”\n“谘”同咨，是公文的一种。宋代百官有事申述，皆用“状”，唯学士院用咨报，由当值学士一人押字。《贵宅帖》就是这样一篇咨文。文中主要说了三件事：先说与“东封”有关事宜，“东封”是指大中祥符元年（1008年）宋真宗封祀泰山之行；再谈“庄子事”；最后提到“刘秀才”，此人可能即《同年帖》中李建中的女婿刘仲谟。\n《贵宅帖》作于李建中64岁时，书风沉着朴厚，具其所特有的“风骨俊整，骨肉停匀”的艺术美感。帖后明代刘日升七言诗题，称建中书有钟(繇)、王(羲之)法度，足以令后学者效法。此帖钤“东山”“无恙”及项元汴诸鉴藏印。\n明汪珂玉《珊瑚网书跋》、郁逢庆《郁氏读书画题跋记》、吴其贞《吴氏书画记》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》等书著录。",[23,7,60,77,432,433,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e53bb741113da6474d5694e8d1bf6f.jpg","纵31厘米，横27.5厘米",[],{"id":17636,"slug":17637,"title":17638,"dynasty":88,"author":17639,"museum":72,"description":17640,"tags":17641,"thumbUrl":17647,"material":312,"size":17648,"collection":96,"collections":17649,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},221234,"shu-xi-jiang-yue-ci-zhong-shu-221234","书西江月词","仲殊","北宋僧人、词人。字师利。安州（今湖北安陆）人。本姓张，名挥，仲殊为其法号。\n曾应进士科考试。生卒年不详。年轻时游荡不羁，几乎被妻子毒死，弃家为僧，先后寓居苏州承天寺、杭州宝月寺，因时常食蜜以解毒，人称蜜殊；或又用其俗名称他为僧挥。他与苏轼往来甚厚。徽宗崇宁年间自缢而死。",[23,92,24,25,7,60,50,17642,17643,17644,6297,7989,845,3040,17645,17646],"红旗","黄钺","湖","帆","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893f5c450e666968341f30dfe2e9e801.jpg","48.7x70.3厘米",[96],{"id":17651,"slug":17652,"title":17653,"dynasty":88,"author":17654,"museum":72,"description":17655,"tags":17656,"thumbUrl":17658,"material":312,"size":17659,"collection":96,"collections":17660,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},221229,"shu-zha-zi-zhou-hu-221229","书劄子","周虎","周虎(1161--1229）字叔子。祖籍临淮(治今江苏洪泽县临淮镇），靖康中迁居常熟。能诗文，善写大字，并习武艺。为人倜傥，轻财尚气。南宋庆元二年(1196年），举武科第一。曾出使金国为副使，后任和州守。开禧二年(1206年），金兵会攻和州，时城中守兵不足2000，周激励将士，誓死守城。一月中作战30余次，杀金兵帅石石乞跶并将领十数人。金兵受重创败退，由此与宋议和，江淮一带得以安定。和州百姓曾立生祠祀其母子。卒后谥“忠惠”。后人并立武状元坊，以为纪念。",[23,2601,25,7,60,50,2602,17657],"书札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebcc1a5057c18e1402f159c61af862c.jpg","48.7x70.3",[96],{"id":17662,"slug":17663,"title":17664,"dynasty":45,"author":1313,"museum":72,"description":17665,"tags":17666,"thumbUrl":17667,"material":312,"size":17668,"collection":96,"collections":17669,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},220950,"du-fu-ye-yuan-huang-di-shi-dong-qi-chang-220950","杜甫谒元皇帝诗","这幅墨迹实为临摹唐代大书法家徐浩所书写的杜少陵诗《冬日洛城北谒玄元皇帝庙》。董其昌晚年楷书承颜鲁公圆劲朴厚之风。而我们要知道，在唐代，事实上徐浩的书名要远远超过颜真卿。据说，徐浩曾传授颜真卿以笔法，可谓颜鲁公的老师。那么，董其昌临徐浩的文本，则是其追索笔法的用意了。你看，董其昌写清楚了，他所临的版本“相传为徐季海所书，虽方实圆，脱去虞褚姿媚态，余每临之，此其一也。”",[23,7,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07ba04c1cc98e019c868058e4aaa874e.jpg","纵181厘米，横46厘米",[96],{"id":17671,"slug":17672,"title":17673,"dynasty":45,"author":1015,"museum":7039,"description":17674,"tags":17675,"thumbUrl":17676,"material":9681,"size":17677,"collection":95,"collections":17678,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":95},220757,"xing-shu-ji-jin-ling-you-ren-ci-wen-zheng-ming-220757","行书寄金陵友人词","笔意温润秀劲，带着晋唐遗韵，牵丝映带自然灵动，字势欹正相济，整幅行气贯通如一泓春水迤逦舒展。\n笔墨随着词作心绪起伏，粗细藏着幽思浓淡，时而舒展如堤畔杨柳曳风，时而收敛如幽窗怀人蹙眉。怀友念旧的缱绻深意融在笔锋起落，十年旧梦随着墨色晕开，书文合璧，清雅书卷气裹着沉郁真挚的心境，在流转的笔意里，将故地重逢的怅惘与昔年风流的追忆缓缓铺陈，笔底皆是一往情深。",[23,7,60,25,75,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00861222d32a45a6960c5ced59ed9103.jpg","348 × 103 cm",[],{"id":17680,"slug":17681,"title":17682,"dynasty":88,"author":15894,"museum":970,"description":17683,"tags":17684,"thumbUrl":17686,"material":79,"size":95,"collection":63,"collections":17687,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":100},219860,"xue-shan-tu-song-di-219860","雪山图","中国的山水画在肇始之初就承载着文人和士大夫的精神情愫，不论是“天人合一”“明心见性”还是“逍遥隐逸”都与山水画的发生发展过从甚密。并且，中国社会的每一次大变革或者说社会动荡也都映射到影响到山水画的形态之中，成为其转变的重要诱因。先秦的“百家争鸣”奠定了中国画的哲学依据，以线表达的造型方式和魏晋的“畅神”思想又构建了中国画“写意”的整体旨趣。中国人不是不追求“再现物象”的写实主义，而是在追求的过程中没有抛弃“精神性”的哲学依据。所以，中国画一直就是在写实和写意的文化间性上不断求索，自我觉醒。直到两宋，这种现象达到高峰也宣告终结。究其缘由，重点有四：其一，唐代山水画理和山水田园诗高度发达的“理论先行”现象为五代和宋初的画家提供了技法上跟进的可能。其二，宋代“理学”的主导地位促使两宋画家对自然物态描绘上的理性追求。其三，南宋的特殊社会状况一方面促进了山水画图示的新取向，一方面也使山水画走向“艰涩刻板”的程式化囹囿。其四，文人画思潮的逐渐势强将山水画的精神内涵带入“得之于象外”的“适性”之作和技法上温婉醇和的“天真平淡”。\n从以上四点中也可以看出，南宋的山水画是在文人画之前的一个集“理性化”“图式化”和“风格化”的高峰期，而在这之后，除明代初年“院体”对它的短暂重视之外，几乎影响甚微。此幅“河阳宋迪画”的雪景山水正是南宋山水画的突出代表。纵观全幅，气象萧森沉郁，格调清刚峻拔，白山黑水间透出一股雪景的清旷和雅致，让人体会着浑然静穆的冷静。全幅构图以深远和高远为主。近处幽谷深邃，远景峰峦迢递，加以寒江和虚空的间隔使画面景物分明，层层递进，既有北宋山水巍峨雄壮之势，兼具马远、夏圭“半边一角”之形。近景左侧古木嵯峨相生，寒枝低垂，因风摇曳。巨石陡峭突兀，竞相峥嵘。期间一低矮乔木盘旋石上，干若曲铁，枝如银钩，全出马远画法，虽存于幽谷险境，亦生机勃勃不挠。巨石间一浮桥幽悬，将观者的视线引入古木之下的高士寒舍。舍内高士凭窗，注视着院落中煮茗饲鹤的童子，似有语相嘱，又悠然散淡，无限天真。更可观处，画家于山谷屋旁杂以翠竹寒梅，覆雪怒放，生机盎然。全画以白粉作雪，赋于物象高处，又以白粉散落渲染于水天之中，重墨之内，更增雪天景物杳冥之相。远山峰顶，以细密之点攒簇成树，有别于其他植被，可见穷究物理、物态之功。画中浮桥之栏、高士之衣，又以朱红点染，这一抹热色活跃了气氛也打破了色彩的单一。山石全用折笔廓形和大斧劈皴，瘦硬之感强烈，折射出画家内心深处的刚毅。实可宝之！",[24,25,49,50,59,51,17685,651,652,7,60],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef06665fc5cec6884293eb85a3b2e69.jpg",[63],{"id":17689,"slug":17690,"title":17691,"dynasty":88,"author":17692,"museum":72,"description":17693,"tags":17694,"thumbUrl":17695,"material":184,"size":95,"collection":96,"collections":17696,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},219641,"zhi-zhi-fu-she-ren-chi-du-zhao-bian-219641","致知府舍人尺牍","赵抃","落笔瘦劲爽利，提转藏裹间尽显温润君子气度。通篇章法疏朗留白，气息匀净安宁，无一字赘笔炫技，只以凝练沉稳的笔墨，写就日常谢启心绪。将宋代尚意风雅融于尺牍寸方，把文人清简端方的襟怀藏于毫端。作为日常书札，不见刻意雕琢，只以平实笔触叙写往来，随性雅致间尽显宋人手札的萧散意趣，尺幅虽小却余韵悠长，尽显士大夫的清雅风骨。",[7,60,3155,312,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240deac34ce50dd9ba6240140838dd3d.jpg",[96],{"id":17698,"slug":17699,"title":17700,"dynasty":18,"author":411,"museum":442,"description":17010,"tags":17701,"thumbUrl":17702,"material":33,"size":17013,"collection":35,"collections":17703,"showCount":17032,"zanCount":882,"manualWeight":39,"mainColor":40},214558,"mo-zui-za-hua-tu-ce-9-shi-tao-214558","墨醉杂画图册-9",[23,24,25,26,50,134,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cdf81f64770e9e9b552ef55ba85f192.jpg",[35],{"id":17705,"slug":17706,"title":17707,"dynasty":18,"author":411,"museum":442,"description":17010,"tags":17708,"thumbUrl":17710,"material":33,"size":17013,"collection":35,"collections":17711,"showCount":17032,"zanCount":39,"manualWeight":39,"mainColor":40},214556,"mo-zui-za-hua-tu-ce-11-shi-tao-214556","墨醉杂画图册-11",[23,24,25,26,50,129,7,77,17709,667],"黄瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febdbd76a06b62918678b9c5d1e935e84.jpg",[35],{"id":17713,"slug":17714,"title":17715,"dynasty":88,"author":14322,"museum":72,"description":14323,"tags":17716,"thumbUrl":17717,"material":751,"size":752,"collection":95,"collections":17718,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},291006,"wu-liang-shou-fo-xiang-zhou-chen-ju-zhong-291006","无量寿佛像轴",[24,92,75,878,27,113,16624,797,7,77,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a06c99350f9755c09cbed1f5acce7a.jpg",[],{"id":17720,"slug":17721,"title":17722,"dynasty":45,"author":2916,"museum":107,"description":2917,"tags":17723,"thumbUrl":17725,"material":751,"size":752,"collection":95,"collections":17726,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},290915,"tian-chi-shi-bi-zhou-lu-zhi-290915","天池石壁轴",[92,24,75,1328,27,59,17724,1018,458,54,77,7],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156a8f9e74871624d3b962e84bd74d5c.jpg",[],{"id":17728,"slug":17729,"title":17730,"dynasty":45,"author":2071,"museum":72,"description":6469,"tags":17731,"thumbUrl":17734,"material":751,"size":752,"collection":95,"collections":17735,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},290869,"tong-yin-zhou-jing-tu-zhou-chou-ying-290869","桐阴昼静图轴",[92,24,75,1127,27,111,51,17732,53,266,55,251,7,77,17733],"桐树","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8163886d5a7378a788f41f5a260d606.jpg",[],{"id":17737,"slug":17738,"title":12098,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":17739,"thumbUrl":17740,"material":751,"size":752,"collection":95,"collections":17741,"showCount":391,"zanCount":882,"manualWeight":39,"mainColor":40},290534,"gu-mu-zhu-shi-yun-shou-ping-290534",[24,26,50,115,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5c92b3f15cc3844a1b66c415499f16.jpg",[],{"id":17743,"slug":17744,"title":17745,"dynasty":88,"author":12087,"museum":72,"description":12088,"tags":17746,"thumbUrl":17748,"material":751,"size":752,"collection":95,"collections":17749,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},290338,"lu-yan-zhou-cui-bai-290338","芦雁轴",[92,24,75,29,111,27,17747,772,7,77,2061],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4d378fdf790d0e098e75e85ed5752a.jpg",[],{"id":17751,"slug":17752,"title":1871,"dynasty":45,"author":17753,"museum":72,"description":17754,"tags":17755,"thumbUrl":17757,"material":33,"size":17758,"collection":95,"collections":17759,"showCount":391,"zanCount":882,"manualWeight":39,"mainColor":40},290316,"sui-chao-tu-zhou-yuan-shang-tong-290316","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[24,75,92,50,59,51,458,52,53,57,115,1018,567,113,55,77,7,60,17756],"岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0196a7d4a11e4bd118161ffb68611fa1.jpg","115.3x58.2",[],{"id":17761,"slug":17762,"title":17763,"dynasty":88,"author":1147,"museum":107,"description":17764,"tags":17765,"thumbUrl":17766,"material":751,"size":752,"collection":95,"collections":17767,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},289780,"yao-feng-qi-shu-tu-li-cheng-289780","瑶峰琪树图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[92,24,25,51,50,704,57,1151,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f229c5713131362d665ca7363e7250.jpg",[],{"id":17769,"slug":17770,"title":15874,"dynasty":2365,"author":16561,"museum":72,"description":17771,"tags":17772,"thumbUrl":17773,"material":751,"size":752,"collection":95,"collections":17774,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},289773,"kan-shu-tu-huang-quan-289773","此图绘一文士勘书之暇挑耳自娱的情景。文人白衣长髯，袒胸赤足，坐于书几前，左手扶椅，右手作挑耳状，神态怡然自得。书几上有摊开的书卷，一书童于几旁侍立。文人身后为三叠屏风，上画青绿设色山水。屏风前横一长案，上陈卷帙。画家十分巧妙地选取画中人“校读间隙挑耳”这一看似平常的动作，着意刻画了其惬意的神情。加之环境的铺陈、烘托，生动地表现了南唐贵族文人闲适的情状，展示出他们日常生活的一个侧面。\n该图描写手法高超，形神兼备，反映了昔日勘书者的荡然性格与狂放的气质。画中环境，为室内陈设着的屏风、几案、卷册之类。全图构思十分精密，合适有度。",[23,92,24,25,75,27,113,458,51,55,77,7,1128,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35154778504952e4d2bcf608d1e747fc.jpg",[],{"id":17776,"slug":17777,"title":6699,"dynasty":88,"author":369,"museum":107,"description":6700,"tags":17778,"thumbUrl":17779,"material":751,"size":752,"collection":95,"collections":17780,"showCount":391,"zanCount":882,"manualWeight":39,"mainColor":40},289342,"du-he-tu-zhao-ji-289342",[24,25,26,27,111,29,3388,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2bba4c4b362e09d35c162ba5aeb1c6.jpg",[],{"id":17782,"slug":17783,"title":807,"dynasty":88,"author":17784,"museum":72,"description":17785,"tags":17786,"thumbUrl":17787,"material":94,"size":17788,"collection":95,"collections":17789,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},289107,"shan-shui-tu-gou-long-shuang-289107","勾龙爽","勾龙爽，又名句龙爽，四川人，生卒年月不详。\n宋代宫廷画家，擅长人物画。神宗时官翰林待诏。时称他画的人物“其状质野，有返朴之意。” 作品有《西成民乐图卷》《岁丰图卷》等。",[24,92,1328,50,59,54,55,52,251,2219,56,7,77,4739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":17791,"slug":17792,"title":17793,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":17794,"thumbUrl":17796,"material":751,"size":752,"collection":95,"collections":17797,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},288233,"pu-shi-tu-wu-chang-shuo-288233","葡石图",[23,24,75,27,129,29,140,250,17795,7,77],"篱栅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb383eea42ba1bb69dffc0ad52bc2e546.jpg",[],{"id":17799,"slug":17800,"title":17801,"dynasty":18,"author":7498,"museum":107,"description":17802,"tags":17803,"thumbUrl":17804,"material":751,"size":752,"collection":95,"collections":17805,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":3443},288178,"xie-ling-yun-shi-shi-shan-shi-zheng-fu-288178","谢灵运石室山诗","郑簠（1622～1693）清代书法家。字汝器，号谷口，江苏上元(今南京）人。原籍福建莆田，明洪武间祖父一辈迁至金陵（今江苏南京）。为名医郑之彦次子，深得家传医学，以行医为业，终学不仕，工书，雅好文艺，善收藏碑刻，尤喜汉碑。",[7,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50297e2f85a6045b7ddbebeae4795c33.jpg",[],{"id":17807,"slug":17808,"title":17809,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":17810,"thumbUrl":17812,"material":751,"size":752,"collection":95,"collections":17813,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},288177,"zhuan-shu-jie-lin-shi-gu-wen-wu-chang-shuo-288177","篆书节临石鼓文",[23,25,24,7,457,17811],"节临石鼓文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d85e3156e909076c3c46b3d42c408b9.jpg",[],{"id":17815,"slug":17816,"title":17817,"dynasty":162,"author":4158,"museum":107,"description":17818,"tags":17819,"thumbUrl":17820,"material":751,"size":752,"collection":95,"collections":17821,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":3443},288114,"fu-yi-jiao-jing-sun-guo-ting-288114","佛遗教经","孙过庭（646～691），名虔礼，以字行。杭州富阳（今属浙江）人，一作陈留（今河南开封）人。唐代书法家、书法理论家。\n孙过庭著《书谱》2卷，已佚。今存《书谱序》，分溯源流、辨书体、评名迹、述笔法、诫学者、伤知音6部分，文思缜密，言简意深，在古代书法理论史上占有重要地位。其中许多论点，如学书三阶段、创作中的五乖五合等，对后人仍有意义。有墨迹《书谱》传世。",[7,386,878,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47c00928601abc1178dc70456928ad2.jpg",[],{"id":17823,"slug":17824,"title":17825,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":17826,"thumbUrl":17827,"material":751,"size":752,"collection":95,"collections":17828,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},288107,"zhu-shan-tang-lian-ju-ce-yan-zhen-qing-288107","竹山堂连句册",[7,199,26,25,92,200,1002],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ffe7149ebe943943cbfc7b59fb81d9.jpg",[],{"id":17830,"slug":17831,"title":17832,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":17833,"thumbUrl":17836,"material":751,"size":752,"collection":95,"collections":17837,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},287965,"mo-yan-li-ben-zhi-gong-tu-juan-li-gong-lin-287965","摹阎立本职贡图卷",[92,24,49,50,27,113,17834,110,7,9812,17835],"异兽","职贡场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b7a151b47854a48b5d73202a4e4082.jpg",[],{"id":17839,"slug":17840,"title":17841,"dynasty":45,"author":2071,"museum":107,"description":17842,"tags":17843,"thumbUrl":17845,"material":751,"size":752,"collection":95,"collections":17846,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},287866,"tao-yuan-tu-juan-chou-ying-287866","桃源图卷","东晋陶渊明所作的《桃花源记》已成了文人墨客眼中的理想隐居之所，他们或通过诗歌形式，或通过笔墨方式，把理想中的桃花源呈现出来，这样的作品不胜枚举，今天给各位读者带来的就是明代画家仇英创作的一幅青绿山水作品《桃源图卷》。画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。",[23,92,24,25,49,27,111,51,17844,251,53,555,152,2028,7,199,6054],"桃源","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885f62ba6d376f4e1e9e6dbf9f5787a2.jpg",[],{"id":17848,"slug":17849,"title":16078,"dynasty":88,"author":7096,"museum":107,"description":17850,"tags":17851,"thumbUrl":17852,"material":751,"size":752,"collection":95,"collections":17853,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},287718,"xi-hu-liu-ting-tu-xia-gui-287718","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润",[92,24,1328,50,27,59,1919,52,53,54,55,458,6605,820,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88e6785745c02b8900bab6ee66c74eb.jpg",[],{"id":17855,"slug":17856,"title":17857,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":17858,"thumbUrl":17860,"material":751,"size":752,"collection":95,"collections":17861,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":207},287392,"chun-xuan-tu-shen-se-shen-zhou-287392","椿萱图(深色)",[23,24,75,25,27,115,17859,250,29,7],"萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c774d998dbd25555dfc5ad373b9f0a.jpg",[],{"id":17863,"slug":17864,"title":17865,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":17866,"thumbUrl":17868,"material":751,"size":752,"collection":95,"collections":17869,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},287344,"xiao-shu-tu-chen-hong-shou-287344","校书图",[23,24,25,75,27,113,131,834,1498,77,7,426,17867],"校书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb6ed904b9db960628b800d036e09ae.jpg",[],{"id":17871,"slug":17872,"title":17873,"dynasty":179,"author":17874,"museum":107,"description":17875,"tags":17876,"thumbUrl":17877,"material":751,"size":752,"collection":95,"collections":17878,"showCount":391,"zanCount":788,"manualWeight":39,"mainColor":100},241469,"jin-gang-jing-juan-gu-xin-241469","金刚经卷","顾信","代太仓墨妙亭与淮云寺的建造者顾信是元末名人昆山顾阿瑛的父亲",[23,7,386,199,49,77,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30ad66996841ada2b78c2b273b72b4e.jpg",[],{"id":17880,"slug":17881,"title":17882,"dynasty":18,"author":17883,"museum":107,"description":17884,"tags":17885,"thumbUrl":17886,"material":312,"size":95,"collection":96,"collections":17887,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},241323,"ge-ti-shu-lin-tie-si-zhong-ping-weng-fang-gang-241323","各体书临帖四种屏","翁方纲","翁方綱（1733～1818年），字正三，一字忠敍，號覃溪，晚號蘇齋，順天大興（今北京大興區）人。清代書法家、文學家、金石學家。\n乾隆十七年進士，授編修。歷督廣東、江西、山東三省學政，官至內閣學士。嘉慶二十三年，卒。\n精通金石、譜錄、書畫、詞章之學，書法與同時的劉墉、梁同書、王文治齊名。論詩創“肌理説”，著有《粵東金石略》《蘇米齋蘭亭考》《復初齋詩文集》《小石帆亭著錄》等。",[25,7,110,60,199,457,1613,398,50,312,77,12955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2f5361f3aeafb6e3eaaacb213bbc36.jpg",[96],{"id":17889,"slug":17890,"title":17891,"dynasty":45,"author":5463,"museum":107,"description":17892,"tags":17893,"thumbUrl":17894,"material":312,"size":17895,"collection":96,"collections":17896,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},241027,"zhang-rui-tu-wu-jue-zhou-zhang-rui-tu-241027","张瑞图五绝轴","释文：\n“与君青眼尽，共有白云心。不向东山去，旦旦春草深。瑞图。”\n本幅款钤“张长公”、“瑞图”印2方，迎首钤“文学侍从之臣”印。收藏印钤“固始张氏镜菡榭嗣主玮审定续考”、“志仁历史文物馆藏”。\n此轴书法从钟、王入手，笔势生辣，点画纵横，坚实劲挺，虽为行书而折笔侧入，形体尖锐，起止转折倔强，力量饱满，笔墨酣畅。清秦祖永《桐阴论画》评：“瑞图书法奇逸，钟王之外，另辟蹊径。”",[7,60,398,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5f6bfdd672775f742fb91dad10f457.jpg","纵172.7厘米，横43.5厘米",[96],{"id":17898,"slug":17899,"title":17900,"dynasty":18,"author":3261,"museum":20,"description":16683,"tags":17901,"thumbUrl":17902,"material":312,"size":17903,"collection":96,"collections":17904,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},240989,"zhuan-shu-qi-yan-lian-deng-shi-ru-240989","篆书七言联",[457,2136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9dac009da8df7b2372ff3f123f2e4.jpg","纵168.8厘米；横84.3厘米",[96],{"id":17906,"slug":17907,"title":17908,"dynasty":18,"author":14418,"museum":14109,"description":17909,"tags":17910,"thumbUrl":17911,"material":312,"size":17912,"collection":96,"collections":17913,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},240644,"xun-zi-yu-si-tiao-ping-mo-you-zhi-240644","荀子语四条屏","莫友芝（1811～1871）字子偲，自号郘亭，又号紫泉、眲叟，晚清 家世传业，通文字训诂之学\n莫友芝著述甚多，他的《宋元旧本书经眼录》及附录、《知见传本书目》、《恃静斋藏纪要》，为目录版本学者所重视；《他的《郘亭遗诗》八卷，收集诗作546首，《郘亭诗抄》六卷，收401首，《影山词》二卷，外集一卷，收集词作百余阕，另有《素阴杂记》一卷，《樗茧谱注》一卷（按：《樗茧谱》一卷，郑珍著。），《资治通鉴索隐》等。此外，他还收集了贵州266家诗人的诗2290余首，编成《黔诗纪略》三十三卷。这些著作，有很高的文学价值和史料价值。",[7,457,12955,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f10c81f241fbe5c57c1134e7425a58.jpg","128×32cm×4",[96],{"id":17915,"slug":17916,"title":17917,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":17918,"thumbUrl":17919,"material":751,"size":752,"collection":95,"collections":17920,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},240616,"xing-kai-you-lu-fu-zhou-xu-wei-240616","行楷由鹿赋轴",[24,25,75,60,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a85756ce60599f919baff7faf11598.jpg",[],{"id":17922,"slug":17923,"title":17924,"dynasty":45,"author":14822,"museum":126,"description":17925,"tags":17926,"thumbUrl":17927,"material":17928,"size":17929,"collection":96,"collections":17930,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},240394,"shi-zhou-huang-dao-zhou-240394","诗轴","黄道周（1585年3月9日—1646年4月20日 ），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[7,75,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e7d9d45111b0594551cedc04ee5b5e.jpg","綾本行草","158.6×50.4cm",[96],{"id":17932,"slug":17933,"title":2131,"dynasty":18,"author":830,"museum":126,"description":17934,"tags":17935,"thumbUrl":17936,"material":312,"size":17937,"collection":96,"collections":17938,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},240392,"zhuan-shu-ba-yan-lian-wu-chang-shuo-240392","释文：\n花时鲤帛寓安迺乐，辞中虎帅写翰为猷。 集猎碣字。时丁巳先花朝数日客春申浦。安吉吴昌硕。\n此件集石鼓文对联书于民国六年（1917年），吴昌硕时年74岁。笔法浑厚流畅，方圆兼济，变化丰富，充满古朴凝练、沉实恣肆的金石气，是吴昌硕晚年创作的石鼓文精品。\n石鼓为战国时期秦国刻石，以形状似鼓而得名，因铭文内容记述贵族游猎事，又称猎碣。石鼓共十只，分刻先秦古歌一篇。石鼓文是籀文向小篆过渡阶段的文字，其体态堂皇整肃，笔法雄浑圆活，风神气质在古文字书法中独树一帜。因时代久远，字迹多有磨灭。石鼓现藏北京故宫博物院（注：展出地点会变化）。\n作为继邓石如之后的又一位篆书大师，吴昌硕将邓石如立足小篆的探索领域拓展到商周大篆，主要围绕石鼓文进行创作。他打破了清人以笔追金的拟古观念，以自然舒展的行书笔法入篆，从神形两方面表现三代文字雄强苍浑的审美趣味，为大篆古法注入了新的气息。",[457,2136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c8a69672213d323d9e057a5fb9345f.jpg","纵172.5厘米，横36.7厘米",[96],{"id":17940,"slug":17941,"title":17942,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":17944,"thumbUrl":17945,"material":95,"size":95,"collection":96,"collections":17946,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},239689,"wan-bai-shan-ren-mu-zhi-ming-ce-he-shao-ji-239689","完白山人墓志铭册","何绍基（1799年—1873年），字子贞，号东洲，别号东洲居士，晚号猿叟（一作蝯叟），湖南道州（今道县）人，晚清诗人、画家、书法家。\n道光十六年进士。咸丰初简四川学政，曾典福建等乡试。历主山东泺源、长沙城南书院。\n何绍基通经史，精小学金石碑版。据《大戴记》考证《礼经》。书法初学颜真卿，又融汉魏而自成一家，尤长草书。著有《惜道味斋经说》《东洲草堂诗·文钞》《说文段注驳正》等。",[7,457,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdca624b68ff2d04fb334f2defbfb077.jpg",[96],{"id":17948,"slug":17949,"title":17950,"dynasty":7844,"author":454,"museum":107,"description":17951,"tags":17952,"thumbUrl":17953,"material":95,"size":95,"collection":96,"collections":17954,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},239683,"da-ji-jing-juan-yi-ming-239683","大集经卷","无款董孝赞大方等",[23,7,386,49,199,878,1498,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205cba82e2836f633d25bd2be3a039c1.jpg",[96],{"id":17956,"slug":17957,"title":17958,"dynasty":45,"author":16345,"museum":107,"description":17959,"tags":17960,"thumbUrl":17961,"material":95,"size":95,"collection":63,"collections":17962,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},239013,"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,25,75,50,59,7,77,51,55,56,57,113,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[63,187,96],{"id":17964,"slug":17965,"title":17966,"dynasty":18,"author":17967,"museum":107,"description":17968,"tags":17969,"thumbUrl":17970,"material":95,"size":95,"collection":171,"collections":17971,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},238940,"hua-guan-gui-yu-zhou-hua-guan-238940","华冠归渔轴","华冠","华冠 (公元18世纪)〔清〕原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。\n原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。乾隆帝南巡，写御容称赏，旋征召入都，供绘事，为藩邸所赏，声溢公卿，归里后求画者麇至。年七十余尝画邑庙径丈仙像壁画。兼工山水、木石、花卉。",[24,25,75,50,113,1752,820,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea2c454a335712a9a7ee2339f38b2fe.jpg",[171,187],{"id":17973,"slug":17974,"title":17975,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":17976,"thumbUrl":17977,"material":751,"size":752,"collection":95,"collections":17978,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},237969,"hong-ren-qiu-feng-shan-hong-ren-237969","弘仁秋枫扇",[24,1250,50,59,51,16217,113,268,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee672f2e629a5f8260a53c32f8a229d6.jpg",[],{"id":17980,"slug":17981,"title":5945,"dynasty":18,"author":3367,"museum":107,"description":6387,"tags":17982,"thumbUrl":17983,"material":751,"size":752,"collection":95,"collections":17984,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},235708,"hua-hui-tu-ce-zou-yi-gui-235708",[24,25,26,111,27,29,30,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6086d34e6ad0d6be64dfbeba2af35a.jpg",[],{"id":17986,"slug":17987,"title":17988,"dynasty":18,"author":454,"museum":126,"description":17989,"tags":17990,"thumbUrl":17991,"material":1179,"size":17992,"collection":63,"collections":17993,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},234898,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234898","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,26,27,60,7,77,51,458,57,56,116,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d9b3ab8de6f6a73f21664055f4b51a.jpg","25.7×33厘米",[63,218],{"id":17995,"slug":17996,"title":17997,"dynasty":45,"author":342,"museum":107,"description":17998,"tags":17999,"thumbUrl":18000,"material":95,"size":95,"collection":95,"collections":18001,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},234224,"wen-zheng-ming-yu-xi-tu-juan-wen-zheng-ming-234224","文徵明雨溪图卷","文壁（1470年－1559年），字徵明，中年后以字行，更字徵仲，号衡山居士、停云生，直隶长州（今江苏苏州）人，祖籍湖广衡山（今湖南衡东），明代画家，与唐寅、沈周、仇英合称为“明四家”（亦称“吴门四家”或“吴门四杰”）；并与唐寅、祝允明、徐祯卿并称“吴中四才子”。一生历经成化、弘治、正德、嘉靖四朝，晚年与老师沈周并驾齐驱，继沈周之后成为吴派领袖。\n从正德到嘉靖年间，据《吴门画史》一书统计，吴派画家共有876人，人材济济，但在当时，出类拔萃，声名显赫，唯有沈周、文徵明等一些人。",[23,24,25,49,50,51,56,76,58,53,471,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8170da07386953cd65ae2ac94a4c1c02.jpg",[],{"id":18003,"slug":18004,"title":18005,"dynasty":45,"author":46,"museum":126,"description":18006,"tags":18007,"thumbUrl":18008,"material":591,"size":18009,"collection":95,"collections":18010,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},232998,"si-chao-xuan-zao-zhen-ce-kong-lin-ji-yu-ye-shen-zhou-232998","四朝选藻贞册-空林积雨页","此图原载《四朝选藻册》，作者沈周用率笔随意点染丛林、云雨、平冈、小溪和房舍。用笔灵活潇洒，一气呵成，于简率之中见生动秀逸之致。画上左上方作诗二首，款：乙未九月积雨作《雨闷》二首，复作此景书之。是日忽晴，吾意彼苍，亦闻颠崖赤子私讽之语而见悯耶。念七日周。乙未为公元一四七五年，时沈周四十九岁。钤启南一印。右上方有吴宽题记一则，钤胸中天地一印。又钤安仪周家珍藏印。对开有清高宗弘历题诗，钤太上皇帝之宝等鉴藏印多方，曾经清安岐、清乾隆内府收藏。\n“久雨阴连结，晴天安在哉？”这件作品是画家在积雨郁闷之日所作。画中描绘一平坡后的雨中树林景色。画面构景简洁，坡石后的林中溪水，缓缓流淌。低屋掩映，云气弥漫，雨雾迷朦。画家以粗笔而写，墨色浑润，淡墨渲染，使画面显得湿气欲滴，阴雨连绵与画家郁闷难解的情绪跃然画上，与画家自题两首诗恰相对照。其一曰：“茅檐何日霁，溜响漫沉沉，气郁惟添睡，愁多亦怕吟。积润变鸣琴。安得东轩月，皓然当我襟。”\n沈周出身诗画世家，祖孟渊、父恒吉、伯贞吉，均以诗画名满吴中，祖上收藏甚丰，对古人诗画见多识广。沈周一生不仕，淡泊功名，博览勤学，仅“以丹青以自适”，专心从事丹青与诗文艺术，毕生勤於诗画创作，声誉卓著，德高望重。其艺术质朴而有情致，画风纯化，刻苦研究前人的优秀理论与技法，融会贯通，创立了自己的风格，成为我国十五世纪下半叶在戴进之後最有影响最具独创力的一位画家，在绘画、书法和文学艺术方面都取得了卓越的成就，其最杰出的当表现在绘画方面，嘉靖年间苏州名士王登在《吴郡丹青志》中称“先生石田绘事为当代第一”，绘画兼收并蓄，人物、山水、花鸟无不精通。\n沈周绘画以山水为主，宗法元四家，远取董（源）、巨（然），中年宗元四家笔墨，尤其推崇黄公望，晚年醉心吴镇，与自家学养融为独特风格，结构谨严，用笔苍劲沉着，墨色浓厚，气韵雄逸，在明中期画坛兴起画风剧变之潮。以他为发端，其门人文徵明继之，合唐寅、仇英为一局，树起吴门画派旗帜，广学“唐宋名流及胜国贤胜，上下千载，纵横百辈”皆“兼综条贯，莫不揽其精微”（明朱谋□《画史会要》），成就之巨，在中明画坛骤立巨峰，影响所及，数百年不变，其画艺彪炳画史，成就卓然。同时，沈周作为一代画坛宗匠，其於诗文、书法无一不能，无一不精，其诗意清新，“面试《凤凰台赋》，援笔而就，咸以为不减王子安”（清钱谦益《列朝诗集小传》）。其书法师黄山谷而不染他体，去山谷行书之捍，多灵便秀逸。时人以其诗、书、画为三绝。",[24,25,26,50,59,60,7,129,51,56,267,555,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea074939e6dab7adace5c129ec5c8c97.jpg","纵21.7厘米 横29.2厘米",[],{"id":18012,"slug":18013,"title":18014,"dynasty":88,"author":89,"museum":72,"description":18015,"tags":18016,"thumbUrl":18020,"material":312,"size":18021,"collection":95,"collections":18022,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},232813,"han-shan-zi-pang-ju-shi-shi-huang-ting-jian-232813","寒山子庞居士诗","《寒山子庞居士诗帖》是唐代隐士寒山劝戒诗与居士庞蕴诗偈，庞蕴（？—1808），唐代著名禅者。字道玄。世称庞居士、庞翁。湖南衡阳人。曾参谒石头希迁，颇有领悟。遗有《庞居士语录》。《寒山子庞居士诗帖》是黄庭坚晚年杰作，落笔奇伟，点画用笔的“沉着痛快”，笔笔似自空中蕩漾而來，充滿飞动之势。结体舒展大度，气宇轩昂，其个性特点十分显著。\n纵观《寒山子庞居士诗》帖，用笔凝练有力、遒劲郁拔，而神闲意株，尤得秦篆中实、汉隶俊俏笔意。行笔曲折顿挫，如同逆水撑舟，力能扛鼎。正如清初诗人冯班《钝吟杂录》所评：“笔从画中起，回笔至左顿腕，实画至右住处，却又跳转，正如阵云之遇风，往而却回也。”结体奇特，几乎每一字都有一些夸张的长画，并尽力送出，形成中宫紧收、四边发散的结字风格。章法富有创造性，经常运用移位的方法打破单字之间的界限，使线条形成新的组合。通篇大气磅礴，笔墨淋漓。清康有力曾评曰：“宋人之书，吾尤爱山谷，虽昂藏郁拔，而神闲意称，入门自媚。若其笔法，瘦劲婉通，则自篆隶。”\n黄庭坚的书法，大抵行书结字修长，中宫紧抱，聚而不散，用笔夸张，如长枪大戟，一波三折，摇电而行，韵味绵长；草书更在形式上突破，挪腾跳跃、奇崛放纵，大有超张迈素之势。山谷书风独特而强烈，故今天被认为是[宋四家]中最自我、最叛逆的一家。但我们不妨再看看他的学书经历。他自己曾说：[余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱。晚得苏才翁、子美书观之，乃得古人毛意。其后又得张长史、僧怀素墨迹，乃窥笔法之妙。]又说[元褡间书，笔意痴钝，用笔多不到，晚入峡见长年荡桨，乃悟笔法。]显而易见，他的叛逆完全是在三个基础上的创变和超越。这三个基础就是：一、有选择、善反思地师古人；二、以敏锐的观察力师造化；三、通过[窥]、[悟]而师吾心。此时他已脱 去“抖擞俗气”，形成了逆势涩行之法，而在结体上的辐射式开张也不再怒张、突兀，可以说是实现了他个人的书法审美主张：绝俗和重韵。\n卷末有元代书家龚璛题跋。龚璛（1266-1331），一作肃，字子敬，号谷阳生，江苏高邮人，后徙居平江（今江苏吴县）。少为徐琬辟幕下，后充和靖、学道两书院山长。以浙江儒学副提举致仕。与戴表元、仇远等人交善。工诗文，擅书法，有晋唐人法度。有《存悔斋集》一卷，补遗一卷。小传详见《苏州府志》。传世书迹有《教授帖》、《静春堂诗序》、《宣城诗并识卷》等。\n释文：我见黄河水，凡经几度清。水流如激箭，人世若浮萍。癡属根本业，爱为煩恼阬。轮迴几許劫，不解了旡明。寒山出此语，举世狂癡半。有事对面說，所以足人怨。心真语亦直，直语无背面。君看渡奈河，谁是喽罗汉。寄语諸仁者，仁以何为怀。归源知自性，自性即知來。任运堂試张通笔为法聳上座书寒山子庞居士诗兩卷。涪翁題。",[23,7,60,2601,18017,18018,2606,18019,77,2602,9269,4648],"中锋行笔","笔画劲健","章法布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5948567560da19a69ec363536ed45a.jpg","29.1x213.8cm",[],{"id":18024,"slug":18025,"title":18026,"dynasty":88,"author":89,"museum":107,"description":18027,"tags":18028,"thumbUrl":18029,"material":95,"size":95,"collection":95,"collections":18030,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":207},232789,"du-fu-shi-san-shou-yu-gu-tai-fa-tie-huang-ting-jian-232789","杜甫诗三首（郁孤台法帖）","黄庭坚草书十分强调节奏韵律，注重笔法腕法，绫条沉着老辣，极富振荡感、立体感；在结字和章法上也有重大突破，形成独特风格——苍老跌宕。本帖中的山谷草书，精选于《宋拓郁孤台法帖》。在山谷传世书迹中，存有大量有阅佛门禅语之作，如《发愿文》、《华严疏》、《头陀赞》、《阴长生诗》、《诸上座帖》等，多为行楷体书写《诸上座帖》虽为大草，但经清梁清标鉴定为摹怀素书。故本帖中《香严袭灯大师智闲颂十九首》的传世，能使后学者在山谷的大草书中体悟浓烈的见性成佛，领略机锋迅捷的佛家三昧，为研究中国书法史上的特殊类型！！禅书，大开方便之门。此外，黄山谷书录杜甫诗的传世作品也十分罕见，台北「故宫博物院」尚有草书墨迹一件《寄贺兰恬》，而《郁孤台法帖》为我们保存了三首黄山谷草书杜甫诗《西郊》、《别李义》、《秦州杂诗》，弥足珍贵，因此也都收入此帖。",[2601,7,398,198,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6585ab1cf3e1f3d9f4834771cb1893c.jpg",[],{"id":18032,"slug":18033,"title":18034,"dynasty":88,"author":18035,"museum":8802,"description":18036,"tags":18037,"thumbUrl":18038,"material":312,"size":95,"collection":95,"collections":18039,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","仿钟离访道图","荆浩","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,25,1328,50,27,59,111,7,60,77,113,51,57,56,1283,55,88,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":18041,"slug":18042,"title":18043,"dynasty":18,"author":18044,"museum":107,"description":18045,"tags":18046,"thumbUrl":18047,"material":95,"size":95,"collection":95,"collections":18048,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},230358,"sui-han-san-you-tu-zhou-fan-qi-230358","岁寒三友图轴","樊圻","枯梅清枝斜出，苍劲瘦硬，花苞轻缀，暗蕴幽芳。丹红山茶花晕染柔润，鲜翠枝叶错落生姿，浓黑泼墨湖石与之相映，冷暖明暗碰撞，艳而不俗，拙而不僵。下方水仙挺秀舒展，冰姿玉洁，与湖石皴擦出的奇崛顽态相得益彰。\n全画工写兼施，笔致秀雅含蓄，将冬日清友齐聚尺素，把岁暮天寒里的融融春意暗藏其间，既有文人画的清逸格调，又鲜活晕透出明丽生机，让观者于画中品味隆冬清妍风骨，静赏幽然雅集意趣。",[23,24,25,75,27,29,131,139,132,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504a4ddf8e1f808198416479420c9b74.jpg",[],{"id":18050,"slug":18051,"title":18052,"dynasty":45,"author":454,"museum":107,"description":18053,"tags":18054,"thumbUrl":18055,"material":95,"size":95,"collection":95,"collections":18056,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},228792,"zao-chun-tu-yi-ming-228792","早春图","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,92,24,25,49,27,1127,111,59,77,7,51,458,52,53,55,56,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":18058,"slug":18059,"title":18060,"dynasty":179,"author":18061,"museum":107,"description":18062,"tags":18063,"thumbUrl":18064,"material":751,"size":752,"collection":95,"collections":18065,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},228032,"song-liu-man-shi-juan-ye-lv-chu-cai-228032","送刘满诗卷","耶律楚材","耶律楚材（1190-1244）字晋卿，号湛然居士，又号玉泉老人。辽宗室。博学能文，元太袓定燕，召为相，历事两朝。耶律楚材少年时受金代文化影响至深，在赵孟頫扭转金及南宋末午书法流风之前，他的书法具有一定的代表性。《元史》本传称其：“善书，晚年所作字画尤劲健，如铸铁所成，刚毅之气，至老不衰。”他的书法继承了唐宋颜真卿，黄庭坚书风，雄放刚健、硬拙挺拔，以端严刚劲著称，有“河朔伟气”，与后来赵孟頫提倡的晋人韵味迥异。",[23,7,49,60,50,77,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b16520804b9eccfa270024c95dab57f.jpg",[],{"id":18067,"slug":18068,"title":3155,"dynasty":88,"author":308,"museum":107,"description":18069,"tags":18070,"thumbUrl":18071,"material":95,"size":95,"collection":95,"collections":18072,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},227500,"chi-du-su-shi-227500","苏轼（1037-1101），字子瞻，号东坡居士，四川眉山人。北宋著名文学家、书画家。诗词开豪放一派，为唐宋八大家之一。苏轼少负才名，博通经史。宋嘉佑二年（1057年）进士，曾官礼部尚书，翰林学士等职。他一生坎坷，多次被贬官放逐。他在宋神宗时曾受重用，然因新旧党争，屡遭贬抑，出任杭州、密州、徐州、湖州等地方官；又因作诗“讪谤朝政”，被人构陷入狱。出狱后贬黄州。此后几经起落，再贬惠州、琼州，一直远放到儋州（今海南儋县），从此随缘自适，过着读书作画的晚年生活。直到元符三年（1100年）宋徽宗即位，他才遇赦北归。建中靖国元年（1101年）七月死于常州。\n\n苏轼为人正直、性旷达，才华横溢，诗词文赋而外，对书画也很擅长，同蔡襄、黄庭坚、米芾并称“宋四家”。苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。",[23,7,60,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c5836fed0d2e2d8e0dec2ed1492a82.jpg",[],{"id":18074,"slug":18075,"title":18076,"dynasty":1609,"author":454,"museum":107,"description":15550,"tags":18077,"thumbUrl":18078,"material":751,"size":752,"collection":95,"collections":18079,"showCount":391,"zanCount":882,"manualWeight":39,"mainColor":40},227035,"xian-yu-huang-bei-zheng-tuo-yi-ming-227035","鲜于璜碑整拓",[23,1609,198,1613,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaf530111f1f1f78168e1256dab89ff.jpg",[],{"id":18081,"slug":18082,"title":18083,"dynasty":3087,"author":454,"museum":107,"description":9803,"tags":18084,"thumbUrl":18085,"material":751,"size":752,"collection":95,"collections":18086,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},226524,"yuan-ti-mu-zhi-yi-ming-226524","元悌墓志",[23,7,198,199,1614,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eaf21ac401c5716799504fe752136d4.jpg",[],{"id":18088,"slug":18089,"title":18090,"dynasty":88,"author":454,"museum":107,"description":18091,"tags":18092,"thumbUrl":18094,"material":751,"size":752,"collection":95,"collections":18095,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},223621,"hu-jia-shi-ba-pai-quan-juan-yuan-pai-yi-ming-223621","胡笳十八拍全卷（原拍）","所谓“胡茄十八拍”，是指蔡琰谱写的茄谱及歌词的总称。明胡笳十八拍图卷为明中期摹本。无款印， 图中人物勾写严谨，神情如生。",[23,24,49,111,27,113,1074,268,51,18093,7,77],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0162d600dbddb17ec2ee4e429f3fbf.jpg",[],{"id":18097,"slug":18098,"title":18099,"dynasty":18,"author":6275,"museum":107,"description":18100,"tags":18101,"thumbUrl":18102,"material":312,"size":95,"collection":95,"collections":18103,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":3443},223264,"fu-shuo-wu-da-shi-jing-hong-yi-fa-shi-223264","佛说五大施经","《佛说五大施经》全文共154字，言五大施者即不杀生、不偷盗、不邪染、不妄语、不饮酒，若能做到即处天上或人间也得安隐乐。弘一法师晚年书法称「弘一体」，拙朴天真有如老僧入定，火气全无，平淡至极。正如他所言：「朽人之字所示者，平淡、恬静、冲逸之致也。」",[23,7,386,199,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0969ea3f16997017e0ce7c6a7fdf2c77.jpg",[],{"id":18105,"slug":18106,"title":18107,"dynasty":18,"author":8382,"museum":126,"description":15781,"tags":18108,"thumbUrl":18109,"material":784,"size":15784,"collection":95,"collections":18110,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},222870,"shi-gong-ci-tu-ce-09-leng-mei-222870","十宫词图册09",[23,24,25,26,7,60,27,111,113,458,55,567,167,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0cfacbb125c73cfee62496604deddc.jpg",[],{"id":18112,"slug":18113,"title":18114,"dynasty":45,"author":10912,"museum":3743,"description":18115,"tags":18116,"thumbUrl":18117,"material":312,"size":18118,"collection":96,"collections":18119,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},222534,"wang-wu-tu-bing-shi-juan-wang-duo-222534","王屋图并诗卷","此卷草书用墨苍润，行笔峻爽遒劲，布白参差错落，纵逸之中含有稳健，沉郁之中富有灵性，从中可以看出他集数十年的功力，融会“二王”、李北海、颜真卿、怀素、黄庭坚、米芾、赵孟俯于一炉的化境。可谓是“风樯阵马，笔走龙蛇”，后人鲜有至者。",[23,49,25,60,398,7,50,51,59,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ba62362da41f16cf87df548bbc578c.jpg","纵29.9厘米，横639.8厘米",[96],{"id":18121,"slug":18122,"title":18123,"dynasty":45,"author":46,"museum":72,"description":18124,"tags":18125,"thumbUrl":18126,"material":27,"size":18127,"collection":95,"collections":18128,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},222115,"shu-yin-chui-diao-tu-shen-zhou-222115","树阴垂钓图","老树三株，点叶笔极老辣。平坡上坐一老者垂纶，笔细挺而有致。对山数石，横波数抹。",[23,24,1250,50,51,652,820,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e71db6d9e06df008768db3647fc1e04.jpg","纵18.5公分，横50公分",[],{"id":18130,"slug":18131,"title":18132,"dynasty":45,"author":342,"museum":107,"description":18133,"tags":18134,"thumbUrl":18135,"material":184,"size":18136,"collection":95,"collections":18137,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},222012,"xing-shu-qian-zi-wen-juan-wen-zheng-ming-222012","行书千字文卷","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[23,49,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57df31dcac70dbd3a05a86d02807a123.jpg","31厘米x284厘米",[],{"id":18139,"slug":18140,"title":18141,"dynasty":179,"author":10934,"museum":72,"description":18142,"tags":18143,"thumbUrl":18144,"material":398,"size":9665,"collection":95,"collections":18145,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},221687,"lun-zhang-xu-huai-su-gao-xian-xian-yu-shu-221687","论张旭怀素高闲","与赵孟頫同时期的鲜于枢（公元1256—— 1301年），是元代另一位有影响的大书法家。他的书法主要取法唐人，长于楷、行、草各体。赵孟頫曾说：“尝与伯机（鲜于枢字）同学草书，伯机过余甚远，极力追之而不能及。伯机已矣，世乃称仆能书，所谓无佛处称尊耳。”赵孟頫与鲜于枢交往很深，鲜于枢早逝，赵孟頫对他的草书特加赞颂，不是言不由衷，而是符合事实的。鲜于枢的草书，不像赵孟頫那样谨遵二王，而是更多地继承了唐代张旭、怀素的癫狂气势。他的草书墨迹《论张旭怀素高闲草书帖》，文为：“张长史、怀素、高闲皆各善草书。长史颠逸，时出法度之外；怀素守法，特多古意；高闲用笔……粗十得六七耳。至山谷乃大坏，不可复理。”他在此帖不但盛赞张旭、怀素，而且笔法也酷似怀素《自叙帖》。至于对黄庭坚的贬抑，固然反映了元人尊唐卑宋的心理，但以同是学怀素的两个人相比，鲜于枢自己觉得比黄庭坚学得好，也是他小看黄庭坚的一个原因。",[7,398,3477,77,25,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ba66bb5c8c28fea5285ddd0a16f398.jpg",[],{"id":18147,"slug":18148,"title":18149,"dynasty":88,"author":4981,"museum":4982,"description":4983,"tags":18150,"thumbUrl":18152,"material":312,"size":4988,"collection":95,"collections":18153,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},221478,"da-de-ming-tie-dong-fu-si-bian-e-zhi-ke-zhang-ji-zhi-221478","大德名帖东福寺匾额知客",[23,7,199,18151],"匾额","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a2b333ddb4874bc06ecd505be14c44.jpg",[],{"id":18155,"slug":18156,"title":18157,"dynasty":88,"author":89,"museum":107,"description":18158,"tags":18159,"thumbUrl":18160,"material":312,"size":18161,"collection":96,"collections":18162,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},221280,"wei-qing-dao-ren-tie-ye-huang-ting-jian-221280","惟清道人帖页","《惟清道人帖》中作者记录了惟清道人的操行品质及其与张商英（天觉）的交往。黄庭坚于北宋绍圣元年（1094年）在江西分宁，从帖文分析，此帖当书于其年夏日，时年51岁。帖中所提之惟清道人在《嘉泰录》卷六中有所记载，俗姓陈，南州武宁（在江西）人，为江西隆兴府黄龙寺禅师，北宋政和七年（1117年）卒。\n此帖行书行间宽绰而字间紧密，所以笔画多取横势，结体欹侧，左低右高，有峭拔之态，充分体现了黄庭坚小行书的特点，为其代表作品。\n此帖为清宫旧藏，收在《法书大观册》内。乾隆帝题赞“凌冬老干偃蹇岩壑”（《三希堂法帖》卷十三可见），后此赞墨迹及清内府藏印被挖去。\n著录于《妮古录》卷四、《平生壮观》卷二、《墨缘汇观》法书卷上。",[23,25,7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c125c7929f0a4b3662a02431c4c44.jpg","纵29.3厘米，横31.8厘米",[96],{"id":18164,"slug":18165,"title":18166,"dynasty":45,"author":1313,"museum":126,"description":18167,"tags":18168,"thumbUrl":18169,"material":60,"size":18170,"collection":96,"collections":18171,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},220928,"bai-yu-shan-fu-zhou-dong-qi-chang-220928","白羽扇赋轴","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。《白羽扇赋》写于壬申（1632年）秋，董其昌已经七十八岁高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[92,24,25,7,75,60,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F422a77cdfa4eff9dc9e298726c2f5e1d.jpg","136.5X60.2cm",[96],{"id":18173,"slug":18174,"title":18175,"dynasty":45,"author":1313,"museum":279,"description":18176,"tags":18177,"thumbUrl":18178,"material":7994,"size":18179,"collection":96,"collections":18180,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":100},220900,"shu-xie-hui-lian-xue-fu-dong-qi-chang-220900","书谢惠连雪赋","致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡",[23,7,60,49,1677,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c263ae74a3e6eb56063e481f589130c.jpg","26.7 x 183.7 cm",[96],{"id":18182,"slug":18183,"title":18184,"dynasty":18,"author":411,"museum":412,"description":18185,"tags":18186,"thumbUrl":18187,"material":33,"size":95,"collection":171,"collections":18188,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},219483,"zi-hua-zhong-song-tu-shi-tao-219483","自画种松图","画中，作者踞坐嶙峋危石，青衫素朴，倚杖凝神静思，神色萧散淡然，尽显林下高士俊逸风骨。旁侧老松虬枝斜逸，笔墨清简苍秀，寥寥数笔便写尽古松疏朗之姿。\n\n整幅作品书画相融，满幅题跋错落排布，以画为引、以诗言志，借种松寄寓守拙向道的山林幽怀。笔意简淡清逸，意境空灵淡远，将自身超尘出世的襟怀藏在淡远笔墨间，文气与画意浑然相合，尽显文人写意画的精神内核，清寂幽远的意韵直入人心。",[24,25,50,7,113,250,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c91da8d2c1f4034f3f690a6c1284bf.jpg",[171],{"id":18190,"slug":18191,"title":18192,"dynasty":179,"author":2258,"museum":12025,"description":18193,"tags":18194,"thumbUrl":18195,"material":169,"size":95,"collection":171,"collections":18196,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},219394,"qiu-lin-du-qi-tu-zhao-yong-219394","秋林独骑图","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,25,1250,27,51,113,1074,10302,56,57,1283,7,77,60,111,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82362cf51743c1d61b49e21bf59d4c8.jpg",[171],{"id":18198,"slug":18199,"title":18200,"dynasty":45,"author":1015,"museum":72,"description":18201,"tags":18202,"thumbUrl":18203,"material":169,"size":95,"collection":171,"collections":18204,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},219364,"mo-li-gong-lin-lian-she-tu-wen-zheng-ming-219364","摹李公麟莲社图","本幅画莲社十八贤士图，按晋时慧远高僧，于庐山建立白莲社，聚众百二十三人，修念佛学，时陶潜辞官居栗里，慧远致书陶潜，邀请参加，陶潜答曰：“许我酒就来。”慧远答应。陶潜每来社中，或时才至，不久即攒眉而去。幅中乘篮舆者即是陶潜。幅中设色，用笔均去文仇水准颇远，为后世托名。",[24,25,110,27,113,51,56,1074,7,77,458,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e13b06d2397288d1823e0ca8f2b717b.jpg",[171],{"id":18206,"slug":18207,"title":18208,"dynasty":45,"author":9276,"museum":126,"description":18209,"tags":18210,"thumbUrl":18211,"material":79,"size":18212,"collection":171,"collections":18213,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},218519,"shao-yong-xiang-tu-du-jin-218519","邵雍像图","画面中的邵雍，身材高大，气质飘逸，身穿儒雅的衣服，头上戴着头巾，腰间系着宽大的腰带，手中拿着翎子，身穿宽大的外套和大袖子，衣带飘飘，目光炯炯，举止优雅而从容。",[23,24,25,112,50,113,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a21dcb547c24d1a23af186df58829c.jpg","67.3x27.4",[171],{"id":18215,"slug":18216,"title":18217,"dynasty":88,"author":6022,"museum":412,"description":18218,"tags":18219,"thumbUrl":18220,"material":79,"size":95,"collection":95,"collections":18221,"showCount":391,"zanCount":882,"manualWeight":39,"mainColor":40},216253,"bin-feng-qi-yue-tu-juan-ba-ma-he-zhi-216253","豳風七月图卷-跋","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,92,24,25,49,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3420194c999658ca0ffc344f8aa07754.jpg",[],{"id":18223,"slug":18224,"title":18225,"dynasty":45,"author":2206,"museum":72,"description":2207,"tags":18226,"thumbUrl":18227,"material":79,"size":2210,"collection":95,"collections":18228,"showCount":391,"zanCount":39,"manualWeight":39,"mainColor":40},214551,"za-shu-shi-tie-juan-3-zhu-yun-ming-214551","杂书诗帖卷-3",[23,7,398,60,200,49,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F418c8cd04bcb84ee4f99025c18e4416d.jpg",[],{"id":18230,"slug":18231,"title":18232,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":18233,"thumbUrl":18234,"material":751,"size":752,"collection":95,"collections":18235,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},290890,"fang-lu-shan-shi-hua-zhou-wen-jia-290890","仿庐山诗画轴",[92,24,75,50,27,51,113,52,53,55,57,266,1018,9189,7,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899bf88344a7d97e4c15d38f0af5a263.jpg",[],{"id":18237,"slug":18238,"title":18239,"dynasty":18,"author":18240,"museum":107,"description":18241,"tags":18242,"thumbUrl":18243,"material":751,"size":752,"collection":95,"collections":18244,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},290516,"zhou-dun-yi-ai-lian-tu-tuan-shan-shu-hao-290516","周敦颐爱莲图团扇","舒浩","舒浩［清］字萍桥，号平桥，又号则水道人。与沙馥、钱慧安等先后同时，名誉亦杨伯仲。工人物、山水、花鸟，工细缜密，雅秀天然。按近代六十名画家传载有舒豪字萍桥，",[23,24,1250,27,111,113,399,52,77,7,4739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e06f70481735d4cbb314db4b28a48af.jpg",[],{"id":18246,"slug":18247,"title":18248,"dynasty":45,"author":441,"museum":72,"description":13269,"tags":18249,"thumbUrl":18251,"material":33,"size":18252,"collection":95,"collections":18253,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},290498,"shan-shui-xiao-jing-zhou-xiang-sheng-mo-290498","山水小景轴",[24,75,51,50,27,59,251,252,17454,152,15693,7,77,18250],"秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea20af0bdde11306224e82a8f221a5e.jpg","106.6x24.3",[],{"id":18255,"slug":18256,"title":12162,"dynasty":18,"author":9176,"museum":107,"description":15493,"tags":18257,"thumbUrl":18258,"material":751,"size":752,"collection":95,"collections":18259,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},290477,"za-hua-ce-luo-pin-290477",[24,26,50,27,113,1074,131,1151,1283,51,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592d4b0ace611b41fb72031e43f9b747.jpg",[],{"id":18261,"slug":18262,"title":5334,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":18263,"thumbUrl":18264,"material":751,"size":752,"collection":95,"collections":18265,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},290411,"di-shi-dan-ba-bei-juan-zhao-meng-fu-290411",[23,25,49,7,199,878,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57bbccb3382f2a1aef57a3612a4080a.jpg",[],{"id":18267,"slug":18268,"title":18269,"dynasty":18,"author":7508,"museum":107,"description":18270,"tags":18271,"thumbUrl":18272,"material":751,"size":752,"collection":95,"collections":18273,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},290389,"shan-shui-shan-mian-lu-hui-290389","山水扇面","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[23,24,1250,51,27,113,115,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c93d9e31c39452304284af93bb662dd.jpg",[],{"id":18275,"slug":18276,"title":18277,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":18278,"thumbUrl":18279,"material":751,"size":752,"collection":95,"collections":18280,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},290100,"jin-ma-tu-zhao-meng-fu-290100","进马图",[92,24,25,27,111,113,1074,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c0ea5d333793464874bbeb3f0f5efe.jpg",[],{"id":18282,"slug":18283,"title":18284,"dynasty":179,"author":4970,"museum":72,"description":18285,"tags":18286,"thumbUrl":18288,"material":79,"size":18289,"collection":95,"collections":18290,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},290056,"qiu-shan-xing-lv-tu-wang-yuan-290056","秋山行旅图","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[24,92,25,75,50,51,18287,113,1074,1283,56,1678,116,53,7,77,59],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49dc5b3e0ed601d4c95f7accbb93912c.jpg","96.1x28.2",[],{"id":18292,"slug":18293,"title":18294,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":18295,"thumbUrl":18296,"material":751,"size":752,"collection":95,"collections":18297,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},289980,"feng-zhu-pian-pian-yi-han-bi-tu-wu-chang-shuo-289980","风竹翩翩倚寒碧图",[23,24,25,75,50,132,250,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686092ba2c20ab6b597bd0f407528314.jpg",[],{"id":18299,"slug":18300,"title":18301,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":18302,"thumbUrl":18303,"material":751,"size":752,"collection":95,"collections":18304,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},288636,"mi-fei-le-xiong-tie-ti-ba-shou-juan-wu-chang-shuo-288636","米芾乐兄帖题跋手卷",[7,49,60,398,50,576,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a5577c980b3bd7e5a286eb0bcfa8b5.jpg",[],{"id":18306,"slug":18307,"title":18308,"dynasty":18,"author":454,"museum":107,"description":18309,"tags":18310,"thumbUrl":18311,"material":751,"size":752,"collection":95,"collections":18312,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},288296,"fang-xia-gui-jiang-shan-qing-yuan-tu-juan-yi-ming-288296","仿夏圭江山清远图卷","此作用夏圭一角半边取景意趣，长卷铺展江天胜景。崖岸之上虬松古拙苍劲，盘根错节间尽显老辣笔力，斧劈皴利落勾出山岩棱线，墨色干湿层叠，晕染出山石的厚重质感。江上古桥连亭，汀洲幽寂，远山澹濛隐现，天际江帆点点，将江南水岸的寥廓清寂徐徐铺陈。\n\n全画简淡空灵，复刻出南宋院体山水的清远意韵。卷后题跋笔墨苍秀，字画合璧，摹古之中自有沉静雅致，把江天浩渺、林泉幽寂的诗意缓缓晕开，尽显水墨山水的简远之美。",[23,24,49,50,1328,59,1018,57,52,55,54,471,53,7,60,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e74ac76f0fa05870332bd8feadb13.jpg",[],{"id":18314,"slug":18315,"title":675,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":18316,"thumbUrl":18317,"material":751,"size":752,"collection":95,"collections":18318,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},288085,"chi-bi-fu-zhu-yun-ming-288085",[7,398,25,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6278df7d7f9a3980fb8ed599a9e4f081.jpg",[],{"id":18320,"slug":18321,"title":18322,"dynasty":8749,"author":454,"museum":107,"description":18323,"tags":18324,"thumbUrl":18325,"material":751,"size":752,"collection":95,"collections":18326,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},288011,"cai-xiang-chi-du-qi-zhong-yi-ming-288011","蔡襄 尺牍七种","此作用笔温润遒劲，提按转合皆见法度，笔画丰腴却无肥滞之弊，兼得晋人清韵与唐楷端雅。章法疏朗错落，行气舒缓灵动，字间牵丝映带轻盈婉转，既守住单字的方正规整，又让通篇气息贯通浑融。墨色浓淡自然过渡，起笔饱满厚重，收锋渐次晕淡，尽显书写时的随性从容。作为日常尺牍，不见刻意雕琢，却将文人的雅致心性藏于笔墨细节，简淡平和间尽显行书审美意趣，将寻常闲话的信札，酿成耐品的书法小品，藏着不加修饰的笔墨真味。",[7,60,3155,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d6377c75ef5281945fb18d4c254be22.jpg",[],{"id":18328,"slug":18329,"title":18330,"dynasty":45,"author":5386,"museum":107,"description":18331,"tags":18332,"thumbUrl":18334,"material":751,"size":752,"collection":95,"collections":18335,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},287788,"you-bao-shan-ji-wang-chong-287788","游包山集","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。",[7,199,77,200,18333],"湖禅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5650476ff9836e39c2fe31122cf4e6c.jpg",[],{"id":18337,"slug":18338,"title":18339,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":18340,"thumbUrl":18341,"material":751,"size":752,"collection":95,"collections":18342,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},287741,"bai-miao-qun-xian-bai-tai-tu-juan-li-gong-lin-287741","白描群仙百态图卷",[23,24,25,49,112,50,113,878,4496,10664,10794,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6880c9231b29fda4461bdd4ce43318.jpg",[],{"id":18344,"slug":18345,"title":18346,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":18347,"thumbUrl":18348,"material":751,"size":752,"collection":95,"collections":18349,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},287724,"wei-xiang-yuan-bian-zuo-shan-shui-tu-wen-jia-287724","为项元汴作山水图",[24,92,25,75,50,27,51,113,115,53,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0343ce1632acf2dd3416832617f4359.jpg",[],{"id":18351,"slug":18352,"title":18353,"dynasty":45,"author":7536,"museum":107,"description":7537,"tags":18354,"thumbUrl":18356,"material":751,"size":752,"collection":95,"collections":18357,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},287434,"xie-qin-kan-shan-tu-shan-mian-zhou-chen-287434","携琴看山图扇面",[1250,24,92,25,50,51,113,1018,57,18355,77,7],"携琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b9284f4e45132c5dde01f7afc8f670.jpg",[],{"id":18359,"slug":18360,"title":18361,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":18362,"thumbUrl":18363,"material":751,"size":752,"collection":95,"collections":18364,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},283758,"bei-shan-he-chu-tu-zhou-dong-qi-chang-283758","北山荷锄图轴",[24,75,50,51,704,57,152,1679,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c645e9eb5aa6d6f504c27224f82163e.jpg",[],{"id":18366,"slug":18367,"title":18368,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":18369,"thumbUrl":18370,"material":751,"size":752,"collection":95,"collections":18371,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},283728,"feng-luan-hun-hou-tu-juan-dong-qi-chang-283728","峰峦浑厚图卷",[23,92,24,49,50,51,251,553,54,152,56,7,77,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafba50469ef5c4deb60c77b30964c2f9.jpg",[],{"id":18373,"slug":18374,"title":18375,"dynasty":88,"author":89,"museum":107,"description":17100,"tags":18376,"thumbUrl":18377,"material":751,"size":752,"collection":95,"collections":18378,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},283689,"song-feng-ge-shi-juan-huang-ting-jian-283689","松风阁诗卷",[23,92,25,49,7,60,77,576,133,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70786890a3734dd6dcc0548443c6144f.jpg",[],{"id":18380,"slug":18381,"title":18382,"dynasty":18,"author":18383,"museum":107,"description":18384,"tags":18385,"thumbUrl":18386,"material":751,"size":752,"collection":95,"collections":18387,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},241345,"qi-yan-ju-zhou-gui-fu-241345","七言句轴","桂馥","桂馥（1736年－1805年），字未谷，一字冬卉，号雩门，别号萧然山外史，山东曲阜人，清朝政治人物、学者，同进士出身。",[7,75,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c32657931308d0cf984e65358bfa2.jpg",[],{"id":18389,"slug":18390,"title":18391,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":18392,"thumbUrl":18393,"material":751,"size":752,"collection":95,"collections":18394,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},241034,"qi-jue-zhou-zhu-da-241034","七绝轴",[7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844541aac8286015d2904d784f12aec3.jpg",[],{"id":18396,"slug":18397,"title":18398,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":18399,"thumbUrl":18400,"material":751,"size":752,"collection":95,"collections":18401,"showCount":157,"zanCount":788,"manualWeight":39,"mainColor":40},240805,"he-shao-ji-ti-hua-mei-zhou-he-shao-ji-240805","何绍基题画梅轴",[75,60,7,131,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17f9eb7c89bd6ce280519d5fa944598.jpg",[],{"id":18403,"slug":18404,"title":18405,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":18406,"thumbUrl":18407,"material":751,"size":752,"collection":95,"collections":18408,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},240683,"fu-shan-shi-zhou-fu-shan-240683","傅山诗轴",[7,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa8ec4484c6c382acea531848ded8fa.jpg",[],{"id":18410,"slug":18411,"title":18412,"dynasty":18,"author":14427,"museum":126,"description":18413,"tags":18414,"thumbUrl":18415,"material":10842,"size":18416,"collection":96,"collections":18417,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},240453,"he-shao-ji-ba-yan-lian-he-shao-ji-240453","何绍基八言联","释文：\n古砚华笺分桂上露，清言妙理来松下风。\n韫斋大公祖大人正。弟何绍基。\n款署 ：“韫斋大公祖大人正。弟何绍基。”钤“何绍基印”朱文印、“子贞”白文印。\n何绍基书法初学北魏张玄墓志，后师法颜真卿，并追溯篆、隶书渊源，特别研习《张迁碑》，晚年喜摹欧阳询，融入沉着雄健之韵味。此作虽为楷书，但结体宽绰，稍作斜欹，笔致飘逸自由，不拘成法，具有个性风范。",[2136,7,199,77,2602,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66bed45fc908f74cd870bb98d7371fc.jpg","纵191.4厘米，横42.8厘米",[96],{"id":18419,"slug":18420,"title":18421,"dynasty":45,"author":10912,"museum":126,"description":18422,"tags":18423,"thumbUrl":18424,"material":18425,"size":18426,"collection":96,"collections":18427,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},240055,"xing-shu-wu-lv-shi-zhou-wang-duo-240055","行书五律诗轴","释文：\n每每遇烟扉，江枫坠客衣。乡音随地改，龙影入云微。樵爨仓皇了，菱歌隐约归。吁嗟鵽（鸟）翼，（得意）向南飞。壬午嘉兴作。戊子寒食后一日书于琅华馆。王铎。\n落“鸟”、“得意”共三字。\n款署：“戊子寒食后一日书于琅华馆。王铎。”钤“王铎之印”、“烟潭渔叟”白文二印。\n此幅录自作五律诗《嘉兴》，载《拟山园选集》卷二十二。此诗是王铎在明崇祯十五年壬午（1642年）南下避乱，途经嘉兴时所作，书于清顺治五年（1648年），书法骨力峭拔，书风沉雄俊逸。",[7,60,398,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90a4de9797f05b0dfb4c001375ec5ef0.jpg","绫本，行书","纵186.1厘米，横51.9厘米",[96],{"id":18429,"slug":18430,"title":18431,"dynasty":18,"author":18432,"museum":126,"description":18433,"tags":18434,"thumbUrl":18437,"material":1038,"size":18438,"collection":96,"collections":18439,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},240043,"xing-shu-yuan-ren-shi-zhou-liang-shi-zheng-240043","行书元人诗轴","梁诗正","释文：\n每忆城西路，曾来好画亭。兰花经雨白，野竹入云青。\n波影浮春砌，山光扑昼扃。褰衣对萝薜，凉月照人醒。\n元人一律。梁师正。\n款署 “梁诗正”，钤“梁诗正”白文印、“薌林”朱文印。引首钤“十二楼前侍从印”朱文椭圆形印。\n此幅书元王士熙《题玩芳亭五首》之一。梁诗正书法初学柳公权，后参以赵孟頫、文徵明，晚年师法颜真卿、李邕。此作笔画伸展，结字严紧，骨力矫健，集众家之长，得雍容俊拔之态。",[75,60,7,55,139,132,678,18435,845,18436,282,1002],"山光","波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3553d66abb03032c0de31ff38bc875ed.jpg","纵129厘米，横56.8厘米",[96],{"id":18441,"slug":18442,"title":17924,"dynasty":18,"author":18443,"museum":107,"description":18444,"tags":18445,"thumbUrl":18446,"material":95,"size":95,"collection":96,"collections":18447,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},239795,"shi-zhou-zhang-xue-ceng-239795","张学曾","崇祯六年(1633)副贡，官苏州知府。张学曾为“画中九友”之一，在艺术上受董其昌、王时敏之影响非浅，其艺术风格，与当时流派相融合。山水师董源，出入于宋、元诸家。喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩。程正揆题其画云：“此道寥寥，得其解者，唯约庵吾友，差足与语，不复多见矣。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbeaefd9151a0aa1d9ba86db34d25851.jpg",[96],{"id":18449,"slug":18450,"title":18451,"dynasty":179,"author":10934,"museum":126,"description":18452,"tags":18453,"thumbUrl":18454,"material":1038,"size":18455,"collection":96,"collections":18456,"showCount":157,"zanCount":788,"manualWeight":39,"mainColor":40},239673,"du-gong-bu-xing-ci-zhao-ling-shi-juan-xian-yu-shu-239673","杜工部行次昭陵诗卷","释文： 舊俗疲庸主，群雄問獨夫。譏歸龍鳳質，威定虎狼都。 天屬尊堯典，神功協禹謨。風雲隨絕足，日月繼高衢。 文物多師古，朝廷半老儒。直詞寧戮辱，賢路不崎嶇。 往者災猶降，蒼生喘未蘇。指揮安率土，盪滌撫洪爐。 壯士悲陵邑，幽人拜鼎湖。玉衣晨自舉，鐵馬汗長趨。 松柏瞻虛殿，塵沙立冥途。寂寞開國日，流恨滿山隅。 右工部行次昭陵詩，困學民書。\n末识：“右工部行次昭陵詩，困學民書。”钤“鲜于”、“白几印章”、“箕子之裔”、“虎林隐吏”、“中山后人”印五方。卷末有王祎、宋濂二跋。鉴藏印记有清乾隆、嘉庆、宣统诸玺及梁清标、宋濂、王祎等印多方。\n这是鲜于枢以行书大字录写的杜甫五言《行次昭陵诗》。杜甫是唐朝著名的现实主义诗歌代表人物，他的作品内容大都与当时的朝政有关，此首诗亦充满了对国家兴衰的关注。\n此帖结体疏朗，笔势雄浑，与鲜于枢个人性情正相吻合。如柳贯所评：“公毅然美大夫，面带河朔伟气，每酒酣骜放，挥毫结字，奇态横生，势有不可遏者。”此卷是鲜于枢大字行书的代表作品。\n明顾复《平生壮观》卷四，清《石渠宝笈初编》卷三一，《故宫已佚书画目》著录。",[23,7,60,49,77,385,14632,4440,3477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c203c0d459c74dc96ff17a149a16b3c.jpg","纵32厘米，横342厘米",[96],{"id":18458,"slug":18459,"title":18460,"dynasty":179,"author":225,"museum":107,"description":18461,"tags":18462,"thumbUrl":18463,"material":95,"size":95,"collection":95,"collections":18464,"showCount":157,"zanCount":418,"manualWeight":39,"mainColor":40},239665,"hang-zhou-fu-shen-guan-ji-juan-zhao-meng-fu-239665","杭州福神观记卷","此作用笔圆劲苍润，起转提按皆具法度，既存唐楷端稳筋骨，又兼行书灵动意趣，点画粗细富于韵律，尽显笔底风华。\n\n通篇布局疏朗匀停，字势顾盼映带，长篇巨制却行气贯通一气呵成，枯湿浓淡交叠变化，整饬之中透着萧散雅逸的书卷清气。笔墨间融含静穆清虚之意，将方外福地的清灵韵致凝于笔端，尽显沉厚的笔墨功底与超然的文人意趣，是行书臻于化境的典范之作。",[23,7,60,49,77,50,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2129985fd99668b5192c226470e825.jpg",[],{"id":18466,"slug":18467,"title":18468,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":18469,"thumbUrl":18470,"material":95,"size":95,"collection":96,"collections":18471,"showCount":157,"zanCount":882,"manualWeight":39,"mainColor":40},239611,"yang-sheng-lun-juan-zhu-yun-ming-239611","养生论卷",[23,25,49,60,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d67df0af9f879bce1f09da0c83364d1.jpg",[96],{"id":18473,"slug":18474,"title":18475,"dynasty":179,"author":225,"museum":126,"description":18476,"tags":18477,"thumbUrl":18478,"material":312,"size":18479,"collection":96,"collections":18480,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},239582,"zhang-zong-guan-mu-zhi-ming-juan-zhao-meng-fu-239582","张总管墓志铭卷","既具大楷沉着刚劲之气，又有小楷秀逸灵动之姿，在赵氏存世墨迹中甚少见。卷后有祝允明、永瑆题识。",[23,25,7,49,60,199,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ff13d72d8c1ed754db59d6fdcde15.jpg","纵32.7厘米；横259厘米",[96],{"id":18482,"slug":18483,"title":18484,"dynasty":45,"author":2916,"museum":107,"description":2917,"tags":18485,"thumbUrl":18486,"material":751,"size":752,"collection":95,"collections":18487,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},237417,"you-zhang-gong-dong-shan-lu-zhi-237417","游张公洞扇",[1250,24,51,27,59,1018,57,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193fe877694581eca743fdfcdc0ae876.jpg",[],{"id":18489,"slug":18490,"title":18491,"dynasty":45,"author":441,"museum":107,"description":13269,"tags":18492,"thumbUrl":18493,"material":751,"size":752,"collection":95,"collections":18494,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},236814,"song-zhu-shi-shan-xiang-sheng-mo-236814","松竹石扇",[1250,50,59,133,132,589,139,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8cd6951a13d0417c0924d7867b83608.jpg",[],{"id":18496,"slug":18497,"title":4167,"dynasty":18,"author":2653,"museum":8802,"description":18498,"tags":18499,"thumbUrl":18500,"material":95,"size":95,"collection":63,"collections":18501,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},236731,"shan-shui-ce-hua-yan-236731","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,50,26,7,77,51,54,250,53,14006,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43d5f7e219be9710dcb9f942f6ea8a7.jpg",[63,218],{"id":18503,"slug":18504,"title":18505,"dynasty":45,"author":13842,"museum":126,"description":18506,"tags":18507,"thumbUrl":18509,"material":312,"size":95,"collection":35,"collections":18510,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[92,24,25,49,50,59,56,115,18508,238,7,77],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[35,187,96],{"id":18512,"slug":18513,"title":3402,"dynasty":18,"author":411,"museum":107,"description":18514,"tags":18515,"thumbUrl":18516,"material":95,"size":95,"collection":95,"collections":18517,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[24,25,26,60,50,27,59,7,77,51,251,56,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f749a49e7b8c667c20c3c60e27a09e8.jpg",[],{"id":18519,"slug":18520,"title":3402,"dynasty":18,"author":411,"museum":107,"description":18521,"tags":18522,"thumbUrl":18523,"material":95,"size":95,"collection":95,"collections":18524,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},235879,"yuan-ji-shan-shui-tu-ce-shi-tao-235879","这幅册页诗画合璧，行书题诗萧散俊逸，笔墨间自带林下幽居的清寂意趣。\n\n山水取景奇崛苍润，危崖拔地而起，飞泉挂壁落于溪涧，苍松杂木错落生姿，山居隐于林间烟岚之中，淡墨轻皴写尽丘壑之态。笔底兼具黄山奇峭风神，又融禅意隐逸之思，以简驭繁，将诗中静伴秋雨、枯禅幽栖的心境，铺陈在咫尺画卷里。\n诗境衬着画境，画境晕染诗心，淡远空灵的气韵漫溢纸面，尽显文人画诗画交融的雅致风神。",[24,25,26,60,50,51,250,56,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b855edfdb93578bdd513ec9b3f934a.jpg",[],{"id":18526,"slug":18527,"title":18528,"dynasty":45,"author":454,"museum":107,"description":18529,"tags":18530,"thumbUrl":18531,"material":95,"size":95,"collection":95,"collections":18532,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},235841,"lu-zhi-tian-ping-shan-tu-ye-yi-ming-235841","陆治天平山图页","此作左文右图，诗画合璧。右侧绘层岩峻耸，浅绛设色清润柔和，山石勾勒苍秀兼具，山脚水陂萦回，隐见村舍错落其间，远山晕染朦胧杳霭，尽显江南丘壑灵秀清旷之意。远景山峦淡抹轻皴，近景林木屋舍细致清雅，于工写之间晕染出山林幽寂野趣。\n左侧行书题跋笔意舒展流畅，以文述景，将山川形胜娓娓铺陈，把实景奇崛与人文底蕴融于一卷，笔墨间晕开清雅意趣，将江南名山的形神与文人情思相融，淡远空灵，古意悠然。",[24,25,26,27,51,651,589,56,53,55,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],{"id":18534,"slug":18535,"title":18536,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":18537,"thumbUrl":18538,"material":751,"size":752,"collection":95,"collections":18539,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},235788,"hong-ren-nan-gang-qing-yun-tu-shan-ye-hong-ren-235788","弘仁南冈清韵图扇页",[24,25,1250,50,51,57,56,58,59,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c9cebec78b4c98d9b073af86409e76.jpg",[],{"id":18541,"slug":18542,"title":7114,"dynasty":18,"author":454,"museum":107,"description":18543,"tags":18544,"thumbUrl":18545,"material":95,"size":95,"collection":95,"collections":18546,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},235159,"hong-ren-shan-shui-ce-yi-ming-235159","此作诗书合璧，意韵清寂淡远。画面中山石以淡墨轻勾慢皴，简劲利落，危崖垂瀑，涧水泠泠仿佛可闻，旁侧古木疏朗，枝叶简净，留白铺就出悠远天地，尽显萧疏空灵。\n\n题笔书法清隽挺秀，与山水意趣相融，暗合林泉幽怀。整幅以极简笔墨写尽山川风骨，冷静出尘的禅意溢满尺幅，将山野间苍岩古渡的幽寂之境凝于纸面，尽显文人山水寄情丘壑的雅逸，藏着独与天地精神往来的林下襟怀。",[24,25,26,50,59,7,77,51,266,56,1678,53,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e7428e9559f5e031d87ab5bba48b8a.jpg",[],{"id":18548,"slug":18549,"title":18550,"dynasty":45,"author":11028,"museum":126,"description":18551,"tags":18552,"thumbUrl":18554,"material":488,"size":18555,"collection":95,"collections":18556,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},234152,"feng-yuan-dang-xiong-tu-juan-ding-yun-peng-234152","冯媛挡熊图卷","此图以翠竹、梧桐、椿树、湖石为背景，表现了冯媛挡熊的故事场景。据《汉书•外戚传下•冯昭仪》记载，西汉建昭年间，元帝率左右随从，于后宫观斗兽。突然有熊逸出圈，攀栏欲上殿，冯婕妤冲上前挡熊而立，保护元帝免遭伤害。“冯媛当熊”应为爱君之典。《汉书》卷三十六称“《列女传》凡八篇，以戒天子”。",[23,24,25,49,111,27,113,798,18553,56,57,167,60,457,7],"熊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F830255b25762baaa67f04e22303126f0.jpg","纵32.6厘米，横148.8厘米",[],{"id":18558,"slug":18559,"title":18560,"dynasty":179,"author":3915,"museum":126,"description":18561,"tags":18562,"thumbUrl":18563,"material":1179,"size":18564,"collection":95,"collections":18565,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[24,25,50,51,113,56,54,1752,7,77,59,53,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],{"id":18567,"slug":18568,"title":4167,"dynasty":45,"author":1313,"museum":126,"description":18569,"tags":18570,"thumbUrl":18576,"material":18577,"size":11387,"collection":95,"collections":18578,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},234056,"shan-shui-ce-dong-qi-chang-234056","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,25,26,51,27,50,1127,110,59,14918,474,9679,266,58,15486,5281,16229,18571,7,77,18572,18573,18574,18575],"松涧","云树","水阁","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg","纸本，水墨和设色",[],{"id":18580,"slug":18581,"title":18582,"dynasty":88,"author":7096,"museum":126,"description":18583,"tags":18584,"thumbUrl":18587,"material":184,"size":18588,"collection":95,"collections":18589,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","梧竹溪堂图页","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[24,92,26,60,50,27,59,51,132,18585,18586,52,53,652,589,2186,268,7],"梧","堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg","纵23厘米，横26厘米",[],{"id":18591,"slug":18592,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":18595,"thumbUrl":18596,"material":488,"size":18597,"collection":63,"collections":18598,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},233918,"dai-lu-fang-bei-tu-ce-huang-yi-233918","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,50,59,26,51,55,56,1678,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d96a04c3dfd290a7d014ab25a0f80.jpg","纵17.4厘米，横50.8厘米",[63,35],{"id":18600,"slug":18601,"title":18602,"dynasty":45,"author":13739,"museum":126,"description":18603,"tags":18604,"thumbUrl":18605,"material":3320,"size":18606,"collection":95,"collections":18607,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[24,25,75,50,60,7,77,10013,132,2019,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纵104.5cm，横34.8cm",[],{"id":18609,"slug":18610,"title":18611,"dynasty":18,"author":411,"museum":126,"description":18612,"tags":18613,"thumbUrl":18614,"material":312,"size":18615,"collection":95,"collections":18616,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},233125,"yuan-ji-shan-shui-ce-shi-tao-233125","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,26,50,27,51,458,704,57,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ecd5e9a88ca195d5a33c884ecf3e42.jpg","纵33.2cm，横22.8cm",[],{"id":18618,"slug":18619,"title":18620,"dynasty":18,"author":18621,"museum":72,"description":18622,"tags":18623,"thumbUrl":18624,"material":346,"size":18625,"collection":95,"collections":18626,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,75,50,27,111,59,51,113,56,704,1018,58,553,57,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":18628,"slug":18629,"title":18630,"dynasty":18,"author":6078,"museum":107,"description":15655,"tags":18631,"thumbUrl":18632,"material":751,"size":752,"collection":95,"collections":18633,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},230928,"lan-shi-tu-wang-wu-230928","兰石图",[24,25,1250,50,27,129,139,589,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818304cde9ff66cdef25c7b98f674d5b.jpg",[],{"id":18635,"slug":18636,"title":18637,"dynasty":88,"author":8147,"museum":107,"description":18638,"tags":18639,"thumbUrl":18640,"material":95,"size":95,"collection":95,"collections":18641,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},230863,"tao-sheng-tie-cai-xiang-230863","陶生帖","《病中偶书二首》是宋代诗人蔡襄所作诗词之一。\n宋 蔡襄（112－167），字君谟，原籍仙游枫亭乡东垞村，后迁居莆田蔡垞村，天圣八年（1）进士，先后在宋朝中央政府担任过馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士、三司使、端明殿学士等职，并出任福建路（今福建福州市）转运使，知泉州、福州、开封（今河南开封市）和杭州府事。\n卒赠礼部侍郎，谥号忠。\n主持建造了我国现存年代最早的跨海梁式大石桥——泉州洛阳桥，蔡襄为人忠厚、正真，讲究信义，而且学识渊博，书艺高深，书法史上论及宋代书法，素有“苏、黄、米、蔡”四大书家的说法。\n蔡襄书法以其浑厚端庄，淳淡婉美，自成一体。\n蔡襄传世墨迹有《自书诗帖》、《谢赐御书诗》，以及《陶生帖》《郊燔帖》、《蒙惠帖》墨迹多种，碑刻有《万安桥记》、《昼锦堂记》及鼓山灵源洞楷书 “忘归石、”“国师岩”等珍品。\n已感节候变，物态 。\n那复壮年意，如今多病身。\n净室焚香久，烘炉煮药频。\n神欢百虑解，销尽眼前尘。",[7,60,25,2601,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13fa495c119733907c887b832e87e117.jpg",[],{"id":18643,"slug":18644,"title":18645,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":18646,"thumbUrl":18647,"material":751,"size":752,"collection":95,"collections":18648,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},230285,"tang-sun-ti-shi-zhu-da-230285","唐孙逖诗",[23,24,25,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d7084dd8942d92792c4688b230d5796.jpg",[],{"id":18650,"slug":18651,"title":18652,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":18653,"thumbUrl":18654,"material":751,"size":752,"collection":95,"collections":18655,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},230274,"nei-jing-jing-zhen-ji-7-zhen-zhu-da-230274","内景经真迹7帧-",[23,7,60,386,77,25,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edada7cd47b23b6ae58f1db52e17f32.jpg",[],{"id":18657,"slug":18658,"title":18659,"dynasty":18,"author":599,"museum":107,"description":18660,"tags":18661,"thumbUrl":18662,"material":95,"size":95,"collection":95,"collections":18663,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},230141,"si-yan-lian-zheng-ban-qiao-230141","四言联","此作用笔纵逸老辣，主体“得大自在”四字雄开张拓，线条提按顿挫尽显朴厚筋骨，带着标志性的“六分半书”意趣，融诸体于一体，打破规整法度，奇崛跌宕。\n\n两侧小字题款灵动流美，与大字形成疏密虚实的鲜明对比，让整幅章法错落和谐，气息贯通无碍。墨色枯湿浓淡相宜，枯笔见苍劲，重墨显沉浑，将书法的形式美感与“得大自在”的禅意抒怀完美相融，尽显作者疏朗超脱的襟怀，把清人尚意抒怀的书法特质挥洒尽致，文气与笔力共生，是极具个人风格的书法精品。",[23,24,25,75,50,2136,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f41e7ff2e617d50d91127a94c018d01.jpg",[],{"id":18665,"slug":18666,"title":18667,"dynasty":179,"author":7739,"museum":107,"description":18668,"tags":18669,"thumbUrl":18670,"material":95,"size":95,"collection":95,"collections":18671,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,92,24,25,49,112,111,878,113,798,56,57,1783,18093,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":18673,"slug":18674,"title":18675,"dynasty":88,"author":18676,"museum":72,"description":18677,"tags":18678,"thumbUrl":18679,"material":682,"size":95,"collection":95,"collections":18680,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},227720,"yun-ding-shan-shi-juan-xue-shao-peng-227720","云顶山诗卷","薛绍彭","薛绍彭行草书《云顶山诗卷》等杂书卷，纸本，26.1x303.5cm。台北故宫博物院藏。\n\n此卷由四帖所组成，含《云顶山诗》、《上清帖》等，其中有诗作有信札，内容都涉及到四川的风物，是薛绍彭在四川作官时与友人倡和之作。云顶山的云顶寺在四川广汉，此作书於建中靖国元年（1101），可知薛绍彭此时已入川為绵州梓潼路漕。上清宫位在四川青城山上，始建於晋代，是著名的道教胜地。左绵山在四川绵阳（今绵阳）北方。诗中“岳王楼”在绵州（今四川绵州东）西北，旧名“岳王台”，唐显庆中，太宗子越王贞為刺史时所建。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd35e7eb66535a2091fe015b24658a8c.jpg",[],{"id":18682,"slug":18683,"title":18684,"dynasty":88,"author":6789,"museum":107,"description":18685,"tags":18686,"thumbUrl":18687,"material":95,"size":95,"collection":95,"collections":18688,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","中山出游图卷","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[23,24,25,49,112,50,113,1074,1783,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":18690,"slug":18691,"title":18692,"dynasty":88,"author":454,"museum":107,"description":18693,"tags":18694,"thumbUrl":18695,"material":95,"size":95,"collection":95,"collections":18696,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[23,24,25,49,1128,111,27,51,458,11928,679,17645,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":18698,"slug":18699,"title":18700,"dynasty":88,"author":454,"museum":107,"description":18701,"tags":18702,"thumbUrl":18703,"material":95,"size":95,"collection":95,"collections":18704,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 (今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[23,24,25,49,50,59,51,113,458,52,53,54,55,116,2293,115,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":18706,"slug":18707,"title":18708,"dynasty":18,"author":2653,"museum":107,"description":18709,"tags":18710,"thumbUrl":18711,"material":95,"size":95,"collection":95,"collections":18712,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},224172,"han-mei-cui-niao-tu-hua-yan-224172","寒梅翠鸟图","水墨写就老梅枯干，苍劲嶙峋，以浓淡墨色晕染出覆霜带雪的清寒况味，淡粉轻缀梅花，疏落间暗透暗香。\n三只禽鸟各有意态，枝上两只翠鸟头颈相偎，亲昵宛然，羽色晕染细腻柔和；另有一鸟振翅掠空，灵动破寂，为萧寒画面添上蓬勃生趣。\n右侧题跋行书笔致洒脱，文辞与画意相融，更衬出文人雅意。全作用留白铺就冬日清寂底色，却于冷逸间藏着融融生机，将写生的鲜活与文人笔墨的简逸灵秀合而为一，落笔传神尽显幽淡空灵的冬韵雅趣。",[23,24,25,50,27,129,29,131,14702,116,238,1455,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ddfd247e50aebab76cda504b1f8c58f.jpg",[],{"id":18714,"slug":18715,"title":18716,"dynasty":162,"author":454,"museum":107,"description":18717,"tags":18718,"thumbUrl":18719,"material":10842,"size":18720,"collection":96,"collections":18721,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},223397,"tang-mo-huang-ting-jing-quan-juan-yi-ming-223397","唐摹黄庭经全卷","《黄庭经》是道教经典，叙述的养身方面的，分为《外景经》和《内景经》二种，而此卷为《外景经》，卷后依次有宋代滕仲嚞、明代董其昌和元代陈绎曾题跋。本摹本书法峭快，结构稳固，字字传神，为后人学习临摹好字帖。",[23,92,25,49,199,110,7,200,77,386,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3b9a8c80c061dcb0801cde82733274.jpg","40X190cm",[96],{"id":18723,"slug":18724,"title":18725,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":18726,"thumbUrl":18727,"material":312,"size":95,"collection":96,"collections":18728,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},223272,"shou-gao-zhen-ji-di-zang-pu-sa-jiu-hua-shan-ying-ji-ji-hong-yi-fa-shi-223272","手稿真迹-地藏菩萨九华山应蹟记",[23,7,60,878,49,386,77,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff73b63ea74c5c2705758cb2bd5ea5a.jpg",[96],{"id":18730,"slug":18731,"title":18732,"dynasty":18,"author":13461,"museum":1399,"description":13462,"tags":18733,"thumbUrl":18734,"material":184,"size":13465,"collection":95,"collections":18735,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},222979,"hong-lou-meng-104-sun-wen-222979","红楼梦104",[23,24,111,27,113,7767,1128,2369,574,167,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc331b246377204b7e5131a65e0b5ebce.jpg",[],{"id":18737,"slug":18738,"title":18739,"dynasty":45,"author":2206,"museum":72,"description":16453,"tags":18740,"thumbUrl":18741,"material":312,"size":16456,"collection":96,"collections":18742,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},222478,"shi-tie-bai-ma-pian-zhu-yun-ming-222478","诗帖《白马篇》",[23,92,24,25,49,398,200,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747861785a4e69632da691f06e6f31d3.jpg",[96],{"id":18744,"slug":18745,"title":18746,"dynasty":45,"author":744,"museum":18747,"description":18748,"tags":18749,"thumbUrl":18750,"material":488,"size":18751,"collection":95,"collections":18752,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},222360,"ye-ting-ai-rui-tu-juan-tang-yin-222360","野亭霭瑞图卷","美国基怀尔","画卷中古木阴郁，霭云布岫，溪流潺潺，山径曲折，一童子负草药归来。右边一茅庐，一老者坐于其间，前方置有笔、砚、纸，略作沉思状。画面发展到左面三分之二处 ，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[23,24,25,49,50,60,7,51,59,55,1018,57,116,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":18754,"slug":18755,"title":18756,"dynasty":45,"author":5386,"museum":3743,"description":18757,"tags":18758,"thumbUrl":18762,"material":312,"size":18763,"collection":95,"collections":18764,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},222319,"xi-yuan-shi-juan-wang-chong-222319","西苑诗卷","《西苑诗》为明代书法家王宠所书，是王宠的行书力作。该作书于1530年，正值王宠盛年。王宠一生极其短暂，写完此书后的第三年就去世了。",[23,60,7,49,2602,575,51,18759,5328,77,18760,18761],"池沼","疏朗秀雅","明代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350669abdb79a0b55660e6422bb97d35.jpg","25×235cm",[],{"id":18766,"slug":18767,"title":13123,"dynasty":45,"author":46,"museum":20,"description":13124,"tags":18768,"thumbUrl":18769,"material":1179,"size":13127,"collection":95,"collections":18770,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},222132,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222132",[23,24,25,26,27,51,59,458,54,6139,56,53,3174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb344ee3c9cde2e862603824960d7fefa.jpg",[],{"id":18772,"slug":18773,"title":18774,"dynasty":45,"author":13199,"museum":72,"description":18775,"tags":18776,"thumbUrl":18777,"material":33,"size":18778,"collection":95,"collections":18779,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},222079,"hua-su-shi-liu-dai-tu-zhou-cui-zi-zhong-222079","画苏轼留带图轴","崔子忠（？-1644），字道母，是明末著名的“变形主义”画家，画中如梅枝树石等方折的造型，即为其特色。此作描绘的是苏轼与金山寺僧佛印说偈，输了腰上玉带的故事。画中苏东坡手上所持的蓝色带状物，或许就是崔子忠想象中的玉\n第三次南巡时，乾隆皇帝想起藏在御书房中的崔子忠《画苏轼留带图》，命人快递至江南欣赏留跋。从此之后，崔子忠此轴也成了南巡行李箱中的常备成员，每每于金山寺中与苏轼玉带一同欣赏展玩。",[23,24,25,75,27,111,113,115,57,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2038d1e050db9cc5392e7d0aa0a73114.jpg","79.4 x 50 cm",[],{"id":18781,"slug":18782,"title":3136,"dynasty":45,"author":342,"museum":107,"description":18783,"tags":18784,"thumbUrl":18785,"material":184,"size":18786,"collection":95,"collections":18787,"showCount":157,"zanCount":788,"manualWeight":39,"mainColor":100},221979,"qian-zi-wen-wen-zheng-ming-221979","文徵明小楷《千字文》，嘉靖十四年乙未（1535年）夏四月二十有九日。徵明时年六十六岁书。他的书法温润秀劲，稳重老成，法度谨严而意态生动。\n在众多的书体中，文征明的小楷艺术成就最高，其取法高古，有“小楷名动海内”之誉。\n他小楷初学赵孟俯，后以晋唐小楷为基础，一改元人软弱秀媚之习气，尤其晚年力追魏晋锺、王笔意，力求古朴苍劲，法度严谨，如朱谋垔所言：“深得智永笔法”。其子文嘉评曰: “始亦规摹宋元之撰，既悟笔意，遂悉弃去，专法晋唐，小楷虽自《黄庭》《乐毅》中来，而温纯精绝，虞、褚而下弗论也。”\n纵观其传世作品，虽各阶段书风略显不同，早期形体略扁，起笔尖细，多棱角; 中期如丰坊《书诀》所述: “五十岁以后，因书诰敕，颇兼时体，渐尚整齐”； 晚年则宗法二王，人书俱老，已入化境。\n但却可以看出他一生都沉浸于小楷，正如王世懋云: “衡山先生……时作小楷，多偏锋，太露芒颖，年九十犹作蝇头书，人以为仙。然行笔未免涩强，其最称合作者，以字行后五六十时也。”可见其对小楷的用功极深。",[23,25,7,199,60,50,312,77,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0979d9d6d2e102a78d798de62745e07.jpg","34×74厘米",[],{"id":18789,"slug":18790,"title":18791,"dynasty":179,"author":6090,"museum":648,"description":18792,"tags":18793,"thumbUrl":18794,"material":591,"size":18795,"collection":95,"collections":18796,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[23,92,24,25,49,50,112,59,7,60,77,51,132,56,2859,52,53,113,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":18798,"slug":18799,"title":18800,"dynasty":88,"author":18801,"museum":72,"description":18802,"tags":18803,"thumbUrl":18804,"material":682,"size":18805,"collection":96,"collections":18806,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","武元直","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,24,25,49,51,50,59,7,60,5721,9322,54,56,1678,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg","纵50.8厘米，横136.4厘米",[96],{"id":18808,"slug":18809,"title":18810,"dynasty":45,"author":10912,"museum":7039,"description":18811,"tags":18812,"thumbUrl":18813,"material":18814,"size":18815,"collection":95,"collections":18816,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":95},220661,"xing-shu-song-peng-zi-jian-zhi-chu-shi-wang-duo-220661","行书送彭子籛之楚诗","王铎，字觉斯，号嵩樵、烟潭渔叟等，孟津（今河南孟津）人。明朝天启二年（1622）进士，先后于明崇祯朝、南明弘光朝及清顺治朝为官，累官至礼部尚书、大学士等，死后谥文安。此幅行书挂轴写于清顺治三年（1647），书五言律诗《送彭子籛之楚》赠予前辈张端（字天柱）。\n\n王铎好诗文，有「文唯昌黎，诗惟少陵而已」之论。其诗宗杜甫，尤爱五律，此应与晚明出现的杜诗热有关。王铎《拟山园集》所收录的诗歌，就以五律居多，多见学杜诗沉郁顿挫的格调。此《送彭子籛之楚》即可见其学杜之风。彭子籛即彭而述，明崇祯进士，河南邓州人，入清后转侍清廷。顺治初年，调任湖南，王铎因而写诗送行以表不舍与祝福。王、彭两人本是同乡，又同于明末避走战乱，经历生死，成为至交，故诗中有「昔年同患难」之句。该诗未收入王铎的《拟山园集》，却记录了王、彭两人的交往情谊，为研究王铎的交游提供了参考资料。\n\n王铎因降清，被视为「贰臣」，传统以来对其人品颇有微言，但书法成就却为世称道。他书宗二王，参学米芾，且一生不曾间断临习《淳化阁帖》，终能自出抒机，尝自评书艺「五十自化」。此轴书于五十五岁，正入化境：笔画粗拙，字体方折欹侧，大气淋漓中流露王米的书学渊源。值得留意的是，明代因建筑宏大，像这种长逾两米的大尺幅挂轴开始流行。据载，王铎因难在桌案上书写长作品，常令仆人在两头拉绢，自己在一侧书写。因此，字行时常如本幅所见歪斜摆动，却营造出跌宕气势和节奏。面对如此大绢幅，依然写得流畅有力，其功力之深可以想见。",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b7c529d2a52a163aaba46af45ba11c.jpg","水墨,绫本,立轴","画心：235.2 × 52 厘米（92 5\u002F8 × 20 1\u002F2 英寸）",[],{"id":18818,"slug":18819,"title":18820,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":18821,"thumbUrl":18822,"material":198,"size":2971,"collection":95,"collections":18823,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},220216,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-1-liu-gong-quan-220216","神策军碑-皇帝巡幸左神策军纪圣德碑1",[199,198,7,77,1063,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0521c13eaf5363388ee6f5cebbcb8025.jpg",[],{"id":18825,"slug":18826,"title":10455,"dynasty":162,"author":7189,"museum":1172,"description":10456,"tags":18827,"thumbUrl":10460,"material":94,"size":95,"collection":171,"collections":18828,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},219563,"mu-tong-tu-dai-song-219563",[24,25,50,113,797,2293,115,7],[171],{"id":18830,"slug":18831,"title":18832,"dynasty":18,"author":454,"museum":107,"description":18833,"tags":18834,"thumbUrl":18835,"material":169,"size":95,"collection":95,"collections":18836,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":100},216720,"hong-lou-meng-fu-tu-ce-5-yi-ming-216720","红楼梦赋图册-5","墨笔竖书的赋文如流水淌过笺页，字里行间似藏着红楼儿女的喁喁私语。环绕的缠枝绿意轻舒，粉蕊点缀其间，像把大观园的春愁秋恨织进了文字的肌理。淡彩勾勒的纹样不事张扬，却与端雅的小字相映成趣，仿佛能闻见纸页间漫出的墨香与花香。每一处线条的婉转，每一笔色彩的晕染，都暗合着赋文里的悲欢：那些红楼旧梦，那些聚散浮萍，都在这清雅的构图里，化作一抹挥之不去的怅惘，引观者沉入古典文学的温柔秘境。",[23,24,25,26,27,7,199,667,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc66a6efec35222818c1cba6fa7d41d6.jpg",[],{"id":18838,"slug":18839,"title":18840,"dynasty":18,"author":16817,"museum":1399,"description":18841,"tags":18842,"thumbUrl":18843,"material":33,"size":95,"collection":95,"collections":18844,"showCount":157,"zanCount":39,"manualWeight":39,"mainColor":40},216391,"za-hua-ce-3-bian-shou-min-216391","杂画册-3","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[23,24,25,26,50,129,29,12651,772,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42bcd9bfc2d499dd748088c848c8464d.jpg",[],{"id":18846,"slug":18847,"title":18848,"dynasty":179,"author":330,"museum":72,"description":18849,"tags":18850,"thumbUrl":18851,"material":751,"size":752,"collection":95,"collections":18852,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},290831,"xi-shan-gao-yi-zhou-wang-meng-290831","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[24,75,51,59,27,55,53,115,1018,2859,6054,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660a5fbcc2acc542b720d3d43b3f5381.jpg",[],19,{"id":18855,"slug":18856,"title":18857,"dynasty":8749,"author":454,"museum":107,"description":18858,"tags":18859,"thumbUrl":18860,"material":751,"size":752,"collection":95,"collections":18861,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},290689,"fu-shuo-bo-re-bo-luo-mi-duo-xin-jing-bao-ta-xin-jing-shou-gao-yi-ming-290689","佛说般若波罗蜜多心经 宝塔心经手稿","这是别具巧思的经变相抄本，以正中坐佛为塔心，小楷经文沿朱线界格环绕排布，勾勒出佛塔轮廓。墨笔字体端秀内敛，笔锋朴拙沉静，带着抄经时的肃穆心力。朱红界格与淡墨经文相映，让规整的字塔兼具法度与雅致。\n\n字塔即佛塔，诵读观览之时，亦是以字为砖、以经为塔的礼敬之举，将书写、持诵与观想融为一体。泛黄古纸晕着岁月痕迹，边角磨损藏着经年供养的温度，既是虔诚的写经遗存，亦是融信仰与美术为一体的小品，尽显至诚心意。",[386,7,199,878,9007,4678,16624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ee5f275b610cc4219c7c4eb2e9921.jpg",[],{"id":18863,"slug":18864,"title":18865,"dynasty":18,"author":18866,"museum":107,"description":18867,"tags":18868,"thumbUrl":18869,"material":751,"size":752,"collection":95,"collections":18870,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},290513,"shen-liu-du-shu-tang-tu-wang-su-290513","深柳读书堂图","王愫","王愫 清 字存素，号林屋，一号朴庐，江苏太仓诸生，侨居苏州。原祁侄。山水乾墨重笔不加渲染，得元人简澹法。",[23,24,25,27,1127,51,55,56,113,77,7,4739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2682a6cf5351bd32976b04d9134f98d.jpg",[],{"id":18872,"slug":18873,"title":16356,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":18874,"thumbUrl":18875,"material":751,"size":752,"collection":95,"collections":18876,"showCount":18853,"zanCount":788,"manualWeight":39,"mainColor":207},290490,"shu-fa-dui-lian-he-shao-ji-290490",[50,7,2136,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb165d6f599d8ea06cab18bf59596db24.jpg",[],{"id":18878,"slug":18879,"title":18880,"dynasty":179,"author":2238,"museum":107,"description":18881,"tags":18882,"thumbUrl":18883,"material":751,"size":752,"collection":95,"collections":18884,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},290432,"ting-song-tu-zhao-yuan-290432","听松图","赵原，中国元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。",[24,92,50,51,75,1018,52,53,55,113,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00db89c58ef9a5b2f15c3378bc30e1c.jpg",[],{"id":18886,"slug":18887,"title":18888,"dynasty":18,"author":9176,"museum":107,"description":15493,"tags":18889,"thumbUrl":18890,"material":751,"size":752,"collection":95,"collections":18891,"showCount":18853,"zanCount":882,"manualWeight":39,"mainColor":40},290420,"fang-gu-shan-shui-tu-ce-luo-pin-290420","仿古山水图册",[24,26,50,1328,250,115,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbac009aab2e9d42f1f271d2855c77e2.jpg",[],{"id":18893,"slug":18894,"title":18895,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":18896,"thumbUrl":18897,"material":751,"size":752,"collection":95,"collections":18898,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},290260,"quan-sheng-song-yun-tu-ke-luo-ban-wang-meng-290260","泉声松韵图（珂罗版）",[23,24,50,1328,59,251,1018,5158,52,53,54,458,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca815d4b818f75839f95fe04da5d062.jpg",[],{"id":18900,"slug":18901,"title":18902,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":18903,"thumbUrl":18904,"material":751,"size":752,"collection":95,"collections":18905,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},290004,"ban-qiao-shi-yi-tu-wu-chang-shuo-290004","板桥诗意图",[23,24,25,50,132,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0747dbe3ef850a10106938717ded8b00.jpg",[],{"id":18907,"slug":18908,"title":18909,"dynasty":2365,"author":18910,"museum":107,"description":18911,"tags":18912,"thumbUrl":18914,"material":751,"size":752,"collection":95,"collections":18915,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},289779,"tiao-er-tu-wang-qi-han-289779","挑耳图","王齐翰","王齐翰(公元10世纪)〔五代·南唐〕金陵(今江苏南京)人，生卒年不详。后主李煜朝(961-975)为宫廷翰林图画院待诏。工画人物、佛道宗教画，兼擅山水、花鸟，以画猿獐出名。好作山林丘壑，隐岩幽谷，无朝市风埃气，其画以笔法工细为特色〔南唐〕金陵（今南京）人。仕南唐李煜（九六一至九七五）在位为翰林待诏。画道释人物多思致，好作山林丘壑，隐岩幽卜。其画以笔法入细者胜，无一点朝市风尘气。开宝末商贾刘元嗣以高价售得齐翰画罗汉十六轴，载入京师，置于僧寺。后僧以过期拒赎与讼。时太宗尹京，督索其画，一见大加赏叹。遂留画厚赐而释之。阅十六日太宗即位，后名其画曰应运罗汉。画花鸟如生，人但以獐猨名。",[24,49,25,113,27,18913,60,7,7767],"挑耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f9346d130fe1c6cb415de0888edf5b.jpg",[],{"id":18917,"slug":18918,"title":18919,"dynasty":88,"author":18920,"museum":107,"description":18921,"tags":18922,"thumbUrl":18924,"material":751,"size":752,"collection":95,"collections":18925,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},289128,"tai-ye-he-feng-tu-feng-da-you-289128","太液荷风图","冯大有","南宋画家，生卒年不详，是南宋吴门（今江苏苏州）人。他自号怡斋，画史记载他善于捕捉莲花风、晴、老、嫩不同的面貌，可说是画莲的能手。",[24,1250,27,29,399,116,111,60,7,18923],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4808c104c2ab567d8fad3a717971579.jpg",[],{"id":18927,"slug":18928,"title":18929,"dynasty":88,"author":1160,"museum":107,"description":18930,"tags":18931,"thumbUrl":18932,"material":751,"size":752,"collection":95,"collections":18933,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},288518,"qiu-jiang-ming-po-tu-zhao-gou-288518","秋江瞑泊图","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。",[23,24,92,25,1250,50,51,53,54,115,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f38a38f40d9ef6cbc5a04e3d855599e.jpg",[],{"id":18935,"slug":18936,"title":18937,"dynasty":88,"author":3014,"museum":72,"description":18938,"tags":18939,"thumbUrl":18940,"material":751,"size":752,"collection":95,"collections":18941,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},288424,"hua-deng-shi-yan-tu-er-ma-yuan-288424","华灯侍宴图二","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。",[92,24,25,75,27,1128,51,458,115,567,113,747,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9842376e216c0f5d1e4424d7474811f.jpg",[],{"id":18943,"slug":18944,"title":18945,"dynasty":88,"author":4981,"museum":107,"description":10563,"tags":18946,"thumbUrl":18947,"material":751,"size":752,"collection":95,"collections":18948,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},288415,"da-de-ming-tie-dong-fu-si-bian-e-zhang-ji-zhi-288415","大德名帖东福寺匾额",[23,7,199,18151,878,8896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08a21673cbf948058f9f98f782fbde8.jpg",[],{"id":18950,"slug":18951,"title":12809,"dynasty":88,"author":3830,"museum":107,"description":18952,"tags":18953,"thumbUrl":18954,"material":751,"size":752,"collection":95,"collections":18955,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},288385,"shan-guan-du-shu-tu-liu-song-nian-288385","描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,92,24,25,27,1128,113,458,1018,3955,17602,60,7,77,3498,4739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ed6fe2292944c59304920fb2612397.jpg",[],{"id":18957,"slug":18958,"title":18959,"dynasty":88,"author":7096,"museum":107,"description":18960,"tags":18961,"thumbUrl":18962,"material":751,"size":752,"collection":95,"collections":18963,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},288335,"wu-zhu-xi-tang-tu-xia-gui-288335","梧竹溪堂图","此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。",[23,24,92,25,1250,50,51,132,1048,55,52,53,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d7e4d8b8f02db5e2072c25ef69640f.jpg",[],{"id":18965,"slug":18966,"title":18967,"dynasty":45,"author":744,"museum":107,"description":897,"tags":18968,"thumbUrl":18969,"material":751,"size":752,"collection":95,"collections":18970,"showCount":18853,"zanCount":882,"manualWeight":39,"mainColor":40},288038,"wang-shu-gong-ji-tu-li-zhou-tang-yin-288038","王蜀宫妓图立轴",[23,92,24,75,27,111,113,114,749,7,77,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb661cdadc9e0f02324388bd2a6ec5c85.jpg",[],{"id":18972,"slug":18973,"title":18974,"dynasty":45,"author":454,"museum":107,"description":18975,"tags":18976,"thumbUrl":18979,"material":751,"size":752,"collection":95,"collections":18980,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},288008,"mo-yan-li-ben-suo-jian-tu-juan-yi-ming-288008","摹阎立本锁谏图卷","此作设色古澹沉静，绘就朝堂受降一幕。右下方番使伏地请降，旁侧劲卒牵犬按兵环侍，居中王者踞坐，神态威严自持，甲胄武士执兵拱卫身侧，左侧仕女仪仗端整，松石布景衬出肃穆朝堂气象。\n线条劲挺圆转，人物神情各尽其态：降者惶恐畏缩，王者端凝从容，甲士悍勇剽悍，仕女温婉静穆，尽得唐人人物画的传神意趣。整卷气息沉厚，虽为摹本，仍复刻出古贤劲爽的勾勒晕染，将社稷柱石的凛然风骨藏于人物俯仰之间，尽显追摹唐风的精妙。",[23,92,24,49,27,113,111,110,9812,18977,11181,4864,10116,9076,7,77,18978],"官员","直谏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1154c1fb30a7cb0f5ffcfb1bc634cbf3.jpg",[],{"id":18982,"slug":18983,"title":18984,"dynasty":18,"author":9176,"museum":107,"description":18985,"tags":18986,"thumbUrl":18987,"material":751,"size":752,"collection":95,"collections":18988,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},287971,"qiu-lan-wen-shi-tu-li-zhou-luo-pin-287971","秋兰文石图立轴","此图绘兰花和文石，画家在运用墨色和线条方面有独到之处，简练的线条，圆劲而宽厚，硬如铁画，柔如棉条，准确地勾画了兰花和文石。\n《秋兰文石图》构图简练，怪石以焦墨勾出，通体以墨彩晕染，厚重凝炼。秋兰则舍弃了当时所盛行的水墨撇写之法，而以双钩白描绘出，略施淡墨，写出兰丛繁茂之貌，以浓墨点提花心及地面野菜。兰之高洁晶莹与石之坚实沉稳形成鲜明对照，使画面自有一种超凡脱俗的灵动之感。",[23,24,75,50,139,250,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9341f5bd9cf62305f811fc5dbc383bc.jpg",[],{"id":18990,"slug":18991,"title":18992,"dynasty":8749,"author":454,"museum":107,"description":18993,"tags":18994,"thumbUrl":18995,"material":751,"size":752,"collection":95,"collections":18996,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},287809,"wang-xi-zhi-chi-du-ji-yi-ming-287809","王羲之尺牘集","此作用笔灵动多变，中锋侧锋交替施为，起笔斩截与圆融兼具，收笔或出锋爽利，或回锋沉凝。线条粗细藏露相映，牵丝映带间字势顾盼生姿，行气舒朗又浑然一体。墨色枯润浓淡层次分明，燥笔见清劲筋骨，湿墨显腴润质感。字形欹侧错落，随文势自然生发，将问疾探友的真切心绪寄于笔端，不拘成法、随性率真，晋人尚韵的雅致风流尽在尺幅之间，日常尺牍的简率真挚与书法艺术的洒落风神融为一体。",[7,398,3155,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd14d7a0746673c92aec83ed0e040f4a.jpg",[],{"id":18998,"slug":18999,"title":19000,"dynasty":179,"author":1516,"museum":107,"description":4942,"tags":19001,"thumbUrl":19002,"material":751,"size":752,"collection":95,"collections":19003,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},287758,"gao-jie-ling-yun-tu-zhuang-biao-wu-zhen-287758","高节凌云图（装裱）",[92,24,25,75,50,132,250,704,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c6c5f018da369c34404e3ac4413aec.jpg",[],{"id":19005,"slug":19006,"title":19007,"dynasty":162,"author":12922,"museum":107,"description":11292,"tags":19008,"thumbUrl":19009,"material":751,"size":752,"collection":95,"collections":19010,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},287568,"lin-wang-xian-zhi-fei-niao-tie-zhe-sui-liang-287568","临王献之飞鸟帖",[7,110,200,77,116,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d85e86216ebedf08e00fe17e3ba5b5.jpg",[],{"id":19012,"slug":19013,"title":9422,"dynasty":179,"author":3733,"museum":72,"description":19014,"tags":19015,"thumbUrl":19016,"material":79,"size":19017,"collection":95,"collections":19018,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},287542,"zhu-shi-zhou-guan-dao-sheng-287542","管道昇（1262年—1319年5月29日），字仲姬，浙江德清茅山（今浙江干山镇茅山村）人，一说华亭（今上海松江）人 ，元代著名的女书法家、画家、诗词创作家。\n南宋景定三年生。幼习书画，笃信佛法。曾手书《金刚经》数十卷，赠名山寺。嫁元代吴兴书画名家赵孟頫为妻，封吴兴郡夫人，世称管夫人，延祐四年（1317年），封魏国夫人。\n管道昇所写行楷与赵孟頫颇相似，所书《璇玑图诗》笔法工绝。精于诗。尤擅画墨竹梅兰。晴竹新篁，为其首创。延佑六年（1319年）病逝。存世的《水竹图》等卷，现藏北京故宫博物院，《竹石图》1帧，藏台湾故宫博物院。",[92,24,50,75,132,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7878310a226e545764562d59ddf2c7.jpg","87.1x28.7",[],{"id":19020,"slug":19021,"title":19022,"dynasty":18,"author":454,"museum":107,"description":19023,"tags":19024,"thumbUrl":19028,"material":751,"size":752,"collection":95,"collections":19029,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":19030},273003,"zi-tan-bian-fa-lang-gua-ping-yi-ming-273003","紫檀边珐琅挂屏","金地为底，珐琅釉色晕染出青绿山峦，层叠起伏间皴笔有致，翠色鲜亮柔和。水网田垄错落交织，茅舍隐于林樾，耕牛静卧田埂，乡农驻足叙话，将春日郊野的恬然烟火铺陈眼前。\n\n边角题诗点出田家闲趣，铜饰挂钮精巧雅致，紫檀边框衬得画面愈发明丽华贵。整幅将文人诗意融于珐琅工艺，把乡野春耕的悠然意趣刻画入微，尽显雅致清和的审美意韵，方寸间凝住田园生机，是工艺与画意兼备的上乘之作。",[19025,19026,8913,1127,27,51,6129,19027,52,13063,113,56,7,11051],"琺瑯器","木质","耕牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a29cfe1ff77dd9aabf7e530a98d631a.jpg",[],"0D904F",{"id":19032,"slug":19033,"title":19034,"dynasty":18,"author":454,"museum":107,"description":19035,"tags":19036,"thumbUrl":19037,"material":95,"size":95,"collection":802,"collections":19038,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":207},242174,"lan-ting-ba-zhu-tie-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-yi-ming-242174","《兰亭八柱帖》戏鸿堂刻柳公权兰亭诗","此拓本墨色沉凝乌亮，字口清劲挺括，将柳公权书法瘦硬通神的筋骨风神尽数留存。笔画斩截爽利，结体端庄开阔，尽显柳书的刚健雅正。刻工精妙入微，把笔锋的起落转折复刻无遗，虽经刻拓，却未失笔墨原初的鲜活意趣。旁侧题识笔意舒展，与帖文相映成趣，添增文韵雅致，让这件拓本兼具碑刻的金石沉浑与翰墨的灵动雅致，尽显兰亭诗帖的悠远意蕴。",[7,198,77,60,199,200,110,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed4c57aeefb2b4f1aed893dbe676dbb.jpg",[802],{"id":19040,"slug":19041,"title":18391,"dynasty":18,"author":19042,"museum":701,"description":19043,"tags":19044,"thumbUrl":19047,"material":312,"size":19048,"collection":96,"collections":19049,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},241394,"qi-jue-zhou-zhao-zhi-chen-241394","赵之琛","赵之琛（1781-1852），钱塘（今浙江杭州）人。字次闲，号献父、献甫，又号宝月山人，斋号补罗迦室。蝶隐园书画杂缀作赵之瑛。清代著名的篆刻家和书画家，精心嗜古，邃金石之学，篆刻得其乡陈豫锺传，能尽各家所长。尝为阮元摹刊钟鼎款识，兼工隶法，善行楷。画山水师倪、黄，以萧疏幽澹为宗。花卉笔意潇洒，傅色清雅，大有华嵓神趣。间作草虫，随意点笔，各种体貌，无不逼肖。然丈尺之幅，腕力已薄，虽不能追踪古人，亦当抗衡奚冈、方薰、黄易。\n竹，是中国古代画家最为喜爱的绘画题材之一。由于竹有着挺拔、有节、虚心向上、耐寒不凋等习性特点，中国古代画家常常以之作为精神的写照和人格的象征，不论是梅、兰、竹、菊的“四君子”，还是松、竹、梅的“岁寒三友”，萧萧修篁都赫然位列其间。至于修竹与瘦石的结合，更是自宋元以降历代文人画家的拿手好戏，在中国古代的绘画史上，擅写竹石的画家俯拾皆是，不胜枚举。\n关于竹的画法，一般可分为两类：一类是双勾填色，一类是水墨写意（也有以色代墨者）。前者立足于画，致力于形态；后者立足于写，强调的是风神。赵孟頫所谓“石如飞白木如籀，写竹也应八法通；若也有人能会此，须知书画本来同”云云，即是以枯木竹石作为例证，来阐释中国画尤其是文人画的书法性原则的。不过，赵之琛的这幅《双勾竹石图》里竹子的画法却用的是双勾。画面下方的土坡上修篁三竿，亭亭玉立，直冲画外，竹叶繁茂，左右纷披，昂抑错落，姿态优美，尤其浅淡的汁绿渲染，更使得整个竹子显生机勃发，清气盎然。\n从总体上看，赵之琛对竹子竿、节、叶的形态皆能准确的把握，法度谨严，笔法工细，位置的穿插安排，自然合理，疏密有度，颇见功力与匠心。在竹子的前端，画家画有湖石一方，玲珑剔透，瘦峭崛立，此亦中国文人画的惯用手法，其作用一则为了与修竹相互映衬，另一则为了稳定画面。需要引起注意的是，赵之琛笔下的这块湖石形态独特，重心前倾，在构图上显得颇为奇险，而画家却能处险不惊，化险为夷，实属难能可贵。湖石的四周另有茅草随意点缀，益发有助于画面的和谐和自然。",[7,1613,457,75,6769,9580,680,19045,2739,19046],"飞","清景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1baaeaf7f25126adf970cbdc055a876.jpg","131.5×60.5cm",[96],{"id":19051,"slug":19052,"title":19053,"dynasty":45,"author":14516,"museum":126,"description":14517,"tags":19054,"thumbUrl":19055,"material":312,"size":95,"collection":96,"collections":19056,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},240994,"zhi-fu-shu-juan-wang-shou-ren-240994","致父书卷",[7,60,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e954c78860c35d7dca1d080111ae09.jpg",[96],{"id":19058,"slug":19059,"title":19060,"dynasty":18,"author":2132,"museum":126,"description":19061,"tags":19062,"thumbUrl":19063,"material":19064,"size":19065,"collection":96,"collections":19066,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},240851,"yang-yi-sun-zhuan-shu-qi-yan-lian-yang-yi-sun-240851","杨沂孙篆书七言联","释文：梅花有香清在骨，谏果之味美于回。梦陶世讲兄雅正。濠叟杨沂孙书。\n款署：“梦陶世讲兄雅正。濠叟杨沂孙书。”钤“杨沂孙印”白文印、“濠叟”白文印、“历劫不磨”朱文印。\n此幅是杨沂孙为友人所作篆书对联，笔力苍劲，篆法精纯，结构严整，表现出其晚年篆书的成熟面貌。",[7,457,2136,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751fd00444ea219ce8358b97c8085aec.jpg","纸本，篆书","纵133厘米，横29.8厘米",[96],{"id":19068,"slug":19069,"title":19070,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":19073,"thumbUrl":19074,"material":751,"size":752,"collection":95,"collections":19075,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},240848,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240848","伊秉绶五言联","伊秉绶","伊秉绶（1754-1815），字组似，号墨卿，晚号默庵，清代书法家，福建汀州府宁化县人，故人又称“伊汀州”。乾隆四十四年举人，乾隆五十四年进士，师戴联奎，历任刑部主事，后擢员外郎。\n嘉庆四年任惠州知府，因与其直属长官、两广总督吉庆发生争执，被谪戍军台，昭雪后又升为扬州知府，1802年（嘉庆七年），伊秉绶54岁时，因父病死，去官奉棺回乡，扬州数万市民洒泪送别。62岁病逝后，扬州人为仰慕其遗德，在当地“三贤祠”（祀欧阳修、苏轼、王士祯三人之祠）中并祀伊秉绶，改称“四贤祠”。在任期间，以“廉吏善政”著称。\n伊秉绶喜绘画、治印，亦有诗集传世。工书，尤精篆隶，精秀古媚。其书超绝古格，使清季书法，放一异彩。隶书尤放纵飘逸，自成高古博大气象，与邓石如并称大家。",[18,7,2136,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b86dc31ec88585937498c6737eb8c39.jpg",[],{"id":19077,"slug":19078,"title":19070,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":19079,"thumbUrl":19080,"material":751,"size":752,"collection":95,"collections":19081,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},240471,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240471",[7,1613,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffd3ce9877a50b33016bcecc8a616d9.jpg",[],{"id":19083,"slug":19084,"title":12347,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":19085,"thumbUrl":19086,"material":751,"size":752,"collection":95,"collections":19087,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},240435,"wu-chang-shuo-lin-shi-gu-wen-si-tiao-ping-wu-chang-shuo-240435",[7,457,110,75,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f14bcbc77d3ab8853655b4161e72e6c.jpg",[],{"id":19089,"slug":19090,"title":19091,"dynasty":18,"author":19092,"museum":107,"description":19093,"tags":19094,"thumbUrl":19095,"material":95,"size":95,"collection":96,"collections":19096,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},240402,"liu-zong-yuan-shi-zhou-li-shi-zhuo-240402","柳宗元诗轴","李世倬","李世倬[清]（1687―1770）字天章，一字漢章、天濤，別號十石居士、太平拙吏、伊祁山人、清在號谷齋，又號菉園、星厓，居士，奉天（今遼寧瀋陽）人，一作三韓（今內蒙喀喇沁旗西南）人，隸籍漢軍正黃旗。如龍子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人稱李太常。\n善畫山水、人物、花鳥、果品，各臻其妙。少隨父宦遊江南，見王翬（1632—1717）得其講論，後與馬逸遊，故宗法純正而筆亦秀雋。其人物，自言得吳道子水陸道場圖而閲之，遂悟其法。其花鳥、果品各種寫意，蓋得諸舅氏之指墨而易以筆，故能各名一家。晚年喜用指墨作人物、花鳥小品，以焦墨細擦，頗得輕重淺深之致。年逾八旬猶能作畫，書小楷。",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd077ee39e7390f7a56bda17b054e41.jpg",[96],{"id":19098,"slug":19099,"title":19100,"dynasty":18,"author":17883,"museum":126,"description":19101,"tags":19102,"thumbUrl":19103,"material":95,"size":95,"collection":96,"collections":19104,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},240054,"xing-shu-lun-shu-juan-weng-fang-gang-240054","行书论书卷","翁方纲(1733～1818)，字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴(今北京大兴区)人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。历督广东、江西、山东三省学政，官至内阁学士。精通金石、谱录、书画、词章之学，书法与同时的刘墉、梁同书、王文治齐名。",[23,60,7,49,77,312,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e94a414d463d97def4dd844bf31d23.jpg",[96],{"id":19106,"slug":19107,"title":17924,"dynasty":45,"author":19108,"museum":126,"description":19109,"tags":19110,"thumbUrl":19111,"material":312,"size":19112,"collection":96,"collections":19113,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},239988,"shi-zhou-ni-yuan-lu-239988","倪元璐","诗轴用笔迅捷，酣畅洒脱，其结体多取斜姿，以求奇险之势，气息较为古朴。虽未署年款，但从书风、款印分析，当为倪氏中期向晚期过渡时的作品。",[24,25,75,77,60,398,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e8ea93099a42877a977dd039276642.jpg","纵133.7厘米，横41.9厘米。",[96],{"id":19115,"slug":19116,"title":9940,"dynasty":18,"author":830,"museum":107,"description":19117,"tags":19118,"thumbUrl":19119,"material":95,"size":95,"collection":96,"collections":19120,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},239945,"qi-yan-lian-wu-chang-shuo-239945","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。",[24,25,75,50,77,2136,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1c846cf7899990640b1874b2d333b4.jpg",[96],{"id":19122,"slug":19123,"title":19124,"dynasty":18,"author":19125,"museum":107,"description":19126,"tags":19127,"thumbUrl":19128,"material":751,"size":752,"collection":95,"collections":19129,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},239939,"zhuan-shu-di-zi-zhi-ba-tiao-ping-wu-xi-zai-239939","篆书弟子职八条屏","吴熙载","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”",[2135,457,7,12955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae630aa3af825477af4f1f99c4f81e1.jpg",[],{"id":19131,"slug":19132,"title":19133,"dynasty":45,"author":19134,"museum":107,"description":19135,"tags":19136,"thumbUrl":19137,"material":95,"size":95,"collection":96,"collections":19138,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},239889,"ming-dai-ming-ren-gu-yan-wu-deng-shu-han-ce-shen-hong-239889","明代名人，顾炎武等书翰册","沈泓","沈泓，生卒年不详。字临秋，一作临求，号悔庵，一作晦庵，浙江嘉善人，一说松江华亭（今属上海）人 。崇祯十六年（1643年）进士，官刑部主事。明亡自缢，获救不死。后为僧，名宏坚。著有《易宪》四卷。\n沈泓命运多舛，出生才5个月，父亲就故世。母亲宋氏年仅23岁，执意守节，独自抚养儿子。沈泓三四岁时，便能背诵母亲教授的孝经。6岁时常临摹父亲留下的书字，常因此触景生情而抱母痛哭，人都称其为孝子。崇祯二年（1629年）母亲病故，他抚棺恸哭不止。此后食蔬4年守于墓侧，乡人无不感动。崇祯六年（1633年）沈泓中举人后，即为母亲陈述苦节，事载松江府志，并蒙恩旨旌表，建完节坊。沈泓的孝名在《枫泾小志》也多有记载，如娄县沈祥龙序曰：“沈进士泓以孝行称许”。\n沈泓的孝还引出过一段逸事。据《续修枫泾小志》记述：沈泓曾为节母求得海内诗文数百篇，不料被盗，他号泣于路上整整7天不肯离去。不久的一天，佘山寺老僧早晨起来见到供桌上有一卷书，上留条：“烦上人亲致沈孝子”。原来窃贼也被沈泓的孝心感化了，于是沈的诗文又失而复得。\n沈泓中进士后，官邢部主事。但不久便请辞归故里，意欲回乡葬亲后再为朝廷履职。明亡后，他悲痛欲绝，绝意遁入佛门，曰：“吾君亲两负求死不得，唯有祝发空门或可自靖耳！”遂投雪峤禅师缁染，改名宏坚，徙住会稽东山庆国寺。后因患病不肯医治而去世。",[7,457,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aada180879d35b33f232b588c4bd551.jpg",[96],{"id":19140,"slug":19141,"title":19142,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":19143,"thumbUrl":19144,"material":95,"size":95,"collection":96,"collections":19145,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},239721,"zhang-zhou-wen-shi-chi-du-ce-zhi-tai-xue-shao-xi-wen-wen-tie-wen-zheng-ming-239721","长洲文氏尺牍册-致太学少溪闻问帖",[25,7,26,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8907891c275c343bda4bc9f20d352bce.jpg",[96],{"id":19147,"slug":19148,"title":19149,"dynasty":18,"author":454,"museum":107,"description":19150,"tags":19151,"thumbUrl":19152,"material":95,"size":95,"collection":95,"collections":19153,"showCount":18853,"zanCount":788,"manualWeight":39,"mainColor":40},239712,"chang-fu-gou-tian-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-juan-yi-ming-239712","常福钩填戏鸿堂刻柳公权兰亭诗卷","此作为钩填摹本，以柳公权笔意为骨，复刻戏鸿堂刻本风神。行草笔墨爽利挺劲，柳体方硬筋骨隐于牵丝映带间，既存唐楷法度端严，又不失兰亭诗的萧散雅韵。\n\n卷间题跋鉴印层叠排布，朱墨交错晕染古意。橙黄隔水衬以素纸，将旧刻金石气晕化为纸本笔墨的温润质感，摹刻兼融，一卷之中藏尽刻本与摹本的双重意趣，悠悠承载兰亭雅集的传世文脉，尽显复刻古帖时的细腻用心，让旧刻风神于纸卷间焕然新生。",[23,7,49,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c3569d8bc488425c5319948d0a7076.jpg",[],{"id":19155,"slug":19156,"title":19157,"dynasty":45,"author":19158,"museum":107,"description":19159,"tags":19160,"thumbUrl":19161,"material":312,"size":95,"collection":63,"collections":19162,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},237649,"yue-dai-shan-shui-tu-zhou-yue-dai-237649","岳岱山水图轴","岳岱","［明］字东伯，自称秦余山人，又号漳余子，先世以军功隶苏州衞，至其父，始好读书，辟草堂于阳山。性狷介，好游，历尽宇内名山。能诗，善画。嘉靖二十四年（一五四五）作寒林峻岭图。《苏州府志、列朝诗集小传、明画录》",[24,50,51,75,59,7,77,57,53,56,471,704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793aa582a24781c0232ca1da41efa8e7.jpg",[63,187,96],{"id":19164,"slug":19165,"title":19166,"dynasty":18,"author":10031,"museum":107,"description":19167,"tags":19168,"thumbUrl":19169,"material":751,"size":752,"collection":95,"collections":19170,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},237354,"mei-zhu-shan-ye-xu-gu-237354","梅竹扇页","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,25,1250,27,29,131,132,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9142378bc6645716ae50ea0e5e864d.jpg",[],{"id":19172,"slug":19173,"title":19174,"dynasty":45,"author":5166,"museum":107,"description":19175,"tags":19176,"thumbUrl":19177,"material":751,"size":752,"collection":95,"collections":19178,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},236813,"mo-zhu-shan-ye-sun-ke-hong-236813","墨竹扇页","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[24,1250,50,132,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631b59634d6881d5c6668c1f12868788.jpg",[],{"id":19180,"slug":19181,"title":19182,"dynasty":45,"author":19183,"museum":107,"description":19184,"tags":19185,"thumbUrl":19186,"material":751,"size":752,"collection":95,"collections":19187,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},235312,"hai-tang-shan-ye-wang-gu-xiang-235312","海棠扇页","王穀祥","王谷祥（1501年－1568年），字禄之，号酉室，南直隶苏州府长洲县（今苏州）人。嘉靖八年（1529年）进士，授工部主事。历吏部员外郎，持法不阿，忤尚书汪鋐，贬真定通判。",[24,25,1250,27,29,1600,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47e65c0d8d8d7d19256b69d01f49eb4.jpg",[],{"id":19189,"slug":19190,"title":7114,"dynasty":18,"author":454,"museum":107,"description":19191,"tags":19192,"thumbUrl":19194,"material":95,"size":95,"collection":95,"collections":19195,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},235158,"hong-ren-shan-shui-ce-yi-ming-235158","此作用笔清劲洗练，以淡墨勾勒山石轮廓，线条方硬爽利，尽显皖南丘壑冷峻之态。近岸孤树疏枝亭亭，树下茅舍幽隐，野意悠然。远景矶汀错落，浅渚留白铺展出空濛清寂的水色。\n\n搭配行书题诗，笔意疏朗洒脱，诗画相映，将荒寒山居的幽致和文人幽栖之志相融，整体简淡空灵，脱尽尘俗烟火气，把山水的清寂冷逸与林下雅怀合为一体，风骨萧散淡远，余韵悠长。",[24,25,26,50,59,51,19193,57,268,7,77],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa067945763735df25b05abe9da2fedc9.jpg",[],{"id":19197,"slug":19198,"title":19199,"dynasty":18,"author":3357,"museum":126,"description":19200,"tags":19201,"thumbUrl":19202,"material":488,"size":19203,"collection":95,"collections":19204,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,92,24,25,49,50,59,60,398,7,77,51,651,360,652,55,58,52,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":19206,"slug":19207,"title":19208,"dynasty":18,"author":15289,"museum":126,"description":19209,"tags":19210,"thumbUrl":19211,"material":184,"size":95,"collection":95,"collections":19212,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},234111,"hua-hong-li-jiao-shi-ming-qin-shi-yi-juan-zhang-zong-cang-234111","画弘历蕉石鸣琴诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,25,49,27,51,55,56,2019,58,5091,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b204362fe8e043dbf4856d2c360dfbc.jpg",[],{"id":19214,"slug":19215,"title":16293,"dynasty":18,"author":506,"museum":279,"description":16294,"tags":19216,"thumbUrl":19217,"material":591,"size":16297,"collection":95,"collections":19218,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},233866,"mei-hua-ce-jin-nong-233866",[24,25,26,50,7,131,238,1455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da4a4c9fdf9047d3f8e3350b2ae6c59.jpg",[],{"id":19220,"slug":19221,"title":1515,"dynasty":179,"author":1927,"museum":126,"description":19222,"tags":19223,"thumbUrl":19224,"material":477,"size":1931,"collection":95,"collections":19225,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},233786,"mo-zhu-po-shi-tu-zhou-gao-ke-gong-233786","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。”",[24,50,75,132,250,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d7df8f8687f077f813223a903ed0ac.jpg",[],{"id":19227,"slug":19228,"title":19229,"dynasty":18,"author":411,"museum":107,"description":4665,"tags":19230,"thumbUrl":19231,"material":519,"size":4668,"collection":95,"collections":19232,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},233694,"yuan-ji-lan-zhu-ce-jiao-ye-lan-cao-shi-tao-233694","原济兰竹册－蕉叶兰草",[24,50,26,7,77,7778,3983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc875a99432f40c241a769dd8181d1b2e.jpg",[],{"id":19234,"slug":19235,"title":4993,"dynasty":88,"author":369,"museum":126,"description":19236,"tags":19237,"thumbUrl":19239,"material":19240,"size":5001,"collection":95,"collections":19241,"showCount":18853,"zanCount":882,"manualWeight":39,"mainColor":40},232988,"pi-pa-shan-niao-tu-ye-zhao-ji-232988","图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[24,92,111,27,1250,7,77,29,4996,19238,239,7657],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f708f56a9bfc0b0d7181fc6adb9c5aa.jpg","绢本，墨笔",[],{"id":19243,"slug":19244,"title":19245,"dynasty":45,"author":342,"museum":126,"description":19246,"tags":19247,"thumbUrl":19248,"material":312,"size":19249,"collection":95,"collections":19250,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},232959,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232959","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,25,26,50,51,115,250,59,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0d0f5d6235a84082f5f7e653cc6acb.jpg","28.5×15.8厘米",[],{"id":19252,"slug":19253,"title":19254,"dynasty":45,"author":13199,"museum":72,"description":19255,"tags":19256,"thumbUrl":19257,"material":33,"size":19258,"collection":95,"collections":19259,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[4038,24,25,111,27,50,113,56,57,268,2369,1782,7,77,704,15766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],{"id":19261,"slug":19262,"title":19263,"dynasty":179,"author":454,"museum":107,"description":19264,"tags":19265,"thumbUrl":19266,"material":95,"size":95,"collection":95,"collections":19267,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},230899,"zhang-yu-ti-ni-zan-xiang-yi-ming-230899","张雨题倪瓒像","画中主人斜坐榻上，眉眼疏朗沉静，素衣简饰尽显出尘之姿。侍童捧盏垂首静立，仆从持帚恭谨侍于侧旁，案头清供文玩雅致小巧，背景浅绘林峦远汀，暗合主人简淡的笔墨意趣。左侧题诗与遍身鉴藏朱印，为画作添上流传的厚重底色。\n\n全作设色清雅柔润，线条细劲秀逸，将元末文人耽于泉石诗书的狷介风骨尽数铺陈，人物情态鲜活自然，把肖像纪实与文人雅趣精妙相融，尽显元人肖像画的含蓄意韵。",[92,24,25,49,27,111,112,113,77,7,2369,574,2370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67502f268a6b09045cf37786e306694e.jpg",[],{"id":19269,"slug":19270,"title":19271,"dynasty":18,"author":19272,"museum":107,"description":19273,"tags":19274,"thumbUrl":19276,"material":751,"size":752,"collection":95,"collections":19277,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},230265,"shu-fa-tiao-fu-lin-san-zhi-230265","书法条幅","林散之","此作用笔纵逸老辣，枯湿浓淡对比强烈，中锋侧锋兼施，线条极具张力。主文笔势连绵奔涌，重墨如坠石沉凝，枯笔似惊鸿掠影，将草书写意性发挥尽致。左侧题款简劲灵动，与正文虚实相衬，章法疏密相宜，萧散朴拙间自带着雄浑大气，尽显炉火纯青的笔墨功夫。整幅书作将诗意与书境相融，笔墨间流淌着飘逸苍劲的文人风骨，尽显不凡笔力。",[2135,7,398,19275,50,77],"条幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66e0d2e67e17ccf9fb572ceeecdce0a3.jpg",[],{"id":19279,"slug":19280,"title":9856,"dynasty":18,"author":3067,"museum":107,"description":19281,"tags":19282,"thumbUrl":19283,"material":95,"size":95,"collection":95,"collections":19284,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,25,49,27,51,59,1018,57,58,471,56,55,53,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":19286,"slug":19287,"title":19288,"dynasty":45,"author":13052,"museum":107,"description":19289,"tags":19290,"thumbUrl":19291,"material":751,"size":752,"collection":95,"collections":19292,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,24,25,49,878,113,51,50,27,59,7,60,77,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":19294,"slug":19295,"title":19296,"dynasty":88,"author":14147,"museum":107,"description":19297,"tags":19298,"thumbUrl":19299,"material":95,"size":95,"collection":95,"collections":19300,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},227761,"shu-han-wen-gao-quan-juan-zhu-xi-227761","书翰文稿(全卷)","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n\n朱熹行草《书翰文稿》卷，此卷分为前后两段，前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米。此卷中部分内容为：“老拙衰病，幸未即死；但脾胃终是怯弱，饮食小失节，便觉不快。兼作脾泄挠人，目疾则尤害事，更看文字不得也。”又：“我者是亦似矣。然反身而诚，乃物格知至以后之事，言其穷理之至，无所不尽。故凡天下之理，反求诸身，皆有以见其如目视、耳听、手持、足行之事，毕具于此。”这里所说主要是修身养性及日常之事，心态平和，徐徐道来。\n\n该作品后有元、明两代共有十一位书画家的题识跋浯，内容包括朱熹画像。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165c1f3f4c3ffb316f2d335641b0d856.jpg",[],{"id":19302,"slug":19303,"title":19304,"dynasty":105,"author":1642,"museum":412,"description":19305,"tags":19306,"thumbUrl":19307,"material":95,"size":95,"collection":95,"collections":19308,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},227710,"song-ta-bao-mu-tie-quan-juan-wang-xian-zhi-227710","宋搨保母帖全卷","王献之（344年－386年），字子敬，小名官奴，汉族，祖籍琅玡临沂（今山东临沂），生于会稽山阴（今浙江绍兴）。东晋著名书法家、诗人、画家，为书圣王羲之第七子、晋简文帝司马昱之婿。官至中书令，为与族弟王珉区分，人称“大令”，与其父王羲之并称为“二王”。与张芝、钟繇、王羲之并称“书中四贤”。 王献之自幼聪明好学，在书法上专攻草书隶书，也擅长绘画。他自小跟随父亲练习书法，胸有大志，后期兼取张芝，自创新体。他以行书和草书闻名，但是楷书和隶书亦有深厚功底。王献之亦善画，张彦远在《历代名画记》中目其画为“中品下”。",[23,7,198,60,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230b293c4212ad01d0e3e459b678bbfa.jpg",[],{"id":19310,"slug":19311,"title":19312,"dynasty":88,"author":89,"museum":72,"description":19313,"tags":19314,"thumbUrl":19316,"material":95,"size":95,"collection":95,"collections":19317,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},227593,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227593","致景道十七使君尺牍","黄庭坚《致景道十七使君尺牍》宋人袁立儒、范成大题跋 台北故宫博物院藏\n\n释文：谿翁續得山谷題前定錄等八詩。小黠大癡螳捕蟬二篇居其中。遺趙景道者小字。送李伯牖者大字。予兼而有之。於好古博雅。不曰徒費光陰矣。寶祐甲寅（1254）中秋日書。\n\n光風轉蕙。汎崇蘭些。此山谷先生小楷氣象。石湖居士題。",[25,7,60,2602,77,2601,385,19315],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465efcfbc458110c943d303f10caf8c3.jpg",[],{"id":19319,"slug":19320,"title":19321,"dynasty":88,"author":454,"museum":107,"description":19322,"tags":19323,"thumbUrl":19324,"material":95,"size":95,"collection":95,"collections":19325,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},227344,"nan-tang-wen-hui-tu-yi-ming-227344","南唐文会图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[23,24,25,27,111,113,51,56,2186,431,60,7,834,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a6e27647f006a060beabf4f36b4ffa.jpg",[],{"id":19327,"slug":19328,"title":19329,"dynasty":8749,"author":454,"museum":107,"description":19330,"tags":19331,"thumbUrl":19335,"material":95,"size":95,"collection":95,"collections":19336,"showCount":18853,"zanCount":882,"manualWeight":39,"mainColor":100},225300,"fu-shi-hui-22-yi-ming-225300","浮世绘22","画面左右分置景致，左侧浅粉底色晕开柔缓春意，牵牛藤蔓虬曲舒展，蓝紫花苞次第绽放，蛱蝶振翼落于枝梢，灵动柔婉。右侧靛蓝为底，暖艳樱花层层缀满枝桠，双雀依偎栖息，羽色晕染细腻丰润，鲜活憨态尽显。\n中间题字墨色沉浑朴拙，书画相映成趣。配色明丽和谐，写实笔触糅合装饰意趣，将春日草木禽虫的闲逸意趣尽数定格，尽显和风雅致的风物之美，把自然里的幽微鲜活凝于纸面。",[19332,9636,27,29,19333,692,19334,116,7,77],"浮世绘","牵牛花","樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5c01d703510bfa358818231a8cad0b5.jpg",[],{"id":19338,"slug":19339,"title":19340,"dynasty":18,"author":411,"museum":107,"description":19341,"tags":19342,"thumbUrl":19343,"material":95,"size":95,"collection":95,"collections":19344,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},224505,"shan-shui-ce-kai-shi-shi-tao-224505","山水冊开(十)","此作以淡墨晕染山水，江上扁舟轻漾，白衣士人立舟头，身伴仙鹤，与撑篙舟子共赴江天。远山以浅赭淡墨晕化，似笼着氤氲薄雾，虚实相生间尽显江空岑寂之美。近岸以枯涩焦笔勾勒嶙峋怪石，与淡远云山形成刚柔对照。右侧题笔纵逸苍劲，诗画相融，将乘舟遣兴的悠然襟怀诉诸笔端，以简淡之笔写尽江湖散人意趣，笔墨随心生发，尽显随性放达的文人风骨。",[23,24,25,50,51,54,113,651,77,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329d8a848e21eec4000cbfe815172720.jpg",[],{"id":19346,"slug":19347,"title":16356,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":19348,"thumbUrl":19349,"material":751,"size":752,"collection":95,"collections":19350,"showCount":18853,"zanCount":882,"manualWeight":39,"mainColor":207},224437,"shu-fa-dui-lian-he-shao-ji-224437",[7,2136,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa19723fa203ce6b93cc4b22740314ff7.jpg",[],{"id":19352,"slug":19353,"title":19354,"dynasty":18,"author":6662,"museum":107,"description":19355,"tags":19356,"thumbUrl":19357,"material":95,"size":95,"collection":95,"collections":19358,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},224319,"hua-niao-ce-shi-kai-9-li-shan-224319","花鸟册十开9","淡粉晕染月季花瓣，瓣尖轻施浓色，将盛放的娇柔饱满、花苞含露的娇憨情态描摹尽致。带刺的细枝斜逸舒展，枝叶晕染出阴阳向背，鲜活生动。旁侧行草题字笔势纵横跌宕，墨色浓淡错落，诗画相映。\n\n花木的缱绻生机，合着文人疏放的笔墨意趣，形神兼备。笔简意足，在秀雅鲜活的写生中，又带着独有的桀骜风骨，将花木情态与文人心绪融于尺幅之间，尽显写意风神。",[23,24,25,26,27,29,285,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c574adcbda1a40cb7c88b1fb4f19147.jpg",[],{"id":19360,"slug":19361,"title":19362,"dynasty":18,"author":2653,"museum":107,"description":19363,"tags":19364,"thumbUrl":19365,"material":95,"size":95,"collection":95,"collections":19366,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},224193,"gao-zhi-hao-niao-tu-hua-yan-224193","高枝好鸟图","此作用笔秀逸空灵，枯柳斜曳而上，柔条垂落拂动，浅粉桃苞绽于老枝，点破浅春淡寂。丹羽禽鸟栖于细枝，俯身侧目，将恋花娇态摹写生动，蓬松的羽色以没骨晕染，鲜活明丽，尽现翎毛柔润光泽。\n\n墨色干湿互衬，枯笔点苔写柳骨，淡墨轻描柳叶清姿，留白铺就淡远空濛的底色。右侧题诗与画境相合，诗画交融，将春鸟娇啼、窥影共情的诗意融在尺幅之间，简淡中藏生机，尽显隽雅疏朗的文人意趣，把春日幽微意绪晕染在笔墨方寸里。",[23,24,25,29,129,27,693,1763,137,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30dec5d8321ce381f3e219c75141f00.jpg",[],{"id":19368,"slug":19369,"title":19370,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":19371,"thumbUrl":19372,"material":312,"size":95,"collection":95,"collections":19373,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":3443},223273,"li-shu-tong-shou-gao-zhen-ji-chang-sui-fo-xue-hong-yi-fa-shi-223273","李叔同手稿真迹-常随佛学",[23,7,49,50,878,386,199,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1edd59dc08725e49bb546ea1fdf4492e.jpg",[],{"id":19375,"slug":19376,"title":19377,"dynasty":18,"author":9119,"museum":72,"description":19378,"tags":19379,"thumbUrl":19381,"material":95,"size":19382,"collection":802,"collections":19383,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":207},222688,"shu-wu-liang-shou-fo-jing-ce-ruan-yuan-222688","书无量寿佛经册","阮元（1764年2月21日 [110] －1849年11月27日 ），字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” 。生平著述丰富，撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[2135,199,386,26,11689,77,7,1498,19380],"装饰花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66e7fce4cddb8dbe65e647ec9a947ab.jpg","25.3x50.8 厘米",[802],{"id":19385,"slug":19386,"title":19387,"dynasty":45,"author":10061,"museum":126,"description":19388,"tags":19389,"thumbUrl":19390,"material":346,"size":19391,"collection":95,"collections":19392,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,24,25,26,27,50,59,7,51,57,56,116,53,54,55,252,52,152,1739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":19394,"slug":19395,"title":19396,"dynasty":45,"author":10912,"museum":107,"description":10914,"tags":19397,"thumbUrl":19398,"material":312,"size":95,"collection":96,"collections":19399,"showCount":18853,"zanCount":882,"manualWeight":39,"mainColor":40},222531,"li-he-shi-tie-wang-duo-222531","李贺诗帖",[23,7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fa1710ac29f4310f484eeb559b23ee.jpg",[96],{"id":19401,"slug":19402,"title":19403,"dynasty":45,"author":2206,"museum":14591,"description":19404,"tags":19405,"thumbUrl":19406,"material":184,"size":19407,"collection":95,"collections":19408,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},222482,"xing-kai-luo-shen-fu-juan-zhu-yun-ming-222482","行楷洛神赋卷","跋 者断为祝四十岁左右师古之作，有一定道理。观其 点画、结体，《兰亭》意味极浓，又有钟法存乎其 间，淳厚典雅，参以赵孟頫，然变化多致；其行笔 从容不迫，笔笔到位，一派君子之风。此类前贤师 古之作对我们今天学书法者极有借鉴价值。\n祝允明（1460——1526）明代重要书 家，字希哲，号枝山。生而枝指，又号枝指生。长 洲（今江苏苏州）人。与徐祯卿、唐寅、文徵明 号称吴中四才子。以举人授兴宁令，稍迁应天府 通判，未几乞归。书法受外祖父徐有贞和岳父李 应祯指点，上自张芝、钟繇、二王、索靖、智永， 下迄唐宋元之虞世南、欧阳询、张旭、怀素、苏 轼、黄庭坚、米芾、赵孟頫等无不用心。其书法无 论真、草，法度森严，全以力胜。其真行以元常、 王羲之为宗，借鉴于赵孟頫，写得古厚蕴藉；草 书法乳于二王，犹得力于山谷，其点画长戈大戟， 生辣厚重，力量更在山谷之上。祝允明草书名世， 为二王、旭素、山谷后最重要的草书家，一是草 法纯正，二是有鲜明个性特征。读他的草书大作， 奔腾如虬蛇的点画，汹涌如大河的气势促人振 奋，有很强的感招力。这种情形是斤斤于艺事，追 求优雅闲适的书家所难以梦见的境界。草贵气 势，祝允明草书正以气势胜，但他草中之点画分 明，毫无苟且之处，犹如作真。他是一位杰出的 入古以出新者，他在《奴书订》中说：『觚筦士 有「奴书」之论，亦自昔兴，吾独不解此。艺家 一道，庸讵缪执至是，人间事理，至处有二乎哉？ 为圆不从规，拟方不按矩，得乎？自粗归精，既 据妙地，少自翔异，可也。必也革其故而新是图， 将不故之并亡，而第新也与。故尝谓自卯金当涂， 底于典午，音容少殊，神骨一也。沿晋游唐，守 而勿失。今人但见永兴匀圆，率更劲瘠，郎邪雄 沉，诚悬强毅，与会稽分镳，而不察其为祖宗本 貌自粲如也（帖间固存）。迩后皆然，未暇遑计。 赵室四子，莆田恒守惟肖，襄阳不违典刑；眉、豫 二豪，啮羁蹋靮，顾盼自得。观者昧其所宗：子 瞻骨干平原，股肱北海，被服大令，以成完躯。鲁 直白云得长沙三昧。诸师无常而具在，安得谓果 非陪臣门舍耶？而后人泥习耳聆，未尝神访，无 怪执其言而失其旨也。遂使今士举为秘谈，走也 狂简，良不合契，且即肤近。为君谋之，绘日月 者，心规圆而烜丽，方而黔之，可乎？啖必谷，舍 谷而草，曰谷者「奴餐」，可乎?学为贤人必法 渊赐；晞圣者必师孔。违洙泗之衺曲，而曰为孔、 顏者「奴贤」、「奴圣」者也，可乎？』反映了 他这一思想。\n之所以说祝允明书法是一个伟大的未成品， 是因为他的书法仍以『实』称，虚境未全现，而 由实入虚、虚实相生是书道之至境。今人徒务虚 而涉谈境界者，常会轻视他的重于法度，直如只 欲得花，而不知花本生于根与枝叶也．",[23,7,3135,199,60,49,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406c903a42458b570f3fc10f0d8d774d.jpg","纵20.1cm，横161cm",[],{"id":19410,"slug":19411,"title":19412,"dynasty":45,"author":19413,"museum":126,"description":19414,"tags":19415,"thumbUrl":19416,"material":519,"size":19417,"collection":95,"collections":19418,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},222427,"san-tuo-tu-li-shi-da-222427","三驼图","李士达","《三驼图》绘三个驼背的老者，一提篮侧顾，一向提篮者作揖，一拍手大笑，三人形象滑稽，笑态可掬。画家以驼者之间的相互戏谑，来讽喻“世上无直人”。衣纹用“浑描”，须发皆不见钩勒痕迹，笔墨圆润，柔若无骨，可见作者高度的笔墨造型功力。其上方有钱允治诗云：“张驼提盒去探亲，李驼遇见问缘因；赵驼拍手呵呵笑，世上原来无直人。”点明了此幅的讽世主题。李士达的此画如钱允治的题诗一样，将民间歌谣形之于画图，带有通俗而又诙谐的情调。",[23,24,25,75,50,112,113,77,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bc90e03e64b2e24f32eaba2b927d55.jpg","纵78.5厘米，横30.3厘米",[],{"id":19420,"slug":19421,"title":7970,"dynasty":45,"author":342,"museum":107,"description":18133,"tags":19422,"thumbUrl":19423,"material":184,"size":18136,"collection":96,"collections":19424,"showCount":18853,"zanCount":882,"manualWeight":39,"mainColor":40},222013,"qian-zi-wen-quan-juan-wen-zheng-ming-222013",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d71153f24ac240045c29a0c4ff8888.jpg",[96],{"id":19426,"slug":19427,"title":19428,"dynasty":179,"author":8212,"museum":2379,"description":19429,"tags":19430,"thumbUrl":19433,"material":6515,"size":19434,"collection":95,"collections":19435,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},221720,"zhong-kui-yu-ye-chu-you-tu-juan-yan-hui-221720","钟馗雨夜出游图卷","画面绘钟馗在鬼族是簇拥下雨夜巡游的情形。画中七个鬼卒，牛头马面，头戴蒙军头盔，类似杂要，正击鼓簇拥钟馗夜游，寄寓了画家蔑视蒙古统治者既仇恨又无赖的心情。\n其笔法浑厚坚实敦朴流畅，不乏宋代院体人物之工细，其造型生动传神，意态舒畅洒脱抒情而又有艺术性和理，不象刘贯通、王绎等人笔下人物之肖象，准确、逼真、刻板而写实。\n画面清旷幽冷，形象深遂含蓄，堪称精品。作为对宋体工致写实画风的承继与元代画风渐显写意抒情之势的前启，颜辉的人物画是承前启后的关捩。",[23,19431,112,49,113,19432,1783,77,7],"元画","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c78d99f746b70906b57c0cd5975c505.jpg","24.8cmx240.3cm",[],{"id":19437,"slug":19438,"title":19439,"dynasty":179,"author":19440,"museum":7039,"description":19441,"tags":19442,"thumbUrl":19443,"material":9260,"size":19444,"collection":95,"collections":19445,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":95},220660,"kai-shu-song-yi-shi-shen-bo-xin-xu-chen-you-220660","楷书送医师沈伯新序","沉右","沉右，字仲说，号寓斋，又有存存斋署，吴中（今江苏苏州）人，工诗文书法。此卷书迹是沉右书赠乡里名医沈伯新的序文，缘于至正十年（1350）夏，沉右祖母突发急恙，幸得沈伯新医治而愈，故特撰文述其事以致谢，并请一众文朋题跋赠予沈伯新留存。是卷题跋累累，荟诸贤之文华，经历各朝流传至今，弥足珍贵。\n\n沉右出自吴中世家巨族，以诗文书法与江浙名士过从甚密。此卷元代题跋者，如顾瑛、周伯温、陈基、郑元佑元代名士。入明清后，此卷又得吴宽、沈周、文征明、沈德潜、钱载、桂馥等诗文书画大家题跋，文墨价值益重。而在诸家墨迹之间，亦杂有一纸祝允明《吴郡沈氏良惠堂叙铭》和文征明跋文墨拓。由沈文叶、沈谦跋语可知「良惠」为宋高宗书赐沈家南渡始祖御字，沈家遂以之为堂号。沈氏后辈在明时曾请祝允明与文征明分做叙铭和题跋，勒石以志。不过至沈谦时，原迹和刻石皆已散失逾百年。将其拓本与沈右墨迹序文共裱一卷，合璧并传，应是为更增显沈氏自南宋经元明而清的荣赫家世。\n\n沉右序文以楷书书写，精心闲熟，法度严谨，风格婉丽雅致，得欧、褚之法颇多，亦带明的赵体韵味。卷后题跋林林总总，其中数家虽非名手，亦自精绝。诸多跋语也突显此卷在不同时代的递藏意义。元人因应沉右延请，故其跋文皆着眼于沈伯新医术并附及沈右孝行；明人吴宽、沈周、文征明等皆为吴人，就有感于吴中先贤墨翰风流；清人尤其是沈家后人，则是在对沈氏南渡家世不断地追述中，将其确立为门庭赫奕的一件凭信之物。这些鉴藏史内容，连同其两经易手而复为沈家所得的经历，亦可成为研究吴中社会、文化的一个切入点。",[25,7,199,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b790731bfd0caf96f0349edfdb5727.jpg","本幅：28.5 × 87.2厘米",[],{"id":19447,"slug":19448,"title":19449,"dynasty":18,"author":19450,"museum":412,"description":19451,"tags":19452,"thumbUrl":19453,"material":79,"size":19454,"collection":63,"collections":19455,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":100},220079,"yao-feng-sheng-jing-tu-jiang-shi-jie-220079","尧峰胜景图","姜实节","姜实节（1647～1709）字学在，号鹤涧，山东莱阳人，居吴中（今江苏苏州），姜埰子。有孝行，笃友谊。明礼科给事中，入清隐遁，不入城市，布衣终老。晚岁于虎邱筑谏草楼，吴人谥之曰孝正。\n善书，笔势如篆籀。画山水法云林（倪瓒），峯峦简淡，林木萧竦，备清旷之致。落笔不甚谨严，处处有荒率态，盖荒率本是其所长，亦是其所短也。工诗，有焚余草，卒年六十三。《苏州府志》、《国[清]朝画徵续录、桐阴论画》、《国[清]朝别裁诗传》、《朴庵文集》、《樊榭山房集》、《清朝书画家笔录》",[23,24,50,59,7,77,51,52,53,58,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab0b0cc5bcabba13a8d147817ed15e5.jpg","54.0X24.2",[63],{"id":19457,"slug":19458,"title":19459,"dynasty":179,"author":1516,"museum":72,"description":7490,"tags":19460,"thumbUrl":19461,"material":79,"size":95,"collection":95,"collections":19462,"showCount":18853,"zanCount":39,"manualWeight":39,"mainColor":40},216374,"mo-zhu-pu-ce-15-wu-zhen-216374","墨竹谱册-15",[24,25,26,50,132,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db1dad1e02d4bd4f9e4002f3a1ba303.jpg",[],{"id":19464,"slug":19465,"title":19466,"dynasty":88,"author":549,"museum":107,"description":19467,"tags":19468,"thumbUrl":19470,"material":751,"size":752,"collection":95,"collections":19471,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},290867,"kong-zi-shou-zhi-gui-zan-zhou-mi-fei-290867","孔子手植桧赞轴","米芾撰并书。运笔潇洒俊逸，神采飞扬，筋骨雄毅，刚健端庄，体现了米芾行草的特点，可惜多次被火，残损严重。碑原在孔子手植桧前，后移入十三碑亭内，现存汉魏碑刻陈列馆。",[198,7,75,60,19469],"孔子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb404946e7ef6a6d318e2c24934936e2d.jpg",[],{"id":19473,"slug":19474,"title":4167,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":19475,"thumbUrl":19477,"material":751,"size":752,"collection":95,"collections":19478,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},290790,"shan-shui-ce-wang-meng-290790",[24,25,26,7,60,77,51,19476],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1192b244ee2c39720eb3b68f485d3e16.jpg",[],{"id":19480,"slug":19481,"title":19482,"dynasty":88,"author":454,"museum":107,"description":19483,"tags":19484,"thumbUrl":19485,"material":751,"size":752,"collection":95,"collections":19486,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},290751,"ke-si-pan-tao-xian-shou-tu-zhou-yi-ming-290751","缂丝蟠桃献寿图轴","此幅缂丝作品以本色丝为地，用多彩色丝缂织一位仙翁持桃献寿的图案。全幅钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“嘉庆御览之宝”、“嘉庆鉴赏”、“石渠宝笈”和“宝笈三编”，共八玺。附原题签“宋缂丝蟠桃献寿图”。\n画幅上天空中祥云缭绕，红日高照，一只仙鹤凌空飞翔。下方的蟠桃树枝干遒劲，果实累累，树下一位容光焕发，神采奕奕的仙翁手捧刚摘获的一枚硕大蟠桃，欣然回首，健步而行。地面上、寿石旁，灵芝、水仙和翠竹生机盎然。在古代，鹤被视为“鹤寿千岁，以极其游”的瑞禽，蟠桃则传为西王母的瑶池中所种植，系三千年一开花、三千年一生实，食一枚可增寿六百年的仙物。二者结合，再配以仙翁寿星合为图案，寓意吉祥长寿，常作寿辰庆贺之用。宋元以来，蟠桃献寿一直是人们非常喜爱的祝寿图案和题材。\n此幅蟠桃献寿图熟练运用平缂、勾缂、掼缂、结、长短戗和包心戗等多种技法，特别是合色线的使用，更增添了作品的表现力。采用藏青、浅蓝、粉红、月白、淡黄、瓦灰、驼色和墨绿等色丝缂织而成。",[24,25,75,3232,27,29,4507,4026,7,60,4509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278d236ad10d4f07d486306ae226a87b.jpg",[],{"id":19488,"slug":19489,"title":19490,"dynasty":88,"author":454,"museum":107,"description":19491,"tags":19492,"thumbUrl":19494,"material":751,"size":752,"collection":95,"collections":19495,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},290688,"po-mo-xian-ren-zhou-yi-ming-290688","泼墨仙人轴","画上方题诗:“地行不识名和姓,大似高阳一酒徒,应是琼台仙宴罢,淋漓襟袖尚模糊。”",[24,25,75,50,920,113,19493,428,7,60,77],"仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57807a2f56c5f2141b35711b2d730215.jpg",[],{"id":19497,"slug":19498,"title":19499,"dynasty":18,"author":19,"museum":72,"description":2947,"tags":19500,"thumbUrl":19501,"material":79,"size":19502,"collection":187,"collections":19503,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},290533,"yu-xue-gu-bai-zhou-yun-shou-ping-290533","禹穴古柏轴",[92,24,75,50,115,250,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceb3734c677f94eb46a0668d7eed830.jpg","109.7x51.8",[187],{"id":19505,"slug":19506,"title":19507,"dynasty":18,"author":1260,"museum":107,"description":19508,"tags":19509,"thumbUrl":19510,"material":751,"size":752,"collection":95,"collections":19511,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},290456,"shu-fa-dao-su-li-zhou-liu-yong-290456","书法道素立轴","刘墉（1720~1804年 ），字崇如，号石庵，山东诸城 人，清代政治家、书法家，首席军机大臣刘统勋长子。\n乾隆十六年（1751年），考中进士，先后历任安徽学政、江苏学政、太原知府、冀宁道台、江宁知府、江西盐驿道、陕西按察使、内阁学士、湖南巡抚。乾隆四十七年（1782年）初调入京师后，历任都察院左都御史、工部尚书兼吏部尚书、吏部尚书兼兵部尚书、协办大学士兼吏部尚书。尚书房总师傅、管理国子监事务大臣等职。官至吏部尚书、体仁阁大学士、太子太保。刘墉以为官清廉著称，深得百姓信赖，早在任江宁知府时就获赞誉 “少时知江宁府，颇以清介持躬，名播海内，妇人女子无不服其品谊，至以包孝肃比之”，朝鲜使臣称赞。以奉公守法、清正廉洁闻名于世。",[23,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3116915c619e2cdd936739642496926c.jpg",[],{"id":19513,"slug":19514,"title":19515,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":19516,"thumbUrl":19517,"material":751,"size":752,"collection":95,"collections":19518,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},290449,"you-bo-tan-hua-tu-ti-ba-ke-luo-ban-ni-zan-290449","忧钵昙花图题跋（珂罗版）",[23,7,199,576,878,9007,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd084cc30dc40dba95b67a8c32b92874.jpg",[],{"id":19520,"slug":19521,"title":19522,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":19523,"thumbUrl":19524,"material":751,"size":752,"collection":95,"collections":19525,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},290448,"shan-shui-tu-zhou-ke-luo-ban-wang-meng-290448","山水图轴（珂罗版）",[23,92,24,50,51,75,59,251,2028,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b0240ac5439bff960e9a16637c156e.jpg",[],{"id":19527,"slug":19528,"title":19529,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":19530,"thumbUrl":19531,"material":751,"size":752,"collection":95,"collections":19532,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},290424,"ke-ru-qing-tong-gen-ru-shi-tu-zhou-wu-chang-shuo-290424","柯如青桐根如石图轴",[23,24,25,75,50,27,250,13669,2293,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe41d1300ae2de9120a26555f2abfb69.jpg",[],{"id":19534,"slug":19535,"title":19536,"dynasty":18,"author":19537,"museum":107,"description":19538,"tags":19539,"thumbUrl":19540,"material":751,"size":752,"collection":95,"collections":19541,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":207},290204,"zhu-zi-zhi-jia-ge-yan-huang-zi-yuan-290204","朱子治家格言","黄自元","黄自元（1837年—1918年），字敬舆，号澹叟，湖南安化县龙塘乡人，清末书法家，实业家。\n生于道光十七年（1837年），清同治六年（1867年）举于乡，次年殿试列第二（榜眼），授翰林院编修。曾任顺天乡试同考官和江南乡试副考官。民国7年（1918年）病逝。曾临摹《间架结构摘要九十二法》书帖，为该书的推广做出了重要贡献。",[199,7,200,198,19536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3dbc49f24783c781b285365a3b2226.jpg",[],{"id":19543,"slug":19544,"title":19545,"dynasty":2365,"author":18910,"museum":107,"description":18911,"tags":19546,"thumbUrl":19548,"material":751,"size":752,"collection":95,"collections":19549,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},290140,"si-hao-tu-wang-qi-han-290140","四皓图",[23,92,24,25,49,27,113,51,19547,7,9812,12915],"隐士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f557cd778aa39fa81a39b6899bedb25.jpg",[],{"id":19551,"slug":19552,"title":19553,"dynasty":88,"author":19554,"museum":107,"description":19555,"tags":19556,"thumbUrl":19557,"material":751,"size":752,"collection":95,"collections":19558,"showCount":145,"zanCount":882,"manualWeight":39,"mainColor":40},289843,"cao-tang-ke-hua-tu-he-quan-289843","草堂客话图","何荃","此画用笔精细，画中景物从大到小一丝不乱，工整雅致，是典型的南宋绘画风格。",[23,24,92,25,1250,111,27,51,458,52,53,113,7,60,2859,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febceed3a2a19798d09537bf2b6dc631a.jpg",[],{"id":19560,"slug":19561,"title":8719,"dynasty":88,"author":6789,"museum":107,"description":19562,"tags":19563,"thumbUrl":19564,"material":751,"size":752,"collection":95,"collections":19565,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},288962,"jun-gu-tu-gong-kai-288962","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人。",[92,24,25,50,112,1074,798,77,7,9307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d4572c7967b6ea59fd60add1018fb5.jpg",[],{"id":19567,"slug":19568,"title":19569,"dynasty":88,"author":19570,"museum":107,"description":19571,"tags":19572,"thumbUrl":19573,"material":751,"size":752,"collection":95,"collections":19574,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},288921,"xi-shan-ji-xue-tu-gao-ke-ming-288921","溪山积雪图","高克明","高克明，生卒年不洋，绛州(今山西新绛) 人，主要活动时期在太宗，仁宗二朝，为当时著名的山水画家。善佛道、人马、花竹、翎毛、禽虫、畜兽、鬼神、屋宇，皆造于妙。工画山水，采撷诸家之美，参成一艺之精，团扇卧屏，尤长小景，但矜其巧密，殊乏飘逸之致。喜幽默，多行郊野间，览山林之趣，箕坐终日，归则求静室以居，沉屏思虑；神游物外，景造笔下。景德（1004-1007）中游京师，大中祥符（1008-1016）中入图画院，与太原王端、上谷燕文贵、颖川陈用志为画友。尝诏入殿，命画图壁。迁至待诏，守少府监主簿，赐紫衣。景佑初仁宗命画臣鲍国资画四时景于彰圣阁，国资战惧不已，不能下笔，诏克明代之。淮海富商陈永以百千求春龙起蛰图，克阴坚让不从。皇佑初受勅图画三朝盛德之事，人物才及寸余，宫殿山川，銮与仪衞，成备焉。凡一百事，名三朝训鉴图。 《圣［宋］朝名画评、图画见闻志、宣和画谱、书画题殴记、挥尘后录》。高克明的山水画创作，大多是从实地观察获得素材，复经自己 深思熟虑、苦心经营中得来，并不专师于一家，却能注意采撷诸家之美，参成一艺之精，自为体格，颇有创新的味道。\n高克明的绘画成就，在当时已得到公认。《宋朝名画评》将其作品列为妙品第一，认为：“高克明铺成景物，自 成一家，当代少有。”宋高宗赵恒曾写诗云：“(高)克明已死（许）道宁逝，郭熙后有新成名。”认为高克明品第尚在著名画家郭熙之上。明 人王世贞甚至说：“今世称二马(远、麟)、刘(松年)、夏珪，要亦以易知之耳。若克明，殆犹顾(恺之)、陆(探微)之于张(僧鹞)、吴(道子)， 岂可同日语哉！”高克明山水画作品的代表作为《雪意图》(现藏美国)，描绘溪山雪后的清寒景色。画面中央为一片溪水，近岸为树木房屋， 远方则遥山对峙，稍近又绘有树木房屋道路。整幅画画上表现出一种清旷荒寒的烙调，而又不失苍秀嫣润的气韵。另外，经营位置的周详得当 ，意境表达的幽静深院，笔墨运用的精细整饬，都有自创的新意在内。高克明的其他山水画作品，见于著录的还有《夏山飞瀑》、《窠石野渡 图》，《烟岚窠石图》各二幅。",[24,92,51,1151,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d06dfcc696c5dd85402e98745a0a984.jpg",[],{"id":19576,"slug":19577,"title":19578,"dynasty":18,"author":10893,"museum":107,"description":16254,"tags":19579,"thumbUrl":19580,"material":751,"size":752,"collection":95,"collections":19581,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},288139,"ting-zhong-yu-ba-jiao-tu-li-zhou-gai-qi-288139","庭中雨芭蕉图立轴",[23,24,75,50,25,92,113,2187,250,567,5599,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f08e6a1c9e24cec2c2bca45e5ab65.jpg",[],{"id":19583,"slug":19584,"title":19585,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":19586,"thumbUrl":19587,"material":751,"size":752,"collection":95,"collections":19588,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},288027,"ji-gu-mei-hua-shi-fu-shan-288027","集古梅花诗",[7,60,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697fdf534e19e9af2a38d1f1b39f2e67.jpg",[],{"id":19590,"slug":19591,"title":19592,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":19593,"thumbUrl":19595,"material":751,"size":752,"collection":95,"collections":19596,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},287657,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-287657","万方职贡图全卷",[23,92,24,25,49,50,1328,7,60,199,77,19594],"历史题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12fa9c4c1d20df1573091eadb23d1cc.jpg",[],{"id":19598,"slug":19599,"title":4372,"dynasty":162,"author":12922,"museum":107,"description":11292,"tags":19600,"thumbUrl":19601,"material":751,"size":752,"collection":95,"collections":19602,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},287572,"ni-kuan-zan-zhe-sui-liang-287572",[7,199,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a5e185d753373b80a884082307a48d.jpg",[],{"id":19604,"slug":19605,"title":19606,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":19607,"thumbUrl":19608,"material":751,"size":752,"collection":95,"collections":19609,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},287416,"zi-jia-shi-chang-juan-dong-qi-chang-287416","紫茄诗(长卷)",[7,398,49,25,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10ddebdaf086239acb4b697838cd0b99.jpg",[],{"id":19611,"slug":19612,"title":19613,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":19614,"thumbUrl":19616,"material":751,"size":752,"collection":95,"collections":19617,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},287385,"luo-shen-fu-shu-hua-he-bi-juan-shou-juan-dong-qi-chang-287385","洛神赋书画合璧卷手卷",[23,49,5784,25,7,60,9589,1034,2959,77,114,19615],"抒情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f190c9c6dafc6a2436407bd792cb11.jpg",[],{"id":19619,"slug":19620,"title":19621,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":19622,"thumbUrl":19623,"material":751,"size":752,"collection":95,"collections":19624,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},287348,"chi-bi-huai-gu-dong-qi-chang-287348","赤壁怀古",[23,92,25,49,398,7,19621,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f315a2ea29cd0712254039582b032d.jpg",[],{"id":19626,"slug":19627,"title":19628,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":19629,"thumbUrl":19633,"material":751,"size":752,"collection":95,"collections":19634,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},283744,"lin-yan-zhen-qing-pei-jiang-jun-shi-juan-dong-qi-chang-283744","临颜真卿裴将军诗卷",[23,7,49,110,60,92,25,1074,900,17685,19630,19631,19632],"天山","征战","将军","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ccec36f7144f94b8f77de5415ac21c.jpg",[],{"id":19636,"slug":19637,"title":19638,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":19639,"thumbUrl":19640,"material":751,"size":752,"collection":95,"collections":19641,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},283718,"fang-mei-dao-ren-shan-shui-tu-zhou-dong-qi-chang-283718","仿梅道人山水图轴",[24,75,50,51,56,58,251,110,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a7ad71fa54122d8e46c92daf6aa7d.jpg",[],{"id":19643,"slug":19644,"title":19645,"dynasty":45,"author":1313,"museum":72,"description":19646,"tags":19647,"thumbUrl":19653,"material":682,"size":752,"collection":95,"collections":19654,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},283715,"lin-mi-fei-wu-jiang-chui-hong-ting-zhu-tie-juan-dong-qi-chang-283715","临米芾吴江垂虹亭诸帖卷","此卷董氏节临米芾《垂虹亭诗帖》《蜀素帖》等，文字稍异。其用笔跌宕，寓颜于米，八面出锋，使转鲜明。“己酉”为1609年，董其昌时年55岁，正值其醉心宋四家尤其取法米芾阶段。",[23,7,49,60,110,200,77,2061,19648,19649,19650,9654,19651,19652],"西山","书院","黄菊","江波","樵人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28692f024e7de5bdc3b7b4593ed0b1f6.jpg",[],{"id":19656,"slug":19657,"title":19658,"dynasty":18,"author":454,"museum":107,"description":19659,"tags":19660,"thumbUrl":19661,"material":95,"size":95,"collection":96,"collections":19662,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":207},242172,"lan-ting-ba-zhu-tie-feng-cheng-su-mo-lan-ting-xu-yi-ming-242172","《兰亭八柱帖》冯承素摹兰亭序","此帖墨色匀净沉凝，将原作秀逸风骨尽数复刻。行笔翩跹灵动，提按转折之间尽显王羲之原作的萧散雅致，把永和雅集的林下风流晕染在碑石之上。朱红鉴藏印错落排布，与乌亮墨色相映成趣，既带着法帖的端严沉静，也藏着历代递藏的厚重底蕴。刀工复刻出笔锋毫厘变化，让晋人书法的清远神韵留存于碑拓之间，复刻的是千年之前的兰亭雅韵，亦是碑刻工艺的匠心造诣，方寸间尽显古典书法与金石拓印融合的独有美感。",[7,60,110,198,77,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e19709cea513b71ce2fe7509ce25dfc.jpg",[96],{"id":19664,"slug":19665,"title":19666,"dynasty":179,"author":225,"museum":107,"description":19667,"tags":19668,"thumbUrl":19669,"material":312,"size":95,"collection":96,"collections":19670,"showCount":145,"zanCount":882,"manualWeight":39,"mainColor":100},241459,"san-zha-juan-zhao-meng-fu-241459","三札卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[92,24,25,49,50,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3242edbe22a43498a5e6b3ae99217475.jpg",[96],{"id":19672,"slug":19673,"title":10545,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":19675,"thumbUrl":19676,"material":751,"size":752,"collection":95,"collections":19677,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},241199,"wu-yan-lian-huang-yi-241199","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[7,1613,2136,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32df7ad27e73a002c20b7597bacf1fd.jpg",[],{"id":19679,"slug":19680,"title":19681,"dynasty":45,"author":19682,"museum":126,"description":19683,"tags":19684,"thumbUrl":19685,"material":312,"size":19686,"collection":96,"collections":19687,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},240877,"lin-wang-xian-zhi-shu-zhou-xing-dong-240877","临王献之书轴","邢侗","释文：\n得袁二谢书，一一为慰。袁生蹔至都。已还未及。此生至到之怀吾所也。邢侗临。\n本幅钤“邢侗之印”、“子愿氏”。收藏印钤“石雪斋秘笈印”、“宗浩长寿”、“石雪鉴藏”、“存精寓赏”。\n本幅为邢侗临王羲之《袁生帖》，笔法纵横雄浑，飘逸峻爽，形体宽博丰茂，风格质朴。邢侗的书法受二王书法影响很深，正如周之士所言：“近代邢子愿书，研精二王，笔法恒仿佛十七帖意，即其卷素所书，迹多述王帖，可谓极意临摹者矣。”",[7,110,398,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73efa4fce0dfe6e866f245d89eefb0e2.jpg","纵139.4，横47厘米",[96],{"id":19689,"slug":19690,"title":19691,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":19692,"thumbUrl":19693,"material":751,"size":752,"collection":95,"collections":19694,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},240868,"wu-gu-shi-zhou-zhu-da-240868","五古诗轴",[2135,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1775b61b5757903e980ee83d7395ede5.jpg",[],{"id":19696,"slug":19697,"title":10545,"dynasty":18,"author":19071,"museum":126,"description":19698,"tags":19699,"thumbUrl":19700,"material":312,"size":19701,"collection":96,"collections":19702,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},240691,"wu-yan-lian-yi-bing-shou-240691","释文：\n为文以载道，论诗将通禅。 书为舫西先生侍御尊兄正。嘉庆丁卯花朝。愚弟伊秉绶。\n伊氏早年拜在乾隆四大家之一的刘墉门下学习书法，并与王文治、桂馥、黄易、孙星衍等人师友相交，研讨书艺，加之其天资聪敏，融铸古今，遂形成独具特色的艺术风格。\n此作书于清嘉庆十二年（1807年），伊秉绶时年55岁，已是晚期作品。此联结字方正，舍隶书之波磔，突破了传统隶书的结构和笔法，凝重整肃，气势宏大，显示出伊秉绶晚年对隶书艺术不断开拓变革的境界和魄力。",[7,2136,1613,50,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95b9cb1945d5e0145f740cd4c0c5442.jpg","纵109.3厘米，横25.3厘米",[96],{"id":19704,"slug":19705,"title":19706,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":19708,"thumbUrl":19709,"material":751,"size":752,"collection":96,"collections":19710,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},240290,"shu-zha-ce-lin-ze-xu-240290","书札册","林则徐（1785年8月30日－1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[25,7,26,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9261725c6f352b4da59444ba8901ae6d.jpg",[96],{"id":19712,"slug":19713,"title":19070,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":19714,"thumbUrl":19715,"material":751,"size":752,"collection":95,"collections":19716,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},240137,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240137",[7,2136,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bfa546eb01321f2886a760774bd04c.jpg",[],{"id":19718,"slug":19719,"title":19720,"dynasty":45,"author":6207,"museum":107,"description":19721,"tags":19722,"thumbUrl":19723,"material":95,"size":95,"collection":96,"collections":19724,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},239979,"qi-lv-juan-zhang-bi-239979","七律卷","张弼（1425～1487）字汝弼，家近东海，故号东海，晚称东海翁。松江府华亭县（今上海奉贤青村）人 [1] 。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[23,7,25,398,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d1fbb26be088463c567973dc4d31e5.jpg",[96],{"id":19726,"slug":19727,"title":19728,"dynasty":18,"author":454,"museum":107,"description":19729,"tags":19730,"thumbUrl":19731,"material":751,"size":752,"collection":95,"collections":19732,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},239869,"wu-kuan-fu-zi-zhou-yi-ming-239869","无款福字轴","这幅福字取菱形张贴的传统形制，朱砂红底衬以银线游龙纹，云气裹挟龙身辗转腾挪，纹饰精细灵动，暗合祥瑞之意。\n\n福字以浓墨书就，楷法端稳浑厚，结构宽博舒展，示部敦实饱满，礻部劲挺厚重，笔墨沉凝有力，尽显庄重雍容的庙堂气象。暖黄装裱底色沉稳柔和，与朱红福笺形成鲜明层次，烘托出吉庆安稳的年节氛围。整体布局虚实相宜，纹饰烘托文气，笔墨彰显力道，寄寓了纳福迎祥的美好祈愿。",[92,24,25,7,75,199,27,359,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005097a314ef5834f59f741d33b515b8.jpg",[],{"id":19734,"slug":19735,"title":19736,"dynasty":179,"author":6867,"museum":126,"description":19737,"tags":19738,"thumbUrl":19739,"material":60,"size":19740,"collection":96,"collections":19741,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},239663,"ti-hua-shi-tie-ye-zhang-yu-239663","题画诗帖页","释文：\n清才绝似王摩诘，爱向高堂写雪山。华盖洞中如屋里，赤栏桥外是人间。琼楼只许飞仙住，珠树应留织女攀。莫信寒泉伤玉趾，最宜清暑听潺湲。怪底朝寒云气浓，卷帘金翠出芙蓉。似倾三峡龙门雪，为洗明星玉女峰。玄豹藏来深雾雨，绿阴缺处小房栊。拟求许郭仙人宅，知隔琼华第几重。\n右题张彦辅画《雪山楼观》、《云林隐居》二图。雨。\n又书小字:\n四月廿六日晚，雨试笔，天镜、拙庵此时偃卧清凉室中，小龙了在天年袖中矣。\n钤“张雨私印”、“句曲外史张天雨印”。\n卷后有郑元祐题诗，罗天池题名，南郭翁书法。其中南郭翁书法一段与《题画诗帖》没有必然联系。卷前沈曾植隶书引首“诗留画味”。明周天球题诗及画像皆伪。\n文中“张彦辅”为元至正时人，号六一道士，居北京，善画山水。\n卷后郑元祐诗题中有“可怜斯人头已白”句，可知是张雨晚年的作品。《题画诗帖》书法清劲流利，舒放而又雍容，多具变化，又颇有些峻厉狂怪。张雨早年书法受赵孟頫影响，后得《茅山碑》，其书遂变，故此题字画清遒，染有唐人风格。张雨此件有双胞作品，美国大都会藏有另一本，无跋。两者比较，故宫为摹本，大都会为书写本，应是真迹。",[23,3477,7,60,50,27,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd04fe9c729e96af896681562a76f4.jpg","纵29.3厘米，横148.5厘米",[96],{"id":19743,"slug":19744,"title":19745,"dynasty":88,"author":454,"museum":107,"description":19746,"tags":19747,"thumbUrl":19748,"material":95,"size":95,"collection":95,"collections":19749,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},239660,"mi-fei-bai-zhong-yue-ming-shi-tie-juan-yi-ming-239660","米芾拜中岳命诗帖卷","此作用笔纵宕爽利，欹侧奇崛又不失沉稳，笔锋提按转合间牵丝映带，尽显随性潇洒的意趣。行书线条粗细变化自然，墨色润燥相生，将刷书的独特风神淋漓展现。\n\n诗文心境旷远静穆，和书法的逸气相融，笔墨间漫出脱尘的雅韵。整卷鉴藏朱印累累，与墨色相互映衬，晕开时光沉淀的厚重质感，尽显这件法书名迹的不凡价值与绝代风华。",[23,7,60,49,77,200,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f476a5fc1f672ebcd26a550f6bf3c.jpg",[],{"id":19751,"slug":19752,"title":19753,"dynasty":88,"author":18676,"museum":126,"description":19754,"tags":19755,"thumbUrl":19756,"material":17292,"size":19757,"collection":96,"collections":19758,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":789},239641,"da-nian-tie-ye-xue-shao-peng-239641","大年帖页","释文：\n绍彭启：多日廷中不得少款为慊。晴和，想起居佳安。二画久假，上还，希检收。许借承晏、张遇墨，希示一观，千万，千万！承晏若得真完，虽《异热帖》亦可易。更俟续布，不具。绍彭再拜，大年太尉执事。廿八日。\n此帖名也作《晴和帖》。\n这是一封与藏友谈论藏品观摩与交流事宜的书信。信中首先提到归还两幅久借的绘画，然后表示希望借观对方所藏制墨名家李承晏、张遇所制名墨。并云李承晏墨如是完整的真品，愿以自藏王羲之《异热帖》与之交换。信的上款“大年太尉”，据考证应是北宋宗室、名画家赵令穰。\n此帖行笔圆健，结字安详，从容不迫，深得“二王”遗韵，是薛氏的代表作品。上钤“贞元”、“绍兴”等半印，裱工钤“许子仙鉴定印”“许烈之印”“孔氏季修”“受青”等印。\n《寓意编》、《铁网珊瑚》、《式古堂书画汇考》、《平生壮观》等书著录。",[7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F906b52ab4e543f0ab50096f3290f53fe.jpg","纵25.1厘米，横34.8厘米",[96],{"id":19760,"slug":19761,"title":19762,"dynasty":179,"author":1324,"museum":126,"description":19763,"tags":19764,"thumbUrl":19765,"material":19766,"size":19767,"collection":96,"collections":19768,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},239633,"xing-dan-shi-shi-zhou-ni-zan-239633","行淡室诗轴","释文：\n欲写新诗尘满几，味我迂言淡如水。白云淡淡何从来，来伴我（此字点去）孤吟北窗里。酒味甘浓易变酸，世情对面九疑山。白云且结无情友，明月幽禽与往还。八月廿日过宗道云栖楼，命余赋子安淡室诗，因赋。是日疏雨生凉，山光满几，殊有幽兴也。瓒。\n无题跋。鉴藏印钤有清“润州戴植字培之鉴藏书画章”印一方。\n《淡室诗》是倪瓒为友人“宗道”所书的一首七律诗。诗中寄托了他避世索居、与白云幽禽为伴的心境。\n此书是倪瓒存世这是一件彰显作者个性的书法作品，以立轴形式装裱在当时是比较少见的。此件楷书运笔俊峭，取法初唐楷书而兼有隶意，韵致高古，结字章法更打破楷书均衡取势之态，颇显生动飘逸的特点。据书风判断应为其晚年之作。",[75,60,7,50,678,1283,9679,6199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9dbd69a846f83951a4d74d76cfee6c1.jpg","纸本，行楷书","纵64厘米，横27厘米",[96],{"id":19770,"slug":19771,"title":19772,"dynasty":179,"author":12485,"museum":126,"description":16544,"tags":19773,"thumbUrl":19774,"material":95,"size":95,"collection":96,"collections":19775,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},239574,"meng-mei-hua-chu-shi-bing-xu-juan-yang-wei-zhen-239574","梦梅花处诗并序卷",[23,92,24,25,49,60,398,7,77,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dba1c2281f0ebb989c9b515e65ee06d.jpg",[96],{"id":19777,"slug":19778,"title":19779,"dynasty":45,"author":11171,"museum":126,"description":19780,"tags":19781,"thumbUrl":19790,"material":199,"size":19791,"collection":96,"collections":19792,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},239569,"ti-zhuo-qing-xuan-shi-ye-xu-ben-239569","题濯清轩诗页","此作录五律一首，见于徐贲《北郭集》卷四。书法秀整端严，清逸可爱，具唐楷古意，与明初台阁体圆秀一路相比，自成一格，体现出徐贲书法的特色。此作曾经清安岐鉴藏。",[60,7,77,50,19782,19783,19784,19785,6299,19786,282,19787,19788,19789],"春江","清江","流芥","渚","沙鸥","钓舟","沧浪","笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2beb26a8fa2e205a867c0441a530bd.jpg","纵17.6厘米，横7厘米",[96],{"id":19794,"slug":19795,"title":19796,"dynasty":179,"author":225,"museum":126,"description":19797,"tags":19798,"thumbUrl":19799,"material":19800,"size":19801,"collection":96,"collections":19802,"showCount":145,"zanCount":882,"manualWeight":39,"mainColor":100},239561,"shu-jue-jiao-shu-juan-zhao-meng-fu-239561","书绝交书卷","此帖为赵孟頫六十六岁时抄录的魏晋时期名士嵇康名篇。行笔秾纤多古意，楷、行、草、章草间杂，浑然一体，而转折略带方硬，颇显苍老古拙韵味，是赵氏晚年佳作。其与赵书常见的气度雍容有异，颇显纵放跌宕，或是《绝交书》内容本身的愤激不平感染了书者的情绪所致。",[23,7,25,49,60,50,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a757e16d27ab70bbe8d419733997948.jpg","行草书，绢本","纵21.8厘米，横254.7厘米",[96],{"id":19804,"slug":19805,"title":7114,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":19806,"thumbUrl":19807,"material":751,"size":752,"collection":95,"collections":19808,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},237617,"hong-ren-shan-shui-ce-hong-ren-237617",[24,25,26,50,59,7,60,77,51,115,58,251,8049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2039876f758a16a9c834ff7da2a5182d.jpg",[],{"id":19810,"slug":19811,"title":19812,"dynasty":18,"author":16236,"museum":126,"description":19813,"tags":19814,"thumbUrl":19815,"material":312,"size":95,"collection":63,"collections":19816,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},236986,"hua-wang-zi-you-xue-ye-fang-dai-zhou-fei-dan-xu-236986","画王子猷雪夜访戴轴","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[24,25,75,27,111,113,54,132,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951170865af0aa8752ff873c504a89af.jpg",[63,218],{"id":19818,"slug":19819,"title":4737,"dynasty":18,"author":3067,"museum":107,"description":17329,"tags":19820,"thumbUrl":19821,"material":95,"size":95,"collection":187,"collections":19822,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},236421,"shan-shui-zhou-wang-hui-236421",[24,25,75,50,59,7,51,56,57,473,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bf315cbaa420c5f5e1b33c83013106.jpg",[187,96],{"id":19824,"slug":19825,"title":19826,"dynasty":45,"author":46,"museum":107,"description":19827,"tags":19828,"thumbUrl":19829,"material":95,"size":95,"collection":95,"collections":19830,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},236000,"jia-can-tu-zhou-shen-zhou-236000","加餐图轴","此作为诗书画合璧佳构，行书笔力苍润沉厚，结体舒展温雅，题诗寄寓江南蚕乡烟火温情，带着吴中日常的鲜活意趣。\n\n下方折枝花卉以水墨淡彩绘就，叶片晕染细腻，叶脉勾勒精微，笔墨清润秀雅，淡色点染间尽显生机。诗画相映，将劝加餐的寻常温情，化作清雅文人意趣，尽显吴门画派平淡天真的美学特质，融乡土日常与文人情思于一体，雅俗共赏，文气悠然。",[24,25,75,50,60,7,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdc264d6c89af361d94c989052c6829.jpg",[],{"id":19832,"slug":19833,"title":16790,"dynasty":45,"author":19834,"museum":107,"description":19835,"tags":19836,"thumbUrl":19837,"material":95,"size":95,"collection":95,"collections":19838,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},235679,"shan-shui-juan-chen-xun-235679","陈询","淡墨晕开清寂底色，绘就郊野幽居之景。茅庐错落隐于林木间，屋中对坐似有清谈，篱扉板桥、寒林浅水环合铺展闲逸天地。用笔松秀简淡，枯笔勾勒林木枝桠，湿墨晕染坡岸水汽，淡赭轻敷晕出冬春之交的萧疏温软。取景平远，以留白衬出水意空濛，将林下幽居、诗友酬唱的雅寂日常融于山水，淡远清和，尽显文人画以景抒怀的意趣，晕开不沾尘俗的隐逸襟怀。",[23,92,24,25,49,50,59,51,55,52,53,56,333,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931146f0a33287e31b9de1c97b00a55.jpg",[],{"id":19840,"slug":19841,"title":7114,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":19842,"thumbUrl":19843,"material":751,"size":752,"collection":95,"collections":19844,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},235613,"hong-ren-shan-shui-ce-hong-ren-235613",[92,24,25,26,50,51,57,266,56,152,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1867ce4dc9b31ce435491971d24640c7.jpg",[],{"id":19846,"slug":19847,"title":19848,"dynasty":45,"author":454,"museum":107,"description":19849,"tags":19850,"thumbUrl":19852,"material":751,"size":752,"collection":95,"collections":19853,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},234970,"qian-gu-hou-chi-bi-tu-shan-ye-yi-ming-234970","钱穀后赤壁图扇页","此作用泥金扇面为底，左畔危岩崚嶒，以硬朗线条勾勒山石轮廓，淡墨皴擦出嶙峋肌理，枯木虬枝错杂，苍劲尽显萧索秋意。右方留白作平湖，汀渚隐现，淡墨晕染远山，空濛悠远，暗合赤壁夜游的清旷之境。边角小字题款，书画相映，笔墨简澹却意韵悠长，将初冬泛舟的幽寂旷达，凝缩在咫尺扇面间，尽显文人山水的隐逸意趣，古雅沉静，余味悠然。",[1250,24,25,50,59,51,704,1678,553,19851,7,60],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72bfe96b7ed4a3d63fff780dbb8b03a.jpg",[],{"id":19855,"slug":19856,"title":16790,"dynasty":45,"author":19857,"museum":126,"description":19858,"tags":19859,"thumbUrl":19860,"material":477,"size":95,"collection":95,"collections":19861,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},234242,"shan-shui-juan-sun-zhi-234242","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,49,50,27,59,7,60,51,251,553,5722,56,58,1018,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":19863,"slug":19864,"title":16293,"dynasty":18,"author":506,"museum":279,"description":16294,"tags":19865,"thumbUrl":19866,"material":591,"size":16297,"collection":95,"collections":19867,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},233858,"mei-hua-ce-jin-nong-233858",[24,25,26,112,50,29,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697b9b210a11113f3a2283868babba80.jpg",[],{"id":19869,"slug":19870,"title":19871,"dynasty":179,"author":6158,"museum":126,"description":19872,"tags":19873,"thumbUrl":19874,"material":477,"size":19875,"collection":95,"collections":19876,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,25,92,50,51,52,53,56,57,59,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":19878,"slug":19879,"title":19880,"dynasty":18,"author":4686,"museum":20,"description":19881,"tags":19882,"thumbUrl":19883,"material":312,"size":95,"collection":95,"collections":19884,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},233183,"hua-hui-ce-mu-dan-ye-zhao-zhi-qian-233183","花卉册-牡丹页","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[24,25,26,27,129,29,135,140,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe6a2e27ec670de7c6c5f49941f2e3a.jpg",[],{"id":19886,"slug":19887,"title":19888,"dynasty":88,"author":89,"museum":442,"description":19889,"tags":19890,"thumbUrl":19891,"material":312,"size":19892,"collection":95,"collections":19893,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},232814,"di-zhu-ming-quan-juan-huang-ting-jian-232814","砥柱铭全卷","黄庭坚《砥柱铭》，行书。此卷长八米，抄录唐代魏征《砥柱铭》，全文六百多字。黄庭坚大字行书凝练有力，结构独特，是北宋书坛杰出的代表，与苏轼、米芾、蔡襄并称“宋四家”。\n天津美术学院美术史系教授刘金库指出，《砥柱铭》在宋代时为王厚之、南宋权相贾似道收藏，是贾似道收藏的“黄庭坚双璧”之一；入明则为著名收藏家项元汴所藏，在明代鉴赏家张丑的《真迹日录》中著录，明天顺年间归黄庭坚十一世族孙黄洵（字公直）所藏；入清则为项源、伍元蕙、罗天池等有名藏家所藏，后从广东流入日本，为日本有邻馆收藏，此后被一个台湾收藏家购得，最终，在时隔915年之后，现身于北京。并于2010年6月3日被拍出了中国艺术品成交记录——3.9亿元，加上12%的佣金，总成交价4.368亿元。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beded5450133e161e889393e118a59d.jpg","此卷长八米",[],{"id":19895,"slug":19896,"title":19897,"dynasty":88,"author":89,"museum":107,"description":18027,"tags":19898,"thumbUrl":19899,"material":95,"size":95,"collection":95,"collections":19900,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},232793,"shi-yi-zheng-mu-zhi-ming-huang-ting-jian-232793","史翊正墓志铭",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8159859da97a876c2336d4e81f25bfca.jpg",[],{"id":19902,"slug":19903,"title":19904,"dynasty":18,"author":4686,"museum":126,"description":19905,"tags":19906,"thumbUrl":19910,"material":312,"size":19911,"collection":95,"collections":19912,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},232785,"zhuan-shu-xu-shi-shuo-wen-zhao-zhi-qian-232785","篆书许氏说文","赵之谦篆书许氏说文叙册。纸本，纵32.4cm，横57.5cm。每页10行，行4字。此册篆书节录汉许慎《说文解字叙》一段，末开识云：“方壶属书此册，故露笔痕以见起讫转折之用。”\n从赵之谦识语推测，此册当是为弟子习字用所书范本，上款方壶应为其弟子或爱其书者。此册书法结构谨严，篆法精丽，起讫之处未用藏锋，其意为使弟子易见笔法之踪痕，却获得了一种意外的效果，使之不同于一般篆书之圆润流美，自具特色。同时，此册笔力健劲，使转自如，将北碑书法融于篆书之中，也为赵氏书法之一大特色。本册具体书写时间不详，但从书法风格及为弟子书写范本的情况看，当为赵氏中年以后作品，是赵之谦具有代表性的篆书作品之一。\n释文:黄帝之史仓颉，见鸟兽蹄迒之迹，知分理之可相别异也。初造书契，百官以乂，万民以察，盖取诸夬夬扬于王庭。言文者，宣教明化于王者，朝廷君子所以施禄及下，居德则忌也。仓颉之初作书，盖依类象形，故谓之文。其后形声相益，即谓之字。字者，言孳乳而浸多也。著於竹帛谓之书。书者，如也。以讫五帝三王之世，改易殊体，封于秦山者七十有二代，靡有同焉。周礼八岁（入）小学，保氏教国子先以六书。一曰指事。指事者，视而可识，察而可见，上下是也。二曰象形。象形者，画成其物，随体诘诎，日月是也。三曰形声。形声者，以事为名，取辟相成，江河是也。四曰会意。会意者，比类合谊，以见指撝，武信是也。五曰转注。转注者，建类一首，同意相受，考老是也。六曰假借。假借者，本无其字，依声托事，令长是也。及宣王太史籀著大篆十五篇，与古文或异，至孔子书六经，左邱明述春秋传，皆以古文厥意可得而说。许氏说文叙。",[7,457,3479,312,4347,19907,4642,19908,13082,19909],"金石气","隶书笔意","浑厚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c5625c27b1bbdd537e79f97528a97f7.jpg","纵32.4cm，横57.5cm",[],{"id":19914,"slug":19915,"title":9874,"dynasty":162,"author":194,"museum":195,"description":19916,"tags":19917,"thumbUrl":19918,"material":95,"size":95,"collection":95,"collections":19919,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},232599,"zheng-zuo-wei-tie-yan-zhen-qing-232599","《争座位帖》，又名《论座帖》《争座位稿》《与郭仆射书》，为唐广德二年（764年）十一月颜真卿致尚书右仆射、定襄郡王郭英乂的信函，是颜真卿行草书法的代表作，原迹已佚，刻石存西安碑林。\n《争座位帖》原稿用唐畿县狱状磓熟纸写就，共七页，秃笔书，有夹行小注和勾改痕迹，短行不计共六十八行，全文计一千一百九十三字。颜真卿在信中直指郭英乂于安福寺兴道会上藐视礼仪，谄媚宦官鱼朝恩，致其礼遇高于六部尚书之事，字里行间洋溢着忠义之气。该帖随意自如，挥洒有度，为历代书家所重，与王羲之的《兰亭集序》并称行书“双璧”，又与《祭侄文稿》《告伯父文稿》并称为“颜氏三稿”。\n释文:十一月日，金紫光禄大夫检校邢部尚书上柱国鲁郡开国公颜真卿，谨奉寓书於右仆射定襄郡王郭公阁下，盖太上有立德，其次有立功，是之谓不朽。抑又闻之，端揆者，百寮之师长。诸侯王者，人臣之极地，今仆射挺不朽之功业，当人臣极地。岂不以才为世出，功冠一时。挫思明跋扈之师，抗回纥无厌之请，故得身画淩烟之阁，名藏太室之廷，吁足畏也。然美则美矣，然而终之始难。故曰：满而不溢，所以长守富也。高而不危，所以长守贵也。可不儆惧乎？书曰：尔唯弗矜，天下莫与汝争功。尔唯不伐，天下莫与汝争能。以齐桓公之盛业，片言勤王，则九合诸侯，一匡天下。葵丘之会，微有振矜，而叛者九国。故曰：行百里者半九十里，言晚节未路之难也。从古至今，自我高祖太宗已来，未有行此而不理，废此而不乱者也。前者菩提寺行香，仆射指麾宰相与两省三省已下常参官并为一行坐，鱼开府及仆射率诸军将为一行坐，若一时从权，亦犹未可。何况积习更行之乎？一昨以郭令公父子之军，破犬羊凶逆之众，众情欣喜，恨不顶而戴之。是用有兴道之会，仆射又不悟前失。径率意而指麾，不顾班秩之高下，不论文武之左右，苟以取悦军容为心。曾不顾百寮之侧目，亦何异清画攫金之士哉？甚非谓也。君子爱人以礼，不窃见闻姑息。仆射得不深念之乎？真卿偶闻军容之为人，清修梵行，深入佛海，况乎收东京有殄城之业，守陕城有戴天之功，朝野之人，所共景仰，岂独有分於仆射哉。加以利衰涂割，恬然於心。固不以一毁加怒，一敬加喜。尚何半席之座咫尺之地能泊其志哉。且卿裏上齿，宗庙上爵，朝廷上位，皆有等威，以明长幼。故得彝伦叙而天下和平也。且上自宰相御史大夫两省五品以上供奉官自为一行，十二卫大将军次之。三师三公令仆射少师保傅尚书左右侍郎自为一行，九乡三监对之，从古以然，未尝参错，至如节度军将，各有本班卿监之班。将军有将军位，纵是开府特进，并是勋官，用荫即有高卑，会燕合依伦叙，岂可裂冠毁冕，反易彜伦，贵者为卑所凌，尊者为贱所逼，一至於此，振古未闻。如鱼军容阶虽开府，官即监门将军，朝廷列位，自有次叙，但以功绩既高，恩泽莫二，出入王命，众人不敢为此，不可令居本位，须别示有尊崇，只可于宰相师保座南，横安一位，如御史台众尊知难事御史，别置一榻，使百寮共得瞻仰，不亦可乎？圣皇时，开府高力士承恩傅宣，亦只如此横座，亦不闻别有礼数。亦何必令他失位，如李辅国倚承恩泽，径居左右仆射及三公之上。令天下疑怪乎？古人云：益者三友，损者三友，愿仆射与军容为直谅之友，不愿仆射为军容佞柔之友。又一昨裴仆射误欲令左右承勾尝尚书，尝时辄有训对。仆射恃贵，张目见尤，介众之中，不欲显过。今者与道之会，还尔遂非，再谒八座尚书，欲令便向下座。州县军城之礼，亦恐未然。朝廷公宴之宜，不应若此。今既若此，仆射意只应以为尚书之与仆射。若州佐之与县令乎？若以尚书同于县令，则仆射见尚书令，得如上佐事刺史乎？益不然矣。今既三厅齐列，足明不同刺史且尚书令与仆射，同是二品，只校上下之阶，六朝尚书并正三品，又非隔品致敬之类。尚书之事仆射礼数未敢有失。仆射之顾尚书，何乃欲同卑吏？又据宋书有百官志，八座同是第三品，隋及国家始升，别作二品。高自标致，诚则尊崇，向下挤排，无乃伤甚况再於公堂，猲咄常伯，当为令公初到，不欲纷披，黾勉就命，亦非理屈。朝廷纪纲，须共存立，遇尔隳坏，亦恐及身。明天子忽震电含怒，责毂彜伦之人，则仆射其将何辞以对。\n《争座位帖》是颜真卿写给郭英乂的一封书信的草稿。事情的起因是唐朝的中兴名将郭子仪凯旋还朝，代宗命文武百官于长安城举行欢迎仪式。负责安排百官排列次序的郭英乂为取悦于大宦官鱼朝恩，不顾朝廷规制，刻意将鱼朝恩的座位排在品阶比他高的几位尚书之前。对于这样露骨的献媚之举，一向以正色立朝的颜真卿愤然致书郭英乂，对其所作所为进行严词斥责。\n笔法:《争座位帖》不少笔意是从颜书楷体演化而来，写得更为疾速，更为放逸，书风跌宕浪漫，全以中锋用笔，气足意满，杀纸之气溢于纸外，似乎天地之间贯穿着股豪迈的正义力量，无坚不摧。虽是信手写来，但笔笔之中气韵饱满，静动有态，大小参差。以直笔为主，浑厚藏拙，质朴苍劲，奇伟秀拔，笔势纵横，笔力矫健，笔锋雄劲爽利。《争座位帖》笔法中的圆劲，是篆籀的生化，在圆润之中更有劲节，飞动之中更带韧性，融北朝的雄浑遒逸和中唐的肥劲宽博于一炉，劲立拔豪宕，姿态飞动。\n结体:《争座位帖》以行书为体，草书辅之。结字是正书中快写纵逸，以笔势的婉健流动为契机来发行、草之变，既富“飞动诡形异状”之态，又不失有凝重劲拔的神韵。它与《祭侄稿》一样没有刻意做作的成分，是一种在自然的倾诉式的书写中达到了书写的极则，将本我的真、艺术内质的美、空间的腾挪起伏表现融为一体。\n章法:从章法上看，《争座位帖》通篇构成了自然叠嶂、雄逸茂畅、舒和烂漫的心灵图画，一派天机之中，凛冽正义的精神凸出。使人从中可以体味出颜真卿刚强耿直、朴素敦厚的性格。因为写的是书信，是草稿书，所以信手写来，故而前松后紧，行疏字密，大小粗细相间，加上圈误补遗，多处修改，无有任何安排之意，显得自然优雅，任意奔放。\n作品评价:北宋书法家苏轼《东坡题跋·题鲁公书草》：“比公他书尤为奇特，信乎自然，动有姿态。”\n北宋书法家米芾《宝章待访录》：“秃笔，字字意相连属，飞动诡形异状，得于意外也。世之颜行第一书也。”\n清代书法家王澍《虚舟题跋》：“三稿皆公奇绝之作，《祭侄》奇古蒙宕，《告伯父》渊润从容，至《论座》则兼有《祭侄》《告伯》两稿之奇，情结不同，书随之异，所以直入神品，足为《兰亭》后劲也”\n清代学者阮元《颜鲁公争座位帖跋》：“《争座位帖》如熔金出冶，随地流走，元气浑然，不复以姿媚为念。夫不复以姿媚为念者，其品乃高，所以此帖为行书之极致。”\n清代书法家何绍基：“此帖笔法之佳，当在《兰亭》之上。”\n清末民初学者杨守敬《学书迩言》：“行书自右军后，以鲁公此帖为创格，绝去姿媚，独标古劲。”\n《争座位帖》稿本墨迹北宋时藏于长安安师文处，安氏据以摹勒刻石，后安家兄弟分家，将真迹一剖为二，其后又辗转进入内府，自此再无下落，不知所终。惟其刻石今尚存西安碑林，世称“关中本”、“陕刻本”。好事者因以该本为底本反复翻刻，翻本众多，良莠不齐，以宋拓为最珍。\n宋拓之中，据王壮弘《崇善楼笔记》载，以晚清四大藏书楼之铁琴铜剑楼藏北宋拓本为第一，惜今已不知尚存人间否。而存世之宋拓，以吴荣光、潘仕成、梁启超递藏北宋拓本为第一。翁方纲题跋定为北宋，民国七年有正书局亦作为北宋拓本影印出版，郑孝胥有跋，复为梁启超重金购藏，今入国家图书馆善本特藏部，为当今学术界公认之北宋拓本。\n此外，还有何绍基题跋宋拓本，今在上海图书馆，为国家一级文物。其次，则有启功题跋、妙鉴斋藏南宋拓本。",[7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65146d8761030d660bbf3ac73afadf05.jpg",[],{"id":19921,"slug":19922,"title":19923,"dynasty":18,"author":5660,"museum":107,"description":19924,"tags":19925,"thumbUrl":19926,"material":312,"size":19927,"collection":95,"collections":19928,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},231546,"xun-mei-tu-wang-shi-shen-231546","寻梅图","汪士慎（1686-约1762），清代书画家、篆刻家。字近人，号巢林、溪东外史、左盲生、天都寄客，安徽歙县人，一作安徽休宁人，流寓江苏扬州。精篆刻、隶书，擅画花卉，尤擅画梅，笔墨疏落清劲，气清而神腴，墨淡而趣足，具有秀润恬静之致，与李方膺“铁干铜皮”形成鲜明对比。与金农、华品山等友善，为扬州八怪之一。\n汪士慎极爱梅花，擅长画梅竹，工于篆刻与八分书。人们评论他的梅竹说：“宠梅念竹有真意，剪水断冰无俗痕。”汪士慎跟金农、高翔、罗聘，被时人称为四大画梅高手。\n这幅《梅花》清淡秀雅，瘦劲姿媚，让我们看到了他画梅花的独特风格。汪士慎留世的梅花作品，其枝、花并不太繁，而以疏朗清瘦见长，给人一种疏影潇洒、冷香四溢的感觉。",[23,24,25,75,50,7,60,77,131,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebaace359b8eb216fa28c0c02b7b725.jpg","63x160厘米",[],{"id":19930,"slug":19931,"title":19932,"dynasty":88,"author":8147,"museum":107,"description":19933,"tags":19934,"thumbUrl":19935,"material":751,"size":752,"collection":95,"collections":19936,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},230898,"zi-shu-shi-cai-xiang-230898","自书诗","蔡襄（1012年3月7日－1067年9月27日），字君谟。兴化军仙游县唐安乡连江里青泽亭境蔡坑（今福建省仙游县枫亭镇九社村蔡坑自然村）人。北宋名臣，书法家、文学家、茶学家。\n宋仁宗天圣八年（1030年），蔡襄登进士第，先后任馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士等职，在朝为谏官时，以直言著称。后数度外出，历知泉州、福州、开封府事。宋英宗即位后正授三司使，再以端明殿学士出知杭州。治平四年（1067年），蔡襄逝世。累赠少师，谥号“忠惠”。\n蔡襄为官正直，所到之处皆有政绩。在福州时，去民间蛊害；在泉州时，与卢锡共同主持建造洛阳桥；在建州时，倡植福州至漳州七百里驿道松，主持制作北苑贡茶“小龙团”。所著《茶录》总结了古代制茶、品茶的经验；《荔枝谱》则被称赞为“世界上第一部果树分类学著作”。蔡襄的诗文清妙，书法浑厚端庄，淳淡婉美，自成一体，为“宋四家”之一。有《蔡忠惠集》等传世。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e90b7b0597277a3f428e13c7a06decb.jpg",[],{"id":19938,"slug":19939,"title":19940,"dynasty":88,"author":17629,"museum":107,"description":19941,"tags":19942,"thumbUrl":19943,"material":95,"size":95,"collection":95,"collections":19944,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},230891,"tu-mu-tie-li-jian-zhong-230891","土母帖","《宋李建中书谘册》是宋代时期李建中创作的书法作品。\n所示要土母。\n今得一小笼子。\n封全谘送。\n不知可用否。\n是新安门所出者。\n复未知何所用。\n望批示。\n春冬衣历头。\n贤郎未捡到。\n其宅地基尹家者。\n根本未分明。\n难商量耳。\n见别访寻稳便者。\n若有成见宅子又如何。\n细希示及。\n（押字）。\n谘。\n孙号西行少车。\n今有旧车。\n如到彼不用。\n可货却也。\n北宋初期的 ，承袭唐人的传统，以丰肥为美。\n李建中是北宋初期的书法名家，他的书法骨肉停匀，神气清秀，对宋代书家有很深的影响。\n除了黄庭坚曾以“肥而不剩肉”的世间美女赞誉他的字之外，《宋史》本传中，也称赞他“行笔尤工，多构新体，草、隶、篆、籀、八分亦妙”。\n这幅作品又名“ ”，是李建中存世墨迹的代表作。\n天下十大行书之一， 排第十。\n作品中，字的结体紧密而修长，用笔沉着而丰腴。\n虽写的是行书，但起笔、收笔处仍见严谨的楷法笔意，可看出不少唐人书法的特质。\n此外，由于尺牍内提及“新安门”，地近洛阳，所以推测这是李建中晚年居住在洛阳时所写。\n李建中（945—11年），字得中，自称岩夫民伯，京兆（陕西西安）人，北宋初年著名书家。\n进士，曾官曹、解、颖、葵四州刺史，进金部员外郎。\n因掌西京留司御台史，世称“李西台”。\n《宋史》本传称他：“善书札，行笔尤工，多构新体，草、隶、篆籀、八分亦妙。\n人多摹习，争取以为楷法。\n”",[92,24,25,7,200,60,2602,312,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b80d16fd2eded94b4ea57e1d1a647b.jpg",[],{"id":19946,"slug":19947,"title":19948,"dynasty":18,"author":6275,"museum":107,"description":10347,"tags":19949,"thumbUrl":19950,"material":751,"size":752,"collection":95,"collections":19951,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},230261,"zhuan-shu-dui-lian-hong-yi-fa-shi-230261","篆书对联",[23,7,457,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3f0082cd2356172086231095f1cd39.jpg",[],{"id":19953,"slug":19954,"title":19955,"dynasty":45,"author":342,"museum":107,"description":19956,"tags":19957,"thumbUrl":19958,"material":95,"size":95,"collection":95,"collections":19959,"showCount":145,"zanCount":788,"manualWeight":39,"mainColor":40},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[23,24,25,49,112,50,199,60,7,386,77,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":19961,"slug":19962,"title":19963,"dynasty":45,"author":46,"museum":107,"description":19964,"tags":19965,"thumbUrl":19966,"material":95,"size":95,"collection":95,"collections":19967,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,25,49,50,51,52,53,54,55,116,56,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":19969,"slug":19970,"title":2070,"dynasty":45,"author":2071,"museum":107,"description":19971,"tags":19972,"thumbUrl":19975,"material":95,"size":95,"collection":95,"collections":19976,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,49,111,27,25,7,60,51,113,1074,56,18093,52,19973,19974],"道路","队伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":19978,"slug":19979,"title":19980,"dynasty":45,"author":2916,"museum":412,"description":19981,"tags":19982,"thumbUrl":19983,"material":95,"size":95,"collection":95,"collections":19984,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,24,25,49,27,51,7,60,59,56,553,251,3918,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":19986,"slug":19987,"title":19988,"dynasty":88,"author":19989,"museum":107,"description":19990,"tags":19991,"thumbUrl":19992,"material":95,"size":95,"collection":95,"collections":19993,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","赵光辅","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[23,92,24,25,49,878,27,111,113,77,7,167,199,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":19995,"slug":19996,"title":19997,"dynasty":162,"author":1715,"museum":107,"description":19998,"tags":19999,"thumbUrl":20000,"material":95,"size":95,"collection":95,"collections":20001,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},227083,"wen-huang-ai-ce-ye-tie-chu-sui-liang-227083","文皇哀册页帖","《文皇哀册》在传世的小楷作品中，久负盛名。相传为真迹，但文稿后並无书人落款。据古代学者考证，乃是褚遂良在公元649年为唐太宗文皇之死而作的。\n\n据唐元陵《仪注》所记唐代宗丧礼，当皇帝灵柩下葬，在灵驾往山陵引发之际，要在太极宫承天门外举行遣奠之礼，由中书令宣读哀册，然后再把哀册纳入山陵之中。唐太宗的丧礼《仪注》虽未记载，但大致推想其礼仪当与代宗李豫相似，甚至过之。太宗驾崩时，褚遂良恰好为中书令，因此由他宣读并撰文书写“哀册”便是合情合理的事了。这篇《哀册》的文字曾见载于《文苑英华》、《唐大诏令集》等。作为法书真迹，《文皇哀册》最早记载于宋高宗的藏品中。此外原真迹本后还有宋人于瑰和薛绍彭、米友仁等人的题记，以及绍兴御府印记。其中尤以米友仁的跋引人注目。米友仁跋曰：“褚遂良在唐贤诸名世士书中，为秀颖得羲之法最多者，真字有隶法，自成一家，非诸人可以比肩，此书盖其晚年笔。”米友仁为米芾之子，本身是一位著名的书画家及鉴赏家，所以《文皇哀册》被判断为褚书，可以说是权威之见。此后元末明初的宋濂、明王世贞等人亦对此帖真迹的流传作了记载。从记载中我们得知，历代收藏者有著名收藏家岳珂、郭守敬以及王世贞等，可见这幅作品的身价之高。",[7,26,199,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33af4a7d295c4b58c6b2d52909cdeb14.jpg",[],{"id":20003,"slug":20004,"title":20005,"dynasty":3087,"author":454,"museum":107,"description":20006,"tags":20007,"thumbUrl":20008,"material":95,"size":95,"collection":95,"collections":20009,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},227065,"bei-wei-yuan-zhen-mu-zhi-ming-yi-ming-227065","北魏元桢墓志铭","《元桢墓志》是元魏宗子志石时间最古的。刻于魏孝文帝太和二十年（公元496年）,是属于北魏中期的典型碑刻。17行，行18字，共306字。志高71厘米，宽71厘米。1926年夏出土于洛阳城北高沟村东南，后经于右任先生收藏并移存西安碑林至今。其笔画茂实刚劲，结体紧峻，意态恣肆，气势雄奇。",[7,198,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ea4fc117f539264f63d3add8d31042.jpg",[],{"id":20011,"slug":20012,"title":20013,"dynasty":18,"author":3067,"museum":72,"description":20014,"tags":20015,"thumbUrl":20016,"material":682,"size":95,"collection":95,"collections":20017,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":789},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,24,25,1328,27,59,77,7,60,51,56,9654,458,266,267,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":20019,"slug":20020,"title":20021,"dynasty":18,"author":20022,"museum":20023,"description":20024,"tags":20025,"thumbUrl":20026,"material":95,"size":20027,"collection":802,"collections":20028,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},224146,"yu-qu-yuan-zhi-zheng-wen-chao-xin-zha-yu-yue-224146","俞曲园致郑文焯信札","俞樾","美国华盛顿国立美术馆","俞樾（1821年12月25日—1907年2月5日），字荫甫，自号曲园居士，浙江省德清县城关乡南埭村人。清末著名学者、文学家、经学家、古文字学家、书法家。现代诗人俞平伯的曾祖父，章太炎、吴昌硕、日本井上陈政皆出其门下。清道光三十年（1850年）进士，曾任翰林院编修。\n俞樾后受咸丰皇帝赏识，放任河南学政，被御史曹登庸劾奏“试题割裂经义”，因而罢官。遂移居苏州，潜心学术达40余载。治学以经学为主，旁及诸子学、史学、训诂学，乃至戏曲、诗词、小说、书法等，可谓博大精深。海内及日本、朝鲜等国向他求学者甚众，尊之为朴学大师。所著凡五百余卷，称《春在堂全书》。除《群经平议》五十卷、《诸子平议》五十卷、《茶香室经说》十六卷、《古书疑义举例》七卷外，其《第一楼丛书》三十卷、《曲园俞楼杂纂》共百卷。《清史稿》有传。\n俞樾是晚清有影响的学者。他长于经学和诗词、小说、戏曲的研究，所作笔记搜罗甚广，包含有中国学术史和文学史的珍贵资料。善诗词，工隶书，学识渊博，对群经诸子、语文训诂、小说笔记，撰著颇丰，一生著述不倦，主要著述有《小浮梅闲话》《右台仙馆笔记》《茶香室杂钞》等，辑为《春在堂全书》，凡500卷。\n在通俗小说方面的重要贡献是修改《三侠五义》，使这部小说得以广泛流传。赵景深在1956年1月所作的《三侠五义》前言中说：《三侠五义》原名《忠烈侠义传》，出现于光绪五年（1879）。1889年俞樾初见此书，认为第一回狸猫换太子“殊涉不经”，便参考《宋史》和《默记》等加以删改；他还认为书中所叙不只三侠，“南侠、北侠、丁氏双侠、小侠艾虎，则已得五侠矣。而黑妖狐智化者，小侠之师也；小诸葛沈仲元者，第一百回中盛称其从游戏中生出侠义来。然则此两人非侠而何？即将柳青、陆彬、鲁英等人概置不数，而已得七侠矣。”就改名为《七侠五义》，与《三侠五义》并行流传。这里反映了俞樾关于小说的学术观，可供历史小说创作的参考。\n他对小说的艺术研究也很精湛，赵景深又说，俞樾对于这书的评话特性也有极 好的比喻：“事迹新奇，笔意酣恣，描写既细入毫芒，点染又曲中筋节。正如柳麻子说《武松打店》，初到店内无人，蓦地一吼，店中空缸空甏皆瓮瓮有声；闲中着色，精神百倍。如此笔墨，方许作评话小说；如此评话小说，方算得天地间另一种笔墨。”如果有人写一部《中国俗小说史》，不可不能提到俞樾。",[23,7,60,19315,77,312,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc4e7907f81b8c51ce121fce1b550ae.jpg","30x135",[802],{"id":20030,"slug":20031,"title":20032,"dynasty":1609,"author":454,"museum":107,"description":15299,"tags":20033,"thumbUrl":20034,"material":751,"size":752,"collection":95,"collections":20035,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},223964,"ming-guang-jing-zhi-fu-jian-yi-ming-223964","明光镜之附件",[457,7,7713,7714,8234,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b04653f4af6d87789941376a9ac9ece.jpg",[],{"id":20037,"slug":20038,"title":20039,"dynasty":179,"author":454,"museum":8802,"description":20040,"tags":20041,"thumbUrl":20042,"material":784,"size":95,"collection":95,"collections":20043,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},223393,"cheng-ma-tu-yi-ming-223393","呈马图","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[23,24,92,49,27,111,113,1074,77,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":20045,"slug":20046,"title":20047,"dynasty":18,"author":2183,"museum":72,"description":20048,"tags":20049,"thumbUrl":20051,"material":27,"size":20052,"collection":95,"collections":20053,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","五星二十八宿神形图","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 轸。",[23,2135,111,27,112,60,77,110,113,1074,798,878,901,7,15440,20050,3478],"神形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":20055,"slug":20056,"title":20057,"dynasty":18,"author":13461,"museum":1399,"description":13462,"tags":20058,"thumbUrl":20062,"material":184,"size":13465,"collection":95,"collections":20063,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},222943,"hong-lou-meng-68-sun-wen-222943","红楼梦68",[23,111,27,1128,113,7767,2369,30,574,7,2136,20059,16834,20060,20061,2591],"书架","凳子","灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c32ce07b23c9a117289cfb2e75eaa4a.jpg",[],{"id":20065,"slug":20066,"title":17252,"dynasty":45,"author":5386,"museum":126,"description":20067,"tags":20068,"thumbUrl":20069,"material":1646,"size":17256,"collection":95,"collections":20070,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},222318,"li-bai-gu-feng-shi-juan-wang-chong-222318","本幅款署“雅宜山人王宠书”。钤“王履吉印”、“韡韡斋”，迎首钤“大雅堂”。收藏印钤“侯宝璋心赏”、“玉华堂绝品”、“玉华堂紫箫客”、“青萝山馆”、“披肝沥胆”。卷后有裘曰修、侯宝璋题跋。\n《李白古风诗》共8首，用金粟山藏经纸书写。此纸质地硬，纸面光滑，故笔墨线条清晰可辨，用笔转折历历在目。书法体势宽博疏拓，笔法丰沉圆遒，字形婉转结势，姿态奇特。王世贞曾评王宠书：“虽结法小疏，而天骨烂然，姿态横出，有威风千仞之势。”卷后裘曰修言：“雅宜山人书法大令，天骨秀拔，风神疏朗，名重一时。”",[23,398,49,7,50,77,678,680,651,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67be2d310bcf7052aa6cc69f361390e3.jpg",[],{"id":20072,"slug":20073,"title":20074,"dynasty":45,"author":46,"museum":72,"description":20075,"tags":20076,"thumbUrl":20077,"material":20078,"size":20079,"collection":95,"collections":20080,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},222119,"shu-lin-ting-zi-tu-shen-zhou-222119","疎林亭子图","高树茅亭，桥间策杖。自题：湖上清湾是子家，绿杨岸下水红花。去年载酒会相覓，一路寻诗览物华。款：沈周为君泽题。钤印三：石田、煮石亭。著录：石渠宝笈续编、故宫书画录卷八。收传印记：石渠定鉴、宝笈重编、乾隆御览之宝、嘉庆御览之宝、石渠宝笈、乾清宫鉴藏宝。",[23,1250,50,59,7,77,15486,19851,56,333,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dca097bc0d71acf5434ad657cde3e77.jpg","片金纸","21.5×57cm",[],{"id":20082,"slug":20083,"title":19706,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":20084,"thumbUrl":20085,"material":312,"size":20086,"collection":96,"collections":20087,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},221950,"shu-zha-ce-wen-zheng-ming-221950",[23,25,7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb98a0722d4406013accd71a7a1c5c.jpg","10×23.7cm",[96],{"id":20089,"slug":20090,"title":19296,"dynasty":88,"author":14147,"museum":648,"description":20091,"tags":20092,"thumbUrl":20094,"material":312,"size":20095,"collection":96,"collections":20096,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},221568,"shu-han-wen-gao-quan-juan-zhu-xi-221568","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n朱熹书法追慕钟、王，注重法度。此卷看似信手而出，运笔迅疾，实则不事雕琢，无意求工，深具功力，独见自然之美。\n在笔法上，此《书翰文稿》卷善用中锋，运转沉着顺畅，入笔藏锋隐芒，绝无狂躁之迹，行气连贯，不刻意工整，风格洒脱自然，文与质、文与道互为表里。",[23,92,24,25,49,60,199,7,77,20093],"文稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17845e2d30b7a63446a2e48fd4c53ce4.jpg","前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米",[96],{"id":20098,"slug":20099,"title":20100,"dynasty":88,"author":14147,"museum":126,"description":20101,"tags":20102,"thumbUrl":20104,"material":312,"size":20105,"collection":96,"collections":20106,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,60,7,49,385,77,651,360,845,1677,6297,55,589,3038,140,139,10013,679,14603,14604,136,844,133,3040,20103,6635,132,131],"海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[96],{"id":20108,"slug":20109,"title":20110,"dynasty":45,"author":20111,"museum":1399,"description":20112,"tags":20113,"thumbUrl":20114,"material":79,"size":20115,"collection":171,"collections":20116,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},220093,"luo-han-tu-juan-wu-xin-dao-ren-220093","罗汉图卷","无心道人","无心道人（公元16一17世纪中）明僧人，陕西终南人，弃儒为僧，明末清初画家，法名无心，自号无心道人，\n生卒年不详。\n善山水、人物，尤擅佛像。\n人物形神刻画潇洒生动，线条遒劲酣畅，笔墨放纵苍泽。\n王锋谓其善山水、诸尊者像，有古法，有操物外权者，果尽书画伦也耶。\n传世作品有《罗汉图》卷，纸本，墨笔，纵279厘米，横1666厘米，卷首款署七十八增无心道人书于马宅花园寂住。",[23,24,25,49,878,113,51,50,112,7,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbcb99a70ef886fc35dc60ca9b27bbd5.jpg","纵279厘米，横1666厘米",[171],{"id":20118,"slug":20119,"title":20120,"dynasty":45,"author":46,"museum":2006,"description":20121,"tags":20122,"thumbUrl":20123,"material":79,"size":20124,"collection":171,"collections":20125,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},219622,"gao-xian-jian-bie-tu-shen-zhou-219622","高贤饯别图","此作为书画合卷，前段行书长札笔力苍劲老辣，笔墨朴拙醇厚，信中铺陈故旧饯别往还，文辞质朴真挚，将江南文人的温厚交谊娓娓道来。\n后段山水以淡墨写意，浅设色晕染出江南暮春风物，林亭错落，烟波澹荡，将临别缱绻心绪融于咫尺尺幅。整卷书卷气沛然，叙事抒情与笔墨意趣相融无间，尽显吴门文人间酬唱寄情的风雅日常，笔墨间漫溢出平和温厚的文人品格，是文心与画境相映的绝佳范本。",[24,25,49,50,27,113,60,7,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5aa41795e30a32b8269de302bb1eed6.jpg","纵26.5横162.7厘米",[171],{"id":20127,"slug":20128,"title":20129,"dynasty":18,"author":7059,"museum":126,"description":20130,"tags":20131,"thumbUrl":20132,"material":169,"size":20133,"collection":171,"collections":20134,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},218403,"wang-shi-zhen-fang-bai-xian-tu-yu-zhi-ding-218403","王士禛放白鹇图","这幅画描绘了王士禛坐在花园前的沙发上，手里拿着卷轴沉思的样子，而他面前的一个孩子打开笼子的门，放出一只白野鸡。画面上，云雾缭绕，远处的山头，山下的房屋掩映在云雾之中，一派开阔宁静的景象，恰如其分地表达了一个身居高位的人思念故土、想要逃离牢笼的内心感受。场景和情境的交织，充分表达了王诗的内容，并通过绘画表达了其内在的韵律，具有诗意和极强的感染力。",[23,24,25,49,111,27,113,116,56,51,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989f7c06a8f4982a8994af915a0e707f.jpg","26.1x110.7",[171],{"id":20136,"slug":20137,"title":20138,"dynasty":662,"author":6779,"museum":107,"description":20139,"tags":20140,"thumbUrl":20141,"material":79,"size":95,"collection":95,"collections":20142,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},218174,"da-qian-kuang-tu-ce-4-zhang-da-qian-218174","大千狂涂册-4","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,50,5169,7,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfe4a42fd31d25056306db5ec8b3e71.jpg",[],{"id":20144,"slug":20145,"title":20146,"dynasty":18,"author":411,"museum":412,"description":15020,"tags":20147,"thumbUrl":20148,"material":33,"size":15023,"collection":95,"collections":20149,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},214527,"yi-jin-ling-ce-7-shi-tao-214527","忆金陵册-7",[24,25,26,27,51,458,55,56,57,113,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d08d0d08e1dbd868f3111e7bbc625a.jpg",[],{"id":20151,"slug":20152,"title":20153,"dynasty":18,"author":411,"museum":412,"description":15020,"tags":20154,"thumbUrl":20155,"material":33,"size":15023,"collection":95,"collections":20156,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":40},214521,"yi-jin-ling-ce-13-shi-tao-214521","忆金陵册-13",[24,50,59,77,7,60,26,51,57,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f56ff0dacc1059db5508b00fe0e1e40.jpg",[],{"id":20158,"slug":20159,"title":20160,"dynasty":162,"author":20161,"museum":20162,"description":20163,"tags":20164,"thumbUrl":20165,"material":202,"size":20166,"collection":95,"collections":20167,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":100},214309,"shu-kong-zi-yan-zi-zan-can-ke-li-dan-214309","书孔子顔子赞残刻","李旦","首都图书馆","这块碑是在唐朝十一年立的。曲阜孔庙的唐代楷书碑文 孔子与颜子赞 的原貌是根据教会碑文 老子孔子与颜子赞碑（及赵氏诏书），该碑文也刻于开元11年。如果书法也是出自皇帝的墨宝，那么题词应该是 御制御书，这种书很少出现在早期文献中。",[23,1063,7,198,199,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe302d8893bf0d679ca79da4cd434b166.jpg","49x49",[],{"id":20169,"slug":20170,"title":20171,"dynasty":18,"author":20172,"museum":20,"description":20173,"tags":20174,"thumbUrl":20176,"material":95,"size":95,"collection":35,"collections":20177,"showCount":145,"zanCount":39,"manualWeight":39,"mainColor":20178},201875,"wan-nian-qing-tu-zhou-gong-cheng-201875","万年青图轴","龚橙","画面以兼工带写之法绘就，万年青叶片线条劲挺，白描勾勒间衬以淡墨晕染，叶脉纹理清晰可见；朱红果簇点缀其间，色泽明艳，尽显生机。旁侧枝叶以没骨写意，墨色枯润相济，姿态舒展自然。背景山石泼墨而成，浓淡交错，晕染出雄浑朴拙之韵，与前景植物的柔美雅致形成对比。题款书法笔力遒劲，与画面相得益彰，尽显文人画的意趣与格调。整体构图疏密有致，设色淡雅却不失鲜活，传递出清逸隽秀的审美意蕴。",[24,75,27,29,20175,250,111,50,7,77,23],"万年青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661818d8ed6e818b0cc3891f1a1f2591.jpg",[35],"c4bdaf",{"id":20180,"slug":20181,"title":20182,"dynasty":179,"author":225,"museum":107,"description":20183,"tags":20184,"thumbUrl":20185,"material":751,"size":752,"collection":95,"collections":20186,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},290908,"wan-liu-tang-tu-zhou-zhao-meng-fu-290908","万柳堂图轴","丛柳茂盛的池塘边，有位文士骑马来访，庭院内三位文士已聚万柳堂中，即将兴起文会的高潮。全幅不论杨柳、人物、房舍都以极细腻的笔法描绘，精致清雅。",[24,75,25,27,113,458,1919,1074,567,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb413a426fbb31519521b346e7c49dad.jpg",[],{"id":20188,"slug":20189,"title":20190,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":20191,"thumbUrl":20194,"material":751,"size":752,"collection":95,"collections":20195,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},290907,"lan-ting-xiu-xie-tu-zhou-zhao-meng-fu-290907","兰亭修褉图轴",[92,24,25,75,1127,27,113,51,55,53,7,60,77,20192,20193,568],"兰亭修褉","集会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4fd08bab9b64402e68774cafa577608.jpg",[],{"id":20197,"slug":20198,"title":9651,"dynasty":45,"author":1313,"museum":107,"description":20199,"tags":20200,"thumbUrl":20203,"material":751,"size":752,"collection":95,"collections":20204,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},290884,"shuang-lin-qiu-si-zhou-dong-qi-chang-290884","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。",[92,24,25,75,27,51,115,55,53,77,7,2061,20201,57,20202,59],"秋思","霜林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d867ed6d4a7181f28525e49653dfba7.jpg",[],{"id":20206,"slug":20207,"title":20208,"dynasty":179,"author":1516,"museum":107,"description":4942,"tags":20209,"thumbUrl":20210,"material":751,"size":752,"collection":95,"collections":20211,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},290823,"ni-yu-ke-bi-yi-wu-zhen-290823","儗与可笔意",[92,24,25,26,50,132,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb02b7eb7945415cc1c307827b8ff6f8.jpg",[],{"id":20213,"slug":20214,"title":20215,"dynasty":179,"author":454,"museum":72,"description":20216,"tags":20217,"thumbUrl":20218,"material":79,"size":20219,"collection":63,"collections":20220,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},290737,"fang-mi-shi-yun-shan-zhou-yi-ming-290737","仿米氏云山轴","此幅画夏雨初过，山野溪畔水气弥漫，山脚林间云霭飘移，村屋、古寺掩映其间。山石以浓淡变化的“米点”层叠渲渍，再加色烘染，水份饱满。唯用笔构图板滞，应为明清之作。",[24,75,50,59,51,251,252,56,52,152,77,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd455344f176e2280f3d2ea4362701fd1.jpg","57x35.3",[63],{"id":20222,"slug":20223,"title":20224,"dynasty":45,"author":2916,"museum":107,"description":2917,"tags":20225,"thumbUrl":20227,"material":751,"size":752,"collection":95,"collections":20228,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},290500,"duan-yang-jia-jing-zhou-lu-zhi-290500","端阳佳景轴",[92,24,75,27,29,250,136,30,77,7,20226],"端阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482b189c87564d22bc6caf1b3e60965a.jpg",[],{"id":20230,"slug":20231,"title":20232,"dynasty":88,"author":11561,"museum":107,"description":20233,"tags":20234,"thumbUrl":20235,"material":751,"size":752,"collection":95,"collections":20236,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},289868,"xian-yuan-xiang-yun-tu-guo-zhong-shu-289868","仙苑祥云图","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[92,24,25,26,1128,1127,27,458,51,901,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9200c9cabf7ce31d3011683c95b5f6.jpg",[],{"id":20238,"slug":20239,"title":20240,"dynasty":162,"author":454,"museum":107,"description":20241,"tags":20242,"thumbUrl":20244,"material":751,"size":752,"collection":95,"collections":20245,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},289766,"da-yu-zhi-shui-tu-yi-ming-289766","大禹治水图","整幅画以雄奇险峻的重山叠嶂为底色，苍劲皴法勾勒出山体质感，将治水的艰险处境烘托到极致。画面之中，治水民众错落排布，凿石、架梯、运送建材，各司其职，细微处见生动，把先民众志成城凿山疏水的场景铺陈开来。\n\n笔触刚硬凝练，设色沉郁古朴，将上古治水的千钧气魄凝聚在卷轴之间，把宏大史诗缓缓铺展，让观者得以窥见先民战天斗地的坚韧意志，尽显雄浑苍茫的厚重历史感。",[23,92,24,75,27,113,51,9812,20243,59,7,77],"大禹治水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc23502114a0470d1d177e82bcaf60f1c.jpg",[],{"id":20247,"slug":20248,"title":20249,"dynasty":88,"author":2328,"museum":107,"description":20250,"tags":20251,"thumbUrl":20252,"material":751,"size":752,"collection":95,"collections":20253,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},289591,"si-ma-huai-shan-shui-he-juan-mi-you-ren-289591","司马槐山水合卷","米友仁（1074-1153），一名尹仁，字元晖，小名寅哥、鳌儿，晚号懒拙老人，山西太原人，定居润州（今江苏镇江）。宋朝画家，系北宋画家米芾长子，世称“小米”。",[23,92,24,25,49,50,51,704,471,53,9579,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32de782556d72120e65730b14284cc93.jpg",[],{"id":20255,"slug":20256,"title":307,"dynasty":88,"author":308,"museum":107,"description":309,"tags":20257,"thumbUrl":20258,"material":751,"size":752,"collection":95,"collections":20259,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},288530,"mo-zhu-tu-su-shi-288530",[23,24,49,50,132,7,60,77,25,948],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b07f275996a5650bad6188ccc4af4d.jpg",[],{"id":20261,"slug":20262,"title":20263,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":20264,"thumbUrl":20265,"material":751,"size":752,"collection":95,"collections":20266,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},288112,"yin-kuo-qian-chi-bi-fu-dong-qi-chang-288112","櫽括前赤壁赋",[7,398,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41e299651b54fa8862b342dd715a833.jpg",[],{"id":20268,"slug":20269,"title":20270,"dynasty":45,"author":71,"museum":107,"description":13635,"tags":20271,"thumbUrl":20273,"material":751,"size":752,"collection":95,"collections":20274,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},287942,"qiu-shan-han-shu-tu-zhou-wang-fu-287942","秋山寒树图轴",[23,24,75,50,51,15070,250,58,471,77,7,59,20272],"清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a14128aeb069047921dc97c301c36.jpg",[],{"id":20276,"slug":20277,"title":675,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":20278,"thumbUrl":20279,"material":751,"size":752,"collection":95,"collections":20280,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},287816,"chi-bi-fu-wen-zheng-ming-287816",[7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a14562a9ab63a7d4dfa3289cadbe6a2.jpg",[],{"id":20282,"slug":20283,"title":20284,"dynasty":105,"author":454,"museum":20285,"description":20286,"tags":20287,"thumbUrl":20288,"material":751,"size":752,"collection":95,"collections":20289,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":100},287722,"wang-xi-zhi-shi-qi-tie-yi-ming-287722","王羲之十七贴","日本早稻田大学图书馆","此作用笔圆劲凝练，线条厚重又不失灵动，草书笔势牵丝萦带却爽利舒展，字字错落有致、顾盼生情。章法疏朗宽绰，气息从容萧散，将尺牍里的日常寄怀，化作笔下超逸的风神。虽为刻帖，依旧能窥见原作里晋人尚韵的风流，笔墨间藏着往来酬答的真挚意趣，尽显高古散淡的魏晋风雅，寥寥尺幅间，尽是林下之风的疏放俊逸。",[398,7,198,200,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb517725125d409c4cbbae1477a421d96.jpg",[],{"id":20291,"slug":20292,"title":20293,"dynasty":18,"author":454,"museum":107,"description":20294,"tags":20295,"thumbUrl":20296,"material":751,"size":752,"collection":95,"collections":20297,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},287698,"fang-huang-gong-wang-fu-shan-chun-ju-tu-yi-ming-287698","仿黄公望富山春居图","此作用笔苍秀松灵，以披麻皴写山峦丘壑，复刻出原作浑厚华滋的山水意趣。远山淡晕如黛，近渚萦回清浅，林麓村居错落萧疏，尽显富春山野逸空濛之态。\n卷尾题跋笔墨雅致，与画境浑融一体，暗合元人山水“以画为寄”的隐逸风神，虽摹古却自见韵致，将江南富春山的空灵秀润尽藏尺幅间，是颇具功力的仿古佳制。",[23,24,49,50,1328,110,59,251,15072,2028,7,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982c0319d064f8f446d442b55159a94.jpg",[],{"id":20299,"slug":20300,"title":20301,"dynasty":45,"author":6820,"museum":107,"description":20302,"tags":20303,"thumbUrl":20304,"material":751,"size":752,"collection":95,"collections":20305,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","临王蒙太白山图","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,24,49,1328,110,50,27,59,251,2028,556,58,5328,267,116,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":20307,"slug":20308,"title":20309,"dynasty":45,"author":1313,"museum":107,"description":20310,"tags":20311,"thumbUrl":20312,"material":751,"size":752,"collection":95,"collections":20313,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},283752,"lan-rong-chuan-se-tu-zhou-dong-qi-chang-283752","岚容川色图轴","此图是董其昌74岁（1628年）时创作的，以笔墨表现为主旨，意在聊写胸中丘壑。作者在静观自然景象的基础上，以娴熟的笔墨技法阐释自己对自然山川的本质感悟，它超越了山水云树的具体形貌，以形写神，故图中每一景、每一境虽都不是自然景观的真实描绘，但读者却可从其谨严的笔墨塑造中领略到真山实水的存在。以近景的树木为例，形态各异的树木，互有遮掩地生长在凹凸不平的坡地上。树干以短线条双勾，高低不同且有曲直变化，干体以淡墨或皴或晕，增强了其明暗效果及立体感；树叶表现得更为丰富，有的以侧锋卧笔大点横贯，有的浓淡墨相互交叠，有的直接落笔画线成叶，有的则以线勾双边成夹叶状，各具神采。但将它们参照客观存在的植物，却难以分辨出其树种，显然它们是董其昌“读万卷书，行万里路，胸中脱去尘浊，自然丘壑内营，成立鄄鄂（注：指城廓），随手写出，皆为山水传神矣”的美学观的最好图释。",[24,92,75,50,51,7,77,251,56,53,250,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4139975bf6ec2cb9c58f64adc8a49b12.jpg",[],{"id":20315,"slug":20316,"title":20317,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":20318,"thumbUrl":20319,"material":751,"size":752,"collection":95,"collections":20320,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},283751,"qi-xia-si-shi-yi-tu-zhou-dong-qi-chang-283751","栖霞寺诗意图轴",[92,24,25,75,50,51,251,56,152,53,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d4bb1db2fef7caa8986b31a95ba498.jpg",[],{"id":20322,"slug":20323,"title":20324,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":20325,"thumbUrl":20327,"material":751,"size":752,"collection":95,"collections":20328,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},283735,"fang-ju-ran-shan-shui-tu-juan-yu-chen-ji-ru-shu-hua-he-juan-dong-qi-chang-283735","仿巨然山水图卷（与陈继儒书画合卷）",[7,60,25,49,51,589,133,1390,678,20326],"夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4537fa29e0be2b7d2ebc9141d08537.jpg",[],{"id":20330,"slug":20331,"title":20332,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":20333,"thumbUrl":20335,"material":751,"size":752,"collection":95,"collections":20336,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},283730,"yin-fu-jing-fu-jun-bei-juan-dong-qi-chang-283730","阴符经府君碑卷",[7,199,49,386,77,20334,200,25],"道家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364d070484396cfc55300bda7378eb6.jpg",[],{"id":20338,"slug":20339,"title":11383,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":20340,"thumbUrl":20341,"material":751,"size":752,"collection":95,"collections":20342,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},283721,"fang-gu-shan-shui-ce-dong-qi-chang-283721",[24,26,50,51,56,58,251,59,77,7,1151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5863dcecefd581d26dc3b868ce3a66c.jpg",[],{"id":20344,"slug":20345,"title":20346,"dynasty":105,"author":637,"museum":107,"description":1368,"tags":20347,"thumbUrl":20349,"material":751,"size":752,"collection":95,"collections":20350,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},283637,"pin-you-ai-huo-kong-shi-zhong-you-xuan-san-tie-wang-xi-zhi-283637","频有哀祸、孔侍中、犹悬三帖",[23,7,60,398,200,20348],"哀伤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22abba4f45a09ee811a15732747acb4.jpg",[],{"id":20352,"slug":20353,"title":19022,"dynasty":18,"author":454,"museum":107,"description":20354,"tags":20355,"thumbUrl":20357,"material":751,"size":752,"collection":95,"collections":20358,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":19030},272997,"zi-tan-bian-fa-lang-gua-ping-yi-ming-272997","此作以金地为底，珐琅填色绘就青绿山水。上部远山衔云，月色垂悬，清辉遍洒山巅，意境幽寂旷远；下部山居临溪而立，飞瀑穿谷而下，林木蓊郁苍劲，流云柔化金地的厚重华贵，将山林隐逸的清趣晕染开来。\n\n石青、石绿层层晕染出山石肌理，色彩明丽细腻，勾勒皴擦皆见匠心。左侧题诗呼应画中逸境，诗画相映，将文人山水的清雅意趣，与珐琅工艺的宫廷华贵质感相融，把林泉高致的隐逸之美凝于方寸，是清代装饰工艺与文人审美合璧的精巧之作。",[8913,19025,19026,1127,27,51,678,55,458,53,20356,7],"云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c8d59e8f26f75adfce4ef08e06c672.jpg",[],{"id":20360,"slug":20361,"title":20362,"dynasty":18,"author":454,"museum":107,"description":20363,"tags":20364,"thumbUrl":20365,"material":751,"size":752,"collection":95,"collections":20366,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},270218,"zhu-gu-qian-gu-bian-qian-ci-xi-yu-xi-hua-mei-hua-tu-mian-zhe-shan-yi-ming-270218","竹股嵌骨边钤慈禧御玺画梅花图面折扇","此扇墨梅清逸出尘，以浓墨写出苍劲虬曲的梅枝，穿插错落，尽显古木凌寒的硬朗风骨，淡墨晕染花苞朵蕊，留白衬出梅花冰洁素雅，暗香浮动仿佛随扇开合漫溢而出。侧旁题诗行书舒展雅致，笔意与画意相融，将咏梅诗意与绘梅清境合二为一。\n\n竹股嵌骨的扇身暗合梅竹同心的文人情致，钤印更添古雅端重。整扇书画印骨浑然一体，将文人慕梅的高洁意趣藏纳其中，轻摇间尽是清冷雅致的中式诗意。",[1250,24,50,131,7,77,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a1d2657bc372c87ff9c190ea52b64f.jpg",[],{"id":20368,"slug":20369,"title":20370,"dynasty":18,"author":454,"museum":107,"description":20371,"tags":20372,"thumbUrl":20373,"material":95,"size":95,"collection":96,"collections":20374,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":207},242236,"zhong-ke-chun-hua-ge-tie-yi-ming-242236","重刻淳化阁帖","此帖墨色乌莹匀净，装裱古雅沉静。右侧题注楷法端秀挺拔，与左方草书形成动静相宜的视觉韵律。\n\n所录右军草书笔势纵逸灵动，牵丝映带间尽显晋人尚韵的风流风骨，提按转折藏筋抱骨，笔墨线条自带潇洒疏朗的魏晋风神。刻工极尽精妙，将原作使转锋芒、枯湿意趣复刻传神，虽为刻本，却全然留存手札里的萧散情致，字里行间漫溢着东晋士族的散淡襟怀，让观者得以遥见当年尺牍往来的林下风雅。",[198,7,60,398,77,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff49fe4a6b22c0b2e9328feb544c825.jpg",[96],{"id":20376,"slug":20377,"title":20378,"dynasty":88,"author":454,"museum":107,"description":20379,"tags":20380,"thumbUrl":20381,"material":95,"size":95,"collection":802,"collections":20382,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},242217,"quan-zhou-ben-chun-hua-ge-tie-yi-ming-242217","泉州本淳化阁帖","此拓本墨色苍润沉凝，字口锋棱宛然留存。行书笔致灵动舒展，遒劲与秀逸兼具，尽显晋人尺牍的萧散风神。\n\n字间排布错落暗含章法，笔势映带自然，将魏晋名士疏朗通脱的气质藏在点捺流转之中。虽经刊刻拓印，却未掩笔法精妙细节，提按转合间的细腻意趣清晰可见，尽显刻帖的金石意趣与书法本身的隽雅风骨，让观者得以窥见古法书韵的雅致精妙。",[7,198,200,110,60,1613,457,398,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56713702ae43d86bbafcf427d11eb645.jpg",[802],{"id":20384,"slug":20385,"title":20386,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":20387,"thumbUrl":20388,"material":751,"size":752,"collection":95,"collections":20389,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},241670,"lin-su-shi-qian-zi-wen-juan-qian-long-241670","临苏轼千字文卷",[23,25,49,110,7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4f5b943233bb337a9fa87703d3b5d1.jpg",[],{"id":20391,"slug":20392,"title":20393,"dynasty":18,"author":506,"museum":107,"description":20394,"tags":20395,"thumbUrl":20396,"material":519,"size":20397,"collection":96,"collections":20398,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},240890,"jin-nong-guan-hua-qi-yan-shi-zhou-jin-nong-240890","金农观画七言诗轴","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f5b18909b66f906de484dbe17c3bcb.jpg","纵131.3cm ，横59.1cm",[96],{"id":20400,"slug":20401,"title":20402,"dynasty":18,"author":599,"museum":107,"description":20403,"tags":20404,"thumbUrl":20405,"material":312,"size":95,"collection":96,"collections":20406,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},240602,"zheng-xie-shi-zhou-zheng-ban-qiao-240602","郑燮诗轴","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。 代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。”\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n②峰石图:郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。",[7,60,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434cdb4e2ed64e8239b9850672b71425.jpg",[96],{"id":20408,"slug":20409,"title":17924,"dynasty":45,"author":20410,"museum":107,"description":20411,"tags":20412,"thumbUrl":20413,"material":312,"size":95,"collection":96,"collections":20414,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},240329,"shi-zhou-tang-huan-240329","汤焕","汤焕，生卒年不详，字尧文，号邻初，斋号五桂轩等。仁和(今浙江杭州)人。擅书法，亦工篆刻，有诗名。与许光祚同郡，时人号曰“汤许”。",[92,24,25,75,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a280ab1f6e9d145161fe000d26e5da8.jpg",[96],{"id":20416,"slug":20417,"title":20418,"dynasty":18,"author":411,"museum":126,"description":20419,"tags":20420,"thumbUrl":20422,"material":95,"size":95,"collection":96,"collections":20423,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},240036,"yuan-ji-shu-guang-ling-shu-xia-zuo-shi-shi-tao-240036","原济书广陵树下作诗","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。对后来扬州画派和近代画风，影响极大。",[7,60,360,845,20421,55,651,10610,10115,652,3388,77],"孤云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15ca7091459c0f80d077ebe7c568a8b.jpg",[96],{"id":20425,"slug":20426,"title":20427,"dynasty":179,"author":20428,"museum":107,"description":20429,"tags":20430,"thumbUrl":20431,"material":95,"size":95,"collection":96,"collections":20432,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},239905,"zhuang-zi-nei-pian-juan-yu-ji-239905","庄子内篇卷","虞集","虞集（1272年3月21日－1348年6月20日），字伯生，号道园，世称邵庵先生 。祖籍成都仁寿（今四川省眉山市仁寿县），临川崇仁（今江西省抚州市崇仁县）人 。元朝官员、学者、诗人，南宋左丞相虞允文五世孙。\n虞集自少受家学，曾随名儒吴澄游学。元成宗大德初年，被举荐为大都路儒学教授，历任国子助教、博士等。元仁宗时，迁集贤殿修撰，除授翰林待制。元文宗时，累官至奎章阁侍书学士、通奉大夫。元宁宗驾崩后，称病返回临川。至正八年（1348年），虞集去世，年七十七。获赠江西行中书省参知政事、护军、仁寿郡公，谥号“文靖”。\n虞集素负文名，与揭傒斯、柳贯、黄溍并称“元儒四家”；诗与揭傒斯、范梈、杨载齐名，并称“元诗四大家”。曾领修《经世大典》，著有《道园学古录》《道园遗稿》等。",[23,7,49,60,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f83d15da8d44635581f70c9dc234c8.jpg",[96],{"id":20434,"slug":20435,"title":20436,"dynasty":18,"author":20437,"museum":107,"description":20438,"tags":20439,"thumbUrl":20446,"material":751,"size":752,"collection":95,"collections":20447,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},239758,"shu-hong-li-song-xia-jing-shan-shui-shi-er-yong-shi-ce-he-shen-239758","书弘历颂夏景山水十二咏诗册","和珅","和珅（1750年7月1日—1799年2月22日），钮祜禄氏，本名善保，字致斋，自号嘉乐堂、十笏园、绿野亭主人，奉天府开原县（今辽宁省清原县）人，满洲正红旗。清朝中期权臣、商人。\n和珅门荫入仕，精明强干。通过李侍尧案，巩固身份地位，深得乾隆帝宠信，并将十公主嫁给和珅长子丰绅殷德，促使和珅大权在握，成为皇亲国戚。先后担任和兼任众多关键职务，主要包括内阁首席大学士、领班军机大臣、吏部尚书、户部尚书、刑部尚书、理藩院尚书，兼任内务府总管、翰林院掌院学士、《四库全书》正总裁官、领侍卫内大臣、步军统领等数十个重要职务，拜文华殿大学士，封一等忠襄公。随着权力地位的成长，私欲日益膨胀。利用职务之便，结党营私，聚敛钱财，打击政敌。亲自经营工商业，开设当铺七十五间，设大小银号三百多间，建立同英国东印度公司、广东十三行的商业往来。\n嘉庆四年（1799年），清仁宗下旨将和珅革职下狱。乾隆帝死后十五天，清仁宗赐和珅自尽，时年四十九岁。",[199,7,25,4347,51,652,20440,20441,20442,6635,3038,20443,9676,20444,18436,20445],"涧","水田","村","野塘","鹭","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c706ca362dd92ad9aff46683c23a07.jpg",[],{"id":20449,"slug":20450,"title":20451,"dynasty":179,"author":12485,"museum":126,"description":20452,"tags":20453,"thumbUrl":20454,"material":1646,"size":20455,"collection":96,"collections":20456,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},239632,"yang-wei-zhen-cheng-nan-chang-he-shi-tie-yang-wei-zhen-239632","杨维桢城南唱和诗帖","《城南唱和诗帖》释文\n款钤“廉夫”、“会稽杨维槙印”二方。鉴赏印有“太原颛庵王氏拙修堂收藏图书”、“王掞私印”、“西田”、“娄江王藻儒氏真赏”等，另钤孙承泽、王南屏私家藏印及嘉庆、宣统内府诸印。题跋有孙承泽、陈献章、谢肇淛、徐等家。《铁网珊瑚》、《庚子消夏录》、《石渠宝笈》三书著录。\n此卷书《城南杂咏》20首，原诗为南宋著名理学家张栻所作。张栻曾于长沙妙高峰筑城南书院，以居学者。《城南杂咏》20首即其对长沙城南诸胜景的咏怀之作。此后不久，朱熹访张栻于城南书院，和南轩诗作，遂成《城南唱和》20首。朱熹手迹经朱氏五世孙之手散出流传于世，辗转归元人虞子贤。当时张栻所书《城南杂咏》原迹已佚，虞氏遂请杨维桢追和张栻原诗，铁崖遂录张栻原诗20首。除原诗外，杨维桢又书“赘评”二则，简述为虞氏补书起因，并对张南轩诗作了评介，以为“有古风人思致”。\n在元代复古潮流中，杨维桢的书法因点画多不守常规，所以表现得格外出奇。结体上虽无珠圆玉润和儒雅精到之感，但其笔锋硬峭，筋骨强健，体势奇崛，具有一种壮美堂皇之气象。明代书法家吴宽评其书：“大将班师，三军奏凯，破斧缺斨，例载而归。廉夫书或似之。”徐有贞亦称：“铁崖狂怪不经，而步履自高。”此件作品写于杨维桢67岁时，笔势开拓，奔放不羁，风格清劲可喜。",[23,7,398,49,77,385,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1de427f78f196ea2b5a9b77078d8eb.jpg","纵31.6厘米，横216.6厘米",[96],{"id":20458,"slug":20459,"title":20460,"dynasty":18,"author":20461,"museum":107,"description":20462,"tags":20463,"thumbUrl":20464,"material":751,"size":752,"collection":95,"collections":20465,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},239481,"qiu-hua-tu-wan-shan-lian-xi-239481","秋花图纨扇","莲溪","此帧团扇布局疏密有致，湖石侧峙稳住画面重心，将红枫、黄菊错落排布。菊瓣淡描晕染，舒展柔婉，尽现清寒里盛放之姿；枫叶设色秾丽鲜亮，与黄花翠叶形成冷暖对照，鲜活耐看。湖石以水墨写意皴擦，兼工带写间尽显随性洒脱，笔墨兼具写生之真与写意之趣。\n左侧行书题款清雅疏朗，朱红印鉴点缀其间，书画印相映成趣。整体氤氲着晚秋清寂又明艳的诗意，将花木傲霜之态跃然绢上，暗合文人淡泊自持的襟怀，尽显灵动雅致的传统花鸟审美意趣。",[24,1250,27,29,111,140,250,9654,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd2fadc75dbee1a2a72d834478b1581.jpg",[],{"id":20467,"slug":20468,"title":20469,"dynasty":18,"author":20470,"museum":107,"description":20471,"tags":20472,"thumbUrl":20473,"material":751,"size":752,"collection":95,"collections":20474,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":100},239025,"hua-xie-zhou-lang-bao-chen-239025","画蟹轴","郎葆辰","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。",[24,25,75,50,129,4108,284,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc269c151aed2324928eccad2f99e61.jpg",[],{"id":20476,"slug":20477,"title":20478,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":20479,"thumbUrl":20480,"material":751,"size":752,"collection":95,"collections":20481,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},236518,"mo-ju-shan-ye-chen-chun-236518","墨菊扇页",[24,25,1250,50,1049,29,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa8094773a549a15b7aa0ff8fdec3c7.jpg",[],{"id":20483,"slug":20484,"title":20485,"dynasty":45,"author":20486,"museum":126,"description":20487,"tags":20488,"thumbUrl":20489,"material":312,"size":20490,"collection":95,"collections":20491,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},236491,"shan-shui-ren-wu-ce-guo-fen-ya-236491","山水人物册","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[92,24,25,26,50,27,113,54,51,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3433dcfa615f2499e49190891608052.jpg","纵38.8厘米，横60.4厘米",[],{"id":20493,"slug":20494,"title":20495,"dynasty":18,"author":20496,"museum":107,"description":20497,"tags":20498,"thumbUrl":20500,"material":95,"size":95,"collection":63,"collections":20501,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},236426,"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》。",[24,25,75,27,113,1074,20499,116,1283,51,77,7,60],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[63,187,96],{"id":20503,"slug":20504,"title":20505,"dynasty":18,"author":20506,"museum":126,"description":20507,"tags":20508,"thumbUrl":20509,"material":1179,"size":20510,"collection":95,"collections":20511,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},236156,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236156","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[92,24,25,26,111,27,113,268,56,567,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fb9dfe3d09f4355c4a00f227214a4.jpg","纵三二·二厘米 横四二·三厘米",[],{"id":20513,"slug":20514,"title":20515,"dynasty":18,"author":20516,"museum":107,"description":20517,"tags":20518,"thumbUrl":20520,"material":95,"size":95,"collection":95,"collections":20521,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},235997,"hua-guo-tu-ping-zhou-shu-xi-235997","花果图屏","周淑禧","《周淑禧周淑祜花果图屏》是清代周淑禧、周淑祜合绘的一幅画。\n周淑祜与周淑禧为书画家周荣起的长女和次女。\n此为两姐妹合绘的花果四条屏，每幅均钤“江上女子”与“祜禧合图”印。\n条屏分绘乳柑子、猕猴桃、枇杷和柿子，每幅上均裱有对此种花果的文字介绍，其中两幅下裱有收藏者补题的周淑禧、周淑祜的小传。\n此屏在选材方面自出机杼，巧妙地捕捉到花果的特性，具有女性绘画细腻的特色。\n设色浓重妍丽，继承了文徵明传派的画法，用笔精细工整，一丝不苟，将花果描绘得富有生趣，可爱诱人。\n周氏姊妹传世作品很少，此件作品双姝合璧，甚为难得。",[24,25,27,111,3747,20519,60,7,77],"猕猴桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa215492358992d0a7c64b8deb738e66.jpg",[],{"id":20523,"slug":20524,"title":7114,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":20525,"thumbUrl":20526,"material":751,"size":752,"collection":95,"collections":20527,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},235618,"hong-ren-shan-shui-ce-hong-ren-235618",[24,25,50,59,51,651,56,1678,471,267,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021ea63838bc3efca94154ace5f3e90a.jpg",[],{"id":20529,"slug":20530,"title":20531,"dynasty":18,"author":7664,"museum":107,"description":20532,"tags":20533,"thumbUrl":20534,"material":95,"size":95,"collection":95,"collections":20535,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},235468,"mo-ju-zhou-huang-shen-235468","墨菊轴","以泼墨写意挥写丛菊，老干挺劲欹斜，花枝向上舒展，墨色浓淡铺陈，层次分明。花瓣以大块墨晕点染，间用枯笔勾出细劲筋脉，苍润交织，将寒菊傲霜绽放之态尽显笔端。\n\n右上角草书题款跌宕疏放，笔墨与野菊的朴拙刚健呼应相合，诗画相融，尽显疏放雅致的文人意趣。整幅以简驭繁，以水墨氤氲传递出菊花孤高清绝的品格，把画者疏狂随性的性情与凌霜佳卉的风骨融为一体，尽显大写意花鸟以形写神的妙处。",[24,25,75,50,129,7,60,77,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306e636315367da95f923c6eec5c6800.jpg",[],{"id":20537,"slug":20538,"title":7114,"dynasty":18,"author":454,"museum":107,"description":20539,"tags":20540,"thumbUrl":20541,"material":95,"size":95,"collection":95,"collections":20542,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},235160,"hong-ren-shan-shui-ce-yi-ming-235160","此作为诗画合璧，行书题笔隽雅清逸，与山水景致相映成趣。淡墨轻扫出平远秋湖之景，远山如黛晕染天际，汀渚渔舍错落浅滩，不见浓墨重彩，唯有疏淡笔墨勾勒出水乡秋寂。左下角枯木疏枝清隽，湖面扁舟随波，似载着题诗里的秋闲意趣。\n整体萧散极简，脱尽繁缛，以清和淡墨铺就幽旷静穆的氛围，将秋日湖港泊舟的闲适禅意晕开，诗画相生，尽显文人山水的简淡天真，观之如临秋水，心神亦随之沉敛安宁，悠悠野趣藏于留白淡墨之间。",[24,50,26,59,7,51,54,704,2219,251,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcefcc066a3d8ae189ca1d151c47dd72.jpg",[],{"id":20544,"slug":20545,"title":7114,"dynasty":18,"author":454,"museum":107,"description":20546,"tags":20547,"thumbUrl":20549,"material":95,"size":95,"collection":95,"collections":20550,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},235157,"hong-ren-shan-shui-ce-yi-ming-235157","此作为诗画合璧佳构，笔墨简淡疏朗，尽显清逸禅意。画面以淡墨晕染山峦，空灵悠远，山腹石拱如天工开辟，苍松沿溪亭亭如盖，平岸浅溪蜿蜒，村舍错落林间石畔，烟火气隐于清冷丘壑之间。\n\n题书清隽雅致，诗句与画境相契，松杉引径，夕照里野村人家渺远，古寺钟声融在暮霞里，将画中静穆清冷的意境铺展开来。淡笔轻皴里藏着幽远超脱的文人襟怀，观之如临江南寂寂山野，尘俗烦扰尽皆涤荡，尽显山水淡远出尘之美。",[24,25,26,50,51,59,7,60,77,651,360,56,1018,1679,1283,55,250,53,20548],"曲路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5772aa239819d308c2c0d814fad933b.jpg",[],{"id":20552,"slug":20553,"title":5251,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":20554,"thumbUrl":20555,"material":95,"size":95,"collection":95,"collections":20556,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},234648,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234648",[24,25,26,50,60,77,51,250,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b94e4bc4ae513265cb49273e2b24099.jpg",[],{"id":20558,"slug":20559,"title":20560,"dynasty":45,"author":9605,"museum":126,"description":17338,"tags":20561,"thumbUrl":20562,"material":312,"size":95,"collection":95,"collections":20563,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},234179,"wen-jia-fang-mi-yun-shan-tu-juan-wen-jia-234179","文嘉仿米云山图卷",[23,24,25,49,110,50,59,51,651,845,360,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc34426a88d7b44a9134580564d722f8.jpg",[],{"id":20565,"slug":20566,"title":20567,"dynasty":45,"author":20568,"museum":126,"description":20569,"tags":20570,"thumbUrl":20571,"material":312,"size":95,"collection":95,"collections":20572,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":789},234114,"huan-ji-tu-juan-zhang-han-234114","宦迹图卷","张瀚","描绘了明中后期官至吏部尚书的张瀚的官宦生活。本文通过对此作图像内容的考证,在比对图文关系的基础上,对此图的原貌、作者及有关问题进行了初步研究。",[24,25,49,112,111,113,1074,458,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47acd463b3a10bf258b2c33970af22e2.jpg",[],{"id":20574,"slug":20575,"title":20576,"dynasty":45,"author":10042,"museum":126,"description":20577,"tags":20578,"thumbUrl":20579,"material":9980,"size":20580,"collection":95,"collections":20581,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},234049,"mu-yun-shi-yi-tu-shan-ye-xie-shi-chen-234049","暮云诗意图扇页","图绘暮色笼罩下的百花潭烟云缭绕的景致。此图为水墨写意画，运笔飞写自如，气贯笔锋，刚健洒脱。用墨富于变化，浓淡相衬。构图虚实相应，物象间层次清晰，又浑然一体。从右向左横贯画扇中部的云雾以其空灵、多变既增加了画面的高远感，又增加了深远感，同时盘活了整个画面的气韵，使之具有行云流水般的生气。",[24,25,1250,50,59,51,56,57,845,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848c425ef828e37833c6cdd2189b899a.jpg","纵18.5厘米，横50.7厘米",[],{"id":20583,"slug":20584,"title":20485,"dynasty":18,"author":506,"museum":126,"description":20585,"tags":20586,"thumbUrl":20587,"material":20588,"size":20589,"collection":95,"collections":20590,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},233401,"shan-shui-ren-wu-ce-jin-nong-233401","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,25,92,26,27,50,51,113,116,56,53,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c812a5aeb034b109fa0e234d163af6b.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":20592,"slug":20593,"title":6061,"dynasty":18,"author":9820,"museum":126,"description":9821,"tags":20594,"thumbUrl":20595,"material":784,"size":9825,"collection":95,"collections":20596,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},232970,"hua-niao-ce-lang-shi-ning-232970",[92,24,25,26,111,27,29,135,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ba3f49ef4299402ca4a0e9edac5c37.jpg",[],{"id":20598,"slug":20599,"title":19245,"dynasty":45,"author":342,"museum":126,"description":19246,"tags":20600,"thumbUrl":20601,"material":312,"size":19249,"collection":95,"collections":20602,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},232958,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232958",[24,25,26,50,60,7,77,51,52,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a14ee541d3763f5d0fed21da63f835.jpg",[],{"id":20604,"slug":20605,"title":19245,"dynasty":45,"author":342,"museum":126,"description":19246,"tags":20606,"thumbUrl":20607,"material":312,"size":19249,"collection":95,"collections":20608,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},232957,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232957",[24,25,26,50,59,7,60,51,132,250,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1669656e724541295af682597e5a520.jpg",[],{"id":20610,"slug":20611,"title":20612,"dynasty":45,"author":46,"museum":20,"description":20613,"tags":20614,"thumbUrl":20615,"material":312,"size":20616,"collection":95,"collections":20617,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,49,50,27,59,60,457,7,77,51,56,113,11608,553,57,1018,76,55,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":20619,"slug":20620,"title":20621,"dynasty":88,"author":1160,"museum":107,"description":20622,"tags":20623,"thumbUrl":20624,"material":95,"size":95,"collection":95,"collections":20625,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},230852,"ba-cao-e-lei-mo-ji-zhao-gou-230852","跋曹娥诔墨迹","此作用笔清润圆融，提按转合皆含二王遗韵，尽显温润秀逸的宋韵风神。行文排布疏朗错落，笔墨间带着清雅书卷气，字字雅致隽永，法度与意趣兼备。朱红印信错落点缀，与墨色相映成趣，章法和谐古雅。题跋既抒对先贤墨宝的赞誉，也以自身笔意展露不俗书艺涵养，将文人雅致融于笔墨方寸之间，尽显温婉质感与文人意趣。",[7,60,77,385,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd0cff312155d75e983a475a0acee4.jpg",[],{"id":20627,"slug":20628,"title":20629,"dynasty":18,"author":9820,"museum":107,"description":20630,"tags":20631,"thumbUrl":20637,"material":751,"size":752,"collection":95,"collections":20638,"showCount":350,"zanCount":882,"manualWeight":39,"mainColor":40},230210,"hua-niao-ce-ye-lang-shi-ning-230210","花鸟册页","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,92,24,25,4347,111,27,20632,20633,29,652,20634,7648,20635,20636,238,7,60,77],"中西合璧","写实","花枝","白花","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":20640,"slug":20641,"title":20642,"dynasty":18,"author":12414,"museum":107,"description":12415,"tags":20643,"thumbUrl":20644,"material":751,"size":752,"collection":95,"collections":20645,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},229037,"kang-xi-fu-zheng-yu-wai-ai-xin-jue-luo-xuan-ye-229037","康熙赋政于外",[23,7,199,457,77,49,9635,359,3331,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f5f9ae660ee4168f660acd64c30d7a.jpg",[],{"id":20647,"slug":20648,"title":20649,"dynasty":18,"author":526,"museum":107,"description":20650,"tags":20651,"thumbUrl":20652,"material":95,"size":95,"collection":95,"collections":20653,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,25,49,27,51,59,110,77,60,7,651,360,56,58,458,52,55,267,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":20655,"slug":20656,"title":20657,"dynasty":45,"author":12640,"museum":107,"description":20658,"tags":20659,"thumbUrl":20660,"material":95,"size":95,"collection":95,"collections":20661,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},228352,"hu-zhou-shi-ba-jing-xian-ding-song-xu-228352","湖州十八景－仙顶","此作用高远、深远法铺展丘壑，以干笔皴擦勾勒山峦筋骨，石体质朴苍拙，遍山松针攒簇，蓊郁深秀。蜿蜒山道盘绕幽谷，引视线拾级而上，崖顶朱红楼阁隐于翠色间，恍若世外梵宫。山坳茅舍幽藏，溪涧穿谷而过，山脚田亩横陈，将林泉野趣与山居烟火相融。笔墨苍劲老辣，设色淡雅清和，兼融浙派刚健与吴门文秀，既绘尽峰峦奇崛之态，又暗合仙境幽绝尘寰的逸韵，把出世高怀与俗世雅趣揉为一体，尽显明代文人心中的林泉雅志。",[23,24,25,26,27,59,51,458,56,57,53,1283,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a8a320b1a8a8144d6247b75f4a65f5.jpg",[],{"id":20663,"slug":20664,"title":20665,"dynasty":45,"author":20666,"museum":107,"description":20667,"tags":20668,"thumbUrl":20669,"material":751,"size":752,"collection":95,"collections":20670,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},228333,"si-ti-qian-zi-wen-lu-shi-ren-228333","四体千字文","陆士仁","此卷书法工整稳健，圆劲古雅。结字运笔因体取势，篆书温纯古拙，隶书沉着质朴，草、楷书起笔尖微精健，更似文徵明用笔之法。卷后陆士仁之子广明题识：“先君子幼习太史公书，片楮只字无不临摹，几于入室。",[23,25,7,49,60,1613,457,199,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32cb469298bd6b4e0726b7e7658be108.jpg",[],{"id":20672,"slug":20673,"title":20674,"dynasty":179,"author":1927,"museum":107,"description":20675,"tags":20676,"thumbUrl":20677,"material":95,"size":95,"collection":95,"collections":20678,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,25,26,50,27,51,52,53,54,56,58,252,471,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":20680,"slug":20681,"title":20682,"dynasty":88,"author":1749,"museum":107,"description":20683,"tags":20684,"thumbUrl":20685,"material":95,"size":95,"collection":95,"collections":20686,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","晋文公复国图","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[23,92,24,25,49,112,111,59,113,1074,458,56,57,77,7,268,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],{"id":20688,"slug":20689,"title":20690,"dynasty":88,"author":6022,"museum":107,"description":14076,"tags":20691,"thumbUrl":20692,"material":751,"size":752,"collection":95,"collections":20693,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},227815,"bin-feng-qi-yue-tu-juan-wen-zheng-ming-ba-ma-he-zhi-227815","豳風七月图卷文徵明跋",[23,2601,24,25,49,457,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afaf614079908a09b751e9389226f63.jpg",[],{"id":20695,"slug":20696,"title":20697,"dynasty":88,"author":454,"museum":107,"description":20698,"tags":20699,"thumbUrl":20700,"material":95,"size":95,"collection":95,"collections":20701,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},227565,"chun-hua-ge-tie-1-10-juan-yi-ming-227565","淳化阁帖1－10卷","《淳化阁帖》，又名《淳化秘阁法帖》，简称《阁帖》，共10卷。是中国最早的一部汇集各家书法墨迹的法帖。",[2601,198,7,200,60,398,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acf07071fde65eb01773944a9e7bb62.jpg",[],{"id":20703,"slug":20704,"title":20705,"dynasty":88,"author":454,"museum":107,"description":16841,"tags":20706,"thumbUrl":20707,"material":95,"size":95,"collection":95,"collections":20708,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":789},227369,"yu-lin-ku-003-ku-yong-dao-bei-bi-yi-ming-227369","榆林窟003窟甬道北壁",[23,16843,88,113,27,878,3028,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51da7113ec81f9462529514cfda561f0.jpg",[],{"id":20710,"slug":20711,"title":20712,"dynasty":18,"author":19125,"museum":107,"description":20713,"tags":20714,"thumbUrl":20715,"material":751,"size":752,"collection":95,"collections":20716,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},224160,"song-wu-di-yu-zang-dao-chi-juan-wu-xi-zai-224160","宋武帝与臧焘敕卷","吴让之（1799－1870），清末书画篆刻家。原江苏江宁人，自父吴明煌起移居仪征，晚年流寓泰州。原名廷飏，字熙载，50岁后更字让之、攘之，号让翁、攘翁、晚学居士、晚学生、方竹丈人、言庵、言甫、难进易退学者。斋堂为晋铜鼓斋、师慎轩。吴让之小学功力很深，画作士气盎然，书法篆所不能，且精金石考据之学。篆刻初宗汉印，悉心摹仿，后师邓石如（完白山人），参以己意，晚年之作入化境。",[23,457,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf2ab5cfc1ded49fb9543fe228d5ee2.jpg",[],{"id":20718,"slug":20719,"title":9432,"dynasty":88,"author":454,"museum":72,"description":20720,"tags":20721,"thumbUrl":20722,"material":20723,"size":20724,"collection":95,"collections":20725,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},223569,"xi-shan-xing-lv-tu-yi-ming-223569","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[23,24,25,1250,50,59,7,60,77,51,250,56,52,53,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","绢本，淡设色","28.6 x 44.1 cm",[],{"id":20727,"slug":20728,"title":20729,"dynasty":162,"author":454,"museum":126,"description":20730,"tags":20731,"thumbUrl":20732,"material":20733,"size":20734,"collection":96,"collections":20735,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},223395,"tang-ren-fa-hua-jing-xuan-zan-juan-yi-ming-223395","唐人法华经玄赞卷","此卷界乌丝栏，首尾皆缺，书者不明。书写内容为《法华经玄赞》，这是唐代玄奘法师的弟子窥基（632—682年）撰述的一部阐说《妙法莲华经》教义的专著。\n唐人写经多为楷书，草书者极为罕见。此卷行气均匀，风格典雅，字形虽小，但使转精妙，法度俨然，今草之中略带章草韵味，可与隋人《出师颂》及孙过庭《书谱》互参，应为初唐高手所写。",[23,7,386,49,199,77,312,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff307974923d709fff0cac39ca1111c3a.jpg","乌丝","纵28.4cm，横373.2cm",[96],{"id":20737,"slug":20738,"title":20739,"dynasty":45,"author":10912,"museum":648,"description":10914,"tags":20740,"thumbUrl":20741,"material":312,"size":20742,"collection":96,"collections":20743,"showCount":350,"zanCount":788,"manualWeight":39,"mainColor":40},222528,"san-tan-shi-juan-wang-duo-222528","三潭诗卷",[23,7,49,1613,77,6769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e76e495d10d9e265c6a85b332c96765.jpg","横261.2，纵27.3厘米",[96],{"id":20745,"slug":20746,"title":19100,"dynasty":45,"author":5463,"museum":20747,"description":20748,"tags":20749,"thumbUrl":20750,"material":9104,"size":20751,"collection":96,"collections":20752,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},222059,"xing-shu-lun-shu-juan-zhang-rui-tu-222059","安徽省博物馆","在章法上紧压字距，疏空行间，使整幅书法的行气之间，呈现出一种有序的控制，不仅避免了散漫无章、眼花缭乱的现象，而且在横向展开的长卷上造就了满纸烟云、一泻千里的气势，给观者在视觉上带来了很大的冲击，令人有荡气回畅之叹。\n用笔上方峻刻峭，多使偏侧之锋，起笔以挫为主，落笔起止斩斫，翻折顿挫迅捷，提按起伏坚韧有力，横撑竖持跳跃使转，夸张多变—奇险莫测。笔画伸展倾斜度颇大，才以轻捷的露锋落墨，随即铺锋重重带过，至折转处又突然翻折笔锋，用尖刻的锋颖与锐利的方折及紧密至不透风的横画排列相结合，形成折带摇荡的鲜明节律。这种大翻大折、突出横向的动态，一变历代行草书以圆转取纵势的笔法，代之以方峻峭刻取胜。\n整卷作品非常和谐，其以方折之笔横斫，以连绵之势密布，以宽舒之阵排列，屈突又缓徐，硬辣又飘逸，局促又拓展，撑挫又连绵，用众多的反常又合度的笔法组成一幅壮美的图画，这种“壮美”，既是在艰难跳荡中臻至和谐的美，也是在凛厉捕杀中寻求平和的美，更是一种由悲怆激越转向平和放逸的美。此处其在挫与撑的变化和统一之主旋律中，还讲究墨韵的变化，笔墨丰满敦厚，气象淋漓酣畅加之笔画实重，少见轻飘之笔，故而形成了有别于前人和时人的鲜明个人特点。此卷乃中年行草，比之晚年草书更见平和散淡，不仅转折处多婉转而少侧锋偃笔，且结体虽奇崛，风格虽猛利，但并未失之狂诞。其书写的特征与当时的心态互为表里：在“禅味”的书法中化解胸中的痛苦和无奈。由此也证明了他是一位善于进取、勇于创造的大师。他的进取曾使自己从一介寒士跃而跻身朝廷重臣之列，他的创造又使自己从一个政治上的失败者锤炼成一个艺术的胜利者。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d99cd364f826c734d511374e5810c1b.jpg","纵25厘米横274厘米",[96],{"id":20754,"slug":20755,"title":20756,"dynasty":179,"author":1187,"museum":279,"description":20757,"tags":20758,"thumbUrl":20760,"material":20761,"size":20762,"collection":95,"collections":20763,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},221704,"xi-xiang-tu-juan-qian-xuan-221704","洗象图卷","此画被很多人误以为是钱选的真迹，因画中也是这样书写的。《洗象图》的主题取自佛经典故;“洗象”意即“扫象”，但同时也有“扫相”之意。以洗象为主题的作品在明清时代十分流行。这幅作品的色彩十分的清新明快，雪白浑圆的大象及人物的服饰，都给观者一种赏心悦目的感觉，整幅作品充满着一种祥和平静，安逸自然的氛围，这是在许多有关佛教题材的绘画作品中都极力表现的主题与特色。",[23,24,25,49,27,111,113,20759,878,7,60,77],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F463e36ce3cf0a3245fdd4350494b1166.jpg","丝绢、墨","36.1x79",[],{"id":20765,"slug":20766,"title":20767,"dynasty":179,"author":20768,"museum":126,"description":20769,"tags":20770,"thumbUrl":20771,"material":184,"size":20772,"collection":63,"collections":20773,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":100},221701,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-221701","碧梧苍石图轴","陆行直","图绘椭圆巨石一块，表面露出花朵般的花纹，左侧二棵梧桐傍石而长，树杆修长，树叶苍翠。技法上，湖石以繁皴密染，树叶勾点兼用，用笔仓劲。陆行直，字季道，洪武时期授予\u0016翰林典籍，书、画皆精。",[23,24,25,75,50,250,652,18585,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580b26937d367bc6093e7f1025fa9de.jpg","107x53.2cm",[63,187],{"id":20775,"slug":20776,"title":20777,"dynasty":88,"author":308,"museum":72,"description":20778,"tags":20779,"thumbUrl":20780,"material":682,"size":20781,"collection":95,"collections":20782,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},221312,"zhi-ji-chang-chi-du-su-shi-221312","致季常尺牍","这幅作品质朴敦厚，用笔凝重，笔画丰腴多肉，且结字偏斜，前半段的情感平和，逐渐趋於起伏，所以全作字形大小、笔画粗细、字体型态等也随之改变，相当具有变化的趣味。\n苏轼一生宦海浮沉，谪居于黄州的期间，正是他艺术创作的顶峰时期，这幅作品即是他在这段时间所作的行书精品之一，充满了文人交往的日常生活气息，作品遒劲茂丽，神采动人。",[25,7,60,26,312,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60783d4a02d7273a68e936dd5f9183c.jpg","30.3 X 48.6cm",[],{"id":20784,"slug":20785,"title":20786,"dynasty":88,"author":4078,"museum":648,"description":4079,"tags":20787,"thumbUrl":20788,"material":1038,"size":4082,"collection":95,"collections":20789,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},221197,"zi-zuo-shi-juan-quan-juan-di-er-ban-lu-you-221197","自作诗卷（全卷）第二版",[23,25,7,49,60,77,200,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1790440d694ddc8fada529f73268140f.jpg",[],{"id":20791,"slug":20792,"title":20793,"dynasty":162,"author":454,"museum":107,"description":20794,"tags":20795,"thumbUrl":20796,"material":95,"size":95,"collection":96,"collections":20797,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":40},221119,"gu-wen-shang-shu-di-liu-juan-yi-ming-221119","古文尚书第六卷","这卷纸本墨书纸色黄褐斑驳，残损处晕开旧时光晕。其书为唐人小楷，笔意朴茂端雅，承魏晋写经遗风，行笔匀净安稳，结体方整古拙，字字凝练沉静。行间留存多处涂改标注，是钞录时的鲜活痕迹，带着手抄典籍的温度。它兼具书法艺术与文献双重价值，笔墨间尽显唐人笃实沉厚的抄录态度，简淡静雅的书风晕染着千年古籍的朴茂古意，残损的纸页更添岁月赋予的厚重质感，静静诉说着唐时经籍传抄的旧日风貌。",[23,7,49,1498,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723f26cb993dd22b55d581b75c4f4496.jpg",[96],{"id":20799,"slug":20800,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":20801,"thumbUrl":20802,"material":7043,"size":7044,"collection":95,"collections":20803,"showCount":350,"zanCount":39,"manualWeight":39,"mainColor":95},220655,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220655",[23,198,7,60,398,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3022f8ad0aa441fb2259ee833cf194e0.jpg",[],{"id":20805,"slug":20806,"title":20807,"dynasty":88,"author":5177,"museum":107,"description":17028,"tags":20808,"thumbUrl":20809,"material":751,"size":752,"collection":95,"collections":20810,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},291013,"xi-hu-shi-jing-tu-ce-hua-gang-guan-yu-ye-xiao-yan-291013","西湖十景图册 花港观鱼",[92,24,25,26,51,1390,55,60,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d335cbc92567d0df2a58e54659ebbc.jpg",[],{"id":20812,"slug":20813,"title":20814,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":20815,"thumbUrl":20817,"material":751,"size":752,"collection":95,"collections":20818,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},290913,"yue-yang-lou-ji-zhou-zhao-meng-fu-290913","岳阳楼记轴",[7,60,75,77,20816],"岳阳楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86089c0efbf74a3f2df5aeaa8c96b5d.jpg",[],{"id":20820,"slug":20821,"title":4737,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":20822,"thumbUrl":20823,"material":751,"size":752,"collection":95,"collections":20824,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},290909,"shan-shui-zhou-zhao-meng-fu-290909",[24,75,51,1127,27,59,113,1018,57,53,55,77,7,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f0901263111f2bc34b9744aecedd9cb.jpg",[],{"id":20826,"slug":20827,"title":10552,"dynasty":179,"author":10553,"museum":72,"description":20828,"tags":20829,"thumbUrl":20830,"material":79,"size":10557,"collection":95,"collections":20831,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},290725,"mo-mei-zhou-chen-li-shan-290725","陈立善，元中叶东门人。至正中期任庆元路照磨①。善画梅竹，与王冕齐名。",[24,75,50,131,7,77,29,25,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7362c176b622ba7d5f9dcac289dcaa93.jpg",[],{"id":20833,"slug":20834,"title":20835,"dynasty":18,"author":17419,"museum":72,"description":20836,"tags":20837,"thumbUrl":20838,"material":79,"size":20839,"collection":187,"collections":20840,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},290546,"qiu-ting-jia-shu-tu-zhou-yun-xiang-290546","秋亭嘉树图轴","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[92,24,50,75,51,7,77,704,55,57,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00638666d8ee1a5c4faa39809df82c4.jpg","67.1x29.3",[187],{"id":20842,"slug":20843,"title":4167,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":20844,"thumbUrl":20845,"material":751,"size":752,"collection":95,"collections":20846,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},290540,"shan-shui-ce-yun-shou-ping-290540",[24,25,26,7,60,77,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a4fcd21035746babe4fb8b9df514abe.jpg",[],{"id":20848,"slug":20849,"title":20850,"dynasty":18,"author":5242,"museum":107,"description":5243,"tags":20851,"thumbUrl":20852,"material":751,"size":752,"collection":95,"collections":20853,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},290512,"fang-mei-dao-ren-bi-yi-shan-shui-tu-jing-xin-ren-yi-290512","仿梅道人笔意山水图镜心",[23,92,24,25,50,51,59,57,53,56,113,110,7,77,1391],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b242dc98ba13ddac83e86adb8a5c7d6.jpg",[],{"id":20855,"slug":20856,"title":20857,"dynasty":179,"author":1927,"museum":72,"description":20858,"tags":20859,"thumbUrl":20860,"material":79,"size":20861,"collection":95,"collections":20862,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},290345,"yu-shan-tu-zhou-gao-ke-gong-290345","雨山图轴","此幅远山近石上，皆以米家点为之，画树叶亦不勾勒，率以浓淡不等之墨直接画出，水份用得特别饱满，加以所用纸张为不吸水性，犹觉水份流动於纸上。自题此图完成时云雨正来，空气湿润，更加倍促使本图能表现雨之濛濛情调。",[24,92,75,50,51,59,5599,251,252,56,58,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ebd812cba6a2a20d43eb8516e168d.jpg","122.1x81.1",[],{"id":20864,"slug":20865,"title":20866,"dynasty":18,"author":5242,"museum":107,"description":5243,"tags":20867,"thumbUrl":20868,"material":751,"size":752,"collection":95,"collections":20869,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},290208,"fu-gui-tu-bai-mei-cheng-shan-ren-yi-290208","富贵图白梅成扇",[23,1250,24,25,27,131,29,7,60,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be5a61d924c866ae44f4671bd945a59.jpg",[],{"id":20871,"slug":20872,"title":20873,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":20874,"thumbUrl":20875,"material":751,"size":752,"collection":95,"collections":20876,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},290007,"xiang-cao-yuan-shu-jing-xin-wu-chang-shuo-290007","香草园蔬镜心",[1250,24,25,27,7667,139,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946b8116a6db47c791b928fc7b1bedce.jpg",[],{"id":20878,"slug":20879,"title":20880,"dynasty":88,"author":1937,"museum":107,"description":20881,"tags":20882,"thumbUrl":20883,"material":751,"size":752,"collection":95,"collections":20884,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},289791,"ceng-die-bing-xiao-tu-ma-lin-289791","层叠冰绡图","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。",[23,92,24,25,75,29,131,111,27,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc97e6d88354e1796d165fe1fc8d32c.jpg",[],{"id":20886,"slug":20887,"title":20888,"dynasty":88,"author":2751,"museum":107,"description":14401,"tags":20889,"thumbUrl":20891,"material":751,"size":752,"collection":95,"collections":20892,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},289739,"chi-shang-shi-tuan-shan-zhao-shen-289739","池上诗团扇",[1250,7,60,77,1175,18923,10607,20890,4739],"写景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4460b01ff947451a7b3be8d56c4878.jpg",[],{"id":20894,"slug":20895,"title":20896,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":20897,"thumbUrl":20899,"material":751,"size":752,"collection":95,"collections":20900,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},288231,"ying-shu-tu-zhou-huang-shen-288231","鹰树图轴",[23,24,92,25,75,50,27,29,20898,115,7,77],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64cb9aa88aeb2a63fd59b654ad6a0d0.jpg",[],{"id":20902,"slug":20903,"title":20904,"dynasty":18,"author":16245,"museum":107,"description":20905,"tags":20906,"thumbUrl":20907,"material":751,"size":752,"collection":95,"collections":20908,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},288214,"ming-xian-quan-tu-mei-qing-288214","鸣弦泉图","梅清（1623---1697），字渊公，号瞿山，安徽宣城人。生于明熹宗天启三年（1623年），卒于清圣祖康熙三十六年（1697年）。",[23,92,24,25,75,50,51,1018,57,8905,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78782d685d7c355c35aa459672f57e31.jpg",[],{"id":20910,"slug":20911,"title":20912,"dynasty":45,"author":20913,"museum":107,"description":6005,"tags":20914,"thumbUrl":20916,"material":751,"size":752,"collection":95,"collections":20917,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},287949,"ping-sha-luo-yan-tu-ye-sheng-mao-ye-287949","平沙落雁图页","盛茂烨",[23,24,25,26,50,7,60,51,116,53,704,20915,113,77],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4367d0d7660d7cc5c1cfaf29d53a369.jpg",[],{"id":20919,"slug":20920,"title":20921,"dynasty":45,"author":454,"museum":107,"description":20922,"tags":20923,"thumbUrl":20924,"material":751,"size":752,"collection":95,"collections":20925,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},287835,"fang-xia-gui-qian-yan-jing-xiu-yi-ming-287835","仿夏圭千岩竞秀","此作以长卷铺展江天丘壑，取夏氏边角山水意趣。斧劈皴斫出崖嶂硬峭骨相，苍松杂树偃仰生姿，江岸逶迤，浅渚渔舟隐于烟岚淡墨之间，平远景致虚实相生，将江南山水的清旷空濛揉入简劲笔意。\n\n引首行书笔势跌宕，与山水萧散野逸相映成趣，书画合璧复刻宋韵雅逸，将千里烟景收揽尺幅，观之如乘舟泛江，岩岫秀色次第展开，幽寂旷远的林下风致扑面而来，尽得复古追宋的山水意趣。",[23,24,49,1328,27,59,251,9322,54,56,555,556,110,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49d08c69238c36956940a1b8dc4a08d.jpg",[],{"id":20927,"slug":20928,"title":20929,"dynasty":45,"author":454,"museum":107,"description":20930,"tags":20931,"thumbUrl":20934,"material":751,"size":752,"collection":95,"collections":20935,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},287830,"zhao-jun-chu-sai-tu-yi-ming-287830","昭君出塞图","此作用淡晕山水铺陈出塞地辽寂荒寒，平沙远晕染出空阔萧索的塞北底色。近景渡口车马簇聚、行人揖别，细腻勾勒出饯行人群的依依愁绪，将离别的缱绻尽数藏在攒动身影与待发车马之间。\n\n工写相融的笔触，将千古典故里的沉郁叹惋具象化。搭配遒劲题字书画合璧，既以细腻叙事场景还原汉塞之别，又借悠远山水烘托出出塞征程的苍茫苍凉，将离愁与荒寒意境相融，尽显旧典的悠长余味，寄寓着对这段往事的深沉叹惜。",[23,24,25,1986,27,114,1074,52,1283,51,20932,20933,77,7,60],"历史事件","昭君出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154b051c5a32df91e9be9ff6b7fa7ebb.jpg",[],{"id":20937,"slug":20938,"title":20939,"dynasty":179,"author":1324,"museum":72,"description":20940,"tags":20941,"thumbUrl":20943,"material":79,"size":20944,"collection":63,"collections":20945,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},287761,"yu-hou-kong-lin-zhou-ni-zan-287761","雨后空林轴","画中山石多用披麻、折带皴，干笔淡墨，浓墨点苔，敷色清淡温和。整个画面布局充实饱满，平稳而有变，景象开阔，意境清淡萧疏，雨霁林空之景，宛然目前。而且，倪瓒的多数作品，写景极简，而这件作品则写高大山川，景物丰富。",[92,24,25,75,50,27,51,59,20942,52,53,115,55,7,60,77],"空林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29f3553e93f9b3a86dddb9e78143330.jpg","63.5x37.6",[63],{"id":20947,"slug":20948,"title":20949,"dynasty":2365,"author":12324,"museum":107,"description":20950,"tags":20951,"thumbUrl":20952,"material":751,"size":752,"collection":95,"collections":20953,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},287705,"yan-ai-qiu-she-zhao-gan-287705","烟霭秋涉","山谷间流水潺潺，五名行旅提挽裤脚，相继涉水渡溪，背后的树木已呈枯黄，后岭复重重环抱，此境益为幽深绝尘。旧传此幅为赵干之作。",[23,24,25,1328,50,59,250,115,2061,8981,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc85a4e660923125f155ac2d2314f28a.jpg",[],{"id":20955,"slug":20956,"title":20957,"dynasty":3087,"author":454,"museum":107,"description":20958,"tags":20959,"thumbUrl":20960,"material":751,"size":752,"collection":95,"collections":20961,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},287432,"shi-ping-gong-zao-xiang-ji-bei-jing-jiu-yi-ming-287432","始平公造像记北京旧","此作为魏碑方笔之冠，笔画斩钉截铁、棱角凌厉，如刀劈斧斫般刚猛雄强。结体宽博方正，字字饱满厚重，尽显北朝石刻的朴拙豪迈气质。\n\n少见的阳刻形制让笔墨意趣与刀石质感相融，沉凝的线条裹着肃穆庄重的力量，将沉笃祈愿凝于刀锋笔痕间。斑驳拓痕带着岁月摩挲的厚重质感，金石气扑面而来，粗犷硬朗的石刻意趣跃然纸上，尽显北朝书法的雄浑气魄。",[7,198,199,7325,878,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00ac5f33d19429fffb3a79f6826d921.jpg",[],{"id":20963,"slug":20964,"title":20965,"dynasty":88,"author":4981,"museum":107,"description":10563,"tags":20966,"thumbUrl":20969,"material":751,"size":752,"collection":95,"collections":20970,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},287429,"hua-yan-jing-ce-zhang-ji-zhi-287429","华严经册",[199,7,386,26,878,20967,20968],"佛经","华严经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fbe59a939e447929875e1c4eeefffe4.jpg",[],{"id":20972,"slug":20973,"title":20974,"dynasty":88,"author":89,"museum":107,"description":17100,"tags":20975,"thumbUrl":20977,"material":751,"size":752,"collection":95,"collections":20978,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},287399,"jing-fu-bo-shen-ci-shi-huang-ting-jian-287399","经伏波神祠诗",[23,7,198,200,60,49,4440,20976],"伏波神祠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f0efceaa6b2c2dd096dc4416c74f38.jpg",[],{"id":20980,"slug":20981,"title":20982,"dynasty":88,"author":308,"museum":107,"description":20983,"tags":20984,"thumbUrl":20985,"material":751,"size":752,"collection":95,"collections":20986,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},287369,"qi-zhou-zhang-qing-zhen-xiang-yuan-she-li-ta-ming-su-shi-287369","齐州长清真相院舍利塔铭","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[199,198,7,878,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F309e0585f50b65d0cc71c0ea4ea3b865.jpg",[],{"id":20988,"slug":20989,"title":20990,"dynasty":45,"author":1313,"museum":107,"description":20991,"tags":20992,"thumbUrl":20993,"material":751,"size":752,"collection":95,"collections":20994,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},283770,"guan-shan-xue-ji-tu-juan-dong-qi-chang-283770","关山雪霁图卷","该画主要对平远山景进行详细描绘，笔墨仍作平远景，山峦起伏层叠，林壑幽深，布局严谨而气势雄健，墨色浑厚用笔苍劲老辣，兼有生拙秀润的韵致。",[23,92,24,49,25,50,51,1151,251,2028,59,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b4e279e00538389e26971602b2698b.jpg",[],{"id":20996,"slug":20997,"title":20998,"dynasty":45,"author":1313,"museum":72,"description":3307,"tags":20999,"thumbUrl":21000,"material":682,"size":752,"collection":95,"collections":21001,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},283699,"ji-you-tu-ce-shi-liu-ce-dong-qi-chang-283699","纪游图册（十六册）",[92,24,50,26,1328,704,471,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930896ea503b2a03ebf7086a883986ab.jpg",[],{"id":21003,"slug":21004,"title":21005,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":21007,"thumbUrl":21008,"material":751,"size":752,"collection":95,"collections":21009,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},275861,"bai-yu-qian-long-yu-lin-zhao-meng-fu-shu-hong-fan-ce-yi-ming-275861","白玉乾隆御临赵孟頫书洪范册","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[26,7714,7,110,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5807e495d6f1e030e0426fb0234f1858.jpg",[],{"id":21011,"slug":21012,"title":21013,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":21014,"thumbUrl":21017,"material":751,"size":752,"collection":95,"collections":21018,"showCount":206,"zanCount":882,"manualWeight":39,"mainColor":40},263650,"ke-si-jia-xiu-qian-long-yu-ti-san-xing-tu-zhou-yi-ming-263650","缂丝加绣乾隆御题三星图轴",[75,25,24,21015,27,111,113,21016,17602,3388,10795,51,1018,137,1200,57,53,30,4509,7,77],"缂丝加绣","福禄寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41adb2dde5dde60b84a10ab4ad9f8997.jpg",[],{"id":21020,"slug":21021,"title":21022,"dynasty":88,"author":454,"museum":107,"description":21023,"tags":21024,"thumbUrl":21025,"material":95,"size":95,"collection":802,"collections":21026,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},242214,"chun-hua-ge-tie-yi-ming-242214","淳化阁帖","此作为行书刻帖，点画灵动秀逸，提按转折间尽显二王一脉的隽永风神。结体欹正相生，字势错落又彼此顾盼，行气连贯悠长。虽为刻拓本，却精准还原原作笔墨细节，刀痕隐于笔意之下，墨色沉凝古雅，将尺牍随性自然的意趣与端雅气度相融。\n\n所录书札既有日常手翰的松弛灵动，亦不失雍容之韵，刻工精妙，完整留存了原作使转的细腻层次，尽显宋刻法帖的典型风貌，是兼具临习价值与鉴藏意义的行书佳范。",[7,198,200,60,199,1498,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef9d1498fc9ce60eb68e3e32cebc5f1.jpg",[802],{"id":21028,"slug":21029,"title":21030,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":21031,"thumbUrl":21032,"material":751,"size":752,"collection":95,"collections":21033,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},241673,"lin-wang-xi-zhi-za-tie-ce-qian-long-241673","临王羲之杂帖册",[25,7,60,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd700a6f347cdc2f2f989d84f0bdabf41.jpg",[],{"id":21035,"slug":21036,"title":21037,"dynasty":18,"author":10912,"museum":107,"description":16215,"tags":21038,"thumbUrl":21042,"material":751,"size":752,"collection":95,"collections":21043,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},241254,"wang-duo-wu-lv-zhou-wang-duo-241254","王铎五律轴",[60,7,75,50,77,21039,845,359,21040,16217,21041],"春苔","日月","磬声","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0db778527579da08596b39ce848a2c74.jpg",[],{"id":21045,"slug":21046,"title":21047,"dynasty":18,"author":21048,"museum":107,"description":21049,"tags":21050,"thumbUrl":21051,"material":751,"size":752,"collection":95,"collections":21052,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},241208,"jie-lin-shi-chen-bei-zhou-zhang-zu-yi-241208","节临史晨碑轴","张祖翼","张祖翼（1849~1917）字逖先，号磊盫，又号磊龕、濠庐。因寓居无锡，又号梁溪坐观老人，安徽桐城人。近代著名书法家、篆刻家、金石收藏家。",[7,1613,110,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334a2da5c1f82f98d315761667bbcce1.jpg",[],{"id":21054,"slug":21055,"title":21056,"dynasty":18,"author":21057,"museum":107,"description":21058,"tags":21059,"thumbUrl":21061,"material":751,"size":752,"collection":95,"collections":21062,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},241205,"lu-wen-heng-di-yun-sheng-241205","录文横","翟云升","翟云升（1776年－1860年），字舜堂，号文泉，山东掖县（今莱州市）人、清代文字学家、音韵学家、书法家。",[7,1613,50,21060,77],"横卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1c313517343a953d1b6c79162d77fd.jpg",[],{"id":21064,"slug":21065,"title":21066,"dynasty":45,"author":342,"museum":20,"description":7945,"tags":21067,"thumbUrl":21068,"material":312,"size":21069,"collection":96,"collections":21070,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},241023,"wen-zheng-ming-qi-lv-zhou-wen-zheng-ming-241023","文徵明七律轴",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb289ecb6cf34a734aeb3805290642f.jpg","纵122厘米，横59.6厘米",[96],{"id":21072,"slug":21073,"title":21074,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":21075,"thumbUrl":21076,"material":751,"size":752,"collection":95,"collections":21077,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},240455,"zhuan-shu-si-tiao-ping-wu-chang-shuo-240455","篆书四条屏",[457,7,50,12955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0994dff2886c630277484f2afb04d08e.jpg",[],{"id":21079,"slug":21080,"title":21081,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":21082,"thumbUrl":21083,"material":751,"size":752,"collection":95,"collections":21084,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},240430,"shi-gu-wen-zhou-wu-chang-shuo-240430","石鼓文轴",[457,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95ebc3bc0e9907fc0e75aadb6459b346.jpg",[],{"id":21086,"slug":21087,"title":17924,"dynasty":45,"author":21088,"museum":107,"description":21089,"tags":21090,"thumbUrl":21091,"material":312,"size":95,"collection":96,"collections":21092,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},240355,"shi-zhou-wen-ru-yu-240355","温如玉","温如玉（？－？），字孟纯，湖广郧阳府郧县人，民籍，明朝政治人物。\n湖广乡试第九十名举人。嘉靖三十二年（1553年）中式癸丑科三甲第六名进士\n曾祖温聪，寿官；祖父温淮；父温昕，母左氏",[7,75,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aeae85209175e7d2860acc08766e7b1.jpg",[96],{"id":21094,"slug":21095,"title":21096,"dynasty":18,"author":1260,"museum":107,"description":19508,"tags":21097,"thumbUrl":21098,"material":751,"size":752,"collection":95,"collections":21099,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},240248,"lun-shu-fa-zhou-liu-yong-240248","论书法轴",[24,25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fcacd29676c5122aa83b48287634b51.jpg",[],{"id":21101,"slug":21102,"title":21103,"dynasty":45,"author":10912,"museum":20,"description":12681,"tags":21104,"thumbUrl":21105,"material":9104,"size":21106,"collection":96,"collections":21107,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},240142,"shu-lun-shu-zhou-wang-duo-240142","书论书轴",[7,60,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0309d6d4104f01e2fe77c767436bffdb.jpg","186.8X50.7厘米",[96],{"id":21109,"slug":21110,"title":21111,"dynasty":18,"author":21112,"museum":107,"description":21113,"tags":21114,"thumbUrl":21115,"material":312,"size":95,"collection":96,"collections":21116,"showCount":206,"zanCount":882,"manualWeight":39,"mainColor":40},240061,"jie-lu-ban-biao-lie-zhuan-zhou-zhang-ting-ji-240061","节录班彪列传轴","张廷济","张廷济(1768—1848)，清代金石学家、书法家。原名汝林，字顺安，号叔未，一字说舟，又字作田，又号海岳庵门下弟子，晚号眉寿老人，浙江嘉兴新篁人。嘉庆三年（一七九八）解元，以后几次会试未中，遂家居从事学术研究和艺术创作。工诗词，风格朴质，善用典故，精金石考据之学，尤擅长文物鉴赏，一碑一器都能辨其真伪，别其源流。喜收藏各类古器文物，收藏鼎彝、碑版及书、画甚多。\n张廷济的藏品上自商周下至近代，其中不少鼎彝碑版及青铜器是珍贵的罕见品。还收藏有大量周秦以来的钱币。善书画，能篆、隶，精行、楷，初规摹 游戏作梅，颇多古趣。嘉庆二十五年（一八二〇）尝仿 阮元督学浙江时极推重，来往密切，订为金石交。卒年八十一。传世书迹颇富。",[75,1613,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0d468ab6fa0b1a76746b2f1b274cb4.jpg",[96],{"id":21118,"slug":21119,"title":21120,"dynasty":45,"author":46,"museum":126,"description":21121,"tags":21122,"thumbUrl":21123,"material":95,"size":95,"collection":96,"collections":21124,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},240027,"you-zhang-gong-dong-ji-shen-zhou-240027","游张公洞记","沈周（1427～1509）明代杰出书画家。沈周的书法学黄庭坚，书风“遒劲奇崛”。",[23,92,25,7,49,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454502c97f02fbc6bb94cacdb339fab.jpg",[96],{"id":21126,"slug":21127,"title":21128,"dynasty":45,"author":21129,"museum":107,"description":21130,"tags":21131,"thumbUrl":21132,"material":751,"size":752,"collection":95,"collections":21133,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},239790,"shen-zhou-yong-ju-shi-han-juan-wu-kuan-239790","沈周咏菊诗翰卷","吴宽","吴宽（1435年－1504年8月19日 ），字原博，号匏庵、玉亭主，世称匏庵先生。直隶长州（今江苏苏州）人。明代名臣、诗人、散文家、书法家。\n吴宽为明宪宗成化八年（1472年）状元，授翰林修撰，曾侍奉孝宗读书。孝宗即位，迁左庶子，预修《宪宗实录》，进少詹事兼侍读学士。官至礼部尚书，卒赠太子太保，谥号“文定”。\n吴宽的诗深厚醲郁，自成一家，著有《匏庵集》 。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。",[23,7,60,49,140,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c5465c977d3dfab9995d7c3489a9b.jpg",[],{"id":21135,"slug":21136,"title":21137,"dynasty":179,"author":454,"museum":107,"description":21138,"tags":21139,"thumbUrl":21140,"material":751,"size":752,"collection":95,"collections":21141,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},239723,"yuan-ming-ren-shu-ce-zhao-meng-fu-yu-hang-zhou-qi-jue-yi-ming-239723","元明人书册-赵孟頫寓杭州七绝","元初书法总的情况是崇尚复古。文宗天历初建奎章阁，专掌秘玩古物。元文宗常幸奎章阁欣赏法书名画，书法一度出现兴盛局面。赵孟頫，鲜于枢等名家，是这时期书法的代表。他们主张书画同法，注重结字的体态。但元代书坛纯是继承晋唐，没有自己风格，稍后于赵孟頫的康里巎巎还有些变化，奇崛独出于元代书坛。纵观元代书法，其成就大者还在真行草书方面。至于篆隶，虽有几位名家，但并不怎么出色。这种以真、行、草书为主流的书法，发展到了清代才得到改变。有元一代书风，仍沿宋习盛于帖学，宗唐宗晋，虽各有其妙，亦不能以一家之法立于书坛。",[7,60,26,25,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44dd4cf8948445a502c908ef7a3bbe1.jpg",[],{"id":21143,"slug":21144,"title":21145,"dynasty":45,"author":13242,"museum":107,"description":21146,"tags":21147,"thumbUrl":21148,"material":95,"size":95,"collection":96,"collections":21149,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":789},239700,"shu-si-wu-xie-zhou-zhu-you-jian-239700","书思无邪轴","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位） ，也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。 即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵 ，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[7,60,50,75,77,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006507ca5262abed2fe9cfb7af640d36.jpg",[96],{"id":21151,"slug":21152,"title":21153,"dynasty":179,"author":10934,"museum":126,"description":21154,"tags":21155,"thumbUrl":21156,"material":95,"size":95,"collection":96,"collections":21157,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},239686,"du-fu-wei-jiang-jun-ge-juan-xian-yu-shu-239686","杜甫魏将军歌卷","释文：将军昔着从事衫，铁马弛突重两衔。被坚执锐略西极，昆仑月窟东巉岩。君门羽林万猛士，恶若哮虎子所监。五年起家列霜戟，一日过海收风帆。平生流辈徒蠢蠢，长安少年气欲尽。魏侯骨耸精神紧，华岳峰尖见秋隼。星躔宝校金盘陀，夜骑天驷超天河。搀枪荧惑不敢动，翠蕤五旓相荡摩。吾为子起歌部擭，酒阑插剑肝胆露。勾陈苍苍风玄武，万岁千秋奉明主，临江节士安足数。",[23,7,398,49,77,3477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccb3a98ca28892a94249052f0114102.jpg",[96],{"id":21159,"slug":21160,"title":21161,"dynasty":88,"author":89,"museum":107,"description":17100,"tags":21162,"thumbUrl":21163,"material":95,"size":95,"collection":96,"collections":21164,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},239644,"jun-yi-tie-ye-huang-ting-jian-239644","君宜帖页",[2601,7,60,77,25,385,312,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8ed1965e5015ecc210f24a653c622f.jpg",[96],{"id":21166,"slug":21167,"title":21168,"dynasty":45,"author":7169,"museum":126,"description":21169,"tags":21170,"thumbUrl":21171,"material":398,"size":21172,"collection":96,"collections":21173,"showCount":206,"zanCount":788,"manualWeight":39,"mainColor":40},239628,"zi-shu-shi-juan-jie-jin-239628","自书诗卷","解缙《自书诗》卷释文\n本幅共录自作诗 7首，是解缙于1407――1410年在广西、交阯为官期间所作。除第六首《过藤县》外，其余 6首均见于解缙《文毅集》，其中个别诗句互有出入。\n作品创作于永乐八年（1410年），时解缙42岁，恰从遥远的边陲入京奏事。之后不久即被陷入狱，５年后惨死狱中。此卷书法纵横超逸，奔放洒脱，点划出规入矩，绝无草率牵强处。章法经营尤见匠心，全篇一气呵成，神气自备，显示出解缙驾御长卷游刃有余的不凡功力。从卷末自识中流露出解缙本人对此卷也是颇为得意的。他把这件得意之作送给祯期，祯期为解缙兄解纶之子，以书名，不失门风。\n幅后有明王穉登跋一则。钤诸家鉴藏印共25方。曾经清安岐、乾隆、嘉庆、宣统御府收藏。《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《石渠随笔》等书著录。",[23,4038,7,25,49,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d422b5d628f1482f54d5ee322fe7f7.jpg","纵34.3厘米，横472厘米",[96],{"id":21175,"slug":21176,"title":21177,"dynasty":179,"author":12485,"museum":107,"description":21178,"tags":21179,"thumbUrl":21180,"material":95,"size":95,"collection":96,"collections":21181,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},239614,"yan-xiao-ao-dong-xuan-shi-ye-yang-wei-zhen-239614","宴啸傲东轩诗页","《杨维桢行书宴啸傲东轩诗页》是元代时期杨维桢创作的书法作品。\n《宴啸傲东轩诗》页，此页为“天乐大尹”书自作七律一首。\n信手涂抹，墨气淋漓。\n虽系小品，亦颇见性格。\n作品释文： □□老人宴余啸傲东轩。\n座客陈君章、林子山、任叔达、任孟举。\n主者仲氏千里，子仲行、季文、高第，弟子任衡、张师周。\n席上赋诗一解，率诸客用韵成什。\n寄傲先生不乞灵，遥瞻江水接天青。\n未随汉使槎横斗，自爱郝郎书满庭。\n破镜飞来开月殿，洗车过去勒云軿。\n君看天上双星会，不似人间聚德星。\n明日书此纸会乩，抱遗叟杨维桢再拜。\n天乐大尹见此，聊发一卢胡也。\n本幅署款“抱遗叟杨维桢再拜”，钤“杨廉夫”（白文）、“铁笛道人”（朱文）二印。\n有清代安岐，近代何厚琦、赵叔彦、完颜景贤、张爰、谭敬等家鉴藏印。\n收入清代安岐旧藏《元法书大观》册中。",[7,60,77,433,432,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2a5be279f5460e62d5489b0d1ab9.jpg",[96],{"id":21183,"slug":21184,"title":21185,"dynasty":18,"author":5242,"museum":107,"description":21186,"tags":21187,"thumbUrl":21188,"material":95,"size":95,"collection":171,"collections":21189,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},239218,"hua-yue-lou-xiang-zhou-ren-yi-239218","画月楼像轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[24,25,92,75,27,111,113,167,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee59244ae41195ef7e62dfb0e4906b7.jpg",[171,96],{"id":21191,"slug":21192,"title":17304,"dynasty":18,"author":21193,"museum":107,"description":21194,"tags":21195,"thumbUrl":21196,"material":95,"size":95,"collection":63,"collections":21197,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},236341,"shan-shui-tu-ce-xiao-yi-yun-236341","萧一芸","萧一芸，清初安徽芜湖人，名画家萧云从之侄。山水参唐寅、沈周，用笔清逸。云从极宠爱之，故能得其真传。云从晚年画多其代笔，观者莫辨。此册八开，或作松屋听泉，或作孤村泛艇；或写山庄密雪，或写危岩夏寒……构境或平淡，或崇高，或险绝，或幽深。皆以枯笔细皴，渴墨密擦，清苍秀润，了无俗韵，是其极精之作。且保存如新，堪赏堪藏。\n萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑熟画派创始人。幼而好学，笃志绘画、寒暑不废。明崇祯十一年(1638)与弟云倩加入复社，次年为副贡生。入清不仕，闭门读书赋诗作画，或遨游名山大川。善画山水格疏秀，兼工人物，与孙逸齐名。",[24,25,26,27,51,458,54,56,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ddfa414b9c09b1f8ec44e4094725db.jpg",[63,218,96],{"id":21199,"slug":21200,"title":21201,"dynasty":18,"author":411,"museum":107,"description":21202,"tags":21203,"thumbUrl":21205,"material":95,"size":95,"collection":95,"collections":21206,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},235892,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235892","原济黄山游图册","此作以奇崛危崖撑起画面骨架，焦墨勾勒崖壁嶙峋肌理，淡墨晕染出云气在峰谷间漫漶，明暗虚实铺就山谷的空寂幽深。谷内林麓掩映茅舍，三两旅人或策杖徐行，或围坐晤谈，将山水静穆与林下雅集的悠然意趣相融，动静相生。\n\n笔墨兼具苍润，湿笔晕染出山间空蒙水汽，枯笔皴擦刻画出岩石坚实质感，尽显黄山的清灵出尘。边角题诗与山水呼应，将探幽问道的雅趣藏于丘壑，尽显文人林泉栖隐之思。",[24,25,26,50,59,77,7,60,51,21204,113,1074,57,56,2029],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96f0d743602994e646e67e90a61dcf4.jpg",[],{"id":21208,"slug":21209,"title":21210,"dynasty":18,"author":9615,"museum":107,"description":21211,"tags":21212,"thumbUrl":21213,"material":95,"size":95,"collection":95,"collections":21214,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},235861,"fang-wu-zhen-shan-shui-ye-cha-shi-biao-235861","仿吴镇山水页","此作用笔极简，以淡墨晕染远山，留白尽显空濛幽远。近渚枯木虬曲，坡岸人家隐于林樾，寥寥数笔便勾勒出江乡春日清寂之景，尽显简淡萧散的逸趣。\n左侧行书与画境相映，笔意清劲疏朗，诗画合璧，文气悠然。整幅以新安画派特有的冷寂清空之韵，追摹吴镇山水苍浑意趣，却自出灵秀澹泊之姿，将江南春景的幽寂淡远尽数铺陈，尽显文人画以笔遣兴、以墨抒情的雅致品格。",[24,50,51,26,60,7,59,651,652,268,446,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f52947587da7f3f6d7872bc1adb71b.jpg",[],{"id":21216,"slug":21217,"title":3402,"dynasty":18,"author":411,"museum":107,"description":21218,"tags":21219,"thumbUrl":21220,"material":95,"size":95,"collection":95,"collections":21221,"showCount":206,"zanCount":882,"manualWeight":39,"mainColor":100},235523,"yuan-ji-shan-shui-tu-ce-shi-tao-235523","此作用枯淡笔墨写就秋林逸景，坡岸错落在浅滩之侧，奇崛山石以披麻皴写就，苍劲松竹错落林间，茅庐隐于林麓深处。水畔留白见空茫，寥寥几笔便将秋水清寂铺陈开来。左侧题字笔意纵逸，与画境相生相融。\n全画简淡萧疏，枯润笔墨相映，留白处尽得山水悠远之致，将秋郊水畔冷寂澹然与幽居文人的散淡意趣相融，尽显文心画骨，把寄情林泉的幽怀藏在笔底。",[24,25,50,59,26,51,76,57,53,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0f27c31545873ecbd11eb7ab97c011.jpg",[],{"id":21223,"slug":21224,"title":7673,"dynasty":18,"author":3357,"museum":126,"description":21225,"tags":21226,"thumbUrl":21227,"material":3320,"size":7677,"collection":95,"collections":21228,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[24,50,59,26,7,60,51,57,56,52,55,53,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg",[],{"id":21230,"slug":21231,"title":21232,"dynasty":45,"author":441,"museum":107,"description":13269,"tags":21233,"thumbUrl":21234,"material":751,"size":752,"collection":95,"collections":21235,"showCount":206,"zanCount":882,"manualWeight":39,"mainColor":40},234829,"zhu-ju-shan-xiang-sheng-mo-234829","竹菊扇",[1250,50,132,140,29,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31652eb5aff878bf1eb816c29e9f89b6.jpg",[],{"id":21237,"slug":21238,"title":19199,"dynasty":18,"author":468,"museum":126,"description":21239,"tags":21240,"thumbUrl":21241,"material":488,"size":21242,"collection":95,"collections":21243,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,49,50,51,59,7,60,77,651,360,56,55,52,53,54,1678,58,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":21245,"slug":21246,"title":21247,"dynasty":45,"author":9605,"museum":126,"description":21248,"tags":21249,"thumbUrl":21250,"material":312,"size":95,"collection":95,"collections":21251,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,25,49,50,51,59,7,77,60,56,52,53,55,116,333,471,12231,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":21253,"slug":21254,"title":21255,"dynasty":18,"author":15289,"museum":126,"description":19209,"tags":21256,"thumbUrl":21257,"material":184,"size":95,"collection":95,"collections":21258,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},234110,"hua-hong-li-ping-shan-tang-shi-yi-juan-zhang-zong-cang-234110","画弘历平山堂诗意卷",[24,25,49,27,51,458,55,56,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c98fe5c42d9369522f0ec973ba1a1.jpg",[],{"id":21260,"slug":21261,"title":21262,"dynasty":45,"author":689,"museum":126,"description":21263,"tags":21264,"thumbUrl":21265,"material":21266,"size":21267,"collection":95,"collections":21268,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},234045,"qiu-xi-fan-ting-tu-shan-ye-chen-hong-shou-234045","秋溪泛艇图扇页","此图通过木叶丹黄的秋天景色和人物悠闲划艇的活动，展现出一种宁静清逸的意境，给人远离尘俗之感。清初期，陈洪绶面对明为清所灭、友人相继殉国的情境，深感亡国离乱之痛，产生了隐遁避世的情致。此图绘成后的第二年六月，他就在云门寺剃发为僧，改号“悔迟”、“悔僧”、“秃翁”，亦号“云门僧”、“迟和尚”等。图中山石、树木法自蓝瑛，多以中锋行笔，笔致粗犷，点染生动，于雄浑中见朴拙蕴藉，加强了画面的视觉效果。",[1250,24,25,50,59,51,54,704,57,53,113,77,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca0bc4fcdb1b635c63e0a0c2219a288.jpg","金笺，设色","纵16.3厘米，横51.8厘米",[],{"id":21270,"slug":21271,"title":21272,"dynasty":88,"author":454,"museum":126,"description":21273,"tags":21274,"thumbUrl":21279,"material":784,"size":21280,"collection":95,"collections":21281,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},234018,"huai-yin-xiao-xia-tu-ye-yi-ming-234018","槐荫消夏图页","图绘炎炎夏日里，一处槐荫下，一高士平卧榻上，上衣半解，袒胸露乳，闭目酣睡；榻边一条案上摆着香炉、蜡台、书卷等物品，可能高士睡醒后在此读书赏画。本幅无款，标签题王齐翰作，原载《历代名笔集胜册》第一册。\n此图人物、床榻、条案、文房清玩刻画人微，极富艺术表现力。在笔墨上，行笔飘逸柔美、气韵清新优雅，人物和背景勾勒细致，烘染细腻，体现了画家细致的观察力和深厚的绘画功底。",[24,27,111,26,7,77,113,21275,21276,21277,574,21278],"槐树","卧榻","小桌","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6d4e735e515eae8c0b9f36217672fe.jpg","25×28.4cm",[],{"id":21283,"slug":21284,"title":16293,"dynasty":18,"author":506,"museum":279,"description":16294,"tags":21285,"thumbUrl":21286,"material":591,"size":16297,"collection":95,"collections":21287,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},233862,"mei-hua-ce-jin-nong-233862",[24,25,26,50,112,298,238,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60346c88438f5bbe9ef487e719159592.jpg",[],{"id":21289,"slug":21290,"title":21291,"dynasty":45,"author":744,"museum":126,"description":21292,"tags":21293,"thumbUrl":21294,"material":8940,"size":8941,"collection":95,"collections":21295,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,25,26,50,27,51,56,458,1678,567,52,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg",[],{"id":21297,"slug":21298,"title":21299,"dynasty":179,"author":2258,"museum":8802,"description":21300,"tags":21301,"thumbUrl":21302,"material":346,"size":21303,"collection":95,"collections":21304,"showCount":206,"zanCount":882,"manualWeight":39,"mainColor":40},232900,"mo-li-gong-lin-ren-ma-tu-quan-juan-zhao-yong-232900","摹李公麟人马图全卷","赵雍（1289—约1360），元代书画家。字仲穆，湖州（今属浙江）人。赵孟頫次子。以父荫入仕，官至集贤待制、同知湖州路总管府事。书画继承家学，赵孟頫尝为幻住庵写金刚经未半，雍足成之，其联续处人莫能辨。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》、《溪山渔隐》等。\n此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。画人马用线细劲连绵，人物胡须及马尾线描极为精彩。与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。",[23,24,25,49,110,112,27,113,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c18bb2f97acaf2887d33f422c15e0a1.jpg","纵31.7厘米，横73.5厘米",[],{"id":21306,"slug":21307,"title":21308,"dynasty":18,"author":3764,"museum":107,"description":21309,"tags":21310,"thumbUrl":21311,"material":21312,"size":21313,"collection":95,"collections":21314,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},232895,"shui-mo-tu-ce-hua-ce-zheng-min-232895","水墨图册画册","郑旼（1632-1683），号墓倩、穆倩、墓道人、神经证史、雪痕后人，安徽歙县人，擅长山水画。明亡之后，黄宾虹《黄山丹青志》中记载郑旼的行迹为：“……隐于狂疾，服如野僧，或有言触往事者，辄哭不休，或望空下拜，拜凡以三。簮绂中人，有愿近昵者，哭以拒之，或先避之，虽坚请不出也。”他在康熙十三年除夕日记云，“饥寒迫身……实愿甘之”，但他决不依附权贵，实在难饥，则以诗画易米，倘若以金帛予之，则必不予，即或成幅，亦毁之。郑旼人品高洁，不同流俗，刚正不阿，憎爱分明，具有坚贞民族气节的遗民。在篆刻方面，郑旼以先秦两汉为宗，每刻必有新意。曾自刻闲章：“闲来写幅青山卖，不使人间造孽钱”，盖于自己的画作上，表现出一个正直文人的清高与不俗。",[24,50,26,60,7,77,59,51,651,652,1006],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da6b0639be05e6bfd10cc0a42e975a6.jpg","设色纸本","172.5×46.8cm",[],{"id":21316,"slug":21317,"title":3829,"dynasty":88,"author":3830,"museum":107,"description":21318,"tags":21319,"thumbUrl":21320,"material":184,"size":21321,"collection":95,"collections":21322,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},232876,"ren-wu-gu-shi-tu-juan-liu-song-nian-232876","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,92,24,25,49,111,27,1128,7,60,77,113,458,567,56,57,9191,2186,3833,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83c436c11f7cca4cd37dca18f9de04f.jpg","26.1x446.5厘米",[],{"id":21324,"slug":21325,"title":21326,"dynasty":179,"author":1324,"museum":107,"description":21327,"tags":21328,"thumbUrl":21329,"material":312,"size":21330,"collection":95,"collections":21331,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,25,49,50,59,60,7,92,51,250,56,52,53,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":21333,"slug":21334,"title":21335,"dynasty":88,"author":18801,"museum":107,"description":21336,"tags":21337,"thumbUrl":21338,"material":751,"size":752,"collection":95,"collections":21339,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},231035,"chi-bi-ye-you-tu-ti-ba-wu-yuan-zhi-231035","赤壁夜游图（题跋）","武元直（公元12世纪）〔金〕号广莫道人，字善夫，《图绘宝鉴》作字善天，北平（今北京市）人，生卒年不详。金章宗完颜璟明昌（1190—1196）时中进士，善画山水，曾画过《雪霁早行图》《巢云霁雪图》《风雨归舟图》《渔樵闲话图》《桃园图》《桃溪图》《秋江罢钓图》等，惜皆散佚。",[23,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bee1b192bdd70bcab24771f267550ad.jpg",[],{"id":21341,"slug":21342,"title":21343,"dynasty":8749,"author":454,"museum":107,"description":21344,"tags":21345,"thumbUrl":21346,"material":751,"size":752,"collection":95,"collections":21347,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},230795,"fu-shuo-di-shi-bo-re-bo-luo-mi-duo-xin-jing-shou-gao-yi-ming-230795","佛说帝释般若波罗蜜多心经手稿","以菱形回字格排布经文，朴拙笔墨匀停排布，字字饱含肃穆虔诚。泛黄纸身晕染着岁月痕迹，残损间依旧藏着沉静禅意。下方线刻帝释造像庄严端凝，与经文呼应烘托出宗教肃穆感。朱印在旧卷上晕开一抹亮色，调和了沉郁的古旧色调。写经笔意质朴沉稳，无繁复修饰，将奉经的恭谨藏入笔锋起落之间，带着民间写经独有的质朴意趣，尽显古旧写卷的厚重禅韵。",[386,7,199,77,878,113,9635,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb44ba615524d9d3942a09c65f9cde473.jpg",[],{"id":21349,"slug":21350,"title":21351,"dynasty":18,"author":6275,"museum":107,"description":10347,"tags":21352,"thumbUrl":21353,"material":751,"size":752,"collection":95,"collections":21354,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},230263,"si-ping-hong-yi-fa-shi-230263","四屏",[23,2135,7,1613,12955,312,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162bbf418323ec59aee6ce0ccfdae51b.jpg",[],{"id":21356,"slug":21357,"title":21358,"dynasty":18,"author":830,"museum":107,"description":21359,"tags":21360,"thumbUrl":21361,"material":95,"size":95,"collection":95,"collections":21362,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},230222,"shu-fa-12-wu-chang-shuo-230222","书法12","此作以石鼓文为笔底根基，线条圆厚苍劲，裹毫藏锋，力透纸背，尽显沉雄老辣的金石意趣。联文结体欹正相生，错落朴拙，自带古籀文字原生的朴茂气质。\n字间行气疏朗贯通，左侧小字落款搭配朱红印章点缀，墨色浓淡呼应，章法从容雅致。将篆刻刀意融于笔端，苍浑大气中暗含灵动姿态，把碑学书法的雄浑意韵尽数诠释，朴拙厚重间尽显文人风骨，是极具代表性的苍古雄健的篆书典范。",[23,25,7,457,77,2136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf459ef02caa3bf692764c1467f11c0.jpg",[],{"id":21364,"slug":21365,"title":9340,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":21366,"thumbUrl":21367,"material":751,"size":752,"collection":95,"collections":21368,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},230161,"shou-zi-qian-long-230161",[7,60,27,359,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69523a170f0e268eb320e9e0782df9a.jpg",[],{"id":21370,"slug":21371,"title":21372,"dynasty":45,"author":342,"museum":107,"description":21373,"tags":21374,"thumbUrl":21375,"material":95,"size":95,"collection":95,"collections":21376,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,25,49,27,51,111,59,7,60,77,651,360,652,1018,704,333,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":21378,"slug":21379,"title":21380,"dynasty":45,"author":21381,"museum":107,"description":21382,"tags":21383,"thumbUrl":21384,"material":751,"size":752,"collection":95,"collections":21385,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},228315,"xi-xiang-ji-cha-ye-min-qi-ji-228315","西厢记插页","闵齐伋","自幼读书勤奋，好作诗文，以刻书为事。明万历四十四年(1616)主持采用朱、墨两色套印《春秋左传》，获得成功。后又改为五色套印，先后刻印经、史、子、集等一批古书及诸多戏曲、小说。因印刷技艺日臻完美，名声大振，与著名刻书著作家凌蒙初齐名。著有《六书通》。",[24,25,26,112,27,113,114,77,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fe13a4e9fe642c86c413e86118e4e78.jpg",[],{"id":21387,"slug":21388,"title":21389,"dynasty":179,"author":9714,"museum":107,"description":21390,"tags":21391,"thumbUrl":21392,"material":95,"size":95,"collection":95,"collections":21393,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},227990,"chun-jiang-tu-ma-wan-227990","春江图","此作用笔苍润秀雅，以淡墨晕染远岫平林，江波如练，渔舟轻漾，铺就江天寥廓之境。近岸危崖层叠，嘉木葱茏，间有丹叶点破春山碧色，山麓小径间策蹇徐行的旅人，为空寂江乡添上几分烟火意趣。\n全画以披麻皴写山石肌理，干湿互济，墨色苍润交融，诗题于画端，将春日江村的静穆野趣与文人逸怀相融，尽显悠远冲淡的林下幽情，晕染出江天春景的空濛诗意。",[24,92,25,75,50,27,59,7,77,51,15072,54,56,57,113,251,7758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":21395,"slug":21396,"title":21397,"dynasty":88,"author":454,"museum":107,"description":21398,"tags":21399,"thumbUrl":21401,"material":95,"size":95,"collection":95,"collections":21402,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 绢本",[23,92,24,25,26,111,27,113,21400,2019,56,77,7,60],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":21404,"slug":21405,"title":21406,"dynasty":88,"author":454,"museum":107,"description":21407,"tags":21408,"thumbUrl":21409,"material":95,"size":95,"collection":95,"collections":21410,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},227889,"cang-hai-yong-ri-tu-ye-yi-ming-227889","沧海涌日图页","此作用浓淡变幻的墨色勾勒翻涌沧波，层叠浪涛卷着白沫奔涌不息，一轮朝日自海雾中缓缓浮现，晕染开朦胧天光。水纹肌理刻画入微，浪涛的雄浑动感与朝日的静穆柔和相映，将拂晓山海间辽远磅礴又带着初醒静谧的意境尽数铺展。\n\n左侧题诗与画境呼应，诗画合璧，以尺幅团扇承载浩瀚山海气象，尽显以小见大的精妙意趣，笔力苍劲细腻，墨色层次丰富，把沧海涌日的磅礴瞬间凝于绢素之上，藏天地灵韵于方寸之间。",[23,3701,24,25,26,111,27,51,20103,2765,6398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29729fff9eb5bf2c5f979e5438cdbc4f.jpg",[],{"id":21412,"slug":21413,"title":21414,"dynasty":88,"author":89,"museum":107,"description":21415,"tags":21416,"thumbUrl":21417,"material":95,"size":95,"collection":95,"collections":21418,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},227595,"song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227595","送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。",[23,7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3ee6efaf6a6bc07864e1e94e0d9ef0e.jpg",[],{"id":21420,"slug":21421,"title":21422,"dynasty":88,"author":454,"museum":107,"description":20698,"tags":21423,"thumbUrl":21424,"material":95,"size":95,"collection":95,"collections":21425,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},227567,"chun-hua-ge-tie-di-jiu-juan-yi-ming-227567","淳化阁帖第九卷",[7,198,60,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebc0ef4755657c5d4d44f7d512d4092.jpg",[],{"id":21427,"slug":21428,"title":21429,"dynasty":88,"author":308,"museum":107,"description":21430,"tags":21431,"thumbUrl":21432,"material":95,"size":95,"collection":95,"collections":21433,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},227506,"ci-bian-cai-yun-shi-su-shi-227506","次辩才韵诗","《次辩才韵诗帖》这件作品写于苏轼被放杭州一年之后。这一年，苏轼在西湖上修筑了南北长堤，便是后人称颂至今的“苏堤”。辩才是苏轼的一位僧人诗友，他的这幅作品就是盛赞辩才老师超然物外、仙风道骨，自己与辩才能二老同游，当是人生幸事。大千世界，一切有法，且如是观之。作品落笔沉着、从容，已没有十年前书写《黄州寒食诗帖》时的激宕，墨色浓重却透着清雅之气，丰腴浑厚仍有秀逸之质。",[23,2601,7,60,24,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde73bd160d54e4ef7de788179945ba55.jpg",[],{"id":21435,"slug":21436,"title":8146,"dynasty":88,"author":308,"museum":107,"description":18069,"tags":21437,"thumbUrl":21438,"material":95,"size":95,"collection":95,"collections":21439,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},227499,"song-si-jia-chi-du-su-shi-227499",[23,7,60,3479,13817,77,2602,2282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc6353cbfb4d1adc7fb04a91c01ed60.jpg",[],{"id":21441,"slug":21442,"title":21443,"dynasty":3087,"author":454,"museum":107,"description":21444,"tags":21445,"thumbUrl":21446,"material":95,"size":95,"collection":95,"collections":21447,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},227064,"bei-wei-yuan-xian-jun-mu-zhi-ming-yi-ming-227064","北魏元显俊墓志铭","《元显俊墓志》此志石灰石质，通高35厘米，长75厘米，宽56.5厘米。上面为志盖，用阴线刻满四边形、五边形、六边形的龟甲纹样，龟甲中央阴刻正书“魏故处士元君墓志”八个字。下面镌刻着正书志文，计十九行，行二十一字，共三百五十七字。",[7,198,199,3423,3087,7325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf80031420d0ab1fcd48e2349734aca2.jpg",[],{"id":21449,"slug":21450,"title":21451,"dynasty":18,"author":14558,"museum":107,"description":21452,"tags":21453,"thumbUrl":21454,"material":95,"size":95,"collection":95,"collections":21455,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":3443},226627,"shu-fa-shan-mian-pu-ru-226627","书法扇面","溥儒 满族，北京人。字心畲，号西山居士、西山逸士、旧王孙等。出身清皇族，姓爱新觉罗，是是道光皇帝第六子亲王的次孙，末代皇帝溥仪的堂兄弟。溥儒自幼饱学，稍长专心研究文学艺术，1911年入贵胄政治学堂，毕业后再入青岛德国威廉帝国研究院，又留学柏林大学，学习天文和生物，获得博士学位，他也精通经史和书画，回国后笃嗜诗文、书画，皆有成就。先住清河二旗村，后隐居西山戒台寺10年，从此专事绘画，以卖书画自食其力。解放前夕出海舟山，后居台湾，于1963年病故。\n溥儒善山水、人物、花鸟、走兽，曾以画名与蜀人张大千并称“南张北溥”；又与吴湖帆并称“南吴北溥”。山水以“北宗”为基，笔法以“南宗”为法。注重线条钩摹，较少烘染。书法习柳公权、裴休出，略近成亲王而风骨过之。",[23,2135,7,1250,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87caf1417859bc4b8e6fabe2b405790c.jpg",[],{"id":21457,"slug":21458,"title":21459,"dynasty":18,"author":411,"museum":107,"description":21460,"tags":21461,"thumbUrl":21462,"material":95,"size":95,"collection":95,"collections":21463,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},224503,"shan-shui-ce-kai-ba-shi-tao-224503","山水冊开(八)","此作用笔清润秀雅，以淡墨晕染远山，将春山笼在烟岚薄雾之中。江岸村落隐于林莽间，江渚渔舟系泊静卧，近岸茅舍错落，柔柳轻拂堤岸，浅赭淡绿敷色晕染，晕开春日融融暖意。\n\n右上题诗与画面相生，将江畔春景揉进诗意之中，简淡空灵间尽显田园意趣。笔墨简而意足，淡而弥厚，把江南春日的缱绻春深藏在浅淡晕染里，将乡野间恬然闲静的春日氛围铺陈开来，让观者仿若踏入这烟柳春江，沉醉在这份闲寂又充满生机的乡野春光中。",[23,24,25,26,50,27,59,7,77,51,54,53,58,56,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7cb140b5bf9176162a92b4b69e5d7.jpg",[],{"id":21465,"slug":21466,"title":21467,"dynasty":18,"author":21468,"museum":107,"description":21469,"tags":21470,"thumbUrl":21471,"material":95,"size":95,"collection":95,"collections":21472,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},224196,"yan-zi-ji-mo-chou-hu-er-jing-tu-quan-juan-wu-hong-224196","燕子矶莫愁湖二景图全卷","吴宏","此作以全景长卷铺展金陵山水，分绘两处胜景：一侧是燕子矶危崖耸峙，江涛浩渺，帆樯往来，山坞村居错落于林木间，笔墨苍劲，尽显丘壑雄奇；一侧是莫愁湖烟水空濛，汀洲软碧，人家隐于柳岸，笔意清润尽揽湖山温婉。\n\n浅绛设色调和雅致，皴擦勾勒松秀苍逸，远近层次井然，将实景山水晕染出文人意趣。长题诗跋与书画相映，把凭吊幽怀寄于烟岚水色，书卷气漫溢全卷，尽显实景入画又抒情写意的绝妙风韵。",[23,24,25,49,50,51,59,651,360,13645,57,56,5722,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F367d279b39c6d14e9d989d272bc2f3b3.jpg",[],{"id":21474,"slug":21475,"title":21476,"dynasty":18,"author":13461,"museum":1399,"description":13462,"tags":21477,"thumbUrl":21484,"material":184,"size":13465,"collection":95,"collections":21485,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},223003,"hong-lou-meng-128-sun-wen-223003","红楼梦128",[23,24,111,27,21478,1128,113,749,21479,430,569,21480,7064,30,21481,7,2136,2370,429,21482,21483],"工笔重彩","男性人物","钟表","博古架","门窗装饰","地毯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15048d1f933285da7cc7778f620039b5.jpg",[],{"id":21487,"slug":21488,"title":21489,"dynasty":18,"author":8382,"museum":126,"description":15781,"tags":21490,"thumbUrl":21491,"material":784,"size":15784,"collection":95,"collections":21492,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},222867,"shi-gong-ci-tu-ce-06-leng-mei-222867","十宫词图册06",[23,92,24,25,26,111,27,113,458,567,2495,7540,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168968a1c5eb89201c2550c1aad92216.jpg",[],{"id":21494,"slug":21495,"title":21496,"dynasty":18,"author":8382,"museum":126,"description":15781,"tags":21497,"thumbUrl":21498,"material":784,"size":15784,"collection":95,"collections":21499,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},222866,"shi-gong-ci-tu-ce-05-leng-mei-222866","十宫词图册05",[23,111,27,113,458,51,1018,2186,3833,567,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd02b3914629137d173dd81a062ecfd.jpg",[],{"id":21501,"slug":21502,"title":21503,"dynasty":45,"author":10912,"museum":107,"description":10914,"tags":21504,"thumbUrl":21505,"material":95,"size":21506,"collection":96,"collections":21507,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},222530,"lin-zhe-mo-lan-ting-wang-duo-222530","临禇摹兰亭",[23,25,7,110,60,77,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b795d3b808e6c26621b5a3f414c8d4.jpg","44X144",[96],{"id":21509,"slug":21510,"title":5784,"dynasty":45,"author":2206,"museum":107,"description":21511,"tags":21512,"thumbUrl":21513,"material":95,"size":95,"collection":96,"collections":21514,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},222473,"shou-juan-zhu-yun-ming-222473","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[23,92,24,25,49,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123665fbab9a322e70bef1c799c376a3.jpg",[96],{"id":21516,"slug":21517,"title":21518,"dynasty":45,"author":14516,"museum":107,"description":21519,"tags":21520,"thumbUrl":21521,"material":198,"size":21522,"collection":95,"collections":21523,"showCount":206,"zanCount":882,"manualWeight":39,"mainColor":207},222368,"yu-ri-ren-shu-tie-wang-shou-ren-222368","与日仁书帖","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。\n明宪宗成化八年（1472年），王守仁出生于浙江绍兴府余姚县一个显赫的家庭，父亲王华是成化十七年（1481年）状元，官至南京吏部尚书。\n王守仁天生有特殊的气质。他的母亲怀孕十四个月才分娩，在他诞生之前，他的祖母梦见天神衣绯玉，云中鼓吹，抱一赤子，从天而降，祖父遂为他取名为“云”，并给他居住的地方起名为“瑞云楼”。\n王守仁5岁仍不会说话，但已默记祖父所读过的书。有一高僧过其家，摸着他的头说“好个孩儿，可惜道破。”祖父根据《论语·卫灵公》所云“知及之，仁不能守之，虽得之，必失之”，为他改名为“守仁”，随后他就开口说话了。 他的父亲王华喜爱绍兴的山水，才举家离开余姚，移居绍兴。幼年的王守仁，有着良好的家世，也因此拥有一个非常优越的学习环境。\n十二岁时，王守仁正式就读书塾。十三岁，母亲郑氏去世，幼年失恃，这对他来说是一个很大的挫折。但他志存高远，心思不同常人。一次与书塾先生讨论何为天下最要紧之事，他就不同凡俗，认为“科举并非第一等要紧事”，天下最要紧的是读书做一个圣贤的人。当时国家朝政腐败，义军四起。英宗正统年间，英宗被蒙古瓦剌部所俘。这件事情在王守仁幼小的心中投下了巨大的阴影。他发誓一定要学好兵法，为国效忠。十五岁时就屡次上书皇帝，献策平定农民起义，未果。同年，他出游居庸关、山海关一月之久，纵观塞外，那时已经有经略四方之志。\n弘治元年（1488年），王守仁十七岁时，他到南昌与诸养和之女诸氏成婚，可在结婚的当天，大家都找不到他。原来这天他闲逛中遇见一道士在那里打坐，他就向道士请教，道士给他讲了一回养生术，他便与道士相对静坐忘归，直到第二天岳父才把他找回去 。\n弘治二年（1489年），王守仁十八岁时，与夫人诸氏返回余姚，船过广信，王守仁拜谒娄谅。娄谅向他讲授“格物致知”之学，王守仁甚喜。之后他遍读朱熹的著作，思考宋儒所谓“物有表里精粗，一草一木皆具至理”的学说。为了实践朱熹的“格物致知”，有一次他下决心穷竹之理，“格”了七天七夜的竹子，什么都没有发现，人却因此病倒。从此，王守仁对“格物”学说产生了极大的怀疑，这就是中国哲学史上著名的“守仁格竹”。",[23,4038,7,198,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a621a4ea04ceed4b7314b3c371ac0de.jpg","29.53×76.2cm",[],{"id":21525,"slug":21526,"title":21527,"dynasty":45,"author":5463,"museum":107,"description":21528,"tags":21529,"thumbUrl":21530,"material":95,"size":95,"collection":95,"collections":21531,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},222052,"shu-su-shi-hou-chi-bi-fu-quan-juan-zhang-rui-tu-222052","书苏轼《后赤壁赋》全卷","本书是中国碑帖经典中的一册。收入了明代书法家张瑞图的草书《后赤壁赋》。该帖笔势矫键跌宕，锋芒凌厉，方笔多于圆笔，一扫元明俏媚之书风，虽未入神，已属不朽之作。\n该书印刷精美，较好地再现了原作，是书法爱好者的极佳范本。\n张瑞图 (1570～1641)明代书法家。字长公，又字无画，号二水、白毫庵主等。泉州晋江人。万历三十五年(1607)探花，授编修，历官少詹事、礼部侍郎、礼部尚书，后入阁办事，晋建极殿大学士，加少师。善山水，尤工书，与邢侗、米万钟、董其昌并称“明四家”。其书法奇恣横生，风格多样，不落流俗，在钟繇、王羲之之外另辟蹊径。善用露锋尖笔，笔势跳荡多姿，节奏感强烈。结体平正而内促，形态紧张，显示出一种前所未有的自抑心理。以强烈的个性与崭新的艺术风貌独树一帜。尤精大字匾额。书名远播日本、朝鲜及东南亚诸国。所书《草书后赤壁赋》，日本人视为珍品，称他是“伟大的章草体书法家”。\n学习张瑞图的书法，必须从笔法开始，在熟练掌握方笔法的基础上，才能写出其草书的姿态，要是不注重笔法，仅学其字的形态，就可能滑入丑怪。",[7,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdd14654808bc7fd29b40bc7c220432.jpg",[],{"id":21533,"slug":21534,"title":21535,"dynasty":45,"author":9605,"museum":107,"description":21536,"tags":21537,"thumbUrl":21538,"material":312,"size":21539,"collection":95,"collections":21540,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},222023,"chuan-shan-tu-wen-jia-222023","船山图","文嘉擅山水，似倪瓒，着色山水幽雅恬淡。兼能花卉。",[23,24,51,50,59,115,651,360,54,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710b91f69a768b839f2b227ce220d971.jpg","30x72cm",[],{"id":21542,"slug":21543,"title":21544,"dynasty":45,"author":5186,"museum":72,"description":21545,"tags":21546,"thumbUrl":21547,"material":95,"size":21548,"collection":95,"collections":21549,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},222019,"ming-xuan-zong-yu-bi-xi-zuo-ci-wu-shou-zhu-zhan-ji-222019","明宣宗御笔戏作词五首","明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十八岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。 著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[92,24,25,26,60,7,50,678,3040,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963871be30a56a6c36f7c0e449908c14.jpg","37x46.6厘米",[],{"id":21551,"slug":21552,"title":21553,"dynasty":45,"author":342,"museum":20,"description":21554,"tags":21555,"thumbUrl":21556,"material":312,"size":21557,"collection":96,"collections":21558,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},222011,"qi-lv-shi-zi-chen-chao-xia-xi-ling-si-wen-zheng-ming-222011","七律诗紫宸朝下锡灵丝","释文：紫宸朝下锡灵丝，金水桥边拜命时。文绣自天腾五色，光华约臂结双螭。重惭潦倒随恩泽，还忝班行覩盛仪。愿得君王千万寿，日华常照衣垂。",[23,75,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aedd5b1f44b8115a589c2a4d9a452b.jpg","122x59cm",[96],{"id":21560,"slug":21561,"title":21562,"dynasty":179,"author":21563,"museum":126,"description":21564,"tags":21565,"thumbUrl":21566,"material":2815,"size":21567,"collection":95,"collections":21568,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},221806,"xian-zhi-zhai-tu-juan-wu-zhi-zhong-221806","闲止斋图卷","吴致中","此图是吴致中为他的族人吴彦能所绘山间别墅“闲止斋”的景致。\n画家自题：“野外罕人事，即事多所欣。坐止高荫下，遥遥望白云。东园吴致中为宗人彦能写闲止斋并集陶句。”下钤“延陵世家”、“吴致中”2印。\n吴彦能，字子乃，元末延陵（今江苏常州）人。出身于官宦世家，自幼受到良好的教育，曾拜在经学大师胡仲彝门下，在春秋学研究方面有很深的造诣，后隐居于至亲郑居贞的家乡歙南溪（今安徽东南部、新安江上游）。吴彦能最敬慕东晋名士陶渊明弃官归隐之高操，故将自己的隐居之所取名为“闲止斋”。\n此图在艺术手法上采用平远式构图，将近景、中景、远景有机地结合起来。画面近处高树耸立于湖畔，作为主体的“闲止斋”掩映于林木间。对江平沙曲岸，远岫遥岺，生动地点画出元代文人理想中的山林野趣。\n全画笔墨简练而不放纵，从勾皴点染之间营造出清幽雅静的氛围。山石的画法用卷云皴，可明显地看出北宋郭熙绘画技法的影响。吴致中存世作品极少，《闲止斋图》是了解其画风的重要实物资料。",[23,24,25,49,50,27,51,458,52,53,250,55,116,115,60,457,77,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00874a1dadd20cefff589827a0c57942.jpg","21.8厘米，横1.9厘米。",[],{"id":21570,"slug":21571,"title":21572,"dynasty":179,"author":21573,"museum":126,"description":21574,"tags":21575,"thumbUrl":21576,"material":21577,"size":21578,"collection":171,"collections":21579,"showCount":206,"zanCount":882,"manualWeight":39,"mainColor":40},221796,"du-qiu-niang-tu-juan-du-mu-shi-zhou-lang-221796","杜秋娘图卷杜牧诗","周朗","署款：“周朗伯高。”下钤印“冰壶画隐”。本幅有元代著名书法家康里巎巎行书录唐杜牧《杜秋娘诗》，明宋璲题记二段。钤清乾隆、嘉庆、宣统内府收藏印等，共计23方。\n此图创作主题突出，无任何衬景点缀，仅绘杜秋侧身沉思状。作者运用暗喻的艺术手法，根据诗意成功地塑造出栩栩如生的杜秋形象。其雍容丰满的体态及身着的唐装表明了杜秋所处的时代特征，发髻上考究的头饰暗示出她的身份与地位，手中所持排箫则揭示出其内在的文化修养。\n此图在人物造型上与唐代周昉《挥扇仕女图》中的人物相仿。杜秋浓密的头发梳理得齐整服贴，前额不见散丝，鸭蛋形脸，丹凤眼，高鼻梁，嘴唇小而丰满，面部没有过多的表情。躯体丰腴，着以直筒形长裙，遮掩了其腰身的曲线，显示出唐代仕女画的审美意识。在表现技法上，此图受到宋以来白描画法的影响，注重以线造型，与唐人浓彩重抹的画风有所差异，充分表现了作者对线条的理解和娴熟的运用能力。人物面部轮廓以细匀的淡墨线勾勒，线条外柔内刚，富有弹性，与以浓墨晕染的高挽的发髻共同衬托出杜秋白晰的面容及细腻光滑的肌肤。衣纹用曲、直两种线条表现，直线条落笔果断，劲健有力；曲线条连绵宛转。两种线条的有机组合成功地表现出衣料柔软下坠的质感。人物肩上的披纱用细劲流动的线条勾描，不仅展现出纱带轻薄飘逸的美感，而且以其动势使画面更为活泼，增强了作品的生动性。\n周朗真迹传世仅见此一卷。清内府《石渠宝笈初编》著录。",[23,24,92,49,112,27,60,7,77,113,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3904aa0b94a417e75feeb9f16a97da2.jpg","设色，纸本","纵32.3厘米，横285.5厘米",[171],{"id":21581,"slug":21582,"title":21583,"dynasty":88,"author":5882,"museum":126,"description":21584,"tags":21585,"thumbUrl":21586,"material":784,"size":21587,"collection":95,"collections":21588,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},221600,"san-gao-you-shang-tu-ye-liang-kai-221600","三高游赏图页","此图原载《宋人名流集藻册》。画上题云：御前图画梁楷笔。这幅画可以代表他的人物画的风格。人物面部表情很细致，而衣履则以寥寥数笔成之，更显得迅捷有力。后来的许多画家都从他这里得到了启发。",[23,2601,24,25,1689,1327,112,9727,4347,113,51,56,1678,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bc58b4c1c2fc63890cffa78db35ae7.jpg","纵25.3厘米，横26厘米",[],{"id":21590,"slug":21591,"title":21592,"dynasty":88,"author":4981,"museum":4982,"description":4983,"tags":21593,"thumbUrl":21594,"material":312,"size":4988,"collection":95,"collections":21595,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},221475,"da-de-ming-tie-dong-fu-si-bian-e-san-ying-zhang-ji-zhi-221475","大德名帖东福寺匾额三应",[23,7,199,50,18151,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997572b9a3b5ee49be9303989f328c2a.jpg",[],{"id":21597,"slug":21598,"title":21599,"dynasty":88,"author":8147,"museum":72,"description":21600,"tags":21601,"thumbUrl":21602,"material":2990,"size":21603,"collection":95,"collections":21604,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},221368,"chi-du-juan-cai-xiang-221368","尺牍卷","书风比起蔡襄他书，贵于端重者又增一份工致。书风渊源，用笔、结体、气息，大致融合虞世南、颜真卿二家。\n该幅署款“癸卯”（1063年，嘉祐八年），时年五十二岁，居汴京任翰林院职，属晚期作品。该幅运笔如行，而结体似楷，写来从容不迫，正是“端严而不刻，温厚而不犯。太平之气郁然见于楮毫间。书风比起蔡襄他书，贵于端重者又增一份工致。与次年所书（1063年、甲辰）以故宫所藏《彦犹帖》比较，紧谨严中自有一份雍容，结体、字距行间，宽紧合适，正是端重的代表。即使相对与其它楷书，如“自书谢表并诗”（作于皇祐四、五年间）等，当以此为压卷。\n蔡襄书以浑厚居其上。历来评论蔡襄的书风渊源，受虞世南、颜真卿影响，该幅用笔、结体、气息，大致融合此二家。又蔡襄自谓：“古之善书者，必先楷法，渐而至于行草，亦不离乎楷正。张芝与旭变怪不常，出于笔墨蹊径之外，神逸有余，而与羲献异矣。襄近年粗知其意，而力不及，乌足道哉。”此条未署年，但语义上非年少时，或亦可为晚年该幅尚端重再作一解。\n该帖内文，即求制作纸中名品澄心堂纸，此纸源于五代南唐烈祖李升，命宣城加工制作，澄心堂为李升任金陵节度使住处名称，据称其纸，肤如卵膜，坚洁如玉，细薄光润。宋代士大夫讲究生活品味，于文房用具，尤其考究。“笔墨纸砚精良，人生一乐。”北宋人对文房用品的追求，每每见于诗文杂记题跋中，其中对南唐的墨及纸备加赞扬。蔡襄本人即谓：“纸李王澄心堂为第一。对于文房用具，如《陶生帖》誉“散”笔。对砚的嗜好，《洮河石砚铭》记此砚之“能下墨，隔宿洗之亦不亦不留墨痕。其肌理细润莹洁，不在端溪中洞石下。”《致彦猷尺牍》谢所送“大砚盈尺，风韵异常，斋中之华繇是而生。”蔡绦《铁围山丛谈》“记昭陵（仁宗）赐宴”，一大臣得李超墨，襄得李廷珪墨，襄以之相易。分道时，襄长揖为谢。盖李廷珪墨虽足宝，而李超为李廷珪之父，更足珍。",[25,49,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce7e63e07b5f16b74d9374ebb1826ea.jpg","24x53",[],{"id":21606,"slug":21607,"title":21608,"dynasty":45,"author":1313,"museum":72,"description":21609,"tags":21610,"thumbUrl":21611,"material":682,"size":21612,"collection":96,"collections":21613,"showCount":206,"zanCount":882,"manualWeight":39,"mainColor":40},220951,"du-fu-ye-xuan-yuan-huang-di-miao-shi-dong-qi-chang-220951","杜甫谒玄元皇帝庙诗","董宗伯先生书法之妙。世皆知之。然皮相者。先生之行草耳。而?笔十居其七。至于楷法。世人未许梦见。此书乃先生用意临摹。楮墨精好。此予久在先生门下。见其运笔之妙。否则不知其精神所（脱一字）也。此不特得徐浩之法。兼得欧颜之神。非磨墨万锭。未可与窥其奥也。雪蓑声识。",[23,7,60,110,77,50,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccdd89d8a380d7541d59de2edeef33a.jpg","181.5×46.1",[96],{"id":21615,"slug":21616,"title":21617,"dynasty":45,"author":744,"museum":126,"description":12015,"tags":21618,"thumbUrl":12017,"material":94,"size":21619,"collection":171,"collections":21620,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},219626,"wang-gong-chu-shan-tu-tang-yin-219626","王公出山图",[23,92,24,25,49,50,111,59,60,7,77,51,113,57,56,55],"纵20厘米，横73.5厘米",[171],{"id":21622,"slug":21623,"title":21624,"dynasty":45,"author":5607,"museum":126,"description":21625,"tags":21626,"thumbUrl":21627,"material":169,"size":21628,"collection":63,"collections":21629,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},219218,"yun-yan-jia-sheng-tu-wen-bo-ren-219218","云岩佳胜图","该图描绘虎丘山云岩寺实景，从二山门、千人石、双吊桶、剑池、石桥直到山顶的佛阁和虎丘塔都一一收入画面。作品以写生为基础，捕捉住虎丘山的特征，表现出吴门画风。",[23,24,25,49,51,27,50,59,60,7,77,458,57,56,55,53,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5658b5730929f9dfde87aa2dd8229ce8.jpg","纵31.1cm，横63.6cm",[63],{"id":21631,"slug":21632,"title":21633,"dynasty":45,"author":5607,"museum":72,"description":21634,"tags":21635,"thumbUrl":21636,"material":169,"size":21637,"collection":171,"collections":21638,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},218263,"yang-ji-jing-xiao-xiang-juan-wen-bo-ren-218263","杨季静小像卷","这幅画作于文伯仁24岁时（1526年，嘉靖五年），可能是他现存最早的纪年画，也是他唯一的一幅人物画。画中的主人公杨季静（1504-1530年之前）是苏州有名的琴师，与文征明等人关系友好，所以文博仁有机会为他画了一幅小肖像。",[23,24,25,49,50,27,113,427,7,77,60,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158b55ad0eb5f9db452582a9d910d80a.jpg","29.1x23.9",[171],{"id":21640,"slug":21641,"title":21642,"dynasty":662,"author":6779,"museum":107,"description":20139,"tags":21643,"thumbUrl":21644,"material":79,"size":95,"collection":95,"collections":21645,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},218171,"da-qian-kuang-tu-ce-7-zhang-da-qian-218171","大千狂涂册-7",[24,25,50,59,51,458,54,52,56,57,252,7,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38b0ac6496c4186a00a1231e8058da.jpg",[],{"id":21647,"slug":21648,"title":21649,"dynasty":45,"author":2977,"museum":442,"description":21650,"tags":21651,"thumbUrl":21654,"material":33,"size":95,"collection":95,"collections":21655,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},216267,"han-xi-meng-xiu-song-yuan-ming-ji-ce-chun-niao-tu-han-xi-meng-216267","韩希孟绣宋元名迹册·鹑鸟图","韩希孟（1740年 - 1813年）是一位中国画家，他的艺术风格主要受汉画的影响，他的作品风格独特，充满了生活气息。他的作品《韩希孟绣宋元名迹册·鹑鸟图》是他的经典作品之一，这幅画描绘了一只鹑鸟在花丛中的样子。在这幅画中，鹑鸟的羽毛明亮而有光泽，给人一种活力和自然的感觉。同时，这幅画还很注重细节，每个花朵和草叶都很精确地画出来，使得整幅画看起来更加生动。",[2980,27,110,4347,29,21652,7,21653],"鹑鸟","红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07034368db54b811db721de4064c826.jpg",[],{"id":21657,"slug":21658,"title":21659,"dynasty":18,"author":21660,"museum":107,"description":21661,"tags":21662,"thumbUrl":21663,"material":33,"size":95,"collection":95,"collections":21664,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},215106,"tui-bei-tu-ce-2-jiao-bing-zhen-215106","推背图册-2","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,25,26,457,3467,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F808131567d33e7a24f8462752a3b7f40.jpg",[],{"id":21666,"slug":21667,"title":21668,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":21669,"thumbUrl":21670,"material":79,"size":2617,"collection":95,"collections":21671,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":100},214510,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-4-ou-yang-xun-214510","宋拓唐虞恭公温彦博碑-4",[23,199,198,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726e38a8def864bba39d98d5be2a3c98.jpg",[],{"id":21673,"slug":21674,"title":21675,"dynasty":179,"author":21676,"museum":72,"description":21677,"tags":21678,"thumbUrl":21679,"material":79,"size":21680,"collection":95,"collections":21681,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},290936,"hua-shu-shi-tu-zhang-shun-zi-290936","画树石图","张舜咨","张舜咨（生卒年未详），元代画家。字师夔，号栎山，又号辄醉翁，浙江杭州人。曾任宁国路儒学教授，天顺二年(1329)调江浙行省承宣使，后调休宁县主簿。元末，又任漳州路龙溪、兴化路莆田县尹。善画山水、竹石，用笔沉着，颇有气势，兼工书法，亦精诗文，精心研习诸家画技，吸取各家之长，自成一家。作画讲究布局，大幅小景，布置各有其法。所作山水画，使人有身临其境之感。画古柏苍老擎天，别具风气。兼长诗、书，人称“三绝”。绘画作品有《楚云湘水图》、《关山行旅图》、《古柏》、《斗泉图》、《云山桧石》、《枯木图》、《秋野图》、《画楼酌别图》、《小景图》、《诗意图》、《谢家池塘》、《春江听雨》、《树石图》、《归思图》、《鹰桧图》等等。",[92,24,25,75,50,115,250,7,77,588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23b2c70790d8e5aaee246590773cd4f.jpg","112.5x35",[],{"id":21683,"slug":21684,"title":21685,"dynasty":18,"author":468,"museum":107,"description":21686,"tags":21687,"thumbUrl":21688,"material":751,"size":752,"collection":95,"collections":21689,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},290386,"jiang-shan-wo-you-tu-di-yi-bai-wu-shi-juan-cheng-zheng-kui-290386","江山卧游图(第一百五十卷)","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[23,24,49,50,51,57,2028,52,53,3233,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd991e50ebb9912ad98f0e5bd43f85a.jpg",[],{"id":21691,"slug":21692,"title":21693,"dynasty":88,"author":21694,"museum":107,"description":21695,"tags":21696,"thumbUrl":21698,"material":751,"size":752,"collection":95,"collections":21699,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},290327,"bao-xiang-guan-yin-zhou-gao-wen-jin-290327","宝相观音轴","高文进","高文进，五代宋初画家。成都(今属四川)人。从遇子。工画佛道,师法曹(不兴)吴(道子),笔力快健,施色鲜润。干德三年(965)蜀平归宋。太宗赵光义留神绘事，文进与黄居寀常左右，人图画院为祗候。",[92,24,75,27,111,113,878,9007,13590,21697,7,199,386,25],"千手观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf549eaf374c89fdb2b60e52a374227c.jpg",[],{"id":21701,"slug":21702,"title":7456,"dynasty":88,"author":21703,"museum":107,"description":21704,"tags":21705,"thumbUrl":21706,"material":751,"size":752,"collection":95,"collections":21707,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},289880,"luo-han-tu-li-yu-289880","李遹","李遹 (约公元一二o八年前后在世)字平甫,栾城人。生卒年均不详,约金章宗泰和末前后在世,年六十七岁。高才博学,工画山水龙虎。为人滑稽多智。明昌二年(公元一一九一年)进士。",[23,24,25,75,878,50,112,113,359,77,7,10664,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff936cb0bdc390fb3bddab4f433c9cb9c.jpg",[],{"id":21709,"slug":21710,"title":21711,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":21712,"thumbUrl":21713,"material":751,"size":752,"collection":95,"collections":21714,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},289785,"wei-lin-tu-li-gong-lin-289785","为霖图",[23,24,92,75,27,113,359,10794,132,901,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc01ffe90059e930920b1b9f4c50149.jpg",[],{"id":21716,"slug":21717,"title":21718,"dynasty":179,"author":1516,"museum":107,"description":21719,"tags":21720,"thumbUrl":21722,"material":751,"size":752,"collection":95,"collections":21723,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},289012,"jia-he-ba-jing-tu-wu-zhen-289012","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。",[23,92,24,49,25,50,51,471,458,52,53,55,116,58,56,7,77,60,398,21721],"水乡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fc8353ae0102fb4a9641a461d079bf.jpg",[],{"id":21725,"slug":21726,"title":21727,"dynasty":88,"author":3014,"museum":72,"description":18938,"tags":21728,"thumbUrl":21730,"material":751,"size":752,"collection":95,"collections":21731,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},288423,"hua-deng-shi-yan-tu-yi-ma-yuan-288423","华灯侍宴图一",[24,92,75,27,1128,458,704,251,747,21729,7,77],"华灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eb711a93e2c337fe8675e725c8cd0a.jpg",[],{"id":21733,"slug":21734,"title":21735,"dynasty":88,"author":10876,"museum":107,"description":21736,"tags":21737,"thumbUrl":21739,"material":751,"size":752,"collection":95,"collections":21740,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},288334,"wu-hua-guo-tu-li-di-288334","无花果图","本幅无款识。钤印半方，印文模糊不辨。裱边钤乾隆皇帝“八征耄念之宝”、“太上皇帝之宝”、“古稀天子”等玺印3方。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[23,92,24,25,1250,111,27,29,7,77,21738],"无花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf319d89ed0de23eb39be64d2c4116e8.jpg",[],{"id":21742,"slug":21743,"title":21744,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":21745,"thumbUrl":21746,"material":751,"size":752,"collection":95,"collections":21747,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},288124,"shu-zhang-zhang-shi-bi-fa-shi-er-yi-yan-zhen-qing-288124","述张长史笔法十二意",[7,198,200,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368c68de7fcd227221e8646a510dbf9a.jpg",[],{"id":21749,"slug":21750,"title":21751,"dynasty":18,"author":21752,"museum":107,"description":21753,"tags":21754,"thumbUrl":21755,"material":751,"size":752,"collection":95,"collections":21756,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},288030,"tian-ping-shan-jing-tu-wang-bing-288030","天平山景图","王炳","王炳 (1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,92,25,75,50,51,52,53,458,115,57,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab36ff244ad3ea89c6dfff1f443d59e.jpg",[],{"id":21758,"slug":21759,"title":5586,"dynasty":18,"author":2378,"museum":107,"description":12906,"tags":21760,"thumbUrl":21761,"material":751,"size":752,"collection":95,"collections":21762,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},288028,"mu-dan-tu-gao-feng-han-288028",[23,24,92,25,75,50,27,29,135,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3480b82813f3e74b11e99c7467ce72.jpg",[],{"id":21764,"slug":21765,"title":21766,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":21767,"thumbUrl":21768,"material":751,"size":752,"collection":95,"collections":21769,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},288022,"ren-wu-shan-shui-tu-li-zhou-huang-shen-288022","人物山水图立轴",[23,24,75,50,113,51,115,250,53,427,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68e29611b387c6a662fb3dbadc9ec9a.jpg",[],{"id":21771,"slug":21772,"title":21773,"dynasty":45,"author":454,"museum":107,"description":21774,"tags":21775,"thumbUrl":21779,"material":751,"size":752,"collection":95,"collections":21780,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},287862,"zui-ba-xian-tu-juan-yi-ming-287862","醉八仙图卷","此作以群仙醉态为骨，将八仙酣饮忘形之姿铺陈于卷：有人挥袖踉跄、醉舞不休，有人凭石颓坐、醺然欲眠，亦有二人相顾喟叹，将酒中疏狂放达描摹得淋漓尽致。衣纹线条圆劲流转，古雅沉厚设色带着唐风余韵，把仙人纵酒忘情、脱略形骸的逍遥意态尽数铺展。后拖题跋墨色苍润，诗画相映，衬出长卷林下高致，将酒中仙人们沉醉忘机、寄兴林泉的风流雅趣刻画得入木三分，是兼具笔墨意趣与传神功力的精妙之作。",[23,92,24,49,27,1986,21776,21777,568,7,21778,57,576],"醉八仙","醉酒","酣醉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba07776ca72d646182cec9a7a2c09a7e.jpg",[],{"id":21782,"slug":21783,"title":21784,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":21785,"thumbUrl":21786,"material":751,"size":752,"collection":95,"collections":21787,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},287763,"fang-yun-lin-shan-shui-cha-shi-biao-287763","仿云林山水",[24,50,51,75,110,7,77,704,55,15486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad3e85835ca1b452c5ebd01bb0bc60c.jpg",[],{"id":21789,"slug":21790,"title":21791,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":21792,"thumbUrl":21796,"material":751,"size":752,"collection":95,"collections":21797,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},287737,"bai-miao-luo-han-tu-juan-qun-xian-du-hai-li-gong-lin-287737","白描罗汉图卷(群仙渡海)",[23,92,24,49,112,113,878,10664,21793,7,77,21794,21795,252],"渡海","仙佛","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9353d739f26f03383d099ee1c6984e1.jpg",[],{"id":21799,"slug":21800,"title":21801,"dynasty":88,"author":11561,"museum":107,"description":20233,"tags":21802,"thumbUrl":21803,"material":751,"size":752,"collection":95,"collections":21804,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},287571,"jiang-xing-xue-ji-tu-guo-zhong-shu-287571","江行雪霁图",[24,1128,50,11564,1151,3114,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff341d05fedaf4a2a138c6beae3be607f.jpg",[],{"id":21806,"slug":21807,"title":3182,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":21808,"thumbUrl":21809,"material":751,"size":752,"collection":95,"collections":21810,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":3443},287564,"teng-wang-ge-xu-wen-zheng-ming-287564",[25,7,60,200,3182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055cfe6b7db0b1ba9e7774244b5f00db.jpg",[],{"id":21812,"slug":21813,"title":21814,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":21815,"thumbUrl":21819,"material":751,"size":752,"collection":95,"collections":21820,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},287418,"zhong-qi-chen-yuan-hui-guan-ji-he-shao-ji-287418","重葺辰沅会馆记",[7,199,21816,21817,21818],"会馆","关帝","记文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932a9e1a01d5dd8ca3c057b09be10232.jpg",[],{"id":21822,"slug":21823,"title":1034,"dynasty":179,"author":225,"museum":107,"description":21824,"tags":21825,"thumbUrl":21826,"material":751,"size":752,"collection":95,"collections":21827,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},287409,"luo-shen-fu-zhao-meng-fu-287409","《洛神赋》用笔精纯、圆润，结体严谨、遒媚，章法平和、潇洒。赵孟頫师法“二王”，得其笔法，又结合自身的特点，其行书呈现出清俊、典雅之风，《洛神赋》亦是将他的审美理想呈现得淋漓尽致。在《洛神赋》中，“中和”之美充斥全篇，对后世书法艺术事业的发展影响深远。",[23,7,60,200,77,9589,901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e30e50d004b8cf4b03d24a4d7493f1.jpg",[],{"id":21829,"slug":21830,"title":21831,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":21832,"thumbUrl":21833,"material":751,"size":752,"collection":95,"collections":21834,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":207},287377,"lin-lan-ting-xu-ji-shi-san-ba-kuai-xue-tang-fa-shu-zhao-meng-fu-287377","临兰亭序及十三跋 (快雪堂法书)",[49,198,7,200,60,110,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b3a3f458d61ebb08fddd4724ed99ea.jpg",[],{"id":21836,"slug":21837,"title":21838,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":21839,"thumbUrl":21840,"material":751,"size":752,"collection":95,"collections":21841,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":207},287360,"lin-xiao-nv-cao-e-bei-dong-qi-chang-287360","临孝女曹娥碑",[199,7,198,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae624a86e320a49b6db650da995cad8.jpg",[],{"id":21843,"slug":21844,"title":21845,"dynasty":88,"author":308,"museum":107,"description":21846,"tags":21847,"thumbUrl":21848,"material":751,"size":752,"collection":95,"collections":21849,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},287317,"tian-ji-wu-yun-tie-su-shi-287317","天际乌云帖","《天际乌云帖》又称《嵩阳帖》，苏轼诗文一章，行书，真迹曾由明代项元汴收藏，清归翁方纲，有翁氏题跋。共三十六行，计三百零七个字。藏处不详。",[7,60,200,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba3db0e3996222bb048b7b5f62feece.jpg",[],{"id":21851,"slug":21852,"title":21853,"dynasty":88,"author":454,"museum":107,"description":21854,"tags":21855,"thumbUrl":21856,"material":751,"size":752,"collection":95,"collections":21857,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},287316,"shang-shan-si-hao-hui-chang-jiu-lao-tu-juan-se-qian-yi-ming-287316","商山四皓会昌九老图卷（色浅）","此作用淡墨白描写就园林雅集之景，亭台水榭错落于茂林修竹间，层岩清波衬出幽旷意境。卷中文人或围坐清谈、展卷观画，或凭栏听琴、临水闲步，笔致细劲秀雅，将士林林下风流尽数铺陈。\n\n画面简澹空灵，以极简笔墨晕染出古雅沉静的氛围，尽显以琴棋书画为伴的雅致日常。拖尾题跋虽有墨损，却更添岁月摩挲的沧桑古意，整卷文气四溢，将宋人的清逸意趣凝于尺幅，自带沉静拙朴的书卷余韵。",[23,92,24,25,49,50,112,113,458,133,132,575,555,7,77,2251,5831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3d3921be16f9a6d9a093994019d1f5.jpg",[],{"id":21859,"slug":21860,"title":21861,"dynasty":162,"author":1715,"museum":72,"description":21862,"tags":21863,"thumbUrl":21865,"material":184,"size":21866,"collection":95,"collections":21867,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":789},287313,"chu-he-nan-lin-lan-ting-chu-sui-liang-287313","褚河南临兰亭","在历代难以数计的临摹和刻拓《兰亭》谱系中，有所谓的“领字从山本”一系，即《兰亭序》中“此地有崇山峻领，茂林修竹”的“领”字写作“岭”。在传世的冯承素、虞世南、褚遂良三大摹本（均藏北京故宫博物院），以及著名刻拓本《定武兰亭真拓本》（今藏台北故宫博物院）、《吴炳本兰亭》、《独孤本兰亭》（均藏日本东京国立博物院）等中，均为“崇山峻领”，即“领字不从山”。",[23,92,25,49,60,7,200,110,77,2251,568,21864],"抒怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f45885b45a5fa8924e85338a844a167.jpg","纵24.3cm，横70.2cm",[],{"id":21869,"slug":21870,"title":21871,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":21872,"thumbUrl":21873,"material":751,"size":752,"collection":95,"collections":21874,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},283707,"zeng-xin-yu-shan-shui-tu-shan-ye-dong-qi-chang-283707","赠新宇山水图扇页",[92,24,25,1250,50,51,57,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5d0753015bd0727248f3ec76ad1bae.jpg",[],{"id":21876,"slug":21877,"title":21878,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":21879,"thumbUrl":21882,"material":751,"size":752,"collection":95,"collections":21883,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":789},263649,"ke-si-qian-long-ti-zan-shi-jia-mu-ni-xiang-zhou-yi-ming-263649","缂丝乾隆题赞释迦牟尼像轴",[75,3232,878,9007,21880,1986,27,1200,359,21881,7],"释迦牟尼","海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4310f8a445131edf8179131f95825d1.jpg",[],{"id":21885,"slug":21886,"title":21887,"dynasty":45,"author":13242,"museum":107,"description":21888,"tags":21889,"thumbUrl":21890,"material":312,"size":95,"collection":96,"collections":21891,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},241648,"song-feng-shui-yue-heng-zhu-you-jian-241648","松风水月横","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[92,24,25,49,7,60,77,133,3040,360,6297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[96],{"id":21893,"slug":21894,"title":21895,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":21896,"thumbUrl":21897,"material":751,"size":752,"collection":95,"collections":21898,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},241499,"yuan-you-pian-juan-zhao-meng-fu-241499","远游篇卷",[49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5c6adeedc855e11126feed1d6948ba.jpg",[],{"id":21900,"slug":21901,"title":21902,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":21903,"thumbUrl":21904,"material":751,"size":752,"collection":95,"collections":21905,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},241163,"lu-yu-zhou-he-shao-ji-241163","录语轴",[7,75,2135,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1e7ce94a3fa73ba5e0359ee09de753.jpg",[],{"id":21907,"slug":21908,"title":21909,"dynasty":18,"author":21910,"museum":107,"description":21911,"tags":21912,"thumbUrl":21913,"material":312,"size":95,"collection":96,"collections":21914,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},241103,"dong-po-lu-shan-shi-zhou-bao-shi-chen-241103","东坡庐山诗轴","包世臣","包世臣自幼家贫，但勤于词章，并喜谈国事。嘉庆十三年（1808年）中举，但多次考进士不中。此后曾先后为陶澍、裕谦、杨芳幕客。他一生研究国事，东南各官吏都纷向他咨询，以此名满江淮。\n包世臣思想，反对脱离民事，文章也大都关切时务政事。他反对传统“重农抑商”政策，以“好言利”自许，提出“本末皆富”为“千古治法之宗”、“子孙万世之计”；他又提出“生齿日繁，地之所产，不敷口食”的“人多致贫”论。他坚持经世致用之学，对鸦片战争前后的社会和经济问题，作了较为广泛的探讨，主张具有进步意义的社会改革，在当时社会上有一定影响。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dbcb2ad9db2821263be1d9ead32fd01.jpg",[96],{"id":21916,"slug":21917,"title":21918,"dynasty":45,"author":10912,"museum":126,"description":21919,"tags":21920,"thumbUrl":21921,"material":18425,"size":21922,"collection":96,"collections":21923,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},241029,"wang-duo-lin-tie-zhou-wang-duo-241029","王铎临帖轴","释文：\n廙言五日穷思永远甘雪应时严寒奉被手诏伏\u002F承圣体御膳胜常以慰下情匆匆慈恩垂愍\u002F每见慰问感戴不胜衔遇谨表陈闻。庚寅正月廿日午时。王铎。\n这是王铎59岁时创作的行书精品。作品节录东晋王廙书《祥除帖》（见《淳化阁帖》卷二）。\n王铎学书立足于临摹古人，尤其推崇二王，认为“书不宗晋，终入野道。”他勤于临摹，精熟之功可至“不爽毫发”的境地，但步趋古人绝非其终极目标，而是他艺术创造的基础。王铎曾云：“书法之始难以入帖，继则难以出帖。”“入帖”仅仅是追摹古人，“出帖”方为脱古创新。对于古法帖，他往往不专意于内容，而是以古帖文本为依托，意在对古人传统精神的把握和追求，因此常将古帖摘而书之，或数帖杂糅并书。帖文之外，书体笔法亦不刻意模仿，而是运自家笔法，创个性书风。如王廙此帖原为楷书，王铎却行书带草，挥洒而就，展示出他晚年所取得的艺术成就，也为自己“入帖”与“出帖”作了最好的诠释。",[25,7,398,110,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11035686ab901cae1a59409b3f1e394.jpg","纵235厘米，横52.7厘米",[96],{"id":21925,"slug":21926,"title":21927,"dynasty":45,"author":454,"museum":107,"description":21928,"tags":21929,"thumbUrl":21930,"material":751,"size":752,"collection":96,"collections":21931,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},240946,"san-wu-mo-miao-ce-chen-chun-shi-yi-ming-240946","三吴墨妙册-陈淳诗","此作用笔率意纵逸，牵丝映带灵动自如，墨色干湿浓淡富于层次变化，尽显萧散疏朗的文人书风。文字排布错落随性，字势欹正相生，通篇气息连贯畅达。\n\n诗书合璧之下，将诗文的清雅意趣与书法的写意格调融为一体，笔墨间浸透着江南文人的闲散意趣，尽显吴门书家特有的洒脱放旷的笔墨情致，即便未署真名，也能窥见晚明书法重性情、尚意趣的审美风尚，于尺幅之间尽显明代文人书法独有的抒情特质与艺术张力。",[92,24,25,26,60,50,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f768f25b85058211aad53d8a7000572.jpg",[96],{"id":21933,"slug":21934,"title":21935,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":21936,"thumbUrl":21937,"material":751,"size":752,"collection":96,"collections":21938,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},240819,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240819","行诗文四条屏",[2135,60,7,25,75,50,77,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34154baf2582364400dda7885830d3ef.jpg",[96],{"id":21940,"slug":21941,"title":21942,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":21943,"thumbUrl":21944,"material":751,"size":752,"collection":95,"collections":21945,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},240459,"xing-zhou-zhu-da-240459","行轴",[2135,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5327296b6928bb7aaeac1d357b343cb.jpg",[],{"id":21947,"slug":21948,"title":21949,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":21950,"thumbUrl":21951,"material":751,"size":752,"collection":95,"collections":21952,"showCount":289,"zanCount":882,"manualWeight":39,"mainColor":40},240258,"li-sao-lan-ting-juan-dong-qi-chang-240258","离骚兰亭卷",[23,45,25,7,49,60,50,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9a0e30a0a7135aed7c58e6d367beb1.jpg",[],{"id":21954,"slug":21955,"title":21956,"dynasty":18,"author":21957,"museum":107,"description":21958,"tags":21959,"thumbUrl":21960,"material":312,"size":21961,"collection":96,"collections":21962,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},240058,"zhuan-shu-wu-yan-shi-zhou-yang-fa-240058","篆书五言诗轴","杨法","释文：三寿作朋句，尊前递咏歌。先人锡名字，其意美如何。幸得康疆体，而能甲子过。相期保真性，霜雪去岩阿。同京老学长兄先生正之，上元杨法。",[18,25,7,457,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed047f8f8560782869c70394fcf33ef.jpg","100.5×43.5cm",[96],{"id":21964,"slug":21965,"title":21966,"dynasty":18,"author":411,"museum":126,"description":20419,"tags":21967,"thumbUrl":21972,"material":95,"size":95,"collection":96,"collections":21973,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},240034,"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗",[25,7,60,50,77,1002,845,21968,9679,21969,21970,21971,678,53],"楼","洲","树影","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg",[96],{"id":21975,"slug":21976,"title":21977,"dynasty":18,"author":411,"museum":126,"description":20419,"tags":21978,"thumbUrl":21979,"material":95,"size":95,"collection":96,"collections":21980,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},240032,"yuan-ji-shu-ti-xue-jiang-juan-zi-shi-ye-shi-tao-240032","原济书题雪江卷子诗页",[7,60,50,77,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a26c844631d7bbf1965025ddc3e5ad.jpg",[96],{"id":21982,"slug":21983,"title":21984,"dynasty":18,"author":21985,"museum":107,"description":21986,"tags":21987,"thumbUrl":21988,"material":95,"size":95,"collection":96,"collections":21989,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},239995,"lun-gu-wen-li-yu-er-shuo-zhou-shen-zong-qian-239995","论古文俚语二说轴","沈宗骞","沈宗骞，清代乾嘉（1736—1820）时人。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。\n沈宗骞，清代乾嘉（1736—1820）时人。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。早岁能书、画，小楷、章草及盈丈大字，皆具古人神致魄力。尝见赏于曹地山、钱辛楣﹝钱大昕﹞诸人。画山水、人物、传神，无不精妙。有淳化阁石刻。著《芥舟学画编》，痛斥俗学，阐扬正法，足为画道指南。生平杰作《汉宫春晓》《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。\n辛楣亦翁方纲之友也.翁有（因曹卓亭归震泽致吴兴沈芥舟求画天际乌云句意附以诗往〉诗,吴兴沈芥舟应即指此人也.诗云:\n昔托无轩话旧悰，雨痕苦泥墨痕浓。请君略取蒙蒙意，淡著斜阳一两峯。\n无轩乃吴兴陈焯,亦可见陈与沈之交情.诗题内「曹卓亭」疑即此处所讲之「曹地山」.俟考.\n与晚清重臣曾国藩为挚友。",[2135,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860f0cab3e48339df4d1d4b6beed1223.jpg",[96],{"id":21991,"slug":21992,"title":21993,"dynasty":18,"author":4069,"museum":126,"description":21994,"tags":21995,"thumbUrl":21996,"material":3568,"size":21994,"collection":96,"collections":21997,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":789},239703,"lin-ping-shu-tie-zhou-liang-guo-zhi-239703","临评书帖轴","纵73.2厘米，横67.4厘米",[25,7,75,60,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894ef876c8e0eb306d6a3d95aa3c625c.jpg",[96],{"id":21999,"slug":22000,"title":22001,"dynasty":162,"author":8439,"museum":126,"description":22002,"tags":22003,"thumbUrl":22004,"material":10842,"size":8444,"collection":96,"collections":22005,"showCount":289,"zanCount":882,"manualWeight":39,"mainColor":40},239680,"shan-jian-lv-juan-guo-quan-239680","善见律卷","国诠，初唐经生，生平不详。此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。此卷则为千年传世之本，首尾俱全。卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,7,386,199,49,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b60fa620e7960390a17b52368f799f.jpg",[96],{"id":22007,"slug":22008,"title":22009,"dynasty":179,"author":225,"museum":126,"description":22010,"tags":22011,"thumbUrl":22012,"material":312,"size":22013,"collection":96,"collections":22014,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},239664,"er-zan-er-tu-shi-juan-zhao-meng-fu-239664","二赞二图诗卷","元代初年，书法的风貌出现很大的变化。自“宋四家”以来所开拓的文人尚意书风逐渐无以为继，要突破这个困境，唯有追本溯源，上追二王，而赵孟頫便是这一复古潮流的提倡者。在这个背景之下，他的书法倾向于蕴籍沉稳、平正秀丽的风格。赵孟頫的《二赞二图诗卷》所流露的风格却与其追慕的风貌不甚相同而较为少见。此卷款署“湖州观堂与受益外郎饮酒，一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫。”从署款可知，此卷是赵孟頫和友人于湖州观堂相众时乘着酒兴而书的。此卷纸质光滑，又为酒后兴酣之作，故写来信笔飞动，流畅圆转。卷后明代鉴藏家董其昌题跋云： “此赵文敏(孟頫)学颜鲁公(真卿)《送蔡明远叙》兼米海岳(芾)用笔，迥异平日之作”，说明此卷兼有唐代颜真卿及宋代米芾笔意，不同于赵氏的其它墨迹。",[23,92,24,25,49,60,7,77,50,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c170d3ec939624a8380812c02f2b52.jpg","27厘米x456.3厘米",[96],{"id":22016,"slug":22017,"title":22018,"dynasty":179,"author":22019,"museum":126,"description":22020,"tags":22021,"thumbUrl":22022,"material":1646,"size":22023,"collection":96,"collections":22024,"showCount":289,"zanCount":788,"manualWeight":39,"mainColor":40},239657,"shao-zhi-shui-shi-juan-lu-ju-ren-239657","苕之水诗卷","陆居仁","《苕之水诗》卷释文\n卷前钤陆氏“云间”、“幽谷一叟”印2方；卷末钤陆氏 “宅山”、“陆氏居仁”、“静寿山”、“卧松亭”、“寄寄轩”款印5方。鉴藏印以项元汴、卞永誉、安岐三家最多，并有项氏“意字号”编号。\n《苕之水诗》卷书七言古诗一首，赞扬笔工陆文俊所制毛笔精良耐用，夺造化之功。据自署年款，此卷书于明洪武四年辛亥（1371年），是陆居仁晚年的草书精品。书法飘逸苍秀，得张旭、怀素、孙过庭遗意。\n后幅有元代张枢楷书次韵陆诗并记，乃张枢传世名迹。又有元代陈朴题跋、袁凯题诗各一段。\n此卷曾经清代乾隆内府、宣统内府收藏。",[23,7,398,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf9d630c01a023eb1170d1e0a54a344.jpg","纵28.2厘米，横130.7厘米",[96],{"id":22026,"slug":22027,"title":22028,"dynasty":179,"author":225,"museum":107,"description":22029,"tags":22030,"thumbUrl":22031,"material":95,"size":95,"collection":96,"collections":22032,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},239613,"shu-tao-yuan-ming-shi-ce-ye-zhao-meng-fu-239613","书陶渊明诗册页","赵孟頫，1254年10月20日生人，字子昂，汉族，号松雪道人，又号水晶宫道人、鸥波，中年曾署孟俯。浙江吴兴（今浙江湖州）人。南宋末至元初著名书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他亦善篆、隶、真、行、草书，尤以楷、行书著称于世。其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。",[7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a6bfd5aaf4b1d9e9d7575ef8d23a3a.jpg",[96],{"id":22034,"slug":22035,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":22038,"tags":22039,"thumbUrl":22040,"material":95,"size":95,"collection":63,"collections":22041,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},239194,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239194","三大名山十二图册","徐枋","此帧以渴笔焦墨写就山林丘壑，奇崛峰峦以短皴勾勒，尽显山石嶙峋质感，溪岸林木错落生姿，幽谷间屋舍隐现，铺陈出荒寒清寂的山居雅境。左侧行书题跋笔意萧散灵动，书画合璧，以文释意。笔墨间寄寓着画家疏离尘俗、安贫守节的隐逸襟怀，将遗民文人静守林泉的淡泊心境融于尺幅之间，是文人山水画中以意驭笔、以画明志的佳作，尽显乱世之中文人的精神归处。",[24,25,26,50,51,56,57,1018,268,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3c923c0a1173967369105dfabce1a.jpg",[63,218],{"id":22043,"slug":22044,"title":5945,"dynasty":18,"author":4364,"museum":107,"description":4365,"tags":22045,"thumbUrl":22046,"material":751,"size":752,"collection":95,"collections":22047,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},238476,"hua-hui-tu-ce-jiang-ting-xi-238476",[24,25,26,27,111,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1efc813ff48884917e56f474bfe8b3.jpg",[],{"id":22049,"slug":22050,"title":22051,"dynasty":18,"author":3067,"museum":107,"description":17329,"tags":22052,"thumbUrl":22053,"material":95,"size":95,"collection":63,"collections":22054,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},236746,"fang-gao-yan-jing-shan-shui-ce-zhuang-zhou-wang-hui-236746","仿高彦敬山水册装轴",[24,92,51,50,7,77,59,251,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7015681639e90340b2a5d8af9be265.jpg",[63,187,96],{"id":22056,"slug":22057,"title":4167,"dynasty":18,"author":2653,"museum":8802,"description":18498,"tags":22058,"thumbUrl":22059,"material":95,"size":95,"collection":63,"collections":22060,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},236737,"shan-shui-ce-hua-yan-236737",[24,26,50,59,7,77,51,250,54,1679,704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff620b1906b09e35a616d2a87598efa8e.jpg",[63,187],{"id":22062,"slug":22063,"title":22064,"dynasty":45,"author":22065,"museum":107,"description":22066,"tags":22067,"thumbUrl":22068,"material":751,"size":752,"collection":95,"collections":22069,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},235657,"mu-mian-tu-zhou-sun-ai-235657","木棉图轴","孙艾","此图绘折枝木棉花一枝，枝叶茂密，木棉花怒放。用花青没骨法画叶，以浓色为面，淡色为背，叶之正背转折、花之娇态刻画细致，画风清新雅逸。无款印。沈周在其题诗之后云：“世节生纸写生，前人亦少为之。甚得舜举天机流动之妙。观其蚕桑、木棉二纸，尤可骇瞩，且非泛泛草木所比，盖寓意用世。世节读书负用，于是乎亦可见矣。弘治新元中秋日，沈周志。”",[92,24,25,75,27,29,1177,1455,239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ca4bf5bbf819d2aec5e1c45abceae0.jpg",[],{"id":22071,"slug":22072,"title":22073,"dynasty":45,"author":9605,"museum":107,"description":22074,"tags":22075,"thumbUrl":22076,"material":95,"size":95,"collection":95,"collections":22077,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},235593,"hua-wang-bai-gu-ban-ji-an-tu-zhou-wen-jia-235593","画王百穀半偈庵图轴","《王百谷半偈庵图》是明代画家 创作的纸本设色画，现藏于 。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[24,25,75,50,60,7,458,132,652,250,567,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":22079,"slug":22080,"title":22081,"dynasty":45,"author":10061,"museum":107,"description":22082,"tags":22083,"thumbUrl":22084,"material":95,"size":95,"collection":95,"collections":22085,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},234628,"fang-fan-kuan-shan-shui-shan-ye-lan-ying-234628","仿范宽山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[1250,50,59,110,51,54,55,704,57,471,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cc72bbb506c453f91f6e75f20782db.jpg",[],{"id":22087,"slug":22088,"title":22089,"dynasty":45,"author":11984,"museum":107,"description":22090,"tags":22091,"thumbUrl":22092,"material":95,"size":95,"collection":95,"collections":22093,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[23,92,24,25,49,7,60,50,59,51,55,56,57,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":22095,"slug":22096,"title":22097,"dynasty":45,"author":342,"museum":107,"description":22098,"tags":22099,"thumbUrl":22100,"material":95,"size":95,"collection":95,"collections":22101,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。 [1]\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,49,50,60,7,77,51,113,52,53,55,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":22103,"slug":22104,"title":22105,"dynasty":18,"author":22106,"museum":126,"description":22107,"tags":22108,"thumbUrl":22109,"material":22110,"size":22111,"collection":95,"collections":22112,"showCount":289,"zanCount":882,"manualWeight":39,"mainColor":40},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像潘恭寿补图轴","任熊","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[24,25,75,27,111,113,139,652,250,140,3092,432,433,3093,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":22114,"slug":22115,"title":22116,"dynasty":18,"author":2653,"museum":126,"description":22117,"tags":22118,"thumbUrl":22120,"material":488,"size":22121,"collection":95,"collections":22122,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},233718,"tian-shan-ji-xue-tu-hua-yan-233718","天山积雪图","华嵒的人物画造型极具特色，以表现人物鲜明的个性和内在的神韵取胜。《天山积雪图》是其晚年的代表作品。\n边塞行旅是华嵒经常表现的题材之一。本图画唐人远行边塞诗意。图中，天山脚下，一个身披大红斗篷、藏掖宝剑的单身旅客，牵一匹双峰老驼，艰难地缓行于冰雪之中。天色灰暗，四野空旷，道路漫漫，白雪皑皑。一只孤雁横掠空中，旅者和老驼举首仰望，此情此景似引起了游子的万千思绪。画中情景交融，意境含蓄。画面构图狭长，造成天高地迥的视觉效果，以衬托人物孤寂的内心世界。设色雅致，色彩之间的搭配，冷暖色调的对比，都十分考究。人物、老驼的形象塑造在写实的基础上恰当地运用夸张手法，人物前倾的动势，老驼富于人情味的表情，都使得主题更为突出。作品展现了画家独特的艺术构思和出众的绘画才能。",[24,25,75,27,113,20499,17685,22119,116,7,77],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c8b21a5c0ed7a5463b2bc0eedb1ac28.jpg","纵159.1厘米，横52.8厘米",[],{"id":22124,"slug":22125,"title":22126,"dynasty":18,"author":9176,"museum":126,"description":22127,"tags":22128,"thumbUrl":22129,"material":488,"size":22130,"collection":95,"collections":22131,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},233445,"ren-wu-shan-shui-ce-luo-pin-233445","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,4347,27,312,113,51,131,333,567,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99425d9cb891e7242e250ced234210b2.jpg","纵24.2厘米，横30.7厘米",[],{"id":22133,"slug":22134,"title":22135,"dynasty":45,"author":441,"museum":72,"description":22136,"tags":22137,"thumbUrl":22138,"material":312,"size":22139,"collection":95,"collections":22140,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,49,50,51,59,7,60,77,57,56,53,52,55,113,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":22142,"slug":22143,"title":22144,"dynasty":18,"author":1387,"museum":107,"description":22145,"tags":22146,"thumbUrl":22147,"material":95,"size":95,"collection":95,"collections":22148,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},230283,"wu-yan-pai-lv-jing-xin-zhu-da-230283","五言排律镜心","此作用笔枯润交糅，线条瘦劲老辣，凝练如铁。字距错落排布，行气舒朗连贯，虚实相生间晕开疏淡孤高的底色。\n点画简括却力透纸背，牵丝映带里尽显萧散雅逸，既有晋人行书的灵动意趣，又将沉郁心绪藏在起落转合中。笔墨间浸透着清冷遗世的风骨，把孤高心性与书法意境相融，每一处转折都暗合幽远禅意，以极简形质承载苍劲沉凝的精神内核，尽显以心驭笔的绝妙文人书意。",[23,7,60,398,50,77,1391],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10294bcc5f79ea0c65b25270013a64a0.jpg",[],{"id":22150,"slug":22151,"title":22152,"dynasty":18,"author":1387,"museum":107,"description":1388,"tags":22153,"thumbUrl":22154,"material":751,"size":752,"collection":95,"collections":22155,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},230273,"tang-geng-wei-ti-qing-yuan-si-shi-zhu-da-230273","唐耿湋题清源寺诗",[23,7,60,398,50,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd15d6de57e2fe44f5aaa1d3f3a16268.jpg",[],{"id":22157,"slug":22158,"title":22159,"dynasty":18,"author":6275,"museum":107,"description":10347,"tags":22160,"thumbUrl":22161,"material":751,"size":752,"collection":95,"collections":22162,"showCount":289,"zanCount":882,"manualWeight":39,"mainColor":3443},230259,"dui-lian-dang-wei-shi-yi-hong-yi-fa-shi-230259","对联《当为世依》",[2135,7,2136,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8abbaeb25fda56919c51d407bfa57c7.jpg",[],{"id":22164,"slug":22165,"title":22166,"dynasty":18,"author":6275,"museum":107,"description":10347,"tags":22167,"thumbUrl":22170,"material":751,"size":752,"collection":95,"collections":22171,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},230258,"xin-xi-lie-xin-feng-tian-jin-bo-wu-guan-hong-yi-fa-shi-230258","信系列-信封(天津博物馆)",[2135,7,60,77,27,13817,22168,385,22169],"书信","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e0f3d64e776a98d557a75865bbc2e9.jpg",[],{"id":22173,"slug":22174,"title":22175,"dynasty":18,"author":506,"museum":107,"description":22176,"tags":22177,"thumbUrl":22178,"material":751,"size":752,"collection":95,"collections":22179,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},230241,"xiang-he-jing-jin-nong-230241","相鹤经","本幅摘录《相鹤经》，书于乾隆十七年（1752年），金农时年66岁。作品横划扁平粗壮，起笔、收笔处着意直切成形，直划、长撇、勾划等细劲锋利，体势方厚、凝重，浓黑的墨色与字间的空白形成鲜明的对比，视觉效果强烈，为金农“漆书”的典型风格。",[23,7,1613,6015,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b63214b9fe5a26d832c5db18b7cd625.jpg",[],{"id":22181,"slug":22182,"title":22183,"dynasty":45,"author":9276,"museum":107,"description":22184,"tags":22185,"thumbUrl":22186,"material":95,"size":95,"collection":95,"collections":22187,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[23,24,25,49,50,60,77,7,51,113,133,132,250,55,3388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":22189,"slug":22190,"title":807,"dynasty":45,"author":11984,"museum":107,"description":22191,"tags":22192,"thumbUrl":22193,"material":95,"size":95,"collection":95,"collections":22194,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},228383,"shan-shui-tu-liu-jue-228383","此作用披麻皴晕染江南丘壑，山峦平缓温润，苍松杂木错落于坡石之间，笔墨苍厚松灵，带着吴门画派特有的萧散意趣。淡墨轻烘出烟雨空蒙的氛围，溪谷蜿蜒隐现于林木山石间，尽显吴中山水的温润雅致。\n画作带着文人画的清幽品格，将林泉高致的隐逸心境藏于笔墨间，师法前贤又自出清澹之格，把江南山野的沉静雅致铺陈开来，是兼具笔墨意趣与人文情志的佳构。",[23,24,25,49,50,59,7,60,77,51,56,57,251,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea50e787329b0ad288fa2056b6b465b.jpg",[],{"id":22196,"slug":22197,"title":7,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":22198,"thumbUrl":22199,"material":751,"size":752,"collection":95,"collections":22200,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},228279,"shu-fa-chen-hong-shou-228279",[25,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3221a6efaf4342fec5dd9784bbb847fa.jpg",[],{"id":22202,"slug":22203,"title":22204,"dynasty":179,"author":4970,"museum":107,"description":22205,"tags":22206,"thumbUrl":22207,"material":95,"size":95,"collection":95,"collections":22208,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[23,24,25,49,50,60,457,7,59,77,51,54,55,56,57,252,53,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":22210,"slug":22211,"title":17817,"dynasty":88,"author":4981,"museum":107,"description":10563,"tags":22212,"thumbUrl":22213,"material":751,"size":752,"collection":95,"collections":22214,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},227942,"fu-yi-jiao-jing-zhang-ji-zhi-227942",[23,92,25,49,878,199,7,386,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4401b87f9199f68b5ef698da2758556d.jpg",[],{"id":22216,"slug":22217,"title":19312,"dynasty":88,"author":89,"museum":107,"description":22218,"tags":22219,"thumbUrl":22220,"material":95,"size":95,"collection":95,"collections":22221,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},227588,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227588","此帖亦称“与景道使君书”。纸本，纵27.8、横47.4厘米。被《戏鸿堂法书》、《玉烟堂帖》、《海宁陈氏藏真帖》等丛帖收录。\n\n黄庭坚是北宋诗人、书法家，字鲁直，号涪翁，又号山谷道人。江西修水人。黄庭坚书法擅行草书，初师法周越，后上溯颜真卿、怀素，尤其得力于《瘗鹤铭》，用笔以侧险取势，纵横拗崛，自成一家。黄庭坚行书不及其草书艺术水准高，而行书小字似胜大字，当然这是见仁见智的看法。他的大字行书虽长枪大戟，气势很盛，但总觉含蓄不足，不及小字耐人寻味，比如这件尺牍，温文尔雅，收放自如，并不因字小而损气度。\n\n这件尺牍还是一件重要的书论短文：信中写“翰林苏子瞻书法娟秀，虽用墨太丰，而韵有余，于今为天下第一。余书不足学，学者辄笔（懦）无劲气。今乃舍子瞻而学余，未能择术也。”黄书与苏东坡书法比起来，确实是苏字更有韵致，当然这仅是指行书，而苏书用墨太丰，亦是小疵，黄曾戏言苏字“石压蛤蟆”，而苏反唇相讥黄字“死蛇挂树”，双方都提到了对方特点，同时也点到不足，而他们之间的调侃都是善意的，正因为这一点而成了千古佳话。",[25,7,60,3479,312,77,3155,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dad10d747084894378b48a94630475a.jpg",[],{"id":22223,"slug":22224,"title":22225,"dynasty":88,"author":308,"museum":107,"description":22226,"tags":22227,"thumbUrl":22231,"material":95,"size":95,"collection":95,"collections":22232,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},227508,"po-yang-hu-su-shi-227508","鄱阳湖","“鄱阳湖上都昌县，灯火楼台一万家。水隔南山人不渡，东风吹老碧桃花。”这是宋代文豪苏东坡游达都昌题写的诗句。\n\n都昌县位于鄱阳湖中心区域，地处五水汇一湖之要冲，居南昌、九江、景德镇金三角中心地带。南依湖水与南昌相连；西隔入江水道与庐山相望。国土面积2669.53km2，其中水域面积多达1390.3km2。\n\n大凡熟悉鄱阳湖的人们都知道，这里地处丘陵，又有高山、河流。风光秀丽，民风淳朴，农产品、水产品十分丰富，人们觉得最冷清的冬季，这里却是天鹅等侯鸟的盛会，数十万侯鸟由西伯利亚迁入，在沿湖各乡镇落户过冬。鄱阳湖之最、之秀几乎全都聚在都昌，或许“都昌”这个县名由此而来。",[7,199,198,77,17644,22228,22229,360,651,22230,137],"灯火","楼台","东风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd688560aee1e3380d1d7e952e0266372.jpg",[],{"id":22234,"slug":22235,"title":22236,"dynasty":88,"author":308,"museum":107,"description":22237,"tags":22238,"thumbUrl":22239,"material":95,"size":95,"collection":95,"collections":22240,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},227501,"wen-zhu-tu-shou-juan-su-shi-227501","文竹图手卷","这是一首关于笋焖猪肉的打油诗，据说，苏轼在一个派对上品尝这道食物时，就作了这首诗。\n\n你可能还听过他的另一首诗，“宁可食无肉，不可居无竹。无肉令人瘦，无竹令人俗。人瘦尚可肥，士俗不可医。旁人笑此言，似高还似痴。”\n\n由此可见，苏轼对竹子的爱甚至已经超过了肉，宁可食无肉，也要“居有竹”。可能有人会想，瘦一瘦更健康，拿它跟“居无竹”相比，是不是太夸张了？",[23,24,25,49,50,132,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d5e41d22c6c061286d0a76a7284bc9.jpg",[],{"id":22242,"slug":22243,"title":22244,"dynasty":3087,"author":454,"museum":107,"description":22245,"tags":22246,"thumbUrl":22249,"material":95,"size":95,"collection":802,"collections":22250,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},227070,"bei-wei-wang-song-qi-yuan-gui-fei-mu-zhi-ming-yi-ming-227070","北魏王诵妻元贵妃墓志铭","王诵（482~528年），字国章，琅琊临沂（今山东省临沂市）人。北魏大臣，黄门侍郎王融的儿子。\n出身琅琊王氏，颇有文才，神气清秀，风流俊美。起家员外散骑侍郎、迁前将军、通直散骑常侍，迎娶安丰王元猛之女元贵妃。正光末年，出任左将军、幽州刺史，入朝担任秘书监、度支尚书，迁给事黄门侍郎。\n建义元年，遇害于河阴之变，获赠骠骑大将军、司空公、尚书左仆射、徐州都督，谥号文宣。",[198,7,199,7325,1614,22247,3087,11284,3423,22248],"拓印","墓志铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc2e43c873bcdc5f33b0bf6d5cdf263.jpg",[802],{"id":22252,"slug":22253,"title":9340,"dynasty":18,"author":14558,"museum":107,"description":14559,"tags":22254,"thumbUrl":22255,"material":95,"size":95,"collection":95,"collections":22256,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},226636,"shou-zi-pu-ru-226636",[23,24,25,7,50,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5ea3013245d575b459bc38ebbef6d1.jpg",[],{"id":22258,"slug":22259,"title":22260,"dynasty":3087,"author":454,"museum":107,"description":9803,"tags":22261,"thumbUrl":22262,"material":751,"size":752,"collection":95,"collections":22263,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},226525,"yuan-lve-mu-zhi-yi-ming-226525","元略墓志",[23,198,7,199,7325,3423,1614,11284,3087],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea21c648984611ee319190732f9880.jpg",[],{"id":22265,"slug":22266,"title":22267,"dynasty":18,"author":14427,"museum":107,"description":22268,"tags":22269,"thumbUrl":22270,"material":7994,"size":22271,"collection":96,"collections":22272,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":789},224438,"yong-luo-hua-qi-lv-shi-wu-zhang-he-shao-ji-224438","咏落花七律十五章","同治四年（乙丑，1865年）春书于苏州。\n何绍基的行草书融篆、隶于一炉，骏发雄强，独具面貌。\n他的篆书，中锋用笔，并能掺入隶笔，而带行草笔势，自成一格。",[23,7,60,49,14121,6298,679,2175,1002,6297,3040,651,845,360,55,844,9676,4507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99b11b1e1294d79f91b13adc0f6273.jpg","横30厘米，纵181厘米",[96],{"id":22274,"slug":22275,"title":22276,"dynasty":18,"author":22277,"museum":107,"description":22278,"tags":22279,"thumbUrl":22282,"material":751,"size":752,"collection":95,"collections":22283,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},224333,"yan-ti-ku-shu-fu-li-zhou-tan-yan-kai-224333","颜体枯树赋立轴","谭延闿","谭延闿（1880年1月25日—1930年9月22日），字组庵，号无畏、切斋，湖南茶陵人。与陈三立、谭嗣同并称“湖湘三公子”；生于浙江杭州，民国时期著名政治家、书法家、组庵湘菜创始人。\n谭延闿曾经任两广督军，三次出任湖南督军、省长兼湘军总司令，授上将军衔，陆军大元帅。曾任南京国民政府主席、行政院院长。1930年9月22日，病逝于南京。去世后，民国政府为其举行国葬。谭延闿有“近代颜书大家”之称，著述有《组庵诗集》等，其精于美食，为组庵湘菜创始人 。蒋介石和宋美龄结婚，谭延闿为介绍人。",[23,75,199,7,22280,25,22281],"颜体","枯树赋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3591a006309f3f3e6ccaf82aff2be38.jpg",[],{"id":22285,"slug":22286,"title":22287,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":22288,"thumbUrl":22289,"material":751,"size":752,"collection":95,"collections":22290,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},224208,"shu-fa-21-wu-chang-shuo-224208","书法21",[7,75,60,457,77,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7447a84ab368b81850adda919cb4968.jpg",[],{"id":22292,"slug":22293,"title":675,"dynasty":18,"author":22294,"museum":107,"description":16139,"tags":22295,"thumbUrl":22296,"material":751,"size":752,"collection":95,"collections":22297,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":207},224207,"chi-bi-fu-he-shuo-cheng-qin-wang-224207","和硕成亲王",[7,60,678,15072,54,680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f0f199d842a0bb46fc33498c196171.jpg",[],{"id":22299,"slug":22300,"title":22301,"dynasty":18,"author":2301,"museum":107,"description":22302,"tags":22303,"thumbUrl":22304,"material":95,"size":95,"collection":95,"collections":22305,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},224112,"lin-san-xi-tie-qian-long-224112","临三希帖","《三希堂法帖（一箱全五册）》是29年出版的图书，作者是梁诗正。\n《三希堂法帖(套装全5卷)(繁体竖排版)》分为五卷，其中四卷为原刻印本，第五卷为法帖释文和书家小传。\n《三希堂法帖》是我国清代乾隆年间由朝廷谕旨编刻的一部大型丛帖，全称为《御制三希堂石渠宝笈法帖》。\n乾隆十二年（一七四七年），乾隆皇帝敕命大学士吏部尚书梁诗正、户部尚书蒋溥等人，将内府所藏魏晋至明末的书法作品，择其精华加以校勘编次，从全国各地调集书法石刻艺人高手摹刻上石。\n法帖共分三十二册，刻石五百余块，收集自魏晋至明代末年共一百三十五位书法家的三百四十件书法作口叩和二百一十多件题跋，一千六百多方印章，共九万多字。\n帖中收有被乾隆帝视为稀世墨宝的三件东晋书迹，即王羲之的《快雪时晴帖》、王献之的《中秋帖》和王殉的《伯远帖》，而收藏这三件墨宝的地方又被乾隆称为三希堂，故法帖取名《二希堂法帖》。\n乾隆皇帝爱好书法，日理万机之余，潜心临池，遍习诸家，其书法温润妍媚，亲雅有致。\n由于《二希堂法帖》是乾隆皇帝御览之宝，所以刻印考究，版本珍贵。\n后流传民间，刻印日趋繁杂，以致版本良莠不齐。\n鉴于此，黄山书社和北京传世文化发展中心联合有关专家、学者，遴选各家藏馆版本，后选定首都图书馆善本库这套《二希堂法帖》版本予以影印出版。\n该本刻印清楚，神韵犹足，版本完整，堪称珍品。\n在此基础上，我们附加了法帖全部释文和书家小传，以便读者阅读、研习。",[23,7,110,60,49,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d59b3438eb9d2d283990bdc413c4cf5.jpg",[],{"id":22307,"slug":22308,"title":22309,"dynasty":105,"author":454,"museum":648,"description":22310,"tags":22311,"thumbUrl":22312,"material":22313,"size":22314,"collection":95,"collections":22315,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},223497,"cao-e-ci-quan-juan-yi-ming-223497","曹娥辞全卷","《曹娥诔辞》是自东晋流传迄今的楷书墨迹，因卷后署有“升平二年”年款，又名《升平帖》。通篇以小楷书写就，捺笔厚重、结体扁方，尚存隶书笔意，从中可以窥见早期楷书的笔法、结体特征。此卷历来有王羲之墨迹一说，至宋高宗赵构时明确为晋时佚名之作。",[23,49,25,7,60,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d15bd71cc6a624b2f334bb609e141f7.jpg","绢本楷书","32.3x54.3厘米",[],{"id":22317,"slug":22318,"title":22319,"dynasty":179,"author":454,"museum":1830,"description":22320,"tags":22321,"thumbUrl":22323,"material":477,"size":22324,"collection":95,"collections":22325,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},223401,"si-shui-tu-yi-ming-223401","四睡图","图绘丰干、寒山、拾得三位僧人与一虎酣睡之景。二人坐姿入睡，一人半躺酣睡，一虎卧于三人之中，安详寂静；远处祥云朵朵，松青柏翠，所绘树杆皆以祥云形状，显示出浓浓的禅意。",[23,24,25,75,50,111,59,7,77,113,22322,798,56,57,115,250],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90f15e151f2dd9dc88df95bfd31a45.jpg","77.8×34.3cm",[],{"id":22327,"slug":22328,"title":22329,"dynasty":88,"author":454,"museum":126,"description":22330,"tags":22331,"thumbUrl":22332,"material":184,"size":22333,"collection":802,"collections":22334,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},223352,"yi-zheng-ruan-shi-tian-yi-ge-shi-gu-wen-yi-ming-223352","仪征阮氏天一阁石鼓文","石鼓文，秦刻石文字，因其刻石外形似鼓而得名。石鼓刻石文字多残，北宋欧阳修录时存四百六十五字，明代范氏天一阁藏本仅四百六十二字，而今之“马荐”鼓已一字无存。",[457,198,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6d82c31b7d702f07bdff3659fde756.jpg","35x517",[802],{"id":22336,"slug":22337,"title":22338,"dynasty":18,"author":8382,"museum":126,"description":15781,"tags":22339,"thumbUrl":22343,"material":784,"size":15784,"collection":95,"collections":22344,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},222865,"shi-gong-ci-tu-ce-04-leng-mei-222865","十宫词图册04",[23,24,92,25,4347,1986,1128,27,22340,22341,22342,7,60],"海西画法","宫廷建筑","舞蹈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d448e834bf9f00769c5fbf6f5431d.jpg",[],{"id":22346,"slug":22347,"title":22348,"dynasty":18,"author":7664,"museum":20,"description":10902,"tags":22349,"thumbUrl":22350,"material":488,"size":95,"collection":95,"collections":22351,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},222667,"shang-bo-hua-ji-xuan-huang-shen-222667","上博画集选",[23,24,25,75,27,50,113,798,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd81018d64cf71fed1ad05ceec3b3e046.jpg",[],{"id":22353,"slug":22354,"title":22355,"dynasty":45,"author":2206,"museum":107,"description":22356,"tags":22357,"thumbUrl":22358,"material":1038,"size":22359,"collection":96,"collections":22360,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},222481,"qi-lv-shi-bu-jiang-zhu-yun-ming-222481","七律诗不将","全卷落笔迅速，字势跌宕，行间时而穿插，时而放笔纵横，有密不通风，疏可走马的强烈视觉效果。书写时，今草与狂草交替使用，笔势连绵不绝，气势纵横，为其狂草书之杰作。",[23,25,7,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b9994f9011995d60f93f3c7748d6e8c.jpg","49.5x129.5cm",[96],{"id":22362,"slug":22363,"title":22364,"dynasty":45,"author":2206,"museum":72,"description":21511,"tags":22365,"thumbUrl":22366,"material":312,"size":22367,"collection":96,"collections":22368,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},222464,"shu-shan-ye-zhu-yun-ming-222464","书扇页",[23,1250,7,60,398,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44214ec1fb685b490e03762ffc07075.jpg","31.1x37",[96],{"id":22370,"slug":22371,"title":22372,"dynasty":45,"author":4035,"museum":126,"description":22373,"tags":22374,"thumbUrl":22377,"material":10842,"size":22378,"collection":95,"collections":22379,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},222458,"jing-zhai-zhen-ye-shen-du-222458","敬斋箴页","款署“永乐十六年仲冬至日，翰林学士云间沈度书。”钤“沈民则”、“玉堂学士”、“自乐轩”3印。鉴藏印有“秦汉十印斋藏”、“张吉熊印”、“日藻珍玩”3方。\n作品乃沈度62岁时书。结字端正严谨，笔笔工致稳健，体态珠圆玉润，表现出精湛的功力，是“台阁体”的经典之作。只是因过于关注精巧与雅致，故笔墨较少变化，这也是“台阁体”千人一面、千篇一体的通病。清代书家王文治曾制诗赞曰：“沈家兄弟直词垣，簪笔俱承不次恩。端雅正宜书制诰，至今馆阁有专门。”此诗正解释了沈度为何多书“箴”、“铭”一类文体，而少见自作诗文之现象。",[23,7,199,4039,22375,4038,385,22376,384],"工整秀丽","箴文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F024f2597b89ca22b15190bfd5394a836.jpg","纵23.8厘米，横49.4厘米",[],{"id":22381,"slug":22382,"title":22383,"dynasty":45,"author":342,"museum":107,"description":18133,"tags":22384,"thumbUrl":22385,"material":22386,"size":22387,"collection":96,"collections":22388,"showCount":289,"zanCount":882,"manualWeight":39,"mainColor":100},222014,"zi-zuo-shi-juan-quan-juan-wen-zheng-ming-222014","自作诗卷全卷",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F369862cbcb9f4c9abd59e3e40bed88c8.jpg","纸本手卷","27×637cm.",[96],{"id":22390,"slug":22391,"title":22392,"dynasty":88,"author":1124,"museum":648,"description":22393,"tags":22394,"thumbUrl":22395,"material":784,"size":22396,"collection":95,"collections":22397,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},221672,"lian-zhou-xin-yue-tu-quan-juan-zhao-bo-ju-221672","莲舟新月图全卷","此卷整体画面以色彩渲染，着色清丽,内容描写的北宋著名理学家周敦颐爱莲的故事。画面人物精神清润，能别状貌。柳树旁的两棵对称式的野花，以及坡石上的点苔都极富装饰趣味。",[23,92,24,25,49,1127,27,111,60,7,77,51,399,54,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b08ce584a2b3aee32d00009daf8bd9.jpg","24.2x591.8cm",[],{"id":22399,"slug":22400,"title":22401,"dynasty":88,"author":4981,"museum":4982,"description":4983,"tags":22402,"thumbUrl":22403,"material":312,"size":4988,"collection":95,"collections":22404,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},221477,"da-de-ming-tie-dong-fu-si-bian-e-fang-zhang-zhang-ji-zhi-221477","大德名帖东福寺匾额方丈",[23,7,199,77,4985,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febba7eb1e4fb50f98cf446551dfbca71.jpg",[],{"id":22406,"slug":22407,"title":22408,"dynasty":88,"author":262,"museum":8802,"description":22409,"tags":22410,"thumbUrl":22411,"material":477,"size":22412,"collection":95,"collections":22413,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},221405,"zui-seng-tu-juan-quan-juan-li-gong-lin-221405","醉僧图卷全卷","此画应为南宋人作。卷末有苏轼草书题跋，另有署名“东村”的长跋，“东村”不知为何人，但书法精妙，当为大家手笔。画作的真伪、年代姑且不论，亦不论卷末题跋者是否苏轼，单就书法水平而言却是着实精彩的。",[23,24,25,49,112,50,7,60,398,113,652,250,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a82f9d0989e0effd94ca4473f6f65d.jpg","画芯32.5x60.8cm",[],{"id":22415,"slug":22416,"title":22417,"dynasty":88,"author":3543,"museum":648,"description":22418,"tags":22419,"thumbUrl":22420,"material":398,"size":95,"collection":95,"collections":22421,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},221379,"ba-sun-guo-ting-qian-zi-wen-di-wu-ben-wang-shen-221379","跋孙过庭千字文第五本","王詵[shēn]（公元約1048年—公元約1104年），字晉卿，太原（今山西太原）人，後遷汴京（今河南開封） ，北宋畫家。\n北宋熙寧二年（1069年）娶英宗女蜀國大長公主，拜左衞將軍、駙馬都尉。元豐二年，因受蘇軾牽連貶官均州。元祐元年（1086年）復登州刺史、駙馬都尉。擅畫山水，學王維、李成，喜作煙江雲山、寒林幽谷，水墨清潤明潔，青綠設色高古絕俗。亦能書，善屬文。其詞語言清麗，情致纏綿，音調諧美。存世作品有《漁村小雪圖》《煙江疊嶂圖》《溪山秋霽圖》等。",[23,7,60,25,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7f141a38f4bd44373094a8349e4aac.jpg",[],{"id":22423,"slug":22424,"title":22425,"dynasty":88,"author":18676,"museum":126,"description":19754,"tags":22426,"thumbUrl":22427,"material":17292,"size":19757,"collection":95,"collections":22428,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":100},221256,"da-nian-tie-xue-shao-peng-221256","大年帖",[23,7,25,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724c47a3271783b03c92462eed77c9b2.jpg",[],{"id":22430,"slug":22431,"title":22432,"dynasty":162,"author":454,"museum":107,"description":22433,"tags":22434,"thumbUrl":22435,"material":95,"size":95,"collection":96,"collections":22436,"showCount":289,"zanCount":882,"manualWeight":39,"mainColor":100},221120,"da-ban-nie-pan-jing-di-er-shi-er-juan-yi-ming-221120","大般涅槃经第二十二卷","此卷小楷笔致朴拙温雅，结体端稳暗含灵动意趣，起收间带着沉静禅意。墨色沉郁苍古，晕染在泛黄斑驳的纸面之上，与岁月留下的痕迹相融，晕开千年的沉静质感。\n\n通卷书写匀净工稳，既恪守抄经的庄重法度，又自然流露书写者松弛的笔意，朱印错落点缀其间，为古卷更添传世厚重底蕴，是宗教文本与书法美学的相融之作，尽显晚唐写经的典型风骨，静静诉说着时光里的虔敬雅致。",[23,386,7,199,49,878,1063,1498,2602,13817,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b70d2d532ac513d52eaa3284f09d462.jpg",[96],{"id":22438,"slug":22439,"title":22440,"dynasty":18,"author":7059,"museum":126,"description":20130,"tags":22441,"thumbUrl":20132,"material":33,"size":22442,"collection":171,"collections":22443,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},220409,"wang-shi-zhen-fang-xian-tu-yu-zhi-ding-220409","王士禛放鹇图",[23,24,25,49,27,111,113,116,652,57,55,7,77],"纵26.1厘米，横110.7厘米",[171,218],{"id":22445,"slug":22446,"title":22447,"dynasty":88,"author":262,"museum":412,"description":22448,"tags":22449,"thumbUrl":22450,"material":184,"size":22451,"collection":171,"collections":22452,"showCount":289,"zanCount":882,"manualWeight":39,"mainColor":40},219082,"shi-er-luo-han-tu-li-gong-lin-219082","十二罗汉图","李公麟（1049-1106），字伯，号龙眠居士，北宋舒州（今舒城）人。出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。居京师十年不游权贵之门，以访名园荫林为乐。元符三年（1100）病痹告老，居龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,92,24,25,49,878,112,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04758232c2aca60d77835f12865d95a3.jpg","23.1x866.4厘米",[171],{"id":22454,"slug":22455,"title":22456,"dynasty":18,"author":411,"museum":442,"description":17010,"tags":22457,"thumbUrl":22458,"material":33,"size":17013,"collection":35,"collections":22459,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},214559,"mo-zui-za-hua-tu-ce-8-shi-tao-214559","墨醉杂画图册-8",[23,24,25,26,50,129,29,132,138,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c1fe0779c8c79e2684164129c8d6d4.jpg",[35],{"id":22461,"slug":22462,"title":22463,"dynasty":18,"author":411,"museum":412,"description":15020,"tags":22464,"thumbUrl":22465,"material":33,"size":15023,"collection":95,"collections":22466,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":40},214522,"yi-jin-ling-ce-12-shi-tao-214522","忆金陵册-12",[24,25,26,50,27,51,113,56,471,152,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe936edd910ced608e05568f8a4a03582.jpg",[],{"id":22468,"slug":22469,"title":22470,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":22471,"thumbUrl":22472,"material":312,"size":1340,"collection":95,"collections":22473,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":207},214427,"da-tang-zhong-xing-song-shang-ce-3-yan-zhen-qing-214427","大唐中兴颂上册-3",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1ddf93327bab3a413e20139cc1efa37.jpg",[],{"id":22475,"slug":22476,"title":22477,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":22478,"thumbUrl":22479,"material":312,"size":1340,"collection":95,"collections":22480,"showCount":289,"zanCount":39,"manualWeight":39,"mainColor":207},214425,"da-tang-zhong-xing-song-shang-ce-2-yan-zhen-qing-214425","大唐中兴颂上册-2",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb76ca9858539bcfb870f6326b4eb1f3.jpg",[],{"id":22482,"slug":22483,"title":22484,"dynasty":179,"author":454,"museum":107,"description":22485,"tags":22486,"thumbUrl":22489,"material":751,"size":22490,"collection":95,"collections":22491,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},291027,"tian-zhong-jia-jing-zhou-yi-ming-291027","天中佳景轴","画面上方五幅天师符文，暗合端午驱祟纳吉的古俗。下方案头清供雅致动人，素银宝瓶插满蜀葵、石榴与兰草，花瓣晕染秾丽鲜活，枝叶舒展自然生动。瓷盘盛着角黍鲜果，艾草菖蒲铺陈案边，处处呼应节令意涵。\n\n此作工致细腻，设色沉厚古雅，承袭宋院体花鸟的精工遗韵，又带着元代世俗赏玩的审美意趣，将岁时清赏与祈福心愿融于一室，把端午禳灾纳福的吉庆氛围，晕染在这方静谧典雅的案头小景之中。",[24,75,27,111,29,113,22487,136,445,6071,22488,834,7,457],"银器","端午","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78aff34a8a838b30125b3886ed6af42.jpg","99.9x63.5公分",[],{"id":22493,"slug":22494,"title":21343,"dynasty":8749,"author":454,"museum":107,"description":22495,"tags":22496,"thumbUrl":22497,"material":751,"size":752,"collection":95,"collections":22498,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},290625,"fu-shuo-di-shi-bo-re-bo-luo-mi-duo-xin-jing-shou-gao-yi-ming-290625","此件写经以匀净小楷书就，笔致恭谨端严，排布齐整匀停，墨色沉凝安稳，字里行间漫溢着肃穆沉静的宗教虔诚。\n中段帝释造像线条凝练圆融，法相慈悲庄严，衣袂舒展合度，宝相具足，将神性的悲悯沉静尽显无遗。泛黄古纸晕染着岁月痕迹，墨色与纸色交织出旧卷独有的沧桑厚重感，是写经与佛教造像相融的雅致遗存，尽显写经艺术里的虔敬本心与审美意趣。",[7,386,199,878,9007,113,6535,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83768207011a0c9a47cb4064775c132f.jpg",[],{"id":22500,"slug":22501,"title":22502,"dynasty":18,"author":14852,"museum":107,"description":22503,"tags":22504,"thumbUrl":22505,"material":751,"size":752,"collection":95,"collections":22506,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},290595,"xue-lang-shi-tu-zhou-zhang-ruo-cheng-290595","雪浪石图轴","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。",[24,75,112,50,250,834,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1a6bc4dfd2f0415814e54a348ae864.jpg",[],{"id":22508,"slug":22509,"title":22510,"dynasty":18,"author":20506,"museum":107,"description":22511,"tags":22512,"thumbUrl":22514,"material":751,"size":752,"collection":95,"collections":22515,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},290589,"gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-290589","高宗御笔秋花诗轴","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,75,1128,27,111,458,53,567,29,135,7,77,22513],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbcc5d7aafbdc6bc856a662c88c5e026.jpg",[],{"id":22517,"slug":22518,"title":22519,"dynasty":179,"author":6867,"museum":107,"description":22520,"tags":22521,"thumbUrl":22523,"material":751,"size":752,"collection":95,"collections":22524,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},290584,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhou-zhang-yu-290584","仿郑虔林亭秋爽图轴","张雨（1277年-1348年），又名天雨，字伯雨，法名嗣真，别号贞居，又号句曲外史，钱塘（今浙江杭州）人，元朝茅山宗道士。年二十遍游天台、括苍诸山。",[24,75,50,59,51,55,115,2293,53,54,57,113,2061,7,77,2251,22522],"清爽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe127da8e79914605105f333311b13207.jpg",[],{"id":22526,"slug":22527,"title":22528,"dynasty":88,"author":454,"museum":107,"description":22529,"tags":22530,"thumbUrl":22531,"material":751,"size":752,"collection":95,"collections":22532,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},290510,"han-gong-chun-xiao-tu-yi-ming-290510","汉宫春晓图","此作以圆扇为幅，绘就苑囿春晓盛景。层叠宫宇隐于烟岚佳木之间，朱阶玉栏之上宫人簇立，或整肃侍立，或执礼待驾，细节暗藏宫廷朝会的端严秩序。界画工细，将殿宇飞檐勾勒得精巧古雅，设色调和沉静，晕染出未央清晨的暖煦韶光。画作与题诗呼应，把宫娥盛饰争妍、御苑春和景明的皇家气派尽数收揽于尺幅之内，尽显宋代院画写实精妙的特质，铺展出汉宫春日早朝的雍容雅致。",[24,25,111,27,1128,113,114,458,1201,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe23e3eb117990c39592b138524fed620.jpg",[],{"id":22534,"slug":22535,"title":22536,"dynasty":18,"author":7059,"museum":107,"description":22537,"tags":22538,"thumbUrl":22544,"material":751,"size":752,"collection":95,"collections":22545,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},290466,"chun-quan-xi-yao-tu-juan-yu-zhi-ding-290466","春泉洗药图卷","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[23,49,7,60,25,22539,22540,678,22541,555,575,22119,22542,22543],"春泉","药圃","翠竹","闲情逸致","题咏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a952dc62001c0ff71c2b0f568dae5f.jpg",[],{"id":22547,"slug":22548,"title":22549,"dynasty":179,"author":22550,"museum":107,"description":22551,"tags":22552,"thumbUrl":22553,"material":751,"size":752,"collection":95,"collections":22554,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},290441,"shan-shui-tu-ke-luo-ban-xie-bo-cheng-290441","山水图 （珂罗版）","谢伯诚","任阳人。善山水，笔法俊逸，得董源遗则。杨谦夫尝为题瀑布图，极汉赏之。",[23,24,92,75,50,51,115,55,57,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c0f199895e34f636c3ef7f39536e645.jpg",[],{"id":22556,"slug":22557,"title":22558,"dynasty":179,"author":22559,"museum":72,"description":22560,"tags":22561,"thumbUrl":22563,"material":79,"size":22564,"collection":95,"collections":22565,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},290400,"qiu-lin-xiao-yin-tu-zhou-tao-fu-chu-290400","秋林小隐图轴","陶复初","陶复初，字明本，号介轩，元中叶石曲人。",[24,75,50,1328,10302,2029,57,252,56,53,77,7,59,22562,2061],"隐居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff085a8e059a6fc77f2a467fae1d4d8c5.jpg","70x28.7",[],{"id":22567,"slug":22568,"title":19522,"dynasty":179,"author":6158,"museum":107,"description":22569,"tags":22570,"thumbUrl":22571,"material":751,"size":752,"collection":95,"collections":22572,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},290261,"shan-shui-tu-zhou-ke-luo-ban-fang-cong-yi-290261","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[23,24,92,75,50,51,250,53,54,458,56,252,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e173a9c7c9e329ac11f95e51162b3a.jpg",[],{"id":22574,"slug":22575,"title":22576,"dynasty":18,"author":454,"museum":107,"description":22577,"tags":22578,"thumbUrl":22580,"material":751,"size":752,"collection":95,"collections":22581,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},290178,"shao-shu-min-zu-sheng-huo-xi-su-hua-ce-2-yi-ming-290178","少数民族生活习俗画册-2","画面分作山居、水乡两幕，淡设色晕染出清润灵秀的边地烟岚。左岸负薪男子与盛装女子作别，苗家女子的衣纹银饰纤毫尽显，憨朴情态跃然纸上。右岸垂柳依依，撑舟艄公引着持伞客人，岸边二人持伞候渡，悠然漾开乡野烟火气。\n整幅工写兼具，笔致温婉恬淡，留白处题字衬出人文意韵。并未将边地风物猎奇化，只是平实地描摹族群日常晨昏，将送别候渡的细碎日常晕染成诗意乡景，把边地质朴鲜活的生活情态凝于纸间，藏着独有的纪实温情。",[23,24,26,27,111,113,51,54,1919,1018,7803,22579,7],"少数民族生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe02d2aeec83aabc24d35a664957e9bdd.jpg",[],{"id":22583,"slug":22584,"title":22585,"dynasty":88,"author":22586,"museum":107,"description":22587,"tags":22588,"thumbUrl":22592,"material":751,"size":752,"collection":95,"collections":22593,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},289736,"qiang-wei-shi-tuan-shan-yang-mei-zi-289736","蔷薇诗团扇","杨妹子","杨妹子，活动于宋宁宗庆元至嘉定（1195—1208）年间，亦称杨娃。宋宁宗杨皇后之妹，一说为杨皇后本人，历来众说不一。",[1250,7,199,1601,22589,22590,22591,77],"蜂蝶","桂子","西风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F382045e8363d03f116391a78ba1e6476.jpg",[],{"id":22595,"slug":22596,"title":22597,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":22598,"thumbUrl":22601,"material":751,"size":752,"collection":95,"collections":22602,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},289567,"kong-lin-cao-ting-tu-wang-meng-289567","空林草亭图",[1250,24,50,115,22599,51,7,77,22600,59],"草亭","幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3923a7aafe0088246c1b96db439c1496.jpg",[],{"id":22604,"slug":22605,"title":22606,"dynasty":162,"author":22607,"museum":107,"description":22608,"tags":22609,"thumbUrl":22611,"material":751,"size":752,"collection":95,"collections":22612,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},288997,"shi-shi-tu-tao-yin-288997","十狮图","陶訚","画中五狮神采各异，昂首咆哮者尽显悍勇，扑跃嬉闹者流露灵动，劲挺的鬃毛笔触蓬松，将瑞狮健硕肌理勾勒得栩栩如生。古雅沉郁的棕褐底色烘托墨色狮身，工细晕染与写意笔意相融，尽显雄浑气魄。\n\n瑞狮作为镇护瑞兽，承载着祈福安宅的意涵，整幅画作刚柔并济，线条兼具苍劲与灵动，画师以精妙笔力将盛世意气凝于绢素。题跋文辞相映，让逸闻与画中神采交织，古韵悠悠，是兼具审美价值与民俗意趣的传世佳作。",[24,25,75,27,798,22610,7,199,77],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7fa098b20a352ed7e42b9280a7eca81.jpg",[],{"id":22614,"slug":22615,"title":22616,"dynasty":88,"author":22617,"museum":107,"description":22618,"tags":22619,"thumbUrl":22620,"material":751,"size":752,"collection":95,"collections":22621,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":40},288494,"chui-yang-fei-xu-tu-yang-huang-hou-288494","垂杨飞絮图","杨皇后","图绘新绿垂柳四枝，袅袅生姿，柳絮似雪飞舞，透露无限春意。画中柳枝用中锋一笔画出；柳叶用细笔勾勒，并填以汁绿；柳絮用白粉信笔点之。全图用笔工整，赋色淡雅。构图疏密得体。上方垂下的柳枝与右侧伸出的柳枝将画面分割成形状不等的四部分，小中见大，引人遐思。图的左上方有宋宁宗皇后杨氏的题诗：“线捻依依绿，金垂袅袅黄”，并钤八卦中的“坤卦”形印。",[23,26,24,25,111,27,2645,9676,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403430a8d43e9748ddfd58d5f9c5770.jpg",[],{"id":22623,"slug":22624,"title":22625,"dynasty":88,"author":3014,"museum":107,"description":12632,"tags":22626,"thumbUrl":22628,"material":751,"size":752,"collection":95,"collections":22629,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},288417,"yue-xia-hua-qian-tu-ma-yuan-288417","月下花前图",[23,24,92,4347,25,27,60,7,113,132,678,51,428,22627,77],"宴赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e0e5c000968db8ef0dc27931ee8a28.jpg",[],{"id":22631,"slug":22632,"title":22633,"dynasty":88,"author":17588,"museum":107,"description":22634,"tags":22635,"thumbUrl":22636,"material":751,"size":752,"collection":95,"collections":22637,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},288389,"liu-tang-du-shu-tu-xiao-zhao-288389","柳堂读书图","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,24,92,1250,50,51,458,52,53,56,57,77,7,60,3498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7165c71503b97e1026060a1f82efd75a.jpg",[],{"id":22639,"slug":22640,"title":22641,"dynasty":18,"author":19537,"museum":107,"description":22642,"tags":22643,"thumbUrl":22644,"material":751,"size":752,"collection":95,"collections":22645,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":207},288303,"jian-jia-jie-gou-zhai-yao-jiu-shi-er-fa-huang-zi-yuan-288303","间架结构摘要九十二法","《间架结构摘要九十二法》是在唐初四大书家之一欧阳询《结字三十六法》及明代李淳《大字结构八十四法》基础上系统、全面地研究剖析了汉字结构组合规律，归纳总结出九十二种汉字结体书写的方法，并各有典型例字。《间架结构摘要九十二法》是一本较为完整、实用的法帖，更对后世书者影响巨大，不仅适于初学书者临习，也可供书法爱好者参考欣赏。九十二法对初学者了解间架结构有指导意义，是初学者的启蒙导师。在清末及民国初年达到了家喻户晓、人手一册、学书之人案头必备的程度。",[7,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0f7dedcd222402fdef07abde25514a.jpg",[],{"id":22647,"slug":22648,"title":22649,"dynasty":18,"author":526,"museum":107,"description":22650,"tags":22651,"thumbUrl":22652,"material":751,"size":752,"collection":95,"collections":22653,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},288283,"shan-shui-tu-fang-ni-zan-bi-yi-wang-yuan-qi-288283","山水图(仿倪瓒笔意)","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,50,51,110,75,57,132,56,77,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c7428b57b6b68307db8e6de3dc0fc4.jpg",[],{"id":22655,"slug":22656,"title":22657,"dynasty":18,"author":468,"museum":107,"description":21686,"tags":22658,"thumbUrl":22659,"material":751,"size":752,"collection":95,"collections":22660,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},288232,"jiang-shan-wo-you-tu-juan-di-jiu-shi-yi-juan-cheng-zheng-kui-288232","江山卧游图卷(第九十一卷)",[23,24,49,50,25,51,251,56,556,52,57,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6f45c6a6df6179257f192e7daa24b.jpg",[],{"id":22662,"slug":22663,"title":22664,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":22665,"thumbUrl":22666,"material":751,"size":752,"collection":95,"collections":22667,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},288046,"shi-san-shou-juan-chen-chun-288046","诗三首卷",[23,7,398,49,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c0971226f2a434ad7f84370401f89e.jpg",[],{"id":22669,"slug":22670,"title":22671,"dynasty":88,"author":89,"museum":107,"description":17100,"tags":22672,"thumbUrl":22676,"material":751,"size":752,"collection":95,"collections":22677,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},287811,"shang-yuan-shi-tie-huang-ting-jian-287811","上苑诗帖",[60,7,200,198,77,22673,22674,22675,458],"莺","桃树","青松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5ad23806b74e2e30d5b627ef4ccd1d.jpg",[],{"id":22679,"slug":22680,"title":22681,"dynasty":179,"author":1324,"museum":72,"description":22682,"tags":22683,"thumbUrl":22685,"material":79,"size":22686,"collection":95,"collections":22687,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},287669,"chun-yu-xin-huang-zhou-ni-zan-287669","春雨新篁轴","画中一竿新篁，在迷蒙春雨的滋润下倔曲茁长。",[92,24,25,75,50,132,7,77,22684],"春雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419f7da372cf86460b8e8e3fd00c1dd1.jpg","70.7x38.6",[],{"id":22689,"slug":22690,"title":22691,"dynasty":18,"author":3367,"museum":107,"description":4106,"tags":22692,"thumbUrl":22693,"material":751,"size":752,"collection":95,"collections":22694,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":40},287448,"tai-gu-yun-lan-tu-zou-yi-gui-287448","太古云岚图",[24,92,25,75,51,50,27,251,252,13669,58,52,53,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef4e4eaf1fc1e2699370d3d8e8973ac.jpg",[],{"id":22696,"slug":22697,"title":22698,"dynasty":162,"author":1715,"museum":107,"description":11292,"tags":22699,"thumbUrl":22700,"material":751,"size":752,"collection":95,"collections":22701,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},287397,"meng-fa-shi-bei-ming-chu-sui-liang-287397","孟法师碑铭",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e94b3b7029aacd45483bb0f2f9eec.jpg",[],{"id":22703,"slug":22704,"title":22705,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":22706,"thumbUrl":22707,"material":751,"size":752,"collection":95,"collections":22708,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},283724,"hua-chan-shi-xiao-jing-tu-ce-dong-qi-chang-283724","画禅室小景图册",[24,25,26,50,1328,60,77,59,12915,152,56,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2d3a31157a8e2a8f3646e3e282b8d8.jpg",[],{"id":22710,"slug":22711,"title":22712,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":22713,"thumbUrl":22714,"material":751,"size":752,"collection":95,"collections":22715,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},283712,"kun-shan-dao-zhong-tu-shan-ye-dong-qi-chang-283712","昆山道中图扇页",[1250,24,50,51,115,55,7,77,59,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fcac3a0cb1874d19d22563b4d9bc18.jpg",[],{"id":22717,"slug":22718,"title":22719,"dynasty":45,"author":1313,"museum":107,"description":9803,"tags":22720,"thumbUrl":22721,"material":751,"size":752,"collection":95,"collections":22722,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},283706,"wang-hong-shan-mu-zhi-ming-ce-dong-qi-chang-283706","汪虹山墓志铭册",[7,1613,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faceb2e7b7b9908f80b18768fb78d1a40.jpg",[],{"id":22724,"slug":22725,"title":22726,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":22727,"thumbUrl":22729,"material":751,"size":752,"collection":95,"collections":22730,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},283701,"zi-shu-xie-xu-shi-jun-ke-xi-hong-tang-shi-juan-dong-qi-chang-283701","自书谢许使君刻戏鸿堂诗卷",[23,7,60,25,77,22728],"诗卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30eb6d59fd19877070b3a05f645254b1.jpg",[],{"id":22732,"slug":22733,"title":22734,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":22735,"thumbUrl":22736,"material":751,"size":752,"collection":95,"collections":22737,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},283641,"shan-shui-tu-chu-tian-qing-xiao-dong-qi-chang-283641","山水图(楚天清晓)",[23,92,24,25,75,50,51,52,53,704,57,152,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e6c5f60900682bcca2421464d12b76.jpg",[],{"id":22739,"slug":22740,"title":22741,"dynasty":18,"author":454,"museum":107,"description":22742,"tags":22743,"thumbUrl":22744,"material":751,"size":752,"collection":95,"collections":22745,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},241456,"ru-ting-duo-xin-jing-zhou-yi-ming-241456","如亭多心经轴","此作用笔灵动秀雅，牵丝映带自然圆融，行书笔意兼具草书流便与楷书端稳，通篇气息舒缓清和，暗合《心经》的禅意内核。章法上纵有列而横无格，字距疏密得宜，行气连贯舒展，将经文空寂禅思融于笔墨流转间。钤印朱红与墨色相映，虚实相生，为整幅添就古雅意趣。笔墨间可见书者静定书写心境，以书法载体诠释般若妙义，尽显文人禅墨交融的审美意趣，是清代禅意书法的雅致之作。",[2135,7,386,60,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F604d1a08a91b1c86dc5b976b8df44d66.jpg",[],{"id":22747,"slug":22748,"title":22749,"dynasty":18,"author":4686,"museum":107,"description":10103,"tags":22750,"thumbUrl":22751,"material":751,"size":752,"collection":95,"collections":22752,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},241358,"jie-lu-du-fu-dong-xi-liang-chuan-shuo-ping-zhao-zhi-qian-241358","节録杜甫东西两川说屏",[7,199,77,25,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba86a0cc8745dcba35170f7e29fc5ae9.jpg",[],{"id":22754,"slug":22755,"title":9940,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":22757,"thumbUrl":22758,"material":751,"size":752,"collection":95,"collections":22759,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":789},241356,"qi-yan-lian-weng-fang-gang-241356","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[7,2136,1613,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2fb9386177a8aea73bb238d2a2eceb7.jpg",[],{"id":22761,"slug":22762,"title":22763,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":22764,"thumbUrl":22765,"material":751,"size":752,"collection":95,"collections":22766,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},241348,"li-bai-gu-shi-juan-zhu-yun-ming-241348","李白古诗卷",[23,92,24,25,49,398,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb1520b7383b91beba04b2b2c7089b36.jpg",[],{"id":22768,"slug":22769,"title":22770,"dynasty":18,"author":22771,"museum":107,"description":22772,"tags":22773,"thumbUrl":22774,"material":751,"size":752,"collection":95,"collections":22775,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},241290,"qi-lv-er-shou-wu-zheng-song-241290","七律二首","邬正淞","嘉庆二十五年澳门同知",[25,7,199,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c436e7fa98e638c44e771b6fba04a77.jpg",[],{"id":22777,"slug":22778,"title":22779,"dynasty":18,"author":22780,"museum":107,"description":22781,"tags":22782,"thumbUrl":22783,"material":751,"size":752,"collection":95,"collections":22784,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},241289,"kai-shu-shi-zha-li-fang-241289","楷书诗札","李芳","李芳，字信甫，江苏武进人。诸生，道光十五年（一八三五）顺天乡试挑取誊录，官海州教谕。工诗，书法二王。尤善画山水，不宗一家，笔意苍厚峻拔，绝无甜輭习气。间写梅竹小品，亦古劲有致。当太平天国之后以忧去官返里，遂不复出。卒年七十七。《毘陵画徵录》",[199,7,2602,312,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff150ff2ec450cd21b0b13d6cea82738e.jpg",[],{"id":22786,"slug":22787,"title":22788,"dynasty":179,"author":12485,"museum":107,"description":16544,"tags":22789,"thumbUrl":22790,"material":312,"size":95,"collection":96,"collections":22791,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},241191,"san-yun-suo-zhi-juan-yang-wei-zhen-241191","三云所志卷",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7bfb98e6404201a97bdef319aaf1e7.jpg",[96],{"id":22793,"slug":22794,"title":22795,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":22796,"thumbUrl":22797,"material":751,"size":752,"collection":96,"collections":22798,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},241173,"qing-ren-ji-jin-ce-chu-ci-jiao-kan-du-zhu-shi-yi-er-ce-qi-ji-ye-weng-fang-gang-241173","清人集锦册-初次校勘杜注拾遗二册讫记页",[7,60,26,77,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567ca0e2d3d58e8209a59408b25229d7.jpg",[96],{"id":22800,"slug":22801,"title":22802,"dynasty":18,"author":3261,"museum":107,"description":16683,"tags":22803,"thumbUrl":22804,"material":751,"size":752,"collection":95,"collections":22805,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},241139,"si-ti-shu-si-tiao-ping-deng-shi-ru-241139","四体书四条屏",[7,75,457,1613,199,60,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6a81abcf00571483b9be3b80fffceb.jpg",[],{"id":22807,"slug":22808,"title":17924,"dynasty":45,"author":6207,"museum":107,"description":22809,"tags":22810,"thumbUrl":22811,"material":312,"size":22812,"collection":96,"collections":22813,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},241085,"shi-zhou-zhang-bi-241085","此书迹用笔、结构和章法娴熟，信手走笔，疾如骤雨，矫若游龙，一气呵气。只是应酬之书，常不满意，故有精粗之分，诚如当年广东书家陈献章所品评：“好到极处，俗到极处。”钤“汝弼”朱文印、“东海翁”白文印记",[7,398,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dfbbad31535790c21e1f5f03730c61e.jpg","纵98.9厘米，橫36.4厘米",[96],{"id":22815,"slug":22816,"title":22817,"dynasty":18,"author":22818,"museum":13786,"description":22819,"tags":22820,"thumbUrl":22821,"material":312,"size":22822,"collection":96,"collections":22823,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},241080,"xi-gang-shi-zhou-xi-gang-241080","奚冈诗轴","奚冈","奚冈(1746—1803) 清代篆刻家、书画家。原名钢，字铁生、纯章，号萝龛、蝶野子，别号鹤渚生、蒙泉外史、蒙道士、奚道士、散木居士、冬花庵主，原籍歙县（今属安徽），一作黟县（今属安徽），寓浙江杭州西湖。不应科举，寄情诗画，山水花石，逸韵超隽。曾游日本，名噪海外。乾隆时，征孝廉方正，辞不就。刻印宗秦、汉，与丁敬、黄易、蒋仁齐名，号西泠四大家。并与陈豫钟、陈鸿寿、赵之琛、钱松合称西泠八家。",[24,25,75,60,398,50,7,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ee8e92d6aec15c20b73f2839311b1e.jpg","143.5×34cm",[96],{"id":22825,"slug":22826,"title":18391,"dynasty":18,"author":10158,"museum":126,"description":22827,"tags":22828,"thumbUrl":22829,"material":22830,"size":22831,"collection":96,"collections":22832,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":40},240911,"qi-jue-zhou-fu-shan-240911","释文：\n黄师塔前江水东，春光懒困倚微风。桃华一簇开无主，可爱深红爱浅红。傅山。\n作品书杜甫《江畔独步寻花七绝句》（之五）。无上款，或为闲时偶书。通篇气韵通达，笔墨纵逸酣畅，章法疏密相间，是傅山连绵草书条幅中的佳构。",[24,25,75,50,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0622685c106cd2f7ee624c3e7397f27.jpg","绢本，草书","纵178.5厘米，横45.5厘米",[96],{"id":22834,"slug":22835,"title":22836,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":22837,"thumbUrl":22841,"material":751,"size":752,"collection":95,"collections":22842,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":100},240825,"jin-nong-you-chan-zhi-si-shi-zhou-jin-nong-240825","金农游禅智寺诗轴",[7,75,60,22838,2135,3479,312,22839,51,3039,14603,652,3040,22840,17076,77,14990,4282,385],"隶书风格","禅寺","日影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10142d08c61c3b53a5e657070fe8e4bf.jpg",[],{"id":22844,"slug":22845,"title":22846,"dynasty":18,"author":7498,"museum":126,"description":22847,"tags":22848,"thumbUrl":22849,"material":312,"size":22850,"collection":96,"collections":22851,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},240451,"zheng-fu-shi-shi-shan-shi-zhou-zheng-fu-240451","郑簠石室山诗轴","此轴书录谢灵运《石室山诗》一首，自识云：“谢灵运石室山诗，己巳秋书为实庵老公祖。谷口郑簠。”钤“郑簠之印”、“脉望楼”印二方，引首钤“书带草堂”印。本幅无藏印。　　“己巳”为清康熙二十八年（1689年），作者时年67岁。\n此轴书法虽仍以《曹全碑》为宗，但去其俏丽而略增雄浑之气，用笔较为粗放，荡规逾矩，别具风彩，具郑簠晚年书法的典型风格。受书人“实庵老公祖”尚不能确考其为何许人，据查清初号实庵者有二，一为黄秀，另一为安丘人曹贞吉，题中所称抑或为其中一人，尚乏足够证据，姑录于此，待考。",[75,7,1613,77,678,51,2739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ccfcac4d0668cf73183bdf6195c6ee.jpg","纵200.2厘米，横98.8厘米",[96],{"id":22853,"slug":22854,"title":22855,"dynasty":18,"author":4686,"museum":107,"description":10103,"tags":22856,"thumbUrl":22857,"material":751,"size":752,"collection":95,"collections":22858,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},240383,"zhuan-shu-ji-jiu-zhang-zhou-zhao-zhi-qian-240383","篆书急就章轴",[7,457,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ffa875be414323908fc8febb72f93c.jpg",[],{"id":22860,"slug":22861,"title":22862,"dynasty":18,"author":22863,"museum":107,"description":22864,"tags":22865,"thumbUrl":22866,"material":95,"size":95,"collection":96,"collections":22867,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},239922,"zhi-lian-shang-ye-wan-cheng-ji-239922","致莲裳页","万承纪","字廉山，一作廉三，号畴五。江西南昌人。早年由宛平到淮上谋生，乾隆五十七年（1792）举人，嘉庆初以军功任知县，官至海防同知，署淮扬道。善于治水。\n少与罗两峰（聘）义，深悟书法。书法以篆体为长，颇似李阳冰，绘画则得北宋诸家之长。又酷好金石，曾缩临所藏汉魏碑，刊于端砚背面，有百种之多，称为百汉碑砚。兼藏古瓷、紫沙名壶、古木雕、古钱、玉翠、奇石等，收藏颇丰。亦富藏书，累积家藏达数千卷，名家集部图书较多。藏书印有“廉山”、“万承纪”、“勿造因”、“紫云山房鉴藏书画印”等。",[25,60,26,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b25430436aa82b4c3f0e977820520b6.jpg",[96],{"id":22869,"slug":22870,"title":22871,"dynasty":179,"author":225,"museum":107,"description":22872,"tags":22873,"thumbUrl":22874,"material":95,"size":95,"collection":95,"collections":22875,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":40},239674,"guan-dao-sheng-chi-du-he-bi-juan-zhao-meng-fu-239674","管道昇尺牍合璧卷","卷首大篆朴拙雄浑，笔力沉厚自带庙堂古意。其后尺牍行书温润雅致，赵孟頫笔下筋骨内含、雍容隽秀，尽显“赵体”圆活遒媚的风神；管道昇书迹清和舒展，柔婉中见刚劲，尽显才女笔底的温婉气度。\n\n此卷为夫妇二人尺牍合璧，墨色清润纸色古雅，鉴藏朱印错落其间，映证着流传的悠长岁月，藏着日常家书里的脉脉温情，尽显元代文人世家的翰墨风雅，是赵氏一门书法家风的鲜活缩影。",[23,49,7,60,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabed06bf27d8cf2c86721842f35d6af2.jpg",[],{"id":22877,"slug":22878,"title":21168,"dynasty":88,"author":8147,"museum":126,"description":22879,"tags":22880,"thumbUrl":22881,"material":312,"size":22882,"collection":96,"collections":22883,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},239580,"zi-shu-shi-juan-cai-xiang-239580","卷尾有宋代蔡伸、杨时、张正民、蒋璨、无名氏、向水，元代张雨、张枢，明代陈朴、匡山凷翁、胡粹中、清代王文治及近代朱文均等十三家题跋。本幅第三首诗题下有小字批语“此一篇极有古人风格”，据杨时题跋称，乃欧阳修所书。鉴藏印记：“贾似道印”、“悅生”、“贾似道图书子子孙孙永保之”、“武岳王图书”、“管延枝印”以及梁清标、清嘉庆内府诸印。\n北宋皇祐二年（1050年），蔡襄罢福建转运使，召还汴京修起居注，遂从福州一路北行，历时半年多。沿途见闻有感于怀者，皆成诗章，此卷所书五言、七言诗11首即是。书写时间当在诗成之后不久，蔡襄时年约40岁。因属个人诗稿，无意求工，故笔致飘逸流畅，点画婉转精美，充分展示了蔡襄中年清健圆润的书风特色与纯熟的功力。近代朱文均赞云：“此册行楷略备，无不臻美。其婉约处极似虞永兴，而温栗不减柳谏议。盖其能博采约举以自成一家书派者。”\n《珊瑚网》、《吴氏书画记》、《平生壮观》、《石渠宝笈三编》、《选学斋书画寓目续记》、《壬寅销夏录》等著录。刻入《秋碧堂》、《经训堂》、《玉虹鉴真》诸帖。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1138c0346fcc0234dc6fd2fd78c4c90a.jpg","纵28.2厘米，横221.2厘米",[96],{"id":22885,"slug":22886,"title":22887,"dynasty":88,"author":454,"museum":126,"description":22888,"tags":22889,"thumbUrl":22890,"material":1038,"size":22891,"collection":96,"collections":22892,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},239563,"su-shi-zhi-ping-tie-juan-yi-ming-239563","苏轼治平帖卷","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[23,92,24,25,49,112,60,77,113,7,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a7c8a05232a95dd5232ef0a623b858.jpg","纵29.2厘米，横45.2厘米",[96],{"id":22894,"slug":22895,"title":22896,"dynasty":18,"author":22897,"museum":107,"description":22898,"tags":22899,"thumbUrl":22901,"material":95,"size":95,"collection":96,"collections":22902,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},239228,"hui-shi-ce-hu-zhen-kai-239228","绘石册","胡贞开","[清]字循蜚，号瑟庵，又号皋鹤，别号耳空居士，仁和（今杭州）人。",[24,25,26,27,22900,7,2135,50],"彩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f77c57ed9d3d91b05fec166fdc06af.jpg",[96],{"id":22904,"slug":22905,"title":22906,"dynasty":18,"author":11009,"museum":107,"description":22907,"tags":22908,"thumbUrl":22909,"material":751,"size":752,"collection":95,"collections":22910,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},237353,"zui-zhong-kui-shan-ye-qian-du-237353","醉钟馗扇页","钱杜（1764—1845），程序伯文集作（1763—1844）。初名榆，字叔枚，更名杜，字叔美，号松壶小隐，亦号松壶，亦称壶公，号居士，钱塘（今浙江杭州）人，钱树弟。",[24,25,1250,878,112,50,27,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97718f7c2a87672a517b7bdbb78e2e09.jpg",[],{"id":22912,"slug":22913,"title":4167,"dynasty":18,"author":2653,"museum":8802,"description":18498,"tags":22914,"thumbUrl":22915,"material":95,"size":95,"collection":63,"collections":22916,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},236732,"shan-shui-ce-hua-yan-236732",[24,25,26,50,59,7,77,51,250,1018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d8a277272e0bd38422b7b0429d89611.jpg",[63],{"id":22918,"slug":22919,"title":20505,"dynasty":18,"author":20506,"museum":126,"description":20507,"tags":22920,"thumbUrl":22922,"material":1179,"size":20510,"collection":95,"collections":22923,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},236155,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236155",[24,25,26,27,111,199,7,113,53,56,57,268,22921,9290,12760],"草垛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596a76848924f127315379a1b60f6cb6.jpg",[],{"id":22925,"slug":22926,"title":22927,"dynasty":45,"author":2916,"museum":107,"description":2917,"tags":22928,"thumbUrl":22929,"material":751,"size":752,"collection":95,"collections":22930,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},235771,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-chao-guan-ye-lu-zhi-235771","吴门诸家寿袁方斋三绝册-问潮馆页",[24,25,26,27,51,1018,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5e335faa2aedfa230c9184a6d2514d.jpg",[],{"id":22932,"slug":22933,"title":1290,"dynasty":45,"author":22934,"museum":107,"description":22935,"tags":22936,"thumbUrl":22937,"material":751,"size":752,"collection":95,"collections":22938,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},235476,"hua-hui-ce-qi-xun-235476","戚勋","戚勋 (明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[24,25,26,27,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85aee482046e4ebb9752e5c7e49deac.jpg",[],{"id":22940,"slug":22941,"title":22942,"dynasty":18,"author":830,"museum":107,"description":22943,"tags":22944,"thumbUrl":22945,"material":95,"size":95,"collection":95,"collections":22946,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},235407,"shou-xing-bai-shi-zhou-wu-chang-shuo-235407","寿星拜诗轴","此作用笔极简，左侧淡墨写意勾勒出持杖寿星，宽袍博袖下老者矍铄淡然的神态毕现，留白写意间尽是禅意空寂之美。右侧狂草题书笔力苍劲老辣，金石气扑面而来，以篆籀笔法贯穿书画，线质雄健朴拙，笔墨风貌浑然一体。\n\n书画相映成趣，诗意与画意呼应共生，传递出冲和超逸的世外意趣，尽显诗书画印相融的文人画精髓，将写意美学的冲淡之韵抒发到极致。",[24,25,75,60,50,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c552ee82435f1654619ac4dbb914e6.jpg",[],{"id":22948,"slug":22949,"title":22950,"dynasty":18,"author":454,"museum":107,"description":22951,"tags":22952,"thumbUrl":22953,"material":95,"size":95,"collection":35,"collections":22954,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},235039,"yuan-ji-za-hua-tu-ce-yi-ming-235039","原济杂画图册","此作为山水小品，以淡彩晕染出空濛春山，远峰如烟似雾，淡宕朦胧。垂柳柔丝轻曳，笔致细秀，尽写垂拂之姿。苔石旁高士凭岩静坐，敛神凝睇，似将身心融于林泉烟景之中。\n\n设色清润柔和，山石以淡赭、花青轻扫而成，不作繁复勾勒。左侧题诗与画面相映，诗画交融更添文气。全幅笔法松秀空灵，以简淡笔墨写尽山水清寂淡远之致，将文人寄情林泉、静赏春色的幽怀融于尺幅之间，简淡中见隽永风神，尽显文人画的雅致意境。",[92,24,25,26,50,27,51,113,1919,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff086b9647f1af5e2513b93a9ed806f3b.jpg",[35,218],{"id":22956,"slug":22957,"title":3402,"dynasty":18,"author":411,"museum":126,"description":2145,"tags":22958,"thumbUrl":22959,"material":8265,"size":18615,"collection":95,"collections":22960,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},235004,"yuan-ji-shan-shui-tu-ce-shi-tao-235004",[92,24,25,50,27,59,26,7,77,51,113,704,252,10784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1d5969137e19a3568085176acf242b.jpg",[],{"id":22962,"slug":22963,"title":7673,"dynasty":18,"author":3357,"museum":126,"description":21225,"tags":22964,"thumbUrl":22965,"material":3320,"size":7677,"collection":95,"collections":22966,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},234968,"wu-wai-tian-yuan-tu-ce-kun-can-234968",[24,25,92,26,50,59,60,7,51,57,56,55,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb83a200d601cbbccabe8731da975f46.jpg",[],{"id":22968,"slug":22969,"title":22970,"dynasty":45,"author":9605,"museum":126,"description":9606,"tags":22971,"thumbUrl":22972,"material":488,"size":9609,"collection":95,"collections":22973,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},234812,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xiu-zhu-wu-tu-ye-wen-jia-234812","吴门诸家寿袁方斋三绝册-文嘉修竹坞图页",[24,25,26,27,51,59,132,57,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6272ba27d4700665a7cf4f2657f469af.jpg",[],{"id":22975,"slug":22976,"title":22977,"dynasty":18,"author":20470,"museum":107,"description":22978,"tags":22979,"thumbUrl":22981,"material":95,"size":95,"collection":95,"collections":22982,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},234624,"tao-hua-lu-yu-wan-shan-lang-bao-chen-234624","桃花鲈鱼纨扇","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。\n官御史，卒于家。生前曾疏请开浚太湖七十二溇，当地百姓深受其利；又平反徐察氏冤狱。在贵州，还教当地人民种桑织布。归里后，与山人墨客为友。工诗古文辞，善行、楷书，写生得陈道复、徐渭之法。超纵生疎，别具旨趣。画蟹如生，有郎蟹之目。著有《桃花山馆诗稿》。卒年七十七。事迹收录于《墨香居画识》、《墨林今话》、《朱小茗耐洽谭》、《山东省金石书画展纪略册》。",[24,1250,27,29,137,22980,77,7,60],"鲈鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7cef9325b487e627eace839e064ec50.jpg",[],{"id":22984,"slug":22985,"title":17988,"dynasty":18,"author":22986,"museum":126,"description":22987,"tags":22988,"thumbUrl":22989,"material":1179,"size":17992,"collection":95,"collections":22990,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},234286,"tang-dai-xiao-yuan-xian-yong-tu-ce-tang-dai-234286","唐岱","唐岱小园闲咏图册，绢本设色，25.7×33厘米，共十五开，绘宝亲王弘历《御制小园闲咏》十五首诗意，故宫博物院藏。\n唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。",[24,27,26,7,77,51,57,56,55,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49860ee591171309ea73ae89226743e.jpg",[],{"id":22992,"slug":22993,"title":22994,"dynasty":45,"author":22995,"museum":126,"description":22996,"tags":22997,"thumbUrl":22998,"material":784,"size":22999,"collection":95,"collections":23000,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":40},234251,"gui-fen-tu-deng-fu-234251","归汾图","邓韨","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,24,25,49,27,59,7,51,52,53,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":23002,"slug":23003,"title":23004,"dynasty":45,"author":454,"museum":126,"description":23005,"tags":23006,"thumbUrl":23007,"material":95,"size":95,"collection":95,"collections":23008,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},234213,"dong-zhu-weng-zhu-lan-juan-yi-ming-234213","东渚翁竹兰卷","释文：归君体之示余，大司□东渚公所作兰竹，行笔秀润，意匠闲雅，真合作也。公在本兵，机务藂挫，而能游心翰墨如此，岂真所谓游刃有余地者哉？徵明题。",[23,24,1327,49,7,60,132,139,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18269934aac3e0b357318f647a70291e.jpg",[],{"id":23010,"slug":23011,"title":23012,"dynasty":45,"author":342,"museum":126,"description":23013,"tags":23014,"thumbUrl":23015,"material":1179,"size":23016,"collection":95,"collections":23017,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[23,24,25,49,27,111,59,60,7,51,55,52,53,57,56,58,11404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":23019,"slug":23020,"title":23021,"dynasty":88,"author":23022,"museum":126,"description":23023,"tags":23024,"thumbUrl":23025,"material":184,"size":23026,"collection":95,"collections":23027,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},233851,"he-quan-cao-tang-ke-hua-tu-ye-he-quan-233851","何荃草堂客话图页","何筌","《草堂客话图》为南宋画家何荃所作。画左方松树干上署“辛卯何筌制”五字款。裱边题签“何荃草堂客话图”。对幅李佐贤跋云：“此幅旧题‘何筌《草堂客话》’，系梁蕉林相国笔迹。按筌名画谱无徵，不知此题何所据，然画笔细入毫芒，无微不到而一丝不乱，工雅兼长，洵属宋人真实本领，元以后无此画境矣。”\n图绘乡间草堂两间，绿柳、青松、翠竹环绕其间。左侧屋内两人对坐，一童子侍立院中。右侧亭内一人侧躺，神态悠闲。乡间小路上孩童三三两两，嬉戏游玩。\n何荃，南宋画家，生卒年不详。",[24,25,26,50,27,51,458,52,53,113,56,55,59,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4373cb59dd54263cc79e2110d7f29cec.jpg","24x23cm",[],{"id":23029,"slug":23030,"title":5357,"dynasty":18,"author":411,"museum":126,"description":5358,"tags":23031,"thumbUrl":23032,"material":488,"size":5362,"collection":95,"collections":23033,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},233780,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233780",[24,25,26,60,7,50,27,129,59,113,652,133,9676,57,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b5ac46bfdfbb00f6719c0a94a89517.jpg",[],{"id":23035,"slug":23036,"title":23037,"dynasty":45,"author":441,"museum":126,"description":23038,"tags":23039,"thumbUrl":23040,"material":184,"size":23041,"collection":95,"collections":23042,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},233463,"jian-yue-jiang-qiu-tu-juan-xiang-sheng-mo-233463","剪越江秋图卷","本幅设色，引首陈鸿寿隶书四大字，后隔水有钱楷题记，后幅有载光曾题记。\n项圣谟（1597—1658年），字孔彰，号易庵，又号胥山樵，别号松涛散仙、存存居士，浙江嘉兴人，晚明大收藏家项元汴之孙。家学渊厚，诗画俱佳，于历代诸家多有临习，尤得力于北宋技法与元人神韵，山水、花鸟、人物无不笔墨清隽，格调高雅，是明末不可多得的自成一格的文人画家。",[24,49,51,27,59,5721,252,56,15072,54,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a78a5368103a80910bbda050a2fc172.jpg","纵34.5cm 横688cm",[],{"id":23044,"slug":23045,"title":23046,"dynasty":18,"author":4686,"museum":20,"description":19881,"tags":23047,"thumbUrl":23048,"material":312,"size":95,"collection":95,"collections":23049,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},233186,"hua-hui-ce-hua-hui-ye-zhao-zhi-qian-233186","花卉册-花卉页",[24,25,26,27,29,30,285,239,238,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8a60034e0f2aa9cbe6407d84c18d44.jpg",[],{"id":23051,"slug":23052,"title":19245,"dynasty":45,"author":342,"museum":126,"description":19246,"tags":23053,"thumbUrl":23054,"material":312,"size":19249,"collection":95,"collections":23055,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},232966,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232966",[24,25,26,50,112,60,59,51,56,471,57,55,77,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b54e3625b7677c5c8658c24f38a7ee0.jpg",[],{"id":23057,"slug":23058,"title":19245,"dynasty":45,"author":342,"museum":126,"description":19246,"tags":23059,"thumbUrl":23060,"material":312,"size":19249,"collection":95,"collections":23061,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},232965,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232965",[24,25,26,50,27,51,132,53,54,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35734c7c6d672b6f5eefefc86eaa12a5.jpg",[],{"id":23063,"slug":23064,"title":19245,"dynasty":45,"author":342,"museum":126,"description":19246,"tags":23065,"thumbUrl":23066,"material":312,"size":19249,"collection":95,"collections":23067,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},232963,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232963",[24,25,26,50,60,59,77,7,51,56,251,1283,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c940fc330cc0160f794275869038cac.jpg",[],{"id":23069,"slug":23070,"title":19245,"dynasty":45,"author":342,"museum":126,"description":19246,"tags":23071,"thumbUrl":23072,"material":312,"size":19249,"collection":95,"collections":23073,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},232962,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232962",[24,25,26,50,27,59,60,7,77,51,652,57,458,52,53,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74cf6574391d8f609ec56377466c02c.jpg",[],{"id":23075,"slug":23076,"title":23077,"dynasty":88,"author":89,"museum":107,"description":18027,"tags":23078,"thumbUrl":23079,"material":95,"size":95,"collection":95,"collections":23080,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":207},232792,"seng-run-shi-san-shou-yu-gu-tai-fa-tie-huang-ting-jian-232792","僧润诗三首（郁孤台法帖）",[2601,7,198,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941299fca1627d1df5c2b2fe12f43990.jpg",[],{"id":23082,"slug":23083,"title":23084,"dynasty":179,"author":12757,"museum":107,"description":23085,"tags":23086,"thumbUrl":23091,"material":13508,"size":23092,"collection":95,"collections":23093,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},232637,"mo-lou-shu-can-zhi-tu-cheng-qi-232637","摹楼璹蚕织图","《耕织图》是中国古代为劝课农桑，采用绘图的形式详实记录耕作与蚕织的系列图谱，原为南宋绍兴年间画家楼璹所作，作品得到了历代帝王的推崇和嘉许。此内整理：传元程棨摹楼璹绘本、清康熙三十五年焦秉贞绘、内府刊本（两种）、清雍正时期陈枚彩绘本、清代彩绘本及和刻本，共九种版本。\n南宋绍兴年间于潜县令楼璹绘制的《耕织图》呈献给宋高宗，深得高宗赞赏并获得吴皇后题词。皇上还专门召见他，并将其《耕织图》宣示后宫，一时朝野传诵，从而引发了“耕织图”发展的第一次高潮。社会上接连不断地出现了许多《耕织图》，形成了中国绘画史、科技史、农业史、艺术史中一个独特的现象，成就了中国文化遗产的一大瑰宝。《耕织图》历经近千年流传到世界各地。\n楼璹的《耕织图》又是一卷诗画相配的文学艺术作品，有人将他的诗与南宋诗人范成大的作品相比较，充满田园气息，也有人评价他的作品的内容更像是以农业为主题的农学著作，有人将它与《天工开物》、《农政全书》相媲美。说是一部有韵的农书。\n《耕织图》描绘细致入微又富有艺术感染力，有赖于楼璹对农业生产的长期观察体验和高超的艺术造诣。他在任县令时，跑遍於潜县治十二乡之周边的南门畈、横山畈、方元畈、祈祥畈、对石畈、竹亭畈、敖干畈等大畈，深入田头地角，出入农家，与当地有经验技术的农夫蚕妇研讨种田、植桑、织帛等经验技术得失。尤其难得的是，它在画面上留下的从事农业生产的图像，为研究农业特别是农具留下了无法从文字资料中得到的珍贵资料。例如《灌溉》《一耘》图，绘出了当时使用戽斗、桔槔和龙骨车抽水灌田的情景。从《收割》图中看到的是一幅紧张的割稻场面。《织》和《攀花》等图绘出了当时已经使用的素织机和花织机，使人们能够更形象地了解当时蚕桑及纺织的发展面貌。其中记载的许多耕织知识和生产工具一直沿用至今。\n该图为康熙年间，江南士人进呈南宋楼璹《耕织图诗》，康熙命内廷供奉焦秉贞重绘而成。康熙亲自题序，并为每幅图“制诗一章，以吟咏其勤苦而书之于图”。时著名木刻家朱圭、梅裕凤奉旨镌版印制。本次编辑将楼诗原文、康熙行草释文用简体文字附于图页，方便读者阅读。《御制耕织图》含23幅耕种图和23幅纺织图，每幅图都配有一首诗。这些诗是由康熙皇帝所作。清宫廷画家焦秉贞创作的这些画很大部分是根据南宋楼璹的《耕织图》来创作的，创作时做了调整。",[23,92,24,49,27,111,113,23087,23088,12760,7,23089,23090],"耕织","蚕织","农桑","传统技艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc381aebd2353ed49054ea70b9ec3a5.jpg","32.7X1049",[],{"id":23095,"slug":23096,"title":23097,"dynasty":45,"author":12640,"museum":107,"description":23098,"tags":23099,"thumbUrl":23100,"material":312,"size":23101,"collection":95,"collections":23102,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},231599,"da-mo-mian-bi-tu-song-xu-231599","达摩面壁图","此图所绘达摩形象古朴而虔诚，四周是野草蒙茸的岩洞，达摩身着红衣， 端坐于蒲团之上，正在修行。画心题“问法金銮不顺情，折盖潜向少林行。 若无断臂来承受，辜负如来十万程。”署款“庚子新春写于云间超果精舍。”押 “宋旭之印”、“石门山人”二印。",[23,24,25,75,27,59,878,113,250,53,1177,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":23104,"slug":23105,"title":23106,"dynasty":45,"author":23107,"museum":72,"description":23108,"tags":23109,"thumbUrl":23110,"material":312,"size":23111,"collection":63,"collections":23112,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":40},231414,"bai-yue-tu-leng-qian-231414","白岳图","冷谦","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[24,25,75,50,51,59,57,56,52,53,268,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[63],{"id":23114,"slug":23115,"title":23116,"dynasty":18,"author":3367,"museum":3743,"description":23117,"tags":23118,"thumbUrl":23119,"material":346,"size":23120,"collection":95,"collections":23121,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},231391,"liu-ye-shan-shui-shi-hua-tu-ce-zou-yi-gui-231391","六页山水诗画图册","此册页花卉或重粉点瓣、敷色浓丽；或没骨轻染、淡雅隽逸。此花卉用功颇深，为深入了解绘画对象，邹一桂亲自培植百余种花卉，仔细观察形态特征，获得真切感性认识，使其花卉在他笔下形神兼备、超凡脱俗。",[24,25,26,50,59,51,458,55,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e4b6ea57f63d4747420caa89bdae6.jpg","29×23cm×8",[],{"id":23123,"slug":23124,"title":23125,"dynasty":18,"author":454,"museum":107,"description":23126,"tags":23127,"thumbUrl":23128,"material":95,"size":95,"collection":35,"collections":23129,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":40},230331,"qing-shi-quan-tu-ce-shi-kai-yi-ming-230331","清十犬图册-十开","《十犬图册》是清代画家佚名创作的一幅绢本设色画。\n此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。\n画法工整，具有一定的程式。\n对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[24,25,26,111,27,798,4864,115,250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e2d3c8edc551956dced1e277f84ec6.jpg",[35],{"id":23131,"slug":23132,"title":23133,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":23134,"thumbUrl":23135,"material":751,"size":752,"collection":95,"collections":23136,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},230239,"qi-shu-sheng-zhong-jiao-shi-ji-ye-jin-nong-230239","漆书盛仲交事迹页",[23,7,25,6015,1613,26,2135,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc594439da4b050225b4bde7e8d8f82cf.jpg",[],{"id":23138,"slug":23139,"title":23140,"dynasty":18,"author":3261,"museum":107,"description":8894,"tags":23141,"thumbUrl":23142,"material":751,"size":752,"collection":95,"collections":23143,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},228945,"shi-lv-quan-xiao-si-fu-ping-deng-shi-ru-228945","世虑全消四幅屏",[23,7,1613,12955,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bcc0ef104d2131a7e6e7e9808c7cf7.jpg",[],{"id":23145,"slug":23146,"title":23147,"dynasty":45,"author":744,"museum":107,"description":23148,"tags":23149,"thumbUrl":23150,"material":751,"size":752,"collection":95,"collections":23151,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},228479,"cao-wu-pu-tuan-tang-yin-228479","草屋蒲团","《草屋蒲团图》又名《虚亭听竹图》，是唐伯虎  中晚期创作最为丰富和成熟时期的作品，图绘江南初秋士人蒲团之上晨读之情景。画面环境幽雅清静，给人以深厚、凝重之感，呈现出大自然的生动景象。属于唐氏作品中少见的浑厚、凝重的作品。",[23,24,25,75,50,59,60,7,113,51,132,16643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3366fd1cdf4d4aac38338b2afddae630.jpg",[],{"id":23153,"slug":23154,"title":23155,"dynasty":179,"author":2258,"museum":107,"description":23156,"tags":23157,"thumbUrl":23159,"material":95,"size":95,"collection":95,"collections":23160,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},228058,"ma-xi-tu-zhao-yong-228058","马戏图","此作棕褐绢底上，一众骑手纵马驰骋，热烈图景扑面而来。骏马昂首扬蹄，鬃尾飞动，将奔跃张力尽数铺开；骑手或控马回身，或俯身驯骑，动态鲜活灵动，尽显驯马驰驱的飒爽意气。人物服饰晕染雅致鲜明，胡汉装束兼具，暗合塞上风情。线条劲挺流畅，勾勒出马的矫健筋骨与人的生动情态，朴拙笔触里带着刚健力道。\n\n后附题跋墨色淋漓，笔意苍劲，书画相映成趣，将鞍马游猎的雄健快意定格绢素，古意盎然，尽显此类题材画作的雄浑气度。",[23,92,24,49,27,111,113,1074,23158,7,60,77],"马戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87f7bf4a9f1d905dd707947937bd78f.jpg",[],{"id":23162,"slug":23163,"title":23164,"dynasty":179,"author":1187,"museum":107,"description":23165,"tags":23166,"thumbUrl":23167,"material":95,"size":95,"collection":95,"collections":23168,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},228022,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-228022","萧翼智赚兰亭序图卷","此卷以淡设色铺展传奇掌故，堂内二人对坐，萧翼神色暗藏机锋，辩才老僧浑然不察，朴拙屋舍与枯淡山石衬出沉静古雅氛围，笔意清润简淡，将智赚兰亭的幽微张力隐于画面。后接行书题跋，笔墨秀逸流丽，诗画相映，复现这段秘事的跌宕意趣。全卷诗画合璧，叙事含蓄雅致，尽显元人书画相融的清雅韵致，将暗涌的心机藏于淡然古雅的卷气之中。",[23,24,25,49,27,111,113,7,77,574,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de278903b52c332e06be2ce71661d22.jpg",[],{"id":23170,"slug":23171,"title":11170,"dynasty":88,"author":454,"museum":107,"description":23172,"tags":23173,"thumbUrl":23174,"material":751,"size":752,"collection":95,"collections":23175,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,92,24,25,49,50,27,51,57,56,52,53,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":23177,"slug":23178,"title":23179,"dynasty":88,"author":2907,"museum":107,"description":23180,"tags":23181,"thumbUrl":23182,"material":751,"size":752,"collection":95,"collections":23183,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},227327,"za-shi-tie-shou-juan-liu-duan-wu-ju-227327","杂诗帖手卷六段","南宋吴琚《杂诗帖卷》手卷,以行、草书杂录前人诗句共十则,书于十纸之上,裱为六段,其中数则有缺佚字句。",[23,7,60,49,200,77,2602,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fdb64e7efcad543c74255e4b492a0a.jpg",[],{"id":23185,"slug":23186,"title":23187,"dynasty":162,"author":23188,"museum":107,"description":23189,"tags":23190,"thumbUrl":23191,"material":751,"size":752,"collection":95,"collections":23192,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},227242,"ba-gong-tu-juan-song-mo-ben-chen-hong-227242","八公图卷（宋摹本）","陈闳","此作画家颇与所绘人物颇有争议，现已不完整，只留存了后面六个画像，且卷首的第一个画像，除人物头、官帽、胸部和手是原迹外，其余皆为后人临摹和修补。",[23,92,24,25,49,111,27,113,110,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496e6aebfd254f8dadffa24ed830c6d7.jpg",[],{"id":23194,"slug":23195,"title":23196,"dynasty":162,"author":454,"museum":107,"description":23197,"tags":23198,"thumbUrl":23199,"material":95,"size":95,"collection":96,"collections":23200,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},227218,"wang-bo-ji-di-er-shi-jiu-juan-can-juan-yi-ming-227218","王勃集第二十九卷残卷","唐佚名、王勃集第二十九卷残卷残卷，纵25.2cm，横21.8cm，存十二行，每行十四至十五字不等。乌丝栏界。楮纸色偏灰白，有虫蛀纸背为平安时期日僧书写戒文，复经日本皮纸托裱。",[23,1498,49,7,199,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a5b00e03e821d0cab6ee22783e7428.jpg",[96],{"id":23202,"slug":23203,"title":23204,"dynasty":3087,"author":454,"museum":107,"description":23205,"tags":23206,"thumbUrl":23208,"material":751,"size":752,"collection":95,"collections":23209,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},226531,"diao-zun-mu-zhi-yi-ming-226531","刁遵墓誌","《刁遵墓志》也称《刁惠公墓志》。志文楷书，共二十八行，每行三十二字，原石刻北魏熙平二年（公元五一七年）。清雍正年间在河北省南皮县出土，其一角已残缺。\n此志书法浑穆峻劲，清包世臣评其：“《刁惠公志》最茂密。予尤爱其取势排宕，结体庄和。一波磔，一起落，处处含蓄，耐人寻味，不曾此中问津者，不知也。”风格近《郑文公碑》，是北魏墓志的重要代表作之一。",[23,199,198,7,23207],"墓志","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d4e69474e69d62b66e600a0b276350.jpg",[],{"id":23211,"slug":23212,"title":23213,"dynasty":18,"author":23214,"museum":107,"description":23215,"tags":23216,"thumbUrl":23217,"material":751,"size":752,"collection":95,"collections":23218,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},224541,"qing-ji-yun-qin-ding-si-ku-quan-shu-jian-ming-mu-lu-ji-bu-juan-ji-yun-224541","清纪昀钦定四库全书简明目录（集部）卷","纪昀","卷轴以仿宋式盘绦纹织锦包首，镶嵌青玉轴头，淡绿、浅黄双色绫天头，洒金笺引首，浅黄色绫隔水，海水江牙杂宝纹缥带，上端系青白玉别扦。各卷首末均钤“乾隆御览之宝”，各卷末下方署“臣纪昀恭书”并钤“纪”“昀”朱文联珠小印。\n乾隆帝认为《四库全书总目》卷帙浩繁，不易翻阅，于乾隆三十九年（1774年）命四库馆臣纪昀等另编《四库全书简明目录》。总纂官纪昀等人略去《四库全书》各类总序、小序和存目类各书提要，并将其他各书提要也大加压缩，“只载某书若干卷，注某朝某人撰”，于乾隆四十七年（1782年）汇成《四库全书简明目录》二十卷，进呈御览，由内府收藏。\n纪昀从《四库全书简明目录》中又选出最精要的内容亲笔撰写，只写书名、著者及卷数，略去存目类各书，缮成此精选本。此书无序跋，以经、史、子、集四部分类，类下列细目，每目之下各书分上下两栏书写，以小楷抄成四轴，每轴一卷，从左至右卷为一束，合装于红木书盒内，进呈皇上，以方便乾隆帝出行携带。\n此书装帧技艺精湛，仿宋锦古朴典雅，质地紧密厚实，反映了清内府书籍装潢的艺术风格。",[7,199,3467,77,1498,25,49,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e922250739de2d8cace106951324f5c.jpg",[],{"id":23220,"slug":23221,"title":23222,"dynasty":18,"author":2301,"museum":107,"description":23223,"tags":23224,"thumbUrl":23225,"material":751,"size":752,"collection":95,"collections":23226,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},224113,"lin-lan-ting-qian-long-224113","临兰亭","据款署，此册于戊寅年（1758年）上巳日临于三希堂。",[23,25,7,49,110,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ff6111fae3342a4f814c8ae36a7071.jpg",[],{"id":23228,"slug":23229,"title":23230,"dynasty":88,"author":454,"museum":126,"description":23231,"tags":23232,"thumbUrl":23234,"material":184,"size":23235,"collection":95,"collections":23236,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,92,24,25,49,50,27,51,59,111,60,398,199,7,77,23233,53,56,555,52,116,250],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":23238,"slug":23239,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":23242,"thumbUrl":23244,"material":95,"size":23245,"collection":95,"collections":23246,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},223221,"geng-zhi-tu-ce-jiao-bing-zhen-223221","耕织图册","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,25,111,27,113,797,23243,20441,56,58,12029,7],"耕地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b54d2943eeabde80bb1bd85f146d6f1.jpg","34.7cm×27.7cm",[],{"id":23248,"slug":23249,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":23250,"thumbUrl":23251,"material":95,"size":23245,"collection":95,"collections":23252,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},223220,"geng-zhi-tu-ce-jiao-bing-zhen-223220",[24,4347,111,27,113,11051,6129,20441,10169,7,1498,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda448499cdfbfb8784c38bdefbcaf9a0.jpg",[],{"id":23254,"slug":23255,"title":23256,"dynasty":18,"author":9820,"museum":126,"description":9821,"tags":23257,"thumbUrl":23259,"material":784,"size":9825,"collection":95,"collections":23260,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":40},222784,"hua-niao-ce-ye-04-lang-shi-ning-222784","花鸟册页04",[23,24,92,25,26,111,27,20632,60,7,29,692,30,23258,1177],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af1fe78069d3bb1e3fc5bb35e1c1436.jpg",[],{"id":23262,"slug":23263,"title":23264,"dynasty":45,"author":10912,"museum":126,"description":23265,"tags":23266,"thumbUrl":23267,"material":9104,"size":95,"collection":96,"collections":23268,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":100},222536,"zhi-mei-gong-li-nian-xin-zha-wang-duo-222536","致梅公李年信札","此为米芾《行书三札卷》卷后王铎书法手迹，言其对米海岳书法欣喜欢爱，以至于喜爱的睡不着觉了。\n释文：弟昨为米韩马墨迹夜怀不能寐，天明即繇泥泞访年兄，欲一快也。不意年兄今遣苍头持来，谓恐为燕石。弟展观方二行，辄欣喜欢爱，若对海岳，亲见其运腕走毫也。五百年物，兵火不相之而寿如是。迨毕二启，其笔神淡宕，鸟王金羽戏海以簸扬，飞龙变化生云喷风雨。忽入缕针小家箝法,恶足以拟议也。且留弟斋，饫观数日，以慰輖饥。令较书多方爱护，断不敢油腻亵此宝。乃题为燕石云乎哉。虽然弟不欣喜欢爱则已，既欣喜欢爱，能不嫉妬年兄乎！今夜弟怀如何，又恐不能寐。念一笑。弟王铎顿首顿首 梅公李年兄阁下。",[23,7,60,19315,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b2e89dd052f54067bdc45446f467.jpg",[96],{"id":23270,"slug":23271,"title":23272,"dynasty":45,"author":744,"museum":648,"description":23273,"tags":23274,"thumbUrl":23275,"material":312,"size":23276,"collection":95,"collections":23277,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},222334,"wu-men-bi-shu-shi-zhou-tang-yin-222334","吴门避暑诗轴","释文：\n吴门避暑\n吴门避暑不愁难，绿柳荫浓画舫宽。\n石首鲜呈黄蜡面，杨梅肥绽紫金丸。\n密遮竹叶凉冰檐，散插榴花角黍盘。\n忽报洗天风雨至，一时龙挂万人看。",[23,60,7,77,131,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39006ef32cd0146555aa989f7ec5bcaa.jpg","纵138.2厘米 横31厘米",[],{"id":23279,"slug":23280,"title":23281,"dynasty":45,"author":5463,"museum":126,"description":23282,"tags":23283,"thumbUrl":23284,"material":9681,"size":23285,"collection":96,"collections":23286,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},222060,"shu-qian-chi-bi-fu-zhang-rui-tu-222060","书前赤壁赋","这是一件张氏手书东坡《前赤壁赋》的行书作品，书于明季生产的云母册页上，以淡墨书熟，是功夫欠佳者所不敢办的，也为张氏墨迹中颇不多见的一路。册页在清初被改装为手卷，长近九米，字逾六百，当是晚年作。此卷曾为藏家姚文黛、赵光、王蒙泉所递藏。王蒙泉收藏的张氏墨迹，多且精，如其所藏册页等两种今皆在故宫博物院，亦钤有“文心审定”等印，可资考正。",[23,7,60,398,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85ac220810ce2fc5515833cedccc1c.jpg","30×506cm",[96],{"id":23288,"slug":23289,"title":14629,"dynasty":179,"author":23290,"museum":72,"description":23291,"tags":23292,"thumbUrl":23293,"material":1038,"size":23294,"collection":96,"collections":23295,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},221739,"shu-qi-yan-lv-shi-zhang-kui-221739","张奎","本幅为《元人法书》第十四幅，用笔起伏多变化，在王献之的行书风格中，又融入怀素的笔意。全作挥洒自如，气脉酣畅，间杂章草笔法，益增古朴趣味。",[23,7,25,24,60,50,52,53,55,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf32b20f8ec35220b4a6bb90ac51c54.jpg","24.5×49.1cm",[96],{"id":23297,"slug":23298,"title":23299,"dynasty":88,"author":4981,"museum":4982,"description":4983,"tags":23300,"thumbUrl":23301,"material":312,"size":4988,"collection":95,"collections":23302,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},221479,"da-de-ming-tie-dong-fu-si-bian-e-shou-zuo-zhang-ji-zhi-221479","大德名帖东福寺匾额首座",[23,7,199,18151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ceb67cc1807e44769915d6fb7f0ce5.jpg",[],{"id":23304,"slug":23305,"title":23306,"dynasty":88,"author":6613,"museum":648,"description":23307,"tags":23308,"thumbUrl":23309,"material":312,"size":23310,"collection":95,"collections":23311,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":207},221433,"shi-wen-gao-quan-juan-ou-yang-xiu-221433","诗文稿全卷","欧阳修行书《自书诗文稿卷》，该卷诗文稿包括《欧阳氏谱图序》和《夜宿中书东閤》七律一首。从跋文中可知前者作于公元1055年（至和二年），作者时年四十九岁，后者作于公元1063年（嘉祐八年），时年五十七岁。 卷中钤有宋“中书省印”九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”",[7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdccd4b61c1f80652e006df69e988105b.jpg","纵30.5厘米、横66.2厘米",[],{"id":23313,"slug":23314,"title":23315,"dynasty":162,"author":23316,"museum":107,"description":23317,"tags":23318,"thumbUrl":23319,"material":8815,"size":23320,"collection":802,"collections":23321,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},221104,"shao-run-zhi-lei-ji-e-shi-wei-ze-221104","邵润之诔及额","史惟则","史惟则（生卒年不详），广陵人（今江苏扬州人），官至殿中侍御史，人称史侍御。唐朝著名书法家，其籀、篆、八分，如王公大人，进退有度，与韩择木、蔡有邻、李潮四人称唐世分隶名家。宋陈思《书小史》称其隶书“迫近钟书，发笔方广，字形俊美亦为时重。又善篆籀、飞白”。传世的书迹有《大智禅师碑》等。",[23,1063,198,7,1613,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b681d9301fc4c6b8318b6457f1a0fbf.jpg","64.18×135.47厘米",[802],{"id":23323,"slug":23324,"title":23325,"dynasty":18,"author":23326,"museum":126,"description":23327,"tags":23328,"thumbUrl":23329,"material":33,"size":23330,"collection":171,"collections":23331,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},219689,"bao-shi-chen-xiao-xiang-wan-lan-219689","包世臣小像","万岚","清代学者、书法家、书学理论家，嘉庆十三年举人，官江西新喻知县，因劾去官，工书法，详论古人书法得失，雅重北碑，自成一家之言，著有《小倦游阁文稿》、《安吴四种》。包世臣像取自《清代学者像传》第二集，叶公绰辑，杨鹏秋摹绘。包世臣画像取自安徽省立图书馆民国间编印《安徽先贤像》。",[23,24,25,75,113,27,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf75a381a6b39b8d464187552fea7f2.jpg","157.8x61.5厘米",[171],{"id":23333,"slug":23334,"title":23335,"dynasty":662,"author":6779,"museum":107,"description":20139,"tags":23336,"thumbUrl":23337,"material":79,"size":95,"collection":95,"collections":23338,"showCount":273,"zanCount":882,"manualWeight":39,"mainColor":40},218176,"da-qian-kuang-tu-ce-2-zhang-da-qian-218176","大千狂涂册-2",[24,25,26,50,60,398,113,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec1a29f6db7046fda3f7e1627277b6c.jpg",[],{"id":23340,"slug":23341,"title":23342,"dynasty":18,"author":23343,"museum":442,"description":23344,"tags":23345,"thumbUrl":23346,"material":79,"size":23347,"collection":63,"collections":23348,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},217014,"ruan-yuan-yi-shi-shi-jing-tu-ce-wang-yun-217014","阮元遗事十景图册","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[24,25,26,50,27,59,7,77,51,268,704,57,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42d8d58ef2babc1245f84f09d811166.jpg","27.9x33cm",[63],{"id":23350,"slug":23351,"title":23352,"dynasty":18,"author":454,"museum":107,"description":23353,"tags":23354,"thumbUrl":23355,"material":169,"size":95,"collection":95,"collections":23356,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},216718,"hong-lou-meng-fu-tu-ce-7-yi-ming-216718","红楼梦赋图册-7","墨字如缕，竖排铺陈红楼雅赋；藤蔓牵萦，环伺绽放四时芳华。工笔勾勒的花叶间，粉紫蔷薇含露，明黄秋菊吐蕊，朱红山茶凝香，似将大观园的草木情韵藏于边框。文字的端庄与花卉的柔媚相映成趣，纸间仿佛漫溢着墨香与花香，把赋中铺陈的风月情浓，化作可见的藤蔓缠绕、花叶扶苏。笔触细腻温婉，每一缕藤蔓都似牵系着红楼儿女的情愫，每一朵花皆如映射着书中的青春光影，让观者在图文交融里，轻触那段古典岁月的温柔与怅惘。",[23,24,25,26,27,7,30,667,199,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b36fd312405c5809ae903ea52d05ae.jpg",[],{"id":23358,"slug":23359,"title":23360,"dynasty":18,"author":454,"museum":107,"description":23361,"tags":23362,"thumbUrl":23363,"material":169,"size":95,"collection":95,"collections":23364,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},216715,"hong-lou-meng-fu-tu-ce-9-yi-ming-216715","红楼梦赋图册-9","画面以竖排墨书为骨，字迹娟秀如诉红楼闺阁的细腻心绪。四周粉紫花卉与翠叶藤蔓柔枝轻绕，花瓣含露晕染清雅韵致，似将文字里的春愁、落花叹息凝于方寸。墨色沉静与花色明妍相映，既显文辞深沉，又添画面生机。布局疏密有致，花叶自然舒展包裹规整文字，如红楼繁华与落寞交织，静谧中流淌淡淡怅惘，引人沉浸于古典诗意与怅然之间。",[23,24,25,26,27,199,7,30,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e88ce204479f49300f83d98dcf1159.jpg",[],{"id":23366,"slug":23367,"title":23368,"dynasty":18,"author":411,"museum":442,"description":17010,"tags":23369,"thumbUrl":23370,"material":33,"size":17013,"collection":35,"collections":23371,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},214561,"mo-zui-za-hua-tu-ce-6-shi-tao-214561","墨醉杂画图册-6",[23,92,24,25,26,50,29,140,1175,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576f4adf720f042e76cb0d887900cf4b.jpg",[35],{"id":23373,"slug":23374,"title":23375,"dynasty":18,"author":411,"museum":412,"description":15020,"tags":23376,"thumbUrl":23377,"material":33,"size":15023,"collection":95,"collections":23378,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},214528,"yi-jin-ling-ce-6-shi-tao-214528","忆金陵册-6",[24,25,26,50,27,59,51,115,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b452f3101ec1685c039d9bb4dfd5c6.jpg",[],{"id":23380,"slug":23381,"title":23382,"dynasty":18,"author":411,"museum":412,"description":15020,"tags":23383,"thumbUrl":23384,"material":33,"size":15023,"collection":95,"collections":23385,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":40},214525,"yi-jin-ling-ce-9-shi-tao-214525","忆金陵册-9",[24,25,26,50,59,51,56,58,473,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d0768fdd95790b013468eae8620264.jpg",[],{"id":23387,"slug":23388,"title":23389,"dynasty":162,"author":23390,"museum":20162,"description":23391,"tags":23392,"thumbUrl":23393,"material":5521,"size":23394,"collection":95,"collections":23395,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":100},214308,"shu-sheng-song-lv-xiang-214308","述圣颂","吕向","《述圣颂碑》，正书，十九行三十七字，正面为阴文，有 述圣颂三字。序言由达奚珣撰写，颂词由鲁湘撰写。碑文没有日期，但碑文正面写有创建年份，即 开元十三年（725）六月初九日建，原碑文见于陕西华阴的华岳庙，现存于西安碑林。吕向，字子回，开元十年被召入翰林，以散文家身份侍奉太子和诸王。他被称为 连锦书。",[23,198,7,199,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc618159b86392108e9524ca566ad503b.jpg","158x79",[],{"id":23397,"slug":23398,"title":23399,"dynasty":23400,"author":23401,"museum":20,"description":23402,"tags":23403,"thumbUrl":23404,"material":95,"size":95,"collection":35,"collections":23405,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":23406},203128,"hong-he-tu-zhou-pan-tian-shou-203128","红荷图轴","近代","潘天寿","这幅红荷图以大写意手法绘就，艳红荷花于苍劲墨叶间绽放，色墨对比鲜明却和谐。墨叶以浓淡干湿的笔触挥洒，块面厚重刚健；红荷设色明丽，花瓣线条凝练，花蕊点染生动，与墨色形成刚柔相济之美。构图奇崛，留白与物象交错，营造疏朗而富有张力的空间。画面上方题款笔墨雄健，与画作气韵呼应，印章点缀其间，诗书画印浑然一体，尽显传统文人画精髓。整作兼具视觉冲击力与笔墨意趣，展现独特艺术风貌。",[24,29,130,50,27,134,399,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f8028c0137dfeda04af104fed12651.jpg",[35],"c9bfb6",{"id":23408,"slug":23409,"title":23410,"dynasty":23400,"author":663,"museum":20,"description":23411,"tags":23412,"thumbUrl":23413,"material":95,"size":95,"collection":35,"collections":23414,"showCount":273,"zanCount":39,"manualWeight":39,"mainColor":23415},202843,"ying-tao-tu-zhou-qi-bai-shi-202843","樱桃图轴","这幅画构图简约却意趣盎然。墨线勾勒的竹篮纹理清晰质朴，篮内樱桃以朱砂泼洒点染，色泽浓艳饱满，颗颗似含清甜生机。后方孤石用大写意泼墨法，墨色层次丰富，与鲜红樱桃形成强烈对比，张力十足。左侧题字笔力遒劲，与画面相映成趣，尽显以简驭繁的功力，于日常小景中藏着对生活本真的热爱。",[24,29,50,27,130,250,322,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162f5e3f1a58485979158c16cf98556e.jpg",[35],"b5a389",{"id":23417,"slug":23418,"title":23419,"dynasty":179,"author":9714,"museum":72,"description":23420,"tags":23421,"thumbUrl":23423,"material":79,"size":23424,"collection":95,"collections":23425,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},290939,"qiu-lin-diao-ting-tu-ma-wan-290939","秋林钓艇图","该幅画秋林钓艇，马琬以章草题款，笔法工整。幅上另有陶宗仪隶书题识，正方结字与方笔折刀法，显见魏晋隶书影响。马氏章草与陶氏隶书均以规矩均整见长，充分反映元代之复古书风，与明初云间书家之于古法中求变，颇异其趣。 释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[92,24,25,75,50,51,10302,54,53,17570,23422,2061,7,77],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":23427,"slug":23428,"title":16953,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":23429,"thumbUrl":23430,"material":751,"size":752,"collection":95,"collections":23431,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},290885,"lin-yan-zhen-qing-gao-shen-tie-zhou-dong-qi-chang-290885",[75,7,110,199,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a702c680dd706df23fddda3735574fb.jpg",[],{"id":23433,"slug":23434,"title":23435,"dynasty":179,"author":1324,"museum":72,"description":3821,"tags":23436,"thumbUrl":23437,"material":79,"size":23438,"collection":95,"collections":23439,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},290832,"xiu-zhu-tu-zhou-ni-zan-290832","修竹图轴",[24,25,75,50,132,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F822aa93986d1b9a95aca39bfa639557a.jpg","51x34.5",[],{"id":23441,"slug":23442,"title":23443,"dynasty":179,"author":454,"museum":72,"description":23444,"tags":23445,"thumbUrl":23446,"material":94,"size":23447,"collection":171,"collections":23448,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},290796,"qiu-ting-shu-bi-zhou-yi-ming-290796","秋庭书壁轴","此图绘秋景。庭中一角，高大的枫树与桐树下，文人正在雅玩遣性。一人倚栏赏景，书僮捧册随後。一人挽袖题壁，书僮在后研墨，旁一人立观。两人坐于桐荫，正展卷品赏，旁另有小童数人，或捧卷侍立，或洗茗碗。\n此幅原属一组四张图画，以春、夏、秋、冬四景，分绘文人从事琴、棋、书、画活动。",[24,75,113,27,567,56,3234,6149,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ad887c680e7f8317a1c0bd7c65446a.jpg","133.8x79.9",[171],{"id":23450,"slug":23451,"title":23452,"dynasty":179,"author":2462,"museum":72,"description":7107,"tags":23453,"thumbUrl":23454,"material":79,"size":23455,"collection":95,"collections":23456,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},290733,"xi-ting-shan-se-tu-zhou-ke-jiu-si-290733","溪亭山色图轴",[92,24,50,75,51,55,115,53,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5599533abc3f93415e3489adb2d0e751.jpg","63x34",[],{"id":23458,"slug":23459,"title":23460,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":23461,"thumbUrl":23462,"material":751,"size":752,"collection":95,"collections":23463,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399","山水图（珂罗版）",[23,24,92,50,1328,7,77,59,115,251,53,250,116,6054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],{"id":23465,"slug":23466,"title":23467,"dynasty":88,"author":10876,"museum":72,"description":15990,"tags":23468,"thumbUrl":23469,"material":184,"size":16646,"collection":95,"collections":23470,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},290306,"hua-san-gu-tu-zhou-li-di-290306","画三顾图轴",[24,75,27,113,51,704,57,7,16644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786cbddd82d1b0c3ba31dee2e82c93b7.jpg",[],{"id":23472,"slug":23473,"title":23474,"dynasty":88,"author":11561,"museum":107,"description":20233,"tags":23475,"thumbUrl":23477,"material":751,"size":752,"collection":95,"collections":23478,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},290009,"gong-zhong-hang-le-tu-guo-zhong-shu-290009","宫中行乐图",[92,24,25,1128,1250,27,458,1201,7,77,23476],"行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45931e226c5cd5dd7d12c12b91275f1.jpg",[],{"id":23480,"slug":23481,"title":23482,"dynasty":88,"author":23483,"museum":107,"description":23484,"tags":23485,"thumbUrl":23486,"material":751,"size":752,"collection":95,"collections":23487,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},289946,"jiang-ting-lan-sheng-tu-zhang-xun-li-289946","江亭揽胜图","张训礼","松下一亭子，\n凭栏观江景。\n江上渔舟荡，\n远方山魅影。",[1250,24,92,25,51,50,27,55,54,15072,471,1018,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0181bf5435b11285dd064c91fa37c7f4.jpg",[],{"id":23489,"slug":23490,"title":23491,"dynasty":18,"author":2183,"museum":107,"description":16119,"tags":23492,"thumbUrl":23494,"material":751,"size":752,"collection":95,"collections":23495,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},289916,"du-fu-shi-yi-tu-quan-juan-ding-guan-peng-289916","杜甫诗意图全卷",[23,24,49,50,51,113,54,555,678,56,57,7,77,23493],"诗意图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853d9da5c5ea3102b3bf5f6ad2f01a39.jpg",[],{"id":23497,"slug":23498,"title":23499,"dynasty":18,"author":23500,"museum":107,"description":23501,"tags":23502,"thumbUrl":23503,"material":751,"size":752,"collection":95,"collections":23504,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},289912,"hua-niao-tu-ce-6-zhen-hu-jiu-si-289912","花鸟图册6帧","胡九思","字默轩，吴县（江苏苏州）人。桂子。",[24,25,26,112,50,29,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b94fe3269aa6e1edbb0a3352ea775cc.jpg",[],{"id":23506,"slug":23507,"title":23508,"dynasty":18,"author":294,"museum":107,"description":11801,"tags":23509,"thumbUrl":23510,"material":751,"size":752,"collection":95,"collections":23511,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},289908,"shan-shui-ce-ye-12-kai-shan-shui-ce-ye-dong-gao-289908","山水册页12开-山水册页",[24,4347,27,51,133,52,53,2029,57,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ad83cff15c87a280334ef33beaac0f.jpg",[],{"id":23513,"slug":23514,"title":23515,"dynasty":88,"author":262,"museum":107,"description":23516,"tags":23517,"thumbUrl":23519,"material":751,"size":752,"collection":95,"collections":23520,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},289800,"tao-yuan-ming-yin-gui-tu-li-gong-lin-289800","陶渊明隐归图","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,49,24,92,25,50,27,113,51,56,2684,6129,6054,60,7,23518,4739],"归隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05298e088d2ce0b4073db83257a7a7d7.jpg",[],{"id":23522,"slug":23523,"title":23524,"dynasty":179,"author":12485,"museum":107,"description":23525,"tags":23526,"thumbUrl":23527,"material":751,"size":752,"collection":95,"collections":23528,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},289795,"xing-zhu-zi-wo-ming-yang-wei-zhen-289795","行煮字窝铭","此作是一件长篇条幅，这种书法形式在元末并不多见，在杨维桢的传世作品中也属少数，因此章法布局自有其独特之处。通篇既呈绵密之势又见通达之气。结字或劲健厚阔，或轻盈妍丽，灵动圆活，融合汉隶、章草和二王格局，古澹朴拙之中显示出秀劲挺拔的独特魅力，颇具观赏价值。",[23,7,60,25,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F622f2320bec4b370b042af3f6a1eaaad.jpg",[],{"id":23530,"slug":23531,"title":23532,"dynasty":88,"author":6022,"museum":107,"description":17124,"tags":23533,"thumbUrl":23534,"material":751,"size":752,"collection":95,"collections":23535,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},289564,"xiao-jing-tu-kai-zong-ming-yi-zhang-di-yi-ma-he-zhi-289564","孝经图-开宗明义章第一",[24,92,25,26,27,113,7,199,77,1498,8172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49759540763d1ee76c2102c5c8a4c97.jpg",[],{"id":23537,"slug":23538,"title":23539,"dynasty":88,"author":454,"museum":107,"description":23540,"tags":23541,"thumbUrl":23543,"material":751,"size":752,"collection":95,"collections":23544,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},288959,"mo-wang-qi-han-huai-yin-xiao-xia-tu-yi-ming-288959","摹王齐翰槐荫消夏图","此作图绘槐荫下消夏闲景，高士袒胸斜卧榻上，双目轻阖，将溽暑中松弛酣然的情态刻画入微。榻边小案陈置香炉书卷，衬出主人林下雅致，槐荫如盖，清荫笼住一方清凉，隔绝夏意燥热。\n笔线秀润细劲，设色浅淡明净，衣纹柔婉流转，与家具方硬挺括形成鲜明对照，晕染细腻，将肌肤肌理与织物薄软质感尽皆铺陈。画面清寂悠然，把宋人尚雅的闲居意趣融于尺幅，尽显幽居纳凉的松弛雅韵，藏着旧时文人最熨帖的夏日闲情。",[23,92,24,25,26,27,113,111,110,21275,23542,4739,77,7,574],"消夏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7001083d3da7618380d5002c193cc8c.jpg",[],{"id":23546,"slug":23547,"title":23548,"dynasty":88,"author":3288,"museum":107,"description":23549,"tags":23550,"thumbUrl":23551,"material":751,"size":752,"collection":95,"collections":23552,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},288456,"xue-mei-tu-yang-wu-jiu-288456","雪梅图","此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。",[23,24,92,49,25,50,29,131,1677,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7380b5642da48bacdff84a57a04aa1.jpg",[],{"id":23554,"slug":23555,"title":23556,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":23557,"thumbUrl":23558,"material":751,"size":752,"collection":95,"collections":23559,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},288216,"fang-song-ren-shan-shui-shan-mian-huang-yi-288216","仿宋人山水扇面",[1250,24,25,50,51,110,77,7,57,2028,2684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f7d52323cf8c88c5daffeb8ccd391e.jpg",[],{"id":23561,"slug":23562,"title":23563,"dynasty":18,"author":3261,"museum":107,"description":8894,"tags":23564,"thumbUrl":23565,"material":751,"size":752,"collection":95,"collections":23566,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},288143,"cao-shu-li-zhou-deng-shi-ru-288143","草书立轴",[50,7,398,75,77,298,678,458,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef818dceb705e9d54ca012acd3179626.jpg",[],{"id":23568,"slug":23569,"title":23570,"dynasty":18,"author":15289,"museum":107,"description":23571,"tags":23572,"thumbUrl":23573,"material":751,"size":752,"collection":95,"collections":23574,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},288029,"shan-shui-tu-lin-quan-gao-shi-zhang-zong-cang-288029","山水图(临泉高士)","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[24,25,1328,75,50,59,113,57,56,53,2029,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba40184baacbf9a11bf003631812cec.jpg",[],{"id":23576,"slug":23577,"title":23578,"dynasty":45,"author":17753,"museum":107,"description":23579,"tags":23580,"thumbUrl":23581,"material":751,"size":752,"collection":95,"collections":23582,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},287815,"gu-shu-qi-niao-tu-li-zhou-yuan-shang-tong-287815","古树栖鸟图立轴","袁尚统（1570—1661年后）明代画家。字叔明，江苏苏州人。善画。善画山水、人物、花鸟。山水浑厚，人物野放，多画民间风俗，，作品有浓厚生活气息。",[23,24,25,92,75,50,29,115,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0ebaf1cadc87a2f1a0a5df6e056ae8.jpg",[],{"id":23584,"slug":23585,"title":23586,"dynasty":88,"author":89,"museum":107,"description":17100,"tags":23587,"thumbUrl":23588,"material":751,"size":752,"collection":95,"collections":23589,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":207},287804,"fa-yu-huang-ting-jian-287804","法语",[23,7,198,200,49,60,398,878,77,678,651,845,22675,134,568,4739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c286f95b6d7727f0226168b69d6c59.jpg",[],{"id":23591,"slug":23592,"title":23593,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":23594,"thumbUrl":23595,"material":751,"size":752,"collection":95,"collections":23596,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},287713,"bai-miao-ren-wu-bu-shou-tu-juan-li-gong-lin-287713","白描人物(捕手)图卷",[23,92,24,49,25,112,113,1074,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd2957e9f7dfdd41b376728038cf0b7.jpg",[],{"id":23598,"slug":23599,"title":23600,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":23601,"thumbUrl":23602,"material":751,"size":752,"collection":95,"collections":23603,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},287641,"lao-lian-huo-xu-tu-li-zhou-chen-hong-shou-287641","老莲活须图立轴",[23,24,75,113,250,112,27,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ef134e5fdea008bf16660c0c2ac0b.jpg",[],{"id":23605,"slug":23606,"title":23607,"dynasty":88,"author":308,"museum":107,"description":20983,"tags":23608,"thumbUrl":23609,"material":751,"size":752,"collection":95,"collections":23610,"showCount":232,"zanCount":882,"manualWeight":39,"mainColor":207},287602,"ting-xian-shi-qin-su-shi-287602","听贤师琴",[60,198,7,797,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8942c0b72f3529baf94b6078fa32682d.jpg",[],{"id":23612,"slug":23613,"title":23614,"dynasty":162,"author":1715,"museum":107,"description":23615,"tags":23616,"thumbUrl":23617,"material":751,"size":752,"collection":95,"collections":23618,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},287600,"du-ren-jing-chu-sui-liang-287600","度人经","度人经全称《太上洞玄灵宝无量度人上品妙经》, 是一部道教神学作品。被后世明代《正统道藏》列为开篇经书。号称群经之首、万法之宗、一切法界之源头。是道教太上洞玄灵宝派的核心经典",[7,198,199,386,878,200,6582,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7145e00f50939d2ed654596e5dd57337.jpg",[],{"id":23620,"slug":23621,"title":23622,"dynasty":45,"author":454,"museum":107,"description":23623,"tags":23624,"thumbUrl":23626,"material":751,"size":752,"collection":95,"collections":23627,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},287334,"ming-huang-yi-qi-tu-juan-yi-ming-287334","明皇弈棋图卷","画面以弈棋为引，明皇与仕女对坐枰前，二人蹙眉凝思，指尖似将落未落，把对弈间的静气雅致渲染尽致。旁侧侍女或躬身奉茶，或垂手侍立，柔婉身姿衬出殿内松弛闲淡的氛围。\n\n设色古雅清浅，衣纹线条秀劲温婉，承宋院体人物的精工写实，又具明人笔墨的写意柔润，将唐宫日常的慵懒华贵铺陈开来。\n\n卷后题跋与篆字引首相映成趣，字画合璧，把宫廷雅事的闲情逸趣藏于绢素间，让千年的从容雅致流转至今。",[24,49,27,1986,23625,114,14457,4864,457,7,77,4739],"弈棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9fb8d9737927c943bc5e03748c8434.jpg",[],{"id":23629,"slug":23630,"title":23631,"dynasty":18,"author":23632,"museum":107,"description":23633,"tags":23634,"thumbUrl":23635,"material":751,"size":752,"collection":95,"collections":23636,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},241308,"qing-jin-nong-jing-fu-zhou-wang-biao-zhi-241308","清金农井赋轴","王彪之","此作为典型漆书风貌，用笔方正钝拙，苍古雄奇。正文结体宽博开张，横画沉浑粗重，竖画劲挺细劲，粗细对比强烈，尽显朴拙厚重之态，汉隶醇雅古韵满溢其间。\n\n左侧小字题款灵动疏朗，与正文的沉雄厚实形成动静互补，章法错落有致。整幅金石气充盈，于规整中见奇逸，自出机杼，将碑学古意与个人风骨相融，尽显浑穆高古的独特气韵，把隶书的厚重朴茂诠释得淋漓尽致。",[2135,7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bffe7606c3ea364f3154ddf830fa0f.jpg",[],{"id":23638,"slug":23639,"title":12961,"dynasty":18,"author":14665,"museum":107,"description":23640,"tags":23641,"thumbUrl":23642,"material":23643,"size":23644,"collection":96,"collections":23645,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},241086,"qi-lv-zhou-da-chong-guang-241086","释文：\n比来佳自胜，别去念何如。江上一分手，山中两得书。情随篱菊老，秋与故人踈。燕许无先后，垂名及盛初。答长安友人作书为冉渠老公祖年台笑政。欝岗治弟笪重光。\n下钤：“笪重光印”、“欝岗精舍”、“江上外史”印3方。引首钤“华易□主”印。鉴藏印钤“养臣珍藏”。\n《五律诗》轴是笪重光写给冉渠的一首五言律诗。冉渠即吴湛，字伯其，号冉渠，睢阳(今河南商丘县)人，清代文人，清顺治十五年（1658年）进士，曾在笪重光的家乡镇江为官，汤斌为其撰《江南镇江府海防同知冉渠吴公墓志铭》。 笪重光的同乡著名书法家王文治在其所著《快雨堂题跋》中评笪重光的书法“上至章草，下至苏、米，靡所不习。书格超妙，飘然有凌云之气。”可谓推崇备至。笪重光生活的时代正是董其昌书风最为盛行之时，朝野上下以崇董为时尚，而笪重光的书法更强调师法古人，尤其注重用笔。笪重光书法比较注重用笔，在其所著《书筏》中即云：“横画之发（起笔）笔仰，竖画之发笔俯，撇之发笔重，捺之发笔轻……”此幅作品，点划圆润，运笔灵动自然，师法米芾，信笔任墨，字里行间充满沉着悠游风雅的意韵。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16b47355590f53f076f3bf3c41e3b09.jpg","绫本，行草","纵242.8厘米，横52.5厘米",[96],{"id":23647,"slug":23648,"title":21902,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":23649,"thumbUrl":23650,"material":751,"size":752,"collection":95,"collections":23651,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},241039,"lu-yu-zhou-jin-nong-241039",[75,7,1613,6015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcda2797e759145c4309370f78080f8e2.jpg",[],{"id":23653,"slug":23654,"title":23655,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":23656,"thumbUrl":23657,"material":751,"size":752,"collection":95,"collections":23658,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},240963,"yuan-ji-xing-lu-li-bai-shi-wu-shou-shan-mian-shi-tao-240963","原济行录李白诗五首扇面",[1250,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c2409ed2d25ebe8b2868ad5c269148.jpg",[],{"id":23660,"slug":23661,"title":23662,"dynasty":18,"author":23663,"museum":107,"description":23664,"tags":23665,"thumbUrl":23667,"material":312,"size":95,"collection":96,"collections":23668,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},240889,"wu-lv-zhou-gao-shi-qi-240889","五律轴","高士奇","高士奇（1645～1704年），字澹人，號瓶廬，又號江村。浙江紹興府餘姚縣樟樹鄉高家村（今慈溪匡堰鎮高家村）人，後入籍錢塘（今浙江杭州）。 清代官員、史學家。\n早年家貧。康熙十年（1671年）入國子監，試後留翰林院辦事，供奉內廷。康熙十四年（1675年），授職詹事府錄事，不久升內閣中書，領六品俸薪，住在賞賜給他的西安門內。 高士奇每日為康熙帝講書釋疑，評析書畫，極得信任。康熙十八年（1679年）後，歷任翰林院侍講、侍讀、侍讀學士、《大清一統志》副總裁官、詹事府少詹事。康熙二十八年（1689年）隨帝南巡。冬解職歸裏，居平湖。康熙三十三年（1694年）奉召入京，充《明史》纂修官。康熙三十五年（1696年），三次隨康熙帝西征，深得信賴。翌年，以養母求歸，特授詹事府詹事。康熙四十一年（1702年），升禮部侍郎兼翰林院學士，加正一品，以母老未赴。康熙四十二年（1703年），卒於家，追諡文恪，葬於縣城南郊。\u2028 高士奇是清朝康熙皇帝的近臣，一生效忠於康熙帝，同時也是一位在文史哲諸方面都有貢獻的學者。他平生學識淵博，能詩文，擅書法，精考證，善鑑賞，所藏書畫甚富。著有《左傳紀事本末》《春秋地名考略》《清吟堂全集》《江村銷夏錄》《扈從西巡日錄》《經進文稿》《天祿識餘》《隨輦集》《北墅抱甕錄》《左傳國語輯注》等。",[24,25,75,60,7,77,589,23666],"桐叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a15ff9d4f33fe442ad70f5eda243c9.jpg",[96],{"id":23670,"slug":23671,"title":9940,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":23672,"thumbUrl":23673,"material":751,"size":752,"collection":95,"collections":23674,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},240835,"qi-yan-lian-zheng-ban-qiao-240835",[7,2136,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fba08dc6abe04a53127a166f5036e4e.jpg",[],{"id":23676,"slug":23677,"title":23678,"dynasty":18,"author":411,"museum":126,"description":23679,"tags":23680,"thumbUrl":23681,"material":23682,"size":23683,"collection":96,"collections":23684,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},240405,"zeng-gao-xiang-ke-yin-qi-gu-shi-zhou-shi-tao-240405","赠高翔刻印七古诗轴","释文：\n书画图章本一体，精雄老丑贵传神。秦汉相形新出古，今人作意古从新。灵幻只教逼造化 ，急就草创留天真。非云事迹代不精，收藏鉴赏谁其人。只有黄金不变色，磊盘珠玉生埃尘。凤冈凤冈向来铁笔许何程，安得闽石千百换与君 ，凿开混沌仍人嗔。\n署款：“凤冈高世兄以印章见赠，书谢博笑。清湘遗人大涤子草。”款下钤：“伴个溪”、“大涤子”、“大本堂若极”、“清湘遗人”印。引首印为“痴绝”。\n此书是石涛写给凤冈的一首七言古诗，以感谢赠印一事。凤冈即高翔，工书画，兼擅治印，为扬州八怪之一。\n此书以隶书为框架，并参以行楷的笔法，变化丰富。结字并非刻意安排，却能不求工而自工。行笔的笔画虽非完全顺畅，但笔画之粗细，字之大小，形态各异，因此避免了平板单调之感。整幅书法奇宕劲逸，姿态横生，显示出石涛书法艺术的个性和新意。",[25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc726ac025a860cc95815b28d7aa6044.jpg","绫本，隶书","纵443厘米，横27.6厘米",[96],{"id":23686,"slug":23687,"title":23688,"dynasty":45,"author":342,"museum":72,"description":23689,"tags":23690,"thumbUrl":23691,"material":312,"size":23692,"collection":96,"collections":23693,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},240283,"wen-zheng-ming-wu-lv-shi-zhou-wen-zheng-ming-240283","文徵明五律诗轴","按此诗作于甲戌（一五一四）年冬，见甫田集卷五。题为‘张明远索画，久而未成，岁暮阴寒，雪霰将集，斋居无聊，为写溪山欲雪图，并赋短句’。征明诗课甚勤，不当远录旧作，故书成与诗成之日当甚接近，然亦不必同时。书效黄庭坚，全依山谷法度。是年乙未，征明四十六。\n文征明的书法以功力卓绝见长，成就主要体现在精绝的小楷与潇洒的行书上。其小楷宗二王、欧阳询、智永，法度森严，如《归去来兮辞》（北京故宫）。行、唐、宋名家于一体，端庄而不失风流，逍劲而舒徐有余，刚柔相兼，自成一家。陶宗仪赞其：“如风舞琼花，泉鸣竹润。”如北京故宫藏《西苑诗》。晚年大字习黄庭坚，放纵摆右，骨韵兼得，如苏州博物馆藏《三绝书画》手卷。一生不喜作草书，非不能作，《四体千字文》就写的很精彩，但更偏爱工整一路的书体，这与他自身的性情有关。",[25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadecb45b67a906fc24291dab7a678dd9.jpg","纵191cm，横72.2cm",[96],{"id":23695,"slug":23696,"title":23697,"dynasty":45,"author":454,"museum":107,"description":23698,"tags":23699,"thumbUrl":23700,"material":751,"size":752,"collection":95,"collections":23701,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},240251,"shen-zhou-shi-juan-yi-ming-240251","沈周诗卷","此卷行书笔意舒展灵动，结体随性朴拙，笔墨枯湿浓淡自然过渡，整卷行气贯通，尽显书写时的松弛自在。诗作为自作，将日常闲居、旧友交游的感怀一一入笔，书文相合，把江南文人隐逸散淡的雅趣融于毫端。笔画间带着吴门书派特有的清雅率真，无刻意雕琢的匠气，尽显文人士大夫的随性襟怀，是书意与文心交融的佳构，藏着明代文人日常的雅致意趣。",[23,45,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223c74a515530f9fd4b06cd9a88854ed.jpg",[],{"id":23703,"slug":23704,"title":9940,"dynasty":18,"author":15594,"museum":72,"description":23705,"tags":23706,"thumbUrl":23707,"material":312,"size":23708,"collection":96,"collections":23709,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},240192,"qi-yan-lian-huang-yi-240192","黃易（1744 年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n黃易為詩人黃樹谷之子，曾任監生、官濟寧同知。其父工篆隸，通金石。黃易繼父業，以篆刻著稱於世。隸書摹《校官碑額》，小隸有似《武梁祠題字》。精於博古，喜集金石文字，廣搜碑刻，繪有《訪碑圖》，並著《小蓬萊閣金石文字》等。故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽，與丁敬並稱“丁黃”，為“西泠八家”之一。隸書《警語》，其書筆劃圓潤平實，氣勢宏大，深得古法，是謂大家。\n因為他與丁敬都研究金石學，兼擅篆刻，當時並稱丁黃。何元錫曾將二人印稿合揖成《丁黃印譜》。\n他有小心落墨，大膽奏刀一語，深得篆刻三昧。\n傳世墨跡有《節臨石門頌軸》《隸書軸》等。關於黃易的研究，以“西泠八家”研究學者朱琪的《黃易的生平與金石學貢獻》（《西泠印社重振金石學國際學術研討會論文集》）、《黃易家世考》《黃易字號齋室圖説》系列論文最為深入，並著有《黃易研究》《黃易年譜》等書稿。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。\n卒年五十九。著《小蓬萊閣詩鈔》等。",[7,2136,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2b8856755107c04017ba77501e242.jpg","纵123厘米，横30.5厘米",[96],{"id":23711,"slug":23712,"title":23713,"dynasty":18,"author":411,"museum":126,"description":20419,"tags":23714,"thumbUrl":23715,"material":95,"size":95,"collection":96,"collections":23716,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},240035,"yuan-ji-xi-jin-qiao-shang-zuo-shi-shi-tao-240035","原济西津桥上作诗",[7,60,50,2135,14990,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672cc5593011db22953ce5d243c66d5a.jpg",[96],{"id":23718,"slug":23719,"title":9940,"dynasty":18,"author":23720,"museum":107,"description":23721,"tags":23722,"thumbUrl":23723,"material":95,"size":95,"collection":96,"collections":23724,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},239944,"qi-yan-lian-tang-yi-fen-239944","汤贻汾","汤贻汾（1778—1853）， 字若仪，号雨生、琴隐道人，晚号粥翁，武进（今江苏常州）人。清代武官、诗人、画家。以祖、父荫袭云骑尉，授扬州三江营守备。擢浙江抚标中军参将、乐清协副将。与林则徐友契，与法式善、费丹旭等文人墨客多有交游。晚寓居南京，筑琴隐园。精骑射，娴韬略，精音律，且通天文、地理及百家之学。书负盛名，为嘉道后大家。工诗文，书画宗董其昌，闲淡超逸，画梅极有神韵。其妻董婉贞也为当时著名画家。太平攻破金陵时，投池以殉，谥忠愍。著有《琴隐园诗集》、《琴隐园词集》、《书荃析览》、杂剧《逍遥巾》等。",[2135,7,2136,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9db5f11392bde62c7c395247f41ec9f.jpg",[96],{"id":23726,"slug":23727,"title":23728,"dynasty":18,"author":22863,"museum":107,"description":23729,"tags":23730,"thumbUrl":23731,"material":751,"size":752,"collection":95,"collections":23732,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},239923,"shi-cheng-lian-shang-ye-wan-cheng-ji-239923","诗呈莲裳页","万承纪（1766～1826）清篆刻家、书法家、藏书家。字廉山，一作廉三，号畴五。江西南昌人。早年由宛平到淮上谋生，乾隆五十七年（1792）举人，嘉庆初以军功任知",[7,60,77,26,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806d87b102f82c10a37d7e660e6c0063.jpg",[],{"id":23734,"slug":23735,"title":23736,"dynasty":179,"author":6867,"museum":107,"description":23737,"tags":23738,"thumbUrl":23741,"material":751,"size":752,"collection":95,"collections":23742,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},239909,"wu-kuan-hang-zhou-lu-kai-yuan-gong-bei-ming-guang-mo-zi-zhou-jun-jie-he-juan-zhang-yu-239909","无款杭州路开元宫碑铭、广莫子周君碣合卷","张雨（1283--1350），字伯雨，一字天雨，号句曲外史。年二十余弃家为道士，道名嗣真，道号贞居子。他的书法初学赵孟頫。后在赵氏指点下上追李邕，并旁涉怀素、米芾。风格清虚雅逸，有晋、唐遗意。张雨书性极高，他能从赵氏入而又不被师囿，变赵氏的雍容平和为神骏卿遒，有明显的个人风格。",[23,3477,49,60,7,77,23739,23740,385,312],"碑铭","碣文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0a0ce1827d9ab4f0ab898891d9c053.jpg",[],{"id":23744,"slug":23745,"title":23746,"dynasty":18,"author":23747,"museum":107,"description":23748,"tags":23749,"thumbUrl":23750,"material":751,"size":752,"collection":95,"collections":23751,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":23752},239880,"lin-shi-men-song-zhou-ba-wei-zu-239880","临石门颂轴","巴慰祖","巴慰祖，清（一七四四―一七九三）字予藉，一字子安，号晋堂，一作隽堂，又号莲舫，徽州歙（今黄山市歙县）人。清代篆刻家，他有《四香堂摹印》《百寿图印谱》留传，能得汉印精髓。过去因他作品极少而被列为皖派，但在战后发现的原印看来，与程邃的风格是不同的。",[7,75,110,1613,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa052d35779b8a4d077f31b98e7cae51a.jpg",[],"FDD835",{"id":23754,"slug":23755,"title":23756,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":23757,"thumbUrl":23758,"material":95,"size":95,"collection":96,"collections":23759,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},239876,"qiu-xing-ba-shou-juan-zhu-yun-ming-239876","秋兴八首卷",[23,25,7,398,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ace7cf998ea76b631e4be7d1ea62b0.jpg",[96],{"id":23761,"slug":23762,"title":23763,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":23764,"thumbUrl":23765,"material":95,"size":95,"collection":96,"collections":23766,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},239799,"qiu-xing-shi-juan-zhu-yun-ming-239799","秋兴诗卷",[23,92,24,25,49,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d73729556600172b0b9a6469a39c49.jpg",[96],{"id":23768,"slug":23769,"title":9940,"dynasty":18,"author":6849,"museum":107,"description":23770,"tags":23771,"thumbUrl":23772,"material":95,"size":95,"collection":96,"collections":23773,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},239693,"qi-yan-lian-zuo-zong-tang-239693","左宗棠（1812年~1885年），字季高、朴存，号上农人，湖南湘阳人。道光十二年举人，后三试礼部不第，在家深究经世之学十余年，后官浙江巡抚，咸、同间以四品京堂统军，镇压了太平军及西北回民军等，屡建战功。累官总督、拜东阁大学士，封恪靖候。",[7,2136,60,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a84a5f0a409461c55369f8c0c1f5fd.jpg",[96],{"id":23775,"slug":23776,"title":23777,"dynasty":18,"author":10158,"museum":126,"description":23778,"tags":23779,"thumbUrl":23780,"material":312,"size":23781,"collection":96,"collections":23782,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},239692,"meng-hao-ran-shi-juan-fu-shan-239692","孟浩然诗卷","此卷书录唐代诗人孟浩然“与诸子登岘山”等诗十八首（草书孟浩然诗卷释文），全卷凡三接纸，共书114行，末识：“张山人钺持此纸要书，雪中惜研上余墨，孟诗十八首与之。”款署“山”，下钤“傅山私印”。本幅无藏印，具体书写时间不详。\n傅山在书法艺术上主张“宁拙毋巧，宁丑毋媚，宁支离毋轻滑，宁真率毋安排”。此卷书法纵逸奇宕，字与字间不相连属，结字欹正相间，古拙雄健，但笔意相连不断，充分体现了傅山书法艺术之特色，亦是对其书法美学思想作了最好的诠释。此卷向被视为傅山草书中的上乘佳作，代表了傅山中、晚期行草书的最高艺术水平。",[23,7,49,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317ddef1e2911097b3d8d09721605f28.jpg","纵28.2厘米，横394.8厘米",[96],{"id":23784,"slug":23785,"title":23786,"dynasty":179,"author":225,"museum":107,"description":23787,"tags":23788,"thumbUrl":23789,"material":95,"size":95,"collection":95,"collections":23790,"showCount":232,"zanCount":882,"manualWeight":39,"mainColor":40},239677,"yu-ji-ni-zan-shi-han-juan-zhao-meng-fu-239677","虞集 倪瓒诗翰卷","最右榜书沉雄浑厚，力透纸背，四字朴茂开张，尽显浑朴庙堂气象。中段行书圆活遒媚，笔墨温润秀雅，牵丝映带间晋唐风度盎然，诗与书意相融，尽显书画同源的通透造诣。左侧题字，虞集书风端稳清劲，倪瓒笔墨萧散简淡，各彰风骨。\n\n整卷诸家翰墨齐聚，既有赵氏雍容华滋的韵致，又兼具元人题跋的清疏雅致，是元代文人交游的鲜活见证，笔墨流转间尽显元代文人的风雅意趣，堪称元人书法合璧的上乘精品。",[23,92,24,25,49,60,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb447ceff09b77a371857f630f5b2365.jpg",[],{"id":23792,"slug":23793,"title":18756,"dynasty":45,"author":342,"museum":126,"description":23794,"tags":23795,"thumbUrl":23796,"material":312,"size":23797,"collection":96,"collections":23798,"showCount":232,"zanCount":882,"manualWeight":39,"mainColor":40},239658,"xi-yuan-shi-juan-wen-zheng-ming-239658","文征明晚年佳作行草书法欣赏《西苑诗十首》是文征明五十六岁在京任翰林院待诏时所作，均为七律，共十首。描述宫城西以太液池为中心的御苑（即今中南海、北海）景色。此卷书写于甲寅（公元一五五四年）六月十日——距成诗时隔三十年，是年已八十五岁。",[23,92,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8a85d233a102714d554cec20be51a8.jpg","纵28.4厘米 横447.4厘米",[96],{"id":23800,"slug":23801,"title":23802,"dynasty":45,"author":23803,"museum":107,"description":23804,"tags":23805,"thumbUrl":23806,"material":95,"size":95,"collection":96,"collections":23807,"showCount":232,"zanCount":788,"manualWeight":39,"mainColor":40},239595,"yun-hai-tie-ce-ye-yao-guang-xiao-239595","云海帖册页","姚广孝","姚广孝（1335年－1418年），幼名天僖，法名道衍，字斯道，又字独闇，号独庵老人、逃虚子。长洲（今江苏苏州）人。明朝政治家、佛学家，文学家，靖难之役的主要策划者，中国历史上最著名的黑衣宰相。\n姚广孝年轻时在苏州妙智庵出家为僧，精通三教， 与明初儒释道各家学术领袖都有不错的关系。 洪武十五年，被明太祖挑选，以“臣奉白帽著王”结识燕王朱棣，主持庆寿寺，成为朱棣的主要谋士。朱棣靖难第三年，姚广孝留守北平，建议朱棣轻骑挺进，径取南京，使得朱棣顺利夺取南京，登基称帝。以区区燕地一方土地敌全国兵马，且最终获胜，历史上绝无仅有。\n成祖继位后，姚广孝担任僧录司左善世，又加太子少师，被称为“黑衣宰相”。负责迁都事宜，一手规划今日北京城布局。而后在解缙编书失败后又担任了《永乐大典》和《明太祖实录》的最高编撰官，尤其是《永乐大典》，这是他在中国文化历史上的最大贡献。少师晚年，在明初期佛教渐成颓势之际，又担起护教（佛教）之责，整理了反排佛的《道余录》，为佛教史上一件大事。\n永乐十六年（1418年），病逝庆寿寺，追赠荣国公，谥号恭靖。皇帝亲自撰写神道碑铭，并以文臣身份入明祖庙，是明代第一人，也是唯一一人。",[4038,7,60,4347,50,77,25,8896,6769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed2e054e7405a08c614e84465cc31f3.jpg",[96],{"id":23809,"slug":23810,"title":23811,"dynasty":88,"author":308,"museum":126,"description":14621,"tags":23812,"thumbUrl":23813,"material":1038,"size":23814,"collection":96,"collections":23815,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},239571,"xin-sui-zhan-qing-ren-lai-de-shu-tie-he-juan-su-shi-239571","新岁展庆、人来得书帖合卷",[7,60,49,77,432,433,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8873c37e80c5a497c09b89ea5c7aeb53.jpg","前帖纵30.2厘米，横48.8厘米，后帖纵29.5厘米，横45.1厘米",[96],{"id":23817,"slug":23818,"title":23819,"dynasty":45,"author":454,"museum":107,"description":23820,"tags":23821,"thumbUrl":23822,"material":95,"size":95,"collection":95,"collections":23823,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},239529,"wen-jia-shan-shui-tu-juan-yi-ming-239529","文嘉山水图卷","此作用浅绛淡色晕染江南丘壑，以披麻皴写山石肌理，笔致清隽秀雅。长卷铺展平远山水，峰峦缓叠，林麓葱郁，溪谷间云气漫漶，将山居村舍、林塔梵宇轻轻托在烟岚之间。咫尺卷内藏万千丘壑，时而见飞泉漱石，时而见幽居临流，处处皆是文雅意趣。\n\n引首篆书古雅端凝，尾跋笔意萧散，书画相映，尽显文人卧游林泉的隐逸襟怀。整体气息淡和清远，将江南山水的温润灵秀，与文人寄情丘园的闲逸，揉作一卷可游可居的幽境，观之如入桃源尘外。",[23,24,25,49,27,51,59,111,7,457,60,77,56,57,252,268,555,52,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719d03c4d265eba22cd51a1d7c1095f8.jpg",[],{"id":23825,"slug":23826,"title":5945,"dynasty":18,"author":4364,"museum":107,"description":4365,"tags":23827,"thumbUrl":23828,"material":751,"size":752,"collection":95,"collections":23829,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},238475,"hua-hui-tu-ce-jiang-ting-xi-238475",[24,25,26,27,111,139,29,77,692,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f196078632a4bc4585ee6ddf8532651.jpg",[],{"id":23831,"slug":23832,"title":5945,"dynasty":18,"author":4364,"museum":107,"description":4365,"tags":23833,"thumbUrl":23834,"material":751,"size":752,"collection":95,"collections":23835,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},238473,"hua-hui-tu-ce-jiang-ting-xi-238473",[24,25,26,27,111,29,132,137,30,693,692,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38836dc76ab513b9c10859da15da0005.jpg",[],{"id":23837,"slug":23838,"title":7114,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":23839,"thumbUrl":23840,"material":751,"size":752,"collection":95,"collections":23841,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},237618,"hong-ren-shan-shui-ce-hong-ren-237618",[24,25,26,50,59,60,7,77,51,52,250,115,55,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd3963f9cc3e8bb7f5738ddd57592de.jpg",[],{"id":23843,"slug":23844,"title":23845,"dynasty":18,"author":454,"museum":107,"description":23846,"tags":23847,"thumbUrl":23848,"material":751,"size":752,"collection":171,"collections":23849,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},237251,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237251","名臣故事邓旭题颂册","右侧绘仪卫出行，人马错落排布，旗幡猎猎翻卷。武将着彩袍安坐鞍上，随行军士簇拥，仪仗鲜明严整，设色调和古雅，生动铺陈出戎阵煊赫声势，写实中带着装饰意趣。左侧行书题颂笔力苍劲俊逸，笔势辗转跌宕，诗文与绘作呼应，咏叹将帅戍边拓疆的功勋。\n整幅以书画合璧，绘事工写兼具，笔墨题咏相映，既以细腻笔触还原武臣仪仗的肃穆威严，又借题文寄寓褒扬之意，将纪事纪实与文人抒怀融于一处，尽显此类小品书画的雅致意蕴。",[24,25,26,27,111,113,1074,18093,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a3555d2ff0172d17e1a4b781e26e22.jpg",[171,218],{"id":23851,"slug":23852,"title":4167,"dynasty":18,"author":2653,"museum":8802,"description":18498,"tags":23853,"thumbUrl":23854,"material":95,"size":95,"collection":63,"collections":23855,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},236734,"shan-shui-ce-hua-yan-236734",[24,25,26,50,7,60,115,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c1719b75934f6039e6de57868773959.jpg",[63],{"id":23857,"slug":23858,"title":7114,"dynasty":18,"author":1464,"museum":107,"description":6969,"tags":23859,"thumbUrl":23860,"material":751,"size":752,"collection":95,"collections":23861,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},235612,"hong-ren-shan-shui-ce-hong-ren-235612",[24,25,50,59,51,60,7,5721,56,58,556,57,1327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b314950d8ff3a520a30e7311eeaa3f.jpg",[],{"id":23863,"slug":23864,"title":2162,"dynasty":45,"author":23865,"museum":107,"description":23866,"tags":23867,"thumbUrl":23868,"material":95,"size":95,"collection":95,"collections":23869,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},235604,"mei-hua-zhou-wang-qi-235604","王綦","此作以枯淡笔墨绘老梅，主干嶙峋斑驳，皴擦出饱经风霜的古拙质感，枝桠虬曲伸展，错落点缀素梅，清疏淡雅，将寒梅孤高凌冽的风骨尽显。\n\n画面留白肆意，配多幅题诗，书画合璧，以文心衬花魂，把文人寄寓梅中的淡泊狷介缓缓铺陈开来。淡墨写意间不见艳色，却尽是岁寒君子的清雅意韵，简笔藏深情，清冷雅致的梅之精神跃然纸上。",[24,25,75,50,131,115,282,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9267d35915a6580275edec3babb3d516.jpg",[],{"id":23871,"slug":23872,"title":13851,"dynasty":45,"author":11488,"museum":107,"description":23873,"tags":23874,"thumbUrl":23875,"material":95,"size":95,"collection":95,"collections":23876,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},235563,"shou-xing-zhou-guo-xu-235563","这幅作品以淡墨晕染出悠然古雅的氛围。寿星宽袍博带，慈眉善目，笑意隐在松缓的面纹里，尽显长者温厚。仙鹿俯首亲昵依偎，憨态可掬，肩头捧桃童子悄然探身，暗合添寿吉意。\n\n衣纹以铁线描勾勒，笔力劲挺却不失柔婉，简练洒脱地勾勒出织物垂坠质感，虚实留白疏密相宜，淡墨铺陈衬出素雅古拙。题跋行书疏朗，笔意清逸，书画相映相融，不见祝寿俗套，将长生寄寓在日常悠然图景里，兼具笔墨意趣与吉祥寓意，是明代人物画中冲淡平和的文人意趣佳作。",[45,24,25,75,112,50,113,798,10795,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe21837e52af718d4a19316650be5928.jpg",[],{"id":23878,"slug":23879,"title":23880,"dynasty":45,"author":454,"museum":107,"description":23881,"tags":23882,"thumbUrl":23887,"material":95,"size":95,"collection":95,"collections":23888,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},235298,"sun-ai-can-sang-tu-zhou-yi-ming-235298","孙艾蚕桑图轴","以没骨法晕染桑枝，叶片水色清浅柔润，晕透出自然通透的质感，枝桠苍朴舒展，带着山野原生的意趣。桑蚕伏于叶间，身形稚拙灵动，纤毫毕现，将春蚕食叶的日常情态刻画入微。\n画面留白疏朗，搭配清雅题诗，诗画相融，把江南蚕桑的寻常乡景，晕染出文人小品的澹然意趣。笔致简淡无华，却于浅墨轻色之间，将乡野恬然生机尽数铺陈，尽显写生佳作的冲淡幽远之美。",[24,25,75,27,111,23883,23884,23885,23886,7,77],"桑枝","桑叶","桑葚","蚕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F983d4718bb25737f461472c2e21417fd.jpg",[],{"id":23890,"slug":23891,"title":7673,"dynasty":18,"author":3357,"museum":126,"description":21225,"tags":23892,"thumbUrl":23893,"material":3320,"size":7677,"collection":95,"collections":23894,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},234965,"wu-wai-tian-yuan-tu-ce-kun-can-234965",[24,25,92,26,50,59,7,77,51,250,56,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab7e989e6b953554dabccfa86cb3c35.jpg",[],{"id":23896,"slug":23897,"title":23898,"dynasty":18,"author":23899,"museum":126,"description":23900,"tags":23901,"thumbUrl":23904,"material":95,"size":95,"collection":95,"collections":23905,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},234465,"cui-zhu-gu-ting-tie-luo-shen-zhen-lin-234465","翠竹孤亭贴落","沈振麟","沈振[清]字凤池，一作凤墀，吴县（今江苏苏州）人。工写照，兼善写生，及山水、人物，各臻其妙。供奉内廷。\n慈禧太后赐御笔“传神妙手”区额。尝奉勅画马便面二叶，各有宣宗御题三字一曰“飞霞骢”，一曰“翔玉骢”，钤有道光御用方玺。又百鸽图每页书签各名，尽绘物之妙。《寒松阁谈艺琐录、瓯钵罗室书画过目考》",[24,25,23902,50,27,22541,23903,77,7,250,129,111],"贴落","孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4daea092fc768f069f69a9adf8b4ae48.jpg",[],{"id":23907,"slug":23908,"title":16790,"dynasty":18,"author":23909,"museum":107,"description":23910,"tags":23911,"thumbUrl":23912,"material":488,"size":95,"collection":95,"collections":23913,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},234256,"shan-shui-juan-li-shao-ji-234256","李绍箕","李绍箕（1550～1631后）明代画家、诗人。字懋承。华亭（今上海松江）人。其祖父李日章，官按察副使。绍箕少承家学，长于诗文，以太学生官南京鸿胪寺序班，后官江西都昌主簿。擅画山水，师岳父顾正谊，能师承其画风，并因任职南昌，多涉历山川胜景，画艺益进，晚年运笔苍劲，年八十有余尚挥洒不倦。",[23,24,25,49,50,59,7,60,51,251,56,1018,58,6286,553,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1d2d7087f5607236ef25610e823c52.jpg",[],{"id":23915,"slug":23916,"title":23917,"dynasty":45,"author":13842,"museum":126,"description":23918,"tags":23919,"thumbUrl":23920,"material":477,"size":95,"collection":95,"collections":23921,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},234241,"ku-mu-zhu-shi-juan-yao-shou-234241","枯木竹石卷","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。\n姚绶擅长画竹石，这是他的经典代表作品之一。他画竹以学吴镇为主，一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔。",[23,24,49,50,59,7,77,588,132,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ae66c46d72f381107e4f170e614f8e.jpg",[],{"id":23923,"slug":23924,"title":23925,"dynasty":45,"author":13383,"museum":126,"description":23926,"tags":23927,"thumbUrl":23928,"material":477,"size":95,"collection":95,"collections":23929,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},234230,"san-cai-li-qu-tu-juan-zhang-fu-yang-234230","三才理趣图卷","张复阳(1403-1490)，名复，以字行，号南山，浙江平湖人。道士，居浙江洞霄宫一枝堂。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真；草树人物，各臻其妙。",[23,24,25,49,50,51,113,1018,250,252,60,7,59,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d0330ddca90d3c56a5f65f60f97e1f.jpg",[],{"id":23931,"slug":23932,"title":23933,"dynasty":45,"author":454,"museum":126,"description":23934,"tags":23935,"thumbUrl":23936,"material":488,"size":95,"collection":95,"collections":23937,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[23,24,25,49,50,51,113,60,398,7,77,56,53,54,55,116,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":23939,"slug":23940,"title":23941,"dynasty":179,"author":1324,"museum":72,"description":23942,"tags":23943,"thumbUrl":23944,"material":312,"size":23945,"collection":95,"collections":23946,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},232886,"shan-shui-shu-hua-he-bi-quan-juan-ni-zan-232886","山水书画合壁全卷","此画倪瓒六十三岁（西元一三六三年）作。山上长皴，未成折带；远树横点，神似大痴。盖云林本学董源，而又幼于黄公望三十三岁，故不能无影响也。此画本为赠行而作，受画者由水路往会稽，故所画系舟中望两岸之景，受画者为谁，已不可知。上款惟允二字，系画商妄改，借增此画身价。",[23,24,92,49,25,50,59,7,60,51,704,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0bf161896ef34eaf69a1f8b40af91c.jpg","27.82*263.06厘米",[],{"id":23948,"slug":23949,"title":23950,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":23951,"thumbUrl":23952,"material":751,"size":752,"collection":95,"collections":23953,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},232826,"jiao-wen-jiang-yi-zhi-zhai-jing-xin-yi-bing-shou-232826","较文讲艺之斋镜心",[23,18,7,1613,77,1391],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca004c8cfc1dcb906c4369487e6d160.jpg",[],{"id":23955,"slug":23956,"title":21451,"dynasty":18,"author":6275,"museum":107,"description":23957,"tags":23958,"thumbUrl":23959,"material":312,"size":95,"collection":95,"collections":23960,"showCount":232,"zanCount":882,"manualWeight":39,"mainColor":40},232683,"shu-fa-shan-mian-hong-yi-fa-shi-232683","李叔同（1880—1942），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。",[23,25,1250,7,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe109b7d7975d98bad917f068d5f73a5b.jpg",[],{"id":23962,"slug":23963,"title":23964,"dynasty":45,"author":23965,"museum":107,"description":23966,"tags":23967,"thumbUrl":23968,"material":312,"size":23969,"collection":95,"collections":23970,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,24,25,49,50,112,59,77,7,60,51,250,56,704,58,771,471,1678,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":23972,"slug":23973,"title":23974,"dynasty":8749,"author":454,"museum":107,"description":23975,"tags":23976,"thumbUrl":23977,"material":751,"size":752,"collection":95,"collections":23978,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,25,49,27,111,1128,113,458,1074,51,56,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":23980,"slug":23981,"title":23982,"dynasty":18,"author":10437,"museum":107,"description":13996,"tags":23983,"thumbUrl":23984,"material":751,"size":752,"collection":95,"collections":23985,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},230214,"hua-hai-xi-ji-hui-ce-yu-sheng-230214","画海西集卉册",[24,25,26,27,111,29,250,7648,20636,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd37e09a286a4c51cbf60bdd3607ac.jpg",[],{"id":23987,"slug":23988,"title":23989,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":23990,"thumbUrl":23991,"material":751,"size":752,"collection":95,"collections":23992,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},230201,"shu-fa-zhong-tang-he-shao-ji-230201","书法中堂",[23,2135,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e21ba33617a6406960aaa5eadbd0f0.jpg",[],{"id":23994,"slug":23995,"title":23996,"dynasty":18,"author":411,"museum":107,"description":13044,"tags":23997,"thumbUrl":23998,"material":95,"size":95,"collection":95,"collections":23999,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图",[24,25,26,27,51,60,7,77,59,10784,333,56,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg",[],{"id":24001,"slug":24002,"title":24003,"dynasty":45,"author":441,"museum":107,"description":24004,"tags":24005,"thumbUrl":24006,"material":95,"size":95,"collection":95,"collections":24007,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,25,49,50,51,59,77,7,60,57,56,553,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":24009,"slug":24010,"title":24011,"dynasty":88,"author":5882,"museum":107,"description":24012,"tags":24013,"thumbUrl":24014,"material":751,"size":752,"collection":95,"collections":24015,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},227978,"you-jun-shu-shan-tu-juan-ba-wen-liang-kai-227978","右军书扇图卷(跋文)","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元人赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,7,60,49,77,50,25,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5eaef1cd544138440d4dec3fac1cad1.jpg",[],{"id":24017,"slug":24018,"title":24019,"dynasty":88,"author":24020,"museum":107,"description":24021,"tags":24022,"thumbUrl":24023,"material":751,"size":752,"collection":95,"collections":24024,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},227947,"gao-shen-juan-si-ma-ji-227947","诰身卷","司马伋","司马伋，字季思，夏县 （今属山西）人。高宗绍兴八年（一一三八），受诏以司马光族曾孙为右承务郎，嗣光后（《建炎以来系年要录》卷一二一）。",[23,7,49,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff464cca5cd099bcd067dfce8a06a7aa1.jpg",[],{"id":24026,"slug":24027,"title":24028,"dynasty":88,"author":454,"museum":107,"description":24029,"tags":24030,"thumbUrl":24031,"material":751,"size":752,"collection":95,"collections":24032,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},227558,"tai-shang-lao-jun-chang-qing-jing-jing-yi-ming-227558","太上老君常清静经","《太上老君说常清静经》仅五百九十一字。是道教炼养术重要资料之一。《清静经》正文起首一句就是“大道无形”而定了全经格调。经文不讲有为的修养方法，而是要人从心地下手，以“清静”法门去澄心遣欲，去参悟大道。经中以发挥“清静”两字为主，简明地叙述了道家修心养性的基本原则。",[2601,198,7,386,878,113,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a55a663fccbdbdb292e29b83f5122c.jpg",[],{"id":24034,"slug":24035,"title":24036,"dynasty":3087,"author":454,"museum":107,"description":24037,"tags":24038,"thumbUrl":24039,"material":95,"size":95,"collection":95,"collections":24040,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":207},227066,"bei-wei-yuan-zuan-mu-zhi-ming-yi-ming-227066","北魏元纂墓志铭","全称“魏故持节都督恒州诸军事安北将军恒州刺史安平县元公之墓志铭”。孝昌元年（公元525年）岁在鹑首十一月壬寅朔二十日辛酉立，志高70.5，广69.7CM，20行，行21字，正书。1919年在洛阳城北安驾沟村北出土。曾归武进陶兰泉，上虞罗振玉。重刻本首行“安平”二字笔划模糊不清，原石虽微凹而笔划明显，此外二行“名”，三行“与河南”等字，重刻笔划均出格线之外，原石仅三行“河”字微出格线。现藏辽宁省博物馆。",[198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bff73f74d0c1694fb37b70bb5df6e15.jpg",[],{"id":24042,"slug":24043,"title":24044,"dynasty":18,"author":9119,"museum":107,"description":24045,"tags":24046,"thumbUrl":24049,"material":751,"size":752,"collection":95,"collections":24050,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":207},226776,"ge-bei-song-shi-gu-wen-ben-ruan-yuan-226776","阁北宋石鼓文本","清代的阮元曾藏三名碑于阮氏祠堂，其中三碑刻为秦代《泰山碑》、东汉《华山碑》、三国吴《天发神谶碑》。此三碑被阮元列入“金石十件”之中。又有人称为“阮氏三宝”。据资料记载，阮元还曾摹刻过先秦时期的《石鼓文》，书法界称此为籀文的代表。\n篆书（甲骨文和象形文字）也是汉字的肇始。至今发现的先秦刻石文字遗存，最早的要属《石鼓文》，在书法史上属于大篆，也称“籀文”。该刻石于唐初被发现。原石作鼓形，共十石，分别刻有四言诗一首，径约三尺余。内容记述秦国君田猎之事，故又称“猎碣”。曾被弃于陈仓云野，故又称“陈仓十碣”。原石在天兴(今陕西宝鸡)三畤原，历经辗转，今石藏北京故宫博物院。后以拓本行世。阮元曾就《石鼓文》拓本摹刻，置于扬州。",[23,25,7,198,2115,457,2135,24047,24048],"拓印技法","篆书笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c691a01af40ca52290d9ff2049f6876.jpg",[],{"id":24052,"slug":24053,"title":24054,"dynasty":3087,"author":454,"museum":107,"description":9803,"tags":24055,"thumbUrl":24056,"material":751,"size":752,"collection":95,"collections":24057,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},226529,"yuan-zuan-yuan-mu-zhi-yi-ming-226529","元钻远墓志",[23,198,7,199,7713,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6d619fca8afdca5dfad29e0e82973b.jpg",[],{"id":24059,"slug":24060,"title":24061,"dynasty":3087,"author":454,"museum":648,"description":24062,"tags":24063,"thumbUrl":24065,"material":199,"size":24066,"collection":802,"collections":24067,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},226528,"yuan-qin-mu-zhi-yi-ming-226528","元钦墓志","北魏墓志中保存了许多史书未曾记载或载之不详的重要史料，《元钦墓志》为其一种。元钦是恭景穆帝之孙，官至侍中司空公开国侯，赠侍中太师、骠骑大将军、定州刺史。史书记载，公元528年，河北起义军将领葛荣率军进攻洛阳，北魏朝廷为之震动。尔朱荣受遣，率精锐骑兵至邺县，击溃义军，俘杀葛荣。尔朱荣也因此掌握了军政实权，并于同年，杀害无上王元劭、开始平王元子正等十三王及公卿以下两千余人。元钦墓志中的“上天不吊，降祸斯人”即喻元钦是这次政变的受害人之一。",[23,198,7,199,3423,24064,1614,11284],"魏晋南北朝风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b84b33fdb908748824e3060102eb11.jpg","高八二点八厘米，宽八六点一厘米",[802],{"id":24069,"slug":24070,"title":24071,"dynasty":18,"author":6662,"museum":107,"description":24072,"tags":24073,"thumbUrl":24074,"material":95,"size":95,"collection":95,"collections":24075,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},224295,"bai-shi-da-ji-tu-li-shan-224295","百事大吉图","此作用笔纵恣老辣，古松盘曲虬劲，皴擦勾勒间尽显苍古拙朴之意，团簇的松针以浓墨点染，蓬勃生机扑面而来。独立松枝的雄鸡兼工带写，浓墨点染头颈尾羽，淡墨晕染躯干，寥寥数笔便将雄鸡引吭长鸣的英武之态勾勒传神。\n画面借松、鸡谐音承载吉祥意趣，将文人写意的疏放与世俗吉庆寓意相融，笔墨挥洒间脱略陈规，尽显疏狂意气，是寄情于物、雅俗共赏的写意佳作。",[23,24,25,75,50,129,29,1018,10169,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114f2ba3c8a3d2ff5cb13dc84067253.jpg",[],{"id":24077,"slug":24078,"title":24079,"dynasty":18,"author":24080,"museum":107,"description":24081,"tags":24082,"thumbUrl":24083,"material":95,"size":95,"collection":95,"collections":24084,"showCount":232,"zanCount":882,"manualWeight":39,"mainColor":40},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","关槐","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,24,25,75,27,51,59,651,652,553,2062,9654,7758,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":24086,"slug":24087,"title":24088,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":24089,"thumbUrl":24090,"material":312,"size":95,"collection":802,"collections":24091,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},223275,"fa-tie-hong-yi-fa-shi-223275","法帖",[23,7,199,50,77,2136,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7095a65f0b56772d2c979363e6860997.jpg",[802],{"id":24093,"slug":24094,"title":24095,"dynasty":45,"author":2206,"museum":72,"description":16453,"tags":24096,"thumbUrl":24097,"material":682,"size":24098,"collection":96,"collections":24099,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},222479,"shi-tie-kong-hou-pian-zhu-yun-ming-222479","诗帖《箜篌篇》",[23,7,398,200,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebf9d1756ea1dc16ab54fdb95d54307.jpg","纵36.1厘米,横1147.5厘米",[96],{"id":24101,"slug":24102,"title":24103,"dynasty":45,"author":744,"museum":648,"description":24104,"tags":24105,"thumbUrl":24106,"material":477,"size":24107,"collection":95,"collections":24108,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},222340,"wu-yang-zi-yang-xing-tu-quan-juan-tang-yin-222340","悟阳子养性图全卷","图绘溪水流淌、绿树成荫的幽静之处，有草厅一间，一老者坐于蒲团之上，双手握于膝上，仰望的姿势似观赏远处的大好山水，身旁一桌上置诗书几本，表达出修身养性的意境；卷后有文徵明题《悟阳子诗叙》，二大才子书画合璧，精彩绝伦！",[23,24,25,49,50,60,7,51,113,333,56,250,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458bac5765bb1775c9eeabee74ee5f5.jpg","29.5x103.5cm",[],{"id":24110,"slug":24111,"title":24112,"dynasty":45,"author":2071,"museum":72,"description":24113,"tags":24114,"thumbUrl":24115,"material":682,"size":24116,"collection":95,"collections":24117,"showCount":232,"zanCount":882,"manualWeight":39,"mainColor":40},222203,"fan-ma-tu-zhou-chou-ying-222203","番马图轴","绘一人一马，人物以番帮打扮，尖帽畜须，骏马强壮，眼神清亮。画上题：“天下房星原不动，人间画马亦难逢。当时笔下千金，此是窗前八尺龙。”嘉靖戊午春日书，徵明",[23,24,25,75,111,27,113,1074,7,77,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c04117dd0d485325b0f4634fce12365.jpg","64x35厘米",[],{"id":24119,"slug":24120,"title":24121,"dynasty":45,"author":46,"museum":72,"description":24122,"tags":24123,"thumbUrl":24125,"material":17372,"size":24126,"collection":95,"collections":24127,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},222113,"xing-lin-fei-yan-tu-shen-zhou-222113","杏林飞燕图","《沈周便面画选集》之一。没骨画杏花春燕。幅右款署：沉周戏墨。钤印一：启南。幅右胡师闵楷书题诗：参差茆屋燕飞来，农事方兴社鼓催。斜日半山林影乱，杏花香裹醉人回。款：胡师闵为匏菴老先生书。联钤印：师、闵。收传印记：乾隆御览之宝。",[23,24,1250,50,29,116,24124,77,7],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2248c64a7ff427b5d20f2fffc11318b.jpg","15×44.5cm",[],{"id":24129,"slug":24130,"title":24131,"dynasty":45,"author":46,"museum":20,"description":24132,"tags":24133,"thumbUrl":24134,"material":1179,"size":24135,"collection":95,"collections":24136,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},222096,"liang-jiang-ming-sheng-tu-ce-8-shen-zhou-222096","两江名胜图册8","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,24,25,26,27,51,7,54,1018,458,471,2219,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d2195e006435fbb0a25480c8b44d74.jpg","42.2×23.8厘米",[],{"id":24138,"slug":24139,"title":24140,"dynasty":179,"author":24141,"museum":1830,"description":24142,"tags":24143,"thumbUrl":24144,"material":24145,"size":24146,"collection":95,"collections":24147,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":100},221786,"yuan-zhen-zeng-fa-yin-da-he-shang-wei-bing-zhi-zheng-da-shi-shi-hao-chi-shu-xiao-ye-dao-feng-221786","円珍赠法印大和尚位并智证大师諡号勅书","小野道风","延历寺第十代住持增命和尚圆寂时，由朝廷赐予「静观」之谥号，同时，增命之师、已故之圆珍（814－891）和尚则被升晋为僧人中地位最高的「法印大和尚位」，并赐予「智证大师」之谥号。时为延长五年（西元927年），也就是圆珍和尚圆寂后第三十六年的事。\n本卷即是当时用来宣告醍醐天皇（885－930，897－930在位）御令之诏书。据记载，内文是由藤原博文起稿，小野道风（894－966）誊写。在淡蓝色的纸上，施以淡墨界栏，并以具有量感的浑厚和样化书风及充满气魄的笔势所写成。被视为和样化书法创始者的小野道风，誊写本诏书之时，年　　三十四，正任中务省少内记之职，担当书写诏书或位记的工作（位记指授予官吏位阶时所颁发的文书）。本诏书正面共钤有「天皇御玺」朱文方印十三处，背面有二处。\n圆珍是延历寺第五代住持，也是天台宗寺门派的开山祖师，由于他的努力，才使得园城寺（三井寺）再次兴盛起来。",[23,3477,7,386,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401ef7701286afab6dc5c97da0b82bbb.jpg","彩笺","28.7×156.9;",[],{"id":24149,"slug":24150,"title":24151,"dynasty":162,"author":454,"museum":107,"description":24152,"tags":24153,"thumbUrl":24155,"material":184,"size":24156,"collection":95,"collections":24157,"showCount":232,"zanCount":882,"manualWeight":39,"mainColor":207},221127,"fa-hua-jing-tu-juan-yin-zhi-shi-juan-yi-ming-221127","法华经图卷银纸饰绢","磁青纸如幽邃夜幕，泥金楷书温润饱满，笔致匀净秀雅，尽显唐楷端严整饬的风骨。经文排布齐整工稳，金彩历久弥新，字字饱含肃穆虔敬。\n\n卷首卷尾饰以描金绢本山水纹样，云水晕染柔婉舒展，和经文的庄严肃穆相得益彰，将写经书法与工笔装饰精妙融合。它是唐代写经与工艺美术结合的巅峰之作，既承载着对无上佛法的极致礼敬，也尽显盛唐审美雍容华贵的气韵，是兼具宗教价值与艺术价值的传世瑰宝。",[23,878,49,386,7,27,113,9635,24154],"银纸饰绢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a9e3a5b4749f26eadccebf6fe6eb2.jpg","21.2×325",[],{"id":24159,"slug":24160,"title":5462,"dynasty":45,"author":1313,"museum":701,"description":24161,"tags":24162,"thumbUrl":24163,"material":60,"size":24164,"collection":95,"collections":24165,"showCount":232,"zanCount":882,"manualWeight":39,"mainColor":40},220947,"xing-shu-zhou-dong-qi-chang-220947","画心纵长175.9厘米，横46厘米\n\n立轴、绫本。这轴行书取法晋唐，用笔十分精到，内涵丰富，在笔的运动中完成点画的各种形态，\n\n气贯韵满，虚实结合，由此生动变化而曲尽其妙。书法结体上讲究精微、紧密而有势；在章法上则讲究\n\n疏密相间，以字距大、行距大形成疏朗的调子，将结体的美与行间的空白产生有与无的对比，因而造成",[25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65dd1225c7182139c2bf49e99a424309.jpg","179.5×46cm",[],{"id":24167,"slug":24168,"title":24169,"dynasty":18,"author":24170,"museum":107,"description":24171,"tags":24172,"thumbUrl":24173,"material":169,"size":95,"collection":95,"collections":24174,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":24175},217251,"li-dai-di-wang-zhen-xiang-12-yao-wen-han-217251","历代帝王真像-12","姚文瀚","姚文瀚的《历代帝王真像图》是一部巨著，包含了从秦始皇到清朝乾隆帝的220位帝王的真像。这幅画卷以宫廷内务府的资料为基础，经过姚文瀚的精心研究和描绘，每一位帝王的真像都非常逼真，与当时的实际相差无几。\n\n姚文瀚在制作《历代帝王真像图》时，花了超过20年的时间，并且聘请了许多著名的艺术家协助他的工作。最终，他完成了这部传世的巨著，使得我们能够通过这幅画卷了解到中国历史上许多伟大的帝王的长相。",[24,27,111,113,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef501016379c14e39f15917848e020e1.jpg",[],"FF9800",{"id":24177,"slug":24178,"title":24179,"dynasty":18,"author":411,"museum":442,"description":17010,"tags":24180,"thumbUrl":24181,"material":33,"size":17013,"collection":35,"collections":24182,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},214560,"mo-zui-za-hua-tu-ce-7-shi-tao-214560","墨醉杂画图册-7",[23,24,25,26,50,129,29,667,6082,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa2f55a704ff2548d16f954b2f29491.jpg",[35],{"id":24184,"slug":24185,"title":24186,"dynasty":18,"author":411,"museum":412,"description":15020,"tags":24187,"thumbUrl":24188,"material":33,"size":15023,"collection":95,"collections":24189,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":40},214523,"yi-jin-ling-ce-11-shi-tao-214523","忆金陵册-11",[24,50,51,54,56,471,2219,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c9597cb335d0687e04ead266b505f9.jpg",[],{"id":24191,"slug":24192,"title":11383,"dynasty":45,"author":1313,"museum":20,"description":24193,"tags":24194,"thumbUrl":24195,"material":95,"size":95,"collection":63,"collections":24196,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":24197},203456,"fang-gu-shan-shui-ce-dong-qi-chang-203456","这幅册页书画相映，笔墨间流淌着古雅清韵。山水构图简远空灵，山峦以淡墨皴擦出深浅层次，线条如书法般灵动婉转，树木疏朗有致，几间小屋隐于林麓水畔，似藏幽居之趣。墨色清润虚实相生，尽显“平淡天真”的文人意趣，师法宋元而自出机杼，于仿古中见个人笔意。左侧书法笔势流畅，与山水气韵相契，书画互衬更添雅致。整体画面疏秀旷远，仿佛可感林泉之静，尽得文人画逸致风骨。",[23,26,50,59,7,77,51,651,589,652,58,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d5fb0f235db2ee56340f47f4db6f0.jpg",[63],"9e927d",{"id":24199,"slug":24200,"title":24201,"dynasty":45,"author":5607,"museum":20,"description":24202,"tags":24203,"thumbUrl":24205,"material":95,"size":95,"collection":63,"collections":24206,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":24207},203430,"qiu-pu-song-bie-tu-juan-wen-bo-ren-203430","秋浦送别图卷","画面铺展秋浦江天，烟波浩渺间岛屿错落，林木葱茏处隐现亭台。近岸孤舟待发，船帆轻扬，岸边人物揖别，意韵缱绻。远景山峦层叠，云雾氤氲，水色天光交融成一派清旷。笔墨细腻处见工致，山石皴法显肌理，树木点染得法，设色淡雅温润。卷后行书题跋流畅，与画风相得益彰，尽显雅致风神。整卷以景衬情，将送别之怅惘藏于山水幽远，读来如临其境，怅然若失。",[23,24,25,49,27,111,59,7,60,51,54,458,56,53,113,55,24204,2219,5722,268,11164],"岸边景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c20e12301268a7c13276cf69343153.jpg",[63],"c0b095",{"id":24209,"slug":24210,"title":24211,"dynasty":23400,"author":24212,"museum":20,"description":24213,"tags":24214,"thumbUrl":24215,"material":95,"size":95,"collection":35,"collections":24216,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":24217},202880,"shu-hua-cheng-shan-wu-dai-qiu-202880","书画成扇","吴待秋","扇面之上，梅枝虬曲伸展，墨笔皴擦出苍劲老干，古拙中见生机；花朵以粉、黄、白诸色点染，妍丽鲜活，与墨枝相映成趣。旁侧书法笔力遒劲，墨韵流转，与梅花图相得益彰，书画合璧，尽显文人雅趣。整幅作品笔墨灵动，设色清雅，方寸之间疏密有致，意境悠长。",[1250,29,131,27,7,60,24,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb84cc62fca83f03839354a306dbaeebc.jpg",[35],"49524d",{"id":24219,"slug":24220,"title":24221,"dynasty":18,"author":1387,"museum":20,"description":24222,"tags":24223,"thumbUrl":24224,"material":95,"size":95,"collection":95,"collections":24225,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":24226},202724,"shan-shui-hu-shi-tu-zhou-zhu-da-202724","山水湖石图轴","水墨晕染间，孤石嶙峋而立，皴擦笔触勾勒出顽石的苍劲骨力；石侧水仙疏枝淡叶，线条清逸灵动，与冷硬的山石形成柔刚对比。整幅笔墨简括却意韵悠长，清冷孤寂的氛围中，藏着八大山人特有的疏淡孤高之致，寥寥数笔便将物之神韵与心之所感融于一纸，尽显水墨写意的精妙。",[24,50,250,138,129,59,75,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9862c878fa5f27a2cabac8b5d15785b3.jpg",[],"d9d4ce",{"id":24228,"slug":24229,"title":24230,"dynasty":18,"author":3357,"museum":20,"description":24231,"tags":24232,"thumbUrl":24233,"material":95,"size":95,"collection":63,"collections":24234,"showCount":232,"zanCount":39,"manualWeight":39,"mainColor":24235},201780,"xi-shan-wu-jin-tu-juan-kun-can-201780","溪山无尽图卷","这幅长卷以层层递进的山水景致铺展，层岩叠嶂间云雾轻绕，溪流蜿蜒穿过户部，松竹苍劲挺拔，枝桠间透着古拙生机。笔墨上干笔皴擦与湿墨晕染交织，皴法多变，山石纹理厚重，草木葱茏处见细腻。偶有茅亭隐于林间，孤舟泛于水面，禅意与野趣相融，尽显悠远超脱的意境。题字与印章错落有致，书画印合一，更添文人气息。",[24,49,51,59,50,27,54,55,133,267,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99480e5efa74e7e448708e978006b80.jpg",[63],"bcb3aa",{"id":24237,"slug":24238,"title":24239,"dynasty":45,"author":744,"museum":107,"description":24240,"tags":24241,"thumbUrl":24242,"material":751,"size":752,"collection":95,"collections":24243,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},290944,"tao-gu-zeng-ci-tu-zhou-tang-yin-290944","陶穀赠词图轴","陶穀赠词乃一历史故事。相传北宋初年，陶穀出使南唐，时南唐国力弱小，而陶穀态度傲慢，在南唐后主面前出言不逊。南唐臣僚忿而设下圈套，派宫妓秦蒻兰扮做驿吏之女以诱之。原本盛气凌人的陶穀，见到温婉美丽的秦蒻兰之后，不禁为之邪念萌动，曲意奉迎并赠词讨好，变得庸俗不堪，遂败慎独之戒。",[24,75,27,113,114,427,115,250,2187,7,77,111,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5b568319c9d19b4d17df302151bb77.jpg",[],{"id":24245,"slug":24246,"title":4737,"dynasty":45,"author":5954,"museum":107,"description":16570,"tags":24247,"thumbUrl":24248,"material":751,"size":752,"collection":95,"collections":24249,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},290942,"shan-shui-zhou-qian-gu-290942",[24,75,50,51,57,2028,2029,52,53,113,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8400b37a40e904224c5ba0f310bde0b0.jpg",[],{"id":24251,"slug":24252,"title":24253,"dynasty":45,"author":2071,"museum":107,"description":6469,"tags":24254,"thumbUrl":24255,"material":751,"size":752,"collection":95,"collections":24256,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},290874,"shuang-jun-tu-zhou-chou-ying-290874","双骏图轴",[24,92,25,75,113,1074,7,77,27,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2a77ce6946038020ba8298cb1d45bf.jpg",[],{"id":24258,"slug":24259,"title":24260,"dynasty":88,"author":11561,"museum":107,"description":20233,"tags":24261,"thumbUrl":24263,"material":751,"size":752,"collection":95,"collections":24264,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},290862,"song-xian-yuan-xiang-yun-guo-zhong-shu-290862","宋仙苑祥云",[24,1128,26,1127,27,458,51,1200,24262,7,199],"仙真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b803b3fefd4ffe0a21be2109e06ba8b.jpg",[],{"id":24266,"slug":24267,"title":24268,"dynasty":179,"author":1324,"museum":72,"description":24269,"tags":24270,"thumbUrl":24271,"material":79,"size":24272,"collection":95,"collections":24273,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},290840,"zhu-shu-ye-shi-zhou-ni-zan-290840","竹树野石轴","倪瓒作画不喜用色彩，别有一种清淡雅逸的韵味。此幅画修竹二竿，和枯木立于拳石畔，笔墨简率，不但竹叶本身深浅有致，和枯木、拳石间，也有浓淡之别。",[92,24,75,50,704,132,250,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb2d66746059dcafa5dfeec7b960f8c7.jpg","92x37.4",[],{"id":24275,"slug":24276,"title":4167,"dynasty":179,"author":2389,"museum":107,"description":14305,"tags":24277,"thumbUrl":24278,"material":751,"size":752,"collection":95,"collections":24279,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},290791,"shan-shui-ce-cao-zhi-bai-290791",[24,92,25,26,50,59,51,251,55,58,252,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8d4db09053f098e95e9302d75be369.jpg",[],{"id":24281,"slug":24282,"title":24283,"dynasty":18,"author":14852,"museum":107,"description":22503,"tags":24284,"thumbUrl":24285,"material":751,"size":752,"collection":95,"collections":24286,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},290597,"li-ting-lan-ai-zhou-zhang-ruo-cheng-290597","笠亭岚霭轴",[24,75,50,51,55,704,57,77,59,797,7,14010],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce9df91f18d73772922409452cc1e397.jpg",[],{"id":24288,"slug":24289,"title":24290,"dynasty":18,"author":24291,"museum":107,"description":24292,"tags":24293,"thumbUrl":24295,"material":751,"size":752,"collection":95,"collections":24296,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},290561,"jian-zhu-song-tao-tu-zhou-xu-yang-290561","涧筑松涛图轴","徐扬","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[92,24,75,27,51,1018,458,53,57,266,116,77,7,24294,59],"抚琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6cb454f41bf6374bb68c5dcaf9e50d.jpg",[],{"id":24298,"slug":24299,"title":24300,"dynasty":179,"author":5300,"museum":107,"description":24301,"tags":24302,"thumbUrl":24304,"material":751,"size":752,"collection":95,"collections":24305,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},290440,"dan-tai-chun-xiao-tu-ke-luo-ban-lu-guang-290440","丹台春晓图（珂罗版）","此图绘远处层峦叠嶂，树木繁茂，山涧中房舍数问，炼丹石台一座；中景孤桥跨河两岸；近景松姿挺秀于溪岸。该图仿黄公望画风，笔苍墨健，境界缥悠。",[23,24,50,1328,75,458,52,57,8470,7,77,24303],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793d01668f0b27a2d701111d87c14496.jpg",[],{"id":24307,"slug":24308,"title":24309,"dynasty":179,"author":24310,"museum":107,"description":24311,"tags":24312,"thumbUrl":24313,"material":751,"size":752,"collection":95,"collections":24314,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},290347,"xiang-ma-tu-zhou-zhao-lin-290347","相马图轴","赵麟","赵麟，字彦徵。姓赵氏。其先七世祖秀安僖王子偁，盖宋太祖子秦王德芳之后，赐第湖州，子孙遂世居焉。祖考孟頫，故元翰林学士承旨，赠荣禄大夫，江浙等处中书省平章政事，进魏国公，诣文敏。祖妣管氏，赠魏国夫人。考雍故元奉议大夫，同知湖州路总管府事。妣刘氏，封归安县君。麟故元太学生，会试第二名登进士第，承事郎，江浙中书省检校官。季世丧乱，去职闲居东安闾中。大明一统，召天下贤良若干赴京师，上问：朕何以得天下，元何以失天下？众皆愕然。麟生色曰：一主得天下，一主失天下，从古然也。上善其对。以监察御史兼任议律官，受命参与制订律令。洪武元年，以御史出任莒州知州，清藻若冰雪，而性敏才优，遇事辄办。值元末兵燹之后，官廨学宫一切毁废，麟次第营建，规模略备，气象更新，而民间不知有力役之扰，故州人尤颂之。",[24,75,27,113,1074,704,667,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649d1da08ed97b5de64d86c8a402a31f.jpg",[],{"id":24316,"slug":24317,"title":24318,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":24319,"thumbUrl":24320,"material":751,"size":752,"collection":95,"collections":24321,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},290155,"yan-ju-tu-ni-zan-290155","岩居图",[92,24,25,75,50,51,132,704,58,52,53,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c1f4d3c7d03162b0c8ff0c8d1fbbe59.jpg",[],{"id":24323,"slug":24324,"title":24325,"dynasty":179,"author":330,"museum":107,"description":1665,"tags":24326,"thumbUrl":24327,"material":751,"size":752,"collection":95,"collections":24328,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},290061,"yun-lin-xiao-yin-tu-ke-luo-ban-wang-meng-290061","云林小隐图（珂罗版）",[23,92,24,25,49,50,7,60,1328,51,2028,57,2029,6054,1689,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caeca2af59eae88432c0aeed7ad6dfe.jpg",[],{"id":24330,"slug":24331,"title":18692,"dynasty":88,"author":454,"museum":107,"description":24332,"tags":24333,"thumbUrl":24336,"material":751,"size":752,"collection":95,"collections":24337,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},289942,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-289942",",画雪江上大船两只,船之结构及船夫劳作之状被刻画得精妙入微,此图已经裁割.画面已不完整,",[23,24,49,1128,25,3114,11608,24334,1151,7,458,110,24335],"雪霁","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdce44be3bb9a4fc815fe20943e725c8.jpg",[],{"id":24339,"slug":24340,"title":24341,"dynasty":88,"author":1160,"museum":107,"description":16184,"tags":24342,"thumbUrl":24343,"material":751,"size":752,"collection":95,"collections":24344,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},289737,"tian-shan-shi-tuan-shan-zhao-gou-289737","天山诗团扇",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8ad52bc3d2b119a433a060f5ce56f0f.jpg",[],{"id":24346,"slug":24347,"title":24348,"dynasty":88,"author":3014,"museum":107,"description":12632,"tags":24349,"thumbUrl":24352,"material":751,"size":752,"collection":95,"collections":24353,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},289590,"shi-jing-bin-feng-tu-ti-ba-ma-yuan-289590","诗经豳风图（题跋）",[23,49,7,199,576,24350,77,1498,24351],"御题","农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37aab0d7d86d8b6fc5d45dbee8aa827a.jpg",[],{"id":24355,"slug":24356,"title":24357,"dynasty":88,"author":454,"museum":107,"description":24358,"tags":24359,"thumbUrl":24360,"material":751,"size":752,"collection":95,"collections":24361,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},288279,"gui-qu-lai-ci-tu-yi-ming-288279","归去来辞图","此作以诗画合璧，铺陈出隐逸山居的悠然日常。青绿浅设色晕染出远山浅渚、松篁茅堂，笔墨古拙温婉，带着沉静的古雅气质。\n\n画卷分段演绎归乡、雅集诸般场景：或策蹇归来、稚子相迎，或草堂清谈、把盏言欢，仆役往来洒扫，士人凭栏观山，动静之间，尽是园田居的澹泊意趣。题跋与绘事相映，将归园田居的旷达心境，具象为林下幽居的烟火雅事，把隐逸理想揉进古雅山居图景里，悠然意态溢于绢素。",[23,92,24,49,27,113,51,458,56,2074,567,7,60,6054,4739,6129,58,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c04b691699448370c5877a28ea83f.jpg",[],{"id":24363,"slug":24364,"title":24365,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":24366,"thumbUrl":24367,"material":751,"size":752,"collection":95,"collections":24368,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},288276,"fang-song-yuan-zhu-jia-shan-shui-ce-yun-shou-ping-288276","仿宋元诸家山水册",[7,60,77,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e1e01b87c9bd8d5353d15a4e531664.jpg",[],{"id":24370,"slug":24371,"title":24372,"dynasty":18,"author":3067,"museum":107,"description":9355,"tags":24373,"thumbUrl":24374,"material":751,"size":752,"collection":95,"collections":24375,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},288275,"shi-hua-ce-ye-10-zhen-wang-hui-288275","诗画册页10帧",[23,24,50,25,26,51,54,1018,57,7,77,59,6606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7369b0cd92479004403e2a8f52e7ae8.jpg",[],{"id":24377,"slug":24378,"title":24379,"dynasty":18,"author":24380,"museum":107,"description":24381,"tags":24382,"thumbUrl":24383,"material":751,"size":752,"collection":95,"collections":24384,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},288215,"hua-hui-shan-mian-jiang-jie-288215","花卉扇面","江介","汪介，原名鉴，字石如，浙江杭州人。专绘花卉，工于篆刻，著有《墨林今话》、《畊砚田斋笔记》、《广印人传》。",[1250,24,25,27,30,135,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32be83c5e3f73fc46bc98a3387235d3a.jpg",[],{"id":24386,"slug":24387,"title":24388,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":24389,"thumbUrl":24390,"material":751,"size":752,"collection":95,"collections":24391,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},288144,"xing-shu-shi-ce-dong-qi-chang-288144","行书诗册",[7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea43291b2519b328c0b189d8ae93132e.jpg",[],{"id":24393,"slug":24394,"title":24395,"dynasty":18,"author":2653,"museum":107,"description":16156,"tags":24396,"thumbUrl":24397,"material":751,"size":752,"collection":95,"collections":24398,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},288137,"lin-jiang-yuan-tiao-hua-yan-288137","临江远眺",[23,1250,24,50,51,704,250,132,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7734b687bbefac8a3c347f49789a2.jpg",[],{"id":24400,"slug":24401,"title":24402,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":24403,"thumbUrl":24405,"material":751,"size":752,"collection":95,"collections":24406,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},288135,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-288135","仿倪云林古木图",[23,24,50,51,75,110,704,57,471,24404,15125,77,7,4578],"平水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff76a5128c80eb99da06818edf285693f.jpg",[],{"id":24408,"slug":24409,"title":24410,"dynasty":18,"author":526,"museum":107,"description":22650,"tags":24411,"thumbUrl":24413,"material":751,"size":752,"collection":95,"collections":24414,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},288134,"shan-cun-yu-jing-tu-wang-yuan-qi-288134","山村雨景图",[24,25,75,50,51,59,24412,5599,52,53,251,56,58,1752,7,77],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294c5e833fb6388c6d67ccaaee06df6d.jpg",[],{"id":24416,"slug":24417,"title":24418,"dynasty":1609,"author":454,"museum":107,"description":24419,"tags":24420,"thumbUrl":24421,"material":751,"size":752,"collection":95,"collections":24422,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},288113,"han-jian-mo-ji-yi-ming-288113","汉简墨迹","汉代的书法有两大系统，一是碑刻文字，一是简牍墨迹，它们都是在纸未发明以前或未大量使用以前的书籍文献。由于材料不同，书写的工具不同、内容不同，形制不同及书写者的身份不同，因而表现出各自不同的艺术风格。\n汉简书写的文字内容或是书信记事，或是公文报告，因而不拘形迹，草率急就者居多。汉简受简面狭长、字迹小的限制。但章法布局仍能匠心独运，错落有致，随意挥洒。\n汉简的文字，篆、隶、真、行、草（章草）各体具有。汉简在书写思想上没有受到那么多的束缚，因此，表现出丰富的创造力。",[7,1613,19026,1498,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d2c75f1582ee2e8b5fbc556a2e82f2.jpg",[],{"id":24424,"slug":24425,"title":24426,"dynasty":45,"author":9762,"museum":107,"description":24427,"tags":24428,"thumbUrl":24429,"material":751,"size":752,"collection":95,"collections":24430,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},288110,"shu-sun-guo-ting-shu-pu-song-ke-288110","书孙过庭书谱","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。",[7,398,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03af77baa07a5e2497a234d42ebc73e0.jpg",[],{"id":24432,"slug":24433,"title":24434,"dynasty":45,"author":5607,"museum":107,"description":24435,"tags":24436,"thumbUrl":24437,"material":751,"size":752,"collection":95,"collections":24438,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},288104,"shan-shui-tu-ye-wen-bo-ren-288104","山水图页","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[23,24,92,50,51,59,458,56,54,77,7,2029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf7db49b02c17bf4b327893457d6e909.jpg",[],{"id":24440,"slug":24441,"title":24442,"dynasty":45,"author":8163,"museum":107,"description":24443,"tags":24444,"thumbUrl":24445,"material":751,"size":752,"collection":95,"collections":24446,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},288069,"tang-wang-bo-teng-wang-ge-xu-ce-wen-peng-288069","唐王勃滕王阁序册","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。",[7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43474f672b25b4eeff0c022f46b25b33.jpg",[],{"id":24448,"slug":24449,"title":24450,"dynasty":45,"author":454,"museum":107,"description":24451,"tags":24452,"thumbUrl":24453,"material":751,"size":752,"collection":95,"collections":24454,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},287959,"fang-hui-zong-shui-zhong-ya-tu-yi-ming-287959","仿徽宗水中鸭图","淡墨绘双鸭悠游清波，翎羽纹理勾勒精细，水波晕开柔缓涟漪，将水禽自在舒展之态尽显。右侧坡岸汀花水草意态萧疏野逸，带着郊池幽寂之趣。\n\n画作追摹院体写生之致，工细间不失笔墨清简韵致，左侧题字古拙苍劲，书画相映成趣。整体将水禽灵动与汀渚静柔相融，把池沼一隅的安闲澹远定格，尽显古典雅致的写生意趣，晕开平和悠然的宋韵氛围感。",[23,24,49,92,111,50,29,13769,401,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ae8e7f2f631fe0ace89127baa242d3.jpg",[],{"id":24456,"slug":24457,"title":4381,"dynasty":8749,"author":454,"museum":107,"description":24458,"tags":24459,"thumbUrl":24460,"material":751,"size":752,"collection":95,"collections":24461,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},287925,"bo-yuan-tie-yi-ming-287925","枯木虬曲瘦劲，枝桠舒展如篆籀古笔，笔法苍厚朴拙，自带萧散古意。窠石以阔笔皴擦晕染，棱线隐现，浑朴苍润，寥寥杂草轻勾，暗生机趣，简淡中见幽远意境。\n\n右侧题跋行书流丽秀雅，笔势连贯圆融，墨色干湿浓淡相映，笔意舒展自在。书画合璧，尺幅之间融绘事与文心，将文人林下清逸的审美意趣尽显无余，淡而有味，清隽耐看，尽显沉静萧散的文人风骨。",[24,25,7,60,50,115,250,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d81274083973040679a9699e2071f8.jpg",[],{"id":24463,"slug":24464,"title":24465,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":24466,"thumbUrl":24467,"material":751,"size":752,"collection":95,"collections":24468,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},287886,"song-liu-tai-chong-xu-yan-zhen-qing-287886","送刘太冲叙",[7,60,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0754c96a70c6a1ccd3819678a57a3a7e.jpg",[],{"id":24470,"slug":24471,"title":24472,"dynasty":162,"author":194,"museum":107,"description":9803,"tags":24473,"thumbUrl":24474,"material":751,"size":752,"collection":95,"collections":24475,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},287885,"tang-wang-lin-mu-zhi-yan-zhen-qing-287885","唐王琳墓志",[7,199,198,23207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c859ff09d71c7ef0de4e4b68ed0592.jpg",[],{"id":24477,"slug":24478,"title":24479,"dynasty":88,"author":89,"museum":107,"description":17100,"tags":24480,"thumbUrl":24481,"material":751,"size":752,"collection":95,"collections":24482,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},287370,"shou-zha-can-ben-huang-ting-jian-287370","手札残本",[7,398,198,2282,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5de4a906760f0df0bbd45050a6840f99.jpg",[],{"id":24484,"slug":24485,"title":24486,"dynasty":45,"author":24487,"museum":107,"description":24488,"tags":24489,"thumbUrl":24490,"material":751,"size":752,"collection":95,"collections":24491,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},284291,"shui-xian-hu-shi-tu-shan-ye-zou-zhi-lin-284291","水仙湖石图扇页","邹之麟","邹之麟，字臣虎，号衣白、逸老、昧庵，江苏武进人，万历三十八年（1610）进士，明代官员、画家。",[1250,24,50,29,138,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F604c6b45b302abb5c64b6192b7b8d27f.jpg",[],{"id":24493,"slug":24494,"title":24495,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":24496,"thumbUrl":24498,"material":751,"size":752,"collection":95,"collections":24499,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},283773,"shu-shu-yao-cen-tu-zhou-dong-qi-chang-283773","疏树遥岑图轴",[92,24,25,75,50,51,24497,471,58,52,59,77,7],"疏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc04ef9a52bc3588b9795eae91f67593.jpg",[],{"id":24501,"slug":24502,"title":24503,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":24504,"thumbUrl":24505,"material":751,"size":752,"collection":95,"collections":24506,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},283719,"jia-shu-chui-yin-tu-zhou-dong-qi-chang-283719","嘉树垂荫图轴",[24,25,75,50,51,55,57,115,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66b384a91d0ebbfffebf386380377a3.jpg",[],{"id":24508,"slug":24509,"title":24510,"dynasty":45,"author":454,"museum":107,"description":24511,"tags":24512,"thumbUrl":24513,"material":95,"size":95,"collection":802,"collections":24514,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},242186,"tong-zhou-sheng-jiao-xu-yi-ming-242186","同州圣教序","此作为小楷题跋，以行意融楷法，笔致清灵秀雅，笔画瘦劲温润，筋骨暗藏不显锋芒。通篇笔墨排布疏朗匀停，气息静穆恬和。\n\n题文细论碑本旧拓异同，考辨细节源流，字里行间尽显鉴藏的审慎，带着旧时文人鉴碑赏帖的雅致情致。既具明代小楷秀整娟净的典型风貌，又因金石考据的内核晕开朴厚文心，将辨伪校勘的治学用心藏入一笔一划中，是兼具书法审美意趣与金石文献价值的文人小品。",[25,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b4180e343454cf3bb5f46eafd43081f.jpg",[802],{"id":24516,"slug":24517,"title":24518,"dynasty":88,"author":454,"museum":107,"description":24519,"tags":24520,"thumbUrl":24521,"material":751,"size":752,"collection":95,"collections":24522,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},241558,"nan-song-ren-lin-li-yong-huan-shang-ren-tie-juan-yi-ming-241558","南宋人临李邕奂上人帖卷","此卷四段行书，首段墨色枯淡清隽，用笔圆劲灵动，牵丝映带间暗合晋唐萧散意韵。中段题评笔墨酣畅，字形欹侧相生，筋骨挺秀，尽得评骘书法的俊逸风神。后两段题跋渐趋沉实宽博，藏锋敛锷，干湿墨色交映，兼具唐法的端雅与宋意的洒脱。朱红鉴印错落排布，古雅印泥与旧纸墨色相衬，笔墨间流转着千年书法文脉的温润余韵，藏着历代藏家的珍视意趣。",[23,7,60,110,49,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7360e6da2bf06e39aa11b7a27da041a.jpg",[],{"id":24524,"slug":24525,"title":24526,"dynasty":45,"author":6207,"museum":107,"description":24527,"tags":24528,"thumbUrl":24529,"material":751,"size":752,"collection":95,"collections":24530,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},241446,"huai-su-ge-heng-zhang-bi-241446","怀素歌横","张弼（1425～1487）字汝弼，家近东海，故号东海，晚称东海翁。松江府华亭县（今上海奉贤青村）人 。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[92,24,25,49,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe27ea78ae6322412c4479dac140b101.jpg",[],{"id":24532,"slug":24533,"title":24534,"dynasty":18,"author":9915,"museum":107,"description":24535,"tags":24536,"thumbUrl":24537,"material":751,"size":752,"collection":95,"collections":24538,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},241420,"lu-wen-zhou-yao-yuan-zhi-241420","录文轴","姚元之（1773—1852）清代官员、书画家。字伯昂，号荐青，又号竹叶亭生，晚号五不翁，安徽桐城人。嘉庆十年进士，官至左都御史、内阁学士。善画人物、果品、花卉，书法尤精隶书。姚元之与崔旭、梅成栋皆出自清代著名诗人张问陶（号船山）门下，合称“张门三才子”。",[7,75,27,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fdb102f73b718a1484a4808d569f6a6.jpg",[],{"id":24540,"slug":24541,"title":16199,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":24542,"thumbUrl":24543,"material":751,"size":752,"collection":95,"collections":24544,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},241419,"wu-chang-shuo-zhuan-shu-lin-shi-gu-wen-zhou-wu-chang-shuo-241419",[457,110,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29c813c8b9c87473acff1c2be66b9fc.jpg",[],{"id":24546,"slug":24547,"title":24548,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":24549,"thumbUrl":24550,"material":751,"size":752,"collection":95,"collections":24551,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},241412,"he-shao-ji-lu-wen-zhou-he-shao-ji-241412","何绍基录文轴",[2135,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b609920f9f277f593f9ce268f9c1587.jpg",[],{"id":24553,"slug":24554,"title":24555,"dynasty":18,"author":24556,"museum":107,"description":24557,"tags":24558,"thumbUrl":24559,"material":751,"size":752,"collection":95,"collections":24560,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},241411,"tao-shi-zhou-zhu-wen-zhen-241411","陶诗轴","朱文震","陶渊明诗轴",[24,25,75,50,1613,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0643380a03a28e1de425677033cb807e.jpg",[],{"id":24562,"slug":24563,"title":24564,"dynasty":18,"author":24565,"museum":107,"description":24566,"tags":24567,"thumbUrl":24568,"material":751,"size":752,"collection":95,"collections":24569,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},241346,"qi-lv-er-shou-zhou-wan-jing-241346","七律二首轴","万经","万经（1659—1741）清代学者。字授一，号九沙，自号小跛翁，鄞县（今浙江宁波）人，万斯大之子。\n梁同书《频罗庵书画跋》云：“其书如商彝周鼎，古色黝然；又如苍松老柏，可爱可敬。”他的隶书取法汉碑，尤醉心于《曹全碑》，去其纤秀，而得其沉雄。“云鹤梅炎”一联是他传世隶书精品之一。此联纸本，纵116、横34厘米。墨迹曾刊载于《书法丛刊》1998年第3期和文物出版社出版的《邓永清收藏明清书画选集》等。原为邓永清先生收藏，1993年捐赠徐州博物馆。\n上联“云鹤游天群鸿戏海”，语出梁武帝萧衍《古今书人优劣评》评魏钟繇书：“钟繇书如云鹤游天，群鸿戏海，行间茂密，实亦难过耶。”此文简称《书评》或《评书》，唐以前典籍未见引及，最早见于宋《淳化闻帖》卷五“隋僧智果书”。这段文字主要形容钟繇（元常）书法轻重得宜、刚柔相备、多力丰筋、古雅茂密的超妙境界。下联“梅炎藻夏”的意思是说初夏梅天的炎热装点着夏季，正与下文“麦气迎秋”成流水对仗，字句工稳，妙手天成。",[2135,7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41285919af94c226e2552b920de6d23a.jpg",[],{"id":24571,"slug":24572,"title":24573,"dynasty":45,"author":24574,"museum":107,"description":24575,"tags":24576,"thumbUrl":24577,"material":751,"size":752,"collection":95,"collections":24578,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},241230,"mo-wang-xi-zhi-tie-liu-tiao-ping-yang-shen-241230","摹王羲之帖六条屏","杨慎","杨慎（1488年12月8日 —1559年8月8日），字用修，初号月溪、升庵，又号逸史氏、博南山人、洞天真逸、滇南戍史 、金马碧鸡老兵等。四川新都（今成都市新都区）人，祖籍庐陵。明代文学家、学者、官员，明代三才子之首，东阁大学士杨廷和之子。\n杨慎于明武宗正德六年（1511年）状元及第，授官翰林院修撰，参与编修《武宗实录》。武宗出居庸关时上疏抗谏。明世宗继位，复任翰林修撰兼经筵讲官。嘉靖三年（1524年）卷入“大礼议”事件，触怒世宗，被杖责罢官，谪戍云南永昌卫。在滇南时，曾率家奴助平寻甸安铨、武定凤朝文叛乱，此后虽往返于四川、云南等地，仍终老于永昌卫。嘉靖三十八年（1559年），在戍所逝世，享年七十二岁。明穆宗时追赠光禄寺少卿，明熹宗时追谥“文宪”。\n杨慎在滇南三十年，博览群书。后人论及明代记诵之博、著述之富，推杨慎为第一。其诗词曲各体皆备，自有一定的风格。其诗沉酣六朝，揽采晚唐，创为渊博靡丽之词，造诣深厚，独立于风气之外。而乐府首倡《花间》，影响隆、万以下风尚，同趋绮丽。著作达四百余种，涉及经史方志、天文地理、金石书画、音乐戏剧、宗教语言、民俗民族等，被后人辑为《升庵集》。",[7,110,398,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4964b08a105f4717314b26f01017e47a.jpg",[],{"id":24580,"slug":24581,"title":24582,"dynasty":45,"author":14516,"museum":107,"description":24583,"tags":24584,"thumbUrl":24585,"material":312,"size":95,"collection":96,"collections":24586,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},241005,"zhi-ri-ren-zha-juan-wang-shou-ren-241005","致日仁札卷","王守仁（1472—1529），字伯安，别号阳明，浙江余姚人。弘治十二年（1499年）进士，官至南京兵部尚书、都察院左都御史。谥文成，后人称王文成公。明代著名的思想家、文学家、哲学家和军事家。",[23,25,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe737e04e12f5c183b7f73e90c68a017c.jpg",[96],{"id":24588,"slug":24589,"title":24590,"dynasty":45,"author":454,"museum":107,"description":24591,"tags":24592,"thumbUrl":24593,"material":751,"size":752,"collection":95,"collections":24594,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},240964,"tang-yin-zi-shu-shi-shan-mian-yi-ming-240964","唐寅自书诗扇面","这件行书扇面笔致爽利劲健，结体欹侧灵动，带着疏宕放逸的才子意趣。墨色浓淡晕染自然，字势循着诗词情思流转起落，开篇跳脱明快，渐而愈发舒展洒脱，将诗句中的缱绻柔思尽数融于笔墨开合之间。泥金笺底晕衬出笔墨的温润华彩，诗书相映成趣，把江南文人的浪漫才情铺陈于尺幅之间。虽形制小巧，却自具疏朗跌宕的雅致格局，尽显隽秀放逸的书风特质，是一件诗笔相融的雅致小品。",[45,1250,7,60,77,2602,14990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b5c8b8e4f061f1b18f8d18a62effc1.jpg",[],{"id":24596,"slug":24597,"title":17924,"dynasty":45,"author":19108,"museum":107,"description":24598,"tags":24599,"thumbUrl":24600,"material":751,"size":752,"collection":95,"collections":24601,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},240891,"shi-zhou-ni-yuan-lu-240891","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[24,25,7,75,50,77,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed2616910e10b8c60f65114e90721.jpg",[],{"id":24603,"slug":24604,"title":24605,"dynasty":45,"author":24606,"museum":107,"description":24607,"tags":24608,"thumbUrl":24611,"material":751,"size":752,"collection":95,"collections":24612,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":24175},240867,"wu-kuan-yu-dou-gang-suo-nan-jian-can-chi-heng-zhu-qi-zhen-240867","无款谕都纲锁南坚参勅横","朱祁镇","明英宗朱祁镇（1427年11月29日—1464年2月23日），男，汉族，明朝第六位（1435—1449年）和第八任（1457—1464年）皇帝，明宣宗朱瞻基长子，母为孝恭章皇后孙氏。",[25,7,199,24609,77,3467,878,24610,27,4038,14838],"藏文","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6e12586cc45061661fb6d7b395eb9a.jpg",[],{"id":24614,"slug":24615,"title":24616,"dynasty":45,"author":5463,"museum":107,"description":24617,"tags":24618,"thumbUrl":24619,"material":751,"size":752,"collection":95,"collections":24620,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},240672,"xi-yuan-ya-ji-zhou-zhang-rui-tu-240672","西园雅集轴","张瑞图（1570年-1644年），字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[24,25,75,7,60,77,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917b2b3a2e09b1355131e2b1b0fd327.jpg",[],{"id":24622,"slug":24623,"title":24624,"dynasty":18,"author":10427,"museum":107,"description":17108,"tags":24625,"thumbUrl":24626,"material":751,"size":752,"collection":95,"collections":24627,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},240595,"wang-shi-min-shi-zhou-wang-shi-min-240595","王时敏诗轴",[7,75,199,77,133,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2c6e902887755fab74406139c89cbe.jpg",[],{"id":24629,"slug":24630,"title":24631,"dynasty":18,"author":4686,"museum":107,"description":10103,"tags":24632,"thumbUrl":24633,"material":751,"size":752,"collection":95,"collections":24634,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},240411,"zhuan-shu-shuo-wen-xu-liu-tiao-ping-zhao-zhi-qian-240411","篆书说文叙六条屏",[457,7,12955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267b6f8c014f4c7a10fd7acd3abb7fca.jpg",[],{"id":24636,"slug":24637,"title":24638,"dynasty":18,"author":3261,"museum":107,"description":16683,"tags":24639,"thumbUrl":24643,"material":751,"size":752,"collection":95,"collections":24644,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},240410,"deng-shi-ru-xin-zhou-shi-zhou-deng-shi-ru-240410","邓石如新洲诗轴",[7,75,1613,679,6297,17645,24640,24641,24642,845,360,3040,77],"沙","城","木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5fd049f5e081db1b2468fc63d1e1b9.jpg",[],{"id":24646,"slug":24647,"title":24648,"dynasty":45,"author":11984,"museum":126,"description":24649,"tags":24650,"thumbUrl":24651,"material":1038,"size":24652,"collection":96,"collections":24653,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},240391,"qi-lv-shi-zhou-liu-jue-240391","七律诗轴","释文：\n孝行廉名是处闻，公门无迹口无文。\n陈情两度能终制，泣血三年不茹荤。\n天上星辰丹凤阙，江南烟雨白鸥群。\n楼船一路行休缓，史馆诸儒待子云。\n方庵翰林，终制起复。珏赋诗为别，情见乎词，观者幸恕其不工，而取其不浮也。时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。\n款署：“时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。”钤“廷美”朱文印、“镏氏廷美”朱文印。引首钤“彭城生”朱文印。\n鉴藏印钤“朱之赤鉴赏”朱文印、“庐子枢”白文印、“留耕堂“白文印等5方。\n本幅为自书七律诗一首，是给临行的友人（方庵翰林）的赠别诗。此书奔放酣畅，结体正欹大小不拘，行笔疾驰徐缓随意，布局疏密曲直不同，顾盼有序，天真自然，是刘珏晚年之作。\n成化二年为1466年，作者时年57岁。",[24,25,75,50,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5522da798fcd987e49e6b5afd171117c.jpg","纵121.2厘米，横42.2厘米",[96],{"id":24655,"slug":24656,"title":9940,"dynasty":18,"author":24657,"museum":107,"description":24658,"tags":24659,"thumbUrl":24660,"material":312,"size":95,"collection":96,"collections":24661,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},240281,"qi-yan-lian-weng-tong-he-240281","翁同龢","翁同龢（1830-1904），字叔平，號松禪， 別署均齋、瓶笙、瓶廬居士、並眉居士等，別號天放閒人，晚號瓶庵居士，江蘇常熟人，中國近代史上著名政治家、書法藝術家。體仁閣大學士翁心存第三子，咸豐六年（1856年）狀元，歷任户部、工部尚書、軍機大臣兼總理各國事務衙門大臣。先後擔任清同治、光緒兩代帝師。卒後追諡文恭。\n翁同龢工詩，間作畫，尤以書法名世，幼學歐、褚，初學董其昌、米芾，中年後由錢灃上追顏真卿，又不受顏字束縛，結體寬博開張，筆畫剛勁有力，風格蒼渾遒勁，朴茂雍容，著有《翁文恭公日記》《瓶廬詩文稿》等。",[25,7,60,2136,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2397a6c891f444b01b985452b67db6.jpg",[96],{"id":24663,"slug":24664,"title":24665,"dynasty":18,"author":411,"museum":126,"description":20419,"tags":24666,"thumbUrl":24667,"material":95,"size":95,"collection":96,"collections":24668,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},240039,"yuan-ji-song-jin-shan-jue-ding-ye-shi-tao-240039","原济颂金山绝顶页",[2135,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbbd3c582e163ef87e6d33252387817.jpg",[96],{"id":24670,"slug":24671,"title":24672,"dynasty":18,"author":411,"museum":126,"description":20419,"tags":24673,"thumbUrl":24674,"material":95,"size":95,"collection":96,"collections":24675,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},240033,"yuan-ji-zeng-weng-shan-shi-ye-shi-tao-240033","原济赠翁山诗页",[24,25,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b71aa2c0e79bb949456e320b138809b.jpg",[96],{"id":24677,"slug":24678,"title":24679,"dynasty":18,"author":24680,"museum":107,"description":24681,"tags":24682,"thumbUrl":24683,"material":95,"size":95,"collection":96,"collections":24684,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},239949,"lin-wang-xi-zhi-tie-zhou-liang-yan-239949","临王羲之帖轴","梁巘","梁巘（1710年——1788年后），字闻山、文山，号松斋，又号断砚斋主人；祖居亳州十九里镇，后居住在亳州城里夏候巷街（现夏候小学西跨院），殁后埋葬在十九里集南一里半杜庄村后。{曾祖父粱继宗；祖父梁尔禄，字天赐，国学生；父亲粱接孟，字介贤，候选经历，敕赠文林郎（文职、正七品）；兄粱峰，字屏山、号六松，性孝友，善文章、工书法。梁巘长子俊业，早卒；次子伟业，嘉庆六年（1801年）辛酉拔贡，官浙江於潜县知县。业师陈师古，字圣绪，乾隆九年（1744年）甲子科举人。门生有姚莲府、萧景云、王鲁庵、许春林等。}清乾隆二十七年（1762年）敕授文林郎壬午科举人，由咸安宫教习转任湖北巴东县知县；寿州（今安徽省寿县）循理书院院长（山长）。其在书法上的成就远大于政治，他与乾隆年间五位（张照、王澍、刘墉、王文治、梁同书）重要书家齐名，为清代著名书法家之一。",[7,110,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b11df7d3495d800ed5a9b1a91c25dd.jpg",[96],{"id":24686,"slug":24687,"title":24688,"dynasty":162,"author":454,"museum":107,"description":24689,"tags":24690,"thumbUrl":24691,"material":95,"size":95,"collection":96,"collections":24692,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},239684,"guang-ming-zi-ri-ben-ti-za-a-she-jing-juan-di-nian-wu-juan-yi-ming-239684","光明子（日本）题杂阿舍经卷第廿五卷","这卷写经以小字行草抄录经文，通篇排布繁密却不显拥塞，字态灵动又不失书写的规整法度，带着唐人写经特有的朴拙清雅。墨色沉厚莹润，历经岁月经虫蛀略有破损，反而晕染出古旧苍茫的质感。朱笔圈点批注错落行间，是抄录校读时的留痕，更见抄写者的专注虔诚。\n\n书写既有恪守经文抄写的恭谨，又自然流露出行笔的舒展笔意，质朴间藏着内敛文气，静静承载着千年前的笔墨信仰与岁月温度。",[23,386,7,49,878,199,1498,77,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb8301b3490a48815746b1d386cecb0.jpg",[96],{"id":24694,"slug":24695,"title":24696,"dynasty":179,"author":2258,"museum":126,"description":24697,"tags":24698,"thumbUrl":24699,"material":312,"size":24700,"collection":96,"collections":24701,"showCount":501,"zanCount":882,"manualWeight":39,"mainColor":40},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,49,25,7,60,50,77,131,1677,651,360,678,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[96],{"id":24703,"slug":24704,"title":24705,"dynasty":179,"author":6867,"museum":107,"description":24706,"tags":24707,"thumbUrl":24708,"material":95,"size":95,"collection":95,"collections":24709,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":789},239653,"shi-zha-juan-zhang-yu-239653","诗札卷","《元张雨小楷诗札卷》是元代书画家 创作的一幅书法作品。\n书于元至元六年（14），现藏于故宫博物院纸本小楷，通幅。\n张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n这件小楷，严整清和，洋溢着古风古韵，和其“道法自然”、“道可道，非常道”的道家审美标准有着一定的距离。\n在复古大旗指引下行进的元代书法，对于古法的承续，在书法史上可谓空前。\n元代的书法家对“晋韵唐风”多是一副沉迷状，张雨亦不例外。\n故宫博物院收藏的张雨的这件《诗札卷》（图为作品局部），书于元至元六年（14），系纸本小楷，通幅纵21.5厘米，横1.9厘米。\n从书法风格来看，张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n欧书用笔规范严整、体势刚劲险绝，是楷书中的巅峰之作。\n赵松雪称欧阳询书法“清劲秀健，古今一人”。\n张雨小楷在承续欧书基础上，又另僻蹊径地融入一些晋人萧散飘逸的灵动之气，为自己的书作增色不少。\n从用笔的感觉上来看，此卷小楷中一些横式笔画的习惯性动作，同民间的经生所创的“写经体”有着高度的契合，这是一个值得关注的问题，或许是因为张雨自身本来就是一个隐入丛林道观的高明的“经生书手”的缘故吧。\n在此作中，一些横势用笔的斜切、轻行、重按和轻入重收都和民间“写经体”书法保持着高度的一致。\n而其中一些放式用笔的体势，又使人怀疑此作系明人写的小楷。\n从明代祝枝山、王宠的小楷体例的斜欹体式的运用中，可体察出明代小楷书家们或多或少地受到了张雨小楷书风的影响。\n这种书风和取法的“代代承传”符合书法的客观发展规律。\n而张雨此卷“楷中插行”的书法体式则自赵松雪运用以来，已逐渐成为一种惯用的书法体例。\n这一体例还频繁地出现在他后来的小楷书作之中。\n和其同时代的倪云林，其后的张瑞图、黄道周、王铎等人的作品，也同样沿用了这一体例。\n张雨此卷中钤有“敬身”、“龙泓馆印”、“玉礼治印”、“龙尾山房”、“萧山蔡陆士藏玩书画钤记”、“金瘦仙青父箱长物”、“彭城观澜阁藏”等印记，也是流传有绪的一件作品。\n张雨（128-15），元代诗文家，号句曲外史，道名嗣真，道号贞居予，自称曲外史，人称句曲先生，钱塘（今浙江杭州）人，是宋崇国公张九成之后裔。\n其人学识渊博，善谈名理，诗文、书法、绘画，无一不通。\n曾师从虞集，与赵孟颡交好，后弃家为道士，居于茅山，拜茅山檀四十三代宗师许道杞弟子周大静为师。\n曾有人邀其进京为官，不就：著《句曲外史贞居先生诗集》，今存小令五首，曲风清丽淡雅。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaaa6eafb50e0619e08776e1ab9665a7.jpg",[],{"id":24711,"slug":24712,"title":24713,"dynasty":88,"author":4187,"museum":107,"description":24714,"tags":24715,"thumbUrl":24716,"material":95,"size":95,"collection":95,"collections":24717,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},239651,"wang-da-ling-bao-mu-zhuan-ti-ba-juan-jiang-kui-239651","王大令保母砖题跋卷","此卷笔墨清劲秀雅，笔致灵动舒展，暗合晋人萧散风神。题字疏密错落，墨色枯润相生，朱印点缀素纸，丹砂与墨色相映成趣，雅致尽显。\n\n题跋兼具金石考据的谨严与文人挥毫的随性，将考证之思寄于笔墨挥洒之中，书卷气扑面而来，是宋人尚意书风里的清雅典范。清冷隽秀的笔意一如作者词韵，尽显宋代文人淡远空灵的审美意趣，耐人反复品味。",[23,92,24,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb0fb92962b6cd0165bd6474876165a.jpg",[],{"id":24719,"slug":24720,"title":24721,"dynasty":88,"author":24722,"museum":107,"description":24723,"tags":24724,"thumbUrl":24725,"material":95,"size":95,"collection":95,"collections":24726,"showCount":501,"zanCount":788,"manualWeight":39,"mainColor":40},239649,"zi-shu-shi-lian-ju-shi-juan-wu-jun-239649","自书诗联句诗卷","吴浚","《自书诗联句诗卷》是宋年出版的图书，作者是吴浚。\n【名称】自书诗联句诗卷【年代】宋 【作者】吴浚 【类别】纸本，行书，手卷 【规格】纵6.2cm，横1cm，纵6.2cm，横141cm，79行，12字。\n本幅钤“山西”、“国”、“云根”、“虚谷”诸印。\n鉴藏印钤“生”、“南禺世史”、“丰氏人叔”、“云间邹氏珍藏”、“苕南吴氏午峰鉴赏”及项元汴诸印。\n卷后有宋朱鉴孙、翁□，明丰坊题跋。\n署年款“咸淳丁卯”，为咸淳三年（1267年）。\n此卷书法气秀色润，笔调谦和，点画精细柔媚，一钩一捺，均以温婉取态，反映了吴浚的典型书风。",[23,7,49,60,398,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918438660d71677b30f9ca090b89abc0.jpg",[],{"id":24728,"slug":24729,"title":24730,"dynasty":88,"author":24731,"museum":126,"description":24732,"tags":24733,"thumbUrl":24734,"material":95,"size":24735,"collection":96,"collections":24736,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},239643,"men-nei-xing-ju-tie-ye-wu-shuo-239643","门内星聚帖页","吴说","吴说（生卒年不详），钱塘人。字傅朋，号练塘，居钱塘之紫溪。宋诗纪事谓为王令之外孙。官知信州（江西上饶），绍兴间（公元1144年左右）为尚书郎。说之书，楷、行、草及榜书均佳，小楷称宋时第一。榜书深稳端润，甚得高宗之称赏。行草圆美流丽，洞天清録以其深入黄太史之室。而时作钟体，其杂体游丝书亦颇擅名，一行一笔，游丝连绵，笔意似得自古篆柳叶体，即时挥毫相赠，深自得意。",[88,7,60,312,4347,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332d04d13fe6ac6be69a0beb092de2c7.jpg","纵25厘米，横45.4厘米",[96],{"id":24738,"slug":24739,"title":24740,"dynasty":45,"author":14822,"museum":107,"description":24741,"tags":24742,"thumbUrl":24743,"material":95,"size":95,"collection":95,"collections":24744,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},239627,"xing-kai-shi-shan-mian-huang-dao-zhou-239627","行楷诗扇面","此作笔墨刚敛沉凝，字形方整峭拔，似古柏攒枝，带着浑朴刚劲的气度。顺着扇面弧度排布的行气，错落间不失连贯，毫无局促壅塞之感。线条凝练厚重，枯润相映，既有魏晋楷法的古雅意趣，又自出机杼，将刚直风骨揉入点画之间。每一处起收转折都斩截爽利，却又暗含温雅书卷气，诗文意韵与笔墨力道相融，把沉郁刚正的心境藏于笔底，尽显奇崛清刚的笔墨风神，是文人书法筋骨与文气兼备的精妙之作。",[4038,7,1250,3135,60,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff186cda31c033c0500c61eea9669728.jpg",[],{"id":24746,"slug":24747,"title":24748,"dynasty":45,"author":9762,"museum":126,"description":24749,"tags":24750,"thumbUrl":24751,"material":95,"size":95,"collection":96,"collections":24752,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":789},239581,"zhang-jin-xue-jie-juan-song-ke-239581","章进学解卷","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。\n宋克处元末明初，少年英俊，磊落清爽，常以李太白、苏东坡自比，任侠使气，闻鸡起舞。其聪慧过人，博涉经史，长于丹青，尤善画竹，今尚有《万竹图》传世。诗文亦名于时,与吴门文士高启、张羽、徐贲、陈则等为友，时称“十才子”。曾从元康里之入室弟子饶介学书，所传皆二王草法，故仲温特别钟情于草书。草书流走畅贯，挥运自如，似飞剑狂舞，潇洒纵横，十分契合于宋克任侠使气的性格。宋克学书取法甚高，楷宗钟繇，行书慕二王，章草学皇象之《急就章》，笔力清峭劲拔，笔意圆融洒脱，尤其是他的小草和章草，冠绝一代，吴宽评其书谓：“一克书出魏晋，深得钟王之法，故笔精墨妙，而风度翩翮可爱……仲温书索靖草书势，盖得其妙而无愧于靖者也。”其书出于魏晋，深得钟、王之法。擅长楷书、草书，尤精工章草，为当时第一。他的章草，延续赵孟頫、邓文原的风格又有所发展，融入了今草和行书的写法，更加流利、矫健。",[23,92,24,25,49,7,398,8453,3479,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f41c8ec7ce88088c36ba2bd84e9fbde.jpg",[96],{"id":24754,"slug":24755,"title":24756,"dynasty":45,"author":71,"museum":126,"description":24757,"tags":24758,"thumbUrl":24759,"material":199,"size":24760,"collection":96,"collections":24761,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},239572,"zhong-guo-qing-shou-si-deng-shi-tie-wang-fu-239572","重过庆寿寺等诗帖","此作小楷书七言诗四首，乃王绂游览京城诸胜景时所成诗篇，并于永乐九年（1411年）为沈度书写。这一年王绂50岁，沈度55岁，二人为朝中同僚。作品以锺、王小楷为法，风格端劲清雅，与当时宫廷中盛行的“台阁体”相比，别具古澹意蕴。",[25,7,200,60,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4269fa91207891eeb7ac969b91f2a58.jpg","纵26.8厘米，横41.2厘米",[96],{"id":24763,"slug":24764,"title":24765,"dynasty":179,"author":24766,"museum":126,"description":24767,"tags":24768,"thumbUrl":24771,"material":95,"size":95,"collection":96,"collections":24772,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},239567,"xing-fang-cao-tie-ce-ye-deng-wen-yuan-239567","行芳草帖册页","邓文原","邓文原（1258年—1328年），字善之，一字匪石，人称素履先生，绵州（今四川绵阳）人，又因绵州古属巴西郡，人称邓文原为“邓巴西”。其父早年避兵入杭，遂迁寓浙江杭州，或称杭州人。\n历官江浙儒学提举、江南浙西道肃政廉访司事、集贤直学士兼国子监祭酒、翰林侍讲学士，卒谥文肃。其政绩卓著，为一代廉吏，其文章出众，也堪称元初文坛泰斗，《元史》有传。著述有《巴西文集》《内制集》《素履斋稿》等。\n邓文原擅行、草书。传世书迹有《临急就章卷》等。与赵孟頫、鲜于枢齐名，号称“元初三大书法家”，尤以擅章草而闻名。",[7,60,54,53,24769,24770,1739,77],"暮烟","鸥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9f44f03c82473d486a19d389c5da98.jpg",[96],{"id":24774,"slug":24775,"title":24776,"dynasty":18,"author":24777,"museum":107,"description":24778,"tags":24779,"thumbUrl":24780,"material":95,"size":95,"collection":35,"collections":24781,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[24,25,75,50,112,59,60,51,333,2187,56,57,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[35,187],{"id":24783,"slug":24784,"title":24785,"dynasty":18,"author":24786,"museum":107,"description":24787,"tags":24788,"thumbUrl":24789,"material":751,"size":752,"collection":218,"collections":24790,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":789},238855,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238855","绘益象征丰图册","钱汝诚","钱汝诚（1722-1779），字立之，号东麓，浙江嘉兴人。清官员，官至刑部左侍郎。",[24,25,26,27,111,834,19026,2135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F321ca84cb16d8fa7051b6c272bab913e.jpg",[218],{"id":24792,"slug":24793,"title":24794,"dynasty":18,"author":294,"museum":107,"description":16227,"tags":24795,"thumbUrl":24796,"material":95,"size":95,"collection":95,"collections":24797,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},238829,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238829","董诰墨庄览胜图册",[24,25,26,27,111,7,77,55,458,56,57,2187,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02502eb809bcd8237cc41a3879222c5.jpg",[],{"id":24799,"slug":24800,"title":5945,"dynasty":18,"author":4364,"museum":107,"description":4365,"tags":24801,"thumbUrl":24802,"material":751,"size":752,"collection":95,"collections":24803,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},238482,"hua-hui-tu-ce-jiang-ting-xi-238482",[24,25,26,27,111,29,30,1177,77,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf3c885708c60ef0a4db10475b9f1c78.jpg",[],{"id":24805,"slug":24806,"title":5945,"dynasty":18,"author":4364,"museum":107,"description":4365,"tags":24807,"thumbUrl":24808,"material":751,"size":752,"collection":95,"collections":24809,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},238478,"hua-hui-tu-ce-jiang-ting-xi-238478",[24,25,26,27,111,29,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c6eff4fad9fec55cad2f985ee8681.jpg",[],{"id":24811,"slug":24812,"title":5945,"dynasty":18,"author":4364,"museum":107,"description":4365,"tags":24813,"thumbUrl":24814,"material":751,"size":752,"collection":95,"collections":24815,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},238477,"hua-hui-tu-ce-jiang-ting-xi-238477",[24,25,26,111,27,29,693,282,692,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf72f563137cfc036687dab4d24ce7d.jpg",[],{"id":24817,"slug":24818,"title":17304,"dynasty":18,"author":24819,"museum":107,"description":24820,"tags":24821,"thumbUrl":24822,"material":95,"size":95,"collection":63,"collections":24823,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},237946,"shan-shui-tu-ce-liu-yu-237946","柳堉","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[24,25,26,50,59,7,77,51,56,57,53,252,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[63,35],{"id":24825,"slug":24826,"title":9025,"dynasty":18,"author":9026,"museum":107,"description":9027,"tags":24827,"thumbUrl":24828,"material":95,"size":95,"collection":95,"collections":24829,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},237092,"jiang-feng-shi-nv-ce-jiang-feng-237092",[24,25,26,27,111,113,114,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30cfe8403360aa70096addf15e3e7d8.jpg",[],{"id":24831,"slug":24832,"title":4167,"dynasty":18,"author":24833,"museum":107,"description":24834,"tags":24835,"thumbUrl":24836,"material":751,"size":752,"collection":63,"collections":24837,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},236989,"shan-shui-ce-zhang-xi-236989","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,25,26,27,50,59,7,60,77,51,52,53,54,116,56,57,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a52e9365afa6a8bd693900aeb0cf10b.jpg",[63],{"id":24839,"slug":24840,"title":4167,"dynasty":18,"author":2653,"museum":8802,"description":18498,"tags":24841,"thumbUrl":24843,"material":95,"size":95,"collection":63,"collections":24844,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},236730,"shan-shui-ce-hua-yan-236730",[24,50,27,59,26,7,77,51,57,15766,24842,251],"浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996fa25e4caf6ad41e71fda95c25e82d.jpg",[63,218],{"id":24846,"slug":24847,"title":1290,"dynasty":18,"author":6078,"museum":107,"description":15655,"tags":24848,"thumbUrl":24849,"material":751,"size":752,"collection":95,"collections":24850,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},235596,"hua-hui-ce-wang-wu-235596",[24,92,25,26,27,111,29,135,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57694f0413551c98c0dacca9f69d8b02.jpg",[],{"id":24852,"slug":24853,"title":24854,"dynasty":45,"author":9605,"museum":126,"description":9606,"tags":24855,"thumbUrl":24856,"material":488,"size":9609,"collection":95,"collections":24857,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},234814,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-xing-chun-qiao-tu-ye-wen-jia-234814","吴门诸家寿袁方斋三绝册-行春桥图页",[24,92,25,26,50,27,51,652,52,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea626d77f19824c78c24784154a0e1b.jpg",[],{"id":24859,"slug":24860,"title":5251,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":24861,"thumbUrl":24862,"material":95,"size":95,"collection":95,"collections":24863,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},234655,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234655",[24,25,26,50,60,7,51,59,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071016330c634259e44baae9b2e5dae8.jpg",[],{"id":24865,"slug":24866,"title":24867,"dynasty":45,"author":24868,"museum":107,"description":24869,"tags":24870,"thumbUrl":24871,"material":95,"size":95,"collection":95,"collections":24872,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},234546,"mo-lan-shan-bi-su-su-234546","墨兰扇","薜素素","薛素素，字素卿，又字润卿，明代画家。她工小诗，能书，作黄庭小楷。尤工兰竹，不笔迅捷，兼擅白描大士、花卉、草虫、各具意态，工刺绣。又喜驰马挟弹，百不失一，自称女侠。后为李征蛮所娶。所著诗集名《南游草》。",[24,1250,50,139,77,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0cf4b17cd0b3aa521b9ef694395015.jpg",[],{"id":24874,"slug":24875,"title":24876,"dynasty":18,"author":19,"museum":126,"description":24877,"tags":24878,"thumbUrl":24879,"material":477,"size":95,"collection":95,"collections":24880,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[23,24,25,49,50,112,60,199,77,132,51,652,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":24882,"slug":24883,"title":24884,"dynasty":45,"author":2071,"museum":126,"description":22996,"tags":24885,"thumbUrl":24886,"material":784,"size":22999,"collection":95,"collections":24887,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷",[24,25,49,27,111,59,60,7,77,51,113,458,52,53,55,116,56,333,471,3536,556,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg",[],{"id":24889,"slug":24890,"title":24891,"dynasty":162,"author":24892,"museum":126,"description":24893,"tags":24894,"thumbUrl":24895,"material":8265,"size":24896,"collection":95,"collections":24897,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},232981,"hua-liu-zun-zhe-xiang-ce-di-ba-ga-na-ga-ha-zhui-jin-zun-zhe-lu-leng-jia-232981","画六尊者像册-第八嘎纳嘎哈缀襟尊者","卢楞迦","本幅设色画罗汉像。该册画六开,每页均游丝描。款：“卢楞伽进”四字。每页有弘历对题，引首及跋纸第一页，均弘历题写。每页有朱笔梵文书尊者名，宋印及骑缝印均伪项元汴。印记总共176方，引首及对幅上共印22方。该册另有题签一开,字二开。《故一59》",[24,25,26,27,111,878,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be9da045569add4298a9c0f650d8cb.jpg","纵30cm，横58cm",[],{"id":24899,"slug":24900,"title":19245,"dynasty":45,"author":342,"museum":126,"description":19246,"tags":24901,"thumbUrl":24902,"material":312,"size":19249,"collection":95,"collections":24903,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},232964,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232964",[24,25,26,50,59,7,77,51,132,652,57,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe151099e591c78c5ae8b3d97b15ade62.jpg",[],{"id":24905,"slug":24906,"title":24907,"dynasty":18,"author":5616,"museum":701,"description":24908,"tags":24909,"thumbUrl":24910,"material":519,"size":24911,"collection":95,"collections":24912,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":3443},232901,"feng-zhu-tu-li-zhou-li-fang-ying-232901","风竹图立轴","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[23,24,25,50,75,129,132,589,446,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9395c78f0d21c4a0ec265201cad2b525.jpg","纵168.3厘米 横67.7厘米",[],{"id":24914,"slug":24915,"title":24916,"dynasty":18,"author":830,"museum":107,"description":24917,"tags":24918,"thumbUrl":24922,"material":95,"size":95,"collection":95,"collections":24923,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},232796,"shu-fa-ce-ye-wu-chang-shuo-232796","书法册页","吴昌硕（1844 —1927）原名俊，字昌硕，别号缶庐、苦铁等，浙江安吉人。我国近、现代书画艺术发展过渡时期的关键人物，诗、书、画、印四绝的一代宗师，晚清民国时期著名国画家、书法家、篆刻家，与任伯年、赵之谦、虚谷齐名为清末海派四大家。吴昌硕的艺术别辟蹊径、贵于创造，最擅长写意花卉，他以书法入画，把书法、篆刻的行笔、运刀、章法融入绘画，形成富有金石味的独特画风。他以篆笔写梅兰，狂草作葡萄，所作花卉木石，笔力敦厚老辣、纵横恣肆、气势雄强，构图也近书印的章法布白，虚实相生、主体突出，画面用色对比强烈。",[7,26,60,50,19907,24919,9269,24920,24921],"篆隶笔意","墨色浓淡","线条苍劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1f5359a1b1bda2e1890ee62746457.jpg",[],{"id":24925,"slug":24926,"title":24927,"dynasty":179,"author":225,"museum":1399,"description":24928,"tags":24929,"thumbUrl":24944,"material":591,"size":24945,"collection":95,"collections":24946,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},232261,"yu-zhen-lan-ting-zhao-meng-fu-232261","玉枕兰亭","久负盛名的玉枕兰亭序，是缩临《兰亭序》，为携带方便，可以随时展玩。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。这卷玉枕兰亭序高比通常所见的《兰亭》拓本小了将近三倍，但书写自如，气度雍容，不但形模毕肖，那种婉转遒美、玉润珠圆的神韵，简直可与唐代诸公的摹写一争高下。\n赵孟頫不仅有此 《缩本兰亭玉：枕兰亭序》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为笔法位置全然相似，亦当世之名迹也。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种游戏。但赵孟頫是落笔便作千古想的，所以 虽戏写亦如欲刻金石，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[60,7,110,6769,24930,4786,24931,24932,4257,15691,24933,24934,24935,24936,24937,24938,680,24939,24940,24941,475,53,24942,24943],"笔法流畅","章法自然","山阴","清流激湍","曲水","流觞","惠风","和风","朗气","暮春","初会","崇山峻岭","天朗气清","惠风和畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F103a8a40a8658fb27cde43d28fa23fc0.jpg","13.8X32厘米",[],{"id":24948,"slug":24949,"title":24950,"dynasty":88,"author":89,"museum":107,"description":17100,"tags":24951,"thumbUrl":24952,"material":751,"size":752,"collection":95,"collections":24953,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},230868,"zhi-ming-shu-tong-nian-chi-du-huang-ting-jian-230868","致明叔同年尺牍",[7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09f053c7e96032c4163fa62c45b028b.jpg",[],{"id":24955,"slug":24956,"title":24957,"dynasty":88,"author":24958,"museum":107,"description":24959,"tags":24960,"thumbUrl":24961,"material":751,"size":752,"collection":95,"collections":24962,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},230560,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-230560","金刚般若经开题残卷","弘法大师空海","弘法大师空海（公元774—835）是日本真言宗的开山祖师，为汉传密宗八祖，作为日本弘扬佛法的先驱者享有崇高的声誉。大师在奈良时代末，于宝龟五年（公元774）诞生于风景秀丽的“玉藻所归之岛，櫲樟蔽日之浦”赞岐国（现香川县）屏风浦。其父为佐伯田公，母为阿刀氏。",[23,7,386,49,60,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0893179b2d0c67d9aeaabae2404d729.jpg",[],{"id":24964,"slug":24965,"title":24966,"dynasty":18,"author":9476,"museum":107,"description":9477,"tags":24967,"thumbUrl":24968,"material":751,"size":752,"collection":95,"collections":24969,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},230295,"lin-sheng-jiao-xu-li-hong-zhang-230295","临圣教序",[23,7,49,60,110,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689d84932e9309fab27ff7e5a4389dad.jpg",[],{"id":24971,"slug":24972,"title":24973,"dynasty":18,"author":6275,"museum":107,"description":10347,"tags":24974,"thumbUrl":24975,"material":751,"size":752,"collection":95,"collections":24976,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},230260,"zhuan-shu-si-ping-hong-yi-fa-shi-230260","篆书四屏",[23,2135,457,7,12349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a485d4ce72f6a012fddc84f8d7dcf32.jpg",[],{"id":24978,"slug":24979,"title":24980,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":24981,"thumbUrl":24982,"material":751,"size":752,"collection":95,"collections":24983,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},230171,"li-zhou-hua-feng-lin-lun-jin-shi-yi-bing-shou-230171","立轴-画鳳麟伦金石",[23,7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ff3d1a14d793e1a5786b618bed3ad0.jpg",[],{"id":24985,"slug":24986,"title":16137,"dynasty":18,"author":1260,"museum":107,"description":19508,"tags":24987,"thumbUrl":24988,"material":751,"size":752,"collection":95,"collections":24989,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":207},230152,"shu-fa-ce-liu-yong-230152",[7,26,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4ac5168f96efcdcd6e168bc28e61af.jpg",[],{"id":24991,"slug":24992,"title":24993,"dynasty":18,"author":14193,"museum":107,"description":24994,"tags":24995,"thumbUrl":24996,"material":751,"size":752,"collection":95,"collections":24997,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},228924,"qi-yan-jue-ju-gao-xiang-228924","七言绝句","高翔（1688--1753），字凤岗，号西唐，又号犀堂、西堂、樨堂等，别号山林外臣，擅画山水花卉，间作佛像人物。篆刻与汪士慎、丁敬齐名。又与高凤翰、潘西凤、沈凤并称四凤。高翔少年时期崇尚石涛，后与石涛结识为友，常相往来，情谊深长，受益颇深，是石涛的挚友和忠实追随者。\n高翔晚年时由于右手残废，常以左手作画。与石涛、金农、汪士慎为友。清朝的李斗在《扬州画舫录》中有过这样的记载：“石涛死，西唐每岁春扫其墓，至死弗辍”。意思是说，石涛死后，高翔每年春天都去扫墓，直到死都没有断过。从这里也可以看出他们之间的友谊很深。\n高翔除擅长画山水花卉外，也精于写真和刻印。他的山水画取法弘仁和石涛，所画的园林小景，大多是从写生中来。金农、汪士慎诗集上的小像，就是高翔的手笔，线描简练，神态逼真。著有《西唐诗钞》，“扬州八怪”之一 。",[23,7,1613,50,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840829472f15aa851faf55eed47b0888.jpg",[],{"id":24999,"slug":25000,"title":25001,"dynasty":45,"author":25002,"museum":107,"description":25003,"tags":25004,"thumbUrl":25005,"material":95,"size":95,"collection":95,"collections":25006,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","陈焕","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[23,24,25,26,27,50,51,678,55,56,2219,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":25008,"slug":25009,"title":25010,"dynasty":45,"author":5386,"museum":107,"description":25011,"tags":25012,"thumbUrl":25013,"material":751,"size":752,"collection":95,"collections":25014,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},228340,"song-chen-zi-ling-hui-shi-shi-ye-wang-chong-228340","送陈子龄会试诗页","王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。",[23,7,60,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe52e5ea085681326edf964a9c7510da5.jpg",[],{"id":25016,"slug":25017,"title":25018,"dynasty":88,"author":262,"museum":107,"description":25019,"tags":25020,"thumbUrl":25021,"material":95,"size":95,"collection":95,"collections":25022,"showCount":501,"zanCount":882,"manualWeight":39,"mainColor":100},227604,"wu-zhong-san-xian-tu-juan-li-gong-lin-227604","吴中三贤图卷","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,92,24,25,49,112,27,113,7,60,77,1498,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a8d47955d7901c90829f8ca4228c24.jpg",[],{"id":25024,"slug":25025,"title":25026,"dynasty":88,"author":89,"museum":107,"description":25027,"tags":25028,"thumbUrl":25029,"material":95,"size":95,"collection":95,"collections":25030,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},227589,"zhi-tian-min-zhi-ming-da-zhu-bao-shu-huang-ting-jian-227589","致天民知命大主薄书","《致天民知命大主薄书》亦称《与天民知命书》，作于1095年。《致天民知命大主薄书》是一则信礼，是黄庭坚的著名行书作品之一。黄庭坚的书法作品都比较奇特，他的很多书法作品都有别名，如《御刻三希堂石渠宝笈法帖释文》称《家书》，《大观录》称《家书帖》，《墨缘汇观》称《天民知命帖》，《珊瑚网》称《手简一通》等。他的书法特点是字体结构严谨，中宫稳重。",[25,7,60,19315,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bfddde26e8363b2f92566accb871ab7.jpg",[],{"id":25032,"slug":25033,"title":25034,"dynasty":3087,"author":454,"museum":107,"description":25035,"tags":25036,"thumbUrl":25037,"material":95,"size":95,"collection":95,"collections":25038,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},227068,"bei-wei-si-ma-xian-zi-mu-zhi-ming-yi-ming-227068","北魏司马显姿墓志铭","全称《魏故世宗宣武皇帝第一贵嫔夫人司马氏墓志铭》。高67.1厘米，宽67.3厘米，1927年在洛阳城北安驾沟西南出土，曾经于右任先生收藏。此志书刻皆精，为其时墓志铭中的上品，梁启超评为“于俊拔之中，别饶韶秀”，是初学楷书的佳品。\n\n此志的保存状态非常良好。具有张力感的字体，给人以清晰的印象，可谓充分表现出北魏的书风，颇具厚重风格的作品。字形向左倾斜为其特征。笔划较少的文字写得偏小，与笔划较多的文字保持一种协调均衡，使整体具有一种统一感。撇划很有特点，在文字中最为犀利，成为字体的核心笔划。因此，字体左侧形成的紧凑空间，其行气与字距相互呼应，构成了巧妙的配合。将同一时代的《张猛龙碑》与此志相比较来鉴赏，可资理解这一时代的书法风格。",[198,199,7,1614,22248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255c6e2f5cca1fcb347131d1ee77f7d3.jpg",[],{"id":25040,"slug":25041,"title":25042,"dynasty":3087,"author":454,"museum":107,"description":25043,"tags":25044,"thumbUrl":25045,"material":751,"size":752,"collection":95,"collections":25046,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},226536,"de-bao-ti-shi-can-bei-yi-ming-226536","德保题诗残碑","清乾隆32年。民国拓本",[23,198,7,77,60,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5085bc5bb470d7fb54d771f30f58e29c.jpg",[],{"id":25048,"slug":25049,"title":25050,"dynasty":8749,"author":454,"museum":3028,"description":11444,"tags":25051,"thumbUrl":25052,"material":751,"size":752,"collection":95,"collections":25053,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},226520,"jiu-mo-luo-shen-jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-226520","鸠摩罗什金刚般若波罗蜜经手稿",[878,7,386,199,49,112,27,11284,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20afbc02f34d54a8b4b81f1b887565a2.jpg",[],{"id":25055,"slug":25056,"title":25057,"dynasty":18,"author":6662,"museum":107,"description":25058,"tags":25059,"thumbUrl":25060,"material":95,"size":95,"collection":95,"collections":25061,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},224313,"hua-niao-ce-shi-kai-3-li-shan-224313","花鸟册十开3","这幅写意花鸟以淡墨晕染禽鸟，借浓淡变化铺陈羽毛肌理，将小雀憨然俏立的姿态勾勒得灵动鲜活。虬曲花枝以枯笔挥就，老辣苍劲的笔力尽显藤蔓野逸之态，极简笔墨却生机饱满。\n右侧题诗与画面相映成趣，诗画交融尽显文人意趣。挣脱院体工整桎梏，以随性纵逸的笔墨抒发襟怀，将寻常小景晕染出清隽雅致的格调，诗书印浑然一体，尽显肆意洒脱的文人风骨，笔简意足，尽显水墨写意的疏朗之美。",[23,24,25,26,50,29,116,77,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab6bcbfe1b99fd380c38ac8586d9a07.jpg",[],{"id":25063,"slug":25064,"title":25065,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":25066,"thumbUrl":25067,"material":751,"size":752,"collection":95,"collections":25068,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},224209,"shu-fa-23-wu-chang-shuo-224209","书法23",[7,457,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73568a81bc566946d76b688804a851e8.jpg",[],{"id":25070,"slug":25071,"title":25072,"dynasty":88,"author":454,"museum":107,"description":25073,"tags":25074,"thumbUrl":25075,"material":95,"size":95,"collection":95,"collections":25076,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},223597,"sui-yang-wu-lao-tu-feng-ping-xiang-yi-ming-223597","睢阳五老图 冯平像","此作以赭色绢本为底，以克制笔墨绘就老者立像。劲细墨线勾勒玄色宽袍轮廓，衣纹简练沉稳，衬出冯平身形端方持重。他头戴高顶乌帽，面容清癯，银须垂胸，双手敛于袖中垂在身前，眉目低垂间自带致仕归乡后的沉静雍容。\n右上角瘦硬题字与画面清雅格调相融，既补全人物背景，又平衡构图。画家以形写神，舍去繁缛修饰，将宋人士大夫简淡含蓄的风骨凝于笔底，在素净方寸间晕开平和古雅的旧朝意韵，尽显宋代肖像画写实传神的精妙。",[23,92,24,25,75,111,27,113,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83312a144a70eebd7be88c64eb651b02.jpg",[],{"id":25078,"slug":25079,"title":25080,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":25081,"thumbUrl":25082,"material":312,"size":95,"collection":95,"collections":25083,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},223274,"li-shu-tong-shou-gao-zhen-ji-gai-xi-guan-hong-yi-fa-shi-223274","李叔同手稿真迹-改习惯",[23,7,60,49,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f31b24241f81d05ffeb2e2f803de73.jpg",[],{"id":25085,"slug":25086,"title":6535,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":25087,"thumbUrl":25088,"material":312,"size":95,"collection":96,"collections":25089,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},223268,"shou-gao-hong-yi-fa-shi-223268",[23,7,60,77,386,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe71d71913856437c4d9b594177f93f1.jpg",[96],{"id":25091,"slug":25092,"title":25093,"dynasty":18,"author":25094,"museum":126,"description":25095,"tags":25096,"thumbUrl":25097,"material":488,"size":22442,"collection":95,"collections":25098,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},222842,"fang-niao-tu-juan-wang-shi-zhen-222842","放鸟图卷","王士祯","该画卷肖像刻画的逼真生动，画法融墨骨法与江南法为一体，表现出禹之鼎绘画艺术成熟期的典型风格，代表了禹氏中晚年肖像画的艺术水平。张伯龙，清太医院御医，善书画。",[23,92,24,25,49,111,27,7,77,113,116,678,56,51,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f94dd9300cfae4fe43a6c4fdbf70e5.jpg",[],{"id":25100,"slug":25101,"title":25102,"dynasty":45,"author":10912,"museum":107,"description":10914,"tags":25103,"thumbUrl":25104,"material":9104,"size":25105,"collection":96,"collections":25106,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},222537,"lin-gu-tie-juan-wang-duo-222537","临古帖卷",[23,92,24,25,49,110,77,60,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8943bd847e7a3569198f6d6315b04432.jpg","271*91.5cm",[96],{"id":25108,"slug":25109,"title":25110,"dynasty":45,"author":2206,"museum":107,"description":25111,"tags":25112,"thumbUrl":25113,"material":398,"size":25114,"collection":95,"collections":25115,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},222467,"ji-kang-jiu-hui-shi-juan-zhu-yun-ming-222467","嵇康酒会诗卷","《嵇康酒会诗》释文：乐哉苑中游，周览无穷已。百卉吐芳华，崇台邈高峙。林木纷交错，玄池戏鲂鲤。轻丸毙翔禽，纤纶出鳞鲔。坐中发美赞，异气同音轨。临川献清酤，微歌发皓齿。素琴挥雅操，清声随风起。斯会岂不乐，恨无东野子。酒中念幽人，守故弥终始。但当体七弦，寄心在知己。\n祝允明的书法师承极为广博，因此他不仅能兼备数体，且皆能臻于精妙。传说祝允明63岁时，去沈则山亲家山庄，沈置酒席相待，饮至太阳落山，尚未觉酣，沈则山命家人设纸笔索书字或不同者六种，祝允明再三推辞不允，便乘酒兴书写了《六体诗赋卷》。\n祝允明此书仿钟繇、张旭、前人章草、苏轼、黄庭坚、赵孟頫六家书，写得维妙维肖出神入化，令主人非常高兴。可见其书法的师承极其广博，书艺范围与书法风格的功力之深，变化之多。\n根据祝允明的作品与文献著录，祝允明的书法在小楷、楷书、行楷、行书、行草、章草、今草、狂草诸书体上用功极深，都达到了很高的成就。由于他的书艺范围涉猎极其广泛，他所擅长的每一种书体中又都包含着多样的风格，故很难详尽而准确的进行分类。",[23,25,7,398,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7835d70f0b0182840118cae085e8f6e0.jpg","纵38cm，横122cm",[],{"id":25117,"slug":25118,"title":25119,"dynasty":45,"author":46,"museum":20,"description":24132,"tags":25120,"thumbUrl":25121,"material":1179,"size":24135,"collection":95,"collections":25122,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},222095,"liang-jiang-ming-sheng-tu-ce-7-shen-zhou-222095","两江名胜图册7",[23,24,25,26,27,59,7,51,458,55,56,57,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c5733a504a3bb180575dd9ea581efd.jpg",[],{"id":25124,"slug":25125,"title":25126,"dynasty":45,"author":14822,"museum":3183,"description":25127,"tags":25128,"thumbUrl":25129,"material":184,"size":25130,"collection":95,"collections":25131,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},221873,"da-zhu-you-shi-juan-huang-dao-zhou-221873","答诸友诗卷","黄道周 明福建漳浦人，字幼玄，一字螭若，又字细遵，门人称石斋先生。天启二年进士。授编修。崇祯初进右中允，曾三次疏救故相钱龙锡，贬三秩，而龙锡得减死。又屡上疏言诸臣专事互相报复，不顾大局，语刺大学士周延儒、温体仁等，被斥为民。复起为少詹事，因疏劾杨嗣昌等，下诏狱，旋释出，谪戍广西。十五年，复故官。福王即位，用为礼部尚书。南京陷，唐王即位福州，擢武英殿大学士。自请往江西图恢复，至婺源遇清兵，战败被执，不屈死。道周潜心经学，亦工书画。有《易象正义》、《三易洞矶》、《洪范明义》、《石斋集》等。",[23,7,49,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91634670146726797df4c02e7892ff58.jpg","25.6×270.5cm",[],{"id":25133,"slug":25134,"title":25135,"dynasty":45,"author":14822,"museum":3743,"description":25136,"tags":25137,"thumbUrl":25138,"material":312,"size":25139,"collection":95,"collections":25140,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},221872,"xiao-jing-song-huang-dao-zhou-221872","《孝经颂》","黄道周被视为明代最有创造性的书法家之一。他的行书和草书，行笔转折刚劲有力，体势方整，书风雄健奔放。他的楷书主要学习钟繇，比起钟繇的古拙厚重来，更显得清秀、飘逸。\n他的楷书，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。\n乾隆帝亦说他：“不愧一代完人”。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba37b6ca183453c0c2595f1622b0991.jpg","23.4×12.7cm×23",[],{"id":25142,"slug":25143,"title":25144,"dynasty":88,"author":14147,"museum":72,"description":14148,"tags":25145,"thumbUrl":25146,"material":312,"size":25147,"collection":96,"collections":25148,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},221564,"zhi-yan-xiu-shao-fu-chi-du-zhu-xi-221564","致彦修少府尺牍",[23,2601,7,60,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0774a9b1fdd2ca37c536b5c21b232501.jpg","纵27.3厘米，横55.1厘米",[96],{"id":25150,"slug":25151,"title":25152,"dynasty":88,"author":4981,"museum":126,"description":25153,"tags":25154,"thumbUrl":25155,"material":1646,"size":25156,"collection":95,"collections":25157,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},221474,"shuang-song-tu-ge-juan-zhang-ji-zhi-221474","双松图歌卷","《双松图歌》为杜甫诗《戏为双松图歌韦偃画》，释文：\n天下幾人畫古松，畢宏已老韋偃少。絕筆長風起纖末，滿堂動色嗟神妙。兩株慘裂苔蘚皮，屈鐵交錯迴高枝。白摧朽骨龍虎死，黑入太陰雷雨垂。松根胡僧憩寂寞，龐眉皓首無住著。偏袒右肩露雙腳，葉裏松子僧前落。韋侯韋侯數相見，我有一匹好東絹，重之不減錦繡段。已令拂拭光淩亂，請公放筆爲直幹。張即之七十二歲寫，時積雨連霉，槐龍舞翠，與客小飲，醉中戲書。\n款署：“张即之七十二岁写。时积雨连霉，槐龙舞翠，与客小饮醉中戏书。”钤“张”、“张氏”、“即之”印。自识“七十二岁”，应为南宋理宗宝祐五年（1257年）书。卷前有苏东坡作古柏图，非真迹。尾纸有明洪武时陈新、夏彦良二跋。\n此卷是张即之晚年之笔。后人皆称他“以能书闻天下”，“大字古雅遒劲，细书尤俊健不凡”。此卷擘窠大字，神完气足，劲健雄肆，又时见险怪之态。张即之作为南宋著名书法家，书宗唐人，结体严谨，笔法险劲，对当时书坛影响很大，北方金人亦多效其体。\n清缪日藻《寓意录》、清内府《石渠宝笈·初编》等书著录。",[23,92,24,25,49,60,7,50,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0742ab750432300eb32e874e9ddc04d.jpg","纵.8cm，横1196cm",[],{"id":25159,"slug":25160,"title":25161,"dynasty":88,"author":25162,"museum":72,"description":25163,"tags":25164,"thumbUrl":25171,"material":682,"size":25172,"collection":95,"collections":25173,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},221245,"xi-hu-shi-jing-ti-zi-ye-xiao-yan-221245","西湖十景题字","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,24,7,4347,60,25165,25166,51,25167,25168,54,25169,1679,111,59,27,25170],"西湖十景","诗画合一","亭台楼阁","柳林","游鱼","寺宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d350abc6068e9d7e71f196f4dbe3dde.jpg","单页纵23.9厘米，横20.2厘米",[],{"id":25175,"slug":25176,"title":25177,"dynasty":162,"author":25178,"museum":107,"description":25179,"tags":25180,"thumbUrl":25181,"material":95,"size":25182,"collection":802,"collections":25183,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},221099,"yu-tai-ming-qu-ling-wen-221099","峿台铭","瞿令问","唐代瞿令问篆书《峿台铭》，元结撰文，唐大曆二年(767)六月刻。据载是出自瞿令问的手笔，原石刻在湖南祁阳县峿溪崖石上，此铭书写的是悬针篆，悬针是小篆的别体，直接由玉箸篆演变而来，只是“字必垂书细末，细末纤直如悬针”。",[23,1063,457,198,7,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91399f9edc484136c6dbf52099688da9.jpg","纵185厘米，横95厘米",[802],{"id":25185,"slug":25186,"title":25187,"dynasty":18,"author":25188,"museum":1172,"description":25189,"tags":25190,"thumbUrl":25191,"material":169,"size":95,"collection":171,"collections":25192,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},219565,"zong-tai-xian-sheng-xiang-weng-pu-219565","宗台先生像","翁溥","这幅作品将肖像与山水相融，老者安坐岩边，宽袍素简，神态恬然萧散，尽显林下风雅。\n\n远景以淡赭晕染层叠远山，留白晕出空濛烟岚，山泉淙淙汇为浅滩，笔墨简淡清润，铺展出幽寂的林泉之境。近处枯梅虬枝缀着新花，冷艳古拙，以花衬人，暗合隐士品格。\n\n题跋错落排布于留白间，书画交融，文气盎然。整体设色浅雅，既有写实的仪态刻画，又具文人山水的写意空寂，将人物品格与山水雅境相融，尽显幽居烟霞、寄情林泉的雅趣。",[24,27,111,113,51,57,471,2293,115,131,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787190354729f802d662daa810046371.jpg",[171],{"id":25194,"slug":25195,"title":25196,"dynasty":662,"author":6779,"museum":107,"description":20139,"tags":25197,"thumbUrl":25198,"material":79,"size":95,"collection":95,"collections":25199,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},218173,"da-qian-kuang-tu-ce-5-zhang-da-qian-218173","大千狂涂册-5",[92,24,25,50,112,113,114,7,60,77,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7978eaa1d385542137901288fc6bde.jpg",[],{"id":25201,"slug":25202,"title":25203,"dynasty":18,"author":454,"museum":107,"description":25204,"tags":25205,"thumbUrl":25206,"material":169,"size":95,"collection":95,"collections":25207,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":100},216678,"hong-lou-meng-fu-tu-ce-44-yi-ming-216678","红楼梦赋图册-44","藤蔓蜿蜒攀附，粉艳花朵与翠绿枝叶相映成趣，工笔勾勒的细节细腻入微。墨色文字工整排布，与周边花叶交织成趣，似将红楼诗词的幽婉韵味凝于纸面。线条柔婉细腻，色彩雅致清新，花叶的舒展与文字的端庄相得益彰，仿佛能窥见书中人物的悲欢离合。在笔墨与丹青的交融里，晕染出古典文学与传统绘画碰撞的独特意境，让人沉浸在红楼梦境的雅致氛围中，感受那份跨越时空的文学与艺术之美。",[23,24,25,26,27,111,60,7,30,284,1455,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1ac368539416e25dfa5d4a2c72cc337.jpg",[],{"id":25209,"slug":25210,"title":25211,"dynasty":18,"author":411,"museum":412,"description":15020,"tags":25212,"thumbUrl":25213,"material":33,"size":15023,"collection":95,"collections":25214,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},214526,"yi-jin-ling-ce-8-shi-tao-214526","忆金陵册-8",[24,25,26,50,59,51,55,53,250,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75951298d9f9cb463c2e3032e8fb2dd0.jpg",[],{"id":25216,"slug":25217,"title":25218,"dynasty":18,"author":3764,"museum":442,"description":3765,"tags":25219,"thumbUrl":25220,"material":79,"size":95,"collection":95,"collections":25221,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":40},214496,"shui-mo-tu-ce-7-zheng-min-214496","水墨图册-7",[23,24,50,26,60,7,59,54,51,56,1678,1752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b1bc4021653f8b46f160971f4c0fc4.jpg",[],{"id":25223,"slug":25224,"title":25225,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":25226,"thumbUrl":25227,"material":312,"size":1340,"collection":95,"collections":25228,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":207},214426,"da-tang-zhong-xing-song-shang-ce-5-yan-zhen-qing-214426","大唐中兴颂上册-5",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3854b2d067159294673d97b9c89575f4.jpg",[],{"id":25230,"slug":25231,"title":6012,"dynasty":23400,"author":9670,"museum":20,"description":25232,"tags":25233,"thumbUrl":25234,"material":95,"size":95,"collection":35,"collections":25235,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":25236},202834,"mei-hua-tu-zhou-xu-bei-hong-202834","老干以浓墨篆籀笔意挥写，虬曲盘结如铁铸般苍劲，笔触沉雄有力，尽显枝干坚韧风骨。枝头梅花淡墨点染，疏密错落间花瓣清润雅致，似含暗香浮动。画作融传统书法笔意与现代写实韵致于一体，既承文人画写梅的清雅意趣，又以雄浑笔触赋予老梅蓬勃生机，传递出傲雪迎春的不屈品格与生命张力。",[24,50,131,29,7,77,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326677ea3b56120ba9bcfbbbd855d4ba.jpg",[35],"a09073",{"id":25238,"slug":25239,"title":25240,"dynasty":45,"author":1313,"museum":20,"description":25241,"tags":25242,"thumbUrl":25243,"material":95,"size":95,"collection":95,"collections":25244,"showCount":501,"zanCount":882,"manualWeight":39,"mainColor":25245},202421,"jian-song-tu-zhou-dong-qi-chang-202421","涧松图轴","水墨晕染间，山水意境渐生。近坡松枝苍劲，笔墨藏锋，尽显文人写意之趣；山石以皴法勾勒，线条清逸，似有书法流转之韵。山间涧水隐现，林木疏密有致，远处峰峦叠嶂，云雾留白处更添空濛。整幅作品简淡而气韵生动，融书画于一炉，将自然之景与胸臆相契，是文人山水的经典范式。",[51,50,59,75,7,57,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b4c17bd59459233093bc14b5ac05d1.jpg",[],"a79980",{"id":25247,"slug":25248,"title":25249,"dynasty":179,"author":1324,"museum":107,"description":25250,"tags":25251,"thumbUrl":25254,"material":751,"size":752,"collection":95,"collections":25255,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},290982,"liu-tiao-zi-ye-ni-zan-290982","柳条梓叶","二树势若戈戟,大者为将,小者为佐,将佐得宜,行伍整齐,画理自得矣。若专讲士气,非初学入门之道也。",[24,25,26,50,25252,25253,588,60,77,7],"柳条","梓叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7590ee34fd506f092553c82094f7fd.jpg",[],{"id":25257,"slug":25258,"title":25259,"dynasty":88,"author":21703,"museum":107,"description":21704,"tags":25260,"thumbUrl":25261,"material":751,"size":752,"collection":95,"collections":25262,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},290970,"luo-han-zhou-li-yu-290970","罗汉轴",[24,25,75,878,112,50,113,359,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d16feef4469398d4fd2cfd0c36b68b.jpg",[],{"id":25264,"slug":25265,"title":11018,"dynasty":179,"author":12485,"museum":107,"description":16544,"tags":25266,"thumbUrl":25267,"material":751,"size":752,"collection":95,"collections":25268,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},290961,"chun-shan-tu-yang-wei-zhen-290961",[92,24,25,75,50,59,51,115,2293,52,458,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd696a9a640e58d489c6025ffdf5ab093.jpg",[],{"id":25270,"slug":25271,"title":25272,"dynasty":45,"author":2071,"museum":107,"description":6469,"tags":25273,"thumbUrl":25276,"material":751,"size":752,"collection":95,"collections":25277,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},290921,"qian-han-wen-di-chou-ying-290921","前汉文帝",[24,26,111,27,113,25274,116,51,7,199,25275,16122],"大象","孝行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363d78e5c1b4a06138d9ccc7768f88a7.jpg",[],{"id":25279,"slug":25280,"title":25281,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":25282,"thumbUrl":25283,"material":751,"size":752,"collection":95,"collections":25284,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},290488,"zhuan-shu-wu-yan-lian-jing-xin-wu-chang-shuo-290488","篆书五言联镜心",[24,25,7,2136,457,1391,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2737cc12be3d723f4ecca0204fbdb2.jpg",[],{"id":25286,"slug":25287,"title":11507,"dynasty":179,"author":6158,"museum":107,"description":22569,"tags":25288,"thumbUrl":25289,"material":751,"size":752,"collection":95,"collections":25290,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},290396,"yun-shan-mo-xi-tu-fang-cong-yi-290396",[23,24,50,51,3253,56,113,7,77,75,59,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc441ab419f1b8fb708d523891d2d05c.jpg",[],{"id":25292,"slug":25293,"title":25294,"dynasty":179,"author":13766,"museum":107,"description":25295,"tags":25296,"thumbUrl":25299,"material":751,"size":752,"collection":95,"collections":25300,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},290343,"shu-zhi-shuang-que-zhou-chen-lin-290343","疏枝双雀轴","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物，得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。陈琳有《溪凫图》、《秋山行旅图》、《苍崖古树图》等传世。",[92,24,25,75,29,27,50,116,25297,25298,77,7,60],"疏枝","野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d165990c681aac8f1b1bc62e33e9d0.jpg",[],{"id":25302,"slug":25303,"title":25304,"dynasty":179,"author":7739,"museum":107,"description":16652,"tags":25305,"thumbUrl":25309,"material":751,"size":752,"collection":95,"collections":25310,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},290255,"mo-xi-tu-wang-zhen-peng-290255","墨戏图",[24,49,50,7541,25306,25307,1783,427,7,77,25308],"拟人","戏曲","墨戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c01e581f00409d36e7ec6c153197dc.jpg",[],{"id":25312,"slug":25313,"title":16470,"dynasty":18,"author":7508,"museum":107,"description":18270,"tags":25314,"thumbUrl":25315,"material":751,"size":752,"collection":95,"collections":25316,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},290221,"shan-mian-shu-fa-lu-hui-290221",[23,1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F253d00fef047c23c050e54a1541fd9a5.jpg",[],{"id":25318,"slug":25319,"title":25320,"dynasty":18,"author":14558,"museum":107,"description":25321,"tags":25322,"thumbUrl":25323,"material":751,"size":752,"collection":95,"collections":25324,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},290215,"tao-yuan-ming-shi-pu-ru-290215","陶渊明诗","陶渊明（约365～427），字元亮，晚年更名潜，字渊明。别号五柳先生，私谥靖节，世称靖节先生。浔阳柴桑（今江西省九江市）人，一作宜丰人。东晋末到刘宋初杰出的诗人、辞赋家、散文家。被誉为“隐逸诗人之宗”、“田园诗派之鼻祖”。是江西首位文学巨匠。",[23,1250,7,60,77,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40db627f8810c1ad86ddfb712fa61ffc.jpg",[],{"id":25326,"slug":25327,"title":25328,"dynasty":179,"author":11213,"museum":107,"description":11214,"tags":25329,"thumbUrl":25330,"material":751,"size":752,"collection":95,"collections":25331,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},290091,"bi-shui-qing-feng-tu-ke-luo-ban-chen-ru-yan-290091","碧水青峰图（珂罗版）",[23,24,50,51,59,56,57,458,52,53,116,2684,7,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b976009316fccb78256bb4148d32cb9.jpg",[],{"id":25333,"slug":25334,"title":25335,"dynasty":88,"author":4981,"museum":107,"description":25336,"tags":25337,"thumbUrl":25338,"material":751,"size":752,"collection":95,"collections":25339,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},289967,"shuang-song-tu-ge-zhang-ji-zhi-289967","双松图歌","此卷又称《杜甫戏为双松图歌》，是张即之晚年酒后之作，行楷书法苍劲有力。后人皆称他“以能书闻天下”，“大字古雅遒劲，细书尤俊健不凡”。此卷擘窠大字，神完气足，劲健雄肆，又时见险怪之态。",[23,92,24,25,49,7,199,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe839dfd191b2cc29270efb69c48a0193.jpg",[],{"id":25341,"slug":25342,"title":25343,"dynasty":18,"author":454,"museum":107,"description":25344,"tags":25345,"thumbUrl":25346,"material":751,"size":752,"collection":95,"collections":25347,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},288835,"fang-li-gong-lin-can-fu-tu-yi-ming-288835","仿李公麟参佛图","此作为白描长卷，左侧题跋与右侧绘卷相得益彰。绘卷以缥缈水云为底色，铺陈佛国盛会：居中佛陀安坐说法，周遭罗汉、菩萨侍立聆听，一众神众或乘云凌波，或盘坐山巅，人物情态迥异，动静相生。线条清劲秀雅，尽得李公麟白描笔意，淡墨晕染出山峦云涛，氤氲出空灵悠远的禅境。题跋笔墨端稳雅致，诗文禅意隽永，呼应画面里大道浑融的佛国气象，诗画合璧，尽显出世清寂的超然意趣。",[23,24,49,25,112,110,878,9007,1986,9008,10664,359,1200,51,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ed90e5c73553d41fb4ada5610d0261.jpg",[],{"id":25349,"slug":25350,"title":25351,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":25352,"thumbUrl":25353,"material":751,"size":752,"collection":95,"collections":25354,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},288351,"shuang-shou-shi-fu-shan-288351","双寿诗",[23,7,398,75,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f38173c05563abfa6bed42f51dd9256.jpg",[],{"id":25356,"slug":25357,"title":25358,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":25359,"thumbUrl":25360,"material":751,"size":752,"collection":95,"collections":25361,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":40},288220,"po-gong-xiao-pin-ce-zheng-ban-qiao-288220","坡公小品册",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc8ac5a24d2cb17d909af6717c74c51.jpg",[],{"id":25363,"slug":25364,"title":25365,"dynasty":45,"author":454,"museum":107,"description":25366,"tags":25367,"thumbUrl":25368,"material":751,"size":752,"collection":95,"collections":25369,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},288164,"fang-dong-yuan-shan-shui-tu-yi-ming-288164","仿董源山水图","此作用平远铺展全景江南山水，烟波澹澹的江面与连绵柔缓的浅丘相映，苍郁林木间散落村舍人家，尽显水乡温润氤氲的灵秀气质。\n画师以披麻皴写山石，淡墨晕染出苍润层次，笔触简淡柔婉，追摹出平淡天真的山水意趣，带着宋初山水的浑厚静穆。整卷气息悠长静谧，将江南丘林的秀雅与村居的悠然融为一体，仿若带人走入了古意绵长的隐逸山居，尽显古典山水的悠远韵致。",[23,24,49,25,51,27,59,251,56,152,116,8049,110,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74ea0075c3b07b6830bfb8c1b90d62a.jpg",[],{"id":25371,"slug":25372,"title":25373,"dynasty":45,"author":454,"museum":107,"description":25374,"tags":25375,"thumbUrl":25376,"material":751,"size":752,"collection":95,"collections":25377,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},288146,"fang-li-gong-lin-lian-she-tu-yi-ming-288146","仿李公麟莲社图","此作用笔追慕前贤，以清隽白描绘就莲社雅集：山林泉石间，高僧名士或围坐谈玄，或凭栏观览，衣袂线条舒展灵动，人物神态宛然如生，苍松流泉衬出林下清旷之境，尽得原作行云流水的韵致。后接长篇题跋，行笔秀逸雅致，与画境相得益彰。书画合璧，既复刻出东晋白莲结社的清逸雅趣，也暗合追慕古贤的文人襟怀，摹古却不泥古，笔墨自存沉静悠然的古雅格调。",[23,24,49,878,113,112,27,110,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45f2c578acb7715b41cd5584299e5ad.jpg",[],{"id":25379,"slug":25380,"title":25381,"dynasty":162,"author":194,"museum":107,"description":4824,"tags":25382,"thumbUrl":25383,"material":751,"size":752,"collection":95,"collections":25384,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":207},288121,"san-biao-zhen-ji-yan-zhen-qing-288121","三表真迹",[7,198,200,60,77,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F416ff3ec7fb86f01c67569da0a77ff26.jpg",[],{"id":25386,"slug":25387,"title":25388,"dynasty":45,"author":454,"museum":107,"description":25389,"tags":25390,"thumbUrl":25391,"material":751,"size":752,"collection":95,"collections":25392,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},288098,"bu-dai-he-shang-tu-zhou-yi-ming-288098","布袋和尚图轴","此作用淡墨写意，寥寥数笔就将布袋和尚刻画得活灵活现。袒胸凸肚的他弯眼含笑，神情憨态可掬，一手搭着布囊，指尖捻动念珠，自在松弛的禅者气度扑面而来。\n\n衣纹以枯涩焦墨扫过，苍劲朴拙，随性的笔墨将僧袍的褶皱晕染得浑然天成，舍去繁缛细节，只以写意笔法勾勒神形。上方题诗与画作相映成趣，诗画一体暗合布袋和尚随缘自适的本心，将乐天豁达的禅意藏于笔墨之间，整体简淡苍古，不求工细，只重传神，尽显写意禅画通透悠远的意韵。",[23,92,24,25,75,50,113,878,7,77,17075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c8d9dc5e41658b41e1f204ed1784be.jpg",[],{"id":25394,"slug":25395,"title":25396,"dynasty":45,"author":5463,"museum":107,"description":24617,"tags":25397,"thumbUrl":25398,"material":751,"size":752,"collection":95,"collections":25399,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},288019,"wang-wei-shi-jing-xin-zhang-rui-tu-288019","王维诗镜心",[1250,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca2aa4d32e5721e791e5f26c2d58ecb.jpg",[],{"id":25401,"slug":25402,"title":25403,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":25404,"thumbUrl":25405,"material":751,"size":752,"collection":95,"collections":25406,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},288018,"chun-an-gui-qi-tu-shan-mian-wen-jia-288018","春岸归骑图扇面",[24,92,1250,25,27,1127,51,1919,52,53,55,113,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55092f3886da9994ea7f78ac826ade03.jpg",[],{"id":25408,"slug":25409,"title":25410,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":25411,"thumbUrl":25412,"material":751,"size":752,"collection":95,"collections":25413,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},287974,"luo-bi-yan-yun-shan-shui-tu-juan-chen-chun-287974","落笔烟云山水图卷",[23,92,24,49,50,51,54,116,57,56,556,53,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e33f1b7ecbe4267e336c150b7d478b7.jpg",[],{"id":25415,"slug":25416,"title":25417,"dynasty":45,"author":454,"museum":107,"description":25418,"tags":25419,"thumbUrl":25421,"material":751,"size":752,"collection":95,"collections":25422,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},287954,"ni-zan-lin-xi-qing-yin-tu-yi-ming-287954","倪瓒林溪清隐图","此作以水墨写幽篁坡岸，竹株清瘦劲挺，枝叶萧疏错落，淡墨晕染出空寂清旷的林下幽境，尽显简淡空灵之致。拖尾长卷题跋琳琅，行书古雅端秀，诗文书画相映成趣。\n全卷弥漫着文人耽爱林泉、避世幽栖的雅趣，以极简笔墨寄寓林下君子寄心山水、不与俗伍的隐逸襟怀，将诗酒相伴的林下清居之志融于卷中，尽显宋元以来文人画尚简尚淡、以画明志的意趣，文心画境交融无间。",[23,24,25,49,50,132,51,53,60,7,77,25420],"清隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d7fe10a932b3c7222922dc32863564.jpg",[],{"id":25424,"slug":25425,"title":25426,"dynasty":88,"author":25427,"museum":72,"description":25428,"tags":25429,"thumbUrl":25430,"material":94,"size":25431,"collection":95,"collections":25432,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},287643,"ren-shou-tu-cai-zhao-287643","仁寿图","蔡肇","这一幅画描绘两座玲珑多变的奇石，伫立在草地上。金与石本来象征着永恒，因此在画幅中，「石」与「寿」往往发生着联想。",[92,24,25,75,50,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad85880fefb74de60a55d0abac3d260.jpg","95.5x41.1",[],{"id":25434,"slug":25435,"title":25436,"dynasty":8749,"author":454,"museum":1172,"description":25437,"tags":25438,"thumbUrl":25439,"material":751,"size":752,"collection":95,"collections":25440,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":40},287627,"jin-gang-bo-re-bo-luo-mi-jing-yi-ming-287627","金剛般若波羅蜜經","这件写本以小楷书就，笔墨清隽秀雅，点画凝练端稳，通篇排布匀整舒朗。写经者笔底带着至诚恭敬，法度谨严却不失舒展灵韵，既恪守写经的肃穆规整，又暗合文人小楷的雅致气度，一字一画皆可见沉静心性。泛黄的卷纸带着岁月浸蚀的痕迹，纸面的褶皱晕染晕开了跨越时光的沉静禅意，让它兼具宗教修行的虔诚内核与古典书法的审美价值。",[49,7,199,386,9007,1498,3708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd380665130bb808f92455063a9b94b14.jpg",[],{"id":25442,"slug":25443,"title":25444,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":25445,"thumbUrl":25446,"material":751,"size":752,"collection":95,"collections":25447,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":100},283723,"wu-jing-yi-lun-ce-dong-qi-chang-283723","五经一论册",[7,199,26,25,1390,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce40c4274da2832cdc13b63d0b4a4cb4.jpg",[],{"id":25449,"slug":25450,"title":25451,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":25452,"thumbUrl":25453,"material":751,"size":752,"collection":95,"collections":25454,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},283710,"shan-shui-tu-shan-ye-dong-qi-chang-283710","山水图扇页",[1250,24,92,25,50,51,251,56,152,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3145563fc20ba22dd7f74f84c37588a1.jpg",[],{"id":25456,"slug":25457,"title":25458,"dynasty":45,"author":744,"museum":107,"description":897,"tags":25459,"thumbUrl":25460,"material":751,"size":752,"collection":95,"collections":25461,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},283629,"fu-qu-tu-tang-yin-283629","芙蕖图",[92,24,75,50,29,399,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc576bc62ef8d0d1d69f272bd6ce63f10.jpg",[],{"id":25463,"slug":25464,"title":25465,"dynasty":18,"author":16245,"museum":107,"description":20905,"tags":25466,"thumbUrl":25468,"material":751,"size":752,"collection":95,"collections":25469,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},283626,"huang-shan-san-shi-liu-feng-tu-juan-mei-qing-283626","黄山三十六峰图卷",[23,24,25,49,92,1328,50,27,59,60,398,7,77,25467,5721,57,2028],"黄山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8bad92c70028501261096bc6d435b4.jpg",[],{"id":25471,"slug":25472,"title":25473,"dynasty":18,"author":454,"museum":107,"description":25474,"tags":25475,"thumbUrl":25481,"material":751,"size":752,"collection":95,"collections":25482,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":207},273437,"xiang-ya-ke-han-man-wen-gui-fei-yao-shi-pai-yi-ming-273437","象牙刻汉满文贵妃钥匙牌","以温润象牙为基底，红蓝珐琅彩点缀其中，撞色鲜亮雅致。顶部透雕瑞鹿踏花，灵动鲜活，缠枝卷草柔婉勾勒轮廓。牌面汉满文书刻规整隽秀，团花饰纹环绕呼应，雕工利落精细。将宫廷华贵气度与民族文化意趣凝于方寸之间，尽显清代手工造物的精巧审美。",[25476,7713,8234,2919,27,7,25477,25478,25479,25480],"象牙","满文","汉文","兽纹","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a03f9a84a12b6ede72231a1b0fac22.jpg",[],{"id":25484,"slug":25485,"title":25486,"dynasty":18,"author":454,"museum":107,"description":25487,"tags":25488,"thumbUrl":25489,"material":751,"size":752,"collection":95,"collections":25490,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},270192,"qian-ci-xi-yu-xi-juan-hua-hua-hui-tu-mian-zi-qi-bian-bing-tuan-shan-yi-ming-270192","钤慈禧御玺绢画花卉图面紫漆边柄团扇","扇面一侧绘苍松虬曲，松针攒簇如盖，笔墨苍劲尽显古木嶙峋之态。旁侧崖畔幽兰绽蕊，白花素净柔条曼舒，与松石刚柔相济。另一侧题“瑶林瑞凤”，笔致娟秀挺劲，朱印错落点缀，添就古雅意趣。\n\n整幅画面清润温婉，咫尺纨扇间铺展出林下清逸之景，将文人笔下的隐逸意趣融于宫廷器物的规整雅致之中，静穆悠然的古典雅韵扑面而来，尽显精致雅致的晚清御制器物品格。",[1250,24,25,27,111,133,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F579ababfba4e5133b3ac083ef5911741.jpg",[],{"id":25492,"slug":25493,"title":25494,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":25495,"thumbUrl":25496,"material":751,"size":752,"collection":95,"collections":25497,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":40},267334,"ke-si-jia-xiu-san-xing-tu-zhou-yi-ming-267334","缂丝加绣三星图轴",[75,25,3232,2980,111,27,113,901,21016,51,1018,137,1199,10795,53,1200,7,77,4509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f972bd7e0b8748b08724aa9e2911dd.jpg",[],{"id":25499,"slug":25500,"title":25501,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":25503,"thumbUrl":25507,"material":751,"size":752,"collection":25508,"collections":25509,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},258984,"yi-xing-yao-zi-sha-song-shu-peng-cha-tu-shi-wen-hu-yi-ming-258984","宜兴窑紫砂松树烹茶图诗文壶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[25504,25505,2135,7713,7,1018,25506,834],"陶瓷","紫砂","烹茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2cb55296edbfaa0b3e4c383f3bafb8.jpg","瓷器精选",[25508],{"id":25511,"slug":25512,"title":25513,"dynasty":45,"author":454,"museum":107,"description":25514,"tags":25515,"thumbUrl":25516,"material":95,"size":95,"collection":802,"collections":25517,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":789},242210,"lu-kong-zi-miao-bei-yi-ming-242210","鲁孔子庙碑","此拓本隶书朴茂沉雄，方整厚重，尽显汉隶典型风骨。碑字经岁月剥蚀多有残泐，更添古拙苍浑之韵。笔画顿挫沉劲，结体宽博端凝，自带庙堂礼器般的肃穆庄严。墨色醇黑莹润，装裱古雅，残字留白晕染出时光磨砺的沧桑意蕴，兼具金石考据价值与书法审美意趣，将汉隶庄重雄浑的气度留存于纸间，静静诉说着文脉传承的厚重历史。",[198,7,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672b3dbc14b09dfb05896a0f5f1b2d13.jpg",[802],{"id":25519,"slug":25520,"title":25521,"dynasty":45,"author":454,"museum":107,"description":25522,"tags":25523,"thumbUrl":25524,"material":95,"size":95,"collection":802,"collections":25525,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},242200,"xing-feng-lou-tie-yi-ming-242200","星凤楼帖","此帖包首织就云龙纹锦，斑驳破损间浸漫岁月古意。题签墨笔苍劲朴拙，列兰亭、黄庭经、曹娥碑等诸帖名目，尽显汇帖的博雅气度。作为摹刻汇帖，它遴选历代法书菁华，复刻工艺精到，即便历经数百年时光，纸墨间依旧留存旧刻的清朗风骨，暗合明人刻帖追摹古雅的审美意趣。斑驳的题签与残损的封皮，都成为时光注脚，静静诉说着历代书法传承的脉络，将千年笔墨风雅凝于一册，古意盎然，是刻帖文化留存的珍贵遗存。",[4038,7,60,198,9635,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5de47c487e8868510be1b9663231caf4.jpg",[802],{"id":25527,"slug":25528,"title":25529,"dynasty":18,"author":454,"museum":107,"description":25530,"tags":25531,"thumbUrl":25532,"material":95,"size":95,"collection":802,"collections":25533,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":207},242173,"lan-ting-ba-zhu-tie-liu-gong-quan-shu-lan-ting-shi-yi-ming-242173","《兰亭八柱帖》柳公权书兰亭诗","此作用笔斩截爽利，提按之间筋骨毕现，中锋行笔凝练遒劲，侧锋取势又不失沉稳。结体欹正相生，大小错落，将柳书特有的刚硬融进行书舒展意态中，既有“柳骨”的挺拔方正，又具兰亭雅集的散淡悠然。\n\n章法之上，字间顾盼有情，行列无界格却气脉连贯，墨色乌亮莹润，虽为刻帖，仍能窥见原作风神。笔墨间漫溢着东晋修禊的雅韵，将谢万、孙绰诗中文士游赏林泉、寄情烟霞的悠然心境，淋漓展现，是碑刻书法里兼具筋骨与意趣的精品。",[7,198,60,199,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cd7a828da7e32301e95fd2ea1a72cc.jpg",[802],{"id":25535,"slug":25536,"title":25537,"dynasty":18,"author":454,"museum":107,"description":25538,"tags":25539,"thumbUrl":25540,"material":95,"size":95,"collection":802,"collections":25541,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":207},242171,"lan-ting-ba-zhu-tie-chu-sui-liang-mo-lan-ting-xu-yi-ming-242171","《兰亭八柱帖》褚遂良摹兰亭序","此作为黑底白字刻帖，笔意灵动秀雅，尽得原帖风神。起笔收笔温润舒展，点画粗细间暗含筋骨，牵丝映带晕染出晋人萧散气韵。字势错落欹正相生，通篇章法匀净通透，将原作俯仰慨叹的文辞意绪融在笔墨节奏里。\n\n刀工藏露得宜，无斫削之痕，将临本宽和雅正的意趣尽数留存。虽为刻拓，却能传递笔墨流动的鲜活感，观之如见纸上游丝婉转，把兰亭雅集里俯仰天地的清隽风流，凝在方寸碑面之中。",[7,60,110,198,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6142a58441181ad0c9894b9c327b8d9b.jpg",[802],{"id":25543,"slug":25544,"title":25545,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":25546,"thumbUrl":25548,"material":751,"size":752,"collection":95,"collections":25549,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},241678,"yi-you-zheng-yue-shi-yi-ri-yan-chun-ge-gong-feng-huang-tai-hou-guan-deng-ji-shi-yi-lv-heng-pi-qian-long-241678","乙酉正月十一日延春阁恭奉皇太后观灯即事一律横披",[7,60,25547,77,2602],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3684252d22865fe050d04aa62e6d81cb.jpg",[],{"id":25551,"slug":25552,"title":24564,"dynasty":18,"author":25553,"museum":107,"description":25554,"tags":25555,"thumbUrl":25556,"material":312,"size":95,"collection":96,"collections":25557,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},241393,"qi-lv-er-shou-zhou-bao-gao-241393","鲍皋","鲍皋（1708—1765） ，清朝江苏镇江丹徒人，字步江，号海门。是一个诗赋家。\n他自幼聪明，家贫，向人借书阅读，熟记胸中，13岁在\n清康熙年间，余京 康熙末年鲍皋与 鲍皋年轻时曾在扬州，得到盐运使尹会一之助。雍正 王豫评三诗人，认为 镇江\n鲍皋一生沉溺于诗，不事科举。其妻陈蕊珠(1714-1778)、子之钟(1740-1802)、三个女儿之兰(1751-1812)、之蕙(1757-1810)、之芬(1761-1808)都能诗，可称一门风雅。",[2135,75,60,7,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c871edb19255706560ce3e465beafd.jpg",[96],{"id":25559,"slug":25560,"title":25561,"dynasty":18,"author":21112,"museum":107,"description":25562,"tags":25563,"thumbUrl":25564,"material":751,"size":752,"collection":95,"collections":25565,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},241343,"xian-chen-song-zhou-zhang-ting-ji-241343","贤臣颂轴","张廷济(1768—1848)，清代金石学家、书法家。原名汝林，字顺安，号叔未，一字说舟，又字作田，又号海岳庵门下弟子，晚号眉寿老人，浙江嘉兴新篁人。嘉庆三年（一七九八）解元，以后几次会试未中，遂家居从事学术研究和艺术创作。工诗词，风格朴质，善用典故，精金石考据之学，尤擅长文物鉴赏，一碑一器都能辨其真伪，别其源流。喜收藏各类古器文物，收藏鼎彝、碑版及书、画甚多。",[24,25,75,1613,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716570aaa993bde615ded2ea4bbba5cc.jpg",[],{"id":25567,"slug":25568,"title":25569,"dynasty":18,"author":25570,"museum":107,"description":25571,"tags":25572,"thumbUrl":25573,"material":751,"size":752,"collection":95,"collections":25574,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},241336,"xing-kai-qian-wen-juan-fan-zhen-241336","行楷千文卷","樊镇","樊镇，（清）道士。俗名嗣曾，字主实，号竹师，一号煮石山人，清代北通州（今北京市通州）人。住白马庙。",[23,24,25,49,7,3135,199,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516758955027818f87868c19a4cbbbe6.jpg",[],{"id":25576,"slug":25577,"title":25578,"dynasty":18,"author":24657,"museum":126,"description":25579,"tags":25580,"thumbUrl":25581,"material":4606,"size":25582,"collection":96,"collections":25583,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},241079,"jie-lu-ku-shu-fu-zhou-weng-tong-he-241079","节录枯树赋轴","翁同龢（1830年~1904年），字叔平，号松禅， 别署均斋、瓶笙、瓶庐居士、并眉居士等，别号天放闲人，晚号瓶庵居士，江苏常熟人，中国近代史上著名政治家、书法艺术家。体仁阁大学士翁心存第三子，咸丰六年（1856年）状元，历任户部、工部尚书、军机大臣兼总理各国事务衙门大臣。先后担任清同治、光绪两代帝师。卒后追谥文恭。\n翁同龢（hé）工诗 [16] ，间作画，尤以书法名世，幼学欧、褚，初学董其昌、米芾，中年后由钱沣上追颜真卿，又不受颜字束缚，结体宽博开张，笔画刚劲有力，风格苍浑遒劲，朴茂雍容，著有《翁文恭公日记》《瓶庐诗文稿》等。",[7,75,60,651,360,1390,359,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2d62f228dfd929b8f50b5867966123.jpg","137.7×68cm",[96],{"id":25585,"slug":25586,"title":25587,"dynasty":45,"author":454,"museum":107,"description":25588,"tags":25589,"thumbUrl":25590,"material":751,"size":752,"collection":95,"collections":25591,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},240951,"jiang-nan-chun-yi-ming-240951","江南春","此作为行书册页，用笔爽利劲挺，牵丝映带间尽显灵动意趣，结体欹正相生，章法错落自然。通篇笔墨干湿浓淡富于变化，开篇疏朗，渐次茂密，行气连贯如一。将春日江南的缱绻诗意融于笔墨，笔意随文辞起伏，把春景的柔婉与书写的洒脱相融。字里行间既有文人的清雅书卷气，又不失行书的舒展飘逸，笔墨晕染出江南春日的朦胧柔媚，书文相合，尽显尚态抒情的典型特质，是一件兼具文学意趣与书法美感的佳作。",[25,7,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a4b0ad292172f0d9b6204b4720c6dd4.jpg",[],{"id":25593,"slug":25594,"title":25595,"dynasty":45,"author":19108,"museum":107,"description":24598,"tags":25596,"thumbUrl":25597,"material":751,"size":752,"collection":95,"collections":25598,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},240895,"shi-ju-zhou-ni-yuan-lu-240895","诗句轴",[24,25,7,75,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11b62d5770e8b24a955eeae11cc1c7f.jpg",[],{"id":25600,"slug":25601,"title":22728,"dynasty":18,"author":1260,"museum":72,"description":25602,"tags":25603,"thumbUrl":25606,"material":312,"size":25607,"collection":96,"collections":25608,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},240710,"shi-juan-liu-yong-240710","本幅为刘墉书写杜甫诗句之手卷，书于水红色、钩金花的纸张上，十分别致。起始的一首诗题名为“缚鸡行”，叙述小仆绑着鸡要到市中去卖，引起了诗人对人、鸡、虫三者间的一些感概，内容颇有意趣。至于在书法方面，圆润婉转的字体，看似柔软无骨，实际上却是将劲道隐藏于丰厚的外貌中，相当的内敛，前人评论刘墉的书法为棉里裹针，应即此意了。",[23,7,60,49,77,678,51,679,298,1049,25604,25605,3040,1004,845,282],"星","火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb205c3850b765c4e2b6b30fd470f7041.jpg","金笺22.5x232cm",[96],{"id":25610,"slug":25611,"title":25612,"dynasty":18,"author":454,"museum":126,"description":25613,"tags":25614,"thumbUrl":25615,"material":19064,"size":25616,"collection":96,"collections":25617,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},240704,"yang-fa-zhuan-shu-qi-yan-shi-zhou-yi-ming-240704","杨法篆书七言诗轴","释文：\n落日微风倚石龛，人从江北望江南。连山不断翻波浪，夕鸟遥空飞二三。六代繁华消浊酒，一时士女擅清谈。长江天堑成虚语，千里楼船许猷探。呼吸真堪帝座通，名花迥出百花丛。繇来天上根株异，可许人间富贵同。色丽云霞共近远，既浮烟霭气冲融。临风更向瑶台立，似有霓裳奉碧空。乾隆壬午仲秋日。上元杨法。\n款署：“乾隆壬午仲秋日。上元杨法。”钤“杨法印信”朱文印、“杨已军印”白文印，鉴藏印钤“龙友审定”朱文印。\n款署“乾隆壬午”为乾隆二十七年（1762年）。作者时年66岁，为晚年作品。\n本幅书体为篆书的一种变体，用笔呈蜿蜒盘曲之状，并兼有隶书的笔画，富有装饰效果。",[7,457,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f405887ada08f1c10da69a61f6b38a.jpg","纵120.3厘米，横28.9厘米",[96],{"id":25619,"slug":25620,"title":25621,"dynasty":18,"author":3261,"museum":107,"description":16683,"tags":25622,"thumbUrl":25623,"material":751,"size":752,"collection":95,"collections":25624,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},240634,"si-zhen-ping-deng-shi-ru-240634","四箴屏",[7,1613,12955,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371ea18d7a0f5926babcfa01d235ec32.jpg",[],{"id":25626,"slug":25627,"title":2131,"dynasty":18,"author":25628,"museum":126,"description":25629,"tags":25630,"thumbUrl":25631,"material":312,"size":25632,"collection":96,"collections":25633,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},240597,"zhuan-shu-ba-yan-lian-sun-xing-yan-240597","孙星衍","孙星衍（1753年9月28日—1818年2月16日），是清代著名藏书家、目录学家、书法家、经学家。字渊如，号伯渊，别署芳茂山人、微隐。阳湖（今江苏武进）人，后迁居金陵。少年时与杨芳灿、洪亮吉、黄景仁以文学见长，袁枚称他为“天下奇才”。\n于经史、文字、音训、诸子百家，皆通其义。辑刊《平津馆丛书》《岱南阁丛书》堪称善本。著有《周易集解》《寰宇访碑录》《孙氏家藏书目录内外篇》《芳茂山人诗录》等多种文集",[2135,457,2136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4293b21962edbb2653d973bfc5ea631.jpg","172.3×27cm×2",[96],{"id":25635,"slug":25636,"title":25637,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":25638,"thumbUrl":25639,"material":751,"size":752,"collection":95,"collections":25640,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},240378,"zhou-li-zhi-fang-pian-zhou-jin-nong-240378","周礼职方篇轴",[7,1613,6015,75,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f611b02cde43ff11be74bd622f04353.jpg",[],{"id":25642,"slug":25643,"title":25644,"dynasty":18,"author":10912,"museum":107,"description":16215,"tags":25645,"thumbUrl":25646,"material":751,"size":752,"collection":95,"collections":25647,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},240278,"wang-duo-lin-ou-tie-zhou-wang-duo-240278","王铎临欧帖轴",[7,60,110,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7f8f8bcba128cc578b9c3f071dc860.jpg",[],{"id":25649,"slug":25650,"title":25651,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":25652,"thumbUrl":25653,"material":751,"size":752,"collection":95,"collections":25654,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":100},240250,"wen-zheng-ming-xing-song-lu-nan-gong-zu-xian-sheng-shu-zhi-ci-zhou-wen-zheng-ming-240250","文徵明行送潞南公祖先生述职词轴",[25,7,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1eecb4e010e72e8f5225839e50ac746.jpg",[],{"id":25656,"slug":25657,"title":25658,"dynasty":18,"author":411,"museum":126,"description":20419,"tags":25659,"thumbUrl":25660,"material":95,"size":95,"collection":96,"collections":25661,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},240038,"yuan-ji-dui-xue-shi-ye-shi-tao-240038","原济对雪诗页",[92,24,25,7,60,77,2135,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb5b79f4c7f387675ed4c8066ff45ec.jpg",[96],{"id":25663,"slug":25664,"title":25665,"dynasty":18,"author":25666,"museum":25667,"description":25668,"tags":25669,"thumbUrl":25670,"material":95,"size":25671,"collection":96,"collections":25672,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},239951,"jie-lu-han-shu-zhou-cao-xiu-xian-239951","节录汉书轴","曹秀先","常州市博物馆","曹秀先（1708—1784），字恒听，又字芝田、冰持，号地山，江西南昌新建县人。清朝翰林，政治人物，文学家，书法家。为官清廉，人称“诚敬勤慎”。为《四库全书》馆总裁，乾隆帝曾特赐“紫禁城骑马”的特殊待遇。书法，取法钟、王，自成一家。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb34ebebe7c2b12228392512fbb4aaa.jpg","97×46.1cm",[96],{"id":25674,"slug":25675,"title":25676,"dynasty":45,"author":25677,"museum":107,"description":25678,"tags":25679,"thumbUrl":25680,"material":95,"size":95,"collection":96,"collections":25681,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},239798,"shi-han-juan-fan-qin-239798","诗翰卷","范钦","范钦（1506年－1585年），字尧卿，号东明，浙江鄞县（今宁波市鄞州区）人。明代著名藏书家，中国现存最古老的藏书楼——天一阁的主人。\n嘉靖十一年（1532年）进士。历任随州知州、工部员外郎、袁州知府、广西参政、福建按察使、云南右布政使、陕西左布政使、副都御史等职。后晋兵部右侍郎，未赴任而去职还乡。\n一生喜爱藏书。归里后，于嘉靖四十年至四十五年（1561-1566年）间，在宁波月湖西岸的居宅东侧建造了藏书楼，取“天一生水、地六成之”之义，名“天一阁”。其藏书以明版地方志及登科录为世人所重，在明时已有“浙东藏书第一家”之誉。历经400余年后的今天，已成为中国国内最古老的藏书楼。著述有《四明范氏书目》《烟霞小说》《抚掌录》《奏议》《草朝遗忠录》《明文臣爵谥》《古今谚》。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7efa13184a215e5f9930f7d8baf070f.jpg",[96],{"id":25683,"slug":25684,"title":25685,"dynasty":18,"author":25686,"museum":107,"description":25687,"tags":25688,"thumbUrl":25689,"material":95,"size":95,"collection":95,"collections":25690,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},239710,"lin-dong-qi-chang-shu-tang-ren-shi-tie-zhou-zhang-zhao-239710","临董其昌书唐人诗帖轴","张照","此作用笔温润秀雅，将董其昌疏淡萧散的笔意揣摩尽致，又自带着雍容端严的气度。行笔舒展灵动，遒劲不失飘逸，结体开合随心，行气连贯通脱。墨色浓淡自然过渡，落笔收锋尽显法度。\n\n以笔墨铺陈唐人诗作，将宫苑早朝开阔雄浑的诗意融于点画之间，通篇布局匀整和谐，临古却不泥古，在师法前人的同时晕染出自身的文人雅韵，尽显从容闲适的书写意趣，是将诗书意蕴与笔墨美感融为一体的临摹佳制。",[110,60,7,50,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c94fbdef56f98cdd1049f489a184221.jpg",[],{"id":25692,"slug":25693,"title":5060,"dynasty":179,"author":225,"museum":126,"description":25694,"tags":25695,"thumbUrl":25696,"material":312,"size":25697,"collection":96,"collections":25698,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},239667,"wan-shou-qu-juan-zhao-meng-fu-239667","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。",[23,92,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20c96ff0adeb32d5b02a2720d9315e5.jpg","纵27.5厘米，横144厘米",[96],{"id":25700,"slug":25701,"title":25702,"dynasty":179,"author":225,"museum":126,"description":25703,"tags":25704,"thumbUrl":25705,"material":1038,"size":25706,"collection":96,"collections":25707,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},239666,"jiu-de-song-juan-zhao-meng-fu-239666","酒德颂卷","释文：\n有大人先生以天地爲一朝，以萬期爲須臾，日月爲扃牖，八荒爲庭除。行無轍迹，居無室廬，幕天席地，縱意所如。止則摇卮執孤，動則挈榼提壺，唯酒是務，焉知其餘。有貴介公子，搢紳處士，聞吾風聲，議其所以，陳說禮法，是非蠭起，奮袂攘襟，怒目切齒。先生於是方捧甖承槽，銜杯嗽醪，奮髯箕踞，枕麹藉糟，無思無慮，其樂陶陶。兀然而醉，恍爾而醒。靜聽不聞雷霆之聲，熟視不見泰山之形。不覺寒暑之切肌，嗜欲之感情。俯觀萬物，擾擾焉如江海之載萍。二豪侍側，如螺蠃之與螟蛉。延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。\n本幅自识：“延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。”钤“赵子昂氏”印。帖后题跋有孙星衍（5段）、徐有贞、陈鉴、刘珏、杨循吉、文彭、王穉登、翁方纲（4段）、阮元等26家。鉴藏印有戴植、吴云、顾文彬等15方。\n明詹景凤《东图玄览编》、《真迹日录》，清顾文彬《过云楼书画记》、完颜景贤《三虞堂书画目》著录。\n延祐三年（1316年），赵孟頫时年63岁。\n此卷是赵孟頫为瞿泽民录写的西晋刘伶《酒德颂》全文，共19行。瞿泽民无考。刘伶为“竹林七贤”之一，其《酒德颂》充分反映了晋代文人的心态，由于社会动荡不安，统治者对一些文人的政治迫害，使有的文人或借酒浇愁，或以酒避祸，并借酒后狂言发泄对时政的不满。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[23,49,7,60,199,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31512f695b6d65fe30c4b2db8aaaaa7f.jpg","纵28.5厘米，横65.2厘米，19行",[96],{"id":25709,"slug":25710,"title":25711,"dynasty":179,"author":25712,"museum":107,"description":25713,"tags":25714,"thumbUrl":25715,"material":95,"size":95,"collection":96,"collections":25716,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":789},239647,"shi-tie-juan-zhang-shen-239647","诗帖卷","张绅","张绅，字士行，一字仲绅，元代末期胶州人（（宣统）《山东通志·艺文志》于其著《法书通释》下云绅为登州人）。元至正七年（1347年）与弟经、缉同领乡荐。张咏乖崖之孙。\n《四库全书总目》于其著《法书通释》下云：“《书史会要》但称为山东人，洪武中官浙江布政使，不详为山东何地之人(应为济南人，《孔子庙堂碑》古拓本中有记载)，亦不详其出身。考《明史·吴伯宗传》附载鲍恂事，称洪武十五年（1382年）吉安余诠、高邮张长年、登州绅并以明经老成为礼部主事所荐，召至京。恂、长年皆以老病辞归，惟绅授鄠县教谕，寻召为右佥都御史，终浙江布政使。则绅乃为登州人，以荐举起家也。”是以知（宣统）《山东通志》沿《明史》之误。今按（道光）《重修胶州志》于《人物志》中列张绅传，于《艺文志》中收入其《逸诗》一卷，且有“元至正七年与弟经、缉同领乡荐”之载，并加按语云：“《明史》绅登州人，《明山左诗抄》绅济南卫人，又称云门山樵，盖尝至益都，皆其生平流寓之地。” 《法书通释》分十篇：八法、结构、执使、篇段、从古、立式、辨体、名称、利器、总论。多汇集晋、唐以来名家之论，间及苏轼、黄庭坚、姜夔之说，所取古人碑帖至唐而止，然均为习见之文。立式篇“辨古无真书之名，钟、王楷书皆是隶法”一条，足正近代俗者之陋。",[23,7,49,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e46960c1b670d0173f9d60a749a4e3.jpg",[96],{"id":25718,"slug":25719,"title":5385,"dynasty":179,"author":25720,"museum":107,"description":25721,"tags":25722,"thumbUrl":25723,"material":95,"size":95,"collection":95,"collections":25724,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},239642,"shi-tie-gu-lu-239642","顾禄","此作隶法醇正古雅，用笔敦实厚重，蚕头燕尾的汉隶范式鲜明，又暗糅楷法的端稳方正，消解了汉隶的开张恣肆，平添温静秀雅的意趣。结体匀整工稳，重心沉凝，笔画波磔舒展有度，粗细变化含蓄内敛。\n\n章法排布行列齐整，字距疏朗、行距紧凑，通篇气息浑融平和，墨色沉郁饱满，尽显静穆端方的庙堂气质。既恪守复古求正的书风意趣，又在法度之内流露文人隽秀的审美品格，笔墨间古意盎然，是复古思潮下颇具代表性的隶书名迹。",[7,199,77,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ef7f412b982583f28298b4a21e4f2a.jpg",[],{"id":25726,"slug":25727,"title":25728,"dynasty":179,"author":25729,"museum":126,"description":25730,"tags":25731,"thumbUrl":25732,"material":312,"size":25733,"collection":96,"collections":25734,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,92,24,25,49,60,7,77,200,1498,433,432,3092,3093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[96],{"id":25736,"slug":25737,"title":25738,"dynasty":179,"author":330,"museum":126,"description":25739,"tags":25740,"thumbUrl":25741,"material":10965,"size":25742,"collection":96,"collections":25743,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},239564,"ai-hou-tie-ye-wang-meng-239564","爱厚帖页","释文：\n蒙顿首再拜\n德常判府相公尊契兄，恃在爱厚，輙为禀白：友人林静子山，吴兴人，亦赵氏之甥也。读书博学，多艺能，而未有成名。欲权于彼学中养赡，得三石米足矣。用是求书专注，望介注为祷。斯人年幼而多学，亦公家所当养者。王府君处意不殊此，未由晤会，万冀调攝，以膺峻擢，不具。二月廿四日，王蒙顿首再拜，余控。\n帖后钤“也园珍赏”、“世受堂”两方鉴藏印。\n无题跋。\n《爱厚帖》是王蒙存世的唯一一通尺牍，弥足珍贵。此信写给做官的朋友“德常判府”，内容是举荐他的朋友林静（赵孟頫的外孙），请求给其安排一份工作，并介绍了此人“读书博学，多艺能”等特点。德常，名张经，字德常，金坛（今镇江）人。其父张监、弟张枢与王蒙、倪瓒交往密切。元至正二十二年（1362年）张经曾任松江府判官，书中称“判府相公”，可知此信应书于至正二十二年以后，是王蒙中年的作品。\n此书学赵孟頫，不仅点画转折具赵书规模，结体也仿学极似，且笔墨圆润流畅，风格清劲飘逸。明吴宽《匏翁家藏集》云：“黄鹤山人书，当不在赵魏公下。”\n《元诸名家尺牍册》、《石渠宝笈初编》著录。",[179,60,7,25,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd610f72ada49e0203ea8b31f3a88d5.jpg","纵33.3厘米，横58.7厘米",[96],{"id":25745,"slug":25746,"title":25747,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":25748,"thumbUrl":25749,"material":751,"size":752,"collection":95,"collections":25750,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},239397,"shou-zhe-xiang-tu-zhou-wu-chang-shuo-239397","寿者像图轴",[24,25,75,50,7,1018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec5e02accfa1320bb7cef69f6c82525.jpg",[],{"id":25752,"slug":25753,"title":24794,"dynasty":18,"author":294,"museum":107,"description":16227,"tags":25754,"thumbUrl":25755,"material":95,"size":95,"collection":95,"collections":25756,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},238833,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238833",[24,25,26,27,51,59,7,77,52,53,56,55,651,360,333,267,7758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6eba943f2863483400997f8cce665d.jpg",[],{"id":25758,"slug":25759,"title":25760,"dynasty":45,"author":12748,"museum":107,"description":25761,"tags":25762,"thumbUrl":25763,"material":751,"size":752,"collection":95,"collections":25764,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},236681,"ren-wu-shan-wu-bin-236681","人物扇","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[1250,24,50,113,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913310765c3baf3b603fed1b7ff07e4f.jpg",[],{"id":25766,"slug":25767,"title":25768,"dynasty":45,"author":25769,"museum":107,"description":25770,"tags":25771,"thumbUrl":25772,"material":751,"size":752,"collection":95,"collections":25773,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},236667,"qiu-jiang-diao-ting-shan-ye-song-jue-236667","秋江钓艇扇页","宋珏","宋珏（1576—1632）明代诗人、书画家。字比玉，号荔支子，浪道人、国子仙，福建莆田人。国子监生。漫游吴越，客死吴地，工书画篆刻。山水学米氏、黄公望、吴镇，用笔苍老秀逸，不拘于法，兼善画松。",[1250,50,51,54,15072,116,820,59,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa005189c8c25c3552046034c87135ba8.jpg",[],{"id":25775,"slug":25776,"title":25777,"dynasty":18,"author":5660,"museum":126,"description":13924,"tags":25778,"thumbUrl":25779,"material":95,"size":95,"collection":95,"collections":25780,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},236583,"lan-mei-ce-wang-shi-shen-236583","兰梅册",[24,50,112,131,77,7,29,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2285de5d09d10542b55d149bf19143.jpg",[],{"id":25782,"slug":25783,"title":20505,"dynasty":18,"author":20506,"museum":126,"description":20507,"tags":25784,"thumbUrl":25786,"material":1179,"size":20510,"collection":95,"collections":25787,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},236149,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236149",[24,25,26,111,27,113,458,567,56,25785,7],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab3305e5c980a0af9c5afd1c35364f4.jpg",[],{"id":25789,"slug":25790,"title":25791,"dynasty":45,"author":25792,"museum":107,"description":25793,"tags":25794,"thumbUrl":25795,"material":95,"size":95,"collection":95,"collections":25796,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},236023,"ren-wu-tu-ce-ri-mu-qing-yin-wen-nan-shou-mao-weng-236023","人物图册－日暮清音","文柟寿茂翁","林下棕柯亭亭，二人席地闲坐，一人信手拨弦，一人凝神静听，嶙峋湖石点染幽寂氛围。设色清浅简淡，人物意态萧散悠然，尽显雅聚之趣。\n\n左侧行书题诗与画境呼应，笔致隽秀舒展，诗画相映，将春日访隐、醉心丝竹，伴山涧鸟语的林下闲情铺展开来，尽显文人耽于林泉、寄情雅事的审美意趣，笔墨极简却余韵悠长，勾勒出世外幽居的恬淡雅致。",[24,25,26,27,50,113,652,2019,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a14f29adc119af4109370028b561400.jpg",[],{"id":25798,"slug":25799,"title":25800,"dynasty":45,"author":25801,"museum":107,"description":25802,"tags":25803,"thumbUrl":25804,"material":95,"size":95,"collection":95,"collections":25805,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":40},235843,"bei-gu-shan-tu-ye-zhu-lang-235843","北固山图页","朱朗","此作以秀雅笔触晕染山川形胜，危崖拔地而起，古寺层叠依岩错落，逶迤山道缠绕崖壁，山脚林木蓊然繁茂。远景江天淡远清旷，将京口名山大江之状收揽尺幅。\n\n淡色清润柔和，勾勒皴擦兼具苍浑与秀逸，题诗与山水相映，把“天下第一江山”的壮怀诗意融于画中，既写实摹画出雄踞江岸的山川气势，又带着文人画的淡逸格调，尽展名关古刹的沉郁古意，将山水形胜与家国壮怀悄然合璧。",[24,25,51,27,26,59,458,57,56,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4f3307e6d2d133782d3d2478c169b1.jpg",[],{"id":25807,"slug":25808,"title":1290,"dynasty":45,"author":22934,"museum":107,"description":22935,"tags":25809,"thumbUrl":25810,"material":751,"size":752,"collection":95,"collections":25811,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},235472,"hua-hui-ce-qi-xun-235472",[24,25,26,60,27,111,29,285,284,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490a6d8cd0412f0d7d29c27368562d38.jpg",[],{"id":25813,"slug":25814,"title":3402,"dynasty":18,"author":411,"museum":126,"description":2145,"tags":25815,"thumbUrl":25816,"material":8265,"size":18615,"collection":95,"collections":25817,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},235007,"yuan-ji-shan-shui-tu-ce-shi-tao-235007",[24,50,27,59,7,77,51,57,56,1018,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f95e070eb30a633e86a181baaa50863.jpg",[],{"id":25819,"slug":25820,"title":25821,"dynasty":45,"author":25822,"museum":107,"description":25823,"tags":25824,"thumbUrl":25825,"material":751,"size":752,"collection":95,"collections":25826,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},234832,"shan-shui-shan-wei-zhi-ke-234832","山水扇","魏之克","魏之克（明），后名克，字和叔，上元（今南京）人。之璜弟，与兄卖画为生。工诗，善山水追宗宋元，得其兄法。兼作工装。笔法秀美，姿颜软媚，有不胜罗绮之态。",[1250,24,50,51,458,54,57,56,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57589074d4997912e0900d20e4b199ca.jpg",[],{"id":25828,"slug":25829,"title":25830,"dynasty":45,"author":10061,"museum":107,"description":25831,"tags":25832,"thumbUrl":25833,"material":751,"size":752,"collection":95,"collections":25834,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},234830,"shan-shui-shan-ye-lan-ying-234830","山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[1250,24,25,92,50,51,704,54,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ffc56d629f48afc48a85f98b53415e.jpg",[],{"id":25836,"slug":25837,"title":25838,"dynasty":45,"author":9605,"museum":126,"description":25839,"tags":25840,"thumbUrl":25841,"material":312,"size":25842,"collection":95,"collections":25843,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},234155,"yun-shan-tu-juan-wen-jia-234155","云山图卷","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,25,49,50,59,60,7,51,3253,252,251,56,3174,58,52,53,54,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":25845,"slug":25846,"title":25847,"dynasty":88,"author":6022,"museum":126,"description":25848,"tags":25849,"thumbUrl":25850,"material":1179,"size":25851,"collection":95,"collections":25852,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},233998,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233998","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[92,24,25,26,112,27,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7dfb1d4d8ceee81c76bc7a9cf5dfeb.jpg","60.33x41.04厘米",[],{"id":25854,"slug":25855,"title":25856,"dynasty":18,"author":25857,"museum":126,"description":25858,"tags":25859,"thumbUrl":25860,"material":488,"size":25861,"collection":95,"collections":25862,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233951,"ba-wei-zu-xiang-zhou-min-zhen-233951","巴慰祖像轴","闵贞","本幅有元焕枢题名“雋堂居士像”，金榜、达生、嗣生三家题记，吴云蒸观款，裱边有韩廷秀、程振甲等七家题记。\n画面上，巴慰祖约50岁年纪，身着青杉，外披红袍，端坐在蓝底黄花的蒲垫上，神态安详，面部瘦削，目光矍铄，但似有倦容，使人联想到顾恺之笔下维摩诘“轻羸示病之容，隐几忘言之状”的情形，可知此图作于巴氏生病之时。画家用写实画法，精细逼真，人物面部吸取“波臣派”画法，细笔勾勒，淡色晕染，深色画阴影，凹凸感显而易见。画家以色彩的运用表现人物的个性特征，两颧、双颊、眼窝交待清晰，衣纹用笔细劲，转折略有顿挫，敷色讲究，画面古朴典雅，注重形式与内容统一的整体感，将笔下的肖像表现得形神兼备，此图堪称闵贞之精品。",[24,25,75,113,27,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2675914ee742ce720b495cfcb33ee35.jpg","纵103.5厘米，横31.6厘米",[],{"id":25864,"slug":25865,"title":14025,"dynasty":18,"author":16245,"museum":126,"description":25866,"tags":25867,"thumbUrl":25868,"material":488,"size":25869,"collection":95,"collections":25870,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233891,"huang-shan-tu-ce-mei-qing-233891","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,25,26,50,27,51,59,7,77,5721,652,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291696afa7319434a5c86ab9e6c655f8.jpg","纵26厘米，横33厘米",[],{"id":25872,"slug":25873,"title":25874,"dynasty":179,"author":1324,"museum":126,"description":25875,"tags":25876,"thumbUrl":25877,"material":519,"size":25878,"collection":95,"collections":25879,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},233885,"wu-zhu-xiu-shi-tu-zhou-ni-zan-233885","梧竹秀石图轴","图中绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。",[24,25,75,50,132,1048,250,77,60,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe669021468b32b5f44f9d6226b16a7dc.jpg","纵96厘米，横36.5厘米",[],{"id":25881,"slug":25882,"title":25883,"dynasty":45,"author":25884,"museum":126,"description":25885,"tags":25886,"thumbUrl":25887,"material":346,"size":25888,"collection":95,"collections":25889,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233843,"bi-hu-zhu-shu-tu-zhou-shen-hao-233843","闭户著书图轴","沈颢","画面苍松下篱门紧闭。窠石小溪，书屋内一人凭几挥笔著书。用笔工细严谨。自识“闭户著书多岁月，种松皆作老龙麟。安素先生，抱道高棲，日著书万言。穆如之风，真追支、许。其次公原定，逸才清骨，与予有缟紵之谊。近闻遷乔，写此代贺。癸酉中秋，朗道人颢”。钤“朗倩”白文方印等。另钤“乾隆御览之宝”等鉴藏印多方。按癸酉为崇祯六年，公元一六三三年，作者时年四十八岁。此图曾经清内府收藏。《石渠宝笈》著录。",[24,25,75,50,27,59,60,7,77,115,1018,58,113,250,9953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f512c1583ae2897dc676a32f26a2c32.jpg","纵96.2厘米，横40.7厘米",[],{"id":25891,"slug":25892,"title":5357,"dynasty":18,"author":411,"museum":126,"description":5358,"tags":25893,"thumbUrl":25894,"material":488,"size":5362,"collection":95,"collections":25895,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233776,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233776",[24,25,26,27,51,113,58,56,57,845,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4915b7fd405c9234966f025821e03ed9.jpg",[],{"id":25897,"slug":25898,"title":20485,"dynasty":18,"author":506,"museum":126,"description":20585,"tags":25899,"thumbUrl":25900,"material":20588,"size":20589,"collection":95,"collections":25901,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233396,"shan-shui-ren-wu-ce-jin-nong-233396",[24,25,26,27,51,113,52,115,137,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54429029827b441643489512e15b13be.jpg",[],{"id":25903,"slug":25904,"title":20485,"dynasty":18,"author":506,"museum":126,"description":20585,"tags":25905,"thumbUrl":25906,"material":20588,"size":20589,"collection":95,"collections":25907,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":40},233395,"shan-shui-ren-wu-ce-jin-nong-233395",[24,25,26,27,112,50,51,113,115,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb161be310fe9e34df6500fcd1d828736.jpg",[],{"id":25909,"slug":25910,"title":25911,"dynasty":18,"author":15594,"museum":126,"description":25912,"tags":25913,"thumbUrl":25914,"material":312,"size":25915,"collection":95,"collections":25916,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233181,"fang-gu-ji-you-tu-ce-huang-yi-233181","访古纪游图册","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[24,25,26,50,59,77,7,60,51,250,55,56,1678,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde56bbb5dd5f5082bb9e8e48065c69cc.jpg","纵17.8cm，横50.8cm",[],{"id":25918,"slug":25919,"title":4167,"dynasty":179,"author":2389,"museum":126,"description":10848,"tags":25920,"thumbUrl":25921,"material":488,"size":10851,"collection":95,"collections":25922,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},233174,"shan-shui-ce-cao-zhi-bai-233174",[24,50,59,26,7,60,51,651,360,56,52,58,1678,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36164595fe8368b20261ba6fa14b9e1.jpg",[],{"id":25924,"slug":25925,"title":25926,"dynasty":179,"author":225,"museum":126,"description":25927,"tags":25928,"thumbUrl":25929,"material":25930,"size":25931,"collection":95,"collections":25932,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233142,"zi-hua-xiang-tu-ye-zhao-meng-fu-233142","自画像图页","赵孟頫（音fǔ）（1254—1322年），元代画家、书法家，字子昂，号松雪、水精宫道人，吴兴（今浙江省湖州市）人。宋宗室，14岁时以父荫补真州司户参军，入元出仕，曾任翰林侍读学士、荣禄大夫等职，卒赠魏国公，谥文敏。他对诗文音律无所不通，书画造诣极为精深，乃元代的画坛领袖。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。他倡导复古，强调“书画同源”，主张师法自然。书法钟繇、二王、李邕、宋高宗赵构以及历代诸家，篆、隶、真、草各臻神妙。其绘画、书风和书学主张对当代及后世影响巨大而深远。",[24,25,26,27,113,132,250,53,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69b3b32deea9e4c5f3a8c69a1af184d.jpg","绢本 ，设色","纵24cm，横23cm",[],{"id":25934,"slug":25935,"title":25936,"dynasty":162,"author":24892,"museum":126,"description":24893,"tags":25937,"thumbUrl":25938,"material":8265,"size":24896,"collection":95,"collections":25939,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},232985,"hua-liu-zun-zhe-xiang-ce-di-shi-ba-na-na-da-mi-da-la-zun-lu-leng-jia-232985","画六尊者像册-第十八纳纳答密答喇尊",[24,92,26,878,27,113,798,10794,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4051c5e12bca5950235b3643644ec4ff.jpg",[],{"id":25941,"slug":25942,"title":25943,"dynasty":179,"author":454,"museum":279,"description":25944,"tags":25945,"thumbUrl":25946,"material":346,"size":25947,"collection":95,"collections":25948,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},232802,"liu-jun-tu-juan-yi-ming-232802","六骏图卷","《六马图卷》旧传出自赵伯驹之手，卷分两段，非出一手，后段末缘下有伪款“千里”及伪印“赵伯驹氏”，清高宗弘历在后半上两题，一为七言古风，一为识语，知款印俱伪，书于同日。此卷曾入张大千手并加跋语四行。\n乾隆皇帝题识：平川苜蓿丰且滋。清泉映带沙冈披。戎人习马知马性。此处调马实所宜。牵者樴者二皆駵，白驹黑鬛绁柳枝，昻蔵翘足骊其色，一戎跨背鞍不施，紫骝回首嘶厥匹，有駓龁草意自怡，骥不称力称其德，况复一一皆英奇，作者寓意应有在，夏官遗法谁深知，即今大宛致汗血，骨格皆合图中姿，亦不渥洼诩作瑞，亦不交河资兴师，迥立阊阖詄荡荡，欲起王孙走笔为。",[23,24,49,27,111,77,7,113,1074,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51563118f42df0d8b09f57e6f52a9b14.jpg","纵46.2厘米，横168.3厘米",[],{"id":25950,"slug":25951,"title":25952,"dynasty":179,"author":225,"museum":72,"description":25953,"tags":25954,"thumbUrl":25955,"material":682,"size":25956,"collection":95,"collections":25957,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[23,24,25,49,50,59,60,7,77,51,54,52,53,55,116,115,250,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":25959,"slug":25960,"title":25961,"dynasty":88,"author":262,"museum":279,"description":25962,"tags":25963,"thumbUrl":25964,"material":25965,"size":25966,"collection":95,"collections":25967,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[23,92,24,25,49,112,113,51,268,458,55,77,7,199,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 x 475.6 cm",[],{"id":25969,"slug":25970,"title":25971,"dynasty":88,"author":89,"museum":107,"description":25972,"tags":25973,"thumbUrl":25982,"material":95,"size":95,"collection":95,"collections":25983,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},232630,"qian-feng-ying-xiu-huang-ting-jian-232630","千峰映秀","黄庭坚(1045-1105)，字鲁直，号山谷道人，晚号涪翁，洪州分宁(今江西修水县)人，北宋著名文学家、书法家，为盛极一时的江西诗派开山之祖。",[23,7,60,198,25974,25975,25976,25977,25978,25979,25980,22675,1739,25981,11284],"千峰","碧湘","石嶂","长枫","落琴","海苔","风霜","客竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a457431214eee4f72f027b944e1f4d.jpg",[],{"id":25985,"slug":25986,"title":25987,"dynasty":8749,"author":454,"museum":107,"description":25988,"tags":25989,"thumbUrl":25991,"material":751,"size":752,"collection":95,"collections":25992,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},231791,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-yi-ming-231791","明清日本古画花鸟山水人物粉本-人物卷","此卷以白描淡彩铺陈，笔致简逸稚拙。起首持杖人物寥寥数笔便形神尽显，随后跃马挽弓的武士气宇轩昂，线条勾勒出战马奔腾的飒爽气势，将武人豪烈之风晕染纸面。继而转绘惊马失控的骑者，笔意诙谐生动，添入俗世趣意。垂首疾行的仕人姿态恭谨，自带沉静闲雅之感。终了圆光中丰润女像，设色柔淡，神情恬和静穆。整卷将武人豪壮与世俗闲趣并置，古雅张力与谐趣意韵相融，朴拙天真间尽显别致意趣。",[23,49,112,27,113,1074,25990,114,426,7,77,167,111],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33e0f2c578b5c3f6b12100a60dfe51d.jpg",[],{"id":25994,"slug":25995,"title":25996,"dynasty":45,"author":25997,"museum":8802,"description":25998,"tags":25999,"thumbUrl":26001,"material":26002,"size":26003,"collection":95,"collections":26004,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},231590,"shi-xiang-tu-chen-xian-231590","释像图","陈贤","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[23,24,25,49,112,50,113,26000,1018,57,10794,797,7,77],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","绫本设色","49.5×731.3厘米",[],{"id":26006,"slug":26007,"title":5489,"dynasty":8749,"author":454,"museum":107,"description":26008,"tags":26009,"thumbUrl":26011,"material":751,"size":752,"collection":95,"collections":26012,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},230528,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-yi-ming-230528","此卷小楷端秀匀整，笔势圆融温润，暗合唐人写经笔法遗韵。行字排布疏朗舒和，墨色经岁晕染斑驳，更添沉厚古意。抄录诗文笔致恭谨，字句间可窥昔人传抄时的用心。泛黄纸页上的水渍晕痕，如时光烙下的印鉴，晕开旧时光晕，将千载前的文思与笔墨温度一并留存。落笔藏锋敛锷，筋骨暗藏，既有法度又不失灵动，尽显雅致风骨，静静诉说着典籍流转的悠悠岁月。",[7,199,26010,1498,2602,312],"手抄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60ce269c7c8751a2d646ce35d8405e6.jpg",[],{"id":26014,"slug":26015,"title":26016,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":26017,"thumbUrl":26018,"material":751,"size":752,"collection":95,"collections":26019,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},230240,"qi-shu-tao-xiu-shi-qing-yi-lu-mo-ben-jin-nong-230240","漆书陶秀寔清异录（摹本）",[23,7,6015,75,1613,50,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0fb7392e84c663d10f1cf126c872e8.jpg",[],{"id":26021,"slug":26022,"title":26023,"dynasty":18,"author":26024,"museum":107,"description":26025,"tags":26026,"thumbUrl":26027,"material":751,"size":752,"collection":95,"collections":26028,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},230225,"yi-sheng-han-zhang-zhong-jing-xian-sheng-zhi-bei-guan-si-liang-230225","医圣汉张仲景先生之碑","关思亮","碑文刻有中国明末清初进士桑芸撰述的祠墓记，文体采用唐代名书法家颜真卿之字体，约一千二百字。该碑由日本医家泷清于日本文政十年(1827年)募集百余名汉方医家出资而建立。",[23,75,198,199,7,2135,10869,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aec81d35d8c85d06a4aa57661fbcf20.jpg",[],{"id":26030,"slug":26031,"title":26032,"dynasty":18,"author":26033,"museum":107,"description":26034,"tags":26035,"thumbUrl":26036,"material":95,"size":95,"collection":95,"collections":26037,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","艾启蒙","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[24,25,26,111,27,798,51,115,132,1678,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":26039,"slug":26040,"title":15263,"dynasty":45,"author":342,"museum":107,"description":26041,"tags":26042,"thumbUrl":26043,"material":95,"size":95,"collection":95,"collections":26044,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},228876,"shan-shui-shi-hua-ce-wen-zheng-ming-228876","此作为行书题跋，笔墨温润秀劲，法度谨严却意态灵动，既得赵孟頫的娟秀雅致，又暗含晋唐书法的古朴意韵。行笔舒展从容，点画精到凝练，笔势连贯自然，将帖学的文雅之气尽显无余。\n\n题文评点衡山诗书，字里行间尽显题者不俗的赏鉴功底，自带冲淡平和的书卷意趣，与山水诗画的意境融为一体，尽显文人闲适雅致的赏玩心境，是一件兼具书法美感与品鉴意趣的文人题跋佳作。",[23,26,60,7,51,59,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe11878f87a44f54aae2ee00d3191a9b.jpg",[],{"id":26046,"slug":26047,"title":26048,"dynasty":45,"author":454,"museum":107,"description":26049,"tags":26050,"thumbUrl":26052,"material":751,"size":752,"collection":95,"collections":26053,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":40},228794,"ming-xiao-kang-zhang-huang-hou-lu-zhi-die-yi-ming-228794","明孝康张皇后箓职牒","此《张皇后箓牒图卷》（孝康张皇后授箓图），全卷大致分为三个部分：第一部分为「三洞赤文總真仙簡」（云篆）、第二部分是五十二张神仙画像、第三部分是整张《箓牒》的正文，即文字部分，内容记录明孝康张皇后参加授箓，成为道教上仙玄君",[23,24,25,49,27,111,7,878,113,26051,167,457,199],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f967df2d9b493d13ce84a7a8fbe491e.jpg",[],{"id":26055,"slug":26056,"title":26057,"dynasty":45,"author":2071,"museum":107,"description":26058,"tags":26059,"thumbUrl":26060,"material":751,"size":752,"collection":95,"collections":26061,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},228442,"mu-lv-tu-chou-ying-228442","募驴图","《募驴图》是一幅书画合卷,先有徐祯卿撰写《为朱君募买驴疏》,并附十位苏州文人的署名及出资金额,后由画家仇英补图,合成一卷.这幅合卷以艺术的方式纪念了为朱存理募资买驴这样一个现实事件,它将主人翁朱存理置于苏州文人的关系网络之中,他们的交往与活动映射出明代文人生活的雅趣.仇英的补图作为一幅为数不多的人物小品,理想化地呈现了先辈文人的风流遗韵,而这种补图也在某种程度上反映了他的精神归属和对于吴中文人集团的文化认同.",[24,25,49,112,113,797,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2182a1352bb51ed21369761f8cd2a8ad.jpg",[],{"id":26063,"slug":26064,"title":26065,"dynasty":179,"author":7739,"museum":107,"description":26066,"tags":26067,"thumbUrl":26068,"material":95,"size":95,"collection":95,"collections":26069,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},228052,"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-228052","姨母育佛图卷白描全卷","此作为白描神品，线条劲挺匀细如春蚕吐丝，流畅自然。将育佛场景铺陈得细腻入微，人物衣袂褶皱流转灵动，发丝、璎珞等细节毫厘毕现，尽显对线条的极致把控能力。\n\n画面叙事悠然，姨母的温婉慈爱，幼佛的沉静安然，侍从的恭谨神态跃然纸上，场景层次分明，静谧祥和的宗教氛围扑面而来。全卷未施丹青，仅以浓淡变化的墨色便勾勒出织物的柔软、金属的冷硬，将宗教题材的庄严与俗世温情完美融合，尽显白描的高深造诣，是古典线描宗教人物画的上乘之作。",[23,92,24,25,49,878,112,113,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9d0065345992856348ca48994de99e.jpg",[],{"id":26071,"slug":26072,"title":26073,"dynasty":88,"author":22617,"museum":107,"description":26074,"tags":26075,"thumbUrl":26076,"material":95,"size":95,"collection":95,"collections":26077,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},227945,"yue-xue-ning-su-qi-jue-tuan-shan-yang-huang-hou-227945","瀹雪凝酥七绝团扇","此作笔致清婉端丽，点画匀停秀雅，自带雍容静和之气。诗作咏叹秋日桂与蔷薇，墨色沉静古雅，与泛黄绢本相融，晕开宋人风雅意趣。\n字里行间带着娴静的宫廷意韵，起收笔温婉雅致，结体舒展匀停，既有唐楷的端整法度，又暗合行书的灵动意趣，将宋诗的清隽意境，融于笔墨之中。朱红古印错落排布，与墨色、古绢相得益彰，尽显雅致的文人赏玩之态，把秋日幽居赏景的闲淡心境，藏进娟秀笔墨里，是宋韵书法小品里精巧动人的佳作。",[23,92,24,25,1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc166f2bbfc37bdd49a9365eb4b90133.jpg",[],{"id":26079,"slug":26080,"title":17442,"dynasty":88,"author":262,"museum":107,"description":17443,"tags":26081,"thumbUrl":26082,"material":95,"size":95,"collection":95,"collections":26083,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},227612,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227612",[23,24,25,49,112,50,113,51,54,55,116,53,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada9312dd485017bc4fab757eba67b6c.jpg",[],{"id":26085,"slug":26086,"title":26087,"dynasty":88,"author":262,"museum":107,"description":25019,"tags":26088,"thumbUrl":26089,"material":95,"size":95,"collection":95,"collections":26090,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},227602,"xian-xian-shi-shi-tu-juan-li-gong-lin-227602","先贤事实图卷",[23,24,25,49,112,113,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddbbbc9cefdf5bedca92f7ccdb5a151.jpg",[],{"id":26092,"slug":26093,"title":26094,"dynasty":88,"author":262,"museum":107,"description":26095,"tags":26096,"thumbUrl":26097,"material":95,"size":95,"collection":95,"collections":26098,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},227583,"qun-xian-gao-hui-tu-juan-li-gong-lin-227583","群仙高会图卷","李公麟（1049年－1106年），北宋画家。字伯时，号龙眠居士，舒州（今安徽桐城）人。\n\n进士出身，历南康、长垣尉、泗州录事参军，官至朝奉郎。擅画人物、佛道像，吸取历代流派之长，自创一格，多用线描，笔法如行云流水，而不设色，生动地表现了人物的神情意态，人称“白描”；尤精擅画鞍马，常观察群马生活，求其变化，下笔形神兼备。注重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,24,25,49,112,51,113,458,116,250,55,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":26100,"slug":26101,"title":20967,"dynasty":88,"author":454,"museum":107,"description":26102,"tags":26103,"thumbUrl":26104,"material":751,"size":752,"collection":95,"collections":26105,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},227340,"fo-jing-yi-ming-227340","佛教经典：统称；藏经，俗称；佛经，也叫《大藏经》，一般由经、律、论三部分组成。“ 经”是指释迦牟尼佛亲口所说，由其弟子所集成的法本，“律”是指佛陀为其弟子所制定的戒条，“论”是佛陀的弟子们在学习佛经后所得的心得。",[24,25,75,878,113,112,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e1c215fe28243622481e4fd5587d6c.jpg",[],{"id":26107,"slug":26108,"title":26109,"dynasty":7844,"author":454,"museum":107,"description":26110,"tags":26111,"thumbUrl":26112,"material":95,"size":95,"collection":95,"collections":26113,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},227073,"sui-zhang-jing-lve-mu-zhi-ming-yi-ming-227073","隋张景略墓志铭","北京图书馆藏中国历代石刻拓本汇编: 张景略墓志正书原刻. 隋开皇11年[591]1月12日葬. 折叶托裱, 墨纸尺寸: 45 x 43厘米. 淸乾隆38年(1773)河南安阳出土. 淸末拓本.",[198,7,199,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb0ec06a897a5c13f5e9fbc5ca61d66b.jpg",[],{"id":26115,"slug":26116,"title":26117,"dynasty":18,"author":2301,"museum":72,"description":26118,"tags":26119,"thumbUrl":26120,"material":1038,"size":26121,"collection":802,"collections":26122,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},224121,"qing-gao-zong-yu-lin-su-shi-tie-zhou-qian-long-224121","清高宗御临苏轼帖轴","本件清高宗虽以行书写苏轼〈砚铭〉，然而却不见苏轼特有的结字与丰腴的笔法，显然是出于己意之作，仍可看出乾隆传承自王羲之的书法风格。",[23,7,110,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff556acfc1627f56b921f8f01a944aefa.jpg","纵99.7cm，横32.2cm",[802],{"id":26124,"slug":26125,"title":26126,"dynasty":1609,"author":454,"museum":107,"description":15299,"tags":26127,"thumbUrl":26129,"material":751,"size":752,"collection":95,"collections":26130,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},223960,"bo-ju-wen-jing-zhi-fu-jian-yi-ming-223960","博局纹镜之附件",[26128,1896,7713,7,457,1613,574],"汉代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e2a58d9f364641586f911b03f7004b.jpg",[],{"id":26132,"slug":26133,"title":26134,"dynasty":88,"author":454,"museum":164,"description":26135,"tags":26136,"thumbUrl":26137,"material":784,"size":26138,"collection":95,"collections":26139,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},223469,"gui-qu-lai-ci-shu-hua-juan-yi-ming-223469","归去来辞书画卷","此图出自东晋末陶渊明不愿为五斗米折腰，离开宦场而作的抒情小赋《归去来兮辞》。卷首是陶渊明像，后一图一文依次描绘了他辞官后，其归隐的生活情趣和内心轻松愉悦的感受。",[23,24,25,49,27,111,51,113,458,52,53,54,56,55,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c6140c5f57b11d67f190f51d137d6.jpg","30x438.6cm",[],{"id":26141,"slug":26142,"title":807,"dynasty":18,"author":454,"museum":72,"description":26143,"tags":26144,"thumbUrl":26145,"material":27,"size":26146,"collection":63,"collections":26147,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},223456,"shan-shui-tu-yi-ming-223456","此作用笔秀逸简淡，远近层次疏朗分明。近岸枯木虬枝错落，皴石朴拙苍劲，涧水隐于石间，暗写潺湲之态。中景扁舟一叶，幽人披氅凭舷，随波独往，水色以留白晕出烟霭空濛之境，将冬末春初的清寂弥散纸面。远景山峦轻勾淡染，与空茫水面相融，愈发衬出天地辽远。题诗与画意呼应，诗画相生，把文人寄迹林泉、避世悠游的隐逸襟怀铺陈尽致，整体气韵清冷淡远，尽显幽隽的古典山水文人意趣。",[23,24,50,59,27,7,77,51,54,113,2293,115,57,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe496c200c21a39d397d49e0d8fbb32c1.jpg","纵23厘米 横24.8厘米",[63],{"id":26149,"slug":26150,"title":26151,"dynasty":18,"author":9820,"museum":126,"description":9821,"tags":26152,"thumbUrl":26153,"material":784,"size":9825,"collection":95,"collections":26154,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":40},222785,"hua-niao-ce-ye-05-lang-shi-ning-222785","花鸟册页05",[23,26,111,27,7,29,135,250,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ffe40a33466d2b3e879170853c304b.jpg",[],{"id":26156,"slug":26157,"title":26158,"dynasty":45,"author":10912,"museum":1830,"description":26159,"tags":26160,"thumbUrl":26161,"material":9104,"size":26162,"collection":95,"collections":26163,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},222546,"zeng-zhang-bao-yi-shi-juan-wang-duo-222546","赠张抱一诗卷","《王铎草书赠张抱一诗卷》的内容，是作者王铎自撰的七律诗五首，主要为赠送友人张抱一而作，并在诗歌内容上、在书法艺术中抒发、体现自己的情感。诗卷全文如下（注：原作品没有标点断句）：\n《张抱一公祖招集湖亭》：有酒沧池对烟丘，相招者谁任意游。晋人唐人曾几度，泉水溪水还同流。钟鼓此城鸣白露，戎兵何处领高秋。芦花今古依然在，羡尔无声眠野鸥。（注：第一首七律完）《登岳庙天中阁看山同友》：四围紫逻坐相望，突兀高峰划大荒。谁复凌空呼帝座，我今乘胜挹天浆。香烟古庙通灵气，石路神丘点太阳。冻草暮云无限意，汉京封禅旧山房。（注：第二首七律完）《牛首山同堪虚静原》：一樽绝巘放高歌，回首禅房忘坎坷。旦树晴分天目近，午帆气挟海风过。山吞吴楚犹新燕，寺趁齐梁只故萝。莫管星辰朽不朽，吹箫何处倚嵯峨。（注：第三首七律完）《频入》：频入长安过九衢，谁知幽梦在髭须。只今人路何从说，渐审岩居不可无。屈指箸筹赊日月，伤心戎旅满江湖。此生休外韬真处，锦瑟琪华待醍醐。（注：第四首七律完）《汴京南楼》夷门萧瑟俯晴空，万事欷献向此中。梁苑池台新萑苇，宋家艮岳老苔丛。牧人壕外时驱犊，猎骑天边晚射鸿。旧月多情依汴水，滔滔东去更朦胧。（注：第五首七律完）崇祯十五年三月夜。洪洞同邑弟王铎具草。抱翁公祖教正。\n按：《张抱一公祖招集湖亭》卷中七律五首，有三首见于《拟山园选集》（台湾学生书局）。分别是：《登岳庙天中合看山同友》，载集中七律卷九，题作《登岳庙天中阁看山感时》，原为二首，卷中所书为第一首；《频入》，载集中七律卷三，卷中所书之“待醍醐”，集中作“醉醍醐”；《汴京南楼》亦载集中七律卷三。\n另两首虽不见于集中，但是，同书五律卷三有《湛虚、静原游牛首》、《燕子矶湛虚招同静原》、《上天开岩同湛虚、静原》三首，与卷中《牛首山同湛虚、静原》—诗显然是同时之作。湛虚，即张镜心，字孝升，湛虚为号，累官至兵部尚书，是王铎的挚友。见于《拟山园选集》（台湾学生书局）及《拟山园初集》中的与张镜心有关的诗作多达五十首以上。张镜心亦曾为王铎的《拟山园初集》作序，与王铎以“年弟”相称，盛赞王铎诗文“浩乎哉如烟海，修辞之家，未之有也。”\n王铎书法的书法，到了《赠张抱一草书诗卷》时，已经摆脱了模仿的痕迹，有了主体性较强的跌宕雄逸的意态。《赠张抱一草书诗卷》亦是王铎草书长卷现可见较早的一件。《王铎草书赠张抱一诗卷》，在王铎书法的发展过程中具有十分重要的意义，从这件作品可领略王铎若干书法艺术特点。\n一个是强烈的节奏感使草书作品产生出运动力和冲击力。《王铎草书赠张抱一诗卷》中书法的点画线质表现其弹性产生运动力，运动的返急产生冲击力，在这一点上王铎成功地将力运用到书法点画的变化上，使笔在绢、绞、纸上的运动过程中产生顿挫、仰侧、奇崛、突变，使个性的张扬发挥到极致。尤其是充满着激情的用笔，如同少林武僧，有屈铁之力，挥棒生风。\n一个是前无古人的字法造势。王铎亦受时风影响，但他站在传统基础之上，破除旧有的模式，创建出一种崭新的恢弘博大的图式，充满艺术的震撼力。王铎书法的一个鲜明特点便是造势。《王铎赠张抱一行书卷》中，通篇显现出变幻莫测的感觉，字势左右叵诡，笔致老辣，章法宕逸。唐张旭狂草《古诗四帖》，如龙蛇之行，富于变幻，王铎在这一点上进一步追求草书中险绝、突变、膨胀与内敛之势，识字者，可领略触笔、行笔、运笔中的运动轨迹。\n第三是墨象万千，酣畅淋漓。中国画中有墨分五彩之说，利用墨之浓、淡、干、湿可使画面产生出无穷的变化，显现出生机勃勃的趣味。王铎从中国画中悟出用墨之道，并大胆地运用到书法创作中，从而增强了作品的视觉效果，把涨墨之法发挥到极致。《王铎赠张抱一行书卷》中，其作品的冲击力与用墨是分不开的，他书法点画的流动感也与用墨紧密相关。历史上在王铎以前的草书大家无一人用“涨墨”法，此法实乃王铎开创也，这种不同位置的参差对比，使作品在整体视觉效果上别具一格，特点鲜明。\n最后是独特笔法。王铎笔法早年受二王影响，笔势较为平和，行笔温润，他中年学米后，笔势、笔法发生了较为明显的变化。后终于成中国书法技法集大成式的开拓者。在《王铎草书赠张抱一诗卷》中，多处凸显其集大成的大家手笔，可谓将壮美之力表现到极致。在中国书法发展的这条主线上，王铎既崇尚对传统吸收，又善标新立异达到裂变之意。\n王铎为书近五十年的探索，终自成家法，成为“有明书法推第一”（吴昌硕诗句）、“于明季书坛可谓中兴之主”（沙孟海《近三百年的书学》）。他的书法对后世影响极大。清代早期的傅山受王铎书风影响之后，创博大流变之体，标立书坛。至近现代受王铎书风影响最深，写大草的书家，如林散之、沙孟海、沈鹏等书法家，都对王铎书法有深入的研究和汲取过优秀的养分。在日本等，他更是影响东瀛书坛多年。日本人对王铎的书法极其欣赏，还因此衍发成一派别，称为“明清调”。在日本关西地区甚至整个日本书坛，有“后王（王铎）胜前王（王羲之）”的说法。",[23,398,49,7,77,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706317ef80c72d495a33ab77cf4de37a.jpg","长469cm，高26cm",[],{"id":26165,"slug":26166,"title":26167,"dynasty":45,"author":10912,"museum":72,"description":10914,"tags":26168,"thumbUrl":26169,"material":312,"size":26170,"collection":95,"collections":26171,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},222541,"zeng-zheng-gong-du-shi-juan-wang-duo-222541","赠郑公度诗卷",[23,7,25,49,398,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d453ef98af224b61aec3187798b045.jpg","每开纵28.3公分,横36公分",[],{"id":26173,"slug":26174,"title":26175,"dynasty":45,"author":26176,"museum":72,"description":26177,"tags":26178,"thumbUrl":26179,"material":312,"size":26180,"collection":95,"collections":26181,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},222450,"lin-wang-xi-zhi-shi-qi-tie-zhu-da-you-222450","临王羲之十七帖","朱大有","朱大友，字伯亨，号二峰，号摩诃山农。云梯朱氏十一世孙，朱凤长子。生于正德十年，幼时聪惠过人。九岁时，有客人过访，以雪梅命题，大有曰：“舞六出之，奇占百花之魁。”客人击节叹赏。稍长入泮，闻理学名家邹守益在宁国讲学，徒步从之。任职南都时，有人欲行贿拉拢关系，大有正色曰：“士正谊明道，未及事君而挟欺以往，可孚？”固却之。时择选士子入贡（即可获得做官的资格），学使欲以大有为选，大有请曰：“葛某老且贫，生不愿先之，”竟让给葛先生。嘉靖甲午年（1534）复应贡选，遇疾，五月二十五日卒，年仅30岁。妻段氏，子四，长一桂，太学生，任玉山县丞。次一松，次一柏，次一梧，廪生。万历六年（1578）五月，大有以子一松贵，诰封朱大有《赠朱一松之父进奉政大夫》，曰：\n“通今学古，弗显其身，式谷贻谋，克昌厥后，尔子服官，郡贰行矩，茂宣歆佩，廷纶益弘家祚。”朱大有，列入清代《宁国县志·儒林传》",[23,7,110,398,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287850a66f6702476ad07f74508848d7.jpg","29.2×35.9cm",[],{"id":26183,"slug":26184,"title":26185,"dynasty":45,"author":5386,"museum":72,"description":26186,"tags":26187,"thumbUrl":26188,"material":312,"size":26189,"collection":95,"collections":26190,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},222315,"zi-shu-wu-yi-ge-juan-wang-chong-222315","自书五忆歌卷","这件书卷恣肆纵逸，神彩飞扬。王宠下笔硬挺，只有在转笔的地方稍微圆润一些，所以笔调硬拙峻拔。虽然这是一件今草的作品，但几乎字字独立，字迹又带有章草的笔意，如书卷中的“眠”、“泰”、“裂”等字的捺笔收尾都还保存了隶书的韵致。这件书法是王宠三十五岁的作品，写在质地坚硬的金粟山藏经纸上，更能将王宠起伏顿按、急遽有力的笔法特色表现出来，是他传世的一件精品。",[23,60,7,49,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ab10ee06054449e08cd21de2467d24.jpg","29.3×294.7厘米",[],{"id":26192,"slug":26193,"title":26194,"dynasty":45,"author":5463,"museum":648,"description":26195,"tags":26196,"thumbUrl":26197,"material":312,"size":26198,"collection":96,"collections":26199,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},222058,"guo-pu-you-xian-shi-zhang-rui-tu-222058","郭璞游仙诗","此为张瑞图草书节录晋代郭璞的《游仙诗》之三首及梁简文帝萧纲《仙客诗》，文字与原诗略有出入。",[23,92,24,25,49,7,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b2fc238586d292dcccf947ab9fbf9.jpg","纵28厘米，横540厘米",[96],{"id":26201,"slug":26202,"title":26203,"dynasty":88,"author":3543,"museum":126,"description":26204,"tags":26205,"thumbUrl":26206,"material":312,"size":26207,"collection":95,"collections":26208,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},221377,"ying-chang-hu-shang-shi-ci-juan-wang-shen-221377","颍昌湖上诗词卷","王诜作为画家的名声似乎要远远高出作为书法家的名声。其实，在书法方面，王诜的字清劲紧实而别具面目。《自书诗帖卷》共分四段，第一段二十三行一百五十四字，以散文叙说“前年恩移清颍（按即颍州）”，道阻于许昌，与韩维（持国）、范镇（景仁）诗酒留连于颍昌府（按即许昌）之西湖的情况。，第二段十七行九十六字，记颍昌湖上三人所作唱和诗句。第三段八行六十四字，为《蝶恋花》词一首，观其描述，亦当为湖上景色。第四段二行十七字，自言近年能饮酒，多醉书。字句之间虽然有感伤惜别的味道，但落笔痛快淋漓，锋芒毕露，可谓独具风貌。 （资料转自上海博物馆网站）\u2028 余前年恩移清颍，道出许昌，前途小阻，留西湖之别馆者几一月。常与韩持国、范景仁泛舟啸咏，使人顿忘去国流离之恨也。韩公德性温厚，风度高雅，固已可爱。范公虽老而精神不衰，议论纯正，白须红面，动辄醺酣。时余有所赋咏，公即取红莲叶命笔疾书，初不经思，佳辞丽句，顷刻而成，坐客莫不惊叹也。比闻朝庭就除端明殿学士以宠之，因思方今进任老成，如公者再起之，亦足以厚风俗耳。\u2028 颍昌湖上。余有赠诸公诗，其略曰：“清影十分月，暗香千柄莲。不知从此别，高会复何年？”韩公诗曰：“浩歌轻白雪，密意得青莲。诗就西桥月，留为好事传。”西蜀公云：“惯乘霄汉雀，翻说淤泥莲。可惜玉台处，等闲闲几年。”盖公不喜释氏，故有是句，亦可一笑也。\u2028 小雨初晴回晚照，金翠楼台倒影芙蓉沼。杨柳垂垂风袅袅，嫩荷无数青钿小，似此园林无限好，流落归来到了心情少。坐到黄昏人悄悄，更应添得朱颜老。右蝶恋花。余旧不饮酒，近年辄能饮，故多醉中所书耳。\n本卷分三段，首段记述了作者在去清颍途中受阻，与韩维（持国）、范镇（景仁）泛舟于西湖啸咏之事；中段与末段分别为三公在颍昌湖上诗作及王诜和蝶恋花词一阙。《宋史》记载，韩维在宋哲宗刚登基时上表推荐范镇，因为范在宋神宗时于建储有功，于是拜范为端明殿学士兼侍读，即文中所称“比闻朝廷就除端明殿学士以宠之”。由此可知，该帖应书于1086年。“余前年恩移清颍”中的“前年”是指1084年。其时韩、范二人亦居于许昌，颍昌湖即文中所称西湖，位于许昌的西北，所以，三人可以相遇于西湖游宴赋诗。该卷虽系以诗词和友有伤感流连之意，但下笔痛快淋漓，结体紧实，笔多横放，锋芒毕露，独具风貌。《吴氏书画记》卷六将此卷误称为黄庭坚书，至曹溶跋方为纠正。之后，《式古堂书画汇考》卷一二、《墨缘汇观》续录、《石渠宝笈续编淳化轩》、《壮陶阁书画录》、《三虞堂书画目》等均改为王诜书。",[23,25,49,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ae0a2cd0effd3a16a39257bcac83f5.jpg","31.3×271.9 cm",[],{"id":26210,"slug":26211,"title":26212,"dynasty":88,"author":308,"museum":107,"description":909,"tags":26213,"thumbUrl":26214,"material":95,"size":95,"collection":802,"collections":26215,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":207},221309,"chu-song-tie-ji-song-jia-an-guo-jiao-shou-gui-cheng-du-shi-su-shi-221309","楚颂帖及送家安国教授归成都诗",[23,7,60,198,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd417f08ec283075954364da2081efde.jpg",[802],{"id":26217,"slug":26218,"title":26219,"dynasty":45,"author":1313,"museum":72,"description":26220,"tags":26221,"thumbUrl":26222,"material":312,"size":26223,"collection":63,"collections":26224,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},220943,"wu-yan-lv-shi-cheng-shan-dong-qi-chang-220943","五言律诗成扇","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。",[1250,24,25,50,59,7,77,51,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc028be8c316980beb3080dd770e1f5.jpg","33.2x47.1",[63,187],{"id":26226,"slug":26227,"title":26228,"dynasty":45,"author":26229,"museum":7039,"description":26230,"tags":26231,"thumbUrl":26232,"material":9681,"size":26233,"collection":95,"collections":26234,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":95},220760,"bai-ma-an-ye-yu-lian-chen-xian-zhang-220760","白马庵夜雨联","陈献章","此作用茅龙笔挥就，锋棱爽利，枯涩飞白错落其间，自带苍茫老辣的质感。字形欹侧跌宕，章法疏密随心排布，通篇一气呵成。笔墨随着联句意境起伏，将庵中夜雨听禅的幽寂心境，融于朴拙雄健的点画之中。线条如老树枯藤，苍劲里藏着灵动意趣，尽显疏野真率的岭南书风特质，把文人幽居的澹然意绪和书法风骨融为一体，尽显率性天然的文人襟怀。",[23,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217a0a5e0346a67e731476ee6c9ccdb8.jpg","30.5×855厘米",[],{"id":26236,"slug":26237,"title":26238,"dynasty":662,"author":6779,"museum":107,"description":20139,"tags":26239,"thumbUrl":26240,"material":79,"size":95,"collection":95,"collections":26241,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},218175,"da-qian-kuang-tu-ce-3-zhang-da-qian-218175","大千狂涂册-3",[24,25,26,50,60,398,77,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e51ba594586d298c5010c05bcacc27.jpg",[],{"id":26243,"slug":26244,"title":26245,"dynasty":662,"author":6779,"museum":107,"description":20139,"tags":26246,"thumbUrl":26247,"material":79,"size":95,"collection":95,"collections":26248,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},218170,"da-qian-kuang-tu-ce-8-zhang-da-qian-218170","大千狂涂册-8",[24,25,50,51,7,60,77,26,11885,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871c9938f294c0e27f62667aba8cd9a1.jpg",[],{"id":26250,"slug":26251,"title":26252,"dynasty":45,"author":689,"museum":107,"description":26253,"tags":26254,"thumbUrl":26255,"material":79,"size":95,"collection":95,"collections":26256,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},216315,"xi-xiang-ji-zhen-ben-tu-ce-10-chen-hong-shou-216315","西厢记真本图册-10","墨线如铁，勾出棕榈曳影，人物凭坐凝思，衣纹简劲却藏温婉之态。右侧水际云生，题字暗合西厢情节，山水与人物相映，静中藏幽情。笔力古拙奇崛，造型独运匠心，每根线条皆见筋骨，将故事里的细腻心绪凝于尺幅。画面分栏却气韵相连，古雅氛围漫溢，细节处藏叙事之妙，尽显传统绘画的韵致与张力，引人沉湎于古典情境之中。",[24,25,26,112,113,114,652,589,360,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0893984422c01e4c9df8e342609ccfab.jpg",[],{"id":26258,"slug":26259,"title":26260,"dynasty":45,"author":1015,"museum":126,"description":26261,"tags":26262,"thumbUrl":26263,"material":79,"size":26264,"collection":95,"collections":26265,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},214865,"shan-shui-ce-14-wen-zheng-ming-214865","山水册-14","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[23,24,25,26,50,27,51,57,56,58,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2984bfa718d497db1938983e3d3621ba.jpg","28.5x15.7cm",[],{"id":26267,"slug":26268,"title":26269,"dynasty":162,"author":26270,"museum":107,"description":26271,"tags":26272,"thumbUrl":26273,"material":202,"size":95,"collection":95,"collections":26274,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},214605,"meng-zhen-rong-bei-su-ling-zhi-214605","梦真容碑","苏灵芝","此刻牛仙客奏文，苏灵芝行书并题额",[7,198,60,1063,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973af3411d2e675059f466781014ae54.jpg",[],{"id":26276,"slug":26277,"title":26278,"dynasty":18,"author":3764,"museum":442,"description":3765,"tags":26279,"thumbUrl":26280,"material":8723,"size":95,"collection":95,"collections":26281,"showCount":257,"zanCount":882,"manualWeight":39,"mainColor":40},214516,"shui-mo-tu-ce-2-zheng-min-214516","水墨图册-2",[24,1327,60,7,26,112,51,76,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda00fb8a2e81121bc53bec8dd40609c3.jpg",[],{"id":26283,"slug":26284,"title":26285,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":26286,"thumbUrl":26287,"material":79,"size":2617,"collection":95,"collections":26288,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":100},214509,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-2-ou-yang-xun-214509","宋拓唐虞恭公温彦博碑-2",[23,198,199,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff303216d90fcaaa5016bcb12e5ca04f4.jpg",[],{"id":26290,"slug":26291,"title":26292,"dynasty":18,"author":26293,"museum":20,"description":26294,"tags":26295,"thumbUrl":26296,"material":95,"size":95,"collection":63,"collections":26297,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":26298},202013,"wu-chao-tu-zhou-feng-jin-bo-202013","梧巢图轴","冯金伯","画面近景苍树掩映屋舍，溪流绕石，山石错落间透着雅致；远景山峦淡远，水天相映，留白处漾出悠远意境。水墨晕染自然，树木以皴法勾勒质感，线条简练传神。题跋书法与画作相融，诗画一体，尽显清代文人山水的清幽淡远，仿佛林间清风拂面，静谧超然，是雅致的文人意趣之体现。",[24,50,51,59,56,7,60,1689,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d1d7df116069215ae6dc6fdfb94205.jpg",[63],"b29a7c",{"id":26300,"slug":26301,"title":26302,"dynasty":45,"author":5954,"museum":107,"description":16570,"tags":26303,"thumbUrl":26304,"material":751,"size":752,"collection":95,"collections":26305,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},290948,"lin-wu-pian-zhou-qian-gu-290948","林屋扁舟",[24,26,50,51,115,52,458,7,77,60,19476,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3ae2404f007492d08905843e368342.jpg",[],{"id":26307,"slug":26308,"title":26309,"dynasty":45,"author":744,"museum":72,"description":26310,"tags":26311,"thumbUrl":26313,"material":79,"size":26314,"collection":95,"collections":26315,"showCount":463,"zanCount":882,"manualWeight":39,"mainColor":40},290843,"ban-ji-tuan-shan-zhou-tang-yin-290843","班姬团扇轴","不过，本画中真正的女主角班婕妤（约西元前48－6），乃是班昭的祖姑。由于自幼即工诗、善赋，汉成帝时（西元前33－前7在位），被选入宫掖，初封为少使，未几又晋升成婕妤。她虽然深受皇帝钟爱，但始终能够矜重自持，绝不恃宠而骄。“婕妤辞辇”的故事，不仅为当世所称颂，且频频为后代画家引为礼仪教化的绝佳典范。\n汉成帝晚年宠幸赵飞燕（西元前43－1）姊妹，逐渐冷落班婕妤。班婕妤为了远离内廷的内斗，索性自请前往长信宫侍奉皇太后。幽居期间，先后写了〈自悼赋〉、〈捣素赋〉和〈怨歌行〉，暗喻自己凄凉孤寂的晚景，因文辞哀婉动人，而得以代代流传。",[24,92,75,27,113,114,250,52,136,17548,77,7,26312],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55340a9d1b1110624bc460885bb2005b.jpg","150.4x63.6",[],{"id":26317,"slug":26318,"title":26319,"dynasty":88,"author":454,"museum":107,"description":26320,"tags":26321,"thumbUrl":26322,"material":751,"size":752,"collection":95,"collections":26323,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},290772,"xiu-lao-zi-xiang-zhou-yi-ming-290772","绣老子像轴","青牛独控去何乡，广额方唇双耳长。魁士名人有弗屑，搥仁提义正奚妨。\n散关令遇元经著，脩内司成宝像装。千古画图皆省识，谁云良贾善深藏。",[75,24,25,27,113,797,20334,77,7,199,2980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee518b44387a7385c7684da0e8a6a1ca.jpg",[],{"id":26325,"slug":26326,"title":26327,"dynasty":88,"author":454,"museum":72,"description":26328,"tags":26329,"thumbUrl":26330,"material":169,"size":26331,"collection":95,"collections":26332,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},290762,"liu-yin-gao-shi-tu-yi-ming-290762","柳荫高士图","故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[24,113,1919,568,27,75,6718,4739,7,77,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cb5029386e1abd755f84882e4f3a3f5.jpg","纵29.4厘米,横29厘米",[],{"id":26334,"slug":26335,"title":26336,"dynasty":88,"author":454,"museum":107,"description":26337,"tags":26338,"thumbUrl":26341,"material":751,"size":752,"collection":95,"collections":26342,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},290754,"ke-si-mi-fei-shu-bai-ye-shi-zhou-yi-ming-290754","缂丝米芾书柏叶诗轴","缂丝书法较绘画更为困难，因难之处便是在竖笔的部分，由于竖笔与经丝的位置相同，为求字势的自然变化，因此需在一定长度变换位置，如此便会出现锯眼与间隙。此幅刻工极为稳健，织纹细密而均匀，笔意流利。",[75,3232,7,60,26339,26340],"柏","贺寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747bd24b63e421096316573670bea1d0.jpg",[],{"id":26344,"slug":26345,"title":26346,"dynasty":179,"author":454,"museum":72,"description":26347,"tags":26348,"thumbUrl":26349,"material":169,"size":26350,"collection":171,"collections":26351,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},290722,"wen-ji-gui-han-tu-zhou-yi-ming-290722","文姬归汉图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,75,27,113,1074,704,1283,9812,7,60,16599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0c17d90776f930983795d9f5ee260c.jpg","63.5x85.7",[171],{"id":26353,"slug":26354,"title":26355,"dynasty":45,"author":10618,"museum":72,"description":16207,"tags":26356,"thumbUrl":26358,"material":751,"size":752,"collection":95,"collections":26359,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},290550,"chu-ri-pan-tao-zhou-xu-lin-290550","初日蟠桃轴",[24,25,75,29,27,111,4507,26357,7,60,901,4026],"初日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F390dc1bbd462d2844c04bc14af67d766.jpg",[],{"id":26361,"slug":26362,"title":2282,"dynasty":18,"author":3357,"museum":107,"description":12609,"tags":26363,"thumbUrl":26364,"material":751,"size":752,"collection":95,"collections":26365,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},290453,"shou-zha-kun-can-290453",[23,7,398,2282,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc6fca392bce01d411635018e57946d.jpg",[],{"id":26367,"slug":26368,"title":26369,"dynasty":18,"author":294,"museum":107,"description":11801,"tags":26370,"thumbUrl":26371,"material":751,"size":752,"collection":95,"collections":26372,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},290431,"jing-wei-shu-ji-shi-shi-wen-juan-dong-gao-290431","泾渭蜀纪实诗文卷",[23,49,24,25,27,1127,51,553,251,152,7,60,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef2f3667c968e7989f9a935ff5bf5351.jpg",[],{"id":26374,"slug":26375,"title":26376,"dynasty":179,"author":6158,"museum":107,"description":22569,"tags":26377,"thumbUrl":26379,"material":751,"size":752,"collection":95,"collections":26380,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},290397,"fang-mi-jia-shan-shui-tu-ke-luo-ban-fang-cong-yi-290397","仿米家山水图（珂罗版）",[23,92,24,25,51,50,110,7,77,251,56,26378],"细雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0ea8f998ae61227e0cbabed49e7d28.jpg",[],{"id":26382,"slug":26383,"title":26384,"dynasty":88,"author":10876,"museum":107,"description":15990,"tags":26385,"thumbUrl":26387,"material":751,"size":752,"collection":95,"collections":26388,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},290303,"ling-mao-hua-hui-zhou-li-di-290303","翎毛花卉轴",[24,75,111,27,29,131,132,26386,116,77,7,30],"鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe2345f5184d5b8c96a033fb7d9af79.jpg",[],{"id":26390,"slug":26391,"title":26392,"dynasty":88,"author":454,"museum":107,"description":26393,"tags":26394,"thumbUrl":26395,"material":751,"size":752,"collection":95,"collections":26396,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},290271,"han-gong-qiu-tu-yi-ming-290271","汉宫秋图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[92,24,25,49,1128,27,113,458,52,53,567,56,57,77,7,2061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F045d0a536847ac969e6804bdb1446c39.jpg",[],{"id":26398,"slug":26399,"title":26400,"dynasty":18,"author":26401,"museum":107,"description":26402,"tags":26403,"thumbUrl":26404,"material":751,"size":752,"collection":95,"collections":26405,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},290224,"gao-yan-ji-cui-tu-ai-xin-jue-luo-pu-quan-290224","高岩积翠图","爱新觉罗溥佺","此作为瓷青纸本金碧青绿扇面，以泥金勾勒山峦肌理，石青石绿晕染岩岫，朱砂点簇秋叶，配色秾丽鲜明，仿唐人青绿山水笔意，既带着大唐重彩山水的堂皇富丽，又融入了文人画的清隽秀雅。\n\n泥金题字与青绿山色相映，扇面形制精巧，书画合璧，在尺幅间铺展出秋山层叠的深邃意境，将高岩积翠的明丽澄澈晕染动人，尽显传统山水小品的雅致意韵。",[1250,24,92,1127,27,51,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ad74d6268e1e79ca5d1f98eb2834b6.jpg",[],{"id":26407,"slug":26408,"title":26409,"dynasty":162,"author":26410,"museum":107,"description":26411,"tags":26412,"thumbUrl":26413,"material":751,"size":752,"collection":95,"collections":26414,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},290010,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-diao-guang-yin-290010","写生花卉册-枯树五羊盘陀","刁光胤","画作描绘枯树旁边羊只觅食的悠闲姿态，或坐、或立、或觅食，远处群山在云雾中时隐时现，两只羊抬头四顾，与远景遥相呼应，构图精美。",[24,26,27,704,6951,798,51,7,199,77,116,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcdec8dd40c7593425e7f22ffa419fba.jpg",[],{"id":26416,"slug":26417,"title":26418,"dynasty":18,"author":3067,"museum":107,"description":9355,"tags":26419,"thumbUrl":26421,"material":751,"size":752,"collection":95,"collections":26422,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},289977,"zhu-lin-qing-yuan-tu-wang-hui-289977","竹林清远图",[23,24,50,1328,251,7,77,59,26420],"悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb5c62174519ad79bca356b5fb9359a.jpg",[],{"id":26424,"slug":26425,"title":26426,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":26427,"thumbUrl":26429,"material":751,"size":752,"collection":95,"collections":26430,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},289949,"shan-shui-ren-wu-juan-shi-tao-289949","山水人物卷",[23,24,92,49,50,25,7,60,51,113,54,704,251,53,9076,26428,19547,17076,23422,6054,4739,77,59],"幽林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823a172113e0e371319b858615943f8.jpg",[],{"id":26432,"slug":26433,"title":9110,"dynasty":45,"author":5186,"museum":107,"description":26434,"tags":26435,"thumbUrl":26437,"material":751,"size":752,"collection":95,"collections":26438,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},289793,"shou-xing-tu-zhu-zhan-ji-289793","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”，书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[92,24,25,27,113,77,7,26436,878],"寿星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977906fe10ef6429d7fed6b5e3ae1091.jpg",[],{"id":26440,"slug":26441,"title":26442,"dynasty":88,"author":454,"museum":107,"description":26443,"tags":26444,"thumbUrl":26446,"material":751,"size":752,"collection":95,"collections":26447,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},289783,"you-qi-tu-yi-ming-289783","游骑图","画面以平列式构图铺陈出行游队伍，人马排布错落疏朗。鞍马造型劲挺矫健，或扬蹄疾行或缓步徐行，鬃毛飘逸、肌理饱满，将良驹的神骏姿态刻画入微。骑手宽袍博带，姿态悠然松弛，衣纹线条圆转流畅，晕染精细，尽显闲适从容的气度。右侧随行侍从躬身紧随，衬出游行的雅致氛围。\n\n古绢底色苍浑沉静，朱红古印点缀其间晕开厚重古韵。全作用色简淡秀雅，线条细劲精准，将郊野闲游的松弛意趣娓娓道来，尽显写实雅致的审美意韵，是鞍马人物画中的精妙之作。",[23,92,24,49,25,113,1074,27,26445,7,77],"鞍马出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d25ac9f932d81595cf72e8134951b7.jpg",[],{"id":26449,"slug":26450,"title":26451,"dynasty":162,"author":454,"museum":107,"description":26452,"tags":26453,"thumbUrl":26454,"material":751,"size":752,"collection":95,"collections":26455,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},289767,"lv-yan-xiang-tu-yi-ming-289767","吕岩像图","画中仙者束发丰面，神态沉静淡然，宽袍曳身，背负长剑，手携酒壶、侧挂药篮，将浪迹江湖、随性旷达的道者风骨诠释尽致。\n\n笔墨清劲简练，以凝练线条勾勒衣袂，飘然出尘的质感呼之欲出，古雅沉郁的设色历经岁月晕染，更添沉静古韵。素净留白烘托出人物超逸脱俗的气质，旁侧题跋错落，与画面相融尽显古意悠悠。整体构图疏朗雅致，尽显凝练大气的唐画意韵，将仙家逍遥出世的气韵藏于笔端，把这位兼具酒意、侠气与道骨的仙人刻画得入木三分。",[23,24,1986,878,6582,27,77,7,19493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c30f456c2317eb7a31ee75ccbbad91.jpg",[],{"id":26457,"slug":26458,"title":26459,"dynasty":18,"author":3261,"museum":107,"description":8894,"tags":26460,"thumbUrl":26461,"material":751,"size":752,"collection":95,"collections":26462,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},289754,"zhuan-shu-xun-zi-you-zuo-pian-zhou-deng-shi-ru-289754","篆书荀子宥坐篇轴",[7,457,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852ecd65e911fac67db04cd406d0b95b.jpg",[],{"id":26464,"slug":26465,"title":9530,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":26466,"thumbUrl":26467,"material":751,"size":752,"collection":95,"collections":26468,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},289357,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-289357",[23,25,24,7,49,60,77,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5686be68149a7f7a2e87b169a244b4c.jpg",[],{"id":26470,"slug":26471,"title":26472,"dynasty":88,"author":26473,"museum":107,"description":26474,"tags":26475,"thumbUrl":26476,"material":751,"size":752,"collection":95,"collections":26477,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},289111,"long-gu-che-tu-feng-guan-289111","龙骨车图","冯观","画面取乡野夜色一角，圆月悬垂墨空，岸柳垂荫，陂塘间龙骨车静静倚卧。水墨晕染清润柔和，以极简笔墨晕开夏夜氤氲水汽，垂柳枝梢含露带烟，将江南水乡的恬然夜色铺陈开来。\n\n没有精工细绘，只以淡墨轻勾物象轮廓，便将乡居日常的闲静诗意尽数烘托，藏着宋人独有的清雅意趣，把寻常农间景致，晕染成隽永的水墨小品，定格了水乡夏夜里松弛安闲的片刻时光。",[24,26,1250,7,60,50,51,115,678,12029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf5baac82caab988ca86e5fe662c92.jpg",[],{"id":26479,"slug":26480,"title":26481,"dynasty":2365,"author":12324,"museum":107,"description":20950,"tags":26482,"thumbUrl":26483,"material":751,"size":752,"collection":95,"collections":26484,"showCount":463,"zanCount":882,"manualWeight":39,"mainColor":100},288268,"yan-ai-qiu-she-tu-zhao-gan-288268","烟霭秋涉图",[23,24,25,1328,50,59,250,704,2061,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee6c8d1442c8b87e43d233c47bb6fcf.jpg",[],{"id":26486,"slug":26487,"title":11045,"dynasty":18,"author":12414,"museum":107,"description":12415,"tags":26488,"thumbUrl":26489,"material":751,"size":752,"collection":95,"collections":26490,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},288242,"yu-zhi-geng-zhi-tu-ai-xin-jue-luo-xuan-ye-288242",[23,24,25,26,112,199,7,77,113,52,53,12028,23087,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5eaf54165aae398c3cd08f548717c06.jpg",[],{"id":26492,"slug":26493,"title":26494,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":26495,"thumbUrl":26496,"material":751,"size":752,"collection":95,"collections":26497,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},288188,"nan-xun-ji-you-qian-long-288188","南巡纪游",[23,7,60,77,359,26494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2b7a56270aef8bab7d49efdd8995b8.jpg",[],{"id":26499,"slug":26500,"title":26501,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":26502,"thumbUrl":26505,"material":751,"size":752,"collection":95,"collections":26506,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},288181,"yu-bi-qi-yan-shi-li-zhou-qian-long-288181","御笔七言诗立轴",[23,25,7,75,60,26503,77,26504],"七言诗","洒金笺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730f07c3a4b5242987ddf11fc0d2ece3.jpg",[],{"id":26508,"slug":26509,"title":26510,"dynasty":179,"author":225,"museum":107,"description":26511,"tags":26512,"thumbUrl":26513,"material":751,"size":752,"collection":95,"collections":26514,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},288160,"zhen-cao-qian-zi-wen-ce-ye-zhao-meng-fu-288160","真草千字文册页","赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。",[7,4347,60,398,200,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65925b7e83e8127dd187c0e56e1630c6.jpg",[],{"id":26516,"slug":26517,"title":26518,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":26519,"thumbUrl":26520,"material":751,"size":752,"collection":95,"collections":26521,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},288084,"tao-yuan-tu-shi-ce-zhu-yun-ming-288084","桃源图诗册",[7,26,398,77,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3060cdfdd07d67a5fead2d9c48e1aec.jpg",[],{"id":26523,"slug":26524,"title":26525,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":26526,"thumbUrl":26527,"material":751,"size":752,"collection":95,"collections":26528,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},288025,"jing-ji-cong-lan-tu-juan-zheng-ban-qiao-288025","荆棘从兰图卷",[23,24,25,49,7,457,139,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b83e9d9aeeb935548a44e4fd0d114c1.jpg",[],{"id":26530,"slug":26531,"title":26532,"dynasty":18,"author":1527,"museum":107,"description":7655,"tags":26533,"thumbUrl":26534,"material":751,"size":752,"collection":95,"collections":26535,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},287997,"qian-long-nan-xun-zhu-bi-tu-ye-23-zhen-qian-wei-cheng-287997","乾隆南巡驻跸图页23帧",[23,24,25,92,26,1128,27,458,55,15088,51,56,52,9812,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b7085194310691b6fae5dae96603ea.jpg",[],{"id":26537,"slug":26538,"title":26539,"dynasty":45,"author":20913,"museum":107,"description":6005,"tags":26540,"thumbUrl":26541,"material":751,"size":752,"collection":95,"collections":26542,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},287948,"yan-si-wan-zhong-tu-ye-sheng-mao-ye-287948","烟寺晚钟图页",[23,92,24,25,26,27,51,60,7,77,52,53,251,1018,15088,252,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee2ff072691336c7ccc9a6449892a59.jpg",[],{"id":26544,"slug":26545,"title":26546,"dynasty":179,"author":225,"museum":107,"description":26547,"tags":26548,"thumbUrl":26549,"material":751,"size":752,"collection":95,"collections":26550,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},287921,"dan-ba-bei-zhao-meng-fu-287921","胆巴碑","《胆巴碑》,又名《龙兴寺碑》,元赵孟頫撰并书于延祜三年（一三一六），纸本，纵三十三点六厘米，横一百六十六厘米。楷书，一百二十五行，共九百二十三字，现藏故宫博物院。《胆巴碑》是赵孟頫奉元仁宗敕命撰写的，时年六十三岁，为赵氏晚年楷书的代表作。《胆巴碑》笔法秀媚，苍劲浑厚，独具风格，于规整端严处见潇洒，点画顾盼有致，用笔沉着峻拔，充分体现了赵氏书法的风韵和神采。虽取法李邕《麓山寺碑》，但又较之舒展放松，去其险佻之势，化为端庄肃穆、雍容道美之姿",[199,7,77,200,2115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb8d9710429ac8f7cef2741174030af.jpg",[],{"id":26552,"slug":26553,"title":26554,"dynasty":105,"author":454,"museum":107,"description":26555,"tags":26556,"thumbUrl":26557,"material":751,"size":752,"collection":95,"collections":26558,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},287905,"da-ban-nie-pan-jing-juan-yi-ming-287905","大般涅槃經卷","此卷写经笔致清劲秀雅，通篇气脉贯通，结体端稳方正，字字排布齐整匀净，尽显写经的虔敬肃穆法度。起收笔灵动含蓄，笔画粗细匀停，兼具隶书朴拙意趣与楷书端凝之态，是早期佛教写经书法的典范。经卷虽有残损泛黄，却晕染出岁月沉郁的古雅质感，纸墨之间，沉淀着笃诚信仰与书法艺术的融汇之美，静静诉说着千年前的翰墨禅心。",[7,386,199,49,9007,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aeedfb1e8f1997c83bed18df00c660b.jpg",[],{"id":26560,"slug":26561,"title":26562,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":26563,"thumbUrl":26564,"material":751,"size":752,"collection":95,"collections":26565,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},287857,"tai-shang-lao-jun-shuo-chang-qing-jing-jing-lao-zi-lie-zhuan-ying-yin-ben-wen-zheng-ming-287857","太上老君说常清静经老子列传（影印本）",[7,199,386,77,878,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdae8d0844e20cd87a7c5a93df35a3dab.jpg",[],{"id":26567,"slug":26568,"title":26569,"dynasty":18,"author":9176,"museum":107,"description":15493,"tags":26570,"thumbUrl":26571,"material":751,"size":752,"collection":95,"collections":26572,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":207},287749,"yao-gen-he-shang-xiang-luo-pin-287749","药根和尚像",[24,113,878,50,27,250,77,7,75,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4e76fb6e1ecdc82aee9d08daf9d2ea.jpg",[],{"id":26574,"slug":26575,"title":26576,"dynasty":18,"author":26577,"museum":107,"description":26578,"tags":26579,"thumbUrl":26580,"material":751,"size":752,"collection":95,"collections":26581,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},287727,"shan-shui-fang-gu-ce-fang-shi-shu-287727","山水仿古册","方士庶","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。",[24,25,26,50,51,52,53,55,57,56,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8502a46d703fc1ee83d18e35b85691cd.jpg",[],{"id":26583,"slug":26584,"title":26585,"dynasty":45,"author":5386,"museum":107,"description":18331,"tags":26586,"thumbUrl":26587,"material":751,"size":752,"collection":95,"collections":26588,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},287565,"zi-shu-you-bao-shan-shi-shou-juan-wang-chong-287565","自书游包山诗手卷",[7,398,49,77,5784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f4b31c83f7426792cf04befc86868.jpg",[],{"id":26590,"slug":26591,"title":26592,"dynasty":18,"author":26593,"museum":107,"description":26594,"tags":26595,"thumbUrl":26596,"material":751,"size":752,"collection":95,"collections":26597,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},287553,"teng-wang-ge-shu-fa-juan-tie-bao-287553","滕王阁书法卷","铁保","董鄂·铁保（1752~1824年），字冶亭，号梅庵，本姓觉罗氏，满洲正黄旗人。清代大臣，著名书法家。\n乾隆三十七年（1772年），中进士，授吏部主事，后升为郎中、户部及吏部员外郎、翰林院侍讲学士、侍读学士、内阁学士。嘉庆四年（1799年），因弹劾官员过当被贬到盛京；不久，以吏部侍郎出任漕运总督。\n嘉庆十年（1805年），升任两江总督，赏一品顶戴，成为管辖江苏、安徽和江西三省的最高军政长官。嘉庆十四年（1809年），发生山阳县令王伸汉冒赈，鸩杀委员李毓昌事件，铁保遭到免职，流放新疆。道光初年，告病退休。道光四年（1824年），去世。\n铁保以文章和书法驰名朝野。曾任《八旗通志》总裁，并将旗人诗文编为《白山诗介》134卷，个人作品则编为《惟清斋全集》。铁保是满人中最著名的书法家，与成亲王永瑆、刘墉、翁方纲，称为“清朝四大书家”。书法早年曾学“馆阁体”，后学颜真卿，纠正“馆阁体”带来的板滞之病。他谪居吉林时仍勤于临摹古法帖，引起眼病，刻有《惟清斋帖》。",[23,7,49,60,398,3182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066b7b43ac2e973e8b5526d26df6bcb6.jpg",[],{"id":26599,"slug":26600,"title":26601,"dynasty":88,"author":4981,"museum":107,"description":10563,"tags":26602,"thumbUrl":26603,"material":751,"size":752,"collection":95,"collections":26604,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},287398,"hua-yan-jing-ce-mo-ji-ben-zhang-ji-zhi-287398","华严经册 (墨迹本)",[7,386,199,26,878,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fd806bf269b8ed836b27415d6fe79d.jpg",[],{"id":26606,"slug":26607,"title":26608,"dynasty":179,"author":1324,"museum":107,"description":3821,"tags":26609,"thumbUrl":26610,"material":751,"size":752,"collection":95,"collections":26611,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":789},287306,"lin-xi-qing-yin-tu-juan-ni-zan-287306","林溪清隐图卷",[23,24,92,49,25,50,60,7,132,51,77,6054,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c9a683588fa53ede3255dbac057270.jpg",[],{"id":26613,"slug":26614,"title":26615,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":26616,"thumbUrl":26618,"material":751,"size":752,"collection":95,"collections":26619,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},275871,"bai-yu-bo-re-bo-luo-duo-xin-jing-ce-yi-ming-275871","白玉般若波罗多心经册",[834,13336,19026,7713,26617,359,134,878,386,26,7,7714],"描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ec559b4a541a8cd827e4616fb103a2.jpg",[],{"id":26621,"slug":26622,"title":26623,"dynasty":88,"author":26624,"museum":107,"description":26625,"tags":26626,"thumbUrl":26627,"material":312,"size":95,"collection":96,"collections":26628,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},241661,"ming-qing-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241661","明清诸家跋赐詹骙诗拓卷","赵眘","宋孝宗趙昚（1127年11月27日－1194年6月28日），初名趙伯琮，後改名趙瑗，賜名趙瑋，字元永，籍貫秀州（今浙江嘉興），宋太祖趙匡胤七世孫、宋高宗趙構養子。宋朝第十一位皇帝、南宋第二位皇帝（1162年7月20日－1189年2月18日在位）。\n紹興二年（1132年），被高宗選中育於宮中。紹興三十年（1160年），被立為皇子，受封開府儀同三司、寧國軍節度使，封建王。紹興三十二年（1162年），被立為皇太子。同年高宗讓位於趙昚，使宋朝的皇位再次回到宋太祖一系。淳熙十六年（1189年），趙昚禪位於三子趙惇，自稱壽皇聖帝。紹熙五年（1194年），趙昚崩逝，在位二十七年，年六十八。累諡號紹統同道冠德昭功哲文神武明聖成孝皇帝，廟號孝宗，葬於永阜陵。《全宋詞》錄有其詞一首。\n後世普遍認為趙昚是南宋最有作為的皇帝。他在位期間，平反岳飛冤案，起用主戰派人士，鋭意收復中原；內政上，加強集權，積極整頓吏治，裁汰冗官，懲治貪污，重視農業生產，百姓生活安康，史稱“乾淳之治”。後世稱其為“卓然為南渡諸帝之稱首”。",[23,25,49,198,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039a2b079120574c0a96be072dc2c54b.jpg",[96],{"id":26630,"slug":26631,"title":26632,"dynasty":18,"author":26633,"museum":107,"description":26634,"tags":26635,"thumbUrl":26636,"material":751,"size":752,"collection":95,"collections":26637,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},241402,"jie-lu-heng-fang-bei-zhou-qian-kai-241402","节录衡方碑轴","钱楷","乾隆五十四年进士，选翰林院庶吉士，散馆改户部主事，充军机章京。\n嘉庆三年，典四川乡试，督广西学政，回京，仍直军机。迁礼部郎中，调刑部，甚被眷遇。截取京察当外用，予升衔留任。\n十一年，诏嘉楷久直勤勉，以四五品京堂用。历太常寺少卿、光禄寺卿。\n十二年，京师旱，疏请循汉书求雨闭阳纵阴之说，停止正阳门外石路工程，诏“修省在实政，无事傅会五行”，罢其奏。迭命往河南、山西鞫狱，次第奏结，无枉纵。授河南布政使，",[7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142f3bd5322821f5a581c90bd9b804ef.jpg",[],{"id":26639,"slug":26640,"title":26641,"dynasty":18,"author":26642,"museum":107,"description":26643,"tags":26644,"thumbUrl":26645,"material":751,"size":752,"collection":95,"collections":26646,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},241320,"jie-lu-mi-fei-wen-zhou-sun-rang-241320","节录米芾文轴","孙勷","孙勷，字子未，一字予未，号莪山，又号诚斋，德州人。康熙乙丑进士，官至大理寺少卿，终於通政司参议。",[2135,7,60,75,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425544c5c8037132f0b4c3174b0d2d00.jpg",[],{"id":26648,"slug":26649,"title":23662,"dynasty":18,"author":26650,"museum":107,"description":26651,"tags":26652,"thumbUrl":26653,"material":312,"size":95,"collection":96,"collections":26654,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},241295,"wu-lv-zhou-ren-zhong-zhou-241295","任仲周","落笔雄健苍劲，线条枯湿浓淡富于层次变化，行气连贯舒展。整幅纵势绵延，字间牵丝映带自然，将律诗意境与笔意相融。\n\n用笔重落轻提，浑厚中见灵动，狂放不失法度，收放自如尽显文人雅韵。诗中幽寂春思随笔墨铺陈开来，苔阶烟柳的清寂之境跃然纸上，笔墨节律呼应诗意跌宕，把候花期的怅惘藏在笔锋疾缓之中，是书与诗的绝佳合璧，笔墨间浸透着沉静雅致的文人意趣。",[75,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d7d39aa99ead82fab341e2ed4e006f.jpg",[96],{"id":26656,"slug":26657,"title":26658,"dynasty":45,"author":26659,"museum":107,"description":26660,"tags":26661,"thumbUrl":26662,"material":312,"size":95,"collection":96,"collections":26663,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},241215,"shan-ju-wu-lv-shi-zhou-jiang-feng-yuan-241215","山居五律诗轴","姜逢元","浙江 万历四十一年癸丑进士，累迁国子司业，曾任太子保，充日讲官，官至礼部尚书。时魏忠贤擅政，纂三朝要典，假阉竖之权，役 崇祯初，累官礼部尚书，与枚十者九，寻乞归。逢元善于书法，博采众长自出已意，尤擅于行、草，世人多宝重。着有《禹贡详节》和《宗伯公集选》。",[24,25,7,75,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5901359265b98980c30a07749e322840.jpg",[96],{"id":26665,"slug":26666,"title":26667,"dynasty":18,"author":4686,"museum":107,"description":26668,"tags":26669,"thumbUrl":26670,"material":312,"size":95,"collection":96,"collections":26671,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},241054,"zhi-zi-ji-zha-heng-zhao-zhi-qian-241054","致子继札横","赵之谦（1829年8月8日 －1884年11月18日 ），汉族，浙江会稽（今绍兴）人。 初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[25,7,60,49,19315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780d500e113fe99af594781fc50f9f4a.jpg",[96],{"id":26673,"slug":26674,"title":26675,"dynasty":179,"author":2462,"museum":107,"description":7107,"tags":26676,"thumbUrl":26677,"material":751,"size":752,"collection":95,"collections":26678,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},241013,"su-da-nian-ba-yu-ji-zhu-wen-fu-can-pian-juan-ke-jiu-si-241013","，苏大年跋虞集诛蚊赋残片卷",[7,60,77,49,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffd8d5198e008f4b5fed14a7f6d8543.jpg",[],{"id":26680,"slug":26681,"title":26682,"dynasty":45,"author":14516,"museum":107,"description":14517,"tags":26683,"thumbUrl":26684,"material":751,"size":752,"collection":95,"collections":26685,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},241004,"zhi-luo-feng-zha-juan-wang-shou-ren-241004","致罗峰札卷",[23,92,24,25,49,50,60,457,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88979f0060eb58657f91f1b367c1d40f.jpg",[],{"id":26687,"slug":26688,"title":26689,"dynasty":18,"author":22818,"museum":107,"description":22819,"tags":26690,"thumbUrl":26691,"material":751,"size":752,"collection":95,"collections":26692,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240984,"zhi-huang-yi-xiao-song-zha-xi-gang-240984","致(黄易)小松札",[7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93fef9ac62fcdb78efd90004efbb8e3.jpg",[],{"id":26694,"slug":26695,"title":26696,"dynasty":45,"author":24574,"museum":107,"description":26697,"tags":26698,"thumbUrl":26699,"material":312,"size":95,"collection":96,"collections":26700,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240927,"wu-kuan-deng-liu-jia-kai-shu-xie-jing-ji-li-dai-fa-shu-can-pian-ji-juan-yang-shen-240927","无款、等六家楷书写经及历代法书残片集卷","此卷合集残片，诸家笔墨风神各异。小楷写经端雅匀整，笔致清隽静穆，带着抄经时的沉虔；行草题跋则笔势跌宕纵横，铺陈出文人抒怀的疏放不羁。纸面虽有残损漫漶，墨色依旧沉厚温润，朱印斑驳晕开，晕染出岁月的古旧质感。残片拼接之间，牵系起散佚的文脉，将数代书家的伏案心境揉入长卷，既有敬谨的抄经笔意，亦有洒脱的论书闲情，古意盎然，墨迹里沉淀着悠悠时光的余温。",[23,199,60,1613,457,398,7,386,49,200,198,77,3467,110,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[96],{"id":26702,"slug":26703,"title":26704,"dynasty":18,"author":5196,"museum":107,"description":26705,"tags":26706,"thumbUrl":26707,"material":312,"size":95,"collection":96,"collections":26708,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240555,"shi-san-xing-ye-ai-xin-jue-luo-yong-xing-240555","十三行页","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。\n对其书法的评价，有杨翰《息柯杂著》谓：“王得窥内府所藏，而自藏又甚富，故书法大备如是，大抵皆从\n帖中问津，未深究古碑耳。”（清）礼亲王昭梿《啸亭杂录》谓：“永瑆幼时握笔，即波磔成文，少年工赵文敏，又尝见康熙时内监。言其师少时犹及见董文敏用笔。惟以前三指握管，悬腕书之，故王广推其语，作拨灯法。”又说：“永瑆名重一时，士大夫得片纸只字，重若珍宝。论者谓国朝自王若霖（澍）下，一人而已。”《息柯杂著》又谓：“诒晋斋书，素未究心，但知其从赵承旨上溯欧阳率更，虽偶涉诸家，终不离两家宗旨。集卷随手杂临，竟有脱尽町畦，不似本家笔意者。篆、隶亦有法度，盖书非一时，临非一家，不甚经意，而精神所寄，一一浑足，此无意胜于有意也。”\n善收藏。著有《听雨书屋诗集》《诒晋斋诗文集》及《续集》《随笔》《仓龙集》等。《清史稿》卷二百二十一有传。",[25,7,60,312,3479,77,2135,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a7bc313925afdf882a3abc62d6938ef.jpg",[96],{"id":26710,"slug":26711,"title":26712,"dynasty":45,"author":26713,"museum":107,"description":26714,"tags":26715,"thumbUrl":26717,"material":312,"size":95,"collection":96,"collections":26718,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 兄弟二人均为进士；均为官清正廉洁，世称“天下清绝，顾问顾阙”；均为当时著名的理学家，并称“二顾”",[23,60,7,49,50,77,399,26716,360,844,1679,678,282],"莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg",[96],{"id":26720,"slug":26721,"title":26722,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":26723,"thumbUrl":26724,"material":751,"size":752,"collection":95,"collections":26725,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240496,"wu-chang-shuo-lin-shi-gu-wen-zhou-wu-chang-shuo-240496","吴昌硕临石鼓文轴",[7,457,110,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971c026c7c3ff4c8af0992a74475ed80.jpg",[],{"id":26727,"slug":26728,"title":26729,"dynasty":18,"author":22863,"museum":107,"description":23729,"tags":26730,"thumbUrl":26731,"material":751,"size":752,"collection":95,"collections":26732,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240482,"zhuan-shu-lu-wen-zhou-wan-cheng-ji-240482","篆书录文轴",[25,7,75,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5eec069ada0a4fc03581152966b6e9.jpg",[],{"id":26734,"slug":26735,"title":26736,"dynasty":18,"author":4686,"museum":107,"description":10103,"tags":26737,"thumbUrl":26738,"material":751,"size":752,"collection":95,"collections":26739,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240465,"lin-mi-tie-zhou-zhao-zhi-qian-240465","临米帖轴",[7,75,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda18544c74d9e060860a196c66f8ef0e.jpg",[],{"id":26741,"slug":26742,"title":17924,"dynasty":45,"author":19108,"museum":107,"description":24598,"tags":26743,"thumbUrl":26744,"material":751,"size":752,"collection":95,"collections":26745,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240447,"shi-zhou-ni-yuan-lu-240447",[25,7,75,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb93a2a796b137abd324ce4bc50a9afb.jpg",[],{"id":26747,"slug":26748,"title":26749,"dynasty":18,"author":4686,"museum":107,"description":10103,"tags":26750,"thumbUrl":26751,"material":751,"size":752,"collection":95,"collections":26752,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240428,"si-ti-shu-lin-bei-ping-zhao-zhi-qian-240428","四体书临碑屏",[7,110,457,1613,199,60,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40210c999f1f822e95b642f197823213.jpg",[],{"id":26754,"slug":26755,"title":17924,"dynasty":18,"author":26756,"museum":107,"description":26757,"tags":26758,"thumbUrl":26759,"material":312,"size":95,"collection":96,"collections":26760,"showCount":463,"zanCount":882,"manualWeight":39,"mainColor":40},240193,"shi-zhou-bi-yuan-240193","毕沅","毕沅（1730年—1797年），字纕蘅，亦字秋帆，因从沈德潜学于灵岩山，自号灵岩山人。江苏镇洋（今江苏太仓）人。清代著名学者。\n乾隆二十五年（1760）进士，廷试第一，状元及第，授翰林院编修。乾隆五十年（1785）累官至河南巡抚，第二年擢湖广总督。嘉庆元年（1796）赏轻车都尉世袭。病逝后，赠太子太保，赐祭葬。\n嘉來庆二冄年頭（17樤97）年病逝，获赠太子太保。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bd0c7f5d59860c6fb46c27b0d3589d3.jpg",[96],{"id":26762,"slug":26763,"title":26764,"dynasty":45,"author":454,"museum":107,"description":26765,"tags":26766,"thumbUrl":26767,"material":95,"size":95,"collection":96,"collections":26768,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},240176,"wu-kuan-li-yu-ji-qi-yao-shi-jia-jing-er-shi-si-nian-gao-ming-juan-yi-ming-240176","无款李愈及妻姚氏嘉靖二十四年诰命卷","此卷制式规整典重，首端织金云龙环绕题额，朱红九叠篆玺印方正雄浑，尽显庙堂威仪。敕命以馆阁小楷书就，笔致端雅匀净，法度森严；旁侧题跋行书舒展灵动，文气隽秀。一文一跋，庙堂规整与文人意趣相映成趣。缣素古旧，朱痕晕染岁月沉韵，既承载着封建荣典的礼制重量，亦兼具织造、书法的双重审美价值，尽显明代官方文书的庄重气度与彼时工艺、书法的不俗风貌。",[23,25,49,27,359,77,457,60,199,7,9635,1498,111,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f77157b943e606600b994ab8ce8cb.jpg",[96],{"id":26770,"slug":26771,"title":26772,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":26773,"thumbUrl":26774,"material":751,"size":752,"collection":95,"collections":26775,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240062,"xing-chun-gong-shu-juan-ai-xin-jue-luo-yong-xing-240062","行春宫疏卷",[23,2135,60,7,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205b8163967c1aa7c341346d434836e0.jpg",[],{"id":26777,"slug":26778,"title":26779,"dynasty":18,"author":411,"museum":126,"description":20419,"tags":26780,"thumbUrl":26782,"material":95,"size":95,"collection":96,"collections":26783,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},240037,"yuan-ji-jin-shan-liu-yun-ting-chang-he-yun-shi-ye-shi-tao-240037","原济金山留云亭唱和韵诗页",[25,7,2135,60,398,50,312,77,11284,14990,6769,26781,22169],"毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea08cb353e3a80880d6cb515cd68110.jpg",[96],{"id":26785,"slug":26786,"title":26787,"dynasty":45,"author":1452,"museum":107,"description":26788,"tags":26789,"thumbUrl":26790,"material":95,"size":95,"collection":96,"collections":26791,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239946,"qi-jue-shi-zhou-chen-ji-ru-239946","七绝诗轴","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。\n陈继儒书法学苏轼、米芾，对苏、米墨迹，最为喜爱，虽残碑断简，也必搜采，手自摹刻，成《晚香堂帖》及《来仪堂帖》。\n所画山水，空远清逸，松江博物馆藏有《潇湘烟雨图》1幅。所画梅竹，点染精妙，名重当时。用水墨画梅，乃其第一次，曾编《陈眉公梅花诗画册》，为后世所法。传世作品有《梅花》《梅竹双清图》等，（现藏故宫博物院）。\n另有《梅花图》8页（藏于日本东京国立博物馆）。书法传世作品有《行书半研斋诗》《行书李白诗》等（现藏故宫博物院）。曾评批《西厢记》《琵琶记》《绣襦记》等。并善鼓琴，订正琴谱，名重一时。\n其书画印有：“陈继儒印”（阴文印2方）、“陈眉公书画记”（阳文印2方）、“眉公”（阳文印）、“雪堂”（阴文印） ；“眉公”（阴文印）、“麋公”（阴文、阳文印）、“晚香堂”（阴文印）",[24,25,75,60,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd16067cc84ccd926b198314f3717c73.jpg",[96],{"id":26793,"slug":26794,"title":26795,"dynasty":18,"author":26796,"museum":107,"description":26797,"tags":26798,"thumbUrl":26799,"material":95,"size":95,"collection":96,"collections":26800,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239918,"zhi-lian-shang-shi-ye-hong-wu-239918","致莲裳诗页","洪梧","生卒年不详，清代人，活动于乾隆年间。安徽歙县人，字桐生，洪榜弟，乾隆进士，由编修官沂州知府。其学博通古今，邃于《经》学。亦工词翰，擅书法。清·包世臣《艺舟双楫》评其小真书为佳品上。《中国书法大辞典》等收录。",[18,7,199,312,2602,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2d2e1e2efa236aaa405605d4f13151.jpg",[96],{"id":26802,"slug":26803,"title":26804,"dynasty":45,"author":26805,"museum":126,"description":26806,"tags":26807,"thumbUrl":26808,"material":312,"size":26809,"collection":96,"collections":26810,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239907,"liu-yong-ci-zhou-sui-ming-yong-239907","柳永词轴","眭明永","释文：\n杨柳外，晓风残月。明永。\n本幅钤“眭明永印”、“嵩年”。收藏印钤“谭观成”、“宣君长印”。\n《柳永词》句为宋柳永《雨霖铃》词下半阕中的一句“杨柳岸，晓风残月”，眭明永写成“杨柳外，晓风残月”。\n此轴书法气势奔放豪爽，神完气足。结体欹斜，笔势开张，巨锋迅疾，线条顿挫转折，纵逸跌宕，书风狂纵而富奇趣。",[7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd142a395bcfd4ebb2dccc5c72d75f478.jpg","纵113.5厘米，横28.3厘米",[96],{"id":26812,"slug":26813,"title":17924,"dynasty":18,"author":26814,"museum":107,"description":26815,"tags":26816,"thumbUrl":26817,"material":95,"size":95,"collection":96,"collections":26818,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},239797,"shi-zhou-yun-li-239797","允礼","果毅亲王爱新觉罗·允礼（1697年3月24日—1738年3月21日），原名爱新觉罗·胤礼，满洲正红旗人，清康熙帝第十七子，雍正帝异母弟，母为纯裕勤妃。生于康熙三十六年(1697年)，卒于乾隆三年(1738)。其初行次为第二十七，序齿为第十七。\n允礼九岁以后常随康熙帝出塞外，雍正元年被封为果郡王，管理藩院事。雍正帝认为他实心报国，操守清廉，于雍正六年进亲王，七年管工部事，八年总理户部三库，十一年管户部；十二年赴泰宁送达赖喇嘛回西藏，顺路问视各省驻防及绿营兵；十三年还京师，办理苗疆事务。雍正帝临终时，命允礼辅政。乾隆即位，允礼任总理事务，主刑部事务，由于身体较弱，乾隆帝命其在私邸中办事，隔几天进宫一次即可，这在当时是一种不同寻常的特殊照顾。他秉性忠直，深受乾隆帝赏识；乾隆元年因事罢双俸，三年二月薨。乾隆帝万分悲痛，亲临其丧。二月初九日，乾隆令给允礼加祭一次，谥曰“毅”。因允礼无子，故以雍正帝第六子弘曕为嗣子。因允礼彼时年幼未参与康熙晚期夺嫡之争，故在康熙帝诸多皇子中算是下场较好的一个。",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c8e1568ccebe81dafddeb0354faa.jpg",[96],{"id":26820,"slug":26821,"title":26822,"dynasty":88,"author":454,"museum":107,"description":26823,"tags":26824,"thumbUrl":26825,"material":95,"size":95,"collection":96,"collections":26826,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239679,"wu-kuan-xing-pan-gu-xu-juan-yi-ming-239679","无款行盘谷序卷","通篇以行草挥就，笔势欹正相生，牵丝映带灵动自然，尽显宋人尚意书风的疏放意趣。笔墨燥润相济，提转顿挫间将文辞意涵与书家性情相融，通篇气息浑融连贯，把《盘谷序》的文气挥洒得淋漓尽致。\n\n卷身遍钤朱红鉴藏印玺，与墨色书迹交相辉映，历代题跋环列其间，织就厚重递藏脉络。疏密排布得宜，既有肆意挥洒的疏朗，亦不失点画精到的谨严，尽显宋代行书抒情达意的文人风骨，是兼具书法艺术价值与流传考据价值的佳作。",[23,24,25,49,60,7,50,51,59,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cef04be1b92ec6142891fe4070e31d1.jpg",[96],{"id":26828,"slug":26829,"title":26830,"dynasty":179,"author":20428,"museum":126,"description":26831,"tags":26832,"thumbUrl":26833,"material":312,"size":26834,"collection":96,"collections":26835,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239676,"ji-chen-tie-ye-yu-ji-239676","即辰帖页","释文（略）\n\n据《元史·虞集传》：“文宗崩，集在告，欲谋南还，弗果。幼君（宁宗）崩，大臣将立妥欢帖陆尔太子（惠宗），用至大故事，召诸老臣赴上都议政，集在召列。（马）祖常使人告之曰：‘御史有言，乃谢病归临川。’”此帖中提到姑苏、惠泉（惠泉在无锡），可知此时虞集已经谢病南归。帖中又说：“方今龙飞御天”，应指惠宗即位事，与文献所述时间亦合。由此推断，此帖当书于惠宗即位之后，是虞集的晚年作品。\n陶宗仪在《书史会要》中对虞集的书法有很高的评价，认为：“集真、行、草、篆皆有法度，古隶为当代第一。”《即辰帖》为楷体，兼有行书笔意。书法精道、淳古、苍劲，波澜老成，有碑版之状。\n《铁网珊瑚·卷五》、《平生壮观·卷四》等书著录。",[23,7,25,60,200,312,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f7ae574ec2261810c44d0220845d3f.jpg","纵32.3厘米，横93.2厘米",[96],{"id":26837,"slug":26838,"title":26839,"dynasty":179,"author":225,"museum":107,"description":22029,"tags":26840,"thumbUrl":26841,"material":95,"size":95,"collection":96,"collections":26842,"showCount":463,"zanCount":882,"manualWeight":39,"mainColor":40},239669,"za-shu-si-tie-juan-zhao-meng-fu-239669","杂书四帖卷",[23,92,24,25,49,60,50,27,51,652,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105971cba05216f4482cfe7d6dfe6465.jpg",[96],{"id":26844,"slug":26845,"title":26846,"dynasty":45,"author":14822,"museum":107,"description":17925,"tags":26847,"thumbUrl":26849,"material":95,"size":95,"collection":802,"collections":26850,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239631,"huang-dao-zhou-xiao-jing-ce-huang-dao-zhou-239631","黄道周孝经册",[23,7,386,199,26,50,312,25,11284,17126,45,2602,4347,4040,26848],"经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ea3f5205a326ac20e377674fcb541e.jpg",[802],{"id":26852,"slug":26853,"title":26854,"dynasty":179,"author":26855,"museum":126,"description":26856,"tags":26857,"thumbUrl":26861,"material":312,"size":26862,"collection":96,"collections":26863,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239623,"wu-gu-shi-tie-ye-zhang-yuan-239623","五古诗帖页","张渊","释文：\n云卧三十年，好闲复爱仙。蓬壶虽冥绝，鸾鹤心悠然。归来桃花岩，得憩云窗眠。对岭人共语，饮潭猿相连。时升翠微上，邈若罗浮巅。两岑抱东壑，一嶂横西天。树杂日易隐，崖倾月难圆。芳草换野色，飞萝摇春烟。入远构石室，选幽开山田。独此林下意，杳无区中缘。永辞霜台客，千载方来檐。用拙斋书。\n钤“张氏清夫”印。鉴藏印钤“仪周鉴赏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”等10方。\n张渊书法学赵孟頫，用笔结字亦步亦趋，形神兼备，有相当的功力。此帖学赵孟頫中年书体，笔画清健，笔力圆劲，结体方阔，点画精美，翩翩有致。",[60,7,200,77,50,4347,6769,651,26858,10607,446,6398,10610,6297,137,3388,26859,589,845,26860,1002,132],"田","潭","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724ec50f12966d6fdc1a11a385cc48b9.jpg","纵27.4厘米, 横52.7厘米",[96],{"id":26865,"slug":26866,"title":26867,"dynasty":179,"author":26868,"museum":126,"description":26869,"tags":26870,"thumbUrl":26871,"material":6894,"size":26872,"collection":96,"collections":26873,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239615,"shen-you-zhong-jiu-za-shi-bing-jian-tie-shen-you-239615","沈右中酒杂诗并简帖","沈右","此帖是沈右写给陈植的书信并诗5首。帖中提到了敬初（陈基）、明德（郑元佑）、伯行（钱逵）3人，他们都是擅名当时的文人和书法家。有元一代，吴越地区是文人荟萃之地，这些文人在政治倾向、个人经历、艺术创作等方面往往有相同或相似之处，因此彼此诗酒唱和，往来十分密切。这种现象在元代后期尤为明显。沈右此帖便涉及了当时文人日常生活和彼此交往的某些方面。 沈右小楷以精致、遒媚、古澹见称，自成一家面目。此帖体势端紧，笔笔妥贴，通篇自然协调，极具艺术品味。 《铁网珊瑚》、《式古堂书画汇考》、《平生壮观》、《墨缘汇观》、《三虞堂书画目》等书著录。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a129ca34510503c781b9b0c8d392a32.jpg","纵27cm，横40.5cm",[96],{"id":26875,"slug":26876,"title":26877,"dynasty":45,"author":11984,"museum":126,"description":26878,"tags":26879,"thumbUrl":26880,"material":312,"size":95,"collection":96,"collections":26881,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239586,"lun-hua-tie-ce-ye-liu-jue-239586","论画帖册页","刘珏(1410-1472)，字廷美，号完庵，南直隶苏州府长洲(今江苏苏州)人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年(1438)中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。",[24,25,26,60,77,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd148d31786a2242d48c77a2c46a482a8.jpg",[96],{"id":26883,"slug":26884,"title":26885,"dynasty":88,"author":26886,"museum":126,"description":26887,"tags":26888,"thumbUrl":26889,"material":60,"size":26890,"collection":96,"collections":26891,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":789},239577,"ti-xu-xuan-zhuan-shu-tie-lou-yao-239577","题徐铉篆书帖","楼钥","“舊見岸老筆談載騎省竵匾之說，近有敷原王季中、彥良，實襄敏諸孫。余及見其莫年，嘗問古人篆字真迹，何以無燥筆。季中笑曰：‘罕有問及此者，蓋古人力在腕，不盡用筆力。今人以筆爲力，或燒筆使禿而用之，移筆則墨已燥矣。’今觀此軸，信然。子孫非不甚工，惜其自壞家法，反以端直姿媚售一時，後進競效之，古意頓盡，但可爲知者道爾。紹熙改元清明。鮚埼樓鑰。”钤“鑰”。\n又题：“紹熙之元，歲在庚戌。余與季路同爲南廟考官，嘗題此卷。今二十年矣。二十年間，何所不有，年號亦四改，時事可知。季路居太末，余挂冠甬東，豈復有再見之理。更化之後，乃復會於此，撫卷爲之增慨。余方求歸，再識歲月，嘉定三年仲夏朔日，書于攻愧齋。”钤“钥”、“攻愧斋”。\n楼钥此跋原书于徐铉篆书《项王亭赋》后，分前后两则，书写时间相距20年。前跋作于绍熙改元（1190年），楼钥时年54岁。后跋作于嘉定三年（1210年），楼钥时年74岁。跋中“骑省”即徐铉，字鼎臣，初仕南唐，入宋官至散骑常仕，有《骑省集》三十卷，宋代著名书家，精小篆。“季路”为汪逵的字，南宋孝宗乾道年间进士，嘉定初为太常卿，累官吏部尚书。\n此帖书法方正，用笔随意，捺笔微掺隶意。《书史会要》称楼钥“善大字，高宗时太学成，奉敕书匾”，在当时也是颇有名气的书法家。",[7,60,457,77,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd6a187af17d447a9e5aeb247efc7ab.jpg","纵26.7厘米，横78.3厘米",[96],{"id":26893,"slug":26894,"title":26895,"dynasty":18,"author":22818,"museum":107,"description":26896,"tags":26897,"thumbUrl":26898,"material":95,"size":95,"collection":95,"collections":26899,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239324,"xi-hu-jian-chun-juan-xi-gang-239324","西湖饯春卷","此卷行书诗稿笔墨萧散疏朗，起首灵动松秀，随卷舒展，字迹错落排布。岁月留下的墨污缺损，晕染出斑驳古意，反而更衬出笔底的文人风骨。提按转合间带着江南春暮的缱绻惆怅，将饯春的依依心绪融在撇捺之中。朱红钤印点缀素纸，黑白朱三色相映，古雅沉静。全篇带着清逸的书卷气，把西湖春归的不舍藏在每一处笔墨细节里，是兼具性情与笔力的清代文人书法佳制，尽显清雅淡远的文人心境。",[23,24,25,49,50,7,60,457,51,59,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03d74dc700ccd093d22caea5fa3d874.jpg",[],{"id":26901,"slug":26902,"title":26903,"dynasty":18,"author":26904,"museum":107,"description":26905,"tags":26906,"thumbUrl":26907,"material":95,"size":95,"collection":171,"collections":26908,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},239165,"ti-mo-tuo-dong-po-xiang-yuan-shan-duan-fang-239165","题墨拓东坡像圆扇","端方","以墨拓技法复刻东坡肖像，圆扇形制雅致内敛。乌帽峨然覆顶，长髯垂胸如瀑，衣纹用刀洗练简约，勾勒出苏轼沉凝肃穆的神态，将文豪儒雅端方的风骨尽显无遗，朴厚的墨色晕染出沉静的氛围感。旁侧题识笔墨瘦劲清逸，朱印点缀提亮，与拓像相映成趣，让金石朴拙与文人情思融于尺幅之间，将东坡居士的文人雅韵定格在这一方圆面之中，尽显传拓小品的隽永意趣。",[24,25,1250,16862,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3db22c3f3aa70bd86d4d9d32272d42.jpg",[171],{"id":26910,"slug":26911,"title":26912,"dynasty":18,"author":26913,"museum":107,"description":26914,"tags":26915,"thumbUrl":26918,"material":95,"size":95,"collection":95,"collections":26919,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},238229,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238229","仿王翬山水册","曹夔音","此作用笔苍秀老辣，以披麻皴晕染山峦肌理，石骨硬朗不失温润质感。近溪错落排布屋舍林木，寥寥数笔点染出山居清寂之趣，远山晕以浅黛，虚实相映，晕染出空濛淡远的秋山氛围。\n\n整幅追摹古贤笔意，将林下幽居的静穆诗意融于尺幅之间，题跋诗文与绘景相得益彰，尽显文人画诗画交融的雅致意趣。笔墨间浸透着内敛沉静的古雅格调，铺陈出秋日山居萧散淡远的悠悠意境，观之如临其境，仿若可闻溪声林籁，沉潜于幽寂山居的澹泊况味中。",[24,25,51,26,50,59,57,56,553,252,471,12278,555,7,26916,26917],"浅设色","传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a306cc9ec5feefb9c0dd7065e0a00b.jpg",[],{"id":26921,"slug":26922,"title":1290,"dynasty":45,"author":5166,"museum":107,"description":19175,"tags":26923,"thumbUrl":26924,"material":751,"size":752,"collection":95,"collections":26925,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},237683,"hua-hui-ce-sun-ke-hong-237683",[24,25,26,50,60,29,297,1294,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc77d32263ac7b7601e0cfdfb88d99eb.jpg",[],{"id":26927,"slug":26928,"title":26929,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":26930,"thumbUrl":26931,"material":751,"size":752,"collection":35,"collections":26932,"showCount":463,"zanCount":882,"manualWeight":39,"mainColor":40},237651,"ku-mu-zhu-shi-ce-cha-shi-biao-237651","枯木竹石册",[24,25,26,50,588,132,589,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc50ab9dbf9106f927ff8c2fe9707414.jpg",[35],{"id":26934,"slug":26935,"title":26936,"dynasty":45,"author":454,"museum":107,"description":26937,"tags":26938,"thumbUrl":26939,"material":751,"size":752,"collection":95,"collections":26940,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},237496,"zhu-lu-mo-zhu-shan-mian-yi-ming-237496","朱鹭墨竹扇面","此作用金笺为底，以浓淡墨色铺陈绘竹。左侧重墨挥写，下笔爽利遒劲，竹叶向背错落，枝杆暗含劲节，将竹的挺拔孤傲尽显笔端。右侧以淡墨轻染，竹叶朦胧如烟似雾，虚实相映，将竹在烟霭间的清逸灵动晕散开来。\n题款小字轻栖右侧淡竹之间，与画面浑然相融。朱红印信错落点缀，沉郁墨色与鲜亮朱色相映，为古雅的扇面添了一抹灵动。整幅构图疏密得宜，以简驭繁，尽显文人画尚韵重意的意趣，寥寥数笔便勾勒出君子风骨，是小品见真章的佳制。",[92,24,25,1250,50,132,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e16f58f23e7a5177115c790a5cf5d81.jpg",[],{"id":26942,"slug":26943,"title":26944,"dynasty":18,"author":26945,"museum":107,"description":26946,"tags":26947,"thumbUrl":26948,"material":751,"size":752,"collection":95,"collections":26949,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},237456,"hua-tu-shan-ye-zhang-shu-qiu-237456","花图扇页","张舒秋","图绘秋花烂漫的景致。作者在仿恽寿平笔意的基础上，注重将写意与写形、传神与达情、没骨与勾勒、工谨与遒媚相结合。同时，在刻画主体菊花上还特别注重虚实对比，花瓣用线造型笔笔为实；叶片设色渲染，水融色虚，虚实相生中表现出菊花淡雅冷艳之美。作者不仅画风学恽氏，书风也与恽氏相近，显现出对恽氏书画的学习已经达到较高的艺术水准。",[24,25,1250,27,29,140,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7e596e72d25c0af0f4ceb4c6ab8867.jpg",[],{"id":26951,"slug":26952,"title":9025,"dynasty":18,"author":9026,"museum":107,"description":9027,"tags":26953,"thumbUrl":26954,"material":95,"size":95,"collection":95,"collections":26955,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},237091,"jiang-feng-shi-nv-ce-jiang-feng-237091",[24,27,111,113,114,834,77,7,26,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb6a09f81aabe4c4fd81ff429013248.jpg",[],{"id":26957,"slug":26958,"title":9025,"dynasty":18,"author":9026,"museum":107,"description":9027,"tags":26959,"thumbUrl":26960,"material":95,"size":95,"collection":95,"collections":26961,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},237084,"jiang-feng-shi-nv-ce-jiang-feng-237084",[24,25,26,111,27,113,114,77,7,60,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb6dc4e41575ed3e42470a2459f78c8.jpg",[],{"id":26963,"slug":26964,"title":26965,"dynasty":18,"author":454,"museum":107,"description":26966,"tags":26967,"thumbUrl":26968,"material":751,"size":752,"collection":95,"collections":26969,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},237078,"ba-jia-shan-shui-ce-lu-hong-qing-shan-hong-shu-ce-ye-yi-ming-237078","八家山水册-陆鸿青山红树册页","此作设色清隽雅致，以青绿晕染山峦，石骨挺拔皴擦苍劲，淡墨轻烘出流逸云雾，将山林晕染似清虚仙境。山间古木虬曲，丹叶缀枝点醒秋意，蜿蜒山道隐见行人，暗添行旅幽趣。\n\n搭配左侧行书题跋，书画合璧相映成趣。此作取法前人笔意，以写意笔法勾勒山水灵秀，既保有青绿设色的妍丽，又兼具文人山水的简淡幽远，将丘壑林泉间的超然逸趣尽显纸上，观之如临洞天福地，暗合题诗寻仙问道的出世之思，是颇具匠心的仿古佳制。",[24,25,26,27,51,9679,3070,57,56,252,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ddc572ceb43430fb17769d86c0bd0fc.jpg",[],{"id":26971,"slug":26972,"title":26973,"dynasty":8749,"author":26974,"museum":107,"description":26975,"tags":26976,"thumbUrl":26977,"material":95,"size":95,"collection":63,"collections":26978,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},236333,"ma-shi-ying-shan-shui-chi-du-he-zhuang-zhou-ruan-da-cheng-236333","马士英山水尺牍合装轴","阮大铖","马士英（约1591～1646），字瑶草，贵州贵阳人，明末大臣，官至内阁首辅，相传本姓李，过继马氏，祖籍广西梧州。明万历己未（1619年）成进士，授南京户部主事，后历官严州、河南、大同知府、庐凤总督等职。甲申变后，马士英与南京兵部尚书史可法、南京户部尚书高弘图等拥立福王朱由崧为帝，是为弘光帝。因“拥兵迎福王于江上”有功，升任东阁大学士兼兵部尚书，都察院右副都御史，成为南明明弘光政权首辅，人称“马阁老”。后国事不济，拥立福王朱由崧登基，抵抗清兵入侵，最终殉国而死，但世人对其死因存疑，在清代，被后人所责骂。\n夏允彝、夏完淳父子《幸存录》对其持论公允。有《永城纪略》（含《永牍》）及部分诗文、书画作品传世。",[24,25,75,50,59,51,115,250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cfd45a1fae363e79f9e55bf504aa31.jpg",[63,187,96],{"id":26980,"slug":26981,"title":20505,"dynasty":18,"author":20506,"museum":126,"description":20507,"tags":26982,"thumbUrl":26983,"material":1179,"size":20510,"collection":95,"collections":26984,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},236150,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236150",[24,25,26,27,111,113,52,53,56,57,2186,567,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba5b95d75f318eee31421580362b513.jpg",[],{"id":26986,"slug":26987,"title":5945,"dynasty":18,"author":3367,"museum":107,"description":6387,"tags":26988,"thumbUrl":26989,"material":751,"size":752,"collection":95,"collections":26990,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},235700,"hua-hui-tu-ce-zou-yi-gui-235700",[24,25,26,111,27,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47957e23cf07145f3ebef106773c722e.jpg",[],{"id":26992,"slug":26993,"title":4167,"dynasty":45,"author":13383,"museum":107,"description":13384,"tags":26994,"thumbUrl":26995,"material":751,"size":752,"collection":95,"collections":26996,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},235352,"shan-shui-ce-zhang-fu-yang-235352",[24,25,26,50,112,60,7,77,51,113,1018,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce44968cf045b96d8ac072ab3b27b0b7.jpg",[],{"id":26998,"slug":26999,"title":4167,"dynasty":45,"author":13383,"museum":107,"description":13384,"tags":27000,"thumbUrl":27001,"material":751,"size":752,"collection":95,"collections":27002,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},235351,"shan-shui-ce-zhang-fu-yang-235351",[24,25,26,50,59,60,7,77,51,652,113,7541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c5698b1319643a835571b882c6b69db.jpg",[],{"id":27004,"slug":27005,"title":5251,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":27006,"thumbUrl":27007,"material":95,"size":95,"collection":95,"collections":27008,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},234649,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234649",[24,25,26,50,7,77,51,458,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d314cb0315176e04a49841016a5e44e.jpg",[],{"id":27010,"slug":27011,"title":27012,"dynasty":45,"author":25884,"museum":126,"description":27013,"tags":27014,"thumbUrl":27015,"material":488,"size":95,"collection":95,"collections":27016,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},234326,"mo-mei-ce-shen-hao-234326","墨梅册","沈颢（公元1586年~1661年后），字朗倩，号石天。江苏苏州人。补博士弟子员，性格豪放好奇。工诗文，书法真、草、隶、篆无所不能。山水近似沈周，晚年笔墨挺秀，点色清妍，深于画理。着〈画麈〉。作品有〈设色山水图轴〉。",[24,25,26,112,50,131,834,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d46d028439544fc05fc462214bcc172.jpg",[],{"id":27018,"slug":27019,"title":27020,"dynasty":45,"author":27021,"museum":107,"description":27022,"tags":27023,"thumbUrl":27024,"material":19240,"size":27025,"collection":95,"collections":27026,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},234120,"hua-tao-jing-jie-tu-juan-li-cui-lan-234120","画陶靖节图卷","李翠兰","全卷共分13段，分别表现了东晋陶靖节（即陶渊明）的画像及其作品归去来兮词等内容。此图当为有本而摹的一件临摹之作，但从中亦不难看出李翠兰熟练的白描功底，行笔流畅自如，线条萧散圆润。陶靖节不为五斗米折腰，毅然解印去职，他高尚的人品令历代文人志士纷纷写诗作画加以表现，而女画家中仅见李翠兰一人取此题材，因此该作品又别具一层特殊的意义。",[24,49,112,60,7,77,113,428,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbafe1cb9333abd2afc922a21aa14ebba.jpg","纵26.8cm，横469.2cm",[],{"id":27028,"slug":27029,"title":12145,"dynasty":18,"author":2378,"museum":126,"description":27030,"tags":27031,"thumbUrl":27032,"material":784,"size":27033,"collection":95,"collections":27034,"showCount":463,"zanCount":882,"manualWeight":39,"mainColor":100},233876,"zi-hua-xiang-zhou-gao-feng-han-233876","《自画像》作于清雍正五年（1727年），时年作者45岁。画面上，高凤翰身着白衫，头戴斗笠，侧身倚石坐于断壁悬崖之上，崖上松柏怪生，崖下波涛澎湃，陡峭的巨石冲出水面，长空中，一只孤鹤飞翔而来，画家俯览水面，似引起无限思绪。当时正值高凤翰仕途转折时期，是年，他赴济南省试，应选，次年赴京应试，考列一等，分发安徽试用。他并不热衷仕途，对当时的社会状况也很不满，应试做官可能是生活所迫，作品即是他当时心境的写照。图中，画家将自己置于陡峭的绝壁之间，险峻的山石，汹涌的江水，奇生的古木，使人感受到的不是士大夫寄托林泉之志的山水，而是预示着人生的艰险，仕途的艰辛。\n此图构图新颖，以仰视的角度截取山崖一角，江水自远而近布满画面，气势强大，使景物具有高远和深远之势，以烘托主题。高凤翰的自画像非常写实，据载，高凤翰长眉广额，身体伟岸，又有美髯，曾自署“髯高”。他曾画过一幅《披褐图》，其人物面貌与此幅相似。",[24,75,27,113,51,250,59,77,7,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd09da7066bb42a50428c8157ac8ed8fd.jpg","纵106厘米，横53.4厘米",[],{"id":27036,"slug":27037,"title":5357,"dynasty":18,"author":411,"museum":126,"description":5358,"tags":27038,"thumbUrl":27039,"material":488,"size":5362,"collection":95,"collections":27040,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},233778,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233778",[92,24,25,26,50,27,51,113,52,53,56,57,252,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c18c2805cdb7dbe845a2784a765741.jpg",[],{"id":27042,"slug":27043,"title":27044,"dynasty":45,"author":11028,"museum":126,"description":27045,"tags":27046,"thumbUrl":27048,"material":488,"size":27049,"collection":95,"collections":27050,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},233744,"san-jiao-tu-zhou-ding-yun-peng-233744","三教图轴","此图画孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。画中三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[24,75,27,113,878,111,56,57,27047,77,7],"长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a31bf07bdede9ea0b3bd2d2ca86d3e2.jpg","纵115.6厘米，横55.7厘米",[],{"id":27052,"slug":27053,"title":20485,"dynasty":18,"author":506,"museum":126,"description":20585,"tags":27054,"thumbUrl":27055,"material":20588,"size":20589,"collection":95,"collections":27056,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},233392,"shan-shui-ren-wu-ce-jin-nong-233392",[24,25,26,50,7,113,51,56,57,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf9c6a7e08354546dbfeeefbbba4c07.jpg",[],{"id":27058,"slug":27059,"title":27060,"dynasty":2365,"author":454,"museum":107,"description":27061,"tags":27062,"thumbUrl":27063,"material":95,"size":95,"collection":95,"collections":27064,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},232794,"long-men-er-shi-pin-yi-ming-232794","龍門二十品","从河南洛阳南行十三公里左右，就到了著名的“四大佛窟”之一的龙门石窟。这里两山夹峙，有如门阙，伊水长流，一边，是唐代大诗人白居易长眠的香山；一边，是龙门山。在龙门山上，有自北魏至北宋开凿的大大小小的佛窟，至今尚存的就有一千三百五十二个，有佛龛二千三百四十五个，造像多至十万余尊，是中国雕塑艺术的宝库。\u2028 这些造像，大多都有题记。人们在龙门造佛像，有的是为君，有的是为友，有的是为亡妻，有的是为夭女。造好像后，有的人就要刻石记载这一件事，这就是龙门造像题记的来历。许多题记书法都十分精美，尤其是北魏造像题记，是魏碑书法的代表作品，被康有为称为“雄峻伟茂，极意发宕，方笔之极轨也”（《广艺舟双楫·余论》）。\u2028 清代碑学大兴以后，龙门石窟造像题记引起了人们的注意，开始搜求椎拓。开始仅由黄易拓《始平公造像记》一品，后来增至《四品》《十品》《二十品》《五百品》乃至《龙门全山》。其中，以《龙门二十品》最为实用，影响也最大。\u2028 《龙门二十品》是经过许多书家选择的，很具有代表性，所选题记，都是北魏书法中的精品。这二十品是：\u2028\u2028　　《始平公造像记》\u2028\u2028　　《孙秋生造像记》\u2028\u2028　　《尉迟造像记》\u2028\u2028　　《解伯达造像记》\u2028\u2028　　《一弗氏造像记》\u2028\u2028　　《比丘惠感造像记》\u2028\u2028　　《元详造像记》\u2028\u2028　　《魏灵藏造像记》\u2028\u2028　　《杨大眼造像记》\u2028\u2028　　《比丘道匠造像记》\u2028\u2028　　《孙保造像记》\u2028\u2028　　《高树造像记》\u2028\u2028　　《郑长遒造像记》\u2028\u2028　　《贺兰汗造像记》\u2028\u2028　　《马振拜造像记》\u2028\u2028　　《太妃侯为幼孙造像记》\u2028\u2028　　《慈香造像记》\u2028\u2028　　《比丘法生造像记》\u2028\u2028　　《元燮造像记》\u2028\u2028　　《元佑造像记》\n《龙门二十品》，有十九品在古阳洞，仅有一品在老龙洞外慈香窟。从《二十品》中，已经可以大致窥见龙门书风。所书大致出于民间书手，一派天真，有人称之为粗头乱服，天真烂漫，但奇趣天成。康有为在《广艺舟双楫·十六宗》中说：“魏碑无不佳者，虽穷乡儿女造像，而骨血峻宕，拙厚中皆有异态，构字亦紧密非常，岂与晋世皆当书之会耶？何其工也。譬江、汉游女之风诗，汉、魏儿童之谣谚，自能蕴蓄古雅，有后世学士所不能为者，故能择魏世‘造像记’学之，已自能书矣。”\u2028　　龙门造像题记书法对后世的影响非常大，康有为甚至认为有了魏碑，南碑（指南方之碑，如《爨宝子》《爨龙颜》）、齐碑、周碑、隋碑都可以不要了，因为它们所有的风格在魏碑中就已经有了。在这里，我们可以寻到后代许多著名书法家的源头，如赵孟頫、邓石如、赵之谦等。近现代书家，也都把龙门造像题记作为自己学习的极则。",[198,7,199,7325,1614,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5877464a7433cc0eb7c0c93312c26a.jpg",[],{"id":27066,"slug":27067,"title":27068,"dynasty":18,"author":6275,"museum":107,"description":23957,"tags":27069,"thumbUrl":27070,"material":312,"size":95,"collection":95,"collections":27071,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},232680,"jiang-bei-shi-wen-hong-yi-fa-shi-232680","江北诗文",[23,2135,7,60,50,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4c8bc96f10cb2d81435b18e075d9314.jpg",[],{"id":27073,"slug":27074,"title":27075,"dynasty":8749,"author":454,"museum":107,"description":27076,"tags":27077,"thumbUrl":27084,"material":751,"size":752,"collection":95,"collections":27085,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},231830,"nan-bei-chao-sheng-man-shi-zi-hou-yi-cheng-da-fang-bian-fang-guang-jing-sheng-man-jing-yi-ming-231830","南北朝 胜鬘师子吼一乘大方便方广经 胜鬘经","这卷写经以泛黄古纸为底，手绘花叶作界格点缀，古雅静谧扑面而来。其书为规整写经楷书，结体匀停端庄，笔画舒展秀润，笔力内敛沉实。通篇排布齐整，气息平和肃穆，尽显写经时的虔敬心力，毫无板滞匠气，在法度谨严中带着灵动雅致。笔墨晕染着六朝写经特有的沉静韵味，既体现写经书法的庄严工整，又暗藏书写者静定的笔底风神，是兼具宗教人文意蕴与书法审美价值的珍本。",[7,386,2602,199,312,49,13082,4040,4041,27078,27079,27080,27081,27082,27083],"纵向排列","文字密集","边缘饰彩色叶状图案","墨色浓黑","字迹清晰","传统书法风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996fe4a7b73f7273519276850c949b94.jpg",[],{"id":27087,"slug":27088,"title":27089,"dynasty":8749,"author":27090,"museum":107,"description":27091,"tags":27092,"thumbUrl":27093,"material":751,"size":752,"collection":95,"collections":27094,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,49,27,111,1128,878,7,199,60,113,458,52,53,1074,798,51,55,116,56,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":27096,"slug":27097,"title":27098,"dynasty":179,"author":15830,"museum":126,"description":27099,"tags":27100,"thumbUrl":27101,"material":312,"size":27102,"collection":95,"collections":27103,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},231562,"lin-shi-qi-tie-ye-kang-li-nao-nao-231562","临十七帖页","释文：\n严君平、司马相如、杨子云皆有后不？胡母氏从妹平安，故在永兴居去此七十也。吾在官诸理极差，顷比复勿来示云与其婢问来信不得也。\n吾有七儿一女，皆同生，婚娶以毕，唯一少者尚未婚耳。过此一婚，便得至彼，今内外孙有十六人，足慰目前，足下情至委屈，故具示。\n云谯周有孙，高尚不出。今为所在，其人有以副此志不？令人依依，足下具示。\n此有汉时讲堂在，是汉何帝时立此？知画三皇五帝以来备有，画又精妙，甚可观也。彼有能画者不，欲因摹取，当可得不？信具告。\n诸从并数有问，粗平安。唯修载在远，音问不数，悬情。司州疾笃，不果西公，私可恨。足下所云，皆尽事势，吾无间然，诸问想足下别具，不复一一。（后楷书小字）去岁在上都时所临，殊未能得其万一耳。康里巎记。\n下钤“子山”朱文印。帖前楷书题签“康里承旨巎”。无题跋。鉴藏印钤清宋犖“宋犖审定”一方。\n《临十七帖》是康里巎巎节临晋代王羲之草书《十七帖》中的五帖。此帖为淡蓝色纸本，纸质坚凝，字体修长，笔画遒媚，转折流便，技艺娴熟，于迅疾的书写中既体现出王羲之草书的秀媚洒脱，又不失临者本人的稳健风格。",[23,7,110,398,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fbd4da4eff6d76ce89c6113a9b0dec8.jpg","纵28.5厘米，横42.6厘米、48.8厘米",[],{"id":27105,"slug":27106,"title":27107,"dynasty":179,"author":454,"museum":107,"description":27108,"tags":27109,"thumbUrl":27110,"material":95,"size":95,"collection":95,"collections":27111,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},231494,"you-xing-shi-nv-tu-you-ti-ba-yi-ming-231494","游行仕女图（有题跋）","笔致苍朴古雅，行书线条凝练舒展，藏锋裹毫间带着元人尚意的闲散意趣。题文追慕唐人仕女风神，暗合画中仕女迤逦游行之态：佳丽施徐缓步，罗衣轻扬，鬓畔簪花掩映姣容，团扇半遮更添幽婉。\n\n题跋与画作相映成趣，旧绢泛黄晕开浅淡包浆，朱印斑驳带着岁月摩挲的质感，字里行间铺展出闺阁柔婉情致，糅合元人审美意趣，静静诉说古画藏住的缱绻旧事。",[23,24,25,113,114,111,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede83ee94cce6d1a2e984a3f42c8bc6b.jpg",[],{"id":27113,"slug":27114,"title":27115,"dynasty":18,"author":6551,"museum":107,"description":12307,"tags":27116,"thumbUrl":27117,"material":751,"size":752,"collection":95,"collections":27118,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},230197,"xiang-bi-ju-shi-fang-gu-ce-wang-jian-230197","湘碧居士仿古册",[7,457,26,13294,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613aa280741b19e3127d96f09e54aec5.jpg",[],{"id":27120,"slug":27121,"title":27122,"dynasty":18,"author":27123,"museum":107,"description":27124,"tags":27125,"thumbUrl":27126,"material":751,"size":752,"collection":95,"collections":27127,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},230182,"qi-yan-lian-li-zhou-chen-hong-shou-230182","七言联立轴","陈鸿寿","陈鸿寿（1768～1822年），钱塘（今浙江杭州）人，书画家、篆刻家。字子恭，号曼生、曼龚、曼公、恭寿、翼盦、种榆仙吏、种榆仙客、夹谷亭长、老曼等。曾任赣榆代知县、溧阳知县、江南海防同知。\n其工诗文、书画，善制宜兴紫砂壶，人称其壶为“曼生壶”。书法长于行、草、篆、隶诸体。行书峭拔隽雅、分书开张纵横，独步有清一代。篆刻师法秦汉玺印，旁涉丁敬、黄易等人，印文笔画方折，用刀大胆，自然随意，锋棱显露，古拙恣肆，苍茫浑厚。为“西泠八家”之一。\n有《种榆仙馆摹印》、《种榆仙馆印谱》行世，并著有《种榆仙馆诗集》、《桑连理馆集》。嘉庆二十一年为周春著的《佛尔雅》撰写序跋。",[23,7,75,2136,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd7c21e471c4d64a1b1fba8d59d069a.jpg",[],{"id":27129,"slug":27130,"title":27131,"dynasty":18,"author":1260,"museum":107,"description":27132,"tags":27133,"thumbUrl":27134,"material":95,"size":95,"collection":95,"collections":27135,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},230153,"mei-hua-shi-liu-yong-230153","梅花诗","此作用笔敦实内敛，绝无锋芒外露，墨色浓郁匀净，尽显标志性的沉厚风格。字体筋骨内蕴，拙朴温润，布局整饬却暗藏灵动，字距行距匀停妥帖，通篇气息温雅端庄。\n\n以笔为梅枝，以墨凝梅香，将咏梅诗句的清癯高格，融于端稳笔墨之中，褪去妍媚浮华，尽显醇和静穆的文人意趣。诗书意境与沉浑书气相融共生，尽显老成持重的笔底风华，藏着文人骨子里的清雅底色，是清代帖学极具代表性的佳作。",[23,25,7,60,75,50,131,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7e6f8883f1504e88ef38becdaf8ee.jpg",[],{"id":27137,"slug":27138,"title":27139,"dynasty":45,"author":2977,"museum":107,"description":27140,"tags":27141,"thumbUrl":27142,"material":751,"size":752,"collection":95,"collections":27143,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},228274,"gu-xiu-xiu-song-yuan-ming-ji-ce-6-fu-han-xi-meng-228274","顾绣－绣宋元名迹册.6幅","韩希孟，明代女工艺家，武林（今浙江杭州）人。北宋名相韩琦五世孙，明嘉靖进士顾名世孙媳，顾寿潜妻。居上海。善画花卉，工刺绣，所绘绣宋元画家真迹，最为传神，多用朱绣名款，传世作品较多，为世所珍， 称为“韩媛绣”。",[26,2980,27,113,1074,652,10688,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1776922f8ad1efebd11dc493d1b54d3d.jpg",[],{"id":27145,"slug":27146,"title":27147,"dynasty":179,"author":454,"museum":107,"description":27148,"tags":27149,"thumbUrl":27150,"material":751,"size":752,"collection":95,"collections":27151,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},228204,"huan-ji-tu-yi-ming-228204","宦迹图","此作用笔匀稳秀雅，墨色沉润妍丽，行书结体舒展俊逸，牵丝映带自然流畅，兼具帖学流美与端凝气度。整幅以长题辨伪析真，文思随笔墨流转，考据的严谨与书法的灵动相融无间。古朴装裱间朱印错落点缀，金石气晕染笔墨意趣，旧迹古雅质感尽显。将学术考辨的理性与翰墨创作的审美风韵合为一体，既是鉴藏考据的珍贵文献，亦是颇具审美价值的书法佳迹，尽显古卷雅致意蕴。",[23,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a18b15997a9a31f9d9c80679db188d4.jpg",[],{"id":27153,"slug":27154,"title":27155,"dynasty":179,"author":454,"museum":107,"description":27156,"tags":27157,"thumbUrl":27158,"material":751,"size":752,"collection":95,"collections":27159,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},228182,"xia-yuan-shang-guan-yi-ming-228182","下元上官","此作为铁线篆精品，笔画匀净圆劲如百炼钢绕指，起收藏锋无迹，线条粗细厘毫不差，尽显篆书婉通雅正之韵。\n\n三字排布疏朗匀停，左右舒展有度，字形对称工稳，揉合缪篆的端严与玉箸篆的圆融，舒张处暗含内敛，盘曲时筋骨暗藏，尽显古雅端凝的庙堂气象。浓黑墨色与泛黄绢地相互衬映，古意扑面而来，可见复古追正的审美风尚，尽显先秦篆法的肃穆典雅，藏着追慕古制的幽心，是一件颇具金石意趣的篆书佳构。",[7,457,77,25,3477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f39942cae52476e320e82cf2858fa6.jpg",[],{"id":27161,"slug":27162,"title":27163,"dynasty":179,"author":24766,"museum":107,"description":27164,"tags":27165,"thumbUrl":27166,"material":95,"size":95,"collection":95,"collections":27167,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},228074,"lin-ji-jiu-zhang-deng-wen-yuan-228074","临急就章","《章草急就章等》，是 28年出版的图书，作者是 。\n本书是历代法书真迹萃编系列之一。\n《章草急就章等(元·邓文原法书选)》是历代法书真迹萃编系列之一。\n出版社: 黄山书社; 第1版 (28年12月1日) 丛书名: 历代法书真迹萃编 平装: 2页 正文语种: 简体中文 开本: 8 ISBN: 978754611781, 754611786 条形码: 978754611781 尺寸: .2 2.4 .8 cm 重量: 181 g 邓文原（1258-128年），元代书法家。\n字善之，一字匪石，人称素履先生。\n绵州（今四川绵阳）人。\n年十五，通《春秋》。\n至元二十七年（129），辟为杭州路儒学正。\n至治二年（122），召为集贤直学士，兼 。\n泰定二年（125），召拜翰林侍讲学士。\n谱文肃。\n翰墨擅名一代，尤工于笔札，与赵孟俯齐名。\n其正、行、草书早期法二王，后法李北海（邕），章草亦颇具特色，与皇象、索靖的质朴相比，他更流利矫健，神采飞动。\n传世书迹有：《杖锡见过帖》、《与本斋札》、章草代表作《临急就章》等。\n着有《巴西文集》、《内制集》、《素履斋藁》等。\n邓文原《章草急就章》为纸本，纵2.厘米，横98.7厘米；《行书伯夷颂帖》为纸本，纵2.7厘米，横4.9厘米；《行书家书帖》为纸本，纵24.2厘米，横29.1厘米；《行书家书帖》为纸本，纵1.2厘米，横4.5厘米。\n以上作品均藏于北京故宫博物馆。\n书法，指有较高艺术水平的书法作品。\n古代将书写于缣楮纸帛而有法度的书法作品均称“法书”，或称“书”。\n《书法三味》：“作字之要，下笔须沉着，虽一点一画之间，皆须三过其笔，方为法书。\n”北宋王安石有“好事所传玩，空残法书帖”诗句。\n今通称所作之书法作品为法书，还含有尊重作者之意。",[23,7,110,49,398,77,3467,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa768e24b1772d5da23b0f42ad8116b23.jpg",[],{"id":27169,"slug":27170,"title":27171,"dynasty":88,"author":454,"museum":107,"description":27172,"tags":27173,"thumbUrl":27174,"material":95,"size":95,"collection":95,"collections":27175,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[23,92,24,25,49,112,50,113,56,2019,568,426,17076,7,60,457,77,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],{"id":27177,"slug":27178,"title":27179,"dynasty":88,"author":3014,"museum":107,"description":27180,"tags":27181,"thumbUrl":27185,"material":95,"size":95,"collection":95,"collections":27186,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,24,25,49,60,77,7,50,27,113,6129,11404,12029,11610,112,51,27182,27183,27184,2602,184,111,129],"农事场景","传统服饰","古文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":27188,"slug":27189,"title":27190,"dynasty":88,"author":89,"museum":72,"description":27191,"tags":27192,"thumbUrl":27193,"material":95,"size":95,"collection":95,"collections":27194,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},227592,"jing-zhou-tie-huang-ting-jian-227592","荊州帖","《荆州帖》，纸本，行书，亦称《动静帖》、《致公蕴知县宣德执事尺牍》，30.4×43.5cm，现藏台北故宫博物院。\n\n公元1095年（绍圣二年）三月，黄庭坚在荆州登船离行前，以小行楷书与公蕴知县道珍重。该幅字势欹侧，结体开张，具其书风特色，所书笔法沉稳，惟笔画中之顿挫起伏较少，与大行书略有差别。此牍曾入宋元秘府，后并入《三希堂法帖》。",[7,25,60,77,200,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5615ef47c334626dd2da3323d409de86.jpg",[],{"id":27196,"slug":27197,"title":27198,"dynasty":162,"author":454,"museum":107,"description":27199,"tags":27200,"thumbUrl":27202,"material":95,"size":95,"collection":95,"collections":27203,"showCount":463,"zanCount":882,"manualWeight":39,"mainColor":40},227217,"fa-hua-jing-fang-bian-pin-zhu-sheng-dao-jing-yi-ming-227217","法华经方便品（竹生岛经）","因本卷曾收藏于琵琶湖上竹生岛之宝严寺，故称为「竹生岛经」。原本应抄录了魏晋南北朝僧人兼翻译家、鸠摩罗什（344－413）所译《法华经》八卷之全文，但目前仅存卷第一中的〈方便品〉一卷，即本件，以及现仍由宝严寺收藏的经摺装〈序品〉一册。\n本卷采用以金、银泥描画蝴蝶、禽鸟、宝相华、花草、祥云等纹样的上等纸张，其上施以金泥行界，每纸二十八行，书写之笔致沉稳而工整，是极为优美的装饰经（指具有装饰性目的之写经，纸张染色并描绘各种纹饰，施加金银粉或细箔）。现存的〈方便品〉及〈序品〉上，都有松花堂昭乘（1584－1639）的题跋，松花堂昭乘与本阿弥光悦、近卫信尹等宽永年间三大名书家，同誉为「宽永三笔」。跋文中虽提及此卷出自源俊房（1035－1121）之笔，但并无确凿有力之证据。",[23,1063,386,199,312,878,7,4677,6771,4678,27201,2834],"传统书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde11b79c9b2a676beb39ef8701b43034.jpg",[],{"id":27205,"slug":27206,"title":27207,"dynasty":162,"author":27208,"museum":107,"description":27209,"tags":27210,"thumbUrl":27211,"material":95,"size":95,"collection":95,"collections":27212,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},227091,"xiao-zi-fa-hua-jing-juan-shang-bu-li-yuan-hui-227091","小字法华经卷上部","李元惠","本卷乃唐人李元惠于延载元年（西元694年）所抄写之经卷，内容为活跃于魏晋南北朝时代的僧人兼佛典翻译家、鸠摩罗什（344-413）译于后秦弘始八年（西元406年）的《法华经》。李元惠是长安人，但具体的生平事迹并不清楚。\n\n本卷是由麻纤维抄造而成的麻纸三十九张连接而成，每纸施以淡墨行界五十六行，每行作三十二字，将一部七卷的《法华经》写成一长卷，全长逾二十公尺。书写之文字是略呈扁平状的蝇头小楷，字迹精细而谨慎，但随着抄写卷数的增加，用笔转趋迅速，字体亦略显放逸。本卷之书写年代可确定为唐代，而以蝇头小字将一部《法华经》全部抄写于一卷中的做法，也十分珍贵。\n\n本卷的拨形（弹奏琵琶的拨子）轴头上镶有碧玉，而用以收纳本卷的经筒则以一段分裁两半、刳空木心的沉香木制成。本卷长久以来一直收藏于法隆寺，相传是圣德太子生前所有物，并俗称为“御同朋经”。根据传闻，圣德太子乃中国高僧慧思禅师转世降生，本经典乃太子派人渡唐取回，为其前世于中国修行时之寺院道友（即“同朋”所指）使用的经书，故云。",[23,7,386,49,199,878,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bf78e50c50364d376832c3ce6eb677.jpg",[],{"id":27214,"slug":27215,"title":27216,"dynasty":162,"author":454,"museum":107,"description":27217,"tags":27218,"thumbUrl":27219,"material":751,"size":752,"collection":95,"collections":27220,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":207},226535,"ji-zhao-he-shang-bei-duan-cheng-shi-zhuan-wu-ke-shu-li-ying-juan-yi-ming-226535","寂照和尚碑段成式撰無可書李郢鐫","唐大和7年(833)12月卒,經摺裝剪裱",[23,1063,198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec1be65632ffcac575e027ca6503d04.jpg",[],{"id":27222,"slug":27223,"title":27224,"dynasty":8749,"author":454,"museum":3028,"description":27225,"tags":27226,"thumbUrl":27227,"material":751,"size":752,"collection":95,"collections":27228,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},226511,"xie-jing-p-4501-fu-ding-zun-sheng-tuo-luo-ni-jing-juan-yi-yi-ming-226511","写经P.4501佛顶尊胜陀罗尼经卷一","佛顶尊胜陀罗尼，尊胜佛顶尊之陀罗尼也。帝释天，悯善住天子有从今受七度畜生恶道身之业因，诣祇园精舍请佛救济之法，佛为说此陀罗尼，令诵之。尊胜陀罗尼经曰：“告帝释言：天帝有陀罗尼名为如来佛顶尊胜，能净一切恶道，能净除一切生死苦恼。（中略）佛告天帝：此佛顶尊胜陀罗尼，若有人闻一经于耳，先世所造一切地狱恶业皆悉消灭。”",[7,386,878,2602,49,4677,6771,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb934fc0031f87f7f2495d22609071206.jpg",[],{"id":27230,"slug":27231,"title":27232,"dynasty":18,"author":526,"museum":107,"description":27233,"tags":27234,"thumbUrl":27243,"material":95,"size":95,"collection":95,"collections":27244,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,24,25,51,27,59,7,77,56,57,53,251,55,27235,267,27236,27237,27238,27239,27240,27241,27242,576],"丛林","山峦叠嶂","干笔皴擦","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":27246,"slug":27247,"title":27248,"dynasty":18,"author":6662,"museum":107,"description":27249,"tags":27250,"thumbUrl":27251,"material":95,"size":95,"collection":95,"collections":27252,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},224321,"hua-niao-shi-er-kai-10-li-shan-224321","花鸟十二开10","画面书画合璧，意韵悠长。以没骨法写就江南佳果，青蜜桃圆润饱满，淡青敷色晕出带紫的熟韵，叶片舒卷含露，鲜活如生；枇杷圆实浅赭，尽显甜熟质感；杨梅黑紫莹润，衬以青灰长叶，野趣盎然。\n\n题跋行书清雅隽秀，叙南北果品风味，笔墨与风物相融，淡墨轻彩间，将文人闲赏风物的恬然心境藏于尺幅之中，设色柔和雅致，晕染细腻自然，把佳果鲜嫩鲜活的情态刻画入微，尽显小品写意的清雅意致。",[23,24,25,26,27,129,7,77,29,5455,4996,3318,239,7657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb1d64a5729b47a3279498396e83838.jpg",[],{"id":27254,"slug":27255,"title":27256,"dynasty":18,"author":6662,"museum":107,"description":27257,"tags":27258,"thumbUrl":27259,"material":95,"size":95,"collection":95,"collections":27260,"showCount":463,"zanCount":418,"manualWeight":39,"mainColor":40},224317,"hua-niao-ce-shi-kai-7-li-shan-224317","花鸟册十开7","此帧绘牵牛绕竹，藤蔓蜷曲舒展，翠叶柔嫩鲜活，蓝紫花瓣晕染出通透光泽，将朝颜初绽的柔媚尽致展现。笔意兼具工致与写意，花叶灵动鲜活，如见晨露未晞的篱边实景。左侧书法笔力苍劲，诗书与绘事相映，文人雅趣尽显。以写生捕捉朝花之真，以笔墨挥洒写意之韵，将草木柔媚与文人意趣相融，雅致脱俗，尽显花间清逸之美。",[23,24,26,27,129,29,667,19333,12362,238,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365822b4c1cbcce04446c2d41651ab33.jpg",[],{"id":27262,"slug":27263,"title":3136,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":27264,"thumbUrl":27265,"material":751,"size":752,"collection":95,"collections":27266,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},224288,"qian-zi-wen-fu-shan-224288",[23,7,398,49,25,432,77,1498,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa914d3fbe1a9706062a7d66ca91061e6.jpg",[],{"id":27268,"slug":27269,"title":27270,"dynasty":18,"author":18621,"museum":107,"description":27271,"tags":27272,"thumbUrl":27273,"material":751,"size":752,"collection":95,"collections":27274,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[23,24,25,26,27,51,820,53,54,116,1679,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd1a0468a1001ba98444776ec3e12d7.jpg",[],{"id":27276,"slug":27277,"title":27278,"dynasty":18,"author":19125,"museum":107,"description":27279,"tags":27280,"thumbUrl":27281,"material":95,"size":95,"collection":95,"collections":27282,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},224159,"dong-fang-shuo-hua-zan-wu-xi-zai-224159","东方朔画赞","此作用笔雄畅恣肆，苍劲老辣，线条提按转合间尽显潇洒意气。通篇布局疏密有致，字势欹正相生，既有帖学灵动秀雅的意趣，又融北碑雄浑厚重的骨力。\n\n笔力沉实，墨色润燥相间，枯笔处筋骨棱棱，尽现劲挺姿态；润笔时腴润饱满，暗含温婉韵致。书家将文辞高世狂狷之风寄寓于挥毫运墨之间，通篇气韵连贯酣畅，文墨互映，尽显深厚功底与恣意文人意气。",[23,7,60,49,2135,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe071817abe145a54b40346226799491c.jpg",[],{"id":27284,"slug":27285,"title":27286,"dynasty":18,"author":2301,"museum":648,"description":27287,"tags":27288,"thumbUrl":27289,"material":312,"size":27290,"collection":802,"collections":27291,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":207},224120,"ni-jin-shu-si-de-xu-lun-qian-long-224120","泥金书四得绪论","此卷为乾隆帝在泥金纸上书写的手卷，长卷在章法布局上疏朗大气，落落大方，气韵贯通，字体端壮秀丽，运笔上讲究迟送涩进之法，弥补了泥金书在书写时迟滞的缺点。",[23,8422,7,199,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77247b88eb1097cbe6c5b29bbacd118.jpg","35.7x502.2cm",[802],{"id":27293,"slug":27294,"title":27295,"dynasty":88,"author":454,"museum":107,"description":27296,"tags":27297,"thumbUrl":27298,"material":95,"size":95,"collection":95,"collections":27299,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":789},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,25,49,112,50,59,878,113,51,76,1018,1678,266,555,52,53,1074,116,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":27301,"slug":27302,"title":27303,"dynasty":88,"author":454,"museum":648,"description":27304,"tags":27305,"thumbUrl":27306,"material":184,"size":27307,"collection":95,"collections":27308,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},223573,"ran-deng-fu-shou-ji-shi-jia-wen-tu-juan-yi-ming-223573","燃灯佛授记释迦文图卷","燃灯佛授记释迦文图描绘的是燃灯佛授记释迦文的故事。燃灯佛身披红色袈裟居画幅中央，目视前面一着红裤、祼上身、长发拖地虔诚的跃然拜者。众菩萨、金刚、罗汉、送子观音及供养人计二十八人簇拥其周围，神情贯注。此图人物依主次设计大小，造型准确生动。线描婉转自如，极富节奏感，并施石绿朱砂等重彩，格调肃穆古朴",[23,24,25,49,878,113,111,27,77,7,386,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96bfee1f0b0b6bf616743eeab01ae44.jpg","26.2x38.2",[],{"id":27310,"slug":27311,"title":27312,"dynasty":18,"author":1260,"museum":72,"description":27313,"tags":27314,"thumbUrl":27315,"material":95,"size":27316,"collection":95,"collections":27317,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":207},223281,"qing-ai-tang-shi-ke-si-ce-liu-yong-223281","清爱堂石刻 （四）册","刘墉（1720~1804年 ），字崇如，号石庵，山东诸城人，清代政治家、书法家，名臣刘统勋长子。\n清乾隆十六年（1751年），考中进士，官至吏部尚书、体仁阁大学士、太子少保。以奉公守法、清正廉洁闻名于世。\n嘉庆九年（1804年），去世，时年八十五岁，追赠太子太保，谥号文清。刘墉书法造诣深厚，是当时著名的帖学大家，有“浓墨宰相”之称。",[23,7,198,199,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3481115263d7ed95e4fa60540561412.jpg","29.4x28.2",[],{"id":27319,"slug":27320,"title":27321,"dynasty":18,"author":9820,"museum":126,"description":9821,"tags":27322,"thumbUrl":27323,"material":784,"size":9825,"collection":95,"collections":27324,"showCount":463,"zanCount":882,"manualWeight":39,"mainColor":40},222788,"hua-niao-ce-ye-08-lang-shi-ning-222788","花鸟册页08",[23,92,24,25,26,111,27,29,135,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea78c2f6a76af352be7b2cab39b850c5.jpg",[],{"id":27326,"slug":27327,"title":27328,"dynasty":18,"author":9820,"museum":126,"description":9821,"tags":27329,"thumbUrl":27330,"material":784,"size":9825,"collection":95,"collections":27331,"showCount":463,"zanCount":882,"manualWeight":39,"mainColor":40},222787,"hua-niao-ce-ye-07-lang-shi-ning-222787","花鸟册页07",[23,24,92,25,4347,111,27,20632,29,1049,693,284,667,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fb8508d2a99083a74c38b6844e1704.jpg",[],{"id":27333,"slug":27334,"title":27335,"dynasty":45,"author":46,"museum":648,"description":27336,"tags":27337,"thumbUrl":27338,"material":27339,"size":27340,"collection":95,"collections":27341,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},222606,"qian-ren-shi-ye-you-shi-juan-shen-zhou-222606","千人石夜游诗卷","此卷系沈周画千人石夜游图卷尾沈石田与杨循吉写诗相和而书写录入的诗文。展现了沈周诗书画三绝的吴门才子本色。 沈周的书法起步于家传，初学赵孟頫；四十岁左右起，泛学诸家，而对宋四家用力最勤；至晚年更倾心学黄庭坚。喜用狼毫挥书，线条锋利铦锐，结构跌宕开阖，中宫收紧而四维开张，所谓“长撇大捺”，遒劲奇崛，也是明代的书法名家。",[23,60,7,49,50,77,678,250,51,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35860016e1c8c78552c7fadc8481f4c.jpg","长卷，纸本，墨书","纵30.1厘米，横420厘米",[],{"id":27343,"slug":27344,"title":26585,"dynasty":45,"author":5386,"museum":3743,"description":27345,"tags":27346,"thumbUrl":27347,"material":27348,"size":27349,"collection":95,"collections":27350,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},222316,"zi-shu-you-bao-shan-shi-shou-juan-wang-chong-222316","卷前钤有“且喜斋书画印”朱文长方印一枚。此书作于嘉靖三年甲申（1524年），时年王宠整三十岁。此时，他的书法尚处于兼采众长、变化融通的阶段，用笔尖锐果猛，线条圆润遒劲，字体大多欹侧且较后期书作为长。",[23,7,60,49,25,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca7c4ddd9ab15661853407e5710232b.jpg","砑花笺","横382厘米，纵29厘米",[],{"id":27352,"slug":27353,"title":27354,"dynasty":45,"author":46,"museum":126,"description":27355,"tags":27356,"thumbUrl":27357,"material":1038,"size":27358,"collection":95,"collections":27359,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},222127,"sheng-guang-tie-ye-shen-zhou-222127","声光帖页","释文：\n向自金仲寄至苏合丸，珍佩，珍佩！日来知德与位称，声光向隆，可见德门旧族风致自殊。卫中运士还，极言佩荷，足激乡里近时薄风，健羡，健羡！寒舍饥垫中，又以则户点解，村僮皆愚于料物托揽好耳。所司交纳利害，略不知头绪，尚有核桃一色，知待新方收，因不敢赍价去。缘僮俱非惜家者，凡百事为，恃在故旧之爱，希为指点，帲幪当铭刻不浅也。录尔尊先大夫心耕诗，请须裁教。外有小笔山水一帧，将意而已，未间伏惟为国，自玉不宣。\n署款：“婣生沈周再拜，全卿豸史亲家阁下。三月廿九日，锦帕二方伴缄。”款下钤印：“启南”。鉴藏印：“之赤”、“希曾”、“二谢”、“张珩审定真迹”、“周氏作民”。\n此帖是沈周写给亲家的一封书信，谈论一些日常生活中的琐事及对事物的看法。因是给关系比较密切的人写信，所以具有随意、自然的书写风格。此书师黄庭坚，兼及苏轼，笔力老练劲挺，结体紧凑不拘，笔画全以欹侧取势。",[23,7,60,200,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51f47456e0ce5dbeb104540984b501eb.jpg","纵23厘米，横40.7厘米",[],{"id":27361,"slug":27362,"title":27363,"dynasty":179,"author":12485,"museum":648,"description":27364,"tags":27365,"thumbUrl":27366,"material":27367,"size":27368,"collection":95,"collections":27369,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},221845,"zhu-xi-cao-tang-ji-ti-juan-yang-wei-zhen-221845","竹西草堂记题卷","主要内容是以二三子争辩引出“竹西”之号的来历，抒发其对隐逸之士的推崇。书法清虚灵动，隽逸潇洒，与其晚年豪迈不羁的风格大相异趣。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F068fc65dfbf8bd77079c5f4423984e87.jpg","纸本，墨迹","27.5×169.1cm",[],{"id":27371,"slug":27372,"title":27373,"dynasty":179,"author":27374,"museum":126,"description":27375,"tags":27376,"thumbUrl":27377,"material":312,"size":27378,"collection":96,"collections":27379,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},221730,"fa-jian-ye-tie-ye-li-xiao-guang-221730","发建业帖页","李孝光","释文：\n后五月十日，李孝光顿首上书，龙翔堂头笑隐和尚尊前：发建业时行遽，乃不得身自谢。又闻从者且至龙安驿，与克庄副使为别，此即相见，因得摅写情愫。比明日到龙安，则闻辞不来矣。愧戁悚息，不可胜言。心已知公仁厚，明我不敢为慢者。然建业市间，有一种人善为塗涴，万一少被毁惑，何以自解，故不得不切切言之。适吴溥泉台使来，便附上书致多谢，惟高明赐察。溥泉读书积学，明敏晓时务，善于为歌诗，又工书，得公为延誉诸公间，幸甚。未由相见，伏冀为佛法厚自爱，孝光拜覆。用章、玉峰、仲坚、清远入参，乞呼贱名致意，孝光又覆。\n此帖无题跋。首署：“李孝光顿首上书”。鉴藏印钤“槐庭清玩”、“东平”印两方。\n此为李孝光致龙翔集庆寺主持大訢（笑隐和尚）的信札。\n帖中云：“发建业时行遽，乃不得身自谢”，又云：“龙翔堂头”等，这正是大訢主持龙翔集庆寺的时候。前又云：“后五月十日”，据考证应是元至正元年（1341年）己酉闰五月，故知此帖为李孝光45岁时所书。其书学苏轼，笔画丰腴，运笔流畅，连带自然，且结体方扁，时出侧锋，具有相当高的艺术水平。",[23,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448df518f34613d1bff7eff5d5a789d.jpg","纵31.2厘米，横38厘米",[96],{"id":27381,"slug":27382,"title":27383,"dynasty":179,"author":27384,"museum":126,"description":27385,"tags":27386,"thumbUrl":27387,"material":312,"size":27388,"collection":96,"collections":27389,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},221725,"qi-qi-tie-wang-li-shi-221725","骑气帖","王礼寔","《骑气帖》释文\n此帖是王礼寔写给陈植的一通信札。王、陈二人当时都在平江路（今苏州），所以礼寔有幸“追陪左右宴游”。帖中称陈植“年当强仕”，时陈植40岁，信应书于其时。书法整秀，承袭赵孟頫、鲜于枢风范。\n此帖明代时由项元汴收藏，钤鉴藏印多方。清代入乾隆内府。《石渠宝笈》初编卷十《元名家尺牍册》著录。",[23,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F304207807a87468592d5b6ee5f2c8697.jpg","纵31.1厘米，横58.9厘米",[96],{"id":27391,"slug":27392,"title":27393,"dynasty":88,"author":27394,"museum":126,"description":27395,"tags":27396,"thumbUrl":27397,"material":784,"size":27398,"collection":95,"collections":27399,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":100},221683,"kong-dong-wen-dao-tu-quan-juan-yang-shi-chang-221683","崆峒问道图全卷","杨世昌","绘轩辕黄帝访仙人广成子于陕西崆峒山，询问治身成仙术之传奇故事。画中一石榻铺兽皮，一长髯仙人斜坐榻上睨目倾听，右下跪一朱衣王者，执笏陈辞，诚恳严肃。杨世昌，金代道士，善画人物、山水。",[23,24,25,49,50,60,199,7,54,1752,77,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a0cfaddf2cb41c45042705e95729b8a.jpg","纵28.2厘米，横49.5厘米",[],{"id":27401,"slug":27402,"title":27403,"dynasty":162,"author":454,"museum":107,"description":27404,"tags":27405,"thumbUrl":27406,"material":95,"size":95,"collection":96,"collections":27407,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},221125,"can-pian-yi-ming-221125","残篇","这卷残本行书抄录唐人题咏，纸面虽经岁月侵蚀，斑驳剥落，墨色却依旧清润秀雅。笔意舒展灵动，结体宽和舒展，带着唐代民间行书独有的随性腴润。诗文排布错落有序，日常抄写的松弛质感，融着唐人特有的风雅意趣。残损的纸痕如时光镌刻的印记，让千年笔墨的温度与岁月沉郁交织，既留存了唐音诗韵的文献价值，也尽显唐代民间书法的审美意趣，是跨越时光的风雅遗珍。",[23,7,49,199,60,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0187b7e9d07e357884451acccd4e421a.jpg",[96],{"id":27409,"slug":27410,"title":27411,"dynasty":88,"author":454,"museum":72,"description":27412,"tags":27413,"thumbUrl":27414,"material":169,"size":27415,"collection":171,"collections":27416,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},218739,"xiang-lin-hui-han-tu-yi-ming-218739","香林挥翰图","该图描绘了一个在月桂树下拿着墨水的有学问的人，后面跟着一个拿着杖的男孩。这个人物在月桂树下的位置表明，他已经赢得了月桂冠，并在科举考试中取得了很高的成绩。这是马远的笔触略显薄弱的版本。",[23,24,25,27,60,111,113,56,834,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fc8a111116c4420bdd44ecc23b33ed.jpg","19.1x19.2",[171],{"id":27418,"slug":27419,"title":27420,"dynasty":45,"author":2977,"museum":442,"description":27421,"tags":27422,"thumbUrl":27428,"material":33,"size":95,"collection":95,"collections":27429,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},216323,"han-xi-meng-xiu-song-yuan-ming-ji-ce-mi-hua-shan-shui-tu-han-xi-meng-216323","韩希孟绣宋元名迹册·米画山水图","绣线作墨，晕染出米家云山的空濛气韵。远山以淡丝叠缀，烟岚似在丝缕间浮动；近树用细针勾枝，苍劲中藏着秀逸之态。孤舟泊于浩渺水面，针脚疏密交织，水的清寂与山的悠远悄然相融。以绣代笔，将宋元山水的笔墨意趣化为丝缕的韵律，每一针都凝着对古画的深悟——既有绘画的空灵气韵，又有丝线特有的温润质感，尽显明代闺阁绣艺的精妙与雅致，让山水的悠远意境在丝帛上静静流淌。",[2980,25,24,4347,50,13294,110,27423,59,27424,27425,51,54,56,471,12231,2219,252,251,27426,9678,27427,77,7],"米点皴","宋元风格","刺绣技法","小岛","岸边树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d87539d4a7a2aa7cc22219189d23a0e.jpg",[],{"id":27431,"slug":27432,"title":27433,"dynasty":18,"author":27434,"museum":107,"description":27435,"tags":27436,"thumbUrl":27438,"material":33,"size":95,"collection":95,"collections":27439,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":3443},215651,"bei-jing-dian-pu-zhao-huang-hua-ce-18-zhou-pei-chun-215651","北京店舖招幌画册-18","周培春","金珠串成的幌儿垂着细碎的光，黄蓝圆幌像从旧时光里递来的灯笼，方形画幌藏着行当的故事，蓝白纹样透着清雅，朱红竖牌上的字是老北京的商业印记。这些招幌不是沉默的画，是胡同里飘着的烟火气，是掌柜们的吆喝凝在布上的模样。每一抹色彩、每一道纹路，都裹着百年前的人声鼎沸——布幌飘动的簌簌声，行人驻足的打量，都在这一页里活了过来，让你触到老北京市井的温热脉搏。那些手写的小字，更像时光留下的注脚，把行当的秘密、生活的烟火，都细细密密缝进了这方寸画页里。",[18,26,27,111,27437,167,7],"招幌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd48c1c1ae29230c34657ebd33e4f181.jpg",[],{"id":27441,"slug":27442,"title":27443,"dynasty":18,"author":21660,"museum":107,"description":21661,"tags":27444,"thumbUrl":27445,"material":33,"size":95,"collection":95,"collections":27446,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},215105,"tui-bei-tu-ce-1-jiao-bing-zhen-215105","推背图册-1",[23,457,3467,7,77,18,26,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4416531cb03b64b3f75030dcf86ffe7b.jpg",[],{"id":27448,"slug":27449,"title":27450,"dynasty":45,"author":1015,"museum":126,"description":26261,"tags":27451,"thumbUrl":27452,"material":79,"size":26264,"collection":95,"collections":27453,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},214876,"shan-shui-ce-5-wen-zheng-ming-214876","山水册-5",[23,24,25,26,50,27,51,53,56,113,1678,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5384ecf516bd20d8446e1f53633fed62.jpg",[],{"id":27455,"slug":27456,"title":27457,"dynasty":45,"author":1015,"museum":126,"description":26261,"tags":27458,"thumbUrl":27459,"material":79,"size":26264,"collection":95,"collections":27460,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":40},214870,"shan-shui-ce-10-wen-zheng-ming-214870","山水册-10",[23,24,25,26,50,27,51,652,57,53,55,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd277b11b6610c2bd7c039c5093ab69.jpg",[],{"id":27462,"slug":27463,"title":27464,"dynasty":23400,"author":27465,"museum":20,"description":27466,"tags":27467,"thumbUrl":27468,"material":95,"size":95,"collection":35,"collections":27469,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":27470},203404,"lan-hua-tu-zhou-bai-jiao-203404","兰花图轴","白蕉","这幅兰花图轴笔墨简淡却气韵生动。白蕉以行草笔意入画，兰叶线条刚柔相济，飘逸自然，兼具书法的灵动与绘画的意趣；花朵淡墨点染，清雅含蓄，尽显兰之幽姿。画面构图疏朗，留白有致，题跋书法与兰草笔墨呼应，诗书画印融为一体，尽显文人画的清雅品格，是写意兰草的典范之作。",[24,50,139,7,77,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de9de7f4cc7c534228c4be48f0d61a.jpg",[35],"dad0b2",{"id":27472,"slug":27473,"title":9362,"dynasty":18,"author":1387,"museum":20,"description":27474,"tags":27475,"thumbUrl":27476,"material":95,"size":95,"collection":95,"collections":27477,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":27478},202723,"hua-hui-juan-zhu-da-202723","这幅花卉卷以大写意水墨为骨，笔墨凝练如铁线，墨色浓淡相生间尽显写意之妙。芭蕉叶阔笔泼写，姿态纵逸洒脱；山石以简括皴擦勾勒，朴拙中藏奇崛之态；花卉（如牡丹）寥寥数笔便形神兼备，神韵毕现。题跋书法与画面浑然交融，狂放行书衬出疏朗冷寂的意境，整体以物写心，借花木山石寄寓遗民孤高之慨，是八大水墨写意的经典之作。",[24,49,50,29,77,7,59,135,2187,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5fd280316a5a4344e10846f92928278.jpg",[],"c9beb2",{"id":27480,"slug":27481,"title":27482,"dynasty":18,"author":7558,"museum":20,"description":27483,"tags":27484,"thumbUrl":27485,"material":95,"size":95,"collection":63,"collections":27486,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":27487},202199,"fang-wen-xiu-cheng-shan-shui-zhou-pan-gong-shou-202199","仿文休承山水轴","笔墨承文氏家法，皴染细腻温润。近景树石苍劲，枝干虬曲，苔点繁密；中景水榭临流，幽人凭栏，意境清寂；远景山峦层叠，云雾轻笼，留白得宜。设色淡雅，构图疏密有致，既守文休承的秀逸之韵，又添灵动生机。题跋行书流畅，印章朱红点缀，诗画相映成趣，尽显文人山水的雅致意趣。",[24,51,75,110,27,59,55,113,77,60,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c736b62783f1ecf479f812be953177.jpg",[63],"a19381",{"id":27489,"slug":27490,"title":27491,"dynasty":45,"author":27492,"museum":20,"description":27493,"tags":27494,"thumbUrl":27495,"material":95,"size":95,"collection":171,"collections":27496,"showCount":463,"zanCount":39,"manualWeight":39,"mainColor":27497},201806,"ta-xue-xun-mei-tu-zhou-zhang-feng-201806","踏雪寻梅图轴","张风","寒雪初霁，梅香若有若无地漫开，一翁策驴徐行，似赴一场与梅的清雅之约。笔墨极简却传神，寥寥数笔勾勒出人物衣袂的宽博与驴蹄踏雪的动态，墨色浓淡相间，尽显水墨写意的空灵。人物头戴斗笠，身形蜷曲却藏不住寻梅的殷切，驴的姿态生动，仿佛能听见蹄声轻叩雪地。上方题字笔意洒脱，诗画相生，更添文人雅趣。整幅画不重布景繁复，以意境取胜，将文人踏雪寻梅的幽兴浓缩于尺幅间，尽显书画相融的隽永之美。",[24,50,25,75,113,1074,131,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905b45955fb286d7b09bda07548f01e3.jpg",[171],"a4a4a1",{"id":27499,"slug":27500,"title":27501,"dynasty":45,"author":5954,"museum":107,"description":16570,"tags":27502,"thumbUrl":27503,"material":751,"size":752,"collection":95,"collections":27504,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},290946,"hui-shan-zhu-quan-tu-zhou-qian-gu-290946","惠山煮泉图轴",[92,24,75,50,27,113,115,51,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F337cab25dafc5970119e4c39fa1fe3f7.jpg",[],{"id":27506,"slug":27507,"title":27508,"dynasty":45,"author":744,"museum":107,"description":897,"tags":27509,"thumbUrl":27510,"material":751,"size":752,"collection":95,"collections":27511,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},290855,"mei-jing-xie-juan-tang-yin-290855","梅径携卷",[24,50,4347,51,131,113,473,1151,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43c8d9b4924edeba2e2c0e38e0cdc66.jpg",[],{"id":27513,"slug":27514,"title":27515,"dynasty":8749,"author":454,"museum":107,"description":27516,"tags":27517,"thumbUrl":27518,"material":751,"size":752,"collection":95,"collections":27519,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},290679,"jin-gang-jing-yi-juan-shou-gao-yi-ming-290679","金刚经一卷手稿","此卷写经用笔匀净秀雅，笔画舒展灵动，不失法度又带着抄写时的从容沉静。通篇排布齐整，字距匀称统一，行气贯通悠长，尽显写经体特有的端厚朴拙。墨色浓淡匀停，可见书写时恭谨肃穆的心境，禅意静气藏于笔墨细节间，将宗教文本的神圣感融于笔触之中，是兼备宗教价值与书法审美价值的写经佳构。",[7,386,49,199,878,9007,6535,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b23319daeb372045af3a7900d50c46.jpg",[],{"id":27521,"slug":27522,"title":27523,"dynasty":8749,"author":454,"museum":107,"description":27524,"tags":27525,"thumbUrl":27526,"material":751,"size":752,"collection":95,"collections":27527,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},290657,"liang-chao-fu-da-shi-song-jin-gang-jing-xu-shou-gao-yi-ming-290657","梁朝傅大士颂金刚经序手稿","此卷小楷写经笔致清劲秀雅，通篇排布齐整匀净，长卷气脉贯通始终。笔墨带着六朝写经特有的朴拙温润，每字端稳舒展，点画凝练含蓄，尽显抄经时的恭敬静定。将经文禅理融于笔墨章法之中，平淡里见出隽永意韵，朴素间深藏沉静风神。\n\n全篇千字始终不失端严法度，墨色匀净一致，可见抄经之人落笔时的专注澄澈，把对经文的虔诚全然倾注在笔锋起落之间，是写经书法中兼具艺术审美与宗教意趣的佳品，尽显古代写经书法的独特韵味与虔敬心力。",[7,199,49,386,9007,20967,3708,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c665d4a9caf3f23b324f14fe5f20b8a.jpg",[],{"id":27529,"slug":27530,"title":27531,"dynasty":18,"author":20506,"museum":72,"description":22511,"tags":27532,"thumbUrl":27533,"material":79,"size":27534,"collection":95,"collections":27535,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},290590,"xue-jing-ren-wu-shi-ji-zhou-zhang-ruo-ai-290590","雪景人物事迹轴",[24,75,50,1151,113,51,250,704,3113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc49d8d50a6d1af675ef6a22f8fed32.jpg","112.5x28.7",[],{"id":27537,"slug":27538,"title":27539,"dynasty":18,"author":12543,"museum":107,"description":27540,"tags":27541,"thumbUrl":27542,"material":751,"size":752,"collection":95,"collections":27543,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},290515,"mo-mei-tu-ce-chen-zhuan-290515","墨梅图册","陈撰，1678年 - 1758年，清朝乾隆年间著名学者、画家、诗人、文学家、收藏家。字楞山，号玉几、玉几山人等。",[23,24,25,26,50,131,7,60,77,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332d1322d55703d984116195e7f69f7e.jpg",[],{"id":27545,"slug":27546,"title":27547,"dynasty":88,"author":10944,"museum":107,"description":27548,"tags":27549,"thumbUrl":27551,"material":751,"size":752,"collection":95,"collections":27552,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},290486,"sui-gu-xian-shou-tu-yan-su-290486","邃谷仙寿图","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[24,1250,51,8470,57,7,199,50,27550,59],"仙寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98897fba184e8f775db18b47f9068b8.jpg",[],{"id":27554,"slug":27555,"title":27556,"dynasty":18,"author":27557,"museum":107,"description":27558,"tags":27559,"thumbUrl":27560,"material":751,"size":752,"collection":95,"collections":27561,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},290451,"shu-fa-tuan-shan-ni-can-290451","书法团扇","倪璨","倪璨，清朝画家（1764—1841年）字研田，自号砚石锄夫，江苏甘泉（今扬州）人。",[23,1250,7,60,77,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e76532c03f245acd2d09a155622c4c.jpg",[],{"id":27563,"slug":27564,"title":27565,"dynasty":179,"author":5300,"museum":107,"description":24301,"tags":27566,"thumbUrl":27567,"material":751,"size":752,"collection":95,"collections":27568,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},290439,"dan-tai-chun-shang-tu-ke-luo-ban-lu-guang-290439","丹台春赏图（珂罗版）",[23,24,92,50,51,75,458,53,54,57,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b2fe1a43f6f7452408d2f57ed3ba7d.jpg",[],{"id":27570,"slug":27571,"title":27572,"dynasty":88,"author":454,"museum":107,"description":26393,"tags":27573,"thumbUrl":27574,"material":751,"size":752,"collection":95,"collections":27575,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},290110,"wu-tong-ting-yuan-tu-yi-ming-290110","梧桐庭院图",[92,24,25,1128,26,111,27,458,567,56,52,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbfc008d8276fa6952b4ae41102c97fe.jpg",[],{"id":27577,"slug":27578,"title":27579,"dynasty":18,"author":3067,"museum":107,"description":9355,"tags":27580,"thumbUrl":27581,"material":751,"size":752,"collection":95,"collections":27582,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},289933,"xia-wu-yin-mei-tu-zhou-wang-hui-289933","夏五吟梅图轴",[92,24,25,75,50,27,59,51,133,132,131,52,53,55,116,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb351758d9dedc7377576f498d8c508.jpg",[],{"id":27584,"slug":27585,"title":27586,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":27587,"thumbUrl":27590,"material":751,"size":752,"collection":95,"collections":27591,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},289886,"dong-fang-shuo-da-ke-nan-dong-qi-chang-289886","东方朔答客难",[23,7,49,60,77,200,27588,27589],"东方朔","答客难","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8161550aa6d1879774d035652f465e5a.jpg",[],{"id":27593,"slug":27594,"title":27595,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":27596,"thumbUrl":27599,"material":751,"size":752,"collection":95,"collections":27600,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},289784,"xiao-jing-tu-li-gong-lin-289784","孝经图",[23,92,24,25,49,112,113,27597,7,199,27598],"古建筑","孝文化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f549d9f70ee31764ebac731237e59ab.jpg",[],{"id":27602,"slug":27603,"title":7465,"dynasty":162,"author":24892,"museum":107,"description":27604,"tags":27605,"thumbUrl":27606,"material":751,"size":752,"collection":95,"collections":27607,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":100},289760,"liu-zun-zhe-xiang-tu-ce-lu-leng-jia-289760","卢楞伽，一作棱伽，长安（今陕西西安）人，生卒年不详，约8世纪人。自汴入蜀，为吴道子弟子。画风细致，咫尺间山水寥廓，形象精备。",[23,878,7,60,77,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6102513a1790afc85fbd6d1841be71bb.jpg",[],{"id":27609,"slug":27610,"title":27611,"dynasty":179,"author":7381,"museum":107,"description":27612,"tags":27613,"thumbUrl":27614,"material":751,"size":752,"collection":95,"collections":27615,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":100},289232,"han-shan-shi-de-tu-yin-tuo-luo-289232","寒山拾得图","其实，《寒山拾得图》只是因陀罗所作的一整卷禅机图中的一部分，在日本，还有另外4幅因陀罗画的禅机图，它们分别是由石桥美术馆收藏的《丹霞烧佛图》、根津美术馆收藏的《布袋图》、静嘉堂文库美术馆收藏的《智常禅师图》以及畠山纪念馆所收藏的《李渤参智图》。这5幅作品统一被称为因陀罗的《禅机图短简》，都被指定为日本的国宝。据日本专家考证，因陀罗的禅机图并不只由这5幅画组成，可能还包括另外一幅《寒山拾得图》以及一幅《萧王问答图》，而东京国立博物馆收藏的这幅《寒山拾得图》则极有可能是整个画卷的末尾部分。\n日本自镰仓时代（1185-1333年）开始兴起收藏唐宋元等朝代的中国美术作品之风，因陀罗的禅机图也因此传入日本。不过，与中国人整卷欣赏美术作品不同，日本人更喜欢把一副长画卷裁成多个部分，然后裱制成画轴挂在茶室等房间的墙上分别欣赏。这也是因陀罗所画的一整卷禅机图被分成多个部分，现在分别由不同的美术馆收藏的原因。不过，不管是哪一幅作品都是享誉日本的名贵珍藏品。例如，《寒山拾得图》长期以来一直作为广岛藩藩主浅野家收藏的名品广为人知，其存放的木盒上还刻有以精通茶道而著称的松江藩藩主松平不昧的题签。",[24,50,113,878,7,77,1018,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4fb5146a0d4804d5891fe4ca693d42.jpg",[],{"id":27617,"slug":27618,"title":12077,"dynasty":18,"author":10427,"museum":107,"description":17108,"tags":27619,"thumbUrl":27622,"material":751,"size":752,"collection":95,"collections":27623,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},288982,"shu-fa-li-zhou-wang-shi-min-288982",[7,75,1613,77,27620,27621,22228,19476],"纸窗","林屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F781f2b8757874e77dfb4918d9ed8b462.jpg",[],{"id":27625,"slug":27626,"title":27627,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":27628,"thumbUrl":27630,"material":751,"size":752,"collection":95,"collections":27631,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},288832,"shu-gu-yue-fu-shi-li-zhou-zheng-ban-qiao-288832","书古乐府诗立轴",[23,25,75,7,60,77,50,27629],"古乐府诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F564da5621c5b9862dd32a367ae8925f9.jpg",[],{"id":27633,"slug":27634,"title":27635,"dynasty":18,"author":19,"museum":107,"description":2947,"tags":27636,"thumbUrl":27637,"material":751,"size":752,"collection":95,"collections":27638,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},288641,"lin-tie-san-zhong-yun-shou-ping-288641","临帖三种",[1250,7,110,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff346b378f723b864a89b2827e19135ed.jpg",[],{"id":27640,"slug":27641,"title":27642,"dynasty":18,"author":454,"museum":107,"description":27643,"tags":27644,"thumbUrl":27647,"material":751,"size":752,"collection":95,"collections":27648,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},288446,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ming-chen-fu-heng-yi-ming-288446","历代帝王贵妃大臣朝服像(名臣傅恒)","此作工笔设色精细入微，人物面容写实传神，神色端凝沉稳，尽显朝堂重臣威仪。朝服纹样繁复考究，龙纹矫健灵动，金线绣制的纹饰华贵夺目，朝珠排布严整规范，衣冠配饰悉遵清代官服仪制细节，精准彰显出人物的品级尊崇。画面以留白衬托主体，上方题字补缀生平脉络。整体笔触工细不苟，设色古雅庄重，既恪守肖像纪实性，又兼具艺术表现力，将人物肃穆雍容的仪态刻画得淋漓尽致。",[23,24,75,27,111,113,27645,27646,359,7,199,77,167],"大臣","朝服像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6268258125900599858a843875c5abf6.jpg",[],{"id":27650,"slug":27651,"title":27652,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":27653,"thumbUrl":27654,"material":751,"size":752,"collection":95,"collections":27655,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},288395,"zhuan-shu-ju-zhi-an-li-zhou-wu-chang-shuo-288395","篆书 居之安立轴",[23,457,7,75,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d8d2ad5d7dfa084628762939e873ec.jpg",[],{"id":27657,"slug":27658,"title":27659,"dynasty":18,"author":27660,"museum":107,"description":27661,"tags":27662,"thumbUrl":27664,"material":751,"size":752,"collection":95,"collections":27665,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},288304,"yu-yang-shan-ren-shi-ce-zhu-min-288304","渔洋山人诗册","朱岷","[清]字仑仲，一字导江，号客亭，江苏武进人，籍山东历城（清朝书人辑略作天津人，",[7,1613,26,27663,1390,359,51],"诗册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dcc089598aa151073e3e9eda8c142de.jpg",[],{"id":27667,"slug":27668,"title":18756,"dynasty":45,"author":5386,"museum":107,"description":18331,"tags":27669,"thumbUrl":27670,"material":751,"size":752,"collection":95,"collections":27671,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},288086,"xi-yuan-shi-juan-wang-chong-288086",[7,398,25,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0131ddf7ce1c94c87716076e2a2fd047.jpg",[],{"id":27673,"slug":27674,"title":27675,"dynasty":45,"author":454,"museum":107,"description":27676,"tags":27677,"thumbUrl":27678,"material":751,"size":752,"collection":95,"collections":27679,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},288077,"ming-dai-shu-fa-shan-mian-ji-zhen-yi-ming-288077","明代书法扇面集(帧)","此作为泥金扇面，墨色在金笺上愈发浓妍醒目。起笔行书圆融舒展，渐转草书，欹正相生，牵丝映带自然流畅，提转顿挫间尽显遒劲力道，将行草灵动与法度平衡得恰到好处。文字排布依随扇骨走势，疏密错落，气韵贯通首尾。墨色浓淡微妙变化，于尺幅小景中铺陈萧散放达的书卷意趣，尽显晚明书法尚态重情的典型风貌，是一件兼具笔墨意趣与形制美感的文人小品佳作。",[23,1250,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F429545c799c68e031cc5c5b0a37c062b.jpg",[],{"id":27681,"slug":27682,"title":27683,"dynasty":179,"author":6867,"museum":107,"description":22520,"tags":27684,"thumbUrl":27685,"material":751,"size":752,"collection":95,"collections":27686,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},287671,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhang-yu-287671","仿郑虔林亭秋爽图",[92,24,50,51,110,55,458,53,57,115,54,113,2061,2251,77,7,4739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9620ea01bc9dcbc4a772c93920f5a2.jpg",[],{"id":27688,"slug":27689,"title":27690,"dynasty":179,"author":454,"museum":72,"description":21138,"tags":27691,"thumbUrl":27693,"material":79,"size":27694,"collection":95,"collections":27695,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},287581,"qing-shan-zhu-ge-zhou-yi-ming-287581","青山竹阁轴",[24,92,25,75,50,1328,9679,475,27692,52,6605,7,59],"竹阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c3adc48962b9a348f961633ca44b36.jpg","71.9x28.4",[],{"id":27697,"slug":27698,"title":27699,"dynasty":18,"author":3067,"museum":72,"description":9355,"tags":27700,"thumbUrl":27701,"material":33,"size":27702,"collection":95,"collections":27703,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},287446,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-wang-hui-287446","仿李营丘江干七树图",[92,24,25,50,51,110,77,7,115,2293,53,54,251,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff309a0ed55d56fb2162e84b4c23405c5.jpg","96.4x54.6",[],{"id":27705,"slug":27706,"title":27707,"dynasty":1609,"author":454,"museum":107,"description":15550,"tags":27708,"thumbUrl":27709,"material":751,"size":752,"collection":95,"collections":27710,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},287380,"yuan-bo-bei-yi-ming-287380","袁博碑",[1613,198,7,200,3423,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a35f28767612d423e51ca80a3b0977.jpg",[],{"id":27712,"slug":27713,"title":27714,"dynasty":179,"author":225,"museum":107,"description":9803,"tags":27715,"thumbUrl":27716,"material":751,"size":752,"collection":95,"collections":27717,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":100},287376,"wei-yi-ren-mu-zhi-shi-qu-bao-ji-fa-tie-zhao-meng-fu-287376","卫宜人墓志 (石渠宝笈法帖)",[198,7,22248,60,3423,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb329fb313375ddd8e0e0c48e75fd1bd2.jpg",[],{"id":27719,"slug":27720,"title":27721,"dynasty":3087,"author":454,"museum":107,"description":27722,"tags":27723,"thumbUrl":27724,"material":751,"size":752,"collection":95,"collections":27725,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":207},287330,"yuan-ting-qi-mu-yu-rong-mu-zhi-yu-you-ren-cang-yi-ming-287330","元珽妻穆玉容墓志(于右任藏)","北魏神龟二年（519年）刻，全名《魏轻车将军太尉中兵参军元珽妻穆夫人墓志铭》，共二十行，每行二十个字，一九二",[198,199,7,23207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7e0441e43a7546060001a4b043e1c1.jpg",[],{"id":27727,"slug":27728,"title":27729,"dynasty":3087,"author":454,"museum":107,"description":9803,"tags":27730,"thumbUrl":27731,"material":751,"size":752,"collection":95,"collections":27732,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},287327,"yuan-si-mu-zhi-yi-ming-287327","元思墓志",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af3ec147da74388000f60fa301d9c7f.jpg",[],{"id":27734,"slug":27735,"title":27736,"dynasty":45,"author":744,"museum":107,"description":897,"tags":27737,"thumbUrl":27738,"material":751,"size":752,"collection":95,"collections":27739,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},283777,"chun-shu-shuang-que-tu-tang-yin-283777","椿树双雀图",[24,92,29,116,704,50,27,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6be4eac2e2e2d00b56654f9399ec35.jpg",[],{"id":27741,"slug":27742,"title":27743,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":27744,"thumbUrl":27746,"material":751,"size":752,"collection":95,"collections":27747,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},283745,"shu-hua-he-bi-juan-dong-qi-chang-283745","书画合壁卷",[23,92,24,25,49,50,7,60,51,251,2028,27745,252,59],"村舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9730d590d7dfec6d881d41f1b0e097.jpg",[],{"id":27749,"slug":27750,"title":27751,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":27752,"thumbUrl":27753,"material":751,"size":752,"collection":95,"collections":27754,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},283708,"pan-gu-xu-shu-hua-he-bi-juan-dong-qi-chang-283708","盘谷序书画合璧卷",[23,92,24,49,4756,27,51,251,56,152,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9014f8bc1998914af824e954e462d91d.jpg",[],{"id":27756,"slug":27757,"title":27758,"dynasty":45,"author":27759,"museum":107,"description":27760,"tags":27761,"thumbUrl":27764,"material":751,"size":752,"collection":95,"collections":27765,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":100},283609,"li-dai-jun-jian-wu-shi-juan-zhu-qi-yu-283609","历代君鉴五十卷","朱祁钰","明景帝朱祁钰（1428年9月11日—1457年3月14日），明朝第七位皇帝，1449年九月―1457年正月在位，在位7年，年号景泰（1450年—1457年）。朱祁钰是明宣宗朱瞻基次子、明英宗朱祁镇异母弟，母吴贤妃。\n朱祁钰生于宣德三年（1428年），只比长兄朱祁镇小1岁。明英宗即位后被封为郕王。正统十四年（1449年），发生土木堡之变，明英宗朱祁镇兵败被瓦剌俘虏。为免主少国疑，于谦、王直等大臣奏明皇太后，拥立郕王朱祁钰为帝，尊明英宗为太上皇，次年改元景泰。在位期间，知人善任，励精图治，重用于谦等人，取得北京保卫战的胜利，击退瓦剌的入侵，对政治、经济、军事等方面进行了整顿和改革，推动明朝政治由乱而治，渐开中兴，可谓英明之主。明英宗归国后幽禁于南宫，后又改立自己的儿子朱见济为太子。景泰八年（1457年）正月，夺门之变爆发，明英宗复辟，软禁其于西苑，改元天顺。\n天顺元年（1457年）二月，明英宗废其为郕王，不久朱祁钰离奇去世，享年30岁。明英宗赐谥号曰“戾”，按亲王礼葬在北京西山，即景泰陵。侄子明宪宗即位后，恢复朱祁钰皇帝之位，追谥曰“恭仁康定景皇帝”，史称明景帝、景泰帝。南明时期，弘光帝朱由崧追加谥号为“符天建道恭仁康定隆文布武显德崇孝景皇帝”，上庙号“代宗”，但未被清代官方所承认。\n朱祁钰是明朝迁都北京之后，第一个没有被葬于明十三陵的皇帝。",[1498,199,7,77,9636,27762,27763],"三皇","伏羲氏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2431bdea708b083131d69c0aef37a2.jpg",[],{"id":27767,"slug":27768,"title":27769,"dynasty":662,"author":454,"museum":107,"description":27770,"tags":27771,"thumbUrl":27775,"material":751,"size":752,"collection":95,"collections":27776,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},274042,"shi-hui-bao-bo-ya-xie-qin-chang-pian-yi-ming-274042","时慧宝《伯牙携琴》唱片","泛黄封套上手题商号大字朴拙苍劲，带着旧商行的烟火暖意。胶木唱片的标贴饰有厂牌徽记，墨印字体古雅端庄，侧边题签清晰标注曲目与表演者姓名。\n\n这张老唱片凝缩着旧时光里的梨园风华，纸面被岁月晕开浅淡斑驳，墨色却依旧沉稳鲜亮，将当年戏台上的弦歌余韵封存在这一方旧物之中，带着老北平戏楼茶社的鲜活气息，静静流转着民国曲艺的雅致底蕴，摩挲间便能触碰半个多世纪前的曲艺荣光。",[27772,7,25307,27773,13817,27774],"唱片","传统音乐","伯牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3e5916704e7431e858f9759e91aeda.jpg",[],{"id":27778,"slug":27779,"title":27780,"dynasty":18,"author":454,"museum":107,"description":27781,"tags":27782,"thumbUrl":27785,"material":751,"size":752,"collection":95,"collections":27786,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":40},273095,"xiu-hua-gua-ping-yi-ming-273095","绣花挂屏","此作以针代笔，将文人画意融于绣艺之中。浅褐绢底晕开时光的痕迹，青蓝绒线绣出修竹数竿，挺秀疏朗，尽显君子清逸之姿，枝干晕染出深浅层次，仿若水墨淡扫。旁侧折枝野卉枯劲生姿，绒线堆叠出苍润质感，柔蕊缀于枝头，野趣横生。题识小字与朱印错落排布，书画绣三者浑然相融，既有闺阁绣工的细腻妥帖，又带着文人林下的清雅意致，绒线起落间藏着旧日手作的沉静匠心，将花木风神定格于方寸之间。",[27783,8913,2980,132,29,77,7,27,9635,27784],"绣花","工艺画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e64eb196bb248ab22a048637acb06b.jpg",[],{"id":27788,"slug":27789,"title":27790,"dynasty":18,"author":454,"museum":107,"description":27791,"tags":27792,"thumbUrl":27793,"material":751,"size":752,"collection":95,"collections":27794,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":40},272874,"zi-tan-mu-bian-xiu-shan-shui-ren-wu-tu-gua-ping-yi-ming-272874","紫檀木边绣山水人物图挂屏","此作以绣代墨，晕染出空山雅集的幽寂之境。苍松蟠曲古劲，松针绣织细密鲜活，林下二人对坐清谈，似伴泉声叙话，尽彰林泉隐逸之趣。远山以淡彩绒线轻铺慢绣，晕出空濛悠远的山水诗意，上方题诗针脚匀整，将诗、书、绣、画融为一体。\n\n整体设色清雅柔和，紫檀木边框衬出沉浑古雅质感，把文人寄情山水的闲逸襟怀尽数铺展，工致秀雅间尽显古典雅致的林下风流。",[8913,2980,51,113,1018,7,27,4739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18135071a4b6a318d6e6ebd46c3e613d.jpg",[],{"id":27796,"slug":27797,"title":27798,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":27800,"thumbUrl":27803,"material":751,"size":752,"collection":95,"collections":27804,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},270353,"qian-long-kuan-bai-se-bo-li-tai-hua-fa-lang-xi-xiang-feng-wen-ping-yi-ming-270353","乾隆款白色玻璃胎画珐琅喜相逢纹瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[19025,27801,135,692,27802,27,7,77,834],"玻璃胎","花鸟纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50ed25e8a9e45279380c52499766765e.jpg",[],{"id":27806,"slug":27807,"title":27808,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":27810,"thumbUrl":27811,"material":751,"size":752,"collection":95,"collections":27812,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":100},250933,"qian-long-yu-ti-qing-yu-he-shen-ru-yi-yi-ming-250933","乾隆御题青玉和珅如意","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[2135,7714,834,8234,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca2b83ede1968ac81225c19bbb4fbfa.jpg",[],{"id":27814,"slug":27815,"title":27816,"dynasty":88,"author":454,"museum":107,"description":27817,"tags":27818,"thumbUrl":27819,"material":95,"size":95,"collection":802,"collections":27820,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},242225,"nan-yan-zhen-qing-zheng-zuo-wei-tie-yi-ming-242225","南颜真卿争座位帖","此作笔力雄肆开张，以行书拟稿，将忠义愤懑寄寓笔墨，顿挫郁勃，尽显苍劲气概。墨色沉凝斑驳，残泐痕迹藏着经年传拓的古意，牵丝映带间朴拙刚劲尽显，一改二王行书秀逸格调，以庙堂大气撑起章法骨架。\n\n结体奇崛欹正相生，字里行间恍见当庭抗辩的激昂意气。岁月磨蚀虽掩去几分锋棱，却更添古厚沉静之韵，每一处残痕都是时光镌刻的印记，让这份忠义之魂随拓本辗转流传，古雅厚重的质感直抵人心。",[7,198,60,26,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb345bd62eaa8dc325966e6733cdfb9c.jpg",[802],{"id":27822,"slug":27823,"title":27824,"dynasty":18,"author":454,"museum":107,"description":27825,"tags":27826,"thumbUrl":27827,"material":95,"size":95,"collection":802,"collections":27828,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},242220,"ming-mo-tuo-wu-dou-tai-shou-li-xi-xi-xia-song-mo-ya-ce-yi-ming-242220","明末拓武都太守李翕西狭颂摩崖册","此作为汉隶经典范本，结体方正宽博，笔画朴厚劲秀，方整间不失灵动意趣。通篇行列齐整，字间距疏朗开阔，静穆舒展中带着雄浑刚健的庙堂气象，又留存摩崖石刻特有的山野朴拙质感。\n\n笔墨沉凝斑驳，拓工精良，完整保留原刻的金石肌理，将大汉隶书的敦厚朴茂尽数呈现。每一字皆如沉稳端方的汉家石人，刚柔相济，把庄重典雅与自然天趣融为一体，尽显隶书成熟阶段的巅峰风貌，带着岁月摩挲的厚重古韵。",[198,7,1613,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fef4b0172bcffc5b5a93beeeb9c0bd9.jpg",[802],{"id":27830,"slug":27831,"title":27832,"dynasty":18,"author":11046,"museum":107,"description":27833,"tags":27834,"thumbUrl":27835,"material":95,"size":95,"collection":802,"collections":27836,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":207},242203,"mao-qin-dian-fa-tie-kang-xi-242203","懋勤殿法帖","此作用乌泥金纸为底，银书小楷温润莹亮，华贵端凝。笔力沉实匀净，点画精整秀逸，牵丝映带暗合晋人萧散意趣，却自带端稳肃穆的气度。将《兰亭序》的林下风流，融于馆阁的端方工致里，无欹侧跳脱，全是温润平和的庙堂气象。\n\n结体舒展停匀，章法排布疏朗齐整，墨色莹润饱满，字字如芝兰列阶，静穆清雅。将王羲之的散淡风神，化作雍容正大的气度，既有法帖的严谨工丽，又带着静雅从容的书卷意蕴，是馆阁楷中的上乘之作，尽显腕底沉厚功力与静和襟怀。",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014fc0dbfbffa0c47ce7de9cf6ae334b.jpg",[802],{"id":27838,"slug":27839,"title":27840,"dynasty":18,"author":27841,"museum":107,"description":27842,"tags":27843,"thumbUrl":27844,"material":751,"size":752,"collection":95,"collections":27845,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":23752},241677,"gui-hai-yuan-dan-shi-bi-shi-heng-pi-yong-yan-241677","癸亥元旦试笔诗横披","颙琰","清仁宗爱新觉罗·颙琰（1760年11月13日—1820年9月2日），原名永琰，清朝第七位皇帝，定都北京后的第五位皇帝，乾隆帝的第十五子，生母孝仪纯皇后魏佳氏。 在位二十五年（1796-1820年在位），年号“嘉庆”。",[7,25,199,25547,77,27,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4e4444b15dc1f0671c9d7c85d4a800.jpg",[],{"id":27847,"slug":27848,"title":27849,"dynasty":18,"author":27850,"museum":107,"description":27851,"tags":27852,"thumbUrl":27855,"material":751,"size":752,"collection":95,"collections":27856,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},241565,"xing-kai-qi-jue-ping-zhou-yuan-li-zhun-241565","行楷七绝屏轴","袁励凖","字珏生，别署恐高寒斋主，江苏武进人，光绪进士，翰林编修，会试同考官。民国清史馆编纂，辅仁大学教授。工书画。行楷宗米元章，篆习李阳冰，文静典雅，画学马远，藏墨名于世。",[24,25,7,75,60,199,3135,27853,651,27854,360,21971,7648,137],"白雪","碧嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc067fb6ea8549d5c048fba931fc299a.jpg",[],{"id":27858,"slug":27859,"title":27860,"dynasty":18,"author":27861,"museum":107,"description":27862,"tags":27863,"thumbUrl":27864,"material":751,"size":752,"collection":95,"collections":27865,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},241457,"li-bai-shi-zhou-li-du-na-241457","李白诗轴","励杜纳","励杜纳(1628-1703)，字近公，一字澹园，清直隶静海县人。初冒杜姓，为生员，精楷书。清圣祖康熙二年(1663)，廷选善书之士，应试得第一，遂被录取",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676ccebe16f4c4b95ee73c1714833769.jpg",[],{"id":27867,"slug":27868,"title":27869,"dynasty":18,"author":27870,"museum":107,"description":27871,"tags":27872,"thumbUrl":27873,"material":312,"size":95,"collection":96,"collections":27874,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},241398,"lun-shu-zhou-xie-lan-sheng-241398","论书轴","谢兰生","谢兰生，字佩士，号澧浦，又号里甫，别署里道人、履道人、理圃居士。南海人。生于乾隆廿五年（1760）庚辰十一月十八日寅时，卒于道光十一年（1831）辛卯三月十九日辰时，寿七十二岁，妻冯氏，南海举人耒庐公长女，有六子七女，六子分别为：念典、念功、念绍、念庶、念因、念中。",[25,7,75,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c860c743e99207f8af44c0bfc18b8df.jpg",[96],{"id":27876,"slug":27877,"title":27878,"dynasty":18,"author":27879,"museum":107,"description":27880,"tags":27881,"thumbUrl":27885,"material":751,"size":752,"collection":95,"collections":27886,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},241390,"xing-kai-shi-er-shou-zhou-chen-yuan-long-241390","行楷诗二首轴","陈元龙","陈元龙（1652—1736）字广陵，号乾斋，浙江海宁人，清朝大臣。康熙二十四年一甲二名进士，授编修，直南书房。五十七年，擢工部尚书。六十年，调礼部。乙丑科会试开始施行殿试十本进呈之制。此前，进士无十本进呈之例，这一科会试总裁官是刑部尚书张士甄，开始以前十本恭呈皇帝钦定。康熙帝拔陆肯堂进士第一人，进士第二人就是陈元龙。",[25,7,3135,77,27882,27883,575,56,844,10606,651,14603,1049,360,845,24641,27884],"海门","津门","丹丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bcce9a43123efbbaf561503896286f.jpg",[],{"id":27888,"slug":27889,"title":27890,"dynasty":45,"author":19108,"museum":107,"description":24598,"tags":27891,"thumbUrl":27892,"material":751,"size":752,"collection":95,"collections":27893,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},241367,"zhou-ni-yuan-lu-241367","轴",[25,7,60,398,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aeda136172becd0096afcf5c01aea24.jpg",[],{"id":27895,"slug":27896,"title":23662,"dynasty":18,"author":27897,"museum":107,"description":27898,"tags":27899,"thumbUrl":27901,"material":751,"size":752,"collection":95,"collections":27902,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},241315,"wu-lv-zhou-dai-ming-shuo-241315","戴明说","戴明说（音yue，通“悦”）(1609——1686)，河北沧州人，字道默，号岩荦，道号定园，晚年自号铁帚，行一。有子戴王纶。 ... 天启丁卯(1627)科举人，崇祯甲戌(1634)科进士。",[25,7,75,60,77,845,1677,693,3388,678,27900],"五岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59a841e4fcb1d3b6d4a28a2f9e2fb23.jpg",[],{"id":27904,"slug":27905,"title":27906,"dynasty":18,"author":27907,"museum":107,"description":27908,"tags":27909,"thumbUrl":27910,"material":751,"size":752,"collection":95,"collections":27911,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},241244,"dong-po-lun-shu-zhou-li-jian-241244","东坡论书轴","黎简","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbb23fcdcd8da24ff286dc438e28fda.jpg",[],{"id":27913,"slug":27914,"title":17924,"dynasty":45,"author":27915,"museum":126,"description":27916,"tags":27917,"thumbUrl":27918,"material":9104,"size":27919,"collection":96,"collections":27920,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},241214,"shi-zhou-wen-zhen-meng-241214","文震孟","初名从鼎，字文起，号湘南，别号湛持。长洲（今江苏苏州）人。\u2028 文震孟出身书香门第，吴门画派创始人、“明四家”之一文徵明，是其曾祖父。震孟幼承家学，读书认真，21岁即获乡荐，但会试屡屡下第。后得“醉颖堂”废址，缮修加筑，更名“药圃”。园建成后约二年，他第十一次赴京赶考，得一甲一元，状元及第，也是苏州史称的四大“状元宰相”之一。授翰林院修撰。因疏陈勤政讲学，忤魏忠贤，被廷杖八十，贬职调外，愤而告归故里。崇祯元年（1628）以侍读召，改左中允，充日讲官。三年（1630）进左谕德，掌司经局，直讲如故。又因连劾魏党王永光，被斥为“任情牵诋”，乘机避归五年。五年（1632），在家被擢为右庶子，重新赴任，未久进少詹事。崇祯八年（1635）正月，闯王李自成占安徽凤阳，捣毁皇陵。借此历陈致乱之源，七月擢为礼部左侍郎兼东阁大学士，入阁预政。因与权奸温体仁不洽，被劾落职。九年（1636）卒，十二年（1639）诏复原职，十五年（1643）赠礼部尚书衔，赐祭葬。南明福王追谥“文肃”。\n崇祯初拜礼部左侍郎，兼东阁大学士。书画有家风，“书迹遍天下，一时碑牒署额，与待诏（文徵明）埒”。《明史》有其传。著述丰，主要有《念阳徐公定蜀记》、《剃茶说》、《策书圆记》、《姑苏名贤小记》、《文肃公日记》、《文文起诗》等。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4c2e0c4d7a08d98f5eb8c27acd128f0.jpg","196.3×66.8cm",[96],{"id":27922,"slug":27923,"title":17900,"dynasty":18,"author":27924,"museum":107,"description":27925,"tags":27926,"thumbUrl":27927,"material":751,"size":752,"collection":95,"collections":27928,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},241203,"zhuan-shu-qi-yan-lian-wu-da-cheng-241203","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n在第二次鸦片战争之后的1886年，吴大澂与沙俄谈判。他据理力争，迫使沙俄重立土字碑、并对中国的出海权进行妥协：图们江口的出海权虽不能共享，但中国船只可以借道出海，俄国不得阻止。吴大澂又设法延长谈判，迫使沙俄归还了黑顶子山地区（今吉林珲春敬信镇）。其战略眼光与爱国精神令后人称颂。",[457,2136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80d536598c2a5f48fc4e1ec2a5b9a88.jpg",[],{"id":27930,"slug":27931,"title":27932,"dynasty":45,"author":5186,"museum":107,"description":26434,"tags":27933,"thumbUrl":27935,"material":751,"size":752,"collection":95,"collections":27936,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},241149,"xin-chun-deng-shi-han-zhu-zhan-ji-241149","新春等诗翰",[23,7,60,49,77,1677,6297,3040,282,651,360,3039,845,6398,27934],"地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be7a94c8a0c1162eee63a9d2c0330ac.jpg",[],{"id":27938,"slug":27939,"title":27940,"dynasty":18,"author":3261,"museum":107,"description":16683,"tags":27941,"thumbUrl":27942,"material":751,"size":752,"collection":95,"collections":27943,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},241140,"le-zhi-lun-zhou-deng-shi-ru-241140","乐志论轴",[7,199,75,77,6769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46224395ce7f24068d65d9ca8886b089.jpg",[],{"id":27945,"slug":27946,"title":12961,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":27947,"thumbUrl":27948,"material":751,"size":752,"collection":95,"collections":27949,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},241092,"qi-lv-zhou-wu-chang-shuo-241092",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f6dbd630f4046ef7d059d6639d4cb0.jpg",[],{"id":27951,"slug":27952,"title":27953,"dynasty":45,"author":27954,"museum":107,"description":27955,"tags":27956,"thumbUrl":27957,"material":312,"size":95,"collection":96,"collections":27958,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},241025,"wu-jue-zhou-zhong-xing-241025","五绝轴","钟惺","钟惺(1574—1625)，明代文学家。字伯敬，号退谷，湖广竟陵（今湖北天门市）人。万历三十八年（1610）进士。曾任工部主事，万历四十四年（1616）与林古度登泰山。后官至福建提学佥事。不久辞官归乡，闭户读书，晚年入寺院。其为人严冷，不喜接俗客，由此得谢人事，研读史书。他与同里谭元春婡共选冄《頭條唐诗归》和《古诗归》(见《诗归》)，名扬一时，形成“竟陵派”，世称“钟谭”。钟惺通过撰著《楞严经如说》参与佛学论争,表达了他复兴义学、重整戒律、推尊净土、宣扬华严的四大佛学主张。钟惺凭借文官身份和文坛巨擘的影响力兴办佛教事业,助力晚明佛教复兴运动。\n其一：反对拟古文风。他对明中叶以后盛行文坛的拟古主张加以批驳，指出“作诗者之意兴，虑无不代求其高。高者，取异于途径耳。夫途径者，不能不异者也”（钟惺《诗归序》）。他认为“七子”模拟古人词句，只不过是“取古人之极肤、极狭、极熟便于口手者，以为古人在是”(同前)。因而力求改变这种文风，提出“势有穷而必变”的变革主张（《问山亭诗序》）。\n婡冄頭其條二：主张诗人应抒写“性灵”(或“灵心”)。这种“性灵”或“灵心”是“引古人之精神，以接后人之心目，使其心目有所止焉”，是“求古人真诗所在。真诗者，精神所为也”（《诗归序》）。即要在古人诗词的精神中去寻求性灵。但是，他认为这种古人的真诗精神是“察其幽情单绪，孤行静寄于喧杂之中”，于是他自己的作品极力追求孤僻情怀“别趣理奇”即所谓孤怀、孤诣，且夸耀说：“我辈文字到极无烟火处。”（《答同年尹孔昭书》）\n其三：倡导幽深孤峭的风格。《明史·文苑传》载：“自宏道矫王、李诗之弊，倡以清真，惺复矫其弊，变而为幽深孤峭。”钟惺认为公安派末端文风俚俗、浅率，企图以幽深孤峭的风格加以匡救。但他却走入了另一形式主义极端，往往只顾及字句，忘却篇章，追求奇字险韵，造成一种艰涩隐晦的风格，以致有些诗句语意不畅，令人费解，如“树无黄一叶，云有白孤村”（《昼泊》）等。钟、谭以这种主张为标准评选《诗归》。他们所选唐诗，专取清瘦淡远一格，众所推重的李白《古风》、杜甫《秋兴》等名篇都不选入，试图以幽冷来洗“七子”的绚烂，足可见其主张的长、短，利、弊。钟惺的诗，由于追求幽情孤行，所以大多情思狭窄，题材局促，缺乏深厚广阔的社会内容。不过他苦心吟事，雕字酌句，不遗余力，有些五古游览诗作写得还相当好。如《经观音岩》、《舟晚》等，虽有雕镂之嫌，然寄情绘景，时有名理。其《上巳雨中登雨花台》、《巴东道中示弟栓》，手眼别出，可见清思。另外，有些诗作对社会现实也有所反映，如《江行俳体》12首，写及了“官钱曾未漏渔蛮”的赋税严重情况。\n钟惺记叙、议论、散文亦有一些新奇隽永之作。写景寄情小品《浣花溪记》，以生动细腻笔触描绘了唐代大诗人杜甫成都寓地浣花溪一带逶迤、清幽的景色，抒写对杜甫的敬仰之情，并寄寓自己的情怀。清溪碧潭，移步换景，体现了竟陵派“孤行静寄”的情怀和个性，以及求新求奇的幽深孤峭的风格。此外《游五夷山记》也是此类作品。他的叙议小品《夏梅说》，巧妙地从时令变化，引出赏梅、咏梅人的冷热，进而揭示人情世态的寒暖；对“趋梅于冬春冰雪者”的趋炎附势风气给予嘲讽和批判，构思立意较为新奇。文艺短论《题鲁文恪诗选后》（之二）主张诗文创作宜少而精，提出“不能尽善，而止存一篇数篇、一句数句之长，此外皆能勿作”，反对“多多益善”粗制滥造。并将文章分为三等：“选而作者，上也；作而自选者，次也；作而待人选者，又次也。”\n总之，钟惺诗文主张反拟古，主性灵，有积极一面，他的求新求奇文风，对传统散文有所突破，与公安派一样，对晚明小品文的大量产生有一定的促进作用。而其狭窄的题材及情怀，艰涩幽冷的语言及文风，无疑也束缚了他在创作上取得更大的成就。清代曾将“公安”、“竟陵”之作列为禁书，诋毁排击甚烈。",[24,25,75,398,50,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9097df1292d5fa86aefd0908953d41ef.jpg",[96],{"id":27960,"slug":27961,"title":27962,"dynasty":45,"author":25769,"museum":107,"description":25770,"tags":27963,"thumbUrl":27964,"material":751,"size":752,"collection":95,"collections":27965,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":789},240969,"feng-fu-ce-song-jue-240969","风赋册",[7,1613,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8780623537fba262fea70f720565be96.jpg",[],{"id":27967,"slug":27968,"title":27969,"dynasty":45,"author":27970,"museum":107,"description":27971,"tags":27972,"thumbUrl":27973,"material":751,"size":752,"collection":95,"collections":27974,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240945,"qi-lv-shan-mian-zhao-shi-yin-240945","七律扇面","赵师尹","赵师尹（1580～约1615）字任甫，号瀛松。江西九江人。明万历四十一年（1613）周延儒榜进士第三人。授翰林院编修。只可惜他居官一年便以疾病告归而卒。赵师尹生平以廉隅自爱。去世后，检点他的家藏，只有一些名家字帖，图书数箱而已。",[1250,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fca134dc4cc9b7c12df4b6f050ac7de.jpg",[],{"id":27976,"slug":27977,"title":27978,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":27979,"thumbUrl":27980,"material":751,"size":752,"collection":95,"collections":27981,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},240933,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-er-zhao-meng-fu-240933","赵孟頖妙法莲花经册卷二",[25,7,386,26,60,878,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438a51782c2e18404b96924a66130662.jpg",[],{"id":27983,"slug":27984,"title":27985,"dynasty":45,"author":27986,"museum":107,"description":27987,"tags":27988,"thumbUrl":27989,"material":751,"size":752,"collection":95,"collections":27990,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240871,"lin-wang-xian-zhi-tie-zhou-song-cao-240871","临王献之帖轴","宋曹","宋曹（1620-1701），字彬臣， 号射陵，又号耕海潜夫。明泰昌元年生于盐城县新兴场人（现盐城市亭湖区新兴镇）。宋家祠堂大门两侧曾有两朝辅弼，十世簪缨的对联。从宋曹曾祖、祖父起，皆以举人入官。\n明崇祯时，25岁官至中书舍人，其位级从七品官。南明复亡，1642年，宋曹的好友司石盘、厉豫等人因不满清朝黑暗统治，举兵起义。未及一年，兵败淮安。清政府派人四处抓拿，宋曹受其牵连，身陷囹圄。营释后，先到北宋庄，后又携家小隐居到30公里以外的汤庄，筑蔬枰园侍奉老母。每年仍到北宋庄祭祖。大纵湖有一龙兴寺，建于明开启年间，苦于无名。宋曹隐居北宋庄，让寺庙主持喜出望外，请他题名龙兴禅院，他欣然挥毫。抗战爆发，禅院毁于战火，宋曹真迹随之荡然无存了。三十寒暑，宋曹闭门养息，会友谈艺，聚首唱和，遂使诗书融合，造诣日深。康熙元年到八年间，两度诏举，不肯出林，仍隐逸汤村。康熙十七年，清以纂修明史，开博学鸿词科，征召海内名儒，侍郎严沅和江苏巡抚慕无颜共举宋曹为博学鸿词，他均以母老固辞未赴。康熙22年（1683）年，两江总督于成龙请他去 南京编撰《江南通志》，盛情难却，他带上长子恭贻一起赴任。志书编成，宋曹坚不留名，最终《江南通志》仅署了恭贻的名字。于成龙敬重他的人品，称他为射陵先生。于成龙邀其出山，终于使宋曹结束了隐居生涯。为了实现书法方面的抱负，他毅然离家出游，浪迹江淮，客维扬、润州、昆山、苏州、杭州等地，拜师会友，吊古觅胜。康熙六年，会顾炎武，互赠诗赋，结为友好。历数载，他纵觅南北名碑，吮吸精髓，悟入微际，并加以融会贯通，取舍扬弃，为自己寻得一条正宗的书法道路。",[7,398,75,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a389b7bd264016e98b3679d321c074.jpg",[],{"id":27992,"slug":27993,"title":27994,"dynasty":45,"author":4035,"museum":107,"description":9453,"tags":27995,"thumbUrl":27996,"material":751,"size":752,"collection":95,"collections":27997,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240869,"pan-gu-xu-zhou-shen-du-240869","盘谷序轴",[4038,7,199,75,4039,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a494b742feca54eb2edd0b5261880d.jpg",[],{"id":27999,"slug":28000,"title":28001,"dynasty":45,"author":28002,"museum":107,"description":28003,"tags":28004,"thumbUrl":28005,"material":751,"size":752,"collection":95,"collections":28006,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":40},240678,"chi-bi-fu-zhou-fan-jing-wen-240678","赤壁赋轴","范景文","范景文（1587年11月29日-1644年4月25日），明朝末期政治家、文学家、东阁大学士。字梦章，号思仁，别号质公，河间府吴桥（今属河北）人。万历四十一年（1613年）进士，官至工部尚书兼东阁大学士。\n崇祯十七年（1644年）李自成破宣府，烽火逼京师，众臣请帝南幸，范景文劝帝“固结人心，坚守待援”，不久崇祯自缢。范景文留下遗书曰：“身为大臣，不能灭贼雪耻，死有余恨。”后赴双塔寺旁的古井自杀。赠太傅，谥文忠。著有《大臣谱》、《战守全书》。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1df3f43d713dd9c8a25fb414a08e76.jpg",[],{"id":28008,"slug":28009,"title":28010,"dynasty":45,"author":28011,"museum":107,"description":28012,"tags":28013,"thumbUrl":28017,"material":751,"size":752,"collection":95,"collections":28018,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240667,"zhuan-shu-chun-jiang-qu-shi-zhou-wang-qi-shu-240667","篆书春江曲诗轴","汪启淑","汪启淑（1728-1799）字秀峰，号讱庵，一字慎仪。自称“印癖先生”。清著名藏书家、金石学家、篆刻家安徽歙县人，居于杭州。家以经商致富，遂捐官为工部都水司郎中，迁至兵部郎中。喜交友，与厉鹗、杭世骏、朱樟结“南屏诗社”。嗜古代印章，曾搜罗周代、秦代迄宋、元、明各朝印章数万钮。又精纂刻，在巨珠上刻篆文，以补诸品中所未备。",[457,7,75,77,679,3040,28014,25604,28015,28016,6398,10607,15071,1002,845],"浪","杨花","雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2886693bfc35e9ee748bceda1b07557.jpg",[],{"id":28020,"slug":28021,"title":28022,"dynasty":45,"author":14822,"museum":107,"description":28023,"tags":28024,"thumbUrl":28025,"material":751,"size":752,"collection":95,"collections":28026,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240665,"xi-yu-shi-zhou-huang-dao-zhou-240665","喜雨诗轴","黄道周（1585年3月9日—1646年4月20日），汉族，字幼玄，一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。福建漳州府漳浦县（今福建省东山县铜陵镇）人，祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[7,75,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f1eaae06e354913d23f45008cacc60.jpg",[],{"id":28028,"slug":28029,"title":17900,"dynasty":18,"author":27924,"museum":107,"description":27925,"tags":28030,"thumbUrl":28031,"material":751,"size":752,"collection":95,"collections":28032,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240633,"zhuan-shu-qi-yan-lian-wu-da-cheng-240633",[457,2136,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ca4fad594e52295c9d0bcad4fdd43d.jpg",[],{"id":28034,"slug":28035,"title":28036,"dynasty":18,"author":28037,"museum":107,"description":28038,"tags":28039,"thumbUrl":28040,"material":312,"size":95,"collection":96,"collections":28041,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240607,"lin-xian-zun-ming-zhou-zhang-shi-bao-240607","临贤尊铭轴","张士保","张士保 (1805—1878) 字鞠如， 号菊如。山东掖县（今莱州市） 掖城人。清代画家、学者。1832年（道光十二年）选为副贡生。同治初年，山东巡抚丁宝桢在济南历下李清照故居设尚志堂，遍请“齐鲁穷经之士”来济讲学，他“巍然居首”。1878年（光绪四年），被选任临淄教谕，卒于任上，终年73岁。\n张士保是清末著名的书画家，嗜好金石文字，其行、楷、篆、隶，无所不精，尤以钟鼎文见长，他创作的诗文别有一种趣味，而最负盛名的则是画。山水、花鸟，不落恒蹊，尤工人物，悉宗古法。他画的山水花鸟，匠心独具；人物画笔意古雅，形态静穆，深得陈洪绶、崔子忠一派承宗古法的真传，笔法结构纯从汉造像得来。1860年(咸丰十年)，客居京都，与秦谊亭（秦炳文）、汪叔明（王叔明)等在松筠庵结画社，闻名京都，成为当时全国最著名的画家之一。",[457,110,75,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08471c9e2ebbf0c7e75b3138a6e6d572.jpg",[96],{"id":28043,"slug":28044,"title":17924,"dynasty":18,"author":28045,"museum":13678,"description":28046,"tags":28047,"thumbUrl":28048,"material":312,"size":28049,"collection":96,"collections":28050,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},240605,"shi-zhou-wang-xian-zuo-240605","王显祚","崇祯举人。顺治三年（1646年），由山东运使擢为山西布政使司参政、分守河东道。五年，任陕西按察使、管右布政使事。又转福建按察使。十年六月，擢为山西右布政使，一直到顺治十一年十一月改任。傅山十年秋才由汾州移居土堂。次年春，宋谦被捕，供词连及傅山。六月，傅山入狱。王显祚在此期间是否参与开脱傅山，史无记载。不过，王显祚任此职时间应并不长，作用有限。傅山与王显祚之交往，应是顺治十七年后的事。《清实录》载，顺治十七年（1660年），王显祚由福建左布政使转为山西左布政使。又《新编傅青主年谱》康熙二年条：“六月，申涵光游太原，访青主。访中表、山西布政使王显祚，请其为青主买宅。”是王显祚与傅山结识由申涵光所介绍。王显祚在山西做了八年布政使，时间可谓不短，与傅山交往应会不少。康熙六年（1667年），王显祚因福建道御史 而吴怀清《天生先生年谱》康熙三年条有注云：“康熙六年，总督某索赂不应，为所劾，落职归。”总督，实指当时山陕总督 依此说，王显祚之落职，非贪婪之故，而实受栽赃陷害。",[7,75,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a363e2dd3389051b69e740c43975a7d.jpg","纵180厘米，横62厘米",[96],{"id":28052,"slug":28053,"title":28054,"dynasty":18,"author":454,"museum":72,"description":28055,"tags":28056,"thumbUrl":28057,"material":312,"size":16522,"collection":96,"collections":28058,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240494,"zhang-zhao-lang-guan-bi-ji-zhou-yi-ming-240494","张照郎官壁记轴","張照（1691～1745），字得天，號涇南，亦號天瓶居士，江南婁縣人。康熙四十八年進士。清藏書家、書法家、戲曲家、書畫目錄整理者。\n張照，初名默，字得天、長卿，號涇南、梧窗、天瓶居士。清松江府婁縣人，家住秀野橋西。天資聰敏，通釋氏之教，其作詩豪放好驅使禪語。能詩，善畫，通音律，精鑑賞，尤工書法。19歲成進士，官至刑部尚書，參與修纂《大清會典》及《一統志》。雍正十三年（1735年），為總理苗疆事務經略大臣，赴雲南，以“無功”被劾，革職擬斬後得寬免，命在武英殿修書處行走。乾隆七年（1742年）又升為刑部尚書，精曉法律，曾修訂過一些比較合理的刑事條例。乾隆六年（1741年），奉命與莊親王查明《律呂正義》源委，續修《律呂正義》後編。嗣後主持為平署編纂宮廷大戲，作有雜劇《月令應承》《九九大慶》等；並作傳奇《勸善金科》《昇平寶筏》，規模宏大，各有240出，供宮廷搬演，開“連台本戲”之先河。戲曲研究家星煜評價張照的戲劇創作説：“他是中國連續劇的創始者，無可爭議”。“事實上《勸善金科》和《昇平寶筏》對崑劇、京劇以及各種地方戲的影響遠比人們所想象的大得多”，“如果當年張照沒有編寫這兩部240出的連續劇，我們所看到的楊小樓、鄭長泰、蓋叫天、張翼鵬的悟空戲（猴戲）就不會有那麼豐富多彩”。乾隆九年（1744年），奉命與梁詩正等鑑別宮廷所藏曆代書畫，分類編成《石渠寶笈》（44卷），並主持編纂《秘殿珠林》（24卷）。",[7,24,25,75,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb221427162600041caae8c71e692323b.jpg",[96],{"id":28060,"slug":28061,"title":9460,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":28062,"thumbUrl":28063,"material":751,"size":752,"collection":95,"collections":28064,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240481,"wu-chang-shuo-zhuan-shu-qi-yan-lian-wu-chang-shuo-240481",[457,2136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec54eedb1d3fbb7b72507ae568a03364.jpg",[],{"id":28066,"slug":28067,"title":28068,"dynasty":18,"author":4686,"museum":107,"description":10103,"tags":28069,"thumbUrl":28070,"material":751,"size":752,"collection":95,"collections":28071,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240407,"lin-liu-meng-yang-bei-wen-wan-shan-zhao-zhi-qian-240407","临刘孟阳碑文纨扇",[18,25,1250,7,110,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c500433b2d0849583d367f56483574.jpg",[],{"id":28073,"slug":28074,"title":28075,"dynasty":45,"author":19682,"museum":126,"description":28076,"tags":28077,"thumbUrl":28078,"material":312,"size":28079,"collection":96,"collections":28080,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240390,"lin-da-ling-tie-zhou-xing-dong-240390","临大令帖轴","邢侗（1551-1612），字子願，號知吾，自號啖面生、方山道民，晚號來禽濟源山主、世尊稱來禽夫子。\n臨邑（山東德州）人，明代書法家、畫家。\n明萬曆二年進士，官至陝西太僕寺少卿。善畫，能詩文，工書，書法為海內外所珍視。與董其昌、米萬鍾、張瑞圖並稱“晚明四大家”並位列其首，與董其昌並稱“北邢南董”。\n邢侗詩則出入李、杜、王、岑，“高古典雅，每每工而拙用之”。五七言律宗唐，古風追漢魏，如《平倭歌》等，頗有“建安風骨”。於鱗之後，子願代興，堪為一代詞宗。晉江友人黃克纘説：“餘時與（子願）唱和，每詩筒至，輙私念：‘此中有佳句’，如尹媫妤望見邢夫人，自痛其不如也”。子願有詩五百餘首，亦收入全集。\n其於繪事，“偶作意寫卷石、莎草、長松、修竹，遊戲點綴，羅羅見其清淑，大抵仿叔明、元章筆意。”不以丹青為長，不過略以自適，卻也落落大方。不過他對繪事的欣賞和理解，還是表明了他的修養品位的，在他對一些名畫的題跋中不難看出。如《題趙子昂墨竹》、《題沈石田畫》等。而其《題沈周花果》説：“畫以三筆五筆得其神者佳。雖筆筆工整、敷彩濃麗，即得其妙，神亦難至。”寫意花鳥畫到了明代，即為水墨寫意大發展時期，崇尚秀雅，強調“士氣”、“書卷氣”，屬文人畫體系。“三筆五筆得其神”，是否可以説在理論上開了“八大山人”的先河呢？邢侗一生之於詩文書畫，畫是着力少了些，但可以説少而不低。\n邢侗博採眾長，遍臨魏、唐、宋諸大家，其臨池之美，以鍾、索、二王為主，尤好右軍書，而得右軍神髓。他自己説：“與右軍書坐卧幾三十年，始克入化。”明周之士《遊鶴堂墨藪》説：“近代邢子願書，精研二王，筆法恆彷彿《十七貼》筆意；即其卷素所書，跡多述王帖，可謂極意臨摹者矣。宋、齊而下，書法衰颯，魏晉風軌掃地者，已非旦夕之故，乃公（侗）獨裒然闢除陋習，追跡逸少，無論其精旨謂何，即其矢志，則已超人一等矣。”\n邢侗行草、篆隸，各臻其妙，而以行草見長；晚年尤精章草。當時與董其昌並稱“南董北邢”，又與米萬鍾，張瑞圖並稱“邢張米董”。但藝術創造力遠不足與董其昌、張瑞圖、黃道周相比。邢侗的長處，即在於他臨古極肖，他的名作多是臨作。他工於諸體，尤其工草書，由於泥古未化古，缺少個性的顯彰。他對晚明末流書法的狂怪無法度十分反感，他的法古是對這些末流書法的警示，其書法史價值也在於此。傳世書跡有《臨王羲之帖》、《論書冊》、《古詩卷》、《臨晉人帖》等。除故宮博物院外，今倫敦博物館，日本、東南亞諸國皆存其書跡。",[24,25,75,50,110,77,398,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a266b423f33da1daefa6f4209a229.jpg","175.5×25.4厘米",[96],{"id":28082,"slug":28083,"title":28084,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":28085,"thumbUrl":28086,"material":751,"size":752,"collection":95,"collections":28087,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240332,"zhuan-shu-shi-gu-wen-zhou-wu-chang-shuo-240332","篆书石鼓文轴",[2135,457,75,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026bb2bb430c296ca4e814eaa2dd17a9.jpg",[],{"id":28089,"slug":28090,"title":28091,"dynasty":18,"author":28092,"museum":107,"description":28093,"tags":28094,"thumbUrl":28095,"material":751,"size":752,"collection":95,"collections":28096,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240320,"bei-cha-xing-ye-shen-ji-240320","焙茶行页","沈楫","沈楫［清］字蓉洲，号东山，嘉定（今属上海市）人。画法赵孟頫。",[25,26,60,7,77,3467,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3021a03c586aa24a14da470a55984e.jpg",[],{"id":28098,"slug":28099,"title":28100,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":28101,"thumbUrl":28102,"material":751,"size":752,"collection":95,"collections":28103,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240314,"jie-lu-xi-yue-hua-shan-miao-bei-zhou-jin-nong-240314","节录西岳华山庙碑轴",[7,75,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99bbc7bc9ec0b2fba8c45cbc435d35f.jpg",[],{"id":28105,"slug":28106,"title":28107,"dynasty":18,"author":28108,"museum":107,"description":28109,"tags":28110,"thumbUrl":28111,"material":95,"size":95,"collection":96,"collections":28112,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240312,"jie-lin-dong-qi-chang-lan-ting-xu-ye-li-shang-lin-240312","节临董其昌兰亭序页","李上林","李上林，江南如皋（今江蘇省如皋市）人。監生，明萬曆年間（1573年～1620年）以德州同知委署新泰。\n愛民如子，當時正值歲歉，請求賑濟，先向鄰縣借來粟米，新泰縣民賴以保全性命。不久對本縣進行改革：“除無名之費，定徵輸之條，嚴治左右，寬恤裏甲，修築石城，杜絕開採。”又置公學田地三頃八十二畝。李在任五年間，“桑麻遍野，邑無逃亡。”本縣士民為之立生祠祀之。祀《名宦》。李工詩，其步高如山韻所作《秋日登新甫山有感》詩刻於蓮花山雲孤寺正殿西溪摩崖之上，至今清晰可見",[7,60,110,77,651,3038,132,360,589,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069cf3c2e28e5b843e3ea77d2e4b3a7.jpg",[96],{"id":28114,"slug":28115,"title":28116,"dynasty":18,"author":6662,"museum":107,"description":28117,"tags":28118,"thumbUrl":28119,"material":751,"size":752,"collection":95,"collections":28120,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240289,"li-shan-shi-zhou-li-shan-240289","李鱓诗轴","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[24,25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308b3c2debc85a55603b171bd6907627.jpg",[],{"id":28122,"slug":28123,"title":28124,"dynasty":18,"author":2378,"museum":107,"description":28125,"tags":28126,"thumbUrl":28127,"material":312,"size":95,"collection":96,"collections":28128,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240116,"shi-ye-gao-feng-han-240116","诗页","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》\n高凤翰的右手书法严谨流畅，左手书法上溯魏晋风格，继承元明笔法，气韵流动，古趣横生，被人誉为明清两朝数百年间以左手擅长书法的，尚无人与之媲美并列。当时能得到其只字片幅不是易事。\n“不抱云山骨，哪成金石心。自然奇节士，落墨见高襟。”是不是很熟悉？对，这就是高凤翰的书法作品《章草书》全诗，寓意书法作品的功底，要亲近云和山那样的风骨，才能求得金石之心。何谓云山风骨，就是像云一样潇洒飘逸变化无穷，圆转自如，像山一样坚毅挺峻，拥抱云和山的精髓，才能够体味到金石之心的真谛。后寓意为励志，意指不经历风雨，怎么见彩虹。\n高凤翰主工花卉山水，宋人雄浑之神和元人静逸之气在其作品中同时流露，艺术造诣十分精湛。高凤翰的画不拘成法，因而被人归于“扬州八怪”，也有将他列为“画中十哲”的。高凤翰的传世作品有《牡丹竹石图》轴等，并著有《南阜山人诗集》、《砚史》等书。\n高凤翰在一黑陶罐上的诗刻和画有三足陶器的《博古图》花轴引起山东大学考古工作者的注意，后人们按图上提供的信息往胶州三里河求索，终于发掘出一处重要的古文化遗址。 青岛百花苑置有他的雕像。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa57422b9cc1367b164e0f1c594bb8f.jpg",[96],{"id":28130,"slug":28131,"title":28132,"dynasty":45,"author":28133,"museum":126,"description":28134,"tags":28135,"thumbUrl":28136,"material":1038,"size":28137,"collection":96,"collections":28138,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240030,"dong-zhuang-za-yong-shi-juan-shao-bao-240030","东庄杂咏诗卷","邵宝","《东庄杂咏诗》卷释文\n署款：“友生邵宝顿首稿上复斋先生吟伯请教。三月廿八日。”\n款下钤“国贤”、“常郡锡邑世家”印。引首印“二泉”。\n无题跋及鉴藏印。\n此为邵宝为赞美吴宽的“东庄别墅”之景色所作的20首五言绝句。\n此书用笔稳健，顿挫有致，笔墨浓郁温厚，气势沉实宽博。其笔画钩如屈铁，点如坠石，巧拙互用，时出怪异之笔，有李东阳之韵意，且自家风格极突出。",[23,92,24,25,49,60,7,6129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe826e86530cece2a1585e86a8e64466d.jpg","纵25.8厘米，横231.5厘米",[96],{"id":28140,"slug":28141,"title":28142,"dynasty":18,"author":28143,"museum":107,"description":28144,"tags":28145,"thumbUrl":28146,"material":95,"size":95,"collection":96,"collections":28147,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},240022,"lin-tang-tai-zong-shi-zhi-tie-ping-zhou-dai-wang-lun-240022","临唐太宗使至帖屏轴","戴王纶","戴王纶，字经碧，号一斋，直隶沧州（今河北沧县）人。其父戴明说为明崇祯四年进士，官至户部尚书。戴王纶为顺治五年（1648年）戊子科顺天乡试第五名举人，顺治十二年（1655年）中一甲第二名进士（榜眼），授翰林院编修。官至江西粮道。康熙十八年（1679年）举博学鸿词科。工诗、书，善于画兰。",[7,60,110,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b7e2ca2c826c74211a9ec0588bd13c.jpg",[96],{"id":28149,"slug":28150,"title":28151,"dynasty":18,"author":28152,"museum":107,"description":28153,"tags":28154,"thumbUrl":28155,"material":95,"size":95,"collection":96,"collections":28156,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239996,"gan-guo-ji-shi-zhou-gan-guo-bi-239996","甘国基诗轴","甘国璧","甘国璧（？—1747），字东屏，汉军正蓝旗人，云贵总督甘文焜之子，清朝官吏。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35312559c36214acbff3ca430912430d.jpg",[96],{"id":28158,"slug":28159,"title":28160,"dynasty":18,"author":28161,"museum":107,"description":28162,"tags":28163,"thumbUrl":28164,"material":95,"size":95,"collection":96,"collections":28165,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239978,"zhuan-shu-mo-zhou-zi-zhong-zhou-wu-ting-kang-239978","篆书摹周子钟轴","吴廷康","此作用笔沉实厚重，顿挫之间筋骨尽显，结体方正宽博，将汉隶的舒展开张与北碑的雄健浑融一体，尽显古拙朴茂的金石意趣。红格界栏使得行列齐整肃穆，左侧题款灵动跳脱，与正文形成虚实相映的视觉层次。墨色匀净饱满，气息沉静醇雅，既恪守原碑的法度神韵，又融入自身笔底意趣，尽显对汉代金石气象的追慕与再创造，整体浑穆静雅，兼具庙堂端方与文人意韵。",[457,110,75,7,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ab9c912e706c8feb729839d9431403.jpg",[96],{"id":28167,"slug":28168,"title":9940,"dynasty":18,"author":7508,"museum":107,"description":28169,"tags":28170,"thumbUrl":28171,"material":95,"size":95,"collection":96,"collections":28172,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239947,"qi-yan-lian-lu-hui-239947","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加太平军工作，功名之路永绝。从刘德六游，习花果、翎毛，有出兰之誉。尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤吴大瀓，相与谈艺，大悦，纵观吴之所藏，上窥唐、宋，下樵元、明，艺事大进。旋客吴幕，得游三湘，辽东名胜。所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工汉隶，旁参魏晋六朝，遒劲而具有金石气。尝作衡山记游图八幅，认为生平杰作，谓可媲美黄易《访碑图》。\n光绪二十二年（1896）张之洞任江督，集海内名画家补绘元王恽所进《承华事略》，以总其事。图中衣冠、彝器悉准历代制度。中年归苏州，潜心绘事，考订金石文字，垂三十年。为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹评画中九友“以吴江陆廉夫得名最早，山水学四王，渲染尤能逼真。”",[7,2136,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4306a6678d4afb150d8aef509e5d84.jpg",[96],{"id":28174,"slug":28175,"title":28176,"dynasty":18,"author":22863,"museum":107,"description":22864,"tags":28177,"thumbUrl":28178,"material":95,"size":95,"collection":96,"collections":28179,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239921,"shi-song-lian-shang-ye-wan-cheng-ji-239921","诗送莲裳页",[2135,25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ac2a5bd587d4df7383b138741ceda5.jpg",[96],{"id":28181,"slug":28182,"title":28183,"dynasty":45,"author":28184,"museum":107,"description":28185,"tags":28186,"thumbUrl":28187,"material":95,"size":95,"collection":96,"collections":28188,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239802,"lin-lan-ting-xu-ye-yuan-yu-ling-239802","临兰亭序页","袁于令","袁于令（1592-1672年），本名原晋，字昭令，小字韫玉，号吉衣主人，苏州吴县（今江苏省苏州市）人。明末清初戏曲家、小说家。\n明末，进入国子监读书。清兵入关后，任工部虞衡司主事、营缮司员外郎等职。顺治五年，升任荆州知府。顺治十年（1653），罢官，侨寓江宁、会稽。\n康熙十一年，去世，时年八十一岁。著作有《剑啸阁传奇》《双莺传》《隋史遗文》等。",[4038,7,25,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19491f91c785a89387d5a989a58924e.jpg",[96],{"id":28190,"slug":28191,"title":28192,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":28193,"thumbUrl":28195,"material":751,"size":752,"collection":95,"collections":28196,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239781,"qian-sou-yan-gong-yi-huang-zu-yuan-yun-qi-lv-zi-tiao-qian-long-239781","千叟宴恭依皇祖元韵七律字条",[7,25,60,77,28194],"字条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3140f11bf0e3ea78228eb1c3e908fd63.jpg",[],{"id":28198,"slug":28199,"title":28200,"dynasty":18,"author":28201,"museum":107,"description":28202,"tags":28203,"thumbUrl":28205,"material":751,"size":752,"collection":95,"collections":28206,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239764,"shu-su-shi-shu-tie-dan-ye-zhou-xing-dai-239764","书苏轼书帖单页","周兴岱","周兴岱（1744—1809）字长五，一字冠三，号东屏，四川涪州（今重庆市涪陵区）人，清朝官吏，周煌次子，清代大诗人张船山岳父。乾隆三十六年进士，改庶吉士，散馆授编修。累迁侍讲学士。超授内阁学士。擢侍郎，历礼、吏、户诸部。命在南书房行走。",[2135,60,7,200,27,25,28204,77],"单页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49379d813f4dd89dac336b572613da69.jpg",[],{"id":28208,"slug":28209,"title":28210,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":28211,"thumbUrl":28212,"material":95,"size":95,"collection":96,"collections":28213,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239701,"shu-hong-li-hua-min-cheng-su-lun-zhou-ai-xin-jue-luo-yong-xing-239701","书弘历化民成俗论轴",[75,199,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184a29e80a92638317b154ebe7358697.jpg",[96],{"id":28215,"slug":28216,"title":28217,"dynasty":162,"author":454,"museum":107,"description":28218,"tags":28219,"thumbUrl":28220,"material":95,"size":95,"collection":96,"collections":28221,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239678,"wu-kuan-lin-huang-ting-jing-juan-yi-ming-239678","无款临黄庭经卷","《黄庭经》又名《老子黄庭经》，是道教养生修仙专著；内容包括《黄庭外景玉经》和《黄庭内景玉经》；两晋年间，新增《中景经》。作者为天师道魏华存。",[23,92,24,25,49,110,7,386,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022c0ac9cc33476cc3f99a6ea7b37644.jpg",[96],{"id":28223,"slug":28224,"title":10389,"dynasty":179,"author":1324,"museum":107,"description":28225,"tags":28226,"thumbUrl":28227,"material":95,"size":95,"collection":95,"collections":28228,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239656,"jing-ji-xuan-shi-wen-zhou-ni-zan-239656","此作书法萧散简淡，和倪氏山水意境一脉相承。正文兼融行楷意趣，笔画清瘦秀逸，排布疏朗空灵，恰似画中太湖汀渚的空寂留白，自带清冷出尘的气韵。\n\n笔墨简净却意韵悠长，将元末文人幽居避世的澹泊襟怀，藏于笔锋起落之间。题跋与正文相映成趣，朱红印信点缀素纸，为通篇的素朴增添雅致意趣，书文相合，将静寄轩的幽谧禅意落于纸面，尽显古淡天真的文人风骨。",[25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0f7bebe3d776f9d508db07a5ed5d0.jpg",[],{"id":28230,"slug":28231,"title":20729,"dynasty":162,"author":454,"museum":126,"description":28232,"tags":28233,"thumbUrl":28234,"material":17292,"size":28235,"collection":96,"collections":28236,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239654,"tang-ren-fa-hua-jing-xuan-zan-juan-yi-ming-239654","此卷界乌丝栏，首尾皆缺，书者不明。书写内容为《法华经玄赞》，这是唐代玄奘法师的弟子窥基（632—682年）撰述的一部阐说《妙法莲华经》教义的专著。\n唐人写经多为楷书，草书者极为罕见。此卷行气均匀，风格典雅，字形虽小，但使转精妙，法度俨然，今草之中略带章草韵味，可与隋人《出师颂》及孙过庭《书谱》互参，应为初唐高手所写。\n鉴藏印有“罗振玉印”、“康生看过”等。",[23,7,386,199,49,878,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7734eecceae894ca27d2b35a2f04cb94.jpg","纵28.4厘米，横373.2厘米",[96],{"id":28238,"slug":28239,"title":28240,"dynasty":179,"author":28241,"museum":126,"description":28242,"tags":28243,"thumbUrl":28244,"material":1038,"size":28245,"collection":96,"collections":28246,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},239640,"huai-cun-zhai-shi-tie-ye-chen-zhi-239640","怀存斋诗帖页","陈植","释文：\n九日有怀存斋隐君一首，聊发一笑。并呈云林先生，植顿首上。\n冉冉秋复冬，凄凄寒栗烈。澒洞风尘际，念子久睽别。林屋雨山间，雅怀寄奇绝。沦迹屏纷嚣，蕴真独悟悦。高崖延白云，清沂弄华月。穷搜吊荒亡，松下寻古碣。摩挲读漫字，皮陆名炳列。感慨赋（点去）賸萹什，玄谈唾霏屑。时从仙侣游，或迓支郎谒。思归笠泽秋，扁舟昕旦发。青旻风日澹，丹葩媚林樾。江空景澄霁，水落石齾齧。今朝定何朝，霜菊粲可撷。汎汎黄金英，眷言此嘉节。负痾志願违，怀君释悁结。载歌伐木诗，嗟彼朋友缺。美人不可亲，耿耿中心□。毋惜问音徽，庶以慰饥渴。\n此帖无题跋。帖后自钤“慎独斋”、“一丘一壑”印两方。\n鉴藏印钤有明项元汴“项子京家珍藏”，清孙承泽“北平孙氏”、安岐“安氏仪周书画之章”，近代衡永“衡酒仙家珍藏”等。\n《怀存斋诗帖》以诗代柬，是陈植写给朋友“存斋隐君”的一首五言诗。“存斋”即沈右，沈右自署“存存斋。”明陈基《夷白斋稿》中有“存存斋记”一篇，云：“沈君仲说（沈右字仲说）隐居于吴会，耕学于笠泽，庐于陈公之原，而皆名其室曰存存斋”。此诗句中“思归笠泽秋”也与上记相符。在沈右的书札中也常提及陈植，故宫藏《中酒杂诗并简帖》就是其写给陈植的书札，可见二人交往密切。“云林”即倪瓒，时亦在吴中。\n此书有赵孟頫书法的规模，体势方峻、流便，笔画略显潦草，起笔、收笔处未尽到位，而显示出较随意、迅疾、无意求工的行笔特色。",[7,60,77,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f2e585985f2a8a66c29b8ed56bb5fc.jpg","纵23.3厘米，横56.4厘米",[96],{"id":28248,"slug":28249,"title":15141,"dynasty":179,"author":225,"museum":107,"description":28250,"tags":28251,"thumbUrl":28252,"material":95,"size":95,"collection":95,"collections":28253,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":40},239579,"qian-zi-wen-juan-zhao-meng-fu-239579","此作用笔圆转遒劲，提按顿挫自带韵律，整卷如行云流水，一气呵成。草书笔势连绵缠绕，牵丝映带自然灵动，线条枯湿浓淡相映，尽显挥毫时的意气流转。\n\n字间疏密开合得宜，排布错落有致，既存晋唐草书的飘逸风神，又融温润隽秀的文人意趣，将狂放草法与雅致书卷气融为一体。俯仰之间可见笔墨流转的灵动生机，千字排布气韵贯通，笔底风神毕现，尽显草书豪放洒脱之态，又不失法度内敛的从容，观之如临松涛流云，心神随之舒展。",[23,7,60,49,385,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20233b79a047b353ad9bdc087629956c.jpg",[],{"id":28255,"slug":28256,"title":4167,"dynasty":18,"author":28257,"museum":107,"description":28258,"tags":28259,"thumbUrl":28260,"material":751,"size":752,"collection":95,"collections":28261,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239368,"shan-shui-ce-wang-san-xi-239368","王三锡","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[24,25,26,50,27,51,250,116,115,132,678,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa865d6cefc0c198737a49c1a24313f98.jpg",[],{"id":28263,"slug":28264,"title":28265,"dynasty":45,"author":454,"museum":107,"description":28266,"tags":28267,"thumbUrl":28268,"material":751,"size":752,"collection":95,"collections":28269,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239357,"ming-ren-fang-huang-gong-wang-jiu-feng-xue-ji-tu-juan-yi-ming-239357","明人仿黄公望九峰雪霁图卷","此作以水墨晕开雪后丘壑，留白铺陈皑皑雪意，山峦素裹、枯木错落，村居隐于岩畔，萧寒清寂尽现冬日山林的荒寒淡远。长卷书画合璧，题跋行笔苍劲雅致，文辞与山水意趣相融，托寄文人静穆观照的审美本心。\n\n仿作追摹原作的极简萧寒，以淡墨晕染山石肌理，以空为雪，尽显元人山水萧散简远之致，借古抒怀，以笔墨写胸中丘壑，将群峰雪后岑寂空灵的意境复刻淋漓，尽显文人山水的雅逸风神，是一件颇具意韵的仿古佳制。",[23,24,25,49,50,59,110,7,60,77,51,5721,1677,56,1678,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1ba8894fb65bed006c1b198de90cf2.jpg",[],{"id":28271,"slug":28272,"title":28273,"dynasty":18,"author":28274,"museum":107,"description":28275,"tags":28276,"thumbUrl":28278,"material":95,"size":95,"collection":95,"collections":28279,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},239344,"xi-xi-hua-juan-lin-shu-239344","西溪画卷","林纾","此作用水墨晕染勾勒全景，层峦叠嶂间林木蓊郁，汀洲水湾蜿蜒萦回，村居茅舍隐于烟霭林麓之间，尽显江南水畔的幽寂野趣。皴擦点染兼具，以苍朴笔墨写尽溪山清旷之致。\n\n卷后长篇行书题跋，笔致沉厚古拙，词句自况寄怀，书画相映成趣，将闲游幽思与林泉归隐的意趣融为一体，尽显文人画诗书画合一的雅致风骨，藏着作者寄情山水的缱绻襟怀。",[23,24,25,49,50,59,111,7,60,77,51,553,56,58,52,5722,57,28277,555],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4075e15f1cdd0703ca33f467c5e4924e.jpg",[],{"id":28281,"slug":28282,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":28283,"tags":28284,"thumbUrl":28285,"material":95,"size":95,"collection":95,"collections":28286,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},238738,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238738","淡墨晕开山居幽境，古木虬枝环抱书斋，凭窗士子凝眸静思，似正沉湎诗中逸怀。庭院山石错落苍润，远景丘林烟岚轻笼，将咫尺画幅晕染出悠远空濛的林下雅意。\n\n右上角题诗与画境相映成趣，笔致清隽温润，舍去浓艳设色，仅以水墨干湿浓淡铺陈萧散简淡的文人意趣。将诗文里的知己之思、林居之寂融在咫尺山水庭院中，淡远空灵，把文人心底的幽怀与林下栖居的雅静合二为一，尽显中式水墨留白的澹澹禅意。",[24,25,26,50,112,111,59,7,77,113,55,115,57,567,51,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4dc78376cec2516a555084645f9b74d.jpg",[],{"id":28288,"slug":28289,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":28290,"tags":28291,"thumbUrl":28292,"material":95,"size":95,"collection":95,"collections":28293,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},238732,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238732","以淡墨写就清润雅致的幽居之景，堂内文士凭窗静思，案头琴樽宛然，暗合诗中闲寂文心。坡岸怪石嶙峋，修竹婆娑弄影，古木交柯成荫，淡墨晕染出草木苍润之态，留白铺陈出空阔悠然的意境。\n题画诗与景致呼应交融，以极简笔墨勾勒出林泉雅舍的沉静氛围，将文人幽居悟怀的林下风致藏于笔底。笔意简淡松灵，诗画合一，尽显古典文人心底的静雅意趣，余韵悠长。",[24,25,26,50,111,59,113,55,652,589,132,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd301652b0efeb1460046b050b55b468a.jpg",[],{"id":28295,"slug":28296,"title":28297,"dynasty":18,"author":28298,"museum":107,"description":28299,"tags":28300,"thumbUrl":28301,"material":751,"size":752,"collection":95,"collections":28302,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},238658,"hong-wu-ning-shou-gong-ming-bing-sui-chao-tu-ce-hong-wu-238658","弘旿宁寿宫铭并岁朝图册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[25,26,7,199,457,27,111,19026,7714,7713,77,131,132,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb343cccdd58284e92fce8fc7cbc9d.jpg",[],{"id":28304,"slug":28305,"title":24867,"dynasty":45,"author":8261,"museum":107,"description":8262,"tags":28306,"thumbUrl":28307,"material":751,"size":752,"collection":95,"collections":28308,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},237942,"mo-lan-shan-chen-yuan-su-237942",[1250,24,50,139,7,77,129,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3719c58dbe8d7051f4e0605e531110.jpg",[],{"id":28310,"slug":28311,"title":28312,"dynasty":45,"author":441,"museum":107,"description":12137,"tags":28313,"thumbUrl":28314,"material":95,"size":95,"collection":95,"collections":28315,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},237700,"shan-shui-hua-guo-ce-xiang-sheng-mo-237700","山水花果册",[24,27,111,29,140,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dcbad880a9b04c57ca93f584c3a9b18.jpg",[],{"id":28317,"slug":28318,"title":1290,"dynasty":45,"author":5166,"museum":107,"description":19175,"tags":28319,"thumbUrl":28320,"material":751,"size":752,"collection":95,"collections":28321,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},237682,"hua-hui-ce-sun-ke-hong-237682",[26,60,50,29,7,77,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657b19b9dc610bf6ba0a935e2fd04b1.jpg",[],{"id":28323,"slug":28324,"title":28325,"dynasty":18,"author":28326,"museum":107,"description":28327,"tags":28328,"thumbUrl":28329,"material":751,"size":752,"collection":63,"collections":28330,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},237640,"li-yin-fang-gu-shan-shui-ce-li-yin-237640","李寅仿古山水册","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[24,25,26,50,60,110,51,54,458,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d15916e4360359e76199e98391e0ee.jpg",[63,35],{"id":28332,"slug":28333,"title":28334,"dynasty":18,"author":3067,"museum":107,"description":10686,"tags":28335,"thumbUrl":28336,"material":95,"size":95,"collection":95,"collections":28337,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},237603,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237603","王翚仿古山水册",[24,25,26,50,13294,59,7,60,77,51,678,115,57,52,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd29576a70d9eb2b4dfb84f569157a5.jpg",[],{"id":28339,"slug":28340,"title":28341,"dynasty":45,"author":28342,"museum":107,"description":28343,"tags":28344,"thumbUrl":28345,"material":95,"size":95,"collection":171,"collections":28346,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},236918,"sao-hua-xian-zhou-zhou-yong-236918","扫花仙轴","周用","”扫花”一词作为一种雅致的境意出现，最早见之于唐代诗人、山水画家王唯的诗歌《桃源行》，即“平明闾巷扫花开，薄暮渔樵乘水入”。稍晚于王唯的杜甫《客至》一诗，也有“花径不曾缘客扫，蓬门今始为君开”的诗句。在中国经典名著《红楼梦》中，更是出现了大量与“扫花”有关的内容，如宝玉的小厮中，就有一个名叫“扫花”；黛玉扫花、葬花的故事，乃成千古绝唱（“君为海角百年身，我是天涯隔世尘。花事今春应已了，明年谁是扫花人”）；探春结海棠诗社所写的信笺中，亦有“若蒙棹雪而来，娣则扫花以待”之句。",[24,25,75,50,112,113,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519c5a2687584f8db68e0a93b491e7d4.jpg",[171,96],{"id":28348,"slug":28349,"title":28350,"dynasty":18,"author":28351,"museum":126,"description":28352,"tags":28353,"thumbUrl":28354,"material":95,"size":95,"collection":95,"collections":28355,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},236652,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236652","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,26,50,60,51,57,56,77,59,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eecc2f67a5185582e004eb2e8907616.jpg",[],{"id":28357,"slug":28358,"title":25777,"dynasty":18,"author":5660,"museum":126,"description":13924,"tags":28359,"thumbUrl":28360,"material":95,"size":95,"collection":95,"collections":28361,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},236581,"lan-mei-ce-wang-shi-shen-236581",[24,25,26,50,112,131,139,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ddf80ca4d2e53cd16cbdccfbc710c3.jpg",[],{"id":28363,"slug":28364,"title":20505,"dynasty":18,"author":20506,"museum":126,"description":20507,"tags":28365,"thumbUrl":28366,"material":1179,"size":20510,"collection":95,"collections":28367,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},236151,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236151",[24,25,26,27,111,113,51,1074,199,7,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb696297d6381471b6197b93f6a2b52.jpg",[],{"id":28369,"slug":28370,"title":5945,"dynasty":18,"author":2653,"museum":107,"description":16156,"tags":28371,"thumbUrl":28372,"material":751,"size":752,"collection":95,"collections":28373,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},236003,"hua-hui-tu-ce-hua-yan-236003",[24,25,26,27,29,30,238,239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2427aa512035cbb993a01c78f18877b.jpg",[],{"id":28375,"slug":28376,"title":28377,"dynasty":18,"author":28378,"museum":107,"description":28379,"tags":28380,"thumbUrl":28381,"material":95,"size":95,"collection":95,"collections":28382,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},235875,"cheng-cha-zhou-cheng-sui-235875","乘槎轴","程邃","此作用笔枯涩苍劲，以一隅之景写尽江天寥廓。近岸怪石槎桠、荒木萧疏，大片留白铺陈寒江，一扁舟随波独行，远景平峦以淡墨轻扫，恍如蜃气浮空。\n\n画幅左上题满诗文，金石质感的书法与简逸山水相映，诗画合璧，将幽人避世的襟怀融于尺幅。枯笔焦墨褪去妍丽，只留清寂淡然，似将尘嚣尽数隔绝于江外，独乘浮槎，与天地沧浪对晤，尽显冷逸超迈的出世之思。",[25,24,50,51,7,77,60,59,54,2293,115,57,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7604bb2aef552bc42153652a7bbcb7c5.jpg",[],{"id":28384,"slug":28385,"title":28386,"dynasty":45,"author":28387,"museum":107,"description":28388,"tags":28389,"thumbUrl":28390,"material":95,"size":95,"collection":95,"collections":28391,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},235844,"jin-shan-tu-ye-wang-gu-xiang-235844","金山图页","王谷祥","此作用笔极简，右侧设色清浅柔润，以青绿轻染江心孤丘，苍松错落覆于山巅，寥寥数笔点出江中片帆、汀渚小石，大幅留白铺陈出扬子江的空阔辽远，将金山浮于江心的缥缈灵秀尽数展现。\n\n左侧行书题跋笔意隽秀挺劲，文辞详述金山形胜，书画合璧，以文衬景，把江南名刹的烟水诗意娓娓道来，淡墨轻岚间藏着悠远清宁的山水逸情，尽显淡雅疏朗的文人审美意趣。",[24,25,4347,50,27,60,7,51,651,56,55,360,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c3a799516fa8158ff1c5f6ac466aec.jpg",[],{"id":28393,"slug":28394,"title":28395,"dynasty":45,"author":28396,"museum":107,"description":28397,"tags":28398,"thumbUrl":28399,"material":751,"size":752,"collection":95,"collections":28400,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},235804,"dai-yue-qin-gong-tu-shan-ye-chen-guan-235804","岱岳秦宫图扇页","陈祼","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。",[24,25,1250,50,113,1018,115,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615973fe61084cc687dbfa7a60947cfa.jpg",[],{"id":28402,"slug":28403,"title":25821,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":28404,"thumbUrl":28405,"material":751,"size":752,"collection":95,"collections":28406,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":40},235786,"shan-shui-shan-wen-jia-235786",[24,25,1250,50,59,51,52,53,133,132,56,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea2a9b91cd5486fbf9e952241e2334b.jpg",[],{"id":28408,"slug":28409,"title":28410,"dynasty":18,"author":6551,"museum":107,"description":12307,"tags":28411,"thumbUrl":28412,"material":751,"size":752,"collection":95,"collections":28413,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},235344,"fang-gu-shu-hua-ce-wang-jian-235344","仿古书画册",[24,25,26,27,50,51,52,53,55,56,57,58,7,77,59,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802836747d6adab8d34e77331c97266c.jpg",[],{"id":28415,"slug":28416,"title":28410,"dynasty":18,"author":6551,"museum":107,"description":12307,"tags":28417,"thumbUrl":28418,"material":751,"size":752,"collection":95,"collections":28419,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},235343,"fang-gu-shu-hua-ce-wang-jian-235343",[24,25,26,50,27,51,56,57,58,59,7,11284,473,704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6dadcd38fa9e4180ffab56f73e84d.jpg",[],{"id":28421,"slug":28422,"title":28410,"dynasty":18,"author":6551,"museum":107,"description":12307,"tags":28423,"thumbUrl":28424,"material":751,"size":752,"collection":95,"collections":28425,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},235341,"fang-gu-shu-hua-ce-wang-jian-235341",[92,24,25,26,50,51,56,57,59,77,7,473,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6a5ad5c33b451d9f6cc18c8e380981.jpg",[],{"id":28427,"slug":28428,"title":28410,"dynasty":18,"author":6551,"museum":107,"description":12307,"tags":28429,"thumbUrl":28430,"material":751,"size":752,"collection":95,"collections":28431,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},235338,"fang-gu-shu-hua-ce-wang-jian-235338",[24,92,25,26,27,50,59,60,7,51,52,53,115,251,56,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc233811ed793ba119337b4d341e256.jpg",[],{"id":28433,"slug":28434,"title":28435,"dynasty":45,"author":5463,"museum":126,"description":28436,"tags":28437,"thumbUrl":28438,"material":95,"size":95,"collection":95,"collections":28439,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},235014,"le-zhi-lun-gui-qu-lai-ci-shu-hua-ce-zhang-rui-tu-235014","乐志论归去来辞书画册","该书画册为纸本，共11页，书及款7。页，墨笔画4页。\n题签：张二水书画合璧精品，渔隐题签。印文：骏叔。\n绘画部分题识：（一）白毫庵，瑞图作。印文：无画氏。（二）白毫庵，图。印文：张瑞图印。（三）白毫庵，图。印文：瑞图。（四）白毫庵，图。印文：瑞图。每页均有题句，其中两页录《归去来辞》句，其书分别为行书《乐志论》及“果亭山人瑞图”款；行书“归去来辞”。\n该作主要是以元代大画家黄公望的画法画出的，骨格苍劲，点染清逸，用笔颇有灵气，画面上山石、树木、楼阁、村舍皆刻划严谨，画境富于古意。其画皆山水，用笔秀逸，各有意境，颇得生机。\n第一幅绘雾松图，用的都是黄公望画法，第二幅溪桥雾霁图，画树法与王铎相仿，第三幅溪岸图，中锋行笔，超凡脱俗，落墨沉重，凛然生气，第四幅雪山寒松图，以偏锋笔力，劲健横撑，耸肩方折，风骨摇醉，恰似 他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[24,25,26,50,51,55,56,53,59,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":28441,"slug":28442,"title":17988,"dynasty":18,"author":454,"museum":126,"description":17989,"tags":28443,"thumbUrl":28444,"material":1179,"size":17992,"collection":95,"collections":28445,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},234909,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234909",[24,25,26,27,1127,59,51,57,56,252,5721,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b62b1e5bd3d7a5f2f180e1ad3242ac.jpg",[],{"id":28447,"slug":28448,"title":28449,"dynasty":45,"author":9605,"museum":126,"description":9606,"tags":28450,"thumbUrl":28451,"material":488,"size":9609,"collection":95,"collections":28452,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},234815,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xi-yan-chi-tu-ye-wen-jia-234815","吴门诸家寿袁方斋三绝册-文嘉洗砚池图页",[24,25,26,27,7,51,113,1919,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F100d88eefd23d232afb913d921b8e093.jpg",[],{"id":28454,"slug":28455,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":28456,"thumbUrl":28457,"material":488,"size":95,"collection":95,"collections":28458,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},234766,"huang-shan-tu-ce-jiang-zhu-234766",[24,25,26,50,59,7,60,77,51,250,53,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a104026573d.jpg",[],{"id":28460,"slug":28461,"title":28462,"dynasty":18,"author":454,"museum":107,"description":28463,"tags":28464,"thumbUrl":28465,"material":751,"size":752,"collection":95,"collections":28466,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},234706,"gu-yun-wu-zhu-gao-shi-shan-mian-yi-ming-234706","顾沄梧竹高士扇面","此作以扇面为卷，绘就林泉幽居之景。浅淡笔墨晕染出水色空濛，茅亭临波，高士凭栏闲坐，似在静赏烟水林峦。梧竹葱茏伴山石朴拙，墨色清润秀雅，将山林的幽寂之气铺陈开来。\n题识小字错落排布，诗画相映，把文人寄情丘山、静享闲逸的心境尽数藏于尺幅之间。构图疏密相宜，亭台人物虽小巧却情态悠然，衬以苍茂竹木与朦胧水色，将江南林泉的清寂雅致融于咫尺扇面，尽显萧散出尘的文人意趣，以简淡笔墨勾勒出隐逸林下的悠然意境，尽显画中寄情林泉的悠远韵致。",[1250,50,27,129,113,1048,132,55,250,51,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb882582c71de5a9c47181782de4dcba1.jpg",[],{"id":28468,"slug":28469,"title":4167,"dynasty":18,"author":9615,"museum":107,"description":16783,"tags":28470,"thumbUrl":28471,"material":95,"size":95,"collection":95,"collections":28472,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},234642,"shan-shui-ce-cha-shi-biao-234642",[24,25,26,50,60,7,51,652,57,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd571a94f7c6223027c110d269704e0.jpg",[],{"id":28474,"slug":28475,"title":28476,"dynasty":45,"author":28477,"museum":126,"description":28478,"tags":28479,"thumbUrl":28480,"material":477,"size":28481,"collection":95,"collections":28482,"showCount":243,"zanCount":882,"manualWeight":39,"mainColor":40},234255,"lian-hua-lao-tu-juan-zhou-guan-234255","莲花落图卷","周官","周官，今江苏苏州人，生卒年不想，大约生活在明中期，善画人物，精于白描。画中后面的那个人个子较高，目盲，背着琵琶，由前面一人用一根细杆牵引；前面那个人正回顾后者，他身上搭着布包，屈腰前行。\n莲花落是一种流传于民间的说唱曲艺艺术。表演者位一人或多人，自说自唱，用以伴奏的乐器称为“七件子”，即右手执两片大竹板，左手执五片小竹板。莲花落，一作莲花乐，源于唐、五代时的“散花月”，最早位僧侣募化时所唱的宣传佛教教义的警世歌曲，宋代开始流行于民间，盛行于明清，大多为盲人表演。",[23,24,25,49,112,50,113,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c1d952ce2747d5d22f310a8a0a1e7a.jpg","纵22厘米 横42.7厘米",[],{"id":28484,"slug":28485,"title":3356,"dynasty":45,"author":744,"museum":107,"description":897,"tags":28486,"thumbUrl":28487,"material":95,"size":95,"collection":95,"collections":28488,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},234116,"shan-shui-tu-juan-tang-yin-234116",[24,25,49,27,59,60,7,77,51,54,53,55,116,115,250,52,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":28490,"slug":28491,"title":28492,"dynasty":18,"author":10031,"museum":126,"description":28493,"tags":28494,"thumbUrl":28495,"material":488,"size":28496,"collection":95,"collections":28497,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},233377,"hua-shen-lin-yuan-feng-shan-diao-tu-zhou-xu-gu-233377","画沈麟元篈山钓徒轴","图绘梅鹤双清之景。茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。",[24,25,75,50,27,113,51,250,53,1752,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec751d2727b05081fc4bed5c706e39f4.jpg","纵248.7厘米，横121.1厘米",[],{"id":28499,"slug":28500,"title":4167,"dynasty":179,"author":2389,"museum":126,"description":10848,"tags":28501,"thumbUrl":28502,"material":488,"size":10851,"collection":95,"collections":28503,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},233173,"shan-shui-ce-cao-zhi-bai-233173",[24,25,26,50,59,51,1018,57,11404,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b101776022611c4f83a7a7affa75b39.jpg",[],{"id":28505,"slug":28506,"title":28507,"dynasty":45,"author":46,"museum":126,"description":28508,"tags":28509,"thumbUrl":28510,"material":8265,"size":28511,"collection":95,"collections":28512,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},233137,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xin-guo-tu-ye-shen-zhou-233137","明人西山胜景合壁册-新郭图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,26,50,51,52,53,58,56,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f3bdabed4bfe76d9c471868a7a47b2.jpg","纵22.8cm，横33.2cm",[],{"id":28514,"slug":28515,"title":28516,"dynasty":18,"author":22277,"museum":107,"description":28517,"tags":28518,"thumbUrl":28519,"material":95,"size":95,"collection":95,"collections":28520,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},232857,"lin-ma-gu-xuan-zi-tan-yan-kai-232857","临麻姑选字","谭延闿（1876年-1930年），字组庵，湖南茶陵县人，1876年生，是中国现代史上的风云人物，1904年中进士、他二十八岁点翰林，授翰林院编修，后与时偕行，支持立宪；辛亥鼎革，又赞成革命，追随孙中山，后与汪精卫合作，又与蒋介石结盟，直至逝世。且广交游，有“药中甘草”之誉；能治军，曾多次领军征讨，有“翰林将军”之称；善书法，为民国颜体第一人，时人以得其只字片纸为荣；喜吟咏，著有《祖盦诗集》、《慈卫室诗草》、《祖盦诗稿》等。故颇值得一书。\n谭延闿的书法师鲁公，其楷书点如坠石，画如夏云，钩如屈金，戈如发弩，竖画多用悬针法，起笔沉着稳重，顿挫有力，使人感到貌丰骨劲，味厚神藏。一洗清初书坛姿媚之态，所不足者，少自家面目。其行书功深厚，变化灵巧，笔笔中锋，笔锋于纸能藏锋力透，有大气磅礴之势。于右任先生每论时人书法时必曰：“谭祖安是有真本领的。”马宗霍评其书云：“祖安早岁仿刘石庵，中年专意钱南园、翁松禅两家，晚参米南宫，骨力雄厚，可谓健笔。”他的行书是将刘石庵与钱南园相互熔于一炉。其点画之丰满圆润、挥洒从容乃似石庵，而浑健苍劲，体势阔疏朗，气势夺人处又似南园。谭延闿是进士出身，入翰林院，有很高的学养。能巧妙地从前人书中吸收营养，从而形成了自己宽博温厚、含蕴性灵、雄健开阔的韵致。此谓百学不能至也。",[2135,199,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6295e6928d0f2d5cae5d1d07b857066.jpg",[],{"id":28522,"slug":28523,"title":28524,"dynasty":18,"author":454,"museum":107,"description":24917,"tags":28525,"thumbUrl":28526,"material":95,"size":95,"collection":95,"collections":28527,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},232795,"zhuan-shu-shi-gu-wen-yi-ming-232795","篆书石鼓文",[457,198,7,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2125d5506b811196a7328912ad9d59f.jpg",[],{"id":28529,"slug":28530,"title":28531,"dynasty":18,"author":4686,"museum":126,"description":28532,"tags":28533,"thumbUrl":28534,"material":312,"size":28535,"collection":95,"collections":28536,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},232786,"zhuan-shu-nao-ge-zhao-zhi-qian-232786","篆书铙歌","据自题知此册书于同治三年（1864年），时赵之谦35岁，当是其早年书风初成时期的作品。另从题语分析，此册应是其为习书弟子所书范本，与《许氏说文叙》册属同一性质作品。此册用汉篆法，又有隶书笔法融汇其中，起笔处多方隽，复具魏碑书法特色，由此可见赵氏书法融铸古今、各体杂揉、终为己用的独特书法面貌。结字略长，中锋用笔，沉实厚重，精气内敛，是赵之谦篆书代表作之一。\n释文：上之回所中溢夏将至行将北以承曰泉宫寒暑德游石关望诸国月支臣匈奴服令从百官疾驱驰千秋万岁乐无极 上陵何美美下津风以寒问客何从来言从水中央桂树爲君船青丝爲君笮木兰爲君棹黄金错其间沧海之雀赤翅鸿白雁随山林乍开乍合曾不知日月明醴泉之水光泽何蔚蔚芝爲车龙爲马览遨游四海外曰露 初二年芝生铜池中仙人下来饮延寿千万岁 远如期益如寿处天左侧大乐万与天无极雅乐陈佳哉纷单于自归动如惊心虞心大佳万人还来谒者引卿殿陈累世未尝闻之曾寿万岁亦诚哉汉铙歌三章\n同治甲子六月爲遂生书篆法非以此爲正宗惟此种可悟四体书合处宜默会之无闷",[2135,457,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a63302c7afe2ff9c21adb49ba42e790.jpg","纵32.5cm，横36.8cm",[],{"id":28538,"slug":28539,"title":28540,"dynasty":18,"author":1209,"museum":107,"description":28541,"tags":28542,"thumbUrl":28545,"material":95,"size":95,"collection":95,"collections":28546,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},232686,"shuang-feng-cha-yun-kang-you-wei-232686","双峰插云","康有为（1858年3月19日－1927年3月31日），清末维新变法派主要发起者，原名祖诒，字广厦，号长素，又号明夷、更生、西樵山人、游存叟、天游化人，广东省南海县丹灶苏村人，人称康南海，光绪廿一年（1895年）进士，曾与弟子梁启超合作戊戌变法，又称百日维新，变法失败后，被慈禧太后通缉而出逃。1912年宣统退位后，康有为继续反对共和，1917年曾与张勋合作，发动兵变，拥立宣统帝，是为张勋复辟，但十二日之内就被段祺瑞讨平。1927年在一场宴会后病逝。",[23,7,60,3479,77,28543,28544],"浓墨","笔触粗犷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f896b0bf2259d73b0c3bbfedecf966d.jpg",[],{"id":28548,"slug":28549,"title":28550,"dynasty":18,"author":6275,"museum":107,"description":23957,"tags":28551,"thumbUrl":28552,"material":312,"size":95,"collection":95,"collections":28553,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},232682,"shu-fa-jing-xin-zi-pian-hong-yi-fa-shi-232682","书法镜心字片",[23,7,60,77,1391,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154017fbfcfd27fad10c3f3d930f62f.jpg",[],{"id":28555,"slug":28556,"title":28557,"dynasty":8749,"author":454,"museum":107,"description":28558,"tags":28559,"thumbUrl":28560,"material":751,"size":752,"collection":95,"collections":28561,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},231800,"ri-ben-jiang-hu-shi-qi-shu-fa-shou-juan-yi-ming-231800","日本江户时期书法手卷","此手卷分两幅书作，浅米黄笺上行书俊朗舒展，笔势圆劲温润，结体端雅秀逸，将题画诗意蕴融于笔锋流转之间。另一幅仿古褐笺书迹，用笔朴拙凝练，字距排布疏朗萧散，墨色沉凝清润。\n整体师法晋唐行书意趣，兼具东瀛书家的雅致审美，既有中式文人题咏的书卷清气，又暗含和风书道融合的独特质感，笔墨间尽显林下高逸之姿，把诗文文思与书法韵致合而为一，尽显文人意趣与书法美学的绝妙契合。",[23,7,60,77,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71df2ea31ac493198f59a0e262a45eae.jpg",[],{"id":28563,"slug":28564,"title":28565,"dynasty":8749,"author":28566,"museum":107,"description":28567,"tags":28568,"thumbUrl":28570,"material":95,"size":95,"collection":95,"collections":28571,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},231759,"huang-jing-tu-shou-gao-li-zhou-yi-teng-gui-jie-231759","黄精图手稿立轴","伊藤圭介","此作用色清浅柔润，淡绿晕染黄精修长茎干与舒展叶片，将草木舒展的天然意态细腻铺陈，叶片虽未细勾脉络却生机自显。右侧以淡墨轻描黄精素花，雅致恬淡。\n\n画面配搭题跋书法，笔意清隽，书画相映，兼具本草写生的严谨与文人雅趣，笔墨克制简净，带着温婉静穆的格调，将寻常本草绘出雅致意韵，文画相衬间尽显冲淡平和的写生之美。",[23,24,25,75,27,111,112,28569,77,7],"黄精","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd54c43f2fd846dd0981ff954e5ce586.jpg",[],{"id":28573,"slug":28574,"title":28575,"dynasty":8749,"author":28576,"museum":107,"description":28577,"tags":28578,"thumbUrl":28579,"material":751,"size":752,"collection":95,"collections":28580,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},231720,"ri-ben-lian-cang-shi-dai-di-qi-juan-juan-ben-fa-yan-yuan-yi-231720","日本镰仓时代 第七卷绢本","法眼圆伊","这幅绘卷诗画合璧，河川乡野铺展为鲜活舞台，左侧楼阁雅集、河滨行旅络绎，右侧町外农舍间，田垄劳作、涉水救难的日常图景一一铺陈，尽显俗世百态。\n\n古雅沉郁的绢本底色上，朴拙生动的线条勾勒出鲜活的世相烟火气，中段的和歌文书串联起浮生情爱与幽微思绪，将市井悲欢、乡野闲情与文学意趣交织，让画面叙事与文字共情融为一体，带着旧物的岁月温度，静静诉说着中古日常的细腻况味。",[23,184,49,27,111,113,51,553,9190,268,1074,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726c0e520b1bd318e1fa83179658cdaf.jpg",[],{"id":28582,"slug":28583,"title":28584,"dynasty":18,"author":7664,"museum":107,"description":28585,"tags":28586,"thumbUrl":28587,"material":95,"size":95,"collection":95,"collections":28588,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},230888,"hua-hui-tu-huang-shen-230888","花卉图","此作以书入画，笔墨淋漓放旷。起首牡丹以淡墨晕瓣、浓墨点苔，脱尽艳俗，尽显清妍雍容。转而绘荷与水仙，老辣纵逸的笔法勾花叶枯荣俯仰，以枯湿浓淡尽显花木生姿，删繁就简，形神兼得。\n\n通卷穿插狂草题诗，书法与绘事相融无间，笔势奇崛跌宕，笔墨风神互通，将诗书画印合一的文人意趣尽致挥洒，一扫拘谨匠气。纵横挥洒间，花木清雅与狂放文心浑然一体，处处皆是超逸不羁的意气，尽显疏野纵宕的大写意气度，把文人画的洒脱风骨寄寓于一花一叶之中。",[23,24,25,49,50,60,398,7,77,29,134,135,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff735c9e73f19409ab108e9dd0254b44d.jpg",[],{"id":28590,"slug":28591,"title":28592,"dynasty":179,"author":28593,"museum":107,"description":28594,"tags":28595,"thumbUrl":28596,"material":95,"size":95,"collection":95,"collections":28597,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},230876,"mo-lan-ting-xu-tie-lu-ji-shan-230876","摹兰亭叙帖","陆继善","此作用笔温润秀劲，结体端雅和融，将兰亭萧散简远的魏晋风神复刻传神。字字牵丝映带，气息悠然连贯，既恪守原作笔法骨架，又自蕴元人尚韵的温润气质。\n\n后附题跋笔意苍秀沉稳，评此摹本足胜世传唐摹，足见作者临池功力精湛。整卷以行书成篇，虽为临摹之作，却自具清雅隽永的书卷意蕴，尽显追慕晋唐、崇尚古法的风尚，笔底藏晋人疏朗散淡的林下之风，墨间晕染元人温润雅致的书卷气息，雅致动人。",[7,60,110,77,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28cad6443a91a4dd24e603cf0928363.jpg",[],{"id":28599,"slug":28600,"title":28601,"dynasty":18,"author":25686,"museum":107,"description":28602,"tags":28603,"thumbUrl":28604,"material":95,"size":95,"collection":95,"collections":28605,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},230861,"lin-yan-zhen-qing-zheng-zuo-wei-tie-zhang-zhao-230861","临颜真卿争座位帖","此作用笔沉实厚重，尽得原作宽博开张的风神，墨色浓枯相映，章法错落自然。将原作的凛然正气，融以自身妍丽灵动的笔意，既有原作风骨里的雄浑豪迈，又带着端稳雅致的意趣。字里行间刚劲洒脱，把原作沉郁的气度化入笔底，临古却不泥古，循守古法之外自出机杼，尽显帖学临古的精妙意趣，笔墨间满是刚劲洒脱的风神。",[25,7,110,60,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ef0f3ca30d0cf598235f4bd246e0c6.jpg",[],{"id":28607,"slug":28608,"title":28609,"dynasty":18,"author":6275,"museum":107,"description":10347,"tags":28610,"thumbUrl":28611,"material":751,"size":752,"collection":95,"collections":28612,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":789},230262,"xing-shu-ping-hong-yi-fa-shi-230262","行书屏",[23,25,7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b95c1c2c8e73c2f6380e9891c18569.jpg",[],{"id":28614,"slug":28615,"title":28616,"dynasty":18,"author":28617,"museum":107,"description":28618,"tags":28619,"thumbUrl":28620,"material":95,"size":95,"collection":95,"collections":28621,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,24,25,75,50,59,51,3174,52,53,56,57,58,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":28623,"slug":28624,"title":28625,"dynasty":45,"author":28626,"museum":107,"description":28627,"tags":28628,"thumbUrl":28629,"material":751,"size":752,"collection":95,"collections":28630,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},228907,"de-qu-zai-ren-ce-wang-zhong-228907","得趣在人册","汪中","汪中（1744—1794年），字容甫，江都（今属江苏扬州）人，祖籍安徽歙县。清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[4038,7,25,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345e2f2c7cfec8f947c3d06c4c8a3e5.jpg",[],{"id":28632,"slug":28633,"title":75,"dynasty":45,"author":19108,"museum":107,"description":28634,"tags":28635,"thumbUrl":28636,"material":95,"size":95,"collection":95,"collections":28637,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},228768,"li-zhou-ni-yuan-lu-228768","此作笔力雄肆奇崛，纵宕老辣，尽显晚明尚新的书法风骨。行笔斩截爽利，线条粗细腾挪跳荡，枯墨苍劲斑驳，润墨沉凝厚重，视觉张力饱满。\n\n字势欹侧错落，章法大开大合，牵丝映带间行气贯通流畅。奇拙刚劲的笔致，将诗中疏狂放达的饮酒快意尽数相融，把文人磊落狷介的襟怀诉诸笔端，跳脱了传统帖学的甜熟柔媚，以雄朴硬朗的意趣，尽显独异的艺术格调，心性与笔墨完美合一，是极具代表性的晚明行书精品。",[23,7,60,398,75,77,2602,26781,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6162d85078997d91f1626475259f0f57.jpg",[],{"id":28639,"slug":28640,"title":28641,"dynasty":45,"author":28642,"museum":107,"description":28643,"tags":28644,"thumbUrl":28646,"material":95,"size":95,"collection":95,"collections":28647,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,24,25,4347,27,50,60,77,7,51,651,1677,652,58,28645,59,2219],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":28649,"slug":28650,"title":28651,"dynasty":179,"author":454,"museum":72,"description":28652,"tags":28653,"thumbUrl":28654,"material":682,"size":95,"collection":95,"collections":28655,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[23,24,25,49,111,27,7,77,113,56,57,360,268,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":28657,"slug":28658,"title":12494,"dynasty":88,"author":3870,"museum":107,"description":28659,"tags":28660,"thumbUrl":28661,"material":95,"size":95,"collection":95,"collections":28662,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},228169,"xi-cheng-tu-juan-qiao-zhong-chang-228169","这擘窠大字笔力雄强苍劲，中锋行笔尽显厚重质感，墨色枯润互见，焦墨的沉凝与飞白的疏朗交织，尽显老辣朴拙的笔意。“西”字端稳周正，收束内敛，“成”字欹侧跌宕，肆意开张，一动一静间暗合尚意的书法风神。\n\n将秋收的沉实喜悦寄于笔墨，寥寥两字气象浑穆，把丰年的安稳厚重藏于笔锋起落之间，尽显功底与文人笔下的质朴意趣。",[92,24,25,49,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c7089484860a26da93e367d54fd451.jpg",[],{"id":28664,"slug":28665,"title":28666,"dynasty":179,"author":14445,"museum":107,"description":28667,"tags":28668,"thumbUrl":28669,"material":95,"size":95,"collection":95,"collections":28670,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},228048,"shu-qi-yan-lv-shi-san-shou-rao-jie-228048","书七言律诗三首","通篇笔墨酣畅率意，结体欹正相生。行笔温润中不失奇崛开张，牵丝映带尽显书写时的灵动思绪，笔画粗细随文势缓急自然变换，将诗作意境与笔意相融。字态各具姿态，统摄于舒朗章法之中，既带有元代书法尚态重韵的共性，又自出机杼，将文人诗韵与书法意趣完美结合，笔墨间尽显书家潇散出尘的心境，让观者在品读字迹时，亦可窥见挥毫时的快意自在，尽显元末文人放达的笔墨风流。",[3477,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3381db1a59a8d075b1a4d66507215bc.jpg",[],{"id":28672,"slug":28673,"title":28674,"dynasty":88,"author":454,"museum":107,"description":28675,"tags":28676,"thumbUrl":28677,"material":95,"size":95,"collection":95,"collections":28678,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},227919,"dan-ping-qiu-hui-tu-ye-yi-ming-227919","胆瓶秋卉图页","《宋扇面画胆瓶秋卉图》是宋代佚名画家创作的一幅设色扇面画，现藏于 。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,92,24,25,26,111,27,29,140,834,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":28680,"slug":28681,"title":28682,"dynasty":88,"author":308,"museum":107,"description":28683,"tags":28684,"thumbUrl":28685,"material":95,"size":95,"collection":95,"collections":28686,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},227502,"xin-sui-zhan-qing-ren-lai-de-shu-tie-he-juan-su-shi-227502","新岁展庆.人来得书帖合卷","《新岁展庆、人来得书帖》合卷，北宋，苏轼书，纸本，行书，前帖纵30.2厘米，横48.8厘米，后帖纵29.5厘米，横45.1厘米。\n《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[23,7,60,49,77,200,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233edbd97200e5b0efe464964aa1c7a3.jpg",[],{"id":28688,"slug":28689,"title":28690,"dynasty":162,"author":454,"museum":107,"description":28691,"tags":28692,"thumbUrl":28693,"material":751,"size":752,"collection":95,"collections":28694,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},227128,"ding-hui-chan-shi-bei-yi-ming-227128","定慧禅师碑","诚悬书碑皆建初刻字，是碑亦建初所刻，故予前跋谓不得以柳书邵刻拟之。意实云柳书虽多出邵刻，然不得因此碑为邵刻，且似柳书，遂以为柳书也。语意稍晦，恐滋后人之疑，特再释之。集王金刚经亦邵建初所刻，传本极少，人鲜知者，附识于此。",[7,198,199,878,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177d501d10c36509867540aaf8e9219b.jpg",[],{"id":28696,"slug":28697,"title":28698,"dynasty":3087,"author":454,"museum":107,"description":28699,"tags":28700,"thumbUrl":28701,"material":95,"size":95,"collection":95,"collections":28702,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},227063,"bei-zhou-zhang-sun-jun-qi-luo-shi-mu-zhi-ming-yi-ming-227063","北周长孙君妻罗氏墓志铭","长孙稚在寿春任扬州刺史时，长孙绍远时年十三。他记忆力惊人，有人拿《礼记月令》测试他，他只看一遍，马上背诵如流，被人所叹服。解褐司徒府参军事，除给事中直。后随父征讨河东、蜀、薛有功，封东阿县伯。\n\n魏孝武帝西奔长安投靠宇文泰，长孙绍远与父亲兄弟跟随，大统元年，孝武帝即位后，转冠军将军，朱衣直阁，尝食典御，安城县侯，邑九百户。后拜司徒右长史，加车骑，太常卿。大统二年拜中书令，俄而袭父爵上党王，后例降为冯翊郡公。历任过四曹尚书，仪同三司，置佐开府散骑常侍、侍中，加骠骑，大行台，录尚书。\n\n北周建立后，设立六官，长孙绍远任大司乐，随即改任礼部中大夫，复封上党郡公。寻拜京兆尹，历少保、小司空，出为河州刺史。政存简恕，百姓悦服。入为小宗伯。保定五年（565年）夏在泾州赵平乡去世，年六十[1]。周武帝下诏追赠柱国大将军，郏、中、熊、邵、义五州诸军事，郏州刺史，谥曰献。长孙绍远精通礼乐，才华横溢，号称乐祖，死后配飨庙庭（入太庙共享祭祀）。有子长孙览。",[198,199,7,1614,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ef32adb08d58e827bec67dde8566d.jpg",[],{"id":28704,"slug":28705,"title":28706,"dynasty":105,"author":637,"museum":107,"description":1368,"tags":28707,"thumbUrl":28708,"material":751,"size":752,"collection":95,"collections":28709,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},227055,"wu-gang-tie-wang-xi-zhi-227055","武冈帖",[10082,7,398,198,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f96d3efea2032c08ab369d9bde6808b.jpg",[],{"id":28711,"slug":28712,"title":28713,"dynasty":88,"author":24958,"museum":107,"description":24959,"tags":28714,"thumbUrl":28715,"material":751,"size":752,"collection":95,"collections":28716,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},225292,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-225292","金刚般若経开题残巻",[23,25,49,7,386,60,2601,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f5c9eb7296272356e65989911badcc.jpg",[],{"id":28718,"slug":28719,"title":28720,"dynasty":18,"author":28721,"museum":107,"description":28722,"tags":28723,"thumbUrl":28724,"material":95,"size":95,"collection":95,"collections":28725,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","萧晨","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[23,24,25,49,27,51,115,52,797,7,77,111,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":28727,"slug":28728,"title":28729,"dynasty":18,"author":5196,"museum":107,"description":28730,"tags":28731,"thumbUrl":28732,"material":751,"size":752,"collection":95,"collections":28733,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":789},224360,"qing-yong-xing-fu-shuo-ba-ji-xiang-jing-ce-ai-xin-jue-luo-yong-xing-224360","清永瑆佛说八吉祥经册","《佛说八吉祥经》乃佛教经典，内容述说东方八佛之名号（即“八吉祥”），以及持诵此诸佛名号和此经之功德利益。",[23,25,878,26,7,386,199,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700314aef392bbe1b78d5ae30d511efc.jpg",[],{"id":28735,"slug":28736,"title":28737,"dynasty":18,"author":6662,"museum":107,"description":28738,"tags":28739,"thumbUrl":28740,"material":95,"size":95,"collection":95,"collections":28741,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[23,24,92,25,26,27,60,77,7,29,5947,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":28743,"slug":28744,"title":28745,"dynasty":18,"author":6662,"museum":107,"description":28746,"tags":28747,"thumbUrl":28748,"material":95,"size":95,"collection":95,"collections":28749,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},224326,"hua-niao-shi-er-kai-4-li-shan-224326","花鸟十二开4","此作以紫藤栖禽入画，错落布置藤蔓花枝，枯藤蜿蜒承托禽鸟，疏密相生。禽鸟以淡赭晕染翎羽，笔触松灵，将茸毛蓬松质感尽显，朱喙圆目，神采机敏生动。紫藤花色清雅柔淡，紫花白蕊垂悬，墨色枝蔓苍劲写意，尽显花木舒展之姿。画面右侧题诗相伴，诗画相融，尽显文人写意的萧散野趣。笔意简逸却神完气足，将花鸟天然野逸之态生动勾勒，淡冶疏朗间尽显写意花鸟的韵致悠长。",[23,24,25,26,129,27,50,29,116,6710,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98fe5b0a0d5e0edbe0f54985d9a40440.jpg",[],{"id":28751,"slug":28752,"title":28753,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":28754,"thumbUrl":28755,"material":751,"size":752,"collection":95,"collections":28756,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},224287,"lin-ge-tie-fu-shan-224287","临阁帖",[23,7,398,110,75,77,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b00119cc30f6fed906fc16545f664b9.jpg",[],{"id":28758,"slug":28759,"title":95,"dynasty":18,"author":830,"museum":107,"description":28760,"tags":28761,"thumbUrl":28762,"material":95,"size":95,"collection":95,"collections":28763,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},224213,"wu-chang-shuo-224213","此联以石鼓文为宗，线条雄强苍劲，裹纳金石沉厚质感，字形欹正相生，不刻意求匀齐，自带着烂漫古拙的野趣。起收藏露互见，转折圆劲老辣，将金文的沉雄与草书的跌宕意趣相融，笔墨间苍茫朴野，浑穆高古。\n\n上下联排布疏朗错落，左侧小字题款与主体篆字形成虚实对比，右侧长款呼应平衡全局，整体章法灵动又不失庄重，尽显浑朴高华的宗师气象，把篆籀古意与文人意趣完美糅合，笔底自带斑驳岁月淬炼出的金石韵味。",[23,24,25,7,457,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc0d298aa4ede4233ec14b2303c93d6.jpg",[],{"id":28765,"slug":28766,"title":28767,"dynasty":1609,"author":454,"museum":107,"description":15299,"tags":28768,"thumbUrl":28769,"material":751,"size":752,"collection":95,"collections":28770,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},223997,"jia-jing-mu-tuo-fu-jian-yi-ming-223997","佳镜木托附件",[1612,19026,7713,7,457,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704b38f6ddcffb14cdab3b7f77e556ae.jpg",[],{"id":28772,"slug":28773,"title":28774,"dynasty":162,"author":454,"museum":107,"description":28775,"tags":28776,"thumbUrl":28777,"material":95,"size":95,"collection":95,"collections":28778,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},223599,"jie-shi-diao-you-lan-yi-ming-223599","碣石调•幽兰","这是存世最古的琴曲谱本，以工整秀雅的小楷誊录，通篇排满细密的减字谱。泛黄纸页晕开淡旧墨色，岁月痕迹爬满卷端，却未曾湮没笔底沉静温雅的唐人书法气度。\n\n笔锋凝练端稳，将古曲韵律藏在笔墨方寸间，它既是精妙的书法小品，更是承载千年雅乐的珍贵遗存，让后人得以触摸中古琴音的风雅脉络，墨色虽有晕散斑驳，却依旧清晰留存着千年前的琴音密码，尽显古卷的厚重底蕴。",[23,7,199,49,386,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3389e51e1f3889b30701c9ff2a3005fa.jpg",[],{"id":28780,"slug":28781,"title":21735,"dynasty":88,"author":454,"museum":126,"description":28782,"tags":28783,"thumbUrl":28784,"material":784,"size":28785,"collection":95,"collections":28786,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},223487,"wu-hua-guo-tu-yi-ming-223487","图中无花果已然成熟，撑开绿萼露出了果实。此图以中锋行笔，淡墨勾勒，线条细劲流畅，显现出画家以线塑形的娴熟功底。叶片色彩的渲染则是先在叶尾部着以墨绿，再用清水将绿色向叶尖晕开，不仅呈现出浓淡有致的色泽变化，且枝叶的鲜活姿态也得以表现。含苞者敷以石绿色，绽开者用白粉染出，清浅的绿色构成画面的主调，体现出宋人花鸟画淡雅清逸的美学品格。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[23,92,24,25,1250,111,27,7,77,21738,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf14fa0588646d6b234f3cb52b18fc.jpg","纵24.8厘米，横25.3厘米",[],{"id":28788,"slug":28789,"title":28790,"dynasty":88,"author":454,"museum":107,"description":28791,"tags":28792,"thumbUrl":28793,"material":312,"size":95,"collection":96,"collections":28794,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},223371,"lan-ting-ba-zhu-di-er-mi-ti-shi-ben-yi-ming-223371","兰亭八柱第二米题诗本","《米芾诗题本》旧传为唐代褚遂良所摹，因卷前项元汴标题“褚摹王羲之兰亭帖”而被简称为“褚摹兰亭”，但这种说法未必正确。有人认为该卷是北宋摹本。清代卞永誉在题跋中肯定此卷是临本而非摹本，但仍认为出自褚遂良手笔。",[23,25,49,60,77,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd40294b9307954a81a1c3c7c6091cf.jpg",[96],{"id":28796,"slug":28797,"title":28798,"dynasty":18,"author":2183,"museum":72,"description":28799,"tags":28800,"thumbUrl":28801,"material":27,"size":20052,"collection":95,"collections":28802,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},223324,"zhang-xing-shen-ding-guan-peng-223324","张星神","丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响， [1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,25,49,111,27,878,113,798,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33462f506791dea193935fc09761881f.jpg",[],{"id":28804,"slug":28805,"title":28806,"dynasty":18,"author":2183,"museum":2171,"description":28807,"tags":28808,"thumbUrl":28811,"material":488,"size":28812,"collection":95,"collections":28813,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},223307,"fa-jie-yuan-liu-tu-juan-12-ding-guan-peng-223307","法界源流图卷-12","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,24,49,27,111,878,113,1200,77,7,28809,28810,167,26051],"法器","宝幢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83a4c1cdf24d4bae36e8d4954c5d790.jpg","纵33厘米、横1635厘米",[],{"id":28815,"slug":28816,"title":22364,"dynasty":45,"author":4300,"museum":107,"description":5892,"tags":28817,"thumbUrl":28818,"material":312,"size":28819,"collection":95,"collections":28820,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},222551,"shu-shan-ye-chen-chun-222551",[23,1250,7,398,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F045f225745b34c41869dde4bad7afc52.jpg","38x53厘米",[],{"id":28822,"slug":28823,"title":28824,"dynasty":45,"author":5386,"museum":107,"description":7421,"tags":28825,"thumbUrl":28826,"material":95,"size":95,"collection":95,"collections":28827,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},222317,"li-tai-bai-shi-juan-wang-chong-222317","李太白诗卷",[23,7,49,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64a35eca0b0bf3d85fc8155527e42dc.jpg",[],{"id":28829,"slug":28830,"title":28831,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":28832,"thumbUrl":28833,"material":682,"size":7424,"collection":95,"collections":28834,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":23752},222248,"nan-hua-zhen-jing-1-wang-chong-222248","南华真经1",[23,25,7,386,60,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131a05b83f3562bf28b40439e58b8b4f.jpg",[],{"id":28836,"slug":28837,"title":28838,"dynasty":45,"author":13407,"museum":72,"description":28839,"tags":28840,"thumbUrl":28841,"material":28842,"size":28843,"collection":95,"collections":28844,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},222157,"yi-shang-shou-shu-li-zai-222157","圯上授书","《明李在圯上授书图》描绘秦末张良得黄石公传授兵法的故事。张良曾闲步桥上，遇一老人故意将鞋丢到桥下，要求张良为他拾回并穿上。\n创作背景:良敬其老，勉强为之，老人微笑，去而复返，要求张良于五日后破晓时再会于该地。良依约前往，老人已先在，并怒斥他迟到为无礼。如是者三，良不断提前到，终于比老人早，老人喜，送他一册《太公兵法》，要他好好研读。谦抑敬老的张良得此秘笈，终能辅佐刘邦成其灭秦兴汉的开国霸业。",[23,24,25,26,50,111,59,113,51,250,56,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe160dab41e57c4aaf24743efdd630a9a.jpg","册页、册之第十六开、绢本、水墨","纵24.8cm、横26.5cm",[],{"id":28846,"slug":28847,"title":28848,"dynasty":45,"author":342,"museum":107,"description":28849,"tags":28850,"thumbUrl":28851,"material":1646,"size":11939,"collection":95,"collections":28852,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},222005,"li-chun-jin-he-tie-you-ming-zi-zuo-shi-juan-wen-zheng-ming-222005","立春进贺贴又名自作诗卷","释文：\n立春进贺。\n王殿千官拜冕旒，紫衣京兆在前头。四时盛德初临木，先日严寒已送牛。气转苍龙当法驾，风回明庶动宸游。圣王和令思行庆，次第颁恩下九州。恭候大驾还自南郊。圣主回銮肃百灵，紫云团盖翼苍精。属车剑履星辰丽，先驾旂常日月明。十里春风传警跸，万方和气协韶韺。白头欣睹朝元盛，愿续思文颂太平。\n元旦朝贺。\n仙音缥缈协和鸾，天上春回白玉栏。日出鸡人徐唱卯，雪消风伯为驱寒。万方玉帛看王会，一岁仪文重履端。满日升平题不得，白头惭愧直金銮。内直有感。天上楼台白玉堂，白头来作秘书郎。退朝每傍花枝入，■直遥闻刻漏长。铃索萧闲青琐静，词头烂熳紫泥香。野人不识瀛洲乐，清梦依然在故乡。\n款识：徵明。",[23,49,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e40eadee9a0e5078b69cea7f950dff.jpg",[],{"id":28854,"slug":28855,"title":28856,"dynasty":179,"author":28857,"museum":72,"description":28858,"tags":28859,"thumbUrl":28860,"material":682,"size":17648,"collection":96,"collections":28861,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},221809,"shu-mo-fa-si-shou-wu-zhi-chun-221809","书墨法四首","吴志淳","释文：墨法四首录上。南谷师一笑。吴志淳。久知墨诀在丹丘。子独来从逐客求。雾冷歙山春隐豹。月沉易水夜藏虬。鳞胶万杵应难制。松骨千年不易收。太史名家有遗谱。更须归向阿戎谋。谪居认病已无闻。袖出绫编喜见君。天上图书应奎璧。人间珠玉在诗文。墨铭拟问唐司户。书法还求晋右军。若就龙香千百片。临池能换白鹅群。乌玦流传出李家。后人涂抹已尘沙。括囊手剔千金直。秘阁神方百世夸。玉法试论无杜甫。玄经酷好有侯芭。工成进上蓬莱殿。五色寒光动晓霞。千里担簦走朔风。免冠接语恨匆匆。却闻作客依刘表。共说从师须马融。山路逢梅寒载酒。晴江待月夜归篷。将诗为问黄司马。茆屋还过访巳公。",[23,3477,7,25,60,385,312,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab68cf5dccb4a5178eede475dbe99ca.jpg",[96],{"id":28863,"slug":28864,"title":28865,"dynasty":179,"author":10934,"museum":126,"description":28866,"tags":28867,"thumbUrl":28868,"material":95,"size":95,"collection":95,"collections":28869,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},221686,"bao-shan-shi-jing-ce-xian-yu-shu-221686","包山十景册","此作用笔以中锋为主，力透纸背，兼具晋人草书的萧散与北地书家的雄豪气象。行笔间牵丝映带自然圆活，字势欹正相生，开合之间颇具章法韵律。墨色枯湿浓淡交替变幻，时而饱满沉厚，时而飞白劲健，让整幅作品跌宕起伏，尽显抒情写意之姿。将诗文意境融于笔墨之中，笔力纵肆却不失法度，字字呼应、行气贯通，把胸中意气与笔底风华相融，尽显行草书法的纵横捭阖之美，尽显尚意抒怀的草书佳构之姿。",[25,7,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6edaed60fb6edb7770e81d0eae80b1.jpg",[],{"id":28871,"slug":28872,"title":28873,"dynasty":88,"author":28874,"museum":126,"description":28875,"tags":28876,"thumbUrl":28877,"material":591,"size":28878,"collection":171,"collections":28879,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},221497,"mu-niu-tu-juan-mao-yi-221497","牧牛图卷","毛益","牧牛图卷描绘烟柳平丘、牧童牧牛之生动情景，造型准确，用笔简率，款署“毛益画”三字，似为后添款。",[23,3701,24,25,49,50,111,7,797,113,51,56,6228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc508d5f86d0d8ce62bf271bbf921ecf.jpg","纵26.2厘米 横73厘米",[171],{"id":28881,"slug":28882,"title":28883,"dynasty":88,"author":6022,"museum":648,"description":28884,"tags":28885,"thumbUrl":28886,"material":784,"size":28887,"collection":95,"collections":28888,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},221454,"lu-song-san-pian-ma-he-zhi-221454","鲁颂三篇","《鲁颂三篇》分别为《閟宫》、《駉》和《有駜》，缺少《鲁颂》中的第四篇《泮水》，《駉》中呈现出在青山绿水中众多马匹；《有駜》描绘的是鲁公和群臣宴会饮酒的场景；《閟宫》描绘鲁公建成宏伟庙宇的壮观景像。旧传赵构书，马和之画。",[23,92,24,25,49,112,1128,113,458,1074,798,51,56,55,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c93d532e107749e9c2ec1d277d48845.jpg","25.5X297.3cm",[],{"id":28890,"slug":28891,"title":28892,"dynasty":88,"author":28893,"museum":126,"description":28894,"tags":28895,"thumbUrl":28896,"material":1038,"size":28897,"collection":95,"collections":28898,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},221407,"bian-di-tie-li-zhi-yi-221407","汴堤帖","李之仪","之仪再拜启。自汴堤瞻近，遽复累年。一曾投书海上，不辱报，勿勿不敢嗣音，而旧德相求。庶几未在弃黜，故役投满，谓得还□遂见□右。又尔维絷，其味可知，美绩在人固久。显部回翔，讵得为终岁计。归历严近，勤向尤属，晚春更觊善卫，前对光宠。之仪再启。\n《汴堤帖》是李之仪对友人应酬问候的信札。此帖笔画劲媚，结构紧凑，重心于上，展示了李之仪的书法特点。\n著录于《书画鉴影》卷一一《名贤手简册》之一。",[23,7,60,77,200,25,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc1efa900493c67ec194e01da376843.jpg","纵28.cm，横5.8cm",[],{"id":28900,"slug":28901,"title":28902,"dynasty":88,"author":28903,"museum":126,"description":28904,"tags":28905,"thumbUrl":28906,"material":312,"size":28907,"collection":95,"collections":28908,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":789},221255,"yan-ling-tie-zhang-shi-221255","严陵帖","张拭","《严陵帖》又称《游从帖》。释文：\n拭自来严陵，与令婿伯恭游从。每闻起居状，及论议详，用以自尉。兹承御祥琴，皇家急贤，除日亟下，甚尉士望。拭孤拙者，遂有联事之便，日承警诲。庶其寡悔，欣幸预深。即日春首尚寒，伏惟趣装有相，台侯动止万福。拭备数亡补，日夜悚惧，自此皆倾耳车音之日也。颛介走前，敬此承侯。敢祈冲涉珍护，以对休嘉。百怀并须面致。右谨具呈右司台坐。正月日。右承务郎、试尚书左司员外郎、兼侍讲张拭札子。\n该幅有草押一字。\n该帖为《宋代法书册》之一，内容为贺除官等事。《严陵帖》是张拭致韩元吉（无咎）的书信。文中说：“拭自来严陵，与令婿伯恭游从”，“伯恭”即吕祖谦，吕氏的丈人正是韩元吉。《宋史》载，张拭于乾道七年官尚书吏部员外郎，后兼侍读、左司员外郎，与此帖官衔正合。张拭在朝不满一年，次年出知袁州，故该帖应为1172年（南宋乾道八年）正月所书，张拭时年40岁。\n《严陵帖》书法笔工劲利，行体挺拔，字法紧俏，清高闲雅。该帖属名人简文，故不以书胜而以文拔群。",[23,7,60,200,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b548ad3cfa80e2eecb79d19dcc09a4.jpg","纵33.3cm，横60cm",[],{"id":28910,"slug":28911,"title":28912,"dynasty":88,"author":26886,"museum":72,"description":28913,"tags":28914,"thumbUrl":28915,"material":312,"size":28916,"collection":95,"collections":28917,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},221246,"cheng-ti-ju-lang-zhong-qi-zhang-zha-zi-lou-yao-221246","呈提举郎中契丈劄子","楼钥（1137-1213），字大防，自号攻愧主人，出身宋代著名四明楼氏，性喜藏书，博通经史百家，精研训诂，文辞淡雅却寓意深刻。著有《攻愧集》。书法上善作大字，曾奉宋高宗令书太学之匾。",[24,25,7,60,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efb81754296f15cec8a38cb2dc6544.jpg","34.1×40.7cm",[],{"id":28919,"slug":28920,"title":28921,"dynasty":179,"author":1324,"museum":72,"description":28922,"tags":28923,"thumbUrl":28924,"material":312,"size":28925,"collection":1223,"collections":28926,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},220791,"zi-shu-shi-gao-ce-ni-zan-220791","自书诗稿册","受初期科举制等影响，明代后期逐步形成一字万同的台阁体盛行。而身处元末明初的倪瓒，基本可以认为是宋元书法舒意复古的结束。\n倪瓒擅画山水、墨竹，师法董源，受赵孟頫影响。作为在野的高人韵士，倪瓒书法，参禅学道，浪迹天涯 ，以一注冰雪之韵，写出了他简远萧疏，枯淡清逸的特有风格。",[92,24,25,26,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580a21f2475ced61f129c3785046374e.jpg","纵24.4厘米，横20.1",[1223],{"id":28928,"slug":28929,"title":28930,"dynasty":179,"author":28931,"museum":7039,"description":28932,"tags":28933,"thumbUrl":28934,"material":9260,"size":28935,"collection":95,"collections":28936,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":95},220659,"wu-lin-sheng-ji-bai-ting-220659","武林胜集","白珽","《武林胜集》诗卷为元人白珽、张楧、邓文原、有在、仇远、张坰、鲜于枢、俞伯奇等于至元二十四年（1287）十二月二日杭州雅聚时之作，兼有诗歌与书法之妙。据卷前白珽序文所记，是日适逢大雪，众人借此而聚，拆北宋盛次仲「飞入园林总是春」句为韵，各赋五言诗。除张坰外，共得七首而录，遂有此卷。其引首有明人篆书「武林胜集」四字，「武林」旧指杭州。是篇序文及诸人诗作，于清人鲍廷博、鲍士恭父子所刊刻的白珽《湛渊遗稿》中有辑录，却将「武林胜集」误作「武陵胜集」。\n\n白珽，字廷玉，号湛渊；仇远，字仁近，号山村。二人由宋入元后长隐不仕，又因同籍钱塘（今浙江杭州），并以诗文闻名，人称「仇白」。 《书史会要》称白珽「德望清重，书学米元章」、仇远「好古博雅，楷书学欧」。此诗卷上，二人书迹正契此评。除「仇白」外，是次雅集中的邓文原与鲜于枢更是元代与赵孟俯齐名的书法大家。鲜于枢，字伯机，号困学民、虎林隐吏等，渔阳（今天津蓟县）人，官至太常寺典簿，工诗擅画精鉴，楷、草书尤为称绝，中岁居西溪而与杭州艺文圈中人物交酬频多。邓文原，字善之，人谓素履先生，绵州（今四川绵阳）人，父徙钱塘，自少即负学名，诗文、书画兼擅，章草成就最受赞誉，曾官国子监祭酒、翰林侍讲学士。张楧，字仲实，号菊存，为南宋「中兴四将」之一张俊五世孙、醇儒牟巘婿。因张俊五世祖由凤翔（今陕西凤翔）迁秦州成纪（今甘肃天水），故张楧有一方印为「西秦张楧」。巧合的是，卷中代仇远录诗的张坰亦是西秦人士，不知二人是否为同宗兄弟。至于有在和俞伯奇二人则殊乏史载，难以稽考。\n\n《武林胜集》诗卷汇集元代多位大家名手的诗文书法，其中如白珽、张瑛、有在等人的书迹传世罕见，弥足珍贵。此卷也校实了历来《四库全书》《元诗纪事》等对于此雅集记载的「武陵」之误。武陵位于湖南，于浙江的武林实有天壤之别。宋元易代，世局丕变，杭州作为两朝艺文活动中心仍是文人荟萃、艺事纷频。此诗卷也从另一角度，展现了其时杭州及寓杭文人、书家、遗民、官员风雅酬唱的一面。",[92,24,25,49,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ea8f609e0ce0a0cde73e21e1aa456.jpg","画心：22.2 × 170.05 厘米（8 3\u002F4 × 66 15\u002F16 英寸） 画心：22.2 × 279.3 厘米（8 3\u002F4 × 109 15\u002F16 英寸）",[],{"id":28938,"slug":28939,"title":28940,"dynasty":162,"author":7466,"museum":126,"description":7467,"tags":28941,"thumbUrl":28942,"material":169,"size":7470,"collection":95,"collections":28943,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},218140,"liu-zun-zhe-xiang-tu-ce-4-lu-leng-qie-218140","六尊者像图册-4",[23,92,24,25,26,113,878,27,7,77,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3385b96f5ebf4527346e42d7c192c8c3.jpg",[],{"id":28945,"slug":28946,"title":28947,"dynasty":45,"author":1015,"museum":126,"description":26261,"tags":28948,"thumbUrl":28949,"material":79,"size":26264,"collection":95,"collections":28950,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":40},214866,"shan-shui-ce-13-wen-zheng-ming-214866","山水册-13",[23,24,25,26,50,112,60,7,77,51,250,115,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c88cd26e4cf71c33534ce545991e59e.jpg",[],{"id":28952,"slug":28953,"title":28954,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":28955,"thumbUrl":28956,"material":312,"size":1340,"collection":95,"collections":28957,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":100},214482,"da-tang-zhong-xing-song-xia-ce-6-yan-zhen-qing-214482","大唐中兴颂下册-6",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c960cdb658c2011e5dbd485b7072b8.jpg",[],{"id":28959,"slug":28960,"title":28961,"dynasty":23400,"author":28962,"museum":20,"description":28963,"tags":28964,"thumbUrl":28965,"material":95,"size":95,"collection":35,"collections":28966,"showCount":243,"zanCount":39,"manualWeight":39,"mainColor":28967},202977,"za-hua-tu-ce-chen-shi-ceng-202977","杂画图册","陈师曾","画面以简淡笔墨绘出嫩荷新叶，淡绿荷叶带水墨晕染之趣，粉白花瓣含露欲绽；一只蜻蜓振翅轻停，翅脉纤细如丝，姿态灵动传神。旁侧行书题诗，笔力洒脱，与画面相映成趣，印章朱红点睛，尽显文人画诗书画印合一的雅致。整作意趣盎然，于简约中见生机，传递出清逸自然的夏日闲情。",[24,29,50,27,134,1175,7,77,129,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b8917883b648bc46944cd719b88a35.jpg",[35],"e1dbcd",{"id":28969,"slug":28970,"title":28971,"dynasty":45,"author":454,"museum":107,"description":28972,"tags":28973,"thumbUrl":28974,"material":751,"size":752,"collection":95,"collections":28975,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},290973,"hua-luo-han-zhou-yi-ming-290973","画罗汉轴","此作绘罗汉持珠踏浪，虬髯深目面相奇古，沉静安然立于浪涛之上，足不沾水仿若乘虚而行，尽显高僧渡海的自在禅意。衣袂随浪纹轻展，淡墨皴染波涛，清劲线条勾勒僧衣，画风简淡古雅。\n\n右上角御题禅诗，以诗点出罗汉非渡非住的超然真性，诗画相映成趣。画面留白疏朗，尽显文人禅画的空灵意趣，全幅遍钤鉴藏印，流转间沉淀着悠悠古意，禅理与画韵相融，尽显简远清寂的美学特质。",[24,75,25,878,113,10664,27,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34461324ce9623563e7ee7ad976b3b7.jpg",[],{"id":28977,"slug":28978,"title":28979,"dynasty":45,"author":28980,"museum":72,"description":28981,"tags":28982,"thumbUrl":28983,"material":751,"size":752,"collection":95,"collections":28984,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},290947,"wen-shi-gan-jiao-zhou-jiang-yin-290947","文石甘蕉轴","姜隐","姜隐，字周佐，生卒不详。黄县人，明代画家，善画人物花卉。所画人物，形象生动，笔墨秀润峭利，工笔写意均佳。",[24,75,27,250,2187,29,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e45fa945590ceed84e272db02fb28a8.jpg",[],{"id":28986,"slug":28987,"title":4737,"dynasty":88,"author":454,"museum":107,"description":28988,"tags":28989,"thumbUrl":28991,"material":751,"size":752,"collection":95,"collections":28992,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},290757,"shan-shui-zhou-yi-ming-290757","此作用苍古沉厚的笔墨晕染出秋江烟景，崖岸逶迤柳丝拂波，三两渔舟漾于空阔水面，洲渚间村居隐于林木，尽显江湖栖居的安闲意趣。\n\n远山以斧劈皴写就，巉岩浑厚黛色融于暮霭，山寺藏在烟岚深处愈显幽谧。整幅将江湖空阔与林泉秀雅相融，墨色层次氤氲，把五湖秋意与林下恬然合为一处，淡墨轻岚间，漫溢着宋画独有的静穆萧散，尽显天人合一的淡远襟怀。",[92,24,25,75,51,50,53,54,458,56,471,28990,820,7,199],"烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ecdb2d643274d8a3cc741a292b8bdd.jpg",[],{"id":28994,"slug":28995,"title":28996,"dynasty":8749,"author":454,"museum":107,"description":28997,"tags":28998,"thumbUrl":28999,"material":751,"size":752,"collection":95,"collections":29000,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},290712,"miao-fa-lian-hua-jing-juan-di-wu-shou-gao-yi-ming-290712","妙法莲华经卷第五手稿","这卷写经以小楷书就，墨色沉凝古雅，通篇布局匀整森严，字距行距齐整如一。历经岁月，纸面泛黄带着斑驳痕迹，更添古拙沉静的厚重质感。\n\n每一字皆端秀清雅，起收顿挫皆合唐人写经典型法度，笔笔到位，气韵连贯，可见抄经人落笔时的恭谨心境。将宗教书写的肃穆，与书法的美学意蕴融为一体，笔墨之间藏着虔诚匠心，尽显大乘经典抄写时的庄严气韵，带着千年时光沉淀下的沉静禅意，是写经书法中的雅致之作。",[7,386,199,49,9007,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e743defc0a20f097a9bc5e0bb5d6200.jpg",[],{"id":29002,"slug":29003,"title":29004,"dynasty":8749,"author":454,"museum":107,"description":29005,"tags":29006,"thumbUrl":29008,"material":751,"size":752,"collection":95,"collections":29009,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},290704,"miao-fa-lian-hua-jing-juan-di-liu-ru-lai-shen-li-pin-di-er-shi-yi-yao-wang-pu-sa-ben-shi-pin-shou-gao-yi-ming-290704","妙法莲华经卷第六如来神力品第二十一 药王菩萨本事品手稿","此卷小楷气脉贯通，笔法精谨合规。起收笔锋藏露得宜，点画凝练劲挺，兼具朴拙古意与秀雅之态。字形匀停齐整，排布疏密合宜，通篇静谧端严，尽显抄经时的恭谨心境。墨色沉润均匀，与古旧底色相融晕染出岁月沉淀的沉静质感，将宗教的虔诚凝于一笔一划之间。虽无肆意挥洒的跳脱，却以恒定安稳的笔意传递出肃穆禅意，既有写经书法的规整肃穆，又暗含书写者自然的笔意律动，是平实动人的写经佳作。",[7,386,199,9007,878,1498,6535,29007],"妙法莲华经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e8674105ede7fd1da2e46d9c4bdda6.jpg",[],{"id":29011,"slug":29012,"title":29013,"dynasty":8749,"author":454,"museum":107,"description":29014,"tags":29015,"thumbUrl":29017,"material":751,"size":752,"collection":95,"collections":29018,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},290682,"xiao-pin-bo-re-bo-luo-mi-jing-di-shi-shou-gao-yi-ming-290682","小品般若波罗蜜经第十手稿","此卷小楷写经笔致端稳清隽，结体匀整秀雅，通篇字距行距排布齐整，气息静谧安和，尽显抄经时恭谨澄澈的心境。起收笔温润含蓄，提按间法度自现，无过重顿挫张扬，于平正之中流露柔和书卷气。素纸墨字搭配朱印点缀，质朴古雅。整卷一气呵成，将宗教的肃穆内敛融于笔墨章法，静静铺展沉静平和的禅意，尽显传统写经书法的静穆之美，见字如见抄经人对经义的敬畏之心。",[7,386,199,49,878,6535,29016,77],"经书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48adb330e8f1f060730cc007dfe8a58a.jpg",[],{"id":29020,"slug":29021,"title":29022,"dynasty":8749,"author":454,"museum":107,"description":29023,"tags":29024,"thumbUrl":29027,"material":751,"size":752,"collection":95,"collections":29028,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},290652,"fa-hua-qi-yu-duo-bao-ta-miao-yin-pu-sa-pin-di-er-shi-si-yi-ming-290652","法华七喻多宝塔(妙音菩萨品第二十四)","此卷小楷写经气息庄雅静穆，用笔精到含蓄，点画挺秀匀净，结体方正端稳。通篇万字排布齐整，行气贯通舒展，毫无局促涣散之感，尽显书写者恭谨诚敬之心性。墨色温雅沉润，与古旧纸色相融，虽有一处破损，却未减其静定端严的笔墨意趣，以极具法度的书写，将经文的庄肃与笔墨的静定融为一体，尽显典型写经风貌，是兼具宗教意涵与书法审美价值的佳作。",[7,49,199,386,878,9007,4678,29025,29026],"法华经","妙音菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82f98d11ce31cbc31747378549e5b976.jpg",[],{"id":29030,"slug":29031,"title":29032,"dynasty":18,"author":20506,"museum":107,"description":22511,"tags":29033,"thumbUrl":29034,"material":751,"size":752,"collection":95,"collections":29035,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},290592,"shui-xian-zhou-zhang-ruo-ai-290592","水仙轴",[24,75,2645,50,138,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7e7d7e7e21aa71f2f756547a0e920e.jpg",[],{"id":29037,"slug":29038,"title":29039,"dynasty":18,"author":29040,"museum":107,"description":29041,"tags":29042,"thumbUrl":29043,"material":751,"size":752,"collection":95,"collections":29044,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},290473,"geng-yan-weng-hua-xiang-li-zhou-weng-luo-290473","耕烟翁画像立轴","翁雒","江苏吴江. 画有夙慧，初写人物，中年后专攻花鸟、草虫、水族，尤善画龟。笔精墨妙，生动尽致。",[24,75,113,27,7,77,111,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f149bd8aa2f753e6df2b77398f28a7.jpg",[],{"id":29046,"slug":29047,"title":29048,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":29049,"thumbUrl":29050,"material":751,"size":752,"collection":95,"collections":29051,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},290281,"lin-shi-qi-tie-ce-ye-zhao-meng-fu-290281","临十七帖册页",[23,7,398,4347,110,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6c0579f6cad2d48f0b693cac2c2db4.jpg",[],{"id":29053,"slug":29054,"title":29055,"dynasty":18,"author":29056,"museum":107,"description":29057,"tags":29058,"thumbUrl":29059,"material":751,"size":752,"collection":95,"collections":29060,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":3443},290214,"shu-hua-he-bi-cheng-shan-pu-xin-she-290214","书画合璧成扇","溥心畬","溥心 畬 （ yú ） （1896年9月2日－1963年11月18日），爱新觉罗氏，滿洲鑲藍旗人，恭親王奕訢次孫，溥字輩，光緒帝賜名儒，字心畬，齋號寒玉堂。生於大清北京。",[23,1250,7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed55f3ada5a1986e602ac202c7b4ba57.jpg",[],{"id":29062,"slug":29063,"title":29064,"dynasty":18,"author":29065,"museum":107,"description":29066,"tags":29067,"thumbUrl":29069,"material":751,"size":752,"collection":95,"collections":29070,"showCount":533,"zanCount":882,"manualWeight":39,"mainColor":100},290201,"rong-lu-xiao-xiang-li-zhou-rong-lu-290201","荣禄肖像立轴","荣禄","荣禄（1836年4月6日－1903年4月11日），字仲华，号略園，满族，乌喇瓜尔佳氏。满洲正白旗人。晚清军事家、政治家。末代皇帝溥仪的外祖父，慈禧太后的亲信。",[23,24,75,113,27,29068,167,7],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3da9c71591e1e05ae79590b82b121f4.jpg",[],{"id":29072,"slug":29073,"title":29074,"dynasty":18,"author":29075,"museum":107,"description":16016,"tags":29076,"thumbUrl":29077,"material":751,"size":752,"collection":95,"collections":29078,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},290006,"yu-yin-tu-zha-shi-biao-290006","渔隐图","査士标",[23,1250,24,50,51,54,10531,7,77,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be58bb9d81bb2794a634ee2dc2ac48.jpg",[],{"id":29080,"slug":29081,"title":29082,"dynasty":88,"author":454,"museum":107,"description":29083,"tags":29084,"thumbUrl":29085,"material":751,"size":752,"collection":95,"collections":29086,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":789},289972,"gu-mu-han-qin-tu-yi-ming-289972","古木寒禽图","此作用淡墨晕染寒林雪滩，枯木虬曲苍劲，疏枝横斜于荒寂寒林之中。山石积雪以留白衬出，淡墨轻勾棱线，尽显冰雪凝覆之态，古木皴擦老辣，满是风霜浸蚀的苍拙质感。\n整幅画面空阔萧索，不见禽鸟却遍溢孤寒冷寂之意，以极简笔致烘托出冬日林野的清空淡远，将格物精微的写生意趣与幽寂荒寒的意境相融，寥寥数笔勾勒出冬林孤冷的林下雅趣，尽显山水小品的隽永雅致。",[23,92,24,25,1250,50,51,588,116,250,1151,9580,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c8d1663817686fd51de4dc7abe3ef7.jpg",[],{"id":29088,"slug":29089,"title":29090,"dynasty":88,"author":454,"museum":107,"description":29091,"tags":29092,"thumbUrl":29094,"material":751,"size":752,"collection":95,"collections":29095,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},289443,"na-liang-guan-pu-tu-yi-ming-289443","纳凉观瀑图","此作以小品尺幅绘就幽寂夏夜，水墨晕染出氤氲湿润的暮色氛围。错落山石环伺水榭，清浅碧波绕阶而过，廊下一人凭栏默然，隐于浓荫翠色间。\n\n画笔工致细腻，以浓淡墨色区分远近层次，林木苍润沉郁，屋舍雅致简净，将炎夏里林泉一隅的凉意尽数铺展。全画不见奔涌飞瀑，却以幽谧氛围烘托出观瀑听泉的雅兴，将宋代文人寄情林泉、消暑寻幽的闲淡心境藏于尺幅间，尽显雅致沉静的古典意趣。",[23,92,24,1250,27,1128,113,458,55,250,53,77,7,51,29093],"纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2499ae694906cd477b1746fe1a72d544.jpg",[],{"id":29097,"slug":29098,"title":29099,"dynasty":8749,"author":29100,"museum":107,"description":29101,"tags":29102,"thumbUrl":29103,"material":751,"size":752,"collection":95,"collections":29104,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},288999,"bai-shi-shi-juan-teng-yuan-xing-cheng-288999","白氏诗卷","藤原行成","藤原行成（天禄3年（972年） - 万寿4年12月4日（1028年1月3日））是平安时代中期的朝臣。一条帝时代四纳言之一。右少将藤原义孝的儿子，藤原伊尹之孙。官居正二位・权大纳言。",[23,7,49,60,398,200,25,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85dc84d6d4ca382e5d03097722f6b8b9.jpg",[],{"id":29106,"slug":29107,"title":10166,"dynasty":88,"author":454,"museum":107,"description":29108,"tags":29109,"thumbUrl":29110,"material":751,"size":752,"collection":95,"collections":29111,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},288848,"zi-mu-ji-tu-yi-ming-288848","以浓黑素地衬出白羽群鸡，明暗对比醒目的同时，更将亲子温情烘托到极致。母鸡翎毛晕染细致蓬松，俯首护雏，将舐犊深情藏在舒展的翅羽与低垂的颈项之中。三只雏鸡或张望、或依偎，稚嫩憨态跃然纸上，鲜活灵动。\n\n画面上方题诗与朱红印章错落排布，书画印相融，将母鸡护育稚子的脉脉温情与禽鸟物性完美结合，工笔写实间饱含温润的人文意趣，把乡野寻常的亲子图景，绘就成满溢烟火暖意的雅致小品，尽显内敛动人的东方温情。",[23,92,24,25,2645,111,27,10169,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ebfe0361f5d0ba56a027bf0fb41a42.jpg",[],{"id":29113,"slug":29114,"title":29115,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":29116,"thumbUrl":29119,"material":751,"size":752,"collection":95,"collections":29120,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},288393,"lai-fu-tu-huang-shen-288393","来蝠图",[23,24,25,75,50,27,129,113,426,749,568,29117,3983,29118,7,77,1202],"蝙蝠","花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93114a60f6453d3dfac5ef2fcdc2ba14.jpg",[],{"id":29122,"slug":29123,"title":13114,"dynasty":45,"author":5386,"museum":107,"description":18331,"tags":29124,"thumbUrl":29125,"material":751,"size":752,"collection":95,"collections":29126,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},288147,"za-shi-wang-chong-288147",[25,7,398,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cac1a244ef583f42d715441342a509.jpg",[],{"id":29128,"slug":29129,"title":29130,"dynasty":88,"author":262,"museum":107,"description":3525,"tags":29131,"thumbUrl":29132,"material":751,"size":752,"collection":95,"collections":29133,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},287962,"bai-miao-luo-han-tu-quan-juan-luo-han-guan-yin-tu-juan-li-gong-lin-287962","白描罗汉图全卷(罗汉观音图卷)",[23,92,24,25,49,112,113,878,10664,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311b6ad4c155f2428e98f975c6ec043.jpg",[],{"id":29135,"slug":29136,"title":29137,"dynasty":8749,"author":454,"museum":107,"description":29138,"tags":29139,"thumbUrl":29141,"material":751,"size":752,"collection":95,"collections":29142,"showCount":533,"zanCount":882,"manualWeight":39,"mainColor":100},287897,"yue-zi-lu-yi-juan-qian-zi-wen-kai-shu-yi-ming-287897","閱紫錄儀卷千字文楷書","此卷小楷通篇气脉贯通，字字端雅匀整，笔力沉劲内敛。起收顿挫皆具法度，点画精致秀润，结体方中融圆，兼得魏晋小楷的空灵秀逸与唐人写经的端严工稳。\n\n作为道教仪轨写本，行款排布齐整肃穆，墨色乌亮莹润，虽长篇累牍却无懈怠之态，尽显书写时的恭谨之心。卷尾古印与题跋更添古雅厚重，是兼具宗教文献价值与书法审美价值的写本佳作，尽显传统小楷的静穆雅致之美。",[23,7,199,49,386,29140,6582,77],"道经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F801d4de5327cc98fece48fb26ca7d6aa.jpg",[],{"id":29144,"slug":29145,"title":29146,"dynasty":45,"author":1452,"museum":107,"description":29147,"tags":29148,"thumbUrl":29149,"material":751,"size":752,"collection":95,"collections":29150,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},287785,"shi-zeng-dong-qi-chang-chen-ji-ru-287785","诗赠董其昌","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435082692b761aaf931b18afdeba59c3.jpg",[],{"id":29152,"slug":29153,"title":29154,"dynasty":45,"author":744,"museum":107,"description":897,"tags":29155,"thumbUrl":29156,"material":751,"size":752,"collection":95,"collections":29157,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},287683,"xue-tao-xi-jian-tang-yin-287683","薛涛戏笺",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe73160781e4fd5ca697a1bea256cfe02.jpg",[],{"id":29159,"slug":29160,"title":29161,"dynasty":88,"author":4981,"museum":107,"description":10563,"tags":29162,"thumbUrl":29163,"material":751,"size":752,"collection":95,"collections":29164,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},287603,"lian-jin-tan-lao-shi-shi-zhang-ji-zhi-287603","敛襟谈老氏诗",[7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c062312053d32acd7defa9413f2aee.jpg",[],{"id":29166,"slug":29167,"title":29168,"dynasty":45,"author":19108,"museum":107,"description":24598,"tags":29169,"thumbUrl":29171,"material":751,"size":752,"collection":95,"collections":29172,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},287411,"mo-hua-tu-ni-yuan-lu-287411","墨花图",[23,24,92,25,49,50,29,7,398,13926,29170,132,30],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb9ce8c4fe4b6b1c1070f6ba3fdab7c.jpg",[],{"id":29174,"slug":29175,"title":29176,"dynasty":45,"author":2071,"museum":107,"description":6469,"tags":29177,"thumbUrl":29178,"material":751,"size":752,"collection":95,"collections":29179,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},287402,"bei-hu-tu-shou-juan-chou-ying-287402","北湖图手卷",[23,24,49,25,51,27,111,7,398,60,77,52,53,54,116,458,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668d4ab35bf9efef317abd774bd6b621.jpg",[],{"id":29181,"slug":29182,"title":29183,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":29184,"thumbUrl":29185,"material":751,"size":752,"collection":95,"collections":29186,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":207},283768,"zi-shu-xian-shi-gao-shen-ce-shi-qi-kai-dong-qi-chang-283768","自书先世诰身册（十七开）",[7,26,60,9635,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21366b14f96a820dd4533de3289104a.jpg",[],{"id":29188,"slug":29189,"title":29190,"dynasty":45,"author":454,"museum":107,"description":29191,"tags":29192,"thumbUrl":29194,"material":751,"size":752,"collection":95,"collections":29195,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},283634,"yu-yu-yu-qing-tu-yi-ming-283634","欲雨欲晴图","此作用米家山水的晕染之法，绘就江南烟霭迷离之景。远景山峦隐没在翻涌云岚间，墨色轻淡柔和，虚实掩映间衬出山光断处的幽远意境。近景汀洲水岸边，村居错落隐在葱郁林木中，板桥连通两岸，扁舟系在浅滩，漾出水乡安闲静穆的日常意趣。\n\n画面以水墨晕染尽显欲雨将晴的湿润空蒙，水汽漫过江渚，笼住层林远山，将江南湿润清宁的氛围感拉满。留白与墨色相融相生，把天地间的朦胧柔婉尽数铺展，带着文人画独有的雅致诗意，观之如亲赴烟雨中的江南水乡，静赏闲淡日常，尽显山水画平淡天真的隽永意趣。",[23,24,92,1328,50,27,52,53,54,58,251,252,56,7,77,29193,4739],"欲雨欲晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a0a5ee8f2e9049eb7b495a8bba539d.jpg",[],{"id":29197,"slug":29198,"title":29199,"dynasty":3087,"author":454,"museum":107,"description":9803,"tags":29200,"thumbUrl":29201,"material":751,"size":752,"collection":95,"collections":29202,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},281419,"wei-dai-yang-zhou-zhang-shi-nan-liang-jun-tai-shou-yi-yang-zi-si-ma-jing-he-qi-meng-jing-xun-mu-zhi-ming-yi-ming-281419","魏代扬州长史南梁郡太守宜阳子司马景和妻孟敬训墓志铭",[198,7,199,22248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5487ebc0b8da1b8c2fa711de04a7fff.jpg",[],{"id":29204,"slug":29205,"title":29206,"dynasty":18,"author":454,"museum":107,"description":29207,"tags":29208,"thumbUrl":29209,"material":751,"size":752,"collection":95,"collections":29210,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},275799,"qing-yu-yu-lin-jiu-cheng-gong-li-quan-ming-ce-yi-ming-275799","青玉御临九成宫醴泉铭册","以错金错银之技，于沉敛紫檀之上晕开金辉银芒。缠枝夔龙辗转舒展，身姿灵劲，团寿纹隐于卷草之间，蝠纹暗藏，将福寿吉意融于纹饰之中。回纹边框规整雅致，框住满幅祥瑞。\n\n下承红木束腰底座，卷云雕饰柔化冷硬，镶边绿意晕开清隽气韵。整器将细木与金属错饰工艺相融，工致富丽，把宫廷雅韵藏于方寸，尽显旧时藏珍器物的华贵雅致，尽显匠人极致工巧。",[7714,26,7,199,200,13336,834,7713,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f096096e0251f443bc9ea8ca37bc0d.jpg",[],{"id":29212,"slug":29213,"title":29214,"dynasty":18,"author":454,"museum":107,"description":29215,"tags":29216,"thumbUrl":29221,"material":751,"size":752,"collection":95,"collections":29222,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},273917,"ming-huang-se-duan-ping-jin-xiu-qi-tian-da-sheng-zi-qi-yi-ming-273917","明黄色缎平金绣齐天大圣字旗","此旗以明黄缎为底，朱红焰纹镶边，色彩浓烈撞色，尽显旌旗张扬威仪。平金绣就的“齐天大圣”四字，针脚匀整厚重，暗哑金线残存旧时华贵光泽，将美猴王桀骜齐天的气魄凝于方寸布面。焰形边角灵动飞扬，仿佛能窥见旧时神会游街之时，旗幡招展、引动烟火喧闹的鲜活场景，承载着民间对齐天大圣的崇拜热望，是民俗刺绣与民间信仰相融的精巧遗存，藏着俗世烟火里的浪漫祈愿。",[29217,29218,29219,9635,901,29220,7],"字旗","绣品","平金绣","齐天大圣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff210500f14d096b5965494fb1c23f0b.jpg",[],{"id":29224,"slug":29225,"title":29226,"dynasty":18,"author":454,"museum":107,"description":29227,"tags":29228,"thumbUrl":29229,"material":751,"size":752,"collection":95,"collections":29230,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":207},272973,"zi-tan-mu-bian-jin-qi-yan-yu-lou-ge-tu-gua-ping-yi-ming-272973","紫檀木边金漆烟雨楼阁图挂屏","沉黑漆地如暮夜初合，金漆勾描亭台临水而建，汀岸垂柳依依，湖面芙蓉盛放，舒展雅致。红晕山峦层叠卧于烟水尽头，晕染出烟雨江南的朦胧柔婉。\n\n上方金漆题诗与画境呼应，将观莲赏景的文人雅趣凝于屏间。金漆髹饰工细流畅，赤金与朱红、墨色撞色鲜明却和谐，把工笔雅致与漆艺华美相融，将江南烟水诗意定格，尽显精巧造诣，藏着东方古典山水的悠然意韵。",[13336,19026,8913,1128,27,458,51,399,7,16229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20c8e50089885046954c097ae815dc0.jpg",[],{"id":29232,"slug":29233,"title":29234,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":29235,"thumbUrl":29236,"material":751,"size":752,"collection":95,"collections":29237,"showCount":533,"zanCount":882,"manualWeight":39,"mainColor":100},272869,"ke-si-yu-ti-wang-gu-xiang-bu-chu-tu-gua-ping-yi-ming-272869","缂丝御题王谷祥哺雏图挂屏",[24,25,3232,8913,29,27,116,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f38d608d995b36666a343415128f48.jpg",[],{"id":29239,"slug":29240,"title":29241,"dynasty":18,"author":454,"museum":107,"description":29242,"tags":29243,"thumbUrl":29246,"material":751,"size":752,"collection":95,"collections":29247,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},270211,"zhu-gu-tian-qi-bian-he-shen-shu-dong-gao-hua-zhe-shan-yi-ming-270211","竹股填漆边和珅书董诰画折扇","此扇一面以乌金纸为底，金粉书就小楷，笔力端秀挺劲，结体匀整雅致，数百字排布疏密合度，于盈寸扇面从容铺陈，尽显端庄工稳之韵。另一面绘景笔触细腻清润，敷色雅致柔和，尽显清中期典型院体风貌。\n\n扇骨以竹为材，填漆饰边，纹理细腻莹润，制工考究周正，将文人书画之雅与传统工艺之美融于一器，尽显清中期文玩折扇的精工雅致，是清代雅扇中颇具代表性的佳品。",[1250,7,199,29244,29245,13336],"折扇","竹制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf990cecd42e826cecf0dd21bdfed7c.jpg",[],{"id":29249,"slug":29250,"title":29251,"dynasty":45,"author":454,"museum":107,"description":29252,"tags":29253,"thumbUrl":29254,"material":95,"size":95,"collection":802,"collections":29255,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},242380,"zhen-shang-zhai-tie-yi-ming-242380","真赏斋帖","墨色沉郁的拓本带着岁月浸蚀的斑驳肌理，左右两开尽显古雅意趣。左页小楷清劲端雅，笔锋利落沉稳，字里行间漾着沉静书卷气，金石铭文的朴拙与翰墨秀润相融无间。朱红古印错落铺陈，方玺小印相映成趣，朱砂旧色与沉墨碰撞出鲜明层次，将旧时鉴藏的风雅凝固于纸间。\n\n每一处磨损都藏着辗转递藏的过往，碑拓的金石质感与文人赏玩的温婉意趣交织，把藏家的雅致襟怀晕染在朱墨之中，让观者仿佛能在纸页间触摸到旧时光里的文人情思，窥见古雅的赏鉴场景缓缓铺展。",[198,7,77,199,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1852c898dd56545cf0171c32b638980c.jpg",[802],{"id":29257,"slug":29258,"title":29259,"dynasty":18,"author":29260,"museum":107,"description":29261,"tags":29262,"thumbUrl":29263,"material":751,"size":752,"collection":95,"collections":29264,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},241512,"wu-shi-ci-jing-zuo-wu-zi-heng-xu-lian-241512","无事此静坐五字横","许梿","许梿(1787-1862)清朝学者、藏书家、书法家、刻书家。初名映涟，字叔夏，号珊林、乐恬散人，室名红竹草堂、古韵阁、行吾素斋。浙江海宁长安人。",[24,25,21060,7,1613,27,51,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4542f4f987e313196561f1a0a2017fcd.jpg",[],{"id":29266,"slug":29267,"title":29268,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":29269,"thumbUrl":29270,"material":751,"size":752,"collection":95,"collections":29271,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241418,"zhuan-shu-shi-gu-wen-qi-yan-lian-wu-chang-shuo-241418","篆书石鼓文七言联",[457,7,2136,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfade009b170f32ef82f14ba2c30c3b2.jpg",[],{"id":29273,"slug":29274,"title":29275,"dynasty":18,"author":23747,"museum":107,"description":23748,"tags":29276,"thumbUrl":29277,"material":751,"size":752,"collection":95,"collections":29278,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241416,"ba-yan-lian-ba-wei-zu-241416","八言联",[7,2136,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec3fb15f7f9fba0ee9642ff8f5a78e7.jpg",[],{"id":29280,"slug":29281,"title":21902,"dynasty":18,"author":29282,"museum":107,"description":29283,"tags":29284,"thumbUrl":29285,"material":312,"size":95,"collection":96,"collections":29286,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241403,"lu-yu-zhou-qian-chen-qun-241403","钱陈群","钱陈群（1686─1774年），字主敬，浙江嘉兴人，清朝大臣。父纶光，早卒。母陈书，字南楼，号上元弟子，晚号南楼老人，清代女画家，钱陈群及兄弟幼年由母陈书教读。18岁游京师，交游文士名人。康熙四十四年，圣祖南巡，陈群迎驾吴江，献诗。上命俟回跸召试，以母病不赴。六十年，成进士，引见，上谕及前事。改庶吉士，授编修。雍正七年，世宗命从史贻直、杭奕禄赴陕西宣谕化导，陈群周历诸府县，集诸生就公廨讲经，反覆深切，有闻而流涕者。使还，上谕奖为“安分读书人”。五迁右通政，督顺天学政。\n乾隆元年，以母丧去官。服除，高宗命仍督顺天学政，除原官。陈群以母陈夜纺授经图奏上，上为题词。疏请增顺天乡试中额，上以官制有定，取者多，用者益远，国家不能收科目取人之效，寝其议。三迁内阁学士。陈群屡有建白：尝疏请严治匿名揭帖，无论事钜细，非据实首告而编造歌谣诗词，匿名粘贴闾巷街衢，当下刑部依律治罪。疏请广劝种植树木，官地令官种，州郡吏种至千本以上，予纪录；受代时具册，备地方公用。民地令民种，至五六百本者，予扁额奖赏，成材后听取用。疏请偏灾蠲免分数，分别贫富，富者按例定分数蠲免，贫者被灾几分即蠲免几分，使之相等。及敕询州县耗羡，疏言：“康熙间，州县官额徵钱粮，收耗羡一二钱不等。陆陇其知嘉定县止收四分，清如陇其，亦未闻全去耗羡也。议者以康熙间无耗羡，非无耗羡也，特无耗羡之名耳。世宗出自独断，通计外吏大小员数，酌定养廉，而以所入耗羡按季支领。吏治肃清，民亦安业。特以有徵报支收之令，不知者或以为加赋。皇上询及盈廷，臣请稍为变通，凡耗羡所入，仍归藩库，各官养廉及各州县公项，如旧支给。其续增公用，名色不能画一，多寡亦有不同，应令直省督抚明察，某件应动正项，某件应入公用，分别报销。各省州县自酌定养廉，荣悴不一，其有支绌者，应令督抚确察量增，俾稍宽裕。仍饬勿得耗外加耗，以致累民。则既无加赋之名，并无全用耗羡办公之事，州县各有赢馀，益知鼓励。至於施从其厚，敛从其薄，古之制也。及此仓庾充裕、民安物阜之时，大臣悉心调剂，使养廉之入，不为素餐，元气培扶，帑藏盈溢，然后以三十年之通制国用。宋太祖能罢羡馀，臣固知皇上之圣，不必廷臣建白如张全操其人者，而德音自下也。”",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8ebe17cc2b112ad229229750b4a15c.jpg",[96],{"id":29288,"slug":29289,"title":29290,"dynasty":18,"author":29291,"museum":107,"description":29292,"tags":29293,"thumbUrl":29298,"material":751,"size":752,"collection":95,"collections":29299,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241364,"gu-shi-she-jiang-ping-wang-yun-241364","古诗涉江屏","王云","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。",[7,199,75,136,114,54,29294,22513,679,29295,29296,29297],"白露","箫管","怀人","愁郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e08cda56e32701bf708d9dc98d2c16d.jpg",[],{"id":29301,"slug":29302,"title":29303,"dynasty":18,"author":29304,"museum":107,"description":29305,"tags":29306,"thumbUrl":29307,"material":312,"size":95,"collection":96,"collections":29308,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241317,"shan-gu-shi-zhou-dong-ne-241317","山谷诗轴","董讷","董訥（1639—1701）字茲重，號默庵，山東平原人，清朝官吏。\n康熙六年一甲三名進士，授編修。累擢至江南總督。為政持大體，有惠於民。左遷去，江南民為立生祠。二十八年，上南巡，民執香跪訥生祠前，求復官訥江南。上還蹕，笑謂訥曰：“汝官江南惠及民，民為汝建小廟。”旋以侍讀學士復出為漕運總督。累擢至兩江總督。為政持大體，有惠於民。因故降官。後以侍讀學士再出位漕運總督。死後賜祭葬，追加為正一品。康熙御賜“眷念舊勞”四字。",[25,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099fdb19f5434ce77bec77585f310570.jpg",[96],{"id":29310,"slug":29311,"title":29312,"dynasty":18,"author":29313,"museum":107,"description":29314,"tags":29315,"thumbUrl":29316,"material":751,"size":752,"collection":95,"collections":29317,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241302,"lin-huai-su-zi-xu-tie-juan-li-yu-wu-241302","临怀素自序帖卷","李禦侮","此作用笔纵逸奔放，追摹怀素狂草风神。线条瘦劲圆转，提按顿挫间尽显使转灵动，将狂草抒情性挥洒至极。布局上字势奇崛错落，大小、欹正、疏密随文势铺展，毫无滞涩之感。墨色枯湿浓淡交叠，枯笔飞白苍劲老辣，重墨处酣畅饱满。\n\n通篇气韵贯通如江河奔涌，既有怀素的颠逸之态，又暗含自家笔底筋骨，把草书肆意洒脱的意境诠释得淋漓尽致，尽显书写时的激越心绪，是极具表现力的临古佳制。",[25,7,49,110,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07915226750c7616c8643d7517b5b9a.jpg",[],{"id":29319,"slug":29320,"title":17213,"dynasty":45,"author":29321,"museum":107,"description":29322,"tags":29323,"thumbUrl":29324,"material":312,"size":95,"collection":96,"collections":29325,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},241226,"qi-yan-shi-zhou-yang-ke-241226","杨珂","杨珂（？－？），字士佩，福建泉州府晋江县人，民籍，明朝政治人物。\n福建乡试第八名举人。嘉靖四十四年（1565年）中式乙丑科二甲第五十三名进士",[7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae98d327c042b6301f8d7819abc15ae.jpg",[96],{"id":29327,"slug":29328,"title":18391,"dynasty":45,"author":29329,"museum":107,"description":29330,"tags":29331,"thumbUrl":29332,"material":312,"size":95,"collection":96,"collections":29333,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},241224,"qi-jue-zhou-chen-lie-241224","陈烈","陈烈，字季慈，号季甫，侯官（今闽侯县南通镇陈厝村）人，宋朝官员。\n陈烈讲究道德修养，亦重视读书静养工夫，朱熹很赞赏他的做法，《朱子语类》卷十一记载：“昔陈烈先生苦无记性，一日读《孟子》‘学问之道无他，求其放心而已’，忽悟曰：‘我心不曾收，如何记得书？’遂闭门静坐百余日，以收放心，却去读书，遂览无遗。”",[4038,7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81119615b7f2121a5edafd8a8c595e6d.jpg",[96],{"id":29335,"slug":29336,"title":29337,"dynasty":45,"author":29338,"museum":107,"description":29339,"tags":29340,"thumbUrl":29341,"material":312,"size":95,"collection":96,"collections":29342,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241217,"wu-lv-shou-shi-zhou-zhang-tai-241217","五律寿诗轴","张泰","张泰(1435—1508年)，字叔亨，广东广州府顺德县陈村人。张泰1458年(景泰四年)中举，1466年(成仁二年)成进士，历任知县、御史、巡按、少卿、副都御史、右侍郎、南京户部尚书，是顺德建县后第一位尚书。\n最初担任福建沙县知县时，“铲平王”邓茂七起义刚遭镇压，全县田园凋零，商贸颓残，人们逃命他方，举目一片萧索。张泰事不避难，明察暗访，制定一系列安民措施，捐税免租，宽政养民，吸引着外出谋生的民众闻风返家，搭棚建社，朝耕夕息，鸡犬渐闻，春苗泛青，秋实在望，深得百姓赞颂。\n担任监察御史后，张泰面对积弊日深的朝政与盘根错节的官场，并不刻意回避矛盾，而是直面奸佞，令人敬佩。他巡察通州时，发现官仓弊端众多，所涉广众，且大多背景神秘，深不可测，但他秉公办理，按图索骥，终于干净利落，清除宿弊，令人鼓掌称快。太监钱能、覃勤勾结万贵妃逆行倒施，指鹿为马，惹祸引兵，搜刮民脂，人们敢怒缄口，道路以目。张泰寻知，暗里侦查，后与御史一起联合弹劾，力请贬斥万贵妃，严惩钱能、覃勤，但因万贵妃为皇帝宠爱，张泰龙颜捋须，惹得皇帝勃然大怒，被廷杖重创，后外放为京畿学政。不久，母亲去世，张泰趁此机会远离京城，守孝乡村，居家十年。\n1492年，57岁的张泰重起乡间，担任云南巡按。耿直如昔的他刚一上任，就惩贪斥污，弹劾失职，调解纷争，修堤筑坝，促进了民族融合，保障了居民安宁，受到民众欢迎。\n后来，甘肃骚乱，地方官员互相推诿，张泰奉命西去调查，他力排阻力，深入调查，发现祸起镇守太监傅德。他勾结总兵，侵占屯田，克扣军饷，兵亡瞒实，马失不报。张泰秉公办理，严惩不法。张泰还促成收回被宦官和边将霸占的牧场。但他因“惹是生非”，触怒权贵，被弹劾中伤，引得皇帝也对他侧目相看，还罚他半年俸禄。\n此后，张泰改任大理寺少卿，奉命调查苏州官占民田为牧场的实情。张泰深知此中暗流奔涌，稍不小心，后果不堪设想。于是，他暗中查证，将当年的田亩簿册一一勘对，证实应还民间田亩为九百三十多顷，后又对失地数字一一查清。但复命后，数遭驳难，众说纷纭，致使这一调查结果悬而不决。直到新皇帝即位，在尚书韩文促成下，朝廷才根据张泰查勘结果作出正确处理。\n1507年(正德三年)，张泰改官南京右都御史。时值宦官刘瑾弄权，大小官员都争相贿结。张泰不屑逢迎，仅在入京奏事时，带上两匹葛布作礼节性探望。刘瑾怀恨在心，扣张泰数百石俸禄以作泄恨。但张泰因多年勤勉尽忠，经吏部考绩，得获优良，升南京户部尚书，但刘瑾大进谗言，令张泰最终失官。张泰有见及此，心中无奈，于是辞呈归乡，次年逝世。",[24,25,75,398,7,77,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95904724a1d81f4728fe14462abd0332.jpg",[96],{"id":29344,"slug":29345,"title":29346,"dynasty":18,"author":29347,"museum":107,"description":29348,"tags":29349,"thumbUrl":29350,"material":751,"size":752,"collection":95,"collections":29351,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241207,"lin-bei-ce-li-wen-tian-241207","临碑册","李文田","李文田（1834-1895）字畲光、仲约，号芍农、若农，广东广州府顺德县均安上村人。咸丰九年（1859年）已未科甲第三名探花，授翰林院编修，放江苏、浙江、四川乡试主考，提督江西、顺天学政。入直南书房，官至礼部右侍郎、工部右侍郎。勤于治学，是清代著名的蒙古史专家和碑学名家。\n1874年乞归故里，主讲广州凤山、应元书院，在广州筑泰华楼，藏书甚富，收藏有秦《泰山石刻》宋拓本及汉《华岳庙碑断本》宋拓本。1885年回京复职。1894年甲午战争，任京师团防大臣。1895年病逝于京城，谥号文诚。\n李文田工书善画，慈禧太后作画，常命探花李文田、状元徐郙和陆润庠、进士陆宝忠为之题志。其著作有《元秘史注》《元史地名考》《西游录注》《塞北路程考》《和林金石录》《双溪醉隐集笺》等。",[7,199,110,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903c65ebcfe89e1e8bb567b1ec150f32.jpg",[],{"id":29353,"slug":29354,"title":29355,"dynasty":88,"author":29356,"museum":107,"description":29357,"tags":29358,"thumbUrl":29359,"material":751,"size":752,"collection":95,"collections":29360,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241097,"wu-kuan-deng-ba-jia-ti-hou-chi-bi-fu-tu-ba-wei-can-juan-zhao-yan-241097","无款、等八家题后赤壁赋图跋尾残卷","赵岩","赵岩，原名赵霖，陈州宛丘（今河南淮阳县）人。后梁太祖朱温女婿，忠武军节度使赵犨次子。\n开平初年，授卫尉卿、驸马都尉，转天威军节度使。以勋戚自负，货赂公行，穷奢极欲。后梁灭亡后，为徐州贼温韬所杀。",[23,7,60,50,77,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b05d1f682443c5e4e4879e49df1085a.jpg",[],{"id":29362,"slug":29363,"title":29364,"dynasty":45,"author":3843,"museum":72,"description":29365,"tags":29366,"thumbUrl":29367,"material":29368,"size":29369,"collection":96,"collections":29370,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241053,"shi-he-juan-wang-feng-yuan-241053","诗合卷","[明]字子新，號吉山。欽佩子。擅海內書名，楷法鍾繇，草法王羲之父子。",[23,25,7,60,49,77,50,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79741274da4dca2dce551b419ee6efa6.jpg","紙本","29.7×30.8cm",[96],{"id":29372,"slug":29373,"title":29374,"dynasty":179,"author":10934,"museum":107,"description":17227,"tags":29375,"thumbUrl":29377,"material":751,"size":752,"collection":95,"collections":29378,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},241012,"yu-shi-zhen-juan-can-pian-xian-yu-shu-241012","御史箴卷残片",[7,60,77,29376,3477,2602,312],"残片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b52e364f68ca3ff6c81ea9b767f25c3.jpg",[],{"id":29380,"slug":29381,"title":29382,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":29383,"thumbUrl":29384,"material":751,"size":752,"collection":95,"collections":29385,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240966,"nan-chi-shi-san-shou-shan-mian-huang-yi-240966","南池诗三首扇面",[24,25,1250,7,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c8dba4823406f5a411d98313eb7f78.jpg",[],{"id":29387,"slug":29388,"title":29389,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":29390,"thumbUrl":29391,"material":751,"size":752,"collection":95,"collections":29392,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},240936,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-si-zhao-meng-fu-240936","赵孟頖妙法莲花经册卷四",[7,386,26,199,878,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7358c8cc0a19acbc38f1dffa23b970.jpg",[],{"id":29394,"slug":29395,"title":29396,"dynasty":45,"author":29397,"museum":107,"description":29398,"tags":29399,"thumbUrl":29400,"material":312,"size":95,"collection":96,"collections":29401,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240881,"du-huang-he-wu-lv-zhou-wu-xing-zuo-240881","渡黄河五律轴","吴兴祚","吳興祚（1632年—1697年），字伯成，號留邨，紹興府山陰（今浙江紹興）州山人，後入漢軍正紅旗。清初名臣。\n其父為吳執忠，早年作為禮親王代善的幕僚，被授為頭等護衞。 [1] 吳興祚自幼聰穎，奮攻科藝，順治七年（1650年）以貢生的身份授為江西萍鄉知縣。當時金聲桓叛變，江西的郡縣多被佔領，唯有萍鄉沒有被佔領。很快他被授為山西大寧知縣。順治十八年（1661年），遷移為山東沂州知州 [2] 。不久以驛務遲誤、對白蓮教起義鎮壓不力之罪被罷，康熙帝二年（1663）降補無錫知縣。在任內，清丈全縣田畝，編號繪圖，因田徵賦，切行“攤丁入畝”。康熙十四年（1675年）四月，進為福建按察使。招撫耿精忠部將陳龍等人，生擒朱統錩。康熙十七年（1678年），被提升為福建巡撫，率部屢敗鄭經的軍隊。因功進秩正一品，後又進為兩廣總督，他上任後上疏言前督尚之信在廣東橫徵苛斂，奏請罷除鹽埠、渡税、漁科等苛捐雜税，又奏請允開海禁。\n康熙三十五年（1696年），康熙帝親征噶爾丹，吳興祚隨康熙帝效力，康熙三十六年（1697年）逝世。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ba2a34285731bb57f0b5a85bc0ccf4.jpg",[96],{"id":29403,"slug":29404,"title":22728,"dynasty":45,"author":29405,"museum":126,"description":29406,"tags":29407,"thumbUrl":29408,"material":1646,"size":29409,"collection":96,"collections":29410,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240858,"shi-juan-wang-shi-zhen-240858","王世贞","释文：\n王山人自称十岳，先有二诗见寄，极国士之许，千里命驾，曾未淹日，欲游（留）金陵，长篇志别，拂衣北首，聊此抒赠：凤鸟摩青天，片羽飞东海。却坠七尺篱，鷃目荧然改。得子頷下珠，夜必吐光彩。孙醑骄欲鸣，青灯耿相待。不谓双垂杨，果系出剡舟。野夫虽称病，为汝强梳头。沉沉薜色夏，忽起商（双）飚秋。特达壮士縒，未许黄金酬。谓予九州水，当复有九州。禺儿志五岳，逝将十岳游。酒间叩沂边，泰岱曾入手。马迹重云颠，鸡声浴日后。狂扣玉女盆，中原敬培塿。自揽烟霞色，语语不离口。五岳天中外，子尚余其九。寒暑炼玉容，去日各非有。昔予读损益，亦复思名山。晚师维摩诘，旦夕棲衡关。纵横千界表，乃在弹指间。笑攀青莲花，归插玉女鬟。奚必策玄踝，役役劳神颜。我语虽大佳，听之了无答。杯酒散城烟，孤帆凌超忽。唯余留别句，掷地金石发。后夜倘见怀，长江弄秋月。余以（亦）止观法门，留仲房不得，仲房翻笑予恋恋庭户，不则谓予坐驰也。翼日倘更为仲房牵引，蹑一屐山水间，不又为仲房大笑也。天弢居士王世贞病中书。\n钤“王元美氏”、“天弢居士”印2方。\n此卷书法闲雅秀丽，古朴清新，运笔凝练，骨力内涵，方圆并济，豪放中见沉着，遒劲中见婉秀。明朱谋垔《书史会要续编》言：“世贞书学虽非当家，而议论翩翩，笔法古雅。”其结字、布局似出自赵孟頫书法，显示了较深厚的传统功力。",[23,25,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5250d5f49da55e3a27a14828f97fab.jpg","纵25.8厘米，横135厘米",[96],{"id":29412,"slug":29413,"title":9940,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":29414,"thumbUrl":29415,"material":751,"size":752,"collection":95,"collections":29416,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240854,"qi-yan-lian-huang-yi-240854",[7,2136,75,1613,50,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92a7cf036efe5b33a61bb32bdce36b3.jpg",[],{"id":29418,"slug":29419,"title":21918,"dynasty":18,"author":10912,"museum":107,"description":16215,"tags":29420,"thumbUrl":29421,"material":751,"size":752,"collection":95,"collections":29422,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},240828,"wang-duo-lin-tie-zhou-wang-duo-240828",[25,7,75,110,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c4d7e776a8e86d9dd6eb0a7a09d694.jpg",[],{"id":29424,"slug":29425,"title":29426,"dynasty":18,"author":9486,"museum":107,"description":29427,"tags":29428,"thumbUrl":29429,"material":312,"size":95,"collection":96,"collections":29430,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},240797,"jie-tan-shi-zhou-gao-qi-pei-240797","戒坛诗轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[24,25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518958c7d3997b76c3270ea88a7501b3.jpg",[96],{"id":29432,"slug":29433,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":29435,"tags":29436,"thumbUrl":29437,"material":312,"size":95,"collection":96,"collections":29438,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240712,"shi-zha-ce-lin-ze-xu-240712","诗札册","林则徐（1785年8月30日 －1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等 ，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[25,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5830a7f383b30854898ed12ea4d2c6.jpg",[96],{"id":29440,"slug":29441,"title":29442,"dynasty":18,"author":29443,"museum":107,"description":29444,"tags":29445,"thumbUrl":29446,"material":751,"size":752,"collection":95,"collections":29447,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240677,"jia-lian-shi-juan-liu-ru-shi-240677","嘉莲诗卷","柳如是","柳如是（1618年～1664年），本名杨爱，字如是，又称河东君，因读宋朝辛弃疾《贺新郎》中：“我见青山多妩媚，料青山见我应如是”，故自号如是。浙江嘉兴人。与马湘兰、卞玉京、李香君、董小宛、顾横波、寇白门、陈圆圆同称“秦淮八艳”。后嫁有“学贯天人”、“当代文章伯”之称的明朝大才子钱谦益为侧室。明末清初女诗人。",[23,7,49,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ddec1fe22944a9f7fb0ef4e23c2227.jpg",[],{"id":29449,"slug":29450,"title":26787,"dynasty":18,"author":29451,"museum":107,"description":29452,"tags":29453,"thumbUrl":29454,"material":312,"size":95,"collection":96,"collections":29455,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240641,"qi-jue-shi-zhou-wang-xu-ling-240641","王顼龄","王頊齡（1642-1725）：字顓士，一字容士，號瑁湖，晚號松喬老人，清·江南華亭縣（今上海市金山區）張堰鎮人，御史王廣心長子。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70788b27dea80da7b227e3446aab3249.jpg",[96],{"id":29457,"slug":29458,"title":15587,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":29459,"thumbUrl":29460,"material":751,"size":752,"collection":95,"collections":29461,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240589,"za-ji-shu-zha-he-ce-xu-wei-240589",[7,60,398,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9bccd7ee789c6e2f272f962ddd3564.jpg",[],{"id":29463,"slug":29464,"title":29465,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":29466,"thumbUrl":29467,"material":751,"size":752,"collection":95,"collections":29468,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240551,"ci-zhou-chen-hong-shou-240551","词轴",[7,60,75,45,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe46e67a845fb0f2d7a8c444858f830a.jpg",[],{"id":29470,"slug":29471,"title":29472,"dynasty":45,"author":29473,"museum":107,"description":29474,"tags":29475,"thumbUrl":29476,"material":312,"size":95,"collection":96,"collections":29477,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240508,"qi-jia-xing-shi-han-juan-xie-duo-240508","七家行诗翰卷","谢铎","謝鐸（1435年～1510年），字鳴治，號方山，又號方石，浙江温嶺桃溪（今温嶺市大溪鎮兆岙）人。明朝官員、文學家。\n天順八年（1464年）進士，入翰林院為庶吉士，次年授編修。成化三年（1467年），參修《英宗實錄》，成化九年（1473年）校勘《通鑑綱目》，後升侍講。時值邊警，上疏《論西北備邊事宜狀》，指陳邊防弊端，主張整飭邊務。成化十四年（1478年），父喪告假回鄉。弘治初，參修《憲宗實錄》。弘治三年（1490年），升南京國子祭酒。次年辭官回鄉，家居十年，先後有數十人舉薦。明孝宗命吏部遣人員至其家，起用為南京禮部右侍郎兼國子祭酒。七十二歲告老還鄉。謝鐸博通經史，文學造詣極深。卒贈禮部尚書，諡文肅。\n謝鐸博通經史，尤精理學，文學造詣極深。時詩壇盛行台閣體，堆砌辭藻，粉飾太平。謝鐸與李東陽等主張詩歌革新，詩宗杜甫，成為茶陵派代表詩人之一，寫有不少揭露現實、關心民生疾苦詩作。應台州知府陳相之邀，纂修《赤城新志》。著有《伊洛淵源續錄》、《尊鄉錄》、《赤城論諫錄》（與黃孔昭合編）、《桃溪淨稿》等。",[23,4038,60,49,7,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf75cf53868c880203f9cca320053528.jpg",[96],{"id":29479,"slug":29480,"title":29481,"dynasty":18,"author":10912,"museum":107,"description":16215,"tags":29482,"thumbUrl":29483,"material":751,"size":752,"collection":95,"collections":29484,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240504,"wang-duo-e-mei-shan-ji-you-shi-juan-wang-duo-240504","王铎峨嵋山记游诗卷",[23,7,60,398,49,77,50,651,360,845,6297,589,133,131,132,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb42eaa858f60f4db13931247b16798.jpg",[],{"id":29486,"slug":29487,"title":29488,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":29489,"thumbUrl":29490,"material":312,"size":95,"collection":96,"collections":29491,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240493,"wu-chang-shuo-shi-zhou-wu-chang-shuo-240493","吴昌硕诗轴",[7,75,60,457,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce394c6dee22fe283439c8f89aaf021.jpg",[96],{"id":29493,"slug":29494,"title":29495,"dynasty":18,"author":1209,"museum":107,"description":29496,"tags":29497,"thumbUrl":29498,"material":751,"size":752,"collection":95,"collections":29499,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240429,"kang-you-wei-shi-zhou-kang-you-wei-240429","康有为诗轴","康有为（1858年3月19日—1927年3月31日），原名祖诒，字广厦，号长素，又号明夷、更甡、西樵山人、游存叟、天游化人，广东省广州府南海县丹灶苏村人，人称康南海，中国晚清时期重要的政治家、思想家、教育家，资产阶级改良主义的代表人物。康有为出生于封建官僚家庭，光绪五年（1879年）开始接触西方文化。光绪十四年（1888年），康有为再一次到北京参加顺天乡试，借机第一次上书光绪帝请求变法，受阻未上达。光绪十七年（1891年）后在广州设立万木草堂，收徒讲学。光绪二十一年（1895年）得知《马关条约》签订，联合1300多名举人上万言书，即“公车上书”。",[7,60,75,77,22675,679,6398,6297,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07ed06526316ea47f5ea9522c0a6edd.jpg",[],{"id":29501,"slug":29502,"title":29503,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":29504,"thumbUrl":29505,"material":751,"size":752,"collection":95,"collections":29506,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240384,"yi-bing-shou-lin-tie-zhou-yi-bing-shou-240384","伊秉绶临帖轴",[24,25,7,75,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fa081fb0d265df654fa8153743b97c.jpg",[],{"id":29508,"slug":29509,"title":29510,"dynasty":18,"author":1260,"museum":107,"description":19508,"tags":29511,"thumbUrl":29512,"material":751,"size":752,"collection":95,"collections":29513,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240339,"ge-jia-shou-zha-juan-liu-yong-240339","各家手札卷",[7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d98709abc63ef82e4e099321d618fc5.jpg",[],{"id":29515,"slug":29516,"title":29517,"dynasty":18,"author":6672,"museum":107,"description":3348,"tags":29518,"thumbUrl":29519,"material":751,"size":752,"collection":95,"collections":29520,"showCount":533,"zanCount":882,"manualWeight":39,"mainColor":40},240299,"zheng-xie-lun-shu-zhou-zheng-xie-240299","郑燮论书轴",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d27791b75036095e4161526a1f4dad.jpg",[],{"id":29522,"slug":29523,"title":21902,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":29524,"thumbUrl":29525,"material":751,"size":752,"collection":95,"collections":29526,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":3443},240253,"lu-yu-zhou-jin-nong-240253",[7,75,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c373037f97ff6594a08baedbaae9d6c.jpg",[],{"id":29528,"slug":29529,"title":29530,"dynasty":45,"author":689,"museum":107,"description":29531,"tags":29532,"thumbUrl":29534,"material":312,"size":29535,"collection":63,"collections":29536,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240245,"wu-lv-shi-zhou-chen-hong-shou-240245","五律诗轴","释文：\n“剪落入城市，拙岁隐者伦。亲朋虽传舌，景物最伤神。老病锦官府，还山愧野人。往来轻似叶，幸不厌清员。洪绶似玄濬道盟兄正之，二十余年不见，重为作书乐甚。”\n款钤“陈洪绶印”、“章侯氏”印2方。\n本轴书五言律诗一首，从落款处称僧人玄濬为“道盟兄”，可知此诗是陈洪绶晚年为僧时所作。\n陈洪绶的书法与绘画均显现共同而鲜明的特色，即奇异、怪诞。此轴书法结构修长，字形呈欹峭之势，用笔紧密而细腻，简洁而质朴，姿态夸张，富于变化，线条潇洒俊健，颇有风姿，表现了作者独特的书风。",[25,75,7,60,50,77,651,29533],"市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24d443d8c38b222178f604a0751cdec.jpg","纵141厘米，横57.5厘米",[63],{"id":29538,"slug":29539,"title":10545,"dynasty":18,"author":29540,"museum":107,"description":29541,"tags":29542,"thumbUrl":29543,"material":29544,"size":95,"collection":96,"collections":29545,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240177,"wu-yan-lian-chen-peng-nian-240177","陈鹏年","陈鹏年（1663年～1723年）字北溟，又字沧州，康熙二十三年（1684）举人，三十年进士。历官浙江西安知县、江南山阳知县、江宁知府、苏州知府、有《道荣堂文集》、《喝月词》、《历仕政略》、《河工条约》等。\n陈鹏年死后，清廷下诏厚葬。其墓气势肃穆，规模宏大，东西长50米，南北宽15米，自东向西，成对排列着 立有花岗石牌楼、还有墓庐两栋。墓上主碑书“陈恪勤公之墓”。诰命 据传，东雾山西麓所建东岑禅院及山顶的石泉精舍，都是陈鹏年少时读书的地方。墓之东西有石龙山、彭何观等景观。石龙山系宋末文人李半村隐居之地。过去有石龙寺，后改名慈航庵。西有洞口水库等景观。南有青翠峰、清总兵陈必友故居位于此处。",[7,2136,75,60,77,432,9635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79145631ef2fecdb874957b66efd5f.jpg","立轴纸本",[96],{"id":29547,"slug":29548,"title":29549,"dynasty":45,"author":454,"museum":107,"description":29550,"tags":29551,"thumbUrl":29553,"material":95,"size":95,"collection":96,"collections":29554,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},240174,"wu-kuan-li-yu-mu-dong-shi-jia-jing-shi-wu-nian-gao-ming-juan-yi-ming-240174","无款李愈母董氏嘉靖十五年诰命卷","此作为典型明代御制诰命，以标准馆阁体书就，笔致匀整方正，端秀雅正，尽显皇家文书的庄重威仪。文辞典丽雍容，叙写朝廷覃恩褒奖臣工母氏的荣宠，尽显封建恩荣规制。两侧钤盖的朱印浑朴方正，朱泥历久鲜亮，与墨色书法、古雅绢底相互映衬，整体气息肃穆端严，既为明代官方书法的范本，亦是探究彼时诰命制度、士林恩荣的珍贵实物遗存。",[4038,199,77,25,49,7,29552,2602],"诰命","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94da1059059a572addd614a7a9ea1a05.jpg",[96],{"id":29556,"slug":29557,"title":29558,"dynasty":18,"author":19125,"museum":126,"description":29559,"tags":29560,"thumbUrl":29561,"material":312,"size":95,"collection":96,"collections":29562,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240064,"lin-ge-jia-shu-juan-wu-xi-zai-240064","临各家书卷","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”\n吴煕载，原名廷飏，字煕载，后因避穆宗载淳讳更字让之，号晚学居士，江苏仪征人。他长期寓居扬州，以卖书画刻印为生，晚年落魄穷困，栖身寺庙借僧房鬻书，潦倒而终。吴煕载是包世臣的入室弟子。其行草学包世臣，篆隶及篆刻则师法邓石如。尤其是篆刻，不仅自成面目，而且进一步完善了邓派印风，后来学邓派印者，多从吴让之入手。吴煕载以篆书和隶书最为知名。其篆书点画舒展飘逸，结体瘦长疏朗，行笔稳健流畅。古朴虽不及邓石如，而灵动典雅似则过之，颇具妩媚优雅之趣，在晚清书坛享有很高的声誉。对后来的赵之谦、吴昌硕均有影响。",[23,7,60,110,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b7bf85b89a41fe36bf57b554a9fa39.jpg",[96],{"id":29564,"slug":29565,"title":29566,"dynasty":18,"author":3357,"museum":126,"description":12609,"tags":29567,"thumbUrl":29568,"material":95,"size":95,"collection":96,"collections":29569,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240040,"shi-can-ye-kun-can-240040","诗残页",[25,7,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e39f5ac315cea2303be48a247bf23f.jpg",[96],{"id":29571,"slug":29572,"title":29573,"dynasty":45,"author":5233,"museum":126,"description":8203,"tags":29574,"thumbUrl":29575,"material":95,"size":95,"collection":96,"collections":29576,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},240031,"shu-shi-juan-mo-shi-long-240031","书诗卷",[23,7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75343ed660bed2800471ba4bf595fabc.jpg",[96],{"id":29578,"slug":29579,"title":29580,"dynasty":18,"author":29581,"museum":126,"description":29582,"tags":29583,"thumbUrl":29584,"material":95,"size":95,"collection":96,"collections":29585,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239980,"cha-si-ji-lin-sheng-jiao-xu-juan-cha-si-ji-239980","查嗣基临圣教序卷","查嗣基","此临作笔势洞精，苍森古逸，卷后有查士标、沈珩题跋。",[23,7,110,60,49,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37149cefa48a657291b99d79c59f9f1a.jpg",[96],{"id":29587,"slug":29588,"title":2131,"dynasty":18,"author":14418,"museum":107,"description":14419,"tags":29589,"thumbUrl":29590,"material":751,"size":752,"collection":95,"collections":29591,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239955,"zhuan-shu-ba-yan-lian-mo-you-zhi-239955",[457,2136,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcfaf34bd8b13c983867dabbfc917170.jpg",[],{"id":29593,"slug":29594,"title":29595,"dynasty":18,"author":29596,"museum":107,"description":29597,"tags":29598,"thumbUrl":29599,"material":95,"size":95,"collection":96,"collections":29600,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239953,"shu-ye-shi-zhou-zhang-wen-tao-239953","暑夜诗轴","张问陶","张问陶（1764年—1814年） ，字仲冶，一字柳门，其故乡四川遂宁城西有船山，因以为号。因善画猿，亦自号“蜀山老猿”。清四川潼川州遂宁县黑柏沟（今属遂宁市蓬溪县）人 。清代诗人、诗论家、书画家。\n张问陶于乾隆五十五年（1790年）进士及第，曾任翰林院检讨、江南道监察御史、吏部郎中。后出任山东莱州知府，后辞官寓居苏州虎邱山塘。晚年遨游大江南北，嘉庆十九年（1814）三月初四日，病卒于苏州寓所，享年五十一岁。\n张问陶撰有《船山诗草》，存诗3500余首。其诗天才横溢，与袁枚、赵翼合称清代“性灵派三大家”，与彭端淑、李调元合称“清代蜀中三才子”， 被誉为“青莲再世”、“少陵复出”、清代“蜀中诗人之冠”。",[25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484968d3445b0ccbbfc46e2523cafa2f.jpg",[96],{"id":29602,"slug":29603,"title":17924,"dynasty":45,"author":29604,"museum":107,"description":29605,"tags":29606,"thumbUrl":29607,"material":95,"size":95,"collection":96,"collections":29608,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239912,"shi-zhou-gu-qi-yuan-239912","顾起元","顾起元（1565年～1628年），应天府江宁（今南京）人，明代官员、金石家、书法家。字太初，一作璘初、瞒初，号遁园居士。万历二十六年进士，官至吏部左侍郎，兼翰林院侍读学。乞退后，筑遁园，闭门潜心著述。朝廷曾七次诏命为相，均婉辞之，卒谥文庄。著有《金陵古金石考》《客座赘语》《说略》等。",[25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9477840cc14d7a0d0a1a3f1f4e4791e.jpg",[96],{"id":29610,"slug":29611,"title":29612,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":29613,"thumbUrl":29614,"material":95,"size":95,"collection":96,"collections":29615,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239906,"mu-dan-fu-juan-zhu-yun-ming-239906","牡丹赋卷",[23,25,7,49,398,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3614c1bd736af934ea47c0ff771b03.jpg",[96],{"id":29617,"slug":29618,"title":29619,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":29620,"thumbUrl":29621,"material":751,"size":752,"collection":95,"collections":29622,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239882,"shu-li-er-tong-zhou-weng-fang-gang-239882","书礼二通轴",[2135,25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefeb4e5e4c4f2cbf4f43009833c5f1a5.jpg",[],{"id":29624,"slug":29625,"title":17924,"dynasty":45,"author":29626,"museum":107,"description":29627,"tags":29628,"thumbUrl":29629,"material":95,"size":95,"collection":96,"collections":29630,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239796,"shi-zhou-yi-wang-239796","益王","此作用笔纵逸灵动，牵丝映带圆融自然，尽显草书畅达疏朗的意趣。起收提按间顿挫分明，字势欹正相生，干湿浓淡的墨色交织，既有疾风骤雨般的爽利落拓，又暗蕴沉静雅致的书卷气。\n通篇布局疏密得宜，行气如长河奔涌贯通始终，将酬唱诗句的豪迈襟怀寄于笔墨流转之间，落笔处皆是心绪与笔意的交融，把文人酬赠的情志挥洒得淋漓尽致，笔墨间裹挟着诗意豪情，雅致洒脱的气韵扑面而来。",[24,25,75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a16d9eb30d0d7b7e04757c99739adf.jpg",[96],{"id":29632,"slug":29633,"title":29634,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":29635,"thumbUrl":29636,"material":751,"size":752,"collection":95,"collections":29637,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":789},239767,"shu-hong-li-ji-yuan-zhou-jia-shou-shou-li-cheng-ji-ce-weng-fang-gang-239767","书弘历纪元周甲授受礼成记册",[7,199,26,27,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc735977ee7c381ee633169b0a54c4ee7.jpg",[],{"id":29639,"slug":29640,"title":29641,"dynasty":18,"author":29642,"museum":107,"description":29643,"tags":29644,"thumbUrl":29645,"material":751,"size":752,"collection":95,"collections":29646,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239766,"shu-hong-li-ping-xi-yu-gong-chen-xiang-zan-xu-ce-peng-yuan-rui-239766","书弘历平西域功臣像赞序册","彭元瑞","彭元瑞（1731—1803），字掌仍，一字辑五，号芸楣（一作云楣），江西南昌人，清代大臣、学者，楹联名家。乾隆二十二年进士，改庶吉士，授编修，官至工部尚书、协办大学士。元瑞博学强记，时有令誉。纪昀为《四库全书》总纂官时，彭元瑞是十个副总裁之一。与蒋士铨合称“江右两名士”。",[18,199,7,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49bc5ba8aea1104f3bdc16276993777.jpg",[],{"id":29648,"slug":29649,"title":29650,"dynasty":18,"author":23214,"museum":107,"description":29651,"tags":29652,"thumbUrl":29653,"material":751,"size":752,"collection":95,"collections":29654,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":789},239763,"hong-li-xi-lv-gui-cheng-shi-ce-ji-yun-239763","弘历西旅归诚诗册","纪昀（1724年8月3日-1805年3月14日），字晓岚，别字春帆，号石云，道号观弈道人、孤石老人，直隶河间府献县人，清代文学家、官员。\n清乾隆十九年（1754年），考中进士，官至礼部尚书、协办大学士、太子少保。曾任《四库全书》总纂官。\n嘉庆十年（1805年），病逝，时年八十二岁，因其“敏而好学可为文，授之以政无不达”（嘉庆帝御赐碑文），谥号“文达”。",[7,199,26,27,77,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d6fb4c418d44254de0282c2953e3d1.jpg",[],{"id":29656,"slug":29657,"title":29658,"dynasty":45,"author":29659,"museum":126,"description":29660,"tags":29661,"thumbUrl":29662,"material":312,"size":29663,"collection":96,"collections":29664,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239745,"shuang-he-rui-wu-fu-juan-wang-fu-zhi-239745","双鹤瑞舞赋卷","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家” ，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[23,92,24,25,49,7,60,398,312,432,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[96],{"id":29666,"slug":29667,"title":29668,"dynasty":162,"author":454,"museum":107,"description":29669,"tags":29670,"thumbUrl":29672,"material":95,"size":95,"collection":96,"collections":29673,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},239682,"wu-kuan-huang-chao-qi-yi-ji-can-ye-yi-ming-239682","无款黄巢起义记残页","黄巢起义，指的是乾符五年（878年）至中和四年（884年）由黄巢领导的民变，是王仙芝起义的后续。也是唐末民变中，历时最久，遍及最大，影响最深远的一场农民起义。黄巢之乱转战近半唐朝江山，导致唐末国力大衰。\n黄巢起义，采用流动作战的方式，避实攻虚，走遍今天山东、河南、安徽、浙江、江西、福建、广东、广西、湖南、湖北、陕西等省广大地区，动摇了唐朝的统治。但由于长期流动作战，没有稳定的后方，缺乏经济上的保障和群众基础，故而很难持久下去，使起义军最后失败。",[1063,7,60,385,29671,1498,6771,14632,4677,2602],"残页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26a9b5915211b536825c381c7234e93.jpg",[96],{"id":29675,"slug":29676,"title":21168,"dynasty":88,"author":5689,"museum":107,"description":29677,"tags":29678,"thumbUrl":29679,"material":95,"size":95,"collection":95,"collections":29680,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239662,"zi-shu-shi-juan-lin-bu-239662","这件行书诗卷清劲瘦硬，萧散淡远，恰如其主梅妻鹤子的隐士襟怀。用笔瘦挺而具弹性，提按顿挫间尽显灵动，牵丝映带自然圆融，字势错落顾盼生情。宽绰行距铺展出从容疏朗的章法，褪去尘俗烟火气，满卷皆是林下清风。\n\n诗文与笔墨互为表里，将湖山行吟、赏梅观鹤的幽隐心境藏在每一处笔锋辗转间，把孤高疏淡的隐士意趣融于笔底，是宋尚意书法的绝佳注脚，书文俱佳，尽显宋代文人清雅脱俗的精神底色。",[23,92,24,25,7,49,60,50,77,131,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26372b075a6a47c8f0af2b3403e1bb9e.jpg",[],{"id":29682,"slug":29683,"title":29684,"dynasty":179,"author":225,"museum":72,"description":29685,"tags":29686,"thumbUrl":29687,"material":312,"size":29688,"collection":96,"collections":29689,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239635,"zhao-yong-shang-zhong-feng-zha-juan-zhao-meng-fu-239635","赵雍上中峰札卷","管道昇心信佛法，是虔诚的佛教徒，拜中峰和尚为师．小札中更尊中峰和尚為“父师”，而自称女弟子：此尺牘无纪年，文中有“年时得以中首座来都”句，可知管道昇时在京都。管氏於至元二十六年（1289)与赵孟頫伉俪儷之合后，又於至大三年（1310）十月随赵孟頫应召离吴兴赴京，很有可能，此尺牘是管夫人赴京不久所书，约五十岁左右。句中“以中”为天目山僧，在天目山出任中峰和尚之首座，常代替中峰和尚外出联络，处理佛门事务，与赵孟頫、管道昇颇多交往。\n此尺牍书风与赵孟頫颇為相近，而运笔结字间时露才女特有的性情。世传管夫人书作“寸縑片纸，人争购之，后学為之模范”",[23,7,60,49,312,385,22168,77,6769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782f49a77fc0d17c04e62e7e00cab13.jpg","31.7×72.9cm",[96],{"id":29691,"slug":29692,"title":29693,"dynasty":179,"author":29694,"museum":126,"description":29695,"tags":29696,"thumbUrl":29699,"material":312,"size":29700,"collection":96,"collections":29701,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239622,"gong-su-jiao-shou-tie-ye-gong-su-239622","龚璛教授帖页","龚璛","释文：\n记事拜复钱翼之教授足下，客袁州龚璛敬封。璛记事拜复翼之教授足下。小婿子行来，重为手帖，深慰岑寂。近作见教，如对笑谈。序文甚欲云云，喧嚣倥偬，实无一毫佳思，容少间尝应命，非推调也。《荔枝谱》留与小孙习之。令郎笔仗如此，可谓撞过烟楼。碧潭回，拈纸奉复。拔暇未觅挂漏，且希昭恕，兹不具。璛再拜。\n鉴藏印有项元汴、安岐、谭敬、赵叔彦、张爰等印23方，半印5方。本幅右下有明代项元汴用《千字文》编的号码“集字号”，左下方有“甲二”字样。\n此帖中“钱翼之”为钱良佑。“子行”是吾衍的字。吾衍为太末（今浙江龙游）人，居杭州，精于篆学，是龚璛之婿。“令郎”指钱氏之子逵。《荔枝谱》为宋朝蔡襄撰。《教授帖》中称“留与小孙习之”，或是蔡氏手书墨迹，待考。此帖上款称钱氏为“教授”（即教谕），可知应书于元至大年间（1308-1311年）钱氏为吴县教谕时。当时龚璛年约40余岁，应为其中年之笔。\n此帖书法运笔流畅自然，连贯潇洒，下笔强劲而有力度，可以看出龚璛很善于运用笔锋。书法表现古澹清和，不失晋人法度。\n《墨缘汇观·法书卷下》、《三虞堂书画目》著录。",[7,60,50,77,312,29697,29698,2602,15461],"元代书法","毛笔书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976bf4b8303c2810fea72c4762be40c2.jpg","28cm，横38.4cm",[96],{"id":29703,"slug":29704,"title":29705,"dynasty":179,"author":29706,"museum":126,"description":29707,"tags":29708,"thumbUrl":29709,"material":1038,"size":29710,"collection":96,"collections":29711,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239620,"yuan-jue-ya-tan-tie-ye-yuan-jue-239620","袁桷雅谭帖页","袁桷","释文：\n桷比者终日获接雅谭，继即探伺，且有假书之请。迺闻风帆趁潮，将促运米舟以还，繇是不果。兹审珮音琅然，方持螯高詠，视吾徒如逐臭。妙墨相遇，惜不能与玉柱惠文相聚耳。二碑岂立谈可了，明当聚首。不具。桷再拜。\n本幅有鉴藏印“安仪周家珍藏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”、“赵叔彦”等12方，半印2方。\n此帖为应酬信札，故信笔书写，无拘无束，章法自然得体，用笔结字颇有法度，提按转折，刻意精致，具有米芾沉着痛快，欹侧奇险之笔势。\n《墨缘汇观·法书卷》、《三虞堂书画目》两书著录。",[7,60,200,77,25,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45bb2338bc357d31534407d9d4f71206.jpg","纵28.3厘米, 横38.9厘米",[96],{"id":29713,"slug":29714,"title":29715,"dynasty":179,"author":6867,"museum":126,"description":29716,"tags":29717,"thumbUrl":29718,"material":312,"size":29719,"collection":96,"collections":29720,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239617,"song-gan-er-shi-tie-ye-zhang-yu-239617","送柑二诗帖页","释文：\n次韵谢天镜上人送柑：肚能紧束三条篾，手亦亲栽两棵梨。尚忆黄甘三百颗，好山多在洞庭西。\n尘中谁识罗公远，一嗅黄（此字点去）香甘瓣瓣轻。不似枇杷金弹子，只供游侠打啼莺。天雨。\n钤“句曲外史”印。鉴藏印钤“安仪周家珍藏”、“莲樵鉴赏”、“景贤”、“谭敬”等11方。\n据明姚广孝《逃虚子集》记载，文中“天镜”指杭州灵隐寺僧人圆净。圆净字天镜，著有《朴园集》。\n李日华云：“伯雨书性极高，人言其请益赵魏公（元代赵孟頫），公授以李泰和（唐代李邕）《云麾碑》，书顿进。”此帖舒放俊丽，清和闲雅，有赵书遗意，但刚劲峻拔，又有李邕风格，给人以用笔精紧、遒逸清新之感。",[7,60,200,77,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a53837f4c863dcfb41fc99bef941bc.jpg","纵26.5厘米, 横29.4厘米",[96],{"id":29722,"slug":29723,"title":29724,"dynasty":18,"author":7059,"museum":107,"description":22537,"tags":29725,"thumbUrl":29726,"material":751,"size":752,"collection":95,"collections":29727,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239343,"ci-shu-yan-tu-juan-yu-zhi-ding-239343","赐书砚图卷",[23,24,25,49,27,111,7,60,3093,1498,19026,9635,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06466295cda541530e4420d01e3a3796.jpg",[],{"id":29729,"slug":29730,"title":29731,"dynasty":18,"author":29732,"museum":107,"description":29733,"tags":29734,"thumbUrl":29735,"material":95,"size":95,"collection":95,"collections":29736,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},239313,"mo-mei-juan-zhu-zhe-239313","墨梅卷","祝喆","此作以书意入画，枯梅老干如狂草走笔，锋棱毕现，焦墨勾勒枝桠苍劲如铁，淡墨晕染花萼，繁蕊密枝错落纵横，将寒梅凌霜不屈的姿容尽皆铺展。长卷之中题跋与绘事相融，笔墨文心共生，以毫端倾泻胸中丘壑，将文人狷介疏狂的襟怀与冬梅孤高清雅的品格合二为一。不见娇柔妍态，唯有清癯风骨，观之如临冬林雪径，暗香随卷浮动，尽显文人画以画寄情、书画合一的逸趣，满纸皆是林下幽人淡泊孤傲的气度。",[23,24,25,49,50,131,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59a446b3ad367d29ecbb2ffc79e0d64.jpg",[],{"id":29738,"slug":29739,"title":14851,"dynasty":18,"author":14852,"museum":107,"description":29740,"tags":29741,"thumbUrl":29742,"material":95,"size":95,"collection":95,"collections":29743,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},238257,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238257","此作以诗画合璧之形呈现胜景。左侧绘关山之景，危岩层叠巍峨，细笔勾勒皴擦尽显山石肌理，淡赭晕染出峰峦苍润气色。河谷烟波澹澹，岸边村舍戍楼错落，藏于林泉之间，既绘出雄奇关隘形胜，又晕染出山野闲淡意趣。\n\n右侧行书题诗笔致清劲舒展，诗意与画境呼应凭添怀古幽思。整幅册页清雅隽秀，将实景纪实与文人笔墨意趣相融，于尺幅之间尽揽关隘灵秀与雄浑，尽显实景山水的精妙意韵。",[24,27,51,59,26,7,60,77,651,360,56,268,52,2019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eabbee580fde46912ec31bc46f9834.jpg",[],{"id":29745,"slug":29746,"title":29747,"dynasty":18,"author":28298,"museum":107,"description":29748,"tags":29749,"thumbUrl":29750,"material":95,"size":95,"collection":95,"collections":29751,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},238103,"hong-wu-shan-shui-ce-hong-wu-238103","弘旿山水册","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,50,59,7,77,26,51,651,53,55,116,115,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea702a0b848736e7d8aabe7965edd89.jpg",[],{"id":29753,"slug":29754,"title":12162,"dynasty":18,"author":29755,"museum":107,"description":29756,"tags":29757,"thumbUrl":29758,"material":751,"size":752,"collection":95,"collections":29759,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},237991,"za-hua-ce-xue-huai-237991","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[24,50,26,1390,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe555a7ac14f7c2b94018e6de279bf599.jpg",[],{"id":29761,"slug":29762,"title":29763,"dynasty":18,"author":29764,"museum":107,"description":29765,"tags":29766,"thumbUrl":29767,"material":751,"size":752,"collection":95,"collections":29768,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},237715,"qiu-sui-hua-niao-ce-qiu-sui-237715","裘穟花鸟册","裘穟","清，钱塘(今杭州)人。焕子，艺术家，代表作《图绘宝鉴续纂》等。",[24,25,26,27,111,29,131,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b8c63f0ffe368df20bd421834352df.jpg",[],{"id":29770,"slug":29771,"title":29772,"dynasty":18,"author":29773,"museum":107,"description":29774,"tags":29775,"thumbUrl":29776,"material":95,"size":95,"collection":95,"collections":29777,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},237167,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237167","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[24,27,26,51,113,458,652,116,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6156fef0397be844eee69f0c60eefc3a.jpg",[],{"id":29779,"slug":29780,"title":29781,"dynasty":45,"author":29782,"museum":107,"description":29783,"tags":29784,"thumbUrl":29785,"material":751,"size":752,"collection":95,"collections":29786,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},237074,"mo-bi-zhu-lan-shan-xiang-de-xin-237074","墨笔竹兰扇","项德新","项德新（约1563—？）明代画家。字复初、又新，浙江嘉兴人，项元汴的三儿子，工山水，得荆关法，尤其擅长写生。 作品流传极少，有人得其片纸，珍如拱璧。",[24,25,1250,50,132,139,7,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f6b181f99b7774ac392a39807b244b.jpg",[],{"id":29788,"slug":29789,"title":29790,"dynasty":18,"author":29791,"museum":107,"description":29792,"tags":29793,"thumbUrl":29794,"material":751,"size":752,"collection":95,"collections":29795,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},237070,"mo-mei-shan-huang-zhang-237070","墨梅扇","黄章","老干虬曲苍劲，枯涩笔墨刻尽风霜，枝桠舒展错落，花苞疏密点缀相宜。以浓淡墨色区分枝干与花萼，淡墨晕染花瓣，清隽雅致尽显寒梅疏朗清癯之态，自带孤高清气。\n\n右侧题款小字娟秀，朱印点睛，书画相映成趣。将文人雅致融于咫尺扇面，把梅花凌霜傲雪的品格寄于笔端，极简笔墨勾勒出盎然生机，寥寥数笔便将冬梅清逸出尘的风骨尽显无遗，方寸之间，尽揽暗香浮动的清冷诗意，尽显文人寄情花木的写意意趣。",[24,25,1250,50,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c4dd3b878b9f666b3714efe0597ef.jpg",[],{"id":29797,"slug":29798,"title":11849,"dynasty":18,"author":11850,"museum":107,"description":29799,"tags":29800,"thumbUrl":29801,"material":312,"size":95,"collection":95,"collections":29802,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},237069,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237069","此作用笔简淡松灵，以浅绛轻敷山水。层峦温润苍秀，林木枯荣交错，村居隐于林麓，板桥横溪渡水，疏密相宜间铺展出清寂淡远的山居胜境。干笔皴擦摹写山石肌理，枯木枝桠苍劲老辣，尽显山野清旷之态。\n\n左侧行书题识与山水合璧，笔墨萧散简逸，将寄情林泉的隐逸诗意融于尺幅之中，尽显幽居林下、观物寄兴的文人雅怀，是文人画诗书画意相融的典型之作。",[24,25,26,50,59,51,52,55,56,57,458,7,77,53,268,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3408920150f75610ff68e341a6566a69.jpg",[],{"id":29804,"slug":29805,"title":11849,"dynasty":18,"author":11850,"museum":107,"description":29806,"tags":29807,"thumbUrl":29808,"material":312,"size":95,"collection":95,"collections":29809,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},237067,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237067","此作是诗画合璧的文人小品。右侧绘就山居秋景，浅赭轻青晕出山峦，云气空濛漫于峰头，苍松挺拔、杂木错落，清溪隐石，茅庐藏于林泉深处，笔墨简淡秀雅，晕染出幽寂清远的林下意趣。\n左侧行书题诗，笔致清脱俊逸，诗境呼应画中林泉高致，将文人心底幽怀与眼前山景相融。整体淡远萧疏，恬和安宁，尽显旧时文人士大夫寄情山水、醉心丘壑的清雅襟怀。",[24,25,26,50,27,60,59,51,133,57,56,471,845,473,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac8eb1b21b8fbbe8a918bde273bfbc2.jpg",[],{"id":29811,"slug":29812,"title":1290,"dynasty":18,"author":5660,"museum":126,"description":29813,"tags":29814,"thumbUrl":29815,"material":488,"size":29816,"collection":95,"collections":29817,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},236314,"hua-hui-ce-wang-shi-shen-236314","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[24,25,26,50,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F270d7050c40df99455d3a285ab924491.jpg","纵24厘米 横27.5厘米",[],{"id":29819,"slug":29820,"title":29821,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":29822,"thumbUrl":29823,"material":751,"size":752,"collection":95,"collections":29824,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},236190,"hua-zhu-mei-hong-li-shu-shi-cheng-shan-chen-hong-shou-236190","画竹梅弘历书诗成扇",[24,25,1250,132,131,7,50,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21843d8b6020ed0e211a8a2725c828be.jpg",[],{"id":29826,"slug":29827,"title":29828,"dynasty":45,"author":454,"museum":107,"description":29829,"tags":29830,"thumbUrl":29831,"material":95,"size":95,"collection":95,"collections":29832,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":789},236073,"zhu-jian-shen-yi-tuan-he-qi-tu-zhou-yi-ming-236073","朱见深一团和气图轴","乍看是笑颜可掬的布袋僧人安坐，细观才觉藏着精妙机趣——儒释道三人环抱成圆融一团。左侧文人儒巾飘逸，右侧僧侣袈裟清雅，后方道者冠带隐现，三人面容相互勾连，难分你我。\n\n衣纹圆转柔和，似随呼吸舒展流动，以极简笔墨勾勒出三家神韵，暗合三教合一的文化思潮。把同气相求、共生共荣的东方哲思，藏进这诙谐的视觉巧思里，将世间融洽无间的美好祈愿，凝在这一方圆相之中，浅淡笔墨下满是悠长意蕴。",[24,25,75,27,113,112,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84e87759243c2e7a6cef849167a26e0.jpg",[],{"id":29834,"slug":29835,"title":29836,"dynasty":45,"author":25792,"museum":107,"description":29837,"tags":29838,"thumbUrl":29840,"material":95,"size":95,"collection":95,"collections":29841,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},236022,"ren-wu-tu-ce-fang-long-mian-ju-shi-chui-diao-tu-wen-nan-shou-mao-weng-236022","人物图册－仿龙眠居士垂钓图","此作诗画合璧，境致萧散出尘。绘卷以淡墨晕染云烟，崖岸之上，老翁垂竿独钓，简笔勾勒便将其安坐忘机的悠然情态尽显。对面飞瀑流云隐现于烟岚之间，空濛悠远，衬出江湖林下的清寂之境。\n\n题诗呼应画意，将临渊高坐比作神仙襟怀，把垂钓不为渔获、只为寄怀林泉的隐逸心境铺陈开来。笔简而意足，水墨轻岚间尽显静穆淡远的文人雅韵，把心向丘山、超然物外的林下风致淋漓展现，诗画衬发，尽显雅逸出俗的文人寄兴。",[24,25,26,50,110,7,77,113,51,820,29839,250],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf37a34ac43c682c605d9c4a280b2d79.jpg",[],{"id":29843,"slug":29844,"title":4167,"dynasty":18,"author":29845,"museum":107,"description":29846,"tags":29847,"thumbUrl":29848,"material":95,"size":95,"collection":63,"collections":29849,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},235936,"shan-shui-ce-qi-zhi-jia-235936","祁豸佳","此作截取一隅丘壑绘就，危崖层叠错落，枯木虬曲盘桓，扎根顽石之上，枝叶疏朗有生趣。淡墨晕染的远山清润空蒙，留白代水，晕出幽寂萧疏的林下意境，笔法简淡却意趣悠长。\n\n左侧行书题跋笔墨舒展隽秀，书画相映，以文释画，尽显诗书画合一的文人雅趣。整幅以枯淡之笔写山水林泉，不做繁复皴染，于简淡苍劲间尽显古拙意韵，将林泉高致寄于尺幅，藏着画者寄情山水、脱略尘俗的襟怀。",[24,25,26,50,51,59,7,60,57,56,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5886999bb81b85f4ae8a784f64d3fa2e.jpg",[63],{"id":29851,"slug":29852,"title":29853,"dynasty":45,"author":10061,"museum":107,"description":29854,"tags":29855,"thumbUrl":29856,"material":95,"size":95,"collection":95,"collections":29857,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},235855,"qiu-se-wu-tong-zhou-lan-ying-235855","秋色梧桐轴","枯槎携丹色桐叶横斜，桐子垂挂枝梢，清冷秋意扑面而来。以写意笔法绘就梧桐，浓淡墨色晕染出叶片的阴阳向背，丹粉轻染叶边，将秋深叶渐霜红的景致晕染恰到好处。\n\n独立枝头的山禽刻画工细，翎毛晕染层次分明，神完气足，将林间幽居野禽的娴静之态尽显。画面搭配题跋，诗书画相映，融工致与写意于一体，萧疏清隽的秋林意趣跃然纸上，把秋日林间的静穆生机凝于尺幅，尽显雅致的文人意趣。",[24,25,75,27,50,29,1048,693,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e3e520f01b79f754877fe32b75f2c3.jpg",[],{"id":29859,"slug":29860,"title":4167,"dynasty":45,"author":13748,"museum":107,"description":29861,"tags":29862,"thumbUrl":29863,"material":95,"size":95,"collection":95,"collections":29864,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},235830,"shan-shui-ce-li-liu-fang-235830","此帧以淡逸水墨写桐阴幽居意趣，双桐并立，阔笔点染团叶，墨色干湿浓淡相生，苍润清灵，枝干简劲纵逸，暗含拙朴古意。留白处绘平远水色，淡墨晕染岸渚遥岑，虚实相映间漾出幽寂淡远的林下清趣。\n\n画师取元人山水简淡萧散之韵，不事雕琢，以简驭繁，将文人幽淡襟怀寄寓笔墨间。笔底自带冷隽疏朗的林下风致，尽脱尘俗，寥寥数笔便写就幽居恬然意境，淡而弥远，简而味长，尽显尚韵重意的文人画特质。",[24,25,4347,50,129,59,51,56,553,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b25ed91142c57fd8dde09e56ee58ede.jpg",[],{"id":29866,"slug":29867,"title":29868,"dynasty":18,"author":454,"museum":107,"description":29869,"tags":29870,"thumbUrl":29871,"material":751,"size":752,"collection":95,"collections":29872,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},235809,"xiao-chen-dong-po-bo-gu-tu-shan-ye-yi-ming-235809","萧晨东坡博古图扇页","画面取文人博古雅集之景，疏密排布贴合扇面形制。案上陈置古器敦朴雅致，主者持卷凝神静思，宾客倾身注目端详，侍童恭立捧物侧旁，各自身姿情态细腻传神。衣纹线条秀劲流畅，设色清雅柔和，晕染自然妥帖，将文人耽于赏珍的闲适意趣铺陈开来，笔墨间尽显沉静高古的雅韵，把文人群雅聚首、摩挲古物的风流雅致刻画入微，是工笔人物小品中的精妙之作。",[1250,27,111,113,834,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F978f858e651341842a16760eec9797b4.jpg",[],{"id":29874,"slug":29875,"title":17304,"dynasty":18,"author":29876,"museum":107,"description":29877,"tags":29878,"thumbUrl":29879,"material":95,"size":95,"collection":95,"collections":29880,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},235643,"shan-shui-tu-ce-wu-li-235643","吴历","此帧山水以清寂秋江为境，右侧垂柳婆娑，干笔皴擦写出老柳苍古之态，柔条细劲宛转，似带清秋寒意。左侧远山以淡墨晕染，汀渚横斜，留白作水，寥寥数笔便绘就江天寥廓的空濛之感。坡岸茅舍隐于疏林浅草间，似有幽人居于此间。\n\n画左题诗与景致相映，诗书合璧，尽显文人雅趣。整体笔墨枯润相宜，虚实相生，以极简的造境烘托出深秋江渚的萧疏闲寂，淡远幽微的意境中，寄寓着画者对清秋静境的幽怀，尽显文人山水小品简淡高逸之美。",[24,25,26,50,51,115,2293,471,2219,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957b3e9072675d969bf9235b59f97fd2.jpg",[],{"id":29882,"slug":29883,"title":4167,"dynasty":45,"author":13383,"museum":107,"description":13384,"tags":29884,"thumbUrl":29885,"material":751,"size":752,"collection":95,"collections":29886,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},235353,"shan-shui-ce-zhang-fu-yang-235353",[24,25,26,50,51,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f78ff1eb1b8fb50d17bf27a3ad505c.jpg",[],{"id":29888,"slug":29889,"title":4167,"dynasty":45,"author":13383,"museum":107,"description":13384,"tags":29890,"thumbUrl":29891,"material":751,"size":752,"collection":95,"collections":29892,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},235350,"shan-shui-ce-zhang-fu-yang-235350",[24,25,26,50,51,54,113,115,53,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6bccd8a382a7956cf80a248d5b9b31.jpg",[],{"id":29894,"slug":29895,"title":4167,"dynasty":45,"author":13383,"museum":107,"description":13384,"tags":29896,"thumbUrl":29897,"material":751,"size":752,"collection":95,"collections":29898,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},235349,"shan-shui-ce-zhang-fu-yang-235349",[45,24,25,26,50,51,1074,133,57,56,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13af9b1f001365425e8bcea15c6d31a4.jpg",[],{"id":29900,"slug":29901,"title":1290,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":29902,"thumbUrl":29903,"material":751,"size":752,"collection":95,"collections":29904,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},235199,"hua-hui-ce-wu-chang-shuo-235199",[24,25,26,27,29,135,284,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfbcb3a239e834a8bdafab60052cfe4.jpg",[],{"id":29906,"slug":29907,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":29908,"thumbUrl":29909,"material":488,"size":95,"collection":95,"collections":29910,"showCount":533,"zanCount":882,"manualWeight":39,"mainColor":40},234764,"huang-shan-tu-ce-jiang-zhu-234764",[24,25,26,112,50,51,57,56,5158,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d4c6cd51f6b34db21d2b508f7f395.jpg",[],{"id":29912,"slug":29913,"title":5251,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":29914,"thumbUrl":29915,"material":95,"size":95,"collection":95,"collections":29916,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},234653,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234653",[92,24,25,26,50,51,54,116,556,9322,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c273784c28f30a319aebee28df4fd0.jpg",[],{"id":29918,"slug":29919,"title":5251,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":29920,"thumbUrl":29921,"material":95,"size":95,"collection":95,"collections":29922,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},234652,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234652",[24,25,26,50,112,51,53,54,113,458,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd166cb66c4d93605eac1451ef52090.jpg",[],{"id":29924,"slug":29925,"title":29926,"dynasty":45,"author":342,"museum":126,"description":29927,"tags":29928,"thumbUrl":29929,"material":784,"size":29930,"collection":95,"collections":29931,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":789},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,24,25,49,50,27,60,7,51,56,52,53,54,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":29933,"slug":29934,"title":29935,"dynasty":18,"author":16236,"museum":107,"description":19813,"tags":29936,"thumbUrl":29937,"material":95,"size":95,"collection":95,"collections":29938,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},234218,"gu-shan-tan-mei-juan-fei-dan-xu-234218","孤山探梅卷",[23,24,25,49,50,27,111,60,199,7,51,131,55,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3be1175cb06f441b1110bd428095b.jpg",[],{"id":29940,"slug":29941,"title":29942,"dynasty":45,"author":342,"museum":126,"description":29943,"tags":29944,"thumbUrl":29945,"material":488,"size":29946,"collection":95,"collections":29947,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},234156,"san-you-tu-wen-zheng-ming-234156","三友图","此手卷画兰、菊、竹三段，各有文氏亲笔题咏。用笔写意，简率之中见生动秀逸之致，墨色清润淡雅，显示了诗、书、画结合的笔墨境界。中国传统文化以拟人化的手法，通过褒扬兰、菊、竹的自然属性而歌颂或表彰文人的道德品质，体现了中国花卉画的特殊功能。\n壬寅为明嘉靖二十一年（1542年），文徵明时年73岁。",[23,24,25,49,50,60,7,1689,129,132,139,140,2019,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51a77fcfc66d27d311c294bfae0f646.jpg","纵26.1厘米，横475.5厘米",[],{"id":29949,"slug":29950,"title":29951,"dynasty":45,"author":13842,"museum":126,"description":29952,"tags":29953,"thumbUrl":29954,"material":312,"size":95,"collection":95,"collections":29955,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},234125,"gu-mu-ming-jiu-tu-juan-yao-shou-234125","古木鸣鸠图卷","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[23,24,25,49,50,60,7,77,29,10417,116,76,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93404907185c0eca0bfabab4c0d12d59.jpg",[],{"id":29957,"slug":29958,"title":25847,"dynasty":88,"author":6022,"museum":126,"description":25848,"tags":29959,"thumbUrl":29961,"material":1179,"size":25851,"collection":95,"collections":29962,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},233996,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233996",[24,92,25,26,112,27,113,29960,1074,797,7],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a75c5a92be8096b6eefb899962094d0.jpg",[],{"id":29964,"slug":29965,"title":4167,"dynasty":18,"author":10158,"museum":126,"description":29966,"tags":29967,"thumbUrl":29968,"material":1179,"size":29969,"collection":35,"collections":29970,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},233812,"shan-shui-ce-fu-shan-233812","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,25,26,60,7,50,51,6139,652,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7207aa4714a6c40bb3a6c5365c536f07.jpg","纵36.5厘米，横37厘米",[35,63],{"id":29972,"slug":29973,"title":9362,"dynasty":45,"author":10912,"museum":20,"description":29974,"tags":29975,"thumbUrl":29977,"material":591,"size":29978,"collection":95,"collections":29979,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},233678,"hua-hui-juan-wang-duo-233678","本幅墨笔，前隔水伊念曾题答，本幅有张囗、戴明说观款，后纸叶恭绰题记。钤“曾藏嵩山草堂”，“墨卿”，“慎得”等藏印。\n王铎（1592—1652年），字觉斯，号嵩樵、烟潭渔叟、痴仙道人等，孟津（今洛阳孟津县）人。明天启二年（1622年）进士，累官礼部尚书、东阁大学士。工诗文，能绘画。书法师钟繇、二王、颜真卿、米芾，尤得力于《淳化阁帖》，既浸淫于古法又有所创新。其书诸体悉备，最擅行、草书，笔法纵逸流畅，风格雄健险峻，是清初书法大家。刻有《拟山园帖》、《琅华馆帖》。《清史稿》有传。",[24,25,49,50,112,111,7,29,30,135,399,7657,57,1763,667,29976,250],"叶草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbd58569f7990ba918a2a7dda226ed8.jpg","纵24.9厘米，横116厘米",[],{"id":29981,"slug":29982,"title":20485,"dynasty":18,"author":506,"museum":126,"description":20585,"tags":29983,"thumbUrl":29984,"material":20588,"size":20589,"collection":95,"collections":29985,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":789},233398,"shan-shui-ren-wu-ce-jin-nong-233398",[24,25,26,50,7,60,112,113,115,268,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1660b2f6bf892603d6fcab8ae26a966d.jpg",[],{"id":29987,"slug":29988,"title":29989,"dynasty":45,"author":744,"museum":126,"description":28508,"tags":29990,"thumbUrl":29992,"material":8265,"size":28511,"collection":95,"collections":29993,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},233138,"ming-ren-xi-shan-sheng-jing-he-bi-ce-yue-lai-xi-tu-ye-tang-yin-233138","明人西山胜景合壁册-越来溪图页",[24,25,26,50,51,704,57,29991,267,471,252,56,7804,59,60,7],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3926a6ab069ef73d913001355611c3.jpg",[],{"id":29995,"slug":29996,"title":29997,"dynasty":179,"author":29998,"museum":126,"description":29999,"tags":30000,"thumbUrl":30001,"material":19240,"size":30002,"collection":95,"collections":30003,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},232997,"yue-yang-lou-tu-shan-ye-xia-yong-232997","岳阳楼图扇页","夏永","画家采用虚实相对的对角线构图，高三层的岳阳楼被安排在画幅的左侧，而于右侧留下一片空白，巨壑空茫，远山一带，取孟浩然“气蒸云梦泽，波撼岳阳城”诗意，整幅笔法秀劲细密，巧妙地把直线、横线、斜线、弧线等各种线条有机地结合，通过轮廓的轻重，线条的疏密，清楚地交代出楼阁远近纵深的层次感和“向背分明”的体积感，比例构造准确合度，飞檐、梁柱、斗拱、围栏等细节描写具体而精致，让观者有几可走进画中之感。舍弃设色而纯用白描的表现手法，使得画面虽千繁万复却不显阻滞拥塞，盈尺之间，明洁素雅，美仑美奂。其精整工细的线描，正可谓“细若蚊睫，侔于鬼工”，这种纯以墨笔白描界画建筑的手法到元代以后已成为绝响，以至于清人李佐贤误以为此图是宋人所为：“《岳阳楼图》，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工……此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。”\n此幅右上以蝇头小楷题写《岳阳楼记》全文，这些题字同样“小如蚁目”、“细若标针”，与其细密的画风相和谐，同时补充了画意，增强了作品的文学性和抒情效果，这也是夏永对中国古代界画发展的一大贡献。",[1128,1250,50,458,51,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc087d53b49148d8ef5692355ffa9e186.jpg","纵25.2厘米，横25.8厘米",[],{"id":30005,"slug":30006,"title":30007,"dynasty":88,"author":30008,"museum":107,"description":30009,"tags":30010,"thumbUrl":30011,"material":95,"size":30012,"collection":95,"collections":30013,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},232822,"jiang-ting-wan-tiao-tu-shu-fa-zhu-guang-pu-232822","江亭晚眺图(书法)","朱光普","这帧泥金团扇行书，笔意灵动婉转，牵丝映带间尽显文人疏淡意趣。字句勾勒出江亭向晚，烟波万顷、斜晖脉脉的暮色秋景，渔舟远归的闲寂意境和笔墨相融。\n笔势或舒展或收敛，粗细枯湿富于变化，结体欹正相生，既有晋人行书的萧散，又兼具尚意书风的随性。朱红钤印与泥金底色相映成趣，暖润古雅。整体书卷气浓厚，将书法意韵和诗意画境完美结合，尽显风雅襟怀，是一件兼具笔墨审美与意境营造的小品佳作。",[7,60,77,50,55,54,1679,53,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb478051a108a0fa18ec58772b26d39b5.jpg","23.9x24.3",[],{"id":30015,"slug":30016,"title":30017,"dynasty":88,"author":13425,"museum":107,"description":30018,"tags":30019,"thumbUrl":30020,"material":95,"size":95,"collection":95,"collections":30021,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},232779,"song-ren-chi-du-zhao-meng-jian-232779","宋人尺牍","宋宗室，太祖十一世孙。字子固，号兰坡，又号彝斋居士，，浙江湖州人。家境清寒，理宗宝庆二年（1226）中进士，官至朝散大夫严州守。工诗善书，擅水墨白描水仙、梅、兰、竹石，有梅谱传世。笔迹劲利，风格清高。 赵孟坚也是南宋最出名的书画收藏家，他嗜好收藏书画古物，常用一只船载着书画文物及纸笔墨砚等，东游西适，评赏书画古玩，吟诗作画。当时人称其舟为“赵子固书画船”。史载其“多藏三代以来金石名迹，遇其会意时，虽倾囊易之而不靳也”。 据说他曾得书法珍品五字不损本兰亭，归家时，风作舟覆，其“被湿衣立浅水中，手持褉帖示人曰：‘兰亭在此，余不足惜也。’因题八字于卷首云：‘性命可轻，至宝是保。’”其酷嗜收藏到了几乎疯狂的地步。宋人周密赞曰：“噫，近世求好事博雅如子固者，岂可得哉。”（周密《齐东野语》卷19）。\n另据载赵孟坚入元以后，不乐仕进，隐居州之广陈镇（今海盐县）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”（《宋人轶事汇编》下册 中华书局出版，丁传靖辑）由是可见其品格甚高。诗文有《彝斋文编》。",[23,2601,7,60,77,312,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff250bf479213aa0b8c8ba870249d7514.jpg",[],{"id":30023,"slug":30024,"title":30025,"dynasty":18,"author":6275,"museum":107,"description":23957,"tags":30026,"thumbUrl":30027,"material":312,"size":95,"collection":95,"collections":30028,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},232679,"yuan-mei-hong-yi-fa-shi-232679","袁枚",[23,18,25,7,60,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b416ea713fbd6f58899364bfd1dd18b.jpg",[],{"id":30030,"slug":30031,"title":30032,"dynasty":8749,"author":454,"museum":107,"description":30033,"tags":30034,"thumbUrl":30035,"material":751,"size":752,"collection":95,"collections":30036,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},231632,"lian-cang-shi-dai-ma-yi-cao-zhi-hua-juan-yi-ming-231632","镰仓时代 马医草纸画卷","此绘卷图文共生，一半是工笔晕染的本草写生，叶脉舒展、敷色清润，将药草形貌细腻还原；另一半以古雅铁线描勾勒和风古俗场景，人物衣袂翩跹，殿宇车马拙朴雅致，尽得古意。\n\n题跋与绘境交织，将本草物语与民俗轶事相融，既有博物图鉴的写实谨严，又带着古绘卷独有的雅致松弛。泛黄纸页晕开岁月的温度，清雅朴拙之间，尽显东洋中古绘卷的悠然意韵。",[25,49,27,113,1074,1177,268,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682563a8668f46d15365053274079789.jpg",[],{"id":30038,"slug":30039,"title":30040,"dynasty":8749,"author":30041,"museum":107,"description":30042,"tags":30043,"thumbUrl":30044,"material":751,"size":752,"collection":95,"collections":30045,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},231626,"he-tu-xia-hui-he-ge-juan-ben-a-mi-guang-yue-231626","鹤图下绘和歌卷","本阿弥光悦","此作以长卷铺陈，群鹤错落满卷，水墨淡笔晕染出仙鹤清癯灵动的身姿，或振翅唳空，或梳羽伫立，百态悠然。浅褐旧痕晕开在素纸之上，晕染出经年沉淀的温润质感。\n\n书法与绘鹤交织共生，笔意清简疏朗，将和歌风雅与绘鹤的幽玄禅意相融，舒展悠长的尺幅里，藏着侘寂闲雅的古典意趣，淡墨轻色勾勒出清寂出尘的东方意境，尽显雅致悠远的和风之美。",[23,92,24,25,49,50,60,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271140e49cbac0d36129fe323eb65f23.jpg",[],{"id":30047,"slug":30048,"title":30049,"dynasty":8749,"author":30050,"museum":107,"description":30051,"tags":30052,"thumbUrl":30054,"material":751,"size":752,"collection":95,"collections":30055,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},231584,"shi-ting-shi-dai-po-mo-shan-shui-tu-xue-zhou-231584","室町时代 破墨山水图","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,92,75,30053,50,59,25,60,7,77,51,54,652,651,360,55],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":30057,"slug":30058,"title":30059,"dynasty":45,"author":7536,"museum":107,"description":7537,"tags":30060,"thumbUrl":30061,"material":751,"size":752,"collection":95,"collections":30062,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},230991,"yu-le-tu-zhou-chen-230991","渔乐图",[24,25,51,820,111,59,50,27,54,1752,53,52,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d5492e12e7ca9101bce747991b1ada.jpg",[],{"id":30064,"slug":30065,"title":3732,"dynasty":45,"author":30066,"museum":107,"description":30067,"tags":30068,"thumbUrl":30069,"material":751,"size":752,"collection":95,"collections":30070,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},230926,"zhu-shi-tu-feng-ke-shi-230926","冯可实","此作用泥金扇面为底，以写意法绘湖石，皴擦之间尽显朴拙苍劲。石畔新篁疏朗错落，竹叶俯仰欹侧，墨色浓淡层叠，尽显清翠舒展之姿。数只春燕掠飞于竹石之间，为幽寂小景添上灵动生气。左侧题以行书，笔致率意洒脱，与画面浑然相融，书画合璧尽显文人雅趣。整幅笔墨简逸随性，以寥寥笔意勾勒出林泉闲居的幽澹意境，将尘外闲思寄于尺幅扇面之中，尽显写意小品的雅致情致。",[24,25,1250,50,132,589,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1485b46c8b893c3699de9f0da56a44.jpg",[],{"id":30072,"slug":30073,"title":30074,"dynasty":18,"author":25686,"museum":107,"description":30075,"tags":30076,"thumbUrl":30077,"material":95,"size":95,"collection":95,"collections":30078,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},230860,"lin-wang-xi-zhi-shu-dou-tie-zhang-zhao-230860","临王羲之蜀都帖","此作用笔雄健酣畅，提按转合间尽显流转灵动，既恪守原帖使转精熟的草法要义，又融入自身劲爽刚健的笔性特质。牵丝映带之间行气贯通，通篇字势欹正相生，错落有致。\n\n墨色枯润互见，浓墨处厚重沉稳，枯笔处筋骨毕现，将原尺牍的萧散雅韵，化作更具张力的笔墨节奏。临帖却不拘泥于形，师古又能自出机杼，将尺牍的随性自然，以饱满笔力演绎出舒展磅礴的庙堂气象，让古帖意蕴焕然新生，尽显草书奔放而不失法度的意趣。",[24,25,75,110,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec530e4987f559489814dbbe4501b02.jpg",[],{"id":30080,"slug":30081,"title":30082,"dynasty":8749,"author":454,"museum":107,"description":30083,"tags":30084,"thumbUrl":30086,"material":751,"size":752,"collection":95,"collections":30087,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},230692,"tian-wen-quan-tu-yi-ming-230692","天文全图","朱栏界格工整匀净，墨字刊刻隽秀端稳，朱笔圈点批注醒目提点，版式疏朗雅致，尽显传统刻本的雅致意蕴。内文详究星度测算、天文分野，文字缜密详实，将古人观天察地的求索智思凝于纸面。笔意沉稳舒展，刊刻精良，墨色莹润，朱红与玄墨相映，既有天文考据的厚重学术性，又饱含古籍特有的审美意趣，静静铺展着古人探索星河天地的智识脉络，带着旧时光的沉静质感，尽显传统天文古籍的考究底蕴。",[1498,199,7,11284,30085,26],"线装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9419c299a5ebf3fc8a4cf531677714.jpg",[],{"id":30089,"slug":30090,"title":30091,"dynasty":18,"author":30092,"museum":107,"description":30093,"tags":30094,"thumbUrl":30095,"material":751,"size":752,"collection":95,"collections":30096,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},230228,"shi-gu-yan-ta-ben-zhou-xi-ding-230228","石鼓砚拓本","周希丁","周希丁（1891--1961年）：一名康元，原名家瑞，原籍江西临川。长居北京，先后在北京文博界从事古器物传拓及文物保管、鉴定工作。亦精篆刻，20世纪40年代曾出版《石言馆印存》，收自刻印章千余方。并传拓众多铜器、玉器、甲骨文、钱币、石经等。所拓精美绝伦。",[457,198,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e44cfdd8f245ac1c4c4ffd41047b509.jpg",[],{"id":30098,"slug":30099,"title":30100,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":30101,"thumbUrl":30102,"material":751,"size":752,"collection":95,"collections":30103,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},230223,"zhuan-shu-hai-shan-xian-guan-wu-chang-shuo-230223","篆书海山仙馆",[23,7,457,77,25,312,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3fe639f942a0433a92ff7dbb380fa8.jpg",[],{"id":30105,"slug":30106,"title":30107,"dynasty":18,"author":10427,"museum":107,"description":17108,"tags":30108,"thumbUrl":30109,"material":751,"size":752,"collection":95,"collections":30110,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},230179,"shan-shui-shi-kai-wang-shi-min-230179","山水十开",[24,25,26,51,59,50,77,7,60,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9913ea809a69d5f1c043447649bdf2.jpg",[],{"id":30112,"slug":30113,"title":30114,"dynasty":18,"author":30115,"museum":107,"description":30116,"tags":30117,"thumbUrl":30118,"material":751,"size":752,"collection":95,"collections":30119,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},228970,"bai-liang-ti-shi-xu-juan-yin-zhen-228970","柏梁体诗序卷","胤禛","清世宗爱新觉罗·胤禛（1678年12月13日—1735年10月8日），清朝第五位君主（1722年—1735年在位），定都北京后第三位皇帝。年号雍正。康熙帝第四子，母为孝恭仁皇后（即德妃乌雅氏），生于北京紫禁城永和宫。",[23,25,7,60,49,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6821a141beec3eef192ac7697a955e9.jpg",[],{"id":30121,"slug":30122,"title":30123,"dynasty":45,"author":454,"museum":107,"description":30124,"tags":30125,"thumbUrl":30126,"material":95,"size":95,"collection":95,"collections":30127,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},228806,"hu-jia-shi-ba-pai-tu-yi-ming-228806","胡笳十八拍图","长卷以文绘合璧铺陈离愁，清雅古拙的笔致勾勒出乱世行旅的沧桑。一侧行书墨色沉凝，诉尽别乡归汉的哀戚心事；一侧铺展城郭乡野、车马仪仗，人物衣袂舒展间带着羁旅的凄惶，队列的肃穆衬出归程的沉重。每一段场景都晕开沉郁旧韵，将半生流离的家国之悲具象化，把泣血诗意揉进绢本烟尘，织就一曲带着泪痕的乱世离歌。",[23,24,25,49,27,111,113,1074,2495,58,6792,18093,51,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc832ea82b5e9aaa888f3517bdfe2c08d.jpg",[],{"id":30129,"slug":30130,"title":30131,"dynasty":45,"author":5386,"museum":107,"description":25011,"tags":30132,"thumbUrl":30133,"material":751,"size":752,"collection":95,"collections":30134,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},228341,"ya-yi-shan-ren-shi-han-wang-chong-228341","雅宜山人诗翰",[23,25,7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7785461ab08e2c5afbbba31ed4f636.jpg",[],{"id":30136,"slug":30137,"title":30138,"dynasty":179,"author":14370,"museum":107,"description":30139,"tags":30140,"thumbUrl":30141,"material":751,"size":752,"collection":95,"collections":30142,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},228268,"teng-wang-ge-tu-wei-ba-tang-di-228268","滕王阁图-尾跋","唐棣（1296-1364），字子华，号遁斋,祖籍钱塘（今浙江杭州），因先世在吴兴做官，迁徙归安（今浙江湖州）。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年（1329）应诏在南京龙翔寺绘制画壁，至顺四年（1333）第二次北上大都，奉诏在宫廷作画，晚年返乡埋头读书作画，生活较凄苦。",[24,25,7,60,1128,50,27,51,458,53,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f5f43a1f68f280907f5479996eaa37.jpg",[],{"id":30144,"slug":30145,"title":30146,"dynasty":179,"author":6867,"museum":107,"description":30147,"tags":30148,"thumbUrl":30149,"material":95,"size":95,"collection":95,"collections":30150,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[23,24,25,49,112,50,27,113,51,56,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":30152,"slug":30153,"title":30154,"dynasty":179,"author":454,"museum":107,"description":30155,"tags":30156,"thumbUrl":30157,"material":95,"size":95,"collection":95,"collections":30158,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},228085,"jin-que-xuan-yuan-tai-shang-lao-jun-ba-shi-yi-hua-tu-juan-yi-ming-228085","金阙玄元太上老君八十一化图卷","这是一幅图文合璧的经卷长幅，开篇版画场面宏阔，帝尊环于仪仗之中，人物排布错落有致，殿宇规制、衣袂褶皱皆刻画入微，尽显刊刻版画的精湛水准，将崇道仪典的庄重威严尽数铺展。\n\n后半段以端稳方正的楷书镌录御序经文，笔力劲挺舒展，排布齐整肃穆，将崇道之心融于刀笔之间。图文呼应，让宗教肃穆与世俗礼制浑然相融，是释道文化与皇权威仪结合的典型载体，尽显刻绘工艺的深厚造诣与时代奉道风尚。",[23,49,112,878,113,458,51,7,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e5c89f7636ca90a970e9abed49bb16.jpg",[],{"id":30160,"slug":30161,"title":30162,"dynasty":88,"author":454,"museum":107,"description":30163,"tags":30164,"thumbUrl":30165,"material":95,"size":95,"collection":314,"collections":30166,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},227570,"yu-lou-chun-si-tu-yi-ming-227570","玉楼春思图","此图画水殿楼阁、渔舟、古松和江亭，本幅无名款，清代梁清标题签为王诜之作，然而将此作与王氏传世作品对照，并无多少相同之处。\n\n惟据图上小楷书“鱼游春水”一阕，词意与画意吻合，从书法风格考察，可能为宋高宗赵构以后宫廷常见的书体，故推测此画系同时代所绘，是宋代画院的佳作。画上钤有“宣统御览之宝”等收藏印章。\n\n是图为团扇，构图为左右相对形式。中为辽阔的江面，左部近景作水殿楼阁回廊萦绕，堤上柳荫浓郁，一仕女面江扶栏遐思。隔江云山起伏，意境深远。\n画上题《鱼游春水》词，词意与画意相吻合。\n\n此作曾为清初梁清标收入《唐宋元集绘册》中，梁氏鉴定为王诜作品。就画作的构图与画法来看与王氏画风是有距离的，南宋风格明显。\n\n另外《鱼游春水》一词原是刻于绍兴古碑碑阴之上的佚名词作，北宋政和时为宫人抄入宫中填曲传唱，政和中期以后才流入到民间。死于元祐四年（公元1089年）的王诜不可能以此题作画。故而梁清标的鉴定有误，书与画应属南宋画院的书画佳作。清《石渠宝笈重编》著录。",[23,92,24,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dcbc748bfb2945570382841dfc1ac9.jpg",[314],{"id":30168,"slug":30169,"title":30170,"dynasty":88,"author":454,"museum":107,"description":30171,"tags":30172,"thumbUrl":30173,"material":95,"size":95,"collection":95,"collections":30174,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},227538,"wu-gong-ma-tu-juan-yi-ming-227538","五贡马图卷","北宋，佚名（李公麟款)。画内为宋元佑初年天驷监中的五匹西域名马，五匹名马依次为“风头骢”、“锦膊骢”、“好头赤”、“照夜白”、“满川花”。",[23,92,24,25,49,112,27,1074,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da9fadedef4d3ff60e1157eaee1c333.jpg",[],{"id":30176,"slug":30177,"title":30178,"dynasty":88,"author":30179,"museum":107,"description":30180,"tags":30181,"thumbUrl":30182,"material":751,"size":752,"collection":95,"collections":30183,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},227355,"chao-gao-seng-chuan-shi-meng-ying-227355","抄高僧传","释梦英","释梦英,宋代高僧。衡州(湖南)人。师号宣义。娴通《华严》,专事弘扬,周流讲化,不辞辛劳。工书法,正书学柳公权,篆书宗李阳冰。",[7,457,198,386,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24974b6602f3a7fd3c45a34c2c62f371.jpg",[],{"id":30185,"slug":30186,"title":30187,"dynasty":162,"author":11686,"museum":107,"description":11687,"tags":30188,"thumbUrl":30190,"material":751,"size":752,"collection":95,"collections":30191,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},227258,"zi-zhi-jin-zi-jin-guang-ming-zui-sheng-wang-jing-gong-10-juan-di-6-juan-yi-jing-227258","紫纸金字金光明最胜王经共10卷第6卷",[49,7,386,199,433,30189],"金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c78addb89d5e576a583466ba0d99de6.jpg",[],{"id":30193,"slug":30194,"title":30195,"dynasty":162,"author":454,"museum":107,"description":30196,"tags":30197,"thumbUrl":30198,"material":751,"size":752,"collection":95,"collections":30199,"showCount":533,"zanCount":882,"manualWeight":39,"mainColor":207},227239,"miao-fa-lian-jing-juan-quan-juan-di-san-bai-yi-shi-liu-shou-juan-yi-ming-227239","妙法莲经卷全卷第三百一十六手卷","唐代楷书经书",[23,7,386,49,878,199,11689,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbad7ef69e6c135a2ac158ffd3c53c1d.jpg",[],{"id":30201,"slug":30202,"title":30203,"dynasty":162,"author":454,"museum":107,"description":30204,"tags":30205,"thumbUrl":30206,"material":751,"size":752,"collection":95,"collections":30207,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},227230,"tang-xuan-zang-a-pi-da-mo-ju-she-lun-juan-er-shi-di-wu-zhi-er-yi-ming-227230","唐玄奘 阿毗达磨俱舍论卷二十第五之二","阿毗达磨俱舍论之略称。世亲作。唐玄奘译。三十卷。阿毗为对。达磨为法,俱舍为藏。六足发智婆沙等萨婆多部之诸论,名为对法论藏",[23,386,7,49,199,878,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d5742ae82d5ea9c5ccfd3245df9d43.jpg",[],{"id":30209,"slug":30210,"title":30211,"dynasty":3087,"author":454,"museum":107,"description":30212,"tags":30213,"thumbUrl":30214,"material":95,"size":95,"collection":95,"collections":30215,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},227071,"nv-shang-shu-wang-seng-nan-mu-zhi-yi-ming-227071","女尚书王僧男墓志","1917年河南洛阳城南石山村出土《女尚书王僧男墓志》，北魏正光二年（521年）九月二十日刻。志高39.5厘米，宽35厘米，十五行，行十六字，共255字。有盖，二行，行三字，题“魏品一墓志铭”。志、盖俱正书。字体古茂朴拙、天真率趣，是典型的魏书。",[198,7,199,3087,1614,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762d80c10b030db2d505f36e466a6a05.jpg",[],{"id":30217,"slug":30218,"title":30219,"dynasty":105,"author":637,"museum":107,"description":1368,"tags":30220,"thumbUrl":30221,"material":751,"size":752,"collection":95,"collections":30222,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},227056,"jin-tang-zheng-shu-wang-xi-zhi-227056","晋唐正书",[10082,7,198,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46bea167c0887bbf8168a2d57af6b21a.jpg",[],{"id":30224,"slug":30225,"title":30226,"dynasty":1609,"author":454,"museum":107,"description":15299,"tags":30227,"thumbUrl":30230,"material":751,"size":752,"collection":95,"collections":30231,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},226920,"qi-ru-qin-shou-wen-jing-yi-ming-226920","七乳禽兽纹镜",[1612,15301,7713,30228,30229,7,457,13446,574],"禽兽纹","乳钉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85ba90358903f192576265b8817610a.jpg",[],{"id":30233,"slug":30234,"title":30235,"dynasty":18,"author":526,"museum":107,"description":30236,"tags":30237,"thumbUrl":30242,"material":95,"size":95,"collection":95,"collections":30243,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[23,24,49,1328,1689,27,59,30238,251,2684,7099,16483,15072,30239,30240,30241,7,77,137],"平湖","秋暮","幽寂淡远","清旷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a7c873baeffea3a7.jpg",[],{"id":30245,"slug":30246,"title":30247,"dynasty":18,"author":6662,"museum":107,"description":30248,"tags":30249,"thumbUrl":30250,"material":95,"size":95,"collection":95,"collections":30251,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},224329,"hua-niao-shi-er-kai-7-li-shan-224329","花鸟十二开7","此作以水墨写意绘就仲夏小景，右侧柳根苍润，柔条轻垂，两只夏蝉攀附枝梢，焦墨提点蝉翼纹理，薄透如生，似将振翅长鸣，淡墨晕染柳丝清柔，浓淡间尽显灵动意趣。\n左侧题书笔意纵放跌宕，诗画相融，将暑日柳荫鸣蝉的慵懒闲逸铺陈开来。以简驭繁，不拘成法，寥寥数笔便捕捉住夏日常景的清寂意韵，笔墨带着疏放不羁的文人风骨，把寻常小景升华为清雅脱俗的逸趣之境，尽显写意花鸟的随性雅趣。",[23,24,25,26,50,129,7,77,29,17142,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdecf83e6c448966e31e45e4eb25c111f.jpg",[],{"id":30253,"slug":30254,"title":30255,"dynasty":18,"author":6662,"museum":107,"description":30256,"tags":30257,"thumbUrl":30258,"material":95,"size":95,"collection":95,"collections":30259,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},224318,"hua-niao-ce-shi-kai-8-li-shan-224318","花鸟册十开8","画面两只鹌鹑意态生动，一昂首远眺，一侧首低语，翎羽以枯笔皴擦、淡墨晕染，朴拙中饱含灵动生机。野菊柔枝缀满紫黄碎花，伴草叶斜曳，淡墨晕开的坡岸清润松秀，衬出清秋野趣。\n题笔行书奇崛跌宕，诗画印合为一体，以秋日野景寄寓闲淡襟怀，挣脱院体刻板法度，将写生意趣与文人雅思相融，笔底随性疏朗，尽显疏放灵秀的笔墨风神，把郊秋悠然意态凝于尺幅间，满溢着自在野逸的生机。",[23,24,26,27,29,7,77,129,693,1049,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b5d44b2a45a20a5b568915ee916d42.jpg",[],{"id":30261,"slug":30262,"title":30263,"dynasty":18,"author":2653,"museum":107,"description":30264,"tags":30265,"thumbUrl":30266,"material":751,"size":752,"collection":95,"collections":30267,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},224174,"gan-li-tu-quan-juan-hua-yan-224174","敢荔图全卷","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,24,25,49,27,113,51,652,7,60,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e347c76a16901f1b2b37187d2892d85.jpg",[],{"id":30269,"slug":30270,"title":30271,"dynasty":88,"author":454,"museum":126,"description":30272,"tags":30273,"thumbUrl":30274,"material":784,"size":30275,"collection":95,"collections":30276,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},223419,"kong-men-di-zi-xiang-juan-yi-ming-223419","孔门弟子像卷","此画是唐代杰出画家阎立本最大最长最佳的一幅巨作，是画家传世的六件作品之一，后在近代被日本军火商买走，并被列为国宝。最后在中贸圣佳拍卖公司购得，迎回国内，曾经引起过轰动。此画最终被首都博物馆以超低价提前收购。\n《孔子弟子像》全图采取平列式构图，无背景，绘孔子弟子立像五十九人，无名款。墨笔勾勒，着色，人物形象各异，须眉生动。\n包首题签“阎立本画孔子弟子像”，引首乾隆御题“杏坛遗范”，卷上有“顺治三年(1646)七月初二钦赐大学士臣宋权恭记”长方印、清宫收藏鉴赏印玺和清高宗弘历御笔题字。后幅有乾隆二十二年(1757年)户部尚书蒋溥题跋、乾隆丁未(1787年)大臣王杰、曹文埴、彭元瑞、董诰共同审定，董诰书写的题跋。鉴藏宝玺有乾隆八玺等，收藏印有“顺治三年七月初二日钦赐大学士臣宋权恭记”、“商丘金石书画印”、“宋权私印”、“经公”等。卷后拖尾有蒋溥题跋、董诰书写的其与王杰、曹文埴、彭元瑞的合跋，文字内容、钤盖印章与《石渠宝笈续编》著录文字完全相同。\n考证画后跋语，可以大致勾勒出《孔子弟子像》在清代的流传过程。清初顺治皇帝将此件画作钦赐给大学士宋权，一百余年后乾隆时期，宋氏后人将此作转鬻他所，蒋溥购得后，将其进献给了乾隆皇帝，复归内府收藏，并于《石渠宝笈续编》中加以著录。 至于这件作品是如何从清内府流传出去，溥仪在《我的前半生》中回忆，宣统八年十一月十四日，将名为《阎立本画孔子弟子像一卷》赏给了自己的师傅梁鼎芬。",[23,92,24,25,49,27,111,113,167,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34aaeae7bdfbdd0d6197e46cf919b0e.jpg","纵32.3厘米，横870厘米",[],{"id":30278,"slug":30279,"title":30280,"dynasty":162,"author":5490,"museum":107,"description":5491,"tags":30281,"thumbUrl":30282,"material":312,"size":751,"collection":95,"collections":30283,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},223387,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-3-bai-ju-yi-223387","古抄残卷《白氏文集》第三巻第四3",[23,7,60,1498,49,26010,1063,385,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfae861faca812473d745bd85ae7ef52.jpg",[],{"id":30285,"slug":30286,"title":30287,"dynasty":18,"author":30288,"museum":72,"description":30289,"tags":30290,"thumbUrl":30291,"material":95,"size":30292,"collection":95,"collections":30293,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},222690,"xie-yu-tian-ci-yi-zhou-qian-zai-222690","写玉田词意轴","钱载","钱载（1708—1793），字坤一，号萚石，又号匏尊，晚号万松居士、百幅老人，秀水（今浙江嘉兴）人，清朝官吏、诗人、书画家。乾隆十七年进士，改庶吉士，散馆授编修，后授内阁学士兼礼部侍郎，上书房行走，《四库全书》总纂，山东学政。官至二品，而家道清贫，晚年卖画为生。\n工诗文精画，善水墨，尤工兰竹，著有《石斋诗文集》。诗宗北宋大文豪黄庭坚，为乾嘉年间“秀水派”的代表诗人。\n雍正十年，副榜贡生，举博学鸿词、举经学，就试皆未入选。乾隆十七年，成进士，改庶吉士，授编修。七迁内阁学士，直上书房。四十一年，督山东学政。四十五年，命祭告陕西、四川岳渎及帝王陵寝。寻擢礼部侍郎，充江南乡试考官，举顾问为第一，四书文纯用排偶，上以乖文体，命议处。吕氏春秋尧葬谷林，史记不书其地。乾隆元年，以山东巡抚岳濬奏，自东平改祀濮州。\n四十一年，大理寺卿尹嘉铨疏言当在平阳，下部议驳。载督学山东，谒濮州尧陵，自四川还道平阳，得尧陵州东北；及江南典试归，又至东平求旧时所祭尧陵，参互考订，以为在平阳者是。史记汤、武皆未著葬地，盖都於是葬於是则不书，尧亦其例。因疏请釐定。下大学士、九卿议驳，载奏辨；复议，仍寝不行。上谕曰：“经生论古，反覆辨证，原所不禁。但既陈之奏牍，并经廷臣集议，即不当再执成见。载斥吕不韦门下客浮说，不韦即不足取，亦尚不可以人废言。况其门下客所著书，所谓‘悬之国门，不易一字’，岂能谓不足为据？其时去古未远，或尚有所承述。乃欲在数千年后虚揣翻驳，有是理乎？载本晚达，且其事只是考古，是以不加深问。若遇朝廷政治，亦似此哓哓不已，朕必重治其罪。”命传旨申饬。载疏累数千言，语有未明，复为自注，时谓非章奏体，上亦未深诘也。四十八年，休致。五十八年，卒，年八十有五。\n金德瑛论诗宗黄庭坚，谓当辞必己出，不主故常。载初与订交，晚登第，乃为门下门生；诗亦宗庭坚，险入横出，崭然成一家。同县王又曾、万光泰辈相与唱酬，号秀水派。载又为陈群族孙，从陈群母陈受画法，苍秀高劲，亦如其诗。",[23,24,25,75,50,250,139,446,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f89cdd4b6dd65bf8c960069e65899b.jpg","137.7x68.4",[],{"id":30295,"slug":30296,"title":30297,"dynasty":45,"author":10912,"museum":1830,"description":10914,"tags":30298,"thumbUrl":30299,"material":312,"size":95,"collection":95,"collections":30300,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},222540,"bian-jing-nan-lou-shi-juan-wang-duo-222540","忭京南楼诗卷",[23,7,60,398,49,50,77,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b990a58a50b4c2546f3fdf93fe77d11.jpg",[],{"id":30302,"slug":30303,"title":30304,"dynasty":45,"author":10912,"museum":3183,"description":30305,"tags":30306,"thumbUrl":30307,"material":312,"size":30308,"collection":95,"collections":30309,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},222532,"ku-lan-fu-hua-tu-ba-juan-wang-duo-222532","枯兰复花图跋卷","释文：\n已丑五月夜。同观画。梁眉居。黄于石。张坦公。张天调。薛行坞。傅梦祯。刘瀛洲。宋牧仲。宋赤城。主人玄平号雨恭。时同饮三槐下。王铎。\n已丑夏五月廿二日。闻雨恭先生阁下盎中建兰于既萎后倏发一茎三花。予骇焉。萎而花。此中有道。其发兰之为其所以发皇者。果兰之为耶。兰。花卉中抱德者也。孤秀幽藏。异乎炫。无人清湛。异乎佝。不斗艳于鼠姑将离。异乎争。映景乘旺。萼蕤跗联。乃于萎荄勃然生灵光奇馞。於戏。兰亦受命者。气垕理苞。即司百物者。不能閟。况天况墬况人况兰。凡后日千叶万萼。雨先生为国家发无穷光华。流馨千禩。为王者笃材。不与凡卉伍。吾于斯。率尔席上即写兰卷。又纪其三花之像。钟万哗盛与古咎箄。鸠方絜馥臻茂。开一代之昌运。必得一代异人。兰何能为政哉。噫。公之所以楙昭前路迓所以发皇者。佗他日吾以此卷券之矣。西洛王铎跋并画。吋及燃炬在蔬圃中。",[23,92,24,25,49,60,398,7,77,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7702460746d4760892dcf81172f816a5.jpg","32.6X1035.5cm",[],{"id":30311,"slug":30312,"title":30313,"dynasty":45,"author":30314,"museum":126,"description":30315,"tags":30316,"thumbUrl":30317,"material":312,"size":30318,"collection":95,"collections":30319,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},222524,"dong-ming-ce-jiang-li-gang-222524","东铭册","姜立纲","姜立纲（1444—1499）号东谿，浙江瑞安梅头东溪村人。书法初学瑞安黄蒙，继学锺繇、王羲之，其后自成一家。擅长楷书，点画雅健，体度浑厚，清劲方正，世称馆阁体，台阁体或诰敕体，在天顺、成化、弘治三代，名噪一时。当时，凡内廷制诰、宫殿碑额，大都出于他的手笔。人皆称其书曰“姜字”，在社会上声誉很高。",[23,199,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4c1d53033f96c8ed8ee380a9bcd9da6.jpg","纵28.7厘米，横14.8厘米",[],{"id":30321,"slug":30322,"title":30323,"dynasty":45,"author":744,"museum":72,"description":30324,"tags":30325,"thumbUrl":30326,"material":682,"size":30327,"collection":95,"collections":30328,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":3443},222342,"hua-kan-shan-tu-bing-zi-shu-qi-yan-jue-ju-cheng-shan-tang-yin-222342","画看山图并自书七言绝句成扇","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[24,25,1250,50,59,27,51,651,652,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08762db3758031108dc836b87e1b6d4d.jpg","31.7x49.5",[],{"id":30330,"slug":30331,"title":30332,"dynasty":45,"author":342,"museum":107,"description":18133,"tags":30333,"thumbUrl":30334,"material":29368,"size":30335,"collection":96,"collections":30336,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},222015,"xing-cao-kou-hao-shi-shou-juan-wen-zheng-ming-222015","行草口号十首卷",[23,7,60,398,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf29ec663f4894d48986d0871118d70b.jpg","高28.5厘米，纵310.6厘米",[96],{"id":30338,"slug":30339,"title":30340,"dynasty":45,"author":342,"museum":648,"description":30341,"tags":30342,"thumbUrl":30343,"material":9681,"size":30344,"collection":95,"collections":30345,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},221987,"wu-yang-zi-shi-xu-wen-zheng-ming-221987","悟阳子诗叙","长叙共570字，书于明正德九年（1514年），辽宁博物馆藏。 此帖书法挺健端秀，体势流利苍劲。法度严整却温雅秀劲，实为文氏行草之力作。",[23,49,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3d40bd2f802a88beb7ef44d7b5d53d.jpg","画幅纵28.8厘米，横103.5厘米",[],{"id":30347,"slug":30348,"title":22364,"dynasty":45,"author":342,"museum":126,"description":30349,"tags":30350,"thumbUrl":30351,"material":312,"size":30352,"collection":95,"collections":30353,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},221949,"shu-shan-ye-wen-zheng-ming-221949","释文：\n久客念当归，何待秋风生。黄花有佳色，青山无俗情。是间有真乐，悠悠空令名。\n履道心神融，驰劳情意凿。是非两悠悠，大梦谁当觉。陶翁终已久，畴须问今昨。\n款署：“旧作二首，闲录一过，戊戌八月晦日，徵明”。印“文徵明印”白方、“徵仲”朱方。\n此书录文徵明自作诗《归来堂》和《今是亭》两首，载《文氏五家集》卷一，时年六十九岁。文徵明这段时间的草书作品较多，而到了晚年几乎就见不到了。此扇面笔势曲屈环绕，线条清瘦明朗，跌宕起伏富有节奏，虽为狂草，然有规有矩，绝无草率之笔，有张旭、怀素草书的意味。",[23,1250,7,60,4038,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed66673af90293bf58665b319efca62.jpg","纵18.1厘米，横53厘米",[],{"id":30355,"slug":30356,"title":23222,"dynasty":45,"author":342,"museum":72,"description":7945,"tags":30357,"thumbUrl":30358,"material":682,"size":30359,"collection":95,"collections":30360,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},221948,"lin-lan-ting-wen-zheng-ming-221948",[23,25,7,110,60,77,49,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95dc6d941074d8f2933f2a66c39791c5.jpg","纵29.2厘米，横120.5厘米",[],{"id":30362,"slug":30363,"title":12162,"dynasty":45,"author":11488,"museum":20,"description":30364,"tags":30365,"thumbUrl":30366,"material":312,"size":30367,"collection":95,"collections":30368,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},221927,"za-hua-ce-guo-xu-221927","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,25,26,50,129,112,113,798,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b9c8d51985fa1f5c88c9c1b2cef819.jpg","纵28.5 厘米横46.5 厘米",[],{"id":30370,"slug":30371,"title":30372,"dynasty":179,"author":2462,"museum":72,"description":30373,"tags":30374,"thumbUrl":30375,"material":519,"size":95,"collection":95,"collections":30376,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},221833,"shu-ti-hua-ba-ke-jiu-si-221833","书题画跋","柯九思（1290—1343），字敬仲，号丹丘、丹丘生、五云阁吏，台州仙居（今浙江仙居县）人。其父柯谦，曾任翰林国史检阅、江浙儒学提举，是元朝仙居较为显扬的一个官宦。大德元年（1297），随父迁居钱塘（今杭州）。\n柯九思博学能诗文；善书，四体八法俱能起雅去俗。素有诗、书、画三绝之称。他的绘画以“神似”著称，擅画竹，并受赵孟頫影响，主张以书入画，曾自云：“写干用篆法，枝用草书法，写叶用八分，或用鲁公撇笔法，木石用折钗股、屋漏痕之遗意。”柯九思多藏魏晋人书法，如晋人书《曹娥诗》，也有部分宋人的精品，如苏轼《天际乌云帖》、黄庭坚《动静帖》等，经他鉴定的书画名迹流传至今者颇多。\n他的书法于欧阳询笔法之外融入魏晋人之韵，结体严整，字体恬和雅逸，雄厚重中见挺拔之秀气，深受赵孟頫推崇尚晋人书法观的影响。正如清人王文治所说：“丹邱书体仿效率更父子，力求劲拔，乃—望而知为元人书，时代为也。”行楷是其所长，他的存世书迹有《老人星赋》《读诛蚊赋诗》《重题兰亭独孤本》等。",[23,7,60,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c6d75d29f29f1ff646aa013709351f.jpg",[],{"id":30378,"slug":30379,"title":30380,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":30381,"thumbUrl":30382,"material":198,"size":2971,"collection":95,"collections":30383,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},220215,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-2-liu-gong-quan-220215","神策军碑-皇帝巡幸左神策军纪圣德碑2",[7,199,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02187b4fb4655a4ccf935f12d3b972d.jpg",[],{"id":30385,"slug":30386,"title":30387,"dynasty":662,"author":6779,"museum":107,"description":20139,"tags":30388,"thumbUrl":30389,"material":79,"size":95,"collection":95,"collections":30390,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},218172,"da-qian-kuang-tu-ce-6-zhang-da-qian-218172","大千狂涂册-6",[24,25,26,50,51,1018,113,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb705c6440166df3e25696ae8c83b54.jpg",[],{"id":30392,"slug":30393,"title":30394,"dynasty":45,"author":10467,"museum":1172,"description":30395,"tags":30396,"thumbUrl":30397,"material":33,"size":10471,"collection":95,"collections":30398,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},217877,"zhou-li-yuan-shang-kuan-shen-ce-er-hu-yu-kun-217877","周栎园上款什册(二)","右侧山水以淡墨勾勒皴染，嶙峋山石间几株枯树枝桠虬劲，疏朗有致；岩畔茅舍隐于树后，远山淡远朦胧，留白处尽显空灵。左侧题跋行楷相间，墨色沉厚清逸，文字与画境相生相契。整幅作品简淡中见真味：枯树无华却藏风骨，茅舍简陋更显幽寂，远山淡远引人流连。诗画合一的韵致，于笔墨间传递出文人寄情丘壑的清寂孤远，在古典雅致中尽显简素之美，是文人画里以意取胜的佳例。",[92,24,25,50,51,704,333,57,56,251,238,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b55b0b2efd8517fd33b2057e3feed9.jpg",[],{"id":30400,"slug":30401,"title":30402,"dynasty":45,"author":10467,"museum":1172,"description":30403,"tags":30404,"thumbUrl":30405,"material":33,"size":10471,"collection":95,"collections":30406,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},217870,"zhou-li-yuan-shang-kuan-shen-ce-ba-hu-yu-kun-217870","周栎园上款什册(八)","水墨晕染间，层崖峻壑如劈，皴笔勾勒出山石嶙峋肌理。虬松盘结岩隙，枝干苍劲似与山风低语。山间小径蜿蜒隐现，偶见屋舍点缀，添几分幽居之趣。左侧题跋笔墨流畅，诗韵与画境交融，字里行间流露对山水清净的向往。诗画相契，尽显文人雅士寄情林泉、心向归隐的淡泊襟怀。笔墨雅致与意境悠远交织，似能窥见雅士们于林泉间品茗赏景、诗画唱和的闲逸时光，令人沉醉于这份自然与心灵的双重归栖。",[24,25,26,50,59,7,51,57,56,1018,8057,473,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d3834a21679e7817ec440f3937cf26.jpg",[],{"id":30408,"slug":30409,"title":30410,"dynasty":18,"author":454,"museum":107,"description":30411,"tags":30412,"thumbUrl":30414,"material":169,"size":95,"collection":95,"collections":30415,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},216713,"hong-lou-meng-fu-tu-ce-11-yi-ming-216713","红楼梦赋图册-11","墨笔楷书竖排铺展，辞句间似凝着红楼的点滴情长。四周缠枝藤蔓环绕成框，翠叶纷披，红蕊黄瓣点缀其间，柔婉的线条缠缠绕绕，晕开古典雅致的气息。文字的沉静与花叶的鲜活相映成趣，仿佛把纸上的红楼风月，织进这一方锦绣画境里。笔锋的端雅、花叶的灵动，交织出文与画的交融之美，让观者在这帧间，悄然触碰到那份属于红楼的细腻与隽永。",[23,2135,24,25,26,199,7,27,30,667,11284,30413],"装饰边框","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc6434253602edac34a8b5bd2265f33.jpg",[],{"id":30417,"slug":30418,"title":30419,"dynasty":18,"author":454,"museum":107,"description":30420,"tags":30421,"thumbUrl":30422,"material":169,"size":95,"collection":95,"collections":30423,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},216694,"hong-lou-meng-fu-tu-ce-25-yi-ming-216694","红楼梦赋图册-25","素笺铺展，蝇头小楷如细密银线勾勒出红楼旧赋的婉转情肠，墨色匀净间藏着大观园的风月流转。缠枝藤蔓沿页边轻绕，嫩蕊新叶间缀着明黄浅红的花簇，似把潇湘馆的竹影、蘅芜苑的香草凝入方寸。文字与花叶相映成趣，笔墨的清雅与草木的生机交融，仿佛能嗅到书页间漫出的古墨清香，也能触到那些红楼儿女的悲欢余韵。整幅画作如一卷尘封的诗，将赋文里的痴缠与画面的雅致织就一处，静静诉说着那段镌刻在时光里的红楼旧事。",[23,24,25,26,27,7,30,667,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032db1628c0e0118c15fb58450567a30.jpg",[],{"id":30425,"slug":30426,"title":30427,"dynasty":18,"author":454,"museum":107,"description":30428,"tags":30429,"thumbUrl":30430,"material":169,"size":95,"collection":95,"collections":30431,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},216681,"hong-lou-meng-fu-tu-ce-42-yi-ming-216681","红楼梦赋图册-42","墨色文字竖排铺展，如缕如丝牵起红楼旧梦；缠枝绿叶与朱红花朵自纸页边缘悄然蔓延，似要将书中风月气息晕染开来。淡雅底色衬得笔墨温润，花叶鲜活灵动。图文交织处，字里藏着儿女颦笑悲欢，花叶裹着婉转愁思，文学的幽微与绘画的雅致融于一方尺幅，尽展古典雅韵之美，让人一眼便坠入那诗意缱绻的红楼世界。",[23,24,25,26,27,111,7,199,667,1455,29,1177,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85e279566beb9a383f6e191658fa3d.jpg",[],{"id":30433,"slug":30434,"title":30435,"dynasty":45,"author":689,"museum":107,"description":30436,"tags":30437,"thumbUrl":30438,"material":79,"size":95,"collection":95,"collections":30439,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},216310,"xi-xiang-ji-zhen-ben-tu-ce-7-chen-hong-shou-216310","西厢记真本图册-7","墨线如铁线盘桓，勾出荷花清雅风骨。荷瓣轻展若含情，莲蓬点点藏生机，荷叶脉络纵横似含烟水之气，与花相映成趣。画面简而不空，线条转折间见笔力千钧，古雅韵致扑面而来。仿佛池畔荷香漫溢，静谧中漾开诗意。笔端带着岁月沉淀的温度，将古典情境融入一池荷景。每一笔皆有筋骨，刚劲中藏柔媚，尽显文人画逸趣。观者于水墨间触摸跨越时空的雅致，似能窥见画中人心境，在荷影摇曳里，感受古典艺术的永恒魅力。",[24,25,26,112,111,399,400,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19262cf55a02620e9692685ab003c5e3.jpg",[],{"id":30441,"slug":30442,"title":30443,"dynasty":18,"author":27434,"museum":107,"description":30444,"tags":30445,"thumbUrl":30447,"material":33,"size":95,"collection":95,"collections":30448,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":3443},215652,"bei-jing-dian-pu-zhao-huang-hua-ce-15-zhou-pei-chun-215652","北京店舖招幌画册-15","四幅老北京招幌静静铺陈，像从时光里裁下的市井切片。警愚铺的黑牌垂红穗，双钱幌子沉实；粉房白灯坠红角，素净里带活气；皮袄铺绿顶衬黑底，藏着暖冬的期许；眼药铺串饰摇红穗，精巧中见烟火。画师以细腻笔触摹画招幌的形态肌理，红穗的飘动感、铜饰的厚重感、织物的质感都跃然纸上。这些招幌不仅是商业标识，更是旧京生活的注脚，每一处细节都牵起老北京的街声市语，让久远的市井气息扑面而来。仿佛能听见幌绳轻晃的细碎声响，看见行人驻足打量的身影，旧时光里的商业烟火与生活温度，都被定格在这一纸之上。",[27,26,111,11610,27437,11284,7,574,30446],"悬挂物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b649ea9dcd3eb513e7b3f405803694.jpg",[],{"id":30450,"slug":30451,"title":30452,"dynasty":45,"author":1015,"museum":126,"description":26261,"tags":30453,"thumbUrl":30454,"material":79,"size":26264,"collection":95,"collections":30455,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},214868,"shan-shui-ce-11-wen-zheng-ming-214868","山水册-11",[23,24,25,26,50,59,60,7,77,51,56,251,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8463e9a89c4cea4605c5b0166171c0d.jpg",[],{"id":30457,"slug":30458,"title":30459,"dynasty":162,"author":454,"museum":107,"description":30460,"tags":30461,"thumbUrl":30462,"material":202,"size":30463,"collection":95,"collections":30464,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},214624,"wei-miao-qi-zhao-shi-mu-zhi-yi-ming-214624","魏邈妻赵氏墓志","魏邈妻赵氏墓志，于陕西省西安市出土",[198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ee55da02e1356b5832d5fcd812b0e09.jpg","52x52",[],{"id":30466,"slug":30467,"title":30468,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":30469,"thumbUrl":30470,"material":79,"size":2617,"collection":95,"collections":30471,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":100},214511,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-1-ou-yang-xun-214511","宋拓唐虞恭公温彦博碑-1",[23,198,199,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147f58a781a66e28ed2209bf3104fe07.jpg",[],{"id":30473,"slug":30474,"title":30475,"dynasty":18,"author":3764,"museum":442,"description":3765,"tags":30476,"thumbUrl":30477,"material":79,"size":95,"collection":95,"collections":30478,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":40},214494,"shui-mo-tu-ce-9-zheng-min-214494","水墨图册-9",[23,24,25,26,50,51,76,56,471,1884,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a3682411b8116be39a6cc0139523ee.jpg",[],{"id":30480,"slug":30481,"title":30482,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":30483,"thumbUrl":30484,"material":312,"size":1340,"collection":95,"collections":30485,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":207},214418,"da-tang-zhong-xing-song-shang-ce-7-yan-zhen-qing-214418","大唐中兴颂上册-7",[7,199,198,200,1063,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3343d45ef8e21b8785828a9f6d7a371.jpg",[],{"id":30487,"slug":30488,"title":30489,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":30490,"thumbUrl":30491,"material":312,"size":1340,"collection":95,"collections":30492,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":207},214417,"da-tang-zhong-xing-song-shang-ce-8-yan-zhen-qing-214417","大唐中兴颂上册-8",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ca17aae8c21c92069f29a09222e045.jpg",[],{"id":30494,"slug":30495,"title":30496,"dynasty":18,"author":3250,"museum":20,"description":30497,"tags":30498,"thumbUrl":30499,"material":95,"size":95,"collection":171,"collections":30500,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":30501},203467,"shu-hua-ji-ce-gong-xian-203467","书画集册","画面以水墨晕染出几株古木，枝干虬曲交错，或葱郁带叶，或疏朗枯枝，笔墨苍劲中见细腻。树下二人对坐，衣袂轻扬，似在品茗论道，为静谧林景添一丝生气。背景淡墨铺陈，层次隐约，尽显清幽古雅之韵。笔墨运用富于变化，枯湿浓淡交织，树木纹理以皴法勾勒，尽显苍劲质感。整体意境悠远，将自然之趣与人文情怀相融，耐人寻味。",[23,24,50,75,51,115,113,59,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffd50363fd9014ce6fcde77604aca47.jpg",[171],"a59d96",{"id":30503,"slug":30504,"title":11383,"dynasty":45,"author":17419,"museum":20,"description":30505,"tags":30506,"thumbUrl":30507,"material":95,"size":95,"collection":63,"collections":30508,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":30509},203465,"fang-gu-shan-shui-ce-yun-xiang-203465","这幅山水以水墨为基调，干笔皴擦与淡墨晕染交织，山峦层叠间见苍劲质感，皴法细密勾勒出山石纹理；林木疏密有致，墨色浓淡相间尽显葱茏意态，几间茅舍隐于林下，添清幽之趣却无喧嚣。仿古意趣浓厚，追摹宋元笔意却融入自身韵致，山石勾勒简练，墨色温润沉厚，整体画面静谧悠远，似能让人感受到山林间的清寂之风，尽显文人画的雅致与古拙。",[23,24,25,50,59,26,7,77,51,56,1018,57,267,58,471,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262c233ceace0d052277ef7c6007ee54.jpg",[63],"817666",{"id":30511,"slug":30512,"title":30513,"dynasty":18,"author":411,"museum":20,"description":30514,"tags":30515,"thumbUrl":30516,"material":95,"size":95,"collection":95,"collections":30517,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":30518},203452,"shu-guo-ce-shi-tao-203452","蔬果册","这幅画以水墨写意藤蔓豆荚，墨色浓淡相济，叶片阔笔挥洒，苍劲中见润泽；豆荚勾勒简练却形神兼备，藤蔓线条婉转灵动，似含生机。旁侧题字笔意洒脱，与蔬果之趣相映，朱红印章点缀，雅韵自生。画面简而不空，水墨淋漓间藏自然野趣，将日常蔬果点染出诗意，尽显文人画的随性与意趣，于小景中见大境界。",[24,25,50,26,60,77,7,7667,6082,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c0251832ef828bd4f8fade4152af5f.jpg",[],"c7b998",{"id":30520,"slug":30521,"title":30522,"dynasty":23400,"author":30523,"museum":20,"description":30524,"tags":30525,"thumbUrl":30526,"material":95,"size":95,"collection":171,"collections":30527,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":30528},203272,"da-mo-xiang-zhou-gao-qi-feng-203272","达摩像轴","高奇峰","画面中达摩身披袈裟，手持锡杖，身后猛虎俯首相伴，神态恭顺。人物面容沉静，衣纹线条简练流畅且转折有致，设色淡雅却质感十足；猛虎造型写实，皮毛纹理细腻，尽显温顺之态，与达摩的肃穆神情形成和谐呼应。旁侧书法笔墨苍劲，行笔洒脱，与画像相得益彰，传递出禅意悠远的氛围。整幅作品融绘事与书法于一体，技法精湛，意境浑成，尽显作者对宗教题材的深刻把握与艺术表现力。",[24,75,878,113,10794,798,111,27,7,60,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478fc5484decbe2c4a02a0830c4cc135.jpg",[171],"d3c4a9",{"id":30530,"slug":30531,"title":5856,"dynasty":23400,"author":9670,"museum":20,"description":30532,"tags":30533,"thumbUrl":30534,"material":95,"size":95,"collection":35,"collections":30535,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":30536},203118,"hong-mei-tu-zhou-xu-bei-hong-203118","画面中老干盘曲，墨色浓淡干湿交错，笔触如篆隶般古拙苍劲，枝桠纵横伸展，似有凌云之势。点点红梅以朱砂设色，或含苞待放，或吐蕊绽放，错落点缀于枝间，色泽明艳却不艳俗，花瓣晕染见层次，鲜活灵动。整幅作品融书法笔意与写生观察于一体，刚劲的枝干与柔美的梅花相映成趣，既透出凌寒傲雪的坚韧气节，又饱含生机盎然的新春意韵，尽显文人画的雅趣与现代艺术的活力。",[24,25,75,27,29,131,50,59,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9ee5da982c9d9338396dba0309b4da.jpg",[35],"cdc5b7",{"id":30538,"slug":30539,"title":30540,"dynasty":23400,"author":14558,"museum":20,"description":30541,"tags":30542,"thumbUrl":30543,"material":95,"size":95,"collection":63,"collections":30544,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":30545},202934,"shan-shui-tu-zhou-pu-ru-202934","山水图轴","古松虬枝盘曲，松针以浓淡墨色点染，层次分明；旁侧奇峰拔地，山石皴法细腻，线条挺秀如铁。树下二人对坐清谈，衣袂轻扬，意态闲适，尽显文人雅聚之趣。画面设色淡雅，赭石与墨色交融，晕染出悠远山林气息。右侧题字笔力清劲，与画风相得益彰，印章朱红点缀，更添古朴雅致。整幅画作气韵连贯，笔墨兼具工致与洒脱，将山水之幽、文人之逸融于一纸，尽显传统文人画的清雅意境。",[51,27,59,8470,3783,113,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b432f3cc9145edf2cac03fff8287c7.jpg",[63],"9f8057",{"id":30547,"slug":30548,"title":4737,"dynasty":45,"author":1313,"museum":20,"description":30549,"tags":30550,"thumbUrl":30551,"material":95,"size":95,"collection":95,"collections":30552,"showCount":533,"zanCount":882,"manualWeight":39,"mainColor":30553},202426,"shan-shui-zhou-dong-qi-chang-202426","这幅山水轴笔墨疏朗雅致，近景古松虬劲，枝干盘曲如篆，松针细劲似线，墨色浓淡相间显层次；中景坡岸缓延，茅舍隐现于疏林，水色空濛映天光；远景山峦层叠，淡墨晕出云雾，山势悠远若幻。画家融书法笔意于山水，线条兼具灵动与骨力，皴法简淡却含深意，构图虚实相生，营造出清旷淡远的文人意境，尽显“以画为寄”的雅致情怀。",[51,59,50,133,7,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa013435d7b54032bcfd8ab647986683b.jpg",[],"a1855c",{"id":30555,"slug":30556,"title":5258,"dynasty":45,"author":30557,"museum":20,"description":30558,"tags":30559,"thumbUrl":30560,"material":95,"size":95,"collection":95,"collections":30561,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":30562},202267,"mo-mei-tu-zhou-xing-ci-jing-202267","刑慈静","画面中老干虬曲，墨笔挥洒间见苍劲骨力，枝干交错如铁线盘桓，却于转折处藏灵秀之态。梅花以清润墨色点染，或含蕾待放，或绽瓣吐蕊，圈点勾勒皆简括生动，无艳色却暗蕴冷香。题跋书法笔致流畅，与梅枝墨韵相映成趣，诗画交融间，尽显文人画清雅绝尘之韵。整幅作品以水墨写意之法，将梅之孤傲高洁品格凝于笔端，虽寥寥数笔，却意境悠远，如沐寒林雪后，梅影横斜，暗香浮动，足见作者笔墨功底与文人情怀。",[24,50,131,7,77,129,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6fee7cb553b6f93b2bd2657f5e3720.jpg",[],"c2a58c",{"id":30564,"slug":30565,"title":30566,"dynasty":18,"author":9486,"museum":20,"description":30567,"tags":30568,"thumbUrl":30569,"material":95,"size":95,"collection":63,"collections":30570,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":30571},202017,"zhi-hua-shan-shui-tu-zhou-gao-qi-pei-202017","指画山水图轴","这幅山水以指作笔，墨色浓淡交织，勾勒出苍劲山石与悠远意境。指节蘸墨皴擦的山石，线条朴拙却含力道，墨块晕染间似有云雾流动，留白处更显空濛深远。右侧题款笔墨流畅，与画面浑然一体，诗画相映成趣。整体风格洒脱自然，于简淡中藏深意，尽显文人画的雅致与意趣，指画技法的独特质感赋予山水别样生机，观之如入静谧之境，心随山水悠远。",[9489,50,51,59,77,7,1689,250,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4ad22f7dc815809a7f2aac99ee9526e.jpg",[63],"9f8c7b",{"id":30573,"slug":30574,"title":30575,"dynasty":45,"author":125,"museum":20,"description":30576,"tags":30577,"thumbUrl":30578,"material":95,"size":95,"collection":187,"collections":30579,"showCount":533,"zanCount":39,"manualWeight":39,"mainColor":30580},201747,"ni-yuan-tu-juan-xu-wei-201747","拟鸢图卷","笔墨狂放如天马行空，水墨交融间尽显性情。修竹夭矫，竹叶横斜如戟，墨色浓淡相破，苍劲中藏灵动。林间人物悠然自得，或卧或倚，与竹影相映成趣。书画共生，狂草题跋与画面交织，线条跌宕，如泣如诉，倾泻文人疏狂与超脱。每一笔皆含生命张力，竹影婆娑与笔墨挥洒共鸣，大写意之妙毕现。",[50,130,132,7,60,576,1689,6769,15691,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fa259a7a351678c0eb42fa8e1d85251.jpg",[187],"000000",{"id":30582,"slug":30583,"title":30584,"dynasty":88,"author":454,"museum":107,"description":30585,"tags":30586,"thumbUrl":30587,"material":751,"size":752,"collection":95,"collections":30588,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},290993,"xue-shan-xing-lv-zhou-yi-ming-290993","雪山行旅轴","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[92,24,25,75,51,50,59,17685,52,53,113,458,6605,56,1283,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a1a1c8ecfaace4914cb159de8cc047a.jpg",[],{"id":30590,"slug":30591,"title":30592,"dynasty":45,"author":744,"museum":107,"description":897,"tags":30593,"thumbUrl":30594,"material":751,"size":752,"collection":95,"collections":30595,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},290853,"qi-yan-lv-shi-zhou-tang-yin-290853","七言律诗轴",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae3b71669e64b98495bcccb91333dd1.jpg",[],{"id":30597,"slug":30598,"title":30599,"dynasty":45,"author":744,"museum":107,"description":897,"tags":30600,"thumbUrl":30602,"material":751,"size":752,"collection":95,"collections":30603,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290845,"fu-qu-zhou-tang-yin-290845","芙蕖轴",[92,24,25,75,50,29,134,399,30601,60,7,77],"芙蕖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4e789b4b7d47761760dcd23838e8c.jpg",[],{"id":30605,"slug":30606,"title":30607,"dynasty":88,"author":454,"museum":107,"description":30608,"tags":30609,"thumbUrl":30610,"material":751,"size":752,"collection":95,"collections":30611,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290776,"han-gong-chun-xiao-yi-ming-290776","汉宫春晓","松荫蓊郁如云盖，轻烟柔笼丘峦。林间文士雅聚，或围坐清谈，或信步寻幽，江岸汀洲扁舟静泊，似待归人。整画笔致温婉细腻，设色古雅沉静，将雅逸出尘的林下之趣晕染开来，把烟霞林泉间的出世闲情，凝缩在尺幅团扇中，尽显宋人追慕林泉高致、不沾尘俗的隐逸襟怀。",[24,25,1250,27,51,113,1018,2251,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6572d163c768fb5c26f4919bfb08caa0.jpg",[],{"id":30613,"slug":30614,"title":30615,"dynasty":8749,"author":454,"museum":107,"description":30616,"tags":30617,"thumbUrl":30618,"material":751,"size":752,"collection":95,"collections":30619,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290703,"cha-tu-ban-fu-shuo-fu-ming-jing-juan-di-shi-san-shou-gao-shang-bu-yi-ming-290703","插图版 佛说佛名经卷第十三 手稿 上部","墨色沉朴古雅的写经与佛造像相融，民间写经的朴拙笔意尽显无余。经文结体宽博舒展，排布匀整却不失灵动，通篇密而不乱，笔墨间带着奉佛的虔诚心意，沉静肃穆的气息浸透纸面。\n左侧释迦牟尼坐像用线简练明净，头光晕染柔和自然，佛身衣纹写实朴拙，结跏趺坐于莲台之上，神态安和沉静，与经文禅意相得益彰。\n整体将奉佛之心寄于纸笔，兼具宗教价值与审美意趣，尽显中古写经的质朴禅韵，静雅肃穆的氛围扑面而来。",[49,386,7,199,9007,16624,113,27,6535,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F629b577eb46d3139401af8cc2bbf1cbc.jpg",[],{"id":30621,"slug":30622,"title":30623,"dynasty":18,"author":25686,"museum":107,"description":30624,"tags":30625,"thumbUrl":30626,"material":751,"size":752,"collection":95,"collections":30627,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290609,"lin-yan-zhen-qing-zheng-zuo-wei-tie-zhou-zhang-zhao-290609","临颜真卿争座位帖轴","张照（1691～1745），字得天，号泾南，亦号天瓶居士，江南娄县人。康熙四十八年进士。清藏书家、书法家、戏曲家、书画目录整理者。",[7,75,110,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f2bd748ecd682f9e32d83baa303540.jpg",[],{"id":30629,"slug":30630,"title":30631,"dynasty":18,"author":20506,"museum":107,"description":22511,"tags":30632,"thumbUrl":30633,"material":751,"size":752,"collection":95,"collections":30634,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290588,"yan-bo-zhi-shuang-zhang-ruo-ai-290588","烟波致爽",[24,25,26,27,1127,51,458,56,13645,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03eb3e4d0eb54927e945edacc84e6b56.jpg",[],{"id":30636,"slug":30637,"title":30638,"dynasty":18,"author":30639,"museum":107,"description":30640,"tags":30641,"thumbUrl":30642,"material":751,"size":752,"collection":95,"collections":30643,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290585,"lian-chang-gong-tu-zhou-zhang-gao-290585","连昌宫图轴","张镐","此作以工致界画还原宫苑盛景，近观殿宇台阁勾描精谨，朱廊玉阶、飞檐斗拱分毫毕现，尽显皇家宫阙的恢宏规制。淡墨皴染的山石错落而立，春林抽芽、枝叶扶苏，烟波池水漾开，将宫苑与郊野融于一色。远景田舍桥郭隐在轻岚淡霭间，虚实相映，把楼宇富丽与郊野清旷揉为一体。\n\n右上角题跋追述宫苑旧事，书画相映凭吊往昔繁华，落笔带着物是人非的澹然怅惘。整作兼具界画的严整与文人山水的写意空灵，以笔墨追怀盛世宫苑，是描摹古典皇家园林的精妙佳构。",[24,1128,27,111,458,1201,251,56,52,51,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf692ecb1d942d9634c583bd48473458.jpg",[],{"id":30645,"slug":30646,"title":30647,"dynasty":18,"author":29642,"museum":107,"description":29643,"tags":30648,"thumbUrl":30649,"material":751,"size":752,"collection":95,"collections":30650,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290570,"yu-zhi-xue-shi-peng-yuan-rui-290570","御制雪诗",[7,199,77,1677,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb47f0d9b123cc334c368c67f7f8e056.jpg",[],{"id":30652,"slug":30653,"title":30654,"dynasty":18,"author":20022,"museum":107,"description":30655,"tags":30656,"thumbUrl":30657,"material":751,"size":752,"collection":95,"collections":30658,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290492,"duan-zhang-zhi-gong-li-zhou-qu-yuan-qian-yue-yu-yue-290492","断章之功立轴(曲园前樾)","俞樾（1821年12月25日—1907年2月5日），字荫甫，自号曲园居士，浙江省德清县城关乡南埭村人。清末著名学者、文学家、经学家、古文字学家、书法家。现代诗人俞平伯的曾祖父，章太炎、吴昌硕、日本井上陈政皆出其门下。清道光三十年（1850年）进士，曾任翰林院编修。\n俞樾后受咸丰皇帝赏识，放任河南学政，被御史曹登庸劾奏“试题割裂经义”，因而罢官。遂移居苏州，潜心学术达40余载。治学以经学为主，旁及诸子学、史学、训诂学，乃至戏曲、诗词、小说、书法等，可谓博大精深。海内及日本、朝鲜等国向他求学者甚众，尊之为朴学大师。所著凡五百余卷，称《春在堂全书》。除《群经平议》五十卷、《诸子平议》五十卷、《茶香室经说》十六卷、《古书疑义举例》七卷外，其《第一楼丛书》三十卷、《曲园俞楼杂纂》共百卷。《清史稿》有传。",[23,75,7,457,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df34760d5cacf8d3140b767acc2daa7.jpg",[],{"id":30660,"slug":30661,"title":30662,"dynasty":18,"author":2378,"museum":107,"description":12906,"tags":30663,"thumbUrl":30664,"material":751,"size":752,"collection":95,"collections":30665,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290421,"ren-wu-shan-shui-jing-pin-ce-gao-feng-han-290421","人物山水精品册",[26,24,51,113,7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe36c89697d88e831dd6c42abe9f0ff.jpg",[],{"id":30667,"slug":30668,"title":30669,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":30670,"thumbUrl":30671,"material":751,"size":752,"collection":95,"collections":30672,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290414,"lin-huang-ting-jing-fu-hui-wang-xi-zhi-xiang-juan-wei-zhao-meng-fu-290414","临黄庭经附绘王羲之像卷（伪）",[23,49,25,7,199,110,200,113,6582,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe617929bc8a67971bbaddc937e73fd1c.jpg",[],{"id":30674,"slug":30675,"title":30676,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":30677,"thumbUrl":30678,"material":751,"size":752,"collection":95,"collections":30679,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290275,"dao-chang-he-shan-shi-tie-ce-ye-zhao-meng-fu-290275","道场何山诗帖册页",[23,92,25,7,60,200,4347,77,51,678,3388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12d8b44fc4e81b70fd73285cb8353ca.jpg",[],{"id":30681,"slug":30682,"title":30683,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":30684,"thumbUrl":30685,"material":751,"size":752,"collection":95,"collections":30686,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":3443},290210,"shan-mian-b-wu-chang-shuo-290210","扇面B",[1250,7,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9a55d4d4b38890d963002689c1df6d.jpg",[],{"id":30688,"slug":30689,"title":30690,"dynasty":88,"author":14147,"museum":72,"description":30691,"tags":30692,"thumbUrl":30693,"material":682,"size":30694,"collection":95,"collections":30695,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290166,"yi-xi-ci-zhu-xi-290166","易系辞","易系辞，内容为易经上的系辞，共一百零七字，经由元朝的鲜于枢、杨维桢、宋克等人收藏，清乾隆时入宫，石渠宝级初编御书房曾有著录。道光年间赐给恭亲王奕欣，辗转由罗振玉购得，其後一直流落於日本，经驻日侨领林宗毅先生购得，而赠送回故宫，对於文物的宝藏，具有极深远的意义。此册为浓墨大书，多用飞白4法，具萧散简远和清刚郁勃的气象。",[7,60,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66475cd017765a77b62c890aa7a1e49.jpg","均纵36.5公分、横61.8公分",[],{"id":30697,"slug":30698,"title":30699,"dynasty":18,"author":526,"museum":107,"description":22650,"tags":30700,"thumbUrl":30701,"material":751,"size":752,"collection":95,"collections":30702,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},290005,"fang-gu-shan-shui-li-zhou-wang-yuan-qi-290005","仿古山水立轴",[23,24,75,51,27,59,52,53,458,56,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ab5828a222f6a297f0a57b0816d1a1.jpg",[],{"id":30704,"slug":30705,"title":30706,"dynasty":18,"author":19272,"museum":107,"description":30707,"tags":30708,"thumbUrl":30709,"material":751,"size":752,"collection":95,"collections":30710,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},288473,"shan-shui-tu-li-zhou-lin-san-zhi-288473","山水图立轴","近岸林木枝桠苍劲，以浓淡墨色点染枝叶，野趣横生。渔舟缓行江面，水波澹澹漾开清寂意趣。中景峰峦列峙，皴擦间见山石嶙峋质感，溪桥卧波，村居错落枕水，将烟火意趣揉入山水丘壑。\n\n远景岫顶以淡青晕染，烟岚轻笼云山，虚实相生晕开朦胧空濛。画作以书入画，线条老辣朴拙，干湿浓墨层次分明，题诗与画面浑然相融，将江南水村的清灵闲逸晕染开来，笔底藏着温润生机，尽现水墨山水的雅致禅意。",[23,24,75,50,27,51,52,53,54,251,56,58,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4090f06345b2d4fb4d4645a25caede3.jpg",[],{"id":30712,"slug":30713,"title":30714,"dynasty":88,"author":10876,"museum":107,"description":30715,"tags":30716,"thumbUrl":30718,"material":751,"size":752,"collection":95,"collections":30719,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},288333,"lie-quan-tu-li-di-288333","猎犬图","画面右上方署有[庆元丁巳岁李迪画]年名款。此图为李迪晚年小幅画精作。本幅钤有[都省书画之印]及清代收藏家耿昭忠鉴藏印多方，对幅有耿昭忠题记一则。《虚斋名画录》著录。\n犬的形态生动，造型准确，刻画细致入微，毛茸茸的细毛和脚爪清晰可见。",[23,92,24,25,26,111,27,30717,798,77,7],"猎犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f5913fed74e7adadfe31e9b1ef4d9a.jpg",[],{"id":30721,"slug":30722,"title":30723,"dynasty":18,"author":6662,"museum":107,"description":28117,"tags":30724,"thumbUrl":30725,"material":751,"size":752,"collection":95,"collections":30726,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},288297,"wan-shi-da-ji-tu-li-shan-288297","万事大吉图",[23,24,92,50,75,29,10169,1018,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c1bd7362bc8835977e705ed4d89112.jpg",[],{"id":30728,"slug":30729,"title":30730,"dynasty":1609,"author":454,"museum":107,"description":9803,"tags":30731,"thumbUrl":30732,"material":751,"size":752,"collection":95,"collections":30733,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},288151,"cui-jing-yong-mu-zhi-ming-yi-ming-288151","崔敬邕墓志铭",[199,198,7,200,22248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dc0b75e568a15af678f315b90ca522.jpg",[],{"id":30735,"slug":30736,"title":30737,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":30738,"thumbUrl":30739,"material":751,"size":752,"collection":95,"collections":30740,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},288097,"chong-xiu-cheng-huang-miao-bei-ji-mo-ji-ben-zheng-ban-qiao-288097","重修城隍庙碑记(墨迹本)",[7,60,6416,2358,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf3b666ad40ab0efeaf4628198b0bc79.jpg",[],{"id":30742,"slug":30743,"title":30744,"dynasty":45,"author":8261,"museum":107,"description":8262,"tags":30745,"thumbUrl":30746,"material":751,"size":752,"collection":95,"collections":30747,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},288053,"xing-kai-ye-chen-yuan-su-288053","行楷页",[7,3135,199,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3a373fd4b5031e3050014e309197e.jpg",[],{"id":30749,"slug":30750,"title":30751,"dynasty":45,"author":19857,"museum":107,"description":30752,"tags":30753,"thumbUrl":30755,"material":751,"size":752,"collection":95,"collections":30756,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},288013,"qiu-lin-han-yan-tu-juan-sun-zhi-288013","秋林寒雁图卷","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,49,1328,50,27,10302,30754,116,471,53,2029,704,18250,12092,7,60,77],"寒雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12ca6b35db79bb43e21774644a2d1e9.jpg",[],{"id":30758,"slug":30759,"title":30760,"dynasty":8749,"author":454,"museum":107,"description":30761,"tags":30762,"thumbUrl":30763,"material":751,"size":752,"collection":95,"collections":30764,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},288009,"hua-du-si-bei-yi-jin-zhai-ben-yi-ming-288009","化度寺碑〈詒晋斎本〉","碑面漫漶斑驳，朱痕圈注晕开旧时光晕。其字以方笔立骨，瘦硬劲挺却暗含腴润，结构险绝又归于平正，尽显端雅肃穆的楷书法度。残泐的石痕是岁月凿下的印鉴，将楷法精严与金石沧桑揉为一体，每一处笔锋收束、结构排布，都藏着沉静内敛的笔墨风骨，带着前人考据摩挲的温度，让久远书韵在残碑拓本里缓缓苏醒，静诉跨越年岁的翰墨深情。",[198,7,199,878,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7f2772cbe55fcea632abc4978ef007f.jpg",[],{"id":30766,"slug":30767,"title":30768,"dynasty":45,"author":19413,"museum":107,"description":30769,"tags":30770,"thumbUrl":30771,"material":751,"size":752,"collection":95,"collections":30772,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},287950,"yuan-pu-gui-fan-tu-ye-li-shi-da-287950","远浦归帆图页","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,92,24,25,26,27,50,51,115,58,54,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7f026455b9d53abbdd4913cbba54aea.jpg",[],{"id":30774,"slug":30775,"title":30776,"dynasty":8749,"author":454,"museum":1172,"description":30777,"tags":30778,"thumbUrl":30779,"material":751,"size":752,"collection":95,"collections":30780,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":100},287940,"jin-guang-ming-jing-juan-di-yi-shou-gao-yi-ming-287940","金光明經卷第一手稿","这卷写经以清劲小楷抄录，排布匀整工稳，笔锋带着写经特有的虔诚法度，又暗含灵动笔意，可见抄录时的专注沉静。泛黄麻纸晕开旧墨痕迹，残损的纸边与断缝是岁月磨蚀的印记，承载着千年沉淀的厚重质感。信仰之力融于一笔一划，将中古时期的佛教传播脉络与书法审美藏在纸间，静静诉说着藏经洞走出的丝路往事。",[49,6535,386,7,199,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e3bfbce82613c680b06b9d2ff27e961.jpg",[],{"id":30782,"slug":30783,"title":30784,"dynasty":8749,"author":454,"museum":107,"description":30785,"tags":30786,"thumbUrl":30788,"material":751,"size":752,"collection":95,"collections":30789,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},287923,"yu-mo-lan-ting-xu-yi-ming-287923","虞摹兰亭序","纸色晕着旧岁昏黄，笔墨带着温润腴润质感。点画间牵丝映带，复刻出晋人萧散风神，行笔舒展灵动，将兰亭雅集里俯仰天地的旷达藏起落锋棱之中，牵丝暗连，似把流觞曲水的雅韵随着墨色晕开。\n\n虽是摹写，却精准留存了原作的飘逸姿态，每一字都带着舒展筋骨，将观照宇宙、骋怀游目的悠然，顺着古纸的肌理缓缓铺陈，让千年前的林下风雅，隔着岁月流淌至今。",[7,60,110,200,568,30787,2251],"流觞曲水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee94d969c8edef8e2ea49846f525489f.jpg",[],{"id":30791,"slug":30792,"title":30793,"dynasty":179,"author":5300,"museum":72,"description":30794,"tags":30795,"thumbUrl":30797,"material":33,"size":752,"collection":95,"collections":30798,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},287765,"wu-rui-tu-lu-guang-287765","五瑞图","字季弘，号天游生，吴（今江苏苏州）人。擅画山水，取法黄公望、王蒙，风格轻淡苍润，萧散有致，后人评其格调在曹知白、徐贲之间。能诗，工小楷。",[24,92,75,27,29,250,17859,30796,132,3982,7,77],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716857fbc0e907b2b7bc67d7622d8ea2.jpg",[],{"id":30800,"slug":30801,"title":30802,"dynasty":88,"author":454,"museum":107,"description":30803,"tags":30804,"thumbUrl":30806,"material":751,"size":752,"collection":95,"collections":30807,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},287711,"tang-ren-lv-yan-xiang-yi-ming-287711","唐人吕岩像","此作用色古雅沉静，绢面带着经年的斑驳质感。画中仙人负剑垂眸，道袍素雅，衣纹线条简练却舒展灵动，寥寥数笔勾勒出出尘之姿，将道家清虚出尘的气质晕染尽致。人物神态恬淡安然，不见烟火气，尽显清修得道的仙人风骨。右侧题笔苍劲古朴，与画像相映，晕开厚重古雅的文墨氛围。整幅画作褪去繁饰，以极简的笔墨塑造形象，带着宋画特有的内敛雅致，历经岁月流转，依旧能让人窥见画中蕴藏的悠然道韵。",[23,24,1986,27,30805,77,7,75],"道教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ebf33fdec174129d3bd9f1dd70f565.jpg",[],{"id":30809,"slug":30810,"title":30811,"dynasty":8749,"author":454,"museum":1172,"description":30812,"tags":30813,"thumbUrl":30814,"material":751,"size":752,"collection":95,"collections":30815,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},287632,"miao-fa-lian-hua-jing-shou-gao-yi-ming-287632","妙法蓮華經手稿","泛黄麻纸晕着旧时光痕，虫蛀残损是岁月镌刻的印记。小楷排布匀整肃静，笔锋清劲温润，每道墨迹都凝着抄经人的沉潜虔敬，灵动却不失法度，带着写经独有的安稳气韵。朱笔校注的痕迹，是千年前治学的余温，为古卷添了几分鲜活的人间气。\n\n笔墨流转间，经文意蕴伴着书法的清雅缓缓铺开，残破的卷页没有折损这份沉静的力量，反而让信仰与笔墨的交融更显厚重。它既是工整端严的书法作品，更是藏着时光质感的精神载体，将佛韵书香封存在残卷之中，静静诉说着跨越千百年的沉静与虔诚。",[49,386,7,199,9007,1498,6535,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e5662b90d5241b2aa2e445d8f587b6.jpg",[],{"id":30817,"slug":30818,"title":30819,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":30820,"thumbUrl":30821,"material":751,"size":752,"collection":95,"collections":30822,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":100},287540,"ji-shi-jue-ju-zhao-meng-fu-287540","即事绝句",[92,24,25,75,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcb4da623173e899b38ab32ce72792.jpg",[],{"id":30824,"slug":30825,"title":3842,"dynasty":45,"author":9762,"museum":107,"description":24427,"tags":30826,"thumbUrl":30829,"material":751,"size":752,"collection":95,"collections":30830,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},287526,"qi-yan-lv-shi-song-ke-287526",[7,398,77,116,1677,30827,845,133,30828],"春风","杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f52c927d1e9856d3dfa22a7602ff34.jpg",[],{"id":30832,"slug":30833,"title":30834,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":30835,"thumbUrl":30836,"material":751,"size":752,"collection":95,"collections":30837,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},287439,"zhu-ming-feng-tian-tu-shan-mian-wen-jia-287439","竹明风恬图扇面",[92,24,25,1250,50,132,250,704,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb53dd14890df9a037c0b39b8f0d9b91.jpg",[],{"id":30839,"slug":30840,"title":30841,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":30842,"thumbUrl":30844,"material":751,"size":752,"collection":95,"collections":30845,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},287353,"wei-ma-yue-guan-zuo-hua-shi-jin-nong-287353","为马曰琯作画诗",[7,199,77,137,1978,26,30843,25],"寂寞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2ac11910dd1f682da6ca313e6c0edd.jpg",[],{"id":30847,"slug":30848,"title":30849,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":30850,"thumbUrl":30851,"material":751,"size":752,"collection":95,"collections":30852,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},287331,"fa-wei-fu-ren-ce-dong-qi-chang-287331","法卫夫人册",[7,199,26,200,116,26386,12651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51199fc860509551fb13b94c6f56282e.jpg",[],{"id":30854,"slug":30855,"title":30856,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":30857,"thumbUrl":30858,"material":751,"size":752,"collection":95,"collections":30859,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},283772,"ge-ti-gu-shi-shi-jiu-shou-juan-dong-qi-chang-283772","各体古诗十九首卷",[23,92,25,49,7,398,60,199,1613,457,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbedbbbd514c6acbd12911211a88cf4.jpg",[],{"id":30861,"slug":30862,"title":29558,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":30863,"thumbUrl":30864,"material":751,"size":752,"collection":95,"collections":30865,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},283764,"lin-ge-jia-shu-juan-dong-qi-chang-283764",[23,49,7,25,110,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5fd3ef629fa2133fe9f09c08a21270.jpg",[],{"id":30867,"slug":30868,"title":30869,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":30870,"thumbUrl":30871,"material":751,"size":752,"collection":95,"collections":30872,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},283722,"lin-song-si-jia-shu-juan-dong-qi-chang-283722","临宋四家书卷",[23,49,7,25,110,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc456037d31b2f70c134a2c3717659281.jpg",[],{"id":30874,"slug":30875,"title":30876,"dynasty":179,"author":10934,"museum":107,"description":17227,"tags":30877,"thumbUrl":30879,"material":751,"size":752,"collection":95,"collections":30880,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":207},283622,"xing-shu-tie-xian-yu-shu-283622","行书帖",[23,7,60,198,200,49,576,13310,51,555,30878],"寺院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e84c1a53ca1baf82a25aee1b9826c7a.jpg",[],{"id":30882,"slug":30883,"title":30884,"dynasty":88,"author":14147,"museum":107,"description":30885,"tags":30886,"thumbUrl":30888,"material":751,"size":752,"collection":95,"collections":30889,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},283603,"xin-ke-guan-ban-zhou-yi-ben-yi-si-juan-zhu-xi-283603","新刻官板周易本义四卷","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。",[1498,9636,199,7,30887,4677,2834],"周易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2601498c6748e2f614e477e941ebe42.jpg",[],{"id":30891,"slug":30892,"title":30893,"dynasty":18,"author":454,"museum":107,"description":30894,"tags":30895,"thumbUrl":30896,"material":751,"size":752,"collection":95,"collections":30897,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":207},275819,"qing-yu-qian-long-yu-lin-xi-yuan-ya-ji-tu-ji-ce-yi-ming-275819","青玉乾隆御临西园雅集图记册","此作以青玉为质，莹润温厚，将西园雅集的千古文思凝在册页之间。笔意复刻先贤雅集盛景，把文人清谈、观画挥毫的林下情态一一铺展，线条细腻舒展，既带着御笔书法的隽秀行气，又兼具写意绘景的生动意趣。玉色沉静中和了笔墨灵动，把宋时文人士子的林下风流封存在温润玉册中，似能窥见松荫间的清旷文心，将一场跨越岁月的雅集，定格为永恒的玉间风雅。",[7714,26,7,110,834,7713,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eeac769142f29aafe8495dac250e66c.jpg",[],{"id":30899,"slug":30900,"title":30901,"dynasty":18,"author":454,"museum":107,"description":30902,"tags":30903,"thumbUrl":30904,"material":751,"size":752,"collection":95,"collections":30905,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":207},275806,"qing-yu-yu-bi-fan-su-shi-chao-ran-tai-ji-shuo-ce-yi-ming-275806","青玉御笔反苏轼超然台记说册","紫檀为匣，银丝题字隐于盒面，内敛沉雅暗合文心。内藏青玉册页，玉质莹润清和，御笔手书镌刻其上，笔力端稳沉厚，筋骨内含。刀工追随笔意游走，将笔墨气韵留于玉间，以文字呼应苏子超然之思，朝堂文心与古贤雅志隔空唱和。玉的静穆质感融于笔墨意趣，把叙事、书艺与玉作匠心融为一体，尽显玉文合璧的精妙韵味，暗留超然物外的悠远余韵。",[7714,26,7,19026,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6bb02eadf12773989cb33ee3a4d036b.jpg",[],{"id":30907,"slug":30908,"title":30909,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":30910,"thumbUrl":30913,"material":751,"size":752,"collection":95,"collections":30914,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},272887,"zi-tan-mu-bian-ke-si-ying-xi-zi-wen-gua-ping-yi-ming-272887","紫檀木边缂丝迎禧字纹挂屏",[8913,19026,3232,7,199,1200,30911,30912,9635],"吉祥纹样","喜庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa092827efbf8bfda929f7cd815e6df1f.jpg",[],{"id":30916,"slug":30917,"title":30918,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":30920,"thumbUrl":30922,"material":751,"size":752,"collection":95,"collections":30923,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},271360,"jin-nong-ming-duan-shi-mei-hua-yan-yi-ming-271360","金农铭端石梅花砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[3093,131,7713,7,30921,3956],"端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b609d24e89106e64a6a3b75287122e.jpg",[],{"id":30925,"slug":30926,"title":30927,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":30929,"thumbUrl":30931,"material":751,"size":752,"collection":95,"collections":30932,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":207},271228,"hu-xing-ju-zhi-tian-qu-zhan-cai-mo-li-bai-shi-ju-mo-yi-ming-271228","胡星聚制天衢展彩墨-李白诗句墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[432,7,7713,30930],"文房四宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ef600043c4459ce768e39dc2b62db0a.jpg",[],{"id":30934,"slug":30935,"title":30936,"dynasty":18,"author":454,"museum":107,"description":30937,"tags":30938,"thumbUrl":30941,"material":751,"size":752,"collection":95,"collections":30942,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},270533,"wu-mu-gu-qian-yin-si-bian-jin-shi-song-zhe-shan-yi-ming-270533","乌木股嵌银丝边金士松折扇","乌木扇股莹泽温润，银丝嵌边勾勒出细腻棱线，沉静中见精巧心思。纸面行书笔墨舒展清隽，墨色雅致匀净，自带文人风雅意韵。原配漆盒以莳金绘就团花瑞禽，晕色明丽华贵，构图饱满却毫无拥塞之感，髹漆描金工艺尽显匠人之巧。\n\n这件雅物将文房意趣与工艺美学相融，把日常把玩的闲趣和华贵工艺结合，藏着旧时文人闲居赏玩的雅致心境，细节间尽显东方古典美学的沉静韵味。",[1250,29244,30939,30940,7,2919,19026],"乌木","银丝镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c8d3befa1c155baa0ff295d6fcd5d9.jpg",[],{"id":30944,"slug":30945,"title":30946,"dynasty":18,"author":454,"museum":107,"description":30947,"tags":30948,"thumbUrl":30951,"material":751,"size":752,"collection":95,"collections":30952,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},267683,"bai-se-di-bao-xiang-hua-wen-jin-yi-ming-267683","白色地宝相花纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[9635,30949,30950,7,110],"宝相花","锦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4311aebe8d83195490e9b37a6ca5e935.jpg",[],{"id":30954,"slug":30955,"title":30956,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":30958,"thumbUrl":30962,"material":751,"size":752,"collection":95,"collections":30963,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":207},261675,"wen-zhang-shan-dou-kuan-qing-hua-teng-wang-ge-xu-bi-tong-yi-ming-261675","文章山斗款青花“滕王阁序”笔筒","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[25504,30959,30960,7,199,77,30961],"青花","笔筒","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf66cd032c847b4f8eb03704da1f1e3c.jpg",[],{"id":30965,"slug":30966,"title":30967,"dynasty":45,"author":454,"museum":107,"description":30968,"tags":30969,"thumbUrl":30970,"material":95,"size":95,"collection":802,"collections":30971,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},242199,"suo-ben-lan-ting-xu-yi-ming-242199","缩本兰亭序","此作用笔温润秀雅，结体舒展端稳，是明代小楷的典型风貌。点画精劲含蓄，起收一丝不苟，既恪守馆阁体的规整法度，又暗蕴文人手札的灵动意趣。行列齐整却毫无板滞之感，字里行间晕开沉静平和的书卷清气。以小楷谈论兰亭传世拓本，笔墨与文思相融，尽显书者扎实的帖学功底与雅致心性，将书法的实用功能与审美意趣自然合一，尽显雅致隽秀的明代书风神韵。",[7,60,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ec6435f90862e85f6809c80ac85eef.jpg",[802],{"id":30973,"slug":30974,"title":30975,"dynasty":18,"author":454,"museum":107,"description":30976,"tags":30977,"thumbUrl":30978,"material":95,"size":95,"collection":802,"collections":30979,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":207},242170,"lan-ting-ba-zhu-tie-yu-shi-nan-lin-lan-ting-xu-yi-ming-242170","《兰亭八柱帖》虞世南临兰亭序","此作黑底白字，墨色匀净莹润，刀下毫芒毕现，恍若墨迹初成。笔下温润秀雅，将原作萧散冲和的意韵尽数留存，行笔舒展圆融，点画间带着平和雍容的气度，牵丝映带自然灵动，把修禊雅集里俯仰骋怀的悠然藏在锋棱之中。\n\n章法错落有致，通篇气息连贯畅达，仿佛将曲水流觞的清和风雅凝于尺幅之内，摹刻之际不失原作神韵，让晋人风流与唐楷端雅法度相融，尽显兰亭雅集里天朗气清的悠然意趣。",[7,200,198,110,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fde375b363527dc97068be7d55f52c.jpg",[802],{"id":30981,"slug":30982,"title":30983,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":30984,"thumbUrl":30987,"material":751,"size":752,"collection":95,"collections":30988,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241676,"fan-zhou-xi-hu-ji-jing-ba-shou-ce-qian-long-241676","泛舟西湖即景八首册",[18,26,60,7,30985,54,51,6398,30986,136,10688],"西湖","桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90636a70ad449b4b9292a60752b76474.jpg",[],{"id":30990,"slug":30991,"title":30992,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":30993,"thumbUrl":30994,"material":751,"size":752,"collection":95,"collections":30995,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},241671,"xiao-xian-huang-hou-wan-shi-juan-qian-long-241671","孝贤皇后挽诗卷",[23,7,49,60,77,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a0bd11e74d15b4553b7e52eb7d9102.jpg",[],{"id":30997,"slug":30998,"title":30999,"dynasty":88,"author":26624,"museum":107,"description":26625,"tags":31000,"thumbUrl":31001,"material":312,"size":95,"collection":96,"collections":31002,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241659,"xing-ci-zhan-kui-shi-tuo-juan-zhao-shen-241659","行赐詹骙诗拓卷",[23,25,49,198,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d626d0e0dab15bb200c273c6b447da.jpg",[96],{"id":31004,"slug":31005,"title":31006,"dynasty":179,"author":31007,"museum":126,"description":31008,"tags":31009,"thumbUrl":31010,"material":312,"size":95,"collection":96,"collections":31011,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241651,"xing-nan-cheng-yong-gu-shi-tie-nai-xian-241651","行南城詠古诗帖","迺贤","乃贤(1309-1368)， 字易之，号河朔外史，合鲁（葛逻禄）部人。合鲁部人东迁，散居各地，迺贤家族先居南阳（今属河南）。后其兄塔海仲良入仕江浙，他随之迁居四明（治今浙江宁波）。乃贤先世可能是黄金家族姻亲。其兄师事本乡儒者，中进士后任职宣慰，名重一时。乃贤则淡泊名利，退居四明山水之间，与名士诗文唱酬。",[25,7,200,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dea42f24285abad374f5ea0459b3fdd.jpg",[96],{"id":31013,"slug":31014,"title":31015,"dynasty":18,"author":454,"museum":107,"description":31016,"tags":31017,"thumbUrl":31018,"material":751,"size":752,"collection":95,"collections":31019,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},241587,"chen-da-lin-wen-dai-zhao-shu-hou-chi-bi-fu-ye-yi-ming-241587","陈大临文待诏书后赤壁赋页","此作为小楷抄录《后赤壁赋》，笔法清劲凝练，结体端稳舒展，尽显晋唐小楷雅正意趣。通篇气息匀净平和，起收笔含蓄内敛，提按顿挫皆见法度，点画排布错落有致，字字独立却气脉贯通。笔墨晕染出文人闲适散淡的意韵，将东坡文辞里月夜江渚的幽寂意境，与抄录时的沉静雅致融为一体，尽显书写者不俗的笔墨功底与清雅的文人意趣，是一件颇具韵致的书法小品。",[18,7,60,77,26,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa4e22570f81bc899390600b2db6e217.jpg",[],{"id":31021,"slug":31022,"title":21902,"dynasty":18,"author":31023,"museum":107,"description":31024,"tags":31025,"thumbUrl":31026,"material":751,"size":752,"collection":95,"collections":31027,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241577,"lu-yu-zhou-mei-liu-241577","梅镠","此作用笔厚重凝练，取法汉隶又糅合北碑意趣，蚕头燕尾含蓄克制，不见张扬波磔，字形方整敦实，尽显浑穆古雅之气。\n\n通篇字距宽绰、行距紧凑，排布疏密自然，字形大小参差随形就势，左侧小字与正文形成虚实相映的层次反差。笔墨褪去妍巧雕琢，以拙朴肃穆的金石质感，呼应录文的儒家义理。书文相融，将沉静内敛的文人意趣注入笔墨，于复古风尚中彰显个性，整体沉浑静穆，尽显古拙端方之美。",[2135,7,457,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff556e28442ca2c5d99122e3ab1cc0791.jpg",[],{"id":31029,"slug":31030,"title":31031,"dynasty":18,"author":31032,"museum":107,"description":31033,"tags":31034,"thumbUrl":31035,"material":751,"size":752,"collection":95,"collections":31036,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241572,"lu-yu-ping-zhou-li-zhao-luo-241572","录语屏轴","李兆洛","李兆洛（1769年10月23日——1841年8月24日）， 清代学者、文学家、藏书家。字申耆，晚号养一老人，阳湖（今属江苏常州市）人。他精舆地、考据、训诂之学，是阳湖派代表作家之一。",[7,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52eb01c1b85e668cafbaae75473331b9.jpg",[],{"id":31038,"slug":31039,"title":31040,"dynasty":45,"author":31041,"museum":107,"description":31042,"tags":31043,"thumbUrl":31044,"material":312,"size":95,"collection":96,"collections":31045,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241531,"wu-jue-er-shou-ce-ye-zhao-jun-241531","五绝二首册页","赵均","赵均（1591-1640），字灵均，苏州人，赵宧光之子。从其父传六书学，后又从燕山僧，学习梵文，博学多才。父子俩不断探究，于是“遂法其精”，赵均之妻文淑，是文征明的玄孙女，天性明慧，书画得家风传授和熏陶，成为苏州女画家中的佼佼者。书法密码微店",[25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c108e7f346c422ef67386753d6c7535.jpg",[96],{"id":31047,"slug":31048,"title":31049,"dynasty":18,"author":31050,"museum":107,"description":31051,"tags":31052,"thumbUrl":31053,"material":751,"size":752,"collection":95,"collections":31054,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241461,"shao-xi-yu-yin-cong-hua-zhou-liang-tong-shu-241461","苕溪渔隐丛话轴","梁同书","梁同书（1723年～1815年），清代书法家。字元颖，号山舟，晚年自署不翁、新吾长翁，钱塘（今浙江杭州）人。大学士梁诗正之子。\n梁同书于乾隆十二年（1747）中举人，十七年特赐进士，官侍讲。著有《频罗庵遗集》。 梁同书家学渊源。他自幼接触书法，12岁时即能书写擘窠大字。初学颜真卿、柳公权，中年以后又取法米芾，70岁以后融汇贯通，纯任自然。他习书60余年，久负盛名，所书碑刻极多。\n梁同书工于楷、行书，到晚年犹能写蝇头小楷，其书大字结体紧严，小楷秀逸，尤为精到。与刘墉、翁方纲、王文治并称“清四大家”。年九十余，尚为人书碑文墓志，终日无倦容，并无苍老之气。传世书迹甚富，小楷书作尤多。著有《频罗庵遗集》《频罗庵论书》等。",[2135,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a90b60fcb9904bef6492bb19c72e1.jpg",[],{"id":31056,"slug":31057,"title":31058,"dynasty":7844,"author":454,"museum":107,"description":31059,"tags":31060,"thumbUrl":31061,"material":751,"size":752,"collection":95,"collections":31062,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},241447,"wu-kuan-hua-yan-jing-di-nian-ba-juan-yi-ming-241447","无款华严経第廿八卷","这件写经卷以工整小楷为主体，点画清劲端凝，结体方正匀停，通篇排布齐整肃穆，尽显写经的庄严恭谨。卷首卷尾配署狂草，笔墨纵逸雄放，笔势开张跌宕，枯湿浓淡自然变幻，与静雅小楷形成强烈视觉反差。\n\n泛黄纸页间墨色沉凝依旧，沉静的写经法度与奔逸的抒情笔意相融相合，尽显隋代书法承前启后的特质，肃穆经卷笔墨里藏着不羁笔意，古雅厚重间流露灵动风神，是兼具实用功能与审美价值的书法珍品。",[25,49,878,199,386,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F536b7e8f8c573f02bdb2b874176a1974.jpg",[],{"id":31064,"slug":31065,"title":31066,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":31067,"thumbUrl":31068,"material":751,"size":752,"collection":95,"collections":31069,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241434,"zhi-xiu-min-zha-heng-he-shao-ji-241434","致秀民札横",[7,60,2282,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52db119fe69ec711d5eee86c00f7a065.jpg",[],{"id":31071,"slug":31072,"title":31073,"dynasty":18,"author":9119,"museum":107,"description":31074,"tags":31075,"thumbUrl":31076,"material":751,"size":752,"collection":95,"collections":31077,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":24175},241399,"bai-hua-zhou-chun-qing-qi-jue-zhou-ruan-yuan-241399","白花洲春晴七绝轴","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[7,60,75,77,27,679,24641,3040,360,10607,651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc7ecaab75e3b90d8efb1dc2be883d5.jpg",[],{"id":31079,"slug":31080,"title":31081,"dynasty":18,"author":31082,"museum":107,"description":31083,"tags":31084,"thumbUrl":31085,"material":751,"size":752,"collection":95,"collections":31086,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241371,"jie-lu-tian-ma-fu-zhou-shen-quan-241371","节录天马赋轴","沈荃","沈荃（1624～1684），字贞蕤，号绎堂，别号充斋，华亭（今上海松江）人。顺治九年探花，授编修，累官至翰林院侍读学士、礼部侍郎，卒谥文恪。学行醇洁，书法尤有名。他工书法，宗法米芾、董其昌，是康熙年间最重要的书法家之一。",[75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f50f0aa2948f6984146293e0a4601c8.jpg",[],{"id":31088,"slug":31089,"title":24648,"dynasty":45,"author":5386,"museum":107,"description":18331,"tags":31090,"thumbUrl":31091,"material":751,"size":752,"collection":95,"collections":31092,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},241368,"qi-lv-shi-zhou-wang-chong-241368",[25,7,75,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a466a34a0ee5f31974a68a6e6832c42.jpg",[],{"id":31094,"slug":31095,"title":31096,"dynasty":18,"author":31097,"museum":107,"description":31098,"tags":31099,"thumbUrl":31100,"material":751,"size":752,"collection":95,"collections":31101,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241322,"zhuan-shu-ci-zhou-hong-liang-ji-241322","篆书词轴","洪亮吉","洪亮吉（1746年－1809年），字君直，一字稚存，號北江，晚號更生，江蘇陽湖（今常州市）人，祖籍安徽歙县。乾隆五十五年（1790年）庚戌恩科榜眼。",[24,25,75,457,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eca9696063f628604db6db2fcdc2479.jpg",[],{"id":31103,"slug":31104,"title":12961,"dynasty":18,"author":4069,"museum":107,"description":31105,"tags":31106,"thumbUrl":31108,"material":312,"size":95,"collection":96,"collections":31109,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241321,"qi-lv-zhou-liang-guo-zhi-241321","梁国治（1723—1786），清代书法家，字阶平，号瑶峰，一号丰山，又号梅塘，浙江会稽（今绍兴）人。\n乾隆十三年（1748）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书。以经术勤吏治，清俭自守，好学爱才，治事敬慎缜密。有《敬思堂文集》。曾充任《四库全书》副总裁。卒谥文定。\n梁国治，清朝大臣。清代上虞中塘梁巷（又说为浙江会稽，今绍兴）人。天资聪颖，博通经史，工制艺。乾隆十三年中状元，先授编修，后充日讲起居官、国子监司业。二十一年接任广东道员二十五年，移署粮驿道。因政绩卓著，擢督察院左副都御史、吏部左侍郎。广东总督杨廷璋追论其在署粮驿道时失察家人舞弊，被夺职。后起授山西冀宁道，迁江苏学政、湖南布政使、湖北巡抚。乾隆三十四年（1769），署湖广总督，兼荆州将军。赈济灾民。三十六年，移湖南巡抚。从征金川，治军械，造弹药，筹军费，业绩卓著。三十八年召还，命在军机处行走。次年授户部侍郎，迁户部尚书，四十八年，协办大学士，五十年，累迁至东阁大学士兼军机大臣、户部尚书，并先后任广东、江西、顺天乡试正考官，又充任过《四库全书》副总裁。平生治事缜密，不徇私情，廉政清俭，俸入随手即尽。乾隆下谕赞称其“品学端醇，小心谨慎，扬历中外”。工书法，著有《敬思堂文集》。卒于乾隆五十一年，赠太子太保，谥文定。",[75,60,7,77,50,54,31107,116,51,137],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982a86984c6fb1ab11ebf061f12708d3.jpg",[96],{"id":31111,"slug":31112,"title":31113,"dynasty":45,"author":31114,"museum":126,"description":31115,"tags":31116,"thumbUrl":31117,"material":312,"size":31118,"collection":96,"collections":31119,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},241222,"xiang-shu-wu-lv-shi-zhou-huang-yan-241222","相书五律诗轴","黄衍","此轴书法宕逸奇谲，笔力雄健，结字奇古险绝，注重点的用法，字形欹正相生，如“惊蛇走虺，骤雨狂风”，飘逸驰骋，独具特色。在清代中期扬州画家、书法家中，黄慎的书法颇富个性。此轴代表了黄慎草书的艺术水平，表现出书家以险绝求胜的书艺特点。",[7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8e20d3e65801db6d273221a14fd710.jpg","纵166.9cm，横84.6cm",[96],{"id":31121,"slug":31122,"title":31123,"dynasty":45,"author":31124,"museum":107,"description":31125,"tags":31126,"thumbUrl":31128,"material":312,"size":95,"collection":96,"collections":31129,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241221,"wu-lv-shui-ge-shi-zhou-fan-feng-yi-241221","五律水阁诗轴","范凤翼","范凤翼（16世纪－17世纪），字异羽，扬州府通州人，明朝、南明政治人物。\n范凤翼是万历二十六年（1598年）的进士，获授顺天教授，转为国子监助教，户部云南司主事，监督南新仓及济阳仓，清查积存谷米六十万石；之后历任验封、考功、文选主事与稽勋员外郎、郎中。他提出用贤远奸，重用高攀龙、顾宪成，罢黜杨槚、杜縻，招惹嫉妒，降为长芦运判。天启初年，范凤翼得起用为营缮主事，升任尚宝丞、少卿，因为归属东林罢职。崇祯帝继位，恢复他原官，弘光帝时和周宗文、徐二采、陆彬一同授予光禄少卿。南京沦亡，他主持北山诗社山茨社，士人奉他为品目。",[75,398,7,50,18573,31127,845,3040],"池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28b60acdc7ac0db7cb48839373b8c9b.jpg",[96],{"id":31131,"slug":31132,"title":31133,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":31134,"thumbUrl":31135,"material":751,"size":752,"collection":95,"collections":31136,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241182,"ming-wen-zheng-ming-shou-zha-wen-zheng-ming-241182","明文徵明手札",[23,7,60,2602,2282,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c98196188bd1c8af15ea72a6627650.jpg",[],{"id":31138,"slug":31139,"title":31140,"dynasty":18,"author":31141,"museum":107,"description":31142,"tags":31143,"thumbUrl":31148,"material":751,"size":752,"collection":95,"collections":31149,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241166,"liang-qi-chao-qi-jue-shi-zhou-liang-qi-chao-241166","梁启超七绝诗轴","梁启超","梁启超（1873年2月23日—1929年1月19日），字卓如，一字任甫，号任公，又号饮冰室主人、饮冰子、哀时客、中国之新民、自由斋主人。广东省广州府新会县熊子乡茶坑村（今广东省江门市新会区茶坑村）人 。清朝光绪年间举人，中国近代思想家、政治家、教育家、史学家、文学家，戊戌变法（百日维新）领袖之一、中国近代维新派、新法家代表人物。 幼年时从师学习，八岁学为文，九岁能缀千言，17岁中举。后从师于康有为，成为资产阶级改良派的宣传家。维新变法前，与康有为一起联合各省举人发动“公车上书”运动，此后先后领导北京和上海的强学会，又与黄遵宪一起办《时务报》，任长沙时务学堂的主讲，并著《变法通议》为变法做宣传。\n戊戌变法失败后，与康有为一起流亡日本，政治思想上逐渐走向保守，但是他是近代文学革命运动的理论倡导者。逃亡日本后，梁启超在《饮冰室合集》《夏威夷游记》中继续推广“诗界革命”，批判了以往那种诗中运用新名词以表新意的做法。在海外推动君主立宪。辛亥革命之后一度入袁世凯政府，担任司法总长；之后对袁世凯称帝、张勋复辟等严词抨击，并加入段祺瑞政府。他倡导新文化运动，支持五四运动。其著作合编为《饮冰室合集》。\n1929年1月19日，梁启超在北京协和医院溘然长逝，终年56岁。",[7,75,60,77,31144,31145,6398,1004,31146,31147],"东海","红桑","潮","酒城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26abdd14f264b99622848f1af842c8d4.jpg",[],{"id":31151,"slug":31152,"title":29530,"dynasty":45,"author":31153,"museum":107,"description":31154,"tags":31155,"thumbUrl":31156,"material":751,"size":752,"collection":95,"collections":31157,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241148,"wu-lv-shi-zhou-fang-yi-zhi-241148","方以智","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[4038,7,24,25,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e0384aede683fc36a175b3449a11cb.jpg",[],{"id":31159,"slug":31160,"title":31161,"dynasty":179,"author":31162,"museum":107,"description":31163,"tags":31164,"thumbUrl":31165,"material":312,"size":95,"collection":96,"collections":31166,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241107,"xing-ti-qian-feng-shi-juan-liu-bing-241107","行题嵌峰诗卷","刘昺","刘昺（1199—1277年），祖籍宁州安定（今甘肃省宁县南义）。生当金元交替时代，后成为元朝疆臣。元睿宗（成吉思汗四子拖雷）攻灭金国时，与金朝河南从事龚忠归降，因受赏识而招赘东宫蒲察二公主，命佩索鞑，成为皇帝的信臣",[92,24,25,49,60,7,77,50,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb463bb13665fc5877deda78f05816b95.jpg",[96],{"id":31168,"slug":31169,"title":31170,"dynasty":88,"author":454,"museum":107,"description":31171,"tags":31172,"thumbUrl":31173,"material":95,"size":95,"collection":96,"collections":31174,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},241102,"wu-kuan-she-da-cheng-lun-jing-yi-ming-241102","无款摄大乘论经","此作用笔朴质沉厚，点画扎实凝练，虽为经卷抄写，却自带宋人的萧散意趣。字字排布茂密匀整，通篇气脉贯通，全无刻板匠气。抄经者功底扎实，书写沉静端穆，在一丝不苟的誊录里，暗含静定书写心性。墨色经岁月晕染，带着古雅的旧韵质感。作品既恪守写经的庄严法度，又流露随性舒展的文人笔意，是民间写经里兼具宗教肃穆与书法审美价值的佳作，尽显宋时写经书法的质朴风神。",[88,386,49,7,199,878,1498,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5faa22d2c3a3f49fce478524c8532a2d.jpg",[96],{"id":31176,"slug":31177,"title":31178,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":31181,"thumbUrl":31182,"material":751,"size":752,"collection":95,"collections":31183,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241094,"xing-shu-shou-zha-yang-yi-qing-241094","行书手札","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[23,4038,7,60,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8095e0abeb78b13c48a1d862f3c8cdca.jpg",[],{"id":31185,"slug":31186,"title":31187,"dynasty":18,"author":31188,"museum":126,"description":31189,"tags":31190,"thumbUrl":31196,"material":312,"size":31197,"collection":96,"collections":31198,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},241088,"meng-hao-ran-shi-zhou-yang-shou-jing-241088","孟浩然诗轴","杨守敬","释文：\n山寺鸣钟昼已昏，鱼梁度头争度喧。人随沙岸向江村，予亦乘舟归鹿门。鹿门月照开烟树，忽到庞公栖隐处。岩扉松径长寂寥，唯有幽人自来去。录孟襄阳诗。宣统庚戌九月邻苏老人书于鄂城菊湾，时年七十有二。\n本幅行书录唐代诗人孟浩然“夜归鹿门山歌”诗一首，末自识云：“录孟襄阳诗，宣统庚戌九月邻苏老人书于鄂城菊湾，时年七十有二。”下钤“杨守敬”、“惺吾七十以后书”印二方。本幅无藏印。“宣统庚戌”为宣统二年（1910年）。\n此轴书法淳雅朴厚，能陶铸碑帖，寓汉隶之韵，法魏碑风规，行笔略带滞涩之势，峭拔古劲，复具信本书韵。结字秀丽，行笔洒脱，又具姿肆跳宕之势，代表了杨守敬晚年书法的艺术水平。",[7,60,75,77,651,31191,31192,31193,6297,133,31194,31195],"寺","钟","暮色","禅房","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6907331ebc6468c451435f0aac5bb0e8.jpg","纵165.1厘米，横35.7厘米",[96],{"id":31200,"slug":31201,"title":12961,"dynasty":18,"author":31202,"museum":107,"description":31203,"tags":31204,"thumbUrl":31205,"material":751,"size":752,"collection":95,"collections":31206,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},241077,"qi-lv-zhou-xu-jian-241077","徐坚","徐坚，清代篆刻家，吴县光福人。凡诗文、书画、摹印，皆能追踪古人。尝临摹诸卷，有《友竹诗钞》、《西京职官印录》等行于世。",[24,25,75,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc756402257cc7590a0f23fcc2f3a5d8c.jpg",[],{"id":31208,"slug":31209,"title":31210,"dynasty":45,"author":10912,"museum":107,"description":16215,"tags":31211,"thumbUrl":31212,"material":751,"size":752,"collection":95,"collections":31213,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},241037,"shu-lin-di-wang-fa-tie-qi-ze-juan-wang-duo-241037","书临帝王法帖七则卷",[7,49,60,398,110,77,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53dc66749c747a5e3a92629fdbd8abf.jpg",[],{"id":31215,"slug":31216,"title":23662,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":31217,"thumbUrl":31218,"material":751,"size":752,"collection":95,"collections":31219,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},241030,"wu-lv-zhou-fu-shan-241030",[7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078c09b2953aa4e1353d4db475913836.jpg",[],{"id":31221,"slug":31222,"title":31223,"dynasty":45,"author":31224,"museum":107,"description":31225,"tags":31226,"thumbUrl":31227,"material":312,"size":60,"collection":96,"collections":31228,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},241020,"shu-ti-hua-shi-zhou-wang-ting-241020","书题画诗轴","王庭","释文：\n蕉荫欲拂云千尺，蕙芷能含露一苞。\n晓起许多清润意，半归叶底半花梢。\n题画近作。梦楼王文治。\n款署 “梦楼王文治”，钤“王文治印”、“曾经沧海”白文印2方。引首钤“柿叶山房”朱文印。\n此轴书自作题画诗一首，风度瘦劲流美，颇具王氏特有的笔墨神采与飘逸的韵致。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33733da6a17df73749ae5608018111.jpg",[96],{"id":31230,"slug":31231,"title":31232,"dynasty":179,"author":31233,"museum":107,"description":31234,"tags":31235,"thumbUrl":31236,"material":751,"size":752,"collection":95,"collections":31237,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240926,"jing-chun-tang-han-mo-juan-wang-yi-240926","静春堂翰墨卷","王祎","王禕(yī)[公元一三二一年至一三七三年]（一作褘），字子充，義烏來山人，後依外祖父居青岩傅。生於元英宗至治元年，卒於明太祖洪武五年，年五十二歲。幼敏慧。",[23,7,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67105e9fa15affd7de26da7778b5f5d4.jpg",[],{"id":31239,"slug":31240,"title":31241,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":31242,"thumbUrl":31243,"material":751,"size":752,"collection":95,"collections":31244,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240920,"qi-yan-lv-er-shou-zhou-zheng-ban-qiao-240920","七言律二首轴",[24,25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe27256bf6a5d018ae2b691e002646b7.jpg",[],{"id":31246,"slug":31247,"title":31248,"dynasty":18,"author":31249,"museum":107,"description":31250,"tags":31251,"thumbUrl":31252,"material":751,"size":752,"collection":95,"collections":31253,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240907,"lin-sheng-jiao-xu-zhou-wen-yi-240907","临圣教序轴","温仪","温仪，清，陕西三原人。官至霸昌道。少嗜画，每恨西陲无宗法。康熙五十二年（1713）进士，乃谒王原祁以画学请。原祁进几席俾观用笔起止，浓淡先后，又授以古图缩本，於是遂大进",[24,25,75,110,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F218f11157827f585aad24333a1fcfad4.jpg",[],{"id":31255,"slug":31256,"title":23662,"dynasty":18,"author":16245,"museum":107,"description":20905,"tags":31257,"thumbUrl":31258,"material":751,"size":752,"collection":95,"collections":31259,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240897,"wu-lv-zhou-mei-qing-240897",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b41c0620914c7f44c963ee65f99242.jpg",[],{"id":31261,"slug":31262,"title":7243,"dynasty":45,"author":31263,"museum":107,"description":31264,"tags":31265,"thumbUrl":31266,"material":751,"size":752,"collection":95,"collections":31267,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240843,"shi-shan-mian-zhao-bing-zhong-240843","赵秉忠","赵秉忠（1573—1626）字季卿，1573年出生于青州府益都县（今山东省青州市），出身官宦之家，父亲赵僖官至礼部右侍郎。\n赵秉忠十五岁补府学生。万历二十六年（1598年）殿试一甲第一名进士（状元）。授翰林院修撰。历任侍读学士、礼部侍郎，官至礼部尚书。熹宗天启二年（1622年）被黄尊素弹劾去职。天启六年（1626年）去世。思宗崇祯三年（1630年）追复原官，赠太子太保，赐祭葬。",[1250,25,7,60,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e80c8d264cb658ee7f296f38172643d.jpg",[],{"id":31269,"slug":31270,"title":31271,"dynasty":18,"author":4686,"museum":107,"description":10103,"tags":31272,"thumbUrl":31273,"material":751,"size":752,"collection":95,"collections":31274,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240842,"zhuan-shu-er-xing-shi-zhou-zhao-zhi-qian-240842","篆书二行诗轴",[92,24,25,75,457,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b770975af2ec8eb16ce18c8de826f1b.jpg",[],{"id":31276,"slug":31277,"title":19706,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":31278,"thumbUrl":31279,"material":751,"size":752,"collection":95,"collections":31280,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240841,"shu-zha-ce-lin-ze-xu-240841",[18,7,60,26,2602,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c08d67a78ebb50ca5f6d0e5bb02b15d.jpg",[],{"id":31282,"slug":31283,"title":31284,"dynasty":18,"author":411,"museum":107,"description":2703,"tags":31285,"thumbUrl":31286,"material":751,"size":752,"collection":95,"collections":31287,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},240826,"yuan-ji-shu-lin-jin-tang-shu-tie-juan-shi-tao-240826","原济书临晋唐书帖卷",[23,92,24,25,49,60,110,200,50,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694240edd7e464f72a2832d04f43f0cc.jpg",[],{"id":31289,"slug":31290,"title":31291,"dynasty":45,"author":689,"museum":107,"description":1872,"tags":31292,"thumbUrl":31293,"material":751,"size":752,"collection":95,"collections":31294,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240816,"qi-yan-shi-juan-chen-hong-shou-240816","七言诗卷",[23,7,49,60,77,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F658dac69ba332788e6140d0f020f5e50.jpg",[],{"id":31296,"slug":31297,"title":31298,"dynasty":18,"author":31299,"museum":126,"description":31300,"tags":31301,"thumbUrl":31305,"material":18425,"size":18426,"collection":96,"collections":31306,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240798,"shu-wu-lv-shi-zhou-shi-wu-gang-240798","书五律诗轴","史梧冈","此作纵逸跌宕，枯润互见，尽显草书灵动洒脱之姿。起笔收锋间，提按顿挫皆循法度，牵丝映带暗藏章法，将律诗意境与草书笔意相融无间。\n\n点画粗细变化自然，墨色浓淡过渡浑然。重笔沉稳如坠石，轻锋掠纸似惊鸿，把秋日湖山的清隽雅致，化作笔下流转的线条韵律。行列错落有致，字间顾盼生情，不失草书的恣意浪漫，亦恪守帖学秀逸端雅之态，笔墨浸透娴雅的文人意趣，让观者于赏读书法时，亦可窥见诗中澄明静穆的秋色湖光，是诗书合璧的精妙之作。",[7,75,398,7994,31302,31303,2604,9675,31304],"笔墨流畅","线条灵动","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3307b384245e0c1796c1d698aa2c236c.jpg",[96],{"id":31308,"slug":31309,"title":31310,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":31311,"thumbUrl":31312,"material":751,"size":752,"collection":95,"collections":31313,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240699,"wu-lv-shi-shan-mian-zheng-ban-qiao-240699","五律诗扇面",[2135,1250,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d48e2c8b39e6a66e3ff0d263c728726.jpg",[],{"id":31315,"slug":31316,"title":29275,"dynasty":18,"author":31317,"museum":107,"description":31318,"tags":31319,"thumbUrl":31320,"material":751,"size":752,"collection":95,"collections":31321,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240671,"ba-yan-lian-wang-wen-zhi-240671","王文治","王文治（1730—1802），字禹卿，号梦楼，江苏丹徒人。工书法，以风韵胜。有《梦楼诗集》《快雨堂题跋》，清代书法家、诗人。\n曾随翰林侍读全魁至琉球。乾隆二十五年进士，授编修，擢侍读，官至云南临安知府。罢归，自此无意仕进。不到五十岁，即究心佛学。有《梦楼诗集》《快雨堂题跋》。",[24,25,75,60,7,359,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8b51e69d29cba80c418b7039714108.jpg",[],{"id":31323,"slug":31324,"title":31325,"dynasty":18,"author":5660,"museum":107,"description":13924,"tags":31326,"thumbUrl":31327,"material":751,"size":752,"collection":95,"collections":31328,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},240640,"cai-ju-shi-zhou-wang-shi-shen-240640","采菊诗轴",[24,25,75,1613,7,77,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7013aaead7417accf1aca2a935dbf5.jpg",[],{"id":31330,"slug":31331,"title":26787,"dynasty":45,"author":31332,"museum":126,"description":31333,"tags":31334,"thumbUrl":31335,"material":17292,"size":31336,"collection":96,"collections":31337,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240596,"qi-jue-shi-zhou-jin-cong-240596","金琮","释文：\n手把秧铁插福田，低头便见水中天。六根清净方成道，退步元来是向前。\n署款:“元玉”。款下钤印“金氏元玉”、“金芝丹室”。\n此书轴为金琮书录布袋和尚七言禅诗一首。\n此轴书法得赵孟頫笔意，用笔圆润流畅，潇洒飘逸，线条清秀典雅，毫无工板局促姿态，是金琮书法的代表作。清钱谦益《列朝诗集小传》云：“金琮善书，初法赵子昂，晚年学张伯雨，精工可爱。”",[24,25,75,60,398,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd5c1ed31986b42d13e14fa1e2f0ce4.jpg","纵148.1厘米，横29.6厘米",[96],{"id":31339,"slug":31340,"title":2131,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":31341,"thumbUrl":31342,"material":751,"size":752,"collection":95,"collections":31343,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},240575,"zhuan-shu-ba-yan-lian-wu-chang-shuo-240575",[2135,457,2136,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F783fc7cf64ec2820035c6b8d989df963.jpg",[],{"id":31345,"slug":31346,"title":31347,"dynasty":45,"author":454,"museum":107,"description":31348,"tags":31349,"thumbUrl":31350,"material":312,"size":95,"collection":96,"collections":31351,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},240437,"ru-zhu-shi-zhou-yi-ming-240437","如著诗轴","此作用大草挥就，纵逸酣畅，提按转折间尽显跌宕气势。线条枯润相济，重笔如坠石沉实厚重，轻笔若游丝柔韧灵动，虚实相生铺展出疏朗错落的章法。\n字势倾侧回旋，牵丝映带暗藏韵律，将诗文情志寄于笔墨狂放之中，既有奔雷坠石的雄健，亦藏流云出岫的舒展。墨色浓淡枯湿交织，尺幅间满是纵横跌宕的动感，尽显萧散旷达的文人意趣，把草书抒情写意的特质发挥尽致，观之如见书者挥毫时的快意疏狂，满纸皆是纵横挥洒的蓬勃意气。",[4038,7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14eaa8eceb7b63f74639ae11fa2c8925.jpg",[96],{"id":31353,"slug":31354,"title":31355,"dynasty":18,"author":3261,"museum":107,"description":16683,"tags":31356,"thumbUrl":31358,"material":751,"size":752,"collection":95,"collections":31359,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240427,"deng-shi-ru-shi-zhou-deng-shi-ru-240427","邓石如诗轴",[75,25,7,60,50,678,31357,54],"秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8dc70ee3ff9183b7286fe35285b624.jpg",[],{"id":31361,"slug":31362,"title":17924,"dynasty":18,"author":31363,"museum":107,"description":31364,"tags":31365,"thumbUrl":31366,"material":312,"size":95,"collection":96,"collections":31367,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240417,"shi-zhou-xu-yong-xi-240417","徐用锡","徐用锡（1657～）字坛长，号昼堂，清代宿迁人。生于清圣祖\n康熙四十八年（1709年）进士。官至翰林院侍读，引年归。从李光地游，究心乐律、音韵、历数、书法。康熙五十四年，分校会试，严绝请托，衔之者反嗾言官劾其把持闱事，圣祖原之，终以浮议罢归。乾隆初，起授翰林院侍读，年已八十。寻告归，卒于家。用锡乡举出姜宸英之门，与何焯同为光地客，论书多与二家相出入。精于鉴别古人，言笔法亦多心得，着字《学札记》二卷，载《圭美堂集》中。着有《圭美堂集》二十六卷，《四库总目》传世。康熙四十八年（1709年）登进士，改任庶吉士，授编修，预修《朱子全书》、《周易折衷》、《性理精义》等书，五十四年（1715年）分校会试不久被免官归里。乾隆初年，授翰林院侍读，以80岁高龄参与纂修《三礼》，后以原来官职的品级而告老还乡，卒于家",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c5267a58b17083c26eb6faec03d989.jpg",[96],{"id":31369,"slug":31370,"title":31371,"dynasty":18,"author":22818,"museum":107,"description":22819,"tags":31372,"thumbUrl":31373,"material":751,"size":752,"collection":95,"collections":31374,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240413,"shu-ti-wu-liu-xian-sheng-tu-ju-zhou-xi-gang-240413","书题五柳先生图句轴",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09dc8c1f1ee552046f8e4e372f67dbcc.jpg",[],{"id":31376,"slug":31377,"title":31378,"dynasty":18,"author":31379,"museum":107,"description":31380,"tags":31381,"thumbUrl":31382,"material":312,"size":95,"collection":96,"collections":31383,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},240388,"ming-zhu-lin-dong-shi-zhou-ming-zhu-240388","明珠临董诗轴","明珠","纳兰明珠（1635年11月19日~1708年6月3日），叶赫那拉氏，字端范，建州叶赫（今吉林省四平市铁东区叶赫镇），隶属满洲正黄旗人。清代康熙朝重臣，词人纳兰性德父亲。\n迎娶英亲王阿济格之女，起家蓝翎侍卫、治仪正，迁为内务府郎中，历任内务府总管、六部尚书、都察院左都御史、武英殿大学士、太子太傅等要职，支持康熙帝议撤三藩、统一台湾、治理黄河、平定噶尔丹、抗御外敌等重大事件中起到积极作用。康熙二十七年（1688年），因朋党之罪被罢黜，恢复议政内大臣、光禄大夫，不再受到重用。\n康熙四十七年（1708年），病故，葬于北京市海淀区上庄镇皂甲屯西。",[25,7,75,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c084eb25b9246a404a4c851c6ea3a.jpg",[96],{"id":31385,"slug":31386,"title":17924,"dynasty":18,"author":31387,"museum":107,"description":31388,"tags":31389,"thumbUrl":31390,"material":312,"size":31391,"collection":96,"collections":31392,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},240336,"shi-zhou-he-ling-han-240336","何凌汉","何凌汉(1772-1840）清大臣、书法家，字云门，号仙槎，道州（今湖南永州道县）东门乡东门村人。嘉庆十年进士一甲第三名（探花），授翰林院编修，先后典广东、山东、福建、浙江、顺天府乡试；曾先后担任顺天府尹、大理寺卿、都察院左都御史、兵部右侍郎、礼部左侍郎、工部尚书、吏部尚书、户部尚书等朝廷要职；曾先后担任山东学政、浙江学政、经筵讲官等重要职务，为中华民族培养出了众多历史俊杰。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f8bd13edf282ab6c9ef05919471e023.jpg","纵127厘米横55厘米",[96],{"id":31394,"slug":31395,"title":31396,"dynasty":179,"author":330,"museum":107,"description":31397,"tags":31398,"thumbUrl":31399,"material":95,"size":95,"collection":96,"collections":31400,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},240309,"du-gong-bu-shi-tie-ye-wang-meng-240309","杜工部诗帖页","王蒙书杜工部诗帖，墨迹本。元王蒙书，无书写年月。纸本。行书。书杜甫《流落锦官城》七言古诗1首。共19行，字大六七分，行笔苍劲，书近赵孟俯，署款黄鹤山樵",[7,60,200,25,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12c1290ddfcadc948c02386b1705217.jpg",[96],{"id":31402,"slug":31403,"title":29488,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":31404,"thumbUrl":31405,"material":751,"size":752,"collection":95,"collections":31406,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240284,"wu-chang-shuo-shi-zhou-wu-chang-shuo-240284",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94af7575bc8399ca2d7a7fbd626475d.jpg",[],{"id":31408,"slug":31409,"title":31410,"dynasty":45,"author":5233,"museum":107,"description":8203,"tags":31411,"thumbUrl":31412,"material":751,"size":752,"collection":95,"collections":31413,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240264,"qi-jue-juan-mo-shi-long-240264","七绝卷",[23,45,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35ccf909fb2bae7aa8f44c8f4a7ed4c.jpg",[],{"id":31415,"slug":31416,"title":31417,"dynasty":18,"author":4686,"museum":107,"description":10103,"tags":31418,"thumbUrl":31419,"material":751,"size":752,"collection":95,"collections":31420,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240171,"jie-lu-ye-meng-de-shi-lin-yan-yu-wan-shan-zhao-zhi-qian-240171","节录叶梦得石林燕语纨扇",[1250,7,60,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542f1c659dc5ad5e75f5d8dd9060daba.jpg",[],{"id":31422,"slug":31423,"title":31424,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":31425,"thumbUrl":31426,"material":751,"size":752,"collection":95,"collections":31427,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},240166,"shu-zha-2-tong-lin-ze-xu-240166","书札2通",[60,7,17657,112,134,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a320a45ec097623aeb1eef4458c530.jpg",[],{"id":31429,"slug":31430,"title":31431,"dynasty":18,"author":31432,"museum":126,"description":31433,"tags":31434,"thumbUrl":31435,"material":31436,"size":31437,"collection":96,"collections":31438,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},240144,"jia-rui-fu-zhou-chen-bang-yan-240144","嘉瑞赋轴","陈邦彦","署款：“陈邦彦敬书”，下钤“臣陈邦彦”、“恩深侍从”印2方。无鉴藏印。\n《嘉瑞赋》轴是陈邦彦书魏刘邵《嘉瑞赋》一文。此书清劲秀美，疏朗匀称，受董其昌影响，更增柔润、端丽之姿，为康熙朝“干禄”正书的典型风格。",[199,7,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12125cf78a1b713f033e31d9a3c17f61.jpg","绢本，楷书","纵51厘米，横22.9厘米",[96],{"id":31440,"slug":31441,"title":31442,"dynasty":45,"author":31443,"museum":107,"description":31444,"tags":31445,"thumbUrl":31446,"material":312,"size":95,"collection":96,"collections":31447,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},240120,"ku-yu-cun-tai-shi-shi-ye-an-zhi-yuan-240120","哭渔村太史诗页","安致远","安致远（1628～1701）字静子，一名如磐，字拙石，寿光人。贡生，自顺治二年至康熙二十三年（公元一六四六年至一六八四年）间，应举十五次，卒不售，偃蹇以没。周亮工任青州海防道时，与安丘张贞、乐安李焕章同受周之褒扬。致远著有静子集十三卷，凡为文集九卷，曰玉皑集四卷，纪城文稿四卷，蛮音一卷，诗集四卷，曰柳村杂咏二卷，岳江草、倦游草各一卷，总名之曰纪城诗草，词集一卷，曰吴江旅啸，《四库总目》传于世。\n安致远（1628～1701），字静子，别号拙石老人，清代文人，山东省寿光市纪台乡安家庄人。自幼聪慧，勤奋好学，博通经史，乡里间颇负才名。1646年中秀才，1655年选拔贡。后因屡试未酬，遂放弃科举，在家乡辟“自鉏园”，建“晚读堂”，与子安箕读书著作其中，以研讨文词自娱。他的朋友安丘张杞园说他：“书未尝须臾离手，倦而就卧，亦必挟册，睡去便坠枕旁，醒后复纵观”，又说他“暮年学日富，名誉日起，世皆趣(趋)而悦之。长歌短吟，若顺风以呼，碑版卷轴，不胫而驰四方；自山以东，无不知有静子先生者”。自称“文宗庐陵，诗喜摩\n诘”。他的诗文也确有欧、王两大家的遗风流韵。如“真意亭”诗句：“白云出岫崚嶒起，红叶衔枝宛转啼”；又如咏牛山诗：“当年涕泪处，今只此牛山；千载君臣事，一时儿女颜；石梁流水急，春色霸图间；日晚牛羊下，依依樵唱还。”意境疏淡悠远，自然谐和，毫无刻意雕琢之痕。",[25,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9768fa1ad8ac9b1a7a45ceefa468e999.jpg",[96],{"id":31449,"slug":31450,"title":31451,"dynasty":18,"author":31452,"museum":107,"description":31453,"tags":31454,"thumbUrl":31455,"material":312,"size":95,"collection":96,"collections":31456,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240060,"wu-yan-shi-ju-zhou-you-dong-240060","五言诗句轴","尤侗","尤侗（1618年—1704年），字展成，一字同人，早年自号三中子，又号悔庵，晚号艮斋、西堂老人、鹤栖老人、梅花道人等， 苏州府长洲（今江苏省苏州市）人。明末清初诗人、戏曲家，曾被顺治誉为“真才子”，康熙誉为“老名士”。\n尤侗为顺治三年（1646年）副榜贡生，之后参加会试屡试不第。顺治九年授永平（今河北卢龙）推官。顺治十三年（1656年）春，杖责骄横旗丁后，反遭弹劾，被降二级调用。因此愤然辞官，返回故里。此后，居家先后创作《读离骚》《钧天乐》《吊琵琶》《桃花源》《黑白卫》《清平调》。康熙十八年（1679年），举博学鸿儒，授翰林院检讨，参与修《明史》。康熙二十二年（1683年），告老归家。康熙四十二年（1703年），康熙帝南巡，晋官号为侍讲。次年逝世，享年八十七岁\n尤侗在诗、文、词、曲等多个领域均有建树。他论诗、论文尚性情、尚真。 尤侗影响最大的是曲。主张能为曲者方能为诗词，见解独到。他的戏曲创作融史识、议论、曲唱于一炉，为顺治帝所赏识。 尤侗著作浩繁，大都收入《西堂全集》61卷和《余集》共135卷中。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2426ddc1ba01972399dc433b6dff91.jpg",[96],{"id":31458,"slug":31459,"title":21168,"dynasty":45,"author":31460,"museum":13786,"description":31461,"tags":31462,"thumbUrl":31463,"material":184,"size":95,"collection":96,"collections":31464,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},240028,"zi-shu-shi-juan-li-dong-yang-240028","李东阳","明李东阳行草自书诗卷，该卷作于正德八年（1513年），作者时年67岁。所作的诗有《钱塘江潮歌》、《西湖春晓图》、《清明日西庄作》、《城西省墓归过赵生园池二首》、《独酌二首》、《一醉二首》。这些诗除《钱塘江潮歌》（原名为《钱塘江潮图·为乔少卿希大作》）及《西湖春晓图》（原名为《题湖山春晓图》）已收入《怀麓堂全集》外，其余的诗均未见辑集。",[23,7,60,49,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949fe8a4fe96c34611bb4dece97462ee.jpg",[96],{"id":31466,"slug":31467,"title":29530,"dynasty":18,"author":31468,"museum":107,"description":31469,"tags":31470,"thumbUrl":31471,"material":312,"size":95,"collection":96,"collections":31472,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},240026,"wu-lv-shi-zhou-pan-tang-240026","潘棠","潘棠（？－？），字希召，直隶宁国府太平县人，湖广辰州卫军籍，明朝政治人物。\n湖广乡试第五十一名举人。弘治十八年（1505年）中式乙丑科三甲第一百四十名进士\n曾祖潘九成；祖父潘镛；父潘汰，正七品散官。母傅氏",[92,24,25,75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aecde9661120d4d4020dd7a9340f1aa.jpg",[96],{"id":31474,"slug":31475,"title":31476,"dynasty":45,"author":31477,"museum":107,"description":31478,"tags":31479,"thumbUrl":31480,"material":95,"size":95,"collection":96,"collections":31481,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239994,"lin-tie-zhou-zhang-ruo-qi-239994","临帖轴","张若琪","此作用笔雄健纵逸，尽显明代狂草风貌。线条枯润互见，粗笔重墨浑朴沉厚，细笔牵丝灵动飘逸，章法大开大合，字势欹侧错落，气脉连贯悠长。\n\n字间映带自然，将诗文意趣随笔墨铺陈，萧散豪迈的意气藏于点画之间，以迅疾行笔抒发疏放不羁的文人襟怀，尽显草书抒情写意的风神，带着晚明浪漫书风的典型特质，笔墨老辣凝练，尽显狂草肆意烂漫的艺术感染力。",[4038,7,110,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e4aff4fa1a1b7ef92d6d784c84d322.jpg",[96],{"id":31483,"slug":31484,"title":31485,"dynasty":18,"author":2653,"museum":107,"description":31486,"tags":31487,"thumbUrl":31488,"material":95,"size":95,"collection":96,"collections":31489,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239992,"zi-shu-shi-zhou-hua-yan-239992","自书诗轴","华喦（1682—1756年），字秋岳，号新罗山人、东园生、布衣生等，福建上杭人，清代画家。擅画人物、山水，尤精花鸟、草虫走兽，重视写生，构图新颖，所绘的形象生动多姿。时用枯笔干墨淡彩，敷色鲜嫩不腻，别树一帜，对清中叶以后的花鸟画影响甚大。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccee985cfca50f9f69b8d1c6af755e6a.jpg",[96],{"id":31491,"slug":31492,"title":31485,"dynasty":18,"author":31493,"museum":107,"description":31494,"tags":31495,"thumbUrl":31496,"material":95,"size":95,"collection":96,"collections":31497,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239991,"zi-shu-shi-zhou-fang-da-you-239991","方大猷","[清]（一五九七―？）字欧余，号允升，浙江乌程（今湖州）人，贰臣。明崇祯十年（一六三七）进士。降清，官山东巡抚。山水学董，间为倪、黄，多溼笔，善书、工诗。卒年八十余。",[7,60,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddf4c98e63a4e6d692b9a27eccba83f.jpg",[96],{"id":31499,"slug":31500,"title":31501,"dynasty":18,"author":31502,"museum":107,"description":31503,"tags":31504,"thumbUrl":31505,"material":95,"size":95,"collection":96,"collections":31506,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239952,"de-lin-lin-yin-miao-bei-zhou-de-lin-239952","德林临尹庙碑轴","德林","此作用笔苍劲朴拙，线条厚重凝练，将周金铭文的浑穆古雅演绎得淋漓尽致。结体奇崛错落，随字赋形，既有古籀的高古浑朴，又融入书写意趣，字形开合大小富于变化，章法疏朗空灵，行气贯通流畅。左侧小字落款与主体大篆形成疏密对比，层次分明。\n整体气息高古雄浑，兼具金石苍茫质感与笔墨抒情性，尽显临摹者对先秦金文神髓的精准把握，将古文字的厚重意蕴与清代重金石考据的风尚相融，是一件颇具功力的临古佳制。",[7,457,110,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a294fe872d68a45b2df6c9e0f6aed9.jpg",[96],{"id":31508,"slug":31509,"title":31510,"dynasty":18,"author":31511,"museum":107,"description":31512,"tags":31513,"thumbUrl":31514,"material":95,"size":95,"collection":96,"collections":31515,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239942,"ying-he-qi-yan-lian-ying-he-239942","英和七言联","英和","英和（1777～1840），初名石桐，字定甫、树琴，号煦斋、梦禅居士，满州正白旗人。德保子。乾隆五十八年进士，授编修，道光二年由户部尚书授协办大学士、步军统领、军机大臣。道光七年革职，赏二品，授热河都统。藏书甚富。工书法，与成亲王、刘墉齐名当时。",[25,7,2136,75,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2f74d0b89543bddfc753305f2ad9ff.jpg",[96],{"id":31517,"slug":31518,"title":25595,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":31519,"thumbUrl":31520,"material":751,"size":752,"collection":95,"collections":31521,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239879,"shi-ju-zhou-zheng-ban-qiao-239879",[7,75,60,1613,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3825c8688393765f47b4fa86c9f6a51.jpg",[],{"id":31523,"slug":31524,"title":31525,"dynasty":18,"author":31526,"museum":107,"description":31527,"tags":31528,"thumbUrl":31529,"material":95,"size":95,"collection":96,"collections":31530,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239813,"fei-lu-pan-gu-qi-quan-ge-feng-chun-quan-ye-xu-xiong-239813","飞录盘古七泉歌奉春泉页","徐熊","此作为行书尺牍，行笔灵动婉转，牵丝映带间尽显随性舒展之态。章法纵有列而横无矩，行气贯通悠然，墨色枯湿浓淡富于层次，晕染出朴拙古雅的质感。笔墨随着诗文韵律跌宕起伏，将酬赠的温厚情谊藏于线条流转之中，既有文人书卷的清雅风神，又暗含沉静内敛的笔墨张力。整作简淡疏朗，尽显旧时文士日常尺牍的随性雅致，文与墨相融相合，在方寸间晕开从容温雅的文人意趣。",[25,60,77,7,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fcb557ca0771c25effbf9e506520d.jpg",[96],{"id":31532,"slug":31533,"title":31534,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":31535,"thumbUrl":31536,"material":751,"size":752,"collection":95,"collections":31537,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},239787,"san-xi-tang-zhi-bian-qian-long-239787","三希堂纸匾",[7,60,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5140ecb2c68b79501ee39619a90d59.jpg",[],{"id":31539,"slug":31540,"title":31541,"dynasty":18,"author":454,"museum":107,"description":31542,"tags":31543,"thumbUrl":31545,"material":751,"size":752,"collection":95,"collections":31546,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},239782,"qing-ren-fu-zi-dou-fang-yi-ming-239782","清人福字斗方","此作以榜书挥毫，笔墨酣畅淋漓。落笔重若惊雷，收笔带飞白余韵，线条雄健苍劲，圆转处浑厚朴拙，方折间筋骨尽显。墨色枯湿浓淡相生，焦墨沉凝如鳞爪遒劲，飞白轻盈似龙髯舒展，将神龙的昂扬威仪藏于笔墨形骸之中。整字大气磅礴，既有庙堂榜书的端严厚重，又不失写意书法的灵动不羁，把神兽的雄浑气势与书法的力量感融为一体，尽显豪迈苍劲的气度，视觉冲击力极强，是一件形神兼备的大字佳作。",[7,25,31544,398,50],"斗方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12bbe38b3b22db18bb41214c4485bf6.jpg",[],{"id":31548,"slug":31549,"title":31550,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":31551,"thumbUrl":31552,"material":95,"size":95,"collection":95,"collections":31553,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239727,"zhang-zhou-wen-shi-chi-du-ce-shi-zhi-tie-wen-zheng-ming-239727","长洲文氏尺牍册-使至帖",[7,60,26,77,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da403c3213fd2371c586db959c7d0a9.jpg",[],{"id":31555,"slug":31556,"title":31557,"dynasty":45,"author":6207,"museum":107,"description":24527,"tags":31558,"thumbUrl":31559,"material":751,"size":752,"collection":95,"collections":31560,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239681,"huo-li-bing-shi-shan-mian-zhang-bi-239681","火里冰诗扇面",[4038,1250,7,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269f60513e02806f7d4a480b1e182dab.jpg",[],{"id":31562,"slug":31563,"title":31564,"dynasty":179,"author":225,"museum":126,"description":31565,"tags":31566,"thumbUrl":31567,"material":1038,"size":31568,"collection":96,"collections":31569,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},239668,"san-duan-juan-zhao-meng-fu-239668","三段卷","释文：\n首段：昔者圣人之作《易》也，幽赞于神明而生蓍，参天两地而倚数，观变于阴阳而立卦，发挥于刚柔而生爻，和顺于道德而理于义，穷理尽性以至于命。大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫鉴藏印。\n首段节录《周易·系辞》，署款：“大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫。”钤“赵氏子昂”印。书于元大德九年（1305年），作者时年52岁。\n二段：玄都坛歌。故人昔隐东蒙峰，已佩含景苍精龙。故人今居子午谷，独在阴崖结茅屋。屋前太古玄都坛，青石漠漠常风寒。子规夜啼山竹裂，王母昼下云旗翻。知君此计成长往，芝草琅玕日应长。铁锁高垂不可攀，致身福地何萧爽。大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。\n二段录杜甫《玄都坛歌》，署款：“大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。”钤印同上。书于元大德十年（1306年），作者时年53岁。\n末段：白云从何来，乃在计筹山。山中老仙伯，翱翔白云间。结屋松竹里，开窗泉石边。焚香诵《道德》，清斋降神仙。俯仰皆自得，洗心游太玄。我欲往从之，规买山下田。艺药扫白发，栽桃映红颜。庶几林下意，期了区中缘。丹成从师去，笑拍洪崖肩。 琼山发天秀，珠泉表地灵。柔荑吐丹葩，乔林标绛英。酌醴吸冲和，汲涧漱甘清。石门开洞门，木龙走岩扃。清飚一时至，四座浮幽馨。阆风何必远，世尘空自冥。从游当有期，淹留讵无成。左手撷紫芝，右手采黄精。振衣陟崇冈，遐观散神情。长啸烟雾里，满空鸾鹤声。吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。前诗似更有二句，然老昏忘之矣。\n末段录自作诗《寄题杜尊师白云庵琼秀亭》二首，署款：“吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。”钤印亦同前。书于元延祐六年（1319年），作者时年66岁。\n赵孟頫喜与释道人物游，执弟子礼师事者，则为僧人中峰明本与道士南谷真人。南谷名杜道坚，曾住持杭州宗阳宫等道观。本卷前二段即为南谷而书；末段则系南谷殁后为其弟子袁安道而书，亦寓纪念南谷之意，是研究赵氏生平交谊的重要资料。以书法论，三段皆精心用意之作。首段奔放跌宕，二段妍润隽逸，末段遒健苍古，堪称赵氏中、晚年行书的代表作品。卷前有元人乔宇篆书引首；尾纸有元陈旅、张雨、杜本、揭傒斯、张翥等12人及明项元汴所作题识。卷中钤有明项元汴，清李肇亨、梁清标及乾隆、嘉庆、宣统内府章。",[23,92,24,25,49,7,60,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89b0144482e38292a3052899d495ae76.jpg","首段纵31.1厘米，横101.5厘米，二段纵31.1厘米，横100.2厘米。三段纵29.9厘米，横103厘米",[96],{"id":31571,"slug":31572,"title":31573,"dynasty":179,"author":31574,"museum":126,"description":31575,"tags":31576,"thumbUrl":31577,"material":312,"size":31578,"collection":96,"collections":31579,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},239626,"an-he-tie-duan-tian-you-239626","安和帖","段天祐","释文：\n天佑顿首书奉起善贤契友执事：小林回，领书，承近候安和为喜。贱疾回杭又两发矣。二月上旬后又苦痎疟，寒暑交战，狼狈不可言。此岂俗谚所谓横赛者耶。书籍许以宽限，甚感。张子昭近来杭，解后陈思复书铺内所假书，亦曾亲与之言，明当并起善者同纳矣。师夔画帧不敢有忘，已嘱其人平昔厚善者，俟其至，即从求之。臈糟谨奉一坛，泥头上有题识。香楠木欲作少器皿，截开作正白色者不可用，烦更为物色。如沉香颜色者，价钱比前买者加贵无伤。因官窑季子良有行，灯下草草奉此。春寒祈善爱。不具。天佑顿首再拜。\n此帖钤有项元汴、安岐、何子彰、谭敬、完颜景贤、赵叔彦等人鉴藏印记。《墨缘汇观》、《三虞堂书画目》著录。\n这是段天祐写给好友起善的书信，内容谈及自己的诸多病况、归还起善等人书籍、为起善向师夔求画、请起善为自己物色木料等等。信里涉及起善、张子昭、师夔等人。\n此帖从米芾书风中取法，又具有元人特有的精致与平和。",[7,60,49,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd0117ba7b423af562fc88c8d4a99c.jpg","纵27.3厘米，横54.5厘米",[96],{"id":31581,"slug":31582,"title":31583,"dynasty":179,"author":24310,"museum":126,"description":31584,"tags":31585,"thumbUrl":31586,"material":312,"size":31587,"collection":96,"collections":31588,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239619,"heng-tang-tie-ye-zhao-lin-239619","衡唐帖页","释文：\n今早拟欲专造，缘执事昨晚云，大尹兄到弊舍，所以不果，而专俟舟从之来临耳。不然安敢坐待，以速罪也。伏希情恕不具。赵麟拜启。衡唐征君先生。衡唐先生。赵麟完。\n本幅鉴藏印有“安岐仪周书画之章”、“无恙”、“樵李氏鹤梦轩珍藏记”、“景贤”等16方。\n赵孟頫翰墨之妙名贯一代。其孙赵麟虽无盛名，但书翰皆出规入矩，笔意流动，洒落超逸，亦不失家法。正如明陶宗仪《书史会要》所言：“麟书更益以工，便可造其父之域。”",[23,25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0aab4d637be25f30f819f1430d4e09.jpg","纵28.2厘米，横25.2厘米",[96],{"id":31590,"slug":31591,"title":31592,"dynasty":179,"author":5300,"museum":126,"description":31593,"tags":31594,"thumbUrl":31595,"material":6894,"size":31596,"collection":96,"collections":31597,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239616,"shi-jian-tie-lu-guang-239616","诗简帖","《诗简帖》释文（略）\n帖上钤有项元汴、孙承泽、安岐、完颜景贤、何厚琦、赵叔彦、张爰、谭敬诸家印记。\n这两首诗并信笺是写给“克用先生”即虞堪的。虞堪是南宋名相雍国公虞允文的八世孙。虞雍公曾有古剑一柄，为人叹赏，陆广第一首诗就是咏这把剑的，同时追忆虞雍公对社稷朝廷的忠勤业绩。元代文人杨维桢、倪瓒、秦文仲等人亦有咏此剑的诗篇。第二首诗陆广记述与虞堪愉快而难忘的相会。此篇书法师《曹娥碑》，风格瘦硬清劲。\n《墨缘汇观》、《三虞堂书画目》著录。",[23,7,60,77,200,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6947843ad4bda8ffbb8096f4970ca09a.jpg","纵29.7厘米，横32.4厘米",[96],{"id":31599,"slug":31600,"title":31601,"dynasty":45,"author":31602,"museum":126,"description":31603,"tags":31604,"thumbUrl":31605,"material":17292,"size":31606,"collection":96,"collections":31607,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239612,"qian-zi-bi-yin-zha-juan-zhang-jun-239612","遣子毕姻札卷","张骏","释文：\n北京遣第三子云鹤还松江毕姻，与唐亲家书。维时野梅呈腊，宫柳回春，共谂晋国郡尊太亲家，阖闳宝聚前。天锡鸿庥，日臻燕祉。乐丘园而遯迹，藉诗酒以陶情。一别星标，五更岁籥，遥切一门婘爱，不胜千里之驰思。丹凤楼头，载笔叨依于日下，黄龙浦口，飞帆未得向江南。暑递往而寒递来，霎然过眼，男将婚而女将嫁，寔尔劳心。且小儿缪习夷书，滥赝冠带。而令爱素闲红女绣，宜施衿鞶言。念唐子方以来，世系绵绵乎瓜瓞；张公瑾而下，家声秩秩乎冠缨。幸谐二姓之天缘，获缔百年之星眷。珠冠结凤，少陪奠鹰之仪，尺素衔鱼，将遂乘龙之愿。计高明之雅度，礼虽薄而无嫌， 惟远大之后图，来期速而无缓，或符至愿，敢负深恩，岂草木之无知，当琼瑶之有报。麾留是望，鉴念不宣。又礼书一通，物状刑楮，陈之荪不赘，清河郡眷生张骏拜手。昼绣堂书。\n款下印“绿屋人仙”、“金紫清华”，引首印“世经科第”。鉴藏印钤“嘉兴唐翰题子冰书画记”、“德大审定”、“罗振玉印”等诸方。\n卷后有唐翰题、罗振玉题跋两则。\n此书是张骏致唐姓“亲家”的一封礼书，內容是让其子回松江（今上海）完婚，并送去了彩礼。\n张骏的书法时以狂草体著称，以他狂怪奔放的草书风格而论，此书则显得拘谨刻板得多。其书笔法精润，笔画起落轻重分明，使转灵便，呈现出圆润妍美、劲健潇洒的风韵。",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36a4b5d65ccdac03ac2dfafd831cf29.jpg","纵24厘米，横230厘米",[96],{"id":31609,"slug":31610,"title":31611,"dynasty":179,"author":225,"museum":126,"description":31612,"tags":31613,"thumbUrl":31614,"material":312,"size":95,"collection":96,"collections":31615,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239593,"zhi-ji-zong-yuan-er-zha-juan-zhao-meng-fu-239593","致季宗源二札卷","赵孟頫，中国元代天才文学艺术家。他是宋朝王孙，自幼英机敏识，勤奋好学，青中年时代便在经史、文学、书画、金石、音乐诸方面取得极高成就，是著名的“吴兴八俊”之首。入元后，他被荐入朝，备受荣宠，仕至翰林学士承旨，荣禄大夫，富贵显赫，但对书法、绘画的研究与实践则从未暇怠，终于开生面，登高峰，力纠南宋晚期书坛画苑的积习，开启了一代新风，其影响之深广，同代诸大家无一可与比肩。\n赵孟頫的书法与他的绘画一样，不仅诸体兼擅，真、草、隶、篆都取得极高成就。特别是他的楷、行，更是力追晋唐，妙集众长，融通贯化，自成其潇洒隽美，朗润清华，既有古意又具今貌的“赵书”风韵。鲜于枢称“子昂篆、隶、真、行、颠草为当代第一”，应该是言出由衷的。\n赵氏书法流传不少，一是因为求索甚众书写勤快，一是历来受到珍视，得到妥善的保存。不过，他的书迹如今已大多归之于世界各大博物馆了，民间绝少留存。今春现身中国嘉德的赵书《致宗元总管札》便是近二十年来拍卖市场难得一见的赵孟頫手墨。",[23,7,25,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640a960cf1ed87720690f810e9c26c25.jpg",[96],{"id":31617,"slug":31618,"title":31619,"dynasty":179,"author":15830,"museum":126,"description":31620,"tags":31621,"thumbUrl":31622,"material":31623,"size":31624,"collection":96,"collections":31625,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239566,"shu-feng-ji-tie-ye-kang-li-nao-nao-239566","书奉记帖页","释文：\n巎再拜奉记\n彦中州判贤友执事者，范涣卿所寄来绒大二帖，已领。前所托者望付便人来，甚幸。更望二香卓，其一小者（旁注“高尺余”3小字），欲几榻间放；其一大者，高博尺四尺可也。得坚实素木为之，妙！复望惠及诸样海味，有便寄下。辄恃知爱，故尔叨喋，仍恕干烦也。巎再拜。\n鉴藏印钤明项元汴“墨林祕玩”、李肇亨“槜李李氏鹤梦轩珍藏记”等。\n《奉记帖》是康里巎巎写给朋友叶彦中的一封信札，内容为托寄香桌、海味等物件之事。\n帖左下角有朱笔楷书小字3行，记录的是康里巎传略：“子山，康里氏，父不忽木，祖燕贞，世有功业。巎亦学士承旨。卒谥曰文忠。”\n此帖笔法颇类怀素，运笔疾速飞动，结体圆转婉畅，笔画清劲妍丽，字字自相牵绕而又不相互连带，展示出书家自己的个性和风格。",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59fe5c3ad7ecbb4d90a1b06f8943fa3.jpg","行草书，纸本","纵29.8厘米，横55.7厘米",[96],{"id":31627,"slug":31628,"title":31629,"dynasty":18,"author":31630,"museum":107,"description":31631,"tags":31632,"thumbUrl":31633,"material":751,"size":752,"collection":95,"collections":31634,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239408,"hua-niao-tu-ce-ma-yuan-yu-239408","花鸟图册","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[24,25,26,27,29,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd633f57f9b7dbf9915c927634e25b6e4.jpg",[],{"id":31636,"slug":31637,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":31638,"tags":31639,"thumbUrl":31640,"material":95,"size":95,"collection":95,"collections":31641,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},239206,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239206","此作以水墨写就山林胜景，危峰崚嶒直插云端，流云如练缠绕崖间，将黄山奇秀空灵尽数铺展。苍松虬曲错落在岩壑间，松下茅舍幽然隐现，自带林泉高致。\n笔致苍朴清逸，淡墨晕染出漫山空濛岚气，糅合山水与书法，题字笔力沉劲，与山水意境相融，尽显幽淡冷寂的隐逸意趣，以山水托寄出世襟怀，是文人画中山水与心境合一的精妙之作。",[24,50,59,26,7,77,51,1018,57,55,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee9d2bf38ceefe2ee6ab829f677915f.jpg",[],{"id":31643,"slug":31644,"title":31645,"dynasty":18,"author":2634,"museum":107,"description":31646,"tags":31647,"thumbUrl":31648,"material":95,"size":95,"collection":95,"collections":31649,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},238762,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238762","画弘历拟古诗意图册","此作以淡墨晕染出氤氲烟岚，高阁临水踞于浅丘之上，错落村居隐于疏林薄雾，左下角层岩叠翠，补足画面虚实章法。山石皴擦简淡轻柔，林木点染秀雅温润，尽显江南林泉的清逸悠然。\n\n左侧行书笔致舒展秀逸，诗画相映成趣，将闲隐居息的诗意融于咫尺册页，以极简笔墨铺陈出淡远空灵的山水意境，尽显清和雅致的中式林居意韵，把文人心中的幽居闲情晕染在笔墨之间。",[24,26,50,1128,51,55,458,56,57,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59b8ccb66a570f2f34df50afc214e30.jpg",[],{"id":31651,"slug":31652,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":31653,"tags":31654,"thumbUrl":31655,"material":95,"size":95,"collection":95,"collections":31656,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},238734,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238734","此作以水墨绘就秋日园居之景，左侧文士曳杖徐行，抬首遥看天际归鸿，似在寄怀远思。园中嘉木扶疏，茅舍隐于枝叶间，右侧湖石嶙峋逶迤，白墙黛瓦随景延展，将庭院的清寂幽远铺展开来。\n\n笔墨秀雅温润，枯笔皴擦写尽木石苍古之态，淡墨晕染天色，晕开朦胧秋意。题诗与画面相融，把怀人缱绻心绪揉入萧疏秋光，以简淡之景写沉郁幽思，尽显文人情致，空灵简净之间，将秋日行吟的怅惘含蓄铺陈在尺幅之中。",[24,25,26,50,59,113,55,116,56,57,268,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10af83fcbd6800eec618ca45fbc0601.jpg",[],{"id":31658,"slug":31659,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":31660,"tags":31661,"thumbUrl":31662,"material":95,"size":95,"collection":95,"collections":31663,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},238709,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238709","此作用虚实相生之构，左侧层岩叠嶂、古木蓊郁，白衣策杖士人循山径徐行，林岫深邃尽显幽寂山居之致。右侧留白绘汀洲水榭，烟波澹澹，以虚衬实，极大拓宽了山水意境。\n笔墨苍秀雅正，以干笔皴擦勾勒山石肌理，墨色浓淡层叠晕染，将山林的浑厚华滋尽现笔底。题诗与画作相映，诗画交融，把古人耽爱丘壑、寄情林泉的隐逸雅趣，尽显无余。",[24,50,59,26,60,7,51,113,56,57,458,76,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2843021b7f9f4857ab24c33b0ecc002d.jpg",[],{"id":31665,"slug":31666,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":31667,"thumbUrl":31668,"material":751,"size":752,"collection":95,"collections":31669,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},238559,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238559",[24,25,26,27,111,1128,113,458,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aceba2993ff5bcc79c197dea4e00d70.jpg",[],{"id":31671,"slug":31672,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":31673,"thumbUrl":31674,"material":751,"size":752,"collection":95,"collections":31675,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},238558,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238558",[24,25,26,27,113,51,56,77,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474fe4110aa6d73c7c8e2a6aad2013cc.jpg",[],{"id":31677,"slug":31678,"title":14851,"dynasty":18,"author":14852,"museum":107,"description":31679,"tags":31680,"thumbUrl":31681,"material":95,"size":95,"collection":95,"collections":31682,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},238252,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238252","此作浅设晕染，工致秀雅，绘就环山抱水的玉泉胜境。山麓水畔屋舍错落，苍松翠木疏密点染晕出清润生机，远山含黛淡描天际，构图疏密得宜，将京郊林泉的静谧安和铺展眼前。\n\n右侧行书题诗笔意舒展隽秀，诗画合璧，以景衬诗，以诗点题，将玉泉趵突的灵秀景致与文人情思相融相合，带着内敛雅致的宫廷审美意趣，既是写实的郊野纪游图，亦是抒情的文人雅构，尽显清中期山水画兼具纪实与抒情的创作意韵。",[24,25,26,27,51,458,55,56,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ccda7b47983506e92a306f3b5ddd3b1.jpg",[],{"id":31684,"slug":31685,"title":14851,"dynasty":18,"author":14852,"museum":107,"description":31686,"tags":31687,"thumbUrl":31688,"material":95,"size":95,"collection":95,"collections":31689,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},238248,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238248","此作以诗画合璧尽显雅趣。左侧绘春日元大都琼岛，白石塔卓立洲中，层叠殿宇掩映在抽芽新绿里，淡墨晕开环泊春水，烟波轻笼，清润柔雅间晕出春日融融生机。屋舍桥道排布谨细，草木点染灵动鲜活，将皇家御苑的清隽春景凝于尺幅。\n右侧行书题诗笔致秀逸舒展，诗句咏叹春阴耕作、胜赏悦心，与画中景致呼应，诗画相生，勾勒出燕京春日独有的温润静雅，尽显小品山水的隽永情致。",[24,27,111,458,52,51,56,268,553,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5070eba5081d3f5f988a6347fb9c5501.jpg",[],{"id":31691,"slug":31692,"title":31693,"dynasty":18,"author":31694,"museum":107,"description":31695,"tags":31696,"thumbUrl":31697,"material":95,"size":95,"collection":63,"collections":31698,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},237562,"bian-gong-guai-shi-tu-zhou-fang-heng-xian-237562","汴宫怪石图轴","方亨咸","[清]小字姐哥，字吉偶，号邵村，号龙瞑、心童道士，安徽桐城人。拱乾子。顺治四年（一六四七）进士，官御史。能文，善书，精于小楷。山水仿黄公望，博大沈雄，力追古雅，与程正揆、顾大申时称鼎足。花鸟意态如生，曾绘百尺梧桐卷，雀雏入神品。\n平生足迹几遍天下，故其所见无非粉本，不规规于古人，所以更胜于古人。顺治十五年（一六五八）为刘年伯作山水轴。其康熙十七年（一六七八）作深林垂绘图，现在日本。《国[清]朝画识、图绘宝鉴续纂、古夫于亭录、百尺梧桐阁集、昭代尺牍小传、清朝书画家笔录、瓯钵罗室书画过目考、古代书画过目汇考附目》。传世作品有顺治十五年(1658)为刘年伯作山水轴。康熙十七年(1678)作《深林垂纶图》，现收藏于日本；康熙五年(1666)作《山水花鸟》册页、《江右纪游图册》共10帧，现藏故宫博物院；八年作《梅花双雀图》轴图录于《神州大观》；十三年作《松石图》图录于《中国名画集》；康熙十五年(1676)作《五苗图》轴藏上海博物馆。著有《邵村诗集》《塞外乐府》《楚粤使稿》等。方亨咸《似兰斯馨，如松之盛》书画象牙牌子现藏于西河自然博物馆。",[92,24,25,75,50,112,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001a2d9beefdd270ce2fe8ca67ac2ad.jpg",[63,96],{"id":31700,"slug":31701,"title":4167,"dynasty":18,"author":31702,"museum":126,"description":31703,"tags":31704,"thumbUrl":31705,"material":95,"size":95,"collection":95,"collections":31706,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},237561,"shan-shui-ce-wen-dian-237561","文点","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,25,50,26,59,51,56,113,116,1678,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9f3dfb9b046f194ca1b09897aaa723.jpg",[],{"id":31708,"slug":31709,"title":17304,"dynasty":18,"author":31710,"museum":107,"description":31711,"tags":31712,"thumbUrl":31714,"material":751,"size":752,"collection":95,"collections":31715,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},237487,"shan-shui-tu-ce-yao-song-237487","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,26,50,7,60,59,77,51,250,56,771,8049,472,31713,57],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f53938c1969f1a58b6dd58cd34eed5.jpg",[],{"id":31717,"slug":31718,"title":11849,"dynasty":18,"author":11850,"museum":107,"description":31719,"tags":31720,"thumbUrl":31721,"material":312,"size":95,"collection":95,"collections":31722,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},237064,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237064","此作以淡墨写就山居清景，古松虬曲苍劲，石质嶙峋朴拙，茅庐隐于林泉之间，白衣策杖徐行，似正寻幽访鹤。简淡笔墨勾勒出幽寂出尘的林下意趣，皴擦点染皆见文人写意之妙。左侧题诗行书笔意舒展，诗画相映成趣，将林泉高致寄于尺幅之间，悠悠古意漫溢纸面，尽显文人心底的丘壑与幽居雅兴。",[24,25,26,50,51,56,57,1006,113,7,133,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7575b193c25fbf3cb6a0f186c0a3224d.jpg",[],{"id":31724,"slug":31725,"title":4167,"dynasty":45,"author":31726,"museum":107,"description":31727,"tags":31728,"thumbUrl":31729,"material":95,"size":95,"collection":95,"collections":31730,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},236926,"shan-shui-ce-qin-mao-de-236926","秦懋德","此作以浅绛绘就林泉幽居，山峦以淡墨晕染出层叠清姿，屋舍隐于林木间，枯木与茂树错落生姿，溪岸苔石隐现，淡冶烟岚弥散，意境清寂超逸。\n\n左侧题诗笔致疏放，与画境相映成趣，诗中古亭烟冷、竹畔琴鸣之境，恰合画面幽居遁世之致。书画相融，以简淡笔墨写尽林丘雅意，暗含隐逸襟怀，淡而有神，简中见深，尽显文人山水以意驭形的隽雅之美。",[24,25,26,27,50,59,51,57,56,58,473,471,552,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b547f9f1efcce269ec8f5494f6a61fe.jpg",[],{"id":31732,"slug":31733,"title":4167,"dynasty":18,"author":526,"museum":107,"description":31734,"tags":31735,"thumbUrl":31736,"material":31737,"size":31738,"collection":95,"collections":31739,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},236863,"shan-shui-ce-wang-yuan-qi-236863","本幅共十二开，二、五、六、九、十、十二为墨笔，余均为设色。末开自识，款“康熙乙酉垂阳日王原祁题于彀治堂”。引首王撰书：“六法金针”，有董揆、董寿平等印多方。实系画12开，字12开，应以画为主，字作附件。\n王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,26,27,59,7,77,51,57,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F847218658ea88b37f64bd682ae978f1f.jpg","纸本 ，设色\u002F墨笔","纵48.1cm，横32.4cm",[],{"id":31741,"slug":31742,"title":31743,"dynasty":18,"author":31744,"museum":107,"description":31745,"tags":31746,"thumbUrl":31747,"material":95,"size":95,"collection":95,"collections":31748,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},236748,"hua-huang-yi-xiang-shan-wu-jun-236748","画黄易像扇","吴俊","此作为淡彩肖像小品，人物仪态端方沉静，身着素色长衫，手持金石拓本，尽显金石学者温厚儒雅的风骨。衣纹勾勒简练清劲，设色浅淡明净，将人物沉静内敛的神态描摹入微。旁侧题字朴拙舒展，笔意苍雅，与画像相得益彰，既点明人物生平细节，更添书卷意韵。整体笔墨清润秀雅，以扇面为载体，将肖像纪实与文人雅趣融于一体，尽显雅致格调，是兼具纪念性与艺术性的小品佳作。",[24,25,1250,113,112,27,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee3153e793bf0d5bea236a63796550b.jpg",[],{"id":31750,"slug":31751,"title":31752,"dynasty":18,"author":1527,"museum":107,"description":31753,"tags":31754,"thumbUrl":31755,"material":95,"size":95,"collection":35,"collections":31756,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},236200,"hua-shan-shui-jin-de-ying-shu-he-dong-po-you-xi-hu-shi-cheng-shan-qian-wei-cheng-236200","画山水金德瑛书和东坡游西湖诗成扇","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。",[24,25,1250,51,27,59,251,56,267,252,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55cc7d22ebee3ba8b86de8420b0949c8.jpg",[35],{"id":31758,"slug":31759,"title":31760,"dynasty":45,"author":13748,"museum":126,"description":31761,"tags":31762,"thumbUrl":31763,"material":95,"size":95,"collection":96,"collections":31764,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},236188,"hua-han-lin-ting-zi-tu-hong-li-shu-fu-cheng-shan-li-liu-fang-236188","画寒林亭子图弘历书赋成扇","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[24,25,1250,51,55,9579,2293,115,7,77,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde03b093be30492eba6c6608605c275b.jpg",[96],{"id":31766,"slug":31767,"title":31768,"dynasty":45,"author":25792,"museum":107,"description":31769,"tags":31770,"thumbUrl":31771,"material":95,"size":95,"collection":95,"collections":31772,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},236019,"ren-wu-tu-ce-jiao-yang-dui-yi-wen-nan-shou-mao-weng-236019","人物图册－蕉阳对奕","此作以清简笔墨铺就林下雅景，右侧蕉叶舒展如盖，缀花柔枝垂曳，二翁对坐手谈，棋盘方桌间，尽得忘机闲趣，石畔浅草轻缀，愈发衬出周遭清寂安和。\n\n左侧题诗笔意秀逸，诗画相生，将静聆蕉声、不问俗事的隐逸心境缓缓铺陈。设色浅淡温润，笔墨不事繁复刻画，却把寄情弈棋、远隔尘嚣的出世之态尽数彰显，尽显文人画尚简崇雅的意趣，将林下清欢定格卷中。",[24,25,26,27,113,2187,1739,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb979a5baef5c6922c0ce2fcc6370c286.jpg",[],{"id":31774,"slug":31775,"title":31776,"dynasty":45,"author":454,"museum":107,"description":31777,"tags":31778,"thumbUrl":31779,"material":95,"size":95,"collection":95,"collections":31780,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},235840,"lu-zhi-tian-chi-shan-tu-ye-yi-ming-235840","陆治天池山图页","此作用笔简淡疏朗，以枯淡墨色勾勒嶙峋崖壁，皴擦间尽显山石苍硬奇崛，虬曲枯木盘绕岩间，疏枝带残叶点缀幽境，留白处恍有空蒙云气流转，将绝岭孤山的清寂萧疏铺陈开来。\n\n搭配左侧清劲秀雅的行书题跋，文辞叙写山之险峻，与画中丘壑相映成趣，把天池山的幽旷高古尽数烘托。整体以意驭笔，摒弃繁复晕染，将山林奇险与文人隐逸的清冷情怀融于尺幅，书与画浑然一体，尽显尚简求雅的文人意趣，意境淡远耐人寻味。",[24,25,4347,50,27,59,60,7,77,51,57,56,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7436a180e650f019c1780696f3fdafcc.jpg",[],{"id":31782,"slug":31783,"title":10678,"dynasty":45,"author":441,"museum":107,"description":13269,"tags":31784,"thumbUrl":31785,"material":751,"size":752,"collection":95,"collections":31786,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},235687,"shan-shui-hua-hui-ce-xiang-sheng-mo-235687",[24,25,26,50,27,29,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94f032bccefdf78e3fe4a4eb98c285f.jpg",[],{"id":31788,"slug":31789,"title":17304,"dynasty":18,"author":29876,"museum":107,"description":31790,"tags":31791,"thumbUrl":31792,"material":95,"size":95,"collection":95,"collections":31793,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},235645,"shan-shui-tu-ce-wu-li-235645","这幅山水以干笔皴擦铺陈丘壑，近岸村居错落疏朗，枯木伴卧波板桥，水色空濛间晕开江南平畴的幽寂。远山层叠浑厚，飞泉隐挂崖壁，林麓苍郁朴拙。\n\n笔墨苍秀简淡，带着元人山水的萧散意韵，将闲居丘壑的雅兴藏在淡墨轻岚中。整幅画恬澹冲和，缓缓铺展出山居清旷之致，把文人静穆的幽怀融于笔墨，于简淡中见沉郁朴厚的气韵，尽显文人山水画的雅致意趣。",[24,50,59,26,7,77,51,52,53,115,250,55,58,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e75ceb242252b4cd4f81ea3cef5820.jpg",[],{"id":31795,"slug":31796,"title":28410,"dynasty":18,"author":6551,"museum":107,"description":12307,"tags":31797,"thumbUrl":31798,"material":751,"size":752,"collection":95,"collections":31799,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},235337,"fang-gu-shu-hua-ce-wang-jian-235337",[24,25,26,50,59,60,7,51,56,57,458,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb740e979378f69fd2e9cea4a3637d04.jpg",[],{"id":31801,"slug":31802,"title":31803,"dynasty":18,"author":454,"museum":107,"description":31804,"tags":31805,"thumbUrl":31806,"material":95,"size":95,"collection":95,"collections":31807,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},235297,"chen-fu-mo-zhu-zhou-yi-ming-235297","陈馥墨竹轴","以狂放迅疾的笔墨绘就风竹，竹叶如被飓风席卷，倾侧飞舞，灵动不羁。墨色浓淡枯湿富于层次，浓墨点簇老叶厚重苍劲，淡晕新篁清润秀雅，虚实相生间尽显疾风穿林之势。\n右侧题诗与画境呼应，将竹枝乱而不散、逆势挺立的姿态刻画尽致，笔力雄健老辣，尽显狂放疏朗的文人意气。借竹言志，把疾风里劲竹的萧索傲骨，化作君子不屈的襟怀，将水墨写意的淋漓意趣与文人情志完美相融。",[24,25,75,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bff2365e40a277b86ec8b1973cef30a.jpg",[],{"id":31809,"slug":31810,"title":1290,"dynasty":45,"author":19183,"museum":107,"description":19184,"tags":31811,"thumbUrl":31812,"material":751,"size":752,"collection":95,"collections":31813,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},235262,"hua-hui-ce-wang-gu-xiang-235262",[24,25,26,50,29,30,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6381f68cac2093853785b3456063f7c.jpg",[],{"id":31815,"slug":31816,"title":12162,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":31817,"thumbUrl":31818,"material":751,"size":752,"collection":95,"collections":31819,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},235188,"za-hua-ce-huang-shen-235188",[24,25,26,27,29,30,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29560c3d0a47ae743fc3e3cbe87ce709.jpg",[],{"id":31821,"slug":31822,"title":17304,"dynasty":18,"author":2653,"museum":107,"description":31823,"tags":31824,"thumbUrl":31825,"material":95,"size":95,"collection":95,"collections":31826,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},235073,"shan-shui-tu-ce-hua-yan-235073","此作用笔松秀简淡，以干笔皴擦晕染出远山腴润清苍，近岸杂木萧散错落，陂陀茅舍隐于林下，漾出空寂萧疏的秋日况味。\n右上题诗与画作相映成趣，诗画交融，将幽居独钓、寄兴烟霞的隐逸意趣藏于尺幅间。淡墨轻岚里尽显静穆萧散的文人逸致，简淡中见雅润，勾勒出江渚秋浦的清旷之境，把闲居寄怀的林下襟怀铺陈开来，淡而弥永，余韵悠长。",[24,25,26,50,60,59,51,56,57,471,552,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d83fce49b1c433c9f16b11175baf768.jpg",[],{"id":31828,"slug":31829,"title":17988,"dynasty":18,"author":454,"museum":126,"description":17989,"tags":31830,"thumbUrl":31831,"material":1179,"size":17992,"collection":95,"collections":31832,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},234911,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234911",[24,25,92,26,27,51,458,56,399,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57bded8df6435a6fffe65bbdf0e611d.jpg",[],{"id":31834,"slug":31835,"title":17988,"dynasty":18,"author":454,"museum":126,"description":17989,"tags":31836,"thumbUrl":31837,"material":1179,"size":17992,"collection":95,"collections":31838,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},234906,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234906",[24,25,26,27,51,132,589,267,56,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b8a8499067624af6ef4001e403dd02.jpg",[],{"id":31840,"slug":31841,"title":17988,"dynasty":18,"author":454,"museum":126,"description":17989,"tags":31842,"thumbUrl":31843,"material":1179,"size":17992,"collection":95,"collections":31844,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},234901,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234901",[24,25,26,27,111,7,60,51,113,458,53,1678,56,54,1679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66df762858172153ef83034707592d9.jpg",[],{"id":31846,"slug":31847,"title":31848,"dynasty":18,"author":526,"museum":107,"description":31849,"tags":31850,"thumbUrl":31851,"material":312,"size":31852,"collection":95,"collections":31853,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},234894,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234894","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,25,26,50,51,56,57,7,60,77,59,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b97dd843aeedf3c76ae6eeda90512a.jpg","纵21厘米，横27厘米",[],{"id":31855,"slug":31856,"title":31857,"dynasty":18,"author":454,"museum":107,"description":31858,"tags":31859,"thumbUrl":31860,"material":1179,"size":31861,"collection":95,"collections":31862,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},234852,"he-su-xiang-zhou-yi-ming-234852","和素像轴","本幅无作者款识。上诗堂有张英、励杜讷、孙宝宪及和素本人题记。和素题曰：“四十有五，年尚未老。缅想从前，遏多功少。尔形方健，尽可自好。无忝所生，敬奉斯道。康熙三十四年仲冬吉日。和素自题。”\n图绘和素45岁时的坐像，身穿朝服，项挂朝珠。其面容具有典型的满族特征，面色微赤，高颧，留须，神态蔼然，目光沉静，举止端庄。画面生动地再现了这位满洲大臣儒雅谨严的性格和精神风貌。\n和素，字存斋，清康熙年间满洲人。累官至内阁侍读学士。博览群书，通晓满、汉两种文字，精于翻译。有琴谱合璧十八卷。将明人杨抡《太古遗音》译成满文。",[24,25,75,27,111,113,167,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d43e6fae1a4ca3580a7bc54b4a924a6.jpg","纵159 2厘米，横115厘米",[],{"id":31864,"slug":31865,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":31866,"thumbUrl":31867,"material":488,"size":95,"collection":95,"collections":31868,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},234760,"huang-shan-tu-ce-jiang-zhu-234760",[24,25,26,27,59,60,7,51,651,845,266,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749c737f1fac0b665dc4b3279ccccbf8.jpg",[],{"id":31870,"slug":31871,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":31872,"thumbUrl":31873,"material":488,"size":95,"collection":95,"collections":31874,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},234758,"huang-shan-tu-ce-jiang-zhu-234758",[24,25,26,27,59,60,77,7,51,266,56,2029,251,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04cda67855ddf0a39839ff874f68ca07.jpg",[],{"id":31876,"slug":31877,"title":25821,"dynasty":45,"author":31878,"museum":107,"description":31879,"tags":31880,"thumbUrl":31881,"material":95,"size":95,"collection":95,"collections":31882,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},234562,"shan-shui-shan-li-zhao-heng-234562","李肇亨","李肇亨[明]字会嘉，号珂雪，又号醉鸥、爽溪钓士，后为僧，法名堂莹，住超果寺，嘉兴（今浙江嘉兴）人。日华子。工书法，摹褚。精画理，善山水，与赵左齐名，气息浑古，风韵静穆。尝以书法写葡萄尤妙。天启元年（一六二一）作研池墨雨册，顺治元年（一六四四）作溪山高隐图。工诗，著写山楼、率圃、梦余诸草。",[1250,24,50,51,1018,57,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421a8e782131a3ae312d61d5f8d66fa8.jpg",[],{"id":31884,"slug":31885,"title":16790,"dynasty":45,"author":19857,"museum":107,"description":19858,"tags":31886,"thumbUrl":31887,"material":95,"size":95,"collection":95,"collections":31888,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},234222,"shan-shui-juan-sun-zhi-234222",[23,24,25,49,51,50,27,59,251,56,553,5722,58,555,14801,1018,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":31890,"slug":31891,"title":31892,"dynasty":18,"author":3067,"museum":126,"description":31893,"tags":31894,"thumbUrl":31895,"material":488,"size":31896,"collection":95,"collections":31897,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,25,49,50,27,51,59,60,7,54,116,53,56,2392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":31899,"slug":31900,"title":31901,"dynasty":45,"author":31902,"museum":126,"description":31903,"tags":31904,"thumbUrl":31905,"material":312,"size":95,"collection":95,"collections":31906,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,24,25,49,60,27,111,50,51,458,52,53,55,132,652,58,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":31908,"slug":31909,"title":31910,"dynasty":45,"author":10061,"museum":126,"description":31911,"tags":31912,"thumbUrl":31913,"material":31914,"size":31915,"collection":95,"collections":31916,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},234051,"jia-shu-qing-yun-tu-shan-lan-ying-234051","嘉树晴云图扇","蓝瑛的扇面《嘉树晴云图》，画的是山石丘壑间，古松盘桓，白云缭绕，二隐士临溪席地而憩，坐而论道。整个扇面幽静清远，洒脱自然。我国古代文人讲究“达则兼济天下，穷则独善其身”，归隐山林则成为了官场失意的士大夫避世的理想与归宿。\n《嘉树晴云图》画中的隐士坐而论道的“避世”情境，适应了我国古代文人涉、忘、出而皆备的心理需求，因此深得人们喜爱。",[24,25,1250,50,27,51,113,56,845,57,59,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddd331fc0e7be4e9b5165c7795b3bd.jpg","金笺 ，设色","纵17.6cm，横50.7cm",[],{"id":31918,"slug":31919,"title":31920,"dynasty":88,"author":10876,"museum":126,"description":31921,"tags":31922,"thumbUrl":31924,"material":784,"size":31925,"collection":95,"collections":31926,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},234029,"ji-chu-dai-si-tu-ye-li-di-234029","鸡雏待饲图页","图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。\n对幅有清乾隆御题五言诗一首：“双雏如仰望，其母竟何之。未解率场啄，谁怜空腹饥。展图一絜矩，触目切深思。灾壤民待哺，慎哉群有司。”钤“含英咀华”、“即事多所欣”2印。",[24,25,26,111,27,29,31923,77,7],"鸡雏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c00f533606d7efe25a2bbeed22ee599.jpg","纵23.7厘米，横24.6厘米",[],{"id":31928,"slug":31929,"title":31930,"dynasty":45,"author":744,"museum":126,"description":31931,"tags":31932,"thumbUrl":31933,"material":4466,"size":31934,"collection":95,"collections":31935,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[24,25,49,50,27,60,7,59,51,113,56,76,58,2019,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纵30.7厘米 横112.8厘米",[],{"id":31937,"slug":31938,"title":31939,"dynasty":18,"author":454,"museum":126,"description":31940,"tags":31941,"thumbUrl":31946,"material":488,"size":31947,"collection":95,"collections":31948,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},233040,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233040","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[24,4347,27,111,9812,31942,31943,31944,51,113,7,77,31945],"军事题材","战船","士兵","平定台湾战事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3fc770116fcd292f0e449e1c877c52f.jpg","长55.6厘米，宽91.1厘米",[],{"id":31950,"slug":31951,"title":31952,"dynasty":45,"author":31953,"museum":107,"description":31954,"tags":31955,"thumbUrl":31957,"material":751,"size":752,"collection":95,"collections":31958,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},232828,"zhuan-shu-qi-wen-si-zi-jing-feng-fang-232828","篆书奇文四字经","丰坊","丰坊（1492年－1563年），字存禮，又字人翁，號南禺外史，晚年更名道生。浙江鄞县（今浙江宁波）人。明朝书法家、篆刻家、藏书家，榜眼豐熙之子。",[7,457,26,4038,6771,4677,31956,27201],"篆书技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc58a4a52e82b78789d6d9a223426bb.jpg",[],{"id":31960,"slug":31961,"title":31962,"dynasty":18,"author":31963,"museum":107,"description":31964,"tags":31965,"thumbUrl":31966,"material":95,"size":95,"collection":95,"collections":31967,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},232820,"xi-jin-chun-feng-shu-fa-wang-shi-hong-232820","西禁春风 书法","汪士鋐","汪士鋐（1658年－1723年），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，授翰林院修撰，修纂《佩文韵府》、《全唐诗》、《渊鉴类函》等书。官至中允。书法与姜宸英并称“姜汪”。与笪重光、姜宸英、何焯并称康熙四大家。有《秋泉居士集》。",[23,25,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142c4b7f8bc573944d7f80ab0aba0dbf.jpg",[],{"id":31969,"slug":31970,"title":31971,"dynasty":45,"author":31972,"museum":279,"description":31973,"tags":31974,"thumbUrl":31975,"material":312,"size":31976,"collection":95,"collections":31977,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},232775,"han-guan-zi-qi-tu-juan-zhang-hong-232775","函关紫气图卷","张宏","这是一幅牧童放牛图，小牧童们或坐于牛背上，或用劲拽缰绳，或与牛打闹，童趣十足。画面上牛的形态各不相同，或抵角打闹，或卧于一起，或母子情深。",[23,24,25,49,50,797,113,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1e79cb5d7e9232f9f8d67a1a85b087.jpg","27.3x441.3厘米",[],{"id":31979,"slug":31980,"title":31981,"dynasty":18,"author":6275,"museum":107,"description":23957,"tags":31982,"thumbUrl":31983,"material":312,"size":95,"collection":95,"collections":31984,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},232681,"si-yan-shi-shan-mian-hong-yi-fa-shi-232681","四言诗扇面",[1250,25,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2096a8250d6b8c5c2abd663a75bd0a7e.jpg",[],{"id":31986,"slug":31987,"title":31988,"dynasty":179,"author":225,"museum":279,"description":31989,"tags":31990,"thumbUrl":31991,"material":312,"size":31992,"collection":95,"collections":31993,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},232592,"you-jun-si-shi-ba-zhao-meng-fu-232592","《右军四事》跋","赵孟頫的书法，成就最高的是楷书和行书。传世的楷书名作有《胆巴碑》、《湖州妙严寺记》、《仇锷碑》等；小楷有《汲黯传》等；行书作品不少，如《洛神赋卷》、《赤壁二赋帖》、《定武兰亭十三跋》等。\n他作品最主要的特点，无论楷书还是行书，都很工整，四平八稳。温和、典雅是他书法的主要特色。虽然他对晋人书法下过很深的工夫，但晋人书法中精妙的用笔，在他的作品中几乎没有体现；或者说，他将晋人笔法的精微之处大大加以简化了。尽管如此，他的作品总是洋溢着一种高贵、典雅的气息。这完全是他深厚的学问、修养所致。\n此帖为赵孟頫行书《右军四事》卷，纸本，24.4×117cm，美国大都会博物馆藏。他主张遵从古法，认为书法应用笔为上，所以勤摹古人，探究笔法。赵孟頫的书法深受东晋书法家王羲之的影响，《右军四事》卷可以看出赵孟頫对王羲之的虔诚。",[92,24,25,49,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe692d3c2e529a9ae742f8b2f7109e4b0.jpg","24.4×117cm",[],{"id":31995,"slug":31996,"title":31997,"dynasty":8749,"author":31998,"museum":107,"description":31999,"tags":32000,"thumbUrl":32001,"material":751,"size":752,"collection":95,"collections":32002,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},231788,"wu-jia-zhuang-shu-zhe-yong-zhi-tu-hui-juan-1-yi-shi-zhen-zhang-231788","武家装束着用之图绘卷-1","伊势贞丈","江户中期武家故实研究家。江户人。幼名万助，通称平藏，号安斋。其祖仕室町幕府政所，兼御所奉行，掌管将军殿中礼仪，代代世袭。室町幕府灭亡后，随之衰败。至德川三代将军家光时，其四代祖贞衡出仕，以伊势派礼法家被器重。10岁时继家业，为“御小姓番组入”。对中世以来以武家为中心的典章、制度、礼法、服饰、器具等的研究，堪称权威。1784年(天明四年)任“小普请入”，随后又成为中坊金藏的统辖。对神道也颇有研究。著述主要有《贞丈杂记》、《安斋丛书》等。",[49,27,111,113,167,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336bdcbefb2c0fde422ae8792e4be1f1.jpg",[],{"id":32004,"slug":32005,"title":32006,"dynasty":8749,"author":454,"museum":107,"description":32007,"tags":32008,"thumbUrl":32010,"material":95,"size":95,"collection":95,"collections":32011,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},231652,"yi-cai-xiao-xiang-hua-yi-ming-231652","易彩肖像画","肖像画因其侧重人物面貌的描写，古人又称之为“写真画”，或者是“传神”“写照”“传写”，它是中国画门类中最为古老的一个科目。中国肖像画的历史悠久，相比山水和花鸟而言，它的起源是最早的。在历经唐宋元的延续和嬗变之后，明清时期的肖像画更是达到了一个新的高度，形成了鲜明的特色和完整的体系，在中国绘画史上占据着非常重要的位置，生命力极其强大。\n明清肖像画在其时代的人物画发展的基础上，不仅对西方传于中国的写实性绘画技法予以了吸收借鉴，同时也充分融合了本民族绘画语言，包括正统的文人绘画和民间的写真术等，取得的巨大艺术成就，虽然不是绘画主流方向，但对其后人物画转向现实提供了尝试和可能，也为现代艺术家的创新提供了有益的基础,而其艺术特点和美学价值均是值得我们目前仍需深入展开和探究的内容。",[23,24,25,75,111,27,32009,7,1986,92],"肖像画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4ff80e723721427982e6421699c69c.jpg",[],{"id":32013,"slug":32014,"title":31619,"dynasty":179,"author":15830,"museum":126,"description":31620,"tags":32015,"thumbUrl":32016,"material":312,"size":31624,"collection":95,"collections":32017,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},231394,"shu-feng-ji-tie-ye-kang-li-nao-nao-231394",[23,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82986a2819a3a47a8d0e209f24c1e431.jpg",[],{"id":32019,"slug":32020,"title":32021,"dynasty":88,"author":454,"museum":107,"description":32022,"tags":32023,"thumbUrl":32024,"material":751,"size":752,"collection":95,"collections":32025,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":207},231077,"xi-yue-hua-shan-miao-bei-ce-yi-ming-231077","西岳华山庙碑册","此作为汉隶经典风貌，字体方整匀称，气度典雅堂皇，波磔舒展飘逸，尽显庙堂隶书端严正大的气象。墨色沉郁古厚，字口虽有残泐，却更添金石沧桑，朴茂雄浑的气韵扑面而来。\n\n笔画粗细有致，蚕头燕尾极具装饰意趣，结构端稳又不乏灵动变化。残损字痕沉淀着岁月摩挲的厚重质感，带着醇厚的汉代石刻金石意趣，既有法度森严的规整之美，又不失古拙朴茂的高古意韵，将汉隶中正典雅的美学特质诠释尽致。",[198,7,1613,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac320c4384e6c523c8f6f0c58539a72.jpg",[],{"id":32027,"slug":32028,"title":5232,"dynasty":45,"author":32029,"museum":107,"description":32030,"tags":32031,"thumbUrl":32032,"material":751,"size":752,"collection":95,"collections":32033,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},230896,"cao-shu-zhou-shao-mi-230896","邵弥","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[23,7,398,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ce6b2bde06fef217729894f1e56de.jpg",[],{"id":32035,"slug":32036,"title":32037,"dynasty":8749,"author":454,"museum":107,"description":32038,"tags":32039,"thumbUrl":32040,"material":751,"size":752,"collection":95,"collections":32041,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":3443},230810,"liu-shi-can-juan-yi-ming-230810","刘氏残卷","此卷小行书简净松灵，结体萧散天然，暗合晋唐书风的清隽散淡。纸页斑驳泅渍，残损之间更添古旧沧桑，却无损笔墨间的林下清韵。\n书者落笔毫无雕琢匠气，顺着笔势自然游走，将玄学语录写得简远疏放。字里行间浸着旧世文人的隐逸襟怀，仿佛可见执笔人展卷挥毫时，神游物外的澹泊情态，随性之中藏着沉静的风雅意趣。",[25,49,7,60,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d4e32fb79a9047442fc592223fd7c8.jpg",[],{"id":32043,"slug":32044,"title":32045,"dynasty":8749,"author":454,"museum":107,"description":32046,"tags":32047,"thumbUrl":32048,"material":751,"size":752,"collection":95,"collections":32049,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":24175},230789,"fu-ben-hang-ji-jing-juan-di-shi-jiu-ling-zi-shang-bu-yi-ming-230789","佛本行集经卷第十九令字上部","此卷写经墨色沉凝匀净，古绢底色愈发衬出笔墨的温润朴拙。整体字形方正端稳，排布齐整肃穆，尽显写经体的法度与虔诚。起收笔利落圆融，笔画舒展克制，不见张扬却自带着沉静的力量。\n书写者以恭谨之心抄录经文，字字排布如列阵般齐整，笔意始终平和内敛，将宗教文本的庄肃融于笔底，带着中古写本特有的静穆古雅气质，静静诉说着书写之时的敬畏与安然，尽显传统写经书法的匀净之美。",[878,49,199,386,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b701de4b520d9521c96ebd965c05e.jpg",[],{"id":32051,"slug":32052,"title":32053,"dynasty":8749,"author":454,"museum":107,"description":32054,"tags":32055,"thumbUrl":32057,"material":751,"size":752,"collection":95,"collections":32058,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},230556,"ba-jiao-ye-yu-tu-ri-ben-shi-ting-shi-dai-yi-ming-230556","芭蕉夜雨图-日本室町时代","轻烟晕染远山淡影，茅庐偎依芭蕉古松，板桥隐没于空蒙水雾间，将秋夜听雨的清寂铺展于卷上。湿冷的潮气仿佛浸透纸面，夜雨敲打着芭蕉叶，声声都揉着羁旅幽愁。\n\n整幅以画载情，上部题满唱和诗书，笔墨错落间，将寒宵孤坐的怅惘与同侪酬和的共情融为一体，书画相映，把蕉下听雨的清冷意绪，晕染得愈发绵长醇厚。",[23,24,25,50,59,60,7,77,51,2187,652,1002,651,360,589,845,14603,32056,133],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff965d35070656840bce03fd2737af2ec.jpg",[],{"id":32060,"slug":32061,"title":32062,"dynasty":18,"author":14427,"museum":107,"description":17943,"tags":32063,"thumbUrl":32064,"material":751,"size":752,"collection":95,"collections":32065,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},230200,"lin-kong-zhou-bei-yin-he-shao-ji-230200","临孔宙碑阴",[23,7,1613,110,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5453a79a86999fab5e32be660c7b24b2.jpg",[],{"id":32067,"slug":32068,"title":807,"dynasty":18,"author":2653,"museum":107,"description":32069,"tags":32070,"thumbUrl":32071,"material":95,"size":95,"collection":95,"collections":32072,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},230183,"shan-shui-tu-hua-yan-230183","此作笔致秀逸清灵，以淡赭晕染层叠崖壁，勾勒垂落飞泉，孤松虬枝斜倚崖侧，疏朗带风。画中高士凭岩端坐，临流观瀑，尽显林泉高致。远景山峦淡晕朦胧，留白铺就空寂辽远的天地，将山野幽居的萧散之趣尽数铺陈。四周题跋密布，书画交融，更添文雅古意，把文人耽爱林泉、静悟山水的隐逸心境藏入尺幅之间，淡远空灵，尽显幽寂出尘的林下之风，将山水清旷与书卷雅韵相融，尽显高古清幽的隐逸之美。",[23,24,25,27,59,60,7,51,113,652,266,1678,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb52b9cce7c0aec2faa81b9a65f6fa2.jpg",[],{"id":32074,"slug":32075,"title":32076,"dynasty":18,"author":27924,"museum":107,"description":32077,"tags":32078,"thumbUrl":32079,"material":95,"size":95,"collection":95,"collections":32080,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},230155,"lin-shi-qu-dun-gai-wu-da-cheng-230155","临师蘧敦盖","此作用笔沉厚匀净，将金文苍古与小篆端稳相融，消弭原生金文的错落朴拙，代之以匀整排布，尽显庙堂端凝气象。字形方整敦实，间架舒张合宜，字字如古鼎静置，静穆中裹挟浑朴古意。\n\n整幅行列齐整，气息醇厚静雅，既复刻古器铭文的金石质感，又融入端谨书风，笔墨晕开斑驳古意，将商周金文的沉雄内质，以工整雅致的笔法铺陈，尽显高古浑穆的金石气韵，观之如摩挲千年古器，恍见三代遗风。",[23,7,457,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0191b9541a6b66ff48d56a74fbcacf97.jpg",[],{"id":32082,"slug":32083,"title":32084,"dynasty":18,"author":2634,"museum":107,"description":32085,"tags":32086,"thumbUrl":32087,"material":95,"size":95,"collection":95,"collections":32088,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":40},228964,"mo-miao-zhu-lin-si-ce-dong-bang-da-228964","墨妙珠林（巳）册","此作左诗右画，书画合璧。白描山水以淡墨写尽仙仓岩幽境，层峦叠嶂皴法清隽，林麓萧疏错落，清溪萦回于谷中，山坳茅舍隐现，简淡笔墨晕染出静穆空寂的山居意趣。\n\n左侧行书题诗笔致温润秀逸，结体舒展雅致，诗句咏叹山中丰饶自在，与画境相互生发。整幅以素淡之韵，将林泉高致融于方寸间，尽显文人山水清和散澹的雅怀，藏静穆淡远的山水诗意于笔墨之中，是文人书画小品的佳制。",[24,25,26,50,51,651,360,55,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b8290b9dc65f14bc553c5723165ae6.jpg",[],{"id":32090,"slug":32091,"title":32092,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":32093,"thumbUrl":32094,"material":751,"size":752,"collection":95,"collections":32095,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},228863,"wu-kuan-ti-ti-yuan-yu-zi-zhi-shu-xiang-yuan-bian-ti-tao-wu-liu-shi-wen-zheng-ming-228863","无款题；题元俞紫芝书；项元汴题陶五柳诗",[24,25,26,77,3467,60,199,457,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e96d881414ac4716f41f771645b5a8.jpg",[],{"id":32097,"slug":32098,"title":32099,"dynasty":45,"author":2206,"museum":107,"description":32100,"tags":32101,"thumbUrl":32102,"material":95,"size":95,"collection":95,"collections":32103,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},228399,"chi-bi-sheng-you-tu-juan-zhu-yun-ming-228399","赤壁胜游图卷","开卷是平远江景，淡墨晕染汀渚林峦，茅庐隐于烟霭疏树之间，清寂萧散，暗合夜游的幽旷意韵。后段行书铺陈全篇，开篇浓墨榜书造势，笔力沉厚雄奇，随后行笔渐趋舒展灵动，提按藏枯涩润秀之变，行气绵密贯通，将泛舟叩舷、酾酒临江的旷达心境，藏于笔锋流转之中。\n\n书画合璧，文辞、笔墨与画意融为一体，把夜游赤壁的浩渺襟怀，化作纸上烟岚与笔底波澜，尽显萧散狂逸的文人意趣，是书画互衬的精妙之作。",[23,24,25,49,50,60,7,51,54,56,77,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b52125cd618b3e7941437626cd79b.jpg",[],{"id":32105,"slug":32106,"title":32107,"dynasty":45,"author":4923,"museum":107,"description":32108,"tags":32109,"thumbUrl":32114,"material":751,"size":752,"collection":95,"collections":32115,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},228347,"huang-zhou-zhu-lou-ji-shen-zao-228347","黄州竹楼记","沈藻，字凝清，一字仲藻，华亭（今松江属上海市）人，明代书法家沈度之子。",[7,60,77,32110,651,6297,18436,845,132,2829,2175,32111,844,652,3388,12090,32056,24641,32112,32113,680],"竹楼","茶","滩濑","素月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f132ee553de624622d081448aee353c.jpg",[],{"id":32117,"slug":32118,"title":32119,"dynasty":45,"author":10912,"museum":72,"description":32120,"tags":32121,"thumbUrl":32122,"material":682,"size":26170,"collection":95,"collections":32123,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},228339,"zeng-zheng-gong-du-shi-wang-duo-228339","赠郑公度诗","金山顶鸿飞阁。秋山晚更青，垂老探玄冥。 漠漠朝多雨，苍苍夜降灵。 菊醑无客醉，萧韵与猿听。 辗转怀萧爽，银河展幔亭。 告大次寒阳山趣 懒人山是与，长夏触心光。 已见碧桃实，空思紫草芳。 辑书蛇性善，抚轸鹤音凉。 劝汝勤鞅掌，白头养石房。 上烟欲行 何道能留汝，生涯正未穷。 围城榆鼓稻，花风叶雨戎。 漕自江淮转，人才邹鲁通。 片帆安可问，海气远天空。 阳山郊 浞浞寻香岫，傍傍过水门。 江帆（安何）所事，村柳自无喧。 客况空高埠，莺音似故园。 不闻何处去，悦悟在岩根。 石惠召自浒墅入大石山。登象鼻诸峰。 牢落江湖客，偏将梵服寻。 苟非同采药，不易有幽心。 蔚荟消诸霭，琴书閟一岑。 足音无亦好，蚓食保芳林。 崇祯皇帝十六载，寓孟庄山志园灯下，书狂作数首，公度郑词丈正之。 孟津王铎年五十二岁笔",[23,7,398,60,49,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e866cd7553ecb789aa57fe9c56edd66.jpg",[],{"id":32125,"slug":32126,"title":32127,"dynasty":45,"author":2206,"museum":107,"description":32128,"tags":32129,"thumbUrl":32130,"material":751,"size":752,"collection":95,"collections":32131,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},228332,"bei-guo-fang-you-shi-zhu-yun-ming-228332","北郭访友诗","祝允明（1460—1526年），字希哲，号枝山，因手生六指，故自号枝指生，长洲（今江苏苏州）人。公元1492年（明弘治五年）举人，1514年（正德九年）授广东惠州府兴宁县知县，后转任南京应天府通判，故后世又称之为“祝京兆”。《明史》有传。工诗文书法，才华横溢，与唐寅、文徵明、徐祯卿并称“吴中四才子”。",[25,7,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3baa5efbf07025f768025a035a16ae.jpg",[],{"id":32133,"slug":32134,"title":32135,"dynasty":179,"author":32136,"museum":107,"description":32137,"tags":32138,"thumbUrl":32139,"material":95,"size":95,"collection":95,"collections":32140,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},228178,"zhi-chen-zhi-shu-zha-liu-ji-yi-228178","致陈植书札","刘继益","这帧手札行书随性疏朗，带着元代文人特有的散逸意趣。书写毫无刻意雕琢之感，起笔灵动率意，收笔朴拙厚重，枯湿浓淡随兴生发，字势顾盼有情，牵丝映带间尽显书写时松弛自然的心境。\n\n作为日常尺牍，笔墨随着心绪流转，将家常絮语落于笔端，亲昵真挚的思绪藏在笔墨细节之中。纸面带着岁月晕染的痕迹，为这件小品更添古雅质感，既承载着尺牍的温度，也尽显元代行书简淡萧散的美学品格，是文人以书寄情的典型佳作。",[23,7,60,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1967c732a38e778625d4b69409578904.jpg",[],{"id":32142,"slug":32143,"title":32144,"dynasty":88,"author":454,"museum":107,"description":32145,"tags":32146,"thumbUrl":32147,"material":95,"size":95,"collection":95,"collections":32148,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},227855,"shan-yao-lou-guan-tu-ye-yi-ming-227855","山腰楼观图页","此作以水墨绘危峰陡立，云雾如纱空蒙，将山体半隐，仅留山腰楼宇静踞林麓。以斧劈皴利落勾勒山石筋骨，墨色由浓转淡晕染烟岚，虚实相生衬出幽谷空寂幽深。\n\n咫尺扇面以少胜多，尽显简淡空灵意趣，将林泉高致藏在淡墨轻岚间。题诗与画境呼应，把寻仙慕隐的出世之思融于山水，淡远清逸，观之如临其境，似可凭栏观山、静听穿林风声，幽远超脱的山居雅境跃然绢上。",[23,24,25,1250,51,458,57,56,1128,59,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F274facbfdb6c3c7e5bdce52d2bca3976.jpg",[],{"id":32150,"slug":32151,"title":32152,"dynasty":88,"author":14147,"museum":107,"description":32153,"tags":32154,"thumbUrl":32155,"material":95,"size":95,"collection":95,"collections":32156,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},227760,"shou-zha-yi-tong-wu-ting-jiu-cang-zhu-xi-227760","手札一通(吴廷旧藏)","从“收藏”角度而言，“书札”固然是“尺牍”之义，却是指广义的，内中是包括了一些笔记、题辞、手稿、札记、公牍、讣告、收条、请帖、名刺、板报等等种种纷繁的“杂多”形式。换言之，“书札”是纷繁的搜藏项目的一种概括。",[23,7,60,77,2282,88,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca39154fd519ae1621c215f93bcd271.jpg",[],{"id":32158,"slug":32159,"title":32160,"dynasty":88,"author":454,"museum":107,"description":32161,"tags":32162,"thumbUrl":32163,"material":95,"size":95,"collection":95,"collections":32164,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},227573,"zhuan-shu-mu-lu-shi-ke-yi-ming-227573","篆书目录石刻","篆书，又称篆文、篆体，是古老的汉字书体，篆书指隶书以前的书体，又指大篆和小篆。",[457,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c3d09b1b37f6d865473693011a73d.jpg",[],{"id":32166,"slug":32167,"title":32168,"dynasty":88,"author":454,"museum":107,"description":32169,"tags":32170,"thumbUrl":32171,"material":95,"size":95,"collection":95,"collections":32172,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,24,25,26,1250,50,27,111,51,55,2019,56,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":32174,"slug":32175,"title":32176,"dynasty":162,"author":454,"museum":107,"description":9803,"tags":32177,"thumbUrl":32178,"material":751,"size":752,"collection":95,"collections":32179,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},227127,"tang-wu-zhou-quan-nan-chan-mu-zhi-ming-yi-ming-227127","唐（武周）泉男产墓志铭",[198,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb972c4977eaa33cf8eff5ab57e0df9.jpg",[],{"id":32181,"slug":32182,"title":32183,"dynasty":7844,"author":454,"museum":107,"description":32184,"tags":32185,"thumbUrl":32186,"material":95,"size":95,"collection":95,"collections":32187,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},227074,"sui-su-ci-mu-zhi-ming-yi-ming-227074","隋苏慈墓志铭","苏慈为陕西扶风人，历仕西魏、北周及隋。隋文帝仁寿元年(601年)逝于交州（今越南中北部），仁寿三年（603年）三月七日归葬同州（今陕西大荔县），此志当为是年所刻。原题“大隋使持节大将军工兵二部尚书司农太府卿太子左右卫率右庶子洪吉江虔饶袁抚七州诸军事洪州总管安平安公故苏使君之墓志铭”。有界格，楷书37行，行37字。书、刻均极为精美。笔姿秀润兼刚劲，结体平实寓险绝，实开初唐楷书之先河。",[198,7,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55302f65622ed86385ac4a5ffade5ee6.jpg",[],{"id":32189,"slug":32190,"title":32191,"dynasty":1609,"author":454,"museum":107,"description":9803,"tags":32192,"thumbUrl":32193,"material":751,"size":752,"collection":95,"collections":32194,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},227036,"dong-wei-zhang-man-mu-zhi-bing-gai-yi-ming-227036","东魏张满墓志并盖",[23,198,7,457,199,1614,23207,3423,24047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fd1d4e0fd90ae09826f3e302abe5cd.jpg",[],{"id":32196,"slug":32197,"title":32198,"dynasty":1609,"author":454,"museum":107,"description":2663,"tags":32199,"thumbUrl":32201,"material":751,"size":752,"collection":95,"collections":32202,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},227014,"han-wu-feng-er-nian-ke-shi-zhou-yi-ming-227014","汉五凤二年刻石轴",[1612,7,1613,198,75,32200,11284],"刻石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdacca5f1d288a16f1bdfb9646df2ec.jpg",[],{"id":32204,"slug":32205,"title":32206,"dynasty":1609,"author":454,"museum":107,"description":13079,"tags":32207,"thumbUrl":32208,"material":751,"size":752,"collection":95,"collections":32209,"showCount":544,"zanCount":882,"manualWeight":39,"mainColor":100},226540,"kao-wei-wei-zhen-hou-can-shi-yi-ming-226540","考卫尉贞侯残石",[23,1612,7,198,1613,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa683d821fcb194aa10bc8f3c1b211251.jpg",[],{"id":32211,"slug":32212,"title":32213,"dynasty":18,"author":3067,"museum":107,"description":32214,"tags":32215,"thumbUrl":32216,"material":95,"size":95,"collection":95,"collections":32217,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[23,24,25,75,50,59,133,9676,55,52,53,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":32219,"slug":32220,"title":32221,"dynasty":18,"author":526,"museum":107,"description":32222,"tags":32223,"thumbUrl":32224,"material":95,"size":95,"collection":95,"collections":32225,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[24,25,75,50,59,77,7,60,51,651,56,58,553,1678,1018,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":32227,"slug":32228,"title":32229,"dynasty":18,"author":31082,"museum":72,"description":32230,"tags":32231,"thumbUrl":32237,"material":682,"size":32238,"collection":95,"collections":32239,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},224336,"shu-tang-zao-chao-shi-zhou-shen-quan-224336","书唐早朝诗轴","长安雪后似春归。积素凝华连曙暉。色借玉珂迷晓骑。光添银烛晃朝衣。西山落月临天仗。北闕晴雲捧禁闈。闻道仙郎謌白雪。由来此曲和人稀。",[23,7,60,75,1677,6298,6297,3039,845,32232,32233,32234,32235,32236],"玉珂","晓骑","落月","晴天","素凝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc24a6329eb390923142ba879d23e688.jpg","322.5×48.5cm",[],{"id":32241,"slug":32242,"title":32243,"dynasty":18,"author":32244,"museum":107,"description":32245,"tags":32246,"thumbUrl":32247,"material":95,"size":95,"collection":95,"collections":32248,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},224335,"shi-gu-qi-niu-tu-zhou-yang-jin-224335","石谷骑牛图轴","杨晋","浅设色绘就水滨春野，水牛信步徐行，背脊上的宽袍老者斜倚安坐，斗笠覆顶，垂目敛神，一派萧散恬然。\n\n水牛造型朴拙写实，晕染细腻还原皮毛质感，人物衣纹简练秀雅，淡赭敷色清润柔和。通幅布景极简，只以柔线勾勒浅草坡岸，留白尽显空濛野趣。搭配多段题诗，书画合璧，将文人逸隐林泉、不慕荣利的襟怀融于笔墨间，简淡天真，尽显出世幽怀，是以画寄意的文人画佳构。",[23,24,25,75,50,113,797,7,60,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86733bb6975257e03883c9a818dc1e29.jpg",[],{"id":32250,"slug":32251,"title":32252,"dynasty":18,"author":6662,"museum":107,"description":32253,"tags":32254,"thumbUrl":32255,"material":95,"size":95,"collection":95,"collections":32256,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},224325,"hua-niao-shi-er-kai-3-li-shan-224325","花鸟十二开3","此作以淡墨晕染雀鸟翎羽，绒毛细密质感尽显，小雀侧首凝神，灵动野趣跃然纸上。竹枝以浓淡墨色挥写，叶片俯仰错落，笔致纵逸萧散，尽显清劲风骨。诗书与绘事相融，题字欹斜错落，文气萦绕画面。整作笔简意赅，将花鸟生趣与文人幽思揉合，以意写形不拘成法，墨色干湿互衬，寥寥数笔便勾勒出江乡小景的幽寂意韵，尽显随性疏朗的文人画风骨。",[23,24,25,26,50,27,29,132,693,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476aad52c5f6bd95cc590c2a2bb64743.jpg",[],{"id":32258,"slug":32259,"title":32260,"dynasty":18,"author":25686,"museum":107,"description":32261,"tags":32262,"thumbUrl":32263,"material":95,"size":95,"collection":95,"collections":32264,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},224155,"hua-shan-mei-hua-ce-zhang-zhao-224155","画扇梅花册","上幅行书圆劲秀逸，笔墨温润舒展，词句咏梅寄怀，文思与笔意相得益彰，自带清雅书卷气。下幅墨梅以淡墨写枝，浓墨点花，清瘦枝桠错落舒展，寒梅数朵绰约含香，不着艳色却尽得冰清之姿。留白空寂悠远，尽显文人画以意取胜的韵致。\n\n双扇合璧，书画相映，将爱梅赏梅的雅趣融于尺幅之间，以简约笔墨勾勒花木品格，暗合文人心性，尽显冲淡闲和的林下之风，是意趣隽永的文人抒情小品。",[23,24,25,1250,26,131,7,60,77,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda413448615adeaf8857bb9601f5a07.jpg",[],{"id":32266,"slug":32267,"title":32268,"dynasty":1609,"author":454,"museum":107,"description":15299,"tags":32269,"thumbUrl":32270,"material":751,"size":752,"collection":95,"collections":32271,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},223998,"wen-jing-mu-tuo-fu-jian-yi-ming-223998","纹镜木托附件",[19026,7713,7,457,834,26128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278b145decc907a60d85af3b59e99798.jpg",[],{"id":32273,"slug":32274,"title":32275,"dynasty":162,"author":5490,"museum":107,"description":5491,"tags":32276,"thumbUrl":32277,"material":312,"size":751,"collection":95,"collections":32278,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},223389,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-5-bai-ju-yi-223389","古抄残卷《白氏文集》第三巻第四5",[23,1063,7,49,199,1498,386,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dced12f884905a25a266f1e0403bdf.jpg",[],{"id":32280,"slug":32281,"title":32282,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":32283,"thumbUrl":32284,"material":312,"size":95,"collection":95,"collections":32285,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},223266,"shou-jie-fa-lve-li-hong-yi-fa-shi-223266","受戒法略例",[23,7,386,199,60,77,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef577175a703850e5461d03d1409a1f.jpg",[],{"id":32287,"slug":32288,"title":32289,"dynasty":18,"author":32290,"museum":107,"description":32291,"tags":32292,"thumbUrl":32294,"material":312,"size":32295,"collection":95,"collections":32296,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},223127,"shu-hua-ce-ye-sheng-gui-zhuang-223127","《书画册页》-胜","归庄","归庄（1613年8月29日——1673年10月1日） ，明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[23,7,26,50,60,77,32293,25],"洒金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8abe8c8c332531c7135d828bfdb4ef0.jpg","纵24.5厘米，横35.5厘米",[],{"id":32298,"slug":32299,"title":32300,"dynasty":18,"author":2634,"museum":72,"description":14916,"tags":32301,"thumbUrl":32302,"material":682,"size":32303,"collection":95,"collections":32304,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴",[23,24,25,75,111,59,27,7,77,60,51,113,58,56,57,704,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":32306,"slug":32307,"title":32308,"dynasty":45,"author":10912,"museum":3743,"description":32309,"tags":32310,"thumbUrl":32314,"material":312,"size":32315,"collection":95,"collections":32316,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},222535,"zi-shu-shi-hu-wu-shou-juan-wang-duo-222535","自书石湖五首卷","释文：石湖 物心流水会，草外即平皋。怀土佳兵厌，占云挟雨高。学狂希羽客，引笑佐溪毛。幽影皆为象，前滩响莫涛。瓜州大慈庵夏望 吾择慈庵寂，焚香起正心。杖因江稻植，山在寺门寻。楚越中区抱，金焦大壑深。紫天开素气，鸦路意阴阴。 贺九山村已遇枇杷熟，频过碌石园。远柯兼瀑影，古凸自柴门。骨傲仍多性，兰衰尚有根。昌阳飞半腹，石穴共寒温。 问牧斋拂水山崖 欲履虞山迳，还赊六尺筇。思君偕寤语，似共万溪松。桂酒留华榭，天门落古镛。可知头尽皓，更得扰玄龙。 丙戌五月朔，王铎书。",[23,7,60,49,50,77,51,15088,8470,12535,3983,116,267,32311,32312,3233,2029,568,32313],"石穴","柴门","诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb46539435de274822f16f672ccbf5c3.jpg","27X253cm",[],{"id":32318,"slug":32319,"title":32320,"dynasty":45,"author":2206,"museum":3743,"description":32321,"tags":32322,"thumbUrl":32323,"material":60,"size":32324,"collection":95,"collections":32325,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},222483,"shu-gui-tian-fu-zhu-yun-ming-222483","书归田赋","本册因无年款，故鉴赏者据其书风未臻晚年豪放不拘之境界，多定为祝允明中年之作，应可信。本册行书一段，风格中蕴涵了苏、黄、米、赵，尤其以赵子昂的影响为最多，但又不是全仿，意在通过赵氏而上追晋、唐意趣；草书一段，仍是规矩有度，而未放任挥洒。两段用纸相同，应为同一时期所书。从某种意义上说，本册应该是祝允明尝试着将宋、元意趣融入晋、唐法度时期的作品。就书法风格而论，与他正德五年（1510年）所书的《等诗卷》(珍藏美国普林斯顿大学美术馆)等较为相近.因此,它们应该中祝允明50岁前后尚未入仕时期的作品,可视为祝允明中年时期的书法精品.",[23,7,60,49,312,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374037d1a0c29dd6b0ec54a9a592160b.jpg","纵22.0 厘米横102.5 厘米",[],{"id":32327,"slug":32328,"title":32329,"dynasty":45,"author":2206,"museum":72,"description":32330,"tags":32331,"thumbUrl":32332,"material":312,"size":32333,"collection":95,"collections":32334,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},222468,"he-tao-yin-jiu-shi-ce-zhu-yun-ming-222468","和陶饮酒诗册","诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。\n祝允明(1460-1526)，字希哲，因右手有枝生手指，故自号枝山。世称祝京兆，长洲(今江苏吴县)人，自幼聪慧过人。弘治五年(1429)中举，后久试不第。正德九年(1514)，授为广东兴宁县知县，嘉靖元年(1522)，转任为应天(今南京)府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内，与唐寅意气相投，遭际与共。与唐寅、文徵明、徐祯卿并称吴中四才子。与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追二王。草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。\n《名山藏》云:允明书出入晋魏，晚益奇纵，为国朝第一。\n清代朱和羹《临池心解》云:祝京兆大草深得右军神理，而时露伧气;小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。\n代表作有《太湖诗卷》、《箜篌引》、《赤壁赋》等。所书六体书诗赋卷、草书杜甫诗卷、古诗十九首、草书唐人诗卷及草书诗翰卷等皆为传世墨宝。\n诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。册中一段章草，祝允明以流畅行书笔意融合楷书与章草，克服明初章草的生硬突兀感。用笔则是沉稳俐落，结体疏密有致，字形变化错落，行气摇曳，为明代章草之佳作，惜未有全彩清晰图。",[23,7,25,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a4f5a38575721f4d66c46de5f7072f.jpg","17.3×10.3厘米",[],{"id":32336,"slug":32337,"title":32338,"dynasty":45,"author":744,"museum":107,"description":32339,"tags":32340,"thumbUrl":32341,"material":312,"size":32342,"collection":95,"collections":32343,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},222349,"man-xing-mo-ji-quan-juan-tang-yin-222349","漫兴墨迹全卷","唐寅不仅善诗文，尤善丹表，山水、人物、仕女、花鸟、竹木无不精工，可以说其书的名为画名所掩。他所以能取得如此成就，与他所处环境有关，苏州多收藏家、裱画店，为他提供了观摩学习机会，他又与当时的名画家周臣、沈石田、王鏊、文徵明等人交往，在这种浓郁的文化氛围中再加上他的聪敏才智，造就了一代画家在艺术上的成功。唐寅变精于书法，其书上溯亚唐，尤得益于赵孟用笔之法，点画温润妍雅，结字微带欹侧之势，虽有薄弱之评，但字里行间，却洋溢着一种超轶的书卷之气，本册所载《唐寅温兴墨迹》是其为友人所书的自作温兴诗，通卷千余字一气呵成，用笔精到细腻，体势向右欹侧，富有生动姿态，如高雅之士，闲庭信步于阆苑林木之间，十分耐人寻味，卷后末署书写年月，但从其淡雅自然的笔调之中当为其晚年所书，唐寅传世真变甚少，除《落花诗册》外，《漫兴》便是其主要的代表作品，今影印出版，以飨广大书法爱好者。",[23,7,60,49,385,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7db8ea62f9571bed4949f49979c87fb.jpg","36.8x422厘米",[],{"id":32345,"slug":32346,"title":32347,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":32348,"thumbUrl":32349,"material":682,"size":7424,"collection":95,"collections":32350,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":23752},222308,"nan-hua-zhen-jing-61-wang-chong-222308","南华真经61",[4038,7,60,312,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8a04fb640de66b11933898bb802a6.jpg",[],{"id":32352,"slug":32353,"title":22364,"dynasty":45,"author":5386,"museum":107,"description":7421,"tags":32354,"thumbUrl":32355,"material":95,"size":32356,"collection":95,"collections":32357,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},222246,"shu-shan-ye-wang-chong-222246",[23,1250,60,7,45,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041c00af70a1617f37fc92d5b937f0c4.jpg","19×54cm",[],{"id":32359,"slug":32360,"title":32361,"dynasty":45,"author":5463,"museum":107,"description":9064,"tags":32362,"thumbUrl":32363,"material":95,"size":95,"collection":95,"collections":32364,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},222054,"shan-mian-1-zhang-rui-tu-222054","扇面1",[23,4038,1250,7,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f405422bf0a2191c422398e2a1b935f.jpg",[],{"id":32366,"slug":32367,"title":32368,"dynasty":45,"author":342,"museum":107,"description":18133,"tags":32369,"thumbUrl":32370,"material":95,"size":32371,"collection":95,"collections":32372,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},222024,"wan-shan-ji-yu-wen-zheng-ming-222024","万山积玉",[24,25,26,50,27,51,5721,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c6206d5ccf2ea4aa660b1242fc9714.jpg","32x39.2",[],{"id":32374,"slug":32375,"title":32376,"dynasty":45,"author":342,"museum":20,"description":10355,"tags":32377,"thumbUrl":32378,"material":312,"size":21557,"collection":95,"collections":32379,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},221945,"qi-lv-shi-jiang-cheng-qiu-se-wen-zheng-ming-221945","七律诗江城秋色",[23,7,60,75,2602,2061,14632,4440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a91d53d4f49e7a339785a9df6b505d7.jpg",[],{"id":32381,"slug":32382,"title":32383,"dynasty":45,"author":14822,"museum":1697,"description":32384,"tags":32385,"thumbUrl":32386,"material":7994,"size":32387,"collection":95,"collections":32388,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},221874,"ming-cheng-tang-zi-shu-shi-shi-zhang-juan-huang-dao-zhou-221874","明诚堂自书诗十章卷","历来书家都赞成“书如其人”的观点。在唐以前文人对人品美的概括是侧重于人的心灵自由，不太强调儒家的“忠、孝、节、义”，然而南宋以降，对人品美的概括则逐渐偏向对忠诚、气节等伦理方面，“失节”成为人品的最大污点。\n因而在评论其书时，也往往带有一些讥讽。这也是人们在评价明末清初的几位书家时，推崇倪元璐、黄道周、傅山，而对王铎则颇有微词的缘由。黄道周是明代最具创造力的书家之一，同时也是人品和书品完美结合的一位书家。黄道周是传统文人士大夫的代表，是儒家信条和道统标准的信奉者，一生忠孝、正直。正是他的这种精神，才造就了他的人格魅力，他的书法才会充满生命力和感染力。\n黄道周把忠孝当作是言行的准则，在他的一生中，把“忠孝”放在首位，入则言朝，出则守墓，在其二十多年的为官经历中，黄道周都保持了一个儒家传统卫道士的形象，对一些违背原则的事情据理力争，从不妥协，表现了其忠肝义胆的气节。",[23,7,49,60,45,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0385f62d31dadbc0e3c12e8f5121a4.jpg","纵30cm，横305cm",[],{"id":32390,"slug":32391,"title":32392,"dynasty":179,"author":32393,"museum":1830,"description":32394,"tags":32395,"thumbUrl":32396,"material":312,"size":32397,"collection":95,"collections":32398,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},221799,"yu-wu-yin-yuan-hui-shi-feng-zi-zhen-221799","与无隐元晦诗","冯子振","此为冯子振亲自挥毫赠与日本僧人无隐元晦的书迹，内容为冯子振的三首七言绝句。无隐元晦为日本丰前人，于延庆一年（西元1308年）渡元，在中峰明本处修行，于嘉历元年（西元1326年）返回日本，并成为京都建仁寺的住持。除了本件之外，尚有其他冯子振写与无隐元晦的书迹传世，由此可知冯子振十分重视无隐元晦。",[23,7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8503410725a0e02dafd7e29714ef6e.jpg","纵32.7cm 横102.4cm",[],{"id":32400,"slug":32401,"title":32402,"dynasty":179,"author":10934,"museum":72,"description":32403,"tags":32404,"thumbUrl":32405,"material":312,"size":32406,"collection":95,"collections":32407,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},221688,"ma-zheng-jun-tou-guang-gu-jing-ge-xian-yu-shu-221688","麻徵君透光古镜歌","此贴结构近方形，字距和行距由于是裁别而成，以无法窥见原貌，从痕迹看，原来可能是四字一行。字体按字之笔画多少与固有形态，略有大小，总体上大小均匀，笔画粗细变化不大，字体结构从晋唐楷书来。\n似乎不经意于每一笔画的精美，而着力于每个字的整体气势与形象的创造。苏轼曾说过:“大字难于结密而无间，小字难于宽绰而有余。”此幅大字称得上“结密无间”，而且越往后写的越好，运笔着墨均达到完美的程度。总体看，此幅大字体势规整，气势恢弘，是鲜于氏大楷书的典型之作。",[7,60,25,312,385,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685950f3aec55ae9c75343e45718960.jpg","30.5 x 19.8cm",[],{"id":32409,"slug":32410,"title":32411,"dynasty":88,"author":24731,"museum":72,"description":32412,"tags":32413,"thumbUrl":32414,"material":682,"size":32415,"collection":95,"collections":32416,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},221248,"shang-wen-qing-men-xing-ju-chi-du-wu-shuo-221248","上问庆门星聚尺牍","说上问庆门星聚，伏惟均协，当诣今嗣将仕侍下休裕，匆匆不及别状，说近奉诏旨，访求晋唐真迹，此间绝难得，止有唐人临兰亨一本，答以千缗，省略更高古，许命以官，且告老兄出一只手，广为搜索，亦足张吾军也",[92,25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37baf8f676462838670c123c469bef7b.jpg","42.3x61.2cm",[],{"id":32418,"slug":32419,"title":32420,"dynasty":162,"author":454,"museum":107,"description":32421,"tags":32422,"thumbUrl":32423,"material":95,"size":95,"collection":95,"collections":32424,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":207},221131,"fa-hua-jing-huang-jin-zhuang-shi-ge-xian-yi-ming-221131","法华经黄金装饰格线","幽蓝绀纸作底，沉穆如古潭秋水。泥金勾绘的格线齐整如阡陌，将卷面裁作匀净方寸，泥金佛偈排布其中，笔意端雅秀润。\n\n金彩虽经年月晕染暗哑，却依旧在幽深色底上泛着柔和光晕，把宗教的虔敬凝入每一处细致填金里。庄严华贵间带着独有的端雅气韵，将信仰与匠心揉合在规整卷面中，尽显工艺的极致考究，是禅意与工巧相融的传世佳品。",[386,7,199,1128,878,1498,30189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824fee8a13025ad588bbada8b0a22826.jpg",[],{"id":32426,"slug":32427,"title":32428,"dynasty":45,"author":5463,"museum":7039,"description":32429,"tags":32430,"thumbUrl":32431,"material":32432,"size":32433,"collection":95,"collections":32434,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":95},220738,"cao-shu-han-jing-pian-zhang-rui-tu-220738","草书汉京篇","通篇行气贯注，笔墨雄健恣肆。字形多作方折之势，跳荡拗折，打破寻常草书的圆转柔媚，以硬峭笔锋斩截挥运，线条棱角分明，筋骨尽显。\n字间疏密错落，欹侧相生，通篇布满奇崛张力，字势牵引却断而不断，视觉冲击力极强。墨色枯润浓淡交替，重墨沉厚处力透纸背，枯笔飞白处萧散劲挺，将心绪寄于笔墨起伏，狂放奇逸脱尽尘俗，独开生面，尽显磅礴奇崛的书法风神。",[92,24,25,49,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9fc2cdd03420daa53ffe3aeedabd89.jpg","水墨,绢本,手卷","32.5 × 623.5厘米",[],{"id":32436,"slug":32437,"title":32438,"dynasty":179,"author":32439,"museum":7039,"description":32440,"tags":32441,"thumbUrl":32442,"material":32443,"size":32444,"collection":95,"collections":32445,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":95},220719,"xing-shu-shi-wen-he-juan-6-zhang-yu-yang-wei-zhen-wen-xin-220719","行書詩文合卷6","張雨, 楊維楨, 文信","此卷书法为张雨、杨维桢、文信三件书迹合卷，均曾经清代海山仙馆主人潘仕成收藏，并收刻于海山仙馆丛帖，此卷后附装的三张墨拓即从此出。其中张雨、杨维桢墨拓分别出自《海山仙馆藏真》卷七和卷九，文信墨拓则出自《海山仙馆藏真三刻》卷二。三幅书法合为一卷，盖自海山仙馆散出以后事。",[7,60,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3fe57a3eae7496e2d6dc9d222e01ec.jpg","水墨,紙本,手卷","30.5 × 77.5 厘米 30.5 × 53 厘米 30.5 × 44.5 厘米",[],{"id":32447,"slug":32448,"title":32449,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":32450,"thumbUrl":32451,"material":198,"size":2971,"collection":95,"collections":32452,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},220210,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-6-liu-gong-quan-220210","神策军碑-皇帝巡幸左神策军纪圣德碑6",[7,199,198,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceb13839d906e9eeb90a4f49d9ea0c7.jpg",[],{"id":32454,"slug":32455,"title":32456,"dynasty":45,"author":32457,"museum":20,"description":32458,"tags":32459,"thumbUrl":32460,"material":312,"size":32461,"collection":95,"collections":32462,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},219794,"mo-sui-yang-wu-lao-tu-ce-3-you-qiu-219794","摹睢阳五老图册-3","尤求","睢阳五老图，为北宋时期画作。所谓“五老”，是指杜衍、王涣、毕世长、冯平、朱贯，皆大宋朝中重臣，辞官后寓居南京睢阳（今河南省商丘市睢阳区）颐养天年，经常晏集赋诗，时称“睢阳五老会”。这5位长寿老人均是“退休高官”且年至耄耋：丞相祁国公杜衍80岁，驾部郎中冯平87岁、兵部郎中朱贯88岁、礼部侍郎王涣90岁，年纪最长的司农卿毕世长，时年已经94岁。出于对他们的敬重，睢阳当地一位丹青高手为五人各绘制了一幅全身像，题名《睢阳五老图》，并让五人在图上赋诗。钱明逸于北宋至和三年（1056年）为之作序。此画绘制精美，尤其是人物脸部描绘细腻生动，栩栩如生。欧阳修、晏殊、范仲淹、文彦博、司马光、程颢、程颐、苏轼、苏辙、黄庭坚等18位北宋重量级人物纷纷在画上题诗题跋。南宋至清末，上百位名人为之题赞，可谓流传有绪，堪称一部国宝级画作。《睢阳五老图》的珍贵不仅在于画作本身，历代名家的题跋在书法史上也具有极为重要的地位。",[24,25,26,27,113,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd322e042cdcc37d319b4287d209f5541.jpg","35.2x25.5厘米",[],{"id":32464,"slug":32465,"title":32466,"dynasty":45,"author":11488,"museum":20,"description":32467,"tags":32468,"thumbUrl":32469,"material":79,"size":32470,"collection":95,"collections":32471,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},219790,"za-hua-ce-1-guo-xu-219790","杂画册-1","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,25,92,50,27,112,111,113,4863,2187,2019,3833,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326ce106b4ca0f3560143aa5811eb670.jpg","纵28.5 厘米 横46.5 厘米",[],{"id":32473,"slug":32474,"title":32475,"dynasty":88,"author":1749,"museum":72,"description":32476,"tags":32477,"thumbUrl":32479,"material":169,"size":32480,"collection":95,"collections":32481,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},218159,"wen-ji-gui-han-tu-ce-4-li-tang-218159","文姬归汉图册-4","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[92,24,26,27,113,1074,20499,1283,7,199,9812,32478],"离别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f8a8e22c1eebe23d50aa2074d4ab61.jpg","50.7x39.7",[],{"id":32483,"slug":32484,"title":32485,"dynasty":45,"author":10467,"museum":1172,"description":32486,"tags":32487,"thumbUrl":32488,"material":33,"size":10471,"collection":95,"collections":32489,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},217872,"zhou-li-yuan-shang-kuan-shen-ce-liu-hu-yu-kun-217872","周栎园上款什册(六)","右侧疏竹数竿，枝叶错落间墨色有层次，尽显清劲之姿；旁立嶙峋山石，皴法简括，纹理苍古，似载岁月痕迹。左侧书法行草相间，笔力遒劲，墨韵流转，与画作相映成趣。整体画风简淡空灵，竹石相依处文气氤氲。于极简景致中藏幽深意趣，仿佛竹间风过有声，石上苔痕隐现，尽显文人画逸致——以朴素之笔写胸中丘壑，静谧里透着生机，朴素中见出真味，文墨与丹青共生的雅韵，似能漫出纸面，引观者入那清寂又生动的文人世界。",[24,25,26,50,76,2019,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56c4ff5950321ec98c5429ef0a507e7.jpg",[],{"id":32491,"slug":32492,"title":32493,"dynasty":18,"author":454,"museum":107,"description":32494,"tags":32495,"thumbUrl":32496,"material":169,"size":95,"collection":95,"collections":32497,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},216702,"hong-lou-meng-fu-tu-ce-22-yi-ming-216702","红楼梦赋图册-22","墨痕流转间，工整楷字铺陈着红楼雅韵，每一笔都藏着对书中世界的细腻描摹。四周花叶藤蔓如诗行旁的絮语，红绿相映，藤蔓蜿蜒缠绕，花瓣舒展灵动，似将大观园的草木清香凝于纸上。文字与装饰浑然一体，笔墨的沉稳与花叶的鲜活交织，既承载文学厚重，又晕染艺术灵秀。细密枝蔓、娇嫩花簇，仿佛轻声诉说红楼悲欢，让观者于笔墨间触碰到古典雅致与深情，尽显传统书画结合的独特韵味。",[23,24,25,26,27,111,7,199,30,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83e049cacd20ca4742397e32a9bf87.jpg",[],{"id":32499,"slug":32500,"title":32501,"dynasty":18,"author":454,"museum":107,"description":32502,"tags":32503,"thumbUrl":32504,"material":169,"size":95,"collection":95,"collections":32505,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},216689,"hong-lou-meng-fu-tu-ce-31-yi-ming-216689","红楼梦赋图册-31","墨字如珠缀满素笺，缠枝花卉以柔蔓织就清雅边框。藤蔓婉转攀援，花叶鲜活灵动，与古朴墨韵相映成趣。笺上文字漫溢金陵旧事的幽微余韵，似将书中诗意抽丝剥茧，化作画间缠绕的柔枝。清雅笔触里藏着淡淡的怅惘，仿佛能触到红楼女儿的颦笑与叹息。图文交织处，笔墨的沉静与花叶的生机交融，让观者于方寸间重遇红楼的温柔与哀愁，沉浸在古典文学与绘画交织的雅致意境里。",[23,24,25,26,27,111,667,30,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff296549c1ec2aace1d63ce4f160cf72b.jpg",[],{"id":32507,"slug":32508,"title":32509,"dynasty":45,"author":21381,"museum":107,"description":32510,"tags":32511,"thumbUrl":32512,"material":33,"size":95,"collection":95,"collections":32513,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},216342,"xi-xiang-ji-cha-ye-11-min-qi-ji-216342","西厢记插页-11","双蝶栖叶，一静一动间漾开清婉意趣。翅上蓝斑如星缀夜，墨纹似缕缠风，振翅时若携轻云掠过，停驻处则与鲜绿嫩叶相映，叶色嫩得能浸出春的湿润。旁侧题字墨韵流转，朱印点缀如丹砂落纸，书卷气与画意交织成柔网。淡彩晕染出朦胧质感，似将缱绻心事化入蝶翅叶隙，每一笔都轻得像呼吸，却深含古典温柔——仿佛能听见蝶翼振起的细响，触到叶尖的晨露，尽是东方美学里的清雅与灵动。",[24,27,111,29,692,1177,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ada3c7efd79eb81ce18c938d31ba2b.jpg",[],{"id":32515,"slug":32516,"title":32517,"dynasty":18,"author":26033,"museum":126,"description":32518,"tags":32519,"thumbUrl":32521,"material":33,"size":32522,"collection":95,"collections":32523,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":789},216224,"shi-jun-quan-tu-10-ai-qi-meng-216224","十骏犬图-10","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,24,25,111,27,798,4864,51,250,56,32520,77,7,60],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10f912cb31c2950c3d3be273fc84413.jpg","纵24.5厘米，横29.3厘米",[],{"id":32525,"slug":32526,"title":32527,"dynasty":18,"author":11046,"museum":11047,"description":32528,"tags":32529,"thumbUrl":32531,"material":50,"size":95,"collection":95,"collections":32532,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},215650,"yu-zhi-geng-zhi-tu-4-kang-xi-215650","御制耕织图-4","墨线轻勾的田畴间，农人持具劳作，梯影斜倚土坡，远近村落与河渠相映，尽现田园生机；右侧垄上，播种者俯身忙碌，稚童随侍身侧，远山含黛，屋舍隐于林麓，一派耕读相和的恬静。画作以细腻笔触摹写耕织之序，既见劳作的质朴真意，亦藏对农本的深挚关怀。笔墨间流淌着对民生根基的珍视，于清雅景致中传递重农劝耕的传统理念，将日常劳作升华为兼具审美与教化意义的图景。",[23,24,25,112,111,9636,7,60,113,51,6129,12029,58,56,11051,12760,12862,32530],"水渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806e0394367a21701d2bb9397010a44f.jpg",[],{"id":32534,"slug":32535,"title":32536,"dynasty":45,"author":1015,"museum":126,"description":26261,"tags":32537,"thumbUrl":32538,"material":79,"size":26264,"collection":95,"collections":32539,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},214873,"shan-shui-ce-7-wen-zheng-ming-214873","山水册-7",[23,24,25,26,50,60,7,77,59,51,132,53,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd000820bf6c97737796e1fc843fd8252.jpg",[],{"id":32541,"slug":32542,"title":32543,"dynasty":45,"author":1015,"museum":126,"description":26261,"tags":32544,"thumbUrl":32545,"material":79,"size":26264,"collection":95,"collections":32546,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},214872,"shan-shui-ce-8-wen-zheng-ming-214872","山水册-8",[23,92,24,25,26,50,60,7,77,59,51,132,652,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120c57f46773c43b8491cc29949c272c.jpg",[],{"id":32548,"slug":32549,"title":32550,"dynasty":18,"author":3764,"museum":442,"description":3765,"tags":32551,"thumbUrl":32552,"material":312,"size":95,"collection":95,"collections":32553,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":40},214514,"shui-mo-tu-ce-4-zheng-min-214514","水墨图册-4",[24,25,26,50,51,59,7,60,77,1919,471,28277,2219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6440c794f8ff0b8d74315432cc5900.jpg",[],{"id":32555,"slug":32556,"title":32557,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":32558,"thumbUrl":32559,"material":79,"size":2617,"collection":95,"collections":32560,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},214505,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-9-ou-yang-xun-214505","宋拓唐虞恭公温彦博碑-9",[23,198,7,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5074d79ee7f381fb24e23897f9dfc.jpg",[],{"id":32562,"slug":32563,"title":32564,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":32565,"thumbUrl":32566,"material":79,"size":2617,"collection":95,"collections":32567,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":100},214501,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-10-ou-yang-xun-214501","宋拓唐虞恭公温彦博碑-10",[23,198,199,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cac9bf1b912a526244c8f44cf3dedb7.jpg",[],{"id":32569,"slug":32570,"title":32571,"dynasty":23400,"author":663,"museum":20,"description":32572,"tags":32573,"thumbUrl":32574,"material":95,"size":95,"collection":187,"collections":32575,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":32576},203229,"mo-xia-tu-zhou-qi-bai-shi-203229","墨虾图轴","几只青虾于素宣间灵动铺陈：或弓身欲腾，或摆须缓游，或交须嬉戏，姿态鲜活如跃眼前。淡墨晕染虾身，层层递进显半透明质感；浓墨落为眼与虾脑，点睛醒神；虾须以细劲线条挥写，柔韧中藏飘逸，似随水波轻颤。白石老人以毕生观察入画，将虾之习性化为笔底生机，极简笔墨勾勒无穷意趣，尽显水墨写意“似与不似”之妙，于方寸间藏自然真味。",[24,50,75,77,7,1390,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83b5a15a7053449e4e613230bbdd58f.jpg",[187],"d0c8b7",{"id":32578,"slug":32579,"title":32580,"dynasty":23400,"author":23401,"museum":20,"description":32581,"tags":32582,"thumbUrl":32583,"material":95,"size":95,"collection":35,"collections":32584,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":32585},203150,"lan-shi-tu-zhou-pan-tian-shou-203150","兰石图轴","这幅水墨兰石图，笔墨雄健老辣。兰草以劲挺线条写出，穿插有致，墨色浓淡相间，姿态舒展而富有张力；怪石用大块墨色泼染，造型古拙奇崛，与兰草形成刚柔相济之趣。构图疏密对比强烈，留白巧妙，既显空灵之境，又含苍劲之气。题字书法笔力沉厚，与画面笔墨呼应，印章点缀更添古朴。整体尽显文人画的清雅意趣与作者独特的艺术风骨。",[24,50,139,250,7,77,75,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365c3b771e919be81790e1b074b9d7db.jpg",[35],"c3b9ad",{"id":32587,"slug":32588,"title":5258,"dynasty":18,"author":4686,"museum":20,"description":32589,"tags":32590,"thumbUrl":32591,"material":95,"size":95,"collection":35,"collections":32592,"showCount":544,"zanCount":39,"manualWeight":39,"mainColor":32593},201924,"mo-mei-tu-zhou-zhao-zhi-qian-201924","老梅主干粗壮，皴擦结合写出斑驳肌理，枝干盘曲如篆隶线条，顿挫转折见笔力。墨色浓淡相间，干湿互用，显苍劲古拙之态。枝头梅花疏落，圈花点蕊简洁清雅，与老干形成刚柔对比。右侧题款笔墨流畅，与画面气韵相融，印章点缀更添雅致。整作以书入画，骨力洞达，既得梅花傲霜之姿，又具文人画的逸趣，尽显笔墨意韵。",[50,298,75,29,7,77,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c1f9b278e0fb60fdac9c8f2a6cd995.jpg",[35],"ccb290",{"id":32595,"slug":32596,"title":32597,"dynasty":45,"author":11488,"museum":72,"description":32598,"tags":32599,"thumbUrl":32600,"material":751,"size":752,"collection":95,"collections":32601,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},290969,"dong-shan-xie-ji-tu-zhou-guo-xu-290969","东山携妓图轴","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。",[92,24,75,50,112,113,114,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd29a6636a34bf364a33faca445077a.jpg",[],{"id":32603,"slug":32604,"title":32605,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32606,"thumbUrl":32607,"material":751,"size":752,"collection":95,"collections":32608,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},290903,"zeng-cang-ying-wen-zhou-zhao-meng-fu-290903","憎苍蝇文轴",[7,75,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F862c4b5dcaef9448c16bad656ff68a92.jpg",[],{"id":32610,"slug":32611,"title":32612,"dynasty":18,"author":14852,"museum":72,"description":22503,"tags":32613,"thumbUrl":32614,"material":751,"size":752,"collection":95,"collections":32615,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},290596,"ba-wei-tu-zhou-zhang-ruo-cheng-290596","罢围图轴",[24,75,50,51,113,251,56,53,59,7,77,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f30e1bfae547ab544d038e444269e9.jpg",[],{"id":32617,"slug":32618,"title":32619,"dynasty":18,"author":32620,"museum":107,"description":32621,"tags":32622,"thumbUrl":32623,"material":751,"size":752,"collection":95,"collections":32624,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},290578,"song-mei-qing-yun-tu-zhou-zhang-peng-chong-290578","松梅清韵图轴","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[24,92,25,75,51,133,131,52,57,27,59,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f332a306f0042f842c1e355679df5e1.jpg",[],{"id":32626,"slug":32627,"title":32628,"dynasty":45,"author":32629,"museum":107,"description":32630,"tags":32631,"thumbUrl":32632,"material":751,"size":752,"collection":95,"collections":32633,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},290547,"ku-mu-zhu-shi-zhou-zhi-zhong-290547","枯木竹石轴","志中","此作画风简淡萧疏，近景枯木虬枝劲挺、疏朗错落，拳石与丛竹相伴溪水浅滩间，野意悠然。远景山峦以淡墨轻皴，留白延展出空寂悠远的山林意趣，仿若空山无人、水流自在。\n\n笔墨取法元人写意之韵，干笔淡墨勾勒皴擦，洗练空灵，将文人画的禅思隐逸融于尺幅之中。搭配题跋诗文，书画相映，愈发衬出静穆淡远的林下之风，尽显文人寄情林泉的清雅襟怀。",[24,50,75,588,132,589,51,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc506103d5ff86fab5e211fc800168523.jpg",[],{"id":32635,"slug":32636,"title":32637,"dynasty":18,"author":32638,"museum":107,"description":32639,"tags":32640,"thumbUrl":32641,"material":751,"size":752,"collection":95,"collections":32642,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},290455,"xing-shu-ye-lao-zhi-bian-290455","行书页","劳之辩","劳之辨（1639-1714）字书升，晚号介岩、介庵，浙江石门县南津乡安邱里（今浙江省桐乡市崇福镇民利村）人，清朝大臣。康熙三年进士，选庶吉士，授户部主事，迁礼部郎中。出为山东提学道佥事，报满，左都御史魏象枢特疏荐之，迁贵州粮驿道参议。师方下云南，羽书旁午，之辨安设驿马以利塘报；复以军米运自湖南，苦累夫役，白大府停运，就地采购，供亿无匮。二十四年，擢通政使参议，迁兵部督捕理事官。连遭亲丧。服阕，起故官。洊擢左副都御史，数有建白。",[23,7,60,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9aae2482fff487c3b4bb75ee33acb.jpg",[],{"id":32644,"slug":32645,"title":32646,"dynasty":179,"author":225,"museum":107,"description":9803,"tags":32647,"thumbUrl":32648,"material":751,"size":752,"collection":95,"collections":32649,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},290412,"zhang-zong-guan-mu-zhi-ming-zhao-meng-fu-290412","张总管墓志铭",[23,7,49,199,457,22248,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322dfb616ab78a8fba8e8260177fd5dd.jpg",[],{"id":32651,"slug":32652,"title":32653,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32654,"thumbUrl":32655,"material":751,"size":752,"collection":95,"collections":32656,"showCount":480,"zanCount":882,"manualWeight":39,"mainColor":40},290409,"shi-wen-juan-zhao-meng-fu-290409","诗文卷",[23,92,24,25,49,7,60,32653,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb4c44114d59c9ec8af4de4b31cf377.jpg",[],{"id":32658,"slug":32659,"title":32660,"dynasty":88,"author":5136,"museum":107,"description":32661,"tags":32662,"thumbUrl":32663,"material":751,"size":752,"collection":95,"collections":32664,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},290334,"yan-shan-xu-bie-zhou-zhao-zong-han-290334","雁山叙别轴","赵宗汉，中国汉族人，北宋宗室，字献甫。初嗣濮王，谥孝简，追封景王。他是宋太宗赵炅的曾孙、商恭靖王赵元份之孙、濮安懿王赵允让之子、宋英宗赵曙之弟。为人博雅该洽，无他嗜好，唯诗、书足是习，法度自守，兼工画芦、雁，有思致。尝作八雁图，有江湖荒远之趣。",[92,24,25,75,27,59,51,251,56,458,55,1283,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31744f031a3116a1471c13b2041424cc.jpg",[],{"id":32666,"slug":32667,"title":32668,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32669,"thumbUrl":32670,"material":751,"size":752,"collection":95,"collections":32671,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},290282,"cai-shen-tu-ba-ce-ye-zhao-meng-fu-290282","采神图跋册页",[92,25,26,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055adfbe08119a726488d4e06dde4104.jpg",[],{"id":32673,"slug":32674,"title":32675,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32676,"thumbUrl":32677,"material":751,"size":752,"collection":95,"collections":32678,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},290280,"yu-da-guan-zhang-lao-zha-ce-ye-zhao-meng-fu-290280","与达观长老札册页",[7,60,26,77,878,22168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd96cf8794ea4e73f22d82a2a9653d0.jpg",[],{"id":32680,"slug":32681,"title":32682,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32683,"thumbUrl":32684,"material":751,"size":752,"collection":95,"collections":32685,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},290279,"zong-yang-gong-tie-ye-zhao-meng-fu-290279","宗阳宫帖页",[7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e8b3a3dfb69f6b401e061496c84bfc.jpg",[],{"id":32687,"slug":32688,"title":32689,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32690,"thumbUrl":32691,"material":751,"size":752,"collection":95,"collections":32692,"showCount":480,"zanCount":882,"manualWeight":39,"mainColor":100},290276,"wei-yuan-tie-ye-zhao-meng-fu-290276","违远帖页",[7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd82ad183a909abafb7f9ed32fcc157.jpg",[],{"id":32694,"slug":32695,"title":32696,"dynasty":18,"author":32697,"museum":107,"description":32698,"tags":32699,"thumbUrl":32700,"material":751,"size":752,"collection":95,"collections":32701,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},290222,"shu-fa-jing-xin-qing-dao-ren-290222","书法镜心","清道人","此作用笔取法北碑，线条朴拙厚重，起收方折劲挺自带金石质感。结体宽博开张，字势错落舒展，章法疏朗空灵，字间顾盼生姿，将魏碑雄强筋骨与帖学温润意韵相融，整体气息沉雄静穆，尽显高古庙堂之风。\n\n笔墨凝练沉稳力透纸背，书写时笔力遒劲，将北碑朴茂厚重诠释得淋漓尽致，于端严之中暗含灵动，尽显书家不俗的笔力与襟怀，是碑学书法极具代表性的佳作。",[23,7,1391,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d546dba72f4099853f7dda78ed8ebf.jpg",[],{"id":32703,"slug":32704,"title":32705,"dynasty":18,"author":32706,"museum":107,"description":32707,"tags":32708,"thumbUrl":32709,"material":751,"size":752,"collection":95,"collections":32710,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},290205,"xi-qiao-tu-tao-yuan-tu-cheng-shan-qian-wei-qiao-290205","溪桥图、桃源图成扇","钱维乔","钱维乔（1739-1806）清文学家、戏曲家。字树参，季木，小字阿逾，号曙川，又号竹初，半园、半竺道人、半园逸叟、林栖居士等。江苏武进人。乾隆十年状元钱维城之弟。乾隆二十七年（一七六二）举人。曾讲学于如皋露香草堂，门前种竹，自号竹初居士。",[1250,24,25,27,51,52,53,56,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef567c317f4d6bcbc538b6b969bc701.jpg",[],{"id":32712,"slug":32713,"title":797,"dynasty":162,"author":7189,"museum":107,"description":32714,"tags":32715,"thumbUrl":32716,"material":751,"size":752,"collection":95,"collections":32717,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},289998,"niu-dai-song-289998","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。弟戴峄，擅画水牛。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”，传世作品有《斗牛图》",[92,24,50,113,797,77,7,115,1752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc560693cbfd068e1b840d78eb3a8a71f.jpg",[],{"id":32719,"slug":32720,"title":32721,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32722,"thumbUrl":32723,"material":751,"size":752,"collection":95,"collections":32724,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},289919,"zhi-ji-zong-yuan-xin-zha-juan-zhao-meng-fu-289919","致季宗元信札卷",[23,92,7,25,49,60,19315,77,3479,5784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ecb9127a45d081ca8d6431c4726ee0.jpg",[],{"id":32726,"slug":32727,"title":27932,"dynasty":45,"author":5186,"museum":107,"description":26434,"tags":32728,"thumbUrl":32729,"material":751,"size":752,"collection":95,"collections":32730,"showCount":480,"zanCount":882,"manualWeight":39,"mainColor":40},289799,"xin-chun-deng-shi-han-zhu-zhan-ji-289799",[23,7,49,398,60,77,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64099e7f9b1ee308735258e795bc5fc8.jpg",[],{"id":32732,"slug":32733,"title":32734,"dynasty":88,"author":32735,"museum":107,"description":32736,"tags":32737,"thumbUrl":32738,"material":751,"size":752,"collection":95,"collections":32739,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},289740,"wu-yan-lian-tuan-shan-zhao-dun-289740","五言联团扇","赵惇","宋光宗赵惇（1147年9月30日—1200年9月17日），宋朝第十二位皇帝，南宋朝第三位皇帝，（1189年2月18日—1194年7月24日在位），临安府钱塘县（今浙江杭州）人，宋孝宗赵昚第三子，母为成穆皇后郭氏。\n绍兴十七年九月乙丑日（1147年9月30日），生于孝宗藩邸。绍兴二十年（1150年），赐名赵惇，授右监门卫率府副率，转荣州刺史。宋孝宗即位后，拜镇洮军节度使、开府仪同三司，封恭王。乾道七年（1171年）立为皇太子。淳熙十六年（1189年），受宋孝宗禅位，登基为帝，改元绍熙。绍熙五年（1194年）禅位于次子赵扩，成为太上皇，史称“绍熙内禅”。\n庆元六年八月辛卯日（1200年9月17日），驾崩于寿康宫，享年五十四岁，谥号宪仁圣哲慈孝皇帝，庙号光宗，葬于永崇陵。嘉泰三年（1203年），加谥号为循道宪仁明功茂德温文顺武圣哲慈孝皇帝。\n赵惇继位之初，确有革故鼎新之意，能听取臣下谏言，也裁汰了一些不肖者。但他“宫闱妒悍”，惧内心理严重，以致后期荒废朝政；又听信谗言疏离太上皇赵昚，引起南宋的政治危机。赵惇在位五年，“乾淳之治”的成果渐消，南宋开始由盛转衰。",[1250,7,199,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06fc23a564439189d39ab20cb50f3c6e.jpg",[],{"id":32741,"slug":32742,"title":32743,"dynasty":18,"author":454,"museum":107,"description":32744,"tags":32745,"thumbUrl":32748,"material":751,"size":752,"collection":95,"collections":32749,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},288438,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-kang-xi-shi-si-zi-yin-ti-yi-ming-288438","历代帝王贵妃大臣朝服像(康熙十四子胤禵)","此作为写实工笔肖像，用笔精细入微。画师以淡墨晕染面部，将人物皮肤的松弛褶皱与霜色须发刻画得丝丝分明，沉稳威严的神态呼之欲出，尽显中年男子的沉凝气度。石青色常服线条劲挺，晕染出织物的厚重质感，暖绒官帽点缀出端庄仪范。蓝底红云坐褥设色浓艳华贵，与素净背景形成冷暖对比，衬得人物沉静内敛。上方题诗与画像呼应，暗合人物端方仁厚的风骨。整作形神兼备，既有宫廷肖像画的严谨工整，又将人物气度与仪容完美融合，是清代肖像画的上乘之作。",[23,24,27,113,111,75,32009,32746,7,32747],"朝服","男性肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a502daf27004585523e0ca50abe0f5c.jpg",[],{"id":32751,"slug":32752,"title":32753,"dynasty":88,"author":4981,"museum":107,"description":10563,"tags":32754,"thumbUrl":32755,"material":751,"size":752,"collection":95,"collections":32756,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},288418,"du-fu-le-you-yuan-shi-can-juan-zhang-ji-zhi-288418","杜甫乐游原诗残卷",[7,60,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3df6c3c30f1c9f306de1121625bf52.jpg",[],{"id":32758,"slug":32759,"title":16910,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":32760,"thumbUrl":32761,"material":751,"size":752,"collection":95,"collections":32762,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},288238,"yun-jiang-ji-zhu-yun-ming-288238",[7,398,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9a49ed6e47b247c8de1b977b315628.jpg",[],{"id":32764,"slug":32765,"title":32766,"dynasty":18,"author":32767,"museum":107,"description":32768,"tags":32769,"thumbUrl":32770,"material":751,"size":752,"collection":95,"collections":32771,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},288222,"lin-yue-yi-lun-wu-yu-ru-288222","临乐毅论","吴玉如","吴玉如（1898年—1982年8月8日），字家琭，后以字行。生于南京，原籍安徽泾县茂林村，故早年号茂林居士，晚年自署迂叟。中国现当代学者、书法家。",[7,199,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfbb9f50acbcac0a9a69e554a6d13462.jpg",[],{"id":32773,"slug":32774,"title":32775,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":32776,"thumbUrl":32778,"material":751,"size":752,"collection":95,"collections":32779,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},288217,"bai-bo-song-shi-hua-zhou-huang-shen-288217","白博诵诗画轴",[24,75,113,112,27,7,60,426,32777],"诵诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82330da100c5f574fa99e443f0a00b15.jpg",[],{"id":32781,"slug":32782,"title":32783,"dynasty":45,"author":10912,"museum":107,"description":16215,"tags":32784,"thumbUrl":32786,"material":751,"size":752,"collection":95,"collections":32787,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},288211,"yong-jin-shan-si-shi-wang-duo-288211","《咏金山寺》诗",[23,7,398,75,77,32785],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f0a80005aa9409e9882ad2457cbf93f.jpg",[],{"id":32789,"slug":32790,"title":32791,"dynasty":1609,"author":454,"museum":107,"description":9803,"tags":32792,"thumbUrl":32793,"material":751,"size":752,"collection":95,"collections":32794,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},288152,"bei-wei-luo-zhou-ci-shi-diao-hui-gong-mu-zhi-ming-yi-ming-288152","北魏 雒州刺史刁惠公墓志铭",[198,7,199,23207,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc80eb0016c981c0e25ca67aecd2c15.jpg",[],{"id":32796,"slug":32797,"title":32798,"dynasty":18,"author":454,"museum":107,"description":32799,"tags":32800,"thumbUrl":32802,"material":751,"size":752,"collection":95,"collections":32803,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},288136,"ming-huang-xun-chu-tu-juan-yi-ming-288136","明皇训储图卷","此作用笔清劲工巧，设色古雅沉静。画面中帝王斜踞长榻，神色端凝威严；侍臣或肃立恭谨，或展卷奏事；按剑武士悍勇沉稳，人物情态各得其神。器物细节刻画精细，长榻旗幡皆合古制，尽显宫廷礼制的肃穆秩序。\n整体气韵醇厚静穆，暗合唐宋人物画遗风，将深宫训诲的庄重场景定格，形神兼备间，把君臣尊卑的威仪尽显笔底，是兼具纪实性与艺术性的人物画佳作。",[23,24,49,92,27,111,113,9812,7,32801],"宫廷场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F582047270a75e47dbac46b28a266b5a5.jpg",[],{"id":32805,"slug":32806,"title":32807,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":32808,"thumbUrl":32809,"material":751,"size":752,"collection":95,"collections":32810,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},288047,"wu-yan-lv-shi-shan-mian-chen-chun-288047","五言律诗扇面",[1250,7,398,24,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e7cf9a8a7c1f48fd65267ce4178706a.jpg",[],{"id":32812,"slug":32813,"title":32814,"dynasty":45,"author":8163,"museum":107,"description":24443,"tags":32815,"thumbUrl":32816,"material":751,"size":752,"collection":95,"collections":32817,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},288015,"qiu-yu-wu-lv-shi-shan-mian-wen-peng-288015","秋雨五律诗扇面",[1250,7,398,77,7529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff98ca9db7d101c21bae46736bc0b014f.jpg",[],{"id":32819,"slug":32820,"title":20110,"dynasty":45,"author":20111,"museum":107,"description":32821,"tags":32822,"thumbUrl":32824,"material":751,"size":752,"collection":95,"collections":32825,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},288007,"luo-han-tu-juan-wu-xin-dao-ren-288007","此作用大笔泼墨晕染山林，苍莽朴拙间，数位罗汉错落其间，或振臂激昂，或趺坐冥思，神态各异形神兼备，以极简水墨勾勒出罗汉超脱世俗的禅意风姿。\n整卷书画合璧，行草题跋笔力雄健纵恣，与写意绘卷相得益彰，将晚明大写意的疏狂意气与禅门静穆相融，虚实相生间，尽显禅画的野逸灵动，是文人禅意水墨中极具个性的出彩之作。",[23,24,49,25,92,50,1986,32823,10664,9007,57,359,7,398,60,77],"宗教画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498755737a85196581fa3ba2fd9ddff4.jpg",[],{"id":32827,"slug":32828,"title":32829,"dynasty":8749,"author":454,"museum":107,"description":32830,"tags":32831,"thumbUrl":32832,"material":751,"size":752,"collection":95,"collections":32833,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287984,"fa-cang-quan-jing-p2252-cha-tu-ban-fu-shuo-fu-ming-jing-juan-di-shi-san-shou-gao-xia-bu-zhi-bei-shou-gao-xia-bu-yi-ming-287984","法藏全景 P2252插圖版 佛說佛名經卷第十三 手稿 下部 纸背手稿 下部","深浅不一的渍痕晕染纸面，似时光留下的朦胧掌纹。泛黄发脆的纸页上，焦脆卷曲的边角、错落裂痕，都藏着被岁月反复摩挲的过往。那些轮廓不规则的暗沉水迹，如同被光阴晕开的淡墨，将辗转流传里曾被水浸、被搁置的旧时光凝于其上。它曾托举过经文的厚重温度，如今只剩这一方残背，把古籍在流转里沾染的烟火与尘埃，都封存在泛黄的纤维之中，静诉着被翻阅、珍藏又悄然蒙尘的沉晦岁月。",[386,7,6535,9007,3028,312,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b3ff213e7a40dd39fae82bfddd80f1.jpg",[],{"id":32835,"slug":32836,"title":32837,"dynasty":45,"author":454,"museum":107,"description":32838,"tags":32839,"thumbUrl":32840,"material":751,"size":752,"collection":95,"collections":32841,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},287975,"yan-wen-gui-kuan-jiang-gan-xue-ji-tu-yi-ming-287975","燕文贵款江干雪霁图","此作用淡赭设色绘就江干雪霁之景，层叠远山以披麻皴写就岩峦肌理，峰棱清劲，寒江空阔如镜，铺展出幽寂辽远的冬日江天。坡岸点缀萧疏枯木，寥寥几笔便衬出雪后清寒荒疏。\n\n整卷笔意苍秀简淡，萧寒之气漫溢卷上，以极简笔墨勾勒出雪霁江天的空寂孤高，自带空灵散逸之韵，将幽栖避世的文人襟怀寄于荒寒山水之间，淡远出尘，意境清绝悠长。",[23,24,49,1328,27,59,17685,12653,704,251,1151,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78467a17b700a6e662dc585beb8c8f43.jpg",[],{"id":32843,"slug":32844,"title":32845,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":32846,"thumbUrl":32849,"material":751,"size":752,"collection":95,"collections":32850,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287953,"chi-bi-sheng-you-tu-yuan-tu-wen-zheng-ming-287953","赤壁胜游图(原图)",[23,92,24,25,49,60,7,27,51,54,53,116,32847,32848,568],"月夜","赤壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007377e715f6141477623b2ea37e4d5b.jpg",[],{"id":32852,"slug":32853,"title":32854,"dynasty":45,"author":32855,"museum":107,"description":32856,"tags":32857,"thumbUrl":32858,"material":751,"size":752,"collection":95,"collections":32859,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287947,"qian-zi-wen-mo-ji-ben-wang-ying-hua-287947","千字文(墨迹本)","王应华","王应华是明代武学教授。字崇闇，号园长，明代万历46年（1618年）举人，东莞石排埔心上汴村人氏。崇祯元年（1628年）进士。曾任明代武学教授、礼部员外郞、福建按察使、礼部侍郎。清顺治三年（1646年）降清。诗文书画皆佳。",[398,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc13f5430e969e4694126bcf070763692.jpg",[],{"id":32861,"slug":32862,"title":32863,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":32864,"thumbUrl":32865,"material":751,"size":752,"collection":95,"collections":32866,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},287932,"qi-yan-shi-fu-shan-287932","《七言诗》",[23,7,398,75,25,26503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd8e543de6873d5035b0cfc54601d43f.jpg",[],{"id":32868,"slug":32869,"title":32870,"dynasty":8749,"author":454,"museum":107,"description":32871,"tags":32872,"thumbUrl":32874,"material":751,"size":752,"collection":95,"collections":32875,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},287896,"fa-cang-quan-jing-p2618-wei-he-yan-lun-yu-ji-jie-shou-gao-shang-juan-yi-ming-287896","法藏全景 P2618魏 何晏 論語集解手稿 上卷","纸色昏黄斑驳，残损的边角晕开时光浸洇的旧痕。行楷笔锋朴拙温润，点画排布匀停妥帖，不见刻意妍美的雕琢，尽是抄经手人伏案濡墨时的平实虔诚。\n\n作为《论语集解》古写本，浓淡错落的墨色留存着千年前的笔底呼吸，字里行间交织着儒家典籍的肃穆厚重与抄录日常的松弛从容。缺损的纸边如同被时光揉碎又展平的信笺，将千年前的诵读与书写，凝作可触摸的文脉余温，旧纸墨香里的孔门意涵，穿过悠悠岁月仍能叩动心弦。",[49,7,199,1498,200,4677,312,386,32873],"儒家经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182fab8496396bfb3de4b3b9ae2491c7.jpg",[],{"id":32877,"slug":32878,"title":32879,"dynasty":45,"author":5386,"museum":107,"description":18331,"tags":32880,"thumbUrl":32881,"material":751,"size":752,"collection":95,"collections":32882,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287858,"xuan-mu-zhi-xing-tie-wang-chong-287858","玄墓之行帖",[7,398,200,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9c30d3783697a142a1d732a7da342f.jpg",[],{"id":32884,"slug":32885,"title":32886,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":32887,"thumbUrl":32888,"material":751,"size":752,"collection":95,"collections":32889,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287856,"lian-she-tu-ji-ce-wen-zheng-ming-287856","莲社图记册",[7,199,26,77,878,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0cc1d3c61635767052d17dd50c5a936.jpg",[],{"id":32891,"slug":32892,"title":32893,"dynasty":45,"author":5386,"museum":107,"description":18331,"tags":32894,"thumbUrl":32895,"material":751,"size":752,"collection":95,"collections":32896,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287837,"za-shu-tie-wang-chong-287837","杂书帖",[7,398,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec74f9bf52ae4fa4adadfd4b3861ba40.jpg",[],{"id":32898,"slug":32899,"title":32900,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":32901,"thumbUrl":32902,"material":751,"size":752,"collection":95,"collections":32903,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287836,"xi-yuan-shi-shi-shou-wen-zheng-ming-287836","西苑诗十首",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F333c6b437bc30c24c0976e456cbc4b80.jpg",[],{"id":32905,"slug":32906,"title":32907,"dynasty":45,"author":5386,"museum":107,"description":18331,"tags":32908,"thumbUrl":32909,"material":751,"size":752,"collection":95,"collections":32910,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287787,"lin-huang-ting-jing-wang-chong-287787","临黄庭经",[7,199,110,386,77,200,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9907a122024cb41f5fbf716b7963006d.jpg",[],{"id":32912,"slug":32913,"title":32914,"dynasty":45,"author":46,"museum":107,"description":1281,"tags":32915,"thumbUrl":32916,"material":751,"size":752,"collection":95,"collections":32917,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287680,"wei-han-wen-shi-shen-zhou-287680","为汉文诗",[92,24,25,1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff964fb31d0907c4ee7abef76e8b20046.jpg",[],{"id":32919,"slug":32920,"title":32921,"dynasty":8749,"author":454,"museum":1172,"description":32922,"tags":32923,"thumbUrl":32924,"material":751,"size":752,"collection":95,"collections":32925,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},287619,"miao-fa-lian-hua-jing-juan-di-san-shou-gao-yi-ming-287619","妙法蓮華經卷第三手稿","此卷小楷端凝秀雅，笔锋沉敛匀净，通篇气脉贯通，一丝不苟可见抄经者的恭谨禅心。纸面因岁月经年而泛黄斑驳，晕染出古雅厚重的时光质感，却无损字迹的清劲骨力。\n\n经文排布齐整，字字安稳沉静，既有写经的典型法度，又在规整中隐见灵动笔意。墨色虽淡却依旧沉润，每一笔都饱含着虔诚的信仰温度，静静承载着佛典传承的脉络，将往昔抄经时的肃穆与热忱，凝注在这长长一卷之中，让观者在笔墨间触摸到岁月与信仰交织的厚重底蕴。",[49,7,386,199,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F847ffa2394198defdd45ff9c2899e214.jpg",[],{"id":32927,"slug":32928,"title":32929,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32930,"thumbUrl":32931,"material":751,"size":752,"collection":95,"collections":32932,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287538,"bai-bi-ju-zhao-meng-fu-287538","白鼻驹",[24,25,50,113,1074,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24216b7a685cb3cc77d5b2f81edb5252.jpg",[],{"id":32934,"slug":32935,"title":32936,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":32937,"thumbUrl":32938,"material":751,"size":752,"collection":95,"collections":32939,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287355,"zhuan-shu-xiao-rong-shi-wu-chang-shuo-287355","篆书小戎诗",[7,457,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37063d780978072a8358f70c93794cb3.jpg",[],{"id":32941,"slug":32942,"title":32943,"dynasty":18,"author":11816,"museum":107,"description":32944,"tags":32945,"thumbUrl":32946,"material":751,"size":752,"collection":95,"collections":32947,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},287354,"shan-shui-tu-ce-9-wang-gai-287354","山水图册-9","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,26,51,54,1752,704,57,1151,50,27,7,77,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dffed0f34415aaddf411aa07e729e70.jpg",[],{"id":32949,"slug":32950,"title":32951,"dynasty":3087,"author":454,"museum":107,"description":9803,"tags":32952,"thumbUrl":32953,"material":751,"size":752,"collection":95,"collections":32954,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},287328,"yuan-yi-mu-zhi-yi-ming-287328","元怿墓志",[199,198,7,23207,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe63ea5a936bfbea3f3a2e504f87dbd2d.jpg",[],{"id":32956,"slug":32957,"title":32958,"dynasty":8749,"author":454,"museum":107,"description":32959,"tags":32960,"thumbUrl":32961,"material":751,"size":752,"collection":95,"collections":32962,"showCount":480,"zanCount":882,"manualWeight":39,"mainColor":100},287325,"fu-shuo-fu-mu-en-zhong-jing-shou-gao-yi-ming-287325","佛說父母恩重經手稿","通篇行楷恭谨缮就，笔锋朴拙温润，点画内敛不失法度，无恣意张扬，满是抄经的沉静虔敬。墨色沉凝晕开在泛黄斑驳的古纸之上，残损的边角默默承载着时光流逝的印记。字列排布齐整肃然，一笔一划皆饱含对经文主旨的郑重诠释，将感念亲恩的至诚之心融于笔端，让手写经卷的质朴虔诚，与岁月沉淀的厚重质感交织相融，尽显旧物安然沉静的岁月余韵。",[7,386,199,9007,1498,6535,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370de2708ea768ab5a11130b05fbb9e.jpg",[],{"id":32964,"slug":32965,"title":95,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32966,"thumbUrl":32967,"material":751,"size":752,"collection":95,"collections":32968,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},285304,"zhao-meng-fu-285304",[198,7,60,200,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a5d3f7f204902b4d5774725dc52f9b.jpg",[],{"id":32970,"slug":32971,"title":32972,"dynasty":18,"author":32973,"museum":107,"description":32974,"tags":32975,"thumbUrl":32976,"material":751,"size":752,"collection":95,"collections":32977,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":789},283782,"hong-qing-chan-meng-tu-wang-li-283782","红情忏梦图","王礼","王礼（1813－1879）初名秉礼，字秋言，号秋道人,南翁道人（一作士），别署白蕉研主，一号蜗寄生，室名延秋款冬之室，常用印鉴王礼、王礼之印、王秉礼印、吴江王礼、秋言、秋言写生、秋言画印、秋言书画、秋道士、湫言、阿大、戴传、延秋款冬之室、公之犹、雪蕉家学、梵天壶隐、红梨逸史书画记。",[24,49,27,113,17076,9007,115,298,57,588,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f77161fb0ff3c657f6b8fd60b8e536.jpg",[],{"id":32979,"slug":32980,"title":32981,"dynasty":45,"author":1313,"museum":107,"description":9803,"tags":32982,"thumbUrl":32983,"material":751,"size":752,"collection":95,"collections":32984,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},283763,"xiang-mo-lin-mu-zhi-ming-juan-dong-qi-chang-283763","项墨林墓志铭卷",[23,92,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f63c6d04058903007bd5b0f7c73808b.jpg",[],{"id":32986,"slug":32987,"title":32988,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":32989,"thumbUrl":32990,"material":751,"size":752,"collection":95,"collections":32991,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},283740,"yan-ran-shan-ming-juan-dong-qi-chang-283740","燕然山铭卷",[23,92,49,7,60,25,1897,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7943cb4f682124644ffd3e9c23be0df.jpg",[],{"id":32993,"slug":32994,"title":32995,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":32996,"thumbUrl":32998,"material":751,"size":752,"collection":95,"collections":32999,"showCount":480,"zanCount":882,"manualWeight":39,"mainColor":207},283623,"xian-xie-gong-jia-chuan-kuai-xue-tang-fa-shu-zhao-meng-fu-283623","闲邪公家传（快雪堂法书）",[23,7,198,199,200,3423,32997],"传记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc481e9993a0704aaba1b903fff26fcd.jpg",[],{"id":33001,"slug":33002,"title":33003,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":33004,"thumbUrl":33006,"material":751,"size":752,"collection":95,"collections":33007,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},270659,"qian-long-kuan-yu-yong-hua-hui-shi-mo-yu-zan-mo-yi-ming-270659","乾隆款御咏花卉诗墨-玉簪墨",[432,199,7,33005,26617],"玉簪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F400a3fa2ab1a38e021935e12fc5e7adc.jpg",[],{"id":33009,"slug":33010,"title":33011,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":33013,"thumbUrl":33016,"material":751,"size":752,"collection":95,"collections":33017,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},269840,"mei-lin-kuan-zhu-ke-ai-lian-shuo-bi-tong-yi-ming-269840","梅邻款竹刻《爱莲说》笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[33014,7713,30960,7,399,33015],"竹刻","文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f196b3210c76fde83b67300a0f19d8.jpg",[],{"id":33019,"slug":33020,"title":33021,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":33022,"thumbUrl":33024,"material":751,"size":752,"collection":95,"collections":33025,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},251325,"qian-long-yu-ti-yi-he-ming-qing-yu-shan-zi-yi-ming-251325","乾隆御题《瘗鹤铭》青玉山子",[7714,7713,51,458,7,2135,33023],"山子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b35bb78db83f9f3d0d3eff3765c733.jpg",[],{"id":33027,"slug":33028,"title":33029,"dynasty":18,"author":454,"museum":107,"description":33030,"tags":33031,"thumbUrl":33032,"material":751,"size":752,"collection":95,"collections":33033,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},251154,"bi-yu-ke-shi-lan-ju-tu-cha-ping-yi-ming-251154","碧玉刻诗兰菊图插屏","莹润碧色为底，描金勾勒秋景幽姿。石畔丛菊粲然盛放，花瓣脉络纤毫毕现，仿若携带着清秋篱边的疏淡暗香，鲜活雅致。右侧题诗金墨劲挺端方，诗画相映，暗合隐逸赏菊的文人雅趣。\n\n周身边框以缠枝纹饰鎏金铺陈，繁丽华贵中和了秋菊的清寂。整器将玉石的温润厚重与描金的明艳华贵相融，把精工考究的造物心思，糅合进文人寄情草木的闲情逸致之中，藏着清秋赏吟的雅韵，是兼具陈设与赏玩价值的匠心之作。",[7714,7713,26617,7,27,29,140,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F400ab9e34ff10e1bcf58f39b091c8642.jpg",[],{"id":33035,"slug":33036,"title":33037,"dynasty":18,"author":454,"museum":107,"description":33038,"tags":33039,"thumbUrl":33040,"material":95,"size":95,"collection":96,"collections":33041,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},242420,"tai-yuan-duan-tie-yi-ming-242420","太原段帖","此作为行草刻帖，行气纵逸跌宕，字势欹正相生。刀石摹刻间精妙留存下提按顿挫的笔情墨韵，牵丝萦带暗合章法脉络，字字错落却通篇气脉贯通。斑驳泐痕是岁月留痕，更添沉郁古拙的金石质感。笔墨使转映带间，既有草书流宕不羁的意态，亦不失行书的端稳之姿，暗合晋唐尺牍的简札意趣。虽经摹刻，仍能窥见原作放旷随性的笔致，将日常尺牍的闲散意趣与书法艺术的法度相融，古意盎然，尽显帖学书法的风神雅致。",[7,198,200,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd94bfbd4f1c15d4751cc3609746022.jpg",[96],{"id":33043,"slug":33044,"title":33045,"dynasty":18,"author":33046,"museum":107,"description":33047,"tags":33048,"thumbUrl":33057,"material":751,"size":752,"collection":95,"collections":33058,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},241694,"qi-lv-heng-pi-xu-fu-241694","七律横披","徐郙","徐郙（1838—1907），字寿蘅，号颂阁，江苏嘉定（今上海嘉定）人。同治元年（1862）状元，先后授翰林院修撰、南书房行走、安徽学政、江西学政、左都御史、兵部尚书、礼部尚书等职，拜协办大学士，世称徐相国。\n徐颂阁工诗，精于书法，擅画山水，入词馆，被召直南书房。慈禧常谕徐郙字有福气，晚年御笔作画，悉命徐郙题志，传世慈禧画作中多见徐郙行楷诗题。因兼具金石派学养，黄宾虹评价徐郙云：“徐颂阁、张野樵一流，为乾嘉画家所不逮”。\n徐郙收藏金石拓片珍本与名画甚多。据李寿民《还珠楼丛谈》记载，庚辰本《脂砚斋重评石头记》也曾为徐郙旧藏。\n徐郙与康熙状元王敬铭、乾隆状元秦大成并称“嘉定三状元”。",[7,199,25547,27,33049,6398,359,9676,33050,33051,33052,33053,33054,33055,845,33056],"瑶池","春水","宫花","御炉","金壶","玉碗","殿","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88bbc2bf8edaa3451a106409287e19fd.jpg",[],{"id":33060,"slug":33061,"title":33062,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":33063,"thumbUrl":33064,"material":751,"size":752,"collection":95,"collections":33065,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},241681,"ju-yi-shou-zi-tiao-qian-long-241681","菊一首字条",[25,60,7,77,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc31af368f2cf81ba4972ca742eb84b4.jpg",[],{"id":33067,"slug":33068,"title":33069,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":33070,"thumbUrl":33071,"material":751,"size":752,"collection":95,"collections":33072,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241663,"zha-juan-fu-shan-241663","札卷",[23,25,49,7,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b204ac643579e0ea6003635e1c1f402.jpg",[],{"id":33074,"slug":33075,"title":33076,"dynasty":18,"author":33077,"museum":107,"description":33078,"tags":33079,"thumbUrl":33080,"material":751,"size":752,"collection":95,"collections":33081,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241605,"ming-ren-ta-qing-ci-ye-gu-yun-241605","明人踏青词页","顾云","顾云，字子鹏，号石公，江苏上元人，为清代历史人物。",[60,7,77,9676,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99cf13004258a1afe8f834797ef1d512.jpg",[],{"id":33083,"slug":33084,"title":33085,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":33086,"thumbUrl":33087,"material":751,"size":752,"collection":95,"collections":33088,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":789},241498,"shi-xu-ce-zheng-ban-qiao-241498","诗叙册",[18,60,4347,7,77,3479,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3195e24019e907a81bb1f8dc2ee84f24.jpg",[],{"id":33090,"slug":33091,"title":33092,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":33093,"thumbUrl":33094,"material":751,"size":752,"collection":95,"collections":33095,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},241466,"lu-jiu-zuo-jia-shu-er-ze-juan-zheng-ban-qiao-241466","“录旧作家书二则”卷",[7,60,49,312,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd181e0ffb53ebbea9b9084459f1149.jpg",[],{"id":33097,"slug":33098,"title":33099,"dynasty":45,"author":454,"museum":107,"description":33100,"tags":33101,"thumbUrl":33102,"material":751,"size":752,"collection":95,"collections":33103,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241450,"wang-duo-wu-lv-guo-tong-lu-xian-shi-zhou-yi-ming-241450","王铎五律过桐庐县诗轴","此作用笔纵逸雄健，行书间裹挟草书跌宕气势。起笔沉凝，字形欹侧相生，随文势舒张，枯湿浓淡变幻自然，焦墨处老辣苍劲，润笔时圆厚饱满。\n\n章法三列排布，字距疏密错落，行气如奔涌长河，将漫游的旷达襟怀寄寓线条。笔势擒纵提按间尽显豪放意趣，线条盘旋缠绕却不失法度，把文人诗意与书法风骨相融，尽显笔法功力与书家胸臆，是极具抒情性的书法佳构。",[4038,7,60,75,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b852dadc43c4d580a42ca4772f4ab3.jpg",[],{"id":33105,"slug":33106,"title":33107,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":33108,"thumbUrl":33109,"material":751,"size":752,"collection":95,"collections":33110,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241432,"zhi-qiu-an-shou-zha-heng-weng-fang-gang-241432","致秋庵手札横",[7,60,2282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ddef6c59c114ad455ef362d4dc5608.jpg",[],{"id":33112,"slug":33113,"title":33114,"dynasty":18,"author":13860,"museum":126,"description":33115,"tags":33116,"thumbUrl":33117,"material":312,"size":95,"collection":96,"collections":33118,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241408,"tao-yuan-xing-ju-zhou-qian-feng-241408","桃源行句轴","钱沣（1740—1795），字东注，一字约甫，号南园，云南昆明人，清代大臣、书画家。\n钱沣所处时代，是满朝上下皆学董其昌书法的时代，而惟有他对鲁公情有独钟。平生仰慕颜真卿为人，书亦法之，得其神而不袭其貌，堪称学颜第一人。大楷临摹《颜氏家庙碑》、《告身墨》、《中兴颂》、《麻姑仙坛记》、《东方画像赞》；行草从颜真卿《争座位稿》、《祭侄文》、《十二意》入手,晚年以颜为本，参以欧、褚笔法，行笔颇为沉着痛快，亦有八面出锋之势，苍劲雄健，耐人寻味；小楷则博采众家之长，习过王羲之、王献之、钟绍京等历代书家的精品。晚年还得益于褚遂良、米芾书法的精髓。钱书小楷刚健婀娜；大楷笔力遒劲，力透纸背；行书、草书风神独绝。他学习古人而迈出古人的法度，自成一家。",[25,60,7,75,137,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ea4840fd81f22be3627cdc3857390d.jpg",[96],{"id":33120,"slug":33121,"title":24534,"dynasty":18,"author":33122,"museum":107,"description":33123,"tags":33124,"thumbUrl":33125,"material":751,"size":752,"collection":95,"collections":33126,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241406,"lu-wen-zhou-fan-yong-qi-241406","范永祺","范永祺，清代藏书家。著名藏书家范钦后人，乾隆五十一年举人，工篆隶、刻印，从事以藏图籍为生，特别注重收藏明人尺牍真迹，据《鄞县通志》记载： 自硕辅名儒、忠臣、文士、孝子、闺阁秀媛及世外僧道，无不收录。并考其时代、礼冠、品行、道义，一一作序。此外亦精于篆刻。去世后，藏书和书画尺牍流转于书贩之手。",[7,1613,75,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cbaaee900c98122ca89bbc9940416.jpg",[],{"id":33128,"slug":33129,"title":26729,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":33130,"thumbUrl":33131,"material":751,"size":752,"collection":95,"collections":33132,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241391,"zhuan-shu-lu-wen-zhou-ai-xin-jue-luo-yong-xing-241391",[2135,25,75,457,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871afcc2daeeed8e83d92b675577de64.jpg",[],{"id":33134,"slug":33135,"title":18391,"dynasty":18,"author":33136,"museum":107,"description":33137,"tags":33138,"thumbUrl":33139,"material":312,"size":95,"collection":96,"collections":33140,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241378,"qi-jue-zhou-yang-bin-241378","杨宾","杨宾（1650年－1720年），字可师，号大瓢、耕夫，山阴（今浙江绍兴）人。生于顺治七年，卒于康熙五十九年。\n少聪慧，八岁能擘窠书。及长，工诗古文，不乐仕进。年十三时，父杨越坐累戍宁古塔，与弟宝请代不许，乃间关往诗。父殁，例不归葬，宾走京师，日哀诉于当道，因得迎母奉父柩归。康熙十七年（1678）侨寓吴门，巡抚举应“博学鸿儒”科，力辞去。\n杨宾侍父戍所时，习其地理沿革，出川道里、风土人情，著《柳边纪略》，为世所称。另著有《塞外诗》三卷、《大瓢偶笔》八卷、《杂文》一卷及《力耕堂诗稿》等。",[7,24,25,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F299671f1dcc496b78e35e0291f51d16a.jpg",[96],{"id":33142,"slug":33143,"title":33144,"dynasty":45,"author":454,"museum":107,"description":33145,"tags":33146,"thumbUrl":33147,"material":751,"size":752,"collection":95,"collections":33148,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},241351,"zhang-rui-tu-wu-lv-shi-zhou-yi-ming-241351","张瑞图五律诗轴","此作用笔凌厉爽利，以方折替代圆转，锋棱毕现，线条跳荡欹侧奇崛。字势随行气肆意舒展，开合间尽显奇逸狂放意趣。\n整幅行气贯通，三列书作大小错落，字距疏密随心排布。墨色浓淡枯润交织，枯笔见筋骨，浓墨显厚重，尽显晚明尚奇书风。\n以行书为骨，裹挟草书奔涌态势，诗句节律与笔墨走势相融，落笔激越心绪顺着笔尖倾泻，视觉冲击力极强，尽显个性张扬的晚明书坛风貌。",[4038,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f3831b12a1d688acf55581ca124a6a.jpg",[],{"id":33150,"slug":33151,"title":33152,"dynasty":18,"author":33153,"museum":126,"description":33154,"tags":33155,"thumbUrl":33157,"material":312,"size":33158,"collection":96,"collections":33159,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},241319,"xing-kai-qi-lv-zhou-wang-zhi-shu-241319","行楷七律轴","王之枢","王之枢，字声远，河北定州城内东街人，康熙甲子、乙丑两年，参加乡试、会试，考中进士。康熙四十年（1701年），任云南督学，振兴云南书院，云南南部学风日盛。康熙四十四年，主持江南科考，次年任武举会试总裁。康熙四十七年，王之枢祖母八十三岁，康熙皇帝亲书“锡庆堂”匾额悬挂府中。康熙五十三年皇帝寿诞日，王之枢恰于当日编撰完成《历代帝王年表》，康熙大喜，对之枢父母子女恩赐官爵。康熙五十四年，出任会试总裁。五十六年任湖南巡抚。因当时湖南省税赋沉重，之枢奏请减赋，但因下属官员未能正确实行，出了问题，受到朝廷谴责，并责令之枢赔偿所亏税款，一直不得离开湖南，雍正十年遇赦，但终老于湖南，享年六十五岁。",[3135,7,75,137,139,3039,6398,845,33156],"河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86bead2f1ef88e12c1a1d49572fc7955.jpg","高28.6厘米横364.5厘米",[96],{"id":33161,"slug":33162,"title":33163,"dynasty":45,"author":33164,"museum":107,"description":33165,"tags":33166,"thumbUrl":33167,"material":751,"size":752,"collection":95,"collections":33168,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241299,"qi-gu-juan-huang-ai-241299","七古卷","黄哀","此作用笔纵逸洒脱，草书笔势连绵缠绕，行气贯通全篇。墨色干湿浓淡相映，线条粗细变化自然随性，牵丝映带间尽显灵动韵律。字势欹正相生，章法疏密错落，通篇一气呵成，将禅诗的空寂禅思寄寓于跌宕笔墨中。\n\n笔墨间带着疏放的写意风神，点画奔涌间裹挟着文人清雅意气，把诗文禅理与书法韵律相融，下笔爽利劲挺，收放自如，将诗句里的出尘禅味化作笔下流转的线条，尽显潇洒超逸的书卷气度。",[92,24,25,49,60,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dba1bf6bc46a4e83431cbdf824a31c8.jpg",[],{"id":33170,"slug":33171,"title":33172,"dynasty":18,"author":33173,"museum":107,"description":33174,"tags":33175,"thumbUrl":33176,"material":312,"size":95,"collection":96,"collections":33177,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241261,"lun-tie-zhou-tao-shu-241261","论帖轴","陶澍","陶澍（1779年－1839年），字子霖，号云汀，自称桃花渔者，印心石屋主人，晚岁自称髯樵。湖南安化县人，清朝政治家、文学家、诗人，身后追封太子太保，谥文毅。\n乾隆四十四年（1779年），陶澍生于安化县边远农村，从小就打柴、放牛、捕鱼，过着贫困的生活。陶澍自幼就以神童著称，聪颖机敏，长于记忆，善于理解，家中藏书丰富，熟读经史子集，并且博览了野史、笔记、方志、族谱、小说等杂书。\n嘉庆五年（1800年）乡试中举。嘉庆七年（1802年）进士，选翰林院庶吉士。\n嘉庆十年（1805年），陶澍的父亲去世，他守孝回归故里，期间曾主讲湖南澧县澧阳书院。道光元年（1821年），四川总督蒋攸铦奏称陶澍治行为四川第一，擢山西按察使，又调福建按察使，同年十月擢安徽布政使。道光十年（1830年），累官至两江总督至1835年，兼江苏巡抚、两淮盐政。整顿河工、漕务、吏治，将纲盐法改为票盐法，扭转盐务的弊端。\n一生为官清廉，自题“要半文不值一文，莫道人无知者，一事须了一部，如此心乃安然。”史称“胸怀无城府，待人表里如一”，缴年养廉银1000两，裁盐政衙门浮费16万余两。曾多次将自己的俸银全部救济了灾民，在鸦片战争前夕（道光十九年）逝世，谥文毅。",[2135,7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1327295efe18bb4dd867d689417c1d9c.jpg",[96],{"id":33179,"slug":33180,"title":33181,"dynasty":18,"author":33182,"museum":107,"description":33183,"tags":33184,"thumbUrl":33185,"material":751,"size":752,"collection":95,"collections":33186,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},241249,"shou-shi-zhou-li-guang-di-241249","寿诗轴","李光地","李光地（1642年9月29日—1718年6月26日），字晋卿，号厚庵，别号榕村，福建泉州府安溪（今福建安溪）人。清代康熙朝大臣，理学名臣。\n康熙九年（1670年）中进士，历任翰林院编修、翰林学士、兵部右侍郎、直隶巡抚，协助平定“三藩之乱”、“统一台湾”，康熙四十四年（1705年），拜文渊阁大学士兼吏部尚书。\n康熙五十七年（1718年），因疝疾速发，卒于任所，享年七十七岁，谥号“文贞”。雍正元年（1723年），加赠太子太傅，入祀贤良祠。著有《历像要义》《四书解》《性理精义》《朱子全书》等书。",[25,75,60,7,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c33c4ebfece4dace39fb1c401a03c9e.jpg",[],{"id":33188,"slug":33189,"title":33190,"dynasty":18,"author":33191,"museum":107,"description":33192,"tags":33193,"thumbUrl":33194,"material":751,"size":752,"collection":95,"collections":33195,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241213,"zhuan-shu-lin-tong-dun-ming-zhou-ding-fu-yan-241213","篆书临同敦铭轴","丁佛言","丁佛言（ 1878—1931），原名世峄，初字桐生、息斋、芙缘，号迈钝，别号黄人、松游庵主、还仓室主，黄县宋家疃人。近代著名书法家、古文字学家、社会活动家，毕业于东京政法学堂第四期。",[457,110,75,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff009f1a887c94b4be44fa3220b5ca6d0.jpg",[],{"id":33197,"slug":33198,"title":33199,"dynasty":18,"author":33200,"museum":107,"description":33201,"tags":33202,"thumbUrl":33203,"material":751,"size":752,"collection":95,"collections":33204,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241204,"zhuan-shu-lu-yu-heng-huang-shi-ling-241204","篆书录语横","黄士陵","黄士陵，字牧甫（一作穆甫、穆父），号倦叟，别号黟山人、黟山病叟、倦叟、倦游窠主，先后又有蜗篆居、延清芬室等斋号。是篆刻“黟山派”开宗大师，晚清时期书画篆刻家。",[7,457,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf588d1f9a152b5a262acc3f0e684a57.jpg",[],{"id":33206,"slug":33207,"title":33208,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":33209,"thumbUrl":33210,"material":751,"size":752,"collection":95,"collections":33211,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},241169,"zhuan-shu-wu-yan-lian-huang-yi-241169","篆书五言联",[457,7,2136,2135,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee2fcc89afd93421fdcbd37bb5f1122.jpg",[],{"id":33213,"slug":33214,"title":24648,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":33215,"thumbUrl":33216,"material":751,"size":752,"collection":95,"collections":33217,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241147,"qi-lv-shi-zhou-zheng-ban-qiao-241147",[2135,7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d2eb102d6126a8ae3eeb9b72ecadc7.jpg",[],{"id":33219,"slug":33220,"title":23662,"dynasty":18,"author":33221,"museum":126,"description":33222,"tags":33223,"thumbUrl":33224,"material":33225,"size":33226,"collection":96,"collections":33227,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},241089,"wu-lv-zhou-fu-mei-241089","傅眉","傅山行草书法笔势雄奇，连绵飞动，起伏迭宕，字间连带自然，表现出生气郁勃的宏大气势。结字不求工稳，单个字显得欹侧不稳，然通幅观之，气韵生动，结构自然，字形大小的变化更增加了作品的生动性和跃动感，给人以朴拙遒美之感。草书书法作品流宕不羁，汹涌澎湃，气势逼人、巍巍浩荡。",[60,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb89ba6e7b3b09d5c4c2d60e0b3674b74.jpg","絹本行草","178.5×45.5cm",[96],{"id":33229,"slug":33230,"title":29530,"dynasty":18,"author":33231,"museum":72,"description":33232,"tags":33233,"thumbUrl":33234,"material":33235,"size":33236,"collection":96,"collections":33237,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241083,"wu-lv-shi-zhou-mi-han-wen-241083","米汉雯","明太仆米万锺孙。顺治十八年（一六六一）进士，康熙十八年（一六七九）举鸿博，改编修，官侍讲学士。山水气势浩瀚，笔意苍劲，书、画俱仿米芾，颇得家法，时呼小米，尤工篆刻。康熙三十一年（一六九二）尝题王翚朴园图。著《漫园》、《存始》诸集。",[75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19823613922bc31d2a321f4ef7d1fc3f.jpg","绢本行书","133x62.7",[96],{"id":33239,"slug":33240,"title":33241,"dynasty":45,"author":33242,"museum":107,"description":33243,"tags":33244,"thumbUrl":33245,"material":312,"size":95,"collection":96,"collections":33246,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241081,"jia-shu-juan-zong-da-241081","家书卷","宗达","通篇以狂草走笔，笔墨淋漓跌宕，字势欹侧相生，牵丝萦带间气脉贯通，如行云流水一气呵成。行与行错落排布，字距疏密随文气自在开合，将家书中的亲厚心绪，尽数融在笔墨起落之中。\n虽为尺素家书，却以长卷铺陈，笔墨间带着随性松弛的自在感，不见刻意雕琢之迹。提按转折裹挟着日常问安的温情，将家常絮语化作笔底波澜，既有狂草的张扬快意，又藏着尺牍的脉脉温情，笔墨性情与家书意趣浑然相融，是法度与意趣的绝佳平衡。",[23,7,60,49,4038,433,6771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5d870f4a970de323b72d5eb5b1cd9.jpg",[96],{"id":33248,"slug":33249,"title":33250,"dynasty":162,"author":454,"museum":107,"description":33251,"tags":33252,"thumbUrl":33253,"material":95,"size":95,"collection":96,"collections":33254,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},241073,"wu-kuan-xie-ci-shan-xiao-zi-bao-en-cheng-dao-jing-di-yi-juan-yi-ming-241073","无款写慈善孝子报恩成道经第一卷","此作用笔匀净秀润，结体端庄舒展，是唐代写经书法的典型风貌。通篇排布疏密合宜，字间顾盼相生，既有唐楷规整的法度，又暗含行书的灵动意趣，笔锋起落从容沉静，尽显书写者娴熟的控笔功力。墨色沉凝饱满，历久弥新，字里行间浸透着抄经时的虔敬心境，将对经文的信奉融于每一处点画之中。虽出自佚名经生之手，却尽显唐代民间书法的质朴大美，褪去刻意雕琢的匠气，以平实端严的笔墨，静静传递出千年前抄录经文时的专注与信仰的温度。",[7,386,199,878,1498,1063,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af35cc83925e0bcaa6e80e95e17c592.jpg",[96],{"id":33256,"slug":33257,"title":33258,"dynasty":18,"author":22037,"museum":107,"description":33259,"tags":33260,"thumbUrl":33261,"material":312,"size":95,"collection":96,"collections":33262,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241069,"yang-ri-bu-shou-xu-ji-zha-juan-xu-fang-241069","杨日补寿序及札卷","徐阶（1503年－1583年），字子升，号少湖，一号存斋，直隶松江府华亭县（今上海市松江区）人[1][2]，是明代政治家、文学家及思想家，官至内阁首辅、吏部尚书、建极殿大学士。\n徐阶自幼善于读书，少年时期结识阳明学江右学派门人聂豹。他十八岁时乡试中举，弱冠之年于殿试中为探花，受到杨廷和极高的赞赏。嘉靖早年张璁执掌朝廷时，徐阶直言反对张璁的提议，被贬出京城。当时嘉靖帝因此刻石说“徐阶小人，永不录用”，而徐阶在地方督学十数年后，在夏言的帮助下回到京城。徐阶回京后先主事国子监数年，在内结识杨继盛等谏臣，随后辗转六部之间。他先后主事礼部、吏部、翰林院等重要机构，在翰林院结识了后来的重臣张居正、高拱等学生。\n徐阶随后依靠其出众的青词入直无逸殿，冷静处理了危在旦夕的庚戌之变，期间以礼部尚书之职负责北京城防，拖延敌军，成功保护京城不被攻入。他又改革了吏部、礼部、太医院所存在的旧弊，提高了他们的办事效率。于嘉靖三十一年入阁后徐阶因严嵩独断朝政，隐忍多年，最终取代严嵩的首辅之位，尽反严嵩之政[3]，试图以“三语”政纲改良内阁的运作现状。嘉靖末，徐阶成功劝阻皇帝南幸承天府，叫停当地大兴土木；帝弥留之际，徐阶又劝其停服丹药，并将左右方士和相勾结的太监一体斩决。嘉靖驾崩后徐阶拟写了《嘉靖遗诏》和《隆庆登极诏》，在两张诏书下达后，朝野大臣都举手相贺，将此举和杨廷和所拟《嘉靖登极诏》被统称为正始正终第一政。但是，明人支大纶却批评徐阶说他只是依靠玄奇的青词入直，在任期间献媚讨好他人，没有做出任何政绩，只有到了隆庆时期才有所改善。\n嘉靖死后，由于早年辅佐穆宗有功，隆庆年间徐阶依旧担任首辅，他多次调和穆宗和外廷的矛盾，在两年中多次上疏阻止宦官（中官）获得更多的权力，于隆庆二年成功引退致仕。徐阶共入内阁十七年，元辅七年，从政长达四十余年，时人誉为“元臣”、“名相”。他不但足智多谋，本身度量、器识都是上品，受到冯梦龙等人的推崇；现代学者对其则多有争议，也有一些人对他持有肯定态度，如谭平先生认为徐阶对比与其学生张居正，更加沉稳也更少贪恋权位。\n徐阶在任内培养了张居正等后来居上的政治家，在任期间试图改变内阁在朝廷中的位置，对后期内阁制度做出很大影响；同时又试用新晋官员用他的方法教导宦官，试图依靠义理让他们不成为刘瑾等人的后继者，也可以借此改变宦官在朝廷的面貌和作用。另一方面，抗倭寇名将张经被冤杀，以及胡宗宪瘐死狱中，也都是徐阶所一手造就，甚至高拱与张居正日后不和，亦与除阶不无关系。。在徐阶致仕后，由于家中子弟作恶多端，徐阶被牵扯其中，多次与牢狱只有毫厘之差，甚至不得不致书好友求救，高拱等人同时又以旧案诘难徐阶。直到万历十一年，徐阶于华亭家中逝世，赠太师、谥文贞",[18,7,25,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2edcd8c185ef437e2fb3c3df1b6bfd6.jpg",[96],{"id":33264,"slug":33265,"title":33266,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":33267,"thumbUrl":33268,"material":751,"size":752,"collection":95,"collections":33269,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},241065,"yu-lu-zhou-yi-bing-shou-241065","语录轴",[18,7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb243fd29a9fdaef00364a66aeeb9fb95.jpg",[],{"id":33271,"slug":33272,"title":33273,"dynasty":8749,"author":33274,"museum":107,"description":33275,"tags":33276,"thumbUrl":33277,"material":312,"size":95,"collection":96,"collections":33278,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240998,"zhi-er-jia-shu-juan-song-ling-shen-240998","致儿家书卷","宋令申","通篇以行草挥就，笔墨朴拙率意，全无刻意雕琢的匠气。笔触随心绪流转，时而急促潦草，时而舒缓停驻，将万里念亲之情藏在点画细节之中。\n\n满卷皆是絮絮家常与谆谆叮嘱，文书相融，尺牍不再只是笔墨载体，更成为跨越山海的思念具象。字里行间浸透异乡亲人的牵挂，带着旧时光里最质朴的烟火温情，是执笔人日常心性与笔墨功底的自然流露，将私人的思亲心绪，化作可供共感的传世笔墨。",[23,7,49,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb270767dbd0b629547c5f2e9089da1c1.jpg",[96],{"id":33280,"slug":33281,"title":23662,"dynasty":18,"author":33282,"museum":107,"description":33283,"tags":33284,"thumbUrl":33285,"material":751,"size":752,"collection":95,"collections":33286,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240975,"wu-lv-zhou-zhu-chang-240975","祝昌","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[7,60,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87dd3f4fb1924236a84aa7e4c0dcd2ea.jpg",[],{"id":33288,"slug":33289,"title":33290,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":33291,"thumbUrl":33292,"material":751,"size":752,"collection":95,"collections":33293,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},240937,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-san-zhao-meng-fu-240937","赵孟頖妙法莲花经册卷三",[7,386,26,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed37198066d887c7d3ed63470b74bea.jpg",[],{"id":33295,"slug":33296,"title":33297,"dynasty":45,"author":33298,"museum":107,"description":33299,"tags":33300,"thumbUrl":33301,"material":312,"size":95,"collection":96,"collections":33302,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240859,"wu-jue-yi-shou-zhou-wang-heng-240859","五绝一首轴","王衡","王衡（1562年10月6日―1609年3月4日），生于嘉靖四十一年九月九日，卒于万历三十七年正月二十九日。字辰玉，号缑山、别署蘅芜室主人，南直隶苏州府太仓州（今江苏太仓）人。 [1] 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。\n王衡著有《缑山集》等，同时他又是明代南剧的名家，编写有《郁轮袍》、《真傀儡》、《没奈何》等杂剧名篇。\n明嘉靖四十年（1561年），王衡出生于官宦家庭。其父王锡爵为万历年间的大学士、内阁首辅，其母为朱氏。王衡从小聪颖过人，又好学博记，尤好古文诗歌，且得名师教导，并从同乡同姓的大文豪王世贞处学习诗文，故《列朝诗集小传》就称他“学殖益富，能诗善书，散华落藻，名动海内”。\n万历五年（1577年），发生的张居正夺情事件，更是让少年王衡在当时名满天下。陈继儒在《太史辰玉集叙》中道：“初江陵夺情，文肃公争丧次，救吴、赵两太史，祸叵测。辰玉和《归去来辞》以招之。文肃公持以谓人曰：吾不归，将无为孺子所笑。辰玉方十四，名动京师已。”钱谦益《列朝诗集小传》丁集下《王编修衡》也说王衡“年十四，作《和归去来辞》，以讽江陵，馆阁中争相传写”",[24,25,7,75,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f12e510091fd33196201b5b77b9ff86.jpg",[96],{"id":33304,"slug":33305,"title":17924,"dynasty":18,"author":5616,"museum":107,"description":10823,"tags":33306,"thumbUrl":33308,"material":751,"size":752,"collection":95,"collections":33309,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240845,"shi-zhou-li-fang-ying-240845",[25,75,60,7,77,1002,844,17644,26858,33307,1074,2495],"渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141a41c616b5c4177e13d57a8186737.jpg",[],{"id":33311,"slug":33312,"title":9940,"dynasty":18,"author":16236,"museum":107,"description":19813,"tags":33313,"thumbUrl":33314,"material":751,"size":752,"collection":95,"collections":33315,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240822,"qi-yan-lian-fei-dan-xu-240822",[7,60,2136,132,55,651,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfdc67f964f63eb8718cd5e0dd3488a.jpg",[],{"id":33317,"slug":33318,"title":33319,"dynasty":18,"author":14418,"museum":107,"description":14419,"tags":33320,"thumbUrl":33321,"material":751,"size":752,"collection":95,"collections":33322,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240705,"mo-you-zhi-lu-yu-zhou-mo-you-zhi-240705","莫友芝录语轴",[2135,75,7,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde16eaa7277327ea2adfe5e8b8cbe743.jpg",[],{"id":33324,"slug":33325,"title":33326,"dynasty":45,"author":2206,"museum":126,"description":33327,"tags":33328,"thumbUrl":33329,"material":7994,"size":95,"collection":96,"collections":33330,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":789},240702,"wu-kuan-she-zhi-qu-juan-zhu-yun-ming-240702","无款射雉曲卷","祝允明(1460-1526)，字希哲，长洲人。允明生而枝指，故自号枝山，又号枝指生。五岁作径尺字，九岁能诗，稍长，博览群集，文章有奇气，当筵疾书，思若涌泉。尤工书法，名动海内。",[23,92,24,25,49,7,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30610b9a344def6651e5496722c2d9f.jpg",[96],{"id":33332,"slug":33333,"title":10545,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":33334,"thumbUrl":33335,"material":751,"size":752,"collection":95,"collections":33336,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240674,"wu-yan-lian-huang-yi-240674",[92,24,25,7,2136,1613,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37e73b821180e1431802b5b6da2867c.jpg",[],{"id":33338,"slug":33339,"title":17924,"dynasty":18,"author":20022,"museum":107,"description":30655,"tags":33340,"thumbUrl":33341,"material":751,"size":752,"collection":95,"collections":33342,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":789},240613,"shi-zhou-yu-yue-240613",[24,25,75,1613,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d71249932d1697de043778aa5723f4.jpg",[],{"id":33344,"slug":33345,"title":33346,"dynasty":18,"author":25686,"museum":126,"description":33347,"tags":33348,"thumbUrl":33349,"material":1038,"size":33350,"collection":96,"collections":33351,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240611,"zhang-zhao-qi-lv-shi-zhou-zhang-zhao-240611","张照七律诗轴","释文：\n安石榴花开最迟，绛裘深树出幽菲。吾庐想见无限好，客子倦游何不归。坐上一尊虽得满，古来四事巧相违。今人却忆湖边寺，垂柳阴阴昼揜扉。张照。\n下钤“张照之印”、“瀛海仙琴”印2方。引首钤“既醉轩”印。无鉴藏印。\n此书行笔圆转流畅，墨色浓润，偶出枯笔于牵丝回绕处，愈觉神采飞扬。张照的书法融董其昌疏朗闲逸的布白和颜真卿淳厚敦朴的笔致于一体，从而呈现出别具特色的自家风貌。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a4c692de130a0182986bfaed5d19fc.jpg","纵143.7厘米，横54.8厘米",[96],{"id":33353,"slug":33354,"title":17924,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":33355,"thumbUrl":33356,"material":751,"size":752,"collection":95,"collections":33357,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":789},240609,"shi-zhou-lin-ze-xu-240609",[18,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d94c60dc320bc4d6c9b6d11300c03f.jpg",[],{"id":33359,"slug":33360,"title":33361,"dynasty":18,"author":33362,"museum":107,"description":33363,"tags":33364,"thumbUrl":33365,"material":312,"size":95,"collection":96,"collections":33366,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},240604,"han-tan-shu-shi-zhou-han-tan-240604","韩菼书诗轴","韩菼","韩菼tǎn（1637年-1704年），字元少，别号慕庐，长洲（今苏州）人。性嗜酒。顺天乡试时，尚书徐乾学取之遗卷中。康熙十一年（1672年）入国子监做监生。康熙十二年（1673年）中状元，授翰林院修撰，修《孝经衍义》百卷。历官日讲起居注官、右赞善、侍讲、侍读，礼部侍郎、吏部右侍郎，官至礼部尚书兼翰林院掌院学士。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb7744e0306dd5e4103e6d78594d88f.jpg",[96],{"id":33368,"slug":33369,"title":33370,"dynasty":18,"author":31097,"museum":107,"description":31098,"tags":33371,"thumbUrl":33372,"material":751,"size":752,"collection":95,"collections":33373,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240599,"hong-liang-ji-zhuan-shu-qi-yan-lian-hong-liang-ji-240599","洪亮吉篆书七言联",[7,457,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dea7426ea89fdfc3852cdfbd0e728f7.jpg",[],{"id":33375,"slug":33376,"title":9940,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":33377,"thumbUrl":33378,"material":751,"size":752,"collection":95,"collections":33379,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240507,"qi-yan-lian-huang-yi-240507",[7,2136,1613,75,27,77,692,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb61eb2deb1fe816dc385f1fcfafea2.jpg",[],{"id":33381,"slug":33382,"title":33383,"dynasty":18,"author":33384,"museum":126,"description":33385,"tags":33386,"thumbUrl":33387,"material":312,"size":95,"collection":96,"collections":33388,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240486,"zheng-yi-zi-li-wen-zhou-liu-bing-tian-240486","正诣自励文轴","刘秉恬","邱正诣，字三进，号南漪散人，苏州府昆山县人，一代诗僧。明朝儒生，入清后，出家长洲保圣寺，学问淹博，工书法，何义门先生总角时业师。",[7,199,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb509441967bc87ff67b153261d6dfb.jpg",[96],{"id":33390,"slug":33391,"title":33392,"dynasty":45,"author":33393,"museum":107,"description":33394,"tags":33395,"thumbUrl":33396,"material":312,"size":95,"collection":96,"collections":33397,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},240440,"shi-liu-jia-ge-ti-shu-he-zuo-song-xing-shi-zhou-liu-han-ke-240440","十六家各体书合作送行诗轴","刘汉客","此作集十六家笔墨，诸体纷呈却气脉相融。或楷法端凝，筋骨沉厚，似将临歧珍重尽藏于方整笔意；或行草疏朗，墨色枯润相衔，笔锋起落间尽是赠别缱绻。\n\n通篇排布错落和谐，各家书风自具面目，却共寄送行深意。晚明文人酬唱的风雅尽显绢素之上，笔墨间既有对远行知己的殷殷期许，亦展露诸家浸淫翰墨的深厚功底，把惜别心绪落于笔底，让酬赠之谊凝为纸上风华，是一众文人翰墨交心、情志相投的绝佳见证。",[7,75,60,398,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e78b38cee032c3940cdd54e40d21fa2.jpg",[96],{"id":33399,"slug":33400,"title":33401,"dynasty":18,"author":454,"museum":107,"description":33402,"tags":33403,"thumbUrl":33404,"material":312,"size":95,"collection":96,"collections":33405,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},240439,"zeng-sun-lie-shi-zhou-yi-ming-240439","曾孙烈诗轴","此作以草书挥就，用笔纵逸恣肆，提按顿挫间力道尽显。线条枯湿浓淡相生，时而厚重沉凝，时而飘逸灵动，节奏感十足。字势欹正相生、上下映带，行气贯通无滞，章法疏朗开阔，将诗作寄情林泉、物我两忘的隐逸意韵藏于笔墨间。以笔墨延伸诗意，把山园幽居的闲适情志化作笔底波澜，尽显抒情写意的文人风骨。",[2135,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0955d5944b6fa983de68e79892ac1f8.jpg",[96],{"id":33407,"slug":33408,"title":33409,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":33410,"thumbUrl":33411,"material":751,"size":752,"collection":95,"collections":33412,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240433,"wu-chang-shuo-lin-lie-jie-si-tiao-ping-wu-chang-shuo-240433","吴昌硕临猎碣四条屏",[457,7,25,75,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef486d368cc44295475fc849b529225.jpg",[],{"id":33414,"slug":33415,"title":33416,"dynasty":18,"author":33417,"museum":107,"description":33418,"tags":33419,"thumbUrl":33420,"material":751,"size":752,"collection":95,"collections":33421,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240416,"nan-tang-qian-zi-wen-ce-gong-zi-zhen-240416","南唐千字文册","龚自珍","龚自珍（1792年8月22日－1841年9月26日），字璱人，号定盦（一作定庵）。汉族，浙江仁和（今杭州）人。晚年居住在昆山羽琌山馆，又号羽琌山民。清代思想家、诗人、文学家和改良主义的先驱者。\n龚自珍曾任内阁中书、宗人府主事和礼部主事等官职。主张革除弊政，抵制外国侵略，曾全力支持林则徐禁除鸦片。48岁辞官南归，次年卒于江苏丹阳云阳书院。他的诗文主张“更法”、“改图”，揭露清统治者的腐朽，洋溢着爱国热情，被柳亚子誉为“三百年来第一流”。著有《定盦文集》，留存文章300余篇，诗词近800首，今人辑为《龚自珍全集》。著名诗作《己亥杂诗》共315首。多咏怀和讽喻之作。",[7,26,199,3136,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3056126e6c89fce96e300e4114f9a75f.jpg",[],{"id":33423,"slug":33424,"title":17924,"dynasty":45,"author":33425,"museum":107,"description":33426,"tags":33427,"thumbUrl":33428,"material":312,"size":95,"collection":96,"collections":33429,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240377,"shi-zhou-zhu-rong-zhong-240377","朱容重","字子庄，明宗室。好古能文，尤精八法，作各体书，国中凡赠送庆诵以文章介兕觥勒金石者，靡不以其书为重。匪第以其书，盖重其人也。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43147f145a6745751cb8fad4ac66ee6.jpg",[96],{"id":33431,"slug":33432,"title":17924,"dynasty":18,"author":6177,"museum":107,"description":33433,"tags":33434,"thumbUrl":33436,"material":10842,"size":33437,"collection":96,"collections":33438,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240325,"shi-zhou-wang-you-dun-240325","释文：\n霭霭龙旂色，琅琅木铎音。数行宽大诏，四海发生心。晹谷宾初日，清台告协风。愿如风有信，长与日俱中。草木渐知春，萌芽处处新。从今八千岁，合抱是灵椿。瑞日明天仗，仙云拥寿山。猗兰春昼永，金母在人间。苏轼春帖子词。臣汪由敦敬临。",[18,7,60,75,77,1679,33435,3516,679,54,19786,7803],"晚云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5c4eb178bc28afd071cefe6aed3481.jpg","纵115.5cm，横59.7cm",[96],{"id":33440,"slug":33441,"title":23662,"dynasty":45,"author":33442,"museum":107,"description":33443,"tags":33444,"thumbUrl":33445,"material":312,"size":95,"collection":96,"collections":33446,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240260,"wu-lv-zhou-liu-yi-ming-240260","刘翼明","刘翼明（1607-1688），字子羽，号越台，今胶南市琅琊镇刘家村人。生于明万历22年卒于康熙，终年82岁。著名诗人，善书法，才华横溢，倍受王渔洋推崇。《清史稿》《中国人名大词典》《中国美术家大辞典》等均有记载。\n其父刘元化为明万历举人，曾任高陵县、雒川县县令，敕授文林郎。刘翼明为元化之次子。刘翼明才华横溢、文思敏捷，自幼善书画、精书法、工诗文，有“神笔刘子羽”的美称。与当时的名士王无竟有诗坛“刘王”之称。刘翼明学识渊博、为人坦诚，视友人为手足。好友王无竟被仇家杀害，母老弟幼，不能诉讼，胶州知州又收受贿赂，偏袒仇家。于是刘翼明挺身而出为其伸冤。在青州知府衙门前，连续三天不吃不喝，披发连哭三昼夜，迫使知府将案件调出，移交另地审理，使三年冤情得伸，恶人遭到惩处。此事被清人纪圣选编成《青衿侠传奇》词曲，在胶东广为流传。刘翼明所作诗文近千首，其部分诗文被收入《镜庵集》、《北亭诗集》等。",[45,24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65518ea77c7a569b309b73fc6d04788c.jpg",[96],{"id":33448,"slug":33449,"title":17924,"dynasty":18,"author":33450,"museum":107,"description":33451,"tags":33452,"thumbUrl":33453,"material":312,"size":95,"collection":96,"collections":33454,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},240199,"shi-zhou-xiang-lin-240199","项琳","项琳（1619年－1670年），字人玉，号太璞，又号完庵，歙人。\n出生于明末丧乱，无意于仕途，游走湖山。受到吴梅村、王士禛赏识。同屠乔孙从《晋书》、《北史》、《魏书》、《册府元龟》、《艺文类聚》、《太平御览》等书中重辑《十六国春秋》百卷，仍托名崔鸿。康熙九年（1670年），殁于江都。另著有《太璞山人集》三卷。",[24,25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193d42cfe1ddc97319d3a1a744f16a87.jpg",[96],{"id":33456,"slug":33457,"title":24648,"dynasty":18,"author":33458,"museum":107,"description":33459,"tags":33460,"thumbUrl":33461,"material":312,"size":95,"collection":96,"collections":33462,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},240196,"qi-lv-shi-zhou-yan-hang-240196","严沆","严澂(1547—1625),字道彻,号天池,常熟人,著名古琴家。据史料记载,严澂工书法,精百家言,深得老庄精髓;以父荫补中书舍人、工部郎,明万历三十二年(1604)出任邵武(今属福建省)知府,有政绩,甚得民心。严澂晚年辞官归里,徜徉于山水间,以琴、书自娱,于骑射、击剑、投壶、蹴鞠亦无不精。可见,他不仅是一个善于雅玩、才气纵横的贵族公子哥,而且也是一个品性高洁、治学有道的专家。",[75,60,7,77,678,22228,282,25604,2526,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F150d532a5ecbfffa19ab0ad250de67b7.jpg",[96],{"id":33464,"slug":33465,"title":17924,"dynasty":18,"author":33466,"museum":107,"description":33467,"tags":33468,"thumbUrl":33469,"material":312,"size":95,"collection":96,"collections":33470,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},240195,"shi-zhou-cao-he-240195","曹禾","曹禾（1637—1699）字頌嘉，號未庵，又號峨嵋，江蘇江陰人。\n康熙三年（1664）中癸巳科三甲進士，官內閣中書。康熙十八年（1679）應試博學宏詞，獲二等，授翰林院編修，官至國子祭酒，以事罷歸。曹禾喜縱酒，酷愛圍棋，工詩文，與顏光敏、田雯、宋犖等稱“詩中十子”，著有《未庵初集》、《峨嵋集》等。\n曹颂嘉（禾）祭酒常语余曰：“杜、李、韩、苏四家歌行，千古绝调，然语句时有利钝。先生长句，乃句句用意，无瑕可攻，拟之前人，殆无不及。”余曰：惟句句作意，此其所以不及前人也。四公之诗，如万斛泉源，不择地而出，行乎其所不得不行，止乎其所不得不止。余诗如鉴湖一曲，若放翁、遗山已下，或庶几耳。",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb389d145c5e0e8ef0a7fb83c08934329.jpg",[96],{"id":33472,"slug":33473,"title":33474,"dynasty":18,"author":33475,"museum":107,"description":33476,"tags":33477,"thumbUrl":33478,"material":751,"size":752,"collection":95,"collections":33479,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240179,"lin-cuan-fu-jun-bei-shen-ceng-zhi-240179","临爨府君碑","沈曾植","沈曾植（1850年－1922年11月20日），字子培，号巽斋，别号乙盫，晚号寐叟，浙江省嘉兴府嘉兴县人，沈维鐈孙，蒙元史地学者、书法家、史学家、同光体诗人，“于学无所不窥”，朴学宗师。",[7,110,1613,199,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb41247b10243af1d71eda6ae991a72.jpg",[],{"id":33481,"slug":33482,"title":31424,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":33483,"thumbUrl":33484,"material":751,"size":752,"collection":95,"collections":33485,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},240163,"shu-zha-2-tong-lin-ze-xu-240163",[7,60,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8014e8887c2a5f45526126d5802dbfef.jpg",[],{"id":33487,"slug":33488,"title":33489,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":33490,"thumbUrl":33491,"material":751,"size":752,"collection":95,"collections":33492,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240149,"si-zi-heng-huang-yi-240149","四字横",[25,7,1613,60,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1faf777552d2fcd15997dd2a8d3f113e.jpg",[],{"id":33494,"slug":33495,"title":9940,"dynasty":18,"author":12871,"museum":107,"description":33496,"tags":33497,"thumbUrl":33498,"material":751,"size":752,"collection":95,"collections":33499,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240139,"qi-yan-lian-pan-zu-yin-240139","潘祖荫（1830～1890），清代官员、书法家、藏书家。字在钟，小字凤笙，号伯寅，亦号少棠、郑盦。吴县（今江苏苏州）人，大学士潘世恩之孙。内阁侍读潘曾绶之子，咸丰二年一甲三名进士，探花，授编修。数掌文衡殿试，在南书房近四十年。光绪间官至工部尚书。通经史，精楷法，藏金石甚富。有《攀古楼彝器图释》。辑有《滂喜斋丛书》《功顺堂丛书》。",[7,2136,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f22056123f4a95139bb692b3bb3dad.jpg",[],{"id":33501,"slug":33502,"title":33503,"dynasty":45,"author":33504,"museum":107,"description":33505,"tags":33506,"thumbUrl":33507,"material":751,"size":752,"collection":95,"collections":33508,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240127,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240127","行题宋八家书跋页","许乃普","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。",[25,7,60,50,4347,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feba4f3c35d065ebd5c4bdf8945af96.jpg",[],{"id":33510,"slug":33511,"title":33503,"dynasty":45,"author":33504,"museum":107,"description":33512,"tags":33513,"thumbUrl":33514,"material":312,"size":95,"collection":96,"collections":33515,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240126,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240126","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。\n乾隆五十二年五月初四未时生，同治五年(1866)卒，御赐祭葬，谥文恪，国史馆列传。\n清嘉庆二十五年(1820年)殿试一甲二名进士，即榜眼。嘉庆、道光、咸丰3朝三迁内阁学士，五度入直南书房，五充经筵讲官。历官贵州、江西学政，兵部、工部、刑部、吏部尚书，实录馆总裁，多次充任殿试、朝考读卷官、阅卷大臣。任内获道光御笔“迎祥”和咸丰御笔“宜尔子孙”匾额。谥文恪，谕称“许乃普学问优长，供职恪慎”“屡司文柄”。\n其父许学范，乾隆三十七年(1772年)进士，有七子，乃济、乃普、乃钊三子为进士，另四子为举人，有“七子登科”之美称。清代学者、书法家梁同书曾书写“世间数百年旧家，无非积德；天下第一件好事，还是读书”一联送给许学范，称颂许氏家族。",[24,25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aac0bb7b117a9794869d64ac4e0df32.jpg",[96],{"id":33517,"slug":33518,"title":33519,"dynasty":45,"author":454,"museum":107,"description":33520,"tags":33521,"thumbUrl":33522,"material":312,"size":95,"collection":96,"collections":33523,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240124,"shi-yuan-zhong-shi-ye-yi-ming-240124","释元中诗页","此件书法分幅呈现，笔墨意趣各有千秋。右侧诗作用笔酣畅恣肆，行书线条苍劲灵动，结体疏密错落、欹侧相生，牵丝映带间尽显随性潇洒，将诗句空寂幽绝的江景意境融于笔端，风神疏朗俊逸。\n左侧尺牍小字朴拙内敛，笔意厚重沉稳，枯润互见，以平实笔墨承载日常心绪，自带手札特有的质朴温情。整作大小相映、动静相宜，笔墨间浸透文人随性自在的风雅襟怀，是兼具笔墨审美与人文意趣的小品佳作。",[4038,7,25,60,77,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d10390a306232dd0f128201886731af.jpg",[96],{"id":33525,"slug":33526,"title":33527,"dynasty":18,"author":10158,"museum":126,"description":33528,"tags":33529,"thumbUrl":33530,"material":33531,"size":33532,"collection":96,"collections":33533,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240063,"lin-da-ling-tie-juan-fu-shan-240063","临大令帖卷","释文：\n献之白。奉别告。承安和，庆慰。极冷。不审尊体复何如。献之比日如复小胜，因夜行忽复下。如欲作廗。今服药，尽温燥理。冀当可耳。然异极都不得，复小失和。卿恶亦不复得妄近生冷。体气顿至此，令人绝叹。行有佳酒便服。\n献之。承姑比日复小进退，其尔不得一极和，忧悚犹深。不审以服散，未必得力耳。比驎相闻。故云恶。悬怀。使君数得书也。\n愿余上下安和。知婢日夕疏慰意。育故羸。悬心。倪比健也。\n适奉永嘉去月十一日动静。故常患不宁。诸女无复消息。献之。\n八月十九日具疏。操之献之再拜。昨日诸愿悉达。奉奉告慰驰心。极冷。不审尊体复何如。操之创故不差。常恶。公故尔怏怏。献之昨来复下，如欲作廗。殊乏极。服石的丸，冀得力。谨白。不具。操之等再拜。\n嫂等承更恶，不审顷痊复不。必须散时。终得力耶。此药甚佳。想姊举体不能行履。服遂差。安西且无恙。府君属有和稀。久滞。行路同人，绝得此心。故当携其长幼诣。汝上下知彼骆驿。有书示。不足以慰吾意耶。冬间必欲至足下所居。承使君明练。不谓渐有胜也。君数集聚。然其大都可耳。吾止于月半间耶。\n献之等再拜。不审海盐诸舍，上下动静。比复常忧之。姊告无他事。崇虚刘道士鹅群并复归也。献之等当须向彼谢之。献之等再拜。\n甲辰初寒临为存翁词宗。真山。\n款署：“甲辰初寒临为存翁词宗。真山。”钤“傅山之印”白文印。\n此卷临王献之《安和帖》、《姑比日帖》、《愿余帖》、《适奉帖》、《昨日诸愿帖》、《嫂等帖》、《鹅群帖》诸帖，均见于《淳化阁帖》。卷后有邵松年跋，称此帖“随意挥洒，纯任自然，的是大令笔法”。书于康熙三年甲辰（1664年），傅山时年58岁。",[23,49,7,110,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3b5c19c9435926783098a1722640b2.jpg","绫本，草书","纵24.5厘米，横313 厘米",[96],{"id":33535,"slug":33536,"title":21902,"dynasty":18,"author":33537,"museum":107,"description":33538,"tags":33539,"thumbUrl":33540,"material":95,"size":95,"collection":96,"collections":33541,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240056,"lu-yu-zhou-ye-feng-mao-240056","叶凤毛","映榴孙，敷子。官中书。山水师王晕，写生学 人物、鸟兽能传父艺。真草书法晋人。诗词隽永超妙。有说学斋集。卒年七十一。清代画史误作翁凤毛。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a972b433f5dfd6d213e9ab9c6ecff76.jpg",[96],{"id":33543,"slug":33544,"title":27663,"dynasty":18,"author":33545,"museum":107,"description":33546,"tags":33547,"thumbUrl":33548,"material":95,"size":95,"collection":96,"collections":33549,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240053,"shi-ce-zhou-yong-nian-240053","周永年","周永年（1730年－1791年），字書昌，山東歷城（今屬濟南市）人，祖籍浙江餘姚。\n生而好學，“竭數十年博採旁搜之力，棄產營書”，築貸書園，積書十萬卷，供人閲讀抄寫，並倡“儒藏説”，成立“儒藏”，“俾古人著述之可傳者，自今日永無散失，以與天下萬世共讀之。”有“林汲山房”，藏書達五萬卷，繪“林汲山房圖”。\n乾隆三十六年進士，後因入館編纂《四庫全書》，欽賜翰林院庶吉士，散館授編修，任“校勘永樂大典纂修兼分校官”，負責《永樂大典》的輯校工作，輯出宋劉敞《公是集》、劉攽《公非集》、蘇過《斜川集》等十餘種罕見的重要文獻。乾隆五十六年（1791年）卒。",[24,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937a447fa8f83e9b18464a7d2a354ba0.jpg",[96],{"id":33551,"slug":33552,"title":14664,"dynasty":18,"author":2473,"museum":126,"description":33553,"tags":33554,"thumbUrl":33555,"material":1038,"size":33556,"collection":96,"collections":33557,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240041,"xing-shu-shi-he-chao-240041","释文：\n官舍回深巷，频来识苑墙。缓吟春草秀，静语晚卮香。沙柳初藏鹊，溪云复满堂。似东发尊兄。何焯。\n款署：“似东发尊兄。何焯。”钤“何焯之印”白文印、“无勇”朱文印。\n本幅录明蔡羽五律诗《张膳部席上》的前六句，诗载钱谦益《列朝诗集》丙集卷十。书法笔力劲健，布局舒阔明朗，为何焯大字行书佳作。",[7,60,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecf7b508a1eb8826c26265b63b4f7a4c.jpg","纵117.8厘米，横60.3厘米",[96],{"id":33559,"slug":33560,"title":33561,"dynasty":45,"author":27986,"museum":126,"description":33562,"tags":33563,"thumbUrl":33564,"material":18425,"size":33565,"collection":96,"collections":33566,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240023,"song-cao-wu-lv-shi-zhou-song-cao-240023","宋曹五律诗轴","释文：\n秋空尚幽独，萧散意何长。绝壁凌苍翠，飞泉入混茫。天真陶静夜，道力忍坚霜。月出鸟栖息，林辉绕四荒。皋园之一，射陵宋曹。\n下钤“射陵宋曹”、“中秘旧史”印2方，引首钤“射陵”印。无鉴藏印。\n宋曹所擅长的行草书通常呈现两种风格，一种瘦劲雄秀，一种沉着厚重，后者较为常见。此轴属后种风格，用笔丰肥，墨色浓厚，笔力沉着，时出侧锋，为其典型风貌。",[4038,7,60,75,6769,32313,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c7290b3649cb8afd2929d52c7342b7.jpg","纵84.8厘米，横44.5厘米",[96],{"id":33568,"slug":33569,"title":17924,"dynasty":18,"author":24680,"museum":126,"description":33570,"tags":33571,"thumbUrl":33572,"material":4606,"size":33573,"collection":96,"collections":33574,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239993,"shi-zhou-liang-yan-239993","梁巘，字闻山，一作文山，号松斋。安徽亳州人，工书法，真书、行书皆长，尤擅草书。梁巘作书勤奋，以苦为乐。至今，在亳州、太和、凤阳、寿县一带还流传着“无梁不成家，无梁不为富”的说法。可见梁巘书法的影响力之大。",[7,60,75,50,77,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9335ecfd5f31db164c60147004c97.jpg","117×56.5cm",[96],{"id":33576,"slug":33577,"title":26729,"dynasty":18,"author":33578,"museum":107,"description":33579,"tags":33580,"thumbUrl":33581,"material":751,"size":752,"collection":95,"collections":33582,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239985,"zhuan-shu-lu-wen-zhou-hu-shu-239985","胡澍","胡澍（shù）（1825-1872年）清代醫家。字荄甫，又字甘伯，號石生。績溪（今安徽省績溪縣）人。咸豐九年（1859年）舉於鄉，後捐升郎中，分發户部山西司。",[457,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0f0022c93bc401df15fcfa4ae7bb16.jpg",[],{"id":33584,"slug":33585,"title":26787,"dynasty":18,"author":33586,"museum":126,"description":33587,"tags":33588,"thumbUrl":33589,"material":1038,"size":33590,"collection":96,"collections":33591,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239984,"qi-jue-shi-zhou-chen-yi-xi-239984","陈奕禧","陈奕禧书取法晋人，功力精湛，加之学养深厚，故小楷精稳，大字沉着浑融，风度优雅。清人王士祯评陈奕禧书品时称“只为胸中多几百卷书耳”，道出了陈香泉书法的魅力所在。此作线条圆活，章法疏朗宽绰，姿致俊逸遒媚，字里行间浸透出陈奕禧这位文人书家的绰然风雅。",[2135,7,60,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19bbbfcbfabee82c87a2a23faaa7d697.jpg","纵129.5厘米，横50.2厘米",[96],{"id":33593,"slug":33594,"title":33595,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":33596,"thumbUrl":33597,"material":751,"size":752,"collection":95,"collections":33598,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239977,"zhen-er-ti-qian-zi-wen-ce-zhao-meng-fu-239977","真二体千字文册",[92,24,25,7,199,60,26,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1578a43f85ca933804e0146f9f4dab7d.jpg",[],{"id":33600,"slug":33601,"title":17900,"dynasty":18,"author":19125,"museum":107,"description":19126,"tags":33602,"thumbUrl":33603,"material":751,"size":752,"collection":95,"collections":33604,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239938,"zhuan-shu-qi-yan-lian-wu-xi-zai-239938",[457,2136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54f83c19469ce142f5288d2ed1a82ac.jpg",[],{"id":33606,"slug":33607,"title":33608,"dynasty":18,"author":25686,"museum":107,"description":33609,"tags":33610,"thumbUrl":33611,"material":95,"size":95,"collection":96,"collections":33612,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},239884,"zhang-zhao-shu-su-shi-juan-zhang-zhao-239884","张照书苏诗卷","张照（1691～1745），字得天，号泾南，亦号天瓶居士，江南娄县人。康熙四十八年进士。清藏书家、书法家、戏曲家、书画目录整理者。\n康熙四十八年（公元1709年）进士，改庶吉士。雍正十一年（公元1733年）官刑部尚书，以预修《大清会典》，书成，加一级。十三年，为抚定苗疆大臣，无功，革职拿问，谕靳。寻赦之，命在武英殿修书处行走。乾隆七年，历官至刑部尚书，供奉内廷。九年十二月，丁父忧，奔丧至徐州，卒于途中。谥文敏。乾隆时大书法家，常为乾隆皇帝代笔，擅长行楷书，是书“馆阁体”能手。性地高明，深通释典，诗多禅语。书法初从董其昌入手，继乃出入颜、米，天骨开张，气魄浑厚。兼能画兰，间写墨梅，疏花细蕊，极其秀雅。尝作白描大士像，寥寥数笔，而法相自佳。著天瓶斋书画题跋、得天居士集，刻有天瓶斋帖。卒年五十五。",[23,7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff210504616148f59ecb9b03dbd7a8ae9.jpg",[96],{"id":33614,"slug":33615,"title":33616,"dynasty":18,"author":830,"museum":107,"description":2589,"tags":33617,"thumbUrl":33618,"material":751,"size":752,"collection":95,"collections":33619,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},239810,"zhuan-shu-lin-lie-jie-zhou-wu-chang-shuo-239810","篆书临猎碣轴",[7,457,110,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6324a080eafd401eb93a65f27d220b.jpg",[],{"id":33621,"slug":33622,"title":28124,"dynasty":45,"author":33623,"museum":107,"description":33624,"tags":33625,"thumbUrl":33626,"material":95,"size":95,"collection":96,"collections":33627,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239807,"shi-ye-yuan-jiong-239807","袁褧","袁褧，明藏书家、刻书家，字尚之，号谢湖，别号中皋子、谢湖居士，吴郡（今江苏苏州）人，书法与米芾，与文征明齐名。",[25,7,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3a270e8015162a38b2d3cf5a3e9e03.jpg",[96],{"id":33629,"slug":33630,"title":33631,"dynasty":45,"author":33632,"museum":107,"description":33633,"tags":33634,"thumbUrl":33637,"material":95,"size":95,"collection":96,"collections":33638,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239801,"wu-yan-shi-ye-wen-zhen-heng-239801","五言诗页","文震亨","文震亨（1585-1645），字启美，作家、画家、园林设计师，出生地为长洲县（今江苏省苏州市），明代书画家文徵明的曾孙，东阁大学士文震孟之弟。\n天启五年（1625年）恩贡，曾参与五人事件，营救被魏忠贤迫害的周顺昌。崇祯初，任中书舍人、武英殿给事。\n明灭亡后，曾任职于南明，遭到阮大铖、马士英等排挤，辞官退隐。\n弘光元年（清顺治二年，1645年），清军攻占苏州后，避居阳澄湖。清军推行剃发令，自投于河，被家人救起，绝食六日而亡。",[7,60,77,4347,1677,282,652,2175,32111,33635,33636],"春雪","寒气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d44ec6116dddee70be69cd73adf099.jpg",[96],{"id":33640,"slug":33641,"title":33642,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":33643,"thumbUrl":33644,"material":751,"size":752,"collection":95,"collections":33645,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239786,"qi-zha-juan-zhao-meng-fu-239786","七札卷",[23,92,24,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3806fc086e4f797465cc9bc61cfe56.jpg",[],{"id":33647,"slug":33648,"title":33649,"dynasty":18,"author":33650,"museum":107,"description":33651,"tags":33652,"thumbUrl":33653,"material":95,"size":95,"collection":95,"collections":33654,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":789},239708,"shu-cai-xiang-shi-tie-zhou-cao-wen-zhi-239708","书蔡襄诗帖轴","曹文埴","此作用笔端稳厚重，结体方正匀整，尽显典型馆阁风貌。整体气息温润敦和，典雅醇正，点画凝练精到，提按顿挫皆恪守法度。笔画间牵丝映带含蓄内敛，既秉持帖学的流畅秀雅，亦不失骨力劲挺。章法排布齐整疏朗，字距行距匀停有序，墨色浓淡变化细微匀净，恭谨端严的书写态度溢于笔端。作为临作，于精准还原原帖风神之余融入自身体悟，以端稳楷书铺陈开原诗清雅文气，笔墨间尽显深厚帖学功底与娴雅文人意趣，是清代馆阁体书法的典型佳例。",[24,25,75,60,110,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e55cc0ba54c7f6d3a8d6f560cc5b9e.jpg",[],{"id":33656,"slug":33657,"title":33658,"dynasty":18,"author":454,"museum":107,"description":33659,"tags":33660,"thumbUrl":33661,"material":95,"size":95,"collection":96,"collections":33662,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239694,"er-ge-gou-tian-lan-ting-ce-yi-ming-239694","二格钩填兰亭册","此作为钩填《兰亭序》之作，用笔温润灵动，结体秀雅端整，精准复刻原帖萧散飘逸的神韵，笔画牵丝映带细腻自然，将王羲之笔下的晋人风雅还原得形神兼备。朱红鉴藏印错落排布，与墨色书迹相映成趣，晕染出古雅沉静的书卷氛围。整体不失临摹的严谨克制，又带着清代书法特有的娴静文气，虽为钩填，却饱含摹写的匠心，尽显兰亭雅集的清隽意趣。",[25,7,60,110,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ebc4a5dcfdbe107ec97a21887cd222b.jpg",[96],{"id":33664,"slug":33665,"title":33666,"dynasty":162,"author":454,"museum":107,"description":33667,"tags":33668,"thumbUrl":33669,"material":95,"size":95,"collection":96,"collections":33670,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},239690,"tang-ren-xie-dou-sha-jing-ce-yi-ming-239690","唐人写兜沙经册","此作小楷温润秀雅，结体匀净端庄，笔间带着灵动舒展的盛唐气韵。墨色沉凝饱满，历经岁月依旧鲜亮澄澈，纸墨相融尽显抄经手扎实功底。\n它将宗教的肃穆虔诚融入笔墨之间，恪守法度却不失柔和隽秀，是信仰与书法艺术的完美合璧。字里行间，静静铺陈开千年之前的信仰传承，让观者于点画起落间，触摸唐人写经的笔墨风华。",[1063,7,386,199,77,1498,26,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e8d13e3d0ef3633770302446152385f.jpg",[96],{"id":33672,"slug":33673,"title":33674,"dynasty":179,"author":25729,"museum":126,"description":25730,"tags":33675,"thumbUrl":33676,"material":312,"size":25733,"collection":96,"collections":33677,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},239639,"yu-he-shu-shi-ce-ye-yu-he-239639","俞和书诗册页",[25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce2bcb659bbe43b65b0c0f6e71757ed.jpg",[96],{"id":33679,"slug":33680,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":33681,"thumbUrl":33682,"material":312,"size":12116,"collection":95,"collections":33683,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239609,"shi-san-zha-ce-zhu-da-239609",[7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264c5282b6d15bbd7c3e92463eb4b2f0.jpg",[],{"id":33685,"slug":33686,"title":33687,"dynasty":45,"author":33688,"museum":126,"description":33689,"tags":33690,"thumbUrl":33691,"material":312,"size":95,"collection":96,"collections":33692,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239589,"qiu-re-tie-ce-ye-hu-han-239589","秋热帖册页","胡翰","胡翰，字仲申（1307年～1381年），一字仲子，浙江金华人。官衢州府教授。洪武乙酉纂修元史书成，赐白金文绮，辞归卜居长山之阳，学者称曰长山先生。工书，王世贞国朝名贤遗墨，有其书迹。享年七十五岁。",[4038,25,7,60,4347,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76b2cbc2b506be85a0de74d7d21e191b.jpg",[96],{"id":33694,"slug":33695,"title":33696,"dynasty":45,"author":33697,"museum":126,"description":33698,"tags":33699,"thumbUrl":33700,"material":312,"size":95,"collection":96,"collections":33701,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239588,"yuan-xi-tie-ce-ye-wang-cheng-239588","元夕帖册页","王偁","王偁(1370～1415年)：字孟扬，又字密斋，明朝永福县(今永泰县)人。曾任翰林院检讨、《永乐大典》副总裁，著有《虚舟集》5卷。",[7,4347,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22156d249f149a3d8ead4dd6a37d459b.jpg",[96],{"id":33703,"slug":33704,"title":33705,"dynasty":45,"author":33706,"museum":126,"description":33707,"tags":33708,"thumbUrl":33709,"material":199,"size":95,"collection":96,"collections":33710,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239584,"qu-qiu-tie-ce-ye-zhang-fu-yi-239584","去秋帖册页","张复易","此幅小楷尺牍，笔致秀润温雅，点画工稳精致，结体舒展匀停，是明代台阁体一脉的典型佳作。\n作为私人书札，虽为日常家书，却不失庄重规整，笔意自带谦谨恭和的文人气韵。信笺暗饰雅致纹样，笔墨朱印相映，尽显明代文人尺牍的形制美感。排布错落自然，既恪守馆阁体的法度工整，又因私札属性暗含松弛灵动的细节，将奉亲敬长的诚挚心绪融于笔墨之间，是兼具实用价值与审美意趣的书法小品。",[25,7,60,26,77,4038,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356acd7e09aafb9101d0abe76b74336f.jpg",[96],{"id":33712,"slug":33713,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":33714,"tags":33715,"thumbUrl":33716,"material":95,"size":95,"collection":95,"collections":33717,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239204,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239204","此作以干笔淡墨写就溪山幽居，层岩叠岫以披麻皴出质，苍松石上扎根、崖边错落。山溪蜿蜒，板桥卧波引渡，村居隐于林麓烟霭间，一派清冷出尘的野逸之境。\n\n笔墨萧疏简淡，不事浓丽雕琢，枯淡勾勒间藏着沉郁清刚的骨力，将林泉之志寄寓丘壑。题字与绘景相融，以画托意，在静穆淡远的林下风致里，藏着遗世独立的襟怀，简淡中见苍茫，平淡里寄深情。",[24,50,26,7,77,59,51,52,53,57,56,58,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64ccfa451445c9655d321ed12af4da0.jpg",[],{"id":33719,"slug":33720,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":33721,"tags":33722,"thumbUrl":33723,"material":95,"size":95,"collection":95,"collections":33724,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239202,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239202","此帧以书画合璧尽显文人雅趣。右侧山水取观瀑之景，危崖层叠高耸，飞瀑垂空直下，古松虬劲扎根崖壁，崖畔亭台凌然悬空。山涧清流漱石，林麓间隐现村居，意境幽寂清旷。以干笔皴擦勾勒山石肌理，墨色干湿互济，苍润相生，尽显林壑深秀之致。左侧行书笔力苍劲古雅，文辞清逸疏朗，笔墨意趣与山水意境呼应相合，尽显萧散淡远的隐逸意涵，是文人寄兴的佳构。",[24,50,59,60,7,77,26,51,266,55,1018,57,56,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5bebba4e6122dd5281cbdd6ba6bbd1.jpg",[],{"id":33726,"slug":33727,"title":24794,"dynasty":18,"author":294,"museum":107,"description":16227,"tags":33728,"thumbUrl":33729,"material":95,"size":95,"collection":95,"collections":33730,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238826,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238826",[24,25,26,27,59,60,77,7,51,55,704,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6912eb7d16d737b45ed6a714c4c32188.jpg",[],{"id":33732,"slug":33733,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":33734,"tags":33735,"thumbUrl":33736,"material":95,"size":95,"collection":95,"collections":33737,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238730,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238730","此作用笔苍秀，以开合之局铺陈画面。左侧层岩逶迤，皴笔勾勒出山骨棱棱，古松扎根危石，枝叶攒簇间尽显苍劲生机。右侧平远江岸，烟水空濛，临流高士衣袂微拂，抬眼远望，将怀思怅惘凝于眉目间，与空阔江天相映成趣。\n题诗与画境相融，把临水怀远的幽寂诗意落于笔端，干笔淡墨晕染出清寂淡远的氛围，简括的人物笔意，让文人情思与山水烟岚浑然一体，尽显静穆萧散的文人雅韵，将诗中幽怀化作可视的山水清境。",[24,50,59,111,7,77,51,113,56,53,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd94d6cfcbee82e12b34bda246172df0d.jpg",[],{"id":33739,"slug":33740,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":33741,"tags":33742,"thumbUrl":33743,"material":95,"size":95,"collection":95,"collections":33744,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238723,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238723","此作用淡墨轻皴绘就郊野别景，林烟轻笼山居古宅，古木扶疏间宾主执手话别，牵马车夫静立车旁，将饯别缱绻融入清寂山野。\n\n干笔勾勒山石林木，淡墨晕染出烟岚空濛，画面留白悠然，衬出离情悠远绵长。右侧题诗与图景呼应，诗画合璧，将诗作伤别意涵具象化。画风清逸雅致，以景托情，文人诗意与水墨笔意相融，淡远疏朗间尽显古典抒情的含蓄温婉。",[24,25,26,50,112,60,7,51,113,1074,56,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0c7bc1ebeff09d73e3effaf5f99bf5.jpg",[],{"id":33746,"slug":33747,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":33748,"thumbUrl":33749,"material":751,"size":752,"collection":95,"collections":33750,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238557,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238557",[24,25,26,27,199,7,77,113,51,56,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f51ffc76a84df4aff548baad355f81.jpg",[],{"id":33752,"slug":33753,"title":16729,"dynasty":18,"author":454,"museum":107,"description":33754,"tags":33755,"thumbUrl":33756,"material":95,"size":95,"collection":95,"collections":33757,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238546,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-yi-ming-238546","此帧绘圣王观龙马负图，青绿浅设色晕染山水，崖岸幽旷、林木苍润。圣王端坐石畔，神态肃穆沉静，正凝神观览出水龙马，将应天受道的古雅典故融于清寂山水间，意境静穆庄严。左侧楷书赞辞笔致端稳匀整，清隽雅正，与画作呼应相合。整体工致秀雅，设色调和柔婉，人物情态传神尽显开天神圣意蕴，书画合璧，文韵与画意相得益彰，尽显静穆古朴的庙堂雅意。",[24,25,26,27,113,51,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d164ff88d7fd692f4ee36bf1ec23332.jpg",[],{"id":33759,"slug":33760,"title":4167,"dynasty":18,"author":33761,"museum":107,"description":33762,"tags":33763,"thumbUrl":33764,"material":95,"size":95,"collection":63,"collections":33765,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238176,"shan-shui-ce-song-jun-ye-238176","宋骏业","字声求，号坚甫，江苏常熟人，一作江苏苏州人。累官至兵部右侍郎。善书画，笃好山水，因聘王翚于家而画学大进。",[24,25,92,26,27,59,7,60,51,652,589,52,53,58,471,552,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24387526728024399cb9afeca90edaa9.jpg",[63,218],{"id":33767,"slug":33768,"title":4167,"dynasty":18,"author":15612,"museum":107,"description":33769,"tags":33770,"thumbUrl":33771,"material":95,"size":95,"collection":95,"collections":33772,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":789},238159,"shan-shui-ce-yun-xi-238159","此作为诗画合璧的小品佳作，右侧绘秋山幽居：枯木虬枝遒劲疏朗，几点红萼点缀梢头，石矶层叠错落，远山藏着村居茅舍，淡墨轻晕出秋空的朦胧寥廓，留白衬出空山幽寂萧疏的秋日况味。\n\n左侧馆阁体书法秀雅端整，诗句咏叹秋山意趣，笔墨与画境两相呼应。整体不重繁复皴染，以简淡笔触勾勒秋山清景，诗书画印相融无间，将深秋山居的清远幽阔，与不必远寻秋意的闲适禅思融为一体，尽显文人画雅致淡然的意趣风骨。",[24,92,51,26,27,59,57,115,2293,116,55,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc174c8671d9221e24b4fdcff1c019032.jpg",[],{"id":33774,"slug":33775,"title":33776,"dynasty":45,"author":454,"museum":107,"description":33777,"tags":33778,"thumbUrl":33779,"material":751,"size":752,"collection":95,"collections":33780,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},237831,"chen-dan-zhong-shan-shui-shan-yi-ming-237831","陈丹衷山水扇","此作取金笺为底，以清疏淡墨绘就秋山幽居。坡岸错落层叠，幽篁杂木疏密交织，草堂隐于林麓之间，不见主人身影，却暗透出幽居寄怀的文人心绪。\n\n笔墨干湿互用，以淡笔轻皴晕出山石苍润质感，写尽木叶萧疏的秋凉意趣。两侧题字清隽雅致，与画面相映成趣，将诗句里的秋日登高怀思融在尺幅间，整体简淡空灵，尽显林下幽寂的文人雅趣，把耽于林泉、寄情丘壑的隐逸心境藏在了这一方扇面中。",[1250,24,50,59,51,458,56,57,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1250e1d3b2571b3f667d77cd5f4d16d2.jpg",[],{"id":33782,"slug":33783,"title":5945,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":33784,"thumbUrl":33785,"material":751,"size":752,"collection":95,"collections":33786,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},237741,"hua-hui-tu-ce-huang-shen-237741",[92,24,25,26,27,29,30,398,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff435611a1d9d278de089ac87f045545f.jpg",[],{"id":33788,"slug":33789,"title":28312,"dynasty":45,"author":441,"museum":107,"description":12137,"tags":33790,"thumbUrl":33791,"material":95,"size":95,"collection":95,"collections":33792,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},237702,"shan-shui-hua-guo-ce-xiang-sheng-mo-237702",[24,50,26,59,25,7,92,51,57,56,252,8049,7804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a8bf621d124c897046bb7f2b836aac.jpg",[],{"id":33794,"slug":33795,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":33796,"thumbUrl":33797,"material":751,"size":752,"collection":95,"collections":33798,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},237517,"shan-shui-hua-hui-ce-jiang-shou-cheng-237517",[24,25,26,27,51,1018,113,57,53,471,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7eef257ec08d282c41cc0d537bdbdc8.jpg",[],{"id":33800,"slug":33801,"title":16752,"dynasty":18,"author":9615,"museum":126,"description":16753,"tags":33802,"thumbUrl":33803,"material":312,"size":95,"collection":95,"collections":33804,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},237209,"shu-hua-he-bi-ce-cha-shi-biao-237209",[24,25,26,60,50,51,1018,57,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38ce4e5796d408584e6e7069299e1dd.jpg",[],{"id":33806,"slug":33807,"title":11849,"dynasty":18,"author":11850,"museum":107,"description":33808,"tags":33809,"thumbUrl":33810,"material":312,"size":95,"collection":95,"collections":33811,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},237068,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237068","水墨浅绘林亭水畔，双松苍劲卓立，草屋幽藏于林下，浅滩汀洲横陈远浦，留白铺就空寂萧散的淡远意境。笔致清瘦秀雅，以极简笔墨勾勒出幽居林下的闲澹之景，暗合题诗中的隐逸意趣。诗书合璧，墨色朴淡松秀，不见浓丽敷色，尽以线条晕染出林下观览的清寂闲情，将简逸风骨藏于尺幅之间，淡墨之中自有悠长余韵，尽显清雅绝尘的林下雅兴。",[24,25,26,50,112,51,133,55,52,250,652,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e103788a96e8976d06a0220665940d.jpg",[],{"id":33813,"slug":33814,"title":33815,"dynasty":45,"author":33816,"museum":107,"description":33817,"tags":33818,"thumbUrl":33819,"material":751,"size":752,"collection":95,"collections":33820,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},237044,"mo-shi-shan-mian-bao-zhuang-xing-237044","墨石扇面","包壮行","包壮行，字穉修，扬州（今江苏扬州）人。崇祯十六年癸未杨廷鉴榜二甲24名进士，官工部主事。\n工书、画，钩勒梅花，水墨竹石，尝作松柏祝寿图，今藏南京博物院。尤喜累石为山。工制灯，能裁纨绮作奇石列树，及车马、宫室、人物其上，以象唐宋画家。纳火于中，夜视之、宛若黄鹤（王蒙）、辋川（王维）之遗墨也。至今传为“包灯”云。",[4038,24,25,1250,50,59,250,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e23f677aa9f9bbb54547607f863c09.jpg",[],{"id":33822,"slug":33823,"title":20505,"dynasty":18,"author":20506,"museum":126,"description":20507,"tags":33824,"thumbUrl":33825,"material":1179,"size":20510,"collection":95,"collections":33826,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},236153,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236153",[24,25,26,27,111,113,458,567,56,3833,431,574,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b2fa5dd50a54a2f95c6c0aac3ec6ab.jpg",[],{"id":33828,"slug":33829,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":33830,"tags":33831,"thumbUrl":33832,"material":95,"size":95,"collection":95,"collections":33833,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},236101,"hua-luo-han-ce-leng-mei-236101","画面右幅，白眉罗汉垂目安坐，侍者恭立身侧，左侧神将挺枪卫护，各擅神韵。罗汉沉静端严，神将英悍肃穆，衣纹描法细劲灵动，晕染清雅柔和，尽显清隽格调。左侧题字笔力苍劲朴拙，与绘面相映成趣，书画合璧，将禅门静穆庄严的场景铺陈开来。\n作品以工笔之法写就，人物情态刻画入微，细节处尽显匠心，既饱含宗教场景的沉静氛围感，又尽显传统人物画的精妙功底，是兼具审美意趣与宗教意蕴的上乘之作。",[24,25,26,878,111,27,113,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfb79d1a44db493b2a4d245b507bb948.jpg",[],{"id":33835,"slug":33836,"title":33837,"dynasty":45,"author":454,"museum":107,"description":33838,"tags":33839,"thumbUrl":33840,"material":95,"size":95,"collection":95,"collections":33841,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},235850,"lu-zhi-zhi-xing-shan-tu-ye-yi-ming-235850","陆治支硎山图页","此作诗书画合璧，尽展幽山雅境。右侧画中枯木蟠曲苍劲，崖岩层叠错落，山坳间村居隐现，恍若世外幽居。淡赭晕染远山，墨色清浅柔润，尽显山林空寂冷逸之致。左侧题笔清隽秀雅，以文字考据山地方志，与画面相映成趣，将吴中山林的幽寂野趣融于尺幅之间。笔墨简淡松灵，设色浅淡明净，带着温婉清逸的格调，把荒寒幽隐的山景之美娓娓铺陈，尽显文人山水的雅致意趣。",[24,25,26,27,59,60,7,51,115,57,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2376ab2c236666ad1f05c99a9eba1b16.jpg",[],{"id":33843,"slug":33844,"title":16268,"dynasty":18,"author":16269,"museum":107,"description":16270,"tags":33845,"thumbUrl":33846,"material":751,"size":752,"collection":95,"collections":33847,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},235534,"xi-xiang-tu-ce-ye-bu-235534",[24,25,26,27,111,113,114,1074,652,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cddb5470904f03a5de87ae7645156f1.jpg",[],{"id":33849,"slug":33850,"title":7663,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":33851,"thumbUrl":33852,"material":751,"size":752,"collection":95,"collections":33853,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},235491,"huang-shen-shu-guo-tu-ce-huang-shen-235491",[24,25,26,50,27,7667,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2869fcc818c0064302d6bde9ac51700.jpg",[],{"id":33855,"slug":33856,"title":7663,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":33857,"thumbUrl":33858,"material":751,"size":752,"collection":95,"collections":33859,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},235489,"huang-shen-shu-guo-tu-ce-huang-shen-235489",[24,25,26,50,27,7667,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e967a043f3cc29aaea5baf9a2eff25c.jpg",[],{"id":33861,"slug":33862,"title":7663,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":33863,"thumbUrl":33864,"material":751,"size":752,"collection":95,"collections":33865,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},235483,"huang-shen-shu-guo-tu-ce-huang-shen-235483",[24,25,26,50,27,7667,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b5bdc9ab3a2e3abcbdbb79d3b7cfbc.jpg",[],{"id":33867,"slug":33868,"title":33869,"dynasty":18,"author":3764,"museum":107,"description":33870,"tags":33871,"thumbUrl":33872,"material":95,"size":95,"collection":95,"collections":33873,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},235100,"zheng-min-shan-shui-ce-zheng-min-235100","郑旼山水册","此作以枯笔淡墨写危崖栈道，山石轮廓简约空灵，崖边古木虬曲苍劲，几位行旅缓步山径，为清寂的山水晕开几分灵动暖意。笔墨简淡疏朗，尽显萧疏淡远的荒寒意趣，是新安画派简逸清泠的典型风貌。\n\n左侧题跋笔力苍劲，书法与山水呼应相合，文气融于画意，让整幅小品兼具笔墨意趣与文人雅韵，淡而不寡，简而有神，将山水的幽寂清冷与文人情致相融，余韵悠长。",[24,25,26,50,59,7,60,51,113,115,250,472,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0534891de7a684db29a99a1dcb16ff93.jpg",[],{"id":33875,"slug":33876,"title":33869,"dynasty":18,"author":3764,"museum":107,"description":33877,"tags":33878,"thumbUrl":33879,"material":95,"size":95,"collection":95,"collections":33880,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},235098,"zheng-min-shan-shui-ce-zheng-min-235098","此作用淡墨写江岸山居，巉岩错落间寒林虬生，坡脚碎石缀着浅滩幽草，山坳茅庐隐于林木深处，幽寂绝尘。江心一叶扁舟随波缓行，寥寥数笔便铺展出江空水阔的萧散意趣。\n\n左页行书题诗与画面呼应，笔意清隽温雅，诗画交融，尽显寄情林泉、神游万古的襟怀。整体笔墨简淡松灵，不事雕琢，以少胜多，将山野幽居的静谧与放浪江湖的悠逸融为一体，氤氲着清冷出尘的林下之风，尽显简逸清疏的山水意韵。",[24,25,26,50,51,54,56,57,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539445d32f11568dc61ead79b8778135.jpg",[],{"id":33882,"slug":33883,"title":15669,"dynasty":18,"author":15670,"museum":107,"description":33884,"tags":33885,"thumbUrl":33887,"material":751,"size":752,"collection":95,"collections":33888,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},234947,"yue-man-qing-you-ce-chen-mei-234947","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,27,111,113,114,458,567,2591,77,60,2186,3833,56,33886,140,2135,26,7,14990],"石桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa802a71d4482087ccb76c4c0c68fc81e.jpg",[],{"id":33890,"slug":33891,"title":15669,"dynasty":18,"author":15670,"museum":107,"description":33884,"tags":33892,"thumbUrl":33893,"material":751,"size":752,"collection":95,"collections":33894,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},234945,"yue-man-qing-you-ce-chen-mei-234945",[92,24,25,26,27,111,113,114,56,52,53,250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a79bb60951349b844904bd5a72956c6.jpg",[],{"id":33896,"slug":33897,"title":15669,"dynasty":18,"author":15670,"museum":107,"description":33884,"tags":33898,"thumbUrl":33899,"material":751,"size":752,"collection":95,"collections":33900,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},234941,"yue-man-qing-you-ce-chen-mei-234941",[92,24,25,26,27,111,113,567,56,57,268,30,431,574,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165fae7853190aefa81cf1629b495a6f.jpg",[],{"id":33902,"slug":33903,"title":15669,"dynasty":18,"author":15670,"museum":107,"description":33884,"tags":33904,"thumbUrl":33906,"material":751,"size":752,"collection":95,"collections":33907,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},234939,"yue-man-qing-you-ce-chen-mei-234939",[111,27,7,77,113,458,652,57,1151,114,567,3833,33905,1782],"伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b1973c46c586d785e4a0d0caa553b6.jpg",[],{"id":33909,"slug":33910,"title":17988,"dynasty":18,"author":454,"museum":126,"description":17989,"tags":33911,"thumbUrl":33912,"material":1179,"size":17992,"collection":95,"collections":33913,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},234905,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234905",[24,25,26,27,51,7,60,77,59,57,56,555,53,252,137,473,113,58,1678,7758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc038be5466895a672399e0b9fd52138e.jpg",[],{"id":33915,"slug":33916,"title":17988,"dynasty":18,"author":454,"museum":126,"description":17989,"tags":33917,"thumbUrl":33918,"material":1179,"size":17992,"collection":95,"collections":33919,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},234899,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234899",[24,25,26,50,27,51,59,60,54,1752,56,1678,53,771,1018,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ad99601fd92d64dfce53d08f3e5d05.jpg",[],{"id":33921,"slug":33922,"title":31848,"dynasty":18,"author":526,"museum":107,"description":31849,"tags":33923,"thumbUrl":33924,"material":312,"size":31852,"collection":95,"collections":33925,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},234887,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234887",[24,25,26,50,27,51,250,704,77,7,110,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ea3f7a2022586320112e00571e5695.jpg",[],{"id":33927,"slug":33928,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":33929,"thumbUrl":33930,"material":488,"size":95,"collection":95,"collections":33931,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},234757,"huang-shan-tu-ce-jiang-zhu-234757",[24,25,26,50,27,60,7,59,51,651,589,652,252,3783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be6bbf7f5a59544ae1e4a3e17092d5.jpg",[],{"id":33933,"slug":33934,"title":33935,"dynasty":18,"author":2183,"museum":126,"description":33936,"tags":33937,"thumbUrl":33938,"material":95,"size":95,"collection":95,"collections":33939,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},234271,"hua-ren-wu-zhang-zhao-lin-dong-qi-chang-shu-tang-shi-cheng-shan-ding-guan-peng-234271","画人物张照临董其昌书唐诗成扇","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响， [1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,1250,113,110,7,60,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f13ca67f90afdb783c1f99045c97754.jpg",[],{"id":33941,"slug":33942,"title":33943,"dynasty":45,"author":6820,"museum":107,"description":20302,"tags":33944,"thumbUrl":33945,"material":95,"size":95,"collection":95,"collections":33946,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},234223,"du-qiong-meng-xuan-tang-tu-juan-du-qiong-234223","杜琼梦萱堂图卷",[23,24,25,49,50,51,59,7,60,77,55,56,251,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b3528e3fa7f667927b9d355b3593ba.jpg",[],{"id":33948,"slug":33949,"title":33950,"dynasty":18,"author":15594,"museum":126,"description":33951,"tags":33952,"thumbUrl":33953,"material":312,"size":95,"collection":95,"collections":33954,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},234140,"shi-shu-hua-he-juan-huang-yi-234140","诗书画合卷","故宫博物院藏有黄易的一纸《诗书画合卷》，在《诗书画合卷》中黄易分别临习了王羲之的《黄庭经》和《东方朔画像赞》。此二作虽为临习作品，黄易却对原作进行了大胆改变，这种改变可以说是以钟繇来冲破“二王”。首先，他临王羲之楷书中带有些许钟繇的字势特点。他将王羲之楷书结体的纵向取势变为横向取势，并在某些笔画上参入隶书笔意，特别是捺画夸张和舒展得更为明显，以隶书的波挑来调节楷书的板滞。其次，黄易改王羲之楷书的疏朗宽阔为茂密紧凑，不管是行距还是字距都远小于原作，使章法更为葱郁。再次，此作在略微增加线条厚度的同时，又增加了不少起笔和收笔的出锋，这就使作品厚重之中更具有灵动感和活泼的情趣。",[23,24,25,49,7,50,59,51,652,589,268,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2594a0466d2bc6670524a74ac93c1c2d.jpg",[],{"id":33956,"slug":33957,"title":20767,"dynasty":179,"author":20768,"museum":126,"description":33958,"tags":33959,"thumbUrl":33960,"material":1179,"size":33961,"collection":95,"collections":33962,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},233893,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-233893","陆行直字季道吴江（今江苏吴江）人。洪武中（公元1368—1398年）以人才授翰林典籍。善书诗画清劲为人所称。小传见《画史会要》、《珊瑚網》等书。 此图画巨大的湖石一堵屹立画面正中旁边梧桐和柏树冲天而立。笔墨清劲构图平中寓险为陆行直传世名作。画右自题词一首：「侯虫凄段人语西风岸月落沙平流水漫 驚见芦花来雁。可憐瘦损兰趁多情因为卿卿只有一枝梧页不知多少秋声。」后识「友人张叔夏赠余之作也余不能记忆于至治元年仲夏二十四日戏作碧梧苍石与冶仙西 窗夜坐因语及此转瞬二十一载今卿卿叔夏皆成故人恍然如隔世事遂书于卷首以记一时之感慨云。季道陆行直题。」钤「致和斋」、「陆季道氏」二印右下又题词一首 款「陆行直重题」。本幅有元刘则□、页衡、冶仙、曹仲达、卫达辰等十四家题记诗塘有明刘稽、周鼎题识裱边有谢希曾跋语。钤明项子京等收藏印多方。《汪氏珊 瑚網》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。",[24,25,75,50,59,60,7,250,115,1048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a0d56a3607216b38f91cd9c8d213f8.jpg","纵107cm，横53.2cm",[],{"id":33964,"slug":33965,"title":4167,"dynasty":179,"author":2389,"museum":126,"description":10848,"tags":33966,"thumbUrl":33967,"material":488,"size":10851,"collection":95,"collections":33968,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},233175,"shan-shui-ce-cao-zhi-bai-233175",[24,50,59,26,60,7,51,651,360,56,1678,471,252,8049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1665cd980e58c01dcfcbc88ae1e167d9.jpg",[],{"id":33970,"slug":33971,"title":33972,"dynasty":18,"author":454,"museum":126,"description":33973,"tags":33974,"thumbUrl":33975,"material":312,"size":33976,"collection":95,"collections":33977,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},233055,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233055","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[24,27,113,458,26,92,9812,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9b5dbbd007cf65632f7fdf849170ca.jpg","纵55.3cm，横90.3cm",[],{"id":33979,"slug":33980,"title":21451,"dynasty":45,"author":5463,"museum":107,"description":24617,"tags":33981,"thumbUrl":33982,"material":751,"size":752,"collection":95,"collections":33983,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},232823,"shu-fa-shan-mian-zhang-rui-tu-232823",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc735e30f8eaa4c62a480aba02c6e189.jpg",[],{"id":33985,"slug":33986,"title":33987,"dynasty":18,"author":526,"museum":2379,"description":33988,"tags":33989,"thumbUrl":33991,"material":312,"size":33992,"collection":95,"collections":33993,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[92,24,25,75,50,59,60,7,77,51,5721,56,1018,76,57,252,33990],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg","80.4x43.5cm",[],{"id":33995,"slug":33996,"title":33997,"dynasty":8749,"author":454,"museum":107,"description":33998,"tags":33999,"thumbUrl":34001,"material":751,"size":752,"collection":95,"collections":34002,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},231710,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-xing-fu-si-juan-yi-ming-231710","镰仓时代 天狗草纸画卷-兴福寺卷","以长卷铺陈三段意趣：左侧殿廷肃穆，武士执戈列阵，殿内贵人正襟；山间翠色里，天狗隐于林麓，流露幽异怪谈氛围。中段水岸清浅，灵鹿闲踱于滩涂，晕染出静谧禅意。末段殿宇层叠，万人攒动的朝会盛景繁而不乱。设色清雅古拙，线条细腻遒劲，将幽异轶闻与俗世仪典相融，带着古朴的和风叙事质感，尽显中古绘卷的悠长余韵。",[23,49,27,111,113,25990,34000,458,52,798,10795,1018,553,2062,268,51,7,576,16731,1201,56],"贵族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5ff943224bbd2319aac4fc855c4db1.jpg",[],{"id":34004,"slug":34005,"title":34006,"dynasty":8749,"author":34007,"museum":107,"description":34008,"tags":34009,"thumbUrl":34011,"material":95,"size":95,"collection":95,"collections":34012,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},231672,"lu-ao-qi-sheng-tu-juan-chi-da-ya-231672","陆奥奇胜图卷","池大雅","此作用淡墨晕染铺陈平远山水，汀渚山峦随卷舒展，留白托出氤氲水汽，空濛幽寂。点染的林木村居朴拙灵动，将胜景的清旷雅致尽数铺展。\n卷中配行书题跋，笔墨萧散率性，纪游文辞与山水意境相融相生，尽显文人雅趣。整卷以极简水墨，晕开东方山水的禅意侘寂，把漫游揽胜的闲情藏在尺幅长卷里，淡远空灵，是诗书画一体的文人佳构。",[23,34010,1689,50,27,49,59,7,77,51,651,360,54,116,55,56,458,252,52],"南画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f2e4305253da5ba56be20454445e88.jpg",[],{"id":34014,"slug":34015,"title":34016,"dynasty":8749,"author":27090,"museum":107,"description":27091,"tags":34017,"thumbUrl":34018,"material":751,"size":752,"collection":95,"collections":34019,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},231628,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-zhong-tu-zuo-guang-xin-231628","室町时代 清水寺缘起画卷(中)",[27,111,49,1128,7,878,113,458,52,53,56,567,797,1074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a580c0d510cd600e0c22b55140b7c.jpg",[],{"id":34021,"slug":34022,"title":34023,"dynasty":18,"author":4364,"museum":107,"description":34024,"tags":34025,"thumbUrl":34026,"material":95,"size":95,"collection":95,"collections":34027,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228956,"yu-zhi-wan-fang-an-he-jing-shu-shi-jiang-ting-xi-228956","御制万方安和敬述诗","此作用云蝠纹粉笺书写，底色瑞纹雅致，与笔墨相映成趣。行书兼具馆阁端稳与文人意趣，用笔圆劲秀逸，起收间顿挫有度，结体匀整端庄又暗含灵动姿态，字行气脉贯通，章法疏朗合宜。\n笔墨间带着恭谨雅致的庙堂气韵，既有台阁体的规整雍容，又融个人隽秀书风，将庄重感与温润笔墨相融，在严整法度中透出温婉情致，尽显清中期翰苑书法典型风貌，纹饰与笔墨相得益彰，更添祥和雅正之韵。",[23,24,25,75,60,7,27,26051,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5e125151224206e9ae776a4d8ee0ab.jpg",[],{"id":34029,"slug":34030,"title":34031,"dynasty":45,"author":342,"museum":72,"description":34032,"tags":34033,"thumbUrl":34034,"material":682,"size":34035,"collection":95,"collections":34036,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228884,"du-le-yuan-ji-qi-yong-juan-wen-zheng-ming-228884","独乐园记七咏卷","此幅以王蒙笔法画司马光独乐园图，嘉靖戊午（1558）七月二十日，作独乐园图。绘村居篱落，临水而筑。篱前立苍松，屋後植脩竹。敞轩之中，士人倚窗凝视，远水遥岑。笔多圆转，意亦较滞，项圣谟专学此等。行书独乐园记，用新笔，秀妩温润之甚，去尽少年圭角。八十九岁老翁，精力不减盛年也。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848062856841e9511f46a506c0accf83.jpg","纵27cm，横655.2cm",[],{"id":34038,"slug":34039,"title":34040,"dynasty":45,"author":8163,"museum":107,"description":24443,"tags":34041,"thumbUrl":34042,"material":751,"size":752,"collection":95,"collections":34043,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228861,"you-lan-shi-wen-peng-228861","幽兰诗",[23,7,25,49,60,77,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3d76f4c6dc7db49dc2e6f090bee8ff.jpg",[],{"id":34045,"slug":34046,"title":34047,"dynasty":45,"author":46,"museum":107,"description":34048,"tags":34049,"thumbUrl":34050,"material":751,"size":752,"collection":95,"collections":34051,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228840,"chun-xue-ge-jing-xin-shen-zhou-228840","春雪歌镜心","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,1250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ed06e54c1727261421608c690df658.jpg",[],{"id":34053,"slug":34054,"title":34055,"dynasty":45,"author":19108,"museum":107,"description":34056,"tags":34057,"thumbUrl":34058,"material":95,"size":95,"collection":95,"collections":34059,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228767,"shi-jiao-tu-ce-ni-yuan-lu-228767","石交图册","此作用笔斩截沉厚，起收爽利干脆，捺笔重拙舒展自带金石质感。字形方正端稳，排布匀整却不显板滞，繁复如“鴻”者疏密处理精妙，收放之间尽显朴茂雄浑之气。\n\n师法汉隶古意又自出机杼，将隶书的端庄雅正与书写的灵动意趣相融，笔画粗细对比鲜明，苍劲老辣又开张大气，尽显沉浑朴厚的书法意韵，视觉张力饱满，藏着刚劲爽利的气度。",[7,1613,77,26,25,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa953d9cf505ccdd5b3da0d01691690dd.jpg",[],{"id":34061,"slug":34062,"title":13232,"dynasty":45,"author":2206,"museum":107,"description":34063,"tags":34064,"thumbUrl":34065,"material":95,"size":95,"collection":95,"collections":34066,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,92,24,25,49,60,7,50,27,51,54,56,53,52,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":34068,"slug":34069,"title":34070,"dynasty":88,"author":22617,"museum":107,"description":34071,"tags":34072,"thumbUrl":34073,"material":95,"size":95,"collection":95,"collections":34074,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},227946,"bao-bao-can-zhuang-qi-jue-tuan-shan-ce-ye-yang-huang-hou-227946","薄薄残妆七绝团扇册页","此作楷书清丽秀雅，笔致温婉端凝，起转收合间尽显宋人的雅致法度。笔底诗句将暮春残妆淡香、揽春光自适，再到厌弃繁华耽于醉乡的心境缓缓铺陈，笔墨与文思相融，自带沉静隽秀的闺中韵致。泛黄绢面晕染开古雅底色，朱红印章错落点缀，尺幅之内既有笔墨书香，更具宋韵小品的精致隽永，尽显平和内敛的审美意趣，将宋代文人的雅致心境藏于团扇方寸之间。",[23,92,24,25,1250,26,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5abb7fcc0ede7c197ab580da97bca657.jpg",[],{"id":34076,"slug":34077,"title":34078,"dynasty":88,"author":34079,"museum":107,"description":34080,"tags":34081,"thumbUrl":34082,"material":95,"size":95,"collection":95,"collections":34083,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},227692,"song-li-zong-mo-ji-zhao-li-zong-zhao-yun-227692","宋理宗墨迹","赵理宗赵昀","宋理宗赵昀（1205年1月26日－1264年11月16日），原名赵与莒，后赐名赵贵诚，宋太祖次子燕懿王赵德昭九世孙，宋宁宗太子赵竑与宰相史弥远不睦，1224年宁宗驾崩后，弥远矫诏立贵诚为帝，是为宋理宗，改名赵昀，是南宋的第五位皇帝（1224年9月17日－1264年11月16日在位），在位40年，享年59岁。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632e8f5ca900610cfd30ca48bcd40c4d.jpg",[],{"id":34085,"slug":34086,"title":34087,"dynasty":88,"author":454,"museum":107,"description":34088,"tags":34089,"thumbUrl":34090,"material":95,"size":95,"collection":95,"collections":34091,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},227557,"da-song-xin-yi-san-zang-sheng-jiao-xu-yi-ming-227557","大宋新译三藏圣教序","《大唐三藏圣教序》，简称《圣教序》，由唐太宗撰写。最早由唐初四大书法家之一的褚遂良所书，称为《雁塔圣教序》，后由沙门怀仁从王羲之书法中集字，刻制成碑文，称《唐集右军圣教序并记》，或《怀仁集王羲之书圣教序》，因碑首横刻有七尊佛像，又名《七佛圣教序》。集王圣教序碑刻立于唐咸亨三年（六七二），碑通高三五零、宽一零八、厚二十八厘米。碑文三十行，行八十三至八十八字不等。",[2601,198,7,199,878,3423,11284,4677,1614,16862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bafcbb9729e753831f17514aa7625.jpg",[],{"id":34093,"slug":34094,"title":34095,"dynasty":162,"author":454,"museum":107,"description":34096,"tags":34097,"thumbUrl":34099,"material":751,"size":752,"collection":95,"collections":34100,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},227229,"fo-jing-shi-bian-yi-ming-227229","佛经 饰边","日本写经史的最辉煌时期，应是在奈良时代（公元710-794）。此时中国为盛唐时期，日本因积极学习唐文化，从而建立了相对完备的政治集权，经济、文化也盛象空前。\n公元717年，日本留学僧玄昉随第八次遣唐使入唐（吉备真备为此次遣唐使团的正使），734年留学近18载归国。此时的日本王室将佛教视作“镇护国家之要法”，有意大兴佛事；而留学僧玄昉从中国携带大量佛像及五千多卷大藏经回国传播，由此二者为因，促进了日本国内书写大藏经的流行。因此奈良时代到平安中期也被公认为日本重要的写本时代。这期间的写经数量较大、书风高古。",[23,162,878,386,199,7,25,49,1498,13817,34098,77,27],"饰边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f1a929d64d0da934b0bb3a755c08a6.jpg",[],{"id":34102,"slug":34103,"title":34104,"dynasty":162,"author":454,"museum":107,"description":9803,"tags":34105,"thumbUrl":34106,"material":751,"size":752,"collection":95,"collections":34107,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},227216,"wu-zhou-tang-zhang-ju-mu-zhi-ming-yi-ming-227216","武周（唐）张矩墓志铭.",[23,198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cabce3fed1873424d7351ed68799a4e.jpg",[],{"id":34109,"slug":34110,"title":34111,"dynasty":162,"author":454,"museum":107,"description":9803,"tags":34112,"thumbUrl":34113,"material":751,"size":752,"collection":95,"collections":34114,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},227126,"tang-zhang-zhong-kui-mu-zhi-ming-yi-ming-227126","唐张钟葵墓志铭",[198,7,199,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf06e3b39ef7e31d5ed99d64bf3cf05.jpg",[],{"id":34116,"slug":34117,"title":34118,"dynasty":105,"author":637,"museum":107,"description":34119,"tags":34120,"thumbUrl":34121,"material":95,"size":95,"collection":95,"collections":34122,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},227054,"da-guan-tie-3-wang-xi-zhi-227054","大观贴-3","此帖笔力爽利遒劲，行草随心变幻，牵丝映带间尽显使转灵动，粗细俯仰间生机盎然。起笔斩截利落，收锋或峭拔出锋或内敛回护，将真性情藏在线条疾缓之中。布局疏密错落天成，整行气脉贯通如流云出岫，拓本之下仍难掩笔墨舒展俊逸。\n字字顾盼相生，既不失法度规整，又尽显萧散简远的林下之风，将晋人尚韵的风雅气度融于每一处提按顿挫，把超逸出尘的魏晋风神藏在寸缣尺素之间。",[60,198,7,200,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90d7db95288c774c53bbc15056abef8.jpg",[],{"id":34124,"slug":34125,"title":34126,"dynasty":8749,"author":454,"museum":107,"description":34127,"tags":34128,"thumbUrl":34129,"material":95,"size":95,"collection":95,"collections":34130,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},226650,"bai-shi-wen-ji-gu-chao-can-juan-yi-ming-226650","白氏文集-古抄残卷","《白氏文集》，是唐代诗人元稹为了好友白居易而编辑的作品集，又称《白氏长庆集》。原先共有七十五卷，现存七十一卷，每卷的编排大致上保留了白居易自编的原貌，在唐代文人自编文集中，是保存较完整的一部。",[23,7,199,1498,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb513521513d4b431b17a77d5923dfa79.jpg",[],{"id":34132,"slug":34133,"title":34134,"dynasty":162,"author":454,"museum":107,"description":9803,"tags":34135,"thumbUrl":34136,"material":751,"size":752,"collection":95,"collections":34137,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},226541,"han-yu-li-guan-mu-zhi-yi-ming-226541","韩愈李观墓志",[23,198,7,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467863e69f0ecaf1daa6633b8759a8de.jpg",[],{"id":34139,"slug":34140,"title":34141,"dynasty":3087,"author":454,"museum":107,"description":9803,"tags":34142,"thumbUrl":34143,"material":751,"size":752,"collection":95,"collections":34144,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},226537,"yang-fan-mu-zhi-ming-yi-ming-226537","杨范墓志铭",[23,198,7,199,3423,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F950ddc581335ca53d9afac9c0edc06b5.jpg",[],{"id":34146,"slug":34147,"title":34148,"dynasty":162,"author":454,"museum":3028,"description":34149,"tags":34150,"thumbUrl":34151,"material":751,"size":752,"collection":95,"collections":34152,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},226177,"ku-zhu-shi-xi-bi-yi-ming-226177","窟主室西壁","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1063,16843,878,199,198,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7788ea3c7b3d5c720de75b29bed0324.jpg",[],{"id":34154,"slug":34155,"title":34156,"dynasty":88,"author":24958,"museum":107,"description":24959,"tags":34157,"thumbUrl":34158,"material":751,"size":752,"collection":95,"collections":34159,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},225291,"jin-gang-bo-re-jing-kai-ti-can-juan-liu-shi-san-xing-hong-fa-da-shi-kong-hai-225291","金刚般若经开题残卷六十三行",[23,7,386,49,878,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cf5595d69e439afd2c4407399c65fd.jpg",[],{"id":34161,"slug":34162,"title":34163,"dynasty":18,"author":3067,"museum":107,"description":34164,"tags":34165,"thumbUrl":34167,"material":95,"size":95,"collection":95,"collections":34168,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},224466,"wan-feng-ji-yu-wang-hui-224466","万峰积玉","以水墨晕染层叠峰峦，素雪覆裹山巅，留白与淡墨交织出寒冽空寂的冬日林泉。枯木萧疏错落，枝桠凝霜覆雪，愈发衬出山野清旷辽远。\n\n运笔兼具苍劲与秀润，勾勒山峦简约空灵，淡墨皴擦晕出积雪的厚重，细笔摹画木梢萧寒之态，将冬日山野的冷逸出尘尽数铺展。边角题诗相伴印信，诗画相融，把万峰积素、空谷幽寂的冬日意境定格卷上，既有雪景山水的清寒之美，又携文人雅韵，尽显雪景山水的隽永格调。",[23,92,24,50,51,1151,588,77,7,59,34166],"空寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba9d8c4472c4dc665491c07f3c820fd.jpg",[],{"id":34170,"slug":34171,"title":34172,"dynasty":18,"author":34173,"museum":72,"description":34174,"tags":34175,"thumbUrl":34176,"material":751,"size":752,"collection":95,"collections":34177,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},224350,"qing-shan-shui-lou-tai-jin-de-ying-224350","清山水楼台","金德瑛","金德瑛（1701年－1762年），中国清朝状元、政治人物，字汝白，号桧门。浙江仁和（今浙江杭州）人。\n生于康熙四十年（1701年），乾隆元年（1736年）状元。授翰林院修撰，历任右庶子、太常寺卿，任江西、山东及顺天学政。乾隆二十一年（1756年），路过徐州，发现黄河决口，运河溢涨，及时上奏。官至左都御史。金德瑛工书法，喜欢戏曲，常至梨园听歌。",[23,24,25,27,111,51,458,55,113,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911cc53f39a6642f5e1301b28b6ba7b0.jpg",[],{"id":34179,"slug":34180,"title":34181,"dynasty":18,"author":34182,"museum":107,"description":34183,"tags":34184,"thumbUrl":34185,"material":95,"size":95,"collection":95,"collections":34186,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},224251,"chu-zheng-tu-zhou-xu-fang-224251","出征图轴","徐方","此作用淡赭晕染残阳暮色，远山层叠朦胧，戍楼孤峙山巅，猎猎军旗暗合将行肃穆。坡岸间人马错落，或缓行或伫立，寥寥数笔便将情态勾勒尽致，淡逸清润的笔触晕开边地荒疏萧索的氛围。\n\n左侧长题诗文与画作相映成趣，诗画合璧。整幅不施繁复皴擦，以极简笔墨烘托出征沉凝氛围，将将士临行之际的沉肃与边地苍茫糅合，于简淡悠远间暗蕴家国壮怀，尽显文人画融情于景的雅致意韵。",[23,24,25,50,27,75,51,113,1074,1283,1679,704,798,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b0af847b142d6a46f5a7689443523df.jpg",[],{"id":34188,"slug":34189,"title":34190,"dynasty":45,"author":34191,"museum":107,"description":34192,"tags":34193,"thumbUrl":34194,"material":95,"size":95,"collection":95,"collections":34195,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},224206,"shu-hua-ce-ye-16-xiao-yun-cong-wu-guo-dui-224206","《书画册页》-16","萧云从 吴国对","此幅行书题诗笔致秀雅灵动，结体舒展安和。起笔收锋自带文人清逸书卷气，字距错落有致，行气疏朗从容。\n\n诗句隽秀清雅，以石骨冰肌衬出幽居雅意，将春日将雪的清寂仙气融于笔墨之间。朱红印章与泛黄素纸相映，金石朴拙中和了笔锋秀润，尽显文人寄情山水、醉心林泉的雅致襟怀，是诗书印合一的小品佳制。",[23,45,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0575266b8de62bc752b24fb55d1b49.jpg",[],{"id":34197,"slug":34198,"title":34199,"dynasty":162,"author":454,"museum":107,"description":34200,"tags":34201,"thumbUrl":34202,"material":751,"size":752,"collection":95,"collections":34203,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},223859,"long-feng-jing-yi-ming-223859","龙凤镜","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[1063,15301,7713,359,33056,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588971505936c7271ca971793ad25081.jpg",[],{"id":34205,"slug":34206,"title":34207,"dynasty":162,"author":454,"museum":107,"description":34208,"tags":34209,"thumbUrl":34210,"material":751,"size":752,"collection":95,"collections":34211,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},223815,"lian-sheng-gui-zi-jing-mu-tuo-fu-jian-yi-ming-223815","联生贵子镜木托附件","唐代铜镜在造型上突破了汉式镜，创造出各种花镜，如葵花镜、菱花镜、方亚形镜等等。图案除了传统的瑞兽、鸟兽、画像、铭文等纹饰外，还增加了表现西方题材的海兽葡萄纹，表现现实生活的打马球纹等等。唐代铜镜的纹饰和总体布局，也突破了前期的程式规范。铜镜的构图虽然还是环绕式和对称式的表现手法，但是布局清新明朗，流畅华丽，自由活泼，特别是高浮雕技法，生气充沛，柔美自然。\n唐代铜镜在造型上已突破了汉式镜，如葵花镜、菱花镜、方亚形镜等。图案除传统的瑞兽、鸟兽、画像、铭文等纹外，还增加了表现西方题材的海兽葡萄纹，打马球纹等。盛唐以后，以花为主，多为吉祥图案，自由豪放，清新活泼，表现了大唐帝国蓬勃向上的精神面貌。装饰方法有浮雕、彩绘、镶嵌、鎏金等到，出现了金银平脱、螺钿镶嵌、涂釉、涂漆等新工艺。唐代铜镜的演变情况可分为三个时期。初唐，一方面继承隋代传统，多为四神镜、十二生肖镜、瑞兽镜；另一方面又受外影响，出现海兽葡萄镜。盛唐、中唐时，民族特点加强，多为花鸟镜、瑞花镜、人物故事镜、盘龙镜、对凤镜等，寓意吉祥。构图也不像传统汉式镜那样严格对称，而是采用绘画风格，但求均衡，不求对称。装饰手法也比以前增多，华丽精致，雄健豪放，是唐镜的最盛期，代表了唐镜的水平。晚唐处于衰落趋势，多为八卦镜，万字镜，有宗教意义，整个看上去，简单粗放，单调乏味。",[162,19026,7713,7,199,457,1613,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac7475659ac1057721ffccf004fe6db.jpg",[],{"id":34213,"slug":34214,"title":34215,"dynasty":162,"author":454,"museum":107,"description":34216,"tags":34217,"thumbUrl":34218,"material":751,"size":752,"collection":95,"collections":34219,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},223546,"fa-hua-jing-fang-bian-pin-9-yi-ming-223546","法华经方便品9","南海贡奇女庐眉娘，工巧无比，能于尺绢之上，绣法华经七卷，字之大小不逾粟粒，点划分明，细于毫发。这是刺绣绣字的最早文字记录。",[1063,386,7,49,878,199,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204fc721f3b9fc50f9e9095f3c01e3d6.jpg",[],{"id":34221,"slug":34222,"title":34223,"dynasty":88,"author":454,"museum":126,"description":34224,"tags":34225,"thumbUrl":34226,"material":1179,"size":34227,"collection":95,"collections":34228,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},223464,"yan-gui-tu-yi-ming-223464","岩桧图","此图描绘君烟上古树参天，天气稀疏。 照片取自山的一角，左侧用雄壮的笔描绘牛仔山的陡峭上升，两棵枯萎的古树斜向空中。 笔下潇洒奔放，风风火火。 山石外，竹水亭，元代远有人居二宋，似呼唤同伴来此歇息。 山石古树的写意，笔法是郭熙的，但郭繁星的笔法是郭繁星的一点点，被认为是南锡熙画派的作品。",[23,24,25,50,27,51,250,115,60,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f1cb467eb71decc35abd1492185aa5.jpg","50.5×39.2厘米",[],{"id":34230,"slug":34231,"title":34232,"dynasty":18,"author":6275,"museum":107,"description":6276,"tags":34233,"thumbUrl":34234,"material":312,"size":95,"collection":96,"collections":34235,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},223271,"shou-gao-zhen-ji-yu-zhi-gai-yu-shi-yan-tan-hong-yi-fa-shi-223271","手稿真迹-余之改遇实验谈",[23,7,49,199,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf0ce183ea6e2ec84ccac84499fae00b.jpg",[96],{"id":34237,"slug":34238,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":34239,"thumbUrl":34243,"material":95,"size":23245,"collection":95,"collections":34244,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},223204,"geng-zhi-tu-ce-jiao-bing-zhen-223204",[24,92,4347,27,111,113,34240,6605,116,34241,7,34242],"乡村","农桑劳作","耕织题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dea0eb58f60875dc4553e87238315ca.jpg",[],{"id":34246,"slug":34247,"title":34248,"dynasty":18,"author":22106,"museum":107,"description":34249,"tags":34250,"thumbUrl":34251,"material":312,"size":95,"collection":95,"collections":34252,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},223134,"shi-wan-tu-ce-shan-mian-1-ren-xiong-223134","十万图册-扇面1","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,25,1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c301b18131701c4457753e800f42e9.jpg",[],{"id":34254,"slug":34255,"title":34256,"dynasty":45,"author":5233,"museum":72,"description":34257,"tags":34258,"thumbUrl":34259,"material":312,"size":34260,"collection":95,"collections":34261,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},222577,"cao-shu-qi-jue-shi-zhou-mo-shi-long-222577","草书七绝诗轴","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。\n喜聚书，著名藏书家杨仪，是他的舅父，“七桧山房”藏书极富，尤多宋、元精本。杨仪去世后，所藏之书，多归于他，藏书于“城南精舍”中。黄丕烈作诗咏其事云：“七桧山房万卷楼，杨家书籍莫家收”之句。每得一书，似添一良友。并每当梅花开时，焚香点茶，开内典素书诵读。他说：蓄一古书，必须考校伪谬之后，方能入库。收藏的宋刻《南华真经》《妙湛和尚偈颂》等，为藏家所重。藏书印有“莫生秋水”、“山有寿兮松有茂”、“莫云卿赏识印”、“思玄亭”、“碧山樵”、“玉关山人”等。",[23,4038,24,25,7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a613eb45172acc487e7bff7344c6417.jpg","133.5×53.7cm",[],{"id":34263,"slug":34264,"title":5945,"dynasty":45,"author":4300,"museum":2692,"description":34265,"tags":34266,"thumbUrl":34268,"material":346,"size":34269,"collection":95,"collections":34270,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},222560,"hua-hui-tu-ce-chen-chun-222560","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,24,25,92,50,129,30,1689,7,4038,2645,576,9673,34267],"写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba7d9cdec86c0d7f73ca453017e82d2.jpg","32.5×57.3厘米",[],{"id":34272,"slug":34273,"title":34274,"dynasty":45,"author":10912,"museum":107,"description":10914,"tags":34275,"thumbUrl":34276,"material":95,"size":34277,"collection":95,"collections":34278,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},222548,"ba-ti-li-cheng-xiao-han-lin-wang-duo-222548","跋（题李成《小寒林》）",[23,7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6802d0b1772156bd9946f7a86cbdcdbc.jpg","40x61",[],{"id":34280,"slug":34281,"title":34282,"dynasty":45,"author":10912,"museum":1830,"description":26159,"tags":34283,"thumbUrl":34284,"material":9104,"size":34285,"collection":95,"collections":34286,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},222547,"zeng-zhang-bao-yi-shi-juan-quan-juan-wang-duo-222547","赠张抱一诗卷全卷",[23,25,7,49,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b2f5e3e433f8fdbc6532a50d80d3de.jpg","469X26厘米",[],{"id":34288,"slug":34289,"title":34290,"dynasty":45,"author":10912,"museum":126,"description":34291,"tags":34292,"thumbUrl":34300,"material":312,"size":34301,"collection":95,"collections":34302,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},222543,"jian-biao-ce-wang-duo-222543","剪裱册","此册为王铎去世前的冬天所写，当时王铎59岁，于次年3月去世。这件作品虽经剪裱，但原作可能为巨幅，近乎榜书，其字已经入化走定。",[23,7,60,398,50,26,77,34293,34294,34295,34296,9679,34297,34298,34299,140],"青门","巷竹","早蕨","晚饷","白鸟","暮岭","归鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F377dcc7af48e4623b8c325a64f2230f3.jpg","36×18×21㎝",[],{"id":34304,"slug":34305,"title":18421,"dynasty":45,"author":10912,"museum":126,"description":18422,"tags":34306,"thumbUrl":34307,"material":18425,"size":18426,"collection":95,"collections":34308,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},222542,"xing-shu-wu-lv-shi-zhou-wang-duo-222542",[23,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85344c36d2841011e570f986b926a57a.jpg",[],{"id":34310,"slug":34311,"title":34312,"dynasty":45,"author":2206,"museum":72,"description":16453,"tags":34313,"thumbUrl":34314,"material":312,"size":16456,"collection":95,"collections":34315,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},222477,"shi-tie-ming-dou-pian-zhu-yun-ming-222477","诗帖《名都篇》",[23,92,24,25,49,50,77,7,200,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5fd88b77555435f37d0ebc34bb492d.jpg",[],{"id":34317,"slug":34318,"title":34319,"dynasty":45,"author":13842,"museum":279,"description":34320,"tags":34321,"thumbUrl":34322,"material":9681,"size":34323,"collection":95,"collections":34324,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},222370,"wen-yin-tu-juan-yao-shou-222370","文饮图卷","姚绶（1422-1495年），字公绶，号穀庵、丹丘子、云东逸史等。明天顺八年（1464年）进士，官至广东道监察御史，因忤权贵被贬永宁知县，遂称病辞官归里，以诗文书画终老其生。其书法初学宋克，后宗张雨、赵孟俯，并参以黄庭坚；绘画方面，他继承了元代文人画传统，主要师法吴镇、王蒙、赵孟俯，可谓明代前期文人画家中的领军人物之一，在元代文人画与明代吴门画派之间起着承上启下的关键作用。",[23,92,24,25,49,50,60,7,77,129,59,113,51,132,56,55,53,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a051ea9fd252ec4da1dd0ba33659ff.jpg","23.3 x77.2厘米",[],{"id":34326,"slug":34327,"title":34328,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":34329,"thumbUrl":34332,"material":682,"size":7424,"collection":95,"collections":34333,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":23752},222307,"nan-hua-zhen-jing-60-wang-chong-222307","南华真经60",[23,7,384,199,34330,34331],"道家典籍","浑沌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F831e6f3615c46f341481e25f1b7e65c2.jpg",[],{"id":34335,"slug":34336,"title":15141,"dynasty":45,"author":5463,"museum":107,"description":34337,"tags":34338,"thumbUrl":34339,"material":312,"size":34340,"collection":95,"collections":34341,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},222057,"qian-zi-wen-juan-zhang-rui-tu-222057","在明代书坛，张瑞图是一位很特殊的书法家。他人品颓喪，步入仕途即依附魏忠贤，成为“魏家阁老”成员之一，其行径为士林所不齿，《明史》将他列入“阉党”；然在书法艺术上却颇有建树，为时人所公认，与邢侗、米万钟、董其昌齐名，书史并称曰“邢张米董”。颓丧的人品居然没有淹没他的书法声誉，这在“书以人重”观点已十分流行的明代，是很特殊的例外，有明一代仅张瑞图和王铎两人，如（清）吴德旋在《初月楼论书随笔》中所评：“张果亭（张瑞图）。王觉斯（王铎）人品颓丧，而作字居然有北宋大家之风，岂得以其人而废之。”可见两人书艺必有过人之处。\n其次，张瑞图是与邢侗、米万钟、董其昌并称為“晚明四家”的，然他的书风与崇尚钟王帖学、追求柔媚格调的邢、米、董三家迥然有别，而与黄道周，倪元璐、王鐸、傅山诸人创立的奇倔狂逸风貌颇為相似，共同在钟王之外另闢蹊径。（清）粱巘在《评书帖》中即指出：“明季书学竞尚柔媚，王（鐸）张（瑞图）二家力矫积习，独标气骨，虽末入神，自足下朽。”杨守敬也认為张氏“顾其流传书法，风骨高騫，与倪鸿宝（元璐）、黄石斋（道周）伯仲。”([清]杨守敬跋张瑞图《前赤壁赋》)张瑞图之名不列入风格相伯仲的倪、黄、王流派之中，却与蹊径迥异的邢、米、董并称，这也是很特殊的现象，其书风与诸家必然存在同中之异或异中之同的复杂关係。因此，探讨张瑞图其人其书的特殊性是饶有意趣的问题。",[23,92,24,25,49,398,7,77,1498,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0547e44eabdf5188bbea689e294c99af.jpg","27X923",[],{"id":34343,"slug":34344,"title":34345,"dynasty":45,"author":342,"museum":10177,"description":34346,"tags":34347,"thumbUrl":34349,"material":60,"size":34350,"collection":95,"collections":34351,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},221976,"yong-hua-shi-juan-wen-zheng-ming-221976","咏花诗卷","行草书录其旧作咏花诗七律十二首，《文徵明杂花诗卷》曾经安岐、清内府及陈夔麟等收藏，现藏上海博物馆。今将《文徵明杂花诗卷》墨迹影印出版，以飨广大书法爱好者。",[23,7,60,49,77,131,137,1772,3040,1002,6297,6298,282,34348,360],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069ed314ba6e32260b4023881b7ef8a7.jpg","纵39.3厘米，横546厘米",[],{"id":34353,"slug":34354,"title":34355,"dynasty":45,"author":342,"museum":72,"description":7945,"tags":34356,"thumbUrl":34357,"material":312,"size":34358,"collection":95,"collections":34359,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},221970,"ou-shi-xi-lou-tie-wen-zheng-ming-221970","偶适溪楼帖",[23,7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215f7350dc63027344f13802f5fafa3b.jpg","纵24.9厘米，横18.6厘米",[],{"id":34361,"slug":34362,"title":34363,"dynasty":45,"author":342,"museum":72,"description":7945,"tags":34364,"thumbUrl":34365,"material":312,"size":34366,"collection":95,"collections":34367,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},221967,"wu-lv-shi-li-zhou-wen-zheng-ming-221967","五律诗立轴",[23,24,25,75,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db0f1e75d62042e989cbc4e27f8d607.jpg","191x72.2cm",[],{"id":34369,"slug":34370,"title":34371,"dynasty":179,"author":34372,"museum":72,"description":34373,"tags":34374,"thumbUrl":34375,"material":29368,"size":34376,"collection":96,"collections":34377,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},221765,"zhi-tai-pu-nei-han-chi-du-yu-que-221765","致太朴内翰尺牍","余阙","余阙(1303-1358)，西域唐兀氏，世居甘肃武威，后随父居安徽庐州。元统元年(1333)进士，历任翰林学士、监察御史，曾参与修宋辽金史。本幅写予「太僕内翰」，即时任翰林应奉的危素(1303-1372)，右幅仍可见余阙封缄题名，旁有「至正九年七月十九日至」，或为收信人所题写日期。余阙此信首先感谢自己南行前，危素为之饯行情谊；再因友人北上大都，余阙特以书函请危素惠与青睐推举。余阙书风看似不经意，实有晋人风骨。",[23,7,60,2602,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce88adcf23a58a06bd84f565dae5e81.jpg","42.5x76.3 厘米",[96],{"id":34379,"slug":34380,"title":34381,"dynasty":88,"author":4981,"museum":107,"description":10563,"tags":34382,"thumbUrl":34383,"material":312,"size":34384,"collection":95,"collections":34385,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},221481,"she-fu-quan-wen-di-yi-duan-zhang-ji-zhi-221481","社甫全文第一段",[23,88,7,49,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5223e88a17d7e478cf78d4498f697bdd.jpg","纵三四·六厘米，横一二八·七厘米",[],{"id":34387,"slug":34388,"title":34389,"dynasty":162,"author":454,"museum":107,"description":34390,"tags":34391,"thumbUrl":34394,"material":95,"size":95,"collection":95,"collections":34395,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},221130,"fa-hua-jing-huang-jin-zhi-ge-xian-yi-ming-221130","法华经黄金纸格线","以绀色为底，泥金小楷恭谨抄录经文，点画匀整秀雅，笔势圆融舒展，尽显端严法度。字里行间静穆平和，将书写者的虔敬之心融于每一处提按转折，自带澄净安宁的气息。\n\n四周以缠枝瑞草织锦为饰，宝叶柔蔓层层铺展，金蓝配色华贵雍容，与经文的静雅相得益彰，将宗教的庄严感与工艺美学相融。\n\n整体形制典雅规整，书法与织绣工艺合为一体，既是信仰的载体，亦是盛世审美意趣的缩影，尽显匠心与虔诚交织的极致风华。",[25,7,386,878,199,27,34392,34393,4678,7829],"黄金纸","格线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f3ac82854e87de7a5adb5de3966c29.jpg",[],{"id":34397,"slug":34398,"title":34399,"dynasty":162,"author":454,"museum":107,"description":34400,"tags":34401,"thumbUrl":34402,"material":95,"size":95,"collection":95,"collections":34403,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},221129,"fa-hua-jing-jin-ye-zi-ge-xian-yi-ming-221129","法华经金叶子格线","此作以织锦镶边，装裱古雅沉静。墨书楷体排布严整，结体匀秀端凝，笔力温润内敛，尽显写经之人的恭谨肃穆。纸面金箔残损斑驳，恰似岁月镌刻下的痕迹，为这件写本晕开沧桑质感。规整格线框定经文，笔墨间既有宗教仪轨的庄严，又饱含唐人书法的雍容法度，字里行间藏着虔诚的信仰底色，残损金箔让时光厚重与经文神圣交融，勾勒出古写经独有的沉静美感，将大唐写经的雅致法度与岁月沉淀的古朴意蕴融为一体。",[23,878,386,7,199,30189,27,1498,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4da6fe4a3e84d9a3a388205ef3b2f2.jpg",[],{"id":34405,"slug":34406,"title":34407,"dynasty":45,"author":5386,"museum":7039,"description":9257,"tags":34408,"thumbUrl":34409,"material":9260,"size":9261,"collection":95,"collections":34410,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":95},220717,"xing-shu-jie-quan-1-wang-chong-220717","行书借券1",[45,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa264c4db330f82441edddd77728e224.jpg",[],{"id":34412,"slug":34413,"title":34414,"dynasty":45,"author":17419,"museum":412,"description":20836,"tags":34415,"thumbUrl":34416,"material":33,"size":34417,"collection":95,"collections":34418,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},219676,"fang-gu-shan-shui-ce-2-yun-xiang-219676","仿古山水册-2",[24,25,26,50,7,60,59,51,57,56,267,55,1678,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97408f431c0310ed39e2b8c8d19c0a38.jpg","26x15.2",[],{"id":34420,"slug":34421,"title":34422,"dynasty":45,"author":17419,"museum":412,"description":20836,"tags":34423,"thumbUrl":34424,"material":33,"size":34417,"collection":95,"collections":34425,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},219673,"fang-gu-shan-shui-ce-5-yun-xiang-219673","仿古山水册-5",[24,25,26,50,51,52,53,704,57,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3d0f9a6ef079b18cdc451c097be30c.jpg",[],{"id":34427,"slug":34428,"title":34429,"dynasty":88,"author":1749,"museum":72,"description":32476,"tags":34430,"thumbUrl":34432,"material":169,"size":32480,"collection":95,"collections":34433,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},218145,"wen-ji-gui-han-tu-ce-18-li-tang-218145","文姬归汉图册-18",[24,25,26,27,111,113,1074,6792,7,34431],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bef9b7e061ed409391791fc111ed8f.jpg",[],{"id":34435,"slug":34436,"title":34437,"dynasty":162,"author":7466,"museum":126,"description":7467,"tags":34438,"thumbUrl":34439,"material":169,"size":7470,"collection":95,"collections":34440,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},218139,"liu-zun-zhe-xiang-tu-ce-5-lu-leng-qie-218139","六尊者像图册-5",[23,24,25,26,27,111,878,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb5ca60c8a8965ae706ea9cac9f3a1.jpg",[],{"id":34442,"slug":34443,"title":34444,"dynasty":162,"author":7466,"museum":126,"description":7467,"tags":34445,"thumbUrl":34446,"material":169,"size":7470,"collection":95,"collections":34447,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},218138,"liu-zun-zhe-xiang-tu-ce-6-lu-leng-qie-218138","六尊者像图册-6",[23,24,25,26,27,113,878,7,77,359,11181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd756708c94e8fa79ff38a0978d275677.jpg",[],{"id":34449,"slug":34450,"title":34451,"dynasty":162,"author":7466,"museum":126,"description":7467,"tags":34452,"thumbUrl":34453,"material":169,"size":7470,"collection":95,"collections":34454,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},218136,"liu-zun-zhe-xiang-tu-ce-7-lu-leng-qie-218136","六尊者像图册-7",[23,92,24,25,26,878,113,10794,798,27,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52846900b43990cf70503b8f482ab9c.jpg",[],{"id":34456,"slug":34457,"title":34458,"dynasty":45,"author":2206,"museum":107,"description":34459,"tags":34460,"thumbUrl":34461,"material":312,"size":95,"collection":95,"collections":34462,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},218063,"bai-miao-jiu-ge-tu-ce-2-zhu-yun-ming-218063","白描九歌图册-2","素笺之上，白描线条如孤鹤掠空，勾勒九歌神境的缥缈。衣袂飘举似带楚风，云气舒卷暗合骚韵，每一笔提按转折皆见笔力，无浓墨重彩却气韵充盈。眉眼轻描藏幽思，发丝细劲显灵动，简淡中蕴丰腴，空灵处含深情。笔墨牵系屈子笔下的奇幻与怅惘，将古典浪漫化作可视韵律。文人清逸风骨与白描精准传神相融，纤细笔触里，千年之前的悲戚与浪漫缓缓流淌，引观者步入那段跨越时空的楚骚梦境。",[24,25,26,112,7,77,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a603af6dc64a87096ab330ffa4a094.jpg",[],{"id":34464,"slug":34465,"title":34466,"dynasty":18,"author":454,"museum":107,"description":34467,"tags":34468,"thumbUrl":34470,"material":312,"size":95,"collection":95,"collections":34471,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},217939,"da-mo-yi-jin-ba-duan-jin-1-yi-ming-217939","达摩易筋八段锦-1","达摩易筋八段锦是一部关于清朝时期佚名所著的武术典籍。这部书是在清朝末年出版的，共包含了8段关于身体动作的详细讲解，涵盖了许多中国武术的基本功和技巧。\n\n达摩易筋八段锦的作者是佚名，这个名字意思是“不知名”，因此无法确定他的真实身份。不过，有人认为他可能是一位清朝时期的武术家，并且据说他的武术技巧非常高超。",[24,25,199,27,7,34469,312],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1556fee3f176934e9200f6131f69cd0.jpg",[],{"id":34473,"slug":34474,"title":34475,"dynasty":18,"author":454,"museum":126,"description":34476,"tags":34477,"thumbUrl":34480,"material":27,"size":95,"collection":95,"collections":34481,"showCount":480,"zanCount":882,"manualWeight":39,"mainColor":40},217288,"gu-xiu-wu-shi-san-can-tu-ce-27-yi-ming-217288","顾绣·五十三参图册-27","柳丝垂拂间，老者倚树闲坐，衣袂染着暖黄的光，似在静待来访者。童子持物趋前，身影透着恭谨，仿佛将善财求法的虔诚凝在步履间。顾绣的针脚藏着巧思，丝线勾出柳枝的柔、衣纹的缓，淡彩晕染出天地的清宁。绣与绘相融，让这幕参访的场景脱离了刻板的叙事，多了份悠然的禅意。每一处针迹都似在低语，诉说着求法路上的谦卑与笃定，也藏着闺阁绣者对佛法的细腻体悟。画面虽简，却将禅意与绣艺的精妙揉成了一段静美的时光，让人见之忘俗。",[10313,4347,25,9007,4282,113,17602,34478,27,34479,6274,7],"柳枝","求法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9f1f4a847c79cbfb1478688870cfc6.jpg",[],{"id":34483,"slug":34484,"title":34485,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":34487,"thumbUrl":34488,"material":312,"size":95,"collection":95,"collections":34489,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},217111,"bai-miao-luo-han-11-leng-mei-217111","白描罗汉-11","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[24,25,112,199,7,77,878,113,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb7dac2ab76a837b182b75eb0f6e979.jpg",[],{"id":34491,"slug":34492,"title":34493,"dynasty":18,"author":27434,"museum":107,"description":34494,"tags":34495,"thumbUrl":34496,"material":33,"size":95,"collection":95,"collections":34497,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":3443},215662,"bei-jing-dian-pu-zhao-huang-hua-ce-11-zhou-pei-chun-215662","北京店舖招幌画册-11","六枚招幌悬于纸面，墨笔题识相伴，似在回溯旧京市声。红绿流苏摇曳市井热闹，层叠架构藏着匠意巧思，葫芦纹样裹着吉祥期许，几何造型凝住当时审美。它们是商铺递出的问候，是胡同里飘着的烟火气，是时光沉淀的生活印记。线条细腻勾勒轮廓，色彩古朴晕染温情，每一处细节都承载着往昔的商业智慧与民俗韵致。翻开此页，老北京的风貌徐徐铺展，远去的吆喝与往来身影，仿佛都在招幌的摇曳中重现，让人心生对旧时光的温柔怀想。",[26,111,27,27437,834,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b16c4c7b00f351c5e1c8e139dd125.jpg",[],{"id":34499,"slug":34500,"title":34501,"dynasty":45,"author":1015,"museum":126,"description":26261,"tags":34502,"thumbUrl":34503,"material":79,"size":26264,"collection":95,"collections":34504,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},214880,"shan-shui-ce-1-wen-zheng-ming-214880","山水册-1",[23,24,25,26,60,7,77,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fb021550329c182411e0f014a539e2.jpg",[],{"id":34506,"slug":34507,"title":34508,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":34509,"thumbUrl":34510,"material":79,"size":2617,"collection":95,"collections":34511,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},214503,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-12-ou-yang-xun-214503","宋拓唐虞恭公温彦博碑-12",[23,7,199,198,200,8551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57096457db0ffe5dcbb6d7678029452.jpg",[],{"id":34513,"slug":34514,"title":34515,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":34516,"thumbUrl":34517,"material":79,"size":2617,"collection":95,"collections":34518,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},214502,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-11-ou-yang-xun-214502","宋拓唐虞恭公温彦博碑-11",[23,198,199,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F998da74c7f10d9e5505339241d838b76.jpg",[],{"id":34520,"slug":34521,"title":34522,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":34523,"thumbUrl":34524,"material":79,"size":2617,"collection":95,"collections":34525,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},214498,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-16-ou-yang-xun-214498","宋拓唐虞恭公温彦博碑-16",[23,198,7,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588f24523344eec40f93ab5e5018694c.jpg",[],{"id":34527,"slug":34528,"title":34529,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":34530,"thumbUrl":34531,"material":312,"size":1340,"collection":95,"collections":34532,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":100},214476,"da-tang-zhong-xing-song-xia-ce-7-yan-zhen-qing-214476","大唐中兴颂下册-7",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d61e451900656eb6f38bf2717ff275a.jpg",[],{"id":34534,"slug":34535,"title":34536,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":34537,"thumbUrl":34538,"material":312,"size":1340,"collection":95,"collections":34539,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},214424,"da-tang-zhong-xing-song-shang-ce-6-yan-zhen-qing-214424","大唐中兴颂上册-6",[199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01aff4bcd26cba99eef8f0e07f0754f4.jpg",[],{"id":34541,"slug":34542,"title":34543,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":34544,"thumbUrl":34545,"material":312,"size":1340,"collection":95,"collections":34546,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},214421,"da-tang-zhong-xing-song-shang-ce-11-yan-zhen-qing-214421","大唐中兴颂上册-11",[199,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd665e6deb26c39eb0947c5f63653ed31.jpg",[],{"id":34548,"slug":34549,"title":34550,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":34551,"thumbUrl":34552,"material":312,"size":1340,"collection":95,"collections":34553,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":207},214420,"da-tang-zhong-xing-song-shang-ce-12-yan-zhen-qing-214420","大唐中兴颂上册-12",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d00c991046ea6206c472c660892b072.jpg",[],{"id":34555,"slug":34556,"title":6012,"dynasty":18,"author":506,"museum":20,"description":34557,"tags":34558,"thumbUrl":34559,"material":95,"size":95,"collection":35,"collections":34560,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34561},203442,"mei-hua-tu-zhou-jin-nong-203442","墨笔梅枝苍劲如铁，盘曲间藏书法骨力，枝桠疏密有致，尽显自然之趣。花朵或胭脂点染，或淡墨勾勒，红白相映，疏影横斜中透着清逸。题跋行书与花枝相融，笔墨间漾着文人雅韵，绘事与书艺共生，将梅的傲岸与文人的精神寄寓于尺幅之内，尽显雅致风骨。",[23,24,25,75,50,27,131,7,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e0fce22423476985b30e417511ce74.jpg",[35],"cdbfa3",{"id":34563,"slug":34564,"title":34565,"dynasty":45,"author":12640,"museum":20,"description":34566,"tags":34567,"thumbUrl":34568,"material":95,"size":95,"collection":63,"collections":34569,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34570},203171,"ming-shan-tu-ce-song-xu-203171","名山图册","这幅图册页左书右画，相映成趣。书法笔力沉劲，结体端稳，题诗意境悠远；山水以简淡墨线勾勒，岛屿上楼阁隐现，水面舟楫轻泛，远山近树错落，墨色清雅空灵。诗画合璧间，古寺金山的禅意与新天朗月的澄澈尽显，传递出明代文人寄情山水的雅致情怀，笔墨间满是文人画的淡远之趣。",[24,25,26,50,51,458,54,7,199,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec6d0af842740caea9ccb675ca33b8e1.jpg",[63],"83785a",{"id":34572,"slug":34573,"title":34574,"dynasty":23400,"author":830,"museum":20,"description":34575,"tags":34576,"thumbUrl":34577,"material":95,"size":95,"collection":35,"collections":34578,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34579},203007,"shui-mo-pu-tao-dan-pian-wu-chang-shuo-203007","水墨葡萄单片","这幅水墨葡萄以淋漓墨色晕染果实，浓淡相济间尽显饱满通透之态，墨团堆叠却灵动鲜活，似含晶莹汁水。藤蔓以篆籀笔意勾勒，线条盘曲交错如古藤缠枝，顿挫转折间兼具书法骨力与绘画意趣，笔力沉雄老辣，自带金石气。枝干纵横挥洒，留白疏密得当，整体气韵生动，将花鸟生机与文人写意精神相融，是大写意花鸟的经典之作。",[24,50,29,457,7,92,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6288458efe6880be7c1fd4d3c559bbf.jpg",[35],"c6c0bc",{"id":34581,"slug":34582,"title":34583,"dynasty":23400,"author":663,"museum":20,"description":34584,"tags":34585,"thumbUrl":34586,"material":95,"size":95,"collection":95,"collections":34587,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34588},202835,"xiao-yuan-qiu-se-tu-zhou-qi-bai-shi-202835","小园秋色图轴","这幅画作以大写意之笔铺展秋园盛景，赭红叶片舒展如霞，明黄菊簇攒聚成金，浓墨枝叶穿插其间，色彩对比鲜明却和谐。菊花瓣蕊简笔勾勒却见饱满生机，红叶晕染自然尽显秋光暖意。题款书法笔力遒劲，与景物相映成趣，文人意趣盎然。整幅作品笔墨简练却神形兼备，将小园秋色的绚烂生机凝于尺幅，尽显写意花鸟的独特韵味，秋意饱满而不萧瑟。",[24,25,29,140,50,27,7,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ed36af6850954a4568d375ce338d9c.jpg",[],"8d8f8b",{"id":34590,"slug":34591,"title":5678,"dynasty":45,"author":34592,"museum":20,"description":34593,"tags":34594,"thumbUrl":34595,"material":95,"size":95,"collection":95,"collections":34596,"showCount":480,"zanCount":882,"manualWeight":39,"mainColor":34597},202676,"mo-zhu-zhou-zhu-lu-202676","朱鹭","画面中几竿墨竹错落舒展，竹叶以浓淡相宜的水墨笔触勾勒，或挺拔向上或欹侧生姿，姿态灵动鲜活。竹竿线条劲挺流畅，尽显竹之坚韧风骨；根部草叶以淡墨晕染，与浓墨之竹形成虚实对比，层次丰盈自然。左侧题款笔墨苍劲，书法与画境浑然一体，传递出文人画的清雅意趣，整体意境悠远清逸，尽显水墨写意的灵动之美。",[948,50,75,24,25,76,7,129,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f41fe600b736a2b48772d3be581c055.jpg",[],"bc7f5a",{"id":34599,"slug":34600,"title":34601,"dynasty":18,"author":34602,"museum":20,"description":34603,"tags":34604,"thumbUrl":34606,"material":95,"size":95,"collection":95,"collections":34607,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34608},202605,"mo-jin-nong-xiao-xiang-tu-zhou-ji-fen-202605","摹金农肖像图轴","计芬","画中老者光头蓄髯，着素衣端坐，手持书卷凝神细读，眉宇间透着沉静儒雅的文人气息。笔墨追摹原作神韵，线条简练却精准勾勒人物轮廓，衣纹用墨淡雅流畅，面部刻画细腻传神，将金农的专注神态与朴素气质尽显无遗。背景简素，以留白突出人物主体，整体氛围古朴雅致，尽显摹本的用心与对原作的致敬。",[110,50,113,75,7,34605],"肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefaeb30a508725f7cb9d63ad273010f3.jpg",[],"9a8164",{"id":34610,"slug":34611,"title":8162,"dynasty":18,"author":6672,"museum":20,"description":34612,"tags":34613,"thumbUrl":34614,"material":95,"size":95,"collection":95,"collections":34615,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34616},202363,"mo-lan-tu-zhou-zheng-xie-202363","墨兰数丛生于素纸之上，茎叶肆意舒展，笔线如走龙蛇，携行书之韵。浓墨勾叶，劲健中见柔韧；淡墨点花，含蓄里藏清雅。留白虚实相济，衬出兰草疏逸之态。题款笔墨苍劲，朱印点缀其间，诗书画印相融，尽显文人画的清雅风骨，将兰的高洁气质凝于墨痕，意蕴悠长。",[50,139,7,77,75,25,1689,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1f12fb5d18f091585dfb508001f1824.jpg",[],"cfc6b7",{"id":34618,"slug":34619,"title":34620,"dynasty":18,"author":34621,"museum":20,"description":34622,"tags":34623,"thumbUrl":34625,"material":95,"size":95,"collection":95,"collections":34626,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34627},202096,"mo-yue-fei-xiang-tu-zhou-sun-kun-202096","摹岳飞像图轴","孙坤","画面中岳飞身着蓝袍端坐云端，衣袂轻扬间凛然正气毕现。人物勾勒线条劲挺流畅，设色清雅沉稳，神态庄重肃穆，将英雄的刚毅与沉郁刻画得入木三分。旁侧题跋笔墨苍劲，与画像相得益彰，朱红印章点缀其间，更添古朴雅致。整幅作品融人物肖像、书法题识与篆刻于一体，尽显传统书画印结合的艺术韵致，传递出对民族英雄的深切崇敬。",[27,113,111,110,77,7,34624],"行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3093985617af940436a96ec068277f.jpg",[],"d1bfa6",{"id":34629,"slug":34630,"title":30540,"dynasty":18,"author":34631,"museum":20,"description":34632,"tags":34633,"thumbUrl":34634,"material":95,"size":95,"collection":63,"collections":34635,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34636},202062,"shan-shui-tu-zhou-hong-li-202062","弘历","这幅水墨山水以简洁笔墨营造悠远意境，峰峦以皴法勾勒肌理，林木疏朗间枝干挺劲，溪流蜿蜒穿石而过，留白处显空寂深远。画面题跋与印章相映，书法与山水交融，文人意趣盎然。简淡笔墨中藏着苍劲韵致，似可感林间清风，观溪中石影，传递出悠然闲适的山水情怀。",[24,50,51,59,77,7,57,267,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f15e2498dd9a5c7eb3da363a4f2cd84.jpg",[63],"cfbda7",{"id":34638,"slug":34639,"title":34640,"dynasty":18,"author":34641,"museum":20,"description":34642,"tags":34643,"thumbUrl":34644,"material":95,"size":95,"collection":35,"collections":34645,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34646},202010,"ping-mei-tu-zhou-jie-wen-202010","瓶梅图轴","介文","疏枝横斜出瓶，梅萼点缀其间，以白描之法勾勒瓶梅清逸之态。瓶身线条简括素净，梅枝虬曲含劲，花朵疏密有致，墨色淡雅却见精神。旁题墨书笔意流畅，与梅枝相映成趣，尽显文人雅韵。整幅画作不施华彩，仅以线条与墨韵传情，将梅花孤高之姿与瓶器素净之美相融，营造出清寂幽远的意境，足见作者笔墨功底与文人情怀。",[112,50,29,131,834,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff836d135d6a0393cd64322bd76a9b018.jpg",[35],"ab8d61",{"id":34648,"slug":34649,"title":34650,"dynasty":45,"author":689,"museum":20,"description":34651,"tags":34652,"thumbUrl":34653,"material":95,"size":95,"collection":187,"collections":34654,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":34655},201719,"mo-zhu-tu-zhou-chen-hong-shou-201719","墨竹图轴","竹干以淡墨中锋写就，挺拔中见古拙之趣；竹叶用浓墨侧锋撇出，聚散有致，姿态万千。墨色浓淡干湿交错，层次分明，尽显笔墨意趣。枝节间留白透气，素纸为底更衬竹之清雅高致。笔法兼具书法韵味，竹叶撇捺如行书挥洒，刚劲中含秀逸，既得竹之形骸，更传竹之神髓，寥寥数笔却意蕴悠长，尽显文人画借物抒情的特质。",[24,25,75,50,132,60,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768330262a1ca0c15b5de26b56e624db.jpg",[187],"dccfbb",{"id":34657,"slug":34658,"title":34659,"dynasty":45,"author":5954,"museum":107,"description":16570,"tags":34660,"thumbUrl":34662,"material":751,"size":752,"collection":95,"collections":34663,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290943,"fang-wang-meng-jiao-shi-zhou-qian-gu-290943","仿王蒙蕉石轴",[24,75,50,2187,34661,3983,7,77,13294,59],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe450eec9049547b3a3355bca990d45e6.jpg",[],{"id":34665,"slug":34666,"title":30522,"dynasty":179,"author":454,"museum":107,"description":34667,"tags":34668,"thumbUrl":34670,"material":751,"size":752,"collection":95,"collections":34671,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},290792,"da-mo-xiang-zhou-yi-ming-290792","《达摩像图轴》中达摩坐于象背上，宝像庄严，有五名僧众围绕其间，边上花木围绕使得人物形象更具端庄肃穆。此图设色清雅，线条流畅。款题：枝隐口头陀吴彬斋心拜写。钤吴彬之印、吴文中氏。吴彬笔下的罗汉像十分奇特怪异，每出新奇，迥别旧人，以往常见的仙风道骨的想象被五官夸张扭曲的形象所取代。然而这种丑，并非一般意义上的丑陋，而有着化腐朽为神奇的魅力。",[24,75,878,27,113,250,77,7,9007,34669],"达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8da4ca089dc4f730930588cf09e755.jpg",[],{"id":34673,"slug":34674,"title":34675,"dynasty":88,"author":454,"museum":107,"description":34676,"tags":34677,"thumbUrl":34678,"material":751,"size":752,"collection":95,"collections":34679,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},290750,"xiu-pen-ju-shi-yi-lian-zhou-yi-ming-290750","绣盆菊诗意帘轴","雨后看花兴自幽。花神不减旧风流。重开佳色邀金蝶。更吐新香染绣毬。晚节平分三径露。清标独占一园秋。年年賸有重阳约。尊酒何曾负胜游。 硕大什锦菊盛开，花茎高挺，花间蜂蝶翻飞，圆型盆器置于朱漆圆几上，旁列兰卉盆景，下垫蟾蜍托座，祥云、草叶、兰盆呈中轴对称分布。菊搭配蝶，寓意「耋寿」，灵芝、兰草为「芝兰竞秀」，组成内涵丰富的吉祥图案，以求幸福长寿。此轴属清代宫廷刺绣品，绣工精细，图案色彩、针法活泼变化多，美不胜收。",[75,2980,25,29,140,139,692,834,27,7,111,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb257b5066e8281201cc5cbf0448575.jpg",[],{"id":34681,"slug":34682,"title":34683,"dynasty":8749,"author":454,"museum":107,"description":34684,"tags":34685,"thumbUrl":34687,"material":751,"size":752,"collection":95,"collections":34688,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290695,"tan-kuang-jin-gang-bo-re-jing-zhi-zan-juan-shang-yi-ming-290695","昙旷 金刚般若经旨赞卷上","此卷写经以小楷为骨，暗随行意，墨色苍雅沉润，卷面朴古厚重。字形端稳匀整，却又暗含灵动韵致，笔笔敦和凝练，尽显写经典型风骨。朱笔圈注密密排布在字里行间，是旧时研读者的思索印记，经文与批注交织相融，将千年前的释典研读风貌鲜活呈现。全篇卷舒之间承载着佛学传承的厚重温度，既是虔诚的信仰载体，亦是写本时代学术与信仰共生的珍贵遗存。",[386,7,199,49,9007,1498,4678,77,34686],"朱批","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c8b0c5a984540bc1e8fef0863574eb.jpg",[],{"id":34690,"slug":34691,"title":34692,"dynasty":45,"author":31972,"museum":107,"description":34693,"tags":34694,"thumbUrl":34695,"material":751,"size":752,"collection":95,"collections":34696,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290620,"bai-lu-tu-zhou-zhang-hong-290620","百禄图轴","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,75,92,27,51,1018,10795,798,7,77,4509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d9a76bce59c6bd78768393dc94a4b5a.jpg",[],{"id":34698,"slug":34699,"title":34700,"dynasty":18,"author":14852,"museum":107,"description":22503,"tags":34701,"thumbUrl":34702,"material":751,"size":752,"collection":95,"collections":34703,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290599,"song-jian-yun-lan-zhang-ruo-cheng-290599","松涧云岚",[24,25,51,1018,53,57,113,50,59,77,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6b755f4eb4274062c26fa6601798c8.jpg",[],{"id":34705,"slug":34706,"title":34707,"dynasty":45,"author":34708,"museum":107,"description":34709,"tags":34710,"thumbUrl":34711,"material":751,"size":752,"collection":95,"collections":34712,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290582,"shuang-lin-xing-lv-cheng-shan-zhang-ling-290582","霜林行旅成扇","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[1250,24,25,51,131,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5488ef8618e52d9ae3fac103eef9881f.jpg",[],{"id":34714,"slug":34715,"title":34716,"dynasty":18,"author":32620,"museum":107,"description":32621,"tags":34717,"thumbUrl":34718,"material":751,"size":752,"collection":95,"collections":34719,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290580,"song-gui-jiao-ke-tu-zhou-zhang-peng-chong-290580","松桂交柯图轴",[24,75,50,59,51,133,10013,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e2f256b6fe68589333b8f770752a00.jpg",[],{"id":34721,"slug":34722,"title":34723,"dynasty":18,"author":32620,"museum":107,"description":32621,"tags":34724,"thumbUrl":34725,"material":751,"size":752,"collection":95,"collections":34726,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290579,"dan-tai-chun-xiao-zhang-peng-chong-290579","丹台春晓",[24,25,26,1127,27,51,137,53,251,77,7,59,24303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03537bd56d92850b4b625849213589b2.jpg",[],{"id":34728,"slug":34729,"title":34730,"dynasty":18,"author":34731,"museum":107,"description":34732,"tags":34733,"thumbUrl":34734,"material":751,"size":752,"collection":95,"collections":34735,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290489,"wu-yan-lian-li-zhou-wang-kai-yun-290489","五言联立轴","王闿运","王闿（kǎi）运（1833—1916），晚清经学家、文学家。字壬秋，又字壬父，号湘绮，世称湘绮先生。咸丰二年（1852）举人，曾任肃顺家庭教师，后入曾国藩幕府。1880年入川，主持成都尊经书院。后主讲于长沙思贤讲舍、衡州船山书院、南昌高等学堂。授翰林院检讨，加侍读衔。辛亥革命后任清史馆馆长。著有《湘绮楼诗集、文集、日记》等。",[75,25,7,2136,1613,50,77,10545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfbe2e109c863fa20e3752256ef329b6.jpg",[],{"id":34737,"slug":34738,"title":34739,"dynasty":18,"author":2378,"museum":107,"description":12906,"tags":34740,"thumbUrl":34741,"material":751,"size":752,"collection":95,"collections":34742,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},290462,"mo-hua-tu-ce-gao-feng-han-290462","墨花图册",[7,398,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd41be7af0a25b0eab34d847edd0a221.jpg",[],{"id":34744,"slug":34745,"title":34746,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":34747,"thumbUrl":34748,"material":751,"size":752,"collection":95,"collections":34749,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290410,"za-shu-san-duan-juan-zhao-meng-fu-290410","杂书三段卷",[23,7,49,60,25,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405c38a5bb969e86bf22169d1b7df2a.jpg",[],{"id":34751,"slug":34752,"title":34753,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":34754,"thumbUrl":34755,"material":751,"size":752,"collection":95,"collections":34756,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},290277,"jin-lai-wu-men-tie-ye-zhao-meng-fu-290277","近来吴门帖页",[7,60,77,3155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f8868aa034482a3239475692d67069.jpg",[],{"id":34758,"slug":34759,"title":34760,"dynasty":88,"author":454,"museum":107,"description":34761,"tags":34762,"thumbUrl":34765,"material":751,"size":752,"collection":95,"collections":34766,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290247,"han-tang-fu-lv-tu-yi-ming-290247","寒塘凫侣图","该图左侧塘岸土坡，白梅一枝斜出，枝上梅花怒放，枝下茶花、水仙盛开。两只野鸭嬉戏于水中，顾盼生姿，逗人喜爱。对岸土坡败苇稀疏，两只蓝色的小鸟前后相随飞向远方，从而把观赏者的视线引向画外，达到画有尽而意无穷的艺术效果。",[23,24,92,25,26,27,111,29,131,34763,34764,60,7,77,4739],"野鸭","寒塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d9f6860c1a5791e0c0d0f9ac00a1a4.jpg",[],{"id":34768,"slug":34769,"title":34770,"dynasty":18,"author":34771,"museum":107,"description":34772,"tags":34773,"thumbUrl":34774,"material":751,"size":752,"collection":95,"collections":34775,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290218,"shan-shui-shan-mian-1-zhang-xiong-290218","山水扇面-1","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[23,1250,24,25,27,50,113,51,52,56,54,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608618e592d102b03e1a9df3a376c79.jpg",[],{"id":34777,"slug":34778,"title":25702,"dynasty":179,"author":225,"museum":107,"description":34779,"tags":34780,"thumbUrl":34781,"material":751,"size":752,"collection":95,"collections":34782,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290096,"jiu-de-song-juan-zhao-meng-fu-290096","有大人先生以天地为一朝，以万期为须臾，日月为扃牖，八荒为庭除。行无辙迹，居无室庐，幕天席地，纵意所如。止则摇卮执孤，动则挈榼提壶，唯酒是务，焉知其馀。有贵介公子，搢绅处士，闻吾风声，议其所以，陈说礼法，是非蠭起，奋袂攘襟，怒目切齿。先生於是方捧甖承槽，衔杯嗽醪，奋髯箕踞，枕麹藉糟，无思无虑，其乐陶陶。兀然而醉，恍尔而醒。静听不闻雷霆之声，熟视不见泰山之形。不觉寒暑之切肌，嗜欲之感情。俯观万物，扰扰焉如江海之载萍。二豪侍侧，如螺蠃之与螟蛉。延祐三年丙辰岁十一月廿一日，为瞿泽民书。子昂。",[23,92,24,25,49,7,60,50,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc108f90cfde16dfab4ac32b0c54f56a.jpg",[],{"id":34784,"slug":34785,"title":34786,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":34787,"thumbUrl":34788,"material":751,"size":752,"collection":95,"collections":34789,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},290011,"wu-yi-zhao-meng-fu-290011","无逸",[23,7,49,199,200,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211a1630c10232b0fe4c4b1af6bf914a.jpg",[],{"id":34791,"slug":34792,"title":34793,"dynasty":18,"author":34794,"museum":107,"description":34795,"tags":34796,"thumbUrl":34798,"material":751,"size":752,"collection":95,"collections":34799,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},289999,"lv-liu-xing-zhou-tu-jing-xin-wang-cheng-pei-289999","绿柳行舟图镜心","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[1250,24,25,51,34797,24335,27,59,7,199],"绿柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2ddef3af3d3ff327803407eb25f5c6.jpg",[],{"id":34801,"slug":34802,"title":34803,"dynasty":88,"author":454,"museum":107,"description":34804,"tags":34805,"thumbUrl":34806,"material":751,"size":752,"collection":95,"collections":34807,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},289954,"he-tang-xi-lai-tu-yi-ming-289954","荷塘鸂鵣图","淡墨晕染开江南初夏的水泽烟岚，汀岸疏林隐在濛濛水雾间，将幽寂的氛围感铺陈开来。水面之上，两只鸂鵣意态生动，一只垂首理羽，一只振翅欲落，粼粼水波轻漾微动，荷塘野趣呼之欲出。\n此作工写相宜，禽鸟刻画写实鲜活，林木水色却写意空濛，将细腻生机融于澹澹烟霭，把水畔闲静瞬间凝于绢素。诗画合璧间，尽显雅致闲淡，仿佛携着初夏水泽的清润水汽，将空灵悠远的江南意韵娓娓道来。",[23,92,24,25,26,29,399,134,11262,27,111,77,7,60,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fdfa14d51ee6248c43a7847970c36c1.jpg",[],{"id":34809,"slug":34810,"title":34811,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":34812,"thumbUrl":34813,"material":751,"size":752,"collection":95,"collections":34814,"showCount":11,"zanCount":882,"manualWeight":39,"mainColor":40},289931,"gao-feng-he-shang-xing-zhuang-zhao-meng-fu-289931","高峰和尚行状",[23,92,7,49,60,50,878,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a65c031afdeb2eec88b72171951b53.jpg",[],{"id":34816,"slug":34817,"title":34818,"dynasty":18,"author":34819,"museum":107,"description":34820,"tags":34821,"thumbUrl":34822,"material":751,"size":752,"collection":95,"collections":34823,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},288981,"zhuan-shu-li-zhou-wang-guan-288981","篆书立轴","王瓘","王瓘，（1847-？）字孝玉，一字孝禹，辛亥（1911）后以字行，书法家，清末民初书画家。",[25,7,457,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e93a5d95bbbc0495c14a0e7d82b79b.jpg",[],{"id":34825,"slug":34826,"title":34827,"dynasty":8749,"author":454,"museum":107,"description":34828,"tags":34829,"thumbUrl":34831,"material":751,"size":752,"collection":95,"collections":34832,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},288480,"ping-zhi-wu-yu-tu-juan-yi-ming-288480","平治物语图卷","画面以图文并置，左侧题跋笔意苍古，右侧出行场景鲜活传神。黑漆牛车饰金菊纹样，雅致端方，牛与挽马同驾，控车仆役俯身稳驾，白衣公卿疾步趋赶，一动一静，相映成趣。线条清劲舒展，设色淡雅古拙，将旧贵族出行的仪制风貌定格于绢素之上，以叙事绘卷的特有形式，让泛黄古纸晕开旧日剪影，把行旅匆匆与和风风雅揉合一处，尽显古典绘卷的沉静意韵。",[23,92,24,49,27,113,797,34830,7,9812],"牛车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd699f79dfc0de7412a5d48ff81ed1b2.jpg",[],{"id":34834,"slug":34835,"title":7,"dynasty":18,"author":34836,"museum":107,"description":34837,"tags":34838,"thumbUrl":34839,"material":751,"size":752,"collection":95,"collections":34840,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},288354,"shu-fa-jiang-chen-ying-288354","姜宸英","姜宸英（1628－1699年），明末清初书法家、史学家，与朱彝尊、严绳孙并称“江南三布衣”。字西溟，号湛园，又号苇间，浙江慈溪人。明末诸生，康熙十九年以布衣荐入明史馆任纂修官，分撰刑法志，记述明三百年间诏狱、廷杖、立枷、东西厂卫之害。又从徐乾学在洞庭山修《大清一统志》。在京因得罪大学士明珠受冷遇。康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。著有《湛园集》《苇间集》《海防总论》。",[23,7,60,75,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c2d526e58c1b3f68254ecad9e133ef7.jpg",[],{"id":34842,"slug":34843,"title":34844,"dynasty":162,"author":454,"museum":107,"description":34845,"tags":34846,"thumbUrl":34847,"material":751,"size":752,"collection":95,"collections":34848,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},288118,"shi-xuan-zang-yi-zhu-leng-qie-jing-juan-7-duan-jian-yi-ming-288118","釋玄奘譯 注楞伽經卷7斷簡","此卷写经楷法端稳朴厚，兼具唐楷的规整法度与民间抄经的温雅意趣。起收含蓄顿挫，点画饱满腴润，结体匀整舒展，字里行间尽显抄经时的恭谨禅心。\n行列排布齐整匀净，墨色历经岁月依旧沉厚莹润，泛黄的古纸更衬出静谧绵长的气息，肃穆禅意溢于卷面。整体气息平和清宁，既带着经生书法的娴熟谨严，又不失朴拙自然的质感，是佛典流传与唐人书法风貌相融的绝佳遗存。",[49,7,386,199,9007,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0ac16f88c0602e2edd3891098e70a3.jpg",[],{"id":34850,"slug":34851,"title":32637,"dynasty":45,"author":454,"museum":107,"description":34852,"tags":34853,"thumbUrl":34854,"material":751,"size":752,"collection":95,"collections":34855,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},288088,"xing-shu-ye-yi-ming-288088","此作用笔酣畅率意，行书基调中糅杂草意，笔画粗细跌宕，起收灵动不拘。首字开张雄健，后续字势欹侧舒展，行间错落呼应有致，气脉贯通全篇。排布疏密相生，密处紧凑不壅塞，疏处留足余裕，尽显信手挥毫的随性意趣。\n\n墨色枯湿浓淡层次分明，重墨沉凝厚重，渴笔筋骨毕现，将书写时的情绪起伏藏于笔底。可见书者深研古法又自出机杼，将题咏墨竹的文思与笔底风神相融，尽显明代文人书法抒情写意的典型风貌。",[7,60,948,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaef8c8ab987db3e2bbc55be274b5c40.jpg",[],{"id":34857,"slug":34858,"title":34859,"dynasty":45,"author":454,"museum":107,"description":95,"tags":34860,"thumbUrl":34861,"material":751,"size":752,"collection":95,"collections":34862,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287978,"tao-zheng-shi-lei-tu-juan-yi-ming-287978","陶徵士诔图卷",[23,24,25,49,112,50,113,426,19547,7,2251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae277df1687c47c7c53f10fbb01ee5b.jpg",[],{"id":34864,"slug":34865,"title":3136,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":34866,"thumbUrl":34867,"material":751,"size":752,"collection":95,"collections":34868,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287941,"qian-zi-wen-wen-zheng-ming-287941",[23,60,7,200,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c54a00f5c65ca52ede87092f177cda.jpg",[],{"id":34870,"slug":34871,"title":34872,"dynasty":8749,"author":454,"museum":107,"description":34873,"tags":34874,"thumbUrl":34876,"material":751,"size":752,"collection":95,"collections":34877,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287938,"lao-zi-hua-hu-jing-xuan-ge-juan-di-shi-juan-yi-ming-287938","老子化胡經玄歌卷第十卷","此卷小楷通篇绵密连贯，笔致朴拙温润，虽历经岁月，卷面残损斑驳，却更添古旧苍润的质感。书写者笔势舒展安稳，点画扎实凝练，尽显民间写经的典型风貌，带着抄录时的沉静虔诚。\n作为道教经卷抄本，文字排布匀整、行气贯通，墨色虽有晕散却依旧沉稳，将宗教文本的肃穆与书法的舒展融为一体。卷页的缺损如同时光凿下的印记，承载着中古道教文化的传播脉络，朴素卷面中藏着跨越千年的信仰温度，是宗教文献与书法艺术相融的珍贵遗存。",[23,49,7,199,386,6582,4678,1498,878,34875,15102],"老子化胡经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bcafa315e4d9c3d3d61b29fbcc83f1.jpg",[],{"id":34879,"slug":34880,"title":34881,"dynasty":162,"author":454,"museum":107,"description":34882,"tags":34883,"thumbUrl":34884,"material":751,"size":752,"collection":95,"collections":34885,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287884,"yan-lu-gong-shi-pin-yi-ming-287884","颜鲁公诗品","此作为颜体大楷典范，用笔顿挫沉实，中锋行笔使线条圆厚饱满，横细竖粗对比和谐，尽显雄强骨力。字形宽博方正，外紧内松，繁复如“嵗”“讀”者排布匀停妥帖，重心沉稳开张，自带雍容庙堂气象。\n界格规整，字间行距齐整，通篇气脉贯通浑穆庄重，笔墨间凝着盛唐独有的恢弘朴茂，将颜体端严开阔的风骨尽数铺展，是体悟颜楷浑厚雄强神韵的绝佳范本。",[7,199,200,22280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04babc3911948f9344600f9f304de0a0.jpg",[],{"id":34887,"slug":34888,"title":34889,"dynasty":8749,"author":454,"museum":107,"description":34890,"tags":34891,"thumbUrl":34892,"material":751,"size":752,"collection":95,"collections":34893,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287846,"san-jie-fo-fa-qian-zi-wen-juan-kai-shu-bei-yi-ming-287846","三階佛法千字文卷楷書-背","这卷纸本墨迹晕着岁月沉淀的黄褐痕迹，墨色历经时光依旧沉凝清晰。\n其书法是典型的民间写经楷书，结体端稳平实，笔画朴拙厚重，摒弃刻意的妍美雕琢，尽是日常抄写的质朴暖意。边角的晕染墨痕与左侧纪年小字，更添古旧烟火气，带着民间写本独有的松弛质感，跳脱出台阁体的板正，静静留存着千年前抄写者伏案濡墨的淡淡余温，是一卷平淡却动人的古卷遗珍。",[7,199,49,386,878,1498,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f99fdb896430588d51105ff2bbe6aba.jpg",[],{"id":34895,"slug":34896,"title":34897,"dynasty":45,"author":10912,"museum":107,"description":16215,"tags":34898,"thumbUrl":34899,"material":751,"size":752,"collection":95,"collections":34900,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287791,"shi-juan-yuan-gao-wang-duo-287791","诗卷原稿",[23,7,398,49,50,25,22728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1091973c52b34c238561cd59f46561a.jpg",[],{"id":34902,"slug":34903,"title":34904,"dynasty":8749,"author":454,"museum":107,"description":34905,"tags":34906,"thumbUrl":34907,"material":751,"size":752,"collection":95,"collections":34908,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":3443},287710,"kong-hai-feng-xin-tie-yi-ming-287710","空海风信帖","这幅行书尺牍，笔墨写意随性。右侧题字清劲爽利，字形舒展萧散，左侧落款行气圆融连贯，线条牵丝映带尽显书写时的流走心境。整体章法疏宕空灵，留白与墨痕相映成趣，没有刻意的经营排布，将日常尺牍的平实化作清雅的笔墨意趣。\n\n淡旧的笺纸衬着苍逸笔锋，墨色浓淡自然晕开，褪去了雕琢匠气，漫溢出文人日常书写的松弛质感，将寻常的问安之语，酿成了兼具实用与审美意趣的书法小品。",[7,398,75,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932aee71ad0a06612993447c09eb9281.jpg",[],{"id":34910,"slug":34911,"title":34912,"dynasty":45,"author":744,"museum":107,"description":897,"tags":34913,"thumbUrl":34914,"material":751,"size":752,"collection":95,"collections":34915,"showCount":11,"zanCount":882,"manualWeight":39,"mainColor":40},287684,"da-men-sheng-li-zi-yuan-shi-tang-yin-287684","答门生李子元诗",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b87fa75a17bf3ad243bb84b889610c5.jpg",[],{"id":34917,"slug":34918,"title":34919,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":34920,"thumbUrl":34921,"material":751,"size":752,"collection":95,"collections":34922,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287673,"zhi-chen-ji-ru-er-zha-dong-qi-chang-287673","致陈继儒二札",[7,60,77,2282,22168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c9557bac5650b21476bbc30b8a586e.jpg",[],{"id":34924,"slug":34925,"title":34926,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":34927,"thumbUrl":34928,"material":751,"size":752,"collection":95,"collections":34929,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287672,"jie-shu-gui-qu-lai-ci-dong-qi-chang-287672","节书归去来辞",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda02bd7a202e394b6fb163c684d2c55c.jpg",[],{"id":34931,"slug":34932,"title":34933,"dynasty":8749,"author":454,"museum":1172,"description":34934,"tags":34935,"thumbUrl":34936,"material":751,"size":752,"collection":95,"collections":34937,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},287620,"da-bo-re-bo-luo-mi-duo-jing-juan-di-er-shi-si-shou-gao-yi-ming-287620","大般若波羅蜜多經卷第二十四手稿","这卷写经以小楷书就，乌丝界格规整排布，通篇字距匀停、行列齐整，笔墨清隽端雅。点画起收有度，笔致精谨稳准，不见潦草懈怠，尽显抄经时的敬谨心境。\n\n它兼具唐楷的端严法度与写经特有的温润朴拙，无馆阁体的板滞，将信仰的虔诚付诸笔端。整体气息平和肃穆，契合经文的庄严内核，筋骨内敛而神采内含，在工整的书写中蕴藏着静谧的书卷禅意，尽显写经书法独有的审美价值，是宗教书写凝练出的自然朴雅的笔致典范。",[49,7,384,386,9007,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873ed47c39aeb0651c810a649d48959d.jpg",[],{"id":34939,"slug":34940,"title":3136,"dynasty":45,"author":6207,"museum":107,"description":24527,"tags":34941,"thumbUrl":34942,"material":751,"size":752,"collection":95,"collections":34943,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287528,"qian-zi-wen-zhang-bi-287528",[398,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89d02b86f2575edcc6c015ca2157b1c.jpg",[],{"id":34945,"slug":34946,"title":34319,"dynasty":45,"author":13842,"museum":107,"description":29952,"tags":34947,"thumbUrl":34949,"material":751,"size":752,"collection":95,"collections":34950,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},287524,"wen-yin-tu-juan-yao-shou-287524",[92,24,25,49,50,7,60,77,113,34948],"文饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c5f9c0a17cfe2ce813d5434cd66f11f.jpg",[],{"id":34952,"slug":34953,"title":34954,"dynasty":162,"author":454,"museum":107,"description":34955,"tags":34956,"thumbUrl":34957,"material":751,"size":752,"collection":95,"collections":34958,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},287362,"miao-fa-lian-hua-jing-di-3-yao-cao-yu-pin-di-wu-yi-ming-287362","妙法蓮華經第3 藥草喻品第五","此卷写经点画精劲凝练，结体端庄匀整，尽显唐人写经的典型风貌。墨色沉郁莹润，与泛黄的古纸相映，晕开岁月浸润的厚重质感。通篇气息肃穆沉静，藏着抄写者恭谨虔诚的心境，笔墨间流淌出典雅平和的盛唐气韵，既有宗教典籍抄写的法度森严，又在规整间带着细微的灵动变化，不失手写的自然意趣，将信仰融于笔锋起落之间，尽显写经书法的庄重与清雅。",[7,386,199,49,878,9007,1498,29007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1861f072b80cb393565be30d03351471.jpg",[],{"id":34960,"slug":34961,"title":34962,"dynasty":3087,"author":454,"museum":107,"description":9803,"tags":34963,"thumbUrl":34964,"material":751,"size":752,"collection":95,"collections":34965,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},287329,"yuan-fang-mu-zhi-yi-ming-287329","元昉墓志",[199,198,7,200,23207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ab7bba804fa25efc1ee473e708c05b.jpg",[],{"id":34967,"slug":34968,"title":34969,"dynasty":162,"author":34970,"museum":107,"description":34971,"tags":34972,"thumbUrl":34973,"material":751,"size":752,"collection":95,"collections":34974,"showCount":11,"zanCount":882,"manualWeight":39,"mainColor":100},284977,"li-jing-bei-ce-wang-zhi-jing-284977","李靖碑册","王知敬","王知敬，唐怀州河内（今河南沁阳）人。武后时（六八四至七o四）仕为麟台少监。善署书，与殷仲容齐肩。",[26,198,7,199,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0354094f9989b529b3f96035a7b1d875.jpg",[],{"id":34976,"slug":34977,"title":34978,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":34979,"thumbUrl":34980,"material":751,"size":752,"collection":95,"collections":34981,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},283741,"ji-chen-mei-gong-shi-juan-dong-qi-chang-283741","寄陈眉公诗卷",[23,92,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c58a064eaec4ce3069b8b645be8c49c.jpg",[],{"id":34983,"slug":34984,"title":34985,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":34986,"thumbUrl":34987,"material":751,"size":752,"collection":95,"collections":34988,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},283736,"li-gong-feng-zeng-huai-su-ge-juan-dong-qi-chang-283736","李供奉赠怀素歌卷",[23,49,7,60,77,2409,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d6b32bc2248ef8956e1a6e963d7fd1.jpg",[],{"id":34990,"slug":34991,"title":34992,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":34993,"thumbUrl":34994,"material":751,"size":752,"collection":95,"collections":34995,"showCount":11,"zanCount":882,"manualWeight":39,"mainColor":40},283705,"za-shu-juan-dong-qi-chang-283705","杂书卷",[23,7,49,60,398,77,200,576,13310,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4135193a2c14313b4b29f85c0717d9a.jpg",[],{"id":34997,"slug":34998,"title":34999,"dynasty":45,"author":10912,"museum":107,"description":16215,"tags":35000,"thumbUrl":35001,"material":751,"size":752,"collection":95,"collections":35002,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},283661,"cao-shu-shi-juan-wang-duo-283661","草书诗卷",[23,92,24,25,49,50,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2ad589fd933d546d24f029553a8414.jpg",[],{"id":35004,"slug":35005,"title":35006,"dynasty":45,"author":35007,"museum":107,"description":35008,"tags":35009,"thumbUrl":35010,"material":751,"size":752,"collection":95,"collections":35011,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},283605,"cheng-shi-mo-yuan-shi-er-juan-ren-wen-jue-li-jiu-juan-cheng-da-yue-283605","程氏墨苑十二卷人文爵里九卷","程大约","程大约（万历年间在世），字幼博，又名君房、士芳，岩寺人。制墨家，被誉为李廷跬后第一人。君房制墨，不受陈法约束，博取众家之长，讲究配方、用料、墨模，首创超漆烟墨制法。",[199,7,1498,9636,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a8e6039bdef22b7d641487d50d96b6.jpg",[],{"id":35013,"slug":35014,"title":35015,"dynasty":18,"author":454,"museum":107,"description":35016,"tags":35017,"thumbUrl":35018,"material":751,"size":752,"collection":95,"collections":35019,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},275918,"qing-yu-yu-bi-du-ou-yang-xiu-zong-qiu-lun-ce-yi-ming-275918","青玉御笔读欧阳修纵囚论册","红木贮匣包浆厚重莹润，顶面阴刻填金题款，古韵悠然。玉册取质匀净的青玉为材，温润清透之上，以刀代笔复刻名篇笔墨。书法端雅挺劲，刀工精准还原笔墨转折的灵动意趣，将御笔书法的笔墨情致与治玉工艺的沉静质感相融，把文人名篇、帝王笔意与传统玉作合为一体，尽显宫廷器物的庄重雅致，藏着清代艺文与工艺交织的独到审美意涵。",[19026,7714,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafef061402c680f9b796ee45db2439b7.jpg",[],{"id":35021,"slug":35022,"title":35023,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":35024,"thumbUrl":35025,"material":751,"size":752,"collection":95,"collections":35026,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},275894,"bai-yu-yu-lin-su-shi-shi-tie-ce-yi-ming-275894","白玉御临苏轼诗帖册",[26,200,7,7714,7713,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c4e7befea952b3a2a65f4cd4b540480.jpg",[],{"id":35028,"slug":35029,"title":35030,"dynasty":18,"author":454,"museum":107,"description":35031,"tags":35032,"thumbUrl":35033,"material":751,"size":752,"collection":95,"collections":35034,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},275889,"bi-yu-yu-zhi-xu-zuan-mi-dian-zhu-lin-shi-qu-bao-ji-xu-ce-yi-ming-275889","碧玉御制续纂秘殿珠林石渠宝笈序册","此器以鎏金为地，浅刻云纹迤逦缠绕，似将天际流云凝缩于盒身，灵动舒展间自带悠然仙气。周身包浆温润，晕染着岁月沉淀的厚重质感，盒面旧签斑驳，留存着往昔典藏的隐秘印记。\n矮足底座承托得体，让方正器形更添稳雅之态，制式规整肃穆，尽显庄重华贵。它以精湛工法将审美与实用相融，凝着百年匠思，静诉旧日典藏的悠悠过往。",[26,7714,1498,7,13336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff16850bf2a213bc0301d4a41e72f2e.jpg",[],{"id":35036,"slug":35037,"title":35038,"dynasty":18,"author":454,"museum":107,"description":35039,"tags":35040,"thumbUrl":35042,"material":751,"size":752,"collection":95,"collections":35043,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},275798,"qing-yu-yu-zhi-xi-zang-shi-si-shi-yun-ce-yi-ming-275798","青玉御制西藏诗四十韵册","此件以红木为器地，采用百宝嵌工艺，集牙、玉、螺钿等诸般珍材施作。盖面诗文搭配瑞祥纹样，文趣与饰韵相融；盒身嵌翎毛走兽，造型生动雅致，诸色材质明暗交错，色调和谐沉静。\n\n整体形制规整秀雅，收纳之用与陈设之美兼得，将诗文意趣、吉祥寓情与匠心工艺揉合一处，尽显清代细作造物的雅致格调，是传统百宝嵌工艺的精巧演绎。",[26,7714,19026,7713,35041,7,798,10169,834,1498],"镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e09bbeeb8289eecc90a7be64ac4cef.jpg",[],{"id":35045,"slug":35046,"title":35047,"dynasty":18,"author":454,"museum":107,"description":35048,"tags":35049,"thumbUrl":35052,"material":751,"size":752,"collection":95,"collections":35053,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},275727,"si-ma-qing-long-wen-guo-qi-yi-ming-275727","丝麻青龙纹国旗","残幅之上，青龙矫然盘踞，墨色龙身遒劲张扬，朱红爪焰锐气逼人，白髯飘举间双目圆睁，威严毕现。边角虽已残破褪色，却难掩旧日规制的庄重气度。右上角朱红题字笔力沉凝，呼应主龙的四方小团龙纹饰，让构图协调统一，绣缝古拙质朴。\n\n它带着岁月浸蚀的厚重痕迹，凝缩着晚清外事礼制的独特风貌，作为承载家国符号的旗帜，即便残损依旧留存着旧朝皇家的威仪，静静诉说着特定时代的外交印记。",[359,9635,18093,7,35050,35051],"龙纹","丝麻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6262b8329c784ded327537ba76f1efab.jpg",[],{"id":35055,"slug":35056,"title":35057,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":35059,"thumbUrl":35060,"material":751,"size":752,"collection":95,"collections":35061,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},272539,"cao-su-gong-qing-lin-sui-mo-zhi-tai-shan-ju-chang-fang-mo-yi-ming-272539","曹素功青麟髓墨-至泰山句长方墨","曹素功（1615—1689年），原名圣臣，号素功，安徽歙县人，清代四大制墨名家之一。他早年潜心科举仕宦之途，因不遂心愿，便返乡以制墨为业。最初借用名家吴叔大的墨模和墨名，并开店营业，以后墨质和工艺造型日渐精良，名声亦渐远扬，其墨业更加兴旺。后移店至苏州、上海等地，常为权贵和名流定版制墨，在社会上层影响很大，被誉为“天下之墨推歙州，歙州之墨推曹氏”。",[432,35050,7,26617,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7128259ba7f45aece7d0db8da052faf7.jpg",[],{"id":35063,"slug":35064,"title":35065,"dynasty":45,"author":454,"museum":107,"description":35066,"tags":35067,"thumbUrl":35069,"material":751,"size":752,"collection":95,"collections":35070,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},271967,"dong-qi-chang-ming-duan-shi-yan-yi-ming-271967","董其昌铭端石砚","此砚形制取法宋式抄手，紫褐石质温润凝腻，包浆沉厚，晕染着经年摩挲的时光痕迹。砚池作如意凹弧，导墨顺达，砚堂素净平整，隐现天然石品纹理，实用与雅观兼得。\n\n盒盖錾刻行书铭文，笔致疏朗秀逸，萧散简远，暗合晚明文人士大夫的审美意趣。一方砚石，承载案头清供的风雅，将文人寄情日常的幽思凝于方寸，摩挲之间，似能窥见旧时灯下文墨相伴的闲雅况味，是文房器物里工艺与文心相融的佳品。",[3093,35068,7,1897,3956],"端石砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcd62b0570b93462c0775ca02380351f.jpg",[],{"id":35072,"slug":35073,"title":35074,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":35075,"thumbUrl":35077,"material":751,"size":752,"collection":95,"collections":35078,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},271243,"cao-su-gong-jian-zhi-zhu-yan-tu-mo-liang-shi-zheng-ti-shi-mo-yi-ming-271243","曹素功监制竹燕图墨－梁诗正题诗墨",[432,7,199,77,35076],"文房用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e41db5f6803fd5ae8340423cdff826.jpg",[],{"id":35080,"slug":35081,"title":35082,"dynasty":45,"author":454,"museum":107,"description":35083,"tags":35084,"thumbUrl":35085,"material":751,"size":752,"collection":96,"collections":35086,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},242561,"dong-shu-tang-tie-yi-ming-242561","东书堂帖","此拓本墨色沉古凝练，刻工精细传神，尽显王献之行草的妍美洒脱。笔致腴润舒展，外拓笔法流丽潇洒，行笔萦带连绵，将今草流便灵动的意趣尽数展露。字势欹正相生，暗合晋人尚韵的风流气度，布局疏朗雅致，尺牍间漫溢着散淡萧逸的古意。岁月晕染下，纸色暗褐斑驳，晕开古雅沉静的质感，刀锋复刻着原作的笔底意趣，让千年前的晋人风神，在此悠悠流传。",[7,200,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f4ca01e56fae85e561960affd409da.jpg",[96],{"id":35088,"slug":35089,"title":35090,"dynasty":88,"author":454,"museum":107,"description":35091,"tags":35092,"thumbUrl":35093,"material":751,"size":752,"collection":95,"collections":35094,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},242423,"xi-ping-shi-jing-can-shi-yi-ming-242423","熹平石经残石","此拓本笔画方正厚重，斩截挺劲，汉隶标志性的蚕头燕尾风神宛在，尽显官方正书的沉雄端严。残片漫漶斑驳，却藏着庙堂传经的郑重法度，字里行间凝着汉代经学的厚重底色。\n\n古旧泛黄的拓纸之上，朱印琳琅排布，与黑底残字相映成趣，是历代递藏的珍贵印记，带着宋时拓工的细致用心，将千年前的金石余温留存至今。残石断痕裹挟岁月剥蚀的沧桑，每一寸笔痕都是汉隶巅峰的缩影，方寸之间，是碑刻与传拓艺术交织的千年回响，尽显古雅肃穆的金石气韵。",[198,7,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ca66ec91c94bce5453dc8ae564ade.jpg",[],{"id":35096,"slug":35097,"title":35098,"dynasty":45,"author":454,"museum":107,"description":35099,"tags":35100,"thumbUrl":35101,"material":751,"size":752,"collection":95,"collections":35102,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},242213,"dong-han-shi-chen-bei-yi-ming-242213","东汉史晨碑","这帧尺牍以朱红笺为底，墨色浓妍鲜亮，笔致灵动爽利。行书笔画牵丝映带，行气连贯舒展，字势欹侧错落，法度与意趣相融。排布疏密得宜，笔力劲挺暗含秀雅韵致，尽显文人尺牍往来间的随性自在。墨色细微的浓淡变化，衬着朱砂底色雅致醒目，将日常寄兴的松弛心境藏于笔墨之间，是颇具闲情逸趣的行书小品。",[7,1613,198,200,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f278980065116037032c7c88b8e14e1.jpg",[],{"id":35104,"slug":35105,"title":35106,"dynasty":18,"author":454,"museum":107,"description":35107,"tags":35108,"thumbUrl":35109,"material":95,"size":95,"collection":802,"collections":35110,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},242198,"lan-ting-ba-zhu-tie-yi-ming-242198","兰亭八柱帖","此作墨色乌亮莹润，字口爽利明净，尽显行书妍雅灵动的意趣。点画提按顿挫富于节律，牵丝映带间藏悠然笔势，结体欹正相生，错落排布却行气贯通畅达。笔墨既留存晋人萧散玄远的风神，又因刻拓工艺添了几分刚劲质感，将兰亭雅集的清逸情致融于每一处点画之中。观之如见挥毫时的悠然情态，刚柔相济尽显文人书法隽雅风神，尽显行书艺术流转自如的绝佳韵致。",[7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d49d1d1cb7c1b03aca1e34e6a1f8fa3.jpg",[802],{"id":35112,"slug":35113,"title":35114,"dynasty":88,"author":454,"museum":107,"description":35115,"tags":35116,"thumbUrl":35117,"material":95,"size":95,"collection":802,"collections":35118,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},242195,"wei-huan-zhang-dun-shou-zhou-min-tie-yi-ming-242195","卫歡章顿首州民帖","此作笔势纵逸洒脱，牵丝映带间流转灵动，字字欹正相生，行气连贯酣畅。点画粗细富于变化，提按顿挫间筋力遒劲，于法度之内尽显萧散俊朗的风神。墨色沉郁古雅，章法疏密有致，字间错落呼应，将尚韵的晋人意趣尽显无遗。通篇带着疏朗放达的气度，尽显文人书法的风流雅韵，虽历经传拓，笔墨意趣依旧饱满动人，尽显古帖隽永的艺术魅力。",[2601,7,60,198,6770,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46078582b13fed466e0069b94696c940.jpg",[802],{"id":35120,"slug":35121,"title":35122,"dynasty":8749,"author":454,"museum":107,"description":35123,"tags":35124,"thumbUrl":35125,"material":95,"size":95,"collection":802,"collections":35126,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},242192,"jin-tang-shi-san-zhong-yi-ming-242192","晋唐十三种","题签行书朴拙厚重，小字端秀舒展，晋唐风雅蕴于毫端。此汇辑囊括一众经典小楷范本，既带着魏晋萧散简远的林下之风，又兼具唐楷端稳整饬的法度。虽为题名录稿，笔墨间自存沉静安闲的韵致，将古人作书时的悠然心境藏在笔锋起落之中，静静铺展出晋唐小楷的隽永风神，是窥见那个时代笔墨意趣的绝佳载体。",[25,7,199,60,200,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c7f6cc3f0541a54b363a8c193cef31.jpg",[802],{"id":35128,"slug":35129,"title":35130,"dynasty":18,"author":35131,"museum":107,"description":35132,"tags":35133,"thumbUrl":35134,"material":751,"size":752,"collection":95,"collections":35135,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241658,"hou-chi-bi-fu-bing-zha-ye-ren-shi-lu-241658","后赤壁赋并札页","任士鑪","此作行书笔致灵动随性，提按顿挫尽显节律起伏。字势欹正相生，牵丝映带自然流转，行气贯通如一。墨色枯润相济，浓淡错落藏着书写时的情绪起伏，萧散简淡的意趣扑面而来。\n\n章法排布疏密巧妙，字间留白透气舒展，全无刻意雕琢的匠气，尽显手札书写的松弛真意。笔墨浸透书卷清气，将清代文人独有的雅致随性融于笔端，尽显书写者不俗的笔力与文人意趣。",[18,7,60,26,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e39f21448dd1ea7a9d950a89abb424.jpg",[],{"id":35137,"slug":35138,"title":35139,"dynasty":88,"author":454,"museum":107,"description":35140,"tags":35141,"thumbUrl":35142,"material":312,"size":95,"collection":96,"collections":35143,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241656,"wu-kuan-chun-xi-shi-liu-nian-chi-shu-juan-yi-ming-241656","无款淳熙十六年敕书卷","此卷行草与榜书兼具，前半题跋笔意灵动苍润，行书笔势舒展连贯，带着江南士人的儒雅清逸，墨色浓淡间尽显尚意书风的随性雅致。后半敕书大字雄强朴拙，墨色沉凝厚重，锋棱尽显官家威仪。\n\n古旧绢纸晕染出岁月斑驳，题跋的文人情思与敕文的庙堂端严相映成趣，开合藏露间尽显两宋书法风神，是彼时庙堂与山林意趣融合的缩影，笔墨间晕开旧时光的古雅厚重。",[23,25,49,7,60,199,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7ad8a2ab431052588a0afefc0b9e2e.jpg",[96],{"id":35145,"slug":35146,"title":35147,"dynasty":18,"author":35148,"museum":107,"description":35149,"tags":35150,"thumbUrl":35151,"material":751,"size":752,"collection":95,"collections":35152,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241654,"lu-dong-qi-chang-lun-shu-ye-wang-ting-hou-241654","录董其昌论书页","王廷候","此作用笔灵动宛转，牵丝映带间尽显行书流转之美。布局疏朗匀停，字间错落生姿，毫无板滞之感。墨色枯润相生，浓淡变化自然，于细节中见匠心。\n\n整幅以论书之语为内容，笔墨与文思相融无间，将董氏书论的思辨意趣，以自家随性笔意演绎而出，既承续了秀逸雅致的帖学风韵，又以松弛舒缓的通篇气息，尽显文人书写的自在雅韵，是一件兼具笔墨审美与文论意趣的书法佳构。",[25,7,60,50,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b634ad29dabd220ce056526f7a6c5d7.jpg",[],{"id":35154,"slug":35155,"title":33631,"dynasty":18,"author":35156,"museum":107,"description":35157,"tags":35158,"thumbUrl":35159,"material":751,"size":752,"collection":95,"collections":35160,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241600,"wu-yan-shi-ye-shen-ye-fu-241600","沈业富","沈业富（1732年－1807年），字既堂，又字方榖、方谷，号味镫老人，室名味镫斋、味镫书屋。江苏省扬州府高邮州（今属扬州市高邮县）人，清朝政治人物、书法家。",[25,7,60,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913256adbb33ca4fac85ebc1c413b852.jpg",[],{"id":35162,"slug":35163,"title":35164,"dynasty":18,"author":1527,"museum":107,"description":7655,"tags":35165,"thumbUrl":35166,"material":751,"size":752,"collection":95,"collections":35167,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241590,"ping-she-yan-duan-yan-ye-qian-wei-cheng-241590","评歙砚端砚页",[26,7,60,77,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0fa8e726a6fd553534acf1f7e227cb.jpg",[],{"id":35169,"slug":35170,"title":35171,"dynasty":45,"author":2206,"museum":107,"description":35172,"tags":35173,"thumbUrl":35174,"material":751,"size":752,"collection":95,"collections":35175,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241560,"liu-jun-wen-wei-ting-quan-ji-juan-zhu-yun-ming-241560","刘君文威听泉记卷","此卷是祝允明为时人刘文威“听泉记”一文所回写的另一篇“听泉记”。文中夸赞了文威的家世及人品。署款：“正德元年夏五，乡贡进士长洲祝允明记。”钤“希哲”朱文、“吴下阿明”朱文、“包山真意”朱文印。引首钤“太原”白文印。卷后有宋振宸题一则及鉴藏印一方。书法自然流畅，大小字错落，富于变化。其笔法和点画结构显示出祝允明对黄庭坚书法的精心研习，不仅得其形，而且得其神。祝允明时年47岁。",[7,60,49,50,385,77,2739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59c43546b30e0c9cc3c9755a82cd4da.jpg",[],{"id":35177,"slug":35178,"title":35179,"dynasty":45,"author":35180,"museum":107,"description":35181,"tags":35182,"thumbUrl":35183,"material":751,"size":752,"collection":95,"collections":35184,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241556,"za-qu-juan-wang-xi-jue-241556","杂曲卷","王锡爵","王锡爵，生于明嘉靖十三年七月二十一日（1534年8月30日），卒于万历三十八年十二月二十九日（1611年2月11日）。字元驭，号荆石，明代南直隶苏州府太仓州（今属江苏太仓）人。\n王锡爵出身名门望族太原王氏。先祖在元末“红巾起义”中，为躲避战火，弃官逃到江南。后代其中一支，弘治年间进入太仓。祖父王涌善于经营，成为当时太仓巨富。其父王梦祥早年中秀才，入过南监为监生。后因官司纠纷，被迫弃儒经商操持家业，但立志把两个儿子培养成材。王锡爵不负父祖之望，嘉靖四十一年会试名列第一（会元），廷试名列第二（榜眼）。后来其子王衡在顺天乡试名列第一，在万历二十九年（1601年）高中进士及第第二名，被时人誉为“父子榜眼”。王锡爵的后代不乏科场得意者，其家族延续到清代成为名符其实的簪缨世家。\n王锡爵在进士及第，授翰林院编修，累迁詹事府右谕德、国子祭酒、詹事、礼部右侍郎、文渊阁大学士。万历二十一年（1593年），官至太子太保、吏部尚书、建极殿大学士，为内阁首辅。万历二十二年，辞官致仕，仍一再被皇帝相召。万历三十八年，王锡爵终老于太仓老家，赠太保，谥号文肃，著有《王文肃公全集》55卷。\n王锡爵在任期间，发生了日寇侵略朝鲜，朝廷纷争，是战还是不战？王锡爵看穿了日本以朝鲜为跳板，真实目的在于侵略大明王朝的实质，力主对日本一战。最后在他的运筹之下，大明战而胜之，彻底的斩断了日寇侵略中国的妄想。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b372740eefb7f6f31897885f3905bd.jpg",[],{"id":35186,"slug":35187,"title":35188,"dynasty":18,"author":35189,"museum":107,"description":35190,"tags":35191,"thumbUrl":35192,"material":312,"size":95,"collection":96,"collections":35193,"showCount":11,"zanCount":882,"manualWeight":39,"mainColor":40},241521,"zhu-fu-shi-zhou-ma-zhi-fei-241521","祝福诗轴","马之騛","此作为行书长轴，笔致圆融灵动，兼具帖学流美与北碑朴拙筋骨。开篇起笔沉凝，渐次舒展，字势顾盼生姿，行气连贯如流泉映带。\n\n整幅布局匀停，虚实相生，虽为长篇祝颂之辞，却无板滞壅塞之感，起承转合间节律悠然。点画筋骨内含，牵丝映带尽显行书飘逸之态，将敬贺心意寄寓笔墨之中，文辞与书韵相得益彰。\n书者深谙笔法意趣，融二王秀雅与碑版沉雄，既有文人情致，又具庙堂端雅气度，笔墨间尽显精湛功力与虔敬心意，是一件颇具意韵的行书佳作。",[24,25,75,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d430142e87d48699e001e86460f4ce1.jpg",[96],{"id":35195,"slug":35196,"title":21902,"dynasty":18,"author":35197,"museum":107,"description":35198,"tags":35199,"thumbUrl":35200,"material":312,"size":95,"collection":96,"collections":35201,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},241502,"lu-yu-zhou-gu-chun-241502","顾莼","顾莼（1765—1832）字希翰，一字吴羹，号南雅，晚号息庐，江苏吴县（今苏州）人，清朝官吏、学者。\n生于清高宗乾隆三十年，卒于宣宗道光十二年，年六十八岁。嘉庆七年进士（1802）进士，改翰林院庶吉士。散馆，授编修。累官至通政司副使，正直不阿。晚年，名益盛，有文坛耆宿之誉。书工楷法，师欧阳询。下笔英挺，行、草、分、隶亦沈郁入古。 少好诗古文，晚岁画宗扬补之，水仙似赵孟坚。墨梅古趣洋溢，墨兰雅润，不专一家。或肆为粉披，或敛为简淡，皆天真自然，不求妍妙而别饶风趣。 [1] 诗文师大苏，音格高雅，赋骈体皆师唐、宋，居词馆三十余年，文名动天下。卒年六十八。所著有《南雅诗文钞》，《清史列传》行于世。",[60,75,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537079440bf1da33f780cf7b1a014b4e.jpg",[96],{"id":35203,"slug":35204,"title":35205,"dynasty":18,"author":31710,"museum":107,"description":31711,"tags":35206,"thumbUrl":35207,"material":751,"size":752,"collection":95,"collections":35208,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},241470,"xing-kai-jin-zhu-fang-cong-yi-duan-juan-yao-song-241470","行楷晋麈芳丛一段卷",[7,49,3135,199,135,1600,445,136,133,132,131,140,137,139,52,53,54,116,678,51,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01aec93a00f535293be71bc9dc187444.jpg",[],{"id":35210,"slug":35211,"title":35212,"dynasty":45,"author":35213,"museum":107,"description":35214,"tags":35215,"thumbUrl":35216,"material":751,"size":752,"collection":95,"collections":35217,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241468,"qi-yan-shi-ju-zhou-yang-ji-sheng-241468","七言诗句轴","杨继盛","杨继盛（1516年6月16日－1555年），字仲芳，号椒山。直隶容城（今河北容城县北河照村）人。明朝中期著名谏臣。\n嘉靖二十六年（1547年），杨继盛登进士第，初任南京吏部主事，师从南京吏部尚书韩邦奇学习律吕。后官兵部员外郎。因上疏弹劾仇鸾开马市之议，被贬为狄道典史。其后被起用为诸城知县，迁南京户部主事、刑部员外郎，调兵部武选司员外郎。\n嘉靖三十二年（1553年），上疏力劾严嵩“五奸十大罪”，遭诬陷下狱。在狱中备经拷打，终于嘉靖三十四年（1555年）遇害，年四十。明穆宗即位后，以杨继盛为直谏诸臣之首，追赠太常少卿，谥号“忠愍”，世称“杨忠愍”。后人以其故宅改庙以奉，尊为城隍。有《杨忠愍文集》。",[7,60,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3fcfb9904df575dee9b05b5a313429.jpg",[],{"id":35219,"slug":35220,"title":35221,"dynasty":18,"author":599,"museum":107,"description":3348,"tags":35222,"thumbUrl":35223,"material":751,"size":752,"collection":95,"collections":35224,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241463,"zi-xu-gao-juan-zheng-ban-qiao-241463","自叙稿卷",[7,60,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315d72a62dc01a9ad5959ff2c5717882.jpg",[],{"id":35226,"slug":35227,"title":35228,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":35229,"thumbUrl":35230,"material":751,"size":752,"collection":95,"collections":35231,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241440,"ling-xi-xi-zha-heng-weng-fang-gang-241440","令西席札横",[7,60,50,433,77,21060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff831f5311a37710a8242344795c3470e.jpg",[],{"id":35233,"slug":35234,"title":35235,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":35236,"thumbUrl":35237,"material":751,"size":752,"collection":95,"collections":35238,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241439,"zhi-qing-shi-ri-lai-zha-heng-wen-jia-241439","致磬室日来札横",[4038,7,60,312,19315,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268b2daf85aa2364c08c9eaca87a0d4d.jpg",[],{"id":35240,"slug":35241,"title":18659,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":35242,"thumbUrl":35243,"material":751,"size":752,"collection":95,"collections":35244,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},241417,"si-yan-lian-huang-yi-241417",[7,1613,2136,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d71b5086625065c2bb79a98026c856.jpg",[],{"id":35246,"slug":35247,"title":12961,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":35248,"thumbUrl":35249,"material":751,"size":752,"collection":95,"collections":35250,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241414,"qi-lv-zhou-huang-shen-241414",[7,75,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9828e5aac72ecb8c1dd3dbb0eee4e13b.jpg",[],{"id":35252,"slug":35253,"title":35254,"dynasty":18,"author":1260,"museum":107,"description":19508,"tags":35255,"thumbUrl":35256,"material":751,"size":752,"collection":95,"collections":35257,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241413,"ti-hua-shi-juan-liu-yong-241413","题画诗卷",[49,25,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac87767aee6107c13a29656fe90317e.jpg",[],{"id":35259,"slug":35260,"title":31476,"dynasty":18,"author":35261,"museum":126,"description":21919,"tags":35262,"thumbUrl":35263,"material":18425,"size":21922,"collection":96,"collections":35264,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241400,"lin-tie-zhou-wang-ze-241400","王泽",[7,110,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fc72eb87ba879f31dbddc86e5843ef.jpg",[96],{"id":35266,"slug":35267,"title":35268,"dynasty":18,"author":35269,"museum":107,"description":35270,"tags":35271,"thumbUrl":35272,"material":312,"size":95,"collection":96,"collections":35273,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241380,"xing-jie-lin-zhao-wen-min-bao-yun-si-bei-zhou-shen-zong-jing-241380","行节临赵文敏宝云寺碑轴","沈宗敬","沈宗敬（1669—1735）《清朝畫徵錄》作雍正三年（1725）卒，清朝書畫家筆錄從之。字恪庭、南季，號獅峯、獅峯道人、雙鶴老人、雙杏草堂主人、卧虛山人等，華亭（今松江屬上海市）人，沈荃之子。今依歷代畫史匯傳。",[7,60,110,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570db20bb1c34f1503be051ab51a2872.jpg",[96],{"id":35275,"slug":35276,"title":23662,"dynasty":18,"author":35277,"museum":107,"description":35278,"tags":35279,"thumbUrl":35280,"material":312,"size":95,"collection":96,"collections":35281,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241379,"wu-lv-zhou-shen-sheng-qi-241379","沈圣岐","万历时人。善书。诗余画谱有其所书。",[7,60,75,77,6298,1679,14121,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfa9905c2c722d08994fd79fd112cb9.jpg",[96],{"id":35283,"slug":35284,"title":12961,"dynasty":18,"author":10427,"museum":107,"description":17108,"tags":35285,"thumbUrl":35286,"material":751,"size":752,"collection":95,"collections":35287,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},241366,"qi-lv-zhou-wang-shi-min-241366",[7,199,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41be8daf2feebf732d8302fb7a50b16.jpg",[],{"id":35289,"slug":35290,"title":35291,"dynasty":18,"author":35292,"museum":107,"description":35293,"tags":35294,"thumbUrl":35295,"material":751,"size":752,"collection":95,"collections":35296,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241357,"lu-wen-ping-zhou-bai-shan-241357","录文屏","周白山","此作为小楷立轴，笔致秀雅温润，点画精整工稳，结构端妍匀停，是清代馆阁小楷的典型风貌。所书为裴谌修仙轶事，笔墨清和，衬以回纹蓝格笺纸，更添雅致意蕴。整体气息静穆安和，将文士慕道的雅趣融于笔墨之间，虽恪守馆阁体的规整法度，却毫无板滞之感，自透着冲淡平和的书卷气质，尽显清人小楷精谨秀润的不俗功力。",[7,199,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F970e1774608f7f76b656d1b82a678993.jpg",[],{"id":35298,"slug":35299,"title":31476,"dynasty":45,"author":35300,"museum":107,"description":35301,"tags":35302,"thumbUrl":35303,"material":751,"size":752,"collection":95,"collections":35304,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":789},241342,"lin-tie-zhou-xing-ci-jing-241342","邢慈静","邢慈静(1572或1573~？)，明代万历年间人，号蒲团主人、兰雪斋主，山东临邑人，明代著名书法家邢侗胞妹。她自幼聪慧，悟性超群，工书法，善绘画，尤精白描观音，博学多才，深受世人的喜爱。邢慈静幼年受九嫂杨氏（杨梦山之妹）影响学习律诗，青年时代受长兄邢侗影响学习书法绘画，晚年临摹《澄清堂帖》，深得右军神韵。",[7,110,398,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdaf6bca0798ee3a0160e670b749dfb.jpg",[],{"id":35306,"slug":35307,"title":35308,"dynasty":45,"author":35309,"museum":107,"description":35310,"tags":35311,"thumbUrl":35312,"material":751,"size":752,"collection":95,"collections":35313,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},241340,"zhuan-shu-shang-fang-yu-jing-zhou-wang-shu-241340","篆书尚方御镜轴","王澍","王澍，字蒻林，号虚舟，江南金坛人。1668年生，1743年逝世，官至吏部员外郎。康熙时以善书，特命充五经篆文馆总裁官。",[4038,457,75,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5634d6df8706d0e7dde0aa375e60ff.jpg",[],{"id":35315,"slug":35316,"title":22728,"dynasty":45,"author":35317,"museum":107,"description":35318,"tags":35319,"thumbUrl":35320,"material":312,"size":95,"collection":96,"collections":35321,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241294,"shi-juan-yu-shao-zhi-241294","余绍祉","此卷以狂草挥就，笔墨奔涌如江河泻地，满纸纵横捭阖，尽显跌宕意气。字势大小欹侧错落，章法疏密相生，起首从容铺陈，中段笔力愈沉，线条盘旋缠绕如蛟龙腾跃，枯湿浓淡交叠，枯笔似老树虬枝苍劲，润笔若惊鸿掠水灵动。整卷将胸臆豪情尽数铺陈，提按顿挫间皆是不羁风骨，把草书的抒情性发挥到极致，末段敛锋收束却余韵悠长，观之如见书家挥毫时的酣畅快意。",[7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca7de2c7482946df1e84f4c149e3e59.jpg",[96],{"id":35323,"slug":35324,"title":35325,"dynasty":18,"author":31511,"museum":107,"description":35326,"tags":35327,"thumbUrl":35328,"material":751,"size":752,"collection":95,"collections":35329,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},241276,"ying-he-lin-tie-zhou-ying-he-241276","英和临帖轴","英和（1771年－1840年），初名石桐，字樹琴，號熙斋，又号粤溪生，索綽絡氏，内务府滿洲正白旗人，进士出身，中國清朝政治人物。",[7,110,60,75,50,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c311e634af04c79f170bc4f601b8f86.jpg",[],{"id":35331,"slug":35332,"title":27953,"dynasty":45,"author":35333,"museum":107,"description":35334,"tags":35335,"thumbUrl":35336,"material":312,"size":95,"collection":96,"collections":35337,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241227,"wu-jue-zhou-liu-yuan-shi-241227","刘元士","此作用笔老辣苍劲，线条圆劲灵动，牵丝映带间尽显草书流走之美。字势大开大合，行气贯通如一，笔墨枯湿浓淡自然变幻，将诗意融于笔端。整幅书作兼具法度与写意，笔意带着山林野逸之趣，疏朗散淡间尽显文人心境，尽显晚明尚韵尚奇的书风特质，是抒情性与笔墨表现力相融的草书精品。",[4038,75,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F597afb841dad9853b8fa675f1c4dd163.jpg",[96],{"id":35339,"slug":35340,"title":29530,"dynasty":45,"author":35341,"museum":107,"description":35342,"tags":35343,"thumbUrl":35344,"material":312,"size":95,"collection":96,"collections":35345,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},241225,"wu-lv-shi-zhou-chen-wei-yue-241225","陈维岳","生卒年均不详，约清圣祖康熙八年前后在世。刻苦励学，与仲兄维嵋皆有文名。徐乾学、朱彝尊皆推重之。维岳著有秋水阁古文一卷，潘鬓诗二卷，红盐词二卷，并传于世。",[45,25,75,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1220140da4e43944eaac8222e43e5f06.jpg",[96],{"id":35347,"slug":35348,"title":35349,"dynasty":45,"author":35350,"museum":107,"description":35351,"tags":35352,"thumbUrl":35353,"material":312,"size":95,"collection":96,"collections":35354,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241186,"zhi-yao-xian-wen-zha-juan-yang-lian-241186","致姚现闻札卷","杨涟","杨涟（1572年7月10日－1625年8月28日），字文孺，号大洪，汉族，湖广应山（今属湖北广水）人。明末著名谏臣，东林党人，“东林六君子”之一。\n万历三十五年（1607年），杨涟登进士第。初任常熟知县，举全国廉吏第一，入朝任户科给事中、兵科给事中。明神宗病危时，杨涟力主太子朱常洛（明光宗）进宫服侍神宗。光宗即位后，他极力反对郑贵妃求封皇太后。光宗病重时，杨涟上疏力陈其过失，得以获光宗召见，受顾命之任。李选侍在光宗逝世后，欲挟太子朱由校（明熹宗）把持朝政。杨涟说服朝臣，挺身而出，闯进乾清宫，拥熹宗即位，并逼李选侍移出乾清宫，安定朝局。累迁至左副都御史。\n天启五年（1625年），因弹劾魏忠贤二十四大罪，被诬陷受贿二万两，历经拷打，惨死狱中。崇祯元年（1628年），杨涟获平反，追赠太子太保、兵部尚书，谥号“忠烈”。有《杨忠烈公文集》传世。\n杨涟终生致力于争“红丸案”、“移宫案”以正宫闱，反阉党以遏止魏忠贤，为挽救混乱的政局献出了自己宝贵的生命。",[23,7,60,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1945b7f5c8f316b93aae84afdc083e.jpg",[96],{"id":35356,"slug":35357,"title":35358,"dynasty":18,"author":1260,"museum":107,"description":19508,"tags":35359,"thumbUrl":35360,"material":751,"size":752,"collection":95,"collections":35361,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241157,"song-cai-ming-yuan-xu-zhou-liu-yong-241157","送蔡明远叙轴",[25,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30e70280c45adde96c5c0ab5b247d46.jpg",[],{"id":35363,"slug":35364,"title":35365,"dynasty":45,"author":35366,"museum":107,"description":35367,"tags":35368,"thumbUrl":35369,"material":751,"size":752,"collection":95,"collections":35370,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},241141,"cao-shu-shi-zhou-tu-long-241141","草书诗轴","屠隆","屠倬（1781—1828），清代官吏、诗人、篆刻家。字孟昭，号琴邬，晚号潜园老人，浙江诸暨紫岩乡六十都（今诸暨市店口镇琴隖村）人，寄居钱塘。一作钱塘（今浙江杭州）人。嘉庆十三年进士。知江苏仪征县，在任五年，除盐枭，清疑案，劝民纺织。道光初擢九江知府，以疾辞。工诗古文，诗与郭麔齐名。有《是程堂诗文集》。",[7,398,4038,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1262b01f65a82407c5ee78de3cc97610.jpg",[],{"id":35372,"slug":35373,"title":17213,"dynasty":18,"author":35374,"museum":107,"description":35375,"tags":35376,"thumbUrl":35377,"material":95,"size":95,"collection":96,"collections":35378,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241136,"qi-yan-shi-zhou-liu-tong-xun-241136","刘统勋","刘统勋（1700年2月11日—1773年12月29日），字延清，号尔钝，青州府诸城县（今山东省高密市）人。清朝大臣、政治家，刘墉的父亲。\n雍正二年（1724年），考中进士，选为庶吉士、翰林院编修，历任南书房行走、上书房行走和东宫詹事等。乾隆帝继位，历任刑部侍郎、左都御史、漕运总督、太子太傅兼陕甘总督、工部尚书、吏部尚书、翰林院掌院学士、军机大臣、东阁大学士、国史馆总裁 [1] 。为政四十余年，清廉正直，敢于直 谏，在吏治、军事、治河、修史等方面均有显著政绩。\n乾隆三十八年（1773年），去世，时年七十五，获赠太傅，谥号文正。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaad8b364873777a4241de58886d8b00.jpg",[96],{"id":35380,"slug":35381,"title":20402,"dynasty":18,"author":6672,"museum":107,"description":3348,"tags":35382,"thumbUrl":35383,"material":751,"size":752,"collection":95,"collections":35384,"showCount":11,"zanCount":882,"manualWeight":39,"mainColor":789},241129,"zheng-xie-shi-zhou-zheng-xie-241129",[18,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6690e16dbc217ea900110d0c31b4c11b.jpg",[],{"id":35386,"slug":35387,"title":17924,"dynasty":18,"author":35388,"museum":107,"description":35389,"tags":35390,"thumbUrl":35393,"material":312,"size":95,"collection":96,"collections":35394,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241078,"shi-zhou-fang-xun-241078","方薰","方薰(1736—1799)，字兰士，一字懒儒，号兰坻、兰如、兰生、长青、樗庵，别署语儿乡农，浙江石门（今属桐乡）布衣。槑子。性高逸狷介，朴野如山僧。诗、书、画并妙，写生尤工，与钱塘奚冈（字铁生，西泠八家之一）齐名，世称浙西两高士，称“方奚”。一时能手，无出二人之上。阮元评其画说：“深得宋元人秘法。”陈希濂则说：“兰士作画，繁不重，简不略，厚在神，秀在骨，高旷之气，突过时辈。”作品有《山静居诗稿》《山静居词稿》《题画诗》《山静居画论》。",[25,75,60,7,77,35391,845,35392,679,20103,26860,1677,3040,6297,282,360,10607,589],"寒山","湖山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a37ec1aed7712c705ad5c860ddd550.jpg",[96],{"id":35396,"slug":35397,"title":35398,"dynasty":45,"author":35399,"museum":107,"description":35400,"tags":35401,"thumbUrl":35402,"material":312,"size":95,"collection":96,"collections":35403,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":789},241057,"deng-she-shan-shi-zhou-ye-xiang-gao-241057","登摄山诗轴","叶向髙","叶向高（1559年9月1日－1627年10月7日），字进卿，号台山，晚号福庐山人，福州府福清（今福建福清市）人。明朝大臣、政治家，万历、天启年间两度出任内阁辅臣。\n万历十一年（1583年），考中进士，授职庶吉士，随后提升为翰林院编修，历任南京国子司业、太子左中允。万历二十六年（1598年），升为太子左庶子。上疏请求取消矿税、撤矿税监，被沈一贯排挤出京，转任南京礼部右侍郎。万历三十五年（1607年），升任礼部尚书、东阁大学士。万历三十六年（1608年）后，一人主持阁务达七年之久，人称“独相”。万历四十二年（1614年），连上六十二道奏疏请求致仕，获准回乡。天启元年（1621年），二度入阁为首辅。由于阉党势力过于强大，叶向高不甘受误国之骂名，又连上六十七道奏疏请辞。天启四年（1624年），叶向高以太子太傅致仕。\n天启七年（1627年），叶向高病逝，终年六十九岁。崇祯初年，追赠太师，谥号文忠。\n叶向高善于决断大事，任首辅期间，为明神宗出谋划策，调剂大臣之间的关系，更对维护太子正统、遏制魏忠贤的势力起到了不可替代的作用。",[7,75,60,50,651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0f7adaa6165376a44749ffd29eb0f.jpg",[96],{"id":35405,"slug":35406,"title":18391,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":35407,"thumbUrl":35408,"material":751,"size":752,"collection":95,"collections":35409,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241033,"qi-jue-zhou-fu-shan-241033",[24,25,75,398,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8f5a02289221965bf397a01a47c12f.jpg",[],{"id":35411,"slug":35412,"title":23662,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":35413,"thumbUrl":35414,"material":751,"size":752,"collection":95,"collections":35415,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},241032,"wu-lv-zhou-fu-shan-241032",[25,75,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08227a425efead1a09742bf66725b770.jpg",[],{"id":35417,"slug":35418,"title":17924,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":35419,"thumbUrl":35420,"material":751,"size":752,"collection":95,"collections":35421,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241031,"shi-zhou-fu-shan-241031",[75,7,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3933bf49524d6f12812f17e0ef5155.jpg",[],{"id":35423,"slug":35424,"title":21037,"dynasty":18,"author":10912,"museum":107,"description":16215,"tags":35425,"thumbUrl":35426,"material":751,"size":752,"collection":95,"collections":35427,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":789},241024,"wang-duo-wu-lv-zhou-wang-duo-241024",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75211a89a0d11156842279200dda173.jpg",[],{"id":35429,"slug":35430,"title":35431,"dynasty":18,"author":35432,"museum":107,"description":35433,"tags":35434,"thumbUrl":35435,"material":312,"size":95,"collection":96,"collections":35436,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241021,"qi-yan-zhou-gong-you-rong-241021","七言轴","龚有融","龚有融（1755～1831）清著名书画家。字晴皋，号绥山樵子，晚号拙老人，清四川省重庆府巴县人。祖父辈由营山县迁入巴县，定居西里冷水场（今重庆九龙坡区华岩乡）。\n乾隆四十四年（1779年）举人。后屡试春闱不第，以游幕和馆课为生。嘉庆十七年（1812）大挑一等，选山西崞县（今原平县）知县。旧例新令至可得数千金。龚有融单车抵县，破旧例，却金不受。在官三年，多惠政。\n会抚军巡县，供张之费，须敛民财，有融不忍，亲自支应。驺从哄于署。是时有融方食，惟麦饭豆菽，举以示之曰：“此吾所自奉，共食何如？”次日抚军启行，呼左右不即至，抚军不悦。\n未几，调任石楼知县，有融年已六十，宦情淡薄，遂称病辞官。崞县民众攀辕泣送，为立生祠祀之。归里薄置田宅，自题宅旁小溪曰“退溪”。于石碾房课徒讲学，名曰“碾斋书堂”。\n教授勤恳，远近才俊，慕名来学者众，至屋舍不能容，造就颇多。间应朋友之请，作书画得润笔以自给。晚年自号“拙老人”。高简不轻出，当道欲图一见不可得，亟重其画。某太守生辰，郡人将制锦以献。太守曰：“以幅纸得龚先生书画足矣。”有融时馆于城，竟走避。比太守拜见，不见，亦不答。\n道光十一年（1831）病卒于家。崇祀乡贤祠。",[18,25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb12e447b9f0ed29a963d7f48cf90b4.jpg",[96],{"id":35438,"slug":35439,"title":13677,"dynasty":18,"author":35440,"museum":107,"description":35441,"tags":35442,"thumbUrl":35444,"material":312,"size":95,"collection":96,"collections":35445,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241019,"wu-gu-zhou-cao-ting-dong-241019","曹廷栋","生于清圣祖康熙三十八年，卒于高宗乾隆五十年，年八十七岁。诸生。少嗜学工诗，中年后，绝意进取。于所居累土为山，环植花木，以奉母，名之日慈山，因自号慈山居士。时或弹琴赋诗写兰石摹篆隶以抒其闲寂。后益耽著述，不下楼者三十年，所坐木榻穿而复补。性旷达，晚自营生圹，手植梅花成林。廷栋生平最爱贺铸诗，故所为大似北宋人。尝以《宋诗钞》漏略尚多，因搜采遗佚，为《宋百家诗存》二十八卷；他着有《产鹤亭诗集》七卷，《老老恒言》五卷，《易准》四卷，《昏礼通考》二十四卷，《孝经通释》十卷，《逸语》十卷，及《琴学内篇》一卷，《外篇》一卷，均《清史列传》并传于世。",[7,75,60,77,1074,114,35443,3516,9678,678,1679,132],"渭水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5376f4e87589ee425ab452052d0c32.jpg",[96],{"id":35447,"slug":35448,"title":35449,"dynasty":18,"author":9615,"museum":107,"description":35450,"tags":35451,"thumbUrl":35452,"material":312,"size":95,"collection":96,"collections":35453,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241016,"shu-zha-juan-cha-shi-biao-241016","书札卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c8f1c05b13de6e1378bbda9cad11c4.jpg",[96],{"id":35455,"slug":35456,"title":35457,"dynasty":45,"author":24574,"museum":107,"description":35458,"tags":35459,"thumbUrl":35460,"material":312,"size":95,"collection":96,"collections":35461,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240999,"juan-pian-yang-shen-240999","卷片","此卷行书信札笔意萧散疏朗，尽显明代文人的清逸襟怀。起笔收锋自在随心，牵丝映带间可见笔力遒劲温润，字间排布错落有呼吸感，毫无刻意雕琢之态。\n\n尺牍间皆是日常酬答絮语，将文士往来的雅融于笔墨之中，笔端带着蜀地学人特有的清隽疏放，又沉淀着治学岁月浸润出的静穆雅致。淡墨晕开在古旧笺纸上，晕染出经年的时光痕迹，静静弥散出古雅的书卷意绪。",[7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1444236e2954e2fcb372b1539e1e33.jpg",[96],{"id":35463,"slug":35464,"title":35465,"dynasty":45,"author":35466,"museum":107,"description":35467,"tags":35468,"thumbUrl":35469,"material":312,"size":95,"collection":96,"collections":35470,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240988,"zhi-feng-gang-zha-heng-chu-zhen-240988","致凤岗札横","储浈","这件行书尺牍以随性笔墨尽显文人日常意趣，起收间不失帖学法度，笔画灵动舒展，字势错落揖让，带着书写时松弛自如的状态。墨色随书写节奏呈现浓淡枯湿的自然变化，行间留白疏朗通透，尽显明代帖学流丽秀雅的气质。\n\n作为日常寄友的手札，将家常问候化入流动线条，笔墨间藏着书写者的闲散意态，实用尺牍在此成为兼具情谊与美感的书法小品，尽显文人简淡萧散的审美意韵，让笔墨与心绪相融，处处皆是雅致的日常诗意。",[7,60,2282,50,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb39aa5822bf9edbbf973932009781ecc.jpg",[96],{"id":35472,"slug":35473,"title":35474,"dynasty":45,"author":13748,"museum":107,"description":31761,"tags":35475,"thumbUrl":35476,"material":751,"size":752,"collection":95,"collections":35477,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240961,"lun-xue-tie-juan-li-liu-fang-240961","论学帖卷",[23,7,60,49,200,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bd8689517bf5495fdb7d83f11f4d6b.jpg",[],{"id":35479,"slug":35480,"title":35481,"dynasty":18,"author":28161,"museum":107,"description":35482,"tags":35483,"thumbUrl":35484,"material":751,"size":752,"collection":95,"collections":35485,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240931,"zhuan-li-jin-wen-shu-lin-jin-shi-ming-wen-shan-mian-wu-ting-kang-240931","篆隶金文书临金石铭文扇面","吴廷康[清]（一七九九至？）字元生，号康甫，又号赞甫，一作赞府，别号晋斋，晚号茹芝，安徽桐城人，清代官员、画家，作品有《墨林今话续编》、《迟鸿轩所见书画录》、《广印人传》、《竹刻录》、《工馀谈艺》。",[1250,457,1613,8550,110,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8872cfee12ce9820eadecd70504ab78.jpg",[],{"id":35487,"slug":35488,"title":35489,"dynasty":88,"author":454,"museum":107,"description":35490,"tags":35491,"thumbUrl":35492,"material":312,"size":95,"collection":96,"collections":35493,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240928,"zhi-zi-hua-lang-zhong-zun-qi-xiong-zha-juan-yi-ming-240928","致紫华郎中尊契兄札卷","此作用笔舒展灵动，结体疏密随性，尽显宋人尺牍的温雅意趣。笔墨间带着松弛的文人气息，墨色浓淡自然晕开，章法错落松弛，毫无刻意雕琢之感。\n\n手札藏着寄友私语，既有别后霜途的牵念，也带着宦路倏忽的怅惘，将知己交游的缱绻心绪融于挥毫之间。通篇气息清雅从容，尽显士大夫的笔墨风流，日常离愁与真挚情谊裹挟在笔墨流转之中，把文人日常的雅致心境尽数铺陈纸面，是兼具实用意涵与审美价值的尺牍佳构。",[92,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9efd517e60169c38e8576fad947ce6f.jpg",[96],{"id":35495,"slug":35496,"title":35497,"dynasty":18,"author":35498,"museum":107,"description":35499,"tags":35500,"thumbUrl":35501,"material":751,"size":752,"collection":95,"collections":35502,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240919,"yang-jie-yuan-qi-lv-lin-kong-zhou-ming-ji-jin-wen-wan-shan-fan-yong-240919","杨捷元、七律、临孔宙铭及金文纨扇","范镛","范镛（1422年－？），字彦声，江西南昌府丰城县人，民籍，明朝政治人物。进士出身。江西乡试第六十三名。景泰五年（1454年），参加甲戌科会试，得贡士第一百六十一名。",[1250,7,110,457,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc9a2c6ddf5a58f710b54d244ba71fa.jpg",[],{"id":35504,"slug":35505,"title":35506,"dynasty":18,"author":19042,"museum":107,"description":35507,"tags":35508,"thumbUrl":35509,"material":751,"size":752,"collection":95,"collections":35510,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240917,"jie-lu-xian-yang-ling-tai-bei-cheng-shan-zhao-zhi-chen-240917","节录咸阳灵台碑成扇","赵之琛（1781-1852），钱塘（今浙江杭州）人。字次闲，号献父、献甫，又号宝月山人，斋号补罗迦室。蝶隐园书画杂缀作赵之瑛。清代著名的篆刻家和书画家，精心嗜古，邃金石之学，篆刻得其乡陈豫锺传，能尽各家所长。尝为阮元摹刊钟鼎款识，兼工隶法，善行楷。画山水师倪、黄，以萧疏幽澹为宗。花卉笔意潇洒，傅色清雅，大有华嵓神趣。间作草虫，随意点笔，各种体貌，无不逼肖。然丈尺之幅，腕力已薄，虽不能追踪古人，亦当抗衡奚冈、方薰、黄易。",[7,1250,1613,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed30968841b9d39cf05247b4b1820e2.jpg",[],{"id":35512,"slug":35513,"title":35514,"dynasty":18,"author":27924,"museum":107,"description":27925,"tags":35515,"thumbUrl":35516,"material":751,"size":752,"collection":95,"collections":35517,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240878,"zhuan-shu-wu-lv-shi-zhou-wu-da-cheng-240878","篆书五律诗轴",[457,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b5c5b3c417987ac9eb1868684471ce.jpg",[],{"id":35519,"slug":35520,"title":29530,"dynasty":45,"author":5386,"museum":107,"description":18331,"tags":35521,"thumbUrl":35522,"material":751,"size":752,"collection":95,"collections":35523,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240865,"wu-lv-shi-zhou-wang-chong-240865",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F602e1957fcad41fd8d12ca72d58f4c10.jpg",[],{"id":35525,"slug":35526,"title":35527,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":35528,"thumbUrl":35529,"material":751,"size":752,"collection":95,"collections":35530,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240838,"zhi-liu-song-lan-zha-tong-juan-weng-fang-gang-240838","致刘松岚札(通)卷",[23,7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52970075d83d92dcfff20e4716822802.jpg",[],{"id":35532,"slug":35533,"title":35534,"dynasty":162,"author":454,"museum":107,"description":35535,"tags":35536,"thumbUrl":35537,"material":751,"size":752,"collection":95,"collections":35538,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240795,"wu-kuan-xie-jing-can-juan-yi-ming-240795","无款写经残卷","此卷小楷结体端秀匀整，字形略取横势，隐存隶书遗意。通篇排布齐整森严，起收笔凝练沉稳，笔画匀净工稳，一丝不苟，尽显写经时的恭谨肃穆。书写者笔底兼具法度与气韵，字字安稳平实，通篇气息贯通浑融，既有抄经的庄严静穆，又不失书法本身的舒展雅致。笔墨间饱含对佛法的敬畏，尽显唐代民间写经书法的典型风貌，兼具珍贵的宗教文献价值与书法审美价值。",[23,7,386,199,878,1498,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab61988f1f8f29cd34bfd55f7b8f66c7.jpg",[],{"id":35540,"slug":35541,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":35544,"thumbUrl":35545,"material":751,"size":752,"collection":96,"collections":35546,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240722,"shu-zha-ce-chong-qi-240722","崇绮","崇绮（1829－1900），清代唯一一位旗人状元。晚清大臣，字文山，阿鲁特氏，原隶蒙古正蓝旗，父凭女贵，升隶满洲镶黄旗。大学士、军机大臣赛尚阿之子，郑亲王端华的女婿。一妹一女同为同治帝后妃，同父异母妹妹即恭肃皇贵妃，女儿即孝哲毅皇后。同治四年一甲一名进士，状元。迁侍讲，以女为后，封三等承恩公，光绪间历任吏部尚书、礼部尚书，与徐侗同为大阿哥溥儁师傅。八国联军入京时，随荣禄走保定，自缢死。谥号“文节”。",[25,7,26,199,60,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3259ff3dde49768ea03197cb0045b235.jpg",[96],{"id":35548,"slug":35549,"title":35550,"dynasty":18,"author":31097,"museum":107,"description":31098,"tags":35551,"thumbUrl":35552,"material":751,"size":752,"collection":95,"collections":35553,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240698,"zhuan-shu-bi-lang-gan-guan-heng-hong-liang-ji-240698","篆书碧琅玕馆横",[2135,457,7,77,2602,14632,3467,25547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2264c912a2edff6ffced1add31d16754.jpg",[],{"id":35555,"slug":35556,"title":35557,"dynasty":45,"author":2206,"museum":126,"description":35558,"tags":35559,"thumbUrl":35560,"material":1038,"size":35561,"collection":96,"collections":35562,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240666,"qi-lv-shou-li-an-shi-zhou-zhu-yun-ming-240666","七律寿砺庵诗轴","释文：\n西山青拥午桥庄，南纪星辉砺石堂。百岁光仪高里社，四朝声望播岩廊。须知洞里陶弘景，即是关中张子房。看取丹丘非浪语，朱颜漆鬓碧瞳方。\n中丞砺庵老先生癸未孟秋初辰，谢元和索诗奉寿，公之道谢之情，皆媿未尽形容，唯庶几祝愿之果尔。后生祝允明顿首。\n此幅是祝允明64岁时的作品，是应谢元和之请为毛珵（号砺庵）所书的贺寿诗轴。作品参学米芾笔法，兼有生拙之态，别具风格。",[7,60,75,50,14632,4440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7abd110e3158ef144192f5794759163.jpg","纵145厘米，横61厘米",[96],{"id":35564,"slug":35565,"title":35566,"dynasty":45,"author":35567,"museum":107,"description":35568,"tags":35569,"thumbUrl":35570,"material":312,"size":95,"collection":96,"collections":35571,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},240646,"shang-guan-ying-rui-lang-ya-pian-zhou-shang-guan-ying-rui-240646","上官应瑞琅琊篇轴","上官应瑞","这件草书作品气脉贯通全篇，笔墨苍劲老辣。行笔枯湿浓淡富于层次变化，起收之间尽显率意洒脱。字距疏密随心排布，章法错落却浑然一体，将文人抒怀的恣意揉入线条流转之中。\n\n运笔时而疾劲如走龙，线条瘦劲挺括；时而缓锋徐行，墨色温润晕染，尽显书写时的情绪起伏。既恪守草书法度，又不失随性抒怀的意趣，尽显明代草书尚势的特质。笔墨裹挟作者饱满情志，诗文意蕴与书法意趣相融，是极具个性的文人书法佳作。",[24,25,75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea42c6b881a084c959ff45cb8f00378c.jpg",[96],{"id":35573,"slug":35574,"title":35575,"dynasty":18,"author":35576,"museum":107,"description":35577,"tags":35578,"thumbUrl":35579,"material":312,"size":95,"collection":96,"collections":35580,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240553,"wu-shan-tao-qi-lv-zhou-wu-shan-tao-240553","吴山涛七律轴","吴山涛","吴山涛，（1624-1710 ）清代钱塘（今杭州）人。崇祯十二年（一六三九）举人。清初官甘肃同谷知县，有政声。以建少陵七歌堂被诬。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99180d176684ae7acc0568e6f3312b33.jpg",[96],{"id":35582,"slug":35583,"title":23662,"dynasty":18,"author":3250,"museum":107,"description":10274,"tags":35584,"thumbUrl":35585,"material":751,"size":752,"collection":95,"collections":35586,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240513,"wu-lv-zhou-gong-xian-240513",[7,75,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834f8056c9eb50583de24746e8b62f9c.jpg",[],{"id":35588,"slug":35589,"title":17924,"dynasty":45,"author":35590,"museum":20,"description":35591,"tags":35592,"thumbUrl":35593,"material":312,"size":35594,"collection":96,"collections":35595,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240441,"shi-zhou-shen-shi-xing-240441","申时行","申时行 ，汝默，号瑶泉。长洲（今江苏吴县）人。嘉靖四十一年（公元一五六二年）进士第一，授修撰。以文字受知张居正。历官礼部右侍郎、吏部右侍郎、左侍郎兼东阁大学士、礼部尚书、吏部尚书、建极殿大学士等职。万历本年为立太子问题，触怒皇帝，遭黜责，后辞官返乡。卒，谥文定。时行所著诗文，有《赐闲堂集》四十卷，《四库总目》传于世。《明史》卷二百十八有传。",[25,7,60,75,77,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d765f70ca9dba8874c686a445001a04.jpg","186.2×39.6cm",[96],{"id":35597,"slug":35598,"title":17924,"dynasty":18,"author":35599,"museum":107,"description":35600,"tags":35601,"thumbUrl":35602,"material":312,"size":95,"collection":96,"collections":35603,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240436,"shi-zhou-jin-jun-ming-240436","金俊明","金俊明（1602—1675），原名袞，字孝章，一作九章，號耿庵，又號不寐道人，吳縣（今屬江蘇蘇州）人。《歷代名人年譜》作生於明萬曆二十九年，卒於清康熙十二年，年七十三歲。此從《續疑年錄》並參《清史列傳》。明諸生。少隨父官寧夏，往來燕趙間，以任俠自喜。諸邊帥爭欲延致幕府，不就。歸裏後，折節讀書，靡不研究，著名復社中。明亡，棄諸生杜門傭書自給，不復出。及卒，門人私諡貞孝先生。俊明好錄異書，工詩古文兼善書畫，尤長於墨梅。嘗寫陶詩及畫梅寄王士禎兄弟，士禎甚寶之。世稱“三絕。”\n父親去世後歸家，折節讀書。於經、史、子、集、天文、水利，均有研究。明亡入清後為遺民，杜門不出，填詞畫梅、藏異書，且手自抄錄珍本以及交遊文稿凡百餘種。",[7,398,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09c1146bce5c7f3636421be33858a27.jpg",[96],{"id":35605,"slug":35606,"title":35607,"dynasty":18,"author":454,"museum":107,"description":35608,"tags":35609,"thumbUrl":35610,"material":312,"size":35611,"collection":96,"collections":35612,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240424,"zhe-ting-guan-shi-zhou-yi-ming-240424","禇廷琯诗轴","此作用笔纵逸奔放，以草书挥就，线条灵动遒劲，提按顿挫间尽显笔力张力。行气连贯舒朗，字距疏密错落，字势顾盼呼应，虚实相生间营造出灵动的章法节奏，墨色枯湿浓淡交织变化，为作品添得丰富视觉层次。\n书写随性自然，将诗意寄寓于笔墨流转之中，尽显文人书法抒情写意的特质，萧散简远的文人情致溢于纸面，把书法线条之美与诗文意境相融，率意洒脱的意韵扑面而来，是一件颇具韵味的草书佳制。",[2135,7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dbfc12627552828b2031305dc33293.jpg","129×30cm",[96],{"id":35614,"slug":35615,"title":35616,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":35617,"thumbUrl":35618,"material":751,"size":752,"collection":95,"collections":35619,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240406,"xian-chuang-man-bi-ce-dong-qi-chang-240406","闲窗漫笔册",[23,92,24,25,26,60,77,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04382bc9e7c9c0adbffb0593d29b8f25.jpg",[],{"id":35621,"slug":35622,"title":35623,"dynasty":45,"author":35624,"museum":107,"description":35625,"tags":35626,"thumbUrl":35627,"material":312,"size":95,"collection":96,"collections":35628,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},240389,"gong-shi-juan-xiao-ke-240389","恭诗卷","萧克","此卷分段书就，泥金冷灰笺交错排布，视觉层次分明。笔墨枯湿浓淡相映，行笔纵肆飞动，线条苍劲老辣，字势欹侧跌宕，牵丝萦带间行气贯通如一。狂草笔法奔放纵恣，笔画缠绕回旋，将书写时的酣畅意气倾注笔端，兼具草书的跌宕韵律，与文人沉静的书卷之气，尽显笔底风雷的抒怀快意。",[23,4038,49,7,60,398,312,32293,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f7768e8b43e04f0b1805f6f05b8c9e3.jpg",[96],{"id":35630,"slug":35631,"title":35632,"dynasty":45,"author":35633,"museum":107,"description":35634,"tags":35635,"thumbUrl":35636,"material":312,"size":95,"collection":96,"collections":35637,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240356,"bai-lian-shi-ye-lu-shi-kai-240356","白莲诗页","陆师凯","此作用笔爽利遒劲，行书笔势灵动婉转，牵丝映带自然流畅，墨色兼具浓腴与枯涩，尽显明代行书尚态之美。字间错落排布，行气贯通一体，将咏白莲的诗意融于笔墨之中。线条粗细变化丰富，既有帖学流美雅致的意韵，又暗含挺健筋骨，文人清逸的书卷气萦绕其间，把对白莲的咏叹藏在挥毫走笔之间，书写随性却不失法度，整幅作品抒情写意兼具，尽显文人书法以笔达意的清雅格调。",[7,25,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ae59cb7f6b2eab10ef9cddce62cd06.jpg",[96],{"id":35639,"slug":35640,"title":17924,"dynasty":45,"author":35641,"museum":107,"description":35642,"tags":35643,"thumbUrl":35644,"material":312,"size":95,"collection":96,"collections":35645,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240330,"shi-zhou-li-dai-wen-240330","李待问","李待问（1603-1645），字存我。明松江府华亭县人。崇祯十六年（1643年）进士，授中书舍人。工文章，精书法。书法笔力遒劲，字体秀逸，行书可与董其昌媲美。松江博物馆藏有手迹行书诗轴。著有《玉裕堂存稿》。\n顺治二年（1645年），清兵下江南。与同郡沈犹龙、陈子龙、夏允彝、徐孚远等起义抗清，迁母于乡，身任守东门之职。八月初三日，清兵用计袭取西门，城破。见大势已无可挽回，乃从东门下来。有百户挽住说：“您读烂《四书》，今天将怎样？”待问说：“为臣死忠，这是常事，我不过想和家人作最后诀别罢了。”百户说：“您能这样，我先断头以待。”就拔刀自刎而死。待问凭尸而哭。仓卒抵家，少妾换衣涕泣，众人都劝逃走。他笑着说：“死，是我分内之事。且不死，将何以对待那位百户呢？”于是引绳自缢。气未绝而被俘。劝降不屈，慷慨就义。临死，犹告清将不可残杀民众。\n松江民众怀念他，尊为府城隍，塑像为祀。诞辰为阴历七月十四日，府城隍庙例有盛大庙会，松江城厢人民并有夜间吃豆浆的风俗，都是纪念他的。",[4038,75,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506f22b629759451d56b0de7a10078f0.jpg",[96],{"id":35647,"slug":35648,"title":35649,"dynasty":18,"author":30025,"museum":107,"description":35650,"tags":35651,"thumbUrl":35652,"material":312,"size":95,"collection":96,"collections":35653,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240304,"qi-xiang-ting-shu-zha-juan-yuan-mei-240304","歧香亭书札卷","袁枚，字子才，号简斋，生于1716年，逝于1797年，享年81岁，是清朝乾嘉时期著名的诗人、散文家和文学评论家，生平以自由洒脱，狂放不羁著称，留下许多风流韵事，代表作品有《随园诗话》及《补遗》，《小仓山房集》、《子不语》、《续子不语》、《随园食单》等。袁枚自幼熟读读书，擅长写诗作词，在乾隆四年也即1739年，年仅24岁的袁枚考中进士，被授予翰林院学士。乾隆七年即1742年，袁枚被外调做官，先后做过沭阳、江宁、上元等地的知县，袁枚执政清明，不畏权贵，颇有政绩，在乾隆十四年时，袁枚父亲去世，遂辞官回乡养母，同时在江宁也即今南京购房安居，所买随园经袁枚的翻修改造，成为了当时著名的私人园林，而袁枚也被世称为随园先生。袁枚在67岁时服完母丧后，开始远途游山玩水，先后游览过天台山、雁荡山、黄山、广东罗浮山、丹霞山、武夷山等地，袁枚在游历期间写下众多散文游记，直到去世的当年，81岁高龄的袁枚还在出游吴江，要知道古时候，交通不便，沟通不畅，袁枚以老年之态还能畅游全国山水，精神可嘉，勇气可嘉。",[23,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8246a9218cfe7fbea17719430e4a6217.jpg",[96],{"id":35655,"slug":35656,"title":35657,"dynasty":18,"author":35658,"museum":107,"description":35659,"tags":35660,"thumbUrl":35661,"material":312,"size":95,"collection":96,"collections":35662,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240300,"chen-yu-fang-shi-tie-zhou-chen-yu-fang-240300","陈玉方诗帖轴","陈玉方","此作为行书论书诗，用笔提按顿挫分明，线条粗细跌宕，兼具沉实厚重与秀逸灵动。起笔恭谨端凝，随文势渐次舒展，牵丝映带自然圆融，尽显书写时的流畅意趣。\n\n章法疏密相宜，纵有行而字间呼吸得当，落款小字清雅恭谨，与正文形成虚实对比。墨色干湿浓淡错落，枯笔见筋骨力道，润笔显腴润质感，将书法技法体悟化入笔底。以笔墨书书论，文与艺相融，清逸朴雅间尽显文人书卷气，是清代帖学风貌的典型体现。",[7,25,75,60,200,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdfff3f577e4ef218e2bc604098ad544.jpg",[96],{"id":35664,"slug":35665,"title":35666,"dynasty":45,"author":35667,"museum":107,"description":35668,"tags":35669,"thumbUrl":35670,"material":312,"size":95,"collection":96,"collections":35671,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240297,"lu-xiang-sheng-shi-zhou-lu-xiang-sheng-240297","卢象昇诗轴","卢象昇","卢象升（1600年4月16日—1640年1月10日），字建斗，又字斗瞻、介瞻，号九台，南直隶常州府宜兴县（今江苏宜兴）人。明末杰出将领。万历二十八年三月四日（1600年4月16日），卢象升生于常州府宜兴县张渚镇。\n天启二年（1622年）进士。自崇祯六年（1633年）起，参与镇压李自成等农民军有功，升任右副都御史，总理河北、河南、山东、湖广、四川军务，兼湖广巡抚，后升任兵部侍郎，再迁兵部左侍郎，总督宣府、大同、山西军务。崇祯七年（1634年），击溃张献忠农民军。崇祯八年（1635年），击败高迎祥、李粜自成洎农民頭军。樤崇祯十一年（1638年），担任兵部尚书，力主抗清，守卫京师，连战皆捷，反被太监高起潜陷害，免去尚书职务，以侍郎视事。著有《卢忠肃公集》、《卢象升疏牍》。\n崇祯十二年（1639年），率部在巨鹿贾庄被清军包围，高起潜拥兵不救，终因炮尽矢绝，战死疆场，年仅三十九岁，追赠太子太师、兵部尚书。南明福王时，追谥“忠烈”。清朝，追谥“忠肃”。",[24,25,75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbff6ef8793eae0f03f8071c1660f4e.jpg",[96],{"id":35673,"slug":35674,"title":35675,"dynasty":18,"author":14665,"museum":107,"description":35676,"tags":35677,"thumbUrl":35678,"material":751,"size":752,"collection":95,"collections":35679,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240266,"ni-bai-le-tian-fang-ge-xing-zhou-da-chong-guang-240266","拟白乐天放歌行轴","笪重光（1623年—1692年），字在辛，号君宜，又号蟾光、逸叟、江上外史、郁冈扫叶道人，晚年居茅山学道改名传光、蟾光，亦署逸光，号奉真、始青道人，江苏丹徒句容东荆（今江苏句容白兔镇茅庄村）人（一作江苏丹徒人），清朝著名书画家。",[18,7,60,75,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925e736ee36deb39c916ea9e65eb92b5.jpg",[],{"id":35681,"slug":35682,"title":35683,"dynasty":45,"author":35684,"museum":107,"description":35685,"tags":35686,"thumbUrl":35687,"material":751,"size":752,"collection":95,"collections":35688,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240252,"jiu-jia-ju-bo-chan-shi-song-xing-shi-juan-liu-ruo-zai-240252","九家居伯禅师送行诗卷","刘若宰","刘若宰（1595～1640），字胤平，号退斋，南直隶安庆府怀宁县（今安徽省怀宁县平山街道大塅）人。明崇祯元年（1628年）状元，书画家。\n刘若宰出生于书香门第，文思敏捷，出口成章。擅长书画，楷、行、草书均精绝。他常向朝廷举荐智勇忠贞的人才，明末名将史可法由安池道监军升为巡抚，就是因为他的举荐。崇祯十三年四月十三日，他因积劳成疾辞世。死后追赠詹事，赐祭葬，荫子。后因子刘馀慧仕，加赠太仆太卿。旧时县学宫（今安庆市）前建有状元坊，刘若宰在安庆的府邸称状元府，今安庆状元府宾馆得名于此。",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2749b494f30ecb0f8cb23e045d2fa4.jpg",[],{"id":35690,"slug":35691,"title":12349,"dynasty":18,"author":21910,"museum":107,"description":35692,"tags":35693,"thumbUrl":35694,"material":751,"size":752,"collection":95,"collections":35695,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240247,"si-tiao-ping-bao-shi-chen-240247","包世臣（1775一1855），安吴（今安徽泾县）人。清代学者、书法家。包世臣是北宋名臣——包拯二十九世孙。字慎伯，晚号倦翁、小倦游阁外史。嘉庆二十年举人，曾官江西新喻知县，被劾去官。包世臣学识渊博，喜兵家言，治经济学。对农政、货币以及文学等均有研究。28岁时遇邓石如，师从学篆隶，后又倡导北魏。晚年习二王。自称：“慎伯中年书从颜、欧入手，转及苏、董，后肆力北魏，晚习二王，遂成绝业。”自拟为“右军第一人”，自负之极。包世臣的主要历史功绩在于通过书论《艺舟双楫》等倡导碑学，对清代中、后期书风的变革影响很大，为书界称颂。",[2135,312,60,7,12955,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440eb73fcca47dbb95b3e2f4c992bb6b.jpg",[],{"id":35697,"slug":35698,"title":35699,"dynasty":45,"author":35700,"museum":107,"description":35701,"tags":35702,"thumbUrl":35703,"material":751,"size":752,"collection":95,"collections":35704,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240225,"qi-lv-shi-ye-gao-lian-240225","七律诗页","高濂","高濂，明代著名戏曲作家、养生学家、藏书家，字深甫，号瑞南道人，钱塘（今浙江杭州）人，以戏曲名于世。约生于嘉靖初年，主要生活在万历时期。曾在北京任鸿胪寺官，后隐居西湖。能诗文，兼通医理，更擅养生。所作传奇剧本有《玉簪记》、《节孝记》，诗文集《雅尚斋诗草二集》、《芳芷栖词》，其养生著作《遵生八笺》是中国古代养生学的集大成之作，另有《牡丹花谱》《兰谱》传世。",[199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54848ef4cb3aab071cbdd57afd77938d.jpg",[],{"id":35706,"slug":35707,"title":21902,"dynasty":18,"author":35708,"museum":107,"description":35709,"tags":35710,"thumbUrl":35711,"material":312,"size":95,"collection":96,"collections":35712,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240200,"lu-yu-zhou-yin-zhuang-tu-240200","尹壮图","尹壮图，字楚珍，云南蒙自人，于乾隆三十一年（1766年）考中进士，乾隆三十九年（1774年）入阁任内阁学士，兼礼部侍郎。乾隆五十五年（1790年），他上书乾隆皇帝，向皇帝直言议罪银制为朝廷带来的不利。关于这件事，《清史稿》中有详细的记载",[2135,25,75,60,77,7,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c91df5a1a2e7742c119d9e8bc9f427.jpg",[96],{"id":35714,"slug":35715,"title":22728,"dynasty":45,"author":5463,"museum":107,"description":35716,"tags":35717,"thumbUrl":35718,"material":312,"size":95,"collection":96,"collections":35719,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240194,"shi-juan-zhang-rui-tu-240194","明代市民阶层崛起，经济领域以及意识形态都发生了巨大变化。思想文化领域出现了以解放个性为中心的王阳明心学。美学思想也不例外，在书法上主要是强调创作源于心灵，以师心代替师古，突破前人束缚,独抒性灵。\n明代中期以后，陈淳、徐渭以其狂放不羁的个性和骇世惊俗的面目，首先在书坛上掀起波澜，传统的审美范式受到了强有力的冲击。时至明末清初，张瑞图、黄道周、王铎、倪元璐、傅山等脱颖而出。他们以一种纵横豪迈酣畅的气势，形成了一股十分引人注目的求异出新的浪潮。",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf8c4caf7c2415220fb939c272e16a8.jpg",[96],{"id":35721,"slug":35722,"title":35723,"dynasty":18,"author":35724,"museum":126,"description":35725,"tags":35726,"thumbUrl":35727,"material":312,"size":95,"collection":96,"collections":35728,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240184,"wen-zhou-cao-zhen-xiu-240184","文轴","曹贞秀","曹贞秀(1762-1822)，字墨琴，自署写韵轩，安徽休宁人，侨居吴门，为曹锐女，王芑孙妻，无金粉之好，能绘事，书法钟王，士林重之。",[24,25,75,60,398,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824c855bb34f23e3b4e8153b00263aba.jpg",[96],{"id":35730,"slug":35731,"title":17924,"dynasty":18,"author":35732,"museum":107,"description":35733,"tags":35734,"thumbUrl":35735,"material":95,"size":95,"collection":96,"collections":35736,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},240183,"shi-zhou-sun-shi-jie-240183","孙世杰","此作用笔纵逸苍劲，以中锋立骨、侧锋取势，提按顿挫间尽显老辣雄奇。章法错落跌宕，字势欹侧相生，墨色浓枯变幻自然，重墨处浑穆淋漓，枯笔飞白间尽显苍茫意趣。\n整幅以行草书写就自作诗篇，笔墨与文辞相得益彰，既有北碑的雄强浑朴，又不失帖学的灵动流转，将郁勃豪迈的意气寄寓于点画之间，尽显清初行草书尚势的典型风尚，尽显书家不俗的胸襟与扎实笔力，是极具个性风貌的书法佳构。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba6ffce4540c25f4e4241c2da97e86a.jpg",[96],{"id":35738,"slug":35739,"title":35740,"dynasty":18,"author":35741,"museum":107,"description":35742,"tags":35743,"thumbUrl":35744,"material":107,"size":95,"collection":96,"collections":35745,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240170,"si-jia-shou-zha-juan-sun-cheng-ze-240170","四家手札卷","孙承泽","孙承泽（1593-1676），字耳北，一作耳伯，号北海，又号退谷，一号退谷逸叟、退谷老人、退翁、退道人，山东益都人，世隶顺天府上林苑（今河北大兴）。明末清初政治家、收藏家。明崇祯四年（1631）中进士。官至刑科给事中。先投降李自成大顺政权，清顺治元年（1644）又投降清朝，历任吏科给事中、太常寺卿、大理寺卿、兵部侍郎、吏部右侍郎等职。富收藏，精鉴别书、画。著有《春明梦余录》《天府广记》《庚子消夏记》《九州山水考》《溯洄集》《研山斋集》等四十余种，多传于世。卒年八十五。其故宅即今后孙公园25号，寓号“研山堂”，内有“万卷楼”。入“贰臣传”。",[23,7,49,60,398,77,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5519d9af27330914d2e823572b129f.jpg",[96],{"id":35747,"slug":35748,"title":22728,"dynasty":18,"author":35749,"museum":107,"description":35750,"tags":35751,"thumbUrl":35752,"material":751,"size":752,"collection":95,"collections":35753,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},240150,"shi-juan-yong-rong-240150","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,25,49,60,7,77,50,27,111,59,651,360,6297,1679,250,55,116,2293,115,29,140,131,132,139,134,135,137,136,138,5169,1390,53,9952,282,446,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":35755,"slug":35756,"title":28124,"dynasty":45,"author":35757,"museum":107,"description":35758,"tags":35759,"thumbUrl":35760,"material":312,"size":95,"collection":96,"collections":35761,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240118,"shi-ye-fa-kun-hou-240118","法坤厚","字南峯，号黄棠，别号白石山人。\n若真（一六一三至一六九六）曾孙，胶州贡生。善画，得若真不传之秘。《山左诗续抄》",[4038,7,60,50,312,26,6199,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab758464cc484e02e98853ea6167de6.jpg",[96],{"id":35763,"slug":35764,"title":35765,"dynasty":45,"author":2206,"museum":107,"description":35766,"tags":35767,"thumbUrl":35768,"material":312,"size":95,"collection":96,"collections":35769,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240065,"gu-shi-shi-jiu-shou-juan-zhu-yun-ming-240065","古诗十九首卷","祝允明(1460-1526) 字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[23,92,24,25,49,50,77,7,398,60,200,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[96],{"id":35771,"slug":35772,"title":17924,"dynasty":18,"author":35773,"museum":107,"description":35774,"tags":35775,"thumbUrl":35776,"material":312,"size":95,"collection":96,"collections":35777,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},240025,"shi-zhou-liu-liang-song-240025","刘梁嵩","刘梁嵩. 字玉少，江南江都人。康熙甲辰进士",[2135,7,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c619ea66d77d5eb18f789bb069cbd9.jpg",[96],{"id":35779,"slug":35780,"title":35781,"dynasty":45,"author":35782,"museum":126,"description":35783,"tags":35784,"thumbUrl":35785,"material":312,"size":35786,"collection":96,"collections":35787,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240024,"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[23,7,49,60,110,77,50,433,399,9676,17644,6635,28014,360,282,651,6297,845,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[96],{"id":35789,"slug":35790,"title":28124,"dynasty":45,"author":35791,"museum":107,"description":35792,"tags":35793,"thumbUrl":35794,"material":95,"size":95,"collection":96,"collections":35795,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240007,"shi-ye-zhao-shi-xian-240007","赵世显","赵世显，字仁甫，侯官人。万历癸未进士。\n世显风度秀整，其为诗一意盛唐而已。初任池州司李，左迁稍起为梁山令。复转别驾，以母老不赴。自负才名，郁郁不得志，杜门却轨，以文、酒娱日，达官罕识其面也。所著有《芝园稿》。其同年举有郑日休，字廷德，能诗文，官终惠州司李。",[7,60,50,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5938d878c15dc0239a99ad47afab2e26.jpg",[96],{"id":35797,"slug":35798,"title":35799,"dynasty":45,"author":454,"museum":107,"description":35800,"tags":35801,"thumbUrl":35802,"material":95,"size":95,"collection":96,"collections":35803,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240000,"dan-gu-gui-qu-lai-ci-ye-yi-ming-240000","澹古归去来辞页","此作用笔灵动温润，牵丝映带自然妥帖，字势顾盼相生，尽显典型的明代行书风貌。起收笔遒劲不失秀雅，点画粗细变化富有韵律，将陶潜辞中散淡隐逸的林下之风融于笔墨。\n\n通篇布局匀整和谐，行气连贯从容，不见刻意狂放，将归园田居的释然快意藏于笔墨节奏之中。笔墨间闲适安和，文辞意趣与书法技法相融，尽显传统文人书法的清雅书卷气，是颇具意致的行书佳制。",[4038,7,60,312,50,133,140,844,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60a3634479f719cca678a6bca8ff6d7.jpg",[96],{"id":35805,"slug":35806,"title":35807,"dynasty":45,"author":35808,"museum":107,"description":35809,"tags":35810,"thumbUrl":35811,"material":95,"size":95,"collection":96,"collections":35812,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},239990,"zeng-zhao-da-yin-shi-zhou-zhu-gang-239990","赠赵大尹诗轴","朱棡","朱棡（1358年12月18日 [8] －1398年3月30日 [9] ），明朝宗室亲王，明太祖朱元璋第三子，母为孝慈高皇后马氏（即马皇后），《南京太常寺志》记载为李淑妃所生，元至正十八年（1358年）十一月十八日（12月18日）生。\n明朝第一任晋王，攘夷九大塞王之一。洪武三年（1370年）四月封晋王，洪武十一年（1378年）就藩太原。\n洪武三十一年（1398年）三月十二日（3月30日），晋王朱棡薨，年41岁，明太祖震悼，哀恸不已，上谥“恭”，是为晋恭王。葬于太原城东南10公里的黑驼山之上。",[4038,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb25768dcf524aae65def79e78ba4038.jpg",[96],{"id":35814,"slug":35815,"title":22862,"dynasty":18,"author":35816,"museum":107,"description":35817,"tags":35818,"thumbUrl":35819,"material":95,"size":95,"collection":96,"collections":35820,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239920,"zhi-lian-shang-ye-wang-chong-xi-239920","王崇熙","王崇熙，清江西省抚州府南城县人，为清代嘉庆贰拾肆年（公元1819年）《新安县志》的主编者 ( 注：广东省新安县，后名宝安县，今天广东省深圳市），主修是当时的新安县令舒懋官。",[25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa087d44b374c08fa1ebbe93d73efb220.jpg",[96],{"id":35822,"slug":35823,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":35825,"thumbUrl":35826,"material":95,"size":95,"collection":96,"collections":35827,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239890,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239890","明代名人，申时行等墨宝",[7,60,49,50,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fbbe7667dd57131d3c4f62400f5f7a.jpg",[96],{"id":35829,"slug":35830,"title":35831,"dynasty":45,"author":35832,"museum":107,"description":35833,"tags":35834,"thumbUrl":35835,"material":95,"size":95,"collection":96,"collections":35836,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},239885,"shou-xu-juan-wen-ti-ren-239885","寿序卷","温体仁","温体仁（1574年1月1日-1638年8月11日） ，字长卿，号员峤，浙江湖州府乌程县（今浙江省湖州市南浔区）人。明朝末年大臣，崇祯年间的内阁首辅之一。\n温体仁于万历二十六年（1598年）进士，选为庶吉士，万历年间历任翰林院编修、南京国子监司业、左谕德、左庶子、少詹事等职。天启年间升为礼部右侍郎兼翰林院侍读。崇祯初年升南京礼部尚书、礼部尚书，与周延儒联手阻止钱谦益入阁，并以“孤忠”“廉谨”的形象取得了崇祯帝的赏识与信任。崇祯三年（1630年）六月以礼部尚书兼东阁大学士，跻身内阁，成为次辅，两年半后累升至少傅兼太子太傅、吏部尚书、建极殿大学士。在此期间，他与首辅周延儒互相倾轧，并在崇祯六年（1633年）六月扳倒周延儒，自己取而代之，翌年晋升中极殿大学士，加少师。崇祯十年（1637年）六月因欲置钱谦益于死地而被崇祯帝怀疑“有党”，不得不辞职致仕。翌年病死于家中，享年六十六岁（虚岁）。崇祯帝追赠他为太傅，赐谥号“文忠”。\n温体仁为崇祯朝阁臣中居位最久者，辅政期间，明朝内忧外患的局势逐渐恶化。他几乎没有任何重要的建树与对策，而是一味排斥异己、迎合皇帝，尤其受到原东林党人士的憎恨。清修《明史》将他列入“奸臣传”。",[23,25,49,7,60,199,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae99c514dd9ba09f3b7efe1dc314d8ff.jpg",[96],{"id":35838,"slug":35839,"title":35840,"dynasty":18,"author":35841,"museum":107,"description":35842,"tags":35843,"thumbUrl":35844,"material":95,"size":95,"collection":96,"collections":35845,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239855,"ti-zi-ye-cai-zhi-ding-239855","题字页","蔡之定","清乾隆十年十二月十二日生，五十八年进士，嘉庆元年(1796)授编修，继任高宗实录馆总篡，嗣升国子监司业、侍讲学士。五年后，历任顺天乡试同考宫、会试同考官、河南正主考。十九年，建议以纸币代银，受到妄言乱政处分，降为鸿萨寺少卿。晚年主讲钟山、蕺山两书院，以阐扬理学著称。擅书法，与翁方纲、刘塘、铁保号称四大书家。道光十四年九月初八卒，葬横塘圩风水墩。",[25,7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9858435f416759826fc0bbf7db5c29f8.jpg",[96],{"id":35847,"slug":35848,"title":35849,"dynasty":18,"author":35850,"museum":107,"description":35851,"tags":35852,"thumbUrl":35853,"material":95,"size":95,"collection":96,"collections":35854,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239812,"shi-zhi-gong-fu-ye-wu-song-liang-239812","诗致功甫页","吴嵩梁","吴嵩梁（1766-1834），字子山，号兰雪，晚号澈翁，别号莲花博士、石溪老渔。江西东乡新田（今属红光垦殖场）人。清代文学家、书画家。清代江西最杰出的诗人。有“诗佛”之誉。生于乾隆三十一年。吴居澳之子。少孤贫，有异才，以鬻文养母。15岁以文名于乡，为金溪杨頀所识，结为忘年交。乾隆四十九年（1784），高宗南巡时，吴嵩梁应召赴金陵应试，时年不到20岁，诗稿已有数百首。嘉庆五年（1800）举人，授国子监博士，旋改内阁中书。道光十年（1830）擢贵州黔西知州，时年已65岁，上任次年在黔西东山开元寺修建阳明书院，有惠政。因事得罪上司，转为长寨厅（今长顺县）同知。后曾两任乡试同考官。卒于道光十四年，年六十九岁。",[7,60,77,26,312,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d29388d21a67c891ec9f075281dcd8d.jpg",[96],{"id":35856,"slug":35857,"title":35858,"dynasty":45,"author":454,"museum":107,"description":35859,"tags":35860,"thumbUrl":35861,"material":751,"size":752,"collection":95,"collections":35862,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239805,"lu-yi-zhi-zong-yi-xiu-yi-da-ren-shi-ye-yi-ming-239805","陆釴致宗谊绣衣大人诗页","此作以暗纹云水笺书写，雅致静穆。行书笔致灵动秀逸，结体舒展清和，牵丝映带间流转自然，兼具劲挺骨力与温润韵致。\n\n诗作为友朋酬唱之札，笔墨间晕开知己酬赠的温雅情怀，章法疏朗从容，通篇气息匀和安闲，尽显彼时文人士大夫以翰墨寄怀的风雅意趣，是一件兼具书法审美价值与文人社交意涵的绝佳小品。",[4038,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5925f29337c80688b69e7cc846256dd8.jpg",[],{"id":35864,"slug":35865,"title":35866,"dynasty":45,"author":35867,"museum":107,"description":35868,"tags":35869,"thumbUrl":35870,"material":95,"size":95,"collection":96,"collections":35871,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239803,"li-zhai-ji-ye-shi-feng-239803","砺斋记页","施凤","此作为行书小品，整体气息温雅端和，结体舒展匀稳，笔画圆秀灵动，牵丝映带间尽显书写时的从容意态。点画粗细错落，节奏舒缓平和，既可见赵孟頫书风的妍润遗意，又自具沉稳端方的气质。\n\n通篇笔墨与文中修身之旨相融，将砥砺修身的文心寄寓于笔墨之间，字字排布疏朗有致，通篇气韵连贯统一，尽显明代文人书法尚雅重韵的审美意趣，是兼具文情与书艺的佳构。",[4038,7,60,2602,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0609839033e8e32f4976a317bd7fe1.jpg",[96],{"id":35873,"slug":35874,"title":35875,"dynasty":18,"author":4069,"museum":107,"description":35876,"tags":35877,"thumbUrl":35879,"material":95,"size":95,"collection":95,"collections":35880,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239770,"shu-hong-li-luan-he-ru-shui-kao-yuan-zheng-ce-liang-guo-zhi-239770","书弘历滦河濡水考源证册","此作取法唐人楷书，兼融馆阁体端秀之风。用笔方圆合宜，起收皆具法度，点画饱满匀净，骨架端正舒展，通篇排布齐整疏朗，墨色莹亮乌润。书写考据文字字字工稳不苟，却无板滞拘谨之弊，静雅之中暗含灵动意趣，尽显书写者深湛的帖学功底。\n\n作为清代官方书法的典型范式，将庙堂的庄严端方与文人笔墨的隽秀雅致相融，文辞与书法相得益彰，既恪守台阁体的审美准则，又不失文人书法的清雅意韵，是清代楷书精品之作。",[35878,199,7,26,312,385],"清朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c605d197d7f8892017a4757714794b7.jpg",[],{"id":35882,"slug":35883,"title":35884,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":35885,"thumbUrl":35886,"material":751,"size":752,"collection":95,"collections":35887,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":789},239755,"a-gui-tian-di-zhi-dao-heng-jiu-er-bu-yi-ye-lun-ce-qian-long-239755","阿桂天地之道恒久而不已也论册",[7,199,26,27,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ef0c9dc8b5b6329a941cd8c89099c1.jpg",[],{"id":35889,"slug":35890,"title":35891,"dynasty":18,"author":35749,"museum":107,"description":35750,"tags":35892,"thumbUrl":35893,"material":751,"size":752,"collection":95,"collections":35894,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},239751,"shu-fu-zhou-yong-rong-239751","书赋轴",[7,199,75,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9957543f55f6d5d95983e389b07b799.jpg",[],{"id":35896,"slug":35897,"title":35898,"dynasty":18,"author":35899,"museum":107,"description":35900,"tags":35901,"thumbUrl":35902,"material":95,"size":95,"collection":96,"collections":35903,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239741,"shu-hong-li-xi-shi-shi-ce-yu-min-zhong-239741","书弘历西师诗册","于敏中","于敏中（1714年—1780年1月14日），字叔子，一字重棠，号耐圃，江苏金坛人。山西学政于汉翔之孙。宣平知县于树范之子。清朝重臣，出身簪缨世家。\n乾隆二年（1737年），于敏中一甲一名进士（即状元），授翰林院修撰。官至文华殿大学士兼军机大臣，在乾隆朝为汉臣首揆执政最久者。对同在军机处的和珅极度反感。其书法风格近于董其昌，奉旨敕书《华严经》宝塔。\n乾隆三十八年（1773年），诏议开馆校书，初刘统勋反对，于敏中主力开馆。四库全书馆开，于敏中为正总裁。乾隆四十四年十二月（1780年1月14日）去世，时年66岁，追谥为文襄。入祀贤良祠，乾隆五十一年（1786），因疑似牵涉到甘肃监粮冒赈之案被撤出贤良祠。于敏中著有《浙程备览》《临清纪略》等。",[7,199,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce3dd9c7b12d503d6eb83adb8b05fcb.jpg",[96],{"id":35905,"slug":35906,"title":35907,"dynasty":88,"author":454,"museum":107,"description":35908,"tags":35909,"thumbUrl":35910,"material":95,"size":95,"collection":96,"collections":35911,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239717,"song-xian-yi-han-ce-wang-sheng-qiu-shen-tie-yi-ming-239717","宋贤遗翰册-王升秋深帖","此作用笔纵逸洒脱，以行草写就，牵丝映带自然圆融，尽显尚意风神。点画间提按顿挫节奏明快，墨色枯湿浓淡交叠，粗细线条相映成趣。\n章法疏朗错落，字势开合自如，通篇气息流转浑融，将尺牍里的惦念之意藏入笔墨。随性挥洒间不失沉稳法度，萧散雅致的笔意里，暗合着文人间日常酬答的悠悠情思，把寻常牵挂化作纸上动人韵致。",[7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f9574ade223ffd2ff0d1f826e970b9.jpg",[96],{"id":35913,"slug":35914,"title":35915,"dynasty":18,"author":5196,"museum":107,"description":35916,"tags":35917,"thumbUrl":35919,"material":95,"size":95,"collection":95,"collections":35920,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239702,"shu-hong-li-ti-dong-gao-fang-yu-xie-sheng-shi-zhou-ai-xin-jue-luo-yong-xing-239702","书弘历题董诰方舆写胜诗轴","此作用笔匀净精到，点画圆润端秀，结构排布严整匀称，是清代馆阁体书法的成熟之作。\n\n通篇气息恭谨雅致，字里行间疏朗有度，既恪守森严的馆阁法度，又不失灵动隽秀的韵致。书写时笔墨带着庄重肃穆的笔意，尽显恭谨之心，同时展露世家贵胄的笔墨涵养，将馆阁体的工稳秀雅体现得淋漓尽致，是清代正统楷书的典型范本。",[24,25,7,75,312,199,35918,385,2135,77,10601,4040],"馆阁体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe664881c85e75b214874235ba038f66a.jpg",[],{"id":35922,"slug":35923,"title":35924,"dynasty":18,"author":3261,"museum":107,"description":16683,"tags":35925,"thumbUrl":35927,"material":751,"size":752,"collection":95,"collections":35928,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239688,"deng-shi-ru-cang-hai-ri-zhang-lian-deng-shi-ru-239688","邓石如沧海日长联",[7,2136,199,60,2135,385,14632,26781,35926],"书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc955ef66ba7a8009522ea33fcb97635a.jpg",[],{"id":35930,"slug":35931,"title":35932,"dynasty":179,"author":35933,"museum":107,"description":35934,"tags":35935,"thumbUrl":35936,"material":95,"size":95,"collection":95,"collections":35937,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239672,"chun-hui-tang-ji-juan-ou-yang-xuan-239672","春晖堂记卷","欧阳玄","《春晖堂记》卷是元代欧阳玄创作的楷书书法作品。\n署款：“国史冀郡欧阳玄记”，款下钤“冀郡欧阳玄印”。\n鉴藏印有清安岐、乾隆内府、嘉庆内府、宣统内府诸印。\n卷后有元张翥、吴当、贡师道、程益四家题诗。\n《春晖堂记》是欧阳玄为王伯善的“奉亲之堂”所撰并书的记文。\n文中赞扬了王伯善对母亲的孝敬，同时又歌颂了王母的贤惠。\n从文中可知，此奉亲之堂名“春晖”,是当时的文人吴养浩据唐孟郊“谁言寸草心，报得三春晖”的诗意而起。\n此卷后面的诗跋咏颂的都是王伯善奉孝母亲之事，而不是对欧阳玄书法的评价。\n此书学苏轼，笔法浑厚稳健，刚劲流畅，笔画精到，起承转折分明，结体方扁，分间布白极其匀称，是欧阳玄合文章、书法为双美的代表作品。\n欧阳玄（？-157）字原功，号圭斋，浏阳人。\n祖籍江西。\n系欧阳修的族裔。\n清康熙年间修浏阳县志时因避康熙皇帝玄烨讳，改玄为元，所以又有欧阳元之称。\n115年（元延二年），取中进士第三名，为官4余年先后六入翰林，两为祭酒，两任主考，以史学成就最为突出，同时也以诗文闻名天下，因其学识渊博，文绩卓著，人称“一代宗师”。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc486d24397cc66b8fc169a4d8a916a62.jpg",[],{"id":35939,"slug":35940,"title":35941,"dynasty":88,"author":35942,"museum":72,"description":35943,"tags":35944,"thumbUrl":35945,"material":95,"size":95,"collection":96,"collections":35946,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239645,"shou-xia-tie-ye-wang-sheng-239645","首夏帖页","王升","父王举逸，性至孝，郡县孝廉不就，慷慨好义，急人之急，曾令仆人驾船救溺，全活数十人。王升幼承家训，立志力学。明永乐元年(1403年)，乡试中举，永乐二年成进士，选翰林院庶吉士，奉敕到江西搜求遗书。复命后，先后任江西安福、湖广罗田二县知县，都有善政，调陕西平凉府推官，历升大理寺左评事，大理寺左寺正，复审刑部、都察院、五军断事官署所移狱讼案牍，务得其实，多所平反。当时有锦衣卫张千户系狱，定为死谳，升省其冤，遂予平反。宣德五年(1430年)五月，宣宗以知府多循资格不称职，其时有重要九郡缺守，命大臣举京官廉能者充任。遂擢郎中况锺等9人为知府。这年冬，复用薜广等29人任知府。王升受宰相杨士奇荐举，出任江西抚州(今属临州市地)知府。为政重在利民，设学校，兴礼教，遇到荒年，率先捐俸赈济，全活数千人。任职9年，秩满当迁，州民相率到京师，呈请留任，朝廷遂赐王升帛，进阶正三品，并准续任。经过两年，因病辞归。正统十三年(1448年)谢世，葬鹤鸣铺恒坑山。后人祀府学乡贤祠。《明史·循吏传》有小传",[23,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891453a5159e74f901fc904e2cc336a2.jpg",[96],{"id":35948,"slug":35949,"title":35950,"dynasty":179,"author":35951,"museum":107,"description":35952,"tags":35953,"thumbUrl":35954,"material":95,"size":95,"collection":96,"collections":35955,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239621,"shu-shi-ce-ye-yu-yi-239621","书诗册页","庾益","庾翼（305年～345年8月16日），字稚恭。颍川鄢陵（今河南省鄢陵县）人。东晋中期将领、外戚、书法家，征西将军庾亮、晋明帝皇后庾文君之弟。世称小庾、庾征西 、庾小征西 。\n庾翼外表风仪秀伟，年轻时便有经世大略。苏峻之乱时以白衣身份守备石头城，又随庾亮逃奔温峤。事后，受太尉陶侃征辟，历任参军、从事中郎，后任振威将军、鄱阳太守，转任建威将军、西阳太守。庾亮准备北伐时，任命庾翼为南蛮校尉、南郡太守等职，镇守江陵，以协助保卫石城之功，封都亭侯。庾亮逝世后，出任都督六州诸军事、安西将军、荆州刺史，接替庾亮镇守武昌。后部署诸将，意图北伐，任征西将军、荆州刺史。永和元年（345年）去世，获赠车骑将军，谥号“肃”。有文集二十二卷。《唐会要》将其尊为魏晋八君子之一。\n庾翼工书法，《淳化阁帖》收录有《故吏帖》。《宣和书谱》称其“善草隶，与王羲之并驰争先。”有其草书《步征帖》、行书《盛事帖》。",[7,60,26,77,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d60c5bdf123eceac3fa035b04bbf5e.jpg",[96],{"id":35957,"slug":35958,"title":35959,"dynasty":45,"author":35960,"museum":107,"description":35961,"tags":35962,"thumbUrl":35963,"material":95,"size":95,"collection":96,"collections":35964,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239594,"hui-yi-tie-ce-ye-wei-ji-239594","诲益帖册页","魏骥","魏骥为明成祖永乐三年（1405年）举人，次年以进士副榜授官松江府儒学训导，参与纂修《永乐大典》。历任太常博士、吏部考功员外郎、南京太常寺少卿、行在吏部左侍郎等职，曾多次奉命巡视畿甸蝗灾，询问民间疾苦。正统八年（1443年），改礼部左侍郎，以年老力衰请求致仕，遂改南京吏部侍郎。正统十三年（1448年），再以老辞官，未获准许。次年，升任南京吏部尚书。“土木之变”时，为对瓦剌用兵献计献策，屡被朝廷采纳施行。景泰元年（1450年）致仕，家居二十余年，病逝于明宪宗成化八年（1472年），年九十八，获赐谥号“文靖”。魏骥能诗文，有《南斋前后集》《松江志》《水利事实》《水利切要》《理学正义》《南斋摘稿》等",[25,7,60,4347,312,2602,77,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b776fcdd8989ee74911520bab0086ff.jpg",[96],{"id":35966,"slug":35967,"title":27373,"dynasty":179,"author":27374,"museum":126,"description":27375,"tags":35968,"thumbUrl":35969,"material":1038,"size":27378,"collection":96,"collections":35970,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239565,"fa-jian-ye-tie-ye-li-xiao-guang-239565",[23,7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c906c6059d7c65244bf7feabf0eba3.jpg",[96],{"id":35972,"slug":35973,"title":25911,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":35974,"thumbUrl":35975,"material":751,"size":752,"collection":95,"collections":35976,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239534,"fang-gu-ji-you-tu-ce-huang-yi-239534",[24,50,51,26,59,7,77,55,58,56,57,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3dc0466975068a1080e129da46a211.jpg",[],{"id":35978,"slug":35979,"title":25911,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":35980,"thumbUrl":35981,"material":751,"size":752,"collection":95,"collections":35982,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239531,"fang-gu-ji-you-tu-ce-huang-yi-239531",[24,92,25,26,50,112,113,115,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924c1247898f08ee7257df85283e7639.jpg",[],{"id":35984,"slug":35985,"title":17304,"dynasty":45,"author":31972,"museum":107,"description":34693,"tags":35986,"thumbUrl":35987,"material":751,"size":752,"collection":95,"collections":35988,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239321,"shan-shui-tu-ce-zhang-hong-239321",[24,25,26,50,59,51,250,115,2293,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd2edef713a7351041f53ee6949307.jpg",[],{"id":35990,"slug":35991,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":35992,"tags":35993,"thumbUrl":35994,"material":95,"size":95,"collection":95,"collections":35995,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239205,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239205","此帧以枯淡笔墨绘就云山胜景，嶙峋危崖如鬼斧削成，淡墨晕染出空濛烟岚，将山林古寺晕化在清寂烟霭之间，萧散简远。\n\n画作笔墨苍秀内敛，山石勾勒简劲古拙，林木层叠间见生拙之趣。左侧题跋行书笔致清刚疏宕，与山水意境浑然相融，尽显画者寄情林泉、幽独超逸的林下之风，通篇淡墨浅痕，漫溢出静穆淡远的文人雅韵，是遗民画家清冷孤高心境的笔墨写照。",[24,25,26,50,51,651,652,55,471,252,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff082f0001e6630a62c74dcc0fe01cbfd.jpg",[],{"id":35997,"slug":35998,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":35999,"tags":36000,"thumbUrl":36001,"material":95,"size":95,"collection":95,"collections":36002,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239198,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239198","此作以枯淡水墨绘就林泉幽境，危崖层叠嵯峨，飞瀑垂落寒潭，山径蜿蜒通至崖畔山居，林木萧疏掩映屋舍，尽现山野荒寂之致。笔墨苍浑秀润，皴擦间尽显山石肌理质感，简淡中见深隽意境。左侧题跋笔意萧散古雅，与山水意境相融相合，书画合璧更添林下之风。整幅作品寄寓幽栖避世的隐逸襟怀，尽显文人山水的高致雅趣，淡墨浅痕间铺陈出静穆清远的林下丘壑。",[24,25,26,50,59,7,77,60,51,266,57,56,58,53,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6194dc0c33f78efbc5de6255ec8b8f55.jpg",[],{"id":36004,"slug":36005,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":36006,"tags":36007,"thumbUrl":36008,"material":95,"size":95,"collection":95,"collections":36009,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},238728,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238728","此作用水墨绘就秋江行旅之景，两岸层峦以干笔勾勒皴擦，线条苍劲朴拙，枯木萧疏错落在峰谷之间，尽染清寂秋意。江水蜿蜒波涌，行舟随浪浮沉，舟中士人凭舷远眺，艄公持篙摇橹，人物情态悠然自适。\n\n画作以诗配景，将乘江览胜的雅思具象化，笔意简淡清旷，把文人心底的隐逸闲情寄寓在山水行旅之间，诗画交融，尽显传统文人画的清雅格调，将题咏里的山水雅游意趣尽显纸上。",[24,25,26,50,112,59,7,77,51,54,113,53,57,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34364f3565e710fda0b1cedb1674b796.jpg",[],{"id":36011,"slug":36012,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":36013,"tags":36014,"thumbUrl":36015,"material":95,"size":95,"collection":95,"collections":36016,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},238715,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238715","此作左诗右图，诗画相生。纯以水墨白描写就，山石勾勒皴擦浑厚苍劲，层峦叠嶂间古松虬曲伸展，深谷茅舍隐现晕染出林泉幽寂之态。\n\n临崖文人衣袂飘然，凭栏纵览溪山，溪畔麋鹿驻足回眸，为幽寂丘山添了一抹灵动生机。笔墨间将诗文里栖隐丘壑、养性忘俗的意涵具象铺陈，既有北宗山水的雄峻层次，又带着南派文人画的静穆禅意，观之如踏入这方幽林丘山，共赏林下高风，尽得林泉雅趣。",[24,25,26,50,59,60,77,7,51,113,1018,57,53,458,10795,56,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cf5375a37c220680a5b4422747aaa3.jpg",[],{"id":36018,"slug":36019,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":36020,"thumbUrl":36021,"material":751,"size":752,"collection":95,"collections":36022,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},238550,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238550",[24,25,26,60,7,111,27,113,51,56,57,11404,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64043e6183224a8724b2c4fe706e9c2.jpg",[],{"id":36024,"slug":36025,"title":36026,"dynasty":18,"author":10010,"museum":107,"description":36027,"tags":36028,"thumbUrl":36029,"material":751,"size":752,"collection":95,"collections":36030,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},238511,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238511","巡行纪程诗画册","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,25,26,27,51,7,60,251,56,268,8049,19973,7758,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ed131b207df3bf16b5cd7ca0ee261.jpg",[],{"id":36032,"slug":36033,"title":36034,"dynasty":18,"author":294,"museum":107,"description":16227,"tags":36035,"thumbUrl":36036,"material":95,"size":95,"collection":95,"collections":36037,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},238337,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238337","画弘历清圹楼咏竹诗意册",[24,25,26,50,27,132,250,446,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef712e608a3179dbcbae8425b9d6089e.jpg",[],{"id":36039,"slug":36040,"title":26912,"dynasty":18,"author":26913,"museum":107,"description":36041,"tags":36042,"thumbUrl":36043,"material":95,"size":95,"collection":95,"collections":36044,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},238225,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238225","此作用笔苍浑秀润，以细腻皴擦绘层叠丘壑，云雾裹挟山峦晕染出空濛意境，古松虬曲苍劲，板桥通幽隐于林下，清寂淡远的山居之境跃然纸面。\n诗画相映成趣，题跋书法笔力隽秀，将笔墨意趣与文人情思相融，尽显静穆萧散的林下之风，把江南丘壑的幽澹之美铺陈开来，是兼具笔墨法度与文人雅韵的山水佳构。",[24,25,50,59,110,51,652,52,12389,57,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd0fb50a4b11b86467520a55c299439.jpg",[],{"id":36046,"slug":36047,"title":26912,"dynasty":18,"author":26913,"museum":107,"description":36048,"tags":36049,"thumbUrl":36050,"material":95,"size":95,"collection":95,"collections":36051,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},238220,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238220","此作用淡墨轻构秋山平林，坡石层叠间枯木疏朗错落，山峦以干笔皴擦晕染，带出空濛淡远的霜秋意韵，清寂萧散。画面留白简净，将深秋薄霜下的幽林寒野之趣尽显。\n左侧题诗与画境呼应，书画合璧更添文人雅致。笔墨温秀简净，师法古意却自出机杼，把秋山烟霭中的空寂幽逸尽数铺展，淡远中见隽永，尽显传统文人山水的萧散诗意。",[24,25,50,59,110,7,77,26,51,56,57,553,471,552,7804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb17672df0c4dae8959d310b99f469eb.jpg",[],{"id":36053,"slug":36054,"title":36055,"dynasty":88,"author":454,"museum":107,"description":36056,"tags":36057,"thumbUrl":36059,"material":95,"size":95,"collection":95,"collections":36060,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},238129,"liang-shi-min-lu-ting-mi-xue-tu-juan-yi-ming-238129","梁师闵芦汀密雪图卷","以淡墨晕染铺就江天雪景，汀渚芦荻披雪偃卧，寒禽静栖其间，留白拓出江天寥廓空茫。笔意简淡清润，没有繁复皴擦，仅凭水墨晕染便勾勒出雪色裹覆下的冷寂江洲。\n清冷萧寒的氛围漫溢纸面，尽显潇湘冬雪的空濛澄澈，带着宋画独有的雅致静穆。观者仿若踏雪临江，看江天雪意萧索，望外寒沙半落潮，在这份冷逸幽澹的意境里，沉醉于冬日江渚的荒寂之美。",[92,24,25,49,111,50,27,51,772,36058,1677,54,116,77,7,60],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016ed5eb355835f8e2c13be7da3c1a67.jpg",[],{"id":36062,"slug":36063,"title":4891,"dynasty":18,"author":5660,"museum":20,"description":36064,"tags":36065,"thumbUrl":36066,"material":591,"size":36067,"collection":95,"collections":36068,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},238071,"mei-hua-tu-ce-wang-shi-shen-238071","汪士慎(公元1686—约1759年)，字近人，号巢林，别号溪东外史、晚春老人等。安徽省歙县人，居扬州，以卖画为生。他一生清贫，却能安贫乐道，精研艺术，善画墨笔梅、兰、竹，尤以画梅著称。其画疏淡秀雅，清妙多姿，有“铁骨冰心”之号。54岁后，双目相继失明，遂练习以手摸索写字作画，竟能“工妙胜未瞽时”。亦工诗、篆刻和八分书，为“扬州八怪之一”，有《巢林诗集》行世。此册共12开，多以润笔淡墨画梅干，浓墨点刺，梅树曲劲奇倔，枝梢瘦劲，墨法单纯却风姿多变。花朵或用扬补之圈白法，浓墨密蕊，秀润清丽;或用崖白点墨法，干老花疏，风格独具。金农评他的梅花“巢林画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。”从其存世画梅作品看，并非全是繁枝，也常画疏枝，但不论繁简，都有空里疏香，风雪山林之趣。此册作于乾隆壬戌(公元1742年)二月，画家时年57岁。",[24,50,26,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e965b272925d21d79b1c16459bd999.jpg","纵25.1厘米，横32.3厘米",[],{"id":36070,"slug":36071,"title":13720,"dynasty":18,"author":9486,"museum":107,"description":36072,"tags":36073,"thumbUrl":36074,"material":95,"size":95,"collection":95,"collections":36075,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},238056,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238056","此作用指墨写意而成，淡墨轻勾洛神身形，衣袂线条简逸灵动，将神女温婉沉静的仪态尽显。洛神发髻轻缀花饰，眉眼低垂，自带柔婉幽怨的气质，暗合洛水女神深藏的缱绻心事。画面右侧题字娟秀疏朗，书画相映成趣，笔墨简淡却意蕴悠长。以指下极简的晕染勾勒，便将洛神出尘清雅的神韵晕染开来，把洛神脉脉含情的古典美感定格于尺幅之间，淡墨之中自有深情流溢，尽显写意之妙。",[24,25,26,9489,50,112,113,114,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe62ca4b856f2c282a5f10e05ab74d95.jpg",[],{"id":36077,"slug":36078,"title":36079,"dynasty":45,"author":36080,"museum":107,"description":36081,"tags":36082,"thumbUrl":36084,"material":751,"size":752,"collection":95,"collections":36085,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},237830,"qiu-hai-tang-shan-ye-zhang-chong-237830","秋海棠扇页","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[1250,50,29,36083,7,60,77,129],"秋海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b74807a722b9c6f57a340ff2b3f97c.jpg",[],{"id":36087,"slug":36088,"title":5945,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":36089,"thumbUrl":36090,"material":751,"size":752,"collection":95,"collections":36091,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},237743,"hua-hui-tu-ce-huang-shen-237743",[24,25,26,50,27,29,30,7,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1126f88a490e206b1a9f304b6b528eba.jpg",[],{"id":36093,"slug":36094,"title":28334,"dynasty":18,"author":3067,"museum":107,"description":10686,"tags":36095,"thumbUrl":36096,"material":95,"size":95,"collection":95,"collections":36097,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},237605,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237605",[24,25,26,50,27,51,115,57,2293,7,60,77,13294,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81bc2b94d2f235186ae2050f66d3ed24.jpg",[],{"id":36099,"slug":36100,"title":36101,"dynasty":45,"author":13739,"museum":107,"description":13740,"tags":36102,"thumbUrl":36103,"material":751,"size":752,"collection":95,"collections":36104,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},237532,"zhu-shi-shan-xiang-yuan-bian-237532","竹石扇",[24,25,1250,50,60,7,77,132,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc500df282e4ce3db26312f820e81149f.jpg",[],{"id":36106,"slug":36107,"title":17304,"dynasty":18,"author":31710,"museum":107,"description":31711,"tags":36108,"thumbUrl":36109,"material":751,"size":752,"collection":95,"collections":36110,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},237489,"shan-shui-tu-ce-yao-song-237489",[24,25,26,50,60,7,59,51,652,1006,2019,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe023f2a9a93cca5c7cfe68ec2346be42.jpg",[],{"id":36112,"slug":36113,"title":36114,"dynasty":18,"author":12696,"museum":107,"description":12697,"tags":36115,"thumbUrl":36116,"material":751,"size":752,"collection":95,"collections":36117,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},237355,"mo-zhu-shui-xian-shan-chen-heng-ke-237355","墨竹水仙扇",[1250,50,129,132,138,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d3b5bc4164057d66efdfd4628d822b.jpg",[],{"id":36119,"slug":36120,"title":29772,"dynasty":18,"author":29773,"museum":107,"description":29774,"tags":36121,"thumbUrl":36122,"material":95,"size":95,"collection":95,"collections":36123,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},237162,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237162",[24,25,26,27,51,113,55,132,250,56,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff47182c53825422b7fce4b0d310b53de.jpg",[],{"id":36125,"slug":36126,"title":36127,"dynasty":18,"author":36128,"museum":107,"description":36129,"tags":36130,"thumbUrl":36132,"material":95,"size":95,"collection":95,"collections":36133,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},236531,"ren-wu-gu-shi-ce-chen-zi-236531","人物故事册","陈字","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。",[24,25,111,27,113,568,36131,167,7,77,26],"酒具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9337b191906d70d76244af8d58a9aae.jpg",[],{"id":36135,"slug":36136,"title":36137,"dynasty":18,"author":36138,"museum":107,"description":36139,"tags":36140,"thumbUrl":36142,"material":751,"size":752,"collection":63,"collections":36143,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},236203,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236203","避暑山庄三十六景图书诗成扇","王际华","王际华（1717—1776），字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。\n字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。乾隆十年一甲三名进士，授编修。十三年，大考翰詹，擢侍读学士、上书房行走。广东旧设两学政，十五年，以侍读程岩督广韶学政，际华督肇高学政，旋用岩议裁并，以忧归。服除，起原官。三迁至侍郎，历工、刑、兵、户、吏诸部。在兵部，疏言：“武乡会试旧例，外场挑双好、单好、合式三类入内场，双、单好列东号，合式列西号。不肖者见列西号，知不能幸中，纷纷求出。即有归号，终日喧哗。请嗣后武乡会试，但挑双、单好，毋更挑合式。”在吏部，疏请在京文武官吏议处，及各部会议外省文武官吏议处，当分别定限，皆如所议。三十四年，迁礼部尚书。三十八年，加太子少傅，调户部尚书。四十一年，卒，赠太子太保，谥文庄。赐其子朝梧内阁中书，官至山东兖沂曹道。",[2135,1250,27,51,56,471,7,59,552,36141],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcb86eae09920ccddbb4d293908ebbc.jpg",[63],{"id":36145,"slug":36146,"title":36147,"dynasty":45,"author":36148,"museum":107,"description":36149,"tags":36150,"thumbUrl":36151,"material":95,"size":95,"collection":95,"collections":36152,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},235838,"yu-shan-tu-ye-lu-shi-dao-235838","虞山图页","陆师道","此作为诗画合璧的小品佳构。右侧绘烟波丘林，淡墨轻皴的远山如晕染的眉黛，晕开在水天之际。近岸坡渚错落延展，苍松虬枝斜出崖侧，山居藏于岩麓林樾间，三两江帆浮沉烟波，清浅设色晕染出江南林泉的空濛柔婉。\n左侧题诗笔致秀逸，诗文与画境相契，把林泉幽怀细细道来。整作笔墨简淡却意韵醇厚，以极简铺陈，勾勒出文人心中的栖居雅境，淡而不薄，简不尽意，将江南山水的温婉清和与林泉高致融于尺幅，尽显幽寂淡远的文人意趣，让观览者坠入这份江南丘林的闲静雅思中。",[24,27,51,59,26,651,360,56,458,771,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33068c99d67a90c296175336686a30f5.jpg",[],{"id":36154,"slug":36155,"title":36156,"dynasty":45,"author":36148,"museum":107,"description":36157,"tags":36158,"thumbUrl":36159,"material":95,"size":95,"collection":95,"collections":36160,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},235837,"shan-quan-dong-tu-ye-lu-shi-dao-235837","善权洞图页","以淡赭轻铺山峦，层叠丘壑间晕染柔雅，细笔点苔缀林，古松苍劲欹斜，山坳楼宇隐现于烟岚之中，幽寂空灵尽显洞天清旷。\n\n书画合璧，笔致清隽秀雅，以写意笔法铺展林泉胜景，不重精雕细刻，却将幽隐丘壑的澹然意趣娓娓铺陈。笔墨间浸润文人情思，简淡萧疏的格调里，尽显林泉高致，将山水灵秀与古雅意蕴融于尺幅，尽显师法自然又饱含文心的画中真意。",[24,25,26,27,59,60,77,7,51,651,360,56,1018,55,471,8299,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93a23db8a02747d1835698287b7243e.jpg",[],{"id":36162,"slug":36163,"title":36164,"dynasty":18,"author":9486,"museum":107,"description":13721,"tags":36165,"thumbUrl":36166,"material":751,"size":752,"collection":95,"collections":36167,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},235653,"er-ren-fu-yang-tu-zhou-gao-qi-pei-235653","二人俯仰图轴",[24,25,75,50,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0344666daa5b33d623205e30aa8909ed.jpg",[],{"id":36169,"slug":36170,"title":16268,"dynasty":18,"author":16269,"museum":107,"description":16270,"tags":36171,"thumbUrl":36173,"material":751,"size":752,"collection":95,"collections":36174,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},235543,"xi-xiang-tu-ce-ye-bu-235543",[24,25,26,27,111,60,113,2369,574,1782,30,430,36172,7767,7,77],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c2265be97eaccf6c319a909a54d6d01.jpg",[],{"id":36176,"slug":36177,"title":16268,"dynasty":18,"author":16269,"museum":107,"description":16270,"tags":36178,"thumbUrl":36181,"material":751,"size":752,"collection":95,"collections":36182,"showCount":11,"zanCount":882,"manualWeight":39,"mainColor":40},235541,"xi-xiang-tu-ce-ye-bu-235541",[24,25,26,27,111,113,114,678,30,430,7062,7063,7,60,77,36179,36180],"衣饰","古装人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F286f31cae46c40f96f65152087b949a8.jpg",[],{"id":36184,"slug":36185,"title":16268,"dynasty":18,"author":16269,"museum":107,"description":16270,"tags":36186,"thumbUrl":36187,"material":751,"size":752,"collection":95,"collections":36188,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},235540,"xi-xiang-tu-ce-ye-bu-235540",[24,25,26,111,27,113,458,114,77,7,1739,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e7e0415f758f4b93065e92ef3c0652.jpg",[],{"id":36190,"slug":36191,"title":1290,"dynasty":45,"author":22934,"museum":107,"description":22935,"tags":36192,"thumbUrl":36193,"material":751,"size":752,"collection":95,"collections":36194,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},235471,"hua-hui-ce-qi-xun-235471",[24,25,26,50,76,250,30,7,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4650bca68e2a6517f0f353b1beec2035.jpg",[],{"id":36196,"slug":36197,"title":36198,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":36199,"thumbUrl":36200,"material":751,"size":752,"collection":95,"collections":36201,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},235357,"shan-shui-ren-wu-tu-ce-huang-shen-235357","山水人物图册",[24,26,50,27,129,113,2104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1fa053c7ee4da3a395e26118b958fe.jpg",[],{"id":36203,"slug":36204,"title":17304,"dynasty":18,"author":2653,"museum":107,"description":36205,"tags":36206,"thumbUrl":36207,"material":95,"size":95,"collection":95,"collections":36208,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},235075,"shan-shui-tu-ce-hua-yan-235075","此作以淡墨晕染出清寂山水，崖巅浮屠卓立，古松倚石横斜，山径隐于林樾之间。远景江波浩渺，片帆数点悠悠往来，留白铺就云水空濛之境，尽显悠远淡宕的诗意。\n\n书法页笔致隽秀舒朗，诗文与画境呼应，书画相生，融笔墨意趣与林泉雅韵为一体，淡逸萧散，将幽寂清和的山居江景，化作可赏可吟的世外丘壑，尽显文人山水的简远之美。",[24,25,26,50,59,51,458,56,57,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b83ff495a225ca7271b25ac8426346e.jpg",[],{"id":36210,"slug":36211,"title":15669,"dynasty":18,"author":15670,"museum":107,"description":33884,"tags":36212,"thumbUrl":36213,"material":751,"size":752,"collection":95,"collections":36214,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},234946,"yue-man-qing-you-ce-chen-mei-234946",[24,25,111,27,60,7,77,113,114,458,55,678,56,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe28a13ec087287115be0adb00a9fe29.jpg",[],{"id":36216,"slug":36217,"title":36218,"dynasty":18,"author":11994,"museum":126,"description":36219,"tags":36220,"thumbUrl":36221,"material":215,"size":36222,"collection":95,"collections":36223,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},234915,"xue-jing-gu-shi-ce-sun-hu-234915","雪景故事册","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,25,26,27,60,111,7,51,1151,58,56,52,32520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a903a9e7094137117389a07086cb5c7.jpg","纵31．5厘米 横25．6厘米",[],{"id":36225,"slug":36226,"title":31848,"dynasty":18,"author":526,"museum":107,"description":31849,"tags":36227,"thumbUrl":36228,"material":312,"size":31852,"collection":95,"collections":36229,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},234892,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234892",[24,25,26,50,51,57,56,267,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204b1c2c416ad60fa5fb1ddfc578732d.jpg",[],{"id":36231,"slug":36232,"title":31848,"dynasty":18,"author":526,"museum":107,"description":31849,"tags":36233,"thumbUrl":36234,"material":312,"size":31852,"collection":95,"collections":36235,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},234885,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234885",[24,25,26,50,59,51,651,652,1678,1283,7,77,60,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9073c04adacda2ea064849fa4a8e4b9d.jpg",[],{"id":36237,"slug":36238,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":36239,"thumbUrl":36240,"material":488,"size":95,"collection":95,"collections":36241,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},234741,"huang-shan-tu-ce-jiang-zhu-234741",[24,25,26,50,51,57,250,252,56,59,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe579d6f706c66a4b60473f1fa9f408e1.jpg",[],{"id":36243,"slug":36244,"title":36245,"dynasty":18,"author":36246,"museum":107,"description":36247,"tags":36248,"thumbUrl":36249,"material":95,"size":95,"collection":95,"collections":36250,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},234618,"gu-yun-shan-shui-wan-shan-gu-yun-234618","顾沄山水纨扇","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[1250,24,25,50,51,251,56,152,267,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca4994401fb16ac9e2544d919f1d424.jpg",[],{"id":36252,"slug":36253,"title":36127,"dynasty":18,"author":36128,"museum":126,"description":36129,"tags":36254,"thumbUrl":36255,"material":488,"size":95,"collection":95,"collections":36256,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},234312,"ren-wu-gu-shi-ce-chen-zi-234312",[24,25,26,27,113,7,60,77,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acfa7e6ed873458313c8a1624150096.jpg",[],{"id":36258,"slug":36259,"title":15958,"dynasty":88,"author":454,"museum":126,"description":36260,"tags":36261,"thumbUrl":36262,"material":1179,"size":36263,"collection":95,"collections":36264,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},234038,"si-lun-tu-zhou-yi-ming-234038","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[24,25,75,50,27,59,7,60,51,56,1018,58,113,473,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc447fe7cf03f1038a72f049cc5ebbc4f.jpg","纵83.2厘米 横37.5厘米",[],{"id":36266,"slug":36267,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":36268,"thumbUrl":36269,"material":488,"size":18597,"collection":95,"collections":36270,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},233939,"dai-lu-fang-bei-tu-ce-huang-yi-233939",[24,25,26,27,51,56,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a10698e488202bbfa584e88cb89335.jpg",[],{"id":36272,"slug":36273,"title":20739,"dynasty":45,"author":10912,"museum":648,"description":36274,"tags":36275,"thumbUrl":36276,"material":312,"size":36277,"collection":95,"collections":36278,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},232859,"san-tan-shi-juan-wang-duo-232859","释文：三潭。地灵深秘势峥嵘。倚石肃然旅魄惊。雷(声)响砰轰霖雨蓄。神共摩盪药苗荣。即观元气同开辟。岂与寒泉共死生。怪岛休将人境说。栖真玄灏有天声。予素未书隶。寓苏门始学汉体。恨年异壮。学之晚。虽然。羲之。高适五十可也。\n王铎 甲申春正月为顺後（无阝）亲丈书求教。",[7,60,49,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30053a0b6295f9524da88f105eacd750.jpg","27×158cm",[],{"id":36280,"slug":36281,"title":36282,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":36283,"thumbUrl":36284,"material":751,"size":752,"collection":95,"collections":36285,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},232833,"bai-miao-luo-han-tu-juan-zhao-meng-fu-232833","白描罗汉图卷",[23,92,24,25,49,878,112,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985a756bb7fba498c697a86c800475dd.jpg",[],{"id":36287,"slug":36288,"title":36289,"dynasty":18,"author":506,"museum":107,"description":9347,"tags":36290,"thumbUrl":36291,"material":751,"size":752,"collection":95,"collections":36292,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},232827,"zi-zuo-shi-jin-nong-232827","自作诗",[23,1250,7,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5c3c65c2f0a8cd4b3fa79e7b0c5b5d.jpg",[],{"id":36294,"slug":36295,"title":36296,"dynasty":18,"author":6275,"museum":107,"description":23957,"tags":36297,"thumbUrl":36299,"material":312,"size":95,"collection":95,"collections":36300,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},232684,"shu-fa-dan-pian-hong-yi-fa-shi-232684","书法单片",[23,18,7,60,77,36298,50],"单片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb50d0a501ffc161b95b63475fcca0.jpg",[],{"id":36302,"slug":36303,"title":36304,"dynasty":8749,"author":36305,"museum":107,"description":36306,"tags":36307,"thumbUrl":36308,"material":751,"size":752,"collection":95,"collections":36309,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},231726,"lian-cang-shi-qi-zhen-shou-shen-ren-hui-xi-tu-juan-ruo-xia-guo-231726","鎌仓时期 镇守神人绘系图卷","若狭国","日本古代的令制国之一，属北陆道，又称若州。若狭国的领域大约为福井县的岭南。",[23,34469,25,49,27,113,458,55,878,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5299f5c116a0eed7fa5bc763bc696ac1.jpg",[],{"id":36311,"slug":36312,"title":36313,"dynasty":18,"author":16236,"museum":107,"description":36314,"tags":36315,"thumbUrl":36317,"material":312,"size":36318,"collection":95,"collections":36319,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},231566,"yu-hu-qiu-fan-tu-fei-dan-xu-231566","玉湖秋泛图","题跋：〈鲍正言〉（词一首，不录）筱溪尊兄先生属题即正。丙午九秋衍香鲍言草稿。\n〈朱紫贵〉（七律一首，不录）道光辛丑孟陬题奉筱溪宗兄雅正。\n斋贵书于西泠学舍。\n〈朱步沆〉（七律二首，雨不录）用初白先生中方舟夹山瀁韵二首题\n应筱溪三兄雅属希政之。时壬寅六月二十五日沁泉沆甫\n稿。\n〈奚疑〉（词一首，不录）丁亥冬余招同人泛舟夹山瀁诗雨生都督\n缋图纪游。筱溪三兄先生属新填蝶恋花词，录请敦正。\n方屏山樵奚疑稿。丙午十月，时年七十有二也。\n〈达受〉（七律二首，不录）咸丰五年乙卯七月二十有二日，小诗\n题奉筱溪先生玉照并祈政句。南屏迟隐憎六舟达受未定稿。",[23,24,25,49,27,50,111,60,7,77,51,113,54,772,6139,9288,471,36316],"天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a59c2367b4d88e6db4c04a1ccd7115.jpg","引首：33.5×110.5cm 本幅：34×105.5cm 题跋：31×33cm×13",[],{"id":36321,"slug":36322,"title":7608,"dynasty":45,"author":7609,"museum":72,"description":36323,"tags":36324,"thumbUrl":36325,"material":1179,"size":36326,"collection":95,"collections":36327,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},231392,"jiu-lao-tu-huang-biao-231392","黄彪，明苏州（今属江苏）人，号震泉。工人物写貌，尤精于摹写。曾得张择端《清明上河图》稿本，稍作删润，加以临摹，布景著色，几能乱真。存世作品有：嘉靖三十七年作《画项少溪像》、万历二十二年作《九老图》。",[25,7,199,77,50,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ab112e1dd3d7ab8dda0884da0049c3.jpg","27.2x193cm",[],{"id":36329,"slug":36330,"title":36331,"dynasty":162,"author":454,"museum":107,"description":9803,"tags":36332,"thumbUrl":36333,"material":751,"size":752,"collection":95,"collections":36334,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},231029,"gu-bo-hai-xian-tai-jun-gao-shi-mu-zhi-ming-tang-gu-bo-hai-xian-tai-jun-gao-shi-mu-zhi-ming-yi-ming-231029","故渤海县太君高氏墓志铭-唐故渤海县太君高氏墓志铭",[198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef21ecf683116d0155350993f7cae4d7.jpg",[],{"id":36336,"slug":36337,"title":36338,"dynasty":45,"author":31972,"museum":107,"description":36339,"tags":36340,"thumbUrl":36341,"material":95,"size":95,"collection":95,"collections":36342,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},230915,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-230915","史记君臣故事图","此作笔墨秀雅清润，以平远视角铺展庭院景致。垂杨柳丝扶苏，掩映廊庑台榭，墨色晕染出清寂空疏的氛围。画面左下角，着官袍士人正与仆从揖对，旁侧马匹静候，将朝臣谒见等候的场景娓娓铺陈，人物情态生动自然，尽显古礼分寸。\n\n布景简淡洗练，线条细劲工致，淡设色晕染浅淡柔和，将史记旧事的沉静静谧融于日常朝谒场景之中。画作兼具叙事性与文人雅意，无需繁复铺陈，便把君臣故事里的恭敬庄重，藏在庭院幽寂氛围里，尽显温婉古雅的文人叙事画格调。",[24,25,27,1128,111,113,1074,56,458,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce24d8ae3f83d6f50fe771dbf7b0a0f.jpg",[],{"id":36344,"slug":36345,"title":36346,"dynasty":179,"author":454,"museum":107,"description":36347,"tags":36348,"thumbUrl":36349,"material":95,"size":95,"collection":95,"collections":36350,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},230903,"ge-ba-qiu-feng-tu-yi-ming-230903","歌罢秋风图","淡墨晕染芙蓉瓣，留白衬出柔润娇妍，层叠舒展间暗蕴盛放之姿。浓焦墨勾勒叶脉，苍劲利落的笔触写尽秋意萧疏，枝梗挺括暗藏清刚骨力。\n\n画幅间题诗与画境呼应，以墨代彩，褪去浓艳浮华，尽显简淡秀逸的文人意趣。水墨相生，将清秋芙蓉冷艳风骨与澹泊心境相融，淡远萧疏的氛围里，把晚风里芙蓉的清隽寂寥缓缓铺陈，简淡笔墨间留住一刹幽寂秋光，尽显文人水墨小品的空静雅韵。",[23,24,25,50,27,30,239,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f4f12104f7914b7ff23728192398f8.jpg",[],{"id":36352,"slug":36353,"title":36354,"dynasty":18,"author":36355,"museum":107,"description":36356,"tags":36357,"thumbUrl":36359,"material":751,"size":752,"collection":95,"collections":36360,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},230881,"shu-pu-jie-lu-shan-mian-yan-xin-hou-230881","书谱节录扇面","严信厚","原名严经邦，字筱舫，又字小舫，号石泉居士。清末著名实业家、书法家、画家，浙江慈溪县人。他是中国近代早期民族资本家的代表之一，也对中国教育的近代化做出了贡献。",[18,1250,60,7,3479,312,36358,27201],"节录","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04bc3191c8fecf9693aaa21a22b86b6.jpg",[],{"id":36362,"slug":36363,"title":36364,"dynasty":45,"author":35309,"museum":107,"description":35310,"tags":36365,"thumbUrl":36366,"material":751,"size":752,"collection":95,"collections":36367,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},230848,"lin-shen-xian-qi-ju-fa-wang-shu-230848","临神仙起居法",[25,7,110,398,50,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe347c35df1e481a897ca43a9673afa15.jpg",[],{"id":36369,"slug":36370,"title":36371,"dynasty":18,"author":17643,"museum":107,"description":36372,"tags":36373,"thumbUrl":36374,"material":95,"size":95,"collection":95,"collections":36375,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},230256,"hua-chun-tai-tong-le-ce-huang-yue-230256","画春台同乐册","此作以淡墨轻晕铺就月夜园林景致，题诗衬景，将清宵幽寂意趣娓娓道来。月上宵空，清光晕染水岸屋舍，错落庭园隐于林木间，竹树疏密相宜，水岸亭台凌波而立，垂柳轻拂水面，石岸错落点缀浅滩，铺展出江南私园的雅致闲静。\n\n笔致秀润简淡，留白尽显月色空濛，将文人耽于静夜闲读的隐逸心境融于笔墨。淡着色晕染出草木清润，屋舍朴雅简净，整体萧疏淡远，尽显文人山水小品悠然闲淡的意韵，把夜色里园林的静谧雅韵全然铺陈开来。",[24,25,26,50,55,458,56,76,53,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5f5de249117605e5d665e899be726f.jpg",[],{"id":36377,"slug":36378,"title":36379,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":36380,"thumbUrl":36381,"material":751,"size":752,"collection":95,"collections":36382,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},230160,"qian-long-yu-ti-ce-qian-long-230160","乾隆御题册",[7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979d825066978e9e416697787d811ef5.jpg",[],{"id":36384,"slug":36385,"title":36386,"dynasty":18,"author":454,"museum":107,"description":36387,"tags":36388,"thumbUrl":36390,"material":751,"size":752,"collection":95,"collections":36391,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},229089,"tong-du-jin-shi-wen-huai-biao-yi-ming-229089","铜镀金诗文怀表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[15301,30189,2919,7,36389,7713,834],"珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c4cbe2f055d9c7ee2558d992ef39e4.jpg",[],{"id":36393,"slug":36394,"title":36395,"dynasty":45,"author":36396,"museum":107,"description":36397,"tags":36398,"thumbUrl":36399,"material":95,"size":95,"collection":95,"collections":36400,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},228900,"xiao-fu-tu-juan-zhang-feng-bu-tu-gu-meng-you-228900","啸赋图卷张风补图","顾梦游","水墨淡绘峰林幽谷，隐者策杖独行，留白疏淡间，漾出幽远超尘的林下意趣。随行行书长卷笔致秀雅舒展，录就《啸赋》全篇，笔墨清逸萧散，与画境相映成趣。\n\n书画合璧，将赋文里寄怀烟霞、啸傲林泉的隐逸襟怀融于卷中，明人尚雅的高致风流尽在其中，文、书、画相生相融，勾勒出古贤遁世丘山的澹泊襟怀。",[23,92,24,25,49,112,50,51,250,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2daf2a4d157139ac44e11d0373f8546.jpg",[],{"id":36402,"slug":36403,"title":36404,"dynasty":45,"author":14822,"museum":107,"description":36405,"tags":36406,"thumbUrl":36407,"material":95,"size":95,"collection":95,"collections":36408,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},228744,"xiao-jing-song-huang-dao-zhou-228744","孝经颂","《孝经集传（经部孝经类）\u002F中外哲学典籍大全》是22年9月1日中国社会科学出版社出版的图书，作者是[明] 黄道周 。\n《孝经集传》是明末大儒黄道周后期的著作。\n该书提炼出《孝经》的“五微义”与“十二著义”，不仅每一章有黄道周自己的诠释，还分别以二戴记、《仪礼》、《孟子》等作为义疏，认为《孝经》是六经之本，体现了黄道周后期思想中回归六经、经世致用的倾向。\n黄道周一生学在《周易》，行在《孝经》，《孝经集传》的学术价值正与其伟大气节相互辉映。\n由于该书成书历时六年，推衍极深，深为后世推许，因而《孝经集传》不仅是黄道周思想研究的必要文本，同时还是中国孝经学研究的重要著作。\n进孝经集传序 孝经集传卷一 开宗明义章第一 天子章第二 诸侯章第三 卿大夫章第四 士章第五 庶人章第六 孝经集传卷二 三才章第七 孝治章第八 圣德章第九 孝经集传卷三 纪孝行章第十 五刑章第十一 广要道章第十二 广至德章第十三 孝经集传卷四 广扬名章第十四 谏静章第十五 感应章第十六 事君章第十七 丧亲章第十八 附一 历代孝经集传序跋 明刻本孝经集传众弟子跋 康熙本孝经集传序一 康熙本孝经集传序二 康熙本孝经集传序三 四库提要 孝经集传钞序 孝经集传序 跋黄忠端楷书孝经墨刻 附二 清代以来对孝经集传的相关评价 附三 黄道周论孝八篇 孝纪序 书古文孝经後 书孝经别本後 书孝经颂後 书圣世颁孝经颂後 孝经颂 圣世颁孝经颂 孝经辨义 主要参考文献",[23,7,199,77,1498,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2f527ade0e12dbadf5a04abb1f726a.jpg",[],{"id":36410,"slug":36411,"title":36412,"dynasty":45,"author":744,"museum":107,"description":897,"tags":36413,"thumbUrl":36417,"material":751,"size":752,"collection":95,"collections":36418,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},228474,"sui-bi-01-tang-yin-228474","随笔01",[92,24,25,26,60,77,7,50,31357,36414,27621,36415,53,36416,1679,116,3070,471,7989,8981,54],"芦花","春云","竹篱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf19c957fdf26ac11f1c1b360d532ce7.jpg",[],{"id":36420,"slug":36421,"title":36422,"dynasty":45,"author":14473,"museum":107,"description":36423,"tags":36424,"thumbUrl":36425,"material":95,"size":95,"collection":95,"collections":36426,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},228460,"wu-yan-lv-shi-zhou-tian-qiu-228460","五言律诗","此作用笔圆劲温润，线条舒展遒劲，字势顾盼有情，行气流畅悠然，尽显吴门书风的儒雅秀逸。师法文徵明又自出机杼，将晋唐行书的灵动意趣融于笔墨，牵丝映带间节奏舒缓雅致。笔墨间浸润着林下幽栖的沉静安闲，完美呼应诗文隐逸自适的意涵，通篇气息俊逸萧散，尽显风雅襟怀。",[4038,7,60,75,50,77,36422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe729b69a26ad19c5195b4d894e038a67.jpg",[],{"id":36428,"slug":36429,"title":26503,"dynasty":45,"author":5463,"museum":107,"description":24617,"tags":36430,"thumbUrl":36431,"material":751,"size":752,"collection":95,"collections":36432,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},228435,"qi-yan-shi-zhang-rui-tu-228435",[23,7,398,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d60b702fb244e9565cc8752079f0d5.jpg",[],{"id":36434,"slug":36435,"title":36436,"dynasty":45,"author":10912,"museum":107,"description":36437,"tags":36438,"thumbUrl":36439,"material":751,"size":752,"collection":95,"collections":36440,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},228338,"shi-zhou-ling-ben-wang-duo-228338","诗轴绫本","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[23,7,60,398,75,9104,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa99ec2c22995307e8c020f20c2c3cd5f.jpg",[],{"id":36442,"slug":36443,"title":36444,"dynasty":45,"author":36445,"museum":107,"description":36446,"tags":36447,"thumbUrl":36448,"material":95,"size":95,"collection":95,"collections":36449,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},228336,"xi-shan-zhen-shang-tu-jin-run-228336","溪山真赏图","金润","《溪山真赏图》是中国明代画家 的国画作品，现藏于天津市艺术博物馆。\n该作品纸本，设色，纵29厘米，横16.5厘米，据卷后题跋可知是为其婿陈坚远所作。\n《溪山真赏图》是中国明代画家 的国画作品，画上自题“静虚写溪山真赏图，时年七十四也”。\n卷后自题署成化戊戌款，可知此图作于成化十四年，作者时年七十四岁，属晚年之作。\n欧阳序篆书引首，拖尾有作者自题及吴宽、马迪、陈璚、杜堇、性嘉、周孟中、蒋谊等人的题跋。\n卷中钤有清初朱之赤、清内府及吴亦先、陈嗣宗、张叔诚等鉴藏印。\n该作品用笔工细简淡，设色清雅，构图平远，疏密有致，是金润画作精品，亦是其现存海内孤本。\n金润 (公元15世纪)〔明〕字伯玉，又字静虚，上元(今江苏南京)人，生卒年不详。\n幼即嗜学，年十二能赋诗，正统(146-1449)间举乡贡，授兵部司务。\n为少保于谦所重，每与之咨议兵事。\n后擢南安知府，政暇即弹琴写画赋诗。\n精通音律，工书画。\n书法类赵孟頫，山水法方从义。\n所画山水天真横溢，工整简淡，细笔勾皴，浓墨点醒，勾点兼用，构图严谨，疏密有致。\n从艺活动约在正统、成化年间。",[24,25,60,7,51,23233,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d37175f7f1a0a5de4cde2f0f3cab04.jpg",[],{"id":36451,"slug":36452,"title":15773,"dynasty":45,"author":1452,"museum":107,"description":36453,"tags":36454,"thumbUrl":36455,"material":751,"size":752,"collection":95,"collections":36456,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},228278,"wu-yan-shi-chen-ji-ru-228278","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45af0e2b190495cfb4d69b5a01f05ee.jpg",[],{"id":36458,"slug":36459,"title":36460,"dynasty":88,"author":14147,"museum":72,"description":36461,"tags":36462,"thumbUrl":36463,"material":682,"size":30694,"collection":95,"collections":36464,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},227759,"yi-xi-ci-ce-14-zhen-zhu-xi-227759","易系辞册14帧","朱熹《书易系辞》册 纸本，共14开 台北故宫博物馆，“书易系辞”册，一向被学者公认为是朱熹存世仅见的大字真迹。\n\n《书易系辞》，纸本，全册共十四开，102字，均纵36.5厘米，横61.8厘米，是朱熹存世仅见的大字真迹。全册共十四开，一百零二字，每行仅书写二字，内容为《易经·系辞》的节句。笔力凌厉豪劲，墨色黝黑，时而又出现飞白效果，显得格外精神奕奕。古代许多书法家是不善于写大字的，但这恰恰是朱熹的擅长，所以他的大行书远远胜过小行书。作品有朱熹名款及“定静堂”印记，为林宗毅先生所藏，后捐赠与台北博物馆。",[23,2601,7,60,26,77,25,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4118aefb6f5380b7d57297807840ac9.jpg",[],{"id":36466,"slug":36467,"title":36468,"dynasty":88,"author":7399,"museum":107,"description":36469,"tags":36470,"thumbUrl":36471,"material":95,"size":95,"collection":95,"collections":36472,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},227740,"huo-lang-tu-ye-wen-zi-li-song-227740","货郎图页文字","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[23,3701,24,25,4347,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c816ffda703346d49c1e5d87e5fc6fa.jpg",[],{"id":36474,"slug":36475,"title":36476,"dynasty":88,"author":454,"museum":107,"description":36477,"tags":36478,"thumbUrl":36479,"material":95,"size":95,"collection":95,"collections":36480,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},227574,"wei-mo-ji-jing-yi-ming-227574","维摩诘经","《维摩诘经变》根据《维摩诘经》而来，是很能反映中国文人阶层精神面貌的壁画。 《维摩诘经变》是莫高窟中较重要的经变图，现存有30多幅，在各个时期都有表现，多以“异品同构”的构图方式出现，将多品的内容由一个故事情节互相穿插起来。到唐代之后，画家的技艺有了长足进步，构图更加合理，笔法更加讲究，对人物内心的把握亦更加到位。这幅《维摩诘经变》基本上以线描为主，局部赋色。画中的维摩诘坐于榻上，身披紫裘，白练裙襦，一膝支起，左手抚膝，右手执麈尾，身后是六曲草书屏风，服饰和器物的衬托将维摩诘完全表现为一位儒家的士大夫。他上身略前倾，蹙眉张口，精神矍烁，呈辩说状，一改魏晋时期“有清羸示病之容，隐几忘言之状”的表现方式。",[92,24,25,49,878,111,27,113,199,7,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52739128606e123240e7976057adc6b0.jpg",[],{"id":36482,"slug":36483,"title":36484,"dynasty":162,"author":454,"museum":107,"description":36485,"tags":36486,"thumbUrl":36487,"material":95,"size":95,"collection":95,"collections":36488,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},227124,"shi-ji-di-er-shi-jiu-juan-he-qu-shu-di-qi-can-juan-yi-ming-227124","史记第二十九卷河渠书第七残卷","《史记》，二十四史之一，最初称为《太史公书》或《太史公记》、《太史记》，是西汉史学家司马迁撰写的纪传体史书，是中国历史上第一部纪传体通史，记载了上至上古传说中的黄帝时代，下至汉武帝太初四年间共3000多年的历史。太初元年（前104年），司马迁开始了《太史公书》即后来被称为《史记》的史书创作。该著作前后经历了14年，才得以完成。\n《史记》全书包括十二本纪（记历代帝王政绩）、三十世家（记诸侯国和汉代诸侯、勋贵兴亡）、七十列传（记重要人物的言行事迹，主要叙人臣，其中最后一篇为自序）、十表（大事年表）、八书（记各种典章制度记礼、乐、音律、历法、天文、封禅、水利、财用）。《史记》共一百三十篇，五十二万六千五百余字，比《淮南子》多三十九万五千余字，比《吕氏春秋》多二十八万八千余字。《史记》规模巨大，体系完备，而且对此后的纪传体史书影响很深，历朝正史皆采用这种体裁撰写。\n《史记》被列为“二十四史”之首，与《汉书》、《后汉书》、《三国志》合称“前四史” ，对后世史学和文学的发展都产生了深远影响。其首创的纪传体编史方法为后来历代“正史”所传承。《史记》还被认为是一部优秀的文学著作，在中国文学史上有重要地位，被鲁迅誉为“史家之绝唱，无韵之《离骚》”，有很高的文学价值。刘向等人认为此书“善序事理，辩而不华，质而不俚”。",[199,60,7,1498,49,77,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b213715ab01b245069886378432e5a.jpg",[],{"id":36490,"slug":36491,"title":36492,"dynasty":162,"author":27208,"museum":107,"description":27209,"tags":36493,"thumbUrl":36494,"material":95,"size":95,"collection":95,"collections":36495,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},227092,"xiao-zi-fa-hua-jing-juan-xia-bu-li-yuan-hui-227092","小字法华经卷下部",[23,7,386,49,878,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec1a4919be764b8f39da09c9433ad0.jpg",[],{"id":36497,"slug":36498,"title":36499,"dynasty":3087,"author":454,"museum":107,"description":23205,"tags":36500,"thumbUrl":36501,"material":95,"size":95,"collection":95,"collections":36502,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},227067,"bei-wei-diao-zun-mu-zhi-ming-yi-ming-227067","北魏刁遵墓志铭",[7,198,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa459cefb2e7f1d5b88e74588c3dada96.jpg",[],{"id":36504,"slug":36505,"title":36506,"dynasty":18,"author":10652,"museum":107,"description":36507,"tags":36508,"thumbUrl":36509,"material":751,"size":752,"collection":95,"collections":36510,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},224569,"shou-zi-ce-ye-ce-qing-ren-224569","寿字册页册","此作为泥金篆书百寿册页，以深色笺纸为底，明黄锦绫为缘，愈显华贵雍容。每字皆为“寿”，却各成风貌，或取钟鼎之浑朴，或仿缪篆之盘曲，亦有玉箸小篆的匀净端雅。线条圆劲通脱，排布疏密合宜，将祈福纳祥的心意藏于百变字形之中。\n它将祝寿的吉庆主题与金石书法的古雅意趣相融，既恪守篆书的庄重法度，又以灵动变体打破单调，把传统长寿文化的美好祈愿凝于笔端，尽显旧时祝寿雅事的雅致情致。",[18,25,7,26,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568a4331ef792ea1b01fb3182fd646e.jpg",[],{"id":36512,"slug":36513,"title":36514,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":36515,"thumbUrl":36516,"material":751,"size":752,"collection":95,"collections":36517,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},224361,"cheng-qin-wang-yong-xing-shi-ke-dun-xu-dian-bai-liang-ti-lian-ju-ce-ai-xin-jue-luo-yong-xing-224361","成亲王 永瑆 石刻惇叙殿柏梁体联句册",[198,7,199,26,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9cef39a539e1e8f540d07791b4f11e.jpg",[],{"id":36519,"slug":36520,"title":36521,"dynasty":18,"author":6662,"museum":107,"description":36522,"tags":36523,"thumbUrl":36524,"material":95,"size":95,"collection":95,"collections":36525,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},224307,"hua-hui-shi-er-kai-8-li-shan-224307","花卉十二开8","此作用写意笔墨绘就春日杜鹃，设色清妍柔润。粉紫花瓣以淡彩晕染，瓣边留白衬出通透娇态，深红花苞点缀其间，层次鲜活分明。枝叶晕染雅致，墨色与水色交融，尽显舒展灵动之姿。淡赭勾勒枝干，笔力简括遒劲，将花枝舒展的野逸生机藏于线条间。\n\n旁侧题字笔意纵逸，书画相映成趣，诗画交融尽显文人雅韵。全画尽显率意清隽的风骨，寥寥数笔便将杜鹃柔丽烂漫的春日之态定格尺幅，于简淡挥洒中留住花木天然意趣，观之便觉春深枝上，雅韵悠然绵长。",[23,24,25,26,27,29,30,282,239,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3833b53e864ef1456151f8c63af9773.jpg",[],{"id":36527,"slug":36528,"title":26503,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":36529,"thumbUrl":36530,"material":751,"size":752,"collection":95,"collections":36531,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},224286,"qi-yan-shi-fu-shan-224286",[23,25,7,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e514d824c31e5eeded135cd1dd6fed.jpg",[],{"id":36533,"slug":36534,"title":36535,"dynasty":18,"author":36536,"museum":107,"description":36537,"tags":36538,"thumbUrl":36539,"material":751,"size":752,"collection":95,"collections":36540,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},224269,"qing-mian-en-qian-long-song-ren-shi-ba-ying-zhen-zan-juan-ai-xin-jue-luo-mian-en-224269","清绵恩乾隆宋人十八应真赞卷","爱新觉罗绵恩","爱新觉罗·绵恩（1747年9月18日－1822年7月18日），清朝宗室，大臣，清高宗爱新觉罗·弘历之孙、定安亲王爱新觉罗·永璜次子。\n乾隆三十四年，授右翼前锋统领。四十一年，袭封定郡王。五十八年，晋封定亲王。嘉庆帝即位后，官至领侍卫内大臣、阅兵大臣，管理宗人府事务。\n道光二年，去世，享年七十六，谥号为恭。",[18,49,199,878,7,27,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b546f2d9b7354eb920ed9f7ef741cac.jpg",[],{"id":36542,"slug":36543,"title":36544,"dynasty":18,"author":4069,"museum":107,"description":4070,"tags":36545,"thumbUrl":36546,"material":751,"size":752,"collection":95,"collections":36547,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},224203,"shu-qian-long-yu-zhi-jing-ming-yuan-yan-tu-za-yong-cheng-shan-liang-guo-zhi-224203","书乾隆御制静明园沿途襍咏成扇",[1250,7,60,199,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea002b5e50af17565445baa745756026.jpg",[],{"id":36549,"slug":36550,"title":36551,"dynasty":18,"author":19125,"museum":107,"description":20713,"tags":36552,"thumbUrl":36553,"material":751,"size":752,"collection":95,"collections":36554,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},224161,"ou-yang-yong-shu-juan-wu-xi-zai-224161","欧阳永叔卷",[23,7,49,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34980a74da411bba3130e0946736768.jpg",[],{"id":36556,"slug":36557,"title":36558,"dynasty":18,"author":20022,"museum":107,"description":36559,"tags":36560,"thumbUrl":36561,"material":751,"size":752,"collection":95,"collections":36562,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},224149,"shou-zha-er-shi-si-tong-er-yu-yue-224149","手札二十四通二","有清一代，书法可分两途。康、乾时期，书宗董、赵，以帖为式，风格清健流丽，儒雅闲静。然以承继为主。嘉、道之后，此风参以颜、柳，庙堂之气重而风流韵致少，故“馆阁”之讥，时或有之。与其反道而行之者，碑派兴起，渐成流风。晚清士大夫，初学阁帖，中年之后参以北碑，既增筋骨，又不乏生动。遂成一时之风尚。俞曲园即其一例也。\n曲园与小坡二十四札书信，以言学术、诗词者居多，时间大约在光绪八年（1882-1887）之间。信札之书体，除一通为隶书外，俱为行楷书。曲园早年科举应试，字体工整圆润，有馆阁之风。后习篆、隶，书风为之一变，隶形篆意，古朴厚重，不加雕饰，犹如经生治史。老年所书楷联，则参以碑意，大气重拙。然此册之书法，除古朴、重拙之外，更有气质闲雅，潇洒风流，宋人之意跃然纸上。此或翰札特有之形态，抑或特有之魅力也。",[23,7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0946fcc669995b966cbe7ff1a365b0e.jpg",[],{"id":36564,"slug":36565,"title":36566,"dynasty":88,"author":454,"museum":107,"description":36567,"tags":36568,"thumbUrl":36569,"material":95,"size":95,"collection":95,"collections":36570,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},223685,"qi-shi-lie-gui-tu-ye-yi-ming-223685","骑士猎归图页","胡风漫卷下猎罢而归，骑士毡帽胡服，神态悠然松弛，似正回味猎时快意。身旁骏马垂首缓息，鞍鞯纹饰细密华美，犹带着出猎时的矜贵气度，暗衬主人不凡。\n整幅设色调和淡雅，笔致凝练写实，将北地游侠猎归后的闲散意韵尽显。诗画合璧，题诗呼应着射猎的飒爽过往，把塞上猎游的疏野风情融于尺幅之间，寥寥数笔便将游侠卸甲稍歇的松弛情态勾勒传神，尽显古朴生动的写实格调。",[23,92,24,25,26,111,27,113,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c29f5851237d0ecd81db53402b7efe.jpg",[],{"id":36572,"slug":36573,"title":36574,"dynasty":88,"author":454,"museum":107,"description":36575,"tags":36576,"thumbUrl":36579,"material":95,"size":95,"collection":95,"collections":36580,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},223645,"zhu-wang-jue-yuan-tu-ye-yi-ming-223645","蛛网攫猿图页","此作用笔精细入微，猿猴攀附松枝，长臂探向蛛网，身姿轻捷灵动，毫毛发肤晕染细腻，将猿猴的好奇憨态刻画得栩栩如生。松叶苍劲秀挺，留白衬出幽寂雅致的氛围，尽显小品画以小见大的意趣。\n画作写实功力尽显，又搭配题诗呼应画意，将生灵的灵动情态与文人情思相融，于尺幅团扇之中，藏着宋人雅致精微的审美意趣，是兼具写生妙笔与含蓄理趣的经典之作。",[23,24,4347,111,27,7541,1763,36577,36578,7,77],"树叶","蛛网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1685b576c7ccc6dfa95528b2be98d2.jpg",[],{"id":36582,"slug":36583,"title":16612,"dynasty":88,"author":454,"museum":107,"description":36584,"tags":36585,"thumbUrl":36587,"material":95,"size":95,"collection":95,"collections":36588,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},223601,"qiu-tang-ke-hua-tu-yi-ming-223601","此作用笔苍秀，以浓淡晕染铺就秋意萧疏的林泉之境。深翳林木环绕茅堂，两位雅客对坐晤谈，神态悠然自在，尽显林下清谈的幽闲意趣。\n\n画作以水墨写就，林木层叠错落，墨色浓淡交织，将秋日林野的沉静空寂烘托尽致，以景衬情，把文人寄情丘壑、畅叙襟怀的雅兴融于尺幅间，尽显内敛雅致的韵味，幽静淡远的氛围扑面而来，恍若能聆听到堂中清谈，踏入这方隐逸闲雅的林下天地。",[23,24,25,50,111,59,113,56,57,567,1006,7,576,115,36586],"围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb273ed093f60030063c809dadd5b9fc3.jpg",[],{"id":36590,"slug":36591,"title":36592,"dynasty":45,"author":454,"museum":107,"description":36593,"tags":36594,"thumbUrl":36595,"material":751,"size":752,"collection":95,"collections":36596,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},223547,"xi-ma-tu-quan-juan-yi-ming-223547","洗马图全卷","马官们牵马临溪，或冲浴马身，或在岸边小憩。人物、鞍马分别施以不同色彩，丰富浓郁而又 清丽，做到了色不掩笔。用笔精细，色调浓润，风格清新秀丽。",[23,24,25,49,27,111,51,56,113,1074,553,2062,457,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc55a22a730b92f31c6715f8624f45ae.jpg",[],{"id":36598,"slug":36599,"title":36600,"dynasty":88,"author":454,"museum":107,"description":36601,"tags":36602,"thumbUrl":36603,"material":784,"size":36604,"collection":95,"collections":36605,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},223533,"jiang-cheng-tu-yi-ming-223533","江城图","图为一幢高大的建筑耸立在河边，梁檐厚重，气势磅礴。 三、两个人正从大楼的上层向外望去； 河岸，河水波涛汹涌，浪涛拍岸，船径顺岸。 , 河边的人已经到了毛伊岛岸边； 一角郁郁葱葱，整个景色自然壮丽",[23,24,25,1128,60,27,51,458,54,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F454f0b5a96ee127cc95df9fe0c1b0e1d.jpg","38x69cm",[],{"id":36607,"slug":36608,"title":36609,"dynasty":162,"author":5490,"museum":107,"description":5491,"tags":36610,"thumbUrl":36611,"material":312,"size":751,"collection":95,"collections":36612,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},223388,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-4-bai-ju-yi-223388","古抄残卷《白氏文集》第三巻第四4",[23,7,1498,49,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e96cf41e64430fb90a5034ce3ad7c0.jpg",[],{"id":36614,"slug":36615,"title":36616,"dynasty":18,"author":32290,"museum":107,"description":32291,"tags":36617,"thumbUrl":36618,"material":312,"size":32295,"collection":95,"collections":36619,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},223126,"shu-hua-ce-ye-qing-gui-zhuang-223126","《书画册页》-情",[23,25,7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbe4e104b3b1ad5cba691f10ca66b55.jpg",[],{"id":36621,"slug":36622,"title":36623,"dynasty":18,"author":2378,"museum":279,"description":36624,"tags":36625,"thumbUrl":36626,"material":13508,"size":36627,"collection":95,"collections":36628,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},222640,"shan-shui-shu-fa-ce-liu-kai-6-gao-feng-han-222640","山水书法册六开-6","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,25,26,27,51,115,53,250,32056,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2348720d3ad3a648a8bba4976edd090a.jpg","31.8x24.8厘米",[],{"id":36630,"slug":36631,"title":36632,"dynasty":45,"author":10912,"museum":107,"description":36633,"tags":36634,"thumbUrl":36635,"material":312,"size":95,"collection":95,"collections":36636,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},222539,"cao-shu-ce-wang-duo-222539","草书册","本册草书从其落款上看是“甲子暮春”是天启四年（一六二四）年所书，当时王铎三十三岁。是年正月，王铎授翰林院检讨，春天，其返故里，舅父陈具茨四月卒，时守在榻旁。直至冬天，自孟津出游陆浑山，继沿伊水北上，过龙门，登香山。可见，此册是其在家乡时所作。我们很难想象三十三岁时的王铎能写出如此老辣苍茫的作品，与其晚年作品几无二致，我以为有两点是值得注意的，一是其落款，“铎”字与晚年不同。另外，晚年作品书写时用大王内擫法，更为注重左右的穿插变化，呈S形轨迹，而此册则基本是以直线而下的。王铎此册草书是承袭小王外拓连绵草的传统，气势绵延跌宕，笔致苍茫浑厚，在书写过程中，实连多于意连，故有大珠小珠落玉盘的趣味，每一页中有较为浓重的字与渴燥枯笔的字互为映照，从视觉效果上显得极为灿烂夺目。从涨墨、浓墨、枯墨等一系列墨色的变化中我们可以清晰看出王铎的突破点所在。其次是王铎对字的造型把握极有天分，他善于以险造势，在不稳中求得其平衡，犹如体操运动员走平衡木一般。正是这种左右摇曳生姿的险绝正如文如看山不喜平，让人在不断享受新奇新鲜所带来的快感和美感：让我们的心理节律与书写的节奏融为一体，感受着笔墨的欢快跳动。再次是王铎采用间距密集、行距宽疏的方法，由此形成对比，一密一疏的方法也在某种程度上强化了它的形式效果。当然在观赏中最为让人心旌摇荡的还是王铎书法线条的遒劲有力的质感，给人以入木三分的效果。梁章钜在本册跋中说：“孟津书法雄伟，足以推倒流辈，而间有习气未除。此卷则神动天随，几于化矣。吾乡张二水有其雄伟而飞舞逊此一筹，要皆为艺林绝技也。”他将此册的特点归结于雄伟飞舞，亦可谓一家之言。",[23,92,24,25,26,50,398,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94ddfd0d8241ef37d8c17bf3248ff3f0.jpg",[],{"id":36638,"slug":36639,"title":36640,"dynasty":45,"author":744,"museum":279,"description":36641,"tags":36642,"thumbUrl":36643,"material":312,"size":36644,"collection":95,"collections":36645,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},222355,"zhi-ruo-rong-zha-tang-yin-222355","致若容札","此卷的上款人“若容”即徐霞客（1587-1641）的先祖徐元寿（第十二世祖）。徐元寿（1470-1553)，又名尚德,字若容, 号纳斋，国学生。\n徐元寿的侄子徐经曾和唐寅一起赴京赶考，后发生舞弊贿考丑闻，导致唐寅招染牢狱之灾，并从此断了仕途之念。徐元寿与祝允明，都穆，文征明等都友善，特别是和唐寅关系密切。两人同年出生，志趣相投，经常一起参禅说法。\n唐寅书法源自赵孟頫一体，风格丰润灵活，俊逸秀拔，代表作《落花诗册》。第一时期是30岁以前，他居住家乡苏州，与同年龄的文征明交善，甚受文氏影响，故两人书画均很接近，第二时期是30岁至36岁，唐寅科场被黜，妻子离异，无奈藉诗文、书画谋生，其时书法上追唐人，力求规范，尤宗尚颜真卿的楷书，用笔凝重，圆硕多肉，结体偏于长方，雄强茂密，点画横细竖粗，并吸纳隶法，横笔收尾似“蚕头”，捺笔收笔中途之顿近“燕尾”，极富力度，如唐寅作于弘治乙丑（1505年）36岁时的《落花诗册》。",[23,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac68acb7d7c58513555093e5aa214670.jpg","26.7×64.1cm",[],{"id":36647,"slug":36648,"title":36649,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":36650,"thumbUrl":36651,"material":682,"size":7424,"collection":95,"collections":36652,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":23752},222306,"nan-hua-zhen-jing-59-wang-chong-222306","南华真经59",[23,25,7,386,60,50,312,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d07fef9250403ab60e2bb622ae2f036.jpg",[],{"id":36654,"slug":36655,"title":36656,"dynasty":45,"author":5463,"museum":20,"description":36657,"tags":36658,"thumbUrl":36659,"material":7994,"size":36660,"collection":95,"collections":36661,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},222061,"shu-du-fu-shi-ce-zhang-rui-tu-222061","书杜甫诗册","书于明季生产的云母册页上，以淡墨书熟，是功夫欠佳者所不敢办的，也为张氏墨迹中颇不多见的一路。册页在清初被改装为手卷，长近九米，字逾六百，当是晚年作。此卷曾为藏家姚文黛、赵光、王蒙泉所递藏。王蒙泉收藏的张氏墨迹，多且精，如其所藏册页等两种今皆在故宫博物院，亦钤有「文心审定」等印，可资考正。",[23,7,398,49,77,432,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790296e55478b6d33a8f5b4c7e57d62.jpg","194.3cm*60.8cm",[],{"id":36663,"slug":36664,"title":36665,"dynasty":45,"author":342,"museum":20,"description":7945,"tags":36666,"thumbUrl":36667,"material":591,"size":36668,"collection":95,"collections":36669,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},221946,"qi-lv-shi-zhou-bang-shi-chai-men-wen-zheng-ming-221946","七律诗轴傍市柴门",[23,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb84e563933dc112c86656a88219e1b.jpg","133x62",[],{"id":36671,"slug":36672,"title":12162,"dynasty":45,"author":11488,"museum":20,"description":30364,"tags":36673,"thumbUrl":36674,"material":312,"size":30367,"collection":95,"collections":36675,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},221926,"za-hua-ce-guo-xu-221926",[23,24,25,26,50,27,113,798,1177,112,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7678b3d6c6df414bd09ef325b23c449.jpg",[],{"id":36677,"slug":36678,"title":3842,"dynasty":179,"author":36679,"museum":72,"description":36680,"tags":36681,"thumbUrl":36682,"material":312,"size":36683,"collection":95,"collections":36684,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},221761,"qi-yan-lv-shi-liang-qi-221761","良琦","释良琦，字元璞，苏州人。住天平山之龙门寺。与顾阿瑛、陶宗仪、张渥等交游甚密。元末随顾瑛移居嘉兴,住城东兴圣寺。既究禅理，兼通儒学，亦能诗文。",[23,92,25,7,60,50,77,1002,53,678,132,55,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4867de88d29dfd67b134418ad75ba572.jpg","50.8x73.9厘米",[],{"id":36686,"slug":36687,"title":36688,"dynasty":179,"author":25729,"museum":72,"description":36689,"tags":36690,"thumbUrl":36691,"material":312,"size":36692,"collection":95,"collections":36693,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},221748,"zhuan-li-qian-wen-ce-yu-he-221748","篆隶千文册","故宫藏有俞和墨迹《篆隶千字文册》及自书诗卷和临张芝帖等。《篆隶千字文》，纸本墨迹摺裱册页。每幅纵21厘米，横24.7厘米。凡37页，295行，正文每行7字，首尾之题字每行字数不一，共计2063字。款署“天爵贤良嗜予篆隶，因书此为赠。时至正甲午岁冬十一月三日也。清隐散人俞和识。”此册为元顺帝至正十四年（公元1354）俞和四十八岁时所书。\n此篆隶《千字文》，书法结构简练随意而无匠气，笔秀雅而挺劲，与世流行之六体千字文比较，自有书卷气。册上有清内府鉴藏印九方，并有河南商丘陈氏收藏之印多方。《石渠宝笈三编》著录。\n《篆隶千字文册》是其篆书和隶书分体间书的书法杰作。其篆书，结字简洁随意，用笔上大胆参以方笔，故有刚健清新之气；其隶书，也用汉隶的方笔，线条秀劲中有质朴也无故作修饰的匠气，因而比他秀润有余的行书来，显得更为古朴而有书卷气。这说明，俞和并不是赵孟頫的影子，也是有个性的书家。",[7,457,1613,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c3cfa62aa0fecea6e2a080b24529c8.jpg","21×24.7cm",[],{"id":36695,"slug":36696,"title":36697,"dynasty":179,"author":25729,"museum":72,"description":36698,"tags":36699,"thumbUrl":36700,"material":312,"size":36701,"collection":95,"collections":36702,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},221747,"shu-tao-qian-shi-yu-he-221747","书陶潜诗","元俞和所书陶诗前副叶所画陶渊明像，是我所见较早的陶渊明肖像画，今藏台北故宫博物院。绢本设色，纵15.7公分，横9.3公分。俞和字子中，号紫芝，桐江（今浙江桐庐）人，寓居钱塘，隐居不仕，以书法名于洪武间。其所书陶潜诗共九十九首，楷书。其前副叶之陶潜像，无款印，未知出自何人之手。头戴葛巾，长髯，体胖，左手持菊花。强调其对菊花之嗜爱。但就五官的比例而言，似乎有点失调。",[7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6cd54231dd176a9be530a1533cc6ad.jpg","22.6x27.7",[],{"id":36704,"slug":36705,"title":36706,"dynasty":88,"author":17451,"museum":8802,"description":36707,"tags":36708,"thumbUrl":36710,"material":784,"size":36711,"collection":95,"collections":36712,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},221681,"song-shan-xing-lv-tu-ti-ba-li-shan-221681","松杉行旅图题跋","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,24,25,7,60,50,51,133,36709,18287],"杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fca6f0e7cbbff492bee7e7fa4d997e2.jpg","163.6*107.2CM",[],{"id":36714,"slug":36715,"title":19296,"dynasty":88,"author":14147,"museum":648,"description":20091,"tags":36716,"thumbUrl":36717,"material":312,"size":20095,"collection":95,"collections":36718,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},221569,"shu-han-wen-gao-quan-juan-zhu-xi-221569",[23,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47c893cb6818da591df856345896b3d.jpg",[],{"id":36720,"slug":36721,"title":36722,"dynasty":88,"author":4981,"museum":107,"description":10563,"tags":36723,"thumbUrl":36724,"material":312,"size":34384,"collection":95,"collections":36725,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},221482,"she-fu-quan-wen-di-er-duan-zhang-ji-zhi-221482","社甫全文第二段",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a839539c46b1f71a7286e802c4e0f83.jpg",[],{"id":36727,"slug":36728,"title":1034,"dynasty":179,"author":225,"museum":126,"description":36729,"tags":36730,"thumbUrl":95,"material":1038,"size":36731,"collection":95,"collections":36732,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":95},220883,"luo-shen-fu-zhao-meng-fu-220883","全卷共80行，末署款“子昂”。后纸元员峤山人（李倜），明高启，清王铎、曹溶题跋。前隔水王铎“戍子五月”又题。\n赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”\n本卷共钤印37方，见于清·卞永誉《式古堂书画汇考》、《石渠宝笈》著录。",[7,60],"纵29厘米，横220.9厘米",[],{"id":36734,"slug":36735,"title":36736,"dynasty":179,"author":32439,"museum":7039,"description":32440,"tags":36737,"thumbUrl":36738,"material":32443,"size":32444,"collection":95,"collections":36739,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":95},220721,"xing-shu-shi-wen-he-juan-4-zhang-yu-yang-wei-zhen-wen-xin-220721","行書詩文合卷4",[25,49,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7e4ef6e6d4bb3cbf857385d4123addf.jpg",[],{"id":36741,"slug":36742,"title":36743,"dynasty":179,"author":32439,"museum":7039,"description":32440,"tags":36744,"thumbUrl":36745,"material":32443,"size":32444,"collection":95,"collections":36746,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":95},220718,"xing-shu-shi-wen-he-juan-7-zhang-yu-yang-wei-zhen-wen-xin-220718","行書詩文合卷7",[25,49,60,7,77,920,17685,589,10395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcabd9cdd9c1f8c9e052332c9d57b4368.jpg",[],{"id":36748,"slug":36749,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":36750,"thumbUrl":36751,"material":7043,"size":7044,"collection":95,"collections":36752,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":95},220654,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220654",[23,7,60,198,200,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fad7ff034dc690bd7d999ac3570e6b7.jpg",[],{"id":36754,"slug":36755,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":36756,"thumbUrl":36758,"material":7043,"size":7044,"collection":95,"collections":36759,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":95},220650,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220650",[23,7,60,198,200,36757,2601],"刻帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ebcbfd1cf101b95b0af5992e8da709.jpg",[],{"id":36761,"slug":36762,"title":36763,"dynasty":45,"author":32457,"museum":20,"description":32458,"tags":36764,"thumbUrl":36765,"material":312,"size":32461,"collection":95,"collections":36766,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},219795,"mo-sui-yang-wu-lao-tu-ce-2-you-qiu-219795","摹睢阳五老图册-2",[24,25,92,26,27,111,113,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8c6b811a77df2e6a7c2bfe3d4c862e.jpg",[],{"id":36768,"slug":36769,"title":36770,"dynasty":45,"author":32457,"museum":20,"description":32458,"tags":36771,"thumbUrl":36773,"material":312,"size":32461,"collection":95,"collections":36774,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},219793,"mo-sui-yang-wu-lao-tu-ce-4-you-qiu-219793","摹睢阳五老图册-4",[24,25,26,27,111,113,36772,167,7],"老年人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe953ca0891c003118b520d6cc4c6539e.jpg",[],{"id":36776,"slug":36777,"title":36778,"dynasty":45,"author":32457,"museum":20,"description":32458,"tags":36779,"thumbUrl":36780,"material":312,"size":32461,"collection":95,"collections":36781,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},219792,"mo-sui-yang-wu-lao-tu-ce-5-you-qiu-219792","摹睢阳五老图册-5",[24,25,26,110,111,27,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52aa8017334cb21a8a120fa48f7ef821.jpg",[],{"id":36783,"slug":36784,"title":36785,"dynasty":45,"author":17419,"museum":412,"description":20836,"tags":36786,"thumbUrl":36787,"material":33,"size":34417,"collection":95,"collections":36788,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},219674,"fang-gu-shan-shui-ce-4-yun-xiang-219674","仿古山水册-4",[24,25,26,50,51,57,56,58,53,77,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e5adb8e80d3a9a9a890725096adcec.jpg",[],{"id":36790,"slug":36791,"title":36792,"dynasty":45,"author":17419,"museum":412,"description":20836,"tags":36793,"thumbUrl":36794,"material":33,"size":34417,"collection":95,"collections":36795,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},219672,"fang-gu-shan-shui-ce-6-yun-xiang-219672","仿古山水册-6",[24,25,26,50,51,704,57,53,7,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987178d421f4abb4a9119611b85d77c0.jpg",[],{"id":36797,"slug":36798,"title":36799,"dynasty":45,"author":14987,"museum":126,"description":14988,"tags":36800,"thumbUrl":36801,"material":312,"size":14992,"collection":95,"collections":36802,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},219163,"shi-han-ce-2-peng-nian-219163","诗翰册-2",[23,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61f6b15176d2c9f37fa2400a61e24be.jpg",[],{"id":36804,"slug":36805,"title":36806,"dynasty":88,"author":1749,"museum":72,"description":32476,"tags":36807,"thumbUrl":36809,"material":169,"size":32480,"collection":95,"collections":36810,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},218148,"wen-ji-gui-han-tu-ce-15-li-tang-218148","文姬归汉图册-15",[3701,24,25,26,27,111,113,51,7,36808],"帐幕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7115ac3f8fa71ea123a8edbc4558c5fa.jpg",[],{"id":36812,"slug":36813,"title":36814,"dynasty":88,"author":1749,"museum":72,"description":32476,"tags":36815,"thumbUrl":36816,"material":169,"size":32480,"collection":95,"collections":36817,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},218146,"wen-ji-gui-han-tu-ce-17-li-tang-218146","文姬归汉图册-17",[24,25,26,27,111,113,1074,51,56,6792,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767831759dc6f329dec393d3a284cedf.jpg",[],{"id":36819,"slug":36820,"title":36821,"dynasty":18,"author":36822,"museum":107,"description":36823,"tags":36824,"thumbUrl":36829,"material":33,"size":95,"collection":95,"collections":36830,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},217200,"fa-jie-yuan-liu-tu-juan-1-li-ming-217200","法界源流图卷-1","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,49,24,27,111,32823,9007,36825,36826,36827,113,15110,36828,7,386,458,56],"佛","菩萨","金刚","佛教故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a68d5c4a3387d7a8d906f1e0ce2da8.jpg",[],{"id":36832,"slug":36833,"title":36834,"dynasty":45,"author":9276,"museum":107,"description":36835,"tags":36836,"thumbUrl":36837,"material":312,"size":95,"collection":95,"collections":36838,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},217190,"shui-hu-quan-tu-6-du-jin-217190","水浒全图-6","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[24,25,50,112,60,7,113,77,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65de972a9c00dc3d633abc9c31a56331.jpg",[],{"id":36840,"slug":36841,"title":36842,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":36843,"thumbUrl":36844,"material":312,"size":95,"collection":95,"collections":36845,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},217115,"bai-miao-luo-han-5-leng-mei-217115","白描罗汉-5",[18,24,25,26,112,878,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a79cea3ea83a93bd016cca4e49dbbbd.jpg",[],{"id":36847,"slug":36848,"title":36849,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":36850,"thumbUrl":36851,"material":312,"size":95,"collection":95,"collections":36852,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},217112,"bai-miao-luo-han-7-leng-mei-217112","白描罗汉-7",[24,25,26,112,199,878,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4487a2b4ad9bffa144f65f5f42737344.jpg",[],{"id":36854,"slug":36855,"title":36856,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":36857,"thumbUrl":36858,"material":312,"size":95,"collection":95,"collections":36859,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},217109,"bai-miao-luo-han-9-leng-mei-217109","白描罗汉-9",[112,60,7,26,878,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5abd9dd38ed1901fc8f43494add2fcd.jpg",[],{"id":36861,"slug":36862,"title":36863,"dynasty":88,"author":36864,"museum":412,"description":36865,"tags":36866,"thumbUrl":36867,"material":169,"size":36868,"collection":95,"collections":36869,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},216914,"xiang-shan-jiu-lao-tu-9-ma-xing-zu-216914","香山九老图-9","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,24,25,111,27,113,458,53,55,115,51,1283,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47bf3b1cda1170fe2dbf623646bc7975.jpg","27.1x217.2",[],{"id":36871,"slug":36872,"title":36873,"dynasty":88,"author":36864,"museum":412,"description":36865,"tags":36874,"thumbUrl":36876,"material":169,"size":36868,"collection":95,"collections":36877,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},216913,"xiang-shan-jiu-lao-tu-10-ma-xing-zu-216913","香山九老图-10",[23,7,199,49,110,113,16122,36875],"香山九老","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718d0d0f1aa1ad947dcacf88103abd00.jpg",[],{"id":36879,"slug":36880,"title":36881,"dynasty":18,"author":9820,"museum":107,"description":36882,"tags":36883,"thumbUrl":36887,"material":50,"size":95,"collection":95,"collections":36888,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},216805,"zhan-zheng-tong-ban-hua-37-lang-shi-ning-216805","战争铜版画-37","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[36884,36885,9812,51,1074,31944,7,36886],"铜版画","战争","硝烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c24b5586aa674f189b6302c424f6a5.jpg",[],{"id":36890,"slug":36891,"title":36892,"dynasty":18,"author":454,"museum":107,"description":36893,"tags":36894,"thumbUrl":36895,"material":169,"size":95,"collection":95,"collections":36896,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},216710,"hong-lou-meng-fu-tu-ce-14-yi-ming-216710","红楼梦赋图册-14","墨笔赋文如溪流转，缠于青藤绿蔓间。粉蕊轻绽，翠叶层叠，枝蔓蜿蜒似时光经纬，串起金陵旧梦的缱绻。翩跹蝶影落于页角，为静雅的画面添了几分灵动。文字与花叶相生，字里行间漫溢古典雅致，枝叶扶疏间藏着红楼风月的幽微。笔致细腻，色彩清润，将赋文的诗意与图画的韵致融作一处，仿佛能窥见大观园里的花开花落、人聚人散。图文交织成一场温柔的叙说，让红楼的情愫在笔墨与草木间缓缓流淌，尽显中式美学的含蓄与深情。",[23,24,25,26,27,7,1739,11284,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9797c2c441f483867d6b4856cdd13ac.jpg",[],{"id":36898,"slug":36899,"title":36900,"dynasty":18,"author":454,"museum":107,"description":36901,"tags":36902,"thumbUrl":36903,"material":169,"size":95,"collection":95,"collections":36904,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},216706,"hong-lou-meng-fu-tu-ce-20-yi-ming-216706","红楼梦赋图册-20","竖排赋文如行云流水，墨色温润间藏着红楼旧梦的缱绻。四周藤蔓轻绕，石榴花艳红似火，粉蕊柔婉如霞，枝叶间跃动细碎生机，与文字幽情相映成趣。细密花纹边框圈住一方雅致天地，仿佛将书中风月情浓，凝在花叶与笔墨的交织里。每笔花叶含温婉，每行文字浸诗意，图文相契晕开古典韵致。墨香与花香交织，让红楼的朦胧深情，在方寸间缓缓流淌，引观者触摸那份跨越时光的雅致与怅惘。",[23,24,25,26,27,111,199,7,30,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df395022019ffbb74d5d0888e64b877.jpg",[],{"id":36906,"slug":36907,"title":36908,"dynasty":18,"author":454,"museum":107,"description":36909,"tags":36910,"thumbUrl":36911,"material":169,"size":95,"collection":95,"collections":36912,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},216704,"hong-lou-meng-fu-tu-ce-18-yi-ming-216704","红楼梦赋图册-18","笺纸铺展，墨痕流转成赋文，字字浸着红楼旧梦。四周花木扶疏，蔷薇含露，藤蔓牵衣，粉紫花朵轻缀枝间，如诗行旁的注脚。线条柔细，设色淡雅，墨香与花意缠绵，将大观园的风月情浓凝在方寸画幅里。诗画相和，似能听见书页翻动的轻响，看见黛影钗光的残影，在笔墨与花叶的交织中，藏着无尽缱绻与怅惘。文字与丹青相融，把红楼深处的幽微心事，化作可触的雅致，让观者在墨色与花影间，重温那一段繁华旧梦的余温。",[23,24,25,26,27,111,30,667,20636,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c1b9b7f8fda43e57095417e3605491c.jpg",[],{"id":36914,"slug":36915,"title":36916,"dynasty":18,"author":454,"museum":107,"description":36917,"tags":36918,"thumbUrl":36919,"material":169,"size":95,"collection":95,"collections":36920,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},216701,"hong-lou-meng-fu-tu-ce-23-yi-ming-216701","红楼梦赋图册-23","画面以竖排赋文为主体，四周松枝苍劲，藤蔓柔婉，粉白小花点缀其间，墨色与花色相映成趣。草木的苍润与文字的清雅交融，似将红楼中的缱绻心事、风月情浓藏于枝叶缝隙。线条细腻温婉，花卉柔媚与松针刚劲形成对比，既显文墨之韵，又含自然生机。赋文字句间仿佛流淌着红楼儿女的悲欢，环绕的草木如时光藤蔓，缠绕逝去的繁华与怅惘。整体雅致清丽，文学深情与绘画灵动完美结合，尽显古典雅韵，引人沉浸于红楼的诗意氛围中。",[23,24,27,111,7,199,1018,667,30,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa498f11a7b5ea6fdfd195466675829e5.jpg",[],{"id":36922,"slug":36923,"title":36924,"dynasty":18,"author":454,"museum":107,"description":36925,"tags":36926,"thumbUrl":36927,"material":169,"size":95,"collection":95,"collections":36928,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},216679,"hong-lou-meng-fu-tu-ce-46-yi-ming-216679","红楼梦赋图册-46","画面以端秀楷书誊写《红楼梦赋》文句，墨色匀净，笔力沉稳，尽显文雅气度。四周缠枝花卉错落绽放：粉紫藤萝垂曳如瀑，艳红牡丹盛放似霞，嫩黄秋菊吐蕊含香，洁白梅花傲立枝头，枝叶婉转牵连，色彩明丽却不失清雅。笔触细腻灵动，草木柔媚姿态毕现。文字与花鸟相映成趣，文辞的诗意与画面的画意交融，既传递出《红楼梦》的文学意蕴，又以工致的装饰营造出古典雅致的氛围，仿佛将红楼闺阁的清韵与诗词雅兴凝于一纸，尽显清代画作温婉细腻的审美意趣。",[23,24,25,26,27,111,30,135,137,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F416bbb4f40a72394d2c29b35c0482840.jpg",[],{"id":36930,"slug":36931,"title":36932,"dynasty":45,"author":21381,"museum":107,"description":36933,"tags":36934,"thumbUrl":36935,"material":33,"size":95,"collection":95,"collections":36936,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},216349,"xi-xiang-ji-cha-ye-2-min-qi-ji-216349","西厢记插页-2","翎羽振翅俯冲，翅尖裹挟的风似携着细碎念想；锦鳞摆尾游弋，水波漾开的纹里藏着脉脉情韵。淡墨勾染出飞鸟灵动与游鱼鲜活，线条细腻却不繁复，尽显雅致。右侧题字笔墨古拙，与画面相映成趣，那句“相思想将海比情深”，恰点出西厢记中深藏的情愫——飞与游的动静之间，是剧中人未宣的牵挂。整幅插页以物喻情，融书画于一体，将古典爱情的缱绻凝在方寸清雅里，尽显明代文人插页的匠心与韵致。",[24,25,26,27,111,116,1390,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab1766bc9fbedd16d6c31f7a73d833f.jpg",[],{"id":36938,"slug":36939,"title":36940,"dynasty":18,"author":2301,"museum":72,"description":36941,"tags":36942,"thumbUrl":36943,"material":169,"size":95,"collection":95,"collections":36944,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},215051,"shu-hua-he-bi-tu-ce-1-qian-long-215051","书画合璧图册-1","乾隆皇帝（1711-1799年在位）是清朝的第六位皇帝，他是一位非常喜爱书画的皇帝，并且也是一位出色的书画家。他的书画合璧图册是他的一部杰作，其中收集了他自己的书画作品以及其他著名书画家的作品。这本图册有很多种版本，不同版本中包含的作品也有所不同。乾隆皇帝的书画合璧图册被认为是中国书画史上的一部重要著作，因为它收集了当时最优秀的书画作品，并且这本图册本身也是一部艺术杰作。",[23,24,25,26,27,7,60,51,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1350855e2b586f6e117be217665f639.jpg",[],{"id":36946,"slug":36947,"title":36948,"dynasty":162,"author":454,"museum":20162,"description":36949,"tags":36950,"thumbUrl":36951,"material":198,"size":36952,"collection":95,"collections":36953,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},214631,"lu-bin-mu-zhi-yi-ming-214631","卢玢墓志","此墓志于唐景雲二年(公元711年)四月九日刻，河南省洛阳市出土",[198,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74287e47b71a1785df8612aa6efbcb00.jpg","86x86",[],{"id":36955,"slug":36956,"title":36957,"dynasty":162,"author":454,"museum":20162,"description":36958,"tags":36959,"thumbUrl":36960,"material":202,"size":95,"collection":95,"collections":36961,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},214623,"yu-xiao-xian-bei-yi-ming-214623","于孝显碑","碑文刻于唐太宗贞观十四年，讲述了隋唐改朝换代时的天下大乱，以及李渊父子在太原造反，占领关中，继续平定天下的故事。书法风格宽博，点画精细，笔力雄健，笔锋犀利，气势雄浑。该石碑位于西安石碑林中",[7,198,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d30f3eaaa5cd76a31e753b1b2059318.jpg",[],{"id":36963,"slug":36964,"title":36965,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":36966,"thumbUrl":36967,"material":79,"size":2617,"collection":95,"collections":36968,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},214508,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-5-ou-yang-xun-214508","宋拓唐虞恭公温彦博碑-5",[23,198,199,7,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79760ba53be7edb23df0d6f8127086ce.jpg",[],{"id":36970,"slug":36971,"title":36972,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":36973,"thumbUrl":36974,"material":79,"size":2617,"collection":95,"collections":36975,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},214507,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-7-ou-yang-xun-214507","宋拓唐虞恭公温彦博碑-7",[23,7,198,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44146fd7f916754b65db9da851530401.jpg",[],{"id":36977,"slug":36978,"title":36979,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":36980,"thumbUrl":36981,"material":79,"size":2617,"collection":95,"collections":36982,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},214506,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-6-ou-yang-xun-214506","宋拓唐虞恭公温彦博碑-6",[23,7,198,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2858a5d57cdd0218e8a2862a361232bd.jpg",[],{"id":36984,"slug":36985,"title":36986,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":36987,"thumbUrl":36988,"material":79,"size":2617,"collection":95,"collections":36989,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},214504,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-8-ou-yang-xun-214504","宋拓唐虞恭公温彦博碑-8",[23,198,7,199,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ae3458d2f1abd388569c38b91899b.jpg",[],{"id":36991,"slug":36992,"title":36993,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":36994,"thumbUrl":36995,"material":79,"size":2617,"collection":95,"collections":36996,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},214499,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-14-ou-yang-xun-214499","宋拓唐虞恭公温彦博碑-14",[23,198,7,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77479c55b28c2762a3d58cdfa2648ee9.jpg",[],{"id":36998,"slug":36999,"title":37000,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":37001,"thumbUrl":37002,"material":312,"size":1340,"collection":95,"collections":37003,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},214481,"da-tang-zhong-xing-song-xia-ce-3-yan-zhen-qing-214481","大唐中兴颂下册-3",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6bafa21c893f1957a1a77ac1968ad3.jpg",[],{"id":37005,"slug":37006,"title":37007,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":37008,"thumbUrl":37009,"material":312,"size":1340,"collection":95,"collections":37010,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},214422,"da-tang-zhong-xing-song-shang-ce-9-yan-zhen-qing-214422","大唐中兴颂上册-9",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8325453539d9075c296f6e056189a7d.jpg",[],{"id":37012,"slug":37013,"title":37014,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":37015,"thumbUrl":37016,"material":312,"size":1340,"collection":95,"collections":37017,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},214415,"da-tang-zhong-xing-song-shang-ce-14-yan-zhen-qing-214415","大唐中兴颂上册-14",[199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360823a3c929e00ee7a9d91f4e0abfbd.jpg",[],{"id":37019,"slug":37020,"title":37021,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":37022,"thumbUrl":37023,"material":312,"size":1340,"collection":95,"collections":37024,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},214414,"da-tang-zhong-xing-song-shang-ce-15-yan-zhen-qing-214414","大唐中兴颂上册-15",[7,199,198,200,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bba4533b70008be63b2f2bcc7386d44.jpg",[],{"id":37026,"slug":37027,"title":37028,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":37029,"thumbUrl":37030,"material":312,"size":1340,"collection":95,"collections":37031,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},214409,"da-tang-zhong-xing-song-shang-ce-20-yan-zhen-qing-214409","大唐中兴颂上册-20",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5435cce1ed3114c03b8bce3dc961d77a.jpg",[],{"id":37033,"slug":37034,"title":37035,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":37036,"thumbUrl":37037,"material":312,"size":1340,"collection":95,"collections":37038,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},214404,"da-tang-zhong-xing-song-shang-ce-29-yan-zhen-qing-214404","大唐中兴颂上册-29",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47ea3273cad159cd1efac3c9875158b.jpg",[],{"id":37040,"slug":37041,"title":37042,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":37043,"thumbUrl":37044,"material":312,"size":1340,"collection":95,"collections":37045,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},214403,"da-tang-zhong-xing-song-shang-ce-27-yan-zhen-qing-214403","大唐中兴颂上册-27",[7,199,198,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5245f18145c58c1aa87d17580a6b86b8.jpg",[],{"id":37047,"slug":37048,"title":37049,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":37050,"thumbUrl":37051,"material":312,"size":1340,"collection":95,"collections":37052,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":207},214401,"da-tang-zhong-xing-song-shang-ce-26-yan-zhen-qing-214401","大唐中兴颂上册-26",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3dd518a47ebb777bc5e86c81f1d145.jpg",[],{"id":37054,"slug":37055,"title":37056,"dynasty":18,"author":454,"museum":37057,"description":37058,"tags":37059,"thumbUrl":37060,"material":169,"size":37061,"collection":95,"collections":37062,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":100},214326,"da-bei-shen-zhou-fo-xiang-17-yi-ming-214326","大悲神咒佛像-17","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[23,24,25,26,27,111,878,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38027874b09c0348f7e4ea7fdf808238.jpg","27.5x16",[],{"id":37064,"slug":37065,"title":37066,"dynasty":23400,"author":663,"museum":20,"description":37067,"tags":37068,"thumbUrl":37069,"material":95,"size":95,"collection":63,"collections":37070,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37071},203278,"jiu-lin-tu-zhou-qi-bai-shi-203278","旧邻图轴","墨韵流转间，山石以雄健笔触勾勒，皴擦兼施显朴拙风骨；近隅民居错落，黛瓦隐于浓荫，枝叶焦墨点染，鲜活如见。云雾轻萦山腰，与题跋行书的率意笔致相融，漫出乡居旧邻的温煦烟火气。齐白石以写意之法凝萃故园情味，笔墨简括却藏深韵，将对邻里故景的眷恋注于尺幅，平淡中见真淳，寻常景致亦成动人篇章。",[24,50,51,6605,7,77,129,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb310a55981da08b98635ae3abadcaf26.jpg",[63],"897f74",{"id":37073,"slug":37074,"title":37075,"dynasty":23400,"author":663,"museum":20,"description":37076,"tags":37077,"thumbUrl":37079,"material":95,"size":95,"collection":95,"collections":37080,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37081},203239,"shou-tao-tu-zhou-qi-bai-shi-203239","寿桃图轴","这幅寿桃图笔墨简劲却韵味醇厚。硕大的寿桃以胭脂红泼染，浓淡晕化间尽显饱满多汁，黄彩点蒂更添鲜活；枝叶以焦墨线条勾勒，兼施淡绿花青，笔触如篆籀般老辣洒脱，富有书法意趣。右下角蟋蟀虽小巧，却刻画精细，翅脉分明，与硕大寿桃形成动静对比，暗藏生机。构图疏朗有致，虚实相生，寿桃寄寓长寿吉祥，蟋蟀点缀生活意趣，尽显白石老人融文人笔墨与民间情味于一体的独特风格，雅俗共赏，鲜活动人。",[24,75,27,29,77,7,4507,6769,37078],"寓意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0931306253cf8d6858f976fab4b9521.jpg",[],"cdc7be",{"id":37083,"slug":37084,"title":37085,"dynasty":23400,"author":37086,"museum":20,"description":37087,"tags":37088,"thumbUrl":37089,"material":95,"size":95,"collection":171,"collections":37090,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37091},203164,"ting-song-tu-zhou-lv-feng-zi-203164","听松图轴","吕凤子","画面中老者倚松闲坐，眉眼含笑意，似沉醉于松风之中。衣纹以流畅墨线勾勒，简洁传神；松枝笔墨苍劲，如篆籀般有力。右侧题跋行书洒脱，与画面气韵相融，朱红印章点缀，更添文人雅趣。整幅作品以水墨写意之法，将人物的闲适与松的古拙结合，诗书画印浑然一体，尽显中式文人超然物外的心境，笔墨间满是生动意趣。",[24,50,113,115,7,77,60,75,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481fc15fdef7a9c8f64530380b064a6.jpg",[171],"cfc7ba",{"id":37093,"slug":37094,"title":37095,"dynasty":23400,"author":11301,"museum":20,"description":37096,"tags":37097,"thumbUrl":37098,"material":95,"size":95,"collection":218,"collections":37099,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37100},203117,"wu-song-tu-zhou-wang-zhen-203117","五松图轴","五松枝干虬劲盘曲，如龙腾破壁，苍莽气势扑面而来。笔墨纵逸洒脱，老干以浓墨皴擦，斑驳处施以淡赭，显古朴质感；松针焦墨点簇，疏密错落，生机盎然。画面左侧题字与松姿呼应，书画相融，尽显文人意趣。整作大气开张，既刻绘松之坚韧品格，又彰笔墨豪放之韵，蕴藉深厚文人气息。",[24,75,50,27,133,59,7,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd255211dbc10daeeed96c4d476524c3.jpg",[218],"aca399",{"id":37102,"slug":37103,"title":24211,"dynasty":23400,"author":37104,"museum":20,"description":37105,"tags":37106,"thumbUrl":37107,"material":95,"size":95,"collection":63,"collections":37108,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37109},202879,"shu-hua-cheng-shan-huang-bin-hong-202879","黄宾虹","扇面之上，山水意境幽远。笔墨以水墨为基，皴法交错间，山峦层叠起伏，墨色浓淡相济，显浑厚苍劲之态；留白处水面开阔，孤舟一叶轻漾，似载着烟波浩渺的隐逸闲情。一侧书法笔墨流转，与山水气韵相融，书画相映成趣，尽展文人扇面的雅致韵致。寥寥数笔，却将山水之魂与笔墨之趣凝于咫尺扇间，引人入胜。",[24,25,1250,50,59,51,54,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd47fbf30b4a3a47e20df66798d509e.jpg",[63],"4a4f4d",{"id":37111,"slug":37112,"title":37113,"dynasty":45,"author":37114,"museum":20,"description":37115,"tags":37116,"thumbUrl":37117,"material":95,"size":95,"collection":63,"collections":37118,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37119},202151,"shu-hua-ping-hu-yong-shun-202151","书画屏","胡永顺","书画相携，意趣相生。行书笔墨灵动，线条流转间透着清雅气韵；山水以水墨皴擦点染，山峦层叠，林木错落，近石苍劲，远岫含烟，水色空濛。笔墨的浓淡干湿，勾勒出静谧悠远的意境，书画互衬，尽显文人笔下的自然之趣与内心的恬淡，仿佛置身于那片清幽山水间，聆听笔墨与自然的对话。",[24,51,60,50,59,7,57,2028,471,252,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d3fd06647a30be231ac2cc1d47593f.jpg",[63],"c2a077",{"id":37121,"slug":37122,"title":2513,"dynasty":18,"author":37123,"museum":20,"description":37124,"tags":37125,"thumbUrl":37126,"material":95,"size":95,"collection":187,"collections":37127,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37128},202115,"zhu-shi-tu-zhou-miao-shi-202115","苗实","数竿青竹挺拔而立，竹叶以浓墨挥写，笔触利落，疏密交错间尽显清劲风骨；旁侧孤石以粗放线条勾勒轮廓，墨色层次丰富，皴擦点染中透出苍劲质感。竹石相依，墨韵流转，文人画的清雅之气扑面而来，笔意洒脱自然，意境悠远淡逸，将水墨写意的神韵诠释得淋漓尽致。",[24,50,75,132,250,59,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3059cc641a914071043ff03d09afa1c.jpg",[187],"a39284",{"id":37130,"slug":37131,"title":2513,"dynasty":18,"author":34631,"museum":20,"description":37132,"tags":37133,"thumbUrl":37134,"material":95,"size":95,"collection":187,"collections":37135,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37136},202033,"zhu-shi-tu-zhou-hong-li-202033","墨竹枝干挺秀，竹叶以焦墨劲写、淡墨辅衬，笔锋转折间见潇洒之态，尽显竹之疏朗气节。旁侧怪石以大块墨晕晕染，兼施简皴，苍劲厚重，与修竹形成刚柔相济之趣。画面构图疏宕有致，水墨层次分明，题款书法笔力沉稳，印章点缀其间，更添古朴雅韵。整幅画作融写意笔墨与文人意趣于一体，简淡中见生机，传递出清逸脱俗的君子风骨。",[24,50,75,132,250,129,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F637f6ca74250fd549a1928997997c787.jpg",[187],"a48c75",{"id":37138,"slug":37139,"title":37140,"dynasty":18,"author":28298,"museum":20,"description":37141,"tags":37142,"thumbUrl":37143,"material":95,"size":95,"collection":187,"collections":37144,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37145},201989,"qiu-ju-zhu-shi-tu-zhou-hong-wu-201989","秋菊竹石图轴","画面以水墨写意绘竹石菊，竹竿挺劲，竹叶以浓淡墨笔挥写，姿态洒落；山石用简洁皴法勾勒，墨色层次分明，显朴拙厚重之态；秋菊点缀其间，花瓣舒展，笔墨清雅。竹石相依，菊影摇曳，构图疏密有致，尽显文人画的雅致意趣。题字与印章相映成趣，更添书卷气息，传递出作者对自然清趣的向往与文人风骨的寄托。",[50,129,132,589,140,75,77,7,59,1689,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058f249bb7f91eb1d121d1ee6565288b.jpg",[187],"b78a5d",{"id":37147,"slug":37148,"title":37149,"dynasty":18,"author":1387,"museum":20,"description":37150,"tags":37151,"thumbUrl":37152,"material":95,"size":95,"collection":187,"collections":37153,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37154},201983,"xing-shu-ti-hua-wu-jue-shi-zhou-zhu-da-201983","行书题画五绝诗轴","这幅行书笔力劲健凝练，中锋行笔的线条圆转流畅，刚柔相济。字形欹侧多变，疏密对比鲜明，或舒展如“花”“受”，或紧凑若“乐”“拍”，错落间行气贯通。墨色浓淡相宜，章法空灵有致，隐隐透出遗民的孤傲超脱之气。朱红印信点缀其间，与墨色相映成趣，更添古朴雅致。整体既承晋唐行书韵致，又融个人奇逸风骨，尽显八大山人书法的独特魅力。",[60,7,77,50,3092,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3b5713ab798ee37305c8e7df1ff404.jpg",[187],"c8c0b9",{"id":37156,"slug":37157,"title":4737,"dynasty":45,"author":19108,"museum":20,"description":37158,"tags":37159,"thumbUrl":37160,"material":95,"size":95,"collection":63,"collections":37161,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":37162},201744,"shan-shui-zhou-ni-yuan-lu-201744","水墨晕染间峰峦渐次铺展，枯木虬枝傍山而立，亭舍藏于林泉之侧，笔墨苍劲却含清逸气。山石以干笔皴擦出嶙峋肌理，树木姿态古拙疏朗，尽显文人画简淡悠远的意趣。旁侧书法题跋笔势纵逸，与山水景致相映成趣，书画交融间，幽居林下的闲适心境呼之欲出。构图疏密有致，于简淡中见深致，是文人山水的典型风貌。",[24,50,51,59,75,7,77,55,115,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd58fddc22e6867189769d836ebb2805b.jpg",[63],"ddc7ad",{"id":37164,"slug":37165,"title":37166,"dynasty":18,"author":15289,"museum":107,"description":23571,"tags":37167,"thumbUrl":37171,"material":751,"size":752,"collection":95,"collections":37172,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},290985,"liu-tang-xia-yu-gao-zong-yu-ti-zhou-zhang-zong-cang-290985","柳塘夏雨高宗御题轴",[24,92,75,50,59,7,77,51,37168,37169,53,54,116,52,55,115,37170,251],"柳塘","夏雨","渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63f5b5760409e528a471071399f414.jpg",[],{"id":37174,"slug":37175,"title":37176,"dynasty":8749,"author":454,"museum":107,"description":37177,"tags":37178,"thumbUrl":37179,"material":751,"size":752,"collection":95,"collections":37180,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},290675,"wei-mo-ji-jing-juan-zhong-shou-gao-yi-ming-290675","维摩诘经卷中手稿","这卷古纸遍染岁月痕迹，泛黄底色上晕开深浅不一的水渍霉斑，边角残损带着光阴侵蚀的痕迹。几处残存的钞经笺纸，笔致瘦劲内敛，是写经特有的端严小楷，虽仅余断句残言，却能窥见抄经时的沉静虔诚。\n\n大片留白是佚失经文的无声注脚，残存题字依稀勾勒旧籍过往样貌，残片如时光信笺，将千年之前的笔墨温度留存至今，让观者触摸古籍流转间的沧桑静谧，在空白与残字之间，晕开中古写经质朴沉静的厚重力量。",[49,25,7,386,878,6535,1498,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda370551bd7d02639667cf47492176fe.jpg",[],{"id":37182,"slug":37183,"title":37184,"dynasty":8749,"author":454,"museum":107,"description":37185,"tags":37186,"thumbUrl":37187,"material":751,"size":752,"collection":95,"collections":37188,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},290632,"yao-shi-liu-li-guang-jing-yi-juan-yi-ming-290632","药师瑠璃光经一卷","此作为长篇写经小楷，笔墨端整秀雅，点画温润舒展，结体匀净端庄，通篇排布错落有序，气息贯通无滞。书写恭谨细致，虽经文篇幅绵长，却不见懈怠潦草，每字皆恪守晋唐小楷法度，兼具钟繇古雅与初唐写经的秀逸韵致。笔墨间自带清净安然的禅意，将宗教的沉静平和融于笔锋起落之间，既保留写经的庄严感，又不失书法的审美意趣，是一件兼具实用价值与艺术美感的写经佳作。",[7,49,199,386,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06bb3c6a3fd87e458544601d136209b.jpg",[],{"id":37190,"slug":37191,"title":37192,"dynasty":18,"author":14852,"museum":72,"description":22503,"tags":37193,"thumbUrl":37194,"material":751,"size":752,"collection":95,"collections":37195,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},290601,"dai-wei-tu-zhou-zhang-ruo-cheng-290601","待围图轴",[92,24,50,75,51,113,59,251,56,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160e30d489bd6ecf0261b7cb147b0ebf.jpg",[],{"id":37197,"slug":37198,"title":37199,"dynasty":18,"author":32620,"museum":107,"description":32621,"tags":37200,"thumbUrl":37201,"material":751,"size":752,"collection":95,"collections":37202,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},290576,"qiu-hu-ye-fan-tu-juan-zhang-peng-chong-290576","秋湖夜泛图卷",[24,92,49,51,50,1328,56,57,55,13645,77,7,2061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23648be720832d58f975e3904b328687.jpg",[],{"id":37204,"slug":37205,"title":37206,"dynasty":8749,"author":37207,"museum":107,"description":37208,"tags":37209,"thumbUrl":37210,"material":751,"size":752,"collection":95,"collections":37211,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},290472,"song-yin-shan-jian-tu-zhou-zhao-zhong-mo-290472","松荫山涧图轴","赵重默","此作用浅绛晕染山岚，远山以淡墨轻敷，层峦叠嶂间林木蓊郁苍润。飞泉自崖壁垂落，山坳村居错落，左畔浮屠静立，烟云轻笼山脚，漾出空濛雅致。\n\n山涧蜿蜒穿林，板桥之上行旅策驴，为清寂山林添入烟火暖意。左上题诗与景致相融，笔致秀润温婉，将春日山乡的湿润清幽铺陈开来。丘壑林泉里藏着幽居山野的闲雅意趣，观之便如踏入桃源，俗尘尽涤，漫溢出东方山水独有的淡远禅意。",[23,24,75,27,51,458,52,53,13646,1018,1283,9191,7,77,2029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a0204406ff7057b31a81ffb0ca56e5.jpg",[],{"id":37213,"slug":37214,"title":37215,"dynasty":179,"author":225,"museum":107,"description":4746,"tags":37216,"thumbUrl":37217,"material":751,"size":752,"collection":95,"collections":37218,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},290278,"guo-meng-tie-ye-zhao-meng-fu-290278","过蒙帖页",[7,60,200,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc6f9c888b8ff20ba68b0c32635830e.jpg",[],{"id":37220,"slug":37221,"title":37222,"dynasty":88,"author":454,"museum":107,"description":37223,"tags":37224,"thumbUrl":37225,"material":751,"size":752,"collection":95,"collections":37226,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},290106,"cang-hai-yong-ri-tu-yi-ming-290106","沧海涌日图","《沧海涌日图页》此图写海水翻澜，烟云飘荡，红日将升之景。画家以粗旷之笔勾划出飞腾翻滚的浪花，充分表现出水的变幻及气韵贯通之势。",[23,92,24,25,1250,50,7,77,21795,12889,51,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df9d03c213116716329dc0865593330.jpg",[],{"id":37228,"slug":37229,"title":37230,"dynasty":45,"author":19183,"museum":107,"description":19184,"tags":37231,"thumbUrl":37232,"material":751,"size":752,"collection":95,"collections":37233,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},289733,"wu-yan-lv-shi-liang-shou-wang-gu-xiang-289733","五言律诗两首",[1250,24,25,92,7,60,77,114,1074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1324673e4269d867f8de67bf9e58bfa.jpg",[],{"id":37235,"slug":37236,"title":37237,"dynasty":8749,"author":454,"museum":107,"description":37238,"tags":37239,"thumbUrl":37241,"material":751,"size":752,"collection":95,"collections":37242,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},289112,"nan-qin-san-lang-hua-juan-yi-ming-289112","男衾三郎画卷","整卷图文共生，左侧古题咏铺陈叙事，右幅拆分多段场景。深宅庭院里，仕女文士凭廊观游、私语晤面，木构屋宇细节雅致，淡彩晕染庭中花木，尽显贵族闲雅日常；郊野之上武士控马弯弓，身姿矫捷，动静相映。素纸因年岁晕染泛黄，浅淡青绿、朱红点缀其间古意盎然，将物语轶事缓缓铺展，融闲情英气于长卷，尽显中古绘卷特有的叙事审美意趣。",[23,92,49,27,113,458,1074,7,25990,567,37240],"故事画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F342fda8928667199bec2164d428214aa.jpg",[],{"id":37244,"slug":37245,"title":37246,"dynasty":18,"author":2634,"museum":107,"description":37247,"tags":37248,"thumbUrl":37250,"material":751,"size":752,"collection":95,"collections":37251,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288500,"dan-ai-cang-shan-tu-dong-bang-da-288500","淡霭苍山图","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[92,24,25,75,50,59,1328,37249,252,12915,333,52,56,7,77],"苍山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8214838b222f6c271dd732b2a627adb5.jpg",[],{"id":37253,"slug":37254,"title":37255,"dynasty":18,"author":12414,"museum":107,"description":12415,"tags":37256,"thumbUrl":37258,"material":751,"size":752,"collection":95,"collections":37259,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288394,"du-zhi-jing-xue-ai-xin-jue-luo-xuan-ye-288394","“笃志经学”",[23,92,25,7,199,77,49,37257],"励志","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab8be9bf162078dd13696d320d1c17c.jpg",[],{"id":37261,"slug":37262,"title":37263,"dynasty":18,"author":454,"museum":107,"description":37264,"tags":37265,"thumbUrl":37266,"material":751,"size":752,"collection":95,"collections":37267,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288196,"mi-you-ren-kuan-chu-shan-qiu-ji-yi-ming-288196","米友仁款楚山秋霁","此作追摹米家云山之法，以淡墨层层晕染山峦林麓，间以浓墨错落点苔，不着意勾勒山石轮廓，纯以水墨干湿浓淡的层次变化，晕染出楚山秋霁后烟岚浮动、空濛湿润的清灵景致，萧散简远，尽显文人山水的淡逸禅意。\n整卷拖尾题跋琳琅，钤印错落，层层递加的鉴藏印记晕开厚重的流传脉络，精准还原了米家山水的烟雨空蒙之韵，将秋日楚山初晴的温润灵秀，藏入氤氲墨色之中。",[23,92,24,25,49,50,51,7,60,398,77,2061,251,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cedc727e28733e55d4168e8b27dd6d8.jpg",[],{"id":37269,"slug":37270,"title":37271,"dynasty":18,"author":37272,"museum":107,"description":37273,"tags":37274,"thumbUrl":37275,"material":751,"size":752,"collection":95,"collections":37276,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288179,"he-ming-zhen-ji-zhuan-shu-zhao-jin-chang-288179","和铭真迹 篆书","赵晋昌","此作用笔匀净圆融，线条如玉箸般凝练劲挺，粗细如一，尽显小篆特有的温润质感。字形修长对称，结构排布匀停端庄，行列井然有序，章法整饬肃穆。\n\n笔墨间带着沉静古雅的金石气韵，将清代篆书崇尚法度、工稳端严的特质尽显无遗。每一字布白精妙，笔势舒展又不失内敛，仿佛可见君子端方之姿，将篆籀的庙堂雅正之态诠释得淋漓尽致，流转着醇厚的古文字书法意趣，是工谨一路篆书的上好佳制。",[7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157518b86036b582a350d0aa1651ee95.jpg",[],{"id":37278,"slug":37279,"title":37280,"dynasty":8749,"author":454,"museum":107,"description":37281,"tags":37282,"thumbUrl":37283,"material":751,"size":752,"collection":95,"collections":37284,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},288170,"hua-du-si-bei-yi-ming-288170","化度寺碑","此碑书法精整肃穆，堪称楷法极则之典范。笔画瘦劲沉稳，起收之间藏锋敛锷，骨力深蕴其内。结体缜密端庄，排布匀停舒朗，全无板滞窘急之态。漫漶斑驳的残拓，更添金石沉凝的岁月质感，萧散冲和的气韵暗合碑中禅意主题，笔意间自带清逸高古之致，将法度与神韵相融无间，尽显静穆雅致的庙堂气象。",[7,198,199,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e47b29ad2c0b52f5747e5e42e2a2f9.jpg",[],{"id":37286,"slug":37287,"title":37288,"dynasty":1609,"author":454,"museum":107,"description":9803,"tags":37289,"thumbUrl":37290,"material":751,"size":752,"collection":95,"collections":37291,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},288155,"da-wei-zhao-mi-mu-zhi-yi-ming-288155","大魏赵谧墓志",[7,198,199,200,23207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff571935ce949d12c94aac1e32294f254.jpg",[],{"id":37293,"slug":37294,"title":37295,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":37296,"thumbUrl":37297,"material":751,"size":752,"collection":95,"collections":37298,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288148,"qiong-lin-yu-shu-tu-ge-zhu-yun-ming-288148","琼林玉树图歌",[7,398,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a674e8a6ec783a78dbaaa908994e87.jpg",[],{"id":37300,"slug":37301,"title":37302,"dynasty":162,"author":454,"museum":107,"description":37303,"tags":37304,"thumbUrl":37305,"material":751,"size":752,"collection":95,"collections":37306,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},288127,"shi-xuan-zang-yi-da-zang-jing-da-bo-re-bo-luo-mi-duo-jing-juan-di-san-bai-wu-shi-ba-chu-fen-duo-wen-bu-er-pin-di-liu-shi-yi-zhi-ba-yi-ming-288127","釋玄奘譯 大藏經 大般若波羅蜜多經卷第三百五十八初分多問不二品第六十一之八","此卷小楷写经笔墨精劲凝练，结体端稳匀整，尽显唐楷尚法的严谨风貌。抄经者笔不苟作，点画排布匀停温润，无刻板匠气，静定恭谨的写经心境藏于每一处笔锋回转之中。\n\n岁月剥蚀让卷面边缘化作焦褐残缺的剪影，却更衬出墨色历经千年依旧沉润饱满。残卷未掩风华，一字一句间凝聚着笃诚的信仰之力，将唐人写经的典范特质尽数彰显，沧桑纸色与沉静笔墨交织，晕开跨越千年的肃穆虔诚。",[25,7,386,199,49,1498,9007,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7acf5d91d7a3109ebca64d56274e6f.jpg",[],{"id":37308,"slug":37309,"title":30313,"dynasty":45,"author":30314,"museum":107,"description":37310,"tags":37311,"thumbUrl":37312,"material":751,"size":752,"collection":95,"collections":37313,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288109,"dong-ming-ce-jiang-li-gang-288109","姜立纲（1444年—1499年），字廷宪，号东溪，瑞安梅头镇东溪村人。他是我国明朝一位书法家，曾以“善书”闻名海内，并远播日本，日本京都国门上的大字亦为其所书，被誉为“一代书宗”。清代《三希堂法贴》收有他的墨迹。\n回乡居丧卒后，明孝宗皇帝特遣浙江布政司使、温州知府邓淮为使谕祭。祭文说他：资质秀颖，才识通敏。为官由朗署升至卿阶，一贯勤劳国事。正值重用之时，竟因为守孝求归，悲伤过度而亡，讣音达闻，不胜哀惜。为念其往日业绩，以示褒恤，特命有司，遣官谕祭。谕祭文后被刻成石碑，今仍立于东溪村姜氏宗祠里。其墓在今瓯海白象镇金竹山，为瓯海区文物保护单位。",[7,199,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa62e913dfc9ab8bc0db18af9abb97440.jpg",[],{"id":37315,"slug":37316,"title":37317,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":37318,"thumbUrl":37319,"material":751,"size":752,"collection":95,"collections":37320,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},288096,"zuo-ri-tie-fu-shan-288096","昨日帖",[7,398,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839e90d7b111d489e02cb9a869743b4d.jpg",[],{"id":37322,"slug":37323,"title":28753,"dynasty":45,"author":10912,"museum":107,"description":16215,"tags":37324,"thumbUrl":37325,"material":751,"size":752,"collection":95,"collections":37326,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288083,"lin-ge-tie-wang-duo-288083",[60,7,110,200,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62be4e1f10fe6ac7850cdbb540c8667.jpg",[],{"id":37328,"slug":37329,"title":37330,"dynasty":45,"author":2206,"museum":107,"description":37331,"tags":37332,"thumbUrl":37333,"material":751,"size":752,"collection":95,"collections":37334,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288081,"yuan-you-er-shou-zhu-yun-ming-288081","远游二首","祝允明草书冠绝古今，后人对此关注尤盛，而祝允明小楷亦独步当世，后人对此关注却远不及其草书，原因大致有三：一是祝允明草书名气太盛，掩盖了其在小楷方面的成就；二是吴门另一领袖文徽明有“明小楷第一”之称的成就，掩盖了祝允明的光芒；三是在后人看来，祝允明小楷作品较为难得，或是少见，进而难以作全面的观照。",[7,60,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdda412e99be4e20574b59b6b753ef2f.jpg",[],{"id":37336,"slug":37337,"title":37338,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":37339,"thumbUrl":37340,"material":751,"size":752,"collection":95,"collections":37341,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288080,"zui-weng-cao-ce-dong-qi-chang-288080","醉翁操册",[23,7,26,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9d189cdea5bd8375dcc92b6563eb2d.jpg",[],{"id":37343,"slug":37344,"title":30059,"dynasty":45,"author":7536,"museum":107,"description":7537,"tags":37345,"thumbUrl":37346,"material":751,"size":752,"collection":95,"collections":37347,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},288068,"yu-le-tu-zhou-chen-288068",[23,24,49,50,27,113,51,54,53,820,398,7,3546,1018,475,11608,4739],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6016ca5fec09df5ebc518e20343612.jpg",[],{"id":37349,"slug":37350,"title":37351,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":37352,"thumbUrl":37353,"material":751,"size":752,"collection":95,"collections":37354,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288039,"zi-chen-chao-xia-qi-lv-wen-zheng-ming-288039","紫宸朝下七律",[23,7,60,75,25,4440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e015f2bbec068908e709dc076ed1642.jpg",[],{"id":37356,"slug":37357,"title":37358,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":37359,"thumbUrl":37360,"material":751,"size":752,"collection":95,"collections":37361,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},288016,"shu-dong-ri-man-qi-lv-shi-shan-mian-wen-jia-288016","书冬日漫七律诗扇面",[1250,7,60,77,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2f3f991d17d41f3803ad2d1c0b650d.jpg",[],{"id":37363,"slug":37364,"title":37365,"dynasty":45,"author":10912,"museum":107,"description":16215,"tags":37366,"thumbUrl":37367,"material":751,"size":752,"collection":95,"collections":37368,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},287946,"ku-lan-fu-hua-tu-wang-duo-287946","枯兰复花图",[23,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd20ba3a5931e74d2b81be473224c70.jpg",[],{"id":37370,"slug":37371,"title":37372,"dynasty":8749,"author":454,"museum":107,"description":37373,"tags":37374,"thumbUrl":37375,"material":751,"size":752,"collection":95,"collections":37376,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},287881,"wei-mo-ji-suo-shuo-jing-juan-shang-shou-gao-yi-ming-287881","维摩诘所说经卷上手稿","此卷写经笔致温润凝练，是典型的民间写经书法风貌。点画厚重饱满，结体端庄宽博，通篇行款排布齐整匀净，气韵肃穆安和，尽显书写时的虔敬静定。墨色随着纸页泛黄晕染，古拙质感愈浓，带着岁月沉淀下来的沉静禅意。作为佛教经卷手稿，文与书相融，既承载宗教文本的传播功用，也以朴素隽秀的笔墨展现出写经书法的典型审美特质，兼具文献价值与书法艺术价值。",[7,386,49,878,9007,199,25,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef546cefdc73227535d6a5cb20d6f7f.jpg",[],{"id":37378,"slug":37379,"title":37380,"dynasty":8749,"author":454,"museum":107,"description":37381,"tags":37382,"thumbUrl":37383,"material":751,"size":752,"collection":95,"collections":37384,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},287876,"tai-bei-08824-da-fang-bian-fu-bao-en-jing-juan-di-liu-yi-ming-287876","台北08824大方便佛报恩经卷第六","此卷写经笔致端稳凝练，起收皆具法度，点画饱满匀净，是典型的唐人写经楷书风貌。字迹排布齐整肃穆，墨色沉郁鲜亮，虽经岁月仍神采不减。\n\n笔墨之间饱含写经人的敬虔之心，一笔一划静定端严，不见丝毫浮躁之气。泛黄古卷承载着经文奥义，肃穆笔墨与古旧纸色相映，尽显敦煌写经独有的静谧庄严。它既承载着宗教的神圣性，又兼具书法艺术的审美价值，尽显中古写本的隽永韵味，静静诉说着千年前的信仰与文心。",[7,386,199,49,1498,9007,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25bcc90dd3ce0360f17c476facd4db8.jpg",[],{"id":37386,"slug":37387,"title":37388,"dynasty":45,"author":37389,"museum":107,"description":37390,"tags":37391,"thumbUrl":37392,"material":751,"size":752,"collection":95,"collections":37393,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},287859,"shu-fa-ming-yan-ying-hua-xu-chu-287859","书法名彦英华","许初","字复初，一字元复，以县学生序贡授教职，擢南京太仆寺主簿，迁汉阳府通判。工篆，庄整而秀；兼善楷、草，法二王。亦工大书，不轻与人书。又能刻印。",[7,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cd4e1c702e45773a358dabc6bb2e72a.jpg",[],{"id":37395,"slug":37396,"title":37397,"dynasty":45,"author":10912,"museum":107,"description":16215,"tags":37398,"thumbUrl":37399,"material":751,"size":752,"collection":95,"collections":37400,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},287855,"ku-lan-fu-hua-tu-juan-wang-duo-287855","枯兰复花图卷",[25,7,398,49,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4537a841109c605bd25033feed436515.jpg",[],{"id":37402,"slug":37403,"title":37404,"dynasty":8749,"author":454,"museum":1172,"description":37405,"tags":37406,"thumbUrl":37407,"material":751,"size":752,"collection":95,"collections":37408,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},287626,"fu-shuo-fu-ming-jing-juan-di-shi-shou-gao-yi-ming-287626","佛說佛名經卷第十手稿","卷面泛着沉郁的米黄旧色，墨色匀净凝练，小楷如星子列阵排布，字字端秀温润，笔力内敛沉稳。写经体自带的肃穆法度，糅合着手写的朴拙温度，整卷一气呵成，笔墨间尽显抄经时的恭谨静定。\n\n边角细微的破损，晕开的墨迹晕染出岁月沉淀的厚重质感，经文排布齐整却不显板滞，笔势暗含平和恭敬，将宗教典籍的庄严肃穆藏进每一处笔墨细节里，既保留了写经书法的典雅规整，也留存着时光摩挲过的古朴韵味，是兼具宗教价值与书法审美价值的古雅珍品。",[386,199,7,49,9007,878,1498,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e6e91a6f0beb93ec57692eec187410.jpg",[],{"id":37410,"slug":37411,"title":37412,"dynasty":8749,"author":454,"museum":1172,"description":37413,"tags":37414,"thumbUrl":37416,"material":751,"size":752,"collection":95,"collections":37417,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},287617,"mo-he-bo-re-bo-luo-mi-fang-guang-jing-juan-di-qi-shou-gao-yi-ming-287617","摩诃般若波羅蜜放光經卷第七手稿","此卷写经笔墨匀净秀雅，气息静谧端方，是典型的唐人写经笔法。泛黄古旧的卷素晕开岁月厚重质感，千余字排布齐整如列阵，字字清劲舒展，点画暗含法度，将抄写的虔诚融于翰墨筋骨。\n\n通篇质朴无华，却在一笔一划间流溢出般若经义的沉静空寂，既恪守写经的庄严规制，又带着文人小楷的隽秀意趣。宗教的肃穆与书法的审美在此交融，笔墨之间尽显写经人持诵时的恭敬肃穆，静静诉说着往昔信仰与笔墨共生的动人过往，是兼具文献价值与审美价值的写经佳品。",[7,386,199,49,9007,37415],"宗教典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0ce429825c098fcaf90a4e806fdd3f.jpg",[],{"id":37419,"slug":37420,"title":37421,"dynasty":88,"author":454,"museum":107,"description":37422,"tags":37423,"thumbUrl":37424,"material":751,"size":752,"collection":95,"collections":37425,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},287558,"bu-hua-shan-shui-yi-ming-287558","布画山水","此作用全景式铺陈山林丘壑，淡墨皴擦出层叠山峦的温润质感，留白处引出水云萦回的空濛意境。苍松杂木错落生姿，枝叶用细笔点染，尽显清苍秀润之态。山坳间屋舍楼阁星罗，山道随溪岸蜿蜒，将山居日常悄然融于林泉烟岚间。\n\n整作笔墨简淡却意趣丰盈，未用浓艳设色，以水墨浓淡层次晕染出清寂山林气象，尽显寄情林泉、天人共生的隐逸意趣，将山水画可观可居可游的特质，藏在浅淡烟岚间娓娓道来。",[24,92,51,458,56,53,57,59,77,7,9635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b95cc9d9b51fdb04a617f251e875252.jpg",[],{"id":37427,"slug":37428,"title":37429,"dynasty":88,"author":37430,"museum":107,"description":37431,"tags":37432,"thumbUrl":37433,"material":751,"size":752,"collection":95,"collections":37434,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},287431,"chong-shi-tie-wang-shi-peng-287431","宠示帖","王十朋","王十朋（1112年11月9日—1171年8月6日），字龟龄，号梅溪，温州乐清（今浙江省乐清市）人。南宋著名政治家、诗人，爱国名臣。\n绍兴二十七年（1157年）他以“揽权”中兴为对，被宋高宗亲擢为进士第一（状元）。官秘书郎。曾数次建议整顿朝政，起用抗金将领。孝宗立，累官侍御史，力陈抗金恢复之计。历知饶、夔、湖、泉诸州，救灾除弊，有治绩，时人绘像而祠之。\n乾道七年（1171年），王十朋逝世，年六十。绍熙三年（1192年），追谥“忠文”。有《梅溪集》等。",[7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc87fb46093bd925e1e99c4f26a3cd3.jpg",[],{"id":37436,"slug":37437,"title":37438,"dynasty":45,"author":10912,"museum":107,"description":16215,"tags":37439,"thumbUrl":37441,"material":751,"size":752,"collection":95,"collections":37442,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},287386,"ting-ying-shi-qin-ge-wang-duo-287386","听颖师琴歌",[23,25,7,60,49,50,77,2829,37440],"琴歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e65bc9721f5e853590d041bb0b933be.jpg",[],{"id":37444,"slug":37445,"title":37446,"dynasty":1609,"author":454,"museum":107,"description":15550,"tags":37447,"thumbUrl":37448,"material":751,"size":752,"collection":95,"collections":37449,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},287383,"wang-she-ren-bei-yi-ming-287383","王舍人碑",[1613,198,7,200,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a68b2f46ff4b56d004565fc0b62c9ab.jpg",[],{"id":37451,"slug":37452,"title":37453,"dynasty":3087,"author":454,"museum":107,"description":9803,"tags":37454,"thumbUrl":37455,"material":751,"size":752,"collection":95,"collections":37456,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},287326,"yu-fu-ren-mu-zhi-yi-ming-287326","于夫人墓志",[7,198,199,23207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f4b76c811db1122e1247337e5bf6295.jpg",[],{"id":37458,"slug":37459,"title":37460,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":37461,"thumbUrl":37462,"material":751,"size":752,"collection":95,"collections":37463,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},283769,"zi-shu-chi-gao-ce-dong-qi-chang-283769","自书敕诰册",[7,26,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac13f61d900debd7cf50cdd1ac855e5.jpg",[],{"id":37465,"slug":37466,"title":37467,"dynasty":45,"author":1313,"museum":72,"description":37468,"tags":37469,"thumbUrl":37472,"material":184,"size":37473,"collection":95,"collections":37474,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},283754,"bao-ding-ge-zhou-dong-qi-chang-283754","宝鼎歌轴","1604年，董其昌游杭州西湖，购得宝鼎挟归，乃以“宝鼎”名书斋。1609年临古辑成《宝鼎斋法帖》，其题语专录班固《宝鼎歌》并详述原委。由此，《宝鼎歌》成为董氏书作中所喜题材之一。本轴以颜体为本色，行气疏朗，筋骨腴润，沉着痛快，得颜氏端庄浑厚之意。与台北故宫《楷书什之干斯》轴系同一阶段作品，皆为耋耄80岁左右作品。董氏中晚年仿其他书家楷书时，亦常参以颜体，对其偏爱有加。",[75,7,60,37470,37471,77],"仿颜体","宝鼎歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1efe25dfe53e4d629cabac09e71dc4.jpg","197.7×46.6cm",[],{"id":37476,"slug":37477,"title":37478,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":37479,"thumbUrl":37480,"material":751,"size":752,"collection":95,"collections":37481,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},283717,"tian-ma-fu-juan-dong-qi-chang-283717","天马赋卷",[23,49,7,398,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf8fc2d23a98123949302e1d7e09c8e.jpg",[],{"id":37483,"slug":37484,"title":37485,"dynasty":45,"author":21381,"museum":107,"description":37486,"tags":37487,"thumbUrl":37488,"material":751,"size":752,"collection":95,"collections":37489,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},283602,"san-jing-ping-zhu-wu-juan-min-qi-ji-283602","三经评注五卷","闵齐伋（1580-?），字寓五，乌程（今湖州）人。与著名刻书著作家凌蒙初齐名。著有《六书通》。",[1498,9636,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8756bde5014e0de18da3d8a6f1999a68.jpg",[],{"id":37491,"slug":37492,"title":37493,"dynasty":1609,"author":454,"museum":107,"description":37494,"tags":37495,"thumbUrl":37497,"material":751,"size":752,"collection":95,"collections":37498,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},281426,"san-ti-shi-jing-yi-ming-281426","三体石经","原立于魏都洛阳南郊太学讲堂西侧。因碑文每字皆用古文、小篆和汉隶三种字体写刻，故名。石经刻有《尚书》、《春秋》和部分《左传》，是继东汉《熹平石经》后建立的第二部石经。《三体石经》在中国书法史和汉字的演进发展史上具有非常重要的意义。",[7,457,1613,3423,13081,1614,37496],"石经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36e9deca3dbfe4d61c72cec4625b3c16.jpg",[],{"id":37500,"slug":37501,"title":37502,"dynasty":18,"author":454,"museum":107,"description":37503,"tags":37504,"thumbUrl":37506,"material":751,"size":752,"collection":95,"collections":37507,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},276597,"qing-yu-guang-xu-er-nian-shang-ci-xi-duan-you-kang-yi-zhao-yu-huang-tai-hou-hui-ce-yi-ming-276597","青玉光绪二年上慈禧端佑康颐昭豫皇太后徽册","青玉莹润沉静，素净底色间填金铭文庄重端凝。文字排布齐整内敛，笔意带着礼制特有的肃穆规整，金辉与玉色相映晕开典仪独有的华贵厚重。\n\n它将敬献尊上的尊崇心意，凝刻于莹润玉材当中，把晚清宫廷礼制的郑重底色，定格为可触摸的遗存。玉面的沉静古雅配着金饰的熠熠光泽，尽显宫廷仪制的华贵威严，将彼时的无上恭敬，封存在温润玉册里，让旧日皇家的典制尊崇之意，历经岁月仍存余韵。",[7714,26,7,37505,1498],"玉器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba6c618317d0b3014cf8a38d6e1c77e.jpg",[],{"id":37509,"slug":37510,"title":37511,"dynasty":18,"author":454,"museum":107,"description":37512,"tags":37513,"thumbUrl":37514,"material":751,"size":752,"collection":95,"collections":37515,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},275885,"bi-yu-yu-bi-qian-zi-wen-ce-yi-ming-275885","碧玉御笔千字文册","此匣髹漆为底，回纹匝边勾勒规整轮廓，金饰云纹舒卷漫逸，蝠衔盘肠、灵芝错落其间，暗合福寿绵长、吉祥如意之吉兆，华贵雅致尽显宫廷规制。\n\n内置玉册温润莹泽，凝脂玉面隽刻御笔千字，笔力端雅秀劲，墨韵风骨融于玉质清润之中。玉的静穆温润与书法的灵动雅致相映成趣，是匠心工艺与皇家翰墨的绝妙合璧，将旧时宫廷的审美意趣与文心雅藏，尽数敛于一方匣盒之内。",[26,7,7714,13336,26617,29117,26051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0151a5d059a615ad279cf9b930fa851.jpg",[],{"id":37517,"slug":37518,"title":37519,"dynasty":18,"author":454,"museum":107,"description":37520,"tags":37521,"thumbUrl":37522,"material":751,"size":752,"collection":95,"collections":37523,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},272974,"ti-hong-bian-qian-fa-lang-wan-nian-yi-tong-qing-tu-gua-ping-yi-ming-272974","剔红边嵌珐琅万年一统青图挂屏","此作工艺相融，雅致尽显。朱红剔红边框满饰缠枝纹，雕工圆熟细腻，古艳沉静。屏心墨地素洁，上方题字娟秀端方，晕开雅致文气。下方珐琅盆栽为视觉重心：翠叶舒展灵动，脉络清晰鲜活，颗颗朱果点缀叶间，生机勃发。桶型花盆髹红描金，挺拔规整，暗契吉祥寓意。\n\n它集雕漆、珐琅工艺于一体，将文人清供意趣与吉祥祝颂相合，尽显传统匠人的造物巧思，把中式陈设美学藏于方寸之间。",[8913,13336,36389,7,199,27,29,2591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccb1af6d6631949269661129d05a986.jpg",[],{"id":37525,"slug":37526,"title":37527,"dynasty":18,"author":454,"museum":107,"description":37528,"tags":37529,"thumbUrl":37530,"material":751,"size":752,"collection":95,"collections":37531,"showCount":581,"zanCount":882,"manualWeight":39,"mainColor":100},272882,"zi-tan-mu-bian-qi-di-qian-yu-ya-ting-ge-tu-shuang-lian-gua-ping-yi-ming-272882","紫檀木边漆地嵌玉牙亭阁图双联挂屏","上部以漆为地，以玉、牙等料嵌就诗文，笔意清秀雅致，墨漆与饰材相映，晕染出沉静古雅的书卷之气。\n\n下部以百宝嵌工艺雕绘山居图景，层叠山峦间亭台错落，林木葱郁点缀其间，蜿蜒游道串联起雅致院落，匠师以各色材质区分山石、楼宇与草木，将幽寂雅致的林泉高致凝于屏上。\n\n整器将文人诗意与匠造精工相融，把园居闲情定格，尽显百宝嵌工艺的妍秀工巧，雅致静穆，尽显东方雅韵。",[8913,19026,13336,7714,25476,7713,51,5328,458,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2794324edbecf5cbd709e00ca3607a8.jpg",[],{"id":37533,"slug":37534,"title":37535,"dynasty":18,"author":454,"museum":107,"description":37536,"tags":37537,"thumbUrl":37538,"material":751,"size":752,"collection":95,"collections":37539,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},272879,"zi-tan-mu-bian-qian-yu-shan-shui-tu-gua-ping-yi-ming-272879","紫檀木边嵌玉山水图挂屏","此挂屏以黑漆为底，取各色玉料巧作镶嵌，晕染出一方江南园林胜景。远景山峦叠翠，亭台隐于林麓，题字墨韵点衬风雅；近岸柳丝垂波，临水轩榭明丽雅致，舟船泛于湖面，桥上雅士晤谈晏晏，意态悠然。\n\n匠者借玉石天然色泽区分景致层次，深浅玉色晕开远近空间，将江南烟霭温润之美凝于屏中。紫檀边框沉稳内敛，把文人山水意趣与百宝嵌工艺相融，静赏间如身临水墨江南，尽显清代工造的精巧匠心与雅致审美。",[8913,7714,19026,35041,51,458,52,53,113,55,56,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78abdb89b00f3b0e9ae27403638350f2.jpg",[],{"id":37541,"slug":37542,"title":37543,"dynasty":18,"author":454,"museum":107,"description":37544,"tags":37545,"thumbUrl":37548,"material":751,"size":752,"collection":95,"collections":37549,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},272878,"zi-tan-mu-bian-qian-ya-luo-han-tu-gua-ping-yi-ming-272878","紫檀木边嵌牙罗汉图挂屏","这件挂屏以寿字为轮廓，将群像罗汉巧嵌其中。紫檀边框沉稳古雅，墨色底板衬出嵌饰的鲜亮雅致。牙雕罗汉神态各异，或围坐论禅，或凭栏观览，衣袂舒展灵动，将牙料的温润质感与彩绘的明丽晕染相融，把清隽禅意藏于祝寿吉语之中。屏面御题诗文，书法端稳隽秀，更添文雅古意，将佛禅意趣、祝寿意蕴与工艺匠心糅合为一体，是清代嵌饰工艺与吉祥意趣相融的精巧之作。",[8913,7713,19026,25476,878,10664,7,457,113,37546,37547],"寿纹","嵌饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4a946644b817cbe85b0795f7824e82.jpg",[],{"id":37551,"slug":37552,"title":27790,"dynasty":18,"author":454,"museum":107,"description":37553,"tags":37554,"thumbUrl":37555,"material":751,"size":752,"collection":95,"collections":37556,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},272875,"zi-tan-mu-bian-xiu-shan-shui-ren-wu-tu-gua-ping-yi-ming-272875","此件绣屏以米黄素绫为地，构图疏朗清寂。左侧奇石叠翠，苍树繁叶以细密针脚绣就，晕染出深浅绿意。凭栏雅士衣袂翩然，静静远眺烟水汀洲，水鹤轻掠平湖，尽绘幽居林下的淡远闲情。\n绣法精妙写实，山石以渐变蓝调施针皴染出层叠肌理，人物衣褶灵动自然。右上绣题诗文，与画意呼应，点明隐逸林下的雅趣。木框錾刻回纹吉饰，烘托古雅沉静氛围。将文人山水的清冷意韵，以丝绒针线晕染勾勒，尽显清代绣画融诗入景的雅致格调，把幽居闲情藏进一针一线之中。",[8913,2980,25,27,51,113,56,57,116,2219,36586,19026,9635,7,17733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48537f1ffe69a9839d89a88c0e05966e.jpg",[],{"id":37558,"slug":37559,"title":37560,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":37561,"thumbUrl":37562,"material":751,"size":752,"collection":95,"collections":37563,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},270637,"qian-long-kuan-yu-yong-hua-hui-shi-mo-zi-teng-mo-yi-ming-270637","乾隆款御咏花卉诗墨-紫藤墨",[432,199,7,6710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de5c77854f44e47852c1934803daa43.jpg",[],{"id":37565,"slug":37566,"title":37567,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":37568,"thumbUrl":37569,"material":751,"size":752,"collection":95,"collections":37570,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},270624,"qian-long-kuan-yu-yong-hua-hui-shi-mo-mo-li-mo-yi-ming-270624","乾隆款御咏花卉诗墨-茉莉墨",[432,199,7,6571,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b29e19a4225401f5785402fc965ed3f.jpg",[],{"id":37572,"slug":37573,"title":37574,"dynasty":18,"author":454,"museum":107,"description":37575,"tags":37576,"thumbUrl":37577,"material":751,"size":752,"collection":95,"collections":37578,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},270220,"gu-gu-qi-bian-mou-jia-hui-hua-fu-tao-tu-mian-zhe-shan-yi-ming-270220","骨股漆边缪嘉惠画蝠桃图面折扇","此扇一面行书笔墨苍劲舒朗，字迹随扇骨错落排布，行气连贯自如，墨色浓淡层次尽显书写意趣，寥寥笔墨间浸润着晚清文人的风雅气度。另一面蝠桃设色清润雅致，桃枝虬结苍劲，蟠桃饱满莹润，蝙蝠翩然灵动，暗合福寿双全的美好寄寓。漆骨包浆温润雅致，形制精巧秀逸，将书画意趣与吉祥意蕴融于一器，藏纳着传统工艺与古典审美的交融之美，兼具赏玩与收藏价值。",[1250,24,7,29117,4507,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffadd867d18f4d593c575e81c4edc6e51.jpg",[],{"id":37580,"slug":37581,"title":37582,"dynasty":18,"author":454,"museum":107,"description":37583,"tags":37584,"thumbUrl":37585,"material":751,"size":752,"collection":95,"collections":37586,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},269101,"xiang-ya-diao-yue-man-qing-you-er-yue-jing-ce-yi-ming-269101","象牙雕月曼清游二月景册","此作以牙雕还原二月春闺雅集，亭台粉墙、玉树虬枝皆以象牙精雕细镂，纹理纤毫毕现。庭中少女或围坐烹茶，或捧器侍立，衣袂翩跹、神态温婉闲静，将初春闺中清趣具象呈现。\n\n右侧配书御题诗句，笔致隽秀工整，诗画呼应，把二月春慵的闲适意趣娓娓道来。温润的牙雕质感与沉雅的墨色相互映衬，融精湛工艺与文人意趣于一体，将深闺里的春日闲情描摹得灵动雅致，尽显古典雅致的闺中韵致。",[26,25476,7713,114,199,7,567,458,25506,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e4a776b18ff421efadb3d39a5550b6.jpg",[],{"id":37588,"slug":37589,"title":37590,"dynasty":45,"author":454,"museum":107,"description":37591,"tags":37592,"thumbUrl":37593,"material":751,"size":752,"collection":95,"collections":37594,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},263683,"jin-shu-fen-xiu-da-shi-xiang-zhou-yi-ming-263683","金淑芬绣大士像轴","整幅留白疏朗空灵，上部题墨清雅隽秀，与下方绣作相映成趣。大士神态温婉慈悲，衣袂以劈丝细绣勾勒，线条柔婉贴合身形，尽显出尘气韵。身旁护法金刚威肃端立，甲胄纹饰细密工整，刚劲肃穆之气跃然而出。\n\n下方水浪间蛟龙灵动舒展，蓝线晕染出水云缥缈之态，绣色清隽雅致。以针代笔，将佛造像的静穆庄严与水族的灵动写意相融，针线起落间尽显闺阁绣艺的精妙，禅意悠然漾开，静中生趣，尽显雅致出尘的格调。",[75,2980,878,113,359,27,13590,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d94541ab501d90c8aa73d8118bfaf3.jpg",[],{"id":37596,"slug":37597,"title":37598,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":37599,"thumbUrl":37600,"material":751,"size":752,"collection":95,"collections":37601,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},251630,"qian-long-yu-ti-shi-qing-yu-ru-yi-yi-ming-251630","乾隆御题诗青玉如意",[2135,7714,7713,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97dad1190a235333b5478aa8de5cd0d6.jpg",[],{"id":37603,"slug":37604,"title":37605,"dynasty":45,"author":454,"museum":107,"description":27809,"tags":37606,"thumbUrl":37609,"material":751,"size":752,"collection":95,"collections":37610,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},251481,"qing-yu-fu-diao-chi-long-wen-bei-tuo-shi-cha-ping-yi-ming-251481","青玉浮雕螭龙纹杯托式插屏",[7714,37607,7713,37608,359,113,56,7,834],"浮雕","螭龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4133eda505fbcf905f43ea20755bca.jpg",[],{"id":37612,"slug":37613,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":37615,"thumbUrl":37616,"material":751,"size":752,"collection":95,"collections":37617,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},242599,"zhong-ke-chun-hua-ge-tie-yi-ming-242599","清拓《钦定重刻淳化阁帖》原本《淳化阁帖》。十卷又称《淳化秘阁法帖》、（阁贴》。系宋淳化三年（992年）太宗岀内府所藏历代古帖，命翰林侍书王著摹勒而成，共收录汉魏至唐历代名人及帝王书一百余家四百余种。但帖石置于宫中，除宣赐大臣以外，原刻拓木绝少流布人间。\n淸高宗鉴于日趋緊多的翻刻本已完全失去其本来面目，而宋王著昧于辨别，在采择古帖时有真赝混迹现象，编次标越也多处讹误，为避免贻谋后学，希望复原《淳化》旧观。于乾隆三十四年（1769年）持敕命于敏中等据内府所藏宋太宗赐毕士安本《淳化阁帖》详加考证，重新钩摹上石，仍为十卷，每卷隶书标题：“钦定重刻淳化阁帖第 X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[7,198,200,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de95ff75c6e202033ddf149ce134b61.jpg",[],{"id":37619,"slug":37620,"title":37621,"dynasty":45,"author":454,"museum":107,"description":37622,"tags":37623,"thumbUrl":37624,"material":95,"size":95,"collection":802,"collections":37625,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},242224,"yan-lu-gong-zheng-zuo-wei-gao-yi-ming-242224","颜鲁公争座位稿","笔力雄肆苍劲，线条粗细欹正跌宕，枯润交替间尽显朴拙厚重。行笔纵逸开张，如长枪大戟破风，将愤懑刚直的胸臆倾泻毫端。\n\n章法错落天成，字势大小随心排布，牵丝映带裹挟情绪流动，毫无雕琢之感，尽显率意抒怀的自然之态。它跳脱规整法度的桎梏，以极具抒情性的笔墨语言，将朝堂上的刚正风骨展露无遗，是人格与笔墨的完美融合，尽显雄浑磅礴的盛唐书法气度与文人硬骨。",[7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d01db196b79c19b353504fb7c1f9d4.jpg",[802],{"id":37627,"slug":37628,"title":37629,"dynasty":8749,"author":454,"museum":107,"description":37630,"tags":37631,"thumbUrl":37632,"material":95,"size":95,"collection":802,"collections":37633,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},242204,"shou-chan-biao-bei-yi-ming-242204","受禅表碑","此作隶法端严沉雄，笔画厚重遒劲，波磔舒展挺括，结体方正匀稳，褪去汉隶古拙恣肆的野趣，尽显庙堂肃穆气象。字间排布匀净停匀，起收笔法度谨严，蚕头燕尾的典型隶意尚存，却已隐隐显露刚劲方正的楷化端倪，是汉魏书体嬗变的鲜活见证。碑面斑驳泐损，是岁月浸淫的痕迹，为这方石刻晕开沧桑厚重的质感，将往昔郑重的仪轨凝刻于石质肌理之中，既是精工谨严的书刻范本，亦是裹挟着历史余温的金石遗存。",[198,7,1613,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c9b977d8ce69500df35b024889e33e.jpg",[802],{"id":37635,"slug":37636,"title":37637,"dynasty":8749,"author":454,"museum":107,"description":37638,"tags":37639,"thumbUrl":37640,"material":95,"size":95,"collection":802,"collections":37641,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},242187,"fang-xuan-ling-bei-yi-ming-242187","房玄龄碑","此碑拓笔力劲挺秀雅，兼具初唐庙堂楷书的端整气象，结体沉稳舒展，点画间顿挫明晰，尽显肃穆庄重的庙堂风骨。\n\n碑面虽有泐损斑驳，残痕如时光烙下的印鉴，却未掩书法本真神采，反而晕开古朴苍凉的质感。金石的厚重与笔墨的隽秀交融一处，即便字口漫漶，依旧能窥见刻工与书者的精湛功力，残损的纹路里藏着岁月流转的痕迹，让这份拓本既有书法的法度之美，更带着历史沉淀下的醇厚韵味。",[198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64af3caaa4cacb8789d872f511430bb0.jpg",[802],{"id":37643,"slug":37644,"title":37645,"dynasty":18,"author":454,"museum":107,"description":37646,"tags":37647,"thumbUrl":37648,"material":751,"size":752,"collection":95,"collections":37649,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},242165,"liu-yong-shu-nan-shu-fang-mu-bian-yi-ming-242165","刘墉书＂南书房＂木匾","木质肌理晕染着旧漆沉褐的色泽，岁月摩挲下的包浆凝着时光温度。其书笔力沉浑雍容，点画圆劲内敛，平正端稳里暗含舒展灵动，将庙堂持重与文人风雅相融。糙砺木面的细碎划痕，皆是光阴镌刻的注脚，静静承载着殿阁之内的翰墨余韵，尽显旧朝文气沉凝的端方风骨。",[2135,19026,7,199,60,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49327fa7908094e7a58c8009a24b0952.jpg",[],{"id":37651,"slug":37652,"title":37653,"dynasty":18,"author":37654,"museum":107,"description":37655,"tags":37656,"thumbUrl":37659,"material":751,"size":752,"collection":95,"collections":37660,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241692,"qi-yan-shi-zi-tiao-yin-zhi-241692","七言诗字条","胤祉","爱新觉罗·胤祉（1677年3月23日—1732年7月10日），清朝宗室，清圣祖爱新觉罗·玄烨第三子，清世宗爱新觉罗·胤禛异母兄，生母荣妃马佳氏。",[7,25,199,50,37657,845,30827,282,37658,6398,25604],"虹","宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67673758148f0daba46e97efa98cd229.jpg",[],{"id":37662,"slug":37663,"title":37664,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":37665,"thumbUrl":37666,"material":751,"size":752,"collection":95,"collections":37667,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241672,"shi-ding-shi-juan-qian-long-241672","事定诗卷",[23,25,49,60,77,7,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e95ceb5d3c41171b283ca2d262382a.jpg",[],{"id":37669,"slug":37670,"title":37671,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":37672,"thumbUrl":37673,"material":751,"size":752,"collection":95,"collections":37674,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},241669,"hou-shao-lu-fu-juan-qian-long-241669","后哨鹿赋卷",[23,92,24,25,49,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a59290c31dd9689ee613fae38a17f8.jpg",[],{"id":37676,"slug":37677,"title":37678,"dynasty":18,"author":12414,"museum":107,"description":12415,"tags":37679,"thumbUrl":37680,"material":751,"size":752,"collection":95,"collections":37681,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241666,"jiu-ri-dui-ju-shi-zhou-ai-xin-jue-luo-xuan-ye-241666","九日对菊诗轴",[24,25,7,75,60,50,140,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940374649d4220832d9f2cabeb1359df.jpg",[],{"id":37683,"slug":37684,"title":37685,"dynasty":88,"author":26624,"museum":107,"description":26625,"tags":37686,"thumbUrl":37687,"material":312,"size":95,"collection":96,"collections":37688,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241660,"ming-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241660","明诸家跋赐詹骙诗拓卷",[23,49,7,198,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34ef92ffa6be07b8b15eee8b880ab.jpg",[96],{"id":37690,"slug":37691,"title":37692,"dynasty":88,"author":454,"museum":107,"description":37693,"tags":37694,"thumbUrl":37695,"material":312,"size":95,"collection":96,"collections":37696,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},241655,"wu-kuan-shao-xing-shi-san-nian-chi-shu-juan-yi-ming-241655","无款绍兴十三年敕书卷","此卷行书率意洒脱，尽显宋人尚意风神。用笔苍劲朴拙，提按转折皆见筋骨，线条粗细富于韵律，行气连贯舒展。绢本底色古雅沉静，墨色浓淡自然晕染，与错落钤印相映成趣。\n卷中敕文与题跋排布疏密有致，既有官家文书的端严规整，又不失文人书法的隽逸自在，笔墨间流转着宋时的风雅法度，藏着旧日文心与典制厚重，将实用文书与书法意趣完美相融。",[23,7,25,49,60,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030f99fe6451374a768cc8dff81941ef.jpg",[96],{"id":37698,"slug":37699,"title":33631,"dynasty":45,"author":20410,"museum":107,"description":37700,"tags":37701,"thumbUrl":37702,"material":751,"size":752,"collection":95,"collections":37703,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241539,"wu-yan-shi-ye-tang-huan-241539","汤焕，字尧文，号鄰初。，仁和（今浙江杭州）人，斋号五桂轩等。生卒年不详，明隆庆四年（1570）举人。为江阴教谕，后征为翰林待诏，转郡丞。擅书，兼工篆刻，亦有诗名",[7,60,77,312,11284,15773],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa438606bac007b6a67b55621890aec.jpg",[],{"id":37705,"slug":37706,"title":37707,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":37709,"thumbUrl":37710,"material":751,"size":752,"collection":95,"collections":37711,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241538,"zhi-liu-zhou-da-xiong-shou-zha-ce-huang-yue-241538","致六舟大兄手札册","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f56d525fff733608b4c84836f785f0.jpg",[],{"id":37713,"slug":37714,"title":37715,"dynasty":45,"author":37716,"museum":107,"description":37717,"tags":37718,"thumbUrl":37720,"material":312,"size":95,"collection":96,"collections":37721,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241530,"qi-lv-bing-ji-ye-xu-bo-241530","七律并记页","徐㶿","明代著名藏书家",[7,60,3479,13817,77,13310,4038,37719,2602],"汉字书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2af1ef18ac9fc898845ba59c7562fe.jpg",[96],{"id":37723,"slug":37724,"title":21168,"dynasty":179,"author":37725,"museum":107,"description":6469,"tags":37726,"thumbUrl":37727,"material":751,"size":752,"collection":95,"collections":37728,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},241497,"zi-shu-shi-juan-chou-yuan-241497","仇远",[179,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e5a0bb38789a7a6b33dbdae27cf3e5.jpg",[],{"id":37730,"slug":37731,"title":37732,"dynasty":18,"author":37733,"museum":107,"description":37734,"tags":37735,"thumbUrl":37736,"material":751,"size":752,"collection":96,"collections":37737,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},241477,"shou-zha-ce-cheng-si-ze-241477","手札册","程思泽","程恩泽（1785年－1837年），字云芬，号春海，安徽歙县人，清朝政治人物、学者、诗人，进士出身。",[18,7,60,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c05567a82bd2efac943447edb694334.jpg",[96],{"id":37739,"slug":37740,"title":37741,"dynasty":45,"author":37742,"museum":107,"description":37743,"tags":37744,"thumbUrl":37745,"material":751,"size":752,"collection":95,"collections":37746,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241453,"di-zan-wang-jiu-si-yang-shen-deng-liu-jia-zha-juan-lv-nan-241453","翟瓉王九思杨慎等六家札卷","吕柟","吕柟（1479年－1542年），字大棟，又字仲木，别号泾野，学者称泾野先生，陕西高陵县人，明代官員、學者。",[7,49,60,398,385,2282,19315,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb580093547ef401bf06a4b939d6a400e.jpg",[],{"id":37748,"slug":37749,"title":37750,"dynasty":18,"author":12414,"museum":107,"description":12415,"tags":37751,"thumbUrl":37752,"material":751,"size":752,"collection":95,"collections":37753,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241449,"lin-dong-qi-chang-shu-song-zi-xun-ci-zhou-ai-xin-jue-luo-xuan-ye-241449","临董其昌书宋自逊词轴",[7,75,110,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe782cac2e5b64c5cde519a755e53b11c.jpg",[],{"id":37755,"slug":37756,"title":37757,"dynasty":179,"author":37758,"museum":107,"description":37759,"tags":37760,"thumbUrl":37761,"material":751,"size":752,"collection":95,"collections":37762,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241431,"xu-ying-shou-zha-juan-cheng-wen-hai-241431","徐瑛手札卷","程文海","程钜夫（1249年5月30日－1318年8月14日），初名文海，因避元武宗海山名讳，改用字代名，号雪楼，又号远斋。建昌军（今江西南城）人，祖籍郢州京山县（今属湖北）。元朝名臣、文学家。\n程钜夫自少与吴澄同门。南宋末年，随叔父降元，入为质子。因受元世祖赏识，累迁至集贤直学士。至元十九年（1282年），奏陈五事，又请兴建国学、搜访江南遗逸、参用南北之人，其建议均被采纳。至元二十四年（1287年），拜侍御史，行御史台事，于江南推荐赵孟頫等二十余人，皆获擢用。丞相桑哥专政，程钜夫上疏极谏，几遭杀害。其后历官大江南湖北道肃政廉访使、翰林学士承旨，并参与编修《成宗实录》、《武宗实录》。延祐五年（1318年）去世，年七十。泰定二年（1325年），获赠大司徒、柱国、楚国公，谥号“文宪”。",[23,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa033edbf3ee94c9c46e8cb45c0da53c7.jpg",[],{"id":37764,"slug":37765,"title":37766,"dynasty":45,"author":19108,"museum":107,"description":24598,"tags":37767,"thumbUrl":37768,"material":751,"size":752,"collection":95,"collections":37769,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241422,"shou-zha-juan-ni-yuan-lu-241422","手札卷",[23,7,60,398,2282,49,77,4038,312,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b8f209cdad2cf152b12019e6910799.jpg",[],{"id":37771,"slug":37772,"title":31476,"dynasty":18,"author":37773,"museum":107,"description":37774,"tags":37775,"thumbUrl":37776,"material":751,"size":752,"collection":95,"collections":37777,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241410,"lin-tie-zhou-jiang-ren-241410","蒋仁","蒋仁（1743－1795）， 原名泰，字阶平，后来因得“蒋仁”古铜印，极为欣赏，遂改名为蒋仁，号山堂，别号吉罗居士、女床山民，浙江仁和（杭州）人。",[25,7,75,110,60,50,77,2135,6769,14632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2499e4cc918c9d04bb6179edecfec7a.jpg",[],{"id":37779,"slug":37780,"title":37781,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":37782,"thumbUrl":37783,"material":751,"size":752,"collection":95,"collections":37784,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241396,"ji-fu-bo-yan-zhou-weng-fang-gang-241396","记伏波岩轴",[25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70bf14e1daa93b062de5c7bf9e4cc63d.jpg",[],{"id":37786,"slug":37787,"title":37788,"dynasty":18,"author":37789,"museum":107,"description":37790,"tags":37791,"thumbUrl":37801,"material":751,"size":752,"collection":95,"collections":37802,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241359,"shi-ping-wang-chun-ling-241359","诗屏","王春龄","此作用红格缠枝花边笺纸书写，格调雅致。小楷清隽端秀，点画工稳匀净，排布舒朗利落，墨色妍润沉静，尽显扎实笔墨功底。\n内容为题咏古玉与暮春感怀的自作绝句，将文士摩挲古物的幽然心曲、伤春惜景的缱绻清愁落于毫端，书文相融，笔底自带冲淡娴雅的书卷气。方寸之间藏尽清儒的审美意趣，是一件书文俱佳的小品佳作。",[199,7,77,678,1679,137,31107,282,26858,651,37792,12652,3040,6297,9676,37793,28014,37794,37795,360,37796,37797,2525,37798,37799,37800],"桐","陌","晓莺","晴日","金","细花","土","荆山","古玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb452b73b016f82b7badd8b2556069.jpg",[],{"id":37804,"slug":37805,"title":37806,"dynasty":18,"author":37807,"museum":107,"description":37808,"tags":37809,"thumbUrl":37810,"material":751,"size":752,"collection":95,"collections":37811,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241338,"liu-yong-xing-shi-wen-juan-liu-yong-241338","刘墉行诗文卷","刘镛","刘镛，字云仲，祖籍贵州省贯州。福建长乐人，清康熙二十六年任峄县知县。\n现事迹陈列于位于山东枣庄台儿庄古城内的枣庄古代清官廉吏展馆。",[23,7,60,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4c9d71a2d2bbbd92c62e6ec8b513ba.jpg",[],{"id":37813,"slug":37814,"title":37815,"dynasty":18,"author":37816,"museum":107,"description":37817,"tags":37818,"thumbUrl":37819,"material":751,"size":752,"collection":95,"collections":37820,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241334,"lin-zhe-tie-juan-huang-cun-shu-241334","临禇帖卷","黄存恕","此作以楷书临习褚遂良笔意，通篇气息匀雅端凝，兼具褚书空灵秀逸与清馆阁体的整饬端庄。笔致清劲挺秀，点画起收有度、筋骨暗藏，结体宽绰舒展，字字排布错落合宜，墨色匀停温润。\n\n所书《汉书》赞文，以雅正的笔意承载史辞意蕴，既恪守褚法的细劲姿媚，又融入自身的端凝工稳，尽显清人临古的谨严态度与文儒意趣，精准把握初唐褚书风神，将帖学临古的雅致与台阁的端稳融于一处，尽显笔墨涵养，是清代临古书法中颇具水准的馆阁佳制。",[7,199,110,49,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87698f38f46e36f17ca713983714e348.jpg",[],{"id":37822,"slug":37823,"title":37824,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":37825,"thumbUrl":37826,"material":751,"size":752,"collection":95,"collections":37827,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},241327,"heng-zhou-weng-fang-gang-241327","横轴",[25,7,37824,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5352d4b95a10824815b561f249741644.jpg",[],{"id":37829,"slug":37830,"title":37831,"dynasty":18,"author":37832,"museum":107,"description":37833,"tags":37834,"thumbUrl":37835,"material":751,"size":752,"collection":95,"collections":37836,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},241326,"guan-ju-shi-zhou-zhang-mu-241326","观菊诗轴","张穆","张穆（1805年11月29日 ——1849年12月22日 ），山西平定人，近代的爱国思想家、地理学家、诗人和书法家。生于嘉庆十年（1805）。鸦片战争中，他曾抱着爱国热情，上书言事，奔走呼号，联络在京友人，通过纪念顾炎武的活动，振奋人心。此后，他本着张扬国威，抵御沙俄侵略的目的，致力于西北边疆地理和蒙古史的研究。1849年12月22日（道光二十九年十一月九日，己酉年丙子月壬寅日）卒于京师，享年四十五岁 。1850年归葬故乡 。",[60,75,50,7,140,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88ae322ce816e0cee812a5aed59bfa63.jpg",[],{"id":37838,"slug":37839,"title":37840,"dynasty":18,"author":37841,"museum":107,"description":37842,"tags":37843,"thumbUrl":37844,"material":751,"size":752,"collection":95,"collections":37845,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241277,"qi-gu-zhou-wu-rong-guang-241277","七古轴","吴荣光","吴荣光（1773 — 1843），字伯荣，一字殿垣，号荷屋、可庵，晚号石云山人，别署拜经老人，广东广州府南海县佛山镇（今佛山禅城区祖庙街道）人。清代官员、诗人、书法家、藏书家、岭南著名的书画金石鉴藏家。 [4]\n嘉庆四年（1799）进士，由编修官擢御史。道光中任湖南巡抚兼湖广总督。后坐事降为福建布政使。其不仅官至封疆大吏，还工诗文、擅书画，尤酷嗜金石，精鉴赏，名极一时，书法更为世所推重。康有为云：吾粤吴荷屋中丞帖学名家，其书为吾粤冠……”他遗留下来的书画作品已被列入国家文物局文物出境限制，精品不准出境 [4] 。著有《历代名人年谱》、《筠清馆金石录》、《筠清馆帖》、《辛丑销夏记》、《帖镜》、《石云山人文集》、《绿枷楠馆录》、《吾学录》等。 吴荣光是清中期著名汉学家，清道光十一年（1831），吴荣光在长沙创办了湘水校经堂。左宗棠在长沙湘水校经堂就读期间，吴荣光是他的授课教师。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc418e078515da0ae2195ad06a2c3aec.jpg",[],{"id":37847,"slug":37848,"title":37849,"dynasty":18,"author":29596,"museum":107,"description":37850,"tags":37851,"thumbUrl":37852,"material":751,"size":752,"collection":95,"collections":37853,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241266,"jiu-piao-shi-zhou-zhang-wen-tao-241266","酒瓢诗轴","张问陶（1764年—1814年） ，字仲冶，一字柳门，其故乡四川遂宁城西有船山，因以为号。因善画猿，亦自号“蜀山老猿”。清四川潼川州遂宁县黑柏沟（今属遂宁市蓬溪县）人。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22c2eb7921b6a475228e6505d56b4c.jpg",[],{"id":37855,"slug":37856,"title":37857,"dynasty":18,"author":37858,"museum":107,"description":37859,"tags":37860,"thumbUrl":37861,"material":751,"size":752,"collection":95,"collections":37862,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241236,"xing-shu-ci-zhou-jiang-shi-quan-241236","行书词轴","蒋士铨","蒋士铨（1725年12月1日—1785年4月3日），字心馀、苕生、蕖生，号藏园，又号清容居士，晚号定甫。出生于江西南昌。老家江西铅（yán）山。祖籍浙江长兴。",[18,60,75,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfd88bffd35f5f7bb832eb0d5609f537.jpg",[],{"id":37864,"slug":37865,"title":37866,"dynasty":45,"author":26229,"museum":107,"description":37867,"tags":37868,"thumbUrl":37869,"material":751,"size":752,"collection":95,"collections":37870,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241228,"qi-lv-shi-juan-chen-xian-zhang-241228","七律诗卷","陈献章（1428年11月27日—1500年3月9日），字公甫，别号石斋，人称白沙先生，广州府新会县白沙里（今广东省江门市蓬江区白沙街道）人。明朝杰出的思想家、哲学家、教育家、书法家、诗人、古琴家，岭南地区唯一从祀孔庙的大儒、明朝从祀孔庙的四人之一、心学的奠基者，后世尊为“圣代真儒”、“圣道南宗”、“岭南一人”。\n正统十二年。考中秀才，进入国子监读书。景泰二年，拜江西学者吴与弼为师，成化二年，复游太学入京，得到国子祭酒邢让推荐，出任吏部主事，辞官回乡，聚徒讲学。成化十九年，明宪宗授翰林院检讨，居乡讲学，屡荐不起，研究心学方法。 弘治十三年（1500年），陈献章病逝，终年72岁，谥号“文恭”。\n万历初年，从祀孔庙，著有《白沙子全集》。陈献章提出“学贵知疑”教育理论，强调“提出问题”之于学习与成长的重要意义，逐渐形岭南学派，倡导的白沙心学，打破程朱理学沉闷和僵化的模式，开启明代心学先河，成为宋明理学史上是一个承前启后、转变风气的关键人物，推崇倡导涵养心性、静养“端倪”之说，推动明代儒学实现了由理学向心学的转变，成为儒学发展史上的一个重要转折点。高扬“宇宙在我”的主体自我价值，突出个人在天地万物中的存在意义，对整个明代文人精神的取向产生了深刻影响。",[7,25,49,60,4038,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff043b0fe5d59c2e354cb465e0ecb0432.jpg",[],{"id":37872,"slug":37873,"title":18391,"dynasty":45,"author":37874,"museum":107,"description":37875,"tags":37876,"thumbUrl":37877,"material":312,"size":95,"collection":96,"collections":37878,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241223,"qi-jue-zhou-chen-liu-241223","陈鎏","字子兼，别号雨泉，吴县（今江苏苏州）人。嘉靖十七年（1538）进士，除工部营缮主事，累官至四川右布政使。诗文冲远有致，书法尤精绝。工小楷。出入钟欧，自篆、隶、行、草、擘窠以逮笺疏、榜署书，尤丰媚遒逸，有天然趣。卒年七十。 著有《已宽堂集》。",[4038,7,60,75,50,312,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125ced80709d2875179352206abc7bac.jpg",[96],{"id":37880,"slug":37881,"title":37882,"dynasty":45,"author":37883,"museum":107,"description":37884,"tags":37885,"thumbUrl":37886,"material":312,"size":95,"collection":96,"collections":37887,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241219,"wu-lv-er-shou-zhou-dang-chong-ya-241219","五律二首轴","党崇雅","党崇雅（1584年—1666年），字于姜，明末清初陕西省宝鸡市蟠龙镇人。\n明天启5年（1625）进士。累观官户部侍郎，督饷天津。清顺治元年（1644）在通州降大顺，仍于户部任职，同年6月降清，以原职赴京补用，9月改任刑部侍郎。以明律为基础，草拟成《大清律集解附例》。顺治元年（1644）秋，上奏将施死刑分为立决和监候，建议恢复朝审和秋审。顺治六年（1649），为刑部尚书、太子太保，顺治八年（1651）改户部，顺治九年（1652）请老归。顺治十一年（1654）特旨起用授翰林国史院大学士加太保兼太子太傅，时人呼为党阁老。顺治十三年（1656）再乞休，获准。\n被列入中国历代名相录，明清时期宝鸡政治地位最高、历史影响最大的文化名人。",[4038,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e22916986bad572a3300334c732211.jpg",[96],{"id":37889,"slug":37890,"title":24648,"dynasty":45,"author":37891,"museum":107,"description":37892,"tags":37893,"thumbUrl":37894,"material":751,"size":752,"collection":95,"collections":37895,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},241218,"qi-lv-shi-zhou-fei-dao-yong-241218","费道用","明熹宗天启四年（公元1624年）举人，明思宗崇祯四年（公元1631年）进士。授福建福清县知县。到任三个月能知其乡语，市人经他看见过，再见即能判别为谁人。为官廉洁，正赋补不取耗银，崇学奖士，建桥，诸多善政。后因执法不徇私情为当地土豪劣绅所中伤。被劾。老百姓如同失去慈父母。上官知道他的廉洁后也叹息道：海口有口，福清真清矣！后经台臣杨鹗上疏鸣其冤，迁补兵部职方司郎中，转吏部考功司，卒。著有《碧桃轩集》，已失传。《黔诗纪略》录其诗十六首。",[4038,398,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1226335cf3a655818fd05774f383713e.jpg",[],{"id":37897,"slug":37898,"title":37899,"dynasty":18,"author":27924,"museum":107,"description":27925,"tags":37900,"thumbUrl":37901,"material":751,"size":752,"collection":95,"collections":37902,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},241202,"zhuan-shu-zhi-guo-lun-zhou-wu-da-cheng-241202","篆书知过论轴",[457,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e8ed5b9e3ba360deb0527fa6b21d34.jpg",[],{"id":37904,"slug":37905,"title":37906,"dynasty":18,"author":2132,"museum":107,"description":37907,"tags":37908,"thumbUrl":37909,"material":751,"size":752,"collection":95,"collections":37910,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241201,"yang-yi-sun-zhuan-shu-shi-yi-yan-lian-yang-yi-sun-241201","杨沂孙篆书十一言联","杨沂孙1812或1813—1884(嘉庆十七年—光绪十年)，清代书法家。字子舆，一作子与，号泳春，晚号濠叟，观濠居士、江苏常熟人。道光二十三年（一八四三）举人，官至凤阳知府。工钟鼎、石鼓、杨沂孙篆、隶与邓石如颉颃。气魄不及，而丰神过之。偶刻印，亦彬雅迈伦。",[2135,7,457,2136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0712d44e9e76b5449a661dbfc9481512.jpg",[],{"id":37912,"slug":37913,"title":2282,"dynasty":45,"author":37914,"museum":107,"description":37915,"tags":37916,"thumbUrl":37917,"material":751,"size":752,"collection":95,"collections":37918,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241188,"shou-zha-ge-yi-long-241188","葛一龙","葛一龙. （1567—1640）明苏州府吴县洞庭山人，字震甫。以读书好古致家道中落。后入资为郎，选授云南布政司理问，寻谢归。有诗名，人称葛髯。",[23,25,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa48ae9e4ec3a5678857b5f211e7628c7.jpg",[],{"id":37920,"slug":37921,"title":37922,"dynasty":18,"author":13860,"museum":107,"description":37923,"tags":37924,"thumbUrl":37926,"material":751,"size":752,"collection":95,"collections":37927,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241172,"wo-suo-si-ci-zhou-qian-feng-241172","我所思词轴","字东注，一字约甫，号南园，云南昆明人，清代大臣、书画家。\n乾隆三十六年（1771年）进士，授检讨，官至御史。曾疏言和珅为军机，办事不遵制度，因授稽察军机处之任。和珅知其家贫裘薄，凡劳苦事多委之，积劳成疾死。书法逼近平原，尝兴酣画马识者珍之。有《南园集》。",[75,7,60,77,116,54,37925,1679],"江隈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0386b935d241412373e7e129edbf55b5.jpg",[],{"id":37929,"slug":37930,"title":16214,"dynasty":18,"author":10912,"museum":107,"description":16215,"tags":37931,"thumbUrl":37932,"material":751,"size":752,"collection":95,"collections":37933,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},241156,"wang-duo-wu-lv-shi-zhou-wang-duo-241156",[7,60,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F101f9c29ea1c21a5c90b2a19f707b14b.jpg",[],{"id":37935,"slug":37936,"title":37937,"dynasty":45,"author":31902,"museum":107,"description":37938,"tags":37939,"thumbUrl":37940,"material":312,"size":95,"collection":96,"collections":37941,"showCount":581,"zanCount":882,"manualWeight":39,"mainColor":40},241087,"you-chong-hua-si-shi-juan-chen-yi-241087","游崇化寺诗卷","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡。 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。\n陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[45,60,7,49,131,651,845,360,31191,282,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[96],{"id":37943,"slug":37944,"title":37945,"dynasty":45,"author":37946,"museum":107,"description":37947,"tags":37948,"thumbUrl":37949,"material":312,"size":95,"collection":96,"collections":37950,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241082,"gu-lin-zhi-shi-ting-deng-shu-zha-juan-gu-lin-241082","顾璘至石亭等书札卷","顾璘","顾璘（1476年－1545年），字华玉，号东桥居士，世称“东桥先生”，长洲（今江苏省吴县）人，寓居上元（今江苏省南京市）。 [1] 明代政治家、文学家。\n顾璘于明孝宗弘治九年（1496年）登进士第，历任广平知县、开封知府、全州知州、台州知府、浙江布政使。期间参与平定刘六、刘七起义，政绩显著。嘉靖十六年（1537年）再度被启用为湖广巡抚，后升至工部尚书。嘉靖二十三年（1544年），以南京刑部尚书之职致仕归里，建成息园，时常与宾客置酒高会、诗文唱和。嘉靖二十四年（1545年）去世，享年七十岁。\n顾璘少有才名，以诗著称于时，与刘元瑞、徐祯卿并称“江东三才”，与陈沂、王韦、朱应登并称“金陵四大家”， [1] 顾璘亦是弘治十才子之一。著有《浮湘集》《山中集》《息园诗文稿》等。又曾评注杨士弘《唐音》。",[23,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b81495bbea7aed66ceb820bd011dfa2.jpg",[96],{"id":37952,"slug":37953,"title":37954,"dynasty":18,"author":37955,"museum":107,"description":37956,"tags":37957,"thumbUrl":37958,"material":312,"size":95,"collection":96,"collections":37959,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241067,"lv-liu-liang-shi-juan-lv-liu-liang-241067","呂留良诗卷","呂留良","吕留良（1629—1683），明末清初杰出的学者、思想家、诗人和时文评论家、出版家。又名光轮，一作光纶，字庄生，一字用晦，号晚村，别号耻翁、南阳布衣、吕医山人等，暮年为僧，名耐可，字不昧，号何求老人。浙江崇德县（今浙江省桐乡市崇福镇）人。\n顺治十年应试为诸生，后隐居不出。康熙间拒应满清的鸿博之征，后削发为僧。死后，雍正十年被剖棺戮尸，子孙及门人等或戮尸，或斩首，或流徙为奴，罹难之酷烈，为清代文字狱之首。\n吕留良著述多毁，现存《吕晚村先生文集》《东庄诗存》。",[7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef5c772338fd427f0f598422ea971a9.jpg",[96],{"id":37961,"slug":37962,"title":37963,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":37964,"thumbUrl":37965,"material":751,"size":752,"collection":95,"collections":37966,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241052,"lan-ting-kao-zhou-weng-fang-gang-241052","兰亭考轴",[75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b771b8b3f0a63b882a2d5f1e3e6292.jpg",[],{"id":37968,"slug":37969,"title":23662,"dynasty":45,"author":14822,"museum":107,"description":28023,"tags":37970,"thumbUrl":37971,"material":751,"size":752,"collection":95,"collections":37972,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241026,"wu-lv-zhou-huang-dao-zhou-241026",[45,7,60,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4684f7bed44d4b9423b6411f553be237.jpg",[],{"id":37974,"slug":37975,"title":37976,"dynasty":45,"author":35782,"museum":126,"description":35783,"tags":37977,"thumbUrl":37978,"material":312,"size":37979,"collection":96,"collections":37980,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240987,"lin-jie-jin-shi-juan-cai-yu-240987","临解缙诗卷",[92,24,25,49,110,60,398,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5159effe01a06bec1341cac211334d52.jpg","纵29厘米，横822.2厘米",[96],{"id":37982,"slug":37983,"title":37984,"dynasty":18,"author":37985,"museum":37986,"description":37987,"tags":37988,"thumbUrl":37989,"material":184,"size":37990,"collection":96,"collections":37991,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240986,"jiang-shu-zhai-lin-tie-zhou-jiang-shu-zhai-240986","姜淑斋临帖轴","姜淑斋","青岛市博物馆","姜淑斋生卒不详，活动于公元十七世纪。女，山东青岛胶州人。号广平内史。精于行草，师法二王，得力于《十七帖》。上图草书临王羲之《司州帖》,凡四行。用笔稳劲秀润，精微入神，连绵大草跌宕起伏，纵肆牵连中别具遒迈之姿。笔力矫健，不类女子。",[7,110,75,398,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ee28c59e0340327e76871eb5e4f959.jpg","纵224.5， 横52厘米",[96],{"id":37993,"slug":37994,"title":37995,"dynasty":45,"author":37996,"museum":107,"description":37997,"tags":37998,"thumbUrl":37999,"material":751,"size":752,"collection":95,"collections":38000,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240971,"lin-huai-su-zi-xu-juan-huang-cong-240971","临怀素自叙卷","黄琮","黄琮为宋朝官吏，字子方，莆田人（生卒不详）,唐校书郎黄璞的后裔，宋哲宗元符三年（1100年）中进士，授长溪县县尉，县尉主管社会治安。每次派员下乡巡查，他总是预先约束手下官吏，不得任意骚扰百姓。遇有重大巡查急务，他从不向地方百姓派款派夫，因此深得百姓敬重。",[23,7,398,110,49,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21816f438bb9fedc54d6eb2696ac1166.jpg",[],{"id":38002,"slug":38003,"title":38004,"dynasty":179,"author":38005,"museum":107,"description":38006,"tags":38007,"thumbUrl":38008,"material":751,"size":752,"collection":95,"collections":38009,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},240934,"miao-fa-lian-hua-jing-ce-juan-liu-zhao-you-chen-240934","妙法莲花经册卷六","赵由宸","赵由宸，字明仲，号云石道人，居歸安縣崇禮鄉建德里。孟頫五兄孟頖之子。",[25,7,386,878,26,199,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21757edd2d16b904ad46c95919788a97.jpg",[],{"id":38011,"slug":38012,"title":28217,"dynasty":179,"author":454,"museum":107,"description":21138,"tags":38013,"thumbUrl":38014,"material":751,"size":752,"collection":95,"collections":38015,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},240932,"wu-kuan-lin-huang-ting-jing-juan-yi-ming-240932",[7,110,199,49,25,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ea598e181e5f33c88722efa21b3f7c.jpg",[],{"id":38017,"slug":38018,"title":38019,"dynasty":45,"author":19108,"museum":107,"description":24598,"tags":38020,"thumbUrl":38021,"material":751,"size":752,"collection":95,"collections":38022,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240924,"shu-shi-he-juan-ni-yuan-lu-240924","书诗合卷",[7,60,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd41c1f5cadd905d68619273d30ccdc.jpg",[],{"id":38024,"slug":38025,"title":38026,"dynasty":45,"author":454,"museum":107,"description":38027,"tags":38028,"thumbUrl":38029,"material":751,"size":752,"collection":95,"collections":38030,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240910,"lu-yi-fen-xiang-lian-ju-juan-yi-ming-240910","陆釴焚香联句卷","开篇以擘窠大字落笔，墨色淋漓沉厚，笔力雄健苍浑，开张大气。后随行草长卷，笔锋灵动跳脱，笔墨枯湿浓淡富于层次变化，行气舒展连贯，将联句唱和的文思缓缓铺陈。\n\n通篇字里行间尽显文人雅集焚香清赏的幽远意趣，钤印朱红错落，与墨色相互映衬，古雅氛围愈浓，是兼具书法审美价值与文人雅致情怀的精品。",[24,25,49,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e6652642f379f32bd4b9b3488cf677.jpg",[],{"id":38032,"slug":38033,"title":17924,"dynasty":45,"author":31602,"museum":107,"description":38034,"tags":38035,"thumbUrl":38036,"material":751,"size":752,"collection":95,"collections":38037,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240898,"shi-zhou-zhang-jun-240898","张骏，字天骏，号南山，华亭（今上海松江）人，明代书法家，与张弼齐名，时号”二张”。",[4038,7,398,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d6093d2c9584f8ce27225d61a76e25.jpg",[],{"id":38039,"slug":38040,"title":38041,"dynasty":18,"author":19125,"museum":107,"description":19126,"tags":38042,"thumbUrl":38043,"material":751,"size":752,"collection":95,"collections":38044,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240882,"wu-xi-zai-zhuan-shu-lin-wan-bai-shan-ren-shu-zhou-wu-xi-zai-240882","吴熙载篆书临完白山人书轴",[2135,457,110,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0406e331edf340ba893b07fbb4b8ae54.jpg",[],{"id":38046,"slug":38047,"title":38048,"dynasty":45,"author":31460,"museum":107,"description":38049,"tags":38050,"thumbUrl":38051,"material":751,"size":752,"collection":95,"collections":38052,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240875,"gan-lu-si-shi-zhou-li-dong-yang-240875","甘露寺诗轴","李东阳（1447年－1516年），字宾之，号西涯，湖广茶陵縣（今湖南茶陵）人，金吾左衛軍籍，明朝中葉重臣，文学家，书法家，茶陵诗派的核心人物。",[4038,7,25,75,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b493183814979fe6aee66e9bd9f415.jpg",[],{"id":38054,"slug":38055,"title":38056,"dynasty":18,"author":38057,"museum":107,"description":38058,"tags":38059,"thumbUrl":38060,"material":751,"size":752,"collection":95,"collections":38061,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240806,"zhuan-shu-yu-lu-zhou-qian-dian-240806","篆书语录轴","钱坫","钱坫[dian]（1744—1806）江苏嘉定（今属上海嘉定区）人。清代书家。字献之，号小兰、十兰。自署泉坫。钱大昕之侄。乾隆三十九年（1774）举人，累官知乾州、兼署武功县。生平改经史。精训诂，明舆地，尤工小篆；晚年偏废，左手作篆尤精绝，兼善铁毫。间亦作画，其墨梅有寒瘦清古之致。",[2135,457,7,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3ff9569f9b5e16df47b0690e2e6f623.jpg",[],{"id":38063,"slug":38064,"title":35534,"dynasty":162,"author":454,"museum":107,"description":38065,"tags":38066,"thumbUrl":38067,"material":751,"size":752,"collection":95,"collections":38068,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240802,"wu-kuan-xie-jing-can-juan-yi-ming-240802","此卷小楷气脉贯通，千余字排布齐整却灵动自然，尽显唐人写经典型韵致。结体以方整为基调，暗含欹侧之势，点画饱满圆融，起收笔带着淡淡篆隶古意，质朴雅致。\n\n朱笔校勘的痕迹错落其间，为古卷添上鲜活的人间烟火气，隐约可见抄经手虔敬沉潜的书写日常。泛黄的纸色衬着历久弥醇的墨色，字字安稳端严，既有宗教写经的恭谨肃穆，又不失文人小楷的舒展自在，是唐代民间书法造诣的极佳体现，亦是唐人日常书写的珍贵实物范本。",[23,7,386,199,49,432,433,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae2a504010c28d09d122872cc9a10cb2.jpg",[],{"id":38070,"slug":38071,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":38073,"thumbUrl":38074,"material":751,"size":752,"collection":96,"collections":38075,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240750,"shu-zha-ce-li-hong-zao-240750","李鸿藻",[7,60,26,17657,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388e390d504ab77cc2ae8c655dece775.jpg",[96],{"id":38077,"slug":38078,"title":33181,"dynasty":45,"author":24487,"museum":107,"description":24488,"tags":38079,"thumbUrl":38080,"material":751,"size":752,"collection":95,"collections":38081,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240679,"shou-shi-zhou-zou-zhi-lin-240679",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03445ab46a1c365fd5e943c67672fdff.jpg",[],{"id":38083,"slug":38084,"title":38085,"dynasty":18,"author":9119,"museum":107,"description":31074,"tags":38086,"thumbUrl":38087,"material":751,"size":752,"collection":95,"collections":38088,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240673,"ruan-yuan-qi-yan-lian-ruan-yuan-240673","阮元七言联",[7,25,2136,457,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f1e89d7e8c5322e306e0efd9739443.jpg",[],{"id":38090,"slug":38091,"title":38092,"dynasty":45,"author":35309,"museum":107,"description":35310,"tags":38093,"thumbUrl":38094,"material":751,"size":752,"collection":95,"collections":38095,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240668,"zhuan-shu-shi-zhou-wang-shu-240668","篆书诗轴",[457,75,7,77,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d7ede05040a2db527e6dfb0d3fee88.jpg",[],{"id":38097,"slug":38098,"title":31476,"dynasty":18,"author":31050,"museum":107,"description":31051,"tags":38099,"thumbUrl":38100,"material":751,"size":752,"collection":95,"collections":38101,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240649,"lin-tie-zhou-liang-tong-shu-240649",[7,60,110,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f52bab74abe53c9f4142d2a78f49f70.jpg",[],{"id":38103,"slug":38104,"title":10545,"dynasty":45,"author":38105,"museum":107,"description":38106,"tags":38107,"thumbUrl":38108,"material":751,"size":752,"collection":95,"collections":38109,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240632,"wu-yan-lian-mi-wan-zhong-240632","米万钟","米万钟（1570—1628年），字仲诏，号友石，又号海淀渔长、石隐庵居士，原籍陕西安化，后当锦衣卫，居北京，米芾后裔。明万历二十三年（1595年）进士，后任江西按察使。天启五年（1625年）被魏忠贤党人倪文焕弹劾，降罪削籍。崇祯元年（1628年）复官，仕至太仆少卿，卒于官。有好石之癖，又能画石。善画山水、花竹。书法行、草得家法，与董其昌齐名，称“南董北米”。书迹流传甚多。著《篆隶考讹》二卷。",[4038,7,2136,398,50,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eaa35b0cca6278d55461150c45c4fb.jpg",[],{"id":38111,"slug":38112,"title":38113,"dynasty":18,"author":38114,"museum":107,"description":38115,"tags":38116,"thumbUrl":38117,"material":751,"size":752,"collection":95,"collections":38118,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240630,"mei-hua-shi-juan-gu-ling-240630","梅花诗卷","顾苓","顾苓（1609~1682年后）字云美、一字员美，号塔影园客、荆蛮、浊斋居士，明遗民，篆刻取法文彭，有时誉，工隶书，取法《夏承碑》。",[23,49,25,7,60,457,50,77,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ff0561728ca116be32ed714cf08a94.jpg",[],{"id":38120,"slug":38121,"title":38122,"dynasty":45,"author":38123,"museum":107,"description":38124,"tags":38125,"thumbUrl":38126,"material":312,"size":95,"collection":96,"collections":38127,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240598,"wu-jia-kai-ren-zhai-shi-juan-lu-xiang-240598","五家楷忍斋诗卷","庐襄","大观元年（1107）进士，解褐提举淮南西路学事，宣和七年（1125），由知江宁府迁江南东路提点刑狱，靖康元年（1126）除兵部侍郎，时金兵攻破京都汴梁，因抗敌不力贬谪，后因推册张邦昌建伪政府，建炎初贬谪衡州，晚年归隐烂柯山。与夫人徐氏合塟衢州西安县十八都天保乡新碓高圹之地。着有《西征记》、《烂柯集》存世，其中尤以编著《锦绣万花谷》而享誉当世。",[23,7,199,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd199c5b931b018637135471e98fee52.jpg",[96],{"id":38129,"slug":38130,"title":38131,"dynasty":45,"author":38132,"museum":72,"description":38133,"tags":38134,"thumbUrl":38135,"material":312,"size":95,"collection":96,"collections":38136,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240580,"po-yang-hu-wan-po-shi-juan-lu-ying-yang-240580","鄱阳湖晚泊诗卷","陆应阳","陆应阳. 生卒年不祥。字伯生。明江苏青浦人。晚年移居郡城，即松江府。",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a20818015d5300f365a9183f37962c7.jpg",[96],{"id":38138,"slug":38139,"title":38140,"dynasty":45,"author":38141,"museum":107,"description":38142,"tags":38143,"thumbUrl":38144,"material":751,"size":752,"collection":95,"collections":38145,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},240577,"shi-ba-jia-xing-xi-cheng-yan-ji-shi-ge-jia-shu-shi-zhou-yang-shi-qi-240577","十八家行西城宴集诗各家书诗轴","杨士奇","杨士奇（1365年－1444年），男，汉族，本名杨寓，字士奇，号东里，吉安府泰和县（今江西省泰和县澄江镇）人。明朝初年重臣、学者。\n杨士奇自少丧父，游学四方，至建文帝时方才受召修撰《明太祖实录》，授翰林院编修。明成祖即位，迁太子侍讲，辅佐明仁宗，迁礼部侍郎、少师、华盖殿大学士，兼任兵部尚书。他先后历经五朝，任内阁辅臣四十余年，任首辅二十一年，与杨荣、杨溥等同心辅政，并称“三杨”，时人称之“西杨”。并以“学行”见长，先后担任《明太祖实录》、《明仁宗实录》、《明宣宗实录》总裁。后因其子杨稷杀人案而自请致仕归乡，自此忧虑患病。\n正统九年（1444年），杨士奇去世，年八十。获赠左柱国、太师，谥号“文贞”。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb9c22a715255e3260c41bfc2e38385.jpg",[],{"id":38147,"slug":38148,"title":22728,"dynasty":45,"author":31332,"museum":107,"description":38149,"tags":38150,"thumbUrl":38151,"material":751,"size":752,"collection":95,"collections":38152,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240573,"shi-juan-jin-cong-240573","金琮(1449--1501)，明代人，字元玉，自号赤松山农，金陵(今南京)人。少聪颖，好吟咏，善书画，年十二、三即能大书。初法赵孟頫，晚学张雨。画梅学扬无咎。",[23,7,25,49,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e6658ce02a9d8fe0d3506811041ff1.jpg",[],{"id":38154,"slug":38155,"title":38156,"dynasty":18,"author":38157,"museum":107,"description":38158,"tags":38159,"thumbUrl":38160,"material":751,"size":752,"collection":95,"collections":38161,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240560,"zhuan-shu-lu-yu-zhou-deng-chuan-mi-240560","篆书录语轴","邓传密","邓传密（1795年-1870年），原名尚玺，字守之，号少白，安徽怀宁人，清代书法家，学者，邓石如之子。",[457,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde752e4b25b74170f69901149e4637c3.jpg",[],{"id":38163,"slug":38164,"title":38165,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":38166,"thumbUrl":38167,"material":751,"size":752,"collection":95,"collections":38168,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240554,"zhuan-shu-qi-jue-ye-ai-xin-jue-luo-yong-xing-240554","篆书七绝页",[7,457,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34d422d29c5c1a16ff710fa60c7f6c0.jpg",[],{"id":38170,"slug":38171,"title":15141,"dynasty":45,"author":8019,"museum":107,"description":38172,"tags":38173,"thumbUrl":38174,"material":751,"size":752,"collection":95,"collections":38175,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240514,"qian-zi-wen-juan-xu-guang-zuo-240514","许光祚[明]（约公元一六一九年前后在世）字灵长，陕西人。生卒年及生平均不详，约明神宗万历末前后在世。能诗，格调平易，著有《灵长集》初集，见《四库总目》。",[23,7,25,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7de505d99141eefb4f4755d6d614e2.jpg",[],{"id":38177,"slug":38178,"title":29275,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":38179,"thumbUrl":38180,"material":751,"size":752,"collection":95,"collections":38181,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240498,"ba-yan-lian-weng-fang-gang-240498",[7,60,2136,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f4f4e50726a7c3c50215f4006c689b9.jpg",[],{"id":38183,"slug":38184,"title":17924,"dynasty":45,"author":38185,"museum":107,"description":38186,"tags":38187,"thumbUrl":38188,"material":751,"size":752,"collection":95,"collections":38189,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240487,"shi-zhou-zhang-dao-240487","张道","张道（？－？），字以中，江西九江府湖口县人，民籍，明朝政治人物。",[4038,75,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0945fbc620d1f8d256adbdb382ff0d97.jpg",[],{"id":38191,"slug":38192,"title":27869,"dynasty":18,"author":38193,"museum":107,"description":38194,"tags":38195,"thumbUrl":38196,"material":751,"size":752,"collection":95,"collections":38197,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240484,"lun-shu-zhou-di-da-kun-240484","翟大坤","翟大坤（？—1804）清代画家。字子垕，号雪屏，后病耳，又自号无闻子，本籍浙江嘉兴，寄居吴门（今江苏苏州）。性萧散好书、画，书学十七帖、孙过庭。",[25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78fc353b9b7ec09b410959d636298c6c.jpg",[],{"id":38199,"slug":38200,"title":38201,"dynasty":45,"author":9498,"museum":107,"description":38202,"tags":38203,"thumbUrl":38204,"material":751,"size":752,"collection":95,"collections":38205,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240467,"si-jia-shu-shi-juan-du-da-zhong-240467","四家书诗卷","杜大中. 子庸、山堂居士，江苏苏州人擅长书法",[23,92,24,25,49,50,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f506310945bfccd44737a8912f9eb8.jpg",[],{"id":38207,"slug":38208,"title":38209,"dynasty":18,"author":38210,"museum":107,"description":38211,"tags":38212,"thumbUrl":38213,"material":751,"size":752,"collection":95,"collections":38214,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},240448,"xing-kai-shi-zhou-mou-ri-zao-240448","行楷诗轴","缪日藻","缪曰藻（1682年－1761年），字文子、一字彤子，号南有居士，江南省苏州府吴县人。清朝官员。",[3135,199,60,75,7,77,14990,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f045d9533be6654eb18e709e1739e79.jpg",[],{"id":38216,"slug":38217,"title":17924,"dynasty":45,"author":1452,"museum":107,"description":29147,"tags":38218,"thumbUrl":38219,"material":751,"size":752,"collection":95,"collections":38220,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240400,"shi-zhou-chen-ji-ru-240400",[45,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966373256383c4be941d0b935fe55fbd.jpg",[],{"id":38222,"slug":38223,"title":35649,"dynasty":18,"author":30025,"museum":107,"description":38224,"tags":38225,"thumbUrl":38226,"material":751,"size":752,"collection":95,"collections":38227,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240303,"qi-xiang-ting-shu-zha-juan-yuan-mei-240303","袁枚（1716年3月25日～1798年1月3日），字子才，号简斋，晚年自号仓山居士、随园主人、随园老人。钱塘（今浙江省杭州市）人，祖籍浙江慈溪。清朝诗人、散文家、文学批评家和美食家。\n袁枚少有才名，擅长写诗文。乾隆四年（1739年），进士出身，授翰林院庶吉士。乾隆七年（1742年），外调江苏，先后于溧水、江宁、江浦、沭阳共任县令七年，为官政治勤政颇有声望，但仕途不顺，无意吏禄。乾隆十四年（1749年），辞官隐居于南京小仓山随园，吟咏其中，广收诗弟子，女弟子尤众。嘉庆二年（1798年），袁枚去世，享年82岁，去世后葬在南京百步坡，世称“随园先生”。\n袁枚倡导“性灵说”，主张诗文审美创作应该抒写性灵，要写出诗人的个性，表现其个人生活遭际中的真情实感，与赵翼、蒋士铨合称为“乾嘉三大家”（或江右三大家），又与赵翼、张问陶并称“性灵派三大家”，为“清代骈文八大家”之一。文笔与大学士纪昀齐名，时称“南袁北纪”。主要著作有《小仓山房文集》《随园诗话》及《随园诗话补遗》《随园食单》《子不语》《续子不语》等。散文代表作《祭妹文》，古文论者将其与唐代韩愈的《祭十二郎文》并提。",[23,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3444ea5ca672b6b8c49ad5234a829b.jpg",[],{"id":38229,"slug":38230,"title":38231,"dynasty":18,"author":14665,"museum":107,"description":35676,"tags":38232,"thumbUrl":38233,"material":751,"size":752,"collection":95,"collections":38234,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240298,"shi-tie-zhou-da-chong-guang-240298","诗帖轴",[7,60,75,50,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34b9e6661114584d2fa6a44acdc03a8e.jpg",[],{"id":38236,"slug":38237,"title":38238,"dynasty":18,"author":7498,"museum":107,"description":17802,"tags":38239,"thumbUrl":38240,"material":751,"size":752,"collection":95,"collections":38241,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240286,"zheng-fu-shi-zhou-zheng-fu-240286","郑簠诗轴",[2135,7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd684c855b88c8e61ade33f21058d3bc.jpg",[],{"id":38243,"slug":38244,"title":38245,"dynasty":45,"author":38246,"museum":107,"description":38247,"tags":38248,"thumbUrl":38249,"material":38250,"size":95,"collection":63,"collections":38251,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240244,"heng-shan-wu-yan-shi-zhou-lu-wang-240244","恒山五言诗轴","鲁王","此作用笔纵逸奔放，草书笔势连绵缠绕，牵丝映带间尽显潇洒放逸气度。浓墨丰润，枯笔苍劲，虚实相生相映，每一字皆顾盼有情，行气贯通无间，将诗作意境与草书抒情性融为一体。章法疏密错落，通篇气韵酣畅，尽显书家挥毫时的快意心境，带着晚明书法特有的浪漫疏放风神，笔底藏着文人诗意的舒展，是宗室书法中颇具才情的精妙之作。",[7,75,398,77,14603,133,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6aa3332810a59fc95a20d3b1644dd1.jpg","收录中….",[63],{"id":38253,"slug":38254,"title":38255,"dynasty":45,"author":454,"museum":107,"description":38256,"tags":38257,"thumbUrl":38258,"material":312,"size":95,"collection":96,"collections":38259,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240204,"zhang-zhen-xian-qi-lv-shi-ye-yi-ming-240204","张振先七律诗页","此作为行书七律诗页，笔致灵动秀逸，行气连贯畅达。起收转合间利落自然，牵丝映带尽显书写时的悠然韵律，粗细提按富有层次变化，将明人行书尚态的特质融于笔墨之中。通篇疏密排布得当，气息冲淡平和，以书法线条晕染出诗作里山居春日的静雅况味，把乡野幽居的闲适心境依托笔墨流转传递而出，诗书相融，尽显文人雅趣，是一件意韵悠长的书法小品。",[4038,25,7,60,77,312,4347,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6376044a439460565d2a209471703be3.jpg",[96],{"id":38261,"slug":38262,"title":26787,"dynasty":18,"author":38263,"museum":107,"description":38264,"tags":38265,"thumbUrl":38269,"material":312,"size":95,"collection":96,"collections":38270,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},240197,"qi-jue-shi-zhou-li-xian-gen-240197","李仙根","李仙根（1621-1690），字子靜，號南津，人稱“李侍郎”，四川遂寧船山區人。清代著名書法家、外交家。仙根為有清一代四川唯一榜眼，遂寧史上科名最高者。父李實，明代語言學家，知長洲縣。母為呂大器女，呂潛之姊。仙根與清代廉吏張鵬翮同籍，家在遂寧書枱山下。1654年參加四川鄉試，中舉。1661年參加順治十八年辛丑科會試，中進士。殿試廷對第二，成榜眼。1668到1669年奉使安南，為有清一代外交名臣。撰有《安南使事紀要》等。",[25,75,60,7,77,38266,38267,22229,38268],"槐柳","曙色","天阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287d8f51f8cee8664ad39cd06b7fc010.jpg",[96],{"id":38272,"slug":38273,"title":12680,"dynasty":18,"author":10912,"museum":107,"description":16215,"tags":38274,"thumbUrl":38275,"material":751,"size":752,"collection":95,"collections":38276,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},240190,"wang-duo-shi-zhou-wang-duo-240190",[75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32a7862e59a7016764893478baa0662.jpg",[],{"id":38278,"slug":38279,"title":38280,"dynasty":45,"author":454,"museum":107,"description":38281,"tags":38282,"thumbUrl":38283,"material":95,"size":95,"collection":96,"collections":38284,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},240175,"wu-kuan-zheng-de-jiu-nian-chi-gao-fang-ji-qi-yang-shi-juan-yi-ming-240175","无款正德九年敕高淓及妻杨氏卷","此作为典型明代诰敕文书，以馆阁体书就，笔力沉实匀净，点画工整流丽，通篇字势端方厚重，尽显庙堂仪制的庄严肃穆。四方朱印朱砂饱满雄浑，朱红与墨色相映，古雅庄重。\n\n卷尾题跋笔墨稍见灵动，与敕书的规整形成反差，补述家世生平，让这份官方文书兼具典重与私人温情。泛黄绢面带着岁月晕染的包浆，沉淀出明代职官封赠制度的缩影，藏着大明宦途荣宠的百年旧影，静静诉说着旧时恩典的郑重与仕人荣光。",[92,24,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac920e269f338f2e0a84f180673c192d.jpg",[96],{"id":38286,"slug":38287,"title":38288,"dynasty":18,"author":17883,"museum":107,"description":22756,"tags":38289,"thumbUrl":38290,"material":751,"size":752,"collection":95,"collections":38291,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240172,"shi-wen-zhou-weng-fang-gang-240172","诗文轴",[2135,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3773b2b829e3ad2a5db160e45fcc32.jpg",[],{"id":38293,"slug":38294,"title":9940,"dynasty":18,"author":31188,"museum":107,"description":38295,"tags":38296,"thumbUrl":38297,"material":751,"size":752,"collection":95,"collections":38298,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240136,"qi-yan-lian-yang-shou-jing-240136","杨守敬（1839年6月2日—1915年1月9日），湖北省宜都市陆城镇人，谱名开科，榜名恺，更名守敬，晚年自号邻苏老人。清末民初杰出的历史地理学家、金石文字学家、目录版本学家、书法艺术家、泉币学家、藏书家 。\n杨守敬一生勤奋治学，博闻强记，以长于考证著名于世，是一位集舆地、金石、书法、泉币、藏书以及碑版目录学之大成于一身的大学者。他一生著述达83种之多，被誉为“晚清民初学者第一人”，代表作《水经注疏》，是郦学史上的一座丰碑。",[18,7,2136,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0e6b56425898b0b69723491e90022ec.jpg",[],{"id":38300,"slug":38301,"title":38302,"dynasty":45,"author":454,"museum":107,"description":38303,"tags":38304,"thumbUrl":38307,"material":312,"size":95,"collection":96,"collections":38308,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240115,"shi-gao-ye-yi-ming-240115","诗稿页","此作用笔苍劲灵动，行书间带着草意的疏放，字势错落随性，毫无雕琢匠气。墨色枯湿浓淡相映，枯笔见骨力，润笔显腴润，牵丝映带自然连贯，将书写时的思绪流转藏在笔锋起落之间。\n\n通篇行气疏朗舒展，带着信笔挥毫的松弛意趣，诗书意气尽数融在笔墨中，尽显文人手札特有的鲜活温度，仿佛能窥见挥毫当下的悠然肆意，触摸到那份不拘格律、直抒胸臆的文人风神。",[4038,7,60,50,9679,1679,458,38305,38306],"佳人","雨歇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17184b5c5e86b0892b1609d3f5a67ce3.jpg",[96],{"id":38310,"slug":38311,"title":28124,"dynasty":45,"author":454,"museum":107,"description":38312,"tags":38313,"thumbUrl":38314,"material":312,"size":95,"collection":96,"collections":38315,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240113,"shi-ye-yi-ming-240113","此作行书随性舒展，章法错落自在。墨色富于枯湿浓淡之变，重墨沉凝朴拙，枯笔疏朗萧散，线条圆劲中带着松放意趣。诗稿随性走笔，将感怀心绪寄寓于笔墨起落之间，文思与书情相融无间。\n\n通篇带着疏放自适的风雅意态，无刻意雕琢的匠气，是日常遣兴时的率意挥毫，将文人士子寄情诗酒、闲散自洽的心境展露无遗，尽显手写诗稿独有的鲜活书卷情致。",[7,60,312,50,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb238ae350d704eeb70b7ba2667db209.jpg",[96],{"id":38317,"slug":38318,"title":28124,"dynasty":18,"author":25094,"museum":107,"description":38319,"tags":38320,"thumbUrl":38321,"material":312,"size":95,"collection":96,"collections":38322,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240112,"shi-ye-wang-shi-zhen-240112","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[60,7,77,50,51,458,845,1002,1677,446,115,679,24641,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[96],{"id":38324,"slug":38325,"title":21902,"dynasty":18,"author":31050,"museum":126,"description":38326,"tags":38327,"thumbUrl":38328,"material":1038,"size":38329,"collection":96,"collections":38330,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240057,"lu-yu-zhou-liang-tong-shu-240057","释文：\n大苏云：把笔无定法，要使虚而宽。欧阳文忠公谓余，当使指运而腕不知，此语最妙。方其运也，左右前后却不免欹侧，及其定也，上下如引绳，此之谓笔正。柳诚悬之语良是。次公同学兄先生。乙巳三月山舟梁同书。\n钤“梁同书印”、“梁氏元颖”朱文印2方。\n此作录文出自苏轼《东坡题跋》卷五之《记欧公论把笔》，阐述执笔用笔之法，对后世颇有影响。作品书于清乾隆五十年（1785年），时梁同书63岁。此作章法疏朗，用笔平和优雅、娴熟精湛，是梁氏中晚期行书之力作。",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d20c2d702a6159359aa63d5828a8969.jpg","纵127.5厘米，横57.8厘米",[96],{"id":38332,"slug":38333,"title":38334,"dynasty":18,"author":38335,"museum":107,"description":38336,"tags":38337,"thumbUrl":38338,"material":312,"size":95,"collection":96,"collections":38339,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240045,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240045","国朝名人手简册-等17人手札","黄宗羲顾炎武","黃宗羲（1610年9月24日－1695年8月12日），浙江餘姚人，字太沖，一字德冰，號南雷，別號梨洲老人、梨洲山人、藍水漁人、魚澄洞主、雙瀑院長、古藏室史臣等，學者稱“梨洲先生”。明遺民。明末清初經學家、史學家、思想家、地理學家、天文歷算學家、教育家。“東林七君子”之一黃尊素長子。\n黃宗羲提出“天下為主，君為客”的民主思想。他説“天下之治亂，不在一姓之興亡，而在萬民之憂樂”，主張以“天下之法”取代皇帝的“一家之法”，從而限制君權，保證人民的基本權利。黃宗羲的政治主張抨擊了封建君主專制制度，有極其重要的意義，對其後反專制鬥爭起了積極的推動作用。\n黃宗羲與顧炎武、王夫之、唐甄並稱“明末清初四大啓蒙思想家”，與顧炎武、方以智、王夫之、朱舜水並稱為“明末清初五大家”，與陝西李顒、直隸容城孫奇逢並稱“海內三大鴻儒”，亦有“中國思想啓蒙之父”之譽。\n黃宗羲學問極博，思想深邃，著作宏富，一生著述多至50餘種，300多卷，其中最為重要的有《明儒學案》《宋元學案》《明夷待訪錄》《孟子師説》《葬制或問》《破邪論》《思舊錄》《易學象數論》《明文海》《行朝錄》《今水經》《大統歷推法》《四明山志》等。\n\n顾炎武（1613年7月15日—1682年2月15日），本名顾绛，字宁人，人称亭林先生，南直隶昆山（今江苏昆山市）人。明末清初的杰出的思想家、经学家、史地学家和音韵学家，与王夫之、黄宗羲、唐甄并称为明末清初“四大启蒙思想家”。 明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[7,60,77,433,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b38e964d38bb9c47b62937ecb85ab38.jpg",[96],{"id":38341,"slug":38342,"title":31485,"dynasty":18,"author":38343,"museum":107,"description":38344,"tags":38345,"thumbUrl":38346,"material":312,"size":95,"collection":96,"collections":38347,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240044,"zi-shu-shi-zhou-du-shou-chang-240044","杜首昌","杜首昌，明末清初人，字湘草，江苏淮安盐商，祖籍山西太原，能诗能书，善行、草书，一时俊彦。颇豪富，以钱买官，修名园（绾秀园），种花草；崇祯十七年暮春，福王避难居其园中，见杜有妹极美，能琴能棋，遂订婚约，并得到杜的资助。杜首昌入清不仕，游历他乡，不肯结交官府，家遂败落。",[24,25,75,50,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb556a3613a19ed66b61a7d8e26a1594b.jpg",[96],{"id":38349,"slug":38350,"title":38351,"dynasty":45,"author":454,"museum":107,"description":38352,"tags":38353,"thumbUrl":38354,"material":751,"size":752,"collection":95,"collections":38355,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240017,"wu-kuan-zheng-de-yuan-nian-jin-feng-ren-he-da-zhang-gong-zhu-chi-shu-juan-yi-ming-240017","无款正德元年进封仁和大长公主敕书卷","此敕书以明内府笺纸书就，浅底描金隐现五爪行龙，朱玺方印色泽沉凝庄重，墨书笔致端稳秀雅，尽显明代官方文书的规整气度。\n敕文为皇帝晋封皇姑之语，措辞温婉恳切，尽显宗室亲睦的礼制风貌。泛黄纸页晕染着时光痕迹，墨色虽经岁年依旧匀净朗润，既承载着明代皇族封典的仪制细节，也展露了明代官方馆阁体书法的端正气质，是兼具历史考据价值与书法审美意趣的珍贵遗存，凝住了大明皇室亲缘礼制的片刻过往。",[7,199,77,359,27,1498,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea41b8ed6d247b53402a84614079609.jpg",[],{"id":38357,"slug":38358,"title":38359,"dynasty":18,"author":38057,"museum":107,"description":38058,"tags":38360,"thumbUrl":38361,"material":751,"size":752,"collection":95,"collections":38362,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240016,"zhuan-shu-zhou-qian-dian-240016","篆书轴",[2135,457,75,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b494e96c1fe8bfdfd03486bbbe03ca.jpg",[],{"id":38364,"slug":38365,"title":21902,"dynasty":18,"author":38366,"museum":107,"description":38367,"tags":38368,"thumbUrl":38369,"material":95,"size":95,"collection":96,"collections":38370,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239948,"lu-yu-zhou-wang-su-239948","王涑","字讲泉，湖州归安（今浙江湖州）籍，寄居柘水。官广西河池州知州。一门善书，其父士锤，笔法尤高，以不入俗眼，且大耄，故求者不多。涑能书得欧、柳法，与钱塘高塏齐名，名噪大江南北，在京师最久。其堂伯即複堂殿撰，京城中以楹帖、园屏、扇、册求书者，始无虚日，恒倩涑捉刀。亦能写墨兰，意在郑思肖、赵孟坚唻臫頭樤之间。　《小蓬莱阁画鉴》、《清朝书画家笔录》",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57407924affdf670842cdb08d38179dc.jpg",[96],{"id":38372,"slug":38373,"title":35534,"dynasty":162,"author":454,"museum":107,"description":38374,"tags":38375,"thumbUrl":38377,"material":95,"size":95,"collection":95,"collections":38378,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239940,"wu-kuan-xie-jing-can-juan-yi-ming-239940","此卷以黄绢为底，墨色清润沉凝。落笔恪守唐写经典型法度，点画匀净秀雅，结体端稳平和，通篇气息庄静雍容，尽显写经人抄经时恭谨的礼佛之心。\n行文排布齐整朗畅，字里行间既有唐人尚法的严谨规制，又带着抄写佛经时的静定气韵，笔墨晕染出禅意清宁。虽为残卷，依旧能窥见唐代写经书法的典型风貌，是释道文化与书法艺术相融的珍贵遗存，静静诉说着千年前的虔敬与风雅。",[7,386,199,1498,38376,77],"残卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941c7fa777e7279982570e5d2926ee47.jpg",[],{"id":38380,"slug":38381,"title":38382,"dynasty":18,"author":38383,"museum":107,"description":38384,"tags":38385,"thumbUrl":38386,"material":95,"size":95,"collection":96,"collections":38387,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239919,"zhi-yuan-shu-ye-liu-si-wan-239919","致元淑页","刘嗣绾","刘嗣绾 （1762年5月2日－1821年8月23日，乾隆二十七年四月初九日－道光元年七月二十六日），字简之，又字芙初，号醇甫。江苏省常州府阳湖县（今属常州市）人。刘于义之玄孙，武进西营刘氏第十五世。清朝翰林，政治人物，学者。专长诗、词、骈文。（清史列传作年六十岁，无卒年。此从补疑年录）少颖异，识量过人。早游京师，知名于时。嘉庆十三年，（公元一八o八年）会试第一，卷进呈，帝道：“朕久知其名，可谓得士矣！”廷试改翰林院庶吉士，散馆，授编修。和平安雅，见义无不为。年五十九，丁母忧，以毁卒。嗣绾诗及骈体文，少作多明艳，中年则以沈博排募胜，晚更清遒骏迈，以快厉之笔，达幽隐之思。所著有《尚絅堂集》，《清史列传》行于世。",[25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a40bde7f2ad343d27197e4f5caf9567.jpg",[96],{"id":38389,"slug":38390,"title":38391,"dynasty":18,"author":38392,"museum":107,"description":38393,"tags":38394,"thumbUrl":38395,"material":95,"size":95,"collection":96,"collections":38396,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239917,"dui-yue-ge-yi-pian-zeng-lian-shang-ye-wu-ci-he-239917","对月歌一篇赠莲裳页","吴慈鹤","生于清高宗乾隆四十三年，卒于宣宗道光六年，年四十九岁少随父俊宦游粤东、济南，所为诗规仿徐、庾、孟、韩，为时流所重。嘉庆十四年（1809）进士，改翰林院庶吉士。散馆，授编修。充云南乡试副考官，督学河南、山东。性好游览，使车所至，山水为缘，而发之于诗。官至翰林院侍讲。慈鹤工诗，善骈体文，与彭兆荪交最契，兆荪推挹甚至。著有《兰鲸录》、《凤巢山樵求是录》及《岑华居士外集》，《清史列传》并传于世。",[92,24,25,26,60,77,7,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e274cf8e856a7e1e7cb307a42021faa.jpg",[96],{"id":38398,"slug":38399,"title":38400,"dynasty":45,"author":38401,"museum":107,"description":38402,"tags":38403,"thumbUrl":38404,"material":751,"size":752,"collection":95,"collections":38405,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},239872,"wu-kuan-chong-zhen-er-nian-ren-guan-chi-shu-juan-tao-wen-zheng-239872","无款崇祯二年任官敕书卷","陶问政","此件以泛黄麻纸朱丝栏为底，笔墨沉实端正，规整的馆阁体带着庙堂文牍的肃穆气息。卷上墨书勾改、补签痕迹错落，边角批答与押字历历在目，清晰还原了晚明任官从题覆到领任的政务流转脉络。\n\n它不止是一纸文书，更是明末官场运作的鲜活注脚，字里行间载着当年的铨选细节与政务仪制。岁月留下的破损晕染，为工整的官牍笔墨晕开厚重沧桑，是晚明行政制度与文人笔札风貌的双重遗存。",[7,60,49,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c22b73af1651a78b68917858d437b3.jpg",[],{"id":38407,"slug":38408,"title":38409,"dynasty":18,"author":38410,"museum":107,"description":38411,"tags":38412,"thumbUrl":38413,"material":751,"size":752,"collection":95,"collections":38414,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239866,"feng-he-gong-fu-qi-xi-shi-er-shou-ye-xie-jie-shu-239866","奉和功甫七夕诗二首页","谢阶树","谢阶树（1778-1825）字欣植，又字子玉，号向亭（芗亭）。江西省宜黄县城北门人。清代官吏、学者、思想家。宣南诗社最早成员之一。",[92,24,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8371553bbeb2a6f50d19ffe45e06ef.jpg",[],{"id":38416,"slug":38417,"title":38418,"dynasty":18,"author":38419,"museum":107,"description":38420,"tags":38421,"thumbUrl":38422,"material":95,"size":95,"collection":96,"collections":38423,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239850,"chu-xi-jian-mei-he-gong-fu-yun-ye-dong-guo-hua-239850","除夕见梅和功甫韵页","董国华","董国华（1773－1850）清代官员、诗人。江苏吴县（今苏州）人，字荣若，号琴南。据钱庆曾《竹汀居士年谱续编》，董氏曾在乾隆五十八年（1793）紫阳书院受业于钱大昕门下。嘉庆十三年（1808）进士，自号清闲居士，又号绿溪渔隐，道光间官至广东雷琼道。致仕归，历主云间书院，紫阳书院讲习，工诗文，词尤婉约。有《云寿堂文集》、《诗集》、《词钞》、《绿溪笔谈》、《海南笔记》等。",[7,25,26,60,77,50,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa372afe99d3432cc158f6841f9a8a6.jpg",[96],{"id":38425,"slug":38426,"title":28124,"dynasty":18,"author":38427,"museum":107,"description":38428,"tags":38429,"thumbUrl":38430,"material":95,"size":95,"collection":96,"collections":38431,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239838,"shi-ye-zhang-xiang-he-239838","张祥河","嘉庆二十五年（一八二0）进士，官工部尚书。谥温和。尝客京师董相国诰邸，与袁少迂（沛）、周芸皋（凯）讲求六法。充大清会典绘图。仁宗六旬，进庚辰万纪图诗画册，称旨。写意花草宗徐渭、陈道复，山水私淑文征明。晚年又涉石涛（道济）一派。笔颇健举，然气韵魄力仍是书生本色。黄钺告归，以书万卷先行，祥河为写饯书图，钺称其得五峰（文伯仁）意。画梅亦工。。咸丰十一年（1861年），因病致仕。次年，卒于京邸，谥“温和”。其墓在横山南麓。",[24,25,7,26,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266a258e18eb07c47a9e4a1347f381e8.jpg",[96],{"id":38433,"slug":38434,"title":38435,"dynasty":18,"author":454,"museum":107,"description":38436,"tags":38437,"thumbUrl":38438,"material":95,"size":95,"collection":96,"collections":38439,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239835,"bao-jin-shi-feng-gong-fu-ye-yi-ming-239835","宝晋诗奉功甫页","此作为两开尺牍小品，左开以暗纹绿笺作书，小行书清劲秀雅，行气舒展匀停，墨色在华笺上愈发莹润秀逸；右开以浅黄麻纸落墨，用笔苍朴内敛，字势错落随性，带着手札特有的松弛意趣。\n\n二者皆为日常酬唱的信札书迹，笔墨间藏着旧时文人的风雅交游，冲淡疏逸的书卷气浸透纸背，将尺素传情的知己酬答，凝为纸上耐人寻味的悠长余韵。",[7,60,77,26,25,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd6ae6bb0cfd6992c3c19382096607c.jpg",[96],{"id":38441,"slug":38442,"title":35840,"dynasty":18,"author":38443,"museum":107,"description":38444,"tags":38445,"thumbUrl":38446,"material":95,"size":95,"collection":96,"collections":38447,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239811,"ti-zi-ye-wu-yi-feng-239811","吴翌凤","吴翌凤（1742～1819），是清著名藏书家，字伊仲，号枚庵、一作眉庵，别号古欢堂主人，初名凤鸣，祖籍安徽休宁，侨居吴郡槐树街（今苏州），藏书家吴铨后裔。诸生。家贫而笃好典籍，无力购置，往往借书阅览。三十三年至五十二年（1768年～1787）寓陶氏东斋，日寝馈书史，得佳本，则用手抄，至数千百卷",[25,7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d3a54d9dd026c37e84b2e0924c51dc.jpg",[96],{"id":38449,"slug":38450,"title":28124,"dynasty":45,"author":38451,"museum":107,"description":38452,"tags":38453,"thumbUrl":38454,"material":95,"size":95,"collection":96,"collections":38455,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239804,"shi-ye-du-qi-239804","杜启","杜启是进士。弘治三年，授长垣知县。治河有功，筑太行长堤，增坝堰铺舍，暇与诸生讲授易学，人士皆宗之。擢监察御史。",[25,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F955a4f1f638f81f59042c23be8e8113b.jpg",[96],{"id":38457,"slug":38458,"title":38459,"dynasty":45,"author":10618,"museum":107,"description":16207,"tags":38460,"thumbUrl":38461,"material":751,"size":752,"collection":95,"collections":38462,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},239791,"zhuan-shu-si-yan-shi-juan-xu-lin-239791","篆书四言诗卷",[23,92,25,49,457,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5514dcd8e30ced0faaaeb587c4248d10.jpg",[],{"id":38464,"slug":38465,"title":38466,"dynasty":18,"author":28298,"museum":107,"description":28299,"tags":38467,"thumbUrl":38468,"material":751,"size":752,"collection":95,"collections":38469,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},239778,"hong-wu-qi-yan-lian-hong-wu-239778","弘旿七言联",[24,25,75,199,7,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4daec53ac4b99574efec204d37505057.jpg",[],{"id":38471,"slug":38472,"title":38473,"dynasty":18,"author":38474,"museum":107,"description":38475,"tags":38476,"thumbUrl":38477,"material":751,"size":752,"collection":95,"collections":38478,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},239762,"shu-hong-li-gai-yi-liao-jin-yuan-san-shi-xu-ce-zhou-huang-239762","书弘历改译辽金元三史序册","周煌","周煌（1714—1785年），字景垣，号绪楚，又号海珊（一作海山），四川涪州酒店乡麻堆坝（今重庆市涪陵区马武镇麻堆村）人，清朝著名官员。\n乾隆二年（1737年）进士。曾奉诏以副使身份出使琉球，出任《四库全书》总阅，官至工部尚书、兵部尚书、上书房总师傅、都察院左都御史等职。以兵部尚书加太子少傅致仕，卒赠太子太傅，谥号“文恭”。\n周煌一生能文工诗善书，笔法遒劲，著作颇丰，有《琉球国志略》、《海山诗稿》等近10种。《清史稿》有传。其有关作品收录于《益州书画录》中。",[199,7,26,27,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe6e534ed336586889d28df21790706.jpg",[],{"id":38480,"slug":38481,"title":38482,"dynasty":18,"author":38483,"museum":107,"description":38484,"tags":38485,"thumbUrl":38486,"material":751,"size":752,"collection":95,"collections":38487,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239699,"shu-hong-li-bi-shu-shan-zhuang-wu-fu-wu-dai-tang-ji-ce-shen-chu-239699","书弘历避暑山庄五福五代堂记册","沈初","沈初（1735年－1799年），字景初，号云椒，浙江平湖（今属嘉兴市）人。",[18,26,7,199,27,11284,312,19026,7714,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe552bbfe0d4d0fb390f8409b705ffc24.jpg",[],{"id":38489,"slug":38490,"title":38491,"dynasty":88,"author":38492,"museum":107,"description":38493,"tags":38494,"thumbUrl":38495,"material":95,"size":95,"collection":96,"collections":38496,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239675,"de-zhi-ti-wu-xi-tu-shi-de-zhi-239675","德止题浯溪图诗","德止","此作为尚意书风的典型写照，用笔灵动跳脱。笔画粗细跌宕间，牵丝映带自然圆融，字势欹侧相生，通篇行气贯通，流转着萧散出尘的禅意。\n\n章法疏朗错落，墨色干湿浓淡交织变幻，起收笔尽显随性洒脱，将禅家冲淡襟怀融于笔墨。每一字舒展自在，既带着行书流美的韵律感，又裹挟着林下清逸的禅味，尽显文人禅僧的简淡心境，是宋代禅意书法的上乘佳构。",[2601,7,60,4440,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def52d025d9d08a1b13db3467b5f51e.jpg",[96],{"id":38498,"slug":38499,"title":38500,"dynasty":179,"author":20428,"museum":126,"description":38501,"tags":38502,"thumbUrl":38503,"material":312,"size":38504,"collection":96,"collections":38505,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239625,"bai-yun-fa-shi-tie-ye-yu-ji-239625","白云法师帖页","释文：\n集顿首奉记。白云法师和上乡契，去年过访，足仞至情。别后极深怀系。大墓甚感用情，亲戚同不知首尾，不知归附心来，又六十余年，先参政之所经理遣意，老者今秋遣女后方可出。秋深要来，能来为妙。竹深旧相识，如来说可奉承。兹因俞伯康山长还吴，略得布此。秋冬间能来住一两月，同出亦好也。大墓事已开嘱丹阳以先世委用之意，必蒙相体。此行亦修路，侯一书讬伯康言之凡可。幸熟议勿停恩勿误事，则区区不肖之望也。植舟及小儿偶出，不及致问。溪山在斋，教两小儿如常也。伯婉受助后，月日未到未上，已尽达雅意矣。道人处传语诸亲知都为寄声为妙。眼昏写字不多整齐，勿罪。比相见好不及。虞集上记。\n鉴藏印有项元汴诸印，“董奕少氏”、“李肇亨”、“桃花源里人家”及安岐、完颜景贤、何子彰、赵叔彦、张爰、谭敬诸印28方，半印2方。\n文中自称“眼昏写字不多整齐”。虞氏晚年有目疾，并经常在信札中谈到，故此帖为其晚年之作。书法行笔环萦，字若连绵，法度险峭，劲健古雅。如王世贞所言：“用笔若草草，而中自遒劲。”\n《墨缘汇观·法书卷》、《三虞堂书画目》著录。",[7,60,385,3477,77,4347,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b35c3537d0bf8e28b8f4824d09fc1cb.jpg","纵30.7厘米，横51.8厘米",[96],{"id":38507,"slug":38508,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":38509,"thumbUrl":38510,"material":312,"size":12116,"collection":95,"collections":38511,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239605,"shi-san-zha-ce-zhu-da-239605",[24,25,26,60,398,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12508c534b77105d73a7b003e7769052.jpg",[],{"id":38513,"slug":38514,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":38515,"thumbUrl":38516,"material":312,"size":12116,"collection":95,"collections":38517,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239604,"shi-san-zha-ce-zhu-da-239604",[7,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe807e602ccff54f87149dd5e6a45920d.jpg",[],{"id":38519,"slug":38520,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":38521,"thumbUrl":38522,"material":312,"size":12116,"collection":95,"collections":38523,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239603,"shi-san-zha-ce-zhu-da-239603",[2135,60,7,25,24,4347,50,77,426,6769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239e52d7c98022240a611f05b935670a.jpg",[],{"id":38525,"slug":38526,"title":38527,"dynasty":45,"author":38528,"museum":126,"description":38529,"tags":38530,"thumbUrl":38531,"material":312,"size":95,"collection":96,"collections":38532,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239591,"cun-ji-tie-ce-ye-xia-shi-zheng-239591","存记帖册页","夏时正","夏时正(1412—1499)，字季爵，晚号留余道人，慈溪汶溪（今属镇海区）人。少随父居仁和（今杭州）。明正统十年(1445)中进士，授刑部主事，后升刑部郎中。景泰六年(1455)复查福建刑事案卷，平反死狱60余人，擢南京大理卿。成化七年(1471)巡视江西灾情，免除无名税10余万石，放粮赈济灾民23万户，汰诸司冗役数万名，罢不称职官吏200余名，增筑南昌章江门滨江堤坝和丰城诸县堤岸。后乞归杭州，贫甚，布政使张瓒为他筑西湖书院以居。卒葬杭州三峰山。纂有成化《杭州府志》、《太平志》，著有《留余稿》等。",[7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1fb875efcbf86277345ec51f5e2e359.jpg",[96],{"id":38534,"slug":38535,"title":38536,"dynasty":45,"author":38537,"museum":126,"description":38538,"tags":38539,"thumbUrl":38540,"material":312,"size":95,"collection":96,"collections":38541,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239585,"jiao-yan-tie-ce-ye-wang-hong-239585","教言帖册页","王竑","王竑（1413年—1488年），字公度，号休庵、戅庵。湖北江夏（今属武汉市）人，生于河州（今甘肃临夏）。明朝名臣。\n王竑为正统四年（1439年）进士，授户部给事中，豪迈负气节，正色敢言。土木之变后奋臂率众击毙王振党羽、锦衣指挥马顺，名震天下。也先入犯，受命受御京城，擢右佥都御史，寻督漕运，再抚淮、扬。明宪宗初年，官至兵部尚书。致仕后居家二十年。\n弘治元年（1488年），王竑去世，年七十五。明武宗时追赠太子少保，谥号“庄毅”。",[45,7,60,26,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ff26d78a700838e78b4642a6149eaf.jpg",[96],{"id":38543,"slug":38544,"title":25911,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":38545,"thumbUrl":38546,"material":751,"size":752,"collection":95,"collections":38547,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239536,"fang-gu-ji-you-tu-ce-huang-yi-239536",[24,50,59,26,51,458,54,57,56,6139,5091,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7be1e9184db79acce97a081fba3e95.jpg",[],{"id":38549,"slug":38550,"title":25911,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":38551,"thumbUrl":38552,"material":751,"size":752,"collection":95,"collections":38553,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239535,"fang-gu-ji-you-tu-ce-huang-yi-239535",[92,24,26,50,51,7,704,32056,57,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eda82dcab94608034af4efc7e011673.jpg",[],{"id":38555,"slug":38556,"title":31629,"dynasty":18,"author":31630,"museum":107,"description":31631,"tags":38557,"thumbUrl":38558,"material":751,"size":752,"collection":95,"collections":38559,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239401,"hua-niao-tu-ce-ma-yuan-yu-239401",[24,25,26,50,27,29,298,238,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbb6b0a245bb3983ee242efdb43686.jpg",[],{"id":38561,"slug":38562,"title":4167,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":38563,"thumbUrl":38564,"material":751,"size":752,"collection":95,"collections":38565,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239335,"shan-shui-ce-cha-shi-biao-239335",[24,50,59,26,51,52,57,252,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb99e6f26520c0e892f3ebb62bfd584.jpg",[],{"id":38567,"slug":38568,"title":38569,"dynasty":18,"author":454,"museum":107,"description":38570,"tags":38571,"thumbUrl":38572,"material":95,"size":95,"collection":95,"collections":38573,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239280,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239280","后祺指画花鸟册","此作为书画合璧的小品，左书右画相映成趣。以指为笔晕染花鸟，墨色浓淡层次有致，白花轻绽、嫩蕊娇柔，枝叶苍润朴拙，褪去笔锋雕琢的匠气，尽显自然生趣。枝蔓斜逸舒展，将花木含露凝香的情态勾勒得鲜活动人。题诗与画意呼应，把爱花惜香的闲雅心境藏于字里行间，整体画风简淡疏朗，清寂悠然的文人逸趣扑面而来，仿佛纸面浮动着浅淡花香，尽显传统小品画的隽永雅致。",[24,9489,27,29,7,77,26,30,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29b6084e889fd8330d45d7e14ae0445.jpg",[],{"id":38575,"slug":38576,"title":38569,"dynasty":18,"author":454,"museum":107,"description":38577,"tags":38578,"thumbUrl":38579,"material":95,"size":95,"collection":95,"collections":38580,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239278,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239278","此页以指为笔，将清趣雅意藏于寻常风物间。右页粉梨圆润鲜洁，朱砂樱桃娇红欲滴，设色明丽鲜活，把蔬果的清甜烟火气晕染得淋漓尽致。左页枯淡墨色绘就莲藕，淡墨勾茎，晕染出藕节肌理，自带疏清远意。搭配行书题字，笔意舒展随性，书画相映成趣。创作者以指代笔，将日常风物绘出雅致东方意韵，简淡写意中尽显生机，藏着对烟火日常的细腻体察，冲淡恬和，耐人寻味。",[24,25,26,9489,27,29,3092,432,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745de83f20c6c8b946c3be4e29ab098e.jpg",[],{"id":38582,"slug":38583,"title":22896,"dynasty":18,"author":22897,"museum":107,"description":22898,"tags":38584,"thumbUrl":38585,"material":95,"size":95,"collection":96,"collections":38586,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239227,"hui-shi-ce-hu-zhen-kai-239227",[24,25,26,50,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b976ee66ebc5e06444d91355b720dc.jpg",[96],{"id":38588,"slug":38589,"title":15411,"dynasty":18,"author":38590,"museum":107,"description":38591,"tags":38592,"thumbUrl":38593,"material":95,"size":95,"collection":95,"collections":38594,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239210,"za-hua-juan-tang-ying-239210","唐英","此卷兼工带写，笔意灵秀多变。起首松鼠戏食，墨色晕染出蓬松绒毛，灵动俏皮之态尽显；接绘双马，一匹徐行悠然，一匹滚地嬉憩，骏舒逸致扑面而来。\n\n中段丹冠雄鸡神采英挺，翎羽勾勒细腻又不失写意韵致，母鸡护雏尽显脉脉温情，山雀翻飞轻盈灵动。末段湖山清润，巉石隐现，幽篁茅舍伴扁舟泛波，野雁掠空尽得江南秋寂之味。\n\n题跋小字娟秀雅致，书画合璧，将花鸟走兽的灵动生机与山水的澹泊雅韵浑融无间，尽显扎实写生功底与清隽文人逸趣。",[23,24,25,49,50,27,51,55,54,116,10169,1074,5453,797,56,1678,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c768bfb539b8068f02787c67fb67aa.jpg",[],{"id":38596,"slug":38597,"title":38598,"dynasty":18,"author":29596,"museum":107,"description":38599,"tags":38600,"thumbUrl":38601,"material":95,"size":95,"collection":95,"collections":38602,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239209,"cai-ju-zhou-zhang-wen-tao-239209","采菊轴","此作用笔师法赵孟頫行书，尽得其圆融秀逸之韵。起收暗含法度，线条温润凝练又不失灵动，骨力内蕴其中。章法舒朗匀称，三列书行气脉贯通，将原诗的快意奔放寄寓笔墨之间。笔势随诗意流转，把轻舟疾驰、江山掠过的洒脱情境，借笔墨缓缓铺陈开来。\n\n落款小字清雅妥帖，朱红印章错落点缀，与墨色相映成趣。整幅形神兼备，既承松雪道人雅正之风，又自带舒展从容的文人心境，诗意与书韵相融无间，尽显行云流水的悠然意趣。",[7,75,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547ea889b3b5ad8dda00d89651a5f139.jpg",[],{"id":38604,"slug":38605,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":38606,"tags":38607,"thumbUrl":38608,"material":95,"size":95,"collection":95,"collections":38609,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239203,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239203","此作书画合璧，以干笔淡墨绘就山林古寺。层峦叠嶂间松荫翳然，板桥通幽，行人缓步徐行，意境清寂淡远，尽显静穆出尘之致。\n行书题诗笔致清劲萧散，与画面的野逸气息彼此呼应。笔墨洗练不事雕琢，以留白烘托出空寂禅意，将山水的幽邃与沉郁清介的襟怀相融，淡墨皴擦间漫溢出荒寒雅静的林下之风，是寄寓了文人孤高心性的山水佳作。",[24,50,51,59,26,7,77,52,53,1018,57,458,55,56,12389,9190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e51aa9b0ddb8cc46ad09ca88e82366.jpg",[],{"id":38611,"slug":38612,"title":31645,"dynasty":18,"author":2634,"museum":107,"description":38613,"tags":38614,"thumbUrl":38615,"material":95,"size":95,"collection":95,"collections":38616,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238749,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238749","此作用笔秀雅简淡，以水墨写就园林幽居之景。右侧楼阁凭栏立人，古木环合，檐角隐于枝叶间，静谧安闲；左侧溪桥蜿蜒，水榭依水而建，水波澹澹衬出空濛之态，奇石错落、嘉木扶疏，铺陈出林泉雅境。\n诗画合璧，以留白晕染烟霞之致，将拟古诗意具象化。整体疏朗清寂，不着浓彩，以简练皴擦勾勒山石肌理，淡墨点染林木苍润，尽显江南园林的闲雅隐逸之趣，藏着文人士大夫悠游林泉、静赏烟霞的澹泊襟怀。",[24,25,26,50,51,52,53,55,56,57,58,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beae70bf636e6e1c5680dd3f003c793.jpg",[],{"id":38618,"slug":38619,"title":31645,"dynasty":18,"author":2634,"museum":107,"description":38620,"tags":38621,"thumbUrl":38622,"material":95,"size":95,"collection":95,"collections":38623,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238746,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238746","此作以淡墨绘就江岸山居之景，近岸古松盘虬苍劲，松下高士凭崖远眺，崖壁层叠皴擦细致，石间草木蓊郁清润。远景江天相融，水色空濛渺远，将咫尺尺幅拓展出辽阔的山水意趣。\n笔墨以干笔勾勒山石肌理，淡墨晕染铺陈出清寂空润的氛围，将写实景致与文人写意笔趣相融。右侧题诗与画作相映成趣，诗画相生，尽显清雅文心，把幽远超脱的林下意境烘托尽致，将观者带入沉静澹泊的文人情思之中，是兼具笔墨意趣与抒情性的精妙山水小品。",[24,25,26,50,51,59,7,77,1018,57,113,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be58a09a3b88e645e21dc2dc3082d64.jpg",[],{"id":38625,"slug":38626,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":38627,"tags":38628,"thumbUrl":38629,"material":95,"size":95,"collection":95,"collections":38630,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238724,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238724","此作用淡墨晕染出空濛水岸，远山以留白晕开，愈显清旷悠远。左侧坡岸竹树苍润，两位文士相对晤谈，神态悠然尽显林下雅意，隔水洲渚垂柳依依，掩映屋舍，幽寂雅致。右上角题诗呼应画意，诗画相融。笔触清隽秀雅，以简淡笔墨铺陈林泉之致，将诗中寄怀烟水、相逢林下的闲逸情愫，尽数融于尺幅之中，意境简澹幽远，尽显文人高致雅怀。",[24,50,59,26,113,132,652,58,51,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53573bcded433e098bb06431006acdb3.jpg",[],{"id":38632,"slug":38633,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":38634,"tags":38635,"thumbUrl":38636,"material":95,"size":95,"collection":95,"collections":38637,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238720,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238720","此作用笔清隽萧散，以水墨晕染出月夜空蒙之境。左上角谯楼隐在烟霭中，留白铺就出辽远夜色，右下角茅舍旁，老翁凭栏望月，树石苍秀简澹。\n画面将怀远幽思融在淡墨山色间，诗画合璧呼应诗意，天地俱寂里，幽人寄情明月，虚实相生间晕开悠悠愁绪。无浓丽敷色，全以极简笔墨铺陈出清远孤寂的意境，将文人情思和山水夜色融为一体，尽显清雅淡远的文人画意趣。",[24,25,50,1128,26,59,7,77,113,458,678,55,51,56,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870e2824ee524e800c8f5fd3fce2de7c.jpg",[],{"id":38639,"slug":38640,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":38641,"tags":38642,"thumbUrl":38643,"material":95,"size":95,"collection":95,"collections":38644,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238719,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238719","画面分作两处景致，左侧亭畔雅士驻足凝睇，右侧水村茅庐内有人凭窗独坐，一色清月悬于墨色夜空，牵起两地幽思。\n作者以枯淡笔墨绘林木萧疏，淡墨晕开烟水空濛，留白铺就夜色清寂，将羁旅怀远的缱绻心绪融于萧疏秋景之中。诗画合璧，把客子念旧的别愁，化作眼前空濛悠远的秋宵图景，简澹秀雅的笔触里，尽显文人写意水墨的空灵风神，清冷月色漫过水岸亭台，晕开满幅寂廖怀人之思。",[24,25,26,50,112,111,113,55,56,333,51,250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685e75274ee14cd63fb4e9d802c99914.jpg",[],{"id":38646,"slug":38647,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":38648,"tags":38649,"thumbUrl":38650,"material":95,"size":95,"collection":95,"collections":38651,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238718,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238718","此作用淡墨晕染江渚，空濛淡远，枯笔皴写林木苍劲疏朗。茅庐依树而建，曳杖老者独立坡岸，身形萧索，怅然远望。\n\n画面极简，却将拟陶诗中归来不见旧人、饥寒愧恨的凄清意绪尽数铺陈。干湿浓淡间尽显幽寂冷逸，以画释意，诗韵与画境浑然相合。简淡笔墨勾勒出世故寥落，藏着文人归处难觅的怅惘，尽显诗画交融的清雅意趣。",[24,50,59,60,77,7,26,113,51,115,333,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb255cccc29c416bdf6b4a094d25bb4f7.jpg",[],{"id":38653,"slug":38654,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":38655,"thumbUrl":38656,"material":751,"size":752,"collection":95,"collections":38657,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238556,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238556",[24,25,26,27,113,7,199,77,111,9813,1782,56,57,9191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1fe56a4902293ded3d433c31bad71f7.jpg",[],{"id":38659,"slug":38660,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":38661,"thumbUrl":38662,"material":751,"size":752,"collection":95,"collections":38663,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238553,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238553",[24,25,26,27,113,51,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7518fb02bb683dca75f7caf9465231d2.jpg",[],{"id":38665,"slug":38666,"title":38667,"dynasty":18,"author":10437,"museum":107,"description":13996,"tags":38668,"thumbUrl":38669,"material":751,"size":752,"collection":95,"collections":38670,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238543,"hua-shou-pu-ce-yu-sheng-238543","画兽谱册",[24,25,26,27,111,59,798,51,57,53,250,77,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e195d1cb03a98ec6f13efa18e214b2e.jpg",[],{"id":38672,"slug":38673,"title":4167,"dynasty":18,"author":22986,"museum":107,"description":38674,"tags":38675,"thumbUrl":38676,"material":95,"size":95,"collection":95,"collections":38677,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238202,"shan-shui-ce-tang-dai-238202","此帧以干笔淡墨绘就平远溪山，近岸村居错落隐于茂林，清溪萦回脉脉，远山以披麻皴写出，淡墨晕染出空濛烟岚，尽显温润秀雅的静谧意境。题诗呼应画中幽居之趣，笔致清隽端雅，诗画相融，将林泉高致寄于尺幅之中。以极简墨色铺陈，勾勒出尘嚣尽褪的山居雅境，淡而不薄，简而愈远，藏着寄情丘壑的隐逸襟怀，尽显传统山水以画载道的文人意趣。",[24,25,26,50,59,60,7,51,651,56,58,267,14918,24640,20440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668eb5906780377193669be9a7fe4a69.jpg",[],{"id":38679,"slug":38680,"title":4167,"dynasty":18,"author":22986,"museum":107,"description":38681,"tags":38682,"thumbUrl":38683,"material":95,"size":95,"collection":95,"collections":38684,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238200,"shan-shui-ce-tang-dai-238200","左页小楷题自作山水诗，笔致清劲隽秀，诗中摹写空山雨过、烟霭随行之景。右页浅绛山水，近岸林木苍茂，板桥通幽径，层岩叠嶂延绵向远，飞泉自崖顶垂落，流云轻笼峰峦，晕染出空濛淡远之境。\n全作用笔沉稳秀润，设色淡雅柔和，诗画相合，将山居幽寂清宁的意韵铺陈尽致，尽显正统山水的雅正法度，藏文人画的诗意留白，绘就了一卷空山无尘、烟岚随行的世外林泉图景。",[24,27,59,60,7,77,51,57,56,52,53,14918,252,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99d7bd8f32d56ff93233a99f07171b.jpg",[],{"id":38686,"slug":38687,"title":4167,"dynasty":18,"author":22986,"museum":107,"description":38688,"tags":38689,"thumbUrl":38690,"material":95,"size":95,"collection":95,"collections":38691,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},238198,"shan-shui-ce-tang-dai-238198","此作以干笔皴擦写寒林丘壑，嶙峋山石间枯木萧疏，淡墨晕染远山如笼薄烟，与混茫天色相融，将冬日山野的荒寂清冷铺陈开来。边角取景，愈显天地空阔、幽绝尘寰。\n\n左侧题诗与画境相契，山空人绝、孤鸟独飞，把世外幽隐的清苦禅意晕开，朱红古印沉朴雅致，与水墨冷调相映成趣。尺幅之间藏林泉高致，将文人幽居寄情山水的意趣尽显无余，笔底皆是沉静淡远的林下之风。",[24,25,26,50,27,59,7,77,651,1677,652,57,52,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d955d2c00347e29d254ec2a2f46329b.jpg",[],{"id":38693,"slug":38694,"title":4167,"dynasty":18,"author":15612,"museum":107,"description":38695,"tags":38696,"thumbUrl":38697,"material":95,"size":95,"collection":95,"collections":38698,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238152,"shan-shui-ce-yun-xi-238152","此作用左诗右图的形制，尽显文人雅趣。画面笔墨清润淡雅，山峦以披麻皴写就，层叠起伏间带着苍秀古拙之意。林麓间村居隐现，溪桥横陈，淡淡晕染的云烟铺就出空寂幽远的山居氛围，将红尘隔绝的林下之境缓缓铺展。配诗与山水呼应，将眼前丘壑视作仙乡，落笔清隽，书画合璧尽显静穆萧散的隐逸意趣，寥寥笔墨勾勒出超然世外的悠远意境，尽显寄情山水的文人襟怀。",[24,25,26,50,59,51,458,52,53,250,56,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93487567e330727c50dc26b00c0aefb.jpg",[],{"id":38700,"slug":38701,"title":4167,"dynasty":18,"author":15612,"museum":107,"description":38702,"tags":38703,"thumbUrl":38704,"material":95,"size":95,"collection":95,"collections":38705,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},238149,"shan-shui-ce-yun-xi-238149","此作淡墨皴山，笔致苍秀温润，层叠峰崖间飞泉奔涌，林麓隐见山居茅舍，远岫衔着空濛水色，咫尺画幅铺展出清旷灵逸之境。\n题诗与山水相映，把幽栖丘壑的出世意趣藏于笔墨间，无浓丽设色，只以水墨晕染出烟岚空寂，观之便觉尘嚣尽褪，恍如踏入诗里的世外仙壶，尽显文人寄情林泉的萧散襟怀。",[24,25,26,50,59,7,77,51,53,57,56,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a5a4d9cc71dbbd1bbe8f2a844ee23b.jpg",[],{"id":38707,"slug":38708,"title":38709,"dynasty":18,"author":38710,"museum":107,"description":38711,"tags":38712,"thumbUrl":38713,"material":751,"size":752,"collection":95,"collections":38714,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237957,"qi-shi-guan-quan-tu-ye-xie-cai-237957","奇石观泉图页","谢棌","此作用笔清润简淡，以浅绛晕染山水，山石以披麻皴轻擦敷色，枯木虬枝萧疏错落，漫溢冬日清寂之气。幽人踞坐溪石，临流观泉，静中含动，将林泉高致的雅趣凝于尺幅间。\n\n诗书印合璧，笔墨秀逸温雅，题诗恰合画中意涵，尽显文人寄情山水、寻味知音的林下襟怀。整幅小品文气盎然，以简淡之笔写尽林泉幽寂的诗意闲情，意境恬澹冲和，尽显文人画的雅致意趣。",[24,25,26,50,59,51,250,53,704,113,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9956ef13ca623961fd1f885cf5971c.jpg",[],{"id":38716,"slug":38717,"title":29763,"dynasty":18,"author":29764,"museum":107,"description":29765,"tags":38718,"thumbUrl":38719,"material":751,"size":752,"collection":95,"collections":38720,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237713,"qiu-sui-hua-niao-ce-qiu-sui-237713",[24,25,26,27,112,29,132,19333,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb7b417f97f267b64d3a11add3f9799.jpg",[],{"id":38722,"slug":38723,"title":28334,"dynasty":18,"author":3067,"museum":107,"description":10686,"tags":38724,"thumbUrl":38725,"material":95,"size":95,"collection":95,"collections":38726,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237607,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237607",[24,25,26,50,51,53,57,56,59,110,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bf50061c1a73001d5d47292a2ae50e.jpg",[],{"id":38728,"slug":38729,"title":38730,"dynasty":18,"author":38731,"museum":107,"description":38732,"tags":38733,"thumbUrl":38734,"material":95,"size":95,"collection":95,"collections":38735,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237567,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237567","王凫画分咏小石诗册","王凫","此作为行书诗册，笔墨舒展灵动，墨色晕染自然，清雅书卷气扑面而来。两页题诗布局疏朗匀停，笔锋时而遒劲苍润，时而秀逸婉转，自带悠然韵律。诗文揽山海烟霞入怀，将方寸天地间的林泉幽思铺陈开来，把对丘壑旧梦的眷恋诉诸笔端，笔墨与诗意相融相合，尽显文人风雅从容的林下之风，是书画合一的雅致小品。",[24,25,26,60,77,50,27,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c124e458d042c59fd6d7fae33486b8.jpg",[],{"id":38737,"slug":38738,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":38739,"thumbUrl":38743,"material":751,"size":752,"collection":95,"collections":38744,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237504,"shan-shui-hua-hui-ce-jiang-shou-cheng-237504",[24,25,26,60,27,51,553,56,251,3918,38740,50,7,38741,38742,57,7758,8049,471,12278],"淡彩","自然景物","传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151fceff1d559bd393e5906365f0c727.jpg",[],{"id":38746,"slug":38747,"title":17304,"dynasty":18,"author":31710,"museum":107,"description":31711,"tags":38748,"thumbUrl":38749,"material":751,"size":752,"collection":95,"collections":38750,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237480,"shan-shui-tu-ce-yao-song-237480",[24,25,26,50,59,60,7,77,51,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc21a81878d2ae56c3b30fc7bc6e7643f.jpg",[],{"id":38752,"slug":38753,"title":38754,"dynasty":45,"author":38755,"museum":107,"description":38756,"tags":38757,"thumbUrl":38758,"material":751,"size":752,"collection":95,"collections":38759,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237272,"zhi-hua-ce-chen-dao-237272","指画册","陈道","陈道，字常经，生卒年不详。明代广东归善县铁炉湖人。正统八年（1443）贡监，授抚州府推官，代理全府之事务。有一年闹饥荒，陈提出发放仓库里的粮食赈灾。一些府官则说，必须按惯例向上级申请。陈说：“人们都快要饿死了，怎么还能等到申请获得批准？责任由我个人承担，决不连累你们。”仓库的粮食不够赈济，陈就将自己的薪金捐献出去。总共救济了几万灾民。不久上级认为陈专权，严厉责备他。陈不顾自己生活困难，毅然辞职归田。陈对子女管教得很严，规劝子女不要穿华丽的服饰。他的子孙后代，名声很好。",[24,25,26,50,9489,797,798,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33a115cf5729b52d2b336e1cd0f008b.jpg",[],{"id":38761,"slug":38762,"title":38754,"dynasty":45,"author":38755,"museum":107,"description":38763,"tags":38764,"thumbUrl":38765,"material":312,"size":95,"collection":95,"collections":38766,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237269,"zhi-hua-ce-chen-dao-237269","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[24,25,26,9489,50,1074,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6750588351e175e38801cd698b47173f.jpg",[],{"id":38768,"slug":38769,"title":11849,"dynasty":18,"author":11850,"museum":107,"description":38770,"tags":38771,"thumbUrl":38772,"material":312,"size":95,"collection":95,"collections":38773,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237065,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237065","此作以淡墨皴擦山石，层峦清润悠远，几株古松虬劲挺拔，松针攒簇间尽显苍然古意。林麓间村居隐现，茅舍错落，晕染出幽寂平和的山居之境。左侧题诗与画作相映，诗书画印浑然一体，尽显文人雅趣。整体构图虚实相生，笔致秀雅内敛，将林下隐逸的栖居意趣融于尺幅之间，静穆雅致晕染出清代文人山水特有的淡远审美，藏着文人心中幽居林泉的理想图景。",[24,25,26,27,51,59,1018,651,57,58,56,471,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0b758499f628aec8605fa563b12c73.jpg",[],{"id":38775,"slug":38776,"title":27012,"dynasty":45,"author":25884,"museum":107,"description":38777,"tags":38778,"thumbUrl":38779,"material":751,"size":752,"collection":95,"collections":38780,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237026,"mo-mei-ce-shen-hao-237026","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,25,26,50,131,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0394cd2b25b998249b6f7b7b4250338.jpg",[],{"id":38782,"slug":38783,"title":4167,"dynasty":18,"author":24833,"museum":107,"description":24834,"tags":38784,"thumbUrl":38785,"material":751,"size":752,"collection":95,"collections":38786,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236993,"shan-shui-ce-zhang-xi-236993",[24,25,92,26,50,27,60,7,51,115,57,113,1752,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871c018d1e602b0605c00635a70cc353.jpg",[],{"id":38788,"slug":38789,"title":36127,"dynasty":18,"author":36128,"museum":107,"description":36129,"tags":38790,"thumbUrl":38791,"material":95,"size":95,"collection":95,"collections":38792,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236533,"ren-wu-gu-shi-ce-chen-zi-236533",[24,25,26,27,113,60,7,111,574,2135,3835,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f449f9acbe42ce3242b012f56b10040.jpg",[],{"id":38794,"slug":38795,"title":20485,"dynasty":45,"author":20486,"museum":126,"description":20487,"tags":38796,"thumbUrl":38797,"material":312,"size":20490,"collection":95,"collections":38798,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236487,"shan-shui-ren-wu-ce-guo-fen-ya-236487",[24,25,26,50,112,113,116,678,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7bd55a22960036dc1edf7501d592bc.jpg",[],{"id":38800,"slug":38801,"title":38802,"dynasty":18,"author":3067,"museum":107,"description":17329,"tags":38803,"thumbUrl":38804,"material":95,"size":95,"collection":95,"collections":38805,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236446,"ni-qian-ren-shi-yi-ce-wang-hui-236446","拟前人诗意册",[24,25,26,50,59,60,77,7,51,56,57,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afcade55ffb45d7bc46fb1dbf2acdc9.jpg",[],{"id":38807,"slug":38808,"title":38809,"dynasty":18,"author":454,"museum":107,"description":38810,"tags":38811,"thumbUrl":38812,"material":751,"size":752,"collection":95,"collections":38813,"showCount":581,"zanCount":882,"manualWeight":39,"mainColor":40},236375,"dong-xia-can-hua-hui-shan-yi-ming-236375","东霞灿花卉扇","此扇面以鸢尾入画，淡紫花瓣晕染自然柔和，将花草娇柔舒展之态尽显。青绿叶片挺拔清隽，笔墨浅淡秀润，寥寥数笔便勾勒出蓬勃生机。左侧题字笔致清雅隽秀，与花卉相映成趣，诗画合璧，晕染出恬淡悠然的文人意趣。整体构图疏朗留白得当，温婉细腻的笔墨将文人闲情与草木生机融为一体，尽显清雅恬和的中式美学意韵，是一件颇具雅趣的文人小品。",[18,24,25,1250,27,111,30,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9ed52b5ede0f0d57144617686f56c2.jpg",[],{"id":38815,"slug":38816,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":38817,"tags":38818,"thumbUrl":38819,"material":95,"size":95,"collection":95,"collections":38820,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236100,"hua-luo-han-ce-leng-mei-236100","此作工致清雅，右侧绘罗汉乘金毛雄狮缓行，侍者持幡随侍，仆役牵犬相随。线条秀劲细腻，衣袂褶皱流转自然，狮鬃毫发毕现，将雄狮的雄健与罗汉的安然肃穆烘托得淋漓尽致，设色浅淡柔和，尽显空灵禅意。左侧题识笔墨苍劲朴拙，笔势沉凝古雅。书画合璧，禅韵悠长，既承袭院体画的精工写实，又暗合文人画的清幽意趣，细微处尽显匠心，将佛门超然出尘的静穆意境铺陈开来，清隽雅致，余韵悠长。",[2135,24,25,92,878,111,27,113,10664,798,77,7,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ef532fd42f3ddad9b8c6e4ad95c102.jpg",[],{"id":38822,"slug":38823,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":38824,"tags":38825,"thumbUrl":38826,"material":95,"size":95,"collection":95,"collections":38827,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236099,"hua-luo-han-ce-leng-mei-236099","此作工笔细腻雅致，右侧白象刻画写实传神，肌肤纹理柔和温润，神态驯静安和，尽显瑞兽清灵气韵。罗汉衣纹线条凝练流畅，神态沉静古朴，自带出尘之姿；随从小童天真灵动，与罗汉的静穆形成巧妙映衬，动静相生，画面谐和悠然。\n左侧书法笔意端秀清雅，题诗与绘面呼应，点醒白象蕴含的禅意。整作设色浅淡明净，将院体画的精工与空灵禅趣相融，晕染出佛门清寂安然的悠远意境，颇具韵致。",[24,25,111,27,878,113,798,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e117678922a938a7528a2a59698844.jpg",[],{"id":38829,"slug":38830,"title":4167,"dynasty":18,"author":29845,"museum":107,"description":38831,"tags":38832,"thumbUrl":38833,"material":95,"size":95,"collection":95,"collections":38834,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},235946,"shan-shui-ce-qi-zhi-jia-235946","此作书画合璧，右侧绘就幽壑山居之景，危崖高耸出云，飞瀑隐于崖岫之间，苍松虬劲扎根矶石，林树萧疏错落，浅淡烟岚轻笼山谷，似有清气浮动弥散。\n\n笔墨清隽秀润，以简淡皴擦晕染山石肌理，林木不求繁缛层叠，寥寥数笔便具古雅意态，将幽寂山林的清远之致凝于尺幅。左侧题跋行书笔致松灵舒展，与画中逸气相合，暗合文人林泉之志，观之如临静穆丘壑，可揽山野清趣，尽得寄情山水的隐逸襟怀。",[24,25,50,51,60,26,59,57,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff424acd1624cdc07817dcdf5abdad340.jpg",[],{"id":38836,"slug":38837,"title":38838,"dynasty":45,"author":32029,"museum":107,"description":32030,"tags":38839,"thumbUrl":38840,"material":751,"size":752,"collection":95,"collections":38841,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},235755,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235755","梅花文从简诗合璧册",[24,25,26,50,60,77,131,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b65fcd216b58af1bbec8ffc3cbfb76.jpg",[],{"id":38843,"slug":38844,"title":7663,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":38845,"thumbUrl":38846,"material":751,"size":752,"collection":95,"collections":38847,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},235484,"huang-shen-shu-guo-tu-ce-huang-shen-235484",[24,25,26,50,27,7667,77,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccdb6db7432f826205696036ad4ba516.jpg",[],{"id":38849,"slug":38850,"title":12162,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":38851,"thumbUrl":38852,"material":751,"size":752,"collection":95,"collections":38853,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},235190,"za-hua-ce-huang-shen-235190",[24,25,26,50,131,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1185f36f7d159f995e9f5c9b16298389.jpg",[],{"id":38855,"slug":38856,"title":33869,"dynasty":18,"author":3764,"museum":107,"description":38857,"tags":38858,"thumbUrl":38861,"material":95,"size":95,"collection":95,"collections":38862,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},235095,"zheng-min-shan-shui-ce-zheng-min-235095","此作以淡墨写平林小景，枯木虬劲疏朗，枝桠错落伸展，崖畔茅舍孑然独立，远山以浅墨轻扫晕染，淡远朦胧。画面留白疏朗空寂，尽显萧散冷逸的林下之风。\n笔墨简淡松灵，不事浓艳雕琢，以极简笔意勾勒出荒寒清远的意境，深得倪瓒遗韵，尽显新安画派崇尚疏淡雅逸的意趣。搭配左侧行书题跋，笔致清劲秀雅，书画相得益彰，文气盎然，将山水的清冷澹泊与文人隐逸之思相融，悠悠然见林下高致。",[24,25,26,50,51,60,59,115,250,55,57,704,38859,6769,129,56,1678,38860,7,1689],"小筑","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550867f3e60c4cab630f75e34d2b8d86.jpg",[],{"id":38864,"slug":38865,"title":38866,"dynasty":18,"author":38867,"museum":107,"description":38868,"tags":38869,"thumbUrl":38870,"material":95,"size":95,"collection":95,"collections":38871,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},235067,"qing-ren-xiang-yue-an-zhu-xiang-bu-shen-zhou-sha-fu-235067","清人香月庵主像补身轴","沙馥","淡墨白描勾勒衣纹，清劲秀雅间将长衫垂坠质感尽显自然熨帖。主人公面容写实，神情安恬淡然，清雅出尘的文士风骨跃然纸上。画幅四周题满端秀工整的诗文，与肖像风格相得益彰，诗画合璧晕染出浓郁书卷气，烘托出传主的雅人深致。整作以简净含蓄的笔墨，舍弃繁复布景，留白雅致空灵，将人物品格与文人意趣相融，尽显晚清文人画诗书画一体的典型特质，是兼具艺术性与人文性的精妙肖像之作。",[24,25,75,112,113,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b1e66132c9244edb625e9cbb8514b7.jpg",[],{"id":38873,"slug":38874,"title":17988,"dynasty":18,"author":454,"museum":126,"description":17989,"tags":38875,"thumbUrl":38876,"material":1179,"size":17992,"collection":95,"collections":38877,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},234907,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234907",[24,25,26,27,51,458,52,53,56,57,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d55cb3ca3e110c84748c4d63b41ec2.jpg",[],{"id":38879,"slug":38880,"title":4167,"dynasty":45,"author":14464,"museum":107,"description":38881,"tags":38882,"thumbUrl":38883,"material":95,"size":95,"collection":95,"collections":38884,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},234866,"shan-shui-ce-zhao-pu-234866","此帧以淡墨写就平远秋江，近岸修竹疏朗，汀渚隐于浅烟微波，远山如黛晕染空濛。题诗与画意两相呼应，将江天寥廓、宿雁初歇的清寂描摹尽致。\n\n笔墨简淡清空，以留白衬江波无澜，远山轻施披麻皴，墨色淡宕虚和，全不作刻露之笔。帧内题录唱和诗作，书画同帧交融，将江南秋暮的冷逸闲淡徐徐铺展，不见一丝喧嚣躁气，尽显寄兴林泉、澄怀观道的文人雅趣，把秋日江天的静穆诗意晕染在尺幅之间。",[24,25,26,50,7,77,59,51,56,116,53,250,54,1018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbdd62ea7e52cb749057e52bf55d58.jpg",[],{"id":38886,"slug":38887,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":38888,"thumbUrl":38889,"material":488,"size":95,"collection":95,"collections":38890,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},234762,"huang-shan-tu-ce-jiang-zhu-234762",[24,25,26,112,50,60,7,77,51,250,5721,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05887aa4adaf32ffa4c1d46dedaa148b.jpg",[],{"id":38892,"slug":38893,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":38894,"thumbUrl":38895,"material":488,"size":95,"collection":95,"collections":38896,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},234754,"huang-shan-tu-ce-jiang-zhu-234754",[24,25,26,112,50,51,250,1018,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e99093438ffb2b990db33c89709f7c6.jpg",[],{"id":38898,"slug":38899,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":38900,"thumbUrl":38901,"material":488,"size":95,"collection":95,"collections":38902,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},234730,"huang-shan-tu-ce-jiang-zhu-234730",[24,25,26,27,51,59,7,60,77,57,56,53,250,9654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d61fead5fd444cfed967d7134880d7.jpg",[],{"id":38904,"slug":38905,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":38906,"thumbUrl":38907,"material":488,"size":95,"collection":95,"collections":38908,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},234725,"huang-shan-tu-ce-jiang-zhu-234725",[24,25,26,50,59,51,5721,252,7,60,77,1006,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39eb46fac96cea86c89a4ad8652a2241.jpg",[],{"id":38910,"slug":38911,"title":38912,"dynasty":18,"author":38913,"museum":107,"description":38914,"tags":38915,"thumbUrl":38916,"material":95,"size":95,"collection":95,"collections":38917,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},234690,"shan-shui-ce-ye-wei-zhi-huang-234690","山水册页","魏之璜","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,26,50,51,54,115,471,552,771,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660b012f080174b1e46d57f3f63d20e2.jpg",[],{"id":38919,"slug":38920,"title":38921,"dynasty":18,"author":454,"museum":107,"description":38922,"tags":38923,"thumbUrl":38924,"material":95,"size":95,"collection":95,"collections":38925,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},234685,"ba-jia-shan-shui-ce-qiu-yue-chu-jiang-qiu-se-tu-ce-ye-yi-ming-234685","八家山水册-丘岳楚江秋色图册页","图绘远山,小舟,一游人在江上饮酒",[24,25,26,50,27,59,7,60,77,51,54,56,5721,553,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2a414c045a663e86e12799aae06760.jpg",[],{"id":38927,"slug":38928,"title":38929,"dynasty":18,"author":38930,"museum":107,"description":38931,"tags":38932,"thumbUrl":38933,"material":95,"size":95,"collection":95,"collections":38934,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},234350,"you-niao-shi-tu-ce-jin-kun-234350","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[24,25,27,51,26,251,56,458,252,11404,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d8af2a0231af03f6f3a88f21aeaf3.jpg",[],{"id":38936,"slug":38937,"title":38938,"dynasty":45,"author":38939,"museum":107,"description":38940,"tags":38941,"thumbUrl":38942,"material":95,"size":95,"collection":95,"collections":38943,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},234260,"shan-shui-he-zhuang-tu-juan-sun-wei-234260","山水合装图卷","孙玮","孙玮，号松溪翁，明代隆庆万历间吴（今江苏苏州）人。工山水。其事迹已收入《中国美术家人名辞典》。",[23,92,24,25,49,50,27,51,55,116,52,53,115,250,458,56,57,7,60,398,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f75bafa04edc4b27c971f59e44d99dc.jpg",[],{"id":38945,"slug":38946,"title":38947,"dynasty":18,"author":38948,"museum":107,"description":38949,"tags":38950,"thumbUrl":38952,"material":95,"size":95,"collection":95,"collections":38953,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},234210,"xiang-jiang-chang-he-tu-juan-wang-chen-234210","湘江唱和图卷","王宸","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。王时敏六世孙，王原祁曾孙。官衔有的说是乾隆二十五年举人，官永州太守，但也有一说是乾隆年进士，官居永州知府。\n书法似颜真卿，多藏古碑刻。山水承家学，以元四家为宗，而深得黄公望法。枯毫重墨，气味荒古，脱略形似，仿王绂尤得神髓 。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 ，山石都在形似间。著有《绘林伐材》、《蓬心诗钞》，卒年七十八岁。与王玖、王愫、王昱合称小四王。",[23,24,25,49,50,59,60,7,51,54,56,38951,53,116],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde05bc6dbfab643b6def47925a554166.jpg",[],{"id":38955,"slug":38956,"title":25847,"dynasty":88,"author":6022,"museum":126,"description":25848,"tags":38957,"thumbUrl":38958,"material":1179,"size":25851,"collection":95,"collections":38959,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},233990,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233990",[24,25,26,112,27,113,51,56,250,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61718b8742bb720398eef3dacda1993.jpg",[],{"id":38961,"slug":38962,"title":38963,"dynasty":18,"author":10158,"museum":126,"description":29966,"tags":38964,"thumbUrl":38965,"material":1179,"size":29969,"collection":95,"collections":38966,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},233817,"shan-shui-ce-6-fu-shan-233817","山水册6",[24,25,26,50,51,704,57,471,7,398,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69b6cfe5b075825eb86a84d237c2a164.jpg",[],{"id":38968,"slug":38969,"title":31939,"dynasty":18,"author":454,"museum":126,"description":31940,"tags":38970,"thumbUrl":38972,"material":488,"size":31947,"collection":95,"collections":38973,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},233047,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233047",[24,26,27,9812,113,51,1074,9011,7,77,38971],"战图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea7cf63e28d061d90b431e5cc8c7536.jpg",[],{"id":38975,"slug":38976,"title":38977,"dynasty":45,"author":454,"museum":107,"description":38978,"tags":38979,"thumbUrl":38980,"material":751,"size":752,"collection":95,"collections":38981,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},232685,"jia-pu-xiao-xiang-tu-juan-yi-ming-232685","家谱肖像图卷","以朱红世系红线串联全篇，将先祖肖像与谱牒题款融为一体。数位先祖肖像冠服严整，乌纱补服与儒巾常服各具风貌，面容刻画朴拙写实，眉眼间自带肃穆恭敬，尽显明代士绅端方仪态。\n\n古旧纸色晕染岁月痕迹，朱红脉络依旧醒目，细密题注排布有致，清晰梳理家族传承脉络。它既是肖像绘事遗存，也是宗法血脉的具象载体，融绘画技艺与宗族文化为一体，在斑驳古卷之中，晕开了一个家族敬宗追远的绵长情怀。",[23,24,25,49,27,111,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c51043de18245b2f92478cab57f26b.jpg",[],{"id":38983,"slug":38984,"title":38985,"dynasty":8749,"author":38986,"museum":107,"description":38987,"tags":38988,"thumbUrl":38989,"material":751,"size":752,"collection":95,"collections":38990,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},231829,"jing-shang-xin-wan-juan-yi-teng-bo-wen-231829","井上馨宛卷","伊藤博文","伊藤博文伊藤（伊藤博文伊藤，1841年10月16 - 1909 10月26日）时，明治阶段日本的政治家[1] 。排名Kunto爵位在按照首位大订单的公爵。\n明治时代在4度到内阁制晚些时候推出的首相（第一代：1885年- 1888年，五代：1892年- 1896年- 7代：1898年，10代：1900年- 1901年），已知的作为。在第一次内阁时，他成为中心人物的起草工作中的明治宪法，并在时间的第二个机柜，他起草了中日和平条约。在四阶内阁中，通过创立创始人总统（在任1900 年至1903 年）组建了新政府rikken seiyūkai，并为政党政治铺平了道路。另一位主要的枢密院主席（任期1888 年-1889），主要的上议院主席府（任期1890年- 1891年），创始人韩国居住总（在办公室1905年- 1909年），参议院被服务等。\n讳是伊藤博文（伊藤博文，有时读为“ Hakubun ”）。他还称自己为“ Ochijuku Ryohirofumi ”。小名被改期到（补赛）后，吉田松荫从给定俊英顺俊介和（俊介），进一步Harusuke改名（俊介）。不。春嵘（Shunpo），常被称为Haruseoyake。所述小田原排屋的沧浪亭，因为它是在占有沧浪阁主人被称为（所以城堡丈夫）符号和密封也用作一个。",[23,25,7,49,60,398,50,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d413e5167b26e90276d1e60627bbdfe.jpg",[],{"id":38992,"slug":38993,"title":38994,"dynasty":8749,"author":454,"museum":107,"description":38995,"tags":38996,"thumbUrl":38997,"material":751,"size":752,"collection":95,"collections":38998,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},231828,"yang-sheng-xun-shou-gao-quan-juan-yang-sheng-xun-shou-gao-quan-juan-yi-ming-231828","养生训手稿全卷-养生训手稿全卷","此作为行书长卷，开篇擘窠大字雄劲开张，笔力沉厚浑朴，颇有颜体宽博气象，后续小字行书舒展连贯，提按转折间筋骨尽显，墨色浓枯变幻自然，章法疏密错落，通篇一气呵成，韵致悠长。\n内容为养生之训，文辞意涵与笔墨意趣相融相衬，将修身静气的哲思寄寓于流动线条之中，缓急徐舒间藏内敛静气，既见书写者的笔底功力，也尽显其对养生之道的通透体悟，书卷气盎然，是兼备文学性与艺术性的书法佳制。",[23,7,60,49,6535,385,77,1498,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7152585e5aca7365e5983ebf24ba5cd.jpg",[],{"id":39000,"slug":39001,"title":39002,"dynasty":8749,"author":39003,"museum":107,"description":39004,"tags":39005,"thumbUrl":39006,"material":751,"size":752,"collection":95,"collections":39007,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","堀田正衡","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[23,24,25,49,50,27,7,60,398,77,51,132,135,113,55,116,134,139,131,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":39009,"slug":39010,"title":39011,"dynasty":8749,"author":454,"museum":107,"description":39012,"tags":39013,"thumbUrl":39014,"material":751,"size":752,"collection":95,"collections":39015,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},231799,"ri-ben-jiang-hu-shi-qi-shou-juan-yi-ming-231799","日本江户时期手卷","此卷行书笔墨酣畅，通篇行气贯通，字势顾盼相生，提按转合间尽显书写时的随性快意。枯湿浓淡自然变幻，牵丝映带灵动飘逸，既恪守晋唐行书隽雅法度，又不失狂放舒展的写意意趣。\n整卷为题咏诗文，书者笔随文势起伏，抒情处笔意舒缓温雅，激昂处笔墨恣肆开张，将文辞情志与书法笔韵相融无间，笔墨间尽显文人的旷达襟怀。章法排布疏密有致，卷首卷尾印信点缀得宜，通篇浑然一体，尽显书者深厚功底与潇洒风骨，是一件极具抒情性的行书佳作。",[23,49,7,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe027a5552153bbfd251e3763006f6a8.jpg",[],{"id":39017,"slug":39018,"title":39019,"dynasty":8749,"author":39020,"museum":107,"description":39021,"tags":39022,"thumbUrl":39023,"material":751,"size":752,"collection":95,"collections":39024,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},231782,"zhu-ming-jia-shou-jian-shou-jian-duo-he-jie-yong-deng-231782","诸名家手简 手简","多贺芥勇等","这卷草书手简以笔墨为心音，行笔随性萧散，线条提按转折间尽显文人笔底风神。通篇布局错落随心，字距行间疏密相生，无刻意经营的匠气，带着日常尺牍书写的松弛畅意。枯湿浓淡的墨色交织，牵丝映带里藏着书写时连贯的思绪情绪，将尺素寸心化作纸上云烟。以笔为语，把日常叙寄的意绪融在每一处笔墨细节中，率真自在的书写状态，尽显文人信札书法的萧散雅趣，是将日常闲情化为笔墨意趣的动人之作。",[23,7,49,60,398,2282,385,14632,35926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690edad3d184081878b05d055e5ac915.jpg",[],{"id":39026,"slug":39027,"title":39028,"dynasty":8749,"author":28566,"museum":107,"description":39029,"tags":39030,"thumbUrl":39031,"material":751,"size":752,"collection":95,"collections":39032,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},231757,"xiao-ye-jia-jiu-cang-yi-teng-gui-jie-231757","小野家旧藏","伊藤圭介（伊藤圭介，ToruKazu 3年1月27日（1803年2月18日） -明治1934（1901） 1月20日），在江户时期的结束，从明治时期的采药人-荷兰研究人，自然·医学博士。日本第一位理学博士。男爵。它也以创造“雄蕊”、“雌蕊”和“花粉”等词而闻名。尾张省名古屋市（现爱知县名古屋市）出生。名字是顺民和清民。角色是大子和圭介。不。锦窠。",[23,7,49,60,398,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1195ff2293dc1dddc74712cb8907ad47.jpg",[],{"id":39034,"slug":39035,"title":39036,"dynasty":8749,"author":454,"museum":107,"description":39037,"tags":39038,"thumbUrl":39041,"material":751,"size":752,"collection":95,"collections":39042,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},231729,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-juan-shang-bu-yi-ming-231729","江户时期 乡村故事绘卷-上部","此绘卷为典型和汉物语长卷形制，图文错落排布。平假名草书舒展流丽，浅底衬着莳金暗纹，古雅沉静。三幅设色古画各有意趣：山林间高士凭崖闲坐，水畔处甲士趁舟行军，廊下众人雅集清谈。敷色沉稳古拙，线条朴拙生动，将乡野旧闻的叙事性藏于笔间，把文情画意融于长卷，带着旧纸特有的温润质感，铺展开一卷裹着古意的乡野往昔。",[23,49,27,111,7,398,113,51,1074,133,132,1127,53,11608,56,39039,39040,1782],"聚会场景","骑马场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ced2fa0e0a87ba1faa1d5cc78070d2e.jpg",[],{"id":39044,"slug":39045,"title":39046,"dynasty":8749,"author":39047,"museum":107,"description":39048,"tags":39049,"thumbUrl":39050,"material":751,"size":752,"collection":95,"collections":39051,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},231600,"dong-wu-xie-sheng-tu-gui-chuan-guo-rui-231600","動物写生図","桂川国瑞","桂川甫週（KatsuragawaHoshū）是日本醫師，也是蘭學的學者。他曾在德川幕府擔任醫師和荷蘭語翻譯。他是作家和蘭學學者森島中良（MorishimaChūryō）的哥哥。作為桂川家族的長子，將軍的荷蘭式醫生霍舒於1777年被任命為該職位。他於1794年開始在幕府將軍醫學院任教。",[25,27,111,4730,834,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fb02042d367c59a81eac1fec864aa6.jpg",[],{"id":39053,"slug":39054,"title":39055,"dynasty":162,"author":454,"museum":107,"description":39056,"tags":39057,"thumbUrl":39058,"material":751,"size":752,"collection":95,"collections":39059,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},231030,"fu-ding-zun-sheng-tuo-luo-ni-zhou-yi-ming-231030","佛顶尊胜陀罗尼咒","这件拓本以端雅小楷书就经文，笔力挺秀凝练，点画匀整精劲，尽显唐楷典正法度，笔墨浸着写经的肃穆虔诚。左上角浅刻坐佛，线条简净洗练，与经文呼应，成就造像与书法相融的佛教遗存。拓墨匀和沉静，虽经岁月磨蚀带着残损痕迹，却更添古雅厚重的质感，将唐代佛教艺术的庄严静定全然铺展。字里行间兼具书法笔法意趣与宗教文本的肃穆气韵，尽显中古写刻一体的独特美感。",[198,199,878,7,386,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4d7a222e715acdcb66d29a325937f0.jpg",[],{"id":39061,"slug":39062,"title":39063,"dynasty":162,"author":454,"museum":107,"description":39064,"tags":39065,"thumbUrl":39066,"material":95,"size":95,"collection":95,"collections":39067,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},230911,"mo-you-jun-san-tie-yi-ming-230911","摹右军三帖","此作用笔灵动温润，墨色古雅沉静，忠实复刻出右军行书的飘逸神韵。行笔提转自然，牵丝映带间尽显晋人萧散风流，点画舒展雅致，藏露相宜，将二王笔法的秀逸风神尽数展现。\n\n满纸鉴藏玺印疏密错落，与帖文相映成趣，既见证了它辗转流传的岁月历程，也为这件作品增添了厚重的古雅质感，让笔墨意趣与时光沉淀交融为一，尽显旧帖的隽永神采。",[1063,7,110,60,398,77,9635,25,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8578b6c0bd130fabf87d02674ab690.jpg",[],{"id":39069,"slug":39070,"title":39071,"dynasty":18,"author":12414,"museum":107,"description":12415,"tags":39072,"thumbUrl":39073,"material":751,"size":752,"collection":95,"collections":39074,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},230847,"tang-ren-shi-ju-ai-xin-jue-luo-xuan-ye-230847","唐人诗句",[7,60,77,75,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe52ff99807bfbd7ed4a11ce829f938f3.jpg",[],{"id":39076,"slug":39077,"title":26,"dynasty":18,"author":25686,"museum":107,"description":30624,"tags":39078,"thumbUrl":39079,"material":751,"size":752,"collection":95,"collections":39080,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},230354,"ce-zhang-zhao-230354",[23,7,199,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a845d034de61b42f705ca7e8a01a36.jpg",[],{"id":39082,"slug":39083,"title":39084,"dynasty":18,"author":29282,"museum":107,"description":39085,"tags":39086,"thumbUrl":39087,"material":751,"size":752,"collection":95,"collections":39088,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},230231,"gong-he-yu-zhi-re-he-ge-ti-shi-ce-qian-chen-qun-230231","恭和御制热河各体诗册","钱陈群（1686─1774年），字主敬，号香树，又号集斋、柘南居士，浙江嘉兴人，祖籍浙江海盐，清朝重要大臣。\n清康熙六十年（1721）中进士，雍正、乾隆时久直南书房，充经筵讲官，官至刑部侍郎、加尚书衔。卒赠太傅，祀贤良祠，谥文端。\n钱陈群历事康熙、雍正、乾隆三朝，又曾任经筵讲官，特得乾隆帝尊宠，倚为元老儒臣，称为故人。钱陈群病老归乡之后，还常寄诗相与唱和，与沈德潜并称东南二老。",[7,60,26,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41d04c0b219afeae72f975133fd78ba.jpg",[],{"id":39090,"slug":39091,"title":39092,"dynasty":18,"author":830,"museum":107,"description":39093,"tags":39094,"thumbUrl":39095,"material":95,"size":95,"collection":95,"collections":39096,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},230224,"qi-yan-zi-zuo-shi-wu-chang-shuo-230224","七言自作诗","此作用笔以篆隶之法入行草，线条圆浑苍劲，力透纸背。字势欹正相生，章法错落跌宕，通篇气脉连贯酣畅。墨色枯润浓淡交织，重笔沉凝如坠石，枯锋飞白见筋骨，尽显金石老辣之趣。\n将病中沉郁心绪寄于笔端，笔墨与诗意相融，苍拙老迈间满是雄强意气，把文人抒怀与碑学浑厚融为一体，尽显晚年书艺炉火纯青的风貌，苍朴豪迈，真气弥漫。",[23,25,7,60,50,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2f8212e0d01dc26f7eb7072e1ac90d.jpg",[],{"id":39098,"slug":39099,"title":9940,"dynasty":18,"author":39100,"museum":107,"description":39101,"tags":39102,"thumbUrl":39103,"material":751,"size":752,"collection":95,"collections":39104,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},230170,"qi-yan-lian-qian-da-xin-230170","钱大昕","钱大昕（1728年2月16日—1804年11月2日），字晓征，又字及之，号辛楣，晚年自署竹汀居士，江苏太仓州嘉定县望仙桥河东宅（今属上海市嘉定区望新乡）人。清代史学家、文学家、教育家，乾嘉学派代表人物。\n钱大昕早年以诗赋闻名江南。乾隆十六年（1751年），因向乾隆帝献赋被提督学政庄有恭选为一等。后在召试中被评为一等，特赐举人，授内阁中书学习行走。乾隆十九年（1754年）三月，中进士，经御试后改翰林院庶吉士。其后历任翰林院编修、右春坊右赞善、武英殿纂修官、功臣馆纂修官、詹事府少詹事，提督广东学政。期间还出任过会试同考官及山东、湖南、浙江、河南等地乡试考官。乾隆四十年（1775年），因父丧归里，从此引疾不仕。归田三十年，潜心著述课徒，历主钟山、娄东、紫阳书院讲席，出其门下之士多至二千余人。嘉庆九年（1804年），于苏州紫阳书院逝世，享年七十七岁。\n钱大昕是18世纪中国渊博和专精的学术大师，其学以“实事求是”为宗旨，其治学范围广博精深，在史学、经学、小学、算学、校勘学及金石学等学术领域，均有建树和创见。有《十驾斋养新录》，后世以之与顾炎武《日知录》并称。一生著述甚富，后世辑为《潜研堂丛书》刊行。",[23,7,2136,1613,75,2135,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5c457324796599d08ababe49b4afe0.jpg",[],{"id":39106,"slug":39107,"title":14990,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":39108,"thumbUrl":39109,"material":751,"size":752,"collection":95,"collections":39110,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},230164,"shi-qian-long-230164",[25,7,199,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0bb035e127935b82d18605e70596.jpg",[],{"id":39112,"slug":39113,"title":39114,"dynasty":18,"author":1260,"museum":107,"description":39115,"tags":39116,"thumbUrl":39117,"material":95,"size":95,"collection":95,"collections":39118,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},230154,"shu-song-ren-wen-ju-liu-yong-230154","书宋人文句","此作用笔圆融内敛，无锋棱外露，墨色浓妍厚重，点画敦厚朴茂，藏巧于拙，尽显柔缓中内含筋骨的气度。通篇行气连贯疏朗，字距错落有致，于萧散悠然的章法里，透着静雅高古的气息。\n\n文辞清旷出尘，笔墨与意境相融，将秋夜山高月空、幽人自适的林下意趣，和书法的沉浑静穆合为一体。不见烟火躁动，唯见文人闲适淡远的心境，于温润之中见风神，古拙之间藏灵秀。",[23,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3cdf89413dad6f12e15642ad9603725.jpg",[],{"id":39120,"slug":39121,"title":39122,"dynasty":18,"author":31141,"museum":107,"description":31142,"tags":39123,"thumbUrl":39124,"material":751,"size":752,"collection":95,"collections":39125,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},230134,"shi-san-yan-lian-li-zhou-liang-qi-chao-230134","十三言联立轴",[23,75,2136,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e92f93c345b48bf61faaa5832e75db.jpg",[],{"id":39127,"slug":39128,"title":39129,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":39130,"thumbUrl":39140,"material":751,"size":752,"collection":95,"collections":39141,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},229209,"ci-tai-yang-cai-san-duo-shi-yi-jiao-ping-yi-ming-229209","磁胎洋彩三多诗意轿瓶",[25504,39131,27,7,77,39132,2135,3029,39133,39134,39135,39136,39137,39138,10601,39139],"洋彩","花卉纹饰","瓷器纹饰","文字装饰","多色釉彩","清代瓷器","釉上彩","纹饰繁复","款识","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7ab3ab81670bebc8cf309d01b3137a.jpg",[],{"id":39143,"slug":39144,"title":39145,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":39146,"thumbUrl":39147,"material":751,"size":752,"collection":95,"collections":39148,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},229192,"qian-long-yu-yong-si-ku-quan-shu-shi-mo-yi-ming-229192","乾隆 御咏四库全书诗墨",[432,834,30961,7,199,7713,26617,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04fd42b555554a4c4a28e354a704b0.jpg",[],{"id":39150,"slug":39151,"title":39152,"dynasty":18,"author":454,"museum":107,"description":39153,"tags":39154,"thumbUrl":39158,"material":751,"size":752,"collection":95,"collections":39159,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},229088,"fen-cai-yu-zhi-shi-wen-hai-tang-shi-hong-di-cha-pan-yi-ming-229088","粉彩御制诗文海棠式红地茶盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[18,25504,39155,27,7,77,39156,39157,13310],"粉彩","海棠式","红地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec0cb62a06729b69f3883a31b6ca6820.jpg",[],{"id":39161,"slug":39162,"title":39163,"dynasty":18,"author":10652,"museum":107,"description":39164,"tags":39165,"thumbUrl":39166,"material":751,"size":752,"collection":95,"collections":39167,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},229050,"qing-ke-si-qian-long-yu-bi-lin-tie-juan-qing-ren-229050","清缂丝乾隆御笔临帖卷","朱砂朱字缀于沉凝蓝地之上，明丽撞色烘托出疏朗大气的视觉层次。行笔舒展洒脱，牵丝映带间流动着灵动意趣，结体错落开合，既有晋人尺牍的萧散简远，又带着舒展从容的笔墨气度。\n\n缂丝工艺精妙还原书法细节，笔锋提按转折的枯湿浓淡都被细腻复刻在丝缕经纬之间，将纸上笔墨的鲜活意韵凝固留存，让书法行气章法与织造匠心相融，尽显雅致隽永的意蕴。",[18,3232,7,49,110,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb13c24f1dc9c8232b7ab7557a7bb577e.jpg",[],{"id":39169,"slug":39170,"title":39171,"dynasty":45,"author":26176,"museum":107,"description":39172,"tags":39173,"thumbUrl":39174,"material":751,"size":752,"collection":95,"collections":39175,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},228892,"lin-shi-qi-tie-zhu-da-you-228892","临十七帖","生卒不祥。明安徽宁国人。字伯亨，号摩诃山农。嘉靖十二年（1523）岁贡。",[23,7,25,49,110,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd321c7a624a4e022536dbfc17e26c4c7.jpg",[],{"id":39177,"slug":39178,"title":39179,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":39180,"thumbUrl":39181,"material":751,"size":752,"collection":95,"collections":39182,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},228871,"shu-hua-he-bi-chi-bi-sheng-you-tu-quan-juan-wen-zheng-ming-228871","书画合壁赤壁胜游图全卷",[23,24,25,49,50,27,51,57,53,54,56,678,60,7,59,111,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3197d20fc0c4379574693896b4e96fe.jpg",[],{"id":39184,"slug":39185,"title":21168,"dynasty":45,"author":14822,"museum":107,"description":17925,"tags":39186,"thumbUrl":39187,"material":751,"size":752,"collection":95,"collections":39188,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},228745,"zi-shu-shi-juan-huang-dao-zhou-228745",[23,25,7,49,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1685b2f4977ca333713d930386fefbe.jpg",[],{"id":39190,"slug":39191,"title":39192,"dynasty":45,"author":454,"museum":107,"description":39193,"tags":39194,"thumbUrl":39195,"material":751,"size":752,"collection":95,"collections":39196,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},228742,"ji-xiang-xi-jin-gang-ji-lun-gan-lu-quan-juan-yi-ming-228742","吉祥喜金刚集轮甘露泉卷","此卷是西藏萨迦派入门的基础修行法，属于印度密教怛特罗续部四部中的“无上瑜伽部”。",[24,25,49,878,27,111,7,386,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d84ed2cf5a9ec76c869a53520740021.jpg",[],{"id":39198,"slug":39199,"title":39200,"dynasty":45,"author":16345,"museum":107,"description":39201,"tags":39202,"thumbUrl":39203,"material":95,"size":95,"collection":95,"collections":39204,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},228736,"zhi-hong-ming-shou-zha-ju-jie-228736","致鸿冥手札","此作行书萧散灵动，兼得晋唐笔意与宋人意趣，提按顿挫间尽显老辣松秀。点画牵丝映带自然圆融，字势欹正相生，通篇行气疏朗通脱，随性而不失法度。以日常论帖为内容，笔墨全随兴之所至，无丝毫刻意雕琢，将晚明文人简淡散逸的林下之风融于毫端。尺幅之间，把尺牍的实用性与书写意趣融为一体，藏着文人清谈论艺的雅韵，尽显随性自在的文人风骨，是小品书法中的隽逸之作。",[23,7,60,50,2282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472dbc2756c803e8c9d604c962a1b918.jpg",[],{"id":39206,"slug":39207,"title":39208,"dynasty":45,"author":2206,"museum":107,"description":32128,"tags":39209,"thumbUrl":39210,"material":751,"size":752,"collection":95,"collections":39211,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},228331,"dong-po-ji-you-juan-zhu-yun-ming-228331","东坡记游卷",[23,7,25,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdceeca7fc320dd85d26ace762e3e6d.jpg",[],{"id":39213,"slug":39214,"title":39215,"dynasty":88,"author":22586,"museum":107,"description":39216,"tags":39217,"thumbUrl":39218,"material":95,"size":95,"collection":95,"collections":39219,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},227972,"si-xing-shi-yang-mei-zi-227972","四行诗","此幅团扇书法兼取唐楷端雅与行书灵动，笔致娟秀婉丽，筋骨暗藏。诗句咏叹春残之景，将惜春倦怠、厌弃繁华偏恋醉乡的澹泊意趣，融于笔墨之中。墨色匀净沉稳，与古雅绢底相得益彰，章法排布疏朗匀称，字间顾盼有情，尽显宋代女性书家的温婉情致。朱红古印错落点缀，与墨色、绢色相映成趣，整体气息娴静悠然，暗合宋人的雅致审美。小幅之中，尽融文人意趣与闺阁才情，韵致悠长，尽显宋韵清雅。",[92,24,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9e78b25fdd63db264868ebb2a8df21.jpg",[],{"id":39221,"slug":39222,"title":39223,"dynasty":23400,"author":39224,"museum":107,"description":39225,"tags":39226,"thumbUrl":39227,"material":95,"size":95,"collection":95,"collections":39228,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},227734,"yan-jiang-fan-ying-tu-ti-ba-kuan-cheng-qi-227734","烟江帆影图（题跋款）","程琦","程琦(1911-1988)，字伯奋，号二石老人，又号可庵，斋号双宋楼，安徽合肥人。著有《萱晖堂书画录》。",[23,24,25,75,50,27,51,54,28990,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18cb33f42d3f3dc1683ffc942df99f2.jpg",[],{"id":39230,"slug":39231,"title":39232,"dynasty":88,"author":39233,"museum":107,"description":34080,"tags":39234,"thumbUrl":39235,"material":95,"size":95,"collection":95,"collections":39236,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},227732,"shi-zuo-zhao-yun-227732","诗作","赵昀",[7,60,77,2601,39232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8fc9820138e4eb0abe5a5da96bb0cf4.jpg",[],{"id":39238,"slug":39239,"title":39240,"dynasty":88,"author":30179,"museum":107,"description":30180,"tags":39241,"thumbUrl":39242,"material":751,"size":752,"collection":95,"collections":39243,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},227356,"chao-gao-seng-chuan-xu-shi-meng-ying-227356","抄高僧传序",[2601,7,198,457,199,878,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462d6736122af8d2d9ec41196a581e6.jpg",[],{"id":39245,"slug":39246,"title":39247,"dynasty":162,"author":454,"museum":107,"description":30196,"tags":39248,"thumbUrl":39249,"material":751,"size":752,"collection":95,"collections":39250,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},227240,"fa-hua-jing-fa-shi-gong-de-pin-di-shi-jiu-yi-ming-227240","法华经法师功德品第十九",[23,7,386,49,199,878,1498,433,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d14e2e9ed711ac288cd41b147b795bd.jpg",[],{"id":39252,"slug":39253,"title":39254,"dynasty":162,"author":454,"museum":107,"description":30196,"tags":39255,"thumbUrl":39256,"material":751,"size":752,"collection":95,"collections":39257,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},227238,"miao-fa-lian-hua-jing-di-8-guan-shi-yin-pu-sa-men-pin-di-er-shi-wu-yi-ming-227238","妙法莲华经第8观世音菩萨门品第二十五",[23,25,49,878,386,7,199,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1a1eda4331743d036369d18a857c4d1.jpg",[],{"id":39259,"slug":39260,"title":39261,"dynasty":162,"author":454,"museum":107,"description":39262,"tags":39263,"thumbUrl":39264,"material":95,"size":95,"collection":95,"collections":39265,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},227125,"tang-zhang-zu-mu-zhi-ming-yi-ming-227125","唐张祖墓志铭","唐 张祖墓志铭 哈佛大学图书馆藏 咸亨二年671 唐碑尤带北碑意味者",[198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a1749f972d169f8a9b3942037f2db0.jpg",[],{"id":39267,"slug":39268,"title":39269,"dynasty":162,"author":454,"museum":107,"description":39270,"tags":39271,"thumbUrl":39272,"material":95,"size":95,"collection":95,"collections":39273,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},227120,"tang-qu-fu-wen-xuan-wang-miao-ji-zhou-yi-ming-227120","唐曲阜文宣王庙记轴","《唐新修曲阜县文宣王庙记碑》：唐咸通十一年（870年）三月十日建。碑高145厘米，宽74厘米，厚22厘米。方形，两上角斜抹，其间刻碑额新修庙记”横一行。碑文共27行，行44字。原石现存于山东曲阜孔庙。\n\n经典碑帖：唐曲阜文宣王庙记轴，笔画瘦劲，可略窥晚唐楷书风貌\n文宣王庙即指孔庙，因唐开元廿七年，追谥孔子为文宣王，以示尊崇。咸通年间，由于农作欠收经年，曲阜文宣王庙老旧失修，孔子卅九世孙孔温裕有心复其旧观，奏准出个人薪资加以修缮整理。事竣后贾防撰文记其经过附及孔温裕蒙获嘉奖始末，刻石流传，碑文及碑额均作楷书，笔画瘦劲，有柳公权书法清朗的风貌，可以略窥晚唐楷书的趋向。",[1063,198,7,75,3423,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca769cce498be0b5a2c0534b3ca80439.jpg",[],{"id":39275,"slug":39276,"title":39277,"dynasty":162,"author":454,"museum":107,"description":39278,"tags":39279,"thumbUrl":39281,"material":751,"size":752,"collection":95,"collections":39282,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},227098,"fu-jing-yi-ming-227098","凫镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[15301,7713,834,7,457,7714,19026,693,39280],"绳结","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af2479c91c7305cef7e17d48ba58e8f.jpg",[],{"id":39284,"slug":39285,"title":39286,"dynasty":45,"author":39287,"museum":107,"description":39288,"tags":39289,"thumbUrl":39290,"material":95,"size":95,"collection":95,"collections":39291,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224566,"shu-hua-ce-ye-8-xiao-yun-cong-wang-shi-zhen-224566","《书画册页》-8","萧云从 王士祯","此作用笔率意灵动，墨色枯湿浓淡交叠，线条粗细自然舒卷，字势欹侧相生，牵丝映带暗合文思脉络。字形大小错落排布，章法疏朗通透，通篇行气连贯浑成，尽显文人萧散简远的林下之风。\n\n落笔之间藏着沉厚笔力，随性却不失法度，将书写时的襟怀意趣尽数融于笔墨。看似不经意的挥毫，实则暗合晚明尚态抒情的书风特质，字字呼应间，让观者在笔墨流转里，触摸到彼时文人心底的疏放襟怀与隽秀文思。",[24,25,4347,60,7,50,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20909ba1ec50940fba631475a103ecce.jpg",[],{"id":39293,"slug":39294,"title":39295,"dynasty":45,"author":39287,"museum":107,"description":39296,"tags":39297,"thumbUrl":39298,"material":95,"size":95,"collection":95,"collections":39299,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[24,25,26,50,27,59,7,77,51,113,115,250,8057,1678,56,238,845,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":39301,"slug":39302,"title":39303,"dynasty":18,"author":39304,"museum":107,"description":39305,"tags":39306,"thumbUrl":39307,"material":751,"size":752,"collection":95,"collections":39308,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224352,"huang-ting-nei-jing-jing-juan-guo-shang-xian-224352","黄庭内景经卷","郭尚先","《黄庭经》是魏晋年间道士养生之书，分《内景经》和《外景经》。郭尚先于清道光四年（1824年）书录此《黄庭内景经》，时年41岁。此幅书法以颜真卿为根底，又融“馆阁体”姿韵，结体宽博秀雅，笔力雄浑坚实，为郭尚先晚期精心之作。",[23,7,386,49,199,50,878,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed6dadc033b3edff7355991fded418e.jpg",[],{"id":39310,"slug":39311,"title":39312,"dynasty":18,"author":6662,"museum":107,"description":39313,"tags":39314,"thumbUrl":39315,"material":95,"size":95,"collection":95,"collections":39316,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224323,"hua-niao-shi-er-kai-12-li-shan-224323","花鸟十二开12","以水墨写就牡丹，运笔纵放老辣，墨色层次丰盈，浓淡干湿晕染间，尽显牡丹华贵姿容。焦墨点簇花头苍润兼济，淡墨晕留白处虚灵雅致，枝叶穿插随性却不失章法，尽显挥毫时的酣畅意气。\n\n右侧行书题诗笔势跌宕，书画相映成趣，将文人写意的抒情特质尽显。画作不拘泥于形，以水墨替代设色，褪去浓艳，提炼出牡丹不恃色露风骨的意韵，尽显随性率真的写意风骨，于挥洒之间藏着画者寄情花木、不流于俗的文人襟怀。",[23,24,25,50,26,29,135,7,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd795af6042318958264f8c1bb453e04a.jpg",[],{"id":39318,"slug":39319,"title":39320,"dynasty":18,"author":6662,"museum":107,"description":39321,"tags":39322,"thumbUrl":39323,"material":95,"size":95,"collection":95,"collections":39324,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224303,"hua-hui-shi-er-kai-4-li-shan-224303","花卉十二开4","这幅小品兼用没骨与写意笔法，绘两折幽花。上枝柔茎修长，粉花轻妍，晕染细腻，尽显娇柔轻盈之态；下簇黄花明媚鲜亮，墨叶以阔笔挥就，浓淡交叠，苍劲中藏秀润，朴拙见灵动。\n\n左侧题诗与花木相衬，以花自喻，吐露清介襟怀，诗书画印浑然一体，尽显扬州画派纵恣文心。笔墨简括却意态丰盈，将花木的绰约风神与文人孤傲品格相融，清雅脱俗，余韵悠长。",[23,24,25,26,27,29,30,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff87a8cacac29b8f8f20ecdeeefa4100.jpg",[],{"id":39326,"slug":39327,"title":39328,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":39329,"thumbUrl":39330,"material":751,"size":752,"collection":95,"collections":39331,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},224289,"he-yu-qing-zhang-wu-shi-er-de-zi-shi-juan-fu-shan-224289","贺毓青丈五十二得子诗卷",[23,25,7,49,398,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0256bed931e310b20e03ef45c4411af2.jpg",[],{"id":39333,"slug":39334,"title":39335,"dynasty":18,"author":10158,"museum":107,"description":39336,"tags":39337,"thumbUrl":39339,"material":95,"size":95,"collection":95,"collections":39340,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224285,"jin-gong-qian-gu-yi-kuai-si-tiao-ping-fu-shan-224285","晋公千古一快四条屏","《傅山草书经典:晋公千古一快四条屏》主要内容：傅山（一六○五——一六八四），字青主，看署名号有：傅山、山、真山、侨山等四十余个，明末清初著名学者、书法家。\n傅山一生磊落孤傲，拒不仕清，具有崇高的民族气节。\n其书法雄厚豪放，富有浪漫色彩。\n其以[二王]为宗，取法颜真卿，上追魏晋及宋元诸家，特别是米芾的疏狂颠逸之书风对他影响颇深。\n傅山楷隶行草诸体兼擅，但艺术成就最高的当属他的草书。\n从其行草书法作品中可以看出，其笔势雄浑，如排山倒海，一发不可收；其线条婉转飘逸，如枯藤绕树，缠绵起伏；其点画顿挫抑扬，如乱石铺街，险峻跌宕，因而显得大气磅礴，生机盎然。\n近年来，随着书法热的持续升温，傅山的书法也越来越受到人们的关注，特别是他的行草书，更是受到许多书法家和书法爱好者的喜爱。\n本书精选的是《晋公千古一快四条屏》。\n该作是最能代表傅山书法成就的行草书经典之作，以餮读者。\n《傅山草书经典:晋公千古一快四条屏》由河南美术出版社出版。\n插图：",[23,7,398,39338,50,25],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb9f4feb890ba43b653b6b7203b1a86.jpg",[],{"id":39342,"slug":39343,"title":39344,"dynasty":18,"author":39345,"museum":107,"description":32944,"tags":39346,"thumbUrl":39347,"material":751,"size":752,"collection":95,"collections":39348,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224267,"song-bie-tu-wang-gai-224267","送别图","王概",[23,24,25,49,50,60,7,77,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8d8fef4867d67a697bf2e48c6fb0a1.jpg",[],{"id":39350,"slug":39351,"title":39352,"dynasty":18,"author":19092,"museum":107,"description":39353,"tags":39354,"thumbUrl":39355,"material":95,"size":95,"collection":95,"collections":39356,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224262,"qiong-hua-lou-li-shi-zhuo-224262","琼华楼","此作书画合璧，以淡墨绘就平林寒色，枯木虬枝萧疏错落，坡石隐现间，楼宇澹然栖于山坳林畔，晕染极简却意境幽寂出尘。\n笔底不施重彩，全以枯淡线条勾勒物象，将林泉雅致化为世外灵墟。左侧题诗笔力端稳清劲，诗画相和，以仙苑之思呼应画中意境，把林下幽怀寄于简淡笔墨。整体清雅绝尘，淡而有味，尽显文人画以笔写心、诗画交融的意趣，留白间藏着悠远禅意，将观景之思升为世外清怀。",[23,24,25,50,112,51,458,56,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b02acaee4aa214f25c0229bef39c392.jpg",[],{"id":39358,"slug":39359,"title":39360,"dynasty":18,"author":39361,"museum":107,"description":39362,"tags":39363,"thumbUrl":39364,"material":95,"size":95,"collection":95,"collections":39365,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224198,"gao-tu-jing-she-tu-li-shi-zhuo-224198","皋涂精舍图","李士倬","以淡墨轻皴山峦，浅赭晕染铺就清润底色，将精舍安置在山坳间，周遭林木错落、屋舍隐现，丘壑缓舒间尽显雅静幽寂。\n\n书画合璧，题跋与山水相映，笔致松秀萧散，没有繁复勾勒，只以极简皴擦写尽山石肌理，草木点染随性清疏，将林泉高致融于尺幅间，把文人遁迹丘山、寄情林泉的雅怀缓缓铺陈，意境淡远超脱，尽显清逸出尘的文人画风骨，寥寥笔墨勾勒出诗意山居的澹澹意趣。",[23,24,51,1128,50,59,7,77,75,651,56,458,268,473,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a2ed7b7e19a09c785c8e47769d9c94.jpg",[],{"id":39367,"slug":39368,"title":34803,"dynasty":88,"author":454,"museum":107,"description":39369,"tags":39370,"thumbUrl":39371,"material":95,"size":95,"collection":95,"collections":39372,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},223628,"he-tang-xi-lai-tu-yi-ming-223628","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 本幅无款印。\n清《石渠宝笈续编》著录。",[23,24,92,25,111,27,29,134,399,693,360,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be29216666561141745ebb74a270e35.jpg",[],{"id":39374,"slug":39375,"title":39376,"dynasty":88,"author":454,"museum":126,"description":39377,"tags":39378,"thumbUrl":39380,"material":184,"size":39381,"collection":95,"collections":39382,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},223585,"tian-jun-zui-gui-tu-juan-yi-ming-223585","田畯醉归图卷","田畯是古时管理田地的官员。图中绘村官田畯接受乡民敬酒后，骑牛醉归的情景。老者戴簪花巾子，袍带松落，穿平民麻鞋，动作僵硬，满脸醉意，由人扶持，前面有村童一边牵牛，一边吃包子，生动表现乡村生活的一景。",[23,49,111,27,113,797,6129,7,60,50,1283,56,39379],"饮酒场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbff0c953615a5950f2c984a7e1c392b.jpg","21.7x75.8",[],{"id":39384,"slug":39385,"title":39386,"dynasty":162,"author":454,"museum":107,"description":34216,"tags":39387,"thumbUrl":39388,"material":751,"size":752,"collection":95,"collections":39389,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},223544,"fa-hua-jing-fang-bian-pin-7-yi-ming-223544","法华经方便品7",[1063,49,312,7,386,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f63bcb28de84b40b673eab540fb29c2.jpg",[],{"id":39391,"slug":39392,"title":39393,"dynasty":88,"author":454,"museum":107,"description":39394,"tags":39395,"thumbUrl":39396,"material":8940,"size":39397,"collection":95,"collections":39398,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},223514,"shu-se-qing-yuan-yi-ming-223514","树色清远","绘崇山峻岭，树木林立，近景中小桥流水，隐约可见农夫担柴过桥。此卷有郭熙风格，蟹爪形树枝，画面布局等，有着郭熙画风中空远广阔之景。",[23,24,25,49,50,59,51,652,57,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d346d51b98ba5168b74928d312811d2.jpg","25x651cm",[],{"id":39400,"slug":39401,"title":39402,"dynasty":18,"author":1260,"museum":648,"description":39403,"tags":39404,"thumbUrl":39405,"material":8940,"size":39406,"collection":95,"collections":39407,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},223282,"jie-shu-yuan-jing-lou-ji-liu-yong-223282","节书远景楼记","刘墉的墨法“以浓用拙，以燥用巧”，擅长以“浓墨助其采”，被人戏称为“浓墨宰相”。但用“浓”字来概括刘墉书法的用墨特点并不准确，用一个“丰”字来加以形容或许更加合适。\n刘墉书法在历史上曾有“墨猪”之诮，但这只是一种表浅的意见。如果仔细品味刘墉书法的原作，就会发现他作品中“浓墨”非但没有使自己的字变成“墨猪”，反而增添了字的光彩，这是因为他的用墨充满了“活趣”。他的字只是表面看来肥厚臃肿，实际却是在“丰貌”之下隐含着“劲骨”——那些墨块非但并不“板滞”，反而晶莹剔透，层次清楚，光彩照人！透过层次丰富的墨色轮廓，点画内部笔毫运动的轨迹清晰可见，如“绵里裹铁”！．这就使他的书法味厚神藏，在朴素的外表下透露出内蕴的风采。",[23,92,24,25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f91f9ae8526d11d0d73de325ad2c2e6.jpg","纵125.5cm，横56.3cm",[],{"id":39409,"slug":39410,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":39411,"thumbUrl":39414,"material":95,"size":23245,"collection":95,"collections":39415,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},223212,"geng-zhi-tu-ce-jiao-bing-zhen-223212",[24,4347,111,27,25,39412,39413,11610,113,6605,52,567,56,7],"耕织图","农桑生产","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed3539b6666f10d690eb5ccdbcf6260.jpg",[],{"id":39417,"slug":39418,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":39419,"thumbUrl":39422,"material":95,"size":23245,"collection":95,"collections":39423,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},223207,"geng-zhi-tu-ce-jiao-bing-zhen-223207",[24,4347,111,27,34242,39420,113,6605,39421,7],"民俗场景","桑蚕生产","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb13beb3efde3b3d67f773d35c28fdb5d.jpg",[],{"id":39425,"slug":39426,"title":39427,"dynasty":45,"author":39428,"museum":107,"description":39429,"tags":39430,"thumbUrl":39431,"material":312,"size":39432,"collection":95,"collections":39433,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},222580,"shu-deng-dai-shi-ce-jiang-jie-222580","书登岱诗册","蒋杰","明代蒋杰书法欣赏。蒋杰。曾任广东副使，文采风流，雅有时誉，是当时有名的四大书法家之一。他纵情山水，足迹几半天下，所到之处，多有题咏，诗文清丽，与姑苏王遵考、天台蔡稚含、新安洪平叔、荆溪张以登结清言社，诸君子诗酒往还，即景赋诗，悠闲自得。其书法与黄道周、董其昌、米万钟当时有名的四大书法家，笔力矫健，晚年更显苍劲。著名书法家董其昌曾写诗为他祝寿。《黔诗纪略》录其诗一首。",[23,7,60,26,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb336e4e591d6b6f2148cb92d1f499dfd.jpg","30x344厘米",[],{"id":39435,"slug":39436,"title":39437,"dynasty":45,"author":10912,"museum":20747,"description":39438,"tags":39439,"thumbUrl":39442,"material":95,"size":95,"collection":95,"collections":39443,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},222545,"shu-jin-shan-si-shi-li-zhou-wang-duo-222545","书金山寺诗立轴","书法行笔迅疾、淋漓酣畅、醉墨狂书、驰骋奔突。取势险峻跌宕、盘旋婉转、瘦若枯藤、势如蛟龙。章法上进退裕如，纵中寓敛，缓急有致，技法娴熟，风格老辣苍劲、雄沉奇逸。\n王铎（1592—1652），字觉斯，一字觉之。号十樵，号嵩樵， 又号痴庵、痴仙道人，别署烟潭渔叟。孟津（今河南孟津）人。幼时家境十分贫寒，过着“不能一日两粥”的生活。天启二年（1622）中进士，受到考官袁可立的赏识推荐，入翰林院庶吉士，累擢礼部尚书。王铎身逢乱世，仕途坎坷多艰。崇祯十六年（1643），51岁的王铎曾一度避难于苏州浒墅关袁枢寓所，二人交情笃厚，往来间以诗文书画相唱和。袁枢之父兵部尚书袁可立的神道碑文和墓志铭就是王铎亲笔撰文书写的。1644年李自成攻克北京，崇祯帝殉国于景山。马士英等在南京拥立福王，王铎为东阁大学士。清朝入关后被授予礼部尚书、官弘文院学士，加太子少保，于永历六年（1652）病逝故里。享年六十一岁，葬于河南巩义洛河边，谥文安。\n王铎的书法，既把“二王”的一些用笔特点放大，同时也把自己的个性张扬。从流传下来很多的王铎临“二王”书作中，我们不难看到那个张扬的王铎，表面上学习“二王”，却又在不规矩地显摆自我，在安分与不安分之间游荡。王铎又善用墨法，浓淡干湿，满纸糊涂，在晚明到清初的书法语言里，这种大胆的探索，给了时人明灯般的启发。\n此作王铎书于崇正八年乙亥（1635），王铎时年43岁，正值创作盛年。狂草书咏金山寺七绝诗两首：“大江鳌背擁金堤，解缆攀藤路欲建；赤日常流孤寺外，白云只在暮山西”。“层崖剥落残碑卧，古洞阴森怪鸟唬；卜筑中洽堪自老，何须更棹古陵溪。金山寺之二首，王铎为皓庵先生词宗正之，乙亥秋草具。”钤白文“王铎之印”、朱文“庵”方印。\n这幅作品一如既往地延续了王铎大刀阔斧一面的风格。用笔开张，气度轩昂，刀枪剑戟，一应俱全。每见这种大尺幅作品，总让人联想起沙尘浩荡的将军挥刀，使人动容。通篇气息连贯，一挥而就，有大浪扬帆之气概。\n开篇，王铎大笔一挥，用他独有的、极具个性的涨墨开头，恰如贝多芬的《命运交响曲》，高调的开头，把整个主旋律定了下来。开头“大江”二字的涨墨，既是自然的开张，也是有意的起首，这种夸张的手法，以至于“江”字都很难辨认了。随着开头两个字的重笔重墨，到了“鳌”字，便把笔一抬，将沉重的调子抬高。湿笔在“鳌”的“土”部成功转换，“江”与“鳌”之间的牵丝，若连若断，既是承接又是转换。从重到轻的旋律，在“鳌”演绎一次后继续在“背”“擁”中重复。但如果只是单纯地从重到轻的重复，那就太小看王铎的招数了。重复了两次后，“擁金堤”三字之间发生变化。“金堤”从轻到更轻，从湿到干，节奏上开始发生了变化，再来细看这三个字的处理，就发现这种节奏的把握与控制，自然舒畅，在不知不觉之间已被倾倒。再看看三个字的节奏变化，重笔从重到轻，三字之间的牵丝引带，巧妙地将三个字的关系联系了起来。在王铎的书法中，这种连断的运用相当巧妙与动人，技巧上继承了怀素、董其昌一路的断连用笔，并且某些技巧有所夸张和延伸。\n王铎的用笔高妙，在于他能把笔全方位用上，从涨墨到牵丝，干湿交错，粗细变化。错综复杂的掺杂，制造矛盾与化解矛盾的对立统一， 在各种组合中不断地上演。“攀”重笔起，一气呵成地连贯下来，“攀藤路欲建”四个字，从湿到干，笔各个面在转换翻动，随着动作与情感的变化，笔头生花，节奏也跟着变化，源于心，发于手。心中的情感依靠手上的技巧变现于纸上。上一次的尽情演绎，感情未得以宣泄完，随着“常”的一竖，第一行的情感随之一泻千里。王铎的用笔，若与《书谱》比较，肯定是谈不上精巧的，而其胜人之处在于能通过大刀阔斧用笔与章法组合，一览无余地宣泄内心的情感。艺术之谓为艺术，在于其能通过技去表现人本而臻于道，而并非单纯的表现技术的层面。\n第一行的精彩演绎引发出第二行、第三行的交替组合。其实仅仅只是几个元素的重复，再从中发挥各种组合，便出现各种奇妙的效果。这也就是“自然生发关系”，其实通篇文字从开头两个字生发出来，情感随着变化，一直延伸，线条变化延绵的同时，感情也在高低起伏中扩散，到最后，小字收尾，既是一个结尾，也是情感宣泄到最后，一种“收”的表现。",[23,75,398,7,3330,28543,39440,50,39441,31191,385],"枯笔","金山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74221d9bb38a574d4a0e4a4929ed5f08.jpg",[],{"id":39445,"slug":39446,"title":39447,"dynasty":45,"author":39448,"museum":72,"description":39449,"tags":39450,"thumbUrl":39451,"material":39452,"size":39453,"collection":95,"collections":39454,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},222460,"shu-gu-shi-zhou-shen-can-222460","书古诗轴","沈粲","沈粲（1379－1453），字民望，号简庵，华亭（今上海）人，与沈度合称“二沈”。兄弟二人均因书法佳善，荐授中书舍人。沈粲行草书从二王得法，同时参取宋克和沈度的经验，行笔偶或出锋扬起波磔，别具飞动的态势。这件立轴书录元末明初诗人高启‘拟古诗’一首，点画瘦劲，融会大草书的体势，略与怀素狂草风格相近，由是可知，沈粲行草书原不止于一家之学。\n明朝一代书风，承续宋元以来帖学的传统。前期书法，明直接师承元人，以草书、楷书成就较大。为适应当时盛行的科举制度，由于沈度、沈粲擅长楷书和行草，光润妩媚，因得到永乐皇帝的溢美恩宠而声名显赫，朝野竞学，尤为中书舍人们所效法，形成被称为“纱帽字”的“台阁体”。",[23,45,7,75,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f636614e2fcc767af22b02427225a0.jpg","纸本行草","纵83.4cm，横33.8cm",[],{"id":39456,"slug":39457,"title":39458,"dynasty":45,"author":4035,"museum":72,"description":13098,"tags":39459,"thumbUrl":39460,"material":312,"size":13101,"collection":95,"collections":39461,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},222459,"gui-qu-lai-ci-zhou-shen-du-222459","归去来辞轴",[23,92,24,25,75,7,199,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc996e5f2741d5d0d39ae6800ba3224f7.jpg",[],{"id":39463,"slug":39464,"title":39465,"dynasty":45,"author":5463,"museum":107,"description":39466,"tags":39467,"thumbUrl":39468,"material":398,"size":39469,"collection":95,"collections":39470,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},222056,"tao-yuan-dong-kou-shi-juan-zhang-rui-tu-222056","桃源洞口诗卷","张瑞图在晚明书坛的地位相当重要，可以说是晚明新书派标志性人物。其书法无论是外观面貌还是内涵意蕴，都与前人迥然不同。凌厉的点画, 奇倔的字形, 构成作品的主旋律强烈的力感, 动荡的气势，给人一种崭新的审美感受。\n明初的“三宋”（宋克、宋广、宋璲）“二沈”（沈度、沈粲），中期以祝允明、文徵明、王宠等为代表的吴门书派，虽然在追求精致工整和雍容秀雅方面取得很高成就，但从整体面貌来看，基本上还是宋元书风的延续。而沈度、沈粲以善书获官，深得皇帝喜爱，在当时名气极大，群起效仿，愈演愈烈，遂形成“台阁体”书风。",[23,25,49,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0210a2ae4d20e650b68763044499846.jpg","21cmx322cm",[],{"id":39472,"slug":39473,"title":39474,"dynasty":45,"author":28626,"museum":107,"description":39475,"tags":39476,"thumbUrl":39477,"material":111,"size":39478,"collection":95,"collections":39479,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},222041,"de-qu-zai-ren-ce-13-kai-1-wang-zhong-222041","得趣在人册13开1","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[45,25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccfafefefc5b45f065e542e1cdd5d131.jpg","30×27cm",[],{"id":39481,"slug":39482,"title":39483,"dynasty":45,"author":342,"museum":72,"description":18133,"tags":39484,"thumbUrl":39485,"material":312,"size":39486,"collection":95,"collections":39487,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},222025,"hua-qiu-lin-shu-wu-bing-zi-shu-qi-yan-lv-shi-cheng-shan-wen-zheng-ming-222025","画秋林书屋并自书七言律诗成扇",[23,1250,24,51,9796,10302,59,27,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7580989f754610379536baedf0c049.jpg","30.5x48",[],{"id":39489,"slug":39490,"title":39491,"dynasty":45,"author":342,"museum":72,"description":39492,"tags":39493,"thumbUrl":39494,"material":682,"size":39495,"collection":95,"collections":39496,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},222002,"pan-gu-xu-wen-zheng-ming-222002","盘谷叙","是其晚期（84岁）小楷代表作。字体疏朗开阔，骨肉停匀，清劲苍润，工整中见洒脱，秀媚中透老辣。",[23,49,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21271eed0d1ffccf043408edadb5c630.jpg","纵15.8厘米，横129.7厘米",[],{"id":39498,"slug":39499,"title":39500,"dynasty":45,"author":342,"museum":107,"description":7945,"tags":39501,"thumbUrl":39502,"material":10965,"size":39503,"collection":95,"collections":39504,"showCount":581,"zanCount":882,"manualWeight":39,"mainColor":100},221986,"yi-xi-si-shou-ci-chen-shi-jiang-yun-quan-juan-wen-zheng-ming-221986","忆惜四首次陈侍讲韵全卷",[23,49,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf197ad5c2b199808a1c0fad8f672ef.jpg","32x485cm",[],{"id":39506,"slug":39507,"title":39508,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":39509,"thumbUrl":39510,"material":312,"size":20086,"collection":95,"collections":39511,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},221951,"shu-zha-ce-2-wen-zheng-ming-221951","书札册2",[23,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80fb545f98d7be6bd1379c39010c1be6.jpg",[],{"id":39513,"slug":39514,"title":39515,"dynasty":45,"author":689,"museum":2379,"description":39516,"tags":39517,"thumbUrl":39518,"material":26,"size":95,"collection":95,"collections":39519,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},221904,"hua-niao-jing-pin-ce-15-chen-hong-shou-221904","花鸟精品册15","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[24,25,26,29,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb0c8224e323424f7fb028cfad51774.jpg",[],{"id":39521,"slug":39522,"title":39523,"dynasty":179,"author":20428,"museum":72,"description":39524,"tags":39525,"thumbUrl":39526,"material":312,"size":39527,"collection":95,"collections":39528,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},221869,"zhi-dan-qiu-bo-shi-gong-chi-du-yu-ji-221869","致丹丘博士公尺牍","虞集（1272-1348）元代文学家。字伯生，号道园，人称邵庵先生。祖籍仁寿（今属四川）。其五世祖虞允文，为南宋著名爱国将领，曾在绍兴三十一年(1161)的采石之战中大败金军，官至丞相。其父虞汲，曾任黄冈尉，宋亡后侨居临川崇仁(今属江西)。虞集自幼学习程朱理学，深受儒家正统观念的影响，但又不拘成法，思想比较开通。宋亡后，侨居临川崇仁（今属江西）。元成宗大德元年(1297)， 虞集至大都，他被荐授大都路儒学教授。仁宗时，为集贤修撰。泰定帝时，升任翰林直学士兼国子祭酒。文宗为怀王时，已知虞集之名，继位后授之奎章阁侍书学士，进翰林侍讲学士，并与赵世延等编纂《经世大典》。因虞集曾草诏说顺帝非明宗子，所以顺帝即位后，他就谢病回乡。谥文靖。\n诗文为当时大家，“一时宗庙朝廷之典册，公卿士大夫碑版咸出其手。粹成一家之言”。与杨载、范□（木亨）、揭傒斯先后齐名，人称“虞、杨、范、揭”，并称“元诗四大家”。他主张宗唐宗古，以李白、杜甫为正宗，而又特别欣赏陶渊明、王维、韦应物、柳宗元等人，提倡“舒迟而淡泊”的审美观。诗文风格谨严，但多模拟前人。有《道园学古录》、《道园遗稿》。\n书法亦是大家，曾与赵孟頫同在翰林院共事，赵孟頫是他的上级，书法自然受到赵孟頫影响，观其作品，深得晋人韵味，清朗蕴藉之气不减赵氏。陶宗仪式《书史会要》称他“真行草篆皆有法度。古隶为当代第一。”明代书法家李东阳说：“书家者流，所谓人品高、师法古者，伯生殆兼有之。”书迹主要留于鉴赏题跋，传世作品还有《刘垓神道碑铭》墨迹本（上海博物馆藏）为大字真书，可见钟繇、苏轼笔法，曾为奎章阁篆印两方“奎章阁宝”、“天历之宝”，可见他的篆书在当时也很出众。虽为当时重要书家，流传作品不多，风格也不甚鲜明。",[7,60,2602,77,3155,3477,312,26781,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f8b1fed963ae62c82bdac274eb8285.jpg","21×37.7cm",[],{"id":39530,"slug":39531,"title":24993,"dynasty":179,"author":6867,"museum":72,"description":39532,"tags":39533,"thumbUrl":39536,"material":29368,"size":36683,"collection":95,"collections":39537,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},221734,"qi-yan-jue-ju-zhang-yu-221734","张雨（1283－1350）字伯雨，号贞居之，又号句曲外史。元代诗文家、词曲家、书画家、茅山派道士。旧名张泽之，又名张嗣真，浙江钱塘人。\n\n张雨的书法曾得赵孟頫指授，字画清逸舒放，这幅书法是罕见的大字行草，字形倾侧动荡，忽大忽小，运墨燥湿互济，锋势劲锐，别具纵逸峻历之势，结构布局无拘无束，显示出他能放纵能收敛的高度技巧。时而出现跳跃夸张的笔画，抒发了“隐士书家”内心郁结已久的块垒，更能显现“隐士书家”特有的孤傲不群，更能将道家的自由散漫和清虚雅逸诠释的淋漓尽致。",[7,60,77,26,50,133,589,797,39534,39535,2175],"飞鸿","樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2927e44bffd84da4f10d29039f2a2e7.jpg",[],{"id":39539,"slug":39540,"title":39541,"dynasty":179,"author":6867,"museum":72,"description":39542,"tags":39543,"thumbUrl":39547,"material":433,"size":39548,"collection":95,"collections":39549,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},221732,"tang-ren-jue-ju-zhou-zhang-yu-221732","唐人绝句轴","张雨（西元一二八三－一三五０年），字伯雨，号句曲外史，浙江钱塘人。元代着名的道教人物。文才清丽，书画清逸，倪瓒称其诗文字画为「道品第一」。 通幅书作，运笔放纵，流转自如，劲健洒脱，用墨浓时而枯，淋漓痛快。结体圆实，行笔潇洒之处，可看出早年学赵孟頫的迹象。",[24,25,75,7,60,77,39544,133,132,15072,678,39545,39546],"秋月","翠帐","竹房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51baeeeab2d4cc8e58254774872862e1.jpg","(公分) 本幅154.3x34.3 全幅280x59",[],{"id":39551,"slug":39552,"title":39553,"dynasty":88,"author":14147,"museum":126,"description":39554,"tags":39555,"thumbUrl":39556,"material":312,"size":39557,"collection":95,"collections":39558,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},221567,"shu-da-gui-yi-zhong-tie-zhu-xi-221567","书大桂驿中帖","此帖是《宋贤遗翰册》中一页。按朱熹《年谱》，宋绍熙五年五月知潭州，《宁宗本纪》言：“七月庚午，召秘阁修撰知潭州朱熹诣行在。”文中“辛苦三月，已不胜郡事”，即五月至八月，在任正好三个月。“告归未获”，指朱熹在六月曾“申乞放归田里”。文中所提及诸事多为绍熙五年事，故推算此帖为绍熙五年作品，朱熹时年65岁。\n《大桂驿中帖》书法纵逸不拘，醇古自然，意态畅达，如烟云舒卷，意在行文，有自得之趣。如詹景凤所言：“不以书名，固以学掩之。”\n《石渠宝笈·续编》著录。",[23,7,25,385,60,312,49,50,4986,16517,6769,15440,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee75601295dc929695527313345c875.jpg","纵33.4厘米，横57.3厘米",[],{"id":39560,"slug":39561,"title":39562,"dynasty":88,"author":14147,"museum":126,"description":39563,"tags":39564,"thumbUrl":39565,"material":312,"size":39566,"collection":95,"collections":39567,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},221566,"shang-shi-zai-er-zha-di-yi-zha-zhu-xi-221566","上时宰二札第一札","《上时宰二札》又称《钧翰、豪民二札》。第一札谈及以衰病之躯应接吏民、省阅文案，精神气血内外枯耗，难以支撑。按《宋史·朱熹传》言“淳熙五年除知南康军，熹再辞，不许”，实则朱熹六年三月才到任。文中款识“南康军事”，朱熹其时正在任上，此年六月，奏乞减星子县税钱，即文中“具禀减税、请祠二事”。由此可知札子发于淳熙六年六月，朱熹时年50岁。\n第二札是上报涉及婺州之豪民奸猾不从教事。落款为“正月十六日。宣教郎直秘阁、提举两浙东路常平茶盐公事借绯朱熹札子。”按职衔“提举两浙东路常平茶盐公事”，应在淳熙九年，朱熹年53岁。\n此二札为朱熹中年之笔，笺札之书，笔法精简，韵度溢于纸墨间。书风深沉古雅，有学者风范。",[23,7,60,77,25,49,433,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b9fcc9fef536e8f9cb4347b7a15154f.jpg","第一札纵33.8厘米，横68.2厘米",[],{"id":39569,"slug":39570,"title":39571,"dynasty":88,"author":454,"museum":107,"description":39572,"tags":39573,"thumbUrl":39574,"material":95,"size":95,"collection":95,"collections":39575,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},221483,"shi-men-an-bing-ti-shi-yi-ming-221483","石门安丙题诗","此作为行书题刻旧拓，笔力雄健开张，结体欹侧跌宕，尽显尚意洒脱的风神。文字纪述晓行见闻，墨色斑驳间，笔画的顿挫牵丝仍清晰可辨，残损的拓边晕开岁月厚重感，将旅人行经山村的疏朗快意顺着笔锋漫溢而出。\n\n它跳脱规整拘谨，率意随心的题字带着山野疏旷意气，拓本留存下原刻的朴拙质感，每一处磨泐都是时光镌下的印记，让这件纪游题刻兼具书法笔墨意趣与行路者悠然心境，是藏着旅思与文情的山野题刻小品。",[23,198,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1632734d3a77565db55ba5eb2bc92b2.jpg",[],{"id":39577,"slug":39578,"title":39579,"dynasty":162,"author":454,"museum":107,"description":39580,"tags":39581,"thumbUrl":39582,"material":95,"size":95,"collection":95,"collections":39583,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},221143,"da-bao-ji-jing-juan-di-san-shi-er-quan-juan-gao-li-guo-jin-zi-da-zang-jing-yi-ming-221143","大宝积经卷第三十二全卷高丽国金字大藏经","此卷以磁青纸为底，泥金小楷书就，沉静靛蓝与华贵赤金相映，尽显庄重端雅。字势匀整秀雅，笔笔工稳一丝不苟，将对佛法的礼敬融于毫端，唐人写经的严谨虔敬尽显其间。笔墨凝练遒劲，法度森严又不失灵动，尽显大唐写经的极高水准。整卷气息肃穆庄严，是写经书法中的上乘之作，泥金与蓝纸的搭配更添华贵典雅，历经岁月依旧色泽明艳，尽显古代写经工艺的极致匠心。",[23,7,386,1498,49,878,199,10982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c45c417d0007f463a85608094fea31.jpg",[],{"id":39585,"slug":39586,"title":39587,"dynasty":162,"author":454,"museum":107,"description":39588,"tags":39589,"thumbUrl":39590,"material":95,"size":95,"collection":95,"collections":39591,"showCount":581,"zanCount":882,"manualWeight":39,"mainColor":40},221128,"fa-hua-jing-fang-bian-pin-zhu-sheng-dao-jing-yi-ming-221128","法华经方便品竹生岛经","此卷以小楷书就，乌丝栏界格规整排布，笔锋挺秀清劲，结体匀整端雅，尽显唐人写经的典型风貌。虽历经千年，纸面泛黄，虫蛀残破遍布，却依旧难掩墨色沉润的质感。\n\n经文排布紧凑工稳，法度谨严，每一笔都带着抄经人落笔时的静定肃穆，将虔诚的信仰凝注于笔端。质朴内敛的书法风格，融合着宗教文化的厚重底蕴，是信仰与笔墨艺术的精妙融合。残损纸面如时光镌刻的印记，静静诉说千年前的笔耕日常，带着沧桑依旧留存动人笔墨温度。",[23,386,7,49,878,199,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a52a4b2bea5ef77f34898f15747381.jpg",[],{"id":39593,"slug":39594,"title":39595,"dynasty":179,"author":32439,"museum":7039,"description":32440,"tags":39596,"thumbUrl":39597,"material":32443,"size":32444,"collection":95,"collections":39598,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":95},220724,"xing-shu-shi-wen-he-juan-1-zhang-yu-yang-wei-zhen-wen-xin-220724","行書詩文合卷1",[25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a20ce3be968c2e7fa7c41f55c1c51d.jpg",[],{"id":39600,"slug":39601,"title":39602,"dynasty":45,"author":5386,"museum":7039,"description":9257,"tags":39603,"thumbUrl":39604,"material":9260,"size":9261,"collection":95,"collections":39605,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":95},220715,"xing-shu-jie-quan-3-wang-chong-220715","行书借券3",[23,45,60,7,25,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff780fd9ab813729ba84c1ad3075dde1c.jpg",[],{"id":39607,"slug":39608,"title":39609,"dynasty":45,"author":5386,"museum":7039,"description":9257,"tags":39610,"thumbUrl":39611,"material":9260,"size":9261,"collection":95,"collections":39612,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":95},220709,"xing-shu-jie-quan-9-wang-chong-220709","行书借券9",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68f0003a8303b4d3f846da9298a5c68.jpg",[],{"id":39614,"slug":39615,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":39619,"thumbUrl":39620,"material":39621,"size":39622,"collection":95,"collections":39623,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":95},220705,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220705","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,25,26,7,1613,50,10604,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93847a1291f15d7feb5613cafb15c3c6.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":39625,"slug":39626,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":39627,"thumbUrl":39628,"material":39621,"size":39622,"collection":95,"collections":39629,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":95},220673,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220673",[23,24,25,26,50,59,51,652,266,29991,55,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0947d8a7d1ff2847a29d70d56bed1f9b.jpg",[],{"id":39631,"slug":39632,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":39633,"thumbUrl":39634,"material":7043,"size":7044,"collection":95,"collections":39635,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":95},220653,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220653",[23,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc496fa15d7aaa4edb7b4002899c7993d.jpg",[],{"id":39637,"slug":39638,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":39639,"thumbUrl":39640,"material":7043,"size":7044,"collection":95,"collections":39641,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":95},220652,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220652",[23,2601,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba0693ff1c1c6dee53a6e9004fb3626.jpg",[],{"id":39643,"slug":39644,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":39645,"thumbUrl":39646,"material":7043,"size":7044,"collection":95,"collections":39647,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":95},220651,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220651",[23,7,198,60,398,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ad780317891bae8c661599fe518713.jpg",[],{"id":39649,"slug":39650,"title":39651,"dynasty":88,"author":1749,"museum":72,"description":32476,"tags":39652,"thumbUrl":39653,"material":169,"size":32480,"collection":95,"collections":39654,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},218154,"wen-ji-gui-han-tu-ce-9-li-tang-218154","文姬归汉图册-9",[24,92,26,27,113,7,77,567,458,9812,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a670d224394e2c16cb3bdacc45f5966.jpg",[],{"id":39656,"slug":39657,"title":39658,"dynasty":88,"author":1749,"museum":72,"description":32476,"tags":39659,"thumbUrl":39660,"material":169,"size":32480,"collection":95,"collections":39661,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},218151,"wen-ji-gui-han-tu-ce-12-li-tang-218151","文姬归汉图册-12",[24,25,26,27,111,113,51,16598,56,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7724462313cf079e774beb360f18d3a7.jpg",[],{"id":39663,"slug":39664,"title":39665,"dynasty":162,"author":7466,"museum":126,"description":7467,"tags":39666,"thumbUrl":39667,"material":169,"size":7470,"collection":95,"collections":39668,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},218144,"liu-zun-zhe-xiang-tu-ce-1-lu-leng-qie-218144","六尊者像图册-1",[23,24,25,26,878,113,27,111,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e6dd2732e09eed986181dac9641bc0.jpg",[],{"id":39670,"slug":39671,"title":39672,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":39673,"thumbUrl":39674,"material":312,"size":95,"collection":95,"collections":39675,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},217094,"bai-miao-luo-han-24-leng-mei-217094","白描罗汉-24",[24,25,112,878,113,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d632cae2f5b0a2a49f03f40c6aa3e5.jpg",[],{"id":39677,"slug":39678,"title":39679,"dynasty":45,"author":7609,"museum":72,"description":39680,"tags":39681,"thumbUrl":39683,"material":169,"size":39684,"collection":95,"collections":39685,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},216762,"jiu-lao-tu-10-huang-biao-216762","九老图-10","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[24,25,49,199,7,111,27,113,39682,571,567,574,36131,11284,56],"老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9684e9bb534b68aa7b2fde1cfbb5d45b.jpg","27.2x193",[],{"id":39687,"slug":39688,"title":39689,"dynasty":18,"author":454,"museum":107,"description":39690,"tags":39691,"thumbUrl":39692,"material":169,"size":95,"collection":95,"collections":39693,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},216698,"hong-lou-meng-fu-tu-ce-29-yi-ming-216698","红楼梦赋图册-29","画面以竖排赋文为骨，花叶藤蔓为韵，织就一卷红楼幽梦。墨色匀净的文字间，粉紫花朵点缀翠枝，藤蔓蜿蜒如诉，将文辞的缱绻与草木的柔媚相融。线条细腻温婉，设色清雅恬淡，似将红楼女儿的娇弱与命运的幽微藏于花叶深处。每一笔勾勒都带着古典的雅致，每一处晕染都晕开旧梦的怅惘。文与画交织，诗与景共生，仿佛能透过纸页触到红楼往事里的温柔与叹息，尽显传统艺术的含蓄之美。",[23,24,25,26,27,30,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e5a290fba81a0f48ddd76c9eabdfc4.jpg",[],{"id":39695,"slug":39696,"title":39697,"dynasty":18,"author":454,"museum":107,"description":39698,"tags":39699,"thumbUrl":39700,"material":169,"size":95,"collection":95,"collections":39701,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},216697,"hong-lou-meng-fu-tu-ce-27-yi-ming-216697","红楼梦赋图册-27","墨笔赋文如织，密密匝匝铺陈画面中央，似将红楼旧梦的缱绻与唏嘘，凝进每一处笔画里。左侧红蔓垂垂，缀着点点朱实，如泣血的相思缠绕；右侧绿柯横斜，衬着殷红小果，若含露的情丝牵萦。顶部青芦舒展，间杂绯色花穗，风致嫣然，恰与文中婉转韵致相映。图文相契，笔墨间既有闺阁清雅，又藏繁华落尽的怅惘，仿佛金陵十二钗的影影绰绰，正于纸页间流转不灭余韵。",[23,24,25,26,27,111,7,60,1177,667,20636,21653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eaccf15f20d6155b4e6ec6303ef06ff.jpg",[],{"id":39703,"slug":39704,"title":39705,"dynasty":45,"author":21381,"museum":107,"description":39706,"tags":39707,"thumbUrl":39708,"material":33,"size":95,"collection":95,"collections":39709,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},216338,"xi-xiang-ji-cha-ye-14-min-qi-ji-216338","西厢记插页-14","器物以清劲线条勾勒轮廓，罐身仕女衣袂轻扬，步态温婉，裙裾间淡彩晕染，尽显柔媚气韵。罐口题字古雅，颈间纹饰繁复精巧，与素净人物形成疏密对比。右侧盖图单独铺展，盖面纹样与罐身呼应，细节处见匠心。作品将器物之形与文学意象相融，线描细腻传神，淡彩雅致清新，既承书籍插图的叙事功能，又具独立艺术审美。静赏间，古典故事的温婉情致似随仕女步态缓缓流淌，尽显传统艺术的含蓄之美。",[24,25,26,112,27,113,114,834,25504,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d58a88ac69bc48dfbd3c8d79c34d310.jpg",[],{"id":39711,"slug":39712,"title":39713,"dynasty":45,"author":689,"museum":107,"description":39714,"tags":39715,"thumbUrl":39716,"material":79,"size":95,"collection":95,"collections":39717,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},216302,"xi-xiang-ji-zhen-ben-tu-ce-20-chen-hong-shou-216302","西厢记真本图册-20","画面中仕女凝眸若思，衣袂褶皱如折帛般挺括，线条凝练似铁线银钩，勾画出古典仕女的温婉气韵。案边兰草疏朗有致，盆器古朴，背景轻蝶翩跹，仿佛呼应着人物幽微的心事。右侧题跋与画面相映成趣，将西厢文韵融入画境。仕女神态间藏着婉转情愫，衣纹的刚劲与神情的柔婉形成微妙对比，静中含动。笔墨间流淌着古雅情致，细节处见匠心，把西厢故事的诗意化为可视的画面，让人在方寸之间感受文学与绘画艺术的交融之美。",[24,25,26,112,27,113,114,139,834,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77316dc0b259c392ae3b93d533dac814.jpg",[],{"id":39719,"slug":39720,"title":39721,"dynasty":18,"author":26033,"museum":126,"description":32518,"tags":39722,"thumbUrl":39723,"material":33,"size":32522,"collection":95,"collections":39724,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},216232,"shi-jun-quan-tu-2-ai-qi-meng-216232","十骏犬图-2",[23,92,24,25,26,111,27,798,132,589,11404,77,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac732f06b3631ccf25f1ac916d46669d.jpg",[],{"id":39726,"slug":39727,"title":39728,"dynasty":18,"author":26033,"museum":126,"description":32518,"tags":39729,"thumbUrl":39730,"material":33,"size":32522,"collection":95,"collections":39731,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},216230,"shi-jun-quan-tu-4-ai-qi-meng-216230","十骏犬图-4",[23,24,25,26,111,27,7,4864,798,652,1739,57,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b67d91c612e146fffb0f50b1db6b09.jpg",[],{"id":39733,"slug":39734,"title":39735,"dynasty":18,"author":26033,"museum":126,"description":32518,"tags":39736,"thumbUrl":39738,"material":33,"size":32522,"collection":95,"collections":39739,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":789},216226,"shi-jun-quan-tu-8-ai-qi-meng-216226","十骏犬图-8",[23,24,25,26,111,27,798,652,57,39737,7,20633],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33da5bba78d3d6b81c9c53452a16f2d7.jpg",[],{"id":39741,"slug":39742,"title":39743,"dynasty":18,"author":454,"museum":107,"description":39744,"tags":39745,"thumbUrl":39746,"material":169,"size":95,"collection":95,"collections":39747,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},216188,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-17-yi-ming-216188","职贡图巨幅彩绘册页第1册-17","画面分左右二帧，左帧女子粉衫绿裙，轻纱覆髻，手持素色织物，身姿温婉；右帧男子蓝袍衬红衣，皮靴束带，腰佩弯刀，神情刚毅。两侧墨笔题跋字迹工整，与人物形象相映成趣。画作色彩明丽，线条流畅，人物造型生动，既展现不同族群服饰特色，又暗含清代多民族交往图景，笔墨间细致描摹异域风情，是职贡题材中兼具艺术价值与历史意涵的佳作。",[23,18,4347,111,27,113,167,1783,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd84d868cefaaeece6eddae52cd2802d.jpg",[],{"id":39749,"slug":39750,"title":39751,"dynasty":18,"author":2301,"museum":72,"description":36941,"tags":39752,"thumbUrl":39754,"material":169,"size":95,"collection":95,"collections":39755,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},215047,"shu-hua-he-bi-tu-ce-3-qian-long-215047","书画合璧图册-3",[23,24,25,26,199,112,50,113,58,56,39753,567,7],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa314b221f2f5420b225bd827afb2413f.jpg",[],{"id":39757,"slug":39758,"title":39759,"dynasty":45,"author":689,"museum":442,"description":39760,"tags":39761,"thumbUrl":39762,"material":79,"size":39763,"collection":95,"collections":39764,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},214550,"mo-gu-ce-ye-1-chen-hong-shou-214550","摹古册页-1","摹古册是指模仿古代的书写方式进行写字的一种书法形式。陈洪绶是一位著名的明代书法家，他的书法风格被认为是对古代书法的很好的摹写。\n\n陈洪绶，字仲容，号凤阁山人，原籍江苏无锡，生于明朝洪武十五年（1382年）。他是明朝著名的书法家，也是《颜氏书苑》的编辑之一。他的书法被认为是对古代书法的很好的摹写，具有浓郁的古典气息。他的书法作品有《陈洪绶书法集》和《陈洪绶书法精选》等。",[110,26,77,7,457,3467,1498,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e0e2a902872add6778483459762604.jpg","17.8x17.8cm",[],{"id":39766,"slug":39767,"title":39768,"dynasty":162,"author":1060,"museum":126,"description":2614,"tags":39769,"thumbUrl":39770,"material":79,"size":2617,"collection":95,"collections":39771,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},214500,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-13-ou-yang-xun-214500","宋拓唐虞恭公温彦博碑-13",[23,198,199,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57460388fa123a138fad94b763741e00.jpg",[],{"id":39773,"slug":39774,"title":39775,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":39776,"thumbUrl":39777,"material":312,"size":1340,"collection":95,"collections":39778,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},214463,"da-tang-zhong-xing-song-xia-ce-21-yan-zhen-qing-214463","大唐中兴颂下册-21",[1063,7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f1a652a451eda15cfa11f7dd798d8b.jpg",[],{"id":39780,"slug":39781,"title":39782,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":39783,"thumbUrl":39784,"material":312,"size":1340,"collection":95,"collections":39785,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":100},214439,"da-tang-zhong-xing-song-xia-ce-46-yan-zhen-qing-214439","大唐中兴颂下册-46",[199,198,7,200,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8589c813dcdd4e9fc2fed8a436b2235d.jpg",[],{"id":39787,"slug":39788,"title":39789,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":39790,"thumbUrl":39791,"material":312,"size":1340,"collection":95,"collections":39792,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},214419,"da-tang-zhong-xing-song-shang-ce-10-yan-zhen-qing-214419","大唐中兴颂上册-10",[199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7a5f79cfc6af2f564231db806c7413.jpg",[],{"id":39794,"slug":39795,"title":39796,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":39797,"thumbUrl":39798,"material":312,"size":1340,"collection":95,"collections":39799,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},214413,"da-tang-zhong-xing-song-shang-ce-17-yan-zhen-qing-214413","大唐中兴颂上册-17",[199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167f7ae27f524e68b335a498a305b183.jpg",[],{"id":39801,"slug":39802,"title":39803,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":39804,"thumbUrl":39805,"material":312,"size":1340,"collection":95,"collections":39806,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},214412,"da-tang-zhong-xing-song-shang-ce-18-yan-zhen-qing-214412","大唐中兴颂上册-18",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fad74d337739b2ccd68429a34dfc41.jpg",[],{"id":39808,"slug":39809,"title":39810,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":39811,"thumbUrl":39812,"material":312,"size":1340,"collection":95,"collections":39813,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},214410,"da-tang-zhong-xing-song-shang-ce-24-yan-zhen-qing-214410","大唐中兴颂上册-24",[7,198,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69eed4179ee2ea9d1de521d76a16750d.jpg",[],{"id":39815,"slug":39816,"title":39817,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":39818,"thumbUrl":39819,"material":312,"size":1340,"collection":95,"collections":39820,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},214408,"da-tang-zhong-xing-song-shang-ce-22-yan-zhen-qing-214408","大唐中兴颂上册-22",[7,199,198,200,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf1839cff753f5f711ff21b91bc9869.jpg",[],{"id":39822,"slug":39823,"title":39824,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":39825,"thumbUrl":39826,"material":312,"size":1340,"collection":95,"collections":39827,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},214407,"da-tang-zhong-xing-song-shang-ce-23-yan-zhen-qing-214407","大唐中兴颂上册-23",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab3e026295617d20f50f43687280bfe.jpg",[],{"id":39829,"slug":39830,"title":39831,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":39832,"thumbUrl":39833,"material":312,"size":1340,"collection":95,"collections":39834,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},214398,"da-tang-zhong-xing-song-shang-ce-31-yan-zhen-qing-214398","大唐中兴颂上册-31",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b52a20d30a11eecd532df88618bb86.jpg",[],{"id":39836,"slug":39837,"title":39838,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":39839,"thumbUrl":39840,"material":312,"size":1340,"collection":95,"collections":39841,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},214397,"da-tang-zhong-xing-song-shang-ce-33-yan-zhen-qing-214397","大唐中兴颂上册-33",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4211ac5910a3642b34d4f9a7e224f11b.jpg",[],{"id":39843,"slug":39844,"title":39845,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":39846,"thumbUrl":39847,"material":312,"size":1340,"collection":95,"collections":39848,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":207},214396,"da-tang-zhong-xing-song-shang-ce-32-yan-zhen-qing-214396","大唐中兴颂上册-32",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f6f79e0a1118d20e51d38bd8920f40.jpg",[],{"id":39850,"slug":39851,"title":39852,"dynasty":18,"author":3067,"museum":20,"description":39853,"tags":39854,"thumbUrl":39855,"material":95,"size":95,"collection":95,"collections":39856,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39857},203455,"shan-shui-he-ce-wang-hui-203455","山水合册","画面中山峦层叠错落，松枝虬劲挺秀，溪流蜿蜒穿石，小桥隐于幽径。笔墨兼具苍劲与清润，皴擦间显山石肌理，晕染处透林木生机，构图疏密有致，意境清幽淡远，尽显文人山水的雅致意趣，仿佛可闻松风拂面、溪声潺潺。",[24,25,26,50,59,60,77,7,51,115,57,53,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bb5a1d51aeac5fd17b7f85b4c59dcf.jpg",[],"bcb09d",{"id":39859,"slug":39860,"title":4167,"dynasty":18,"author":35269,"museum":20,"description":39861,"tags":39862,"thumbUrl":39863,"material":95,"size":95,"collection":63,"collections":39864,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39865},203344,"shan-shui-ce-shen-zong-jing-203344","画面以水墨写意山水，枯笔皴擦勾勒山石轮廓，肌理分明；疏木倚石而生，枝干苍劲，墨色浓淡间见层次。远处烟水朦胧，远山淡染，尽显悠远之致。右侧行书题跋笔墨流畅，与朱红印章相映成趣，文气盎然。整体笔墨简淡却意蕴深厚，似可居可游，流露文人寄情山水的闲逸心境，尽显古雅清幽之韵。",[24,51,26,50,59,250,56,77,7,576,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3157965d37ecd9e52d9b653dfba206a8.jpg",[63],"e5e1cf",{"id":39867,"slug":39868,"title":39869,"dynasty":23400,"author":11301,"museum":20,"description":39870,"tags":39871,"thumbUrl":39872,"material":95,"size":95,"collection":171,"collections":39873,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39874},203192,"da-mo-tu-zhou-wang-zhen-203192","达摩图轴","画面以水墨写意笔法绘达摩坐像，衣袍线条简劲流畅，墨色浓淡相间，勾勒出达摩沉静冥思之态。人物面容虽简却神形兼备，胡须与头巾的墨韵层次丰富，尽显其超然物外的禅意。身下叶片以粗犷笔触晕染，与人物的凝练形成对比，更衬出达摩的肃穆庄严。右侧题跋笔墨洒脱，书画相映，融禅意与文气于一体，尽显传统文人画的韵致。",[24,50,113,7,60,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5130ea38515ec97cef208f0fd01be662.jpg",[171],"aa875d",{"id":39876,"slug":39877,"title":39878,"dynasty":23400,"author":37104,"museum":20,"description":39879,"tags":39880,"thumbUrl":39881,"material":95,"size":95,"collection":95,"collections":39882,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39883},203113,"hui-shan-fang-ting-song-shi-tu-zhou-huang-bin-hong-203113","惠山访听松石图轴","笔墨沉雄朴厚，墨色浓淡相宜，山峦以多变皴法写出，肌理丰富且气韵生动。松枝苍劲挺拔，屋舍隐于林麓溪畔，溪石错落有致，整体意境静谧悠远。画中题识琳琅，诗书画印合璧，尽显文人访古探幽之雅趣。作品融自然景致与人文意趣于一体，笔墨间流露传统山水画的神韵与深度，是诗画交融的典范之作。",[24,51,50,59,133,152,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c42725d0e4dd1518639ddfe784817.jpg",[],"d7cbb7",{"id":39885,"slug":39886,"title":24211,"dynasty":23400,"author":39887,"museum":20,"description":39888,"tags":39889,"thumbUrl":39890,"material":95,"size":95,"collection":63,"collections":39891,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39892},202881,"shu-hua-cheng-shan-feng-chao-ran-202881","冯超然","扇面一侧绘山水人物景致，老树虬劲多姿，枝叶繁茂如盖，树下人物端坐观景，神态闲适安然。山石以皴法勾勒，笔墨细腻且层次分明，设色浅淡雅致，尽显文人画风韵。另一侧书法笔墨流畅洒脱，与画作相得益彰，书画合璧更添扇面韵致。整体布局疏密得当，在扇面有限空间内，景物与人物相映成趣，传递出恬淡悠然的心境，为书画结合的精妙之作。",[1250,51,113,27,59,7,25,115,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576bbe2d49ce61d71dbaff63eb88f55f.jpg",[63],"333a37",{"id":39894,"slug":39895,"title":24211,"dynasty":23400,"author":39896,"museum":20,"description":39897,"tags":39898,"thumbUrl":39899,"material":95,"size":95,"collection":63,"collections":39900,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39901},202875,"shu-hua-cheng-shan-fan-hao-lin-202875","樊浩霖","扇面之上，水墨山水与清雅修竹相映成趣。山水以皴法勾勒，峰岩错落间墨色层次分明，尽显丘壑苍劲之美；竹枝挺劲，叶影婆娑，简练笔触中透着生机。旁侧书法笔势流畅，与绘事相得益彰，书画交融间，文人雅趣扑面而来。整幅作品意境悠远，墨韵生动，是书画合璧的精妙之作。",[24,1250,50,51,132,7,59,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b524ca4538d8b584f01f689b1f80675.jpg",[63],"252a28",{"id":39903,"slug":39904,"title":24211,"dynasty":23400,"author":830,"museum":20,"description":39905,"tags":39906,"thumbUrl":39909,"material":95,"size":95,"collection":95,"collections":39910,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39911},202550,"shu-hua-cheng-shan-wu-chang-shuo-202550","扇面一侧，老梅枝干盘曲如铁，墨色浓淡交错间见金石风骨，艳红花朵点染生动，笔意豪放洒脱；另一侧书法笔力沉雄，行书线条刚劲挺拔，墨韵饱满醇厚，与画面的苍劲古拙相映成趣。整扇书画合璧，刚柔相济，既有梅之傲岸精神，又具书法之雄浑气势，尽显文人雅趣与艺术功底，融诗书画意于一体，是文人扇面中的精品之作。",[1250,25,131,29,60,7,27,432,39907,39908,23],"笔力","古拙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6bae69e44ce24f5b6e4577f05bfd2d.jpg",[],"7c715f",{"id":39913,"slug":39914,"title":39915,"dynasty":18,"author":6672,"museum":20,"description":39916,"tags":39917,"thumbUrl":39918,"material":95,"size":95,"collection":95,"collections":39919,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":30580},202492,"lan-hua-zhu-shi-tu-juan-zheng-xie-202492","兰花竹石图卷","这幅图卷以水墨写意兰、竹、孤石，兰叶舒展如书法撇捺，竹叶劲挺呈“个”“人”之姿，顽石皴擦见骨。三者错落呼应，笔墨淋漓间，兰的清雅、竹的劲节、石的朴拙相映成趣，尽显文人画疏朗气韵。题跋行书流畅洒脱，与物象浑然一体，藏露相生虚实得宜，简淡中见风骨，传递出孤傲超逸的胸襟。",[24,50,49,139,132,250,60,7,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e65767f45ad06115ee7b83a6ef3c99.jpg",[],{"id":39921,"slug":39922,"title":34650,"dynasty":18,"author":6672,"museum":20,"description":39923,"tags":39924,"thumbUrl":39925,"material":95,"size":95,"collection":95,"collections":39926,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39927},202288,"mo-zhu-tu-zhou-zheng-xie-202288","画面中几竿修竹挺拔向上，竹叶以浓淡干湿的墨色挥洒而就，撇捺之间兼具行草笔意，如书法点画般劲健灵动。竹竿线条刚直清瘦，节节分明，尽显竹之坚韧气节。右侧题跋以行书书就，笔墨与竹韵相融，诗书画印浑然一体，是文人画的典型风貌。整幅作品墨气淋漓，意境清幽，将竹的高节与画家胸襟展露无遗，观之如沐清风，心生雅致。",[24,50,132,7,77,75,3091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F236d12c664c3e9473e1962da09692ac0.jpg",[],"c9b7a8",{"id":39929,"slug":39930,"title":39931,"dynasty":45,"author":1015,"museum":20,"description":39932,"tags":39933,"thumbUrl":39934,"material":95,"size":95,"collection":95,"collections":39935,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39936},202269,"qiu-sheng-fu-shu-hua-he-juan-wen-zheng-ming-202269","秋声赋书画合卷","疏林掩映间，几椽茅屋静立，屋内人影悠然，似在赏秋品茗。远处湖光浩渺，山峦如黛，淡墨晕染的天际悬着一轮清月，添了几分清寂。细劲线条勾勒树木枝干，淡彩点染叶色，山石以皴法表现肌理，笔墨雅致清幽。画面融山水、居停与文人意趣于一体，传递出秋日里寄情自然的闲适心境，书画合璧更添文韵，尽显明代文人画的淡远之致。",[24,49,50,27,51,59,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30be5dbd8a25d0df11eac2a6ff82f982.jpg",[],"b4a895",{"id":39938,"slug":39939,"title":39940,"dynasty":18,"author":39941,"museum":20,"description":39942,"tags":39943,"thumbUrl":39945,"material":95,"size":95,"collection":95,"collections":39946,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":39947},202092,"mei-hua-shi-nv-tu-zhou-liu-de-zhi-202092","梅花仕女图轴","刘徳之","素衣仕女侧身伫立，云鬓轻挽，一枚珠饰隐于发间，衣袂飘举间尽显温婉娴雅。旁侧老梅枝干虬曲，以书法入画，笔触苍劲，枝头繁花点点，清逸疏朗。墨色浓淡相宜，设色淡雅，将梅之孤高与仕女之静美相融，营造出清冷幽远的意境。题跋墨字与画面相映成趣，文情与画境共生，尽显文人画的雅致韵致。",[24,75,50,27,114,131,7,77,39944],"仕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1444b76b1b3d8a01bdcd02e32b7cc959.jpg",[],"e1d0bc",{"id":39949,"slug":39950,"title":39951,"dynasty":8749,"author":454,"museum":107,"description":39952,"tags":39953,"thumbUrl":39954,"material":751,"size":752,"collection":95,"collections":39955,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},290700,"da-tang-kan-miu-bu-que-qie-yun-yi-bu-shou-gao-yi-ming-290700","大唐刊谬补阙切韵一部手稿","这是一纸晕染着时光痕迹的残页，纸面泛黄斑驳，边角漫漶破损，藏着动人古意。\n\n书写的小楷朴拙随性，全无刻意雕琢的匠气，墨色沉郁，行笔粗细自然随性，带着唐人日常书写的松弛质感。文字是孀妇的祭文，将悼亡的哀恸诉诸笔端，笔意间带着真切的情绪起伏，跳脱出规整刻板的写经体，是俗世烟火里的鲜活书迹。\n\n残损纸面载着千年沧桑，每一处磨损晕染都是时光的注脚，让这页寻常文书成为跨越时空的切片，静静诉说着千年前的民间悲欢。",[7,1498,199,6535,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f1ff0691ce5345ab7d3465ff429408.jpg",[],{"id":39957,"slug":39958,"title":39959,"dynasty":8749,"author":454,"museum":107,"description":39960,"tags":39961,"thumbUrl":39962,"material":751,"size":752,"collection":95,"collections":39963,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},290668,"da-bo-re-bo-luo-mi-jing-juan-di-er-bai-ba-shi-si-shou-gao-yi-ming-290668","大般若波罗蜜经卷第二百八十四手稿","此卷写经笔致匀净秀雅，通篇千字始终如一，点画平实端稳，结构谨严整饬，尽显写经书法典型风貌。起收笔含蓄温雅，牵丝映带细微自然，虽为宗教抄录，却在规整之中带着沉静的笔墨意趣。\n\n抄经手将信仰的虔诚融于笔端，通篇气息安和统一，不见浮躁之气，每一字皆恪守法度，又带着手写的温润质感，在制式化的抄录中流露静定心力，于平淡细节中见深厚功力，静默笔墨间藏持卷抄录的虔敬之心。",[199,7,49,386,9007,4678,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111b44fd2c048a85ac13324c0c2b1f71.jpg",[],{"id":39965,"slug":39966,"title":39967,"dynasty":8749,"author":454,"museum":107,"description":39968,"tags":39969,"thumbUrl":39970,"material":751,"size":752,"collection":95,"collections":39971,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},290658,"da-cheng-wu-liang-shou-jing-shou-gao-yi-ming-290658","大乘无量寿经手稿","纸色泛黄带着斑驳岁月痕迹，墨色却依旧沉凝鲜亮。通篇为写经小楷，笔锋圆融饱满，点画匀整工稳，恪守写经法度的同时，自带着沉静安和的禅意。\n\n行款排布齐整匀净，字间顾盼有情，将抄经时的恭敬肃穆藏在每一笔起落之间。虽有虫蛀破损，却丝毫不减笔墨间的清净虔诚，尽显写经书法兼具实用与审美特质，静静诉说着往昔抄经时的专注，晕染着信仰浸润的沉静力量。",[7,386,878,199,6535,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cceed05039d0b724cdaeaaa855b953d.jpg",[],{"id":39973,"slug":39974,"title":39975,"dynasty":8749,"author":454,"museum":107,"description":39976,"tags":39977,"thumbUrl":39978,"material":751,"size":752,"collection":95,"collections":39979,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},290656,"da-tong-fang-guang-chan-hui-mie-zui-zhuang-yan-cheng-fo-jing-juan-xia-shou-gao-yi-ming-290656","大通方广忏悔灭罪庄严成佛经卷下手稿","此卷小楷用笔爽利凝练，中锋行笔令线条匀净温润，刚柔兼具，字形端稳平齐，大小停匀，藏着书写时的恭谨虔诚。通篇纵有列横成行，排布齐整肃穆，气息沉静安和。古褐墨色晕染泛黄纸间，虽历经岁时，笔墨精神依旧饱满，将宗教典籍的庄严感融于每一处笔锋起落之间，既是经文载体，亦是极具审美价值的书法遗存，尽显古卷书法的静穆之美与内敛法度。",[49,7,386,878,9007,199,6535,4678,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91dfae4a0e77f9c21be445e8c9a8cbc.jpg",[],{"id":39981,"slug":39982,"title":39983,"dynasty":18,"author":25686,"museum":107,"description":30624,"tags":39984,"thumbUrl":39985,"material":751,"size":752,"collection":95,"collections":39986,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},290606,"ti-wan-shi-jun-zhuo-an-01-zhang-zhao-290606","题万始君拙庵 01",[7,60,26,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae05a83187010a304e9777d66030b450.jpg",[],{"id":39988,"slug":39989,"title":39990,"dynasty":18,"author":14852,"museum":107,"description":22503,"tags":39991,"thumbUrl":39992,"material":751,"size":752,"collection":95,"collections":39993,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},290598,"song-yin-gao-shi-zhang-ruo-cheng-290598","松阴高士",[24,25,26,50,59,51,1018,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd09aa2a6c0f4c7941bbc45bd219e02.jpg",[],{"id":39995,"slug":39996,"title":39997,"dynasty":18,"author":32620,"museum":107,"description":32621,"tags":39998,"thumbUrl":40000,"material":751,"size":752,"collection":95,"collections":40001,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},290581,"chun-shan-chu-yun-zhou-zhang-peng-chong-290581","春山出云轴",[24,25,75,50,27,51,52,53,55,57,56,77,7,59,39999,252],"春山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a2d0b96d95d1df047caa62a9b73bb9.jpg",[],{"id":40003,"slug":40004,"title":40005,"dynasty":18,"author":40006,"museum":107,"description":40007,"tags":40008,"thumbUrl":40009,"material":751,"size":752,"collection":95,"collections":40010,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},290568,"xing-e-jun-tu-zhou-xu-cheng-xiang-290568","星额骏图轴","徐呈祥","清代宫廷画家",[24,75,27,111,1074,798,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581043677d1f7e6027698347c68344b8.jpg",[],{"id":40012,"slug":40013,"title":32637,"dynasty":18,"author":40014,"museum":107,"description":40015,"tags":40016,"thumbUrl":40017,"material":751,"size":752,"collection":95,"collections":40018,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},290457,"xing-shu-ye-liu-yuan-hui-290457","刘元慧","顺治十八年，登辛丑科进士，官至顺天府府尹；康熙三十四年，升任宗人府府丞",[7,60,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52187b5d14caf6d8540a04c56d163f60.jpg",[],{"id":40020,"slug":40021,"title":40022,"dynasty":18,"author":40023,"museum":107,"description":40024,"tags":40025,"thumbUrl":40026,"material":751,"size":752,"collection":95,"collections":40027,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},290429,"shan-shui-quan-jing-shu-hua-ce-qu-da-kun-290429","山水全景书画册","瞿大坤","翟大坤（？-1804）清代画家。字子垕，号雪屏，后病耳，又自号无闻子，本籍浙江嘉兴，寄居吴门（今江苏苏州）。性萧散好书、画，书学十七帖、孙过庭。",[24,25,26,50,51,115,2293,53,54,116,251,7,77,12092,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b93a9f53c97def0f39299540a8019d.jpg",[],{"id":40029,"slug":40030,"title":40031,"dynasty":18,"author":454,"museum":107,"description":40032,"tags":40033,"thumbUrl":40034,"material":751,"size":752,"collection":95,"collections":40035,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},290379,"xiang-jiang-ba-jing-shan-shui-shou-juan-zhi-er-yi-ming-290379","湘江八景山水手卷之二","潇湘八景，相传为潇湘一带的湖南八处佳胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。“新潇湘八景”评选活动，由湖南省旅游学会于2005年4月份启动。一年多时间中，专家评审委员会评出了山水文化、人文景观、生态休闲三大类“新潇湘八景”。",[23,24,49,25,50,1328,54,116,252,3114,7,59,26420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551a7b933c012356c50ea8ca143fcbb1.jpg",[],{"id":40037,"slug":40038,"title":40039,"dynasty":88,"author":454,"museum":107,"description":40040,"tags":40041,"thumbUrl":40042,"material":751,"size":752,"collection":95,"collections":40043,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},290246,"ceng-lou-chun-tiao-tu-yi-ming-290246","层楼春眺图","此图崇楼纯以细笔勾勒，玲珑空透，远山春意烂漫，却在明丽中带有淡淡的清寂。层楼上一妇人携侍女凭栏远眺碧波中的归帆，虽然描绘的主体是没有生命的建筑物，但整幅画面却分明透露出一丝“春怨”的气息，表现出南宋楼阁画家在借物言情方面的高超技艺。",[23,24,92,1250,1128,27,7,60,77,51,458,54,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43e9bb2fc7c14b532f48dc4bbcbbde2.jpg",[],{"id":40045,"slug":40046,"title":30540,"dynasty":18,"author":40047,"museum":107,"description":40048,"tags":40049,"thumbUrl":40050,"material":751,"size":752,"collection":95,"collections":40051,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":3443},290076,"shan-shui-tu-zhou-wu-zheng-290076","吴徵","吴徵（1878—1949）字待秋，名徵，以字行。别号抱鋗（xuán）居士、疏林仲子、春晖外史、鹭丝湾人、栝苍亭长、晚署老鋗。浙江崇德（今桐乡）人。",[23,24,75,25,50,27,59,51,458,52,53,555,13669,57,2029,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c021396dcb8125857cf8d0c83a5324.jpg",[],{"id":40053,"slug":40054,"title":36600,"dynasty":88,"author":454,"museum":107,"description":40055,"tags":40056,"thumbUrl":40057,"material":751,"size":752,"collection":95,"collections":40058,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},289955,"jiang-cheng-tu-yi-ming-289955","画面以苍褐设色晕染江天暮色，江岸楼阁层檐叠瓦、雄峙沉稳，飞檐翘角尽显宋式营造的雅致工巧。江涛翻涌间商船缓行，波痕皴擦细腻生动，衬出水岸楼宇的巍峨厚重。左侧题笔行书朴拙苍劲，书画相映成趣。整体笔触凝练写实，将江城楼观的壮伟与江行的悠然融于一卷，晕染出沉郁苍润的古典意境，藏着旧时水岸的澹澹烟火余韵，尽显写实山水的精妙意趣。",[23,24,25,1128,458,679,5722,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fcf6120e1d9a97e9eacda93b55b2984.jpg",[],{"id":40060,"slug":40061,"title":40062,"dynasty":88,"author":454,"museum":107,"description":40063,"tags":40064,"thumbUrl":40065,"material":751,"size":752,"collection":95,"collections":40066,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},289595,"shan-yao-lou-guan-tu-yi-ming-289595","山腰楼观图","改北宋大山水的全景式构图方式，择取大自然中最美的一角，提炼概括，精心安排，着意刻画，并十分注重空间的处理。图的远景简淡清旷，中景和近景则结实凝重，对比强烈，显示出无限广阔的空间意象。此图右侧，仅画江水、浅滩、远渚、烟树。山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景。左侧最高峰画得半壁实半壁虚，虚处乃为江上为气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。近山浓重，远山清淡，又形成虚实对比。",[23,1250,24,92,50,1328,458,251,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a2eb1ed0e4fdd82beb1b94e088ad35f.jpg",[],{"id":40068,"slug":40069,"title":40070,"dynasty":8749,"author":454,"museum":107,"description":40071,"tags":40072,"thumbUrl":40073,"material":751,"size":752,"collection":95,"collections":40074,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},289448,"shan-zhong-jie-lu-tu-yi-ming-289448","山中结庐图","近景苍木扶苏，几间茅庐错落溪畔，朱红板桥卧于浅流之上，策杖行人徐行其间，野趣悠然。中景山腰朱栏回廊隐于烟岚翠色中，林木疏密得宜，灵动皴笔晕染出山石温润质感，墨色浓淡变化间尽显层次。远景山峦以淡墨轻笼，云气氤氲，晕染出空濛清远的山林意境。\n\n全作用笔松秀简逸，浅设色与水墨相融相生，以留白衬出林泉静气，将幽居山野的隐逸意趣藏于尺幅间，尽显文人山水萧散淡远之美，观之如身临静雅林泉，俗念尽消。",[23,24,25,75,27,51,2029,458,52,53,57,115,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc461cd64fa822aa61f431e016d2109c3.jpg",[],{"id":40076,"slug":40077,"title":34223,"dynasty":88,"author":454,"museum":107,"description":40078,"tags":40079,"thumbUrl":40080,"material":751,"size":752,"collection":95,"collections":40081,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},289006,"yan-gui-tu-yi-ming-289006","此作以淡墨晕染衬出嶙峋怪石，皴笔老辣苍劲，尽显崖石的奇崛荒寒。枯桧虬枝盘曲如铁，瘦硬的枝干挣脱顽石束缚，寥寥数笔便写尽古桧扎根绝境、兀立风霜的傲骨。\n\n左侧题诗与画作相映成趣，诗画交融，晕开萧寒清寂的林下氛围。整幅不作繁复晕染，以极简水墨勾勒形神，将宋人的尚简重意藏于毫端，以岩桧自况，尽显沉浑刚劲的生命张力，是借物言志的水墨小品佳作。",[24,92,25,50,7,60,250,704,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd743fcacac99515bed7070972b6a5f0.jpg",[],{"id":40083,"slug":40084,"title":40085,"dynasty":18,"author":40086,"museum":107,"description":40087,"tags":40088,"thumbUrl":40089,"material":751,"size":752,"collection":95,"collections":40090,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":789},288496,"tian-yi-yin-qing-xiao-tu-li-zhou-luo-ke-huan-288496","天意阴晴晓图立轴","罗可桓","罗可桓曾中过举人，至今山西省博物馆存有他的书画手迹、真品。他的儿子罗眉仙，曾在民国初年担任过雁北天镇县县长",[23,24,75,50,29,135,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d41cd0d1381e35a37017aad0856ee5.jpg",[],{"id":40092,"slug":40093,"title":40094,"dynasty":179,"author":225,"museum":107,"description":40095,"tags":40096,"thumbUrl":40097,"material":751,"size":752,"collection":95,"collections":40098,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},288336,"gao-shang-da-dong-yu-jing-mo-ji-zhao-meng-fu-288336","高上大洞玉经墨迹","赵孟頫小楷书博采众长，规模锺元常、萧子云，出入二王，取法于杨羲，以及唐代一些写经高手。随着时光推移与不懈追求，其小楷艺术也不断升华。元代至元二十八年八月，三十八岁的赵孟頫在北京为友人民瞻书写小楷《过秦论》一卷。同年十二月，著名书家鲜于枢见到民瞻带回杭州的这件小楷墨迹，在卷后题跋中写道：子昂篆、隶、正、行、颠草，俱为当代第一，小楷又为子昂诸书第一。此卷笔力柔媚，备极楷则。后之览者，岂知下笔神速如风雨耶。\n这件《高上大洞玉经》书于大德九年。全卷近4700字，无一笔懈怠，其结体妍丽，用笔遒劲，神彩飘逸。书写此卷时，书家年已五十有二，正值壮年，加之其虔心向佛，此书诚是一件传世精品之作。",[23,7,49,386,199,6582,878,77,1498,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27651a032ab51e0ace0d1e96ac084194.jpg",[],{"id":40100,"slug":40101,"title":40102,"dynasty":18,"author":454,"museum":107,"description":40103,"tags":40104,"thumbUrl":40105,"material":751,"size":752,"collection":95,"collections":40106,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},288254,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-er-shi-yi-zi-yun-xi-yi-ming-288254","历代帝王贵妃大臣朝服像(皇二十一子允禧)","苍松偃盖，流泉漱石，山居雅境晕开松弛日常。主人身着石青常服安坐岩上，面容清癯淡然，尽显林下散逸之姿，将天潢贵胄的隐逸心绪藏于眉眼。侍从躬身持盏，恭谨内敛，与主人的悠然闲适形成细腻呼应。\n\n上方题诗笔致清雅，将寄情林泉、不耽尘俗的志趣和盘托出，诗画相映成趣。整作设色调和柔润，衣纹排布写实工整，人物刻画形神兼备，以纪实写真功底糅合山水意境，将清代贵胄的私享闲雅定格绢素，藏着盛世里的一抹林泉意趣。",[23,24,75,111,27,113,1018,53,57,167,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb3bf79396a7da4b0bee9968b7f9e6b.jpg",[],{"id":40108,"slug":40109,"title":40110,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":40111,"thumbUrl":40112,"material":751,"size":752,"collection":95,"collections":40113,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},288221,"guang-xiao-si-yu-zhong-xiang-ci-bei-yi-bing-shou-288221","光孝寺虞仲翔祠碑",[7,1613,198,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f0de116dafdaf06b719d67f6b4173f.jpg",[],{"id":40115,"slug":40116,"title":40117,"dynasty":18,"author":19537,"museum":107,"description":9803,"tags":40118,"thumbUrl":40119,"material":751,"size":752,"collection":95,"collections":40120,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},288219,"yang-jun-mu-zhi-huang-zi-yuan-288219","杨君墓志",[199,7,198,200,23207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ac67fc3e194d6966fb09d70987f00a.jpg",[],{"id":40122,"slug":40123,"title":40124,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":40125,"thumbUrl":40126,"material":751,"size":752,"collection":95,"collections":40127,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},288201,"jian-ting-ji-ce-zhu-yun-ming-288201","简亭记册",[7,199,26,77,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b55c5ae57e759c16dba8c1018c3e99.jpg",[],{"id":40129,"slug":40130,"title":40131,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":40132,"thumbUrl":40133,"material":751,"size":752,"collection":95,"collections":40134,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},288200,"shu-ci-han-ce-wen-zheng-ming-288200","书词翰册",[7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e44a3365055f61e87ec15675bbe299.jpg",[],{"id":40136,"slug":40137,"title":40138,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":40139,"thumbUrl":40141,"material":751,"size":752,"collection":95,"collections":40142,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},288165,"shi-si-shou-shou-juan-wen-zheng-ming-288165","诗四首手卷",[23,7,398,49,5784,50,22728,2763,1049,40140,8981],"山僧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ad35d40ac8ed4be0edf67773f01a1d.jpg",[],{"id":40144,"slug":40145,"title":40146,"dynasty":1609,"author":454,"museum":107,"description":9803,"tags":40147,"thumbUrl":40148,"material":751,"size":752,"collection":95,"collections":40149,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},288153,"bei-wei-gao-dao-yue-mu-zhi-yi-ming-288153","北魏 高道悦墓志",[198,7,199,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb991ddc8491518e83e85b9d54d1c195d.jpg",[],{"id":40151,"slug":40152,"title":40153,"dynasty":162,"author":454,"museum":107,"description":40154,"tags":40155,"thumbUrl":40156,"material":751,"size":752,"collection":95,"collections":40157,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},288131,"da-bo-re-bo-luo-mi-duo-jing-juan-di-wu-bai-shi-si-yi-ming-288131","大般若波罗蜜多经卷第五百十四","此卷小楷结体匀整端秀，字形欹侧内敛，笔画凝练舒展，起收暗含隶意，捺脚微微出锋，尽显唐人写经典型法度。全篇字距行距排布齐整，墨色匀净沉厚。虽为长篇经文抄录，却字字安稳平和，无一笔懈怠。笔墨间恪守经生体的严谨规整，亦藏书写者静定虔敬的心绪，将佛典的庄严肃穆融于笔锋起落之间，尽显唐代写经书法的端雅风神，亦承载着彼时佛教文化传抄的质朴肃穆风貌。",[7,386,199,49,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97c1b91c4c2d7aba0e0098901ff75ab.jpg",[],{"id":40159,"slug":40160,"title":40161,"dynasty":162,"author":454,"museum":107,"description":40162,"tags":40163,"thumbUrl":40164,"material":751,"size":752,"collection":95,"collections":40165,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},288125,"shi-xuan-zang-yi-fen-bie-yuan-qi-chu-sheng-fa-men-jing-juan-shang-yi-ming-288125","釋玄奘譯 分別縁起初勝法門經卷上","此卷写经纸色沉润泛黄，墨色乌黑匀净，尽显岁月沉淀的静穆质感。通篇楷书结体端秀挺拔，笔画腴润舒展，兼具北碑的朴拙与唐楷的整饬。\n\n笔势间气韵贯通，字字排布齐整肃穆，契合释典的沉静庄严。书写者以恭敬之心落墨，起收笔暗含法度，提转顿挫皆见从容，将对经文的体悟融于笔端，既不失写经的规整制式，又在细微处流露灵动意趣。\n\n卷中字迹历经千年仍清晰醒目，纸墨精良，是唐代民间写经的典型佳构，尽显中古写经书法的温润风神与虔敬底蕴，传递出大唐佛教文化浸润下的书写美学。",[49,7,386,199,20967,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf64bcb92bf08a7c091f20b2a4f79f1.jpg",[],{"id":40167,"slug":40168,"title":29048,"dynasty":45,"author":26176,"museum":107,"description":39172,"tags":40169,"thumbUrl":40170,"material":751,"size":752,"collection":95,"collections":40171,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},288111,"lin-shi-qi-tie-ce-ye-zhu-da-you-288111",[7,398,110,200,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab80e49f79224101282e0ce484b249bc.jpg",[],{"id":40173,"slug":40174,"title":40175,"dynasty":45,"author":5463,"museum":107,"description":24617,"tags":40176,"thumbUrl":40177,"material":751,"size":752,"collection":95,"collections":40178,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},288074,"song-kang-hou-yang-wai-sun-bei-shang-qi-pian-ce-zhang-rui-tu-288074","送康侯杨外孙北上七篇册",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cdf7a053addc942d7f592339747fd7e.jpg",[],{"id":40180,"slug":40181,"title":40182,"dynasty":45,"author":40183,"museum":107,"description":40184,"tags":40185,"thumbUrl":40186,"material":751,"size":752,"collection":95,"collections":40187,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},288054,"ye-wang-ji-de-288054","页","王骥德","王骥德（1540年～1623年） ，明代戏曲理论家，字伯良，号方诸生、玉阳生，又号方诸仙史、秦楼外史，会稽（今浙江绍兴）人。祖、父均精于戏曲，家藏元人杂剧可数百种。",[23,7,398,77,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7bd809e744a5f9a6c6a39241446cd9a.jpg",[],{"id":40189,"slug":40190,"title":40191,"dynasty":45,"author":33632,"museum":107,"description":33633,"tags":40192,"thumbUrl":40193,"material":751,"size":752,"collection":95,"collections":40194,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},288049,"xing-shan-mian-wen-zhen-heng-288049","行扇面",[1250,7,60,25,24,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c7805c48ce3daa575c04febda24f46.jpg",[],{"id":40196,"slug":40197,"title":1250,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":40198,"thumbUrl":40199,"material":751,"size":752,"collection":95,"collections":40200,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},288048,"shan-mian-zhu-yun-ming-288048",[1250,7,398,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa803913265d2c2edab3091c99036ea.jpg",[],{"id":40202,"slug":40203,"title":40204,"dynasty":45,"author":454,"museum":107,"description":40205,"tags":40206,"thumbUrl":40207,"material":751,"size":752,"collection":95,"collections":40208,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},288003,"gong-shi-ming-ji-tu-juan-yi-ming-288003","龚氏名迹图卷","整卷书画交织，旧绢沉郁古雅。中段肖像衣冠端整，沉静肃穆，尽显士人清贵风骨。余下满纸行草题跋，笔势跌宕纵横，墨色枯湿浓淡富于层次，疾缓之间笔力苍劲老辣，带着恣肆疏放的意趣。鉴藏朱印错落点缀，晕开岁月斑驳痕迹。\n\n题咏与肖像呼应，卷首卷尾题字连绵，将画迹与题识融为一体，是时人追怀先贤、以书寄情的合卷。旧时光浸漫的厚重质感里，文人雅集题赠的风雅情态跃然绢上，书画相映，尽显笔墨襟怀。",[23,24,92,49,25,27,113,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6071dbedb85beca8fd355b9f84acb30.jpg",[],{"id":40210,"slug":40211,"title":32854,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":40212,"thumbUrl":40213,"material":751,"size":752,"collection":95,"collections":40214,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},287973,"qian-zi-wen-mo-ji-ben-wen-zheng-ming-287973",[7,60,200,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5310546fedfc8fc1d9aba2007e085b0d.jpg",[],{"id":40216,"slug":40217,"title":40218,"dynasty":8749,"author":454,"museum":107,"description":40219,"tags":40220,"thumbUrl":40221,"material":751,"size":752,"collection":95,"collections":40222,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},287937,"sha-zhou-du-du-fu-tu-jing-juan-yi-ming-287937","沙州都督府圖經卷","泛黄古纸载满密致行楷，墨色虽历经岁时依旧沉郁清晰。笔意朴拙自然，带着抄经手作的温度，无刻意雕琢的匠气，笔墨间舒展着日常书写的松弛。残损的纸边诉说着千年流转的故事，卷上文字是沙州大地的旧日注脚，将当年州郡的地理风物藏在一笔一划中。它既是珍贵的地方文献，亦是唐时写本书法的典型样貌，质朴厚重的书卷气扑面而来，静静定格下西北边地的人文剪影。",[23,49,7,3028,1498,199,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdddea8bac93870dd1f4efb582cb1ff07.jpg",[],{"id":40224,"slug":40225,"title":40226,"dynasty":8749,"author":454,"museum":107,"description":40227,"tags":40228,"thumbUrl":40229,"material":751,"size":752,"collection":95,"collections":40230,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},287898,"yue-zi-lu-yi-juan-qian-zi-wen-kai-shu-wei-yi-ming-287898","閱紫錄儀卷千字文楷書-尾","此作用笔苍劲率意，起收不作刻意修饰，带着民间写本特有的朴野质感。结体大小欹侧富于变化，时而紧凑欹斜，时而疏朗舒展，全无刻意雕琢的法度束缚，尽显随性自在的意趣。墨色枯润相生，浓淡自然晕染，藏着书写时松弛无拘的状态。\n\n褪去精致书风的板正，将日常抄录的平实天性融于笔墨之间，旧纸泛黄的底色裹挟着岁月沉淀的厚重，通篇尽显古拙天真的天然韵味，鲜活留存下世俗书写的本真风貌。",[23,7,199,3136,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d7b20d2b8abb8135863004663e661.jpg",[],{"id":40232,"slug":40233,"title":40234,"dynasty":8749,"author":454,"museum":107,"description":40235,"tags":40236,"thumbUrl":40237,"material":751,"size":752,"collection":95,"collections":40238,"showCount":418,"zanCount":882,"manualWeight":39,"mainColor":40},287847,"san-jie-fo-fa-qian-zi-wen-juan-kai-shu-yi-ming-287847","三階佛法千字文卷楷書","此卷小楷茂密匀整，通篇行气连贯丝毫不紊。笔锋清劲凝练，点画起止明晰，捺笔舒展有姿，暗藏牵丝映带的灵动，恪守法度却不显刻板，尽显抄经手的深厚功底。泛黄古纸承载满卷经文，朱色钤印点缀其间，晕开的朱砂为沉朴的墨色晕开一抹古雅暖意。通卷气息浑穆内敛，带着写经特有的虔诚端严，兼具宗教肃穆感与书法审美意趣，卷页的斑驳更添岁月的厚重质感，静静诉说着时光沉淀下的笔墨虔诚。",[49,199,7,386,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd610ddd9a541f956098955e8bd9810.jpg",[],{"id":40240,"slug":40241,"title":40242,"dynasty":8749,"author":454,"museum":107,"description":40243,"tags":40244,"thumbUrl":40245,"material":751,"size":752,"collection":95,"collections":40246,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},287841,"da-ban-nie-pan-jing-juan-di-liu-yi-ming-287841","大般涅槃经卷第六","此卷写经纸色古雅静穆，墨色乌亮匀净，小楷点画精劲内敛，结体端稳庄重。通篇排布严整却无拘滞之感，行气贯通一气呵成，笔笔恪守法度，既带着书写者对经文的敬奉虔诚，亦显露出扎实的书法功底。\n\n泛黄纸页晕染过时光痕迹，笔墨间藏着沉静禅意，将信仰凝于笔锋起落，字字珠玑质朴端严，尽显古写经独有的肃穆美感，是书法艺术与宗教典籍相融的典范。",[49,7,386,199,9007,878,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccdd70e1928550f30f64108fdb3e2d3.jpg",[],{"id":40248,"slug":40249,"title":40250,"dynasty":8749,"author":454,"museum":107,"description":40251,"tags":40252,"thumbUrl":40255,"material":751,"size":752,"collection":95,"collections":40256,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},287827,"er-shi-ba-xiu-zhen-yan-jin-gang-jie-da-man-zha-luo-shi-liu-pu-sa-zan-juan-yi-ming-287827","二十八宿真言金剛界大曼吒羅十六菩薩讚卷","此卷以行草书就，笔墨朴拙随性，起收间自带山野意趣。字势连绵映带，全篇行气贯通，密匝排布却无壅塞之感，尽显书写时的自在松弛。\n作为宗教写本，书写者以虔诚落墨，笔墨律动与经文庄严相融，褪去刻意技法修饰，带着古写经的质朴风貌。泛黄纸页晕开淡旧墨痕，是岁月沉淀的质感，让经文不再是冰冷文字，而成了承载信仰的温热载体，尽显民间写卷的天然意趣。",[49,7,386,9007,4678,40253,40254],"真言","金刚界","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513af77dee630459a3441d01acd253ed.jpg",[],{"id":40258,"slug":40259,"title":40260,"dynasty":8749,"author":454,"museum":107,"description":40261,"tags":40262,"thumbUrl":40264,"material":751,"size":752,"collection":95,"collections":40265,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},287806,"yu-jia-shi-di-lun-sheng-wen-di-fen-men-ji-juan-zhi-bei-yi-ming-287806","瑜伽師地論聲聞地分門記卷纸背","这帧古卷是写经余料的二次复用，泛黄麻纸带着岁月浸淫的斑驳痕迹，朱墨二色字迹错落排布。朱笔醒目劲挺，标注着义学条目的层级分梳，墨笔字痕虽已漫漶轻浅，仍能窥见当时学人伏案抄录的专注。\n\n它是中古写本文化的微小缩影，古人惜纸的习性凝结其中，将讲论佛理的稿文誊抄于旧卷背面，带着千年前的伏案余温，纸页的毛边与暗斑，都是时光摩挲过的印记，静静述说着旧日的释门研学日常。",[23,49,7,386,40263,199,312,878,34686],"佛教典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2781e832cf344bc81fa8e07feb93d11.jpg",[],{"id":40267,"slug":40268,"title":40269,"dynasty":8749,"author":454,"museum":195,"description":9803,"tags":40270,"thumbUrl":40271,"material":751,"size":752,"collection":95,"collections":40272,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},287777,"qiu-zhe-mu-zhi-yi-ming-287777","丘哲墓志",[199,7,198,23207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823c697a9b53b2c9afe9f7a585648174.jpg",[],{"id":40274,"slug":40275,"title":40276,"dynasty":45,"author":454,"museum":107,"description":40277,"tags":40278,"thumbUrl":40279,"material":751,"size":752,"collection":95,"collections":40280,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},287694,"yu-qing-zhai-fa-tie-xu-tie-yi-ming-287694","馀清斋法帖续帖","此作为小楷题跋，笔致端稳雅正，点画精劲匀停，既有晋唐小楷的隽秀遗韵，又饱含明代书法沉静内敛的书卷气息。墨色沉凝古穆，碑拓字口清晰明净，尽显刻工精妙，将原作笔锋的起伏转折复刻入微。\n\n题跋文辞清雅，记述旧藏法帖的递藏与品评，兼具书法审美与文献考据价值，静静铺陈出古时文人鉴藏赏玩的雅趣，也让后世得以窥见往昔法帖流转的脉络，是碑帖中兼具艺术美感与文史意涵的上乘之作。",[7,198,200,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d168817731267cda30e14bd3244521d.jpg",[],{"id":40282,"slug":40283,"title":40284,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":40285,"thumbUrl":40287,"material":751,"size":752,"collection":95,"collections":40288,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},287681,"xia-ri-yu-hou-shu-shi-shan-wen-zheng-ming-287681","夏日雨后书诗扇",[1250,7,60,77,373,40286],"雨后","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f5fed544529624ae51f972f57d70447.jpg",[],{"id":40290,"slug":40291,"title":40292,"dynasty":8749,"author":454,"museum":1172,"description":40293,"tags":40294,"thumbUrl":40297,"material":751,"size":752,"collection":95,"collections":40298,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},287633,"da-fang-deng-tuo-luo-ni-jing-juan-di-er-shou-gao-yi-ming-287633","大方等陀羅尼經卷第二手稿","此卷小楷清劲端秀，结体匀整工稳，通篇排布齐整，墨色沉润舒展，兼具写经体的肃穆端严与隐蕴的行书隽秀意趣。岁月侵蚀下纸面斑驳泛黄，晕染出古旧苍茫的书卷意蕴，却丝毫未减笔墨的灵动雅致。抄经人以恭谨心境落墨，在法度谨严中藏着温雅静穆的禅意，尽显写经书法的典型风貌，残卷依旧兼具宗教典籍与书法藏品的双重价值，静静诉说着彼时的信仰与笔墨风华。",[49,7,386,199,9007,1498,40295,40296],"手写本","宗教文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9b7aff190527b1274f2eaab67602c55.jpg",[],{"id":40300,"slug":40301,"title":40302,"dynasty":8749,"author":454,"museum":1172,"description":40303,"tags":40304,"thumbUrl":40305,"material":751,"size":752,"collection":95,"collections":40306,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},287616,"fu-shuo-wu-liang-shou-zong-yao-jing-shou-gao-yi-ming-287616","佛說無量壽宗要經手稿","这卷写经以小楷书就，用笔清劲秀雅，结体端稳匀整，朱丝界栏排布齐整，通篇字距紧凑却不失疏朗通透。墨色匀净沉润，历经岁月纸面晕染出旧时光的微黄，更添古雅沉静。\n书写者以恭谨之心落墨，笔锋提按间带着内敛的虔诚，字字清净平和，将宗教的肃穆融于笔墨筋骨之间，气韵空灵沉静。兼具抄经的实用性与书法审美价值，是信仰与传统书法艺术融合的动人典范。",[49,7,199,386,9007,878,20967,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6f9e14fb3fa199d4ff9f7b1af31445.jpg",[],{"id":40308,"slug":40309,"title":40310,"dynasty":8749,"author":454,"museum":107,"description":40311,"tags":40312,"thumbUrl":40313,"material":751,"size":752,"collection":95,"collections":40314,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},287437,"ku-shu-fu-tai-zong-ai-ce-yi-ming-287437","枯树赋太宗哀册","此作用笔遒劲灵动，以行书挥洒，牵丝映带间暗合赋中今昔兴衰之叹。笔画提转顿挫皆具法度，既有二王行书的飘逸隽秀，亦带着沉厚朴拙的骨力。章法错落有致，字间行气贯通，虽为拓本，仍能窥见笔墨枯润变化，将赋文里物是人非的悲戚怅惘融于笔墨之间。字里行间藏着沉郁情绪，把移柳之叹、河阳之思尽数铺展，让观者在赏鉴笔墨功力之时，共情那份昔盛今衰的喟叹，是书文相生的精妙之作。",[7,198,60,200,704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6268aa732cf44aa7ce38856af5bfcbf.jpg",[],{"id":40316,"slug":40317,"title":40318,"dynasty":1609,"author":454,"museum":107,"description":15550,"tags":40319,"thumbUrl":40320,"material":751,"size":752,"collection":95,"collections":40321,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},287359,"zhao-yi-bei-yi-ming-287359","赵仪碑",[198,7,1613,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c27cb46fb3795a9b49e632426a531ff.jpg",[],{"id":40323,"slug":40324,"title":16461,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":40325,"thumbUrl":40326,"material":751,"size":752,"collection":95,"collections":40327,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},287342,"mu-dan-fu-zhu-yun-ming-287342",[7,398,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b6b6e9a75b1eb177baf97f8b0fcce.jpg",[],{"id":40329,"slug":40330,"title":40331,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":40332,"thumbUrl":40334,"material":751,"size":752,"collection":95,"collections":40335,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},285303,"shou-li-yi-lian-chi-ge-yan-yi-bing-shou-285303","绶礼义廉耻格言",[49,7,199,200,40333],"格言","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9514f3459efb86060c6a8efdb63f1278.jpg",[],{"id":40337,"slug":40338,"title":40339,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":40340,"thumbUrl":40343,"material":751,"size":752,"collection":95,"collections":40344,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},283765,"jie-lu-sun-guo-ting-shu-pu-juan-dong-qi-chang-283765","节录孙过庭书谱卷",[23,7,49,60,200,8402,6769,2862,40341,40342],"笔畅","神融","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F622f0412fc8aa314d0414f26fece3f0c.jpg",[],{"id":40346,"slug":40347,"title":40348,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":40349,"thumbUrl":40350,"material":751,"size":752,"collection":95,"collections":40351,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},283729,"shu-hua-tu-ce-ba-kai-dong-qi-chang-283729","书画图册（八开）",[7,26,60,77,1679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc71ca2d887e29b176f43b75691bcc6.jpg",[],{"id":40353,"slug":40354,"title":40355,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":40356,"thumbUrl":40357,"material":751,"size":752,"collection":95,"collections":40358,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},283709,"fang-ge-xing-deng-shi-juan-dong-qi-chang-283709","放歌行等诗卷",[23,7,398,49,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967a56ccb009f9db474cfeb9fd55673a.jpg",[],{"id":40360,"slug":40361,"title":40362,"dynasty":45,"author":14822,"museum":107,"description":28023,"tags":40363,"thumbUrl":40365,"material":751,"size":752,"collection":95,"collections":40366,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},283610,"bo-wu-dian-hui-er-shi-juan-huang-dao-zhou-283610","博物典汇二十卷",[1498,9636,40364,199,7],"线装书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9b4c838e72f76aac93dbfb77df8ba59.jpg",[],{"id":40368,"slug":40369,"title":40370,"dynasty":18,"author":40371,"museum":107,"description":40372,"tags":40373,"thumbUrl":40374,"material":751,"size":752,"collection":95,"collections":40375,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},283599,"jin-shan-zhi-shi-juan-lu-jian-ceng-283599","金山志十卷","卢见曾","卢见曾（1690—1768），字澹园，又字抱孙，号雅雨，又号道悦子，山东德州人。康熙六十年（1721）进士。历官洪雅知县、滦州知州、永平知府、长芦、两淮盐运使。",[1498,199,7,77,51,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c75728fdcb2b1d23a56e5dbaf4e258.jpg",[],{"id":40377,"slug":40378,"title":40379,"dynasty":18,"author":454,"museum":107,"description":40380,"tags":40381,"thumbUrl":40382,"material":751,"size":752,"collection":95,"collections":40383,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},275881,"qing-yu-yu-ti-xi-hu-shi-jing-shi-ce-yi-ming-275881","青玉御题西湖十景诗册","紫檀外匣沉穆古雅，包浆凝润，静静承托匣内青玉册页。玉质莹洁温糯，将西湖十景的烟岚晴雨，尽数镌于方寸玉面，御题诗句笔力端稳，与湖山胜景相映成趣。刀工匀净细腻，把江南水色的清灵、层峦的秀逸凝于玉上，诗境与景韵浑然相融。将西子湖畔的晓风柳浪、秋月平湖藏于匣中，把风雅意趣与山水灵秀合为一体，是诗、书、玉艺相得益彰的典藏珍玩，藏着旧时对湖山风雅的极致追慕。",[7714,26,7,51,19026,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f1e6a6c4f89f57c0580d0cdfd06920.jpg",[],{"id":40385,"slug":40386,"title":40387,"dynasty":18,"author":454,"museum":107,"description":40388,"tags":40389,"thumbUrl":40390,"material":751,"size":752,"collection":95,"collections":40391,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},275845,"bi-yu-dong-gao-shu-yu-zhi-re-he-wen-miao-bei-ji-ce-yi-ming-275845","碧玉董诰书御制热河文庙碑记册","整器以仿书形制为貌，紫檀盖面深镌游龙穿绕缠枝纹，龙姿矫健灵动，纹饰填色古穆沉静，嵌设签牌题字端严肃穆，尽显规整气度。\n\n册页取碧玉为材，石质温润凝泽，以阴刻复刻董诰所书御制文庙碑记。刀工追随笔意起伏流转，将小楷的秀逸恭谨尽数呈现，笔画匀停饱满，笔墨神韵在玉面之上丝丝毕现，刚柔相济。它集木雕、玉刻工艺之大成，兼具宫廷制器的华贵规整与文心雅韵，静敛间尽显皇家典仪的庄重与匠造的精妙心思。",[26,7714,7,7713,359,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8689e3919540f2f26ed89a70687de6.jpg",[],{"id":40393,"slug":40394,"title":40395,"dynasty":18,"author":454,"museum":107,"description":40396,"tags":40397,"thumbUrl":40398,"material":751,"size":752,"collection":95,"collections":40399,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},275816,"qing-yu-yu-bi-wan-nian-shang-yuan-deng-ci-ce-shi-yu-ce-yi-ming-275816","青玉御笔万年上元灯词册识语册","以硬木为骨，周身采百宝嵌工艺，盖面錾题文字，箱身双龙穿云戏珠，祥云迤逦舒展。螺钿玉石随形裁镂、错彩镶嵌，金彩莹亮与石色温润交相辉映，古雅沉静。龙纹矫健灵动，祥云层叠自然，线条舒展流畅，尽显器物华贵矜重。整器造型方正端稳，沉郁木色与明丽嵌饰相互映衬，将工艺巧思与审美意趣融为一体，是清代百宝嵌工艺的上乘佳作，尽显旧时造物的匠心与雅致格调。",[19026,7713,359,834,26,7714,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879573a809fcc296e640a0913c327aae.jpg",[],{"id":40401,"slug":40402,"title":40403,"dynasty":18,"author":454,"museum":107,"description":40404,"tags":40405,"thumbUrl":40408,"material":751,"size":752,"collection":95,"collections":40409,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},274073,"mu-bian-fang-yan-cheng-shu-diao-shi-yu-zhi-shi-gua-ping-yi-ming-274073","木边方砚丞书雕石御制诗挂屏","木框配铜质挂钮，形制雅正端方。以隶书御制诗文入雕，字形朴厚端庄，恪守隶书波磔意韵，镌刻圆润饱满，字口填色沉敛，与石面底色衬映相融。\n\n行列排布严整匀净，尽显宫廷礼制下的肃穆规整，每一处细节都暗含旧朝宫廷的审美意趣，将书法法度、镌刻工巧与装裱雅致合为一体，静穆之间晕染出传统工艺与翰墨风雅交织的沉静气韵。",[7,1613,8913,19026,40406,7713,40407],"石雕","御制诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e6b975399a51130c3cc2139a23f6db.jpg",[],{"id":40411,"slug":40412,"title":40413,"dynasty":18,"author":454,"museum":107,"description":40414,"tags":40415,"thumbUrl":40416,"material":751,"size":752,"collection":95,"collections":40417,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},273655,"zi-tan-mu-bian-qian-long-shu-zi-hong-wu-hua-shan-shui-tu-wei-ping-yi-ming-273655","紫檀木边乾隆书字弘旿画山水图围屏","此围屏以紫檀为框架，牙板嵌黄杨木雕竹枝，秀雅古拙。六幅山水连为长卷，取元人浅绛山水笔法，峰峦层叠、林木苍润，村居隐于溪山烟岚间，皴擦细腻，设色清和，铺展出幽寂旷远的林泉雅境。\n\n两侧行书联句笔致舒展，与山水意境相得益彰，文心画意浑然相融。整器融木雕工艺、书法与绘事于一体，既是厅堂陈设重器，尽显清时文雅审美，工艺与意趣兼备，藏着旧时世家厅堂的悠然气韵。",[24,25,430,51,7,19026,132,2136,27,59,458,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb150c1426bb61866167d7563d01b8e5.jpg",[],{"id":40419,"slug":40420,"title":40421,"dynasty":18,"author":454,"museum":107,"description":40422,"tags":40423,"thumbUrl":40424,"material":751,"size":752,"collection":95,"collections":40425,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},273648,"zi-tan-mu-bian-qian-ya-he-lu-tu-gua-ping-yi-ming-273648","紫檀木边嵌牙鹤鹿图挂屏","紫檀为框，墨漆为底，百宝嵌就清逸景致。苍松虬枝宛转，松石点染松针，翠色鲜活如凝露。芝兰倚于松下，牡丹以彩玉螺钿晕开瓣色，明妍动人。鎏金双鹿肌理写实，悠然漫步林下，尽显灵秀生机。屏侧御题诗文笔致端雅，文气与景趣相融，将松间清和祥瑞铺陈眼前。整器集镶嵌、髹漆、书法之工，把太平长乐的意趣藏于刀嵌笔锋之间，尽显百宝嵌工艺的精妙雅致。",[8913,19026,13336,7713,35041,1018,10795,798,135,30,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9349f48eea736808da3b181a0bdebba.jpg",[],{"id":40427,"slug":40428,"title":40421,"dynasty":18,"author":454,"museum":107,"description":40429,"tags":40430,"thumbUrl":40432,"material":751,"size":752,"collection":95,"collections":40433,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},273647,"zi-tan-mu-bian-qian-ya-he-lu-tu-gua-ping-yi-ming-273647","此作以百宝嵌技法施艺，以松石攒簇成苍松翠叶，牙骨雕琢为仙鹤，彩石点染花卉湖石。双松虬劲挺拔，松针层叠错落，双鹤信步林下，姿态悠然温驯，月季绽露芳姿，芝草湖石点缀其间，晕染出林下闲逸清趣。屏面题御制松诗，文心与匠心相融，墨色底衬愈发凸显百宝的莹润肌理，整体色调沉穆古雅，将松鹤延年的吉祥意涵藏于雅致构图之中，尽显嵌饰工艺的精妙工巧与雅致雍容的审美意趣。",[8913,19026,25476,7713,3388,10795,1018,135,7,199,40431],"工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaecd39c0a9f506b7b992a30decc5e1e.jpg",[],{"id":40435,"slug":40436,"title":40437,"dynasty":18,"author":454,"museum":107,"description":40438,"tags":40439,"thumbUrl":40440,"material":751,"size":752,"collection":95,"collections":40441,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},272991,"zi-tan-kuang-fa-lang-gua-ping-yi-ming-272991","紫檀框珐琅挂屏","上部金盘錾刻诗文，笔力端秀朗润，墨韵风骨凝于金石之上，古意悠然。下方珐琅山水，以鲜亮釉色晕染出层峦叠翠，流云缱绻缠绕峰岫，亭台隐于茂林清溪之畔，行人缓步石桥，将江南山水的温婉灵韵定格。紫檀边框暗雕缠枝纹，线条婉转古雅，将錾金诗文的文气与珐琅彩的画意揉合，器韵雅致沉静，尽显雅致的陈设意趣与隽永的工艺审美。",[8913,19026,7713,36389,7,199,1328,51,458,52,56,20356,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa311098610456f3cd893e70f5a4f3f7e.jpg",[],{"id":40443,"slug":40444,"title":40445,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":40446,"thumbUrl":40448,"material":751,"size":752,"collection":95,"collections":40449,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},272975,"ti-hong-qian-yu-wen-gua-ping-yi-ming-272975","剔红嵌玉纹挂屏",[13336,8913,7,60,7713,40447],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302756cd6fddb3934f833e92c47f8c17.jpg",[],{"id":40451,"slug":40452,"title":40453,"dynasty":18,"author":454,"museum":107,"description":40454,"tags":40455,"thumbUrl":40456,"material":751,"size":752,"collection":95,"collections":40457,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},272972,"zi-tan-mu-bian-qi-zi-wen-gua-ping-yi-ming-272972","紫檀木边漆字纹挂屏","紫檀边框沉稳古雅，乌漆底板匀净深邃，描金书法熠熠生辉。此作为临摹晋人尺牍，笔意承袭王氏行书的隽秀韵致，行笔圆润舒展，牵丝映带间尽显从容雍容，结体疏密得宜，尽显笔墨章法精妙。描金工艺让笔痕鲜亮醒目，历经岁月仍光彩不减，将书法意趣与髹漆工艺相融，既有文人笔墨的风雅，亦含宫廷造办的精工细致，尽显端庄雅致的文房意趣。",[8913,19026,13336,7,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f3678b742e4404627811a8d5f3753a.jpg",[],{"id":40459,"slug":40460,"title":40461,"dynasty":18,"author":454,"museum":107,"description":40462,"tags":40463,"thumbUrl":40464,"material":751,"size":752,"collection":95,"collections":40465,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},272969,"zi-tan-mu-bian-qian-fa-lang-pen-hua-tu-gua-ping-yi-ming-272969","紫檀木边嵌珐琅盆花图挂屏","屏心以蓝地回纹珐琅为底，鎏金题字错落排布，笔意隽雅，暗蕴文思雅趣。下方立体堆嵌盆梅，花盆珐琅填彩饰纹，鎏金边饰勾勒出挺拔器型。梅桩苍劲虬曲，花枝缀蕾含英，施色沉静古拙，将珐琅明润光泽与髹金华贵融于一处。\n\n整体构图虚实相宜，上部金题墨趣呼应下部花艺雅构，既有文人案头清供的幽远情致，又尽显精工巧思。将冬日赏梅闲情凝于屏上，揉诗文、工艺与雅趣为一体，雅致脱俗，尽显内敛东方意韵。",[8913,19026,19025,131,7,199,7713,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4564328a1f64b38567767cc6cca1f54a.jpg",[],{"id":40467,"slug":40468,"title":40469,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":40470,"thumbUrl":40472,"material":751,"size":752,"collection":95,"collections":40473,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},271253,"wang-jie-an-zao-qian-tang-huang-yi-mo-bei-zhi-mo-yi-ming-271253","汪节庵造钱塘黄易摹碑之墨",[432,3956,7,199,40471],"摹碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F670882af44b45bfe9e676d86b881f3d6.jpg",[],{"id":40475,"slug":40476,"title":40477,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":40478,"thumbUrl":40480,"material":751,"size":752,"collection":95,"collections":40481,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},270995,"wu-tong-zan-si-ji-hua-hui-wen-fang-bi-tong-yi-ming-270995","乌铜錾四季花卉纹方笔筒",[15301,40479,7713,834,2919,399,30,7,30960],"錾刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0daab73f4298472769e3d70b84409765.jpg",[],{"id":40483,"slug":40484,"title":40485,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":40486,"thumbUrl":40489,"material":751,"size":752,"collection":95,"collections":40490,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},270748,"lan-ting-xiu-xi-lv-yu-mo-yi-ming-270748","兰亭修禊绿御墨",[432,40487,40488,7,77,9970],"御墨","绿色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe043116734918ec9d73c4175125a7e.jpg",[],{"id":40492,"slug":40493,"title":40494,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":40495,"thumbUrl":40496,"material":751,"size":752,"collection":95,"collections":40497,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},270602,"qian-long-kuan-yu-ti-hua-shi-mo-ti-wang-fu-shan-shui-mo-yi-ming-270602","乾隆款御题画诗墨-题王绂山水墨",[432,7,77,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b870ee28af285cf633047b4612821cb.jpg",[],{"id":40499,"slug":40500,"title":40501,"dynasty":18,"author":454,"museum":107,"description":40502,"tags":40503,"thumbUrl":40504,"material":751,"size":752,"collection":95,"collections":40505,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},270215,"zhu-gu-qian-gu-bian-qian-ci-xi-yu-xi-hua-zhu-mei-tu-mian-zhe-shan-yi-ming-270215","竹股嵌骨边钤慈禧御玺画竹梅图面折扇","此扇水墨绘就梅竹双清，虬曲梅枝疏朗错落，寒蕊缀于枝头，似有暗香浮动；劲竹挺拔舒展，叶片攒聚间可见笔力清劲。水墨晕染素雅淡然，寥寥数笔便勾勒出君子孤傲风骨，暗合岁寒同心之意。另一面题字笔锋清逸雅致，与画面相映成趣。\n\n竹股嵌骨匀净温润，更饰浅刻花枝呼应扇间图景，处处可见巧思。御玺加持更添一重庄重雅致，整器将书画意趣与工艺匠心相融，尽显晚清寄情于物的风雅审美，藏着旧时案头闲赏的悠然意韵。",[1250,24,25,50,132,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedf70eef7ae7ea49919ab46e3c1791b.jpg",[],{"id":40507,"slug":40508,"title":40509,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":40510,"thumbUrl":40512,"material":751,"size":752,"collection":95,"collections":40513,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},269059,"zhu-diao-zhu-lin-qi-xian-tu-ke-qian-long-ti-shi-bi-tong-yi-ming-269059","竹雕竹林七贤图刻乾隆题诗笔筒",[40511,7713,30960,113,475,7],"竹雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d0f310830cb86345ebc129486071fb.jpg",[],{"id":40515,"slug":40516,"title":40517,"dynasty":45,"author":454,"museum":107,"description":40518,"tags":40519,"thumbUrl":40520,"material":751,"size":752,"collection":95,"collections":40521,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},263686,"han-xi-meng-song-yuan-ming-ji-ce-hua-xi-yu-yin-tu-yi-ming-263686","《韩希孟宋元名迹册·花溪渔隐图》","此作为顾绣佳作，用工致针脚复刻古意。画面右侧柔柳垂溪，枝梢随风轻摆，花蹄骏马涉水徐行，骑乘的稚童安然惬意，水波漾着细碎涟漪，晕开郊野春日的悠然野趣。配题行书诗文与画面呼应，笔墨清逸雅致。整体设色浅淡清润，将宋画的空灵意境与刺绣工艺的精微相融，把溪岸牧马的闲恬童趣晕染得灵动鲜活，绣艺精细还原笔墨韵味，诗意与绣色交织，尽显古雅恬和的林下意境，复刻出宋元名迹的淡远意趣。",[24,25,26,111,27,1074,113,1919,53,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f17af2d5b3434a457c4801a825a7b2.jpg",[],{"id":40523,"slug":40524,"title":40525,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":40526,"thumbUrl":40529,"material":751,"size":752,"collection":25508,"collections":40530,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},262044,"yu-lin-kuan-yi-xing-yao-zi-sha-hu-yi-ming-262044","玉麟款宜兴窑紫砂壶",[25504,2919,40527,40528,7],"紫砂壶","刻字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee26b42e30d2defb54e6890a35a65bc.jpg",[25508],{"id":40532,"slug":40533,"title":40534,"dynasty":18,"author":454,"museum":107,"description":40535,"tags":40536,"thumbUrl":40541,"material":751,"size":752,"collection":95,"collections":40542,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},261000,"long-quan-you-kai-guang-shi-ju-hua-hui-wen-si-fang-xing-bi-ping-yi-ming-261000","龙泉釉开光诗句花卉纹四方形壁瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[25504,40537,25480,27,7,40538,40539,40540],"壁瓶","龙泉釉","开光","方形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b6b6644ac266f224cf5a4fb5c97e13.jpg",[],{"id":40544,"slug":40545,"title":40546,"dynasty":18,"author":454,"museum":107,"description":40547,"tags":40548,"thumbUrl":40549,"material":751,"size":752,"collection":95,"collections":40550,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},259729,"zhong-zhi-tang-kuan-fen-cai-chi-bi-fu-tu-bei-yi-ming-259729","种芝堂款粉彩赤壁赋图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[25504,428,2919,39155,458,51,7,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750a21721c8606a86bcc14dc0d707aac.jpg",[],{"id":40552,"slug":40553,"title":40554,"dynasty":18,"author":454,"museum":107,"description":40555,"tags":40556,"thumbUrl":40559,"material":751,"size":752,"collection":95,"collections":40560,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},258397,"yong-zheng-kuan-fa-lang-cai-dan-huang-you-lan-shi-wen-xiao-wan-yi-ming-258397","雍正款珐琅彩淡黄釉兰石纹小碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[18,25504,40557,40558,139,589,7,77],"珐琅彩","淡黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656fe6f282b064f44220e6747b3ca3be.jpg",[],{"id":40562,"slug":40563,"title":40564,"dynasty":1609,"author":454,"museum":107,"description":21006,"tags":40565,"thumbUrl":40566,"material":751,"size":752,"collection":95,"collections":40567,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},251284,"hong-qin-bai-yu-zhen-yi-ming-251284","红沁白玉瑱",[25,26,60,77,7714,8234,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45043b951e34bd9aa57f04cf29a56bd3.jpg",[],{"id":40569,"slug":40570,"title":40571,"dynasty":18,"author":454,"museum":107,"description":40572,"tags":40573,"thumbUrl":40575,"material":751,"size":752,"collection":95,"collections":40576,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},246409,"ti-hong-yu-zhi-shi-shan-shui-ren-wu-tu-hu-lu-shi-gua-ping-yi-ming-246409","剔红御制诗山水人物图葫芦式挂屏","此作为葫芦造型，顶部刻“大吉”点明吉庆意涵。上部以绿漆填饰御题诗文，朱漆回纹衬底，配色雅致华贵。下部开光内剔刻山水雅集图景，层叠山石间古木虬结，文人雅聚林泉，仆从随侍侧旁，尽显林下清逸的文人情致。\n\n器物髹漆莹润厚重，刀工圆熟精细，朱红与墨绿妍丽分明，雕饰繁简得宜，边框缠枝纹细密灵动，既尽显宫廷工艺的极致考究，也将秋日雅集的闲适意趣融于造物之中，是雕漆工艺与文人审美相映成趣的佳作。",[2135,13336,40447,7713,51,113,56,57,553,7,40574,8913,27],"葫芦式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2284e4a5c4472846d1d50206b105b70a.jpg",[],{"id":40578,"slug":40579,"title":40580,"dynasty":18,"author":454,"museum":107,"description":40581,"tags":40582,"thumbUrl":40587,"material":751,"size":752,"collection":95,"collections":40588,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},246408,"ti-hong-jin-wen-qian-tong-yu-zhi-shi-bo-gu-wen-da-ji-hu-lu-shi-gua-ping-yi-ming-246408","剔红锦纹嵌铜御制诗博古纹大吉葫芦式挂屏","此作取大吉葫芦形制，朱漆剔刻的边框缠枝花卉婉转雅致，衬地锦纹细密匀整。上部以铜胎填金錾刻诗文，笔意端凝古雅，文气暗蕴；下部开光处镂刻博古清供图景：案头瓶花斜斜绽露，典籍静陈，旁侧盆卉生机悠然，将书斋闲趣凝于漆色之中。\n\n朱漆沉润鲜亮，雕刻线条细腻流畅，把髹漆的精工与文人情致相融，借葫芦讨纳吉意，以清供彰显雅趣，尽显工艺的精妙质感与传统文玩审美意趣。",[2135,13336,40583,40447,7713,40584,40585,7,40586,574],"雕漆","葫芦","博古纹","锦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5c3de38537a1fa79fd7038a590be62.jpg",[],{"id":40590,"slug":40591,"title":40592,"dynasty":18,"author":454,"museum":107,"description":39278,"tags":40593,"thumbUrl":40594,"material":751,"size":752,"collection":95,"collections":40595,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},243270,"fu-shou-kang-ning-jing-yi-ming-243270","福寿康宁镜",[15301,7713,7,199,2135,574,13446,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4255b045bcc0ccb9c115194658f50f98.jpg",[],{"id":40597,"slug":40598,"title":40599,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":40600,"thumbUrl":40601,"material":751,"size":752,"collection":95,"collections":40602,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},242524,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242524","钦定重刻淳化阁帖钩本",[7,457,77,110,200,198,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e822f629e7ca7af62ff21c56fc00849.jpg",[],{"id":40604,"slug":40605,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":40606,"thumbUrl":40607,"material":751,"size":752,"collection":95,"collections":40608,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},242498,"zhong-ke-chun-hua-ge-tie-yi-ming-242498",[7,198,77,60,398,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8935d780af15271e21dd5bf0a5c3f7e5.jpg",[],{"id":40610,"slug":40611,"title":1505,"dynasty":45,"author":454,"museum":107,"description":40612,"tags":40613,"thumbUrl":40614,"material":95,"size":95,"collection":802,"collections":40615,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},242306,"zui-weng-ting-ji-yi-ming-242306","此作为大字楷书拓本，笔力沉浑雄健，结体宽博舒展。起收顿挫分明，提按间筋骨尽显，撇捺开张大气，自带庙堂端方之象。\n黑底白字的拓印形式衬得笔墨意韵愈发鲜明，字间排布匀整端庄，章法疏朗开阔。将醉翁寄情山水的雅趣融于方正笔意，厚重里藏文人情致，刚劲中暗含灵动。既承唐楷法度森严，又具明书朴拙舒展，把山林野趣与文酒之乐凝于笔端，尽显沉穆雅致的书卷风骨。",[7,199,198,26,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191ee4693e54158114ab6623c4c4c5c6.jpg",[802],{"id":40617,"slug":40618,"title":40619,"dynasty":45,"author":454,"museum":107,"description":40620,"tags":40621,"thumbUrl":40622,"material":751,"size":752,"collection":96,"collections":40623,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},242277,"wan-xiang-tang-su-shu-tie-yi-ming-242277","晚香堂苏书帖","此帖用笔温润秀劲，提按转合间尽显潇洒韵致，笔意圆活舒展，毫无板滞之感。结体疏密得宜，字形欹正相生，既有端稳沉静之态，又不失灵动跳脱之姿。乌金沉底配莹润墨色，愈发衬出字里行间的从容雅致。\n\n以《凌虚台记》为书文，笔墨与文辞相得益彰，将文中寄寓的山水襟怀，化作笔底流转的风神，观之仿若亲临终南山麓，凌虚凭眺，山水悠然之境跃然眼底，尽显文人书法的清雅意趣，是颇具东坡神韵的刻帖佳制。",[7,60,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9efe2d1d58861d109378fea9e789a25.jpg",[96],{"id":40625,"slug":40626,"title":9874,"dynasty":162,"author":454,"museum":107,"description":40627,"tags":40628,"thumbUrl":40629,"material":95,"size":95,"collection":802,"collections":40630,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},242232,"zheng-zuo-wei-tie-yi-ming-242232","此作用笔苍劲朴拙，点画浑厚开张，尽显宽博雄健的气度。字势欹正相生，章法疏密随性自然，笔墨间裹挟着直谏时的激愤意气，将忠义肝胆寄于笔端。\n墨色沉凝古雅，虽为刻拓却不失原作的酣畅气势，行笔间带着独有的雄浑风骨，把文人气节与书法意趣相融，字里行间皆是率真饱满的情绪起伏，尽显壮逸格调，是极具感染力的行草典范。",[7,198,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5037d956fd7683d70e044ca6d075c8cb.jpg",[802],{"id":40632,"slug":40633,"title":9874,"dynasty":18,"author":454,"museum":107,"description":40634,"tags":40635,"thumbUrl":40636,"material":95,"size":95,"collection":802,"collections":40637,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},242230,"zheng-zuo-wei-tie-yi-ming-242230","此作用笔雄健苍劲，线条跌宕恣肆，将书者朝堂据理力争的凛然风骨寄寓笔墨间。行笔纵横捭阖，墨色斑驳沉郁，尽显刻石拓本的沧桑厚重。章法欹正相生、大小错落，看似随意排布却浑然天成。\n\n笔画粗细变化极具张力，牵丝映带间融行书灵动与朴拙为一体，既不失端稳法度，又脱尽刻板拘束，以散逸不羁的姿态成为行书经典。晕染的拓痕为其添上古雅沉静的岁月质感，让观者能触摸到千年前文人的铮铮铁骨。",[7,198,60,26,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6815a8f1c8fcfebc068f7bb1d47e64f3.jpg",[802],{"id":40639,"slug":40640,"title":40641,"dynasty":45,"author":454,"museum":107,"description":40642,"tags":40643,"thumbUrl":40644,"material":95,"size":95,"collection":96,"collections":40645,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},242219,"bao-xian-tang-fa-tie-yi-ming-242219","宝贤堂法帖","此帖荟萃晋人手札，黑底白墨古雅沉静，尽显刻帖精妙质感。右侧书作笔意圆融灵动，点画顾盼生姿，将尺牍的随性自在铺陈开来，晋人散逸潇洒的风神跃然楮墨。左侧字迹纵逸奔放，牵丝映带间尽显挥毫时的畅快意气，笔墨藏着晋韵风流的审美底色。\n\n摹刻精良，忠实留存晋人行草的章法笔意，将两通信札的日常意趣与书法精妙合二为一，虽是刻本却毫发尽显笔底情致，可让观者遥想当年挥毫的自在情态，体味古法帖隽永的笔墨魅力。",[198,7,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d36d092de5a51de88c73a35db58586.jpg",[96],{"id":40647,"slug":40648,"title":40649,"dynasty":18,"author":454,"museum":107,"description":40650,"tags":40651,"thumbUrl":40652,"material":95,"size":95,"collection":802,"collections":40653,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},242181,"yuan-jian-zhai-fa-tie-yi-ming-242181","渊鉴斋法帖","此作用笔舒展俊逸，牵丝映带尽显灵动意趣，结体疏密相宜，字势顾盼有情。墨色乌亮莹润，刻工精良妥帖，忠实还原了行笔的粗细疾徐，将笔底的儒雅意态尽数留存。\n\n整幅章法匀停平和，文辞古雅与笔墨意韵相融，尽显雍容端秀的庙堂之风，将行书的舒展雅致与刻帖的金石质感巧妙结合，藏着清人尚雅的书风意趣，尽显从容雍和的文人气韵。",[7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324ba74e9a66e76194663d137b1acdf8.jpg",[802],{"id":40655,"slug":40656,"title":40657,"dynasty":18,"author":40658,"museum":107,"description":40659,"tags":40660,"thumbUrl":40661,"material":751,"size":752,"collection":95,"collections":40662,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},241693,"wu-yan-shi-heng-pi-cao-hong-xun-241693","五言诗横披","曹鸿勋","曹鸿勋（1846年2月3日—1910年9月9日）清代官员。字仲铭，又字竹铭，号兰生，另号铭帛，室名益坚斋。山东莱州府潍县（今潍坊市潍城区）西南关新巷子人。",[199,7,25547,2602,2135,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07347b464578b5e555324a8dc8d2321d.jpg",[],{"id":40664,"slug":40665,"title":40666,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":40667,"thumbUrl":40668,"material":312,"size":95,"collection":96,"collections":40669,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241650,"zhi-kong-jia-shu-zha-wen-zheng-ming-241650","致孔加书札",[7,60,50,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d5b622986830b562269c5e473baf69e.jpg",[96],{"id":40671,"slug":40672,"title":40673,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":40674,"thumbUrl":40675,"material":751,"size":752,"collection":95,"collections":40676,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241641,"zhi-yang-hu-shu-zha-wen-zheng-ming-241641","致阳湖书札",[4038,7,60,77,312,3155,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588c7c691a4650c35c73306c75c378ec.jpg",[],{"id":40678,"slug":40679,"title":40680,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":40681,"thumbUrl":40682,"material":751,"size":752,"collection":95,"collections":40683,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241623,"zhi-yuan-tang-zha-lin-ze-xu-241623","致远堂札",[7,60,50,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e99aad62395e1a2841a588f2b6eead2.jpg",[],{"id":40685,"slug":40686,"title":40680,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":40687,"thumbUrl":40688,"material":751,"size":752,"collection":95,"collections":40689,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241621,"zhi-yuan-tang-zha-lin-ze-xu-241621",[2135,25,7,60,50,26781,13817,19315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc07b5e0f2275edb5f34465a48d04494.jpg",[],{"id":40691,"slug":40692,"title":17213,"dynasty":18,"author":23720,"museum":107,"description":40693,"tags":40694,"thumbUrl":40695,"material":751,"size":752,"collection":95,"collections":40696,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241569,"qi-yan-shi-zhou-tang-yi-fen-241569","汤贻汾（1778—1853）， 字若仪，号雨生、琴隐道人，晚号粥翁，武进（今江苏常州）人。清代武官、诗人、画家。以祖、父荫袭云骑尉，授扬州三江营守备。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0972c17ac9489951e3f6d1329328867a.jpg",[],{"id":40698,"slug":40699,"title":18391,"dynasty":18,"author":40700,"museum":107,"description":40701,"tags":40702,"thumbUrl":40703,"material":751,"size":752,"collection":95,"collections":40704,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241567,"qi-jue-zhou-cheng-feng-241567","程凤","此作草书纵肆跳宕，中锋使转圆润遒劲，线条粗细枯湿自然变幻，提按顿挫间漾开婉转韵律。字距错落行气贯通，左疏右密的排布令章法灵动不板滞，虚实相生间尽显疏密开合的意趣。\n\n笔墨酣畅肆意，将草书抒情特质挥洒尽致，牵丝映带间留存下挥毫时的连贯节奏，奔逸的动态张力里暗藏沉稳筋骨，萧散放达的文人意气裹挟在笔墨之中，尽显书写者的不俗襟怀与深厚书法功力，是尽显抒情特质的草书佳篇。",[7,398,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85dc05368378014e2622b2dd903bf056.jpg",[],{"id":40706,"slug":40707,"title":40708,"dynasty":45,"author":27986,"museum":107,"description":27987,"tags":40709,"thumbUrl":40710,"material":751,"size":752,"collection":95,"collections":40711,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":789},241566,"wu-lv-ping-zhou-song-cao-241566","五律屏轴",[7,60,75,77,140,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c53b5e4811f44127a75a253a0972ffc.jpg",[],{"id":40713,"slug":40714,"title":40715,"dynasty":45,"author":454,"museum":107,"description":40716,"tags":40717,"thumbUrl":40718,"material":312,"size":95,"collection":96,"collections":40719,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241529,"yi-an-qi-lv-shi-bing-xu-ye-yi-ming-241529","逸庵七律诗并序页","这件行书小品笔意连贯疏朗，墨色浓淡自然晕化，字势欹侧相生。牵丝映带的笔画里藏着随性洒脱的笔情，行距错落却章法自洽，尽显明代文人的林下之风。\n\n枯墨处筋骨暗藏，润墨时腴润舒展，藏露兼济间既有帖学法度，又不失写意之趣。笔墨随着诗意流转，将诗书合一的雅致尽数展露，随性书写里带着松弛安然的文人意绪，尽显旧时光里清雅的文人心境。",[92,24,25,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bc4a9170cc24554e3f00fdb26c6a263.jpg",[96],{"id":40721,"slug":40722,"title":40723,"dynasty":18,"author":40724,"museum":107,"description":40725,"tags":40726,"thumbUrl":40729,"material":751,"size":752,"collection":95,"collections":40730,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241520,"fa-qi-jue-shi-zhou-xu-ang-241520","发七绝诗轴","徐昂","此作用笔温润秀雅，取法元人行书笔意，线条舒展灵动，牵丝映带自然圆融。结体匀称端庄，章法错落有致，字势随诗文意境缓缓铺陈。\n\n诗里溪潭夜色、泛舟沉醉的闲趣，融于笔墨虚实之间。笔锋轻重提转皆合韵律，将文人林下萧散闲适的意趣尽显无余，笔墨间流转着清雅书卷气，是颇具韵致的行书佳作，尽显传统文人书法的审美意涵。",[25,7,75,60,77,40727,132,6635,134,40728,6297],"花潭","覆水船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e898aa97b0f30422041baa11dd5210.jpg",[],{"id":40732,"slug":40733,"title":40734,"dynasty":18,"author":40735,"museum":107,"description":40736,"tags":40737,"thumbUrl":40738,"material":751,"size":752,"collection":95,"collections":40739,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241519,"xian-ting-shi-yi-shou-zhou-mian-qin-241519","闲庭诗一首轴","绵懃","爱新觉罗·绵勤（1768—1820），乾隆帝之孙，成亲王永瑆(乾隆帝第十一子)长子，母嫡福晋富察氏，绵懿长兄，曾被封为郡王，死后追封成郡王。",[7,1613,77,75,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60b09a0213fbfb6187bf86148fc0716.jpg",[],{"id":40741,"slug":40742,"title":40743,"dynasty":18,"author":40744,"museum":107,"description":40745,"tags":40746,"thumbUrl":40747,"material":751,"size":752,"collection":95,"collections":40748,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241513,"ji-bai-shou-mei-hua-shi-tie-ce-liang-wei-jia-241513","集百首梅花诗帖册","梁维佳","此作用笔温润秀雅，行书舒展灵动，兼具小楷的端稳意韵。排布疏朗匀停，墨色浓淡合宜，点画流转间尽显文人笔墨的清雅意趣。\n\n册页录咏梅诗句，笔墨与诗意相融相生，将寒梅孤高清隽的品格藏于笔端。书“彻骨清寒”时笔力沉凝，暗合梅花凌寒之姿；写花清句时笔锋秀逸，尽显梅之灵秀风神。以笔为引，寄情于字，让观者于点撇捺挑间，窥见藏在笔墨深处的爱梅之心，书卷气盎然扑面，尽显文人的清雅襟怀。",[24,25,26,60,50,131,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e617c6775e414ac6a8238abe6681096.jpg",[],{"id":40750,"slug":40751,"title":17213,"dynasty":18,"author":40752,"museum":107,"description":40753,"tags":40754,"thumbUrl":40756,"material":751,"size":752,"collection":95,"collections":40757,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241507,"qi-yan-shi-zhou-zhao-shi-jun-241507","赵世骏","赵世骏（?—1927年），字声伯，号山木，江西南丰人，久居在北京，为陈宝琛弟子 ，与清书法家鲁琪光齐名。",[75,7,199,26503,19651,25169,298,137,9444,1679,40755,30],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09f8f680eb871171c2c2cc15cac62ff.jpg",[],{"id":40759,"slug":40760,"title":24648,"dynasty":18,"author":40761,"museum":107,"description":40762,"tags":40763,"thumbUrl":40764,"material":312,"size":95,"collection":96,"collections":40765,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},241501,"qi-lv-shi-zhou-shi-yi-zhi-241501","史贻直","史贻直（1682-1763年），字儆弦，号铁崖，江苏溧阳县人。清朝大臣。\n康熙三十九年（1699年），中进士，授检讨。历充云南主考、广东督学、赞善、侍讲、太子庶子、讲读学士。雍正元年（1723年），任内阁学士。次年，升吏部侍郎。后来署理闽浙总督，升左都御史，协理西安巡抚，又升户部、兵部尚书。 乾隆初年，历任湖广、直隶总督。乾隆九年（1744年），授文渊阁大学士兼吏部尚书。乾隆二十五年（1755年），他为次子史奕昂担任甘肃布政司写信给巡抚鄂昌，被告发而削职。乾隆二十七年（1757年），入朝拜相。乾隆二十八年（1758年），去世，追赠太保，谥号“文靖”，入祀贤良祠。",[25,75,60,7,134,132,574,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d2bc0f7f5852f8e8fb0b22c26bbddd.jpg",[96],{"id":40767,"slug":40768,"title":40769,"dynasty":18,"author":40770,"museum":107,"description":40771,"tags":40772,"thumbUrl":40773,"material":751,"size":752,"collection":95,"collections":40774,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},241495,"jie-lu-ban-gu-dong-dou-fu-wan-shan-zheng-wen-zhu-241495","节录班固东都赋纨扇","郑文洙","此作为纨扇小楷，暗纹装裱衬底晕开岁月泛黄的肌理，古意盎然。笔致端秀匀停，点画温润内敛，通篇排布疏朗合宜，字字恪守矩矱却不失灵动意趣，墨色沉凝饱满，将经赋文字在尺幅团扇间铺陈得从容雅致。\n书者以翰墨载文，尽显扎实功底与沉静的文人书卷气，将旧时雅赏清玩的意趣融于尺素之间，晕开的纸色为这件小品更添古拙沉静的韵味，是兼具笔墨审美与文心雅意的佳构。",[1250,7,60,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b495a479813aac149a4335d48de3621.jpg",[],{"id":40776,"slug":40777,"title":17213,"dynasty":45,"author":40778,"museum":126,"description":40779,"tags":40780,"thumbUrl":40781,"material":312,"size":95,"collection":96,"collections":40782,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},241487,"qi-yan-shi-zhou-song-guang-241487","宋广","释文：\n心期仙使意无穷，彩画云车起寿宫。闻有三山未知处，茂陵松柏满西风。昌裔为仲纪书。\n钤“宋广印”、“宋昌裔”印。左侧裱边有前清遗老宝熙题跋一则。\n宋广此作运笔流畅自然，刚柔相济，虽是草书疾行，结字亦端正严谨，开合有度，诚如宝熙跋中所言有晋唐风骨。",[7,398,75,77,6769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c76a2664de5319766ebaf1ec2ebcc6.jpg",[96],{"id":40784,"slug":40785,"title":40786,"dynasty":18,"author":40787,"museum":107,"description":40788,"tags":40789,"thumbUrl":40790,"material":751,"size":752,"collection":96,"collections":40791,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241473,"bai-ling-shi-han-ce-zhang-bai-ling-241473","百龄诗翰册","张百龄","张百龄，清朝大臣。出为湖南按察使，调浙江，历贵州、云南布政使。",[25,26,60,7,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F432e640a215bbb1bf7fa1a27c89ee9e6.jpg",[96],{"id":40793,"slug":40794,"title":40795,"dynasty":18,"author":40796,"museum":107,"description":40797,"tags":40798,"thumbUrl":40799,"material":751,"size":752,"collection":95,"collections":40800,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":789},241472,"wu-jia-xing-kai-za-shu-juan-zhang-ying-241472","五家行楷杂书卷","张英","张英（1638年~1708年），字敦复，又字梦敦，号学圃，又号圃翁，安徽桐城人。清朝大臣，名相张廷玉之父。张秉彝第五子。\n康熙六年（1667年）进士，选庶吉士。翰林院编修，充日讲起居注官，累迁侍读学士。康熙十六年（1677年）设南书房，奉命入值，并得赐房第于西安门内。深得康熙器重。每逢康熙出行，张英必从。一时制诰多出其手。后历任翰林院学士，兼礼部侍郎、兵部待郎，调礼部兼管詹事府，充经筵讲官。康熙二十八年（1689年），任工部尚书、兼翰林院掌院学士，此后历任礼部尚书，国史馆总裁官。康熙三十八年（1699年），拜文华殿大学士，兼礼部尚书。张英性情温和，不图虚名。任讲筵官时，民生利病，四方水旱，知无不言。康熙帝曾称赞道：“张英始终敬慎，有古大臣风。”",[23,7,49,60,199,3135,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec3f1718dd5edeb5bbe50c9bac7f687.jpg",[],{"id":40802,"slug":40803,"title":40804,"dynasty":18,"author":40805,"museum":107,"description":40806,"tags":40807,"thumbUrl":40808,"material":751,"size":752,"collection":95,"collections":40809,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241471,"han-zhuan-yan-ge-juan-duan-mu-guo-hu-241471","汉砖研歌卷","端木国瑚","端木国瑚（1773年4月1日——1837年10月19日），字子彝、鹤田、井伯，晚号太鹤山人，浙江省青田县城太鹤山麓人。清代学者。\n7岁开始学《易经》。清嘉庆元年（1796），浙江学政阮元见国瑚的《画虎赋》，大加赞赏。邀赴杭州，就读于敷文书院。所作《定香亭赋》，清思古藻，似齐梁人手笔，一时艺林相与传诵，阮元赞不绝口，以诗相赠：“谁是齐梁作赋才，定香亭上碧莲开，括苍酒监秦淮海，招得青田白鹤来。”由此，国瑚被誉为“青田一鹤”。\n嘉庆三年，中举人。十三年，赴京会试不第，授为知县。国瑚潜心学业，呈请改任教职。道光十年（1830）宣宗皇帝改卜寿陵，国瑚以通堪舆之术，受宗室大臣举荐被召赴京，选定陵址后，任为县令，又奏请任教官。道光十三年，考取进士，仍以知县任用，再呈请注销，改任内阁中书，先后三辞县令。\n国瑚博通经史及阴阳术数，精研《易经》。道光七年，以治经闻名的龚自珍在京与国瑚论《易经》，国瑚阐述“乾初九不易世”一节，自珍叹为闻所未闻。道光十七年，朝鲜使臣慕名求见国瑚，说：“君所为《定香亭赋》，东国人皆传诵。”又请讲解《易经》，求取诗文经注手迹，欣然而去。同年三月，国瑚告老返乡，迁居瑞安。八月赴处州，游遂昌。九月感嗽疾，病故。著有《太鹤山人诗集》13卷、《太鹤山人文集》4卷、《周易指》45卷、《周易葬说》1卷、《地理元文注》4册。",[25,49,7,60,50,77,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa83d48aef5fb66a8324f10a1dd1b201.jpg",[],{"id":40811,"slug":40812,"title":40813,"dynasty":18,"author":2473,"museum":107,"description":40813,"tags":40814,"thumbUrl":40815,"material":751,"size":752,"collection":95,"collections":40816,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241448,"tao-yuan-ming-shi-ce-he-chao-241448","陶渊明诗册",[7,25,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f31537e22ca2855a241bfa11ce09880.jpg",[],{"id":40818,"slug":40819,"title":40820,"dynasty":18,"author":40821,"museum":107,"description":40822,"tags":40823,"thumbUrl":40824,"material":751,"size":752,"collection":95,"collections":40825,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241430,"xu-yuan-wen-shou-zha-juan-xu-qian-xue-241430","徐元文手札卷","徐乾学","康熙九年（1670）进士。同年任《明史》编辑部主任，同年任内阁学士，后任武士礼部、佐藤御史、尚书尚书。但因党争被反对党弹劾，同年回国。除了参与《明史》、《大成改天》、《大成一成》的编纂外，他还着有《圣园书》（第36卷）和《读命通书》（第120卷）等书籍。",[23,25,7,49,60,50,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f38e9d42a63d56ccc26f50c2b8e125.jpg",[],{"id":40827,"slug":40828,"title":40829,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":40830,"thumbUrl":40831,"material":751,"size":752,"collection":95,"collections":40832,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241428,"zhi-shou-shan-zha-juan-yi-bing-shou-241428","致手山札卷",[23,18,7,49,457,60,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cec330bef7a75d234429e4d9d9492.jpg",[],{"id":40834,"slug":40835,"title":40836,"dynasty":18,"author":40837,"museum":107,"description":40838,"tags":40839,"thumbUrl":40840,"material":751,"size":752,"collection":95,"collections":40841,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241427,"wu-jia-zhi-fa-shi-shan-zha-juan-wang-yu-241427","五家致法式善札卷","王豫","王豫(1768—1826)，活动于清代嘉庆、道光年间，字应和，号柳村，又号翠洲农、小辋川主人，镇江人，后移籍江都。丹徒附监生，工于诗，诗风清淡，集名《种竹轩诗钞》。",[23,7,49,60,398,77,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44192270370e7451643c28b97e9e96c.jpg",[],{"id":40843,"slug":40844,"title":33199,"dynasty":18,"author":38057,"museum":107,"description":38058,"tags":40845,"thumbUrl":40852,"material":751,"size":752,"collection":95,"collections":40853,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241405,"zhuan-shu-lu-yu-heng-qian-dian-241405",[7,457,16689,40846,4642,40847,40848,40849,40850,40851],"铁线篆风格","线条匀净","篆体书写","笔法圆劲","细劲流畅","篆法严谨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff704b564f862b568e424befb95be84bd.jpg",[],{"id":40855,"slug":40856,"title":18391,"dynasty":18,"author":40857,"museum":107,"description":40858,"tags":40859,"thumbUrl":40861,"material":312,"size":95,"collection":96,"collections":40862,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241395,"qi-jue-zhou-tu-zhuo-241395","屠倬","屠倬（1781—1828），清代官吏、诗人、篆刻家。字孟昭，号琴邬，晚号潜园老人，浙江诸暨紫岩乡六十都（今诸暨市店口镇琴隖村）人，寄居钱塘。 一作钱塘（今浙江杭州）人。嘉庆十三年进士。知江苏仪征县，在任五年，除盐枭，清疑案，劝民纺织。道光初擢九江知府，以疾辞。工诗古文，诗与郭麔齐名。有《是程堂诗文集》。",[7,60,75,9679,6139,2392,5090,2763,40860,679,77],"钟鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028578950f49074aacd012260e132db8.jpg",[96],{"id":40864,"slug":40865,"title":40866,"dynasty":18,"author":40867,"museum":107,"description":40868,"tags":40869,"thumbUrl":40871,"material":751,"size":752,"collection":95,"collections":40872,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},241382,"yong-li-zhi-deng-shi-zhou-cao-xue-quan-241382","咏荔枝灯诗轴","曹学佺","曹学佺（1574－1646），字能始，一字尊生，号雁泽，又号石仓居士、西峰居士，福建福州府侯官县洪塘乡人，明代官员、学者、诗人、藏书家，万历二十三年（1595）进士。清兵入闽，自缢殉节。\n曹学佺藏书万卷，著书千卷。毕生好学，对文学、诗词、地理、天文、禅理、音律、诸子百家等都有研究，尤其工于诗词。精通音律，擅长度曲，曾谱写闽剧的主要腔调逗腔，被认为是闽剧始祖之一。名联：“仗义每多屠狗辈，负心多是读书人”就出自曹学佺之手。",[7,75,60,77,40870],"荔枝灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7907b0bf4df3cdeea3bba75a887b49da.jpg",[],{"id":40874,"slug":40875,"title":18391,"dynasty":18,"author":40876,"museum":40877,"description":40878,"tags":40879,"thumbUrl":40880,"material":312,"size":40881,"collection":96,"collections":40882,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},241377,"qi-jue-zhou-xu-ri-xi-241377","徐日曦","四川省博物馆","此作用笔雄健开张，取法黄山谷笔意，结体欹侧舒展，尽显潇洒意趣。书写咏梨诗句，笔墨苍劲老辣，线条跌宕起伏，提按顿挫间带着疏朗的文人气韵。三列排布错落有致，虚实相生，落款小字灵动呼应正文，朱红印信点缀其间，古雅沉静。整体将梨花诗意的清雅和行书的舒展相融，笔势舒展大气，墨色浓淡自然，既有黄山谷的奇崛舒展，又自出机杼，把咏梨的清雅意涵通过笔墨铺陈开来，尽显文人风雅之态。",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d7abdfe1922b66d5ebcfd63e039bfe.jpg","纵133.6厘米横33.7厘米",[96],{"id":40884,"slug":40885,"title":40886,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":40887,"thumbUrl":40888,"material":751,"size":752,"collection":95,"collections":40889,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241361,"xi-hu-fan-zhou-shi-zhou-dong-qi-chang-241361","西湖泛舟诗轴",[45,7,60,75,77,54,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e6194a0c314d17c8a4f2473299d8bb.jpg",[],{"id":40891,"slug":40892,"title":40893,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":40894,"thumbUrl":40895,"material":751,"size":752,"collection":95,"collections":40896,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241354,"cha-shi-biao-qi-jue-shi-zhou-cha-shi-biao-241354","查士标七绝诗轴",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e08f16123919b0f558d6e750ef3a652.jpg",[],{"id":40898,"slug":40899,"title":24648,"dynasty":45,"author":40900,"museum":107,"description":40901,"tags":40902,"thumbUrl":40903,"material":751,"size":752,"collection":95,"collections":40904,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},241349,"qi-lv-shi-zhou-wang-zhi-deng-241349","王穉登","王穉登（1535年－1614年），字百谷、百榖、伯榖，号半偈长者、青羊君、廣長庵主等，直隸长洲（今江蘇蘇州）人，晚明文人。",[7,75,60,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe02e7d82f4fd9bc075dd4a549dece02c.jpg",[],{"id":40906,"slug":40907,"title":40908,"dynasty":18,"author":40909,"museum":107,"description":37734,"tags":40910,"thumbUrl":40911,"material":751,"size":752,"collection":95,"collections":40912,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241344,"lin-you-jun-cu-shu-tie-zhou-cheng-en-ze-241344","临右军徂署帖轴","程恩泽",[7,75,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0694b703a510cf03ccafb2e439af68.jpg",[],{"id":40914,"slug":40915,"title":40916,"dynasty":45,"author":40917,"museum":107,"description":40918,"tags":40919,"thumbUrl":40920,"material":751,"size":752,"collection":95,"collections":40921,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241297,"lu-wen-juan-fan-feng-ren-241297","录文卷","范风仁","号梅隐，浙江嘉兴人，寄居笠泽。工画梅，自号梅影，其篆刻尤精古。",[7,398,49,50,77,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed408b9201bb1bd084d726ea5943064.jpg",[],{"id":40923,"slug":40924,"title":40925,"dynasty":18,"author":40926,"museum":107,"description":40927,"tags":40928,"thumbUrl":40929,"material":751,"size":752,"collection":95,"collections":40930,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241256,"lin-shu-pu-zhou-yan-fu-241256","临书谱轴","严复","严复（1854年1月8日—1921年10月27日），男，原名宗光，字又陵，后改名复，字几道，汉族，福建侯官县人，近代极具影响力的资产阶级启蒙思想家，著名的翻译家、教育家 ，新法家代表人物。\n先后毕业于福建船政学堂和英国皇家海军学院，曾担任过京师大学堂译局总办、上海复旦公学校长、安庆高等师范学堂校长，清朝学部名辞馆总编辑。在李鸿章创办的北洋水师学堂任教期间，培养了中国近代第一批海军人才，并翻译了《天演论》、创办了《国闻报》，系统地介绍西方民主和科学，宣传维新变法思想，将西方的社会学、政治学、政治经济学、哲学和自然科学介绍到中国。出版有《严复全集》。",[75,60,110,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca719fc6b14033f02b89939b57da484.jpg",[],{"id":40932,"slug":40933,"title":24534,"dynasty":18,"author":40934,"museum":107,"description":40935,"tags":40936,"thumbUrl":40937,"material":751,"size":752,"collection":95,"collections":40938,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241235,"lu-wen-zhou-huang-shu-lin-241235","黄叔琳","黄叔琳（1672—1756），幼名伟元，字昆圃，又字宏献，号金墩、北砚斋，晚号守魁。清朝大臣，学者。康熙辛未科（康熙三十年，1691年）探花，历经康熙、雍正、乾隆三朝。",[24,25,75,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223305a8fd91181614a047ac8b5dc934.jpg",[],{"id":40940,"slug":40941,"title":40942,"dynasty":45,"author":40943,"museum":107,"description":40944,"tags":40945,"thumbUrl":40946,"material":312,"size":95,"collection":96,"collections":40947,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241232,"shan-zhong-shi-er-yong-juan-jiang-ming-feng-241232","山中十二咏卷","蒋明凤","蒋明凤（？～1644后）",[7,60,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1848d09a0cfe62e928d5723536608224.jpg",[96],{"id":40949,"slug":40950,"title":40951,"dynasty":45,"author":40952,"museum":107,"description":40953,"tags":40954,"thumbUrl":40955,"material":312,"size":95,"collection":96,"collections":40956,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241216,"xing-qi-jue-shi-zhou-wei-xue-cheng-241216","行七绝诗轴","魏学诚","此作笔墨圆融温润，点画暗含法度却不露圭角，带着明人行书独有的舒散意趣。行笔舒展灵动，将妍雅与朴拙揉合一处，笔势随诗意流转起伏。\n\n诗句疏放悠然，布局也随文气自然铺陈，字距错落松弛，章法疏朗透气。笔墨浓淡枯湿富于变化，后半段枯笔运用恰到好处，把诗里不问世事、呼酒尽欢的林下心境，尽数诉诸笔端。\n\n落款小字与正文协调呼应，朱红钤印沉稳内敛，和墨色相映成趣。整幅诗书相生，尽显文人风雅萧散的襟怀，是典型的明代文人行书佳构。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4aa45982d7f214fd11b3c8ebdf58e60.jpg",[96],{"id":40958,"slug":40959,"title":40960,"dynasty":45,"author":40961,"museum":107,"description":40962,"tags":40963,"thumbUrl":40964,"material":312,"size":95,"collection":96,"collections":40965,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241183,"shou-cheng-jia-shu-zha-juan-hou-dong-ceng-241183","守城家书札卷","侯峒曾","侯峒曾（1591年10月1日—1645年8月24日），字豫瞻，号广成，南直隶松江府上海县（今上海市闵行区）人，祖籍苏州府嘉定县（今上海市嘉定区）， [1] 雅好诗文，能书法。\n万历四十六年（1618年）经元 ，天启五年（公元1625年）进士，授南京武选主事。为政有声，刚正不阿。与徐石麒、陈洪谧称“南都三清”，官至顺天府丞，未赴而京师亡。弘光元年闰六月十七日（公元1645年8月8日），剃发令下，嘉定民众起义抗清，其与黄淳耀被推为首领。坚守十余日，至七月四日（8月24日）城破，与二子投叶池殉国。\n南明绍宗赠兵部尚书，谥“文忠”。明监国鲁王赠左都御史，谥“忠烈”。清高宗乾隆四十一年（1776年）赐谥“忠节”。",[23,7,60,49,50,77,25,2282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0b1a3cdc6065bcec6eb4e5c9e1a0d.jpg",[96],{"id":40967,"slug":40968,"title":39458,"dynasty":18,"author":40969,"museum":107,"description":40970,"tags":40971,"thumbUrl":40972,"material":751,"size":752,"collection":95,"collections":40973,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241167,"gui-qu-lai-ci-zhou-bao-gui-xing-241167","鲍桂星","鲍桂星（1764—1824）字双五，一字觉生。安徽歙县人，清朝官吏。嘉庆四年进士。历官工部侍郎、翰林学士，因事革职，官终詹事。鲍桂星师从姚鼐，诗古文并有法。",[18,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3532719e0f0683834b7df71aca48ae20.jpg",[],{"id":40975,"slug":40976,"title":17924,"dynasty":18,"author":12414,"museum":107,"description":12415,"tags":40977,"thumbUrl":40978,"material":751,"size":752,"collection":95,"collections":40979,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241165,"shi-zhou-ai-xin-jue-luo-xuan-ye-241165",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adcf43c7c18e2cc7ae141d575e0c22f.jpg",[],{"id":40981,"slug":40982,"title":17924,"dynasty":18,"author":40983,"museum":107,"description":40984,"tags":40985,"thumbUrl":40986,"material":751,"size":752,"collection":95,"collections":40987,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241161,"shi-zhou-wang-yuan-241161","王原","王原，上海青浦人，初名深，字仲深，一字令诒。清朝康熙27年进士出身。",[25,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273df7a47df5a3f3df6bb6a58450fbf6.jpg",[],{"id":40989,"slug":40990,"title":40991,"dynasty":18,"author":9119,"museum":107,"description":31074,"tags":40992,"thumbUrl":40993,"material":751,"size":752,"collection":95,"collections":40994,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241158,"zai-hua-shi-zhou-ruan-yuan-241158","栽花诗轴",[25,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0834243743ac3f46afc8ed4cb817c96.jpg",[],{"id":40996,"slug":40997,"title":40998,"dynasty":18,"author":40999,"museum":107,"description":41000,"tags":41001,"thumbUrl":41002,"material":751,"size":752,"collection":95,"collections":41003,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241142,"xing-shu-shi-zha-ding-jing-241142","行书诗札","丁敬","丁敬（1695—1765），字敬身，号钝丁、砚林，别号龙泓山人、孤云、石叟、梅农、清梦生、玩茶翁、玩茶叟、砚林外史、胜怠老人、孤云石叟、独游杖者等，浙江杭州府钱塘县人。清代书画家、篆刻家。\n乾隆初年举鸿博不就，卖酒街市。嗜好金石文字，工诗善画，所画梅笔意苍秀。尤精篆刻，擅长切刀法，为“浙派篆刻”开山鼻祖，“西泠八家”之首。有《武林金石记》《砚林诗集》《砚林印存》《寿寿初稽》等。\n丁敬的亲家公为清代大文豪厉鹗。",[7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F764fd00e4bce7725da5f964c6870f444.jpg",[],{"id":41005,"slug":41006,"title":41007,"dynasty":45,"author":41008,"museum":107,"description":41009,"tags":41010,"thumbUrl":41011,"material":751,"size":752,"collection":95,"collections":41012,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241100,"xing-shu-shi-juan-zhu-yue-fan-241100","行书诗卷","朱曰藩","朱曰藩，字子价，号射陂，宝应人（今江苏省宝应县），朱应登之子。生卒年不详，约明世宗嘉靖三十年前后在世。",[7,60,49,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e81c908fa6a504896e23f962018d349.jpg",[],{"id":41014,"slug":41015,"title":41016,"dynasty":18,"author":41017,"museum":107,"description":41018,"tags":41019,"thumbUrl":41020,"material":751,"size":752,"collection":95,"collections":41021,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241093,"zeng-wang-shi-zhen-ren-yang-zhou-shi-zhou-wang-wan-241093","赠王士禛任扬州诗轴","汪琬","汪琬（1624年～1691年），字苕文，号钝庵，初号玉遮山樵，晚号尧峰，小字液仙。长洲（今江苏省苏州市）人，清初官吏、学者、散文家，与侯方域、魏禧，合称明末清初散文“三大家”。顺治十二年（1655年）进士，康熙十八年（1679年）举鸿博，历官编修、户部主事、刑部郎中，有《尧峰诗文钞》《钝翁前后类稿、续稿》。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1f47b0a528e23c2a88c23e6daba79ff.jpg",[],{"id":41023,"slug":41024,"title":41025,"dynasty":18,"author":34836,"museum":40877,"description":41026,"tags":41027,"thumbUrl":41028,"material":1038,"size":41029,"collection":96,"collections":41030,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241090,"wu-yan-shi-zhou-jiang-chen-ying-241090","五言诗轴","姜宸英（1628－1699年），明末清初书法家、史学家，与 字西溟，号湛园，又号苇间，浙江 明末诸生，康熙十九年以布衣荐入明史馆任纂修官，分撰刑法志，记述明三百年间诏狱、廷杖、立枷、东西厂卫之害。又从 在京因得罪大学士 康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。着有《湛园集》《苇间集》《海防总论》。",[60,7,77,3040,845,10398,266,2175,446,651,652,3388,1390,360,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213bd352cd92152c238af991318ac0c9.jpg","64.5×32.1cm",[96],{"id":41032,"slug":41033,"title":17924,"dynasty":18,"author":41034,"museum":20,"description":41035,"tags":41036,"thumbUrl":41037,"material":41038,"size":41039,"collection":96,"collections":41040,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241084,"shi-zhou-shi-run-zhang-241084","施闰章","施闰章（1619年—1683年），字尚白，一字屺云，号愚山，媲萝居士、蠖斋，晚号矩斋，后人称施侍读、施佛子。江南宣城（今安徽省宣城市宣州区）人。 清初政治家、文学家。\n施闰章于清顺治六年（1649年）进士及第，授刑部主事。顺治十三年（1656年）出任山东学政。顺治十八年（1661年），出任江西布政司参议，后裁缺归田。康熙十八年（1679年），应召博学鸿词科，御试授翰林侍讲，修《明史》。康熙二十二年（1683年），升转翰林院侍读，充太宗圣训纂修官。同年病逝于京斋，享年六十六岁。\n施闰章博览经史，工诗词古文学。 其文意朴而气静。 其诗以辞清句丽见长， 号“宣城体”，与高咏主持东南诗坛数十年。并与宋琬齐名，有“南施北宋”之誉。 [5] 著有《双溪诗文集》《愚山诗文集》等十余种。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e3059086a576c9927d6b7a21f5ab5f.jpg","纸本草书","180.1×43cm",[96],{"id":41042,"slug":41043,"title":41044,"dynasty":2365,"author":454,"museum":107,"description":41045,"tags":41046,"thumbUrl":41047,"material":751,"size":752,"collection":95,"collections":41048,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},241070,"jing-guang-xie-da-cheng-dao-yu-jing-juan-yi-ming-241070","浄光写大乘稻芋经卷","此卷写经以小字行书抄录，笔意简率灵动，全无刻板写经的拘谨沉滞。起收锋利落洒脱，点画间顾盼呼应，带着随性自如的文人笔致。\n\n通篇排布茂密却不失舒朗，墨色有自然的浓淡枯润变化，将抄经的虔诚融于笔墨线条之中，既有宗教写本的肃穆沉静，又带着五代民间书写的率意朴拙，在日复一日的笔耕里，尽显朴素古雅的书卷气质，是兼具书法审美与宗教文化意涵的佳制。",[25,49,878,386,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b2983f4ec22a1290c542e6aedc7cf4.jpg",[],{"id":41050,"slug":41051,"title":41052,"dynasty":45,"author":36080,"museum":107,"description":36081,"tags":41053,"thumbUrl":41054,"material":751,"size":752,"collection":95,"collections":41055,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241062,"qi-lv-shou-shi-zhou-zhang-chong-241062","七律寿诗轴",[7,75,398,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266dd694309cdde52594a35b0ab24cf8.jpg",[],{"id":41057,"slug":41058,"title":26787,"dynasty":45,"author":41059,"museum":107,"description":41060,"tags":41061,"thumbUrl":41062,"material":312,"size":41063,"collection":96,"collections":41064,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241055,"qi-jue-shi-zhou-kuang-lu-241055","邝露","邝露（1604-1650）字湛若，号海雪，南海大沥人。明末广东著名诗人；出生于书香世家，少年好学，五岁能诗，以才能卓异闻名于乡里。青年时曾在罗浮山明福洞苦读，邝露工于诗词，精于骈文；又是篆、隶、行、草、楷各体兼擅的有成就的书法家，其草书字迹劲秀，师法王羲之而自成一格。还通晓兵法、骑马、击剑、射箭，又是古文物鉴赏家和收藏家，还擅长古琴，是一位品格极高的琴人。其收藏的唐琴“绿绮台”为岭南“四大名琴”之一，在琴界有极高声誉。他负才不羁，行歌市上，旁若无人，对传统礼法傲然不屑，多次应试也因“违制”而落第。南明唐王时任中书舍人，永历帝时出使广州，顺治七年清兵攻广州，邝露与诸将戮力死守，凡十余月，城陷，不食，抱琴而死，从容殉国，年仅47岁。\n邝露气质浪漫，最能表现其个性的当为草书。其草法奔放，酣畅自然，略近祝枝山，而上追黄庭坚，既任情恣肆而又矩度精严，能放能收，深得书法之要。邝露书法能有很高的成就，源于他多方面的文艺修养。",[7,398,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ea342f7ae92c8d83957ed6529d8e3b.jpg","93×36cm",[96],{"id":41066,"slug":41067,"title":41068,"dynasty":18,"author":25666,"museum":107,"description":25668,"tags":41069,"thumbUrl":41070,"material":751,"size":752,"collection":95,"collections":41071,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241041,"cao-xiu-xian-lu-wen-zhou-cao-xiu-xian-241041","曹秀先录文轴",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34ce96f9e558bf9951b359336f6ef4a.jpg",[],{"id":41073,"slug":41074,"title":41075,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":41076,"thumbUrl":41077,"material":751,"size":752,"collection":95,"collections":41078,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241040,"shu-qiu-xing-shi-juan-fu-shan-241040","书秋兴诗卷",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2bc6a8f97007e36f411118f0f5fe66.jpg",[],{"id":41080,"slug":41081,"title":12961,"dynasty":18,"author":41082,"museum":107,"description":41083,"tags":41084,"thumbUrl":41086,"material":751,"size":752,"collection":95,"collections":41087,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241038,"qi-lv-zhou-fa-ruo-zhen-241038","法若真","法若真（1613－1691）字汉儒，号黄山、黄石，祖籍济南，先祖于明朝景泰年间任职胶州，法氏后人遂定居胶州城里，以为故里。 法若真父亲法寰学识渊博，尤爱好研究经史，对《四书》、《春秋》颇有见解，著作很多，声名一时，他辞官职返乡，在城南怡云岭设学馆，以授徒讲学为业，在胶州造就了大批有用之才。",[7,75,60,50,77,679,446,282,20103,26860,41085],"馬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf3b01a8998f7e9c0096c9510231ca6.jpg",[],{"id":41089,"slug":41090,"title":41091,"dynasty":45,"author":14822,"museum":107,"description":28023,"tags":41092,"thumbUrl":41093,"material":751,"size":752,"collection":95,"collections":41094,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241007,"liu-jia-shou-zha-juan-huang-dao-zhou-241007","六家手札卷",[23,25,49,7,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adb9242b3992f887867bc05df2b1e81.jpg",[],{"id":41096,"slug":41097,"title":41098,"dynasty":45,"author":14822,"museum":107,"description":28023,"tags":41099,"thumbUrl":41100,"material":751,"size":752,"collection":95,"collections":41101,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},241002,"qi-jia-shou-zha-juan-huang-dao-zhou-241002","七家手札卷",[23,25,49,7,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d3076cf63fb55b00bce98b4643e16.jpg",[],{"id":41103,"slug":41104,"title":41105,"dynasty":45,"author":454,"museum":107,"description":41106,"tags":41107,"thumbUrl":41108,"material":312,"size":95,"collection":96,"collections":41109,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240995,"jin-sheng-zha-juan-yi-ming-240995","金声札卷","此札行书隽秀清逸，笔墨简淡萧散，章法疏朗从容。行笔牵丝映带轻盈婉转，笔画粗细合宜，尽显文人书写的随性雅致，不见雕琢之态。\n\n信中叙旧访游，寄寓知己阔别惦念，日常琐语化为纸上温情，裹挟着晚明文人的林下风流。左侧题跋与手札呼应，双璧相映，兼具文献与书法双重价值，尺牍之间藏着晚明交游的文人情愫，尽显一代士人的心迹风神。",[23,4038,7,49,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da70fc7fb515fa67593fee5648a64c9.jpg",[96],{"id":41111,"slug":41112,"title":41113,"dynasty":8749,"author":33274,"museum":107,"description":41114,"tags":41115,"thumbUrl":41116,"material":751,"size":752,"collection":95,"collections":41117,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240993,"zhi-er-xue-xing-zha-juan-song-ling-shen-240993","致儿学行札卷","此作为文人手札长卷，以率意行书铺陈，笔墨朴拙灵动。行笔迅疾却不失法度，字形欹侧错落，墨色枯湿浓淡富于变化。密密麻麻的小字排布紧凑却不显拥塞，带着家信独有的松弛与真切。褪去了刻意的书家姿态，将日常的牵念、叮咛尽数凝于毫端，把私人化的家常絮语与文人底蕴相融，藏着鲜活的日常心绪，质朴间尽显温度，是极具烟火气的文人尺牍典范。",[23,7,49,60,398,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39d6f85c93badcb1ef99db9c578f362.jpg",[],{"id":41119,"slug":41120,"title":37766,"dynasty":45,"author":26229,"museum":107,"description":37867,"tags":41121,"thumbUrl":41122,"material":751,"size":752,"collection":95,"collections":41123,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240992,"shou-zha-juan-chen-xian-zhang-240992",[23,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969c38c4929eecb724807e00b0501e04.jpg",[],{"id":41125,"slug":41126,"title":41127,"dynasty":18,"author":41128,"museum":107,"description":41129,"tags":41130,"thumbUrl":41131,"material":751,"size":752,"collection":95,"collections":41132,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240921,"xie-jiu-xi-tou-xing-gu-yu-zhi-wu-gu-zhou-zhao-zhi-xin-240921","携酒溪头兴谷雨至五古轴","赵执信","赵执信[shēn]（1662年～1744年）清代诗人、诗论家、书法家。字伸符，号秋谷，晚号饴山老人、知如老人。山东省淄博市博山人。十四岁中秀才，十七岁中举人，十八岁中进士，后任右春坊右赞善兼翰林院检讨。\n二十八岁因佟皇后丧葬期间观看洪升所作《长生殿》戏剧，被劾革职。此后五十年间，终身不仕，徜徉林壑。赵执信为王士祯甥婿，然论诗与其异趣，强调“文意为主，言语为役”。所作诗文深沉峭拔，亦不乏反映民生疾苦的篇目。",[7,75,60,50,77,6635,3040,651,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20df3daf90b7f5e4100f06c947778008.jpg",[],{"id":41134,"slug":41135,"title":41136,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":41137,"thumbUrl":41138,"material":751,"size":752,"collection":95,"collections":41139,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240918,"du-shi-zhou-dong-qi-chang-240918","杜诗轴",[7,60,75,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9c37455ac8257e4bc43849ebc92d5.jpg",[],{"id":41141,"slug":41142,"title":23662,"dynasty":45,"author":14822,"museum":107,"description":28023,"tags":41143,"thumbUrl":41144,"material":751,"size":752,"collection":95,"collections":41145,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240914,"wu-lv-zhou-huang-dao-zhou-240914",[24,25,75,60,398,50,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c0e1a4bda0e37ee348d1b52fb23504.jpg",[],{"id":41147,"slug":41148,"title":26787,"dynasty":18,"author":29596,"museum":107,"description":37850,"tags":41149,"thumbUrl":41150,"material":751,"size":752,"collection":95,"collections":41151,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240901,"qi-jue-shi-zhou-zhang-wen-tao-240901",[7,75,60,77,2135,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3153d8d09ad078c188cf77d571400b.jpg",[],{"id":41153,"slug":41154,"title":41155,"dynasty":18,"author":21112,"museum":107,"description":25562,"tags":41156,"thumbUrl":41157,"material":751,"size":752,"collection":95,"collections":41158,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240896,"zhuan-shu-lin-shi-song-ding-ming-zhou-zhang-ting-ji-240896","篆书临史颂鼎铭轴",[457,110,75,7,1896,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa6a90d8d2c3b32a73f81d92e679a5f.jpg",[],{"id":41160,"slug":41161,"title":41162,"dynasty":18,"author":9119,"museum":107,"description":31074,"tags":41163,"thumbUrl":41166,"material":751,"size":752,"collection":95,"collections":41167,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":789},240879,"xia-chu-nan-qing-lang-tan-qi-gu-zhou-ruan-yuan-240879","下椘南清浪滩七古轴",[7,60,75,50,41164,360,651,589,844,6297,41165,24640],"滩","钟窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f57af5cb4f62c4eedadb4bc61a8116.jpg",[],{"id":41169,"slug":41170,"title":41171,"dynasty":45,"author":31460,"museum":107,"description":38049,"tags":41172,"thumbUrl":41173,"material":751,"size":752,"collection":95,"collections":41174,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240873,"shu-ge-ti-shi-juan-li-dong-yang-240873","书各体诗卷",[25,49,60,398,199,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6908f40230795ffcd4c7e8de37bbc5d1.jpg",[],{"id":41176,"slug":41177,"title":21168,"dynasty":18,"author":41178,"museum":107,"description":41179,"tags":41180,"thumbUrl":41181,"material":751,"size":752,"collection":95,"collections":41182,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240866,"zi-shu-shi-juan-zhu-ang-zhi-240866","朱昂之","朱昂之[清]（一七六四～一八四一年后），历代人物年表碑传综表作（一七五五～？），今从宋元明清书画家年表。字青立，又字津里，江苏武进人。侨居吴中（今江苏苏州）。",[23,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821d4c66fa28a8207c9ab2a396eb2f3b.jpg",[],{"id":41184,"slug":41185,"title":31298,"dynasty":45,"author":41186,"museum":126,"description":41187,"tags":41188,"thumbUrl":41192,"material":18425,"size":41193,"collection":96,"collections":41194,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240850,"shu-wu-lv-shi-zhou-liu-zheng-zong-240850","刘正宗","此轴书五言诗一首。点划方圆兼济，书风峻峭挺拔，与倪元璐、黄道周、王铎诸家书风一脉相传。\u2028 释文：\u2028 春日深且晏，和风吹翠林。暮云起层蔼，荣柯啭时禽。\n纷乘此尽遣，静阅参道心。物化归自然，寒暑无凌侵。\n逸我理可凭，一如节候临。偃仰对壶觞，夕籁发清音。\n近作似嵩石亲家词坛政。逋史刘正宗。\u2028 款署：“近作似嵩石亲家词坛政。逋史刘正宗。”钤“逋斋图书”朱文印、“刘正宗印”白文印。鉴藏印钤“百研室”朱文印。（撰稿人：华宁）",[7,60,75,77,19648,41189,1074,3038,41190,41191],"绿野","雨雪","山形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1f5f718fe15239984496365454a39d.jpg","纵199.6厘米，横48.4厘米",[96],{"id":41196,"slug":41197,"title":17924,"dynasty":45,"author":26974,"museum":107,"description":41198,"tags":41199,"thumbUrl":41200,"material":751,"size":752,"collection":95,"collections":41201,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240840,"shi-zhou-ruan-da-cheng-240840","阮大铖（1586年～1646年），字集之，号圆海、石巢、百子山樵。南直隶安庆府桐城县（今安徽省枞阳县）人。明万历四十四年（1616年）中进士。明朝末年大臣，戏曲作家。\n阮大铖以进士居官后，先依东林党，后依魏忠贤，崇祯朝以附逆罪去职。明亡后在福王朱由崧的南明朝廷中官至兵部尚书、右副都御史、东阁大学士，对东林、复社人员大加报复，南京城陷后降于清，后病死于随清军攻打仙霞关的石道上。\n所作传奇今存《春灯谜》《燕子笺》《双金榜》和《牟尼合》，合称“石巢四种”。",[45,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe8daf5efacefbdd16047619df8945e.jpg",[],{"id":41203,"slug":41204,"title":41205,"dynasty":18,"author":41206,"museum":107,"description":41207,"tags":41208,"thumbUrl":41209,"material":751,"size":752,"collection":95,"collections":41210,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240836,"jie-lu-yu-yang-xiu-zhi-shu-zhou-zhang-lun-ying-240836","节录与阳休之书轴","张纶英","张纶英生于清仁宗嘉庆三年，卒年不详。适孙劼。工书，为包世臣所称。\n性婉柔，体弱若不胜衣，而下笔则刚健沉毅。每晨起盥洗毕，即据案书数百字。及闭户就寝，亦必尽百字乃卧。尝中夜不寝，辄起作书。家人劝其少休，她曰：“吾一日不作书，若有所失，欲罢不能矣?比毡尽⒏呃鲋罟笔梗??浩涫橐怨椤5苊盟??优??韵蛑?苁榉āB谟⑹?谔铡⑿唬??小堵袒笔槲菔??罚??谑馈",[199,75,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefeb7504dee05b65276cf28841335581.jpg",[],{"id":41212,"slug":41213,"title":41214,"dynasty":18,"author":27492,"museum":107,"description":41215,"tags":41216,"thumbUrl":41217,"material":751,"size":752,"collection":95,"collections":41218,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240813,"zhang-feng-ci-zhou-zhang-feng-240813","张风词轴","张风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d0e062fc40711136ddf8443ad670c2.jpg",[],{"id":41220,"slug":41221,"title":41222,"dynasty":162,"author":454,"museum":107,"description":41223,"tags":41224,"thumbUrl":41225,"material":751,"size":752,"collection":95,"collections":41226,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240801,"wu-kuan-xie-da-ban-nie-pan-juan-shi-yi-jing-juan-yi-ming-240801","无款写大般涅槃卷十一经卷","此作尽显唐代写经书法的典型气韵，以小楷誊录，通篇排布匀停规整，笔墨沉凝温润。书写中暗随行气融入行书笔意，让规整的经生书摆脱刻板，带着灵动松弛的意趣。纸色古雅泛黄，墨色历久弥醇，字里行间既有写经之时的虔敬端严，又流露唐人书法的秀润风神，是民间写经的上乘佳构，尽显中古佛教传扬背景下，经生书法的成熟造诣，朴静典雅，沉静动人。",[23,1063,7,386,199,49,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fb8ef41f3300788638af9712671672.jpg",[],{"id":41228,"slug":41229,"title":29573,"dynasty":45,"author":41230,"museum":107,"description":41231,"tags":41232,"thumbUrl":41233,"material":312,"size":95,"collection":96,"collections":41234,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240708,"shu-shi-juan-chen-tai-lai-240708","陈泰来","陈泰来（1559年－1593年），字上交，一字伯符，浙江嘉兴府平湖县人，民籍，明朝政治人物、诗人",[23,25,7,49,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff321b54c20aba1c9ea47792f27eda823.jpg",[96],{"id":41236,"slug":41237,"title":22728,"dynasty":18,"author":41238,"museum":107,"description":41239,"tags":41240,"thumbUrl":41241,"material":312,"size":95,"collection":96,"collections":41242,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240707,"shi-juan-zhou-shao-xing-240707","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[23,7,49,60,398,77,679,6297,3040,14603,1004,1048,132,133,282,2175,844,651,360,845,1002,1677,131,139,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[96],{"id":41244,"slug":41245,"title":41246,"dynasty":45,"author":8163,"museum":107,"description":24443,"tags":41247,"thumbUrl":41250,"material":751,"size":752,"collection":95,"collections":41251,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},240700,"qi-lv-cheng-shan-wen-peng-240700","七律成扇",[1250,41248,7,60,77,41249],"成扇","金笺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62c01c295800a34bcf782cb23d16b16a.jpg",[],{"id":41253,"slug":41254,"title":38209,"dynasty":18,"author":41255,"museum":107,"description":41256,"tags":41257,"thumbUrl":41258,"material":751,"size":752,"collection":95,"collections":41259,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},240692,"xing-kai-shi-zhou-zhou-liang-gong-240692","周亮工","周亮工（1612年—1672年），字元亮，又有陶庵、减斋、缄斋、适园、栎园等别号，学者称栎园先生、栎下先生。河南祥符（今河南开封祥符区）人，明末清初官员、文学家、篆刻家、收藏家。\n周亮工于明崇祯十三年（1640年）进士及第，曾任山东潍县知县，迁浙江道监察御史。入清后，任两淮盐法道、淮扬兵备道、福建布政使、都察院左副都御史、户部右侍郎等。后屡次被弹劾判死刑，又遇赦免。康熙元年（1662年），起复为青州海道、江安储粮道。康熙十一年（1672年），逝世于江宁，享年六十一岁。\n周亮工博学多才，诗文、金石、书画皆有很深造诣。古文宗法唐宋八大家，推崇严羽诗论。著有《赖古堂集》《读画录》等。",[7,60,199,75,77,54,1679,678,51,116,30986,844,14603,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dbfe329da6114111aaa25770c487ef.jpg",[],{"id":41261,"slug":41262,"title":41263,"dynasty":45,"author":33298,"museum":107,"description":41264,"tags":41265,"thumbUrl":41266,"material":751,"size":752,"collection":95,"collections":41267,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},240660,"hu-qiu-shi-juan-wang-heng-240660","虎丘诗卷","王衡（1562年10月6日—1609年3月4日），生于嘉靖四十一年九月九日，卒于万历三十七年正月二十九日。字辰玉，号缑山、别署蘅芜室主人，南直隶苏州府太仓州（今江苏太仓）人。 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。",[23,45,7,60,49,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cfe419008f91ea8577897a33b167af6.jpg",[],{"id":41269,"slug":41270,"title":31476,"dynasty":18,"author":23747,"museum":107,"description":23748,"tags":41271,"thumbUrl":41272,"material":751,"size":752,"collection":95,"collections":41273,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240653,"lin-tie-zhou-ba-wei-zu-240653",[7,110,75,1613,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498d6f0690eaf6b6a2c1f8a57e28189a.jpg",[],{"id":41275,"slug":41276,"title":17924,"dynasty":18,"author":36128,"museum":107,"description":41277,"tags":41278,"thumbUrl":41279,"material":312,"size":95,"collection":96,"collections":41280,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240647,"shi-zhou-chen-zi-240647","此作行书圆劲秀逸，线条灵动舒展，兼具晋人萧散意趣与晚明书风的洒脱风神。字间牵丝映带自然，行气贯通流畅，章法错落相宜，将诗句幽居野游的闲淡意境融于笔墨。墨色浓枯相济，时而饱满厚重，时而轻盈飞白，尽展书写时的随性快意，把林皋宿游、江月同心的林下雅怀，通过笔情墨韵尽致流露，是兼备笔墨意趣与文心诗意的行书佳制。",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88badc488422c1523338a1117e224b33.jpg",[96],{"id":41282,"slug":41283,"title":41284,"dynasty":18,"author":41285,"museum":107,"description":41286,"tags":41287,"thumbUrl":41288,"material":312,"size":95,"collection":96,"collections":41289,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":789},240642,"zuo-you-ming-zhou-huang-gun-240642","座右铭轴","黄袞","黄衮 年轻时读书求取功名，但一直没有成就，当时 乾隆五十一年时台湾发生林爽文事件，威胁位于台湾南部的客家人侨居的村庄。黄衮以一介书生，追随其师曾中立，慷慨策划团练六堆义勇，事成后，授六品衔，赏戴蓝翎，议叙江西州判。嘉庆七年折委署白河知县，在该县的大山庙剿",[25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02d94bbc14b34bb9377acae5905048b.jpg",[96],{"id":41291,"slug":41292,"title":29275,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":41293,"thumbUrl":41294,"material":751,"size":752,"collection":95,"collections":41295,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},240637,"ba-yan-lian-huang-yi-240637",[7,1613,2136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88328ff8105cdbf1507e34d9841c5560.jpg",[],{"id":41297,"slug":41298,"title":17924,"dynasty":18,"author":41299,"museum":107,"description":41300,"tags":41301,"thumbUrl":41304,"material":312,"size":95,"collection":96,"collections":41305,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240622,"shi-zhou-yang-ju-240622","杨桔","此作为行书诗轴，笔墨温润秀雅，承续帖学一脉风雅。笔法灵动婉转，牵丝映带自然妥帖，字间行气贯通舒展，章法疏朗匀净，通篇气息安和恬淡。\n\n点画圆润清劲，粗细提按间尽显细腻变化，转折处或柔或刚，兼具妍雅与疏逸之致。书者以舒展的字形、舒缓的书写节奏，将诗中放舟纳凉、听雨催诗的闲适雅趣和盘托出，笔墨与诗意相融相合，尽显江南文人的审美意趣，是一件文心与笔墨相映成趣的行书佳品。",[75,60,7,77,41302,54,41303,28014,134,845,360,1677],"落曰","轻风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d46d7cb6dbf489b840742d111fee8ab.jpg",[96],{"id":41307,"slug":41308,"title":17924,"dynasty":45,"author":5463,"museum":107,"description":24617,"tags":41309,"thumbUrl":41310,"material":751,"size":752,"collection":95,"collections":41311,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":789},240610,"shi-zhou-zhang-rui-tu-240610",[75,7,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55276d9724b4403cc4300747418e1bf.jpg",[],{"id":41313,"slug":41314,"title":41315,"dynasty":18,"author":34836,"museum":107,"description":34837,"tags":41316,"thumbUrl":41317,"material":751,"size":752,"collection":95,"collections":41318,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240608,"jie-lin-ping-feng-tie-zhou-jiang-chen-ying-240608","节临屏风帖轴",[7,75,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065ed8350e57064a4a57835197ba39ad.jpg",[],{"id":41320,"slug":41321,"title":41322,"dynasty":45,"author":31179,"museum":107,"description":41323,"tags":41324,"thumbUrl":41325,"material":312,"size":95,"collection":96,"collections":41326,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240588,"shou-zha-heng-yang-yi-qing-240588","手札横","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美",[7,60,398,50,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977d08e2523c988c3dbac67cb00a5064.jpg",[96],{"id":41328,"slug":41329,"title":18756,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":41330,"thumbUrl":41331,"material":751,"size":752,"collection":95,"collections":41332,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},240505,"xi-yuan-shi-juan-wen-zheng-ming-240505",[23,92,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9358505ce43750aa5e202274296573.jpg",[],{"id":41334,"slug":41335,"title":26736,"dynasty":18,"author":1260,"museum":107,"description":19508,"tags":41336,"thumbUrl":41337,"material":751,"size":752,"collection":95,"collections":41338,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240468,"lin-mi-tie-zhou-liu-yong-240468",[7,110,60,75,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac5884878a6de837f6ac5341c73dc559.jpg",[],{"id":41340,"slug":41341,"title":41342,"dynasty":45,"author":41343,"museum":107,"description":41344,"tags":41345,"thumbUrl":41346,"material":751,"size":752,"collection":95,"collections":41347,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240456,"qian-zi-wen-ce-qiu-zheng-yi-240456","千字文册","邱正谊","邱氏籍隶淮安卫，负责运送漕粮到京城。邱广业继承了这一行当，结果运了两趟，不知出了什么问题，所运漕粮损失不少，把家产房屋都赔了个罄尽。邱广业母亲程氏死得早，父亲邱永庆无法，只好以诸生代替儿子运粮，结果死于通州。这时邱广业才十七岁，困窘已极。到通州处理一切事务以后回淮，与弟弟广德一起搬到河下，依附舅舅程氏居住，发愤读书，恢复家业",[25,7,26,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7671b2eda863c7903c0025ed82a272a.jpg",[],{"id":41349,"slug":41350,"title":26729,"dynasty":18,"author":41351,"museum":107,"description":41352,"tags":41353,"thumbUrl":41354,"material":751,"size":752,"collection":95,"collections":41355,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240452,"zhuan-shu-lu-wen-zhou-wang-tai-yue-240452","王太岳","王太岳（1722年-1785年）字基平，号芥子，直隶定兴人。生于清圣祖康熙六十一年，乾隆七年（1742年）进士，改翰林院庶吉士，擅文名，卒于高宗乾隆五十年（1785年），年六十四岁。",[2135,457,75,7,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc5a9f3b2702bd3f162fc8e4c496c21.jpg",[],{"id":41357,"slug":41358,"title":38092,"dynasty":18,"author":25628,"museum":107,"description":41359,"tags":41360,"thumbUrl":41361,"material":751,"size":752,"collection":95,"collections":41362,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240446,"zhuan-shu-shi-zhou-sun-xing-yan-240446","孙星衍（1753年－1818年），字伯渊，一字渊如，号季述。江蘇陽湖縣（今屬江苏省常州市）人，祖籍安徽濠州，清代经史学家，考据学者，金石学家。",[457,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c7ff60e557c94e1cb07dcf473bdc25.jpg",[],{"id":41364,"slug":41365,"title":17924,"dynasty":18,"author":33475,"museum":107,"description":33476,"tags":41366,"thumbUrl":41367,"material":751,"size":752,"collection":95,"collections":41368,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240431,"shi-zhou-shen-ceng-zhi-240431",[25,7,75,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63dafc2e68908f457de59bea201d0312.jpg",[],{"id":41370,"slug":41371,"title":21168,"dynasty":45,"author":41372,"museum":107,"description":41373,"tags":41374,"thumbUrl":41375,"material":751,"size":752,"collection":95,"collections":41376,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240421,"zi-shu-shi-juan-yan-song-240421","严嵩","严嵩（1480年3月3日—1567年），字惟中，号介溪，袁州府分宜介桥村（今江西省分宜县）人。 [16] 明孝宗弘治十八年（1505年）进士，累迁礼部尚书、翰林院学士。嘉靖二十一年（1542年）六十三岁时入阁，加少傅兼太子太师、谨身殿大学士，后改少师、华盖殿大学士，嘉靖二十七年（1548年）诬害夏言，再任内阁首辅，专擅国政近十五年之久。\n严嵩在朝期间，陷害同僚，必置之死地而后快;同时他结党营私，贪赃纳贿，而他的党羽和子孙更是跋扈骄奢，横行朝廷。严嵩的专权乱政，使明王朝的国力衰弱，边疆防御受到严重破坏，人民惨遭蹂躏。晚年因事激怒嘉靖帝而失势，嘉靖四十一年（1562年）勒令致仕，嘉靖四十三年（1564年）严世蕃案发，其恶迹败露后，世宗下诏将他罢职，削籍为民，家产被抄，奸党与家人一一治罪。\n隆庆元年（1567年），87岁的严嵩贫病交加，把持朝政20多年后，在举国一片唾骂声中死去，挤进《明史·奸臣传》。他死的时候，寄食于墓舍，既无棺木下葬，更没有前去吊唁的人。《明史》将严嵩列为明代六大奸臣之一，称其“惟一意媚上，窃权罔利”。",[23,25,49,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6321fcc2f8c8d1899a7ec793459c5e1e.jpg",[],{"id":41378,"slug":41379,"title":41380,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":41381,"thumbUrl":41382,"material":751,"size":752,"collection":95,"collections":41383,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240409,"cha-shi-biao-wu-lv-shi-zhou-cha-shi-biao-240409","查士标五律诗轴",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34b8d2c794106c3cdaf53492d76c2.jpg",[],{"id":41385,"slug":41386,"title":17924,"dynasty":45,"author":1452,"museum":107,"description":29147,"tags":41387,"thumbUrl":41388,"material":751,"size":752,"collection":95,"collections":41389,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240399,"shi-zhou-chen-ji-ru-240399",[24,25,7,75,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F814d98ee741f2abf00ca6b633fa7c7b7.jpg",[],{"id":41391,"slug":41392,"title":41393,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":41394,"thumbUrl":41395,"material":751,"size":752,"collection":95,"collections":41396,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240395,"shou-zha-heng-fu-lin-ze-xu-240395","手札横幅",[7,60,312,2135,14838,2282,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb907ea73b88f28cb5cc339cc01fe2d76.jpg",[],{"id":41398,"slug":41399,"title":41400,"dynasty":45,"author":41401,"museum":126,"description":41402,"tags":41403,"thumbUrl":41404,"material":95,"size":95,"collection":96,"collections":41405,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240393,"gu-feng-ci-gao-zong-ben-240393","孤凤辞","高宗本","天顺七年龙集癸未春三月既望赐甲戌第二甲进士出身文林郎山东道监察御史古雄高宗本书",[23,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c55ec5722bfe23bcb91d9390201d506.jpg",[96],{"id":41407,"slug":41408,"title":41409,"dynasty":45,"author":41410,"museum":107,"description":41411,"tags":41412,"thumbUrl":41413,"material":751,"size":752,"collection":95,"collections":41414,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240381,"si-jia-xing-kai-shi-shan-mian-lin-gu-du-240381","四家行楷诗扇面","林古度","林古度（1580年～1666年）明末清初著名诗人。字茂之，号那子，别号乳山道士，福建福清人。诗文名重一时，但不求仕进，游学金陵，与曹学佺、王士桢友好。明亡，以遗民自居，时人称为“东南硕魁”。晚年穷困，双目失明，享寿八十七而卒。",[4038,1250,25,7,60,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7ff22f3cf2560da1209ad5e6230b7a.jpg",[],{"id":41416,"slug":41417,"title":17924,"dynasty":18,"author":2634,"museum":107,"description":41418,"tags":41419,"thumbUrl":41420,"material":95,"size":95,"collection":96,"collections":41421,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240324,"shi-zhou-dong-bang-da-240324","董邦达(1696-1769)，字孚存、争存，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称三董。",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cca6a0990d3908fa270b07c4f3093a.jpg",[96],{"id":41423,"slug":41424,"title":41425,"dynasty":18,"author":41426,"museum":107,"description":25562,"tags":41427,"thumbUrl":41429,"material":751,"size":752,"collection":95,"collections":41430,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240322,"ti-qiu-shan-xiao-si-tu-ping-zhou-zhang-ting-zhuan-240322","题秋山萧寺图屏轴","张廷瑑",[24,25,75,60,50,11618,20942,471,31194,41428,2763,7],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249df68cceb3f162c784e6fdd8bb39b1.jpg",[],{"id":41432,"slug":41433,"title":41434,"dynasty":18,"author":41435,"museum":107,"description":41436,"tags":41437,"thumbUrl":41438,"material":751,"size":752,"collection":95,"collections":41439,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240301,"lun-shu-shi-zhou-chen-wan-qing-240301","论书诗轴","陈万青","陈万青（？——1795年），字远山，号湘南，浙江石门人。乾隆四十六年辛丑科（1781）进士第二人（榜眼），官至陕甘学政。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9fab74d5c496af3065fc024bfec54c.jpg",[],{"id":41441,"slug":41442,"title":19706,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":41443,"thumbUrl":41444,"material":751,"size":752,"collection":95,"collections":41445,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240294,"shu-zha-ce-lin-ze-xu-240294",[7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900bbefde2db53fdf874846aeffa7145.jpg",[],{"id":41447,"slug":41448,"title":38209,"dynasty":45,"author":40900,"museum":107,"description":40901,"tags":41449,"thumbUrl":41450,"material":751,"size":752,"collection":95,"collections":41451,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240275,"xing-kai-shi-zhou-wang-zhi-deng-240275",[25,75,60,199,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7784839e598ff9ddb5c10a4c1877069.jpg",[],{"id":41453,"slug":41454,"title":12961,"dynasty":18,"author":41455,"museum":107,"description":41456,"tags":41457,"thumbUrl":41458,"material":751,"size":752,"collection":95,"collections":41459,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240265,"qi-lv-zhou-luo-qi-lan-240265","骆绮兰","骆绮兰，清代嘉庆间女诗人。字佩香，号秋亭，上元（今南京）人，一作江苏句容人。江宁诸生龚世治妻。早寡，少耽吟咏。袁枚、王文治诗弟子。工写生，所作芍药三朵花图卷，宗恽寿平。尤喜画兰，以寄孤清之致。有自绘《佩兰图》及《秋镫课女图》，题者不多作。字格清秀，惜少骨干，字则清轶尘俗，都极可诵。著有《听秋轩诗稿》。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90731dba52835eeac803c9a53dd0d390.jpg",[],{"id":41461,"slug":41462,"title":41463,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":41464,"thumbUrl":41465,"material":751,"size":752,"collection":95,"collections":41466,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},240243,"shu-ci-zhou-zhu-yun-ming-240243","书词轴",[7,75,60,398,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c78cef894b0c8be196354b55c851e40.jpg",[],{"id":41468,"slug":41469,"title":35699,"dynasty":45,"author":41470,"museum":107,"description":41471,"tags":41472,"thumbUrl":41473,"material":751,"size":752,"collection":95,"collections":41474,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240239,"qi-lv-shi-ye-yu-chun-xi-240239","虞淳熙","虞淳熙（1553年－1621年），字长孺，浙江钱塘人，生下来睡着不闭眼。曾任兵部职方事、礼部员外郎等职，曾隐居于回峰。著有《虞德园集》、《孝经集灵》1卷。",[7,60,77,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f43e8f7489019e59a4917bfee5fcd66.jpg",[],{"id":41476,"slug":41477,"title":35699,"dynasty":45,"author":41478,"museum":107,"description":41479,"tags":41480,"thumbUrl":41482,"material":751,"size":752,"collection":95,"collections":41483,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240229,"qi-lv-shi-ye-yan-xing-240229","严星","此作用笔纵逸灵动，牵丝映带间尽显流转之美，线条粗细富于变化，提按顿挫皆见法度。通篇行气贯通，字势欹正相生，将诗意胸臆寄寓于笔墨开合之中。\n\n整幅疏密得当，起笔从容舒展，随文势渐次铺陈开阖，墨色浓淡自然过渡，率意挥洒间不失文雅隽秀，笔底藏着悠悠诗意与文人风骨，将传统书法抒情达意的精妙尽显无余，笔墨间浸透着随性舒展的古韵雅致。",[7,60,77,26,51,41481],"江南","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae57ea7ca0e259875e59925691da126.jpg",[],{"id":41485,"slug":41486,"title":35699,"dynasty":45,"author":41487,"museum":107,"description":41488,"tags":41489,"thumbUrl":41490,"material":751,"size":752,"collection":95,"collections":41491,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240224,"qi-lv-shi-ye-feng-meng-zhen-240224","冯梦祯","冯梦祯（1548—1606），字开之，号具区，又号真实居士，浙江秀水（今嘉兴）人。著名的佛教居士。 明代诗人。公元1577年（明万历五年）进士，官编修，与沈懋学、屠隆以气节相尚。后因得罪宰相张居正，被外谪广德州判，复又累迁南国子监祭酒，3年后被劾罢官，遂不复出。移家杭州，筑室于孤山之麓。上梁之日恰逢积雪初晴，遂以此名其堂为“快雪”。冯梦祯为人高旷，好读书，好奖掖后学。诗文疏朗通脱，不事刻镂。著有《快雪堂集》64卷、《快雪堂漫录》1卷、《历代贡举志》等。",[25,26,60,77,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80211ac9e728595608dd3dc697575833.jpg",[],{"id":41493,"slug":41494,"title":41495,"dynasty":45,"author":20410,"museum":107,"description":37700,"tags":41496,"thumbUrl":41497,"material":751,"size":752,"collection":95,"collections":41498,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240223,"qi-yan-shi-ye-tang-huan-240223","七言诗页",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88bffc14a2880f780619e8bfd82976f2.jpg",[],{"id":41500,"slug":41501,"title":35699,"dynasty":45,"author":41502,"museum":107,"description":41503,"tags":41504,"thumbUrl":41505,"material":751,"size":752,"collection":95,"collections":41506,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240212,"qi-lv-shi-ye-he-can-ran-240212","贺燦然","贺灿然（？－？），字伯暗，号道星，浙江嘉兴府平湖县人，明朝政治人物。",[25,7,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad61a37b2ce626b83099572c96ac9a21.jpg",[],{"id":41508,"slug":41509,"title":17924,"dynasty":18,"author":41510,"museum":107,"description":41511,"tags":41512,"thumbUrl":41513,"material":751,"size":752,"collection":95,"collections":41514,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},240189,"shi-zhou-xue-suo-yun-240189","薛所蕴","薛所蕴（1600－1667），字子展，号行屋，河南孟州人。崇祯元年进士，贰臣。累官至国子监司业。福王时，以曾附李自成，定入从贼案。复降清，授原官，累官礼部左侍郎。为高尔俨所劾，乞休归。工诗文，有《椁庵集》、《澹友轩集》等。",[2135,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7709de36d460651c2509562d43ab068c.jpg",[],{"id":41516,"slug":41517,"title":17924,"dynasty":18,"author":41518,"museum":107,"description":41519,"tags":41520,"thumbUrl":41528,"material":751,"size":752,"collection":95,"collections":41529,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240185,"shi-zhou-hu-hui-en-240185","胡会恩","胡会恩. 來胡会洎恩，頭字筿孟纶，清代康熙十五年（公元一六七六年）进士，官至刑部尚书。",[7,60,75,77,41521,41522,20444,2525,589,41523,10119,41524,41525,3388,41526,41527,1677],"水色","春苑","烟花","南郭","清溪","天潭","仙乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae6ecb825466e379c26ae2b5db26408.jpg",[],{"id":41531,"slug":41532,"title":17924,"dynasty":45,"author":41533,"museum":107,"description":41534,"tags":41535,"thumbUrl":41536,"material":751,"size":752,"collection":95,"collections":41537,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},240182,"shi-zhou-zhang-xu-lun-240182","张绪纶","此作用笔跌宕老辣，提按间粗细对比鲜明，圆转与方折相融，刚柔并济。三列布局匀称舒朗，行气贯通流畅，字势欹正相生，草行相间却不失法度。笔墨将诗句秋日闲逸意境尽显，苍劲笔力中带着萧散疏朗的意趣，尽显明人尚态的书法风神，裹挟着文人幽居林泉的清雅襟怀，整体气息朴茂沉雄，是颇具代表性的明代文人书法精品。",[4038,7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8611ac3c74c25990179f2585cf0f068f.jpg",[],{"id":41539,"slug":41540,"title":41541,"dynasty":18,"author":9119,"museum":107,"description":31074,"tags":41542,"thumbUrl":41543,"material":751,"size":752,"collection":95,"collections":41544,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240168,"heng-ruan-yuan-240168","横",[2135,7,1613,21060,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8debf37a825bd771de15794bb3448522.jpg",[],{"id":41546,"slug":41547,"title":41548,"dynasty":18,"author":31317,"museum":107,"description":31318,"tags":41549,"thumbUrl":41550,"material":751,"size":752,"collection":95,"collections":41551,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240146,"wang-wen-zhi-shi-zhou-wang-wen-zhi-240146","王文治诗轴",[25,7,75,60,50,77,1679,678,3040,21968,2525,3038,651,31127,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c69947ad47c602df83f34bd3c1ae3e7.jpg",[],{"id":41553,"slug":41554,"title":29275,"dynasty":18,"author":31188,"museum":107,"description":38295,"tags":41555,"thumbUrl":41556,"material":751,"size":752,"collection":95,"collections":41557,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},240141,"ba-yan-lian-yang-shou-jing-240141",[7,60,2136,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48d5eab5b241e3d2f69355ad49149b0a.jpg",[],{"id":41559,"slug":41560,"title":41561,"dynasty":18,"author":41562,"museum":107,"description":41563,"tags":41564,"thumbUrl":41565,"material":751,"size":752,"collection":95,"collections":41566,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240138,"wu-kuan-qian-long-huang-di-ci-qi-gao-shen-juan-heng-ling-240138","无款乾隆皇帝赐妻诰身卷","恒龄","恒龄（？—1911）舒穆鲁氏，字锡九，满洲正蓝旗人，湖北荆州驻防。恒龄少嗜学，娴武干，尤熟中外兵家言。",[25,49,7,199,77,25477,25478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4e30ef5c9af213e7632f45ca9b98ed.jpg",[],{"id":41568,"slug":41569,"title":28124,"dynasty":45,"author":41570,"museum":107,"description":41571,"tags":41572,"thumbUrl":41573,"material":312,"size":95,"collection":96,"collections":41574,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240121,"shi-ye-li-ben-long-240121","李本漋","这件小楷结体端稳秀雅，笔致清劲匀整，点画筋骨内含，收放合宜。字间排布疏朗齐整，通篇气息静穆安和，尽显雅致文人气韵。浅棕纸底衬得乌亮墨色愈发温润沉静，古雅氛围油然而生。\n\n用笔一丝不苟，起收转折皆恪守法度，既带着唐人小楷的谨严工整，又暗含明代书法特有的隽秀风神。诗书雅意融于笔端，每一字都如谦谦君子，风骨暗藏却不张扬，缓缓铺陈出旧时文人心底的缱绻意绪，尽显翰墨清韵。",[7,60,50,12229,52,53,1074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11b33745d225533c5dcc646efc85ba9.jpg",[96],{"id":41576,"slug":41577,"title":41578,"dynasty":45,"author":454,"museum":107,"description":41579,"tags":41580,"thumbUrl":41585,"material":312,"size":95,"collection":96,"collections":41586,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240117,"ying-rui-shi-ye-yi-ming-240117","应瑞诗页","此作为草书诗页，笔墨跌宕随性，字势欹正相生。行笔间牵丝映带自然流畅，字形大小错落排布，章法疏密相宜，尽显萧散疏朗的文人意趣。\n枯润笔墨交织相生，粗笔沉实厚重，细锋灵动飘逸，将诗句中羁旅江湖的落寞愁思，寄寓在率意挥洒的点画之中，暗合晚明书风旷达疏放的特质，把文人士子的林下风流与旅怀愁绪融在笔墨起落之间，书写快意与诗句意境相得益彰，尽显以笔抒情的雅致意韵。",[25,7,60,50,131,9676,41581,41582,41583,4852,17645,41584,10417,6635],"大江","泥桥","东窗","平冈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0e8853f7afb510b27526b9e1820abc.jpg",[96],{"id":41588,"slug":41589,"title":41590,"dynasty":45,"author":41591,"museum":107,"description":41592,"tags":41593,"thumbUrl":41594,"material":312,"size":95,"collection":96,"collections":41595,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240107,"yu-lu-ye-wang-hai-240107","语录页","王海","此作用笔温润秀雅，结体舒展灵动，尽显明人行书疏淡意趣。笔墨间带着沉静的书卷气，排布错落随性却暗合法度。\n\n文书自叙藏书阅画的癖好，将乱世寻获旧藏、静品古玩的闲情诉诸笔端，字里行间尽显文人藏家的清雅襟怀。朱红印章点缀留白，与浅淡墨色相映，更添古雅意韵，把文人的闲情雅致与书法意趣融为一体，是兼具笔墨情致与文人心思的小品佳作。",[7,60,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070da12e0f93284a54360dff66a4db8.jpg",[96],{"id":41597,"slug":41598,"title":27663,"dynasty":45,"author":5463,"museum":107,"description":24617,"tags":41599,"thumbUrl":41600,"material":751,"size":752,"collection":95,"collections":41601,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240047,"shi-ce-zhang-rui-tu-240047",[7,26,60,398,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70bc405fe3b9ac01daafcff9e622acb9.jpg",[],{"id":41603,"slug":41604,"title":17924,"dynasty":18,"author":23747,"museum":107,"description":23748,"tags":41605,"thumbUrl":41606,"material":751,"size":752,"collection":95,"collections":41607,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240015,"shi-zhou-ba-wei-zu-240015",[2135,1613,75,77,7,14990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348ed6926d4ad50f30f80333cc05e344.jpg",[],{"id":41609,"slug":41610,"title":9940,"dynasty":18,"author":41611,"museum":107,"description":41612,"tags":41613,"thumbUrl":41614,"material":751,"size":752,"collection":95,"collections":41615,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240013,"qi-yan-lian-yang-xian-240013","杨岘","杨岘（1819-1896），字庸斋、见山，号季仇，晚号藐翁，自署迟鸿残叟，浙江归安（今湖州）人，清朝书法家、金石学家、诗人。",[7,2136,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44c1ff69e1f8a17e4b27a5785f73317.jpg",[],{"id":41617,"slug":41618,"title":41619,"dynasty":45,"author":35791,"museum":107,"description":35792,"tags":41620,"thumbUrl":41621,"material":95,"size":95,"collection":96,"collections":41622,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240002,"zhi-jia-da-ren-shi-ye-zhao-shi-xian-240002","致家大人诗页",[7,60,50,27,77,25,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8240dfcb707713975b3ece9649f35e.jpg",[96],{"id":41624,"slug":41625,"title":17924,"dynasty":45,"author":27915,"museum":107,"description":41626,"tags":41627,"thumbUrl":41628,"material":751,"size":752,"collection":95,"collections":41629,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},240001,"shi-zhou-wen-zhen-meng-240001","文震孟（1574年－1636年），字文起，號湛持，直隶長洲（今蘇州市）人，祖籍湖南衡陽，明末政治人物、書法家，狀元。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e1ff8e435c10a26b77c28532ebe1dc.jpg",[],{"id":41631,"slug":41632,"title":41633,"dynasty":45,"author":41634,"museum":107,"description":41635,"tags":41636,"thumbUrl":41637,"material":751,"size":752,"collection":95,"collections":41638,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},239981,"wan-jie-ting-ci-juan-xia-yan-239981","晚节亭词卷","夏言","夏言（1482年7月14日－1548年11月1日），字公谨，号桂洲，江西广信府贵溪县（今江西省贵溪市）人 。明朝中期政治家、文学家，赠少师夏鼎的儿子。\n正德十二年（1517年），进士及第，授行人司行人。迁兵科给事中，以正直敢言闻名。明世宗继位后，上疏奏陈先朝弊政，奉命裁汰冗员，清查皇族庄田，迁少詹事兼任翰林学士。推动“大礼议”事件，大获圣宠，累迁武英殿大学士、礼部尚书、太子太傅，加位少师、特进光禄大夫、上柱国。嘉靖十八年（1539年），成为内阁首辅。完备内阁，抑制宦官，整顿吏治，巩固边防，颇有政绩。内心耿直，豪迈强直，逐渐失去宠爱。\n嘉靖二十七年（1548年），支持收复河套地区，受到严嵩诬陷，坐罪处死，时年六十七岁。明穆宗继位，得以平反昭雪，追谥“文愍”。诗文宏整，以词曲擅名，著有《桂洲集》及《南宫奏稿》传世。",[23,92,24,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249a76b7089dbf0651db22708e272cf2.jpg",[],{"id":41640,"slug":41641,"title":38156,"dynasty":18,"author":38057,"museum":107,"description":38058,"tags":41642,"thumbUrl":41643,"material":751,"size":752,"collection":95,"collections":41644,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239934,"zhuan-shu-lu-yu-zhou-qian-dian-239934",[35878,457,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b1a17aca9197cd5a13e278e8a6812d7.jpg",[],{"id":41646,"slug":41647,"title":41648,"dynasty":45,"author":41649,"museum":107,"description":41650,"tags":41651,"thumbUrl":41652,"material":95,"size":95,"collection":95,"collections":41653,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239913,"wu-ding-shi-ye-wang-xing-shu-239913","武定诗页","王行书","此作用笔爽利苍劲，中锋侧锋兼施，牵丝映带间尽显灵动意趣，字字顾盼相生，左右两页行气贯通，章法疏朗通透。结体欹正错落，时而开张大气，时而收敛紧致，既有晋人行书的飘逸韵致，又兼具明人尚态的舒展洒脱。墨色富于浓淡枯湿变化，随书写时的情绪起伏自然过渡，将文思与笔墨风骨相融。通篇带着疏放洒脱的书卷气息，文人意趣浸透于每一处笔墨细节，尽显书写者的随性襟怀，抒情性与笔墨表现力相互成就，是极具个性风采的行书佳作。",[4038,7,60,4347,50,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58757ca143145908c0c9c9d7b65a8cd1.jpg",[],{"id":41655,"slug":41656,"title":41657,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":41658,"thumbUrl":41659,"material":95,"size":95,"collection":96,"collections":41660,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239911,"shi-wai-zhuan-juan-zhu-yun-ming-239911","诗外传卷",[23,7,60,398,49,50,77,1498,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1ff69ebcbaddc6016658cab5a6faf6.jpg",[96],{"id":41662,"slug":41663,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":41664,"thumbUrl":41665,"material":95,"size":95,"collection":95,"collections":41666,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239901,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239901",[7,25,24,49,60,50,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98ea6b414bb2eefd6807d89390d76fd.jpg",[],{"id":41668,"slug":41669,"title":41670,"dynasty":45,"author":37996,"museum":107,"description":37997,"tags":41671,"thumbUrl":41672,"material":95,"size":95,"collection":96,"collections":41673,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239888,"huang-fu-jiao-yi-juan-huang-cong-239888","黄福教仪卷",[23,25,49,7,77,878,60,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3672b4f04e0e545551c38a03ad75d415.jpg",[96],{"id":41675,"slug":41676,"title":41677,"dynasty":45,"author":41678,"museum":107,"description":41679,"tags":41680,"thumbUrl":41681,"material":95,"size":95,"collection":96,"collections":41682,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239886,"tao-yan-shu-zha-tao-yan-239886","陶琰书扎","陶琰","陶琰（1449-1532），字廷信，号逸庵，山西承宣布政使司平阳府绛州（今山西省运城市新绛县）陶家巷人。正统十四年（1449）出生，少时聪敏好学，过目成诵。成化七年（1471）乡荐第一。弘治时任固原兵备副使，执法不挠。正德初迁刑部右侍郎，忤刘瑾下狱。瑾败复官，正德七年(1512)以右都御史巡视浙江，修筑萧山至会稽防洪堤，先后三次总督漕运。嘉靖元年(1522)以功任工部尚书，寻改南京兵部。次年致仕，卒于家。",[7,25,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eec4bb951e334ccc0ff1ec3c5b4692a.jpg",[96],{"id":41684,"slug":41685,"title":41686,"dynasty":18,"author":15594,"museum":107,"description":19674,"tags":41687,"thumbUrl":41688,"material":751,"size":752,"collection":95,"collections":41689,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239877,"ti-shi-bi-shi-shan-mian-huang-yi-239877","题石壁诗扇面",[1250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb035bd8d9327345be78d41760e08b4dc.jpg",[],{"id":41691,"slug":41692,"title":41693,"dynasty":18,"author":454,"museum":107,"description":41694,"tags":41695,"thumbUrl":41697,"material":95,"size":95,"collection":96,"collections":41698,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239854,"xing-shi-ti-cang-lang-ting-shi-zhi-gong-fu-ye-yi-ming-239854","□兴诗题沧浪亭诗致功甫页","这是两开信札行书，笔意舒展灵动，点画圆融温润，提转间自然流露帖学的秀雅意趣。左侧尺牍字形稍作内敛，章法匀整平和，墨色带着细微浓淡变化，尽映书写时松弛悠然的心境。右侧信札布局更见错落之美，字距疏密相映，行笔间漫溢萧散随性的文人意态。\n\n尺素寸笺间记录着友人间酬唱往还的日常，笔墨藏着文人群雅聚题咏的雅致气息，以书寄情，把平淡日常晕染成文心诗意，是清代民间文人书法的典型写照，兼具实用功用与审美价值。",[7,60,77,26,18,41696],"诗题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ebcbe332fbdb2f33d4296d79d60ba4.jpg",[96],{"id":41700,"slug":41701,"title":41702,"dynasty":18,"author":38419,"museum":107,"description":38420,"tags":41703,"thumbUrl":41704,"material":95,"size":95,"collection":96,"collections":41705,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239844,"shi-feng-gong-fu-ye-dong-guo-hua-239844","诗奉功甫页",[18,7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff458a0a9afdc9f4d7a6f7ace353e6f0c.jpg",[96],{"id":41707,"slug":41708,"title":41709,"dynasty":18,"author":38419,"museum":107,"description":38420,"tags":41710,"thumbUrl":41711,"material":95,"size":95,"collection":96,"collections":41712,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239839,"qiu-qing-zuo-feng-gong-fu-ye-dong-guo-hua-239839","秋晴作奉功甫页",[7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefafc3dd6eb15849f30edb02d9c914f.jpg",[96],{"id":41714,"slug":41715,"title":25676,"dynasty":45,"author":31179,"museum":107,"description":41716,"tags":41717,"thumbUrl":41718,"material":95,"size":95,"collection":95,"collections":41719,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239800,"shi-han-juan-yang-yi-qing-239800","此卷狂草纵横跌宕，将笔墨意气挥洒淋漓。中锋使转提按兼施，线条枯湿浓淡交织，飞白牵丝映带字间，裹锋绞锋尽显老辣苍劲。字势欹侧错落，行气贯通如江河奔涌，整卷一气呵成毫无滞碍，点画狼藉却暗藏法度。既有颠张醉素的豪放恣肆，又自具沉郁雄健的风骨。洒金笺底衬得墨色愈见厚重，朱文小印点缀其间，于狂放中见雅致。通篇诗墨相融，将文人磊落襟怀宣泄纸上，尽显老笔纷披的磅礴气势，是尚奇书风里极具个性的佳作。",[23,7,25,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc188c62d53074d8bea00508dcafdf0e7.jpg",[],{"id":41721,"slug":41722,"title":41723,"dynasty":18,"author":41724,"museum":107,"description":41725,"tags":41726,"thumbUrl":41727,"material":751,"size":752,"collection":95,"collections":41728,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239794,"lu-zhu-zi-yu-zhou-fang-bao-239794","录朱子语轴","方苞","方苞（1668年5月25日－1749年9月29日），字灵皋，一字凤九，晚号望溪，安徽桐城县人，清代文学家，首创文学流派桐城派。与刘大櫆、姚鼐合称桐城三祖。",[7,60,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a84196ae219f7b55fcf31e06b6ff58.jpg",[],{"id":41730,"slug":41731,"title":41732,"dynasty":18,"author":33384,"museum":107,"description":41733,"tags":41734,"thumbUrl":41735,"material":751,"size":752,"collection":95,"collections":41736,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239788,"hong-li-wu-tai-shan-shi-ce-liu-bing-tian-239788","弘历五台山诗册","刘秉恬（？——1800年），字德引，山西省洪洞县苏堡村人，清朝大臣。",[24,25,26,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d8b3e0e94d857ccd87dfe47cd2d5397.jpg",[],{"id":41738,"slug":41739,"title":41740,"dynasty":18,"author":34794,"museum":107,"description":34795,"tags":41741,"thumbUrl":41742,"material":751,"size":752,"collection":95,"collections":41743,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239784,"shu-yu-zhi-wu-fu-wu-dai-tang-ji-ce-wang-cheng-pei-239784","书御制五福五代堂记册",[7,25,26,27,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057362b0319305532721a8bf14ef66e3.jpg",[],{"id":41745,"slug":41746,"title":41747,"dynasty":18,"author":294,"museum":107,"description":11801,"tags":41748,"thumbUrl":41749,"material":751,"size":752,"collection":95,"collections":41750,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239783,"shu-lin-song-si-jia-tie-ce-dong-gao-239783","书临宋四家帖册",[7,110,60,77,26,432,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156f0fb465ef354bf7d2e07cfe885348.jpg",[],{"id":41752,"slug":41753,"title":41754,"dynasty":18,"author":24080,"museum":107,"description":41755,"tags":41756,"thumbUrl":41757,"material":751,"size":752,"collection":95,"collections":41758,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239779,"guan-huai-shu-yong-yan-qing-shu-zhai-shi-zhou-guan-huai-239779","关槐书颙琰清淑斋诗轴","字晋卿，一字晋轩，号雪岩，一号署笙，又号柱生，晚号青城山人，仁和（今杭州）人。乾隆四十五年（1780）传胪，官礼部侍郎。词章翰墨，脱颖不群。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。供奉内廷，宠眷特懋。有《群仙胪祝轴》、《溪山秋爽轴》等。",[2135,7,199,75,312,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b307f49b761d181dbb690175e89ea45.jpg",[],{"id":41760,"slug":41761,"title":41762,"dynasty":18,"author":38474,"museum":107,"description":38475,"tags":41763,"thumbUrl":41764,"material":751,"size":752,"collection":95,"collections":41765,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239760,"shu-hong-li-yun-shang-yu-tian-jie-ce-zhou-huang-239760","书弘历云上于天解册",[199,7,26,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa53ea93e5666bf24e1373d11ad124e52.jpg",[],{"id":41767,"slug":41768,"title":41769,"dynasty":18,"author":38474,"museum":107,"description":38475,"tags":41770,"thumbUrl":41771,"material":751,"size":752,"collection":95,"collections":41772,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239759,"shu-hong-li-wan-shou-shan-wu-bai-luo-han-tang-ji-ce-zhou-huang-239759","书弘历万寿山五百罗汉堂记册",[199,7,26,878,1498,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9da6f689a5b1d2b884e0452728d469.jpg",[],{"id":41774,"slug":41775,"title":41776,"dynasty":18,"author":41777,"museum":107,"description":41778,"tags":41779,"thumbUrl":41780,"material":751,"size":752,"collection":95,"collections":41781,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":789},239756,"shu-hong-li-shu-yu-shu-shun-ji-chuan-ce-zhu-gui-239756","书弘历书虞书舜集传册","朱珪","朱珪（1731年～1807年），字石君，号南崖，晚号盘陀老人。与其兄朱筠，时称“二朱”。祖籍萧山蜀山街道越寨村，后迁黄阁河村。随父朱文炳由萧山侨居顺天大兴县（今北京市），遂入籍顺天府。\n乾隆十二年（1747年），17岁殿试为进士，选庶吉士，散馆授编修，侍读学士。乾隆二十四年（1759年），主河南乡试，会试同考官。秋，授福建粮道。乾隆二十八年（1763年），擢按察使，兼署布政使。乾隆三十二年（1767年），补湖北按察使。乾隆三十四年（1769年），任山西布政使。乾隆三十六年（1771年），权巡抚事。乾隆三十九年（1774年），为按察使，授侍讲学士。\n乾隆四十一年（1776年），命在上书房行走，教嘉庆帝读书。乾隆四十五年（1780年），督福建学政。乾隆四十九年（1784年），内阁学士。乾隆五十一年（1786年），礼部侍郎。乾隆五十九年（1794年）以后，历任两广总督，吏、兵、户部尚书，协办大学士，太子太保，太子太傅等职务。嘉庆四年由安徽巡抚上调北京。\n嘉庆十一年（1806年）十二月五日卒，终年77岁。帝谥“文正”。",[2135,199,2602,26,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d1298c7cabb514e6f4b92ac5d20c33.jpg",[],{"id":41783,"slug":41784,"title":41785,"dynasty":18,"author":41786,"museum":107,"description":41787,"tags":41788,"thumbUrl":41789,"material":751,"size":752,"collection":95,"collections":41790,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},239747,"yong-qi-shu-lao-ren-xing-fu-zhou-ai-xin-jue-luo-yong-qi-239747","永琪书老人星赋轴","爱新觉罗永琪","爱新觉罗·永琪（1741年3月23日－1766年4月16日），清朝宗室，字筠亭，号藤琴居士，直隶省顺天府大兴县（今北京市）人，乾隆皇帝弘历第五子，生母愉贵妃珂里叶特氏。乾隆三十年（1765年）十一月，封和硕荣亲王。永琪少习骑射，娴国语，上钟爱之。乾隆三十一年（1766年）三月午刻，薨，谥曰纯。",[2135,199,75,9635,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7df883ab68e4b68930a6846a0931bd4.jpg",[],{"id":41792,"slug":41793,"title":41794,"dynasty":18,"author":35899,"museum":107,"description":41795,"tags":41796,"thumbUrl":41797,"material":751,"size":752,"collection":95,"collections":41798,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239740,"shu-hong-li-bi-shu-shan-zhuang-sa-liu-jing-shi-ce-yu-min-zhong-239740","书弘历避暑山庄卅六景诗册","于敏中（1714年—1780年1月14日），字叔子，一字重棠，号耐圃，江苏金坛人。山西学政于汉翔之孙。宣平知县于树范之子。清朝重臣，出身簪缨世家。\n乾隆二年（1737年），于敏中一甲一名进士（即状元），授翰林院修撰。官至文华殿大学士兼首席军机大臣 ，在乾隆朝为汉臣首揆执政最久者。对同在军机处的和珅极度反感。其书法风格近于董其昌，奉旨敕书《华严经》宝塔。\n乾隆三十八年（1773年），诏议开馆校书，初刘统勋反对，于敏中主力开馆。四库全书馆开，于敏中为正总裁。乾隆四十四年十二月（1780年1月14日）去世，时年66岁，追谥为文襄。入祀贤良祠，乾隆五十一年（1786），因疑似牵涉到甘肃监粮冒赈之案被撤出贤良祠。于敏中著有《浙程备览》《临清纪略》等。",[7,199,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2fb87449eaf44a37e77f209de3bc39.jpg",[],{"id":41800,"slug":41801,"title":41802,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":41803,"thumbUrl":41804,"material":95,"size":95,"collection":95,"collections":41805,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239725,"zhang-zhou-wen-shi-chi-du-ce-zhi-yong-zhi-xie-bei-tie-wen-zheng-ming-239725","长洲文氏尺牍册-致永之写碑帖",[7,60,26,77,312,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e94a95fd2c7305f6656bad6e6405e95.jpg",[],{"id":41807,"slug":41808,"title":41809,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":41810,"thumbUrl":41811,"material":95,"size":95,"collection":95,"collections":41812,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239724,"zhang-zhou-wen-shi-chi-du-ce-zhi-yong-zhi-huan-shu-tie-wen-zheng-ming-239724","长洲文氏尺牍册-致永之还书帖",[25,7,60,50,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc057a79a306f8b1138b73b7c66b25a10.jpg",[],{"id":41814,"slug":41815,"title":41816,"dynasty":18,"author":33650,"museum":107,"description":41817,"tags":41818,"thumbUrl":41819,"material":95,"size":95,"collection":95,"collections":41820,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239707,"lin-dong-qi-chang-ba-kai-huang-lan-ting-zhou-cao-wen-zhi-239707","临董其昌跋开皇兰亭轴","此作追摹董其昌笔意，行笔圆劲秀逸，兼具萧散简远之风神与温润端稳之气度。提按转合间节奏疏朗，墨色浓淡自然过渡，字距错落不失章法，将行书灵动与文人意趣相融。\n\n通篇笔意追摹原作淡远空灵，结体舒展雅致，笔画间牵丝映带尽显流畅韵致，既恪守古帖法度，又流露自身沉稳内敛的书风特质，跳出馆阁体的刻板，将兰亭题跋的清雅文思落于笔端，满卷澹泊书卷之气。",[25,7,60,110,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed86c73bdd6b81c560d56adba225b5d.jpg",[],{"id":41822,"slug":41823,"title":41824,"dynasty":18,"author":41825,"museum":107,"description":41826,"tags":41827,"thumbUrl":41828,"material":751,"size":752,"collection":95,"collections":41829,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},239705,"a-gui-shu-hong-li-wan-shou-ju-shi-ce-a-gui-239705","阿桂书弘历万寿菊诗册","阿桂","章佳氏，字广庭，号云岩，满洲正蓝旗（后以功抬入正白旗）人，清朝名将，大学士阿克敦之子\n阿桂于乾隆三年（1738年）中举，累授户部郎中、军机章京。乾隆十三年（1748年），随征大小金川，遭劾被贬。后复升为内阁学士兼礼部侍郎，因办事勤慎而受重用，历任参赞大臣、镶红旗蒙古副都统、工部侍郎等，长期戍守西北边疆。乾隆二十四年（1759年），参与平定大小和卓叛乱，事后移驻伊犁，建屯田之策。回朝数年间，历任内大臣、汉军镶蓝旗都统、军机大臣、满洲正红旗都统、四川总督等。乾隆三十三年（1768年），以副将军之职随经略傅恒领兵征讨缅甸。乾隆三十六年（1771年），再次参加大小金川之役，历时五年，运筹战事，多合机宜，为平定金川首功。此后多次前往地方办理钦案、督筑河堤，两次率师镇压甘肃回民起义，并以领班军机大臣身份提出镇压台湾林爽文起义的进兵方略，累加太子太保、武英殿大学士。嘉庆二年（1797年），阿桂逝世，享年八十一岁。获赠太保，谥号“文成”，并入祀贤良祠。道光三年（1823年），配飨太庙。有《军需则例》15卷，今已佚。有诗数首传世。",[24,25,26,7,27,140,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9978b095cf694218df7826fd430125.jpg",[],{"id":41831,"slug":41832,"title":41833,"dynasty":45,"author":454,"museum":107,"description":41834,"tags":41835,"thumbUrl":41836,"material":95,"size":95,"collection":95,"collections":41837,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239661,"zhang-yu-huai-you-shi-juan-yi-ming-239661","张羽怀友诗卷","此卷笔墨萧散清逸，以行书铺陈怀友心绪，点画牵丝映带间尽显明代文人的清雅风神。笔意随性舒展，将念友的缱绻深情藏于流动线条之中。\n\n卷上鉴藏钤印琳琅错落，历代题跋排布有致，虽经岁月磨洗，有蠹蚀墨损晕开斑驳痕迹，却恰似时光镌刻的印记，晕染出古旧温润的质感。它将私人怀愫凝为跨越时空的笔墨遗存，裹挟着古纸沉香，静静诉说昔年文人间的知己情谊，尽显尺牍诗卷的隽永韵致。",[23,24,25,49,7,1328,50,60,77,51,56,268,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7840233708350a9a9d0071500e0ed22.jpg",[],{"id":41839,"slug":41840,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":41841,"thumbUrl":41842,"material":312,"size":12116,"collection":95,"collections":41843,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239610,"shi-san-zha-ce-zhu-da-239610",[7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf02125aa65118492f16eddd99c7e1d.jpg",[],{"id":41845,"slug":41846,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":41847,"thumbUrl":41848,"material":312,"size":12116,"collection":95,"collections":41849,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239607,"shi-san-zha-ce-zhu-da-239607",[18,7,60,398,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bba4ebc8ab3857d44e49e7cc02ed958.jpg",[],{"id":41851,"slug":41852,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":41853,"thumbUrl":41854,"material":312,"size":12116,"collection":95,"collections":41855,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239602,"shi-san-zha-ce-zhu-da-239602",[24,25,26,60,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffde872d857b9d2955b28f94e8aa029.jpg",[],{"id":41857,"slug":41858,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":41859,"thumbUrl":41860,"material":312,"size":12116,"collection":95,"collections":41861,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239600,"shi-san-zha-ce-zhu-da-239600",[7,26,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cc80968e956b7a08e356d79296a3a.jpg",[],{"id":41863,"slug":41864,"title":41865,"dynasty":45,"author":2206,"museum":126,"description":15604,"tags":41866,"thumbUrl":41867,"material":95,"size":95,"collection":96,"collections":41868,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239576,"shu-yan-xi-ting-deng-si-ji-ti-zhu-yun-ming-239576","书燕喜亭等四记题",[23,7,25,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263f9a302ecb8222f9c62a850d907960.jpg",[96],{"id":41870,"slug":41871,"title":25911,"dynasty":18,"author":15594,"museum":107,"description":41872,"tags":41873,"thumbUrl":41874,"material":95,"size":95,"collection":95,"collections":41875,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239533,"fang-gu-ji-you-tu-ce-huang-yi-239533","画面左右疏密相生，左侧题跋笔墨朴拙舒展，行书苍劲清逸，与右侧山水浑然相融。干笔淡墨晕出山峦秋意，屋舍错落隐于枯木疏枝之间，简括写意，留白空灵幽寂。\n\n整体以书入画，笔致简劲清脱，将寻古幽怀寄寓淡墨轻岚之中，尽显文人雅淡意趣。萧索淡远的山居小景，与长篇题咏相映成趣，诗画合璧，笔简而意足，漫溢出静穆古雅的林下之风。",[24,25,26,50,27,51,55,58,56,57,77,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703d15fabc404980d71f616584a315.jpg",[],{"id":41877,"slug":41878,"title":41879,"dynasty":18,"author":35749,"museum":107,"description":35750,"tags":41880,"thumbUrl":41881,"material":751,"size":752,"collection":95,"collections":41882,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239370,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239370","画载月十咏诗意册",[24,25,26,50,77,7,845,360,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6026e8f37091ec9ac1e937295a7084.jpg",[],{"id":41884,"slug":41885,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":41886,"tags":41887,"thumbUrl":41888,"material":95,"size":95,"collection":95,"collections":41889,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239201,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239201","左幅行书题跋笔力苍劲疏朗，与右侧山水相映成趣。此帧以干笔皴擦写层岩峻岭，峰峦奇崛高峙，飞泉自崖壁奔涌而下，汇作浅溪环山蜿蜒。坡岸林木蓊郁，掩映山居古寺，满幅幽寂清远。\n\n全作用水墨晕染出山川氤氲之气，笔墨简淡苍秀，不事秾丽，尽显静穆萧散的林下之风。以枯淡之笔写胸中丘壑，寄寓遗世独立的清冷襟怀，将江南山水清灵与沉郁心境相融，是文人山水画以意驭笔、以画明心的佳构。",[24,25,26,50,51,7,77,59,266,56,555,53,471,1316,7758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb501577a0aef1916a65468140f42c8f.jpg",[],{"id":41891,"slug":41892,"title":10678,"dynasty":18,"author":12696,"museum":107,"description":41893,"tags":41894,"thumbUrl":41895,"material":95,"size":95,"collection":95,"collections":41896,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239163,"shan-shui-hua-hui-ce-chen-heng-ke-239163","此作为典型文人小品，右侧以淡墨晕染寿桃，轮廓简约却饱满莹润，浓墨勾枝，拙朴苍劲，寥寥数笔便将桃实的清灵生机尽显。左侧行书题词，笔力隽逸舒展，墨色浓淡变化自然，词句与画意相映成趣。\n\n整体构图疏朗空灵，以少胜多，水墨写意间尽显简澹天真的意趣。将花果的清雅与词作幽寂的意境相合，不着艳色，却在干湿浓淡的笔墨变化中，晕染出东方文人淡泊恬然的审美意韵，余味悠长。",[24,25,26,50,60,7,30,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2753ad7037255f25709ae0a5269cbf.jpg",[],{"id":41898,"slug":41899,"title":41900,"dynasty":18,"author":41901,"museum":107,"description":41902,"tags":41903,"thumbUrl":41904,"material":751,"size":752,"collection":95,"collections":41905,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},239070,"chun-shan-wan-shan-niu-jia-yin-239070","春山纨扇","钮嘉荫","钮嘉荫（1857～1915），字叔文，号闻叔、夫椒山民，室名结古欢室，吴县（今苏州）人。精鉴别，工书及篆刻，金石考证，真草篆隶，均能入古。",[24,25,1250,27,50,59,51,52,53,54,113,56,251,333,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0770e76b1f3fca05524519016f581287.jpg",[],{"id":41907,"slug":41908,"title":31645,"dynasty":18,"author":2634,"museum":107,"description":41909,"tags":41910,"thumbUrl":41911,"material":95,"size":95,"collection":95,"collections":41912,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238763,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238763","此作诗画合璧，淡墨轻晕间尽显雅逸之致。近景庭院里，古木虬枝旁立着玲珑湖石，屋舍隐于翠色间，白衣文士徐行其间，似正沉醉林泉幽意。远景烟波澹澹，汀渚之上楼阁隐现于薄雾中，咫尺画幅铺展出悠远空寂的意境。\n笔致清润温婉，以极简的水墨皴擦勾勒物象，褪去浓艳，以淡素色调烘托出疏旷闲雅的氛围。书法与绘境相互呼应，将诗文里林下悠游的诗意凝注于画面，把文人闲居赏景的澹然心境具象展现，诗画相映，尽显中式水墨含蓄隽永的独特意趣。",[24,25,26,50,27,51,55,458,113,56,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc16c16111bf4f1c7e459eab1e241f936.jpg",[],{"id":41914,"slug":41915,"title":31645,"dynasty":18,"author":2634,"museum":107,"description":41916,"tags":41917,"thumbUrl":41918,"material":95,"size":95,"collection":95,"collections":41919,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238755,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238755","此作以淡墨皴擦晕染水岸山居，近景坡陀嘉木葱茏，茅舍内人影对坐闲话，尽显幽居自适之趣。远山含烟隐现，汀渚横斜，水色空濛，平远清旷的山水意境铺陈开来。\n笔墨清隽秀润，兼具元人山水的萧散简淡与院体的精工雅致，凭极简的墨色层次晕出空寂悠远氛围感，将诗句中的林泉高致具象化，尽显文人心底的幽居雅怀，是融诗画意境的佳构。",[24,25,26,50,51,58,56,57,471,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13242d5be428ecfddb3f0585f68b615c.jpg",[],{"id":41921,"slug":41922,"title":31645,"dynasty":18,"author":2634,"museum":107,"description":41923,"tags":41924,"thumbUrl":41925,"material":95,"size":95,"collection":95,"collections":41926,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238751,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238751","此作用淡墨轻皴绘就村居春景，将耕稼闲居合为一卷。左侧田埂蜿蜒，农人驱牛犁地，远山以淡墨晕染留白，烟岚轻笼，野趣盎然。右侧柴扉半启，稚子倚门，幽柳下士人凭立，望向乡居屋舍，屋内人影隐约，尽显村居松弛安然。\n\n全画笔墨秀润清简，设色素净无华，题诗与绘景相映，将春日耕忙与林下闲思相融，铺展出平和冲淡的太平村居图，尽显文人心中的田园雅意，淡而有味，余韵悠长。",[24,25,26,50,27,51,113,797,52,115,53,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecabb437ecea08ed69a8f675f78b324.jpg",[],{"id":41928,"slug":41929,"title":31645,"dynasty":18,"author":2634,"museum":107,"description":41930,"tags":41931,"thumbUrl":41932,"material":95,"size":95,"collection":95,"collections":41933,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238737,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238737","此作以郊野饯别入画，淡墨绘就柳丝依依，荒坡浅溪蜿蜒迤逦。主客对揖作别，侍童牵马静立旁侧，萧疏景致暗合离人愁绪。线条清隽秀雅，皴擦简淡空灵，以水墨晕染出春日郊野的柔寂氛围。搭配题诗与朱红印章，诗画相映，将古人惜别心绪融于笔底。整幅书卷盎然，雅致清和，以极简笔墨烘托出缱绻离情，尽显含蓄韵致，淡远中藏着深长的送别意趣。",[24,25,26,112,50,113,1074,652,57,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1102aa8993808b49edb1f67b105d02.jpg",[],{"id":41935,"slug":41936,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":41937,"tags":41938,"thumbUrl":41939,"material":95,"size":95,"collection":95,"collections":41940,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238726,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238726","此作用笔简淡清逸，亭轩栖于林石之间，主人凭窗凝坐，静览周遭山色。古木虬曲苍劲，坡石隐现错落，衬出幽庭清寂安闲。屋宇勾勒工稳细致，山石林木以干笔皴擦，笔墨松秀空灵，尽显文人雅淡之趣。右上角题诗与画面相映成趣，将闲居幽赏的文愫融于水墨之中，诗画相生，把林下栖迟的静穆意境烘托恰到好处，传递出冲淡安和的古典文人心境。",[24,25,26,50,59,113,458,51,652,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261eeaf85c4400f3618fb4ca3bd1de65.jpg",[],{"id":41942,"slug":41943,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":41944,"tags":41945,"thumbUrl":41946,"material":95,"size":95,"collection":95,"collections":41947,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238722,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238722","平坡之上三人意态悠然，静立者垂眸凝思，二人或蹲坐、或俯身拨弄草木，共赏林中山趣。周遭虬曲嘉木与错落山石相映，以清润水墨晕染出苍润质感，林木萧疏清逸，笔墨写意简练。诗画相映成趣，将文人情思寄寓林泉丘壑，把诗意具象为林下幽景，勾勒出超然尘外的雅集之境，传递出静穆淡远的隐逸意趣，尽显文人画诗画合璧的悠然格调。",[24,25,26,50,111,113,51,56,57,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3fbc3c6b2089ae3c5c0e7c85670bd00.jpg",[],{"id":41949,"slug":41950,"title":12121,"dynasty":18,"author":2634,"museum":107,"description":41951,"tags":41952,"thumbUrl":41953,"material":95,"size":95,"collection":95,"collections":41954,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238714,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238714","此作诗画合璧，以淡墨晕染出春郊清和景致，柳丝拂岸，丘坡温润朴拙，右侧谯楼静立城隅，尽显古雅意趣。鞍上长者意态萧散，侍仆恭谨相随，人物衣纹简括灵动，将古风雅游的悠然意韵尽显。行书题诗笔致舒展俊逸，与水墨景致相得益彰，极简笔墨勾勒出悠远古意，将咏怀寄思的雅致心境融于尺幅之间，诗画相生相融，淡远清疏的意境里，藏着怀古抒情的悠悠余韵，尽显文人雅逸的审美意趣。",[24,25,26,50,27,113,1074,458,56,57,1283,7,60,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c38266c3dc0949230b1a13c7c2e3e2.jpg",[],{"id":41956,"slug":41957,"title":41958,"dynasty":18,"author":28298,"museum":107,"description":28299,"tags":41959,"thumbUrl":41960,"material":751,"size":752,"collection":95,"collections":41961,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},238660,"hua-shan-shui-bing-shu-ti-qian-wei-cheng-long-jing-ba-yong-tu-shi-cheng-shan-hong-wu-238660","画山水并书题钱维城龙井八咏图诗成扇",[1250,51,7,27,59,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288f035cf5315ab1f42605fb7e0105b2.jpg",[],{"id":41963,"slug":41964,"title":41965,"dynasty":18,"author":454,"museum":107,"description":41966,"tags":41967,"thumbUrl":41968,"material":751,"size":752,"collection":35,"collections":41969,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238579,"qing-ren-lie-quan-tu-ce-yi-ming-238579","清人猎犬图册","寒林雪色清寂，冷月斜挂枯梢。玄色猎犬肌理劲健，四蹄腾空，叼获猎物疾奔而去，将猛犬矫捷悍勇之姿刻画得淋漓尽致，灵动生机呼之欲出。左侧行书笔力清劲，文辞与绘作呼应，详述猎犬忠勇机敏之性。整作工写相宜，设色淡逸清润，将郊野荒寒的冬日氛围与猛犬骁悍相融，形神兼备，兼具画意与文趣，是意韵古雅的精妙小品。",[24,25,26,27,111,798,704,32520,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd063d5f5877f80773be44f4409964346.jpg",[35,218],{"id":41971,"slug":41972,"title":41973,"dynasty":18,"author":1527,"museum":107,"description":7655,"tags":41974,"thumbUrl":41975,"material":95,"size":95,"collection":95,"collections":41976,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238522,"shan-shui-xiao-ce-qian-wei-cheng-238522","山水小册",[24,25,50,26,59,60,7,51,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3c3897e70a66417d3cc912dde3cc4f.jpg",[],{"id":41978,"slug":41979,"title":26912,"dynasty":18,"author":26913,"museum":107,"description":41980,"tags":41981,"thumbUrl":41982,"material":95,"size":95,"collection":95,"collections":41983,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238223,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238223","此作以诗画合璧尽显文人意趣。右侧绘就溪岸春景，上部烟柳疏朗映带茅亭，下部浅滩错落，杂树生姿，留白铺就空濛淡远的水乡氛围，笔墨清润秀雅，以干淡之墨轻皴慢染，晕染出江南春日温婉闲静的悠悠况味。\n\n左侧题咏诗文与画面呼应，笔意萧散俊朗，文墨相生，将春日溪亭的幽寂闲情尽数铺陈，带着含蓄古雅的书卷气，把文人寄情山水的雅趣融于尺幅之间，静谧悠然，余韵悠长。",[24,25,26,50,51,60,77,59,652,9676,55,2019,29991,471,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb760a72235c209c2457aa958655b8ec5.jpg",[],{"id":41985,"slug":41986,"title":4167,"dynasty":18,"author":15612,"museum":107,"description":41987,"tags":41988,"thumbUrl":41989,"material":95,"size":95,"collection":95,"collections":41990,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238158,"shan-shui-ce-yun-xi-238158","此作用笔简淡秀雅，枯笔勾勒山石轮廓，略施皴擦便尽显崖壁嶙峋之态。一江春水空濛辽远，远山晕染出清旷虚灵之境，近岸竹树错落、茅舍隐于石畔，将幽居野逸的林下意趣藏于尺幅间。\n\n搭配行书题诗，笔墨俊逸萧散，诗画呼应，把林泉高致的雅趣融于纸间。整体简而不空、淡而有味，尽显静穆淡远的文人山水意韵，藏着文人寄情丘壑、静享林幽的雅怀。",[24,25,26,50,51,57,56,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ad12cf9ac6d401f476427c2bee4913.jpg",[],{"id":41992,"slug":41993,"title":4167,"dynasty":18,"author":15612,"museum":107,"description":41994,"tags":41995,"thumbUrl":41996,"material":95,"size":95,"collection":95,"collections":41997,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238155,"shan-shui-ce-yun-xi-238155","此作用淡墨勾勒尖削峰林，以留白晕染雪意，群峰莹白清寒，如被素雪裹覆。山坳板桥茅舍隐现，枯木疏枝错落溪岸，寒水无波，处处漫着冬日的清寂萧疏。\n\n笔墨极简却意韵悠长，以劲爽线条勾勒山石肌理，淡墨皴擦写出雪中山峦的苍润质感，不着粉白却尽显冬山素净。搭配左侧题诗，诗书相映，将林下幽居的出世雅趣融在尺幅之间，借清冷冬景寄寓超脱孤高的文人襟怀，淡远空寂中藏着静谧禅意。",[24,25,26,50,59,7,60,77,51,52,53,458,57,704,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ee8007cd6cbc51f1607ef9f15f0123.jpg",[],{"id":41999,"slug":42000,"title":42001,"dynasty":18,"author":42002,"museum":107,"description":42003,"tags":42004,"thumbUrl":42005,"material":751,"size":752,"collection":95,"collections":42006,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238074,"shan-shui-ce-zhuang-tu-zhou-xu-dai-238074","山水册装图轴","徐岱","此作用笔清润简淡，近岸古木扶疏蓊郁，涧水蜿蜒穿谷，山坳间草堂隐现，岚气轻笼远山，将幽居林泉的雅趣晕染开来。搭配行书题诗，诗画合璧呼应主题，笔墨间尽显空寂萧散的林下之风，把澄怀观道、寄情山水的文人心境藏进尺幅，淡墨晕染出江南山水温婉灵秀的气韵，观之如临幽寂山居，恍可听涧水松风，静享林泉雅意。",[24,25,26,50,59,51,56,58,57,471,552,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75463629b44500bcc731ee2ef823431.jpg",[],{"id":42008,"slug":42009,"title":13720,"dynasty":18,"author":9486,"museum":107,"description":42010,"tags":42011,"thumbUrl":42012,"material":95,"size":95,"collection":95,"collections":42013,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},238054,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238054","这幅画以指代笔，淡墨寥寥勾勒洛神身形，发髻高挽，衣袂轻扬，仿佛正凌波御风，将洛神孤高清婉的仪态尽显笔底。不着一笔绘水云，却以大片留白烘托出缥缈虚灵的氛围感，恍惚间便能窥见洛神踏浪而来的出尘仙姿。右上角题字呼应意境，笔意与画意相融，极简构图却神韵具足，简而不空，留白尽是悠远诗意，将怅惘渺远的情思藏于淡墨线条之中，尽显写意之妙。",[9489,50,113,26,77,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e263c62b1a5c67db19b86bc4e46f39.jpg",[],{"id":42015,"slug":42016,"title":4167,"dynasty":18,"author":42017,"museum":107,"description":42018,"tags":42019,"thumbUrl":42020,"material":95,"size":95,"collection":95,"collections":42021,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237974,"shan-shui-ce-zhang-geng-237974","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,50,51,26,59,77,7,56,57,471,2219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef2e084a40181e1e9b588b6e8fbc6ce.jpg",[],{"id":42023,"slug":42024,"title":4167,"dynasty":18,"author":42025,"museum":107,"description":42026,"tags":42027,"thumbUrl":42028,"material":751,"size":752,"collection":95,"collections":42029,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},237919,"shan-shui-ce-cheng-ming-237919","程鸣","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[24,50,59,26,77,7,51,652,651,30986,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7d2fc757ea7d087ed5a40dcf9f1701.jpg",[],{"id":42031,"slug":42032,"title":4167,"dynasty":18,"author":42033,"museum":107,"description":42034,"tags":42035,"thumbUrl":42036,"material":95,"size":95,"collection":95,"collections":42037,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},237901,"shan-shui-ce-cheng-hui-hao-237901","程徽灏","乾隆庚戌年间画家",[24,25,26,50,59,51,58,56,57,471,552,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a3e15ada2a6c6d12ce9b00a179cf03.jpg",[],{"id":42039,"slug":42040,"title":4167,"dynasty":18,"author":42033,"museum":107,"description":42041,"tags":42042,"thumbUrl":42043,"material":95,"size":95,"collection":95,"collections":42044,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},237897,"shan-shui-ce-cheng-hui-hao-237897","此作用笔简逸枯淡，以水墨写就平远秋山。近岸浅渚错落，枯木疏林偃仰生姿，坡坳茅舍幽然孑立，暗合幽人高隐之境。远山以淡墨轻扫，留白衬出山峦清润空濛，极简皴擦勾勒山石嶙峋质感，不着浓墨却见丘壑深致。\n\n题识书法与画面相得益彰，笔墨相融尽显文人画萧散简远意趣。整幅小品以少胜多，以简驭繁，将江南秋山的清寂之美藏于寥寥笔意间，淡而有味，简而愈远，氤氲静穆林下之风，观之如临林泉，得山居幽赏之雅兴。",[24,50,26,59,7,77,51,652,57,55,53,250,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49652381d04759b8ac564f600d23d62a.jpg",[],{"id":42046,"slug":42047,"title":17304,"dynasty":18,"author":10781,"museum":107,"description":42048,"tags":42049,"thumbUrl":42050,"material":751,"size":752,"collection":95,"collections":42051,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237780,"shan-shui-tu-ce-ye-xin-237780","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。",[24,25,26,50,51,458,7,77,57,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafdcee66630594e81269a9791ad0855a.jpg",[],{"id":42053,"slug":42054,"title":29763,"dynasty":18,"author":29764,"museum":107,"description":29765,"tags":42055,"thumbUrl":42056,"material":751,"size":752,"collection":95,"collections":42057,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237714,"qiu-sui-hua-niao-ce-qiu-sui-237714",[24,25,26,27,29,131,693,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cc0848938c3abc77e1d7f1af2d5075.jpg",[],{"id":42059,"slug":42060,"title":29763,"dynasty":18,"author":29764,"museum":107,"description":29765,"tags":42061,"thumbUrl":42062,"material":751,"size":752,"collection":95,"collections":42063,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237707,"qiu-sui-hua-niao-ce-qiu-sui-237707",[24,25,26,27,111,29,138,285,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874edadb676eea38350a03a6ba9f872b.jpg",[],{"id":42065,"slug":42066,"title":28334,"dynasty":18,"author":3067,"museum":107,"description":9355,"tags":42067,"thumbUrl":42068,"material":751,"size":752,"collection":95,"collections":42069,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237598,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237598",[24,25,26,50,59,110,7,60,77,51,52,53,56,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f5abfa30caf400f8371c638e17569a.jpg",[],{"id":42071,"slug":42072,"title":38730,"dynasty":18,"author":38731,"museum":107,"description":42073,"tags":42074,"thumbUrl":42075,"material":95,"size":95,"collection":95,"collections":42076,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237565,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237565","此页行书笔致秀逸灵动，结体舒展自然，枯润笔墨搭配得宜，尽显书写时的悠然心境。诗文清雅隽秀，寄寓着林下幽赏的闲情雅致，笔墨间流转着文人的澹泊意趣。落款小字利落明快，朱红方印朴拙古雅，与淡墨书迹相得益彰。整体章法疏朗和谐，以书载诗，融诗意与笔情于一体，尽显雅致审美，寥寥数行便将文人幽赏山水、寄情笔墨的雅趣尽显无遗。",[18,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b70d63e4f3862473c8285b914cc723d.jpg",[],{"id":42078,"slug":42079,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":42080,"thumbUrl":42081,"material":751,"size":752,"collection":95,"collections":42082,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237515,"shan-shui-hua-hui-ce-jiang-shou-cheng-237515",[24,25,26,60,50,59,51,54,56,458,471,3536,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de84a9955661f8e1f2d6075f960c27b.jpg",[],{"id":42084,"slug":42085,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":42086,"thumbUrl":42087,"material":751,"size":752,"collection":95,"collections":42088,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},237514,"shan-shui-hua-hui-ce-jiang-shou-cheng-237514",[24,25,26,50,60,51,113,1018,266,1678,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b25e6f1c43bcc0904c1442f8a75569.jpg",[],{"id":42090,"slug":42091,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":42092,"thumbUrl":42093,"material":751,"size":752,"collection":95,"collections":42094,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237512,"shan-shui-hua-hui-ce-jiang-shou-cheng-237512",[24,25,26,50,27,59,51,56,57,52,53,55,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d63a35a73b6037ec99be11c07049ca7.jpg",[],{"id":42096,"slug":42097,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":42098,"thumbUrl":42099,"material":751,"size":752,"collection":95,"collections":42100,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237508,"shan-shui-hua-hui-ce-jiang-shou-cheng-237508",[24,25,26,50,27,60,7,140,132,250,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4dbe46d53d181c81ca244fb5ea08b9.jpg",[],{"id":42102,"slug":42103,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":42104,"thumbUrl":42105,"material":751,"size":752,"collection":95,"collections":42106,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237501,"shan-shui-hua-hui-ce-jiang-shou-cheng-237501",[24,25,26,27,50,59,7,77,51,1018,57,252,53,54,10784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cb01483ce49386bed6ce637a3c66bb.jpg",[],{"id":42108,"slug":42109,"title":42110,"dynasty":18,"author":42111,"museum":107,"description":42112,"tags":42113,"thumbUrl":42114,"material":751,"size":752,"collection":95,"collections":42115,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237477,"shan-shui-hua-shi-ce-wang-han-237477","山水花石册","王翰","王翰（公元687年~726年），字子羽，并州晋阳（今山西太原市）人，唐代边塞诗人。与王昌龄同时期，王翰这样一个有才气的诗人，其集不传。其诗载于《全唐诗》的，仅有14首。登进士第，举直言极谏，调昌乐尉。复举超拔群类，召为秘书正字。擢通事舍人、驾部员外。出为汝州长史，改仙州别驾。",[24,25,26,27,7,77,1739,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2f890fd6714f05622c06b0820ccd46.jpg",[],{"id":42117,"slug":42118,"title":4167,"dynasty":18,"author":42119,"museum":107,"description":42120,"tags":42121,"thumbUrl":42122,"material":312,"size":95,"collection":95,"collections":42123,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237372,"shan-shui-ce-wang-jiu-237372","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,25,26,50,51,59,7,77,252,651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99fab46134f266acd40051f17eaec64b.jpg",[],{"id":42125,"slug":42126,"title":16752,"dynasty":18,"author":9615,"museum":126,"description":16753,"tags":42127,"thumbUrl":42129,"material":312,"size":95,"collection":95,"collections":42130,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237211,"shu-hua-he-bi-ce-cha-shi-biao-237211",[25,26,50,51,7,60,59,57,56,53,52,54,2019,8049,42128],"树木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a872af8137fe1d04a918ab57a33480.jpg",[],{"id":42132,"slug":42133,"title":11849,"dynasty":18,"author":11850,"museum":107,"description":42134,"tags":42135,"thumbUrl":42136,"material":312,"size":95,"collection":95,"collections":42137,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237063,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237063","这幅小品以双松入画，老干盘曲如铁，松针攒簇苍劲，垂挂的古藤更添幽古之态，笔墨清简却将松柏傲岸高古之姿尽显无余。搭配左侧行书题诗，笔意舒展隽秀，诗画相映成趣。\n整体浅素设色，写意兼具精微，将林泉隐逸的幽寂意境铺陈开来，暗合题诗中静听流水、寄身松间的林下幽思，尽显文人画诗画合璧的雅逸风骨，寥寥数笔勾勒出世外静境，简淡中藏风神，清雅间见襟怀。",[24,25,26,27,50,1018,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb771e1d885859fc28ea960df2dec39.jpg",[],{"id":42139,"slug":42140,"title":4167,"dynasty":45,"author":42141,"museum":107,"description":42142,"tags":42143,"thumbUrl":42144,"material":751,"size":752,"collection":95,"collections":42145,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},237003,"shan-shui-ce-sun-ri-shao-237003","孙日绍","明代进士",[24,25,26,50,59,51,57,56,52,458,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9bebee8129eca29e0ff454f2255e06.jpg",[],{"id":42147,"slug":42148,"title":42149,"dynasty":45,"author":42150,"museum":107,"description":42151,"tags":42152,"thumbUrl":42154,"material":751,"size":752,"collection":95,"collections":42155,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},236671,"qiu-lin-mi-ju-tu-shan-zhu-yun-236671","秋林觅句图扇","朱鈗","鲁端王，朱观，朱健杙、嫡一子，在位时间：1528年—1549年嘉靖七年袭封。二十八年薨。",[1250,50,51,10302,57,116,7,59,56,2061,42153],"文人活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86676b798481bc5766a18fd4e3f860a.jpg",[],{"id":42157,"slug":42158,"title":36127,"dynasty":18,"author":36128,"museum":107,"description":36129,"tags":42159,"thumbUrl":42161,"material":95,"size":95,"collection":95,"collections":42162,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},236532,"ren-wu-gu-shi-ce-chen-zi-236532",[24,25,26,50,27,113,7,77,574,7062,111,42160],"兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168c916a79cd9461a9906cefe56afb79.jpg",[],{"id":42164,"slug":42165,"title":38802,"dynasty":18,"author":3067,"museum":107,"description":17329,"tags":42166,"thumbUrl":42167,"material":95,"size":95,"collection":95,"collections":42168,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},236452,"ni-qian-ren-shi-yi-ce-wang-hui-236452",[24,25,26,50,51,59,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d3edd6aa028dcdd2eaeb38e264bfdf.jpg",[],{"id":42170,"slug":42171,"title":1290,"dynasty":18,"author":5660,"museum":126,"description":29813,"tags":42172,"thumbUrl":42173,"material":488,"size":29816,"collection":95,"collections":42174,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},236318,"hua-hui-ce-wang-shi-shen-236318",[24,25,26,50,27,29,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b664a2a7bfc64f856a76c5678c625eb.jpg",[],{"id":42176,"slug":42177,"title":42178,"dynasty":18,"author":2634,"museum":126,"description":37247,"tags":42179,"thumbUrl":42180,"material":95,"size":95,"collection":63,"collections":42181,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},236193,"hua-shan-shui-qian-ru-cheng-shu-yong-long-quan-pan-zi-shi-cheng-shan-dong-bang-da-236193","画山水钱汝诚书咏龙泉盘子诗成扇",[24,25,1250,51,50,59,7,60,57,56,252,267,14918,2028,6769,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34acdc9056c7fd7283ac060b7ce77fd1.jpg",[63,218],{"id":42183,"slug":42184,"title":42185,"dynasty":18,"author":42186,"museum":107,"description":42187,"tags":42188,"thumbUrl":42189,"material":751,"size":752,"collection":95,"collections":42190,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},236186,"hua-shan-shui-liu-yong-shu-yu-zhi-shi-cheng-shan-wang-jing-ming-236186","画山水刘墉书御制诗成扇","王敬铭","生于清康熙七年（1668年），康熙五十二年（1713年）帝六十大寿，特开恩科，成为“恩科状元”。授翰林院修撰，赐住宅一间。康熙五十八年侍值热河。\n康熙六十年（1721年）父丧归里，不久卒于家。",[1250,24,25,51,113,7,27,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef0e53353c7aa8be38e93f5af06801b.jpg",[],{"id":42192,"slug":42193,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":42194,"tags":42195,"thumbUrl":42196,"material":95,"size":95,"collection":95,"collections":42197,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},236092,"hua-luo-han-ce-leng-mei-236092","此作以淡墨轻彩绘就，右侧三罗汉或抬首仰望，或侧身惊呼，衣袂随天风飘举，将初见天宫楼阙时的讶异之态刻画得灵动传神，留白铺陈出虚空浩渺的禅意氛围。细劲游丝描勾勒衣褶线条，尽显清透雅致的格调。\n\n左侧题诗与画境呼应，诗画合璧，把禅观中的玄妙幻景具象铺展。整体笔墨简净清隽，以形写神，将罗汉的惊羡情态与佛家幽微禅理相融，既有人物画的生动意趣，又饱含文人笔墨的诗意氛围感，尽显静穆悠远的禅韵。",[24,92,25,26,878,111,27,113,458,845,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a035b802483c6e70a5c5d222b7ea1e.jpg",[],{"id":42199,"slug":42200,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":42201,"tags":42202,"thumbUrl":42203,"material":95,"size":95,"collection":95,"collections":42204,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},236091,"hua-luo-han-ce-leng-mei-236091","此作右幅绘袒腹罗汉安坐石堆，面容圆和自得，三名弟子或仰首凝神聆教，或垂首沉心参悟，衣纹柔劲舒展，将人物姿容意态刻画得鲜活传神。左幅配行书题诗，笔墨隽秀雅致，与画作相得益彰。整体设色淡雅明净，工细中带着写意的松弛，以简练构图铺陈禅门论道的静穆氛围，将空灵悠远的禅思融于尺幅之间，尽显细腻生动的人物表现力与营造意境的深厚功底。",[26,7,113,27,111,4347,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62d09b46e13423aaee78a881d7cae11.jpg",[],{"id":42206,"slug":42207,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":42208,"tags":42209,"thumbUrl":42210,"material":95,"size":95,"collection":95,"collections":42211,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},236087,"hua-luo-han-ce-leng-mei-236087","画面右侧罗汉颓然卧于石上，沉醉忘形，身侧侍者一人奉茶、一人指认漫天簌簌而落的天花，情态各异，生动传神。设色浅淡清雅，衣纹线条细劲流畅，将布料的柔润质感与人物动态完美结合，罗汉醺然沉醉的神态刻画入微，侍者恭谨的姿态颇具章法。\n\n左侧题字笔致秀逸舒展，诗偈呼应画意，点明天花不着身的无漏禅心，书画相映，禅意悠悠。整体工致秀雅，兼具院体画的精工与文人意趣，将禅家澄明境界融于尺幅之间，静穆生动并存，尽显出尘的禅门意韵。",[24,25,878,113,111,27,77,7,10664,17076,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26576d943f408476f88ed7f842453cb5.jpg",[],{"id":42213,"slug":42214,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":42215,"tags":42216,"thumbUrl":42217,"material":95,"size":95,"collection":95,"collections":42218,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},236086,"hua-luo-han-ce-leng-mei-236086","画面右侧，趺坐的尊者神态安和超逸，环身奇石肖似诸形，伴其参悟禅机。衣纹清劲流畅，落笔工细秀雅，淡色晕染愈显静穆出尘。左侧题诗与画境呼应，以“无情有情”阐发禅宗思辨，诗画合璧，文心与画意相融无间。\n\n奇石造型朴拙古雅，意趣天成，将参禅之思凝于笔端，工致笔触晕开空灵禅韵，把禅理哲思揉进淡墨雅色里，观之涤除尘嚣，引人沉潜于清远出尘的禅意之中。",[24,25,111,27,878,113,2019,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feae392828cdf9170396e5c44e0f1a212.jpg",[],{"id":42220,"slug":42221,"title":4167,"dynasty":18,"author":29845,"museum":107,"description":42222,"tags":42223,"thumbUrl":42224,"material":95,"size":95,"collection":95,"collections":42225,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},235940,"shan-shui-ce-qi-zhi-jia-235940","此作用笔苍润松灵，近景松石错落，茅庐隐于虬松翠柏间，野趣自生。山峦由近及远，以淡墨晕染出层次，墨色从浓郁渐次澹远，氤氲出空濛朦胧的烟岚之态，将江南山林的清寂幽深铺陈开来。\n\n整幅画作以元人笔墨为宗，干笔皴擦裹带着温润墨韵，树木姿态虬劲舒展，山石朴拙苍厚，尽显萧散简远的林下之风。左侧题跋与画作相映成趣，诗画交融，将文人寄情林泉、幽居丘壑的雅趣尽数彰显，仿若引观者步入这幽寂山林，静听松涛、坐观云起，于淡墨轻岚中，体悟那份疏旷悠然的隐逸意趣。",[24,25,26,50,59,51,652,55,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed54053c5eafec383258e001241c395.jpg",[],{"id":42227,"slug":42228,"title":17304,"dynasty":18,"author":42229,"museum":107,"description":42230,"tags":42231,"thumbUrl":42232,"material":751,"size":752,"collection":95,"collections":42233,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235903,"shan-shui-tu-ce-guan-quan-235903","官铨","官铨（公元17-18世纪初）〔清〕字方楷，号山启(《中国美术家人名辞典》作字心楷)，上元（今江苏南京）人，生卒年不详。\n龚贤(1618-1689)弟子，能诗善画。山水得龚贤正传，画风似乃师，墨法精到，唯缺劲健勾勒之笔，所见龚画中有款印确真而画笔平弱者，可能是其代笔之作。",[24,25,26,50,60,7,51,54,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaef17b071dce509c52aba139b606518.jpg",[],{"id":42235,"slug":42236,"title":17304,"dynasty":18,"author":42229,"museum":107,"description":42230,"tags":42237,"thumbUrl":42238,"material":751,"size":752,"collection":95,"collections":42239,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235902,"shan-shui-tu-ce-guan-quan-235902",[24,25,26,60,7,50,59,51,55,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb80dbd667fcaf6802072a470b66cec1.jpg",[],{"id":42241,"slug":42242,"title":17304,"dynasty":18,"author":42229,"museum":107,"description":42230,"tags":42243,"thumbUrl":42244,"material":751,"size":752,"collection":95,"collections":42245,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235897,"shan-shui-tu-ce-guan-quan-235897",[24,50,26,59,7,77,51,55,845,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e59da81817a639b59561d31b63188e.jpg",[],{"id":42247,"slug":42248,"title":17304,"dynasty":18,"author":42229,"museum":107,"description":42230,"tags":42249,"thumbUrl":42250,"material":751,"size":752,"collection":95,"collections":42251,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235896,"shan-shui-tu-ce-guan-quan-235896",[24,50,51,57,56,473,58,7,26,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06686bc1fe54e50be518ca5ded5b36ba.jpg",[],{"id":42253,"slug":42254,"title":4167,"dynasty":45,"author":13748,"museum":107,"description":42255,"tags":42256,"thumbUrl":42257,"material":95,"size":95,"collection":95,"collections":42258,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235821,"shan-shui-ce-li-liu-fang-235821","此帧以淡墨晕染汀洲远山，笔致松秀简淡，坡岸间几株杂木高低错落，枝叶以湿墨点簇，苍润朴拙。侧旁茅篱草堂隐于林下，野水空蒙，尽显幽寂淡远的林下逸趣。\n\n作者取法云林清寂之境，却变倪氏干淡折带皴为湿笔出之，褪去尖峭冷寂，添了温润苍厚的意趣，自出机杼。题诗与画作相映，诗画合璧，尽显文人画萧散简远的雅逸格调，将江南水畔的静穆闲淡融于毫端，尽显幽人逸士的林下襟怀。",[24,25,26,50,51,652,58,57,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534a881cab26c9eedb6f057eb8109fd.jpg",[],{"id":42260,"slug":42261,"title":42262,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":42263,"thumbUrl":42264,"material":751,"size":752,"collection":95,"collections":42265,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235766,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-tian-chi-shan-tu-ye-chen-chun-235766","吴门诸家寿袁方斋三绝册-天池山图页",[24,25,26,50,27,51,651,652,250,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88ed34264a705b2ce16bac1657e9992.jpg",[],{"id":42267,"slug":42268,"title":16268,"dynasty":18,"author":16269,"museum":107,"description":16270,"tags":42269,"thumbUrl":42270,"material":751,"size":752,"collection":95,"collections":42271,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235539,"xi-xiang-tu-ce-ye-bu-235539",[24,25,26,27,111,113,114,30,834,3092,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cde8374a004ffa8741fea5e7e5ab55b.jpg",[],{"id":42273,"slug":42274,"title":16268,"dynasty":18,"author":16269,"museum":107,"description":16270,"tags":42275,"thumbUrl":42276,"material":751,"size":752,"collection":95,"collections":42277,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235537,"xi-xiang-tu-ce-ye-bu-235537",[24,25,26,27,111,7,77,113,1074,652,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0e72e42d83dfe94d623d45f2bdf6cf.jpg",[],{"id":42279,"slug":42280,"title":16268,"dynasty":18,"author":16269,"museum":107,"description":16270,"tags":42281,"thumbUrl":42282,"material":751,"size":752,"collection":95,"collections":42283,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235536,"xi-xiang-tu-ce-ye-bu-235536",[24,25,26,27,113,114,52,458,57,1919,137,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6cc23bd25d3cce9a38c1458183fbe05.jpg",[],{"id":42285,"slug":42286,"title":4167,"dynasty":18,"author":24819,"museum":107,"description":42287,"tags":42288,"thumbUrl":42289,"material":751,"size":752,"collection":95,"collections":42290,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235499,"shan-shui-ce-liu-yu-235499","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,25,26,50,59,51,115,55,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4a4eeb5647524bccb0b58f947410a2.jpg",[],{"id":42292,"slug":42293,"title":42294,"dynasty":45,"author":13417,"museum":107,"description":42295,"tags":42296,"thumbUrl":42297,"material":751,"size":752,"collection":95,"collections":42298,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235315,"ba-jia-shan-shui-ce-shan-yu-zhong-quan-tu-ce-ye-bian-wen-yu-235315","八家山水册-山雨重泉图册页","字孟硕，吴江（今江苏吴江）人。工画，见赏于董思白（其昌）、陈眉公（继儒）。明亡佯狂卒，年三十二。",[24,25,26,50,51,651,2739,56,1678,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba90ceeeaf9083886b4041d1961704a1.jpg",[],{"id":42300,"slug":42301,"title":1290,"dynasty":45,"author":19183,"museum":107,"description":19184,"tags":42302,"thumbUrl":42303,"material":751,"size":752,"collection":95,"collections":42304,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235266,"hua-hui-ce-wang-gu-xiang-235266",[24,25,112,50,26,29,138,139,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06241254ce5a62ce188d62da9632b4d.jpg",[],{"id":42306,"slug":42307,"title":12162,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":42308,"thumbUrl":42309,"material":751,"size":752,"collection":95,"collections":42310,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235192,"za-hua-ce-huang-shen-235192",[24,25,26,50,139,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23afc37b276a15dd263060b51e7fe9bd.jpg",[],{"id":42312,"slug":42313,"title":42314,"dynasty":18,"author":454,"museum":107,"description":42315,"tags":42316,"thumbUrl":42317,"material":95,"size":95,"collection":95,"collections":42318,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},235053,"wan-jing-shu-yan-shuo-ce-ye-yi-ming-235053","万经书砚说册页","此作用笔取法汉隶，字形端方厚重，蚕头燕尾颇具法度，波磔舒展间尽显古朴醇厚的金石意趣。笔画排布匀整凝练，粗细变化从容自然，将古隶的端庄雅正与灵动隽秀相融。\n\n通篇章法疏朗匀净，字距行距错落和谐，气息静穆从容。文辞为品砚之语，笔墨与雅趣相得益彰，将文人赏鉴砚台的意涵融于笔端，尽显创作者对汉隶风神的深刻体悟，以及沉静内敛的文人审美追求。",[18,7,199,77,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2b500de3f7c26cf8b291f27d7125d.jpg",[],{"id":42320,"slug":42321,"title":15669,"dynasty":18,"author":15670,"museum":107,"description":33884,"tags":42322,"thumbUrl":42324,"material":751,"size":752,"collection":95,"collections":42325,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234940,"yue-man-qing-you-ce-chen-mei-234940",[24,25,111,27,60,77,7,113,114,42323,1919,2062,268,4809,137],"秋千","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6153d5a1d2b9a37ba6ed592ed7a3c1.jpg",[],{"id":42327,"slug":42328,"title":42329,"dynasty":18,"author":22037,"museum":107,"description":42330,"tags":42331,"thumbUrl":42332,"material":95,"size":95,"collection":95,"collections":42333,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234825,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-xu-fang-234825","诸家书画合璧册-山水页","徐枋（1622年5月3日——1694年11月7日），明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,25,26,50,112,51,115,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c97aa471370a2c91116fc1493138e0.jpg",[],{"id":42335,"slug":42336,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":42337,"thumbUrl":42338,"material":488,"size":95,"collection":95,"collections":42339,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234763,"huang-shan-tu-ce-jiang-zhu-234763",[24,50,59,26,7,77,51,651,845,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4fc2e5892fec283641d67a980854605.jpg",[],{"id":42341,"slug":42342,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":42343,"thumbUrl":42344,"material":488,"size":95,"collection":95,"collections":42345,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234759,"huang-shan-tu-ce-jiang-zhu-234759",[24,25,26,50,59,51,266,1678,56,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08db3b9b29ae7ec6bc94da26f7466f3.jpg",[],{"id":42347,"slug":42348,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":42349,"thumbUrl":42350,"material":488,"size":95,"collection":95,"collections":42351,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234756,"huang-shan-tu-ce-jiang-zhu-234756",[24,25,26,50,59,51,5721,57,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817b29bc28c64686275ade62604e8073.jpg",[],{"id":42353,"slug":42354,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":42355,"thumbUrl":42356,"material":488,"size":95,"collection":95,"collections":42357,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234743,"huang-shan-tu-ce-jiang-zhu-234743",[24,25,26,112,50,51,458,57,56,7,60,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34525e365391844244f12a6cd072250f.jpg",[],{"id":42359,"slug":42360,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":42361,"thumbUrl":42362,"material":488,"size":95,"collection":95,"collections":42363,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234740,"huang-shan-tu-ce-jiang-zhu-234740",[24,25,26,50,7,60,51,1151,651,56,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0784c595e270eb7061be53568d00ae2.jpg",[],{"id":42365,"slug":42366,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":42367,"thumbUrl":42368,"material":488,"size":95,"collection":95,"collections":42369,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234739,"huang-shan-tu-ce-jiang-zhu-234739",[24,25,26,50,59,60,7,51,57,56,52,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe58d980ec0a467b7840514f8a6343ed9.jpg",[],{"id":42371,"slug":42372,"title":42373,"dynasty":18,"author":38913,"museum":107,"description":38914,"tags":42374,"thumbUrl":42375,"material":95,"size":95,"collection":95,"collections":42376,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},234689,"ku-mu-zhu-shi-ye-wei-zhi-huang-234689","枯木竹石页",[24,92,25,26,50,132,588,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4cf37f9b4a30696741fdfd502e1224.jpg",[],{"id":42378,"slug":42379,"title":4167,"dynasty":45,"author":42380,"museum":107,"description":42381,"tags":42382,"thumbUrl":42383,"material":95,"size":95,"collection":95,"collections":42384,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},234626,"shan-shui-ce-zhu-yan-234626","朱炎","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,26,50,51,56,76,555,57,8049,59,6769,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0844d648afe20e899955a0f940ff495.jpg",[],{"id":42386,"slug":42387,"title":38929,"dynasty":18,"author":38930,"museum":107,"description":38931,"tags":42388,"thumbUrl":42389,"material":95,"size":95,"collection":95,"collections":42390,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234352,"you-niao-shi-tu-ce-jin-kun-234352",[24,25,26,27,51,116,60,77,20356,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f31c491cc6a38f570ec7b151aeb24d.jpg",[],{"id":42392,"slug":42393,"title":38929,"dynasty":18,"author":38930,"museum":107,"description":38931,"tags":42394,"thumbUrl":42395,"material":95,"size":95,"collection":95,"collections":42396,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234348,"you-niao-shi-tu-ce-jin-kun-234348",[24,25,26,27,60,7,59,51,57,56,471,116,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9011efcbf7f1a8dcc5eda94b9e54b08.jpg",[],{"id":42398,"slug":42399,"title":4167,"dynasty":18,"author":15980,"museum":107,"description":42400,"tags":42401,"thumbUrl":42402,"material":95,"size":95,"collection":95,"collections":42403,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234343,"shan-shui-ce-jin-ting-biao-234343","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,50,27,51,56,58,252,59,7,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf0e6fd5134ff670995f1039c11086b.jpg",[],{"id":42405,"slug":42406,"title":38929,"dynasty":18,"author":38930,"museum":126,"description":38931,"tags":42407,"thumbUrl":42408,"material":488,"size":95,"collection":95,"collections":42409,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234287,"you-niao-shi-tu-ce-jin-kun-234287",[92,24,25,26,1128,27,51,458,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b0e3f393507ea46421da8d8b6d25a15.jpg",[],{"id":42411,"slug":42412,"title":42413,"dynasty":18,"author":3067,"museum":126,"description":42414,"tags":42415,"thumbUrl":42416,"material":477,"size":95,"collection":95,"collections":42417,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},234236,"qiang-jiao-zhong-mei-tu-juan-wang-hui-234236","墙角种梅图卷","图上自题七言诗一首并识：“子鹤种梅墙角，庶几幽人韵事。余为补图，并题一绝，博诸君春雪之和。”该图卷上另有杨晋、恽寿平、王武等二十余家题诗、词，通过他们的题跋可知此图是王翚应杨晋的请求，绘杨晋在新居墙角处移植古梅一本之事。王翚以册页的形式为杨晋画了二幅图。第一幅图绘远山连绵、平波静水以及枝干清癯如铁的梅树。第二幅图绘修篁摇翠影、高台筑草亭以及高士临窗赏梅的情景。二幅图繁简不一，但是均以细润娟秀的笔墨真实地刻画出杨晋生活的居所环境，反映了其以竹、梅为邻的生活情趣。此图卷也印证了王翚与杨晋之间深厚的师生情谊。王翚被邀请画友人居所的写生之作还有许多，如他34岁时应鹤客先生张文钺之邀，绘其庭院里的仙鹤，自言“有鹤来至庭际”以“命余作图以纪其事”",[23,92,24,25,49,50,59,60,7,77,131,51,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914023115b1962e8a0c6180d27212af9.jpg",[],{"id":42419,"slug":42420,"title":42421,"dynasty":179,"author":454,"museum":126,"description":42422,"tags":42423,"thumbUrl":42424,"material":184,"size":42425,"collection":95,"collections":42426,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},234036,"ying-shui-lou-tu-ye-yi-ming-234036","映水楼图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。",[24,92,25,26,1128,27,458,51,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41edfea6b660394b1ff5f5edaf9f2c87.jpg","纵23.9cm，横25.3cm",[],{"id":42428,"slug":42429,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":42430,"thumbUrl":42431,"material":488,"size":18597,"collection":95,"collections":42432,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},233935,"dai-lu-fang-bei-tu-ce-huang-yi-233935",[24,25,26,50,59,7,60,77,51,56,57,12389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ff18c8f367293a78dea57aef569d37.jpg",[],{"id":42434,"slug":42435,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":42436,"thumbUrl":42437,"material":488,"size":18597,"collection":95,"collections":42438,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},233930,"dai-lu-fang-bei-tu-ce-huang-yi-233930",[24,25,26,50,27,112,652,58,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0978ddaa473830209794d2453e5c0d4b.jpg",[],{"id":42440,"slug":42441,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":42442,"thumbUrl":42443,"material":488,"size":18597,"collection":95,"collections":42444,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},233928,"dai-lu-fang-bei-tu-ce-huang-yi-233928",[24,25,50,112,59,51,57,56,58,3423,7,77,18,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114e8845980da2fa1c36289c017f21d8.jpg",[],{"id":42446,"slug":42447,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":42448,"thumbUrl":42449,"material":488,"size":18597,"collection":95,"collections":42450,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},233924,"dai-lu-fang-bei-tu-ce-huang-yi-233924",[24,25,26,50,59,51,57,56,268,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b4ccfbf8a261eb7faf0c5bbeaa6046.jpg",[],{"id":42452,"slug":42453,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":42454,"thumbUrl":42455,"material":488,"size":18597,"collection":95,"collections":42456,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},233922,"dai-lu-fang-bei-tu-ce-huang-yi-233922",[24,25,26,50,51,56,57,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d47e998a5bc02ccad4c33fb5e5b230.jpg",[],{"id":42458,"slug":42459,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":42460,"thumbUrl":42462,"material":488,"size":18597,"collection":95,"collections":42463,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},233920,"dai-lu-fang-bei-tu-ce-huang-yi-233920",[24,26,50,16349,51,268,7,59,42461],"访碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52a3fbe9fbad00c04461367dd3c1de8.jpg",[],{"id":42465,"slug":42466,"title":42467,"dynasty":18,"author":10158,"museum":126,"description":29966,"tags":42468,"thumbUrl":42469,"material":1179,"size":29969,"collection":95,"collections":42470,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},233815,"shan-shui-ce-4-fu-shan-233815","山水册4",[24,25,26,7,398,50,27,51,5721,56,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2502d46b09f56b7c5887859cf95fb39e.jpg",[],{"id":42472,"slug":42473,"title":14025,"dynasty":18,"author":16245,"museum":126,"description":25866,"tags":42474,"thumbUrl":42475,"material":488,"size":25869,"collection":95,"collections":42476,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},233158,"huang-shan-tu-ce-mei-qing-233158",[24,50,59,26,7,77,51,651,1018,55,252,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe552749b978d50ac06c592811531b053.jpg",[],{"id":42478,"slug":42479,"title":42480,"dynasty":18,"author":9119,"museum":107,"description":31074,"tags":42481,"thumbUrl":42482,"material":751,"size":752,"collection":95,"collections":42483,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},232862,"jing-di-xiao-yuan-za-shi-ruan-yuan-232862","京邸小园杂诗",[7,60,75,312,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2f8c97b3fcb7d115d71ce883667013.jpg",[],{"id":42485,"slug":42486,"title":42487,"dynasty":18,"author":31317,"museum":107,"description":31318,"tags":42488,"thumbUrl":42489,"material":95,"size":95,"collection":95,"collections":42490,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},232858,"ce-duo-yun-xuan-cang-wang-wen-zhi-232858","册（朵云轩藏）",[2135,7,60,77,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88bc5b68c181e0b0f960d4344d8feb3c.jpg",[],{"id":42492,"slug":42493,"title":42494,"dynasty":45,"author":33632,"museum":107,"description":42495,"tags":42496,"thumbUrl":42497,"material":95,"size":95,"collection":95,"collections":42498,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},232825,"xing-shu-li-zhou-wen-zhen-heng-232825","行书立轴","文震亨（1585年－1645年），字启美，直隶苏州（今江苏苏州市）人，祖籍湖南衡阳，明末画家。",[23,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad8949b0a00384ffffdca51843456bce.jpg",[],{"id":42500,"slug":42501,"title":42502,"dynasty":45,"author":14473,"museum":107,"description":42503,"tags":42504,"thumbUrl":42505,"material":95,"size":95,"collection":95,"collections":42506,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},232821,"shu-qi-yan-lv-shi-shan-mian-zhou-tian-qiu-232821","书七言律诗扇面","字公瑕，号幼海，一作幻海，又号六止居士。明代画家。诸生。江苏太仓人。善画写意兰草，在文徵明门下学习书法，善大小篆、隶、行、楷，文徵明赞其：“他日得吾笔者，周生也。”晚年能自辟蹊径，一时丰碑大碣，无不出其手。\n以诗文画名世。兼工花卉，善画兰，取法宋代画兰专家郑思肖标格，笔势一波三折，笔力老辣苍健，清劲飘逸。《明画录》谓：“墨兰自赵松雪(孟頫)后失传，惟天球独得其妙。”",[1250,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771d8b10d9e30867f9482a09ec4becc8.jpg",[],{"id":42508,"slug":42509,"title":42510,"dynasty":88,"author":454,"museum":8802,"description":42511,"tags":42512,"thumbUrl":42513,"material":95,"size":42514,"collection":95,"collections":42515,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},232626,"zhuan-shu-qian-zi-wen-yi-ming-232626","篆书千字文","碑额铁线篆笔致匀净秀挺，如银丝盘绕，古雅庄重。正文先篆后隶，篆法端谨工稳，字形排布齐整，笔力瘦劲通透，尽显浑穆金石气；隶意朴拙方厚，与篆书形成视觉层次，疏朗章法衬出静穆安和的气息。刀痕与笔意交融，秦篆的规整法度揉入宋人的文雅意趣，即便历经岁月磨泐，依旧可见刻工精良，石痕与墨韵相映，将千字韵文的韵律凝固于碑间，尽显古法传承的厚重质感，是篆隶合参的经典刻石。",[457,7,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe80279445652eb7c8e547448714afe7.jpg","92.7x85.7厘米",[],{"id":42517,"slug":42518,"title":42519,"dynasty":8749,"author":42520,"museum":107,"description":42521,"tags":42522,"thumbUrl":42523,"material":751,"size":752,"collection":95,"collections":42524,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},231789,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-2-zhi-shou-jing-231789","文永贺茂祭图卷 双纸-2","直寿敬","此作兼具叙事性与文人意趣，左侧行书题字舒展清雅，朱印古拙端方，文气沉静。右侧绘祭典出行渡河的鲜活图景，设色柔雅清淡，线条细腻写实。渡头牛车浮于水面，驭牛者神色专注，车中人物姿态安然，桥上、船间行人衣着各异，神态鲜活松弛，将祭典沿途的市井烟火铺陈开来。\n\n画作以平实笔致描摹民俗日常，未作浓墨重彩渲染，却细致捕捉了旧时祭典出行的悠然氛围，还原出古早祭典的鲜活世情，带着和风古画独有的温婉写实质感，于静卷之中重现往昔祭典的鲜活意趣，尽显对世俗日常的细致体察。",[23,24,49,27,111,7,77,113,797,2495,30986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F791f054a22b874944cc9cc95a1c08b15.jpg",[],{"id":42526,"slug":42527,"title":42528,"dynasty":8749,"author":42529,"museum":107,"description":42530,"tags":42531,"thumbUrl":42532,"material":751,"size":752,"collection":95,"collections":42533,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},231780,"xin-gui-shan-yuan-qi-hui-juan-2-niao-yu-seng-zheng-jue-you-231780","信贵山缘起绘卷-2","鸟羽僧正觉猷","觉猷（かくゆう、1053年－1140年10月27日）是平安时代后期的天台僧。一般称作鸟羽僧正，不仅是担任日本佛教界重职的高僧，也精通绘画，被认为是‘鸟兽人物戏画’（鸟兽戏画）、‘放屁合战’等画作的作者，也被视为漫画的始祖。",[23,49,25,878,113,112,27,7,398,51,458,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5713995c34e56efad1d53f5f3d5aa01.jpg",[],{"id":42535,"slug":42536,"title":42537,"dynasty":8749,"author":454,"museum":107,"description":42538,"tags":42539,"thumbUrl":42540,"material":751,"size":752,"collection":95,"collections":42541,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},231777,"fu-fu-cao-zi-hui-juan-wei-shan-zheng-zhen-mo-yi-ming-231777","福富草子绘卷 维山正祯模","此作是典型日式草子绘卷，以长卷铺陈起承转合的场景。开篇朱红栏畔，老僧与席地老者对坐，栏外禽鸟栖于枯梅枝，静穆禅意扑面而来。转而向右便踏入鲜活市井：赤膊挑担的役夫疾步赶路、戴斗笠的行旅悄然独行、稚童嬉闹玩趣，将江户世情百态藏于笔底。\n\n整体线条简逸灵动，淡彩平涂尽显克制雅致，将出世禅意与入世烟火巧妙并置，既有大和绘的古朴质感，又以草子绘的叙事性，在浅墨柔色间晕开日式侘寂之美，藏着旧时东瀛的日常意趣。",[23,27,110,7,49,113,652,36586,10169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fe5a2b1ce5d8b91da2b169f5106f98.jpg",[],{"id":42543,"slug":42544,"title":42545,"dynasty":8749,"author":454,"museum":107,"description":42546,"tags":42547,"thumbUrl":42548,"material":751,"size":752,"collection":95,"collections":42549,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},231773,"mu-xia-wen-shu-juan-4-ming-shi-mo-ji-shu-hua-juan-yi-ming-231773","木下文书卷-4-名士墨迹书画卷","这卷以行书扇面搭配右侧题书，笔墨自带萧散悠然的文人意趣。扇面小字行气连贯，笔锋圆转灵动，墨色干湿自然过渡，尺幅小巧却排布舒朗，字里行间尽显随性松弛的林下之风。右侧题笔则更为开张纵逸，字形跌宕错落，与扇面的内敛雅致形成动静相映的层次感。整卷装裱古朴雅致，尽显旧时文人酬唱赠答的风雅意韵，笔墨间晕染出传统文人士大夫的审美情致，藏着昔年翰墨酬和的闲雅况味。",[23,49,1250,25,7,60,77,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F454bffb3e07439eea84ae0113d480edb.jpg",[],{"id":42551,"slug":42552,"title":42553,"dynasty":8749,"author":42554,"museum":107,"description":42555,"tags":42556,"thumbUrl":42557,"material":751,"size":752,"collection":95,"collections":42558,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},231736,"shan-shui-ren-wu-juan-shang-bu-ji-tong-231736","山水人物卷(上部)","吉通","德川吉通（1689年—1713年），德川御三家之一的尾张藩第四代藩主。是第三代藩主德川纲诚的九男，母亲侧室坂崎氏。乳名是薮太郎、吉郎、五郎太。字子中。官职从三位权中纳言。",[25,49,7,398,51,113,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8e71ac9fe6cf62a85b4d10414dd212.jpg",[],{"id":42560,"slug":42561,"title":42562,"dynasty":8749,"author":42563,"museum":107,"description":42564,"tags":42565,"thumbUrl":42574,"material":751,"size":752,"collection":95,"collections":42575,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},231714,"lian-cang-shi-dai-hua-juan-nan-qin-san-lang-231714","镰仓时代 画卷","男衾三郎","此作是典型的和歌物语绘卷，叙事与绘写相融共生。左侧深宅雅室间，贵族闲坐叙谈，格子棂门与廊阶形制考究，细腻复刻古日本宅邸风貌，尽显平安贵族的优渥日常。\n\n中段平假名题跋铺陈故事脉络，与画面呼应成趣。右侧郊野水岸梅林绽花，远林覆绿，旅人策马于汀岸，将视野从深宅拓向天地。\n\n整体设色浅淡清隽，柔婉细线勾勒人物景致，晕染出古雅侘寂的和风意趣，让文字与丹青交织，缓缓铺展开一卷流动的古典叙事，藏着旧时光里的幽玄情致。",[23,49,27,113,42566,42567,42568,1074,24937,42569,7,42570,42571,42572,42573],"宅邸","梅林","水岸","侘寂","绘卷物","贵族生活","叙事画","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58bbf6f7a1584b88c6311ebab6647383.jpg",[],{"id":42577,"slug":42578,"title":42579,"dynasty":8749,"author":454,"museum":107,"description":42580,"tags":42581,"thumbUrl":42582,"material":751,"size":752,"collection":95,"collections":42583,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},231675,"qi-lv-tu-li-zhou-yi-ming-231675","骑驴图立轴","此作用笔极简写意，以淡墨勾勒骑驴老僧与毛驴。寥寥数笔便捕捉住驴蹄轻抬的灵动姿态，老僧佝偻安坐，宽袍以大片墨色晕染，神态悠然澹定，尽显世外高士物我两忘的自在。\n画面留白疏朗，搭配题字朱印，禅意悠悠，以极简笔墨传递出萧散超脱的山野意趣，笔简却形神兼备，将任情自适的林下风流尽显无余，尽显东方水墨空灵淡远的独特韵味。",[23,24,25,75,50,112,113,2104,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa866662591a5e19fb80238175ea9a1ed.jpg",[],{"id":42585,"slug":42586,"title":42587,"dynasty":18,"author":454,"museum":126,"description":42588,"tags":42589,"thumbUrl":42590,"material":784,"size":42591,"collection":95,"collections":42592,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},231386,"shi-quan-tu-ce-shi-kai-yi-ming-231386","十犬图册十开","此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。画法工整，具有一定的程式。对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[24,25,26,27,111,798,250,56,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2c02c8aedf5520ae8fcbdebc503278.jpg","纵37.2厘米，横23.3厘米",[],{"id":42594,"slug":42595,"title":42596,"dynasty":162,"author":454,"museum":107,"description":42597,"tags":42598,"thumbUrl":42599,"material":751,"size":752,"collection":95,"collections":42600,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},230977,"zuo-jian-men-da-jiang-jun-fan-jun-bei-zhou-yi-ming-230977","左監門大將軍樊君碑軸","此拓本楷法端稳沉浑，结体匀整方正，尽显初唐尚法的肃穆气度。笔画起收恪守矩度，捺笔隐带隶意遗韵，骨力内蕴风神内敛，是唐人庙堂楷书之典范。\n\n岁月流转，纸面斑驳泐损，却晕开金石沧桑质感，每一处残损皆是时光镌刻的印记。碑文排布茂密紧凑，字间行距严整有序，将官碑的庄重凝练尽显无余，朴厚笔力间藏大唐开阔气象，残损拓痕里沉淀下百年岁月余温。",[7,198,75,199,1063,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659f9c4386244cefe682053e889a036a.jpg",[],{"id":42602,"slug":42603,"title":3842,"dynasty":179,"author":454,"museum":107,"description":42604,"tags":42605,"thumbUrl":42606,"material":95,"size":95,"collection":95,"collections":42607,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},230849,"qi-yan-lv-shi-yi-ming-230849","此作用笔温润秀雅，牵丝映带婉转自然，尽显元人行书典型风貌。结体灵动舒展，兼得晋唐行书的飘逸隽秀与赵孟頫一脉的妍媚雅致。整幅行气连贯悠然，章法错落合宜，墨色浓淡晕染细微，随着诗意起伏暗合情绪变化。\n\n卷中录自作律诗，笔墨间晕开文人雅集的闲散意趣，将与友同游的清逸情怀藏入点画之中，书韵与诗意相融，尽显元代文人以书抒情的特质，通篇清雅隽秀，尽显雅致风流，是一件兼具笔墨审美与文学意趣的佳作。",[24,25,7,60,50,77,115,1679,678,116,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bd541d63c37173b96c68d9f49e224.jpg",[],{"id":42609,"slug":42610,"title":42611,"dynasty":8749,"author":454,"museum":107,"description":42612,"tags":42613,"thumbUrl":42614,"material":751,"size":752,"collection":95,"collections":42615,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},230823,"da-fang-bian-fu-bao-en-jing-juan-yi-ming-230823","大方便佛报恩经卷","此卷小楷写经笔力沉实内敛，点画清劲工稳，结体端雅匀整，通篇气脉贯通，虽抄录长篇经文却排布森然不紊，尽显抄经者的虔敬心态。笔势间带着古朴沉静的质感，无刻意雕琢，却在抄录里带着从容肃穆的气韵，是中古写经书法的典型风貌。朴素笔墨里藏着对信仰的至诚，兼具宗教文化价值与书法审美价值，尽显写经的质朴古雅之态。",[7,386,199,49,878,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf9e4275d48149c0e8fe03ffe63d27d.jpg",[],{"id":42617,"slug":42618,"title":42619,"dynasty":8749,"author":454,"museum":107,"description":42620,"tags":42621,"thumbUrl":42622,"material":751,"size":752,"collection":95,"collections":42623,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":24175},230790,"fu-ben-hang-ji-jing-juan-di-shi-jiu-ling-zi-xia-bu-yi-ming-230790","佛本行集经卷第十九令字下部","此作为写经小楷，通篇排布匀整肃穆，气息沉和安宁。点画精劲凝练，起收皆循法度，藏锋露棱得宜，字字端稳雅正，间架舒朗停匀，全篇行气贯通，不见潦草懈怠之态。\n笔力始终沉实稳定，将敬谨之心融于每一处笔墨细节，把宗教的清净意涵藏在匀净的字里行间。虽为长篇写卷，却始终保持一致的书写状态，尽显书写者沉潜的虔诚，观之令人心绪随之沉静，尽显写经书法特有的静谧禅意。",[386,199,1498,7,878,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e36f127de329e1a434a4e360da6d68.jpg",[],{"id":42625,"slug":42626,"title":42627,"dynasty":8749,"author":454,"museum":107,"description":21006,"tags":42628,"thumbUrl":42629,"material":751,"size":752,"collection":95,"collections":42630,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},230774,"xiang-bai-yu-leng-xing-zi-tan-mu-he-1-yi-ming-230774","镶白玉棱形紫檀木盒-1",[19026,7714,35041,7713,3467,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1b91e2a5962420c5a567f6b96ffc16b.jpg",[],{"id":42632,"slug":42633,"title":3136,"dynasty":8749,"author":454,"museum":107,"description":42634,"tags":42635,"thumbUrl":42636,"material":751,"size":752,"collection":95,"collections":42637,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},230557,"qian-zi-wen-yi-ming-230557","这卷草书通篇以纵逸奔放的笔势贯连始终，提按顿挫间线条粗细枯湿交织变幻，字形欹正相生、随势赋形。千字排布疏密得宜，时而遒劲厚重，时而轻盈飘逸，连绵缠绕却条理清晰，将草书抒情达意的特质尽显无余。\n\n笔墨间裹挟着肆意洒脱的文人意气，一气呵成的行气中，古雅苍劲的韵味扑面而来，把随性不羁的书写意趣融于全篇，尽显草书灵动恣肆的独特魅力。",[23,7,49,60,398,25,77,200,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21aae4faa4bc39431739617768fbe614.jpg",[],{"id":42639,"slug":42640,"title":42641,"dynasty":18,"author":10158,"museum":107,"description":10159,"tags":42642,"thumbUrl":42643,"material":751,"size":752,"collection":95,"collections":42644,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},230174,"za-ce-zhen-fu-shan-230174","杂册(帧)",[23,25,7,398,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf4338ff030ab982ed73db4aece7411.jpg",[],{"id":42646,"slug":42647,"title":42648,"dynasty":18,"author":454,"museum":107,"description":42649,"tags":42650,"thumbUrl":42653,"material":751,"size":752,"collection":95,"collections":42654,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},230097,"jin-xiang-hua-pi-feng-yi-ming-230097","金镶桦皮凤","这套饰件以桦皮为凤之胎骨，外敷塑型搭配金质镶饰，将山野质朴材质与细金工艺相融。拆分构件齐全，可还原凤饰原本精巧繁复的模样，桦皮哑光肌理与金饰亮泽交相辉映，既有林间清趣，又不失华贵工致。随附旧纸题识带着岁月包浆，仿佛能窥见当年鬓边插戴的绮丽光景，静述往昔妆造的绮丽风华，是清代首饰巧思的绝佳缩影。",[2135,30189,8234,33056,9009,7713,7,60,42651,42652],"桦皮","珠子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd67229be173e18040b8c381100e6cfe2.jpg",[],{"id":42656,"slug":42657,"title":42658,"dynasty":45,"author":35309,"museum":107,"description":35310,"tags":42659,"thumbUrl":42660,"material":751,"size":752,"collection":95,"collections":42661,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},229024,"shu-ji-shu-yan-tie-wang-shu-229024","书积书岩帖",[4038,7,457,26,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab933b553afd9cc2f5f8fb9f32d9ec8.jpg",[],{"id":42663,"slug":42664,"title":42665,"dynasty":45,"author":342,"museum":107,"description":42666,"tags":42667,"thumbUrl":42668,"material":95,"size":95,"collection":95,"collections":42669,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},228883,"qi-lv-zi-chen-chao-xia-shi-ling-ben-wen-zheng-ming-228883","七律紫宸朝下诗（另本）","此作用笔苍秀温润，牵丝映带自然圆融，整幅立轴纵势舒展，字间错落顾盼生姿，行气贯通如一。笔画提按顿挫富于变化，粗细和谐有度，既有赵氏行书的婉和韵致，又自出机杼，尽显晚年笔法愈见醇熟的风貌。将应制诗文的端方庄重，与行书的飘逸灵动感巧妙融合，笔墨间饱含沉稳雅致的庙堂气象，尽显吴门书派儒雅隽秀的风华底蕴，是极具代表性的行书佳构。",[23,25,7,60,75,50,77,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f267cb17a684e1bfaab1fed6881b90.jpg",[],{"id":42671,"slug":42672,"title":42673,"dynasty":45,"author":454,"museum":107,"description":42674,"tags":42675,"thumbUrl":42676,"material":95,"size":95,"collection":95,"collections":42677,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},228784,"lan-ting-ju-hui-tu-ye-yi-ming-228784","兰亭聚会图页","以淡墨晕染出平远烟峦，汀渚松下，文人士子围坐宴饮，暗合曲水流觞之雅趣。湖山留白铺就空濛烟景，笔意简淡清疏，将兰亭修禊的从容散逸藏于萧散山水间，不见丝竹繁喧，只余林下清谈的幽寂意韵。\n\n下方行书题跋笔墨舒展流动，与山水淡远画风相得益彰，诗书画相融，尽显文人雅尚。将魏晋风雅以水墨淡远之态重述于纸间，把雅集的清旷襟怀寄寓湖山烟霭之中，浑朴简淡间尽显明代文人画崇尚幽远雅致的意趣风骨。",[23,24,25,26,50,60,7,113,51,1018,57,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1a5cbaf540dda22927c4e55b8c6bd3.jpg",[],{"id":42679,"slug":42680,"title":42681,"dynasty":45,"author":42682,"museum":107,"description":42683,"tags":42684,"thumbUrl":42685,"material":95,"size":95,"collection":95,"collections":42686,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},228738,"zhi-xu-ying-pei-li-ri-hua-228738","致许应培","李日华","此信札以行书走笔，字形欹正相生，章法错落自然。起笔收笔暗合晋人尺牍雅逸之致，笔画提按顿挫利落，瘦劲骨力中暗蕴温润意态。文字排布顺随行气舒展，全无刻意编排的板滞感，尽显手札书写的随性真意。\n\n笔势连贯呼应，墨色浓淡自然过渡，将日常通信的实用感与书法审美巧妙相融，既有文人的清雅书卷气，又藏着书写时松弛自在的状态，晕开旧时文人往来的日常温度，是小品书法里兼具情致与法度的动人佳例。",[7,60,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b89a1b99f5c0d64910484df24fe256.jpg",[],{"id":42688,"slug":42689,"title":42690,"dynasty":45,"author":744,"museum":107,"description":897,"tags":42691,"thumbUrl":42692,"material":751,"size":752,"collection":95,"collections":42693,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},228475,"sui-bi-03-tang-yin-228475","随笔03",[7,60,50,26,4038,6769,14632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdad5039303cda5137df8bfb672b86a.jpg",[],{"id":42695,"slug":42696,"title":25676,"dynasty":45,"author":21129,"museum":107,"description":42697,"tags":42698,"thumbUrl":42699,"material":751,"size":752,"collection":95,"collections":42700,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},228420,"shi-han-juan-wu-kuan-228420","吴宽（1435—1504），字原博，号匏庵，又号玉延亭主，长洲（今苏州）人。成化八年（1472）进士，授修撰，预修《宪宗实录》。弘治八年（1495）擢吏部右侍郎，掌詹事府，十六年进礼部尚书。宽行履高洁，学问渊深。擅书法，学苏轼，自成一格，时人王鏊评：“宽作书姿润中时出奇倔，虽规模于苏而多自得。”有《家藏集》传世。",[23,7,60,77,49,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe155e7a38010d4620272ce3327830a4c.jpg",[],{"id":42702,"slug":42703,"title":42704,"dynasty":179,"author":454,"museum":107,"description":42705,"tags":42706,"thumbUrl":42707,"material":95,"size":95,"collection":95,"collections":42708,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},228185,"wu-zu-shi-tu-zhou-yi-ming-228185","五祖师图轴","这幅画以淡墨枯笔写就，简率洗练。古木虬曲傍于左侧，衣袂飘然的老僧随侍童缓步而来，神情澹然浑不在意。对面士人携合十礼拜的幼童，姿态恭谨，将初见时的敬慕描摹尽致。\n\n线条苍劲灵动，寥寥数笔便勾勒出人物的形神气度，留白恰到好处，衬出幽寂禅意。右上角题字禅思隽永，点破“一梦一场”的浮生况味，笔墨与题旨相融，将禅家勘破世事的通透藏进简淡的画面之中，尽显元人写意的萧散空灵，是禅意人物画中的精妙小品。",[23,24,25,75,112,50,113,115,250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc7802bce6f6c60922914a329599d76.jpg",[],{"id":42710,"slug":42711,"title":42712,"dynasty":179,"author":31007,"museum":107,"description":42713,"tags":42714,"thumbUrl":42715,"material":95,"size":95,"collection":95,"collections":42716,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},228024,"xing-nan-cheng-yong-gu-shi-juan-nai-xian-228024","行南城咏古诗卷","此卷行书温润圆融，兼得赵体秀雅与北地书风劲挺气质。通篇行气舒朗贯通，字距行距错落自然，咏古诗作与题款排布和谐无间。点画舒展灵动，提转顿挫皆合法度，将纪游咏怀的诗意融于笔墨，既有律诗篇目的端整之态，又不失随性挥洒的文人逸趣。卷间多方古印朱红点缀，墨色与印色相映生辉，更添古雅厚重的书卷意蕴，尽显作者胸中文采与笔下风华，是元代行书极具代表性的精品之一。",[23,179,7,60,49,25,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddbd7774beb46b48b5b7d1634676f638.jpg",[],{"id":42718,"slug":42719,"title":42720,"dynasty":88,"author":454,"museum":107,"description":42721,"tags":42722,"thumbUrl":42723,"material":751,"size":752,"collection":95,"collections":42724,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},227846,"miao-fa-lian-hua-jing-xu-yi-ming-227846","妙法莲华经序","昔如来于耆阇崛山中，与大阿罗汉阿若憍陈如、摩诃迦葉无量等众，演说大乘真经，名《无量义》。是时，天雨宝华，布濩充满，慧光现瑞，洞烛幽显，普佛世界六种震动。一切人天得未曾有，咸皆欢喜赞叹。以为是经，乃诸佛如来秘密之藏，神妙叵测，广大难名，所以拔滞溺之沉流，拯昏迷之失性，功德弘远，莫可涯涘。\n溯求其源，肇彼竺乾流于震旦，爰自西晋沙门竺法护者初加翻译，名曰《正法华》。暨东晋龟兹三藏法师鸠摩罗什重翻，名曰《妙法莲华》。至隋天竺沙门阇那、笈多所翻者，亦名《妙法》。虽三经文理重沓互陈，而惟三藏法师独得其旨。第历世既远，不无讹谬，匪资刊正，渐致多疑，用是特加旧校，仍命镂梓，以广其传。\n呜呼！如来愍诸众生，有种种性、种种欲、种种行、种种忆想分别，历劫缠绕无有出期，乃为此大事因缘现世，敷畅妙旨，作殊胜方便，俾皆得度脱超登正觉。此诚济海之津梁，而烛幽之慧炬也。善男子、善女人，一切众生，能秉心至诚，持诵佩服，顶礼供养，即离一切苦恼，除一切业障，解一切生死之厄。不啻如饥之得食，如渴之得饮，如寒之得火，如热之得凉，如贫之得宝，如病之得医，如子之得母，如渡之得舟。其为快适欣慰，有不可言。\n噫！道非经无以寓，法非经无以传。缘经以求法，缘法以悟道，方识是经之旨，清净微妙第一希有。遵之者则身臻康泰，诸种善根圆满具足，如莲华出水不染淤泥，即得五蕴皆空、六根清净，遄跻上善，以成于正觉者不难矣。苟或沉迷胶固，甘心堕落，绝灭善根，则身罹苦趣，轮回于生死之域者，其有纪极哉！虽然善恶两途，由人所趋，为善获吉，为恶获凶，幽明果报，不爽锱铢。观于是经者，尚戒之哉！尚勉之哉！",[23,49,25,7,386,199,11689,878,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139bfb1a533134c4062533b7b8153a.jpg",[],{"id":42726,"slug":42727,"title":42728,"dynasty":88,"author":454,"museum":107,"description":42729,"tags":42730,"thumbUrl":42731,"material":751,"size":752,"collection":95,"collections":42732,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},227550,"fu-shuo-mo-li-zhi-tian-jing-yi-ming-227550","佛说摩利支天经","佛说摩利支天菩萨陀罗尼经是佛给末世众人的一部修行宝典，时常念诵可以避免诸难，一切邪魔外道不敢欺诳，所希求之事只要诚心合理，便能得到感应。",[878,198,7,386,199,113,1614,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d59ee1bf5a4d86a51d894eee11a47d.jpg",[],{"id":42734,"slug":42735,"title":42736,"dynasty":88,"author":454,"museum":107,"description":42737,"tags":42738,"thumbUrl":42739,"material":95,"size":95,"collection":95,"collections":42740,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},227343,"shi-jing-wang-chang-juan-yi-ming-227343","十经王（长卷）","五代 佚名《佛说十王经》，此卷全称《佛说阎罗王授记四众预修生七往生净土经》，简称《佛说十王经》。为卷轴式手抄彩绘卷，本经卷属晚唐五代时期，画风古朴，十分珍罕。\n\n卷首绘释迦牟尼呈说法状安住于莲座上，两边是佛弟子舍利弗和目连。十王对称坐于佛之下二侧，十王身后各有二判官。中间位置圣坛两边为道明和尚和梳双髻的善恶二童子。经文后紧随地藏、龙树、观音、长悲、陀罗尼和金刚藏六大菩萨，显示了地藏菩萨在十王信仰中的重要地位。随后是黑衣使者乘黑马、把黑幡，为阎罗王派去检亡人家功德。",[23,24,25,49,111,112,27,878,113,458,116,55,51,7,386,60,199,457,1613,398,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851d716be6da3651ccf0a4f96ab7d66e.jpg",[],{"id":42742,"slug":42743,"title":32766,"dynasty":88,"author":454,"museum":72,"description":42744,"tags":42745,"thumbUrl":42746,"material":682,"size":95,"collection":95,"collections":42747,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},227336,"lin-yue-yi-lun-yi-ming-227336","此册临本乐毅论，后题为唐褚遂良审定及排类。台北馆方定为宋人所写，然细观笔法，与元代俞和所作小楷有一定的内在联系，故宜做为元人的摹古之作",[92,24,25,7,199,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bad1d7d71444546e31293c60673e72e.jpg",[],{"id":42749,"slug":42750,"title":42751,"dynasty":162,"author":454,"museum":107,"description":30196,"tags":42752,"thumbUrl":42753,"material":751,"size":752,"collection":95,"collections":42754,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},227241,"jin-guang-ming-jing-can-juan-mu-wu-jing-yi-ming-227241","金光明经残卷 目无经",[23,7,386,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a815e54c5086c070752c5f3f308424.jpg",[],{"id":42756,"slug":42757,"title":42758,"dynasty":162,"author":454,"museum":107,"description":30196,"tags":42759,"thumbUrl":42760,"material":751,"size":752,"collection":95,"collections":42761,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},227234,"miao-fa-lian-hua-jing-di-3-yao-cao-yu-pin-di-wu-yi-ming-227234","妙法莲华经第3药草喻品第五",[23,386,7,199,878,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a860beaaaff650608d9c6190b81c66e.jpg",[],{"id":42763,"slug":42764,"title":42765,"dynasty":162,"author":454,"museum":107,"description":42766,"tags":42767,"thumbUrl":42768,"material":751,"size":752,"collection":95,"collections":42769,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},227231,"da-zang-jing-zhong-shi-fen-a-pi-tan-ze-pin-di-ba-juan-di-shi-er-yi-ming-227231","大藏经众事分阿毗曇择品第八卷第十二","大藏经凌厉中不失温润，初一看，笔意似能屈铁断金，如即字右边部分横折处的断而后起，智、五等字长横起笔处的迅捷；再细品，却并非处处凌厉，如使字捺一波三折的含蓄克制，五字中间两笔的厚重柔美；这快速迅捷的用笔间",[23,1063,7,386,199,49,878,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ffca048460eca3465ccabd67d76ef3.jpg",[],{"id":42771,"slug":42772,"title":42773,"dynasty":162,"author":454,"museum":107,"description":42774,"tags":42775,"thumbUrl":42776,"material":95,"size":95,"collection":95,"collections":42777,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},227094,"tang-zhao-jian-sui-ji-fu-ren-dong-shi-wang-shi-he-zang-mu-zhi-ming-yi-ming-227094","唐赵建遂及夫人董氏王氏合葬墓志铭","唐代石刻《赵建遂及夫人董氏王氏合葬墓志》\n\n北京图书馆藏中国历代石刻拓本汇编: 赵建遂及夫人董氏王氏合葬墓志. 正书原刻. 易县, 唐大中9年[855]2月17日葬. 拓片墨纸尺寸: 44.5 x 44厘米. 淸末拓本.",[23,1063,198,7,199,1613,3423,1614,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb22980719d1f6199f3f34ca051e586a1.jpg",[],{"id":42779,"slug":42780,"title":42781,"dynasty":162,"author":454,"museum":3028,"description":34149,"tags":42782,"thumbUrl":42783,"material":751,"size":752,"collection":95,"collections":42784,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},226251,"ku-yong-dao-bei-bi-yi-ming-226251","窟甬道北壁",[1063,16843,27,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99afea61d217a05b115d1ab8cec6d62d.jpg",[],{"id":42786,"slug":42787,"title":42788,"dynasty":18,"author":10427,"museum":107,"description":42789,"tags":42790,"thumbUrl":42791,"material":95,"size":95,"collection":95,"collections":42792,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},224421,"shu-hua-shi-liu-kai-7-wang-shi-min-224421","书画十六开-7","此作用笔纵逸苍劲，起收提按皆得法度，牵丝映带间尽显流转灵动之美。字形欹正相生，敛放随心，错落排布间气脉贯通，通篇带着萧散疏朗的韵致。\n\n笔墨晕染出诗文里的春日烟霞，将随行宸游的悠然快意融于点画之中，文意与笔意相融相合，尽显雅逸襟怀。墨色浓淡相宜，枯湿互见，既有帖学的秀雅灵动，又暗含朴拙筋骨，随性自然不失规整，尽显行书创作的精妙意趣。",[23,24,25,7,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56ddaa4ebbddba87118d6e59ee08218.jpg",[],{"id":42794,"slug":42795,"title":42796,"dynasty":18,"author":31082,"museum":107,"description":42797,"tags":42798,"thumbUrl":42799,"material":95,"size":95,"collection":95,"collections":42800,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},224337,"tao-li-yuan-xu-zhou-shen-quan-224337","桃李园序轴","此作为典型帖学行书，用笔舒展灵动，点画温润圆融。结体端雅又不失飘逸意趣，章法疏朗匀净，字距行距错落合宜，整体气息清萧隽雅。\n\n书录《春夜宴桃李园序》，原文旷达快意随笔墨流转尽致流露，笔势带着晋唐行书的从容萧散韵味，既有馆阁体的端稳规整，亦不失文人书法的秀逸风神，将宴饮雅集的清旷之怀与笔墨雅趣相融，尽显书家深厚功底，是清代行书佳作。",[23,24,25,7,75,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F200702700e66058635c63f56eafe3b5f.jpg",[],{"id":42802,"slug":42803,"title":42804,"dynasty":18,"author":6662,"museum":107,"description":42805,"tags":42806,"thumbUrl":42807,"material":95,"size":95,"collection":95,"collections":42808,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},224300,"hua-hui-shi-er-kai-12-li-shan-224300","花卉十二开12","此作折枝秋菊错落生姿，紫、粉、白菊次第绽放，没骨绘就的花瓣薄润鲜活，叶片舒展带着清润生机，笔墨放逸却不失秀润意趣，将秋菊清隽之态尽显。\n\n右侧行书题诗笔致率意洒脱，诗书与花木相映成趣。诗句将晚晴霞色附于花枝，让娇花似染落日余晖，把花木风神与文思诗意相融，尽显文人画以物寄情的意趣。画面雅洁灵动，笔情墨趣间，尽是悠然自得的文人情致。",[23,24,25,26,27,30,239,238,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76a21249cc0b1c6fd6cf767055061e9.jpg",[],{"id":42810,"slug":42811,"title":2282,"dynasty":18,"author":31050,"museum":107,"description":42812,"tags":42813,"thumbUrl":42814,"material":95,"size":95,"collection":95,"collections":42815,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},224199,"shou-zha-liang-tong-shu-224199","此作用笔温润秀雅，全幅行书自然舒展，尽显帖学风神。点画顾盼映带，起收转合灵动婉转，毫无刻意雕琢之态。字势错落排布，行气连贯畅达，将日常尺牍的随性松弛与书法法度相融。\n\n通篇为寄友家常手札，笔墨随着心绪缓急自然生发，既有晋唐行书的飘逸意趣，亦不失端稳雅致，尽显深厚帖学功底。日常寒暄化作笔下行云流水，将文人散淡闲适的意趣藏在每一处笔墨细节里，让尺牍兼具实用功能与审美价值，冲淡平和的书卷气扑面而来。",[23,7,60,2282,2602,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b72188075f8d0148873ef608721123a.jpg",[],{"id":42817,"slug":42818,"title":42819,"dynasty":18,"author":25686,"museum":107,"description":42820,"tags":42821,"thumbUrl":42822,"material":751,"size":752,"collection":95,"collections":42823,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},224153,"03-zhang-zhao-224153","03","张照（1691-1745），娄县（今上海松江市）人，字得天，号天瓶、泾南，谥文敏。博学多才，乾隆皇帝称赞其书法：‘有米（芾）之雄，而无米之略。复有董（其昌）之整，而无董之弱。’ 《山川诸奇帖》为《十七帖》中的一札，又称《游目帖》。本幅书于洒金笺，并以泥金界线。结字多参杂己意，章法则吸收了元人以降放大、直幅临书的表现手法。虽自称临书，然已与原帖面貌大相径庭，显示出书法艺术与时代发展密不可分的关系。",[7,26,60,110,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5b81653190426563bb5997c33a8402.jpg",[],{"id":42825,"slug":42826,"title":42827,"dynasty":18,"author":35899,"museum":107,"description":42828,"tags":42829,"thumbUrl":42830,"material":751,"size":752,"collection":95,"collections":42831,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},224151,"shu-yu-zhi-yuan-dan-shi-bi-ce-ce-yu-min-zhong-224151","书御制元旦试笔册册","于敏中(1714-1780)，字叔子，号耐圃，江苏金坛人。乾隆二年状元，官至文华殿大学士兼军机大臣。其书法风格近于董其昌，四库全书馆开，于敏中为正总裁。",[25,26,199,50,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6786dfb9533a5e5734d9d817d19614.jpg",[],{"id":42833,"slug":42834,"title":42835,"dynasty":45,"author":454,"museum":107,"description":42836,"tags":42837,"thumbUrl":42840,"material":95,"size":95,"collection":95,"collections":42841,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,24,25,49,27,111,113,55,458,52,53,29,7,60,199,77,3092,432,433,3093,42838,167,428,42839,1498,19026,9635,131,139,132,140,134,135,693,1390,797,1074,798],"礼器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":42843,"slug":42844,"title":42845,"dynasty":162,"author":454,"museum":107,"description":17511,"tags":42846,"thumbUrl":42847,"material":95,"size":95,"collection":95,"collections":42848,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223543,"fa-hua-jing-fang-bian-pin-6-yi-ming-223543","法华经方便品6",[25,7,386,199,49,878,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c92a4d5b46f65354672df1b242f698.jpg",[],{"id":42850,"slug":42851,"title":42852,"dynasty":162,"author":454,"museum":107,"description":17511,"tags":42853,"thumbUrl":42854,"material":95,"size":95,"collection":95,"collections":42855,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223542,"fa-hua-jing-fang-bian-pin-5-yi-ming-223542","法华经方便品5",[386,7,199,49,878,1498,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f5ef5249f04d9f1365fdfa831b3cc7.jpg",[],{"id":42857,"slug":42858,"title":42859,"dynasty":162,"author":454,"museum":107,"description":17511,"tags":42860,"thumbUrl":42861,"material":95,"size":95,"collection":95,"collections":42862,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223541,"fa-hua-jing-fang-bian-pin-4-yi-ming-223541","法华经方便品4",[7,49,386,2602,27,878,199,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5ba9222638eca86f8cf3b608666679.jpg",[],{"id":42864,"slug":42865,"title":42866,"dynasty":162,"author":454,"museum":107,"description":17511,"tags":42867,"thumbUrl":42868,"material":95,"size":95,"collection":95,"collections":42869,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223540,"fa-hua-jing-fang-bian-pin-3-yi-ming-223540","法华经方便品3",[386,7,199,49,878,27,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf10d8c02ecbf62255cbf1a50718e241.jpg",[],{"id":42871,"slug":42872,"title":42873,"dynasty":162,"author":454,"museum":107,"description":17511,"tags":42874,"thumbUrl":42875,"material":95,"size":95,"collection":95,"collections":42876,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223538,"fa-hua-jing-fang-bian-pin-11-yi-ming-223538","法华经方便品11",[25,49,199,7,386,878,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bcb7971051f3e2dcec47778e0d5ab32.jpg",[],{"id":42878,"slug":42879,"title":42880,"dynasty":162,"author":454,"museum":107,"description":17511,"tags":42881,"thumbUrl":42882,"material":95,"size":95,"collection":95,"collections":42883,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223537,"fa-hua-jing-fang-bian-pin-10-yi-ming-223537","法华经方便品10",[25,7,386,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf790a96bddb0f59527a789a47eb920.jpg",[],{"id":42885,"slug":42886,"title":42887,"dynasty":45,"author":454,"museum":126,"description":42888,"tags":42889,"thumbUrl":42890,"material":784,"size":42891,"collection":95,"collections":42892,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223379,"shi-tong-nian-tu-juan-yi-ming-223379","十同年图卷","这是一幅描写明弘治十六年（1503年）10位高级官员聚会情景的富有纪念意义的群像画。据卷后各人的序与跋，与会10人都是明天顺八年甲申（1464年）的同榜进士，聚会时间为弘治十六年癸亥（1503年）三月二十五日，聚会处在闵珪府第之达尊堂。与会者都是在朝重臣，年龄以闵珪最大，74岁，李东阳最小，57岁。\n画面上人物分为三组，从卷首起第一组三人分别是南京户部尚书王轼、吏部左侍郎焦芳、礼部右侍郎谢铎；第二组四人分别是工部尚书曾鉴、刑部尚书闵珪、工部右侍郎张达、都察院左都御使戴珊；第三组三人分别是户部右侍郎陈清、兵部尚书刘大夏、户部尚书兼谨身殿大学士李东阳。此次聚会经过精心准备，宴饮唱和之外并绘图纪念，画工现场写生，只有焦芳因赴湖南公干，事先预留下旧稿。因此图中每人的相貌均为真实的写照，而人物的组合排列则是画家的安排。背景衬以梧桐、修竹、芭蕉、松树，其间穿插几案、书册、酒具以及童子数人。景物简练有序，不作过多渲染，有意突出显赫的朝廷高官群像，显示出创作的宗旨。\n明代高官举行雅集，与前代雅集的参与者多为致仕老臣或名士不同，除追慕前代“耆英硕德”之外，更有显示自己的地位与政绩之意，对“盛世明君”的赞美在题跋中亦屡屡可见。十同年居高官主要在明孝宗（1487-1505在位）时期，时朝中多正士，宦官和厂卫也都较循谨，整个官僚体系呈现出较为清明的景象。《十同年图》俨然是明代繁盛时期官场最后的写照，六部大臣昔日心存魏阙、威严谨慎的音容笑貌，华贵高雅之气中蕴含的凝聚力，在孝宗以后的朝代中再也找不到了，也正是因为失去这种凝聚力导致了明王朝的灭亡。\n此图当时共画了10本，每家各留一本。此卷是闵家所留，在清嘉庆十五年（1810年）为法式善收藏，是10本中幸存的孤本，为重要的历史文献。",[23,24,25,49,27,111,113,56,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2348174b8716016aae93de395b937e5.jpg","纵48.5厘米，横257厘米",[],{"id":42894,"slug":42895,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":42896,"thumbUrl":42898,"material":95,"size":23245,"collection":95,"collections":42899,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223201,"geng-zhi-tu-ce-jiao-bing-zhen-223201",[24,4347,111,27,113,23089,42897,11610,7,9636,1498,6605,553,6052],"织作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e36553b6d740d28891ad6b5ec72ef43.jpg",[],{"id":42901,"slug":42902,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":42903,"thumbUrl":42905,"material":95,"size":23245,"collection":95,"collections":42906,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},223194,"geng-zhi-tu-ce-jiao-bing-zhen-223194",[92,24,25,111,27,4347,113,58,567,56,76,5169,42904,7],"风俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03a3ae47e2a145c7aa503c8fb5d073e.jpg",[],{"id":42908,"slug":42909,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":42910,"thumbUrl":42913,"material":95,"size":23245,"collection":95,"collections":42914,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223178,"geng-zhi-tu-ce-jiao-bing-zhen-223178",[24,4347,27,111,42911,11051,12028,113,5599,13063,56,553,12029,7,26503,11052,42912],"焦点透视","农村生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9713b706bc255ed12e1e7e3295878625.jpg",[],{"id":42916,"slug":42917,"title":42918,"dynasty":18,"author":32290,"museum":107,"description":32291,"tags":42919,"thumbUrl":42920,"material":312,"size":32295,"collection":95,"collections":42921,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},223128,"shu-hua-ce-ye-yao-gui-zhuang-223128","《书画册页》-遥",[23,25,7,26,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6677e5286bea30e9b3978755d113c145.jpg",[],{"id":42923,"slug":42924,"title":42925,"dynasty":45,"author":10912,"museum":107,"description":42926,"tags":42927,"thumbUrl":42928,"material":95,"size":95,"collection":95,"collections":42929,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222544,"xing-shu-yi-guo-zhong-tiao-shan-yu-zhou-wang-duo-222544","行书忆过中条山语轴","释文：予年十八岁过中条至河东书院忆登高远望尧封多葱郁之气今齿渐臻知非觏吾乡太峰眉宇带中条烟霞之意勉而书此岂非非之为欤。己卯洪洞王铎\n王铎的行草书特别是长条幅草书，以惊人的笔力，奇矫怪伟的体格，浑厚淋漓的笔墨，达到震撼人心的艺术效果。他的书法线条形成是极富个人特色的。他既不雷同于历史上各名家，也异于同时代各家。他那霸悍雄强，扛山举鼎的笔力是数百年来无与抗行的。\n明末书坛受董其昌书法的影响，追求所谓俊骨逸韵。王铎等人反其道而行之，以“敏而好古”为标帜，追求雄强、激烈的风格和对动荡的内心生活的表现。王铎一直不断地从王羲之、王献之的作品中汲取，后受米芾影响，使之成为创造个人风格的有力支点。其笔力雄键，苍老劲疾，尤长于布局，居然有北宋大家之风。\n王铎一生，出入枢要，位尊爵类。书法艺术格调堂皇，名重当代，有“神笔王铎”之美誉。时人赞其字有锥沙印泥之妙、龙跃虎卧之致、松涛云影之幻、造化入神之奇。独具纵中有敛(形质美)、草中有楷(性情美)、错落有致(节奏美)、今有有古(韵味美)四大特点，既继承发扬了宋晋书坛传统，又开创了明末清初时代新风，在中国书法史上留下了光辉一页。",[23,92,24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb10f0c3989d54fbb3dc3007d120d3e53.jpg",[],{"id":42931,"slug":42932,"title":42933,"dynasty":45,"author":2206,"museum":648,"description":42934,"tags":42935,"thumbUrl":42936,"material":312,"size":42937,"collection":95,"collections":42938,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222469,"dong-po-ji-you-quan-juan-zhu-yun-ming-222469","东坡记游全卷","祝允明楷书《东坡记游》卷，这卷小楷书录东坡 “记”游若干节，为祝允明五十三岁时书写。其时，书家正值盛年，可谓其小楷书之代表作。款署“癸酉八月十二日步月宿东禅寺书此，枝山祝允明”。\n这件墨迹后有明代王宠、文彭、王世贞、张凤翼以及清代曹溶、罗坤、张陛等名家题跋．卷中钤有明、清收藏者印，以及乾隆、嘉庆、宣统内府鉴藏印\n此卷书法行笔稳健，结体严谨，通篇一气呵成，毫无懈怠。书法风格出自钟繇，用笔清健沉雄，不同的字，结构安排，富有变化，但长者不显其长，短者不觉其短，全卷千余字，虽是小楷，但通篇错落自然，神形具备，给人一种稳重、端庄的感觉。在禅院的虚空环境里书苏东坡的千古名篇，是产生这件心手双畅佳作的重要前提。",[23,92,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee78abdd24c305f7c7ed22b4d2ea3e66.jpg","纵13.4厘米，横269.6厘米",[],{"id":42940,"slug":42941,"title":42942,"dynasty":45,"author":39448,"museum":72,"description":42943,"tags":42944,"thumbUrl":42945,"material":312,"size":42946,"collection":95,"collections":42947,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222461,"shu-ying-zhi-shi-zhou-shen-can-222461","书应制诗轴","此幅内容是为友人书写，描述皇室宫苑，赞颂皇家园林之七言律诗五首，以用行楷书、章草及今草三体书之，其中行楷书精整，章草古朴，今草则笔法放纵。\n沈粲（西元一三七九－一四五三年），字民望，华亭（今上海）人。与年长二十二岁的胞兄沈度并称二沈，以擅于书法在朝廷中任职。沈粲擅长草书，学明初宋璲、宋克，参以钟繇，行笔圆熟，意趣遒逸。\n明成祖称沈度、沈粲昆仲是“我朝王羲之”大小学士”“二沈先生”。明代礼部尚书、书法家董其昌称“文（征明）、祝（允明）两家，一时之标，然欲突过'大小学士’、二沈先生’，未能也”。兄弟皆为大书法家且深得皇家赏识的实为少见。",[23,25,7,75,60,398,2602,77,18761],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a609dda0700e7459fb6f743501cddf4.jpg","263x54厘米",[],{"id":42949,"slug":42950,"title":42951,"dynasty":45,"author":744,"museum":126,"description":42952,"tags":42953,"thumbUrl":42954,"material":312,"size":42955,"collection":95,"collections":42956,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},222363,"yu-hua-tai-gan-xi-shi-zha-tang-yin-222363","雨花台感昔诗札","释文：《雨花台感昔》雨花烟月此时逢，台殿虚无古寺中。莫问六朝何事业，万家砧杵弄秋风。友弟唐寅草上，石壁先生吟坛斧正。",[23,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56079be74895cf2098bca8afcc8a79b.jpg","27.5×31cm",[],{"id":42958,"slug":42959,"title":22728,"dynasty":45,"author":342,"museum":126,"description":10355,"tags":42960,"thumbUrl":42961,"material":22386,"size":11939,"collection":95,"collections":42962,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222327,"shi-juan-wen-zheng-ming-222327",[23,60,7,49,77,50,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24623c74ad371bda47ff566c2b53f618.jpg",[],{"id":42964,"slug":42965,"title":38231,"dynasty":45,"author":5386,"museum":72,"description":42966,"tags":42967,"thumbUrl":42968,"material":312,"size":42969,"collection":95,"collections":42970,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222311,"shi-tie-zhou-wang-chong-222311","本幅草书七言律诗二首，结字内敛少舒展，变化不大。用笔起伏顿按有力，线条凝重洗练，干净利落。笔画间鲜有连笔牵丝，单字间虽多不环连，全篇却气势连贯。",[23,24,25,75,60,398,50,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ddc9ddb91cdd977980f273e5e04cdc.jpg","84.1x29.6公分",[],{"id":42972,"slug":42973,"title":42974,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":42975,"thumbUrl":42976,"material":682,"size":7424,"collection":95,"collections":42977,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":23752},222309,"nan-hua-zhen-jing-62-wang-chong-222309","南华真经62",[23,24,25,7,60,50,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc25dcfbbc1a6fab0138a40c3f7b72ea6.jpg",[],{"id":42979,"slug":42980,"title":42981,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":42982,"thumbUrl":42983,"material":682,"size":7424,"collection":95,"collections":42984,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":23752},222305,"nan-hua-zhen-jing-58-wang-chong-222305","南华真经58",[23,7,60,312,2602,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2882fcc7babc146b00d5b7f2a20983aa.jpg",[],{"id":42986,"slug":42987,"title":42988,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":42989,"thumbUrl":42990,"material":682,"size":7424,"collection":95,"collections":42991,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":23752},222304,"nan-hua-zhen-jing-57-wang-chong-222304","南华真经57",[23,7,384,50,386,1498,25,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e88100688ab224f55e69670e611bac0.jpg",[],{"id":42993,"slug":42994,"title":42995,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":42996,"thumbUrl":42997,"material":682,"size":7424,"collection":95,"collections":42998,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":23752},222302,"nan-hua-zhen-jing-55-wang-chong-222302","南华真经55",[23,25,7,60,386,26,50,1498,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7985fee0ad75a221dcbf588389698c63.jpg",[],{"id":43000,"slug":43001,"title":43002,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":43003,"thumbUrl":43004,"material":682,"size":7424,"collection":95,"collections":43005,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222280,"nan-hua-zhen-jing-33-wang-chong-222280","南华真经33",[23,7,199,386,3479,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a0dade8b6877afadd3acb3ad757f2a9.jpg",[],{"id":43007,"slug":43008,"title":22364,"dynasty":45,"author":5386,"museum":107,"description":7421,"tags":43009,"thumbUrl":43010,"material":95,"size":32356,"collection":95,"collections":43011,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222245,"shu-shan-ye-wang-chong-222245",[23,7,1250,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1390b0b98ee6c80cc1b2bdc9dd15fd67.jpg",[],{"id":43013,"slug":43014,"title":22364,"dynasty":45,"author":9605,"museum":107,"description":17338,"tags":43015,"thumbUrl":43016,"material":312,"size":43017,"collection":95,"collections":43018,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222021,"shu-shan-ye-wen-jia-222021",[23,1250,7,60,50,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba1afc55a6559303493d98128e976df.jpg","38x53",[],{"id":43020,"slug":43021,"title":43022,"dynasty":45,"author":342,"museum":72,"description":43023,"tags":43024,"thumbUrl":43025,"material":682,"size":43026,"collection":95,"collections":43027,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222018,"xue-shi-juan-shu-wen-zheng-ming-222018","雪诗卷书","此墨迹为文徵明晚年行草力作《雪诗卷》，全幅计三百七十六字，此卷书法挥洒流畅，笔墨精妙，盎然有力，是行草书法中的精品之作",[23,7,60,49,50,1677,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d61ec29070e70a54a388f78bfeeb5f6.jpg","纵29.5厘米，横133.4厘米",[],{"id":43029,"slug":43030,"title":43031,"dynasty":45,"author":342,"museum":126,"description":43032,"tags":43033,"thumbUrl":43034,"material":312,"size":43035,"collection":95,"collections":43036,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},222016,"xing-cao-mo-gao-wen-zheng-ming-222016","行草墨稿","文徵明是一个典型的儒者，他的处世思想深受儒家思想的影响，因此他为人和而介，做事谨而严。由于受这种处世思想的影响，对于书法的审美，文微明一力面以书法有法为美，另一方面将书品人品并而论之。从书法审美的角度来看，文徵明以”法“为美。",[23,25,7,49,7994,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba54f9ee8b7d0e291994680b899a5240.jpg","30*810",[],{"id":43038,"slug":43039,"title":43040,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":43041,"thumbUrl":43042,"material":312,"size":20086,"collection":95,"collections":43043,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},221966,"shu-zha-ce-17-wen-zheng-ming-221966","书札册17",[23,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd85f630aef9c65ae3d1a2d8072d9d.jpg",[],{"id":43045,"slug":43046,"title":43047,"dynasty":45,"author":1452,"museum":72,"description":43048,"tags":43049,"thumbUrl":43050,"material":312,"size":43051,"collection":95,"collections":43052,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},221879,"zi-shu-shi-tie-zhou-chen-ji-ru-221879","自书诗帖轴","本轴行草书七言诗，错落有致，字态摇曳多姿，笔画线条多变，姸媚与朴茂并存。\n陈继儒（1558～1639）明代文学家、书画家。字仲醇，号眉公、麋公。华亭（今上海松江）人。诸生，年二十九，隐居小昆山，后居东佘山，杜门著述，工诗善文，书法苏、米，兼能绘事，屡奉诏征用，皆以疾辞。擅墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。\n陈继儒从小聪颖，九岁受业于周云汀老儒，接受过正规的私塾教育。十岁便“ 毛诗书义皆通达” ，十三岁习举子艺，十四岁旁及五经子史，七岁博综六籍百家。由于长期苦读，21岁时童子试一试皆惊。可以说，当时人眼中，他走仕途是不成问题的。然而27岁参加科考，偏偏失利。“科录见遗后，以遗才观场，遂视功名如嚼蜡矣。”到丙戌（1586）29岁时，谢去青襟，彻底与仕途告别。",[7,60,75,25,50,4038,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F333541a252f90079f81a582242c96310.jpg","纵130.1cm，48.6cm",[],{"id":43054,"slug":43055,"title":43056,"dynasty":179,"author":25729,"museum":72,"description":43057,"tags":43058,"thumbUrl":43059,"material":312,"size":43060,"collection":95,"collections":43061,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},221746,"lin-wang-tie-zhou-yu-he-221746","临王帖轴","俞和临帖功力十分了得，以至当时以及后世之人常常将其书作归于赵孟府名下，但也因此使得“逼真文敏”之名淹没了俞和书法的个人特色。\n元末明初书家俞和，其书师法赵孟府。《杭州志》载“行草逼真文敏，好事者得其书每用赵款识，仓卒莫能辨。”今传世不少赵孟府伪作，多被认定为俞和所作。“今世流传的元人墨迹，以数量论，除赵孟府外，还未有超过俞和的。”张光宾在《辨赵孟府书急就章册为俞和临本兼述俞和生平及其书法》一文中将俞和的30件书法作品按时间顺序编入年表中，大部分都列明了款识、钤印与著录文献，没有说明藏处，其中部分书作并未流传至今。",[25,7,110,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98e7e21bb4da796a48c641c793ce13d.jpg","113.1x35.3cm",[],{"id":43063,"slug":43064,"title":30592,"dynasty":179,"author":6867,"museum":72,"description":43065,"tags":43066,"thumbUrl":43067,"material":29368,"size":43068,"collection":95,"collections":43069,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},221731,"qi-yan-lv-shi-zhou-zhang-yu-221731","张雨的书法曾得赵孟俯指授，字画清逸舒放，这幅书法是罕见的大字行草，字形倾侧动荡，忽大忽小，运墨燥湿互济，锋势劲锐，别具纵逸峻历之势，结构布局无拘无束，显示出他能放纵能收敛的高度技巧。时而出现跳跃夸张的笔画，抒发了「隐士书家」内心郁结已久的块垒，更能显现「隐士书家」特有的孤傲不群，更能将道家的自由散漫和清虚雅逸诠释的淋漓尽致。",[179,25,75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c77e327e425577dc1b5ba1a75c7fca.jpg","108.4 X 42.6cm",[],{"id":43071,"slug":43072,"title":43073,"dynasty":88,"author":14147,"museum":126,"description":20101,"tags":43074,"thumbUrl":43075,"material":312,"size":20105,"collection":95,"collections":43076,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},221563,"cheng-nan-chang-he-shi-juan-quan-juan-di-er-duan-zhu-xi-221563","城南唱和诗卷全卷第二段",[23,7,60,49,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84390d32009af7a6a10289c68e5502c5.jpg",[],{"id":43078,"slug":43079,"title":43080,"dynasty":88,"author":14147,"museum":126,"description":20101,"tags":43081,"thumbUrl":43082,"material":312,"size":20105,"collection":95,"collections":43083,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},221562,"cheng-nan-chang-he-shi-juan-quan-juan-di-san-duan-zhu-xi-221562","城南唱和诗卷全卷第三段",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144f850c5f432890be665373bf4cd99d.jpg",[],{"id":43085,"slug":43086,"title":43087,"dynasty":162,"author":454,"museum":107,"description":43088,"tags":43089,"thumbUrl":43090,"material":95,"size":95,"collection":95,"collections":43091,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},221126,"fa-hua-jing-miao-fa-lian-hua-jing-di-1-xu-pin-di-yi-yi-ming-221126","法华经-妙法莲华经第1序品第一","此卷小楷朴厚端雅，用笔凝练圆劲，点画间兼具森严法度与温雅气韵。千字排布匀整森然，字字敦和内敛，又不失书写的灵动意趣，不见刻意炫技，只以平实笔墨尽显沉潜心境。泛黄的古纸晕开淡旧墨痕，乌色墨迹与赭黄笺纸交织晕染，带着千年沉淀的古拙静穆，是奉持佛法的虔诚注脚，将清净禅意藏进每一处起落收放之间，尽显写经的典型风貌，是宗教信仰与书法艺术相融的珍贵遗存。",[23,1063,878,49,7,386,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179356212e365c04f849650a131ecfa5.jpg",[],{"id":43093,"slug":43094,"title":43095,"dynasty":179,"author":32439,"museum":7039,"description":32440,"tags":43096,"thumbUrl":43097,"material":32443,"size":32444,"collection":95,"collections":43098,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":95},220723,"xing-shu-shi-wen-he-juan-2-zhang-yu-yang-wei-zhen-wen-xin-220723","行書詩文合卷2",[25,60,7,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5ca48358df154e3984345dbb303f73.jpg",[],{"id":43100,"slug":43101,"title":43102,"dynasty":179,"author":32439,"museum":7039,"description":32440,"tags":43103,"thumbUrl":43104,"material":32443,"size":32444,"collection":95,"collections":43105,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":95},220720,"xing-shu-shi-wen-he-juan-5-zhang-yu-yang-wei-zhen-wen-xin-220720","行書詩文合卷5",[7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8e19c28fb18a4a7b34f5d6ae8f2ca09.jpg",[],{"id":43107,"slug":43108,"title":43109,"dynasty":45,"author":5386,"museum":7039,"description":9257,"tags":43110,"thumbUrl":43111,"material":9260,"size":9261,"collection":95,"collections":43112,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":95},220711,"xing-shu-jie-quan-7-wang-chong-220711","行书借券7",[23,7,60,77,25,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F637694ad63d1f0644e4f03f2c83044bb.jpg",[],{"id":43114,"slug":43115,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":43116,"thumbUrl":43117,"material":39621,"size":39622,"collection":95,"collections":43118,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":95},220701,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220701",[23,24,25,26,7,60,77,51,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4f4f35920dd4c01a9d0b182ef5975b.jpg",[],{"id":43120,"slug":43121,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":43122,"thumbUrl":43123,"material":7043,"size":7044,"collection":95,"collections":43124,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":95},220657,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220657",[7,200,198,60,9636,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a34943976fbb54c1d762f9351f8b8f5.jpg",[],{"id":43126,"slug":43127,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":43128,"thumbUrl":43129,"material":7043,"size":7044,"collection":95,"collections":43130,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":95},220648,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220648",[23,60,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dd930eff148a54c58aa7f932987386d.jpg",[],{"id":43132,"slug":43133,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":43134,"thumbUrl":43135,"material":7043,"size":7044,"collection":95,"collections":43136,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":95},220642,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220642",[23,198,7,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1759f51eb4bcae26b4cd09748fda61a.jpg",[],{"id":43138,"slug":43139,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":43140,"thumbUrl":43141,"material":7043,"size":7044,"collection":95,"collections":43142,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":95},220637,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220637",[23,198,60,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25f9ee5c687e256e35ff5aae6b4e885.jpg",[],{"id":43144,"slug":43145,"title":43146,"dynasty":18,"author":43147,"museum":442,"description":43148,"tags":43149,"thumbUrl":43150,"material":169,"size":43151,"collection":63,"collections":43152,"showCount":418,"zanCount":882,"manualWeight":39,"mainColor":40},220414,"deng-wei-tan-mei-tu-juan-sun-jun-220414","邓尉探梅图卷","孙钧","此卷诗书画合璧，淡彩晕染出梅林盛景，浅峦清润含烟，寒梅虬枝错落其间，将江南冬末春初的幽寂雅趣铺陈开来。通篇题咏行书秀逸苍润，笔墨朴拙自然，与画意浑然相融。诗、书、画三者相生，将探梅雅游的闲情与林泉寄怀的意趣融为一体，把文人赏梅时的缱绻心境诉诸笔端，尽显清雅悠远的文人情致，笔墨间浸透了对湖山梅景的眷恋，意境浑融悠长。",[23,24,25,49,27,51,131,60,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed4b038c94f1800fc2afe226e19c1e6.jpg","引首31.5×100cm；本幅31×272cm",[63,218],{"id":43154,"slug":43155,"title":43156,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":43157,"thumbUrl":43158,"material":198,"size":2971,"collection":95,"collections":43159,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},220206,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-9-liu-gong-quan-220206","神策军碑-皇帝巡幸左神策军纪圣德碑9",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb145edc2988696f9377d789a694d18.jpg",[],{"id":43161,"slug":43162,"title":43163,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":43164,"thumbUrl":43169,"material":198,"size":2971,"collection":95,"collections":43170,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},220203,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-11-liu-gong-quan-220203","神策军碑-皇帝巡幸左神策军纪圣德碑11",[1063,199,198,7,3423,43165,43166,43167,43168,8551],"书法拓片","石刻拓本","唐代书法","楷书书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0e645cf540673b7c889bdd575577a1e.jpg",[],{"id":43172,"slug":43173,"title":43174,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":43175,"thumbUrl":43176,"material":198,"size":2971,"collection":95,"collections":43177,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},220173,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-37-liu-gong-quan-220173","神策军碑-皇帝巡幸左神策军纪圣德碑37",[1063,7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484af52ed1c0b832833121bcb070a3b0.jpg",[],{"id":43179,"slug":43180,"title":43181,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":43182,"thumbUrl":43183,"material":198,"size":2971,"collection":95,"collections":43184,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},220155,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-54-liu-gong-quan-220155","神策军碑-皇帝巡幸左神策军纪圣德碑54",[7,198,199,3423,1063,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c5b7124b62f374be5c0346552d9eac.jpg",[],{"id":43186,"slug":43187,"title":43188,"dynasty":45,"author":2206,"museum":107,"description":43189,"tags":43190,"thumbUrl":43191,"material":312,"size":95,"collection":95,"collections":43192,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},218065,"bai-miao-jiu-ge-tu-ce-1-zhu-yun-ming-218065","白描九歌图册-1","墨线流转间，楚辞《九歌》的幽婉意境徐徐铺展。线条如笔走龙蛇，兼具书法遒劲与绘画灵动，衣袂飘举似携风而来，人物神态隐现屈子笔下的浪漫沉郁。无设色浓艳，却以留白衬出古雅清寂，每一笔转折皆藏匠心，将神话中神祇巫觋之姿，凝作纸上诗性回响。简约见丰韵，素净含深情，让千年楚辞气韵，在尺幅间静静流淌。",[92,24,25,26,112,50,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe4ae3f9f54e50f330eb4522dcdf503.jpg",[],{"id":43194,"slug":43195,"title":43196,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":43197,"thumbUrl":43198,"material":312,"size":95,"collection":95,"collections":43199,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},217089,"bai-miao-luo-han-28-leng-mei-217089","白描罗汉-28",[24,25,26,112,878,113,199,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51ace80b7a6109f04780aa0397ea4811.jpg",[],{"id":43201,"slug":43202,"title":43203,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":43204,"thumbUrl":43205,"material":312,"size":95,"collection":95,"collections":43206,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},217088,"bai-miao-luo-han-30-leng-mei-217088","白描罗汉-30",[24,25,26,112,878,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733cd605e6e36463089c66fa78fea896.jpg",[],{"id":43208,"slug":43209,"title":43210,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":43211,"thumbUrl":43212,"material":312,"size":95,"collection":95,"collections":43213,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},217087,"bai-miao-luo-han-34-leng-mei-217087","白描罗汉-34",[24,25,26,112,199,7,77,878,113,10664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f621670f2272e80377ef73cbb18c6e0.jpg",[],{"id":43215,"slug":43216,"title":43217,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":43218,"thumbUrl":43219,"material":312,"size":95,"collection":95,"collections":43220,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},217077,"bai-miao-luo-han-38-leng-mei-217077","白描罗汉-38",[18,24,25,112,878,113,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8e31108338cfd56ad6c244baff1f90.jpg",[],{"id":43222,"slug":43223,"title":43224,"dynasty":45,"author":7609,"museum":72,"description":39680,"tags":43225,"thumbUrl":43227,"material":169,"size":39684,"collection":95,"collections":43228,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},216760,"jiu-lao-tu-11-huang-biao-216760","九老图-11",[199,7,50,77,4347,568,43226],"宴乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e73c2ad0f4a602c352bbb06e8c4842b.jpg",[],{"id":43230,"slug":43231,"title":43232,"dynasty":45,"author":7609,"museum":72,"description":39680,"tags":43233,"thumbUrl":43234,"material":169,"size":39684,"collection":95,"collections":43235,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},216759,"jiu-lao-tu-8-huang-biao-216759","九老图-8",[24,25,7,199,77,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb934c6b2fe80f19cef38c541b689a14.jpg",[],{"id":43237,"slug":43238,"title":43239,"dynasty":18,"author":454,"museum":107,"description":43240,"tags":43241,"thumbUrl":43242,"material":169,"size":95,"collection":95,"collections":43243,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},216692,"hong-lou-meng-fu-tu-ce-33-yi-ming-216692","红楼梦赋图册-33","藤蔓如柔丝轻缠，牵缀着粉白小花与深红浆果，将满篇墨字温柔环抱。竖排文字墨色匀净，笔锋端凝，似在低声诉说红楼深处的韵事。花叶勾勒细腻入微，红绿相映间透着清雅生机，与文字里的诗意互为表里。整幅画面如一方被时光浸润的信笺，图文交织成旧梦碎片，静默中流淌着古典雅致与淡淡怅惘，仿佛能触到红楼人物若有若无的气息。",[23,24,25,26,27,667,30,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24138bb077fb75a6389a5a137ae00d31.jpg",[],{"id":43245,"slug":43246,"title":43247,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":43249,"thumbUrl":43250,"material":8225,"size":95,"collection":95,"collections":43251,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},216653,"xuan-da-shan-xi-san-zhen-tu-5-yi-ming-216653","宣大山西三镇图-5","万历三十一年秘阁本",[23,24,27,1127,7,77,26,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e4ce833f3e1e984ab381cc3f025d74.jpg",[],{"id":43253,"slug":43254,"title":43255,"dynasty":45,"author":689,"museum":107,"description":43256,"tags":43257,"thumbUrl":43258,"material":79,"size":95,"collection":95,"collections":43259,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},216294,"xi-xiang-ji-zhen-ben-tu-ce-25-chen-hong-shou-216294","西厢记真本图册-25","墨线如铁，盘绕出衣袂的古雅褶皱，却又牵起几分灵动的呼吸。人物姿态凝定，眉眼间藏着未宣的情愫，似有一缕清风掠过画面，晕开西厢的幽婉韵致。画面布局疏朗却含张力，留白处如诗般藏着弦外之音，笔墨的拙趣与细腻交织，将古典故事里的缱绻与怅惘凝于方寸。每一道线条都像是时光的刻度，勾连起跨越时空的共情，让观者在古雅氛围里触摸到含蓄深沉的情感脉动，仿佛能听见书页间隐约的喟叹，看见光影里流转的古典诗意，笔墨间的古拙与深情，把西厢的韵致悄然刻进人心。",[4677,25,26,50,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3764e617c2c58049231de1d5558667c5.jpg",[],{"id":43261,"slug":43262,"title":43263,"dynasty":18,"author":454,"museum":442,"description":42588,"tags":43264,"thumbUrl":43265,"material":33,"size":95,"collection":95,"collections":43266,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},216242,"shi-quan-tu-ce-2-yi-ming-216242","十犬图册-2",[23,26,25,111,27,60,7,77,7540,798,704,32520,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa418c271e0bcba56b03113fe504c11f6.jpg",[],{"id":43268,"slug":43269,"title":43270,"dynasty":18,"author":454,"museum":442,"description":42588,"tags":43271,"thumbUrl":43272,"material":33,"size":95,"collection":95,"collections":43273,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},216239,"shi-quan-tu-ce-5-yi-ming-216239","十犬图册-5",[23,24,25,26,27,111,7,77,798,10795,4864,704,2062,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef8eddc795dbaec9e0f5f7511a7ee70.jpg",[],{"id":43275,"slug":43276,"title":43277,"dynasty":18,"author":454,"museum":107,"description":43278,"tags":43279,"thumbUrl":43280,"material":169,"size":95,"collection":95,"collections":43281,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},216162,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-38-yi-ming-216162","职贡图巨幅彩绘册页第1册-38","彩绘笔触细腻，人物神态鲜活如生。左侧女子衣袂飘举，蓝红主调衬以粉紫裙摆，手持器物轻曳，身姿温婉间尽显异域风情；右侧男子袍服规整，朱红面料暗纹隐现，戴帽持扇而立，眉宇间流露庄重沉稳之态。两侧题跋墨迹清晰，图文相契，既铺陈人物形貌服饰之细节，亦暗藏族群文化之印记。画面以写实笔法勾勒身形，色彩晕染层次分明，衣料质感与配饰细节皆刻画入微，于方寸册页间再现彼时边地族群或外邦人物之风貌，为探究清代民族交流与域外交往留存了生动直观的视觉佐证。",[23,4347,111,27,3029,113,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f00dfa39b084fdc44a021f2ea09b83.jpg",[],{"id":43283,"slug":43284,"title":43285,"dynasty":18,"author":454,"museum":107,"description":43286,"tags":43287,"thumbUrl":43288,"material":169,"size":95,"collection":95,"collections":43289,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},216031,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-17-yi-ming-216031","职贡图巨幅彩绘册页第4册-17","画面左右并置两位人物，神态鲜活，衣饰各具地域风情。左侧人物发髻精巧，蓝布上衣配黑裙绿边，怀抱葫芦形器物，步履间透着灵动；右侧人物头戴宽檐帽，黄裳裹身，白巾轻披，赤足而立，手势似在致意或交谈。笔触细腻，衣纹线条流畅，设色淡雅却层次分明，将不同族群的服饰细节与姿态神情刻画入微。整幅作品传递出清代边疆民族与中原交流的生动图景，既展现多元文化的独特风貌，也暗含多民族融合的时代印记，是艺术表现与历史场景交融的鲜活载体。",[23,92,24,25,26,27,111,113,167,1752,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ef0ef1455b5ac98d5b26cbab1895b5.jpg",[],{"id":43291,"slug":43292,"title":43293,"dynasty":18,"author":27434,"museum":107,"description":43294,"tags":43295,"thumbUrl":43296,"material":33,"size":95,"collection":95,"collections":43297,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":3443},215657,"bei-jing-dian-pu-zhao-huang-hua-ce-7-zhou-pei-chun-215657","北京店舖招幌画册-7","画面以细腻笔触绘就五枚招幌，形制各异——或呈冠冕状缀蓝纹，或为方囊垂红幡，或串叠圆饼如连珠，或排悬方牌似串铃，每款招幌下配墨书注解，笔墨朴拙传神。招幌色彩虽经岁月仍见鲜活，红幡微动似有风来，仿佛能听见旧市肆的吆喝声穿纸而出。这些招幌不仅是商业标识，更藏着清代北京的市井密码：不同造型对应不同行当，纹样与形制间凝结民间匠人的巧思与行业约定。整幅画作如时光窗棂，推开便见百年前都城商街，烟火气与文化味交织，成为触摸清代北京商业文化的鲜活载体。",[18,27,111,26,7,27437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2921808456c449e212c037e616dc867f.jpg",[],{"id":43299,"slug":43300,"title":43301,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":43302,"thumbUrl":43303,"material":312,"size":1340,"collection":95,"collections":43304,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},214479,"da-tang-zhong-xing-song-xia-ce-4-yan-zhen-qing-214479","大唐中兴颂下册-4",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1500d7cff53c97a4865a72261e609d44.jpg",[],{"id":43306,"slug":43307,"title":43308,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":43309,"thumbUrl":43310,"material":312,"size":1340,"collection":95,"collections":43311,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},214478,"da-tang-zhong-xing-song-xia-ce-2-yan-zhen-qing-214478","大唐中兴颂下册-2",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc690d4bebc6148e88f12ebd562c180.jpg",[],{"id":43313,"slug":43314,"title":43315,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":43316,"thumbUrl":43317,"material":312,"size":1340,"collection":95,"collections":43318,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},214468,"da-tang-zhong-xing-song-xia-ce-16-yan-zhen-qing-214468","大唐中兴颂下册-16",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F054551c4f2b82f6caa34addf9222c313.jpg",[],{"id":43320,"slug":43321,"title":43322,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":43323,"thumbUrl":43324,"material":312,"size":1340,"collection":95,"collections":43325,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},214461,"da-tang-zhong-xing-song-xia-ce-22-yan-zhen-qing-214461","大唐中兴颂下册-22",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70492a8aed0b6e255502fdecc32cfb0.jpg",[],{"id":43327,"slug":43328,"title":43329,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":43330,"thumbUrl":43331,"material":312,"size":1340,"collection":95,"collections":43332,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},214453,"da-tang-zhong-xing-song-xia-ce-29-yan-zhen-qing-214453","大唐中兴颂下册-29",[7,199,198,1063,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed92bc5e0ec745c136a4d1dec1db380.jpg",[],{"id":43334,"slug":43335,"title":43336,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":43337,"thumbUrl":43338,"material":312,"size":1340,"collection":95,"collections":43339,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},214450,"da-tang-zhong-xing-song-xia-ce-34-yan-zhen-qing-214450","大唐中兴颂下册-34",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24626cb40d32180b463701cf7ece8aa4.jpg",[],{"id":43341,"slug":43342,"title":43343,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":43344,"thumbUrl":43346,"material":312,"size":1340,"collection":95,"collections":43347,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},214449,"da-tang-zhong-xing-song-xia-ce-33-yan-zhen-qing-214449","大唐中兴颂下册-33",[7,199,198,200,3423,43167,43345],"楷书技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6efa3c7c2bf2ff2d555f9ccb680e6ccb.jpg",[],{"id":43349,"slug":43350,"title":43351,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":43352,"thumbUrl":43353,"material":312,"size":1340,"collection":95,"collections":43354,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},214447,"da-tang-zhong-xing-song-xia-ce-35-yan-zhen-qing-214447","大唐中兴颂下册-35",[7,198,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa15c17677a33e57473209f8120e379.jpg",[],{"id":43356,"slug":43357,"title":43358,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":43359,"thumbUrl":43360,"material":312,"size":1340,"collection":95,"collections":43361,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":100},214446,"da-tang-zhong-xing-song-xia-ce-37-yan-zhen-qing-214446","大唐中兴颂下册-37",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8efa66b58b16f55f2ee74c4e2d16aca4.jpg",[],{"id":43363,"slug":43364,"title":43365,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":43366,"thumbUrl":43367,"material":312,"size":1340,"collection":95,"collections":43368,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},214416,"da-tang-zhong-xing-song-shang-ce-13-yan-zhen-qing-214416","大唐中兴颂上册-13",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a39cbe4b8f3f74e6a4bc0d368c9e761.jpg",[],{"id":43370,"slug":43371,"title":43372,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":43373,"thumbUrl":43374,"material":312,"size":1340,"collection":95,"collections":43375,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},214411,"da-tang-zhong-xing-song-shang-ce-16-yan-zhen-qing-214411","大唐中兴颂上册-16",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02161a7a74df70d015fdc42a4e81c881.jpg",[],{"id":43377,"slug":43378,"title":43379,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":43380,"thumbUrl":43381,"material":312,"size":1340,"collection":95,"collections":43382,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},214406,"da-tang-zhong-xing-song-shang-ce-19-yan-zhen-qing-214406","大唐中兴颂上册-19",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b1ec404d9258d9ff549a315e1bfb6c.jpg",[],{"id":43384,"slug":43385,"title":43386,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":43387,"thumbUrl":43388,"material":312,"size":1340,"collection":95,"collections":43389,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},214405,"da-tang-zhong-xing-song-shang-ce-21-yan-zhen-qing-214405","大唐中兴颂上册-21",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a7a873d4a92ab073795e8734ab016b.jpg",[],{"id":43391,"slug":43392,"title":43393,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":43394,"thumbUrl":43395,"material":312,"size":1340,"collection":95,"collections":43396,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},214402,"da-tang-zhong-xing-song-shang-ce-25-yan-zhen-qing-214402","大唐中兴颂上册-25",[199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebfd607264c344b24fd17665ce5c5ed.jpg",[],{"id":43398,"slug":43399,"title":43400,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":43401,"thumbUrl":43402,"material":312,"size":1340,"collection":95,"collections":43403,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},214400,"da-tang-zhong-xing-song-shang-ce-28-yan-zhen-qing-214400","大唐中兴颂上册-28",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b38d8f421a3503e2d880301fc40b2f.jpg",[],{"id":43405,"slug":43406,"title":43407,"dynasty":162,"author":194,"museum":126,"description":1337,"tags":43408,"thumbUrl":43409,"material":312,"size":1340,"collection":95,"collections":43410,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":207},214399,"da-tang-zhong-xing-song-shang-ce-30-yan-zhen-qing-214399","大唐中兴颂上册-30",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7303e6184859633026c66ad1800f7b53.jpg",[],{"id":43412,"slug":43413,"title":43414,"dynasty":18,"author":1387,"museum":442,"description":43415,"tags":43416,"thumbUrl":43417,"material":33,"size":95,"collection":95,"collections":43418,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":40},214374,"tian-guang-yun-jing-tu-ce-4-zhu-da-214374","天光云景图册-4","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,25,26,50,77,457,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb45be914f0949f2931c4b7eba4b583.jpg",[],{"id":43420,"slug":43421,"title":5258,"dynasty":18,"author":506,"museum":20,"description":43422,"tags":43423,"thumbUrl":43424,"material":95,"size":95,"collection":95,"collections":43425,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43426},203443,"mo-mei-tu-zhou-jin-nong-203443","虬枝盘曲如铁，以浓淡干湿之墨勾勒苍劲骨力，枝梢疏花点点，或含苞或绽，墨韵淋漓间见清雅之姿。留白处题跋相映，笔墨与文字共诉文人风骨，尽显梅之孤傲与生机，于简淡中藏万千意趣，是水墨写意梅枝的经典之作。",[24,50,75,131,29,7,77,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97c896bc61a8aa40115e27507212856.jpg",[],"cfc2bd",{"id":43428,"slug":43429,"title":4167,"dynasty":45,"author":19108,"museum":20,"description":43430,"tags":43431,"thumbUrl":43432,"material":95,"size":95,"collection":63,"collections":43433,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43434},203411,"shan-shui-ce-ni-yuan-lu-203411","枯树虬枝以篆隶笔意写就，线条如铁线盘旋，顿挫间见金石气。孤石用短皴擦染，墨色浓淡相济，朴拙中透着清逸。远山淡墨晕染，留白处尽显空濛。整幅以水墨为骨，书意入画，干湿交错的笔触将荒寒之境写得空灵而有生机。朱红印章点缀素纸，于简淡中添一抹雅韵，尽显文人画的疏朗与情致。",[50,51,704,250,59,7,26,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50412a7bc0ea502ec1634649f72e1ac.jpg",[63],"daccad",{"id":43436,"slug":43437,"title":43438,"dynasty":23400,"author":28962,"museum":20,"description":43439,"tags":43440,"thumbUrl":43441,"material":95,"size":95,"collection":35,"collections":43442,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43443},203085,"he-hua-tu-zhou-chen-shi-ceng-203085","荷花图轴","这幅荷花图以水墨写意手法绘就，荷叶泼墨挥洒，墨色浓淡层叠，干湿笔触交错，苍劲中透着灵动；荷花淡墨勾瓣，简洁传神，与厚重荷叶形成虚实相生之趣。枝干以劲挺线条穿插，气韵连贯。画面配书法题跋与朱印，诗书画印融为一体，尽显文人画的清雅意韵，笔墨间流露出自然洒脱的文人风骨，于简淡中见真趣。",[24,50,29,134,129,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0446d458d0206f871de5611e19d8a66f.jpg",[35],"bcb4a4",{"id":43445,"slug":43446,"title":24211,"dynasty":18,"author":830,"museum":20,"description":43447,"tags":43448,"thumbUrl":43450,"material":95,"size":95,"collection":95,"collections":43451,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43452},202549,"shu-hua-cheng-shan-wu-chang-shuo-202549","笔墨沉雄如铸，气息浑朴若古。行笔顿挫含金石之韵，线条似老树盘根，苍劲中藏圆劲；结体奇崛却浑然天成，兼具篆书的朴拙与行书的流畅。扇面形制狭长，文字排布疏密相济，顾盼有情，与扇骨弧度暗合，章法妙不可言。墨色浓淡干湿交错，淋漓处见豪放，枯涩处显筋骨，每一笔皆透着古拙苍劲的风貌，于咫尺间展大气象，尽显大家笔力。",[1250,7,60,457,50,77,43449],"金石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e1af592f282e069614328410a9719d.jpg",[],"beb9af",{"id":43454,"slug":43455,"title":43456,"dynasty":18,"author":43457,"museum":20,"description":43458,"tags":43459,"thumbUrl":43461,"material":95,"size":95,"collection":95,"collections":43462,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43463},202466,"shuang-lin-zhu-shi-tu-zhou-wang-hui-202466","霜林竹石图轴","王翬","画面枯树枝干虬曲，以淡墨干笔勾勒，尽显苍劲老辣之态；竹枝挺秀，竹叶浓淡相衬，清雅灵动；旁侧孤石皴擦结合，纹理自然。笔墨兼具宋元遗韵，线条骨力内蕴，墨色层次丰富，于萧瑟中透出清逸之气，文人画的雅致意境尽显。",[24,75,50,250,115,132,59,7,43460],"印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf953690bf7d2a8e1fadeeca845c0b7.jpg",[],"d1c3b3",{"id":43465,"slug":43466,"title":5258,"dynasty":18,"author":6662,"museum":20,"description":43467,"tags":43468,"thumbUrl":43469,"material":95,"size":95,"collection":95,"collections":43470,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43471},202365,"mo-mei-tu-zhou-li-shan-202365","虬干盘曲如铁铸，笔触老辣不羁，墨色浓淡干湿交错，尽显枝干苍劲之姿。疏枝间缀以梅花，或点或圈，简笔写意中见清雅生机。题款行书流畅洒脱，诗与画浑然相融，流露扬州八怪特有的放逸情致。不刻意求工，却于笔墨间传梅之傲骨，寄寓文人品格，是水墨梅画中的精品。",[50,131,60,7,43460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6e4f2d43439cfec395512f43b406da.jpg",[],"c6c3b4",{"id":43473,"slug":43474,"title":43475,"dynasty":18,"author":506,"museum":20,"description":43476,"tags":43477,"thumbUrl":43478,"material":95,"size":95,"collection":187,"collections":43479,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43480},202244,"qiu-lan-tu-zhou-jin-nong-202244","秋兰图轴","画面中，秋兰丛生石畔，兰叶以劲健灵动的白描线条勾勒，长短交错、疏密有致，尽显蓬勃生机。石体以简淡墨笔皴擦，古拙朴厚，与兰草的清逸形成鲜明对比。右侧漆书题款笔力沉雄，与画面浑然一体，传递出文人画“诗书画印”合一的意趣。金农以兰寄情，借其幽芳高洁抒怀傲岸品格，整幅作品简而不空、淡而有味，尽显扬州八怪的独特风貌。",[24,75,112,139,59,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7acd49c1a3f16c99f49da398225f625e.jpg",[187],"d9cfc7",{"id":43482,"slug":43483,"title":34650,"dynasty":18,"author":6672,"museum":20,"description":43484,"tags":43485,"thumbUrl":43486,"material":95,"size":95,"collection":95,"collections":43487,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":39927},202239,"mo-zhu-tu-zhou-zheng-xie-202239","几竿修竹自画面底部拔起，竹竿以中锋篆笔写就，遒劲如铁线；竹叶用浓淡干湿的墨色撇捺，似行草挥洒，疏密交错间有风动之姿。墨色层次分明，浓处沉厚，淡处空灵，留白衬出竹的清逸。板桥以书入画，将书法笔意融于竹的勾勒点染，每一片叶、每一节竿都透着文人的风骨与自然的生机。不施丹青，仅用水墨淋漓写尽竹之神韵，既有山野之趣，又含君子气节，是写意墨竹的传世佳作。",[24,50,132,75,77,7,3091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc75a87c5cb4dba5f9b9f7c30aa20d77.jpg",[],{"id":43489,"slug":43490,"title":43491,"dynasty":18,"author":29040,"museum":20,"description":43492,"tags":43493,"thumbUrl":43494,"material":95,"size":95,"collection":171,"collections":43495,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43496},202023,"du-fu-xiang-tu-zhou-weng-luo-202023","杜甫像图轴","画中杜甫宽檐帽覆顶，素袍裹身，长髯垂胸，手持竹杖而立。工笔细描衣纹褶皱，线条流畅自然；设色淡雅温润，衣袍如缟素轻扬。面部神情刻画入微，从容眼神里藏着诗圣的沉郁与旷达。旁题墨笔诗文，笔墨与画像相映，融书画之韵于一轴，尽显传统人物画的雅致风骨。",[111,27,113,7,167,132,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236af46863fea3f78d8595a7c4a377b.jpg",[171],"b08a54",{"id":43498,"slug":43499,"title":43500,"dynasty":18,"author":42025,"museum":20,"description":43501,"tags":43502,"thumbUrl":43503,"material":95,"size":95,"collection":171,"collections":43504,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43505},201523,"zhong-kui-lin-liu-ba-juan-tu-zhou-cheng-ming-201523","钟馗临流把卷图轴","画面中钟馗踞坐孤石之上，临流展卷沉思，神情专注间褪去传统驱邪的凶煞感，尽显儒雅闲逸之态。衣纹以劲挺线条勾勒，墨色浓淡相宜，人物姿态洒脱自然。背景山水以淡墨皴染，溪流潺潺绕石而过，孤石错落有致，营造出清寂悠远的氛围。整作以水墨为基调，笔墨苍劲灵动，将钟馗的文人化形象刻画得生动传神，细腻捕捉其沉浸书卷的内心世界，打破刻板印象，尽显画家独特的艺术表达与笔墨功力。",[24,50,113,250,53,7,77,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac43d1c8e17b7d8f84e1acbb5fb73d8.jpg",[171],"a18864",{"id":43507,"slug":43508,"title":43509,"dynasty":45,"author":5607,"museum":20,"description":43510,"tags":43511,"thumbUrl":43512,"material":95,"size":95,"collection":63,"collections":43513,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43514},201443,"dou-men-liu-se-tu-zhou-wen-bo-ren-201443","都门柳色图轴","淡墨皴染的山峦层叠起伏，线条清劲中带着温润，山间溪流蜿蜒而下，几株柳树以细劲笔触勾勒枝条，柔韧多姿，亭阁隐于林木间，添了几分清幽。画面上方题跋错落，笔墨与画意相映，尽显文人画的雅致韵味，春日柳色的生机与都门送别之思，在淡远意境中悄然流露。",[24,51,50,59,75,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb5cff93dd4cc6cd9fe6f9ac373866ce.jpg",[63],"c6beb5",{"id":43516,"slug":43517,"title":43518,"dynasty":179,"author":1516,"museum":20,"description":43519,"tags":43520,"thumbUrl":43521,"material":95,"size":95,"collection":63,"collections":43522,"showCount":418,"zanCount":882,"manualWeight":39,"mainColor":43523},201419,"yu-fu-tu-juan-wu-zhen-201419","渔父图卷","烟水弥漫处，孤舟一叶浮于江面，蓑笠渔翁静坐船头，神态悠然似忘尘。近岸芦苇轻摇，远山以湿墨皴擦，山峦起伏隐于雾霭，笔墨苍厚中见清逸之韵。渔父形象寄寓超脱世俗的隐逸之志，卷中题跋书法流畅，与画面相得益彰，文画交融更添雅趣。整卷意境静谧淡远，水晕墨章间流淌着渔樵之趣，尽显元人山水的空灵神韵。",[50,51,54,1752,59,820,49,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656dc269354a1443cccfdab097ee39e0.jpg",[63],"a99c8f",{"id":43525,"slug":43526,"title":43527,"dynasty":45,"author":744,"museum":20,"description":43528,"tags":43529,"thumbUrl":43530,"material":95,"size":95,"collection":35,"collections":43531,"showCount":418,"zanCount":39,"manualWeight":39,"mainColor":43532},201370,"shan-shui-hua-hui-shan-tang-yin-201370","山水花卉扇","墨笔点染的牡丹枝叶扶疏，花瓣层叠间透着清雅之姿，墨色浓淡交错，勾勒晕染间兼具写意灵动与笔墨意趣。扇面之上，花枝布局疏密得宜，与左侧题字、朱印相映成趣，尽显文人画的雅致韵致，笔锋流转间流露洒脱自然的格调，于方寸之间藏万千意韵。",[1250,50,29,135,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d1e4de81796af5d297ff45e45e0e7b.jpg",[35],"dad2c3",{"id":43534,"slug":43535,"title":26503,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":43536,"thumbUrl":43537,"material":751,"size":752,"collection":95,"collections":43538,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290929,"qi-yan-shi-wen-jia-290929",[1250,7,60,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c2e7c76e38faad469c52446f32e3b5.jpg",[],{"id":43540,"slug":43541,"title":43542,"dynasty":8749,"author":454,"museum":107,"description":43543,"tags":43544,"thumbUrl":43545,"material":751,"size":752,"collection":95,"collections":43546,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290711,"yi-jing-nan-hai-ji-gui-nei-fa-chuan-shou-gao-yi-ming-290711","义净 南海寄归内法传手稿","此卷通篇小楷排布绵密齐整，朴拙笔意带着写经特有的端稳气息，又兼具草稿的随性灵动。纸面虽经岁月摩挲泛黄斑驳，笔墨却依旧苍劲利落，小字牵丝映带不显局促。\n\n朱笔校改的痕迹犹存，留存下抄录治学的鲜活细节，字里行间满是伏案时的专注沉潜，藏着古人心怀大道的虔诚。它既是承载西行求法厚重史事的稿本，亦是唐人写经书法的精妙缩影，残损纸面是岁月镌刻的印记，让这份手卷兼具学术与美学的双重价值。",[7,386,49,9007,1498,6535,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506298bb2c104d81985050a93f20066a.jpg",[],{"id":43548,"slug":43549,"title":43550,"dynasty":8749,"author":454,"museum":107,"description":43551,"tags":43552,"thumbUrl":43554,"material":751,"size":752,"collection":95,"collections":43555,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290707,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-shou-gao-yi-ming-290707","佛说阎罗王授记四众预修生七往生净土经手稿","此作为写经与彩绘合璧的珍品，经文书法朴拙厚重，笔意带着写经者的虔诚肃穆，墨色沉凝安稳，尽显中古写经的典型风貌。\n\n彩绘部分章法分明，佛尊造像面相圆融端雅，衣纹舒展流畅，气韵沉静庄严；供养人像衣冠古雅写实，带着鲜活的世俗人文气息。\n\n泛黄纸色晕开经年沉淀的厚重感，朱红、石青的古旧配色愈发古朴沉静，图文排布疏密得当，将宗教的肃穆性与世俗意趣交织一处，晕开浓郁的信仰温度，是宗教美术与写经艺术融合的上乘之作。",[49,24,386,7,878,9007,27,3029,113,36825,36826,43553,3028,20967,2834],"阎罗王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289568264595735d6da590ac40d0c17d.jpg",[],{"id":43557,"slug":43558,"title":43559,"dynasty":8749,"author":454,"museum":107,"description":43560,"tags":43561,"thumbUrl":43562,"material":751,"size":752,"collection":95,"collections":43563,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290705,"yu-jia-lun-di-si-shi-yi-er-san-juan-shou-ji-shou-gao-yi-ming-290705","瑜伽论第四十、一、二、三卷首记手稿","纸色晕开旧岁黄调，长卷如墨色长河舒展。瘦劲小楷排布绵密齐整，字字端严凝练，带着沉静静定的写经笔韵，通篇无一字懈怠，笔锋暗藏筋骨，尽显抄经手沉潜伏案的心力。朱色标点错落墨痕间，冷暖相映，是古人校读留下的鲜活印记，让千年长卷多了温度。纸页带着岁月磨耗的残损晕染，却更添古拙厚重。漫漫书卷将信仰与工稳书艺揉为一体，铺展开来，仿若能见千年前灯下笔耕的身影，把经文化作纸上山河，是写经书法里内敛沉凝的传世佳作。",[49,7,386,199,1498,6535,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9480ddea43a6a2fdfb0918f3924c266.jpg",[],{"id":43565,"slug":43566,"title":43567,"dynasty":8749,"author":454,"museum":107,"description":43568,"tags":43569,"thumbUrl":43570,"material":751,"size":752,"collection":95,"collections":43571,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290702,"jiu-mo-luo-shen-jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290702","鸠摩罗什 金刚般若波罗蜜经手稿","此卷写经墨色沉朴苍润，纸面晕开岁月泛黄的痕迹，带着旧卷特有的沉静质感。用笔匀净端雅，结体方正秀逸，字字排布齐整却不失灵动意趣，通篇气息平和冲淡，藏着抄录时的恭谨禅心。\n笔墨间无跳脱张扬，只以安稳笔力缓缓铺陈经文，尽显写经书法独有的肃穆雅致。纸页褶皱与细微破损，凝着时光厚重的印记，让这件遗存既是宗教文典，亦是难得的书法珍本，静静诉说着漫长岁月里的传承底蕴。",[49,7,386,199,878,9007,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a3b7c57fb7e770c58cfb1d75140a54.jpg",[],{"id":43573,"slug":43574,"title":43575,"dynasty":8749,"author":454,"museum":107,"description":43576,"tags":43577,"thumbUrl":43578,"material":751,"size":752,"collection":95,"collections":43579,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290701,"shi-en-de-zan-shou-gao-yi-ming-290701","十恩德赞手稿","此作用笔纵逸率性，以草书肆意铺陈，牵丝映带间尽显朴拙自在的笔意。文字排布错落随性，全无刻意经营的规整章法，带着民间写本特有的松弛鲜活。\n\n泛黄麻纸晕开深浅不一的墨色，岁月的斑驳纹理与笔墨交融，褪去了庙堂书法的刻板拘谨。每一处顿挫飞白，皆是即兴的情绪流露，粗粝天真的笔触，将俗世抄写的日常温度留存至今，让千年前的笔墨呼吸仿佛仍触手可及，尽显朴野自在的随性意趣。",[7,398,6535,386,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec902dffb055b4ca4a05cbbcb2c6447.jpg",[],{"id":43581,"slug":43582,"title":43583,"dynasty":8749,"author":454,"museum":107,"description":43584,"tags":43585,"thumbUrl":43586,"material":751,"size":752,"collection":95,"collections":43587,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290698,"fu-ding-zun-sheng-tuo-luo-ni-jing-juan-yi-yi-ming-290698","佛顶尊胜陀罗尼经卷一","这卷经页带着被时光啃噬的痕迹，虫蛀的豁口、晕开的暗黄，皆是岁月凿下的印鉴。雕版字体方朴敦实，笔画凝厚沉稳，墨色沉郁古雅，虽残损多处，仍能窥见当年刷印时的庄重虔诚。栏线虽已漫漶模糊，经文排布仍匀整规矩，字里行间浸透着旧时的信仰温度，每一道残痕都藏着千年来传抄、诵读的过往，是被香火摩挲过的时光切片，带着旧世里沉静的梵唱余韵，将久远的信仰日常封存在这薄纸之上。",[878,9007,386,1498,7,199,49,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5edc2bf81ce6d6fb41c4db7195fe3a1.jpg",[],{"id":43589,"slug":43590,"title":43591,"dynasty":8749,"author":454,"museum":107,"description":43592,"tags":43593,"thumbUrl":43594,"material":751,"size":752,"collection":95,"collections":43595,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290693,"yu-jia-shi-di-lun-fen-men-ji-yi-juan-shang-bu-shou-gao-yi-ming-290693","瑜伽师地论分门记一卷上部 手稿","素纸铺陈，黑笔小楷瘦劲紧凑，字字排布密而不乱，通篇朱笔圈点勾注，红痕如星子落墨海，明暗相映层次斐然。\n\n这是沉潜佛典的心血注本，笔底藏着往复推演的思辨脉络，朱痕标记着义理津要，是研读时灵光乍现的留存。密密麻麻的字迹里，藏着古人逐字叩问经义的执着，红黑交织间，复刻了千年前灯下探幽的治学图景，让纸面成为盛放思想的容器，鲜活承载着彼时对唯识义理的沉潜求索。",[49,7,386,40263,6535,199,34686,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18efd207034aff98c1e585f766deac2.jpg",[],{"id":43597,"slug":43598,"title":43599,"dynasty":8749,"author":454,"museum":107,"description":43600,"tags":43601,"thumbUrl":43602,"material":751,"size":752,"collection":95,"collections":43603,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290680,"wei-mo-ji-jing-juan-shang-shou-gao-yi-ming-290680","维摩诘经卷上手稿","此卷小楷通篇匀净秀雅，点画精劲内敛，起收转合皆循写经典型法度。字字排布齐整如列松，却无板滞之弊，行间气脉贯通，带着沉静肃穆的禅意。墨色醇和古雅，泛黄纸页晕染着岁月痕迹，经文排布疏朗停匀，藏着写经人落笔时的静定之心。笔墨间克制端严，将佛法的空寂圆融融于毫端，是书法形制与经文禅思的绝妙契合，尽显古代写经人特有的虔敬工稳，藏着朴素静雅的东方笔墨禅味。",[49,7,386,199,6535,9007,37415,36476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29af51d82350dac21418c5fcf44af83.jpg",[],{"id":43605,"slug":43606,"title":43607,"dynasty":8749,"author":454,"museum":107,"description":43608,"tags":43609,"thumbUrl":43610,"material":751,"size":752,"collection":95,"collections":43611,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290676,"da-fang-guang-fu-hua-yan-jing-juan-di-si-shi-jiu-shou-gao-yi-ming-290676","大方广佛华严经卷第四十九手稿","卷面古旧泛黄，岁月晕染的褐渍斑驳铺陈，边角朱印依稀留存。通篇以工整小楷抄就，排布匀净舒朗，笔锋内敛沉实，起收皆合法度，点画清劲凝练，筋骨内含，虽历经漫长年月，圆融工稳的笔势依旧清晰可辨。\n\n整卷一气呵成，墨色苍润沉静，藏着抄经人书写时的极致恭谨，将禅意澄寂融于毫端，质朴虔诚的气息漫溢纸面，既是极具古韵的书法佳构，亦是饱含宗教温度的传世珍本。",[386,7,199,49,1498,9007,878,2602,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb121d7c8cefbddd945be6e45e4670db5.jpg",[],{"id":43613,"slug":43614,"title":43615,"dynasty":8749,"author":454,"museum":107,"description":43616,"tags":43617,"thumbUrl":43618,"material":751,"size":752,"collection":95,"collections":43619,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290674,"da-fang-guang-fu-hua-yan-jing-juan-di-liu-shi-liu-shou-gao-yi-ming-290674","大方广佛华严经卷第六十六手稿","这卷写经小楷通篇匀整端秀，笔力凝稳沉实，起收皆具法度。点画排布紧凑舒展得宜，字字如列队之士，齐整却不失灵动。古纸泛黄晕开淡墨，衬得笔墨愈发清隽雅致。\n\n整卷一气呵成，数百字排布森然有序，尽显书写者恭谨心境，兼具唐写经的端严工稳与沉静内敛的禅意，将典籍庄严感融于笔墨之间，每一处顿挫转折皆见虔诚与娴熟功底，尽显传统写经书法的肃穆美感与沉静气韵。",[7,386,199,49,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358ff285af0d8270749f5a07c72f4a79.jpg",[],{"id":43621,"slug":43622,"title":43623,"dynasty":8749,"author":454,"museum":107,"description":43624,"tags":43625,"thumbUrl":43626,"material":751,"size":752,"collection":95,"collections":43627,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290664,"miao-fa-lian-hua-jing-di-er-shou-gao-yi-ming-290664","妙法莲华经第二手稿","此卷小楷写经，笔致匀净秀雅，通篇气息平和内敛。墨色莹润乌亮，行气舒展贯通，虽为长篇抄经却字字端稳工谨，法度隐于笔墨之间。点画精到细腻，起收转合皆见用心，在规整肃穆之中暗含灵动意趣，尽显写经人抄录时的恭谨持敬之心。整卷笔墨与经文禅意相融，静静承载着书写者的虔诚，将宗教的沉静内化于笔墨章法之中，是写经书法中颇具韵味的佳构。",[49,7,199,386,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f7aec475123b17cab27265526beb5a6.jpg",[],{"id":43629,"slug":43630,"title":43631,"dynasty":8749,"author":454,"museum":107,"description":43632,"tags":43633,"thumbUrl":43634,"material":751,"size":752,"collection":95,"collections":43635,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290663,"miao-fa-lian-hua-jing-di-yi-shou-gao-yi-ming-290663","妙法莲华经第一手稿","通篇小楷点画精劲凝练，结体端雅宽和，是典型的写经体风貌。抄经者以恭谨肃穆的笔态书写，行次匀整、气息悠长，既有唐楷的森严法度，又兼具写经特有的朴拙温润。\n\n墨色沉凝苍古，纸面因岁月经年泛黄斑驳，缺损处如时光凿痕，更添古厚意蕴。字里行间浸透着书写者的虔诚心境，将宗教的沉静内敛融于笔墨之中，这份写本既是珍贵的佛教文献，亦是极具审美价值的书法遗存，尽显中古写本的隽永质感，静静诉说着跨越千百年的笔墨与信仰的交融。",[49,7,386,6535,9007,878,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d5c575509ced83272168336fb99794.jpg",[],{"id":43637,"slug":43638,"title":43639,"dynasty":8749,"author":454,"museum":107,"description":43640,"tags":43641,"thumbUrl":43642,"material":751,"size":752,"collection":95,"collections":43643,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290660,"da-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290660","大般若波罗蜜经手稿","此卷写经以小楷书就，笔墨恭谨端雅，字字排布匀整舒逸。笔画起收利落，筋骨内含，兼具书写法度与静穆禅意，将经文的肃穆融于笔端。\n\n纸面因岁月经年泛黄晕染，却更添沉静古旧质感，边角朱印留存，为素朴墨色晕开一抹亮色。通篇气息浑融统一，书写者以虔诚落墨，每一字都饱含静定气韵，尽显写经书法的庄严端方，带着悠悠古韵，静静诉说着过往的信仰与笔墨修行。",[7,386,878,9007,1498,199,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e206229fcccfa5e56f51c46f788717e.jpg",[],{"id":43645,"slug":43646,"title":43647,"dynasty":8749,"author":454,"museum":107,"description":43648,"tags":43649,"thumbUrl":43650,"material":751,"size":752,"collection":95,"collections":43651,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290655,"miao-fa-lian-hua-jing-fa-shi-pin-di-shi-shou-gao-yi-ming-290655","妙法莲华经法师品第十手稿","此卷小楷笔致端雅秀润，结体匀整舒展，通篇排布森然有序，尽显写经体的庄重法度。书写者以恭谨之心落墨，点画之间兼具规整性与灵动意趣，既有经生书法的典型风貌，又暗含细腻的笔锋流转，将抄经时的沉敛肃穆融于笔墨之中。\n字里行间浸透着虔诚的信仰气息，清和静谧的韵致扑面而来，让观览者得以窥见书写时的肃穆心境，书法审美价值与宗教文化意蕴相融，是一件沉静雅致的写经遗存。",[25,7,386,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0cecb2dee95954c87864a0cdc62f937.jpg",[],{"id":43653,"slug":43654,"title":43655,"dynasty":8749,"author":454,"museum":107,"description":43656,"tags":43657,"thumbUrl":43658,"material":751,"size":752,"collection":95,"collections":43659,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290654,"wei-mo-ji-jing-juan-xia-shou-gao-yi-ming-290654","维摩诘经卷下手稿","此卷写经笔致匀整秀雅，中锋行笔骨力内含，通篇千余字一气呵成，气韵贯通无懈怠之态。字间排布齐整肃穆，恪守写经法度规范，又于匀净笔墨中带着质朴自然的笔意，不见刻意雕琢痕迹。\n\n写经人将礼佛的恭谨虔诚融于笔墨流转，让通篇既有规整的庙堂感，又不失温润灵动的笔情。历经岁月墨色依旧莹润乌亮，留存下写经书法特有的静谧禅意，尽显古代抄经书法的工整美感与信仰温度，是写经书法中颇具代表性的佳构。",[49,7,386,199,9007,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14169a044d90f97e971a753a93f4ccfc.jpg",[],{"id":43661,"slug":43662,"title":43663,"dynasty":8749,"author":454,"museum":107,"description":43664,"tags":43665,"thumbUrl":43666,"material":751,"size":752,"collection":95,"collections":43667,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290651,"miao-fa-lian-hua-jing-shou-gao-yi-ming-290651","妙法莲华经手稿","这卷素纸泛着温润的米黄旧色，深浅不一的水痕晕散如淡墨晕染的花影，是时光浸洇留下的温柔印记。纸面肌理带着古纸特有的纤维质感，藏着经年流转的温度。两处细微的残缺边角，默默诉说着辗转流传的往昔。空寂的素笺仿佛还留存着昔年誊写后的沉静余韵，将岁月沉香与笔墨心绪封存在这一卷之中，安然内敛，晕开旧时光的澹澹诗意。",[386,7,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e97bbbce5cff53c1af32cec8862abbd.jpg",[],{"id":43669,"slug":43670,"title":43671,"dynasty":8749,"author":454,"museum":107,"description":43672,"tags":43673,"thumbUrl":43674,"material":751,"size":752,"collection":95,"collections":43675,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290650,"miao-fa-lian-hua-jing-juan-di-liu-shou-gao-yi-ming-290650","妙法莲华经卷第六手稿","纸色泛黄斑驳，残损处带着时光剥蚀的痕迹，却难掩笔墨的沉静力量。书写端严匀净，是典型的写经体风貌，笔致舒展凝练，既有恪守楷则的规整，又带着抄经时自然流露的温润意趣。整卷文字排布齐整如林，字里行间藏着抄写者的恭敬之心，墨迹沉实，带着古卷特有的沉静书卷气，将过往的虔敬与笔墨温度留存至今，沧桑间尽显古雅肃穆的质感。",[386,7,49,878,9007,1498,199,4678,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17e5e69ff817c81eac9252a1e6d66c47.jpg",[],{"id":43677,"slug":43678,"title":43679,"dynasty":8749,"author":454,"museum":107,"description":43680,"tags":43681,"thumbUrl":43682,"material":751,"size":752,"collection":95,"collections":43683,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290645,"miao-fa-lian-hua-jing-juan-di-yi-shou-gao-yi-ming-290645","妙法莲华经卷第一手稿","此长卷素纸淡墨，千言笔致朴拙却工整匀净，文字绵密排布一气呵成，不见半分怠惰，尽显书写时静定心力。古纸泛黄晕着斑驳旧痕，墨色随岁月浅淡晕染，笔墨与信仰相融，每一道笔痕都藏着书写者的虔诚。通篇浸着沉静古雅的书卷气，带着素朴禅意，是时光留存下的笔墨修行遗存。",[49,7,386,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f20c3c1d33e167ac2898b0e6c91ef7.jpg",[],{"id":43685,"slug":43686,"title":43687,"dynasty":8749,"author":454,"museum":107,"description":43688,"tags":43689,"thumbUrl":43690,"material":751,"size":752,"collection":95,"collections":43691,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290644,"miao-fa-lian-hua-jing-juan-di-qi-tuo-luo-ni-pin-di-er-shi-liu-ni-ti-shou-gao-yi-ming-290644","妙法莲华经卷第七陀罗尼品第二十六（拟题）手稿","此卷纸色黄褐，边角残损，尽是时光摩挲的痕迹。书法端秀匀整，兼具楷法的庄重与行书的灵动，起笔收锋沉稳有度，捺笔舒展飘逸，笔墨凝润饱满，虽历经岁月侵蚀，字迹依旧清晰可观。\n\n经文排布齐整肃穆，字里行间尽显抄经者的恭谨虔诚，将信仰寄寓于笔端。整体质朴古雅，既有宗教典籍的庄严气韵，又不失书法艺术的隽秀美感，静静承载着往昔的笔墨信仰与审美意趣，古韵悠悠，引人回望那段虔敬岁月。",[386,7,199,9007,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb163757f618d291c82896521b3a489d.jpg",[],{"id":43693,"slug":43694,"title":43695,"dynasty":8749,"author":454,"museum":107,"description":43696,"tags":43697,"thumbUrl":43698,"material":751,"size":752,"collection":95,"collections":43699,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290641,"miao-fa-lian-hua-jing-sui-xi-gong-de-pin-shou-gao-yi-ming-290641","妙法莲华经随喜功德品手稿","古纸泛黄如沉年琥珀，晕染开深浅不一的水痕，虫蛀的孔洞与残缺的边角，是时光刻下的细密注脚。虽不见经文笔墨，残页却依旧裹着虔诚的余温，仿佛还能窥见昔年抄经人伏案的剪影，青灯映着素纸，指尖摩挲过纸面留下的沉静与期许，都封存在纤维纹路之中。褪去文字的光华，它以残缺之态，沉淀出跨越岁月的肃穆与温柔，将信仰的悠长意蕴藏在斑驳褶皱里，成了一段无声却厚重的时光证言。",[386,7,1498,6535,9007,878,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0137521cdc3bab86dbc58f1fd2160e38.jpg",[],{"id":43701,"slug":43702,"title":43703,"dynasty":8749,"author":454,"museum":107,"description":43704,"tags":43705,"thumbUrl":43706,"material":751,"size":752,"collection":95,"collections":43707,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290628,"da-fang-bian-fu-bao-en-jing-juan-di-wu-shou-gao-yi-ming-290628","大方便佛报恩经卷第五手稿","此卷以泛黄旧纸为载，墨色沉凝匀净，是工整端秀的写经书法。起收笔皆循法度，点画舒展从容，通篇行气贯通，字字安稳雅致，将宗教文本的肃穆气质与笔墨意趣相融，可见抄经人落笔时的恭谨虔诚。纸面晕开几处浅淡渍痕，是岁月留下的斑驳印记，为手卷晕染出厚重的时光质感。每一笔都带着沉静的心力，经文在笔墨间缓缓铺展，让信仰与书法合二为一，静静留存下旧时光里抄经岁月的平和与敬畏。",[7,386,49,878,9007,199,1498,6535,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261d10538eea8b5834939ee8184b723f.jpg",[],{"id":43709,"slug":43710,"title":43711,"dynasty":18,"author":25686,"museum":107,"description":30624,"tags":43712,"thumbUrl":43713,"material":751,"size":752,"collection":95,"collections":43714,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290610,"01-zhang-zhao-290610","01",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86204525750070ab77af07dd2a7960d.jpg",[],{"id":43716,"slug":43717,"title":43718,"dynasty":18,"author":25686,"museum":107,"description":30624,"tags":43719,"thumbUrl":43720,"material":751,"size":752,"collection":95,"collections":43721,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290608,"zi-shu-shi-ce-zhang-zhao-290608","自书诗册",[7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ac44bbffdbdfbb22380ca7086756de.jpg",[],{"id":43723,"slug":43724,"title":43725,"dynasty":18,"author":25686,"museum":107,"description":30624,"tags":43726,"thumbUrl":43727,"material":751,"size":752,"collection":95,"collections":43728,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290607,"shu-shi-tie-zhou-zhang-zhao-290607","书诗帖轴",[23,75,398,7,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0dbc21483df5afa2490a21ef96ce4e.jpg",[],{"id":43730,"slug":43731,"title":43732,"dynasty":18,"author":29642,"museum":107,"description":29643,"tags":43733,"thumbUrl":43734,"material":751,"size":752,"collection":95,"collections":43735,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290571,"yu-zhi-yong-he-er-shou-deng-shi-cheng-shan-peng-yuan-rui-290571","御制咏鹤二首等诗成扇",[1250,7,60,3388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eeee96849458b9130de80028bd97ce.jpg",[],{"id":43737,"slug":43738,"title":43739,"dynasty":18,"author":10652,"museum":107,"description":43740,"tags":43741,"thumbUrl":43742,"material":751,"size":752,"collection":95,"collections":43743,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290548,"si-de-lun-qing-ren-290548","四得论","此作为缂丝书法，蓝地缠枝纹边框古雅端庄，框起一方文心天地。书法为行楷笔意，笔致稳健舒展，结体端秀雅致，墨色晕染沉稳内敛，织就的绢面将笔墨浓淡细腻还原，丝缕排布贴合起承转合，把笔墨意趣尽藏经纬之间。\n\n全文文辞典雅，述志抒怀，将织绣工艺与翰墨风雅完美融合，尽显旧时文人雅趣与匠心工艺的极致交融，既有书法的隽永文韵，又不失缂丝的精致质感，是工艺与文采兼备的上乘之作。",[7,199,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91585431b85a0989c4d9697b2031a2be.jpg",[],{"id":43745,"slug":43746,"title":32637,"dynasty":18,"author":43747,"museum":107,"description":43748,"tags":43749,"thumbUrl":43750,"material":751,"size":752,"collection":95,"collections":43751,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290454,"xing-shu-ye-liang-qing-biao-290454","梁清标","梁清标（1620—1691）字玉立，一字苍岩，号棠村，一号蕉林。明末清初著名藏书家、文学家，名列“贰臣传”。直隶真定（今河北省正定县）人，明崇祯十六年进士，清顺治元年降清，补翰林院庶吉士，授编修。清顺治元年降清，历任宏文院编修、国史院侍讲学、詹事府詹事、礼部左侍郎、吏部右侍郎、吏部左侍郎、兵部尚书、礼部尚书、刑部尚书、户部尚书、保和殿大学士等职。著有《蕉林诗集》《棠村词》等。",[23,7,60,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902fd53b057a560cc96eaa166dbca913.jpg",[],{"id":43753,"slug":43754,"title":43755,"dynasty":18,"author":3067,"museum":107,"description":9355,"tags":43756,"thumbUrl":43758,"material":751,"size":752,"collection":95,"collections":43759,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290422,"mo-quan-huang-tu-juan-wang-hui-290422","摹全黄图卷",[23,92,24,49,110,27,1127,51,553,43757,7,77],"城池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6da97dcfe47dbc64987fc8fb4dd7ed9.jpg",[],{"id":43761,"slug":43762,"title":43763,"dynasty":18,"author":24080,"museum":107,"description":41755,"tags":43764,"thumbUrl":43766,"material":751,"size":752,"collection":95,"collections":43767,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290207,"jin-fen-shan-ju-tu-jing-xin-guan-huai-290207","金粉山居图镜心",[23,1250,24,25,43765,51,2029,56,52,7,199,27],"金粉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a8dab4e92dbc3f7ab60e5be51db3a1.jpg",[],{"id":43769,"slug":43770,"title":43771,"dynasty":18,"author":454,"museum":107,"description":43772,"tags":43773,"thumbUrl":43774,"material":751,"size":752,"collection":95,"collections":43775,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290194,"zhi-ceng-pu-xin-zha-ce-ye-33-zhen-yi-ming-290194","致曾樸信札册页33帧","朱丝界栏衬底，墨笔小楷工稳端秀，笔墨间浸透旧时尺牍的雅致意趣。行笔舒展利落，点画周到妥帖，既有馆阁体的规整端凝，又暗蕴文人书写的舒展灵韵。\n\n纸面带着岁月晕染的浅淡痕迹，为手札更添古旧质感，将旧时士人尺素传情的日常情态静静铺展。朱红界格排布齐整，与乌墨书迹相映，红黑交织出沉静古朴的视觉层次。每一处笔锋起落都藏着书写者的从容心绪，尽显传统手札兼具实用与审美双重意蕴，将往昔文人间鸿雁传书的雅致情怀，封存在这一方纸页之上。",[23,4347,7,199,19315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf769cdb5a59463e03dcc504ab9da026.jpg",[],{"id":43777,"slug":43778,"title":43779,"dynasty":18,"author":454,"museum":107,"description":43780,"tags":43781,"thumbUrl":43784,"material":751,"size":752,"collection":95,"collections":43785,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},290171,"ri-chang-sheng-huo-de-hua-ce-yi-ming-290171","日常生活的画册","这是朱红红纸为底的堂号题字，浓黑墨色与艳红底色撞出强烈视觉张力。三字笔法沉浑敦实，起收间带着朴拙厚重的力道，将“义”字的筋骨凝练其中，尽显立堂的道义底色。纸面经年折痕晕开岁月烟火气，把旧时宗族重义守礼的家风熔铸在方寸之间，庄重又带着日常温度，是旧时光里礼制与烟火交融的温柔注脚，直白又郑重地诉说着立身持家的内核追求。",[7,75,199,43782,43783],"堂号","红纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1b72b2f60c7930ad882e85882997b77.jpg",[],{"id":43787,"slug":43788,"title":43789,"dynasty":8749,"author":454,"museum":107,"description":43790,"tags":43791,"thumbUrl":43793,"material":751,"size":752,"collection":95,"collections":43794,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},290042,"fo-tuo-luo-yi-da-zang-jing-da-fang-guang-fu-hua-yan-jing-ru-fa-jie-pin-zhi-shi-liu-yi-ming-290042","佛陀羅譯 大藏經 大方廣佛華嚴經 入法界品之十六","此卷写经书法为典型写经体风貌，笔法清劲舒展，结体匀整端秀，起收暗含法度，通篇排布疏密合宜，墨色沉凝古雅。岁月侵蚀留下的缺损虫蛀，晕开了沧桑古韵。抄写者以虔诚心境落墨，将宗教的庄严融于笔墨之间，既恪守写经的工整肃穆，又在笔锋流转里流露温润意趣，是佛教写本与书法艺术相融的典范，静静诉说着昔日抄经的郑重与信仰的温度。",[49,7,199,386,9007,4678,1498,43792,20968,878],"大藏经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803bbe975bf88ddb6dc305daf1b8ef0f.jpg",[],{"id":43796,"slug":43797,"title":43798,"dynasty":88,"author":454,"museum":107,"description":43799,"tags":43800,"thumbUrl":43802,"material":751,"size":752,"collection":95,"collections":43803,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},289956,"liu-yin-yun-dui-tu-yi-ming-289956","柳荫云碓图","此作用笔简淡秀雅，浓墨点簇垂柳，柔枝拂过浅漾陂塘，岸石错落间藏着水碓农居。水墨晕染出江南乡野的湿润空濛，没有繁复皴擦，却将柳荫下的静穆乡居铺陈眼前。\n\n细碎水纹里暗合农作运转的烟火气，搭配题诗托出田家苦中作乐的意趣，诗画相映，将日常桑麻揉入淡远山水，尽显小品以小见大的雅致，把村居闲逸的幽然意境藏进尺幅之间。",[23,92,24,25,26,27,51,6129,11051,1919,53,43801,797,60,7,77],"茅棚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcd190388052b2dae9dee58b86ef655d.jpg",[],{"id":43805,"slug":43806,"title":43807,"dynasty":179,"author":43808,"museum":107,"description":43809,"tags":43810,"thumbUrl":43811,"material":751,"size":752,"collection":95,"collections":43812,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},289953,"bao-yun-zhi-yi-tie-juan-cheng-ju-fu-289953","薄云之谊帖卷","程钜夫","程钜夫（1249年5月30日－1318年8月14日），初名文海，因避元武宗海山名讳，改用字代名，号雪楼，又号远斋。建昌军（今江西南城）人，祖籍郢州京山县（今属湖北）。",[25,49,7,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f2da1006fce8b866800e06ffc8dae9f.jpg",[],{"id":43814,"slug":43815,"title":43816,"dynasty":45,"author":10912,"museum":107,"description":16215,"tags":43817,"thumbUrl":43818,"material":751,"size":752,"collection":95,"collections":43819,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},289732,"lin-yu-shi-nan-xian-xiong-tie-wang-duo-289732","临虞世南贤兄帖",[1250,7,110,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89602d849c231c18c52a7fb72190adcd.jpg",[],{"id":43821,"slug":43822,"title":43823,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":43824,"thumbUrl":43825,"material":751,"size":752,"collection":95,"collections":43826,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},289719,"dun-huang-yi-shu-355-yi-ming-289719","敦煌遗书355",[3028,49,7,386,199,878,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee06a00c2f1bb095966570801fe4080.jpg",[],{"id":43828,"slug":43829,"title":43830,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":43831,"thumbUrl":43832,"material":751,"size":752,"collection":95,"collections":43833,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},289718,"dun-huang-yi-shu-354-yi-ming-289718","敦煌遗书354",[3028,386,7,49,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69619830575b29121e396b61073b3ffb.jpg",[],{"id":43835,"slug":43836,"title":43837,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":43838,"thumbUrl":43839,"material":751,"size":752,"collection":95,"collections":43840,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},289687,"dun-huang-yi-shu-323-yi-ming-289687","敦煌遗书323",[3028,49,7,386,199,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64176a15d83df953e270482dd2c9336e.jpg",[],{"id":43842,"slug":43843,"title":18034,"dynasty":88,"author":454,"museum":107,"description":43844,"tags":43845,"thumbUrl":43846,"material":751,"size":752,"collection":95,"collections":43847,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},289565,"fang-zhong-li-fang-dao-tu-yi-ming-289565","画面以寻仙问道为引，人物情态描摹入微，访道者萧散出尘，隐于幽寂林泉间，清冷出世的意境扑面而来。搭配数段题跋，笔墨清隽雅致，与画作意趣相融，古雅装裱晕开岁月沉淀的厚重质感，将隐逸之思藏于尺幅间。尽显清雅的审美意趣，牵引观者踏入幽远寻仙之境，静赏古人寄情林泉、追寻大道的精神世界，水墨与心绪交织，晕染出跨越时空的出世清逸。",[23,24,113,878,110,7,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71412551d5e995fc9721557d81b1d420.jpg",[],{"id":43849,"slug":43850,"title":43851,"dynasty":8749,"author":454,"museum":107,"description":43852,"tags":43853,"thumbUrl":43854,"material":751,"size":752,"collection":95,"collections":43855,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288543,"da-bei-xin-jie-hu-shen-yin-zhou-ce-shou-gao-yi-ming-288543","大悲心結護身印呪冊手稿","纸色昏黄晕染岁月旧痕，通篇小楷取法唐人写经意趣，结体端秀匀停，笔致温润舒展，无剑拔弩张的锋芒，尽是平和冲淡的禅意。字间排布齐整，行气贯通如一，笔墨朴拙自然，带着抄录经文时的专注沉静。落笔皆是虔敬之心，将经文的肃穆融于笔锋起落，尽显传统写经书法的内敛雅致，悠悠古韵漫溢纸面，静静传递出抄录时的清宁心境。",[7,199,386,26,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66fd0f37f3c1746334693c09d4d6751f.jpg",[],{"id":43857,"slug":43858,"title":19315,"dynasty":18,"author":31317,"museum":107,"description":31318,"tags":43859,"thumbUrl":43860,"material":751,"size":752,"collection":95,"collections":43861,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288306,"xin-zha-wang-wen-zhi-288306",[7,60,19315,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a95f7eceaf08c2b686293c5901d4d6.jpg",[],{"id":43863,"slug":43864,"title":43865,"dynasty":18,"author":43866,"museum":107,"description":43867,"tags":43868,"thumbUrl":43869,"material":751,"size":752,"collection":95,"collections":43870,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},288305,"yue-yuan-ge-ji-wang-ting-zhen-288305","跃渊阁记","王庭桢","无锡人。咸丰五年(一八五五)副贡，官武昌知府，恩绶子，工小楷，颇有圭峰碑神骨，兼善山水，得父传，不为枯瘦险怪之笔，天然气韻。",[199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93816e27c769106088b3d3db76b2d10.jpg",[],{"id":43872,"slug":43873,"title":43874,"dynasty":18,"author":454,"museum":107,"description":43875,"tags":43876,"thumbUrl":43880,"material":751,"size":752,"collection":95,"collections":43881,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288251,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-rui-gong-qin-wang-ai-xin-jue-luo-chun-ying-yi-ming-288251","历代帝王贵妃大臣朝服像(睿恭亲王爱新觉罗.淳颖)","此作工笔写形，细致入微。画中亲贵面容清俊，神态端严沉稳，眉眼间自显世家威仪。明黄常服配石青马蹄袖，顶戴花翎细节分毫毕现，手中朝珠垂坠合度。衣褶线条挺括匀净，设色雅致写实，将清代宗室的着装仪范与雍容气度精准呈现。\n\n画面留白疏朗，题字题跋错落排布，笔致秀雅规整，既彰表主人公功绩德操，又为画作添上文气，让写实肖像兼具文人意趣。整幅形神兼备，是清代肖像画中兼具礼制纪实性与审美价值的上乘之作。",[23,24,25,75,111,27,113,43877,43878,7,77,43879,27646],"官服","朝珠","亲王像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3497a80c72d66d55867e029292422ed3.jpg",[],{"id":43883,"slug":43884,"title":43885,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":43886,"thumbUrl":43887,"material":751,"size":752,"collection":95,"collections":43888,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288237,"shi-shou-juan-wen-zheng-ming-288237","十首卷",[7,398,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866f45fe1ba9442abac1b8f677e3f26f.jpg",[],{"id":43890,"slug":43891,"title":43892,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":43893,"thumbUrl":43894,"material":751,"size":752,"collection":95,"collections":43895,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288168,"shu-du-gong-bu-shi-ce-dong-qi-chang-288168","书杜工部诗册",[7,398,26,77,1151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73ede0aa7799ac099d7b979c361e7f8.jpg",[],{"id":43897,"slug":43898,"title":43899,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":43900,"thumbUrl":43901,"material":751,"size":752,"collection":95,"collections":43902,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288167,"xiao-chi-bi-shi-dong-qi-chang-288167","小赤壁诗",[7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb89a0b897b1962ac1181c467e299d4e6.jpg",[],{"id":43904,"slug":43905,"title":43906,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":43907,"thumbUrl":43908,"material":751,"size":752,"collection":95,"collections":43909,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},288156,"mo-shu-wu-yan-shi-ye-dong-qi-chang-288156","墨书五言诗页",[23,1250,7,60,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda24081001114cda96f1f71f9661094f.jpg",[],{"id":43911,"slug":43912,"title":751,"dynasty":1609,"author":454,"museum":107,"description":2663,"tags":43913,"thumbUrl":43914,"material":751,"size":752,"collection":95,"collections":43915,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288154,"wei-zhi-yi-ming-288154",[198,7,1613,1250,7713,798],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8c7ea4c56b124c13b02df9572261f4.jpg",[],{"id":43917,"slug":43918,"title":43919,"dynasty":18,"author":43920,"museum":107,"description":43921,"tags":43922,"thumbUrl":43923,"material":751,"size":752,"collection":95,"collections":43924,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},288142,"zhuan-fa-bai-yun-ge-sha-qing-yan-288142","篆法百韵歌","沙青岩","《篆法百韵歌》原为清代沙青岩所撰，对初学者掌握篆书规律，深入学习篆书，探究文字来源很有好处。历来有成就的篆刻家都认为，这些文字本来并非为篆刻而定，篆刻需要的字如果《说文解字》中没有，也应根据《说文解字》中六书的准则进行艺术创造，当然，没有一定的文字修养也是创造不出的。",[7,457,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56bf49a4c1cb077db7aaac9a3d8c8b5.jpg",[],{"id":43926,"slug":43927,"title":43928,"dynasty":18,"author":31317,"museum":107,"description":31318,"tags":43929,"thumbUrl":43930,"material":751,"size":752,"collection":95,"collections":43931,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288141,"wang-meng-lou-wang-wen-zhi-288141","王梦楼",[7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3e01b0fcaa45f9fdb82d52c4e5658c7.jpg",[],{"id":43933,"slug":43934,"title":43935,"dynasty":162,"author":454,"museum":107,"description":43936,"tags":43937,"thumbUrl":43938,"material":751,"size":752,"collection":95,"collections":43939,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288132,"da-bo-re-bo-luo-mi-duo-jing-juan-di-wu-bai-er-shi-er-yi-ming-288132","大般若波罗蜜多经卷第五百二十二","此卷写经纸色泛黄古旧，墨色凝练匀净，尽显唐人写经的虔谨风貌。小楷笔法端秀恭谨，结体平正舒展，字字排布齐整却不失灵动，通篇行气舒缓流畅。笔下带着抄写者的敬佛之心，法度谨严又蕴藏温润静雅的气韵，是唐代写经书法的典型范本。它既是佛教典籍的载体，更是盛唐书法艺术的珍贵遗存，静静承载着千年前的笔墨匠心与信仰温度。",[49,7,386,199,878,1498,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1135653f3f306e034eeb5fe290d4ab.jpg",[],{"id":43941,"slug":43942,"title":43943,"dynasty":162,"author":454,"museum":107,"description":43944,"tags":43945,"thumbUrl":43946,"material":751,"size":752,"collection":95,"collections":43947,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},288130,"da-bo-re-bo-luo-mi-duo-jing-juan-di-er-bai-wu-shi-yi-ming-288130","大般若波罗蜜多经卷第二百五十","此卷小楷点画清劲舒展，结体端稳匀净，通篇气息安和沉静，尽显写经时的恭谨心力。墨色沉润，与泛黄藏经纸相映，虽经岁月摩挲有褶皱破损，却晕开旧时光的温厚质感。笔锋起落皆合唐楷法度，既带着庙堂楷书的整饬，又因抄经的静定生出清和禅意。笔墨之间藏着书写者的虔诚，将般若经义融于一笔一划，朴素无华却见匠心，平淡之中自有静定风骨。",[199,7,386,878,49,1498,9007,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ae2750455f003d32cb8ab900f508e.jpg",[],{"id":43949,"slug":43950,"title":43951,"dynasty":162,"author":454,"museum":107,"description":43952,"tags":43953,"thumbUrl":43955,"material":751,"size":752,"collection":95,"collections":43956,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288128,"shi-xuan-zang-yi-da-zang-jing-a-pi-da-mo-ju-she-lun-fen-bie-sui-min-pin-di-wu-zhi-er-yi-ming-288128","釋玄奘譯 大藏經 阿毗達磨俱舍論 分別随民品第五之二","此卷写经书法是唐代写经体的典型范式，笔画匀净秀雅，结体端庄舒展，墨色沉静莹润。抄经人以恭谨心境落墨，笔笔平和端严，尽显写经的法度与冲淡禅意。虽历经岁月，卷身有多处虫蛀残破，却更添古旧沧桑，带着千余年时光的厚重质感。作为译抄佛典的遗存，笔墨间藏着彼时的宗教文化意趣，是书法艺术与佛教文化交融的珍贵实物，静静诉说着过往的虔敬与雅致。",[7,386,199,49,878,1498,20967,43792,43954],"阿毗達磨俱舍論","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6293c77ab7bf83e0082a486ec44000.jpg",[],{"id":43958,"slug":43959,"title":43960,"dynasty":162,"author":454,"museum":107,"description":43961,"tags":43962,"thumbUrl":43963,"material":751,"size":752,"collection":95,"collections":43964,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288126,"shi-xuan-zang-yi-da-bo-re-bo-luo-mi-duo-jing-di-shi-yi-yao-shi-si-jing-yu-yang-jing-yi-ming-288126","釋玄奘譯 大般若波羅蜜多經第十一 薬師寺経 魚養経","泛黄纸身凝着千年尘霜，残损处是时光凿下的印记。笔墨沉凝端严，笔锋带着虔敬的力道，每一字都饱蘸着信仰的温度，尽显沉静风骨。木轴裹着温润包浆，素带轻束，将千年前的梵音与焚香一同封存在这尺幅之间。墨色历经岁月依旧饱满，字里行间晕染着禅意，仿佛仍能窥见灯下抄经人专注的身影，听见佛堂里悠悠的诵经声，让古韵禅思顺着纸页漫溢开来。",[386,7,199,1498,878,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26671b446ce8adb4d1e4f58900326f98.jpg",[],{"id":43966,"slug":43967,"title":43968,"dynasty":45,"author":43969,"museum":107,"description":43970,"tags":43971,"thumbUrl":43972,"material":751,"size":752,"collection":95,"collections":43973,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288056,"shu-shan-tu-ye-2-wen-cong-jian-288056","书扇图页-2","文从简","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。",[23,1250,7,60,115,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492da39ed0811083a1e8c2e7929005d2.jpg",[],{"id":43975,"slug":43976,"title":43977,"dynasty":45,"author":9605,"museum":107,"description":15181,"tags":43978,"thumbUrl":43980,"material":751,"size":752,"collection":95,"collections":43981,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288055,"shu-shan-tu-ye-wen-jia-288055","书扇图页",[23,1250,7,60,77,116,1677,43979,1679,132],"小院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2606670b7aaec87aeb524f47605e72.jpg",[],{"id":43983,"slug":43984,"title":22364,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":43985,"thumbUrl":43986,"material":751,"size":752,"collection":95,"collections":43987,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},288052,"shu-shan-ye-zhu-yun-ming-288052",[1250,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3116c34b00b2ba20409dc6202073ed68.jpg",[],{"id":43989,"slug":43990,"title":43991,"dynasty":8749,"author":454,"museum":107,"description":43992,"tags":43993,"thumbUrl":43994,"material":751,"size":752,"collection":95,"collections":43995,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287935,"fa-cang-quan-jing-p4019-4-tang-yan-zi-fu-yi-juan-yuan-ti-shou-gao-jiu-ban-yi-ming-287935","法藏全景 P4019-4 唐 鷰子赋一卷（原题）手稿-旧版","纸页昏黄斑驳，岁月的侵蚀让纸面多有缺损漫漶。行楷字迹朴拙生动，落笔轻重藏着书写时的随性节奏，排布错落却不失规整。残损的卷页带着残缺的诗意，将千年笔墨的温度封存在纸间。\n\n文字虽多有断缺，却依旧能窥见俗赋的鲜活意趣，带着旧时文书特有的烟火质感，既是文学的载体，也是时光的切片。在漫漶墨迹里，往昔书写的专注与松弛依稀可感，触摸这古卷，便似触到了千年前的笔底余温，捡拾被时光磨蚀的旧日文思。",[7,386,1498,6535,398,3028,38376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2bdb921a8fefe559bb4e233c3529c2.jpg",[],{"id":43997,"slug":43998,"title":43999,"dynasty":8749,"author":454,"museum":107,"description":44000,"tags":44001,"thumbUrl":44002,"material":751,"size":752,"collection":95,"collections":44003,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287917,"yin-ming-ru-zheng-li-lun-hou-shu-juan-yi-ming-287917","因明入正理論後疏卷","此卷以朱丝界格排布全篇，小字草书连绵铺展，满卷墨色沉郁古雅。笔锋灵动跳脱，提按转合间尽显娴熟功底，字字紧凑却毫无壅塞之感，整卷行气贯通，一气呵成。卷内朱印点缀，为满幅墨色晕开醒目的亮色，静穆经文与飞动笔意相融，既有佛典自带的庄正沉静，又不失草书抒情写意的畅快，将抄录时的静定之心与书写快意融为一体，尽显古卷历经岁月的沉厚质感，以及书法美学交织的悠长韵味。",[23,49,7,386,398,878,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90de83e2c35a3ae9135e818b0610f479.jpg",[],{"id":44005,"slug":44006,"title":44007,"dynasty":8749,"author":454,"museum":107,"description":44008,"tags":44009,"thumbUrl":44010,"material":751,"size":752,"collection":95,"collections":44011,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287916,"jue-guan-lun-yi-ming-287916","絶觀論","通篇小楷匀净秀雅，行笔舒展畅达，字距行距错落自然，长篇铺陈却无壅塞之感。墨色历经岁月依旧沉润鲜亮，恪守写经端严法度的同时，又带着书写者自然流露的笔底风神。朱笔圈点与古印错落点缀，是千年前学人研读留下的印记，让这件写本跳出单纯的宗教文献属性，晕开了旧时治学的沉静温度。整卷将义理的幽深融于笔墨舒展中，尽显唐人写经特有的静谧禅意，是兼备文献价值与书法美学价值的珍品。",[23,49,7,386,9007,1498,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F667654e21b19e7870d11a20e10d1090d.jpg",[],{"id":44013,"slug":44014,"title":44015,"dynasty":8749,"author":454,"museum":107,"description":44016,"tags":44017,"thumbUrl":44018,"material":751,"size":752,"collection":95,"collections":44019,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287915,"hou-han-fu-shuo-fu-shuo-xiang-fa-jue-yi-jing-gui-wen-mu-lian-jing-juan-yi-ming-287915","後漢佛說佛說像法決疑經鬼問目連經卷","这卷写本纸色黄旧，带着岁月侵蚀留下的残损与虫蛀痕迹，却难掩笔墨神采。通篇小楷匀净端稳，行气连贯排布紧凑却不显壅塞，尽显写经书法的质朴秀雅。笔锋内敛沉厚，带着抄经手虔诚肃穆的书写心境，每一笔都沉静笃定。朱红印章点缀其间，为古雅卷面添了几分灵动亮色。\n\n它既是宗教经文的载体，也是中古民间书法的实物佐证，残损纸页凝着跨越时光的沉静力量，笔墨间藏着旧时的信仰温度，尽显古朴厚重的人文质感。",[23,49,7,386,199,9007,878,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6aa8f6118710cceb4b6289a214d790f.jpg",[],{"id":44021,"slug":44022,"title":44023,"dynasty":8749,"author":454,"museum":107,"description":44024,"tags":44025,"thumbUrl":44026,"material":751,"size":752,"collection":95,"collections":44027,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287913,"miao-fa-lian-hua-jing-juan-di-yi-juan-yi-ming-287913","妙法蓮華經卷第一卷","此卷写经笔法精整秀雅，中锋行笔凝练匀净，起收爽利，结体端稳舒展，字字排布紧凑却不局促，通篇气韵肃穆浑融，尽显抄经时的恭谨静定。苍黄古旧的纸面间，沉润墨色历经岁月仍清晰饱满，斑驳残损是时光镌刻的印记，为这份佛门遗存更添古雅厚重之感。笔墨间流淌着写经人持重虔诚的礼佛之心，是书法法度与宗教意涵的完美融合，尽显写经质朴端雅的独特美学意趣。",[23,49,7,386,199,878,9007,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c808b14b87739de63f3016cd41ac48.jpg",[],{"id":44029,"slug":44030,"title":44031,"dynasty":8749,"author":454,"museum":107,"description":44032,"tags":44033,"thumbUrl":44034,"material":751,"size":752,"collection":95,"collections":44035,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287910,"si-fen-lv-shan-fan-bu-que-xing-shi-chao-juan-di-san-da-cheng-qi-xin-lun-zhu-yi-ming-287910","四分律刪繁補闕行事鈔卷第三大乘起信論注","通篇以精谨小楷书就，字势端稳匀整，笔画凝练瘦劲。千行万字排布齐整，毫无冗杂涣散之感，通篇气息浑穆静谧。\n纸色因岁月浸淫泛出沉雅米黄，残损边缘带着时光剥蚀的印记，行间偶见朱笔标注，为沉朴的书卷添了一丝灵动鲜活。\n它兼具书法艺术与文献价值，笔墨间承载着虔敬的宗教情怀，留存着中古时代的书写风骨，平淡朴拙中尽显沉静内敛的古典美感，是佛学典籍写本中的典范遗存。",[23,49,7,386,199,878,40263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bfffc56578cfc67fefd17a50d123f2.jpg",[],{"id":44037,"slug":44038,"title":44039,"dynasty":8749,"author":454,"museum":107,"description":44040,"tags":44041,"thumbUrl":44042,"material":751,"size":752,"collection":95,"collections":44043,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287909,"miao-fa-lian-hua-jing-yao-cao-yu-pin-di-wu-yi-ming-287909","妙法蓮華經药草喻品第五","此卷为写经小楷，通篇气息肃穆静雅，字形端稳匀整，排布森然有序。笔墨凝练温润，点画起收有度，提按间尽显书写恭谨，将宗教的虔诚融于毫端。虽经岁月洗练，墨色依旧焕然，整卷气息浑融统一，尽显写经书法特有的沉静雅致，以笔锋传递出诵经时的平和心境，在工整的法度之中蕴藏着内敛的书卷意韵。",[23,7,386,199,9007,49,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e06a6228e71f567156f3e67e4c328ba.jpg",[],{"id":44045,"slug":44046,"title":44047,"dynasty":8749,"author":454,"museum":107,"description":44048,"tags":44049,"thumbUrl":44050,"material":751,"size":752,"collection":95,"collections":44051,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287908,"shou-pu-sa-jie-wen-juan-yi-ming-287908","受菩萨戒文卷","纸色泛黄古旧，墨色沉郁斑驳，满卷行草随兴排布，密而不壅。笔势迅疾洒脱，线条粗细随心法律动，字字错落呼应，既带着抄写戒文时的肃穆虔诚，又不失随性灵动的笔墨意趣。\n残损的纸边晕染着悠悠岁月的痕迹，笔墨之间封藏着千年前发愿持戒的心迹，古意漫溢，将信仰的重量与书写的温度交织在一起，静静诉说着旧时光里的笃诚。",[23,49,7,386,398,878,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9108571801e1bcd41649f7b790c2a6.jpg",[],{"id":44053,"slug":44054,"title":44055,"dynasty":8749,"author":454,"museum":107,"description":44056,"tags":44057,"thumbUrl":44058,"material":751,"size":752,"collection":95,"collections":44059,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},287907,"fu-shuo-miao-hao-bao-che-jing-yi-ming-287907","佛說妙好寶車經","此卷写经纸色泛黄古旧，墨色沉凝匀净，是典型经生小楷风貌。结体端秀匀整，点画精劲凝练，起收顿挫皆合法度，行款排布森严齐整，通篇气息肃穆安宁。\n\n字里行间带着抄经人奉佛的虔诚心力，笔笔笃定沉静，将信仰倾注于毫端。虽历经岁月磨蚀，纸页带着残损痕迹，却更添古雅厚重的质感，留存着中古时代抄经的质朴庄严，是佛教文献与书法艺术融合的珍贵遗存，尽显敦煌写本独有的沉静大美。",[23,7,386,49,9007,878,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53447fda8d625e81b61259d741d94678.jpg",[],{"id":44061,"slug":44062,"title":44063,"dynasty":8749,"author":454,"museum":107,"description":44064,"tags":44065,"thumbUrl":44067,"material":751,"size":752,"collection":95,"collections":44068,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287906,"shang-juan-shou-gao-yi-ming-287906","上卷手稿","纸色泛黄斑驳，浸着时光晕染的旧痕。密密麻麻的行楷小字排布有序，笔画劲挺凝练，端秀雅致。长篇誊抄不见潦草懈怠，字字恪守写经法度，又带着抄经手的灵动笔意，朴拙中藏着灵秀。朱圈蓝注散落卷中，是昔年读诵校勘的手泽，藏着古人治学的谨严沉静。\n这卷长卷不只承载着经文奥义，更是触摸中古书写美学的载体，让今人得以摩挲千年前的笔墨温度，窥见彼时学术与笔墨交融的日常。",[49,7,6535,386,878,9007,1498,60,44066],"手抄本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aecf19fbcd054c0106f45d080a8d6a1.jpg",[],{"id":44070,"slug":44071,"title":44072,"dynasty":8749,"author":454,"museum":107,"description":44073,"tags":44074,"thumbUrl":44075,"material":751,"size":752,"collection":95,"collections":44076,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287904,"da-tang-hou-san-zang-sheng-jiao-xu-yi-ming-287904","大唐後三藏聖敎序","此卷写经以小字行楷书就，排布茂密齐整，通篇笔意连贯无间。点画圆融秀雅，既有唐楷端严的骨架，又暗融行书舒展意趣。抄录时不见丝毫懈怠，字字端稳灵动，墨色沉润匀净，苍黄古纸晕开淡墨，晕染出沉静的岁月质感。抄经人以虔敬之心落墨，将宗教的肃穆内敛于笔墨温雅之中，通篇一气呵成不见局促，尽显写经书法的典型风貌，是兼具文献价值与审美价值的古本佳作。",[49,7,386,878,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa87661a532296bbe40893c3c3786ad7.jpg",[],{"id":44078,"slug":44079,"title":44063,"dynasty":8749,"author":454,"museum":107,"description":44080,"tags":44081,"thumbUrl":44082,"material":751,"size":752,"collection":95,"collections":44083,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287903,"shang-juan-shou-gao-yi-ming-287903","泛黄麻纸带着岁月啃噬的斑驳缺损，沉凝墨色依旧劲挺匀稳。卷间小字结体端秀，作为抄经稿本，自带沉静从容的笔墨节奏，偶有改笔批注，让千年前伏案抄录的身影仿佛近在眼前。\n纸面残损晕开的墨痕、补缀的纸边，都是时光镌刻的印记。朱笔圈点与墨色小字交织，既是佛学文本载体，亦是民间书法珍贵遗存。朴拙虔诚的笔墨里，藏着旧时光里的信仰与文心，静静诉说着跨越千年的流转过往。",[49,7,6535,398,50,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e4561e07a7ec6ee9f6a64809d7bff12.jpg",[],{"id":44085,"slug":44086,"title":44087,"dynasty":8749,"author":454,"museum":107,"description":44088,"tags":44089,"thumbUrl":44091,"material":751,"size":752,"collection":95,"collections":44092,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287902,"jing-ming-jing-guan-zhong-shi-chao-juan-yi-ming-287902","淨名經關中釋抄卷","此卷墨色沉郁古雅，泛黄纸页载满密密小字，排布齐整却不失笔意灵动。书写笔锋劲挺秀润，尽显写经的端谨风神。朱笔批注错落点缀，是研读者的思辨留痕，为肃穆的经卷添上鲜活的研学烟火气。\n\n卷页漫漶之处，皆是时光摩挲的印记。它不止是一件书法佳本，更是佛学传承的鲜活证物，带着封存的千年余温，静静诉说着往日笃志研学的岁月，将千年前的治学虔诚藏进每一道笔锋里。",[23,7,386,49,9007,199,1498,878,44090],"经文抄本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4818866bca46c621f8d8549f803cb9c.jpg",[],{"id":44094,"slug":44095,"title":44096,"dynasty":8749,"author":454,"museum":107,"description":44097,"tags":44098,"thumbUrl":44100,"material":751,"size":752,"collection":95,"collections":44101,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287900,"wu-di-yu-wen-yong-zuan-wu-shang-mi-yao-yi-ming-287900","武帝宇文邕纂無上秘要","本作以黄绢为底，墨色沉凝古雅，通篇小楷匀整秀雅，结体端稳内敛，排布密而不壅滞，尽显写经的虔谨法度。\n\n作为道教秘典长卷，笔笔沉静端方，字里行间皆是写经人对经文的敬畏之心，浸透着浓郁的宗教肃穆气息。岁月晕染下绢面古意盎然，墨色依旧清朗明润，完整留存了中古写经的典型风貌，兼具珍贵的宗教文献价值与古典书法审美价值。",[7,199,386,44099,49,77,878],"道教典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a87b76c56471048dee086eb7a0b763b.jpg",[],{"id":44103,"slug":44104,"title":44105,"dynasty":8749,"author":454,"museum":107,"description":44106,"tags":44107,"thumbUrl":44109,"material":751,"size":752,"collection":95,"collections":44110,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287899,"fu-shuo-guan-mi-lei-pu-sa-shang-sheng-dou-lv-tian-jing-juan-yi-ming-287899","佛說觀彌勒菩薩上生兜率天經卷","此卷笔墨尽显唐人写经典范风貌，点画朴拙凝练，藏锋回腕间带着匀净秀雅的笔势，字字排布齐整却不失舒展意趣，通篇行气贯通，古意盎然。\n\n历经岁月经年，绢纸虽泛黄带有蠹蚀痕迹，却依旧留存着中古写经的虔诚气韵。墨色沉润饱满，经文排布疏朗得当，尽显抄经生恭谨肃穆的抄录心境，是佛教典籍与书法艺术融合的珍贵遗存，静静诉说着旧时信众的信仰热忱。",[7,386,49,199,9007,878,4678,44108],"弥勒菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce52bfb6f459f7758560668bbd6bc8f.jpg",[],{"id":44112,"slug":44113,"title":44114,"dynasty":8749,"author":454,"museum":107,"description":44115,"tags":44116,"thumbUrl":44117,"material":751,"size":752,"collection":95,"collections":44118,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287880,"tai-bei-08687-jin-guang-ming-zui-sheng-wang-jing-juan-di-si-shou-gao-yi-ming-287880","台北 08687金光明最胜王经卷第四手稿","此卷小楷写经气息匀净安和，笔势清劲秀雅，是写经书法佳制。点画顾盼有情，起收顿挫皆具法度，牵丝映带暗含灵动，不见书写疲态，尽显抄经时的恭谨端严。\n字距行距疏朗有致，通篇墨色凝练匀润，长篇抄写却笔力始终稳健，结体端秀舒展，融质朴静穆与雅致灵动于一身。经文浩繁却气韵连贯，将宗教肃穆感藏于笔墨章法之中，恪守唐楷端整风貌，又自带内敛沉静的书写意趣，尽显写经书法的虔诚之美与艺术价值。",[7,386,199,49,878,9007,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d6a14a7416df5eceb66e9254354f43.jpg",[],{"id":44120,"slug":44121,"title":44122,"dynasty":8749,"author":454,"museum":107,"description":44123,"tags":44124,"thumbUrl":44125,"material":751,"size":752,"collection":95,"collections":44126,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287879,"tai-bei-08694-jin-guang-ming-jing-juan-di-qi-shou-gao-yi-ming-287879","台北 08694 金光明经卷第七手稿","此卷小楷通篇排布匀整肃净，字势端雅秀润，笔力内敛沉厚。虽为长篇经文，却字字舒展安稳，毫无倦怠之态，笔画起收有度，间架停匀，顾盼之间自有温雅意趣。\n\n抄经人以虔诚恭谨之心落墨，将宗教静定的气息融于笔底，既有魏晋写经的古拙朴质，又兼具唐人写经的隽秀规整。整卷文书笔墨沉淀着书写时的肃穆宁和，兼具书法美学价值与宗教文化意蕴，观之令人心神澄澈。",[49,7,199,386,878,9007,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62d0b8f45e2df0296cd750a3a61b1ead.jpg",[],{"id":44128,"slug":44129,"title":44130,"dynasty":8749,"author":454,"museum":107,"description":44131,"tags":44132,"thumbUrl":44133,"material":751,"size":752,"collection":95,"collections":44134,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287878,"tai-bei-08716-guang-zan-jing-juan-di-yi-shou-gao-yi-ming-287878","台北08716光赞经卷第一手稿","此卷小楷写经，落笔稳健匀净，点画凝练端秀，结体宽和舒展，通篇气息沉静安和，尽显写经书法的肃穆雅正。字距排布齐整，章法匀净疏朗，笔墨不带半分躁意，可见书写时心境清宁专注。\n笔墨承载般若思辨，每一处笔锋收放，都暗含对经义的敬畏，将信仰与书法融为一体，尽显古写经质朴端严之美，在笔墨流转间传递出静谧沉潜的禅意。",[7,386,199,49,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e1658313b3249905b46441a746e9a24.jpg",[],{"id":44136,"slug":44137,"title":44138,"dynasty":8749,"author":454,"museum":107,"description":44139,"tags":44140,"thumbUrl":44141,"material":751,"size":752,"collection":95,"collections":44142,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287877,"tai-bei-08728-miao-fa-lian-hua-jing-juan-xu-pin-di-yi-yi-ming-287877","台北08728妙法莲华经卷序品第一","这件写经小楷气息端雅静穆，笔墨秀润精整，是极具代表性的民间写经书法。通篇字势匀稳排布，行气连贯悠长，笔笔恪守法度，点画舒展腴润，间架宽和安雅，尽显抄经时的恭谨心境。书写者将虔诚信仰倾注于笔端，在规整的书写范式中，蕴藏内敛沉静的禅意，既体现出写经书法特有的庄严规制，也展露精湛圆熟的书写功力，让这件经卷兼具宗教文化价值与书法审美价值，是颇为精湛的古代写经范本。",[199,7,386,9007,878,25,49,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d75b971dc04fa4008cf53fe339576b.jpg",[],{"id":44144,"slug":44145,"title":44146,"dynasty":8749,"author":454,"museum":107,"description":44147,"tags":44148,"thumbUrl":44149,"material":751,"size":752,"collection":95,"collections":44150,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287875,"da-guan-ding-jing-juan-di-liu-yi-ming-287875","大灌顶经卷第六","此作小楷精整秀雅，点画凝练厚重，行笔沉稳舒展。通篇排布匀齐肃穆，字距行距疏朗合宜，尽显抄经时的恭谨虔心。笔下无潦草懈怠，结体端稳平正，兼具质朴拙意与隽秀之美，墨色沉润饱满，历经岁月仍具光泽。\n以楷法抄写经文，将宗教的沉静庄严融于笔墨筋骨之中，既恪守严谨法度，又于规整中暗含灵动笔致，尽显书写者娴熟精湛的功底，藏着彼时抄经书法典型的肃穆雅致气韵。",[7,386,49,199,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e96e870c3cd50273f290db1c9c09c0.jpg",[],{"id":44152,"slug":44153,"title":22728,"dynasty":45,"author":44154,"museum":107,"description":44155,"tags":44156,"thumbUrl":44157,"material":751,"size":752,"collection":95,"collections":44158,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287869,"shi-juan-lai-fu-287869","来复","来复，[明]字阳伯，三原（今陕西三原）人。万历四十四年（一六一六）进士。",[23,49,7,60,22728,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa159c7fc0335a8fc8526cb4ca92547e7.jpg",[],{"id":44160,"slug":44161,"title":44162,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":44163,"thumbUrl":44164,"material":751,"size":752,"collection":95,"collections":44165,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287852,"dun-huang-yi-shu-169-yi-ming-287852","敦煌遗书169",[49,7,386,3028,199,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c8d7830af701367bc005a361ad430.jpg",[],{"id":44167,"slug":44168,"title":44169,"dynasty":8749,"author":454,"museum":107,"description":44170,"tags":44171,"thumbUrl":44172,"material":751,"size":752,"collection":95,"collections":44173,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287842,"da-ban-nie-pan-jing-juan-di-san-shi-jiu-yi-ming-287842","大般涅槃经卷第三十九","这卷写经小楷气息匀净安和，是典型的写经体风貌。起笔收笔利落挺劲，点画排布匀整工稳，字字大小端严如一，通篇行气疏朗连贯，笔墨间带着沉静恭谨的写经意韵。\n笔画精劲秀雅，结构端稳平正，虽为千言长卷，却字字不苟，笔笔到位，既有法度约束下的规整，又暗含书写时的自然意趣，毫无板滞之感。古雅泛黄的纸面搭配黑亮如新的墨色，尽显岁月沉淀下的沉静肃穆，传递出书写时的恭敬诚笃，尽显写经书法平正端严、沉静清和的审美意趣。",[199,7,386,49,9007,37415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992a75f82e3f53c1a1456efadd59d029.jpg",[],{"id":44175,"slug":44176,"title":44177,"dynasty":8749,"author":454,"museum":107,"description":44178,"tags":44179,"thumbUrl":44180,"material":751,"size":752,"collection":95,"collections":44181,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287840,"tang-miao-fa-lian-hua-jing-juan-di-qi-yi-ming-287840","唐 妙法莲华经卷第七","此卷小楷起笔收笔温润秀雅，点画精到工稳，结体宽和端秀。通篇排布齐整匀净，字里行间兼具森严法度与沉静禅意，笔势圆融内敛，既恪守楷书的端正规整，又带着抄写经文时的肃穆恭敬。笔墨晕染间，将奉经的虔诚融于每一处细节，气韵冲淡安宁，尽显写经书法的典雅静穆之美，是写经书法中的上乘之作。",[49,7,199,386,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe1bcaf4390de2381b1f1eb007ccdc.jpg",[],{"id":44183,"slug":44184,"title":44185,"dynasty":8749,"author":454,"museum":107,"description":44186,"tags":44187,"thumbUrl":44188,"material":751,"size":752,"collection":95,"collections":44189,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287839,"tang-miao-fa-lian-hua-jing-juan-di-liu-yi-ming-287839","唐 妙法莲华经卷第六","此卷小楷笔致精匀端秀，墨色沉静古雅，通篇排布严整茂密，尽显写经书法的肃穆法度。字字清隽朴拙，笔意温润绵长，既恪守写经的规整范式，又带着内敛的笔墨意趣。将经文的慈悲奥义融于毫端，行笔间带着虔诚的禅心，通篇气息浑融统一，带着中古写本特有的厚重质感，静静铺展着跨越岁月的沉静禅意，尽显盛世写经的典型风貌。",[7,386,199,49,878,9007,20967,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f27e56443abfed56f5dd530321b580.jpg",[],{"id":44191,"slug":44192,"title":44193,"dynasty":8749,"author":454,"museum":107,"description":44194,"tags":44195,"thumbUrl":44196,"material":751,"size":752,"collection":95,"collections":44197,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287825,"dong-dou-fa-yuan-juan-yi-ming-287825","東都發願卷","此卷书法尽显唐人写经朴雅本貌，用笔简劲凝练，点画厚重平实，起收之间从容自然，牵丝映带暗含章法意趣。通篇布局匀整和谐，字距行距错落有度，虽为抄经之作，却将书写时的虔诚心境融于笔墨细节，不见刻意雕琢，尽是日常书写的松弛意态。\n\n岁月晕染让纸面带着斑驳痕迹，反而更添古拙意蕴。书写者娴熟的运笔功力藏在每一处提按转折里，以平实笔墨承载笃信之心，是民间写经书法中兼具文献价值与审美意趣的佳品，尽显中古写本的朴素之美。",[49,7,386,9007,199,3479,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed4766da81fe616deaa4b858b134dfa.jpg",[],{"id":44199,"slug":44200,"title":44201,"dynasty":8749,"author":454,"museum":107,"description":44202,"tags":44203,"thumbUrl":44204,"material":751,"size":752,"collection":95,"collections":44205,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287823,"da-cheng-bai-fa-ming-men-lun-kai-zong-yi-ji-yi-ming-287823","大乘百法明門論開宗義記","这卷写经以精工小楷书就，笔致匀稳端秀，结体方正疏朗，是唐人写经的典型风貌。墨色历久依旧沉凝鲜亮，卷面泛黄斑驳，朱印点缀其间晕开岁月厚重质感。整卷洋洋洒洒，字行排布齐整如一，法度谨严，尽显抄经人恭谨的写经态度。它既是承载佛教义理的珍贵载体，又尽显唐代民间写经书法的清雅朴拙之美，将宗教的庄敬气韵与书法的隽雅意趣融为一体，兼具极高的文献价值与艺术审美价值。",[7,386,199,878,9007,1498,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54771db68412067a685a86c63f5bdd72.jpg",[],{"id":44207,"slug":44208,"title":44209,"dynasty":45,"author":2206,"museum":107,"description":13899,"tags":44210,"thumbUrl":44211,"material":751,"size":752,"collection":95,"collections":44212,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287812,"gui-tian-fu-zhu-yun-ming-287812","归田赋",[7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d4ccb4037a2c144dee0d3ed520c5d7.jpg",[],{"id":44214,"slug":44215,"title":44216,"dynasty":8749,"author":454,"museum":107,"description":44217,"tags":44218,"thumbUrl":44219,"material":751,"size":752,"collection":95,"collections":44220,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287808,"zhen-ji-yi-ming-287808","真迹","此作用笔纵逸跌宕，行草兼融，线条枯润交错，墨色浓淡变幻自然。字势欹正相生，牵丝萦带间气韵连贯如流云奔川，将心绪起伏藏于点画流转之中。朱红鉴印错落铺陈，与苍润墨色相映，既添金石古雅意趣，又晕染出岁月沉淀的厚重质感。章法疏密随心排布，看似率意不羁，实则暗合法度，把抒情与达意融为一体，尽显随性烂漫的文人笔底风神，落笔满是不加雕琢的真率意趣。",[7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f08d27cb10e229c1cb9faf64424fea.jpg",[],{"id":44222,"slug":44223,"title":43999,"dynasty":8749,"author":454,"museum":107,"description":44224,"tags":44225,"thumbUrl":44226,"material":751,"size":752,"collection":95,"collections":44227,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287805,"yin-ming-ru-zheng-li-lun-hou-shu-juan-yi-ming-287805","这卷草书手卷笔墨苍朴老辣，通篇气息绵连不绝。以行草挥毫，字势欹侧相生，牵丝映带间尽显书写时的酣畅节奏，虽字字排布紧密却丝毫不显壅塞，行气贯通如一脉清流。\n\n用笔枯润互见，锋棱藏露随心，提按转合皆见法度，既有肆意挥洒的写意感，又不失写经类书法的端谨底色。墨色浓淡变化留存下书写时的情绪起伏，将义理述写与书法意趣相融，是一件兼具文献价值与审美意趣的书法佳构，尽显古雅沉厚的笔墨风神。",[23,49,7,386,398,9007,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c601b78d641b401a6f7dc8353d786b.jpg",[],{"id":44229,"slug":44230,"title":44231,"dynasty":8749,"author":454,"museum":107,"description":44232,"tags":44233,"thumbUrl":44234,"material":751,"size":752,"collection":95,"collections":44235,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287789,"ai-ce-yi-ming-287789","哀册","这件碑拓笔意清劲疏朗，右侧行书带着楷书的端凝规整，顿挫间漫出沉郁哀婉的悼亡文气，贴合载体的悼怀主题。左侧九叠篆印排布齐整匀净，线条圆融厚重，与行书形成工稳和纵逸的视觉对冲。\n\n沉厚的墨色古雅苍劲，朱红印信点缀其间，黑朱相映，既有典重肃穆的仪式感，又带着旧拓历经岁月的沧桑质感。整幅章法疏朗却意脉相连，将碑拓的金石气与哀文的悲戚感融为一体，尽显内敛古雅的碑帖美学意韵。",[7,198,457,3467,77,200,44231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6955f851d592ff7e244357137fa838.jpg",[],{"id":44237,"slug":44238,"title":44239,"dynasty":8749,"author":454,"museum":107,"description":44240,"tags":44241,"thumbUrl":44242,"material":751,"size":752,"collection":95,"collections":44243,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287759,"xing-fu-si-duan-bei-yi-ming-287759","兴福寺断碑","此作为行书碑刻，笔势萦带牵连，欹侧相生间尽显灵动。点画圆腴温润，既得二王萧散雅正之致，又暗含刚劲骨力。结体疏密随心铺陈，开合自在，章法行气贯通无碍。\n碑石虽残泐斑驳，却更添古旧沧桑意韵，丝毫无损其秀逸风神。将行书的流宕潇洒，与碑刻的沉厚朴拙相融，每一道拓痕里，都藏着挥毫时的行云意趣，依稀可见当年走笔落墨的疏放姿态，是行书碑刻中神采焕然的难得佳构。",[7,198,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518afcad470e84ec6e3d1877d7c23522.jpg",[],{"id":44245,"slug":44246,"title":44247,"dynasty":8749,"author":454,"museum":107,"description":44248,"tags":44249,"thumbUrl":44250,"material":751,"size":752,"collection":95,"collections":44251,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287751,"cao-shu-shou-gao-shang-bu-yi-ming-287751","草書手稿（上部）","全篇满纸云烟，字势连绵缠绕，锋毫游走毫无滞碍。虽密匝排布却丝毫不显壅塞，字字顾盼牵萦，气脉贯通首尾。书写随性自在，带着即兴挥洒的松弛快意，笔墨枯湿浓淡隐现其间，质朴纸色与苍劲墨痕相映，不见刻意雕琢，尽显草稿手札的天然意态。\n\n书写者将思绪随笔锋流淌于纸面，每一处牵丝映带都藏着心绪的起伏，满是率真的书写意趣，能让观者透过斑驳纸墨，触摸到这份笔墨遗存里鲜活且肆意的书写瞬间。",[23,398,7,49,6535,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85ca3afaac75a1562d93bc42ee1481e.jpg",[],{"id":44253,"slug":44254,"title":44255,"dynasty":8749,"author":454,"museum":107,"description":44256,"tags":44257,"thumbUrl":44258,"material":751,"size":752,"collection":95,"collections":44259,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287743,"cao-shu-shou-gao-xia-bu-yi-ming-287743","草書手稿（下部）","纸面带着岁月蚀刻的斑驳，左首的蓝痕残损如同旧梦碎片。连绵草字铺陈满卷，笔锋辗转牵丝萦带，随性中藏着内敛法度。墨色深浅晕染在泛黄纸页间，每一行字都贯穿着书写时的流畅气韵，仿佛能窥见挥毫时的快意节奏，一气呵成的行气里藏着书写者的自在心境。残损的纸边反而晕开更浓的古旧质感，让这份笔墨更添厚重的时光温度，虽存残缺，却依旧能让人沉浸在这份古朴笔意中，触碰旧时书写里的松弛力道与雅致意趣。",[23,398,7,49,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf22d3479f5b4dfbf098b0e4063e82c7.jpg",[],{"id":44261,"slug":44262,"title":44263,"dynasty":8749,"author":454,"museum":107,"description":44264,"tags":44265,"thumbUrl":44266,"material":751,"size":752,"collection":95,"collections":44267,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287725,"si-fen-ni-jie-ben-bing-xu-xi-tai-yuan-si-sha-men-huai-su-ji-juan-yi-ming-287725","四分尼戒本並序西太原寺沙門懷素集卷","此卷小楷写经笔致匀净秀雅，起收含蓄温润，结体端稳平齐，尽显写经书法的典型风貌。书写一丝不苟，千字排布齐整却不失灵动意趣，墨色沉静古雅，历经岁月晕染自然。\n\n作为戒律经文抄本，法度谨严的书风与戒经庄正的内涵相得益彰，字里行间浸着肃穆虔诚的气息，既承载着宗教文献的厚重价值，亦是书法艺术的传世范本，尽显抄经人恭谨之心与精湛笔墨功底。",[199,386,7,49,878,9007,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eeade6dc49bf837b2521e9e2f7c542c.jpg",[],{"id":44269,"slug":44270,"title":44271,"dynasty":1609,"author":454,"museum":107,"description":2663,"tags":44272,"thumbUrl":44273,"material":751,"size":752,"collection":95,"collections":44274,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287723,"yang-huai-biao-ji-yi-ming-287723","杨淮表记",[198,7,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7203b3fe9c99e48c14a79d0794e5f37.jpg",[],{"id":44276,"slug":44277,"title":3136,"dynasty":8749,"author":454,"museum":107,"description":44278,"tags":44279,"thumbUrl":44280,"material":751,"size":752,"collection":95,"collections":44281,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287709,"qian-zi-wen-yi-ming-287709","此作用笔灵动爽利，提按转合间尽显潇洒意趣，牵丝映带自然圆融，字字顾盼有情。章法疏朗匀整，行列排布齐整却不失错落生机，笔画粗细变化富于韵律，或圆润遒劲，或轻盈飘逸，将行书流美雅致的特质尽数彰显。整体气息平和隽雅，笔墨间既有法度谨严的沉稳，又不失灵动舒展的随性，把词句意蕴随笔墨节奏铺陈开来，尽显传统行书的古典意韵，是一件颇具功底的书法佳制。",[7,60,200,3136,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96dad744438936fdd9900e6c562ad063.jpg",[],{"id":44283,"slug":44284,"title":44285,"dynasty":8749,"author":454,"museum":107,"description":44286,"tags":44287,"thumbUrl":44288,"material":751,"size":752,"collection":95,"collections":44289,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287688,"fa-cang-quan-jing-p3305-wei-he-yan-lun-yu-ji-jie-shou-gao-xia-juan-yi-ming-287688","法藏全景 P3305魏 何晏 論語集解手稿下卷","这卷残本写迹纸色斑驳残破，带着时光浸蚀的苍旧质感，行书笔意率朴自然，无刻意雕琢的匠气，带着魏晋士人抄录经典时的随性笔致。\n\n墨迹晕染在残损麻纸之上，虽多处缺佚，却仍可窥见当年传抄经典的治学氛围。朴拙的线条藏着士林注经的风雅余韵，每一处笔锋转折，都留存千年前的书写温度，带着沙海尘封的厚重质感，是文献价值与书法意趣兼具的珍贵遗存，静静诉说着旧时文人沉心经典的沉静心境。",[49,7,1498,6535,38376,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c8dcda768027b1c261cb8b1baebaf0.jpg",[],{"id":44291,"slug":44292,"title":44293,"dynasty":45,"author":19108,"museum":107,"description":24598,"tags":44294,"thumbUrl":44295,"material":751,"size":752,"collection":95,"collections":44296,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287687,"zi-shu-dao-zhong-shi-ni-yuan-lu-287687","自书道中诗",[24,25,1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadff9fd827d1200c731738a1d7d34068.jpg",[],{"id":44298,"slug":44299,"title":44300,"dynasty":45,"author":744,"museum":107,"description":897,"tags":44301,"thumbUrl":44302,"material":751,"size":752,"collection":95,"collections":44303,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287685,"yi-nian-ge-tang-yin-287685","一年歌",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd26c41bef6ad4fd1dee96038d35360.jpg",[],{"id":44305,"slug":44306,"title":44307,"dynasty":45,"author":4035,"museum":107,"description":9453,"tags":44308,"thumbUrl":44309,"material":751,"size":752,"collection":95,"collections":44310,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287679,"zhi-liang-zhong-ren-shu-shen-du-287679","致梁仲仁书",[7,60,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b3c60c4c7dc2041ba20626718f491d.jpg",[],{"id":44312,"slug":44313,"title":44314,"dynasty":45,"author":40900,"museum":107,"description":40901,"tags":44315,"thumbUrl":44316,"material":751,"size":752,"collection":95,"collections":44317,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287678,"can-gao-wang-zhi-deng-287678","残稿",[7,60,25,77,878,51,116,44314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d97522b85fb4808722b1554abe1147b.jpg",[],{"id":44319,"slug":44320,"title":44321,"dynasty":8749,"author":454,"museum":107,"description":44322,"tags":44323,"thumbUrl":44324,"material":751,"size":752,"collection":95,"collections":44325,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287670,"fa-cang-quan-jing-p2252-cha-tu-ban-fu-shuo-fu-ming-jing-juan-di-shi-san-shou-gao-xia-bu-yi-ming-287670","法藏全景 P2252插圖版 佛說佛名經卷第十三 手稿 下部","用笔敦实凝练，结体端稳又暗含灵动意趣，通篇字距排布匀净齐整，苍润厚重的墨色晕染在泛黄古纸之上，自带沉静肃穆的禅意。书写者以虔诚心境落墨，字字饱含恭敬，带着写经特有的规整法度，却又不失手写的温度。边角晕开的岁月旧痕与朱印相映，晕开时光沉淀的古雅意蕴，将宗教仪轨的庄严与书写的质朴温情相融，尽显这份古旧写本的沉静质感与虔诚底色。",[3028,7,386,199,878,9007,1498,77,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05a6be8b4e52381a24a474e2ab72da4.jpg",[],{"id":44327,"slug":44328,"title":44329,"dynasty":8749,"author":454,"museum":107,"description":44330,"tags":44331,"thumbUrl":44332,"material":751,"size":752,"collection":95,"collections":44333,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},287661,"10-qian-zi-wen-yi-ming-287661","10：千字文","此作笔墨圆熟温润，行笔舒展灵动，节奏悠然舒缓，枯润相生间尽显萧散简淡的晋唐余韵。右侧题字行气贯通，笔势随文句自然铺展，自带沉静悠然的书卷意趣。左侧鉴藏朱印错落排布，朱红晕染古纸，与墨色相映成趣，晕开厚重的传世质感，整体朴茂静雅，寥寥题笔却尽显雅致文人风骨，将日常题札写得古意盎然。",[7,60,77,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c2cd0f9dbf3b54008722094f211692.jpg",[],{"id":44335,"slug":44336,"title":40302,"dynasty":8749,"author":454,"museum":1172,"description":44337,"tags":44338,"thumbUrl":44339,"material":751,"size":752,"collection":95,"collections":44340,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287631,"fu-shuo-wu-liang-shou-zong-yao-jing-shou-gao-yi-ming-287631","通篇以精整小楷书就，笔墨匀净秀雅，字字排布齐整森严，行气舒朗贯通，尽显抄经人恭谨澄澈的心境。笔锋清劲内敛，点画温润饱满，无过度锋芒张扬，暗合佛家内敛平和的气韵。整卷绵长不绝，数千字一气呵成，古旧泛黄的纸面晕开时光沉淀的沉静质感。字里行间既有法度严谨的书写功底，亦藏着抄写时的清净禅意，将宗教的肃穆与书法的雅致相融，静静诉说着往昔抄经时的虔诚岁月。",[49,7,386,199,6535,9007,4678,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e26679fe02769653cf330ded417a39.jpg",[],{"id":44342,"slug":44343,"title":44344,"dynasty":8749,"author":454,"museum":1172,"description":44345,"tags":44346,"thumbUrl":44347,"material":751,"size":752,"collection":95,"collections":44348,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287630,"da-ban-nie-pan-jing-juan-shi-liu-shou-gao-yi-ming-287630","大般涅槃經卷十六手稿","这卷写本以泛黄古纸为底，小楷密密排布，铺满整幅长卷。墨色沉郁朴拙，虽历经岁月有着虫蛀墨损，却更添沧桑古意。笔锋秀劲内敛，字字端稳清隽，排布紧凑却无壅塞之感，尽显写经书法的沉静肃穆之美。\n写经人以虔诚贯注笔端，笔画匀净凝练，带着写经书法的典型风貌，将宗教的庄严感融入笔墨筋骨之中，质朴无华却动人心神。它是信仰与书法艺术的融合遗存，每一处墨迹都留存着千年前的虔敬气息，静穆之中藏着沉静的力量，尽显古写本的质朴美学意蕴。",[49,7,386,9007,199,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1cb49db18a9b0a48d9b91fde333bcf7.jpg",[],{"id":44350,"slug":44351,"title":12315,"dynasty":8749,"author":454,"museum":1172,"description":44352,"tags":44353,"thumbUrl":44355,"material":751,"size":752,"collection":95,"collections":44356,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287622,"jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-287622","此卷小楷写经用笔精严端秀，结体匀整安定，是典型的写经书法风貌。通篇气息沉静肃穆，笔墨温润质朴，不见丝毫潦草懈怠，足见抄经者的恭敬虔诚。\n\n点画凝练沉稳，带着唐楷的端严法度，又自带写经特有的静定气韵，将对经文的虔敬融于每一处笔墨细节。长卷铺展，字字排布齐整，般若经的空寂禅思与笔墨的沉静内敛相互契合，观者凝视之间，便能感知抄经时的平和心力。历经岁月洗练，墨色依旧沉厚匀净，古雅的书卷气息扑面而来，尽显写经书法清雅肃穆之美，是兼具宗教意涵与书法审美价值的佳品。",[49,199,7,386,878,20967,44354],"佛教经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab52866f1081b2f75b0ad4a50034ecdc.jpg",[],{"id":44358,"slug":44359,"title":44360,"dynasty":8749,"author":454,"museum":107,"description":44361,"tags":44362,"thumbUrl":44363,"material":751,"size":752,"collection":95,"collections":44364,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287547,"06-shi-qi-tie-shang-ye-ben-yi-ming-287547","06：十七帖〈上野本〉","这帧残页墨痕几近湮没，只剩星点笔意隐在灰败的纸色间。岁月剥蚀了大部书迹，却让斑驳成为时光的注脚。晋人尺牍的流畅笔意，如今只剩断续残影，仿佛还留存着当年走笔的温度。缺损的纸边如同被时光啃噬，将往昔风雅揉成残缺的诗。每一处留白与残墨都在诉说辗转流传的沧桑，不必追念全貌，这份破碎反而让笔墨余韵愈发悠长，把千年光阴凝缩在这方残纸之上，静静沉淀出旧时光的厚重与风雅。",[7,398,200,29671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291b7c860e9ea4ea60c1f5f61888bbec.jpg",[],{"id":44366,"slug":44367,"title":1250,"dynasty":45,"author":744,"museum":107,"description":897,"tags":44368,"thumbUrl":44369,"material":751,"size":752,"collection":95,"collections":44370,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},287441,"shan-mian-tang-yin-287441",[1250,7,60,77,568,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ca207765882ce734dff0385eb1479a.jpg",[],{"id":44372,"slug":44373,"title":44374,"dynasty":8749,"author":454,"museum":107,"description":44375,"tags":44376,"thumbUrl":44377,"material":751,"size":752,"collection":95,"collections":44378,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},287322,"da-fang-deng-da-ji-jing-da-ji-jing-juan-ti-nian-si-shou-gao-yi-ming-287322","大方等大集經 大集經卷苐廿四手稿","此卷书法为典型写经楷书，墨色匀净沉和，笔致恭谨端严。点画精劲凝练，起收有度，结体方正匀整，字字排布齐整肃穆，通篇气息沉静安和。行款排布匀停，虽字字恪守法度，却无刻板滞涩之感，灵动笔意隐于规整之中，可见抄经者不俗的书法功底。笔墨之间，饱含抄写时的敬奉之心，在平铺直叙的抄录里，尽显早期写经书法的典型风貌，虔诚的气韵浸透在每一处笔锋起落之中，是佛教写本书法里平实却精湛的佳作。",[49,7,199,386,878,1498,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6baa531fc76363217f2dd24290e8c259.jpg",[],{"id":44380,"slug":44381,"title":6146,"dynasty":45,"author":454,"museum":72,"description":44382,"tags":44383,"thumbUrl":44384,"material":682,"size":44385,"collection":95,"collections":44386,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},284496,"qi-ying-sheng-hui-tu-yi-ming-284496","为了富国、强兵，扭转北宋一朝不断出现的“衰世”局面，宋熙宁二年（1069年），宋神宗与王安石力推“熙宁变法”。与此同时，一大批朝中重臣站在不同立场上，纷纷反对变法，性情执拗的王安石在宋神宗的支持下，罢黜了一大批反对变法的官员。\n当时的洛阳就聚集了一大批因反对变法而远离政坛的士大夫。《邵氏闻见录》中记载，元丰五年（1082年）“耆英会”正式成立，成员包括富弼、文彦博、席汝言、王尚恭、赵丙、刘几、冯行己、楚建中、王慎言、张问、张焘、王拱辰、司马光等13人。这些人是年龄较长、声名在望的士大夫，再加上这个组织人员较多，因此，成为当时洛阳地区最具影响力的民间组织。\n“耆英会”中的士大夫虽然在朝中为官时置身政务、激烈反对变法，但当远离当时的北宋国都开封，会聚洛阳后，他们不再过问政事，而是修道参禅，修身养性。《耆英胜会图》反映的就是这个时期这些士大夫临泉悠游的闲适状态。",[23,25,7,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45418439df481325681c502d2d6a5042.jpg","32.2x258.5公分",[],{"id":44388,"slug":44389,"title":44390,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":44391,"thumbUrl":44392,"material":751,"size":752,"collection":95,"collections":44393,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},283767,"si-yin-tang-shi-gao-ce-san-shi-er-kai-dong-qi-chang-283767","四印堂诗稿册（三十二开）",[26,7,60,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae610695bea9ec9135ddabe7153e468.jpg",[],{"id":44395,"slug":44396,"title":39303,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":44397,"thumbUrl":44398,"material":751,"size":752,"collection":95,"collections":44399,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},283761,"huang-ting-nei-jing-jing-juan-dong-qi-chang-283761",[23,49,7,398,386,6582,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9255793c87e2a497c156b9698b2bdf.jpg",[],{"id":44401,"slug":44402,"title":44403,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":44404,"thumbUrl":44405,"material":751,"size":752,"collection":95,"collections":44406,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},283747,"li-kang-yi-chuan-juan-dong-qi-chang-283747","李康义传卷",[23,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58dbd17aa909ce1899ca52dd80eeee8f.jpg",[],{"id":44408,"slug":44409,"title":30869,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":44410,"thumbUrl":44411,"material":751,"size":752,"collection":95,"collections":44412,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},283742,"lin-song-si-jia-shu-juan-dong-qi-chang-283742",[23,7,49,110,60,398,200,3155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58aa17031b6086581da148289ec300e7.jpg",[],{"id":44414,"slug":44415,"title":44416,"dynasty":179,"author":44417,"museum":107,"description":44418,"tags":44419,"thumbUrl":44421,"material":751,"size":752,"collection":95,"collections":44422,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},283614,"shuo-fu-yi-bai-er-shi-juan-tao-zong-yi-283614","说郛一百二十卷","陶宗仪","陶宗仪（1329年～约1412年），字九成，号南村，台州黄岩人。 [1] 元末明初文学家、史学家。自幼刻苦攻读，广览群书，学识渊博，工诗文，善书画。\n成语“积叶成书”讲述陶宗仪的故事。\n元末兵起，陶宗仪避乱松江华亭，耕作之余，随手札记。元至正末，由其门生整理，得精萃五百八十余条，汇编成《辍耕录》，或称《南村辍耕录》30卷，其中记述了元代掌故、典章制度，东南地区农民起义状况。作品还有《南村诗集》（4卷）《国风尊经》（1卷）《沧浪棹歌》（1卷）《书史会要》（9卷）《四书备遗》（2卷）《印章考》（1卷）《淳化帖考》（1卷）《兰亭帖目》（1卷）《说郛》（100卷）。",[1498,199,7,9636,4677,37496,44420],"大学","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73b17f4786dd29b0985c357c34e6b13.jpg",[],{"id":44424,"slug":44425,"title":44426,"dynasty":45,"author":44427,"museum":107,"description":44428,"tags":44429,"thumbUrl":44430,"material":751,"size":752,"collection":95,"collections":44431,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},283601,"li-dai-ming-chen-zou-yi-san-bai-wu-shi-juan-zhang-pu-283601","历代名臣奏议三百五十卷","张溥","字乾度，一字天如，号西铭，南直隶苏州府太仓州（今属江苏太仓）人，是明朝晚期文学家。\n崇祯四年进士，选庶吉士，自幼发奋读书，明史上记有他“七录七焚”的佳话，与同乡张采齐名，合称“娄东二张”。张溥曾与郡中名士结为复社，评议时政，是东林党与阉党斗争的继续。\n文学方面，推崇前后七子的理论，主张复古，又以“务为有用”相号召。一生著作宏丰，编述三千余卷，涉及文、史、经学各个学科，精通诗词，尤擅散文、时论。代表作有《七录斋集》《五人墓碑记》等。",[1498,199,7,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f9ee2bba74527c78c701665992776f4.jpg",[],{"id":44433,"slug":44434,"title":44435,"dynasty":18,"author":454,"museum":107,"description":44436,"tags":44437,"thumbUrl":44438,"material":751,"size":752,"collection":95,"collections":44439,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},275916,"bi-yu-dong-gao-shu-yu-zhi-shu-han-chang-li-da-li-yi-shu-hou-ce-yi-ming-275916","碧玉董诰书御制书韩昌黎答李翊书后册","此作以凝润碧玉为材，色如深潭幽绿，自带沉静古雅之质。册面以金彩精饰双龙，龙身矫捷盘绕，鳞爪张弛有力，伴祥云辗转腾挪，将皇家威仪尽显无余。錾刻填金的题字端雅规整，与灵动龙纹相映成趣，金辉碧色交融之下，华贵而不失清雅。\n\n整器将玉雕之工、髹金之巧与文心雅意相融，层层叠放间金棱点缀，更添精致，尽显宫廷审美意趣，藏着盛世匠人的极致用心。",[7714,26,359,7,199,7713,1498,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5750089bf6e4556c65e4b1e8cdaf7917.jpg",[],{"id":44441,"slug":44442,"title":44443,"dynasty":18,"author":454,"museum":107,"description":44444,"tags":44445,"thumbUrl":44446,"material":751,"size":752,"collection":95,"collections":44447,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},275914,"bi-yu-heng-ling-shu-yu-zhi-qing-liang-shan-ji-ce-yi-ming-275914","碧玉衡龄书御制清凉山记册","此匣整料精雕而成，通身高浮雕苍龙腾跃于云水之间，龙爪雄劲凌厉，鳞片刻画分毫毕现，云浪翻卷层叠，灵动又不失厚重。器身边角以回纹勾边，规整雅致，盒面留嵌金题位，古雅华贵，与浮雕纹饰相得益彰。底座环雕莲瓣纹，为器物添就沉静庄严的气韵。整体构图饱满却无繁冗之感，雕工浑厚圆润，将神龙的威仪与云水的柔婉相融，尽显匠人超凡功力，把礼制尊崇与工艺美学精妙结合，是一件气度不凡的上乘之作。",[7714,7713,359,834,26,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45eb542f681fdacd155df02671085a73.jpg",[],{"id":44449,"slug":44450,"title":44451,"dynasty":18,"author":454,"museum":107,"description":44452,"tags":44453,"thumbUrl":44454,"material":751,"size":752,"collection":95,"collections":44455,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},275906,"qing-yu-dong-gao-shu-yu-zhi-yan-pu-xu-ce-yi-ming-275906","青玉董诰书御制砚谱序册","此函盒以织锦装裹，黄地萦回蓝绿宝相花团纹，古雅沉静，素签题字墨色凝练，虽经岁月摩挲，古意未减。\n\n内中玉册取温润青玉为材，以刀代笔，将砚谱序文悉心摹刻。字口挺括清晰，章法疏朗端严，把御制文辞与精妙治玉工艺相融，既是文房清赏的上乘佳制，亦是宫廷雅趣与匠心工艺合璧的典范，静静诉说着旧时宫廷的审美意趣与顶尖工艺造诣，尽显清隽雅致的旧日风华。",[26,7714,7,3093,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50672f577661004a2bca220ccb658c97.jpg",[],{"id":44457,"slug":44458,"title":44459,"dynasty":18,"author":454,"museum":107,"description":44460,"tags":44461,"thumbUrl":44462,"material":751,"size":752,"collection":95,"collections":44463,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},275903,"qing-yu-ming-guan-chen-lu-cun-yang-wei-zhen-zheng-tong-bian-yu-ce-yi-ming-275903","青玉命馆臣录存杨维桢正统辨谕册","此匣以硬木为胎，错金为饰，工艺极尽考究。匣身云海间腾龙矫健，鳞爪张弛有力，云纹层叠翻涌，将瑞兽威仪烘托得淋漓尽致，下缘回纹圈边，规整肃穆。盖面满錾铭文，排布齐整，笔力沉稳端方。\n\n金纹在深褐木色衬映下熠熠生辉，细木工艺与错金技法相融，既有文房重器的端庄质感，又尽显华贵工巧。整器制式规整，暗合所藏之物的厚重价值，器物与藏品相得益彰，尽显清代匠作的绝佳匠心与宫廷造物的考究气度。",[19026,7713,26617,359,26,1498,834,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89ed9837f7289e1122e4ca39919ac56.jpg",[],{"id":44465,"slug":44466,"title":44467,"dynasty":18,"author":454,"museum":107,"description":44468,"tags":44469,"thumbUrl":44470,"material":751,"size":752,"collection":95,"collections":44471,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},275902,"qing-yu-cao-wen-zhi-shu-yu-zhi-guang-ling-tao-jiang-yu-bian-ce-yi-ming-275902","青玉曹文埴书御制广陵涛疆域辨册","温润青玉为页，将御制文论以隽秀笔墨镌于其上。玉色莹洁沉静，衬出书法端稳舒展，既有馆阁体的规整肃穆，亦带着文人笔墨的清雅意趣，把文思风骨凝在凝润玉质中。配套锦盒纹样古雅，静静裹藏这份文心雅韵，让宏论、书法与良玉相融，是玉作与书法合璧的清贵珍玩，将旧时文风雅韵定格在莹润玉石之上，藏着内敛沉静的雅致格调。",[7714,26,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f7ddfa4f887454033a86c50c31e322.jpg",[],{"id":44473,"slug":44474,"title":44475,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":44476,"thumbUrl":44477,"material":751,"size":752,"collection":95,"collections":44478,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},275892,"bai-yu-yu-lin-mi-fei-xi-yuan-ya-ji-ji-ce-yi-ming-275892","白玉御临米芾西园雅集记册",[26,7714,7,110,60,19026,7713,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9837c5d855a8f0faf1a7776b3593ba.jpg",[],{"id":44480,"slug":44481,"title":44482,"dynasty":18,"author":454,"museum":107,"description":44483,"tags":44484,"thumbUrl":44485,"material":751,"size":752,"collection":95,"collections":44486,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},275891,"bi-yu-yu-bi-xue-fu-ce-yi-ming-275891","碧玉御笔雪赋册","此套饰以错金髹漆，满铺回纹锦地，团寿、磬形吉纹错落点缀，古雅华贵，尽显匠心。内藏玉册凝萃和田碧玉精华，质地莹润如玄冰凝脂。页间浅镌的赋文，铁画银钩，刀工紧随笔意，将御书墨韵风骨凝于玉面。\n\n雪色清寂，藏于文辞之中；冰魂玉魄，融于莹润质地。文辞与玉色相映，将冬雪盛景与心绪镌为永恒，是玉作与书法合璧的精工佳制，尽显旧时文玩雅致华贵，静述赋中寄寓的高远情志。",[26,7714,7,13336,834,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722db5b46150a59b86ab8456b0877b80.jpg",[],{"id":44488,"slug":44489,"title":44490,"dynasty":18,"author":454,"museum":107,"description":44491,"tags":44492,"thumbUrl":44493,"material":751,"size":752,"collection":95,"collections":44494,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},275825,"bi-yu-qian-long-yu-bi-zheng-yang-qiao-shu-qu-ji-ce-yi-ming-275825","碧玉乾隆御笔正阳桥疏渠记册","玉质温润厚重，将帝王手书的治水经略凝于方寸之间。镌刻的御笔文字遒劲规整，既带着皇家手书的端严气度，也承载着清时疏河治水的详实史事，把兴修水利的务实功绩随玉石流传。配套木盒朴雅端庄，沉稳的木质与碧玉的清莹质感相互衬映，为这件典藏之物添了几分沉静厚重的古韵，静静诉说着往昔治河的匠心与经略，让治河功绩在玉石的永恒质感中留存成历史剪影。",[7714,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4616ac582fd4204fb1bd1f6d629e7548.jpg",[],{"id":44496,"slug":44497,"title":44498,"dynasty":18,"author":454,"museum":107,"description":44499,"tags":44500,"thumbUrl":44501,"material":751,"size":752,"collection":95,"collections":44502,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},275807,"qing-yu-yu-bi-yong-bai-ju-yi-xin-le-fu-cheng-wu-shi-zhang-bing-xiao-qi-ti-ce-yi-ming-275807","青玉御笔用白居易新乐府成五十章并效其体册","此匣以硬木为胎，通身戗金描漆，游龙穿云戏珠，海波迤逦托底，龙躯盘转矫健灵动，金漆凝光尽显皇家华贵威严。匣盖朱地题字规整端方，点明器物分量。内置玉册莹润清透，御笔劲秀雅致，制匣工艺的精工华丽，与玉册诗文的文雅意趣相融相合，将清代宫廷造物的极致考究与皇家审美意韵，尽数藏纳于这一方匣室之中。",[13336,7714,359,26,7713,26617,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d64b17383ad37b63eebe285696460f.jpg",[],{"id":44504,"slug":44505,"title":44506,"dynasty":45,"author":454,"museum":107,"description":44507,"tags":44508,"thumbUrl":44510,"material":751,"size":752,"collection":95,"collections":44511,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},275268,"e-mei-song-qin-yi-ming-275268","“峨嵋松”琴","此琴髹色褐沉古雅，经年摩挲，包浆莹润温厚。身形线条舒展中正，尽显内敛端方的气度。琴底篆铭刻痕古拙挺劲，题识题跋错落排布，藏着旧时藏家的珍赏意趣，字间晕开百年风雅余韵。旧弦金褐如故，虽静立案头，却似能漾出清远古音，暗合高山流水的幽远意境。整器将斫木工巧与文人意趣相融，静默间便凝成一段古意悠悠的弦歌剪影，带着旧时光的沉静温雅，引人体悟古时弦间寄怀的风雅情志。",[427,44509,19026,77,7],"古琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa770c84e9fa54a572aef871e74915947.jpg",[],{"id":44513,"slug":44514,"title":44515,"dynasty":662,"author":454,"museum":107,"description":44516,"tags":44517,"thumbUrl":44521,"material":751,"size":752,"collection":95,"collections":44522,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},274037,"shi-hui-bao-san-niang-jiao-zi-chang-pian-yi-ming-274037","时慧宝《三娘教子》唱片","泛黄的牛皮纸封套晕开旧时光的痕迹，对称舒展的中式排版将商号大字衬得醒目沉凝。方寸之间排布着唱片售卖、无线电修配的各色营生，带着老天津埠口的鲜活烟火。\n\n墨色苍劲的繁体字里藏着民国工商时代的务实热忱，既印着商号揽客的门道，也晕开当年唱片行当的风雅余韵。斑驳卷边裹着旧年的市井暖意，把老都市文娱与商贸交织的日常，凝缩在这一方封套之上，是旧时光递来的鲜活剪影。",[27772,44518,25307,7,44519,44520],"京剧","商业广告","唱片封套","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00caa57ad1305a8bf37972c42121092c.jpg",[],{"id":44524,"slug":44525,"title":44526,"dynasty":18,"author":454,"museum":107,"description":44527,"tags":44528,"thumbUrl":44530,"material":751,"size":752,"collection":95,"collections":44531,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},273987,"shang-jiao-yi-shu-di-zhang-yi-ming-273987","《上交医书底账》","封面浅压缠枝暗纹，雅致温婉。左侧雕版黑字端方厚重，点明底簿名目；右侧行书随性舒展，笔意从容，记录下交付时日与来由。泛黄纸晕开岁月痕迹，微卷的边角载着旧时医书交割的细琐日常。它带着清代文书独有的郑重质感，将百年前医署交接的平凡日常凝作具象载体，把细碎的行政往事封存在纸页间，静静诉说旧时光里的书卷日常。",[1498,7,199,44529],"账簿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5999964db89d3d9346794b8e64a19403.jpg",[],{"id":44533,"slug":44534,"title":44535,"dynasty":18,"author":454,"museum":107,"description":44536,"tags":44537,"thumbUrl":44538,"material":751,"size":752,"collection":95,"collections":44539,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},273148,"ren-shen-pi-pa-gao-yi-ming-273148","人参枇杷膏","此罐胎质莹白温润，器型小巧圆融。盖面柔枝娇花环衬题签，浅黄地墨书古雅端方，橙花翠萼相映，色彩妍丽柔和。罐身一面绘折枝花卉，粉彩晕染细腻，花叶舒展灵动；另一侧边框题字工整，兼顾标识与装饰之用。整体设色淡雅秀逸，将贮药的实用功能与瓷绘雅趣相融，尽显温婉隽秀的审美意趣，是兼具民俗烟火气与工艺美学价值的瓷中佳作。",[25504,2919,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577700fb59a8ae65b20a19631d24fce2.jpg",[],{"id":44541,"slug":44542,"title":40437,"dynasty":18,"author":454,"museum":107,"description":44543,"tags":44544,"thumbUrl":44545,"material":751,"size":752,"collection":95,"collections":44546,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},272995,"zi-tan-kuang-fa-lang-gua-ping-yi-ming-272995","上部圆屏以珐琅填就诗文，笔力端稳沉厚，釉色匀净温润，墨色与珐琅光泽交融，尽显端庄文气。下方珐琅山水设色雅致明快，掐丝走线工细利落，勾勒出山峦层叠的苍秀轮廓，以深浅碧色晕染出林壑悠远之态。村居错落隐于林木烟岚间，天际月色清浅点染，晕开静穆悠然的山居夜色。紫檀边框雕纹古雅，将珐琅工艺的莹润质感与传统书画意趣相融，把文人诗意与山野闲情凝于一屏，尽显清隽雅致的审美意韵。",[8913,19026,19025,7,199,1328,27,251,678,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3229def61e5a6545129cf9824196bf21.jpg",[],{"id":44548,"slug":44549,"title":40461,"dynasty":18,"author":454,"museum":107,"description":44550,"tags":44551,"thumbUrl":44553,"material":751,"size":752,"collection":95,"collections":44554,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},272970,"zi-tan-mu-bian-qian-fa-lang-pen-hua-tu-gua-ping-yi-ming-272970","蓝珐琅底铺展回纹，莹润沉静里带着规整雅致，鎏金边框錾刻缠枝饰纹，晕开古雅华贵的气韵。上方阳刻鎏金诗文，笔力端严刚劲，将文人意趣凝于方寸工艺之中。\n下方高浮雕盆松堪称点睛：古松虬枝蟠曲苍劲，针叶层叠如团云，尽显岁寒君子之姿。鎏金方盆兽耳衔环，束腰底座层叠端庄，将案头清供的雅韵立体铺展。\n整器融珐琅之润、鎏金之奢、木作之厚，将文人情致与匠作精工相融，尽显雅奢相宜的陈设意趣。",[8913,19026,19025,7713,7,44552],"盆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca7341a256c4725b42420d2a140cebd.jpg",[],{"id":44556,"slug":44557,"title":44558,"dynasty":18,"author":454,"museum":107,"description":3230,"tags":44559,"thumbUrl":44560,"material":751,"size":752,"collection":95,"collections":44561,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},272888,"zi-tan-mu-bian-ke-si-ying-xiang-zi-wen-gua-ping-yi-ming-272888","紫檀木边缂丝迎祥字纹挂屏",[8913,3232,19026,9635,7,1200,29117,4509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dda552043cac19536c723427d1f7b7d.jpg",[],{"id":44563,"slug":44564,"title":44565,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44566,"thumbUrl":44568,"material":751,"size":752,"collection":95,"collections":44569,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},272685,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-li-ting-chu-lan-mo-yi-ming-272685","御制月令七十二候诗色墨-荔挺出蓝墨",[432,7,199,7713,44567,13310,33015],"蓝墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e97d63e83a6d254449c9145ff4127e4.jpg",[],{"id":44571,"slug":44572,"title":44573,"dynasty":45,"author":454,"museum":107,"description":44574,"tags":44575,"thumbUrl":44576,"material":751,"size":752,"collection":95,"collections":44577,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},272627,"zhong-yue-wai-shi-ming-duan-shi-chang-fang-yan-yi-ming-272627","中岳外史铭端石长方砚","此方砚作抄手制式，石色沉敛古穆，包浆莹润厚重，凝着百年摩挲的温润质感。砚心阴刻四字，笔力苍劲浑朴，古拙意趣尽显。一圆一方双池错落排布，兼顾储墨实用与视觉雅趣。砚额满刻铭文，虽经岁月磨洗，依旧能窥见旧时文人的寄情之心。石质肌理间藏着尚朴重意的审美风骨，将文房清趣与沉厚古韵融于一身，是值得品读珍藏的文房雅物。",[3093,30921,3956,7713,7,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8b9284db50ddbd36ee9f2b6181be6c.jpg",[],{"id":44579,"slug":44580,"title":44581,"dynasty":662,"author":454,"museum":107,"description":30928,"tags":44582,"thumbUrl":44583,"material":751,"size":752,"collection":95,"collections":44584,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},272334,"hu-kai-wen-fang-yu-yuan-tu-ji-jin-mo-gu-ke-ting-mo-yi-ming-272334","胡开文仿御园图集锦墨-古柯庭墨",[432,3956,7713,704,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd94dffdf3b87775989d5ba15dc16d6fb.jpg",[],{"id":44586,"slug":44587,"title":44588,"dynasty":1609,"author":454,"museum":107,"description":44589,"tags":44590,"thumbUrl":44592,"material":751,"size":752,"collection":95,"collections":44593,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},271397,"tong-que-tai-wa-yan-yi-ming-271397","铜雀台瓦砚","古代殿瓦又名“瓦砚”。汉魏未央官铜雀台等诸殿瓦，瓦身如半个，面至背厚一寸弱，背平可研墨，唐宋以来，去其身以为砚，俗呼“瓦头砚”。砚，也作“研”。唐贯休《禅月集·砚瓦诗》：“应念研磨苦，无为瓦砾看。”参阅宋苏易简《文房四谱·砚谱》、《百宝总珍集·瓦砚》、明曹昭《格古要论·汉末未央宫瓦砚记》。有地名称砚瓦。有地质名词砚瓦山组。",[3093,3956,44591,7713,7],"瓦制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf08d927a17876157ee39a671d37fa8.jpg",[],{"id":44595,"slug":44596,"title":44597,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44598,"thumbUrl":44599,"material":751,"size":752,"collection":95,"collections":44600,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},271234,"hu-xing-ju-zhi-tian-qu-zhan-cai-mo-luo-bin-wang-shi-ju-mo-yi-ming-271234","胡星聚制天衢展彩墨-骆宾王诗句墨",[432,7,199,3956,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6075cb73ea20e05904d8ed6a3963366b.jpg",[],{"id":44602,"slug":44603,"title":44604,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44605,"thumbUrl":44608,"material":751,"size":752,"collection":95,"collections":44609,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},271204,"kai-tai-shi-rao-liang-qin-shi-mo-yi-ming-271204","开泰氏绕梁琴式墨",[432,44606,7,3956,10601,44607],"古琴造型","金徽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa345016c3498dc60ef0cd9c064bf9945.jpg",[],{"id":44611,"slug":44612,"title":44613,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44614,"thumbUrl":44616,"material":751,"size":752,"collection":95,"collections":44617,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},271203,"kai-tai-shi-jiao-wei-qin-shi-mo-yi-ming-271203","开泰氏焦尾琴式墨",[432,44615,44606,7,26617,60],"文房器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e7ed71523ddcecdd3602212ea1f267.jpg",[],{"id":44619,"slug":44620,"title":44621,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44622,"thumbUrl":44623,"material":751,"size":752,"collection":95,"collections":44624,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},271190,"hu-kai-wen-xun-zhou-ba-jing-mo-dong-ta-hui-lan-mo-yi-ming-271190","胡开文浔州八景墨－东塔回澜墨",[432,13336,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11a055a4078dd51a440b330d9b7de6b8.jpg",[],{"id":44626,"slug":44627,"title":44628,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44629,"thumbUrl":44631,"material":751,"size":752,"collection":95,"collections":44632,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},271058,"jiang-nan-zhi-zao-chang-shan-cheng-mian-hua-tu-shi-mo-zhai-jian-mo-yi-ming-271058","江南织造常山呈棉花图诗墨-摘尖墨",[432,7,199,3956,44630],"诗墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3778754ac05ef441d695d31f45ba23a.jpg",[],{"id":44634,"slug":44635,"title":44636,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44637,"thumbUrl":44639,"material":751,"size":752,"collection":95,"collections":44640,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},271056,"jiang-nan-zhi-zao-chang-shan-cheng-mian-hua-tu-shi-mo-shou-fan-mo-yi-ming-271056","江南织造常山呈棉花图诗墨-收贩墨",[432,199,7,3956,44638],"棉花收贩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560abca2b298129943af21561072bfb8.jpg",[],{"id":44642,"slug":44643,"title":44644,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44645,"thumbUrl":44647,"material":751,"size":752,"collection":95,"collections":44648,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},271052,"jiang-nan-zhi-zao-chang-shan-cheng-mian-hua-tu-shi-mo-shang-ji-mo-yi-ming-271052","江南织造常山呈棉花图诗墨-上机墨",[432,7,199,26617,44646,13310],"文房器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb4f7b294e8af4fccfa07389b3307b.jpg",[],{"id":44650,"slug":44651,"title":44652,"dynasty":18,"author":454,"museum":107,"description":44653,"tags":44654,"thumbUrl":44656,"material":751,"size":752,"collection":95,"collections":44657,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},270977,"cheng-fen-wen-ju-yu-zhi-qing-shang-ce-ye-yi-ming-270977","成份文具-御制清赏册页","此件以书册为形，棕褐木面凝着温润包浆，嵌骨片题字娟秀雅致，将文房收纳与案头赏玩融于一体。\n\n它以典籍册页为原型，把文人藏书的意趣凝缩在方寸之间，素净木色与浅白骨牌记相映，古雅内敛。触手温凉的木身，仿佛藏着旧时光里的翰墨余韵，尽显清人对于案头雅趣的极致追求，于细微处尽显中式文人审美意趣，小巧器物藏着雅致文心，是清代文房雅物的精巧缩影。",[19026,1498,44655,26,7],"文具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ac7e348d94b8c7425a83ce80d12774.jpg",[],{"id":44659,"slug":44660,"title":44661,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44662,"thumbUrl":44663,"material":751,"size":752,"collection":95,"collections":44664,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},270721,"qian-long-kuan-wu-feng-huang-chi-yu-mo-yi-ming-270721","乾隆款五凤凰池御墨",[432,3956,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6279c2b6cddf4690e9db8314afdf8bc.jpg",[],{"id":44666,"slug":44667,"title":44668,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44669,"thumbUrl":44670,"material":751,"size":752,"collection":95,"collections":44671,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},270708,"qian-long-kuan-xian-ju-tai-ge-yu-mo-yi-ming-270708","乾隆款仙居台阁御墨",[432,3956,7,77,26617,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b58e535e4004ec86223dadb119b4461.jpg",[],{"id":44673,"slug":44674,"title":44675,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44676,"thumbUrl":44677,"material":751,"size":752,"collection":95,"collections":44678,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},270694,"lan-ting-xiu-xie-huang-yu-mo-yi-ming-270694","兰亭修褉黄御墨",[432,3956,77,7,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88864006ed8a1ae3cc0d878875846605.jpg",[],{"id":44680,"slug":44681,"title":44682,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44683,"thumbUrl":44685,"material":751,"size":752,"collection":95,"collections":44686,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},270667,"qian-long-kuan-yu-yong-hua-hui-shi-mo-shao-yao-mo-yi-ming-270667","乾隆款御咏花卉诗墨-芍药墨",[432,199,7,44684,135,3956],"芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f20b1e50e5ce817985d7e1588271ca.jpg",[],{"id":44688,"slug":44689,"title":44690,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44691,"thumbUrl":44692,"material":751,"size":752,"collection":95,"collections":44693,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},270658,"qian-long-kuan-yu-yong-hua-hui-shi-mo-yu-lan-mo-yi-ming-270658","乾隆款御咏花卉诗墨-玉兰墨",[432,199,7,1270,30,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b4dce7ff60908f5f80d90b4ebd433d.jpg",[],{"id":44695,"slug":44696,"title":44697,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44698,"thumbUrl":44699,"material":751,"size":752,"collection":95,"collections":44700,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},270645,"qian-long-kuan-yu-yong-hua-hui-shi-mo-yu-er-mu-dan-mo-yi-ming-270645","乾隆款御咏花卉诗墨-鱼儿牡丹墨",[432,199,7,135,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf34c8c42bd6aa68e165c5ca32af0e17.jpg",[],{"id":44702,"slug":44703,"title":44704,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44705,"thumbUrl":44706,"material":751,"size":752,"collection":95,"collections":44707,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},270642,"qian-long-kuan-yu-yong-hua-hui-shi-mo-bai-he-mo-yi-ming-270642","乾隆款御咏花卉诗墨-百合墨",[432,199,7,4697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc519771d449464965652acf88c2743d.jpg",[],{"id":44709,"slug":44710,"title":44711,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44712,"thumbUrl":44714,"material":751,"size":752,"collection":95,"collections":44715,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},270632,"qian-long-kuan-yu-yong-hua-hui-shi-mo-ying-tao-hua-mo-yi-ming-270632","乾隆款御咏花卉诗墨-樱桃花墨",[432,7,199,44713],"樱桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe73bbde173bf03700a301331b37786c1.jpg",[],{"id":44717,"slug":44718,"title":44719,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44720,"thumbUrl":44721,"material":751,"size":752,"collection":95,"collections":44722,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},270606,"wang-jin-sheng-wang-chuan-tu-mo-zhu-yu-pan-mo-yi-ming-270606","汪近圣辋川图墨-茱萸沜墨",[432,199,7,44646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b957124b1aae37450e362a6eeccb3b2.jpg",[],{"id":44724,"slug":44725,"title":44726,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44727,"thumbUrl":44728,"material":751,"size":752,"collection":95,"collections":44729,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},270603,"qian-long-kuan-yu-ti-hua-shi-mo-ti-wang-meng-zhu-qu-tu-mo-yi-ming-270603","乾隆款御题画诗墨-题王蒙竹趣图墨",[432,7,199,77,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F169f9e6153799109f6f90415b251e87d.jpg",[],{"id":44731,"slug":44732,"title":44733,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":44734,"thumbUrl":44735,"material":751,"size":752,"collection":95,"collections":44736,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},270596,"qian-long-kuan-yu-ti-hua-shi-mo-ti-wang-meng-lin-he-yun-quan-mo-yi-ming-270596","乾隆款御题画诗墨-题王蒙林壑云泉墨",[432,7,60,77,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b94a9c15634d4993d9e55693503990b.jpg",[],{"id":44738,"slug":44739,"title":44740,"dynasty":18,"author":454,"museum":107,"description":44741,"tags":44742,"thumbUrl":44743,"material":751,"size":752,"collection":95,"collections":44744,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},270248,"qi-gu-bian-xuan-tong-di-hua-song-tu-mian-zhe-shan-yi-ming-270248","漆股边宣统帝画松图面折扇","此扇面以水墨绘古松，老干虬曲斑驳，尽显嶙峋古拙之意，松针攒簇如戟，笔墨劲挺爽利，苍浑中带着秀逸灵动。构图虚实相宜，左侧挥毫写松，右侧留白题字，疏密错落间，将松树坚劲傲然的风骨尽显无余。朱红漆骨温润亮泽，与素白扇面雅艳相映，将文人画的清逸意趣融于掌中清玩。笔墨凝练传神，把苍松岁寒不凋的品格凝于尺幅之间，尽显清雅高古的林下之风。",[1250,24,50,133,25,7,2919,13336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107d25925e2c1559c4213caab4e74401.jpg",[],{"id":44746,"slug":44747,"title":44748,"dynasty":18,"author":454,"museum":107,"description":44749,"tags":44750,"thumbUrl":44751,"material":751,"size":752,"collection":95,"collections":44752,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},270237,"zong-zhu-gu-bian-zai-run-shu-zhe-shan-yi-ming-270237","棕竹股边载润书折扇","棕竹扇骨纹理沉凝古雅，包浆温润内敛，尽显器物的静穆质感。扇面书法取法唐楷，笔力匀停秀劲，点画精到工稳，字字排布疏朗错落，章法舒和雅致。\n\n所录诗句文辞清隽，笔墨间兼具馆阁体的端整与文人书法的隽逸意趣，可见书写者深厚的帖学功底。整器将书法笔墨之美与文玩清赏之趣相融，展合之间尽显旧时文人案头清玩的雅逸风骨，是一件兼具审美意涵与收藏价值的雅致小品。",[1250,7,199,29244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea23df45d52150ebcf88d18d7dee1878.jpg",[],{"id":44754,"slug":44755,"title":44756,"dynasty":18,"author":454,"museum":107,"description":44757,"tags":44758,"thumbUrl":44759,"material":751,"size":752,"collection":95,"collections":44760,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},270219,"qi-gu-diao-bo-gu-tu-bian-qian-ci-xi-yu-xi-hua-hua-hui-tu-mian-zhe-shan-yi-ming-270219","漆股雕博古图边钤慈禧御玺画花卉图面折扇","这柄折扇漆骨雕刻博古纹样，刀工细腻匀净，古雅沉静，暗合文玩清趣。画心以淡彩绘折枝花卉，花瓣晕染柔润，粉白交融间尽显娇柔，枝叶舒展灵动，笔致秀逸简淡，自带温婉雅致的闲趣。另一面题字娟秀端雅，与画面相得益彰，整体将工致雕刻与写意绘事相融，轻摇时便携来清润古意，尽显雅致格调，藏着旧时文人案头摇风赏玩的闲情。",[1250,24,27,29,7,77,13336,7713,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb85283be6cd1ad281595c1e8f478688.jpg",[],{"id":44762,"slug":44763,"title":44764,"dynasty":18,"author":454,"museum":107,"description":44765,"tags":44766,"thumbUrl":44767,"material":751,"size":752,"collection":95,"collections":44768,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},270216,"zhu-gu-qian-luo-dian-bian-qian-ci-xi-yu-xi-hua-mei-hua-tu-mian-zhe-shan-yi-ming-270216","竹股嵌螺钿边钤慈禧御玺画梅花图面折扇","此扇以水墨绘梅，老干苍劲虬曲，枝梢错落舒展，墨色浓淡层叠晕染，将寒梅凝霜傲雪的清癯风骨尽数铺陈于扇面之上。寥寥数笔勾勒花萼，淡墨晕开花瓣，清雅灵动，自带冷香幽韵。旁题诗书笔意秀雅，与绘梅意境相合，尽显文人雅趣。\n\n扇骨烫烙梅枝纹样，与扇面主题呼应无间，嵌螺钿侧边更添莹润华贵。整器融写意笔墨的清逸与工艺细节的精致于一体，将冬花的孤高雅致凝缩为掌中雅玩，方寸间尽显中式美学的悠长意境。",[1250,24,50,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0806a75dd7e91f209d04df35756ceea.jpg",[],{"id":44770,"slug":44771,"title":44772,"dynasty":18,"author":454,"museum":107,"description":44773,"tags":44774,"thumbUrl":44776,"material":751,"size":752,"collection":95,"collections":44777,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},270210,"zhu-gu-tian-qi-bian-wang-jie-shu-fu-chang-an-hua-zhe-shan-yi-ming-270210","竹股填漆边王杰书福长安画折扇","此扇以乌漆为底，泥金挥毫作书，行楷兼具，笔力匀整秀雅。金墨与乌地相映，雍容华贵之余更显沉静雅致。字迹排布错落合宜，通篇行气连贯，笔意温润端方，尽显旧时文人的雅致情致。\n填漆饰边的竹股打磨匀净质朴，古雅质感与扇面的华贵气质相得益彰，将传统制扇工艺与书法美学精妙融合，是一件兼具赏玩与收藏价值的文人雅扇佳作。",[1250,29244,7,199,44775,13336,10982],"竹质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60a9f9419b61160a275cca0c7b1106e.jpg",[],{"id":44779,"slug":44780,"title":44781,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":44783,"thumbUrl":44786,"material":751,"size":752,"collection":95,"collections":44787,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},269658,"qian-long-kuan-pao-zhi-shi-ju-yin-li-gai-wan-yi-ming-269658","乾隆款匏制诗句银里盖碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[834,22487,44784,44785,2919,7713,7],"匏器","盖碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3d0ebb7fda6c2aaaca5f210214f64b3.jpg",[],{"id":44789,"slug":44790,"title":44791,"dynasty":18,"author":454,"museum":107,"description":44792,"tags":44793,"thumbUrl":44794,"material":751,"size":752,"collection":95,"collections":44795,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},269108,"xiang-ya-diao-yue-man-qing-you-ba-yue-jing-ce-yi-ming-269108","象牙雕月曼清游八月景册","此作以牙雕镂刻拼接出仲秋赏月图景，素洁牙片裁作霜林覆雪、飞檐翘角，玉宇楼台清雅出尘。仕女或凭高远眺银汉婵娟，或于廊下低语，衣袂宛转灵动，尽显闺人夜游的闲柔意态。\n右侧书法笔致清雅流丽，诗境呼应画中幽景，将清秋夜色里桂风暗度、露凉衣薄的缱绻意趣融于一处。整作以牙雕温润质感衬月色清寒，工艺细巧入微，楼台窗棂、花木枝桠分毫毕现，书画与雕景相映成趣，把古时深闺中秋夜游的闲雅意兴，定格为一方雅致隽永的清宵图景，尽显旧时匠造的灵思与工致。",[26,25476,7713,114,458,567,678,7,199,27,32847],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ff8c830112d1159ae71b71c1acc7af.jpg",[],{"id":44797,"slug":44798,"title":44799,"dynasty":18,"author":454,"museum":107,"description":44800,"tags":44801,"thumbUrl":44802,"material":751,"size":752,"collection":95,"collections":44803,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},269105,"xiang-ya-diao-yue-man-qing-you-shi-yue-jing-ce-yi-ming-269105","象牙雕月曼清游十月景册","此作以牙雕通景定格闺房雅集，仕女环伺共赏花鸟长卷，衣袂柔婉、神态恬和。厅堂花窗玲珑，条案陈设精巧，将深宅雅致闲情一一复刻。旁侧御题行书笔致隽秀，诗境呼应景中深闺春慵，把赏画寻幽的闺中逸趣晕染开来。牙雕工艺细腻入微，将仕女温婉情态、厅堂雅致氛围尽数雕琢，诗与工艺相融，定格下春日深闺的娴静意趣，尽显匠造的雅致心思。",[26,25476,7713,113,114,27,7,199,834,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3059bc6de23cf50c2e8b0b2311824630.jpg",[],{"id":44805,"slug":44806,"title":44807,"dynasty":88,"author":454,"museum":107,"description":44808,"tags":44809,"thumbUrl":44813,"material":751,"size":752,"collection":25508,"collections":44814,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},262242,"ci-zhou-yao-bai-di-hei-hua-shi-wen-ru-yi-tou-xing-zhen-yi-ming-262242","磁州窑白地黑花诗文如意头形枕","磁州窑是中国传统制瓷工艺的珍品，中国古代北方最大的民窑体系，也是著名的民间瓷窑，有“南有景德，北有彭城”之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[25504,44810,44811,13310,7,44812,2919],"白地黑花","瓷枕","如意形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fcbc7463cdda917a02031b51687ffb6.jpg",[25508],{"id":44816,"slug":44817,"title":44818,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":44819,"thumbUrl":44820,"material":751,"size":752,"collection":95,"collections":44821,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},262081,"wen-zhang-shan-dou-kuan-qing-hua-shu-chi-bi-fu-bi-tong-yi-ming-262081","文章山斗款青花书赤壁赋笔筒",[25504,30959,7,77,30960,3956,60,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9598d779a8af5df5dcfd59823788fa4f.jpg",[],{"id":44823,"slug":44824,"title":44825,"dynasty":18,"author":454,"museum":107,"description":40535,"tags":44826,"thumbUrl":44827,"material":751,"size":752,"collection":95,"collections":44828,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},262037,"bing-shen-kuan-sa-lan-you-miao-jin-chi-bi-tu-shi-wen-bi-tong-yi-ming-262037","丙申款洒蓝釉描金赤壁图诗文笔筒",[25504,26617,51,54,32848,13310,7,30960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4155d599ef31201bf19c717c4c15b3ec.jpg",[],{"id":44830,"slug":44831,"title":44832,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":44833,"thumbUrl":44834,"material":751,"size":752,"collection":95,"collections":44835,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},262025,"qian-long-kuan-fen-cai-miao-jin-ti-shi-hai-tang-shi-bi-tong-yi-ming-262025","乾隆款粉彩描金题诗海棠式笔筒",[25504,3956,39155,26617,7,199,77,10601,39156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ad6f2a5b454f4e8081d752deb8fc04.jpg",[],{"id":44837,"slug":44838,"title":44839,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":44840,"thumbUrl":44841,"material":751,"size":752,"collection":95,"collections":44842,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},261240,"qing-hua-chi-bi-fu-bi-tong-yi-ming-261240","青花赤壁赋笔筒",[25504,834,30959,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914a5fedf4241111d0e70ae0fbe63c92.jpg",[],{"id":44844,"slug":44845,"title":44846,"dynasty":18,"author":454,"museum":107,"description":40535,"tags":44847,"thumbUrl":44851,"material":751,"size":752,"collection":95,"collections":44852,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},259761,"tao-cheng-ju-shi-kuan-fang-guan-you-mo-cai-bi-tong-yi-ming-259761","陶成居士款仿官釉墨彩笔筒",[25504,30960,3956,44848,7,199,44849,44850],"墨彩","仿官釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa5fa13ca0918c82c89109210ac5c850.jpg",[],{"id":44854,"slug":44855,"title":44856,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":44857,"thumbUrl":44858,"material":751,"size":752,"collection":25508,"collections":44859,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},259024,"yi-xing-yao-zi-sha-shi-wen-gai-bo-yi-ming-259024","宜兴窑紫砂诗文盖钵",[2135,25504,25505,7,7713,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3010f7c8fda76ee04dcf5f6527add672.jpg",[25508],{"id":44861,"slug":44862,"title":44863,"dynasty":18,"author":454,"museum":107,"description":44864,"tags":44865,"thumbUrl":44867,"material":751,"size":752,"collection":95,"collections":44868,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},258572,"qian-long-kuan-fen-cai-kai-guang-ju-hua-wen-bi-yan-hu-yi-ming-258572","乾隆款粉彩开光菊花纹鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[18,25504,39155,40539,27,44866,77,7,834],"菊花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8bfdd3f72e7e0455cd9cd17ce12eb0.jpg",[],{"id":44870,"slug":44871,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":44872,"thumbUrl":44873,"material":751,"size":752,"collection":95,"collections":44874,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},242598,"zhong-ke-chun-hua-ge-tie-yi-ming-242598",[7,200,198,60,398,199,110,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e03517ae4f26ae0ff110b87a618de9.jpg",[],{"id":44876,"slug":44877,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":44878,"thumbUrl":44879,"material":751,"size":752,"collection":95,"collections":44880,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},242584,"zhong-ke-chun-hua-ge-tie-yi-ming-242584",[7,77,3467,60,457,398,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc9cefdff4b5107d1d61dbe3c88ecb7.jpg",[],{"id":44882,"slug":44883,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":44884,"thumbUrl":44885,"material":751,"size":752,"collection":95,"collections":44886,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},242581,"zhong-ke-chun-hua-ge-tie-yi-ming-242581",[7,200,198,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c1379f3c0659f1d34fb53999613ccbc.jpg",[],{"id":44888,"slug":44889,"title":35082,"dynasty":45,"author":454,"museum":107,"description":44890,"tags":44891,"thumbUrl":44892,"material":95,"size":95,"collection":95,"collections":44893,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},242578,"dong-shu-tang-tie-yi-ming-242578","墨色沉郁古雅，开本对置，右页草书纵逸灵动，线条圆劲挺括，牵丝映带间尽显晋唐草书的疏朗意趣，笔势流转酣畅，将书家的散淡风骨尽显无余。左侧楷法端稳方正，与草书形成动静相宜的视觉对比。朱红钤印鲜亮醒目，与深黑拓面相映成趣，晕染出古朴雅致的金石氛围。\n\n虽经岁月摩挲，页边已带磨损痕迹，却更添朴拙厚重的古旧质感，尽显明人汇刻丛帖的典型风貌，是帖学兴盛时期传拓复刻的精良范本，兼具书法审美价值与帖学文献价值。",[25,7,198,60,398,77,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b237d834abd83a3e8550a5baa0f095.jpg",[],{"id":44895,"slug":44896,"title":35082,"dynasty":45,"author":454,"museum":107,"description":44897,"tags":44898,"thumbUrl":44899,"material":751,"size":752,"collection":95,"collections":44900,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},242563,"dong-shu-tang-tie-yi-ming-242563","此作黑底金字，古雅沉静，尽显刻帖的厚重质感。笔走龙蛇，线条灵动奔放，牵丝映带之间尽显笔意连贯，欹正相生。既有迅疾圆转的使转，也有沉凝朴拙的顿挫，将文人意韵的挥洒自如展露无遗。\n\n章法上字间疏密错落，行气贯通疏朗跌宕，带着萧散俊逸的风骨，虽为刻帖却保留了笔墨的流转意趣，笔画粗细变化宛然在目，将草书的抒情性表现得淋漓尽致，仿佛能窥见挥毫时的疏放襟怀，尽显古帖的隽永韵味。",[7,198,200,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748131cdebf4abac5f94198277fa36d1.jpg",[],{"id":44902,"slug":44903,"title":40599,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":44904,"thumbUrl":44905,"material":751,"size":752,"collection":95,"collections":44906,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},242519,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242519",[7,60,398,77,110,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7a3412ecf60738a6e4952e3438e61c.jpg",[],{"id":44908,"slug":44909,"title":40599,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":44910,"thumbUrl":44911,"material":751,"size":752,"collection":95,"collections":44912,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},242516,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242516",[7,60,77,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9feece35e041408a4824fb3370af2239.jpg",[],{"id":44914,"slug":44915,"title":44916,"dynasty":18,"author":454,"museum":107,"description":44917,"tags":44918,"thumbUrl":44919,"material":95,"size":95,"collection":802,"collections":44920,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},242360,"san-xi-tang-fa-tie-yi-ming-242360","三希堂法帖","墨底银钩，古雅沉静。此帖摹刻王羲之尺牍，笔势灵动舒展，牵丝映带间尽显晋人萧散风流，行间错落自然，将王氏行书“飘若游云，矫若惊龙”的神韵复刻传神。朱印琳琅排布，方、圆、回文印错落点缀，朱色、银线与墨底相映成趣，金石之气与翰墨之雅交融。镌刻精细入微，毫发毕现，将原帖笔法意韵尽数留存，尽显刻帖工艺精妙，静静诉说着古人对翰墨风雅的追慕与传承。",[7,198,200,77,457,60,3467,1613,199,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2c9c47d1692159600063ad0ec030cd.jpg",[802],{"id":44922,"slug":44923,"title":44924,"dynasty":179,"author":454,"museum":107,"description":21138,"tags":44925,"thumbUrl":44926,"material":751,"size":752,"collection":95,"collections":44927,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},242235,"zheng-zuo-wei-tie-ce-yi-ming-242235","争座位帖册",[7,60,198,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30943b43ade1e850057b74b65b8c2f8.jpg",[],{"id":44929,"slug":44930,"title":9874,"dynasty":18,"author":454,"museum":107,"description":44931,"tags":44932,"thumbUrl":44933,"material":95,"size":95,"collection":802,"collections":44934,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},242231,"zheng-zuo-wei-tie-yi-ming-242231","墨色沉凝古雅，字势开张雄健。起笔苍劲厚重，行笔欹正相生，笔画粗细跌宕尽显朴拙豪迈。章法错落自然，字里行间裹挟着忠义刚直的激愤笔意，仿若可见书者当庭抗辩的凛然身姿。\n拓本墨色浓淡层次完好留存，侧边小字题跋更添古卷幽趣，将盛唐行书的雄浑气骨与文人铮铮风骨凝于纸间，尽显古拓隽永质感。",[7,198,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8b6ddabd3d28d4f46309503b05e397.jpg",[802],{"id":44936,"slug":44937,"title":44916,"dynasty":18,"author":28593,"museum":107,"description":44938,"tags":44939,"thumbUrl":44940,"material":95,"size":95,"collection":802,"collections":44941,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},242202,"san-xi-tang-fa-tie-lu-ji-shan-242202","此作为小楷题跋，黑底白字愈见笔墨清隽。笔致匀停秀雅，结体端妍温婉，暗合晋唐小楷的隽逸遗韵。文辞追慕唐人摹《兰亭》之雅，笔墨间浸透对先贤法书的怀想。点画顾盼有情，行气疏朗整饬，章法严整却不失灵动意趣，将文人清雅襟怀融于笔尖。以小楷作题识，尽显书家深厚的帖学功底，把复古的文人情思寄寓笔墨，虽是题跋却自具独立审美价值，尽显清代帖学书法的雅致风神。",[7,198,60,3467,110,2115,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729b08745236a9b4175702679e010b7a.jpg",[802],{"id":44943,"slug":44944,"title":10770,"dynasty":18,"author":454,"museum":107,"description":44945,"tags":44946,"thumbUrl":44947,"material":95,"size":95,"collection":802,"collections":44948,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},242197,"lan-ting-ba-zhu-tie-yi-ming-242197","此作为乌金拓行书，笔致灵动秀逸，深得二王行书萧散雅韵。点画之间牵丝映带，呼应自然，结体疏密得宜，欹正相生，尽显风流蕴藉。字里行间铺展出兰亭雅集的清旷襟怀，将山水间文人酬唱的雅趣诉诸笔端。墨色莹亮皎洁，与乌墨底色相映，愈发衬出笔锋的劲挺与柔婉，章法疏朗错落，通篇气息浑融统一，尽显魏晋林下风流的雅致意趣。",[7,60,198,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae4d670dbda87139e52054e770ff1b0.jpg",[802],{"id":44950,"slug":44951,"title":44952,"dynasty":45,"author":454,"museum":107,"description":44953,"tags":44954,"thumbUrl":44957,"material":95,"size":95,"collection":802,"collections":44958,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},242193,"feng-shu-tie-yi-ming-242193","凤墅帖","此作大字开张雄阔，用笔朴拙沉厚，结体宽博方正。字里行间自带磅礴开张的庙堂气象，笔画斩截爽利，起收可见筋骨力道，捺笔舒展大气，尽显堂堂正正的沉稳姿态。黑底白字古意盎然，拓印的斑驳痕迹，更添岁月沉淀的厚重质感，将书写的笔力与刻石的劲挺融为一体，每一字都如敦实古松，沉稳刚健，尽显正大雄浑的书风气质。",[198,200,7,199,26,4985,44955,44956],"刚健","雄浑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5bddff7a947ed87cbeb401197e5b24.jpg",[802],{"id":44960,"slug":44961,"title":44962,"dynasty":45,"author":454,"museum":107,"description":44963,"tags":44964,"thumbUrl":44965,"material":95,"size":95,"collection":802,"collections":44966,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},242185,"guo-gong-miao-bei-yi-ming-242185","郭公庙碑","此拓本为颜体楷书典范，字势宽博雄强，笔画苍劲朴拙。每一字皆敦实沉稳、筋骨内含，刚柔并济间尽显庙堂碑刻的庄重肃穆。碑石斑驳残损的痕迹晕开岁月沉淀的古拙苍茫，黑底白字明暗相生，将盛唐楷书的雄浑气象凝于纸间，旧拓的古朴质感裹着厚重金石韵味，让唐楷的不朽风神历久弥新。",[4038,3423,198,199,7,1614,11284,16519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fac48d641e345fa3cce17023acc4992.jpg",[802],{"id":44968,"slug":44969,"title":44970,"dynasty":18,"author":454,"museum":107,"description":44971,"tags":44972,"thumbUrl":44973,"material":95,"size":95,"collection":802,"collections":44974,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},242184,"long-gong-si-bei-yi-ming-242184","龙宫寺碑","此行书碑拓笔力雄健舒展，结体雍容开张。点画筋骨内含，刚柔相济，既恪守唐楷端稳法度，又不失行书的飘逸意趣。版面字列排布齐整又暗含错落变化，黑底白字对比强烈，碑面残泐更添古拙苍浑的金石气韵，沉厚朴茂间尽显庙堂雅正之风。斑驳痕迹载着岁月质感，将大唐行书碑刻的典型风神留存，让书法意趣与金石质感交融，尽显沉凝古雅的传世魅力。",[198,7,199,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd392bfae3e967899cdbdf7b3cd615da.jpg",[802],{"id":44976,"slug":44977,"title":44978,"dynasty":8749,"author":454,"museum":107,"description":44979,"tags":44980,"thumbUrl":44981,"material":95,"size":95,"collection":802,"collections":44982,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},242183,"yan-chi-ling-qing-gong-song-yi-ming-242183","盐池灵庆公颂","此碑刻拓本书风取法晚唐楷书风尚，笔力斩钉截铁，瘦硬遒劲，骨力洞达。字形中宫紧敛，四围舒展，欹正相生，既有庙堂碑版的端严庄重，亦不失灵动变化。墨色沉凝苍润，字口虽经岁月磨泐，仍尽显锋芒，笔画间刚正雄强的气度扑面而来，将唐代楷书尚法精工的风神诠释尽致，每一字皆如刀削斧凿，筋骨尽显，古意盎然，留存着端庄方正的大唐书法余韵。",[198,7,199,3423,10869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16855ac8ca85553c3f43deef5445061f.jpg",[802],{"id":44984,"slug":44985,"title":44986,"dynasty":18,"author":44987,"museum":107,"description":44988,"tags":44989,"thumbUrl":44990,"material":751,"size":752,"collection":95,"collections":44991,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241691,"yu-zhi-sheng-jing-song-ce-yong-xi-241691","御制盛京颂册","永锡","爱新觉罗·永锡（1753年—1821年），满洲正蓝旗人，爱新觉罗氏。肃武亲王豪格后裔、显密亲王爱新觉罗·丹臻孙，奉国将军爱新觉罗·成信（丹臻第二子）第五子。",[26,199,27,359,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98587f4c3859e844b9b62ecebee64cc5.jpg",[],{"id":44993,"slug":44994,"title":44995,"dynasty":18,"author":44996,"museum":107,"description":44997,"tags":44998,"thumbUrl":44999,"material":751,"size":752,"collection":95,"collections":45000,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241683,"lin-lan-ting-xu-ping-long-yu-huang-tai-hou-241683","临兰亭叙屏","隆裕皇太后","隆裕（1868年2月3日—1913年2月22日），叶赫那拉氏，满洲镶黄旗人，名静芬，小名喜子，封一等承恩公副都统叶赫那拉·桂祥之女，是光绪的表姐。光绪十四年（1888年）被慈禧太后钦点成婚，次年立为皇后，并在婚期过后住进东六宫之一的钟粹宫。\n民国二年正月十七日（1913年2月22日），隆裕太后在西六宫之一的长春宫病逝，享年46岁。上谥曰孝定隆裕宽惠慎哲协天保圣景皇后，中华民国政府以国丧规格处理丧事，与光绪帝合葬崇陵（河北易县清西陵）。",[7,110,60,50,55,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0473bd3e0a6598fca4358e2935ff6792.jpg",[],{"id":45002,"slug":45003,"title":45004,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":45005,"thumbUrl":45006,"material":751,"size":752,"collection":95,"collections":45007,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241675,"yu-zhi-shi-wen-shi-er-shou-ce-qian-long-241675","玉卮释文诗二首册",[25,7,26,199,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86a722c73e9f3da8c3f43badc72519d.jpg",[],{"id":45009,"slug":45010,"title":45011,"dynasty":88,"author":454,"museum":107,"description":45012,"tags":45013,"thumbUrl":45014,"material":751,"size":752,"collection":95,"collections":45015,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241657,"wu-kuan-zhan-yi-zhi-gu-fu-feng-zeng-gao-ming-juan-yi-ming-241657","无款詹仪之故父封赠诰命卷","此作用笔朴拙苍劲，以行书为主，笔意连贯舒展，尽显宋代尚意书法风神。长卷墨色富于浓淡枯湿变化，时而浑厚沉实，时而枯涩飞白，古意盎然。\n\n章法排布随诰命文句自然铺陈，既保有官方文书的端整肃穆，又不失行书灵动写意的意趣。笔墨间尽显宋代士大夫的儒雅笔致，承载着诰命的庄重与书法的审美价值，在史料性与艺术性之间达成绝妙平衡，历经岁月经久弥香。",[23,2601,49,7,199,60,312,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb83a71b3c5454f4959127ecf1680a2.jpg",[],{"id":45017,"slug":45018,"title":45019,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":45020,"thumbUrl":45021,"material":751,"size":752,"collection":95,"collections":45022,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241638,"zhi-chun-qian-shu-zha-wen-zheng-ming-241638","致春潜书札",[25,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786e2164646fbaf4538ba416c248f271.jpg",[],{"id":45024,"slug":45025,"title":45026,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":45027,"thumbUrl":45028,"material":751,"size":752,"collection":95,"collections":45029,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241637,"zhi-jian-fu-shu-zha-wen-zheng-ming-241637","致简甫书札",[7,25,60,50,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057bbc6ea61d590576a1483f862f36b7.jpg",[],{"id":45031,"slug":45032,"title":45033,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":45034,"thumbUrl":45035,"material":751,"size":752,"collection":95,"collections":45036,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241622,"lai-su-tie-lin-ze-xu-241622","来苏帖",[7,60,25,26,50,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad5a9f1bfc767b28cadafb92d6969f3.jpg",[],{"id":45038,"slug":45039,"title":26787,"dynasty":18,"author":45040,"museum":107,"description":45041,"tags":45042,"thumbUrl":45047,"material":751,"size":752,"collection":95,"collections":45048,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241606,"qi-jue-shi-zhou-jin-shi-xiong-241606","金世熊","字康侯，号力农，晚号竹坡。相子。乾隆十五年举人，官乐陵教谕，行草书学平原，继仿华亭，逼真可入神品。",[24,25,75,60,7,77,5819,45043,45044,45045,28645,45046,556],"寒花","虎迹","琼林","江角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d723910fb327297e5e9577400aad06f.jpg",[],{"id":45050,"slug":45051,"title":45052,"dynasty":18,"author":45053,"museum":107,"description":45054,"tags":45055,"thumbUrl":45056,"material":751,"size":752,"collection":95,"collections":45057,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241602,"lu-wen-ye-mao-hui-zu-241602","录文页","毛辉祖","毛辉祖（1709年－1774年），字镜浦、乃行，号敬园，山东省济南府历城县（今山东省济南市），清朝政治人物、进士出身。",[25,7,199,50,77,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3474a8755fa10b25cdd6cb441ced6348.jpg",[],{"id":45059,"slug":45060,"title":45061,"dynasty":18,"author":45062,"museum":107,"description":45063,"tags":45064,"thumbUrl":45065,"material":751,"size":752,"collection":95,"collections":45066,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241601,"shi-pin-yi-ze-ye-wu-hong-241601","诗品一则页","吴鸿","吴鸿（1725~1763），字颉云，号云岩。浙江仁和（今浙江杭州）人。清乾隆十六年（1751）辛未科状元。",[18,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf3083383be93513f21648f699f94e0f.jpg",[],{"id":45068,"slug":45069,"title":45070,"dynasty":18,"author":45071,"museum":107,"description":45072,"tags":45073,"thumbUrl":45074,"material":751,"size":752,"collection":95,"collections":45075,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241599,"le-zhi-lun-ye-fan-yu-shi-241599","乐志论页","范棫士","范棫士（1710-1769），清文学家、书法家。字思皇，亦字祖年，号芄野，江南娄县(今上海)人，范缵孙。少以长于文学著称。乾隆十七年(1752)进士一甲第二人（榜眼），授编修，擢福建道监察御史，充丙子(1756)顺天乡试同考官，转兵科给事中，调工科掌印给事中。棫士清望素者，为朝士所重。三十丧偶，不复娶。与人交，坦然和易。又倡置云间会馆，以居乡、会试之来京者。善行、楷，远近争购之。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e804b392f91cf1c2a25722a6c4831e4.jpg",[],{"id":45077,"slug":45078,"title":45079,"dynasty":18,"author":45080,"museum":107,"description":45081,"tags":45082,"thumbUrl":45083,"material":751,"size":752,"collection":95,"collections":45084,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241597,"jie-lu-feng-lao-ting-ji-ye-shen-shi-feng-241597","节录丰乐亭记页","沈士凤","沈士凤 生卒年月不详，字羽皇。浙江绍兴人。清书法家。靠卖书画糊口，年九十余卒。他的书法深入传统而不泥古，善于用个性加以再创造，更不甘心步人后尘，故其草书为越中第一。",[25,7,60,77,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9adadc1578fa1d5eeb70263c7f491bf.jpg",[],{"id":45086,"slug":45087,"title":45088,"dynasty":18,"author":45089,"museum":107,"description":45090,"tags":45091,"thumbUrl":45092,"material":751,"size":752,"collection":95,"collections":45093,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241596,"jie-lin-mi-tie-ye-yuan-kuang-su-241596","节临米帖页","袁匡肃","袁匡肃字（缺），浙江钱塘人。乾隆（缺）举人。二十七年（缺）月由内阁中书入直。孙士毅已见大臣。乾隆二十七年（缺）月由内阁中书入直，四十年以户部郎中再入直。",[18,25,7,110,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1684309f2758a3800c37d83fc542a1f.jpg",[],{"id":45095,"slug":45096,"title":45097,"dynasty":18,"author":45098,"museum":107,"description":45099,"tags":45100,"thumbUrl":45101,"material":751,"size":752,"collection":95,"collections":45102,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241593,"xing-wen-luo-fu-ye-tang-da-shen-241593","行温洛赋页","汤大绅","汤大绅（？～？），字孙书，号药辅，亦号药园。江南常州府（今江苏）阳湖县人。乾隆七年（1742）壬戌科金甡榜进士第三人，年七十四卒于家。",[24,25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e023db5359bd57c9f97be4c264cbdb.jpg",[],{"id":45104,"slug":45105,"title":45106,"dynasty":18,"author":45107,"museum":107,"description":45108,"tags":45109,"thumbUrl":45110,"material":751,"size":752,"collection":95,"collections":45111,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241591,"qi-jue-wu-shou-ye-yang-kai-ding-241591","七绝五首页","杨开鼎","杨开鼎，字峙踼，号玉坡，江苏甘泉人，中国清朝官员。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a0f4c6dd39a0af53248194ad9e03e3.jpg",[],{"id":45113,"slug":45114,"title":45115,"dynasty":18,"author":45116,"museum":107,"description":45117,"tags":45118,"thumbUrl":45119,"material":751,"size":752,"collection":95,"collections":45120,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241589,"lu-bai-tao-hua-jin-zuo-er-shou-zhuang-pei-yin-241589","录白桃花近作二首","庄培因","庄培因（1723-1759）字本淳，号仲醇。江南阳湖（今江苏武进嘉泽）人。清乾隆十九年（1754年）甲戌科进士第一人。\n庄培因崇尚气节，诗文流畅，书法精妙，尤以楷书闻名于世。",[18,25,7,60,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d7c44a4d364e33761dd34c3690ff70.jpg",[],{"id":45122,"slug":45123,"title":45052,"dynasty":18,"author":45124,"museum":107,"description":45125,"tags":45126,"thumbUrl":45127,"material":751,"size":752,"collection":95,"collections":45128,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241583,"lu-wen-ye-wang-yi-kui-241583","王以夔","此幅小楷用笔秀雅温润，点画精劲匀净，起收转合规整自然，结体端稳又暗含灵动意趣，尽显晋唐小楷的隽秀遗风。墨色清和匀净，与泛黄的古纸相映，愈发衬出古雅沉静的质感。\n\n所书骈文辞藻清丽雅致，将写景抒情相融，笔墨与文辞相得益彰。通篇气息安和疏朗，字里行间尽显书者的文人涵养与不俗笔墨功力，平和冲淡的书卷意趣溢于纸面，是清代小楷小品中的精致之作。",[25,199,77,26,50,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b9815de2f908b6bbadedb2e3713730.jpg",[],{"id":45130,"slug":45131,"title":45132,"dynasty":18,"author":45133,"museum":107,"description":45134,"tags":45135,"thumbUrl":45136,"material":751,"size":752,"collection":95,"collections":45137,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241582,"lu-mo-ji-shi-ye-liu-lun-241582","录摩诘诗页","刘纶","刘纶（1711年—1773年8月13日），字如叔，号绳庵，又号慎涵，江苏武进人。世家子，年十九补诸生。入两江总督尹继善幕。擅古文辞，亦能诗。与大学士刘统勋同辅政，有“南刘东刘”之称。",[18,7,60,77,433,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2a9934df76b7829e7f50efa1f12fbe.jpg",[],{"id":45139,"slug":45140,"title":45052,"dynasty":18,"author":45141,"museum":107,"description":45142,"tags":45143,"thumbUrl":45144,"material":751,"size":752,"collection":95,"collections":45145,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241581,"lu-wen-ye-zhuang-xie-241581","庄燮","此作用笔萧散灵动，行气匀停贯通，字字欹正相生，牵丝映带间尽显帖学秀雅意趣。墨色富于浓淡润燥之变，重笔沉凝如崖峦坠石，轻锋掠纸似泉流漱玉，将诗文中山水清灵、谷雷震动的意境，藏于笔底风神之中。\n\n通篇以信笔挥洒的行书写就，不见刻意雕琢之态，却将书写者寄情林泉的悠然襟怀，融在笔墨章法之间，文辞意境与书法韵致浑然合一，是一件兼具笔墨功力与文人意趣的行书小品。",[7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6963cf4ad96c235ffe0d88390440d9.jpg",[],{"id":45147,"slug":45148,"title":7149,"dynasty":18,"author":45149,"museum":107,"description":45150,"tags":45151,"thumbUrl":45152,"material":751,"size":752,"collection":95,"collections":45153,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241575,"wu-yan-gu-shi-zhou-zhang-yu-zhao-241575","张裕钊","张裕钊（1823年—1894年），字廉卿，号濂亭，湖北鄂州梁子湖畔东沟镇龙塘张村人，晚清官员，散文家、书法家。其书法独辟蹊径，融北碑南帖于一炉，创造了影响晚清书坛百年之久的“张体”，被康有为誉为“千年以来无与比”，李志敏评价：“张裕钊别开生面，触化北碑为已用。”\n道光二十六年（1846年）中举，考授内阁中书。后入曾国藩幕府，为“曾门四弟子”之一，被曾国藩推许为可期有成者。生平淡于仕宦，自言“于人世都无所嗜好，独自幼酷喜文事”，曾主讲江宁、湖北、直隶、陕西各书院，培养学生甚众，范当世、马其昶等都出其门下。",[75,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f52576e69badfb8f9beab75f3ff177.jpg",[],{"id":45155,"slug":45156,"title":23662,"dynasty":18,"author":45157,"museum":107,"description":45158,"tags":45159,"thumbUrl":45160,"material":751,"size":752,"collection":95,"collections":45161,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241574,"wu-lv-zhou-yang-yu-zhang-241574","杨玉章","清代莆田人物杨玉章，同治九年（1870年）举人。在他的《梨园百咏》中有《唐伯虎》、《唐寅》的剧目。",[7,60,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8edd607e8fd51262f2267f270397a42.jpg",[],{"id":45163,"slug":45164,"title":45165,"dynasty":18,"author":45166,"museum":107,"description":45167,"tags":45168,"thumbUrl":45169,"material":751,"size":752,"collection":95,"collections":45170,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241573,"qi-lv-si-shou-heng-zhuang-shou-qi-241573","七律四首横","庄受祺","庄受祺（1810-1866），武进人。字蕙生，一字卫生，编修庄令舆五世孙。道光二十年（1840）进士，殿试二甲二名。翰林院庶吉士，授编修。历充起居注协修、本衙门撰文、国史馆协修、纂修、武英殿协修、功臣馆纂修、道光二十三年（1843）山西副主考。历任福建漳州、福州、湖北宜昌府知府、安襄郧荆道、盐法武昌道、湖北粮台、福建按察使、浙江布政使。赏戴花翎。以词林起家，工古文，善书法，精兵法，尤善识别将才。著作有《湖北兵事述略》、《随时录》、《维摩室随笔》、《维摩室遗训》四卷、《枫南山馆遗集》八卷。",[25,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c2d8b80d8c027038f5544b6535f57ef.jpg",[],{"id":45172,"slug":45173,"title":45174,"dynasty":18,"author":45175,"museum":107,"description":45176,"tags":45177,"thumbUrl":45178,"material":751,"size":752,"collection":95,"collections":45179,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241571,"mei-yi-lu-yu-ping-zhou-mei-yi-241571","梅釴录语屏轴","梅釴","此作用笔温润秀雅，牵丝映带间尽显行书流动之美，结体错落随性，毫无板滞之感。墨色清透匀净，随着行文自然晕开浓淡变化，古意盎然。\n\n录写古人问道读书的清雅佳话，笔墨与文意相融相合，尽显书家的文人情趣与审美意趣。落款小字精劲端严，与正文的舒展灵动形成动静对比，两枚朱印沉稳点睛，让整幅作品章法和谐完满，尽显清代帖学书法的隽雅之风，是兼具笔墨意趣与文心内涵的佳构。",[24,25,75,60,7,77,3479,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88482ccd6af7c80216c973f92090793.jpg",[],{"id":45181,"slug":45182,"title":45183,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":45184,"thumbUrl":45185,"material":751,"size":752,"collection":95,"collections":45186,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241543,"zhi-liu-zhou-mao-cai-shou-zha-ce-huang-yue-241543","致六舟茂才手札册",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840b98cce88cae1e9f3484e79f53e169.jpg",[],{"id":45188,"slug":45189,"title":45190,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":45191,"thumbUrl":45192,"material":751,"size":752,"collection":95,"collections":45193,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241542,"zhi-gu-qiu-xian-sheng-shou-zha-ce-huang-yue-241542","致古球先生手札册",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bdf8ac566e26c6da753c5159c900b33.jpg",[],{"id":45195,"slug":45196,"title":45190,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":45197,"thumbUrl":45198,"material":751,"size":752,"collection":95,"collections":45199,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241541,"zhi-gu-qiu-xian-sheng-shou-zha-ce-huang-yue-241541",[18,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07efd4d862d6c9becc3df2c60a62bc42.jpg",[],{"id":45201,"slug":45202,"title":27869,"dynasty":18,"author":45203,"museum":107,"description":45204,"tags":45205,"thumbUrl":45206,"material":751,"size":752,"collection":95,"collections":45207,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241524,"lun-shu-zhou-zheng-mo-241524","郑墨","郑墨，字五桥，泰州兴化人。小郑板桥二十五岁，是板桥叔父的独生子。板桥没有同胞兄弟，只有这个堂弟，他们感情很深。",[18,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479043b553dfd7dc7631a16269330322.jpg",[],{"id":45209,"slug":45210,"title":24648,"dynasty":18,"author":43747,"museum":107,"description":45211,"tags":45212,"thumbUrl":45216,"material":312,"size":95,"collection":96,"collections":45217,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241522,"qi-lv-shi-zhou-liang-qing-biao-241522","梁清標 （1620—1691）字玉立，一字蒼巖，號棠村，一號蕉林。明末清初著名藏書家、文學家，名列“貳臣傳”。直隸真定（今河北省正定縣）人，明崇禎十六年進士，清順治元年降清，補翰林院庶吉士，授編修。清順治元年降清，歷任宏文院編修、國史院侍講學、詹事府詹事、禮部左侍郎、吏部右侍郎、吏部左侍郎、兵部尚書、禮部尚書、刑部尚書、户部尚書、保和殿大學士等職。著有《蕉林詩集》《棠村詞》等。\n精于鉴赏，长于书法，喜收藏图书，所藏法书、名画极多。刻有《秋碧堂法帖》，朱彝尊为他写有题记。时与北京 孙承泽精于收藏经、史类书籍，他则富于收藏子、集类图书。在正定城内筑有书楼“蕉林书屋”，专以藏书画、古籍，积书多至数十万余卷，收藏典籍字画，所藏历代书法、名画尤为珍贵。有“项（元汴）家'蕉窗'梁'蕉林'，图书之富甲古今”之称。“蕉林书屋”为当时文人雅士聚集之所。后来，江南藏书家何绍基曾到真定访“蕉林书屋”。藏书印有“梁清标印”、“棠村”、“河北棠村”、“蕉林”（一说“蕉林”为明代睢阳袁枢藏书印，《松桂堂帖》和《正定兴宁志序》“蕉林”印均在 编撰有《蕉林书目》，今已不存。",[25,7,75,60,77,33056,6299,7989,36415,45213,45214,45215],"禁闱","青旛","旧陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef72602a708642060277865fed032c01.jpg",[96],{"id":45219,"slug":45220,"title":40743,"dynasty":18,"author":40744,"museum":107,"description":45221,"tags":45222,"thumbUrl":45223,"material":751,"size":752,"collection":95,"collections":45224,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241518,"ji-bai-shou-mei-hua-shi-tie-ce-liang-wei-jia-241518","此作用笔舒展灵动，行书笔势圆活流畅，牵丝映带自然妥帖，将咏梅诗的清雅意趣融于笔墨间。点画粗细得宜，或轻盈如梅萼初绽，或沉实如老枝凝霜，把诗句里孤高淡远的梅之品格，随笔锋晕染开来。\n\n行气连贯舒和，通篇节奏缓急有度，笔墨流转间，咏梅文思与隽雅书风相融无间，尽显旧时文人寄情花木、以笔遣兴的悠然意态，是诗书合一的雅致佳制。",[7,26,60,50,131,678,12229,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19bfb9dda92292acf93c5322dfb9bf1a.jpg",[],{"id":45226,"slug":45227,"title":40743,"dynasty":18,"author":40744,"museum":107,"description":45228,"tags":45229,"thumbUrl":45230,"material":751,"size":752,"collection":95,"collections":45231,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241516,"ji-bai-shou-mei-hua-shi-tie-ce-liang-wei-jia-241516","此作用笔温润秀雅，以行书成篇，结体舒展灵动，牵丝映带间流转自然，既有帖学的妍美法度，又不失文人写意的疏朗意趣。\n\n册页抄录咏梅诗章，笔墨与诗意相融，将爱梅赏梅的清逸心境诉诸笔端。墨色沉静古雅，素纸衬映之下愈显隽秀平和，字句间尽显澹泊悠然的林下之风。书文相映，尽显旧时文人诗、书合一的审美意趣，尺幅之间自带着清幽雅致的文人雅怀，是兼具文学性与艺术性的小品佳作。",[25,26,7,60,200,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3546ed3676035721fc1a1d85485b76f.jpg",[],{"id":45233,"slug":45234,"title":24534,"dynasty":18,"author":36355,"museum":107,"description":36356,"tags":45235,"thumbUrl":45236,"material":751,"size":752,"collection":95,"collections":45237,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},241503,"lu-wen-zhou-yan-xin-hou-241503",[2135,7,60,75,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2010d5d8ead3086a9c95736d3e47d0de.jpg",[],{"id":45239,"slug":45240,"title":45241,"dynasty":18,"author":45242,"museum":107,"description":45243,"tags":45244,"thumbUrl":45245,"material":751,"size":752,"collection":95,"collections":45246,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241492,"shi-ce-ye-meng-ceng-gu-241492","诗册页","孟曾榖","此作为行书诗页，用笔秀逸灵动，提转间尽显温婉韵致，结体疏密错落，随字赋形，自有萧散之态。牵丝映带自然流畅，尽显行书潇洒意趣。\n\n通篇以诗为骨，笔墨为魂，文辞与书意相融相生，将酬怀寄兴的文人襟怀落于笔端。墨色浓淡相宜，通篇气息清雅悠然，带着旧时文人的疏淡意趣，诗书合璧，尽显隽秀古雅的风神，是兼具笔墨情致与文心诗意的小品佳构，静静铺展着传统文人的雅致情味。",[18,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb0e32fd3fa4ec95d5c1a8a343dcd8d.jpg",[],{"id":45248,"slug":45249,"title":45250,"dynasty":18,"author":45251,"museum":107,"description":45252,"tags":45253,"thumbUrl":45255,"material":751,"size":752,"collection":95,"collections":45256,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241490,"lun-shu-wan-shan-zhou-lian-241490","论书纨扇","周莲","周莲（1848-1920），字子迪，出生于江苏如皋，清朝光绪五年贡生，官至二品。\n周莲父亲周际霖，道光年间举家定居如皋城内集贤里。周莲幼年在父亲任职的如皋县衙读书，如皋人称他为“周大少”。1895年由恭亲王奕欣推荐担任厦门道台、福建布政使。\n周莲在闽八年，政绩圆满，1903年向慈禧太后辞官回乡，专心研究长寿美食。1911年11月23日组建首届如皋县民国政府，亲自担任军政总司令。1920年逝世，葬如皋杨花桥，龙游湖西有敕建石龙坊，纪其功绩。",[25,1250,60,7,2135,45254],"论书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a2074fd21af0509bacda0125956f7.jpg",[],{"id":45258,"slug":45259,"title":31476,"dynasty":18,"author":45260,"museum":107,"description":45261,"tags":45262,"thumbUrl":45263,"material":751,"size":752,"collection":95,"collections":45264,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241486,"lin-tie-zhou-he-guang-xi-241486","何广熹","福州西门外著名藏书家",[7,75,110,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ae8612edaa800b9c3c368967bfd89b.jpg",[],{"id":45266,"slug":45267,"title":45268,"dynasty":18,"author":45269,"museum":107,"description":45270,"tags":45271,"thumbUrl":45272,"material":751,"size":752,"collection":95,"collections":45273,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241462,"yang-zhou-ji-shi-heng-bai-en-you-241462","扬州纪事横","白恩佑","白恩佑（1812年－？），字蘭岩，一字叔啟，號石仙，晚號石翁，山西省介休縣人。清朝官員。",[50,7,60,77,52,53,54,458,56,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567d58e31b506dd8b35dad587f2ee542.jpg",[],{"id":45275,"slug":45276,"title":45277,"dynasty":45,"author":45278,"museum":107,"description":45279,"tags":45280,"thumbUrl":45281,"material":751,"size":752,"collection":95,"collections":45282,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241458,"cao-kai-shi-gu-wen-juan-wen-xiang-feng-241458","草楷石鼓文卷","文翔凤","明（约公元一六二五年前后在世）字天瑞，号太青，陕西三水（旬邑）人。生卒年均不详，约明熹宗天启五年前后在世。万历三十八年（公元一六一零年）进士。历官莱阳令，终太仆寺少卿。尝自制五岳冠，并以五岳自号；亦称东极。翔凤著有《东极篇》及《文太青文集》二卷，《太微经》二十卷，均《四库总目》并传于世。",[23,25,7,49,398,199,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e21ecaf5d7e54bedcc7cd001139ca6.jpg",[],{"id":45284,"slug":45285,"title":45286,"dynasty":18,"author":45287,"museum":107,"description":45288,"tags":45289,"thumbUrl":45290,"material":751,"size":752,"collection":95,"collections":45291,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241437,"zhi-gong-ci-shuo-wen-yi-zi-gai-heng-wang-ding-241437","致公朿说文佚字改横","王鼎","王鼎（1768年－1842年），字定九，號省厓，陝西同州府蒲城縣（今陕西省渭南市蒲城县）人，清朝大臣。",[23,7,25,60,49,312,385,26781,14632,35926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb756aa44ee4d4d2f2110c0a5d6a9102a.jpg",[],{"id":45293,"slug":45294,"title":45295,"dynasty":18,"author":31317,"museum":107,"description":31318,"tags":45296,"thumbUrl":45297,"material":751,"size":752,"collection":95,"collections":45298,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241429,"zhi-shi-shi-zha-juan-wang-wen-zhi-241429","致石士札卷",[7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d650ae9539445678de17ee2024c0297.jpg",[],{"id":45300,"slug":45301,"title":45302,"dynasty":18,"author":31317,"museum":107,"description":31318,"tags":45303,"thumbUrl":45304,"material":751,"size":752,"collection":95,"collections":45305,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241407,"gua-jia-wu-jue-zhou-wang-wen-zhi-241407","瓜架五绝轴",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccb01a84ff78e33b5f813364c4e02ff.jpg",[],{"id":45307,"slug":45308,"title":27869,"dynasty":18,"author":45309,"museum":107,"description":45310,"tags":45311,"thumbUrl":45312,"material":751,"size":752,"collection":95,"collections":45313,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241404,"lun-shu-zhou-pan-shi-en-241404","潘世恩","潘世恩（1770年1月27日——1854年），字槐堂，号芝轩，江苏省苏州府吴县（今江苏省苏州市）人，清朝大臣。",[18,60,75,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df4203652743c8458bfe6eae53c2b8a.jpg",[],{"id":45315,"slug":45316,"title":45317,"dynasty":18,"author":45318,"museum":107,"description":45319,"tags":45320,"thumbUrl":45321,"material":751,"size":752,"collection":95,"collections":45322,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241387,"bu-yu-xing-zhou-song-wan-241387","捕鱼行轴","宋琬","宋琬（1614-1673），清初著名诗人，清八大诗家之一，字玉叔，号荔裳，汉族，山东莱阳人。 [1] 生于明万历四十二年（1614），清顺治四年（1647）进士，曾任户部河南司主事、吏部稽勋司主事、陇西右道佥事、左参政，康熙十一年（1672），授通议大夫四川按察使司按察使；翌年，进京述职，适逢吴三桂兵变，家属遇难，忧愤成疾，病死京都，时年59岁。\n宋琬的诗入杜、韩之室，与施闰章齐名，有“南施北宋”之说，又与严沆、施闰章、丁澎等合称为“燕台七子”。著有《安雅堂集》《二乡亭词》。",[75,60,7,1390,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69da3cf6381f94b037e8b4bf10efc36c.jpg",[],{"id":45324,"slug":45325,"title":18391,"dynasty":18,"author":45326,"museum":107,"description":45327,"tags":45328,"thumbUrl":45329,"material":312,"size":95,"collection":96,"collections":45330,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241376,"qi-jue-zhou-dong-xiao-chu-241376","董孝初","华亭（今上海市松江）人。诸生。久不得志，遂弃去，放浪山水间。中年作画具元人法。",[7,75,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3967071b314b1ed992b4bb7c5318a6.jpg",[96],{"id":45332,"slug":45333,"title":45334,"dynasty":18,"author":45335,"museum":107,"description":45336,"tags":45337,"thumbUrl":45339,"material":751,"size":752,"collection":95,"collections":45340,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241374,"ti-san-xia-pin-quan-zhou-wang-ying-quan-241374","题三峡品泉轴","汪应铨","汪应铨，[清]字杜林，号梅林，江苏常熟人。康熙五十七年（一七一八）状元，官赞善。工小楷。《昭代尺牍小传、瓯钵罗室书画过目考》 清康熙五十七年（1718）状元。授职翰林院修撰，掌修国史。后来奉旨入值南书房。汪应铨本应进士馆研习，三年散馆后，方得升迁。然而汪应铨未及散馆，便被破格提为庶子。后几经升迁，官至左春坊赞善。将被升转，因锋芒太露，得罪权贵而遭弹劾。不久，谢职离京，返归故乡。",[7,60,2135,77,576,14632,26781,2602,45338,4440],"宣纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907da3c53190b836de60edc25fbc226e.jpg",[],{"id":45342,"slug":45343,"title":45344,"dynasty":45,"author":45345,"museum":107,"description":45346,"tags":45347,"thumbUrl":45348,"material":751,"size":752,"collection":95,"collections":45349,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},241363,"ci-yan-shi-zhou-hu-shi-an-241363","赐晏诗轴","胡世安","胡世安(1593~1663) ，字处静，别号菊潭，四川资州井研县（今四川省乐山市井研县）人。明崇祯元年（1628）进士，曾任礼部尚书、武英殿大学士兼兵部尚书、太子太保、少傅兼太子太傅、秘书院大学士、少师兼太子太师。\n胡世安工诗文，著有《秀岩集》十一卷，凡诗二十二卷，文九卷，及《大易则通》、《禊帖综闻》、《异鱼图赞笺》、《异鱼图赞补》。",[4038,7,75,60,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4d8de8bfe0a1b74fc91f2ca660684a.jpg",[],{"id":45351,"slug":45352,"title":12961,"dynasty":18,"author":45353,"museum":107,"description":45354,"tags":45355,"thumbUrl":45358,"material":312,"size":95,"collection":96,"collections":45359,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241318,"qi-lv-zhou-chen-qian-he-241318","陈迁鹤","清福建龙岩人，字声士，一字介石，康熙二十四年进士。由庶吉士授编修。历官至左春坊左庶子，入值南书房。通经学，不墨守成说。认为太极为生成之理，在阴阳动静之中。治《易》采诸说而折衷于程朱，以卦意推爻辞。著有《易说》、《尚书私记》、《毛诗国风绎》、《春秋纪疑》等",[75,7,60,45356,30827,458,116,4865,1919,8981,45357],"七律","舞乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd536cb9582510f74c3f4e4e26746a269.jpg",[96],{"id":45361,"slug":45362,"title":45363,"dynasty":18,"author":45364,"museum":107,"description":45365,"tags":45366,"thumbUrl":45367,"material":751,"size":752,"collection":95,"collections":45368,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241303,"fu-juan-min-yi-shi-241303","赋卷","闵奕仕","此卷行书笔墨酣畅淋漓，行气贯通舒展。字势欹正相生，笔画粗细枯润交叠，带着率意纵逸的气度。起笔收锋间藏着跌宕节奏感，点画既有帖学的灵动隽秀，又自带着苍朴拙厚之态。\n\n整卷铺陈开，文字如行云流转，字与字、行与行之间顾盼生姿，萧散简远的林下之风尽显。书写时的随性快意尽数展露在笔墨间，将文人逸兴融在点画之中，浸透着随性自在的文人襟怀，是颇见功底的行书佳制。",[25,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d610a4d04b3ac17639075ca5da30c1a.jpg",[],{"id":45370,"slug":45371,"title":17924,"dynasty":45,"author":45372,"museum":107,"description":45373,"tags":45374,"thumbUrl":45375,"material":751,"size":752,"collection":95,"collections":45376,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241301,"shi-zhou-zhou-ting-dong-241301","周廷栋","明代崇祯甲申年（崇祯十七年，1644）贡生、著名理学大儒周敦颐的后裔",[7,398,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c9384cfac8851856ff2337edadcf11.jpg",[],{"id":45378,"slug":45379,"title":45380,"dynasty":45,"author":454,"museum":107,"description":45381,"tags":45382,"thumbUrl":45383,"material":751,"size":752,"collection":95,"collections":45384,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241300,"lv-nan-deng-san-jia-qiu-jiang-song-bie-shi-bing-xu-juan-yi-ming-241300","呂柟等三家秋江送别诗并序卷","此卷笔墨意态纷呈，将酬唱别绪藏于百变笔端。开篇尺牍行书朴拙温雅，字势错落随性，带着明代尺牍特有的散淡清雅，字字皆见赠别时的淳厚情谊。\n\n中段榜书雄强苍劲，墨块淋漓饱满，斩截如刀，将离情化作磅礴的笔墨张力，雄浑大气。后段狂草恣意奔逸，线条盘旋起落，笔势跌宕间尽显情绪起伏，把送别的怅惘与知己襟怀尽数挥洒。\n\n整卷融日常尺牍、抒情大草与榜书为一体，文心与书韵相生相合，尽显明代书法尚态重意之风，将文人酬唱的心迹，尽数铺展在笔墨流转间。",[7,49,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043f4dbb782c0cf5a6cb628d3074420c.jpg",[],{"id":45386,"slug":45387,"title":45388,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":45389,"thumbUrl":45390,"material":751,"size":752,"collection":95,"collections":45391,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241293,"lin-wang-jiu-tie-juan-dong-qi-chang-241293","临王九帖卷",[110,60,398,7,49,77,200,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec6c0447d7909f53d2ccb86a980ae30.jpg",[],{"id":45393,"slug":45394,"title":45395,"dynasty":18,"author":45396,"museum":107,"description":45397,"tags":45398,"thumbUrl":45399,"material":751,"size":752,"collection":95,"collections":45400,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241288,"xing-shu-qi-gu-huang-yue-chen-241288","行书七古","黄越尘","这幅行书以信札为载体，笔墨秀雅灵动。行笔舒展利落，笔画粗细兼具，墨色带着自然的浓淡枯湿变化，行气连贯悠然。字迹结体错落有致，既有帖学一脉的温润飘逸，又暗融些许朴拙沉稳的质感，尽显书写时的松弛意态。\n\n作为诗书合璧的小品，诗文言辞清雅，字里行间晕染着旧友赠答的诚挚情谊，将文人的风雅襟怀藏于笔墨细节之中，是一件兼具笔墨意趣与人文温度的佳作。",[25,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3a7be7888cc1daf1ffe02b90aab480.jpg",[],{"id":45402,"slug":45403,"title":45404,"dynasty":18,"author":45405,"museum":107,"description":45406,"tags":45407,"thumbUrl":45408,"material":751,"size":752,"collection":95,"collections":45409,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241281,"qi-jue-er-shou-mai-jin-guang-241281","七絶二首","麦觐光","范承谟（1624年－1676年10月22日），字觐公，一字螺山，奉天人，隶汉军镶黄旗，清朝开国重臣范文程之子。进士出身，曾任浙江巡抚、福建总督。",[25,60,77,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc0482cb234b47c21f4f8f21e7d98059.jpg",[],{"id":45411,"slug":45412,"title":29465,"dynasty":18,"author":45413,"museum":107,"description":45414,"tags":45415,"thumbUrl":45416,"material":751,"size":752,"collection":95,"collections":45417,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241278,"ci-zhou-tao-nan-wang-241278","陶南望","清，字逊亭，号一篑山人，上海人。工诗文，书宗颜、柳。徧摹古人法帖，集草韵汇编未成而殁，子锟续成之。",[2135,7,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06184c543a11fa7797d3a0aa28741e.jpg",[],{"id":45419,"slug":45420,"title":2131,"dynasty":18,"author":25628,"museum":107,"description":41359,"tags":45421,"thumbUrl":45422,"material":751,"size":752,"collection":95,"collections":45423,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241273,"zhuan-shu-ba-yan-lian-sun-xing-yan-241273",[25,7,457,2136,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793b4286dbecccb6918be3b4d5c407e6.jpg",[],{"id":45425,"slug":45426,"title":45427,"dynasty":18,"author":45428,"museum":107,"description":45429,"tags":45430,"thumbUrl":45431,"material":751,"size":752,"collection":95,"collections":45432,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241270,"lu-si-kong-tu-shi-pin-zhou-qi-zhao-nan-241270","录司空图诗品轴","齐召南","齐召南（1703年－1768年），字次风，号琼台，晚号息园。浙江天台人。清代地理学家。\n幼有神童之称，精于舆地之学，又善书法。雍正七年（1729年），己酉科乡试中副车，雍正十一年（1733年），举博学鸿词，以副榜贡生被荐。乾隆元年（1736年），召试于保和殿，钦定二等第十名，为翰林院庶吉士，授检讨。次年参修《大清一统志》。乾隆六年（1741年），撰《外藩书》。乾隆十二年（1747年），充《续文献通考》副总裁。\n乾隆二十六年（1761年），完成最重要的作品《水道提纲》28卷。另著有《宝纶堂集古录》《宝纶堂文钞诗钞》《齐太史移居集》《琼台集》《历代帝王年表》《后汉公卿表》等。",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffeecd3a80757dbe9d6f751c8f7aaa1.jpg",[],{"id":45434,"slug":45435,"title":18391,"dynasty":18,"author":45436,"museum":107,"description":45437,"tags":45438,"thumbUrl":45439,"material":751,"size":752,"collection":95,"collections":45440,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241268,"qi-jue-zhou-yu-hao-241268","于灏","字云谷，山西永宁州人，约活动于清康熙、乾隆时期。贡生，曾任职刑部，工于诗文、书法、善行草。",[7,75,77,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a29fc63344745d6d36098872f75c620.jpg",[],{"id":45442,"slug":45443,"title":21168,"dynasty":18,"author":45444,"museum":107,"description":45445,"tags":45446,"thumbUrl":45447,"material":751,"size":752,"collection":95,"collections":45448,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241263,"zi-shu-shi-juan-fan-da-che-241263","范大徹","此作用笔爽利流畅，行书笔意婉转而筋骨内含，牵丝映带间尽显灵动韵致。墨色枯湿浓淡富于变化，时而丰润饱满，时而渴笔见飞白，为整卷添了几分朴拙疏朗的意趣。\n\n通篇布局疏密相宜，字与字、行与行顾盼生姿，将诗作里江南寻春的清雅心境，融于笔墨起伏之中。既有帖学一脉的秀逸灵动，又暗蓄几分拙朴厚重，尽显文人书家随性抒怀的风雅，把日常酬唱的诗意化作笔底烟霞，观之可感书写时的舒展快意，窥见旧时文人的襟怀意趣。",[7,60,49,77,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b979ba63138a14d06f52633ec4f3926.jpg",[],{"id":45450,"slug":45451,"title":45452,"dynasty":18,"author":45453,"museum":107,"description":45454,"tags":45455,"thumbUrl":45456,"material":751,"size":752,"collection":95,"collections":45457,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241260,"lu-du-shi-heng-zhou-xue-kai-241260","录杜诗横轴","薛开","薛开，字展也，号木庵，清顺治、康熙年间如皋人，通州泰州如皋一带书法家。书法工妙，擅长诗文，曾见其书法字字映带，行行呼应无造作之处。",[7,60,398,37824,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455308e3f8be4027336939c086933de.jpg",[],{"id":45459,"slug":45460,"title":45461,"dynasty":18,"author":45462,"museum":107,"description":45463,"tags":45464,"thumbUrl":45465,"material":312,"size":95,"collection":96,"collections":45466,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},241255,"ti-hua-zhou-zhang-mei-ru-241255","题画轴","张美如","张美如，字尊五，号玉溪，又号第五山樵，甘肃武威人。嘉庆十二年（1807）赴西安考中举人，次年赴北京考中进士，选翰林院庶吉士。嘉庆十四年（1809）散馆，改授户部主事。道光二年（1822）升任 于是，退离仕途，求居林下，以绘画写字，吟诗抚琴，奖掖后进为乐，把自己的一生献给培育英才的教育事业。根据他的诗稿及有关信札，可知他曾主讲凉州天梯书院、镇番（今民勤县）苏山书院、兰州兰山书院、西安关中书院等处。张美如不但是一位教育家，而且是清代著名书画家，堪称诗、书、画三绝。",[2135,25,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c69515619fdbc62a3981ba74719b9b.jpg",[96],{"id":45468,"slug":45469,"title":18391,"dynasty":18,"author":45470,"museum":107,"description":45471,"tags":45472,"thumbUrl":45473,"material":751,"size":752,"collection":95,"collections":45474,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241242,"qi-jue-zhou-zhao-zai-ding-241242","赵再鼎","此作用笔爽利流畅，牵丝映带间尽显行书灵动韵致。章法疏朗匀停，四列排布舒展从容，笔墨枯湿浓淡富于层次变化，将书写时的随性快意藏于点画之中。\n整幅书作与山居诗意相融相合，笔势随着诗句意境跌宕起伏，把野居幽寂、松风梦醒的闲淡山居意趣寄于笔端，字里行间漫溢着清远淡逸的林下之风，将书法线条之美与古典诗意完美契合，尽显文人书法的风雅情致。",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f28008ee86f6d89c2225dea56b314cc.jpg",[],{"id":45476,"slug":45477,"title":18391,"dynasty":18,"author":45478,"museum":107,"description":45479,"tags":45480,"thumbUrl":45481,"material":751,"size":752,"collection":95,"collections":45482,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241241,"qi-jue-zhou-wei-fang-tai-241241","魏方泰","魏方泰（1656－1727） 字日乾，号鲁峰。建昌府广昌甘竹洙溪村（今属江西省广昌县）人。",[24,25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9990ee45af5af551ca5cb9817247fdd6.jpg",[],{"id":45484,"slug":45485,"title":45486,"dynasty":45,"author":38105,"museum":107,"description":38106,"tags":45487,"thumbUrl":45488,"material":751,"size":752,"collection":95,"collections":45489,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241220,"wu-jue-shi-zhou-mi-wan-zhong-241220","五绝诗轴",[7,75,60,77,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea81350f35444326a3949b7f0f512c3.jpg",[],{"id":45491,"slug":45492,"title":45493,"dynasty":18,"author":45494,"museum":107,"description":37708,"tags":45495,"thumbUrl":45496,"material":751,"size":752,"collection":95,"collections":45497,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241212,"fang-weng-shi-ping-zhou-huang-yu-241212","放翁诗屏轴","黄钰",[60,7,25,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33915c19095e30723d93e6b32081535d.jpg",[],{"id":45499,"slug":45500,"title":45501,"dynasty":18,"author":45502,"museum":107,"description":4942,"tags":45503,"thumbUrl":45509,"material":751,"size":752,"collection":95,"collections":45510,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生",[7,75,60,77,360,132,282,6297,693,589,2525,140,651,3040,24642,139,9676,45504,12090,30986,679,844,1677,1679,20421,652,45505,45506,45507,45508,3092,3093],"杜","苔","黄","绿","钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":45512,"slug":45513,"title":45514,"dynasty":18,"author":45515,"museum":107,"description":45516,"tags":45517,"thumbUrl":45518,"material":751,"size":752,"collection":95,"collections":45519,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241200,"huai-jiu-shi-zhou-jiang-heng-241200","怀旧诗轴","蒋衡","蒋衡（1672年～1742年），原名蒋振生，祖皆精书法，他自幼临摹，尤工行楷，成年浪迹江湖，临摹碑帖300多种，刻成《拙存堂临古帖》28卷，在西安观碑林时，发现唐代《开成石经》出于众手，书杂又失校核，下定决心重写《十三经》，历时12年，至乾隆二年（1737年）始告成。由江南河道总督高斌于乾隆五年转呈朝廷，收藏在懋勤殿。为此乾隆皇帝授蒋为国子监学正。翌年，谕旨以蒋衡手书为底本，刻石太学，于五十九年（1794年）刻成，定名《乾隆石经》。一生还著有《读易私记》、《拙存堂诗文集》、《易卦私笺》等。",[24,25,75,60,77,50,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5e4e569b29314d47108a761f6183ec.jpg",[],{"id":45521,"slug":45522,"title":31310,"dynasty":18,"author":31317,"museum":107,"description":31318,"tags":45523,"thumbUrl":45524,"material":751,"size":752,"collection":95,"collections":45525,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241198,"wu-lv-shi-shan-mian-wang-wen-zhi-241198",[1250,60,77,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccaa97aa6c429ac89ee68ee7ea94639.jpg",[],{"id":45527,"slug":45528,"title":31310,"dynasty":18,"author":45529,"museum":107,"description":45530,"tags":45531,"thumbUrl":45532,"material":751,"size":752,"collection":95,"collections":45533,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241197,"wu-lv-shi-shan-mian-yu-sen-241197","俞森","俞森为中国清朝官员，本籍中国直隶。俞森于1817年（嘉庆22年）接替徐锷，于台湾台北地区担任台湾府淡水厅艋舺县丞一职，是大台北地区的地方父母官。",[24,25,1250,7,199,50,77,678,359,116,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b79bf9a41f1c62e9621c6a98fbfe54.jpg",[],{"id":45535,"slug":45536,"title":45537,"dynasty":18,"author":2473,"museum":107,"description":45538,"tags":45539,"thumbUrl":45540,"material":751,"size":752,"collection":95,"collections":45541,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241194,"wu-yan-shi-shan-mian-he-chao-241194","五言诗扇面","何焯（1661年—1722年），字润千，因早年丧母，改字屺瞻，号义门、无勇、茶仙，晚年多用茶仙，江苏长洲（今苏州）人，寄籍崇明，为为官后迁回长洲（今苏州）。先世曾以“义门”旌，学者称义门先生。清代著名学者、书法家。\n清康熙四十二（1703）年癸未科第二甲第三名进士。曾为皇八子胤禩伴读。在当时以通经史百家之学，长于考订而有盛名。他在考据学上很有造诣，对坊间出版书籍的错误都一一订正。\n何焯与笪重光、姜宸英、汪士鋐并称为康熙年间“帖学四大家”。当时人争索何书，更有好事者以重金争购其手校本。他的楷书作品《桃花园诗》简静疏朗，清雅古穆，为书迹中的上上之作。",[18,1250,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ef73d05f5492656faddce75a3a6dbc.jpg",[],{"id":45543,"slug":45544,"title":45545,"dynasty":18,"author":31387,"museum":107,"description":31388,"tags":45546,"thumbUrl":45547,"material":751,"size":752,"collection":95,"collections":45548,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241178,"zhi-jing-xi-wen-ye-he-ling-han-241178","致荆谿文页",[25,7,199,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cfa005e0d7f5c22bdcce6620608b58.jpg",[],{"id":45550,"slug":45551,"title":27869,"dynasty":18,"author":13860,"museum":107,"description":37923,"tags":45552,"thumbUrl":45553,"material":751,"size":752,"collection":95,"collections":45554,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241151,"lun-shu-zhou-qian-feng-241151",[75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7707afa4726b71d42860fadc222b2f.jpg",[],{"id":45556,"slug":45557,"title":21902,"dynasty":18,"author":45558,"museum":107,"description":45559,"tags":45560,"thumbUrl":45561,"material":751,"size":752,"collection":95,"collections":45562,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241137,"lu-yu-zhou-song-shi-xun-241137","宋世勋","雁回人远，署名“八岁童子宋世勋书”。大庾岭是交通要塞，来往官宦、文人雅士和客商很多，一时间，8岁的宋世勋写石碑的消息不胫而走。姜淑斋为什么这么做呢，主要是因为她毕竟是大家闺秀又是知府夫人，不便抛头露面和留下芳名，只好借小叔子之名落款。宋世勋幼年习书，受教于姜淑斋，还留下“嫂教叔书”的佳话",[2135,7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78319dcc66ccf6be13207d4492f9349.jpg",[],{"id":45564,"slug":45565,"title":45566,"dynasty":45,"author":45567,"museum":107,"description":45568,"tags":45569,"thumbUrl":45570,"material":751,"size":752,"collection":95,"collections":45571,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241126,"shi-er-shou-shan-mian-lin-xuan-241126","诗二首扇面","林玄","此作为金笺行书扇面，墨色沉凝莹润，与底色相映雅致。整幅行气舒展贯通，字势灵动不失沉稳，笔画粗细藏露富于变化，可见取法晋唐行书的飘逸意韵，又暗合晚明书法尚态之趣。\n\n文字随扇形错落排布，章法疏密得宜，点画间呼应紧密，尽显书写时的从容意态。笔墨与诗文意趣相融，尽显文人的儒雅襟怀，笔力内敛遒劲，通篇气息沉静古雅，是极具文人意趣的书法小品佳制。",[1250,60,77,7,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ae08c046f7d2163e621b968f070de1.jpg",[],{"id":45573,"slug":45574,"title":27969,"dynasty":45,"author":45575,"museum":107,"description":45576,"tags":45577,"thumbUrl":45578,"material":751,"size":752,"collection":95,"collections":45579,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241116,"qi-lv-shan-mian-wang-mu-min-241116","王牧民","王牧民，生卒年不详，平阳府浮山人。入清，授平湖县丞。守城死节。",[1250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245d597142b57afd69690bd1af88b1b3.jpg",[],{"id":45581,"slug":45582,"title":45583,"dynasty":45,"author":45584,"museum":107,"description":45585,"tags":45586,"thumbUrl":45587,"material":312,"size":95,"collection":96,"collections":45588,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241105,"zhi-ting-xian-zha-ma-yu-241105","致廷献札","马愈","马愈，明代书画家。字抑之，号华发仙人，人号马清痴，嘉定（今属上海市）人。其父马轼曾以星占服务于军中，又是著名的院体画家。马愈于明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有《马氏日抄》一卷。",[25,7,60,77,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c3b6efa4603dcee6edf18b982ce249.jpg",[96],{"id":45590,"slug":45591,"title":45592,"dynasty":45,"author":38105,"museum":107,"description":38106,"tags":45593,"thumbUrl":45594,"material":751,"size":752,"collection":95,"collections":45595,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241099,"xing-shu-shi-zhou-mi-wan-zhong-241099","行书诗轴",[92,24,25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578b612d5b582323ad188be148c63f52.jpg",[],{"id":45597,"slug":45598,"title":45592,"dynasty":18,"author":3250,"museum":107,"description":10274,"tags":45599,"thumbUrl":45600,"material":751,"size":752,"collection":95,"collections":45601,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241095,"xing-shu-shi-zhou-gong-xian-241095",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de06f7918f14f5978370ea27f168817.jpg",[],{"id":45603,"slug":45604,"title":45605,"dynasty":18,"author":6959,"museum":107,"description":45606,"tags":45607,"thumbUrl":45608,"material":751,"size":752,"collection":95,"collections":45609,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241091,"lin-zheng-yi-bei-zhou-li-rui-qing-241091","临郑义碑轴","瑞清(1867年－1920年)，江西省南昌市进贤县温圳镇人，清末民初诗人、教育家、美术家、书法家。正如李志敏所评价：“李瑞清以篆籀行于北碑，为一时学北碑者所宗”。清光绪二十一年(1895)进士，后任翰林院庶吉士、江宁提学使、两江优级师范学堂(今东南大学、南京大学、南京师范大学等校前身)监督(校长)、江苏布政使等职。",[7,75,110,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf4e7007edb6782bd3a0f70419a80a7.jpg",[],{"id":45611,"slug":45612,"title":45613,"dynasty":45,"author":45614,"museum":107,"description":45615,"tags":45616,"thumbUrl":45617,"material":751,"size":752,"collection":95,"collections":45618,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241060,"you-xian-shi-zhou-huang-fu-qin-241060","游僲诗轴","皇甫钦","皇甫錄（1470年－1540年），字世庸，號近峯，直隸長洲（今江蘇蘇州）人，明朝政治人物。",[25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde5f318f6374447841905e7dee93aa66.jpg",[],{"id":45620,"slug":45621,"title":45622,"dynasty":18,"author":45623,"museum":107,"description":45624,"tags":45625,"thumbUrl":45626,"material":751,"size":752,"collection":95,"collections":45627,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241047,"shi-ping-zhou-tong-hua-241047","诗屏轴","童华","童华，清朝道光进士，童槐的儿子。",[7,60,75,77,21971,471,55,360,3040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d2a44056b6ced93b0372e547d2e4ce.jpg",[],{"id":45629,"slug":45630,"title":31031,"dynasty":18,"author":45631,"museum":107,"description":45632,"tags":45633,"thumbUrl":45634,"material":751,"size":752,"collection":95,"collections":45635,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241045,"lu-yu-ping-zhou-he-ting-qian-241045","何廷谦","何廷谦，字地山，安徽定远人，道廿五进士，同二、正，赣学，九、八，粤学，十、九，詹事，十月调，十一、八，工左，光二、八，顺学，四、十二，病解，五、正，卒。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c50cb9c2e4cbff851b4f2b8237fc0e.jpg",[],{"id":45637,"slug":45638,"title":45639,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":45640,"thumbUrl":45641,"material":751,"size":752,"collection":95,"collections":45642,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},241043,"ping-zhou-chong-qi-241043","屏轴",[45639,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7383a3c836be8b21232a875c9b79c2f8.jpg",[],{"id":45644,"slug":45645,"title":45646,"dynasty":18,"author":45647,"museum":107,"description":45648,"tags":45649,"thumbUrl":45650,"material":751,"size":752,"collection":95,"collections":45651,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241036,"gao-feng-han-shu-shi-zhou-gao-feng-han-241036","髙凤翰书诗轴","髙凤翰","高凤翰，字南阜，山东人，雍正年间，官泰坝监掣。时缺，系新设。凤翰莅任后，多有创建",[7,75,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb791c5728829e612a44fc1a87599e39a.jpg",[],{"id":45653,"slug":45654,"title":45655,"dynasty":45,"author":45656,"museum":107,"description":45657,"tags":45658,"thumbUrl":45659,"material":751,"size":752,"collection":95,"collections":45660,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241022,"he-jing-na-liang-shi-shan-mian-lu-guang-ming-241022","荷静纳凉诗扇面","陆广明","此作为泥金小楷扇面，笔墨隽秀雅致，结体端稳舒展，笔锋清劲内敛，墨色匀净沉静，与泥金地的华贵底色相融相衬，愈发显得清雅出尘。\n所书纳凉咏荷诗句，将幽居赏夏的闲淡襟怀藏于笔墨间，文辞意境与书法气韵浑然相合，尽显文人寄情林泉、从容自适的风雅意趣，是一件兼具笔墨审美与文人情思的精妙小品。",[4038,1250,25,7,60,2602,312,134,29093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b1d9632d0f72edb0bcfb4a68bad167.jpg",[],{"id":45662,"slug":45663,"title":45664,"dynasty":45,"author":8163,"museum":107,"description":45665,"tags":45666,"thumbUrl":45667,"material":312,"size":95,"collection":96,"collections":45668,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241017,"shi-han-zha-wen-peng-241017","诗翰扎","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。\n文彭对诗文、书画、篆刻均有造诣。对六书有深入的研究，和何震主张篆刻必须精通六书，才能入印。他所用牙章，亲自篆写，请南京李石英镌刻。据说在南京时，偶然得到民间雕琢首饰用的灯光石，用来制作印材，篆刻家可以亲自镌刻，既方便又能得到满意的效果。从此冻石之名才被世知，冻石也被篆刻家所广泛采用，给明、清流派篆刻的发展提供了条件。\n继承父亲藏书和书画，有藏书处曰“清白堂”，收藏宋元古籍和当代书画作品。藏书印有“渔阳子”“清白堂”。弟文嘉，亦喜藏书，藏书楼有“归来堂”，藏书印有“五峰山人”“元珠室”“五峰樵客”等。文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。子文元发，字子悱，官卫辉同治，喜藏书，其藏书印有“二楚精神”等；孙文震孟，字文起，号湖南，亦有藏书印曰“石经堂”“两日平章”等。",[7,60,2602,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F556c922d18d51b884d221081d8c344f2.jpg",[96],{"id":45670,"slug":45671,"title":45672,"dynasty":45,"author":45673,"museum":107,"description":45674,"tags":45675,"thumbUrl":45676,"material":751,"size":752,"collection":95,"collections":45677,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241014,"yi-shi-zhou-xue-ming-241014","益诗轴","薛明","此作用笔纵逸跌宕，线条粗细灵动多变，提按转合间尽显使转之妙，将草书萦带缠绕的意趣挥洒尽致。字势欹正相生，行气连贯畅达，通篇节律跳宕明快。\n\n笔墨裹挟诗文疏放襟怀，尽显尚意书风特质。整幅布局疏密得宜，虽字字连绵却毫无壅塞之感，墨色枯湿浓淡相互映衬，挥洒间尽显文人萧散之态。书随文思流转，诗书意趣浑然相合，笔墨间浸透着超逸俊朗的书卷风神，把草书抒情表意的特质发挥得恰到好处。",[24,25,75,398,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449c5fbf8d5e7dff3e142bdce238732b.jpg",[],{"id":45679,"slug":45680,"title":45681,"dynasty":18,"author":45682,"museum":107,"description":45683,"tags":45684,"thumbUrl":45685,"material":751,"size":752,"collection":95,"collections":45686,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},241009,"wu-jia-shu-zha-juan-gu-yan-wu-241009","五家书札卷","顾炎武","顾炎武（1613年7月15日—1682年2月15日），本名顾绛，字宁人，人称亭林先生，南直隶昆山（今江苏昆山市）人。明末清初的杰出的思想家、经学家、史地学家和音韵学家，与王夫之、黄宗羲、唐甄并称为明末清初“四大启蒙思想家”。 明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。 顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[23,7,60,398,50,49,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23c692a81cc7fc65faefffc7480ede.jpg",[],{"id":45688,"slug":45689,"title":45690,"dynasty":45,"author":1452,"museum":107,"description":45691,"tags":45692,"thumbUrl":45693,"material":312,"size":95,"collection":96,"collections":45694,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240996,"zhi-si-weng-zha-juan-chen-ji-ru-240996","致思翁札卷","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 [1] 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。\n著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,60,7,49,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa112671d44d0758619edfd1200d9f2ed.jpg",[96],{"id":45696,"slug":45697,"title":45698,"dynasty":18,"author":45699,"museum":107,"description":45700,"tags":45701,"thumbUrl":45702,"material":751,"size":752,"collection":95,"collections":45703,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240982,"wu-yun-ti-lan-ting-tuo-tie-ce-wu-yun-240982","吴云题兰亭拓帖册","吴云","字少甫，号平斋、榆庭、愉庭、抱罍子，晚号退楼主人。嘉庆十六年（1811）生，光绪九年（1883）去世。浙江归安（今湖州）人，一作安徽歙县人。斋堂号有两罍轩、二百兰亭斋、敦罍斋、金石寿世之居。\n道光诸生，屡试皆困，援例任常熟通判，历知宝山、镇江。咸丰间总理江北大营营务及筹军饷，擢苏州知府。\n收藏鼎彝、碑帖、名画、古印、宋元书籍甚富，精鉴别与考据。工书法，得力於颜真卿、何绍基。偏爱王羲之《兰亭序》，藏拓本达二百数，颜其斋曰「二百兰亭斋」。亦能画，偶作山水、花鸟，随意点染，脱尽恒蹊。\n工刻印，泽古功深，用刀、布局均得古趣。\n同治时寓居上海，与海上名家周闲等合作，鬻艺为生。",[7,60,198,77,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ed042e98c91c0dfc5f7b10ff1a9ad5.jpg",[],{"id":45705,"slug":45706,"title":18391,"dynasty":18,"author":45707,"museum":107,"description":45708,"tags":45709,"thumbUrl":45710,"material":751,"size":752,"collection":95,"collections":45711,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240979,"qi-jue-zhou-huang-jun-240979","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb44ed08c90662bba71d78f884c3ff382.jpg",[],{"id":45713,"slug":45714,"title":45715,"dynasty":18,"author":26577,"museum":107,"description":26578,"tags":45716,"thumbUrl":45717,"material":751,"size":752,"collection":95,"collections":45718,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240968,"fang-shi-shu-xing-zhu-zhi-ci-zhou-fang-shi-shu-240968","方士庻行竹枝词轴",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33da60a4a1df9741ed38f452cfec6a0.jpg",[],{"id":45720,"slug":45721,"title":7243,"dynasty":18,"author":41178,"museum":107,"description":41179,"tags":45722,"thumbUrl":45723,"material":751,"size":752,"collection":95,"collections":45724,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240967,"shi-shan-mian-zhu-ang-zhi-240967",[18,1250,25,7,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eabfc1282b4b1356d8ef2f32326f1c1.jpg",[],{"id":45726,"slug":45727,"title":45728,"dynasty":45,"author":45729,"museum":107,"description":45730,"tags":45731,"thumbUrl":45732,"material":751,"size":752,"collection":95,"collections":45733,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240948,"qi-lv-shi-shan-mian-gu-da-shen-240948","七律诗扇面","顾大申","顾大申，生卒年不详，约清圣祖康熙初前后在世。清代水利专家。本名镛，字震雉，号见山，又号堪斋，华亭（今上海市松江区）人。顺治九年进士，授工部主事。康熙九年，疏言浚三江故道解吴越水患。大申精水利，工诗文，善画山水，画作上追董、巨；下承黄、王，为松江派之后劲。",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b26670daf1255a965ad26823b31e0a.jpg",[],{"id":45735,"slug":45736,"title":45737,"dynasty":179,"author":38005,"museum":107,"description":38006,"tags":45738,"thumbUrl":45739,"material":751,"size":752,"collection":95,"collections":45740,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},240941,"miao-fa-lian-hua-jing-ce-juan-qi-zhao-you-chen-240941","妙法莲花经册卷七",[7,386,26,199,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6923346661297b8f52b59d0b7044831.jpg",[],{"id":45742,"slug":45743,"title":45728,"dynasty":45,"author":36148,"museum":107,"description":45744,"tags":45745,"thumbUrl":45746,"material":751,"size":752,"collection":95,"collections":45747,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240940,"qi-lv-shi-shan-mian-lu-shi-dao-240940","陆师道（1510年10月10日－1573年），字子传，号元洲，改号五湖，南直隶苏州府长洲（今江苏苏州）人。嘉靖十七年（1538 年）进士，历官工部主事、礼部主事、尚宝司少卿。师事文征明，工小楷、古篆，著有《五湖集》和《左史子汉镌》等传于世。",[92,24,25,1250,60,77,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872cd3ef937b1b9f28d6861958e7675c.jpg",[],{"id":45749,"slug":45750,"title":45751,"dynasty":18,"author":45752,"museum":72,"description":45753,"tags":45754,"thumbUrl":45755,"material":95,"size":95,"collection":96,"collections":45756,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240912,"xing-huang-ting-jing-ji-shi-he-ce-cheng-yao-tian-240912","行黄庭经及诗合册","程瑶田","程瑶田（1725～1814）清代著名学者、徽派朴学代表人物之一。字易田，一字易畴，号让堂，安徽歙县人。与戴震同师事事江永。精通训诂，提倡“用实物以整理史料”，开启了传统史料学同博物考古相结合的研究路径。在数学、天文、地理、生物、农业种植、水利、兵器、农器、文字、音韵等领域，程皆有深入研究，堪称一代通儒。著有《通艺录》《释虫小记》《释草小记》等。\n程瑶田“自少迄老，笃志著述。其学长于涵咏经文，得其真解，不屑依傍传注”（支伟成《清代朴学大师列传》）。其著述长于旁搜曲证，多方详考，考证名物和典章制度大都精当，富有认真不苟、求真求是、敢于挑战权威的批判精神。所撰《禹贡三江考》，谓《禹贡》扬州的“三江”，实只一江，以订正郦道元《水经注》；《仪礼丧服文足徽记》，规正郑玄注《礼》的失误。其学术非止名物一端，在文字训诂方面造诣亦深，研究“转语”多有发明，对于纠正传注的误失，亦有很多创获。于天文历算方面“既明其义，又穷其用，而神明变化，举措咸宜”（阮元《俦人传》）。\n其治学受其师江永学宗汉宋的影响，虽重考证而不废义理。在研究成果中体现义理、考据、辞章三者并重的特点，成为徽派朴学大师中非常有代表性的一位。《清史稿》载：“东原戴氏自谓尚逊其精密。”\n工于诗，刘大櫆称其诗“五言得力渊明，最为高妙；七言从古乐府 求；律诗取迳宋人；绝句逼真江西宗派，尤近涪翁矣”。史震林评其诗“清高绝俗。云林树、米家山，可比仙”。",[60,26,7,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c52d758f85af206b65d99fbfd50375.jpg",[96],{"id":45758,"slug":45759,"title":21902,"dynasty":45,"author":45760,"museum":107,"description":45761,"tags":45762,"thumbUrl":45763,"material":751,"size":752,"collection":95,"collections":45764,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240909,"lu-yu-zhou-huang-chun-yao-240909","黄淳耀","黄淳耀（1605年7月13日——1645年8月24日） ，初名金耀，字蕴生，一字松厓，号陶庵，又号水镜居士，汉族，南直隶苏州府嘉定（今属上海）人。曾组“直言社”，崇祯十六年（1643）成进士，归益研经籍。弘光元年（1645），嘉定人抗清起义，与侯峒曾被推为首领。城破后，与弟黄渊耀自缢于馆舍。能诗文，有《陶庵集》。",[92,24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913123aa94bc0052beb1572bacba72dd.jpg",[],{"id":45766,"slug":45767,"title":45768,"dynasty":45,"author":37389,"museum":107,"description":37390,"tags":45769,"thumbUrl":45770,"material":751,"size":752,"collection":95,"collections":45771,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240899,"tang-shi-juan-xu-chu-240899","唐诗卷",[7,49,60,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba3ff23478a615bdf5fa505bc2df12.jpg",[],{"id":45773,"slug":45774,"title":17924,"dynasty":18,"author":38590,"museum":107,"description":45775,"tags":45776,"thumbUrl":45779,"material":751,"size":752,"collection":95,"collections":45780,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240888,"shi-zhou-tang-ying-240888","唐英（1682-1756年），清代陶瓷艺术家，能文善画，兼书法篆刻且又精通制瓷。沈阳人，隶属汉军正白旗，雍正六年（1728年）奉命任景德镇御窑厂协理官，乾隆元年（1736年）起先后管理淮安关及九江关并兼理窑务，直至二十一年（其中十五、十六两年一度中止）。",[25,7,75,60,77,6297,651,3039,475,45777,133,282,20103,9679,45778],"雲","鐘磬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd423859685711d326acb32c007d9b8.jpg",[],{"id":45782,"slug":45783,"title":45784,"dynasty":18,"author":41255,"museum":107,"description":41256,"tags":45785,"thumbUrl":45787,"material":751,"size":752,"collection":95,"collections":45788,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240884,"zhou-liang-gong-qi-lv-shi-zhou-zhou-liang-gong-240884","周亮工七律诗轴",[7,60,75,77,140,651,1074,3091,45786,18586,20103],"帷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ae57aec5d72a56413c9d534f985754.jpg",[],{"id":45790,"slug":45791,"title":45792,"dynasty":45,"author":31460,"museum":107,"description":38049,"tags":45793,"thumbUrl":45794,"material":751,"size":752,"collection":95,"collections":45795,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240874,"chun-yuan-za-shi-juan-li-dong-yang-240874","春园杂诗卷",[25,7,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda31e4123682e0e4a9c860b4c4814178.jpg",[],{"id":45797,"slug":45798,"title":22728,"dynasty":45,"author":45799,"museum":107,"description":45800,"tags":45801,"thumbUrl":45802,"material":751,"size":752,"collection":95,"collections":45803,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240872,"shi-juan-li-meng-yang-240872","李梦阳","李梦阳（1473年1月5日—1530年1月28日），字献吉，号空同，汉族，祖籍河南扶沟，出生于庆阳府安化县（今甘肃省庆城县），后又还归故里，故《登科录》直书李梦阳为河南扶沟人。他善工书法，得颜真卿笔法，精于古文词。明代中期文学家，复古派前七子的领袖人物。提倡“文必秦汉，诗必盛唐”，强调复古，《自书诗》师法颜真卿，结体方整严谨，不拘泥规矩法度，学卷气浓厚。李梦阳所倡导的文坛“复古”运动盛行了一个世纪，后为袁宗道、袁宏道、袁中道三兄弟为代表的“公安派”所替代。",[7,60,49,50,678,1679,1283,116,54,51,55,115,2293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d8669501aa08cedc3e954ea4176b16.jpg",[],{"id":45805,"slug":45806,"title":45807,"dynasty":18,"author":45808,"museum":107,"description":45809,"tags":45810,"thumbUrl":45811,"material":751,"size":752,"collection":95,"collections":45812,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240870,"lin-ge-tie-zhou-wang-ming-luan-240870","临阁帖轴","汪鸣銮","汪鸣銮（1839年－1907年），字柳门，号郋亭，一号郇亭，安徽休宁人，寄籍浙江钱塘（今杭州市），进士出身，清末大臣，“翁门六子”之首。晚清著名的藏书家，碑帖名家。他是近代著名小说家曾朴的岳父，是曾朴著名小说《孽海花》中唐卿的原型。",[7,110,199,77,75,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341751c89228cf93939ea04ac751d2fa.jpg",[],{"id":45814,"slug":45815,"title":23662,"dynasty":45,"author":35590,"museum":107,"description":45816,"tags":45817,"thumbUrl":45818,"material":751,"size":752,"collection":95,"collections":45819,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240862,"wu-lv-zhou-shen-shi-xing-240862","申时行（1535年－1614年），字汝默，号瑶泉，晚号休休居士，南直隶苏州府长洲县（今属苏州）人 。明代大臣。嘉靖四十一年殿试第一名，获状元。历任翰林院修撰、礼部右侍郎、吏部右侍郎兼东阁大学士、首辅、太子太师、中极殿大学士。",[4038,7,60,75,77,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dae1fc16696ee5c15f8c0f5fe8bb54.jpg",[],{"id":45821,"slug":45822,"title":45823,"dynasty":45,"author":29659,"museum":107,"description":45824,"tags":45825,"thumbUrl":45826,"material":751,"size":752,"collection":95,"collections":45827,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240856,"da-yun-shan-ge-zhou-wang-fu-zhi-240856","大云山歌轴","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家”，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[24,25,75,60,7,50,51,845,26860,6297,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3f9202b5da64bf1a988fd6cd43d56d.jpg",[],{"id":45829,"slug":45830,"title":45831,"dynasty":45,"author":10618,"museum":107,"description":16207,"tags":45832,"thumbUrl":45833,"material":751,"size":752,"collection":95,"collections":45834,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240853,"shao-ling-shi-si-shi-yun-zhou-xu-lin-240853","少陵诗四十韵轴",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f93c0a9d72957208bb4339d7b2ec753.jpg",[],{"id":45836,"slug":45837,"title":45838,"dynasty":18,"author":454,"museum":107,"description":45839,"tags":45840,"thumbUrl":45841,"material":751,"size":752,"collection":95,"collections":45842,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":23752},240844,"wu-kuan-shun-zhi-shi-si-nian-ce-ming-ce-yi-ming-240844","无款顺治十四年册命册","此册以明黄绢为地，尽显皇家专属华贵气度，上下边缘平金绣行龙祥云，绣工匀细精巧，龙纹矫健灵动，祥云柔润婉转，烘托出森严威仪。左侧朱书满文，笔锋劲挺匀整，排布齐整肃穆，恪守典制仪轨。右侧钤盖硕大满汉文玉玺，印文方正庄重，篆法严谨，彰示皇权威仪。\n\n整体装裱规整，配色典丽庄重，将官方文书的礼制肃穆与宫廷织造工艺的精湛完美融合，静静承载着旧时皇家册命的庄严仪轨，是清代典制文书与宫廷技艺结合的典型器物。",[18,26,7,457,77,359,27,13817,35050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3aff49d9a8f4ff5bc09376c70f1ac22.jpg",[],{"id":45844,"slug":45845,"title":45846,"dynasty":45,"author":454,"museum":107,"description":45847,"tags":45848,"thumbUrl":45849,"material":751,"size":752,"collection":95,"collections":45850,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240833,"wang-duo-kai-shi-juan-yi-ming-240833","王铎楷诗卷","此作用笔重拙老辣，以行楷间杂写就，点画朴厚斑驳，墨色枯浓变幻自然。章法上疏行距、密字距，欹正相生，通篇气势连贯奔腾，带着晚明尚奇重势的典型书风特质。\n\n笔墨随诗文跌宕，激昂处笔力千钧，沉郁时墨色滞涩，将古风长辞的豪逸意境，与书法的雄肆气势融为一体。纸面岁月斑驳，更衬笔墨间饱藏的勃郁意气，尽显文人情愫的郁结不平，是一件极具力量感的行书佳作。",[23,7,199,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475aa497347a420f79d425748ffe329d.jpg",[],{"id":45852,"slug":45853,"title":45854,"dynasty":18,"author":32290,"museum":107,"description":45855,"tags":45856,"thumbUrl":45860,"material":751,"size":752,"collection":95,"collections":45861,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240827,"gui-zhuang-qi-jue-shi-zhou-gui-zhuang-240827","归荘七绝诗轴","明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[7,60,75,77,50,1002,136,7989,16217,45857,298,45858,45859],"渔","映日","红霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8abaae6b532fe1956437f8ab88d579.jpg",[],{"id":45863,"slug":45864,"title":21935,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":45865,"thumbUrl":45866,"material":751,"size":752,"collection":95,"collections":45867,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240821,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240821",[60,7,77,25,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffd390c5b03044a761e2ed5a053b78f.jpg",[],{"id":45869,"slug":45870,"title":31476,"dynasty":18,"author":37773,"museum":107,"description":37774,"tags":45871,"thumbUrl":45872,"material":751,"size":752,"collection":95,"collections":45873,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240815,"lin-tie-zhou-jiang-ren-240815",[25,7,75,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff255cf82a8893ab52355bf25bba965e6.jpg",[],{"id":45875,"slug":45876,"title":45877,"dynasty":18,"author":45878,"museum":107,"description":45879,"tags":45880,"thumbUrl":45881,"material":751,"size":752,"collection":95,"collections":45882,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240810,"zhuan-shu-qi-yan-shi-ye-chen-bi-240810","篆书七言诗页","陈璧","陈璧，字玉苍、佩苍、雨苍，晚号苏斋，(今闽侯县南通镇苏坂村)人。清咸丰二年(1852年)六月十九日生，17岁中秀才。光绪元年(1875年)赴考，以“经文策问冠场”，得中举人。光绪三年进士及第，光绪十四年任内阁中书，光绪十五年简放湖北主考官、光绪十六年补宗人府主事、光绪十八年升礼部铸印司员外郎。于民国十七年（1928）逝世。",[457,7,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe847fa2141e3e6e00bf49743bc4e10d.jpg",[],{"id":45884,"slug":45885,"title":45886,"dynasty":18,"author":45887,"museum":107,"description":45888,"tags":45889,"thumbUrl":45890,"material":751,"size":752,"collection":95,"collections":45891,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240799,"hua-ma-zan-zhou-tong-yu-240799","画马赞轴","童钰","童钰（1721－1782）清代画家。字璞岩，一字树，又字二如、二树，别号借庵、二树山人、树道人、梅道人、梅痴、越树、栎树、树树居士、太平词客、白马山长，山阴（今浙江绍兴）人。",[25,7,75,1613,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900a39f02066451fad1dcaf4acbd190d.jpg",[],{"id":45893,"slug":45894,"title":45895,"dynasty":18,"author":21112,"museum":107,"description":25562,"tags":45896,"thumbUrl":45897,"material":751,"size":752,"collection":95,"collections":45898,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240796,"zhang-ting-ji-qi-yan-lian-zhang-ting-ji-240796","张廷济七言联",[7,2136,1613,60,50,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc66ac6105b8b6c83a4b8dc674cea09.jpg",[],{"id":45900,"slug":45901,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":45904,"thumbUrl":45905,"material":751,"size":752,"collection":96,"collections":45906,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240734,"shu-zha-ce-zhang-bai-xi-240734","张百熙","张百熙（1847—1907年），字埜秋，一作冶秋，号潜斋，湖南长沙人。清末大臣，著名教育家。同治十三年（1874年）进士，授编修。光緖七年（1881年），督山东学政。十四年（1888年），典试四川。十五年，命直南书房。二十一年，迁侍读学士。二十三年，督广东学政，迁内阁学士。戊戌政变后，因荐举康有为获罪，革职留任。二十六年，任礼部侍郞，擢左都御史。后又历任工部、刑部、吏部、户部、邮传部尙书。并曾充管学大臣，主持京师大学堂，创医学及译学馆、实业馆，选派留学生出国深造。\n三十三年（1907年）卒，赠太子少保，谥文达。",[7,25,26,60,312,2602,18,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282f58591b0159d999ae574010910307.jpg",[96],{"id":45908,"slug":45909,"title":22728,"dynasty":18,"author":45910,"museum":107,"description":45911,"tags":45912,"thumbUrl":45913,"material":45914,"size":45915,"collection":96,"collections":45916,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240711,"shi-juan-wang-yong-nian-240711","王永年","此卷草书如长河奔涌，行气贯通连绵，字势跌宕奇崛，通篇顾盼生姿。行笔中锋侧锋互用，提按顿挫间笔力苍劲灵动，线条枯湿浓淡交织，时而细韧如游丝，时而厚重如坠石，尽显狂草肆意放逸之态。疏密开合排布精妙，牵丝映带一气呵成，将胸臆间疏狂意气化为纸上龙蛇。墨色燥润相生，虚实相映，尽显文人放旷疏野之姿，诗书意境与笔墨意趣相融尽显抒情草书的动人魅力。",[23,25,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b06d0de3ab7ed592f8222b994c09d.jpg","水墨绫本","27.5×197cm",[96],{"id":45918,"slug":45919,"title":22728,"dynasty":18,"author":45920,"museum":126,"description":45921,"tags":45922,"thumbUrl":45924,"material":18425,"size":45925,"collection":96,"collections":45926,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240703,"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[23,7,49,60,50,77,41481,45923,10607,1002,17644,282,6297,3040,652,693,844,30986,53,1679,678,1283,55,116,54,51,131,139,132,140],"芳草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","纵450厘米，横33.3厘米",[96],{"id":45928,"slug":45929,"title":17924,"dynasty":45,"author":35399,"museum":126,"description":45930,"tags":45931,"thumbUrl":45932,"material":45933,"size":45934,"collection":96,"collections":45935,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240701,"shi-zhou-ye-xiang-gao-240701","释文：乍违紫禁不胜情，又向江干别绪萦。明月片帆扬子渡，乱风尊酒广陵城。沙汀旅雁寒初下，水寺疏钟晚自鸣。惆怅临歧还问字，愧无玄草答诸生。\n渡江吕公原同诸友来送赋别。台山高。",[7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08cbcf4e68bded14f7b77dc6b072a754.jpg","绫本草书","199.5×51cm",[96],{"id":45937,"slug":45938,"title":45939,"dynasty":18,"author":31082,"museum":107,"description":31083,"tags":45940,"thumbUrl":45941,"material":751,"size":752,"collection":95,"collections":45942,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240690,"mo-cai-jun-mo-yi-ye-shen-quan-240690","摹蔡君谟意页",[18,110,60,7,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32cb2f7d04826fe861083436443c8462.jpg",[],{"id":45944,"slug":45945,"title":45946,"dynasty":18,"author":45947,"museum":107,"description":45948,"tags":45949,"thumbUrl":45950,"material":751,"size":752,"collection":95,"collections":45951,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240685,"zhuan-shu-wu-hou-yu-zhou-zhang-hui-yan-240685","篆书武侯语轴","张惠言","张惠言（1761～1802）清代词人、散文家。原名一鸣，字皋文，一作皋闻，号茗柯，武进（今江苏常州）人。乾隆二十六年生，嘉庆七年六月十二日卒。乾隆五十一年举人，嘉庆四年进士，官编修。少为词赋，深于易学，与惠栋、焦循一同被后世称为“乾嘉易学三大家”。又尝辑《词选》，为常州词派之开山，著有《茗柯文编》。",[457,75,7,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bf6945d518f3ec2ebbaaaadd40ffe9.jpg",[],{"id":45953,"slug":45954,"title":17924,"dynasty":18,"author":45920,"museum":107,"description":45955,"tags":45956,"thumbUrl":45957,"material":751,"size":752,"collection":95,"collections":45958,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240682,"shi-zhou-cha-ji-zuo-240682","查继佐（1601年8月1日－1676年3月4日），初名继佑，初字三秀，更字友三，号伊璜，又号与斋，别号东山钓史、钓玉。浙江海宁人。\n父查尔翰，家贫多病，崇祯六年（1633年）举人。明朝亡后，随鲁王监国绍兴，授兵部职方。在浙东地区亲自率军抗击清军。顺治三年（1646年）清军攻占绍兴，隐居海宁硖石东山万石窝，改号为左尹非人。顺治九年（1652年）于西湖觉觉堂讲学，旋至杭州铁冶岭之敬修堂讲学，从学者众，人称敬修先生。康熙元年（1662年），罹南浔庄廷鑨私刻《明史》案，列名参校，下狱论死，后获救。晚年喜写梅。\n他与张岱、谈迁、万斯同合称为“浙东四大史家”\n著有《罪惟录》《国寿录》《鲁春秋》《东山国语》《班汉史沦》《续西厢》等作品。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28e512e7ad2313d7ba3db72717d07d0.jpg",[],{"id":45960,"slug":45961,"title":10545,"dynasty":45,"author":45962,"museum":107,"description":45963,"tags":45964,"thumbUrl":45965,"material":751,"size":752,"collection":95,"collections":45966,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240676,"wu-yan-lian-zhu-shi-lu-240676","祝世禄","祝世禄[明]（公元一六0二年前后在世），字世功，江西德兴人。生卒年均不详，约明神宗万历三十年前后在世。第万历十七年（公元一五八九年）进士，考选为南科给事。",[7,25,2136,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aabfc27ba0331d53307059916adafa.jpg",[],{"id":45968,"slug":45969,"title":45970,"dynasty":18,"author":45971,"museum":107,"description":45972,"tags":45973,"thumbUrl":45975,"material":751,"size":752,"collection":95,"collections":45976,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240670,"ti-cang-sang-xian-yi-tu-juan-qian-qian-yi-240670","题沧桑仙奕图卷","钱谦益","钱谦益（1582年10月22日—1664年6月17日），字受之，号牧斋，晚号蒙叟，东涧老人。学者称虞山先生。清初诗坛的盟主之一。苏州府常熟县鹿苑奚浦（今张家港市塘桥镇鹿苑奚浦）人。\n钱谦益是明万历三十八年（1610年）探花（一甲三名进士），后为东林党的领袖之一，官至礼部侍郎，因与温体仁争权失败而被革职。明亡后，马士英、阮大铖在南京拥立福王，建立南明弘光政权，钱谦益依附之，为礼部尚书。后降清，为礼部侍郎。\n钱谦益的评价富于争议，尤其是降清、仕清之举成为其道德症结，清乾隆帝将之视作失节者，删禁其著作；但也有学者指出，入清后钱谦益仍多次私下策反降清武将、暗中资助郑成功反清等等。若就文学地位而言，则钱谦益仍应得到肯定。",[7,60,49,77,651,20103,113,45974,50],"棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11806b03ac02295de1494fb79076c8c.jpg",[],{"id":45978,"slug":45979,"title":45980,"dynasty":18,"author":25094,"museum":107,"description":45981,"tags":45982,"thumbUrl":45983,"material":751,"size":752,"collection":95,"collections":45984,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240669,"zi-shu-shi-ci-juan-wang-shi-zhen-240669","自书诗词卷","王士祯（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字贻上，号阮亭，又号渔洋山人，世称王渔洋。山东新城（今山东桓台县）人。清初诗人、文学家、诗词理论家。\n王士祯为清顺治十五年（1658年）进士，康熙四十三年（1704年）官至刑部尚书，颇有政声。谥文简。\n王士祯在实践“神韵说”，取得卓著诗文成果的同时，还能突破正统文坛和文人偏见，重视和高度评价小说、戏曲、民歌等通俗文学、文体。他的主要成就在诗文创作与理论方面，但在小说、戏曲、民歌、书画、藏书、史论等方面所取得的成就亦不容忽视。",[23,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e664ef86a8c210524f44c4d0ce839c.jpg",[],{"id":45986,"slug":45987,"title":45988,"dynasty":18,"author":45989,"museum":107,"description":45990,"tags":45991,"thumbUrl":45992,"material":751,"size":752,"collection":95,"collections":45993,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240664,"wang-wu-tian-lun-shan-jian-zhou-wang-wu-tian-240664","王无忝论扇笺轴","王无忝","王无忝，字夙夜，孟津人。康熙庚戌进士，由行人历官金华知府。",[7,60,75,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef373a39d2b3f494c9a3196887d3f87.jpg",[],{"id":45995,"slug":45996,"title":45997,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":45998,"thumbUrl":45999,"material":751,"size":752,"collection":95,"collections":46000,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240663,"lin-zhao-shu-juan-ai-xin-jue-luo-yong-xing-240663","临赵书卷",[23,25,7,49,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ddc8641e8f71c5a7738004108b5b82c.jpg",[],{"id":46002,"slug":46003,"title":22728,"dynasty":45,"author":46004,"museum":107,"description":46005,"tags":46006,"thumbUrl":46007,"material":751,"size":752,"collection":95,"collections":46008,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240629,"shi-juan-wu-wei-yi-240629","吴惟一","此作以草书挥就，整卷行气贯通，字势顾盼牵丝萦绕，尽得草书抒情之妙。笔墨枯湿浓淡交叠变幻，提按顿挫间带着肆意放达的意气，线条飞动缠绕却不失章法，字字相衔、行行呼应，如行云流水般舒卷自如。\n\n既有狂草的颠逸遗韵，又自出机杼，将诗中的心绪藏入挥毫的起落之中。通篇带着疏朗萧散的古意，把文人的疏放襟怀尽数铺展在卷上，笔墨节奏随着心绪起伏，观之如随作者共赴诗中情境，尽览挥毫时的酣畅快意，尽显明代草书抒情写意的独特风神。",[23,7,49,60,50,679,6297,844,17644,651,360,54,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc16988a655910f7fdeeb3c330cd9c.jpg",[],{"id":46010,"slug":46011,"title":17924,"dynasty":18,"author":2473,"museum":107,"description":45538,"tags":46012,"thumbUrl":46013,"material":751,"size":752,"collection":95,"collections":46014,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240619,"shi-zhou-he-chao-240619",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80e78c237b6f8cc9650b81b274167084.jpg",[],{"id":46016,"slug":46017,"title":46018,"dynasty":18,"author":46019,"museum":107,"description":46020,"tags":46021,"thumbUrl":46022,"material":751,"size":752,"collection":95,"collections":46023,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240618,"tai-hang-shan-shi-zhou-yan-er-mei-240618","太行山诗轴","闫尔梅","字用卿，号古古，又白耷山人，江南沛县人，诗人号。祖父阎泉。长相耳大面白，人称白耷。复社成员，与张溥、陈子龙齐名。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65841b3ee162dd4f8636701a22c132ad.jpg",[],{"id":46025,"slug":46026,"title":17924,"dynasty":45,"author":46027,"museum":107,"description":46028,"tags":46029,"thumbUrl":46030,"material":751,"size":752,"collection":95,"collections":46031,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240592,"shi-zhou-cao-hua-chun-240592","曹化淳","曹化淳，字如，号止虚子，家境寒微，十二三岁左右入宫，诗文书画，无一不精，深受司礼太监王安赏识。后入信王府陪侍五皇孙朱由检，极受宠信。",[4038,25,7,75,60,50,77,679,651,9678,6398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d32b882b8e201a89db6aece77993448.jpg",[],{"id":46033,"slug":46034,"title":38092,"dynasty":45,"author":46035,"museum":107,"description":46036,"tags":46037,"thumbUrl":46038,"material":751,"size":752,"collection":95,"collections":46039,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240590,"zhuan-shu-shi-zhou-hu-zheng-yan-240590","胡正言","胡正言，中国明代末年书画篆刻家、出版家。字曰从，号十竹，原籍安徽休宁，寄居南京鸡笼山侧。尝从李如真攻六书之学，于是篆、隶、真、行，简正矫逸。",[7,457,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06d0b4768978df6a76602bf371d04a9.jpg",[],{"id":46041,"slug":46042,"title":46043,"dynasty":18,"author":46044,"museum":107,"description":46045,"tags":46046,"thumbUrl":46047,"material":312,"size":95,"collection":96,"collections":46048,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240587,"li-yong-ji-you-wen-zhou-li-yong-240587","李颙祭友文轴","李颙","李颙（1627年3月12日——1705年5月7日） ，明末清初周至人，明清之际哲学家，与浙江余姚黄宗羲、直隶容城孙奇逢并称为海内三大鸿儒。李颙在理学上的造诣，被称为“海内大儒”。李颙和眉县李柏、富平李因笃统称为“关中三李”。李的著作，康熙、雍正年间均有刻本，光绪时补入《四书反身录》等篇。",[7,75,25,50,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03248cbff3f79b0b3e7ddc5e671e6912.jpg",[96],{"id":46050,"slug":46051,"title":15587,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":46052,"thumbUrl":46053,"material":751,"size":752,"collection":95,"collections":46054,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240586,"za-ji-shu-zha-he-ce-xu-wei-240586",[24,25,26,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c24fd9994fa4ae9c9d5c0b9b12af96.jpg",[],{"id":46056,"slug":46057,"title":15587,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":46058,"thumbUrl":46059,"material":751,"size":752,"collection":95,"collections":46060,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240585,"za-ji-shu-zha-he-ce-xu-wei-240585",[24,25,7,26,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f632b297e3bb53443cccf1efd31373.jpg",[],{"id":46062,"slug":46063,"title":46064,"dynasty":18,"author":46065,"museum":107,"description":46066,"tags":46067,"thumbUrl":46068,"material":751,"size":752,"collection":95,"collections":46069,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240565,"lin-hou-zhong-ming-zhou-lv-shi-yi-240565","临矦钟铭轴","吕世宜","吕世宜（1784年－1855年），字可合，晚年号不翁，祖籍清代马巷厅金门西村，故又号西村。",[75,457,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6cf21bac87623b9db2ca698758a4b2.jpg",[],{"id":46071,"slug":46072,"title":21902,"dynasty":18,"author":46073,"museum":107,"description":46074,"tags":46075,"thumbUrl":46076,"material":751,"size":752,"collection":95,"collections":46077,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240564,"lu-yu-zhou-li-zong-wan-240564","厉宗万","字滋大，号衣园，又号竹溪，河北静海（今天津市静海县）人。廷仪子。康熙六十年（一七二一）进士，入翰林，年才十七。",[18,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b86ef65048668d451906e833b00d4f6.jpg",[],{"id":46079,"slug":46080,"title":46081,"dynasty":18,"author":46082,"museum":107,"description":46083,"tags":46084,"thumbUrl":46085,"material":751,"size":752,"collection":95,"collections":46086,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240538,"shi-ti-huang-shan-tu-ce-yang-yong-jian-240538","诗题黄山图册","杨雍建","杨雍建(1631—1704)，字自西，号以斋，海宁盐官人。清顺治十二年(1655)进士，授广东高要知县。后被荐举任兵科给事中。",[24,25,26,60,77,50,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb996abe2d345b0311d46573fd1e38e58.jpg",[],{"id":46088,"slug":46089,"title":46081,"dynasty":18,"author":46090,"museum":107,"description":46091,"tags":46092,"thumbUrl":46093,"material":751,"size":752,"collection":95,"collections":46094,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240537,"shi-ti-huang-shan-tu-ce-liu-shi-ling-240537","刘石龄","长洲（今江苏苏州）人。工花鸟。《石田茆屋诗》",[24,25,26,51,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe988c6f8126ab546686e46357d514a5e.jpg",[],{"id":46096,"slug":46097,"title":46081,"dynasty":18,"author":46098,"museum":107,"description":46099,"tags":46100,"thumbUrl":46101,"material":751,"size":752,"collection":95,"collections":46102,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240526,"shi-ti-huang-shan-tu-ce-zhang-qi-zong-240526","张起宗","此作为行书诗册，用笔清劲秀雅，牵丝映带间尽显灵动韵致，结体疏密随心排布，章法舒展疏朗，墨色温润且浓淡有别，兼具帖学的隽秀与文人写意的松弛自在。\n诗作以黄山胜景为骨，将天都峰的奇崛云海、盘虬古松尽付笔端，字句间浸满对山水的沉醉与赞叹，书与诗交融相衬，尽显旧时文人寄情山水、以笔抒怀的澄澈襟怀。",[25,26,60,7,51,250,1283,55,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9377adb7e258a0d2af75dab10298ad22.jpg",[],{"id":46104,"slug":46105,"title":17924,"dynasty":18,"author":31702,"museum":107,"description":46106,"tags":46107,"thumbUrl":46108,"material":751,"size":752,"collection":95,"collections":46109,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240501,"shi-zhou-wen-dian-240501","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 [1] 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。",[24,25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff51229896b98b1aa9aeb1620e36ed3.jpg",[],{"id":46111,"slug":46112,"title":17900,"dynasty":18,"author":21112,"museum":107,"description":25562,"tags":46113,"thumbUrl":46114,"material":751,"size":752,"collection":95,"collections":46115,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240500,"zhuan-shu-qi-yan-lian-zhang-ting-ji-240500",[7,457,2136,2135,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca1825e0347c2c2cc317bd3507e8133d.jpg",[],{"id":46117,"slug":46118,"title":17924,"dynasty":18,"author":46119,"museum":107,"description":46120,"tags":46121,"thumbUrl":46122,"material":751,"size":752,"collection":95,"collections":46123,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240499,"shi-zhou-gu-he-qing-240499","顾鹤庆","顾鹤庆（1766－？），字子馀，号弢庵，江苏镇江府丹徒县（今江苏镇江）人。乾隆三十一年生，卒年不详。诸生。性潇洒，工诗文，善行草，好饮。入都，馆庄亲王府。",[25,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958c6ce5d5616792dfbc921996820e85.jpg",[],{"id":46125,"slug":46126,"title":46127,"dynasty":18,"author":46128,"museum":107,"description":46129,"tags":46130,"thumbUrl":46131,"material":312,"size":95,"collection":96,"collections":46132,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240475,"shi-gao-juan-wang-ge-240475","诗稿卷","汪舸","此卷集信札诗稿为一体，形制错落参差，笺纸色泽各异，古意氤氲。行书笔墨苍朴率真，线条随文思起伏，粗细枯润变幻自如，尽显随性疏朗的文人意趣。诗稿排布疏密随心，朱印错落点缀，提亮古雅纸面。手札字迹带着书写时的情绪温度，或疾或缓，藏着旧时文人间的交游日常与幽微心绪，纸墨晕染间尽显彼时文人的笔墨风流，是兼具文献价值与审美价值的文墨佳作。",[23,25,49,7,60,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc792fd82666d8043a1bf474598bf8556.jpg",[96],{"id":46134,"slug":46135,"title":17924,"dynasty":45,"author":46136,"museum":107,"description":46137,"tags":46138,"thumbUrl":46139,"material":751,"size":752,"collection":95,"collections":46140,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240474,"shi-zhou-wang-da-wei-240474","王大为","此作用笔纵逸老辣，以行书出之，兼具草书开张之势。右列笔墨沉厚，字形欹正相生，左列单字舒展修长，通篇气脉贯通，将诗句意趣融于挥毫之间。\n\n墨色枯湿互见，浓处饱满厚重，枯处见筋见骨，尽显老笔纷披的苍朴质感。落款小字与主体大字形成虚实对比，章法疏密相宜，于错落中见和谐。\n\n整幅字既有豪迈洒脱的气度，又暗含沉静内敛的筋骨，尽显晚明书法尚态重意的典型特质，笔势间裹挟着文人疏宕不羁的襟怀，寥寥数字却力透纸背，余韵悠长。",[7,75,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59317381605e791402e6ab460156e2b7.jpg",[],{"id":46142,"slug":46143,"title":46144,"dynasty":45,"author":4923,"museum":107,"description":32108,"tags":46145,"thumbUrl":46146,"material":751,"size":752,"collection":95,"collections":46147,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240463,"huang-zhou-zhu-lou-ji-zhou-shen-zao-240463","黄州竹楼记轴",[199,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5569efa24dba1363216ed90da2a22ea.jpg",[],{"id":46149,"slug":46150,"title":46151,"dynasty":18,"author":46152,"museum":107,"description":46153,"tags":46154,"thumbUrl":46155,"material":751,"size":752,"collection":95,"collections":46156,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240458,"lin-shi-gu-wen-zhou-dong-xun-240458","临石鼓文轴","董洵","董洵清代医学史家。擅诗词，通经学，并善医，董洵(1740--1809年)清代篆刻家。字企泉，号小池，又号念巢。浙江山阴人。曾官能判，弃官后，落拓京师，卖印为生。",[457,110,75,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661679b6b71c8bb15bfabd2e63b5ef57.jpg",[],{"id":46158,"slug":46159,"title":46160,"dynasty":18,"author":25686,"museum":107,"description":30624,"tags":46161,"thumbUrl":46162,"material":751,"size":752,"collection":95,"collections":46163,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240457,"zhang-zhao-wu-hou-ci-ji-zhou-zhang-zhao-240457","张照武侯祠记轴",[92,24,25,7,75,199,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd9eed33c46f057002baf4333c008c9.jpg",[],{"id":46165,"slug":46166,"title":24648,"dynasty":18,"author":46167,"museum":107,"description":46168,"tags":46169,"thumbUrl":46170,"material":751,"size":752,"collection":95,"collections":46171,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},240445,"qi-lv-shi-zhou-shen-de-qian-240445","沈德潜","沈德潜（1673年－1769年），字 碻 （ què ） 士，号归愚。江苏長洲人，清代前期诗人，乾隆時官至內閣學士兼禮部侍郎。",[2135,75,60,7,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb95cc6050287dc59af681dafacc5108.jpg",[],{"id":46173,"slug":46174,"title":17924,"dynasty":18,"author":46175,"museum":107,"description":46176,"tags":46177,"thumbUrl":46178,"material":312,"size":95,"collection":96,"collections":46179,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240438,"shi-zhou-wang-wu-po-240438","王无颇","此作用笔雄健苍劲，行书杂糅草意，墨色枯湿浓淡交错，灵动不羁。起笔沉厚，行笔提转自如，牵丝映带将字意串联，笔力收放间尽显潇洒意气。字势欹侧相生，章法疏密错落，行气贯通却节奏分明。主体大字与左侧小字题款形成视觉反差，主次清晰。笔墨间兼具山野疏狂与文人清雅，将诗文的羁旅怀思，化在跌宕起伏的线条中，以俊逸豪迈的笔致，让诗书意韵相融，尽显性情舒展之姿。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4633ba0cd8e34efbbced6c015a45ac.jpg",[96],{"id":46181,"slug":46182,"title":17924,"dynasty":18,"author":46183,"museum":107,"description":46184,"tags":46185,"thumbUrl":46186,"material":751,"size":752,"collection":95,"collections":46187,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240434,"shi-zhou-ceng-xi-240434","曾熙","曾熙(1861-1930)，衡永郴桂道衡州府（今衡阳市）人。字季子，又字嗣元，更字子缉，号俟园，晚年自号农髯。中国杰出的书法家、画家、教育家，海派书画领军人物。\n清光绪二十九年(1903年)进士，官兵部主事、提学使、弼德院顾问，先后主讲衡阳石鼓书院、汉寿龙池书院，任湖南教育会长。工诗文，擅书画。\n书法自称南宗，与李瑞清的北宗颉颃，世有“北李南曾”之说。\n1915年始于上海鬻字。其书得力于《夏承碑》《华山碑》《张黑女》等，以汉隶圆笔为本，下穷魏晋，沟通南帖北碑，融合方圆，遂成就宽博纵逸的风貌。曾熙故居为衡阳爱国主义教育示范基地。",[2135,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb3118492d5b086d881f014f256c864.jpg",[],{"id":46189,"slug":46190,"title":37766,"dynasty":18,"author":45971,"museum":107,"description":45972,"tags":46191,"thumbUrl":46192,"material":751,"size":752,"collection":95,"collections":46193,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240420,"shou-zha-juan-qian-qian-yi-240420",[23,7,49,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda2b518935f750fcc5e0a7c524c3e99.jpg",[],{"id":46195,"slug":46196,"title":46197,"dynasty":45,"author":46198,"museum":107,"description":46199,"tags":46200,"thumbUrl":46201,"material":751,"size":752,"collection":95,"collections":46202,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240387,"zhang-ge-shan-mian-wen-guo-240387","长歌扇面","文果","文果，[清]一名止，字子敬（或作豹），又字止菴，长洲（今江苏苏州）人。",[4038,1250,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00378408e309012d298dfd594a98eb0.jpg",[],{"id":46204,"slug":46205,"title":28124,"dynasty":45,"author":46206,"museum":107,"description":46207,"tags":46208,"thumbUrl":46209,"material":751,"size":752,"collection":95,"collections":46210,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240371,"shi-ye-zhou-qin-240371","周钦","周钦，周湛长子，字明思，邵州邵阳县人，登宋徽宗宣和六年（1124年）进士，终武功大夫，德州刺史。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff240317c7994d29c56a7cec4af2bd0.jpg",[],{"id":46212,"slug":46213,"title":28124,"dynasty":45,"author":46214,"museum":107,"description":46215,"tags":46216,"thumbUrl":46217,"material":751,"size":752,"collection":95,"collections":46218,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240365,"shi-ye-song-yue-ren-240365","宋曰仁","宋曰仁（？－？），字思表，福建興化府莆田縣人，民籍，明朝政治人物。",[25,60,26,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bf385ef144b17a68f8d312f80cd8cd.jpg",[],{"id":46220,"slug":46221,"title":46222,"dynasty":45,"author":46223,"museum":107,"description":46224,"tags":46225,"thumbUrl":46226,"material":751,"size":752,"collection":95,"collections":46227,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240353,"ju-shi-ye-hu-wen-240353","举诗页","胡文","胡文（？－？），字宣文，福建漳州府诏安县人，军籍，明朝政治人物。",[92,24,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7873372f41377f42caf636634f4d314f.jpg",[],{"id":46229,"slug":46230,"title":37766,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":46231,"thumbUrl":46232,"material":751,"size":752,"collection":95,"collections":46233,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240335,"shou-zha-juan-dong-qi-chang-240335",[23,45,7,60,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da620d7dc9aed2802c5a94155a484c7.jpg",[],{"id":46235,"slug":46236,"title":17924,"dynasty":18,"author":46167,"museum":107,"description":46168,"tags":46237,"thumbUrl":46238,"material":751,"size":752,"collection":95,"collections":46239,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240317,"shi-zhou-shen-de-qian-240317",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7522c6cd5808b36a7555db2c5657911.jpg",[],{"id":46241,"slug":46242,"title":21902,"dynasty":18,"author":46243,"museum":107,"description":46244,"tags":46245,"thumbUrl":46246,"material":751,"size":752,"collection":95,"collections":46247,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240315,"lu-yu-zhou-bao-ting-bo-240315","鲍廷博","鲍廷博(1728—1814)，字以文，号渌饮，祖籍安徽歙县长塘，随父鲍思诩居杭州。后定居桐乡县青镇（今乌镇）杨树湾。著有《花韵轩小稿》《咏物诗》等。",[2135,7,75,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e3fa28f0428547eccdf0df4b875e21.jpg",[],{"id":46249,"slug":46250,"title":46251,"dynasty":162,"author":454,"museum":107,"description":46252,"tags":46253,"thumbUrl":46254,"material":751,"size":752,"collection":95,"collections":46255,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240305,"zhi-hui-shan-yu-jia-shi-di-lun-xie-jing-juan-yi-ming-240305","智慧山瑜伽师地论写经卷","整卷以细密小字贯连始终，笔致恭谨流畅，尽显唐人写经的典型意韵。墨色沉润匀净，历经岁月依旧清晰醒目，朱圈句读点缀其间，与浓墨形成雅致对比，既标注文句，也为满卷笔墨增添了灵动层次。\n通篇排布齐整端严，字字大小匀停却暗藏变化，起收转合恪守唐楷法度，兼具抄经的实用性与书法审美价值。一笔一划皆见抄经人专注的心神，将宗教书写的虔诚融于笔墨之中，静静承载着千年前的书写传统与沉静匠心。",[23,7,386,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b5b9cee6941860477dc7e4fddfa463.jpg",[],{"id":46257,"slug":46258,"title":19706,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":46259,"thumbUrl":46260,"material":751,"size":752,"collection":95,"collections":46261,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240295,"shu-zha-ce-lin-ze-xu-240295",[25,26,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3dea28f374a9568a8a869e2226aac91.jpg",[],{"id":46263,"slug":46264,"title":19706,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":46265,"thumbUrl":46266,"material":751,"size":752,"collection":95,"collections":46267,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240293,"shu-zha-ce-lin-ze-xu-240293",[7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c6ef551c0befb907970a983093f3.jpg",[],{"id":46269,"slug":46270,"title":17924,"dynasty":18,"author":46271,"museum":107,"description":46272,"tags":46273,"thumbUrl":46274,"material":184,"size":95,"collection":96,"collections":46275,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240285,"shi-zhou-zhao-shi-lin-240285","赵士麟","赵士麟(1629～1699)，字麟伯，号玉峰，云南省澄江市人，生于明崇祯二年(1629)，幼时从师醒觉和尚。他天资聪明，读书过目不忘，经常手不释卷刻苦攻读，后来参加河阳县考，名列第一。\n顺治十七年(1660)庚子科中举，康熙三年(1664)甲辰科考取进士。吏部分派到贵州省平远县任推官（审判员），他大公无私，详查案情，惩暴安良。那时贵州发生的重大要案，都调派他参与审理，使他名声远播。",[24,25,75,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c586e2ae9e15caf4357f15b144991db.jpg",[96],{"id":46277,"slug":46278,"title":22728,"dynasty":45,"author":46279,"museum":107,"description":46280,"tags":46281,"thumbUrl":46282,"material":312,"size":95,"collection":96,"collections":46283,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240263,"shi-juan-ma-ru-long-240263","马如龙","此作用笔奔纵恣肆，以狂草写就全篇，笔墨如江河奔泻，行气贯通无间。线条枯润互见，提按顿挫间尽显雄放跌宕，字形欹正错落，大小随心排布，看似率意不羁，实则暗合章法。\n飞白苍劲、浓墨酣沉，两种质感交织出丰富层次，章法疏密极具韵律，时而密结如潮，时而疏朗如云，节奏张弛得宜。将文人心绪寄于笔墨流转，牵丝映带间皆是意气舒展，把豪情逸致融于点画之内，在肆意挥洒间尽显磊落胸襟，朴拙与灵动相映，尽显古雅洒脱的书法意趣。",[23,92,24,25,49,60,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1010b26e849c1d1e020573979281829.jpg",[96],{"id":46285,"slug":46286,"title":4849,"dynasty":45,"author":38105,"museum":107,"description":38106,"tags":46287,"thumbUrl":46288,"material":751,"size":752,"collection":95,"collections":46289,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240256,"ti-hua-shi-zhou-mi-wan-zhong-240256",[92,24,25,75,60,398,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3abe99e73d43f6ad1b41c2a6a91842fd.jpg",[],{"id":46291,"slug":46292,"title":35699,"dynasty":45,"author":46293,"museum":107,"description":46294,"tags":46295,"thumbUrl":46296,"material":751,"size":752,"collection":95,"collections":46297,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240240,"qi-lv-shi-ye-chen-yu-jiao-240240","陈舆郊","陈与郊(1544年—1611年)，原姓高，字广野，号禺阳、玉阳仙史，亦署高漫卿、任诞轩，是海宁盐官人。",[25,7,60,77,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d0494e381d80e4a93c0b91dbe0e4fc.jpg",[],{"id":46299,"slug":46300,"title":46301,"dynasty":45,"author":46302,"museum":107,"description":46303,"tags":46304,"thumbUrl":46305,"material":751,"size":752,"collection":95,"collections":46306,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240228,"wu-lv-shi-ye-xu-shi-qi-240228","五律诗页","许世奇","此作笔墨温润凝练，行书结体端秀雅致，兼具晋唐书风的娟秀意韵与行书灵动姿态。诗句清雅刚正，笔墨气韵与诗文意趣呼应相合，字里行间尽显文人风骨。\n\n疏朗匀停的章法排布间，米黄洒金笺晕染古意，朱红印章点缀恰到好处，愈发衬出整幅作品的古拙雅致。每一字筋骨兼具，平和中暗含刚劲，将诗文里廉明清雅的意涵悄然融于笔墨之中，整体气息浑融和谐，尽显传统文人书法的书卷意趣，是极具韵味的手札精品。",[25,7,60,77,4038,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396005ecd04ce1eb4dfce9104927becc.jpg",[],{"id":46308,"slug":46309,"title":35699,"dynasty":45,"author":46310,"museum":107,"description":46311,"tags":46312,"thumbUrl":46313,"material":751,"size":752,"collection":95,"collections":46314,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240221,"qi-lv-shi-ye-gu-chong-240221","顾充","顾充（1535—1615）字仲达，一字回澜，浙江上虞人。父吉，诸生，笃学善文，和易端亮，恒以不愧形影为训。充好古绩学，尤邃于史。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621f2c26540a06a964fce5fe6a875907.jpg",[],{"id":46316,"slug":46317,"title":35699,"dynasty":45,"author":46318,"museum":107,"description":46319,"tags":46320,"thumbUrl":46321,"material":751,"size":752,"collection":95,"collections":46322,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240219,"qi-lv-shi-ye-yang-ting-huai-240219","杨廷槐","杨廷槐，字祖植，浙江杭州府钱塘县人。明朝政治人物。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88edd4f750a277a6b7c5ba9d742932f.jpg",[],{"id":46324,"slug":46325,"title":46301,"dynasty":45,"author":46326,"museum":107,"description":46327,"tags":46328,"thumbUrl":46329,"material":751,"size":752,"collection":95,"collections":46330,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240217,"wu-lv-shi-ye-hu-ying-lin-240217","胡应麟","胡应麟（1551年-1602年），字元瑞，号少室山人，后又更号为石羊生，浙江金华府兰溪县城北隅人。明代万历丙子举人，是明代中叶著名的学者、诗人和文艺批评家、诗论家，明中后期“末五子”之一。\n他在文献学、史学、诗学、小说及戏剧学方面都有突出成就。他布衣一生，却广交天下，无论贵贱。身处偃蹇而志坚若磐石，虽一生大部分时间疾病缠身，但他酷嗜藏书、阅读和著述，广涉书史，学问渊博。深谙浙东学术之真谛，吸取宇内文章之精华，终为一代学术巨匠。\n著有诗论专著《诗薮》，诗文集《少室山房集》，论学专著《少室山房笔丛》（含《四部正讹》3卷）等。",[7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde5d80e361b2112dad8950e1680eff50.jpg",[],{"id":46332,"slug":46333,"title":35699,"dynasty":45,"author":46334,"museum":107,"description":46335,"tags":46336,"thumbUrl":46337,"material":751,"size":752,"collection":95,"collections":46338,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240215,"qi-lv-shi-ye-yu-si-chong-240215","俞思冲","俞思冲（？－？），字似宗，號瞻白，浙江仁和（今杭州）人，明朝政治人物，同进士出身。",[25,7,60,27,26,1498,77,678,55,132,1074,282,360,3040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790455893bc2628a258f36ac5aea92a1.jpg",[],{"id":46340,"slug":46341,"title":46301,"dynasty":45,"author":46342,"museum":107,"description":46343,"tags":46344,"thumbUrl":46345,"material":751,"size":752,"collection":95,"collections":46346,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240209,"wu-lv-shi-ye-lin-zi-240209","林梓","林梓(嘉靖乙丑進士)，嘉靖四十四年進士、明朝政治人物。",[45,7,60,77,26,312,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F738941ce31b6fe6cfd4e203d4dafb87c.jpg",[],{"id":46348,"slug":46349,"title":35699,"dynasty":45,"author":46350,"museum":107,"description":46351,"tags":46352,"thumbUrl":46353,"material":751,"size":752,"collection":95,"collections":46354,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240205,"qi-lv-shi-ye-li-shi-ying-240205","李时英","李時英（？－？），字含之，直隸上海縣人，浙江杭州府錢塘縣民籍，明朝政治人物。",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F597af09121c59eee29b1766227506747.jpg",[],{"id":46356,"slug":46357,"title":9940,"dynasty":18,"author":46358,"museum":107,"description":46359,"tags":46360,"thumbUrl":46361,"material":751,"size":752,"collection":95,"collections":46362,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240180,"qi-yan-lian-yi-nian-ceng-240180","伊念曾","字少沂，号梅石，福建宁化人，秉绶子。",[7,2136,75,457,1613,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feafb2299bbe17483fdd98c99ba58c485.jpg",[],{"id":46364,"slug":46365,"title":46366,"dynasty":18,"author":46367,"museum":107,"description":46368,"tags":46369,"thumbUrl":46370,"material":751,"size":752,"collection":95,"collections":46371,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240178,"zhong-ding-wen-zhou-qian-yuan-zhang-240178","钟鼎文轴","钱元章","钱元章[清]字子新，号拜石，嘉定（今属上海市）人。工篆、隶，宗其家从祖大昕及父坫（一七四一至一八○六）两家法。专精篆刻兼画山水，得王学浩传。山水花竹清逸绝尘。",[75,457,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9aea442a592f21d99fbf58089de0af.jpg",[],{"id":46373,"slug":46374,"title":17924,"dynasty":18,"author":46375,"museum":107,"description":46376,"tags":46377,"thumbUrl":46381,"material":751,"size":752,"collection":95,"collections":46382,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240140,"shi-zhou-liang-ding-fen-240140","梁鼎芬","梁鼎芬（1859—1919），晚清文学家、藏书家、诗人，广东番禺（今广州市）人。字星海，一字心海，又字伯烈，号节庵，别号不回山民、孤庵、病翁、浪游词客、葵霜、藏山、藏叟等；室名有耻堂、葵霜阁、栖凤楼、抗愤堂等。\n光绪六年进士，授编修。历任知府、按察使、布政使，曾因弹劾李鸿章，名震朝野。后应张之洞聘，主讲广东广雅书院和江苏钟山书院，为《昌言报》主笔。辛亥革命前有反帝主战思想。后任爱新觉罗.溥仪的老师，被授予“毓庆宫行走”。诗词多慷慨愤世之作，与罗惇曧等人并称“岭南近代四家”。",[25,7,60,75,50,77,4852,36414,46378,46379,46380],"秋港","龙眠","江左","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f7d3438dac72bf9bbf92d45e429618.jpg",[],{"id":46384,"slug":46385,"title":38302,"dynasty":45,"author":46386,"museum":107,"description":46387,"tags":46388,"thumbUrl":46390,"material":312,"size":95,"collection":96,"collections":46391,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240135,"shi-gao-ye-meng-yu-fan-240135","孟毓蕃","此作用笔率意不羁，以草书肆意铺陈心绪。藏露互生起笔，行笔迅疾不失法度，枯笔似寒林瘦枝，涩劲苍古；润墨如云烟舒卷，浑厚华滋，线条粗细润燥交织，尽显笔墨层次。字距行距不求匀整，错落间自带呼吸韵律，是随性挥就的诗稿，没有刻意经营的匠气，只将诗书意气全然托于笔底。将日常抒怀的松弛与文人风骨相融，把私人化的诗意心绪，定格成纸上鲜活的笔墨山河，尽显狂放又内敛的笔墨风神。",[4038,7,60,46389,312],"诗稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf67b9f5d83cff40a3425fe34b8c175.jpg",[96],{"id":46393,"slug":46394,"title":46395,"dynasty":45,"author":46396,"museum":107,"description":46397,"tags":46398,"thumbUrl":46399,"material":751,"size":752,"collection":95,"collections":46400,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240134,"jie-jing-yuan-shi-ye-li-te-240134","借景园诗页","李特","此帧小楷用笔清劲雅致，点画精整工稳，结构端秀匀停，承继明代台阁小楷的规整风貌又暗含灵动意趣。\n全篇以“借”生发诗思，将园居雅怀、寄寓襟怀融于笔墨间，布局疏朗通透，字距行距错落合宜，墨色妍秀温润。诗书相映之下，通篇气息娴静悠然，尽显文人淡远冲和的林下之风，把诗意与笔情的意趣完美糅合，是一件兼具文学性与艺术性的小品佳作。",[7,60,77,433,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879397ac73a2292f786e06dba999ff4b.jpg",[],{"id":46402,"slug":46403,"title":9940,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":46404,"thumbUrl":46405,"material":751,"size":752,"collection":95,"collections":46406,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240132,"qi-yan-lian-ai-xin-jue-luo-yong-xing-240132",[7,2136,75,199,77,26051,29117,27,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca273b0ce05f575efbca2977b13683bb.jpg",[],{"id":46408,"slug":46409,"title":46410,"dynasty":18,"author":46411,"museum":107,"description":46412,"tags":46413,"thumbUrl":46414,"material":751,"size":752,"collection":95,"collections":46415,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240131,"ti-song-ba-jia-shu-ba-ye-ceng-yu-240131","题宋八家书跋页","曾燠","曾燠（yù 1759-1831），字庶蕃，一字宾谷，晚号西溪渔隐。江西南城人。官至贵州巡抚。清代中叶著名诗人、骈文名家、书画家和典籍选刻家，被誉为清代骈文八大家之一。",[25,7,60,312,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f3a6f2d7aa737d647ccb6724a67b85.jpg",[],{"id":46417,"slug":46418,"title":46419,"dynasty":18,"author":35374,"museum":126,"description":46420,"tags":46421,"thumbUrl":46422,"material":822,"size":46423,"collection":96,"collections":46424,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240111,"he-yu-zhi-shi-ye-liu-tong-xun-240111","和御制诗页","卷前有乾隆己巳夏六月望日（乾隆十四年，1749年）御制初集诗小序，序末钤“乾”、“隆”联珠印；太子少保尚书蒋溥奏刻御制诗集告成折。卷末有张廷玉、蒋溥、梁诗正、汪由敦、刘统勋、介福、钱陈群、嵇璜、观保、董邦达、金德瑛等跋。\n《御制诗初集》收录御制诗4150余首，系清高宗弘历于乾隆元年至十二年（1736－1747年）所作，按年编次。而《御制诗集》收录的是乾隆皇帝所有的诗作，共计42,000余首。\n乾隆帝的诗可谓实录，是其从政、祭祀、巡幸、筵宴、读书等活动的即兴之作，如《皇考忌辰感成六韵》、《皇考梓宫至泰陵奉安》、《皇太后宴恭记》、《赐蒋溥巡抚湖南》、《阅古北口将士较武》、《题沈周春草秋花卷》、《西巡回銮述事》等，题咏繁富，追怀抒情，具有较高的史料价值。诚如乾隆皇帝所言：“几务之暇，无他可娱，往往作为诗古文赋，文赋不数十篇，诗则托兴寄情，朝吟夕讽。其间，天时农事之宜，莅朝将祀之典，以及时巡所至，山川名胜，风土淳漓，罔不形诸咏歌，纪其梗概。”\n除此本外，尚有《四库全书荟要》本、《四库全书》本、清乾隆年内府抄本、清光绪五年内府铅印本。\n《四库全书总目》、《中国古籍善本书目》著录。",[7,60,4347,3479,77,678,17644,20103,1679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb07e45af19ba11b98d8195a66498010.jpg","20.3cm×13.7cm",[96],{"id":46426,"slug":46427,"title":28124,"dynasty":45,"author":46428,"museum":107,"description":46429,"tags":46430,"thumbUrl":46431,"material":751,"size":752,"collection":95,"collections":46432,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240108,"shi-ye-mao-zhao-ru-240108","茅兆儒","字子鸿，号雪鸿，一作鸿雪，钱塘（今杭州）人。明少宰瓒曾孙。喜远游，工书、画，有东篱草堂诗钞。",[7,60,77,25,28124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee4dea621599b6c1111ef88710cd0c7.jpg",[],{"id":46434,"slug":46435,"title":46436,"dynasty":45,"author":46437,"museum":107,"description":46438,"tags":46439,"thumbUrl":46440,"material":312,"size":95,"collection":96,"collections":46441,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240106,"ti-ba-ye-wang-yu-240106","题跋页","王璵","王璵（？—768），雍州咸陽（今陝西咸陽）人，唐朝大臣、宰相。少習禮學，博求祠祭儀注以干時。 東晉丞相王導後裔，五代祖王方慶是武周時期宰相。\n出身琅琊王氏。唐玄宗時，遷太常博士、侍御史。唐肅宗即位，累遷太常卿。乾元中，兼蒲州刺史，充蒲、同、絳等州節度使。中書令崔圓罷相，乃為中書侍郎、同中書門下平章事。歲餘，罷知政事，為刑部尚書。上元二年（761），兼揚州長史、御史大夫，充淮南節度使。肅宗南郊禮畢，充任使持節、都督越州諸軍事、越州刺史、浙江東道節度觀察處置使，本官兼御史大夫、祠祭使如故。入為太子少保，轉少師。唐代宗大曆三年（768）六月去世。",[24,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b0fa09a759945cb399e9cc52b07b448.jpg",[96],{"id":46443,"slug":46444,"title":46445,"dynasty":45,"author":46446,"museum":107,"description":46447,"tags":46448,"thumbUrl":46449,"material":751,"size":752,"collection":95,"collections":46450,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240102,"xi-hua-ge-ye-lan-shen-240102","惜花歌页","蓝深","此作用笔灵动秀雅，牵丝映带间尽显行云流水之姿，墨色浓淡掩映，有着恰到好处的呼吸感。字势欹正相生，顾盼有情，似春日花枝摇曳，于端雅中藏着跳脱意趣。\n\n通篇行气连贯匀畅，将惜花的缱绻怜意融于笔底。点画凝练温润，不见过重雕琢，尽显文人随性洒落的风骨。排布疏密得宜，章法疏朗隽逸，诗意与书韵浑然相融，把惜春怜花的幽柔情思藏在流动的笔墨间，让观者品味笔墨清雅时，亦能共情诗中伤花的温柔心绪，是兼具笔墨意趣与文人情思的小品佳作。",[24,25,26,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de81189a067e1c20cfe943433d159d6.jpg",[],{"id":46452,"slug":46453,"title":46454,"dynasty":18,"author":46455,"museum":107,"description":46456,"tags":46457,"thumbUrl":46458,"material":751,"size":752,"collection":95,"collections":46459,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":3443},240070,"he-si-nong-shi-ye-yang-gao-lan-240070","贺四农诗页","杨皋兰","此作为诗书合璧的尺牍佳构，右侧行书率意苍秀，点画牵丝映带，气韵连贯畅达。结体欹正相生，将贺赠的真挚情谊寄寓于笔墨间，古意盎然。左侧小楷清劲端雅，笔画匀净工稳，排布齐整却暗蕴灵动姿态。\n\n通篇墨色浓淡合宜，朱印错落点缀，更添雅致意趣。笔墨兼具随性抒怀的洒脱与严谨端方的功底，尽显旧时文人酬唱的风雅襟怀，文情与笔韵交融，尽显传统尺牍书法的隽永韵味。",[2135,25,7,60,77,26,312,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F139b304f39df19bc41115b3c7672ec2e.jpg",[],{"id":46461,"slug":46462,"title":46463,"dynasty":18,"author":46464,"museum":107,"description":46465,"tags":46466,"thumbUrl":46467,"material":751,"size":752,"collection":95,"collections":46468,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":3443},240067,"song-si-nong-nan-gui-shi-gao-ye-huang-jue-zi-240067","送四农南归诗稿页","黄爵滋","黄爵滋（1793年－1853年），字德成，号树斋，江西宜黄人。清朝政治人物，进士出身。",[7,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3e1886cdca86e0b19f737abd2d23a7.jpg",[],{"id":46470,"slug":46471,"title":17924,"dynasty":18,"author":46472,"museum":107,"description":46473,"tags":46474,"thumbUrl":46475,"material":312,"size":95,"collection":96,"collections":46476,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240059,"shi-zhou-zhu-dao-sun-240059","朱稻孙","朱稻孙 [清]（一六八二―一七六o）字稼翁，一字芋陂，号娱村，秀水（今浙江嘉兴）人。彝尊孙。乾隆元年（一七三六）举博学鸿词，官州判。少孤，其祖抚之。三世以能书名，而其书法不由家学，初由汪士鋐问津，后自取柳公权、米芾书，晨夕橅之，遂自成一家。小楷尤精，亦工八分小篆。晚景益贫，稍籍以自给。亦擅词章，妙言语。卒年七十九。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac2ed0a7fe8404d49ce018e05a43bfd0.jpg",[96],{"id":46478,"slug":46479,"title":46480,"dynasty":18,"author":41082,"museum":126,"description":46481,"tags":46482,"thumbUrl":46483,"material":17292,"size":46484,"collection":96,"collections":46485,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240051,"cao-tang-shi-zhou-fa-ruo-zhen-240051","草堂诗轴","释文：\n戚戚苦无宗，携手共行乐。寻云陟累榭，随山望菌阁。远树暖阡阡，生烟纷漠漠。鱼戏新荷动，鸟散余花落。不对芳春酒，还望青山郭。甲戌之春检谢玄晖诗集，录其游东田一首以寄兴，黄山法若真。\n下钤“法若真印”、“黄山”印2方。鉴藏印钤“颐杶庐秦通理藏书画印”。\n《草堂诗》是法若真书南朝诗人谢脁《游东田诗》中的一首五言诗。\n其书年款“甲戌”。法若真一生经历了两个甲戌，一是明崇祯甲戌（1634年）,一是清康熙甲戌（1694年）。此轴书写精巧娴熟，应为康熙甲戌时所书，法若真时年81岁，属其晚年佳作。\n此诗书法苍劲沉稳，结体欹侧错落，点画多方硬側锋，字间牵丝、引带若断若连，具苍古质朴之韵，与晚明黄道周、倪元璐等书法家硬倔、奇异的风格颇相似。",[7,75,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd737719b5306714c402fb419d345566c.jpg","纵125.8厘米，横55.1厘米",[96],{"id":46487,"slug":46488,"title":17924,"dynasty":18,"author":46489,"museum":107,"description":46490,"tags":46491,"thumbUrl":46493,"material":312,"size":95,"collection":96,"collections":46494,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240042,"shi-zhou-wang-zhuan-240042","王撰","王撰，出生於1623年，卒於1709年，明末清初詩人、書畫家，婁東十子之一。字異公，一字大年，號隨庵、隨誾、隨老人、揖山居士、隨叟，蘇州府太倉（今屬江蘇）人。",[24,25,7,75,60,50,77,555,3516,3388,1677,651,360,3038,46492],"野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee940409eea45388ae960c6bc4b1f2f.jpg",[96],{"id":46496,"slug":46497,"title":17924,"dynasty":18,"author":46498,"museum":107,"description":46499,"tags":46500,"thumbUrl":46501,"material":751,"size":752,"collection":95,"collections":46502,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},240021,"shi-zhou-zhang-zhao-240021","张昭","此作用笔纵逸潇洒，中锋侧锋兼施，线条粗细提按富于韵律，牵丝映带间尽显行书灵动意趣。全篇行气贯通，字间顾盼生姿，章法错落舒朗。墨色枯湿浓淡相映，随书写节奏自然变化，将创作时的畅快心境藏于笔墨之中。\n\n主体书风融帖学流美与朴拙笔意于一体，题款小字恭谨雅致，与主体大字形成虚实动静的层次对比，朱印沉稳收尾，虚实相宜。整幅以诗寄情，笔墨间尽显文人疏朗襟怀，是颇具意韵的行书佳作。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd59a0ecc02d571dad71cb5d5637364ec.jpg",[],{"id":46504,"slug":46505,"title":46506,"dynasty":18,"author":46507,"museum":107,"description":46508,"tags":46509,"thumbUrl":46510,"material":751,"size":752,"collection":95,"collections":46511,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240019,"luo-yi-feng-chang-chun-tang-ji-juan-zhao-yu-zhong-240019","罗一峰常春堂记卷","赵御众","通篇以行书挥就，笔力苍劲老辣，线条欹正相生，牵丝映带间气脉贯通，章法疏朗却不失整饬。行笔疾缓自如，枯湿浓淡交织，墨色富于层次，将原文的文气与笔意相融。\n\n字字错落随性，通篇浑然一体，既有文人书法的萧散简远，又暗含雄健开张的筋骨。笔墨流转之间，将文中仁孝常驻、春日常存的意涵尽致抒发，尽显文人书法抒情写意的特质，是文辞与笔墨相得益彰的行书佳作。",[23,25,49,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731f63aaf986ce2664e5e00f2e16f0e8.jpg",[],{"id":46513,"slug":46514,"title":46515,"dynasty":18,"author":46516,"museum":107,"description":46517,"tags":46518,"thumbUrl":46519,"material":751,"size":752,"collection":95,"collections":46520,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240010,"jiang-xue-yu-lu-juan-sun-qi-feng-240010","讲学语录卷","孙奇逢","孙奇逢（1584—1675年）明末清初理学大家。字启泰，号钟元，晚年讲学于辉县夏峰村20余年，从者甚众，世称夏峰先生。\n顺治元年（1644年）明朝灭亡后，清廷屡召不仕，人称孙征君。与李颙、黄宗羲齐名，合称明末清初三大儒。\n孙奇逢一生著述颇丰，他的学术著作主要有：《理学宗传》、《圣学录》、《北学编》、《洛学编》、《四书近指》、《读易大旨》五卷、《书经近指》。",[23,7,49,60,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc136f365f4cddc353ea007d6426c5880.jpg",[],{"id":46522,"slug":46523,"title":46524,"dynasty":45,"author":46525,"museum":107,"description":46526,"tags":46527,"thumbUrl":46528,"material":751,"size":752,"collection":95,"collections":46529,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240009,"zhang-bo-yu-shi-ba-ye-chen-kan-240009","张伯雨诗跋页","陈衎","明福建闽县人，字磐生。屡举不第。谙绘事，善画兰。好谈边事利害及将相大略。与徐熥、徐兄弟切磋为诗文。",[25,7,60,77,26,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fa0236262d59b7150a3516fbe2c1ec.jpg",[],{"id":46531,"slug":46532,"title":46533,"dynasty":45,"author":46534,"museum":107,"description":46535,"tags":46536,"thumbUrl":46537,"material":751,"size":752,"collection":95,"collections":46538,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240006,"zhi-si-ling-shi-he-cai-240006","致思龄诗","何采","何采是清代出生在安徽桐城的文人。他字敬舆，号醒斋，又号南磵，著有《让村集》、《南磵集》、《南磵词选》。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63f83f906c20ced926e182c7ff0f4b2.jpg",[],{"id":46540,"slug":46541,"title":46542,"dynasty":45,"author":46543,"museum":107,"description":46544,"tags":46545,"thumbUrl":46546,"material":95,"size":95,"collection":96,"collections":46547,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},240004,"shi-zhong-er-shi-ye-jin-bi-zhai-240004","示忠儿诗页","金璧斋","此帧小楷温润秀雅，结体端稳舒展，笔势灵动全无板滞之感。起收可见晋唐小楷意韵，点画精劲饱满，牵丝映带间气脉贯通，尽显娴雅书卷之气。\n\n作为示儿手札，笔墨融着长辈期许，文辞恳切，笔墨温醇，将文人修身寄怀与书法雅意相融。既有法度谨严的帖学功底，又不失散淡风神，尺幅虽小却意趣悠长，尽显台阁体之外的文人抒情笔致，笔墨间尽显旧时代文人的温厚襟怀。",[4038,7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be6d5470cb2f95415beeeeb13fc545a.jpg",[96],{"id":46549,"slug":46550,"title":46551,"dynasty":45,"author":46552,"museum":107,"description":46553,"tags":46554,"thumbUrl":46555,"material":95,"size":95,"collection":96,"collections":46556,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239999,"zhi-si-ling-ba-ye-yu-duo-239999","致思龄跋页","俞铎","俞铎（1415年－1489年），字振文，新昌人。明朝政治人物、进士出身。有子俞深。正统四年(1439年)，登己未科进士，初由部郞。升升南直隶宁国府知府，有惠政。随后历任云南参政、云南布政使。",[4038,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd71f408a11e9285d7befe2276edc369f.jpg",[96],{"id":46558,"slug":46559,"title":46560,"dynasty":45,"author":46561,"museum":107,"description":46562,"tags":46563,"thumbUrl":46564,"material":95,"size":95,"collection":96,"collections":46565,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239998,"shu-zhi-weng-shi-ye-cheng-fang-chao-239998","书致□翁诗页","程芳朝","程芳朝（1611～1676），初名钰，字其相，号立庵。桐城人。清顺治四年（1647）中殿试一甲二名进士（榜眼），授国史院编修。著有《皇华草》、《中裕堂集》。\n程芳朝进士及第后，授内翰林秘书院编修。不久，迁秘书院修撰，从事译注《五经》事宜。程芳朝历官翰林国史院修撰、湖广提学道、湖广布政司右参议、詹事府左春坊左谕德等职。顺治九年，程芳朝以编修出任会试同考官。顺治十年，出任直隶学政。顺治十年六月，程芳朝提督顺天学政。不久，迁国史院侍讲学士。顺治十三年十一月，程芳朝为弘文院侍读学士，顺治十四年十月为少詹事兼侍讲学士。康熙三年，程芳朝以侍读学士充任赴安南正使。此间，程芳朝“宣畅德威，不抗不抑，临走时，远人争赋诗饯送。”而后，程芳朝任詹事府少詹事，升太常寺卿。深受康熙帝赏识，潘蜀藻称：“公（指程芳朝）尝奉宣于御前，伏几作大字。上嘉其端劲，方欲大用之。”寻还，康熙七年正月，程芳朝擢太常寺卿。官至太常寺卿。",[4038,7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e4c9a4af51e63dce0a0e2307b75f85.jpg",[96],{"id":46567,"slug":46568,"title":46569,"dynasty":18,"author":46570,"museum":107,"description":46571,"tags":46572,"thumbUrl":46573,"material":751,"size":752,"collection":95,"collections":46574,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239961,"zhi-wei-lao-gui-li-shi-ye-wang-zhe-sheng-239961","致魏老归里诗页","王喆生","字醇叔，一字素岩，江苏昆山人。生卒年均不详，约康圣祖康熙三十六年前后在世，年八十一岁。初师朱用纯，后游长洲彭定求之门。读书敦行。康熙二十一年（公元一六八二年）进士。改翰林院庶吉士，授编修。",[2135,7,60,77,312,28124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6d31993e429e8a5348b33636da26e3.jpg",[],{"id":46576,"slug":46577,"title":46578,"dynasty":18,"author":46579,"museum":107,"description":46580,"tags":46581,"thumbUrl":46582,"material":95,"size":95,"collection":95,"collections":46583,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239958,"zhi-wei-lao-rong-xuan-shi-ye-xu-jiong-239958","致魏老荣旋诗页","徐炯","此作为行书诗札，整体疏朗清雅，笔墨温润秀劲。右侧诗作行笔匀净流畅，牵丝映带自然灵动，结体端稳妍秀，既有帖学的隽雅意趣，又暗含沉静气度。左侧信札小字朴茂沉稳，笔意连贯，将赠友的诚挚心绪藏于点撇捺画之中。浅米色素纸衬以清润墨色，古雅沉静，尽显文人书卷意韵，把对友人荣归的庆贺之意融于笔墨行间，是兼具书法审美价值与人文温度的小品佳作。",[2135,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac247f6b48fd804f374722b74f739c70.jpg",[],{"id":46585,"slug":46586,"title":9940,"dynasty":18,"author":46587,"museum":107,"description":46588,"tags":46589,"thumbUrl":46590,"material":751,"size":752,"collection":95,"collections":46591,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239956,"qi-yan-lian-sheng-yu-239956","盛昱","字伯希，又字伯熙、伯兮、伯羲、伯韫，号韵莳，室名意园、郁华阁、栘林馆。清朝远支宗室镶白旗第三族。清朝政治人物、学者。",[7,2136,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511924308cd50cd8ce429de39fe548bb.jpg",[],{"id":46593,"slug":46594,"title":26795,"dynasty":18,"author":46595,"museum":107,"description":46596,"tags":46597,"thumbUrl":46598,"material":751,"size":752,"collection":95,"collections":46599,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239931,"zhi-lian-shang-shi-ye-hu-sen-239931","胡森","此作为行书诗笺，笔法灵动秀逸，枯润得宜。起笔收锋皆循帖学法度，结体错落自然，兼具隽雅疏淡之姿。笔墨随着诗意起伏，将故友相逢又别离的缱绻心绪藏于笔锋起落间，字里行间浸透着文人间以诗寄怀的风雅。墨色浓淡渐变赋予作品韵律感，柔婉笔势呼应着诗句的怅惘温情，尽显旧时文人酬唱赠别的脉脉意趣，是兼具笔墨意趣与情志内涵的尺牍佳构。",[25,7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d82fdcc0ad4f1380bf617561d343d2.jpg",[],{"id":46601,"slug":46602,"title":46603,"dynasty":18,"author":46604,"museum":107,"description":46605,"tags":46606,"thumbUrl":46607,"material":751,"size":752,"collection":95,"collections":46608,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239929,"lu-han-yan-pian-ye-gu-lin-rui-239929","录寒雁篇页","顾麟瑞","顾麟瑞(字芝杉，拔贡生)",[7,199,77,116,678,1679,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb285b5f577c9035dd6edfb667132a62a.jpg",[],{"id":46610,"slug":46611,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":46612,"thumbUrl":46613,"material":95,"size":95,"collection":95,"collections":46614,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239900,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239900",[4038,7,60,25,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b1e9d204aa2df7a84f0b7533994e8a.jpg",[],{"id":46616,"slug":46617,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":46618,"thumbUrl":46619,"material":95,"size":95,"collection":95,"collections":46620,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239899,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239899",[4038,60,49,7,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9d0c48581859b3130c43ffe55ce128.jpg",[],{"id":46622,"slug":46623,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":46624,"thumbUrl":46626,"material":95,"size":95,"collection":95,"collections":46627,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239898,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239898",[7,60,312,2602,49,77,26781,46625],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9594d4cfaea898026ef3d0d36b31e18.jpg",[],{"id":46629,"slug":46630,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":46631,"thumbUrl":46633,"material":95,"size":95,"collection":95,"collections":46634,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239897,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239897",[7,60,25,49,4038,46632],"墨宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1316aff9fa232c797852dae5ebbbe96.jpg",[],{"id":46636,"slug":46637,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":46638,"thumbUrl":46639,"material":95,"size":95,"collection":95,"collections":46640,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239891,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239891",[60,7,49,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f513fb88b03d0ef10bafd254d4f6bbd.jpg",[],{"id":46642,"slug":46643,"title":46644,"dynasty":45,"author":46645,"museum":107,"description":46646,"tags":46647,"thumbUrl":46648,"material":95,"size":95,"collection":96,"collections":46649,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239887,"shu-zha-ma-yi-long-239887","书扎","马一龙","马一龙（1499—1571）明农学家、书法家。字负图，号孟河，别号玉华子。溧阳人。马性鲁子，马从谦侄。嘉靖二十六年（1547）进士。翰林院检讨，授南京国子监司业。因母亲年老多病，五次上疏请求返里养亲，方得批准。三十八年分校礼闱，擢南少司成摄大司成事。辞官回溧阳后建务本书院，构筑馆舍，读书著述。曾捐资设义田，恢复盘龙堰，改筑盘龙桥，重建尊经阁等。招募农民垦种，采用分成制，把收获的一半给佣工，一年后荒地全部得到开垦并取得好收成。根据自己的农事经验编辑《农说》，以阴阳理论阐述农业生产，特别是水稻生产，在农学思想上占有相当重要的地位。另著有《农经》、《字帖》及《玉华子游艺集》24卷，石刻书法有《重修广化庵记》、《楷书石碑》。工书。法怀素《圣母帖》，遒劲飘逸，自谓怀素以后一人。去世后入祀乡贤祠和忠孝祠。",[4038,7,398,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8371a51706cd0341dcf7d26a63b0704a.jpg",[96],{"id":46651,"slug":46652,"title":46653,"dynasty":45,"author":46654,"museum":107,"description":46655,"tags":46656,"thumbUrl":46657,"material":751,"size":752,"collection":95,"collections":46658,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239878,"han-gong-chun-xiao-shi-zhou-shao-jie-chun-239878","汉宫春晓诗轴","邵捷春","邵捷春（？～1641），字肇复，号冶园，福建福州府候官县（今福建省福州市闽侯县）人，万历四十七年（公元1619年）进士，累官稽勋郎中。崇祯二年（公元1629年））出为四川右参政，迁浙江按察使，大计坐贬。起四川副使。十年（公元1637年），至成都，守城拒农民军。旋监傅宗龙军进右参政。再擢右佥都御史，代宗龙为巡抚。十三年（公元1640年）罗汝才、张献忠合兵攻蜀，失事被逮。次年（公元1641年）八月仰药死狱中。著有《剑津集》、《入蜀吟》。",[4038,25,7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feddb5779610f8429d27f9fe765f905bf.jpg",[],{"id":46660,"slug":46661,"title":46662,"dynasty":18,"author":454,"museum":107,"description":46663,"tags":46664,"thumbUrl":46665,"material":751,"size":752,"collection":95,"collections":46666,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239865,"yu-ji-ci-ye-yi-ming-239865","余集词页","此对开册页，左幅行楷秀雅端稳，笔锋温润舒展，墨色匀净澄澈，自带清雅书卷意趣。右幅行书纵逸灵动，牵丝映带间尽显潇洒韵致，字势欹侧相生，将词作缱绻意蕴融于起落之间。朱红钤印鲜亮雅致，与墨色相互映衬，章法疏朗留白得当。整体笔墨清隽雅致，既有帖学妍秀之态，又暗含文人闲散襟怀，尽显传统尺牍小品的雅致风神，尽显清代文人书法的典型意韵。",[24,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2e235c63adbd946576bb6337343ae9.jpg",[],{"id":46668,"slug":46669,"title":46670,"dynasty":18,"author":38419,"museum":107,"description":38420,"tags":46671,"thumbUrl":46672,"material":95,"size":95,"collection":96,"collections":46673,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239846,"yu-gong-fu-lun-shi-ye-dong-guo-hua-239846","与功甫论诗页",[25,7,60,77,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3251b412d3302e28de227656c61cc8ac.jpg",[96],{"id":46675,"slug":46676,"title":46677,"dynasty":18,"author":38419,"museum":107,"description":38420,"tags":46678,"thumbUrl":46679,"material":95,"size":95,"collection":96,"collections":46680,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239843,"bai-tao-hua-er-lv-zhi-gong-fu-ye-dong-guo-hua-239843","白桃花二律致功甫页",[60,7,25,24,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f1b6a8cefd16d365741d8fbc928c0e2.jpg",[96],{"id":46682,"slug":46683,"title":46684,"dynasty":18,"author":38419,"museum":107,"description":38420,"tags":46685,"thumbUrl":46686,"material":95,"size":95,"collection":96,"collections":46687,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239840,"ji-yu-ye-zuo-shi-feng-gong-fu-ye-dong-guo-hua-239840","积雨夜坐诗奉功甫页",[25,7,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a42215a63d6bfcee3c82d82ac321f3.jpg",[96],{"id":46689,"slug":46690,"title":46691,"dynasty":18,"author":38427,"museum":107,"description":38428,"tags":46692,"thumbUrl":46693,"material":95,"size":95,"collection":96,"collections":46694,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239836,"zhong-zhu-jiu-ci-ye-zhang-xiang-he-239836","种竹旧词页",[24,25,7,60,77,132,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb38fbab287eb035cfc1974607f1bfd7.jpg",[96],{"id":46696,"slug":46697,"title":35849,"dynasty":18,"author":46698,"museum":107,"description":46699,"tags":46700,"thumbUrl":46701,"material":95,"size":95,"collection":96,"collections":46702,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239830,"shi-zhi-gong-fu-ye-shen-tao-239830","沈涛","沈涛(约1792—1855)，原名尔岐，尔政，字西雍，号匏庐，浙江嘉兴人。\n沈涛幼有神童之称，曾从文字学家段玉裁游，先生生平专尚考订，兼嗜金石，著述精湛。与归安吴云最相契，赏鉴所获，辄绘图征诗唱和成帙。《论语》孔注之伪，自段茂堂发之，陈仲鱼昌言之，至先生乃设为五证，抉摘尽致，作《论语孔注辨伪》二卷。又作《说文古本考》十四卷，亦有根据，与妄以他书改本书者不同。其关于金石学之书，则有《常山贞石志》二十四卷。读书所得，加以考辨，有《铜熨斗斋随笔》八卷、《瑟榭丛谈》二卷、《交翠轩笔记》四卷。其余尚有《柴辟亭诗集》四卷，《十经斋文集》四卷，《匏庐诗话》三卷，并刊行。",[25,7,60,77,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bb33778fb49f8ffad215aaf9db857f.jpg",[96],{"id":46704,"slug":46705,"title":46706,"dynasty":18,"author":38427,"museum":107,"description":38428,"tags":46707,"thumbUrl":46708,"material":95,"size":95,"collection":96,"collections":46709,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239827,"shi-cheng-gong-fu-ye-zhang-xiang-he-239827","诗呈功甫页",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c61a1e12097c689556f7d9575ce787e.jpg",[96],{"id":46711,"slug":46712,"title":41702,"dynasty":18,"author":46698,"museum":107,"description":46699,"tags":46713,"thumbUrl":46714,"material":95,"size":95,"collection":96,"collections":46715,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239825,"shi-feng-gong-fu-ye-shen-tao-239825",[7,60,77,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13e4d72df502bcca067fc3b9e686d07.jpg",[96],{"id":46717,"slug":46718,"title":46719,"dynasty":18,"author":46720,"museum":107,"description":46721,"tags":46722,"thumbUrl":46723,"material":751,"size":752,"collection":95,"collections":46724,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239814,"yang-zhou-si-shou-cheng-qiu-shui-ye-xu-xiong-fei-239814","扬州四首呈秋水页","徐熊飞","徐熊飞，字子宣，一字渭扬，号雪庐，浙江武康人，生于清高宗乾隆二十七年，卒于宣宗道光十五年，年七十四岁。代表作有《白鹄山房诗初集》。",[25,7,26,60,50,678,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1317f3c748de33ced59d8ec6706f6e0.jpg",[],{"id":46726,"slug":46727,"title":28124,"dynasty":45,"author":35782,"museum":107,"description":46728,"tags":46729,"thumbUrl":46730,"material":751,"size":752,"collection":95,"collections":46731,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239806,"shi-ye-cai-yu-239806","蔡羽（？～1541），南直隶苏州府吴县（今属江苏）人，明代文学家、书法家、书法理论家，“吴门十才子”之一。字九逵，因居江苏吴县洞庭西山，自号林屋山人，又称左虚子、消夏居士。乡试十四次皆落第，由国子生授南京翰林孔目，好古文，师法先秦、两汉，自视甚高，所作洞庭诸记，欲与柳宗元争胜。善书法，长于楷、行，以秃笔取劲，姿尽骨全。",[7,25,60,50,77,26,133,6635,3040,36825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d6bdda3dd939647568e24e984bb2be8.jpg",[],{"id":46733,"slug":46734,"title":46735,"dynasty":45,"author":46736,"museum":107,"description":46737,"tags":46738,"thumbUrl":46739,"material":95,"size":95,"collection":95,"collections":46740,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239792,"liu-xuan-chuan-ye-wang-jin-239792","刘铉传页","王进","此作用笔取法晋唐小楷，兼融赵孟頫秀雅温润之风。笔画匀净秀逸，起收提转皆循法度，点画顾盼有情，尽显端庄雅致的书卷意韵。\n通篇布局疏朗匀称，字距行距错落合宜，虽为小字长幅却无壅塞迫促之感，行气舒缓连贯，将尺牍文稿的日常意趣与书法美感相融无间。\n虽带有明代台阁体的工整端丽，却不囿于刻板，笔锋暗含灵动，撇捺舒展自在，可见书家深厚帖学功底。整体气息清和安雅，笔墨温润内敛，铺陈出文士娴静意态，是明代文人翰墨中实用与审美兼具的精致之作。",[25,26,199,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4101d265fe1d9cb4c60d5f8f821300a0.jpg",[],{"id":46742,"slug":46743,"title":46744,"dynasty":18,"author":38474,"museum":107,"description":38475,"tags":46745,"thumbUrl":46746,"material":751,"size":752,"collection":95,"collections":46747,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},239780,"shu-yu-zhi-wu-fu-song-ce-zhou-huang-239780","书御制五福颂册",[199,7,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60fc76fb512d1913b37a3cdf2153ef0e.jpg",[],{"id":46749,"slug":46750,"title":46751,"dynasty":18,"author":46752,"museum":107,"description":46753,"tags":46754,"thumbUrl":46755,"material":95,"size":95,"collection":95,"collections":46756,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},239774,"shu-yao-tiao-wu-lv-shi-zhou-mian-de-239774","书窈窕五律诗轴","绵德","此作用笔温润秀逸，是典型的赵孟頫书风一脉楷书。点画起收精致考究，提按转折间尽显灵动姿态，结体端庄妍雅，兼具唐楷的规整与行书的舒逸意趣。行列排布齐整匀停，笔墨浓淡匀净，通篇气息连贯从容，将馆阁体的端谨雅致与个人温婉笔韵相融。诗文内容与笔墨风神相得益彰，在平和隽雅的笔致里，尽显清代文人书法的古典审美意趣，清和雍容的气质漫溢纸面，让观者在览阅间，既能感受到书法的形式美感，亦能体味诗文的悠远意境。",[7,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf43d39aea271645ec43267dfb404a47.jpg",[],{"id":46758,"slug":46759,"title":46760,"dynasty":18,"author":46761,"museum":107,"description":46762,"tags":46763,"thumbUrl":46764,"material":95,"size":95,"collection":95,"collections":46765,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239773,"shu-yong-yan-juan-a-sheng-jing-shi-zhou-liu-yao-yun-239773","书颙琰卷阿胜境诗轴","刘耀云","此作用洒金蓝纸为底，幽蓝底色晕着细碎泥金斑点，自带沉静古雅的庙堂气韵。书法取法馆阁体，笔力沉厚稳健，结体端方雅致，虽恪守奉敕书丹的恭谨法度，却未失舒展意趣，避开馆阁体常见的板滞通病。点画排布匀停规整，通篇气息雍容平和，将御制诗文的庄重意蕴，融入温润的笔墨之中。字里行间尽显臣子恭谨用心，既有帖学的秀雅法度，又带着清中期官场书法整饬端丽的典型特质，纸墨交融间，古意悠然，尽显彼时翰墨奉敕的端庄之风。",[199,75,27,651,2740,132,133,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ae27e48307161b9e6c08a03d6eda16.jpg",[],{"id":46767,"slug":46768,"title":46769,"dynasty":18,"author":46770,"museum":107,"description":46771,"tags":46772,"thumbUrl":46773,"material":95,"size":95,"collection":95,"collections":46774,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239772,"shu-fan-zhong-yan-li-yi-wei-hua-fu-zhou-wen-ru-shi-239772","书范仲淹礼义为花赋轴","温汝适","此作用笔沉稳端凝，点画精整工丽，是清代馆阁体楷书的典型风貌。字体结构匀停舒展，提按顿挫皆循楷书法度，骨力内含、姿韵清雅。浅淡暗花笺纸衬底，墨色匀净莹润，更衬出笔墨的隽秀雅致。书写范仲淹辞赋，笔墨与文心相融，将礼义的沉厚意蕴寄寓于端雅笔墨之中，既恪守馆阁体的工谨规范，又不失文人书法的书卷意趣，尽显扎实的临池功底与内敛清雅的审美意趣，整体气息肃穆恬和，尽显庙堂正书的典雅气质。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50283a33ef172300d7d46c7d9f99002f.jpg",[],{"id":46776,"slug":46777,"title":46778,"dynasty":18,"author":46779,"museum":107,"description":46780,"tags":46781,"thumbUrl":46782,"material":751,"size":752,"collection":95,"collections":46783,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},239769,"shu-hu-zi-zhou-zhang-yun-ting-239769","书虎字轴","张云亭","张云亭（生卒年不详），于道光二年壬午科(1822年) 通过层层考试最后高中武状元，为道光年间的第一位武状元。",[24,25,75,7,398,77,10794,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f40d034214e744779fac56e8b31d99.jpg",[],{"id":46785,"slug":46786,"title":46787,"dynasty":18,"author":46788,"museum":107,"description":46789,"tags":46790,"thumbUrl":46791,"material":751,"size":752,"collection":95,"collections":46792,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239757,"shu-wu-yan-shi-zhou-guo-qi-si-huan-239757","书五言诗轴","果齐斯欢","果齐斯欢（1768年－1828年，），字友三，一字益亭，谥文僖。满洲镶蓝旗人，清朝宗室。",[24,25,7,75,60,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083e04a81535f125a7e79b4a9cb0df12.jpg",[],{"id":46794,"slug":46795,"title":46796,"dynasty":18,"author":46797,"museum":107,"description":46798,"tags":46799,"thumbUrl":46803,"material":751,"size":752,"collection":95,"collections":46804,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239752,"shu-yong-yan-leng-xiang-ting-shi-zhou-yu-lin-239752","书颙琰冷香亭诗轴","玉麟","玉麟，章佳氏，满洲正蓝旗人，清朝政治人物、翻译进士。\n玉麟为监生出身。乾隆七年，任直隶顺德府知府。乾隆十年，登翻译进士。后授永定河道。乾隆十四年，任直隶按察使。乾隆十六年，任直隶布政使。",[7,75,60,27,46800,136,678,46801,46802],"秋荷","光","凉飔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F587573a6ba5b1080d3b27aae32f59267.jpg",[],{"id":46806,"slug":46807,"title":46808,"dynasty":18,"author":46809,"museum":107,"description":46810,"tags":46811,"thumbUrl":46812,"material":751,"size":752,"collection":95,"collections":46813,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},239744,"shu-hong-li-yan-shi-ce-wang-jie-239744","书弘历砚诗册","王杰","王杰（1725年－1805年2月9日 ），字伟人，号惺国，陕西韩城人。清朝状元、名臣，有清一代陕西第一名臣。初在南书房当值，后经多次升迁，官至内阁学士。乾隆三十九年（1774）任刑部侍郎后又转调吏部，擢升右都御史，乾隆五十一年（1786）出任军机大臣，上书房总师傅，第二年又出任东阁大学士，总理礼部。嘉庆帝即位，仍为首辅。\n王杰在朝四十余年，忠清劲直，老成端谨，不结党营私，不趋炎附势。嘉庆十年（1805年），王杰去世，享年八十一岁，追赠为太子太师，谥号文端，祀于北京贤良祠。",[7,26,199,77,27,3093,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd445e4bbaaf0502eaf070880549a5ac.jpg",[],{"id":46815,"slug":46816,"title":46817,"dynasty":45,"author":454,"museum":107,"description":46818,"tags":46819,"thumbUrl":46821,"material":95,"size":95,"collection":95,"collections":46822,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239742,"ming-ren-jian-du-ce-tang-yin-zhi-shi-quan-zha-yi-ming-239742","明人笺牍册-唐寅致石泉札","这帧尺牍以行书落墨，笔墨间带着松弛随性的文人风雅。起笔收毫张弛有度，点画圆融灵动，尽显唐寅书法典型的疏朗意气，无刻板雕琢之感，将日常心绪落于纸面。\n\n信中叙说未能赴约的憾意，对旧友的挂怀藏在质朴恳切的字句里，把江南才子的日常交游温情藏于笔墨，让这封寻常短札跳出实用属性，成为兼具文情与笔墨意趣的小品佳作，尽显明代文人尺牍抒情写意的随性雅致。",[7,60,26,46820,50],"笺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b7907efa7817d021a0a38d3fa2701e.jpg",[],{"id":46824,"slug":46825,"title":46826,"dynasty":45,"author":19108,"museum":107,"description":24598,"tags":46827,"thumbUrl":46828,"material":751,"size":752,"collection":95,"collections":46829,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239739,"zhi-yi-du-zha-ni-yuan-lu-239739","致异度札",[25,7,60,433,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb031992d068c3b45e9f7f4ceb42631.jpg",[],{"id":46831,"slug":46832,"title":46833,"dynasty":45,"author":454,"museum":107,"description":46834,"tags":46835,"thumbUrl":46836,"material":95,"size":95,"collection":95,"collections":46837,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239731,"zhang-zhou-wen-shi-chi-du-ce-wen-peng-zhi-yu-zhe-pu-tao-tie-yi-ming-239731","长洲文氏尺牍册-文彭致玉遮葡萄帖","这幅草书尺牍，行笔圆劲婉转，牵丝映带轻盈自然，字势错落揖让，通篇气息贯通浑融。墨色随运笔疾徐生出浓淡枯湿的层次，枯笔见筋骨，润墨显腴润，将日常尺牍的松弛随性与书法的文人意趣相融。无刻意的规整排布，每字皆随文思流转随性生发，尽显雅致风流，把寻常问候化作笔墨雅事，字里行间皆是书者的闲散襟怀与笔墨修养。",[4038,25,7,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025114b7ee1bb8bebb9d5ff501ce8123.jpg",[],{"id":46839,"slug":46840,"title":46841,"dynasty":45,"author":9605,"museum":107,"description":17338,"tags":46842,"thumbUrl":46843,"material":95,"size":95,"collection":95,"collections":46844,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239730,"zhang-zhou-wen-shi-chi-du-ce-zhi-shu-bao-xiang-wan-tie-wen-jia-239730","长洲文氏尺牍册-致叔宝向晚帖",[7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4afa597e963187e696fb10452d2058c6.jpg",[],{"id":46846,"slug":46847,"title":46848,"dynasty":18,"author":46849,"museum":107,"description":46850,"tags":46851,"thumbUrl":46852,"material":95,"size":95,"collection":95,"collections":46853,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},239716,"shu-hong-li-dan-han-xing-juan-xie-yong-239716","书弘历弹汗行卷","谢墉","此作用笔精整匀停，点画温润秀雅，尽显馆阁体庄重雍容的庙堂气象。结体舒展匀称，通篇行气贯通丝毫不滞，恪守森严法度，起收笔皆循程式，一笔一划工稳端方，无丝毫懈怠草率，尽显书写者深厚沉实的书学功底，是清代台阁书法的典型风貌写照。\n\n笔墨的恭谨肃穆，恰好契合文本尊崇郑重的基调，将馆阁书法“乌、方、光”的特点尽数展现，兼具文献价值与书法审美价值，是清代台阁书法中上乘的作品。",[2135,199,49,7,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e99a8553a4aaf5e45389eb2330be458.jpg",[],{"id":46855,"slug":46856,"title":46857,"dynasty":18,"author":10010,"museum":107,"description":46858,"tags":46859,"thumbUrl":46860,"material":95,"size":95,"collection":95,"collections":46861,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239714,"shu-hong-li-ji-jing-shi-zhou-jiang-pu-239714","书弘历即景诗轴","此作用笔秀雅温润，行笔流畅自然，牵丝映带间尽显从容端雅气度，点画轻重得宜，兼具赵孟頫妍秀与董其昌疏朗意韵。章法排布匀整舒朗，字间行气错落和谐，墨色匀净雅致，馆阁体的规整工稳中不失灵动意趣。\n笔墨恭谨贴合御制即景诗意，将秋日山烟霭清寂、田亩风物疏阔的意境，融于柔婉隽秀的笔端，书意与诗情相得益彰，尽显深厚帖学功底与文人雅致，是清代馆阁书法的典型佳构。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b39b82e97238ca71041c4ba952f03c7.jpg",[],{"id":46863,"slug":46864,"title":46865,"dynasty":18,"author":46866,"museum":107,"description":46867,"tags":46868,"thumbUrl":46869,"material":95,"size":95,"collection":95,"collections":46870,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239713,"shu-zong-shi-xun-ce-fei-chun-239713","书宗室训册","费淳","此作为清代馆阁体小楷的典范之作，笔致端凝秀雅，结体匀整工稳。通篇字字排布齐整如一，笔画起收有度，提按顿挫皆恪守法度，捺撇舒展沉稳，点画精致饱满，尽显庙堂正书的庄重气象。\n\n书写内容为宗室训诫，笔墨气韵与文本内核相得益彰，将规训的肃穆之意寄寓于规整形制之中，既体现出书写者精湛入微的控笔功力，也承载着清代正统书法的审美范式，是兼具实用功用与艺术价值的清代楷书精品。",[25,7,199,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616b2a720163458c641cf7adb69a49c4.jpg",[],{"id":46872,"slug":46873,"title":46874,"dynasty":45,"author":1313,"museum":107,"description":46875,"tags":46876,"thumbUrl":46877,"material":95,"size":95,"collection":95,"collections":46878,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239652,"san-shi-zi-gao-juan-dong-qi-chang-239652","三世自诰卷","此卷行草笔致空灵淡宕，董其昌将晋人萧散风神融于笔墨间，提转顿挫皆见法度，线条瘦劲秀逸却暗含腴润，尽显其“以淡为宗”的书学旨趣。通卷布局疏朗匀净，朱红鉴藏印错落点缀，与墨色相互映衬，愈发显得清雅绝尘。\n\n书写时随心走笔，不刻意求工却气脉连贯，既有帖学的灵动姿致，又暗含碑意的沉稳，尽显一代帖学大家的从容气度，将文人书法的书卷气挥洒到极致。",[23,25,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F403e6de87886213ad2f8dd02c01133ad.jpg",[],{"id":46880,"slug":46881,"title":46882,"dynasty":88,"author":46883,"museum":107,"description":46884,"tags":46885,"thumbUrl":46886,"material":95,"size":95,"collection":96,"collections":46887,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239646,"zhan-yang-tie-yuan-xie-239646","詹仰帖","袁夑","祖父袁毂。生于宋高宗绍兴十四年，早年入读太学，淳熙年间进士及第，调任江阴尉。迁太学正，当时党禁兴起，因非议去职。后来历仕司封郎官，迁国子监祭酒。后为礼部侍郎，与权相史弥远争和议，被罢官回乡。\n袁燮博学，学者称其为“絜斋先生”。与舒磷、沈焕、杨简并称为“明州淳熙四先生”，为当时浙东四明学派的代表人物之一，曾主讲于城南书院，袁燮讲学，必启发诸生“反躬切己，忠信笃实”，“其教多以明心为言，盖有见于当时学者陷溺功利，沈锢词章，积重难返之势，必以提醒为要”。晚年起用，出知温州，进直学士，宋宁宗嘉定十七年卒，享寿八十一岁。奉祠以卒，谥正献。真德秀为他写行状[2]。著作《絜斋集》二十四卷、《絜斋后集》十三卷、《絜斋家塾书钞》、《絜斋毛诗经筵讲义》。后人袁士杰辑有《袁正献公遗文钞》。",[92,24,25,7,60,312,3479,2601,2282,4347,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2aefae188247cd1e32c521cde295a68.jpg",[96],{"id":46889,"slug":46890,"title":46891,"dynasty":45,"author":46892,"museum":126,"description":46893,"tags":46894,"thumbUrl":46895,"material":312,"size":95,"collection":96,"collections":46896,"showCount":788,"zanCount":882,"manualWeight":39,"mainColor":40},239592,"bie-jiu-tie-ce-ye-kong-yan-jin-239592","别久帖册页","孔彦缙","孔彦缙(1401-1455)：男，汉族，字朝绅。孔子的第58世孙。衍圣公孔公鉴之子。明朝曲阜(今山东曲阜)人。袭封衍圣公。精篆书，作有《书史会要》。",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7a70c43f239a033777c0b3049aaa48.jpg",[96],{"id":46898,"slug":46899,"title":46900,"dynasty":45,"author":46901,"museum":126,"description":46902,"tags":46903,"thumbUrl":46904,"material":312,"size":95,"collection":96,"collections":46905,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239590,"qing-mu-tie-ce-ye-kong-yong-239590","青目帖册页","孔镛","孔镛（1417年—1489年），字韶文，南直隶苏州府长洲（今江苏苏州）人。官都昌知县、高州知府、右副都御史巡抚贵州，弘治二年召为工部右侍郎，九月卒于赴召途中。",[4038,7,60,4347,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de601751ea9af2044a6dc28454a8671.jpg",[96],{"id":46907,"slug":46908,"title":46909,"dynasty":45,"author":46910,"museum":126,"description":46911,"tags":46912,"thumbUrl":46913,"material":312,"size":95,"collection":96,"collections":46914,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239587,"zhi-shi-tie-ce-ye-liao-zhuang-239587","执事帖册页","廖庄","廖庄是明代官员，字安止，吉水人。《明史.列传第五十》载，他为人刚直，好面折人过，不拘小节。宣德五年中进士。明英宗初年，授刑科结事中。成化初年召为刑部左侍郎，逾年病死，赠尚书。",[25,7,60,4347,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f0c4d1166ec7361d8ecda715dfd614.jpg",[96],{"id":46916,"slug":46917,"title":41879,"dynasty":18,"author":35749,"museum":107,"description":46918,"tags":46919,"thumbUrl":46920,"material":95,"size":95,"collection":95,"collections":46921,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239377,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239377","此作用淡墨浅晕铺就萧寒底色，绘出冬郊水村之景。坡岸逶迤，寒苇疏偃于水滨，枯木虬劲褪去繁叶，尽显清瘦骨相。茅舍三两错落石畔林间，篱栅板桥轻简野朴，不见烟火喧嚣，只剩冷寂空茫。\n\n边角题字与画面相映，以诗衬景，将载月归乡的清寂诗意融于尺幅间。笔墨松灵秀雅，皴擦简淡却将冬水冷涩、荒岸萧索尽皆托出，淡赭轻敷晕染天色，把暮晚薄烟弥散的空濛晕开，似将霜夜浸骨的寒意藏进每一缕淡墨之中，尽显冷逸出尘的文人意趣。",[24,50,27,26,59,51,55,704,1678,446,268,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fe11504628ab01761ca4035fe23d1e.jpg",[],{"id":46923,"slug":46924,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":46925,"tags":46926,"thumbUrl":46927,"material":95,"size":95,"collection":95,"collections":46928,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239200,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239200","此帧以水墨绘山居清景，山谷间村居错落，林木蓊郁，飞泉穿岩漱石，层峦以淡墨晕染出空濛烟岚，将江南山水温润之态尽数铺展。笔墨以干笔皴擦出山石肌理，墨色层次清润柔和，意境幽寂淡远。左侧行书题跋笔致苍劲朴拙，书画相映成趣，尽显文人雅意。画面寄寓着幽居林泉的隐逸襟怀，将沉郁静穆的心境融于丘壑林泉，笔底皆是世外丘山，毫端尽见林下高致。",[24,50,26,59,7,77,51,52,53,458,55,56,57,252,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27dfdc15d81e286e5bd0c0537523e416.jpg",[],{"id":46930,"slug":46931,"title":22036,"dynasty":18,"author":22037,"museum":107,"description":46932,"tags":46933,"thumbUrl":46934,"material":95,"size":95,"collection":95,"collections":46935,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239199,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239199","此帧绘天台桃源胜景，层岩峻岭拔地而起，飞瀑穿谷而下，溪湾回环间村居、板桥、渔舟错落隐现，林泉幽寂宛如化外仙境。以干笔皴擦勾勒山石苍莽肌理，淡墨晕染出空濛岚气，笔墨苍秀简远，尽显静穆清旷之致。左侧题咏桃源的行书笔致清劲疏朗，书画合璧，以文衬景，将世外幽居的澹逸与林下守志的襟怀融于一画，淡远萧散间，藏着幽栖丘山的雅意。",[24,50,59,26,7,77,51,52,53,55,56,57,266,473,113,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea69c09b056d642b6b126fa6049aec.jpg",[],{"id":46937,"slug":46938,"title":25821,"dynasty":18,"author":46939,"museum":107,"description":46940,"tags":46941,"thumbUrl":46942,"material":751,"size":752,"collection":95,"collections":46943,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},239002,"shan-shui-shan-zhao-wei-239002","赵玮","赵玮，生卒年不详，山东济南府平原县人。幼孤，事母以孝。闻以明经，授莱州府学训导。招集诸生，立月课法，拔其尤者廪给之，一时文风蔚起。又捐俸、备乐器于学宫，聘儒童肄习之，历三月而八音备。生平笃学嗜古，于诸书无不究悉。所著有《圣庙元音》及《典礼》、《仪礼》二卷藏于家。",[1250,24,50,27,51,57,56,5722,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a45b2fac7e87c475746906d4a2d3b47.jpg",[],{"id":46945,"slug":46946,"title":46947,"dynasty":18,"author":38948,"museum":107,"description":46948,"tags":46949,"thumbUrl":46950,"material":95,"size":95,"collection":95,"collections":46951,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},238973,"shan-shui-ce-qing-hang-zhang-gan-wang-chen-238973","山水册－青行长竿","此作用笔简淡松秀，以披麻皴勾勒崖壁，苔点错落晕染出山石斑驳古意，崖畔林木疏朗，淡墨点叶尽显清寂萧散。近处萋萋浅草铺陈滩头，一人泛舟垂纶，静享幽居渔隐之趣。\n\n诗画相映，将江南水畔闲逸图景铺陈开来。干笔皴擦晕染出空濛淡远的意境，带着沉静古雅的文人意韵，于简淡之中尽显平淡天真的画中真味，把幽寂清和的林下闲情藏入山水之间。",[24,50,59,26,7,60,77,51,54,56,1678,39737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bc9a61873ab0eb209f6a04c5718960.jpg",[],{"id":46953,"slug":46954,"title":24785,"dynasty":18,"author":24786,"museum":107,"description":24787,"tags":46955,"thumbUrl":46956,"material":751,"size":752,"collection":95,"collections":46957,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},238860,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238860",[24,25,26,27,111,7,12029,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6aa987726889a253bbf2ea959cb714d.jpg",[],{"id":46959,"slug":46960,"title":24785,"dynasty":18,"author":24786,"museum":107,"description":24787,"tags":46961,"thumbUrl":46962,"material":751,"size":752,"collection":95,"collections":46963,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},238857,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238857",[24,25,26,27,111,12029,7,60,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c717c3e59ce82b02e3caa12062aa2b.jpg",[],{"id":46965,"slug":46966,"title":46967,"dynasty":45,"author":454,"museum":107,"description":46968,"tags":46969,"thumbUrl":46970,"material":751,"size":752,"collection":95,"collections":46971,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},238563,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238563","明人升平翊赞图并书赞册","此作封面以刺绣装裱，墨底之上缠枝云纹与宝相花彩绣环簇，朱金翠色交织，明艳中透着沉穆。深蓝幅面楷书端秀古雅，“绘以昭形，书以显功”点明册页内核。装帧巧思尽显，将绣艺与书法融于一体，华贵庄重。整作以图纪实、以书咏赞，工艺与文心相合，尽显颂赞升平的典雅意趣，亦是传统装帧工艺与书画美学相映的匠心典范。",[92,24,25,26,27,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41d51a1bf10977a6b8e97fb75c7daf5.jpg",[],{"id":46973,"slug":46974,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":46975,"thumbUrl":46978,"material":751,"size":752,"collection":95,"collections":46979,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},238545,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238545",[24,25,26,27,111,113,60,7,77,458,3833,2186,9813,46976,46977],"臣子","平民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69cc6fd0b4f42c884fbe86cc1b1ee9ac.jpg",[],{"id":46981,"slug":46982,"title":4167,"dynasty":18,"author":46983,"museum":107,"description":46984,"tags":46985,"thumbUrl":46986,"material":95,"size":95,"collection":95,"collections":46987,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},238011,"shan-shui-ce-lu-zun-shu-238011","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,25,26,50,199,77,7,51,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787112a0d0bf424320775b3eb4cc4c61.jpg",[],{"id":46989,"slug":46990,"title":12162,"dynasty":18,"author":29755,"museum":107,"description":29756,"tags":46991,"thumbUrl":46992,"material":751,"size":752,"collection":95,"collections":46993,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237994,"za-hua-ce-xue-huai-237994",[24,25,26,112,77,7,10925,6082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94921c4e6dc55d6984a98519331dfbe1.jpg",[],{"id":46995,"slug":46996,"title":12162,"dynasty":18,"author":29755,"museum":107,"description":29756,"tags":46997,"thumbUrl":46999,"material":751,"size":752,"collection":95,"collections":47000,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237992,"za-hua-ce-xue-huai-237992",[24,25,26,112,7,77,46998],"藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370c5f8da7151fba238d52c332a3e2e0.jpg",[],{"id":47002,"slug":47003,"title":17304,"dynasty":18,"author":24819,"museum":107,"description":47004,"tags":47005,"thumbUrl":47006,"material":95,"size":95,"collection":95,"collections":47007,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237950,"shan-shui-tu-ce-liu-yu-237950","此页以水墨写就幽谷山居，淡墨皴擦山石，苍松错落层叠，山居隐于茂林深处，留白晕出山野空寂清旷的氛围，萧散淡远，意韵悠长。\n左侧题诗笔墨清逸流动，诗画相映，以文衬景，将林泉隐逸的雅怀融于尺幅间。全作用笔简淡空灵，不做繁复勾勒，只以水墨干湿浓淡晕染出超脱尘嚣的栖居之境，带着静穆禅意，尽显寄情林泉的文人雅趣。",[24,25,26,50,60,7,59,651,652,55,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb69de19da72e06304d50790390aa714b.jpg",[],{"id":47009,"slug":47010,"title":17304,"dynasty":18,"author":10781,"museum":107,"description":42048,"tags":47011,"thumbUrl":47012,"material":751,"size":752,"collection":95,"collections":47013,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237776,"shan-shui-tu-ce-ye-xin-237776",[24,25,26,50,59,7,51,115,251,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d9b5014861b0a4b8fe60ed591b2172.jpg",[],{"id":47015,"slug":47016,"title":17304,"dynasty":18,"author":10781,"museum":107,"description":42048,"tags":47017,"thumbUrl":47018,"material":751,"size":752,"collection":95,"collections":47019,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},237775,"shan-shui-tu-ce-ye-xin-237775",[24,25,26,50,27,51,652,471,116,152,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f268c65121b4e5cca0bdda93e545b4b.jpg",[],{"id":47021,"slug":47022,"title":17304,"dynasty":18,"author":10781,"museum":107,"description":42048,"tags":47023,"thumbUrl":47024,"material":751,"size":752,"collection":95,"collections":47025,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},237774,"shan-shui-tu-ce-ye-xin-237774",[24,25,26,50,51,651,360,54,1678,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8da92f1bca2145e7c80834df17da18d.jpg",[],{"id":47027,"slug":47028,"title":29763,"dynasty":18,"author":29764,"museum":107,"description":29765,"tags":47029,"thumbUrl":47030,"material":751,"size":752,"collection":95,"collections":47031,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237709,"qiu-sui-hua-niao-ce-qiu-sui-237709",[24,25,26,27,29,7,77,282,1294,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa451df08c99e6ff3a0c701244fd4e239.jpg",[],{"id":47033,"slug":47034,"title":28325,"dynasty":18,"author":28326,"museum":107,"description":28327,"tags":47035,"thumbUrl":47036,"material":751,"size":752,"collection":95,"collections":47037,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237644,"li-yin-fang-gu-shan-shui-ce-li-yin-237644",[24,25,26,50,59,110,13294,7,77,51,651,266,56,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcd921af5ff2b9ce575dc8bcd48feb2e.jpg",[],{"id":47039,"slug":47040,"title":28325,"dynasty":18,"author":28326,"museum":107,"description":28327,"tags":47041,"thumbUrl":47042,"material":751,"size":752,"collection":95,"collections":47043,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237643,"li-yin-fang-gu-shan-shui-ce-li-yin-237643",[24,50,26,60,7,77,59,13294,51,115,132,55,57,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26d71b16b958723b97993811b3cd916.jpg",[],{"id":47045,"slug":47046,"title":38730,"dynasty":18,"author":38731,"museum":107,"description":47047,"tags":47048,"thumbUrl":47049,"material":95,"size":95,"collection":95,"collections":47050,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237573,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237573","此作为诗书合璧的雅致小品，右页行书俊爽灵动，笔势流转间铺叙海上观峰、天柱雄峙之景，将林泉奇崛与幽渺遐思寄于笔墨。左页小楷端雅舒和，点画清劲匀整，以禅意文字叙写龙山幽居，雪境清寂尽显林下幽人的恬然自适。墨色清润素净，页面排布疏朗得当，将山水意趣与隐逸襟怀融于尺幅之间，文辞清雅隽秀，笔墨兼具法度与散逸之态，尽显文人沉潜林泉的静穆襟怀与雅致意韵，读来幽思暗生，尽显清人诗书合融的审美意趣。",[24,25,26,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c551c249834ef90ad2ee4417de5fd7.jpg",[],{"id":47052,"slug":47053,"title":38730,"dynasty":18,"author":38731,"museum":107,"description":47054,"tags":47055,"thumbUrl":47056,"material":95,"size":95,"collection":95,"collections":47057,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237572,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237572","此册小楷笔意温润秀雅，结体端匀舒展，两页书迹各有风致。墨色清透匀净，行气疏朗从容，既有规整清雅的庙堂法度，又暗携林下散淡的文人气韵。\n\n诗作皆为山水奇石题咏，笔墨与诗意相生，未着一帧画石图景，却以隽秀文字铺展出松壑云流、奇石清韵，将文人耽爱林泉、藏纳丘壑的襟怀寄寓在点画之中。诗书相合，尽显旧时文人士子以翰墨寄兴、以风雅明志的闲澹意趣，是一件雅致动人的诗书小品。",[18,24,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbafb2f7472f2ca2b94067c8f298cb22c.jpg",[],{"id":47059,"slug":47060,"title":38730,"dynasty":18,"author":38731,"museum":107,"description":47061,"tags":47062,"thumbUrl":47063,"material":95,"size":95,"collection":95,"collections":47064,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237571,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237571","此行书诗册笔墨隽秀温雅，结体疏朗灵动。点画提转自然圆融，章法错落有致，自带林下散淡闲逸之风。\n册中以诗咏石，将奇石比作美人、掌峰，把嶙峋石态晕染出清雅情致，诗书合璧，尽显文人赏石雅趣。墨色浓淡合宜，两枚朱印点缀页间，朱墨相映愈添古雅意韵，藏着旧时文人耽爱林泉、寄情物我的悠然心境，尽显清雅脱俗的审美意趣。",[24,25,26,60,77,50,250,678,1679,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1942e63b58f707edffece43cd82cbc22.jpg",[],{"id":47066,"slug":47067,"title":38730,"dynasty":18,"author":38731,"museum":107,"description":47068,"tags":47069,"thumbUrl":47070,"material":95,"size":95,"collection":95,"collections":47071,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237566,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237566","此作为行书册页，笔墨随性朴拙，尽显文人尺牍雅致意趣。用笔圆融灵动，牵丝映带间流转自如，字势欹正相生，排布错落如檐下疏风，毫无板滞之感。通篇枯湿浓淡互见，墨色层次丰富，将日常寄兴的诗文化作笔下悠悠意态，信笔挥洒间藏着松弛自在的林下之风。行文如晤，笔墨晕染出作者遣兴抒怀的悠然心境，把寻常酬唱的日常，晕染成带着温度的纸上闲情。",[2135,60,7,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc66103bcbde67f32dcc8c1ec228db4.jpg",[],{"id":47073,"slug":47074,"title":4167,"dynasty":18,"author":36128,"museum":107,"description":47075,"tags":47076,"thumbUrl":47077,"material":751,"size":752,"collection":95,"collections":47078,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237523,"shan-shui-ce-chen-zi-237523","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,25,26,27,59,7,60,51,651,360,652,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20fc3755c27f523ffab13471a560c60.jpg",[],{"id":47080,"slug":47081,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":47082,"thumbUrl":47083,"material":751,"size":752,"collection":95,"collections":47084,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237513,"shan-shui-hua-hui-ce-jiang-shou-cheng-237513",[24,25,26,50,27,60,51,651,56,53,252,58,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2ef48e14ad8c53446249150754aaab.jpg",[],{"id":47086,"slug":47087,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":47088,"thumbUrl":47089,"material":751,"size":752,"collection":95,"collections":47090,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237511,"shan-shui-hua-hui-ce-jiang-shou-cheng-237511",[24,25,26,50,112,60,7,51,54,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ce9a666a012a6e1ffb8714d037eefd.jpg",[],{"id":47092,"slug":47093,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":47094,"thumbUrl":47095,"material":751,"size":752,"collection":95,"collections":47096,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237505,"shan-shui-hua-hui-ce-jiang-shou-cheng-237505",[24,25,26,112,50,7,54,1752,3548,51,56,1678,360,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc17cfcf01e8bdb2865273740062cde5.jpg",[],{"id":47098,"slug":47099,"title":10678,"dynasty":45,"author":15164,"museum":107,"description":15165,"tags":47100,"thumbUrl":47101,"material":751,"size":752,"collection":95,"collections":47102,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237500,"shan-shui-hua-hui-ce-jiang-shou-cheng-237500",[24,25,26,7,60,50,845,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a25027d4952d0d36aff68c55f9650a.jpg",[],{"id":47104,"slug":47105,"title":4167,"dynasty":18,"author":42119,"museum":107,"description":42120,"tags":47106,"thumbUrl":47107,"material":312,"size":95,"collection":95,"collections":47108,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237373,"shan-shui-ce-wang-jiu-237373",[24,25,26,50,59,51,115,2293,250,53,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e7a2a33bfda69b945ed1dbdc564dfe.jpg",[],{"id":47110,"slug":47111,"title":23845,"dynasty":18,"author":454,"museum":107,"description":47112,"tags":47113,"thumbUrl":47114,"material":751,"size":752,"collection":95,"collections":47115,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237257,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237257","右侧设色人物清雅凝练，主人公持笏卓立，诸人垂首躬身，神态满含敬慕，衣纹简练舒展、设色调和雅致，将朝堂之上的肃穆恭敬尽显，暗合主人公端方持重的名臣气度。\n左侧行书题颂笔意隽秀舒展，诗文赞其温良恭谨、治民宽和，节操如秋水凝霜，为官不矜骄。\n诗画相辅，以图具象名臣德行，以文铺陈贤名高节，工写相宜，借诗画传递出传统士大夫的理想人格韵味，尽显小品佳作的文气与纪实意趣。",[2135,24,25,26,27,113,60,7,111,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac5964e0b39584045a35732c057b6d43.jpg",[],{"id":47117,"slug":47118,"title":23845,"dynasty":18,"author":454,"museum":107,"description":47119,"tags":47120,"thumbUrl":47123,"material":751,"size":752,"collection":95,"collections":47124,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},237256,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237256","此作为图文合璧的册页小品。右侧设色人物场景写实清雅，渡口驿门前，蓝袍官员停驻拜谒，门内长者拱手答礼，从者牵马静立旁侧，浅滩林石隐现，衬出古朴雅致的晤面氛围，衣纹舒展灵动，树石晕染清润，尽显细腻的笔致意趣。\n左侧行书题颂笔力苍劲舒展，墨色匀净，文辞与图景呼应唱和，颂赞名臣风节。书画相映，将仕者敬贤之态融于幽寂林下，暗合贤德吏治的主题，尽显传统纪实题材的温婉意韵，以笔墨留存了对名臣贤行的追慕。",[24,27,111,60,7,26,113,1074,652,57,473,47121,2019,5091,47122],"木门","人物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7f46be44914fb3124a68b6b65751d7.jpg",[],{"id":47126,"slug":47127,"title":27012,"dynasty":45,"author":25884,"museum":107,"description":38777,"tags":47128,"thumbUrl":47129,"material":751,"size":752,"collection":95,"collections":47130,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},237025,"mo-mei-ce-shen-hao-237025",[24,25,26,50,131,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff3aef660a3c4decfaea979575d63fa.jpg",[],{"id":47132,"slug":47133,"title":47134,"dynasty":18,"author":47135,"museum":107,"description":47136,"tags":47137,"thumbUrl":47138,"material":751,"size":752,"collection":95,"collections":47139,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236857,"zhu-shi-ce-wang-e-236857","竹石册","王崿","字山眉，一作小眉，亦作山麋，山陰（今浙江紹興）人。諸生。工書，善山水、蘭、竹，人物師陳洪綬。",[24,25,26,50,60,7,132,589,250,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9124cf4b91d0e3abb67ee73dd9cd4c.jpg",[],{"id":47141,"slug":47142,"title":47143,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":47144,"thumbUrl":47145,"material":751,"size":752,"collection":95,"collections":47146,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236666,"bie-you-feng-wei-ce-huang-shen-236666","别有风味册",[24,25,26,50,112,29,445,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b71f21cf63e04529177b6a2a66b3478.jpg",[],{"id":47148,"slug":47149,"title":36127,"dynasty":18,"author":36128,"museum":107,"description":36129,"tags":47150,"thumbUrl":47151,"material":95,"size":95,"collection":95,"collections":47152,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236527,"ren-wu-gu-shi-ce-chen-zi-236527",[24,25,92,26,27,111,113,7,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce1923f77356d309abd81a675afc2ae.jpg",[],{"id":47154,"slug":47155,"title":47156,"dynasty":45,"author":454,"museum":107,"description":47157,"tags":47158,"thumbUrl":47159,"material":95,"size":95,"collection":95,"collections":47160,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236427,"shu-zhi-shan-shui-ce-yi-ming-236427","殳执山水册","此作以淡墨晕染层叠山峦，山岚轻笼，峰峦勾勒简雅清疏，空蒙清远间尽显文人写意逸趣。近景林木错落舒展，枝叶点染古拙随性，苍润墨色晕开郊野山林的静谧幽寂。\n\n左侧题诗以清雅行书呼应画意，书画合璧。整体笔致萧散淡远，以简淡之笔铺陈丘壑灵秀，将文人寄情林泉的雅趣融于尺幅之间，悠悠林下之风漫溢纸面，尽显对林泉高致的悠悠向往。",[24,50,26,51,651,652,589,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c55687eb324fbfc1e3b00c4dcee996.jpg",[],{"id":47162,"slug":47163,"title":47164,"dynasty":18,"author":47165,"museum":126,"description":47166,"tags":47167,"thumbUrl":47172,"material":95,"size":95,"collection":96,"collections":47173,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236416,"shu-qi-lv-ce-ye-tang-you-ceng-236416","书七律册页","汤右曾","汤右曾(1656--1722)，字西涯，仁和(今杭州)人。康熙二十七年(1688)进士，官吏部侍郎。右曾少工诗，清远鲜润。其后师事王士祯，称入室。以逸笔写山水，著墨无多，工行楷，遒媚似苏轼。有怀清堂集。",[7,60,4347,77,17644,47168,47169,282,47170,47171,28014,3039],"风月","烟鸥","酒樽","藜羹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70622fc4acd62761c1177077452fa3e.jpg",[96],{"id":47175,"slug":47176,"title":47177,"dynasty":18,"author":12696,"museum":107,"description":12697,"tags":47178,"thumbUrl":47179,"material":751,"size":752,"collection":95,"collections":47180,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236348,"shui-shi-shan-chen-heng-ke-236348","水石扇",[24,25,1250,50,51,250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8def83258460be0af96b09c78c48aa69.jpg",[],{"id":47182,"slug":47183,"title":47184,"dynasty":45,"author":2916,"museum":107,"description":27809,"tags":47185,"thumbUrl":47186,"material":751,"size":752,"collection":95,"collections":47187,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236192,"hua-shan-shui-yong-yan-shu-ti-gu-yu-wu-shou-cheng-shan-lu-zhi-236192","画山水颙琰书题古玉五首成扇",[24,25,1250,51,50,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb277ba90b5cf505a9fa82e06e7263943.jpg",[],{"id":47189,"slug":47190,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":47191,"tags":47192,"thumbUrl":47193,"material":95,"size":95,"collection":95,"collections":47194,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236097,"hua-luo-han-ce-leng-mei-236097","此作白描清劲秀逸，勾勒极具表现力。主者袒胸跣足，神态威严又随性自在，抬手间尽显出尘威仪。侍从头束宝冠躬身持物，神态恭谨，幼童伏地憨态尽显，诸人情态各异，细节鲜活传神。左侧题诗笔意端雅，与绘画面面相呼应，诗画合璧晕染出悠然禅意，将佛门清寂庄严的意境融于尺幅之间，工细中带着文雅意趣，静谧古雅里尽显超然禅韵。",[24,25,26,878,111,27,113,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F945c72d9f76ff7c2d6f525c026ee6878.jpg",[],{"id":47196,"slug":47197,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":47198,"tags":47199,"thumbUrl":47200,"material":95,"size":95,"collection":95,"collections":47201,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236095,"hua-luo-han-ce-leng-mei-236095","此作设色雅淡明净，右侧绘禅室清景。袒胸罗汉安坐案侧，目含静定悠然之态，一童子俯首研墨，侍者正趋前供花。案头卷册、砚台错落，瓶花素净雅致，笔线清劲秀挺，衣纹流转自如，晕染柔润细腻，将禅居的静穆闲和尽显无余。\n\n左侧行书舒展俊逸，诗画相映成趣。整幅简净空灵，工致中不失文人雅逸之韵，将禅者萧散自在的襟怀融于绢素，把清修禅意与文房雅境相融，尽显静谧悠远的世外幽情。",[24,25,111,27,878,113,3956,7064,30,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948535ada5b246890bf49c4f661cefdd.jpg",[],{"id":47203,"slug":47204,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":47205,"tags":47206,"thumbUrl":47207,"material":95,"size":95,"collection":95,"collections":47208,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236090,"hua-luo-han-ce-leng-mei-236090","此幅以淡彩白描绘就罗汉，足蹑云涛，衣褶线条流转如回风垂柳，神情端严澄澈，似在静聆禅音，周身云气萦纡晕染，晕开超逸出尘之态。\n\n左侧题诗配朱印错落排布，笔意隽秀舒展，与画意相得益彰，禅心文思交融无间。整作清和静雅，淡墨轻岚暗藏空灵禅韵，将罗汉弃刃向佛的超脱心境暗含其间，笔墨工丽却不失简澹意趣，尽显含蓄悠远的佛家意境。",[24,25,26,111,27,113,878,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff217bdf968b9e445ac1263e6f0e3ad71.jpg",[],{"id":47210,"slug":47211,"title":15172,"dynasty":18,"author":8382,"museum":107,"description":47212,"tags":47213,"thumbUrl":47214,"material":95,"size":95,"collection":95,"collections":47215,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},236088,"hua-luo-han-ce-leng-mei-236088","此作人物排布疏密有致，居中罗汉跏趺安坐，长髯垂胸，神情恬然慈悲。两侧眷属柔婉静穆，神将威而不厉，云端仙人乘雾来谒，诸般神态各尽其态。衣纹线条细劲秀逸，婉转灵动，将布料质感与人物仪态尽显无遗，设色浅淡明净，清雅出尘。\n\n左侧题字笔致娟秀端雅，书画合璧更添意蕴。整体兼具工细整饬的法度，又暗含出尘的禅意，将佛国清和超然的氛围晕染得淋漓尽致，是工笔佛道人物的精妙之品。",[26,7,113,27,111,4347,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fedb57becebe4e5c4d16297fb23269.jpg",[],{"id":47217,"slug":47218,"title":4167,"dynasty":45,"author":13748,"museum":107,"description":31761,"tags":47219,"thumbUrl":47220,"material":751,"size":752,"collection":95,"collections":47221,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},235816,"shan-shui-ce-li-liu-fang-235816",[24,25,26,50,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32808b5812dc1919cc5fa67f56a347dd.jpg",[],{"id":47223,"slug":47224,"title":47225,"dynasty":45,"author":4300,"museum":107,"description":4301,"tags":47226,"thumbUrl":47227,"material":751,"size":752,"collection":95,"collections":47228,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},235769,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wu-song-jiang-tu-ye-chen-chun-235769","吴门诸家寿袁方斋三绝册-吴淞江图页",[24,25,26,50,27,7,77,51,52,53,56,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098f5ef4d61784b2c3a4c75fb32b5218.jpg",[],{"id":47230,"slug":47231,"title":47232,"dynasty":18,"author":47233,"museum":107,"description":47234,"tags":47235,"thumbUrl":47236,"material":751,"size":752,"collection":95,"collections":47237,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},235751,"yuan-shu-ting-xiang-zhou-shen-jing-235751","袁纾亭像轴","沈景","沈景，东汉乌程余不乡（今浙江省德清县）人。沈戎少子。沈酆、沈浒弟。初为侍御史，汉顺帝刘保以其有强能称，故擢为河间相，拜二千石，有贤政。",[24,75,27,113,1018,7,77,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd118fdc9dc3dfa4c93808b9f9e59b78f.jpg",[],{"id":47239,"slug":47240,"title":1290,"dynasty":18,"author":47241,"museum":107,"description":47242,"tags":47243,"thumbUrl":47244,"material":95,"size":95,"collection":95,"collections":47245,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},235572,"hua-hui-ce-fan-ting-zhen-235572","范廷镇","这幅小品以水墨写意绘秋石榴，枯润兼施的笔墨将果实神态尽数拿捏。饱满的榴果或掩或绽，淡晕果皮，留白凸显果肉莹润，焦墨点染榴籽，如珠似玑，绽开的裂口憨态可掬，尽显成熟饱满的生机。旁生的枝桠以简逸笔意勾勒，叶片错落随性，寥寥数笔便写出秋枝疏朗清灵之态。\n\n配题小诗与画相映，将榴籽比作珠玑，以开口谈笑暗喻才思喷薄，文趣暗藏。整幅不刻意求工，却神完气足，淡墨轻毫间把花果生机与文人雅趣揉合一处，简淡苍秀的笔墨里，尽显清逸雅致的文人画意韵，余味悠长。",[24,25,26,50,77,7,29,445,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8334604a2a393930c71587996111a89e.jpg",[],{"id":47247,"slug":47248,"title":4167,"dynasty":18,"author":24819,"museum":107,"description":42287,"tags":47249,"thumbUrl":47250,"material":751,"size":752,"collection":95,"collections":47251,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},235497,"shan-shui-ce-liu-yu-235497",[24,25,26,50,112,60,7,51,652,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe44ff21b2853efe85d5635c5e5d54adb.jpg",[],{"id":47253,"slug":47254,"title":4167,"dynasty":18,"author":24819,"museum":107,"description":42287,"tags":47255,"thumbUrl":47256,"material":751,"size":752,"collection":95,"collections":47257,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},235495,"shan-shui-ce-liu-yu-235495",[24,25,26,50,59,60,7,51,54,57,2219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14194520488d9c42591df0a9dd3f8d78.jpg",[],{"id":47259,"slug":47260,"title":4167,"dynasty":18,"author":24819,"museum":107,"description":42287,"tags":47261,"thumbUrl":47262,"material":751,"size":752,"collection":95,"collections":47263,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},235494,"shan-shui-ce-liu-yu-235494",[24,25,26,50,59,7,60,77,51,250,115,52,53,58,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8baf66db1615a9818a722bb646ef0e1.jpg",[],{"id":47265,"slug":47266,"title":47267,"dynasty":18,"author":454,"museum":107,"description":47268,"tags":47269,"thumbUrl":47270,"material":751,"size":752,"collection":95,"collections":47271,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},235317,"ba-jia-shan-shui-ce-quan-xiu-zi-zhan-xiao-xiang-ce-ye-yi-ming-235317","八家山水册-诠修子瞻小像册页","此作对开以书画合璧呈现，右侧淡墨绘古松盘虬，枝干皴写苍劲，松针攒簇见郁茂生机。林下高士策杖缓行，童子随侍身侧，石边陈置茶器，野逸清寂，尽展林泉幽居的雅趣。\n\n左侧行书笔致萧散灵动，墨色浓淡错落，诗书相映，文气沛然。全作用笔洗练简淡，以少胜多，将文人寄情山水、耽于丘壑的幽怀融于尺幅，于简远疏淡间氤氲出悠长意境，尽显传统文人画的雅致韵致。",[24,25,26,27,113,56,250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058ec6626100f74ea43503c833ef5901.jpg",[],{"id":47273,"slug":47274,"title":47275,"dynasty":45,"author":454,"museum":107,"description":47276,"tags":47277,"thumbUrl":47278,"material":751,"size":752,"collection":95,"collections":47279,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},235146,"chen-dan-zhong-shan-shui-ce-yi-ming-235146","陈丹衷山水册","此作以淡墨绘晚秋寒林，枯木虬枝间杂苍苔矮卉，萧疏冷寂。坡岸处一人孑立，遥看雁阵掠过长空，荒寒清远之境油然而生。笔墨简淡秀雅，以留白铺就空阔天地，将羁旅怅惘寄于冷澹秋光之中。左侧题诗与画境相映成趣，诗画合璧，把深秋独行的寂寥缓缓铺陈，尽显文人画以景抒情的雅致意趣，淡远清逸间余韵悠长，将疏淡简远的审美意趣尽藏其中。",[24,25,26,27,59,51,115,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cac435eac5ad85d765a996fd38af69.jpg",[],{"id":47281,"slug":47282,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":47283,"thumbUrl":47284,"material":488,"size":95,"collection":95,"collections":47285,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234746,"huang-shan-tu-ce-jiang-zhu-234746",[24,25,26,50,59,51,458,250,1018,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7c723508ec3b20b97d144f263ba63a.jpg",[],{"id":47287,"slug":47288,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":47289,"thumbUrl":47290,"material":488,"size":95,"collection":95,"collections":47291,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234745,"huang-shan-tu-ce-jiang-zhu-234745",[24,25,26,50,59,51,250,1018,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c86ff12ef5503fad3298fc8d1ced0e3.jpg",[],{"id":47293,"slug":47294,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":47295,"thumbUrl":47296,"material":488,"size":95,"collection":95,"collections":47297,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234742,"huang-shan-tu-ce-jiang-zhu-234742",[24,25,26,50,59,60,7,51,26860,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc603bcfea893b3e6f93c3ec7fd3238c1.jpg",[],{"id":47299,"slug":47300,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":47301,"thumbUrl":47302,"material":488,"size":95,"collection":95,"collections":47303,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234736,"huang-shan-tu-ce-jiang-zhu-234736",[24,25,26,50,51,250,59,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5ac565588516320e964234a7dad28e.jpg",[],{"id":47305,"slug":47306,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":47307,"thumbUrl":47308,"material":488,"size":95,"collection":95,"collections":47309,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234732,"huang-shan-tu-ce-jiang-zhu-234732",[24,25,26,50,59,51,57,252,472,56,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb20278557b5536d5dd83267f755541.jpg",[],{"id":47311,"slug":47312,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":47313,"thumbUrl":47314,"material":488,"size":95,"collection":95,"collections":47315,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234726,"huang-shan-tu-ce-jiang-zhu-234726",[18,24,25,26,112,50,51,57,55,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0e15c005ec90fab427a64836c6475a.jpg",[],{"id":47317,"slug":47318,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":47319,"thumbUrl":47320,"material":488,"size":95,"collection":95,"collections":47321,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234724,"huang-shan-tu-ce-jiang-zhu-234724",[24,25,26,50,60,7,77,51,21204,57,56,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffeb6a83da28f29707d44172e61a3216.jpg",[],{"id":47323,"slug":47324,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":47325,"thumbUrl":47326,"material":488,"size":95,"collection":95,"collections":47327,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234721,"huang-shan-tu-ce-jiang-zhu-234721",[24,50,59,60,7,26,51,56,1678,5721,1018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65af6115a6682e951eb09b6f09c2f862.jpg",[],{"id":47329,"slug":47330,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":47331,"thumbUrl":47332,"material":488,"size":95,"collection":95,"collections":47333,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234720,"huang-shan-tu-ce-jiang-zhu-234720",[24,25,26,112,60,7,51,652,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56632eb12bcba21a9d150c55cbf3ae3.jpg",[],{"id":47335,"slug":47336,"title":47337,"dynasty":18,"author":454,"museum":107,"description":47338,"tags":47339,"thumbUrl":47340,"material":95,"size":95,"collection":95,"collections":47341,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234557,"yu-mu-shang-xin-ce-jiang-zhu-huang-hai-dan-tai-tu-ce-ye-yi-ming-234557","娱目赏心册-江注黄海丹台图册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[24,25,26,50,60,77,7,51,52,53,115,55,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe24883cf2c9df50c59031297861df435.jpg",[],{"id":47343,"slug":47344,"title":47345,"dynasty":18,"author":29291,"museum":107,"description":47346,"tags":47347,"thumbUrl":47348,"material":95,"size":95,"collection":95,"collections":47349,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},234545,"hua-chen-heng-ke-xiang-juan-wang-yun-234545","画陈衡恪像卷","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。\n斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[24,25,49,112,50,113,77,7,32009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cdd40df59179dde47a8fc346f995c01.jpg",[],{"id":47351,"slug":47352,"title":38929,"dynasty":18,"author":38930,"museum":107,"description":38931,"tags":47353,"thumbUrl":47354,"material":95,"size":95,"collection":95,"collections":47355,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234346,"you-niao-shi-tu-ce-jin-kun-234346",[24,25,26,27,51,116,56,57,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12af46b1b4f9309583bb82456be7176b.jpg",[],{"id":47357,"slug":47358,"title":4167,"dynasty":18,"author":15980,"museum":107,"description":42400,"tags":47359,"thumbUrl":47360,"material":95,"size":95,"collection":95,"collections":47361,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},234339,"shan-shui-ce-jin-ting-biao-234339",[24,50,51,26,52,53,6605,113,7,5599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7297a0aee7987d8b37b4b29da02d73e3.jpg",[],{"id":47363,"slug":47364,"title":4167,"dynasty":18,"author":15980,"museum":107,"description":42400,"tags":47365,"thumbUrl":47366,"material":95,"size":95,"collection":95,"collections":47367,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},234336,"shan-shui-ce-jin-ting-biao-234336",[24,27,59,51,57,1018,77,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F082053c6f7687a4778c3db833162e6f0.jpg",[],{"id":47369,"slug":47370,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":47371,"thumbUrl":47372,"material":488,"size":18597,"collection":95,"collections":47373,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233937,"dai-lu-fang-bei-tu-ce-huang-yi-233937",[24,25,26,50,51,59,57,266,56,55,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F276f3de28b10255afb74c9a0e546ca8c.jpg",[],{"id":47375,"slug":47376,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":47377,"thumbUrl":47379,"material":488,"size":18597,"collection":95,"collections":47380,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233934,"dai-lu-fang-bei-tu-ce-huang-yi-233934",[24,25,26,50,112,59,51,47378,1678,268,7,60,77],"山体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c7990e77fc4e7caa4509934a2a7216.jpg",[],{"id":47382,"slug":47383,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":47384,"thumbUrl":47385,"material":488,"size":18597,"collection":95,"collections":47386,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233931,"dai-lu-fang-bei-tu-ce-huang-yi-233931",[24,50,26,51,56,58,251,556,7,77,59,52,473,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5131bf38d823db72553583446cc506d0.jpg",[],{"id":47388,"slug":47389,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":47390,"thumbUrl":47391,"material":488,"size":18597,"collection":95,"collections":47392,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233929,"dai-lu-fang-bei-tu-ce-huang-yi-233929",[24,50,26,7,60,457,3467,51,56,55,268,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6a4ce860330f164f37e56cfbc812b1.jpg",[],{"id":47394,"slug":47395,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":47396,"thumbUrl":47398,"material":488,"size":18597,"collection":95,"collections":47399,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233926,"dai-lu-fang-bei-tu-ce-huang-yi-233926",[24,25,26,27,50,7,60,56,115,2764,58,113,47397],"石碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973d04a7f30cf9ab4261c52297ab6b40.jpg",[],{"id":47401,"slug":47402,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":47403,"thumbUrl":47404,"material":488,"size":18597,"collection":95,"collections":47405,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233925,"dai-lu-fang-bei-tu-ce-huang-yi-233925",[24,25,26,50,112,59,51,57,56,1018,268,458,12389,7695,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ad2a151065a409bfd70e8875f643f8.jpg",[],{"id":47407,"slug":47408,"title":18593,"dynasty":18,"author":15594,"museum":126,"description":18594,"tags":47409,"thumbUrl":47410,"material":488,"size":18597,"collection":95,"collections":47411,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233921,"dai-lu-fang-bei-tu-ce-huang-yi-233921",[24,25,26,50,51,7,59,57,56,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27776c2c7a38bc1bb61cbf305257420.jpg",[],{"id":47413,"slug":47414,"title":47415,"dynasty":18,"author":10158,"museum":126,"description":29966,"tags":47416,"thumbUrl":47417,"material":1179,"size":29969,"collection":95,"collections":47418,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233816,"shan-shui-ce-5-fu-shan-233816","山水册5",[24,25,26,27,51,55,56,5721,57,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4116bbd5f555a5007b54a3f3aff5fa.jpg",[],{"id":47420,"slug":47421,"title":47422,"dynasty":45,"author":47423,"museum":107,"description":47424,"tags":47425,"thumbUrl":47426,"material":95,"size":95,"collection":95,"collections":47427,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233360,"shi-zhu-zhai-pu-ce-hu-ri-cong-233360","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,26,27,29,131,139,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06cf8439537acae30a19529c0d04edfc.jpg",[],{"id":47429,"slug":47430,"title":47422,"dynasty":45,"author":47423,"museum":107,"description":47424,"tags":47431,"thumbUrl":47432,"material":95,"size":95,"collection":95,"collections":47433,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233283,"shi-zhu-zhai-pu-ce-hu-ri-cong-233283",[24,25,26,50,132,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe9c64724759c76cc8c2fec44c5e113e.jpg",[],{"id":47435,"slug":47436,"title":14025,"dynasty":18,"author":16245,"museum":126,"description":25866,"tags":47437,"thumbUrl":47438,"material":488,"size":25869,"collection":95,"collections":47439,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233159,"huang-shan-tu-ce-mei-qing-233159",[24,50,51,26,59,77,7,60,57,56,6139,471,252,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d7cb05d7e0dbeebdc6d3d6d01af09e.jpg",[],{"id":47441,"slug":47442,"title":14025,"dynasty":18,"author":16245,"museum":126,"description":25866,"tags":47443,"thumbUrl":47444,"material":488,"size":25869,"collection":95,"collections":47445,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233154,"huang-shan-tu-ce-mei-qing-233154",[24,25,26,50,59,51,5721,252,55,116,77,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8efd096915179d5dadc044f0c44890.jpg",[],{"id":47447,"slug":47448,"title":14025,"dynasty":18,"author":16245,"museum":126,"description":25866,"tags":47449,"thumbUrl":47450,"material":488,"size":25869,"collection":95,"collections":47451,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},233153,"huang-shan-tu-ce-mei-qing-233153",[24,25,26,50,51,55,250,132,77,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5bf1b57de79061b65b1e8bd28d46c5.jpg",[],{"id":47453,"slug":47454,"title":47455,"dynasty":18,"author":26033,"museum":72,"description":47456,"tags":47457,"thumbUrl":47458,"material":184,"size":47459,"collection":95,"collections":47460,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},232967,"sheng-ji-cong-zhou-ai-qi-meng-232967","胜吉骢轴","依纳爵·西歇尔巴特（Ignatius Sichelbart），（1708年－1780年），汉名艾启蒙，字醒庵，波西米亚（今属捷克）人，天主教耶稣会传教士。\n他乾隆十年（1745年）来到中国，师从郎世宁学画，很快受到清廷重视，奉召入内廷供奉。\n他擅长人物、走兽、翎毛类绘画，与郎世宁、王致诚、安德义被人称为四洋画家，形成新体画风。\n他已知的作品有紫光阁武功图中《准噶尔战功图》（乾隆二十年，1755年）；孝圣皇后八旬万寿（乾隆三十六年，1771年），《香山九老图》，著录于《国朝院画录》；《十骏图》（乾隆三十七年）。《宝吉骝图》轴（乾隆三十八年，1773年），绢本，设色，现均藏于台北故宫博物院。",[24,25,75,27,111,1074,798,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d92959cd7cda99715de382fbd737ff.jpg","纵228.5厘米、横275厘米",[],{"id":47462,"slug":47463,"title":47464,"dynasty":8749,"author":454,"museum":107,"description":47465,"tags":47466,"thumbUrl":47467,"material":751,"size":752,"collection":95,"collections":47468,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},232863,"a-han-bei-da-guan-di-3-ji-yi-ming-232863","A汉碑大观（第3集）","此作为隶书碑刻，用笔朴茂厚重，波磔舒展灵动，蚕头燕尾尽显汉隶典型意趣。结体方正匀整，字形左右开张，于端严之中暗藏舒张之势，《德》《尉》诸字将隶书波挑笔意挥洒得淋漓尽致。\n通篇布局舒朗错落，字间行距疏阔匀停，尽显庙堂隶法的沉浑端凝气质，金石质感浓厚。整体气息古拙雄浑，笔画粗细过渡自然，既保有碑刻特有的朴拙斑驳质感，又不失书写时的灵动意趣，尽显汉隶成熟阶段的雅致沉浑。",[198,7,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592945efefc0a5a34437b0f7b90b81b9.jpg",[],{"id":47470,"slug":47471,"title":47472,"dynasty":8749,"author":47473,"museum":107,"description":47474,"tags":47475,"thumbUrl":47476,"material":751,"size":752,"collection":95,"collections":47477,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},231801,"zi-bi-shu-jian-zi-bi-shu-jian-26x176cm-da-gui-xuan-ze-231801","自笔书简-自笔书简 26x176cm","大槻玄沢","大槻文彦（）本名清复，通称复三郎，号复轩，日本明治时期的史地学家、国语学者。1847年12月22日生于日本江户（今东京）一学者世家。祖父大槻玄持是兰学家，父大槻磐是儒学家，兄大槻如电是汉学家。早年接受兰学教育，后创办过一所学校仙台藩校养贤堂，讲授英语、数学和兰学。曾任宫城县师范学校校长、宫城县寻常中学（今宫城县仙台第一高等学校）校长、国语调查委员会主任委员、帝国学士院会员。1872年入文部省任职。",[23,7,60,398,49,19315,6626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26a67950f56e2a8143f07bbf3fbb36f.jpg",[],{"id":47479,"slug":47480,"title":47481,"dynasty":8749,"author":31998,"museum":107,"description":31999,"tags":47482,"thumbUrl":47484,"material":751,"size":752,"collection":95,"collections":47485,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231781,"wu-jia-zhuang-shu-zhe-yong-zhi-tu-hui-juan-2-yi-shi-zhen-zhang-231781","武家装束着用之图绘卷-2",[23,49,111,27,113,7,47483,1782],"武家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b5a6dfa5b238428dfb51846a8eb3ef.jpg",[],{"id":47487,"slug":47488,"title":47489,"dynasty":8749,"author":47490,"museum":107,"description":30928,"tags":47491,"thumbUrl":47492,"material":751,"size":752,"collection":95,"collections":47493,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231767,"shu-juan-zhi-ben-yuan-yuan-bao-mo-mu-xia-wen-231767","书卷纸本-源渊宝墨","木下文",[23,49,312,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b323f434392bdd29110c99b0b9bbc43.jpg",[],{"id":47495,"slug":47496,"title":47497,"dynasty":8749,"author":454,"museum":107,"description":47498,"tags":47499,"thumbUrl":47500,"material":751,"size":752,"collection":95,"collections":47501,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231766,"yi-neng-zhong-jing-zi-bi-shu-jian-juan-ben-yi-ming-231766","伊能忠敬自笔书简卷本","此卷草书手札笔墨流丽灵动，通篇气息绵密贯通。行笔迅疾却不失稳雅，牵丝映带间尽显书写时的随性快意，字势欹正相生，墨色带着浓淡枯湿的细微变化，尽显运笔时的节奏韵律。\n\n整卷章法疏朗通透，满纸文字却毫无壅塞之感，带着尺牍手札独有的质朴随性，将日常笔谈的实用属性与书法审美融为一体，尽显古雅清逸的文人意趣，藏着旧时手书往复的温情真性。",[23,7,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff221be3c3cf839870904352c84b9c2a0.jpg",[],{"id":47503,"slug":47504,"title":47505,"dynasty":8749,"author":454,"museum":107,"description":47506,"tags":47507,"thumbUrl":47508,"material":751,"size":752,"collection":95,"collections":47509,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231764,"shan-dong-jing-yun-shu-jian-shou-juan-yi-ming-231764","山东京伝书简手卷","此卷以草书作尺牍，泛黄笺纸晕开旧时光痕，墨色枯润交叠，线条圆劲灵动。字势欹侧相生，行笔忽疾忽缓，带着信笔挥毫的随性自在，将日常酬答的细碎心绪落于笔尖。\n\n行与行错落排布，牵丝映带间尽显草书的跌宕意趣，却又不失尺牍的松弛温情。斑驳纸色衬着淋漓墨痕，把文人间的私语寄怀，晕染成满卷风雅。笔墨游走藏着书写时的情绪起伏，整卷书卷气盎然，将日常尺素晕染成带着时光温度的书法佳构。",[23,49,7,60,398,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69491b8bce5db0ce3526ebe66f5f4707.jpg",[],{"id":47511,"slug":47512,"title":47513,"dynasty":8749,"author":454,"museum":107,"description":47514,"tags":47515,"thumbUrl":47516,"material":751,"size":752,"collection":95,"collections":47517,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231728,"lian-cang-shi-dai-tian-gou-cao-zi-hui-juan-chao-ben-dong-da-si-juan-yi-ming-231728","镰仓时代 天狗草子绘卷抄本-东大寺卷","设色调和雅致，朱红廊柱搭配浅墨飞阶与水色池苑，还原古寺官宇形制。画中人物刻画简练生动，僧侣、官吏各呈其态，敲钟、晤谈、奔走的场景细腻还原了寺社日常烟火。右侧平假名草书笔意舒展流丽，文图相映相成，以绘载事、以笔传声，铺展轶闻旧事，是古典“绘草子”的典型风貌。静谧古寺图景与流丽书风相融，尽显中古日本的人文图景与清雅艺文情致。",[23,49,1128,27,111,7,878,113,458,268,3833],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4811da80d72a3aaf593182e50f748dda.jpg",[],{"id":47519,"slug":47520,"title":47521,"dynasty":8749,"author":454,"museum":107,"description":47522,"tags":47523,"thumbUrl":47524,"material":751,"size":752,"collection":95,"collections":47525,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231707,"lian-cang-shi-dai-bu-tong-shi-dai-sai-ge-hua-juan-yi-ming-231707","镰仓时代 不同时代赛歌画卷","这卷长卷以清逸铁线白描铺展雅集图景，狩衣褶皱舒展利落，将贵族服饰层叠形制熨帖勾勒。席间人物或正襟倾谈，或垂首静思，神态安然松弛，尽显赛歌雅会的闲静氛围。\n\n满幅连绵的假名草书笔势柔婉，歌辞墨痕与白描人物相映成趣，书画相融晕开古韵。泛黄素纸带着岁月浸淫的斑驳痕迹，将中古文人从容雅致的赛歌日常静静留存，让千年前的风雅意韵随着舒展的长卷，缓缓流淌至今。",[23,92,112,49,25,113,16623,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a2416888d3871b98823d120d87280a.jpg",[],{"id":47527,"slug":47528,"title":47529,"dynasty":8749,"author":454,"museum":107,"description":47530,"tags":47531,"thumbUrl":47532,"material":751,"size":752,"collection":95,"collections":47533,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231704,"lian-cang-shi-dai-yi-ming-231704","镰仓时代","这卷白描佛绘以墨线写尽诸天法相，云气翻卷烘托出缥缈梵境，护法、菩萨形神各异：或持器怒目尽显威严，或垂眸伫立宝相端严，笔线清劲秀逸，粗细转折间将神佛法相的肃穆与灵动刻画入微。\n\n经文手书与画像相间排布，古拙笔墨与造像呼应，泛黄古纸晕开岁月痕迹，整体沉静庄重，将宗教的神圣感融于古典笔墨意趣中，洗练线条却神韵具足，兼具图像叙事与书法审美双重价值，尽显中古宗教绘卷的沉静厚重之美。",[23,92,24,25,49,878,112,113,7,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F620cdaa923cf1aa6a6d76763ecb0d1a1.jpg",[],{"id":47535,"slug":47536,"title":3356,"dynasty":8749,"author":454,"museum":107,"description":47537,"tags":47538,"thumbUrl":47539,"material":751,"size":752,"collection":95,"collections":47540,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231690,"shan-shui-tu-juan-yi-ming-231690","此卷以平远之境铺陈，江水宛转串联淡墨晕染的浅丘远山，晕开江乡空濛的烟岚之气。江岸虬松卓立、茅舍错落，江心归帆缓行，将江南野渡日常的清寂萧散尽数铺展。\n笔墨简逸苍润，淡墨皴擦勾勒出柔缓的山峦肌理，枯笔写就的松枝苍劲老辣，留白衬出悠远余韵。左侧题跋与画面相映成趣，诗画合璧，尽显文人画简淡天真的林下之风，把江天无尽的闲淡诗意融于长卷之中。",[23,24,25,49,50,51,54,56,471,252,55,59,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf68c467bc6fdbbd23d17dbddac51dc.jpg",[],{"id":47542,"slug":47543,"title":47544,"dynasty":8749,"author":47545,"museum":107,"description":47546,"tags":47547,"thumbUrl":47548,"material":751,"size":752,"collection":95,"collections":47549,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231671,"shi-he-mi-an-xiang-du-bian-hua-shan-231671","市河米庵像","渡边华山","渡边华山（日语：渡辺崋山；1793年—1841年）原名渡边定静，字子安，一字伯登，通称渡边登，号华山，斋号有寓绘堂、全乐堂、金暾居、昨非居士、随安居士。",[23,24,27,111,113,167,77,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1565a90f220b25ce31465b9db553d5eb.jpg",[],{"id":47551,"slug":47552,"title":47553,"dynasty":8749,"author":454,"museum":107,"description":47554,"tags":47555,"thumbUrl":47556,"material":751,"size":752,"collection":95,"collections":47557,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231636,"lian-cang-shi-dai-dong-bei-yuan-ge-ren-ge-he-hua-juan-yi-ming-231636","镰仓时代 东北院歌人歌合画卷","淡墨轻敷勾勒数位歌者，乌帽束带的雅士、素袍跣足的隐者神态各异、形神兼备，寥寥笔墨便将人物身份性情尽显。旁侧平假名草书笔势舒展灵动，墨色浓淡自然晕开，书法与绘像相映成趣。\n\n此卷既是歌合的文本实录，亦是和风雅致小品，藏着中古吟酬唱和的闲雅日常。纸面晕开的岁月痕迹，更添古旧温润的质感，将彼时歌道文化的风雅气韵凝于长卷之中。",[24,25,49,27,50,112,113,7,60,1360,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33458c5459a61a05fc68198b450aa9ae.jpg",[],{"id":47559,"slug":47560,"title":5462,"dynasty":18,"author":28274,"museum":107,"description":47561,"tags":47562,"thumbUrl":47567,"material":95,"size":95,"collection":95,"collections":47568,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231048,"xing-shu-zhou-lin-shu-231048","此作用笔苍朴老辣，揉合帖学流秀与碑学沉厚，起收可见颜体沉雄，又兼得苏黄萧散意韵。通篇行气疏朗，字势错落欹侧，首句起笔舒缓墨足，随诗文情绪铺展，笔墨愈见跳宕，至末句笔锋开张，尽显放达之态。题款小字敛藏锋芒，与正文虚实相映，章法疏密得宜。\n\n以文人笔意入书，将诗文禅寂悠然融于笔墨间，整幅既是书法佳构，亦是作者心性襟怀的展露，漫溢出山林世外的清逸意趣。",[23,92,24,25,7,60,75,47563,47564,1002,2741,845,47565,6635,11928,47566,651,131,2829],"水寺","钟楼","深院","道人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1dfb6014cf5b75cddea9b9ecd5908a.jpg",[],{"id":47570,"slug":47571,"title":47572,"dynasty":88,"author":454,"museum":107,"description":47573,"tags":47574,"thumbUrl":47575,"material":751,"size":752,"collection":95,"collections":47576,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},231032,"shen-xing-jian-bing-xu-yi-ming-231032","慎刑笺并序","此拓本点画精劲工稳，结体端雅匀整，承袭唐人楷法遗韵，又自具舒展秀逸的宋代书风特质。\n\n字里行间法度谨严却不失温厚之气，朴雅沉凝的笔墨，呼应着文稿恤民重刑的恳切内核。碑面虽历经岁月断泐斑驳，残存字迹依旧清晰可观，残损的痕迹更添古拙厚重的岁月质感，让文辞与金石气韵交融一处，既可观当时翰墨风气，也能窥见旧吏治思潮的一隅，是兼具书法审美与文献价值的旧拓佳本。",[198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195a9af3b598eaed21110192014d0a87.jpg",[],{"id":47578,"slug":47579,"title":47580,"dynasty":8749,"author":454,"museum":107,"description":47581,"tags":47582,"thumbUrl":47583,"material":751,"size":752,"collection":95,"collections":47584,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},230996,"leng-qie-jing-juan-yi-ming-230996","楞伽經卷","此卷以行草书写经文，笔墨苍朴老辣，字势欹正错落，通篇一气贯注，古意盎然。书写率意自在，笔画牵丝映带自然流畅，不拘成法却暗合章法韵律，既有写经的肃穆沉静，又带着随性的文人笔致。泛黄古纸晕开墨色，晕染出岁月沉淀的厚重质感，整卷浸透着内敛沉静的禅意，尽显书写时的虔诚心力，将经文禅理与书法意趣融为一体，虽无刻意雕琢，却自见真淳古雅的气韵。",[7,386,49,878,60,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff7792ae4a8226acfbdbbb1a04481ae.jpg",[],{"id":47586,"slug":47587,"title":5462,"dynasty":45,"author":40900,"museum":107,"description":40901,"tags":47588,"thumbUrl":47589,"material":751,"size":752,"collection":95,"collections":47590,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},230897,"xing-shu-zhou-wang-zhi-deng-230897",[23,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fa27765fe0b60b267ab718586ca614.jpg",[],{"id":47592,"slug":47593,"title":40182,"dynasty":88,"author":39233,"museum":107,"description":47594,"tags":47595,"thumbUrl":47596,"material":95,"size":95,"collection":95,"collections":47597,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},230873,"ye-zhao-yun-230873","此作用笔精劲端雅，是典型宋楷风貌，起收锋芒明晰，筋骨内含不失温厚。联句气象清远萧疏，笔墨间自带雍容静穆之态，结体方正匀停，笔画舒展合宜。\n\n沉古绢底搭配朱红鉴印，更衬出古雅沉静氛围，将诗句里淡远清寂的秋夜意境，融于端严笔致中。文与书相得益彰，平和简淡的文人意趣尽显，尽显内敛从容的韵致，是宋代楷书的上乘佳构。",[23,92,24,25,60,7,77,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1596a74ff33f01ac2ed6de70c302dead.jpg",[],{"id":47599,"slug":47600,"title":47601,"dynasty":8749,"author":454,"museum":107,"description":47602,"tags":47603,"thumbUrl":47604,"material":751,"size":752,"collection":95,"collections":47605,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},230835,"da-yun-jing-yi-ming-230835","大雲經","此卷通篇以小楷恭书，字形端整匀停，笔力瘦劲凝练，如星子列阵排布于泛黄绢面，密而不拥，疏而不散，古雅墨色晕开沉静质感。书写全以恭谨之心落墨，无妍美修饰，笔笔安稳平实，将抄经时的静定心力藏在笔锋起落间。通篇行气贯通浑然，肃穆清寂的禅意浸透纸面，质朴厚重的笔墨，尽显写经特有的虔诚风骨，带着岁月沉淀下来的沉静意蕴。",[7,386,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff400eb3fca86b838608154856b1bbc48.jpg",[],{"id":47607,"slug":47608,"title":47609,"dynasty":8749,"author":454,"museum":107,"description":47610,"tags":47611,"thumbUrl":47612,"material":751,"size":752,"collection":95,"collections":47613,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},230832,"da-fang-deng-da-ji-jing-juan-yi-ming-230832","大方等大集經卷","此卷墨色沉凝匀净，古纸晕染出泛黄的岁月厚重感。整体为典型唐写经楷书风貌，结体端方工稳，捺笔暗含隶书遗意，重按出锋朴拙舒展。通篇字距行距排布齐整，气息肃穆安和，契合经文庄严的宗教属性。\n\n书写者功底扎实，起收笔一丝不苟，点画饱满劲挺，在规整抄写中不失内敛灵动。将宗教虔诚融于笔墨细节，无半分潦草懈怠，尽显写经书法肃穆端雅的独特气质，是民间写经书法的典型范本，藏着唐人抄写经文时的沉静心力。",[7,386,199,49,878,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53368308780bdd6d4fce0a06310d4f4b.jpg",[],{"id":47615,"slug":47616,"title":47617,"dynasty":8749,"author":454,"museum":107,"description":47618,"tags":47619,"thumbUrl":47620,"material":751,"size":752,"collection":95,"collections":47621,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},230827,"shi-song-lv-juan-di-si-shi-liu-cun-zi-shang-bu-yi-ming-230827","十誦律卷第四十六存字上部","此卷小楷结体端秀匀整，笔力瘦劲凝练，起收笔方圆兼具，质朴中透着灵动。字字排布齐整有序，行气舒朗贯通，尽显写经书法的沉静法度。作为佛家经卷写本，笔墨间饱含肃穆虔诚的气韵，既带着抄写经文时的恭谨端严，又不失书写者自然的笔性流露，将宗教的沉静意蕴融于毫端细节，尽显古雅清隽的写经体风貌，是兼具宗教价值与书法审美价值的佳作。",[7,386,199,49,878,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a8fa6b5cfa4c9030dffcd6cd22d272.jpg",[],{"id":47623,"slug":47624,"title":47625,"dynasty":8749,"author":454,"museum":107,"description":47626,"tags":47627,"thumbUrl":47628,"material":751,"size":752,"collection":95,"collections":47629,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},230804,"miao-fa-lian-hua-jing-yi-ming-230804","妙法蓮華経","此卷小楷写经，纸色古旧泛黄，墨色沉郁静穆，笔致清劲秀逸，字字端稳匀整，通篇气脉贯通。抄经者以恭谨之心落墨，笔墨间兼具法度与静雅禅意，尽显写经书法特有的肃穆安和。残卷虽有虫蛀破损，却晕开岁月沉淀的厚重质感，将经文的庄严与笔墨韵致相融，带着中古写本独有的质朴沉静，是信仰与书法艺术结合的佳构，尽显写经书法的艺术价值与历史温度。",[7,386,49,199,312,878,11284,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7015bf92ed9f528ee6cd55c750b7b949.jpg",[],{"id":47631,"slug":47632,"title":47633,"dynasty":8749,"author":454,"museum":107,"description":47634,"tags":47635,"thumbUrl":47636,"material":751,"size":752,"collection":95,"collections":47637,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},230797,"bei-qi-jian-shan-ke-jing-yao-qin-jiu-mo-luo-shen-yi-yi-ming-230797","北齐尖山刻经-姚秦鸠摩罗什译","此作为摩崖刻经精品，字势开张雄阔，笔力厚重敦实。隶意未尽，楷法初成，兼具隶书宽博舒展的体势，与魏碑刚劲朴茂的骨力。章法间纵有行横有列，却又带着山野刊刻的随性错落，浑穆大气浑然天成。\n刀痕与笔墨交融，线条苍劲斑驳，古意盎然。将写经的肃穆庄严，与摩崖的沧桑厚重融为一体，消弭雕琢匠气，尽显北朝书法“重、拙、大”的审美特质，传递出佛法威仪与北地雄健的沉浑气度。",[198,7,386,1613,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ba56c15ba4668b1b34a7412376fad79.jpg",[],{"id":47639,"slug":47640,"title":47641,"dynasty":8749,"author":454,"museum":107,"description":9803,"tags":47642,"thumbUrl":47643,"material":751,"size":752,"collection":95,"collections":47644,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},230783,"liao-zhang-zheng-song-mu-zhi-ming-yi-ming-230783","辽张正嵩墓志铭",[23,198,7,199,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90c9de48c5e810572cd778175067c527.jpg",[],{"id":47646,"slug":47647,"title":47648,"dynasty":8749,"author":454,"museum":107,"description":47649,"tags":47650,"thumbUrl":47651,"material":751,"size":752,"collection":95,"collections":47652,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},230767,"gao-zu-cha-tuo-zuo-yi-ming-230767","高足茶托座","木底座是属于园艺工艺品一种，就是红木、檀木、花梨木制成的底座，通称为木底座。随着现在人们生活水平的提高和艺术审美的加强，各种工艺品收藏的火爆也让木底座这种搜藏渐渐走入我们的生活中，让我们的生活中每个角落里都有了美丽和艺术的氛围。木底座主要用来摆放工艺品和奇石等。",[13336,457,26617,7,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381ccdb2580f8e7cf1c1a68a34c6374b.jpg",[],{"id":47654,"slug":47655,"title":47656,"dynasty":18,"author":454,"museum":107,"description":47657,"tags":47658,"thumbUrl":47659,"material":751,"size":752,"collection":95,"collections":47660,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},230323,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-yi-juan-yi-ming-230323","大唐西域记.12卷.唐.玄奘著（第一卷）","磁青为底，泥金饰形书文。右侧诸佛环坐莲台，线条圆融凝练，祥云托衬，宝相沉静端严，尽显西方净土的肃穆祥和。左侧经文笔锋挺秀匀净，金彩在靛蓝底色间熠熠生辉，点画法度谨严，规整雅致。二者相合，将宗教的庄严感与书画的审美意趣相融，古韵悠然，尽显写经造像的典雅华贵，是宗教艺术与传统工艺结合的精妙之作。",[878,113,111,27,43765,7,386,1498,16624,36826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb03f9d3edf1905eae370c6360f1bcd5f.jpg",[],{"id":47662,"slug":47663,"title":47664,"dynasty":18,"author":47665,"museum":107,"description":47666,"tags":47667,"thumbUrl":47668,"material":95,"size":95,"collection":95,"collections":47669,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},230288,"lin-chu-tie-juan-jin-shi-song-230288","临褚帖卷","金士松","此作用笔温润秀逸，点画之间兼具唐楷的规整谨严与灵动意趣，将褚书妍雅舒展的风神复刻得形神兼备。起收笔处可见精细提按，结构开阔舒展，通篇行气贯通从容，墨色匀净饱满，尽显临写者扎实的临摹功底，既恪守古帖形质，又带着自身内敛的书卷气，是一件颇具水准的临古佳构，尽显临古创作中的审美意趣与笔墨功力。",[25,7,49,110,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a723e361f3592b4d6317b62c58964fe.jpg",[],{"id":47671,"slug":47672,"title":47673,"dynasty":18,"author":47674,"museum":107,"description":47675,"tags":47676,"thumbUrl":47677,"material":751,"size":752,"collection":95,"collections":47678,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},230253,"yu-zhi-jing-yan-lun-dai-jun-yuan-230253","御制经筵论","戴均元","戴均元（1746年－1840年），字修原，號可亭，江西大庾縣（今大余縣）人，籍貫安徽休寧隆阜，清朝大臣，居官五十餘年，歷仕乾隆、嘉慶、道光三朝。",[7,199,27,18,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287c180aa86a84d10742ea5572cf98d1.jpg",[],{"id":47680,"slug":47681,"title":47682,"dynasty":18,"author":29642,"museum":107,"description":29643,"tags":47683,"thumbUrl":47684,"material":751,"size":752,"collection":95,"collections":47685,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},230227,"shu-qian-long-yu-zhi-ai-wu-han-si-jun-ge-cheng-shan-peng-yuan-rui-230227","书乾隆御制爱乌罕四骏歌成扇",[1250,7,60,1074,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e89d137ba2f4d99b009305064d9d5bc.jpg",[],{"id":47687,"slug":47688,"title":47689,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":47690,"thumbUrl":47691,"material":751,"size":752,"collection":95,"collections":47692,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},229217,"yu-zhi-wan-chun-ji-qing-wan-hu-chun-sheng-ce-shi-lan-mo-yi-ming-229217","御制万春集庆万户春声册诗蓝墨",[2135,7,26,44567,199,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a0f3aba941db4cdb0ca66a1be9fc40.jpg",[],{"id":47694,"slug":47695,"title":47696,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":47697,"thumbUrl":47699,"material":751,"size":752,"collection":95,"collections":47700,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},229127,"yu-zhi-yue-ling-shi-ying-nai-ji-niao-mo-yi-ming-229127","御制月令诗「鹰乃祭鸟」墨",[2135,432,7,199,3467,7713,30961,11284,47698],"墨锭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879623d6d02280742421c2aff9c891cf.jpg",[],{"id":47702,"slug":47703,"title":47704,"dynasty":18,"author":10652,"museum":107,"description":47705,"tags":47706,"thumbUrl":47710,"material":751,"size":752,"collection":95,"collections":47711,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},229043,"qing-long-yue-wu-ce-qing-ren-229043","庆隆乐舞册","磁青纸为底，泥金落墨，满汉双语并书贺辞，笔致恭谨端方，锋棱内敛却不失庄重堂皇。边框环绕缠回纹，雕饰细密规整，纹样连绵不绝暗合福寿绵长之意。文辞颂祝圣寿千秋、家国昌隆，将吉庆祈愿融于笔墨之间，尽显宫廷文书的典制威仪，华美雅致中带着森严礼制的厚重感，尽显彼时皇家器物的考究工致。",[25,26,27,199,7829,47707,7,47708,47709,31304],"黑底金字","工整字体","传统纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17782d4b318c95b55aa2ab30e55f7411.jpg",[],{"id":47713,"slug":47714,"title":47715,"dynasty":18,"author":47716,"museum":107,"description":47717,"tags":47718,"thumbUrl":47719,"material":751,"size":752,"collection":95,"collections":47720,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":23752},228923,"jian-chang-sha-tie-huang-zhuo-228923","鉴长沙帖","黄倬","清朝名士黄倬",[23,92,24,25,7,199,27,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3760e39b105180543b2bf85995643b29.jpg",[],{"id":47722,"slug":47723,"title":47724,"dynasty":45,"author":342,"museum":107,"description":47725,"tags":47726,"thumbUrl":47727,"material":95,"size":95,"collection":95,"collections":47728,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},228882,"zi-zuo-lv-shi-liang-shou-wen-zheng-ming-228882","自作律诗两首","此卷大字行书雄强苍浑，落笔如重锤落纸，字势欹正相生、大开大合，通篇元气沛然。点画顿挫老辣，牵丝映带间藏着跌宕意趣，章法疏密错落如山川排布，将登高寄怀的疏旷襟怀尽融笔墨。\n\n笔墨随诗意起伏，时而开张奔逸，如秋风振林，时而沉敛凝实，似磐石踞岸。老笔纷披却不失雅致法度，把湖山登临的清旷意气，化作纸上风云。暮年书艺炉火纯青，将文人放旷的文心揉入雄健笔力，尽显沉厚豪迈的书法风神。",[23,92,24,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7961edbe3de0632904115471d2ec8c.jpg",[],{"id":47730,"slug":47731,"title":19706,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":47732,"thumbUrl":47733,"material":751,"size":752,"collection":95,"collections":47734,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},228869,"shu-zha-ce-wen-zheng-ming-228869",[23,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9dac40e956ea7188108e9008be3997.jpg",[],{"id":47736,"slug":47737,"title":47738,"dynasty":45,"author":31460,"museum":107,"description":47739,"tags":47740,"thumbUrl":47741,"material":751,"size":752,"collection":95,"collections":47742,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},228857,"chun-yuan-za-shi-li-dong-yang-228857","春园杂诗","病来无力与春争,看尽花开草又生。莫道东君不识面,旧红新绿也关情。",[23,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b743a8b3f6495fbd7eee32d4332ac0.jpg",[],{"id":47744,"slug":47745,"title":47746,"dynasty":45,"author":27897,"museum":107,"description":47747,"tags":47748,"thumbUrl":47749,"material":95,"size":95,"collection":95,"collections":47750,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},228841,"lin-jia-zhi-tie-dai-ming-shuo-228841","临家侄帖","此作行书间杂草意，用笔苍劲纵老，提按顿挫尽显节奏张力，线条粗细跌宕，篆籀气蕴于笔墨之间。章法疏朗宽和，字距舒张、行距开阔，通篇气息贯通浑穆。墨色枯湿浓淡富于变化，随兴所至，将临帖古意与自我性情相融，既有帖学的灵动雅致，又融入北碑的雄强厚重，沉郁朴拙中带着随性快意。笔墨间可见书家心境起伏，把对古帖的理解化入笔下，古意盎然又不失自家风骨，尽显晚明书法抒情写意的典型特质。",[23,7,60,110,75,77,312,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5454a6f422310ff158191687731417ce.jpg",[],{"id":47752,"slug":47753,"title":47754,"dynasty":45,"author":41255,"museum":107,"description":47755,"tags":47756,"thumbUrl":47757,"material":95,"size":95,"collection":95,"collections":47758,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},228770,"zhen-yi-ting-shi-ce-zhou-liang-gong-228770","真意亭诗册","此作用笔灵动秀雅，结体随性不失端稳，行笔间牵丝映带自然圆融，墨色兼具浓淡枯润之变，尽显明人尚态的书风特质。\n\n册页小字错落排布，诗文与笔墨相生相合，字字流转呼应，似将郊园夜访、羁旅感怀的诗意融于笔锋起落之间。通篇带着文人疏朗萧散的林下意趣，笔墨间浸透着冲淡安闲的雅韵，尽显执笔人不俗的书卷涵养，将日常题咏的悠然心境诉诸笔端，清雅澹泊，耐人寻味。",[24,25,26,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfe46ed772d8bb58f122cc5e9be3767.jpg",[],{"id":47760,"slug":47761,"title":47762,"dynasty":45,"author":8261,"museum":107,"description":47763,"tags":47764,"thumbUrl":47765,"material":95,"size":95,"collection":95,"collections":47766,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},228305,"jian-du-ce-chen-yuan-su-228305","笺牍册","此作为尺牍行书，笔意灵秀温婉，点画温润圆融，起转间暗合晋人萧散意趣。牵丝映带含蓄简约，不见张扬之态，尽显文士清雅风骨。\n\n字间错落疏朗，行气悠然从容，尺幅之间漾着悠游闲散的林下之风。浅赭素纸晕开淡墨，朱印点缀更添古雅意韵，将寻常尺牍化作清雅赏玩的笔墨小品。\n\n日常絮语落于笔端，便成兼具实用与审美之佳构，藏着晚明文人寄情毫楮的雅致襟怀，平淡中见深致。",[45,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf30dea4689d0dff08c2fc7d0ebe73e0.jpg",[],{"id":47768,"slug":47769,"title":47770,"dynasty":179,"author":454,"museum":107,"description":47771,"tags":47772,"thumbUrl":47773,"material":751,"size":752,"collection":95,"collections":47774,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},228223,"zhu-di-ming-wen-yi-ming-228223","竹笛铭文","此卷墨色清隽雅致，书风由敛及放。起笔时内敛遒劲，结体端稳舒和，行笔匀停温润，尽显从容之态；随着笔意渐酣，线条愈见灵动爽利，牵丝映带婉转流畅，字势欹侧相生，墨色枯湿浓淡富于层次。\n\n文辞与笔墨相得益彰，以竹箫为题寄寓文人幽澹雅意，尽显元人尚态重韵的书风特质，暗合晋唐行书的萧散意韵，将林下之风藏于笔端，是一件颇具意趣的书法佳制。",[49,7,60,77,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F443694e458d54e36f5ff61426fd47c01.jpg",[],{"id":47776,"slug":47777,"title":47778,"dynasty":88,"author":454,"museum":107,"description":9803,"tags":47779,"thumbUrl":47780,"material":751,"size":752,"collection":95,"collections":47781,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},227562,"du-shi-mu-zhi-ming-yi-ming-227562","杜氏墓志铭",[198,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b5012e0ac271c67c207a067076be60.jpg",[],{"id":47783,"slug":47784,"title":47785,"dynasty":88,"author":454,"museum":107,"description":47786,"tags":47787,"thumbUrl":47788,"material":95,"size":95,"collection":95,"collections":47789,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},227338,"jing-zhao-fu-fu-xue-xin-yi-shi-jing-ji-yi-ming-227338","京兆府府学新移石经记","安宜之[宋]长安（今西安）人。工楷书，元祐五年（1090）黎持所撰宋京兆府新移石经记，为其所书。所刻怀素法帖，今藏陕西省博物馆。",[198,7,457,199,1614,10869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5018f157ddc52db217e1209da226747f.jpg",[],{"id":47791,"slug":47792,"title":47793,"dynasty":162,"author":454,"museum":107,"description":30196,"tags":47794,"thumbUrl":47795,"material":751,"size":752,"collection":95,"collections":47796,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},227237,"miao-fa-lian-hua-jing-di-6-ru-lai-shou-liang-pin-di-shi-liu-yi-ming-227237","妙法莲华经第6如来寿量品第十六",[23,7,386,199,49,312,1498,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c639990837b61b0f59de19a10411f4.jpg",[],{"id":47798,"slug":47799,"title":47800,"dynasty":162,"author":454,"museum":107,"description":30196,"tags":47801,"thumbUrl":47802,"material":751,"size":752,"collection":95,"collections":47803,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},227236,"miao-fa-lian-hua-jing-di-5-ti-po-da-duo-pin-di-shi-er-di-ba-yi-ming-227236","妙法莲华经第5提婆达多品第十二第八",[23,1063,386,7,199,1498,2602,312,878,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbabf1e788d671694584d7d220244c5a.jpg",[],{"id":47805,"slug":47806,"title":47807,"dynasty":162,"author":454,"museum":107,"description":30196,"tags":47808,"thumbUrl":47809,"material":751,"size":752,"collection":95,"collections":47810,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},227233,"miao-fa-lian-hua-jing-di-2-pi-yu-pin-di-san-yi-ming-227233","妙法莲华经第2 譬喻品第三",[23,49,199,7,386,1498,878,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262c465e9a10c828e553b45865515d32.jpg",[],{"id":47812,"slug":47813,"title":47814,"dynasty":162,"author":454,"museum":107,"description":47815,"tags":47816,"thumbUrl":47817,"material":95,"size":95,"collection":95,"collections":47818,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},227088,"tang-zu-jun-fu-ren-yang-shi-mu-zhi-ming-yi-ming-227088","唐祖君夫人杨氏墓志铭","郑国夫人（？-722年），本姓杨氏，弘农华阴（今陕西省华阴市）人。唐朝外戚，雍县丞杨宏的女儿，武则天母亲的家族晚辈。\n武周时期，嫁给恒安王武攸止，生下二子一女。随着女儿成为唐玄宗时期宠爱的武惠妃，获封郑国夫人。\n开元十年，去世，安葬于少陵原。",[23,198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e644055fdd50210faee1a5e24ede14.jpg",[],{"id":47820,"slug":47821,"title":47822,"dynasty":162,"author":454,"museum":3028,"description":34149,"tags":47823,"thumbUrl":47824,"material":751,"size":752,"collection":95,"collections":47825,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},226334,"ku-yong-dao-nan-bi-yi-ming-226334","窟甬道南壁",[16843,27,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf088dd188cabbf9d30944d8b008c3ce.jpg",[],{"id":47827,"slug":47828,"title":47829,"dynasty":8749,"author":454,"museum":107,"description":47830,"tags":47831,"thumbUrl":47835,"material":751,"size":752,"collection":95,"collections":47836,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},225476,"fu-shi-hui-234-yi-ming-225476","浮世绘234","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[19332,9636,27,113,114,7,1782,9953,11284,47832,47833,47834],"和服","木板墙","红色背景文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71645008285fece7b8c9a946df2c0ee9.jpg",[],{"id":47838,"slug":47839,"title":47840,"dynasty":45,"author":39287,"museum":107,"description":47841,"tags":47842,"thumbUrl":47843,"material":95,"size":95,"collection":95,"collections":47844,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},224565,"shu-hua-ce-ye-7-xiao-yun-cong-wang-shi-zhen-224565","《书画册页》-7","通篇行书随性洒脱，笔势舒展灵动，字间顾盼有情，行气流畅自然。起笔收锋带着文人写意的松弛，墨色枯润相宜、浓淡错落，尽显题跋的自在意趣。朱红印章排布错落，与墨色书迹相映成趣，晕开雅致古朴的氛围感。\n\n这是观览之后的随性留笔，藏着江南文人的疏朗散逸，将同好相逢的欣然意趣凝于笔端，尽显旧时文人间以墨会友的清雅情致，淡墨朱印之间，晕开一段旧时光里的笔墨知己之谊。",[25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fe0d98656f7c6a104daa9f1fbd46afa.jpg",[],{"id":47846,"slug":47847,"title":47848,"dynasty":45,"author":39287,"museum":107,"description":47849,"tags":47850,"thumbUrl":47853,"material":95,"size":95,"collection":95,"collections":47854,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},224557,"shu-hua-ce-ye-22-xiao-yun-cong-wang-shi-zhen-224557","《书画册页》-22","此幅行书取韵萧散疏朗，笔锋清逸灵动，起笔舒缓，笔势随诗句渐生幽寂。“簷影依稀遐佛塲”笔致清隽，将禅意悄藏笔底，至“云深处剩清凉追”，笔墨愈见简淡洗练，把山涧空花、林径药香的幽寂禅境尽数铺展。\n\n落款小字清瘦端凝，与正文的萧散雅逸相映成趣。朱印点缀素笺，丹素相生，添就静穆古雅之意，将文人诗意与书法意趣相融，尽显林下清谈的散淡襟怀。",[24,25,4347,7,60,77,47851,47852,1677,282,845,6301,16625,53],"山月","涧水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cf07178e94ab741122d0c84ea758a9e.jpg",[],{"id":47856,"slug":47857,"title":47858,"dynasty":45,"author":39287,"museum":107,"description":47859,"tags":47860,"thumbUrl":47861,"material":95,"size":95,"collection":95,"collections":47862,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},224546,"shu-hua-ce-ye-10-xiao-yun-cong-wang-shi-zhen-224546","《书画册页》-10","此作行书手札笔法纵逸朴拙，起收间尽显萧散意趣。行笔如枯藤盘曲，苍劲中暗带灵动，牵丝映带随性自然，字势欹正相生，错落排布，通篇气息连贯悠长。\n\n章法疏密相宜，墨色枯湿浓淡富于层次，焦墨似危崖断壁，润墨如春池漾波，将书写时的情绪起伏藏于笔墨节律之中。文思寄寓林泉之志，笔墨襟怀相融，尺幅之间蕴静穆悠远的林下之风，尽显文人以笔写心的雅致襟怀。",[23,4038,25,7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7200240a9cc8af2f56decea76181652d.jpg",[],{"id":47864,"slug":47865,"title":47866,"dynasty":18,"author":10427,"museum":107,"description":47867,"tags":47868,"thumbUrl":47869,"material":95,"size":95,"collection":95,"collections":47870,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":789},224416,"shu-hua-shi-liu-kai-2-wang-shi-min-224416","书画十六开-2","此作为行书小品，笔墨秀逸苍劲，起收间可见沉稳功底，点画顾盼有情，线条随章法灵动变奏，粗细提按尽显节奏韵律。字间疏密得宜，行气贯通浑然，兼具妍雅意趣与朴拙质感。\n书文为寻幽佳句，笔墨与诗意相融，将林泉雅趣藏于笔底。素纸古色衬出墨色浓淡层次，朱红钤印点缀晕染出沉静古雅的文人书卷氛围，笔墨舒缓的节奏里，恰似把幽居寻游的隐逸心境缓缓铺展，是兼蓄笔墨法度与文人情思的佳构。",[23,24,25,26,60,7,50,3388,20440,652,26860,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0a8f524714afbea1ce5e6b2234491c.jpg",[],{"id":47872,"slug":47873,"title":47874,"dynasty":18,"author":4069,"museum":107,"description":4070,"tags":47875,"thumbUrl":47876,"material":751,"size":752,"collection":95,"collections":47877,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},224202,"shu-qian-long-yu-zhi-yong-shi-er-chen-ben-zi-ti-si-ku-quan-shu-cheng-shan-liang-guo-zhi-224202","书乾隆御制用十二辰本字题四库全书成扇",[1250,7,25,2135,199,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b23a8a7f55e01c553bbd058cb20443.jpg",[],{"id":47879,"slug":47880,"title":47881,"dynasty":18,"author":25686,"museum":107,"description":47882,"tags":47883,"thumbUrl":47884,"material":95,"size":95,"collection":95,"collections":47885,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},224156,"jie-lin-huang-ting-jing-li-quan-ming-er-tie-ce-zhang-zhao-224156","节临黄庭经醴泉铭二帖册","落笔温润秀雅，点画间带着晋唐散淡意趣，虽为临作，却融入自运风神。行笔舒展利落，牵丝映带自然妥帖，不见滞碍。\n\n题字与朱红印信错落排布，墨色浓淡相宜，朱墨交织古雅沉静。文辞评说书道，笔墨呼应文心，将论书意趣与书写韵致融为一体。\n\n整体形制小巧隽秀，既有临摹的谨严，又不失随性的文人雅韵，方寸之间尽显清和端雅的书卷之气，尽显小品手卷的雅致情致。",[23,7,110,26,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b216d502eb8262aaced0852b02d17b.jpg",[],{"id":47887,"slug":47888,"title":47889,"dynasty":18,"author":20022,"museum":107,"description":36559,"tags":47890,"thumbUrl":47891,"material":751,"size":752,"collection":95,"collections":47892,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},224148,"shou-zha-er-shi-si-tong-san-yu-yue-224148","手札二十四通三",[23,25,7,49,60,77,27,458,51,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7056e696fa256fbf0163cb6639b594c3.jpg",[],{"id":47894,"slug":47895,"title":47896,"dynasty":18,"author":20022,"museum":107,"description":47897,"tags":47898,"thumbUrl":47899,"material":95,"size":95,"collection":802,"collections":47900,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},224147,"shou-zha-er-shi-si-tong-yi-yu-yue-224147","手札二十四通一","曲园与小坡二十四札书信，以言学术、诗词者居多，时间大约在光绪八年（1882-1887）之间。信札之书体，除一通为隶书外，俱为行楷书。曲园早年科举应试，字体工整圆润，有馆阁之风。后习篆、隶，书风为之一变，隶形篆意，古朴厚重，不加雕饰，犹如经生治史。老年所书楷联，则参以碑意，大气重拙。然此册之书法，除古朴、重拙之外，更有气质闲雅，潇洒风流，宋人之意跃然纸上。此或翰札特有之形态，抑或特有之魅力也。",[23,7,60,2282,312,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f3a811d9b191bb274a9a859c3249078.jpg",[802],{"id":47902,"slug":47903,"title":47904,"dynasty":45,"author":454,"museum":72,"description":47905,"tags":47906,"thumbUrl":47907,"material":95,"size":47908,"collection":95,"collections":47909,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},223488,"wu-kuan-chi-du-di-wu-ze-yi-ming-223488","无款尺牍第五则","这幅行草尺牍笔墨简劲爽利，牵丝映带间尽显流美韵致。起笔收锋自在随心，点画粗细错落，或轻捷如惊鸿掠水，或沉凝似坠石留痕，章法疏朗匀停，字间行气连贯通脱，毫无壅塞之感。\n\n通篇气息萧散淡远，虽为日常尺牍手札，却自含文人风雅意趣，不见刻意雕琢之态，将尺素往来的随性自然融于笔墨间，藏着旧时士人酬酢的从容襟怀。笔墨间的简淡松弛，正是帖学一脉的寻常风流，随手挥洒间，尽显文人间的清雅况味。",[24,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51706483f4f9c83f2360681af7fa68.jpg","31.1x34.2.",[],{"id":47911,"slug":47912,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":47913,"thumbUrl":47915,"material":95,"size":23245,"collection":95,"collections":47916,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},223185,"geng-zhi-tu-ce-jiao-bing-zhen-223185",[92,24,25,111,27,1128,7,60,113,13063,56,1919,12029,6129,11051,47914,53],"稻垛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06fbf0d04d79780f5ae8f6162575ed6.jpg",[],{"id":47918,"slug":47919,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":47920,"thumbUrl":47923,"material":95,"size":23245,"collection":95,"collections":47924,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},223179,"geng-zhi-tu-ce-jiao-bing-zhen-223179",[92,24,4347,111,27,11051,12028,47921,553,52,56,7,47922],"劳作人物","农桑题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ebfd1fa96a6ef63eab95237d5354c78.jpg",[],{"id":47926,"slug":47927,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":47928,"thumbUrl":47930,"material":95,"size":23245,"collection":95,"collections":47931,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},223177,"geng-zhi-tu-ce-jiao-bing-zhen-223177",[92,24,25,2135,111,27,113,56,12862,47929,12029,7,11051],"稻田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75f3eab8b3e23dd74a384f81bc04c13.jpg",[],{"id":47933,"slug":47934,"title":47935,"dynasty":18,"author":2378,"museum":279,"description":36624,"tags":47936,"thumbUrl":47937,"material":13508,"size":36627,"collection":95,"collections":47938,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},222638,"shan-shui-shu-fa-ce-liu-kai-4-gao-feng-han-222638","山水书法册六开-4",[23,24,25,26,50,59,51,52,53,113,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f6a136073f3bb154cce56b914e397b.jpg",[],{"id":47940,"slug":47941,"title":47942,"dynasty":18,"author":2378,"museum":279,"description":36624,"tags":47943,"thumbUrl":47944,"material":13508,"size":36627,"collection":95,"collections":47945,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},222636,"shan-shui-shu-fa-ce-liu-kai-2-gao-feng-han-222636","山水书法册六开-2",[23,24,25,26,27,50,7,60,51,55,137,56,57,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d133bad1288c0f92c3dd591e2a742fc.jpg",[],{"id":47947,"slug":47948,"title":22364,"dynasty":45,"author":43969,"museum":72,"description":47949,"tags":47950,"thumbUrl":47951,"material":312,"size":43017,"collection":95,"collections":47952,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},222410,"shu-shan-ye-wen-cong-jian-222410","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。\n山水画似文徵明、文嘉，能传家法，笔墨简淡，略带荒率之致，但较少变化。用水墨居多，思致清或，布局安详，境界空灵，气韵浑厚。兼学王蒙、倪瓒，喜用枯笔皴斫，作方从义笔法，脱尽时人蹊径。书法李邕，最得其神。",[23,4038,1250,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d64f0c9f7beefda418341964eb025f.jpg",[],{"id":47954,"slug":47955,"title":47956,"dynasty":45,"author":8163,"museum":107,"description":47957,"tags":47958,"thumbUrl":47959,"material":95,"size":95,"collection":95,"collections":47960,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},222389,"shu-shi-wen-peng-222389","书诗","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。\n文彭为明代画家文徵明之子，文彭少承家学，初学钟（繇）王（羲之），后效怀素，自成一家。晚年全力倾于孙过庭，篆、隶最见精粹，曾书《古诗十九首卷》，并有嘉靖三十年（1551）《题仇十洲摹本清明上河图记》。尤精篆刻，风格工稳，与何震并称“文何”。原多作牙章，亲自落墨，请南京李石英镌刻。后得灯光石，乃多刻石章，为后世所宗，称为文人流派印章之“开山鼻祖”。传世画作有隆庆六年（1572）作《兰竹图》卷，图录于《晋唐五代宋元明清书画集》《兰花图》轴现藏故宫博物院。嘉靖四十一年（1562）作《墨竹图》轴，自题：“我爱江南小满天，繁花销尽竹娟娟。北窗自展南华读，时有凉风到枕边。文彭写寄方壶先生，壬戌端阳日。”现藏广东省博物馆。亦能诗，著有《博士诗集》。\n初学钟、王，后效怀素，晚年则全学过庭，而尤精于篆、隶。索书者接踵不断。其父以书名当代，然有时不乐书，虽权贵人不敢强。彭手不停挥，求者无不当意。工刻印，后人奉为金科玉律。所作多牙章，往往自落墨而命金陵人李文甫镌之。李善雕箑边，其所镌花卉，皆玲珑有致，彭以印属之，辄能不失笔意，故其牙章半出李手。彭后在南监时得灯光石，乃不复治牙，于是冻石之名，始艳博于世。写墨竹，老笔纵横，直入文同之室。山水苍郁似吴镇。亦善写花果。卒年七十六。\n文彭对诗文、书画、篆刻均有造诣。对六书有深入的研究，和何震主张篆刻必须精通六书，才能入印。他所用牙章，亲自篆写，请南京李石英镌刻。据说在南京时，偶然得到民间雕琢首饰用的灯光石，用来制作印材，篆刻家可以亲自镌刻，既方便又能得到满意的效果。从此冻石之名才被世知，冻石也被篆刻家所广泛采用，给明、清流派篆刻的发展提供了条件。\n继承父亲藏书和书画，有藏书处曰“清白堂”，收藏宋元古籍和当代书画作品。藏书印有“渔阳子”“清白堂”。弟文嘉，亦喜藏书，藏书楼有“归来堂”，藏书印有“五峰山人”“元珠室”“五峰樵客”等。文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。子文元发，字子悱，官卫辉同治，喜藏书，其藏书印有“二楚精神”等；孙文震孟，字文起，号湖南，亦有藏书印曰“石经堂”“两日平章”等。\n文彭草书闲散不失章法，错落有致，神采风骨，兼其父文徵明和孙过庭之长，甚见功力。善写墨竹，老笔纵横，直入文同之室。亦工山水，所作类父风，花果亦佳。精书法，与何震（字主臣、长卿，号雪渔）并称“文何”。文彭书《岳阳楼记》，取法北宋书法家黄庭坚。传世作品有辽宁博物馆藏的《小楷赤壁赋》，故宫博物院藏的《行草五律诗》轴，上海博物馆藏有《隶书有美堂记》等19幅隶、行、草书作品，文彭亦擅绘画，作品不多。\n文彭篆刻秀丽典雅，风格妍媚清新。他的朱文章法疏朗，在宋、元圆朱文的基础上加以变化，篆法略呈方，显得质朴浑厚。他另一种朱文，纯用方折结构，可能是受汉印的影响。由于他刻印讲究六书，篆文不涉怪诞，又能向秦、汉玺印汲取营养，因而他的印章在当时确使印坛面目为之一新。冻石便于镌刻，印章的边款也可以由作者自己镌刻。他的边款是先在石面上书写行楷书，再依字迹用双刀刻成。在文彭、何震的倡导和影响下，一时篆刻之风大起，文人、书法家和画家都参加篆刻创作，文彭成为文人篆刻流派的先导。苏州一带学习文彭的有陈万言、李流芳、归昌世、顾听等，后人称他们为吴门派。\n文彭在印学上的地位要比在书法上高得多,他是公认的明清流派篆刻的开山祖师。真正有史料记载第一个用青田石治印的是明代国子监博士文彭，他在南京任职时，有一天偶遇一位卖青田石的老汉，买下了四筐石头，回家锯开一看，灯光下奇石晶莹剔透，成了一方方晶莹夺目的图章，其中质优者，就是半透明的“灯光冻石”，稍差者，也是当时的老坑矿石。从此他治印不再用象牙而用青田石了。于是冻石之名始见于世，名传四方。在印章流派艺术的历史上，文彭堪称鼻祖。从此，文人学士便逐渐改用石章，自篆自刻。由于石章的广为使用，对篆刻艺术的发展起了很大的催化作用。明代著名篆刻家朱简描述：“自三桥下，无不从斯、籀，字字秦汉，猗欤盛哉！”可见文人流派篆刻艺术发展史上文彭的重要地位。文彭以后，印学大发展，四百年来，影响遍及海内外。文彭是明代江南四大才子之一文征明的长子，家学渊博，才华出众，诗文、书画、篆刻均有造诣，被后人尊为我国篆刻艺术的开山鼻祖。文彭用青田石治印，结束了我国2000多年的铜印时代，进入了以文士为主体、个性为特征、名家辈出的石章时代。由于文彭的影响,加上石质印章本身具有的优越性,以石治印便在文人中很快地流行开来。\n文彭用冻石刻印，并首创印章边款，改变了元代以来板滞纤弱的弊病，恢复了汉印传统，他和何震提出篆刻应以六书为准则，并努力创作实践，取得了空前的成就，开创了文人自篆自刻并与书画三足鼎立的局面，文人掀起了学习篆刻的热潮。有很多人专学文彭，后人称“吴门派”；有些人则学何震，后人称“徽派”或“皖派”。\n他的篆刻具有开朝华而启夕秀的承上启下的意义，作品以安逸典雅、沉静清丽为基调，白文刻意追溯汉法，朱文则取宋元遗风而自出新意。文彭还创立了明代的第一个篆刻流派--吴门派，或称三桥派，该派的健将主要有陈万言、李流芳、归昌世等。他的篆刻作品，在当时没有编过印谱，原作存世极少，而张灏在万历年间把所藏印编为《承清馆印谱》，收有文彭刻的白文印十九方，但这些印章原石，至今未曾发现。作为书画地位均很高的两京国博，文彭对篆刻的提倡与参与，对于初创阶段的篆刻艺术，其意义是巨大的。　文彭对于篆刻艺术的杰出贡献是毋庸置疑的。他开倡明清篆刻的风气，曾直接和间接地影响了以后篆刻流派的形成和发展，功莫大焉。然而过去我们对其人其艺却所知甚少，这不能不说是明清篆刻史研究中的一桩缺憾。笔者通过研究，对过去对文彭的一些错误认识，进行了必要的澄清，对其在篆刻史上的地位和贡献，进行了较为接近真实的评价。",[23,7,199,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b42e92325501be43c0dca3b9d6f6fa9.jpg",[],{"id":47962,"slug":47963,"title":22364,"dynasty":45,"author":8163,"museum":72,"description":47957,"tags":47964,"thumbUrl":47965,"material":312,"size":47966,"collection":95,"collections":47967,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},222387,"shu-shan-ye-wen-peng-222387",[23,1250,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F595e1f71fa271dc59d1f36164528c840.jpg","17.4x50.3",[],{"id":47969,"slug":47970,"title":47971,"dynasty":45,"author":47972,"museum":72,"description":47973,"tags":47974,"thumbUrl":47975,"material":346,"size":47976,"collection":95,"collections":47977,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},222326,"hua-shou-xing-zhou-feng-xiao-222326","画寿星轴","冯晓","此图相传为宋人名笔。得寿星之真容",[23,24,25,75,27,111,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2747ebb9319f6c2623aeb8652d6b82a0.jpg","123.8×43.3cm",[],{"id":47979,"slug":47980,"title":47981,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":47982,"thumbUrl":47983,"material":682,"size":7424,"collection":95,"collections":47984,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":23752},222294,"nan-hua-zhen-jing-47-wang-chong-222294","南华真经47",[23,7,60,386,25,2602,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbaf68c5717fca5d91d771a11d40d95.jpg",[],{"id":47986,"slug":47987,"title":47988,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":47989,"thumbUrl":47990,"material":682,"size":7424,"collection":95,"collections":47991,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":23752},222281,"nan-hua-zhen-jing-34-wang-chong-222281","南华真经34",[23,25,7,199,386,1498,50,26,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9757f37471c4936ee85c52d756bbd6c3.jpg",[],{"id":47993,"slug":47994,"title":47995,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":47996,"thumbUrl":47997,"material":682,"size":7424,"collection":95,"collections":47998,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":23752},222249,"nan-hua-zhen-jing-2-wang-chong-222249","南华真经2",[23,7,386,60,50,25,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5616abf90a145e38681e7d5d5fad9204.jpg",[],{"id":48000,"slug":48001,"title":48002,"dynasty":45,"author":9762,"museum":72,"description":48003,"tags":48004,"thumbUrl":48005,"material":682,"size":48006,"collection":95,"collections":48007,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},222089,"shu-gong-yan-shi-zhou-song-ke-222089","书公䜩诗轴","此幅为明代书法家宋克所书魏刘桢五言古诗，混合行书、今草、章草和狂草。字形大小错落，行间紧凑，是承袭元末草书野逸之风的典型。\n此轴笔力清刚纵逸，古雅隽秀，具有二王潇洒流丽的韵致，又有唐人雄强豪放的气势，四尺纵幅，行笔中锋直下，圆转劲利，纵横自如，若惊蛇走虺，无丝毫滞碍疲弱之态，有俊逸豪迈之风。“鱼”字、“裔”字，波磔皆章草笔法。其用笔特有的波磔，纯属古章草笔法的流露。纵逸雄强，章、今、狂草笔法兼容并蓄。这件作品反映了宋克把握前人法度，取精用宏的超凡功力",[23,25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3361b361f97e0b80b65a364926b760a.jpg","111.7x32.4cm",[],{"id":48009,"slug":48010,"title":48011,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":48012,"thumbUrl":48013,"material":312,"size":20086,"collection":95,"collections":48014,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},221964,"shu-zha-ce-15-wen-zheng-ming-221964","书札册15",[23,7,60,26,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93de322f52309f8deeb1f1304a4a2c1.jpg",[],{"id":48016,"slug":48017,"title":48018,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":48019,"thumbUrl":48020,"material":312,"size":20086,"collection":95,"collections":48021,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},221962,"shu-zha-ce-13-wen-zheng-ming-221962","书札册13",[23,7,60,26,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca0ac601f7211c57c50641619372ee69.jpg",[],{"id":48023,"slug":48024,"title":48025,"dynasty":179,"author":32393,"museum":72,"description":48026,"tags":48027,"thumbUrl":48032,"material":95,"size":95,"collection":95,"collections":48033,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},221800,"shu-ti-hua-qi-yan-jue-ju-feng-zi-zhen-221800","书题画七言绝句","本开为元人书蹟二幅，右幅为冯子振书七言诗，诗句中称「陆有居庐水有船，青山倒景逼沙边」，左幅是赵岩书七言诗，中有「一片晴帆欲拂天，林云江月淨娟娟」二句。从诗文内容推测，二人所题应是表现江南山水景观之画，且是「奉皇姊大长公主命题」。至元二十三年(1286)忽必烈求贤于江南，冯子振与赵孟頫同在被推荐之列，曾官集贤待制。赵岩则为驸马鲁王所识，曾应公主旨意作赋而获赏，在公主所藏画作上常能见此二人题诗",[7,60,50,25,77,54,9679,48028,48029,17645,48030,48031],"沙边","江月","天林云","湖柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf67498e3e2d51d3052533a6f22027f.jpg",[],{"id":48035,"slug":48036,"title":48037,"dynasty":88,"author":48038,"museum":72,"description":48039,"tags":48040,"thumbUrl":48041,"material":312,"size":48042,"collection":95,"collections":48043,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},221657,"zhi-yang-zheng-jian-miao-feng-yi-chi-du-fan-cheng-da-221657","致养正监庙奉议尺牍","范成大","昨辱惠字至慰。雪晴奇寒。以仆之瑟缩。遥知公之为况也。范子二轴。各为题数字纳去。幸为分付。属此寒冷。不得与渠少款曲。每念右史同年。为之凄断。王生所作隶古千文。可得一观否。方子文字挨排不行。只得以来年。今小大尚未回。得维垣亲扎。闲数日。阔匾来者又数处。殆成苦相。不可具言。成大顿首。养正监庙奉议贤友。",[23,2601,7,60,3155,25,2602,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce03fab5049ee3a27238081e4d70bca.jpg","30.9x43.9厘米",[],{"id":48045,"slug":48046,"title":48047,"dynasty":88,"author":454,"museum":107,"description":48048,"tags":48049,"thumbUrl":48050,"material":95,"size":95,"collection":95,"collections":48051,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},221218,"za-a-han-jing-juan-di-san-shi-jiu-juan-yi-ming-221218","雜阿含經卷第三十九卷","《别译杂阿含经》为《杂阿含经》的别译本，共二十卷（《大正藏》分作十六卷，二诵，三六四经），其内容相当于《杂阿含经》〈八众诵〉的全部偈颂，以及〈如来所说诵〉的一部分",[23,7,386,1498,49,199,432,433,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10870316e9b703f9170a3f5c7719bc5.jpg",[],{"id":48053,"slug":48054,"title":48055,"dynasty":179,"author":32439,"museum":7039,"description":32440,"tags":48056,"thumbUrl":48057,"material":32443,"size":32444,"collection":95,"collections":48058,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220722,"xing-shu-shi-wen-he-juan-3-zhang-yu-yang-wei-zhen-wen-xin-220722","行書詩文合卷3",[60,7,25,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a293acef00500843838a41603295484.jpg",[],{"id":48060,"slug":48061,"title":48062,"dynasty":45,"author":5386,"museum":7039,"description":9257,"tags":48063,"thumbUrl":48064,"material":9260,"size":9261,"collection":95,"collections":48065,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220713,"xing-shu-jie-quan-5-wang-chong-220713","行书借券5",[23,92,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7676a1290a3a3bf257b0584f4d32dac.jpg",[],{"id":48067,"slug":48068,"title":48069,"dynasty":45,"author":5386,"museum":7039,"description":9257,"tags":48070,"thumbUrl":48071,"material":9260,"size":9261,"collection":95,"collections":48072,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220712,"xing-shu-jie-quan-6-wang-chong-220712","行书借券6",[23,7,60,49,432,433,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72673adb69fd516b01d47b8bbe98101a.jpg",[],{"id":48074,"slug":48075,"title":48076,"dynasty":45,"author":5386,"museum":7039,"description":9257,"tags":48077,"thumbUrl":48078,"material":9260,"size":9261,"collection":95,"collections":48079,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220710,"xing-shu-jie-quan-8-wang-chong-220710","行书借券8",[23,25,7,60,50,77,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7097b806ddddf033a914c9ed8f3a448d.jpg",[],{"id":48081,"slug":48082,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":48083,"thumbUrl":48084,"material":39621,"size":39622,"collection":95,"collections":48085,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220700,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220700",[23,24,25,26,60,199,7,77,651,132,678,21968,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d90d3bc41658b1878f3e8c47ba62d2.jpg",[],{"id":48087,"slug":48088,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":48089,"thumbUrl":48094,"material":39621,"size":39622,"collection":95,"collections":48095,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220699,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220699",[23,24,26,50,51,251,48090,152,52,53,48091,7,60,23518,48092,48093],"竹丛","策杖人物","墨色苍润","构图繁密","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee50e7857a14853f6fdb678132d77729.jpg",[],{"id":48097,"slug":48098,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":48099,"thumbUrl":48100,"material":39621,"size":39622,"collection":95,"collections":48101,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220696,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220696",[23,24,25,7,26,199,60,77,51,58,132,282,133,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec01786d56332259547002aace0ff68a.jpg",[],{"id":48103,"slug":48104,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":48105,"thumbUrl":48106,"material":39621,"size":39622,"collection":95,"collections":48107,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220666,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220666",[23,24,25,7,60,26,51,116,53,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa48cb13a2ec285e2173a1f00f6717e47.jpg",[],{"id":48109,"slug":48110,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":48111,"thumbUrl":48112,"material":7043,"size":7044,"collection":95,"collections":48113,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220649,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220649",[23,2601,198,7,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d86ec68e8c56a4b342c048a43cdd66.jpg",[],{"id":48115,"slug":48116,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":48117,"thumbUrl":48118,"material":7043,"size":7044,"collection":95,"collections":48119,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220646,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220646",[23,7,198,200,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc00d1229ecee71e03b6a05953b8971.jpg",[],{"id":48121,"slug":48122,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":48123,"thumbUrl":48124,"material":7043,"size":7044,"collection":95,"collections":48125,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220643,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220643",[23,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c379bb392ff25ac98fac96afb24a4cd.jpg",[],{"id":48127,"slug":48128,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":48129,"thumbUrl":48130,"material":7043,"size":7044,"collection":95,"collections":48131,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220638,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220638",[23,7,198,200,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac375a9f7403626eac79b7ca8d6e925c.jpg",[],{"id":48133,"slug":48134,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":48135,"thumbUrl":48136,"material":7043,"size":7044,"collection":95,"collections":48137,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220632,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220632",[23,198,200,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe475aabeb4dfd2dc3fa82857a4901f26.jpg",[],{"id":48139,"slug":48140,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":48141,"thumbUrl":48142,"material":7043,"size":7044,"collection":95,"collections":48143,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":95},220610,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220610",[23,7,200,198,60,398,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566dc29d9e28c26b212143e4a3ab5e49.jpg",[],{"id":48145,"slug":48146,"title":48147,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48148,"thumbUrl":48149,"material":198,"size":2971,"collection":95,"collections":48150,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220214,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-3-liu-gong-quan-220214","神策军碑-皇帝巡幸左神策军纪圣德碑3",[199,198,7,77,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a80342695c9c1fa3e25ddc4525a545.jpg",[],{"id":48152,"slug":48153,"title":48154,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48155,"thumbUrl":48156,"material":198,"size":2971,"collection":95,"collections":48157,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220211,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-5-liu-gong-quan-220211","神策军碑-皇帝巡幸左神策军纪圣德碑5",[1063,199,198,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a43bf886cbd7abdddaa40932b6eb4d.jpg",[],{"id":48159,"slug":48160,"title":48161,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48162,"thumbUrl":48163,"material":198,"size":2971,"collection":95,"collections":48164,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220208,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-7-liu-gong-quan-220208","神策军碑-皇帝巡幸左神策军纪圣德碑7",[25,7,198,199,3423,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482373d13eae8f973dd01e5e82604294.jpg",[],{"id":48166,"slug":48167,"title":48168,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48169,"thumbUrl":48170,"material":198,"size":2971,"collection":95,"collections":48171,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220207,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-8-liu-gong-quan-220207","神策军碑-皇帝巡幸左神策军纪圣德碑8",[7,199,198,3423,43167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabbc9d259b61d10ec9e1cfc3f351b597.jpg",[],{"id":48173,"slug":48174,"title":48175,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48176,"thumbUrl":48177,"material":198,"size":2971,"collection":95,"collections":48178,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220195,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-19-liu-gong-quan-220195","神策军碑-皇帝巡幸左神策军纪圣德碑19",[7,198,199,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ff227b9f582915962e1ff75c5407e7.jpg",[],{"id":48180,"slug":48181,"title":48182,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48183,"thumbUrl":48184,"material":198,"size":2971,"collection":95,"collections":48185,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220189,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-23-liu-gong-quan-220189","神策军碑-皇帝巡幸左神策军纪圣德碑23",[7,199,198,8551,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c67c38158b7acdcee2c880ffed95902.jpg",[],{"id":48187,"slug":48188,"title":48189,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48190,"thumbUrl":48191,"material":198,"size":2971,"collection":95,"collections":48192,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220178,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-33-liu-gong-quan-220178","神策军碑-皇帝巡幸左神策军纪圣德碑33",[199,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb564aab28bffc185ba4b82ab538ae7.jpg",[],{"id":48194,"slug":48195,"title":48196,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48197,"thumbUrl":48198,"material":198,"size":2971,"collection":95,"collections":48199,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220175,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-35-liu-gong-quan-220175","神策军碑-皇帝巡幸左神策军纪圣德碑35",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d10d55883709e09701b59e01c0354e.jpg",[],{"id":48201,"slug":48202,"title":48203,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48204,"thumbUrl":48205,"material":198,"size":2971,"collection":95,"collections":48206,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220174,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-36-liu-gong-quan-220174","神策军碑-皇帝巡幸左神策军纪圣德碑36",[1063,199,198,7,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a6ea690e2a2d4635a576561780b6f3.jpg",[],{"id":48208,"slug":48209,"title":48210,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48211,"thumbUrl":48212,"material":198,"size":2971,"collection":95,"collections":48213,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220171,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-39-liu-gong-quan-220171","神策军碑-皇帝巡幸左神策军纪圣德碑39",[1063,7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e0a1e3b66dc96ffc6158f751cc172ca.jpg",[],{"id":48215,"slug":48216,"title":48217,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48218,"thumbUrl":48219,"material":198,"size":2971,"collection":95,"collections":48220,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220166,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-43-liu-gong-quan-220166","神策军碑-皇帝巡幸左神策军纪圣德碑43",[199,198,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49fe7f5b0afc7818673001bd92e0f2c.jpg",[],{"id":48222,"slug":48223,"title":48224,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48225,"thumbUrl":48226,"material":198,"size":2971,"collection":95,"collections":48227,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},220158,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-51-liu-gong-quan-220158","神策军碑-皇帝巡幸左神策军纪圣德碑51",[199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df1a02cf37bd4a7d8a8bcde542d85bf.jpg",[],{"id":48229,"slug":48230,"title":48231,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":48232,"thumbUrl":48233,"material":198,"size":2971,"collection":95,"collections":48234,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},220154,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-55-liu-gong-quan-220154","神策军碑-皇帝巡幸左神策军纪圣德碑55",[7,199,198,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ebdde938cdf6d00dfda44ae6e0867a.jpg",[],{"id":48236,"slug":48237,"title":48238,"dynasty":45,"author":11488,"museum":20,"description":32467,"tags":48239,"thumbUrl":48240,"material":312,"size":32470,"collection":95,"collections":48241,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},219781,"za-hua-ce-7-guo-xu-219781","杂画册-7",[24,25,50,26,59,51,553,771,56,333,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd043a0626a157e329bd01f4fab1a5787.jpg",[],{"id":48243,"slug":48244,"title":48245,"dynasty":45,"author":14987,"museum":126,"description":14988,"tags":48246,"thumbUrl":48247,"material":312,"size":14992,"collection":95,"collections":48248,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},219162,"shi-han-ce-3-peng-nian-219162","诗翰册-3",[23,24,25,26,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa15afe7ec760cf55e2656394c33cd7d0.jpg",[],{"id":48250,"slug":48251,"title":48252,"dynasty":45,"author":14987,"museum":126,"description":14988,"tags":48253,"thumbUrl":48254,"material":312,"size":14992,"collection":95,"collections":48255,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},219161,"shi-han-ce-4-peng-nian-219161","诗翰册-4",[23,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd240ed50130bdb09ed47da70ed65e177.jpg",[],{"id":48257,"slug":48258,"title":48259,"dynasty":45,"author":10467,"museum":1172,"description":48260,"tags":48261,"thumbUrl":48262,"material":33,"size":10471,"collection":95,"collections":48263,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},217871,"zhou-li-yuan-shang-kuan-shen-ce-qi-hu-yu-kun-217871","周栎园上款什册(七)","远山如黛染轻烟，近水含光映空濛。淡墨晕开的峰峦似隐似现，几抹青绿点染出苍润之态，水面波纹疏疏，衬得天地愈发清旷。笔墨写意却藏细腻，每一笔都似带着悠然的心境。旁侧题跋字迹流转，与山水景致相契，文字的闲情与画面的雅致交融，仿佛能窥见作者行旅途中的片刻凝思，或是对自然风物的深情咏叹。整幅作品将绘事与书道、诗意相融，尽显文人画的韵致，观之如入幽境，心随山水悠远。",[24,25,26,50,27,51,60,77,251,252,15072,21204,24335,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4669799fb6d97445d20ba3726ed1a985.jpg",[],{"id":48265,"slug":48266,"title":48267,"dynasty":18,"author":8382,"museum":107,"description":34486,"tags":48268,"thumbUrl":48269,"material":312,"size":95,"collection":95,"collections":48270,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},217082,"bai-miao-luo-han-40-leng-mei-217082","白描罗汉-40",[92,24,25,26,112,878,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee50f538ad6c56abacf5af45c751d73e.jpg",[],{"id":48272,"slug":48273,"title":48274,"dynasty":18,"author":9820,"museum":107,"description":36882,"tags":48275,"thumbUrl":48276,"material":50,"size":95,"collection":95,"collections":48277,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":40},216811,"zhan-zheng-tong-ban-hua-38-lang-shi-ning-216811","战争铜版画-38",[36884,15301,36885,113,1074,51,7,9812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99e821c8bfe45a4ce19ef2131c122a4.jpg",[],{"id":48279,"slug":48280,"title":48281,"dynasty":18,"author":454,"museum":107,"description":48282,"tags":48283,"thumbUrl":48284,"material":169,"size":95,"collection":95,"collections":48285,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},216152,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-6-yi-ming-216152","职贡图巨幅彩绘册页第2册-6","墨笔书就的页面，字迹端雅规整，笔画劲挺中藏圆润，尽显传统书法韵致。文字围绕职贡主题展开，描摹四方来朝的盛况与文化交融的图景，笔墨间流露历史厚重感。纸色古朴，墨痕清晰，与职贡图整体叙事相呼应，传递古代邦交与文化交流的生动气息，兼具艺术价值与历史意涵，是艺术与历史交织的珍贵一页。",[23,2135,7,199,26,77,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc57c67c5b3a68b3c205f7f8906319ce.jpg",[],{"id":48287,"slug":48288,"title":48289,"dynasty":18,"author":11046,"museum":11047,"description":48290,"tags":48291,"thumbUrl":48298,"material":50,"size":95,"collection":95,"collections":48299,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},215644,"yu-zhi-geng-zhi-tu-5-kang-xi-215644","御制耕织图-5","笔墨间铺展着烟火蒸腾的耕织长卷。一侧木舍错落，纺车咿呀里，织妇指尖缠绕蚕丝柔亮，织物垂挂如瀑，映着窗畔微光；另一侧田畴开阔，农人荷锄挥镰，泥土气息混着汗水，在锄头起落间晕开生机。线条细腻如丝，勾摹农具纹理、衣袂褶皱，连田埂草叶都带着鲜活韧劲。没有刻意渲染，却把寻常日子里的勤勉与温暖，揉进每一笔线条——耕织的节奏，原是大地最朴素的诗行，藏着岁月里最踏实的烟火与希望。",[23,24,25,26,112,9636,7,77,113,12028,12029,333,53,56,13012,48292,48293,48294,48295,48296,553,48297],"栅栏","水桶","锄头","竹篮","土地","劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa79879ab0506e18f699a2ad05dc6b7c.jpg",[],{"id":48301,"slug":48302,"title":48303,"dynasty":18,"author":2301,"museum":72,"description":36941,"tags":48304,"thumbUrl":48305,"material":169,"size":95,"collection":95,"collections":48306,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},215048,"shu-hua-he-bi-tu-ce-4-qian-long-215048","书画合璧图册-4",[23,24,25,26,60,7,112,50,113,115,116,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf4cc75c2f8baafe564fad5dbe230ac.jpg",[],{"id":48308,"slug":48309,"title":48310,"dynasty":18,"author":2301,"museum":72,"description":36941,"tags":48311,"thumbUrl":48312,"material":169,"size":95,"collection":95,"collections":48313,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":207},215046,"shu-hua-he-bi-tu-ce-6-qian-long-215046","书画合璧图册-6",[23,24,25,26,112,50,111,7,199,77,51,113,55,56,53,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce35a5632617cbc7aa9ebb9f107ede1e.jpg",[],{"id":48315,"slug":48316,"title":48317,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48318,"thumbUrl":48319,"material":312,"size":1340,"collection":95,"collections":48320,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214480,"da-tang-zhong-xing-song-xia-ce-5-yan-zhen-qing-214480","大唐中兴颂下册-5",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b15482288472a2ae579c6e8f2b0b6.jpg",[],{"id":48322,"slug":48323,"title":48324,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48325,"thumbUrl":48326,"material":312,"size":1340,"collection":95,"collections":48327,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214475,"da-tang-zhong-xing-song-xia-ce-9-yan-zhen-qing-214475","大唐中兴颂下册-9",[7,198,199,2136,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc690e308de74d4a9845a177cd6d974d.jpg",[],{"id":48329,"slug":48330,"title":48331,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48332,"thumbUrl":48333,"material":312,"size":1340,"collection":95,"collections":48334,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214472,"da-tang-zhong-xing-song-xia-ce-12-yan-zhen-qing-214472","大唐中兴颂下册-12",[7,199,198,1074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa73442b5790df4ece561ecfbc1283c36.jpg",[],{"id":48336,"slug":48337,"title":48338,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48339,"thumbUrl":48340,"material":312,"size":1340,"collection":95,"collections":48341,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214467,"da-tang-zhong-xing-song-xia-ce-13-yan-zhen-qing-214467","大唐中兴颂下册-13",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc475d9e2782cf4ecbab87b4bfebee1ef.jpg",[],{"id":48343,"slug":48344,"title":48345,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48346,"thumbUrl":48347,"material":312,"size":1340,"collection":95,"collections":48348,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214464,"da-tang-zhong-xing-song-xia-ce-20-yan-zhen-qing-214464","大唐中兴颂下册-20",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e64a011f1902847f9fc162c7c2fe74.jpg",[],{"id":48350,"slug":48351,"title":48352,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48353,"thumbUrl":48354,"material":312,"size":1340,"collection":95,"collections":48355,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214459,"da-tang-zhong-xing-song-xia-ce-23-yan-zhen-qing-214459","大唐中兴颂下册-23",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe593c97bd0487d91a2750bdb9d650af2.jpg",[],{"id":48357,"slug":48358,"title":48359,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48360,"thumbUrl":48361,"material":312,"size":1340,"collection":95,"collections":48362,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214458,"da-tang-zhong-xing-song-xia-ce-25-yan-zhen-qing-214458","大唐中兴颂下册-25",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e55a114e998e5df975ecc4ea554b420.jpg",[],{"id":48364,"slug":48365,"title":48366,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48367,"thumbUrl":48368,"material":312,"size":1340,"collection":95,"collections":48369,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214457,"da-tang-zhong-xing-song-xia-ce-26-yan-zhen-qing-214457","大唐中兴颂下册-26",[199,7,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23767eae1065bb6fd11c113f9202ca09.jpg",[],{"id":48371,"slug":48372,"title":48373,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48374,"thumbUrl":48375,"material":312,"size":1340,"collection":95,"collections":48376,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214455,"da-tang-zhong-xing-song-xia-ce-28-yan-zhen-qing-214455","大唐中兴颂下册-28",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76b4ef9b6e11b58240a0b8a354815e6.jpg",[],{"id":48378,"slug":48379,"title":48380,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48381,"thumbUrl":48382,"material":312,"size":1340,"collection":95,"collections":48383,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214452,"da-tang-zhong-xing-song-xia-ce-31-yan-zhen-qing-214452","大唐中兴颂下册-31",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967201ab0520850652680b3f63350ea5.jpg",[],{"id":48385,"slug":48386,"title":48387,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48388,"thumbUrl":48389,"material":312,"size":1340,"collection":95,"collections":48390,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214448,"da-tang-zhong-xing-song-xia-ce-36-yan-zhen-qing-214448","大唐中兴颂下册-36",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52432656e6712a6bb8f4b61ece56a894.jpg",[],{"id":48392,"slug":48393,"title":48394,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48395,"thumbUrl":48396,"material":312,"size":1340,"collection":95,"collections":48397,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214445,"da-tang-zhong-xing-song-xia-ce-40-yan-zhen-qing-214445","大唐中兴颂下册-40",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3ed8fdce702715ce5dd483a7dbe61ce.jpg",[],{"id":48399,"slug":48400,"title":48401,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48402,"thumbUrl":48403,"material":312,"size":1340,"collection":95,"collections":48404,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214444,"da-tang-zhong-xing-song-xia-ce-39-yan-zhen-qing-214444","大唐中兴颂下册-39",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc564c448eb0b6c4cb621b9da55bd0f7.jpg",[],{"id":48406,"slug":48407,"title":48408,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48409,"thumbUrl":48410,"material":312,"size":1340,"collection":95,"collections":48411,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214443,"da-tang-zhong-xing-song-xia-ce-38-yan-zhen-qing-214443","大唐中兴颂下册-38",[7,198,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b5ab5a3c327af05bd432f95defd62a.jpg",[],{"id":48413,"slug":48414,"title":48415,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48416,"thumbUrl":48417,"material":312,"size":1340,"collection":95,"collections":48418,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214441,"da-tang-zhong-xing-song-xia-ce-41-yan-zhen-qing-214441","大唐中兴颂下册-41",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc878d6bcb009e139fa2cae158dc53405.jpg",[],{"id":48420,"slug":48421,"title":48422,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48423,"thumbUrl":48424,"material":312,"size":1340,"collection":95,"collections":48425,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214440,"da-tang-zhong-xing-song-xia-ce-43-yan-zhen-qing-214440","大唐中兴颂下册-43",[1063,199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c4619980aea79edfbd5825867b09241.jpg",[],{"id":48427,"slug":48428,"title":48429,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48430,"thumbUrl":48431,"material":312,"size":1340,"collection":95,"collections":48432,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214438,"da-tang-zhong-xing-song-xia-ce-44-yan-zhen-qing-214438","大唐中兴颂下册-44",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd929e0ef37ce984fd9500d6a3ded0c.jpg",[],{"id":48434,"slug":48435,"title":48436,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48437,"thumbUrl":48438,"material":312,"size":1340,"collection":95,"collections":48439,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214437,"da-tang-zhong-xing-song-xia-ce-45-yan-zhen-qing-214437","大唐中兴颂下册-45",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cfd32991f11eb86d4f7324e4ab4475.jpg",[],{"id":48441,"slug":48442,"title":48443,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48444,"thumbUrl":48445,"material":312,"size":1340,"collection":95,"collections":48446,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214436,"da-tang-zhong-xing-song-xia-ce-47-yan-zhen-qing-214436","大唐中兴颂下册-47",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd8553c6cc365ff706eedad50c125812.jpg",[],{"id":48448,"slug":48449,"title":48450,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":48451,"thumbUrl":48452,"material":312,"size":1340,"collection":95,"collections":48453,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":100},214435,"da-tang-zhong-xing-song-xia-ce-48-yan-zhen-qing-214435","大唐中兴颂下册-48",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56f085ec4addc75fe251cd3fccf841f.jpg",[],{"id":48455,"slug":48456,"title":48457,"dynasty":18,"author":48458,"museum":20,"description":48459,"tags":48460,"thumbUrl":48461,"material":95,"size":95,"collection":63,"collections":48462,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48463},203453,"shao-ling-shi-yi-tu-ce-gu-fu-zhen-203453","少陵诗意图册","顾符稹","画面以水墨为底，皴擦与晕染交织，山峦在云雾中浮沉。近处林木苍劲，亭阁隐于浓荫，小径蜿蜒通幽；远处峰峦层叠，烟霭缭绕，留白处尽现空濛之韵。笔墨灵动，既勾勒山石的嶙峋，又晕染云雾的轻柔，恰将少陵诗中江山迷蒙的意境凝于尺幅。文人画的雅致与诗意的悠远相融，每一处笔触都藏着对诗境的解读，让山水不仅是景，更是情与韵的载体。",[23,24,25,26,50,51,57,252,458,56,267,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265343004079023f189a901974de33a5.jpg",[63],"c8b5aa",{"id":48465,"slug":48466,"title":48467,"dynasty":18,"author":11350,"museum":20,"description":48468,"tags":48469,"thumbUrl":48473,"material":95,"size":95,"collection":63,"collections":48474,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48475},203369,"hua-shan-shi-er-jing-tu-ce-dai-ben-xiao-203369","华山十二景图册","峰峦奇崛，山石以简洁皴法勾勒肌理，淡墨晕染出空灵之境。笔墨苍劲中见秀逸，线条刚健却含蕴藉，将华山的险峻与清寂融为一体。山间亭台隐现，林木疏朗，题跋书法与画作相映成趣，尽显文人画诗画合一的韵味。每帧皆为独立景致，却气脉连贯，于咫尺间展现华山十二景的雄奇幽深，传递自然与人文交织的静谧之美。",[24,50,59,51,250,55,7,77,26,60,576,57,14918,2028,1689,3115,48470,8385,3113,48471,48472,4285,25166,23],"勾勒","雄奇","幽深","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63cfa9e421d3d6cddafd3f1c8dd688c4.jpg",[63],"e3d8cf",{"id":48477,"slug":48478,"title":48479,"dynasty":23400,"author":48480,"museum":20,"description":48481,"tags":48482,"thumbUrl":48483,"material":95,"size":95,"collection":187,"collections":48484,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48485},203366,"mo-jia-zhou-feng-yu-xiang-203366","墨茄轴","冯玉祥","浓墨挥写两枚茄子，笔意朴拙却鲜活灵动，墨色浓淡间勾勒出蔬果的憨态与生机。侧旁题跋以行书书就，文字诙谐质朴，将日常闲趣融入画中，书画相映成趣。一方朱印点缀，更添雅致。整幅作品不尚精巧技法，而以真性情动人，于简约中见生活之味，尽显随性自然的意趣。",[50,7,77,75,10925,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d02884273497fc5003476abd177b6e.jpg",[187],"cdba96",{"id":48487,"slug":48488,"title":48489,"dynasty":23400,"author":48490,"museum":20,"description":48491,"tags":48492,"thumbUrl":48493,"material":95,"size":95,"collection":95,"collections":48494,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48495},203350,"zhuan-shu-chang-shou-diao-ming-zhou-li-shu-tong-203350","篆书长寿钓铭轴","李叔同","这幅作品以篆书书就，线条凝练古拙如金石镌刻，苍劲中含韵致；结构端稳古朴，尽显篆隶气象。旁侧小字题跋笔墨清逸，与篆书主体相映成趣，布局疏朗雅致，流露文人雅韵。笔墨间兼具传统篆书法度与个人冲淡心境，似诉对闲适长寿的期许，显书者深厚功底与人文情怀。",[457,7,3467,75,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e916998a11e499751995b1f753dd514.jpg",[],"d7c9c3",{"id":48497,"slug":48498,"title":48499,"dynasty":23400,"author":11301,"museum":20,"description":48500,"tags":48501,"thumbUrl":48502,"material":95,"size":95,"collection":63,"collections":48503,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":30580},203313,"qian-chi-bi-fu-tu-juan-wang-zhen-203313","前赤壁赋图卷","这幅图卷以苏轼《前赤壁赋》为魂，将文辞的旷达意境凝于笔墨。画面水墨淋漓，峰峦以皴法勾勒，尽显苍劲质感；江面孤舟轻泛，蓑笠人影与朦胧月色相映，似闻舟中清啸。笔墨洒脱随性，线条刚柔相济，草木简笔点染却生机暗涌。卷上满布行书题跋，书风与画风交融，字随画走，画伴文生，浑然一体间，既再现赤壁夜游的悠然情境，又传递出文人画特有的雅韵与哲思，令人沉浸于那份天地与我共生的旷远之境。",[24,25,49,50,51,54,60,7,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16a83eb1cffc7b67a2cc4981b0e78c3d.jpg",[63],{"id":48505,"slug":48506,"title":12162,"dynasty":18,"author":2378,"museum":20,"description":48507,"tags":48508,"thumbUrl":48509,"material":95,"size":95,"collection":95,"collections":48510,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48511},203290,"za-hua-ce-gao-feng-han-203290","淡墨晕染的萝卜形态憨实，半剖的断面以粉红轻敷，似藏清甜汁水；旁侧菜叶用浅绿泼写，叶脉疏朗，随性笔触里透着鲜活野趣。题字墨色浓淡相间，笔势苍劲，与蔬果景致相映成趣，尽显文人画的雅致情韵。整幅构图简洁却意韵饱满，仿佛能嗅到萝卜的清辣气息，将日常风物化作可观可品的艺术佳构，藏着作者对生活细微处的热爱与细腻感知。",[24,13508,26,29,7,43460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25f8afc8e439769bcbc8bba8647af95.jpg",[],"cab694",{"id":48513,"slug":48514,"title":48515,"dynasty":23400,"author":11301,"museum":20,"description":48516,"tags":48517,"thumbUrl":48520,"material":95,"size":95,"collection":171,"collections":48521,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48522},203194,"wu-liang-shou-fu-tu-zhou-wang-zhen-203194","无量寿佛图轴","图中无量寿佛趺坐蒲团，面容慈和，双目微阖间流露禅意。衣袍以写意笔触勾勒，线条简劲洒脱，墨色浓淡相宜，衣袂飘逸自然。双手捻珠，姿态悠然，尽显超脱之态。上方题跋笔墨酣畅，与画像浑然一体，书画相映成趣。整幅作品气韵生动，以简练之笔传禅心，墨色与淡彩交融，尽显海派绘画灵动意趣，是写意人物画中的佳构。",[24,113,878,129,27,7,3331,16623,48518,48519,23],"蒲团","佛珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a2dfb77072758d8159ecbfaddaa3a0.jpg",[171],"d8cfc0",{"id":48524,"slug":48525,"title":48526,"dynasty":45,"author":48527,"museum":20,"description":48528,"tags":48529,"thumbUrl":48530,"material":95,"size":95,"collection":95,"collections":48531,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48532},203053,"xing-shu-shou-cang-shu-hua-gao-ben-ce-lu-shen-203053","行书收藏书画稿本册","陆深","笔墨流转间尽显文人雅韵，行书线条灵动洒脱，笔力劲健又不失温润。笔画牵丝映带自然天成，结体疏密有致，章法错落中见整饬。文字记录收藏书画的点滴，字里行间浸透着书卷气息与鉴藏情怀。泛黄纸页上朱红印章点缀，与墨色相互映衬，更添古雅意趣。整本册页虽为稿本，却处处流露着作者的书法功底与审美意趣，是文人日常鉴藏生活的生动写照，亦展现了明代行书的典型风貌与笔墨魅力。",[60,7,77,26,6769,312,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ca4973ff890e69be0299beeae6dc13.jpg",[],"c4b3a3",{"id":48534,"slug":48535,"title":48536,"dynasty":45,"author":1313,"museum":20,"description":48537,"tags":48538,"thumbUrl":48542,"material":95,"size":95,"collection":95,"collections":48543,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48544},202981,"shu-hua-dui-ti-ji-ce-dong-qi-chang-202981","书画对题集册","这页书法以行书挥就，笔墨流转间尽显文人雅致。行笔从容含力，线条柔韧兼具挺劲，结体疏朗空灵，字距行距间透气自然。墨色浓淡相宜，枯润相生——起笔收锋精准，转折圆融流畅，牵丝映带间藏着淡远清逸的韵致。古雅纸色衬朱印点缀，更添古朴意趣，仿佛能窥见古人挥毫时的从容心境，尽显明代文人书法的审美意趣。",[60,7,77,6769,426,312,48539,48540,7769,10992,48541,23],"疏朗","淡远","枯润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28b5bb6d324117ed7268bfbd22e6d52.jpg",[],"c49f7c",{"id":48546,"slug":48547,"title":10901,"dynasty":23400,"author":663,"museum":20,"description":48548,"tags":48549,"thumbUrl":10,"material":95,"size":95,"collection":95,"collections":48550,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48551},202792,"xiong-ji-tu-zhou-qi-bai-shi-202792","这幅写意花鸟以雄鸡为主体，红冠如丹，黑羽泼墨般厚重，黄腹明快鲜亮，色彩对比强烈却浑然天成。笔力苍劲，线条兼具书法意趣，寥寥数笔勾勒出雄鸡昂首挺立的昂扬姿态，神气活现。上方花枝舒展，花瓣以淡墨晕染，清雅淡然，与雄鸡的浓艳形成动静相宜、刚柔相济的妙趣。整作笔墨简练而形神兼备，尽显齐白石写意之精髓，满溢着生命的活力与质朴的生活情味。",[24,29,50,27,75,7,77],[],"c3bca3",{"id":48553,"slug":48554,"title":48555,"dynasty":23400,"author":11301,"museum":20,"description":48556,"tags":48557,"thumbUrl":48558,"material":95,"size":95,"collection":95,"collections":48559,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48560},202789,"bai-bu-ding-jiao-tu-zhou-wang-zhen-202789","百步订交图轴","画面以水墨为基调，兼施淡彩。苍劲的松枝与疏朗的翠竹交织，营造出清幽雅致的林下氛围。老者持杖伫立石径旁，衣纹简练流畅，神态悠然谦和，似在静待知音。背景山石以简括皴法勾勒，线条洗练却见风骨，墨色浓淡相宜。左侧题跋墨气淋漓，笔力雄健，与画面相映成趣，尽显文人画的意趣。整作笔墨雄浑中含秀逸，人物与景物交融，传递出古人交游的淡泊心境。",[24,50,27,113,132,59,7,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2797d6a00a0ba3360a4d7e10c051bd8e.jpg",[],"8e866e",{"id":48562,"slug":48563,"title":5856,"dynasty":18,"author":830,"museum":20,"description":48564,"tags":48565,"thumbUrl":48566,"material":95,"size":95,"collection":95,"collections":48567,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48568},202635,"hong-mei-tu-zhou-wu-chang-shuo-202635","老干盘曲如铁，以篆籀之笔写就，墨色浓淡相间，斑驳处见苍劲古拙；红梅点点，胭脂淡染中透着鲜活生机，或聚或散，与墨枝刚健形成刚柔相济之美。题款笔墨流畅，行书与画面浑然一体，印章朱红点缀，更添雅致。整幅画作气脉连贯，金石气与写意韵交融，尽显老辣奔放又不失灵秀的格调，是吴氏花卉的典型风貌。",[24,75,29,131,50,27,457,60,7,43460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed7bc944df45abda5f846e2689d48fc.jpg",[],"bab39f",{"id":48570,"slug":48571,"title":48572,"dynasty":18,"author":10031,"museum":20,"description":48573,"tags":48574,"thumbUrl":48575,"material":95,"size":95,"collection":95,"collections":48576,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48577},202507,"song-shu-tu-zhou-xu-gu-202507","松鼠图轴","柳枝以淡墨干笔勾写，线条疏朗劲逸，柳叶错落间点染淡红，似含春意。松鼠蜷卧枝下，绒毛用枯笔焦墨层层皴擦，质感蓬松柔软，圆睁的眼眸灵动有神，憨态可掬的姿态与柳枝的清疏形成动静相映之趣。画面留白恰到好处，左侧题款笔墨清隽，与绘事相得益彰，朱红印信点缀其间，更添雅致。整作笔墨简练却形神兼备，将松鼠的天真意态与柳枝的逸韵融为一体，尽显文人画的生机与意趣。",[24,75,2929,798,50,27,59,7,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf25a44f2f7967f13aa056b89362768.jpg",[],"d8d3c6",{"id":48579,"slug":48580,"title":48581,"dynasty":45,"author":46,"museum":20,"description":48582,"tags":48583,"thumbUrl":48584,"material":95,"size":95,"collection":95,"collections":48585,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48586},202491,"yang-hua-tu-juan-shen-zhou-202491","杨花图卷","淡墨勾染垂柳柔枝，袅袅垂落如丝，杨花轻飏若浮，不着艳色却见春机。卷上题跋笔墨流转，行书意趣与画面相映成趣，诗书画印交融，尽显文人雅致韵致。笔法写意洒脱，墨色层次淡远，将春日杨花的朦胧与柳丝的柔婉，融于简淡画面中，藏着对时光的细腻感知与闲逸情怀。整卷意境空灵，韵致悠然，是文人画中诗画合一的典范。",[24,49,50,7,60,77,29,6052,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab9b09e4f0cb1783b2b764f5d601ac5.jpg",[],"c6bcb3",{"id":48588,"slug":48589,"title":13738,"dynasty":18,"author":48590,"museum":20,"description":48591,"tags":48592,"thumbUrl":48593,"material":95,"size":95,"collection":95,"collections":48594,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48595},202419,"mo-he-tu-zhou-tie-zhou-202419","铁舟","这幅墨荷图以水墨写意手法绘就，荷叶泼墨挥洒，浓淡交错间尽显自然意趣；荷花或盛放或含苞，线条简括却神形兼备；荷梗挺劲穿插，笔触灵动。墨色淋漓变幻，气韵生动，将荷花清逸出尘之姿诠释得淋漓尽致，兼具禅意与生机。题字与印章相映成趣，更添书画合璧之雅韵。",[24,50,29,134,75,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5952b23a81a49c435cf75457c98f90.jpg",[],"dcd0c2",{"id":48597,"slug":48598,"title":5678,"dynasty":18,"author":35388,"museum":20,"description":48599,"tags":48600,"thumbUrl":48601,"material":95,"size":95,"collection":95,"collections":48602,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48603},202411,"mo-zhu-zhou-fang-xun-202411","墨竹疏朗有致，枝干挺劲如篆，竹叶撇捺似草，笔墨浓淡相生，尽显竹之清逸气节。文人意趣浓厚，诗跋与竹影相映成趣，墨气淋漓间，透出自然生趣与士人风骨。以书入画，笔法洒脱，竹叶向背、聚散安排巧妙，疏密得当，留白处见空灵。墨色干湿互用，枝干的苍劲与竹叶的灵动形成对比，传递出对竹之品格的崇尚，是诗书画印融合的文人画佳作。",[132,50,25,60,7,43460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7482620a2c5633b29d74fafe5fabf6.jpg",[],"c6b29b",{"id":48605,"slug":48606,"title":48607,"dynasty":18,"author":34631,"museum":20,"description":48608,"tags":48609,"thumbUrl":48610,"material":95,"size":95,"collection":171,"collections":48611,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48612},201999,"fu-lu-tu-zhou-hong-li-201999","扶鹿图轴","这幅画作以水墨写意见长，人物衣袍用大块墨色晕染，浓淡相间，尽显古朴厚重之态；鹿的刻画则细致传神，姿态灵动，与人物的安详神情相映成趣。画面题跋与印章错落分布，笔墨间流露文人意趣，既寄托祥瑞之思，又蕴含个人感悟。整体构图简洁明快，墨色层次丰富，将人物与鹿的互动勾勒得自然和谐，传递出宁静致远的氛围。",[50,113,10795,77,7,129,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52123684f27255e0736da54e78736cb6.jpg",[171],"d5b289",{"id":48614,"slug":48615,"title":48616,"dynasty":18,"author":48617,"museum":20,"description":48618,"tags":48619,"thumbUrl":48620,"material":95,"size":95,"collection":35,"collections":48621,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48622},201870,"mao-die-tu-zhou-li-yu-201870","猫蝶图轴","李育","这幅画以水墨写意之法绘就，猫卧草坡间，姿态慵懒憨趣；墨竹挺劲，芭蕉叶阔，笔墨洒脱自如；一只红蝶翩跹而过，为素雅画面添灵动之韵。题跋书法与朱印相映成趣，尽显文人画的雅致意趣。整体形神兼备，气韵生动，将生灵之态与草木清逸融于一纸，传递出悠然闲适的恬淡氛围。",[24,50,5169,798,29,132,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd41cae33f43abb93f690e831556140.jpg",[35],"9f9080",{"id":48624,"slug":48625,"title":48626,"dynasty":18,"author":7664,"museum":20,"description":48627,"tags":48628,"thumbUrl":48629,"material":95,"size":95,"collection":35,"collections":48630,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48631},201798,"mu-dan-tu-zhou-huang-shen-201798","牡丹图轴","这幅画作以水墨写意手法绘就，菊花枝干欹侧有姿，花瓣线条灵动婉转，墨叶浓淡相衬、淋漓洒脱。右侧书法题跋笔墨流畅，与画面虚实呼应，尽显书画同源之趣。笔触简括却生机盎然，墨色干湿浓淡对比鲜明，传递出自然野趣与文人意韵。整体风格疏放不羁，兼具生动性与抒情性，展现了传统花鸟的写意之美。",[24,50,29,140,75,7,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f86bb4af0b29d39440af3c6eaff3cdd.jpg",[35],"d0c7b6",{"id":48633,"slug":48634,"title":48635,"dynasty":18,"author":2378,"museum":20,"description":48636,"tags":48637,"thumbUrl":48638,"material":95,"size":95,"collection":187,"collections":48639,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48640},201784,"gu-xue-qing-yan-tu-zhou-gao-feng-han-201784","古雪清艳图轴","老梅虬干如铁，浓墨泼写间皴擦出沧桑质感；疏花淡染似雪，点勾中流露清艳孤高之姿。枝桠横斜留白，暗蕴“古雪”清寂意境，与梅的坚韧相映成趣。题跋行书笔力遒劲，与画中笔墨呼应，诗书画印浑然一体，尽显文人画雅致韵致。墨气淋漓，意境幽远，将梅的寒香与风骨凝于立轴，如冬日疏影，沁人心脾。",[24,50,75,131,7,60,77,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87bba5ba0f4f9238ec02d9ca4ce51a6.jpg",[187],"847262",{"id":48642,"slug":48643,"title":48644,"dynasty":45,"author":17189,"museum":20,"description":48645,"tags":48646,"thumbUrl":48648,"material":95,"size":95,"collection":63,"collections":48649,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48650},201745,"zhen-ge-xiao-xiang-juan-ceng-jing-201745","箴歌肖像卷","画面中，文人端坐松荫间，神情沉静儒雅，衣袂轻扬尽显风骨；童子侧立侍旁，姿态恭谨。古松虬枝盘曲，苍劲挺拔，周遭草木葱茏，石径蜿蜒，清幽之境衬出文人雅致。人物刻画以墨骨晕染见长，面部层次分明，衣纹简练流畅；景物写意相生，与肖像相得益彰。卷首题跋笔墨纵横，行书流畅自然，书画合璧，尽显晚明文人书画交融的审美意趣与精神风貌。",[24,49,29068,113,133,111,27,7,60,77,1689,51,11404,17602,48647,8385,23],"衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a53b7fb77f13a897d6117189d4892f9.jpg",[63],"c0b092",{"id":48652,"slug":48653,"title":48654,"dynasty":18,"author":526,"museum":20,"description":48655,"tags":48656,"thumbUrl":48657,"material":95,"size":95,"collection":63,"collections":48658,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48659},201730,"fang-ni-zan-shan-shui-zhou-wang-yuan-qi-201730","仿倪瓒山水轴","画面取倪瓒三段式构图意趣，以王原祁特有笔墨重构意境。上段峰峦用干笔淡墨层层皴擦，山石轮廓简劲，折带皴法中见苍厚；中段留白作虚，似有云气流转；下段近坡上枯木疏枝挺立，茅舍掩映树石间，溪流缓绕，一派清寂淡远。笔墨古拙雅致，墨色层次丰富，既得倪瓒“逸笔草草”的空灵，又融入自身“笔端金刚杵”的沉雄，于摹古中见己意，尽显文人山水的逸趣与深度。",[24,51,50,59,75,110,115,17570,267,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a7930cf86b6150749c1ac86eeb58b7.jpg",[63],"c4c2bd",{"id":48661,"slug":48662,"title":585,"dynasty":179,"author":225,"museum":20,"description":48663,"tags":48664,"thumbUrl":48665,"material":95,"size":95,"collection":187,"collections":48666,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":48667},201420,"ku-mu-zhu-shi-tu-juan-zhao-meng-fu-201420","枯木枝干以篆隶笔意挥写，如屈铁盘丝，苍劲中透着灵动；墨竹挺劲如箭，竹叶以撇捺之法点染，纷披错落却气韵连贯，尽显“书画同源”之妙。石用淡墨勾勒，辅以皴擦，朴拙厚重，与枯木修竹构成雅致画面。整幅以水墨写意，不饰浓艳，笔墨间流溢文人的清趣与对自然的深情。每一笔皆含书法筋骨，将绘画意象与书法意趣融于一体，是元代文人画“以书入画”的经典之作。",[24,1689,50,129,59,588,132,589,7,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58abe22f00fc4cfae4986e46514c7490.jpg",[187],"b0a89d",{"id":48669,"slug":48670,"title":48671,"dynasty":179,"author":225,"museum":20,"description":48672,"tags":48673,"thumbUrl":48674,"material":95,"size":95,"collection":63,"collections":48675,"showCount":788,"zanCount":39,"manualWeight":39,"mainColor":30580},201417,"shan-shui-san-duan-tu-juan-zhao-meng-fu-201417","山水三段图卷","此长卷分三段构景，各呈雅趣：首段平远江天，水烟轻笼；中段疏林枯木，姿态萧散；末段奇峰映水，墨韵沉厚。笔墨融书法笔意，线条圆劲温润如篆隶，皴擦简淡却藏筋骨，墨色层次细腻，尽显“书画同源”之韵。画面清幽淡远，文人气息浓郁，题跋行书流畅洒脱，与山水景致浑然一体，似将自然之趣与心性之逸凝于卷上，流露元代文人对山水的深情与哲思。",[49,51,50,59,60,7,24,25,92,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7982ec34e8ea6981a0951af24d4c637.jpg",[63],{"id":48677,"slug":48678,"title":48679,"dynasty":45,"author":5186,"museum":107,"description":26434,"tags":48680,"thumbUrl":48684,"material":751,"size":752,"collection":95,"collections":48685,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290932,"xuan-zong-shu-hua-01-zhu-zhan-ji-290932","宣宗書畫01",[7,60,26,678,48681,48682,48683],"烛影","孤房","愁怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472b5f4c523e0475a78d8452d066066.jpg",[],{"id":48687,"slug":48688,"title":48689,"dynasty":8749,"author":454,"museum":107,"description":48690,"tags":48691,"thumbUrl":48692,"material":751,"size":752,"collection":95,"collections":48693,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290708,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-shou-gao-2-yi-ming-290708","佛说阎罗王授记四众预修生七往生净土经手稿-2","泛黄发脆的古纸之上，深浅不一的污渍与折痕错落分布，皆是时光摩挲留下的印记。空茫的纸面恍若还留存着抄经手的温度，虽不见只字片语，却能遥想昔人正襟誊写经文时的肃穆虔诚。晕开的旧渍晕染出朦胧禅意，无声诉说着它辗转流传的过往，将宗教的沉静平和与岁月的厚重沧桑揉合在这一方残纸之中，自带沉静古朴的氛围感，藏着旧时光里的信仰余温，让观者于留白间触摸到跨越年岁的虔诚底色。",[386,7,878,9007,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc32f5513c98a0976c815ef696d43240.jpg",[],{"id":48695,"slug":48696,"title":48697,"dynasty":8749,"author":454,"museum":107,"description":48698,"tags":48699,"thumbUrl":48702,"material":751,"size":752,"collection":95,"collections":48703,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290706,"sha-zhou-guan-ya-shi-wu-dian-jian-li-juan-ni-ti-shou-gao-yi-ming-290706","沙州官衙什物点检历卷（拟题）手稿","泛黄麻纸带着斑驳残损的岁月痕迹，工整朴拙的小楷密密排布，将沙州诸道的通塞行旅、道里远近一一录下。笔墨间藏着千年前丝路沙州的交通脉络，详实记载驿路水草通阻、行旅多寡，是沙州地方地理交通的珍贵一手实证。平淡的官牍文字背后，藏着丝路行旅的风霜与沙州城的行政日常，残卷之上，旧纸墨痕将边地交通图景静静铺展，带着厚重的古旧温度，成为丝路沙州往事的鲜活注脚。",[3028,7,49,1498,24610,48700,199,1283,1074,30878,17076,6139,48701],"写本","石窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad9dda0dcbf6e4869f460487b780acc.jpg",[],{"id":48705,"slug":48706,"title":48707,"dynasty":8749,"author":454,"museum":107,"description":48708,"tags":48709,"thumbUrl":48710,"material":751,"size":752,"collection":95,"collections":48711,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290699,"da-cheng-wu-liang-shou-jing-juan-shou-gao-xia-juan-yi-ming-290699","大乘无量寿经卷手稿下卷","这是一件充满烟火气的写绘草稿，以粗粝麻纸为底，焦墨随性勾勒涂写。经文书写与即兴涂鸦交织，文字潦草朴拙，重复的字里藏着抄经时的倦怠走神。随手勾勒的人物、屋舍线条稚拙松弛，是抄经人信手的闲笔，带着未经雕琢的鲜活野趣。\n\n纸面斑驳泛黄，墨色沉郁晕散，带着岁月氧化的痕迹，没有精致佛绘的肃穆规整，只有民间抄经者最真实的日常状态，将信仰融入庸常，藏着千年前普通人与经文相伴的松弛瞬间。",[386,7,6535,49,25,112,9007,20967,32823,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bee55c4790b15aa5fc32c46b52f61c.jpg",[],{"id":48713,"slug":48714,"title":48715,"dynasty":8749,"author":454,"museum":107,"description":48716,"tags":48717,"thumbUrl":48718,"material":751,"size":752,"collection":95,"collections":48719,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290697,"da-bo-re-bo-luo-mi-duo-jing-shou-gao-yi-ming-290697","大般若波罗蜜多经手稿","泛黄的古纸晕开岁月旧痕，墨色虽有些许斑驳漫漶，婆罗米体古藏文依旧笔锋劲挺舒展。书写排布齐整匀净，字距疏密合宜，每一笔都带着缮写者沉潜的心力，将虔敬揉入笔端。残卷上的墨迹留存着时光剥蚀的印记，裂痕与晕染都是岁月镌刻的注脚，静静晕开千年前传法译经的温热气息，让信仰的厚重藏进这一卷写本的褶皱之中，尽显古朴庄重的典藏质感。",[386,7,49,878,9007,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4886b75de8892d4c581e33df9c6781db.jpg",[],{"id":48721,"slug":48722,"title":48723,"dynasty":8749,"author":454,"museum":107,"description":48724,"tags":48725,"thumbUrl":48726,"material":751,"size":752,"collection":95,"collections":48727,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290696,"da-bo-re-bo-luo-mi-duo-jing-juan-di-wu-bai-liu-shi-san-shou-gao-yi-ming-290696","大般若波罗蜜多经卷第五百六十三手稿","此卷小楷清劲秀雅，起转收笔沉稳利落，点画排布匀整端严，通篇行气贯通，字字隽秀温润。写经人以恭谨之心落墨，将对般若经义的敬畏藏进笔锋起落里，笔墨间晕染着沉静禅意。\n\n纸面虽经岁月泛黄发脆，墨色偶有浅淡晕散，却更添沉厚古拙的时光质感，让这件古写本既有传载经文的厚重价值，亦携带着旧时写经书法的审美意趣，尽显古写卷独有的隽永韵味。",[49,6535,7,386,199,878,1498,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9944bbfb79bcaacc592eca4ab595e2f1.jpg",[],{"id":48729,"slug":48730,"title":48731,"dynasty":8749,"author":454,"museum":107,"description":48732,"tags":48733,"thumbUrl":48734,"material":751,"size":752,"collection":95,"collections":48735,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290694,"shang-bu-yu-jia-lun-di-san-shi-si-san-shi-ba-fen-men-ji-da-cheng-qi-shi-lun-shou-gao-yi-ming-290694","上部 瑜伽论第三十四 三十八分门记 大乘起世论手稿","通篇行草密匝排布，字势顾盼牵连、笔锋灵动跳脱，褪去经生书的刻板匠气，尽显书写时的自在松弛。墨色浓淡自然晕染，纸面带着岁月沉淀的斑驳痕迹，每一处牵丝映带，都藏着书写者娴熟的笔墨功底，也留存下沉浸研读佛典的专注日常。它不止是佛法传抄的载体，更是民间日常书写的质朴范本，将佛学研习的沉静与草书的灵动融为一体，定格下一段悄然流逝的佛学传播与笔墨修行的日常。",[49,7,386,398,6535,878,9007,1498,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871cc76079346ee5b539e4801d01d74c.jpg",[],{"id":48737,"slug":48738,"title":48739,"dynasty":8749,"author":454,"museum":107,"description":48740,"tags":48741,"thumbUrl":48743,"material":751,"size":752,"collection":95,"collections":48744,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290692,"yu-jia-shi-di-lun-fen-men-ji-yi-juan-xia-bu-shou-gao-yi-ming-290692","瑜伽师地论分门记一卷下部 手稿","此卷朱笔书于泛黄素纸，朱痕交织成细密思辨经纬。行笔朴拙灵动，是典型写经风貌，字字带着虔谨力道。卷中正文与批注层叠排布，密而不乱，可见抄录者沉潜探研佛理时反复诠解、往复修正的心力。笔锋起落间，既有写经特有的端稳肃穆，又不失随性舒展的意趣。一纸旧卷载着千年佛学思辨脉络，朴素卷面藏着古人穷研经论的专注，是信仰与笔墨相融的珍贵遗存。",[49,7,386,9007,6535,1498,48742],"朱笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9936d45ad1e56527e93ce2bb094b4bcc.jpg",[],{"id":48746,"slug":48747,"title":48748,"dynasty":8749,"author":454,"museum":107,"description":48749,"tags":48750,"thumbUrl":48752,"material":682,"size":752,"collection":95,"collections":48753,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290690,"jin-gang-bo-re-bo-mi-jing-can-juan-shou-gao-hei-se-zhi-yi-ming-290690","金刚般若波蜜经残卷手稿黑色纸","墨笔小字题于乌色纸本，纸面皲裂残损，墨迹晕染斑驳，却仍可见笔意清隽端雅，排布匀整内敛，带着写经手卷特有的沉静肃穆。历经漫长岁月磨洗，纸面破损晕开了字间边界，为这份遗存晕开独属古卷的厚重沧桑，将经文的禅意与时光的沉郁交织一处，静默诉说着被尘封的过往，残损之中愈发彰显出古物独有的沉静力量，让观者于字里行间触摸岁月余温。",[386,7,199,878,9007,1498,38376,48751],"黑纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621cdaca1d63042597129a22c33ac52b.jpg",[],{"id":48755,"slug":48756,"title":48757,"dynasty":8749,"author":454,"museum":107,"description":48758,"tags":48759,"thumbUrl":48760,"material":751,"size":752,"collection":95,"collections":48761,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290681,"da-cheng-mi-yan-jing-juan-xia-shou-gao-yi-ming-290681","大乘密严经卷下手稿","此卷小楷点画精雅工稳，提按间法度自现，笔势圆融隽秀，尽显写经体的端丽气质。通篇排布匀整舒朗，字距行气齐整贯通，墨色匀净古淡，与泛黄纸面相映，晕染出沉穆静雅的氛围。书写者将静定心神凝注笔端，把信仰的虔诚融于每一处牵丝撇捺，既有写经书法的工整流丽，又暗含质朴自然的意趣，于规整中藏着灵动，笔墨间漫溢着悠远肃穆的禅韵，尽显兼具的宗教价值与审美意趣。",[7,386,49,199,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba9a3eccf831e771985f01a58ce7d41.jpg",[],{"id":48763,"slug":48764,"title":48765,"dynasty":8749,"author":454,"museum":107,"description":48766,"tags":48767,"thumbUrl":48768,"material":751,"size":752,"collection":95,"collections":48769,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290678,"da-ban-nie-pan-jing-juan-di-ba-shou-gao-yi-ming-290678","大般涅槃经卷第八手稿","此卷写经笔墨匀净秀雅，是典型的写经小楷。点画圆融饱满，起收内敛温润，字字排布齐整却不失灵动，行气舒朗贯通，笔势带着沉静的书写韵律，尽显抄录时的恭谨持重。\n\n泛黄古旧的纸面上墨色沉凝厚重，经文连绵铺展，将宗教文本的肃穆庄重与古典书法的清雅意蕴融为一体。岁月浸润的质感裹挟着沉静的信仰之力，尽显中古写本特有的质朴静穆之美，虔诚之心融于笔锋流转之间。",[49,7,199,386,9007,878,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c14087f9dc8fd93e5b100c5bb38d31f.jpg",[],{"id":48771,"slug":48772,"title":48773,"dynasty":8749,"author":454,"museum":107,"description":48774,"tags":48775,"thumbUrl":48776,"material":751,"size":752,"collection":95,"collections":48777,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290677,"da-bo-re-bo-luo-mi-duo-jing-juan-di-san-shi-san-shou-gao-yi-ming-290677","大般若波罗蜜多经卷第三十三手稿","此卷写经小楷精整秀雅，起收笔皆循法度，字形端稳排布齐整，通篇气息沉静肃穆。墨色苍润古雅，泛黄纸卷晕染着岁月痕迹，字里行间浸透千余年禅意。抄写疏密合宜，笔势圆融内敛，不见跳脱锋芒，将书写者的恭谨虔诚融于每一处笔墨细节，贴合释典抄写的庄严气韵，尽显古代抄经书法的典型风貌，带着独有的厚重历史质感，静静诉说着信仰与笔墨相融的旧日时光。",[386,199,7,49,1498,9007,3028,6535,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e07ae720a143ff180a419f3cbcf295.jpg",[],{"id":48779,"slug":48780,"title":48781,"dynasty":8749,"author":454,"museum":107,"description":48782,"tags":48783,"thumbUrl":48784,"material":751,"size":752,"collection":95,"collections":48785,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290673,"da-cheng-mi-yan-jing-juan-shang-shou-gao-yi-ming-290673","大乘密严经卷上手稿","泛黄素纸被时光晕浸出深浅不一的水痕，似烟霭流转的淡墨云山，又如旧年案头遗落的茶渍。褪去了经文笔墨，只余下岁月镌刻的肌理，每一处晕染都是时光私藏的印记。错落的渍痕顺着纸纹漫开，将被搁置的旧时光凝在纸页间，带着被光阴摩挲后的温润古意，静静诉说着被风尘浸洇的过往，把漫长岁月里的沉静与斑驳，都封存在这一纸旧物之中。",[49,878,386,7,6535,20967,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641d0ec7a3fba60d5c179ccd30c2642a.jpg",[],{"id":48787,"slug":48788,"title":48789,"dynasty":8749,"author":454,"museum":107,"description":48790,"tags":48791,"thumbUrl":48792,"material":751,"size":752,"collection":95,"collections":48793,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290672,"jin-guang-ming-zui-sheng-wang-jing-shou-gao-yi-ming-290672","金光明最胜王经手稿","素纸泛黄晕染着岁月痕迹，小楷字迹清隽端凝，笔力匀净秀雅，舒朗排布的经文，墨色虽有淡褪却依旧沉稳温润。修补的纸痕是时光镌刻的印记，诉说着辗转流传的过往。\n\n通篇笔墨带着写经特有的肃穆平和，不见尘俗烟火气，将虔诚信仰融于笔底。起收转合之间，藏着抄经人静定的心力，在素朴纸页晕开禅意静穆的气场，仿佛能窥见古卷在灯下被缓缓誊写的静定时刻，让观览者沉下心来，触摸跨越时光的沉静与虔诚。",[49,7,386,9007,199,77,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96ebaa973283b76fe9661dc29778e1.jpg",[],{"id":48795,"slug":48796,"title":48797,"dynasty":8749,"author":454,"museum":107,"description":48798,"tags":48799,"thumbUrl":48800,"material":751,"size":752,"collection":95,"collections":48801,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290671,"da-bo-re-bo-luo-mi-jing-juan-di-wu-bai-er-shi-liu-shou-gao-yi-ming-290671","大般若波罗蜜经卷第五百二十六手稿","此卷小楷清隽端雅，笔致匀净秀润，结体方正平和，通篇排布齐整，行气贯通悠长。书写者以静定之心落墨，经文浩繁却字字安稳无怠，兼具经生书法的严谨法度，又隐有灵动的笔墨意趣。\n\n笔墨间晕染着虔敬肃穆的气韵，点画精劲内敛，起转收合皆循章法，将信仰融于毫端，在规整之中见细腻情致，尽显写经书法的清雅风骨，是兼具宗教意蕴与书法审美价值的佳作。",[49,7,199,386,9007,878,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7740a9c7b6090477de558a8fd2278d0.jpg",[],{"id":48803,"slug":48804,"title":48805,"dynasty":8749,"author":454,"museum":107,"description":48806,"tags":48807,"thumbUrl":48809,"material":751,"size":752,"collection":95,"collections":48810,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290670,"da-bo-re-bo-luo-mi-jing-juan-di-yi-bai-si-shi-shou-gao-yi-ming-290670","大般若波罗蜜经卷第一百四十手稿","此卷小楷通篇气脉贯通，笔锋秀雅灵动，结体端稳匀整，字间排布紧密却不失疏朗意趣。抄经者以静定虔诚的笔力将千字经文一气呵就，法度谨严之中暗藏灵动笔趣。古旧黄纸与沉隽墨色相映，晕染着岁月沉淀的厚重肃穆，既恪守写经的庄严规制，又暗融文人书写的雅致意韵，静穆雅致间尽显宗教典籍书法的独特魅力，古韵盎然。",[49,7,386,199,9007,4678,1498,48808],"宗教书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f6579a40919c28c10d00736fb4aa66.jpg",[],{"id":48812,"slug":48813,"title":48814,"dynasty":8749,"author":454,"museum":107,"description":48815,"tags":48816,"thumbUrl":48817,"material":751,"size":752,"collection":95,"collections":48818,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},290669,"da-bo-re-bo-luo-mi-jing-juan-di-wu-shi-liu-shou-gao-yi-ming-290669","大般若波罗蜜经卷第五十六手稿","泛黄纸卷凝着岁月包浆，旧绳捆系仍存古雅装帧意趣。题签墨笔朴拙端正，是写经书体典型的平实笔致，不见矫饰匠气，带着抄经人沉心伏案的虔敬。纸面磨损褶皱皆是时光刻痕，静静晕开跨越年岁的沉静氛围，将千年前抄经时的肃穆心绪封存在卷轴之中。质朴笔墨带着宗教文字特有的静谧温度，旧卷沉沉，藏着被时光尘封的笔墨日常，留存下质朴动人的文物流韵。",[386,7,1498,878,49,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff439a347582195e1bc2be3fb29cfc696.jpg",[],{"id":48820,"slug":48821,"title":48822,"dynasty":8749,"author":454,"museum":107,"description":48823,"tags":48824,"thumbUrl":48825,"material":751,"size":752,"collection":95,"collections":48826,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290667,"da-bo-re-bo-luo-mi-jing-juan-di-er-bai-yi-shi-er-shou-gao-yi-ming-290667","大般若波罗蜜经卷第二百一十二手稿","此作为小楷写经长卷，笔致精谨秀雅，点画温润匀整，结体端稳平和，通篇气息浑融肃穆。行气疏朗连贯，字字排布齐整却暗蕴灵动，笔画间牵丝映带呼应自然，尽显书写者静定深厚的心力。\n\n墨色匀净沉凝，无一笔躁妄，将宗教的澄澈虔诚诉诸笔端，在一丝不苟的书写中，兼具信仰意蕴与清雅的书法审美价值。平正之中见深湛功力，无欹侧跳脱之姿，尽显写经书法特有的清隽静雅之美，笔墨间满溢静谧平和的禅意。",[49,7,386,199,878,9007,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc39285132f7759a01218b21530af13.jpg",[],{"id":48828,"slug":48829,"title":48830,"dynasty":8749,"author":454,"museum":107,"description":48831,"tags":48832,"thumbUrl":48833,"material":751,"size":752,"collection":95,"collections":48834,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290666,"da-bo-re-bo-luo-mi-jing-juan-di-si-bai-ba-shi-liu-shou-gao-yi-ming-290666","大般若波罗蜜经卷第四百八十六手稿","此卷小楷写经用笔清劲圆融，点画匀整精停，起收转折暗含法度，平正之中暗藏细微欹侧，恪守楷则又不失书写的自然意趣。通篇排布齐整，行气舒展贯通，虽为长篇经文，笔致始终安稳沉静，带着抄经时的肃穆禅意。\n\n墨色匀净统一，泛黄古纸衬得字迹温润雅致，尽显抄经者恭谨的书写心态与扎实功底，悠悠古意顺着笔墨流淌，静穆平和的禅意直透纸背，尽显写经典型意韵。",[49,7,386,199,9007,20967,4678,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2002fa51c4ccbcba1be66968cace3623.jpg",[],{"id":48836,"slug":48837,"title":48838,"dynasty":8749,"author":454,"museum":107,"description":48839,"tags":48840,"thumbUrl":48841,"material":751,"size":752,"collection":95,"collections":48842,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290665,"da-bo-re-bo-luo-mi-jing-juan-di-er-shi-ba-shou-gao-yi-ming-290665","大般若波罗蜜经卷第二十八手稿","此卷是典型写经体小楷，通篇千余字排布齐整匀一，字距行距工整如一，可见抄经时的沉静心力。笔画凝练舒展，结体端稳平和，无丝毫潦草懈怠，既有小楷工整流丽的特质，又饱含抄经独有的肃穆禅意。\n\n泛黄古纸搭配沉润墨色晕开悠悠古韵，将抄经时宁和专注的心境尽显无遗，静静诉说着经文传承里的沉静力量，是一件兼具书法审美与宗教文化意蕴的古雅珍品。",[49,7,199,386,9007,878,1498,29016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d8601a831a3228017a75e41266af91.jpg",[],{"id":48844,"slug":48845,"title":48846,"dynasty":8749,"author":454,"museum":107,"description":48847,"tags":48848,"thumbUrl":48849,"material":751,"size":752,"collection":95,"collections":48850,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290662,"da-bo-re-bo-luo-mi-duo-jing-juan-di-yi-bai-ba-shi-yi-shou-gao-yi-ming-290662","大般若波罗密多经卷第一百八十一手稿","此卷写经小楷清劲端雅，点画精匀端庄，通篇排布齐整森严，字字恪守法度，尽显抄经人的沉敬心力。起收笔温润凝练，转折圆劲沉稳，筋骨内含又暗蕴灵动，毫无板滞之弊。整卷墨色乌亮匀净，与古绢底色相融，愈发衬出古雅肃穆的气质。数百字一气呵成，将大乘般若经的庄严感融于笔墨间，气韵绵长静穆，带着写经典型的规整风貌，又藏着书写时的细腻心绪，兼具宗教意蕴与书法审美价值，静静传递着抄经时的虔诚与沉潜。",[49,7,386,199,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc451628340a9b1a2868a19ebd91c805c.jpg",[],{"id":48852,"slug":48853,"title":48854,"dynasty":8749,"author":454,"museum":107,"description":48855,"tags":48856,"thumbUrl":48857,"material":751,"size":752,"collection":95,"collections":48858,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290661,"da-bo-re-bo-luo-mi-duo-jing-juan-di-wu-yi-ming-290661","大般若波罗密多经卷第五","这卷旧纸晕染着岁月浸黄的温柔肌理，边角纤细的题注藏着它曾被递藏的脉络。留白的长卷虽褪去了经文笔墨，却依旧沉淀着过往肃穆的抄经余韵。素净的纸面带着时光摩挲出的细微褶皱，似还留存着曾被展卷诵读的温度，静静诉说着古籍流转的悠悠岁月，让观者于空白间触摸旧物独有的沉静力量，窥见曾经的虔诚与庄严。",[49,7,386,878,9007,20967,312,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd04c0f57dcd4e3cd7b556f87d5fe7f3.jpg",[],{"id":48860,"slug":48861,"title":48862,"dynasty":8749,"author":454,"museum":107,"description":48863,"tags":48864,"thumbUrl":48865,"material":751,"size":752,"collection":95,"collections":48866,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290659,"mo-he-bo-re-bo-luo-mi-juan-di-ba-shou-gao-yi-ming-290659","摩诃般若波罗蜜卷第八手稿","这件写经小楷气息匀净宁和，笔笔恪守法度，点画腴润饱满，结体方正端稳，字距行距排布齐整森严，带着抄写佛典时的肃穆恭谨。泛黄卷纸承载着千年岁月的厚重，墨色历经千载依旧浓黑鲜亮。虽为佚名抄经生手笔，却尽显唐代民间书法的静雅工稳，既有循规守礼的内敛沉厚，也藏着抄写时浸润纸面的虔诚气韵，尽显中古写经书法的质朴禅意与工整之美。",[49,7,386,199,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c6a1183553a8c50466ba1745319381.jpg",[],{"id":48868,"slug":48869,"title":48870,"dynasty":8749,"author":454,"museum":107,"description":48871,"tags":48872,"thumbUrl":48873,"material":751,"size":752,"collection":95,"collections":48874,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290653,"fu-shuo-wu-liang-shou-zong-yao-jing-shou-gao-yi-ming-290653","佛说无量寿宗要经手稿","行书笔意游走，墨色沉润古朴，朱笔批注错落其间，与浓淡墨色形成鲜明呼应，是抄经时的校注痕迹。\n字迹虽繁仍排布齐整，笔势连贯圆融，兼具写经的肃穆法度与随性笔趣，尽显抄经人恭敬端严的心力。\n泛黄纸色晕染出古卷厚重底蕴，经文与校注交织，既是宗教文本载体，亦是东方传统书法佳品，藏着书写时的专注静气，将信仰与笔墨融为一体，尽显古写卷的质朴禅意。",[49,7,386,9007,878,6535,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fa443db939ded852bafd9d5e0823d1.jpg",[],{"id":48876,"slug":48877,"title":48878,"dynasty":8749,"author":454,"museum":107,"description":48879,"tags":48880,"thumbUrl":48881,"material":751,"size":752,"collection":95,"collections":48882,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290649,"da-ban-nie-pan-jing-shou-gao-yi-ming-290649","大般涅槃经手稿","这卷残页纸色昏黄斑驳，边缘碎裂残缺，带着被时光剥蚀的痕迹。笔墨朴拙厚重，是典型的写经体楷书，点画敦实端稳，笔意凝练沉静，藏着誊写时的专注虔诚。朱印与朱笔标注点缀其间，为沉古的底色添了几分灵动。残卷虽断，却依旧能窥见昔年抄经时的肃穆心境，残存的经文墨迹，静静诉说着岁月流转里的信仰传承，晕开旧纸与墨色交织的沉静古韵。",[878,7,386,1498,6535,77,433,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a2b568a50522d88c2fff48aae9066.jpg",[],{"id":48884,"slug":48885,"title":48886,"dynasty":8749,"author":454,"museum":107,"description":48887,"tags":48888,"thumbUrl":48889,"material":751,"size":752,"collection":95,"collections":48890,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290648,"mo-he-bo-re-bo-luo-mi-jing-juan-di-er-shi-er-shou-gao-yi-ming-290648","摩诃般若波罗蜜经卷第二十二手稿","此卷素纸泛黄，笔墨沉凝静雅，尽显写经书法的端秀品格。小楷点画匀净工稳，结体婉雅方正，通篇排布齐整却不失灵动，笔笔恪守法度，可见书写者的恭谨之心。朱笔小注错落行间，墨朱相映晕开古雅意趣。\n经文笔意藏着对般若义理的敬畏，将信仰与笔墨融为一体，一丝不苟的书写晕染出庄严肃穆的禅意。岁月晕染过纸面，泛黄的纸色更衬出经文的沉静厚重，尽显中古写经书法的独特韵味，让观者在笔墨间触摸到信仰的温度。",[7,386,49,1498,199,9007,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fddb62a1dbb37bd4195cfca0fc8e590.jpg",[],{"id":48892,"slug":48893,"title":48894,"dynasty":8749,"author":454,"museum":107,"description":48895,"tags":48896,"thumbUrl":48899,"material":751,"size":752,"collection":95,"collections":48900,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290647,"guan-shi-yin-bu-kong-juan-suo-xin-wang-shen-zhou-jing-yi-ming-290647","观世音不空羂索心王神咒经","纸色泛黄晕染着岁月沉香，墨色沉凝依旧鲜亮。通篇小楷精劲匀净，结体端雅宽和，行气贯通始终。书写者以至诚之心落墨，笔笔不苟，既带着经生书法的严谨法度，又不失自然灵动的意趣，无刻板匠气，尽显沉静安和的庙堂雅韵。\n\n字迹间饱含奉持的恭敬，将信仰融于笔墨细节里，在千年流转后，依旧传递着中古写经书法虔诚端整的独特美学，是民间写经中的上乘佳制。",[386,7,49,199,9007,48897,48898,1498],"观世音","宗教经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27d4fcd205c7518198241eb30a698c19.jpg",[],{"id":48902,"slug":48903,"title":48904,"dynasty":8749,"author":454,"museum":107,"description":48905,"tags":48906,"thumbUrl":48907,"material":751,"size":752,"collection":95,"collections":48908,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290646,"da-cheng-qi-xin-lun-guang-shi-pin-di-san-shou-gao-yi-ming-290646","大乘起信论广释品第三手稿","此卷以小楷书就，笔致清劲端严，灵动不失沉稳。墨色苍润古朴，间杂朱笔校注，为古雅的卷面晕开鲜活意趣。整卷排布齐整，虽纸色泛黄，残损处处，却更添岁月厚重感，仿若将千年前写经人的静定心绪封存在纸间。写经人以笔墨为修行，把对经文的笃信凝在毫端，每一字都带着肃穆虔诚，落笔克制而充满力量。卷中承载着宗教信仰与书法美学的交融，展卷即能触摸时光沉淀下的沉静气息，窥见古人以纸墨传续信仰的质朴初心。",[49,7,386,9007,1498,6535,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79be9725b38a581f88bece3b8b7e836.jpg",[],{"id":48910,"slug":48911,"title":48912,"dynasty":8749,"author":454,"museum":107,"description":48913,"tags":48914,"thumbUrl":48915,"material":751,"size":752,"collection":95,"collections":48916,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290643,"ti-ming-wei-lu-ru-shou-gao-yi-ming-290643","题名未录入手稿","纸色泛黄斑驳，浸透着时光的痕迹，小楷字迹清劲端雅，排布齐整肃穆。笔势舒展连贯，点画凝练朴厚，既有严谨法度，又带着书写者自然的笔意流转，尽显虔敬的抄经本心。留存的朱印为古卷晕开一抹鲜亮余韵，与旧纸的沉色相衬，更添古雅。残卷虽有缺损，却不减沉静质感，每一道纸痕都是时光的注脚，静静诉说着过往抄录时的专注与信仰，将千年前的沉静气韵凝于卷上，尽显写本古籍独有的历史温度。",[386,7,49,6535,9007,4678,199,4677,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e17886411921161c94f1fad1384d42.jpg",[],{"id":48918,"slug":48919,"title":48920,"dynasty":8749,"author":454,"museum":107,"description":48921,"tags":48922,"thumbUrl":48923,"material":751,"size":752,"collection":95,"collections":48924,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290642,"ren-wang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290642","仁王般若波罗蜜经手稿","此卷写经笔墨端秀匀净，是典型的写经体风貌。结体工稳舒展，笔势圆融内敛，通篇排布齐整肃穆，字里行间尽显抄经时的恭谨静定。泛黄古纸带着岁月侵蚀的破损痕迹，却丝毫不减沉静厚重的气韵，墨色历经岁时依旧清晰饱满，一笔一划皆带着对经文的敬畏之心，将宗教的肃穆平和藏进每一处笔锋转折中，静静诉说旧时光里的虔诚与沉静，晕开古卷独有的温润厚重的人文质感。",[878,9007,386,7,199,1498,6535,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5426662269ec9909c74a6a7658bf9f1.jpg",[],{"id":48926,"slug":48927,"title":48928,"dynasty":8749,"author":454,"museum":107,"description":48929,"tags":48930,"thumbUrl":48931,"material":751,"size":752,"collection":95,"collections":48932,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},290640,"jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290640","金刚般若波罗密经手稿","此卷纸色黄旧斑驳，边缘残损，带着岁月剥蚀的痕迹。通篇以小楷抄写，字迹端稳匀净，笔致沉静内敛，带着写经时的肃穆虔诚，笔墨虽历经年深日久而淡却未散，依旧清晰可观。\n\n书写排布齐整，字间气息安稳平和，尽显抄写时的恭敬心力，残损的卷面更添古旧厚重的禅意，将旧时的宗教敬奉之心凝于卷上，在漫漶纸页间留存下古朴清净的书卷气韵。",[49,7,386,9007,878,4678,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b031114fddeb597d7735430985936d.jpg",[],{"id":48934,"slug":48935,"title":48936,"dynasty":8749,"author":454,"museum":107,"description":48937,"tags":48938,"thumbUrl":48939,"material":751,"size":752,"collection":95,"collections":48940,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290639,"da-bo-re-jing-juan-di-er-shi-san-yi-ming-290639","大般若经卷第二十三","纸面晕染着蜜色包浆，错落水渍如无心晕开的淡墨山水。似烟霭里的汀洲远树，又像云影下的寒山黛色，没有刻意经营的笔触，全是时光悄然摩挲的痕迹。\n\n素净纸页间，水痕层层叠叠，带着旧年潮气浸润的温柔弧度，将悠长岁月晕融其中。每一处深浅不一的印迹，都是时光写给纸页的信笺，藏着过往晨昏里的烟火余温，自带沉静古雅的禅意，于留白之间见天地悠悠，尽显无心而成的雅致意趣。",[386,49,878,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdacc2f8b374a810c6f7d94df67d3e57.jpg",[],{"id":48942,"slug":48943,"title":48944,"dynasty":8749,"author":454,"museum":107,"description":48945,"tags":48946,"thumbUrl":48947,"material":751,"size":752,"collection":95,"collections":48948,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290638,"jin-guang-ming-jing-juan-di-si-shou-gao-yi-ming-290638","金光明经卷第四手稿","这卷写经以小楷书就，结体匀整端稳，笔致清隽秀雅。通篇千字排布森然不紊，墨色沉凝内敛，历经岁月经纸色泛黄，虫蛀斑驳的痕迹让其更添古雅厚重的沧桑质感。\n\n抄经人笔笔恪守法度，字里行间可见静定心境，既有佛家写经特有的肃穆气韵，又兼具文人小楷的雅致意趣，将虔诚之心融于笔锋起落之间，静静诉说着笔墨传承的悠长温度，是写经书法中颇具韵味的佳品。",[25,7,386,49,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9bb7c204f064d4853fc8cb397a2063c.jpg",[],{"id":48950,"slug":48951,"title":48952,"dynasty":8749,"author":454,"museum":107,"description":48953,"tags":48954,"thumbUrl":48955,"material":751,"size":752,"collection":95,"collections":48956,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290637,"fu-shuo-zhi-hui-hai-cang-jing-juan-xia-shou-gao-yi-ming-290637","佛说智慧海藏经卷下手稿","此卷以小楷抄录经文，笔致温润秀雅，排布齐整匀净。点画凝练舒展，字字恪守法度却不失灵动，带着写经特有的恭谨气韵。古旧泛黄的纸页晕着沉净墨色，字里行间漫溢着肃穆禅意，书写者的虔诚藏在每一笔起落之中。整体气息平和庄重，尽显写经书法的沉静质感，仿佛将往昔的清净禅心凝于卷上，带着旧时光特有的厚重静谧，观之便觉心神安定。",[49,7,386,9007,878,199,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59f4ba215e4c3ce86f26a9ab281a61ec.jpg",[],{"id":48958,"slug":48959,"title":48960,"dynasty":8749,"author":454,"museum":107,"description":48961,"tags":48962,"thumbUrl":48963,"material":751,"size":752,"collection":95,"collections":48964,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290636,"si-fen-jie-shu-juan-di-er-shou-gao-yi-ming-290636","四分戒疏卷第二手稿","此卷以小楷抄就，通篇字行排布匀整森密却不显拥迫，笔致秀雅端稳，墨色匀净沉凝。朱笔批注错落点缀于行间，与墨色相映成趣。书写者下笔收放合度，字字恪守法度，尽显誊抄的虔敬姿态，藏着沉静内敛的书写心力。卷中笔墨带着古朴雅致的书卷气，不见浮躁之态，完整留存了旧时誊写校阅的细节，舒展间尽显中古写本独有的质朴文心，将抄写经典时的肃穆与专注凝于毫端，朴素却动人心神。",[49,7,386,199,878,9007,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95943061712ca034f03590423c4e51c1.jpg",[],{"id":48966,"slug":48967,"title":48968,"dynasty":8749,"author":454,"museum":107,"description":48969,"tags":48970,"thumbUrl":48972,"material":751,"size":752,"collection":95,"collections":48973,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290635,"zeng-yi-a-han-jing-shou-gao-yi-ming-290635","增一阿含经手稿","此卷以小楷抄录经文，通卷排布齐整茂密，字距行距匀停舒朗，墨色清润凝练，尽显端雅静穆的书卷气韵。点画精谨细致，起收提捺皆见法度，笔力内敛沉厚，筋骨暗藏，虽字字独立却气脉贯通如一，将写经人的恭谨静定融入笔墨之间。\n\n全篇无一字苟且，一笔一划皆饱含敬奉之心，既有古雅简澹的意趣，又具端稳工致的姿态，在工整之中暗含灵动意趣，尽显书写者深厚的笔墨功底与虔诚的写经心境，是兼具宗教价值与书法美学价值的写本佳作。",[49,7,199,386,9007,878,1498,48971],"佛经手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda98fc6e244fd1da064cf061385ac1d5.jpg",[],{"id":48975,"slug":48976,"title":48977,"dynasty":8749,"author":454,"museum":107,"description":48978,"tags":48979,"thumbUrl":48980,"material":751,"size":752,"collection":95,"collections":48981,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290634,"si-fen-lv-cang-juan-er-shi-ba-shou-gao-yi-ming-290634","四分律藏卷二十八手稿","通篇以小楷抄就，字距行距如棋盘般排布严整，笔墨温润秀雅。起收笔一丝不苟，笔画圆融内敛，字字端稳沉静，不见丝毫浮躁懈怠，尽显抄经时的恭敬虔诚。\n\n整卷气息平和冲淡，将经文的庄严肃穆以笔墨具象晕染开来，无张扬笔锋，只在匀净字迹中蕴藏静定绵长的力量，带着手写经卷特有的质朴静雅与肃穆禅意，静静诉说着抄录时的专注与沉静。",[49,7,199,386,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652caaa7ee44ea3a335f4a204389601a.jpg",[],{"id":48983,"slug":48984,"title":48985,"dynasty":8749,"author":454,"museum":107,"description":48986,"tags":48987,"thumbUrl":48988,"material":751,"size":752,"collection":95,"collections":48989,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290633,"wei-mo-jing-di-zi-pin-yi-ming-290633","维摩经弟子品","此卷淡墨书于泛黄古纸之上，笔触圆融朴拙，行笔舒展从容，字间排布匀净舒朗。纸面带着岁月浸蚀留下的残损痕迹，晕开厚重古雅的沧桑氛围感。\n\n通篇笔墨无刻意妍美雕琢，纯然是抄录经文时的静定流露，将虔诚的信仰融于笔端，字字晕染着沉静内敛的禅意，尽显书写时肃穆宁和的心境，兼具书法审美价值与厚重的人文宗教底蕴。",[7,25,49,386,878,9007,199,1498,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a047a1d7159d1c88c69a2edd6b062d.jpg",[],{"id":48991,"slug":48992,"title":48993,"dynasty":8749,"author":454,"museum":107,"description":48994,"tags":48995,"thumbUrl":48996,"material":751,"size":752,"collection":95,"collections":48997,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},290631,"you-po-sai-jie-jing-juan-di-er-shou-gao-yi-ming-290631","优婆塞戒经卷第二手稿","此卷以黄麻纸为底，乌丝界格规整排布，小字楷书写就。笔致精劲稳帖，点画朴拙凝练，字字匀停舒展，通篇气脉连贯沉静，带着抄经时的虔敬肃穆。纸页虽有残损虫蛀，却晕染出时光浸淫的厚重质感，更衬笔墨的温润古雅。无刻意妍美雕琢，却在平实书写里展露精湛功底，将宗教典籍的庄严与民间书法的朴素风神相融，平淡间自有沉静禅意，尽显古写经的质朴美感。",[7,386,49,199,878,9007,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F837032fc6d57fe59b4d1c7477ecb8245.jpg",[],{"id":48999,"slug":49000,"title":49001,"dynasty":8749,"author":454,"museum":107,"description":49002,"tags":49003,"thumbUrl":49004,"material":751,"size":752,"collection":95,"collections":49005,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290629,"mo-he-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-290629","摩诃般若波罗蜜经手稿","此卷小楷写经，笔致恭谨端稳，点画敦和舒展，结体匀整安雅，尽显民间写经的典型风貌。泛黄麻纸带着岁月浸润的温厚质感，浓黑墨色历经时光仍显沉实，虽有多处虫蛀残损，却更添古拙沧桑韵味。\n\n抄经者以沉静肃穆的笔力铺陈经文，通篇气息匀净宁和，字字皆带着抄录时的恭敬心力，褪去炫技的浮华，以质朴内敛的笔墨传递出信仰的沉静力量，尽显中古写经的质朴之美。",[7,386,49,1498,9007,199,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b7d0717e17191cf8d0da31d285a2c1.jpg",[],{"id":49007,"slug":49008,"title":49009,"dynasty":8749,"author":454,"museum":107,"description":49010,"tags":49011,"thumbUrl":49012,"material":751,"size":752,"collection":95,"collections":49013,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290627,"jiu-zhu-zhong-sheng-ku-nan-jing-can-ye-yi-ming-290627","救诸众生苦难经残页","这页残纸浸着岁月的昏黄，纸面纹路藏着被时光揉捻过的质感。淡褪的墨痕虽已漫漶模糊，却仍能窥见当年抄经时笔锋起落的余韵。边角的编号印记，默默诉说着它曾被庋藏流转的过往。\n\n残损的形态带着残缺的诗意，旧时抄经人的虔诚凝在故纸之上，浅淡墨迹如同被时光磨平的梵音余韵，将久远的信仰气息沉敛在每一道纸纹里，晕开跨越年岁的沉静力量。",[386,878,1498,7,29671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c294e71638022cbcfe45ce8937ba17d.jpg",[],{"id":49015,"slug":49016,"title":49017,"dynasty":8749,"author":454,"museum":107,"description":49018,"tags":49019,"thumbUrl":49020,"material":751,"size":752,"collection":95,"collections":49021,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290626,"fu-shuo-tian-di-ba-yang-shen-zhou-jing-yi-ming-290626","佛说天地八阳神咒经","此卷以古旧麻纸为底，纸面泛黄斑驳，带着岁月浸洇的痕迹。书法为典型民间写经楷书，起笔收笔皆沉稳端秀，笔画舒展匀净，排布齐整肃穆。墨色虽历经年月依旧浓郁饱满，依稀可见缮写者落笔时的专注敬慎。\n\n残损的纸页更添沧桑厚重，笔锋间尽显中古写经特有的静谧虔诚，将信仰融于笔墨细节之中，质朴的书卷气扑面而来。观者仿佛能窥见往昔抄经时的沉静心绪，残页留存的不仅是经文，更是时光沉淀下的信仰温度与书法意趣。",[386,7,199,1498,878,9007,77,9635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc0e1a34e332cb85bc6cb7cc13c8d538.jpg",[],{"id":49023,"slug":49024,"title":49025,"dynasty":18,"author":40796,"museum":107,"description":40797,"tags":49026,"thumbUrl":49029,"material":751,"size":752,"collection":95,"collections":49030,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290587,"qi-yan-jue-ju-zhou-zhang-ying-290587","七言绝句轴",[7,60,75,77,49027,251,49028],"寒雨","玉壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54139625080b3ef10b072064a3a5b9f8.jpg",[],{"id":49032,"slug":49033,"title":49034,"dynasty":18,"author":29642,"museum":107,"description":29643,"tags":49035,"thumbUrl":49036,"material":751,"size":752,"collection":95,"collections":49037,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290575,"qian-long-yu-zhi-ai-wu-han-si-jun-ge-cheng-shan-peng-yuan-rui-290575","乾隆御制爱乌罕四骏歌成扇",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff888b222e86c2d10d7b56d7424ed2b66.jpg",[],{"id":49039,"slug":49040,"title":49041,"dynasty":18,"author":29642,"museum":107,"description":29643,"tags":49042,"thumbUrl":49043,"material":751,"size":752,"collection":95,"collections":49044,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290574,"qian-long-yu-zhi-li-zhang-ma-shi-deng-er-shou-cheng-shan-peng-yuan-rui-290574","乾隆御制立仗马诗等二首成扇",[1250,7,60,1074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe117fa84dede2aa8820d43e13fcdfef5.jpg",[],{"id":49046,"slug":49047,"title":49048,"dynasty":18,"author":29642,"museum":107,"description":29643,"tags":49049,"thumbUrl":49050,"material":751,"size":752,"collection":95,"collections":49051,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290573,"qian-long-yu-zhi-si-yu-deng-yong-yu-shi-er-shou-cheng-shan-peng-yuan-rui-290573","乾隆御制飤鱼等咏鱼诗二首成扇",[1250,7,60,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ecbed04f52e3138575db4f3018e55b2.jpg",[],{"id":49053,"slug":49054,"title":49055,"dynasty":18,"author":29642,"museum":107,"description":29643,"tags":49056,"thumbUrl":49057,"material":751,"size":752,"collection":95,"collections":49058,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290572,"qian-long-yu-zhi-he-shi-deng-san-shou-cheng-shan-peng-yuan-rui-290572","乾隆御制鹤诗等三首成扇",[1250,7,60,3388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8d7ec83abe1f9fb51fca5fadd0217f.jpg",[],{"id":49060,"slug":49061,"title":24434,"dynasty":18,"author":49062,"museum":107,"description":49063,"tags":49064,"thumbUrl":49065,"material":751,"size":752,"collection":95,"collections":49066,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},290388,"shan-shui-tu-ye-gu-yin-guang-290388","顾胤光","此作用笔简淡秀逸，以干笔皴擦勾勒山石肌理，湿墨晕染晕开远山空濛。近岸枯木虬曲多姿，或疏枝苍劲、傲骨嶙峋，或垂丝轻曳、柔态扶风。水面以留白代碧波，汀洲茅舍隐于林麓，幽寂清旷。右上角题字古雅，朱印点睛，诗画相融无间。\n整幅不作浓艳敷色，尽显萧散冷逸的林下之风，将春日水岸的淡远空寂勾勒入微，藏着文人画独有的简淡意趣，观之便如身临无人江渚，揽天地疏朗，偷得片刻沉静闲逸。",[23,24,25,50,51,115,471,333,116,2219,250,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956b7d014aafa4df5b1732f2cb42b6a7.jpg",[],{"id":49068,"slug":49069,"title":49070,"dynasty":18,"author":294,"museum":107,"description":11801,"tags":49071,"thumbUrl":49072,"material":751,"size":752,"collection":95,"collections":49073,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290212,"jin-fen-shui-cun-tu-cheng-dong-gao-290212","金粉水村图成",[23,1250,24,51,27,43765,7,199,556,2028,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55825679e5d552e5fedfeb3363063b3a.jpg",[],{"id":49075,"slug":49076,"title":49077,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":49078,"thumbUrl":49079,"material":751,"size":752,"collection":95,"collections":49080,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},290117,"dun-huang-yi-shu-410-yi-ming-290117","敦煌遗书410",[3028,7,386,49,40263,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3401f31f99de253733bc90ab9ad92368.jpg",[],{"id":49082,"slug":49083,"title":49084,"dynasty":45,"author":8163,"museum":107,"description":24443,"tags":49085,"thumbUrl":49086,"material":751,"size":752,"collection":95,"collections":49087,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},289735,"lin-xian-zhi-di-huang-tang-tie-wen-peng-289735","临献之地黄汤帖",[1250,7,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb40ed598150798919c96488f63dc49be.jpg",[],{"id":49089,"slug":49090,"title":49091,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":49092,"thumbUrl":49093,"material":751,"size":752,"collection":95,"collections":49094,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},289734,"san-shi-wen-zheng-ming-289734","三诗",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36b503f6e8268c8583ec605fc2079fae.jpg",[],{"id":49096,"slug":49097,"title":49098,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":49099,"thumbUrl":49100,"material":751,"size":752,"collection":95,"collections":49101,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},289412,"dun-huang-yi-shu-223-yi-ming-289412","敦煌遗书223",[3028,386,7,49,9007,37415,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ba16ef693c8bbb1c86e2b5866b1a5f.jpg",[],{"id":49103,"slug":49104,"title":49105,"dynasty":8749,"author":454,"museum":107,"description":49106,"tags":49107,"thumbUrl":49110,"material":751,"size":752,"collection":95,"collections":49111,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},288481,"qu-xie-hui-yi-ming-288481","驱邪绘","画面中的驱邪力士面目狞厉，宽檐帽饰烈焰纹路，怒目圆睁，肌肉贲张间尽显慑人气势。他按握镇邪法器，足下血痕点明驱魔之功，朱红绦带翻卷如燃，衬出周身凛冽煞气。衣甲纹饰繁丽规整，线条劲挺利落，将力士悍勇身姿勾勒得极具张力。\n\n红黑撞色浓沉肃穆，与泛黄皲裂的古纸底色相融，晕开古朴厚重的岁月质感，右侧手书古题字更添古雅氛围，将民俗中镇邪驱祟的狞厉肃穆之气淋漓尽致展现出来，带着古旧的巫祝威慑感。",[25,27,113,49108,7,11610,49109,111,1752],"驱邪","神怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4841af26744c05dbd9aab3b84cca6939.jpg",[],{"id":49113,"slug":49114,"title":49115,"dynasty":8749,"author":454,"museum":107,"description":49116,"tags":49117,"thumbUrl":49118,"material":751,"size":752,"collection":95,"collections":49119,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},288479,"shi-zun-si-fa-shu-si-yi-ming-288479","世尊寺法书(四)","整作用泥金书就于乌墨底上，色调浓丽庄重，尽显华贵质感。行草笔意纵逸灵动，牵丝映带间尽显流转之美。字形大小错落，欹正相生，章法疏密有致，行气贯通，似有疾风穿林之势，将心绪寄于笔墨。\n\n用笔粗细变化自然，提转顿挫皆见法度，藏露兼施，刚柔相济，既有奔放纵逸之态，亦不失内敛沉稳之姿。左侧小字题跋与主体书作呼应，整体古雅肃穆，尽显旧时书法抒情达意的笔情墨趣，藏着书写者的襟怀意绪，于浓淡明暗间诉说传统书法的隽永魅力。",[7,198,200,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6a9cc200afd4cca12eb53b78761594.jpg",[],{"id":49121,"slug":49122,"title":49123,"dynasty":8749,"author":454,"museum":107,"description":49124,"tags":49125,"thumbUrl":49126,"material":751,"size":752,"collection":95,"collections":49127,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},288478,"shi-zun-si-fa-shu-liu-yi-ming-288478","世尊寺法书(六)","黑金配色古雅沉静，金书落于墨底之上，愈发衬出雅致华贵。假名草书笔势婉转连绵，线条柔润舒展，兼具随性与章法。字间排布疏密相宜，牵丝映带间藏着书写时的呼吸节律，将书写者的清逸意趣融在每一处笔触之中。柔缓的笔锋带着和风书道独有的温婉禅意，古旧装裱晕开岁月厚重，把东瀛书法的空灵隽秀，敛藏在这一方尺牍之中，静诉着旧时笔底的悠然心绪。",[7,398,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31440f300b5a860bbe24290adeadfd10.jpg",[],{"id":49129,"slug":49130,"title":49131,"dynasty":8749,"author":454,"museum":107,"description":49132,"tags":49133,"thumbUrl":49135,"material":751,"size":752,"collection":95,"collections":49136,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},288477,"shi-zun-si-fa-shu-wu-yi-ming-288477","世尊寺法书(五)","此作用笔秀逸灵动，牵丝映带温润自然，行笔遒劲舒展，将行书的韵律之美铺陈开来。字形错落排布，章法疏密相宜，乌亮墨色衬以沉暗底纸，晕开古雅沉静的书卷意韵。\n\n书文取《琵琶行》选段，笔墨贴合文辞凄清意境，笔锋回转间暗合江州秋夜的落寞愁思。提按转折皆藏情绪起伏，既保有行书的潇洒自在，又兼具碑刻的厚重质感，让文学意趣与书法美感相融相映，尽显雅致沉静的文人风骨。",[7,60,198,200,427,49134],"琵琶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b2d3566e08733963a448ede096155a.jpg",[],{"id":49138,"slug":49139,"title":22728,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":49140,"thumbUrl":49141,"material":751,"size":752,"collection":95,"collections":49142,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},288199,"shi-juan-wen-zheng-ming-288199",[7,60,77,25,22728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22062eacee58117cb085a2f1df3d4f51.jpg",[],{"id":49144,"slug":49145,"title":49146,"dynasty":18,"author":454,"museum":107,"description":49147,"tags":49148,"thumbUrl":49149,"material":751,"size":752,"collection":95,"collections":49150,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},288190,"bo-lin-cai-hui-tu-ce-si-yi-ming-288190","伯麟彩绘图册(四)","崖畔双松苍劲挺秀，山坳间三位边地夷人席地围坐。二人正摆弄餐食，一人合掌致意，竹篮置于身侧，野席陈放的饭食，让清寂山水晕开质朴烟火暖意。\n\n此画以工笔淡彩晕染，人物情态鲜活生动，将边地族群尚美食、重报本的古朴风习，融于雅致山水小景之中，以日常纪实的视角，尽显边地淳厚悠然的生息意趣，将西南边地的民俗风情悄然铺展于绢上。",[24,26,27,113,51,1018,11610,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754940aea494e9bad8b05a7a3dfe8b99.jpg",[],{"id":49152,"slug":49153,"title":44239,"dynasty":8749,"author":454,"museum":107,"description":49154,"tags":49155,"thumbUrl":49156,"material":751,"size":752,"collection":95,"collections":49157,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},288171,"xing-fu-si-duan-bei-yi-ming-288171","此碑虽残损斑驳，却不减笔墨神采。笔法承二王风骨，点画圆润舒展，牵丝映带自然精妙，锋棱宛然可见，尽显潇散简远的晋人风神。结体欹正相生，疏密得宜，将庙堂碑刻的端稳与行书的灵动疏朗相融。岁月浸蚀留下的残泐，更添古朴苍茫的质感，让笔墨妍美与金石沉凝交织相衬。字里行间舒展俊逸，法度与逸韵兼具，尽显行书飘逸风骨与碑刻厚重质感，留存下唐人行书承续二王笔法的精妙神采。",[198,60,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d2f402f81104d906ad5da9fe2051a8.jpg",[],{"id":49159,"slug":49160,"title":11944,"dynasty":8749,"author":454,"museum":107,"description":49161,"tags":49162,"thumbUrl":49163,"material":751,"size":752,"collection":95,"collections":49164,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":3443},288169,"meng-fa-shi-bei-yi-ming-288169","这帧题跋小字清隽秀雅，笔势舒朗挺劲，自带散淡书卷气，记述数目的文字考据严谨却不失文人情致。朱红鉴藏印错落排布，与墨色书迹相映成趣，方印古拙浑厚，朱痕晕开金石意趣，疏密间晕开旧藏文脉流传的厚重质感。笔墨与钤印相融，既有帖学雅致，又揽尽鉴藏底蕴，方寸间尽显岁月沉淀，静诉着辗转递藏的悠悠往事。",[7,198,200,199,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff280796364462abd2992f167f522d429.jpg",[],{"id":49166,"slug":49167,"title":49168,"dynasty":45,"author":21129,"museum":107,"description":9803,"tags":49169,"thumbUrl":49170,"material":751,"size":752,"collection":95,"collections":49171,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},288108,"han-fu-ren-mu-zhi-ming-ce-wu-kuan-288108","韩夫人墓志铭册",[7,26,199,77,22248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf80dcfa6df8938ca3399a494d7a315.jpg",[],{"id":49173,"slug":49174,"title":1250,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":49175,"thumbUrl":49176,"material":751,"size":752,"collection":95,"collections":49177,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},288050,"shan-mian-wen-zheng-ming-288050",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165592bac1e24357b9b80641deafa6c5.jpg",[],{"id":49179,"slug":49180,"title":49181,"dynasty":18,"author":454,"museum":107,"description":49182,"tags":49183,"thumbUrl":49185,"material":751,"size":752,"collection":95,"collections":49186,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},288034,"yu-shi-shu-jin-fen-ce-yi-ming-288034","玉石书金粉册","此件以青白玉为底，阴刻后填金为文，玉质自带温润清透之感，经年晕出浅灰包浆，更添古雅韵味。书法为馆阁御笔，字体方正端稳，笔画舒展匀停，尽显庄重雍容的皇家气度。内容取典《尚书》，述尧降二女嫁虞的上古典故，金粉凝驻于阴刻纹路中，色泽沉实醒目，与素净玉面相映成趣。玉石的温润质感与御笔书法的规整雅致相融，将文辞意蕴与工艺匠心结合，尽显清宫文玩雅致厚重的品格，是玉作与书法合璧的精巧之作。",[7714,7,199,77,26,49184],"尧舜传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf076ec4e56dd62f27ba909b6eb8321.jpg",[],{"id":49188,"slug":49189,"title":49190,"dynasty":8749,"author":454,"museum":107,"description":49191,"tags":49192,"thumbUrl":49193,"material":751,"size":752,"collection":95,"collections":49194,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287994,"da-cheng-kai-xin-xian-xing-dun-wu-zhen-zong-lun-yi-ming-287994","大乘開心顯性頓悟眞宗論","此卷纸面泛黄斑驳，遍布岁月侵蚀的痕迹，多处磨损残损，墨色淡褪模糊。行笔简劲流畅，带着写经特有的质朴笔意，依稀可见抄经手的娴熟功底。\n\n残卷虽难窥全貌，却依旧承载着顿悟义理的法脉流传，带着古旧厚重的历史质感，静静诉说千年来的时光变迁，尽显写卷独有的沧桑古韵与宗教文献的厚重价值。",[7,386,40263,49,878,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae05ae5c982d99d876a44b4143cde0c2.jpg",[],{"id":49196,"slug":49197,"title":49198,"dynasty":8749,"author":454,"museum":107,"description":49199,"tags":49200,"thumbUrl":49202,"material":751,"size":752,"collection":95,"collections":49203,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287983,"da-cheng-bai-fa-ming-men-lun-juan-yi-ming-287983","大乘百法明門論卷","纸面带着岁月浸淫的昏黄与残损，笔墨却依旧鲜活动人。整体以行书化的写经体书就，行笔朴拙率意，无刻雕琢痕迹，尽显抄录时的随性自然。笔画粗细随性变幻，牵丝映带间可见书写的连贯气韵，通篇排布紧凑却不显壅塞，字字透着沉静的虔诚。\n\n它褪去炫技的浮华，藏着中古抄经人日常修行里沉淀的笔墨意趣，残泐的边角更添沧桑厚重，每一道墨迹都晕开经年的信仰温度，将书写者的初心与笔墨融为一体，质朴古雅的气韵藏于字里行间，尽显沉静安然的书卷质感。",[7,398,386,49,9007,1498,49201,878],"古写本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5d7015bf7bfcab94e767845997393f.jpg",[],{"id":49205,"slug":49206,"title":49207,"dynasty":8749,"author":454,"museum":107,"description":49208,"tags":49209,"thumbUrl":49210,"material":751,"size":752,"collection":95,"collections":49211,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287981,"fa-cang-quan-jing-p2168-fu-shuo-bo-re-bo-luo-mi-duo-xin-jing-bao-ta-xin-jing-shou-gao-yi-ming-287981","法藏全景 P2168-佛說般若波羅蜜多心經 寶塔心經手稿","此作以经文书就佛宝塔形，经文随塔势层叠排布，自塔尖至基座，般若文句婉转铺陈，笔墨朴拙古雅，自带沉静禅意。塔心线刻佛像，庄严端凝，与周遭经文浑然一体，将礼佛虔心融于书法形制之中。\n\n整作是写刻结合的宗教艺术遗存，以字为砖，以文为塔，把经文深意化作视觉禅境，古旧纸面晕开岁月沉淀，平淡间藏着抄写者的至诚匠心，别具一格地诠释了经文与造像相融的东方美学。",[75,386,7,199,878,9007,16624,3028,4678,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edb9f1996a308899b4c56a8f53bf7e5.jpg",[],{"id":49213,"slug":49214,"title":49215,"dynasty":8749,"author":454,"museum":107,"description":49216,"tags":49217,"thumbUrl":49218,"material":751,"size":752,"collection":95,"collections":49219,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},287936,"jin-gang-bo-re-bo-mi-jing-can-juan-hei-se-zhi-yi-ming-287936","金剛般若波蜜經殘卷黑色紙","此残卷以乌地衬出劲秀小楷，通篇排布匀整茂密，字字端雅秀润，笔致清劲凝练，尽显写经特有的恭谨法度。点画精到到位，结体端稳舒展，字距行距齐整划一，通篇气息贯通肃穆，带着宗教典籍特有的沉静庄严。\n\n纸面虽有斑驳残损，却更添古旧沧桑的厚重质感，残存经文绵密却不拥塞，笔意匀净含蓄，将书写者的虔诚融入笔墨之间，尽显写经的典型风貌，静静承载着久远的信仰传承与古典书法美学的融合意蕴。",[23,386,7,199,49,9007,878,1498,11689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98caf8ba711aec5b83d21a51125972e.jpg",[],{"id":49221,"slug":49222,"title":6748,"dynasty":8749,"author":454,"museum":107,"description":49223,"tags":49224,"thumbUrl":49225,"material":751,"size":752,"collection":95,"collections":49226,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":3443},287926,"ping-fu-tie-yi-ming-287926","此作为小楷题跋，笔致秀雅温润，结体灵动舒展，兼得晋唐小楷的端严法度与文人书写的散淡意趣。墨色苍润匀净，字距排布错落合宜，通篇气息平和疏朗。以笔墨承载考证思绪，将题识的严谨考据与书法的抒情雅致相融，寸楮之间既有金石考据的沉静文心，亦见老笔纷披的醇厚韵味，尽显旧时文人题跋的斯文风骨。",[7,60,77,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6826f3f63557cc8d3e991db18b0900c.jpg",[],{"id":49228,"slug":49229,"title":40260,"dynasty":8749,"author":454,"museum":107,"description":49230,"tags":49231,"thumbUrl":49232,"material":751,"size":752,"collection":95,"collections":49233,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287918,"yu-jia-shi-di-lun-sheng-wen-di-fen-men-ji-juan-zhi-bei-yi-ming-287918","泛黄麻纸晕开岁月的痕迹，墨笔排布匀整端严，朴拙笔意藏着抄经手静定的修行日常。朱笔校注错落点缀，是研学义理时的悉心标注，虽为纸背誊录，却凝着中古佛学传习的鲜活切片。残损纸缘刻着时光剥蚀的印记，笔墨沉潜千年研学温度，是信仰与文字交织的质朴遗存，静静诉说着往昔僧众研阅经论的虔诚日常。",[23,49,7,386,878,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83fa2fb23e184ca6b2eb4cdac400852.jpg",[],{"id":49235,"slug":49236,"title":49237,"dynasty":8749,"author":454,"museum":107,"description":49238,"tags":49239,"thumbUrl":49240,"material":751,"size":752,"collection":95,"collections":49241,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287914,"miao-fa-lian-hua-jing-di-qi-juan-yi-ming-287914","妙法連華經第七卷","此卷小楷写经笔致精劲凝练，字字端稳匀净，通篇排布齐整森然，气息绵密贯通，虽为长篇经文，却无一笔怠懈，尽显恪守法度的恭谨。墨色沉朴古雅，与泛黄藏经纸相得益彰，既有写经体的庄严静穆，又暗藏笔锋细微意趣，毫无刻板匠气。\n\n岁月晕染的纸色与留存的朱印，沉淀着悠悠时光的厚重，是宗教热忱与翰墨匠心的融合遗存，静静诉说着千年前抄经时的肃穆氛围，尽显东方书写的独特意蕴。",[23,49,7,386,9007,199,1498,878,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e68da8fcfe21569d24cda1d43b6b66a.jpg",[],{"id":49243,"slug":49244,"title":49245,"dynasty":8749,"author":454,"museum":107,"description":49246,"tags":49247,"thumbUrl":49248,"material":751,"size":752,"collection":95,"collections":49249,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287912,"fu-shuo-zhai-jing-juan-yi-ming-287912","佛說齋經卷","此卷小楷恭谨端丽，笔墨清劲匀净，是典型的写经风貌。通篇字势端稳排布齐整，笔笔呼应，气息静谧安和，与经文清修主旨相融共生。\n\n纸面因岁月经年晕染泛黄，古雅沉静的质感愈发浓厚。写经人以持敬之心落墨，将宗教的肃穆虔诚藏进每一笔起落中，让书法与经文意蕴合一，尽显写经书法内敛虔诚之美，兼具宗教价值与书法审美价值。",[23,49,7,386,199,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b599d590540bad7af7468827e89604.jpg",[],{"id":49251,"slug":49252,"title":49253,"dynasty":8749,"author":454,"museum":107,"description":49254,"tags":49255,"thumbUrl":49256,"material":751,"size":752,"collection":95,"collections":49257,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287911,"fa-hua-jing-xuan-zan-juan-di-shi-juan-miao-fa-hua-jing-ming-jue-yao-shu-cao-shu-yi-ming-287911","法華經玄贊卷第十卷妙法華經明決要述草書","此卷以狂放草书挥就，笔墨酣畅肆意。起笔迅疾利落，收笔或戛然而止或萦丝牵绕，字间气脉贯通如行云出岫。通篇排布密而不窒，字形大小欹正变幻自然，枯墨飞白与润墨浓笔交错相生，将经文的沉静意趣与草书的恣肆笔意相融。笔势时而开张奔逸如惊鸿掠影，时而收敛凝注似古松凝立，仿佛可见书写者挥毫时意气流转，将经文义理暗藏在跌宕的笔墨节律中，通篇浑成一体，尽显随性自在的书写意韵，是抄经草书中极具韵致的佳构。",[23,7,398,386,49,878,9007,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d388ca95316d99712574bcb335113f.jpg",[],{"id":49259,"slug":49260,"title":49261,"dynasty":8749,"author":454,"museum":107,"description":49262,"tags":49263,"thumbUrl":49264,"material":751,"size":752,"collection":95,"collections":49265,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287901,"fa-ju-jing-shu-juan-yi-ming-287901","法句經疏卷","此卷以行草写就，墨色沉朴古雅，纸面虽因岁月经年泛黄斑驳，笔墨意趣却丝毫不减。字迹排布紧凑却不壅挤，笔势牵丝映带、流转自如，兼具法度与随性之美。行笔朴拙凝练，粗细藏露随心变化，可见书写时的松弛与持敬。通篇浸透着禅门写经特有的沉静肃穆，字里行间既有疏朗的呼吸感，又带着誊抄经疏时的专注静定，是兼具文献价值与书法审美意趣的古写本佳作。",[23,49,386,7,9007,878,1498,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bdfcd9c630bffd1c1823b351080c78.jpg",[],{"id":49267,"slug":49268,"title":49269,"dynasty":8749,"author":454,"museum":107,"description":49270,"tags":49271,"thumbUrl":49272,"material":751,"size":752,"collection":95,"collections":49273,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287850,"miao-fa-lian-hua-jing-juan-di-qi-juan-wei-yi-ming-287850","妙法蓮華經卷第七-卷尾","泛黄麻纸晕开褐旧水渍，淡褪朱印还留存着旧时郑重气息。行书题跋笔墨朴拙温静，起落间带着抄经人沉淀日久的稳静笔力，不见炫技锋芒，只余缮写佛典时的清寂虔心。纸面磨损的痕迹是辗转岁月的留痕，将千年前的抄经日常，藏进纸页褶皱。这卷尾无繁复装饰，却以最质朴的样貌，成为跨越光阴的信笺，静静诉说着古早佛典流传的细碎往事，让后人得以窥见往昔缮写者的沉静心境。",[386,7,199,9007,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc296bf245ede7f54e3d8ded236160a10.jpg",[],{"id":49275,"slug":49276,"title":49277,"dynasty":8749,"author":454,"museum":107,"description":49278,"tags":49279,"thumbUrl":49280,"material":751,"size":752,"collection":95,"collections":49281,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287849,"miao-fa-lian-hua-jing-juan-di-qi-yi-ming-287849","妙法蓮華經卷第七","此卷以率性草书抄写，笔墨朴拙自然，线条灵动跳脱，全无刻意雕琢的匠气，书写韵律浑然天成。泛黄的古纸遍布斑驳虫蚀痕迹，是岁月剥蚀留下的深刻印记，每一处缺损都承载着时光的厚重分量。\n\n字间排布错落随性，墨色浓淡自然过渡，既保有经文抄写的肃穆底色，又尽显草书舒展快意的姿态。宗教文本的沉静内核与书法美学的烂漫意趣融为一体，尽显中古写本朴拙古雅的独特气质，将千年前抄写者的随性笔意与悠悠岁月沉淀的沉静气韵留存至今。",[49,7,386,398,9007,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01ce37d45f440f1dbf137086f925b71.jpg",[],{"id":49283,"slug":49284,"title":49285,"dynasty":8749,"author":454,"museum":107,"description":49286,"tags":49287,"thumbUrl":49288,"material":751,"size":752,"collection":95,"collections":49289,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287848,"fu-shuo-yu-lan-pen-jing-juan-yi-ming-287848","佛說盂蘭盆經卷","整卷以朱丝界栏分格，墨色沉朴古雅，小楷字字排布齐整却不失灵动。起收笔可见典型写经笔韵，法度暗藏，朴拙间带着清隽秀雅。泛黄古纸带着斑驳岁月痕迹，经文密而不紊，字里行间尽显抄经人的恭谨肃穆，满溢沉静庄严的宗教气质，是兼具书法美学与宗教文化价值的古卷，承载着悠远的写经文脉底蕴。",[49,7,386,9007,878,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfaadf8aef84c5eb43bc82739b533c2.jpg",[],{"id":49291,"slug":49292,"title":49293,"dynasty":8749,"author":454,"museum":107,"description":49294,"tags":49295,"thumbUrl":49296,"material":751,"size":752,"collection":95,"collections":49297,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287845,"da-cheng-qi-xin-lun-lve-shu-shu-juan-shang-cao-shu-yi-ming-287845","大乘起信論略述疏卷上草書","此卷草书行气贯通连绵，字势欹侧呼应，笔墨枯润浓淡变化自然，飞白牵丝映带，尽显书写时的酣畅快意。虽为经卷疏述，却无刻意雕琢的板滞，随手挥毫间藏着朴拙烂漫的意趣，笔力沉厚不失灵动，带着日常写经的松弛随性。朱笔批注错落其间，与墨色交映，更添质朴古雅的书卷气息，将义理阐释与书法审美融为一体，尽显写草的风神韵味。",[7,398,386,878,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1393043637a043c7c29723ab9f2bf2.jpg",[],{"id":49299,"slug":49300,"title":49293,"dynasty":8749,"author":454,"museum":107,"description":49301,"tags":49302,"thumbUrl":49303,"material":751,"size":752,"collection":95,"collections":49304,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287843,"da-cheng-qi-xin-lun-lve-shu-shu-juan-shang-cao-shu-yi-ming-287843","通卷笔墨洋洋洒洒，字势顾盼相生，通篇气息匀净畅达，作为经卷抄录却无半分板滞。\n用笔枯湿互见，提按顿挫尽显腕底风神，牵丝映带如行云流水，将经文义理的沉静与草书的灵动相融无间。朱笔圈点与墨色相映，是研读时的用心批注，让这件抄本兼具写经的肃穆与文人草书的疏朗意趣。\n整卷行气贯通，字字相衔却错落自然，在书写法度与随性挥洒间达成绝妙平衡，抄经者将宗教虔诚寄寓笔墨流转，令作品兼具文献与书法审美价值。",[7,398,49,386,9007,878,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd31937d15ed1ace240528a24cd5a40e.jpg",[],{"id":49306,"slug":49307,"title":49308,"dynasty":8749,"author":454,"museum":107,"description":49309,"tags":49310,"thumbUrl":49312,"material":751,"size":752,"collection":95,"collections":49313,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287826,"san-jie-fo-fa-mi-ji-yi-ming-287826","三階佛法密記","此卷为小楷写经，笔墨匀净秀雅，点画精谨端稳，字字排布齐整，行气舒展贯通。书写者以恭谨虔敬之心抄录佛典，笔笔恪守楷法，捺挑之间自带温雅韵致，尽显写经书法特有的沉静肃穆。\n\n整卷洋洋洒洒，以恒定的书写节奏，将文气与禅意融于笔墨之间，虽无跳脱恣肆的笔意，却以平和内敛的笔触，传递出持经礼佛的宁静心境，尽显隋唐写经的典型风貌，是一件兼具宗教价值与书法审美意义的古韵佳制。",[49,199,7,386,9007,49311,37415],"三阶教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbcf19717e453ab1ff306774f6b62e4.jpg",[],{"id":49315,"slug":49316,"title":49317,"dynasty":8749,"author":454,"museum":107,"description":49318,"tags":49319,"thumbUrl":49320,"material":751,"size":752,"collection":95,"collections":49321,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287824,"juan-shang-shou-gao-yi-ming-287824","卷上手稿","此作行书间带楷意，用笔朴拙苍劲，提转舒展灵动，结体错落不拘却暗含章法。通篇文字排布茂密却不显壅塞，字间气脉连贯自然，尽显书写者娴熟的笔墨功底。墨色沉润古雅，朱笔点注错落点缀其间，既梳理了经文条理，又为满卷黑字添了跳脱生气，调和了密匝排布的沉闷感。整体带着厚重的写经笔墨气质，朴厚之中见灵动，规整之中藏变化，兼具珍贵的文献价值与书法审美价值。",[49,7,25,6535,386,60,50,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd23a03eb00d5ca7956784cfd2c59a67e.jpg",[],{"id":49323,"slug":49324,"title":44055,"dynasty":8749,"author":454,"museum":107,"description":49325,"tags":49326,"thumbUrl":49327,"material":751,"size":752,"collection":95,"collections":49328,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287822,"fu-shuo-miao-hao-bao-che-jing-yi-ming-287822","这幅写经纸色泛黄古旧，墨色沉凝匀净。通篇小楷排布齐整，笔致端稳凝练，既有写经体自带的肃穆规整，又暗含书写者自然流露的笔底意韵，带着中古写经特有的虔诚质感。淡墨界栏隐约尚存，字迹历经岁月依旧清晰可观，行行字句间藏着书写时的沉静心力，尽显佛典传抄的庄严质朴，承载着千年前的信仰温度，是佛教文献流传的珍贵实物。",[49,7,386,199,9007,878,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0117f3aeca50bb6210a31e3696995322.jpg",[],{"id":49330,"slug":49331,"title":49332,"dynasty":8749,"author":454,"museum":107,"description":49333,"tags":49334,"thumbUrl":49336,"material":751,"size":752,"collection":95,"collections":49337,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287821,"juan-xia-shou-gao-yi-ming-287821","卷下手稿","此作为小楷写经卷，笔致精整匀净，点画清劲凝练，起收间恪守写经法度，顿挫含藏，骨力内蕴。通篇字距排布森然有序，行气贯通如一，带着宗教文本特有的沉静端严。墨色乌亮莹润，泛黄素纸衬出笔墨的沉厚质感，岁月流转仍神采不减。书写者以恭谨之心落墨，既严守写经的庄严程式，又在细微撇捺间流露笔底温润情致，法度与文心相融，将经文的肃穆与书法的雅正合而为一，尽显古韵盎然的写经意趣。",[49,7,386,199,9007,4678,49335],"手抄典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7b045754da7d3f8a256fa448002725.jpg",[],{"id":49339,"slug":49340,"title":49341,"dynasty":8749,"author":454,"museum":107,"description":49342,"tags":49343,"thumbUrl":49344,"material":751,"size":752,"collection":95,"collections":49345,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287820,"si-fen-lv-shan-fan-bu-que-xing-shi-chao-juan-di-san-da-cheng-qi-xin-lun-zhu-yi-ming-287820","四分律刪繁補闕行事鈔卷第三大乘起信論注-","这卷小楷长卷气脉贯通，通篇行距字距匀整秀雅，尽显写经的典型风貌。行笔温润内敛，点画精劲妥帖，字字安稳端凝，不见一丝懈怠涣散，足见抄经人功底扎实，更将肃穆恭敬的心境融于笔端。朱笔圈点批注错落行间，墨朱相映，既是读经时的思索留痕，更为素净卷面添了灵动层次，让整卷作品兼具书法审美意趣与文献价值，静静诉说着抄经时沉潜专注的岁月质感。",[49,7,386,199,40263,4678,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b47632c05274ab6dddd6b4dfa1b460.jpg",[],{"id":49347,"slug":49348,"title":49253,"dynasty":8749,"author":454,"museum":107,"description":49349,"tags":49350,"thumbUrl":49351,"material":751,"size":752,"collection":95,"collections":49352,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287819,"fa-hua-jing-xuan-zan-juan-di-shi-juan-miao-fa-hua-jing-ming-jue-yao-shu-cao-shu-yi-ming-287819","此卷草书满纸酣畅，如江河奔涌一气呵成。笔势灵动恣肆，提按顿挫间使转自然，线条枯湿浓淡交叠，牵丝映带暗合章法韵律，字字连绵却错落有致，通篇气息浑融一体。\n\n行与行疏密相宜，密处不觉壅塞、疏处不显空寂，尽显书写时的快意挥洒。书写者将经文的肃穆与草书的跌宕相融，落笔带着充沛心力，笔墨间既有沉静禅意，又不失飞扬笔情，法度与意趣兼具，尽显不俗的笔墨功底与艺文修养。",[7,398,49,386,50,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148fd9d20af02094233fe23aca537e3b.jpg",[],{"id":49354,"slug":49355,"title":49245,"dynasty":8749,"author":454,"museum":107,"description":49356,"tags":49357,"thumbUrl":49358,"material":751,"size":752,"collection":95,"collections":49359,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287818,"fu-shuo-zhai-jing-juan-yi-ming-287818","此卷写经以精谨小楷书就，笔致清劲端雅，结体匀整秀逸，尽显写经书法的庄严恭谨。通篇字距行距排布齐整，墨色沉凝饱满，古纸虽岁久泛黄，却晕染出沉静肃穆的古雅氛围。\n\n笔墨间饱含敬虔之心，一笔一划恪守法度，兼具魏晋写经的简淡古雅遗韵与后世抄经的规整工稳。将宗教的肃穆感融于笔墨细节，质朴静雅间尽显写经人对佛法的至诚之心，是极具代表性的民间写经佳品。",[23,7,49,386,199,878,9007,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445c8e5fcc14b2abfa6db71d5f455cc3.jpg",[],{"id":49361,"slug":49362,"title":49363,"dynasty":8749,"author":454,"museum":107,"description":49364,"tags":49365,"thumbUrl":49366,"material":751,"size":752,"collection":95,"collections":49367,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287817,"shi-di-yi-shu-juan-di-san-yi-ming-287817","十地義疏卷第三","此卷写经小楷劲挺内敛，点画匀净利落，通篇排布紧凑却不显壅塞，行气贯通悠长。字迹端稳秀雅，既恪守写经的规整法度，又暗含文人小楷的隽逸意趣，笔墨间浸透着书写者的虔诚肃穆。\n\n纸面虽历经岁月磨洗，边缘残损、纸面蛀蚀，却晕开了古雅沧桑的氛围，残痕定格住时光流逝的印记。整卷兼具宗教文献的厚重底蕴与书法艺术的审美价值，将写经时的沉静虔敬凝于笔端，藏在每一处规整点画之中，尽显中古写经书法的典型风貌。",[23,49,7,386,199,878,9007,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4be89b1fb4019e5573d18c007f5a57.jpg",[],{"id":49369,"slug":49370,"title":49371,"dynasty":8749,"author":454,"museum":107,"description":49372,"tags":49373,"thumbUrl":49374,"material":751,"size":752,"collection":95,"collections":49375,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},287810,"53-zi-ben-yi-ming-287810","53字本","此作为秦篆典范遗珍，线条匀净挺拔如锥画沙，圆融中见清劲，结体端庄肃穆，恪守对称匀停的古法规矩。\n\n碑面斑驳残泐，是岁月剥蚀留下的印记，为笔墨更添苍浑厚重的金石质感。字里行间静穆沉雄，带着庙堂篆法的端严气象，将秦代书法的整饬庄重尽数铺展。斑驳拓痕与留白交织，把千载风霜凝于尺幅之间，古雅高华的篆籀风神扑面而来，尽显上古文字的肃穆美感与历史厚重感。",[198,7,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8c4cafe62992c85e669fdba9d7ffb4.jpg",[],{"id":49377,"slug":49378,"title":49379,"dynasty":8749,"author":454,"museum":107,"description":49380,"tags":49381,"thumbUrl":49382,"material":751,"size":752,"collection":95,"collections":49383,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":3443},287712,"bai-shi-shi-juan-yi-ming-287712","白氏诗巻","此作用笔萧散灵动，枯润浓淡相生相宜。草书写意随性，字间牵丝映带，行气贯通舒展，将诗文意绪藏于流转线条之中。\n布局错落疏朗，左侧题识与右侧诗文形成虚实呼应，留白恰到好处，自带松弛空寂的林下之风。笔墨简淡却意趣悠长，尽显文人随性抒怀的雅致格调，把日常寄情的闲逸心境晕染在尺幅之间。",[7,398,22728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d1b21d8e51f69d75fe5d110321ace2.jpg",[],{"id":49385,"slug":49386,"title":49387,"dynasty":45,"author":21129,"museum":107,"description":21130,"tags":49388,"thumbUrl":49390,"material":751,"size":752,"collection":95,"collections":49391,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287686,"xi-yu-shi-wu-kuan-287686","喜雨诗",[1250,7,60,49389,77],"喜雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c42000a505a23459829f2e939b1feb4.jpg",[],{"id":49393,"slug":49394,"title":49395,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":49396,"thumbUrl":49397,"material":751,"size":752,"collection":95,"collections":49398,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287675,"shi-shan-dong-qi-chang-287675","诗扇",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dfb4f40cf9110a416f27dee013764aa.jpg",[],{"id":49400,"slug":49401,"title":49402,"dynasty":8749,"author":454,"museum":107,"description":49403,"tags":49404,"thumbUrl":49405,"material":751,"size":752,"collection":95,"collections":49406,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287662,"zheng-zuo-wei-gao-yi-ming-287662","争座位稿","此作用笔雄健苍劲，线条粗细跌宕，墨色枯润自然变幻。章法纵有行而横无列，字势欹侧相生，通篇气韵连贯畅达，尽显朴拙豪纵的意趣。笔墨间带着沉郁顿挫的张力，将愤懑情绪寄于笔端，刚正之气透于纸背。以笔抒情，把心绪起伏融于提按使转之间，笔墨酣畅淋漓，将行草抒情写意的特质发挥到极致，是极具感染力的行草佳构。",[7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc046f2aa9235573f5aac77afd0c3ed69.jpg",[],{"id":49408,"slug":49409,"title":49410,"dynasty":8749,"author":454,"museum":1172,"description":49411,"tags":49412,"thumbUrl":49413,"material":751,"size":752,"collection":95,"collections":49414,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287629,"miao-fa-lian-hua-jing-juan-di-liu-shou-gao-yi-ming-287629","妙法蓮華經卷第六手稿","此卷写经以淡墨书于泛黄藏经纸之上，笔势匀整秀雅，字字清劲端丽，兼具写经体的森严法度与隽逸气韵。通卷文字排布舒朗齐整，抄写一丝不苟，尽显书写者的恭谨虔诚，是佛教写本中的上乘之作。\n\n笔墨裹挟着千年梵音的沉静力量，将经文义理以笔墨具象化。虽历经岁月晕染，依旧墨色沉稳风骨宛然，静静诉说着中古时期佛教文化传布的虔敬底色，让观者于笔墨间触摸到跨越时空的信仰温度。",[7,386,199,49,878,9007,20967,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d28d176cb3b49d5a3c2bce911cd9c.jpg",[],{"id":49416,"slug":49417,"title":49418,"dynasty":8749,"author":454,"museum":1172,"description":49419,"tags":49420,"thumbUrl":49421,"material":751,"size":752,"collection":95,"collections":49422,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287628,"da-bo-re-bo-luo-mi-duo-jing-juan-di-qi-shi-san-shou-gao-yi-ming-287628","大般若波羅蜜多經卷第七十三手稿","此卷小楷精雅端严，笔墨匀净沉润，历久弥新。字迹排布齐整却不失灵动，起笔收锋藏露得宜，兼具六朝写经的简古遗韵与唐楷的端整法度。抄经人以虔敬之心落墨，笔势舒展圆融，每一字都带着沉静肃穆的禅意，将经文的幽微义理融于笔底。卷面条幅舒展绵长，墨色乌亮澄澈，字里行间流淌着中古抄经特有的清雅氛围，仿佛能让观者窥见千年前青灯下，抄经人凝神落笔的静谧瞬间，体悟书法与经文合二为一的禅风雅韵。",[7,386,199,49,1498,9007,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ea15b71ea62688481ae5ac85182dc3.jpg",[],{"id":49424,"slug":49425,"title":49426,"dynasty":8749,"author":454,"museum":1172,"description":49427,"tags":49428,"thumbUrl":49429,"material":751,"size":752,"collection":95,"collections":49430,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287625,"miao-fa-lian-hua-jing-juan-di-wu-shou-gao-yi-ming-287625","妙法蓮華經卷第五手稿","此卷小楷写经笔致精秀端雅，点画匀净工稳，结体舒展宽和，尽显恭谨肃穆的书写心境。泛黄纸面上乌丝界格规整，墨色历久莹润，字行排布齐整连贯，通篇笔势沉敛安和，不见懈怠之笔。\n\n它既恪守写经范式的庄严法度，又于细微处暗含书写者的笔底情致，将礼佛的虔诚融于毫端，承载着中古书写美学与信仰的交融，沉静肃穆的书卷气扑面而来，尽显工稳与虔敬的合一之美。",[49,7,199,386,9007,20967,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea71583ab411a487583aa903934be51a.jpg",[],{"id":49432,"slug":49433,"title":49434,"dynasty":8749,"author":454,"museum":1172,"description":49435,"tags":49436,"thumbUrl":49437,"material":751,"size":752,"collection":95,"collections":49438,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287624,"miao-fa-lian-hua-jing-juan-di-si-shou-gao-yi-ming-287624","妙法蓮華經卷第四手稿","此卷纸色黄褐晕染，带着岁月浸蚀的斑驳痕迹，通篇以端秀小楷抄就，字势匀净工稳，行气贯通舒展。抄经笔意内敛沉和，提按转折皆合法度，笔墨凝练沉静，每一字都蕴含着抄录时的敬谨之心，尽显写经书法特有的庄严端雅。\n\n经文排布齐整，墨色虽历经年深日久而淡褪，却依旧清晰可观，笔墨与经文意蕴相融，既承载着信仰的厚重，亦是书法妙品，将虔诚之心凝于笔端，晕开跨越时光的沉静古朴之气。",[49,7,386,199,9007,878,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3feef02ae81c26d71b277095094c2855.jpg",[],{"id":49440,"slug":49441,"title":49442,"dynasty":8749,"author":454,"museum":1172,"description":49443,"tags":49444,"thumbUrl":49446,"material":751,"size":752,"collection":95,"collections":49447,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287623,"miao-fa-lian-hua-jing-juan-di-er-shou-gao-yi-ming-287623","妙法蓮華經卷第二手稿","这件写经以小楷抄就，笔锋温润秀雅，起收含蓄内敛，行笔匀净稳健。字字排布齐整却不失灵动，全篇长篇经文行气舒展贯通，不见懈怠。墨色匀净莹润，历经年岁依旧黑亮澄澈，与泛黄纸面相衬，古意盎然。\n\n抄经人落笔恭谨克制，将宗教虔诚融于笔墨，尽显写经书法端雅平和的特质，让沉静内敛的禅意浸透全篇，是书法艺术与佛教典籍融合的典范之作。",[7,386,49,199,9007,4678,4677,49445,37415],"手写稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb99384a1eee67eba37e36527bc929635.jpg",[],{"id":49449,"slug":49450,"title":49451,"dynasty":8749,"author":454,"museum":1172,"description":49452,"tags":49453,"thumbUrl":49457,"material":751,"size":752,"collection":95,"collections":49458,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287621,"qian-shou-qian-yan-guan-shi-yin-pu-sa-guang-da-yuan-man-wu-ai-da-bei-xin-tuo-luo-jing-jing-shou-gao-yi-ming-287621","千手千眼觀世音菩薩廣大圓滿無礙大悲心陀羅經經手稿","泛黄古纸之上，唐人小楷匀整舒展，笔势沉稳端严，兼具写经体的规整法度与手写温度。墨迹浓黑鲜亮，与岁月晕染的浅褐底色相映，晕开沉静厚重的时光质感。整卷经文排布舒朗，笔锋起落间，是抄经人将虔敬心力凝注于毫端，以笔墨践行修行，一字一句皆是对信仰的诠释。长卷铺展，仿佛能窥见千年前禅堂内抄经人屏息恭书的身影，带着藏经洞封存的千年梵音余韵，是书法艺术与宗教虔诚交织的珍贵遗存。",[49,386,7,199,9007,49454,49455,37415,49456],"观世音菩萨","千手千眼观音","陀罗尼经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686ba81407a647934d8bd671660e20db.jpg",[],{"id":49460,"slug":49461,"title":49462,"dynasty":8749,"author":454,"museum":1172,"description":49463,"tags":49464,"thumbUrl":49465,"material":751,"size":752,"collection":95,"collections":49466,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287618,"jin-guang-ming-zui-sheng-wang-jing-fu-jing-juan-di-er-shou-gao-yi-ming-287618","金光明最勝王經佛經卷第二手稿","这件写经以工整小楷书就，笔墨匀净秀雅，笔势恭谨端严。起收笔含蓄温润，点画排布错落合宜，字字气脉连贯。经纸虽因岁月浸染泛黄，却愈发衬出抄经人沉潜肃穆的书写心境。\n\n书写者以虔敬之心落墨，通篇排布齐整，兼具唐楷的端稳筋骨与抄经特有的内敛柔和，字里行间法度暗藏，禅意自生，将礼佛的至诚融于笔锋起落之间。整卷气息安宁沉静，尽显写经书法中和内敛的独特气质，是兼具宗教价值与书法审美意义的珍品。",[386,7,199,49,1498,878,9007,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784c74b38128f4b67ce2410fd4e36afa.jpg",[],{"id":49468,"slug":49469,"title":49470,"dynasty":18,"author":45920,"museum":107,"description":45955,"tags":49471,"thumbUrl":49472,"material":751,"size":752,"collection":95,"collections":49473,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287417,"zui-yuan-tu-zhou-cha-ji-zuo-287417","醉园图轴",[23,24,25,75,50,398,7,250,139,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82c67fc3f75ec511cfe8bf0f21d7fc0.jpg",[],{"id":49475,"slug":49476,"title":49477,"dynasty":8749,"author":454,"museum":107,"description":49478,"tags":49479,"thumbUrl":49480,"material":751,"size":752,"collection":95,"collections":49481,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287382,"shou-gao-jing-ye-yi-ming-287382","手稿经页","昏黄纸页浸着岁月斑驳痕迹，行笔朴拙随性，无刻意雕琢的匠气，笔墨浓淡藏着书写时的心绪起伏。文字排布错落舒展，带着旧时尺牍的质朴意趣，粗粝纸面托着温热笔痕，字里行间留存着过往人际往来的细碎日常。\n\n笔触带着手写的鲜活温度，没有刻板规整的束缚，每一处晕开的墨渍、略显潦草的笔锋，都在诉说着写下它时的即时心境，让久远的故事仍有可触摸的温热质感，静静铺展着旧时光里的鲜活剪影。",[7,386,6535,433,60,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc263a66b4a8bea2e68732028bf7d279b.jpg",[],{"id":49483,"slug":49484,"title":49485,"dynasty":162,"author":454,"museum":107,"description":49486,"tags":49487,"thumbUrl":49488,"material":751,"size":752,"collection":95,"collections":49489,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287381,"miao-fa-lian-hua-jing-di-6-ru-lai-shou-liang-pin-di-shi-liu-yi-ming-287381","妙法蓮華經第6 如來壽量品第十六","此卷书法笔锋挺秀舒展，结体匀整端庄，通篇排布齐整肃穆，尽显书写时的恭敬诚笃。墨色沉凝鲜亮，历千年依旧饱满，与泛黄纸张相映，晕染出古朴沉静的质感。\n运笔间法度谨严，又带着灵动气韵，无刻板匠气，将经文的庄严性融于笔墨细节。整体气息平和内敛，是唐人写经书法的上乘之作，兼具宗教文化价值与古典书法审美价值。",[7,386,49,199,9007,878,1498,29007,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaea334fa0a785ccfbbb16f732ad14a1.jpg",[],{"id":49491,"slug":49492,"title":49493,"dynasty":8749,"author":454,"museum":107,"description":49494,"tags":49495,"thumbUrl":49496,"material":751,"size":752,"collection":95,"collections":49497,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287324,"da-cheng-wu-liang-shou-jing-juan-shou-gao-shang-juan-juan-ben-yi-ming-287324","大乘無量壽經卷手稿上卷绢本","此件写经书法用笔圆融饱满，起收含蓄内敛，通篇排布齐整匀净，尽显书写时的恭谨禅心。字里行间兼具唐楷端稳与行书的舒缓流动，法度谨严又不失灵动，每一笔都带着沉静笃定的力道，不见半分懈怠。古绢之上墨色沉润，岁月晕开浅淡旧痕，与工整字迹交织晕染，晕开跨越时光的沉静禅意，既承载着书写者的崇信之心，也尽显中古写经书法的肃穆清雅，静静诉说着千年前的虔敬与安宁。",[7,386,878,199,184,49,1498,9007,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0faec0c5ea514e942aa3be21846f7934.jpg",[],{"id":49499,"slug":49500,"title":49501,"dynasty":8749,"author":454,"museum":107,"description":49502,"tags":49503,"thumbUrl":49504,"material":751,"size":752,"collection":95,"collections":49505,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287323,"qie-yun-shou-gao-yi-ming-287323","切韻手稿","此卷手稿以蝇头小楷密密排布，笔意朴拙端稳，墨色沉郁古雅，间杂朱笔校注晕开细碎时光印记。纸面虽有残损，却更添古旧质感，字字皆是古人稽考音韵的治学痕迹。通篇文字排布紧凑却不显拥塞，笔墨之间带着写经类书法的沉静气质，将中古音韵的严谨考据藏在毫厘笔锋之中，既是韵学研究的珍贵遗存，亦是古人治学日常的生动切片，残页之上定格着千年前的治学场景，尽显古典文献独有的质朴厚重之美。",[7,199,1498,200,6535,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf17ca55e0a0948cb097f36c7d5767da.jpg",[],{"id":49507,"slug":49508,"title":49509,"dynasty":8749,"author":454,"museum":107,"description":49510,"tags":49511,"thumbUrl":49512,"material":751,"size":752,"collection":95,"collections":49513,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},287321,"yu-zhu-jin-gang-bo-re-bo-luo-mi-jing-xuan-yan-juan-zhong-shou-gao-yi-ming-287321","御注金剛般若波羅蜜經宣演卷中手稿","此作为典型唐人写经风格小楷，笔致精整匀净，点画饱满端凝，字字排布齐整工稳，通篇行气贯通舒展。起收笔具晋唐写经典型意韵，法度谨严间不失温雅秀润，无一丝潦草懈怠，足见书写时的恭谨至诚。墨色匀净沉润，纸墨交融和谐，将宗教文本的神圣感诉诸笔端，尽显写经书法特有的静谧庄严，是一件古韵醇厚的写经佳作。",[7,49,199,386,878,20967,6535,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece90660d0d732d4e2b9cb8123888051.jpg",[],{"id":49515,"slug":49516,"title":49517,"dynasty":8749,"author":454,"museum":107,"description":49518,"tags":49519,"thumbUrl":49521,"material":751,"size":752,"collection":95,"collections":49522,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287320,"si-bu-lv-bing-lun-yao-yong-chao-juan-shang-shou-gao-yi-ming-287320","四部律幷論要用抄卷上手稿","此卷以小楷钞录，间带行书笔意，行笔秀逸舒展，结体端稳匀整，墨色沉静古雅，朱笔校注错落其间，留存钞写时的校雠痕迹。通篇排布茂密齐整，笔墨间尽显抄经者的恭谨心境，带着宗教书写特有的安和肃穆气息。\n\n它兼具书法审美与宗教文献价值，既展现出写经书法的质朴美感，也还原了中古佛典钞纂的真实样貌，承载着佛教律典传承的珍贵信息，尽显中古写本文化的厚重质感。",[386,7,49,6535,40263,2602,199,5493,48808,49520],"古文献","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bc1e36c989f5d22fbaf943f88e2450.jpg",[],{"id":49524,"slug":49525,"title":49526,"dynasty":8749,"author":454,"museum":107,"description":49527,"tags":49528,"thumbUrl":49529,"material":751,"size":752,"collection":95,"collections":49530,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},287319,"da-bo-re-bo-luo-mi-duo-jing-juan-di-yi-bai-yi-shi-jiu-shou-gao-yi-ming-287319","大般若波羅蜜多經卷第一百一十九手稿","此卷小楷笔墨稳健内敛，结体端庄匀整，字距行距排布齐整肃穆，尽显写经特有的端雅气韵。墨色苍古沉润，历经岁月纸面泛黄晕染，晕开独属于旧时光的沉静质感。通篇书迹一丝不苟，笔笔精谨，在工整的法度里藏着虔诚的心力，带着沉静祥和的气息，尽显写经书法的中和之美。一笔一划间，将经文的肃穆意蕴融于笔墨筋骨，让信仰的温度凝注在纸端，传递出般若经义的沉静力量，是写经书法里颇具代表性的质朴佳作。",[7,49,386,199,878,20967,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8459b200ae1cd1af2bcc32381f0218cf.jpg",[],{"id":49532,"slug":49533,"title":49534,"dynasty":88,"author":49535,"museum":72,"description":49536,"tags":49537,"thumbUrl":49538,"material":682,"size":49539,"collection":95,"collections":49540,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},284346,"zheng-yu-tie-ye-fu-yao-yu-284346","蒸燠帖页","傅尧俞","这件行楷书书法作品是傅尧俞的传世孤本，是他向友人应酬问候的一则信札。作品结体秀正方润，笔法清峻峭拔，风格上保持了较多的宋初书法的特点。作品上面的藏印有：：“江德量鉴藏印”（朱文）、“南韵斋”（朱文）、“莲樵成勋鉴赏书画之章”（朱文）、“皇十一子成亲王诒晋斋图书印”（朱文）。",[7,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35552cfebcb78d10b9fba5cd0e33726e.jpg","纵26.3厘米，横17.3厘米",[],{"id":49542,"slug":49543,"title":49544,"dynasty":45,"author":1313,"museum":107,"description":49545,"tags":49546,"thumbUrl":49547,"material":751,"size":752,"collection":95,"collections":49548,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},283776,"lin-dong-po-chi-du-ce-dong-qi-chang-283776","临东坡尺牍册","本册为董氏节录苏轼尺牍七段，阮元《石渠随笔》曾载此册，记为六段，又收入《石渠宝笈续编》。金粟笺本，笔精墨妙。有脱漏或改动字句处。1612年，董文敏58岁，其时于深研二王基础上，董氏进而汲取宋四家之长，除米芾外，钻研最深的便是苏轼。董书以灵动绰约见长，虽不如苏书沉厚雄健，然圆润秀逸则过之。",[23,7,49,4347,110,60,50,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e12c84a0d1734c9157bc948508caba1.jpg",[],{"id":49550,"slug":49551,"title":49552,"dynasty":18,"author":454,"museum":107,"description":49553,"tags":49554,"thumbUrl":49560,"material":751,"size":752,"collection":95,"collections":49561,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},283593,"ge-ling-da-dian-di-gong-fang-cheng-yue-tai-bei-ting-zhang-chi-yang-yi-ming-283593","各陵大殿地宫方城月台碑亭丈尺样","行书笔意随性舒展，朴拙间带着文人手札的松弛意趣，不见刻意雕琢的匠气。泛黄古旧的纸页上，字迹带着书写时的自然律动，墨色沉凝晕染，留存着百年时光的摩挲痕迹。\n\n这份手札藏着清代陵工营造的一手规制细节，将皇家陵寝营建的匠作日常藏于平淡笔端。纸上的旧藏钤印更添岁月厚重感，让这页兼具书法审美与档案价值的稿本，成为窥见清代庙堂营造细节的鲜活注脚。",[7,60,1498,49555,49556,49557,49558,49559],"大殿","地宫","方城","月台","碑亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe56e5f0e7e248eedc1b18369e84ec32.jpg",[],{"id":49563,"slug":49564,"title":49565,"dynasty":1609,"author":454,"museum":107,"description":49566,"tags":49567,"thumbUrl":49568,"material":751,"size":752,"collection":95,"collections":49569,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},281423,"gu-zhuan-yi-ti-shi-jing-ke-shi-yi-ming-281423","古篆一体石经刻石","西汉的石刻很少见，据宋尤袤《砚北杂记》说：“闻自新莽恶称汉德，凡有石刻，皆令仆而磨之，仍严其禁。大多采用阴线刻和阳线刻两种雕刻方式。\n”赵明诚《金石录》仅著录《居摄两坟坛》、《五凤刻石》两种。其他西汉石刻是清以后才陆续发现的，所以伪刻较多。近人徐森玉《西汉石刻文字初探》所收集计有十种，有《霍去病墓石刻字》、《莱子侯刻石》等十种。以上石刻仅仅是作为坟坛、宫殿的计时标志，属于“小品”性质。从以上西汉的时刻来看，隶书的波磔还不明显，严格的讲，都非正规的汉隶碑刻，其实，西汉的隶书已经成熟，具有波磔挑笔。可以从1972年山东临沂银雀山汉墓出土的《孙子兵法简》、《孙膑兵法简》中看到，笔画都带有燕尾波挑。\n东汉“碑碣云起”。刻碑之风盛行的原因之一是，当时的门生故吏很多，为府主歌功颂德，或封山祭祀之用。自郦道元《水经注》便见诸于著录，有三百多件，碑刻、拓片流传至今者（包括近所发现）的约有二百余种。清代朱彝尊在《跋汉华山碑》中把汉隶分成三种类型风格：方正、流丽、奇古。其实从形制上可以分为碑刻和摩崖两大类。从艺术特点上可以把其分为：典雅、秀逸、拙朴、雄浑、纵肆、平整、古峭、奇谲。它们的代表作品分别为：《史晨碑》、《乙瑛碑》，《礼器碑》、《曹全碑》，《张迁碑》，《西狭碑》，《石门颂》，《熹平石经》，《裴岑碑》，《夏承碑》。",[457,7,1614,7713,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c086d3de246de931b0b5363b1b8d5c0.jpg",[],{"id":49571,"slug":49572,"title":49573,"dynasty":1609,"author":454,"museum":107,"description":49566,"tags":49574,"thumbUrl":49576,"material":751,"size":752,"collection":95,"collections":49577,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},281122,"liu-jun-mu-ding-zhen-ke-shi-yi-ming-281122","刘君墓顶镇刻石",[32200,7,7713,49575,1613],"石质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520688e04e8bf7e6bf03d2e45d21b89.jpg",[],{"id":49579,"slug":49580,"title":49581,"dynasty":18,"author":454,"museum":107,"description":49582,"tags":49583,"thumbUrl":49584,"material":751,"size":752,"collection":95,"collections":49585,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},280596,"dan-yan-ci-xin-yi-chi-yu-bi-yi-qing-tian-shi-zhang-yi-ming-280596","“但言此心以驰于彼矣”青田石章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[77,3467,7714,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d558f591e01afb252b6f429d65527.jpg",[],{"id":49587,"slug":49588,"title":49589,"dynasty":662,"author":454,"museum":107,"description":49582,"tags":49590,"thumbUrl":49591,"material":751,"size":752,"collection":95,"collections":49592,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},280193,"shi-fei-qie-pu-hu-wei-du-qing-tian-shi-zhang-yi-ming-280193","“士非妾仆胡为妒”青田石章",[77,3467,7714,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b1bcbfb5a0beb27d392f19b43476d33.jpg",[],{"id":49594,"slug":49595,"title":49596,"dynasty":662,"author":454,"museum":107,"description":49582,"tags":49597,"thumbUrl":49598,"material":751,"size":752,"collection":95,"collections":49599,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},280166,"ma-heng-zhang-yi-ming-280166","“马衡”章",[77,7714,3467,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6246a1b24f4265fdf5dd5e75869cae.jpg",[],{"id":49601,"slug":49602,"title":49603,"dynasty":18,"author":454,"museum":107,"description":49604,"tags":49605,"thumbUrl":49607,"material":751,"size":752,"collection":95,"collections":49608,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},278230,"mu-feng-zhi-fang-pao-fu-pai-yi-ming-278230","木“奉旨放炮”符牌","合符为皇宫和都城夜间特殊的放行证，由阴、阳两片组成，内侧分别铸有阴、阳文的“圣旨”二字，两牌可合二为一，如秦汉虎符，设计巧妙。阴文一片交各门护军统领收存，阳文一片存于大内。夜间出入禁门，只有持与该门阴文相符的阳文一片，验证无误才许放行，否则虽称有旨亦不得通行。另外皇帝行驾出行、皇族出入内宫、近臣出入宫廷之时，只有持有由皇帝御赐的信符文字与该门阴文相符，验证无误方可放行。\n按圆明园八旗枪营，亦称护军营，建于雍正二年（1724年），是清代守卫圆明园及保卫皇帝从紫禁城移驾至圆明园等处沿途安全的特设军队。",[19026,7713,9636,49606,7,457],"符牌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9206c6584863a0129f6895f453d87659.jpg",[],{"id":49610,"slug":49611,"title":49612,"dynasty":18,"author":454,"museum":107,"description":49604,"tags":49613,"thumbUrl":49615,"material":751,"size":752,"collection":95,"collections":49616,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},278226,"mu-fu-cheng-men-he-fu-yi-ming-278226","木“阜城门”合符",[19026,9636,7,199,49614,834],"合符","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F993f93090b5c76d768bc5ffccbf9a1fa.jpg",[],{"id":49618,"slug":49619,"title":49620,"dynasty":18,"author":454,"museum":107,"description":49621,"tags":49622,"thumbUrl":49623,"material":751,"size":752,"collection":95,"collections":49624,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},276739,"qing-yu-guang-xu-yuan-nian-shang-xiao-zhe-yi-huang-hou-shi-ce-yi-ming-276739","青玉光绪元年上孝哲毅皇后谥册","清光绪元年 孝哲毅皇后谥册、谥宝，玉质",[7714,26,7,359,7713,26617,42838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5982013400df58042b67b49d9d8632ee.jpg",[],{"id":49626,"slug":49627,"title":49628,"dynasty":18,"author":454,"museum":107,"description":49629,"tags":49630,"thumbUrl":49631,"material":751,"size":752,"collection":95,"collections":49632,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},276605,"yin-du-jin-guang-xu-er-shi-yi-nian-dun-yi-rong-qing-huang-gui-fei-hui-ce-yi-ming-276605","银镀金光绪二十一年敦宜荣庆皇贵妃徽册","此徽册银镀金为底，历久仍带着华贵沉敛的质感，采用满汉双语分栏书就。右侧汉字笔体方正端凝，恭谨肃穆，尽显皇家仪制的庄重体面；左侧满文弯转流畅，笔墨匀净规整。\n\n册页虽蒙岁月薄尘，却依旧留存着晚清皇室礼制的威仪，将贵妃册封的尊荣郑重凝缩于折页之间，是晚清宫廷典章礼制的具象缩影，静静承载着旧时宫闱的荣庆余韵。",[26,22487,30189,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F871774a9610c15c858aee3a9d16a5000.jpg",[],{"id":49634,"slug":49635,"title":49636,"dynasty":18,"author":454,"museum":107,"description":49637,"tags":49638,"thumbUrl":49639,"material":751,"size":752,"collection":95,"collections":49640,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},276600,"yin-du-jin-tong-zhi-shi-san-nian-tong-fei-ce-yi-ming-276600","银镀金同治十三年彤妃册","此折页银镀金册，鎏金底晕染着岁月沉淀的温润包浆，正反分书满汉双语册文。文字以錾刻填墨而成，满文弯转圆融，汉文楷法端严方正，笔力沉凝庄重，尽显宫廷册封仪制的肃穆威仪。\n\n整器装帧严整，金属的厚重质感与隽秀规整的书体相映，将后宫典制的郑重之意凝于方寸间。既是颇具匠心的金属细作，亦是承载宫廷礼制记忆的实物遗存，静静诉说着旧时皇家规制的郑重与典雅。",[26,22487,30189,7,199,1498,42838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f7f05cf8e8af116c847fa3c2a58992.jpg",[],{"id":49642,"slug":49643,"title":49644,"dynasty":18,"author":454,"museum":107,"description":49645,"tags":49646,"thumbUrl":49648,"material":751,"size":752,"collection":95,"collections":49649,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},276599,"yin-du-jin-guang-xu-er-nian-dun-yi-huang-gui-fei-ce-yi-ming-276599","银镀金光绪二年敦宜皇贵妃册","此册银镀金为质，作折叠册页形制，页面排布满汉双语册文，錾刻填金的字迹规整端方，笔意庄重沉稳。金属胎体历经岁月晕染出温润包浆，将皇家仪制的肃穆与细作工艺的精良相融。册文承载尊封仪典的无上分量，一字一句尽显晚清宫廷礼制的严谨规制，器物华贵不失厚重，静静沉淀着昔年深宫的礼制风华，方寸间尽显皇家重器的威仪底蕴。",[22487,30189,26,7,199,1498,49647],"宫廷文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8dd87eeb5bda3933a907eb829c85107.jpg",[],{"id":49651,"slug":49652,"title":49653,"dynasty":18,"author":454,"museum":107,"description":49654,"tags":49655,"thumbUrl":49656,"material":751,"size":752,"collection":95,"collections":49657,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},275920,"bi-yu-yu-lin-lan-ting-san-zhong-ce-yi-ming-275920","碧玉御临兰亭三种册","玉质深沉苍润，自带静穆古雅的气韵。封面错金錾刻云纹祥饰，金丝走线纤细流畅，在墨碧底色之上晕开华贵光泽，雅致不失庄重。取古籍册页形制，玉片厚重温润，间衬黄绢，复刻出书卷形制的规整雅致。将书法名品以玉册承载，既保留了文玩的清逸意趣，又尽显皇家器物的考究气度，把玉料天成之美与匠心工艺相融，是兼具文韵与工巧的精妙佳器。",[7714,1498,26,7,110,60,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faabd1e7e1ced9159ba173b4d8fe151da.jpg",[],{"id":49659,"slug":49660,"title":49661,"dynasty":18,"author":454,"museum":107,"description":49662,"tags":49663,"thumbUrl":49664,"material":751,"size":752,"collection":95,"collections":49665,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},275890,"qing-yu-yu-bi-zai-ti-yue-lv-quan-shu-ce-yi-ming-275890","青玉御笔再题乐律全书册","硬木函盒包镶铜口，底承卷云纹束腰座，内敛雅致。盒面填金题字，尽显端方庄重。内藏玉册取和田青玉为材，玉质温润莹泽，每片均以阴刻填金摹御笔手书，笔意圆劲秀逸，法度谨严。\n册页镌刻精工，字口平滑饱满，宫廷规制鲜明，既承载乐律乐理的典藏价值，亦是玉作工艺与御笔书法合璧的绝佳典范，尽显清时宫廷造物的雅致底蕴与考究工法。",[7714,19026,1498,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f2f6bf24a34a9432cac84e048ccf96.jpg",[],{"id":49667,"slug":49668,"title":49669,"dynasty":18,"author":454,"museum":107,"description":49670,"tags":49671,"thumbUrl":49672,"material":751,"size":752,"collection":95,"collections":49673,"showCount":882,"zanCount":882,"manualWeight":39,"mainColor":207},275827,"bi-yu-yu-zhi-yang-zheng-tu-shi-ce-yi-ming-275827","碧玉御制养正图诗册","此器以硬木为匣，通体精刻冰梅锦地，四面开光内浮雕缠枝宝相花，线条婉转舒展，古韵盎然。盖面嵌平直玉板，阴镌诗文，刀工匀净爽利，将笔墨意趣凝于玉石之上。\n\n整体形制端方肃穆，沉敛木色搭配精细雕工，锦地繁而不紊，开光纹饰饱满雍容，将木雕温润质感与刻字清雅文气相融，尽显皇家器物的端雅意趣，暗合主题中修身正心的沉静风骨，静静诉说着旧时宫廷工艺的风雅底蕴。",[7714,26,7,7713,19026,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933d896a2fa8150febab7f04a238ad0a.jpg",[],{"id":49675,"slug":49676,"title":49677,"dynasty":18,"author":454,"museum":107,"description":49678,"tags":49679,"thumbUrl":49681,"material":751,"size":752,"collection":95,"collections":49682,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},275790,"qing-yu-yu-zhi-ping-ding-zhun-ga-er-gao-cheng-tai-xue-bei-wen-ce-yi-ming-275790","青玉御制平定准噶尔告成太学碑文册","此匣以硬木为胎，褐漆为底遍饰描金重工纹饰。立面双龙矫健身姿腾跃于流云间，鳞爪张弛威严灵动，祥云缭绕舒展，下承江崖海水纹，浪涛层叠翻卷，暗喻山河永固之意。盖面填金题识笔力端稳庄重，底边回纹规整雅致，勾勒利落轮廓。\n\n描金醇厚鲜亮，历久弥新，沉敛漆色与耀目金饰交相辉映，尽显官作工坊的精湛造诣。静穆间流露制式严苛的皇家气度，是清代髹漆描金工艺的上乘之作，承载着典仪器物的庄重品格。",[7714,26,7,1498,359,7713,13336,26617,49680],"平定准噶尔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86bb745cff072790fda51a18f3f5e640.jpg",[],{"id":49684,"slug":49685,"title":49686,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":49687,"thumbUrl":49688,"material":751,"size":752,"collection":95,"collections":49689,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},275285,"bi-yu-miao-jin-feng-xi-mu-dan-wen-te-qing-nan-lv-yi-ming-275285","碧玉描金凤戏牡丹纹特磬-南吕",[7714,427,42838,26617,7713,33056,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e77a11e1c6bc1f7cc433bb42a8a46e.jpg",[],{"id":49691,"slug":49692,"title":49693,"dynasty":18,"author":454,"museum":107,"description":49694,"tags":49695,"thumbUrl":49698,"material":751,"size":752,"collection":95,"collections":49699,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},274842,"mu-hei-qi-jin-bian-shen-pai-xia-yi-ming-274842","木黑漆金边神牌匣","此神牌造型修长挺拔，基座方正沉稳，整体形制规整端严。髹黑漆为地，金边勾饰轮廓，于素雅底色中勾勒出庄重威仪。牌身錾刻满汉双文神位文字，笔力匀整恭谨，尽显礼制器物的肃穆感。器物无过多繁复雕饰，以简洁克制的形制，承载宗法祭祀的庄重内涵，尽显庙堂礼制器物的厚重肃穆，静静诉说着旧时皇家祭祀的庄严礼制。",[878,42838,49696,19026,49697,7,199],"神牌","金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083aa217d4fe75744f50e3829698c902.jpg",[],{"id":49701,"slug":49702,"title":49703,"dynasty":18,"author":454,"museum":107,"description":49704,"tags":49705,"thumbUrl":49706,"material":751,"size":752,"collection":95,"collections":49707,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},274756,"zi-jin-li-ma-tong-ban-yi-ming-274756","紫金利玛铜板","板面紫褐交织，铜锈晕染出深浅错落的斑斓层次，色泽晕散融合，似被岁月晕开的釉色，裹挟着旧时光的厚重温度。右侧题字笔锋苍劲朴拙，墨色凝锢在铜面，与锈蚀肌理交织缠绕，将过往心绪凝刻在冷硬金属之上。\n\n风化的斑驳痕迹，是时光亲手篆刻的印记，让冷硬铜板晕开沉郁又鲜活的质感。锈蚀晕染出的幽绿与赭红相互浸润，如同把旧岁的情绪封存在金属肌理中，静静诉说着被尘封的岁月余韵，带着旧物独有的沉静力量，将时光的沉淀凝作触手可及的厚重诗意。",[15301,1896,7,398,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa99b7542a4f83540e4c93ccede50e2c9.jpg",[],{"id":49709,"slug":49710,"title":49711,"dynasty":662,"author":454,"museum":107,"description":49712,"tags":49713,"thumbUrl":49715,"material":751,"size":752,"collection":95,"collections":49716,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},274043,"shi-hui-bao-chai-sang-kou-chang-pian-yi-ming-274043","时慧宝《柴桑口》唱片","泛黄封纸带着旧时光摩挲的痕迹，环绕唱片的题字笔力苍劲朴拙，醒目的公鸡商标是老上海百代唱片的鲜明印记。\n\n这张唱片收录京剧老生经典《柴桑口》，时慧宝的唱腔凝重回肠，将戏中悲恸沉郁的情绪尽数铺展，把京剧老生的醇厚韵味封存在胶木纹路之中。它是民国文娱盛景的鲜活注脚，将梨园声韵与旧时代的风行光景，一同定格在这方寸纸套之间，带着岁月沉淀的温度，让远去的余韵依旧能在留声机的转动中缓缓流淌。",[27772,25307,7,49714],"音乐器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4abc76abd9332d1cd03f1ac1e1ae13.jpg",[],{"id":49718,"slug":49719,"title":49720,"dynasty":662,"author":454,"museum":107,"description":49721,"tags":49722,"thumbUrl":49725,"material":751,"size":752,"collection":95,"collections":49726,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},274033,"wang-xiao-nong-ma-qian-po-shui-chang-pian-yi-ming-274033","汪笑侬《马前泼水》唱片","泛黄牛皮封套晕开旧时光晕，手书墨迹朴拙苍劲，墨痕里藏着戏迷经年摩挲的温度。黑胶唱片纹路蜿蜒，凝住戏韵风流。中西元素在此交织，既有传统书法的雅致意趣，又带着洋行唱片的时代烙印。\n\n封套上题字与印刷标识错落排布，将清末民初戏曲传布的图景凝缩方寸间，刻录着老派伶人的舞台心血，也藏着旧上海滩的戏馆风月。这方旧物是戏曲音像史的鲜活注脚，让百年前的水磨余韵，顺着纹路漾开，重现旧时曲词风华。",[27772,25307,7,49723,49724],"纸质封套","音像制品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790a12051f55157ea9b3db62416331bc.jpg",[],{"id":49728,"slug":49729,"title":49730,"dynasty":18,"author":454,"museum":107,"description":49731,"tags":49732,"thumbUrl":49735,"material":751,"size":752,"collection":95,"collections":49736,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},273975,"chen-xiang-sha-hua-deng-yao-di-bu-yi-ming-273975","《沉香砂花等药底簿》","线装古旧，纸面晕染着百年岁月的微黄痕迹。封面以端谨馆阁体竖排题字，笔锋方正秀雅，左侧小字罗列名目，墨色沉凝朴拙。\n\n作为旧时药铺底账，纸面虽有细微磨损，却完整承载着晚清药坊采办存记的原始脉络，带着市井药香的烟火余温。泛黄纸页间的笔痕，是中医药往昔日常的鲜活注脚，静静铺陈出百年前民间医药行业的细碎日常，成为触摸晚清医药生态的珍贵切片。",[1498,199,7,49733,49734],"账册","药簿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67285613cbc240fedb3bb3f841d561f5.jpg",[],{"id":49738,"slug":49739,"title":49740,"dynasty":18,"author":454,"museum":107,"description":49741,"tags":49742,"thumbUrl":49744,"material":751,"size":752,"collection":95,"collections":49745,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},273968,"da-fu-yong-yao-di-bu-yi-ming-273968","《大夫用药底簿》","这页素净旧纸晕着岁月浸出的黄，墨痕分置两侧各有意趣。左侧刊刻字方折沉厚，如郑重许下的行医之诺，端凝规整；右侧手书墨迹带着随性笔意，是时光启封的注脚，舒展自然。\n\n纸面细微斑驳皆是摩挲留下的旧痕，无饰纹、不张扬，只以朴拙笔墨藏起旧时行医的日常细碎。泛黄纸页裹着诊室里的烟火气，每道墨痕都凝着开方问症的郑重，将旧时光里的医患冷暖妥帖封存，静静晕开中式行医的质朴与温厚，藏着一方医者的初心。",[1498,199,7,49743],"医书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85a8b626e76d74c09db0b164d019d95.jpg",[],{"id":49747,"slug":49748,"title":49749,"dynasty":18,"author":454,"museum":107,"description":49750,"tags":49751,"thumbUrl":49753,"material":751,"size":752,"collection":95,"collections":49754,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},273967,"huang-hou-jin-yao-di-bu-yi-ming-273967","《皇后进药底簿》","素朴泛黄的古纸封面上，题字端凝庄重，墨色历经岁时仍清晰沉静。它以极简装帧承载深宫郑重医事，纸页间晕开的岁月痕迹，静静见证着严谨的皇家医事制度。\n\n这册底簿以缄默笔触，细致留存下皇后用药的全程细节，是窥见旧朝内廷医事运作与隐秘日常的珍贵遗存。每一页都藏着尘封的宫廷往事，一字一句皆是皇家医事流程的注脚，将深宫里的医案细节凝固为可触摸的历史碎片，在素朴沉静的表象之下，藏着一段被时光封存的深宫医史。",[1498,199,6771,49752,7],"医药文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d852619f232d549881c91d62462fe2.jpg",[],{"id":49756,"slug":49757,"title":49758,"dynasty":18,"author":454,"museum":107,"description":49759,"tags":49760,"thumbUrl":49762,"material":751,"size":752,"collection":95,"collections":49763,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},273966,"zhu-zi-deng-wei-yong-yao-di-bu-yi-ming-273966","《主子等位用药底簿》","这帧素麻纸封面带着旧时光的温润痕迹，墨色沉朴内敛。竖排题字带着馆阁抄录的端谨风骨，右侧手书落着具体日期，将它锚定在百年之前。它是深宫医档的遗存，没有华美的装帧修饰，以最平实的模样，缄藏着旧时皇室疗愈的细节。它并非精致的书画，却以质朴无华的纸面，承载着隐秘的宫廷日常，将当年的杏林诊疗细节凝于方寸之间，静静诉说着百年前的宫廷杏林往事，把皇室医疗的烟火气封存在泛黄纸页之中。",[1498,7,199,6771,49761],"医药底簿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7c1122af233d97481c49e5a3d54a45.jpg",[],{"id":49765,"slug":49766,"title":49767,"dynasty":18,"author":454,"museum":107,"description":49768,"tags":49769,"thumbUrl":49773,"material":751,"size":752,"collection":95,"collections":49774,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},273928,"hong-se-duan-xiu-hai-shui-jiang-ya-wen-zhui-hei-rong-san-jun-si-ming-zi-qi-yi-ming-273928","红色缎绣海水江崖纹缀黑绒三军司命字旗","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[9635,49770,18093,27,35050,49771,7,49772],"缎绣","海水江崖纹","军事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71f20f8e332e138f572b021ff85c2ae7.jpg",[],{"id":49776,"slug":49777,"title":49778,"dynasty":18,"author":454,"museum":107,"description":49779,"tags":49780,"thumbUrl":49782,"material":751,"size":752,"collection":95,"collections":49783,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},273869,"lv-se-di-ji-yun-ji-qian-xiang-zi-yuan-la-yi-ming-273869","绿色“廸吉云集千祥”字圆蜡","动物、植物所产生的，或石油、煤、油页岩中所含的油质，常温下多为固体，具有可塑性，能燃烧，易熔化，不溶于水，如蜂蜡、白蜡、石蜡等。用作防水剂，也可做蜡烛。\n过年之际，华灯齐放，皇宫还会点燃造型纹饰考究的花烛，有的是云纹的，有的是大吉葫芦的，有的饰有文字，如“五谷丰登迎祥”“宜入天下太平”，连这样的消耗品也契合年味。",[2919,49781,7713,7,4509],"蜡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a715419dc89299c1872f2b4eb6d8c6e.jpg",[],{"id":49785,"slug":49786,"title":49787,"dynasty":18,"author":454,"museum":107,"description":49788,"tags":49789,"thumbUrl":49791,"material":751,"size":752,"collection":95,"collections":49792,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},273635,"bai-tan-bian-zuo-qing-yu-ke-hua-hui-tu-cha-ping-yi-ming-273635","白檀边座青玉刻花卉图插屏","取青金石深邃宝蓝为底，以浅刻技法留白成竹枝。叶片俯仰舒展，枝节劲挺清隽，自带文人水墨写竹的写意风骨，将岁寒君子的高洁藏于刀石之中。白檀座架雕工雅致，回纹缠环绕边，牙板透雕变体如意纹，线条柔婉规整。屏心的清疏雅致与木座的精巧工致刚柔相衬，案头陈设之间，尽显文房清供的幽娴意趣，将玉石微雕与木作工艺的妙思相融，静敛之中尽显雅致格调。",[49790,19026,7714,7713,132,7,77],"插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0395076dea122f9c02cdc90e589c8cd.jpg",[],{"id":49794,"slug":49795,"title":19022,"dynasty":18,"author":454,"museum":107,"description":49796,"tags":49797,"thumbUrl":49798,"material":751,"size":752,"collection":95,"collections":49799,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272996,"zi-tan-bian-fa-lang-gua-ping-yi-ming-272996","金底澄澈如凝霜，冬山素雪覆层峦，青白山岩似玉琢冰雕，苍松虬劲翠色凌霜，枯木疏枝衬出冬日清寂。板桥跨寒溪，红袍策蹇徐行，旅人孤影融于荒寒山色间。右上角题诗清隽，与冷寂雪景相生，晕染出冬日行旅的幽寂况味。\n\n珐琅彩料填色匀净明丽，堆塑出山石林木的肌理层次，浅浮雕质感让景致错落立体，将冬日山水的清旷淡远与文人意趣揉合一处，是融精湛工艺与清雅画意的精妙之作。",[36389,19026,8913,27,51,52,113,1074,704,1018,1151,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b94097600ccab82723dec43700e82f7.jpg",[],{"id":49801,"slug":49802,"title":49803,"dynasty":18,"author":454,"museum":107,"description":49768,"tags":49804,"thumbUrl":49805,"material":751,"size":752,"collection":95,"collections":49806,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272992,"hong-mu-bian-hong-duan-xiu-zi-wen-gua-dui-yi-ming-272992","红木边红缎绣字纹挂对",[2136,7,60,19026,9635,2980,4509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30360aba6060453396d10b1ec1295e81.jpg",[],{"id":49808,"slug":49809,"title":49810,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":49811,"thumbUrl":49812,"material":751,"size":752,"collection":95,"collections":49813,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272837,"zi-tan-mu-bian-zuo-qian-yu-zi-cha-ping-yi-ming-272837","紫檀木边座嵌玉字插屏",[49790,19026,7714,457,7,7713,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F399a91f6a208a90e05f2d0a2793f109d.jpg",[],{"id":49815,"slug":49816,"title":49817,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49818,"thumbUrl":49819,"material":751,"size":752,"collection":95,"collections":49820,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},272722,"hu-kai-wen-shang-dang-qing-song-mo-yi-ming-272722","胡开文上党青松墨",[432,3956,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa837f52f419ea84bb0b2fe28eb104982.jpg",[],{"id":49822,"slug":49823,"title":49824,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":49825,"thumbUrl":49827,"material":751,"size":752,"collection":95,"collections":49828,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272720,"yu-ming-cheng-ni-hu-fu-yan-yi-ming-272720","御铭澄泥虎符砚",[3093,3956,49826,1897,15301,7],"虎符造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e22c63bb2a305021d6ec5a2125bb52.jpg",[],{"id":49830,"slug":49831,"title":49832,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49833,"thumbUrl":49835,"material":751,"size":752,"collection":95,"collections":49836,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},272674,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-hou-yan-shui-lv-mo-yi-ming-272674","御制月令七十二候诗色墨-候雁水绿墨",[432,3956,49834,7,199,12090,40488],"色墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b289b8327796341840b40317573664.jpg",[],{"id":49838,"slug":49839,"title":49840,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":49841,"thumbUrl":49843,"material":751,"size":752,"collection":95,"collections":49844,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272554,"cheng-ni-fang-gu-fang-yan-yi-ming-272554","澄泥仿古方砚",[3093,49842,3956,7713,7,13294],"澄泥砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ddc6d9e5db217efb692ff34491b86aa.jpg",[],{"id":49846,"slug":49847,"title":49848,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49849,"thumbUrl":49850,"material":751,"size":752,"collection":95,"collections":49851,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},272500,"wang-jie-an-ji-xi-tie-zi-zhi-xiu-xi-tu-mo-gu-zhi-le-chun-mo-yi-ming-272500","汪节菴集禊贴字制修禊图墨-故知乐春墨",[432,7,26617,199,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F934977e5687169db979790edeb378f8f.jpg",[],{"id":49853,"slug":49854,"title":49855,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49856,"thumbUrl":49857,"material":751,"size":752,"collection":95,"collections":49858,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},272495,"wang-jie-an-ji-xi-tie-zi-zhi-xiu-xi-tu-mo-liu-shui-ji-wei-mo-yi-ming-272495","汪节菴集禊贴字制修禊图墨-流水激为墨",[432,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1630e43889d3e30fa3f7808f512a48.jpg",[],{"id":49860,"slug":49861,"title":49862,"dynasty":88,"author":454,"museum":107,"description":49863,"tags":49864,"thumbUrl":49865,"material":751,"size":752,"collection":95,"collections":49866,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},272480,"cheng-ni-qian-long-yu-zhi-shang-yan-yi-ming-272480","澄泥乾隆御制赏砚","此砚胎质匀净温糯，砚池作内敛弧面，经年使用留下的朱砂包浆晕染砚心，凝着旧时研朱批卷的雅致余韵。原配红木砚匣嵌上古玉璧为饰，青绿玉色沉敛古雅，匣身填金御题笔致端稳庄重，将帝王赏玩的矜贵与文房清趣相融。整器暗合简雅审美，又带着清宫藏玩的矜重，静立间晕开跨越百年的文房风雅，是兼具实用与赏藏价值的文房佳器。",[3093,3956,19026,7714,7713,199,7,49842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5356f204c979494d3fd6d4796c40152.jpg",[],{"id":49868,"slug":49869,"title":49870,"dynasty":45,"author":454,"museum":107,"description":30928,"tags":49871,"thumbUrl":49872,"material":751,"size":752,"collection":95,"collections":49873,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},272441,"long-qing-kuan-huang-se-tian-xia-tai-ping-mo-yi-ming-272441","隆庆款黄色天下太平墨",[432,3956,19026,7713,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2695d407a0d14132f3fee972ebfef5d.jpg",[],{"id":49875,"slug":49876,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49878,"thumbUrl":49879,"material":751,"size":752,"collection":95,"collections":49880,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272400,"fang-mi-an-san-xi-tang-mo-yi-ming-272400","方密庵三希堂墨",[432,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc76253e78801850c2d00d2e04d97620.jpg",[],{"id":49882,"slug":49883,"title":49884,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49885,"thumbUrl":49886,"material":751,"size":752,"collection":95,"collections":49887,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272339,"liu-yuan-yu-xiang-mo-jin-gang-ta-mo-yi-ming-272339","刘源御香墨-金刚塔墨",[432,3956,7,199,878,40528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed699053f80c26787d7f3d1b510decf.jpg",[],{"id":49889,"slug":49890,"title":49891,"dynasty":662,"author":454,"museum":107,"description":30928,"tags":49892,"thumbUrl":49893,"material":751,"size":752,"collection":95,"collections":49894,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},272336,"hu-kai-wen-fang-yu-yuan-tu-ji-jin-mo-jiu-zhou-qing-yan-mo-yi-ming-272336","胡开文仿御园图集锦墨-九洲清晏墨",[432,3956,7713,7,199,13446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e15171443531a8ecad6e795abae073c.jpg",[],{"id":49896,"slug":49897,"title":49898,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49899,"thumbUrl":49900,"material":751,"size":752,"collection":95,"collections":49901,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272077,"zhan-ying-jia-ke-qing-si-yin-shu-wen-fang-mo-yi-ming-272077","詹应甲客卿私印署文房墨",[432,3956,199,7,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77dc4db1c49fbf615e3e4e56087bcf71.jpg",[],{"id":49903,"slug":49904,"title":49905,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49906,"thumbUrl":49907,"material":751,"size":752,"collection":95,"collections":49908,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272075,"zi-qiang-zhai-fang-gu-fa-zhi-xiang-ju-di-yi-mo-yi-ming-272075","自强斋仿古法制香居第一墨",[432,135,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facac776ffe9b8f08d818afc26fc450f2.jpg",[],{"id":49910,"slug":49911,"title":49912,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49913,"thumbUrl":49914,"material":751,"size":752,"collection":95,"collections":49915,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},272072,"zhan-gong-wu-jian-zhi-yi-xiang-mo-dun-zhi-mo-yi-ming-272072","詹公五监制以湘磨盾之墨",[432,3956,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cdc380d81903efd73dc15c884762aee.jpg",[],{"id":49917,"slug":49918,"title":49919,"dynasty":3087,"author":454,"museum":107,"description":49920,"tags":49921,"thumbUrl":49923,"material":751,"size":752,"collection":95,"collections":49924,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},271418,"zhuan-yan-yi-ming-271418","砖砚","以砖制砚者似乎只用汉砖，这是因为汉砖上多有图案文字，高古淳朴，极具玩赏价值，且砖质细腻，宜于制砚。从唐宋开始的文人墨客，发现用秦砖汉瓦制作的砖砚，非常好用，于是竞相效仿，以至于一砖难求，价格可比金玉，一直到近代吴昌硕大师作画写字多用砖砚研墨，鲁迅先生更是此砚种的使用和爱好者，以至于在北京被周作人夫妇打赶出家门之际，怀抱一砖砚而出，好的砖砚研墨写字作画和石头砚台一样，甚至更加好用，但是古砖稀少，今用之人甚少。",[3093,3956,7713,7,49922],"砖制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2056c713d4ca3aa58b424e95a71bfc.jpg",[],{"id":49926,"slug":49927,"title":49928,"dynasty":45,"author":454,"museum":107,"description":49929,"tags":49930,"thumbUrl":49932,"material":751,"size":752,"collection":95,"collections":49933,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},271386,"wen-peng-ti-shi-ming-cheng-ni-yan-yi-ming-271386","文彭题识铭澄泥砚","此砚作长方抄手式，器形规整厚重，浑朴雅致。澄泥质地坚密温润，包浆古穆内敛，尽显岁月摩挲的沉静质感。砚背携刻题铭，笔力苍劲朴拙，文辞清雅隽秀，暗合晚明文人情趣，将文人的风雅意趣凝于一方砚台之上。\n\n它既堪研墨濡毫，又可案头赏玩，融实用与审美于一体，藏着旧时文人案头的清寂雅韵，是文房佳器里的不俗之品。",[3093,49931,7,1897,3956],"澄泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256b886620799dea818b6836d8f423c4.jpg",[],{"id":49935,"slug":49936,"title":49937,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49938,"thumbUrl":49939,"material":751,"size":752,"collection":95,"collections":49940,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},271327,"wu-xue-zhai-cheng-zheng-lu-han-mo-lin-mo-yi-ming-271327","悟雪斋程正路翰墨林墨",[432,7,3467,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe841b0e61a39ccb6c9c8ecaedef0be.jpg",[],{"id":49942,"slug":49943,"title":49944,"dynasty":662,"author":454,"museum":107,"description":30928,"tags":49945,"thumbUrl":49946,"material":751,"size":752,"collection":95,"collections":49947,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},271314,"hu-kai-wen-shi-pian-shan-ding-you-yu-bei-mo-yi-ming-271314","胡开文诗篇删定犹愈倍墨",[432,199,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03aff69ee105f18057ec24ea3bf59a24.jpg",[],{"id":49949,"slug":49950,"title":49951,"dynasty":662,"author":454,"museum":107,"description":35058,"tags":49952,"thumbUrl":49954,"material":751,"size":752,"collection":95,"collections":49955,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},271313,"cao-su-gong-yao-qian-shi-zhi-yue-yuan-xie-zhu-mo-yi-ming-271313","曹素功尧千氏制越园写竹墨",[432,7,199,26617,49953,132,44646],"自强不息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea0ce8df1583f6394b57a75719c502.jpg",[],{"id":49957,"slug":49958,"title":49959,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49960,"thumbUrl":49961,"material":751,"size":752,"collection":95,"collections":49962,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},271310,"zhan-fang-huan-jian-zhi-ji-he-xuan-mo-yi-ming-271310","詹方寰监制寄鹤轩墨",[432,60,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109693a2be375b84b26779b4c5d3306f.jpg",[],{"id":49964,"slug":49965,"title":49966,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49967,"thumbUrl":49969,"material":751,"size":752,"collection":95,"collections":49970,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},271259,"cheng-hou-cun-zhen-cang-re-he-tu-mo-xi-ling-chen-xia-mo-yi-ming-271259","程后村珍藏热河图墨-西岭晨霞墨",[432,3956,199,7,49968,19648,458],"晨霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe815e17bb1b4ea4df234fd631bdfb1cb.jpg",[],{"id":49972,"slug":49973,"title":49974,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49975,"thumbUrl":49976,"material":751,"size":752,"collection":95,"collections":49977,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},271235,"hu-xing-ju-zhi-tian-qu-zhan-cai-mo-li-jiao-shi-ju-mo-yi-ming-271235","胡星聚制天衢展彩墨-李峤诗句墨",[432,199,3956,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa079ae4e695018d364b7fd957389e015.jpg",[],{"id":49979,"slug":49980,"title":49981,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":49982,"thumbUrl":49983,"material":751,"size":752,"collection":95,"collections":49984,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},271165,"gong-wang-shi-zhen-cang-ci-jun-bi-ge-shi-mo-yi-ming-271165","公望氏珍藏此君臂搁式墨",[432,398,7,3956,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c5ecd83d24fc119a259be9a71d13fbb.jpg",[],{"id":49986,"slug":49987,"title":49988,"dynasty":18,"author":454,"museum":107,"description":49989,"tags":49990,"thumbUrl":49992,"material":751,"size":752,"collection":95,"collections":49993,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},271093,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-jia-zhu-tao-hua-shi-bi-yi-ming-271093","各式御制花卉诗管紫毫笔-竹管夹竹桃花诗笔","竹笔管烫饰缠枝夹竹桃，柔蔓艳花栩栩如生，间配题诗，刀笔藏韵，诗画相映晕开雅致文心。紫毫锋颖修挺劲健，蓄墨适恰，是挥毫染翰的趁手佳器。器物将烫花工艺与文房雅具相融，形制秀逸隽美，既有文玩清趣，又存实用之功，静静诉说着旧时文案之上的笔墨风雅，是一件兼具审美与实用价值的文房珍玩。",[3092,3956,29245,49991,137,7,7713],"紫毫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc4ade89b709316d1250cc219f79c68.jpg",[],{"id":49995,"slug":49996,"title":49997,"dynasty":18,"author":454,"museum":107,"description":49998,"tags":49999,"thumbUrl":50001,"material":751,"size":752,"collection":95,"collections":50002,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},271092,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-feng-xian-hua-shi-bi-yi-ming-271092","各式御制花卉诗管紫毫笔-竹管凤仙花诗笔","管身一侧阴刻凤仙花，枝蔓舒展缠绕，娇花轻绽，刀痕细腻秀雅，将草木灵韵藏于竹间。另一侧摹刻诗文，笔挺字劲，墨色凝敛，与花卉图景相映成趣。紫毫锋颖劲锐，尽显制笔精工之姿，搭配莹润牙饰，调和竹之清隽与牙之温泽，把诗画意趣融于一管，尽显文房雅器的别致情致，藏着旧时案头的幽微风雅。",[3092,29245,7713,50000,7,3956],"凤仙花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f261b1bc6f8e1bcc6ad1b6c88b7d176.jpg",[],{"id":50004,"slug":50005,"title":50006,"dynasty":18,"author":454,"museum":107,"description":50007,"tags":50008,"thumbUrl":50011,"material":751,"size":752,"collection":95,"collections":50012,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},271089,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-zhen-zhu-xiu-qiu-hua-shi-bi-yi-ming-271089","各式御制花卉诗管紫毫笔-竹管珍珠绣球花诗笔","此笔竹管修长隽雅，浅镌诗文，文气隐于竹色肌理间，悠然内敛。原配笔簪阴刻珍珠绣球花，枝蔓轻舒、娇苞初绽，刀工细腻写实，将花艺柔婉之态晕融于竹的温润质感中。紫毫笔颖锋棱锐利，毛色乌润紧实，堪为文房佳器。它兼具案头清供的雅趣与挥毫落墨的实用，尽显旧时文房雅致意韵，藏着文人笔下的悠悠风雅。",[3092,50009,50010,44646,7713,30,7],"紫毫笔","竹管","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93aeaabfd27f9d16a0d9b7303f0b243f.jpg",[],{"id":50014,"slug":50015,"title":50016,"dynasty":18,"author":454,"museum":107,"description":50017,"tags":50018,"thumbUrl":50019,"material":751,"size":752,"collection":95,"collections":50020,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},271087,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shui-xian-hua-shi-bi-yi-ming-271087","各式御制花卉诗管紫毫笔-竹管水仙花诗笔","竹管留青浅刻水仙与御制诗句，刀工秀雅细腻，将凌波仙子的清灵柔婉晕染于管身，线条舒展雅致，诗画相映，尽显文人情致。紫毫笔尖锋颖锐利，毛色劲挺透亮，赏用皆宜。\n\n管身浅刻将竹肌纹理与雕刻意趣相融，把水仙冰姿玉骨藏于寸管之间，暗合君子寄情花木的雅尚。骨饰封管添素雅质感，整体形制秀挺温婉，自带幽淡静雅的古典韵致，是清代文房工艺精妙的缩影。",[3092,29245,7713,138,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eedb6034d1c582561c5bd9fbf125852.jpg",[],{"id":50022,"slug":50023,"title":50024,"dynasty":18,"author":454,"museum":107,"description":50025,"tags":50026,"thumbUrl":50028,"material":751,"size":752,"collection":95,"collections":50029,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},271067,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-zi-mu-jin-hua-shi-bi-yi-ming-271067","各式御制花卉诗管紫毫笔-竹管紫木槿花诗笔","这支竹管紫毫笔素雅清隽，笔管取浅棕竹材，填墨题诗，自带文雅书卷气。紫毫笔锋修长挺健，锋颖利落，堪为挥毫佳选。牙质装箍温润莹白，与竹色相映，愈显清雅古朴。\n\n整器将文思与文器相融，既有落纸挥毫的实用之能，又兼具文房清赏之趣，藏着旧时文房的风雅意韵，是文房器物里兼具审美与实用的精巧之作。",[3092,50009,50010,3956,50027,7],"木槿花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F270d9b3e91fe57d63c95905295ac1dce.jpg",[],{"id":50031,"slug":50032,"title":50033,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50034,"thumbUrl":50035,"material":751,"size":752,"collection":95,"collections":50036,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},271061,"jiang-nan-zhi-zao-zeng-chong-cheng-mian-hua-tu-bu-jiang-shi-mo-yi-ming-271061","江南织造增崇呈棉花图布浆诗墨",[432,3956,113,458,7713,7,48297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62fe1520c529767088e1305bbaa0e905.jpg",[],{"id":50038,"slug":50039,"title":50040,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50041,"thumbUrl":50043,"material":751,"size":752,"collection":95,"collections":50044,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},271060,"jiang-nan-zhi-zao-chang-shan-cheng-mian-hua-tu-shi-mo-dan-hua-mo-yi-ming-271060","江南织造常山呈棉花图诗墨-弹花墨",[432,7,199,35076,50042],"棉花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64289c4b441ed1dbb7e831f77d11b08.jpg",[],{"id":50046,"slug":50047,"title":50048,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50049,"thumbUrl":50051,"material":751,"size":752,"collection":95,"collections":50052,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},271053,"jiang-nan-zhi-zao-chang-shan-cheng-mian-hua-tu-shi-mo-fang-xian-mo-yi-ming-271053","江南织造常山呈棉花图诗墨-纺线墨",[432,7,199,44646,50050],"纺织题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d77950c0bbabc5db4e67b4e94d75ec0.jpg",[],{"id":50054,"slug":50055,"title":50056,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":50057,"thumbUrl":50058,"material":751,"size":752,"collection":95,"collections":50059,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270996,"wu-tong-zan-mei-lan-song-zhu-wen-fang-bi-tong-yi-ming-270996","乌铜錾梅兰松竹纹方笔筒",[15301,40479,7713,30960,131,139,132,133,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff385e2f527f93b096be3e78f8118f199.jpg",[],{"id":50061,"slug":50062,"title":50063,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":50064,"thumbUrl":50065,"material":751,"size":752,"collection":95,"collections":50066,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},270873,"yu-ming-cheng-ni-yan-fang-song-yu-tu-chao-yuan-yan-yi-ming-270873","御铭澄泥砚-仿宋玉兔朝元砚",[3093,49842,900,678,7,199,7713,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef56155fb729de8b6104489e4a4e344.jpg",[],{"id":50068,"slug":50069,"title":50070,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50071,"thumbUrl":50072,"material":751,"size":752,"collection":95,"collections":50073,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270720,"qian-long-kuan-wu-lao-gao-he-yu-mo-yi-ming-270720","乾隆款五老告河御墨",[432,7,457,77,44646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11a03d928a3de0008ffe16144c0333b2.jpg",[],{"id":50075,"slug":50076,"title":50077,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50078,"thumbUrl":50079,"material":751,"size":752,"collection":95,"collections":50080,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270707,"qian-long-kuan-shi-zhang-si-lun-yu-mo-yi-ming-270707","乾隆款世掌丝纶御墨",[432,3956,77,40487,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9075eb459c54262a5d87759846e7a801.jpg",[],{"id":50082,"slug":50083,"title":50084,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50085,"thumbUrl":50086,"material":751,"size":752,"collection":95,"collections":50087,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270698,"lan-ting-xiu-xie-bai-yu-mo-yi-ming-270698","兰亭修褉白御墨",[432,3956,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff705807627d7a226c100abe19f302e9a.jpg",[],{"id":50089,"slug":50090,"title":50091,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50092,"thumbUrl":50093,"material":751,"size":752,"collection":95,"collections":50094,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},270696,"cheng-xun-jin-min-sheng-zai-qin-shi-zhi-bu-mo-yi-ming-270696","诚勋进民生在勤诗织补墨",[432,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc34c5e8bcdf1b30577b57f8c47478976.jpg",[],{"id":50096,"slug":50097,"title":50098,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50099,"thumbUrl":50101,"material":751,"size":752,"collection":95,"collections":50102,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270695,"lan-ting-xiu-xi-zhu-yu-mo-yi-ming-270695","兰亭修禊朱御墨",[432,3956,50100,7,9970],"朱墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771472ef9bbde281a4fc5d6072380cd4.jpg",[],{"id":50104,"slug":50105,"title":50106,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50107,"thumbUrl":50108,"material":751,"size":752,"collection":95,"collections":50109,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},270668,"qian-long-kuan-yu-yong-hua-hui-shi-mo-li-hua-mo-yi-ming-270668","乾隆款御咏花卉诗墨-梨花墨",[432,199,7,1772,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef5e120ad084feffea1972ea5262212.jpg",[],{"id":50111,"slug":50112,"title":50113,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50114,"thumbUrl":50116,"material":751,"size":752,"collection":95,"collections":50117,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},270660,"qian-long-kuan-yu-yong-hua-hui-shi-mo-cha-hua-mo-yi-ming-270660","乾隆款御咏花卉诗墨-茶花墨",[432,199,7,50115,30961],"茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576a8d545e3b8006abb79a36b1febe33.jpg",[],{"id":50119,"slug":50120,"title":50121,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50122,"thumbUrl":50123,"material":751,"size":752,"collection":95,"collections":50124,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},270647,"qian-long-kuan-yu-yong-hua-hui-shi-mo-gui-mo-yi-ming-270647","乾隆款御咏花卉诗墨-桂墨",[432,199,7,10013],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0d8e9e3a05e100e3d63b46ac25fca.jpg",[],{"id":50126,"slug":50127,"title":50128,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50129,"thumbUrl":50131,"material":751,"size":752,"collection":95,"collections":50132,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},270646,"qian-long-kuan-yu-yong-hua-hui-shi-mo-qian-niu-mo-yi-ming-270646","乾隆款御咏花卉诗墨-牵牛墨",[432,199,7,50130],"牵牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12f78b4b2eedbf3b458c97183fc4bfd.jpg",[],{"id":50134,"slug":50135,"title":50136,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50137,"thumbUrl":50138,"material":751,"size":752,"collection":95,"collections":50139,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},270634,"qian-long-kuan-yu-yong-hua-hui-shi-mo-rui-xiang-mo-yi-ming-270634","乾隆款御咏花卉诗墨-瑞香墨",[432,199,7,1978],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2202ea50633e4e21d2772259607a6e92.jpg",[],{"id":50141,"slug":50142,"title":50143,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50144,"thumbUrl":50145,"material":751,"size":752,"collection":95,"collections":50146,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},270625,"qian-long-kuan-yu-yong-hua-hui-shi-mo-qiang-wei-mo-yi-ming-270625","乾隆款御咏花卉诗墨-蔷薇墨",[432,199,7,1601,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b3f24c2f99fb16dacc045332433333.jpg",[],{"id":50148,"slug":50149,"title":50150,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50151,"thumbUrl":50152,"material":751,"size":752,"collection":95,"collections":50153,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},270622,"wang-jin-sheng-wang-chuan-tu-mo-meng-cheng-ao-mo-yi-ming-270622","汪近圣辋川图墨-孟城坳墨",[432,199,7,3956,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb446f602d76384f2cb692ccadf90e6.jpg",[],{"id":50155,"slug":50156,"title":50157,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50158,"thumbUrl":50159,"material":751,"size":752,"collection":95,"collections":50160,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},270601,"wang-jin-sheng-wang-chuan-tu-mo-zhu-li-guan-mo-yi-ming-270601","汪近圣辋川图墨-竹里馆墨",[432,199,7,678,19238,475,4285,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac67f2a21516200643e96dd288355f2.jpg",[],{"id":50162,"slug":50163,"title":50164,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":50165,"thumbUrl":50166,"material":751,"size":752,"collection":95,"collections":50167,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},270597,"qian-long-kuan-yu-ti-hua-shi-mo-ti-wu-li-shan-shui-mo-yi-ming-270597","乾隆款御题画诗墨-题吴历山水墨",[432,7,60,10601,33015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8006264c50a0c0067afd0751b76eba.jpg",[],{"id":50169,"slug":50170,"title":50171,"dynasty":18,"author":454,"museum":107,"description":50172,"tags":50173,"thumbUrl":50176,"material":751,"size":752,"collection":95,"collections":50177,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270370,"dai-mao-gu-shu-hua-zhe-shan-yi-ming-270370","玳瑁股书画折扇","此扇以玳瑁为骨，斑斓纹理如凝就流云霞光，古雅温润。扇面行书笔墨清隽秀逸，线条舒展灵动，字势顾盼有情，将诗文意韵融于笔锋起落间。墨色浓淡相宜，带着旧时文人的闲散意趣，落笔藏锋收放自如，尽显传统书法的含蓄雅致。整器形制规整，书画与材质相得益彰，既是可赏可用的随身雅物，又凝聚着传统工艺与文人审美，藏着旧时案头袖畔的清趣，尽显中式文玩的隽永美感。",[1250,7,60,114,678,131,50174,50175],"玳瑁","愁绪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad17762c549d49d334f24ad7c6e0e722.jpg",[],{"id":50179,"slug":50180,"title":30936,"dynasty":18,"author":454,"museum":107,"description":50181,"tags":50182,"thumbUrl":50184,"material":751,"size":752,"collection":95,"collections":50185,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270231,"wu-mu-gu-qian-yin-si-bian-jin-shi-song-zhe-shan-yi-ming-270231","此扇骨取乌木为材，嵌银丝饰边，莹润沉静间尽显精工雅致。扇面以小行楷书就儒家仁论篇章，笔致端秀舒展，结体匀停雅致，通篇布局错落和谐，墨色温润厚重，笔锋藏露得宜，尽显清人书法的端雅文气。笔墨之间兼具书法审美与哲思意趣，将文人修身寄怀的雅韵融于一折纨扇之中，既是案头清赏的雅玩佳物，亦承载着旧时文人的笔墨情致与精神追求。",[1250,7,199,29244,19026,50183],"嵌银丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fe217a545e4578f6cd028e0588d977.jpg",[],{"id":50187,"slug":50188,"title":50189,"dynasty":18,"author":454,"museum":107,"description":50190,"tags":50191,"thumbUrl":50193,"material":751,"size":752,"collection":95,"collections":50194,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},270209,"zong-zhu-gu-shu-hua-mian-zhe-shan-yi-ming-270209","棕竹股书画面折扇","此扇棕竹为骨，色如墨玉，自带沉静古雅质感。以髹黑为底，描金饰满细密回纹与锦地纹样，对称排布，尽显规整雅致的中式美学意韵。扇面留白处设浅彩绘饰，晕染柔和雅致，与冷峻金黑底色形成刚柔对比，添了几分温婉文趣。\n\n它融竹艺、髹漆与描金设色工艺于一体，将东方文人情思藏于日用器物中，尽显手工造物的精妙造诣，静雅古拙，是兼具装饰性与实用性的工艺佳器。",[1250,7,50192,2919,13446,7713],"棕竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff402a65cc39b89e42716f83af08b25c9.jpg",[],{"id":50196,"slug":50197,"title":50198,"dynasty":18,"author":454,"museum":107,"description":50199,"tags":50200,"thumbUrl":50201,"material":751,"size":752,"collection":95,"collections":50202,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},270206,"zong-zhu-gu-hei-mian-ni-jin-liang-guo-zhi-shu-zhe-shan-yi-ming-270206","棕竹股黑面泥金梁国治书折扇","棕竹扇骨肌理古拙温润，自带天然朴雅意韵。乌亮漆面上泥金小楷如碎金落砚，色彩反差强烈却和谐相融，华贵中透着沉静雅致。小楷笔致精劲秀逸，结体匀整端雅，将馆阁体的端稳风神尽显无遗，笔墨流转间裹挟着清隽书卷气。\n开合之际，竹骨的天然意韵与翰墨的文雅风华交织，既是可赏可用的文房清玩，亦是工艺美学与书法意趣相融的精巧佳器，尽显旧时文人的赏鉴雅心。",[1250,29244,7,8422,50192,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66a9fcc460f7d6980733bebe9d48418.jpg",[],{"id":50204,"slug":50205,"title":50206,"dynasty":18,"author":454,"museum":107,"description":50207,"tags":50208,"thumbUrl":50209,"material":751,"size":752,"collection":95,"collections":50210,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270203,"zhi-ma-zhu-bian-zhang-jia-jun-shu-hua-mian-zhe-shan-yi-ming-270203","芝麻竹边张家骏书画面折扇","此作以淡墨挥写幽草，笔致清劲舒展，兰叶交错顾盼，深浅墨色晕染出自然层次，寥寥数笔便将幽草疏逸之态尽显，自带山野清趣。边角小字题款与画面相得益彰，文气暗合。\n\n岁月晕染的纸面微黄痕迹，为扇面添了几分古旧温雅的质感，沉润木骨配素净画芯，将文人清雅风骨凝于咫尺之间，尽显旧时文人闲赏寄情的悠然意韵。",[1250,24,50,3983,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11c4f542bc020508a790362d59ee7e2.jpg",[],{"id":50212,"slug":50213,"title":50214,"dynasty":18,"author":454,"museum":107,"description":50215,"tags":50216,"thumbUrl":50217,"material":751,"size":752,"collection":95,"collections":50218,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270201,"zhu-gu-diao-hua-bian-hei-mian-ni-jin-shu-hua-zhe-shan-yi-ming-270201","竹股雕花边黑面泥金书画折扇","竹股镂刻花边，秀巧雅致，衬得乌色扇面愈发沉静内敛。泥金书迹在黑纸之上熠熠生辉，笔锋沉稳端秀，结体舒展停匀，通篇排布和谐从容，笔墨间浸染着清隽雅致的意韵。\n\n将翰墨风雅凝缩于盈尺扇面，开合之间，兼具竹骨的文人气韵与泥金书法的华贵雅致。此扇融书画之美与日用功能为一体，尽显旧时文人日常赏玩的审美意趣，把闲居雅赏的情致藏于开合之间，是清代雅致文玩的精巧之作。",[1250,29244,40511,8422,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55cb1a2766caa2d85cf11f68badf9e5d.jpg",[],{"id":50220,"slug":50221,"title":50222,"dynasty":18,"author":454,"museum":107,"description":50223,"tags":50224,"thumbUrl":50225,"material":751,"size":752,"collection":95,"collections":50226,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},270199,"zong-zhu-gu-diao-hua-bian-hua-can-zhi-tu-mian-zhe-shan-wei-yi-ming-270199","棕竹股雕花边画蚕织图面折扇-纬","此扇乌金纸面，泥金行书隽秀温润，笔意舒展挺劲，词句将蚕织纬作的日常意趣融于笔端，把缫丝织作的细腻烟火化为清雅墨痕。棕竹扇骨雕饰花边，天然竹纹沉静雅致，与乌金扇面相映成趣，既有文人士子的清逸书卷气，又暗合桑蚕民生的温柔意韵。整扇制式精巧，将书法笔墨、工艺匠心与风物意趣揉合一处，藏着旧时江南丝织文化的细腻底色，尽显文人雅玩里的烟火情致。",[1250,7,60,7713,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd5eb769c6f4fdc91c5042045262954.jpg",[],{"id":50228,"slug":50229,"title":50230,"dynasty":18,"author":454,"museum":107,"description":50231,"tags":50232,"thumbUrl":50234,"material":751,"size":752,"collection":95,"collections":50235,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},270197,"zong-zhu-gu-bian-hei-mian-ni-jin-yong-yan-shu-zhe-shan-yi-ming-270197","棕竹股边黑面泥金永琰书折扇","这柄折扇以乌漆黑面为底，泥金题字似星芒落于幽潭，沉静底色衬得金笔书迹愈显鲜亮华贵。行书笔墨婉转流丽，点画间顿挫合宜，行气连贯舒展，在扇面之上排布疏密得当，将文人书卷气尽数铺陈于尺幅之间，笔意带着温雅舒展的韵致，尽显书写者的笔墨功底。棕竹扇骨肌理天然古拙，温润质感与墨金扇面相互衬映，将文玩工艺与书法艺术相融一体，藏着旧时文人摇扇闲赏的风雅意趣，尽显清代文房清玩的雅致风貌。",[1250,29244,7,8422,50192,50233,199],"黑面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20bf51ce3863de501ff6958060c207f.jpg",[],{"id":50237,"slug":50238,"title":50239,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":50240,"thumbUrl":50242,"material":751,"size":752,"collection":95,"collections":50243,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},269738,"pao-zhi-qian-long-yu-zhi-shi-wan-yi-ming-269738","匏制乾隆御制诗碗",[44784,7713,7,199,50241,2919],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04bd1041dbd2c7c60a2efe9bbadbac2.jpg",[],{"id":50245,"slug":50246,"title":50239,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":50247,"thumbUrl":50248,"material":751,"size":752,"collection":95,"collections":50249,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},269656,"pao-zhi-qian-long-yu-zhi-shi-wan-yi-ming-269656",[834,44784,7713,7,2919,42839,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafecdbbd7a69ae508130224369335359.jpg",[],{"id":50251,"slug":50252,"title":50253,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":50254,"thumbUrl":50255,"material":751,"size":752,"collection":95,"collections":50256,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},269651,"qian-long-kuan-pao-zhi-yu-zhi-shi-wan-yi-ming-269651","乾隆款匏制御制诗碗",[834,7713,7,457,77,2919,42839,44784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f28e917b2363b314cbb3ce1aa352d33.jpg",[],{"id":50258,"slug":50259,"title":50260,"dynasty":45,"author":454,"museum":107,"description":50261,"tags":50262,"thumbUrl":50263,"material":751,"size":752,"collection":95,"collections":50264,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},269484,"huang-yang-mu-diao-dong-qi-chang-shu-shi-bi-tong-yi-ming-269484","黄杨木雕董其昌书诗笔筒","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[834,19026,9636,7,398,30960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2668cbd27a0f4e23c53972b013da6b4.jpg",[],{"id":50266,"slug":50267,"title":50268,"dynasty":18,"author":454,"museum":107,"description":50269,"tags":50270,"thumbUrl":50271,"material":751,"size":752,"collection":95,"collections":50272,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},269380,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-qi-ce-yi-ming-269380","紫檀嵌玉乾隆御临兰亭八柱帖册页-第七册","此件册页以紫檀为底，木色古雅沉凝，质地细密温润。封面高浮雕双龙穿云，龙纹矫健苍劲，鳞爪分毫毕现，祥云翻卷环绕，刀工爽利遒劲，尽显皇家威仪。中心填金题签笔力浑厚端方，与浮雕纹饰相得益彰。内页以玉片复刻御笔兰亭帖诗，玉质莹洁清润，与紫檀的深褐底色冷暖相衬，将书法的笔墨意趣与玉石的温润质感相融。整器将木雕工艺的精工、书法的风雅与玉作的雅致合而为一，尽显清中期宫廷造物的极致工巧与华贵气韵，是文玩雅器与皇家审美交融的典范之作。",[26,7,200,110,359,7713,19026,9636,60,7714,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3526a72ab46c64a1ff7794927238904.jpg",[],{"id":50274,"slug":50275,"title":50276,"dynasty":18,"author":454,"museum":107,"description":50277,"tags":50278,"thumbUrl":50279,"material":751,"size":752,"collection":95,"collections":50280,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},269379,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-ba-ce-yi-ming-269379","紫檀嵌玉乾隆御临兰亭八柱帖册页-第八册","此册函取紫檀为材，器面高浮雕双龙盘绕，龙身遒劲灵动，祥云迤逦相随，刀工细腻圆融，将瑞兽威仪与云气柔韵相融。中央阳刻填金题字，笔致方正端凝，金漆沉敛华贵，尽显庄重气度。\n它作为御法帖的装帧，既是文房典藏的华美外衣，亦承载着清宫顶尖匠作工艺，将文翰风雅与宫廷工美精妙结合，尽显雍容雅致的皇家审美意趣。",[26,7,200,110,60,19026,7713,359,7714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33e0612cf9e0bd5158bcf034575b9ec.jpg",[],{"id":50282,"slug":50283,"title":50284,"dynasty":18,"author":454,"museum":107,"description":50285,"tags":50286,"thumbUrl":50287,"material":751,"size":752,"collection":95,"collections":50288,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},269376,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-san-ce-yi-ming-269376","紫檀嵌玉乾隆御临兰亭八柱帖册页-第三册","此封面以紫檀为料，剔地精雕双龙游弋于云涛之中，龙姿矫健遒劲，鳞片纹路细密灵动，云纹舒卷层叠，刀工浑朴老辣，将皇家威严的祥瑞气象凝于木作之上。中央嵌饰阴刻填金题板，字迹端稳厚重，与周边雕饰浑然一体，尽显宫廷造物的华贵规整。木质沉敛的色泽搭配耀目金彩，沉稳雅致间暗合帖作的风雅底蕴，在方寸木面之上，勾勒出庄重雍容的皇家气度，将工艺美学与文风雅韵相融无间。",[4347,19026,7713,359,7714,7,200,110,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa907bd12f597a1666f3c719c1ae970c0.jpg",[],{"id":50290,"slug":50291,"title":50292,"dynasty":18,"author":454,"museum":107,"description":50293,"tags":50294,"thumbUrl":50295,"material":751,"size":752,"collection":95,"collections":50296,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},269375,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-si-ce-yi-ming-269375","紫檀嵌玉乾隆御临兰亭八柱帖册页-第四册","此件以沉穆细腻的紫檀为骨，榫卯勾连作围屏式册页，开合自如可案可藏。莹白玉字嵌于褐底之上，鎏金笔锋舒展灵动，复刻兰亭笔意的飘逸潇洒。\n\n将魏晋行书的文人意趣，融于宫廷精工之中，把翰墨风雅与匠造华贵融为一体，尽显清中期宫廷器物的雅致雍容，静立便自带沉静古雅的书卷意蕴。",[4347,7,200,60,19026,7713,37505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b6898ee2cd0169cc4a3a2c03ab2ebf.jpg",[],{"id":50298,"slug":50299,"title":50300,"dynasty":18,"author":454,"museum":107,"description":50301,"tags":50302,"thumbUrl":50303,"material":751,"size":752,"collection":95,"collections":50304,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},269111,"xiang-ya-diao-yue-man-qing-you-shi-er-yue-jing-ce-yi-ming-269111","象牙雕月曼清游十二月景册","此作以牙雕复刻闺中雅游日常，匠师施刀如笔，将深宅庭院镂刻得层次分明。白洁象牙化作亭台楼宇与仕女，她们或低语闲步，或凭窗眺望，撑伞侍女温婉娇柔，细节生动尽显闺阁意趣，配石点染花木，更添生机。\n右侧蓝底题字描金，笔力端雅挺秀，与左侧雕刻相映成趣。整作将牙雕的精巧工致与书法的隽秀雅致相融，把仕女游园的娴静日常定格，尽显工艺的细腻质感，将旧时深院的闲雅风情娓娓道来。",[26,25476,7713,7,457,458,567,749,77,113,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff48fce2b470b5cb33c6977c38de942a.jpg",[],{"id":50306,"slug":50307,"title":50308,"dynasty":18,"author":454,"museum":107,"description":50309,"tags":50310,"thumbUrl":50312,"material":751,"size":752,"collection":95,"collections":50313,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},269104,"xiang-ya-diao-yue-man-qing-you-liu-yue-jing-ce-yi-ming-269104","象牙雕月曼清游六月景册","此帧以牙雕复刻消暑闲景，牙丝细摹岸柳，柔条垂拂如烟似雾，将溽夏暑气揉作清幽凉意。凌波亭台蜿蜒，仕女或登舟闲泛，或执扇凭栏，衣袂翩跹间尽显闺中雅意，持竿拨水、执荷消暑的细节灵动鲜活，将六月消暑的悠然闲情定格。\n\n右侧行书题字墨色沉润，笔势舒展潇洒，与牙雕图景呼应相融，将游赏意趣诉诸笔墨与刀工。刀下有诗意，笔间见清怀，一雕一书合为雅帧，尽显旧时消夏的闲散诗意，雅致脱俗，尽显清人工巧与文心。",[26,7713,25476,114,458,11608,60,7,749,50311],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f438295671c2de8c08800a4653688ab.jpg",[],{"id":50315,"slug":50316,"title":50317,"dynasty":18,"author":454,"museum":107,"description":50318,"tags":50319,"thumbUrl":50320,"material":751,"size":752,"collection":95,"collections":50321,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},269102,"xiang-ya-diao-yue-man-qing-you-qi-yue-jing-ce-yi-ming-269102","象牙雕月曼清游七月景册","此作融雕、绘、书于一体，左侧以象牙镂雕出莹白花树，搭配彩绘庭院水畔景致。仕女们衣袂翩跹，或抬器物或执罗伞，情态悠然松弛，浅褐山石、清绿水色衬出静谧雅致的游园氛围，将深闺雅集的闲逸意趣具象呈现。右侧御题篆字端方雅致，与游园景致相映成趣，铺陈开七月深闺雅游的闲淡风华，尽显清代匠艺的精巧灵秀与文人雅致意趣的融合。",[26,25476,7713,457,7,27,113,114,458,52,56,1390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359260365821cde12bd46d4a81cea58f.jpg",[],{"id":50323,"slug":50324,"title":50325,"dynasty":18,"author":454,"museum":107,"description":50326,"tags":50327,"thumbUrl":50328,"material":751,"size":752,"collection":95,"collections":50329,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},269100,"xiang-ya-diao-yue-man-qing-you-san-yue-jing-ce-yi-ming-269100","象牙雕月曼清游三月景册","此作以莹润牙雕定格三月春闺雅趣。仕女或攀梯折柳，或池畔私语，衣袂翩跹神态温婉，发丝衣纹纤毫毕现，将闺中女子娇柔灵动尽显。布景层次分明，柳芽初绽、池波轻漾，把清明融融春景晕染在深庭院落里。\n\n右侧御题诗文笔力隽秀，诗画合璧，将踏青嬉游的悠然意境娓娓道来，尽显清宫雅致审美意趣，工艺与文趣相得益彰，把春日闺中闲情定格在莹润牙色之中。",[26,7713,25476,113,114,458,1919,8131,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de7e3f76e9466699ee0d2a25e328286.jpg",[],{"id":50331,"slug":50332,"title":50333,"dynasty":18,"author":454,"museum":107,"description":50334,"tags":50335,"thumbUrl":50337,"material":751,"size":752,"collection":95,"collections":50338,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},269099,"xiang-ya-diao-yue-man-qing-you-si-yue-jing-ce-yi-ming-269099","象牙雕月曼清游四月景册","此作以牙雕点染闺中春游盛景，牙雕仕女衣裾施色柔和雅致，身姿柔婉灵动。亭台花木以牙石拼接镂刻，池畔春梅绽枝、流水澹澹，将暮春庭院的温婉生机铺陈眼前。仕女或迤逦同行低语，或凭栏凝伫，把深闺寻幽的慵懒闲趣尽数流露。\n\n右侧御笔楷书端秀劲挺，诗景相合，将春日天香国色的雅致融于方寸册页，工艺与诗画合璧，把清代闺中雅游的闲情逸趣凝于此刻，尽显匠心雅致。",[26,7713,25476,749,458,567,199,7,111,50336,31195,77],"闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89da60e0e3645964ff0a432592db2a5b.jpg",[],{"id":50340,"slug":50341,"title":50342,"dynasty":18,"author":454,"museum":107,"description":50343,"tags":50344,"thumbUrl":50345,"material":751,"size":752,"collection":95,"collections":50346,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},269097,"chen-zu-zhang-deng-xiang-ya-diao-yue-man-qing-you-ce-yi-ming-269097","陈祖璋等象牙雕《月曼清游》册","此作以牙雕定格深闺春景，匠师以细腻刀工雕出玉树琼枝、黛瓦亭台，仕女衣袂翩跹，或驻足赏景、或私语嬉游，将深闺清闲的春日雅趣尽数定格。右侧配行书题诗，笔墨秀润雅致，与牙雕景致相得益彰。整体融精湛雕刻工艺与文人意趣于一体，把闺中女子游园的悠然情态尽显无遗，是工艺与书画美学交融的精妙之品。",[26,25476,7713,114,458,131,7,60,567,113,749,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed86916378de9851ef1bdf77fa4d1d52.jpg",[],{"id":50348,"slug":50349,"title":50350,"dynasty":45,"author":454,"museum":107,"description":50351,"tags":50352,"thumbUrl":50354,"material":751,"size":752,"collection":95,"collections":50355,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},263679,"tian-lu-tu-jin-juan-yi-ming-263679","天鹿图锦卷","此卷以金地织锦为主体，细密小团纹铺满通幅，天鹿半掩于缠枝祥云中，身形丰腴俊朗，云纹舒卷灵动，配色沉浑富丽，尽显明织锦的精巧华贵。\n后接御笔题额“含华蕴古”，笔墨苍劲厚重，自带不凡气度。两段题诗秀逸雅致，朱红鉴藏印错落排布，金红交织，将织锦的匠造工巧，与清宫鉴藏的风雅意趣相融无间，织绣工艺与文人品鉴合为一体，格调尽显不俗。",[49,25,7,60,798,77,50353,9635],"织锦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6713919dc1180e160c374a35fd617a94.jpg",[],{"id":50357,"slug":50358,"title":50359,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":50360,"thumbUrl":50362,"material":751,"size":752,"collection":95,"collections":50363,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},263492,"qian-long-kuan-bai-di-fan-hong-cai-ti-shi-wan-yi-ming-263492","乾隆款白地矾红彩题诗碗",[25504,2919,50241,50361,199,7,10601],"矾红彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe94f24850315aa4e689a4befa305ac1b.jpg",[],{"id":50365,"slug":50366,"title":50367,"dynasty":18,"author":454,"museum":107,"description":40547,"tags":50368,"thumbUrl":50370,"material":751,"size":752,"collection":95,"collections":50371,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},262127,"tui-si-tang-kuan-mo-cai-shi-wen-jiu-bei-yi-ming-262127","退思堂款墨彩诗文酒杯",[25504,428,44848,7,199,13310,50369],"酒杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90165567dc78b71f350a9b3fc87e47.jpg",[],{"id":50373,"slug":50374,"title":50375,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":50376,"thumbUrl":50377,"material":751,"size":752,"collection":25508,"collections":50378,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":3443},262106,"yi-xing-yao-zi-sha-xing-you-heng-tang-ke-shi-ju-yuan-hu-yi-ming-262106","宜兴窑紫砂行有恒堂刻诗句圆壶",[25504,40527,2919,7713,7,60,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413685def695b7de49eb52d22f0d95c7.jpg",[25508],{"id":50380,"slug":50381,"title":50382,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":50383,"thumbUrl":50385,"material":751,"size":752,"collection":95,"collections":50386,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},262082,"kang-xi-kuan-qing-hua-xi-xiang-ji-wen-bi-tong-yi-ming-262082","康熙款青花西厢记文笔筒",[25504,30959,30960,7,199,77,3956,50384],"西厢记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44974c686ec6ebd2a0d481196cd4dc83.jpg",[],{"id":50388,"slug":50389,"title":50390,"dynasty":18,"author":454,"museum":107,"description":40547,"tags":50391,"thumbUrl":50392,"material":751,"size":752,"collection":95,"collections":50393,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},261739,"fan-hong-cai-hai-shui-yu-wen-bei-yi-ming-261739","矾红彩海水鱼纹杯",[25504,428,2919,50361,7,60,77,1390,21881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d817153be14a81efb2ad041a8c02b4.jpg",[],{"id":50395,"slug":50396,"title":50397,"dynasty":88,"author":454,"museum":107,"description":44808,"tags":50398,"thumbUrl":50401,"material":751,"size":752,"collection":25508,"collections":50402,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},261266,"zhang-jia-zao-kuan-ci-zhou-yao-bai-di-hei-cai-ti-xiao-tao-hong-qu-pai-fang-zhen-yi-ming-261266","“张家造”款磁州窑白地黑彩题“小桃红”曲牌方枕",[25504,2919,132,7,50399,50400],"白地黑彩","方枕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0275f4fb945e5e27c8a38ede3c4ecfd7.jpg",[25508],{"id":50404,"slug":50405,"title":50406,"dynasty":18,"author":454,"museum":107,"description":44864,"tags":50407,"thumbUrl":50409,"material":751,"size":752,"collection":95,"collections":50410,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},261265,"qian-long-kuan-mo-cai-shan-shui-shi-ju-wen-bi-yan-hu-yi-ming-261265","乾隆款墨彩山水诗句纹鼻烟壶",[25504,50408,44848,51,7,457,77,2919],"鼻烟壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47020498a502908becb9305bf2e1081.jpg",[],{"id":50412,"slug":50413,"title":50414,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":50415,"thumbUrl":50416,"material":751,"size":752,"collection":25508,"collections":50417,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},261182,"yi-xing-yao-xiang-sheng-si-kuan-zi-sha-mei-hua-shi-ju-bei-yi-ming-261182","宜兴窑项圣思款紫砂梅花诗句杯",[25504,428,2919,7713,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe40ecedfe890130245fef9a5e1e8b350.jpg",[25508],{"id":50419,"slug":50420,"title":50421,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":50422,"thumbUrl":50424,"material":751,"size":752,"collection":25508,"collections":50425,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":3443},261181,"xing-you-heng-tang-kuan-yi-xing-yao-zi-sha-ju-ban-wan-yi-ming-261181","行有恒堂款宜兴窑紫砂菊瓣碗",[25504,25505,50423,2919,7713,131,140,7,44850],"菊瓣碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d5b4dc566bf63ba0dbab45b0c3bede1.jpg",[25508],{"id":50427,"slug":50428,"title":50429,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":50430,"thumbUrl":50431,"material":751,"size":752,"collection":95,"collections":50432,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},259304,"jia-qing-kuan-qing-hua-shi-wen-gai-wan-yi-ming-259304","嘉庆款青花诗文盖碗",[25504,44785,2919,30959,7,13310,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad8814830b457337293a51910e0bbe23.jpg",[],{"id":50434,"slug":50435,"title":50436,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":50437,"thumbUrl":50440,"material":751,"size":752,"collection":95,"collections":50441,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},259257,"qian-long-kuan-fen-di-fen-cai-yun-kui-wen-kai-guang-shi-ju-hua-hui-hu-lu-bi-ping-yi-ming-259257","乾隆款粉地粉彩云夔纹开光诗句花卉葫芦壁瓶",[25504,36389,40537,50438,39155,40539,7,25480,50439],"葫芦瓶","夔纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76aeef73ce0f4d3836dd86ce819e67f.jpg",[],{"id":50443,"slug":50444,"title":50445,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":50446,"thumbUrl":50447,"material":751,"size":752,"collection":25508,"collections":50448,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},258983,"yi-xing-yao-zi-sha-yu-ti-shi-song-shu-shan-shi-tu-hu-yi-ming-258983","宜兴窑紫砂御题诗松树山石图壶",[25504,25505,7713,1018,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484553ad71b20dcd57ef010fe8917341.jpg",[25508],{"id":50450,"slug":50451,"title":50452,"dynasty":18,"author":454,"museum":107,"description":44864,"tags":50453,"thumbUrl":50455,"material":751,"size":752,"collection":95,"collections":50456,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},258569,"qian-long-kuan-fen-di-fen-cai-kai-guang-hua-hui-shi-ju-wen-bi-yan-hu-yi-ming-258569","乾隆款粉地粉彩开光花卉诗句纹鼻烟壶",[25504,39155,40539,27,30,50454,77,7,834],"诗句","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4aa9349150a5db939872e5b72ad0520.jpg",[],{"id":50458,"slug":50459,"title":50460,"dynasty":18,"author":454,"museum":107,"description":50461,"tags":50462,"thumbUrl":50466,"material":751,"size":752,"collection":95,"collections":50467,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},258530,"qian-long-fen-cai-kai-guang-mu-dan-wen-shuang-er-bian-hu-yi-ming-258530","乾隆粉彩开光牡丹纹双耳扁壶","此扁壶抱月为形，螭龙双耳蜿蜒灵动，蓝彩晕染出威严雅致之态。胭脂紫地满饰缠枝花卉，描金勾廓，华贵端庄。开光内一侧墨彩题诗，笔力清隽秀挺，诗文意境悠然；另一侧牡丹盛放，粉彩晕染出花瓣柔润肌理，设色妍丽饱满，尽显雍容富贵，与诗文意境相得益彰。\n\n整器融制瓷、书画、诗韵于一体，繁而不乱，工致精妙，尽显御窑巅峰匠艺，将盛世宫廷雅致审美与精湛工艺相融，是彩瓷佳作。",[2135,25504,39155,40539,50463,50464,50465,27,7,77],"牡丹纹","双耳","扁壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897f053a6042c0ea9b8688d83bc043f5.jpg",[],{"id":50469,"slug":50470,"title":50471,"dynasty":88,"author":454,"museum":107,"description":44808,"tags":50472,"thumbUrl":50476,"material":751,"size":752,"collection":25508,"collections":50477,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},257054,"ci-zhou-yao-ke-qian-long-yu-zhi-shi-zhen-zhu-di-hua-hua-zhen-yi-ming-257054","磁州窑刻乾隆御制诗珍珠地划花枕",[25504,50473,50474,50475,30,7],"磁州窑风格","刻花","珍珠地划花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1bc041717a1329a9f866e9d0764352.jpg",[25508],{"id":50479,"slug":50480,"title":50481,"dynasty":88,"author":454,"museum":107,"description":50482,"tags":50483,"thumbUrl":50486,"material":751,"size":752,"collection":25508,"collections":50487,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},257026,"ding-yao-bai-you-ke-qian-long-yu-zhi-shi-wan-yi-ming-257026","定窑白釉刻乾隆御制诗碗","定窑是中国传统制瓷工艺中的珍品，宋代六大窑系之一，它是继唐代的邢窑白瓷之后兴起的一大瓷窑体系。主要产地在今河北省保定市曲阳县（原属今定州市）的涧磁村、野北村及东燕川村、西燕川村一带，因该地区唐宋时期属定州管辖，故名定窑。\n定窑原为民窑，北宋中后期开始烧造宫廷用瓷。创烧于唐，极盛于北宋及金，终于元，以产白瓷著称，兼烧黑釉、酱釉和绿釉瓷，文献分别称其为黑定、紫定和绿定。\n定窑从邢窑而来，由于历史的变迁，定窑随着地域变化，新瓷土料的运用和制瓷工艺的进步。卞向和认为：定窑最大的贡献就是在中国陶瓷发展的历史上闪烁过光芒，在中国陶瓷史和世界的陶瓷发展史上留下辉煌的一页。\n定窑，是中国北方白瓷的中心，始于唐，为邢窑的后继者，在五代时期就已经发达。以往文献多记载窑址在河北正定，1938年在河北省曲阳县涧瓷村发现古窑址。近年又多次发掘调查，发现了最下层堆积着晚唐的破片；中层的是五代时就已大量生产；最上层为印花、画花的薄瓷片，是属于北宋中期以后，在政和、宣和年间。这些薄瓷片，胎质坚致，釉泽莹润，花纹优美，确是很精进的品种；且有些是官窑性质的，如”尚食局、禁苑、奉华、官”等胎上刻字破片的发现，便可证明。另在西燕山遗址发现粗瓷片的堆集，以及各地普遍发现的定窑瓷器及破片，又能证明定窑在北宋早期以后，也曾大量烧造民间使用的瓷器。定窑以烧造白瓷为主，也烧颜色釉，如红定、紫定和黑定等。根据《君友会-新民窑》记载，定窑，从北宋起，地位增高，各地仿制者颇多。在定窑本身概念中，就孳乳出各种名称，单就白定一种，就有土定、粉定之分。土定，有瓦胎和陶胎两种。瓦胎为淡赤色的土质，陶胎为白土而略黄，质皆松，体较厚；袖色白色中闪黄或闪赤，容易剥落，或有大开片，是原始的及民用的定器。粉定，是进步的及官用的定器，有陶胎和瓷胎，胎质致密而体薄，釉色纯白如牛乳者，或带淡赤色，釉中往往有刷纹，釉面凝聚，如有泪痕。",[25504,50484,50485,7,834],"白釉","刻划","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0ca07a4a069ec5efd96c62bbcbd874.jpg",[25508],{"id":50489,"slug":50490,"title":50491,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":50492,"thumbUrl":50495,"material":751,"size":752,"collection":95,"collections":50496,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},252667,"qian-long-kuan-lan-ting-shi-ju-bi-yu-shuang-mian-xiao-cha-ping-yi-ming-252667","乾隆款兰亭诗句碧玉双面小插屏",[2135,7714,7713,60,37505,50493,7,50494,11284,574],"双面插屏","碧玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe237ea41bccca61738e7ffaf42c383b7.jpg",[],{"id":50498,"slug":50499,"title":50500,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":50501,"thumbUrl":50502,"material":751,"size":752,"collection":95,"collections":50503,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},251819,"huang-yu-ke-shi-qiu-hai-tang-wen-bi-tong-yi-ming-251819","黄玉刻诗秋海棠纹笔筒",[2135,7714,7713,7,36083,834,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49add48ae51d47e33b323c3c6a2a60e.jpg",[],{"id":50505,"slug":50506,"title":50507,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":50508,"thumbUrl":50511,"material":751,"size":752,"collection":95,"collections":50512,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},251755,"bi-yu-tian-jin-wu-fu-wu-dai-tang-ji-ru-yi-yi-ming-251755","碧玉填金“五福五代堂记”如意",[2135,7714,50509,7713,7,834,50510],"填金","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7269c69a9e20dd914ff903461b6473ef.jpg",[],{"id":50514,"slug":50515,"title":50516,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":50517,"thumbUrl":50518,"material":751,"size":752,"collection":95,"collections":50519,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},251668,"qing-yu-cha-ping-yi-ming-251668","青玉插屏",[7714,7713,7,2135,1127,834,457,19026,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d6bd83c813416c14a59636b76112f7c.jpg",[],{"id":50521,"slug":50522,"title":50523,"dynasty":45,"author":454,"museum":107,"description":27809,"tags":50524,"thumbUrl":50525,"material":751,"size":752,"collection":95,"collections":50526,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},251486,"qing-yu-hua-ye-xing-cha-ping-yi-ming-251486","青玉花叶形插屏",[199,77,7,3467,9636,27,19026,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bea073d5f96372b3ea62d6b244f5b0.jpg",[],{"id":50528,"slug":50529,"title":50530,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":50531,"thumbUrl":50532,"material":751,"size":752,"collection":95,"collections":50533,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},251432,"qian-long-yu-ti-yu-ru-yi-qing-yu-ru-yi-yi-ming-251432","乾隆御题《玉如意》青玉如意",[7714,834,7713,1127,7,42838,8234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91bd8665e0b758816989d63b72802b0e.jpg",[],{"id":50535,"slug":50536,"title":50537,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":50538,"thumbUrl":50539,"material":751,"size":752,"collection":95,"collections":50540,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},251327,"qian-long-yu-ti-shang-shan-si-hao-qing-yu-shan-zi-yi-ming-251327","乾隆御题“商山四皓”青玉山子",[2135,7714,7713,113,651,652,55,7,60,51,1127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5550e7e388b66e24b547148a2dd1af6d.jpg",[],{"id":50542,"slug":50543,"title":50544,"dynasty":45,"author":454,"museum":107,"description":27809,"tags":50545,"thumbUrl":50546,"material":751,"size":752,"collection":95,"collections":50547,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},251303,"mu-kuang-qian-qing-yu-dai-ban-cha-ping-yi-ming-251303","木框嵌青玉带板插屏",[19026,7714,7713,37547,7,199,77,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e933f28d93e7adabd313f11d1341a6e.jpg",[],{"id":50549,"slug":50550,"title":50551,"dynasty":18,"author":454,"museum":107,"description":50552,"tags":50553,"thumbUrl":50555,"material":751,"size":752,"collection":95,"collections":50556,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},251155,"bi-yu-ke-shi-mei-zhu-tu-shuang-mian-cha-ping-yi-ming-251155","碧玉刻诗梅竹图双面插屏","玉色凝碧如潭水沉翠，以描金为饰更显华贵。此屏以玉为纸，描金作墨，寒梅虬枝苍劲舒展，嫩蕊轻绽于梢头，清逸雅致。旁题御制诗文，金漆填就，笔致隽秀工整，诗画相映，尽抒冬梅报雪迎春的高洁意趣。四围缠枝纹饰灵动婉转，金彩与碧色交辉，将玉料的沉静温润与描金的明艳堂皇相融。把文人赏爱岁寒君子的意趣，融入治玉工艺之中，尽显制器的精致考究，将冬梅风骨凝于一方玉屏，雅致不失庄重。",[7714,7713,131,132,14990,7,199,834,50554],"刻绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66882da0bb58e7d697561f4c8b16f532.jpg",[],{"id":50558,"slug":50559,"title":50560,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":50561,"thumbUrl":50565,"material":751,"size":752,"collection":95,"collections":50566,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},246364,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-liu-jin-li-wan-yi-ming-246364","乾隆款剔红御制诗铜鎏金里碗",[40447,7713,13336,15301,50562,199,7,50563,50564],"鎏金","日用器","祥云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3c69360f54c45515261701ca765b36.jpg",[],{"id":50568,"slug":50569,"title":35082,"dynasty":45,"author":454,"museum":107,"description":50570,"tags":50571,"thumbUrl":50572,"material":751,"size":752,"collection":95,"collections":50573,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},242573,"dong-shu-tang-tie-yi-ming-242573","此帖拓工精湛，乌金墨色沉凝莹润，字口爽利清晰。所录唐玄宗行书，兼具二王风流与帝王雍容，笔势舒展朗润，丰腴中见灵动雅致。\n\n左侧书作笔墨流转自然，起承转合尽显潇洒风神，将闲居雅趣融于笔端；右侧御笔庄重遒稳，文辞与书韵相得益彰，盛唐雅逸气象跃然纸上。\n\n古旧装帧带着岁月痕迹，却完好留存下唐贤书风的典雅风神，刻拓工艺的精湛尽显无余，是兼具书法审美与文献价值的珍本。",[7,199,198,26,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f738d3016f591f67cd6305fea0dc1a.jpg",[],{"id":50575,"slug":50576,"title":50577,"dynasty":45,"author":454,"museum":107,"description":50578,"tags":50579,"thumbUrl":50580,"material":95,"size":95,"collection":802,"collections":50581,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},242549,"bao-xian-tang-tie-yi-ming-242549","宝贤堂帖","墨色沉凝如漆，字口清朗挺括，虽经摹刻，原作的笔意风神依旧留存真切。章法排布匀整疏朗，字间行气连贯自然。\n\n此帖书法融合行书流便与楷书端严，点画圆劲温润，兼具晋人萧散韵致与唐人法度谨严。所录前代书札，笔墨兼具尺牍的随性写意，又不失刻帖的规整清雅，尽显明人尚古尊帖的意趣，于方寸楮墨间，尽显古典书法的雅致风神，是明代汇刻丛帖中颇具代表性的佳制。",[7,60,198,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410c284691b42409ae9199b60efc2531.jpg",[802],{"id":50583,"slug":50584,"title":50585,"dynasty":18,"author":454,"museum":107,"description":50586,"tags":50587,"thumbUrl":50588,"material":751,"size":752,"collection":95,"collections":50589,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242545,"qing-jia-qing-tuo-mou-cang-si-bei-ce-yi-ming-242545","清嘉庆拓鍪藏寺碑册","此拓本墨色沉朴苍润，斑驳残损间尽显岁月洗练的古雅。碑文字体介于楷隶之间，承汉魏隶书之厚重，开初唐楷书之端秀，笔画舒展挺劲，结体方正匀整。虽多有泐损，却更添金石剥蚀的沧桑韵味，拓工精良浓淡合宜，将原碑沉静端雅的风神留存纸上。整本册页自带沉静肃穆的古拙美感，笔意浑厚内敛，章法严整不乱，尽显隋代书法承前启后的独特气韵，残片间仍能窥见原碑遒劲骨力与温雅意态，裹挟着旧时光独有的沉静质感。",[198,7,77,26,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95cd358e4e53b629f644ae1c95f469c7.jpg",[],{"id":50591,"slug":50592,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":50593,"thumbUrl":50594,"material":751,"size":752,"collection":95,"collections":50595,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},242533,"zhong-ke-chun-hua-ge-tie-yi-ming-242533",[7,60,398,77,198,200,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85af4eb59c53a1a290a42111240fcda8.jpg",[],{"id":50597,"slug":50598,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":50599,"thumbUrl":50600,"material":751,"size":752,"collection":95,"collections":50601,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},242529,"zhong-ke-chun-hua-ge-tie-yi-ming-242529",[7,457,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72c6127999e178e7f6ece3a7034d706.jpg",[],{"id":50603,"slug":50604,"title":40599,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":50605,"thumbUrl":50606,"material":751,"size":752,"collection":95,"collections":50607,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242521,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242521",[7,60,77,200,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401eedd4f885b4e1f4014cf662a270c3.jpg",[],{"id":50609,"slug":50610,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":50611,"thumbUrl":50612,"material":751,"size":752,"collection":95,"collections":50613,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},242515,"zhong-ke-chun-hua-ge-tie-yi-ming-242515",[7,198,110,200,398,199,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb3fdf6f3706cf9b76a98180e053ae46.jpg",[],{"id":50615,"slug":50616,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":50617,"thumbUrl":50618,"material":751,"size":752,"collection":95,"collections":50619,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},242502,"zhong-ke-chun-hua-ge-tie-yi-ming-242502",[18,7,198,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a98c463c229d7b1ee7341a0a97c3aaa.jpg",[],{"id":50621,"slug":50622,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":50623,"thumbUrl":50624,"material":751,"size":752,"collection":95,"collections":50625,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},242501,"zhong-ke-chun-hua-ge-tie-yi-ming-242501",[198,7,398,77,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96c43568b83092b435d652d033dca8e9.jpg",[],{"id":50627,"slug":50628,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":50629,"thumbUrl":50630,"material":751,"size":752,"collection":95,"collections":50631,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},242495,"zhong-ke-chun-hua-ge-tie-yi-ming-242495",[7,198,200,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6c5d0f1de7a5140a4d26cb552c9942.jpg",[],{"id":50633,"slug":50634,"title":33037,"dynasty":18,"author":454,"museum":107,"description":50635,"tags":50636,"thumbUrl":50637,"material":95,"size":95,"collection":95,"collections":50638,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},242422,"tai-yuan-duan-tie-yi-ming-242422","墨色沉朴古雅，字口虽经岁月剥蚀略有斑驳，却依旧可辨笔意清劲秀逸。全篇小楷结体端雅匀整，笔画舒展灵润，既有唐人写经的端严意趣，又暗含元明小楷的妍和姿态。\n\n帖文行气连贯妥帖，通篇气息安和沉静，书写者将撰文的敬谨之意融于笔墨间，让文气与书韵相融无间。旧拓自带的苍茫金石质感，为其更添古拙厚重，藏着时光晕染出的独特意趣，是兼具书法审美与文献价值的佳本。",[198,7,60,200,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f6e44f28362e693bbe7b98e0a059e1e.jpg",[],{"id":50640,"slug":50641,"title":33037,"dynasty":18,"author":454,"museum":107,"description":50642,"tags":50643,"thumbUrl":50644,"material":95,"size":95,"collection":95,"collections":50645,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},242421,"tai-yuan-duan-tie-yi-ming-242421","此帖为行书旧拓，字势欹侧跌宕，线条枯润交织。历经岁月磨泐，字迹虽斑驳漫漶，却自带苍茫古拙的金石质感。字间错落呼应，行气连贯畅达，暗合晋唐行书的灵动意趣。\n\n拓本残损非但未减风采，反而赋予其独特的沧桑况味。笔画间顿挫牵丝仍可窥见原迹使转精妙，旧拓晕染为原本秀逸的行书添就几分厚重古雅。观者可于斑驳字迹之间，触摸往昔书法的流风神彩，沉浸在金石拓本独有的岁月余韵之中。",[200,198,7,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d947ada18949e2e6138cc7fd512af57.jpg",[],{"id":50647,"slug":50648,"title":9874,"dynasty":45,"author":454,"museum":107,"description":50649,"tags":50650,"thumbUrl":50651,"material":751,"size":752,"collection":95,"collections":50652,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},242234,"zheng-zuo-wei-tie-yi-ming-242234","此作用笔苍劲舒张，欹正相生，以行书挥就，笔墨间裹挟着刚直磊落的气节。线条顿挫起伏尽显雄浑气度，牵丝映带又暗蕴灵动，刚柔相济浑然天成。章法错落随性，不作刻意排布，却自带着舒展疏朗的韵律，将撰文者的愤懑坦荡全然寄寓于笔墨之中。墨色沉润朴拙，拓工精良，即便历经岁月，依旧传递出原作磅礴筋骨与凛然风神，尽显大唐行书的雄强笔意，堪称一代经典的精妙留存。",[7,198,60,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf053a14c4083b0a04ec253c5d63ffc.jpg",[],{"id":50654,"slug":50655,"title":50656,"dynasty":18,"author":454,"museum":107,"description":50657,"tags":50658,"thumbUrl":50659,"material":95,"size":95,"collection":802,"collections":50660,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},242218,"ci-si-bei-ce-yi-ming-242218","慈寺碑册","此碑书法为典型初唐楷法，笔力险劲峭拔，结构端整谨严，方折利落的笔画间暗含温润筋骨，尽显清劲雅正之姿。碑面虽有残泐斑驳，却晕染出古拙沧桑的金石意韵，字里行间兼具庙堂肃穆之气与文人雅意，排布匀整紧凑，骨力内蕴，将楷书的法度与意趣相融无间。每一字皆如芝兰玉树，端方挺秀，历经岁月磨洗，依旧能窥见镌刻时的精工细笔，尽显唐楷风神的隽永厚重。",[7,199,198,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4a6ed8ed07c462e174e9f5fdf1e0bd.jpg",[802],{"id":50662,"slug":50663,"title":50664,"dynasty":88,"author":454,"museum":107,"description":50665,"tags":50666,"thumbUrl":50667,"material":751,"size":752,"collection":95,"collections":50668,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},242212,"da-tang-zhong-xing-song-yi-ming-242212","大唐中兴颂","此作字形宽博开张，笔力苍浑厚重，尽显正大雍容之气。“金紫”“光禄”四字线条饱满沉实，起收藏锋敛锷，朴拙间带着刚健筋骨。黑底白字的拓本质感，让斑驳金石痕迹晕开岁月古意，笔画间飞白残损，皆成岁月留痕的独特韵味。结体舒展无拘，毫无局促之态，将开阔雄浑的风骨凝于笔墨方寸，庙堂庄重之感跃然纸上，每一处顿挫都带着沉郁苍劲的力量，尽显磅礴大气的厚重气象。",[7,198,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a11a24f3d4c31313c9f1e0166165edc.jpg",[],{"id":50670,"slug":50671,"title":50672,"dynasty":18,"author":454,"museum":107,"description":50673,"tags":50674,"thumbUrl":50675,"material":95,"size":95,"collection":802,"collections":50676,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242209,"shang-zun-hao-bei-yi-ming-242209","上尊号碑","此拓本笔墨苍浑朴茂，隶法厚重沉雄，结体方正稳健，尽显庙堂文书的肃穆威仪。字里行间带着金石镌刻的刚硬质感，笔画古拙遒劲，藏锋敛锷却劲力内含。岁月侵蚀留下斑驳残泐，非但未减其韵，反而更添沧桑古雅的历史厚重感，暗合汉魏之际隶楷嬗变的典型书风。残损的拓痕如时光刻下的印记，让整幅作品既有书法的艺术张力，又留存着千年前的庄重气象，将铭刻的威仪与拓印的朴雅融为一体，尽显古碑书法的独特韵味。",[2135,198,7,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf800d36752f2e915dab2275e73481e1.jpg",[802],{"id":50678,"slug":50679,"title":50680,"dynasty":18,"author":454,"museum":107,"description":50681,"tags":50682,"thumbUrl":50683,"material":95,"size":95,"collection":802,"collections":50684,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242208,"li-meng-chu-shen-ci-bei-ce-yi-ming-242208","李孟初神祠碑册","此拓本隶法朴茂厚重，结体方整匀净，笔画古拙雄浑，波磔舒展飘逸，尽显汉隶典型风貌。碑面虽有残泐漫漶，斑驳痕迹却晕染出岁月摩挲的沧桑质感，金石沉浑之气扑面而来。字形端正凝练，庙堂古雅之气藏于笔墨之间，朴拙中带着舒展意趣，将隶书的端庄法度与写意韵致融为一体，残损的拓痕更添古旧沉静的独特韵味，尽显汉代碑刻的沉浑古雅气象。",[198,1613,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5beb615530e8de7e37660e416e78a222.jpg",[802],{"id":50686,"slug":50687,"title":50688,"dynasty":18,"author":454,"museum":107,"description":50689,"tags":50690,"thumbUrl":50694,"material":95,"size":95,"collection":802,"collections":50695,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},242207,"kong-qian-mu-jie-yi-ming-242207","孔谦墓碣","此拓本残泐斑驳，苍古之气扑面而来，笔画漫漶却筋骨暗藏。字形宽博雄朴，隶意隐于楷法之中，尽显刻石的朴茂厚重。墨色浓淡错落，缺损处晕开旧时光晕，岁月剥蚀的痕迹化作独有的古雅肌理，每一处残损都是时光篆刻的印记，将沉郁古意凝于纸间。虽多有漫漶不清，却凭残存笔意勾勒出原刻的舒展大气，带着金石碑刻特有的沧桑质感，把跨越千年的朴拙气韵留存至今，残缺之中更见古雅深沉的韵味。",[198,7,199,1613,50691,50692,50693],"金石碑刻","古雅","残损","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78681a26e88dc33a36de8fa859d52442.jpg",[802],{"id":50697,"slug":50698,"title":50699,"dynasty":18,"author":454,"museum":107,"description":50700,"tags":50701,"thumbUrl":50702,"material":751,"size":752,"collection":95,"collections":50703,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242205,"tang-xi-dian-song-gao-shan-qing-yu-ming-yi-ming-242205","堂谿典嵩高山请雨铭","题签行书朴厚舒展，笔墨沉雅自带旧朝金石收藏的意趣。页面漫漶的墨渍与虫蛀残痕，是时光摩挲留下的印记，晕开百年递藏的岁月温度。残损之处非但未减其味，反倒衬出古物历经世序流转的厚重底蕴，将汉隶刻石的金石气与旧藏的温润感相融，静静诉说着过往的金石收藏风尚。",[7,198,457,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a358827934ef46d08bf0a77e9f180.jpg",[],{"id":50705,"slug":50706,"title":50707,"dynasty":18,"author":454,"museum":107,"description":50708,"tags":50709,"thumbUrl":50710,"material":95,"size":95,"collection":802,"collections":50711,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},242201,"kuai-xue-tang-fa-tie-yi-ming-242201","快雪堂法帖","这帧碑拓墨色沉凝，白字如锥画沙，各段题书风神各异。有的笔致清劲端雅，带着唐楷的整饬意韵，却又暗含行书的灵动舒展；有的朴厚苍古，信笔挥就间尽显随性疏朗。\n题跋追述名帖递藏过往，兰亭摹本辗转名家之手，漂流转徙海内，把一段翰墨流传的旧事镌入石中。拓面斑驳的痕迹，是岁月摩挲的印记，将纸本笔墨的轻盈，凝作金石长存的厚重。字里行间藏着历代文人对法帖的追慕珍视，也刻录下文脉赓续的风雅往事，让千载翰墨情致，留存在这方寸拓片之上。",[198,7,199,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe74a12db3e96fee067b860470d8098d7.jpg",[802],{"id":50713,"slug":50714,"title":50715,"dynasty":45,"author":454,"museum":107,"description":50716,"tags":50717,"thumbUrl":50718,"material":95,"size":95,"collection":802,"collections":50719,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242191,"lu-xiao-wang-ke-shi-yi-ming-242191","鲁孝王刻石","此作为行书题跋，笔墨苍劲朴厚，无刻意妍媚之态，暗合秦汉刻石古拙意趣。题文追述刻石辗转递藏过往，慨叹原石存字寥寥，将对金石残珍的惋惜藏于笔底。行笔断连随心自然，结体错落随性，带着金石考据家的沉静文气，将访碑鉴藏的点滴心绪落于尺素，既有旧石佚失的怅惘，也饱含着对金石传拓的珍视。整篇藏家心境与书法意韵相融相合，尽显旧时文人摩挲金石、追怀古物的雅致情怀。",[7,198,1613,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29678b45d9f2e00d371807fd8e9874b9.jpg",[802],{"id":50721,"slug":50722,"title":50723,"dynasty":18,"author":454,"museum":107,"description":50724,"tags":50725,"thumbUrl":50726,"material":95,"size":95,"collection":802,"collections":50727,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},242189,"liu-yi-mu-zhi-yi-ming-242189","刘懿墓志","此志书法为北碑典范，以方笔为骨，点画斩截方正，棱角森然挺劲，笔力沉厚雄健，将北朝石刻的刚硬质感尽显无遗。结体欹侧间不失端庄，拙朴中暗含灵动，字字如敦实甲士筋骨内含。\n\n通篇排布严整茂密，字距行距匀停齐整，气息庄重肃穆，既留存刀刻金石的冷硬雄浑，亦暗藏笔墨书写的流转意趣，将北朝墓志庙堂气象与刀笔相融的特质挥洒尽致，尽显古朴沉雄的北碑风神。",[198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b703a34f3efa855b2bfcfa65f14ed5.jpg",[802],{"id":50729,"slug":50730,"title":50731,"dynasty":18,"author":454,"museum":107,"description":50732,"tags":50733,"thumbUrl":50734,"material":95,"size":95,"collection":802,"collections":50735,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242188,"qi-fu-bao-da-mu-zhi-yi-ming-242188","乞伏保达墓志","此作用笔随性舒展，行笔圆活流动，牵丝映带间尽显书写时的松弛意趣。字形大小错落，欹正相生，毫无刻意排布之感。章法疏朗透气，字间距随文句节奏自然开合，尽显尺牍特有的萧散风神。\n\n墨色带着浓淡枯湿的细微变化，随着书写心绪自然过渡，起笔收笔可见法度暗藏，却又不拘谨板正，将日常寄兴的闲散心境完全寄寓笔墨之中，尽显文人尺牍书法的抒情特质与清雅意韵。",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face16af9dedc24ca248e5d9004ea3e48.jpg",[802],{"id":50737,"slug":50738,"title":50739,"dynasty":18,"author":454,"museum":107,"description":50740,"tags":50741,"thumbUrl":50743,"material":95,"size":95,"collection":802,"collections":50744,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242169,"qian-long-shu-shi-ju-jin-qi-diao-long-bian-yi-ming-242169","乾隆书诗句金漆雕龙匾","这件匾额以满工金漆雕就云海腾龙为底，金辉璀璨，龙形隐于云涛之间，华贵庄重。其上墨笔书就诗文，笔法浑厚方正，结体端稳舒展，带着端凝雍容的皇家气度。\n\n文字叙写五世同堂的天伦盛事，字句恳切温暖，将世家绵长福泽的赞誉藏于笔墨之中。金漆髹饰的华美工艺，与苍劲书法相得益彰，是漆艺工巧与翰墨气韵的精妙合璧，尽显清代装饰与书法融合的独特美学意趣。",[2135,7,60,50742,7713,359,77,30189,13336],"金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23eede4e45420a2bf451d0c3c6f58de1.jpg",[802],{"id":50746,"slug":50747,"title":50748,"dynasty":18,"author":454,"museum":107,"description":50749,"tags":50750,"thumbUrl":50753,"material":751,"size":752,"collection":95,"collections":50754,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242168,"ti-he-dian-bian-yi-ming-242168","＂体和殿＂匾","边框髹朱漆，木雕缠枝纹辗转环绕，刀工细腻入微，层次饱满灵动，将方正牌匾衬得庄重又不失生机。\n\n灰地鎏金题字笔力遒劲凝练，满汉双文对称排布，金字在沉灰底色映照下愈显华贵庄重。整器既有宫廷礼制下的规整肃穆，又兼具木作工艺的精妙匠心，纹饰的柔婉与题字的刚劲相映成趣，于细节间尽显宫廷造物的极致考究，沉静内敛又不失皇家气度。",[2135,19026,7713,7,199,50742,50751,18151,50752],"红漆","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1466625fab400b0c9affd94fe8b6b363.jpg",[],{"id":50756,"slug":50757,"title":50758,"dynasty":18,"author":454,"museum":107,"description":50759,"tags":50760,"thumbUrl":50761,"material":751,"size":752,"collection":95,"collections":50762,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},242164,"qian-long-shu-wu-fu-wu-dai-tang-jin-qi-diao-long-bian-yi-ming-242164","乾隆书＂五福五代堂＂金漆雕龙匾","此匾金漆地满雕祥云腾龙，龙身辗转游弋于云纹之间，刀工细腻灵动，尽显华贵威严。题字墨色浓亮，笔锋沉浑苍劲，方正端严的书风与金底形成强烈视觉反差，让题字愈发醒目厚重。朱红印章点缀留白处，为整匾增添礼制庄重之感。\n\n整器将精湛雕工与帝王书法气度相融，把福寿延绵的美好寄寓于皇家制式之中，尽显盛世宫廷工艺的绝佳水准。",[2135,50742,7713,359,199,7,77,9636,13336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73dbff8c5ab96a81e9214df5e8c789a.jpg",[],{"id":50764,"slug":50765,"title":50766,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":50767,"thumbUrl":50768,"material":751,"size":752,"collection":95,"collections":50769,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241690,"lu-yuan-er-zi-bian-qian-long-241690","鹿苑二字匾",[2135,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf9fd7f8989efe4fc044768b195279b1.jpg",[],{"id":50771,"slug":50772,"title":44995,"dynasty":18,"author":44996,"museum":107,"description":44997,"tags":50773,"thumbUrl":50774,"material":751,"size":752,"collection":95,"collections":50775,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241689,"lin-lan-ting-xu-ping-long-yu-huang-tai-hou-241689",[7,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33cf12f028622ed779a5eb4e7c9db3f3.jpg",[],{"id":50777,"slug":50778,"title":44995,"dynasty":18,"author":44996,"museum":107,"description":44997,"tags":50779,"thumbUrl":50780,"material":751,"size":752,"collection":95,"collections":50781,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241688,"lin-lan-ting-xu-ping-long-yu-huang-tai-hou-241688",[18,7,60,110,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735d947be3e4e354cf1b6dcf9bacdd99.jpg",[],{"id":50783,"slug":50784,"title":44995,"dynasty":18,"author":44996,"museum":107,"description":44997,"tags":50785,"thumbUrl":50786,"material":751,"size":752,"collection":95,"collections":50787,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241687,"lin-lan-ting-xu-ping-long-yu-huang-tai-hou-241687",[7,60,110,39338,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d3dc8e74cc30ecb9ccf1d2719eef5a.jpg",[],{"id":50789,"slug":50790,"title":50791,"dynasty":18,"author":27841,"museum":107,"description":50792,"tags":50793,"thumbUrl":50794,"material":751,"size":752,"collection":95,"collections":50795,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241682,"qian-long-yu-zhi-wu-fu-song-ce-yong-yan-241682","乾隆御制五福颂册","清仁宗爱新觉罗·颙琰（1760年11月13日—1820年9月2日），原名永琰，清朝第七位皇帝，定都北京后的第五位皇帝，乾隆帝的第十五子，生母孝仪纯皇后魏佳氏。在位二十五年（1796-1820年在位），年号“嘉庆”。",[2135,7,199,77,26,2602,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5ffd80da4547680a0de18c3ef24658.jpg",[],{"id":50797,"slug":50798,"title":50799,"dynasty":18,"author":2301,"museum":107,"description":12078,"tags":50800,"thumbUrl":50801,"material":751,"size":752,"collection":95,"collections":50802,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241674,"lin-da-guan-si-tie-ce-qian-long-241674","临大观四帖册",[7,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f39d670b39d44cc217b024b93c79a37.jpg",[],{"id":50804,"slug":50805,"title":45026,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":50806,"thumbUrl":50807,"material":312,"size":95,"collection":96,"collections":50808,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241649,"zhi-jian-fu-shu-zha-wen-zheng-ming-241649",[7,60,50,25,24,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d437f4b125c33b3d5b02878318242e5.jpg",[96],{"id":50810,"slug":50811,"title":45019,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":50812,"thumbUrl":50813,"material":751,"size":752,"collection":95,"collections":50814,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241643,"zhi-chun-qian-shu-zha-wen-zheng-ming-241643",[25,7,60,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43b564284a74d2b089e2d6d64fba056.jpg",[],{"id":50816,"slug":50817,"title":50818,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":50819,"thumbUrl":50820,"material":751,"size":752,"collection":95,"collections":50821,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241642,"zhi-shu-shi-shu-zha-wen-zheng-ming-241642","致荗实书札",[4038,60,7,50,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b833ec875da48d6bd1eed319bcb5a66.jpg",[],{"id":50823,"slug":50824,"title":50825,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":50826,"thumbUrl":50827,"material":751,"size":752,"collection":95,"collections":50828,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241633,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241633","致老夫子大人札",[25,7,60,312,50,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e8f80858e2895c0f5a21583052716c7.jpg",[],{"id":50830,"slug":50831,"title":50832,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":50833,"thumbUrl":50834,"material":751,"size":752,"collection":95,"collections":50835,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241632,"zhi-jie-ping-zha-lin-ze-xu-241632","致介平札",[7,60,312,385,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071f2ee9465dcbeedaf8409c6e1d1b1d.jpg",[],{"id":50837,"slug":50838,"title":40680,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":50839,"thumbUrl":50840,"material":751,"size":752,"collection":95,"collections":50841,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241631,"zhi-yuan-tang-zha-lin-ze-xu-241631",[7,60,50,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c6e6bd84cd999c41ecf91167302ad1.jpg",[],{"id":50843,"slug":50844,"title":40680,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":50845,"thumbUrl":50846,"material":751,"size":752,"collection":95,"collections":50847,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241630,"zhi-yuan-tang-zha-lin-ze-xu-241630",[7,60,26,433,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f8ddd153d48ac7ca1a40cf241a3d06.jpg",[],{"id":50849,"slug":50850,"title":40680,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":50851,"thumbUrl":50852,"material":751,"size":752,"collection":95,"collections":50853,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241628,"zhi-yuan-tang-zha-lin-ze-xu-241628",[7,25,26,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c977566b938c2a264d0b3bd0ab90f99.jpg",[],{"id":50855,"slug":50856,"title":50857,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":50858,"thumbUrl":50859,"material":751,"size":752,"collection":95,"collections":50860,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241627,"zhi-jie-shi-zha-lin-ze-xu-241627","致介石札",[25,7,60,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96987f99dca3c43c6719e3424f0cfb20.jpg",[],{"id":50862,"slug":50863,"title":50832,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":50864,"thumbUrl":50865,"material":751,"size":752,"collection":95,"collections":50866,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241626,"zhi-jie-ping-zha-lin-ze-xu-241626",[7,60,50,26,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c9b2d4f5905e4c4ef7701478497ebe9.jpg",[],{"id":50868,"slug":50869,"title":50870,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":50871,"thumbUrl":50872,"material":751,"size":752,"collection":95,"collections":50873,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},241625,"yan-qi-an-ji-zha-lin-ze-xu-241625","研祺安吉札",[25,7,60,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3838ac3e4b18fb5214fca092f9ec26e3.jpg",[],{"id":50875,"slug":50876,"title":50832,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":50877,"thumbUrl":50878,"material":751,"size":752,"collection":95,"collections":50879,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241624,"zhi-jie-ping-zha-lin-ze-xu-241624",[25,7,60,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb633c45f9a6e67396d773f304be13085.jpg",[],{"id":50881,"slug":50882,"title":50883,"dynasty":18,"author":50884,"museum":107,"description":50885,"tags":50886,"thumbUrl":50887,"material":751,"size":752,"collection":95,"collections":50888,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241604,"kou-tao-yan-ye-zhou-sheng-huan-241604","口涛言页","周升桓","字稚圭，号山茨，浙江嘉善人。乾隆十九年（一七五四）进士，官广西巡抚。书法米芾、苏轼。著皖游草。卒年六十九。《昭代尺牍小传、清朝书画家笔录、瓯钵罗室书画过目考》",[7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c5806a3a751ac956482eeef6a2c981.jpg",[],{"id":50890,"slug":50891,"title":50892,"dynasty":18,"author":50893,"museum":107,"description":50894,"tags":50895,"thumbUrl":50896,"material":751,"size":752,"collection":95,"collections":50897,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241594,"wang-ming-sheng-lun-wen-zhang-gen-ben-ye-wang-ming-sheng-241594","王鸣盛论文章根本页","王鸣盛","王鸣盛（1722—1797），清史学家、经学家、考据学家。字凤喈，一字礼堂，别字西庄，晚号西江。江苏嘉定（属今上海市）人。官侍读学士、内阁学士兼礼部侍郎、光禄寺卿。",[25,7,60,26,77,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a08d508791f53e833c5f4066019c96.jpg",[],{"id":50899,"slug":50900,"title":45052,"dynasty":18,"author":50901,"museum":107,"description":50902,"tags":50903,"thumbUrl":50904,"material":751,"size":752,"collection":95,"collections":50905,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241586,"lu-wen-ye-cheng-jing-yi-241586","程景伊","程景伊（1712—1780），清江苏武进人，字聘三，号莘田。乾隆四年（1739）进士。历任兵部侍郎，工、刑、吏诸部尚书，文渊阁大学士。工诗词，精吏牍，兼通理学。",[60,77,7,26,25,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9ae8ce3d40cd03501ed264bbc30bb9.jpg",[],{"id":50907,"slug":50908,"title":45052,"dynasty":18,"author":50909,"museum":107,"description":50910,"tags":50911,"thumbUrl":50912,"material":751,"size":752,"collection":95,"collections":50913,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241580,"lu-wen-ye-yang-shu-ceng-241580","杨述曾","杨述曾，字二思，号企山，江苏武进人。清朝政治人物，榜眼及第。杨椿之子，杨廷鉴之孙。杨述曾幼承家学，尤精于治史，乾隆七年（1742年）登一甲二名进士，授翰林院编修",[2135,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26972599e6935655b6ffc182cb8fe6db.jpg",[],{"id":50915,"slug":50916,"title":50917,"dynasty":18,"author":50918,"museum":107,"description":50919,"tags":50920,"thumbUrl":50921,"material":751,"size":752,"collection":95,"collections":50922,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241570,"su-qiu-zhuang-qi-jue-ping-zhou-su-qiu-zhuang-241570","苏求庄七绝屏轴","苏求庄","清代同、光时期桐城派作家",[7,60,75,77,50,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844d369e3bb57943df00d3d7a94e37a8.jpg",[],{"id":50924,"slug":50925,"title":50926,"dynasty":18,"author":50927,"museum":107,"description":50928,"tags":50929,"thumbUrl":50930,"material":751,"size":752,"collection":95,"collections":50931,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241562,"ping-shu-yu-zhou-zhu-kong-yang-241562","评书语轴","朱孔扬","朱孔扬［清］ 行书七言联纸本镜片识文：岩前錬石云为质，槛外流泉月有声。 款识：敬斋仁兄大人雅正，云台朱孔扬。 钤印：朱孔扬字云台长寿（白） 六艺之斋主人（朱）",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ca330b226c77dc1665e100280c345e.jpg",[],{"id":50933,"slug":50934,"title":27869,"dynasty":18,"author":50935,"museum":107,"description":50936,"tags":50937,"thumbUrl":50938,"material":751,"size":752,"collection":95,"collections":50939,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241553,"lun-shu-zhou-wu-shi-jian-241553","吴士鉴","吴士鉴（1868年～1934年），近代金石学家、藏书家。字絅斋，号公詧，一号含嘉，别署式溪居士。钱唐（今浙江杭州）人。吴士鉴为吴振棫曾孙。",[18,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87f7699279226c03bbba8d50c3024152.jpg",[],{"id":50941,"slug":50942,"title":50943,"dynasty":18,"author":50944,"museum":107,"description":50945,"tags":50946,"thumbUrl":50947,"material":751,"size":752,"collection":95,"collections":50948,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241551,"qin-hong-qi-lv-shi-shou-juan-qin-hong-241551","秦鋐七律十首卷","秦鋐","秦鋐山东单县人，弘治元年以左副都御史总督漕运。",[24,25,49,50,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a71c9e846372cce05ef0d9ee6008c7.jpg",[],{"id":50950,"slug":50951,"title":50952,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":50953,"thumbUrl":50954,"material":751,"size":752,"collection":95,"collections":50955,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241549,"zhi-liu-zhou-shou-zha-ce-huang-yue-241549","致六舟手札册",[2135,7,60,26,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb701a90a75aca37ad0a8e26cc6bcb19d.jpg",[],{"id":50957,"slug":50958,"title":45183,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":50959,"thumbUrl":50960,"material":751,"size":752,"collection":95,"collections":50961,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241544,"zhi-liu-zhou-mao-cai-shou-zha-ce-huang-yue-241544",[7,60,26,77,433,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4647054825f22a5347918743edd3a799.jpg",[],{"id":50963,"slug":50964,"title":50965,"dynasty":45,"author":50966,"museum":107,"description":50967,"tags":50968,"thumbUrl":50970,"material":751,"size":752,"collection":95,"collections":50971,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241536,"qi-lv-ye-lin-shu-xue-241536","七律页","林叔学","此作用笔温润灵动，提按转合自然舒展，牵丝映带间暗含韵律，点画粗细富于变化，兼遒劲与秀逸之姿。\n章法疏朗安和，字距错落随势生发，行列排布毫无板滞，尽显灵动雅致。笔墨晕染出明代行书尚意的典型风貌，又自出机杼，将诗中幽居雅游的隐逸闲恬心境寄寓于流转笔锋之中，诗书相映成趣，是文人意趣与书法风骨相融的佳构，尽显明代文人书法的温婉风神。",[25,7,60,50,77,47929,651,6809,282,9676,2829,50969,2175,3038],"烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e8633aaf4d27ea4cc6193142d570df.jpg",[],{"id":50973,"slug":50974,"title":50965,"dynasty":45,"author":46525,"museum":107,"description":46526,"tags":50975,"thumbUrl":50976,"material":751,"size":752,"collection":95,"collections":50977,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241534,"qi-lv-ye-chen-kan-241534",[25,7,60,77,4038,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52eb18e56bc52e82e6dfc54a7fb24b46.jpg",[],{"id":50979,"slug":50980,"title":50981,"dynasty":45,"author":50982,"museum":107,"description":50983,"tags":50984,"thumbUrl":50987,"material":312,"size":95,"collection":96,"collections":50988,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241532,"wu-yan-shi-er-shou-ye-zhang-hong-lie-241532","五言诗二首页","张鸿烈","行笔舒展灵动，牵丝映带间尽显流畅雅致，结体端秀又不失飘逸姿态。笔墨与五言诗意相融，将雨中访友、宴饮雅谭的清隽意趣，随着点画流转铺陈开来，暗合着高洁自持的品格抒怀。\n\n通篇疏密得宜，笔画枯湿浓淡相宜，粗细富于变化，尽显尚意风雅风貌。林下风流藏于撇捺之间，整体气息冲淡平和，匀净和谐，是颇具韵致的行书佳构，尽显文人墨客的雅致襟怀。",[25,7,60,77,1002,131,845,3516,139,50985,2175,50986],"宴","歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c9dc797aee9870061cd9e78e1611b1.jpg",[96],{"id":50990,"slug":50991,"title":50965,"dynasty":45,"author":50992,"museum":107,"description":50993,"tags":50994,"thumbUrl":50995,"material":312,"size":95,"collection":96,"collections":50996,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241528,"qi-lv-ye-fang-xiang-ying-241528","方象瑛","生于明崇祯五年（1632），字渭仁，浙江遂安人。天资颖异，九岁能诗，十岁作《远山净赋》，见者惊异。与毛际可等友善。康熙六年，（公元一六六七年）成进士，授内阁中书。充顺天乡试同考官。十八年、因荐试中“博举鸿儒”科二等，授 历迁侍讲，告归。象瑛著有《健松斋诗文集》三十四卷，《封长白山记》一卷，《松窗笔乘》三十卷，（均清史列传）并行于世。",[7,60,4347,3479,312,4038,4440,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd71424a0f93ff353445747b79ebe0f80.jpg",[96],{"id":50998,"slug":50999,"title":50965,"dynasty":45,"author":51000,"museum":107,"description":51001,"tags":51002,"thumbUrl":51003,"material":312,"size":95,"collection":96,"collections":51004,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241527,"qi-lv-ye-mao-ji-ke-241527","毛际可","毛际可（1633年－1708年），字会侯，号鹤舫，晚号松皋老人。遂安（今属浙江）人，清代文学家。",[25,7,60,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1816756b2fa52194de0ec735a9f416.jpg",[96],{"id":51006,"slug":51007,"title":45486,"dynasty":18,"author":51008,"museum":107,"description":51009,"tags":51010,"thumbUrl":51011,"material":751,"size":752,"collection":95,"collections":51012,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241517,"wu-jue-shi-zhou-wu-dian-yuan-241517","吴殿元","此作用笔爽利圆劲，起收自如，牵丝映带间尽显行书流转之美。三列竖排章法疏朗，行气贯通如清溪奔涌。结体欹正相生，大字开张舒展，笔势跌宕起伏，将诗句中山烟水艇的清逸意境与笔墨融为一体。\n\n墨色浓淡自然过渡，重墨如坠石沉凝，轻锋似掠云舒卷，把远山天外的空濛、烟艇归处的悠然，尽数通过笔意烘托而出。书风兼具文人气韵与豪放意趣，落笔可见作者寄情湖山的襟怀，笔墨浸透江南清润雅致的意趣，是兼具艺术性与抒情性的行书佳构。",[18,75,60,7,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7ec0e085d2d8c7704d35bacf6a965d.jpg",[],{"id":51014,"slug":51015,"title":40743,"dynasty":18,"author":40744,"museum":107,"description":51016,"tags":51017,"thumbUrl":51018,"material":751,"size":752,"collection":95,"collections":51019,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241515,"ji-bai-shou-mei-hua-shi-tie-ce-liang-wei-jia-241515","此作用笔灵动婉畅，行书笔意流转自如，牵丝映带间尽显章法意趣，字势顾盼相生，疏密错落恰到好处。墨色浓淡自然过渡，通篇气韵清雅连贯，将咏梅诗的清逸意境与书法笔墨融为一体。书写既有文人书法的秀雅温润，又暗含内敛刚劲的骨力，笔致凝练却不失舒展，把诗句中梅花的孤高品格借笔墨徐徐铺陈开来，尽显悠然书卷意态，是颇具意趣的书法小品。",[25,26,60,7,200,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbdcc0260d15a7e0affd22e661612c3a.jpg",[],{"id":51021,"slug":51022,"title":51023,"dynasty":18,"author":51024,"museum":107,"description":51025,"tags":51026,"thumbUrl":51027,"material":751,"size":752,"collection":95,"collections":51028,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241514,"xiao-shui-jing-zhu-jian-shui-pian-juan-li-ci-ming-241514","小水经注渐水篇卷","李慈铭","李慈铭（1830年～1894年），初名模，字式侯，后改今名，字爱伯，号莼客，室名越缦堂，晚年自署“越缦老人”。会稽（今浙江绍兴）西郭霞川村人。 晚清官员、文史学家。\n光绪六年进士，官至山西道监察御史。数上封事，不避权要。日记三十余年不断，读书心得无不收录。学识渊博，承乾嘉汉学之余绪，治经学、史学，蔚然可观。长于骈文，被称为“旧文学的殿军”。\n所著《越缦堂日记》，内容涉及经史、纪事、读书记、诗文等，字数多达数百万字，是一部文史、学术宝库，人评为“可继亭林《日知录》之博，”又谓“生不愿作执金吾，惟愿尽读李公书。”为“晚清四大日记之冠”（另三部为《缘督庐日记》《翁同龢日记》和《湘绮楼日记》）。",[23,7,49,60,199,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fd5963f627123d893c453c7501b11b.jpg",[],{"id":51030,"slug":51031,"title":24648,"dynasty":18,"author":51032,"museum":107,"description":51033,"tags":51034,"thumbUrl":51041,"material":751,"size":752,"collection":95,"collections":51042,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241509,"qi-lv-shi-zhou-chen-bao-chen-241509","陈宝琛","陈宝琛（1848—1935年），字伯潜，号弢庵、陶庵、听水老人，福州闽县螺洲（今福建省福州市仓山区螺洲镇）人。晚清大臣、学者，刑部尚书陈若霖曾孙。\n同治七年（1868年），考中进士，授翰林院庶吉士历任编修、翰林侍讲。直言敢谏，连同张之洞、张佩纶、宝廷成为“枢廷四谏官”，出任江西学政，累迁内阁学士、礼部侍郎。中法战争后，推举的唐炯、徐延投办事不力，坐罪降职。回乡赋闲，发展家乡教育事业。宣统元年（1909年），调入京城，充任礼学馆总裁、内阁弼德院顾问大臣、正红旗汉军副都统，成为宣统帝溥仪的师傅，监修《德宗实录》。工书法，学黄庭坚，又擅画松。",[7,75,60,77,19650,9679,679,51035,51036,51037,51038,51039,51040],"橘","蛙","鸿","宿草","新墳","尊酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92de7a0e72a59414ef3c9c2999945e96.jpg",[],{"id":51044,"slug":51045,"title":51046,"dynasty":18,"author":51047,"museum":107,"description":51048,"tags":51049,"thumbUrl":51050,"material":751,"size":752,"collection":95,"collections":51051,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241500,"shi-jia-xing-ji-shi-lu-yu-cheng-shan-zai-ze-241500","十家行集诗录语成扇","载泽","爱新觉罗·载泽（1868年3月17日一1929年6月），初名载蕉，字荫坪。晚清宗室大臣，立宪派的重要人物，满洲正黄旗人。清圣祖爱新觉罗·玄烨六世孙，愉恪郡王爱新觉罗·胤禑五世孙。\n同治七年（1868年），载泽出生于北京，其父奕枨过继给嘉庆帝的第五子绵愉做后嗣，光绪三年（1877年）袭封辅国公，光绪二十年（1894年）晋镇国公。光绪三十一年（1905年）七月十六日，清廷特派载泽和其他四位大臣户部侍郎戴鸿慈、兵部侍郎徐世昌、湖南巡抚端方、商部右丞绍英为出国考察政治，是为“五大臣出洋”。载泽出洋时尚未满40岁，是其中最年轻的一位。他们重点考察了美国、英国、法国、德国、俄罗斯、日本等国家，特别是日本和德意志帝国的君主立宪政体。载泽出洋考察结束回国后，向慈禧太后和光绪帝上了《奏请宣布立宪密折》，将日本的宪政体制摆在列国之首，奏请仿日德例，改行君主立宪政体。载泽还著有颇具史料价值的《考察政治日记》。\n光绪三十四年（1908年）加贝子衔。历任度支部尚书、督办盐政大臣、度支大臣。清亡后加入宗社党，成为复辟派的重要人物，1929年忧郁而终。",[1250,7,60,50,19026,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e86184f23905f7f060882f19a234ad.jpg",[],{"id":51053,"slug":51054,"title":51055,"dynasty":18,"author":51056,"museum":107,"description":51057,"tags":51058,"thumbUrl":51059,"material":751,"size":752,"collection":95,"collections":51060,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241491,"wu-yan-shi-wan-shan-lv-pei-fen-241491","五言诗纨扇","吕佩芬","派名烈英，号晓初，又号筱苏，外号季兰子，清末安徽旌德庙首人。光绪六年（1880)中进士，授翰林院编修。历任福建、顺天、贵州、湖南乡试主考官和同考官，京城经济特科收掌官，国史馆、武英殿和起居注协修，编修处总纂、功臣馆纂修、文处行走、文渊阁校理、直隶永定河道员以及二品衔侍讲等职。",[24,25,1250,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16010cc1fd3ef8abb2850ea940fe66be.jpg",[],{"id":51062,"slug":51063,"title":51064,"dynasty":18,"author":51065,"museum":107,"description":51066,"tags":51067,"thumbUrl":51068,"material":751,"size":752,"collection":95,"collections":51069,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241489,"chong-yang-xian-li-zhong-ding-zhang-shang-shu-miao-ji-wan-shan-lin-shao-nian-241489","崇阳县立忠定张尚书庙记纨扇","林绍年","林绍年（1845年－1916年），字赞虞，福建闽县人。清同治十三年（1874年）进士，授翰林院编修。光绪十四年（1888年）任御史，以极谏慈禧动用海军经费修颐和园，名噪四海。二十六年（1900年）迁云南布政使，就擢巡抚，兼署云贵总督。三十年上奏朝廷，呼吁实行立宪改革。三十一年（1905年）移广西。三十二年（1906年）内召，以侍郎充军机大臣，兼署邮传部尚书，授度支部侍郎。支持改革。三十三年（1907年)因御史赵启霖劾段芝贵案，林绍年替言官赵启霖报不平，跟庆亲王奕劻闹翻，称病退出军机，外出任河南巡抚。1910年调回中央任学部侍郎，后改任弼德院顾问大臣，随即告病回乡，1916年病逝于福州故里。",[1250,7,60,50,2135,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2607308faaa4919905bf367692d6f213.jpg",[],{"id":51071,"slug":51072,"title":40786,"dynasty":18,"author":40787,"museum":107,"description":40788,"tags":51073,"thumbUrl":51074,"material":751,"size":752,"collection":95,"collections":51075,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241480,"bai-ling-shi-han-ce-zhang-bai-ling-241480",[25,26,60,77,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c61f071db5779863a4b875644b422.jpg",[],{"id":51077,"slug":51078,"title":40786,"dynasty":18,"author":40787,"museum":107,"description":40788,"tags":51079,"thumbUrl":51080,"material":751,"size":752,"collection":95,"collections":51081,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241479,"bai-ling-shi-han-ce-zhang-bai-ling-241479",[26,60,7,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de99beac2d5ffaceb188bbe8e727a3d.jpg",[],{"id":51083,"slug":51084,"title":40786,"dynasty":18,"author":40787,"museum":107,"description":40788,"tags":51085,"thumbUrl":51086,"material":751,"size":752,"collection":95,"collections":51087,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241476,"bai-ling-shi-han-ce-zhang-bai-ling-241476",[2135,25,7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b08e1d15429d5ff8867c9b9feb48b6.jpg",[],{"id":51089,"slug":51090,"title":40786,"dynasty":18,"author":40787,"museum":107,"description":40788,"tags":51091,"thumbUrl":51092,"material":751,"size":752,"collection":95,"collections":51093,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241475,"bai-ling-shi-han-ce-zhang-bai-ling-241475",[26,60,77,25,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e53723581cb2ce8ca93f4244380110.jpg",[],{"id":51095,"slug":51096,"title":51097,"dynasty":18,"author":51098,"museum":107,"description":51099,"tags":51100,"thumbUrl":51102,"material":751,"size":752,"collection":95,"collections":51103,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241443,"zhi-zi-feng-zha-ye-wei-yi-ao-241443","致紫峰札页","魏一鳌","魏一鳌（1613~1692）字莲陆，直隶新安（河北保定）人。明代理学家。明崇祯举人，官山西忻州知州。礼贤下士，多施惠政。明末变乱之后，不愿为官，清顺治二年（1645）从清初大儒孙奇逢求学，在孙奇逢所居河南辉县夏峰村之兼山堂旁筑室而居，为自己的居处取名“雪堂”。与汤斌、耿介等共相切磋，汤对他非常称赞。他随孙奇逢常往来百泉书院讲学，从孙奇逢问学时间最长，前后达32年，因此纪录下来的与孙奇逢的答问也最多。他曾于保定城内建上谷五贤祠。逝后入祀乡贤祠。著有《四书偶录》、《诗经偶录》、《北学编》、《夏峰年谱》、《雪亭梦语》、《雪亭诗草》。时人对《雪亭梦语》评价甚高。",[7,60,51101,25],"札页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4fdf8ab6d71b18df939e7a6131bf2b.jpg",[],{"id":51105,"slug":51106,"title":41322,"dynasty":18,"author":51107,"museum":107,"description":51108,"tags":51109,"thumbUrl":51110,"material":751,"size":752,"collection":95,"collections":51111,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241442,"shou-zha-heng-liang-zhang-ju-241442","梁章钜","梁章钜（1775－1849），字闳中，又字茝林，号茝邻，晚号退庵，祖籍福建福州府长乐县（今福建省福州市长乐区），生于福州府城。其先祖于清初迁居福州市区。",[23,18,7,60,312,2282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754d935ec7173b23ac696cc0424d3816.jpg",[],{"id":51113,"slug":51114,"title":51115,"dynasty":45,"author":51116,"museum":107,"description":51117,"tags":51118,"thumbUrl":51119,"material":751,"size":752,"collection":95,"collections":51120,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241438,"yu-zi-zi-zha-ye-tao-ying-241438","与子滋札页","陶瑛","此作为家书手札，笔墨随性松弛，全无刻意雕琢之感。行笔灵动婉转，提按藏露间带着书写时的思绪起伏，牵丝映带自然妥帖。没有台阁体的板滞拘束，枯湿浓淡随兴生发，字字带着亲人间通信的殷切温度，日常絮语落于笔端，化作疏密有致的行书篇章。\n朴拙笔意里藏着文人雅趣，将家常嘱托融于笔墨章法，既是尺牍信札，亦是性情流露的书法小品，尽显明代士人日常书写的随性雅致，兼具情感温度与书法审美价值。",[7,60,13817,22168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50878568a1c272e08fbb1ebfbdd9931.jpg",[],{"id":51122,"slug":51123,"title":51124,"dynasty":18,"author":51125,"museum":107,"description":51126,"tags":51127,"thumbUrl":51128,"material":751,"size":752,"collection":95,"collections":51129,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241436,"zhi-wu-qian-zha-heng-huang-pi-lie-241436","致吴骞札横","黄丕烈","黃丕烈（1763年－1825年），字绍武，又字荛圃、荛翁，別署覆翁，佞宋主人，清朝藏書家、版本目錄學家。江蘇省苏州府吳縣（今苏州市）人。",[25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3880b2981e76ef8c8bfd531ff578ea.jpg",[],{"id":51131,"slug":51132,"title":51133,"dynasty":45,"author":51134,"museum":107,"description":51135,"tags":51136,"thumbUrl":51137,"material":751,"size":752,"collection":95,"collections":51138,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241424,"shi-wo-jie-ran-zhang-ye-lu-meng-long-241424","使我介然章页","陆梦龙","陆梦龙：万历进士。历任刑部主事、员外郎。因审讯张差“梃击”案，得罪权贵。天启中，以计贼功，累迁广东按察使。崇祯时，官右参政，守固原。为人慷慨好谈兵，以廓清群盗自许。后被叛匪包围于老虎沟，战死，赠太仆卿。",[7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb3ee8bad3b6989d6f135ded670f1e1.jpg",[],{"id":51140,"slug":51141,"title":51142,"dynasty":45,"author":51143,"museum":107,"description":51144,"tags":51145,"thumbUrl":51146,"material":751,"size":752,"collection":95,"collections":51147,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241423,"shan-jian-bu-bo-zhang-ye-yu-da-cheng-241423","善建不拨章页","余大成","余大成，字集生，号石衲，江宁人。明朝人物。万历三十五年（1607年）进士，官兵部职方司主事。参与保卫北京的战斗，并自称与袁崇焕接触，以招回关宁军。崇祯帝曾亲书“清执”二字赐给了他。\n崇祯四年担任山东巡抚期间，发生“吴桥兵变”。起初主张剿灭叛军的余大成在所部被孔有德数百人击溃后丧失了继续作战的勇气，主张招抚，并严禁与叛军作战，被嘲笑为“白莲督院”。然而招抚多次失败，导致兵马损失和大员被害，上震怒，将其贬谪。\n崇祯八年，他在被贬前往广东电白途中，特别迂道至东莞，吊祭袁崇焕，慷慨呜咽，见者声泪俱下。他既是袁崇焕的继任者，又是袁崇焕的崇拜者。留有记事名篇《剖肝录》。",[7,60,77,25,26,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb1c5c68628a7327f036208f9fa7152.jpg",[],{"id":51149,"slug":51150,"title":9940,"dynasty":18,"author":29596,"museum":107,"description":37850,"tags":51151,"thumbUrl":51152,"material":751,"size":752,"collection":95,"collections":51153,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241415,"qi-yan-lian-zhang-wen-tao-241415",[7,2136,60,75,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe320d610d682f2200473b26e6d124b92.jpg",[],{"id":51155,"slug":51156,"title":51157,"dynasty":18,"author":40857,"museum":107,"description":35367,"tags":51158,"thumbUrl":51159,"material":751,"size":752,"collection":95,"collections":51160,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241401,"jie-lu-lan-ting-zhou-tu-zhuo-241401","节录兰亭轴",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f468db4ffd50a122af7bf1d107b6b.jpg",[],{"id":51162,"slug":51163,"title":45592,"dynasty":18,"author":51164,"museum":107,"description":51165,"tags":51166,"thumbUrl":51167,"material":751,"size":752,"collection":95,"collections":51168,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241397,"xing-shu-shi-zhou-wang-mei-ding-241397","汪梅鼎","[清？ -1815 ]字映雪，一作映琴，号畹云，一号擀云，又号蓼塘。安徽休宁人。乾隆五十八年（一七九三）进士，官御史。为人恬澹真率，好饮酒，善鼓琴，诗、书、画无一不工。书法兼苏、米。以时人画山水多规抚娄东，乃独开生面，高简得宋、元人神髓；亦工兰石及花卉，尝为林远峯写双树图。老干交缠，离奇天娇，笔意纵逸。",[2135,24,25,7,75,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f82ca8c485273121d4b5572f094bba9.jpg",[],{"id":51170,"slug":51171,"title":23662,"dynasty":18,"author":31432,"museum":107,"description":51172,"tags":51173,"thumbUrl":51174,"material":751,"size":752,"collection":95,"collections":51175,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241389,"wu-lv-zhou-chen-bang-yan-241389","陈邦彦（1678～1752），清代海宁盐官人。字世南，亦作思南，号匏庐，一号春晖，又作春晖老人，又号匏庐。清代著名学者、书法家。",[24,25,75,60,7,50,27,135,140,30,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b1ee1e597eee050c519a8923a08741.jpg",[],{"id":51177,"slug":51178,"title":12961,"dynasty":18,"author":51179,"museum":107,"description":51180,"tags":51181,"thumbUrl":51182,"material":751,"size":752,"collection":95,"collections":51183,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241388,"qi-lv-zhou-yu-cheng-long-241388","于成龙","于成龙（1617年9月26日—1684年5月31日） ，字北溟，号于山，山西永宁州（今山西省吕梁市方山县）人。清初名臣、循吏。清顺治十八年（1661年），于成龙被任命为罗城县知县，在任上明确保甲制度，百姓安居乐业，全力耕作土地。康熙六年（1667年），于成龙升任四川合州知州。后迁任湖广黄州府的同知和知府，历任代理武昌知府，福建按察使，布政使、巡抚和总督等职。康熙二十年（1681年）入京觐见，升任江南江西总督。康熙二十三年（1684年），朝廷命令于成龙兼管江苏、安徽两地巡抚的政事，不久便在任上去世。被康熙帝追赠为太子太保，赐谥“清端”。有《于清端政书》八卷等著作传世。\n于成龙在二十余年的宦海生涯中，三次被举“卓异”，以卓著的政绩和廉洁刻苦的一生，深得百姓爱戴，被康熙帝赞誉为“清官第一”。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b40f013a696e43c9525f8701a41fe8.jpg",[],{"id":51185,"slug":51186,"title":12961,"dynasty":18,"author":51187,"museum":107,"description":51188,"tags":51189,"thumbUrl":51190,"material":751,"size":752,"collection":95,"collections":51191,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241381,"qi-lv-zhou-wang-ze-hong-241381","王泽弘","王泽宏（1626年－1708年），又作王泽弘，字涓来，湖广黄冈人，出生于湖广黄州府黄陂王家河王家大湾，因其官至清朝礼部尚书，康熙年间王家河因此改此名，清朝政治人物、进士出身。\n王用予之子。天启六年（1626年）出生。顺治十二年（1655年）登进士，授翰林院侍读，拜礼部左侍郎，助修栖霞寺。[1]康熙三十八年（1699年）担任左都御史。康熙三十九年（1700年）官至礼部尚书。[2]有御史犯罪被建议谪徙乌喇（今吉林市），泽宏以为乌喇死地，“流不可乌喇”，力谏不可。圣祖出巡乌喇时，深叹曰：“此非人所居，王泽宏其引朕于仁乎！”\n泽宏喜与诸名士游，王士正、姜宸英、洪异等“皆尝点定其诗”。康熙四十二年（1703年），以年老辞归，回南京养老，晚年居大功坊，“角巾散服，徜徉山水，若忘其为国老者”。康熙四十七年（1708年）卒，享年八十三岁。[4]有《昊庐集》。有子王材升、王材任、王材成、王材献、王材信、王材振。其孙王廷泰曾邀袁枚为其撰写墓碑。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc744d4d7a066020c0e57c9e48ee1bbe4.jpg",[],{"id":51193,"slug":51194,"title":17924,"dynasty":45,"author":51195,"museum":107,"description":51196,"tags":51197,"thumbUrl":51198,"material":751,"size":752,"collection":95,"collections":51199,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241362,"shi-zhou-chen-kuang-241362","陈爌","陈爌（？－？），字去炫，号公朗，又号碧云。清初政治人物。",[25,75,7,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451f5073b7a9fe5d82ed626988ad39c5.jpg",[],{"id":51201,"slug":51202,"title":51203,"dynasty":45,"author":51204,"museum":107,"description":51205,"tags":51206,"thumbUrl":51207,"material":751,"size":752,"collection":95,"collections":51208,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241353,"qing-lin-gao-hui-tu-ge-zhou-sun-guo-guang-241353","青林髙会图歌轴","孙国光","此作用笔灵动苍劲，以行书挥就长歌。通篇章法错落疏朗，点画粗细枯湿富于变化，牵丝映带间笔势连贯畅达，既有晋人萧散出尘的韵致，又暗含晚明尚态的书风意趣。\n笔墨随着诗文铺展，将青林雅集的林下风流诉诸笔端，把文友阔别思念、雅聚清欢融于开合收放之中。字字顾盼呼应，通篇一气呵成，尽显书写时的快意随心，将晚明文人潇洒疏放的襟怀，藏在每一处笔墨细节之内，兼具文学意趣与书法审美价值。",[4038,75,60,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb97544fe08bba11f94c8d7d808fec79.jpg",[],{"id":51210,"slug":51211,"title":24648,"dynasty":45,"author":51212,"museum":107,"description":51213,"tags":51214,"thumbUrl":51215,"material":751,"size":752,"collection":95,"collections":51216,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241352,"qi-lv-shi-zhou-li-yuan-kuan-241352","黎元宽","黎元宽（1608—1687），字博庵，南昌府南昌人。崇祯戊辰科进士。官至浙江提学副使。明末清初学者。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82e2886cd6234e4b6aa85d1dae2ddef.jpg",[],{"id":51218,"slug":51219,"title":51220,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":51221,"thumbUrl":51222,"material":751,"size":752,"collection":95,"collections":51223,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241347,"zhou-ci-wei-yang-deng-zha-juan-dong-qi-chang-241347","舟次维扬等札卷",[23,7,25,49,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48611280b894c4fa2c22a0a3ad21961.jpg",[],{"id":51225,"slug":51226,"title":51227,"dynasty":18,"author":454,"museum":107,"description":51228,"tags":51229,"thumbUrl":51230,"material":751,"size":752,"collection":95,"collections":51231,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241341,"jin-shi-shui-you-yin-ci-zhou-yi-ming-241341","今释水尤吟词轴","此作用笔雄健酣畅，牵丝映带尽显流转灵动，行气贯通整幅。开篇起笔沉稳，字势舒张，随行文推进，笔意渐趋跌宕，字形大小错落、欹正相生。墨色浓淡枯湿层次丰富，重墨如坠石，淡锋似流云，将词作沉郁豪情铺陈开来。\n\n章法疏密有致，纵有行横无列，通篇一气呵成，把文辞里的家国忠怀化作笔底风雷，笔墨间兼具文人隽雅意趣与武将雄迈气势，尽显抒情特质，是一件以笔墨载情志的行书佳作。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef6fa95d0d69bbff738584226cc44a50.jpg",[],{"id":51233,"slug":51234,"title":51235,"dynasty":18,"author":50893,"museum":107,"description":50894,"tags":51236,"thumbUrl":51237,"material":751,"size":752,"collection":95,"collections":51238,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241337,"wang-ming-sheng-shi-ce-wang-ming-sheng-241337","王鸣盛诗册",[7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63be2837c37970d32513106aff57119.jpg",[],{"id":51240,"slug":51241,"title":27869,"dynasty":18,"author":51242,"museum":107,"description":51243,"tags":51244,"thumbUrl":51245,"material":751,"size":752,"collection":95,"collections":51246,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241325,"lun-shu-zhou-mao-shu-tang-241325","毛树棠","[清]字芾村，河南武陟人。嘉庆十年（一八o五）翰林，官盐场侍郎。工书，有临醴泉铭。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb51c69de62fdf150211298edd3b29.jpg",[],{"id":51248,"slug":51249,"title":27869,"dynasty":18,"author":51250,"museum":107,"description":51251,"tags":51252,"thumbUrl":51253,"material":751,"size":752,"collection":95,"collections":51254,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241324,"lun-shu-zhou-he-shao-jing-241324","何绍京","字子愚，号一溪，湖南道州（今道县）人。道光十九年（一八三九）举人，湖北候选道员。以诗词、书法及鉴赏名於时。",[7,60,75,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d556798f59004ba3417f2045d818681.jpg",[],{"id":51256,"slug":51257,"title":51258,"dynasty":18,"author":51259,"museum":107,"description":51260,"tags":51261,"thumbUrl":51262,"material":751,"size":752,"collection":95,"collections":51263,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241306,"yao-fang-si-duan-juan-yu-zong-ying-241306","药方四段卷","于宗瑛","字英玉，号紫亭，汉军镶红旗人，襄勤于成龙之孙。乾隆十九年（一七五四）进士，官御史。性简淡，不趋荣利。工诗文，著有来鹤堂集。书学颜真卿，参以苏、米两家。",[25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a512449d22414ce41e84613a5e9c56.jpg",[],{"id":51265,"slug":51266,"title":51267,"dynasty":18,"author":51268,"museum":107,"description":51269,"tags":51270,"thumbUrl":51271,"material":751,"size":752,"collection":95,"collections":51272,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241305,"qi-lv-san-shou-juan-lv-shi-lian-241305","七律三首卷","吕师濂","吕师濂，明末清初浙江山阴人，字黍字，号守斋。吕本曾孙。明亡后散财结客，好谈兵。后历游九边。善书，工古文，诗豪迈不羁。有《何山草堂诗稿》、《守斋词》。",[2135,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e82f1a99a373528a6f6119e0e041dd.jpg",[],{"id":51274,"slug":51275,"title":51276,"dynasty":18,"author":51277,"museum":107,"description":51278,"tags":51279,"thumbUrl":51280,"material":751,"size":752,"collection":95,"collections":51281,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241296,"jie-shi-shan-li-shao-241296","阶诗扇","李韶","此作为篆隶结合的书法扇面，依循形制谋篇布局，上窄下舒，章法巧思尽显。上方隶书题识古拙厚重，笔墨沉浑开张，与下方铁线篆主体形成视觉呼应。铁线篆线条匀净挺劲，字字端稳灵动，全篇诗文密布却无拥塞之感，疏密排布匠心独具，尽显古雅肃穆的金石气韵。\n\n书作篆法严谨规整，隶书朴拙宽博，二者相映成趣，在尺幅之间铺陈全篇，尽显习古的雅致意韵。整体气息静穆安和，既得古篆的庄重典雅，又具隶书的朴茂意趣，是篆隶合参创作的精巧小品，尽显含蓄内敛的书法之美。",[1250,7,60,77,2135,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89524fd89ccb407f3245293d58fb288.jpg",[],{"id":51283,"slug":51284,"title":51285,"dynasty":18,"author":51286,"museum":107,"description":51287,"tags":51288,"thumbUrl":51289,"material":751,"size":752,"collection":95,"collections":51290,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241285,"wu-jia-shu-xing-kai-wu-lv-wu-jia-shu-241285","吴家树行楷五律","吴家树","此作用笔秀雅温润，行楷兼融，提按顿挫间尽显帖学法度，笔画舒展灵动，结体端稳又不失欹侧姿态，尽显文人书卷意趣。\n\n两幅题赠诗作排布疏朗匀称，字里行间透着清雅风神，朱红印章点缀其间，提亮整幅章法。纸面带着岁月晕染的痕迹，更添古旧质感，将清代书法尚雅的意趣融于笔墨之中，既见书写者的笔墨功底，也暗含文人酬唱题贺的雅致情怀，是一件兼具笔墨意趣与人文温度的书法小品。",[25,7,60,199,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10393d64e58148d13a37faf9096f1dca.jpg",[],{"id":51292,"slug":51293,"title":51294,"dynasty":18,"author":51295,"museum":107,"description":51296,"tags":51297,"thumbUrl":51298,"material":751,"size":752,"collection":95,"collections":51299,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241284,"qi-gu-li-wan-yuan-241284","七古","李万元","封面以织锦装裱，格纹错落间点缀缠枝花卉与吉祥暗纹，靛蓝与米褐交织晕开时光晕染的色泽，素签题字古拙端雅。\n\n纸页被年月晕染出浅褐包浆，边角微有卷损，却将旧纸书香的温柔厚重悉数藏纳。卷中诗文率性抒怀，笔墨带着沉厚朴拙的文人意趣，将旧时心绪凝于字里行间。\n\n这一方古卷被时光妥帖珍藏，触手间便撞入往昔的风雅余韵，静静诉说着旧时光里的文人情思。",[1498,7,457,27,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6307d635226a15a2800ce63da466a1b.jpg",[],{"id":51301,"slug":51302,"title":51303,"dynasty":18,"author":51304,"museum":107,"description":51305,"tags":51306,"thumbUrl":51307,"material":751,"size":752,"collection":95,"collections":51308,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241282,"cheng-qi-yan-liu-fei-241282","成七言","刘斐","此作为行书尺牍，笔致灵动秀雅，牵丝映带自然圆融，兼具书法法度与随性意趣。字迹排布错落疏朗，行气贯通始终，字势欹正相生，紧随文句节奏婉转流动，尽显文人书写松弛自如的状态。\n\n墨色富于浓淡枯湿变化，起收笔细节考究，点画粗细间流露温婉平和的气质，既有晋唐行书的飘逸底蕴，又带着清代帖学的审美意趣，跳出馆阁刻板，尽显文人间酬唱的雅致闲情，将尺牍实用性与书法艺术性融为一体，见字如晤旧友，笔墨间满是旧时文心。",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a90ee21f13e930b4d7766a5d674802.jpg",[],{"id":51310,"slug":51311,"title":24534,"dynasty":18,"author":51312,"museum":107,"description":51313,"tags":51314,"thumbUrl":51315,"material":751,"size":752,"collection":95,"collections":51316,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241274,"lu-wen-zhou-sun-zhi-wei-241274","孙枝蔚","孙枝蔚（1620年一1687年），清初著名诗人，字豹人，号溉堂，陕西三原人。因其家乡关中有焦获泽，时人因以焦获称之。 生于明光宗泰昌元年，卒于清圣祖康熙二十六年，年六十八岁。\n孙家世代为大商人。李自成入关，孙家即散家财组织团勇抵抗李自成，却为之所败。只身走江都，折节读书，肆力于诗古文。僦居董相祠，高不见之节。王士祯官扬州，先赠以诗，称为奇人；又特访之，与订莫逆交。康熙十八年，（公元一六七九年）举“博学鸿儒”科，因年老不能应试，特旨偕邱钟仁等七人授内阁中书。但不忘故乡，因颜所居曰溉堂，以寓西归之思。枝蔚工诗词，多激壮之音。",[7,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7240b399af809bd0871e5c04333887ec.jpg",[],{"id":51318,"slug":51319,"title":23662,"dynasty":18,"author":51320,"museum":107,"description":51321,"tags":51322,"thumbUrl":51323,"material":751,"size":752,"collection":95,"collections":51324,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241267,"wu-lv-zhou-zhang-jie-241267","张介","此作用笔纵逸酣畅，牵丝映带圆融自然，将草书的流动意趣尽数铺展。通篇行气贯通，字势欹正相生，时而大开大合舒张放达，时而紧凑内敛顾盼有情。笔墨干湿浓淡富于层次变化，枯笔苍劲老辣，润笔饱满浑厚，尽显萧散旷达的文人意韵。\n\n诗句的清远意境与书风完美相融，将山居秋夜的幽寂空阔依托笔锋挥洒而出，笔墨间浸透了创作者寄情林泉、物我两忘的襟怀。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e507140c2e69efb39eb63798d3c5d58.jpg",[],{"id":51326,"slug":51327,"title":51328,"dynasty":18,"author":51329,"museum":107,"description":51330,"tags":51331,"thumbUrl":51332,"material":751,"size":752,"collection":95,"collections":51333,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241264,"lun-hua-juan-cheng-jing-e-241264","论画卷","程京萼","程京萼：. 生卒年不详，活动于康熙年间。江苏上元人，字韦华。清代包世臣《艺舟双楫》评京萼行书为逸品下。清代梁巘《论书帖》云：“程韦华得执笔法，学山谷空灵瘦硬",[18,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7129c81db1859ac1d09c7da2c8292348.jpg",[],{"id":51335,"slug":51336,"title":51337,"dynasty":18,"author":51338,"museum":107,"description":51339,"tags":51340,"thumbUrl":51341,"material":751,"size":752,"collection":95,"collections":51342,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241250,"lun-hua-zhou-chen-xi-zu-241250","论画轴","陈希祖","陈希祖（1767-1820，一作1765-1820）字敦一，又字稚孙，号玉香，更号玉方，一作玉芳。江西新城钟贤（今江西省黎川县中田乡）人。官御史。清代学者、著名书法家。",[25,75,60,27,282,132,1177,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e56cafabe5bdfb77cacee33fe1bffdf.jpg",[],{"id":51344,"slug":51345,"title":23662,"dynasty":18,"author":51346,"museum":107,"description":51347,"tags":51348,"thumbUrl":51349,"material":751,"size":752,"collection":95,"collections":51350,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241247,"wu-lv-zhou-xu-you-241247","许友","福建侯官人，初名宰，又名友眉，字有介，一字瓯香。许豸子。诸生。诗孤旷高迥，钱谦益尝录其诗入《吾炙集》，王士禛、朱彝尊并称之。善画工书，少师倪元璐，晚慕米芾，筑米友堂以祀之。康熙间卒。有《米友堂诗集》。",[24,25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21cef9104ea9b968069665931d971c17.jpg",[],{"id":51352,"slug":51353,"title":13677,"dynasty":18,"author":51354,"museum":107,"description":51355,"tags":51356,"thumbUrl":51360,"material":751,"size":752,"collection":95,"collections":51361,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241246,"wu-gu-zhou-wu-wen-241246","吴雯","吴雯（1644－1704）字天章，号莲洋，又号玉溪生。山西蒲州人，康熙十八年（1379）试博学鸿词，不第，游食南北，足迹几遍古天下，其诗清新自然，王士禛誉为仙人。.",[24,25,75,7,398,50,298,133,651,16219,51357,51358,51359],"窗","斋","阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f97cc5f9c54829837dfb12b6ffcb6.jpg",[],{"id":51363,"slug":51364,"title":26787,"dynasty":18,"author":51365,"museum":107,"description":51366,"tags":51367,"thumbUrl":51368,"material":751,"size":752,"collection":95,"collections":51369,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241245,"qi-jue-shi-zhou-yao-nai-241245","姚鼐","姚鼐（nài）（1732年—1815年），字姬传，一字梦谷，室名惜抱轩（在今桐城中学内），世称惜抱先生，安庆府桐城（今安徽桐城市）人。清代散文家，与方苞、刘大櫆并称为“桐城派三祖”。\n姚鼐于乾隆十五年（1750年）中江南乡试，乾隆二十八年（1763年）中进士，授庶吉士，三年后散馆改主事，曾任山东、湖南副主考，会试同考官。乾隆三十八年（1773年）入四库全书馆充纂修官，乾隆三十九年（1774年）秋，借病辞官。归里后，以授徒为生，先后主讲扬州梅花书院、安庆敬敷书院、歙县紫阳书院、南京钟山书院，培养了一大批学人弟子。嘉庆二十年（1815年），逝世于钟山书院，享年八十五岁。\n姚鼐治学以经学为主，兼及子史、诗文。他文宗方苞，师承刘大櫆，主张“有所法而后能，有所变而后大”，在方苞重义理、刘大櫆长于辞章的基础上，提出“义理、考据、辞章”三者不可偏废，发展和完善了桐城派文论。为桐城派散文之集大成者。 著有《惜抱轩诗文集》，编有《古文辞类纂》等。",[75,7,60,50,77,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320a2387cd59ea933c02a4bf076b9b9f.jpg",[],{"id":51371,"slug":51372,"title":18391,"dynasty":18,"author":51373,"museum":107,"description":51374,"tags":51375,"thumbUrl":51376,"material":751,"size":752,"collection":95,"collections":51377,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241243,"qi-jue-zhou-li-xi-gun-241243","李锡袞","此作用笔纵放雄健，以草书书就，提按转折间尽显骨力苍劲。墨色枯湿浓淡富于变化，润燥相生间令线条极具张力。整幅行气连贯畅达，字势欹正错落，开篇字形舒张大开大合，随诗文意境缓缓收束沉凝，将山居晓景的幽旷野趣融于笔墨之中。\n\n书者以笔为心，把诗作里空山无人、啼鸟破寂的禅意，通过奔放恣肆又不失法度的线条传递而出，笔势裹挟着诗情，让书法成为诗意的延展，尽显旷达襟怀与扎实书功。",[7,398,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2f6940f78e336c0b51d454ef46c876.jpg",[],{"id":51379,"slug":51380,"title":51381,"dynasty":18,"author":51382,"museum":107,"description":51383,"tags":51384,"thumbUrl":51385,"material":751,"size":752,"collection":95,"collections":51386,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241240,"zhuang-bao-shu-qi-jue-zhou-zhuang-bao-241240","庄宝书七绝轴","庄宝","此作为行书七绝，笔墨苍劲灵动，提按顿挫间节律婉转，起收锋棱可见筋骨力道。牵丝映带让行气贯通流转，分行布白疏朗匀停，虚实相生。\n正文大字雄逸舒展，落款小字古秀内敛，主次对比分明。枯润浓淡的墨色变化，搭配古旧绢本的岁月晕染，将诗文里幽寂的林泉禅意融于笔底，把山僧伴月、闲话忆溪的澹远雅趣尽数铺陈，尽显清代行书尚意且不失法度的文人意趣。",[7,75,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8b3ce4d939f954cf7b77dea9c5970.jpg",[],{"id":51388,"slug":51389,"title":51390,"dynasty":18,"author":51391,"museum":107,"description":51392,"tags":51393,"thumbUrl":51394,"material":751,"size":752,"collection":95,"collections":51395,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241237,"qiu-ri-yuan-ju-shi-zhou-zhao-qian-241237","秋日园居诗轴","赵谦","此作用笔圆润灵动，以行书间杂草意，牵丝映带自然流畅，笔画粗细映带相生，行气连贯悠长。书写自作园居诗作，笔墨间尽显秋日幽居的萧散闲逸，将诗书意韵融于笔墨章法之中。通篇布局舒朗匀停，字势顾盼有情，带着秀雅温润的帖学风神，把幽居青山、静对晚色的澹然心境化作笔底意趣，尽显文人修身寄兴的清雅襟怀。",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de9595c93327a3a15e69744ceed14dc.jpg",[],{"id":51397,"slug":51398,"title":29530,"dynasty":18,"author":51399,"museum":107,"description":51400,"tags":51401,"thumbUrl":51402,"material":751,"size":752,"collection":95,"collections":51403,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241229,"wu-lv-shi-zhou-li-shan-shu-241229","李善树","此作用笔纵逸灵动，行书间杂草意，起笔藏露相济，行笔提按顿挫富于变化，线条粗细枯润相映成趣。枯笔苍劲见筋骨，湿墨浑厚蕴丰腴，墨色层次分明，尽显笔法意趣。\n\n章法疏朗错落，字间牵丝映带自然，行气贯通流畅。笔墨疾缓呼应诗文情志，将书韵与诗意相融，放逸中不失沉稳洒脱。每一字随势生发，通篇浑然一体，尽显文人书法抒情达意的雅致，将笔法之美、章法之妙与文学意趣相合，尽显古典书法抒情与艺术之美。",[18,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350a03ac60c6e25c04f5a206802e1774.jpg",[],{"id":51405,"slug":51406,"title":51407,"dynasty":18,"author":31963,"museum":107,"description":51408,"tags":51409,"thumbUrl":51410,"material":312,"size":95,"collection":96,"collections":51411,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241210,"han-shi-xiao-zhou-wang-shi-hong-241210","韩诗小轴","汪士鋐（1658年—1723年），字文升，号退谷，又号秋泉居士，长洲（今江苏苏州）人。清代书法家、藏书家。汪琬从子。\n汪士鋐（1658－1723），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，官中允。书法与姜西溟（宸英）称姜汪。得执笔法，书绝瘦硬颉颃张照，诸子莫及。曾题沈凡民印谱自谓初学停云馆麻姑仙坛、阴符经，友人讥为木板黄庭，因一变学赵（赵孟頫）得其弱，再变学褚（褚遂良）得其瘦。晚年尚慕篆、隶，时悬阳冰（李阳冰）颜家庙碑额于壁间，观玩摹拟而岁月迟暮，精进无几。其书能大而不能小，然有奇势，纵横自放，而分间布白，无分寸失。名公卿碑版多出其手。著瘗鹤铭考、秋泉居士集、全秦艺文志。卒年六十六。《书林纪事、履园丛话、昭代尺牍小传、论书帖》\n翁方纲诗有“楷法同时汪与何”，自注“汪谓退谷中允”，“何乃何焯也”。（复初斋诗集卷12‧院之东厅，康熙乙未秋长洲何义门学士书联云「仪凤祥麟游集盛，金书玉字职司勤。」字画遒劲，方纲摹而重锓之，记以四诗）",[25,7,75,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbff9120af23d3728916b1c74330b304.jpg",[96],{"id":51413,"slug":51414,"title":45728,"dynasty":45,"author":27986,"museum":107,"description":27987,"tags":51415,"thumbUrl":51416,"material":751,"size":752,"collection":95,"collections":51417,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241193,"qi-lv-shi-shan-mian-song-cao-241193",[7,1250,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7958df6cac865a64d2f3f9787858ac98.jpg",[],{"id":51419,"slug":51420,"title":51421,"dynasty":45,"author":51422,"museum":107,"description":51423,"tags":51424,"thumbUrl":51425,"material":751,"size":752,"collection":95,"collections":51426,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241187,"zhi-yao-xian-wen-zha-zuo-guang-dou-241187","致姚现闻札","左光斗","左光斗（1575年10月12日—1625年8月30日），字遗直，一字拱之、共之，号浮丘，又号苍屿。安庆府桐城县（今安徽省枞阳县横埠镇）人。明末东林党人，水利专家，“东林六君子”之一。\n左光斗自小勤奋好学。其于万历三十五年（1607年）进士及第，授中书舍人。万历四十七年（1619年），被举任为浙江道监察御史。 之后历官左佥都御史、直隶屯田事、大理寺左寺丞。天启五年三月十九日（1625年4月25日），因对抗权宦魏忠贤而下狱。七月二十六日（8月30日）在狱中被折磨而死，享年五十一岁。南明弘光时平反，谥为忠毅。\n左光斗为官清正、磊落刚直，被誉为“铁面御史”，为挽救明王朝做出了许多努力，出任屯田监察御史期间，在天津实施“三因十四议”的屯田方案。 还主持了西北水利空间范围内的京东、畿辅的水利屯田实践，取得明显成效。 后人辑有《左忠毅公集》。",[23,4038,7,60,49,77,22168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2292bb998f616576b9da118dadac97cd.jpg",[],{"id":51428,"slug":51429,"title":51430,"dynasty":18,"author":51431,"museum":107,"description":51432,"tags":51433,"thumbUrl":51434,"material":751,"size":752,"collection":95,"collections":51435,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241185,"qing-ren-ji-jin-ce-lun-xiao-xue-ye-kong-ji-su-241185","清人集锦册-论小学页","孔继涑","孔继涑，字信夫，一字体字，号谷园，别号葭谷居士。曲阜人，六十八代衍圣公孔传铎第五子。",[24,25,26,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fd58bdd7198f5e5647c12f769e395b.jpg",[],{"id":51437,"slug":51438,"title":51439,"dynasty":18,"author":51440,"museum":107,"description":51441,"tags":51442,"thumbUrl":51443,"material":751,"size":752,"collection":95,"collections":51444,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241179,"qing-ren-ji-jin-ce-shi-ye-yang-han-241179","清人集锦册-诗页","杨翰","杨翰（1812年～1879年），字伯飞，一字海琴，号樗盦，别号息柯居士，直隶河间（今河北省河间市）人。清朝大臣，著名学者。\n嘉庆十七年，生于父亲所在四川官署。道光二十五年，中进士，授官湖南辰沅永靖道台，官至永州知府。光绪五年，病逝，享年六十七岁，葬于浯溪。",[25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6de3dd8351f0b75c45e2b813f8aa76.jpg",[],{"id":51446,"slug":51447,"title":31476,"dynasty":18,"author":31032,"museum":107,"description":31033,"tags":51448,"thumbUrl":51449,"material":751,"size":752,"collection":95,"collections":51450,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},241168,"lin-tie-zhou-li-zhao-luo-241168",[7,110,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507afb3c0401e9388de3ea4483ac9825.jpg",[],{"id":51452,"slug":51453,"title":51454,"dynasty":18,"author":51455,"museum":107,"description":51456,"tags":51457,"thumbUrl":51458,"material":751,"size":752,"collection":95,"collections":51459,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241164,"cha-sheng-lu-yu-zhou-cha-sheng-241164","查昇录语轴","查昇","查升（1650年—1707年），字仲韦，号声山，浙江海宁袁花人。清代书法家。\n清康熙二十七年（1688）进士，选翰林院庶吉士，授编修。时康熙帝选儒臣侍值以备顾问，他经荐入直南书房多年，累迁至少詹事。著有《澹远堂集》。时人称查升书法、查慎行诗、朱自恒画为“海宁三绝”。",[18,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4307c86ae52228e167a9a5df8391f1.jpg",[],{"id":51461,"slug":51462,"title":51463,"dynasty":18,"author":51464,"museum":107,"description":51465,"tags":51466,"thumbUrl":51467,"material":751,"size":752,"collection":95,"collections":51468,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241144,"wan-bai-shan-ren-chuan-heng-sun-yun-gui-241144","完白山人传横","孙云桂","余自与石如交情……每掀髯大言曰：邓布衣篆书，世岂有敌哉，其狂不可及则畏之。迨浃洽久，出肺肝相示，忘形骸精诚可贯金石。盖古之任侠士也，则昵而爱之。……君名琰号石如邓其姓怀宁人。",[7,60,49,312,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275a154c4531b98a7d4483b4528340e5.jpg",[],{"id":51470,"slug":51471,"title":51472,"dynasty":18,"author":51473,"museum":107,"description":51474,"tags":51475,"thumbUrl":51476,"material":751,"size":752,"collection":95,"collections":51477,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241143,"chao-xian-si-zi-heng-hong-yi-hao-241143","（朝鲜）四字横","洪义浩","这幅行书横作，四字主笔墨色饱满沉厚，线条雄阔苍劲，起收藏露相生，转折圆劲浑厚，尽显朴拙开张的大气筋骨。左侧题款小字灵动舒缓，与大字形成疏密张弛的视觉反差，章法错落和谐，将碑学的雄强与帖学的流便相融。\n\n纸色古旧晕染开岁月质感，笔墨间既有庙堂端严之气，又兼具萧散简远的林下风神，藏着书家沉潜的心境与不俗笔力，尽显传统书法的写意精神与文人意趣。",[7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f7c43963f18df6724e5e934b435500.jpg",[],{"id":51479,"slug":51480,"title":17924,"dynasty":18,"author":51481,"museum":107,"description":51482,"tags":51483,"thumbUrl":51484,"material":751,"size":752,"collection":95,"collections":51485,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241138,"shi-zhou-gong-ding-zi-241138","龚鼎孳","龚鼎孳（1616年1月5日—1673年10月12日），字孝升，因出生时庭院中紫芝正开，故号芝麓，安徽合肥人。明末清初诗人、文学家，与吴伟业、钱谦益并称为“江左三大家”。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b436620f301da077af9f5313f6c2dfc.jpg",[],{"id":51487,"slug":51488,"title":51489,"dynasty":18,"author":51490,"museum":107,"description":51491,"tags":51492,"thumbUrl":51493,"material":751,"size":752,"collection":95,"collections":51494,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241133,"ren-shou-shi-zhou-wang-cai-241133","任寿诗轴","王材","王材（1509－1586）字子难，号稚川。明代诗人,江西抚州黎川县人。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3cb5412b3155a5d10240ceb200b4e2.jpg",[],{"id":51496,"slug":51497,"title":7243,"dynasty":45,"author":51498,"museum":107,"description":51499,"tags":51500,"thumbUrl":51501,"material":751,"size":752,"collection":95,"collections":51502,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241127,"shi-shan-mian-yue-he-sheng-241127","岳和声","岳和声（生卒年不详），字尔律，一作之律，号石梁，一号梁父，自号餐微子，浙江嘉兴府秀水县（今桐乡市）人。南宋著名军事家、诗人岳飞十八世孙。",[1250,25,24,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccee7fac868431af3f2b48b1400c94bf.jpg",[],{"id":51504,"slug":51505,"title":51506,"dynasty":45,"author":51507,"museum":107,"description":51508,"tags":51509,"thumbUrl":51510,"material":751,"size":752,"collection":95,"collections":51511,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241120,"jie-lu-song-luo-da-jing-shan-jing-ri-zhang-shan-mian-fei-meng-yan-241120","节录宋罗大经山静日长扇面","费孟彦","此作为泥金扇面，墨色沉润与金底相映，愈见雅致。行书笔致灵动秀逸，结体疏密随扇面弧度自然排布，行气舒展贯通，毫无壅滞之感。笔墨温润兼具筋骨，既有晋唐行书的飘逸韵致，又带着明代书风特有的妍雅之态。\n\n节录文辞的安闲意趣，与书法的悠然笔意相融，将山静日长的林下幽思藏入毫端，观之如临松窗竹下，仿佛能窥见书者展卷挥毫时的澹然心境，墨痕里漫溢出古典文人的闲适襟怀。",[4038,1250,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c3126555687761d6012727a3bb0bfd.jpg",[],{"id":51513,"slug":51514,"title":51515,"dynasty":45,"author":51516,"museum":107,"description":51517,"tags":51518,"thumbUrl":51519,"material":751,"size":752,"collection":95,"collections":51520,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241115,"deng-qing-yun-si-zuo-qi-yan-shi-shan-mian-wang-shi-he-241115","登青云寺作七言诗扇面","王时和","此作为金笺行书扇面，用笔苍劲舒展，提转间筋骨尽显，结体疏密欹正相映，顺着扇形走势排布章法，行气流宕自然。诗作纪游寄禅，笔墨与诗意相融，将登寺览景的幽远禅思，藏于朴拙沉稳的点画之间。既有明人行书尚态抒情的典型风貌，亦带着文人雅逸的林下之风，笔墨间尽显沉静古雅的气韵，是兼具文学意涵与书法美感的佳制。",[1250,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83929176e431f15ea9b64fa45891cf07.jpg",[],{"id":51522,"slug":51523,"title":51524,"dynasty":45,"author":51525,"museum":107,"description":51526,"tags":51527,"thumbUrl":51528,"material":751,"size":752,"collection":95,"collections":51529,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241111,"wu-yan-shou-shi-meng-shao-yu-241111","五言寿诗","孟绍虞","天启五年十二月，叙日讲官员，升协理詹事府事礼部右侍郎兼翰林院侍读学士骆从宇、施凤来各左侍郎；少詹事兼翰林院侍读学士孟绍虞詹事府詹事兼官日讲，俱照旧。",[4038,7,60,26,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591296eee4c7925578adaaaf5d22c4f.jpg",[],{"id":51531,"slug":51532,"title":51524,"dynasty":45,"author":51533,"museum":107,"description":51534,"tags":51535,"thumbUrl":51536,"material":751,"size":752,"collection":95,"collections":51537,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241110,"wu-yan-shou-shi-wang-zuo-yuan-241110","王祚远","王祚遠，字無近，贵州普安卫（今贵州省盘县）籍应天府句容县人，晚明官员，同進士出身。 萬歷四十一年（1613年）癸丑科進士，三甲一百十三名，选为庶吉士。",[7,60,77,26,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0ee2e05e2cdd0dc1c49cdbc55ac9c6.jpg",[],{"id":51539,"slug":51540,"title":17924,"dynasty":18,"author":51541,"museum":107,"description":51542,"tags":51543,"thumbUrl":51544,"material":751,"size":752,"collection":95,"collections":51545,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241075,"shi-zhou-wang-zuo-241075","王佐","工四体书，兼善山水、翎毛，才艺俱优。参将沐崧欲延入幕府却之，以书、画自娱。",[24,25,75,398,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddf390d45bb9300bec578e6f2c7c0fd.jpg",[],{"id":51547,"slug":51548,"title":51549,"dynasty":45,"author":40900,"museum":107,"description":40901,"tags":51550,"thumbUrl":51551,"material":751,"size":752,"collection":95,"collections":51552,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241072,"zhi-zhi-ba-zha-juan-wang-zhi-deng-241072","致侄八札卷",[92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a5f7db84c76e4cf04dafbf0ae36f1a.jpg",[],{"id":51554,"slug":51555,"title":17924,"dynasty":18,"author":2634,"museum":107,"description":37247,"tags":51556,"thumbUrl":51557,"material":751,"size":752,"collection":95,"collections":51558,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},241042,"shi-zhou-dong-bang-da-241042",[24,25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013f13ac81673ce0293ffe642306d17f.jpg",[],{"id":51560,"slug":51561,"title":51562,"dynasty":45,"author":51563,"museum":107,"description":51564,"tags":51565,"thumbUrl":51566,"material":751,"size":752,"collection":95,"collections":51567,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241015,"shu-qi-lv-juan-yang-chong-shan-241015","书七律卷","杨崇善","此作用笔纵逸洒脱，通篇以草书挥洒，笔墨枯湿浓淡富于变化，提转顿挫间尽显笔力遒劲。起首笔势开张，字形欹正相生，将律诗意韵融于线条流转之中，随诗意起伏，或缓或疾，时而朴拙厚重，时而灵动飞扬。\n\n字里行间疏朗错落，满纸笔墨却丝毫不显拥塞，墨色晕染自然，枯笔处见筋骨嶙峋，湿笔处见腴润饱满，将诗作里的羁旅愁思、故园之念依托笔墨倾泻而出，是诗书合一的佳构，尽显文人风雅的笔墨情致。",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd791233fb3b869a29c7f31b53733ec53.jpg",[],{"id":51569,"slug":51570,"title":51571,"dynasty":45,"author":41678,"museum":107,"description":41679,"tags":51572,"thumbUrl":51573,"material":312,"size":95,"collection":96,"collections":51574,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},241000,"tao-yan-zhi-juan-pian-tao-yan-241000","陶琰致卷片",[23,7,60,49,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94301e67249c331fbb503d062233b6cc.jpg",[96],{"id":51576,"slug":51577,"title":51578,"dynasty":45,"author":51579,"museum":126,"description":51580,"tags":51581,"thumbUrl":51582,"material":312,"size":95,"collection":96,"collections":51583,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240997,"shu-yi-lu-tang-ye-ji-lian-ju-juan-zhu-ying-deng-240997","书宜禄堂夜集联句卷","朱应登","此狂草长卷笔墨纵逸酣畅，字势奇宕舒展。牵丝映带间流转自然，将唱和雅兴寄寓于笔墨节律。布白疏密相生，时如惊风骤雨、字间缠绕密不透风，时似空山留白、疏朗自在。行与行错落呼应，如流泉奔涌一气呵成。墨色枯润浓淡交织，燥锋挺劲见筋骨，湿笔腴润藏温雅，起落提按间暗合夜集疏放的文人意气，尽显狂草抒情性与法度之美。",[23,7,49,60,50,77,51,54,1752,52,53,55,116,131,139,132,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c98dbb2e6557e349cc7e45226036aa3.jpg",[96],{"id":51585,"slug":51586,"title":51587,"dynasty":18,"author":51588,"museum":107,"description":51589,"tags":51590,"thumbUrl":51591,"material":751,"size":752,"collection":95,"collections":51592,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240990,"si-jia-zhi-song-luo-zha-juan-liang-xi-240990","四家致宋荦札卷","梁熙","梁熙，字曰缉，鄢陵人，清朝政治人物、进士出身。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea060d8ab1a6224cd17a7ced4325ab4.jpg",[],{"id":51594,"slug":51595,"title":29530,"dynasty":18,"author":7664,"museum":107,"description":7665,"tags":51596,"thumbUrl":51597,"material":751,"size":752,"collection":95,"collections":51598,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240985,"wu-lv-shi-zhou-huang-shen-240985",[24,25,7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9771fb72a35c43e7453920028d8b6213.jpg",[],{"id":51600,"slug":51601,"title":29530,"dynasty":45,"author":51602,"museum":107,"description":51603,"tags":51604,"thumbUrl":51608,"material":751,"size":752,"collection":95,"collections":51609,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240983,"wu-lv-shi-zhou-zhu-yan-xi-240983","朱延禧","朱延禧（？～？） 明末大臣。字允修。今东昌府区人。万历二十三年（1595）进士，即授为翰林院检讨，后升任礼部右侍郎。",[7,60,75,77,51605,3040,51606,134,51607,9676,21971,31127,845,651,2739,6297,14603],"紫阁","日华","汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17dd10a0b07fa576f6dfa81dd6656fb.jpg",[],{"id":51611,"slug":51612,"title":27953,"dynasty":18,"author":45453,"museum":107,"description":45454,"tags":51613,"thumbUrl":51614,"material":751,"size":752,"collection":95,"collections":51615,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240977,"wu-jue-zhou-xue-kai-240977",[2135,24,25,7,75,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e6b338adcb67ef5b87d9d8e6eaa217.jpg",[],{"id":51617,"slug":51618,"title":51619,"dynasty":45,"author":454,"museum":107,"description":51620,"tags":51621,"thumbUrl":51622,"material":751,"size":752,"collection":95,"collections":51623,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240960,"san-wu-mo-miao-ce-gu-li-he-xue-fang-yin-zhang-luo-weng-qi-shi-shou-shi-yi-ming-240960","三吴墨妙册-顾瑮贺雪舫姻丈罗翁七十寿诗","此作用笔爽劲利落，起收转折皆合行书法度，牵丝映带灵动婉转，将刚劲骨力与秀润姿态相融。章法疏密随性排布，通篇行气贯通，墨色浓淡干湿层次丰富，尽显书写时的松弛意绪。\n\n作为贺寿诗札，笔墨间暗含恭谨雅致的心意，是明代尺牍书法的典型风貌。书者以笔墨寄寓风雅，既恪守文人应酬的得体，又不失随性抒怀的自在，尽显明人行书重态尚意的特质，是兼具文献价值与艺术观赏性的小品佳作。",[24,25,26,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc723804410f3d1f5eec64b935f5f2387.jpg",[],{"id":51625,"slug":51626,"title":51627,"dynasty":45,"author":51628,"museum":107,"description":51629,"tags":51630,"thumbUrl":51631,"material":751,"size":752,"collection":95,"collections":51632,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240938,"ji-huai-shi-er-shou-shan-mian-dong-si-cheng-240938","寄怀诗二首扇面","董嗣成","董嗣成 （1560－1595）乌程（今浙江吴兴）人。万历八年（1580）进士，工吟咏，善行、楷，绘事超然有简远之趣。卒年三十六。字号：伯念、清芝、采芝仙子，浙江湖州人。擅长行、楷书及绘画。",[4038,1250,7,60,385,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7171fe17d8430f6048fe9ac74e4b01.jpg",[],{"id":51634,"slug":51635,"title":29364,"dynasty":18,"author":51636,"museum":107,"description":51637,"tags":51638,"thumbUrl":51639,"material":751,"size":752,"collection":95,"collections":51640,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240925,"shi-he-juan-wang-qi-sun-240925","王芑孙","王芑孙（1755—1817），清代文学家、赋论家。字念丰，一字沤波，号惕甫，一号铁夫、云房，又号楞伽山人。长洲（今江苏苏州）人。乾隆五十三年（1788）召试举人，任国子监典籍、咸安宫教习、华亭县教谕。后辞官归，任扬州乐仪书院山长。学问宏博，文章名震一时，肆力于诗，最工五古，被称为“吴中尊宿”。工书逼刘墉，不期而合。吴门自明季以来，书家用笔，皆以清秀俊逸见长，至芑孙，始以遒厚浑古矫之，遂为三百年所未有。著有《碑版广例》、《楞伽山房集》、《渊雅堂集》。",[23,25,49,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb636181f8cdc43e399fbf45c8fe84290.jpg",[],{"id":51642,"slug":51643,"title":51644,"dynasty":45,"author":51645,"museum":107,"description":51646,"tags":51647,"thumbUrl":51648,"material":751,"size":752,"collection":95,"collections":51649,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240915,"fang-tai-nan-tuo-an-bei-ji-juan-yang-ru-cheng-240915","方台难陀菴碑记卷","杨汝成","杨汝成（？－？），字载宁，号元玉，南直隶松江府华亭县灶籍。",[7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6474eb6d9cdd26949460a1661d62a8f0.jpg",[],{"id":51651,"slug":51652,"title":23662,"dynasty":18,"author":468,"museum":107,"description":21686,"tags":51653,"thumbUrl":51654,"material":751,"size":752,"collection":95,"collections":51655,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240913,"wu-lv-zhou-cheng-zheng-kui-240913",[7,75,60,398,50,77,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5f3184806d8dc7411f81b683c97183.jpg",[],{"id":51657,"slug":51658,"title":51659,"dynasty":18,"author":51660,"museum":107,"description":51661,"tags":51662,"thumbUrl":51663,"material":751,"size":752,"collection":95,"collections":51664,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240906,"liu-lin-qi-jue-er-shou-zhou-tang-bin-240906","柳林七绝二首轴","汤斌","汤斌（1627年—1687年），字孔伯，号荆岘，晚号潜庵。河南睢州（今河南睢县）人，清朝政治家、理学家暨书法家，官至工部尚书，卒谥文正。汤斌一生清正廉明，是实践朱学理论的倡导者，所到之处体恤民艰，弊绝风清，政绩斐然，被尊为“理学名臣”。",[24,25,75,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5de1cf7ddefe1ee893a03a06ae3e17fe.jpg",[],{"id":51666,"slug":51667,"title":51668,"dynasty":18,"author":51032,"museum":107,"description":51033,"tags":51669,"thumbUrl":51670,"material":751,"size":752,"collection":95,"collections":51671,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240904,"lu-yu-wan-shan-chen-bao-chen-240904","录语纨扇",[25,1250,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab23046161a3cf8fd0cf35ee4d8a275.jpg",[],{"id":51673,"slug":51674,"title":51675,"dynasty":18,"author":51676,"museum":107,"description":51677,"tags":51678,"thumbUrl":51679,"material":751,"size":752,"collection":95,"collections":51680,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240892,"zi-shu-shi-tuan-shan-mian-sun-yi-jun-240892","自书诗团扇面","孙义钧","这两幅团扇面纸面虽有残损，却晕开独属于旧时光的厚重质感。笔法清隽秀雅，点画间顾盼有情，行笔舒展灵动，是兼具馆阁法度与文人意趣的小行书。诗作与笔墨相映成趣，字里行间尽显文人雅致，落笔既有端稳谨严的章法，又藏着随性舒展的闲情。残损纸面非但没有折损其美感，反而为这件小品添了几分古旧温柔的书卷气，将旧时文人笔下的风雅意态尽数铺展在这一方团扇之上，尽显手写诗文里的沉静文心。",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11124306a925117e5445adf48e35a74e.jpg",[],{"id":51682,"slug":51683,"title":51684,"dynasty":45,"author":21129,"museum":107,"description":21130,"tags":51685,"thumbUrl":51686,"material":751,"size":752,"collection":95,"collections":51687,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240883,"za-shu-shi-ce-wu-kuan-240883","杂书诗册",[25,26,60,7,385,4038,14632,4440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b7f882622f12b0a331a79d29ef1c3c.jpg",[],{"id":51689,"slug":51690,"title":51691,"dynasty":45,"author":19682,"museum":107,"description":51692,"tags":51693,"thumbUrl":51694,"material":751,"size":752,"collection":95,"collections":51695,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240876,"wan-qing-fu-ce-xing-dong-240876","晚晴赋册","邢侗（1551年－1612年），字子愿，晚号来禽济源山主，山东临邑人。晚明政治人物、書畫家。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec02db45008499e276a4621d9a51c2.jpg",[],{"id":51697,"slug":51698,"title":51699,"dynasty":45,"author":51700,"museum":107,"description":51701,"tags":51702,"thumbUrl":51703,"material":751,"size":752,"collection":95,"collections":51704,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240861,"dong-ting-liang-shan-fu-juan-wang-ao-240861","洞庭两山赋卷","王鏊","字济之，别号守溪，学晚号震泽先生，苏州吴县人。明成化十年（1474年）乡试、会试皆第一，殿试一甲第三名。 授翰林院编修。弘治初，选侍讲学士，充讲官。后转少詹事，擢吏部右侍郎。正德元年（1506年）四月起为吏部左侍郎，与诸大臣请诛大太监刘瑾。刘瑾掌权，欲焦芳入阁，廷议独推鏊。刘瑾迫于公论，命鏊以本官兼学士与芳同入内阁。时中外大权皆归瑾，鏊不能救，力求去，四年，许之。后归居苏州，致力于地方文献著述。嘉靖三年（1524年）卒。赠太傅，谥文恪。其人博学有识鉴，文章议论畅明，为人、德望均为时人敬服，门下学生众多，唐寅也是其中之一。著有《姑苏志》、《震泽集》等，《明史》一百八十一有传。",[92,24,25,49,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb7d187d31ff6641bc0c48c370a76cb.jpg",[],{"id":51706,"slug":51707,"title":51708,"dynasty":45,"author":8163,"museum":107,"description":24443,"tags":51709,"thumbUrl":51710,"material":751,"size":752,"collection":95,"collections":51711,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240857,"za-hua-shi-juan-wen-peng-240857","杂花诗卷",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f61b24e52a3aa46a17bbb91beb5e6c6.jpg",[],{"id":51713,"slug":51714,"title":22728,"dynasty":45,"author":51715,"museum":107,"description":51716,"tags":51717,"thumbUrl":51718,"material":751,"size":752,"collection":95,"collections":51719,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240855,"shi-juan-zhou-yan-ru-240855","周延儒","字玉绳，号挹斋，南直隶常州府宜兴县（今江苏省宜兴市）人。明朝末年大臣，崇祯年间的内阁首辅之一。\n周延儒自幼聪颖，万历四十一年（1613年）连中会元、状元，历任翰林院修撰、右中允、左庶子、少詹事、正詹、礼部右侍郎等职。他善于迎合崇祯帝旨意，于崇祯二年（1629年）十二月以礼部尚书兼东阁大学士，进入内阁。翌年二月加太子太保衔，改任文渊阁大学士，九月升任内阁首辅，加少保衔，进武英殿大学士。崇祯五年（1632年）二月加少傅兼太子太傅，改吏部尚书，进建极殿大学士。期间与同僚温体仁倾轧，崇祯六年（1633年）六月因被言官陈赞化揭露曾私下称崇祯帝为“羲皇上人”而辞职。崇祯十四年（1641年）九月再任内阁首辅，翌年七月进少师，升为中极殿大学士。他复出后，推翻温体仁主政时的弊政，笼络人心，并重新获得崇祯帝的信任。但同时也倚靠吴昌时、董廷献等亲信，结交内侍，收受贿赂，加剧了朝政的腐败。\n崇祯十五年（1642年）冬，清军第六次入塞大掠，翌年四月，周延儒自请督师堵截撤退的清军，但他不仅没有认真堵截，还不断谎报军情。五月还朝后，崇祯帝欲加封他为太师，但其督师期间的行径随即由锦衣卫都督骆养性等密告于崇祯帝，因而被勒令致仕回乡。不久，言官雷縯祚、郝䌹、蒋拱宸等揭发其招权纳贿、结交内侍，触怒崇祯帝，周延儒被再召至京师，于崇祯十六年十二月（1644年1月）赐死，时年五十五岁。清修《明史》将他列入“奸臣传”。",[23,7,49,60,77,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd68c0a36f4346847b8f2f5faab6ed9.jpg",[],{"id":51721,"slug":51722,"title":51723,"dynasty":18,"author":51724,"museum":107,"description":51725,"tags":51726,"thumbUrl":51727,"material":751,"size":752,"collection":95,"collections":51728,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240839,"zhi-lan-po-zha-tong-juan-zhou-er-yong-240839","致兰坡札(通)卷","周尔墉","官京师时，舆昆明赵光齐名。咸丰四年（一八五四）作行书屏，时年六十三。卒年未详。",[23,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da0fd0143f3f4eb9e5dac793d7348.jpg",[],{"id":51730,"slug":51731,"title":22728,"dynasty":18,"author":51732,"museum":107,"description":51733,"tags":51734,"thumbUrl":51735,"material":751,"size":752,"collection":95,"collections":51736,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240831,"shi-juan-cheng-fang-240831","程淓","程淓，顺治进士，曾任诸城县令，擅长山水画，书法。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e5772516527ddd614b08bb15fcacbd.jpg",[],{"id":51738,"slug":51739,"title":41322,"dynasty":18,"author":19071,"museum":107,"description":19072,"tags":51740,"thumbUrl":51741,"material":751,"size":752,"collection":95,"collections":51742,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240830,"shou-zha-heng-yi-bing-shou-240830",[7,60,77,25,2282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78cbb7979a4cdd76fc13ed44441bb79.jpg",[],{"id":51744,"slug":51745,"title":21935,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":51746,"thumbUrl":51747,"material":751,"size":752,"collection":95,"collections":51748,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240824,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240824",[24,25,60,7,77,12349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da77218e0d2f5accc222dda07a9f5bc.jpg",[],{"id":51750,"slug":51751,"title":24648,"dynasty":45,"author":51752,"museum":107,"description":51753,"tags":51754,"thumbUrl":51755,"material":751,"size":752,"collection":95,"collections":51756,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240823,"qi-lv-shi-zhou-lu-lv-qian-240823","陆履谦","明苏州府常熟人，字道卿。工画山水。",[25,7,75,398,50,77,2293,115,6298,6398,45777,4098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84921f15e29bcd0a70ec0d5e3cb96af2.jpg",[],{"id":51758,"slug":51759,"title":21935,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":51760,"thumbUrl":51761,"material":751,"size":752,"collection":95,"collections":51762,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240820,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240820",[7,60,50,12955,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6562d422d579044ab0acfd5f7e13c0.jpg",[],{"id":51764,"slug":51765,"title":41495,"dynasty":18,"author":51766,"museum":107,"description":51767,"tags":51768,"thumbUrl":51769,"material":751,"size":752,"collection":95,"collections":51770,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240818,"qi-yan-shi-ye-wang-ming-240818","王明","此作用笔纵宕老辣，行笔间牵丝映带流转灵动，字形欹正相生、大小错落，兼具挥洒意气与内敛筋骨。开篇笔墨沉厚，随诗意铺陈，线条愈见舒展放达，墨色枯湿浓淡自然过渡，枯笔苍劲、润笔腴润，将诗文豪情寄寓于笔墨章法之中。\n\n左侧题款小字收敛雅致，与正文的开张形成疏密对照，整体布局虚实相生，将酬赠敬慕与洒脱随性融于点画之间，尽显清代文人书法的抒情意趣，笔墨间浸透着随性自在的书卷意蕴。",[7,60,50,26,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22a2d0f5a9f98873586652508dd3b8c.jpg",[],{"id":51772,"slug":51773,"title":51774,"dynasty":18,"author":51775,"museum":107,"description":51776,"tags":51777,"thumbUrl":51778,"material":751,"size":752,"collection":95,"collections":51779,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240817,"ku-ye-shui-lao-shi-you-xu-ye-zhang-xi-lun-240817","哭掖水老师有序页","张僖纶","此作为小楷祭文，用笔端凝秀润，点画圆劲匀净，结构工稳停匀，是清代典型的馆阁风范。纸面古雅泛黄，墨色乌亮沉凝，字字排布齐整，行气贯通如一，笔墨间自带肃穆端严，恰合追思先师的哀恸基调。\n文稿追怀先师率部死节、尽义守忠，文辞泣血，字字含悲。笔墨风骨与家国忠愤相融相合，既为规整可观的翰墨佳构，亦是寄寓哀思、载录忠义的传世文稿，让书写法度与拳拳深情彼此辉映。",[25,7,26,199,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee4436bf860e45deb9161d2bb2b5e2a.jpg",[],{"id":51781,"slug":51782,"title":51783,"dynasty":18,"author":51784,"museum":107,"description":51785,"tags":51786,"thumbUrl":51787,"material":751,"size":752,"collection":95,"collections":51788,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240808,"liu-yun-hao-xun-jie-ti-ci-ye-zhou-shi-wen-240808","刘允浩殉节题词页","周师文","反清义士。以制义名家，兼工诗，豪放不屑羁绁。武昌失陷，匿藏兴国山中，潜招义旅。",[7,60,77,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179f2f60b462130d420bc28e1e93f927.jpg",[],{"id":51790,"slug":51791,"title":51792,"dynasty":18,"author":454,"museum":107,"description":51793,"tags":51794,"thumbUrl":51795,"material":751,"size":752,"collection":95,"collections":51796,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240800,"yun-chi-ju-shi-shu-lu-wen-zhou-yi-ming-240800","云池居士书录文轴","此作用笔老辣苍劲，以中锋使转往来，提按顿挫间筋骨尽显。字形大小错落排布，行气连贯如长河奔涌，章法疏密相生，将草书抒情恣肆的特质挥洒尽致。墨色枯湿浓淡富于层次，枯笔见嶙峋筋骨，湿墨显腴润质感，虚实相生间，尽显挥毫时的酣畅快意。\n通篇气息雄放洒脱，将撰文的通透哲思与笔墨的跌宕意气相融，既有古法草书的意趣，又自出机杼，尽显狂草重抒怀的书风余韵，是一件兼具笔墨功力与文人意趣的佳作。",[2135,7,75,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2609c7936ab4e2da915bc72b14f66549.jpg",[],{"id":51798,"slug":51799,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":51800,"thumbUrl":51801,"material":751,"size":752,"collection":95,"collections":51802,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240724,"shi-zha-ce-lin-ze-xu-240724",[25,7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fecbe0daed0462a261529d86f0024a.jpg",[],{"id":51804,"slug":51805,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":51806,"thumbUrl":51807,"material":751,"size":752,"collection":95,"collections":51808,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240721,"shi-zha-ce-lin-ze-xu-240721",[25,7,26,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e18ae25729da6395ac241576c6f4ecd.jpg",[],{"id":51810,"slug":51811,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":51812,"thumbUrl":51814,"material":751,"size":752,"collection":95,"collections":51815,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240720,"shi-zha-ce-lin-ze-xu-240720",[7,60,26,51813,18,50],"诗札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0fe36b76909aebfdad10ea705f474b.jpg",[],{"id":51817,"slug":51818,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":51819,"thumbUrl":51820,"material":751,"size":752,"collection":95,"collections":51821,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240719,"shi-zha-ce-lin-ze-xu-240719",[25,7,26,60,50,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5417afe2dd33ae439e90d34f1174dc.jpg",[],{"id":51823,"slug":51824,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":51825,"thumbUrl":51826,"material":751,"size":752,"collection":95,"collections":51827,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240718,"shi-zha-ce-lin-ze-xu-240718",[25,26,60,77,7,432,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff90aa147f00f247890fac5ae73e3b86c.jpg",[],{"id":51829,"slug":51830,"title":51831,"dynasty":18,"author":51832,"museum":107,"description":51833,"tags":51834,"thumbUrl":51835,"material":751,"size":752,"collection":95,"collections":51836,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240696,"huai-zhen-fu-shan-mian-liu-da-guan-240696","怀甄赋扇面","刘大观","刘大观（1753～1834），字正孚，号崧岚，山东临清州邱县（今属河北）人。山左临清州（今属河北省邯郸市）邱县邱城人，乾隆丁酉拔贡。初仕广西永福县令，署理象州、马平、贺县，调补天保。丁忧，服阙，先委治承德，旋补开原县知县，升宁远州知州，捐任山西河东兵备道，兼管山、陕、河南三省盐务，二署山西布政使。罢官后，寓居怀庆府，直至终老王屋山，得寿八十有二。工诗善书，萧闲刻峭，卓然自立。他是当时辽东地区最著名的诗人之一、高密诗派的中坚人物。乾嘉时期著名文人，为官有政声。著有《玉磬山房诗集》十三卷，《文集》四卷。其生平事迹，坊间诸书或有讹阙，故缀此小文。",[1250,7,25,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb7b9eae52311df48a21f1023c7c8f6.jpg",[],{"id":51838,"slug":51839,"title":27969,"dynasty":18,"author":51840,"museum":107,"description":51841,"tags":51842,"thumbUrl":51843,"material":751,"size":752,"collection":95,"collections":51844,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240695,"qi-lv-shan-mian-wan-tang-han-240695","万堂翰","此幅行书扇面，笔墨浸润着温润的帖学意趣。用笔灵动舒展，提转顿挫暗含章法筋骨，起笔收锋利落，牵丝映带间尽显潇洒文人意态。\n\n章法排布依随扇面弧度自然错落，字势大小疏密相映，行气贯通却不拘谨，留白妥帖和谐，将诗文韵律融于笔墨排布中。墨色兼具浓淡枯湿变化，时而饱满厚重，时而轻盈见飞白，整幅作品雅致又不失生气，尽显书者扎实笔墨功底与随性文人襟怀，是颇具意趣的行书小品佳作。",[1250,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cc71341d132ef811ce62a54d57c045.jpg",[],{"id":51846,"slug":51847,"title":51848,"dynasty":18,"author":3250,"museum":107,"description":10274,"tags":51849,"thumbUrl":51850,"material":751,"size":752,"collection":95,"collections":51851,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240694,"ba-qun-gong-shu-ye-gong-xian-240694","跋群公书页",[7,25,60,77,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c02c7afc760d24bb81d23d5e2ce362b.jpg",[],{"id":51853,"slug":51854,"title":51855,"dynasty":18,"author":51856,"museum":107,"description":51857,"tags":51858,"thumbUrl":51859,"material":751,"size":752,"collection":95,"collections":51860,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240689,"huang-ri-qi-lin-you-jun-tie-ye-huang-ri-qi-240689","黄日起临右军帖页","黄日起","此作用笔灵动圆活，线条流转舒展，深得右军帖之雅逸风神。字势顾盼相生，章法开合有度，字间牵丝映带，将晋人萧散简远的意趣尽显无余。\n墨色富于变化，枯笔瘦劲见筋骨，润笔腴润蕴温雅，轻重缓急间尽显书写时的悠然意态。虽为临帖，却并非刻板摹写，恪守法度之余融入自我意韵，尽显雅致格调，藏着书家的笔墨襟怀。",[25,110,60,77,26,7,200,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b3e128ab6738f3fb9666bde0e6e61.jpg",[],{"id":51862,"slug":51863,"title":33181,"dynasty":18,"author":51864,"museum":107,"description":51865,"tags":51866,"thumbUrl":51867,"material":751,"size":752,"collection":95,"collections":51868,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240681,"shou-shi-zhou-wei-yi-jie-240681","魏裔介","魏裔介(1616-1686年) 字石生，号贞庵，又号昆林，直隶柏乡（今邢台市柏乡县）人，清初大臣。顺治三年进士，选庶吉士。四年，授工科给事中、左都御史、太子太保、吏部尚书、保和殿大学士、太子太傅等职。著述有《兼济堂文集》传世。雍正间，祀贤良祠。乾隆元年，追谥文毅。\n魏裔介入阁办理国家大事时年仅40余岁，须发皆黑，历史上称之为“乌头宰相”。“清初相业，无出其右者” 。时人曾说，自宋朝欧阳修以后，他是唯一的先为谏臣、后升宰相、历职长久并“展其嘉漠”之人。后人评价他条陈时事、“敢言第一”，清初“诸大典”多依其“奏议所定”。嘉庆、道光年间，还有人将他同并称“二魏”的另一名臣魏象枢（山西蔚州人）作了比较，认为“其相业胜蔚州多矣”。\n康熙三年（1664年），任内秘书院大学士，进入内阁，参与国家大事的决策，因时年 48 岁而被人称“乌头宰相”。康熙二十五年（1686 年） 因牙疾病逝。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1c8e77a1a5ad1725c64ad86e749bb5.jpg",[],{"id":51870,"slug":51871,"title":51872,"dynasty":18,"author":51873,"museum":107,"description":51874,"tags":51875,"thumbUrl":51876,"material":751,"size":752,"collection":95,"collections":51877,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240659,"song-xiang-qi-jue-shi-zhou-song-xiang-240659","宋湘七绝诗轴","宋湘","宋湘（1756年－1826年），字焕襄，号芷湾，广东嘉应州（今梅州市）客家人，清代政治人物、诗人 。 生平[编辑]. 宋湘出身贫寒，受家庭影响勤奋读书，十七岁即中秀才。",[7,25,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3ef1ec7c29bbdc21c26466a82bd20bd.jpg",[],{"id":51879,"slug":51880,"title":51881,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":51882,"thumbUrl":51883,"material":751,"size":752,"collection":95,"collections":51884,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240658,"shu-lin-song-si-jia-juan-dong-qi-chang-240658","书临宋四家卷",[23,7,49,110,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa2722079e4d42db68a6c7dd6afce4c.jpg",[],{"id":51886,"slug":51887,"title":51888,"dynasty":18,"author":51889,"museum":107,"description":51890,"tags":51891,"thumbUrl":51892,"material":751,"size":752,"collection":95,"collections":51893,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240656,"du-shu-lu-juan-qiao-chong-lie-240656","读书录卷","乔崇烈","乔崇烈，字无功，号学斋，江苏宝应人。康熙四十五年（1706）进士，因其长于文学及书法，优选为庶吉士。为人倜傥不羁，诗文对客，挥毫千言立就。",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2092cfd0043df289aad8a8b879ba3759.jpg",[],{"id":51895,"slug":51896,"title":26787,"dynasty":18,"author":31694,"museum":107,"description":51897,"tags":51898,"thumbUrl":51900,"material":751,"size":752,"collection":95,"collections":51901,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240652,"qi-jue-shi-zhou-fang-heng-xian-240652","方亨咸（？－？），字吉偶、吉儒，號邵邨、邵村，南京安慶府桐城縣人，清朝政治人物、進士出身。方拱乾之子、方玄成之弟、方章鉞之兄。",[75,60,7,77,133,132,51899,3253,3388],"茅亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe469cdb18f78aa3901ab2155bee61b17.jpg",[],{"id":51903,"slug":51904,"title":17924,"dynasty":18,"author":51905,"museum":107,"description":51906,"tags":51907,"thumbUrl":51908,"material":312,"size":95,"collection":96,"collections":51909,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240645,"shi-zhou-feng-gui-fen-240645","冯桂芬","冯桂芬（1809～1874）晚清思想家、散文家。字林一，号景亭，吴县（今江苏苏州）人，曾师从林则徐。道光二十年进士，授编修，咸丰初在籍办团练，同治初，入李鸿章幕府。少工骈文，中年后肆力古文，尤重经世致用之学。在上海设广方言馆，培养西学人才。先后主讲金陵、上海、苏州诸书院。冯桂芬为改良主义之先驱人物，最早表达了洋务运动“中体西用”的指导思想。著有《校邠庐抗议》《说文解字段注考证》《显志堂诗文集》。\n冯桂芬之思想，上接林、魏，下启康、梁，其意义不单单只是“求西学、思变法”的一脉相承，而在于其率先提出了消解现代化过程中的中西、古今矛盾的方法，即“惟善是从”。冯桂芬“惟善是从”的思想根基于中国文化中的见贤思齐、刚健有为的传统，是从中国文化本土生长出来的、可以导致中国文化与时俱进的极其宝贵的思想，也是中国文化具有强大生命力的生动体现。\n冯桂芬在第二次鸦片战争时期，更加全面地论述了向西方学习问题。他继承了林则徐、魏源的传统，肯定了“师夷长技以制夷”的口号，主张学习西方的军事工业。不过，军事工业只是他学习的一个方面了。冯桂芬指出“此外，如算学、重学、视学、光学、化学，皆得格物致理。舆地书备山川厄塞风土物产，多中人所不及。”看到了“农具、织具百工所需，多用机轮，用力少而成功多，是可资以治生。”明确提出在农、工业生产中采用机器的主张。究竟夷之长技有哪些？冯桂芬的认识较魏源有较大的进步。他总结出中国五不如夷。除了认识到船坚炮利不如夷外，还认识到“人无弃才不如夷，地无遗利不如夷，君民不隔不如夷，名实必符不如夷”这里冯桂芬除了在技术方面外，还提出了“君民不隔”问题，这是很可贵的。冯桂芬提出了“自强攘夷”的主张，他把其主张概括为“以中国之名教伦常为原本，辅之以诸国富强之术。”\n冯桂芬非常强调中国自己掌握新式技术。他用了一段很精彩的话：“或曰，购船雇人何如？曰，不可。能造，能修，能用，则我之利器。不能造，不能修，不能用，则仍人之利器也。利器在人手，以之转漕，而一日可令我饥饿；以之运盐，而一日可令我食淡；以之涉江海，而一日可令我复溺┅┅借兵雇船皆暂也，非常也。目前固无隙，固可暂也。日后岂能必无隙，固不可常也。终以自造、自修、自用之为无弊也。”这里包含着发展中国家在向发达国家学习中必须自己掌握经济命脉，才能确保独立的思想。这个思想，对于今天第三世界诸国在同发达国家打交道有借鉴意义。\n冯桂芬对清朝的腐败统治有所不满，建议改革时政。他重视西方经世致用之学问，主张采用西学、制造洋器，他以中国的伦常名教为本，辅以外洋诸国富强新术。他的思想理论对洋务派有很大影响，同时也被资产阶级改良派奉为先导。\n冯桂芬去世以后，他的治国理论，如：裁减冗员、精制规则、停捐输、变科举、广取士、废武科、采用西学、制造洋器等等评议，全都被朝廷甄别、采纳，大部分得以施行。即使到光绪年间大搞变法，也是要变法而没能背离他的统治之道。",[25,7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a13835864f8df2e408b9095f7d26b52.jpg",[96],{"id":51911,"slug":51912,"title":38209,"dynasty":18,"author":51913,"museum":107,"description":51914,"tags":51915,"thumbUrl":51916,"material":751,"size":752,"collection":95,"collections":51917,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240628,"xing-kai-shi-zhou-guo-shang-guang-240628","郭尚光","郭尚光(1785-1832),字元闻,又字兰石,福建莆田人。嘉庆十四年(1809)进士,官大理寺卿。 他是福建莆田人。",[7,60,199,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3448e10891b6addb616bf418345335a3.jpg",[],{"id":51919,"slug":51920,"title":17924,"dynasty":18,"author":51921,"museum":107,"description":51922,"tags":51923,"thumbUrl":51924,"material":312,"size":95,"collection":96,"collections":51925,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240620,"shi-zhou-lu-ken-tang-240620","陆肯堂","陆肯堂（1650～1696）字邃深，（一作邃升）一字澹成，生于清世祖 康熙二十四年，（累官至 朝廷大著作，多出其手。圣祖尝赞其学问人品，屡加恩赐。肯堂颖悟嗜学，工诗古文辞，滂沛闳阔，如 着有三礼辨真、怀鸥舫诗存、陆氏人物考《清史列传》等，并行于世。\n陆肯堂是清代第十八位状元，字邃升，一字澹成，江苏 其先人世居浙江 陆延楫在乡里声名昭著，品行学识受人称道。他仁慈谨厚，好行善赈济贫困，乡人颂其为有德之人。又嗜书笃学，学识博洽，对天文地理靡不精通。陆肯堂的父亲陆兖，个性豪放，为人敏捷有智略，曾被 陆肯堂是家中独子，倍受爱抚，自幼受到良好教育，颖悟的天赋得到了开发，加之苦读嗜学，每日诵读典籍数千言，培养形成了耳目所接，一过不复忘的超人记忆能力。这一切为他顺利通过 在弱冠之年，陆肯堂补为博士弟子员，即有了秀才的身份。康熙十六年（1677）被授以 康熙二十年（1681）参加 三年后被授以颍上县学学官，未及到任，又参加了康熙二十四年（1685）乙丑科会试。是科会试，始创榜前皇帝令先以前10本试卷进呈候钦走，进呈卷由试官贴黄笺，上书拟议的第一到第十的名次。康熙皇帝 榜眼浙江海宁人状元及第，朝廷授官陆肯堂 此后，陆肯堂留京为官。康熙二十六年（1687）即充任丁卯科乡试江西正考官。他秉公办事，以才选人，所得尽知名人士，时人皆赞其公正严明。故返京城后，由于尽心尽职，康熙三十年（1691）起连续升迁，先是擢为 居京为官期间，陆肯堂在馆阁整理典籍，所撰著文字，颇受同僚推服。他撰著文章，专心尽力，倚马而就，滂沛闳阔，凌厉顿挫，文如泉涌，不可遏止。张伯行 以张伯行处理康熙五十年（1711）辛卯科江南乡试案看，他决非曲笔虚美之徒。丁卯江南乡试，正主考左必蕃，副主考赵晋，榜发解元刘捷，苏郡中试，者13人，外多中扬州盐商子弟，舆论喧哗，试子多认为是科考官受贿通关节。诸考生集于 又争作联语以讥嘲，左丘明两目无珠，赵子龙一身是胆。影射主考官和副考官。有人甚至以纸糊盖 地方官噶礼亦有受贿通关节之嫌。但他竟将考生首领下尔戬等拘押，欲以诬控谋反而治罪。朝廷命尚书逢江 苏巡抚 张伯行弹劾噶礼欺君抗旨，年 皇帝诏令解除二人职务，仍由张鹏翮审案。张鹏翮竟上奏说张伯行所弹劾之事全是子虚乌有，应革职治罪，皇帝 康熙帝认为张伯行天下清官第一，此案是非颠倒有疑，诏令 张伯行回江苏巡抚任上，噶礼革职，作弊之人分别治罪。张伯行正直高洁的品行表明，他对陆肯堂的颂言是可信的。\n陆肯堂不仅才学为人称颂，而且德行令人钦佩。孝顺父母，爱抚兄弟，赈济穷困，是封建社会的道德要求，也是中华民族的传统美德，至今为人称道。陆肯堂的品行堪称封建道德的典范。史载他天性孝友，笃于仁义。父早身亡，能尽心赡养祖父，抚养异母弟，爱护之情诚恳。对幼孤辅之成人，而对待姊妹尤为循礼关照，凡出嫁必准备一份丰厚的嫁妆。如婿贫穷，不能娶者，则扫馆迎之。宗室乡邻之人，生活匮乏，则时与馈遗赒贷。对他的仁慈爱人行为，他自以为理所当然。时人认为他的德望才学均不愧于状元之称。康熙皇帝褒嘉云：陆肯堂学问甚优，人品亦好。当陆肯堂因疾欲乞归乡里时，康熙皇帝关心地遣 倍受皇恩礼遇，陆肯堂遂又留京供职。康熙三十五年（1696）卒于宫。",[18,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef855ddf6b8e05b343525e4beb3b9c5.jpg",[96],{"id":51927,"slug":51928,"title":17924,"dynasty":45,"author":51929,"museum":107,"description":51930,"tags":51931,"thumbUrl":51932,"material":751,"size":752,"collection":95,"collections":51933,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240615,"shi-zhou-zhang-xin-240615","张忻","張忻，书法邢侗，画仿董其昌。著游夏草。著作有《清画家诗史、山左诗抄》。雍正《山东通志》卷二八之四《艺文志》收有他的《三芸馆诗草》及《归围日记》。",[4038,7,25,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b24691fe76f9969fbb7100eaf2d9587.jpg",[],{"id":51935,"slug":51936,"title":17924,"dynasty":45,"author":51937,"museum":107,"description":51938,"tags":51939,"thumbUrl":51940,"material":751,"size":752,"collection":95,"collections":51941,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240614,"shi-zhou-ke-xia-qing-240614","柯夏卿","柯夏卿（1610-1681），字仲倩，號玉硯，浙江台州府黃岩縣（今浙江省台州市黃巖區）人，明代官員。",[7,75,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd58352b60d61e4152c585572366924ba.jpg",[],{"id":51943,"slug":51944,"title":21902,"dynasty":45,"author":51945,"museum":107,"description":51946,"tags":51947,"thumbUrl":51948,"material":751,"size":752,"collection":95,"collections":51949,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},240600,"lu-yu-zhou-pang-zai-240600","庞载","此作用笔纵逸酣畅，以开张之势铺陈全篇，字势欹侧跌宕，笔力雄健沉厚。牵丝映带之间气脉贯通，文句意趣与草书法度相融。章法疏密错落有致，墨色随运笔节奏枯湿浓淡富于层次，尽显明人草书尚势的典型特质，将文人疏放襟怀寄寓挥毫之间，灵动不失谨严，是一件颇具个性的草书佳构。",[7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d47f3b162460c5545065f68463b804.jpg",[],{"id":51951,"slug":51952,"title":15587,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":51953,"thumbUrl":51954,"material":751,"size":752,"collection":95,"collections":51955,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240584,"za-ji-shu-zha-he-ce-xu-wei-240584",[7,60,398,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d322d44ebd2ef9616d66997d53b4c44.jpg",[],{"id":51957,"slug":51958,"title":15587,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":51959,"thumbUrl":51960,"material":751,"size":752,"collection":95,"collections":51961,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240581,"za-ji-shu-zha-he-ce-xu-wei-240581",[25,26,7,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba1a9cc09552ba7d90ab9ecee5a080d.jpg",[],{"id":51963,"slug":51964,"title":51965,"dynasty":18,"author":51966,"museum":107,"description":51967,"tags":51968,"thumbUrl":51969,"material":751,"size":752,"collection":95,"collections":51970,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240563,"ti-hu-shan-cao-tang-tu-shi-ye-zhou-hou-yuan-240563","题湖山草堂图诗页","周厚辕","周厚辕（1746-1809），乾隆三十六年（1771）二甲九名进士。江西湖口人，字驭远，一字驾堂，号载轩。任翰林院编修，上书房行走，实录馆纂修官，历任浙江湖广京畿道监察御史，官至户科掌印给事中，巡天津漕务。诰授奉政医生。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e26d4142eaf1055118c4fb3e8508b4f.jpg",[],{"id":51972,"slug":51973,"title":51974,"dynasty":18,"author":21910,"museum":107,"description":35692,"tags":51975,"thumbUrl":51976,"material":751,"size":752,"collection":95,"collections":51977,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240562,"lu-shu-pu-zhou-bao-shi-chen-240562","录书谱轴",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac166f05fc2afe4b0c04ffa29664a5b6.jpg",[],{"id":51979,"slug":51980,"title":18391,"dynasty":18,"author":51981,"museum":107,"description":51982,"tags":51983,"thumbUrl":51984,"material":751,"size":752,"collection":95,"collections":51985,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240559,"qi-jue-zhou-zhang-ci-ning-240559","张赐宁","张赐宁（1743—1818）字坤一，号桂岩，清代画家，直隶沧州（今河北沧县）人。初游京师与罗聘齐名，为南通州判官。",[25,75,7,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c317bfd69fdd37c2a9bfa63ffa8138c.jpg",[],{"id":51987,"slug":51988,"title":26736,"dynasty":18,"author":46534,"museum":107,"description":46535,"tags":51989,"thumbUrl":51990,"material":751,"size":752,"collection":95,"collections":51991,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},240558,"lin-mi-tie-zhou-he-cai-240558",[7,60,110,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8aed991871f647712674eaefb8801e.jpg",[],{"id":51993,"slug":51994,"title":21902,"dynasty":18,"author":35841,"museum":107,"description":51995,"tags":51996,"thumbUrl":51997,"material":751,"size":752,"collection":95,"collections":51998,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240557,"lu-yu-zhou-cai-zhi-ding-240557","蔡之定（1745年－1830年），字麟昭，号生甫，晚号积谷山人，浙江德清人。\n乾隆十年十二月十二日生。乾隆五十八年（1793年）中进士，选庶吉士，嘉庆元年（1796年）散馆授编修，历任高宗实录馆总篡，升国子监司业、侍讲学士。嘉庆十九年（1814年），因建议以纸币代银，以“妄言乱政”降鸿胪寺少卿。晚年，主讲钟山、蕺山两书院。\n蔡之定擅书法，时与翁方纲、刘墉、铁保号称“四大书家”。道光十四年（1834年）九月初八卒。",[2135,7,75,60,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb18ad7cff5cc3189618e102c36c63e.jpg",[],{"id":52000,"slug":52001,"title":52002,"dynasty":18,"author":52003,"museum":107,"description":52004,"tags":52005,"thumbUrl":52006,"material":751,"size":752,"collection":95,"collections":52007,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240542,"wu-shan-yun-shi-ti-huang-shan-tu-ce-wu-shan-yun-240542","吴山云诗题黄山图册","吴山云","此作为小楷题画诗，笔致清劲内敛，结体端稳雅致，墨色匀净沉静，既有馆阁体的整饬工稳，又不失文人书法的隽秀意趣。\n诗文铺陈黄山天都峰奇崛灵秀，将莲巅云霭、林壑松涛尽付笔端，把对黄山胜景的倾慕藏在点画之间。笔墨与文思相融，以清雅书风衬山水意趣，尽显文人观山水寄情抒怀的风雅。纸页黄斑晕开岁月痕迹，为小品更添古旧温润质感，虽为题跋，却自成一方清雅天地。",[24,25,26,60,7,51,77,50,250,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2b8a124386bc5dd5f171e9147cf16f6.jpg",[],{"id":52009,"slug":52010,"title":46081,"dynasty":18,"author":52011,"museum":107,"description":52012,"tags":52013,"thumbUrl":52014,"material":751,"size":752,"collection":95,"collections":52015,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240524,"shi-ti-huang-shan-tu-ce-wu-zhen-fang-240524","吴震方","字青坛，浙江石门人。生卒年均不详，约清圣祖康熙三十三年前后在世。康熙十八年（公元一六七九年）进士。",[24,25,26,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e9e12754de7b06f0d3706a6aac0712f.jpg",[],{"id":52017,"slug":52018,"title":46081,"dynasty":18,"author":52019,"museum":107,"description":52020,"tags":52021,"thumbUrl":52023,"material":751,"size":752,"collection":95,"collections":52024,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240522,"shi-ti-huang-shan-tu-ce-jiang-chao-zong-240522","江朝宗","江朝宗（1861年－1943年9月20日），原名雨丞，字朝宗，民国时改名宇澄，以字行，道号大中，斋名四勿轩。因排行第四，俗称江四、四先生。",[7,60,50,26,77,51,651,52022],"云海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b619d285e084fb1adae903e3387cd0.jpg",[],{"id":52026,"slug":52027,"title":52028,"dynasty":45,"author":52029,"museum":107,"description":52030,"tags":52031,"thumbUrl":52032,"material":751,"size":752,"collection":95,"collections":52033,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240517,"ni-shu-gu-shu-huai-juan-wang-lian-jie-240517","拟述古述怀卷","王连捷","此作为行书长卷，笔墨纵横跌宕，满卷真气沛然。字势大小错落、欹正相生，牵丝映带间笔势流转畅达，通篇气息浑融贯通，毫无滞塞。\n提按顿挫富于变化，中锋侧锋兼施，线条粗细枯湿交叠，迅疾挥运与徐缓铺毫兼具，墨色浓淡枯润层次丰盈，尽显书写时的情绪起伏。\n作品兼具二王行书的灵动意趣，又暗含晚明尚奇书风的纵逸格调，将胸中意气尽诉诸笔端，尽显洒脱不羁的书写意态，是文人襟怀与书法抒情性完美融合的佳构。",[23,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c99d171032afcef1709026aa84d1be.jpg",[],{"id":52035,"slug":52036,"title":52037,"dynasty":18,"author":52038,"museum":107,"description":52039,"tags":52040,"thumbUrl":52041,"material":312,"size":95,"collection":96,"collections":52042,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240509,"pu-xiao-chuan-juan-zhang-yun-zhang-240509","溥孝传卷","张云章","张云章，生于顺治五年（1648），卒于清雍正四年（1726），太学生。尝从 游京师，客徐乾学家，为校勘宋元经解。后受李楠邀请，校补其父李清所著之《南北史合注》。由此张获得声名，“其后诸公贵人考订文史，必以相属” 张伯行抚吴，延纂《陆陇其为当路所排，云章上书徐乾学以救之。张伯行与噶礼互劾，奏谳久未决，云章覆上书李光地，责其别白是非。后吏部尚书汤右曾以孝廉方正荐于朝，赴京与修《尚书汇纂》，书成，议叙知县，不谒选。张伯行总督仓场，留主潞河书院，逾年，辞归。雍正四年，卒，年七十九。",[23,7,60,50,77,25,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda05ae3021e39ae85a805f687ed9818.jpg",[96],{"id":52044,"slug":52045,"title":24648,"dynasty":45,"author":1452,"museum":107,"description":29147,"tags":52046,"thumbUrl":52047,"material":751,"size":752,"collection":95,"collections":52048,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240506,"qi-lv-shi-zhou-chen-ji-ru-240506",[25,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3f8e6a4113eafcafddb7314b6fef0.jpg",[],{"id":52050,"slug":52051,"title":24648,"dynasty":45,"author":25769,"museum":107,"description":25770,"tags":52052,"thumbUrl":52053,"material":751,"size":752,"collection":95,"collections":52054,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240497,"qi-lv-shi-zhou-song-jue-240497",[7,1613,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484469d02d1862f8ee683cc15c3291b5.jpg",[],{"id":52056,"slug":52057,"title":52058,"dynasty":45,"author":52059,"museum":107,"description":52060,"tags":52061,"thumbUrl":52062,"material":751,"size":752,"collection":95,"collections":52063,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240492,"shu-shi-zhou-jiang-ru-zhang-240492","书诗轴","姜如璋","姜如璋，字淑斋，号广平内史，胶州姜行街人，清代康熙年间著名女书法家和诗人，生于书香世家，父亲姜长植、伯兄姜器山均为当时胶东有名的书法家。",[4038,7,398,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e33bac0a2f356179b8e85b26dad8631.jpg",[],{"id":52065,"slug":52066,"title":17924,"dynasty":18,"author":52067,"museum":107,"description":52068,"tags":52069,"thumbUrl":52070,"material":751,"size":752,"collection":95,"collections":52071,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240491,"shi-zhou-zhang-zhi-dong-240491","张之洞","张之洞（1837年9月2日—1909年10月4日 ），字孝达，号香涛，时为总督，称“帅”，故时人皆呼之为“张香帅”。 晚清名臣、清代洋务派代表人物，祖籍直隶南皮，出生于贵州兴义府（今安龙县 ）。咸丰二年（1852年）十六岁中顺天府解元，同治二年（1863年）二十七岁中进士第三名探花，授翰林院编修，历任教习、侍读、侍讲、内阁学士、山西巡抚、两广总督、湖广总督、两江总督（多次署理，从未实授）、军机大臣等职，官至体仁阁大学士。\n张之洞早年是清流派首领，后成为洋务派的主要代表人物。教育方面，他创办了自强学堂（今武汉大学前身）、三江师范学堂（今南京大学前身）、湖北农务学堂（今华中农业大学前身） 、湖北武昌蒙养院、湖北工艺学堂、慈恩学堂（南皮县第一中学）、广雅书院等。 政治上主张“中学为体，西学为用”。工业上创办汉阳铁厂、大冶铁矿、湖北枪炮厂等。八国联军入侵时，大沽炮台失守，张之洞会同两江总督刘坤一与驻上海各国领事议订“东南互保”，并镇压维新派的唐才常、林圭、秦力山等自立军起义，光绪三十四年（1908年）11月，以顾命重臣晋太子太保，次年病卒，谥文襄。有《张文襄公全集》。张之洞与曾国藩、李鸿章、左宗棠并称“晚清中兴四大名臣”。",[25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc474dafc7aaa4e38bc70efbef0db781c.jpg",[],{"id":52073,"slug":52074,"title":52075,"dynasty":18,"author":29282,"museum":107,"description":39085,"tags":52076,"thumbUrl":52077,"material":751,"size":752,"collection":95,"collections":52078,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240489,"han-zha-juan-qian-chen-qun-240489","翰札卷",[23,49,25,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181b7f9978c438cc6ade14bbde36dcd6.jpg",[],{"id":52080,"slug":52081,"title":52082,"dynasty":18,"author":52083,"museum":107,"description":52084,"tags":52085,"thumbUrl":52086,"material":751,"size":752,"collection":95,"collections":52087,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240480,"bai-zi-xun-zhou-lu-shao-ceng-240480","百字训轴","陆绍曾","陆绍曾[清]字贯夫，号白斋，吴县（今江苏苏州）人。工篆、籀、八分，八分之为蝇头，盖自绍曾始。",[24,25,75,1613,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38afa277507a1ac7e0b993b1c5cbf8f4.jpg",[],{"id":52089,"slug":52090,"title":52091,"dynasty":18,"author":454,"museum":107,"description":52092,"tags":52093,"thumbUrl":52099,"material":751,"size":752,"collection":95,"collections":52100,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240479,"fa-shi-shan-shi-zhou-yi-ming-240479","法式善诗轴","此作用笔灵动秀雅，提按顿挫富于变化，牵丝映带自然舒展，字字顾盼生姿，行气贯通流畅。以行书书自作诗篇，笔墨与诗意相融无间，将古寺林泉的清寂禅意诉诸笔端。\n\n章法排布疏密得宜，正文大字萧散简远，落款小字清雅端凝，二者相映成趣，尽显文人逸致。整幅作品意韵悠长，笔墨间漫溢出幽淡出尘的林下之风，尽显书写者的文人修养，是极具韵致的行书佳构。",[7,60,75,50,77,52094,41428,458,282,250,52095,52096,10396,52097,21968,52098,3091],"红墙","江湖","钟磬","家","路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3491ad0f926bdea271c18da54c29375b.jpg",[],{"id":52102,"slug":52103,"title":18391,"dynasty":18,"author":24565,"museum":107,"description":24566,"tags":52104,"thumbUrl":52105,"material":751,"size":752,"collection":95,"collections":52106,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240478,"qi-jue-zhou-wan-jing-240478",[25,75,1613,7,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18dc5b27184bd97e0793d1d1d5da87bd.jpg",[],{"id":52108,"slug":52109,"title":52110,"dynasty":45,"author":28642,"museum":107,"description":52111,"tags":52112,"thumbUrl":52113,"material":751,"size":752,"collection":95,"collections":52114,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240477,"qi-jue-shan-mian-fan-yun-lin-240477","七绝扇面","范允临（1558～1641年）明代官员、书画家。字长倩，号长白，南直隶苏州府吴县（今属江苏）人。万历二十三年进士，官至福建布政司参议。晚居苏州天平山麓，建园林，乐声伎，称神仙中人。工书画，时与董其昌齐名，归筑室天平山，著有《轮廖馆集》。",[1250,7,60,77,116,282,589,3038,6398,6298,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165ca376b94d4d7bed4053c45630beac.jpg",[],{"id":52116,"slug":52117,"title":52118,"dynasty":45,"author":52119,"museum":107,"description":52120,"tags":52121,"thumbUrl":52122,"material":751,"size":752,"collection":95,"collections":52123,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240473,"xu-shi-xu-juan-shen-en-240473","叙诗序卷","沈恩","沈恩（1472年－1533年），字仁甫，号西津。直隶松江府上海县人。明朝政治人物。",[23,25,7,49,199,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4c43889a251c5a616da085a9f22788.jpg",[],{"id":52125,"slug":52126,"title":37766,"dynasty":45,"author":52127,"museum":107,"description":52128,"tags":52129,"thumbUrl":52130,"material":751,"size":752,"collection":95,"collections":52131,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240472,"shou-zha-juan-li-ru-nan-240472","李汝楠","此卷手札兼具两种风貌，其一为梅花笺馆阁小楷，结字端秀匀停，笔致清劲工稳，一丝不苟，衬以淡梅暗纹，尽显明人尺牍的规整雅致。另一部分为行草信札，笔墨纵逸跌宕，信笔挥洒，点画间带着随性自然的文人松弛意绪，将日常交游的畅意融于笔端。\n整卷涵盖公私尺牍，既是往昔交游的鲜活凭证，也尽显书家兼工能放的书艺功底。古旧纸色晕染着岁月质感，墨色留存完好，尽显晚明尺牍的清雅韵致，是兼具文献与书法价值的文人手迹珍品。",[23,25,7,49,60,398,50,77,433,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa49eea5a63ffe88b3e0999ce96fdce.jpg",[],{"id":52133,"slug":52134,"title":17924,"dynasty":18,"author":52135,"museum":107,"description":52136,"tags":52137,"thumbUrl":52138,"material":751,"size":752,"collection":95,"collections":52139,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240470,"shi-zhou-ma-lv-tai-240470","马履泰","（1753—1829），字叔安、定民，号菽庵、秋药，浙江杭州府仁和县人。乾隆十八年生，道光九年卒。乾隆四十四年召试举人，五十二年成进士，选庶吉士，仕至太常寺卿。著有《秋药庵诗集》。",[24,25,75,60,50,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f408d70dcdbf564cffc16adc3a8f4b7.jpg",[],{"id":52141,"slug":52142,"title":52143,"dynasty":45,"author":28133,"museum":107,"description":52144,"tags":52145,"thumbUrl":52146,"material":751,"size":752,"collection":95,"collections":52147,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240460,"xing-shou-zha-ce-shao-bao-240460","行手札册","邵宝（1460-1527），明代官员、著名藏书家、学者。字国宝，号二泉，江苏无锡人。成化二十年（1484）进士，历为江西提学副使，官至南京礼部尚书，谥文庄。文典重和雅，诗清和淡薄。著有《简端二馀》、《慧山记》、《容春堂集》等。",[23,45,26,60,7,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0506e6a2ffc062e957366cb49d5138bc.jpg",[],{"id":52149,"slug":52150,"title":52151,"dynasty":45,"author":28642,"museum":107,"description":52111,"tags":52152,"thumbUrl":52153,"material":751,"size":752,"collection":95,"collections":52154,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240423,"kan-mei-shi-zhou-fan-yun-lin-240423","看梅诗轴",[45,60,7,75,77,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857ce0384b6e19e684bcc1ff6e641bf.jpg",[],{"id":52156,"slug":52157,"title":31476,"dynasty":45,"author":52158,"museum":107,"description":52159,"tags":52160,"thumbUrl":52161,"material":751,"size":752,"collection":95,"collections":52162,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240422,"lin-tie-zhou-liu-li-shun-240422","刘理顺","刘理顺（1582年－1644年），字复礼，号湛六，河南杞县人，明末状元。\n会试十次不第，崇祯七年（1634年）中一甲一名进士（状元），思宗还宫喜曰：“朕今日得一耆硕矣。”官至左中允。崇祯十七年（1644年）李自成入北京，刘理顺在墙壁上写下成仁取义，孔、孟所传。文信践之，吾何不然之句后，便酌酒自尽。其妻万氏、妾李氏及其子刘孝廉加上婢仆十八人，阖门缢死。南明弘光元年（1645年）赠詹事，追谥文正。清顺治十年（1653年）改谥文烈。",[7,25,24,75,110,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65e8c1716d8ff082cc6756958d6cb52.jpg",[],{"id":52164,"slug":52165,"title":52166,"dynasty":45,"author":52167,"museum":107,"description":52168,"tags":52169,"thumbUrl":52170,"material":751,"size":752,"collection":95,"collections":52171,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240418,"shi-liu-jia-shui-ying-wu-deng-shi-juan-wang-chun-240418","十六家睡鹦鹉等诗卷","王醇","明南直隶扬州人，字先民。弱冠善辞赋，性放荡不羁，从季父游京师，日醉市楼，挟妓走马。大将军麻贵阅兵，醇轻裘快马，驰突演武场，引弓破的，矢矢相连属，又舞双剑如飞。大将军欲用之。笑谓：“家本书生，聊用游戏耳。”后归扬州慈云庵为僧。有诗集，深情孤诣，秀句错出，澄怀观道，超然有得。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05423a05d61d26aa3ed675deef724cf3.jpg",[],{"id":52173,"slug":52174,"title":33069,"dynasty":45,"author":1313,"museum":107,"description":3307,"tags":52175,"thumbUrl":52176,"material":751,"size":752,"collection":95,"collections":52177,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240408,"zha-juan-dong-qi-chang-240408",[23,7,60,49,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4ef6d0e9466f6cbc11cec0a274233d3.jpg",[],{"id":52179,"slug":52180,"title":17924,"dynasty":45,"author":52181,"museum":107,"description":52182,"tags":52183,"thumbUrl":52184,"material":751,"size":752,"collection":95,"collections":52185,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240398,"shi-zhou-yan-yan-240398","严衍","严衍（1575—1645），字永思，一字午庭。世居马陆，后居厂头（今属桃浦乡）。精易理，通史学，能诗律，善书法。性孝友，重节操。 ... 明万历年间秀才。为人刚直，一生未仕。",[25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ee7c54431cc15040199d830ef8fdbb.jpg",[],{"id":52187,"slug":52188,"title":24555,"dynasty":45,"author":26974,"museum":107,"description":24557,"tags":52189,"thumbUrl":52190,"material":751,"size":752,"collection":95,"collections":52191,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240397,"tao-shi-zhou-ruan-da-cheng-240397",[25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73fcf3006a04281d938cf51b228eeb9f.jpg",[],{"id":52193,"slug":52194,"title":37766,"dynasty":45,"author":52195,"museum":107,"description":52196,"tags":52197,"thumbUrl":52198,"material":751,"size":752,"collection":95,"collections":52199,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240396,"shou-zha-juan-li-shi-shi-240396","李士实","李士实，明朝人，字若虚，南昌人，一作丰城（今江西丰城）人。",[25,49,7,60,398,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c504064c9a67b78cb50d79e0313d1e.jpg",[],{"id":52201,"slug":52202,"title":7243,"dynasty":45,"author":52203,"museum":107,"description":52204,"tags":52205,"thumbUrl":52206,"material":751,"size":752,"collection":95,"collections":52207,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240386,"shi-shan-mian-zhang-han-240386","张翰","张瀚（1510—1593），字子文，号元洲，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[4038,25,1250,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81df74c1b64fb79c207a5777ffe358a4.jpg",[],{"id":52209,"slug":52210,"title":28124,"dynasty":45,"author":52211,"museum":107,"description":52212,"tags":52213,"thumbUrl":52215,"material":751,"size":752,"collection":95,"collections":52216,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240380,"shi-ye-wang-yi-240380","王宜","王宜，字嶰谷，江苏太仓人。乾隆年间，官新建知县。凤仪弟，原祁会孙。山水善承家学，笔意松秀，与兄齐名",[25,7,60,77,26,52214,266,1679,679,20103,651,37657,250],"山泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bbe2396b0268171903e777b805d4db.jpg",[],{"id":52218,"slug":52219,"title":28124,"dynasty":45,"author":52220,"museum":107,"description":52221,"tags":52222,"thumbUrl":52223,"material":751,"size":752,"collection":95,"collections":52224,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240376,"shi-ye-chen-xu-240376","陈叙","陈叙（1495－1574），字邦礼，号淇塘，福建莆田人。明代官吏。嘉靖十七年茅瓒榜进士。历仕兵部车驾司主事、员外郎、武选郎、车驾司郎中、潮州知府。像取自清代修《福建莆田陈氏宗谱》。",[4038,25,7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f2aff78006357a5b17c58bb1c8cd72.jpg",[],{"id":52226,"slug":52227,"title":52228,"dynasty":45,"author":52229,"museum":107,"description":52230,"tags":52231,"thumbUrl":52232,"material":751,"size":752,"collection":95,"collections":52233,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240375,"shu-shi-ye-lin-yin-240375","书诗页","林垠","福州府闽县人，字天宇。嘉靖间举人。官桂阳知州，仕终户部员外郎。工诗。有《野桥集》、《世牧堂稿》。",[7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10af5d06a142b95b5ec2ffec9f9e4ddd.jpg",[],{"id":52235,"slug":52236,"title":28124,"dynasty":45,"author":52237,"museum":107,"description":52238,"tags":52239,"thumbUrl":52240,"material":751,"size":752,"collection":95,"collections":52241,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240374,"shi-ye-huang-zong-qi-240374","黄宗器","黄宗器（？－？），字时震，福建福州府闽县人，民籍，明朝政治人物。",[199,77,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb114f71c89e2d076baeb626b63dbb438.jpg",[],{"id":52243,"slug":52244,"title":28124,"dynasty":45,"author":52245,"museum":107,"description":52246,"tags":52247,"thumbUrl":52248,"material":751,"size":752,"collection":95,"collections":52249,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240373,"shi-ye-lin-ting-zhang-240373","林烶章","林烶章（？－？），字繼暉，福建興化府莆田縣人，民籍，明朝政治人物。 生平[编辑]. 福建鄉試第五十五名舉人。嘉靖二十九年（1550年）中式庚戌科二甲第五名進士。",[7,60,77,25,26,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cdfb139cf5f3854629225ffe7f9301.jpg",[],{"id":52251,"slug":52252,"title":28124,"dynasty":45,"author":52253,"museum":107,"description":52254,"tags":52255,"thumbUrl":52256,"material":751,"size":752,"collection":95,"collections":52257,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240372,"shi-ye-zheng-yao-240372","郑钥","此作为小楷书翰，整体气息温润端雅，兼具台阁体的整饬与文人书风的萧散。点画起收有度，提按顿挫一丝不苟，筋骨内含而笔意舒展，结体平正匀停，字字排布疏朗透气，毫无拥塞迫促之感。墨色清和沉静，纸面带着岁月晕染出的浅淡旧痕，更添朴拙古意。\n\n诗书相合，笔墨间浸透着儒者温文谦和的气韵，无刻意雕琢的匠气，将明人小楷的端秀与晋唐法帖的简远意趣相融，是兼具实用与审美价值的书翰佳构，尽显传统文人手札的雅致风神。",[25,7,199,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff832113a9c09dd878c1906deaef563d1.jpg",[],{"id":52259,"slug":52260,"title":28124,"dynasty":45,"author":52261,"museum":107,"description":52262,"tags":52263,"thumbUrl":52264,"material":751,"size":752,"collection":95,"collections":52265,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240369,"shi-ye-ke-wei-qi-240369","柯维骐","柯维骐。生于明孝宗弘治十年，卒于神宗万历二年，年七十八岁。嘉靖二年（公元一五二三年），登进士第，授南京户部主事。未赴，即引疾归。张孚敬用事，创新制，维骐以病满三年罢免。自是谢宾客，专心读书，门人四百余。维骐登第五十年，未尝一日为官，中经倭乱，故庐焚毁，家困甚，终不妄取。抚按监司时有论荐，不复起。隆庆初，廷臣复荐，以年高但授承德郎。致仕，卒。维骐尝作左右二铭、讲义二卷，合宋、辽、金三史为宋史新编，又著史记考要、莆阳文献志及所作诗文集，《明史本传》并传于世。",[25,7,60,77,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9963e5147e6babfc19d4e95d26e81f.jpg",[],{"id":52267,"slug":52268,"title":28124,"dynasty":45,"author":52269,"museum":107,"description":52270,"tags":52271,"thumbUrl":52272,"material":751,"size":752,"collection":95,"collections":52273,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240368,"shi-ye-lin-mao-he-240368","林懋和","林懋和（1518～1597）明藏书家、文学家。字惟介，闽县（今福建福州）人。",[7,60,3479,4347,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e5f9c764a396683cfc2553b94da7f61.jpg",[],{"id":52275,"slug":52276,"title":28124,"dynasty":45,"author":52277,"museum":107,"description":52278,"tags":52279,"thumbUrl":52280,"material":751,"size":752,"collection":95,"collections":52281,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240367,"shi-ye-wang-ying-zhong-240367","王应钟","王应钟，字懋复，侯官人。嘉靖辛丑进士，选庶吉士。授浙江道监察御史，巡盐长芦。卒年九十，祀乡贤。",[45,25,7,199,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb3106ae3e5665069ae3028077d317f.jpg",[],{"id":52283,"slug":52284,"title":28124,"dynasty":45,"author":18621,"museum":107,"description":27271,"tags":52285,"thumbUrl":52286,"material":751,"size":752,"collection":95,"collections":52287,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240360,"shi-ye-zhou-kun-240360",[45,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99b2928eb01517d9b9909e14897d2ba.jpg",[],{"id":52289,"slug":52290,"title":28124,"dynasty":45,"author":52291,"museum":107,"description":52292,"tags":52293,"thumbUrl":52294,"material":751,"size":752,"collection":95,"collections":52295,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240357,"shi-ye-hong-shi-wen-240357","洪世文","洪世文（？－？），字國華，福建福州府閩縣人，民籍，明朝政治人物。 生平[编辑]. 福建鄉試第五十名。嘉靖十七年（1538年）戊戌科進士。由户部郎中擢湖广参议。",[7,60,50,77,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1cf9308fdcd0270cfbae44a18dc79.jpg",[],{"id":52297,"slug":52298,"title":52299,"dynasty":45,"author":52253,"museum":107,"description":52300,"tags":52301,"thumbUrl":52302,"material":751,"size":752,"collection":95,"collections":52303,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240354,"lu-wen-ce-zheng-yao-240354","录文册","这件小楷册页结体端雅秀润，点画排布匀停舒朗，笔势清劲内敛。起收笔筋骨隐现，转折圆融又不失爽利，通篇气息匀净平和，尽显明人小楷尚雅尚正的意趣。字间排布齐整却无板滞之感，墨色匀净沉实，足见书写时心境澄澈，功性俱佳。纸面晕染开的岁月旧痕，更添古雅沉静的书卷意蕴，将文人静穆治学的气度融于笔墨方寸之间，是一件兼具书写实用价值与审美意趣的书法佳构。",[25,26,77,199,7,1498,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a0091e0c4d647ff5a294dab7dc5184.jpg",[],{"id":52305,"slug":52306,"title":52307,"dynasty":45,"author":52308,"museum":107,"description":52309,"tags":52310,"thumbUrl":52311,"material":751,"size":752,"collection":96,"collections":52312,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240347,"jia-lian-shi-ye-li-chong-240347","嘉莲诗页","李翀","此作用笔纵逸灵动，起收提按间尽显细腻变化，线条圆劲舒展，兼具流动意趣与沉凝骨力。字间布局错落随性，疏密相生，行气连贯却不失错落节奏，通篇萦绕萧散放旷的文人意态。\n\n作为题咏诗作的手札，笔墨与诗意相融相衬，牵丝映带间尽显书写时的畅快心境，率意挥毫却暗合法度，将明代行书尚态的特质淋漓展现，把文人酬唱的风雅寄寓于笔墨之中，尽显明代文人的写意风流，是兼具抒情性与艺术性的书法小品。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51fb458606c22e58160cd1cc5fc2bc3.jpg",[96],{"id":52314,"slug":52315,"title":22728,"dynasty":18,"author":52316,"museum":107,"description":52317,"tags":52318,"thumbUrl":52319,"material":312,"size":95,"collection":96,"collections":52320,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240338,"shi-juan-sun-qian-ru-240338","孙汧如","孙徠汧冄頭如［清條］字阿汇，号汇父，六合人。精画理，善文词。\n尝绘山水蓵赠黄仙裳（云），仙裳为之题。康熙九年（一六七o）作山水卷。",[23,25,7,49,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9f108d6d1fb6328c0b718f33ebc9c3.jpg",[96],{"id":52322,"slug":52323,"title":17924,"dynasty":45,"author":52324,"museum":107,"description":52325,"tags":52326,"thumbUrl":52327,"material":751,"size":752,"collection":95,"collections":52328,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240333,"shi-zhou-zhang-yun-mei-240333","张孕美","此作用笔纵逸恣肆，以狂草挥就，线条如惊蛇走虺，提按转合间尽显笔力劲健。行气贯通无滞，字势欹侧相生，左右映带自然，将草书的抒情性发挥得淋漓尽致。\n\n章法疏密有致，右侧长列一气呵成，左侧落款紧凑呼应，虚实相映间营造出灵动空阔的布局韵律。墨色燥润相间，浓淡变化丰富，视觉节奏跌宕起伏，尽显书写时的酣畅快意，尽显晚明狂草尚态之风，将胸中意气倾注笔端，尽显文人疏放不羁的襟怀。",[4038,24,25,75,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e7b200188f0381cafa6ca02f6714f5.jpg",[],{"id":52330,"slug":52331,"title":17924,"dynasty":18,"author":52332,"museum":107,"description":52333,"tags":52334,"thumbUrl":52336,"material":751,"size":752,"collection":95,"collections":52337,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240328,"shi-zhou-wang-cheng-yao-240328","王承尧","此作用笔舒展灵动，行书书就诗文，结体疏密欹正兼具遒劲秀逸之姿，暗含晋唐行书意韵。墨色浓淡自然过渡，行气贯通流畅，字势顾盼有情，章法错落和谐。\n\n书写提按顿挫富于节律，牵丝映带尽显随性洒脱，无半分雕琢之态。笔墨将冬日山雪奇景与书写者雅逸襟怀相融，把探奇山雪的清冷高旷意境，藏进每一处起收转合，尽显清代文人书法的沉静清远气象。",[7,60,651,52335,1677,845,77],"阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50ed9584a2c8f3dba3a4912222fbe144.jpg",[],{"id":52339,"slug":52340,"title":17924,"dynasty":18,"author":52341,"museum":107,"description":52342,"tags":52343,"thumbUrl":52344,"material":751,"size":752,"collection":95,"collections":52345,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240326,"shi-zhou-shen-qi-yuan-240326","沈起元","沈起元（1685—1763）小名传时，字子大，号敬亭，江南太仓人，诗人，清朝官吏。康熙六十年进士，选庶吉士，改吏部主事。擢员外郎，以知府发福建用。起元为政清明干练，心上挂着百性，敢担责任。著有《敬亭文稿》、《诗草》、《桂轩诗草》，另有《周易礼义集说》、《周易洗心》，《四库全书》著录。",[2135,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329985be41617b6276cbc3835375d1d6.jpg",[],{"id":52347,"slug":52348,"title":17924,"dynasty":18,"author":52349,"museum":107,"description":52350,"tags":52351,"thumbUrl":52352,"material":751,"size":752,"collection":95,"collections":52353,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240321,"shi-zhou-ge-zu-liang-240321","葛祖亮","葛祖亮（约1683—？）字弢仁、超人，号闻桥。江苏江宁人。雍正四年拔贡，乾隆元年进士，官户部员外郎。著《花妥楼诗》，有《舜井二首俗传即象谟盖者考未确》。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ae3d9bd5a4160c3432535a140acf62.jpg",[],{"id":52355,"slug":52356,"title":28124,"dynasty":18,"author":52357,"museum":107,"description":52358,"tags":52359,"thumbUrl":52360,"material":751,"size":752,"collection":95,"collections":52361,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240316,"shi-ye-jin-nai-240316","金鼐","金鼒（1429年－？），字公器，直隸蘇州府吳江縣人，明朝政治人物。進士出身。 順天府鄉試第五十一名。成化二年（1466年），參加丙戌科會試，得貢士第一百一十一名。",[25,26,7,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42418a35ba8293ab9fd80106ba919c38.jpg",[],{"id":52363,"slug":52364,"title":17924,"dynasty":45,"author":45962,"museum":107,"description":45963,"tags":52365,"thumbUrl":52366,"material":751,"size":752,"collection":95,"collections":52367,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240311,"shi-zhou-zhu-shi-lu-240311",[75,7,398,7994,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c1a1c2f1a76910704b29a33c0c2434.jpg",[],{"id":52369,"slug":52370,"title":18391,"dynasty":18,"author":40999,"museum":107,"description":41000,"tags":52371,"thumbUrl":52372,"material":751,"size":752,"collection":95,"collections":52373,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240310,"qi-jue-zhou-ding-jing-240310",[2135,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a57ed0b3ebc2f6640fead058b26e1f.jpg",[],{"id":52375,"slug":52376,"title":35449,"dynasty":18,"author":52377,"museum":107,"description":52378,"tags":52379,"thumbUrl":52380,"material":751,"size":752,"collection":95,"collections":52381,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240308,"shu-zha-juan-yun-ri-chu-240308","恽日初","恽日初（？－？），字仲升，号逊菴，又号黍菴，武进人，明末清初人物。画家恽寿平之父。",[7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460de03481c656a4dbd24bcafaf518d2.jpg",[],{"id":52383,"slug":52384,"title":52385,"dynasty":18,"author":52386,"museum":107,"description":52387,"tags":52388,"thumbUrl":52389,"material":751,"size":752,"collection":95,"collections":52390,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240292,"xing-kai-shi-juan-zheng-liang-240292","行楷诗卷","郑梁","郑梁，出身于慈溪望族郑氏家族，字禹梅，号寒村，黄宗羲门生，康熙二十七年进士，是清初浙东史学派学者之一。",[23,18,3135,7,49,60,199,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb877e67c3bc261ab2bcefd76f103ef5.jpg",[],{"id":52392,"slug":52393,"title":45768,"dynasty":18,"author":29845,"museum":107,"description":52394,"tags":52395,"thumbUrl":52396,"material":751,"size":752,"collection":95,"collections":52397,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240291,"tang-shi-juan-qi-zhi-jia-240291","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学董其昌，而乏其秀韵。山水仿沈周，气势淋漓，笔力挺拔，自有一种不可羁勒之概。间作花卉，亦多逸致，诗文词皆有致，至於歌、弈、图章，百戏俱善。康熙八年（1669）作山水图。",[23,7,49,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3935231f4905d6b544c02a56c16d35f.jpg",[],{"id":52399,"slug":52400,"title":35449,"dynasty":45,"author":52401,"museum":107,"description":52402,"tags":52403,"thumbUrl":52404,"material":751,"size":752,"collection":95,"collections":52405,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240280,"shu-zha-juan-wang-si-ren-240280","王思任","字季重，号遂东，晚年号谑庵，浙江山阴（今绍兴）人。明代文学家。\n万历二十三年（1595年）进士，曾知兴平、当涂、青浦三县，又任袁州推官、九江佥事。南京城破后，鲁王监国，以思任为礼部右侍郎，进尚书。清兵进逼杭州，马士英欲渡江入绍兴，王思任以《让马瑶草》致书马士英力拒道：“吾越乃报仇雪耻之国，非藏垢纳污之区也”。隆武二年（1646年），绍兴为清兵所破，绝食而死。\n为文笔意放纵诙谐，时有讽刺时政之作。以《游唤》、《历游记》两种游记成就最高，《小洋》、《天姥》诸篇尤为著名。诗重自然，才情烂漫。其子王鼎起编选《谑庵文饭小品》，后人编有《王季重十种》传世。",[23,25,7,60,398,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfbb352733064ca948b2838289406e5b.jpg",[],{"id":52407,"slug":52408,"title":38209,"dynasty":18,"author":52409,"museum":107,"description":52410,"tags":52411,"thumbUrl":52412,"material":751,"size":752,"collection":95,"collections":52413,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240276,"xing-kai-shi-zhou-wang-shan-240276","王掞","王掞shàn（1645年～1728年）清朝官员。字藻儒，一作藻如，号颛庵、西田主人，江南太仓（今属江苏）人，明代首辅王锡爵曾孙。康熙九年进士，授编修，官至文渊阁大学士。康熙六十年，请重立胤礽为太子忤旨，应谪戍，以年老由子代行，寻致仕。有《西田集》。",[7,3135,75,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62c3bfd095f2514846e037660995a3b.jpg",[],{"id":52415,"slug":52416,"title":17924,"dynasty":45,"author":52417,"museum":107,"description":18331,"tags":52418,"thumbUrl":52419,"material":751,"size":752,"collection":95,"collections":52420,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240270,"shi-zhou-lin-chong-240270","林宠",[24,25,75,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd0acb7d90146735cee6399a930da58.jpg",[],{"id":52422,"slug":52423,"title":37766,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":52424,"thumbUrl":52425,"material":751,"size":752,"collection":95,"collections":52426,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240262,"shou-zha-juan-ai-xin-jue-luo-yong-xing-240262",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F798f1391dfdf43426f8d017e59df0d1b.jpg",[],{"id":52428,"slug":52429,"title":52430,"dynasty":45,"author":52431,"museum":107,"description":52432,"tags":52433,"thumbUrl":52434,"material":751,"size":752,"collection":95,"collections":52435,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240246,"shu-han-ce-ming-xian-240246","书翰册","明贤","此作为行书手卷，用笔灵动舒展，提按顿挫尽显法度又不失随性。笔画粗细富于变化，字势随诗句意蕴起伏开张。\n\n整幅行气连贯疏朗，字距错落间自带悠缓节奏，将致仕归乡的澹泊沉郁藏在笔墨细节里。墨色清和沉静，笔底既有恪守晋唐行书的秀逸底色，又带着明代文人特有的舒展襟怀，把诗文里的归思与襟抱，和书法的雅韵融为一体，是兼具文学意涵与笔墨美感的佳构，尽显士人温润澹远的书卷意气。",[4038,7,60,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630d47dcf3a8917104b118af8f052b19.jpg",[],{"id":52437,"slug":52438,"title":46301,"dynasty":45,"author":52439,"museum":107,"description":52440,"tags":52441,"thumbUrl":52442,"material":751,"size":752,"collection":95,"collections":52443,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240241,"wu-lv-shi-ye-chen-yu-mo-240241","陈禹谟","陈禹谟（1548—1618年），字锡元，江苏常熟人，一作湖北彝陵人。万历间举人，历仕南京国子监学正、四川按察司佥事、贵州布政使。",[4038,25,7,60,77,312,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3897567181c39a85ba1c7ec45ff3339.jpg",[],{"id":52445,"slug":52446,"title":41495,"dynasty":45,"author":52447,"museum":107,"description":52448,"tags":52449,"thumbUrl":52450,"material":751,"size":752,"collection":95,"collections":52451,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240238,"qi-yan-shi-ye-ding-shi-tai-240238","丁士泰","此作用笔清劲秀雅，以台阁体为底蕴，点画匀停温润，起转恪守法度，尽显明人帖学尚雅意趣。\n是两首七言排律，笔墨排布疏朗匀整，字间呼应自然，通篇气息安和静穆，兼具官样书法的端方与文人手札的隽秀。墨色乌亮莹润，古纸泛黄晕染出沉静的岁月质感，可见书者恭谨的书写心态，是明代应酬奉和类书法的典型之作，既贴合当时台阁审美范式，又暗蕴书者个人笔底风神，整体清雅端丽，尽显明代帖学书法的温润特质。",[25,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816abf11d2348395f5da7f7d150e22d8.jpg",[],{"id":52453,"slug":52454,"title":52455,"dynasty":45,"author":454,"museum":107,"description":52456,"tags":52457,"thumbUrl":52458,"material":751,"size":752,"collection":95,"collections":52459,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240237,"guo-zi-zhi-wu-lv-shi-ye-yi-ming-240237","郭子直五律诗页","这件行书诗页笔墨苍劲灵动，行气连贯自然。用笔起落提转尽显腕底功力，线条粗细富于韵律，时而劲挺如寒藤，时而舒徐如云烟，将文人逸气藏于毫端。\n\n章法错落随心，字距疏密相映，行气随诗意起伏，开篇沉凝，渐次舒展，收尾余韵悠长。墨色浓淡燥润相生，枯笔见筋骨，湿笔蕴腴润，尽显明代行书尚态重意的风神。\n\n诗书相融无间，笔墨饱含沉静的文人意趣，可见书者浸淫晋唐帖学，又不失明人书法的放达意致，通篇疏朗雅致，古雅书卷之气扑面而来。",[45,7,60,77,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2441f9ac594602ad00f5b81efee6fdb7.jpg",[],{"id":52461,"slug":52462,"title":52463,"dynasty":45,"author":8019,"museum":107,"description":38172,"tags":52464,"thumbUrl":52465,"material":751,"size":752,"collection":95,"collections":52466,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240234,"qi-gu-shi-ye-xu-guang-zuo-240234","七古诗页",[7,60,77,433,432,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c1d2f913b0d29a274155d2f37f4bea.jpg",[],{"id":52468,"slug":52469,"title":35699,"dynasty":45,"author":52470,"museum":107,"description":52471,"tags":52472,"thumbUrl":52473,"material":751,"size":752,"collection":95,"collections":52474,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240231,"qi-lv-shi-ye-hong-you-yuan-240231","洪有元","此作用笔温润秀雅，点画间顾盼有情，牵丝映带尽显流动意趣。结体舒展灵动，字形错落排布，章法疏朗匀停，抄录酬答诗句却不失行气贯通的韵律。墨色浓淡自然随书写节奏渐变，古旧纸页晕染出沉静雅致的岁月质感。\n\n字里行间既带着门生敬献的恭谨敬慕，又尽显晚明文人书法平和端秀的典型气质，将酬答谦诚与笔墨风雅相融，是兼具文学意趣与书法审美价值的小品佳作。",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324140d418365b618c8297f12da204a5.jpg",[],{"id":52476,"slug":52477,"title":33631,"dynasty":45,"author":52478,"museum":107,"description":52479,"tags":52480,"thumbUrl":52481,"material":751,"size":752,"collection":95,"collections":52482,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240227,"wu-yan-shi-ye-meng-yang-zhi-240227","孟养志","此作行书清隽雅致，用笔秀逸灵动，牵丝映带之间尽显文人写意之趣。章法疏朗匀停，字势欹正相生，墨色枯润相映，将朴拙与妍巧相融无间。\n诗文清雅俊朗，寄寓幽居雅怀与林下襟期，笔墨意趣与诗意表里相映，尽显简淡萧散的美学意韵。整幅气息静穆安和，是诗书合璧的小品佳构，藏着旧时文人的风雅情致。",[24,25,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa9b0b98718af06e43c48cc64f590d6.jpg",[],{"id":52484,"slug":52485,"title":52486,"dynasty":45,"author":52487,"museum":107,"description":52488,"tags":52489,"thumbUrl":52490,"material":751,"size":752,"collection":95,"collections":52491,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240222,"tian-jia-le-shi-ye-yao-wen-wei-240222","田家乐诗页","姚文蔚","姚文蔚（？－？），字养谷，浙江钱塘县人，寄籍武功卫，明朝政治人物。",[25,7,26,199,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F229206601b30cb036c33d19d84d6a2f9.jpg",[],{"id":52493,"slug":52494,"title":35699,"dynasty":45,"author":52495,"museum":107,"description":52496,"tags":52497,"thumbUrl":52498,"material":751,"size":752,"collection":95,"collections":52499,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240220,"qi-lv-shi-ye-yang-ting-yun-240220","杨廷筠","杨廷筠（1557～1627），字仲坚，号淇园，别名弥格尔（Michael），笔名弥格子。汉族，浙江杭州仁和人，1592年（万历二十年）进士，曾任监察御史，早年习“王学”和佛学，与祩宏大师交好，后经过李之藻介绍，洗归信天主教，与徐光启和李之藻并列，被称为中国天主教“三大柱石”的人物之一。",[7,60,77,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09de9c081bee3b623f1c7c1bc4a696b5.jpg",[],{"id":52501,"slug":52502,"title":46301,"dynasty":45,"author":52503,"museum":107,"description":52504,"tags":52505,"thumbUrl":52506,"material":751,"size":752,"collection":95,"collections":52507,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240210,"wu-lv-shi-ye-chen-yu-ting-240210","陈玉庭","陈玉庭，仁和人，是一名明朝政治人物。 陈玉庭曾于万历二十年接替马贯任兴化府知府一职，万历二十六年由李大钦接任。",[45,7,60,77,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a2fa48e7d47fefde5ce7f9d5cef86.jpg",[],{"id":52509,"slug":52510,"title":52511,"dynasty":45,"author":454,"museum":107,"description":52512,"tags":52513,"thumbUrl":52515,"material":751,"size":752,"collection":95,"collections":52516,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240208,"zhang-ming-e-wu-lv-shi-ye-yi-ming-240208","张鸣鶚五律诗页","此作为行书五律诗页，笔致秀润灵动，提转顿挫皆合章法，笔画舒展雅致，尽显文人书法的清逸风神。字里行间排布错落从容，行气贯通如一，墨色匀净沉稳，古旧笺纸晕染出经年沉淀的古朴质感。诗作与笔墨相映成趣，落笔时的从容心境跃然纸上，既有法度谨严的帖学意韵，又不失随性舒展的书写意趣，尽显明代文人雅致的笔墨风流，是一件颇具赏玩价值的书法小品。",[60,7,433,432,77,52514],"书法小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f3f6535f8e7fb240a255291d6f204da.jpg",[],{"id":52518,"slug":52519,"title":46301,"dynasty":45,"author":52520,"museum":107,"description":52521,"tags":52522,"thumbUrl":52523,"material":751,"size":752,"collection":95,"collections":52524,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240207,"wu-lv-shi-ye-qian-yang-lian-240207","钱养廉","钱养廉，字国维，浙江杭州府仁和县匠籍。明朝政治人物、进士出身。\n广西副使钱立之子。万历十六年（1588年）戊子科举人，十七年（1589年）己丑科进士，授工部主事，筦河夏镇、汶泗诸泉，以夏镇为壑，而昭阳诸湖又在其下流，自留城至镇口，百里无际，粮船非乘风不得达，养廉亲履其地视察，从堤旁开二支河，以杀水势，又议于昭阳凿石通道至徐邳，以下出口，则内水无壅滞，而漕渠可百年无事。总河舒应龙然其策，会以父丧去位，后人卒用其议，成泇河。服阕，召补吏部考功署郎中事，日本入侵朝鲜，尚书石星主和议，总督孙矿不用其议，乃诬矿通书币，奉旨会议，养廉属草剖析利害，极明矿无罪，星计不得行，和议亦止。升稽勲司员外郎，调验封，署司事。以礼部尚书范谦赠荫事，吏部司官忤辅臣张位，吏部在任在籍二十七人，留用五人，余尽放逐，养廉竟削夺归。养廉少时娶黄氏，后失明，黄翁意且难之，养廉请于父，以方刘庭式，竟娶之。卒年五十八，所著有《贻清堂诗文》二十卷、《考功疏草》一卷，后赠光禄寺少卿。",[7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31537d31e876e69e37424d3c54ea5e03.jpg",[],{"id":52526,"slug":52527,"title":17924,"dynasty":18,"author":52528,"museum":107,"description":52529,"tags":52530,"thumbUrl":52531,"material":751,"size":752,"collection":95,"collections":52532,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240198,"shi-zhou-li-tian-ji-240198","李天机","此作以行草糅合写就，用笔纵逸跌宕，提按转合间尽显笔墨张力，线条粗细枯润层次丰富。字形欹正相生、大小错落排布，章法疏朗却气脉贯通，萧散中带着肆意狂放的意趣。\n笔墨循着词作情绪铺展，将春去岁迁的怅惘寄于笔端，笔墨与文辞意境相融，落笔间尽显抒情写意的风神，是一件形神兼具、以笔抒怀的书法佳构。",[7,75,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74bb1f9ce016eaca34935cdda3e7f05.jpg",[],{"id":52534,"slug":52535,"title":29530,"dynasty":18,"author":52536,"museum":107,"description":52537,"tags":52538,"thumbUrl":52539,"material":751,"size":752,"collection":95,"collections":52540,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240191,"wu-lv-shi-zhou-xu-yuan-wen-240191","徐元文","徐元文（1634年－1691年），字公肃，号立斋，江苏昆山人。探花徐乾学、徐秉义之弟，兄弟三人皆官贵文名，号称“昆山三徐”、斋号“集义居”。\n清顺治十六年（1659年）进士第一，顺治帝称徐元文为“佳状元”，赐冠带、蟒服、乘御马等，授翰林院修撰。康熙十八年，出任修《明史》总裁，荐万斯同入史局。升国子监祭酒，充经筵讲官。康熙称赞他：“徐元文为祭酒，规条严肃，满洲子弟不率教者，辄加挞责，人人敬畏。后人不能及也。”后任左都御史，官至文华殿大学士兼翰林院掌院学士。\n康熙二十九年（1690年），《尼布楚条约》签订后的隔年，清廷为建立界碑，用汉、满、蒙、拉丁、俄五种文字将条约刻于碑上。刻碑汉文由徐元文根据《实录本》润饰写定，前有徐元文所写序言。《清朝通志》《清朝经世文篇》《中俄约章会要》所载即为徐元文汉文本，一共有六条。徐元文与其兄长徐乾学、徐秉义都是进士出身，很有名望，号称“昆山三徐”。顾炎武曾勖勉徐元文：“有体国经野之心，而后可以登山临水；有济世安民之略，而后可以考古论今。”\n康熙二十九年（1690年）江南江西总督傅拉塔弹劾徐乾学及其弟徐元文不法之事共十五款，被解职。闰七月二七日“惊悸呕血而死”，享年五十八岁。著有《含经堂集》《得树园诗集》。",[18,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff917595406d75a7cdfa8a472d8f45131.jpg",[],{"id":52542,"slug":52543,"title":17924,"dynasty":18,"author":52544,"museum":107,"description":52545,"tags":52546,"thumbUrl":52547,"material":751,"size":752,"collection":95,"collections":52548,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240188,"shi-zhou-wang-xi-240188","王熙","王熙（1628~1703年），字子雍，顺天府宛平县（今北京丰台区）人。清初大臣，礼部尚书王崇简之子。\n顺治四年，中进士，选庶吉士，累擢弘文院学士。康熙帝即位，历任弘文馆学士、左都御史、工部尚书，转兵部尚书、武英殿大学士。《清太祖实录》修成，加太子太傅，进少傅。\n康熙四十二年，卒于家，钦命皇长子直郡王允禔、大学士马齐临丧，行拜奠礼，举哀酹酒，恩礼有加，谥号文靖，入祀贤良祠。",[18,25,24,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028f38eead4844c6e259f4ad161d5d22.jpg",[],{"id":52550,"slug":52551,"title":17924,"dynasty":18,"author":52552,"museum":107,"description":52553,"tags":52554,"thumbUrl":52555,"material":751,"size":752,"collection":95,"collections":52556,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240187,"shi-zhou-liu-fang-zhu-240187","刘芳躅","刘芳躅（生卒不详）字增美，号锺山。涿州人。著有《拙翁集》、《拙翁庸语》。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6092d475985893461dadc9541ff3220f.jpg",[],{"id":52558,"slug":52559,"title":17924,"dynasty":18,"author":52560,"museum":107,"description":52561,"tags":52562,"thumbUrl":52563,"material":751,"size":752,"collection":95,"collections":52564,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240186,"shi-zhou-feng-pu-240186","冯溥","冯溥（1609-1691） 清初大臣。字孔博，号易斋。卒谥文毅，益都（今属山东青州）人，冯裕六世孙。清顺治三年（1646）进士，初授编修，后擢吏部侍郎。康熙年间为刑部尚书，拜文华殿大学士。73岁时，以年老乞休获准，以原官致仕，加太子太傅，返归青州故里。临行前，康熙皇帝御笔题诗相赠：环海消兵日，元臣乐志年。草堂开绿野，别墅筑平泉。望切岩廓重，人思霖雨贤。青门归路远，遗兴豁云天。",[25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31fec59ca0994da752cde74984257b8.jpg",[],{"id":52566,"slug":52567,"title":9940,"dynasty":18,"author":5196,"museum":107,"description":5197,"tags":52568,"thumbUrl":52569,"material":751,"size":752,"collection":95,"collections":52570,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240165,"qi-yan-lian-ai-xin-jue-luo-yong-xing-240165",[7,75,60,27,77,25,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5252f9a8f9494783429dc6726e76160c.jpg",[],{"id":52572,"slug":52573,"title":9940,"dynasty":18,"author":39100,"museum":107,"description":39101,"tags":52574,"thumbUrl":52575,"material":751,"size":752,"collection":95,"collections":52576,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240164,"qi-yan-lian-qian-da-xin-240164",[2135,7,2136,1613,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f7daae3454056f43160f26d420c004.jpg",[],{"id":52578,"slug":52579,"title":52580,"dynasty":18,"author":52581,"museum":107,"description":52582,"tags":52583,"thumbUrl":52584,"material":751,"size":752,"collection":95,"collections":52585,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240145,"da-xiang-guang-chi-du-zhou-sheng-dun-da-240145","大香光尺牍轴","盛惇大","盛惇大　[清]（一七五四至一八二五）字仲甫，一字甫山，号南墅，阳湖（今江苏常州）人。惇崇弟。嘉庆二年（一七九七）进士，官甘肃庆阳知府。书学董其昌，画善山水，干笔焦墨，苍厚高古，极似王原祁，与盛士时称二盛。《墨林今话、萍踪开记、读画辑略、清画家诗史》",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85b021a6047821c6d94ecce52d3b188.jpg",[],{"id":52587,"slug":52588,"title":52589,"dynasty":45,"author":52590,"museum":107,"description":52591,"tags":52592,"thumbUrl":52593,"material":751,"size":752,"collection":95,"collections":52594,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240130,"xing-zhi-rui-weng-li-yan-ye-liu-zheng-xue-240130","行致瑞翁俚言页","刘正学","刘正学，字止一，号岱云，明末清初政治人物。\n明天启元年八月十日生，刘季木长子。崇祯十七年二月民末义军攻城，其参与抵御。四年福王监国金陵，改元弘光，其携家难度，至淮阳，藩镇刘泽清欲留用，没有答应。抵金，宁南侯左良玉招募，亦不就任。清顺治元年十月以儒生授守备，二年五月清军攻破金陵后，他寄籍广州、定州，七月授南游击，三年十月破清军于信宜，升参将，五年正月升南韶副总兵官，大寇李兴掠南阳，其率军攻破，八月被信丰败将杜永和扣押于舟中，随后释放。十四年三月转济南浮标中营游击，授昭武将军，十七年二月归。康熙十一年二月，他在儒林庄建支祠，十月监修县志，十四年六月修族谱，十七年正月南游江、浙及冬而还，卅三年十二月初十日卒。",[7,60,26,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e23840eeab2c17816726b2433b42710.jpg",[],{"id":52596,"slug":52597,"title":52598,"dynasty":45,"author":52599,"museum":107,"description":52600,"tags":52601,"thumbUrl":52602,"material":751,"size":752,"collection":95,"collections":52603,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240129,"shi-wu-shou-ye-song-luo-240129","诗五首页","宋荦","宋荦（1634年—1713年），字牧仲，号漫堂、西陂 、绵津山人 ，晚号西陂老人、西陂放鸭翁 。归德府（今河南商丘）人。清代诗人、画家、政治家。“后雪苑六子”之一。\n清顺治四年（1647年），宋荦应诏以大臣子列侍卫。康熙三年（1664年），被授予湖广黄州通判、康熙十六年（1677年），补理藩院判，迁员外郎。历官山东按察使，江苏布政使、江西巡抚、江苏巡抚。康熙三十八至四十四年（1699—1705年），康熙皇帝三次南巡，皆由宋荦负责接待。康熙四十四年（1705年）十一月，升任吏部尚书。康熙五十二年（1713年）春，加太子少师。同年九月逝世，享年八十岁，赐祭葬于商丘西陂别墅。\n宋荦为官正直，被康熙帝誉为“清廉为天下巡抚第一”。 宋荦笃学博闻，能诗文，工书画，精鉴赏，尤以诗享盛誉于清初文坛，一时文士多与之交游。 并与朱彝尊、施闰章等人同称“康熙年间十大才子”。编著有《西陂类稿》50卷、《漫堂说诗》及《江左十五子诗选》等。",[24,25,7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8a1218491ea3fe1524fce8526d06c7.jpg",[],{"id":52605,"slug":52606,"title":28124,"dynasty":45,"author":52607,"museum":107,"description":52608,"tags":52609,"thumbUrl":52611,"material":751,"size":752,"collection":95,"collections":52612,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240123,"shi-ye-liu-su-240123","刘塐","此幅行书诗页笔意取法晋唐，萧散简远，尽显文人随性之姿。字形欹正相生，牵丝映带间流转自如，笔墨枯湿浓淡错落，隽秀清雅。\n诗书合璧，以自作春日寄怀之诗入书，将探春闲情融于笔墨寸尺间，下笔松灵圆活，不见刻意雕琢。通篇气息淡远疏朗，尽显尚韵尚意的书法特质，寥寥数行便将文人春日感怀的逸趣尽数铺陈，是小品书法里诗书相融的佳制。",[25,7,60,77,137,9676,1002,3040,282,6297,116,52610,360,651],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a8f44ea41c0aa32ae63c9c10aad4c.jpg",[],{"id":52614,"slug":52615,"title":52616,"dynasty":45,"author":52617,"museum":107,"description":52618,"tags":52619,"thumbUrl":52620,"material":312,"size":95,"collection":96,"collections":52621,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240110,"xing-zhi-yi-lao-zha-ye-cheng-fu-240110","行致伊老札页","成榑","此札以行草书就，笔势纵逸灵动，起收锋棱隐现，尽显率意自然之态。笔墨枯润相生，线条粗细随情变幻，牵丝映带间暗合章法韵律。文字排布错落随性，毫无刻意雕琢之感。\n\n作为尺牍信札，将日常寄兴的松弛情致融于笔墨流转之中，尽显萧散简远的文人意趣，藏着林下雅士的随性雅致，是兼具实用与审美意趣的小品佳构。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53eb7250aec6960896c358ca8e4c635f.jpg",[96],{"id":52623,"slug":52624,"title":52625,"dynasty":45,"author":52626,"museum":107,"description":52627,"tags":52628,"thumbUrl":52629,"material":312,"size":95,"collection":96,"collections":52630,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240109,"xian-xing-ti-zhen-lie-chuan-ye-zhou-zuo-240109","显行题贞烈传页","周祚","周祚是唐末進士，代表作有《失題》。",[7,60,77,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5927a2160393ffd9c6c00de053f17e6.jpg",[96],{"id":52632,"slug":52633,"title":52634,"dynasty":45,"author":52635,"museum":107,"description":52636,"tags":52637,"thumbUrl":52638,"material":312,"size":95,"collection":96,"collections":52639,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240104,"lu-yu-ye-zhang-qing-240104","录语页","张庆","纸本古旧温润，墨色沉凝间带着岁月晕染的质感。此作用笔灵动舒展，行书笔意往来牵丝映带，字形欹正相生，粗细提按颇具韵律。起收笔暗含锋芒却不失温润圆融，兼具晋唐行书的秀雅意趣与明人书法尚态的抒情特质。\n\n通篇纵有列而横无行，行气连贯畅达，字间顾盼有情，排布疏密得宜。笔墨将文辞的清逸与书写的随性相融，尽显书写时的自在心境，尽显文人书卷意趣。",[7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd150d7bf0bebeee75800d2c709059204.jpg",[96],{"id":52641,"slug":52642,"title":27663,"dynasty":18,"author":52643,"museum":107,"description":52644,"tags":52645,"thumbUrl":52646,"material":751,"size":752,"collection":95,"collections":52647,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240099,"shi-ce-fan-zeng-xiang-240099","樊增祥","樊增祥（1846—1931）清代官员、文学家。原名樊嘉、又名樊增，字嘉父，别字樊山，号云门，晚号天琴老人，湖北省恩施市六角亭西正街梓潼巷人。光绪进士，历任渭南知县、陕西布政使、署理两江总督。辛亥革命爆发，避居沪上。袁世凯执政时，官参政院参政。曾师事张之洞、李慈铭，为同光派的重要诗人，诗作艳俗，有“樊美人”之称，又擅骈文，死后遗诗三万余首，并著有上百万言的骈文，是我国近代文学史上一位不可多得的高产诗人。著有《樊山全集》。",[24,25,26,60,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cc3824fa702a6afddaaea61c460ec9.jpg",[],{"id":52649,"slug":52650,"title":27663,"dynasty":45,"author":52651,"museum":107,"description":52652,"tags":52653,"thumbUrl":52654,"material":312,"size":95,"collection":96,"collections":52655,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240098,"shi-ce-li-xian-fang-240098","李先方","此作用笔苍劲朴拙，行草相间，字形欹正相生，章法错落随性，毫无刻意排布的匠气。笔墨燥润互济，枯笔涩而不滞，如秋风残叶带着嶙峋意趣；润笔腴而不滑，似春水漾开漫漶温柔。\n\n起笔藏露互见，收毫不拘成法，将遣兴寄怀的心绪尽数融于点画之间，尽显尚意的书法特质，带着文人信手挥毫的松弛野逸。尺幅之中浸透书卷清气，以日常诗札的自在形态，尽显作者笔底功力与洒落襟怀。",[7,26,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1f401e501e0226cf753c129e80f6fc.jpg",[96],{"id":52657,"slug":52658,"title":38302,"dynasty":18,"author":46464,"museum":107,"description":46465,"tags":52659,"thumbUrl":52660,"material":751,"size":752,"collection":95,"collections":52661,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240096,"shi-gao-ye-huang-jue-zi-240096",[18,7,60,312,4347,46389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05cbab23e7e732107b3d438a3b85746e.jpg",[],{"id":52663,"slug":52664,"title":52665,"dynasty":18,"author":52666,"museum":107,"description":41344,"tags":52667,"thumbUrl":52668,"material":751,"size":752,"collection":95,"collections":52669,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":3443},240084,"jie-si-nong-shu-you-huai-shi-ye-qiu-guang-ye-240084","接四农书有怀诗页","邱广业",[2135,25,7,60,77,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6360380f0a5fc824d7513b8ee93040c.jpg",[],{"id":52671,"slug":52672,"title":52673,"dynasty":18,"author":52666,"museum":107,"description":41344,"tags":52674,"thumbUrl":52675,"material":751,"size":752,"collection":95,"collections":52676,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240082,"lin-jiang-xian-zha-ye-qiu-guang-ye-240082","临江仙札页",[2135,7,60,4347,77,25,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf5af83ee2f1cd94368da98619235fd.jpg",[],{"id":52678,"slug":52679,"title":52680,"dynasty":18,"author":52681,"museum":107,"description":52682,"tags":52683,"thumbUrl":52684,"material":751,"size":752,"collection":95,"collections":52685,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240074,"wu-yan-shi-gao-ye-lu-yong-240074","五言诗稿页","卢湧","此作行书笔意松灵秀逸，牵丝映带间随性自然，毫无刻意雕琢之感。墨色枯润相生，带着手札特有的松弛温度，字势排布错落随性，不作刻意规整，将赋诗时的思绪起伏藏在笔锋起落之中。\n\n朱砂小印轻落文末，为素朴的笺纸晕开一抹沉静雅致，私语般的诗稿褪去制式书写的板正，尽显文人笔下的清隽襟怀。通篇是日常翰墨的鲜活缩影，平淡质朴里浸透着书写者的才情意趣，是小品尺牍里的清雅之作。",[18,7,60,77,312,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95c875aa60ee0e81f89a8c680bdb4371.jpg",[],{"id":52687,"slug":52688,"title":52689,"dynasty":18,"author":46464,"museum":107,"description":46465,"tags":52690,"thumbUrl":52691,"material":751,"size":752,"collection":95,"collections":52692,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240069,"qiu-huai-si-shou-ye-huang-jue-zi-240069","秋怀四首页",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6471fcccc48eed1a24d76a03aaf025.jpg",[],{"id":52694,"slug":52695,"title":52696,"dynasty":18,"author":52697,"museum":107,"description":52698,"tags":52699,"thumbUrl":52700,"material":751,"size":752,"collection":95,"collections":52701,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240066,"xing-du-zhong-quan-wen-shi-ye-zhou-jing-yuan-240066","行读钟泉文识页","周景垣","周俶（1514年－？年），字初卿，四川成都府成都县人，四川织染局匠籍，治《书经》，年二十八岁中式嘉靖二十年辛丑科第三甲第一百四十三名进士。五月初九日生，行二，曾祖周福；祖周应祖；父周杲；母邓氏。具庆下，妻杨氏，兄俊。由国子生中式四川乡试第三十七名举人，会试中式第一百五十四名。",[2135,7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d9bd81e941e199dd784aa17e4acb50.jpg",[],{"id":52703,"slug":52704,"title":38334,"dynasty":18,"author":38335,"museum":107,"description":52705,"tags":52706,"thumbUrl":52707,"material":751,"size":752,"collection":95,"collections":52708,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240049,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240049","黄宗羲（1610年9月24日－1695年8月12日），浙江余姚人，字太冲，一字德冰，号南雷，别号梨洲老人、梨洲山人、蓝水渔人、鱼澄洞主、双瀑院长、古藏室史臣等，学者称“梨洲先生”。明遗民。明末清初经学家、史学家、思想家、地理学家、天文历算学家、教育家。“东林七君子”之一黄尊素长子。\n黄宗羲提出“天下为主，君为客”的民主思想。他说“天下之治乱，不在一姓之兴亡，而在万民之忧乐”，主张以“天下之法”取代皇帝的“一家之法”，从而限制君权，保证人民的基本权利。黄宗羲的政治主张抨击了封建君主专制制度，有极其重要的意义，对其后反专制斗争起了积极的推动作用。\n黄宗羲与顾炎武、王夫之、唐甄并称“明末清初四大启蒙思想家”，与顾炎武、方以智、王夫之、朱舜水并称为“明末清初五大家”，与陕西李颙、直隶容城孙奇逢并称“海内三大鸿儒”，亦有“中国思想启蒙之父”之誉。",[26,60,7,25,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b6bcb38a60c426a0a20722ffb64685.jpg",[],{"id":52710,"slug":52711,"title":43718,"dynasty":45,"author":52712,"museum":107,"description":52713,"tags":52714,"thumbUrl":52715,"material":95,"size":95,"collection":96,"collections":52716,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240029,"zi-shu-shi-ce-bian-gong-240029","边贡","边贡（公元1476 --1532年）字廷实，因家居华泉附近，道号华泉子，历城（今山东济南市）人。明代著名诗人、文学家。弘治九年（1496）丙辰科进士，官至太常丞。边贡以诗著称于弘治、正德年间，与李梦阳、何景明、徐祯卿并称“弘治四杰”。后来又加上康海、王九思、王廷相，合称为明代文学“前七子”。",[45,25,7,26,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8062e4c74dda0bc2217268b06065ed49.jpg",[96],{"id":52718,"slug":52719,"title":31485,"dynasty":45,"author":41186,"museum":107,"description":52720,"tags":52721,"thumbUrl":52722,"material":751,"size":752,"collection":95,"collections":52723,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240020,"zi-shu-shi-zhou-liu-zheng-zong-240020","明末清初大臣刘正宗(1594～1661)，字可宗，号宪石，赐号中轩，明末清初大臣，世称“刘阁老”，山东安丘城里人。\n生于书香门第，1625年（天启五年）县岁试第一，1627年（天启七年）8月乡试中举。\n1628年（崇祯元年）3月中进士，历任真定府司理、翰林院编修、东宫讲读官、侍讲、礼部会试副主考。\n1644年（清顺治元年）为暂避战乱，携眷南下金陵。翌年5月清兵破金陵后，携眷回归安丘故里。",[25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59aa1e9cc0a5e44c9b8004ae31ea874d.jpg",[],{"id":52725,"slug":52726,"title":52727,"dynasty":45,"author":454,"museum":107,"description":52728,"tags":52729,"thumbUrl":52730,"material":751,"size":752,"collection":95,"collections":52731,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},240018,"ming-ren-bing-bu-zhi-fang-si-zha-fu-gao-juan-yi-ming-240018","明人兵部职方司劄付稿卷","这卷手稿笔墨是典型明代馆阁正楷，端雅方正，笔力匀整沉实，带着庙堂公文的规整肃穆。泛黄的古纸肌理粗糙斑驳，朱印残损晕染，边角的缺损藏着数百年辗转的风尘。\n\n它并非抒情遣兴的书画，而是带着兵戈气的军政文书，字里行间藏着晚明守土戍边的沉重心绪。从拔擢将才到筹算粮秣，从叙录军功到论功行赏，每一行笔墨都牵系着边关安危，是晚明军政时局的鲜活切片，静默诉说着远去的庙堂筹策与塞上烽烟。",[4038,7,60,77,1498,49,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed343f4f69c9686fb53b4762f572be4.jpg",[],{"id":52733,"slug":52734,"title":52735,"dynasty":45,"author":52736,"museum":107,"description":52737,"tags":52738,"thumbUrl":52739,"material":751,"size":752,"collection":95,"collections":52740,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},240008,"zhi-si-weng-zan-ye-dong-wen-ji-240008","致思翁赞页","董文骥","董文骥. 明末清初江南武进人，字玉虬，号云和、易农。顺治六年进士。官御史，敢直言。康熙初迁甘肃陇右道。旋得还。诗有名。晚年家居，颇留意推挽后学。",[24,25,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e8489da8089fb29046ccc35b8bcba9.jpg",[],{"id":52742,"slug":52743,"title":17924,"dynasty":18,"author":52744,"museum":107,"description":52745,"tags":52746,"thumbUrl":52747,"material":751,"size":752,"collection":95,"collections":52748,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239989,"shi-zhou-hong-yu-239989","弘瑜","僧。一作宏瑜，号桂，一作月章，会稽（今浙江绍兴）人。明中书舍人，入清不仕，皈依雪峤和尚。姓王，名作霖，与白岳山人等称“云门十子”。",[25,75,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42238e1b33438e75afc13f11b645007a.jpg",[],{"id":52750,"slug":52751,"title":52752,"dynasty":18,"author":52753,"museum":107,"description":52754,"tags":52755,"thumbUrl":52756,"material":751,"size":752,"collection":95,"collections":52757,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239987,"jie-lu-song-liu-tai-chong-xu-zhou-qian-bo-jiong-239987","节录送刘太冲序轴","钱伯埛","钱伯埛（1738--1812），字鲁斯，号渔陂，江苏常州人。书由董其昌、黄庭坚以追颜真卿。与嘉定钱坫齐名，其字配毕涵画，被誉为毗陵书画双绝。",[35878,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184ce19864dc850e48513079a35d1efc.jpg",[],{"id":52759,"slug":52760,"title":52761,"dynasty":18,"author":31963,"museum":107,"description":52762,"tags":52763,"thumbUrl":52764,"material":751,"size":752,"collection":95,"collections":52765,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239986,"fang-yan-lu-gong-ba-guan-bei-jin-zuo-zhou-wang-shi-hong-239986","访颜鲁公八关碑近作轴","汪士鋐（1658年—1723年），字文升，号退谷，又号秋泉居士，长洲（今江苏苏州）人。清代书法家、藏书家。汪琬从子。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c499fb34947292f65ecc36ea028eab.jpg",[],{"id":52767,"slug":52768,"title":52769,"dynasty":18,"author":52770,"museum":107,"description":52771,"tags":52772,"thumbUrl":52773,"material":751,"size":752,"collection":95,"collections":52774,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239975,"xing-kai-zhi-huan-weng-rong-xuan-shi-ye-wang-si-shi-239975","行楷致环翁荣旋诗页","王思轼","王思轼（1655—1727），字小坡，号坡仙，赣州府兴国人。康熙壬戌科进士，授翰林检讨。充康熙丁卯、壬午主考官，所拔多知名士。累官至礼部侍郎。",[7,3135,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7359ea9045de259ad6c4828b17ba0220.jpg",[],{"id":52776,"slug":52777,"title":52778,"dynasty":18,"author":52779,"museum":107,"description":52780,"tags":52781,"thumbUrl":52782,"material":751,"size":752,"collection":95,"collections":52783,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239973,"zhi-huan-weng-rong-xuan-shi-ye-yu-tai-lai-239973","致环翁荣旋诗页","余泰来","余泰来，生卒年不详，字子闳，绍兴府山阴人。康熙壬戌科进士，授庶吉士。改御史，赈济灾民，安顿流亡。升奉天府丞。",[7,60,77,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42585e11ca09b4a2f3ec43a5b629cba3.jpg",[],{"id":52785,"slug":52786,"title":52787,"dynasty":18,"author":52788,"museum":107,"description":52789,"tags":52790,"thumbUrl":52791,"material":751,"size":752,"collection":95,"collections":52792,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239963,"lu-yuan-sheng-xing-zhi-huan-shi-ye-weng-rong-xuan-239963","路元升行致环诗页","翁荣旋","此作为行书诗札小品，用笔温润秀逸，起收之间尽显灵动姿态，点画顾盼有情，结体舒展雅致，既有帖书法度的妍美隽秀，又带着文人挥毫的随性自在。素色笺纸镶浅蓝边框，配朱红印章点缀，清雅和谐，文气盎然。\n\n笔墨间藏着旧日文友酬唱的脉脉雅意，将寄怀友人的思绪融于笔尖，下笔从容平和，尽显冲淡疏朗的书卷意蕴，是清代小品书法中的雅致之作。",[7,60,50,77,26,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7305cdc4c4f98faba8a4d3cf878ba94.jpg",[],{"id":52794,"slug":52795,"title":52796,"dynasty":18,"author":52797,"museum":107,"description":52798,"tags":52799,"thumbUrl":52800,"material":751,"size":752,"collection":95,"collections":52801,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239960,"zhi-wei-tai-fu-zi-rong-gui-xu-ye-xu-ru-lin-239960","致魏太夫子荣归序页","许汝霖","清康熙二十一年（1682）进士，选庶吉土。曾督江南学政，厘正文体，整饬士风，选拔人才。试士既竣，置酒于君山，大会诸生，一时传为盛事。二十六年，典试四川，四十二年。总裁会试，选才恰当，时称得士。又曾出修子牙河，悉心规划施工，沿河八州县免除水患。历任礼部侍郎、吏部侍郎，后晋升礼部尚书兼理吏部。后告归，康熙亲书“清慎勤”匾额以赐。他熟读经史，文章词醇理正。归里后筑“也园”于东南湖，读书著述；创办东山书院，集当地文人学士读书课士以终。汝霖性孝友，行谨饬，工于诗文。",[24,25,26,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93860aa8d7b7e57b529e73d734f0f9c5.jpg",[],{"id":52803,"slug":52804,"title":52805,"dynasty":18,"author":52806,"museum":107,"description":52807,"tags":52808,"thumbUrl":52809,"material":95,"size":95,"collection":95,"collections":52810,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239957,"xing-zhi-huan-weng-rong-xuan-shi-ye-xu-si-long-239957","行致环翁荣旋诗页","许嗣隆","此小楷手札气息清雅安和，章法排布匀停疏朗，整饬之中暗蕴灵动生机。用笔秀润挺劲，点画精致妍美，起收转合皆循法度，捺角舒展雅致、弯钩凝敛有力，尽显隽秀温雅之姿。墨色匀净沉润，与素纸相映愈见静穆端方。\n\n整作以诗寄意，笔墨间饱含文人士大夫的雅逸襟怀。虽为尺幅小品，却自带着冲淡平和的书卷意蕴，将翰墨文采与文人酬酢的意趣相融，尽显传统小楷的雅致风神，方寸之间尽显文人笔墨的隽永情致。",[7,60,77,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957d79a692d2c17320c0e435bc2290d1.jpg",[],{"id":52812,"slug":52813,"title":28124,"dynasty":18,"author":52814,"museum":107,"description":52815,"tags":52816,"thumbUrl":52817,"material":751,"size":752,"collection":95,"collections":52818,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239927,"shi-ye-wei-xue-lian-239927","魏学莲","此作为小楷诗页，以描彩缠枝纹花笺为底，雅致静和。书风取法晋唐小楷，笔意清挺秀雅，结体端稳匀整，点画精致凝练，兼具欧楷的刚正与赵字的流丽，笔墨之间尽透文人书卷清气。\n抄录旧诗落笔从容，墨色莹润沉静，与浅淡花笺相映，愈发衬出古雅恬和的氛围。整体形制精巧，将制笺工艺与翰墨文思相融，尽显清代文人小品书法的隽美意趣，藏着书写者内敛娴静的文人情思。",[25,7,26,199,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e304edf09d0c2ece393a8b7c798a92.jpg",[],{"id":52820,"slug":52821,"title":52822,"dynasty":45,"author":41649,"museum":107,"description":52823,"tags":52824,"thumbUrl":52825,"material":751,"size":752,"collection":95,"collections":52826,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239914,"xin-le-shi-ye-wang-xing-shu-239914","新乐诗页","此作为行书小品，用笔纵逸灵动，提按顿挫暗含于起收之间，牵丝映带轻盈自然，尽显行书潇洒意趣。字形欹正相生，舒展敛缩错落有致，自带通透节律。右侧诗行笔势连贯如云水流转，粗细变化随心，畅达快意扑面而来。左侧落款瘦劲开张，骨力内含，与正文舒展意态呼应且自具姿态。\n墨色浓淡枯湿相宜，浓处沉凝厚重，枯处见筋见骨，将心绪寄寓笔墨开合之间，尽显明人尚态的书风特质。尺幅虽小，却有疏朗开阔之气象，笔墨间随性放达，尽显文人自在意韵。",[7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a76770c7af3ef5bdd6d2280e2a15de.jpg",[],{"id":52828,"slug":52829,"title":52830,"dynasty":45,"author":52831,"museum":107,"description":52832,"tags":52833,"thumbUrl":52834,"material":751,"size":752,"collection":95,"collections":52835,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239908,"jiu-jia-xing-shi-juan-li-min-239908","九家行诗卷","李旻","李旻，字同仁，益都（今山东益都）人。成化（一四六五―一四八七）中领乡荐授同州守，改潞州。善行、草书。代表作品有《分省人物考》。",[23,7,60,49,385,312,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907d32e4895b26726f9eeb47af0fc1ae.jpg",[],{"id":52837,"slug":52838,"title":52839,"dynasty":45,"author":52840,"museum":107,"description":52841,"tags":52842,"thumbUrl":52843,"material":751,"size":752,"collection":95,"collections":52844,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239904,"si-jia-lian-bi-shi-juan-huang-fu-xiao-239904","四家联璧诗卷","皇甫涍","皇甫涍（1497-1546），明诗文家。字子安，号少玄，长洲（今苏州）人。苏州府诸生。嘉靖十一年（1532）进士，除工部主事，官至浙江按察使佥事。好学工诗，颇负才名",[23,7,60,49,50,77,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d22f2a35d41a3d9b369e97614cfce5.jpg",[],{"id":52846,"slug":52847,"title":17924,"dynasty":45,"author":8261,"museum":107,"description":8262,"tags":52848,"thumbUrl":52849,"material":751,"size":752,"collection":95,"collections":52850,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239902,"shi-zhou-chen-yuan-su-239902",[45,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd21b7a231ec219a66f5e41431ba8e50.jpg",[],{"id":52852,"slug":52853,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":52854,"thumbUrl":52855,"material":95,"size":95,"collection":95,"collections":52856,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239896,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239896",[7,60,4038,49,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9201ac55504504c56c3f8ac3c491b.jpg",[],{"id":52858,"slug":52859,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":52860,"thumbUrl":52861,"material":95,"size":95,"collection":95,"collections":52862,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239895,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239895",[4038,7,49,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc73315214caa83c133a432b9e422b36.jpg",[],{"id":52864,"slug":52865,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":52866,"thumbUrl":52867,"material":95,"size":95,"collection":95,"collections":52868,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239894,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239894",[7,60,25,49,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44d71b89ec62b71b4361af16541ae25.jpg",[],{"id":52870,"slug":52871,"title":26787,"dynasty":18,"author":52872,"museum":107,"description":52873,"tags":52874,"thumbUrl":52875,"material":751,"size":752,"collection":95,"collections":52876,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239881,"qi-jue-shi-zhou-jin-zu-jing-239881","金祖静","金祖静（1736~1795）字会川，一字定涛，别号安安，吴县（今江苏苏州）人。",[2135,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59479019ede18fe0ce6849a38e301e18.jpg",[],{"id":52878,"slug":52879,"title":52880,"dynasty":18,"author":52881,"museum":107,"description":52882,"tags":52883,"thumbUrl":52884,"material":751,"size":752,"collection":95,"collections":52885,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239873,"qing-xi-fan-zhou-zhou-ding-yuan-gong-239873","清溪泛舟轴","丁元公","丁元公，字原躬，浙江嘉兴布衣。后为僧，名净伊，号愿庵，著有《静志居诗话》、《图给宝鉴》、《国（清）朝画徵录》、《桐阴论画》、《旅堂集》 流传于世。",[75,7,398,50,54,53,41525,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F783e7402207df9d3f2516a52d88ca82e.jpg",[],{"id":52887,"slug":52888,"title":27663,"dynasty":18,"author":52889,"museum":107,"description":52890,"tags":52891,"thumbUrl":52892,"material":751,"size":752,"collection":95,"collections":52893,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},239870,"shi-ce-xu-qi-239870","徐琪","徐琪：字大生；其子徐俊，字越千；父子俩均是康熙雍正年间（1662-1735）著名琴家。",[25,7,26,77,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c740b680524719cf6e3edbc9aab63e.jpg",[],{"id":52895,"slug":52896,"title":4849,"dynasty":18,"author":52897,"museum":107,"description":52898,"tags":52899,"thumbUrl":52903,"material":751,"size":752,"collection":95,"collections":52904,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239867,"ti-hua-shi-zhou-yang-er-you-239867","杨二酉","杨二酉（1705年-1780年）字学山，号又屯，山西太原人，清朝官员，他曾于1739年任巡视台湾监察御史。",[7,60,77,41481,7989,52900,52901,52902,12090,1679],"青枫","碧梧","寒山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a264a3199366d9f057b75dfcc55af0f.jpg",[],{"id":52906,"slug":52907,"title":52908,"dynasty":18,"author":35841,"museum":107,"description":51995,"tags":52909,"thumbUrl":52910,"material":751,"size":752,"collection":95,"collections":52911,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239862,"fu-zhang-xin-dian-yi-jue-ye-cai-zhi-ding-239862","赴长辛店一绝页",[7,60,77,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3879883aea61778f680df3b195d34c4b.jpg",[],{"id":52913,"slug":52914,"title":52915,"dynasty":18,"author":52916,"museum":107,"description":52917,"tags":52918,"thumbUrl":52919,"material":95,"size":95,"collection":96,"collections":52920,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239849,"ti-po-gong-li-lv-xiang-shi-ye-tang-chu-fan-239849","题坡公笠履像诗页","汤储璠","汤储璠（1783-1832）自幼以宗贤汤显祖为楷模，故以汤显祖“玉茗堂”号为名曰“茗孙”。清江西临川城内六水桥人。官授内阁中书。\n储璠自幼聪慧，过目成诵，才思敏捷，行文沉厚，淹贯古今，被赞有“玉茗家风”，髫年即名噪海内。嘉庆五年（1800）取副榜贡生、宗学教习。十五年（1810）乡试取第一名举人。次年会试，初拟状元，后改第四名进士。选庶吉士，改翰林院编修，授内阁中书。汤储璠擅长骈体文，因而被内阁所倚重，内阁所进奉文字，多出其手。其文字古茂渊懿，为时所称颂，大学士曹振镛推其为“今之燕许”，林昌彝称其有“复古之功”。未及一年，因父及嫡母丧，回乡守孝，九更寒暑方复职。因积劳成疾，患消渴病（糖尿病），常数月才去内阁一次，为忌者所妒，欲将其解职，内阁大学士曹振镛认为不可。\n清嘉庆二十五年（1820）七月，嘉庆皇帝颙炎崩于热河避暑山庄，英帝国主义及浩罕（乌兹别克）国王玛达尔乘大清国丧之时，唆使匿于浩罕国的新疆伊斯兰教白山派之和卓萨木萨克次子张格尔率部攻挠南疆，欲夺回其曾祖父玛木特所统治的叶尔羌、喀什葛尔南疆旧地，而后分裂祖国。清道光八年（1828年），清扬威将军长龄利用黑帽回对张格尔之不满，密遣其纵反间计诱张格尔入伏，一举擒获张格尔，押送京师斩于市。捷报到京，众中书拟贺表，皆不合上意，大学士曹振镛令汤储璠执笔。他带病伏枕构思，一挥而就，所作之表文词“古茂渊懿”，胜人一筹，备受内阁大臣称赞，士人争相传抄，一时纸贵。\n清朝漕运、河工二事，岁靡金钱无算，泥古之士，目击流弊，或拟改海运，或议复古道，或请治西北水田，大抵眉睫之见。唯汤储璠所上《舟泊御黄坝五古》一篇，议论独辟，被国人称颂。其治河三善之策，成为清朝漕运、河工的典范。\n清道光九年（1829），汤储璠获六品衔，擢升侍读。因其为官廉洁，俸禄又低，而京城做官，每年用度需耗资六七万钱，汤储璠时常捉襟见肘，入不敷出，于是告病归家，安贫著述。十二年六月卒，终年仅49岁。\n汤储璠一生清贫，但作品丰富，著有《长秋馆诗文集》32卷、《骈体四六文》16卷、《仪礼》、《绘图考》、《骈体文》、《经史补注》、《望海船》、《与客谈南河事》、《秦中吟》、《忍冬小草》2卷、《布帆无恙草》3卷等。多为兵火所毁，仅存《布帆无恙草》、《长秋馆咏史诗钞》行世。前者收诗230多首，系由京病归途中及在家卧病期间的作品，其《望海船》与《客谈南河事》诸篇，忧深思远，大有《秦中吟》余响。\n储璠工骈体文，尤善工诗，其诗文笔法生动，文采飞扬，或沉博艳丽，或跌宕酣嬉，不可一世，深得汪廷珍、林则徐等名士赏识，为士林所推崇。当他听说乡里溺杀女婴现象严重，即写了《罪言·溺女》，痛斥溺女行为，并引用古时“木兰从军”、“缇萦上书”的典故，批判重男轻女的观念，告诫人们须保护女婴，勿害无辜。此诗在抚州城乡广为流传，对制止溺女恶行起到了一定的作用。\n作为汤显祖族中子弟，汤储璠深得汤学真传，与汤来贺、汤德延、汤季云、汤善卿、汤仲武、汤述卿、汤钟灵、汤孟征、汤孙绪、汤新德、汤秀琦等人成为一代文学鸿儒。",[25,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0445ef419d5c95ba6c64b123e75a40.jpg",[96],{"id":52922,"slug":52923,"title":52924,"dynasty":18,"author":454,"museum":107,"description":52925,"tags":52926,"thumbUrl":52927,"material":95,"size":95,"collection":96,"collections":52928,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239847,"xing-shi-zhi-xing-xin-su-ge-wei-gong-fu-ye-yi-ming-239847","□兴诗支硎新粟歌为功甫页","此作用笔苍劲老辣，行书笔意恣肆随性，牵丝映带间尽显挥毫时的酣畅意气。字形排布错落疏朗，全无刻意规整的板滞，自携萧散朴拙的文人韵致。墨色枯润相参，笔画粗细随文气自然变幻，可见书家走笔毫无滞碍，将长歌胸臆尽数付诸笔端。通篇笔墨古雅醇厚，带着旧尺牍书法独有的随性自在，把日常酬唱的文人情思，藏进每一处笔墨起伏里，尽显文人间以墨寄情的风流意趣。",[7,60,25,26,433,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2839f5009c70c494bef6be75967b03d2.jpg",[96],{"id":52930,"slug":52931,"title":52932,"dynasty":18,"author":38419,"museum":107,"description":38420,"tags":52933,"thumbUrl":52934,"material":95,"size":95,"collection":96,"collections":52935,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239841,"shi-cheng-zhu-tong-she-ye-dong-guo-hua-239841","诗呈诸同社页",[7,60,26,77,432,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cdef64acb63fa4e7d339423427753b.jpg",[96],{"id":52937,"slug":52938,"title":52939,"dynasty":18,"author":52940,"museum":107,"description":52941,"tags":52942,"thumbUrl":52943,"material":95,"size":95,"collection":95,"collections":52944,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},239777,"shu-xun-shan-zhi-zhou-lu-yin-pu-239777","书寻山志轴","卢荫溥","此作用笔恪守楷法，取径欧柳，骨力劲挺内敛，点画起收顿挫皆具法度。结体端稳方正，排布匀整停匀，通篇行气贯通朗畅。墨色沉实饱满，古雅醇厚的气韵漫溢纸面。\n书文相衬，笔墨呼应林泉幽怀，规整馆阁体中暗蕴文人清雅意趣，肃穆庄重间不失秀润灵动。字里行间尽显沉稳笔力，将卧石观云、听泉寻幽的山水之志融于笔端，书与文相得益彰，尽显清代楷书端谨雅致的典型风貌，为一时佳作。",[24,25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb867a5fa1c0a4df437c928b61c92d61.jpg",[],{"id":52946,"slug":52947,"title":52948,"dynasty":18,"author":454,"museum":107,"description":52949,"tags":52950,"thumbUrl":52951,"material":95,"size":95,"collection":95,"collections":52952,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239776,"liu-quan-zhi-shu-tang-ren-dong-ting-zhang-le-fu-heng-zhou-yi-ming-239776","刘权之书唐人洞庭张乐赋横轴","此作用笔取法欧楷风骨，结体端稳匀停，笔力沉实厚重，点画精严不苟，捺脚舒展俊朗，钩趯劲健利落，尽显馆阁书法的端凝庄重。绢本衬以缠枝祥云暗纹，和齐整的书作排布相映成趣，静穆间又添雅致装饰意趣。\n字里行间气脉匀和，将唐人辞赋的高古意韵融于笔墨，既恪守馆阁体的规整法度，亦不失书写的灵动意趣，把洞庭张乐的清雅高古气象，以笔墨演绎得肃穆典雅，尽显内敛醇厚的文人意韵，可观可赏，尽显传统书法的规整之美。",[92,24,25,37824,50,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c508f4e4fac8b8db1eeb9cbf676db4.jpg",[],{"id":52954,"slug":52955,"title":52956,"dynasty":18,"author":52957,"museum":107,"description":52958,"tags":52959,"thumbUrl":52960,"material":95,"size":95,"collection":95,"collections":52961,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},239775,"shu-you-shi-zi-yuan-shi-zhou-mian-kai-239775","书游狮子园诗轴","绵恺","此作用笔匀净挺秀，起收顿挫恪守楷法，点画饱满端凝，结构方正匀停，尽显典型馆阁体风貌。朱笺为底，墨色乌亮如新，字列排布齐整森严，与游园诗作的雍和意趣相融，既有馆阁体的规整工稳，又暗含宗室书家的矜雅气度。\n\n整幅笔墨工稳不苟，以端丽书风烘托应制诗文的庄重感，循法度却不见板滞，平和端凝间尽显升平文翰雅度，是清代馆阁体书法颇具代表性的作品。",[60,75,7,27,1283,115,51,2739,251,11618,2763,77,14990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0587e9d3171ad6fddb59ba2ee8918479.jpg",[],{"id":52963,"slug":52964,"title":52058,"dynasty":18,"author":36536,"museum":107,"description":52965,"tags":52966,"thumbUrl":52967,"material":95,"size":95,"collection":95,"collections":52968,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239771,"shu-shi-zhou-ai-xin-jue-luo-mian-en-239771","此作为行楷取法赵孟頫，用笔圆劲秀逸，结体端庄匀整，点画间顾盼生情，法度谨严兼具灵动书卷气。墨色饱满妍润，搭配祥云暗纹笺纸，更衬华贵雍容。\n书写贺春应制诗句，笔墨贴合宫廷书风的庄重典雅，融馆阁体端稳与行书灵秀于一身，章法舒朗匀称，字字温润妍雅，尽显清中期宗室书家典型风貌，整体气息安和静穆，尽显不俗功底与雍和贵气。",[7,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9119670b245c25374769e42bc3861cc.jpg",[],{"id":52970,"slug":52971,"title":52972,"dynasty":18,"author":52973,"museum":107,"description":52974,"tags":52975,"thumbUrl":52976,"material":751,"size":752,"collection":95,"collections":52977,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239765,"shu-ci-xi-bu-sheng-shi-zhou-xu-ting-239765","书朿晰补笙诗轴","徐颋","徐颋（？－1823年），字述卿（或号述卿[1]）、少鹤[2]、直卿[3]，江苏省苏州府长洲县（今江苏省苏州市）人，清朝政治人物、榜眼。",[25,75,60,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facef0bd087d88320a4ff0632ca4c3f74.jpg",[],{"id":52979,"slug":52980,"title":52981,"dynasty":18,"author":38474,"museum":107,"description":38475,"tags":52982,"thumbUrl":52983,"material":751,"size":752,"collection":95,"collections":52984,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},239761,"shu-hong-li-geng-zhi-shi-ce-zhou-huang-239761","书弘历耕织诗册",[7,199,26,77,50,200,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c2049a647af8d1926634dabf9aee199.jpg",[],{"id":52986,"slug":52987,"title":52988,"dynasty":18,"author":52989,"museum":107,"description":52990,"tags":52991,"thumbUrl":52992,"material":751,"size":752,"collection":95,"collections":52993,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239753,"shu-yu-zhi-chun-tie-zi-ci-heng-zhou-tian-song-nian-239753","书御制春帖子词横轴","田嵩年","田嵩年（1788—？），字季高，号梦琴，清朝盂县北关人。田兴梅之子。嘉庆二十五年（1820）庚辰科进士。历任庶常、翰林院编修。",[7,199,49,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97241cc7affbd2c7e39f289d05159174.jpg",[],{"id":52995,"slug":52996,"title":46808,"dynasty":18,"author":46809,"museum":107,"description":46810,"tags":52997,"thumbUrl":52998,"material":751,"size":752,"collection":95,"collections":52999,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},239749,"shu-hong-li-yan-shi-ce-wang-jie-239749",[7,25,26,199,27,3093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d3b37643d166cbb3061f1dfdb2055e.jpg",[],{"id":53001,"slug":53002,"title":41794,"dynasty":18,"author":35899,"museum":107,"description":41795,"tags":53003,"thumbUrl":53004,"material":751,"size":752,"collection":95,"collections":53005,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239746,"shu-hong-li-bi-shu-shan-zhuang-sa-liu-jing-shi-ce-yu-min-zhong-239746",[199,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee571fa95a32044a69ee0f85a237863d.jpg",[],{"id":53007,"slug":53008,"title":53009,"dynasty":45,"author":53010,"museum":107,"description":53011,"tags":53012,"thumbUrl":53013,"material":751,"size":752,"collection":95,"collections":53014,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239743,"ming-ren-jian-du-ce-zhi-shu-jia-zha-liu-huang-shang-239743","明人笺牍册-致淑嘉札","刘黄裳","刘黄裳（1529~1595），字玄子，明河南汝宁府光州（今河南潢川县）人，重庆知府刘绘之子，明万历十四年（1586）进士，参加万历朝鲜战争，官至兵部郎中。",[25,7,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240f4991656861dda2252eadbeda4192.jpg",[],{"id":53016,"slug":53017,"title":53018,"dynasty":45,"author":20666,"museum":107,"description":53019,"tags":53020,"thumbUrl":53021,"material":751,"size":752,"collection":95,"collections":53022,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239738,"ming-ren-jian-du-ce-zhi-qing-weng-zha-lu-shi-ren-239738","明人笺牍册-致罄翁札","陆士仁[明]字文近，号澄湖，一作承湖，长洲（今江苏苏州）人。",[25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20756f42289a4621eb58ecf2b23c0bab.jpg",[],{"id":53024,"slug":53025,"title":53026,"dynasty":45,"author":41008,"museum":107,"description":41009,"tags":53027,"thumbUrl":53028,"material":751,"size":752,"collection":95,"collections":53029,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239737,"ming-ren-jian-du-ce-zhi-wen-shi-zha-zhu-yue-fan-239737","明人笺牍册-致文石札",[25,7,26,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74770ce969f49ab6697b3dedc3eec5a7.jpg",[],{"id":53031,"slug":53032,"title":53033,"dynasty":45,"author":53034,"museum":107,"description":53035,"tags":53036,"thumbUrl":53037,"material":751,"size":752,"collection":95,"collections":53038,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239736,"ming-ren-jian-du-ce-shu-zha-mo-ru-zhong-239736","明人笺牍册-书札","莫如忠","莫如忠（1508—1588）字子良，号中江，南直隶松江府华亭（今上海松江）人 。生于明武宗正德三年，卒于神宗万历十六年，年八十一岁。（《历代名人年谱》作正德四年生，万历十七年卒，年岁同。此从《三续疑年录》据《明文海》）师从唐顺之，嘉靖十七年（1538）进士。累官浙江布政使，寻告归，杜门著书。洁修自好，笃志好学，师从唐顺之，废寝忘食读书，老而不倦。",[24,25,26,60,77,7,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7188b941316cb16b711726f9a9debcb3.jpg",[],{"id":53040,"slug":53041,"title":53042,"dynasty":45,"author":2977,"museum":107,"description":27140,"tags":53043,"thumbUrl":53044,"material":751,"size":752,"collection":95,"collections":53045,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239735,"ming-ren-jian-du-ce-zhi-zun-shi-zha-han-xi-meng-239735","明人笺牍册-致尊师札",[7,60,26,46820,385,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88862e36b8696e3c505ccf7abb8eeab.jpg",[],{"id":53047,"slug":53048,"title":53033,"dynasty":45,"author":53049,"museum":107,"description":53050,"tags":53051,"thumbUrl":53052,"material":751,"size":752,"collection":95,"collections":53053,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239734,"ming-ren-jian-du-ce-shu-zha-gu-xian-cheng-239734","顾宪成","顾宪成（1550年－1612年），字叔时，号泾阳，因创办东林书院而被人尊称“东林先生”。明代思想家，东林党领袖。江苏无锡人，在万历八年（1580年）中进士后历任京官，授户部主事。\n明万历十五年（1587年），因为上疏申辩，词语中有触怒当权者的地方，被圣旨责备，贬谪为桂阳州判官，慢慢提为处州推官。万历二十一年（1593年），顾宪成任吏部文选司郎中，掌管官吏班秩迁升、改调等事务。万历二十二年（1594年），朝廷会同推荐选任内阁大学士，顾宪成提名的人，都是明神宗所厌恶的，从而更触怒了神宗，被削去官籍，革职回家。顾宪成回到家乡以后，同弟弟顾允成倡议维修东林书院，偕高攀龙等讲学其中，同时宣扬他的政治主张。万历三十二年（1604年）农历十月，顾宪成会同顾允成、高攀龙、安希范、刘元珍、钱一本、薛敷教、叶茂才（时称东林八君子）等人，发起东林大会，制定《东林会约》。顾宪成等人在东林书院讲学之余，往往讽议朝政，逐渐聚合成一个政治集团“东林党”。由于许多东官员纷纷上疏推荐重新起用顾宪成。万历三十六年（1608年），朝廷封顾宪成为南京光禄寺少卿，但是顾宪成没有接受任命，继续留在家乡从事讲学议政。\n万历四十年（1612年），顾宪成于家中去世。著作有《小心斋札记》、《泾皋藏稿》、《顾端文遗书》等。天启初年，明熹宗赠顾宪成太常卿。后来东林党争爆发，被魏忠贤阉党削去封号。崇祯初年，顾宪成获得平反，赠吏部右侍郎，谥号端文。",[7,60,26,50,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c57853d1995e8d37fba53ce1e3f8f3.jpg",[],{"id":53055,"slug":53056,"title":53057,"dynasty":45,"author":53058,"museum":107,"description":53059,"tags":53060,"thumbUrl":53061,"material":751,"size":752,"collection":95,"collections":53062,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239733,"ming-ren-jian-du-ce-zhi-ruo-fu-zha-zhou-shun-chang-239733","明人笺牍册-致若抚札","周顺昌","周顺昌（1584年－1626年），字景文，号蓼洲，南直隶吴县（今江苏苏州）人。\n万历四十一年（公元1613年）进士，历任福州推官、吏部稽勋主事、文选司员外郎。居官清正。在福州推官任上，反对矿监税使的掠夺，抓治税监高寀的爪牙。后为魏忠贤党迫害，以颜佩韦等五人为首的乡人加以反抗，然终被镇压。顺昌后被害于狱中。\n崇祯元年（公元1628年）得已昭雪，谥“忠介”。与同为阉党所害的高攀龙、周起元、缪昌期、周宗建、黄尊素、李应升并称“后七君子”",[25,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfb122fe622774e137b1acb33bd93173.jpg",[],{"id":53064,"slug":53065,"title":53066,"dynasty":45,"author":454,"museum":107,"description":53067,"tags":53068,"thumbUrl":53069,"material":751,"size":752,"collection":95,"collections":53070,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239732,"ming-ren-jian-du-ce-wei-wei-zhi-yi-du-zha-yi-ming-239732","明人笺牍册-囗囗致异度札","这帧行书尺牍笔墨清隽秀雅，通篇行气疏朗匀净。起笔收锋间灵动自然，点画顾盼有情，牵丝映带暗含章法韵律。\n\n文字随笔势舒展，毫无刻意雕琢的板滞，笔墨枯润相济，时而细劲如萦牵丝绦，时而饱满如坠露留痕，将尺牍日常的松弛意态藏于笔墨法度之中。纸面的蠹蚀残损，更添岁月摩挲的古旧质感，让这页寻常书札，成为窥见往昔文人笔墨日常的鲜活切片，在方寸尺素间晕开旧时翰墨往来的脉脉情致，尽显简淡萧散的雅致风神。",[45,7,60,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012573c11176176412c55df7f26f808c.jpg",[],{"id":53072,"slug":53073,"title":53074,"dynasty":45,"author":53075,"museum":107,"description":53076,"tags":53077,"thumbUrl":53078,"material":751,"size":752,"collection":95,"collections":53079,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239728,"ming-ren-jian-du-ce-zhi-jing-tang-zha-huang-ji-shui-239728","明人笺牍册-致敬堂札","黄姬水","黄姬水（1509－1574），初名道中，字致甫，又字淳父。南直隶苏州府吴县（今属江苏）人。明代学者黄省曾之子。",[7,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F604210c1d52697bfa22610929d083bbd.jpg",[],{"id":53081,"slug":53082,"title":53083,"dynasty":18,"author":53084,"museum":107,"description":53085,"tags":53086,"thumbUrl":53087,"material":95,"size":95,"collection":95,"collections":53088,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},239709,"shu-wan-nian-jia-zi-xun-huan-san-da-qing-fu-ce-zhang-shi-cheng-239709","书万年甲子循环三大庆赋册","张师诚","此作为朱丝栏粉纸泥金小楷，朱红地色衬得泥金笔墨明丽华贵，边框饰云纹瑞象，尽显庄重堂皇的仪制气度。\n书法恪守馆阁矩度，点画匀停秀润，笔致精谨工稳，骨力内敛而仪态端雅，将颂圣文辞的恭谨意蕴尽数铺展。文辞以甲子循环起笔，叙写纪元礼庆与朝家洪福，翰墨工巧与礼制敬心完美融合，是清代馆阁书风的典型范本，尽显书艺与文辞相得益彰的雅致风貌。",[7,26,199,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0acc928b7ef1aabe3afbe4b3b57a5bf9.jpg",[],{"id":53090,"slug":53091,"title":53092,"dynasty":18,"author":454,"museum":107,"description":53093,"tags":53094,"thumbUrl":53095,"material":95,"size":95,"collection":95,"collections":53096,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239704,"yi-xuan-shu-qi-yan-shi-heng-zhou-yi-ming-239704","奕譞书七言诗横轴","此作为楷书横轴，笔墨兼取颜柳筋骨，笔力沉浑苍劲，结体端方舒展。正文七言诗句排布疏朗从容，起笔收锋皆见法度，墨色匀净厚重，庙堂气浑然具足。小字题跋同样精谨整饬，与大字形成虚实映衬，章法和谐统一。\n\n书者以端严朴拙的笔墨，烘托出诗句里小亭观花、对酒看月的清寂幽怀，将工稳笔墨与林下萧散的诗意融作一处，刚柔相济，既有馆阁体的规整气象，又暗合文人淡远闲疏的意趣。",[7,25,199,77,26503,2135,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc463fa7df6ebc1e373405f1a20207fd9.jpg",[],{"id":53098,"slug":53099,"title":53100,"dynasty":88,"author":454,"museum":107,"description":53101,"tags":53102,"thumbUrl":53103,"material":95,"size":95,"collection":95,"collections":53104,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},239671,"zhao-qi-xian-chun-wu-nian-chi-shu-juan-yi-ming-239671","赵禥咸淳五年敕书卷","此卷开篇擘窠大字雄强浑厚，开张大气，尽显敕书的端严威仪。后续小字行楷随性布势，笔致隽秀连贯，提按转折皆合法度，墨色枯湿浓淡富于变化，尽显宋代书法的雅致风神。\n\n整卷朱红鉴藏印错落排布，与墨色书迹相映成趣，既有官方文书的典重肃穆，又不失文人书法的灵动意趣。卷后题跋递藏有序，映照着历代藏家的珍视，承载着岁月积淀下的艺文底蕴，是兼具文献价值与书法审美价值的佳品。",[23,92,24,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb402d1092a3625b19e13caf6ecd69c34.jpg",[],{"id":53106,"slug":53107,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":53108,"thumbUrl":53109,"material":312,"size":12116,"collection":95,"collections":53110,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239608,"shi-san-zha-ce-zhu-da-239608",[24,25,26,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6a9cecaeec218d29a3a0e3682cd5.jpg",[],{"id":53112,"slug":53113,"title":22896,"dynasty":18,"author":22897,"museum":107,"description":53114,"tags":53115,"thumbUrl":53116,"material":95,"size":95,"collection":95,"collections":53117,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239233,"hui-shi-ce-hu-zhen-kai-239233","以枯淡写意之笔勾勒湖石，干湿墨色互用，皴擦间尽显瘦透漏皱之态，孔洞虚实相生，暗含丘壑灵趣。左侧行书题诗错落排布，笔致清逸疏朗，书画相映成趣。\n\n整幅小品简淡空灵，不着冗余修饰，以极简笔墨抓住湖石奇崛之姿，将文人赏石的雅趣寄于毫端。以形写神，寥寥数笔便将湖石的通透灵动与画者澹泊襟怀融为一体，尽显文人写意画的雅致天然，韵致悠长，藏着传统文人的疏淡意趣。",[24,50,26,250,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c36b2f0ca6694b3a147f2c26b44895.jpg",[],{"id":53119,"slug":53120,"title":53121,"dynasty":18,"author":36128,"museum":107,"description":47075,"tags":53122,"thumbUrl":53123,"material":751,"size":752,"collection":95,"collections":53124,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239181,"hua-hui-ren-wu-ce-chen-zi-239181","花卉人物册",[24,25,26,60,50,111,77,2453,5128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0acb97b5060f0aaa329dfcf1382d0be3.jpg",[],{"id":53126,"slug":53127,"title":10678,"dynasty":18,"author":12696,"museum":107,"description":53128,"tags":53129,"thumbUrl":53130,"material":95,"size":95,"collection":95,"collections":53131,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239164,"shan-shui-hua-hui-ce-chen-heng-ke-239164","此作以浅绛写秋山幽居，枯淡朴拙的崖石间石径逶迤，山角小屋隐于丹红花枝中，远岸水天晕染出空濛秋意，寥寥笔墨便勾勒出江天清寒岑寂的氛围。\n\n左侧题诗行书笔意萧散苍劲，书画相映成趣，将山居秋日的寥廓况味铺陈开来。整体意韵清隽雅致，极简构图里藏着悠长的文人逸趣，平淡朴拙的笔墨晕开深沉秋日诗意，尽显诗画交融的文人画意趣，将幽居秋怀缓缓诉与观者。",[24,25,26,50,27,60,7,51,57,56,9654,1006,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb47d304de3f00a16658d44c1b95355.jpg",[],{"id":53133,"slug":53134,"title":10678,"dynasty":18,"author":12696,"museum":107,"description":53135,"tags":53136,"thumbUrl":53137,"material":95,"size":95,"collection":95,"collections":53138,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239160,"shan-shui-hua-hui-ce-chen-heng-ke-239160","此帧以淡赭浅墨绘秋山村居之景，山峦以干笔皴擦出嶙峋肌理，淡墨晕染晕开空濛秋意。坡脚村居错落掩映于疏林之间，杂木叶疏枝劲，暗合题诗秋风之境。\n题款行书笔力苍劲朴拙，文辞与画作呼应相生，尽显诗书画合一的文人雅趣。笔墨简淡却意韵醇厚，以写意之法勾勒丘壑，不刻意雕饰形貌，重在烘托静穆萧散的山居氛围，将林泉雅怀寄寓在寻常秋山景致中，于简淡笔墨里透出沉静风骨。",[24,25,26,50,59,51,57,56,58,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb0a5c31fdde8262a51294c006cdf4b.jpg",[],{"id":53140,"slug":53141,"title":10678,"dynasty":18,"author":12696,"museum":107,"description":12697,"tags":53142,"thumbUrl":53143,"material":751,"size":752,"collection":95,"collections":53144,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239158,"shan-shui-hua-hui-ce-chen-heng-ke-239158",[92,24,25,26,50,51,58,471,56,252,59,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6485380e7cf2b3de2af3c8692609ca6d.jpg",[],{"id":53146,"slug":53147,"title":4167,"dynasty":18,"author":53148,"museum":107,"description":53149,"tags":53150,"thumbUrl":53151,"material":95,"size":95,"collection":95,"collections":53152,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},239042,"shan-shui-ce-wu-lin-239042","吴麐","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[24,50,59,26,51,651,360,56,58,471,1316,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a99f8a2da72b6fb9ea752e95041a9f.jpg",[],{"id":53154,"slug":53155,"title":53156,"dynasty":18,"author":454,"museum":107,"description":53157,"tags":53158,"thumbUrl":53159,"material":95,"size":95,"collection":95,"collections":53160,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},238899,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238899","董诰春华集庆册","此作为诗画合璧的小品佳制。两帧山水分别呼应御题春景诗句：上帧绘茂林村墟，野意盎然，将春雨村耕的恬然乡居之景细细铺陈，林木苍润，村居错落间尽是春日乡野的松弛意趣。下帧绘烟霭山居，行旅踏春，楼阁隐于翠峦间，轻岚浮动晕染出春城晓色的清润雅致。设色浅淡柔润，线条秀逸细腻，以具象山水诠释诗意，笔墨温婉精致，把郊野春闲与皇城春妍的融融春意尽藏笔底，尽显清和雅致的春日氛围感。",[24,25,26,27,51,56,57,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9257fd5a721f29acb03e7e3dc813ba0a.jpg",[],{"id":53162,"slug":53163,"title":41965,"dynasty":18,"author":454,"museum":107,"description":53164,"tags":53165,"thumbUrl":53166,"material":751,"size":752,"collection":95,"collections":53167,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238582,"qing-ren-lie-quan-tu-ce-yi-ming-238582","此作以绢本设色绘就，两只猎犬居于春山之下，一黑一黄互动亲昵，伏地抬首间神态灵动宛然。画家以细腻笔触晕染犬身毛发，将绒毛细密的肌理质感表现入微，写实工细又不失生动意趣。背景以淡墨轻勾山石枯木，几枝春蕊点缀出清寂雅致的氛围，衬得猎犬更具闲适悠然之态。\n左侧题跋笔意苍劲舒展，述此犬渊源，书画合璧，更添文雅沉静之韵。整幅小品将走兽写生的写实精度与古典雅致意境相融，尽显精巧审美，于尺幅之间藏尽细腻生动的写生功力与中式赏物的雅致情致。",[24,25,26,27,111,798,250,131,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe086a9deb8b5a2c7a20385a41538881f.jpg",[],{"id":53169,"slug":53170,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":53171,"thumbUrl":53172,"material":751,"size":752,"collection":95,"collections":53173,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238551,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238551",[24,25,26,27,111,60,77,113,458,268,56,567,9813,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb625adc8dfd6daa2f004109fe9f54f9c.jpg",[],{"id":53175,"slug":53176,"title":36026,"dynasty":18,"author":10010,"museum":107,"description":36027,"tags":53177,"thumbUrl":53178,"material":751,"size":752,"collection":95,"collections":53179,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238505,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238505",[24,25,26,27,51,458,56,471,268,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b5ed18c562e3c87364f0e78fccaf2c.jpg",[],{"id":53181,"slug":53182,"title":36026,"dynasty":18,"author":10010,"museum":107,"description":36027,"tags":53183,"thumbUrl":53184,"material":751,"size":752,"collection":95,"collections":53185,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238504,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238504",[26,7,60,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18501f8f8b9de703668325bc05ebf52c.jpg",[],{"id":53187,"slug":53188,"title":4167,"dynasty":18,"author":2634,"museum":107,"description":37247,"tags":53189,"thumbUrl":53190,"material":95,"size":95,"collection":95,"collections":53191,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238315,"shan-shui-ce-dong-bang-da-238315",[92,24,50,59,51,57,56,58,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199f0e506a48e29be60961ccf588b100.jpg",[],{"id":53193,"slug":53194,"title":26912,"dynasty":18,"author":26913,"museum":107,"description":53195,"tags":53196,"thumbUrl":53197,"material":95,"size":95,"collection":95,"collections":53198,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238222,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238222","此作用笔秀润清和，以平远之法铺展江南春景。浅岸垂柳依依，村庐隐于林间，远山衔着薄霭晕染开来，留白处漾着空濛水汽，将早春的温润柔婉藏于淡色晕染中。笔致简淡温婉，不着繁复皴擦，却将水村澹澹闲意尽数铺陈。诗画相映，文气悠悠，虚实之间晕开春日独有的沉静悠然，把文人寄情林泉的雅趣融在浅淡设色与疏朗构图中，尽显雅致恬然的山水意境。",[24,25,7,27,51,59,110,26,56,58,553,113,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30f4f2898d90e6932147057c1ec0a6c.jpg",[],{"id":53200,"slug":53201,"title":26912,"dynasty":18,"author":26913,"museum":107,"description":53202,"tags":53203,"thumbUrl":53204,"material":95,"size":95,"collection":95,"collections":53205,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238219,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238219","此作用笔简淡秀雅，以水墨写就山居小景。苍木虬枝错落，茅庐隐于林麓坡岸之间，留白衬出溪畔空寂，尽显林下幽逸之趣。画面萧散静穆，寥寥皴擦勾勒便将山野清润之态铺陈开来，暗合文人林泉高致。\n左侧题诗与画境呼应，诗画合璧，把山居闲雅的林下意趣融于笔端，观之恍若步入幽寂村舍，沉醉在疏淡清远的诗意之中，尽显南宗山水雅逸风神，是寄情丘山的文人水墨佳构。",[24,25,50,26,59,51,56,58,2019,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210a6bab8cf2d0a0ee650e902a81f985.jpg",[],{"id":53207,"slug":53208,"title":4167,"dynasty":18,"author":33761,"museum":107,"description":53209,"tags":53210,"thumbUrl":53211,"material":95,"size":95,"collection":95,"collections":53212,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238189,"shan-shui-ce-song-jun-ye-238189","此作用淡墨晕染秋山幽居之景。近岸苍松怪石错落而立，山居隐于林木深处，远岫平缓晕在烟水之上，留白铺陈出空濛辽远的意境，尽显清秋疏旷之致。笔墨简淡秀雅，以干笔皴擦勾勒山石肌理，林木萧疏灵动，不事浓艳雕琢，纯以水墨绘就静穆淡远的出世之态。左侧题诗与画境呼应，将林泉间无扰的太平秋光娓娓道来，书画相得益彰，尽显文人情趣，绘出士人心中的隐逸桃源，淡而愈厚、实而愈清，藏着无声的安然意趣。",[24,25,50,59,26,51,52,53,56,57,58,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524922c6b57f987daf5dc9c7e8b7b325.jpg",[],{"id":53214,"slug":53215,"title":4167,"dynasty":18,"author":33761,"museum":107,"description":53216,"tags":53217,"thumbUrl":53218,"material":95,"size":95,"collection":95,"collections":53219,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238186,"shan-shui-ce-song-jun-ye-238186","此作诗画合璧，意境悠然。画幅以淡彩晕染山峦，秀润苍郁的林木错落溪边，山居藏于翠微之间，溪桥横卧浅流，烟岚轻笼幽谷，将江南山水的温润灵秀铺陈开来。笔墨清和柔婉，设色雅致明净，处处透着闲适静谧的林下意趣。左侧题字笔致流丽秀雅，诗文与画境呼应，把文人耽恋林泉的隐逸情怀融在山水丘壑之中。观之如踏入幽寂山居，静听松风裹着泉鸣，沉醉在澹远悠然的诗意山光里，尽显文人山水的清雅格调。",[24,25,26,27,59,7,77,51,56,57,52,53,458,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a09dd6f013766756d9ad08ccb8d86bd.jpg",[],{"id":53221,"slug":53222,"title":4167,"dynasty":18,"author":33761,"museum":107,"description":53223,"tags":53224,"thumbUrl":53225,"material":95,"size":95,"collection":95,"collections":53226,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238184,"shan-shui-ce-song-jun-ye-238184","此作用浅绛设色描摹林壑晓景，以披麻皴勾勒山峦肌理，笔墨温雅秀润。平林迤逦，溪岸蜿蜒，茅舍隐于茂林之下，远山含烟晕染出空濛气韵。配页行书清隽疏朗，诗画呼应，将晨间林麓的清逸氛围铺陈开来。山径通幽间，似能晓风拂面、啼鸟穿林，满卷皆为山居静穆清和之趣，仿若踏入空寂林居，揽尽晨岚氤氲的林下雅意，尽显传统山水的写意悠然。",[92,24,25,27,59,7,77,51,56,58,553,471,552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce84782924ad29edac652b3aeeb5e3f.jpg",[],{"id":53228,"slug":53229,"title":4167,"dynasty":18,"author":33761,"museum":107,"description":53230,"tags":53231,"thumbUrl":53232,"material":95,"size":95,"collection":95,"collections":53233,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238183,"shan-shui-ce-song-jun-ye-238183","此作以淡墨皴染出清寂冬郊之景。近岸枯木错立，茅舍藏于林麓，浅溪缓绕石矶；远山空蒙飞瀑垂落，古木萧疏间暮烟轻笼，寒色浸透青流。\n\n画面虚实相生，笔墨苍秀温润，将题诗里幽人耕钓、自适林泉的隐逸意趣铺陈开来。整体意境淡远萧散，把冬日郊野的清寒静谧，与林下幽人抛却尘事、寄兴烟霞的襟怀相融，简淡笔墨间意韵悠长，尽显文人山水寄情抒怀的雅致。",[24,25,50,59,7,77,26,51,57,56,53,58,471,3536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9549d04a10eee81606e2be01cef3120.jpg",[],{"id":53235,"slug":53236,"title":4167,"dynasty":18,"author":33761,"museum":107,"description":53237,"tags":53238,"thumbUrl":53239,"material":751,"size":752,"collection":95,"collections":53240,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238181,"shan-shui-ce-song-jun-ye-238181","字声求，号坚斋，一号坚甫，江苏长洲(今蘇州）人。官兵部左侍郎。善书画，笃好山水，因绘南巡图聘王翚于家而画学大进。",[24,25,92,27,50,51,59,652,58,553,651,845,473,116,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad36d1dd115f3e7cb762e4658eec10d5.jpg",[],{"id":53242,"slug":53243,"title":4167,"dynasty":18,"author":33761,"museum":107,"description":53237,"tags":53244,"thumbUrl":53245,"material":751,"size":752,"collection":95,"collections":53246,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238179,"shan-shui-ce-song-jun-ye-238179",[92,24,25,26,50,51,7,77,199,58,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4ec009c067dfd174d702218322a84b.jpg",[],{"id":53248,"slug":53249,"title":4167,"dynasty":18,"author":33761,"museum":107,"description":33762,"tags":53250,"thumbUrl":53251,"material":95,"size":95,"collection":95,"collections":53252,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238177,"shan-shui-ce-song-jun-ye-238177",[24,25,27,51,77,7,59,651,360,56,458,252,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d39bd7a29d4999b972a583ae0ef7a64.jpg",[],{"id":53254,"slug":53255,"title":4167,"dynasty":18,"author":15612,"museum":107,"description":53256,"tags":53257,"thumbUrl":53258,"material":95,"size":95,"collection":95,"collections":53259,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238153,"shan-shui-ce-yun-xi-238153","设色清雅温润，以淡赭晕染山峦，皴笔细腻勾勒出岩体质感，坡岸林木错落排布，水榭板桥点缀溪谷，将幽居藏于绝涧深林之间，尽显山野丘壑的悠然意趣。\n\n题诗与画境互为表里，诗画交融，铺陈出林泉高致的隐逸情怀。笔墨间藏着冲淡恬和的林下之风，以淡雅之态描摹出林泉幽寂的世外之境，将文人心中的丘壑山水诉诸纸面，观之如临绝尘幽居，引人步入忘俗的山居雅意中。",[24,51,27,59,7,60,77,26,52,53,56,57,458,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a676ec269400083967ea7fda07bd5d.jpg",[],{"id":53261,"slug":53262,"title":53263,"dynasty":18,"author":53264,"museum":107,"description":53265,"tags":53266,"thumbUrl":53267,"material":751,"size":752,"collection":95,"collections":53268,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},238065,"zhang-liu-za-hua-ce-zhang-liu-238065","张镠杂画册","张镠","正白旗汉军人，是一名清朝政治人物。举人出身。\n张镠曾于乾隆三年接替王德纯任福州府知府一职，乾隆五年由姜顺龙接任。",[24,25,26,27,29,135,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6370f6257b758245f4f6fbaf6569312c.jpg",[],{"id":53270,"slug":53271,"title":4167,"dynasty":18,"author":53272,"museum":107,"description":53273,"tags":53274,"thumbUrl":53275,"material":751,"size":752,"collection":95,"collections":53276,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":3443},238007,"shan-shui-ce-qin-zu-yong-238007","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[24,25,26,50,51,651,360,652,250,471,60,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726eda8082c671f313f77c8f44a8f088.jpg",[],{"id":53278,"slug":53279,"title":4167,"dynasty":18,"author":53272,"museum":107,"description":53273,"tags":53280,"thumbUrl":53281,"material":751,"size":752,"collection":95,"collections":53282,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":3443},238006,"shan-shui-ce-qin-zu-yong-238006",[24,50,59,26,7,60,51,52,53,54,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6858c6c2499c1dcd736a59ba4c8771.jpg",[],{"id":53284,"slug":53285,"title":17304,"dynasty":18,"author":24819,"museum":107,"description":53286,"tags":53287,"thumbUrl":53288,"material":95,"size":95,"collection":95,"collections":53289,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237953,"shan-shui-tu-ce-liu-yu-237953","此作以淡墨皴擦写山石肌理，浅绛晕染铺陈江天草木。近岸幽亭临溪，林木扶苏，渔人歇憩于滩涂，野趣横生。中景江湾舟楫错落，巨岩之下村舍偎依于崖麓，烟火气与山林意相融。远景轻峦隐现于烟霭间，疏密排布营造出悠远景深。\n\n左侧题诗与画作呼应，诗书画合为一体，尽显文人雅趣。整体萧散清远，将江南水乡的安闲野趣藏于尺幅，笔致苍秀温润，带着静穆悠然的林下之风，观之如身临江畔村居，沉浸式体味山水间的隐逸闲情。",[24,25,26,50,27,51,55,652,57,113,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412b1a39cdcd297185325d146559898b.jpg",[],{"id":53291,"slug":53292,"title":17304,"dynasty":18,"author":24819,"museum":107,"description":53293,"tags":53294,"thumbUrl":53295,"material":95,"size":95,"collection":95,"collections":53296,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237952,"shan-shui-tu-ce-liu-yu-237952","近岸板桥通幽，篱舍隐于翠色间，山溪绕着村舍缓缓淌过，衬出山野居处的悠然。远景峰岫苍润，以干笔皴擦出山石肌理，墨色淡雅清和，带着萧散的林下意趣。搭配左侧题跋，诗书与绘事相映，笔底带着江南山水的温润秀雅，尽显文人画简淡天真的意韵。将幽居林泉的古意铺展开来，把出世幽栖的雅趣藏在每一处皴染勾勒里，观之如临静谧山林，得见旧时文人耽恋泉石的襟怀。",[24,25,26,50,51,60,59,651,589,56,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feefa0620c726b987ba12556f50e21103.jpg",[],{"id":53298,"slug":53299,"title":17304,"dynasty":18,"author":24819,"museum":107,"description":53300,"tags":53301,"thumbUrl":53303,"material":95,"size":95,"collection":95,"collections":53304,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237951,"shan-shui-tu-ce-liu-yu-237951","此作以淡晕轻染绘就江天暮雨，斜雨如丝穿破烟霭，远岸汀洲隐在薄雾间，几叶归帆浮沉空濛水色之中。近陂草木苍润含露，茅庐依水而居，似能闻见山雨初歇后的湿润清气。\n\n画作将诗意融于笔墨，搭配题诗互衬，把空江听雨的寂廖清旷具象铺展。清润的墨色晕染出水汽浸透纸面的柔润质感，没有繁复皴擦，却将江南雨后的静穆禅意尽数勾勒，观之如亲身步入烟水孤居，尽显寄情丘壑的文人雅趣。",[24,25,92,26,50,60,7,77,51,55,56,5722,252,53302,59],"远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890610443d854cf28ec9382fa124367c.jpg",[],{"id":53306,"slug":53307,"title":4167,"dynasty":18,"author":42033,"museum":107,"description":42034,"tags":53308,"thumbUrl":53309,"material":95,"size":95,"collection":95,"collections":53310,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},237900,"shan-shui-ce-cheng-hui-hao-237900",[24,26,50,59,7,77,51,115,55,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F337eee59b8c4ca8d9396e4650486b10c.jpg",[],{"id":53312,"slug":53313,"title":17304,"dynasty":18,"author":468,"museum":107,"description":21686,"tags":53314,"thumbUrl":53315,"material":751,"size":752,"collection":95,"collections":53316,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237750,"shan-shui-tu-ce-cheng-zheng-kui-237750",[24,25,26,50,59,60,77,51,54,53,250,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9791083dc623bc131a485f497b7648.jpg",[],{"id":53318,"slug":53319,"title":17304,"dynasty":18,"author":468,"museum":107,"description":21686,"tags":53320,"thumbUrl":53321,"material":751,"size":752,"collection":95,"collections":53322,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237748,"shan-shui-tu-ce-cheng-zheng-kui-237748",[24,25,26,50,60,59,51,52,115,55,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dced4cf7a3a09a2c63df383fcda678.jpg",[],{"id":53324,"slug":53325,"title":26929,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":53326,"thumbUrl":53327,"material":751,"size":752,"collection":95,"collections":53328,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237661,"ku-mu-zhu-shi-ce-cha-shi-biao-237661",[24,50,60,59,26,588,132,589,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797846c4ed0180b41ba0af131ea7ddbb.jpg",[],{"id":53330,"slug":53331,"title":26929,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":53332,"thumbUrl":53333,"material":751,"size":752,"collection":95,"collections":53334,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237660,"ku-mu-zhu-shi-ce-cha-shi-biao-237660",[24,25,26,50,60,7,77,132,588,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202b7fb3dbb6cfa369a5d00142a6688e.jpg",[],{"id":53336,"slug":53337,"title":26929,"dynasty":18,"author":9615,"museum":107,"description":16016,"tags":53338,"thumbUrl":53339,"material":751,"size":752,"collection":95,"collections":53340,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237652,"ku-mu-zhu-shi-ce-cha-shi-biao-237652",[24,50,26,7,60,77,588,132,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd51bd30c038218ef4f847c41286c4ac3.jpg",[],{"id":53342,"slug":53343,"title":17304,"dynasty":18,"author":31710,"museum":107,"description":31711,"tags":53344,"thumbUrl":53345,"material":751,"size":752,"collection":95,"collections":53346,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237482,"shan-shui-tu-ce-yao-song-237482",[24,25,26,50,60,59,51,250,652,52,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9279561c441fbfa0710aa559471b8984.jpg",[],{"id":53348,"slug":53349,"title":42110,"dynasty":18,"author":42111,"museum":107,"description":42112,"tags":53350,"thumbUrl":53351,"material":751,"size":752,"collection":95,"collections":53352,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237476,"shan-shui-hua-shi-ce-wang-han-237476",[24,25,26,50,7,77,51,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a580a79438f6fc52fba142f09f95cad.jpg",[],{"id":53354,"slug":53355,"title":23845,"dynasty":18,"author":454,"museum":107,"description":53356,"tags":53357,"thumbUrl":53358,"material":751,"size":752,"collection":95,"collections":53359,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237261,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237261","此幅以图文合璧铺陈古贤治狱场景。右侧绘官员安坐，侍立者恭谨肃穆，阶下伏者惶然，数位人物神态各殊，衣纹线条清劲简洁，设色素雅克制，将朝堂断案的端严氛围尽显无遗。左页题书笔致端秀舒展，文辞追慕先贤宽以理狱、以德化民之政。图文呼应，将贤臣尚德缓刑的为政之道融于笔端，以细腻的人物刻画传递出传统吏治的人文意涵，笔墨静穆间自蕴清正高古的气韵，尽显小品叙事画的雅致格调。",[18,24,25,26,27,111,113,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030ce34f1925d754184183bdf64b4b11.jpg",[],{"id":53361,"slug":53362,"title":23845,"dynasty":18,"author":454,"museum":107,"description":53363,"tags":53364,"thumbUrl":53367,"material":751,"size":752,"collection":95,"collections":53368,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},237260,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237260","此作右幅绘松石林下，二人晤对，踞坐者持盏似有所言，立者抬手应和，衣袂翩然神态悠然。古松虬枝斜曳、皮皴苍古，山石以浅绛晕染，清润秀雅，晕染间尽显幽旷林下意趣。左幅行书笔墨舒展朗润，诗与画两相呼应，文气悠悠流淌。整作以淡逸笔触铺就贤士交游之景，书画合璧，将林下清谈的恬然古意晕开，尽透着古典文人雅致的审美情致，是融叙事与抒情于一体的雅致小品。",[24,25,26,27,113,1018,57,7,60,53365,53366,1782,111],"坐姿人物","立姿人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc08c1b9a60d2b5cda22d97ce61f09df4.jpg",[],{"id":53370,"slug":53371,"title":23845,"dynasty":18,"author":454,"museum":107,"description":53372,"tags":53373,"thumbUrl":53374,"material":751,"size":752,"collection":95,"collections":53375,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237253,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237253","此作为图文合璧之作，右侧设色人物清淡雅致，人物情态鲜活分明，执扇近侍恭谨伫立，僚属俯身拜谒，安驻车舆静立一旁，将贤臣从容自持、礼贤下士的风骨铺展眼前。左侧行书题字笔力清劲舒展，文辞追述先贤仁厚忠直的高风亮节。书画相映，以具象图景与文雅题咏复刻前贤嘉行，既有清代人物画写实细腻的特质，又借笔墨传递出崇仰贤德的意蕴，是兼具叙事性与观赏性的小品佳构。",[24,25,26,27,111,113,2495,167,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbd39b0ee9c5c32f8b7b364f4d81364.jpg",[],{"id":53377,"slug":53378,"title":23845,"dynasty":18,"author":454,"museum":107,"description":53379,"tags":53380,"thumbUrl":53382,"material":751,"size":752,"collection":95,"collections":53383,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237252,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237252","此作为诗画合璧之品，右侧绘书馆内景，层叠书阁贮满典籍，案头笔墨俨然。馆内三儒者或凝思展卷，或执烛随侍，衣袂舒展自然，器物刻画入微，静谧肃穆的氛围，生动还原贤臣夜读治事的日常，细节写实雅致。左幅题诗笔意端秀，诗文咏叹主人公勤政笃学的德行，以书映画，以诗衬人。二者相辅相融，以具象图景承载贤臣风操，将贤德品格寄于细腻绘事与清雅题咏之中，兼具叙事意趣与文史价值。",[24,25,26,27,111,113,53381,20059,1498,7,60,3092,432,433,3093,7767],"书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0edcbefe1432ad0ec3bad0c721c13d.jpg",[],{"id":53385,"slug":53386,"title":4167,"dynasty":45,"author":42141,"museum":107,"description":42142,"tags":53387,"thumbUrl":53388,"material":751,"size":752,"collection":95,"collections":53389,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},237002,"shan-shui-ce-sun-ri-shao-237002",[24,25,26,50,59,51,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3e9549ca88f219bcff1b8fa396147e0.jpg",[],{"id":53391,"slug":53392,"title":53393,"dynasty":18,"author":39345,"museum":107,"description":32944,"tags":53394,"thumbUrl":53395,"material":751,"size":752,"collection":95,"collections":53396,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},236947,"jiu-ru-zhi-ji-ce-wang-gai-236947","九如治迹册",[24,25,26,27,111,113,458,567,56,3833,36586,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd098e1b0c8f23343c72a75e29f3ea28b.jpg",[],{"id":53398,"slug":53399,"title":53393,"dynasty":18,"author":39345,"museum":107,"description":32944,"tags":53400,"thumbUrl":53401,"material":751,"size":752,"collection":95,"collections":53402,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},236946,"jiu-ru-zhi-ji-ce-wang-gai-236946",[24,25,26,27,1128,113,458,567,56,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F846d4fb822e3d381654bb52ef81d93cc.jpg",[],{"id":53404,"slug":53405,"title":53393,"dynasty":18,"author":39345,"museum":107,"description":32944,"tags":53406,"thumbUrl":53407,"material":751,"size":752,"collection":95,"collections":53408,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},236944,"jiu-ru-zhi-ji-ce-wang-gai-236944",[24,92,26,1128,27,113,458,1074,3388,7,199,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138f5ab3783cc65a625c58cc6cc2fb05.jpg",[],{"id":53410,"slug":53411,"title":11383,"dynasty":18,"author":53412,"museum":126,"description":53413,"tags":53414,"thumbUrl":53415,"material":488,"size":95,"collection":95,"collections":53416,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},236824,"fang-gu-shan-shui-ce-zhao-cheng-236824","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,25,26,50,27,59,51,251,56,58,52,53,7,268,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1739596ae452fafa5ae111e0d004afe4.jpg",[],{"id":53418,"slug":53419,"title":36127,"dynasty":18,"author":36128,"museum":107,"description":36129,"tags":53420,"thumbUrl":53422,"material":95,"size":95,"collection":95,"collections":53423,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},236526,"ren-wu-gu-shi-ce-chen-zi-236526",[24,25,26,27,111,113,37240,60,77,14457,749,27183,36180,53421,7],"工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe368028fe9bc7dc0843d225a812d59a8.jpg",[],{"id":53425,"slug":53426,"title":36127,"dynasty":18,"author":36128,"museum":107,"description":36129,"tags":53427,"thumbUrl":53428,"material":95,"size":95,"collection":95,"collections":53429,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},236525,"ren-wu-gu-shi-ce-chen-zi-236525",[24,25,26,111,27,113,7,60,77,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8259c6e8bcaa5b9007912612ecbba4e4.jpg",[],{"id":53431,"slug":53432,"title":36127,"dynasty":18,"author":36128,"museum":107,"description":36129,"tags":53433,"thumbUrl":53434,"material":95,"size":95,"collection":95,"collections":53435,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},236524,"ren-wu-gu-shi-ce-chen-zi-236524",[24,25,26,27,113,7,77,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90875df1da6b6d7c13e4c0095f788266.jpg",[],{"id":53437,"slug":53438,"title":53439,"dynasty":18,"author":454,"museum":107,"description":53440,"tags":53441,"thumbUrl":53442,"material":751,"size":752,"collection":95,"collections":53443,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},236256,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236256","避暑山庄图励宗万书诗成扇","此扇以泥金笺为地，墨笔晕染山水层峦，皴法细腻勾勒出山岩苍朴肌理，茂林深秀，屋舍隐于林泉之间，将幽寂清润的山居夏景凝于盈尺扇面，自带静穆淡远的林下之风。\n\n书画合璧，题诗与绘景相映成趣，深色竹骨配青绿扇钉，形制清雅规整。整器融山水逸趣、笔墨文思与制扇工艺为一体，把林泉雅意藏于开合之间，尽显隽秀雅致的文人赏玩格调。",[2135,24,1250,27,51,458,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f92879707f1fbfcf354828b3a5508c.jpg",[],{"id":53445,"slug":53446,"title":53439,"dynasty":18,"author":454,"museum":107,"description":53447,"tags":53448,"thumbUrl":53449,"material":751,"size":752,"collection":95,"collections":53450,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},236238,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236238","此扇以泥金为底，自带雍容华贵的底色，山水景致铺陈其上。山峦以披麻皴写就，层叠逶迤，苍松茂木错落点染，屋庐隐于林泉之间，晕染出幽寂空凉的山居意趣。淡赭轻敷山岩，墨色勾勒林麓，笔墨清润秀雅，将夏山翠色与静穆凉意融于盈尺扇面。书画合璧，山水与题诗相互呼应，把林泉高致藏于开合之间，抬手便可将山野幽意携于袖中，尽显悠然雅致的赏玩意趣。",[24,25,1250,27,51,59,7,651,652,10014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f5c9e0d646867a23d17ffde919391e.jpg",[],{"id":53452,"slug":53453,"title":12162,"dynasty":18,"author":53454,"museum":107,"description":53455,"tags":53456,"thumbUrl":53457,"material":751,"size":752,"collection":95,"collections":53458,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},235869,"za-hua-ce-zhang-sheng-235869","章声","章声（清），字子鹤，仁和（今杭州）人。父谷工山水，善写真，声与兄长采，能绍父艺，山水尤工。所作雪山大幅，笔墨谨严，结构雄伟，乃胎息荆、关，绝无宋、元以来婉媚之习。康熙十六年（1671）尝在屏山阁作山水图。",[24,25,26,60,27,111,29,652,360,693,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9303646b9788a89a45e9193c3acca85.jpg",[],{"id":53460,"slug":53461,"title":53462,"dynasty":45,"author":454,"museum":107,"description":53463,"tags":53464,"thumbUrl":53465,"material":95,"size":95,"collection":95,"collections":53466,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},235849,"qian-gu-bao-shan-tu-ye-yi-ming-235849","钱榖宝山图页","此作为左文右图的合璧小品，淡墨轻皴绘就江岸形胜。峰峦间营寨烽堠依山排布，江岸错落停着航船，朴拙还原出当年海防要地的肃穆风貌。\n\n左侧行书笔意舒展，笔锋带着文人意趣，以文字注解实景，铺陈此地戍海过往。整作笔墨清润淡雅，不着浓艳色彩，将山海营垒的整肃与江天的开阔相融，带着纪实山水的真切质感，把宝山形胜与过往史迹娓娓道来，兼具地理纪实价值与书画审美意趣。",[24,25,4347,50,51,60,7,251,5722,56,18093,9290,14801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10ca521e9ef9ae40c8efe2cbb707f759.jpg",[],{"id":53468,"slug":53469,"title":4167,"dynasty":18,"author":53470,"museum":107,"description":53471,"tags":53472,"thumbUrl":53473,"material":95,"size":95,"collection":95,"collections":53474,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},235376,"shan-shui-ce-mei-geng-235376","梅庚","此作书画合璧，以淡墨晕染危崖孤峙，石骨瘦硬嶙峋，崖畔疏草轻曳，两位高士凭栏远眺，山岫以浅墨虚淡晕开，渺远朦胧。笔意洗练简淡，尽得山水荒萧清远之致。\n\n题跋行书苍劲舒朗，文辞描摹山境奇崛诡怪，与画面逸趣互为呼应，将山川奇崛之态与林下幽怀相融，尽显静穆萧散的文人意韵，极简笔墨勾勒出超尘绝俗的世外之境，余韵悠长。",[24,25,26,50,59,51,250,8057,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec20673a8b6ba474bec2f109530873d9.jpg",[],{"id":53476,"slug":53477,"title":22950,"dynasty":18,"author":454,"museum":107,"description":53478,"tags":53479,"thumbUrl":53480,"material":95,"size":95,"collection":95,"collections":53481,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},235046,"yuan-ji-za-hua-tu-ce-yi-ming-235046","此作用淡墨晕染残荷残影，枯笔勾勒莲蓬苍劲老辣，虬曲荷梗尽显疏朗野逸。留白空灵简约，以少胜多，将暮秋荷塘萧索清寂之意铺展开来。\n\n题诗与画境相映，将莲出泥不染的君子品格融于残败意态中，褪去妍丽粉饰，尽显水墨写意的禅寂之美。笔墨极简却意趣悠长，把残荷的冷冽疏脱之姿尽致展现，笔墨间浸透着孤傲出尘的文人风骨，以意驭笔，将物象品格与文人心性相融，是写意花鸟中借物抒怀的上乘之作。",[24,25,26,50,134,402,400,46998,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5eb409817ebe9687e3b039feff397de.jpg",[],{"id":53483,"slug":53484,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":53485,"thumbUrl":53486,"material":488,"size":95,"collection":95,"collections":53487,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},234737,"huang-shan-tu-ce-jiang-zhu-234737",[24,25,26,50,60,51,250,59,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19d84c59c34f592404253775634172bb.jpg",[],{"id":53489,"slug":53490,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":53491,"thumbUrl":53492,"material":488,"size":95,"collection":95,"collections":53493,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},234733,"huang-shan-tu-ce-jiang-zhu-234733",[24,50,26,59,7,60,51,5721,1678,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb291bbf154b1db82d22c164405fd63.jpg",[],{"id":53495,"slug":53496,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":53497,"thumbUrl":53498,"material":488,"size":95,"collection":95,"collections":53499,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},234731,"huang-shan-tu-ce-jiang-zhu-234731",[24,25,26,50,60,59,51,7,77,651,589,56,52,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8195fb39ae85c54dc2445b7729fbd.jpg",[],{"id":53501,"slug":53502,"title":14025,"dynasty":18,"author":14026,"museum":126,"description":14027,"tags":53503,"thumbUrl":53504,"material":488,"size":95,"collection":95,"collections":53505,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},234723,"huang-shan-tu-ce-jiang-zhu-234723",[24,25,26,27,51,59,5721,1018,1678,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193c40f0f9dfbf4ba799c09fd7f729ec.jpg",[],{"id":53507,"slug":53508,"title":53509,"dynasty":18,"author":454,"museum":107,"description":47338,"tags":53510,"thumbUrl":53511,"material":95,"size":95,"collection":95,"collections":53512,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},234560,"yu-mu-shang-xin-ce-he-jin-xiang-shan-shui-ce-ye-yi-ming-234560","娱目赏心册-何金骧山水册页",[24,25,26,50,51,115,250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1423785ffbba5ed6ced31b86f79c9df3.jpg",[],{"id":53514,"slug":53515,"title":53516,"dynasty":18,"author":33182,"museum":126,"description":53517,"tags":53518,"thumbUrl":53521,"material":95,"size":95,"collection":95,"collections":53522,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},234511,"shu-qi-lv-er-shou-ce-ye-li-guang-di-234511","书七律二首册页","李光地(1642-1718)，字晋卿，号厚庵，别号榕村，福建安溪人。康熙九年(1670)进士，历任翰林院编修、翰林学士、兵部右侍郎、直隶巡抚，协助平定三藩之乱、统一台湾，康熙四十四年(1705年)，拜文渊阁大学士兼吏部尚书。著有《四书解》、《性理精义》、《朱子全书》等书。\n康熙帝：“李光地谨慎清勤，始终一节，学问渊博。朕知之最真，知朕亦无过光地者。”",[7,60,77,4347,132,53519,26860,20440,31191,55,3040,1002,6297,3038,2739,589,53520,2175],"藤","谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8452eb7ec141e137b956ad933afcc9.jpg",[],{"id":53524,"slug":53525,"title":4167,"dynasty":18,"author":15980,"museum":107,"description":42400,"tags":53526,"thumbUrl":53527,"material":95,"size":95,"collection":95,"collections":53528,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},234337,"shan-shui-ce-jin-ting-biao-234337",[24,25,26,50,27,51,59,5721,1018,472,471,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5555c65778c6b7dae7d67875a19994a3.jpg",[],{"id":53530,"slug":53531,"title":32144,"dynasty":88,"author":454,"museum":126,"description":53532,"tags":53533,"thumbUrl":53534,"material":184,"size":53535,"collection":95,"collections":53536,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},234025,"shan-yao-lou-guan-tu-ye-yi-ming-234025","山水画至宋代进入了全盛时期，百花齐放，名家竞起。正如元代汤垕在《画鉴》中所说：“唐画山水，至宋始备。”山水画的许多表现方法都发轫于宋代，创造这些画法的名家大师们都成了后世争相效仿的典范。宋代山水画成了人们心目中一座永远无法逾越的高峰。而山水小品画则可看作是宋代山水画发展中百家争鸣的一个缩影，从中也能看出宋代山水画的众多源流。\n魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。\n唐代的水墨山水画尚处在发展阶段，并不能做到笔墨兼济。吴道子、项容、王维、张璪、王墨等人都使用了水墨来表现山水风光，他们在画法上各具特色，开启了后世水墨画的先声。直到五代十国时期，荆浩的出现才打破了笔墨之间的藩篱，他创造性地在山水画中使用了“皴法”，真正地做到了笔墨兼济的理想状态，并将自己的绘画心得记录下来，写成了《笔法记》一书。荆浩的弟子关仝继承其衣钵，后有出蓝之誉，与其师并称“荆关”。与此同时，南唐的董源在表现南方烟雨空濛的景色上独具面貌。其弟子巨然在“短披麻皴”的基础上发展出“长披麻皴”，画史将师徒二人称为“董巨”。至此，山水画中影响后世最为深远的两大流派已然形成，这也标志着中国山水画由此走向了成熟。\n北宋时期山水画迎来了历史性的高峰，其空前的成就堪称“百代标程”。北宋初年，山水流派出现了所谓“三家鼎峙”的局面，关仝、李成、范宽被画史誉为“北宋三大家”。其中关仝、李成乃至北宋中后期的郭熙、王诜都继承了荆浩“卷云皴”的画法流派，如山水小品中的《山店风帘图》《青山白云图》《风雨归舟图》《春江帆饱图》即属此种风格。范宽则在荆浩“斧劈皴”的基础上稍变其趣，独创“豆瓣皴”，如《云关雪栈图》《雪山萧寺图》都属范宽画派风格。北宋时期，并非所有的画家都钟情于描绘雄伟壮丽的宏阔之景，如惠崇、赵令穰便是以描绘湖山小景而著称，由此也开创了南宋山水小景之先河。山水小品中的《橙黄橘绿图》《秋塘图》《柳溪春色图》都是这类风格的典型作品。\n伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。\n南宋时期山水画的主流是李唐画派。李唐的山水画早年师法荆浩、范宽，多以“小斧劈皴法”为主，晚年一变古法而创“大斧劈皴法”。小品画中署款李嵩所作的《赤壁赋图》、旧题为刘松年所作的《秋窗读书图》、旧题为燕文贵所作的《层楼春眺图》都属于受李唐早期“小斧劈皴”画法风格影响的典型作品。或许是江南的烟雨朦胧，加之其年逾古稀后的放达，李唐一改早年严谨且略带刻画的刚劲笔致，变为粗犷简阔的“大斧劈皴法”；用墨上也十分大胆，变“惜墨如金”为“水墨淋漓”。这种风格影响了其后众多名家，与李唐并称“南宋四大家”的马远、夏圭的山水画正是在李唐晚年画风影响下发展出来的。李唐画派正是在马远、夏圭的推动下极大地影响了其后绘画的发展，这也使得马、夏的画风堪称是南宋山水画的代名词。",[24,1250,50,59,1128,7,77,51,458,5721,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e2993d2fd93e9d4f6b8f0edca7e429.jpg","22.6×23.7cm",[],{"id":53538,"slug":53539,"title":53540,"dynasty":45,"author":47423,"museum":107,"description":47424,"tags":53541,"thumbUrl":53542,"material":95,"size":95,"collection":95,"collections":53543,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},233616,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233616","十竹斋五色笺谱册",[24,25,26,50,27,29,3388,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb59a8f1a3aee6bead82080c10d3ff7.jpg",[],{"id":53545,"slug":53546,"title":53547,"dynasty":18,"author":454,"museum":107,"description":53548,"tags":53549,"thumbUrl":53550,"material":95,"size":53551,"collection":95,"collections":53552,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},233109,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233109","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[18,60,7,77,50,11284,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4775784975d56074491ead8150414d5e.jpg","87.3×50cm",[],{"id":53554,"slug":53555,"title":53556,"dynasty":8749,"author":454,"museum":107,"description":53557,"tags":53558,"thumbUrl":53561,"material":751,"size":752,"collection":95,"collections":53562,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},232864,"a-han-bei-da-guan-di-5-ji-yi-ming-232864","A汉碑大观（第5集）","此作为汉隶佳构，用笔敦厚朴茂，蚕头燕尾尽显典型意趣，波磔舒展飘逸，线条粗细错落自带节律。结体方正匀整，排布端稳齐整，章法行列井然，通篇古雅沉静，庙堂之气盎然。\n\n字字筋骨内含，拙中藏秀，将隶书庄重宽博的特质尽显无遗，笔墨间裹挟着古朴醇厚的金石韵味，尽显汉隶正统风貌，是临摹研习隶书的绝佳范本。",[1613,198,7,3423,53559,53560],"汉隶","白文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cebe829cc377d90069c41443b4612d2.jpg",[],{"id":53564,"slug":53565,"title":53566,"dynasty":45,"author":35213,"museum":107,"description":53567,"tags":53568,"thumbUrl":53569,"material":312,"size":53570,"collection":95,"collections":53571,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},232824,"qi-yan-shi-li-zhou-yang-ji-sheng-232824","七言诗立轴","杨继盛（1516年6月16日 [1] －1555年），字仲芳，号椒山。直隶容城（今河北容城县北河照村）人。明朝中期著名谏臣。\n嘉靖二十六年（1547年），杨继盛登进士第，初任南京吏部主事，师从南京吏部尚书韩邦奇学习律吕。后官兵部员外郎。因上疏弹劾仇鸾开马市之议，被贬为狄道典史。其后被起用为诸城知县，迁南京户部主事、刑部员外郎，调兵部武选司员外郎。\n嘉靖三十二年（1553年），上疏力劾严嵩“五奸十大罪”，遭诬陷下狱。在狱中备经拷打，终于嘉靖三十四年（1555年）遇害，年四十。明穆宗即位后，以杨继盛为直谏诸臣之首，追赠太常少卿，谥号“忠愍”，世称“杨忠愍”。后人以其故宅改庙以奉，尊为城隍。有《杨忠愍文集》。",[23,25,75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573795b0f9d64d449ca68fae739f1e31.jpg","95×27cm",[],{"id":53573,"slug":53574,"title":53575,"dynasty":18,"author":454,"museum":107,"description":53576,"tags":53577,"thumbUrl":53579,"material":95,"size":53580,"collection":95,"collections":53581,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231950,"zhi-shui-zou-zhe-yi-ming-231950","治水奏摺","此作为馆阁体小楷，笔致匀净秀润，结体端雅恭谨，笔墨间恪守规整法度，尽显官牍文书的庄重肃穆。\n通篇字迹舒展沉稳，笔画排布疏密合宜，既贴合行文的正式属性，亦彰显出清代典型的馆阁风貌。文字所载治水要务的审慎之意，与笔墨间的端方气质相融，一笔一划皆见对河工事宜的郑重，将政务严谨深植于笔墨礼制之中，是兼具文书价值与书法审美价值的佳作。",[23,2135,7,199,24610,53578],"治水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd43e0e5305d49f924b877246c5199014.jpg","24-25cm",[],{"id":53583,"slug":53584,"title":53585,"dynasty":8749,"author":454,"museum":107,"description":53586,"tags":53587,"thumbUrl":53589,"material":751,"size":752,"collection":95,"collections":53590,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231808,"mu-hu-xiao-yun-shu-jian-juan-bao-yi-ming-231808","木戸孝允书简卷-包","这两件尺牍小品，墨色沉静朴拙，行书笔法舒展自然。左侧题笺笔势清劲沉稳，文字叙记旧友手札真迹，文末朱印为素淡纸页添了古雅点缀，带着文人题识的端严意趣。右侧封套字迹更见率意鲜活，落笔松弛随性，是日常寄件的平实样貌。泛黄纸页晕开旧时光迹，承载着旧日文人间的往来温热，将尺牍酬酢的雅致况味藏于笔墨纸色之间，尽显传统手札的温润余韵。",[23,7,60,50,77,312,53588],"书简","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7815b012036f77f39c6a0cdd14d7181.jpg",[],{"id":53592,"slug":53593,"title":53594,"dynasty":8749,"author":42529,"museum":107,"description":42530,"tags":53595,"thumbUrl":53596,"material":751,"size":752,"collection":95,"collections":53597,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231783,"xin-gui-shan-yuan-qi-hui-juan-3-niao-yu-seng-zheng-jue-you-231783","信贵山缘起绘卷-3",[23,25,49,27,50,51,14801,56,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc95963f964a4df718b94fa44e04db5f1.jpg",[],{"id":53599,"slug":53600,"title":53601,"dynasty":8749,"author":454,"museum":107,"description":53602,"tags":53603,"thumbUrl":53604,"material":751,"size":752,"collection":95,"collections":53605,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231774,"mu-hu-xiao-yun-shu-jian-juan-yi-ming-231774","木戸孝允书简卷","这件草书手卷以信札为载体，笔墨肆意奔放，线条枯润交叠，笔力苍劲圆畅。字势欹侧相生，行气连贯自然，牵丝映带间尽显草书的写意韵致。\n\n书写随性洒脱，带着尺牍独有的日常温度，字里行间可见挥毫时的情绪起伏，疏密排布毫无板滞之感，将文人尺牍的随性与书法章法融为一体，尽显率真朴拙的书卷意气。虽为日常书简，却不失为颇具法度又灵动的草书佳构，笔墨藏着书写时的松弛心境，尽显传统手札书法的独特意趣。",[23,25,7,49,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059912561a2be8253a160cc0650543b1.jpg",[],{"id":53607,"slug":53608,"title":53609,"dynasty":8749,"author":454,"museum":107,"description":30928,"tags":53610,"thumbUrl":53611,"material":751,"size":752,"collection":95,"collections":53612,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231772,"mu-xia-wen-shu-juan-li-qing-cheng-qing-xian-sheng-yi-mo-yi-ming-231772","木下文书卷-立卿成卿先生遗墨",[23,25,49,7,60,398,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb74c757e73c2b0d731022f92553f47b.jpg",[],{"id":53614,"slug":53615,"title":53616,"dynasty":8749,"author":454,"museum":107,"description":53617,"tags":53618,"thumbUrl":53619,"material":751,"size":752,"collection":95,"collections":53620,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231765,"yi-teng-bo-wen-shu-jian-juan-yi-ming-231765","伊藤博文书简卷","此卷草书手卷落笔雄健苍劲，通篇气息酣畅贯通。字势欹侧相生，笔墨枯润浓淡相映，将尺牍的私密感与书法抒情性融为一体。行笔提转自如，线条粗细富于变化，牵丝萦带间尽显书写时的酣畅快意，藏着书写者的情绪起伏。看似随性挥洒却不失章法，每字布白疏密得宜，整卷如行云流水，毫无刻意雕琢之感，尽显率真自然的文人意气，带着手札独有的松弛质感，尽展笔底风神与文人情致。",[23,7,49,60,398,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba703b72f61ac2afd9116df47adf3dc6.jpg",[],{"id":53622,"slug":53623,"title":53624,"dynasty":8749,"author":454,"museum":107,"description":53625,"tags":53626,"thumbUrl":53627,"material":751,"size":752,"collection":95,"collections":53628,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231762,"zhu-ming-jia-shou-jian-shui-fu-ming-jia-shou-jian-yi-ming-231762","诸名家手简 水府名家手简","此长卷为草书尺牍合集，笔走龙蛇，牵丝映带间尽显随性自然。书者运笔迅疾不失法度，提按顿挫皆藏章法，墨色兼具浓淡枯湿，将书写时的心绪起伏融于笔墨中。整卷虽为多帖合集，却气韵贯通，日常叙旧与感怀寄兴皆化作纸上情致，尽显旧时尺牍的松弛雅致，把文人的笔墨性情与心绪意趣融为一体，藏着传统手札书法的随性之美。",[23,7,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6a1ff75b951f5c3d365688b1a689c7.jpg",[],{"id":53630,"slug":53631,"title":53632,"dynasty":8749,"author":454,"museum":107,"description":53633,"tags":53634,"thumbUrl":53635,"material":751,"size":752,"collection":95,"collections":53636,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231761,"yuan-zhou-ban-qie-wen-bing-zong-ba-shu-jian-yi-ming-231761","远州半切文并宗巴书简","此为合装的两帧尺牍手卷。左侧长卷笔势牵丝映带，纵逸连贯，线条枯润相生，字形欹侧跌宕，将日常尺牍的松弛意趣融于笔墨流转间，随性自在。\n\n右侧短幅更为简率开张，字形错落排布，墨色酣畅饱满，落笔迅疾烂漫，藏露锋颖随心切换。古纸的岁月斑驳让笔墨更添朴拙古雅，朱红印信点缀素纸，墨痕朱印相映，尽显古笔草书萧散野逸的格调，将文人尺牍的日常随性与书法的抒情性融为一体，浸着旧时光里清雅的文人气韵。",[23,7,49,398,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4cef5929dd921b4f1cb497441dad54.jpg",[],{"id":53638,"slug":53639,"title":53640,"dynasty":8749,"author":454,"museum":107,"description":53641,"tags":53642,"thumbUrl":53643,"material":751,"size":752,"collection":95,"collections":53644,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231760,"yi-neng-zhong-jing-li-zhou-yi-ming-231760","伊能忠敬立轴","青绿素绫配褐棕镶边，装裱古雅沉静，衬得素宣墨色愈发温润清透。通篇小楷清瘦劲挺，字字端稳匀净，行气舒展连贯，毫无板滞匠气。行间小字批注错落排布，疏密相生，带着手札独有的随性松弛，暗合书写时的自然心绪。收尾朱印一点，点亮整幅素净画面，晕开旧时光里的手泽温度。笔墨间藏着沉静的书写意趣，内敛古雅，兼具文书底蕴与书法审美价值。",[23,24,25,75,7,60,1613,457,398,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52668dc4e5ab653c6058332fd396f347.jpg",[],{"id":53646,"slug":53647,"title":53648,"dynasty":8749,"author":454,"museum":107,"description":53649,"tags":53650,"thumbUrl":53651,"material":751,"size":752,"collection":95,"collections":53652,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231727,"lian-cang-shi-dai-tian-gou-cao-zhi-ci-shu-yan-li-si-juan-yi-ming-231727","镰仓时代 天狗草纸词书延历寺卷","此卷以蓝褐晕染仿云石纹作底，水纹漫卷如云似浪晕开古雅底色。和样草书随性铺陈，墨色苍润灵动，线条舒展跳脱，兼具手札书写的松弛自在，又带着写经书法的沉静法度。字势随底色纹理错落排布，文字与背景浑然相融，将抄录文本化为流动的视觉诗篇，藏着中古东瀛艺文的幽玄意趣，尽显彼时书风的随性雅韵。",[49,25,7,398,27,51,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24626224e7722161fd40d2d77af2042.jpg",[],{"id":53654,"slug":53655,"title":53656,"dynasty":8749,"author":27090,"museum":107,"description":27091,"tags":53657,"thumbUrl":53659,"material":751,"size":752,"collection":95,"collections":53660,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231718,"shi-ting-shi-dai-xing-guang-si-yuan-qi-hua-juan-shang-xia-juan-shang-tu-zuo-guang-xin-231718","室町时代 星光寺缘起画卷上下卷(上)",[23,49,27,111,50,7,878,113,268,53658,553,58],"日常劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08f845d4267b66329c851c6fa146083.jpg",[],{"id":53662,"slug":53663,"title":53664,"dynasty":8749,"author":454,"museum":107,"description":53665,"tags":53666,"thumbUrl":53667,"material":751,"size":752,"collection":95,"collections":53668,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},231715,"jiang-hu-shi-qi-shu-hua-he-juan-yi-ming-231715","江户时期 书画合卷","此作为书画合璧之卷，右幅绘临水古松虬曲苍劲，朱衣士人凭松而立，静览沧波。青绿淡敷远山浅岸，浪纹层叠带着古朴和风意趣，人物形神悠然，尽显幽寂闲雅的林下之致。左侧假名书法笔势舒展流丽，墨韵与画意呼应相融，整体设色温婉古雅，晕开清寂悠远的侘寂之美，书画相映间尽显旧时风雅意趣。",[23,25,49,398,27,113,51,2765,1678,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febadd9c0467b29075d6488fc52a1c20f.jpg",[],{"id":53670,"slug":53671,"title":53672,"dynasty":8749,"author":454,"museum":107,"description":53673,"tags":53674,"thumbUrl":53675,"material":751,"size":752,"collection":95,"collections":53676,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231705,"jiang-hu-shi-qi-shan-shui-ren-wu-juan-yi-ming-231705","江户时期 山水人物卷","这卷绘作融书画为一体，右侧设色山水清隽雅致，金箔晕染出水岸朦胧柔光，苍松石崖静立汀洲，笔墨轻简却带着幽远空寂的意境。左侧手书墨色温润柔雅，与绘景相映成趣，留白处金箔碎点如沙洲浮絮，晕开慵懒闲淡的侘寂氛围。整体将山水幽居之静与文思雅韵相融，淡墨轻色间藏着和风独有的闲寂意趣，晕染出一卷清和悠远的林下幽思。",[23,24,25,49,27,51,113,1018,7,60,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2414dbd1ce707a942ef33860aad41545.jpg",[],{"id":53678,"slug":53679,"title":53680,"dynasty":8749,"author":454,"museum":107,"description":53681,"tags":53682,"thumbUrl":53684,"material":751,"size":752,"collection":95,"collections":53685,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231703,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-shang-bu-yi-ming-231703","江户时期 乡村故事绘(上部)","这卷以和风连绵草书铺陈，笔势舒展流丽，墨色浓淡自然晕开在古旧楮纸之上，与右侧设色小景相映成趣。笔锋起落带着悠然节律，将乡野絮语藏在笔墨之中，江户文雅意趣融在每一道线条里。古纸沉淀的岁月痕迹晕开温润旧意，文字叙事与绘面衔接晕染出质朴的庶民故事氛围感，沉静古雅的书卷气息扑面而来，将乡野旧时光的温柔质感静静铺展。",[49,7,398,27,51,19332,53683,11284,42570,1127],"日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80420ecce5b9e82eb0852c95e4defa3b.jpg",[],{"id":53687,"slug":53688,"title":53689,"dynasty":8749,"author":454,"museum":107,"description":53690,"tags":53691,"thumbUrl":53694,"material":751,"size":752,"collection":95,"collections":53695,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231702,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-juan-xia-yi-ming-231702","江户时期 乡村故事绘卷(下)","通篇以假名草书书就，线条柔婉舒展如流云曳空，行笔间牵丝映带自然圆融，将假名的灵动雅致尽数铺展。墨色温润匀净，晕染在泛黄古纸之上，晕开沉静的岁月古韵。\n\n章法排布疏密相宜，字与字、行与行错落间带着呼吸感，藏着书写时的随性松弛，尽显和风书法的清雅意趣，将日常笔墨晕开悠悠旧韵，暗合旧时文人心底的幽情雅致。",[7,398,49,53692,53693,2602],"假名书法","和风书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a21f3d063f3b6ec8ab97cbe8af03e7.jpg",[],{"id":53697,"slug":53698,"title":53699,"dynasty":8749,"author":454,"museum":107,"description":53700,"tags":53701,"thumbUrl":53702,"material":751,"size":752,"collection":95,"collections":53703,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231657,"bai-miao-hui-liao-zhi-jin-guang-ming-jing-yi-ming-231657","白描绘料纸金光明经","此作用小楷恭书经文，笔致清劲端秀，排布匀整肃穆，可见书写时的敬谨之心。衬底白描以清隽淡墨勾勒山水林泉，线条简净空灵，与庄严的经文相映成趣。\n\n宗教的沉静肃穆和文人笔墨的清雅意趣在此相融，写经不再仅是功德之事，更是审美表达。笔底既有奉经的虔敬，又暗藏水墨雅韵，沉静克制的视觉观感里，蕴藏着内敛悠长的质感，是写经与绘饰合璧的别致佳作。",[112,7,386,199,878,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f74c69808d31c15f009d770264af9f8.jpg",[],{"id":53705,"slug":53706,"title":53707,"dynasty":8749,"author":454,"museum":107,"description":53708,"tags":53709,"thumbUrl":53710,"material":751,"size":752,"collection":95,"collections":53711,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231638,"ping-an-shi-dai-ao-zhi-xi-dao-tu-juan-xia-juan-yi-ming-231638","平安时代 奥之细道图卷下卷","此卷书画合璧，通篇以狂放行草铺陈，笔墨枯湿浓淡富于层次变化，笔势游走如龙蛇奔跃，满卷文字排布繁密却错落随性，自带舒展悠然的文人意趣。卷中缀以淡墨设色的小景与人物，茅舍山居、林下高士皆以简笔勾勒，敷色清浅柔和，寥寥数笔便神形兼备，让满卷文辞多了具象的诗意落点。文辞与绘事相映成趣，将纪行意韵与丹青雅趣相融，笔墨间漫溢古朴清寂的禅意，尽显古典长卷的雅致情致。",[49,25,50,112,113,7,16643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed284fe5eb9b13f22338fa3c6c6085e2.jpg",[],{"id":53713,"slug":53714,"title":53715,"dynasty":8749,"author":454,"museum":107,"description":53716,"tags":53717,"thumbUrl":53718,"material":751,"size":752,"collection":95,"collections":53719,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231634,"lian-cang-shi-dai-fa-ran-shang-ren-chuan-hua-juan-yi-ming-231634","镰仓时代 法然上人传画卷","这卷绘卷以图文合璧的形式铺陈，左畔假名笔致清丽柔婉，与右侧设色浅雅的场景彼此呼应。画师以工致界画勾勒屋舍廊宇，晕染柔和的衣袂衬出人物行止风貌，青绿淡点的草木晕开悠然禅意，将弘法开宗的历程藏进院政时代的仪礼日常里。浅赭底色晕开岁月温黄，笔底既还原中古宗教风貌，又将信仰的沉静融在叙事笔墨中，是兼具史料价值与绘艺美感的古雅长卷。",[49,27,1128,7,113,458,878,111,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6ca833e3178ddccc303a803f8aec7b.jpg",[],{"id":53721,"slug":53722,"title":53723,"dynasty":88,"author":454,"museum":107,"description":9803,"tags":53724,"thumbUrl":53725,"material":751,"size":752,"collection":95,"collections":53726,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231031,"jin-shi-mu-zhi-jin-shi-mu-zhi-yi-ming-231031","金氏墓志-金氏墓志",[198,7,199,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18dd92c626570cea681cdb8f5f42e42.jpg",[],{"id":53728,"slug":53729,"title":53730,"dynasty":45,"author":47972,"museum":107,"description":53731,"tags":53732,"thumbUrl":53733,"material":95,"size":95,"collection":95,"collections":53734,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},231012,"hua-shou-xing-feng-xiao-231012","画寿星","淡墨轻晕，慢笔勾染出老翁风神。面庞圆润褶皱舒缓，垂髯飘洒，眼含温笑，褪去仙道的凌虚高渺，尽显乡野隐者的矍铄亲和。衣纹以游丝铁线勾勒，朴拙灵动，粗麻短褐、草履造型写实，全然不见仙官华贵，俨然市井间悠游的寻常老者。\n画面搭配长篇馆阁体题咏，笔墨端稳秀雅，与人物笔意呼应相融。弃用仙桃、灵鹤这类俗套瑞物，借题咏讲述老翁醉游京师的异闻，寄寓天下康宁、与民同寿的祈愿，是雅俗相融的祝寿佳构。",[24,25,75,27,113,111,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd208b1f49ed4e564b4213a951a123af.jpg",[],{"id":53736,"slug":53737,"title":53738,"dynasty":8749,"author":53739,"museum":107,"description":53740,"tags":53741,"thumbUrl":53742,"material":751,"size":752,"collection":95,"collections":53743,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},230982,"fu-shi-shi-jie-hua-1715-nian-ao-cun-zheng-xin-230982","浮世十界.画.1715年","奥村政信","奥村政信，名源八，号芳月堂、丹鸟斋、文角，是浮世绘前期的浮世绘画家，兼有版元身份。奥村政信自称“浮绘根元”，而现今学者亦多认为奥村政信是“浮绘”的创始者。",[19332,112,113,9636,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0db53a16586b76004f57a5a135359083.jpg",[],{"id":53745,"slug":53746,"title":53747,"dynasty":8749,"author":454,"museum":107,"description":53748,"tags":53749,"thumbUrl":53750,"material":751,"size":752,"collection":95,"collections":53751,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},230839,"da-bo-re-bo-luo-mi-duo-jing-yi-ming-230839","大般若波邏蜜多経","此卷小楷通篇排布齐整匀净，笔致内敛端秀，墨色沉润历久弥新。千言万字连贯如一，不见疲怠之态，每一笔都带着恭谨静定的心力，将奉经的虔敬藏在锋棱与缓笔之中。古旧的纸色晕开时光的痕迹，残损的边角更添沉厚韵味，字字安稳秀雅，法度暗藏，不见张扬，唯有沉静的禅意流淌在笔墨之间，仿佛能窥见抄录时屏息凝神的瞬间，以平实克制的笔致，晕开旧时光里的清净本心。",[7,386,49,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4fcde991d150c393d9a34fb602b21e7.jpg",[],{"id":53753,"slug":53754,"title":53755,"dynasty":8749,"author":454,"museum":107,"description":53756,"tags":53757,"thumbUrl":53758,"material":751,"size":752,"collection":95,"collections":53759,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},230834,"da-bo-re-bo-luo-mi-duo-jing-juan-yi-ming-230834","大般若波邏蜜多經卷","泥金底色沉穆温润，墨色如点漆，通篇小楷排布齐整、行气匀停。起收含蓄内敛，笔画圆融饱满，不见潦草轻浮，尽显写经时的恭敬端严。笔墨间浸着安定清宁的禅意，将宗教仪轨的肃穆与书法的文雅融为一体。观之令人心绪沉静，仿佛能窥见抄经人澄澈无杂的书写心境，是写经书法里的上乘之作。",[7,386,199,49,878,1498,432,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63727f9664f70ee7f6c32e4f596e84be.jpg",[],{"id":53761,"slug":53762,"title":47609,"dynasty":8749,"author":454,"museum":107,"description":53763,"tags":53764,"thumbUrl":53765,"material":751,"size":752,"collection":95,"collections":53766,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},230833,"da-fang-deng-da-ji-jing-juan-yi-ming-230833","这卷写经小楷气息静穆端雅，通卷排布匀整，纵成行横有列，全篇一气贯注，尽显书写时的静定心境。笔法爽劲敦和，点画饱满凝练，结体方正匀停，带着质朴无华的古雅意韵，不见刻意雕琢，以纯粹虔诚的笔意承载经文奥义。沉润墨色晕染泛黄藏经纸，古意盎然，既是佛教典籍的珍贵载体，亦是中古书法的朴素范本，藏着书写者的信仰风骨，静穆之间自含庄严气象。",[7,386,49,199,878,312,432,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf0ee359f93ffbe01a9eccbe83910605.jpg",[],{"id":53768,"slug":53769,"title":53770,"dynasty":8749,"author":454,"museum":107,"description":53771,"tags":53772,"thumbUrl":53773,"material":751,"size":752,"collection":95,"collections":53774,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},230831,"da-bao-ji-jing-juan-yi-ming-230831","大寶積經卷","这件写经卷以匀整小楷书就，笔致秀雅端稳，通篇字势平齐排布，墨色沉凝饱满，不见晕染涣散，尽显书写时的从容静定。\n\n起收笔含蓄内敛，点画圆融匀停，字字恪守法度，通篇行气贯通舒展，哪怕抄写长篇经文，也无丝毫懈怠松散，藏着写经人满怀的虔诚恭谨。卷面底色温润沉静，与墨色相衬和谐，规整肃穆的笔意间晕染着佛教写经特有的沉静气场，将宗教的虔敬融于笔墨章法中，尽显传统写经书法端雅平和的典型气质，是兼具宗教价值与书法审美价值的佳品。",[199,386,7,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0fd1520c07aca030f913cc752a3960.jpg",[],{"id":53776,"slug":53777,"title":53755,"dynasty":8749,"author":454,"museum":107,"description":53778,"tags":53779,"thumbUrl":53780,"material":751,"size":752,"collection":95,"collections":53781,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},230830,"da-bo-re-bo-luo-mi-duo-jing-juan-yi-ming-230830","此作用笔匀净秀雅，结体端稳方正，是典型写经体风貌。起收笔内敛含蓄，提按顿挫间尽显恭谨法度，行列排布齐整匀停，通篇气息庄严肃穆，暗合经文神圣意蕴。\n墨色沉凝饱满，与底色相得益彰，万字一气呵成不见懈怠，足见抄经人饱含虔敬心力。它恪守楷法森严矩矱，又兼具写经特有的简静温雅，跳脱庙堂楷书板滞，暗含沉静安和的禅意，工整之中暗藏内敛笔力筋骨，尽显中古写经书法的典雅肃穆。",[7,386,199,1498,312,878,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2558eb02deaddc5801d15091034453.jpg",[],{"id":53783,"slug":53784,"title":53785,"dynasty":8749,"author":454,"museum":107,"description":53786,"tags":53787,"thumbUrl":53788,"material":751,"size":752,"collection":95,"collections":53789,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":24175},230829,"yu-zhi-mi-cang-quan-juan-di-shi-san-yi-ming-230829","禦製秘藏詮卷第十三","此作为楷书写经长卷，结体方正端稳，笔墨匀净秀雅。通篇排布齐整疏朗，字距行距错落合宜，气息庄严肃穆，尽显抄写时的恭谨虔诚。\n\n笔下笔墨凝练，笔力内敛沉稳，起收顿挫皆恪守法度，既有写经书法的典型规整意趣，又蕴含着沉静平和的禅意。墨色匀停无燥笔枯痕，将经文的肃穆内核与书法清雅气韵相融，字字端然暗含禅心，尽显古朴庄重的写经美学意韵。",[25,199,51,56,553,1498,7,878,49,111,22169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45937a352c6a710af15a65ed9cfc3276.jpg",[],{"id":53791,"slug":53792,"title":53793,"dynasty":8749,"author":454,"museum":107,"description":53794,"tags":53795,"thumbUrl":53796,"material":751,"size":752,"collection":95,"collections":53797,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},230828,"shi-song-lv-juan-di-si-shi-liu-cun-zi-xia-bu-yi-ming-230828","十誦律卷第四十六存字下部","此作为典型写经小楷，整体气息端雅静穆，结体方正匀停，点画饱满凝练，起转收合皆恪守法度，捺脚微微舒展，带着朴拙雅致的意趣。通篇行气贯通，字距行距排布齐整森严，墨色匀净沉厚，不见枯涩飞白。\n虽为经文抄录，却无丝毫怠惰潦草，尽显抄经时恭谨肃穆的心境，融北朝写经的古拙厚重与初唐楷书的妍秀灵动于一体，在工整谨严的书写中，藏着舒展柔和的韵致，将实用抄写与书法美感精妙融合，尽显佛教抄经特有的静谧庄严的气韵。",[7,386,199,1498,49,312,2602,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f84b701f3dc76286120e8bf43f8b79.jpg",[],{"id":53799,"slug":53800,"title":53801,"dynasty":8749,"author":454,"museum":107,"description":53802,"tags":53803,"thumbUrl":53804,"material":751,"size":752,"collection":95,"collections":53805,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},230822,"deng-mu-pu-sa-jing-zhong-juan-ji-bei-you-li-yuan-jing-yi-ming-230822","等目菩萨经中卷-吉备由利愿经","通篇以行书抄录经文，笔锋温润舒展，起收间尽显古朴拙雅。点画敦实厚重，牵丝映带自然流畅，虽为抄经却不见仓促，字里行间漫着沉静禅意。布局匀整肃穆，字距行距排布齐整，墨色浓郁沉稳，纸面因岁月经年泛黄斑驳，晕开旧时光的厚重质感。抄录一丝不苟，笔势暗含静定之力，将佛家平和内蕴融于笔墨，尽显抄经时的虔诚心境，兼具书法审美与佛学文献的双重价值。",[49,386,199,7,1498,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b99be51b9d5e889badb043fd2ef1bb.jpg",[],{"id":53807,"slug":53808,"title":53809,"dynasty":8749,"author":454,"museum":107,"description":53810,"tags":53811,"thumbUrl":53812,"material":751,"size":752,"collection":95,"collections":53813,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},230798,"da-bo-re-bo-luo-mi-duo-jing-juan-yi-ming-230798","大般若波罗蜜多经卷","此卷小楷写经笔致匀净秀雅，点画凝练端稳，通篇字字排布齐整，行气舒展贯通，尽显写经特有的沉静恭谨之气。书写者以至诚之心抄写般若经文，笔笔到位毫无懈怠，笔墨间饱含对佛法的敬奉。历经岁月洗礼，纸面虽泛黄残损，却更添古雅厚重的质感，静定禅意藏于工整点画之间，将宗教肃穆融于笔墨法度，尽显写经书法特有的端雅气韵。",[25,7,386,49,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38272d3d33af2a157c48df78514930e.jpg",[],{"id":53815,"slug":53816,"title":49477,"dynasty":8749,"author":454,"museum":107,"description":53817,"tags":53818,"thumbUrl":53819,"material":751,"size":752,"collection":95,"collections":53820,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},230796,"shou-gao-jing-ye-yi-ming-230796","这页手札纸色泛黄发脆，边角磨损斑驳，带着岁月浸淫的厚重痕迹。笔墨晕染自然随性，行书笔意朴拙舒展，没有刻意修饰的规整，带着旧时公牍文书特有的松弛鲜活。浓淡不一的墨色，留存下书写时的运笔节奏，字里行间藏着早已湮没的公务往来日常。\n\n它无雕琢匠气，笔锋带着未经打磨的原生质感，将细碎的旧日公务凝固下来。残破纸页如同被时光淘洗过的旧物，每一处磨损都藏着光阴的故事，拙朴笔墨带着俗世烟火里的人文温度，是跨越年岁递来的鲜活切片，静静诉说着被淡忘的往昔日常。",[7,386,60,50,312,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb378042344f09f7af0ad6fccdaa174be.jpg",[],{"id":53822,"slug":53823,"title":53824,"dynasty":8749,"author":454,"museum":107,"description":53825,"tags":53826,"thumbUrl":53827,"material":751,"size":752,"collection":95,"collections":53828,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},230786,"miao-fa-lian-jing-miao-jin-zhi-yi-ming-230786","妙法莲经描金纸","以瓷青纸为底，泥金小楷恭录经文，点画精劲端雅，结体匀整秀逸，字字排布疏朗工稳，全篇气息静谧庄严，暗合经文的肃穆禅意。\n\n四周搭配古雅富丽的织锦纹饰，柔化了经文的规整肃穆，与泥金书法相映成趣，尽显雅致格调。整幅作品是写经中的精工之作，将书写者的精湛笔力与虔敬之心融于方寸笔墨间，尽显传统写经艺术的极致用心与静谧禅韵。",[23,878,386,7,199,26617,433,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c46df31cab44322eca3619b3a9978f.jpg",[],{"id":53830,"slug":53831,"title":53832,"dynasty":8749,"author":454,"museum":107,"description":47830,"tags":53833,"thumbUrl":53834,"material":751,"size":752,"collection":95,"collections":53835,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},230782,"fu-shi-hui-164-yi-ming-230782","浮世绘164",[19332,27,111,113,114,7,60,77,2919,574,7767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb679f860e951c05b3586454f9a5f5139.jpg",[],{"id":53837,"slug":53838,"title":53839,"dynasty":8749,"author":454,"museum":107,"description":53840,"tags":53841,"thumbUrl":53842,"material":751,"size":752,"collection":95,"collections":53843,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},230762,"da-xiao-bi-ya-xi-yi-ming-230762","大小碧牙玺","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[7714,433,7713,8234,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22635f07554f08eb9caac44efe263160.jpg",[],{"id":53845,"slug":53846,"title":53847,"dynasty":8749,"author":454,"museum":107,"description":53848,"tags":53849,"thumbUrl":53850,"material":751,"size":752,"collection":95,"collections":53851,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},230577,"guang-zan-mo-he-bo-re-bo-luo-mi-san-mei-pin-zhi-yu-juan-shi-yi-ming-230577","光讃摩訶般若波羅蜜三昧品之餘卷十","此卷墨色沉凝温润，蝇头小楷排布繁密却匀净舒朗，通篇笔意连贯，起收利落尽显楷法端严，又暗含行书灵动意趣。纸面虽遍布虫蛀斑驳，岁月侵蚀痕迹满布，却更添古旧厚重的沧桑质感。字字皆为抄经人虔心所书，将宗教的肃穆沉潜于笔墨细节间，笔端凝聚着专注的心力，残卷依旧传递出清和肃穆的古雅禅意，尽显中古写经的质朴虔诚之美。",[878,7,386,199,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e9c339f590ada41c9175c2032fc848.jpg",[],{"id":53853,"slug":53854,"title":53855,"dynasty":8749,"author":454,"museum":107,"description":53856,"tags":53857,"thumbUrl":53858,"material":751,"size":752,"collection":95,"collections":53859,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},230541,"da-qiao-jia-lai-han-ji-juan-yi-ming-230541","大橋家来翰集卷","此卷以行草挥洒而成，墨色枯湿浓淡富于层次，线条流转跌宕，牵丝映带尽显随性快意。朱红笺纸与素白古笺交错排布，钤印错落点缀其间，疏密节奏张弛得宜。\n\n字势欹侧呼应，满卷流动着率真朴拙的古雅气韵，将书者彼时心绪尽数融于笔墨，既有尺牍手札的私密意趣，又不失长卷贯通的整体韵律，尽显东瀛古笔汇卷的天然笔墨情致。",[23,7,49,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9382f48fa93b63072c8178d78c6bdd96.jpg",[],{"id":53861,"slug":53862,"title":53863,"dynasty":18,"author":454,"museum":107,"description":53864,"tags":53865,"thumbUrl":53866,"material":751,"size":752,"collection":95,"collections":53867,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},230351,"hong-ji-tie-yi-ming-230351","鸿迹帖","素雅豆青色函套尽显沉静古意，古朴线装延续旧时古籍装帧的雅致风骨。朱红签条上篆书笔力沉凝端方，方正古拙的字体与浅淡底色相映，撞色间晕开内敛的文人气韵。整体没有繁复修饰，却在细节里藏着巧思，线装朱红穿带呼应签条色彩，将传统审美融于方寸之间。简约克制的装帧暗合翰墨清帖的风雅底蕴，静静诉说着旧时光里的书卷静美，尽显文人藏帖的内敛审美意趣。",[7,200,77,9635,26,27,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad292f5bd02d908157743f8a0b6e149.jpg",[],{"id":53869,"slug":53870,"title":53871,"dynasty":18,"author":454,"museum":107,"description":53872,"tags":53873,"thumbUrl":53874,"material":751,"size":752,"collection":95,"collections":53875,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},229666,"qian-long-san-xi-wen-han-yu-ce-yi-ming-229666","乾隆 「三希文翰」玉册","此青玉册莹润清透，质地匀净内敛，自带沉静素雅之态。錾刻填金行书跃于玉面，笔意舒展灵动，行气连贯悠然，将笔墨流转的意趣凝于玉石之上，把书法的挥洒之美与玉的温润质感相融相合。\n题句清雅旷达，与玉石气质相得益彰，以玉为纸，以金代墨，将文人诗意与玉作工艺精妙结合，尽显雅致隽永的文人心韵，是玉作与书法美学碰撞的精巧之作，藏着清代工艺审美中的文风雅趣。",[7714,7713,60,26,50509,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dae33701b8951b6c3dca639b5635757.jpg",[],{"id":53877,"slug":53878,"title":53879,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":53880,"thumbUrl":53881,"material":751,"size":752,"collection":95,"collections":53882,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},229506,"wu-lao-you-he-yu-mo-yi-ming-229506","五老游河御墨",[432,7,77,7713,27,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ca5a34863241a732bf11537877a433.jpg",[],{"id":53884,"slug":53885,"title":53886,"dynasty":18,"author":454,"museum":107,"description":53887,"tags":53888,"thumbUrl":53889,"material":751,"size":752,"collection":95,"collections":53890,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},229177,"ke-gao-zong-yu-bi-jian-shi-zhai-shi-bi-yu-ban-ce-shi-ye-yi-ming-229177","刻高宗御笔鉴始斋诗碧玉版册（十页）","碧玉色泽沉凝清润，十页相叠成册。以阴刻填金技法镌刻诗文，笔意隽秀规整，赤金晕染墨玉底色，华贵雅致尽显。搭配素净硬木宝匣，形制内敛沉稳，与玉册相得益彰。它将玉作的温润质感与书法镌刻的文雅精妙相融，尽显清宫御作的精工内敛，把文玩清贵与皇家礼制的庄重合为一体，尽显清代宫廷雅正端方的审美意趣。",[7714,7713,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca8978c51ca938255d896929f7cb2c0.jpg",[],{"id":53892,"slug":53893,"title":53894,"dynasty":18,"author":454,"museum":107,"description":53895,"tags":53896,"thumbUrl":53898,"material":751,"size":752,"collection":95,"collections":53899,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},229109,"yong-xing-chao-lu-di-xue-shu-yi-han-yi-ming-229109","永瑆抄录帝学书一函","此函古籍以织锦为函套，腾龙纹样辗转铺陈，缠枝纹环绕呼应，配色古雅沉稳，尽显装帧考究。其内抄本纸色温润，墨痕清隽匀净，点画间骨力暗藏，笔势舒展克制，虽为誊录，却带着沉静端方的书卷气韵，将治学的恭谨藏于一笔一划之中，触手可见旧时光晕里的治学风雅，尽显抄录典籍时的郑重心意。",[1498,7,26,359,53897,9635,199],"抄录","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0e2fe4a5208426cc3d87d457ae5875.jpg",[],{"id":53901,"slug":53902,"title":53903,"dynasty":18,"author":454,"museum":107,"description":53904,"tags":53905,"thumbUrl":53906,"material":751,"size":752,"collection":95,"collections":53907,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},229087,"wen-ning-shu-xun-zhu-kai-peng-ce-ye-yi-ming-229087","文宁书「训著闿抨」册页","此作为泥金笺小楷，墨色乌亮莹润，与华贵底色相映成趣。书写端雅恭谨，点画精劲匀净，结体方正秀逸，通篇排布齐整疏朗，兼具馆阁体的严整法度与温润静穆的书卷意韵。笔笔不苟，锋棱内敛，将书写时的恭谨心态融于笔墨细节，字字安稳平和，尽显清逸雅致的台阁书风特质，是清代小楷工整一路的典型风貌。",[25,26,199,27,7,1498,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22bfd54ac54aafe102b17fe8860c84e3.jpg",[],{"id":53909,"slug":53910,"title":53911,"dynasty":18,"author":454,"museum":107,"description":53912,"tags":53913,"thumbUrl":53914,"material":751,"size":752,"collection":95,"collections":53915,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},229074,"fan-gong-zhang-se-tu-ce-yi-ming-229074","燔功彰色图册","此作以宋汝窑舟形笔洗为主体，天青釉色莹润如凝脂，尽显宋瓷极简风雅。画面以缠枝纹作边框，朱红古印错落排布，古意盎然。下方工整小楷详述笔洗形制与釉色妙处，考据精细，将器物赏鉴与书画意趣相融。\n\n整体静穆清丽，装裱考究，既还原名窑古器的沉静之美，又以题跋印信烘托出浓郁文人雅韵，是赏瓷与艺文结合的精妙小品，尽显东方传统器物美学的温润内敛。",[92,24,25,26,27,25504,834,7,77,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa124bfaf58691b2504436d8643014331.jpg",[],{"id":53917,"slug":53918,"title":47704,"dynasty":18,"author":10652,"museum":107,"description":53919,"tags":53920,"thumbUrl":53921,"material":751,"size":752,"collection":95,"collections":53922,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},229053,"qing-long-yue-wu-ce-qing-ren-229053","此作为黑漆底泥金书册页，回纹边框环饰，规整雅致尽显庄重礼制底色。汉满双语并列排布，汉文字笔势端凝厚重，满文线条劲挺匀整，泥金在乌沉漆色映衬下愈显华贵夺目。\n\n整幅排版匀齐严整，将文书的肃穆规制与髹饰工艺结合，笔墨间承载着仪典的厚重意蕴，尽显宫廷制式的严谨华贵，是清代礼仪文书与传统装帧髹饰工艺融合的精品，于寸尺之间尽显庄重仪范之美。",[25,7,26,11689,199,27,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7a4d9bddc9ab4b41d1708978da9dc.jpg",[],{"id":53924,"slug":53925,"title":47704,"dynasty":18,"author":10652,"museum":107,"description":53926,"tags":53927,"thumbUrl":53928,"material":751,"size":752,"collection":95,"collections":53929,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},229045,"qing-long-yue-wu-ce-qing-ren-229045","此册以磁青为底，泥金书就，朱栏界格齐整，边框錾刻缠回纹饰，华贵雍容。满汉双语对照排布，笔锋端稳恭谨，尽显仪典庄穆。文字铺陈乐舞盛景，笔墨间流淌着庙堂雅韵，是礼乐文化的具象缩影。将制式礼制与书法工艺精妙融合，每一处细节都流露着庄重典雅的宫廷规制气度，尽显仪轨的端方精致，承载着彼时的礼乐精神，是匠心与礼制交融的珍贵遗存。",[2135,7,26,457,11689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa339cd874b4bb9767711d4d4b21cf5e1.jpg",[],{"id":53931,"slug":53932,"title":53933,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":53934,"thumbUrl":53935,"material":751,"size":752,"collection":95,"collections":53936,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},228885,"zi-zuo-shi-juan-wen-zheng-ming-228885","自作诗卷",[23,92,24,25,49,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a1722bb9a497fe7d0b1900cfb6c297.jpg",[],{"id":53938,"slug":53939,"title":53940,"dynasty":45,"author":21129,"museum":107,"description":42697,"tags":53941,"thumbUrl":53942,"material":751,"size":752,"collection":95,"collections":53943,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},228419,"ji-yuan-zhong-cao-mu-shi-wu-kuan-228419","记园中草木诗",[23,25,7,60,49,77,131,139,132,140,11404,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f893f55899cbaf234dbab537549d9a.jpg",[],{"id":53945,"slug":53946,"title":3155,"dynasty":88,"author":53947,"museum":107,"description":53948,"tags":53949,"thumbUrl":53950,"material":95,"size":95,"collection":95,"collections":53951,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},227746,"chi-du-da-hui-zong-gao-227746","大慧宗杲","大慧宗杲尺牍，纸本，行书，38.0×65.5cm。日本东京国立博物馆藏（松平直亮氏寄赠）。\n\n本件是大慧宗杲放逐于梅州时寄给友人无相居士的书信，笔致富于气势，为大慧宗杲的书迹中最受重视的作品。先由江户时代初期茶道家、禅僧江月宗玩收藏，而后又归身兼茶道家的诸侯松平不昧所有。",[23,25,7,60,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89789953bbde44774404d7149e1c0856.jpg",[],{"id":53953,"slug":53954,"title":53955,"dynasty":88,"author":454,"museum":107,"description":53956,"tags":53957,"thumbUrl":53958,"material":751,"size":752,"collection":95,"collections":53959,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},227560,"zhen-xing-zhen-bing-xu-yi-ming-227560","帧刑箴并序","《慎刑箴》和《审刑》无疑反映了他的慎刑思想,但由于文献不足征,后世学者对其慎刑思想无法作一具体研究。",[2601,198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50d5b0b7495c74745c493ba13a80397.jpg",[],{"id":53961,"slug":53962,"title":53963,"dynasty":88,"author":454,"museum":107,"description":53956,"tags":53964,"thumbUrl":53965,"material":751,"size":752,"collection":95,"collections":53966,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},227554,"quan-shen-xing-wen-bing-xu-yi-ming-227554","劝慎行文并序",[198,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb238d76c836193b2c34db44762234d.jpg",[],{"id":53968,"slug":53969,"title":53970,"dynasty":162,"author":454,"museum":107,"description":53971,"tags":53972,"thumbUrl":53973,"material":751,"size":752,"collection":95,"collections":53974,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},227112,"hai-shou-pu-tao-wen-jing-6-yi-ming-227112","海兽葡萄纹镜-6","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[162,15301,7713,7,798,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5b37027abdc835a6194d52247220db.jpg",[],{"id":53976,"slug":53977,"title":53978,"dynasty":105,"author":454,"museum":107,"description":53979,"tags":53980,"thumbUrl":53982,"material":95,"size":95,"collection":95,"collections":53983,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},227050,"shi-xian-mu-zhi-yi-ming-227050","石尠墓志","处士石定墓志，西晋，高47厘米，宽23厘米。\n\n西晋永嘉二年（308年）墓志刻石。刻石存文10行185字，隶书体。内容主要刊刻石定族属简历及其本人殁事。此墓志保存完整，书文精美，刊刻精良，志文主要部分内容可与石尠墓志相参，二志石同刊同出，殊属难得珍贵。1919年河南洛阳城北马坡村出土。曾归周季木收藏。\n\n录文：处士乐陵厌次都乡清明里石定，字庶公，太尉昌安元公之第三孙，尚书城阳乡侯之適子也。秉心守正，志节清远，有才干胆断，本郡功曹察孝、州辟皆不就，举秀才不行，侍父乡里。永嘉元年逆贼汲桑破邺都之后，遂肆凶暴，鼓行东北，其年九月五日攻围侯，侯亲率邑族，临危奋讨，众寡不敌，七日城陷，侯薨。定与弟迈致命左右，年廿八。才志不遂，呜乎哀哉！凡我邦族，莫不嗟恸。二年七月十九日祔葬于侯墓之右次，刊石纪终，俾示来世。妻沛国刘氏，字贵华。父字终嘏，晋故太常卿。",[23,7,198,3423,199,53981,11284],"晋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8335f06b489afdc5dd3dc4f0da69a2.jpg",[],{"id":53985,"slug":53986,"title":53987,"dynasty":88,"author":454,"museum":107,"description":27799,"tags":53988,"thumbUrl":53990,"material":751,"size":752,"collection":95,"collections":53991,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":207},226662,"shou-zi-wan-yi-ming-226662","寿字碗",[2601,25504,53989,26617,7,9340,50563],"黑釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c8d8d9de24f0f45b75c21c493cac2.jpg",[],{"id":53993,"slug":53994,"title":53995,"dynasty":8749,"author":454,"museum":107,"description":53996,"tags":53997,"thumbUrl":53998,"material":751,"size":752,"collection":95,"collections":53999,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},226156,"da-cheng-wu-liang-shou-jing-yi-ming-226156","大乘无量寿经","净土三部中，二卷之佛说无量寿经，净影，道绰，善导诸家，谓之大经。天台谓之大本。玄义分传通记三曰：“大经者无量寿经，三经之中此经广故，对余二经名大经也。天台此经名大本，阿弥陀经名小本，嘉祥名双卷，净影道绰与今家同，龙兴名两卷经。",[7,386,49,199,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260ad52b3b95643feb76685c0d1a13af.jpg",[],{"id":54001,"slug":54002,"title":54003,"dynasty":8749,"author":454,"museum":107,"description":47830,"tags":54004,"thumbUrl":54005,"material":751,"size":752,"collection":95,"collections":54006,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},225577,"fu-shi-hui-65-yi-ming-225577","浮世绘65",[19332,9636,27,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1a830b0ea5227c8ce18df295ce1f6ec.jpg",[],{"id":54008,"slug":54009,"title":54010,"dynasty":18,"author":54011,"museum":107,"description":54012,"tags":54013,"thumbUrl":54014,"material":751,"size":752,"collection":95,"collections":54015,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},224583,"08-cai-xin-224583","08","蔡新","蔡新（1707～1799年），字次明，号葛山，别号缉斋，福建省漳浦（今漳浦县大南坂下楼村林西墘）人，清朝大臣。\n乾隆元年进士，授庶吉士、翰林院编修、直上书房、翰林院侍讲，累官内廷总师傅、兼理兵部尚书兼管国子监事务、礼部尚书兼理兵部尚书、吏部尚书兼国子监事务、文华殿大学士兼吏部尚书、加授太子太师。\n嘉庆四年十二月，卒于家，赠太傅，赐祭葬，谥文恭。",[18,7,199,25,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0b2f47c6b799f3a24d6cc1e9ea9a815.jpg",[],{"id":54017,"slug":54018,"title":54019,"dynasty":45,"author":39287,"museum":107,"description":54020,"tags":54021,"thumbUrl":54022,"material":751,"size":752,"collection":95,"collections":54023,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":3443},224564,"shu-hua-ce-ye-6-xiao-yun-cong-wang-shi-zhen-224564","《书画册页》-6","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[25,26,60,7,50,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1559fd17f8e83346a6cd6f722290ed2e.jpg",[],{"id":54025,"slug":54026,"title":54027,"dynasty":45,"author":39287,"museum":107,"description":54028,"tags":54029,"thumbUrl":54030,"material":95,"size":95,"collection":95,"collections":54031,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},224559,"shu-hua-ce-ye-24-xiao-yun-cong-wang-shi-zhen-224559","《书画册页》-24","这幅行书尺牍清隽疏朗，用笔灵动秀逸，起收间暗合魏晋帖学雅韵。字形欹正相生，章法错落自然，字距留白透气，尽显萧散简远的文人意趣。\n\n笔势连贯遒劲，牵丝映带间贴合诗句意境，将蜀道千峰云林的壮怀幽寂寄寓笔墨，文思与笔墨相融。浅淡古旧的笺纸配朱红古雅钤印，墨色与印色相衬，晕开明清之际文人士大夫沉静风雅的审美意趣。",[24,25,26,60,50,7,77,26860,845,3038,1283,1677,1679,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3faaa018bf64f093840ed594760d1a3.jpg",[],{"id":54033,"slug":54034,"title":54035,"dynasty":45,"author":39287,"museum":107,"description":54036,"tags":54037,"thumbUrl":54038,"material":95,"size":95,"collection":95,"collections":54039,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},224555,"shu-hua-ce-ye-20-xiao-yun-cong-wang-shi-zhen-224555","《书画册页》-20","此作行书清逸隽秀，题笔朴拙雅致，二者相映成趣。起笔收锋灵动舒展，线条圆劲温润，章法错落自然，字距疏密得宜，墨色带着自然的浓淡渐变，漫出林下散逸之气。\n\n诗文与笔墨交融无间，将山水栖居的悠然隐趣藏在婉转笔意之中。笔势带着明清文人特有的简淡萧散，每一处提按转折都暗含雅致文心，尽显江南文人的林下襟怀，是一件兼具笔墨意趣与诗意内核的小品佳作。",[25,26,7,60,651,6635,133,678,52095,45857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a0b58d3ccedeae0d9a2fcb23c9f292.jpg",[],{"id":54041,"slug":54042,"title":54043,"dynasty":45,"author":39287,"museum":107,"description":54044,"tags":54045,"thumbUrl":54046,"material":95,"size":95,"collection":95,"collections":54047,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},224553,"shu-hua-ce-ye-18-xiao-yun-cong-wang-shi-zhen-224553","《书画册页》-18","此幅行书小品，行气疏朗空灵，笔致温润清隽，带着江南文人特有的儒雅散淡。凭吊故地的诗句沉郁哀惋，笔墨与文辞意韵相融，将怅惘幽思藏在舒缓的笔锋流转间。四方朱印错落排布，朱红印晕染在浅米旧纸之上，素朴底色里更添沉静厚重的文人情致。诗书印三者相融无间，尽显旧时文人寄情笔墨、以书抒怀的淡然风骨，悠悠古意漫溢纸面。",[24,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a219bf505e7c6e609e89ddf03746c5.jpg",[],{"id":54049,"slug":54050,"title":54051,"dynasty":45,"author":39287,"museum":107,"description":54052,"tags":54053,"thumbUrl":54054,"material":95,"size":95,"collection":95,"collections":54055,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},224550,"shu-hua-ce-ye-14-xiao-yun-cong-wang-shi-zhen-224550","《书画册页》-14","此作行书清隽秀雅，笔墨疏朗通透，起收间带着温雅散淡的文人意趣。字迹排布错落舒展，笔画瘦劲灵动，提按转合暗含章法，毫无滞涩之感。笔锋轻捷利落，筋骨暗藏，墨色枯湿自然过渡，尽显书写时的松弛随性。\n\n诗句幽寂沉郁，笔墨贴合诗文意境，将林泉间的怅惘愁绪融在笔锋起落间，浸透着沉郁的怀古幽思，尽显士人清雅澹泊的审美意趣。整幅小品书卷气盎然，书法美感与文心诗意相融，是颇具格调的文人墨痕。",[25,26,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb2a92decd18ac405594d098ff06769.jpg",[],{"id":54057,"slug":54058,"title":54059,"dynasty":45,"author":39287,"museum":107,"description":54060,"tags":54061,"thumbUrl":54062,"material":95,"size":95,"collection":95,"collections":54063,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},224549,"shu-hua-ce-ye-13-xiao-yun-cong-wang-shi-zhen-224549","《书画册页》-13","行笔舒展灵动，牵丝映带自然圆融，墨色枯湿浓淡富于层次变化。笔画粗细跌宕，章法松弛错落，全无雕琢造作之气，尽显随性自在的文人意趣。\n字里行间浸透着萧散简远的林下之风，日常感怀诉诸笔端，笔墨与题文相得益彰，藏着旧时光里的沉静雅致。仿佛能窥见挥毫时的闲适心境，让观者在笔墨流转间，触摸到那份冲淡安然的文人审美意趣。",[92,24,25,26,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c4d8b2ab7ae65b7f6bf66172e2226af.jpg",[],{"id":54065,"slug":54066,"title":54067,"dynasty":45,"author":39287,"museum":107,"description":54068,"tags":54069,"thumbUrl":54070,"material":95,"size":95,"collection":95,"collections":54071,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},224547,"shu-hua-ce-ye-11-xiao-yun-cong-wang-shi-zhen-224547","《书画册页》-11","此幅小楷清劲秀雅，点画起收恪守法度，提按藏露暗合晋唐意趣，结体端雅宽和，通篇气息疏朗静穆。以笔墨承载酬和诗作，文辞与笔意相融，将病中提笔的清隽闲散藏于点画顾盼之间，不见雕琢匠气。温婉笔调写尽夏日幽居愁绪与文友唱和雅兴，将文人雅致心境寄寓匀净排布的字里行间，淡远萧散的意境呼之欲出，尽显明清文人的林下风流，是极具代表性的文人小楷风貌，尽显书者风骨与笔墨才情。",[25,24,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef1aafcdbb9b5b83b35f19b8279251e.jpg",[],{"id":54073,"slug":54074,"title":54075,"dynasty":18,"author":10427,"museum":107,"description":54076,"tags":54077,"thumbUrl":54078,"material":95,"size":95,"collection":95,"collections":54079,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},224415,"shu-hua-shi-liu-kai-16-wang-shi-min-224415","书画十六开-16","此作行书取法晋唐，笔致圆融温润，牵丝映带间尽显灵动雅致。结体舒展欹正相生，通篇气息匀停和谐。诗文兼具春日慵懒闲适，又藏深宫冬夜清寂幽冷，温婉隽秀的笔调恰好衬合诗文意境。墨色浓淡自然过渡，古纸底色晕染出沉静古雅的气韵，笔墨与文辞相得益彰，将文人闲散淡远的心境诉诸笔端，是兼具笔墨意趣与文情雅致的佳构。",[23,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc22fa834e73335c0920586861115e9e.jpg",[],{"id":54081,"slug":54082,"title":54083,"dynasty":18,"author":10427,"museum":107,"description":54084,"tags":54085,"thumbUrl":54088,"material":95,"size":95,"collection":95,"collections":54089,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},224414,"shu-hua-shi-liu-kai-15-wang-shi-min-224414","书画十六开-15","此作行书笔致圆浑朴拙，点画温润遒劲，牵丝映带间尽显从容古雅的意趣。笔底无张扬锋芒，却自带静穆醇厚的文人风骨，暗合晋唐行书的潇洒意态，又藏着晚明文人特有的沉静内敛。\n诗中旧年访友的缱绻幽思，伴着春草春雨、梅村茶山的江南烟景落于笔端，书与文相得益彰。笔墨随着诗意起伏，将观景怀人的怅惘安然铺展，整体气息安和澹远，尽显文人书文合一的雅致情致，把怀旧的温柔心绪尽数凝在纸间笔墨中。",[23,25,26,60,7,298,651,446,52098,54086,54087,652],"铜井","苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b54bd93047b8fa4901b35be6438f6b.jpg",[],{"id":54091,"slug":54092,"title":54093,"dynasty":18,"author":10427,"museum":107,"description":54094,"tags":54095,"thumbUrl":54096,"material":54097,"size":54098,"collection":95,"collections":54099,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},224410,"shu-hua-shi-liu-kai-11-wang-shi-min-224410","书画十六开-11","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,7,60,50,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bcd928322b740a120cbe1db7fc13b99.jpg","墨色绢本","48x32",[],{"id":54101,"slug":54102,"title":54103,"dynasty":18,"author":25686,"museum":107,"description":42820,"tags":54104,"thumbUrl":54105,"material":751,"size":752,"collection":95,"collections":54106,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},224154,"shu-lian-zhou-zhang-zhao-224154","书联轴",[92,24,25,7,2136,75,60,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8d3f54ddc1371e9d60a82d491f2952.jpg",[],{"id":54108,"slug":54109,"title":54110,"dynasty":18,"author":2301,"museum":107,"description":54111,"tags":54112,"thumbUrl":54114,"material":751,"size":752,"collection":95,"collections":54115,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},224127,"ke-mao-ji-chu-dai-si-tu-qian-long-224127","缂毛鸡雏待饲图","清乾隆缂毛鸡雏待饲图是清代的一件集书法、绘画、缂丝、缂毛等艺术手段的合璧之作。",[23,2135,54113,27,4179,31923,7,60,77,29],"缂毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43869bfc1a89d80ebab22705f8ed1d7.jpg",[],{"id":54117,"slug":54118,"title":54119,"dynasty":162,"author":454,"museum":107,"description":54120,"tags":54121,"thumbUrl":54122,"material":751,"size":752,"collection":95,"collections":54123,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},223581,"wang-bo-ji-di-er-shi-jiu-juan-can-juan-2-yi-ming-223581","王勃集第二十九卷残卷2","残卷与日藏四种唐钞本为同一写手，且与上野本、翰墨城本同属卷二十八。文中有“又迁杨府録事”之语，为志主最后终官，又有“縂章元年”字样，与王勃写作时代相合，故推测此残篇当即上野本佚失的《陆录事墓志》。此为最新发现的王勃集佚篇断简，极为珍贵。通的最长残卷，也是唐写本首次出现在国内的拍卖会。它的发现在唐代文学史、文物史、书法史等方面均具有重要意义，也为非敦煌系统的中国早期写本的鉴定提供了物质实证。",[23,7,199,49,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfd30ec62af21104177f9df99891bbe.jpg",[],{"id":54125,"slug":54126,"title":54127,"dynasty":162,"author":454,"museum":107,"description":54120,"tags":54128,"thumbUrl":54129,"material":751,"size":752,"collection":95,"collections":54130,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},223580,"wang-bo-ji-di-er-shi-jiu-juan-can-juan-1-yi-ming-223580","王勃集第二十九卷残卷1",[23,7,199,1498,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F881481d3f60743e9af6a0ee65bd8a5b5.jpg",[],{"id":54132,"slug":54133,"title":23240,"dynasty":18,"author":21660,"museum":126,"description":23241,"tags":54134,"thumbUrl":54135,"material":95,"size":23245,"collection":95,"collections":54136,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},223180,"geng-zhi-tu-ce-jiao-bing-zhen-223180",[7,199,4347,35050,26051,23089],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1500de3ed148ad8b90b4b0e92c6e7e54.jpg",[],{"id":54138,"slug":54139,"title":54140,"dynasty":18,"author":2634,"museum":72,"description":54141,"tags":54142,"thumbUrl":54143,"material":682,"size":95,"collection":95,"collections":54144,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},223105,"duan-qiao-can-xue-tu-gao-zong-yu-ti-dong-bang-da-223105","断桥残雪图-高宗御题","此为断桥残雪图高宗御题部分.",[23,92,24,25,51,60,7,52,1677,77,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e66f0aab7d9c8b28261b41d1c5ca758.jpg",[],{"id":54146,"slug":54147,"title":54148,"dynasty":18,"author":294,"museum":72,"description":54149,"tags":54150,"thumbUrl":54151,"material":95,"size":95,"collection":95,"collections":54152,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},222855,"shu-lv-diao-jian-la-ce-dong-gao-222855","书律调饯腊册","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,7,199,26,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a0d5a7c45c26174d4321f3769aea66a.jpg",[],{"id":54154,"slug":54155,"title":54156,"dynasty":18,"author":3764,"museum":279,"description":14584,"tags":54157,"thumbUrl":54158,"material":2815,"size":95,"collection":95,"collections":54159,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},222712,"huang-shan-ba-jing-tu-ce-1-zheng-min-222712","黄山八景图册1",[23,92,24,25,26,51,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f9609661d1d8a7ffd11d9bb449d673f.jpg",[],{"id":54161,"slug":54162,"title":54163,"dynasty":45,"author":2206,"museum":72,"description":21511,"tags":54164,"thumbUrl":54165,"material":312,"size":22367,"collection":95,"collections":54166,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},222465,"shu-shan-ye-1-zhu-yun-ming-222465","书扇页1",[23,1250,7,60,398,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc45a10c3a0a7e14fdde16959d364d2.jpg",[],{"id":54168,"slug":54169,"title":54170,"dynasty":45,"author":54171,"museum":72,"description":54172,"tags":54173,"thumbUrl":54174,"material":312,"size":95,"collection":95,"collections":54175,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},222324,"shu-shi-er-zhang-xian-yi-222324","书诗（二）","张献翼","张献翼，[明]（1534-1604）字幼于，后更名敉，长洲人。张凤翼之弟。嘉靖中国子监生。为人放荡不羁，言行诡异，与兄凤翼、燕翼并有才名，时称“三张。”精于易，其说《易》诸作，皆平正通达，笃实不支，为人所称。",[24,25,7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dc921eeb2a973b31605ec6bbc4c3a2.jpg",[],{"id":54177,"slug":54178,"title":54179,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54180,"thumbUrl":54181,"material":682,"size":7424,"collection":95,"collections":54182,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222303,"nan-hua-zhen-jing-56-wang-chong-222303","南华真经56",[23,25,7,60,386,50,1498,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68af30f046ed25dfd5753b25bca500a8.jpg",[],{"id":54184,"slug":54185,"title":54186,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54187,"thumbUrl":54188,"material":682,"size":7424,"collection":95,"collections":54189,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222301,"nan-hua-zhen-jing-54-wang-chong-222301","南华真经54",[23,25,7,60,1498,2602,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a7d76f0f4e4b040752af7cf3435674a.jpg",[],{"id":54191,"slug":54192,"title":54193,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54194,"thumbUrl":54195,"material":682,"size":7424,"collection":95,"collections":54196,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222300,"nan-hua-zhen-jing-53-wang-chong-222300","南华真经53",[23,7,60,386,312,2602,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f47e3efbaaf8f077d26dacee9db8f59.jpg",[],{"id":54198,"slug":54199,"title":54200,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54201,"thumbUrl":54202,"material":682,"size":7424,"collection":95,"collections":54203,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222299,"nan-hua-zhen-jing-52-wang-chong-222299","南华真经52",[23,199,384,7,200,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3ea1c55a561f7c2ba87e1c93a03aff.jpg",[],{"id":54205,"slug":54206,"title":54207,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54208,"thumbUrl":54209,"material":682,"size":7424,"collection":95,"collections":54210,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222298,"nan-hua-zhen-jing-51-wang-chong-222298","南华真经51",[23,7,25,24,312,384,385,1498,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c4786a7c0127d9219035a7357cb57a.jpg",[],{"id":54212,"slug":54213,"title":54214,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54215,"thumbUrl":54216,"material":682,"size":7424,"collection":95,"collections":54217,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222297,"nan-hua-zhen-jing-50-wang-chong-222297","南华真经50",[23,4038,25,7,384,60,385,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf18c520abca89d0a7d8cf115b46eb7c.jpg",[],{"id":54219,"slug":54220,"title":54221,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54222,"thumbUrl":54223,"material":682,"size":7424,"collection":95,"collections":54224,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222296,"nan-hua-zhen-jing-49-wang-chong-222296","南华真经49",[23,7,386,199,2602,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d85f305a73e1da481ed3cd0ad94fa50.jpg",[],{"id":54226,"slug":54227,"title":54228,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54229,"thumbUrl":54230,"material":682,"size":7424,"collection":95,"collections":54231,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222295,"nan-hua-zhen-jing-48-wang-chong-222295","南华真经48",[23,7,384,200,34330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F399a81a538689bb964999c882d2ab74e.jpg",[],{"id":54233,"slug":54234,"title":54235,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54236,"thumbUrl":54237,"material":682,"size":7424,"collection":95,"collections":54238,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222293,"nan-hua-zhen-jing-46-wang-chong-222293","南华真经46",[23,7,60,386,50,25,1498,4347,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dd4c58f6fdf735f7e1909bd6d21c405.jpg",[],{"id":54240,"slug":54241,"title":54242,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54243,"thumbUrl":54244,"material":682,"size":7424,"collection":95,"collections":54245,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222292,"nan-hua-zhen-jing-45-wang-chong-222292","南华真经45",[23,24,25,7,199,60,384,385,312,4038,1498,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F887ccccc44eeedf68aa4b38e94753cac.jpg",[],{"id":54247,"slug":54248,"title":54249,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54250,"thumbUrl":54252,"material":682,"size":7424,"collection":95,"collections":54253,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222291,"nan-hua-zhen-jing-44-wang-chong-222291","南华真经44",[23,7,25,60,385,46625,29698,54251],"汉字作品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63152ec9b86134c4f46a62fc07efa538.jpg",[],{"id":54255,"slug":54256,"title":54257,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54258,"thumbUrl":54259,"material":682,"size":7424,"collection":95,"collections":54260,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222290,"nan-hua-zhen-jing-43-wang-chong-222290","南华真经43",[7,60,386,3479,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb373e2d9cbc3f8ae7f4b71fdfa1660bc.jpg",[],{"id":54262,"slug":54263,"title":54264,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54265,"thumbUrl":54266,"material":682,"size":7424,"collection":95,"collections":54267,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222289,"nan-hua-zhen-jing-42-wang-chong-222289","南华真经42",[23,92,24,25,7,60,386,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075e283d32b81cf101fc02d7224b44ef.jpg",[],{"id":54269,"slug":54270,"title":54271,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54272,"thumbUrl":54273,"material":682,"size":7424,"collection":95,"collections":54274,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222288,"nan-hua-zhen-jing-41-wang-chong-222288","南华真经41",[23,7,60,312,50,45,26,386,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0160ac10e706600a8447869c691af797.jpg",[],{"id":54276,"slug":54277,"title":54278,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54279,"thumbUrl":54280,"material":682,"size":7424,"collection":95,"collections":54281,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222287,"nan-hua-zhen-jing-40-wang-chong-222287","南华真经40",[23,25,7,386,4347,384,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb60cdc5dae3a18ec7ac1f9b0ef5b75.jpg",[],{"id":54283,"slug":54284,"title":54285,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54286,"thumbUrl":54287,"material":682,"size":7424,"collection":95,"collections":54288,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222286,"nan-hua-zhen-jing-39-wang-chong-222286","南华真经39",[23,7,199,50,25,386,26,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ba0081b5a68e7c9c0fc8dc3b704cc4.jpg",[],{"id":54290,"slug":54291,"title":54292,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54293,"thumbUrl":54294,"material":682,"size":7424,"collection":95,"collections":54295,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222285,"nan-hua-zhen-jing-38-wang-chong-222285","南华真经38",[23,24,25,7,60,386,50,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80addab5676191d03a7f9b82527eec32.jpg",[],{"id":54297,"slug":54298,"title":54299,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54300,"thumbUrl":54301,"material":682,"size":7424,"collection":95,"collections":54302,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222284,"nan-hua-zhen-jing-37-wang-chong-222284","南华真经37",[23,7,386,199,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43ff40e2362e398b4cf8c1c66f6bce65.jpg",[],{"id":54304,"slug":54305,"title":54306,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54307,"thumbUrl":54309,"material":682,"size":7424,"collection":95,"collections":54310,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222283,"nan-hua-zhen-jing-36-wang-chong-222283","南华真经36",[23,7,199,386,50,26,1498,2602,54308,27201,384],"竖排","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4200403c6023572f5ee3257daabf1f2.jpg",[],{"id":54312,"slug":54313,"title":54314,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54315,"thumbUrl":54316,"material":682,"size":7424,"collection":95,"collections":54317,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222282,"nan-hua-zhen-jing-35-wang-chong-222282","南华真经35",[23,25,7,60,386,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359924bd3b0234624c3b5a292b7d1c63.jpg",[],{"id":54319,"slug":54320,"title":54321,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54322,"thumbUrl":54323,"material":682,"size":7424,"collection":95,"collections":54324,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222279,"nan-hua-zhen-jing-32-wang-chong-222279","南华真经32",[23,7,25,60,386,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32170a8e9cc550423587c4f743b21ded.jpg",[],{"id":54326,"slug":54327,"title":54328,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54329,"thumbUrl":54330,"material":682,"size":7424,"collection":95,"collections":54331,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222278,"nan-hua-zhen-jing-31-wang-chong-222278","南华真经31",[23,7,60,386,26,312,2602,11284,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff13fcc34deb6f67f088371a4516f69dc.jpg",[],{"id":54333,"slug":54334,"title":54335,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54336,"thumbUrl":54337,"material":682,"size":7424,"collection":95,"collections":54338,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222277,"nan-hua-zhen-jing-30-wang-chong-222277","南华真经30",[23,7,25,199,50,26,1498,60,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e9e890d2fc4b65e31252f624f593bc.jpg",[],{"id":54340,"slug":54341,"title":54342,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54343,"thumbUrl":54344,"material":682,"size":7424,"collection":95,"collections":54345,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222276,"nan-hua-zhen-jing-29-wang-chong-222276","南华真经29",[23,7,386,4038,199,312,2602,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09957383df622ba012bae2a1eb62bd8.jpg",[],{"id":54347,"slug":54348,"title":54349,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54350,"thumbUrl":54351,"material":682,"size":7424,"collection":95,"collections":54352,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222275,"nan-hua-zhen-jing-28-wang-chong-222275","南华真经28",[23,7,60,50,25,26,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F939f2384f7f85607d8124272f321a9b6.jpg",[],{"id":54354,"slug":54355,"title":54356,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54357,"thumbUrl":54358,"material":682,"size":7424,"collection":95,"collections":54359,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222274,"nan-hua-zhen-jing-27-wang-chong-222274","南华真经27",[23,7,60,384,50,312,386,4038,26,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dc9eb749266153b65889b2403ae535.jpg",[],{"id":54361,"slug":54362,"title":54363,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54364,"thumbUrl":54365,"material":682,"size":7424,"collection":95,"collections":54366,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222257,"nan-hua-zhen-jing-10-wang-chong-222257","南华真经10",[23,7,60,386,26,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fad0dfc94c2290db2a5cc675993f838.jpg",[],{"id":54368,"slug":54369,"title":54370,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":54371,"thumbUrl":54372,"material":682,"size":7424,"collection":95,"collections":54373,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":23752},222251,"nan-hua-zhen-jing-4-wang-chong-222251","南华真经4",[23,384,7,200,386,1498,4283,20334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f37185bbbeebe39c2d9a7c56ae4a3e.jpg",[],{"id":54375,"slug":54376,"title":54377,"dynasty":45,"author":16699,"museum":72,"description":54378,"tags":54379,"thumbUrl":54380,"material":312,"size":95,"collection":95,"collections":54381,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},222170,"chi-du-1-zhu-zhi-fan-222170","尺牍1","朱之蕃（1575年—1624年） ，字元升，一作元介，号兰隅、定觉主人，祖籍金陵，明代大臣、书画家。万历二十三年（1595）科举状元，官终礼部右侍郎，任上曾奉命出使朝鲜。后以母丧，天启二年四月，起改为吏部右侍郎起升詹事府詹事掌南京翰林院事。工书法，善画山水花卉，传世作品有《君子林图卷》等，另有文集传世。",[25,7,60,26,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9d986ec78e5894ed82cee642a66d6a.jpg",[],{"id":54383,"slug":54384,"title":22728,"dynasty":45,"author":342,"museum":20,"description":7945,"tags":54385,"thumbUrl":54386,"material":22386,"size":11939,"collection":95,"collections":54387,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},222009,"shi-juan-wen-zheng-ming-222009",[23,49,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefde169c98fa5f198b0048e6428c344.jpg",[],{"id":54389,"slug":54390,"title":54391,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54392,"thumbUrl":54393,"material":312,"size":20086,"collection":95,"collections":54394,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221965,"shu-zha-ce-16-wen-zheng-ming-221965","书札册16",[23,7,60,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d57023c2b92a6b8336830e3ca33b62.jpg",[],{"id":54396,"slug":54397,"title":54398,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54399,"thumbUrl":54400,"material":312,"size":20086,"collection":95,"collections":54401,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221963,"shu-zha-ce-14-wen-zheng-ming-221963","书札册14",[23,7,60,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7218e7246b3f4901622a73c7a7f441.jpg",[],{"id":54403,"slug":54404,"title":54405,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54406,"thumbUrl":54407,"material":312,"size":20086,"collection":95,"collections":54408,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221961,"shu-zha-ce-12-wen-zheng-ming-221961","书札册12",[23,7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adff50ba091f83dc721ad6511b68975.jpg",[],{"id":54410,"slug":54411,"title":54412,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54413,"thumbUrl":54414,"material":312,"size":20086,"collection":95,"collections":54415,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221960,"shu-zha-ce-11-wen-zheng-ming-221960","书札册11",[23,7,60,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51019c83f26658511a4b245e98e1e05.jpg",[],{"id":54417,"slug":54418,"title":54419,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54420,"thumbUrl":54421,"material":312,"size":20086,"collection":95,"collections":54422,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221959,"shu-zha-ce-10-wen-zheng-ming-221959","书札册10",[23,7,60,26,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43de11536cc128486da3f08d40010013.jpg",[],{"id":54424,"slug":54425,"title":54426,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54427,"thumbUrl":54428,"material":312,"size":20086,"collection":95,"collections":54429,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221958,"shu-zha-ce-9-wen-zheng-ming-221958","书札册9",[23,7,60,26,312,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7627a1e937a8318d2167677ba56a5f63.jpg",[],{"id":54431,"slug":54432,"title":54433,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54434,"thumbUrl":54435,"material":312,"size":20086,"collection":95,"collections":54436,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221957,"shu-zha-ce-8-wen-zheng-ming-221957","书札册8",[23,7,60,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37da148685bbb47fc4b6208d450ac3eb.jpg",[],{"id":54438,"slug":54439,"title":54440,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54441,"thumbUrl":54442,"material":312,"size":20086,"collection":95,"collections":54443,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221956,"shu-zha-ce-7-wen-zheng-ming-221956","书札册7",[23,7,60,26,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d7c0af4cf3ec917946d71d5266de3e4.jpg",[],{"id":54445,"slug":54446,"title":54447,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54448,"thumbUrl":54449,"material":312,"size":20086,"collection":95,"collections":54450,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221955,"shu-zha-ce-6-wen-zheng-ming-221955","书札册6",[23,25,7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbfd34accafcf94c45d811a3f36bc03.jpg",[],{"id":54452,"slug":54453,"title":54454,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54455,"thumbUrl":54456,"material":312,"size":20086,"collection":95,"collections":54457,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221954,"shu-zha-ce-5-wen-zheng-ming-221954","书札册5",[23,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19d921317edee57bd3bf98492b33ea61.jpg",[],{"id":54459,"slug":54460,"title":54461,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54462,"thumbUrl":54463,"material":312,"size":20086,"collection":95,"collections":54464,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221953,"shu-zha-ce-4-wen-zheng-ming-221953","书札册4",[23,7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab2491f3830f021a10e2aa0db6e569f.jpg",[],{"id":54466,"slug":54467,"title":54468,"dynasty":45,"author":342,"museum":126,"description":7945,"tags":54469,"thumbUrl":54470,"material":312,"size":20086,"collection":95,"collections":54471,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221952,"shu-zha-ce-3-wen-zheng-ming-221952","书札册3",[23,7,60,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca6fe018c5ab7f96d57f24022329d16.jpg",[],{"id":54473,"slug":54474,"title":11240,"dynasty":88,"author":48038,"museum":72,"description":54475,"tags":54476,"thumbUrl":54477,"material":312,"size":54478,"collection":95,"collections":54479,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221656,"shu-chi-du-fan-cheng-da-221656","范成大（1126-1193），字致能，自号石湖居士。他是南宋著名的田园诗人，也是著名的书法家。由于他的母亲是北宋大书家蔡襄的外孙女，范成大很早即与书法有所接触，他早年由蔡襄入手，之后陆续吸收北宋三家（苏轼、黄庭坚、米芾）书迹的特色，终成就出自己的书法面貌。范成大在当时书名虽显，但书法对于他，却仍仅仅是公事之外，吟咏之馀的闲暇活动。他所留下的作品大多是他游宦于各地名胜时所留下的摩崖题刻，或是应人之请书写的诗文、为画卷所作的题跋等，但也有像这幅与友人往来的书札。\n这幅尺牍又名“垂诲帖”，是范成大在淳熙四年（1177）时，写给住在吴兴（今浙江吴兴）友人的一封信。信中除了向友人说明为他撰写的先夫人志尚未能完成的原委外，同时也说明他因身体日衰，恐怕无法帮他书写碑志，请他人代为书写等相关事宜。",[23,2601,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28100b33e7053e5844b1d2b26886eae8.jpg","31.5 x 61.7公分",[],{"id":54481,"slug":54482,"title":54483,"dynasty":88,"author":48038,"museum":126,"description":54484,"tags":54485,"thumbUrl":54486,"material":312,"size":54487,"collection":95,"collections":54488,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},221654,"zhong-liu-yi-hu-tie-ye-fan-cheng-da-221654","中流一壶帖页","人与作品是不可分割的，作者的人品、诗文、绘画等都会成为其书法作品的评判要素，这就是在书法评价过程中所谓的“书以人传”。当然，少数人会因为书法留名而“人以书传”，但这个比例是极小的。弘一法师曾说：“宁可书以人传，不可人以书传。”这句话至今仍是一条真理。\n对范成大的研究、梳理中，研究者多注重其政治家、诗人的身份。他身为参知政事（副宰相），位高权重；他与杨万里、陆游、尤袤合称南宋“中兴四大诗人”，《四时田园杂兴》足以让其名传千古。而书法在范成大的整个人生历程中的的确确是件余事，但他的书法在南宋却是为数不多的典范之一。",[23,25,7,60,26,77,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296071818e9eef1eddd85ce7e24267a2.jpg","31.8×42.4cm",[],{"id":54490,"slug":54491,"title":54492,"dynasty":45,"author":5386,"museum":7039,"description":9257,"tags":54493,"thumbUrl":54494,"material":9260,"size":9261,"collection":95,"collections":54495,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220714,"xing-shu-jie-quan-4-wang-chong-220714","行书借券4",[23,92,24,25,49,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa53a6dc90d65c88a541114aa117433f1.jpg",[],{"id":54497,"slug":54498,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54499,"thumbUrl":54500,"material":39621,"size":39622,"collection":95,"collections":54501,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220698,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220698",[23,24,25,26,60,7,77,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a3b9eb821ef60513d6473b294d3d4a.jpg",[],{"id":54503,"slug":54504,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54505,"thumbUrl":54506,"material":39621,"size":39622,"collection":95,"collections":54507,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220695,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220695",[23,26,7,60,199,77,24,25,51,11937,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ef32eb014b24335bae1d80f58cf2f5.jpg",[],{"id":54509,"slug":54510,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54511,"thumbUrl":54512,"material":39621,"size":39622,"collection":95,"collections":54513,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220694,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220694",[23,24,25,26,51,7,60,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f9f60d2d5b3d1d0a4e9a4b23959c64.jpg",[],{"id":54515,"slug":54516,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54517,"thumbUrl":54520,"material":39621,"size":39622,"collection":95,"collections":54521,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220693,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220693",[23,24,25,26,60,7,50,27,59,51,458,56,678,53,54518,26858,3516,1679,54519,250],"平林","红月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb096dba09967f3165e9ac12273771f79.jpg",[],{"id":54523,"slug":54524,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54525,"thumbUrl":54526,"material":39621,"size":39622,"collection":95,"collections":54527,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220690,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220690",[23,26,60,7,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a42ffdf3bde5591b35b1360c323163.jpg",[],{"id":54529,"slug":54530,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54531,"thumbUrl":54533,"material":39621,"size":39622,"collection":95,"collections":54534,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220689,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220689",[23,24,26,1328,50,251,54532,132,152,52,53,113,7,199,77,23518],"高树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77097ca63058bde1bd885223b88c679.jpg",[],{"id":54536,"slug":54537,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54538,"thumbUrl":54539,"material":39621,"size":39622,"collection":95,"collections":54540,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220688,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220688",[23,24,25,26,60,77,7,51,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9148f275796962b09c1eee640cb53e30.jpg",[],{"id":54542,"slug":54543,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54544,"thumbUrl":54545,"material":39621,"size":39622,"collection":95,"collections":54546,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220684,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220684",[24,26,51,50,251,54532,48090,152,52,53,113,7,23518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dbcd2e5a004d20f24def788ca6b54eb.jpg",[],{"id":54548,"slug":54549,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54550,"thumbUrl":54552,"material":39621,"size":39622,"collection":95,"collections":54553,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220679,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220679",[23,24,25,7,60,199,77,51,54551,55,27,26],"房舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3768d79d2a3a21660a05601bd9f102d6.jpg",[],{"id":54555,"slug":54556,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54557,"thumbUrl":54558,"material":39621,"size":39622,"collection":95,"collections":54559,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220678,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220678",[23,24,25,26,60,7,50,651,54551,116,1048,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4664e2523a2dbad88d786c8e0652e07.jpg",[],{"id":54561,"slug":54562,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54563,"thumbUrl":54564,"material":39621,"size":39622,"collection":95,"collections":54565,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220677,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220677",[23,24,25,7,60,50,27,26,10604,651,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b65c70fb8e47429f15be7fe9a49906.jpg",[],{"id":54567,"slug":54568,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54569,"thumbUrl":54570,"material":39621,"size":39622,"collection":95,"collections":54571,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220676,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220676",[23,24,25,7,26,60,77,51,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82b8baceaa06bb9bc98eb992ee5f9ed5.jpg",[],{"id":54573,"slug":54574,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54575,"thumbUrl":54576,"material":39621,"size":39622,"collection":95,"collections":54577,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220675,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220675",[23,24,25,26,60,199,7,51,55,458,52,53,50,27,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7507ef328f02ffcb0b99271a4a0326ad.jpg",[],{"id":54579,"slug":54580,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54581,"thumbUrl":54582,"material":39621,"size":39622,"collection":95,"collections":54583,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220674,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220674",[23,24,25,7,26,60,51,678,115,54,50,11088,27,11284,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a55565acfa6d636154553884665f4c8.jpg",[],{"id":54585,"slug":54586,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54587,"thumbUrl":54588,"material":39621,"size":39622,"collection":95,"collections":54589,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220672,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220672",[23,26,50,7,60,199,77,51,458,11937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988e1dc5decfb02f9b50fbf5eda8307.jpg",[],{"id":54591,"slug":54592,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54593,"thumbUrl":54594,"material":39621,"size":39622,"collection":95,"collections":54595,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220671,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220671",[23,24,25,7,60,50,51,54551,56,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee32a51dd9354be4ce1d39b0c64be86.jpg",[],{"id":54597,"slug":54598,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54599,"thumbUrl":54600,"material":39621,"size":39622,"collection":95,"collections":54601,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220670,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220670",[23,24,25,26,60,7,77,51,10604,56,54,59,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63eda0a85ef0be666fd17ce26dc64179.jpg",[],{"id":54603,"slug":54604,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54605,"thumbUrl":54607,"material":39621,"size":39622,"collection":95,"collections":54608,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220669,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220669",[23,24,25,26,50,51,251,54532,48090,152,52,53,48091,7,60,6054,54606],"苍润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176492039e9c19654dbf2a5e8cea088b.jpg",[],{"id":54610,"slug":54611,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54612,"thumbUrl":54613,"material":39621,"size":39622,"collection":95,"collections":54614,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220668,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220668",[23,24,25,26,60,7,51,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bd8f657673605529a01613b91be5d3.jpg",[],{"id":54616,"slug":54617,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54618,"thumbUrl":54619,"material":39621,"size":39622,"collection":95,"collections":54620,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220667,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220667",[23,24,25,26,60,51,54551,132,3040,27,7,14990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5eb5d306472da16e58bf92fd53e38f0.jpg",[],{"id":54622,"slug":54623,"title":39616,"dynasty":18,"author":39617,"museum":7039,"description":39618,"tags":54624,"thumbUrl":54625,"material":39621,"size":39622,"collection":95,"collections":54626,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220665,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220665",[23,24,25,26,7,60,51,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80090a1c8876cd7741e8536ad4c7cadf.jpg",[],{"id":54628,"slug":54629,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54630,"thumbUrl":54631,"material":7043,"size":7044,"collection":95,"collections":54632,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220647,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220647",[23,88,198,200,7,60,36757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fdcdefe8908c5d76bc1b92bc9ea6673.jpg",[],{"id":54634,"slug":54635,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54636,"thumbUrl":54637,"material":7043,"size":7044,"collection":95,"collections":54638,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220645,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220645",[23,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4ca86f9120b43f570d3a2d7906021e.jpg",[],{"id":54640,"slug":54641,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54642,"thumbUrl":54643,"material":7043,"size":7044,"collection":95,"collections":54644,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220644,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220644",[23,198,7,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9641f1b9115dbf59b93837cfb44fa8.jpg",[],{"id":54646,"slug":54647,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54648,"thumbUrl":54650,"material":7043,"size":7044,"collection":95,"collections":54651,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220641,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220641",[23,198,200,60,7,54649],"宋刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d1d4c7e336d2cabbd4440f221d1e78e.jpg",[],{"id":54653,"slug":54654,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54655,"thumbUrl":54656,"material":7043,"size":7044,"collection":95,"collections":54657,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220640,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220640",[23,7,60,198,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2008827400f9b72349c00fabf3c0c946.jpg",[],{"id":54659,"slug":54660,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54661,"thumbUrl":54662,"material":7043,"size":7044,"collection":95,"collections":54663,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220639,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220639",[23,7,198,200,60,398,199,54649,36757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b547d72de1ed72a9ca3cecc53ccb.jpg",[],{"id":54665,"slug":54666,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54667,"thumbUrl":54668,"material":7043,"size":7044,"collection":95,"collections":54669,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220636,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220636",[23,198,7,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f90557901c7f740b04a172a735cdedd.jpg",[],{"id":54671,"slug":54672,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54673,"thumbUrl":54674,"material":7043,"size":7044,"collection":95,"collections":54675,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220635,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220635",[23,7,60,200,198,36757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175d9e342d2173b4a642a62c522cbfc3.jpg",[],{"id":54677,"slug":54678,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54679,"thumbUrl":54680,"material":7043,"size":7044,"collection":95,"collections":54681,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220633,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220633",[54649,198,200,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf33705dd1a019b8eec3fa29c929761.jpg",[],{"id":54683,"slug":54684,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54685,"thumbUrl":54686,"material":7043,"size":7044,"collection":95,"collections":54687,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220631,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220631",[23,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79805c1573bd8c0d45852d1ffc04647.jpg",[],{"id":54689,"slug":54690,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54691,"thumbUrl":54692,"material":7043,"size":7044,"collection":95,"collections":54693,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220630,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220630",[23,60,7,198,200,54649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e3810d14831628643a2796f319c1312.jpg",[],{"id":54695,"slug":54696,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54697,"thumbUrl":54698,"material":7043,"size":7044,"collection":95,"collections":54699,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220629,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220629",[23,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc146c6faf34e0904416e7e279e5e7998.jpg",[],{"id":54701,"slug":54702,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54703,"thumbUrl":54704,"material":7043,"size":7044,"collection":95,"collections":54705,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220628,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220628",[23,7,198,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6de89c00f9651733d012b72aa7c679.jpg",[],{"id":54707,"slug":54708,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54709,"thumbUrl":54710,"material":7043,"size":7044,"collection":95,"collections":54711,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220627,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220627",[23,7,60,198,200,54649,36757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd299361720144a3b572f02ffb898e971.jpg",[],{"id":54713,"slug":54714,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54715,"thumbUrl":54716,"material":7043,"size":7044,"collection":95,"collections":54717,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220626,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220626",[23,198,7,60,200,54649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f767efa5690d0eea36d1720a4d712d.jpg",[],{"id":54719,"slug":54720,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54721,"thumbUrl":54722,"material":7043,"size":7044,"collection":95,"collections":54723,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220625,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220625",[23,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e991c9d50f45d131fbdbd06bf83aaf.jpg",[],{"id":54725,"slug":54726,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54727,"thumbUrl":54728,"material":7043,"size":7044,"collection":95,"collections":54729,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220624,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220624",[23,2601,198,7,60,200,16862,36757,37719],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8202ff700285245662217b46bb02547d.jpg",[],{"id":54731,"slug":54732,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54733,"thumbUrl":54734,"material":7043,"size":7044,"collection":95,"collections":54735,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220623,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220623",[23,198,200,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d8afa8a9ef24b99e0313526ade14805.jpg",[],{"id":54737,"slug":54738,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54739,"thumbUrl":54740,"material":7043,"size":7044,"collection":95,"collections":54741,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220622,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220622",[23,198,7,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17845ea1dee47aa2e1a5ae20ed672b3.jpg",[],{"id":54743,"slug":54744,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54745,"thumbUrl":54746,"material":7043,"size":7044,"collection":95,"collections":54747,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220621,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220621",[23,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758557a592c0dbd045d416b824483b29.jpg",[],{"id":54749,"slug":54750,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54751,"thumbUrl":54752,"material":7043,"size":7044,"collection":95,"collections":54753,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220620,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220620",[23,7,198,60,200,54649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4c76d0cefa73cc4e01899e947eca7bc.jpg",[],{"id":54755,"slug":54756,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54757,"thumbUrl":54758,"material":7043,"size":7044,"collection":95,"collections":54759,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220618,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220618",[23,2601,198,200,7,60,36757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb63a076a89ea2774673c234fbb5533c.jpg",[],{"id":54761,"slug":54762,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54763,"thumbUrl":54768,"material":7043,"size":7044,"collection":95,"collections":54769,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220617,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220617",[23,2601,7,60,198,200,36757,385,6769,10602,10603,15440,3330,54764,15442,15438,15439,54765,3423,54766,16520,54767],"使转","帖学","书迹","书风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9cdc584821ac371540393487be1ad7.jpg",[],{"id":54771,"slug":54772,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54773,"thumbUrl":54774,"material":7043,"size":7044,"collection":95,"collections":54775,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220616,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220616",[23,7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5994ca429900daad23e9c38d52c6a5e8.jpg",[],{"id":54777,"slug":54778,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54779,"thumbUrl":54780,"material":7043,"size":7044,"collection":95,"collections":54781,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220615,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220615",[23,7,198,200,60,77,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceed6531c3acc0b998c595ef44eb8861.jpg",[],{"id":54783,"slug":54784,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54785,"thumbUrl":54786,"material":7043,"size":7044,"collection":95,"collections":54787,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220614,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220614",[23,198,7,200,60,199,17158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2f89a128e0d858c45f2b8cc4c661ae.jpg",[],{"id":54789,"slug":54790,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54791,"thumbUrl":54792,"material":7043,"size":7044,"collection":95,"collections":54793,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220613,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220613",[23,198,7,200,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b502e7dae1e9c56901624e8edc93bb9.jpg",[],{"id":54795,"slug":54796,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54797,"thumbUrl":54798,"material":7043,"size":7044,"collection":95,"collections":54799,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220612,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220612",[23,7,200,198,60,199,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0334193d694d2f1e839e1721aa8d766.jpg",[],{"id":54801,"slug":54802,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":54803,"thumbUrl":54804,"material":7043,"size":7044,"collection":95,"collections":54805,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":95},220611,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220611",[23,7,60,198,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc83a3e2f30e78cfe66eef37b399579.jpg",[],{"id":54807,"slug":54808,"title":54809,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54810,"thumbUrl":54811,"material":198,"size":2971,"collection":95,"collections":54812,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220212,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-4-liu-gong-quan-220212","神策军碑-皇帝巡幸左神策军纪圣德碑4",[1063,7,199,198,10869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0580bc955fd691fbc19a68f4566f7854.jpg",[],{"id":54814,"slug":54815,"title":54816,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54817,"thumbUrl":54818,"material":198,"size":2971,"collection":95,"collections":54819,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220205,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-10-liu-gong-quan-220205","神策军碑-皇帝巡幸左神策军纪圣德碑10",[7,199,198,200,2115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9134fa8618868df1c0b844853725ffe2.jpg",[],{"id":54821,"slug":54822,"title":54823,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54824,"thumbUrl":54825,"material":198,"size":2971,"collection":95,"collections":54826,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220202,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-12-liu-gong-quan-220202","神策军碑-皇帝巡幸左神策军纪圣德碑12",[7,199,198,3423,43167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c9ad051d1f063864b36ee97cf0d49f.jpg",[],{"id":54828,"slug":54829,"title":54830,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54831,"thumbUrl":54833,"material":198,"size":2971,"collection":95,"collections":54834,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220201,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-13-liu-gong-quan-220201","神策军碑-皇帝巡幸左神策军纪圣德碑13",[7,199,198,3423,43167,54832,4786],"骨力劲健","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eeb80ee41f32f349e7b00c55cdd61b8.jpg",[],{"id":54836,"slug":54837,"title":54838,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54839,"thumbUrl":54840,"material":198,"size":2971,"collection":95,"collections":54841,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220200,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-14-liu-gong-quan-220200","神策军碑-皇帝巡幸左神策军纪圣德碑14",[7,199,198,3423,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdddefb011564e560ef6d5f817e2a2673.jpg",[],{"id":54843,"slug":54844,"title":54845,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54846,"thumbUrl":54847,"material":198,"size":2971,"collection":95,"collections":54848,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220199,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-15-liu-gong-quan-220199","神策军碑-皇帝巡幸左神策军纪圣德碑15",[7,199,198,1063,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59f647441ea55911b845f41ced54b0d9.jpg",[],{"id":54850,"slug":54851,"title":54852,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54853,"thumbUrl":54854,"material":198,"size":2971,"collection":95,"collections":54855,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220198,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-16-liu-gong-quan-220198","神策军碑-皇帝巡幸左神策军纪圣德碑16",[7,198,199,200,43167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e84d87eb516d7dc6f4200532eb5da8.jpg",[],{"id":54857,"slug":54858,"title":54859,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54860,"thumbUrl":54861,"material":198,"size":2971,"collection":95,"collections":54862,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":789},220197,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-17-liu-gong-quan-220197","神策军碑-皇帝巡幸左神策军纪圣德碑17",[1063,199,198,7,3423,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e038919b3595073682fe24f9e6140fc.jpg",[],{"id":54864,"slug":54865,"title":54866,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54867,"thumbUrl":54868,"material":198,"size":2971,"collection":95,"collections":54869,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220196,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-18-liu-gong-quan-220196","神策军碑-皇帝巡幸左神策军纪圣德碑18",[7,199,198,1063,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4078f77ecadc6e450e2f207b5a7099b4.jpg",[],{"id":54871,"slug":54872,"title":54873,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54874,"thumbUrl":54875,"material":198,"size":2971,"collection":95,"collections":54876,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220193,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-20-liu-gong-quan-220193","神策军碑-皇帝巡幸左神策军纪圣德碑20",[7,199,198,3423,200,43167,43166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3334f1117530e351b311fecbf9198fbf.jpg",[],{"id":54878,"slug":54879,"title":54880,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54881,"thumbUrl":54882,"material":198,"size":2971,"collection":95,"collections":54883,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220192,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-21-liu-gong-quan-220192","神策军碑-皇帝巡幸左神策军纪圣德碑21",[199,198,7,1063,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1a847adf63cfed0c32c7eacd50ae37a.jpg",[],{"id":54885,"slug":54886,"title":54887,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54888,"thumbUrl":54889,"material":198,"size":2971,"collection":95,"collections":54890,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220190,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-22-liu-gong-quan-220190","神策军碑-皇帝巡幸左神策军纪圣德碑22",[199,198,7,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff76c304adbda28f5e4e742f23fb20117.jpg",[],{"id":54892,"slug":54893,"title":54894,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54895,"thumbUrl":54896,"material":198,"size":2971,"collection":95,"collections":54897,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220188,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-24-liu-gong-quan-220188","神策军碑-皇帝巡幸左神策军纪圣德碑24",[1063,199,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1d9a64287793a8963dc4757bf548a6.jpg",[],{"id":54899,"slug":54900,"title":54901,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54902,"thumbUrl":54904,"material":198,"size":2971,"collection":95,"collections":54905,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220187,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-25-liu-gong-quan-220187","神策军碑-皇帝巡幸左神策军纪圣德碑25",[7,199,198,3423,10458,54903],"碑拓技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F583744250ba60d5366cd4b88885eebcf.jpg",[],{"id":54907,"slug":54908,"title":54909,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54910,"thumbUrl":54911,"material":198,"size":2971,"collection":95,"collections":54912,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220186,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-26-liu-gong-quan-220186","神策军碑-皇帝巡幸左神策军纪圣德碑26",[7,198,199,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e395172f5f28069c91d055b0e353cf.jpg",[],{"id":54914,"slug":54915,"title":54916,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54917,"thumbUrl":54918,"material":198,"size":2971,"collection":95,"collections":54919,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220185,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-27-liu-gong-quan-220185","神策军碑-皇帝巡幸左神策军纪圣德碑27",[199,198,7,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e43ed51af2bb331e95be9d9bd8bfc7.jpg",[],{"id":54921,"slug":54922,"title":54923,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54924,"thumbUrl":54925,"material":198,"size":2971,"collection":95,"collections":54926,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220184,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-28-liu-gong-quan-220184","神策军碑-皇帝巡幸左神策军纪圣德碑28",[1063,7,198,199,3423,10869,11284,1614,16862,2115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dbab2b28016435c459322ef49089cb.jpg",[],{"id":54928,"slug":54929,"title":54930,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54931,"thumbUrl":54932,"material":198,"size":2971,"collection":95,"collections":54933,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220183,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-29-liu-gong-quan-220183","神策军碑-皇帝巡幸左神策军纪圣德碑29",[7,199,198,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576fca4e191ca8c672ed73402878d2ef.jpg",[],{"id":54935,"slug":54936,"title":54937,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54938,"thumbUrl":54939,"material":198,"size":2971,"collection":95,"collections":54940,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220181,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-30-liu-gong-quan-220181","神策军碑-皇帝巡幸左神策军纪圣德碑30",[7,199,198,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52d368051d513ee77c1af490a12d556.jpg",[],{"id":54942,"slug":54943,"title":54944,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54945,"thumbUrl":54946,"material":198,"size":2971,"collection":95,"collections":54947,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220180,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-31-liu-gong-quan-220180","神策军碑-皇帝巡幸左神策军纪圣德碑31",[7,198,199,1063,3423,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be325933ec8bcebefbf5851f83575f4.jpg",[],{"id":54949,"slug":54950,"title":54951,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54952,"thumbUrl":54953,"material":198,"size":2971,"collection":95,"collections":54954,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220179,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-32-liu-gong-quan-220179","神策军碑-皇帝巡幸左神策军纪圣德碑32",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048c7b934aafe05213acde4d148afbfb.jpg",[],{"id":54956,"slug":54957,"title":54958,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54959,"thumbUrl":54963,"material":198,"size":2971,"collection":95,"collections":54964,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},220177,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-34-liu-gong-quan-220177","神策军碑-皇帝巡幸左神策军纪圣德碑34",[7,199,198,3423,200,1614,54960,8551,54961,54962],"唐楷","书体严谨","笔法刚劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d7cd02db860659f15807ed0f22b0a7.jpg",[],{"id":54966,"slug":54967,"title":54968,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54969,"thumbUrl":54970,"material":198,"size":2971,"collection":95,"collections":54971,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220172,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-38-liu-gong-quan-220172","神策军碑-皇帝巡幸左神策军纪圣德碑38",[7,199,198,3423,200,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90fb0a23370643a4418e92652f460ed4.jpg",[],{"id":54973,"slug":54974,"title":54975,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54976,"thumbUrl":54977,"material":198,"size":2971,"collection":95,"collections":54978,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220169,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-40-liu-gong-quan-220169","神策军碑-皇帝巡幸左神策军纪圣德碑40",[199,198,7,1063,3423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57531af0bf7d262603133b51a847cf1d.jpg",[],{"id":54980,"slug":54981,"title":54982,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54983,"thumbUrl":54984,"material":198,"size":2971,"collection":95,"collections":54985,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220168,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-41-liu-gong-quan-220168","神策军碑-皇帝巡幸左神策军纪圣德碑41",[1063,199,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4e327a659757911a57f120ca293daa.jpg",[],{"id":54987,"slug":54988,"title":54989,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54990,"thumbUrl":54992,"material":198,"size":2971,"collection":95,"collections":54993,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220167,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-42-liu-gong-quan-220167","神策军碑-皇帝巡幸左神策军纪圣德碑42",[199,198,7,3423,54960,54991,4786],"笔力刚劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de9f4c5458e7f27b13811b71fb84c03.jpg",[],{"id":54995,"slug":54996,"title":54997,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":54998,"thumbUrl":55000,"material":198,"size":2971,"collection":95,"collections":55001,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220165,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-44-liu-gong-quan-220165","神策军碑-皇帝巡幸左神策军纪圣德碑44",[1063,199,198,7,3423,54999],"石刻拓片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b8d6ebe13cc28f977f6de7a0a5cffe.jpg",[],{"id":55003,"slug":55004,"title":55005,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":55006,"thumbUrl":55007,"material":198,"size":2971,"collection":95,"collections":55008,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220164,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-45-liu-gong-quan-220164","神策军碑-皇帝巡幸左神策军纪圣德碑45",[7,199,198,3423,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c30da6f7d2376faf43eed898b51c43.jpg",[],{"id":55010,"slug":55011,"title":55012,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":55013,"thumbUrl":55014,"material":198,"size":2971,"collection":95,"collections":55015,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220163,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-46-liu-gong-quan-220163","神策军碑-皇帝巡幸左神策军纪圣德碑46",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd108917cffbb1485f1eef15244398c13.jpg",[],{"id":55017,"slug":55018,"title":55019,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":55020,"thumbUrl":55021,"material":198,"size":2971,"collection":95,"collections":55022,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220162,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-47-liu-gong-quan-220162","神策军碑-皇帝巡幸左神策军纪圣德碑47",[1063,199,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6769b32e106a9879b9e9433b7c0a9194.jpg",[],{"id":55024,"slug":55025,"title":55026,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":55027,"thumbUrl":55028,"material":198,"size":2971,"collection":95,"collections":55029,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},220161,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-48-liu-gong-quan-220161","神策军碑-皇帝巡幸左神策军纪圣德碑48",[7,199,198,25,3423,43167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54922ca46b5e3f2f33c9b247de8ac46e.jpg",[],{"id":55031,"slug":55032,"title":55033,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":55034,"thumbUrl":55035,"material":198,"size":2971,"collection":95,"collections":55036,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220160,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-49-liu-gong-quan-220160","神策军碑-皇帝巡幸左神策军纪圣德碑49",[199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f3cf44f4435ae0bce6e618febde91c.jpg",[],{"id":55038,"slug":55039,"title":55040,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":55041,"thumbUrl":55042,"material":198,"size":2971,"collection":95,"collections":55043,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220159,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-50-liu-gong-quan-220159","神策军碑-皇帝巡幸左神策军纪圣德碑50",[7,199,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973e9584f9e2a885fe6eea5042a0711e.jpg",[],{"id":55045,"slug":55046,"title":55047,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":55048,"thumbUrl":55049,"material":198,"size":2971,"collection":95,"collections":55050,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},220157,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-52-liu-gong-quan-220157","神策军碑-皇帝巡幸左神策军纪圣德碑52",[1063,7,199,198,3423,2115,43168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279a55b8b9d9f6126ebcb1e61eada655.jpg",[],{"id":55052,"slug":55053,"title":55054,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":55055,"thumbUrl":55056,"material":198,"size":2971,"collection":95,"collections":55057,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},220156,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-53-liu-gong-quan-220156","神策军碑-皇帝巡幸左神策军纪圣德碑53",[7,199,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a05efdbc3cd551f81711822646174c.jpg",[],{"id":55059,"slug":55060,"title":55061,"dynasty":162,"author":2966,"museum":2967,"description":2968,"tags":55062,"thumbUrl":55063,"material":198,"size":2971,"collection":95,"collections":55064,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},220153,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-56-liu-gong-quan-220153","神策军碑-皇帝巡幸左神策军纪圣德碑56",[7,199,198,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38982468c2767446ee4a59e43627b02c.jpg",[],{"id":55066,"slug":55067,"title":55068,"dynasty":45,"author":14987,"museum":126,"description":14988,"tags":55069,"thumbUrl":55070,"material":312,"size":14992,"collection":95,"collections":55071,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},219160,"shi-han-ce-5-peng-nian-219160","诗翰册-5",[23,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0eacd33abba6933c2b4cf0f315c0fb.jpg",[],{"id":55073,"slug":55074,"title":55075,"dynasty":45,"author":14987,"museum":126,"description":14988,"tags":55076,"thumbUrl":55077,"material":312,"size":14992,"collection":95,"collections":55078,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},219159,"shi-han-ce-6-peng-nian-219159","诗翰册-6",[23,7,60,26,77,27,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e4494da53e6e00c7f8bdae885331f7.jpg",[],{"id":55080,"slug":55081,"title":55082,"dynasty":45,"author":14987,"museum":126,"description":14988,"tags":55083,"thumbUrl":55084,"material":312,"size":14992,"collection":95,"collections":55085,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},219158,"shi-han-ce-7-peng-nian-219158","诗翰册-7",[23,25,26,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ae0d1e161bd84e1c3ff4e9a31db043.jpg",[],{"id":55087,"slug":55088,"title":55089,"dynasty":45,"author":2206,"museum":107,"description":55090,"tags":55091,"thumbUrl":55092,"material":312,"size":95,"collection":95,"collections":55093,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},218058,"bai-miao-jiu-ge-tu-ce-6-zhu-yun-ming-218058","白描九歌图册-6","素笺铺展，墨线如灵蛇游走，或轻飏似云边鹤羽，或劲挺若崖上青松，将楚辞《九歌》的浪漫魂魄细细勾勒。神祇衣袂飘举如流风回雪，仙草脉络纤毫毕现似含露凝光，无浓彩喧扰，仅以素墨留白，便铺陈出楚地的悱恻与旷远——是山鬼倚竹的低吟，湘君踏波的凝望？旁侧题字笔势纵逸，与白描清隽相映成趣，文画交织间，古典诗意在极简笔墨里丰饶绽放，引观者于墨痕呼吸中，触碰两千年前的诗魂与画心。",[24,25,26,112,7,77,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56d882a33b39ed8f933569c8ade0549.jpg",[],{"id":55095,"slug":55096,"title":55097,"dynasty":18,"author":10695,"museum":107,"description":55098,"tags":55099,"thumbUrl":55100,"material":33,"size":95,"collection":95,"collections":55101,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},218015,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-3-ceng-yan-dong-218015","七道子山水人物画册18帧-3","曾衍东的作品大多描绘了山水风光，他喜欢运用细腻的笔法来捕捉山间的峰峦、河流的曲折和云雾的起伏。他的作品中常常出现清新的山水景观，充满了诗意和富有感染力的气氛。\n\n此外，曾衍东还经常画人物，他的人物画作品中常常出现的是闲适的书生或山民。他的人物画充满了生动的感情，能够真实地反映出人物的内心世界。",[23,24,25,26,50,59,60,77,7,51,52,704,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f4f5fd9ca997eaf71a741e54200a0d.jpg",[],{"id":55103,"slug":55104,"title":55105,"dynasty":88,"author":55106,"museum":412,"description":55107,"tags":55108,"thumbUrl":55109,"material":79,"size":55110,"collection":95,"collections":55111,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},217960,"shi-liu-ying-zhen-tu-27-fan-long-217960","十六应真图-27","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,92,24,25,49,878,60,50,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd924d528aaa199c322c725836a2f9431.jpg","30.5x1062.5",[],{"id":55113,"slug":55114,"title":55115,"dynasty":88,"author":55106,"museum":412,"description":55107,"tags":55116,"thumbUrl":55117,"material":79,"size":55110,"collection":95,"collections":55118,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},217959,"shi-liu-ying-zhen-tu-28-fan-long-217959","十六应真图-28",[23,92,24,25,49,878,113,112,50,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b7ca2d4964fa077a71396a3c95bb98.jpg",[],{"id":55120,"slug":55121,"title":55122,"dynasty":88,"author":55106,"museum":412,"description":55107,"tags":55123,"thumbUrl":55124,"material":79,"size":55110,"collection":95,"collections":55125,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},217958,"shi-liu-ying-zhen-tu-29-fan-long-217958","十六应真图-29",[23,92,24,25,49,878,50,60,7,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5244a4254c60248e39d82141f321cc.jpg",[],{"id":55127,"slug":55128,"title":55129,"dynasty":18,"author":9820,"museum":107,"description":36882,"tags":55130,"thumbUrl":55131,"material":50,"size":95,"collection":95,"collections":55132,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216801,"zhan-zheng-tong-ban-hua-48-lang-shi-ning-216801","战争铜版画-48",[36884,51,113,36885,59,1678,56,7,1783,1074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18db4bf1ca918aa7acb5463537058ac.jpg",[],{"id":55134,"slug":55135,"title":55136,"dynasty":18,"author":9820,"museum":107,"description":36882,"tags":55137,"thumbUrl":55140,"material":50,"size":95,"collection":95,"collections":55141,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216800,"zhan-zheng-tong-ban-hua-47-lang-shi-ning-216800","战争铜版画-47",[36884,36885,51,113,1074,268,56,1678,7,55138,20633,251,31944,55139,58,576],"线刻","骑兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe970eb56cba585be91d743eee5622a40.jpg",[],{"id":55143,"slug":55144,"title":55145,"dynasty":18,"author":9820,"museum":107,"description":36882,"tags":55146,"thumbUrl":55149,"material":50,"size":95,"collection":95,"collections":55150,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216798,"zhan-zheng-tong-ban-hua-43-lang-shi-ning-216798","战争铜版画-43",[36884,55147,55148,21795,31943,7,31942,9812],"战争画","海战","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48fb7557ff9a84f38b557c59eee43db.jpg",[],{"id":55152,"slug":55153,"title":55154,"dynasty":18,"author":9820,"museum":107,"description":36882,"tags":55155,"thumbUrl":55158,"material":50,"size":95,"collection":95,"collections":55159,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216791,"zhan-zheng-tong-ban-hua-54-lang-shi-ning-216791","战争铜版画-54",[36884,55147,50,113,9010,51,52,458,55156,1783,7,55157],"军队","军事场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffebcd96fa660a9f124870a975042d6e.jpg",[],{"id":55161,"slug":55162,"title":55163,"dynasty":45,"author":689,"museum":107,"description":55164,"tags":55165,"thumbUrl":55166,"material":79,"size":95,"collection":95,"collections":55167,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},216300,"xi-xiang-ji-zhen-ben-tu-ce-23-chen-hong-shou-216300","西厢记真本图册-23","泛黄纸页晕染着时光的沉香，墨笔题跋在字里行间铺展昔人的沉吟。“题卓老批点西厢记”的字样落于纸端，批注的字句如细碎星光，缀在典籍的脉络里。每一笔墨痕都似带着彼时的温度，或是伏案时的思索，或是展卷时的轻叹。纸页的纹理藏着岁月的褶皱，文字的韵律勾连起西厢故事的婉转。这里没有喧嚣，只有典籍与人文的静默相拥，让过往的智慧在墨香与纸影中缓缓流淌，成了一场跨越时空的温柔邂逅。",[26,199,7,113,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4fd413ef472f8cffb287b6b0b9c8a27.jpg",[],{"id":55169,"slug":55170,"title":55171,"dynasty":45,"author":689,"museum":107,"description":55172,"tags":55173,"thumbUrl":55174,"material":79,"size":95,"collection":95,"collections":55175,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},216299,"xi-xiang-ji-zhen-ben-tu-ce-24-chen-hong-shou-216299","西厢记真本图册-24","泛黄纸页似时光浸过的旧笺，墨痕如晕染的心事，在竖排行楷里流转西厢余韵。线装缝隙牵起岁月褶皱，将古典情爱与世俗哲思密密缝入纸间。文字如珠串起嗔痴与清醒，每一笔带温度叩击心弦。无需丹青铺陈，素纸黑字勾勒跨越时空的情愫，叹世情真假，诉儿女痴狂，尽在方寸间静静流淌。纸页纹理藏时光印记，墨痕深浅映往昔风月，让人心生缱绻，静默中触摸古典文学的温润肌理。\n\n（注：文案聚焦画面质感与文字内涵，以比喻、拟人手法串联时光、情感与哲思，于简洁文字中传递古籍的古朴韵味与文学张力，贴合画作古典雅致的气质。）",[26,7,199,1498,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9991804c407ae2be434179b7423153.jpg",[],{"id":55177,"slug":55178,"title":55179,"dynasty":45,"author":689,"museum":107,"description":55180,"tags":55181,"thumbUrl":55182,"material":79,"size":95,"collection":95,"collections":55183,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},216297,"xi-xiang-ji-zhen-ben-tu-ce-26-chen-hong-shou-216297","西厢记真本图册-26","线条如铁线般苍劲却含柔韵，衣褶勾勒似古木虬枝盘结，造型夸张却神完气足。眉眼顾盼间，《西厢》里未言尽的情愫暗涌；手势起落处，戏中情境瞬间鲜活。墨色浓淡相宜，留白处余韵悠长，将戏曲的含蓄与张力融于尺幅。每一笔皆凝注对文本的深解，古拙中见灵动，变形里藏真意，既有版画刀刻的爽利，又具国画笔墨的韵味，让经典桥段在纸间永恒，风月才情扑面而来，堪称古典插图艺术的妙笔。",[4038,1498,25,26,77,3467,457,199,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5956f318c4822bb0021e50c449f11f.jpg",[],{"id":55185,"slug":55186,"title":55187,"dynasty":18,"author":454,"museum":442,"description":42588,"tags":55188,"thumbUrl":55189,"material":33,"size":95,"collection":95,"collections":55190,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216240,"shi-quan-tu-ce-4-yi-ming-216240","十犬图册-4",[23,24,25,26,27,111,798,4864,704,250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb8d97463015471b50f5b5ca351499e.jpg",[],{"id":55192,"slug":55193,"title":55194,"dynasty":18,"author":454,"museum":442,"description":42588,"tags":55195,"thumbUrl":55196,"material":33,"size":95,"collection":95,"collections":55197,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216234,"shi-quan-tu-ce-10-yi-ming-216234","十犬图册-10",[23,24,25,26,111,27,798,250,652,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d4583e76250578185eee609f6beeac.jpg",[],{"id":55199,"slug":55200,"title":55201,"dynasty":18,"author":454,"museum":107,"description":55202,"tags":55203,"thumbUrl":55204,"material":169,"size":95,"collection":95,"collections":55205,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216201,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-5-yi-ming-216201","职贡图巨幅彩绘册页第1册-5","工笔彩绘铺陈万国来朝盛景，各邦人物神情毕肖，服饰器物细节入微，尽显异域风貌与朝贡礼仪之庄重。色彩绚丽雅致，线条流畅兼具写实写意之妙。册页间御笔题跋笔墨苍劲，添注皇家气象。作品既是艺术佳作，亦是清代多民族融合与对外交流的生动见证，每一笔皆凝聚对四方文化的观照与时代印记。",[23,2135,25,26,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e46018a35012c340b72707a9eed1dc.jpg",[],{"id":55207,"slug":55208,"title":55209,"dynasty":18,"author":454,"museum":107,"description":55210,"tags":55211,"thumbUrl":55212,"material":169,"size":95,"collection":95,"collections":55213,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216200,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-6-yi-ming-216200","职贡图巨幅彩绘册页第1册-6","册页融图文于一体，左侧御笔端凝，详述绘图规制——沿边督抚乘公务之便，录各族服饰状貌；右侧彩绘虽未显于此刻，却可遥想其细腻：线条勾勒异域风情，色彩晕染边地意韵。每一笔藏着对多元文化的凝视，每一字承载着清廷对边疆的经略。它是艺术与历史的交织，既是审美的对象，更是研究清代民族交流、中外往来的鲜活注脚，在纸页间静静铺展那个时代的广阔视野。",[23,2135,199,7,26,111,27,3029,113,1782,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50886e52a1eed0b37009fc0cf92441d0.jpg",[],{"id":55215,"slug":55216,"title":55217,"dynasty":18,"author":454,"museum":107,"description":55218,"tags":55219,"thumbUrl":55220,"material":169,"size":95,"collection":95,"collections":55221,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216192,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-9-yi-ming-216192","职贡图巨幅彩绘册页第1册-9","这幅册页书法端稳秀丽，墨色清润匀净，笔力规整雅正，尽显清代书法的雍容气度。文字内容咏叹万国来朝的盛景，“梯航环望”“圣泽均濡”等句，既展现天朝怀柔远人、四夷宾服的盛世气象，也暗含对典章制度传承有序的自豪。作为职贡图的一部分，文字与彩绘（虽此页为文字页）相契，既记录边疆民族与外邦朝贡的历史场景，又以细腻笔墨传递清代的文化自信，兼具历史文献价值与艺术审美意趣，是研究清代外交与文化交流的珍贵载体。",[23,26,199,7,27,111,113,167,77,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af1a9869d2f1db188282ae0e88927d3.jpg",[],{"id":55223,"slug":55224,"title":55225,"dynasty":18,"author":454,"museum":107,"description":55226,"tags":55227,"thumbUrl":55228,"material":169,"size":95,"collection":95,"collections":55229,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":40},216158,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-44-yi-ming-216158","职贡图巨幅彩绘册页第1册-44","画面纸页贴附，字迹漫漶间似藏往昔朝贡的细碎叙事。木质基底纹理交错，斑驳痕迹如时光摩挲的印记，晕染出岁月的厚重。笔触虽佚名，却以细腻线条勾勒边疆族群风貌，色彩间流淌着清代民族交流的鲜活气息。它不仅是彩绘册页，更是具象的历史切片——承载着中原与外邦的礼仪往来，映照着当时多民族交融的图景，每一处斑驳都在诉说着跨越时空的文化联结。那些模糊的轮廓与残存的色彩，将远去的朝贡场景凝练成可触的记忆，让观者得以窥见清代对外交往与民族关系的生动一隅。",[23,24,25,26,27,3029,7,60,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5fe596ecfa9cc7993c9e297394caf3b.jpg",[],{"id":55231,"slug":55232,"title":55233,"dynasty":18,"author":454,"museum":107,"description":55234,"tags":55235,"thumbUrl":55236,"material":169,"size":95,"collection":95,"collections":55237,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},216010,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-36-yi-ming-216010","职贡图巨幅彩绘册页第4册-36","巨幅册页间，万国衣冠竞秀。各族使者身着绮丽服饰，携异域奇珍而来：或佩珠玉，或执贡物，神态恭肃又不失鲜活。彩绘笔触工细，衣纹褶皱如行云流水，器物纹饰精绝入微。画面似有驼铃轻响，丝路的风尘与朝贡的庄严交织。这是中原与远邦的对话：礼仪之邦的包容，异域文明的璀璨，在此碰撞出火花。每一处色彩都承载着历史的厚重，将四夷宾服、海宇会同的盛景，凝作绢素上不朽的文明印记，静静诉说着往昔邦交佳话与文化交融的温暖。",[23,18,7,60,4347,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47586b2d5ff583c0674ac64120c58fa8.jpg",[],{"id":55239,"slug":55240,"title":55241,"dynasty":18,"author":454,"museum":107,"description":55242,"tags":55243,"thumbUrl":55244,"material":169,"size":95,"collection":95,"collections":55245,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},216007,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-37-yi-ming-216007","职贡图巨幅彩绘册页第4册-37","笔墨挺劲端稳，结体谨严有度，兼具楷法规整与韵致流动。笺纸古朴温润，墨色沉厚匀净，章法疏朗有致，行款间气息连贯如一。文字颂扬治世气象，笔锋起落间流露庄重典雅之态，左侧钤印添古朴雅韵。整幅册页既见书法精湛功底，又承载对盛世图景的咏叹，尽显清代书法典型风貌与文化内涵，堪称兼具审美价值与历史意涵的佳作。",[23,24,25,26,199,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e02669389c5a6ff067aad8fcf17075.jpg",[],{"id":55247,"slug":55248,"title":55249,"dynasty":18,"author":55250,"museum":107,"description":55251,"tags":55252,"thumbUrl":55253,"material":312,"size":95,"collection":95,"collections":55254,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},215782,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-9-wu-gao-zeng-215782","摹吴道子圣贤像赞图册-9","吴高增","墨底素线勾勒，古雅沉静中见生动意趣。右侧圣贤长袍广袖，持卷而立，身姿恭谨，神情专注。衣纹流转如行云，飘举间含吴带当风之韵，尽显儒雅气度。左侧书法笔力遒劲，字体端厚，文辞与画像相契，传递圣贤德操。摹作精准得原作神韵，线条提按转折藏灵动骨力，人物神态细腻入微，眼神中的内省与智慧直触人心。文图相映，刚柔相济，古卷气息漫溢，于赏观间感受圣贤风范的浸润，引人沉潜思索。",[23,24,25,26,112,113,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc38292c2bcca151b0e3d4a44d4862ca7.jpg",[],{"id":55256,"slug":55257,"title":55258,"dynasty":18,"author":11046,"museum":11047,"description":55259,"tags":55260,"thumbUrl":55264,"material":50,"size":95,"collection":95,"collections":55265,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},215649,"yu-zhi-geng-zhi-tu-2-kang-xi-215649","御制耕织图-2","线描轻勾田间意，墨痕淡染农桑情。担具的纹理、农人的衣袂、田垄的秧苗，皆细腻如触。题字与图景交织，将耕织的辛劳与质朴凝于纸间。它不只是艺术的呈现，更是农耕文明的鲜活切片——承载着重农的传统，把寻常劳作化作可感的历史温度，让岁月的烟火气，在笔墨里静静流淌。每一笔线条都藏着对农桑的敬重，每一处细节都录下彼时生产的肌理，让耕织的日常，成为连接过去与当下的温柔纽带。",[23,92,24,25,26,112,113,55261,55262,11051,23089,77,7,12760,55263],"田垄","秧苗","质朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070885179c270863ac8178feee084fac.jpg",[],{"id":55267,"slug":55268,"title":55269,"dynasty":18,"author":11046,"museum":11047,"description":55270,"tags":55271,"thumbUrl":55272,"material":50,"size":95,"collection":95,"collections":55273,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},215641,"yu-zhi-geng-zhi-tu-12-kang-xi-215641","御制耕织图-12","笔墨间藏着帝王对民生的深切牵挂。端正笔锋裹着温润墨韵，每一笔都似在轻述耕织的辛劳与农桑的根本。泛黄纸页载满岁月痕迹，墨色浓淡间流露书写时的从容与关切。文字里的劝农之意，透过笔端渗入纸髓——既是艺术的雅韵，亦是治国的温度。一笔一划，连接朝堂与田间，让静默的纸页成为历史与民生对话的窗口。那些关于耕织的叮咛，在墨痕中静静流淌，晕开千年的民生情怀，也让这份书写成为兼具艺术价值与历史重量的珍贵印记。",[23,24,25,7,60,26,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5affcc0da4bdcdfdfcc6d89bc38b9d31.jpg",[],{"id":55275,"slug":55276,"title":55277,"dynasty":18,"author":11046,"museum":11047,"description":55278,"tags":55279,"thumbUrl":55283,"material":50,"size":95,"collection":95,"collections":55284,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},215640,"yu-zhi-geng-zhi-tu-10-kang-xi-215640","御制耕织图-10","左边织室里，女子们或理丝或专注劳作，窗棂间光影轻摇，器物的纹路、衣袂的褶皱皆以细腻线条勾勒，透着生活的温润；右侧场景中，农具倚墙而立，庭院草木扶疏，质朴墨线晕染出农事的平实。整幅画以工笔之精绘就耕织日常，将农桑并重的传统深植于每处细节——织机旁的凝神、田畔的静谧，都藏着对民生根本的体察。笔触间既有绘事的严谨，更有对人间烟火的温柔观照，让平凡劳作生出静穆生机，尽显农耕文明里的生活智慧与人文关怀。",[23,112,111,24,25,26,113,58,56,57,267,12029,7,11051,42897,11164,16623,38740,31304,55280,6605,38741,48297,38742,55281,55282,11404,268],"田园生活","笔墨线条","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3e1b9c4436f1397b49dbfad26d2de.jpg",[],{"id":55286,"slug":55287,"title":55288,"dynasty":18,"author":11046,"museum":11047,"description":55289,"tags":55290,"thumbUrl":55292,"material":50,"size":95,"collection":95,"collections":55293,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},215638,"yu-zhi-geng-zhi-tu-11-kang-xi-215638","御制耕织图-11","画面以左右分幅铺展农桑画卷：左畔桑林蓊郁，枝叶间光影错落，采桑人携篮穿行，衣袂轻扬里藏着蚕事的殷切；右幅织室轩敞，木机横陈，织女们或理丝或投梭，指尖起落间似有经纬流转。线条以白描勾勒，细腻处见枝叶纹理、衣物褶皱，粗放处显屋舍轮廓、桑田旷远，笔致流畅却不失朴拙。题字与画面相映成趣，墨迹浓淡与线条疏密呼应，将农桑劳作的日常升华为纪实与艺术兼具的篇章。整幅作品藏着对民生本业的关切，以鲜活场景、温润笔触，定格古代耕织文明里生动的烟火气，让观者触摸到根植土地的质朴与勤勉。",[23,24,25,112,111,113,56,55291,12029,58,12862,7,77],"织机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f7e9908103ef308f7fb222efa60235e.jpg",[],{"id":55295,"slug":55296,"title":55297,"dynasty":18,"author":11046,"museum":11047,"description":55298,"tags":55299,"thumbUrl":55300,"material":50,"size":95,"collection":95,"collections":55301,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},215635,"yu-zhi-geng-zhi-tu-18-kang-xi-215635","御制耕织图-18","左帧窗下纺车轻转，女子们拈丝理线，机杼声声里织就暖衣；竹帘半掩的屋舍间，光影落在她们专注的眉眼，尽是生活的温软。右帧田埂上桔槔斜立，耕者汲水灌溉，木桶晃荡着清冽，泥土的气息漫过画面。墨线细腻勾勒出农桑日常的烟火气，每一处笔触都藏着对民生根本的珍视——从织室的经纬到田垄的翻耕，把衣食之源的厚重，化作鲜活的图景，让千年农耕文明的脉动，在纸间静静流淌。",[23,24,25,26,111,112,113,58,12029,56,553,6129,48297,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d58592b2d52ed0c79359452d95b79e9.jpg",[],{"id":55303,"slug":55304,"title":55305,"dynasty":18,"author":11046,"museum":11047,"description":55306,"tags":55307,"thumbUrl":55308,"material":50,"size":95,"collection":95,"collections":55309,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},215629,"yu-zhi-geng-zhi-tu-20-kang-xi-215629","御制耕织图-20","素笺之上，经纬交织的暖意徐徐铺展。左幅屋舍间，织女们俯身机前，纤手引梭，木杼轻叩，织就的不仅是绫罗，更是烟火人间的安稳；右幅庭院里，裁者执剪，缝者拈针，素布在指尖流转，将冬雪的清寒，化为贴身的温煦。线条简淡却含情，每一笔都系着对农桑的关切，对民生的体恤。寻常的纺绩裁衣场景，在素纸上晕开成一幅鲜活的生活长卷，藏着岁月的静好与人间的烟火气。",[23,24,25,26,112,111,7,77,113,268,56,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc372f2c2ec33b4a7d4f4ea0c77ece0b8.jpg",[],{"id":55311,"slug":55312,"title":55313,"dynasty":18,"author":11046,"museum":11047,"description":55314,"tags":55315,"thumbUrl":55316,"material":50,"size":95,"collection":95,"collections":55317,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},215625,"yu-zhi-geng-zhi-tu-26-kang-xi-215625","御制耕织图-26","画面分左右两帧，左帧水乡劳作图景鲜活，人物涉水持物，衣袂轻摆间流露生活真意；右帧牛耕场景质朴，耕者躬身扶犁，老牛缓步田埂，辛勤之态跃然纸上。纤细流畅的线条勾勒景物层次与人物神态，笔墨细腻体察农桑日常。写实笔触还原田间织户光景，烟火气中藏着对耕织并重传统的推崇，方寸间尽显农耕文明的深厚底蕴，是对民生本真的生动镌刻。每一处细节皆含温度，从人物的动态到景物的肌理，皆以细腻笔触铺展，于静谧中传递出对农桑生活的深切关照，尽显传统生活美学与人文情怀。",[23,24,25,112,111,26,7,77,113,797,52,53,58,12862,13012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6569c9920554040911e9fa864f7958a1.jpg",[],{"id":55319,"slug":55320,"title":55321,"dynasty":18,"author":454,"museum":107,"description":55322,"tags":55323,"thumbUrl":55324,"material":33,"size":95,"collection":95,"collections":55325,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},215136,"er-shi-si-xiao-tu-ce-4-yi-ming-215136","二十四孝图册-4","二十四孝图册 是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 由佚名的艺术家绘制，每一幅画都描绘了一种孝顺行为的故事。这本图册被认为是中国传统文化中最重要的艺术品之一，并被广泛收藏。",[23,24,25,26,27,111,113,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25df8f7b1e5940d8cca1cf8d61dd3bb9.jpg",[],{"id":55327,"slug":55328,"title":55329,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55330,"thumbUrl":55331,"material":312,"size":1340,"collection":95,"collections":55332,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214474,"da-tang-zhong-xing-song-xia-ce-8-yan-zhen-qing-214474","大唐中兴颂下册-8",[92,25,199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772fcc749537096e0a863a5e562fd3de.jpg",[],{"id":55334,"slug":55335,"title":55336,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55337,"thumbUrl":55338,"material":312,"size":1340,"collection":95,"collections":55339,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214473,"da-tang-zhong-xing-song-xia-ce-10-yan-zhen-qing-214473","大唐中兴颂下册-10",[199,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac7d9dbabe7d6bec0064203a627a115f.jpg",[],{"id":55341,"slug":55342,"title":55343,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55344,"thumbUrl":55345,"material":312,"size":1340,"collection":95,"collections":55346,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214471,"da-tang-zhong-xing-song-xia-ce-11-yan-zhen-qing-214471","大唐中兴颂下册-11",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0b2c4a723df4499c4262babbba0358.jpg",[],{"id":55348,"slug":55349,"title":55350,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55351,"thumbUrl":55352,"material":312,"size":1340,"collection":95,"collections":55353,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214470,"da-tang-zhong-xing-song-xia-ce-14-yan-zhen-qing-214470","大唐中兴颂下册-14",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc090e18a183ab77c0f1af2a14921d819.jpg",[],{"id":55355,"slug":55356,"title":55357,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55358,"thumbUrl":55359,"material":312,"size":1340,"collection":95,"collections":55360,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214469,"da-tang-zhong-xing-song-xia-ce-15-yan-zhen-qing-214469","大唐中兴颂下册-15",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc683ba8620e04b41c66667e78151c288.jpg",[],{"id":55362,"slug":55363,"title":55364,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55365,"thumbUrl":55366,"material":312,"size":1340,"collection":95,"collections":55367,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214466,"da-tang-zhong-xing-song-xia-ce-18-yan-zhen-qing-214466","大唐中兴颂下册-18",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58db2e5e8f97df7d5204b1f3eebc3ed.jpg",[],{"id":55369,"slug":55370,"title":55371,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55372,"thumbUrl":55373,"material":312,"size":1340,"collection":95,"collections":55374,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214465,"da-tang-zhong-xing-song-xia-ce-17-yan-zhen-qing-214465","大唐中兴颂下册-17",[199,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F149807116a9f9ce1a0b0f42c305f79bc.jpg",[],{"id":55376,"slug":55377,"title":55378,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55379,"thumbUrl":55380,"material":312,"size":1340,"collection":95,"collections":55381,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214462,"da-tang-zhong-xing-song-xia-ce-19-yan-zhen-qing-214462","大唐中兴颂下册-19",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7958dc3c8cfc99c07dda970840321ab8.jpg",[],{"id":55383,"slug":55384,"title":55385,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55386,"thumbUrl":55387,"material":312,"size":1340,"collection":95,"collections":55388,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214460,"da-tang-zhong-xing-song-xia-ce-24-yan-zhen-qing-214460","大唐中兴颂下册-24",[7,199,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F441b912e2099bd034f2dc3f962cc197c.jpg",[],{"id":55390,"slug":55391,"title":55392,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55393,"thumbUrl":55394,"material":312,"size":1340,"collection":95,"collections":55395,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214456,"da-tang-zhong-xing-song-xia-ce-27-yan-zhen-qing-214456","大唐中兴颂下册-27",[7,199,198,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0538780b109fe663ed491e2110f6c8.jpg",[],{"id":55397,"slug":55398,"title":55399,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55400,"thumbUrl":55401,"material":312,"size":1340,"collection":95,"collections":55402,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214454,"da-tang-zhong-xing-song-xia-ce-30-yan-zhen-qing-214454","大唐中兴颂下册-30",[7,198,199,200,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d813a356255513401a72075245d678.jpg",[],{"id":55404,"slug":55405,"title":55406,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55407,"thumbUrl":55412,"material":312,"size":1340,"collection":95,"collections":55413,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214451,"da-tang-zhong-xing-song-xia-ce-32-yan-zhen-qing-214451","大唐中兴颂下册-32",[7,199,198,200,43167,55408,55409,37719,55410,55411],"雄浑风格","碑刻拓印","传统书法技法","楷书典范","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a98e1b2a7e57b3d71ac186aa7a1a1b.jpg",[],{"id":55415,"slug":55416,"title":55417,"dynasty":162,"author":194,"museum":126,"description":3212,"tags":55418,"thumbUrl":55422,"material":312,"size":1340,"collection":95,"collections":55423,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":100},214442,"da-tang-zhong-xing-song-xia-ce-42-yan-zhen-qing-214442","大唐中兴颂下册-42",[199,7,198,200,3423,43167,55419,4642,55420,55421,54999],"颜体风格","厚重雄健","方整大气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0885eb16a9d38a4f41987b77e90331bf.jpg",[],{"id":55425,"slug":55426,"title":55427,"dynasty":45,"author":5463,"museum":20,"description":55428,"tags":55429,"thumbUrl":55430,"material":95,"size":95,"collection":95,"collections":55431,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55432},203451,"xing-shu-ma-ge-ce-zhang-rui-tu-203451","行书马歌册","笔锋如剑戟破纸，方折锐劲的线条裹挟着“马歌”的奔腾意气。字形欹侧跌宕，于失衡中见奇险之稳，转折处棱角分明，全无柔媚之态。墨色浓淡相间，燥润相生，每一笔皆似骏马扬蹄，力透纸背。通篇气韵雄健奇崛，打破平正格局，尽显晚明书家特有的狂放不羁，于法度之外开辟出独树一帜的书境，读之如闻马嘶风啸，心魄为之一振。",[7,60,26,1074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82cf995baa4bff945e4e26e76d25ff2.jpg",[],"ada195",{"id":55434,"slug":55435,"title":5258,"dynasty":18,"author":506,"museum":20,"description":55436,"tags":55437,"thumbUrl":55438,"material":95,"size":95,"collection":95,"collections":55439,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":43426},203441,"mo-mei-tu-zhou-jin-nong-203441","这幅墨梅图枝干以焦墨纵逸挥洒，如铁骨嶙峋，虬曲盘折间尽显苍劲老辣之态；花朵以淡墨点染，疏疏落落地缀于枝间，暗香浮动的意趣跃然纸上。留白处空灵澄澈，与浓墨枝干形成虚实相生之境，意境幽远清寂。右侧题诗笔墨古朴厚重，诗画交融，尽现“诗书画印”合一的文人画韵致。梅之孤傲清雅，恰是画者品格的隐喻，冷韵袭人，风骨卓然，尽显清代文人画的逸趣与精神。",[24,25,75,50,129,7,60,77,131,238,1455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff369e530e148657ca45396fc2e5d6b39.jpg",[],{"id":55441,"slug":55442,"title":39869,"dynasty":23400,"author":11301,"museum":20,"description":55443,"tags":55444,"thumbUrl":55445,"material":95,"size":95,"collection":171,"collections":55446,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":39874},203394,"da-mo-tu-zhou-wang-zhen-203394","画面中达摩身披衲衣趺坐于层叠叶片之上，身形简括却见风骨：衣纹以劲挺墨线挥写，转折藏露锋芒，寥寥数笔勾勒出禅者沉静笃定之态。面部神情内敛，须眉墨色稍浓，与淡墨衣袍形成对比，更显其思接天地的超然。右侧题跋以行书挥就，笔势流畅洒脱，与画作写意笔墨相得益彰，书画交融间尽展文人意趣。整幅以水墨为底，删繁就简，粗放中见精微，将达摩面壁禅定之姿凝于尺幅，传递出深邃宗教意蕴与艺术张力。",[24,50,113,878,60,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c05231efc2fb350d7fd100b87561164.jpg",[171],{"id":55448,"slug":55449,"title":55450,"dynasty":18,"author":53412,"museum":20,"description":55451,"tags":55452,"thumbUrl":55453,"material":95,"size":95,"collection":95,"collections":55454,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55455},203266,"zhang-lin-zong-xiao-xiang-tu-ce-zhao-cheng-203266","张林宗肖像图册","画面中人物肖像工笔细绘，面容晕染自然，眉眼间流露温厚沉静之态，须髯梳理有致，尽显长者儒雅风范。衣袂线条简洁流畅，设色淡雅温润，贴合人物气质。旁侧题跋字迹隽秀，与肖像相映成趣，书画合璧，既存纪实之真，又含文人雅韵。整幅作品于写实中见神韵，细节处藏匠心，是清代肖像画中融形神与文趣于一体的精品。",[111,27,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe393965739bdf09e1652d6908f1c441a.jpg",[],"dbd3c2",{"id":55457,"slug":55458,"title":55459,"dynasty":45,"author":55460,"museum":20,"description":55461,"tags":55462,"thumbUrl":55463,"material":95,"size":95,"collection":95,"collections":55464,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55465},203174,"lu-sui-yang-wu-lao-tu-ti-ba-ce-zhu-ji-huang-203174","录睢阳五老图题跋册","朱集璜","这幅书法作品笔墨流转间尽显文人风骨，行书线条灵动而不失沉稳，笔画粗细变化自然，墨色浓淡相宜，于方寸册页间铺展雅致气韵。题跋文字承载着对《睢阳五老图》的感怀，笔意连贯中见章法，结体疏朗却含劲道，每一字皆如跳动的音符，串联起历史回响与个人情志。纸张历经岁月仍传递书写时的从容心境，印章点缀更添古朴意趣，整体散发明代书法特有的醇厚文人气韵。",[60,26,7,77,6769,426,576,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd30dac72250bd0459d08ade7178a64e.jpg",[],"c4beab",{"id":55467,"slug":55468,"title":37732,"dynasty":18,"author":10264,"museum":20,"description":55469,"tags":55470,"thumbUrl":55472,"material":95,"size":95,"collection":187,"collections":55473,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55474},203056,"shou-zha-ce-lin-ze-xu-203056","这手札以行书挥就，笔墨遒劲中含灵动，笔锋转折间藏沉郁。字迹疏密错落，墨色浓淡相映，信札的随性里透着刚正磊落的气度。纸页间文字如见其人，笔意承载着书写者的胸襟与心境，书艺与人格交融，每一笔都是性情与风骨的流露。",[60,7,26,50,6769,39907,55471,23],"布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50300e372ff7f6d0d649ccd6f9611033.jpg",[187],"b9b1a1",{"id":55476,"slug":55477,"title":55478,"dynasty":23400,"author":7591,"museum":20,"description":55479,"tags":55480,"thumbUrl":55481,"material":95,"size":95,"collection":95,"collections":55482,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55483},203030,"yun-pu-xiao-jing-tu-cheng-shan-wu-hu-fan-203030","云瀑小景图成扇","这幅扇面山水以水墨为基调，云瀑如流烟漫卷，从山间倾泻而下，与浓墨点染的树木形成虚实对比。山石轮廓用皴法勾勒，纹理细腻见古意；云雾以淡墨晕开，留白处尽显空濛之趣。右侧题字与朱印错落，文气与画意相融，整体笔墨雅致，意境清幽，将自然之美凝于咫尺扇面间。",[24,1250,51,50,59,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb84f430c294493560b0c2af1190a26f4.jpg",[],"b3afaa",{"id":55485,"slug":55486,"title":5258,"dynasty":23400,"author":9670,"museum":20,"description":55487,"tags":55488,"thumbUrl":55489,"material":95,"size":95,"collection":95,"collections":55490,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55491},202921,"mo-mei-tu-zhou-xu-bei-hong-202921","老干如铁铸，虬枝盘曲而上，墨色浓淡干湿交织，晕染出树皮的斑驳沧桑。梅枝穿插有致，花朵以简淡笔触勾勒，清雅灵动，似有暗香浮动。徐悲鸿以书入画，线条刚劲洒脱，兼具传统文人画的意趣与现代绘画的写实质感，打破程式化的梅画范式，赋予老梅新的生命力。整幅作品笔墨雄浑，意境清逸，尽显画家对自然与生命的深刻体悟。",[24,50,75,131,29,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0e6e459e395c2bef964ed0f2ebf06a.jpg",[],"cec6b3",{"id":55493,"slug":55494,"title":55495,"dynasty":23400,"author":663,"museum":20,"description":55496,"tags":55497,"thumbUrl":55498,"material":95,"size":95,"collection":95,"collections":55499,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55500},202905,"san-qiu-tu-zhou-qi-bai-shi-202905","三秋图轴","这幅画作尽显齐白石写意花鸟的灵动意趣。红褐叶片层叠舒展，墨竹线条刚劲利落，蜻蜓振翅欲飞的姿态鲜活传神。色彩浓淡相宜，红得热烈，褐得沉稳，墨色竹枝与花叶相映成趣，秋意中透着盎然生机。画家以简练笔触捕捉自然意趣，叶片脉络、枝蔓缠绕皆含朴拙野趣，蜻蜓点染更成点睛之笔。整幅作品雅致与烟火气兼具，展现对自然细微处的体察与独特艺术表达。",[24,29,50,27,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7114e02ea31564a4842ec78bca74022b.jpg",[],"bca798",{"id":55502,"slug":55503,"title":2513,"dynasty":45,"author":55504,"museum":20,"description":55505,"tags":55506,"thumbUrl":55507,"material":95,"size":95,"collection":95,"collections":55508,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55509},202647,"zhu-shi-tu-zhou-qu-jun-202647","瞿俊","画面以水墨写意写竹石，竹竿挺劲修长，竹叶以浓淡墨色交错撇捺，如疾风过林，灵动而富韵律。旁侧孤石以枯笔皴擦勾勒，纹理苍劲古朴，与翠竹相映成趣。笔墨简括却意韵深幽，尽显文人画清雅风骨——竹之疏朗有节，石之沉稳坚韧，暗合君子品格。整幅画作不事雕琢，于黑白间见疏密开合之妙，以物寄情，流露画家淡泊心境与对自然生机的体悟。",[24,50,132,250,59,7,1689,129,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f87e519c4aef7b3bee758408a0299b0.jpg",[],"c7b79f",{"id":55511,"slug":55512,"title":55513,"dynasty":18,"author":55514,"museum":20,"description":55515,"tags":55516,"thumbUrl":55517,"material":95,"size":95,"collection":95,"collections":55518,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55519},202607,"li-jia-fu-yin-mei-tu-zhou-ni-yun-202607","李嘉福 吟梅图轴","倪耘","画面中心人物身着红蓝长袍，立于虬劲老树旁，神情沉静似在沉吟。老树笔墨兼工带写，枝干线条老辣，敷色淡雅且层次分明。金色衬底与人物服饰形成鲜明对比，古雅氛围浓郁。四周题跋书法与绘画相映成趣，诗书画印融合尽显文人意趣。整体风格清雅，景物刻画细致，传递出文人雅士赏梅咏怀的诗意心境。",[24,75,113,115,27,111,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e5c68bccb26fdcf036a223173e9599b.jpg",[],"baa988",{"id":55521,"slug":55522,"title":55523,"dynasty":18,"author":45887,"museum":20,"description":55524,"tags":55525,"thumbUrl":55526,"material":95,"size":95,"collection":95,"collections":55527,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55528},202574,"han-mei-tu-zhou-tong-yu-202574","寒梅图轴","墨梅枝干虬劲，老干以浓墨皴写如铁铸，新枝劲挺似银钩，墨色浓淡交错见层次。枝头梅花清疏点染，或圈或簇，冷香暗浮，留白处隐衬雪意，更显梅之孤傲品格。题跋笔墨流畅，与梅枝相映成趣，文人雅韵融于尺幅。整幅画以水墨写意之法，将寒梅的坚韧与清逸凝于笔端，尽显文人画咏梅的雅趣与风骨。",[24,50,75,131,29,7,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a822fba45c7f2189cdfa4536e17f643.jpg",[],"a8988a",{"id":55530,"slug":55531,"title":55532,"dynasty":18,"author":10893,"museum":20,"description":55533,"tags":55534,"thumbUrl":55536,"material":95,"size":95,"collection":95,"collections":55537,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55538},202395,"guan-yin-da-shi-tu-zhou-gai-qi-202395","观音大士图轴","水墨绘就的观音大士趺坐于地，衣纹线条婉转流畅，面容慈和沉静。旁侧数竿修竹挺拔，竹叶以浓淡墨笔撇捺，姿态疏朗有致。背景淡墨晕染云雾，衬出空灵禅意。人物造型温婉，笔法兼工带写；竹石笔墨苍劲，与人物柔婉形成对比。上方楷书题《心经》，笔墨端严，钤印点缀，书画印合一，尽显静谧祥和的佛教艺术之美，传递悠远禅思与庄严之境。",[24,50,113,132,878,75,7,77,111,55535],"写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57dfdcd9a523512610057f9caf482cf0.jpg",[],"d2c5b6",{"id":55540,"slug":55541,"title":55542,"dynasty":18,"author":830,"museum":20,"description":55543,"tags":55544,"thumbUrl":55546,"material":95,"size":95,"collection":95,"collections":55547,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55548},202341,"wu-rui-tu-zhou-wu-chang-shuo-202341","五瑞图轴","画面以写意之笔绘瓶中花卉，花叶墨色浓淡交错，笔触苍劲浑厚，裹挟金石气息；下方盆中兰草疏朗清逸，与瓶花的妍润相映成趣。左侧题跋笔力雄健，行笔流畅，与画面浑然一体，印章错落点缀，更添雅韵。整幅作品诗书画印相生相融，于古朴笔墨间流露自然生机，尽显文人画的意趣与风骨。",[29,136,139,834,77,60,7,432,55545],"设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051ad67264f00a18860840706231d564.jpg",[],"c6b6a2",{"id":55550,"slug":55551,"title":55552,"dynasty":18,"author":55553,"museum":20,"description":55554,"tags":55555,"thumbUrl":55556,"material":95,"size":95,"collection":95,"collections":55557,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55558},202333,"pu-tang-bing-di-tu-zhou-pu-hua-202333","蒲塘并蒂图轴","蒲华","墨叶如盖，泼墨挥洒间尽显苍劲；白莲并蒂，淡描轻染中流露清雅。荷叶以浓淡墨色层叠晕染，笔触奔放不羁，写意之趣盎然；荷花姿态绰约，花瓣柔润含露，与旁侧劲挺的墨竹相映成趣。画面题字笔势洒脱，书画相融，更添文人雅韵。整作于水墨淋漓处见生机，奔放中藏细腻，传递出荷塘的自然野趣与清逸之致，尽显画家对花木景致的深情体悟。",[24,50,29,134,399,129,75,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64b13d4019b4807b413f8000dec1b8e.jpg",[],"b8ac95",{"id":55560,"slug":55561,"title":2513,"dynasty":18,"author":830,"museum":20,"description":55562,"tags":55563,"thumbUrl":55564,"material":95,"size":95,"collection":95,"collections":55565,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55566},202309,"zhu-shi-tu-zhou-wu-chang-shuo-202309","此图以水墨写竹石，竹枝挺劲如篆，竹叶泼洒似剑，墨色浓淡交错间尽显苍莽生气。石以大写意出之，泼墨晕染与枯笔皴擦相济，嶙峋朴拙，与修竹清劲相映成趣。笔力沉雄老辣，篆书笔意隐于线条，金石之气扑面而来。竹石相倚寄寓高洁品格，寥寥数笔意境浑成，是吴昌硕以书入画的典型风貌。",[24,50,132,250,59,77,7,129,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6ebd0629608c633f56f1bdc8b48851.jpg",[],"ccc8bd",{"id":55568,"slug":55569,"title":55570,"dynasty":18,"author":28351,"museum":20,"description":55571,"tags":55572,"thumbUrl":55573,"material":95,"size":95,"collection":95,"collections":55574,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55575},202294,"song-shi-tu-zhou-wang-zhi-rui-202294","松石图轴","画面以孤松、湖石构境，疏朗中藏张力。松干挺拔，皮纹斑驳如鳞，松针以劲挺短线勾出，苍劲毕现；旁侧湖石奇崛，浓墨干笔皴擦，嶙峋骨感十足。树下苔点与坡岸墨块相映，朴拙野趣自生。右侧题款笔墨流畅，与画面气韵相融，尽显“诗书画印”合一之韵。整体墨色简淡却有神采，线条洗练而含筋骨，传递出清寂孤高的文人意趣，是新安画派简劲风格的典型体现。",[24,50,250,1018,59,1689,75,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f0219c63c407354b8571e14aebaae2f.jpg",[],"877e70",{"id":55577,"slug":55578,"title":55579,"dynasty":18,"author":55580,"museum":20,"description":55581,"tags":55582,"thumbUrl":55583,"material":95,"size":95,"collection":95,"collections":55584,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55585},202280,"yan-jiang-die-zhang-tu-zhou-shen-ting-rui-202280","烟江叠嶂图轴","沈廷瑞","画面以水墨绘就烟江叠嶂之景，远山层叠隐于烟霭，近水开阔，岸边草木扶疏，几间屋舍错落其间。笔墨简淡却意境悠远，线条灵动勾勒景物轮廓，墨色深浅晕染出山水层次。题跋与朱印相映成趣，尽显文人画的雅致韵味，仿佛可闻江风轻拂，可观林泉之幽，传递出清寂淡远的心境。",[24,50,51,56,58,7,60,77,59,1689,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181d4e105963d316b44487b0f122c691.jpg",[],"9b8365",{"id":55587,"slug":55588,"title":34650,"dynasty":18,"author":55589,"museum":20,"description":55590,"tags":55591,"thumbUrl":55592,"material":95,"size":95,"collection":95,"collections":55593,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55594},201956,"mo-zhu-tu-zhou-wu-zhao-201956","吴照","墨竹以水墨写意出之，笔力劲健如篆籀，竹叶撇捺间见书法意趣。浓墨点染枝节，淡墨晕染叶梢，干湿浓淡交织，尽显竹之苍劲与灵动。枝叶疏密错落，似有风过，萧萧有声，清雅之气溢于纸端。无需设色，仅以墨韵便勾勒出竹的坚韧风骨，题款书法与朱红印章相映成趣，更添文人雅韵。",[24,50,132,77,7,60,3091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e5562fcf9b76e17335d2003c24ed724.jpg",[],"b6a490",{"id":55596,"slug":55597,"title":55598,"dynasty":18,"author":19125,"museum":20,"description":55599,"tags":55600,"thumbUrl":55602,"material":95,"size":95,"collection":95,"collections":55603,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55604},201889,"cha-hua-tu-zhou-wu-xi-zai-201889","茶花图轴","墨笔绘茶花枝干，虬曲伸展，墨色浓淡相济，枝叶间见笔力。花朵或绽或苞，姿态生动，叶脉勾勒简洁有神韵。枝干转折处带金石篆刻的苍劲，笔触流畅又厚重，尽显文人雅致。以书入画，线条刚柔并济，墨韵层次丰富，留白恰到好处，疏朗清新。将茶花风骨与文人情怀相融，尽显水墨花鸟之妙。",[24,50,29,75,7,55601],"篆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c5cfae96a97f26867ad0a6d3203795.jpg",[],"9d7540",{"id":55606,"slug":55607,"title":55608,"dynasty":18,"author":55609,"museum":20,"description":55610,"tags":55611,"thumbUrl":55612,"material":95,"size":95,"collection":63,"collections":55613,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":55614},201497,"dan-tai-chun-xiao-tu-zhou-gu-hui-201497","丹台春晓图轴","顾蕙","画面以水墨绘就，山石轮廓用流畅线条勾勒，辅以皴法表现肌理，尽显苍劲古朴。山间树木疏朗，枝干挺秀，嫩芽初绽透着春意。溪流蜿蜒穿石而过，岸边小屋隐于林麓间，营造出清幽静谧的山居氛围。四周题跋与朱印相映，笔墨雅致，文气盎然，尽显文人画的意趣与韵味，将春日丹台的淡远景致凝于尺幅之中。",[24,50,59,75,51,56,267,1006,77,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4adc279b8b8a06b22653e5008ac26e8.jpg",[63],"e4d5bb",{"id":55616,"slug":55617,"title":55618,"dynasty":45,"author":11028,"museum":20,"description":55619,"tags":55620,"thumbUrl":55621,"material":95,"size":95,"collection":63,"collections":55622,"showCount":882,"zanCount":39,"manualWeight":39,"mainColor":30580},201485,"wu-yi-jiu-qu-tu-juan-ding-yun-peng-201485","武夷九曲图卷","此卷以武夷九曲溪为轴线，铺展奇山秀水。峰峦叠嶂间皴法交错，笔墨苍润；溪水蜿蜒，波光轻漾，孤舟泛波，亭台隐现，雅士凭栏，渔樵归渡，尽显自然灵韵与人文雅趣。行书题跋飘逸流畅，与山水景致浑然一体，融诗画于一卷，传递出明代文人寄情山水的悠远意境。",[51,49,50,27,59,60,53,54,55,426,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec982fc4493b80bdfd7dd1881f6128ed.jpg",[63],{"id":55624,"slug":55625,"title":55626,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55627,"thumbUrl":55628,"material":751,"size":752,"collection":95,"collections":55629,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290691,"dun-huang-yi-shu-423-yi-ming-290691","敦煌遗书423",[49,199,7,386,3028,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d7a4a8cf45502ef33a6f8df66f7e2b.jpg",[],{"id":55631,"slug":55632,"title":55633,"dynasty":18,"author":454,"museum":107,"description":55634,"tags":55635,"thumbUrl":55636,"material":751,"size":752,"collection":95,"collections":55637,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},290197,"bei-ye-hua-luo-han-bing-shu-zan-tu-ce-yuan-ban-gu-huan-bao-zang-ben-yi-ming-290197","贝叶画罗汉并书赞图册原版古欢宝藏本","是以菩提树叶为素材媒介创作的画册。将菩提叶特殊处理后，再平铺在蓝色底纸上作画。",[23,24,25,26,7,199,878,9007,10664,113,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a0254a3ae764a3bcc3a3baf65daba0.jpg",[],{"id":55639,"slug":55640,"title":55641,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55642,"thumbUrl":55643,"material":751,"size":752,"collection":95,"collections":55644,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290129,"dun-huang-yi-shu-422-yi-ming-290129","敦煌遗书422",[3028,49,7,386,1498,398,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615939e1f7f9cb214705be08400e7804.jpg",[],{"id":55646,"slug":55647,"title":55648,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55649,"thumbUrl":55650,"material":751,"size":752,"collection":95,"collections":55651,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290128,"dun-huang-yi-shu-421-yi-ming-290128","敦煌遗书421",[3028,386,49,7,199,9007,37415,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1491ac0e5dfe1fb20dc2fc0ec8ecea54.jpg",[],{"id":55653,"slug":55654,"title":55655,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55656,"thumbUrl":55657,"material":751,"size":752,"collection":95,"collections":55658,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},290127,"dun-huang-yi-shu-420-yi-ming-290127","敦煌遗书420",[49,7,386,1498,3028,9007,199,312,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc8b9c6b2ad7d679230e8df4534d3bf.jpg",[],{"id":55660,"slug":55661,"title":55662,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55663,"thumbUrl":55664,"material":751,"size":752,"collection":95,"collections":55665,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290126,"dun-huang-yi-shu-419-yi-ming-290126","敦煌遗书419",[49,7,386,199,3028,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181559e2ffd669de9b8b6a6f6c3ab8f6.jpg",[],{"id":55667,"slug":55668,"title":55669,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55670,"thumbUrl":55671,"material":751,"size":752,"collection":95,"collections":55672,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290125,"dun-huang-yi-shu-418-yi-ming-290125","敦煌遗书418",[3028,386,199,7,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718c6e226d3f4951aef16bb184c21938.jpg",[],{"id":55674,"slug":55675,"title":55676,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55677,"thumbUrl":55678,"material":751,"size":752,"collection":95,"collections":55679,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},290124,"dun-huang-yi-shu-417-yi-ming-290124","敦煌遗书417",[3028,49,7,386,878,9007,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4daca0317fa4af5d49d07394766708a.jpg",[],{"id":55681,"slug":55682,"title":55683,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55684,"thumbUrl":55685,"material":751,"size":752,"collection":95,"collections":55686,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290123,"dun-huang-yi-shu-416-yi-ming-290123","敦煌遗书416",[3028,386,7,49,1498,878,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f69e0951e7618f60c26c452c3181b18.jpg",[],{"id":55688,"slug":55689,"title":55690,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55691,"thumbUrl":55692,"material":751,"size":752,"collection":95,"collections":55693,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290122,"dun-huang-yi-shu-415-yi-ming-290122","敦煌遗书415",[3028,386,7,49,199,1498,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a006d841bf56c7a5211fbc14ccb25a5.jpg",[],{"id":55695,"slug":55696,"title":55697,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55698,"thumbUrl":55699,"material":751,"size":752,"collection":95,"collections":55700,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290121,"dun-huang-yi-shu-414-yi-ming-290121","敦煌遗书414",[49,7,386,3028,878,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3313df4eaced15ea99d0f4ffcfdea4b7.jpg",[],{"id":55702,"slug":55703,"title":55704,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55705,"thumbUrl":55706,"material":751,"size":752,"collection":95,"collections":55707,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290120,"dun-huang-yi-shu-413-yi-ming-290120","敦煌遗书413",[3028,386,7,49,9007,1498,199,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179b012d4c28ca4895f74c6e67fb6bf7.jpg",[],{"id":55709,"slug":55710,"title":55711,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55712,"thumbUrl":55713,"material":751,"size":752,"collection":95,"collections":55714,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290119,"dun-huang-yi-shu-412-yi-ming-290119","敦煌遗书412",[49,7,386,199,3028,1498,9007,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886cd89da3b11e266ac91e7146e03a4e.jpg",[],{"id":55716,"slug":55717,"title":55718,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55719,"thumbUrl":55720,"material":751,"size":752,"collection":95,"collections":55721,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290118,"dun-huang-yi-shu-411-yi-ming-290118","敦煌遗书411",[3028,49,7,386,199,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfbd90af2f4ea87e9c6e4940b2aedf9.jpg",[],{"id":55723,"slug":55724,"title":55725,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55726,"thumbUrl":55727,"material":751,"size":752,"collection":95,"collections":55728,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290116,"dun-huang-yi-shu-409-yi-ming-290116","敦煌遗书409",[49,7,386,3028,398,878,20967,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc5a6ef9ba7c827efe42584b4589c8b.jpg",[],{"id":55730,"slug":55731,"title":55732,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55733,"thumbUrl":55734,"material":751,"size":752,"collection":95,"collections":55735,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290115,"dun-huang-yi-shu-408-yi-ming-290115","敦煌遗书408",[3028,386,7,199,49,9007,37415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F216e966c359603f05d8c1a276a9f1f4d.jpg",[],{"id":55737,"slug":55738,"title":55739,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55740,"thumbUrl":55741,"material":751,"size":752,"collection":95,"collections":55742,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290114,"dun-huang-yi-shu-407-yi-ming-290114","敦煌遗书407",[3028,7,386,199,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265ea34d6cf01f2e313bd7ba79217f3b.jpg",[],{"id":55744,"slug":55745,"title":55746,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55747,"thumbUrl":55748,"material":751,"size":752,"collection":95,"collections":55749,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290113,"dun-huang-yi-shu-406-yi-ming-290113","敦煌遗书406",[3028,7,386,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab5bb3f476c20090b5a7aa0969b2d93.jpg",[],{"id":55751,"slug":55752,"title":55753,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55754,"thumbUrl":55755,"material":751,"size":752,"collection":95,"collections":55756,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},290112,"dun-huang-yi-shu-405-yi-ming-290112","敦煌遗书405",[3028,7,386,398,1498,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51ad7cd18b9d94413db03b52a04642a9.jpg",[],{"id":55758,"slug":55759,"title":55760,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55761,"thumbUrl":55762,"material":751,"size":752,"collection":95,"collections":55763,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290055,"dun-huang-yi-shu-404-yi-ming-290055","敦煌遗书404",[199,7,386,3028,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b5cc0e8b738439eebd382b5153fd40.jpg",[],{"id":55765,"slug":55766,"title":55767,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55768,"thumbUrl":55769,"material":751,"size":752,"collection":95,"collections":55770,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290054,"dun-huang-yi-shu-403-yi-ming-290054","敦煌遗书403",[3028,7,398,1498,386,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbcf2aa1f48d9c5d35c8d3349159c42.jpg",[],{"id":55772,"slug":55773,"title":55774,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55775,"thumbUrl":55776,"material":751,"size":752,"collection":95,"collections":55777,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},290053,"dun-huang-yi-shu-402-yi-ming-290053","敦煌遗书402",[3028,7,386,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d5be8aa4ca305ca2dba8b5963c5e06d.jpg",[],{"id":55779,"slug":55780,"title":55781,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55782,"thumbUrl":55783,"material":751,"size":752,"collection":95,"collections":55784,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290052,"dun-huang-yi-shu-401-yi-ming-290052","敦煌遗书401",[3028,7,386,199,1498,9007,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6040101bb5703f06398218e9f6466f.jpg",[],{"id":55786,"slug":55787,"title":55788,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55789,"thumbUrl":55790,"material":751,"size":752,"collection":95,"collections":55791,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},290051,"dun-huang-yi-shu-400-yi-ming-290051","敦煌遗书400",[3028,7,386,199,49,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6111355492c3abd7b8a702f6486425b.jpg",[],{"id":55793,"slug":55794,"title":55795,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55796,"thumbUrl":55797,"material":751,"size":752,"collection":95,"collections":55798,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290050,"dun-huang-yi-shu-399-yi-ming-290050","敦煌遗书399",[49,7,386,199,3028,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055ae44f897fc49a3fb8ac2583d4a938.jpg",[],{"id":55800,"slug":55801,"title":55802,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55803,"thumbUrl":55804,"material":751,"size":752,"collection":95,"collections":55805,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290049,"dun-huang-yi-shu-398-yi-ming-290049","敦煌遗书398",[3028,7,386,199,878,433,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315afced5f6f6eae52357c99f2d3184d.jpg",[],{"id":55807,"slug":55808,"title":55809,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55810,"thumbUrl":55811,"material":751,"size":752,"collection":95,"collections":55812,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},290048,"dun-huang-yi-shu-397-yi-ming-290048","敦煌遗书397",[3028,386,7,878,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495282c949c8948b897f91cee75e069.jpg",[],{"id":55814,"slug":55815,"title":55816,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55817,"thumbUrl":55818,"material":751,"size":752,"collection":95,"collections":55819,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290047,"dun-huang-yi-shu-396-yi-ming-290047","敦煌遗书396",[3028,386,7,199,878,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa37c6a657c6d19e92780ac179b52217a.jpg",[],{"id":55821,"slug":55822,"title":55823,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55824,"thumbUrl":55825,"material":751,"size":752,"collection":95,"collections":55826,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290046,"dun-huang-yi-shu-395-yi-ming-290046","敦煌遗书395",[3028,49,7,386,199,1498,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F297e10346572bee4d09f763f79ea3992.jpg",[],{"id":55828,"slug":55829,"title":55830,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55831,"thumbUrl":55832,"material":751,"size":752,"collection":95,"collections":55833,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290045,"dun-huang-yi-shu-394-yi-ming-290045","敦煌遗书394",[3028,386,7,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26ab5eca6a1689902aa5306ba278d0.jpg",[],{"id":55835,"slug":55836,"title":55837,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55838,"thumbUrl":55839,"material":751,"size":752,"collection":95,"collections":55840,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290044,"dun-huang-yi-shu-393-yi-ming-290044","敦煌遗书393",[3028,386,7,9007,1498,199,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e67e7839ec28e851db2eca7f77cb0a.jpg",[],{"id":55842,"slug":55843,"title":55844,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55845,"thumbUrl":55846,"material":751,"size":752,"collection":95,"collections":55847,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290043,"dun-huang-yi-shu-392-yi-ming-290043","敦煌遗书392",[7,199,386,3028,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab35214820632ed731778e22452fbec.jpg",[],{"id":55849,"slug":55850,"title":55851,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55852,"thumbUrl":55853,"material":751,"size":752,"collection":95,"collections":55854,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290040,"dun-huang-yi-shu-390-yi-ming-290040","敦煌遗书390",[3028,386,7,199,49,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e11bd24c43fccead9a5c3b4000bc06f.jpg",[],{"id":55856,"slug":55857,"title":55858,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55859,"thumbUrl":55860,"material":751,"size":752,"collection":95,"collections":55861,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},290039,"dun-huang-yi-shu-389-yi-ming-290039","敦煌遗书389",[7,386,199,3028,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52889c2d6b65ff11029ca590771fbf55.jpg",[],{"id":55863,"slug":55864,"title":55865,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55866,"thumbUrl":55867,"material":751,"size":752,"collection":95,"collections":55868,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290038,"dun-huang-yi-shu-388-yi-ming-290038","敦煌遗书388",[7,386,49,3028,878,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba2d19831153bf8cc5c352213c4ffc1.jpg",[],{"id":55870,"slug":55871,"title":55872,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55873,"thumbUrl":55874,"material":751,"size":752,"collection":95,"collections":55875,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290037,"dun-huang-yi-shu-387-yi-ming-290037","敦煌遗书387",[49,7,199,386,3028,9007,4678,37415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff94df2acefac9776b62cda61928870e9.jpg",[],{"id":55877,"slug":55878,"title":55879,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55880,"thumbUrl":55881,"material":751,"size":752,"collection":95,"collections":55882,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},290036,"dun-huang-yi-shu-386-yi-ming-290036","敦煌遗书386",[3028,386,7,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2741d64596b40408a8d5ba8c19061.jpg",[],{"id":55884,"slug":55885,"title":55886,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55887,"thumbUrl":55888,"material":751,"size":752,"collection":95,"collections":55889,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},290035,"dun-huang-yi-shu-385-yi-ming-290035","敦煌遗书385",[3028,7,386,49,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4512cbc015e2b59a4418be73737725b.jpg",[],{"id":55891,"slug":55892,"title":55893,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55894,"thumbUrl":55895,"material":751,"size":752,"collection":95,"collections":55896,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},290034,"dun-huang-yi-shu-384-yi-ming-290034","敦煌遗书384",[3028,7,386,49,878,1498,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07dc93ab63f37ce5ec60479a0cc90372.jpg",[],{"id":55898,"slug":55899,"title":55900,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55901,"thumbUrl":55902,"material":751,"size":752,"collection":95,"collections":55903,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},290033,"dun-huang-yi-shu-383-yi-ming-290033","敦煌遗书383",[3028,386,7,49,1498,878,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18b701f2ebc6cef08792e83fc61be64.jpg",[],{"id":55905,"slug":55906,"title":55907,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55908,"thumbUrl":55909,"material":751,"size":752,"collection":95,"collections":55910,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289866,"dun-huang-yi-shu-382-yi-ming-289866","敦煌遗书382",[49,7,386,3028,878,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1b2650f75094c88cdfb2353e1f1015.jpg",[],{"id":55912,"slug":55913,"title":55914,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55915,"thumbUrl":55916,"material":751,"size":752,"collection":95,"collections":55917,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289865,"dun-huang-yi-shu-381-yi-ming-289865","敦煌遗书381",[3028,386,7,49,9007,878,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df9d458cf0d90ef5fd5c95610a6e6a5.jpg",[],{"id":55919,"slug":55920,"title":55921,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55922,"thumbUrl":55923,"material":751,"size":752,"collection":95,"collections":55924,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289864,"dun-huang-yi-shu-380-yi-ming-289864","敦煌遗书380",[3028,7,386,199,49,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cfae0f7724cdbd24fd7c8eae4f19ecd.jpg",[],{"id":55926,"slug":55927,"title":55928,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55929,"thumbUrl":55930,"material":751,"size":752,"collection":95,"collections":55931,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289863,"dun-huang-yi-shu-379-yi-ming-289863","敦煌遗书379",[3028,386,7,199,49,878,1498,77,25,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194d02e4c2c903afc9b55ce88bf6ddd6.jpg",[],{"id":55933,"slug":55934,"title":55935,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55936,"thumbUrl":55937,"material":751,"size":752,"collection":95,"collections":55938,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289862,"dun-huang-yi-shu-378-yi-ming-289862","敦煌遗书378",[49,7,398,386,878,3028,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301c532f023ce081642516a36a35aeb7.jpg",[],{"id":55940,"slug":55941,"title":55942,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55943,"thumbUrl":55944,"material":751,"size":752,"collection":95,"collections":55945,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289861,"dun-huang-yi-shu-377-yi-ming-289861","敦煌遗书377",[3028,7,386,49,199,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d8523125b47a2710fbfd43d61e8aea.jpg",[],{"id":55947,"slug":55948,"title":55949,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55950,"thumbUrl":55951,"material":751,"size":752,"collection":95,"collections":55952,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289860,"dun-huang-yi-shu-376-yi-ming-289860","敦煌遗书376",[49,3028,386,7,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97b8d63ef7b5c1c0507adb73ef24ee7.jpg",[],{"id":55954,"slug":55955,"title":55956,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55957,"thumbUrl":55958,"material":751,"size":752,"collection":95,"collections":55959,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289859,"dun-huang-yi-shu-375-yi-ming-289859","敦煌遗书375",[3028,7,386,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ebe8080d2219c540afb84c1b6c2c24.jpg",[],{"id":55961,"slug":55962,"title":55963,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55964,"thumbUrl":55965,"material":751,"size":752,"collection":95,"collections":55966,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289858,"dun-huang-yi-shu-374-yi-ming-289858","敦煌遗书374",[49,3028,386,7,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823266f3a09e1f1e2ab612fce9c99ee8.jpg",[],{"id":55968,"slug":55969,"title":55970,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55971,"thumbUrl":55972,"material":751,"size":752,"collection":95,"collections":55973,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289857,"dun-huang-yi-shu-373-yi-ming-289857","敦煌遗书373",[3028,7,386,49,878,20967,6771,4677,24610,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae794dee1407e815d66d638890cb6ec.jpg",[],{"id":55975,"slug":55976,"title":55977,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55978,"thumbUrl":55979,"material":751,"size":752,"collection":95,"collections":55980,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289856,"dun-huang-yi-shu-372-yi-ming-289856","敦煌遗书372",[3028,386,7,199,49,1498,9007,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c008dd98c8d5a0776f86cab0ce2e7e.jpg",[],{"id":55982,"slug":55983,"title":55984,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55985,"thumbUrl":55986,"material":751,"size":752,"collection":95,"collections":55987,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289855,"dun-huang-yi-shu-371-yi-ming-289855","敦煌遗书371",[49,7,386,199,3028,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecadc413fc922706789fd5542653fbb2.jpg",[],{"id":55989,"slug":55990,"title":55991,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55992,"thumbUrl":55993,"material":751,"size":752,"collection":95,"collections":55994,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289854,"dun-huang-yi-shu-370-yi-ming-289854","敦煌遗书370",[3028,386,7,49,1498,9007,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf91700bde9b8fb546b4a560a7dc3a35.jpg",[],{"id":55996,"slug":55997,"title":55998,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":55999,"thumbUrl":56000,"material":751,"size":752,"collection":95,"collections":56001,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289853,"dun-huang-yi-shu-369-yi-ming-289853","敦煌遗书369",[3028,386,7,49,878,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba0fadd447355d9441ec0e61118697a.jpg",[],{"id":56003,"slug":56004,"title":56005,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56006,"thumbUrl":56007,"material":751,"size":752,"collection":95,"collections":56008,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289852,"dun-huang-yi-shu-368-yi-ming-289852","敦煌遗书368",[3028,386,199,7,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61604f5cb984e5c2e9a9d3b17072ad3.jpg",[],{"id":56010,"slug":56011,"title":56012,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56013,"thumbUrl":56014,"material":751,"size":752,"collection":95,"collections":56015,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289851,"dun-huang-yi-shu-367-yi-ming-289851","敦煌遗书367",[3028,7,199,386,9007,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cad03d38a86e95621a7d2bb49ab11f.jpg",[],{"id":56017,"slug":56018,"title":56019,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56020,"thumbUrl":56021,"material":751,"size":752,"collection":95,"collections":56022,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289850,"dun-huang-yi-shu-366-yi-ming-289850","敦煌遗书366",[3028,7,386,49,199,1498,77,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10325c61a9100c7a2a80fcff5401b735.jpg",[],{"id":56024,"slug":56025,"title":56026,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56027,"thumbUrl":56028,"material":751,"size":752,"collection":95,"collections":56029,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289849,"dun-huang-yi-shu-365-yi-ming-289849","敦煌遗书365",[3028,386,7,49,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F974a248bc14d2e167a1c98517bb77fe5.jpg",[],{"id":56031,"slug":56032,"title":56033,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56034,"thumbUrl":56035,"material":751,"size":752,"collection":95,"collections":56036,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289848,"dun-huang-yi-shu-364-yi-ming-289848","敦煌遗书364",[3028,7,386,49,878,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7082a988bebdc963bb09904db4a506fc.jpg",[],{"id":56038,"slug":56039,"title":56040,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56041,"thumbUrl":56042,"material":751,"size":752,"collection":95,"collections":56043,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289847,"dun-huang-yi-shu-363-yi-ming-289847","敦煌遗书363",[3028,386,7,49,878,1498,34686,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff375b0304d13bb7c358c8895ebd6035b.jpg",[],{"id":56045,"slug":56046,"title":56047,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56048,"thumbUrl":56049,"material":751,"size":752,"collection":95,"collections":56050,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289846,"dun-huang-yi-shu-362-yi-ming-289846","敦煌遗书362",[3028,7,386,49,878,199,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e045f0fbdf5bf44cb748c047c63148c.jpg",[],{"id":56052,"slug":56053,"title":56054,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56055,"thumbUrl":56056,"material":751,"size":752,"collection":95,"collections":56057,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289845,"dun-huang-yi-shu-361-yi-ming-289845","敦煌遗书361",[3028,386,7,49,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056f555d9d71ca1d9b3c9b3437b73418.jpg",[],{"id":56059,"slug":56060,"title":56061,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56062,"thumbUrl":56063,"material":751,"size":752,"collection":95,"collections":56064,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289724,"dun-huang-yi-shu-360-yi-ming-289724","敦煌遗书360",[3028,7,386,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc3ef16a6555449a74418fcf1ad5edc.jpg",[],{"id":56066,"slug":56067,"title":56068,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56069,"thumbUrl":56070,"material":751,"size":752,"collection":95,"collections":56071,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289723,"dun-huang-yi-shu-359-yi-ming-289723","敦煌遗书359",[3028,49,7,386,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1386a895edaca40ba32e643be0d584d.jpg",[],{"id":56073,"slug":56074,"title":56075,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56076,"thumbUrl":56077,"material":751,"size":752,"collection":95,"collections":56078,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289722,"dun-huang-yi-shu-358-yi-ming-289722","敦煌遗书358",[3028,49,7,199,386,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e6752524fd12a456253056e62fbf98.jpg",[],{"id":56080,"slug":56081,"title":56082,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56083,"thumbUrl":56084,"material":751,"size":752,"collection":95,"collections":56085,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289721,"dun-huang-yi-shu-357-yi-ming-289721","敦煌遗书357",[3028,7,386,199,49,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F887b8a4d60c7fd8711929b032103d1a6.jpg",[],{"id":56087,"slug":56088,"title":56089,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56090,"thumbUrl":56091,"material":751,"size":752,"collection":95,"collections":56092,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289720,"dun-huang-yi-shu-356-yi-ming-289720","敦煌遗书356",[49,7,199,386,3028,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa711609e170d70e3aa804f3f38e20c7c.jpg",[],{"id":56094,"slug":56095,"title":56096,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56097,"thumbUrl":56098,"material":751,"size":752,"collection":95,"collections":56099,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289717,"dun-huang-yi-shu-353-yi-ming-289717","敦煌遗书353",[49,7,386,3028,1498,878,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf20931da662c14b93703a2dd4b7f0f4.jpg",[],{"id":56101,"slug":56102,"title":56103,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56104,"thumbUrl":56105,"material":751,"size":752,"collection":95,"collections":56106,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289716,"dun-huang-yi-shu-352-yi-ming-289716","敦煌遗书352",[49,3028,7,386,878,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6576239a4bd9b0af6551e2906e13fe93.jpg",[],{"id":56108,"slug":56109,"title":56110,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56111,"thumbUrl":56112,"material":751,"size":752,"collection":95,"collections":56113,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289715,"dun-huang-yi-shu-351-yi-ming-289715","敦煌遗书351",[49,7,386,3028,878,1498,199,312,2602,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719067317f51db94b3c2f14593b4c24e.jpg",[],{"id":56115,"slug":56116,"title":56117,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56118,"thumbUrl":56119,"material":751,"size":752,"collection":95,"collections":56120,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289714,"dun-huang-yi-shu-350-yi-ming-289714","敦煌遗书350",[3028,7,386,199,9007,49,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b06c421195864b371b2e8fca73711a.jpg",[],{"id":56122,"slug":56123,"title":56124,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56125,"thumbUrl":56126,"material":751,"size":752,"collection":95,"collections":56127,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289713,"dun-huang-yi-shu-349-yi-ming-289713","敦煌遗书349",[7,386,49,9007,199,3028,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1368fa4e2203fed69da748e53c2621.jpg",[],{"id":56129,"slug":56130,"title":56131,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56132,"thumbUrl":56133,"material":751,"size":752,"collection":95,"collections":56134,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289712,"dun-huang-yi-shu-348-yi-ming-289712","敦煌遗书348",[3028,49,7,386,199,37415,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b8aadc72a190f33aa8771f30836f4d.jpg",[],{"id":56136,"slug":56137,"title":56138,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56139,"thumbUrl":56140,"material":751,"size":752,"collection":95,"collections":56141,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289711,"dun-huang-yi-shu-347-yi-ming-289711","敦煌遗书347",[49,7,386,3028,199,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3727f7597269a85acaea571625094580.jpg",[],{"id":56143,"slug":56144,"title":56145,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56146,"thumbUrl":56147,"material":751,"size":752,"collection":95,"collections":56148,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289710,"dun-huang-yi-shu-346-yi-ming-289710","敦煌遗书346",[3028,49,7,199,386,9007,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c8ccda1151aa464091d09f5528a08c.jpg",[],{"id":56150,"slug":56151,"title":56152,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56153,"thumbUrl":56154,"material":751,"size":752,"collection":95,"collections":56155,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289709,"dun-huang-yi-shu-345-yi-ming-289709","敦煌遗书345",[49,7,386,3028,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb48160cebc789df27022196d93d8e3ab.jpg",[],{"id":56157,"slug":56158,"title":56159,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56160,"thumbUrl":56161,"material":751,"size":752,"collection":95,"collections":56162,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289708,"dun-huang-yi-shu-344-yi-ming-289708","敦煌遗书344",[7,386,3028,49,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363ae9145dc133bdf9fc029b52057239.jpg",[],{"id":56164,"slug":56165,"title":56166,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56167,"thumbUrl":56169,"material":751,"size":752,"collection":95,"collections":56170,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289707,"dun-huang-yi-shu-343-yi-ming-289707","敦煌遗书343",[3028,56168,7,199,49,1498,48700],"诗经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999fd4aabf1877d0e4916ad1fae0a357.jpg",[],{"id":56172,"slug":56173,"title":56174,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56175,"thumbUrl":56176,"material":751,"size":752,"collection":95,"collections":56177,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289706,"dun-huang-yi-shu-342-yi-ming-289706","敦煌遗书342",[49,7,386,3028,398,1498,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86569f092f4487e9f47569313ffb002e.jpg",[],{"id":56179,"slug":56180,"title":56181,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56182,"thumbUrl":56183,"material":751,"size":752,"collection":95,"collections":56184,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289705,"dun-huang-yi-shu-341-yi-ming-289705","敦煌遗书341",[3028,49,7,386,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a56f7cdbfa9a563648cc70219ba48d9.jpg",[],{"id":56186,"slug":56187,"title":56188,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56189,"thumbUrl":56190,"material":751,"size":752,"collection":95,"collections":56191,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289704,"dun-huang-yi-shu-340-yi-ming-289704","敦煌遗书340",[3028,386,7,199,49,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048312ae876f5ee51b370bfdec2b80.jpg",[],{"id":56193,"slug":56194,"title":56195,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56196,"thumbUrl":56197,"material":751,"size":752,"collection":95,"collections":56198,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289703,"dun-huang-yi-shu-339-yi-ming-289703","敦煌遗书339",[3028,49,7,386,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec427b02848bcc2e5e121e06648afbcd.jpg",[],{"id":56200,"slug":56201,"title":56202,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56203,"thumbUrl":56204,"material":751,"size":752,"collection":95,"collections":56205,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289702,"dun-huang-yi-shu-338-yi-ming-289702","敦煌遗书338",[3028,7,386,199,49,1498,9007,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2d48067e582364e3c3c4f0a48f8c76.jpg",[],{"id":56207,"slug":56208,"title":56209,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56210,"thumbUrl":56211,"material":751,"size":752,"collection":95,"collections":56212,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289701,"dun-huang-yi-shu-337-yi-ming-289701","敦煌遗书337",[3028,386,7,199,878,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe905734fd58ec3ce52f34360279ca526.jpg",[],{"id":56214,"slug":56215,"title":56216,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56217,"thumbUrl":56218,"material":751,"size":752,"collection":95,"collections":56219,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289700,"dun-huang-yi-shu-336-yi-ming-289700","敦煌遗书336",[3028,49,7,386,878,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd34594c6ad18bc8e8acbf76bcf3c01.jpg",[],{"id":56221,"slug":56222,"title":56223,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56224,"thumbUrl":56225,"material":751,"size":752,"collection":95,"collections":56226,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289699,"dun-huang-yi-shu-335-yi-ming-289699","敦煌遗书335",[3028,49,7,386,878,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F800cc79b80499ab5de2b906f4616e8cc.jpg",[],{"id":56228,"slug":56229,"title":56230,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56231,"thumbUrl":56232,"material":751,"size":752,"collection":95,"collections":56233,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289698,"dun-huang-yi-shu-334-yi-ming-289698","敦煌遗书334",[49,7,386,3028,199,1498,38376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b1f046880bee5b1d49bbc5df5e05d9.jpg",[],{"id":56235,"slug":56236,"title":56237,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56238,"thumbUrl":56239,"material":751,"size":752,"collection":95,"collections":56240,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289697,"dun-huang-yi-shu-333-yi-ming-289697","敦煌遗书333",[49,7,386,3028,199,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68894dc3d9868173c7f8c9eae65fa4c3.jpg",[],{"id":56242,"slug":56243,"title":56244,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56245,"thumbUrl":56246,"material":751,"size":752,"collection":95,"collections":56247,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289696,"dun-huang-yi-shu-332-yi-ming-289696","敦煌遗书332",[49,7,199,386,9007,4678,1498,3028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23da857bba971c456bb1a3c91daeee6e.jpg",[],{"id":56249,"slug":56250,"title":56251,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56252,"thumbUrl":56253,"material":751,"size":752,"collection":95,"collections":56254,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289695,"dun-huang-yi-shu-331-yi-ming-289695","敦煌遗书331",[3028,386,7,199,49,9007,1498,38376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0387ae6ea35e523cfdfd353f6a75ffc.jpg",[],{"id":56256,"slug":56257,"title":56258,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56259,"thumbUrl":56260,"material":751,"size":752,"collection":95,"collections":56261,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289694,"dun-huang-yi-shu-330-yi-ming-289694","敦煌遗书330",[49,7,386,3028,199,878,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f4281c20fac9c0ae167d75039e6cf4.jpg",[],{"id":56263,"slug":56264,"title":56265,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56266,"thumbUrl":56268,"material":751,"size":752,"collection":95,"collections":56269,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289693,"dun-huang-yi-shu-329-yi-ming-289693","敦煌遗书329",[3028,386,7,199,9007,1498,20967,56267],"孝道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e307d79b735c5e7e6b4734a3f93094.jpg",[],{"id":56271,"slug":56272,"title":56273,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56274,"thumbUrl":56275,"material":751,"size":752,"collection":95,"collections":56276,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289692,"dun-huang-yi-shu-328-yi-ming-289692","敦煌遗书328",[3028,49,7,386,878,312,2602,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6824e264cab82fd819583347228cc8b6.jpg",[],{"id":56278,"slug":56279,"title":56280,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56281,"thumbUrl":56282,"material":751,"size":752,"collection":95,"collections":56283,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289691,"dun-huang-yi-shu-327-yi-ming-289691","敦煌遗书327",[3028,7,386,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1d99dadf538e8b7c4f1c7d66a81e2a.jpg",[],{"id":56285,"slug":56286,"title":56287,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56288,"thumbUrl":56289,"material":751,"size":752,"collection":95,"collections":56290,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289690,"dun-huang-yi-shu-326-yi-ming-289690","敦煌遗书326",[3028,7,386,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb3b977f9b7607a8198abf6e8f3eb9c.jpg",[],{"id":56292,"slug":56293,"title":56294,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56295,"thumbUrl":56296,"material":751,"size":752,"collection":95,"collections":56297,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289689,"dun-huang-yi-shu-325-yi-ming-289689","敦煌遗书325",[3028,386,7,49,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98119c022945fbc199fc7ee558de1b09.jpg",[],{"id":56299,"slug":56300,"title":56301,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56302,"thumbUrl":56303,"material":751,"size":752,"collection":95,"collections":56304,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289688,"dun-huang-yi-shu-324-yi-ming-289688","敦煌遗书324",[3028,386,199,7,878,9007,49,1498,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F443c39e8565f685078ccf8f9032a36f9.jpg",[],{"id":56306,"slug":56307,"title":56308,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56309,"thumbUrl":56310,"material":751,"size":752,"collection":95,"collections":56311,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289686,"dun-huang-yi-shu-322-yi-ming-289686","敦煌遗书322",[3028,386,7,49,9007,1498,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f80c4bebd82b0241a96f0fcec4fe11.jpg",[],{"id":56313,"slug":56314,"title":56315,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56316,"thumbUrl":56317,"material":751,"size":752,"collection":95,"collections":56318,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289685,"dun-huang-yi-shu-321-yi-ming-289685","敦煌遗书321",[3028,386,49,7,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e37a55c31d840a72b5f8a00a2952e6d.jpg",[],{"id":56320,"slug":56321,"title":56322,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56323,"thumbUrl":56324,"material":751,"size":752,"collection":95,"collections":56325,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289684,"dun-huang-yi-shu-320-yi-ming-289684","敦煌遗书320",[49,3028,386,7,398,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32e59b9c0c9f8c311d1af99aeb9ded1.jpg",[],{"id":56327,"slug":56328,"title":56329,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56330,"thumbUrl":56331,"material":751,"size":752,"collection":95,"collections":56332,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289683,"dun-huang-yi-shu-319-yi-ming-289683","敦煌遗书319",[3028,386,7,878,1498,2602,199,24610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2c667724fef891edddc9c73b31460d.jpg",[],{"id":56334,"slug":56335,"title":56336,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56337,"thumbUrl":56338,"material":751,"size":752,"collection":95,"collections":56339,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289682,"dun-huang-yi-shu-318-yi-ming-289682","敦煌遗书318",[3028,386,7,49,1498,878,199,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0377aef6967b5817878af712edbbbd8.jpg",[],{"id":56341,"slug":56342,"title":56343,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56344,"thumbUrl":56345,"material":751,"size":752,"collection":95,"collections":56346,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289681,"dun-huang-yi-shu-317-yi-ming-289681","敦煌遗书317",[3028,386,7,199,1498,9007,49,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F984de84924ac067619468c20fe889ff7.jpg",[],{"id":56348,"slug":56349,"title":56350,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56351,"thumbUrl":56352,"material":751,"size":752,"collection":95,"collections":56353,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289680,"dun-huang-yi-shu-316-yi-ming-289680","敦煌遗书316",[3028,49,7,199,386,9007,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36cadc73f8dfc3915c30f1f06b140e26.jpg",[],{"id":56355,"slug":56356,"title":56357,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56358,"thumbUrl":56359,"material":751,"size":752,"collection":95,"collections":56360,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289679,"dun-huang-yi-shu-315-yi-ming-289679","敦煌遗书315",[3028,386,7,49,398,9007,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd996a31164f99d29cdf3ac88f844993d.jpg",[],{"id":56362,"slug":56363,"title":56364,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56365,"thumbUrl":56366,"material":751,"size":752,"collection":95,"collections":56367,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289678,"dun-huang-yi-shu-314-yi-ming-289678","敦煌遗书314",[49,7,199,386,3028,9007,20967,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc563ebd0c862646416aca843c868afc8.jpg",[],{"id":56369,"slug":56370,"title":56371,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56372,"thumbUrl":56373,"material":751,"size":752,"collection":95,"collections":56374,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289677,"dun-huang-yi-shu-313-yi-ming-289677","敦煌遗书313",[3028,49,7,386,878,9007,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57625776926e6b4fbfb9396bfe8de576.jpg",[],{"id":56376,"slug":56377,"title":56378,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56379,"thumbUrl":56380,"material":751,"size":752,"collection":95,"collections":56381,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289676,"dun-huang-yi-shu-312-yi-ming-289676","敦煌遗书312",[3028,7,386,49,199,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02c3036c722261983520f886fd307e4.jpg",[],{"id":56383,"slug":56384,"title":56385,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56386,"thumbUrl":56387,"material":751,"size":752,"collection":95,"collections":56388,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},289675,"dun-huang-yi-shu-311-yi-ming-289675","敦煌遗书311",[49,7,386,199,3028,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44207e7f8f4dcd5f13879ef29e9ab349.jpg",[],{"id":56390,"slug":56391,"title":56392,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56393,"thumbUrl":56394,"material":751,"size":752,"collection":95,"collections":56395,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289674,"dun-huang-yi-shu-310-yi-ming-289674","敦煌遗书310",[3028,386,7,49,199,37415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e1ec3625da8cb72556781d346a90c94.jpg",[],{"id":56397,"slug":56398,"title":56399,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56400,"thumbUrl":56401,"material":751,"size":752,"collection":95,"collections":56402,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289673,"dun-huang-yi-shu-309-yi-ming-289673","敦煌遗书309",[3028,49,7,199,386,878,20967,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6267d7159dd7a42b934e8ad798db1d87.jpg",[],{"id":56404,"slug":56405,"title":56406,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56407,"thumbUrl":56408,"material":751,"size":752,"collection":95,"collections":56409,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},289672,"dun-huang-yi-shu-308-yi-ming-289672","敦煌遗书308",[3028,386,7,199,49,9007,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94ae1f06e58ca7b7287a840d72090542.jpg",[],{"id":56411,"slug":56412,"title":56413,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56414,"thumbUrl":56415,"material":751,"size":752,"collection":95,"collections":56416,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},289671,"dun-huang-yi-shu-307-yi-ming-289671","敦煌遗书307",[3028,49,7,386,199,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35419b00f30ea94f66f6a1ad9db07bd8.jpg",[],{"id":56418,"slug":56419,"title":56420,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56421,"thumbUrl":56422,"material":751,"size":752,"collection":95,"collections":56423,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289670,"dun-huang-yi-shu-306-yi-ming-289670","敦煌遗书306",[3028,7,386,49,9007,199,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fac9d857f8558bd3ebc39a883d6f838.jpg",[],{"id":56425,"slug":56426,"title":56427,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56428,"thumbUrl":56429,"material":751,"size":752,"collection":95,"collections":56430,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289669,"dun-huang-yi-shu-305-yi-ming-289669","敦煌遗书305",[49,7,386,3028,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa04e60518732723c7b34d0997d992b6.jpg",[],{"id":56432,"slug":56433,"title":56434,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56435,"thumbUrl":56436,"material":751,"size":752,"collection":95,"collections":56437,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289668,"dun-huang-yi-shu-304-yi-ming-289668","敦煌遗书304",[3028,386,7,199,49,1498,9007,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb5f8fc280d93ccd17ff873ec09f759e.jpg",[],{"id":56439,"slug":56440,"title":56441,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56442,"thumbUrl":56443,"material":751,"size":752,"collection":95,"collections":56444,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},289667,"dun-huang-yi-shu-303-yi-ming-289667","敦煌遗书303",[49,7,386,3028,878,9007,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F369bdf5ace5d4201238523ed37f9f6d5.jpg",[],{"id":56446,"slug":56447,"title":56448,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56449,"thumbUrl":56450,"material":751,"size":752,"collection":95,"collections":56451,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289666,"dun-huang-yi-shu-302-yi-ming-289666","敦煌遗书302",[3028,49,7,386,1498,199,50,878,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0165e62346d92e6ba3e6b2b39403bab8.jpg",[],{"id":56453,"slug":56454,"title":56455,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56456,"thumbUrl":56457,"material":751,"size":752,"collection":95,"collections":56458,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289665,"dun-huang-yi-shu-301-yi-ming-289665","敦煌遗书301",[7,49,386,3028,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafca25a33f55a580b30568d60f758c84.jpg",[],{"id":56460,"slug":56461,"title":56462,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56463,"thumbUrl":56464,"material":751,"size":752,"collection":95,"collections":56465,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289664,"dun-huang-yi-shu-300-yi-ming-289664","敦煌遗书300",[49,3028,386,7,199,878,1498,3479,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86466dfcaa1aabec1b62d0083c2c2c6.jpg",[],{"id":56467,"slug":56468,"title":56469,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56470,"thumbUrl":56471,"material":751,"size":752,"collection":95,"collections":56472,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289663,"dun-huang-yi-shu-299-yi-ming-289663","敦煌遗书299",[3028,49,7,199,386,878,1498,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bdf0c571b0b23fed989e5437d771c0.jpg",[],{"id":56474,"slug":56475,"title":56476,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56477,"thumbUrl":56478,"material":751,"size":752,"collection":95,"collections":56479,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289662,"dun-huang-yi-shu-298-yi-ming-289662","敦煌遗书298",[3028,386,7,199,49,1498,878,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e7bd5fc4e1254f7ba833261eb4eedb.jpg",[],{"id":56481,"slug":56482,"title":56483,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56484,"thumbUrl":56485,"material":751,"size":752,"collection":95,"collections":56486,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289661,"dun-huang-yi-shu-297-yi-ming-289661","敦煌遗书297",[3028,25,49,7,386,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fff868cac5309658874f9e77093c74.jpg",[],{"id":56488,"slug":56489,"title":56490,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56491,"thumbUrl":56492,"material":751,"size":752,"collection":95,"collections":56493,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289647,"dun-huang-yi-shu-296-yi-ming-289647","敦煌遗书296",[3028,49,7,386,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c87cc11037077574c3e2d62380ccc3.jpg",[],{"id":56495,"slug":56496,"title":56497,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56498,"thumbUrl":56499,"material":751,"size":752,"collection":95,"collections":56500,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289646,"dun-huang-yi-shu-295-yi-ming-289646","敦煌遗书295",[49,7,386,3028,398,199,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6135ccacdeb1b75d10d836db1151e97.jpg",[],{"id":56502,"slug":56503,"title":56504,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56505,"thumbUrl":56506,"material":751,"size":752,"collection":95,"collections":56507,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289645,"dun-huang-yi-shu-294-yi-ming-289645","敦煌遗书294",[3028,386,7,199,49,878,9007,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3abf3ef36a9448e8b9ef6c4cf7cf8d0.jpg",[],{"id":56509,"slug":56510,"title":56511,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56512,"thumbUrl":56513,"material":751,"size":752,"collection":95,"collections":56514,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289644,"dun-huang-yi-shu-293-yi-ming-289644","敦煌遗书293",[3028,386,7,49,398,37415,40295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ff05a3c920a905bdc89206c4b2edef.jpg",[],{"id":56516,"slug":56517,"title":56518,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56519,"thumbUrl":56520,"material":751,"size":752,"collection":95,"collections":56521,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289643,"dun-huang-yi-shu-292-yi-ming-289643","敦煌遗书292",[3028,7,199,386,9007,49,37415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddfc332355d43b3bb27804eb7b05b7dc.jpg",[],{"id":56523,"slug":56524,"title":56525,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56526,"thumbUrl":56527,"material":751,"size":752,"collection":95,"collections":56528,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289642,"dun-huang-yi-shu-291-yi-ming-289642","敦煌遗书291",[3028,386,7,49,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72960782b435aa88882220fadaad4c14.jpg",[],{"id":56530,"slug":56531,"title":56532,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56533,"thumbUrl":56534,"material":751,"size":752,"collection":95,"collections":56535,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289641,"dun-huang-yi-shu-290-yi-ming-289641","敦煌遗书290",[49,7,386,3028,398,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aba531599a3b1a20855d2439b555972.jpg",[],{"id":56537,"slug":56538,"title":56539,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56540,"thumbUrl":56541,"material":751,"size":752,"collection":95,"collections":56542,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289640,"dun-huang-yi-shu-289-yi-ming-289640","敦煌遗书289",[49,7,199,386,3028,6582,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005ce142d7e8e14e882c614ad1cbe1a6.jpg",[],{"id":56544,"slug":56545,"title":56546,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56547,"thumbUrl":56549,"material":751,"size":752,"collection":95,"collections":56550,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289639,"dun-huang-yi-shu-288-yi-ming-289639","敦煌遗书288",[56548,49,7,386,199,9007,878,1498,77],"敦煌遗书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb953a32e38ac1d542c7505da94cc8984.jpg",[],{"id":56552,"slug":56553,"title":56554,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56555,"thumbUrl":56556,"material":751,"size":752,"collection":95,"collections":56557,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289638,"dun-huang-yi-shu-287-yi-ming-289638","敦煌遗书287",[3028,7,386,49,1498,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb50d18f08f46a482d6601716771bb2.jpg",[],{"id":56559,"slug":56560,"title":56561,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56562,"thumbUrl":56564,"material":751,"size":752,"collection":95,"collections":56565,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289637,"dun-huang-yi-shu-286-yi-ming-289637","敦煌遗书286",[3028,7,386,49,398,1498,44099,56563],"中医典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaec36e13eac4514eec7ae27226ad91.jpg",[],{"id":56567,"slug":56568,"title":56569,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56570,"thumbUrl":56571,"material":751,"size":752,"collection":95,"collections":56572,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289636,"dun-huang-yi-shu-285-yi-ming-289636","敦煌遗书285",[3028,49,7,386,878,9007,199,1498,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6320ff66dee010540fef297cd8d278.jpg",[],{"id":56574,"slug":56575,"title":56576,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56577,"thumbUrl":56578,"material":751,"size":752,"collection":95,"collections":56579,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289635,"dun-huang-yi-shu-284-yi-ming-289635","敦煌遗书284",[49,7,386,3028,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd68028b6d995d9fcd2967fd78176ea3.jpg",[],{"id":56581,"slug":56582,"title":56583,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56584,"thumbUrl":56585,"material":751,"size":752,"collection":95,"collections":56586,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289634,"dun-huang-yi-shu-283-yi-ming-289634","敦煌遗书283",[49,7,386,3028,199,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa225267c8d6fcb8cd2aae0e4663976.jpg",[],{"id":56588,"slug":56589,"title":56590,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56591,"thumbUrl":56592,"material":751,"size":752,"collection":95,"collections":56593,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289633,"dun-huang-yi-shu-282-yi-ming-289633","敦煌遗书282",[3028,49,7,386,312,34330,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb47a1f3706c502d41d1d8bf1e2557886.jpg",[],{"id":56595,"slug":56596,"title":56597,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56598,"thumbUrl":56599,"material":751,"size":752,"collection":95,"collections":56600,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289632,"dun-huang-yi-shu-281-yi-ming-289632","敦煌遗书281",[3028,49,7,199,386,878,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbe5a3794c50660c12465278fe29065.jpg",[],{"id":56602,"slug":56603,"title":56604,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56605,"thumbUrl":56606,"material":751,"size":752,"collection":95,"collections":56607,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289631,"dun-huang-yi-shu-280-yi-ming-289631","敦煌遗书280",[3028,386,7,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeda45a7d752966d46bbe66716fe4583.jpg",[],{"id":56609,"slug":56610,"title":56611,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56612,"thumbUrl":56614,"material":751,"size":752,"collection":95,"collections":56615,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289630,"dun-huang-yi-shu-279-yi-ming-289630","敦煌遗书279",[3028,7,386,49,199,6582,56613],"神话神祇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a343eaa0c8b295dce31fd5d558172f9.jpg",[],{"id":56617,"slug":56618,"title":56619,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56620,"thumbUrl":56621,"material":751,"size":752,"collection":95,"collections":56622,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289629,"dun-huang-yi-shu-278-yi-ming-289629","敦煌遗书278",[3028,386,7,49,199,1498,25,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a478dd43c7689ce210f8ebf543a550.jpg",[],{"id":56624,"slug":56625,"title":56626,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56627,"thumbUrl":56628,"material":751,"size":752,"collection":95,"collections":56629,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289628,"dun-huang-yi-shu-277-yi-ming-289628","敦煌遗书277",[3028,7,386,199,49,1498,6582,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e94e023eb662aff54ab942f48ef5ffb.jpg",[],{"id":56631,"slug":56632,"title":56633,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56634,"thumbUrl":56635,"material":751,"size":752,"collection":95,"collections":56636,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289627,"dun-huang-yi-shu-276-yi-ming-289627","敦煌遗书276",[49,7,386,3028,6582,199,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F008627d74172ba34c23982382850ba82.jpg",[],{"id":56638,"slug":56639,"title":56640,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56641,"thumbUrl":56642,"material":751,"size":752,"collection":95,"collections":56643,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289626,"dun-huang-yi-shu-275-yi-ming-289626","敦煌遗书275",[49,7,386,3028,199,878,44099,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97353f034c74cae259fb21a9730e9f1.jpg",[],{"id":56645,"slug":56646,"title":56647,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56648,"thumbUrl":56649,"material":751,"size":752,"collection":95,"collections":56650,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289625,"dun-huang-yi-shu-274-yi-ming-289625","敦煌遗书274",[3028,49,7,386,457,199,6582,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb543897f9b672ea5a225c903313611d.jpg",[],{"id":56652,"slug":56653,"title":56654,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56655,"thumbUrl":56656,"material":751,"size":752,"collection":95,"collections":56657,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289624,"dun-huang-yi-shu-273-yi-ming-289624","敦煌遗书273",[3028,49,7,386,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c7bdbd6a89a82f27d357e255e2f5762.jpg",[],{"id":56659,"slug":56660,"title":56661,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56662,"thumbUrl":56664,"material":751,"size":752,"collection":95,"collections":56665,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289623,"dun-huang-yi-shu-272-yi-ming-289623","敦煌遗书272",[3028,7,60,77,433,1498,56663],"契约","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a99273f8a5aa2b947ce10f7d5702a4.jpg",[],{"id":56667,"slug":56668,"title":56669,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56670,"thumbUrl":56671,"material":751,"size":752,"collection":95,"collections":56672,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289622,"dun-huang-yi-shu-271-yi-ming-289622","敦煌遗书271",[3028,49,7,199,386,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd09a04e312d3d6e6bca7ed255381673.jpg",[],{"id":56674,"slug":56675,"title":56676,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56677,"thumbUrl":56678,"material":751,"size":752,"collection":95,"collections":56679,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289621,"dun-huang-yi-shu-270-yi-ming-289621","敦煌遗书270",[3028,386,7,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b296a7a136f77e5cf45515eafa3c4cb.jpg",[],{"id":56681,"slug":56682,"title":56683,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56684,"thumbUrl":56685,"material":751,"size":752,"collection":95,"collections":56686,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289620,"dun-huang-yi-shu-269-yi-ming-289620","敦煌遗书269",[3028,49,7,386,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071ee9d8110e80fffc270cfbb3ffec24.jpg",[],{"id":56688,"slug":56689,"title":56690,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56691,"thumbUrl":56692,"material":751,"size":752,"collection":95,"collections":56693,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289619,"dun-huang-yi-shu-268-yi-ming-289619","敦煌遗书268",[3028,386,7,199,878,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310820db766c50c49e59b67ffa54b9c8.jpg",[],{"id":56695,"slug":56696,"title":56697,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56698,"thumbUrl":56699,"material":751,"size":752,"collection":95,"collections":56700,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289618,"dun-huang-yi-shu-267-yi-ming-289618","敦煌遗书267",[49,3028,7,386,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adf76bdfa219fbbd6b7b5576758de76.jpg",[],{"id":56702,"slug":56703,"title":56704,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56705,"thumbUrl":56706,"material":751,"size":752,"collection":95,"collections":56707,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289617,"dun-huang-yi-shu-266-yi-ming-289617","敦煌遗书266",[3028,49,7,386,878,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5440b2d2f3a3b431ce5705cd9d9a614.jpg",[],{"id":56709,"slug":56710,"title":56711,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56712,"thumbUrl":56713,"material":751,"size":752,"collection":95,"collections":56714,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289616,"dun-huang-yi-shu-265-yi-ming-289616","敦煌遗书265",[3028,7,386,49,398,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3e6b0da342bdbc3e51655736d53c5d.jpg",[],{"id":56716,"slug":56717,"title":56718,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56719,"thumbUrl":56720,"material":751,"size":752,"collection":95,"collections":56721,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289615,"dun-huang-yi-shu-264-yi-ming-289615","敦煌遗书264",[199,7,386,3028,49,878,1498,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45684131e42738b825c0d55ea6c389a1.jpg",[],{"id":56723,"slug":56724,"title":56725,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56726,"thumbUrl":56727,"material":751,"size":752,"collection":95,"collections":56728,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289614,"dun-huang-yi-shu-263-yi-ming-289614","敦煌遗书263",[3028,386,7,60,9007,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f30070320d33515051d56ba368d8f12.jpg",[],{"id":56730,"slug":56731,"title":56732,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56733,"thumbUrl":56734,"material":751,"size":752,"collection":95,"collections":56735,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289609,"dun-huang-yi-shu-262-yi-ming-289609","敦煌遗书262",[49,7,386,3028,1498,398,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fa59d1dce57afb64bc2c8c660c7fe8.jpg",[],{"id":56737,"slug":56738,"title":56739,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56740,"thumbUrl":56741,"material":751,"size":752,"collection":95,"collections":56742,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289608,"dun-huang-yi-shu-261-yi-ming-289608","敦煌遗书261",[3028,49,7,386,398,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c77a7fddb24223f4bd73fe378dca8e.jpg",[],{"id":56744,"slug":56745,"title":56746,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56747,"thumbUrl":56748,"material":751,"size":752,"collection":95,"collections":56749,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289607,"dun-huang-yi-shu-260-yi-ming-289607","敦煌遗书260",[3028,386,7,199,49,6582,37415,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10eb889d02328d1b831c601fad84607.jpg",[],{"id":56751,"slug":56752,"title":56753,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56754,"thumbUrl":56755,"material":751,"size":752,"collection":95,"collections":56756,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289606,"dun-huang-yi-shu-259-yi-ming-289606","敦煌遗书259",[3028,386,7,49,878,1498,199,77,6582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242acb13fefacb9e362d26c4b9e58d30.jpg",[],{"id":56758,"slug":56759,"title":56760,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56761,"thumbUrl":56762,"material":751,"size":752,"collection":95,"collections":56763,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289605,"dun-huang-yi-shu-258-yi-ming-289605","敦煌遗书258",[3028,7,199,386,878,6582,1498,9635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43faabea10927665f0a097cdc330a742.jpg",[],{"id":56765,"slug":56766,"title":56767,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56768,"thumbUrl":56770,"material":751,"size":752,"collection":95,"collections":56771,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289604,"dun-huang-yi-shu-257-yi-ming-289604","敦煌遗书257",[49,7,386,3028,199,37415,4677,56769],"毛笔书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08856b34a2de5607fc76e0ca1decec6.jpg",[],{"id":56773,"slug":56774,"title":56775,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56776,"thumbUrl":56777,"material":751,"size":752,"collection":95,"collections":56778,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289603,"dun-huang-yi-shu-256-yi-ming-289603","敦煌遗书256",[3028,386,7,199,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42938cd561a5afb1af2eca7b0264f163.jpg",[],{"id":56780,"slug":56781,"title":56782,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56783,"thumbUrl":56784,"material":751,"size":752,"collection":95,"collections":56785,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289602,"dun-huang-yi-shu-255-yi-ming-289602","敦煌遗书255",[3028,386,7,49,199,878,6582,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F442ae804e9caf4128bda4b8e8578ef1e.jpg",[],{"id":56787,"slug":56788,"title":56789,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56790,"thumbUrl":56791,"material":751,"size":752,"collection":95,"collections":56792,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289601,"dun-huang-yi-shu-254-yi-ming-289601","敦煌遗书254",[3028,386,7,199,49,878,44099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b1b55c9cf8a4eadf7e42587a77ec67.jpg",[],{"id":56794,"slug":56795,"title":56796,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56797,"thumbUrl":56798,"material":751,"size":752,"collection":95,"collections":56799,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289600,"dun-huang-yi-shu-253-yi-ming-289600","敦煌遗书253",[3028,7,386,878,1498,199,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faddb8c2d7de9507df53700a5ce00e623.jpg",[],{"id":56801,"slug":56802,"title":56803,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56804,"thumbUrl":56805,"material":751,"size":752,"collection":95,"collections":56806,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289599,"dun-huang-yi-shu-252-yi-ming-289599","敦煌遗书252",[3028,386,7,199,49,878,40263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7896cfa0cb1a3c1a2ce7c6318849867b.jpg",[],{"id":56808,"slug":56809,"title":56810,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56811,"thumbUrl":56812,"material":751,"size":752,"collection":95,"collections":56813,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289450,"dun-huang-yi-shu-251-yi-ming-289450","敦煌遗书251",[3028,49,7,386,199,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F510ccc955ad69c55448898090139c1ba.jpg",[],{"id":56815,"slug":56816,"title":56817,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56818,"thumbUrl":56819,"material":751,"size":752,"collection":95,"collections":56820,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},289439,"dun-huang-yi-shu-250-yi-ming-289439","敦煌遗书250",[49,3028,386,7,199,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f3b71c6fdea35b9a808bb723bcaf78.jpg",[],{"id":56822,"slug":56823,"title":56824,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56825,"thumbUrl":56826,"material":751,"size":752,"collection":95,"collections":56827,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289438,"dun-huang-yi-shu-249-yi-ming-289438","敦煌遗书249",[49,7,386,878,9007,3028,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3fa4a3693a2d0dbca68cb1639f0dc4.jpg",[],{"id":56829,"slug":56830,"title":56831,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56832,"thumbUrl":56833,"material":751,"size":752,"collection":95,"collections":56834,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289437,"dun-huang-yi-shu-248-yi-ming-289437","敦煌遗书248",[49,7,386,3028,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fd24aa17df255c3129c222977754b7.jpg",[],{"id":56836,"slug":56837,"title":56838,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56839,"thumbUrl":56840,"material":751,"size":752,"collection":95,"collections":56841,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289436,"dun-huang-yi-shu-247-yi-ming-289436","敦煌遗书247",[3028,386,7,199,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06f81eb80e3ae607f6d859a2178be6f.jpg",[],{"id":56843,"slug":56844,"title":56845,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56846,"thumbUrl":56847,"material":751,"size":752,"collection":95,"collections":56848,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289435,"dun-huang-yi-shu-246-yi-ming-289435","敦煌遗书246",[3028,386,7,199,49,1498,878,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0079ce9ac6a75f4a36b7c58e93294eb4.jpg",[],{"id":56850,"slug":56851,"title":56852,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56853,"thumbUrl":56854,"material":751,"size":752,"collection":95,"collections":56855,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289434,"dun-huang-yi-shu-245-yi-ming-289434","敦煌遗书245",[3028,7,386,199,878,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9399d446ac3d52455cefdde48eb9a01e.jpg",[],{"id":56857,"slug":56858,"title":56859,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56860,"thumbUrl":56861,"material":751,"size":752,"collection":95,"collections":56862,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289433,"dun-huang-yi-shu-244-yi-ming-289433","敦煌遗书244",[3028,7,386,199,49,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcacd15c0b3cbe46d5824ec54ae434ea.jpg",[],{"id":56864,"slug":56865,"title":56866,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56867,"thumbUrl":56868,"material":751,"size":752,"collection":95,"collections":56869,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289432,"dun-huang-yi-shu-243-yi-ming-289432","敦煌遗书243",[3028,7,386,199,878,49,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F229ed0aba34156647027337d8d3db042.jpg",[],{"id":56871,"slug":56872,"title":56873,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56874,"thumbUrl":56875,"material":751,"size":752,"collection":95,"collections":56876,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289431,"dun-huang-yi-shu-242-yi-ming-289431","敦煌遗书242",[3028,7,386,49,199,1498,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb44d5f5702ca18f32736656d3fcf2e23.jpg",[],{"id":56878,"slug":56879,"title":56880,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56881,"thumbUrl":56882,"material":751,"size":752,"collection":95,"collections":56883,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289430,"dun-huang-yi-shu-241-yi-ming-289430","敦煌遗书241",[25,49,7,386,199,9007,20967,1498,3028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48096cd2612e73b793fe6d9da0449eb4.jpg",[],{"id":56885,"slug":56886,"title":56887,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56888,"thumbUrl":56889,"material":751,"size":752,"collection":95,"collections":56890,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289429,"dun-huang-yi-shu-240-yi-ming-289429","敦煌遗书240",[3028,49,7,386,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7df172dcd622e5d373e821e73a15e6.jpg",[],{"id":56892,"slug":56893,"title":56894,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56895,"thumbUrl":56896,"material":751,"size":752,"collection":95,"collections":56897,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289428,"dun-huang-yi-shu-239-yi-ming-289428","敦煌遗书239",[49,7,386,199,9007,3028,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dfe287b17d1774b4f4e67f0336bf28d.jpg",[],{"id":56899,"slug":56900,"title":56901,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56902,"thumbUrl":56903,"material":751,"size":752,"collection":95,"collections":56904,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289427,"dun-huang-yi-shu-238-yi-ming-289427","敦煌遗书238",[7,386,3028,49,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F998da95a64d98921f6c4035b4e1a8e17.jpg",[],{"id":56906,"slug":56907,"title":56908,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56909,"thumbUrl":56910,"material":751,"size":752,"collection":95,"collections":56911,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289426,"dun-huang-yi-shu-237-yi-ming-289426","敦煌遗书237",[3028,49,7,386,199,1498,878,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401227d5589683b9223d7a834f4bd0f1.jpg",[],{"id":56913,"slug":56914,"title":56915,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56916,"thumbUrl":56917,"material":751,"size":752,"collection":95,"collections":56918,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289425,"dun-huang-yi-shu-236-yi-ming-289425","敦煌遗书236",[3028,7,386,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa581f71736dd9d22d50b34c4cb30f612.jpg",[],{"id":56920,"slug":56921,"title":56922,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56923,"thumbUrl":56924,"material":751,"size":752,"collection":95,"collections":56925,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},289424,"dun-huang-yi-shu-235-yi-ming-289424","敦煌遗书235",[49,3028,386,7,199,1498,878,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2759aac918ed77085956c3531dc1b5a0.jpg",[],{"id":56927,"slug":56928,"title":56929,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56930,"thumbUrl":56931,"material":751,"size":752,"collection":95,"collections":56932,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289423,"dun-huang-yi-shu-234-yi-ming-289423","敦煌遗书234",[3028,386,7,49,9007,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393168be6b86070d14efba0efd8eec74.jpg",[],{"id":56934,"slug":56935,"title":56936,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56937,"thumbUrl":56938,"material":751,"size":752,"collection":95,"collections":56939,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289422,"dun-huang-yi-shu-233-yi-ming-289422","敦煌遗书233",[3028,386,7,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d601949ad4df17c62cf8dde9c865a3b.jpg",[],{"id":56941,"slug":56942,"title":56943,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56944,"thumbUrl":56945,"material":751,"size":752,"collection":95,"collections":56946,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289421,"dun-huang-yi-shu-232-yi-ming-289421","敦煌遗书232",[49,7,386,3028,199,1498,878,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af5977c84d7d6a2a4a10cf49f44d0a5.jpg",[],{"id":56948,"slug":56949,"title":56950,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56951,"thumbUrl":56952,"material":751,"size":752,"collection":95,"collections":56953,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289420,"dun-huang-yi-shu-231-yi-ming-289420","敦煌遗书231",[3028,7,386,1498,199,9007,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434e4a666927ee0758a1d72b689a403e.jpg",[],{"id":56955,"slug":56956,"title":56957,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56958,"thumbUrl":56959,"material":751,"size":752,"collection":95,"collections":56960,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289419,"dun-huang-yi-shu-230-yi-ming-289419","敦煌遗书230",[3028,386,7,199,49,9007,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816acd3f36495e42113f59c976ff55fb.jpg",[],{"id":56962,"slug":56963,"title":56964,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56965,"thumbUrl":56966,"material":751,"size":752,"collection":95,"collections":56967,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289418,"dun-huang-yi-shu-229-yi-ming-289418","敦煌遗书229",[49,7,386,3028,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086dede2087a0189cadd50e99680e580.jpg",[],{"id":56969,"slug":56970,"title":56971,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56972,"thumbUrl":56973,"material":751,"size":752,"collection":95,"collections":56974,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289417,"dun-huang-yi-shu-228-yi-ming-289417","敦煌遗书228",[3028,7,386,199,1498,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1392fbd4bc5bdea7b8334b4435be506f.jpg",[],{"id":56976,"slug":56977,"title":56978,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56979,"thumbUrl":56980,"material":751,"size":752,"collection":95,"collections":56981,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289416,"dun-huang-yi-shu-227-yi-ming-289416","敦煌遗书227",[49,7,386,3028,398,1498,878,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f57ad15ed9970351f44c090f94c8da.jpg",[],{"id":56983,"slug":56984,"title":56985,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56986,"thumbUrl":56987,"material":751,"size":752,"collection":95,"collections":56988,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289415,"dun-huang-yi-shu-226-yi-ming-289415","敦煌遗书226",[49,7,386,398,3028,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bb6ef28e4cc3b6377a2aea26cc6f0e.jpg",[],{"id":56990,"slug":56991,"title":56992,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":56993,"thumbUrl":56994,"material":751,"size":752,"collection":95,"collections":56995,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289414,"dun-huang-yi-shu-225-yi-ming-289414","敦煌遗书225",[7,386,199,49,3028,6582,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca920247c966818415a4a29d5c2d76d6.jpg",[],{"id":56997,"slug":56998,"title":56999,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57000,"thumbUrl":57001,"material":751,"size":752,"collection":95,"collections":57002,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},289413,"dun-huang-yi-shu-224-yi-ming-289413","敦煌遗书224",[3028,49,386,7,398,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26452905863317fea2328f13dc9221bd.jpg",[],{"id":57004,"slug":57005,"title":57006,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57007,"thumbUrl":57008,"material":751,"size":752,"collection":95,"collections":57009,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289411,"dun-huang-yi-shu-222-yi-ming-289411","敦煌遗书222",[3028,49,7,386,199,878,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bcc4c823b5cb588aad73b99886629d.jpg",[],{"id":57011,"slug":57012,"title":57013,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57014,"thumbUrl":57015,"material":751,"size":752,"collection":95,"collections":57016,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289410,"dun-huang-yi-shu-221-yi-ming-289410","敦煌遗书221",[3028,49,7,386,199,9007,1498,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2451e4b7955b7d2590decf3dfacefb82.jpg",[],{"id":57018,"slug":57019,"title":57020,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57021,"thumbUrl":57022,"material":751,"size":752,"collection":95,"collections":57023,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289409,"dun-huang-yi-shu-220-yi-ming-289409","敦煌遗书220",[7,386,3028,49,199,1498,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14241cdb2b75017cccfae411264da497.jpg",[],{"id":57025,"slug":57026,"title":57027,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57028,"thumbUrl":57029,"material":751,"size":752,"collection":95,"collections":57030,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289408,"dun-huang-yi-shu-219-yi-ming-289408","敦煌遗书219",[3028,386,7,49,9007,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d6723948cbe01e836a6abe4a22baeb.jpg",[],{"id":57032,"slug":57033,"title":57034,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57035,"thumbUrl":57036,"material":751,"size":752,"collection":95,"collections":57037,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289407,"dun-huang-yi-shu-218-yi-ming-289407","敦煌遗书218",[3028,386,7,199,1498,878,49,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dffd2856cf5a0170a5eef40c45e849.jpg",[],{"id":57039,"slug":57040,"title":57041,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57042,"thumbUrl":57043,"material":751,"size":752,"collection":95,"collections":57044,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289406,"dun-huang-yi-shu-217-yi-ming-289406","敦煌遗书217",[49,7,386,3028,199,1498,878,6582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d4323c6ff9d0c77e2a9d565c6d75d8.jpg",[],{"id":57046,"slug":57047,"title":57048,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57049,"thumbUrl":57050,"material":751,"size":752,"collection":95,"collections":57051,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},289405,"dun-huang-yi-shu-216-yi-ming-289405","敦煌遗书216",[3028,7,386,199,878,20967,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0341807a3313899696d5b9eafa5f97.jpg",[],{"id":57053,"slug":57054,"title":57055,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57056,"thumbUrl":57057,"material":751,"size":752,"collection":95,"collections":57058,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289404,"dun-huang-yi-shu-215-yi-ming-289404","敦煌遗书215",[3028,386,7,398,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2993b094157860c60d3e1a020d844ae.jpg",[],{"id":57060,"slug":57061,"title":57062,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57063,"thumbUrl":57064,"material":751,"size":752,"collection":95,"collections":57065,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289403,"dun-huang-yi-shu-214-yi-ming-289403","敦煌遗书214",[3028,386,7,199,1498,6582,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d0dd6253f9d14c50c7b156326c1fc7.jpg",[],{"id":57067,"slug":57068,"title":57069,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57070,"thumbUrl":57071,"material":751,"size":752,"collection":95,"collections":57072,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289402,"dun-huang-yi-shu-213-yi-ming-289402","敦煌遗书213",[386,7,49,3028,199,9007,312,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d28d9eb03e7d742f7ce672ecdc33cf.jpg",[],{"id":57074,"slug":57075,"title":57076,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57077,"thumbUrl":57078,"material":751,"size":752,"collection":95,"collections":57079,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289401,"dun-huang-yi-shu-212-yi-ming-289401","敦煌遗书212",[3028,49,7,386,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd800453f3285b06c1a05354888222a0.jpg",[],{"id":57081,"slug":57082,"title":57083,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57084,"thumbUrl":57085,"material":751,"size":752,"collection":95,"collections":57086,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289400,"dun-huang-yi-shu-211-yi-ming-289400","敦煌遗书211",[3028,49,7,386,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dee179bcdea5737d6e642be284d85b5.jpg",[],{"id":57088,"slug":57089,"title":57090,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57091,"thumbUrl":57092,"material":751,"size":752,"collection":95,"collections":57093,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289399,"dun-huang-yi-shu-210-yi-ming-289399","敦煌遗书210",[7,386,3028,199,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec3f46fb6c2e2e221470ae9f95fc480.jpg",[],{"id":57095,"slug":57096,"title":57097,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57098,"thumbUrl":57099,"material":751,"size":752,"collection":95,"collections":57100,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289398,"dun-huang-yi-shu-209-yi-ming-289398","敦煌遗书209",[3028,49,7,386,199,6582,878,1498,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bf1f6e1cf575c741ef8561906abb0d.jpg",[],{"id":57102,"slug":57103,"title":57104,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57105,"thumbUrl":57106,"material":751,"size":752,"collection":95,"collections":57107,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289397,"dun-huang-yi-shu-208-yi-ming-289397","敦煌遗书208",[49,7,386,3028,878,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b871e855cc1ddb21e660e294f1fa8ad.jpg",[],{"id":57109,"slug":57110,"title":57111,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57112,"thumbUrl":57113,"material":751,"size":752,"collection":95,"collections":57114,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},289396,"dun-huang-yi-shu-207-yi-ming-289396","敦煌遗书207",[3028,49,7,386,199,1498,878,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a7102b0d25da8cfa18c1b10f7aa6ef.jpg",[],{"id":57116,"slug":57117,"title":57118,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57119,"thumbUrl":57120,"material":751,"size":752,"collection":95,"collections":57121,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289395,"dun-huang-yi-shu-206-yi-ming-289395","敦煌遗书206",[3028,386,7,49,398,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ecfc8554dbd73ba796a9bbf292b38c.jpg",[],{"id":57123,"slug":57124,"title":57125,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57126,"thumbUrl":57127,"material":751,"size":752,"collection":95,"collections":57128,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289394,"dun-huang-yi-shu-205-yi-ming-289394","敦煌遗书205",[3028,49,7,386,878,1498,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2da01a4cf0fe7f1c771fdfefff46469.jpg",[],{"id":57130,"slug":57131,"title":57132,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57133,"thumbUrl":57134,"material":751,"size":752,"collection":95,"collections":57135,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289393,"dun-huang-yi-shu-204-yi-ming-289393","敦煌遗书204",[49,7,386,398,3028,878,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a3881d7b5d10110465f6539302e0fc.jpg",[],{"id":57137,"slug":57138,"title":57139,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57140,"thumbUrl":57141,"material":751,"size":752,"collection":95,"collections":57142,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289392,"dun-huang-yi-shu-203-yi-ming-289392","敦煌遗书203",[3028,49,7,386,398,1498,50,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624e37d594fdbff3ff8b31f0f1b511cf.jpg",[],{"id":57144,"slug":57145,"title":57146,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57147,"thumbUrl":57148,"material":751,"size":752,"collection":95,"collections":57149,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289391,"dun-huang-yi-shu-202-yi-ming-289391","敦煌遗书202",[3028,386,7,49,199,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd76aefc7c5087a35f88940ed771861.jpg",[],{"id":57151,"slug":57152,"title":57153,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57154,"thumbUrl":57155,"material":751,"size":752,"collection":95,"collections":57156,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289390,"dun-huang-yi-shu-201-yi-ming-289390","敦煌遗书201",[3028,7,386,38376,60,24610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8548ac52500b321bc02a5ad1abce24.jpg",[],{"id":57158,"slug":57159,"title":57160,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57161,"thumbUrl":57162,"material":751,"size":752,"collection":95,"collections":57163,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289389,"dun-huang-yi-shu-200-yi-ming-289389","敦煌遗书200",[3028,386,7,398,49,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450d6700c54b08ba24d83e39b36a2676.jpg",[],{"id":57165,"slug":57166,"title":57167,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57168,"thumbUrl":57169,"material":751,"size":752,"collection":95,"collections":57170,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289388,"dun-huang-yi-shu-199-yi-ming-289388","敦煌遗书199",[3028,386,7,49,398,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dc4dc38330d2ba049494103bf67ed54.jpg",[],{"id":57172,"slug":57173,"title":57174,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57175,"thumbUrl":57176,"material":751,"size":752,"collection":95,"collections":57177,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289387,"dun-huang-yi-shu-198-yi-ming-289387","敦煌遗书198",[3028,7,386,199,1498,38376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8b0f84c8020d72d7428e6ac97e0466.jpg",[],{"id":57179,"slug":57180,"title":57181,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57182,"thumbUrl":57183,"material":751,"size":752,"collection":95,"collections":57184,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289386,"dun-huang-yi-shu-197-yi-ming-289386","敦煌遗书197",[3028,386,7,199,49,9007,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e382aa44b9d134b68432269fe1bc7f0.jpg",[],{"id":57186,"slug":57187,"title":57188,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57189,"thumbUrl":57190,"material":751,"size":752,"collection":95,"collections":57191,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289385,"dun-huang-yi-shu-196-yi-ming-289385","敦煌遗书196",[3028,386,7,199,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fff6f74f319ad4d07a8616e11e31266.jpg",[],{"id":57193,"slug":57194,"title":57195,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57196,"thumbUrl":57197,"material":751,"size":752,"collection":95,"collections":57198,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289384,"dun-huang-yi-shu-195-yi-ming-289384","敦煌遗书195",[3028,386,7,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9807405c79b5b413bd7a4930be2d19f4.jpg",[],{"id":57200,"slug":57201,"title":57202,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57203,"thumbUrl":57204,"material":751,"size":752,"collection":95,"collections":57205,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289383,"dun-huang-yi-shu-194-yi-ming-289383","敦煌遗书194",[3028,7,386,49,199,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c4cce1e5f37b8064a6be276fecf511.jpg",[],{"id":57207,"slug":57208,"title":57209,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57210,"thumbUrl":57211,"material":751,"size":752,"collection":95,"collections":57212,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},289382,"dun-huang-yi-shu-193-yi-ming-289382","敦煌遗书193",[3028,7,386,199,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e385eefcc95fd80a03664add6145e0d.jpg",[],{"id":57214,"slug":57215,"title":57216,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57217,"thumbUrl":57218,"material":751,"size":752,"collection":95,"collections":57219,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},289381,"dun-huang-yi-shu-192-yi-ming-289381","敦煌遗书192",[49,7,386,3028,878,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77b0760d95254fbec7afe453ac984a5.jpg",[],{"id":57221,"slug":57222,"title":57223,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57224,"thumbUrl":57225,"material":751,"size":752,"collection":95,"collections":57226,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},288469,"dun-huang-yi-shu-191-yi-ming-288469","敦煌遗书191",[49,7,386,3028,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e479e55a48acf90303ad8225d4b389.jpg",[],{"id":57228,"slug":57229,"title":57230,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57231,"thumbUrl":57232,"material":751,"size":752,"collection":95,"collections":57233,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},288468,"dun-huang-yi-shu-190-yi-ming-288468","敦煌遗书190",[49,7,386,3028,1498,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f749f1c87a6267946d43df6414a724.jpg",[],{"id":57235,"slug":57236,"title":57237,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57238,"thumbUrl":57239,"material":751,"size":752,"collection":95,"collections":57240,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},288467,"dun-huang-yi-shu-189-yi-ming-288467","敦煌遗书189",[3028,49,7,386,398,1498,878,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15cfe5618d5a87e6ad8321656a0816b1.jpg",[],{"id":57242,"slug":57243,"title":57244,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57245,"thumbUrl":57246,"material":751,"size":752,"collection":95,"collections":57247,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},288466,"dun-huang-yi-shu-188-yi-ming-288466","敦煌遗书188",[3028,49,7,386,199,1498,4678,9007,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d8af33f1399cc07165d1915bcaa414.jpg",[],{"id":57249,"slug":57250,"title":57251,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57252,"thumbUrl":57253,"material":751,"size":752,"collection":95,"collections":57254,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},288465,"dun-huang-yi-shu-187-yi-ming-288465","敦煌遗书187",[3028,386,7,49,878,1498,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b73c0737518ebf953d0c63b9cd707d8.jpg",[],{"id":57256,"slug":57257,"title":57258,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57259,"thumbUrl":57260,"material":751,"size":752,"collection":95,"collections":57261,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},288464,"dun-huang-yi-shu-186-yi-ming-288464","敦煌遗书186",[3028,7,386,199,878,1498,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f16dc4b8b16934fa21944f2252d98dc.jpg",[],{"id":57263,"slug":57264,"title":57265,"dynasty":18,"author":454,"museum":107,"description":57266,"tags":57267,"thumbUrl":57268,"material":751,"size":752,"collection":95,"collections":57269,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},288193,"bo-lin-cai-hui-tu-ce-yi-yi-ming-288193","伯麟彩绘图册(一)","此作设色清雅，工写兼具。绘山林溪谷间，飞瀑穿石迭涌，苍松茂林铺陈出山野幽寂。四位獠人裸身披草，神态各异，或捧野果、或负竹筐，鲜活还原其以叶为衣、茹毛饮血的蛮荒日常。\n\n题诗呼应画面，点明其不知耕稼、居于江外林莽的朴野习性。画作以细腻笔触勾勒人物情态，兼具纪实性与艺术性，既有着民俗考察的直观价值，又以淡彩晕染山水烘托出荒蛮幽深的边地氛围，将边地族群的原生生存图景定格纸面，笔墨温润意态鲜活，尽显边地风物图绘的独特意趣。",[24,4347,27,113,51,53,56,57,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5baf5dacdc44442a74e816074db2e824.jpg",[],{"id":57271,"slug":57272,"title":57273,"dynasty":45,"author":45584,"museum":107,"description":57274,"tags":57275,"thumbUrl":57277,"material":751,"size":752,"collection":95,"collections":57278,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},288071,"shu-qi-tie-ma-yu-288071","暑气帖","《暑气帖》是马愈邀请朋友医相先生来访叙旧的书信。因系友人间来往信札，书写时随意性很大，行笔纵横不羁，体势开张而不求工致。其书体瘦劲奔放，气息朗畅，骨力矫健，纵逸洒脱，结体开张。。陈其锟跋中称：“此书骨力排奡，纵宕不羁。”\n此帖曾经明末朱之赤、清代安岐等人收藏。，现为北京故宫博物院收藏。",[7,60,77,57276,19315],"暑气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa530bc6fac0d4f287ae03203819596c5.jpg",[],{"id":57280,"slug":57281,"title":57282,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57283,"thumbUrl":57284,"material":751,"size":752,"collection":95,"collections":57285,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287993,"dun-huang-yi-shu-185-yi-ming-287993","敦煌遗书185",[3028,7,386,398,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336654721e4fff4e77dfb236de39cda1.jpg",[],{"id":57287,"slug":57288,"title":57289,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57290,"thumbUrl":57291,"material":751,"size":752,"collection":95,"collections":57292,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287992,"dun-huang-yi-shu-184-yi-ming-287992","敦煌遗书184",[3028,49,7,386,199,1498,6582,878,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F514c05d903398841392ab67bdb31c8ad.jpg",[],{"id":57294,"slug":57295,"title":57296,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57297,"thumbUrl":57298,"material":751,"size":752,"collection":95,"collections":57299,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287991,"dun-huang-yi-shu-183-yi-ming-287991","敦煌遗书183",[3028,7,386,199,878,1498,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65e7c8f0c62741bf7db47fc11b61a5.jpg",[],{"id":57301,"slug":57302,"title":57303,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57304,"thumbUrl":57305,"material":751,"size":752,"collection":95,"collections":57306,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287990,"dun-huang-yi-shu-182-yi-ming-287990","敦煌遗书182",[3028,7,386,199,9007,1498,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bcb098698c7895d759cadf2c50f45b.jpg",[],{"id":57308,"slug":57309,"title":57310,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57311,"thumbUrl":57312,"material":751,"size":752,"collection":95,"collections":57313,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287989,"dun-huang-yi-shu-181-yi-ming-287989","敦煌遗书181",[3028,49,7,386,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232c77a5fc80598bb27465a6b017081.jpg",[],{"id":57315,"slug":57316,"title":57317,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57318,"thumbUrl":57319,"material":751,"size":752,"collection":95,"collections":57320,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287988,"dun-huang-yi-shu-180-yi-ming-287988","敦煌遗书180",[49,7,386,199,3028,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccddb4a6e9048ffd8187ae6644f8733.jpg",[],{"id":57322,"slug":57323,"title":57324,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57325,"thumbUrl":57326,"material":751,"size":752,"collection":95,"collections":57327,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287987,"dun-huang-yi-shu-179-yi-ming-287987","敦煌遗书179",[3028,7,398,386,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f2c60c7cebd9bd590e3318e640532e.jpg",[],{"id":57329,"slug":57330,"title":57331,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57332,"thumbUrl":57333,"material":751,"size":752,"collection":95,"collections":57334,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287986,"dun-huang-yi-shu-178-yi-ming-287986","敦煌遗书178",[7,386,49,3028,199,6582,1498,25,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19fa6cc4c65ff85f13b9f04918a1dd9c.jpg",[],{"id":57336,"slug":57337,"title":57338,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57339,"thumbUrl":57340,"material":751,"size":752,"collection":95,"collections":57341,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287985,"dun-huang-yi-shu-177-yi-ming-287985","敦煌遗书177",[3028,386,7,199,49,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec08cda5de975b7a5a98ee10206e4fbb.jpg",[],{"id":57343,"slug":57344,"title":57345,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57346,"thumbUrl":57347,"material":751,"size":752,"collection":95,"collections":57348,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287982,"dun-huang-yi-shu-176-yi-ming-287982","敦煌遗书176",[49,7,199,386,3028,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836403b514c10d41bc4e9c26aae7ab6e.jpg",[],{"id":57350,"slug":57351,"title":57352,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57353,"thumbUrl":57354,"material":751,"size":752,"collection":95,"collections":57355,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287895,"dun-huang-yi-shu-175-yi-ming-287895","敦煌遗书175",[3028,7,386,49,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0d908f6fa260c8917bb562509b1711.jpg",[],{"id":57357,"slug":57358,"title":57359,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57360,"thumbUrl":57361,"material":751,"size":752,"collection":95,"collections":57362,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287894,"dun-huang-yi-shu-174-yi-ming-287894","敦煌遗书174",[3028,386,7,49,199,9007,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1ee48dd8bee3d86e4ff07a5ecab807.jpg",[],{"id":57364,"slug":57365,"title":57366,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57367,"thumbUrl":57368,"material":751,"size":752,"collection":95,"collections":57369,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287893,"dun-huang-yi-shu-173-yi-ming-287893","敦煌遗书173",[3028,386,7,49,398,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530e6f96c90f49e2336008d96c338b16.jpg",[],{"id":57371,"slug":57372,"title":57373,"dynasty":18,"author":454,"museum":107,"description":57374,"tags":57375,"thumbUrl":57376,"material":751,"size":752,"collection":95,"collections":57377,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287883,"fu-zi-yi-ming-287883","佛字","此作以书为画，将文字与禅意融为一处。左侧以篆法萦回盘曲，墨色沉厚间带飞白枯意，如老僧跏趺禅坐，线条圆劲苍古，静穆浑朴，尽现静定禅心。右侧化笔为形，似合掌躬身的礼佛之人，身形宛然恭谨，笔墨酣畅自然，枯湿浓淡相生。\n整字抛却刻板书写，把意涵具象化，以笔墨传递出肃穆禅境，见字如观佛，静气自生，古拙浑朴的笔势间，藏着禅家平和空寂的底蕴。",[23,7,50,457,878,57373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8600be237fb7bf933f0f833c5709f416.jpg",[],{"id":57379,"slug":57380,"title":57381,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57382,"thumbUrl":57383,"material":751,"size":752,"collection":95,"collections":57384,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287882,"dun-huang-yi-shu-172-yi-ming-287882","敦煌遗书172",[3028,49,7,386,878,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be3daa30906607755e2bd95a7dbc10b.jpg",[],{"id":57386,"slug":57387,"title":57388,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57389,"thumbUrl":57390,"material":751,"size":752,"collection":95,"collections":57391,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287854,"dun-huang-yi-shu-171-yi-ming-287854","敦煌遗书171",[3028,386,7,199,49,50,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a1aaa0bdec8a381979073715cfc3c0.jpg",[],{"id":57393,"slug":57394,"title":57395,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57396,"thumbUrl":57397,"material":751,"size":752,"collection":95,"collections":57398,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287853,"dun-huang-yi-shu-170-yi-ming-287853","敦煌遗书170",[3028,49,7,386,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34554c2da876b5045e47292693fb222f.jpg",[],{"id":57400,"slug":57401,"title":57402,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57403,"thumbUrl":57404,"material":751,"size":752,"collection":95,"collections":57405,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287851,"dun-huang-yi-shu-168-yi-ming-287851","敦煌遗书168",[3028,7,386,199,49,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffc186965efb84b0ecd75d3edfd6dc4d.jpg",[],{"id":57407,"slug":57408,"title":57409,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57410,"thumbUrl":57411,"material":751,"size":752,"collection":95,"collections":57412,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287844,"dun-huang-yi-shu-167-yi-ming-287844","敦煌遗书167",[49,7,386,3028,199,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd9c8bf2cb8bcf19988d79a84a84c97b.jpg",[],{"id":57414,"slug":57415,"title":57416,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57417,"thumbUrl":57418,"material":751,"size":752,"collection":95,"collections":57419,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287803,"dun-huang-yi-shu-166-yi-ming-287803","敦煌遗书166",[3028,386,7,199,49,878,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd55f0a76c3cb0c35333cb002f2b494ee.jpg",[],{"id":57421,"slug":57422,"title":57423,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57424,"thumbUrl":57425,"material":751,"size":752,"collection":95,"collections":57426,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287802,"dun-huang-yi-shu-165-yi-ming-287802","敦煌遗书165",[3028,7,386,199,49,878,20967,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc542f664f0c7e870b021168ff05fcb7b.jpg",[],{"id":57428,"slug":57429,"title":57430,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57431,"thumbUrl":57432,"material":751,"size":752,"collection":95,"collections":57433,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287801,"dun-huang-yi-shu-164-yi-ming-287801","敦煌遗书164",[7,386,49,3028,1498,199,878,4677,77,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a16fd1f287153c442eae5b753b3e46.jpg",[],{"id":57435,"slug":57436,"title":57437,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57438,"thumbUrl":57439,"material":751,"size":752,"collection":95,"collections":57440,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287735,"dun-huang-yi-shu-163-yi-ming-287735","敦煌遗书163",[3028,386,7,1498,878,433,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9a9b0bb5092c1ab66d8e6018f5c6b3.jpg",[],{"id":57442,"slug":57443,"title":57444,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57445,"thumbUrl":57446,"material":751,"size":752,"collection":95,"collections":57447,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287734,"dun-huang-yi-shu-162-yi-ming-287734","敦煌遗书162",[3028,386,7,398,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7aebc52bc3d06888e6334b534b1e86.jpg",[],{"id":57449,"slug":57450,"title":57451,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57452,"thumbUrl":57453,"material":751,"size":752,"collection":95,"collections":57454,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287733,"dun-huang-yi-shu-161-yi-ming-287733","敦煌遗书161",[3028,386,7,199,878,1498,20967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b475302630f2c58da16fc87f629dd3b.jpg",[],{"id":57456,"slug":57457,"title":3842,"dynasty":45,"author":57458,"museum":107,"description":57459,"tags":57460,"thumbUrl":57461,"material":751,"size":752,"collection":95,"collections":57462,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287682,"qi-yan-lv-shi-zhang-feng-yi-287682","张凤翼","张凤翼，字伯起，号灵虚，别署灵墟先生、冷然居士。南直隶苏州府长洲（今江苏苏州）人。与弟燕翼、献翼并有才名，时人号为“三张”。嘉靖四十三年（1564）与燕翼皆中举人。\n为人狂诞，擅作曲。凤翼所著戏曲，有传奇《红拂记》、《祝发记》、《窃符记》、《灌园记》《扊扅记》、《虎符记》（以上六种，合题《阳春集》）另据傅惜华《明代传奇全目》著录，尚有《平播记》、《芦衣记》、《玉燕记》三种，均无传本。\n诗文有《处实堂集》八卷，及《梦占类考》、《海内名家工画能事》、《文选纂注》、《四书句解》、《瑞兰阁景行录》、《清河逸事》、《自订年谱》、《国朝诗管画集》等；另有《敲月轩词稿》，久已散佚。曾为《水浒传》作序。",[1250,7,60,77,25,24,3842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cab168faf1882791c8499447edf59e7.jpg",[],{"id":57464,"slug":57465,"title":57466,"dynasty":45,"author":40900,"museum":107,"description":40901,"tags":57467,"thumbUrl":57468,"material":751,"size":752,"collection":95,"collections":57469,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287677,"duan-zha-wang-zhi-deng-287677","短札",[7,60,77,57466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e3280578d6849ea9ec5f9e2e258fa2a.jpg",[],{"id":57471,"slug":57472,"title":57473,"dynasty":45,"author":51700,"museum":107,"description":51701,"tags":57474,"thumbUrl":57475,"material":751,"size":752,"collection":95,"collections":57476,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287676,"zeng-bie-shi-wang-ao-287676","赠别诗",[25,7,75,60,77,57473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86397b19de35584cd14cc2cd2ecd977a.jpg",[],{"id":57478,"slug":57479,"title":57480,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57481,"thumbUrl":57482,"material":751,"size":752,"collection":95,"collections":57483,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},287615,"dun-huang-yi-shu-160-yi-ming-287615","敦煌遗书160",[3028,386,1498,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9469473dcdb9ae02ac113e5ce3cc39b.jpg",[],{"id":57485,"slug":57486,"title":57487,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57488,"thumbUrl":57489,"material":751,"size":752,"collection":95,"collections":57490,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287516,"dun-huang-yi-shu-159-yi-ming-287516","敦煌遗书159",[3028,7,386,199,49,1498,20334,6578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c92e760f887eec6ce8de780bb17661.jpg",[],{"id":57492,"slug":57493,"title":57494,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57495,"thumbUrl":57496,"material":751,"size":752,"collection":95,"collections":57497,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287515,"dun-huang-yi-shu-158-yi-ming-287515","敦煌遗书158",[7,386,3028,199,49,6582,878,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6547a1e7957b57ac1f9fa11108139b.jpg",[],{"id":57499,"slug":57500,"title":57501,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57502,"thumbUrl":57503,"material":751,"size":752,"collection":95,"collections":57504,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287514,"dun-huang-yi-shu-157-yi-ming-287514","敦煌遗书157",[3028,7,386,199,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f04ce219404aa55e527f4079181082.jpg",[],{"id":57506,"slug":57507,"title":57508,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57509,"thumbUrl":57510,"material":751,"size":752,"collection":95,"collections":57511,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287513,"dun-huang-yi-shu-156-yi-ming-287513","敦煌遗书156",[49,7,386,3028,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656fe1294ef1f2a2034ca130d3b3cfb7.jpg",[],{"id":57513,"slug":57514,"title":57515,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57516,"thumbUrl":57517,"material":751,"size":752,"collection":95,"collections":57518,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287512,"dun-huang-yi-shu-155-yi-ming-287512","敦煌遗书155",[3028,386,7,199,878,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b06ede295496062504e0cf16e1784c.jpg",[],{"id":57520,"slug":57521,"title":57522,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57523,"thumbUrl":57524,"material":751,"size":752,"collection":95,"collections":57525,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287511,"dun-huang-yi-shu-154-yi-ming-287511","敦煌遗书154",[49,7,386,3028,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5998a0ccb4e50813e4098d146baa38be.jpg",[],{"id":57527,"slug":57528,"title":57529,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57530,"thumbUrl":57531,"material":751,"size":752,"collection":95,"collections":57532,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287510,"dun-huang-yi-shu-153-yi-ming-287510","敦煌遗书153",[3028,7,386,49,878,199,1498,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9babc9529b8c29b4c4ad50876397e2b1.jpg",[],{"id":57534,"slug":57535,"title":57536,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57537,"thumbUrl":57538,"material":751,"size":752,"collection":95,"collections":57539,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287509,"dun-huang-yi-shu-152-yi-ming-287509","敦煌遗书152",[49,7,386,199,3028,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e82b0ff8c53037baecc9372fb0b8e7c.jpg",[],{"id":57541,"slug":57542,"title":57543,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57544,"thumbUrl":57545,"material":751,"size":752,"collection":95,"collections":57546,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287508,"dun-huang-yi-shu-151-yi-ming-287508","敦煌遗书151",[3028,7,386,49,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3bff25c235fcf64ee01a2c03738901d.jpg",[],{"id":57548,"slug":57549,"title":57550,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57551,"thumbUrl":57552,"material":751,"size":752,"collection":95,"collections":57553,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287507,"dun-huang-yi-shu-150-yi-ming-287507","敦煌遗书150",[3028,386,7,199,6582,1498,49,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3e64f690e1a2026d44b9899a06f220.jpg",[],{"id":57555,"slug":57556,"title":57557,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57558,"thumbUrl":57559,"material":751,"size":752,"collection":95,"collections":57560,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287506,"dun-huang-yi-shu-149-yi-ming-287506","敦煌遗书149",[49,3028,386,7,199,6582,878,1498,4678,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bc6cd43c2e3ce2085a2a28cc13d40b.jpg",[],{"id":57562,"slug":57563,"title":57564,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57565,"thumbUrl":57566,"material":751,"size":752,"collection":95,"collections":57567,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287505,"dun-huang-yi-shu-148-yi-ming-287505","敦煌遗书148",[3028,7,386,199,878,1498,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07a6078eaafd26708dcc42499e1f44b5.jpg",[],{"id":57569,"slug":57570,"title":57571,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57572,"thumbUrl":57573,"material":751,"size":752,"collection":95,"collections":57574,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287504,"dun-huang-yi-shu-147-yi-ming-287504","敦煌遗书147",[49,7,386,3028,398,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327a948fdc7561c0e1da9912401657f5.jpg",[],{"id":57576,"slug":57577,"title":57578,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57579,"thumbUrl":57580,"material":751,"size":752,"collection":95,"collections":57581,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287503,"dun-huang-yi-shu-146-yi-ming-287503","敦煌遗书146",[199,7,386,3028,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f33154a528ad8c9e5aa3db81b936a8.jpg",[],{"id":57583,"slug":57584,"title":57585,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57586,"thumbUrl":57587,"material":751,"size":752,"collection":95,"collections":57588,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287502,"dun-huang-yi-shu-145-yi-ming-287502","敦煌遗书145",[3028,386,7,199,9007,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e3d49ddb945511b8786e7af89794c3.jpg",[],{"id":57590,"slug":57591,"title":57592,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57593,"thumbUrl":57594,"material":751,"size":752,"collection":95,"collections":57595,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287501,"dun-huang-yi-shu-144-yi-ming-287501","敦煌遗书144",[49,7,386,3028,199,1498,6582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da25340bb28b9099f381fb41b2393f8.jpg",[],{"id":57597,"slug":57598,"title":57599,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57600,"thumbUrl":57601,"material":751,"size":752,"collection":95,"collections":57602,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287500,"dun-huang-yi-shu-143-yi-ming-287500","敦煌遗书143",[7,386,199,49,9007,20967,3028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795a76db5beba6b133ee12099b3d75eb.jpg",[],{"id":57604,"slug":57605,"title":57606,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57607,"thumbUrl":57608,"material":751,"size":752,"collection":95,"collections":57609,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287499,"dun-huang-yi-shu-142-yi-ming-287499","敦煌遗书142",[3028,7,49,386,199,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde25f326e144a7a63d87a1d213360b5.jpg",[],{"id":57611,"slug":57612,"title":57613,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57614,"thumbUrl":57615,"material":751,"size":752,"collection":95,"collections":57616,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287498,"dun-huang-yi-shu-141-yi-ming-287498","敦煌遗书141",[3028,49,7,386,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ec9c6e89d34184652936aabe14109c.jpg",[],{"id":57618,"slug":57619,"title":57620,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57621,"thumbUrl":57622,"material":751,"size":752,"collection":95,"collections":57623,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287497,"dun-huang-yi-shu-140-yi-ming-287497","敦煌遗书140",[3028,386,7,49,398,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc67035e2a8e244a37f57d2b1c764798.jpg",[],{"id":57625,"slug":57626,"title":57627,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57628,"thumbUrl":57629,"material":751,"size":752,"collection":95,"collections":57630,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287496,"dun-huang-yi-shu-139-yi-ming-287496","敦煌遗书139",[3028,7,386,398,49,1498,2602,34686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796091cbf6eb80885c3f4e508e3a5846.jpg",[],{"id":57632,"slug":57633,"title":57634,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57635,"thumbUrl":57636,"material":751,"size":752,"collection":95,"collections":57637,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287495,"dun-huang-yi-shu-138-yi-ming-287495","敦煌遗书138",[3028,386,7,398,49,878,6582,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee534031d9e70350b32f2e589b1249df.jpg",[],{"id":57639,"slug":57640,"title":57641,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57642,"thumbUrl":57643,"material":751,"size":752,"collection":95,"collections":57644,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287494,"dun-huang-yi-shu-137-yi-ming-287494","敦煌遗书137",[49,7,386,3028,9007,878,1498,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc662be96ae713c08e0d9ad3aeb1466c3.jpg",[],{"id":57646,"slug":57647,"title":57648,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57649,"thumbUrl":57650,"material":751,"size":752,"collection":95,"collections":57651,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287493,"dun-huang-yi-shu-136-yi-ming-287493","敦煌遗书136",[3028,49,7,386,199,9007,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd23014de4d9d04cde591189d05667a44.jpg",[],{"id":57653,"slug":57654,"title":57655,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57656,"thumbUrl":57657,"material":751,"size":752,"collection":95,"collections":57658,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287492,"dun-huang-yi-shu-135-yi-ming-287492","敦煌遗书135",[3028,7,386,49,199,878,6582,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb14ec6a5fd68ea8c517e84b1cf35b826.jpg",[],{"id":57660,"slug":57661,"title":57662,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57663,"thumbUrl":57664,"material":751,"size":752,"collection":95,"collections":57665,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287491,"dun-huang-yi-shu-134-yi-ming-287491","敦煌遗书134",[3028,386,7,199,49,1498,878,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dda11023e2d3e6559e95ebc1e59ad9b.jpg",[],{"id":57667,"slug":57668,"title":57669,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57670,"thumbUrl":57671,"material":751,"size":752,"collection":95,"collections":57672,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287490,"dun-huang-yi-shu-133-yi-ming-287490","敦煌遗书133",[3028,386,7,199,9007,1498,9635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11207d24b0a3db4bd13155ddf8df8342.jpg",[],{"id":57674,"slug":57675,"title":57676,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57677,"thumbUrl":57678,"material":751,"size":752,"collection":95,"collections":57679,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287489,"dun-huang-yi-shu-132-yi-ming-287489","敦煌遗书132",[3028,7,386,49,199,20334,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe147fec4e992e6487be4174df665965e.jpg",[],{"id":57681,"slug":57682,"title":57683,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57684,"thumbUrl":57685,"material":751,"size":752,"collection":95,"collections":57686,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287488,"dun-huang-yi-shu-131-yi-ming-287488","敦煌遗书131",[3028,7,49,386,199,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16dc2ad3fea344fd4cf13c6434e877f.jpg",[],{"id":57688,"slug":57689,"title":57690,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57691,"thumbUrl":57692,"material":751,"size":752,"collection":95,"collections":57693,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287487,"dun-huang-yi-shu-130-yi-ming-287487","敦煌遗书130",[3028,7,386,199,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adc971779e1465aebf454d4c8a96d51.jpg",[],{"id":57695,"slug":57696,"title":57697,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57698,"thumbUrl":57699,"material":751,"size":752,"collection":95,"collections":57700,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287486,"dun-huang-yi-shu-129-yi-ming-287486","敦煌遗书129",[3028,49,7,386,199,878,6582,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312c13ac23316c0b22a832843918ad19.jpg",[],{"id":57702,"slug":57703,"title":57704,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57705,"thumbUrl":57706,"material":751,"size":752,"collection":95,"collections":57707,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287485,"dun-huang-yi-shu-128-yi-ming-287485","敦煌遗书128",[3028,7,386,49,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4741b24099fbdf4c97e8a1cbca060085.jpg",[],{"id":57709,"slug":57710,"title":57711,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57712,"thumbUrl":57713,"material":751,"size":752,"collection":95,"collections":57714,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287484,"dun-huang-yi-shu-127-yi-ming-287484","敦煌遗书127",[3028,7,386,49,199,878,1498,44066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230d6250c9f24b105164e17118a7395c.jpg",[],{"id":57716,"slug":57717,"title":57718,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57719,"thumbUrl":57720,"material":751,"size":752,"collection":95,"collections":57721,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287483,"dun-huang-yi-shu-126-yi-ming-287483","敦煌遗书126",[7,386,3028,49,199,1498,25,9007],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c9971bdb5ef4776701176914caa238.jpg",[],{"id":57723,"slug":57724,"title":57725,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57726,"thumbUrl":57727,"material":751,"size":752,"collection":95,"collections":57728,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287482,"dun-huang-yi-shu-125-yi-ming-287482","敦煌遗书125",[49,7,386,3028,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b6b2da16cb769dee46a0ec5c494e65.jpg",[],{"id":57730,"slug":57731,"title":57732,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57733,"thumbUrl":57734,"material":751,"size":752,"collection":95,"collections":57735,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287481,"dun-huang-yi-shu-124-yi-ming-287481","敦煌遗书124",[3028,49,7,386,878,1498,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb962f4167ff5ef8f4cea8efec3232190.jpg",[],{"id":57737,"slug":57738,"title":57739,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57740,"thumbUrl":57741,"material":751,"size":752,"collection":95,"collections":57742,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287480,"dun-huang-yi-shu-123-yi-ming-287480","敦煌遗书123",[3028,49,7,386,199,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c13a76a5816a42b397c5674426318fb.jpg",[],{"id":57744,"slug":57745,"title":57746,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57747,"thumbUrl":57748,"material":751,"size":752,"collection":95,"collections":57749,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287479,"dun-huang-yi-shu-122-yi-ming-287479","敦煌遗书122",[3028,7,386,199,1498,878,6582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae9a204f50f071c17bae1b58ff23fdf.jpg",[],{"id":57751,"slug":57752,"title":57753,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57754,"thumbUrl":57755,"material":751,"size":752,"collection":95,"collections":57756,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287478,"dun-huang-yi-shu-121-yi-ming-287478","敦煌遗书121",[3028,386,7,49,199,878,1498,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff47dc1e350ad671290f4096afb221325.jpg",[],{"id":57758,"slug":57759,"title":57760,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57761,"thumbUrl":57762,"material":751,"size":752,"collection":95,"collections":57763,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287477,"dun-huang-yi-shu-120-yi-ming-287477","敦煌遗书120",[3028,386,7,49,878,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37348dbffdaadf610161ff7cf3f8af2e.jpg",[],{"id":57765,"slug":57766,"title":57767,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57768,"thumbUrl":57769,"material":751,"size":752,"collection":95,"collections":57770,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287476,"dun-huang-yi-shu-119-yi-ming-287476","敦煌遗书119",[3028,49,386,7,199,6582,37415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180ad5ac56338e2ae195e2eae61a7070.jpg",[],{"id":57772,"slug":57773,"title":57774,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57775,"thumbUrl":57776,"material":751,"size":752,"collection":95,"collections":57777,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287475,"dun-huang-yi-shu-118-yi-ming-287475","敦煌遗书118",[3028,386,7,199,49,1498,878,6582,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9288986c1519fcc60bb8de9cfd306cc.jpg",[],{"id":57779,"slug":57780,"title":57781,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57782,"thumbUrl":57783,"material":751,"size":752,"collection":95,"collections":57784,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287474,"dun-huang-yi-shu-117-yi-ming-287474","敦煌遗书117",[3028,7,386,199,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6312b5acae419c71d2cf0f4b53af2e76.jpg",[],{"id":57786,"slug":57787,"title":57788,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57789,"thumbUrl":57790,"material":751,"size":752,"collection":95,"collections":57791,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287473,"dun-huang-yi-shu-116-yi-ming-287473","敦煌遗书116",[3028,49,7,386,1498,34686,2602,878,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb531f19644a04dec24fe0bee630860fb.jpg",[],{"id":57793,"slug":57794,"title":57795,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57796,"thumbUrl":57797,"material":751,"size":752,"collection":95,"collections":57798,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287472,"dun-huang-yi-shu-115-yi-ming-287472","敦煌遗书115",[49,7,386,3028,398,9007,37415,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a0a500edf4efc76b647e32c34ff203.jpg",[],{"id":57800,"slug":57801,"title":57802,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57803,"thumbUrl":57804,"material":751,"size":752,"collection":95,"collections":57805,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287471,"dun-huang-yi-shu-114-yi-ming-287471","敦煌遗书114",[7,386,49,3028,199,6582,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e191e033030cf6902c64ed5f58fdf4c.jpg",[],{"id":57807,"slug":57808,"title":57809,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57810,"thumbUrl":57811,"material":751,"size":752,"collection":95,"collections":57812,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287470,"dun-huang-yi-shu-113-yi-ming-287470","敦煌遗书113",[3028,7,386,199,49,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88c7b113e5d55d7d25ac32d8f7c5241.jpg",[],{"id":57814,"slug":57815,"title":57816,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57817,"thumbUrl":57818,"material":751,"size":752,"collection":95,"collections":57819,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287469,"dun-huang-yi-shu-112-yi-ming-287469","敦煌遗书112",[49,7,199,386,6582,878,1498,3028,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853bf5fd7c323f7a4c223a7b053a8d77.jpg",[],{"id":57821,"slug":57822,"title":57823,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57824,"thumbUrl":57825,"material":751,"size":752,"collection":95,"collections":57826,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287468,"dun-huang-yi-shu-111-yi-ming-287468","敦煌遗书111",[3028,7,199,386,49,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8841fa73f7e38c893c0bfad5b36f4a36.jpg",[],{"id":57828,"slug":57829,"title":57830,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57831,"thumbUrl":57832,"material":751,"size":752,"collection":95,"collections":57833,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287467,"dun-huang-yi-shu-110-yi-ming-287467","敦煌遗书110",[3028,49,386,7,398,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54c79f3b6798e6d1c0b29bd188b3d7ab.jpg",[],{"id":57835,"slug":57836,"title":57837,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57838,"thumbUrl":57839,"material":751,"size":752,"collection":95,"collections":57840,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287466,"dun-huang-yi-shu-109-yi-ming-287466","敦煌遗书109",[49,199,7,386,3028,6582,37415,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5331d4f543f52917efcb129e87cf81e8.jpg",[],{"id":57842,"slug":57843,"title":57844,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57845,"thumbUrl":57846,"material":751,"size":752,"collection":95,"collections":57847,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287465,"dun-huang-yi-shu-108-yi-ming-287465","敦煌遗书108",[3028,49,7,386,199,1498,878,4678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae43f6b7efcbe7d8260eab9053333c85.jpg",[],{"id":57849,"slug":57850,"title":57851,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57852,"thumbUrl":57853,"material":751,"size":752,"collection":95,"collections":57854,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287464,"dun-huang-yi-shu-107-yi-ming-287464","敦煌遗书107",[3028,386,7,49,199,878,6582,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdb76bad082a43af01fd04a40ef85ff.jpg",[],{"id":57856,"slug":57857,"title":57858,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57859,"thumbUrl":57860,"material":751,"size":752,"collection":95,"collections":57861,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287463,"dun-huang-yi-shu-106-yi-ming-287463","敦煌遗书106",[3028,49,7,386,1498,398,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d1a8cf83e313484167964933011b93f.jpg",[],{"id":57863,"slug":57864,"title":57865,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57866,"thumbUrl":57867,"material":751,"size":752,"collection":95,"collections":57868,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287462,"dun-huang-yi-shu-105-yi-ming-287462","敦煌遗书105",[3028,7,49,386,199,1498,6535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9bf9d53d5841882a9e7613bc67fae6.jpg",[],{"id":57870,"slug":57871,"title":57872,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57873,"thumbUrl":57874,"material":751,"size":752,"collection":95,"collections":57875,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287461,"dun-huang-yi-shu-104-yi-ming-287461","敦煌遗书104",[3028,386,7,1498,433,38376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33ea854737642cfffab5901d443bf07.jpg",[],{"id":57877,"slug":57878,"title":57879,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57880,"thumbUrl":57881,"material":751,"size":752,"collection":95,"collections":57882,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287460,"dun-huang-yi-shu-103-yi-ming-287460","敦煌遗书103",[3028,7,386,199,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aec5d031ab26d6ceb970a40378b5c6e.jpg",[],{"id":57884,"slug":57885,"title":57886,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57887,"thumbUrl":57888,"material":751,"size":752,"collection":95,"collections":57889,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287459,"dun-huang-yi-shu-102-yi-ming-287459","敦煌遗书102",[3028,386,7,398,49,1498,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb015e95c0775cd42ad18895e315cd.jpg",[],{"id":57891,"slug":57892,"title":57893,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57894,"thumbUrl":57895,"material":751,"size":752,"collection":95,"collections":57896,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287458,"dun-huang-yi-shu-101-yi-ming-287458","敦煌遗书101",[3028,7,386,199,878,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805d21dab591d63577828124ce122efb.jpg",[],{"id":57898,"slug":57899,"title":57900,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57901,"thumbUrl":57902,"material":751,"size":752,"collection":95,"collections":57903,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287457,"dun-huang-yi-shu-100-yi-ming-287457","敦煌遗书100",[3028,49,7,199,386,29140,1498,6582,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b262ded818d0c69a953aa4474f3e41a.jpg",[],{"id":57905,"slug":57906,"title":57907,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57908,"thumbUrl":57911,"material":751,"size":752,"collection":95,"collections":57912,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},287456,"dun-huang-yi-shu-99-yi-ming-287456","敦煌遗书99",[3028,7,386,398,49,1498,57909,57910],"中医","方药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b4a28b73c41cc160aced9e58fd78e0.jpg",[],{"id":57914,"slug":57915,"title":57916,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":57917,"thumbUrl":57918,"material":751,"size":752,"collection":95,"collections":57919,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},287455,"dun-huang-yi-shu-98-yi-ming-287455","敦煌遗书98",[49,7,386,3028,199,878,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87f5909ca0c578c15c64182c02bb9307.jpg",[],{"id":57921,"slug":57922,"title":57923,"dynasty":18,"author":454,"museum":107,"description":57924,"tags":57925,"thumbUrl":57926,"material":751,"size":752,"collection":95,"collections":57927,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},285291,"qing-mo-shou-chao-ben-yi-ce-quan-yi-ming-285291","清末手抄本一册全","这册旧本纸色沉黄，页边蜷曲毛糙，带着被时光摩挲的细碎痕迹。纸面晕开的旧污、穿页的暗痕，都是岁月碾过的印记。没有刻板刊印的规整匠气，手写的字句藏着抄录者的指尖温度，带着独属于旧时光的松弛拙朴。它像一个缄默的旧匣，收着旧时一页思绪，将百年前的笔墨余温，封存在这叠脆薄的纸页里，静静沉眠至今，带着旧世的沉静烟火气。",[44066,1498,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a457f11cb1adecac051eea7bde2383a.jpg",[],{"id":57929,"slug":57930,"title":57931,"dynasty":45,"author":57932,"museum":107,"description":57933,"tags":57934,"thumbUrl":57935,"material":751,"size":752,"collection":95,"collections":57936,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},283612,"jin-fan-ji-si-juan-jie-tuo-ji-si-juan-ping-shi-yi-juan-guang-zhuang-yi-juan-yuan-hong-dao-283612","锦帆集四卷解脱集四卷瓶史一卷广莊一卷","袁宏道","袁宏道（1568年12月23日─1610年10月20日），字中郎、一字无学，号石公、又号六休。湖北省公安县人。万历十九年（1591年）进士，历任吴县知县、礼部主事、吏部验封司主事、稽勋郎中、国子博士等职。\n明代文学反对复古运动主将，既反对前后七子摹拟秦汉古文，亦反对唐顺之、归有光摹拟唐宋古文，认为文章与时代有密切关系。反对“文必秦汉，诗必盛唐”的风气，提出“独抒性灵，不拘格套”的性灵说。\n袁宏道与其兄袁宗道、弟袁中道并有才名，史称公安三袁，由于三袁是荆州公安县人，其文学流派世称“公安派”或“公安体”。世人认为袁宏道是三兄弟中成就最高者。",[1498,9636,199,7,30085],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109f9e92a43adff95393bba599e7a33b.jpg",[],{"id":57938,"slug":57939,"title":57940,"dynasty":45,"author":57941,"museum":107,"description":57942,"tags":57943,"thumbUrl":57945,"material":751,"size":752,"collection":95,"collections":57946,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},283611,"tang-shi-ji-yi-bai-qi-shi-juan-wu-guan-283611","唐诗纪一百七十卷","吴琯","吴琯(公元1546年出生，卒年不详) 字邦燮，号中云，福建云霄城关人，父师旦，嘉靖间秀才，吴琯承家学，9岁能写文章，隆庆五年登进士。",[1498,9636,199,7,4677,57944],"唐诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb59c4ab435da8d83c03b8ba07d9250.jpg",[],{"id":57948,"slug":57949,"title":57950,"dynasty":45,"author":57951,"museum":107,"description":57952,"tags":57953,"thumbUrl":57955,"material":751,"size":752,"collection":95,"collections":57956,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},283607,"tong-wen-suan-zhi-qian-bian-er-juan-tong-bian-ba-juan-li-zhi-zao-283607","同文算指前编二卷通编八卷","李之藻","李之藻（1565年—1630年），字振之，又字我存，号凉庵居士，又号凉庵逸民，浙江杭州人。万历进士。明代科学家。1610年入天主教。",[1498,9636,199,7,57954],"算学","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5204216dc8e094ae3b2e34d5560e9f13.jpg",[],{"id":57958,"slug":57959,"title":57960,"dynasty":18,"author":454,"museum":107,"description":49604,"tags":57961,"thumbUrl":57962,"material":751,"size":752,"collection":95,"collections":57963,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},278228,"mu-feng-zhi-kai-dong-hua-men-yang-yin-he-fu-yi-ming-278228","木“奉旨开东华门”阳阴合符",[19026,7713,2919,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c20ccbde3f70a25511f06c72bbfed7.jpg",[],{"id":57965,"slug":57966,"title":57967,"dynasty":18,"author":454,"museum":107,"description":57968,"tags":57969,"thumbUrl":57970,"material":751,"size":752,"collection":95,"collections":57971,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},278227,"mu-wu-men-he-fu-yi-ming-278227","木“午门合符”","中国的雕刻文字，最古老的有殷的甲骨文，周的钟鼎文，秦的刻石等，凡在金铜玉石等素材上雕刻的文字通称“金石”。玺印即包括在“金石”里。玺印的起源或说商代，或说殷代，至今尚无定论。根据遗物和历史记载，至少在春秋战国时已出现，战国时代已普遍使用。起初只是作为商业上交流货物时的凭证。秦始皇统一中国后，印章范围扩大为证明当权者权益的法物，为当权者掌握，作为统治人民的工具。\n战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[19026,7713,9636,7,2919,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5abcfbddda902f2a35e250897504ecb.jpg",[],{"id":57973,"slug":57974,"title":57975,"dynasty":18,"author":454,"museum":107,"description":49604,"tags":57976,"thumbUrl":57977,"material":751,"size":752,"collection":95,"collections":57978,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},278225,"mu-shen-wu-men-he-fu-yi-ming-278225","木“神武门”合符",[19026,7713,7,199,834,49614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd230873aca5d3791b27a7b0250b30275.jpg",[],{"id":57980,"slug":57981,"title":57982,"dynasty":18,"author":454,"museum":107,"description":57983,"tags":57984,"thumbUrl":57985,"material":751,"size":752,"collection":95,"collections":57986,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},276920,"jiao-long-niu-gu-xi-tian-zi-zhi-bao-yi-ming-276920","交龙纽“古稀天子之宝”","“天子之宝”，清早期，金质，交龙纽方形玺，满文篆书。面11.9厘米见方，通高8.3厘米，纽高5.1厘米。附系黄色绶带及牙牌，牙牌两面分书满汉字“天子之宝匮”。\n“盛京十宝”之一，用于祭祀祖先及百神。据《清初内国史院满文档案》记载，崇德八年（1643）十二月二十八日遣大臣阿拜代祭清帝列祖，其祭文中钤有“天子之宝”，所钤极有可能就是这方宝玺，制作当在清太宗崇德时期。此宝的交龙纽及满文篆字的印文风格也与这一时期的金质“奉天之宝”一致，是清前期十分重要的典章文物。",[77,3467,7714,359,457,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7634cd9f97eafe6c90ef38043167dad.jpg",[],{"id":57988,"slug":57989,"title":57990,"dynasty":18,"author":454,"museum":107,"description":57991,"tags":57992,"thumbUrl":57993,"material":751,"size":752,"collection":95,"collections":57994,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},276604,"yin-du-jin-xian-feng-wu-nian-li-fei-ce-yi-ming-276604","银镀金咸丰五年丽妃册","银镀金底温润华贵，册页以合页衔接，展卷舒展自然。册身晕染着岁月沉淀下的斑驳包浆，晕开厚重古雅的质感。汉文以端秀的馆阁体书就，笔墨庄重匀净，将晋封的郑重旨意藏于笔端；满文笔画劲挺规整，尽显清代典制的肃穆严谨。双语并置，是清代宫廷礼制的具象缩影，既承载着皇家册封的郑重仪制，也兼具工艺匠心与文史价值，静静诉说着旧日宫廷的尊崇规制。",[26,22487,30189,7,199,77,42838,25477,25478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e4f637ae55cd00e37d5b005d476bb7.jpg",[],{"id":57996,"slug":57997,"title":57998,"dynasty":18,"author":454,"museum":107,"description":57999,"tags":58000,"thumbUrl":58001,"material":751,"size":752,"collection":95,"collections":58002,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},276602,"yin-du-jin-tong-zhi-shi-san-nian-mei-fei-ce-yi-ming-276602","银镀金同治十三年玫妃册","此件折页以银镀金为骨，页面粉黄泛着旧时光晕，满文墨书隽秀工整，排布疏密相宜，墨色历经年岁依旧沉凝清晰。\n\n金属页扣严丝合缝，鎏金虽带锈蚀斑驳，却更衬出器物的古雅矜重，冷冽的金属质感与柔润纸面相映成趣。整体形制规整肃穆，带着宫廷礼制的端方雅致，静敛地承载着往昔的宫闱旧事，将礼制价值与工艺审美相融，晕开百年沉淀的温润余韵。",[26,22487,30189,7,42838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08bbb80d99a19344fa28d54624edb7a.jpg",[],{"id":58004,"slug":58005,"title":58006,"dynasty":18,"author":454,"museum":107,"description":58007,"tags":58008,"thumbUrl":58010,"material":751,"size":752,"collection":95,"collections":58011,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},276601,"yin-du-jin-tong-zhi-shi-san-nian-cheng-fei-ce-yi-ming-276601","银镀金同治十三年成妃册","此折页银镀金册晕着时光浸出的暗金包浆，沉静古雅。页间以满汉双语排布，汉文为端秀挺括的馆阁体，錾刻工致细腻，笔意庄重劲挺，满文笔画流转匀净，尽显匠造功力。\n\n金属的冷硬质地，被细致錾刻晕开皇家礼制的厚重肃穆，将百年前宫廷册立典仪的端严威仪，凝于方寸金页，静静沉淀着旧时深宫的礼制风华。",[22487,30189,26,7,199,1498,42838,25477,25478,58009],"妃册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508d406611bc6fd0ad2c38cd5b7e3796.jpg",[],{"id":58013,"slug":58014,"title":58015,"dynasty":18,"author":454,"museum":107,"description":58016,"tags":58017,"thumbUrl":58019,"material":751,"size":752,"collection":95,"collections":58020,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},276598,"yin-du-jin-tong-zhi-shi-san-nian-qi-fei-ce-yi-ming-276598","银镀金同治十三年祺妃册","以银镀金为材作折册，榫卯扣合，历久仍晕着柔和的金属华光。册页两面分书满汉双语，笔致端秀工稳，尽显宫廷文书的庄重规整。一字一句皆为晋封典制的郑重记录，凝着晚清宫廷的礼制威仪。錾刻的字迹排布匀停，在鎏金的底面上更显隽秀雅致，既是工艺精湛的皇家造办之作，又承载着清代后宫封妃的典仪记忆，将礼制威严与錾镌匠心融于一体，兼具文史价值与审美价值，静述着旧时宫廷的仪制荣光。",[26,22487,30189,58018,7,199,1498],"银镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5876660294c9d4dd6b553fb18ec74790.jpg",[],{"id":58022,"slug":58023,"title":58024,"dynasty":18,"author":454,"museum":107,"description":58025,"tags":58026,"thumbUrl":58027,"material":751,"size":752,"collection":95,"collections":58028,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},276596,"bi-yu-guang-xu-er-shi-nian-shang-ci-xi-duan-you-kang-yi-zhao-yu-zhuang-cheng-shou-gong-qin-xian-tai-hou-hui-ce-yi-ming-276596","碧玉光绪二十年上慈禧端佑康颐昭豫庄诚寿恭钦献太后徽册","碧玉质地凝润匀和，自然晕开的灰白云絮状纹理如淡烟笼玉。泥金填就的铭文笔势端稳厚重，灿灿金辉与沉静玉色相衬，尽显华贵端严。\n玉裁作册页，形制摹仿典籍制式，页间暗合皇家仪典的规整肃穆，将敬献尊崇之意凝于温润玉身。它以宫廷制玉的精工，承载着礼制的厚重，静穆中晕染出旧时皇家仪典的庄重威仪。",[7714,26,1498,7,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056c7bf47bc4b50ae7f16847b90f3846.jpg",[],{"id":58030,"slug":58031,"title":58032,"dynasty":18,"author":454,"museum":107,"description":58033,"tags":58034,"thumbUrl":58035,"material":751,"size":752,"collection":95,"collections":58036,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275915,"qing-yu-yu-zhi-shi-quan-ji-ce-yi-ming-275915","青玉御制十全记册","此套册页盛于万字纹编藤包边的木匣，质朴古雅，自带沉静古韵。玉质莹润清透，以阴刻填金技法镌刻文字，笔力端稳庄重，字字规整饱满。方寸玉版之上，凝住回望十场战事的沉思，将开疆靖边的功业叙事，化为可触可感的金石文心。既是文房清玩的上乘之选，亦是承载往事的珍贵史证，静立间便晕开厚重的历史余韵。",[7714,26,1498,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ffec9ae252148bf77d189d3f32eba8b.jpg",[],{"id":58038,"slug":58039,"title":58040,"dynasty":18,"author":454,"museum":107,"description":58041,"tags":58042,"thumbUrl":58043,"material":751,"size":752,"collection":95,"collections":58044,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275913,"bi-yu-qian-long-yu-bi-kuo-er-ka-suo-gong-xiang-ma-zhi-jing-shi-yi-zhi-shi-ce-yi-ming-275913","碧玉乾隆御笔廓尔喀所贡象马至京诗以志事册","以碧玉仿典籍成册，青底色泽匀净温润，以描金工艺饰于板面。中心双囍被双龙拱卫，缠枝纹细密铺陈环绕，金线流转柔劲兼具，将皇家华贵气度融于方寸。\n\n玉质清透沉静，衬得金彩愈发鲜亮明丽，雕绘间尽显工匠精湛功力。此册将纪事御笔镌于玉页，把边疆来贡的盛事凝为永恒藏品，让文风雅韵与礼制威仪共生，是清代玉雕工艺与宫廷典藏美学的精妙融合。",[7714,26,7,1498,7713,359,1074,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ea60601c24b3f5a3206b005b6b9107.jpg",[],{"id":58046,"slug":58047,"title":58048,"dynasty":18,"author":454,"museum":107,"description":58049,"tags":58050,"thumbUrl":58051,"material":751,"size":752,"collection":95,"collections":58052,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275912,"bi-yu-yu-zhi-shu-ming-guan-chen-ru-wu-san-gui-qin-gui-wang-you-lang-shi-yu-ce-yi-ming-275912","碧玉御制书命馆臣入吴三桂擒桂王由榔识语册","红木为匣，素面清雅，嵌留旧签晕开古意。内页泥金妆边，暗露华贵矜重底色。\n此册以纪事为旨，将西南定鼎的往昔凝于尺幅之间，落笔沉凝厚重，字字承载乱世终定的肃然分量。它并非寻常赏玩之珍，而是载录庙堂筹谋、征伐终章的史证，静穆匣身收贮一段风云旧事，触手可感百年前的庙堂襟怀，沉浑的历史余温漫溢其间。",[26,7714,19026,1498,7,20932],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27abb74a000a17e47530e2a89d9cdff3.jpg",[],{"id":58054,"slug":58055,"title":58056,"dynasty":18,"author":454,"museum":107,"description":58057,"tags":58058,"thumbUrl":58059,"material":751,"size":752,"collection":95,"collections":58060,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275911,"bi-yu-yu-zhi-xiao-chun-shuo-ce-yi-ming-275911","碧玉御制小春说册","温润凝腻的碧玉为材，将御制文辞錾刻于上，刀工匀净凝练，把笔墨风骨复刻于玉面之上，文字排布疏朗得体，与玉质清润浑然相融，尽显器物的庄重雅致。\n\n外裹缠枝团纹锦盒，明黄底色衬出繁复却不失清雅的织纹，古雅华贵，将玉册妥帖珍藏。整套装制形制规整，玉册清润雅致，装帧华贵古朴，既承载文思内涵底蕴，又尽显玉石工艺的精湛造诣，是雅趣与匠心融合的精巧之作。",[7714,26,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F738cbbabe9d71cc2ec21365b795f1cab.jpg",[],{"id":58062,"slug":58063,"title":58064,"dynasty":18,"author":454,"museum":107,"description":58065,"tags":58066,"thumbUrl":58067,"material":751,"size":752,"collection":95,"collections":58068,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275910,"bi-yu-jia-qing-yu-bi-wei-yu-shu-shi-ji-ce-yi-ming-275910","碧玉嘉庆御笔味余书室记册","以良玉裁为书页，莹润碧色凝敛沉静质感，仿古籍装帧制式规整雅致。页面填金题字，笔意隽秀，边框勾勒简洁端庄，衬黄页边还原典籍古雅形制。将御笔篇章凝于玉册之上，融合玉雕工艺与翰墨风雅，既有玉石厚重温润的质感，又饱含书卷文气，尽显宫廷文玩的雅致意趣，是清代玉作与文藏匠心结合的精巧珍玩。",[7714,26,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14976b81b28f61d129384f595004cfb5.jpg",[],{"id":58070,"slug":58071,"title":58072,"dynasty":18,"author":454,"museum":107,"description":58073,"tags":58074,"thumbUrl":58075,"material":751,"size":752,"collection":95,"collections":58076,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275909,"yu-zhi-ding-wu-lan-ting-mu-qian-yu-zi-ce-yi-ming-275909","御制定武兰亭木嵌玉字册","紫檀夹板沉静古雅，嵌贴金质签条，更衬出器物的华贵庄重。册中以玉字复刻兰亭法帖，玉质莹润清透，雕刻刀工匀净挺秀，将王羲之笔底的飘洒灵动，凝为温润可观的立体风骨。把纸上的笔墨意趣化为玉石上的隽永雕刻，寸寸玉字皆藏着对书圣法帖的极致推崇。整器装帧考究，木质的沉敛中和玉的清透，文气与匠意相融，尽显庄重雅致的典藏气韵。",[26,7,19026,7714,200,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfbcddf4f783662abc01b55d253e46a0.jpg",[],{"id":58078,"slug":58079,"title":58080,"dynasty":18,"author":454,"museum":107,"description":58081,"tags":58082,"thumbUrl":58083,"material":751,"size":752,"collection":95,"collections":58084,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275907,"qing-yu-qian-long-yu-bi-du-yi-xi-ci-shang-chuan-di-wu-zhang-shu-yi-ce-yi-ming-275907","青玉乾隆御笔读易系辞上传第五章书义册","这套册页取青玉为材，玉色清润莹和，页面以墨笔书就易辞要义，笔力端雅遒劲，尽显皇家翰墨气度。外配满工锦地纹木匣，纹饰细密匀净，做工严整考究，将玉册妥帖珍藏，既是研读数典的文房珍品，亦是清代治玉工艺与宫廷审美结合的典范，静静承载着古经义理的隽永韵味。",[7714,26,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5de45e97be3cdf6df2932b240be342.jpg",[],{"id":58086,"slug":58087,"title":58088,"dynasty":18,"author":454,"museum":107,"description":58089,"tags":58090,"thumbUrl":58091,"material":751,"size":752,"collection":95,"collections":58092,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275905,"bi-yu-cao-wen-zhi-shu-yu-zhi-du-jin-shi-ce-yi-ming-275905","碧玉曹文埴书御制读金史册","硬木盒身遍饰回纹兽面雕纹，走线利落规整，古意厚重沉静。盒中玉册以刀为笔，将诗文风骨镂刻于莹润玉料之上，字口挺括温润，既留存书法的隽秀筋骨，又晕开玉石的清灵质感，工艺匠心与笔墨意趣相融相合，尽显内敛雅致的典藏格调，是工巧与文思相映的精妙之作。",[19026,7713,834,7714,7,1498,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F888ae37b22ff56855903bc00fc7ce055.jpg",[],{"id":58094,"slug":58095,"title":58096,"dynasty":18,"author":454,"museum":107,"description":58097,"tags":58098,"thumbUrl":58099,"material":751,"size":752,"collection":95,"collections":58100,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275904,"qing-yu-liang-guo-zhi-shu-yu-zhi-wu-shi-zhen-ce-yi-ming-275904","青玉梁国治书御制五事箴册","此匣取硬木为材，周身透雕云龙戏海，苍龙身姿矫健，鳞爪分明，在层叠云纹间腾挪穿梭，威严灵动兼具。盖板纹饰呼应箱体，构图疏密相宜，刀工利落细腻，将云龙神韵尽致展现。下承卷云牙脚底座，线条柔婉雅致，与方正器形刚柔相济。整体做工考究，既以严丝合缝的结构妥帖护藏内物，又以华美纹饰彰显庄重气度，尽显清代木雕工艺的不俗造诣，沉稳华贵间，尽显制式器物的威仪质感。",[834,19026,7713,359,7714,26,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9822b0d69670eaef100142a86ebba6d8.jpg",[],{"id":58102,"slug":58103,"title":58104,"dynasty":18,"author":454,"museum":107,"description":58105,"tags":58106,"thumbUrl":58107,"material":751,"size":752,"collection":95,"collections":58108,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275901,"qing-yu-qian-long-yu-bi-wen-yuan-ge-ji-ce-yi-ming-275901","青玉乾隆御笔文源阁记册","以温润青玉裁作书页，莹泽内敛，依册籍形制装嵌，以黄丝穿系摹仿古籍装订，古意盎然。外配錾刻纹饰的漆盒，题字古拙端方，尽显宫廷御制的精工考究。\n\n玉册承载御笔文辞，将玉质清润与翰墨风雅相融，把文苑意趣凝于良玉之中，是匠心与文心兼具的清宫珍玩，静静诉说着旧时典藏文籍的风雅意韵，器物间尽显皇家典藏的端庄雅致。",[7714,26,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11ec8efbe6b71e47e493d6adbbbc7e00.jpg",[],{"id":58110,"slug":58111,"title":58112,"dynasty":18,"author":454,"museum":107,"description":58113,"tags":58114,"thumbUrl":58116,"material":751,"size":752,"collection":95,"collections":58117,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},275897,"bi-yu-yu-bi-san-chuan-jin-jia-dao-fa-guo-ce-yi-ming-275897","碧玉御笔三传晋假道伐虢册","此匣以铜为胎，错金为饰，通体錾刻云龙纹饰。矫健苍龙盘绕穿梭于祥云之中，鳞爪分明，威仪尽显；盒底环饰莲瓣纹，层次分明，更添庄重。填金饱满厚重，走线凌厉细腻，尽显宫廷造办的顶尖匠艺，将皇权的威严华贵与手工匠心融为一体，暗合收纳重器的尊贵身份，尽显皇家器物的典雅庄重，是清代御作工艺的上乘之作。",[26,1498,7714,7,15301,7713,359,58115],"假道伐虢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e8dd7b02ab0db941b7bc3e933177f6.jpg",[],{"id":58119,"slug":58120,"title":58121,"dynasty":18,"author":454,"museum":107,"description":58122,"tags":58123,"thumbUrl":58124,"material":751,"size":752,"collection":95,"collections":58125,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275896,"bi-yu-qian-long-yu-bi-shi-quan-ji-ce-yi-ming-275896","碧玉乾隆御笔十全记册","此盒髹漆为底，描金饰纹。盖面题字端方雅致，器身双龙矫健身姿穿梭在迤逦流云之中，龙纹张弛有力，云纹层叠环绕，下衬江崖海水纹饰，繁而不乱，尽显皇家华贵雍容的气度。\n内里碧玉册页质地莹润温凉，镌刻笔墨苍劲浑朴，工艺与文心相融，是重工兼具文气的宫廷佳作，将清代盛世的审美意趣与顶尖工艺水准尽显无余。",[13336,834,359,26,7,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816b5d9e4f4abe3dedc7fcb6dd2c119d.jpg",[],{"id":58127,"slug":58128,"title":58129,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":58130,"thumbUrl":58131,"material":751,"size":752,"collection":95,"collections":58132,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275893,"bai-yu-qian-long-yu-bi-yue-yi-lun-ce-yi-ming-275893","白玉乾隆御笔乐毅论册",[26,7,199,200,7714,19026,7713,359,834,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c974326625a2c9eb610219b0adcbee3.jpg",[],{"id":58134,"slug":58135,"title":58136,"dynasty":18,"author":454,"museum":107,"description":58137,"tags":58138,"thumbUrl":58139,"material":751,"size":752,"collection":95,"collections":58140,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275888,"bi-yu-heng-ling-shu-yu-zhi-wu-tai-zan-ce-yi-ming-275888","碧玉衡龄书御制五台赞册","整料碧玉裁为册页，通身以墨色为地，描金勾勒祥龙盘踞册面，云海翻涌衬其矫健身姿，线条婉转灵动，金龙威严华贵，尽显器物雍容气度。\n\n内书御制赞文，金漆填字与墨色底面相映，笔墨端方规整，将书法意趣与髹金工艺相融。整器工艺精湛，把玉雕的温润雅致与描金的华贵堂皇完美结合，凝萃匠心造诣，尽显庄重沉静的宫廷美学风韵。",[7714,26,7713,359,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ebf47acc43d0b7c9cc52b43e8f4c27.jpg",[],{"id":58142,"slug":58143,"title":58144,"dynasty":18,"author":454,"museum":107,"description":58145,"tags":58146,"thumbUrl":58147,"material":751,"size":752,"collection":95,"collections":58148,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275884,"bi-yu-qian-long-yu-bi-jing-qing-wei-zhuo-ji-shi-ce-yi-ming-275884","碧玉乾隆御笔泾清渭浊纪实册","紫檀宝匣沉敛雅致，戗金题字古意悠悠，衬出藏品不凡气度。此册取和田碧玉精心琢磨，玉质温润莹泽如凝脂。以阴刻填金复刻御笔手书，刀工匀净细腻，将书法的苍劲笔意尽刻良玉之上，把泾清渭浊的典故深意藏于方寸。玉作之精与书法之雅相融相合，尽显清代宫廷工艺的极致考究，亦是御制文玩中文质兼备的精妙之品。",[834,26,7714,7,19026,1498,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223763234db2444b6c5d92012f0f4b68.jpg",[],{"id":58150,"slug":58151,"title":58152,"dynasty":18,"author":454,"museum":107,"description":58153,"tags":58154,"thumbUrl":58155,"material":751,"size":752,"collection":95,"collections":58156,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275883,"bi-yu-jia-qing-yu-bi-yu-qing-gong-ji-ce-yi-ming-275883","碧玉嘉庆御笔毓庆宫记册","紫檀函盒包镶铜饰，錾刻卷草纹饰勾勒边框，古朴厚重的木质肌理搭配金属光泽，衬得整器沉稳庄重。匣中碧玉册页凝润莹泽，阴刻御笔文字填饰赤金，笔力端劲雍容，尽显华贵气度。\n\n整物融木作、玉镌、髹金工艺于一身，将宫廷礼制的规整与文玩清赏的雅致结合，尽显清代宫廷审美里庄重雍容的意趣风骨。",[26,7714,7,19026,1498,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eeedb70f03f00903ffc39fcb7721770.jpg",[],{"id":58158,"slug":58159,"title":58160,"dynasty":18,"author":454,"museum":107,"description":58161,"tags":58162,"thumbUrl":58163,"material":751,"size":752,"collection":95,"collections":58164,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275880,"bi-yu-yu-bi-yun-shang-yu-tian-jie-ce-yi-ming-275880","碧玉御笔云上于天解册","此作以紫檀为匣，包浆莹润古朴，形制规整沉稳，尽显内敛大气。内藏碧玉册页，以玉为纸承载御笔题解，将《周易》义理融于凝润玉材之间。笔力沉稳端方，金石韵味与玉质的清莹澄澈相映，既有经学阐释的庄重底蕴，亦兼具宫廷玉作的精工雅致，是文玩雅趣与治学意蕴相合的上乘佳器，尽显旧时宫廷器物的华贵风骨与文雅意趣。",[7714,26,7,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3915e3a04c13a23292c33035de95569e.jpg",[],{"id":58166,"slug":58167,"title":58168,"dynasty":18,"author":454,"museum":107,"description":58169,"tags":58170,"thumbUrl":58171,"material":751,"size":752,"collection":95,"collections":58172,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275879,"qing-yu-yu-bi-zhi-guo-lun-ce-yi-ming-275879","青玉御笔知过论册","此匣髹漆为底，错金成纹。盒身两侧游龙穿云蹈浪，龙姿矫健灵动，金纹在褐漆衬映下熠熠生辉。云气卷舒层叠，海浪翻涌于底边，回纹匝绕勾勒方正轮廓，尽显规整华贵。\n\n填金工艺细腻入微，线条婉转流畅，将瑞气威仪藏于寸匣之中，暗合收纳珍册的庄重用途，整体雍容沉稳，以礼制气度糅合工艺匠心，方寸间尽显皇家造物的典雅威仪，是清代细作漆艺的上乘手笔。",[13336,359,7713,834,7714,1498,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dac81120144721d07e8ab36375759c8.jpg",[],{"id":58174,"slug":58175,"title":58176,"dynasty":18,"author":454,"museum":107,"description":58177,"tags":58178,"thumbUrl":58179,"material":751,"size":752,"collection":95,"collections":58180,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275878,"qing-yu-yu-bi-du-zong-ze-zhong-jian-ji-ce-yi-ming-275878","青玉御笔读宗泽忠简集册","此硬木匣以戗金为饰，满工铺陈精妙纹饰。盒面题识周边环饰缠枝卷草，清雅规整。四壁云龙纹活灵活现，金彩于褐底之上流转生辉，神龙穿云破雾，身姿矫健威严，细密云纹层层铺衬，衬得龙形愈发灵动磅礴。底足回纹环绕，形制端庄沉稳。整器工艺卓绝，将皇家的华贵气度与匠师的精工巧思融为一体，纹饰繁而不乱，华丽不失庄重，尽显盛世宫廷造物的极致水准。",[19026,7713,359,834,1498,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0623d8471bdda259c3a0ab3cf7fe9d53.jpg",[],{"id":58182,"slug":58183,"title":58184,"dynasty":18,"author":454,"museum":107,"description":58185,"tags":58186,"thumbUrl":58187,"material":751,"size":752,"collection":95,"collections":58188,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275873,"bi-yu-yu-bi-wu-fu-song-ce-yi-ming-275873","碧玉御笔五福颂册","此匣取硬木成器，通身满饰精雕纹案。立面双龙穿云破浪，龙姿矫健灵动，云海翻涌层叠，浪涛卷舒磅礴，刀工圆劲细腻，将皇家威仪融于寸木之间。顶盖嵌饰鎏金构件，暗金光泽与沉雅木色相映，更添华贵厚重。底座纹饰与器身呼应，整体布局严整协调。\n它收纳御笔珍册，亦是清代木雕匠心之作，将宫廷审美意趣与卓绝工艺相融，尽显庄重典雅的雍容气度。",[7714,26,7713,359,7,19026,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3e38ac8254ae68857eca796837deb2.jpg",[],{"id":58190,"slug":58191,"title":58192,"dynasty":18,"author":454,"museum":107,"description":58193,"tags":58194,"thumbUrl":58196,"material":751,"size":752,"collection":95,"collections":58197,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275870,"bi-yu-qian-long-yu-bi-yue-pu-yu-ce-yi-ming-275870","碧玉乾隆御笔乐谱谕册","以温润碧玉裁为册页，配红木雕花座架，古雅端方。册面描金饰行龙穿云纹，鳞爪灵动威严，描金题字笔力沉稳隽秀。侧边金漆篇目排布齐整，条理分明。整器将玉石的莹润质感与髹金工艺相融，沉静玉色衬得金纹愈发华贵亮眼，既承载宫廷礼乐规制底蕴，又尽显清代宫廷精工之美，是工艺与礼制文化结合的精巧之作，尽显盛世宫廷的雅致气度。",[7714,26,1498,359,7,58195,7713],"乐谱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe98937e65400101317fb811603d9157.jpg",[],{"id":58199,"slug":58200,"title":58201,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":58202,"thumbUrl":58203,"material":751,"size":752,"collection":95,"collections":58204,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275868,"bai-yu-yu-lin-tang-wen-huang-tie-ce-yi-ming-275868","白玉御临唐文皇帖册",[26,7,200,19026,7713,359,37505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a4b78f760ea130dd71c0968ad93e7aa.jpg",[],{"id":58206,"slug":58207,"title":58208,"dynasty":18,"author":454,"museum":107,"description":58209,"tags":58210,"thumbUrl":58211,"material":751,"size":752,"collection":95,"collections":58212,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275867,"cui-yu-yu-zhi-zuo-fu-zuo-wei-lun-ce-yi-ming-275867","翠玉御制作福作威论册","此红木文匣用料匀实厚重，木纹内敛沉润，经年摩挲生出莹亮包浆，自带岁月沉淀下来的温润古韵。嵌玉带题额，配骨签标签，制式规整雅致，尽显旧时宫廷器物的矜重格调。\n\n内里册页取翠玉为材，御论隽刻其上，玉质清透莹润，刀工细腻匀净，将文辞深意融于玉质灵秀之中，把工艺匠心与文韵风骨相融，既是精巧雅致的文房珍玩，亦是承载旧时礼制与文思的典藏之物。",[26,7714,19026,7,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7d2b19f8d2ffe30677392014008854.jpg",[],{"id":58214,"slug":58215,"title":58216,"dynasty":18,"author":454,"museum":107,"description":58217,"tags":58218,"thumbUrl":58219,"material":751,"size":752,"collection":95,"collections":58220,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275866,"cui-yu-qian-long-yu-bi-han-de-zhai-shuang-wen-ce-yi-ming-275866","翠玉乾隆御笔含德斋双文册","以翠玉仿线装书册而成，莹润翠色间漾着天然石纹，似将一汪碧泉凝为书卷。书页错叠，鎏金边棱映着玉色清光，冷润与金辉相映，华贵自生。册面阴刻御笔文字，填金以显笔锋遒劲端庄，把翰墨意趣镂刻在莹润玉料之上。木架承托这份雅致，将玉雕工艺与文房意趣相融，既是珍罕的玉作佳器，亦是藏着雅致审美的文房清玩，静立便晕开古雅雍容的气度，尽显匠心巧思。",[7714,26,7,1498,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddeca4c34104fc064d1ab0eddcfb4c5b.jpg",[],{"id":58222,"slug":58223,"title":58224,"dynasty":18,"author":454,"museum":107,"description":58225,"tags":58226,"thumbUrl":58227,"material":751,"size":752,"collection":95,"collections":58228,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275865,"cui-yu-yu-zhi-zhi-zhe-le-ren-zhe-shou-lun-ce-yi-ming-275865","翠玉御制知者乐仁者寿论册","红木宝匣沉穆古雅，嵌玉为饰，晕开一抹清润柔光，座底浅雕卷草纹，暗合中式审美里的婉转意趣。\n\n匣中翠玉册温润凝脂，阴刻文字刀工爽利匀净，圣贤哲思凝于良玉之中，将仁知之论镌于莹润翠色间。玉质清透静和，与沉厚木匣相映，揉合文房雅趣与礼制意蕴，触之温凉，可观旧时追慕修身之境的文人意韵，是工艺与儒风雅思相融的精巧之作。",[26,7714,19026,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0135ad5685b5037de66bb87ebce7dd86.jpg",[],{"id":58230,"slug":58231,"title":58232,"dynasty":18,"author":454,"museum":107,"description":58233,"tags":58234,"thumbUrl":58235,"material":751,"size":752,"collection":95,"collections":58236,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275864,"cui-yu-yu-zhi-yi-ri-er-ri-wan-ji-lun-ce-yi-ming-275864","翠玉御制一日二日万几论册","此件以紫檀为匣，料质沉凝细腻，包浆柔润古朴，盒面嵌玉为额，添就雅致韵致。匣内翠玉册页凝润莹亮，御制文辞镌刻其上，字体端严周正，刀工匀净细腻，将玉石的清和温润与笔墨的庄重浑融相合。\n\n整器将良材、玉作与御题文思相合，既见玉石雕琢的精湛工巧，亦承载着朝堂理政的沉深寄寓，静敛间尽显旧日宫廷器物的华贵质感与工艺匠心。",[7714,26,7,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bd0edceee2e0736d7d5f72804d28bd.jpg",[],{"id":58238,"slug":58239,"title":58240,"dynasty":18,"author":454,"museum":107,"description":58241,"tags":58242,"thumbUrl":58243,"material":751,"size":752,"collection":95,"collections":58244,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275863,"mo-yu-yu-bi-re-he-kao-bing-shi-yu-ce-yi-ming-275863","墨玉御笔热河考并识语册","此作外匣以紫檀为地，周身错嵌金、银、螺钿与彩料。回纹勾边规整雅致，主体缠枝夔龙纹辗转灵动，间饰吉字纳祥瑞意趣，填色华贵沉稳，构图繁而不紊，尽显工致不凡。\n\n册页以墨玉为底镌刻文字，玉质凝润乌亮，刀工爽利凝练，将笔墨风骨复刻传神，是百宝镶嵌与玉刻工艺相融的精妙之作，把文玩雅趣与皇家仪制融为一体，尽显匠造巧思与不凡气度。",[13336,834,19026,7713,359,26,7,7714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc356bba615681c2dbee660c4e757597d.jpg",[],{"id":58246,"slug":58247,"title":58248,"dynasty":18,"author":454,"museum":107,"description":58249,"tags":58250,"thumbUrl":58251,"material":751,"size":752,"collection":95,"collections":58252,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275862,"cui-yu-yu-zhi-sheng-ren-ding-zhi-yi-zhong-zheng-ren-yi-er-zhu-jing-lun-ce-yi-ming-275862","翠玉御制圣人定之以中正仁义而主静论册","此器外盒红木髹饰，包浆莹润厚重，盖面嵌素玉为饰，素净雅致，配攒起雕花底座，尽显内敛华贵的清代文房气韵。盒中翠玉册页将儒学论述镌刻其上，玉质凝润清透，刀工沉稳克制，把中正主静之思凝于玉石之上。玉石的温润质感与儒学的深邃意蕴相融相合，既是可供清赏的文房珍玩，亦是承载修身向道精神内核的载体，将旧时藏家对器物审美与文化意涵的追求，藏纳在这一方沉静雅致的匣盒之中。",[26,7714,7,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40025c4200b50c17e64f6cca9413402.jpg",[],{"id":58254,"slug":58255,"title":58256,"dynasty":18,"author":454,"museum":107,"description":58257,"tags":58258,"thumbUrl":58259,"material":751,"size":752,"collection":95,"collections":58260,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275860,"mo-yu-qing-gui-shu-yu-zhi-bi-shu-shan-zhuang-wu-fu-wu-dai-tang-ji-ce-yi-ming-275860","墨玉庆桂书御制避暑山庄五福五代堂记册","此件以鎏金漆工艺打造，盒身浅浮雕云纹舒卷连绵，瑞兽穿行其间，纹饰灵动规整，尽显重工精致。素净顶盖与华美的盒身形成动静对比，鎏金漆面凝着岁月浸养的温润包浆，贵气内敛。下配透雕缠枝纹底座，层次婉转柔美，承托整体的庄重形制。整体工法细腻考究，将宫廷器物的雍容气度融于收纳之用，尽显清宫造作的审美意趣，是清代髹漆工艺的精巧缩影。",[26,7714,7,13336,30189,7713,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb924a0c843725419271d54acbc869f01.jpg",[],{"id":58262,"slug":58263,"title":58264,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":58265,"thumbUrl":58266,"material":751,"size":752,"collection":95,"collections":58267,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275856,"bai-yu-yu-bi-kai-huo-lun-ce-yi-ming-275856","白玉御笔开惑论册",[19026,7713,359,26,7714,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72a47c4ab3f09667adf37bfefd6cedc4.jpg",[],{"id":58269,"slug":58270,"title":58271,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":58272,"thumbUrl":58273,"material":751,"size":752,"collection":95,"collections":58274,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275854,"bai-yu-yu-zhi-si-zhi-shu-wu-ji-ce-yi-ming-275854","白玉御制四知书屋记册",[26,7714,7713,19026,834,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85bce08e53abb3cd27e876c627a07ad.jpg",[],{"id":58276,"slug":58277,"title":58278,"dynasty":18,"author":454,"museum":107,"description":58279,"tags":58280,"thumbUrl":58281,"material":751,"size":752,"collection":95,"collections":58282,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275853,"bi-yu-qian-long-yu-bi-shi-quan-lao-ren-zhi-bao-shuo-ce-yi-ming-275853","碧玉乾隆御笔十全老人之宝说册","外盒髹饰金地，錾刻游龙穿云，鳞爪灵动威严，华贵尽显皇家规制，嵌碧玉为签，温润玉色衬得金盒愈显雍容。\n\n册页笔墨端凝厚重，笔力沉稳浑穆，兼具帝王雄阔气魄与文人笔墨意趣。文字浸透着书者自诩十全武功的踌躇满志，藏着盛世君主的自负心境。\n\n整作装帧精工，金玉相映，是宫廷工艺与书法艺术合璧的佳例，晕开康乾盛世的余韵，静述一代帝王的自我标榜与时代缩影。",[26,7714,7,7713,359,1498,19026,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6095220da1d546e2ee50224e543389be.jpg",[],{"id":58284,"slug":58285,"title":58286,"dynasty":18,"author":454,"museum":107,"description":58287,"tags":58288,"thumbUrl":58289,"material":751,"size":752,"collection":95,"collections":58290,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275847,"bi-yu-yu-zhi-shi-ba-luo-han-zan-ce-yi-ming-275847","碧玉御制十八罗汉赞册","以凝润碧玉为纸，刀笔作绘书。罗汉造像神态各殊，或垂眉冥思，或持物观心，衣纹婉转流动，将出尘禅意藏于玉色温润之间。御制赞文随形排布，刀工匀净细腻，笔意隐于玉理之中，把皇家端方与释门清寂相融。整册晕着静穆雅致的东方意韵，玉质的厚重沉淀着匠心巧思，造像与文字共生，让禅心文思凝于一方玉册，敛藏着旧岁里的禅雅意趣。",[7714,26,878,10664,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7187b3d1efa65faa71b257b7129a80a8.jpg",[],{"id":58292,"slug":58293,"title":58294,"dynasty":18,"author":454,"museum":107,"description":58295,"tags":58296,"thumbUrl":58297,"material":751,"size":752,"collection":95,"collections":58298,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275843,"bi-yu-yu-zhi-re-he-zhi-xu-ce-yi-ming-275843","碧玉御制热河志序册","这方册页的锦函以明黄为底，缠枝团纹细密匀整，尽显宫廷器物的华贵规制。册身取上等碧玉斫制，玉色凝润清透，如深潭秋水般莹澈静穆。其上镌刻的序文笔法规整端严，刀工悉心追摹馆阁体的雍容笔意，起承转合间皆见刻工精妙。\n它将方志的厚重文脉，藏纳于温润玉质之中，皇家规制的威仪与玉石的清和之韵相融，是文藏审美与宫廷工艺的精巧合璧，静静晕染出旧时典藏的雅正风华。",[26,7714,1498,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902d3363e82bb8e09c114986ceeccc54.jpg",[],{"id":58300,"slug":58301,"title":58302,"dynasty":18,"author":454,"museum":107,"description":58303,"tags":58304,"thumbUrl":58305,"material":751,"size":752,"collection":95,"collections":58306,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275842,"bi-yu-jia-qing-yu-bi-tai-zong-po-ming-shi-yu-song-shan-zhan-shu-shi-ce-yi-ming-275842","碧玉嘉庆御笔太宗破明师于松山战书事册","此件外盒以髹漆仿编篾肌理为底，边缘戗金饰彩，素雅中带着华贵规制，内嵌铭牌题字端凝庄重，尽显宫廷造物的考究工致。\n内藏碧玉册以莹润玉页为纸，阴刻填金复刻御笔手书，笔力沉劲雍容，将松山大捷的壮阔史事凝于方寸玉面。玉质清透温泽，刻填工艺精妙入微，将纪实功用与文玩雅趣相融，是玉作工艺与御笔书法合璧的上乘佳作，静诉过往战事的雄浑，尽显清代宫廷器物的典藏价值。",[26,7714,7,20932],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7656de5b541a0311a514087f2eab0b0.jpg",[],{"id":58308,"slug":58309,"title":58310,"dynasty":18,"author":454,"museum":107,"description":58311,"tags":58312,"thumbUrl":58313,"material":751,"size":752,"collection":95,"collections":58314,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275841,"bi-yu-yu-zhi-wu-fu-wu-dai-tang-ji-ce-yi-ming-275841","碧玉御制五福五代堂记册","整器以金漆为衣，满饰浮雕云龙祥云纹。龙姿矫健遒劲，于云霭间灵动穿梭，威严气度扑面而来。纹饰排布疏密得当，刀工细腻圆润，金漆面莹亮温润，尽显华贵雍容。\n\n此匣承纳册页，以极致髹漆工艺将皇家礼制的庄重与工巧美学融为一体，层层细节皆见匠心，尽显旧时宫廷手作的巅峰水准，藏着深宫之中的精致考究，古韵悠然绵长。",[26,7714,359,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aef809386e79d2c2b688669a970d52c.jpg",[],{"id":58316,"slug":58317,"title":58318,"dynasty":18,"author":454,"museum":107,"description":58319,"tags":58320,"thumbUrl":58321,"material":751,"size":752,"collection":95,"collections":58322,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275838,"bi-yu-yu-zhi-jing-qing-zhai-si-yong-ce-yi-ming-275838","碧玉御制镜清斋四咏册","通体髹饰金漆，浅刻缠枝花卉与云纹，花叶舒展柔婉，云气萦回缱绻，金泽内敛沉静，历经岁月仍明丽温润。底座镂雕卷草开光，线条古雅灵动，承托方正盒身，端庄雅致尽显。\n\n内藏碧玉册页，玉质凝润莹澈，阴刻御题诗文，刀工匀净秀挺，墨色填文与苍润玉色相映，文辞雅意与匠作精工相融，尽显宫廷造办处不俗水准，静述往昔皇家雅赏之趣。",[26,7714,7,30189,13336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee3bd2a04733e738cc9eddc3bad2489.jpg",[],{"id":58324,"slug":58325,"title":58326,"dynasty":18,"author":454,"museum":107,"description":58327,"tags":58328,"thumbUrl":58329,"material":751,"size":752,"collection":95,"collections":58330,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275837,"bi-yu-yu-bi-bi-shu-shan-zhuang-wu-fu-wu-dai-tang-ji-ce-yi-ming-275837","碧玉御笔避暑山庄五福五代堂记册","紫檀嵌铜饰匣古朴端雅，衬得内里册页愈显珍罕。温润凝腻的碧玉为底，承载御笔手书，笔力沉浑端方，兼具帝王雍容气度与书法隽秀章法。文字镌刻工致细腻，将御制文辞的厚重意蕴，与玉石清润质感相融相合，是宫廷工艺与书法美学联袂的精妙之作，尽显皇家器物的庄重华贵与雅致格调，静静诉说着旧时宫廷的审美意趣。",[26,7714,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2b54409b8044870c42194af0c081ba2.jpg",[],{"id":58332,"slug":58333,"title":58334,"dynasty":18,"author":454,"museum":107,"description":58335,"tags":58336,"thumbUrl":58337,"material":751,"size":752,"collection":95,"collections":58338,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275834,"bi-yu-qian-long-yu-bi-jie-de-tang-hou-ji-ce-yi-ming-275834","碧玉乾隆御笔戒得堂后记册","此器取碧玉为材，通体重工浮雕。盒身满刻云龙纹，祥云翻卷缠绕，龙身姿矫健威严，利爪张弛间尽显威仪，底部海浪层叠，烘托出磅礴雄浑之势。盒面嵌饰金片，在沉郁玉色中点染华贵锋芒，于素雅器型里暗生高光。整体器型方正端稳，刀工浑厚凝练，将礼制庄重气度与玉雕极致美学相融，尽显顶尖制器匠心，是清代重工玉雕的上乘之作。",[7714,26,7713,359,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda96f9796514674b9d2700360214da16.jpg",[],{"id":58340,"slug":58341,"title":58342,"dynasty":18,"author":454,"museum":107,"description":58343,"tags":58344,"thumbUrl":58345,"material":751,"size":752,"collection":95,"collections":58346,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275832,"bi-yu-yu-zhi-gui-mao-shuo-ce-yi-ming-275832","碧玉御制圭瑁说册","此匣以硬木为骨，漆色如夜沉敛。周身错金镶贝，金莲灼灼似凝晓光，螺钿缠枝柔婉萦回，拐子纹饰于四方，以规整中和缠枝柔媚。盖心留白题字，与周遭繁丽相映成趣，疏密之间尽显分寸匠心。器壁纹饰与盖面相呼应，整器华贵不失端方，将百工巧思凝于寸匣。静穆中带着雍容气度，暗合宫廷造物的雅致格调，是细作工艺的精妙缩影。",[13336,7714,26,7,7713,399,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd479cd8f714a0d294f28858d7b329b0.jpg",[],{"id":58348,"slug":58349,"title":58350,"dynasty":18,"author":454,"museum":107,"description":58351,"tags":58352,"thumbUrl":58353,"material":751,"size":752,"collection":95,"collections":58354,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275831,"bi-yu-yu-bi-gu-xi-shuo-ce-yi-ming-275831","碧玉御笔古希说册","此盒以髹漆戗金为工，盒身双龙穿游于祥云惊涛之间，龙躯矫健雄劲，鳞爪毕现，江崖海水纹层叠细腻，将威仪与祥瑞意蕴融于一处。盒面题字錾刻工整，古意盎然。\n\n棕褐底色衬以赤金纹路，沉穆底色点亮华彩金辉，器型方正雅致，线条利落挺括，每一处纹饰尽显精工规制，内敛华贵之间藏着旧时宫廷文玩的匠心底蕴，静诉往昔宫廷器物的典雅风骨。",[13336,834,359,26617,7713,7714,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e5f0e65ffe6a839d9dfb16f43eef57.jpg",[],{"id":58356,"slug":58357,"title":58358,"dynasty":18,"author":454,"museum":107,"description":58359,"tags":58360,"thumbUrl":58361,"material":751,"size":752,"collection":95,"collections":58362,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275830,"bi-yu-yu-bi-kai-guo-fang-lve-xu-ce-yi-ming-275830","碧玉御笔开国方略序册","此作取整料碧玉斫制，石色苍润匀净，自带沉静古雅质感。册身以描金勾勒行龙穿云，金彩凝亮醒目，龙爪雄劲、龙身蜿蜒，祥云簇拥间尽显磅礴威严，将皇家气度融于寸尺玉料之上。侧面题字笔锋挺括，金墨映衬愈显端方雅致。红木座架纹饰细腻古拙，稳稳承托玉册，与玉色沉郁形成鲜明却和谐的视觉层次，将玉石之润、描金之丽、木雕之朴精妙结合，尽显宫廷造办的精湛匠心，尽显庄重华贵的宫廷气韵。",[7714,26,359,7,199,7713,1498,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb268114df4d6522577d588bb8fd5ea01.jpg",[],{"id":58364,"slug":58365,"title":58366,"dynasty":18,"author":454,"museum":107,"description":58367,"tags":58368,"thumbUrl":58369,"material":751,"size":752,"collection":95,"collections":58370,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275828,"bi-yu-yu-bi-re-he-kao-ce-yi-ming-275828","碧玉御笔热河考册","此匣髹深褐漆为地，以戗金工艺装饰满幅纹饰。匣身游龙矫健身姿穿梭于缠枝云海之中，龙鳞爪角分毫清晰，下衬翻卷海涛，将皇家威严与磅礴气势融于一体。盖面留白錾刻御题，辅以细密卷草锦地，繁简相映，层次分明。\n\n戗金线条细劲流畅，金辉在沉色漆面之上熠熠生辉，尽显造办极致匠心。它既是典册的庄重载体，亦是一件独运匠心的工艺佳器，将华贵矜重的皇家气度诠释得淋漓尽致。",[13336,26617,359,26,1498,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a6a659124bff10af12afb90c65fff6.jpg",[],{"id":58372,"slug":58373,"title":58374,"dynasty":18,"author":454,"museum":107,"description":58375,"tags":58376,"thumbUrl":58377,"material":751,"size":752,"collection":95,"collections":58378,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275823,"qing-yu-dong-gao-shu-yu-zhi-san-lao-wu-geng-shuo-ce-yi-ming-275823","青玉董诰书御制三老五更说册","此件以黑漆为底，描金绘就水乡秋居图景，芦丛水禽悠然、茅舍归人恬适，江南野趣跃于盒身，笔触细腻雅致。盒内青玉册页碾刻精工，字纹隽秀挺括，玉质莹润温糯，与外盒漆绘相映成趣。御制文辞凝于良玉，髹金漆饰衬其雅韵，将文辞深意与工艺巧思相融，尽显制器的细腻匠心，藏纳着传统文人的隐逸意趣，又不失端整气度，是文房清玩中的上乘佳制。",[13336,7714,26,7,7713,51,55,113,116,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3310cf501b0a8a8ce5e085abe5d49198.jpg",[],{"id":58380,"slug":58381,"title":58382,"dynasty":18,"author":454,"museum":107,"description":58383,"tags":58384,"thumbUrl":58385,"material":751,"size":752,"collection":95,"collections":58386,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275822,"qing-yu-yu-bi-ning-shou-gong-ming-ce-yi-ming-275822","青玉御笔宁寿宫铭册","此盒以黑漆为底，描金为饰，盖面开光题字，通身游龙腾跃于流云骇浪之中。描金线脚细密灵动，龙躯矫健遒劲，云纹舒卷连绵，海涛翻涌磅礴，繁丽纹饰排布严整不乱，金辉与乌漆相映，华贵雍容尽显。器形规整沉稳，将皇家威严气度与漆作工艺的极致工巧相融，尽显宫廷造物的精巧匠心，是清代漆艺的上乘之作。",[13336,359,7713,26617,7714,26,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6303b3a1442d34bda9e622bc6ca677cc.jpg",[],{"id":58388,"slug":58389,"title":58390,"dynasty":18,"author":454,"museum":107,"description":58391,"tags":58392,"thumbUrl":58393,"material":751,"size":752,"collection":95,"collections":58394,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275821,"qing-yu-yu-zhi-jie-de-tang-ji-ce-yi-ming-275821","青玉御制戒得堂记册","这套装帧沉静古雅的册匣，裹饰碎花函套，素绳缚系，尽显内敛意蕴。其内册页取匀净温润的青玉为材，御制铭文以精妙刀工镌刻而就，笔画劲挺隽秀，字口深峻清晰，将御笔文思与治玉匠心相融无间。\n\n文字寄寓着戒慎修身的哲思，清透莹润的玉质，与工整书意相得益彰，是宫廷玉作与御制文玩结合的上乘之作，内敛华贵间彰显着旧时宫中文玩的雅致格调，沉淀着传统器物审美意趣与精神内核。",[7714,26,7,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2677a4a5e61a1686c1ed1e26fffc1151.jpg",[],{"id":58396,"slug":58397,"title":58398,"dynasty":18,"author":454,"museum":107,"description":58399,"tags":58400,"thumbUrl":58401,"material":751,"size":752,"collection":95,"collections":58402,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275815,"qing-yu-cao-zhen-yong-shu-yu-zhi-yang-xin-dian-ji-ce-yi-ming-275815","青玉曹振镛书御制养心殿记册","此作以青玉裁为书页，以泥金题字，莹润青玉与灿然金彩相映，清贵雅致。函套织锦纹样繁丽规整，尽显装裱工艺的考究用心。书法取馆阁体风貌，笔力稳健端方，排布齐整庄重，将御制文辞的肃穆意蕴尽显无遗。它将玉石的温润质感、书法的笔墨意趣与装帧工艺相融，是宫廷匠心的凝练之作，尽显皇家器物的端庄大气，藏着清代宫廷美学的雅致风骨。",[7714,26,7,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d022b25116a19e01f6cecaab123a105.jpg",[],{"id":58404,"slug":58405,"title":58406,"dynasty":18,"author":454,"museum":107,"description":58407,"tags":58408,"thumbUrl":58409,"material":751,"size":752,"collection":95,"collections":58410,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275814,"qing-yu-yu-zhi-xiao-chun-shuo-ce-yi-ming-275814","青玉御制小春说册","以温润青玉为纸，以刀代笔，将文辞凝于莹泽玉面。刀工匀净细腻，复刻笔墨端凝风骨，把小春岁时的清雅致怀藏于方寸册页之间。\n\n配套红木盛箱铜饰雅致，榫合严密，暗合着对这套雅玩的珍视。整体将玉之温润、文之隽秀、木之沉敛相融，尽显华贵精巧，静静诉说着岁序里的悠然意韵。",[7714,26,1498,19026,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c910b1aadc3164044c82764d06eba6b.jpg",[],{"id":58412,"slug":58413,"title":58414,"dynasty":18,"author":454,"museum":107,"description":58415,"tags":58416,"thumbUrl":58417,"material":751,"size":752,"collection":95,"collections":58418,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275813,"qing-yu-yu-zhi-wu-liu-tian-di-zhi-zhong-he-fu-ce-yi-ming-275813","青玉御制五六天地之中合赋册","以青玉裁册，岁月晕出温润包浆，墨玉册盖精雕云纹辗转环绕，衬得中部题额愈发庄重沉静。册身平整厚重，每片玉页皆经精心砣刻，辞隽语秀镌于玉面，笔画端凝方正，与玉质清润相融，尽显宫廷制器的庄重典雅。\n\n触手凉润，仿佛能触到旧时案头的沉静时光，将文学意趣与治玉匠心精妙相合，把礼制风雅悄然藏于一方玉册之中，是文心与工艺交融的上乘之作。",[7714,26,7713,1498,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd52f24e616200cedbab05d9eeb2b6ea3.jpg",[],{"id":58420,"slug":58421,"title":58422,"dynasty":18,"author":454,"museum":107,"description":58423,"tags":58424,"thumbUrl":58425,"material":751,"size":752,"collection":95,"collections":58426,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275812,"qing-yu-yu-zhi-shi-ce-yi-ming-275812","青玉御制诗册","红木函盒内敛温润，漆面题签古雅沉静，晕开旧时光的厚重质感。玉质匀净凝润，墨笔诗文镌刻隽秀端庄，刀工细腻妥帖，笔画舒展雅致。\n\n诗文的翰墨风雅与玉石的清润内敛相融，将宫廷文玩的雅致意趣静静沉淀。形制规整装帧考究，以精工细作尽显匠心，把玉石温润之美与御制文字的端方气度合为一体，带着沉静内敛的古典气韵，藏着不彰自显的华贵质感，是玉作与文心相合的绝佳载体。",[7714,26,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6347362d56b00e62fabeed107216e77b.jpg",[],{"id":58428,"slug":58429,"title":58430,"dynasty":18,"author":454,"museum":107,"description":58431,"tags":58432,"thumbUrl":58433,"material":751,"size":752,"collection":95,"collections":58434,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275809,"qing-yu-yu-zhi-sheng-jing-tu-feng-za-yong-shi-er-shou-ce-yi-ming-275809","青玉御制盛京土风杂咏十二首册","紫檀外盒透雕缠枝龙纹，以回纹界分装饰区域，雕工圆浑老辣，龙纹辗转腾挪隐于缠枝间，威严中带着灵动生气。盒身方正沉稳，弯足底座添几分秀逸，与盒身厚重感相得益彰。\n\n内盛青玉册页莹润温糯，镌刻诗文刀工精细挺括，笔意清晰传神，将盛京风土意趣凝于玉面。木之沉敛与玉之清润相映成趣，既是工艺匠心的缩影，也藏着一方水土的人文脉络，尽显雅致厚重的清宫文玩气韵。",[7714,26,7,19026,7713,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f3f29fde594390a8647dd4c7de010a.jpg",[],{"id":58436,"slug":58437,"title":58438,"dynasty":18,"author":454,"museum":107,"description":58439,"tags":58440,"thumbUrl":58441,"material":751,"size":752,"collection":95,"collections":58442,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275805,"qing-yu-yu-zhi-san-ge-ji-ce-yi-ming-275805","青玉御制三阁记册","此玉册取青玉为料，质地莹润凝厚，自带沉静内敛的君子气质。御制铭文以阴刻填金技法镌刻其上，笔意劲挺端严，尽显皇家制式的规整肃穆，填金工艺让字痕在玉色映衬下愈显华贵醒目。\n配套锦盒织纹古雅繁复，配色明丽沉稳，带着清宫器物独有的精致华贵，妥帖将玉册珍藏其中。它以玉为纸，以刀代笔，将御制文辞永久留存，既是帝王心迹的载体，更是玉作工艺与书法美学的精妙融合，静静沉淀着旧时宫苑的沉敛风华，是工艺价值与文史价值兼具的佳构。",[7714,26,7,1498,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd01b9e978c8f77336e7b8fe04f5f2a.jpg",[],{"id":58444,"slug":58445,"title":58446,"dynasty":18,"author":454,"museum":107,"description":58447,"tags":58448,"thumbUrl":58449,"material":751,"size":752,"collection":95,"collections":58450,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275802,"qing-yu-yu-zhi-ji-shui-kao-ce-yi-ming-275802","青玉御制济水考册","外配红木匣盖，錾刻回纹环饰，题字端雅厚朴，装帧一如线装古籍，古韵悠然。内页青玉莹润细腻，以阴刻技法摹绘济水脉络，详考其源流变迁。刀工匀净凝练，走线利落，将舆地考据的严谨深意融于玉作之中。\n\n它将干巴巴的水文著述，化作可触可赏的雅致珍玩，把考据学风与治玉匠心相融，让学术思辨成为具象的美学载体，静静沉淀着旧时治学与造物的风雅意趣，是文心与工巧的绝妙契合。",[26,7714,1498,19026,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee92849caa11818a075e298bd5d774b.jpg",[],{"id":58452,"slug":58453,"title":58454,"dynasty":18,"author":454,"museum":107,"description":58455,"tags":58456,"thumbUrl":58457,"material":751,"size":752,"collection":95,"collections":58458,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275797,"qing-yu-liang-guo-zhi-shu-yu-zhi-jie-de-tang-ji-ce-yi-ming-275797","青玉梁国治书御制戒得堂记册","此册取青玉为料，仿书页形制成册，配红木函匣，匣面戗金题字古雅端方。玉页阴刻御制文辞，复刻手书笔意，刀工细致妥帖，将书法的端秀风骨尽数还原，字口填金与温润玉色相衬，更显华贵肃穆。整作将御制文心、书法意韵与治玉匠心相融，形制精巧雅致，既承载着文辞深意，又尽显清中期玉作与书法合璧的高超工艺水准，是兼具礼制内涵与文玩意趣的精妙佳器。",[7714,26,7,1498,199,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2335d27a53d7211461db47e82ce94968.jpg",[],{"id":58460,"slug":58461,"title":58462,"dynasty":18,"author":454,"museum":107,"description":58463,"tags":58464,"thumbUrl":58465,"material":751,"size":752,"collection":95,"collections":58466,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275793,"qing-yu-qian-long-yu-bi-wen-jin-ge-ji-ce-yi-ming-275793","青玉乾隆御笔文津阁记册","此盒以乌木为地，取戗金工艺装饰，整器华贵雍容。盒身双龙矫健灵动，于流云间辗转腾挪，戏珠相争，下衬海浪江崖，暗合江山永固之意。金线在深褐底色上熠熠生辉，走线细腻流畅，将龙的威严气势刻画得栩栩如生。\n\n盖面戗金题字笔力遒劲端方，与整体肃穆华贵的气韵相得益彰。整器将收纳之用与陈设雅趣相融，尽显宫廷工艺的精湛考究，把皇家威严气度与盛世审美藏入这一方匣盒之中。",[13336,834,359,7713,7714,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32d563f2be3204af4102e60fdd29663.jpg",[],{"id":58468,"slug":58469,"title":58470,"dynasty":18,"author":454,"museum":107,"description":58471,"tags":58472,"thumbUrl":58473,"material":751,"size":752,"collection":95,"collections":58474,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275789,"qing-yu-liu-bing-tian-shu-yu-zhi-tu-er-hu-te-quan-bu-gui-shun-ji-ce-yi-ming-275789","青玉刘秉恬书御制土尔扈特全部归顺记册","此件外盒取紫檀为材，满工錾刻回纹锦地，开光内饰宝相花，古雅端庄尽显庄重气韵。盒中青玉册镌字沉稳厚重，笔力苍劲浑朴，将万里东归的壮阔过往凝于玉页。砣工追着笔锋走线，转折利落分明，把御记里的家国热望镌入温润青玉。它带着清中期工艺的规整大气，融文玩雅致与厚重史事为一体，方寸之间藏着匠心、书法与赤诚归史，静诉旧时光里的滚烫初心。",[19026,7713,7714,26,7,20932],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffe8229bd0d9931733ed8b0de97e976.jpg",[],{"id":58476,"slug":58477,"title":58478,"dynasty":18,"author":454,"museum":107,"description":58479,"tags":58480,"thumbUrl":58481,"material":751,"size":752,"collection":95,"collections":58482,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},275787,"qing-yu-yu-min-zhong-shu-yu-zhi-bi-shu-shan-zhuang-ji-en-tang-ji-ce-yi-ming-275787","青玉于敏中书御制避暑山庄纪恩堂记册","此件以紫檀大料为匣，满工穿雕游龙戏云，鳞爪灵动，云纹翻卷层叠，刀工沉厚饱满，将威仪气象藏于纹路起伏之中。盒面嵌白玉牌为饰，素净莹润与深棕木雕形成明暗错落，虚实相生。内置青玉册页，玉质清润凝腻，镌刻诗文笔画端秀挺括，刀笔呼应间，将御制文字的庄重意趣与玉木雕饰的华贵气韵相融，尽显清宫制器的极致匠心与审美意趣。",[7714,7,26,19026,7713,359,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e60233154790c84e0f7806dcae44139.jpg",[],{"id":58484,"slug":58485,"title":57982,"dynasty":18,"author":454,"museum":107,"description":57983,"tags":58486,"thumbUrl":58487,"material":751,"size":752,"collection":95,"collections":58488,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275761,"jiao-long-niu-gu-xi-tian-zi-zhi-bao-yi-ming-275761",[77,7714,359,3467,7,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b393bd6a9cc1199acfa70ee8a93ab8.jpg",[],{"id":58490,"slug":58491,"title":58492,"dynasty":18,"author":454,"museum":107,"description":58493,"tags":58494,"thumbUrl":58495,"material":751,"size":752,"collection":95,"collections":58496,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275757,"tong-pin-ji-shan-cong-yi-pin-yi-ming-275757","铜品级山-从一品","此器取山峦为形，层叠褶皱如真山起伏，铜色苍润古旧，自带沉敛古韵。正面嵌上牌记，“從一品”三字方正厚重，点明身份规制，侧边款识朴拙稚趣，添就人文意趣。\n\n它既是文房镇纸的雅器，亦是官阶威仪的物化载体，将礼制等级融于文房清玩，匠造之间，把肃穆官制与文人雅趣相合，藏着旧时规制底蕴与手工巧思，静穆间尽显器物的端庄质感。",[1896,15301,7713,42838,457,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2025bc21382a6386dffa6213e526adb.jpg",[],{"id":58498,"slug":58499,"title":58500,"dynasty":18,"author":454,"museum":107,"description":58501,"tags":58502,"thumbUrl":58504,"material":751,"size":752,"collection":95,"collections":58505,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},275413,"gang-fang-xiang-yi-ming-275413","钢方响","两排钢制音板以黄绳穿系固定，板面錾刻字符标注律名与音高，深褐包浆覆着沧桑旧痕，带着经年使用的温润质感。形制齐整素雅，无繁复雕饰，尽显拙朴古雅的匠造意趣。它曾在礼乐雅奏中振鸣清越之音，如今静置无声，却依旧裹挟旧时光里的礼乐余韵，将传统乐律的古朴质感凝于方寸，藏着旧时音律传承的温度。",[427,58503,7,457],"铁器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde66a8bb69a778d4ae3a10ed66280c11.jpg",[],{"id":58507,"slug":58508,"title":58509,"dynasty":18,"author":454,"museum":107,"description":58510,"tags":58511,"thumbUrl":58513,"material":751,"size":752,"collection":95,"collections":58514,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},275074,"zi-tan-mu-xiao-shu-rui-huang-hou-da-ci-huang-bi-sheng-ling-zhi-bao-wei-yi-ming-275074","紫檀木孝淑睿皇后大慈皇妣圣灵之宝位","此器木色匀净温润，边框回纹镶饰，回旋往复暗含绵长吉意。竖排铭文刊刻深峻挺括，笔力厚重端严，尽显祭祀仪制的庄重肃穆。旁侧小字清雅疏朗，与正文形成虚实错落的视觉层次。底座高浮雕缠龙纹饰，龙身盘绕遒劲，鬃尾盘虬灵动，刀法圆熟细腻，将神兽威仪刻画得栩栩如生。整体形制规整端庄，将祭祀礼器的庄敬意蕴与传统木作工艺美学融为一体，是兼具仪制规范与匠心造诣的上乘之作。",[19026,7713,9636,42838,7,457,58512],"牌位","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd0a48524315e50651d6af58127a4d2.jpg",[],{"id":58516,"slug":58517,"title":49693,"dynasty":18,"author":454,"museum":107,"description":58518,"tags":58519,"thumbUrl":58521,"material":751,"size":752,"collection":95,"collections":58522,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},274843,"mu-hei-qi-jin-bian-shen-pai-xia-yi-ming-274843","此器主体修长隽秀，顶沿圆融柔缓，牙质基底温润古朴，周身带着时光浸养出的浅淡裂纹与晕染包浆，静静沉淀岁月余温。正面錾刻满汉双语神位文字，笔锋端严工稳，排布规整有序，尽显祭祀重器的庄严肃穆。分层底座由浅色承台与黑漆方座错落构成，深浅色调相映，稳稳托举神位，更衬器物整体的沉敛雅致，将旧时庙堂祭祀的庄重仪制凝缩其中，内敛沉静间尽显礼制器物的规整肃穆。",[42838,19026,25476,7,199,58520,13336],"神位","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6bc99898f53a4f213d46c08503b672.jpg",[],{"id":58524,"slug":58525,"title":58526,"dynasty":18,"author":454,"museum":107,"description":58527,"tags":58528,"thumbUrl":58530,"material":751,"size":752,"collection":95,"collections":58531,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},274841,"mu-huang-qi-miao-jin-long-shen-pai-xia-yi-ming-274841","木黄漆描金龙神牌匣","修长圭形牌身搭配须弥台座，稳敛端庄。通体髹黄漆为底，以描金题就满汉双文神位字样，笔触端严恭谨，一丝不苟。整体不作繁缛雕饰，仅以素净漆色与庄重题字凸显祭祀重器的肃穆威仪，暗合宗庙祭祀的礼制规制，质朴间流露着庙堂之上的尊崇之意，静静诉说着旧时先祖祭祀的庄重礼制，尽显沉静肃穆的庙堂气度。",[19026,13336,26617,42838,58529,199,7],"神牌位","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F214653d7297c26e53621578fbb616210.jpg",[],{"id":58533,"slug":58534,"title":58526,"dynasty":18,"author":454,"museum":107,"description":58535,"tags":58536,"thumbUrl":58537,"material":751,"size":752,"collection":95,"collections":58538,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},274840,"mu-huang-qi-miao-jin-long-shen-pai-xia-yi-ming-274840","整体修长挺拔，层叠方座承托牌身，线条端庄沉稳，尽显礼制器物的规整肃穆。牌身髹黄漆莹润华贵，描金题字笔触匀整隽秀，满汉双文并书，字里行间承载着庄重的庙号谥号，彰显出祭祀仪轨的森严礼制。黄漆底色与描金文饰相映，明丽雅致，将祭祀重器的威严与工艺美学相融，素朴又不失华贵，静静诉说着宗庙典制的庄重肃穆，是礼制工艺与传统髹漆描金技艺结合的典型器物，尽显礼器的规整大气与匠人巧思。",[19026,13336,42838,26617,359,7,58520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c92d23478830576b9c2337d0218b67.jpg",[],{"id":58540,"slug":58541,"title":58542,"dynasty":18,"author":454,"museum":107,"description":58543,"tags":58544,"thumbUrl":58546,"material":751,"size":752,"collection":95,"collections":58547,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},274376,"tong-wu-shi-liang-fa-ma-yi-ming-274376","铜五十两砝码","它圆敦厚重，铜色凝着沉郁苍古的包浆，是岁月摩挲过的痕迹。底部錾刻铭文朴拙有力，带着旧时官造器物的规整法度。作为权衡重器，抛却陈设的浮华，以素净身躯承载精准度量的使命。漫漶的刻字虽已被时光晕染，却依旧是匠艺与制度交融的印记，藏着旧时榷税、商贸里斤两分明的秩序，静静诉说着古时长街市井里，凭准计量的日常烟火，是沉默却鲜活的计量史切片。",[1896,15301,58545,7713,7],"砝码","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5831ed0f67d9a71f2c314492d25ef86c.jpg",[],{"id":58549,"slug":58550,"title":58551,"dynasty":18,"author":454,"museum":107,"description":58552,"tags":58553,"thumbUrl":58554,"material":751,"size":752,"collection":95,"collections":58555,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},274217,"tong-hu-bu-ying-zao-zhi-chi-yi-ming-274217","铜户部营造制尺","尺子又称量尺、刻度尺，是用来画线段（尤其是直的）、量度长度的工具。尺上通常有刻度以量度长度。有些尺子，在中间留有特殊形状如字母或圆形的洞，方便用者画图，通常用于测量计算长度，一般分为卷尺，游标卡尺，直角尺，直尺。",[15301,834,13336,199,7,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65d9f5de6b9d87c7c48240e3c1796355.jpg",[],{"id":58557,"slug":58558,"title":58559,"dynasty":662,"author":454,"museum":107,"description":58560,"tags":58561,"thumbUrl":58564,"material":751,"size":752,"collection":95,"collections":58565,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},274041,"bai-wen-kui-qing-guan-ce-chang-pian-yi-ming-274041","白文魁《清官册》唱片","泛黄牛皮纸封套晕开岁月痕迹，手写题字带着旧唱片行的市井暖意，中心唱片标签刊印规整，带着老派印刷的拙朴质感。\n\n胶木纹路中刻录着老生经典段落，唱腔里凝着民国戏台的余韵，封面上的手写批注与印刷字样，藏着旧时代戏迷与唱片行的流转往事，将戏台烟火封存在纹路之间，是戏曲音像史里一枚带着温度的时代标本，静静诉说着戏曲传播的旧时光故事。",[27772,25307,58562,7,58563],"音乐","纸质品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ebc5af492c4fd52bb1e3ca258a10ee.jpg",[],{"id":58567,"slug":58568,"title":58569,"dynasty":18,"author":454,"museum":107,"description":58570,"tags":58571,"thumbUrl":58573,"material":751,"size":752,"collection":95,"collections":58574,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273999,"yan-hou-kou-chi-men-yao-fang-yi-ming-273999","“咽喉口齿门”药方","古朴黄纸装帧，封面题字苍劲厚重，笔力沉稳内敛，带着旧时代的拙朴质感。内页小楷工整隽秀，笔意清逸雅致，将喉口齿类药方一一誊录详尽。泛黄纸面晕开时光斑驳痕迹，墨迹里藏着旧时医者的仁心，它不只是一纸医方，更是传统医术传承的微小缩影，静静承载着古人疗愈病痛的周全心思，带着沉静古韵，诉说着旧时光里的疗愈暖意。",[1498,7,199,58572,26],"药方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53287a41c7a3af1851215d680c3f49d0.jpg",[],{"id":58576,"slug":58577,"title":58578,"dynasty":18,"author":454,"museum":107,"description":58579,"tags":58580,"thumbUrl":58581,"material":751,"size":752,"collection":95,"collections":58582,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273998,"qi-zhi-men-yao-fang-yi-ming-273998","“气滞门”药方","封面墨笔大字朴拙苍劲，带着旧时手书的厚重质感，内页小楷娟秀工整，一笔一划谨严端正，将药方配伍细细铺陈。泛黄的纸页晕开时光的痕迹，纸面的斑驳是岁月篆刻的印记，静静承载着古人的疗愈智慧。这份手书药方藏着旧时医者的沉稳心意，将百年前的济世之方郑重留存，默默诉说着传统医学的脉脉传承。",[1498,58572,7,199,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67d9772b4ef8f68e90c148dcbde2d351.jpg",[],{"id":58584,"slug":58585,"title":58586,"dynasty":18,"author":454,"museum":107,"description":58587,"tags":58588,"thumbUrl":58589,"material":751,"size":752,"collection":95,"collections":58590,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273997,"tan-zheng-men-yao-fang-yi-ming-273997","“痰症门”药方","这帧笺纸之上小楷清隽端雅，行气匀停和顺，笔墨带着内敛沉静的文人意趣，起收转折皆见法度。泛黄纸面晕开岁月痕迹，墨色却依旧匀净沉凝，工整记录的药材配伍藏着医者的郑重心意。\n它既是实用医方，亦是颇具审美价值的书法小品，将杏林医道与翰墨风雅相融。旧纸间藏着过往的烟火暖意，静静诉说着旧时医人落笔时的认真，让实用之物晕染出雅致的文心余韵。",[199,7,58572,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0ea1b24e0c1456d576617148d1b5bf.jpg",[],{"id":58592,"slug":58593,"title":58594,"dynasty":18,"author":454,"museum":107,"description":58595,"tags":58596,"thumbUrl":58597,"material":751,"size":752,"collection":95,"collections":58598,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273996,"za-zhi-men-yao-fang-yi-ming-273996","“杂治门”药方","泛黄麻纸裹着旧时光的温度，封皮大笔题字朴拙苍劲，内里蝇头小楷工整端凝，抄录下三十九样实用药方。纸页上的斑驳霉痕是岁月吻过的印记，笔墨间藏着旧时杏林的烟火日常。\n\n没有精妙的笔法雕琢，却带着手录医方的郑重，一字一句皆是古人疗愈的细碎智慧，是民间医药传承的鲜活缩影，静静沉敛着传统医术的脉脉星火，将往昔的温热医心封存在这方寸纸间。",[1498,7,199,58572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012f5b38ff1d4936ae216011a2ed53c5.jpg",[],{"id":58600,"slug":58601,"title":58602,"dynasty":18,"author":454,"museum":107,"description":58603,"tags":58604,"thumbUrl":58605,"material":751,"size":752,"collection":95,"collections":58606,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273995,"chuang-ke-men-yao-fang-yi-ming-273995","“疮科门”药方","泛黄的纸页晕开岁月痕迹，封面题字朴拙苍劲，带着旧物特有的沉厚质感。内页小楷工整排布，将疮科诸方一一列陈，笔锋端正里藏着旧时医者的审慎细致。\n\n它是传统疡科医技的具象载体，纸墨之间留存着古人疗愈疮疾的医药经验，带着经手者的手泽温度，静静诉说着往昔杏林的行医脉络。褪去炫目的修饰，只余务实沉静的杏林底色，在泛黄卷册里封存着古人疗疡治疮的医技脉络，藏着旧时代医者的专注与仁心。",[1498,7,199,58572,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33fbb4b43af8b19daefef907050d0d50.jpg",[],{"id":58608,"slug":58609,"title":58610,"dynasty":18,"author":454,"museum":107,"description":58611,"tags":58612,"thumbUrl":58613,"material":751,"size":752,"collection":95,"collections":58614,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273994,"xiao-er-ke-yao-fang-yi-ming-273994","“小儿科”药方","泛黄麻纸裹起册页，朴拙题字晕着岁月浸出的旧痕。内页小楷方正端稳，错落药名静静铺陈，将对症配伍一一录下。它并非绘就山水花鸟的雅卷，而是藏着烟火暖意的医方手泽。旧墨晕开的字迹里，凝着过往医者守护稚子安康的恳切心意，将平实行医日常揉进纸间。纸页漫开的陈墨香气里，藏着旧时杏林的脉脉温情，把代代相传的行医经验，酿成了带着人文温度的藏品，静静诉说着老时光里的治愈日常。",[1498,58572,57909,7,199,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5b08ac803cff6545aa733b5a1224438.jpg",[],{"id":58616,"slug":58617,"title":58618,"dynasty":18,"author":454,"museum":107,"description":58619,"tags":58620,"thumbUrl":58621,"material":751,"size":752,"collection":95,"collections":58622,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273993,"bu-yi-men-yao-fang-yi-ming-273993","“补益门”药方","这方旧纸裹挟着岁月的昏黄暖意，左侧册页墨字朴拙厚重，笔端带着旧时代的沉静力道，将养生的细致思量藏于纸间。右侧素笺小楷工整妥帖，一味味药材排布有序，笔墨间晕开杏林之人的严谨心意。\n\n泛黄纸页晕开时光的痕迹，每一笔字迹、每一味配伍，都是传统本草养生智慧的缩影，将旧时医者的经验与对颐养身心的思索，封存在这旧纸当中，静静晕开传统养生文化的脉脉底蕴。",[1498,7,199,58572,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298f54c7528a0da5b04ace15140f3cd0.jpg",[],{"id":58624,"slug":58625,"title":58626,"dynasty":18,"author":454,"museum":107,"description":58627,"tags":58628,"thumbUrl":58629,"material":751,"size":752,"collection":95,"collections":58630,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273992,"xie-li-men-yao-fang-yi-ming-273992","“泻痢门”药方","封皮楷书朴拙厚重，墨色苍劲沉稳，带着旧时光的沉郁质感。内里药方小字娟秀工整，笔端带着医家的细致郑重。泛黄纸页晕开细碎墨痕，褶皱间藏着被反复翻阅的温度。\n\n它是杏林传承的微缩载体，将旧时疗愈疾患的心血凝于尺幅之间。纸面斑驳是岁月摩挲的痕迹，静静诉说着曾被珍视翻阅的过往，藏着古人济世疗疾的温热智慧，带着旧世杏林的脉脉余温，是传统中医烟火气与传承心的具象留存。",[1498,7,199,58572,26,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeaa24ffea24fd7212123e7b65eb0045.jpg",[],{"id":58632,"slug":58633,"title":58634,"dynasty":18,"author":454,"museum":107,"description":58635,"tags":58636,"thumbUrl":58638,"material":751,"size":752,"collection":95,"collections":58639,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273991,"yan-ke-men-yao-fang-yi-ming-273991","“眼科门”药方","泛黄麻纸裹挟着旧时光晕，封皮题字朴拙苍劲，带着老中医提笔时的沉静力道。内页工整小楷清晰罗列眼目诸方，墨迹虽历经年岁依旧匀净明了。\n\n十九样眼科药方藏着旧时民间医技的细致巧思，纸面折痕与藏品编号，默默诉说它曾被反复翻阅、妥帖收存的过往。它跳脱开精致雅玩的范畴，带着实打实的实用温度，是传统中医眼科诊疗智慧的具象缩影，将晚清民间行医的日常封存在这尺幅纸页之中。",[1498,7,199,58572,58637,312,77,6771],"中医药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcace45b47bbc81f2b01aeed56ba05067.jpg",[],{"id":58641,"slug":58642,"title":58643,"dynasty":18,"author":454,"museum":107,"description":58644,"tags":58645,"thumbUrl":58646,"material":751,"size":752,"collection":95,"collections":58647,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273990,"pi-wei-men-yao-fang-yi-ming-273990","“脾胃门”药方","泛黄封皮上的榜书大字朴拙沉凝，笔力苍劲沉稳，侧边小字内敛克制，晕染着旧时光的温凉。内页小楷工整流丽，一行行药方排布齐整，淡褪的墨迹仍清晰留存着手泽余温。\n\n它无山水花鸟的雅致，却藏着旧时医者的仁心。纸面褶皱里浸着岁月痕迹，每味药材的配比，都是古人疗愈脾胃的经验凝练，将中式康养的日常智慧，封存在这一方旧纸之中，静静诉说着往昔杏林传承的脉脉温情。",[58572,1498,199,7,4347,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb87fd90b605e32acdd35c93a31552ee2.jpg",[],{"id":58649,"slug":58650,"title":58651,"dynasty":18,"author":454,"museum":107,"description":58652,"tags":58653,"thumbUrl":58655,"material":751,"size":752,"collection":95,"collections":58656,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273989,"shang-han-men-yao-fang-yi-ming-273989","“伤寒门”药方","泛黄纸页带着岁月浸淫的旧色，题字朴拙苍劲，带着手写的随性温度，全无刻板匠气。内页工整抄录的药方，藏着民间杏林的鲜活脉络。纸页边缘摩挲出的毛边，是反复翻阅的痕迹，凝着旧时医者反复参照的日常。\n\n它没有雕版印刷的规整，却带着市井行医的烟火气，将中医药的传承藏在笔墨之间，是民间杏林仁心的具象遗存，静静诉说着旧时医家抄录药方、守护一方的过往。",[1498,7,199,58572,4347,6771,58654],"纸张","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a80b55c30bb8101a05eee750d1547f.jpg",[],{"id":58658,"slug":58659,"title":58660,"dynasty":18,"author":454,"museum":107,"description":58661,"tags":58662,"thumbUrl":58663,"material":751,"size":752,"collection":95,"collections":58664,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273988,"tan-sou-men-yao-fang-yi-ming-273988","“痰嗽门“药方","纸面晕开岁月的黄痕，墨笔手书朴拙苍劲，旧册页与药方笺带着旧时光的温润质感。\n这里收录二十七样痰嗽丸方，每一味药材配伍都详实工整，全无浮华雕饰，尽是杏林医者实打实的疗病心得。\n没有精致装帧，满是实用的烟火气，将旧时民间行医的细致与仁心藏于泛黄纸间，是中医药文化传承的鲜活注脚，静静诉说着古人的养生智慧，让百年前的疗病暖意，仍能透过纸面传递至今。",[1498,7,199,433,58572,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71bd79360285a1d1b1809d5cda909748.jpg",[],{"id":58666,"slug":58667,"title":58668,"dynasty":18,"author":454,"museum":107,"description":58669,"tags":58670,"thumbUrl":58671,"material":751,"size":752,"collection":95,"collections":58672,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273986,"shang-shou-ren-shen-yu-shu-zhang-yi-ming-273986","《上收人参于术账》","封面暗刻缠云纹自带沉静古雅，端正的馆阁体墨字题款朴拙厚重。没有华丽的装帧与纹饰，这册账页带着独有的市井烟火气，以最平实的方式记录着药材收兑的日常。\n\n纸面泛黄发脆的边角、晕开的墨痕，都是岁月摩挲留下的痕迹，藏着晚清民间药行流转的鲜活细节，是商贸业态的微观注脚。它褪去了文玩藏品的刻意雕琢，以直白真切的日常留存，成为触摸旧时市井营生的鲜活载体，带着朴素又温热的历史质感。",[1498,199,49733,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e63797de41206d44848bf1f9e68db5.jpg",[],{"id":58674,"slug":58675,"title":58676,"dynasty":18,"author":454,"museum":107,"description":58677,"tags":58678,"thumbUrl":58680,"material":751,"size":752,"collection":95,"collections":58681,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273985,"shang-yong-shang-yao-yao-wei-deng-xiang-di-bu-yi-ming-273985","《上用上要药味等项底簿》","纸面晕开旧时光的黄晕，暗纹隐在纸间沉静雅致。板框内题字端稳工整，右侧手书的光绪纪年墨迹依旧清晰，标注着这部底簿数载过往。\n\n它是旧时药料采办调配的详实底账，刊刻的规整与手书的随性相映成趣，既有官档的严整，又藏着日常署务的温热细节。纸面的斑驳痕迹皆是岁月摩挲的印记，静静承载着清代药业运作的细碎脉络，是窥见彼时医署日常、药务流转的珍贵遗存。",[1498,9636,199,7,6771,58679],"底簿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ad0b0770480392c75b1f45dc7e406f.jpg",[],{"id":58683,"slug":58684,"title":58685,"dynasty":18,"author":454,"museum":107,"description":58686,"tags":58687,"thumbUrl":58689,"material":751,"size":752,"collection":95,"collections":58690,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273984,"shang-chuan-jiao-cun-wai-shang-di-bu-yi-ming-273984","《上传交存外赏底簿》","米黄色装帧素雅沉静，签条墨字端方内敛，朱红藏印晕开一抹亮色。内页小楷清隽工整，笔意匀净秀挺，诸般名目罗列齐整，墨色历经岁月经年仍清晰饱满。泛黄笺纸晕开时光痕迹，带着旧物独有的温润质感。\n\n它并非精工雅制的藏品，却带着旧文书独有的规整严谨，藏着往昔的日常脉络。细碎名目背后是旧时的烟火日常，朴素纸面承载着岁月沉淀的厚重温度，静静诉说着过往的细碎旧事，将平淡往昔凝练成可触摸的时光标本，带着沉静的烟火气，成为回望旧时日常的珍贵载体。",[1498,7,199,58688,6771,30085],"中医药方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2455be6ef6141f5921c37d62879401be.jpg",[],{"id":58692,"slug":58693,"title":58694,"dynasty":18,"author":454,"museum":107,"description":58695,"tags":58696,"thumbUrl":58698,"material":751,"size":752,"collection":95,"collections":58699,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273983,"ge-zhong-gao-yao-di-zhang-yi-ming-273983","《各种膏药底账》","这是一册带着旧时光温度的线装底账，版式朴拙雅致。朱丝界栏里，墨笔书就的字迹工整端方，左侧题签醒目利落，右侧则是开立时日与琳琅满目的膏方药目。\n\n泛黄纸页间藏着晚清民间医药的鲜活脉络，一行行手录的膏方名目，皆是旧时药人传习的医药智慧。素净装帧承载着药行日常，纸面晕开的岁月痕迹，都是往昔市井药铺的烟火注脚，静静诉说着百年前的行医往事。",[1498,199,7,58637,58697,40364],"账本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78abb336fb6e806928d24837a39c1a0e.jpg",[],{"id":58701,"slug":58702,"title":58703,"dynasty":18,"author":454,"museum":107,"description":58704,"tags":58705,"thumbUrl":58706,"material":751,"size":752,"collection":95,"collections":58707,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273981,"liu-shui-chu-zhang-yi-ming-273981","《流水出账》","绫面云纹温婉雅致，竖排墨书端厚朴拙，笔力沉凝稳正，带着旧时手作的质朴温度。泛黄纸页晕开岁月痕迹，规整题字暗藏商号日常的细碎脉络，把市井生计的日常凝于纸面。\n\n没有繁复雕饰，只以素净装帧承载烟火账本，将商号流水的收支点滴妥帖安放，是藏于古籍里的市井注脚，静静诉说着旧时的经营日常，朴素沉静间晕开旧时光的厚重质感。",[1498,30085,199,7,58697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebc371d5822e01938c016970c5e270e.jpg",[],{"id":58709,"slug":58710,"title":58711,"dynasty":18,"author":454,"museum":107,"description":58712,"tags":58713,"thumbUrl":58714,"material":751,"size":752,"collection":95,"collections":58715,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273980,"chuan-yao-di-zhang-yi-ming-273980","《传药底账》","封面以祥云游龙暗纹为底，自带沉静古雅的底色。两处竖排墨字一敛一舒，左侧牌框里的题字方正端凝，尽显账册的规整肃穆，右侧题字笔墨清劲舒展，带着晚清文人的书卷意。角落朱红藏书印小巧醒目，为素雅封面添上一抹鲜活暖意，勾勒出旧藏典籍的流转痕迹。整体装帧简约克制，将实用医账文书融于传统线装形制中，内敛又庄重，静静沉淀着旧时医馆的日常脉络，把寻常文牍晕染出雅致的书卷质感。",[1498,199,7,49733,35050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb58e537f0e50abe952e332b0ebe7223.jpg",[],{"id":58717,"slug":58718,"title":58719,"dynasty":18,"author":454,"museum":107,"description":58720,"tags":58721,"thumbUrl":58723,"material":751,"size":752,"collection":95,"collections":58724,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273978,"shang-jiao-wan-san-yao-wei-di-bu-yi-ming-273978","《上交丸散药味底簿》","整体装帧素雅古旧，左侧竖排题签笔墨端凝方正，右侧朱栏小楷秀雅工整，一笔一划沉静内敛，工整开列诸方名号。米黄宣纸晕开岁月沉淀的色泽，墨色沉润明洁，极简版式无多余修饰，承载着传统中医药的传承脉络。\n\n它以实用本草之姿，融着文人笔墨的温雅，每一个药名背后都是往昔医家的经验积淀，质朴无华却意蕴厚重，带着旧时光的温润质感，静静诉说着中医药文化的绵长底蕴。",[1498,7,199,58688,58722],"簿册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9522a00c3cd56d4714305aa5c86bc08.jpg",[],{"id":58726,"slug":58727,"title":58728,"dynasty":18,"author":454,"museum":107,"description":58729,"tags":58730,"thumbUrl":58732,"material":751,"size":752,"collection":95,"collections":58733,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273977,"shang-jiao-yao-wei-deng-xiang-di-bu-yi-ming-273977","《上交药味等项底簿》","封面以浅素米纸为底，左侧竖书墨字朴拙方正，右侧明黄签条以朱笔分题药名，隽秀小楷工整流丽。整体装帧素雅沉静，带着旧物特有的温润质感。\n\n它跳脱刻板文书的冰冷，以手录温度承载旧时药事脉络，纸面晕开的浅淡痕迹，晕染出民间药铺的日常烟火。工整字迹藏着手录者的细致谨严，将药味名录化作旧时光里的鲜活遗存，静静铺陈着往日药事的细致章法。",[1498,199,7,58731],"医药文献","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2b89e632ebc5285d9a862320bbb0755.jpg",[],{"id":58735,"slug":58736,"title":58737,"dynasty":18,"author":454,"museum":107,"description":58738,"tags":58739,"thumbUrl":58740,"material":751,"size":752,"collection":95,"collections":58741,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273974,"zong-guan-yong-yao-bu-yi-ming-273974","《总管用药簿》","靛蓝布面沉静古朴，朱红签题笔意方正端凝，带着晚清文书特有的肃穆质感。册页边角的磨损晕开时光的痕迹，旧麻线装订牵系着手作的温度，将百年前的行医日常封藏其中。\n\n这一方薄册是无声的药房档案，朴素装帧里沉淀着平实厚重的旧日医林烟火，把清末抓药存方的细碎日常，凝练成触手可及的岁月印记，静默诉说着旧时药庐里的温热往事。",[1498,26,40364,7,199,58731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a3d329dfcf44c8fedc2c7c78907f1e0.jpg",[],{"id":58743,"slug":58744,"title":58745,"dynasty":18,"author":454,"museum":107,"description":58746,"tags":58747,"thumbUrl":58748,"material":751,"size":752,"collection":95,"collections":58749,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273973,"shang-jiao-fu-ling-di-bu-yi-ming-273973","《上交茯苓底簿》","素净泛黄的绢面装帧褪去鲜亮色泽，晕染开时光沉淀的温雅质感。左侧题签以细墨框界定，墨笔竖排书迹端稳朴拙，笔锋内敛克制，尽显旧牍文书的端庄气韵。右下角的藏书编号贴纸带着斑驳旧痕，为这本老簿添上后世典藏的印记。\n\n整器无繁复修饰，以极简形制承载旧时风物的厚重，凭沉凝墨色与古旧装裱晕开沉静古雅的氛围感，静静诉说着手作装帧的匠心，将过往岁月的细碎往事都封存在这一方薄册之中。",[1498,199,7,44529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7594bc729a054ebbe31305acf386e84.jpg",[],{"id":58751,"slug":58752,"title":58753,"dynasty":18,"author":454,"museum":107,"description":58754,"tags":58755,"thumbUrl":58756,"material":751,"size":752,"collection":95,"collections":58757,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273972,"shang-jiao-wan-san-gao-dan-yao-wei-ming-mu-zong-bu-yi-ming-273972","《上交丸散膏丹药味名目总簿》","它以素净麻布装帧，时光将纸面晕染出温润泛黄的色泽，边角磨损带着岁月摩挲的痕迹，藏着旧时光的温度。侧边题字工稳端方，笔锋沉敛内敛，无多余纹饰修饰，尽显实用质朴的古雅气质。这本旧帐簿没有华丽雕琢，却静静承载着旧时药铺的细致严谨，将中医药味与市井的人文烟火交融定格，无声诉说着过往的医馆日常。",[1498,58637,199,7,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b0d6c5e24c1dee62d5b8f8a7d71302.jpg",[],{"id":58759,"slug":58760,"title":58761,"dynasty":18,"author":454,"museum":107,"description":58762,"tags":58763,"thumbUrl":58764,"material":751,"size":752,"collection":95,"collections":58765,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273971,"shang-jiao-wan-san-gao-dan-di-bu-yi-ming-273971","《上交丸散膏丹底簿》","素净泛黄的纸页之上，左侧竖排题签端雅沉静，右侧明黄签条以朱墨楷书工稳列述方药名称，笔墨清隽方正，带着手书独有的温润质感。\n\n这册底簿凝缩着旧时杏林的传承脉络，工整小字排布齐整，将古早丸散膏丹的名录静静铺陈，既承载着实用的医药经验，亦兼具手工缮写的雅致书卷气。纸间晕开的旧时光晕，藏着传统药坊的传承细节，让古人制药的智慧与抄录的美学融为一体，尽显沉静内敛的旧物质感。",[1498,7,199,58688,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5772aca271d43719d2df292bae3a98ed.jpg",[],{"id":58767,"slug":58768,"title":58769,"dynasty":18,"author":454,"museum":107,"description":58770,"tags":58771,"thumbUrl":58772,"material":751,"size":752,"collection":95,"collections":58773,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273970,"chuan-cha-che-chai-di-bu-yi-ming-273970","《传差撤差底簿》","泛黄封皮晕开浅淡黄斑，是岁月浸淫的痕迹，纸面带着时光摩挲留下的细微毛边，质朴而沉静。左侧界框里的墨笔题字方正端谨，笔力沉厚朴拙，带着公牍文书特有的肃穆规整，不见一丝妍媚修饰。\n\n素净装帧无多余纹饰，仅以松脱却未散的装订麻线，封藏着旧时差务案牍。它以最朴素的样貌，承载着彼时基层衙署的职司日常，将传撤差事的吏事脉络静静封存，平淡外表下藏着清代职司运转的鲜活细节，静默诉说着早已远去的衙署流转过往。",[1498,58722,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37898923de31cf896baca22f8974d716.jpg",[],{"id":58775,"slug":58776,"title":58777,"dynasty":18,"author":454,"museum":107,"description":58778,"tags":58779,"thumbUrl":58781,"material":751,"size":752,"collection":95,"collections":58782,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273969,"suo-dai-wan-san-gao-dan-deng-xiang-di-bu-yi-ming-273969","《所带丸散膏丹等项底簿》","泛黄发脆的素纸封皮上，墨笔竖题字迹朴拙端严，纸面晕开经年摩挲的污渍褶皱，带着旧时光的温凉手泽。它并非文人笔下的风雅丹青，而是藏着烟火暖意的市井遗存。行间笔墨里藏着旧时药铺的丸散膏丹家底，每一道墨迹，都是晚清药铺收贮配药的日常脉络，带着务实的烟火气，静静沉淀着民间中医药的鲜活细节，是比雅绘更贴紧尘世的珍贵旧档，默默留存着旧时行医的质朴底色。",[312,1498,199,7,58780],"医籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe9870ba238d134ac563d37b7f340a7c.jpg",[],{"id":58784,"slug":58785,"title":58786,"dynasty":18,"author":454,"museum":107,"description":58787,"tags":58788,"thumbUrl":58789,"material":751,"size":752,"collection":95,"collections":58790,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273965,"ge-xiang-tao-ling-yao-wei-di-bu-yi-ming-273965","《各项讨领药味底簿》","泛黄麻纸载着岁月尘痕，端谨小楷笔意清劲内敛。这册底簿无丹青风雅，却是旧日药务的鲜活注脚，纸面斑驳污渍是时光浸洇的印记，藏着往昔药料申领的细碎日常。\n\n字迹排布恪守规制，带着公牍特有的肃穆质感，一笔一划间尽是旧时经办者的严谨态度。它以朴拙的台账面目，成为触摸晚清庶务肌理的载体，将刻板的物料申领晕染成可感的民生切片，让平淡的纸面沉敛住百年前药署日常的温热余韵，静静诉说着远去时代里的烟火民生。",[1498,199,7,58722,6771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f5b237a0f4430170aa6e44bb29cb38.jpg",[],{"id":58792,"slug":58793,"title":58794,"dynasty":18,"author":454,"museum":107,"description":58795,"tags":58796,"thumbUrl":58797,"material":751,"size":752,"collection":95,"collections":58798,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273963,"huang-shang-jin-yao-di-bu-yi-ming-273963","《皇上进药底簿》","这帧古籍封面素朴沉静，墨笔题字端方古雅，笔力匀净内敛，带着旧时内档特有的规整肃穆。纸面泛黄晕染着岁月的痕迹，边角微卷藏着百年辗转的温度。\n\n封皮之下是专属宫廷的医事秘档，藏着往昔帝王疗护的一手细节，是窥见清宫医事制度、御用药方规制的珍贵切口，将森严内廷里的细致医事，悄然封存在这薄册之中，带着沉静的历史分量，默默诉说着曾经的宫廷日常。",[4677,199,7,58731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83bd86789ffff2fd750a408829318489.jpg",[],{"id":58800,"slug":58801,"title":58802,"dynasty":18,"author":454,"museum":107,"description":58803,"tags":58804,"thumbUrl":58805,"material":751,"size":752,"collection":95,"collections":58806,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273962,"lao-fo-ye-jin-yao-di-bu-yi-ming-273962","《老佛爷进药底簿》","泛黄的纸面晕开时光的痕迹，左侧刊刻的题签端方古雅，右侧手书的光绪纪年墨迹依旧清晰可辨。它制式规整，暗纹衬底低调雅致，留存着晚清帝后诊疗的一手细节，是太医院行医规制的鲜活缩影。\n\n这册底簿以平淡纸页承载厚重的历史价值，将百年前宫廷医药的秘辛静静封存，每一处笔墨都暗藏着彼时的诊疗脉络，静默诉说着晚清宫廷的起居医事，是兼具文献考据价值与岁月温度的珍贵遗存。",[1498,199,7,58731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de73cabf1529b2f7e4f35bb8ed1febe.jpg",[],{"id":58808,"slug":58809,"title":58810,"dynasty":18,"author":454,"museum":107,"description":58811,"tags":58812,"thumbUrl":58813,"material":751,"size":752,"collection":95,"collections":58814,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273960,"feng-ze-yuan-dian-shang-ling-ping-an-xiang-di-bu-yi-ming-273960","《丰泽园殿上领平安香底簿》","泛黄素纸带着经年磨损的痕迹，纸面斑驳暗渍藏着时光碾过的印记。竖排墨字端稳工整，无过多纹饰缀饰，尽显档册的素雅肃穆。这册底簿以极简的装帧，承载着殿中领香的日常细故，将旧时宫廷奉香的细碎过往凝于纸面，平淡沉静中晕开宫廷祭祀奉礼的烟火余温，让那些湮没在岁月里的仪制日常，借这残旧封面轻轻浮现。",[1498,7,199,4677,24610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac55ad0d141b5c4c8029c93373a910b2.jpg",[],{"id":58816,"slug":58817,"title":58818,"dynasty":18,"author":454,"museum":107,"description":58819,"tags":58820,"thumbUrl":58823,"material":751,"size":752,"collection":95,"collections":58824,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273959,"san-yang-shu-yao-di-bu-yi-ming-273959","《三样暑药底簿》","素净泛黄的古纸为底，左侧牌记墨字端方工稳，右侧纪年题字带着随性舒展的笔意，整体无多余修饰，朴拙沉静。\n\n它褪去花哨装点，将重心落在实用与记录之上，泛黄纸页晕染着岁月浸过的温厚质感，笔墨之间藏着旧时医者的细致日常。没有繁复纹饰，只以质朴的装帧留存着暑天疗愈的药方记忆，静静晕开旧时光里的烟火暖意，把过往暑日里的行医日常封存在这一方薄纸之上，素雅间尽显沉静的旧日温度。",[1498,199,7,58821,58822],"暑药","医药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c7c69825d624e415eb14ab44f7e96.jpg",[],{"id":58826,"slug":58827,"title":58828,"dynasty":18,"author":454,"museum":107,"description":58829,"tags":58830,"thumbUrl":58832,"material":751,"size":752,"collection":95,"collections":58833,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273958,"la-pi-wan-yao-di-zhang-yi-ming-273958","《蜡皮丸药底账》","泛黄线装纸页晕开岁月痕迹，工整小楷排布错落有致。它以账本为载体，郑重记下丸药名目，藏着晚清配药行医的细致规程。不见泼墨风雅，却带着市井药铺的温热烟火，字里行间皆是旧时药人对制药的严谨态度，是民间医药业态的鲜活注脚，平淡纸页间沉淀着旧时光里的医药脉络，静静诉说着晚清民间行医的日常图景，让后人得以窥见百年前的民间医药风貌与市井生活温度。",[1498,199,7,58697,58831],"药账","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31b319cc80081eec524c2678d3a69e6.jpg",[],{"id":58835,"slug":58836,"title":58837,"dynasty":18,"author":454,"museum":107,"description":49768,"tags":58838,"thumbUrl":58840,"material":751,"size":752,"collection":95,"collections":58841,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273929,"bai-se-duan-xiu-hong-se-guan-zi-qi-yi-ming-273929","白色缎绣红色关字旗",[18093,9635,2980,457,7,58839],"关字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d955137b949fb2c4afd744e7d8affb.jpg",[],{"id":58843,"slug":58844,"title":58845,"dynasty":18,"author":454,"museum":107,"description":58846,"tags":58847,"thumbUrl":58852,"material":751,"size":752,"collection":95,"collections":58853,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},273920,"bai-se-duan-pan-jin-mo-xiu-ba-bao-wen-zhang-sheng-jiang-jun-zhao-zi-qi-yi-ming-273920","白色缎盘金墨绣八宝纹长胜将军赵字旗","此旗以素白缎为底，墨绣配盘金工艺勾勒细节，竖排题字苍劲醒目，点明旗主身份。通身铺陈八宝暗纹，间缀蝙蝠、灵龟纹样，蝠谐“福”音，龟喻福寿绵长、克敌常胜，暗合“长胜”之意。\n两侧墨地如意牙边环饰盘金“萬壽”纹样，呼应吉庆主题。整体配色简洁克制，白、黑、金对比鲜明，绣工匀整细腻，盘金线迹饱满挺括，将军阵旌旗的肃穆威严与传统吉祥意趣相融，既标记军阵归属，也寄寓着勇武常胜、福寿双全的祈愿，是清代民间刺绣中兼顾实用与装饰美学的精巧之作。",[2980,18093,9635,58848,58849,58850,58851,7,199],"缎面","盘金绣","墨绣","八宝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d717ab8f1ae2b3c584beceb8855ff0.jpg",[],{"id":58855,"slug":58856,"title":58857,"dynasty":18,"author":454,"museum":107,"description":58858,"tags":58859,"thumbUrl":58861,"material":751,"size":752,"collection":95,"collections":58862,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},273915,"huang-se-duan-ding-hei-se-ling-zi-qi-yi-ming-273915","黄色缎钉黑色令字旗","整体以明黄缎为底，朱红焰纹缠镶四边，色调浓烈庄重，自带仪仗器物的威严气场。旗面中央以黑色料钉缝出变体令字，取篆书笔意改造，线条虬曲古雅，立体感十足，将传令信物的权威感融于字体风骨之中。\n\n此旗将礼制功能与传统装饰美学相融，粗朴的织物带着经年摩挲的厚重质感，静静承载着旧时营伍仪制的厚重底蕴，诉说着往昔调度传令的仪轨风貌。",[58860,9635,18093,7,58848],"令旗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9972ccf6814f34bef5702286a20e9ade.jpg",[],{"id":58864,"slug":58865,"title":49778,"dynasty":18,"author":454,"museum":107,"description":49779,"tags":58866,"thumbUrl":58869,"material":751,"size":752,"collection":95,"collections":58870,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},273865,"lv-se-di-ji-yun-ji-qian-xiang-zi-yuan-la-yi-ming-273865",[2919,58867,7713,58868,7],"蜡制品","吉祥文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d01fa7befa47ea8dc800a036f6802.jpg",[],{"id":58872,"slug":58873,"title":58874,"dynasty":18,"author":454,"museum":107,"description":58875,"tags":58876,"thumbUrl":58877,"material":751,"size":752,"collection":95,"collections":58878,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273433,"xiang-ya-yao-shi-pai-yi-ming-273433","象牙钥匙牌","此牌取温润象牙雕琢而成，牌首作如意云头造型，留存穿系小孔，兼顾佩挂实用性。\n\n牌身以朱红细线勾边，阴刻填灰彩龙纹环护板面，龙姿灵动矫健，莹白牙色衬出彩饰的沉稳古雅，层次分明尽显巧思。板面题字端方隽秀，古韵悠然。\n\n整体器型规整雅致，将牙雕的清润质感与精细工法相融，虽为实用腰牌，却兼具文玩赏鉴价值，尽显旧时牙作工艺的考究审美与匠人匠心。",[25476,7713,8234,834,359,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e59f5568b70d5f0b036815c4ab98e6.jpg",[],{"id":58880,"slug":58881,"title":58882,"dynasty":18,"author":454,"museum":107,"description":58883,"tags":58884,"thumbUrl":58885,"material":751,"size":752,"collection":95,"collections":58886,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},273333,"tong-yao-shi-pai-yi-ming-273333","铜钥匙牌","此牌黄铜凝润，包浆沉郁古雅，带着经年摩挲的温润质感。牌面錾刻满文，排布齐整工致，刀痕朴拙厚重，藏着旧时通行凭证的礼制规矩。顶部缠枝云纹挂扣，卷转灵动，既为悬挂之用，又以繁复柔美的纹饰平衡牌面的素净，匠心尽显。它是旧日身份与权限的物证，将实用功能与装饰工艺相融，静静沉淀着岁月余温，凭古朴肌理诉说着往昔用场，兼具工艺价值与民俗考据意义。",[15301,8234,7713,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d49aa9dec0f8679961e7414aa5be3be.jpg",[],{"id":58888,"slug":58889,"title":58890,"dynasty":18,"author":454,"museum":107,"description":50261,"tags":58891,"thumbUrl":58893,"material":751,"size":752,"collection":95,"collections":58894,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},273164,"shou-kang-gong-yao-fang-zi-yang-mu-diao-ban-yi-ming-273164","“寿康宫药房”字样木雕版",[9636,7713,19026,7,1498,58892],"药房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841e66c1e3eb174ef6818285e58b102f.jpg",[],{"id":58896,"slug":58897,"title":58898,"dynasty":18,"author":454,"museum":107,"description":58899,"tags":58900,"thumbUrl":58902,"material":751,"size":752,"collection":95,"collections":58903,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},273153,"ping-an-dan-yi-ming-273153","平安丹","乌黑釉色莹润内敛，瓶身敦厚朴拙，带着旧时光打磨出的温哑质感。贴签楷书端稳周正，笔力沉凝规整，暗合着庄重的规制气韵。\n\n瓶口封泥斑驳枯槁，朱色褪去大半，却依旧留存着当年严密封存的郑重。它早已不只是盛纳丹药的容器，更藏着旧时对安康顺遂的祈愿，周身晕开的岁月痕迹，晕开独属于旧时光的沉静温度，静静诉说着曾经的日常珍视，把古人对平安的期许凝在这一方小小器物之中。",[2919,834,7,199,58901],"丹药瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb524d640e0b2667e3ea6f1f92c37a0c9.jpg",[],{"id":58905,"slug":58906,"title":58907,"dynasty":18,"author":454,"museum":107,"description":58908,"tags":58909,"thumbUrl":58912,"material":751,"size":752,"collection":95,"collections":58913,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},273149,"ba-bao-tai-yi-zi-jin-ding-yi-ming-273149","八宝太乙紫金锭","黄漆方盒暗纹隐现，朱红内底托着斑驳丹锭。褐蜡质地的锭身带着岁月浸淫的痕迹，古朴素净的形制凝萃着古方配伍的巧思。庄重的匣盒规制尽显旧时制药的严谨，将杏林古方的医韵封存在这方寸之间，静藏着百年前的炮制匠心与养生之道，把过往的药香与传承脉络，沉淀为触手可及的时光遗存。",[2919,58910,58911,878,7,834],"中药","锭剂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c744e6d759271f072b96e9bc2733ff8.jpg",[],{"id":58915,"slug":58916,"title":58917,"dynasty":18,"author":454,"museum":107,"description":58918,"tags":58919,"thumbUrl":58920,"material":751,"size":752,"collection":95,"collections":58921,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},273140,"lu-sha-yi-ming-273140","硵砂","旧木盒包浆莹润，盒面的旧签纸色泛黄，墨迹沉朴古拙，带着被时光摩挲的斑驳痕迹。下方几枚硵砂原石肌理天然，素朴无饰，静卧成一方旧时光的注脚。\n\n它褪去医馆柜架上的烟火匆忙，将药石藏为文房清供。旧签的笔意、木盒的包浆、原石的粗粝，交织成旧时藏药人的细致雅致，晕开中医药文化里沉淀的古意，把寻常药石酿成带着岁月温度的藏品。",[19026,7714,834,2919,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5502e1cb26b4051df45b17c366c1c8.jpg",[],{"id":58923,"slug":58924,"title":58925,"dynasty":18,"author":454,"museum":107,"description":58926,"tags":58927,"thumbUrl":58929,"material":751,"size":752,"collection":95,"collections":58930,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},273134,"ba-er-sa-ma-you-yi-ming-273134","巴尔撒吗油","这两件梨形药包带着时光浸漶的痕迹，泛黄脆薄的外皮上，残存着油脂晕染出的深褐印记，恍若旧时光留下的吻痕。手写墨字标签虽已有些模糊，却依旧执拗地留存着它曾经的身份。它是旧时医药遗存的缩影，质朴的纸壳裹挟着过往的医药记忆，带着高原特有的烟火气，将百年前的日常医药往事封存在这小巧的形制之中，静静沉淀着岁月的厚重，成为民俗与医药文化交织的温柔注脚。",[2919,834,7,58928],"油容器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a3c8d3c961a1b4bec0343ce12af87b.jpg",[],{"id":58932,"slug":58933,"title":58925,"dynasty":18,"author":454,"museum":107,"description":58934,"tags":58935,"thumbUrl":58937,"material":751,"size":752,"collection":95,"collections":58938,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},273128,"ba-er-sa-ma-you-yi-ming-273128","深褐琉璃凝着旧时光的包浆，方正瓶身带着沉稳质感，锡盖蒙着岁月薄尘，将瓶中旧事封存。瓶身题字墨迹虽已晕染褪色，却依旧藏着过往的细节，记录着油液由来与分量，将旧日日常医药的细碎过往凝于方寸之间。\n\n它不再只是盛放油液的容器，更是带着烟火气的旧物，藏着当年经手之人的温度，将百年前的往事静静承载。周身的每一处磨损都在诉说时光流转的故事，朴素沉静，却晕开旧时代里鲜活的日常剪影，让远去的岁月变得可感可触。",[834,2919,58936,7],"玻璃器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa045e898d2371ed671412f98d32f3cd4.jpg",[],{"id":58940,"slug":58941,"title":40437,"dynasty":18,"author":454,"museum":107,"description":58942,"tags":58943,"thumbUrl":58944,"material":751,"size":752,"collection":95,"collections":58945,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272999,"zi-tan-kuang-fa-lang-gua-ping-yi-ming-272999","紫檀边框古雅厚重，上部金面錾就楷书铭文，笔锋端稳周正，金石质感尽显华贵雅致，墨韵金辉交织书卷意趣。\n\n下方珐琅彩山水以青蓝晕染层叠峰峦，釉色莹亮通透，皴刻细腻写实。林泉之间隐着村舍人家，溪桥蜿蜒连通山居，将江南林泉雅致晕染得当，工致笔触间带着灵动生机，鲜亮釉色晕开悠然山居意韵。\n\n整器融多类工艺于一体，文人情思与匠造匠心相合，尽显雅致内敛的中式意趣，是清代陈设工艺里的精巧之作。",[8913,36389,19026,7,199,1328,1127,27,51,458,52,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5877cc448bfe13824ed7e8279880657d.jpg",[],{"id":58947,"slug":58948,"title":19022,"dynasty":18,"author":454,"museum":107,"description":58949,"tags":58950,"thumbUrl":58951,"material":751,"size":752,"collection":95,"collections":58952,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272998,"zi-tan-bian-fa-lang-gua-ping-yi-ming-272998","以金地托底，青绿晕染山川层峦，亭榭临水而建，菱荷铺满湖面，扁舟泛波载着渔人，文士闲坐水阁观景，古木虬枝苍劲。整幅挂屏以珐琅填色，明丽鲜亮且持色耐久，山水意境清逸悠然。右上角题字添就文雅意趣，搭配沉穆边框，将精细匠艺与文人山水意趣相融，把江南水景的闲雅诗意凝于屏间，尽显雅致居赏美学底蕴。",[36389,8913,19026,1127,27,51,55,458,52,53,54,134,56,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed82bf60d1de82f093f91f41961a7aa.jpg",[],{"id":58954,"slug":58955,"title":58956,"dynasty":18,"author":454,"museum":107,"description":58957,"tags":58958,"thumbUrl":58960,"material":751,"size":752,"collection":95,"collections":58961,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272994,"zi-tan-mu-bian-qian-ya-mu-zi-wen-gua-dui-yi-ming-272994","紫檀木边嵌牙木字纹挂对","深色底面上诗文錾刻工整，笔锋凝敛，墨色衬出金石余韵。主体取罗汉游林之景，牙骨为材嵌就罗汉，衣袂翩跹，或驻足观云、或围坐论禅，神态生动鲜活，尽得林下清趣。松石俏作山石古松，虬枝苍劲，叠石层叠，深浅配色晕染出空山幽寂。整器将诗韵与禅境相融，嵌饰工艺精细入微，把山林禅意藏于方寸之间，古雅沉静，尽显手作匠心之美。",[58959,19026,25476,7713,9007,10664,113,7,199,51,1018,57],"挂对","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88481d52910da83a4e1032d489ad5d50.jpg",[],{"id":58963,"slug":58964,"title":58965,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":58966,"thumbUrl":58969,"material":751,"size":752,"collection":95,"collections":58970,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272993,"zi-tan-mu-bian-qian-yu-zi-wen-zhong-tang-yi-ming-272993","紫檀木边嵌玉字纹中堂",[16422,7,1613,58967,58968,432,30961,7713],"紫檀木","嵌玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948bd249a90129c60d4095a4a137feae.jpg",[],{"id":58972,"slug":58973,"title":40461,"dynasty":18,"author":454,"museum":107,"description":58974,"tags":58975,"thumbUrl":58976,"material":751,"size":752,"collection":95,"collections":58977,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272971,"zi-tan-mu-bian-qian-fa-lang-pen-hua-tu-gua-ping-yi-ming-272971","木框描金雕花，勾勒出华贵雅致的轮廓。蓝地回纹铺陈底衬，规整细密晕开静穆古雅的底色。上方錾金诗文笔意端稳，晕染出悠然文气。\n\n壁间立体嵌就案头清供：描金方盆挺括端庄，虬曲梅枝苍劲古拙，莹润花苞点缀枝梢，配皴皱苍古的湖石，将文人案头的幽趣移于壁上。\n\n整器集多般工艺于一体，精工细作，把文人情致的清隽与宫廷造办的雍容相融，尽显东方陈设美学的雅致意韵。",[8913,36389,19026,131,7,199,7713,44552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd68c13c17404b1089294c1647743d0.jpg",[],{"id":58979,"slug":58980,"title":58981,"dynasty":18,"author":454,"museum":107,"description":58982,"tags":58983,"thumbUrl":58984,"material":751,"size":752,"collection":95,"collections":58985,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272919,"mu-hong-se-tian-cai-qi-duo-hua-wen-bian-su-jing-pai-yi-ming-272919","木红色填彩漆朵花纹边肃静牌","顶绘怒目吞口，獠牙毕露，威气相逼，暗合仪典镇场之用。牌面阴刻“肅靜”二字，笔力浑穆方正，乌漆亮泽，尽显公门仪仗的庄重威严。牌边与长柄遍饰朱红地填彩朵花缠枝，柔丽纹饰中和了制式器物的肃穆冷硬，刚柔相衬。整器髹漆匀净饱满，彩绘历经年月依旧鲜亮沉凝，将髹漆工艺的精巧细致融于官家仪制器物之中，尽显礼制器物的规制美感与手工匠造的独到匠心。",[13336,19026,7713,199,7,42838,10794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feabd996a2687f501cb501d0a042a7307.jpg",[],{"id":58987,"slug":58988,"title":58989,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":58990,"thumbUrl":58992,"material":751,"size":752,"collection":95,"collections":58993,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272725,"hu-zheng-wen-ming-yan-chuan-shi-ye-mo-yi-ming-272725","胡正文铭延川石液墨",[432,3956,7,47698,58991],"石纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b72b673f64254ffe2d6f2b399c3d5d.jpg",[],{"id":58995,"slug":58996,"title":58997,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":58998,"thumbUrl":59000,"material":751,"size":752,"collection":95,"collections":59001,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272724,"yu-ti-tuo-ji-shi-chang-fang-yan-yi-ming-272724","御题驼矶石长方砚",[3093,3956,199,7,77,58999],"石制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffb99db68bde05a6c61ddf7dc620dde.jpg",[],{"id":59003,"slug":59004,"title":59005,"dynasty":45,"author":454,"museum":107,"description":59006,"tags":59007,"thumbUrl":59008,"material":751,"size":752,"collection":95,"collections":59009,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272721,"duan-shi-dong-jing-yan-yi-ming-272721","端石东井砚","砚作椭圆形制，双足承托沉稳雅致，端石质地温润凝实，包浆沉厚古拙。砚背錾刻数行铭文，刀工爽利落拓，笔意苍劲舒展。既有御题诗文，亦有旧藏家题识，墨痕与石色相融，将数代藏家的赏鉴心事凝于方寸石间。\n\n静立案头，便自带沉静古雅的文气，携着明清两代文苑的余韵，是文房清玩里的隽品，默默诉说着旧时文人案头的风雅往事。",[3093,30921,7713,7,199,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ea508095d010d06486de599946296a.jpg",[],{"id":59011,"slug":59012,"title":59013,"dynasty":88,"author":454,"museum":107,"description":59014,"tags":59015,"thumbUrl":59016,"material":751,"size":752,"collection":95,"collections":59017,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272716,"cheng-ni-shi-han-shi-yan-yi-ming-272716","澄泥石函式砚","此砚石质温润凝厚，包浆静穆古雅，函式形制朴拙沉稳，自带沉静雅致的气韵。砚面镌刻诗文笔力苍劲端秀，笔墨意趣与石质肌理相融，既叙说澄泥古砚的风雅源流，也为这件文房器物晕染出浓郁的人文底色。宋时制砚的内敛匠心，与后世题咏的文人情思凝合一方，将实用文玩与赏鉴雅趣融为一体，静静诉说着旧时文斋案头的清寂风雅，尽显文房器物的隽永意韵。",[3093,30930,199,7,49931,8555],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b6d68a53def74ec483e2fd980459288.jpg",[],{"id":59019,"slug":59020,"title":59021,"dynasty":88,"author":454,"museum":107,"description":59022,"tags":59023,"thumbUrl":59024,"material":751,"size":752,"collection":95,"collections":59025,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},272715,"cheng-ni-chang-fang-yan-yi-ming-272715","澄泥长方砚","此方砚台造型方正素雅，线条匀净沉稳，尽显简拙古雅之态。砚身周正，砚池光素内敛，历经岁月摩挲，包浆温润凝厚。侧面镌刻御题诗文，笔意端稳，金石韵味悠长，既点明澄泥砚源自唐代的风雅旧事，又以题识为古砚更添厚重文气。\n澄泥以细泥烧制而成，质坚类石，发墨细润，是文房佳器。此砚静穆雅致，兼具实用价值与收藏意趣，藏着宋人简雅的审美意韵，静静诉说着千年来文房案头的笔墨风雅。",[3093,49842,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3539ed5957700d280aa266ecf833b25.jpg",[],{"id":59027,"slug":59028,"title":59029,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59030,"thumbUrl":59031,"material":751,"size":752,"collection":95,"collections":59032,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272705,"zhan-fang-huan-guang-li-shi-fang-gu-zhi-bing-di-lian-mo-yi-ming-272705","詹方寰广立氏仿古制并蒂莲墨",[432,7,134,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d99c4bff61b348a776150a3cd3f1c1.jpg",[],{"id":59034,"slug":59035,"title":59036,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59037,"thumbUrl":59038,"material":751,"size":752,"collection":95,"collections":59039,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272702,"yu-ming-she-shi-yan-fang-song-tian-cheng-feng-zi-xing-yan-yi-ming-272702","御铭歙石砚－仿宋天成风字形砚",[3093,199,7,3956,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d19b58f540f4ccb179da1b847e4662.jpg",[],{"id":59041,"slug":59042,"title":59043,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59044,"thumbUrl":59046,"material":751,"size":752,"collection":95,"collections":59047,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272701,"yu-ming-she-shi-yan-fang-song-de-shou-dian-xi-wen-yan-yi-ming-272701","御铭歙石砚-仿宋德寿殿犀纹砚",[3093,199,7,3956,7713,59045,1897],"歙石砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402e8670cde08a38897effb0b59afada.jpg",[],{"id":59049,"slug":59050,"title":59051,"dynasty":18,"author":454,"museum":107,"description":44589,"tags":59052,"thumbUrl":59054,"material":751,"size":752,"collection":95,"collections":59055,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272698,"yu-ming-she-shi-yan-fang-han-shi-qu-ge-wa-yan-yi-ming-272698","御铭歙石砚－仿汉石渠阁瓦砚",[3093,3956,59053,7,199,7713],"歙石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f9000c1b177be28d6794f54e3dc04c.jpg",[],{"id":59057,"slug":59058,"title":59059,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59060,"thumbUrl":59061,"material":751,"size":752,"collection":95,"collections":59062,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272697,"yu-ming-she-shi-yan-fang-han-hai-tian-chu-yue-yan-yi-ming-272697","御铭歙石砚－仿汉海天初月砚",[3093,3956,59053,199,7,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafc5b55704988d13f97638052a1a43.jpg",[],{"id":59064,"slug":59065,"title":59066,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59067,"thumbUrl":59068,"material":751,"size":752,"collection":95,"collections":59069,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272696,"yu-ming-she-shi-yan-fang-tang-cheng-ni-ba-leng-yan-yi-ming-272696","御铭歙石砚－仿唐澄泥八棱砚",[3093,199,7,7713,3956,58999,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cf70e7237ed801bd221b309526f35ae.jpg",[],{"id":59071,"slug":59072,"title":59073,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":59074,"thumbUrl":59075,"material":751,"size":752,"collection":95,"collections":59076,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272695,"yu-ming-she-shi-yan-fang-song-yu-tu-chao-yuan-yan-yi-ming-272695","御铭歙石砚－仿宋玉兔朝元砚",[3093,900,7713,7,30961,1897,58999],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b0be3336dfe39c7e1f051c7d0f7432e.jpg",[],{"id":59078,"slug":59079,"title":59080,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59081,"thumbUrl":59082,"material":751,"size":752,"collection":95,"collections":59083,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272686,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-hu-shi-jiao-lan-mo-yi-ming-272686","御制月令七十二候诗色墨-虎始交蓝墨",[432,49834,3956,199,7,10794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cb8250a8c36c270e3f6687638dcebb.jpg",[],{"id":59085,"slug":59086,"title":59087,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59088,"thumbUrl":59091,"material":751,"size":752,"collection":95,"collections":59092,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272683,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-shui-quan-dong-lan-mo-yi-ming-272683","御制月令七十二候诗色墨-水泉动蓝墨",[432,199,7,77,59089,59090],"月令","水泉动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9e1876cb78f246fcba4e851f362df9.jpg",[],{"id":59094,"slug":59095,"title":59096,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59097,"thumbUrl":59098,"material":751,"size":752,"collection":95,"collections":59099,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272680,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-cao-mu-meng-dong-lv-mo-yi-ming-272680","御制月令七十二候诗色墨-草木萌动绿墨",[432,30961,7713,199,1127,7,11404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6267761db2141f1359715357c4fcbed8.jpg",[],{"id":59101,"slug":59102,"title":59103,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59104,"thumbUrl":59105,"material":751,"size":752,"collection":95,"collections":59106,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272668,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-ta-ji-yu-lv-mo-yi-ming-272668","御制月令七十二候诗色墨-獭祭鱼绿墨",[432,7,199,1390,1127,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c919cd8d9b61b0b46248ebd347c77b.jpg",[],{"id":59108,"slug":59109,"title":59110,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59111,"thumbUrl":59112,"material":751,"size":752,"collection":95,"collections":59113,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272665,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-xi-shuai-ju-bi-huang-mo-yi-ming-272665","御制月令七十二候诗色墨-蟋蟀居壁黄墨",[432,7713,798,7,77,199,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eef732464b0f99e8b8abea473bfbb1.jpg",[],{"id":59115,"slug":59116,"title":59117,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59118,"thumbUrl":59119,"material":751,"size":752,"collection":95,"collections":59120,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272664,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-ying-shi-zhi-huang-mo-yi-ming-272664","御制月令七十二候诗色墨-鹰始挚黄墨",[432,3956,7713,7,199,20898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a2bf23ea87fb6c9e20d2cb5efcf576.jpg",[],{"id":59122,"slug":59123,"title":59124,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59125,"thumbUrl":59127,"material":751,"size":752,"collection":95,"collections":59128,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272660,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-yu-zhi-fu-shui-lv-mo-yi-ming-272660","御制月令七十二候诗色墨-鱼陟负水绿墨",[432,199,7,1390,59126,77,3956],"绿墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69dd37e2406e36ee64b99d92933da00.jpg",[],{"id":59130,"slug":59131,"title":59132,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59133,"thumbUrl":59134,"material":751,"size":752,"collection":95,"collections":59135,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272654,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-ming-jiu-fu-qi-yu-huang-mo-yi-ming-272654","御制月令七十二候诗色墨-鸣鸠拂其羽黄墨",[432,199,7,7713,116,44646,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc41acdfad3310974176c605e17c3e874.jpg",[],{"id":59137,"slug":59138,"title":59139,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59140,"thumbUrl":59141,"material":751,"size":752,"collection":95,"collections":59142,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272649,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-xiang-shi-hua-huang-mo-yi-ming-272649","御制月令七十二候诗色墨-相始华黄墨",[432,3956,199,7,49834,40407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796a6ea180894f66431752cb3b27737f.jpg",[],{"id":59144,"slug":59145,"title":59146,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59147,"thumbUrl":59148,"material":751,"size":752,"collection":95,"collections":59149,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272647,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-hong-shi-jian-huang-mo-yi-ming-272647","御制月令七十二候诗色墨-虹始见黄墨",[432,7,199,26051,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1d341280131cff5656cf96ed40c41d.jpg",[],{"id":59151,"slug":59152,"title":59153,"dynasty":18,"author":454,"museum":107,"description":59154,"tags":59155,"thumbUrl":59157,"material":751,"size":752,"collection":95,"collections":59158,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272644,"zhan-da-you-zhu-guan-yi-pian-bing-xin-yang-hao-bi-yi-ming-272644","詹大有竹管一片冰心羊毫笔","竹管莹润泛黄，阴刻题字朴拙清雅，笔管形制匀整修长，包浆凝厚带着经年摩挲的温润。羊毫锋颖饱满灰亮，锋端收束利落，蓄墨饱满又回弹有度，是兼顾实用与雅趣的文房佳器。\n“一片冰心”四字暗合文人情致，竹之清劲与毫之温润相融，仿佛可见旧时书案之上，它濡墨挥毫，晕开墨色万千，将制笔人的匠心与文人澄澈襟怀静静凝结在这一方雅器之中。",[3092,59156,50010,3956,7],"羊毫笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5284816316a79dd3ad66817fe633bf8c.jpg",[],{"id":59160,"slug":59161,"title":50063,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":59162,"thumbUrl":59163,"material":751,"size":752,"collection":95,"collections":59164,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272623,"yu-ming-cheng-ni-yan-fang-song-yu-tu-chao-yuan-yan-yi-ming-272623",[3093,49842,900,7,7713,3956,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832d06de81b07e89c18e16d3b7086e37.jpg",[],{"id":59166,"slug":59167,"title":59168,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59169,"thumbUrl":59171,"material":751,"size":752,"collection":95,"collections":59172,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272622,"yu-ming-cheng-ni-yan-fang-tang-ba-leng-cheng-ni-yan-yi-ming-272622","御铭澄泥砚-仿唐八棱澄泥砚",[3093,49842,199,7,3956,59170],"八棱器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb36261a2e77389829836b8260e22380c.jpg",[],{"id":59174,"slug":59175,"title":59176,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59177,"thumbUrl":59178,"material":751,"size":752,"collection":95,"collections":59179,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272621,"yu-ming-cheng-ni-fang-song-de-shou-dian-xi-wen-yan-yi-ming-272621","御铭澄泥仿宋德寿殿犀纹砚",[3093,49842,7,199,3467,44646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7e51c551ef536abd2f4ca0be5375ce.jpg",[],{"id":59181,"slug":59182,"title":59183,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59184,"thumbUrl":59185,"material":751,"size":752,"collection":95,"collections":59186,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272619,"yu-ming-duan-shi-feng-zi-xing-yan-yi-ming-272619","御铭端石风字形砚",[3093,30921,199,1897,7,3956,7713,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cb7ae91404dc41c9b86539eb27d7cd.jpg",[],{"id":59188,"slug":59189,"title":59190,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59191,"thumbUrl":59192,"material":751,"size":752,"collection":95,"collections":59193,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272609,"chen-yi-jin-wan-nian-hong-zhu-mo-yi-ming-272609","陈彝进万年红朱墨",[432,50100,3956,26617,29117,26051,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85344f03852b2186bc618798f82627fb.jpg",[],{"id":59195,"slug":59196,"title":59197,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59198,"thumbUrl":59199,"material":751,"size":752,"collection":95,"collections":59200,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272579,"wang-jie-an-xuan-zhi-dong-jing-yan-zhai-mo-yi-ming-272579","汪节庵选制东井研斋墨",[432,3956,7,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fc050d49eaa1b6a547d50098e5651c.jpg",[],{"id":59202,"slug":59203,"title":59204,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59205,"thumbUrl":59206,"material":751,"size":752,"collection":95,"collections":59207,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272568,"yu-ming-cheng-ni-fang-song-tian-cheng-feng-zi-xing-yan-yi-ming-272568","御铭澄泥仿宋天成风字形砚",[3093,199,7,7714,19026,33015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc247dd3840504b28ff202b29868e83.jpg",[],{"id":59209,"slug":59210,"title":59211,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":59212,"thumbUrl":59213,"material":751,"size":752,"collection":95,"collections":59214,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272550,"cao-su-gong-qing-lin-sui-mo-gang-jian-ju-chang-fang-mo-yi-ming-272550","曹素功青麟髓墨-刚健句长方墨",[432,3956,26617,26051,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e570a75ac9cb1d8c235bbc3352e277.jpg",[],{"id":59216,"slug":59217,"title":59218,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":59219,"thumbUrl":59220,"material":751,"size":752,"collection":95,"collections":59221,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272545,"cao-su-gong-qing-lin-sui-mo-ting-de-ju-chang-fang-mo-yi-ming-272545","曹素功青麟髓墨-亭德句长方墨",[432,30930,359,7,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb48782e8bc4b4eac2a587d9419b49203.jpg",[],{"id":59223,"slug":59224,"title":59225,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":59226,"thumbUrl":59230,"material":751,"size":752,"collection":95,"collections":59231,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272544,"cao-su-gong-qing-lin-sui-mo-tian-yi-qi-ju-chang-fang-mo-yi-ming-272544","曹素功青麟髓墨-天一气句长方墨",[432,3956,7,59227,59228,59229],"刻纹","金面","长方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5eb12fb82fee792940ed3bfeff3e92.jpg",[],{"id":59233,"slug":59234,"title":59235,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":59236,"thumbUrl":59237,"material":751,"size":752,"collection":95,"collections":59238,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272542,"cao-su-gong-qing-lin-sui-mo-di-xuan-ju-chang-fang-mo-yi-ming-272542","曹素功青麟髓墨-帝宣句长方墨",[432,3956,359,26617,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16da1f4cea6d39cbf1894dc9e4dee525.jpg",[],{"id":59240,"slug":59241,"title":59242,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":59243,"thumbUrl":59244,"material":751,"size":752,"collection":95,"collections":59245,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272541,"cao-su-gong-qing-lin-sui-mo-chong-zhang-ju-chang-fang-mo-yi-ming-272541","曹素功青麟髓墨-憧彰句长方墨",[432,359,7,26051,26617,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa920da67b1b8731d35e6f5d459d471db.jpg",[],{"id":59247,"slug":59248,"title":59249,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59250,"thumbUrl":59252,"material":751,"size":752,"collection":95,"collections":59253,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272537,"cao-guan-wu-cang-shu-hua-zhou-mo-lan-jia-jin-zi-chang-fang-mo-yi-ming-272537","曹冠五藏书画舟墨-蓝夹金字长方墨",[432,3956,7,59251],"长方墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aff3209388b13823a61082cedff1fbf.jpg",[],{"id":59255,"slug":59256,"title":59257,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59258,"thumbUrl":59259,"material":751,"size":752,"collection":95,"collections":59260,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272535,"cao-guan-wu-cang-shu-hua-zhou-mo-lv-jia-jin-zi-ye-shi-mo-yi-ming-272535","曹冠五藏书画舟墨-绿夹金字叶式墨",[432,3956,7,457,40528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002832ab9d1095d842cb4110396ca642.jpg",[],{"id":59262,"slug":59263,"title":59264,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59265,"thumbUrl":59266,"material":751,"size":752,"collection":95,"collections":59267,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272533,"cao-guan-wu-cang-shu-hua-zhou-mo-lv-jia-jin-zi-shang-hu-chang-fang-mo-yi-ming-272533","曹冠五藏书画舟墨-绿夹金字上弧长方墨",[432,457,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3b28b58652f9c81dc7cd197d2ba0487.jpg",[],{"id":59269,"slug":59270,"title":59271,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59272,"thumbUrl":59273,"material":751,"size":752,"collection":95,"collections":59274,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},272532,"cao-guan-wu-cang-shu-hua-zhou-mo-jin-zi-shang-hu-chang-fang-mo-yi-ming-272532","曹冠五藏书画舟墨-金字上弧长方墨",[432,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749b3929c5fa31aa31e9841d864fb7fa.jpg",[],{"id":59276,"slug":59277,"title":59278,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59279,"thumbUrl":59280,"material":751,"size":752,"collection":95,"collections":59281,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272531,"cao-guan-wu-cang-shu-hua-zhou-mo-lv-jia-jin-zi-shang-ao-chang-fang-mo-yi-ming-272531","曹冠五藏书画舟墨-绿夹金字上凹长方墨",[432,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcbec34084773b72bd0c393799a4adcd.jpg",[],{"id":59283,"slug":59284,"title":59285,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59286,"thumbUrl":59287,"material":751,"size":752,"collection":95,"collections":59288,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272530,"cao-guan-wu-cang-shu-hua-zhou-mo-jin-zi-shang-ao-chang-fang-mo-yi-ming-272530","曹冠五藏书画舟墨-金字上凹长方墨",[432,44646,59229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38a1c2a86633ca8a39013e453645d69.jpg",[],{"id":59290,"slug":59291,"title":59292,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59293,"thumbUrl":59296,"material":751,"size":752,"collection":95,"collections":59297,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272529,"cao-guan-wu-cang-shu-hua-zhou-mo-jin-jia-lv-zi-chang-fang-mo-yi-ming-272529","曹冠五藏书画舟墨-金夹绿字长方墨",[432,3956,7,59251,59294,59295],"金彩","绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979eceecbcd4e28ee0faa284991e4a3b.jpg",[],{"id":59299,"slug":59300,"title":59301,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59302,"thumbUrl":59303,"material":751,"size":752,"collection":95,"collections":59304,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272528,"cao-guan-wu-cang-shu-hua-zhou-mo-lv-jia-jin-zi-chang-fang-mo-yi-ming-272528","曹冠五藏书画舟墨-绿夹金字长方墨",[432,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104ab09dfbb6a950efd58ca129b329d6.jpg",[],{"id":59306,"slug":59307,"title":59308,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59309,"thumbUrl":59310,"material":751,"size":752,"collection":95,"collections":59311,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},272527,"cao-guan-wu-cang-shu-hua-zhou-mo-jin-zi-chang-fang-mo-yi-ming-272527","曹冠五藏书画舟墨－金字长方墨",[432,7,199,3956,59251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca639c3aeda2d815dcf9bb01928f2f.jpg",[],{"id":59313,"slug":59314,"title":59315,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59316,"thumbUrl":59317,"material":751,"size":752,"collection":95,"collections":59318,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272526,"ye-gong-lv-ge-shi-mo-bi-hua-mo-yi-ming-272526","叶公侣各式墨-笔花墨",[432,7,3956,3092,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F097e1612fcb5e7632202e717fa60c4ea.jpg",[],{"id":59320,"slug":59321,"title":59322,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59323,"thumbUrl":59324,"material":751,"size":752,"collection":95,"collections":59325,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272525,"ye-gong-lv-ge-shi-mo-zhi-jin-mo-yi-ming-272525","叶公侣各式墨-制锦墨",[432,3956,359,7,13446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb258f99a41efed07c7de2ec2bd3b97f3.jpg",[],{"id":59327,"slug":59328,"title":59329,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59330,"thumbUrl":59331,"material":751,"size":752,"collection":95,"collections":59332,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272521,"ye-gong-lv-ge-shi-mo-long-guang-dou-qi-mo-yi-ming-272521","叶公侣各式墨-龙光斗气墨",[432,3956,26617,35050,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee925464898ae417e865622367c03b4.jpg",[],{"id":59334,"slug":59335,"title":59336,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59337,"thumbUrl":59339,"material":751,"size":752,"collection":95,"collections":59340,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},272520,"ye-gong-lv-ge-shi-mo-nan-mian-bai-cheng-mo-yi-ming-272520","叶公侣各式墨-南面百城墨",[432,3956,7,26617,3029,59338],"建筑图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5b71cc9b621165e4f19a39260563b9.jpg",[],{"id":59342,"slug":59343,"title":59344,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":59345,"thumbUrl":59346,"material":751,"size":752,"collection":95,"collections":59347,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272513,"cao-su-gong-zi-yu-guang-mo-xiang-lu-feng-mo-yi-ming-272513","曹素功紫玉光墨－香炉峰墨",[432,26617,51,458,845,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48afd795e9b97f24ab9a555cdf94fa52.jpg",[],{"id":59349,"slug":59350,"title":59351,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":59352,"thumbUrl":59353,"material":751,"size":752,"collection":95,"collections":59354,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272509,"cao-su-gong-zi-yu-guang-mo-yu-ping-feng-mo-yi-ming-272509","曹素功紫玉光墨－玉屏峰墨",[432,3956,458,51,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e5097012828c8138730b71e52dc0f2.jpg",[],{"id":59356,"slug":59357,"title":59358,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":59359,"thumbUrl":59360,"material":751,"size":752,"collection":95,"collections":59361,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272505,"cao-su-gong-zi-yu-guang-mo-zhen-zhu-lian-mo-yi-ming-272505","曹素功紫玉光墨－珍珠帘墨",[432,51,7,3956,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8d82ceaa27b27dae09562d64a1046f.jpg",[],{"id":59363,"slug":59364,"title":59365,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":59366,"thumbUrl":59367,"material":751,"size":752,"collection":95,"collections":59368,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272502,"cao-su-gong-zhi-wang-you-dun-jin-san-xi-tang-mo-yi-ming-272502","曹素功制汪由敦进三希堂墨",[432,3956,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6433675b72b3215fdcf05e2b98f533ca.jpg",[],{"id":59370,"slug":59371,"title":59372,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59373,"thumbUrl":59374,"material":751,"size":752,"collection":95,"collections":59375,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272499,"wang-jie-an-ji-xi-tie-zi-zhi-xiu-xi-tu-mo-sui-shi-wu-jin-mo-yi-ming-272499","汪节菴集禊贴字制修禊图墨-岁时无尽墨",[432,3956,7,199,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff5e2abd6b1e0f5a42df201e9b86074a.jpg",[],{"id":59377,"slug":59378,"title":59379,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59380,"thumbUrl":59382,"material":751,"size":752,"collection":95,"collections":59383,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272498,"wang-jie-an-ji-xi-tie-zi-zhi-xiu-xi-tu-mo-de-da-zai-le-mo-yi-ming-272498","汪节菴集禊贴字制修禊图墨-得大在乐墨",[432,7,199,3956,59381],"修禊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e602757fb5bcd93d81146c06469699.jpg",[],{"id":59385,"slug":59386,"title":59387,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59388,"thumbUrl":59390,"material":751,"size":752,"collection":95,"collections":59391,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272497,"wang-jie-an-ji-xi-tie-zi-zhi-xiu-xi-tu-mo-tian-you-gan-hua-mo-yi-ming-272497","汪节菴集禊贴字制修禊图墨-天游感化墨",[432,199,7,3956,59389,59381],"集字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa92bfd973833776979a807e31539f2.jpg",[],{"id":59393,"slug":59394,"title":59395,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59396,"thumbUrl":59398,"material":751,"size":752,"collection":95,"collections":59399,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272496,"wang-jie-an-ji-xi-tie-zi-zhi-xiu-xi-tu-mo-he-zhe-yong-chu-mo-yi-ming-272496","汪节菴集禊贴字制修禊图墨-和者咏初墨",[432,30930,7,199,59389,47698,59397],"修禊题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69cd82c5470b99621af4370f67f21012.jpg",[],{"id":59401,"slug":59402,"title":59403,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59404,"thumbUrl":59405,"material":751,"size":752,"collection":95,"collections":59406,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272494,"wang-jie-an-ji-xi-tie-zi-zhi-xiu-xi-tu-mo-shu-zhi-yu-gu-mo-yi-ming-272494","汪节菴集禊贴字制修禊图墨-述之与古墨",[432,7,199,3956,59397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af64a6077f34fcfd84768956743a27e.jpg",[],{"id":59408,"slug":59409,"title":59410,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59411,"thumbUrl":59412,"material":751,"size":752,"collection":95,"collections":59413,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272492,"hu-xing-ju-he-lu-mo-yi-ming-272492","胡星聚和露墨",[432,457,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181bd88931c253833bf5a370d11ff79c.jpg",[],{"id":59415,"slug":59416,"title":59417,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59418,"thumbUrl":59419,"material":751,"size":752,"collection":95,"collections":59420,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272491,"wang-jie-an-ji-xi-tie-zi-zhi-xiu-xi-tu-mo-pin-mu-ci-qun-mo-yi-ming-272491","汪节菴集禊贴字制修禊图墨-品目此群墨",[432,7,199,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35a0ca6571d363aa0442e111656a347.jpg",[],{"id":59422,"slug":59423,"title":59424,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59425,"thumbUrl":59427,"material":751,"size":752,"collection":95,"collections":59428,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272479,"duan-shi-gua-tian-yan-yi-ming-272479","端石瓜田砚",[3093,834,7713,19026,7714,7,199,3388,59426],"瓜形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956671f51f614504ecd2cebebe43172e.jpg",[],{"id":59430,"slug":59431,"title":59432,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59433,"thumbUrl":59434,"material":751,"size":752,"collection":95,"collections":59435,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272436,"liu-yuan-yu-xiang-mo-you-yu-shi-er-zhang-mo-yi-ming-272436","刘源御香墨-有虞十二章墨",[432,457,7,3956,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64defc5e717093de880925ffa06358d1.jpg",[],{"id":59437,"slug":59438,"title":59439,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59440,"thumbUrl":59441,"material":751,"size":752,"collection":95,"collections":59442,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272423,"liu-yuan-yu-xiang-mo-song-feng-shui-yue-mo-yi-ming-272423","刘源御香墨-松风水月墨",[432,359,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555491d713681af414bfc9c1e95895c5.jpg",[],{"id":59444,"slug":59445,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59446,"thumbUrl":59447,"material":751,"size":752,"collection":95,"collections":59448,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272415,"fang-mi-an-san-xi-tang-mo-yi-ming-272415",[432,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c2be1f18667d78b77f6f885133f84b.jpg",[],{"id":59450,"slug":59451,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59452,"thumbUrl":59453,"material":751,"size":752,"collection":95,"collections":59454,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272413,"fang-mi-an-san-xi-tang-mo-yi-ming-272413",[432,3956,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfbc6bef23a9468a287759ec49e774d.jpg",[],{"id":59456,"slug":59457,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59458,"thumbUrl":59459,"material":751,"size":752,"collection":95,"collections":59460,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272412,"fang-mi-an-san-xi-tang-mo-yi-ming-272412",[432,3956,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0baa011efa5d80d7b2a63a47c968c91.jpg",[],{"id":59462,"slug":59463,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59464,"thumbUrl":59465,"material":751,"size":752,"collection":95,"collections":59466,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272410,"fang-mi-an-san-xi-tang-mo-yi-ming-272410",[432,199,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2a69d420498082305c82ca35278953.jpg",[],{"id":59468,"slug":59469,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59470,"thumbUrl":59471,"material":751,"size":752,"collection":95,"collections":59472,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272409,"fang-mi-an-san-xi-tang-mo-yi-ming-272409",[432,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c309eee81048f99208edd22ac829f3.jpg",[],{"id":59474,"slug":59475,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59476,"thumbUrl":59477,"material":751,"size":752,"collection":95,"collections":59478,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272408,"fang-mi-an-san-xi-tang-mo-yi-ming-272408",[432,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0fe26d98238447594337282de445fce.jpg",[],{"id":59480,"slug":59481,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59482,"thumbUrl":59483,"material":751,"size":752,"collection":95,"collections":59484,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272407,"fang-mi-an-san-xi-tang-mo-yi-ming-272407",[432,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5139f5b0db827ec9834d1d782133c37f.jpg",[],{"id":59486,"slug":59487,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59488,"thumbUrl":59489,"material":751,"size":752,"collection":95,"collections":59490,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272406,"fang-mi-an-san-xi-tang-mo-yi-ming-272406",[432,44646,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034870b4907320b961248e823f60a627.jpg",[],{"id":59492,"slug":59493,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59494,"thumbUrl":59495,"material":751,"size":752,"collection":95,"collections":59496,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272404,"fang-mi-an-san-xi-tang-mo-yi-ming-272404",[432,3956,26617,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5806921f7a2692815e4f934c5b75e52.jpg",[],{"id":59498,"slug":59499,"title":49877,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59500,"thumbUrl":59501,"material":751,"size":752,"collection":95,"collections":59502,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272401,"fang-mi-an-san-xi-tang-mo-yi-ming-272401",[432,3956,7,199,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67ee8f466b5e635fd2940a96adb67077.jpg",[],{"id":59504,"slug":59505,"title":59439,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59506,"thumbUrl":59507,"material":751,"size":752,"collection":95,"collections":59508,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272376,"liu-yuan-yu-xiang-mo-song-feng-shui-yue-mo-yi-ming-272376",[432,458,7713,7,133,6297,360,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6dfe32f8339a2167d1dab2b7f65f92.jpg",[],{"id":59510,"slug":59511,"title":59512,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59513,"thumbUrl":59515,"material":751,"size":752,"collection":95,"collections":59516,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272369,"liu-yuan-yu-xiang-mo-bei-ye-mo-yi-ming-272369","刘源御香墨-贝叶墨",[432,3956,16624,878,27,7,59514],"贝叶形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46143d5738064311d472b3ceb724577f.jpg",[],{"id":59518,"slug":59519,"title":59439,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59520,"thumbUrl":59521,"material":751,"size":752,"collection":95,"collections":59522,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272364,"liu-yuan-yu-xiang-mo-song-feng-shui-yue-mo-yi-ming-272364",[432,359,13336,30961,7,13446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffdbe2622b1e9138afd4b23f02cadb0.jpg",[],{"id":59524,"slug":59525,"title":59439,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59526,"thumbUrl":59527,"material":751,"size":752,"collection":95,"collections":59528,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},272354,"liu-yuan-yu-xiang-mo-song-feng-shui-yue-mo-yi-ming-272354",[432,3956,359,458,51,7,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14d616bda103e607ac9d9d93e37f7448.jpg",[],{"id":59530,"slug":59531,"title":59532,"dynasty":18,"author":454,"museum":107,"description":59533,"tags":59534,"thumbUrl":59535,"material":751,"size":752,"collection":95,"collections":59536,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272243,"duan-shi-sui-xing-yan-cai-yi-ming-272243","端石随形砚材","依原石随形琢制，轮廓朴拙宛然，暗合天人相宜的古意。石色沉厚匀净，包浆莹润，尽显温润细腻的质地，全无繁复雕饰，却自带着沉静内敛的气韵，好似把山野间的朴茂灵气凝于方寸。\n\n砚背阴刻行书铭文，笔意舒展疏朗，文辞清雅，为素朴石面晕开文人情思。摩挲之际，似能窥见旧时文人临池研墨、寄兴诗文的幽趣，赏用之美相融，带着岁月浸淫下的沉静厚重，藏着旧时文人心底的清隽意趣。",[3093,30921,44646,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3edee6d5fed037d92304402bb8e8b744.jpg",[],{"id":59538,"slug":59539,"title":59540,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59541,"thumbUrl":59542,"material":751,"size":752,"collection":95,"collections":59543,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272242,"duan-shi-tuo-yuan-yan-yi-ming-272242","端石椭圆砚",[3093,30921,3956,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2664d1b4c86638a589c0f25b8be20b46.jpg",[],{"id":59545,"slug":59546,"title":59547,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59548,"thumbUrl":59549,"material":751,"size":752,"collection":95,"collections":59550,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272240,"duan-shi-diao-hai-shui-yun-long-chang-fang-yan-yi-ming-272240","端石雕海水云龙长方砚",[3093,30921,7713,359,21881,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42e1d24f567fd50082045292a0e128.jpg",[],{"id":59552,"slug":59553,"title":59554,"dynasty":18,"author":454,"museum":107,"description":49920,"tags":59555,"thumbUrl":59556,"material":751,"size":752,"collection":95,"collections":59557,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272129,"fang-han-zhuan-yan-yi-ming-272129","仿汉砖砚",[3093,3956,49919,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef1c6362cd655d0e186847da09053a7.jpg",[],{"id":59559,"slug":59560,"title":59561,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59562,"thumbUrl":59564,"material":751,"size":752,"collection":95,"collections":59565,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272102,"zhan-da-you-fang-gu-zhi-qian-qiu-guang-shu-jin-mo-yi-ming-272102","詹大有仿古制千秋光潄金墨",[432,3956,59563,7713,7],"漱金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22958b7e12e1f1be5252f47185c3db13.jpg",[],{"id":59567,"slug":59568,"title":59569,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59570,"thumbUrl":59571,"material":751,"size":752,"collection":95,"collections":59572,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272089,"wang-jie-an-zao-qing-xie-tang-cang-mo-yi-ming-272089","汪节庵造青嶰堂藏墨",[432,3956,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d44aaa5c7ff977cd5d3e2953fab2885.jpg",[],{"id":59574,"slug":59575,"title":59576,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":59577,"thumbUrl":59578,"material":751,"size":752,"collection":95,"collections":59579,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272085,"cao-su-gong-shi-san-shi-sun-shu-wen-shi-jian-zao-yun-jian-zhang-shi-xiao-lang-huan-shi-cang-yan-mo-yi-ming-272085","曹素功十三世孙述文氏监造云间张氏小琅环室藏烟墨",[432,3956,26617,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb680a3cd555e66045257a850d1f01f90.jpg",[],{"id":59581,"slug":59582,"title":59583,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59584,"thumbUrl":59585,"material":751,"size":752,"collection":95,"collections":59586,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272084,"wang-jie-an-zao-yan-yong-chuan-jian-zhi-gu-long-xiang-ji-mo-yi-ming-272084","汪节庵造颜用川监制古龙香剂墨",[432,3956,26617,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91d96225e92f45fe8f2a26b791baee0.jpg",[],{"id":59588,"slug":59589,"title":59590,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59591,"thumbUrl":59592,"material":751,"size":752,"collection":95,"collections":59593,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272083,"hu-zi-qing-zhi-ju-zhuang-jing-xuan-qing-yan-chun-zai-tang-mo-yi-ming-272083","胡子卿制鞠庄精选清烟春在堂墨",[432,3956,7,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade017090df6430534b2a19c65f81b14.jpg",[],{"id":59595,"slug":59596,"title":59597,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59598,"thumbUrl":59599,"material":751,"size":752,"collection":95,"collections":59600,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272082,"hu-kui-zhang-zhi-shu-jin-jia-cang-mo-yi-ming-272082","胡魁章制潄金家藏墨",[432,3956,26617,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F159074921ffff14e4dc8ffd41a59a7ef.jpg",[],{"id":59602,"slug":59603,"title":59604,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59605,"thumbUrl":59606,"material":751,"size":752,"collection":95,"collections":59607,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272071,"xin-an-zhan-si-mei-fa-zhi-qian-qiu-guang-mo-yi-ming-272071","新安詹斯美法制千秋光墨",[432,3956,26617,26051,13376,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F526317e54b5f860676ff3cfaf9a9ddc5.jpg",[],{"id":59609,"slug":59610,"title":59611,"dynasty":45,"author":454,"museum":107,"description":59612,"tags":59613,"thumbUrl":59615,"material":751,"size":752,"collection":95,"collections":59616,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272070,"duan-shi-chao-shou-yan-yi-ming-272070","端石抄手砚","此砚取端石成器，抄手制式简约挺括，轮廓利落大方，适配案头研墨收纳。石质细腻温润，周身包浆莹亮沉厚，是经百年摩挲晕染出的岁月光泽。砚身阴刻行书题铭，笔意舒展隽秀，刀工藏锋纳韵，石色墨痕相映，晕开雅致文趣。曾伴昔年文人伏案挥毫，研开松烟墨色，静守无数清寂创作时光，将文房实用与赏玩雅趣相融，藏着旧时文房的内敛风骨，尽显中式文玩的沉静韵味。",[3093,59614,30921,3956,40528,7,19026],"抄手砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554e11be0450da025cdd7c7dc5dbd8a5.jpg",[],{"id":59618,"slug":59619,"title":59620,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59621,"thumbUrl":59622,"material":751,"size":752,"collection":95,"collections":59623,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272062,"zhan-da-you-zhen-cang-wu-bai-jin-you-shu-jin-mo-yi-ming-272062","詹大有珍藏五百斤油潄金墨",[432,3956,32293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6ee141b6b22bc83c410e6b6bd8b925.jpg",[],{"id":59625,"slug":59626,"title":59627,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59628,"thumbUrl":59630,"material":751,"size":752,"collection":95,"collections":59631,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272054,"duan-shi-diao-yun-wen-sui-xing-yan-yi-ming-272054","端石雕云纹随形砚",[3093,30921,19026,7713,7,59629,3956],"随形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088e016c4743efbcac1e5c228ba94b95.jpg",[],{"id":59633,"slug":59634,"title":59611,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59635,"thumbUrl":59636,"material":751,"size":752,"collection":95,"collections":59637,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272052,"duan-shi-chao-shou-yan-yi-ming-272052",[3093,30921,59614,7,199,398,3467,3956,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f22af6f61c0484ab83a852a3f25370.jpg",[],{"id":59639,"slug":59640,"title":59641,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":59642,"thumbUrl":59643,"material":751,"size":752,"collection":95,"collections":59644,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272030,"yu-ming-cheng-ni-fang-song-yu-tu-chao-yuan-yan-yi-ming-272030","御铭澄泥仿宋玉兔朝元砚",[3093,49842,3956,7,900,8555,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a5e3622818066cbd4f84515f71292c3.jpg",[],{"id":59646,"slug":59647,"title":59641,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":59648,"thumbUrl":59649,"material":751,"size":752,"collection":95,"collections":59650,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272029,"yu-ming-cheng-ni-fang-song-yu-tu-chao-yuan-yan-yi-ming-272029",[3093,7,457,900,7713,19026,33015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad643d3f83d1e9027f0aa5d741dfc57.jpg",[],{"id":59652,"slug":59653,"title":59654,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59655,"thumbUrl":59656,"material":751,"size":752,"collection":95,"collections":59657,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},272004,"duan-shi-san-yang-xu-chu-tu-yan-yi-ming-272004","端石三羊旭初图砚",[3093,30921,6951,7,199,3956,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa08235b050b31270ca2f629b3940b50c.jpg",[],{"id":59659,"slug":59660,"title":59661,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59662,"thumbUrl":59663,"material":751,"size":752,"collection":95,"collections":59664,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},272001,"duan-shi-chang-fang-yan-yi-ming-272001","端石长方砚",[3093,30921,199,7,3956,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb30610cfbf7d18d40580762c96ffc64.jpg",[],{"id":59666,"slug":59667,"title":59641,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":59668,"thumbUrl":59669,"material":751,"size":752,"collection":95,"collections":59670,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271945,"yu-ming-cheng-ni-fang-song-yu-tu-chao-yuan-yan-yi-ming-271945",[3093,900,7713,7,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6b4a37059669249e43bd0e44b57cc10.jpg",[],{"id":59672,"slug":59673,"title":59674,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59675,"thumbUrl":59677,"material":751,"size":752,"collection":95,"collections":59678,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271672,"she-shi-chi-wen-chi-chang-fang-yan-yi-ming-271672","歙石螭纹池长方砚",[3093,59053,59676,7713,7,13336,19026,3956],"螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55a706c850be59013f62863dc1b7cc5d.jpg",[],{"id":59680,"slug":59681,"title":59682,"dynasty":1609,"author":454,"museum":107,"description":44589,"tags":59683,"thumbUrl":59684,"material":751,"size":752,"collection":95,"collections":59685,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271671,"qian-qiu-wan-sui-wa-yan-yi-ming-271671","千秋万岁瓦砚",[3093,3956,19026,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0396516ee83adb10207fc6e3e7ae475e.jpg",[],{"id":59687,"slug":59688,"title":59689,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59690,"thumbUrl":59692,"material":751,"size":752,"collection":95,"collections":59693,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271600,"fang-qian-long-ming-duan-shi-ba-leng-yan-yi-ming-271600","仿乾隆铭端石八棱砚",[3093,30921,59691,7713,7,3956,1897],"八棱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00861554fc593a525c5673323ba9c201.jpg",[],{"id":59695,"slug":59696,"title":59697,"dynasty":45,"author":454,"museum":107,"description":59698,"tags":59699,"thumbUrl":59700,"material":751,"size":752,"collection":95,"collections":59701,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271548,"fang-song-xuan-he-keng-qing-yin-tang-ming-duan-shi-yan-yi-ming-271548","仿宋宣和坑清吟堂铭端石砚","此砚取端石为料，石质温润莹洁，抚之如触凝脂。器形规整雅致，砚面素净无饰，隐现天然石纹，包浆醇厚古雅，尽显岁月沉淀的静穆质感。原配砚盒阴刻铭文，笔意瘦劲挺秀，金石气盎然，暗合追摹古制的雅趣。整器兼具文房实用与赏玩之妙，是文人案头清供的佳器，藏着旧时文人心底的幽远襟怀，将文玩雅韵与沉静古意融为一体。",[3093,30921,1897,3956,7713,7,457,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febed73a40fa2f9a73997fb8b59fea978.jpg",[],{"id":59703,"slug":59704,"title":59705,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59706,"thumbUrl":59707,"material":751,"size":752,"collection":95,"collections":59708,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271540,"shi-yan-lou-zhen-cang-duan-shi-chao-shou-su-chi-yan-yi-ming-271540","食研楼珍藏端石抄手素池砚",[3093,35068,59614,19026,7,7713,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb7c7245679cbaeb294fb0dfa174df9.jpg",[],{"id":59710,"slug":59711,"title":59627,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59712,"thumbUrl":59714,"material":751,"size":752,"collection":95,"collections":59715,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271534,"duan-shi-diao-yun-wen-sui-xing-yan-yi-ming-271534",[3093,30921,7713,7,59713,26051,3956],"随形砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4526bdb4fcbbf79ebe229132bcab2dae.jpg",[],{"id":59717,"slug":59718,"title":59719,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59720,"thumbUrl":59721,"material":751,"size":752,"collection":95,"collections":59722,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271525,"duan-shi-diao-xie-sui-xing-yan-yi-ming-271525","端石雕蟹随形砚",[3093,30921,7713,4108,7,457,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ae48e6fc414a767b48c41fede6ffe3.jpg",[],{"id":59724,"slug":59725,"title":59726,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59727,"thumbUrl":59728,"material":751,"size":752,"collection":95,"collections":59729,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271444,"zhan-huan-wen-fa-zhi-gu-shu-mi-mo-yi-ming-271444","詹焕文法制古隃麋墨",[432,3956,7,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958cb263ad4f9e63403e7eacec5c532b.jpg",[],{"id":59731,"slug":59732,"title":59733,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59734,"thumbUrl":59735,"material":751,"size":752,"collection":95,"collections":59736,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271443,"zhan-da-you-fang-gu-yi-shui-fa-zao-qian-qiu-guang-shu-jin-mo-yi-ming-271443","詹大有仿古易水法造千秋光潄金墨",[432,3956,59563,40479,7,13446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c83ec1af68b156105ebb550cc3e7e35.jpg",[],{"id":59738,"slug":59739,"title":59740,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59741,"thumbUrl":59742,"material":751,"size":752,"collection":95,"collections":59743,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271442,"zhan-zheng-yuan-zhi-shu-jin-jia-cang-mo-yi-ming-271442","詹正元制潄金家藏墨",[432,3956,50564,26617,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1020605306d77850041dc1d534f82ba1.jpg",[],{"id":59745,"slug":59746,"title":59747,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59748,"thumbUrl":59750,"material":751,"size":752,"collection":95,"collections":59751,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271441,"hu-shi-cang-pei-shi-zao-lin-kui-deng-he-zhi-fang-zhu-xing-mo-yi-ming-271441","胡氏苍珮室造林葵等合制方柱形墨",[432,199,59749,3956,7],"方柱形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d475de237f798dc876924cc132be26.jpg",[],{"id":59753,"slug":59754,"title":59755,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59756,"thumbUrl":59758,"material":751,"size":752,"collection":95,"collections":59759,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271440,"yu-fang-ye-an-yi-shui-fa-zhi-kuan-yong-yan-si-zi-shu-jin-mo-yi-ming-271440","余方也按易水法制款永言思子潄金墨",[432,3956,59757,13446,7],"潄金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0650e137c25052bab8ee0cb844984736.jpg",[],{"id":59761,"slug":59762,"title":59763,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59764,"thumbUrl":59765,"material":751,"size":752,"collection":95,"collections":59766,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271439,"zhan-da-san-jian-zhi-wan-juan-tu-shu-yi-cao-tang-mo-yi-ming-271439","詹达三监制万卷图书一草堂墨",[432,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84564356f8be01f3d422aa06b269244d.jpg",[],{"id":59768,"slug":59769,"title":59770,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59771,"thumbUrl":59772,"material":751,"size":752,"collection":95,"collections":59773,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271435,"zhan-da-san-zhu-ren-zao-long-xiang-feng-wu-mo-yi-ming-271435","詹达三主人造龙翔凤舞墨",[432,3956,359,33056,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff661c77ab46342a5557e21c17e0b0b52.jpg",[],{"id":59775,"slug":59776,"title":59777,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59778,"thumbUrl":59779,"material":751,"size":752,"collection":95,"collections":59780,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271434,"hu-kai-wen-li-ji-zao-lian-fu-xuan-yan-mo-yi-ming-271434","胡开文立记造莲旉选烟墨",[432,3956,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf547fa11c1c491c63ac3e3875f14957.jpg",[],{"id":59782,"slug":59783,"title":59784,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":59785,"thumbUrl":59786,"material":751,"size":752,"collection":95,"collections":59787,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271433,"zhan-da-you-zhen-rui-shi-zao-zi-yu-guang-mo-yi-ming-271433","詹大有真瑞氏造紫玉光墨",[432,3956,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f286206e4f284a21495e94f8705103.jpg",[],{"id":59789,"slug":59790,"title":59791,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59792,"thumbUrl":59793,"material":751,"size":752,"collection":95,"collections":59794,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271432,"zhan-wen-fang-jian-zhi-wen-yuan-zhen-shang-mo-yi-ming-271432","詹文方监制文苑珍赏墨",[432,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df7a0e1511d1c4c163f3ffc515b675f.jpg",[],{"id":59796,"slug":59797,"title":59798,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59799,"thumbUrl":59800,"material":751,"size":752,"collection":95,"collections":59801,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271430,"zhan-hui-chuan-zao-zhuan-xiang-guan-cang-yan-mo-yi-ming-271430","詹汇川造篆香馆藏烟墨",[432,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72666ca6d0d7085b30802fecdafd148.jpg",[],{"id":59803,"slug":59804,"title":59805,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59806,"thumbUrl":59809,"material":751,"size":752,"collection":95,"collections":59810,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271426,"zhan-gong-san-jian-zhi-tian-ya-he-chu-mi-zhi-yin-qin-shi-mo-yi-ming-271426","詹公三监制天涯何处觅知音琴式墨",[432,59807,427,7,3956,59808],"琴式","知音难觅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb49736943ab2b2d96aa7e88254e22e6.jpg",[],{"id":59812,"slug":59813,"title":59814,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59815,"thumbUrl":59817,"material":751,"size":752,"collection":95,"collections":59818,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},271421,"song-hua-jiang-shi-feng-wen-yan-yi-ming-271421","松花江石凤纹砚",[3093,49575,59816,7,199,77,44646],"凤纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F433f87797fc4ebec175fc534a521547b.jpg",[],{"id":59820,"slug":59821,"title":49919,"dynasty":105,"author":454,"museum":107,"description":49920,"tags":59822,"thumbUrl":59823,"material":751,"size":752,"collection":95,"collections":59824,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271419,"zhuan-yan-yi-ming-271419",[3093,3956,49922,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61bbd5d81944382e43f576729c75f7fb.jpg",[],{"id":59826,"slug":59827,"title":59828,"dynasty":18,"author":454,"museum":107,"description":49920,"tags":59829,"thumbUrl":59830,"material":751,"size":752,"collection":95,"collections":59831,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271416,"zhu-yi-zun-cang-tai-kang-jiu-nian-kuan-zhuan-yan-yi-ming-271416","朱彝尊藏太康九年款砖砚",[3093,49919,3956,19026,7,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea9e5dc4cd44ad54b4d9ee2dbb4625b.jpg",[],{"id":59833,"slug":59834,"title":59835,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59836,"thumbUrl":59838,"material":751,"size":752,"collection":95,"collections":59839,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271389,"cheng-ni-lao-zhu-sha-yan-yi-ming-271389","澄泥老朱砂砚",[3093,59837,7,60,19026,3956],"朱砂砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbee7239c6edea23425dc7e0fb388469.jpg",[],{"id":59841,"slug":59842,"title":59843,"dynasty":88,"author":454,"museum":107,"description":59844,"tags":59845,"thumbUrl":59846,"material":751,"size":752,"collection":95,"collections":59847,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271387,"bian-huan-ya-wen-ming-cheng-ni-chao-shou-yan-yi-ming-271387","卞圜押文铭澄泥抄手砚","此砚澄泥匀细坚密，抄手制式素雅古拙，暗合宋人雅致审美。入手温润，发墨益毫，是文房研墨佳器。配装的木质砚匣錾刻题铭，笔力苍朴沉凝，带着旧岁藏家的追慕情思，将古砚风雅与岁月沉香封藏其间。它携带着千年前文墨浸润的余温，静静叙说着古时士子濡墨挥毫的日常雅事，把两宋文人气韵凝在这一方天地中，是兼具实用效能与赏玩价值的文房遗珍。",[3093,49842,59614,1897,7,3956,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458dd6c8f51dd613489324b8ff691adf.jpg",[],{"id":59849,"slug":59850,"title":59851,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59852,"thumbUrl":59853,"material":751,"size":752,"collection":95,"collections":59854,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271385,"wang-jie-kuan-cheng-ni-yan-yi-ming-271385","王杰款澄泥砚",[3093,49842,7,60,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5ef75cde4bc2e22aa1b73120409101.jpg",[],{"id":59856,"slug":59857,"title":59858,"dynasty":88,"author":454,"museum":107,"description":59859,"tags":59860,"thumbUrl":59861,"material":751,"size":752,"collection":95,"collections":59862,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},271383,"xie-run-fu-shang-shi-ming-duan-shi-yan-yi-ming-271383","谢润夫赏十铭端石砚","此砚石质温润凝腻，包浆古厚，随形而制，砚池浅敛素雅，尽显宋人尚简的文房意趣。盒身题铭笔力沉实朴拙，藏尽藏家的珍视之心。\n\n它沉静内敛，历经岁月洗练，依旧带着宋时文房的清雅风骨，摩挲之际，似能窥见昔年案头研墨挥毫的悠然光景，方寸砚台藏着旧日笔墨余温，是文房雅器里的隽永旧物，晕开跨越时光的沉静诗意。",[3093,30921,1897,3956,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50963379764daa8bafbdde553d5fab6f.jpg",[],{"id":59864,"slug":59865,"title":59866,"dynasty":45,"author":454,"museum":107,"description":27809,"tags":59867,"thumbUrl":59868,"material":751,"size":752,"collection":95,"collections":59869,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271375,"wen-sheng-ti-duan-shi-jin-ling-yu-hai-yan-yi-ming-271375","文升题端石金陵玉海砚",[3093,3956,7713,7,30921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e09faabb3c36b7a7deb51c24d959a18.jpg",[],{"id":59871,"slug":59872,"title":59873,"dynasty":45,"author":454,"museum":107,"description":59874,"tags":59875,"thumbUrl":59876,"material":751,"size":752,"collection":95,"collections":59877,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271374,"hao-nai-jin-you-ji-kuan-duan-shi-yan-yi-ming-271374","郝乃今游笈款端石砚","以阴刻技法勾勒半身高士像，衣褶简括朴拙，线条圆转内敛，将古人沉静儒雅的气韵藏于刀锋起落间。右上角题字瘦劲挺括，与画像的柔缓线条刚柔相衬，尽显文人制砚重意趣的风雅。整器石色沉穆匀净，刀痕未加修饰，带着质朴的匠人温度，将赏玩文心与日常砚用融于一方砚石，虽经岁月淘洗，仍能让人触摸到旧时案头的清雅意绪。",[3093,30921,7713,112,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffebd61090616a46c52878d52b3a95ce9.jpg",[],{"id":59879,"slug":59880,"title":59881,"dynasty":45,"author":454,"museum":107,"description":59882,"tags":59883,"thumbUrl":59884,"material":751,"size":752,"collection":95,"collections":59885,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271368,"zheng-qiao-ba-duan-shi-chao-shou-yan-yi-ming-271368","郑樵跋端石抄手砚","此砚取端石为材，质地凝润沉稳，形制素净雅致。砚身以小楷镌刻题跋，笔致隽秀挺劲，排布匀整内敛，将金石笔墨意趣与文房雅器相融，褪去繁复雕饰，以简约形制承载旧时翰墨风雅。它静静承载着文人伏案研墨的日常意趣，将文人情思与工艺匠心揉合为一，尽显古雅沉静的文房美学，是文房清玩里兼具赏用与收藏价值的佳器。",[3093,30921,3956,7,199,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df8acfe3d417671035f6b036480809b.jpg",[],{"id":59887,"slug":59888,"title":59889,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":59890,"thumbUrl":59891,"material":751,"size":752,"collection":95,"collections":59892,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271348,"zhu-tang-ba-duan-shi-shi-qu-shi-yan-yi-ming-271348","竹堂跋端石石渠式砚",[3093,3956,1613,7,19026,7713,30921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897fa56380dad4ce7de0aa432eeed530.jpg",[],{"id":59894,"slug":59895,"title":59896,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":59897,"thumbUrl":59898,"material":751,"size":752,"collection":95,"collections":59899,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271326,"cao-su-gong-yi-shui-fa-cheng-an-jian-zhi-lu-fang-qing-shang-mo-yi-ming-271326","曹素功易水法诚庵监制陆舫清赏墨",[432,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8ae5e96edec49e2ce59ea193ca873dd.jpg",[],{"id":59901,"slug":59902,"title":59903,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59904,"thumbUrl":59905,"material":751,"size":752,"collection":95,"collections":59906,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271320,"zhan-zi-yun-jian-zhi-bi-sheng-hua-mo-yi-ming-271320","詹子云监制笔生花墨",[432,7,199,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2086a2776480239810eb5e1526d8a190.jpg",[],{"id":59908,"slug":59909,"title":59910,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59911,"thumbUrl":59913,"material":751,"size":752,"collection":95,"collections":59914,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271319,"zhan-yong-xin-zhen-cang-ci-jun-bi-ge-shi-mo-yi-ming-271319","詹永新珍藏此君臂搁式墨",[432,59912,7,457,3956],"臂搁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7c0f87ef3caf44caa9ae090b8ea5d2.jpg",[],{"id":59916,"slug":59917,"title":59918,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59919,"thumbUrl":59920,"material":751,"size":752,"collection":95,"collections":59921,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271318,"zhan-si-mei-shu-jin-jia-cang-mo-yi-ming-271318","詹斯美潄金家藏墨",[432,3956,7,199,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6937aa66e2bbf46f2f4b0f94a5749938.jpg",[],{"id":59923,"slug":59924,"title":59925,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59926,"thumbUrl":59927,"material":751,"size":752,"collection":95,"collections":59928,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271315,"ye-yuan-qing-fang-gu-rong-wu-shi-jian-zhi-shi-bao-mo-yi-ming-271315","叶元卿仿古容五氏监制世宝墨",[432,3956,26617,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6eede22b20afcbdd83d15f9ebdd73c.jpg",[],{"id":59930,"slug":59931,"title":59932,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59933,"thumbUrl":59934,"material":751,"size":752,"collection":95,"collections":59935,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271307,"shao-qi-wen-du-zhi-qing-jiao-shi-wan-chu-mo-yi-ming-271307","邵启文督制轻胶十万杵墨",[432,3956,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d7abeaad0fb3bd998c8217b2c2013b.jpg",[],{"id":59937,"slug":59938,"title":59932,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59939,"thumbUrl":59940,"material":751,"size":752,"collection":95,"collections":59941,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271306,"shao-qi-wen-du-zhi-qing-jiao-shi-wan-chu-mo-yi-ming-271306",[432,3956,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bb2771317fadc4c464cd14d8da9a0f.jpg",[],{"id":59943,"slug":59944,"title":59945,"dynasty":18,"author":454,"museum":107,"description":59946,"tags":59947,"thumbUrl":59948,"material":751,"size":752,"collection":95,"collections":59949,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271286,"xian-yun-shan-fang-ming-yuan-tao-yan-yi-ming-271286","闲云山房铭圆陶砚","陶砚制作始于汉代，后世多有烧制。现今仍存于世的西汉“十二峰陶砚”，奇峰竞拔，形象古朴而生动，当属现存世砚台中的精品。唐代时还烧制了三彩砚台，这在唐代墓中也多有出土。在宋代时陶制砚台的制作品加大，而且更加完美，据史料载，在宋代时曾有一制砚名匠，人称万道人，其所制的陶砚可与当时的端砚、歙砚相媲美，甚至在当时的价钱超过前两者的价钱。曾有一文人买过其制作的一方陶砚，磨研30余年仍然发墨如初，被此文人视如珍宝。\n四大名砚中的澄泥砚也属于陶砚，澄泥砚的制作过程相对比较独特。制砚工匠从河水中筛得极细的泥土，做成结实的坯块，风干后雕琢成砚形，放在火中烧炼而成。其珍品性能极佳，古书上曾记载，澄泥砚可以“一匙之水，经旬不涸，一洼之墨，盛暑不干”。这些记载虽有夸张，但也说明了澄泥砚在当时文人心中的地位。其实在唐代以前，歙、端石砚还没有出现，泥砚就成为古人作书作画的唯一研墨器，澄泥砚本来就是陶砚，因其品质优良，才得以与石质的端砚、歙砚和洮河砚并列为中国的四大名砚。但因为其为人工烧制，烧制的技术也不同，所以不像石砚那样为某一方的特产，质量也会因地而异，其中虽有佳者，但劣品也不少。目前收藏普遍认为山西绛县和江苏宝山烧制的澄泥砚是相对比较好的。澄泥砚的好坏可以从颜色和斑点上看出：鳝鱼黄颜色的最好，绿头青次些；黄土有斑点，叫砂斑点，点大些的叫豆瓣砂，小的叫绿豆砂，一般大小斑点都有的是上等，很适合落墨。\n澄泥砚在陶瓷材质的砚台中的市场是最好的，更多的是因为其本身的实用价值。市场中常见到的是明清时期的澄泥砚，此时的澄泥砚保存的相对比较完好，更由于此时艺术性的加强，使澄泥砚更成为文人手中的玩物。但也有一些元以前的澄泥砚由于存世量少，许多藏家不认，且难于鉴定，因此市场价位还很难确定。\n除了澄泥砚之外，还有一些陶制的砚台是比较有特点的。在南北朝、隋唐时期，当时的陶瓷工匠们模仿辟雍设计出了辟雍砚。辟雍砚是极富观赏价值的艺术珍品。魏晋南北朝时期，由于制瓷业的迅速发展，陶瓷砚台大量涌现，其中以一种造型为带足圆盘的瓷砚最为流行，这也是隋唐时期辟雍砚的前身。魏晋时期多流行三足或四足的青瓷圆盘砚，南北朝变化为五足到十足不等的珠足砚、辟雍砚，到了隋唐时期，发展出了圆形多足的辟雍砚。辟雍砚的砚面居中，研堂与墨池相连，砚台中心高高隆起，砚台四周留有深槽储水，以便书画家润笔蘸墨之用，显示出它的实用功能。砚的下部用为数众多的珠足承托，足部明显突出，往往还有纹饰。辟雍砚的造型独特，显示出制作者独具的匠心。\n陶砚中还有一种叫做瓦砚，也即是用古代建筑物上的瓦改制而成。瓦砚之材多取自秦汉晋宫殿殿瓦，如阿房宫、末央宫、铜雀台等。目前发现最早在唐代就开始盛行制作瓦砚之风。这种宫殿的瓦所取之土质极为细腻，烧制工艺极精，不易渗水，特别是铜雀台的瓦，瓦以土和胡桃油相拌，还掺入了黄丹，铅、锡等物，制成砚台后质地细腻，坚如石，不费笔而发墨，是一种很别致而珍贵的砚台，这是前人所始料不及的。此种砚台传世品极少，市场价值极高，但由于材料为瓦质，也有许多收藏家并不是很认识，他们鉴定不了此砚的真伪，因此许多瓦砚目前还埋没于民间收藏之中。",[3093,25504,7,1897,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde55813993c781f334a5b6c805543866.jpg",[],{"id":59951,"slug":59952,"title":59953,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59954,"thumbUrl":59955,"material":751,"size":752,"collection":95,"collections":59956,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271276,"cheng-hou-cun-zhen-cang-re-he-tu-mo-qu-shui-he-xiang-mo-yi-ming-271276","程后村珍藏热河图墨-曲水荷香墨",[432,199,7,399,44646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd59691b9dabbd344f1307ceced89e8cf.jpg",[],{"id":59958,"slug":59959,"title":59960,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59961,"thumbUrl":59963,"material":751,"size":752,"collection":95,"collections":59964,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271273,"cheng-hou-cun-zhen-cang-re-he-tu-mo-li-hua-ban-yue-mo-yi-ming-271273","程后村珍藏热河图墨-梨华伴月墨",[432,3956,7,199,1772,678,59962],"微云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c79d5a73d90a3f53c7f9276c36bc19.jpg",[],{"id":59966,"slug":59967,"title":59968,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59969,"thumbUrl":59971,"material":751,"size":752,"collection":95,"collections":59972,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271272,"cheng-hou-cun-zhen-cang-re-he-tu-mo-wan-he-song-feng-mo-yi-ming-271272","程后村珍藏热河图墨-万壑松风墨",[432,7,199,59970,3956],"松风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F364754095131d57e8d62439e1fbefcfc.jpg",[],{"id":59974,"slug":59975,"title":59976,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59977,"thumbUrl":59978,"material":751,"size":752,"collection":95,"collections":59979,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271271,"cheng-hou-cun-zhen-cang-re-he-tu-mo-song-he-qing-yue-mo-yi-ming-271271","程后村珍藏热河图墨-松鹤清越墨",[432,7,199,133,3388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14bbcde1516ea69f83fe129fbf4d6f09.jpg",[],{"id":59981,"slug":59982,"title":59983,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59984,"thumbUrl":59985,"material":751,"size":752,"collection":95,"collections":59986,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271270,"cheng-hou-cun-zhen-cang-re-he-tu-mo-feng-quan-qing-ting-mo-yi-ming-271270","程后村珍藏热河图墨-风泉清听墨",[432,3956,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d10a075e6767ba93baa17c38da1c94d.jpg",[],{"id":59988,"slug":59989,"title":59990,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59991,"thumbUrl":59992,"material":751,"size":752,"collection":95,"collections":59993,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271269,"cheng-hou-cun-zhen-cang-re-he-tu-mo-zhi-jing-yun-di-mo-yi-ming-271269","程后村珍藏热河图墨-芝迳云堤墨",[432,7,199,457,52,54,21969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476a4a9b88b3e22b69b5f8ecbe7b8448.jpg",[],{"id":59995,"slug":59996,"title":59997,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":59998,"thumbUrl":60001,"material":751,"size":752,"collection":95,"collections":60002,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271268,"cheng-hou-cun-zhen-cang-re-he-tu-mo-yun-zuo-sheng-di-mo-yi-ming-271268","程后村珍藏热河图墨-云坐胜地墨",[432,47698,3956,199,7,59970,59999,116,60000],"高楼","远林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cf607fadd4e8faf3227b647f378e25.jpg",[],{"id":60004,"slug":60005,"title":60006,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60007,"thumbUrl":60011,"material":751,"size":752,"collection":95,"collections":60012,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271267,"cheng-hou-cun-zhen-cang-re-he-tu-mo-wu-shu-qing-liang-mo-yi-ming-271267","程后村珍藏热河图墨-无暑清凉墨",[432,199,7,3956,60008,575,60009,60010],"清凉","红莲","绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a21b8e52cdcf91223a0676f757f8e8.jpg",[],{"id":60014,"slug":60015,"title":60016,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60017,"thumbUrl":60018,"material":751,"size":752,"collection":95,"collections":60019,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271266,"cheng-hou-cun-zhen-cang-re-he-tu-mo-bei-zhen-shuang-feng-mo-yi-ming-271266","程后村珍藏热河图墨-北枕双峰墨",[432,199,7,3956,51,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ce97c23573ed8bcfec4138a52b65a0.jpg",[],{"id":60021,"slug":60022,"title":60023,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60024,"thumbUrl":60025,"material":751,"size":752,"collection":95,"collections":60026,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271265,"cheng-hou-cun-zhen-cang-re-he-tu-mo-yan-bo-zhi-shuang-mo-yi-ming-271265","程后村珍藏热河图墨-烟波致爽墨",[432,199,7,3956,51,28990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f19664f76170380ca5e6a5f31b25bda.jpg",[],{"id":60028,"slug":60029,"title":60030,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60031,"thumbUrl":60033,"material":751,"size":752,"collection":95,"collections":60034,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271264,"cheng-hou-cun-zhen-cang-re-he-tu-mo-si-mian-yun-shan-mo-yi-ming-271264","程后村珍藏热河图墨-四面云山墨",[432,7,199,55,3253,2739,37795,60032],"秋凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0d6e9ace619558ff2d53d6bb1ea2cf.jpg",[],{"id":60036,"slug":60037,"title":60038,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60039,"thumbUrl":60041,"material":751,"size":752,"collection":95,"collections":60042,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271263,"cheng-hou-cun-zhen-cang-re-he-tu-mo-yan-xun-shan-guan-mo-yi-ming-271263","程后村珍藏热河图墨-延熏山馆墨",[432,3956,7,199,60040,2029,680,60008],"山馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32069b0bd0d4530b68221274754f5e.jpg",[],{"id":60044,"slug":60045,"title":60046,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60047,"thumbUrl":60048,"material":751,"size":752,"collection":95,"collections":60049,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271262,"cheng-hou-cun-zhen-cang-re-he-tu-mo-chui-feng-luo-zhao-mo-yi-ming-271262","程后村珍藏热河图墨-锤峰落照墨",[432,199,7,1679,5721,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd838fd9cbf4d356d11317154b7eaa997.jpg",[],{"id":60051,"slug":60052,"title":60053,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60054,"thumbUrl":60056,"material":751,"size":752,"collection":95,"collections":60057,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271261,"cheng-hou-cun-zhen-cang-re-he-tu-mo-nan-shan-ji-xue-mo-yi-ming-271261","程后村珍藏热河图墨-南山积雪墨",[432,199,7,60055,22119,55,678],"南山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c7bda2deecbbb86397638364b7f1474.jpg",[],{"id":60059,"slug":60060,"title":60061,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60062,"thumbUrl":60063,"material":751,"size":752,"collection":95,"collections":60064,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271258,"cheng-hou-cun-zhen-cang-re-he-tu-mo-shui-fang-yan-xiu-mo-yi-ming-271258","程后村珍藏热河图墨-水芳岩秀墨",[432,3956,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55bb18bc05adb1b5492dd307cfe09268.jpg",[],{"id":60066,"slug":60067,"title":60068,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60069,"thumbUrl":60070,"material":751,"size":752,"collection":95,"collections":60071,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271257,"cheng-hou-cun-zhen-cang-re-he-tu-mo-shui-liu-yun-zai-mo-yi-ming-271257","程后村珍藏热河图墨-水流云在墨",[432,3956,7,199,26617,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374eea2a830aa79ae4b2939212bdcc1a.jpg",[],{"id":60073,"slug":60074,"title":60075,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":60076,"thumbUrl":60077,"material":751,"size":752,"collection":95,"collections":60078,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271244,"cao-su-gong-jian-zhi-zhu-yan-tu-mo-peng-qi-feng-ti-shi-mo-yi-ming-271244","曹素功监制竹燕图墨－彭启丰题诗墨",[432,3956,7,199,77,132,6299,10601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5e2dc198025699f149e2fe2f02634f.jpg",[],{"id":60080,"slug":60081,"title":60082,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":60083,"thumbUrl":60085,"material":751,"size":752,"collection":95,"collections":60086,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271242,"cao-su-gong-jian-zhi-zhu-yan-tu-mo-wang-you-dun-ti-shi-mo-yi-ming-271242","曹素功监制竹燕图墨－汪由敦题诗墨",[432,30930,7,47698,10601,60084],"竹燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b85eeb3d6c7b97bf92f25089b3cc30.jpg",[],{"id":60088,"slug":60089,"title":60090,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60091,"thumbUrl":60092,"material":751,"size":752,"collection":95,"collections":60093,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271238,"hu-xing-ju-zhi-tian-qu-zhan-cai-mo-xue-neng-shi-ju-mo-yi-ming-271238","胡星聚制天衢展彩墨-薛能诗句墨",[432,3956,7,199,47698,50454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c232a4842deac47dc0e15fbc050c25.jpg",[],{"id":60095,"slug":60096,"title":60097,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60098,"thumbUrl":60099,"material":751,"size":752,"collection":95,"collections":60100,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271237,"hu-xing-ju-zhi-tian-qu-zhan-cai-mo-tang-yan-qian-shi-ju-mo-yi-ming-271237","胡星聚制天衢展彩墨-唐彦谦诗句墨",[432,3956,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66a998c1987fb628262871b5b1d5d55.jpg",[],{"id":60102,"slug":60103,"title":60104,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60105,"thumbUrl":60106,"material":751,"size":752,"collection":95,"collections":60107,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271233,"hu-xing-ju-zhi-tian-qu-zhan-cai-mo-wen-ting-yun-shi-ju-mo-yi-ming-271233","胡星聚制天衢展彩墨-温庭筠诗句墨",[432,3956,7713,116,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef353477fdde4de1ec8db4d50d5c0317.jpg",[],{"id":60109,"slug":60110,"title":60111,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60112,"thumbUrl":60113,"material":751,"size":752,"collection":95,"collections":60114,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271232,"hu-xing-ju-zhi-tian-qu-zhan-cai-mo-zhang-you-shi-ju-mo-yi-ming-271232","胡星聚制天衢展彩墨-张祐诗句墨",[432,51,7713,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d6aca597f392e1c783528afb7449d9.jpg",[],{"id":60116,"slug":60117,"title":60118,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60119,"thumbUrl":60120,"material":751,"size":752,"collection":95,"collections":60121,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271218,"jiu-jiang-que-shi-jian-zhi-mian-tang-shu-wu-mo-yi-ming-271218","鸠江榷使监制眄棠书屋墨",[432,132,7,35076],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08e9ee5acd63e67172d46ea8d624acc.jpg",[],{"id":60123,"slug":60124,"title":60125,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60126,"thumbUrl":60127,"material":751,"size":752,"collection":95,"collections":60128,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271214,"cha-he-shan-zhuang-zhu-ren-qing-wan-yu-qing-xuan-jia-cang-mo-yi-ming-271214","槎河山庄主人清玩余清轩家藏墨",[432,3956,7,199,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4becd9e26c64d36ddbdf684cf9182a2.jpg",[],{"id":60130,"slug":60131,"title":60132,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":60133,"thumbUrl":60134,"material":751,"size":752,"collection":95,"collections":60135,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271213,"cao-su-gong-hui-hao-luo-zhi-ru-yun-yan-mo-yi-ming-271213","曹素功挥毫落纸如云烟墨",[432,398,7,44646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87666e3a0f9e9f77ce7138b1662ea100.jpg",[],{"id":60137,"slug":60138,"title":60139,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60140,"thumbUrl":60141,"material":751,"size":752,"collection":95,"collections":60142,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271211,"wu-tian-zhang-jia-zhong-ji-lin-mo-yi-ming-271211","吴天章价重鸡林墨",[432,3956,7,26617,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e85cd4eb19e11536a2e9111fe22b9a.jpg",[],{"id":60144,"slug":60145,"title":60146,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60147,"thumbUrl":60148,"material":751,"size":752,"collection":95,"collections":60149,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271209,"wu-tian-zhang-bi-sheng-hua-mo-yi-ming-271209","吴天章笔生花墨",[432,3956,7,60,3467,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1541de9c0c10974cf8e0e865727a2a.jpg",[],{"id":60151,"slug":60152,"title":60153,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60154,"thumbUrl":60155,"material":751,"size":752,"collection":95,"collections":60156,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271205,"kai-tai-shi-hao-zhong-qin-shi-mo-yi-ming-271205","开泰氏号钟琴式墨",[432,59807,44646,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35e2ffa04b991949dcc8d548fed2519.jpg",[],{"id":60158,"slug":60159,"title":60160,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60161,"thumbUrl":60162,"material":751,"size":752,"collection":95,"collections":60163,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271198,"ri-ben-xian-bo-shi-shi-de-tang-zhi-mo-yi-ming-271198","日本咸伯氏世德堂制墨",[432,3956,7713,16481,26051,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed4eae152ef51a55282a638648c3904.jpg",[],{"id":60165,"slug":60166,"title":60167,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60168,"thumbUrl":60170,"material":751,"size":752,"collection":95,"collections":60171,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},271191,"duan-shi-gua-shi-yan-yi-ming-271191","端石瓜式砚",[3093,30921,60169,3956,19026,7,7713],"瓜式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f94753715a27f8d6de131074159528b.jpg",[],{"id":60173,"slug":60174,"title":60175,"dynasty":45,"author":454,"museum":107,"description":30928,"tags":60176,"thumbUrl":60177,"material":751,"size":752,"collection":95,"collections":60178,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271188,"hong-jian-zhi-you-gu-qian-qiao-mo-yi-ming-271188","鸿渐制幽谷迁乔墨",[432,3956,7,457,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febba11959c44968a39a83071b375b974.jpg",[],{"id":60180,"slug":60181,"title":59661,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60182,"thumbUrl":60183,"material":751,"size":752,"collection":95,"collections":60184,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271178,"duan-shi-chang-fang-yan-yi-ming-271178",[3093,30921,19026,7,60,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b20b89b977e4cfa39b32bf1a0597745.jpg",[],{"id":60186,"slug":60187,"title":60188,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60189,"thumbUrl":60190,"material":751,"size":752,"collection":95,"collections":60191,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271172,"hu-kai-wen-zao-jian-chu-tong-chi-wu-cun-mo-yi-ming-271172","胡开文造建初铜尺五寸墨",[432,7,1613,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700b9296917fbef0d2ded2ba2e9543c3.jpg",[],{"id":60193,"slug":60194,"title":60195,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60196,"thumbUrl":60197,"material":751,"size":752,"collection":95,"collections":60198,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271168,"zhang-zhou-song-shi-rong-tang-zhi-chuan-jing-shi-ze-mo-yi-ming-271168","长洲宋氏蓉塘制传经世泽墨",[432,359,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc620ad890d0764f35f8a8af1dcefbeb8.jpg",[],{"id":60200,"slug":60201,"title":60202,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60203,"thumbUrl":60204,"material":751,"size":752,"collection":95,"collections":60205,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},271158,"ri-ben-duo-he-cheng-han-bei-shi-mo-yi-ming-271158","日本多贺成汉碑式墨",[432,3956,8555,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53cc3c973caa50a4c08749de2527df61.jpg",[],{"id":60207,"slug":60208,"title":60209,"dynasty":45,"author":454,"museum":107,"description":30928,"tags":60210,"thumbUrl":60211,"material":751,"size":752,"collection":95,"collections":60212,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271155,"wang-shi-mao-jian-zhi-long-xiang-ji-chang-fang-mo-yi-ming-271155","汪时茂监制龙香剂长方墨",[432,359,26617,7713,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31664ad3419646e31082fe6c8b03ea54.jpg",[],{"id":60214,"slug":60215,"title":60216,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60217,"thumbUrl":60218,"material":751,"size":752,"collection":95,"collections":60219,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271149,"duan-shi-shi-gu-shi-yan-wu-yan-yi-ming-271149","端石石鼓式砚-戊砚",[3093,30921,457,7713,3956,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568198e5b035606ede8c0111eb9d424.jpg",[],{"id":60221,"slug":60222,"title":60223,"dynasty":18,"author":454,"museum":107,"description":44589,"tags":60224,"thumbUrl":60226,"material":751,"size":752,"collection":95,"collections":60227,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271120,"yu-ming-she-shi-fang-han-shi-qu-ge-wa-yan-yi-ming-271120","御铭歙石仿汉石渠阁瓦砚",[3093,3956,59053,60225,8555,7],"瓦砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fd85d8acb0a0708deb7d9e553f77957.jpg",[],{"id":60229,"slug":60230,"title":60223,"dynasty":18,"author":454,"museum":107,"description":44589,"tags":60231,"thumbUrl":60233,"material":751,"size":752,"collection":95,"collections":60234,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271117,"yu-ming-she-shi-fang-han-shi-qu-ge-wa-yan-yi-ming-271117",[3093,3956,59053,60232,7,19026,7714,7713],"瓦形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded3b1efa486066d42bf51b91e1e26cf.jpg",[],{"id":60236,"slug":60237,"title":60223,"dynasty":18,"author":454,"museum":107,"description":44589,"tags":60238,"thumbUrl":60239,"material":751,"size":752,"collection":95,"collections":60240,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271115,"yu-ming-she-shi-fang-han-shi-qu-ge-wa-yan-yi-ming-271115",[3093,3956,59053,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22512c7c31c7175060971299fbcafeeb.jpg",[],{"id":60242,"slug":60243,"title":60244,"dynasty":18,"author":454,"museum":107,"description":60245,"tags":60246,"thumbUrl":60247,"material":751,"size":752,"collection":95,"collections":60248,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271114,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-xiang-ya-guan-ju-hua-shi-bi-yi-ming-271114","各式御制花卉诗管紫毫笔-象牙管菊花诗笔","莹润素净的象牙笔管浅镌诗文，笔墨意趣藏于字里行间，紫毫笔锋劲挺锐利，尽显刚柔兼具的书写之美。牙制笔套浅绘缠枝花卉，朱红镶口晕染出一抹雅致暖意。它将制笔工艺与微刻技法相融，把文心诗意凝于寸管之上，既是挥毫染翰的文房佳器，亦是可赏可藏的工艺精品，静诉着往昔案头的清隽意韵，每一处细节都藏着旧时手作的匠心温度。",[3092,25476,140,7713,7,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d87b6878e8064546b2baebaabb1655.jpg",[],{"id":60250,"slug":60251,"title":60252,"dynasty":18,"author":454,"museum":107,"description":60253,"tags":60254,"thumbUrl":60255,"material":751,"size":752,"collection":95,"collections":60256,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271113,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-xiang-ya-guan-mei-hua-shi-bi-yi-ming-271113","各式御制花卉诗管紫毫笔-象牙管梅花诗笔","笔体质地莹润温腻，一面阴刻诗文，笔锋清隽端秀，墨色凝敛雅致，将文人情思藏于字里行间。另一面浅雕梅花，枝桠舒展疏朗，花瓣轻妍柔婉，刀工细腻温婉，把冬花清韵镌于器身。紫毫笔尖颖锋锐利，毛质莹泽饱满，制工精湛细致。\n\n整器融文辞、雕刻与制笔工艺于一身，将文房实用之具，化作承载审美意趣的雅玩，尽展旧时案头的风雅情致，触手可观温润肌理，赏之可感文人幽怀。",[3092,25476,50009,7713,7,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6c4aa1f9d631c3725855baf02f5190.jpg",[],{"id":60258,"slug":60259,"title":60252,"dynasty":18,"author":454,"museum":107,"description":60260,"tags":60261,"thumbUrl":60262,"material":751,"size":752,"collection":95,"collections":60263,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271109,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-xiang-ya-guan-mei-hua-shi-bi-yi-ming-271109","莹白象牙为管，温润似凝脂，笔身阴镌诗文，刀笔工稳清隽，将墨间意趣藏入寸管之间。笔盖浅刻寒梅，虬枝苍劲、疏蕊轻绽，把岁寒清友的风骨晕染其上。紫毫锋颖锐挺，攒聚劲健毛料，堪为挥洒翰墨的趁手佳器。\n它揉合牙雕雅致与文房意趣，将爱梅的文人幽怀凝在这一方雅物里，握于掌中，便似揽住一段清寂诗思，是工艺与审美相融的文房妙品。",[3092,25476,7713,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e1706eff38003d5850507072b69cab.jpg",[],{"id":60265,"slug":60266,"title":50016,"dynasty":18,"author":454,"museum":107,"description":60267,"tags":60268,"thumbUrl":60269,"material":751,"size":752,"collection":95,"collections":60270,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},271099,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shui-xian-hua-shi-bi-yi-ming-271099","此笔以竹为管，取留青浅刻之法，一面镂绘水仙绰约芳姿，卷叶柔花清雅动人；一面阴镌题诗，笔意娟秀工稳。紫毫出锋修挺利落，聚锋极佳，适配书写小楷。牙质装口素净温润，与竹管浅黄底色相映，色调清和雅致。\n\n整器将莳花诗意与文房工巧相融，褪去浮华尽显清简文心，是文房制艺与文人雅趣合一的绝佳体现，实用之外更添赏玩之趣，堪称精巧雅致的文房佳作。",[3092,50009,132,138,7713,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0791a8e251c0e39f6d54dd398aa8fd92.jpg",[],{"id":60272,"slug":60273,"title":60274,"dynasty":18,"author":454,"museum":107,"description":60275,"tags":60276,"thumbUrl":60277,"material":751,"size":752,"collection":95,"collections":60278,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},271090,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-lan-ju-hua-shi-bi-yi-ming-271090","各式御制花卉诗管紫毫笔-竹管兰菊花诗笔","此笔以竹为管，浅镌兰菊，花枝舒展清逸，间配诗文，诗画相映，氤氲着文雅悠然的意境。紫毫笔尖修削合宜，锋颖饱满挺括，柔中带刚，尽显制工艺的精巧考究。素净竹色衬浅刻纹饰，雅致内敛，将文房雅趣与工艺美学相融，藏着旧时案头的风雅意趣，是兼具实用与赏玩价值的文房佳器。",[3092,50009,50010,139,140,7713,7,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336c74fbe230e4262341febd26f56d47.jpg",[],{"id":60280,"slug":60281,"title":60274,"dynasty":18,"author":454,"museum":107,"description":60282,"tags":60283,"thumbUrl":60284,"material":751,"size":752,"collection":95,"collections":60285,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},271083,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-lan-ju-hua-shi-bi-yi-ming-271083","竹管以留青浅刻技法，将兰菊清姿晕染于竹色肌理，辅以题诗刀笔秀雅细腻，刻绘柔婉地衬出花草悠然逸态。紫毫锋颖锐利，毛色青黑莹润，属制笔上品。骨质装口温润素净，更衬竹韵清雅。整器融制笔工艺与竹刻书画于一体，兼具文房实用与案头赏玩之趣，将旧时文人案头的隽秀审美藏于其间，尽显文玩器物的风雅意趣，是传统文房里工艺与艺术性兼备的精巧之作。",[3092,50009,50010,139,140,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e03ca8f7b0a8d4ac5ebc432ba1a692.jpg",[],{"id":60287,"slug":60288,"title":50016,"dynasty":18,"author":454,"museum":107,"description":60289,"tags":60290,"thumbUrl":60291,"material":751,"size":752,"collection":95,"collections":60292,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},271082,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-shui-xian-hua-shi-bi-yi-ming-271082","浅刻留青技法晕染竹管，水仙舒展灵动，花瓣脉络纤毫毕现，阴刻诗文与花影相映，刀工清浅秀雅，将文思与画意凝于一管。紫毫锋颖锐挺褐亮，攒束紧实，尽显制笔匠心。牙质装顶温润素净，与竹管清雅相得益彰，整体形制秀巧隽雅，融工艺审美与书写实用为一体，藏着旧时文房的静雅意趣，是兼具赏用之妙的文房佳器。",[3092,50009,29245,138,7713,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81bd85a02ac124ff1e83286172b5f0de.jpg",[],{"id":60294,"slug":60295,"title":60296,"dynasty":18,"author":454,"museum":107,"description":60297,"tags":60298,"thumbUrl":60299,"material":751,"size":752,"collection":95,"collections":60300,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271073,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-zhu-guan-cha-hua-shi-bi-yi-ming-271073","各式御制花卉诗管紫毫笔-竹管茶花诗笔","竹质笔管莹润浅黄，一面阴刻茶花，花枝舒展、瓣叶柔丽，晕染出案头清趣；另一侧题镌诗句，刀笔劲爽，将诗、书、绘意趣相融。紫毫笔尖锋颖修长，色呈褐紫，选料精良，尽显制笔匠心。整器将文房实用与雅玩审美相合，把莳花之雅致与翰墨雅事融为一体，藏着旧时书斋的温婉意韵，尽显清隽文雅的中式审美意涵。",[3092,50009,29245,7713,50115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bb9da08dd43226eefc9bf85dbb8030.jpg",[],{"id":60302,"slug":60303,"title":60304,"dynasty":18,"author":454,"museum":107,"description":60305,"tags":60306,"thumbUrl":60307,"material":751,"size":752,"collection":95,"collections":60308,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},271065,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-tan-xiang-mu-guan-wan-shou-ju-hua-shi-bi-yi-ming-271065","各式御制花卉诗管紫毫笔-檀香木管万寿菊花诗笔","此笔以檀香木为管，色如暖棕凝脂，温润古朴。一截阴镌诗句，笔意端雅，文韵暗生；一截浅镂折枝万寿菊，卷叶柔舒、花容娇妍，线条纤细秀润，将花木清姿与御题诗趣相融无间。两端以象牙为饰，莹白通透，与木香色相映，更衬出器物的清雅华贵。紫毫劲挺合用，适配细楷小书，融工艺审美与书写实用为一体，藏着旧时文苑的闲雅意趣，尽显宫廷制器的细腻匠心。",[3092,19026,25476,7713,1049,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d8bb26130300e32d318ff49a7e063fc.jpg",[],{"id":60310,"slug":60311,"title":60312,"dynasty":18,"author":454,"museum":107,"description":60313,"tags":60314,"thumbUrl":60315,"material":751,"size":752,"collection":95,"collections":60316,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271063,"ge-shi-yu-zhi-hua-hui-shi-guan-zi-hao-bi-xiang-ya-guan-li-hua-shi-bi-yi-ming-271063","各式御制花卉诗管紫毫笔-象牙管梨花诗笔","此笔以象牙为管，质地莹润温糯。匠师以浅浮雕技法刻画梨花，枝梢舒展，素瓣轻绽，似含朝露，雅致动人。另一面阴刻御题诗句，笔锋隽秀，诗画相映。朱红饰件点缀管身两端，与牙白底色撞色成趣，更衬出器物的清雅端庄。\n\n它将文房实用与赏玩雅趣相融，把咏花诗意与绘花之景凝于一管，尽显清代文房工艺的精妙造诣，藏着旧时宫廷文翰之间的风雅意韵，是文房清供里的逸品佳物。",[3092,25476,7713,7,1772,49991],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844a9031cede3f8a3eda6a872ef4e08b.jpg",[],{"id":60318,"slug":60319,"title":60320,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60321,"thumbUrl":60324,"material":751,"size":752,"collection":95,"collections":60325,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271059,"jiang-nan-zhi-zao-chang-shan-cheng-mian-hua-tu-shi-mo-guan-gai-mo-yi-ming-271059","江南织造常山呈棉花图诗墨-灌溉墨",[432,3956,7,199,44630,60322,60323],"棉花图","灌溉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa46e132a6916e754dd0bf9fc3482006.jpg",[],{"id":60327,"slug":60328,"title":60329,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60330,"thumbUrl":60331,"material":751,"size":752,"collection":95,"collections":60332,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},271057,"jiang-nan-zhi-zao-chang-shan-cheng-mian-hua-tu-shi-mo-cai-mian-mo-yi-ming-271057","江南织造常山呈棉花图诗墨-采棉墨",[432,7,199,50042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d042c1f0c6b814daf2f7735c0c01c2c.jpg",[],{"id":60334,"slug":60335,"title":60336,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":60337,"thumbUrl":60339,"material":751,"size":752,"collection":95,"collections":60340,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270990,"wu-tong-zan-shan-shui-tu-qian-jin-yuan-bi-tong-yi-ming-270990","乌铜錾山水图嵌金圆笔筒",[15301,7713,60338,51,7,30960],"嵌金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5c65fac349db25fc7fbfcc863dfec7c.jpg",[],{"id":60342,"slug":60343,"title":60344,"dynasty":18,"author":454,"museum":107,"description":60345,"tags":60346,"thumbUrl":60348,"material":751,"size":752,"collection":95,"collections":60349,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270988,"cheng-fen-wen-ju-wen-zhu-cha-ping-yi-ming-270988","成份文具-文竹插屏","此插屏以文竹精作，边框回纹环绕，线条规整古雅，尽显沉静端方之气。屏心行书临帖，笔墨灵动秀逸，尽得晋人书法疏朗俊雅的风神，墨色温润沉着，与素净板面相互映衬，韵致悠然。\n\n底座纹饰与屏框呼应，回纹辗转往复，暗含绵长圆满之吉意，雕工细腻工致，将竹作肌理的清润与书法雅趣相融。置诸案头，可观笔墨流转间的晋韵风流，可抚竹制器物的温润质感，将文房清隽雅致的审美意蕴凝于一方，尽显旧时书案之上的风雅情致。",[44655,49790,60347,7713,7,60,77],"文竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b4440a37e2312363b6a71960f8bd8.jpg",[],{"id":60351,"slug":60352,"title":60353,"dynasty":18,"author":454,"museum":107,"description":60354,"tags":60355,"thumbUrl":60356,"material":751,"size":752,"collection":95,"collections":60357,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270982,"cheng-fen-wen-ju-si-cang-shu-wu-si-yong-ce-yi-ming-270982","成份文具-四藏书屋四咏册","此作用乌金纸为底，泥金小楷灿若月华，笔画秀劲端凝，结体匀整端庄，是清代馆阁体的上乘风貌。所书咏砚佳句清隽雅致，将文人藏砚爱砚的深挚情怀融于笔底。四周鎏金缠枝纹饰工丽雅致，与规整书法相映成趣，尽显文房雅事的精致意趣，笔墨间晕染出旧时文人案头的幽远雅韵，是兼具笔墨审美与文心雅趣的佳品。",[26,199,7,3092,3093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ebb8b6161d90ce21dce213281b05ef.jpg",[],{"id":60359,"slug":60360,"title":59611,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60361,"thumbUrl":60362,"material":751,"size":752,"collection":95,"collections":60363,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270923,"duan-shi-chao-shou-yan-yi-ming-270923",[3093,13336,199,7,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f5bb38ae6521833174226e2272728d.jpg",[],{"id":60365,"slug":60366,"title":60367,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60368,"thumbUrl":60370,"material":751,"size":752,"collection":95,"collections":60371,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270921,"she-shi-shi-gu-shi-yan-bing-yan-yi-ming-270921","歙石石鼓式砚-丙砚",[3093,3956,59053,7713,457,7,60369],"石鼓式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5d0460fbca821b8d809c432c811a1e.jpg",[],{"id":60373,"slug":60374,"title":60375,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60376,"thumbUrl":60378,"material":751,"size":752,"collection":95,"collections":60379,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270916,"yu-ming-cheng-ni-fang-han-wa-shi-yan-yi-ming-270916","御铭澄泥仿汉瓦式砚",[3093,49842,60377,7,1897,44646],"瓦式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0521792feb3ed874a47f73f7edbfbe49.jpg",[],{"id":60381,"slug":60382,"title":60383,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60384,"thumbUrl":60385,"material":751,"size":752,"collection":95,"collections":60386,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270910,"yu-ming-cheng-ni-yan-fang-han-hai-tian-chu-yue-yan-yi-ming-270910","御铭澄泥砚-仿汉海天初月砚",[3093,49842,199,7,77,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858b1ec13137b2f7e995723354fac310.jpg",[],{"id":60388,"slug":60389,"title":60390,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60391,"thumbUrl":60392,"material":751,"size":752,"collection":95,"collections":60393,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270907,"she-shi-duo-fu-yan-yi-ming-270907","歙石多福砚",[3093,3956,59053,19026,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d388cdf999e19ece8c88e2b8c0821c.jpg",[],{"id":60395,"slug":60396,"title":59013,"dynasty":88,"author":454,"museum":107,"description":60397,"tags":60398,"thumbUrl":60399,"material":751,"size":752,"collection":95,"collections":60400,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270906,"cheng-ni-shi-han-shi-yan-yi-ming-270906","此砚仿石函为形，子母扣合严整浑融，砚膛浅挖宽平，适配研墨濡毫。石质温润凝腻，周身包浆沉厚，带着悠悠岁月摩挲的痕迹。砚背以端庄隶书镌铭，笔墨间藏着雅致风骨，将文房实用之能与金石赏鉴之趣合二为一。整体造型简素内敛，不见繁缛修饰，尽显中古文房器物的隽永之美，静静诉说着旧时文人窗下研墨、寄情笔墨的雅事。",[3093,3956,49575,7,1897,7713,30930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b0060182e62bfa4c56e6d0898d946c.jpg",[],{"id":60402,"slug":60403,"title":60404,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60405,"thumbUrl":60409,"material":751,"size":752,"collection":95,"collections":60410,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270904,"duan-shi-lou-kong-fang-sheng-wen-tong-he-nuan-yan-yi-ming-270904","端石镂空方胜纹铜盒暖砚",[60406,3093,3956,30921,15301,60407,60408,199,7,1897,7713],"暖砚","镂空雕刻","方胜纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d19ede26aa9058e926a8eb471c6c8b.jpg",[],{"id":60412,"slug":60413,"title":60414,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60415,"thumbUrl":60416,"material":751,"size":752,"collection":95,"collections":60417,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270900,"yu-ming-song-hua-jiang-shi-zhu-chi-sui-xing-yan-yi-ming-270900","御铭松花江石竹池随形砚",[3093,7714,7,199,1897,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43619921b7c336d1c80c40ee8f5c2481.jpg",[],{"id":60419,"slug":60420,"title":60421,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60422,"thumbUrl":60425,"material":751,"size":752,"collection":95,"collections":60426,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270885,"cheng-ni-diao-shuang-chi-wen-tao-shi-yan-yi-ming-270885","澄泥雕双螭纹桃式砚",[3093,49842,60423,60424,7713,7,199,77,457,3956,19026],"桃式","双螭纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a736b044a1cc0d44e06346f1a53480c.jpg",[],{"id":60428,"slug":60429,"title":59176,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60430,"thumbUrl":60432,"material":751,"size":752,"collection":95,"collections":60433,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270884,"yu-ming-cheng-ni-fang-song-de-shou-dian-xi-wen-yan-yi-ming-270884",[3093,49842,7,199,1897,7713,3956,60431],"犀纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317d9eefab1fd6e98fabf80bf023f542.jpg",[],{"id":60435,"slug":60436,"title":59176,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60437,"thumbUrl":60438,"material":751,"size":752,"collection":95,"collections":60439,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270883,"yu-ming-cheng-ni-fang-song-de-shou-dian-xi-wen-yan-yi-ming-270883",[3093,199,7,1897,7713,77,3956,49842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997e0afd210cc13741962a52b1bf734b.jpg",[],{"id":60441,"slug":60442,"title":59176,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60443,"thumbUrl":60444,"material":751,"size":752,"collection":95,"collections":60445,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270882,"yu-ming-cheng-ni-fang-song-de-shou-dian-xi-wen-yan-yi-ming-270882",[3093,199,7,7713,3956,49842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc03eba92fb5c1181ed3cfc2d770fc74.jpg",[],{"id":60447,"slug":60448,"title":60449,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60450,"thumbUrl":60451,"material":751,"size":752,"collection":95,"collections":60452,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270877,"yu-ming-cheng-ni-yan-fang-song-tian-cheng-feng-zi-xing-yan-yi-ming-270877","御铭澄泥砚-仿宋天成风字形砚",[3093,49842,199,77,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8680bc5eedf5e7597ad06affb2987839.jpg",[],{"id":60454,"slug":60455,"title":60383,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60456,"thumbUrl":60457,"material":751,"size":752,"collection":95,"collections":60458,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270871,"yu-ming-cheng-ni-yan-fang-han-hai-tian-chu-yue-yan-yi-ming-270871",[3093,49842,3956,7,199,19026,7713,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccd6d3d685da185a1188d4c9dd25b88.jpg",[],{"id":60460,"slug":60461,"title":60462,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60463,"thumbUrl":60464,"material":751,"size":752,"collection":95,"collections":60465,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270867,"yu-ming-cheng-ni-yan-fang-tang-cheng-ni-ba-leng-yan-yi-ming-270867","御铭澄泥砚-仿唐澄泥八棱砚",[3093,49842,59691,199,7,1897,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfeba67903cf7b5403d1513e932dad7.jpg",[],{"id":60467,"slug":60468,"title":60469,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60470,"thumbUrl":60471,"material":751,"size":752,"collection":95,"collections":60472,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270850,"jiao-lin-zhen-wan-ming-duan-shi-lan-ting-yan-yi-ming-270850","蕉林珍玩铭端石兰亭砚",[3093,7713,113,51,56,7,3467,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5583209d4a4289ffce4618bd6216fb1.jpg",[],{"id":60474,"slug":60475,"title":60476,"dynasty":45,"author":454,"museum":107,"description":60477,"tags":60478,"thumbUrl":60479,"material":751,"size":752,"collection":95,"collections":60480,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270849,"yu-ming-duan-shi-wu-lao-fei-xing-yan-yi-ming-270849","御铭端石五老蜚星砚","此砚以端石作抄手形制，匠者巧借石质天然肌理与石眼，将石眼琢为错落星芒，顺势塑出五老垂立池侧，仿若隐于林泉之间，暗合题名意趣。砚身四面满镌铭文，笔力苍劲朴拙，题咏记事兼具，文思与石质相融无间。\n\n历经时光浸润，石色愈发沉厚温润，包浆凝腻，将旧时文人雅趣与制砚匠心糅合为一，是因形施艺、诗砚同辉的制砚佳例，尽显案头清玩的风雅意致。",[3093,3956,30921,7713,7,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4efa268469e3bc2d08ddc938f9047aa0.jpg",[],{"id":60482,"slug":60483,"title":60484,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60485,"thumbUrl":60486,"material":751,"size":752,"collection":95,"collections":60487,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270846,"duan-shi-shi-gu-shi-yan-xin-yan-yi-ming-270846","端石石鼓式砚-辛砚",[3093,30921,60369,3956,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F325030e1f7b26e07764ea9eec0e4f9b4.jpg",[],{"id":60489,"slug":60490,"title":60491,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60492,"thumbUrl":60493,"material":751,"size":752,"collection":95,"collections":60494,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270845,"duan-shi-shi-gu-shi-yan-ren-yan-yi-ming-270845","端石石鼓式砚-壬砚",[3093,30921,60369,7713,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6418bc27a00a637991f3bcc33598c2.jpg",[],{"id":60496,"slug":60497,"title":60498,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60499,"thumbUrl":60500,"material":751,"size":752,"collection":95,"collections":60501,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270844,"duan-shi-shi-gu-shi-yan-jia-yan-yi-ming-270844","端石石鼓式砚-甲砚",[3093,30921,3956,7713,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799a44a6613844efffeeeb7d8340246f.jpg",[],{"id":60503,"slug":60504,"title":60505,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60506,"thumbUrl":60507,"material":751,"size":752,"collection":95,"collections":60508,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270843,"duan-shi-shi-gu-shi-yan-gui-yan-yi-ming-270843","端石石鼓式砚-癸砚",[3093,30921,7713,457,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a626d6ad839ac657277bbfc46060a2e.jpg",[],{"id":60510,"slug":60511,"title":60512,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60513,"thumbUrl":60514,"material":751,"size":752,"collection":95,"collections":60515,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270840,"duan-shi-shi-gu-shi-yan-geng-yan-yi-ming-270840","端石石鼓式砚-庚砚",[3093,30921,60369,7,7713,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0679470fe32e923ee6c8ae5ce1f63719.jpg",[],{"id":60517,"slug":60518,"title":60484,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60519,"thumbUrl":60520,"material":751,"size":752,"collection":95,"collections":60521,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270839,"duan-shi-shi-gu-shi-yan-xin-yan-yi-ming-270839",[3093,30921,7713,7,457,3956,60369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ea127ea219954c33353b3b9bf32de7.jpg",[],{"id":60523,"slug":60524,"title":60491,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60525,"thumbUrl":60526,"material":751,"size":752,"collection":95,"collections":60527,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270838,"duan-shi-shi-gu-shi-yan-ren-yan-yi-ming-270838",[3093,30921,60369,3956,7713,457,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25241cbba02821e9a8a1327b84ffb1f0.jpg",[],{"id":60529,"slug":60530,"title":60505,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60531,"thumbUrl":60532,"material":751,"size":752,"collection":95,"collections":60533,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270837,"duan-shi-shi-gu-shi-yan-gui-yan-yi-ming-270837",[3093,30921,7,457,3956,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6abde012f8832ad6a74333579e5a8b1e.jpg",[],{"id":60535,"slug":60536,"title":60537,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60538,"thumbUrl":60539,"material":751,"size":752,"collection":95,"collections":60540,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270836,"duan-shi-shi-gu-shi-yan-yi-yan-yi-ming-270836","端石石鼓式砚-乙砚",[3093,30921,60369,7713,7,457,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84196d4cef182160243c1fea347f7510.jpg",[],{"id":60542,"slug":60543,"title":60544,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60545,"thumbUrl":60546,"material":751,"size":752,"collection":95,"collections":60547,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270835,"duan-shi-shi-gu-shi-yan-ding-yan-yi-ming-270835","端石石鼓式砚-丁砚",[3093,3956,7713,7,457,49575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c11b20be818fd8a9472a4b6b555844b.jpg",[],{"id":60549,"slug":60550,"title":60498,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60551,"thumbUrl":60552,"material":751,"size":752,"collection":95,"collections":60553,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270833,"duan-shi-shi-gu-shi-yan-jia-yan-yi-ming-270833",[3093,30921,60369,7,7713,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11a345e7542b6d3da363ff30e7a8dd24.jpg",[],{"id":60555,"slug":60556,"title":60557,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":60558,"thumbUrl":60559,"material":751,"size":752,"collection":95,"collections":60560,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270829,"yu-ming-duan-shi-fang-song-yu-tu-chao-yuan-yan-yi-ming-270829","御铭端石仿宋玉兔朝元砚",[3093,30921,7,1897,3956,900,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae87cbdd63e53489b08e2ff7291efd6c.jpg",[],{"id":60562,"slug":60563,"title":60564,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60565,"thumbUrl":60566,"material":751,"size":752,"collection":95,"collections":60567,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270828,"yu-ming-duan-shi-fang-song-de-shou-dian-xi-wen-yan-yi-ming-270828","御铭端石仿宋德寿殿犀纹砚",[3093,30921,7713,7,3956,60431,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd415661d97bdb8c2024dafc2cd5ffa.jpg",[],{"id":60569,"slug":60570,"title":60571,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60572,"thumbUrl":60573,"material":751,"size":752,"collection":95,"collections":60574,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270813,"she-shi-duo-chi-chang-fang-yan-yi-ming-270813","歙石铎池长方砚",[3093,3956,49575,19026,7,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb53747987bf1dc8e2c47abe7ef2bb4bf.jpg",[],{"id":60576,"slug":60577,"title":60578,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60579,"thumbUrl":60581,"material":751,"size":752,"collection":95,"collections":60582,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270812,"she-shi-luo-hua-liu-shui-chi-chang-fang-yan-yi-ming-270812","歙石落花流水池长方砚",[3093,3956,59053,7713,60580,19026,13336,7],"落花流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0d35d1db4f9a2ad6fea5b5821046d2.jpg",[],{"id":60584,"slug":60585,"title":60586,"dynasty":18,"author":454,"museum":107,"description":44589,"tags":60587,"thumbUrl":60588,"material":751,"size":752,"collection":95,"collections":60589,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270804,"yu-ming-she-shi-yan-fang-han-shi-qu-ge-wa-yan-yi-ming-270804","御铭歙石砚-仿汉石渠阁瓦砚",[3093,3956,59053,7,1897,60225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f9d3f4fd4ec5af518d8cade832fbb6.jpg",[],{"id":60591,"slug":60592,"title":60593,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60594,"thumbUrl":60595,"material":751,"size":752,"collection":95,"collections":60596,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270790,"duan-shi-shuang-long-yan-yi-ming-270790","端石双龙砚",[3093,30921,359,7713,19026,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba64bf9d5d69d82559dc6468df4f3c3.jpg",[],{"id":60598,"slug":60599,"title":60600,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60601,"thumbUrl":60602,"material":751,"size":752,"collection":95,"collections":60603,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270789,"cheng-ni-hai-tian-chu-yue-yan-yi-ming-270789","澄泥海天初月砚",[3093,49931,19026,7,6297,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce270e706230e3fbc68f22983d3f466.jpg",[],{"id":60605,"slug":60606,"title":60607,"dynasty":18,"author":454,"museum":107,"description":30919,"tags":60608,"thumbUrl":60609,"material":751,"size":752,"collection":95,"collections":60610,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270788,"yu-ming-duan-shi-ai-ai-rong-yan-yi-ming-270788","御铭端石霭霭融砚",[3093,13336,7,199,26617,25480,7713,44646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5d7c3ffde3b57f88e2a6ac1caeb3a7.jpg",[],{"id":60612,"slug":60613,"title":60614,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60615,"thumbUrl":60616,"material":751,"size":752,"collection":95,"collections":60617,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270743,"qian-long-kuan-sui-chu-tang-cang-zhu-mo-yi-ming-270743","乾隆款遂初堂藏朱墨",[432,3956,50100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ffd10b7e507e3d9dd6cddfe5d35dc6c.jpg",[],{"id":60619,"slug":60620,"title":60621,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60622,"thumbUrl":60623,"material":751,"size":752,"collection":95,"collections":60624,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270740,"zhan-da-you-feng-chi-chun-mo-yi-ming-270740","詹大有凤池春墨",[432,7,199,77,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0218e63589e33dd6b9cbf5e415c05b4.jpg",[],{"id":60626,"slug":60627,"title":60628,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60629,"thumbUrl":60630,"material":751,"size":752,"collection":95,"collections":60631,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270737,"jing-sheng-zhai-fa-mo-yi-ming-270737","敬胜斋法墨",[432,3956,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ac46d5c2266f01a6ce8ccc0ea3b290.jpg",[],{"id":60633,"slug":60634,"title":60635,"dynasty":18,"author":454,"museum":107,"description":35058,"tags":60636,"thumbUrl":60637,"material":751,"size":752,"collection":95,"collections":60638,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270735,"cao-su-gong-zhi-wang-you-dun-jin-san-xi-tang-yu-mo-yi-ming-270735","曹素功制汪由敦进三希堂御墨",[432,7,199,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44bce5b0bb730f9ca05bfc23cb3fd06.jpg",[],{"id":60640,"slug":60641,"title":60642,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60643,"thumbUrl":60644,"material":751,"size":752,"collection":95,"collections":60645,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270731,"qian-long-kuan-yu-ming-yun-gu-mo-yi-ming-270731","乾隆款寓名蕴古墨",[432,33015,457,1897,7,35050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f3069d51f408154d36da06ec6c1529.jpg",[],{"id":60647,"slug":60648,"title":60649,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60650,"thumbUrl":60651,"material":751,"size":752,"collection":95,"collections":60652,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270727,"qian-long-kuan-qing-xiang-zhi-jie-yu-mo-yi-ming-270727","乾隆款清香直节御墨",[432,3956,7,77,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425b4ec04ab64946dae16e15d80527b3.jpg",[],{"id":60654,"slug":60655,"title":60656,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60657,"thumbUrl":60658,"material":751,"size":752,"collection":95,"collections":60659,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270724,"qian-long-kuan-xiao-yan-han-xiang-yu-mo-yi-ming-270724","乾隆款晓艳寒香御墨",[432,3956,7,77,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f5405e1e9e16e97029a8981abc0449.jpg",[],{"id":60661,"slug":60662,"title":60663,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60664,"thumbUrl":60665,"material":751,"size":752,"collection":95,"collections":60666,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270722,"qian-long-kuan-gang-du-cheng-xiang-yu-mo-yi-ming-270722","乾隆款冈渎呈祥御墨",[432,40487,44646,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb305cb106b77702afa6091167b8cad8.jpg",[],{"id":60668,"slug":60669,"title":60670,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60671,"thumbUrl":60672,"material":751,"size":752,"collection":95,"collections":60673,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270715,"qian-long-kuan-ying-ri-ling-yun-yu-mo-yi-ming-270715","乾隆款映日凌云御墨",[432,3956,77,7,40487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e35941c2f0304f360e6f39c35356e2.jpg",[],{"id":60675,"slug":60676,"title":60677,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60678,"thumbUrl":60679,"material":751,"size":752,"collection":95,"collections":60680,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270711,"qian-long-kuan-chun-hua-qiu-shi-yu-mo-yi-ming-270711","乾隆款春华秋实御墨",[432,7,77,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e730b0d6d84ea39c5c8bfee7a30f23d.jpg",[],{"id":60682,"slug":60683,"title":60684,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60685,"thumbUrl":60686,"material":751,"size":752,"collection":95,"collections":60687,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270709,"qian-long-kuan-lan-ting-xiu-xi-yu-mo-yi-ming-270709","乾隆款兰亭修禊御墨",[432,3956,7,77,9970],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc168368dca7e6a52044e3feec521e0c.jpg",[],{"id":60689,"slug":60690,"title":60691,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60692,"thumbUrl":60693,"material":751,"size":752,"collection":95,"collections":60694,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270706,"hu-kui-zhang-zhi-wan-nian-hong-zhu-mo-yi-ming-270706","胡奎章制万年红朱墨",[432,50100,3956,40528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2dd11d3a85da92148e08e161a5af56.jpg",[],{"id":60696,"slug":60697,"title":60698,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60699,"thumbUrl":60700,"material":751,"size":752,"collection":95,"collections":60701,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270684,"wang-zhi-chun-jin-huang-shan-tu-mo-yun-men-feng-mo-yi-ming-270684","王之春进黄山图墨-云门峰墨",[432,3956,7713,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9c67629c88d30b05f8c62a931f9376.jpg",[],{"id":60703,"slug":60704,"title":60705,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60706,"thumbUrl":60707,"material":751,"size":752,"collection":95,"collections":60708,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270674,"wang-zhi-chun-jin-huang-shan-tu-mo-jiu-long-feng-mo-yi-ming-270674","王之春进黄山图墨-九龙峰墨",[432,7713,359,51,7,5721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a1b9e228a2d395ac5b63604768d5d0b.jpg",[],{"id":60710,"slug":60711,"title":60712,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60713,"thumbUrl":60714,"material":751,"size":752,"collection":95,"collections":60715,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270673,"zhan-da-you-jian-zhi-yu-ci-jin-lian-mo-yi-ming-270673","詹大有监制御赐金莲墨",[432,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d28195577ee19c29ab4ba171cc0f1ba.jpg",[],{"id":60717,"slug":60718,"title":60719,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60720,"thumbUrl":60722,"material":751,"size":752,"collection":95,"collections":60723,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270672,"yu-zhi-yong-mo-shi-mo-chao-chao-liu-fa-xian-jing-shen-mo-yi-ming-270672","御制咏墨诗墨-超超六法显精神墨",[432,3956,7,26617,60721],"回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc203dcfa90b0a84338fd169fbcd285f.jpg",[],{"id":60725,"slug":60726,"title":60727,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60728,"thumbUrl":60729,"material":751,"size":752,"collection":95,"collections":60730,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270671,"yu-zhi-yong-mo-shi-mo-huan-qing-hu-zi-wei-duo-shi-mo-yi-ming-270671","御制咏墨诗墨-唤卿呼子谓多事墨",[432,3956,30,7,7713,26617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac45e5cd405064ef6ff12f960f94c31.jpg",[],{"id":60732,"slug":60733,"title":60734,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60735,"thumbUrl":60736,"material":751,"size":752,"collection":95,"collections":60737,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270669,"qian-long-kuan-yu-yong-hua-hui-shi-mo-shui-xian-mo-yi-ming-270669","乾隆款御咏花卉诗墨-水仙墨",[432,199,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59751e4801bb2fe0aa5ce1642bea6823.jpg",[],{"id":60739,"slug":60740,"title":60741,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60742,"thumbUrl":60744,"material":751,"size":752,"collection":95,"collections":60745,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270666,"qian-long-kuan-yu-yong-hua-hui-shi-mo-wan-shou-ju-mo-yi-ming-270666","乾隆款御咏花卉诗墨-万寿菊墨",[432,199,7,60743,44646],"万寿菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eefe7ef4a8f2aeaba065347f2559a7b.jpg",[],{"id":60747,"slug":60748,"title":60749,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60750,"thumbUrl":60752,"material":751,"size":752,"collection":95,"collections":60753,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270665,"qian-long-kuan-yu-yong-hua-hui-shi-mo-la-mei-mo-yi-ming-270665","乾隆款御咏花卉诗墨-蜡梅墨",[432,199,7,60751],"蜡梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc59672acee067c33b9af88db41f04696.jpg",[],{"id":60755,"slug":60756,"title":60757,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60758,"thumbUrl":60760,"material":751,"size":752,"collection":95,"collections":60761,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270664,"qian-long-kuan-yu-yong-hua-hui-shi-mo-tu-mi-mo-yi-ming-270664","乾隆款御咏花卉诗墨-酴醿墨",[432,199,7,30,60759],"蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9582ec4ea62dfea051d593f5e0eed54.jpg",[],{"id":60763,"slug":60764,"title":60765,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60766,"thumbUrl":60767,"material":751,"size":752,"collection":95,"collections":60768,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270663,"qian-long-kuan-yu-yong-hua-hui-shi-mo-mei-gui-mo-yi-ming-270663","乾隆款御咏花卉诗墨-玫瑰墨",[432,199,7,15183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad4568f5d57f7c9444b8b8b22e4d858.jpg",[],{"id":60770,"slug":60771,"title":60772,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60773,"thumbUrl":60774,"material":751,"size":752,"collection":95,"collections":60775,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270662,"qian-long-kuan-yu-yong-hua-hui-shi-mo-hu-die-hua-mo-yi-ming-270662","乾隆款御咏花卉诗墨-蝴蝶花墨",[432,7,199,11313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0870d712e21bd5e250097c91b636dc.jpg",[],{"id":60777,"slug":60778,"title":60779,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60780,"thumbUrl":60782,"material":751,"size":752,"collection":95,"collections":60783,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270661,"qian-long-kuan-yu-yong-hua-hui-shi-mo-cui-que-mo-yi-ming-270661","乾隆款御咏花卉诗墨-翠雀墨",[432,199,7,29,60781],"翠雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4112545c39f23672e5ab058279105.jpg",[],{"id":60785,"slug":60786,"title":60787,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60788,"thumbUrl":60790,"material":751,"size":752,"collection":95,"collections":60791,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270657,"qian-long-kuan-yu-yong-hua-hui-shi-mo-shi-zhu-mo-yi-ming-270657","乾隆款御咏花卉诗墨-石竹墨",[432,199,7,60789,3956],"石竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe49fea0c057fc4588f405ceefc43ee76.jpg",[],{"id":60793,"slug":60794,"title":60795,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60796,"thumbUrl":60797,"material":751,"size":752,"collection":95,"collections":60798,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270656,"qian-long-kuan-yu-yong-hua-hui-shi-mo-qiu-sha-mo-yi-ming-270656","乾隆款御咏花卉诗墨-秋纱墨",[432,199,7,35076],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc442d986fd6eb68eca3307b93d012702.jpg",[],{"id":60800,"slug":60801,"title":60802,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60803,"thumbUrl":60805,"material":751,"size":752,"collection":95,"collections":60806,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270655,"qian-long-kuan-yu-yong-hua-hui-shi-mo-tian-zhu-mo-yi-ming-270655","乾隆款御咏花卉诗墨-天竹墨",[432,199,7,3956,878,132,60804],"御题诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6586d91f47c8e9f067b75a1d364f0d73.jpg",[],{"id":60808,"slug":60809,"title":60810,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60811,"thumbUrl":60813,"material":751,"size":752,"collection":95,"collections":60814,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270654,"qian-long-kuan-yu-yong-hua-hui-shi-mo-pi-pa-hua-mo-yi-ming-270654","乾隆款御咏花卉诗墨-枇杷花墨",[432,7,199,60812],"枇杷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ac58c6db96f3832e00fb0fe5a0e9af8.jpg",[],{"id":60816,"slug":60817,"title":60818,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60819,"thumbUrl":60821,"material":751,"size":752,"collection":95,"collections":60822,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270653,"qian-long-kuan-yu-yong-hua-hui-shi-mo-jia-zhu-tao-mo-yi-ming-270653","乾隆款御咏花卉诗墨-夹竹桃墨",[432,199,7,60820,35076],"夹竹桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d8342f0e6009390025edc021748a40.jpg",[],{"id":60824,"slug":60825,"title":60826,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60827,"thumbUrl":60828,"material":751,"size":752,"collection":95,"collections":60829,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270652,"qian-long-kuan-yu-yong-hua-hui-shi-mo-mu-fu-rong-mo-yi-ming-270652","乾隆款御咏花卉诗墨-木芙蓉墨",[432,1613,7,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d25fd22f260e36b7971447956b05ef7.jpg",[],{"id":60831,"slug":60832,"title":60833,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60834,"thumbUrl":60836,"material":751,"size":752,"collection":95,"collections":60837,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270651,"qian-long-kuan-yu-yong-hua-hui-shi-mo-zhi-zi-mo-yi-ming-270651","乾隆款御咏花卉诗墨-栀子墨",[432,199,7,5483,60835,44646,40407],"黄蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f807cf118caf75950c74fb7c80b264b.jpg",[],{"id":60839,"slug":60840,"title":60841,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60842,"thumbUrl":60844,"material":751,"size":752,"collection":95,"collections":60845,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270650,"qian-long-kuan-yu-yong-hua-hui-shi-mo-shan-dan-mo-yi-ming-270650","乾隆款御咏花卉诗墨-山丹墨",[432,7,199,60843,3956],"山丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1da107438195b5fccd7344f47004ab.jpg",[],{"id":60847,"slug":60848,"title":60849,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60850,"thumbUrl":60851,"material":751,"size":752,"collection":95,"collections":60852,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270649,"qian-long-kuan-yu-yong-hua-hui-shi-mo-xiu-qiu-hua-mo-yi-ming-270649","乾隆款御咏花卉诗墨-绣球花墨",[432,7,199,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a0286bccc9a62b81530b657335b9c4.jpg",[],{"id":60854,"slug":60855,"title":60856,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60857,"thumbUrl":60858,"material":751,"size":752,"collection":95,"collections":60859,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270648,"qian-long-kuan-yu-yong-hua-hui-shi-mo-ying-su-mo-yi-ming-270648","乾隆款御咏花卉诗墨-罂粟墨",[432,199,7,30,1251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83f9d249c0d8b34868f1c3a6e988a96.jpg",[],{"id":60861,"slug":60862,"title":60863,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60864,"thumbUrl":60865,"material":751,"size":752,"collection":95,"collections":60866,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270644,"qian-long-kuan-yu-yong-hua-hui-shi-mo-ju-mo-yi-ming-270644","乾隆款御咏花卉诗墨-菊墨",[432,199,7,140,30930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f81a8f12d47464a671c23e46bedeee.jpg",[],{"id":60868,"slug":60869,"title":60870,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60871,"thumbUrl":60873,"material":751,"size":752,"collection":95,"collections":60874,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270643,"qian-long-kuan-yu-yong-hua-hui-shi-mo-zi-jing-mo-yi-ming-270643","乾隆款御咏花卉诗墨-紫荆墨",[432,199,7,60872,3956],"紫荆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6efd40cc586db0b0bb0e512a9897bb53.jpg",[],{"id":60876,"slug":60877,"title":60878,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60879,"thumbUrl":60881,"material":751,"size":752,"collection":95,"collections":60882,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270641,"qian-long-kuan-yu-yong-hua-hui-shi-mo-ji-guan-mo-yi-ming-270641","乾隆款御咏花卉诗墨-鸡冠墨",[432,7,199,60880],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c7bafcb29859995b688b9bf42b14c65.jpg",[],{"id":60884,"slug":60885,"title":60886,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60887,"thumbUrl":60888,"material":751,"size":752,"collection":95,"collections":60889,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270640,"qian-long-kuan-yu-yong-hua-hui-shi-mo-feng-xian-mo-yi-ming-270640","乾隆款御咏花卉诗墨-凤仙墨",[432,199,7,50000,678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65296e534410a4d1b6079af98956da2d.jpg",[],{"id":60891,"slug":60892,"title":60893,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60894,"thumbUrl":60896,"material":751,"size":752,"collection":95,"collections":60897,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270639,"qian-long-kuan-yu-yong-hua-hui-shi-mo-jin-kui-mo-yi-ming-270639","乾隆款御咏花卉诗墨-锦葵墨",[432,199,7,60895,3956],"锦葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9296ff441a725631a3937ebc8cb5709e.jpg",[],{"id":60899,"slug":60900,"title":60901,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60902,"thumbUrl":60903,"material":751,"size":752,"collection":95,"collections":60904,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270638,"qian-long-kuan-yu-yong-hua-hui-shi-mo-lan-mo-yi-ming-270638","乾隆款御咏花卉诗墨-兰墨",[432,199,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3cb5c65d6cf442ae137c4384d90528.jpg",[],{"id":60906,"slug":60907,"title":60908,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60909,"thumbUrl":60911,"material":751,"size":752,"collection":95,"collections":60912,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270636,"qian-long-kuan-yu-yong-hua-hui-shi-mo-he-mo-yi-ming-270636","乾隆款御咏花卉诗墨-荷墨",[432,7,199,134,60910],"鲤鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7691a0252bab3a223baad5d07e479c8.jpg",[],{"id":60914,"slug":60915,"title":60916,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60917,"thumbUrl":60918,"material":751,"size":752,"collection":95,"collections":60919,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270635,"qian-long-kuan-yu-yong-hua-hui-shi-mo-zi-wei-mo-yi-ming-270635","乾隆款御咏花卉诗墨-紫薇墨",[432,199,7,1051,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b4ad62054a8dee17c8b9e07f05cddd.jpg",[],{"id":60921,"slug":60922,"title":60923,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60924,"thumbUrl":60925,"material":751,"size":752,"collection":95,"collections":60926,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270633,"qian-long-kuan-yu-yong-hua-hui-shi-mo-xing-hua-mo-yi-ming-270633","乾隆款御咏花卉诗墨-杏花墨",[432,44646,199,7,30,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8680ea5039e7820e77f9b4e4fd9b0365.jpg",[],{"id":60928,"slug":60929,"title":60930,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60931,"thumbUrl":60932,"material":751,"size":752,"collection":95,"collections":60933,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270631,"qian-long-kuan-yu-yong-hua-hui-shi-mo-mu-dan-mo-yi-ming-270631","乾隆款御咏花卉诗墨-牡丹墨",[432,199,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e15773202641606748a0e1d2d67a2a.jpg",[],{"id":60935,"slug":60936,"title":60937,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60938,"thumbUrl":60939,"material":751,"size":752,"collection":95,"collections":60940,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270630,"qian-long-kuan-yu-yong-hua-hui-shi-mo-hai-tang-mo-yi-ming-270630","乾隆款御咏花卉诗墨-海棠墨",[432,199,7,1600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024040ce5a851ec1d37dfea40aa27c9.jpg",[],{"id":60942,"slug":60943,"title":60944,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60945,"thumbUrl":60947,"material":751,"size":752,"collection":95,"collections":60948,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270629,"qian-long-kuan-yu-yong-hua-hui-shi-mo-chang-chun-mo-yi-ming-270629","乾隆款御咏花卉诗墨-长春墨",[432,199,7,3956,60946],"咏花诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52f9971fa2c3883e09354fc010d6e004.jpg",[],{"id":60950,"slug":60951,"title":60952,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60953,"thumbUrl":60955,"material":751,"size":752,"collection":95,"collections":60956,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270628,"qian-long-kuan-yu-yong-hua-hui-shi-mo-ling-xiao-mo-yi-ming-270628","乾隆款御咏花卉诗墨-凌霄墨",[432,199,7,3956,60954],"凌霄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F827726543aad72fc814c3ead17889739.jpg",[],{"id":60958,"slug":60959,"title":60960,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60961,"thumbUrl":60962,"material":751,"size":752,"collection":95,"collections":60963,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270627,"qian-long-kuan-yu-yong-hua-hui-shi-mo-shi-liu-mo-yi-ming-270627","乾隆款御咏花卉诗墨-石榴墨",[432,199,7,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1b57552c3237f9a68a4bf41338f9d3.jpg",[],{"id":60965,"slug":60966,"title":60967,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60968,"thumbUrl":60969,"material":751,"size":752,"collection":95,"collections":60970,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270626,"qian-long-kuan-yu-yong-hua-hui-shi-mo-zhen-zhu-lan-mo-yi-ming-270626","乾隆款御咏花卉诗墨-珍珠兰墨",[432,199,7,139,44615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d6ee828c0e02376f935035dbf106a5.jpg",[],{"id":60972,"slug":60973,"title":60974,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60975,"thumbUrl":60976,"material":751,"size":752,"collection":95,"collections":60977,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270623,"qian-long-kuan-yu-yong-hua-hui-shi-mo-mei-mo-yi-ming-270623","乾隆款御咏花卉诗墨-梅墨",[432,7,199,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2136d61f4b38375cf1eda0f2d24e5.jpg",[],{"id":60979,"slug":60980,"title":60981,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60982,"thumbUrl":60983,"material":751,"size":752,"collection":95,"collections":60984,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270621,"wang-jin-sheng-wang-chuan-tu-mo-lin-hu-ting-mo-yi-ming-270621","汪近圣辋川图墨-临湖亭墨",[432,7,199,55,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5bcbf4e7b1037b2c954f7542141eee.jpg",[],{"id":60986,"slug":60987,"title":60988,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60989,"thumbUrl":60990,"material":751,"size":752,"collection":95,"collections":60991,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270620,"wang-jin-sheng-wang-chuan-tu-mo-hua-zi-gang-mo-yi-ming-270620","汪近圣辋川图墨-华子冈墨",[432,7,199,116,1679,651,35076],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548f93123142668dc6676d95b526c974.jpg",[],{"id":60993,"slug":60994,"title":60995,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":60996,"thumbUrl":60997,"material":751,"size":752,"collection":95,"collections":60998,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270619,"qian-long-kuan-yu-yong-hua-hui-shi-mo-ying-chun-mo-yi-ming-270619","乾隆款御咏花卉诗墨-迎春墨",[432,26617,199,7,1762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635ada47991fe350fd2dd7b4f34d0710.jpg",[],{"id":61000,"slug":61001,"title":61002,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61003,"thumbUrl":61004,"material":751,"size":752,"collection":95,"collections":61005,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270618,"wang-jin-sheng-wang-chuan-tu-mo-wen-xing-guan-mo-yi-ming-270618","汪近圣辋川图墨-文杏馆墨",[432,3956,7,199,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3e4ce5fed93b3ed09e6395b32e34d6.jpg",[],{"id":61007,"slug":61008,"title":61009,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61010,"thumbUrl":61013,"material":751,"size":752,"collection":95,"collections":61014,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270617,"wang-jin-sheng-wang-chuan-tu-mo-mu-lan-chai-mo-yi-ming-270617","汪近圣辋川图墨-木兰柴墨",[432,30930,199,7,116,1679,12915,61011,61012],"溪路","幽情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1d67b2bdaffb1c9ddc6765488e8bf7.jpg",[],{"id":61016,"slug":61017,"title":61018,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61019,"thumbUrl":61021,"material":751,"size":752,"collection":95,"collections":61022,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270616,"wang-jin-sheng-wang-chuan-tu-mo-xin-yi-wu-mo-yi-ming-270616","汪近圣辋川图墨-辛夷坞墨",[432,7,199,3956,61020,136],"辛夷坞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9f0c6b2274c72930d57e7dd818f214.jpg",[],{"id":61024,"slug":61025,"title":61026,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61027,"thumbUrl":61028,"material":751,"size":752,"collection":95,"collections":61029,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270615,"wang-jin-sheng-wang-chuan-tu-mo-jin-zhu-ling-mo-yi-ming-270615","汪近圣辋川图墨-斤竹岭墨",[432,199,7,3956,51,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a18541e2792cc003e190876e65d5f9f.jpg",[],{"id":61031,"slug":61032,"title":61033,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61034,"thumbUrl":61035,"material":751,"size":752,"collection":95,"collections":61036,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270614,"wang-jin-sheng-wang-chuan-tu-mo-jin-xie-quan-mo-yi-ming-270614","汪近圣辋川图墨-金屑泉墨",[432,7,199,44646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c4411024bfbdb16c227a7c29fbe690.jpg",[],{"id":61038,"slug":61039,"title":61040,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61041,"thumbUrl":61044,"material":751,"size":752,"collection":95,"collections":61045,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270613,"wang-jin-sheng-wang-chuan-tu-mo-luan-jia-lai-mo-yi-ming-270613","汪近圣辋川图墨-栾家濑墨",[432,7,199,7529,61042,61043,3956,267],"白鹭","凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7e7ea143656f3af01fc26dca7a8f83.jpg",[],{"id":61047,"slug":61048,"title":61049,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61050,"thumbUrl":61051,"material":751,"size":752,"collection":95,"collections":61052,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270612,"wang-jin-sheng-wang-chuan-tu-mo-wang-kou-zhuang-mo-yi-ming-270612","汪近圣辋川图墨-辋口庄墨",[432,199,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa62c56c6e6e13319dd41ed8bb9f78f6a.jpg",[],{"id":61054,"slug":61055,"title":61056,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61057,"thumbUrl":61058,"material":751,"size":752,"collection":95,"collections":61059,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270611,"wang-jin-sheng-wang-chuan-tu-mo-jiao-yuan-mo-yi-ming-270611","汪近圣辋川图墨-椒园墨",[432,7,199,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a1ead91694b8905cd77c016bb5a9b4.jpg",[],{"id":61061,"slug":61062,"title":61063,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61064,"thumbUrl":61065,"material":751,"size":752,"collection":95,"collections":61066,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270610,"wang-jin-sheng-wang-chuan-tu-mo-lu-chai-mo-yi-ming-270610","汪近圣辋川图墨-鹿柴墨",[432,7,199,13310,12915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26458be60b78689855365ece97da5933.jpg",[],{"id":61068,"slug":61069,"title":61070,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61071,"thumbUrl":61073,"material":751,"size":752,"collection":95,"collections":61074,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270609,"wang-jin-sheng-wang-chuan-tu-mo-gong-huai-mo-mo-yi-ming-270609","汪近圣辋川图墨-宫槐陌墨",[432,7,199,61072,40140,5599],"宫槐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a22dbc16e783c9ce6b21b9f7e509f2.jpg",[],{"id":61076,"slug":61077,"title":61078,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61079,"thumbUrl":61082,"material":751,"size":752,"collection":95,"collections":61083,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270608,"wang-jin-sheng-wang-chuan-tu-mo-bai-shi-tan-mo-yi-ming-270608","汪近圣辋川图墨-白石滩墨",[432,7,199,678,53,61080,61081,3956],"滩石","蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b337b20cbcb9bca578c0d0590ac9ce4.jpg",[],{"id":61085,"slug":61086,"title":61087,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61088,"thumbUrl":61090,"material":751,"size":752,"collection":95,"collections":61091,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270607,"wang-jin-sheng-wang-chuan-tu-mo-nan-tuo-mo-yi-ming-270607","汪近圣辋川图墨-南坨墨",[432,7,199,3956,61089,54,1679,9288,10688,5090],"轻舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4030f8fd09eb79aca5e68070a387a4b1.jpg",[],{"id":61093,"slug":61094,"title":61095,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61096,"thumbUrl":61097,"material":751,"size":752,"collection":95,"collections":61098,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270605,"wang-jin-sheng-wang-chuan-tu-mo-liu-lang-mo-yi-ming-270605","汪近圣辋川图墨-柳浪墨",[432,7,199,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf34bd0d480ff9e4521cd9ce8d1722ae.jpg",[],{"id":61100,"slug":61101,"title":61102,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61103,"thumbUrl":61104,"material":751,"size":752,"collection":95,"collections":61105,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270604,"wang-jin-sheng-wang-chuan-tu-mo-bei-tuo-mo-yi-ming-270604","汪近圣辋川图墨-北坨墨",[432,199,7,3956,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f570b9884ac55267b3ea77864818f4.jpg",[],{"id":61107,"slug":61108,"title":61109,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61110,"thumbUrl":61111,"material":751,"size":752,"collection":95,"collections":61112,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270600,"wang-jin-sheng-wang-chuan-tu-mo-yi-hu-mo-yi-ming-270600","汪近圣辋川图墨-欹湖墨",[432,199,7,9679,6199,9288,680,54,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a4eec41a32ee31c762aa6215622a0e.jpg",[],{"id":61114,"slug":61115,"title":61116,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61117,"thumbUrl":61118,"material":751,"size":752,"collection":95,"collections":61119,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270598,"qian-long-kuan-mo-yun-shi-ji-mo-yi-ming-270598","乾隆款墨云室记墨",[432,3956,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e158f32308389ec36b1f7fd69a121.jpg",[],{"id":61121,"slug":61122,"title":61123,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61124,"thumbUrl":61125,"material":751,"size":752,"collection":95,"collections":61126,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270589,"yuan-jian-zhai-fa-mo-yi-ming-270589","渊鉴斋法墨",[432,3956,35050,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddfbfe82ed918f6688a8f3645bba5f8c.jpg",[],{"id":61128,"slug":61129,"title":61123,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":61130,"thumbUrl":61131,"material":751,"size":752,"collection":95,"collections":61132,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270583,"yuan-jian-zhai-fa-mo-yi-ming-270583",[432,3956,359,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b3fd4974e67fa4e462f52b2ca0311b.jpg",[],{"id":61134,"slug":61135,"title":61136,"dynasty":45,"author":454,"museum":107,"description":30928,"tags":61137,"thumbUrl":61138,"material":751,"size":752,"collection":95,"collections":61139,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270572,"shao-ge-zhi-jian-zhi-yu-bei-shi-wen-mo-yi-ming-270572","邵格之监制禹碑释文墨",[432,7,457,3956,10869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1288acba6af4e42932d09c7372cf231.jpg",[],{"id":61141,"slug":61142,"title":61143,"dynasty":18,"author":454,"museum":107,"description":61144,"tags":61145,"thumbUrl":61146,"material":751,"size":752,"collection":95,"collections":61147,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270419,"zong-zhu-gu-zhao-bing-chong-shu-zhe-shan-yi-ming-270419","棕竹股赵秉冲书折扇","棕竹扇骨色泽沉穆古雅，纹理静敛温润，衬得泥金扇面愈见华贵雅致。扇面满书小楷，笔墨精劲端秀，点画含筋抱骨，笔势顾盼有情。字字排布错落停匀，行气舒朗贯通，既有唐楷的端谨法度，又暗含行书的灵动意趣，将旧时文人的书卷雅韵凝于尺幅扇面之上。开合之间，墨色与金面相映，古意悠悠，尽显文房清玩的雅致格调，是一件兼具赏玩与书法审美价值的佳器。",[1250,7,60,50192,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1545e7dd90e25359c70386f8483df40.jpg",[],{"id":61149,"slug":61150,"title":61151,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":61152,"thumbUrl":61154,"material":751,"size":752,"collection":95,"collections":61155,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270380,"zhu-ping-kuan-yang-peng-nian-xi-qian-yu-bing-liu-hu-yi-ming-270380","竹坪款杨彭年锡嵌玉柄流壶",[61153,7714,1360,2919,7,7713],"锡器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c8fcc09a11ab687bd1030ddcff8e07.jpg",[],{"id":61157,"slug":61158,"title":61159,"dynasty":18,"author":454,"museum":107,"description":61160,"tags":61161,"thumbUrl":61163,"material":751,"size":752,"collection":95,"collections":61164,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270377,"shen-lang-ting-zhi-kuan-xi-tao-shi-hu-yi-ming-270377","沈朗亭制款锡桃式壶","此器取寿桃为形，将枝桠巧化为壶流与执柄，叶片轻贴壶肩，宛若将初熟蟠桃裁为茶器，浑然天成。素锡沉静哑光，质感温润内敛，衬得壶身錾刻诗文清隽雅致，金石笔墨意趣融于金属肌理。\n\n它将祝寿吉意与文人情思揉合，既是可赴茶席的雅器，亦是案头清供的玩物，尽显清人工巧雅致的造物心思，把山野桃枝的鲜活意趣，凝为案上一方沉静风雅。",[61153,2919,428,7713,61162,7],"桃形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357e8402acd7d54edba9f336ac00de56.jpg",[],{"id":61166,"slug":61167,"title":61168,"dynasty":18,"author":454,"museum":107,"description":61169,"tags":61170,"thumbUrl":61171,"material":751,"size":752,"collection":95,"collections":61172,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270366,"shen-cun-zhou-kuan-xi-ke-shi-ju-hu-yi-ming-270366","沈存周款锡刻诗句壶","此壶以锡为胎，圆腹饱满柔润，搭配红木弯柄，温雅厚重之余添就一份温润触感。盖钮取青瓷瓜蒂造型，莹润青釉与沉穆锡色相衬，雅致撞色提亮整体。壶身錾刻行书诗句，刀锋利落，将笔墨意韵凝于锡面，文气悠然弥散。整体形制简约内敛，将锡的沉静、木的暖泽、瓷的清莹相融相合，既合日常烹茶之用，又具案头赏玩之趣，尽显旧时文房雅事的审美意趣。",[61153,1360,2919,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c58fe5e994243b55e8813c2d5e91d.jpg",[],{"id":61174,"slug":61175,"title":61176,"dynasty":18,"author":454,"museum":107,"description":61177,"tags":61178,"thumbUrl":61180,"material":751,"size":752,"collection":95,"collections":61181,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270359,"zhu-an-kuan-xi-ke-hua-niao-tu-fang-hu-yi-ming-270359","竹庵款锡刻花鸟图方壶","此壶方正端凝，锡质莹洁温润，镶饰素玉流、柄、盖钮，金属的冷冽与玉质的清润相融共生，愈显雅致脱俗。壶身阴刻题字朴拙古雅，文句澹然通透，暗藏清人饮茶时的隐逸意趣。整器无过多繁饰，将文人审美融入日常茶器，把实用与赏玩合二为一，静穆间晕开旧时茶席上的清闲意态，尽显侘寂悠然的茶中雅韵，诠释了清代文玩茶器的极简美学风骨。",[61153,2919,7714,7,7713,61179,29],"方壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951aec7f5e0382b20019feb5de8f97e3.jpg",[],{"id":61183,"slug":61184,"title":61185,"dynasty":18,"author":454,"museum":107,"description":61186,"tags":61187,"thumbUrl":61188,"material":751,"size":752,"collection":95,"collections":61189,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270358,"wang-qia-kuan-xi-ke-zi-liu-fang-hu-yi-ming-270358","王洽款锡刻字六方壶","此壶六方器型挺括端庄，锡质沉稳匀净，自带内敛温润的哑光质感。盖顶嵌玉，素洁莹润，弯柄配红木，暖棕肌理中和锡的清冷，三材相映，雅致和谐。\n\n壶身錾刻行书铭文，笔意舒展苍劲，金石韵味盎然，文趣与匠意相融，将茶饮之事点缀出清逸的文人意趣。整体简约不饰繁复，尽显清雅的文玩审美意涵，是茶事中兼具实用与赏玩价值的佳器。",[61153,7713,7,19026,7714,2919,834,40528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc4ef24227687732a2bcc9c2da2060fc.jpg",[],{"id":61191,"slug":61192,"title":61193,"dynasty":18,"author":454,"museum":107,"description":61194,"tags":61195,"thumbUrl":61196,"material":751,"size":752,"collection":95,"collections":61197,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270244,"wu-mu-gu-diao-shou-zi-bian-dai-qu-heng-shu-hua-shan-shui-tu-mian-zhe-shan-yi-ming-270244","乌木股雕寿字边戴衢亨书画山水图面折扇","此扇乌骨镌寿，古意暗生，沉穆雅致。墨底以金书题字，笔致端稳凝练，点画精劲匀停，字里行间自有舒展端正的帖学意韵，金乌交辉，华贵不失沉静，章法排布匀整，行气贯通如一，将翰墨文思藏于折幅之中。\n\n整扇融雕刻工艺与笔墨风雅为一体，暗合旧时文人藏玩寄兴之趣，触手温润，观之悦目，是兼具赏玩与陈设价值的清隽雅物，尽显传统工艺与书画美学的交融之美。",[1250,7,199,30939,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51fc46d9808d291779ee81ff7c02a06b.jpg",[],{"id":61199,"slug":61200,"title":61193,"dynasty":18,"author":454,"museum":107,"description":61201,"tags":61202,"thumbUrl":61203,"material":751,"size":752,"collection":95,"collections":61204,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270243,"wu-mu-gu-diao-shou-zi-bian-dai-qu-heng-shu-hua-shan-shui-tu-mian-zhe-shan-yi-ming-270243","扇骨取乌木斫制，寿字雕纹勾勒边框，古雅温润。扇面以乌色为底，泥金小楷铺陈其上，墨色沉敛与金彩明丽相映成趣。小楷笔致端秀工整，排布疏密合宜，笔力清劲沉稳，将笔墨功底尽显无遗。\n整体形制精巧雅致，把工艺匠心与书法意趣相融，乌木的沉静质感衬得金书愈见华贵隽秀，尽显旧时文人随身雅物的清逸意韵，是兼具赏玩与实用的文房佳器。",[1250,7,199,19026,7713,29244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca628adfd8b54cf7b9a61ca1787a706.jpg",[],{"id":61206,"slug":61207,"title":61208,"dynasty":18,"author":454,"museum":107,"description":61209,"tags":61210,"thumbUrl":61211,"material":751,"size":752,"collection":95,"collections":61212,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270242,"hong-mu-gu-diao-hua-bian-pu-dong-zhe-shan-yi-ming-270242","红木股雕花边溥侗折扇","此扇骨雕花边婉转灵秀，古雅细腻，衬出沉静雅致的质感。金笺扇面之上小楷清隽挺秀，笔锋敛藏力道，点画排布错落合宜，墨色在金底晕开，古雅沉稳间带着温润书卷气。开合之间，将文人闲居弄墨的雅趣融于方寸，既是案头清玩，也是翰墨雅赏之物，尽显旧时文人心底的沉静意韵，藏着中式雅文化的悠然情致。",[29244,1250,7,60,19026,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8efde539da8fedfbb4f3d9ccfa9d6c8.jpg",[],{"id":61214,"slug":61215,"title":61216,"dynasty":18,"author":454,"museum":107,"description":61217,"tags":61218,"thumbUrl":61219,"material":751,"size":752,"collection":95,"collections":61220,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270240,"zhu-gu-diao-hua-bian-xuan-tong-di-shu-zhe-shan-yi-ming-270240","竹股雕花边宣统帝书折扇","此扇竹股雕饰花边，雅致细腻，衬得素白扇面愈发清隽。扇面书法取法馆阁体，笔墨匀净秀润，点画端稳周正，处处恪守法度，自带庙堂端凝之气。字间排布疏朗从容，通篇气息匀和内敛，不见丝毫躁意。雕骨与翰墨相映，既有文玩制器的精巧工细，又饱含翰墨雅韵，将旧时文人士大夫案头清赏的雅致情致藏纳其中，是一件兼具实用、装饰与笔墨意趣的上乘雅物。",[1250,7,199,77,29245,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a3f9a6775d6d3bcccc485dab7aec2.jpg",[],{"id":61222,"slug":61223,"title":61224,"dynasty":18,"author":454,"museum":107,"description":61225,"tags":61226,"thumbUrl":61227,"material":751,"size":752,"collection":95,"collections":61228,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270224,"hei-qi-gu-ru-yi-shi-bian-zhe-shan-yi-ming-270224","黑漆股如意式边折扇","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[1250,29244,13336,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f86ad555da020efbc08924b55f290b6.jpg",[],{"id":61230,"slug":61231,"title":61224,"dynasty":18,"author":454,"museum":107,"description":61225,"tags":61232,"thumbUrl":61233,"material":751,"size":752,"collection":95,"collections":61234,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270223,"hei-qi-gu-ru-yi-shi-bian-zhe-shan-yi-ming-270223",[1250,7,60,29244,13336,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe854fbe5564cde7d04be40c0841a2c66.jpg",[],{"id":61236,"slug":61237,"title":61238,"dynasty":18,"author":454,"museum":107,"description":61239,"tags":61240,"thumbUrl":61242,"material":751,"size":752,"collection":95,"collections":61243,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270222,"qi-gu-qian-gu-bian-qian-ci-xi-yu-xi-hua-mei-hua-tu-mian-zhe-shan-yi-ming-270222","漆股嵌骨边钤慈禧御玺画梅花图面折扇","此扇以水墨绘梅，左右折枝布陈，老干苍劲嶙峋，新梢清逸舒展。以浓墨勾枝，淡墨晕染花瓣，留白托出花之莹润空透，尽显寒梅疏影横斜的清癯气质。题款朱印与花枝错落排布，虚实相映，让扇面疏密得宜，更添文雅意趣。\n素净扇面配漆黑髹骨嵌骨边，冷素配色衬出梅之高洁，将冬日寒梅傲雪的风骨晕染纸上，融文人画的幽远意趣与造办精工雅致于一体，笔简意足，韵致清逸。",[1250,50,131,7,77,13336,29,61241],"嵌骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ec8469d3a6a10487a5ebce6d97331e.jpg",[],{"id":61245,"slug":61246,"title":61247,"dynasty":18,"author":454,"museum":107,"description":61248,"tags":61249,"thumbUrl":61251,"material":751,"size":752,"collection":95,"collections":61252,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},270213,"zong-zhu-gu-xiang-fei-zhu-bian-yi-zhu-shu-zhe-shan-yi-ming-270213","棕竹股湘妃竹边奕詝书折扇","此扇骨取湘妃竹与棕竹合制，湘妃竹天然斑痕如晕染泪痕，清雅柔婉，棕竹质地沉穆古拙，二者相映，尽展竹材自然意趣。\n洒金笺面上的小楷书法，结体端秀匀停，笔画温润舒展，通篇行气流畅疏朗，墨色浓淡相宜，笔致间带着平和隽雅的气韵，既有恪守规矩的法度，又不失灵动舒展的意态。\n天然造物之美与翰墨风雅相融，是文房清赏的佳器，尽显旧时文人雅致的审美意趣。",[29244,1250,7,199,50192,61250],"湘妃竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb288ed12142afa2cba700bdcad51b7ba.jpg",[],{"id":61254,"slug":61255,"title":61256,"dynasty":18,"author":454,"museum":107,"description":61257,"tags":61258,"thumbUrl":61259,"material":751,"size":752,"collection":95,"collections":61260,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},270198,"zong-zhu-bian-hei-mian-ni-jin-hua-shan-shui-tu-zheng-da-jin-shu-zhe-shan-yi-ming-270198","棕竹边黑面泥金画山水图郑大进书折扇","这柄折扇以乌亮漆面作底，泥金小楷题字其上，金彩与黑釉相映，暗生华贵雅韵。小楷笔致端秀匀停，结体工稳雅致，笔墨间尽显平和内敛的文人笔意。棕竹扇骨肌理温润古朴，与扇面相得益彰，整体形制清雅规整，是清代文房清玩的典型之作。将翰墨风雅藏于怀袖，开合之间尽显旧时文人随身相伴的闲情雅趣，把书卷气融于掌中清物，尽显文人案头赏玩的雅致意趣。",[1250,25,7,8422,60,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f470640bce7a379531df7502c1014a8.jpg",[],{"id":61262,"slug":61263,"title":61264,"dynasty":45,"author":454,"museum":107,"description":33012,"tags":61265,"thumbUrl":61266,"material":751,"size":752,"collection":95,"collections":61267,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},270036,"wang-zhi-deng-kuan-zi-tan-ke-pi-pa-tu-bi-tong-yi-ming-270036","王穉登款紫檀刻枇杷图笔筒",[19026,7713,9636,4996,834,7,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F276e863af38828b5b86c735e6ae14662.jpg",[],{"id":61269,"slug":61270,"title":61271,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61272,"thumbUrl":61273,"material":751,"size":752,"collection":95,"collections":61274,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},269996,"wen-zhu-ren-wu-ti-shi-fang-bi-tong-yi-ming-269996","文竹人物题诗方笔筒",[834,29245,7713,113,7,30960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f405c2b768f32d50b2740972952160.jpg",[],{"id":61276,"slug":61277,"title":61278,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61279,"thumbUrl":61280,"material":751,"size":752,"collection":95,"collections":61281,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},269984,"xiang-ya-ke-shan-shui-bi-tong-yi-ming-269984","象牙刻山水笔筒",[25476,7713,112,51,56,152,77,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc5cf7eaf6f355dc89c5430c0483eca.jpg",[],{"id":61283,"slug":61284,"title":61285,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61286,"thumbUrl":61287,"material":751,"size":752,"collection":95,"collections":61288,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},269953,"xiang-ya-diao-shan-shui-tu-ba-fang-bi-tong-yi-ming-269953","象牙雕山水图八方笔筒",[25476,7713,834,51,55,7,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6796d7c096d9278c80629a20a8ad20d.jpg",[],{"id":61290,"slug":61291,"title":61292,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61293,"thumbUrl":61294,"material":751,"size":752,"collection":95,"collections":61295,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},269943,"hong-mu-ke-gu-zhuan-wen-bi-tong-yi-ming-269943","红木刻古篆文笔筒",[19026,9636,7713,457,7,30960,3956,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9057ebb1ab4d16f957f5e0f1ffa7d86f.jpg",[],{"id":61297,"slug":61298,"title":61299,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61300,"thumbUrl":61301,"material":751,"size":752,"collection":95,"collections":61302,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},269920,"zhu-ke-ti-ji-bi-tong-yi-ming-269920","竹刻题记笔筒",[33014,30960,3956,7713,7,60,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cf73ba4c75ecc4fa36e7f723f5389f.jpg",[],{"id":61304,"slug":61305,"title":61306,"dynasty":18,"author":454,"museum":107,"description":50261,"tags":61307,"thumbUrl":61308,"material":751,"size":752,"collection":95,"collections":61309,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},269900,"shan-yan-kuan-mu-diao-mei-hua-tu-bi-tong-yi-ming-269900","山彦款木雕梅花图笔筒",[19026,7713,131,7,9636,33015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874adcc29fff0367a6321ab492e67baf.jpg",[],{"id":61311,"slug":61312,"title":61313,"dynasty":18,"author":454,"museum":107,"description":40547,"tags":61314,"thumbUrl":61316,"material":751,"size":752,"collection":95,"collections":61317,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},269820,"zhu-gen-ke-shi-dai-huo-huan-mei-hua-shi-jiu-bei-yi-ming-269820","竹根刻诗带活环梅花式酒杯",[33014,7713,428,61315,7,44775],"梅花式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccfd62b90531c25b1334ba302eb7a357.jpg",[],{"id":61319,"slug":61320,"title":61321,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61322,"thumbUrl":61323,"material":751,"size":752,"collection":95,"collections":61324,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},269819,"xiang-ya-diao-zi-bi-tong-yi-ming-269819","象牙雕字笔筒",[25476,7713,30960,7,457,3956,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aae28c53e978cb98ca0954bbd3977ad.jpg",[],{"id":61326,"slug":61327,"title":61328,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61329,"thumbUrl":61330,"material":751,"size":752,"collection":95,"collections":61331,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},269751,"pao-zhi-ba-fang-bi-tong-yi-ming-269751","匏制八方笔筒",[44784,30960,7713,7,3956,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2633611b7c696a418f3e7a77921a8146.jpg",[],{"id":61333,"slug":61334,"title":50239,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61335,"thumbUrl":61336,"material":751,"size":752,"collection":95,"collections":61337,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},269745,"pao-zhi-qian-long-yu-zhi-shi-wan-yi-ming-269745",[834,7713,2919,42839,44784,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf66c34bc84bf3be09af394a91fb912.jpg",[],{"id":61339,"slug":61340,"title":61341,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61342,"thumbUrl":61343,"material":751,"size":752,"collection":95,"collections":61344,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},269673,"pao-zhi-yun-wen-fang-ping-yi-ming-269673","匏制云纹方瓶",[834,7713,44784,26051,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89f0fdabbd06b93d1a4fb271b7276e2.jpg",[],{"id":61346,"slug":61347,"title":61348,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61349,"thumbUrl":61351,"material":751,"size":752,"collection":95,"collections":61352,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},269659,"pao-zhi-shi-ju-wan-yi-ming-269659","匏制诗句碗",[44784,7713,7,2919,42839,50454,61350],"银边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a3eca5f30bc9548cb15f6cb9b9746d.jpg",[],{"id":61354,"slug":61355,"title":61356,"dynasty":18,"author":454,"museum":107,"description":61357,"tags":61358,"thumbUrl":61360,"material":751,"size":752,"collection":95,"collections":61361,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},269526,"xiang-ya-ke-zi-mo-chuang-yi-ming-269526","象牙刻字墨床","此器莹洁温润，取象牙凝腻肌理，仿明式小榻造型而成。卷涡腿足柔婉灵动，牙板开光浅凹，线条圆融舒展，尽显明式家具的秀雅风骨。床面以微刻施彩，疏梅横斜于素地，枝桠清癯冷蕊含香，更配蝇头题款，刀意藏笔情，将文人赏梅的幽趣凝于寸方之上。它既是承托墨锭的文房清玩，亦把牙雕工艺与文人意趣精妙相融，案头静置，便将旧时文房的雅致韵致，晕染在朝夕相伴的笔墨之间，是文玩与工艺合璧的精巧之作。",[25476,7713,7,61359,3956],"墨床","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34060bf45f4e641858e71fd493bb6ffd.jpg",[],{"id":61363,"slug":61364,"title":61365,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61366,"thumbUrl":61367,"material":751,"size":752,"collection":95,"collections":61368,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},269499,"zha-bo-zha-ya-mu-ke-yu-ti-wan-yi-ming-269499","扎卜扎雅木刻御题碗",[9636,7713,19026,2919,834,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a8a2c85a67d9e4ae3c74a5a6f56ca2.jpg",[],{"id":61370,"slug":61371,"title":61372,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61373,"thumbUrl":61374,"material":751,"size":752,"collection":95,"collections":61375,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},269491,"zi-tan-ke-yu-zhi-shi-fang-bi-tong-yi-ming-269491","紫檀刻御制诗方笔筒",[19026,7713,30960,3956,7,40407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef7eccb9c9198d167ccfedb0dd5a400.jpg",[],{"id":61377,"slug":61378,"title":61379,"dynasty":18,"author":454,"museum":107,"description":61225,"tags":61380,"thumbUrl":61382,"material":751,"size":752,"collection":95,"collections":61383,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},269450,"mu-ke-qian-long-yu-ti-ling-zhi-shi-ru-yi-yi-ming-269450","木刻乾隆御题灵芝式如意",[834,19026,9636,7713,50510,61381,7],"灵芝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967ef4d1b8e33e4d4a945e93eeea42cd.jpg",[],{"id":61385,"slug":61386,"title":61387,"dynasty":18,"author":454,"museum":107,"description":61388,"tags":61389,"thumbUrl":61390,"material":751,"size":752,"collection":95,"collections":61391,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},269374,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-wu-ce-yi-ming-269374","紫檀嵌玉乾隆御临兰亭八柱帖册页-第五册","此作以紫檀为材，质地沉敛温润。封面满饰高浮雕双龙戏云，龙躯矫健蜿蜒，鳞爪灵动威严，祥云层叠迤逦，刀工圆劲细腻，将瑞气相融于木纹之中，尽显雕工精湛。中心嵌填金字样，笔锋端稳厚重，与木雕相得益彰，尽显宫廷御制的华贵考究。\n\n器物内纳御笔临帖，既承兰亭雅韵风骨，又蕴帝王书风威仪，是木雕工艺与书法典藏的完美合璧，古朴庄重间尽显皇家藏品的矜贵气韵，堪称精工与文心兼具的典藏佳品。",[26,7,200,60,19026,7713,359,7714,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524be4b4bbb3f48475937c60595cadc5.jpg",[],{"id":61393,"slug":61394,"title":61395,"dynasty":18,"author":454,"museum":107,"description":61396,"tags":61397,"thumbUrl":61398,"material":751,"size":752,"collection":95,"collections":61399,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},269373,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-liu-ce-yi-ming-269373","紫檀嵌玉乾隆御临兰亭八柱帖册页-第六册","此函以紫檀为材，器表高浮雕双龙游弋于流云之中，鳞爪遒劲分明，云纹舒卷灵动，刀工圆润细腻，将瑞兽的威仪与云气的仙逸完美融合。中央嵌饰填金题字，笔力沉凝端方，尽显庄重典雅的皇家气韵。\n\n其书作兼具二王行书的飘逸灵动，与御笔的雍容规整，墨色饱满匀净，结体舒展沉稳，既承续古法风神，又自带帝王笔墨的华贵气度。整器装帧考究，从函套工艺到内页书迹，皆是精工细作的典范，凝聚着工艺美学与书法艺术的双重价值，尽显皇家典藏的质感与底蕴。",[26,7,200,110,7713,359,19026,58968,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dba95780b68d5fcb7093e207431e35.jpg",[],{"id":61401,"slug":61402,"title":61403,"dynasty":18,"author":454,"museum":107,"description":61404,"tags":61405,"thumbUrl":61406,"material":751,"size":752,"collection":95,"collections":61407,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},269370,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-shi-ce-yi-ming-269370","紫檀嵌玉乾隆御临兰亭八柱帖诗册","封面取紫檀为材，深浮雕双龙盘绕云海，鳞爪灵动饱满，辗转腾挪间威仪自生。题签阴刻填金，笔力端凝沉厚，古韵幽幽。\n\n内页以玉为纸镌字，玉质温莹清润，刀工细腻妥帖，将法帖的笔墨筋骨融于玉石肌理之中，既有书法的流动意趣，又兼玉雕的雅致质感。\n\n整器形制端庄华贵，是传统工艺与书法美学的绝妙合璧，尽显庄重典雅的宫廷气度，静静诉说着旧时御制文玩的匠心格调。",[26,19026,7713,359,7,200,110,7714,60,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac9cee3b66de4814d91fcfb929f67d.jpg",[],{"id":61409,"slug":61410,"title":61411,"dynasty":18,"author":454,"museum":107,"description":61412,"tags":61413,"thumbUrl":61414,"material":751,"size":752,"collection":95,"collections":61415,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},269369,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-er-ce-yi-ming-269369","紫檀嵌玉乾隆御临兰亭八柱帖册页-第二册","此作以紫檀为材，高浮雕双龙穿梭云海之间，龙身遒劲灵动，鳞爪分毫毕现，云纹舒卷自如，刀工细腻凝练，尽显庄重华贵的皇家气度。中央嵌玉题字，玉色莹润素雅，与紫檀沉郁色泽相互映衬，御笔字体端稳厚重，章法井然。整器工艺精湛考究，将木雕之浑厚与玉饰之温润融为一体，既是收纳法帖的精巧宝匣，亦是清代宫廷工艺的绝佳缩影，于方寸间尽显造物匠心，内敛中流露雍容华贵的皇家格调。",[26,7,200,110,19026,7713,359,60,7714,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bd39a3d0e5495f1dd0d7df43966aa1.jpg",[],{"id":61417,"slug":61418,"title":61419,"dynasty":18,"author":454,"museum":107,"description":61420,"tags":61421,"thumbUrl":61422,"material":751,"size":752,"collection":95,"collections":61423,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},269107,"xiang-ya-diao-yue-man-qing-you-wu-yue-jing-ce-yi-ming-269107","象牙雕月曼清游五月景册","此作以牙雕摹绘池亭消夏之景，亭台构件玲珑秀雅，仕女衣袂柔润舒展，或低语闲话或凭栏凝睇，神态温婉悠然。染色牙料雕就花树、池水，晕开初夏清润氛围，刀工写实细腻，将庭院消暑的慵懒闲适铺陈尽致。\n\n右侧行书笔致隽秀灵动，诗文图景两相呼应，把闲雅消夏的意趣融为一体。整作融精微牙雕与雅致书法于一帧，工艺精巧兼具文心，尽显旧时庭院消暑的悠然意韵。",[26,25476,7713,113,114,55,458,53,60,7,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d20dfa3f1bda1e1c7f6216df7343527.jpg",[],{"id":61425,"slug":61426,"title":61427,"dynasty":18,"author":454,"museum":107,"description":61428,"tags":61429,"thumbUrl":61430,"material":751,"size":752,"collection":95,"collections":61431,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},269106,"xiang-ya-diao-yue-man-qing-you-shi-yi-yue-jing-ce-yi-ming-269106","象牙雕月曼清游十一月景册","以象牙为材，佐玉石点染池台栏基，雕出深闺初冬雅集之景。仕女或环立听琴，或凭栏私语，衣袂柔婉飘逸，鬓发丝缕分明，亭台窗棂的回纹、枯木霜枝的肌理皆细腻入微，将闺中闲雅意趣尽显。右侧行书题诗，墨色浓莹与牙色温润相映，诗画合璧，把深闺清赏的温婉闲情定格在方寸之间，尽显匠艺精工与雅致意境。",[25476,7713,26,113,114,458,7,60,427,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ec834c464e8092a52f739b2ba65d863.jpg",[],{"id":61433,"slug":61434,"title":61435,"dynasty":18,"author":454,"museum":107,"description":61436,"tags":61437,"thumbUrl":61438,"material":751,"size":752,"collection":95,"collections":61439,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},269103,"xiang-ya-diao-yue-man-qing-you-jiu-yue-jing-ce-yi-ming-269103","象牙雕月曼清游九月景册","此作融牙雕工艺与诗文题咏于一体。左侧图景以温润象牙精雕廊宇、花植，将仕女深秋游园的雅趣具象呈现，仕女衣纹柔美传神，牙雕构件细腻写实，晕开清秋闲雅氛围。右侧御笔楷书端秀沉稳，诗文点出深秋霜天赏景的意境，与图景相互映衬，补足画中诗意。整作将闺中行乐的悠然意趣，以工艺与笔墨双重烘托，尽显雅致匠心，把日常游园升华为富有文人情致的精妙图景。",[26,7713,25476,113,114,458,199,7,77,27,2061,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1902d230c8f3ca62b33299608353c366.jpg",[],{"id":61441,"slug":61442,"title":61443,"dynasty":18,"author":454,"museum":107,"description":61444,"tags":61445,"thumbUrl":61446,"material":751,"size":752,"collection":95,"collections":61447,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},267354,"xiu-ji-chu-dai-si-tu-juan-yi-ming-267354","绣鸡雏待饲图卷","此作用绣代笔，将两只雏鸡描摹得鲜活传神。一只昂首啾啾作乞食之态，绒羽蓬松柔软，针脚细密复刻出幼雏的稚拙娇憨；另一只引颈张望，似在寻索食源，纤毫毕现的肌理将雏鸡的灵动天真尽显。\n\n左侧题诗笔意端秀温婉，与绣面呼应，借雏鸡待饲暗喻生民盼哺，让这件绣品跳出工艺本身，兼具人文寄寓。整作以丝代墨，将闺阁绣艺的精巧与文人情思相融，素绢淡色间，把稚雏情态与恤民深意织就一处，淡朴雅致，余韵绵长。",[92,25,49,29218,27,29,31923,7,77,9635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb22976b9bcabe81071a4a8c8ad6a55.jpg",[],{"id":61449,"slug":61450,"title":61451,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61452,"thumbUrl":61455,"material":751,"size":752,"collection":95,"collections":61456,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},263509,"qian-long-kuan-jin-di-fen-cai-kai-guang-shi-ju-hua-hui-wen-bi-ping-yi-ming-263509","乾隆款金地粉彩开光诗句花卉纹壁瓶",[25504,61453,40537,39155,61454,40539,25480,7,199],"瓷器","金地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec0037eb6f968e5ee1ac43548eabbce3.jpg",[],{"id":61458,"slug":61459,"title":61460,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61461,"thumbUrl":61462,"material":751,"size":752,"collection":95,"collections":61463,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},263508,"qian-long-kuan-jin-di-fen-cai-kai-guang-hua-hui-shi-ju-wen-bi-ping-yi-ming-263508","乾隆款金地粉彩开光花卉诗句纹壁瓶",[25504,19025,39155,61454,40539,30,7,40537,13446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9e7e21595b2b0fdf94ee9e2ade8342.jpg",[],{"id":61465,"slug":61466,"title":61467,"dynasty":179,"author":454,"museum":107,"description":40535,"tags":61468,"thumbUrl":61471,"material":751,"size":752,"collection":95,"collections":61472,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},262243,"lv-you-ke-ci-wen-zhen-yi-ming-262243","绿釉刻词文枕",[25504,2919,61469,61470,7713,7],"枕","绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ea168ce161dc4aac69e0be8240c5ca.jpg",[],{"id":61474,"slug":61475,"title":61476,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61477,"thumbUrl":61479,"material":751,"size":752,"collection":95,"collections":61480,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},262220,"wu-cai-shi-ju-shan-shui-tu-bi-tong-yi-ming-262220","五彩诗句山水图笔筒",[25504,834,51,1127,27,458,52,53,7,77,61478],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75829a6ec7fe21aa73de4fcdb8ad558d.jpg",[],{"id":61482,"slug":61483,"title":61484,"dynasty":45,"author":454,"museum":107,"description":30957,"tags":61485,"thumbUrl":61487,"material":751,"size":752,"collection":95,"collections":61488,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},262112,"zheng-de-kuan-qing-hua-a-la-bo-wen-wan-yi-ming-262112","正德款青花阿拉伯文碗",[25504,30959,61486,7,50241,2919],"阿拉伯文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1582fcd9c9ca28b5ffacec670b9d8ac7.jpg",[],{"id":61490,"slug":61491,"title":61492,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61493,"thumbUrl":61494,"material":751,"size":752,"collection":95,"collections":61495,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},262080,"cheng-hua-kuan-zui-weng-ting-ji-bi-tong-yi-ming-262080","成化款醉翁亭记笔筒",[25504,30960,7,199,77,3956,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11c779e1228e4154cea87893053c2f3.jpg",[],{"id":61497,"slug":61498,"title":61499,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61500,"thumbUrl":61501,"material":751,"size":752,"collection":95,"collections":61502,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},262073,"cheng-hua-kuan-qing-hua-ren-wu-tu-bi-tong-yi-ming-262073","成化款青花人物图笔筒",[25504,30959,113,568,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bee1e7f54a178d556aa3df99b93314.jpg",[],{"id":61504,"slug":61505,"title":61506,"dynasty":179,"author":454,"museum":107,"description":27799,"tags":61507,"thumbUrl":61508,"material":751,"size":752,"collection":95,"collections":61509,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261978,"bai-di-hei-cai-ti-zi-si-xi-ping-yi-ming-261978","白地黑彩题字四系瓶",[25504,50399,7,11164,1560,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F855248496db99a942c75a7fc41db5942.jpg",[],{"id":61511,"slug":61512,"title":61513,"dynasty":88,"author":454,"museum":107,"description":61514,"tags":61515,"thumbUrl":61518,"material":751,"size":752,"collection":95,"collections":61519,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},261855,"tian-sheng-shi-nian-kuan-bai-you-xian-wen-guan-yi-ming-261855","天圣十年款白釉弦纹罐","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[25504,61516,50484,61517,7,2919],"罐","弦纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04818a0171a02caa41b593202e8b395d.jpg",[],{"id":61521,"slug":61522,"title":61523,"dynasty":18,"author":454,"museum":107,"description":40535,"tags":61524,"thumbUrl":61526,"material":751,"size":752,"collection":95,"collections":61527,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261789,"you-li-hong-bai-shou-zi-bi-tong-yi-ming-261789","釉里红百寿字笔筒",[25504,61525,7,457,9340,30960],"釉里红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f1a1182bfd654daecf43ffd3ff4.jpg",[],{"id":61529,"slug":61530,"title":61531,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61532,"thumbUrl":61533,"material":751,"size":752,"collection":95,"collections":61534,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},261676,"kang-xi-kuan-qing-hua-ti-zi-bi-tong-yi-ming-261676","康熙款青花题字笔筒",[25504,30960,30959,7,199,77,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83406ca9552ec37c2ffe4d51f2be66f.jpg",[],{"id":61536,"slug":61537,"title":61538,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61539,"thumbUrl":61540,"material":751,"size":752,"collection":95,"collections":61541,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261665,"qing-hua-shi-ju-bi-tong-yi-ming-261665","青花诗句笔筒",[25504,30959,30960,7,199,77,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ca9a6f5a6534e576292e475dbdca08.jpg",[],{"id":61543,"slug":61544,"title":61545,"dynasty":18,"author":454,"museum":107,"description":40535,"tags":61546,"thumbUrl":61547,"material":751,"size":752,"collection":95,"collections":61548,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},261613,"kang-xi-kuan-you-li-hong-ti-shi-wan-yi-ming-261613","康熙款釉里红题诗碗",[25504,61525,7,199,2919,50241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58e6b2be343b8141b728b131be8300.jpg",[],{"id":61550,"slug":61551,"title":61552,"dynasty":179,"author":454,"museum":107,"description":27799,"tags":61553,"thumbUrl":61555,"material":751,"size":752,"collection":95,"collections":61556,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261567,"bai-di-hei-cai-shu-tian-xia-tai-ping-ming-si-xi-ping-yi-ming-261567","白地黑彩书“天下太平”铭四系瓶",[25504,61554,50399,7,1897,2919,834],"四系瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddfb7ebe9eecc5ba9f369933a5c3731.jpg",[],{"id":61558,"slug":61559,"title":61560,"dynasty":179,"author":454,"museum":107,"description":61561,"tags":61562,"thumbUrl":61563,"material":751,"size":752,"collection":95,"collections":61564,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261491,"bai-di-hei-hua-zhi-zheng-shi-yi-nian-ming-guan-yi-ming-261491","白地黑花“至正十一年”铭罐","元釉里红是元代中国传统瓷器烧造中最具有代表性的一个品种。元釉里红是陶瓷装饰历史上重要发明之一。元代八方龙纹釉里红拔白梅瓶它为釉下铜红彩绘、拔白、打板、接胎而成，烧成难度大，氛围特殊性强，应该说元釉里红瓷器是陶瓷史上的一次伟大创新。流传的元代釉里红瓷器也很少，可见它的历史性、艺术性、珍贵性，堪称华夏文明的瑰宝。",[25504,44810,30,1897,7,50563,61516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f58e8cd7e92a907ca0e6ac77fbbee47.jpg",[],{"id":61566,"slug":61567,"title":61568,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61569,"thumbUrl":61570,"material":751,"size":752,"collection":95,"collections":61571,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},261483,"qian-long-kuan-lv-di-fen-cai-kai-guang-hua-hui-shi-ju-wen-ping-yi-ming-261483","乾隆款绿地粉彩开光花卉诗句纹瓶",[25504,39155,40539,30,135,1049,7,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acaab078984cc89a011a5924cd65cfe.jpg",[],{"id":61573,"slug":61574,"title":61575,"dynasty":88,"author":454,"museum":107,"description":61514,"tags":61576,"thumbUrl":61578,"material":751,"size":752,"collection":95,"collections":61579,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261345,"bai-you-hei-cai-ti-jiao-jia-yong-ming-si-xi-ping-yi-ming-261345","白釉黑彩题“焦家用”铭四系瓶",[25504,2919,50484,61577,7,398,1560],"黑彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc98e41882e5c76d502dd748a9bcec693.jpg",[],{"id":61581,"slug":61582,"title":61583,"dynasty":45,"author":454,"museum":107,"description":61514,"tags":61584,"thumbUrl":61587,"material":751,"size":752,"collection":95,"collections":61588,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261344,"bai-you-fan-hong-cai-a-la-bo-wen-bo-si-wen-pan-yi-ming-261344","白釉矾红彩阿拉伯文波斯文盘",[25504,2919,61585,50484,50361,61486,61586,7],"盘","波斯文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a319e8ba0762ab641a8f18539ca674e.jpg",[],{"id":61590,"slug":61591,"title":61592,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61593,"thumbUrl":61594,"material":751,"size":752,"collection":95,"collections":61595,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261233,"mo-cai-shan-shui-ti-zi-ba-fang-bi-tong-yi-ming-261233","墨彩山水题字八方笔筒",[25504,30960,44848,51,7,199,56,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58bc6826436a9894dfec4058b62a2681.jpg",[],{"id":61597,"slug":61598,"title":61599,"dynasty":18,"author":454,"museum":107,"description":40535,"tags":61600,"thumbUrl":61602,"material":751,"size":752,"collection":95,"collections":61603,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},261198,"mu-zhai-kuan-fang-mu-you-kai-guang-shan-shui-tu-shi-ju-shuang-lian-bi-tong-yi-ming-261198","沐斋款仿木釉开光山水图诗句双连笔筒",[25504,30960,61601,40539,51,7,77,3956,50454],"仿木釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79f340f927d7cbc8b2cf2a267ec0278.jpg",[],{"id":61605,"slug":61606,"title":61607,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61608,"thumbUrl":61609,"material":751,"size":752,"collection":95,"collections":61610,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},261159,"mo-cai-shi-ju-bi-tong-yi-ming-261159","墨彩诗句笔筒",[25504,44848,7,60,30960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7776ef325429415b963a8fcf52371fd9.jpg",[],{"id":61612,"slug":61613,"title":61614,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61615,"thumbUrl":61616,"material":751,"size":752,"collection":95,"collections":61617,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261003,"qian-long-kuan-mo-cai-shi-ju-bi-tong-yi-ming-261003","乾隆款墨彩诗句笔筒",[25504,30960,44848,7,199,77,3956,1059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4de12a3a2ac014dd63edc31c92e0fd2f.jpg",[],{"id":61619,"slug":61620,"title":61607,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61621,"thumbUrl":61622,"material":751,"size":752,"collection":95,"collections":61623,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},261002,"mo-cai-shi-ju-bi-tong-yi-ming-261002",[25504,30960,2919,7,60,44848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68794901dfa53b3094810667fbbd6afe.jpg",[],{"id":61625,"slug":61626,"title":61627,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61628,"thumbUrl":61631,"material":751,"size":752,"collection":95,"collections":61632,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},260998,"qian-long-kuan-ji-lan-miao-jin-kai-guang-fen-cai-shi-wen-hua-hui-wen-hai-tang-shi-ping-yi-ming-260998","乾隆款祭蓝描金开光粉彩诗文花卉纹海棠式瓶",[25504,834,39155,26617,61629,40539,13310,7,30,61630,136],"祭蓝","海棠瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2922948d8d6d3178a5ab0584b478907.jpg",[],{"id":61634,"slug":61635,"title":61636,"dynasty":88,"author":454,"museum":107,"description":61637,"tags":61638,"thumbUrl":61639,"material":751,"size":752,"collection":95,"collections":61640,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},260817,"bai-di-hei-cai-ti-yi-nan-xiao-zhen-zhen-yi-ming-260817","白地黑彩题“宜男小枕”枕","这件瓷枕造型温婉柔和，边缘随形勾勒墨线框栏，粗粝胎质配素净白釉，带着宋时民间造物的质朴拙趣。黑彩题字笔意恣肆率性，兼具草书的灵动写意，将“宜男”的祈福心意藏于率性笔墨之中。\n\n作为宋时磁州窑系典型器物，它跳脱官窑的精致规整，以极简的黑白配色，将吉祥祈愿融于日常用物，刻画出市井日常的温润期许，带着浓厚的世俗烟火暖意，尽显宋韵民间美学的随性舒展。",[25504,2919,50399,7,44811],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a662eb7dc2efebb3eb19a0cc70fb72.jpg",[],{"id":61642,"slug":61643,"title":61644,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61645,"thumbUrl":61647,"material":751,"size":752,"collection":95,"collections":61648,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},260521,"qing-hua-shi-ju-shan-shui-tu-lu-yi-ming-260521","青花诗句山水图炉",[25504,30959,51,7,458,52,53,54,61646],"炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0021b536716c882037534bb77e0e2a.jpg",[],{"id":61650,"slug":61651,"title":61652,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61653,"thumbUrl":61654,"material":751,"size":752,"collection":95,"collections":61655,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},260414,"kang-xi-qing-hua-shi-ju-xiao-bei-yi-ming-260414","康熙青花诗句小杯",[30959,61453,428,2919,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd93dcaae26af427cd9293431fec4a58.jpg",[],{"id":61657,"slug":61658,"title":61659,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":61660,"thumbUrl":61662,"material":751,"size":752,"collection":25508,"collections":61663,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},260258,"yi-xing-yao-zi-ye-kuan-zi-sha-ti-liang-hu-yi-ming-260258","宜兴窑子冶款紫砂提梁壶",[25504,40527,61661,2919,7713,7],"提梁壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c805194ac6b008d02b07387b772818.jpg",[25508],{"id":61665,"slug":61666,"title":61667,"dynasty":88,"author":454,"museum":107,"description":40535,"tags":61668,"thumbUrl":61669,"material":751,"size":752,"collection":95,"collections":61670,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},260145,"lv-you-ke-hua-yong-gua-wu-lv-shi-wen-zhen-yi-ming-260145","绿釉刻划“咏瓜”五律诗文枕",[25504,61470,50485,13310,7,2919,61469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9716e769f6d6576b9669b72fe1323df3.jpg",[],{"id":61672,"slug":61673,"title":61674,"dynasty":18,"author":454,"museum":107,"description":40555,"tags":61675,"thumbUrl":61678,"material":751,"size":752,"collection":95,"collections":61679,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},260068,"yong-zheng-kuan-qing-hua-fan-wen-xiao-bei-yi-ming-260068","雍正款青花梵文小杯",[25504,30959,61676,428,2919,7,61677],"梵文","宗教相关","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452105fd26bec19ac5daa1cca2a92f22.jpg",[],{"id":61681,"slug":61682,"title":61683,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61684,"thumbUrl":61685,"material":751,"size":752,"collection":95,"collections":61686,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259965,"qian-long-kuan-qing-hua-ti-shi-gai-wan-yi-ming-259965","乾隆款青花题诗盖碗",[25504,2919,30959,7,199,44785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439ab822aaab225ab6d3f45cbc2edab3.jpg",[],{"id":61688,"slug":61689,"title":61690,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61691,"thumbUrl":61693,"material":751,"size":752,"collection":95,"collections":61694,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},259900,"hong-cai-shi-ju-si-zu-bi-tong-yi-ming-259900","红彩诗句四足笔筒",[25504,61692,7,199,30960,3956],"红彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c65ac0860023c16f1e5df4cf2a10db.jpg",[],{"id":61696,"slug":61697,"title":61690,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61698,"thumbUrl":61699,"material":751,"size":752,"collection":95,"collections":61700,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259899,"hong-cai-shi-ju-si-zu-bi-tong-yi-ming-259899",[25504,30960,3956,61692,199,7,77,10601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30254f6d7d8952c581357162d02f3c6a.jpg",[],{"id":61702,"slug":61703,"title":61704,"dynasty":18,"author":454,"museum":107,"description":40547,"tags":61705,"thumbUrl":61708,"material":751,"size":752,"collection":95,"collections":61709,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259585,"zhang-hong-kun-zhi-kuan-yi-xing-zi-sha-ke-zi-si-fang-dou-bei-yi-ming-259585","“张鸿坤制”款宜兴紫砂刻字四方斗杯",[25504,61706,2919,428,7713,7,61707],"紫砂器","山水纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080f48fabd47ac352655bc7c81798d09.jpg",[],{"id":61711,"slug":61712,"title":61704,"dynasty":18,"author":454,"museum":107,"description":40547,"tags":61713,"thumbUrl":61715,"material":751,"size":752,"collection":95,"collections":61716,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259584,"zhang-hong-kun-zhi-kuan-yi-xing-zi-sha-ke-zi-si-fang-dou-bei-yi-ming-259584",[25504,25505,834,2919,61714,40528,398,7],"斗杯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda85c9c25b9ca9c42d31e1fb2ff2a8.jpg",[],{"id":61718,"slug":61719,"title":61720,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61721,"thumbUrl":61722,"material":751,"size":752,"collection":95,"collections":61723,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259546,"guang-xu-kuan-qing-hua-yu-zhi-shi-wen-gai-wan-yi-ming-259546","光绪款青花御制诗文盖碗",[25504,44785,30959,7,199,77,1360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411fb95817a2c895cc3605852f65380b.jpg",[],{"id":61725,"slug":61726,"title":61727,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61728,"thumbUrl":61729,"material":751,"size":752,"collection":95,"collections":61730,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},259467,"guang-xu-kuan-fan-hong-cai-yu-zhi-shi-gai-wan-yi-ming-259467","光绪款矾红彩御制诗盖碗",[25504,44785,2919,50361,7,199,40407,26051,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f42bf2c18ad88a655643b26ae772dd.jpg",[],{"id":61732,"slug":61733,"title":61734,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61735,"thumbUrl":61736,"material":751,"size":752,"collection":95,"collections":61737,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},259372,"bai-di-fan-hong-cai-shi-wen-wan-yi-ming-259372","白地矾红彩诗文碗",[25504,2919,50361,7,199,77,13310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06486c5e45040ac9d5963021c8ee361d.jpg",[],{"id":61739,"slug":61740,"title":61741,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61742,"thumbUrl":61743,"material":751,"size":752,"collection":95,"collections":61744,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},259318,"jia-qing-kuan-bai-di-fan-hong-cai-shi-wen-gai-wan-yi-ming-259318","嘉庆款白地矾红彩诗文盖碗",[25504,44785,2919,50361,13310,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79571213fc541718743303259e1b30bb.jpg",[],{"id":61746,"slug":61747,"title":61741,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61748,"thumbUrl":61749,"material":751,"size":752,"collection":95,"collections":61750,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},259317,"jia-qing-kuan-bai-di-fan-hong-cai-shi-wen-gai-wan-yi-ming-259317",[25504,2919,44785,50361,13310,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd19f9cfec6909c5761bd2f9b70569c.jpg",[],{"id":61752,"slug":61753,"title":50429,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61754,"thumbUrl":61755,"material":751,"size":752,"collection":95,"collections":61756,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},259303,"jia-qing-kuan-qing-hua-shi-wen-gai-wan-yi-ming-259303",[25504,30959,44785,13310,7,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03a00e11c5ebe505091e88180e559dcd.jpg",[],{"id":61758,"slug":61759,"title":61760,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61761,"thumbUrl":61764,"material":751,"size":752,"collection":95,"collections":61765,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},259297,"jia-qing-kuan-qing-hua-chan-zhi-lian-kai-guang-shi-wen-hai-tang-shi-xi-yi-ming-259297","嘉庆款青花缠枝莲开光诗文海棠式洗",[25504,30959,61762,13310,61763,7,44646],"缠枝莲","海棠式洗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9b6376eb6086a237f0dcced9d70230.jpg",[],{"id":61767,"slug":61768,"title":61769,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61770,"thumbUrl":61772,"material":751,"size":752,"collection":95,"collections":61773,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259265,"qian-long-kuan-lan-di-fen-cai-chan-zhi-lian-wen-kai-guang-shi-ju-guan-er-bi-ping-yi-ming-259265","乾隆款蓝地粉彩缠枝莲纹开光诗句贯耳壁瓶",[25504,39155,61762,40539,7,40537,61771,39132],"贯耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c5e4a4f7c4a19fd5127d9451b6dd68.jpg",[],{"id":61775,"slug":61776,"title":61777,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61778,"thumbUrl":61781,"material":751,"size":752,"collection":95,"collections":61782,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259264,"qian-long-kuan-lan-di-fen-cai-chan-zhi-lian-wen-kai-guang-shi-ju-shuang-er-bi-ping-yi-ming-259264","乾隆款蓝地粉彩缠枝莲纹开光诗句双耳壁瓶",[25504,39155,61779,37546,40539,7,61780,40537],"缠枝莲纹","双耳瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3494ea6e55bce1b3f47de323abca12f0.jpg",[],{"id":61784,"slug":61785,"title":61786,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61787,"thumbUrl":61788,"material":751,"size":752,"collection":95,"collections":61789,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259263,"qian-long-kuan-mi-huang-di-hong-cai-kai-guang-shi-ju-shuang-er-bi-ping-yi-ming-259263","乾隆款米黄地红彩开光诗句双耳壁瓶",[25504,40537,50464,61692,40539,199,7,13446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ce640e4b10370d6c85c25d328d776a8.jpg",[],{"id":61791,"slug":61792,"title":61793,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61794,"thumbUrl":61795,"material":751,"size":752,"collection":95,"collections":61796,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259262,"qian-long-kuan-mi-huang-di-hong-cai-chan-zhi-lian-wen-kai-guang-shi-ju-shuang-er-bi-ping-yi-ming-259262","乾隆款米黄地红彩缠枝莲纹开光诗句双耳壁瓶",[25504,61453,40537,61780,61692,61779,40539,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1cdf2bf3695a901000c7f16b3133b7.jpg",[],{"id":61798,"slug":61799,"title":61800,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61801,"thumbUrl":61803,"material":751,"size":752,"collection":95,"collections":61804,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259260,"qian-long-kuan-zi-di-fen-cai-chan-zhi-lian-kai-guang-shi-ju-shuang-er-fang-bi-ping-yi-ming-259260","乾隆款紫地粉彩缠枝莲开光诗句双耳方壁瓶",[25504,39155,61762,7,61780,61802,40539,26617,30,61453],"方瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b58a3125bce0a10312c0e8ad5b352c.jpg",[],{"id":61806,"slug":61807,"title":61808,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61809,"thumbUrl":61810,"material":751,"size":752,"collection":95,"collections":61811,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259256,"qian-long-kuan-cai-hua-ge-shi-da-xiao-shi-ju-hua-hui-wen-bi-ping-yi-ming-259256","乾隆款彩花各式大小诗句花卉纹壁瓶",[25504,19025,7,199,25480,37546,40537,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553c29c4bf614772e6466f6c5eb2be43.jpg",[],{"id":61813,"slug":61814,"title":61815,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61816,"thumbUrl":61817,"material":751,"size":752,"collection":95,"collections":61818,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},259255,"qian-long-kuan-huang-di-fen-cai-chan-zhi-lian-wen-kai-guang-shi-ju-shuang-er-bi-ping-yi-ming-259255","乾隆款黄地粉彩缠枝莲纹开光诗句双耳壁瓶",[25504,39155,40537,61762,40539,199,7,50464,13446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0eba9337f00f99d4495cf318abd071f.jpg",[],{"id":61820,"slug":61821,"title":61822,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61823,"thumbUrl":61824,"material":751,"size":752,"collection":95,"collections":61825,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259248,"qian-long-kuan-qing-hua-shi-ju-wan-yi-ming-259248","乾隆款青花诗句碗",[25504,30959,199,7,77,2919,50241,26051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcda9e3c3114a8c0a26e3b378a4bfb02e.jpg",[],{"id":61827,"slug":61828,"title":61822,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61829,"thumbUrl":61830,"material":751,"size":752,"collection":95,"collections":61831,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259247,"qian-long-kuan-qing-hua-shi-ju-wan-yi-ming-259247",[25504,30959,199,7,77,2919,50241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c7766fac42b293d1989f39ef95c31f.jpg",[],{"id":61833,"slug":61834,"title":50359,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61835,"thumbUrl":61836,"material":751,"size":752,"collection":95,"collections":61837,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259242,"qian-long-kuan-bai-di-fan-hong-cai-ti-shi-wan-yi-ming-259242",[25504,2919,50241,50361,199,7,77,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7f6d09aefab7b8c35bf733d08e979ce.jpg",[],{"id":61839,"slug":61840,"title":61841,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":61842,"thumbUrl":61843,"material":751,"size":752,"collection":25508,"collections":61844,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},259019,"yi-xing-yao-zi-sha-yu-ti-shi-mei-hua-wen-cha-ye-guan-yi-ming-259019","宜兴窑紫砂御题诗梅花纹茶叶罐",[25504,25505,7713,7,131,834,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce9d3dc4741542681782e09303f0994.jpg",[25508],{"id":61846,"slug":61847,"title":61848,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":61849,"thumbUrl":61851,"material":751,"size":752,"collection":25508,"collections":61852,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},258993,"yang-xian-ming-zhi-kuan-yi-xing-yao-zi-sha-ke-hua-wen-bian-hu-yi-ming-258993","阳羡茗制款宜兴窑紫砂刻花纹扁壶",[25505,25504,50474,7,60,834,61850],"壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f6562cff2b96642aec859425ef0ae4.jpg",[25508],{"id":61854,"slug":61855,"title":61856,"dynasty":18,"author":454,"museum":107,"description":25502,"tags":61857,"thumbUrl":61859,"material":751,"size":752,"collection":25508,"collections":61860,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},258991,"yi-xing-yao-zi-sha-bai-guo-shi-ju-yan-di-hu-yi-ming-258991","宜兴窑紫砂百果诗句砚滴壶",[25504,25505,2919,834,7713,7,61858,27],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31e3e5d7f44722f8eba633c415a42e8.jpg",[25508],{"id":61862,"slug":61863,"title":61864,"dynasty":18,"author":454,"museum":107,"description":61865,"tags":61866,"thumbUrl":61868,"material":751,"size":752,"collection":95,"collections":61869,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},258764,"jia-qing-kuan-bai-di-fan-hong-cai-shi-wen-shui-cheng-yi-ming-258764","嘉庆款白地矾红彩诗文水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[2135,25504,50361,61867,13310,7,30961,27,834],"白地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F947755fa6812cd8800c8c66e367687c5.jpg",[],{"id":61871,"slug":61872,"title":61873,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61874,"thumbUrl":61876,"material":751,"size":752,"collection":95,"collections":61877,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},258759,"jia-qing-kuan-lv-di-fen-cai-miao-jin-shi-wen-hua-hui-wen-gai-wan-yi-ming-258759","嘉庆款绿地粉彩描金诗文花卉纹盖碗",[2135,25504,39155,26617,61875,27,13310,25480,7,44785,13446],"绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e0e75f422802764f9f82d18d735f70.jpg",[],{"id":61879,"slug":61880,"title":61873,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61881,"thumbUrl":61882,"material":751,"size":752,"collection":95,"collections":61883,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},258758,"jia-qing-kuan-lv-di-fen-cai-miao-jin-shi-wen-hua-hui-wen-gai-wan-yi-ming-258758",[18,25504,39155,26617,27,25480,13310,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c3dfe1e53e0077e655cca8f6219ea1.jpg",[],{"id":61885,"slug":61886,"title":61887,"dynasty":18,"author":454,"museum":107,"description":61888,"tags":61889,"thumbUrl":61891,"material":751,"size":752,"collection":95,"collections":61892,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},258757,"jia-qing-kuan-lv-di-fen-cai-kai-guang-shi-wen-cha-hu-yi-ming-258757","嘉庆款绿地粉彩开光诗文茶壶","这件茶壶以绿地粉彩铺陈底色，缠枝宝相花蜿蜒盘绕，繁而不乱，晕染柔润雅致。壶身开光留白处题以楷书御制诗文，笔力端秀挺劲，诗绘相映，将雅致文心融于日用瓷中。\n\n盖顶莲苞钮精巧雅致，口沿、底足以回纹、如意纹点缀，细节处见考究工法。整体造型饱满圆润，釉色妍丽明快，华贵宫廷气韵与文人情致完美糅合，尽显彩瓷工艺与文人意趣结合的精妙水准。",[18,25504,39155,40539,27,7,13310,50563,61890,61875],"缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf2313eb7899c50b53a785cc14a037a.jpg",[],{"id":61894,"slug":61895,"title":61896,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61897,"thumbUrl":61898,"material":751,"size":752,"collection":95,"collections":61899,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},258730,"lv-di-fen-cai-shi-ju-hua-hui-wen-pie-kou-ping-yi-ming-258730","绿地粉彩诗句花卉纹撇口瓶",[18,25504,39155,27,111,50454,30,1018,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c080979dee3dd2326c15e2333d8d0c4.jpg",[],{"id":61901,"slug":61902,"title":61903,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61904,"thumbUrl":61905,"material":751,"size":752,"collection":95,"collections":61906,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},258716,"qian-long-kuan-jin-di-kai-guang-hua-hui-shi-ju-ping-yi-ming-258716","乾隆款金地开光花卉诗句瓶",[25504,36389,26617,40539,27,399,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c2b2c68c48a79ebe462f46a6b90f18.jpg",[],{"id":61908,"slug":61909,"title":61910,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61911,"thumbUrl":61912,"material":751,"size":752,"collection":95,"collections":61913,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},258704,"qian-long-kuan-fen-cai-shi-ju-shan-shui-tu-fang-ping-yi-ming-258704","乾隆款粉彩诗句山水图方瓶",[25504,39155,27,51,7,60,77,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63eb1722d7d8eb0ad00aebcca17c2415.jpg",[],{"id":61915,"slug":61916,"title":61917,"dynasty":18,"author":454,"museum":107,"description":40535,"tags":61918,"thumbUrl":61920,"material":751,"size":752,"collection":95,"collections":61921,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},258696,"qian-long-kuan-ji-lan-you-kai-guang-hua-hui-shi-ju-ping-yi-ming-258696","乾隆款祭蓝釉开光花卉诗句瓶",[25504,18,61919,40539,27,7,199,30,135,1018],"祭蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762b1dc589c1167293f04744cb537e0e.jpg",[],{"id":61923,"slug":61924,"title":61925,"dynasty":18,"author":454,"museum":107,"description":61225,"tags":61926,"thumbUrl":61928,"material":751,"size":752,"collection":95,"collections":61929,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},258687,"qian-long-kuan-bai-di-fen-cai-ru-yi-er-ping-yi-ming-258687","乾隆款白地粉彩如意耳瓶",[25504,39155,27,61867,7,39132,61927],"如意耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf4c2d110e114f42014287c50935918.jpg",[],{"id":61931,"slug":61932,"title":61925,"dynasty":18,"author":454,"museum":107,"description":61225,"tags":61933,"thumbUrl":61934,"material":751,"size":752,"collection":95,"collections":61935,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},258686,"qian-long-kuan-bai-di-fen-cai-ru-yi-er-ping-yi-ming-258686",[25504,2135,39155,27,1560,61927,30,7,61890,61867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d61c254ee904ed54f613e3ffaf3b1e6.jpg",[],{"id":61937,"slug":61938,"title":61939,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":61940,"thumbUrl":61941,"material":751,"size":752,"collection":95,"collections":61942,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},258654,"qian-long-kuan-qing-hua-kai-guang-shi-ju-shuang-er-bi-ping-yi-ming-258654","乾隆款青花开光诗句双耳壁瓶",[25504,30959,40539,7,199,1560,50464,50454,2135,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c94722db8c106f12042ccc08ff7b175.jpg",[],{"id":61944,"slug":61945,"title":61946,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61947,"thumbUrl":61948,"material":751,"size":752,"collection":95,"collections":61949,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},258652,"qian-long-kuan-ou-he-di-fen-cai-kai-guang-shi-ju-bi-ping-yi-ming-258652","乾隆款藕荷地粉彩开光诗句壁瓶",[25504,834,39155,40539,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc39cc2f5ee6b6e688e91e895bb6ee237.jpg",[],{"id":61951,"slug":61952,"title":61953,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61954,"thumbUrl":61955,"material":751,"size":752,"collection":95,"collections":61956,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},258651,"qian-long-kuan-tian-lan-di-bai-kui-long-wen-kai-guang-shi-ju-bi-ping-yi-ming-258651","乾隆款天蓝地白夔龙纹开光诗句壁瓶",[25504,27,40539,359,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F362779a352239af813caf46044095979.jpg",[],{"id":61958,"slug":61959,"title":61960,"dynasty":18,"author":454,"museum":107,"description":61961,"tags":61962,"thumbUrl":61963,"material":751,"size":752,"collection":95,"collections":61964,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},258640,"tian-lan-you-an-hua-wen-ju-ban-zun-yi-ming-258640","天蓝釉暗花纹菊瓣尊","天蓝釉是瓷器釉色名。一种高温色釉。由“天青”演变而来，清康熙时创烧。釉色浅而发蓝，似天蓝色，故名。含钴量在2%以下，釉中铜、铁、钛等金属元素均起呈色剂作用；呈色稳定、莹洁菁雅，可与豇豆红媲美，是古代工匠精湛的工艺技巧和不朽的艺术造型的完美体现。天蓝釉器物种类，康熙时均属小件文房用具，至雍正、乾隆才见瓶罐等器型。",[25504,40557,27,7,77,834,11284,39132,3029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0bc009ad8356cc922a603a23838dfe.jpg",[],{"id":61966,"slug":61967,"title":61968,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":61969,"thumbUrl":61971,"material":751,"size":752,"collection":95,"collections":61972,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},258567,"qian-long-kuan-ji-lan-di-miao-jin-kai-guang-fen-cai-hua-hui-shi-ju-tu-bi-ping-yi-ming-258567","乾隆款祭蓝地描金开光粉彩花卉诗句图壁瓶",[25504,61970,40539,39155,26617,59294,30,50454,7,27,834],"祭蓝地描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F865b89715556dd1662a786d290a680c8.jpg",[],{"id":61974,"slug":61975,"title":61614,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61976,"thumbUrl":61977,"material":751,"size":752,"collection":95,"collections":61978,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},258538,"qian-long-kuan-mo-cai-shi-ju-bi-tong-yi-ming-258538",[25504,44848,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dce1e79881ec2ffc323e927b3bc8017.jpg",[],{"id":61980,"slug":61981,"title":61982,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61983,"thumbUrl":61984,"material":751,"size":752,"collection":95,"collections":61985,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},258537,"mo-cai-ti-shi-shan-shui-tu-ba-fang-bi-tong-yi-ming-258537","墨彩题诗山水图八方笔筒",[18,25504,44848,51,7,77,56,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d7c638a39efa796821d9766ac1200b.jpg",[],{"id":61987,"slug":61988,"title":61989,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":61990,"thumbUrl":61991,"material":751,"size":752,"collection":95,"collections":61992,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},258494,"qian-long-kuan-bai-di-fan-hong-cai-ti-shi-gai-wan-yi-ming-258494","乾隆款白地矾红彩题诗盖碗",[2135,25504,50361,7,199,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae64a6a8b79d57b26d4d72c22ec6654.jpg",[],{"id":61994,"slug":61995,"title":61996,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":61997,"thumbUrl":61998,"material":751,"size":752,"collection":95,"collections":61999,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},258493,"bai-di-fan-hong-cai-yu-zhi-shi-wen-bi-tong-yi-ming-258493","白地矾红彩御制诗文笔筒",[18,2135,25504,61867,50361,7,199,13310,3956,30960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2558ef40b4272880106c7337f90a5b4b.jpg",[],{"id":62001,"slug":62002,"title":62003,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":62004,"thumbUrl":62005,"material":751,"size":752,"collection":95,"collections":62006,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},257903,"kang-xi-kuan-qing-hua-sheng-zhu-de-xian-chen-song-bi-tong-yi-ming-257903","康熙款青花圣主得贤臣颂笔筒",[25504,30959,199,77,18,30960,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1ffb36e425dac21691dd3bb57d1b5c.jpg",[],{"id":62008,"slug":62009,"title":62003,"dynasty":18,"author":454,"museum":107,"description":30957,"tags":62010,"thumbUrl":62011,"material":751,"size":752,"collection":95,"collections":62012,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},257902,"kang-xi-kuan-qing-hua-sheng-zhu-de-xian-chen-song-bi-tong-yi-ming-257902",[25504,30959,7,199,77,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841c0e953882d1a3aba6101041640b1d.jpg",[],{"id":62014,"slug":62015,"title":62016,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62017,"thumbUrl":62018,"material":751,"size":752,"collection":95,"collections":62019,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},257820,"kang-xi-kuan-hong-di-miao-jin-shou-zi-gai-wan-yi-ming-257820","康熙款红地描金寿字盖碗",[2135,25504,27,26617,39157,7,9340,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81aa7a30095646d4492efe5e852c3234.jpg",[],{"id":62021,"slug":62022,"title":62023,"dynasty":18,"author":454,"museum":107,"description":62024,"tags":62025,"thumbUrl":62026,"material":751,"size":752,"collection":95,"collections":62027,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},257746,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-bu-yi-ming-257746","康熙款五彩十二月花卉纹杯-不","此杯胎质莹白细腻如凝脂，釉色温润似玉，形制玲珑隽巧，线条柔婉流畅。杯身以青花题诗，笔意秀逸疏朗，“不随千种尽，独放一年红”，将花木孤高自持的品格融于字句间。题侧钤印方正古朴，与诗文相映成趣。\n\n它将制瓷工艺、诗文篆刻融为一体，把文人雅致藏于日用茶器中，观之如见清秋独绽的花木，暗合中式审美里的清寂出尘之意，是文人情思与匠艺完美契合的佳品。",[2135,25504,61478,30,7,77,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eb1beedaa1d39673f04ddde89ccff9.jpg",[],{"id":62029,"slug":62030,"title":62031,"dynasty":45,"author":454,"museum":107,"description":30957,"tags":62032,"thumbUrl":62034,"material":751,"size":752,"collection":95,"collections":62035,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},257651,"wan-li-kuan-qing-hua-fu-shou-kang-ning-zi-wan-yi-ming-257651","万历款青花福寿康宁字碗",[25504,30959,7,132,62033],"福寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F364c1a299d6c8455e2a3eabb8ceee4f7.jpg",[],{"id":62037,"slug":62038,"title":62039,"dynasty":88,"author":454,"museum":107,"description":44808,"tags":62040,"thumbUrl":62042,"material":751,"size":752,"collection":25508,"collections":62043,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},257055,"ci-zhou-yao-ke-qian-long-yu-ti-shi-shi-yang-wen-zhen-yi-ming-257055","磁州窑刻乾隆御题诗狮羊纹枕",[88,25504,62041,7713,22610,6951,798,7,834],"磁州窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611abdd4d0f0139413c33cfccb5cffa9.jpg",[25508],{"id":62045,"slug":62046,"title":62047,"dynasty":18,"author":454,"museum":107,"description":27799,"tags":62048,"thumbUrl":62050,"material":751,"size":752,"collection":95,"collections":62051,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},256668,"ji-lan-di-miao-jin-fen-cai-shi-ju-hua-hui-wen-da-ping-yi-ming-256668","霁蓝地描金粉彩诗句花卉纹大瓶",[25504,62049,39155,27,30,135,140,7,60,834],"霁蓝地描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4832b731d6888cc8a6483b4a5c7afff.jpg",[],{"id":62053,"slug":62054,"title":62055,"dynasty":88,"author":454,"museum":107,"description":62056,"tags":62057,"thumbUrl":62058,"material":751,"size":752,"collection":95,"collections":62059,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},253274,"shi-jing-chuang-yi-ming-253274","石经幢","八棱柱身饱经风霜，石面皴裂斑驳，褪去了当年的工整肌理，唯有残存朱色题刻依稀可辨。那些漫漶的字迹曾是虔诚的经文偈语，带着旧时香火的温度，静默镌刻下岁月里的祈愿。\n\n它不再是庄严肃穆的礼佛重器，更似缄默的时光行者，将百年风雨剥蚀藏进纹理褶皱之中，每一处缺损都在诉说流转的世事，把千年前的信仰余温，沉淀成沉静的历史注脚，让驻足者在凝视间，触碰旧时光里的虔诚与悠远。",[2601,49575,7713,878,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002218bc613b6a63014857c91ffd800a.jpg",[],{"id":62061,"slug":62062,"title":62063,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62064,"thumbUrl":62065,"material":751,"size":752,"collection":95,"collections":62066,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},252670,"yu-zhi-shi-qing-yu-ru-yi-yi-ming-252670","御制诗青玉如意",[18,7714,7713,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8054125796ac68a47f8c33128ea366f6.jpg",[],{"id":62068,"slug":62069,"title":62070,"dynasty":18,"author":454,"museum":107,"description":62071,"tags":62072,"thumbUrl":62074,"material":751,"size":752,"collection":95,"collections":62075,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},252127,"hu-po-ke-shi-bi-jia-yi-ming-252127","琥珀刻诗笔架","随形就势摹写层峦之态，浓红琥珀莹润通透，如将赤霞凝为山形。峰腹浅镌诗文，刀痕隽秀利落，将笔墨意趣凝于珀间。作为文房清供，它兼具承托笔毫的实用之能，又以天然珀色晕染出沉静雅致的文人意趣，把造物之美与人文雅韵熔于方寸之间，尽显旧时文玩的精巧格调。",[62073,7713,3467,7,30961,834],"琥珀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6d3abe8c82d2b11caefbd8d5c74da3.jpg",[],{"id":62077,"slug":62078,"title":62079,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62080,"thumbUrl":62081,"material":751,"size":752,"collection":95,"collections":62082,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},252067,"qian-long-ti-shi-qing-yu-yun-long-wen-tuo-yuan-xi-yi-ming-252067","乾隆题诗青玉云龙纹椭圆洗",[2135,7714,7713,359,26051,10601,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d4c7313069567ff1c28d5df664bfe2.jpg",[],{"id":62084,"slug":62085,"title":62086,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62087,"thumbUrl":62088,"material":751,"size":752,"collection":95,"collections":62089,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},251963,"qian-long-ti-shi-bi-yu-ban-zhi-yi-ming-251963","乾隆题诗碧玉扳指",[2135,7714,7713,7,457,60721,8234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01e8946710d62ed0337aeca0499e53d.jpg",[],{"id":62091,"slug":62092,"title":62093,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":62094,"thumbUrl":62096,"material":751,"size":752,"collection":95,"collections":62097,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},251777,"bai-yu-tian-jin-hua-hui-shi-ju-kui-ban-wan-yi-ming-251777","白玉填金花卉诗句葵瓣碗",[2135,7714,50509,7713,7,30,50454,62095,834],"葵瓣造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa58c9287b6d6f2e97ba1656f1939097.jpg",[],{"id":62099,"slug":62100,"title":62101,"dynasty":18,"author":454,"museum":107,"description":62102,"tags":62103,"thumbUrl":62105,"material":751,"size":752,"collection":95,"collections":62106,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},251666,"qing-yu-ke-shi-chun-shan-fang-you-tu-shan-zi-yi-ming-251666","青玉刻诗春山访友图山子","随形施艺，俏色天成。金黄玉皮化作春日山峦的苍莽肌理，莹润玉肉间精雕亭台松影，山道蜿蜒隐现访友意趣。雕琢与留白相得益彰，将文人山居雅集的逸趣凝于玉中。\n\n刀法细腻却不炫技，保留玉质温润本真，静穆里晕开春日山林的清幽生机，把传统山水画意境缩于掌心，含蓄雅致尽显东方文人山水的留白意韵，是玉作与画意相融的精巧之品。",[7714,7713,51,113,55,7,39999,56,62104],"刻诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaf169e6a42a8a110ca2e5cb39a61fe.jpg",[],{"id":62108,"slug":62109,"title":62110,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62111,"thumbUrl":62112,"material":751,"size":752,"collection":95,"collections":62113,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},251640,"qing-yu-ke-mei-hua-shi-ju-bi-tong-yi-ming-251640","青玉刻梅花诗句笔筒",[2135,7714,7713,7,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdcd686b184a4a69e5cb1c622a636246.jpg",[],{"id":62115,"slug":62116,"title":62117,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62118,"thumbUrl":62121,"material":751,"size":752,"collection":95,"collections":62122,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},251501,"qian-long-yu-ti-bi-yu-wan-zi-jin-di-liu-kai-guang-wan-yi-ming-251501","乾隆御题碧玉万字锦地六开光碗",[18,7714,834,7713,7,62119,40539,62120,2919],"锦地纹","万字纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0219d2b1495270351da346d5336a2797.jpg",[],{"id":62124,"slug":62125,"title":62126,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62127,"thumbUrl":62129,"material":751,"size":752,"collection":95,"collections":62130,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},251498,"qian-long-yu-ti-bi-yu-song-chun-shi-hua-cha-yi-ming-251498","乾隆御题碧玉松椿式花插",[2135,7714,7713,133,62128,7],"椿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b4c9b729eee67b530ffb2f0414483d.jpg",[],{"id":62132,"slug":62133,"title":62134,"dynasty":18,"author":454,"museum":107,"description":62135,"tags":62136,"thumbUrl":62137,"material":751,"size":752,"collection":95,"collections":62138,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},251459,"qian-long-ti-zi-qing-yu-qi-fu-tu-bo-yi-ming-251459","乾隆题字青玉七佛图钵","玉色青莹温润，天然褐沁晕染如禅意余韵。外壁浮雕七佛，皆结跏趺坐，法相慈悲端严，衣褶纹路写实朴拙，依托圆拱形背光，静谧肃穆，恍若梵音萦耳。外壁镌刻题字刀工劲挺，笔墨筋骨与浮雕肌理相映，将礼佛虔诚凝于玉作之中。整器融佛教意趣与治玉匠心于一体，青沉静穆的玉质衬出清寂禅意，可抚可观可读，方寸之间尽显工巧虔诚，是玉雕工艺与宗教美学的精妙合璧。",[7714,7713,878,113,834,2135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925fd5abbf7e524fabd44d8331cf11b8.jpg",[],{"id":62140,"slug":62141,"title":62142,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62143,"thumbUrl":62148,"material":751,"size":752,"collection":95,"collections":62149,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},251456,"qing-yu-han-yue-hui-wen-yuan-xing-qi-yi-ming-251456","青玉“寒月回文”圆形器",[2135,7714,62144,834,62145,7713,3467,7,62146,62147],"青玉","圆形器","回文","寒月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22755c32c46f3a270e2edb854c334b13.jpg",[],{"id":62151,"slug":62152,"title":62153,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62154,"thumbUrl":62155,"material":751,"size":752,"collection":95,"collections":62156,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},251430,"qing-yu-ke-qian-long-yu-bi-lan-ting-tie-ru-yi-yi-ming-251430","青玉刻乾隆御笔兰亭帖如意",[18,7714,7713,7,60,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4a601edb3d750272c623c052a26e56.jpg",[],{"id":62158,"slug":62159,"title":62160,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":62161,"thumbUrl":62162,"material":751,"size":752,"collection":95,"collections":62163,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},251249,"qian-long-yu-ti-bai-yu-ban-fu-yi-ming-251249","乾隆御题白玉半符",[2135,7714,7713,834,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab83a589ffb31a3d9f863f31703201d.jpg",[],{"id":62165,"slug":62166,"title":62167,"dynasty":18,"author":454,"museum":107,"description":62168,"tags":62169,"thumbUrl":62170,"material":751,"size":752,"collection":95,"collections":62171,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},251165,"qian-long-yu-ti-bi-yu-ren-wu-tu-ban-zhi-yi-ming-251165","乾隆御题碧玉人物图扳指","扳指是一种射箭工具，戴于拇指，正下方有一个槽，用来扣住弓弦以便拉箭，作用是防止放箭时，急速回抽的弓弦擦伤手指。因功能类似扳机，故又称为“机”\n扳指还被称为“韘”，据《说文·韦部》载：“韘，射决也。所以拘弦。以象骨。韦系，箸右巨指。”明确阐述了扳指的功能以及用法。",[2135,7714,7713,113,7,8234,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8b0c280ff81740d4cefe065e1fdfe8e.jpg",[],{"id":62173,"slug":62174,"title":62175,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":62176,"thumbUrl":62178,"material":751,"size":752,"collection":95,"collections":62179,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},251123,"qian-long-kuan-dai-pi-bai-yu-shou-mian-wen-fu-shi-pei-yi-ming-251123","乾隆款带皮白玉兽面纹黼式佩",[7714,7713,62177,798,8234,1498,7,199,26,834],"兽面纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fbcac7e511c6184b5623d24cb1f7912.jpg",[],{"id":62181,"slug":62182,"title":62183,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":62184,"thumbUrl":62185,"material":751,"size":752,"collection":95,"collections":62186,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},251083,"qian-long-yu-ti-bai-yu-wan-yi-ming-251083","乾隆御题白玉碗",[18,7714,7713,7,50563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173af1c4e5bac23e8efa2c7c0f1e0fd7.jpg",[],{"id":62188,"slug":62189,"title":62190,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62191,"thumbUrl":62192,"material":751,"size":752,"collection":95,"collections":62193,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},251081,"qian-long-yu-ti-qing-yu-ban-zhi-yi-ming-251081","乾隆御题青玉扳指",[7714,834,8234,7713,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d2259a4f5be7b2a22a6b5dc3c3b16f8.jpg",[],{"id":62195,"slug":62196,"title":62190,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62197,"thumbUrl":62198,"material":751,"size":752,"collection":95,"collections":62199,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},251072,"qian-long-yu-ti-qing-yu-ban-zhi-yi-ming-251072",[7714,7713,7,199,60,8234,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b62aee6759b16bdd5f1d433c5be149.jpg",[],{"id":62201,"slug":62202,"title":62203,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62204,"thumbUrl":62205,"material":751,"size":752,"collection":95,"collections":62206,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},251037,"qing-yu-ti-shi-fu-diao-mei-ju-chang-fang-cha-ping-yi-ming-251037","青玉题诗浮雕梅菊长方插屏",[7714,37607,131,140,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0115da861ac716c31b18922adf3991.jpg",[],{"id":62208,"slug":62209,"title":62210,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62211,"thumbUrl":62214,"material":751,"size":752,"collection":95,"collections":62215,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},251035,"qing-yu-tian-jin-ti-shi-shuang-mian-cha-ping-yi-ming-251035","青玉填金题诗双面插屏",[18,7714,50509,7713,51,7,62212,62213],"景物","风格技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49198113e6dacb03c0427a2aa6661c81.jpg",[],{"id":62217,"slug":62218,"title":62219,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62220,"thumbUrl":62221,"material":751,"size":752,"collection":95,"collections":62222,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},251034,"qing-yu-tian-jin-ti-shi-cha-ping-yi-ming-251034","青玉填金题诗插屏",[7714,50509,7713,7,51,27,250,115,10601,62212,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3dbf760c1d83416bf946e1ed188d96.jpg",[],{"id":62224,"slug":62225,"title":62226,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":62227,"thumbUrl":62228,"material":751,"size":752,"collection":95,"collections":62229,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},251030,"qing-yu-da-gui-yi-ming-251030","青玉大圭",[2135,7714,42838,7713,26617,7,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bec7fb20edf40f2c0eda6fc44bd2895.jpg",[],{"id":62231,"slug":62232,"title":62233,"dynasty":45,"author":454,"museum":107,"description":21006,"tags":62234,"thumbUrl":62235,"material":751,"size":752,"collection":95,"collections":62236,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},250823,"zi-ang-kuan-bai-yu-ke-shi-bi-ge-yi-ming-250823","子昂款白玉刻诗臂搁",[4038,7714,7713,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3520bd15aefdf7231dd7ac4bb16dd20.jpg",[],{"id":62238,"slug":62239,"title":62240,"dynasty":45,"author":454,"museum":107,"description":21006,"tags":62241,"thumbUrl":62242,"material":751,"size":752,"collection":95,"collections":62243,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},250822,"zi-zhan-kuan-bai-yu-yun-chi-wen-ke-shi-bi-ge-yi-ming-250822","子瞻款白玉云螭纹刻诗臂搁",[7714,7713,7,26051,59676,30961,798],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c223cf99d3ba7dee5ff3b4a096ef38.jpg",[],{"id":62245,"slug":62246,"title":62247,"dynasty":1892,"author":454,"museum":107,"description":27809,"tags":62248,"thumbUrl":62249,"material":751,"size":752,"collection":95,"collections":62250,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},250684,"qing-yu-tiao-wen-fang-cong-yi-ming-250684","青玉条纹方琮",[7714,7713,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb820e2a37b71a2843ca6ea1a4ebe407.jpg",[],{"id":62252,"slug":62253,"title":62254,"dynasty":18,"author":454,"museum":107,"description":21006,"tags":62255,"thumbUrl":62256,"material":751,"size":752,"collection":95,"collections":62257,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},250384,"qian-long-yu-ti-bai-yu-tao-shi-xi-yi-ming-250384","乾隆御题白玉桃式洗",[7714,7713,7,4507,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6de9486fa4c1bb17d9ac6a4a0293418.jpg",[],{"id":62259,"slug":62260,"title":62261,"dynasty":18,"author":454,"museum":107,"description":62262,"tags":62263,"thumbUrl":62266,"material":751,"size":752,"collection":95,"collections":62267,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},249774,"qia-si-fa-lang-kui-long-wen-kai-guang-shi-ju-bi-ping-yi-ming-249774","掐丝珐琅夔龙纹开光诗句壁瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[2135,62264,36389,62265,40539,50454,834,359,7],"掐丝珐琅","夔龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb360922b1e43077aab66c5f19f2949b.jpg",[],{"id":62269,"slug":62270,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62272,"thumbUrl":62273,"material":751,"size":752,"collection":95,"collections":62274,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},248913,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248913","乾隆款剔红御制诗碗",[13336,7713,40447,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2177b07b9e01414334c8f2db492940c.jpg",[],{"id":62276,"slug":62277,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62278,"thumbUrl":62279,"material":751,"size":752,"collection":95,"collections":62280,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},248912,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248912",[13336,40447,7713,7,199,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339a6dd1f814f8e6f0f256f4238f898d.jpg",[],{"id":62282,"slug":62283,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62284,"thumbUrl":62285,"material":751,"size":752,"collection":95,"collections":62286,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},248911,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248911",[18,13336,40447,40583,7713,7,199,834,11284,26051,77,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0382d013e3acbb6cc3c44609dd213566.jpg",[],{"id":62288,"slug":62289,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62290,"thumbUrl":62291,"material":751,"size":752,"collection":95,"collections":62292,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},248908,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248908",[13336,7713,7,199,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249194e955aa370ff6fa7bd85a26e036.jpg",[],{"id":62294,"slug":62295,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62296,"thumbUrl":62297,"material":751,"size":752,"collection":95,"collections":62298,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},248907,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248907",[2135,13336,40447,7713,7,834,50563,13446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe95b047023ff83f0638fab9d7aa7c000.jpg",[],{"id":62300,"slug":62301,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62302,"thumbUrl":62303,"material":751,"size":752,"collection":95,"collections":62304,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},248906,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248906",[2135,13336,40447,7713,199,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cac9bd64e945a42e920d23d3c44bac.jpg",[],{"id":62306,"slug":62307,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62308,"thumbUrl":62309,"material":751,"size":752,"collection":95,"collections":62310,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},248888,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248888",[2135,13336,40447,7713,7,62119,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff01be0f91ea6df11c4f5c9a64bda929.jpg",[],{"id":62312,"slug":62313,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62314,"thumbUrl":62315,"material":751,"size":752,"collection":95,"collections":62316,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},248887,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248887",[13336,40447,7713,7,199,18,834,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd98fb7d1cf497308e5dc235c57449f.jpg",[],{"id":62318,"slug":62319,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62320,"thumbUrl":62321,"material":751,"size":752,"collection":95,"collections":62322,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},248882,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248882",[2135,13336,40447,7713,7,199,50241,50563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a1952f3c70171826fadc07aac9eff26.jpg",[],{"id":62324,"slug":62325,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62326,"thumbUrl":62327,"material":751,"size":752,"collection":95,"collections":62328,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},248872,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-248872",[2135,13336,40447,7713,7,199,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53cd711dde5c618593c2216081548336.jpg",[],{"id":62330,"slug":62331,"title":62332,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62333,"thumbUrl":62336,"material":751,"size":752,"collection":95,"collections":62337,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},248554,"qian-long-kuan-tuo-tai-zhu-qi-yu-zhi-shi-wan-yi-ming-248554","乾隆款脱胎朱漆御制诗碗",[2135,13336,62334,62335,7,77,834],"脱胎","朱漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F510801c8fe5cc513cd46bb17f63f2fe9.jpg",[],{"id":62339,"slug":62340,"title":62341,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62342,"thumbUrl":62344,"material":751,"size":752,"collection":95,"collections":62345,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},248498,"hong-qi-qiang-jin-shi-ju-yuan-bi-tong-yi-ming-248498","红漆戗金诗句圆笔筒",[2135,13336,62343,7,60,834,50454],"戗金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d38decfa90619ec09e2ca052552822c.jpg",[],{"id":62347,"slug":62348,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62350,"thumbUrl":62351,"material":751,"size":752,"collection":95,"collections":62352,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},246880,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246880","剔红乾隆御制诗笔筒",[13336,40583,40447,7713,7,199,44655,50563,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca6b32ab3e35768e3df4a8cd838fe5b.jpg",[],{"id":62354,"slug":62355,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62356,"thumbUrl":62357,"material":751,"size":752,"collection":95,"collections":62358,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},246879,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246879",[18,13336,40447,7713,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246d69efcabc12cc7b534fd697be7cb7.jpg",[],{"id":62360,"slug":62361,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62362,"thumbUrl":62363,"material":751,"size":752,"collection":95,"collections":62364,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246878,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246878",[13336,40447,7713,7,199,40583,30961,19026,60721,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec7b006d0fd597f016e335221fe3e50.jpg",[],{"id":62366,"slug":62367,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62368,"thumbUrl":62369,"material":751,"size":752,"collection":95,"collections":62370,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246877,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246877",[2135,13336,40447,7713,7,199,3956,11284,13446,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F219827786fded7be5c4e824d1e3574a5.jpg",[],{"id":62372,"slug":62373,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62374,"thumbUrl":62376,"material":751,"size":752,"collection":95,"collections":62377,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246876,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246876",[13336,40447,7713,7,199,40407,62375,30960,13446],"清式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81a963c0902849a22fcab618cf934c.jpg",[],{"id":62379,"slug":62380,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62381,"thumbUrl":62383,"material":751,"size":752,"collection":95,"collections":62384,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},246875,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246875",[2135,13336,40447,7713,7,199,3956,11284,62382,834],"雕漆工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519d24d4afab77646356d7bf8122ab73.jpg",[],{"id":62386,"slug":62387,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62388,"thumbUrl":62389,"material":751,"size":752,"collection":95,"collections":62390,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},246874,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246874",[13336,40447,7713,199,31304,7,13446,30960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1026b2c80b8e83c917d9bc0ed3fb3d19.jpg",[],{"id":62392,"slug":62393,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62394,"thumbUrl":62395,"material":751,"size":752,"collection":95,"collections":62396,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},246873,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246873",[18,13336,40447,7713,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ed50b284d043a3f1c5e5ec9b23b7c5.jpg",[],{"id":62398,"slug":62399,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62400,"thumbUrl":62401,"material":751,"size":752,"collection":95,"collections":62402,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246871,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246871",[18,13336,40583,40447,7713,7,44655,13446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99750c0ea74648fb67eaef1148a3998c.jpg",[],{"id":62404,"slug":62405,"title":62406,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62407,"thumbUrl":62408,"material":751,"size":752,"collection":95,"collections":62409,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246832,"ti-hong-qian-long-yu-zhi-shi-gai-wan-yi-ming-246832","剔红乾隆御制诗盖碗",[18,13336,40447,7713,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c74107f19636875f94c9a1447a47c8.jpg",[],{"id":62411,"slug":62412,"title":62406,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62413,"thumbUrl":62414,"material":751,"size":752,"collection":95,"collections":62415,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},246828,"ti-hong-qian-long-yu-zhi-shi-gai-wan-yi-ming-246828",[2135,13336,40447,7713,7,834,2919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc5d34f525c6796faf5f6588cf3e9f5.jpg",[],{"id":62417,"slug":62418,"title":62406,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62419,"thumbUrl":62420,"material":751,"size":752,"collection":95,"collections":62421,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},246826,"ti-hong-qian-long-yu-zhi-shi-gai-wan-yi-ming-246826",[2135,13336,40447,7713,7,834,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bd0e42333794ae24095133589663e9a.jpg",[],{"id":62423,"slug":62424,"title":62406,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62425,"thumbUrl":62426,"material":751,"size":752,"collection":95,"collections":62427,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246825,"ti-hong-qian-long-yu-zhi-shi-gai-wan-yi-ming-246825",[13336,40447,7713,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913c90cf9fe479a565390ff3bbf2c637.jpg",[],{"id":62429,"slug":62430,"title":62431,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62432,"thumbUrl":62433,"material":751,"size":752,"collection":95,"collections":62434,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246797,"ti-hong-qian-long-yu-zhi-shi-wan-yi-ming-246797","剔红乾隆御制诗碗",[2135,13336,40447,7713,7,60721,11284,50563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053999cac89ec2275fc9964fdcc324be.jpg",[],{"id":62436,"slug":62437,"title":62431,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62438,"thumbUrl":62439,"material":751,"size":752,"collection":95,"collections":62440,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246796,"ti-hong-qian-long-yu-zhi-shi-wan-yi-ming-246796",[13336,40447,40583,7713,7,834,2135,27,40407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0acfa4c33600c00a81afaa00fa9be95.jpg",[],{"id":62442,"slug":62443,"title":62431,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62444,"thumbUrl":62445,"material":751,"size":752,"collection":95,"collections":62446,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246795,"ti-hong-qian-long-yu-zhi-shi-wan-yi-ming-246795",[13336,40447,7713,7,199,50563,50241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478ddec4c8dd0a527162c452420e0d9f.jpg",[],{"id":62448,"slug":62449,"title":62431,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62450,"thumbUrl":62451,"material":751,"size":752,"collection":95,"collections":62452,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246794,"ti-hong-qian-long-yu-zhi-shi-wan-yi-ming-246794",[2135,13336,40447,7713,199,7,834,60721,26051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a19f39c6179e778b8ced041194dcf3.jpg",[],{"id":62454,"slug":62455,"title":62431,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62456,"thumbUrl":62457,"material":751,"size":752,"collection":95,"collections":62458,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246790,"ti-hong-qian-long-yu-zhi-shi-wan-yi-ming-246790",[13336,7713,40583,7,26051,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28eee9f14366ff629beebcc833376dbe.jpg",[],{"id":62460,"slug":62461,"title":62462,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62463,"thumbUrl":62464,"material":751,"size":752,"collection":95,"collections":62465,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246560,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-li-wan-yi-ming-246560","乾隆款剔红御制诗铜里碗",[2135,13336,40447,7713,7,199,15301,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f3c69c5c3b7b10554347ead5c3873d.jpg",[],{"id":62467,"slug":62468,"title":62462,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62469,"thumbUrl":62470,"material":751,"size":752,"collection":95,"collections":62471,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246559,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-li-wan-yi-ming-246559",[13336,40447,7713,15301,7,50563,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfec4a5b96705f8841a50888bd0ca1bf.jpg",[],{"id":62473,"slug":62474,"title":62462,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62475,"thumbUrl":62476,"material":751,"size":752,"collection":95,"collections":62477,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246558,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-li-wan-yi-ming-246558",[2135,13336,40583,40447,7713,7,15301,50563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb13a3837ecf561fe399328a09f3b5a.jpg",[],{"id":62479,"slug":62480,"title":62462,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62481,"thumbUrl":62482,"material":751,"size":752,"collection":95,"collections":62483,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246555,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-li-wan-yi-ming-246555",[2135,40447,13336,15301,7713,7,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0901f45a3fdc323302eeb399f6aa108.jpg",[],{"id":62485,"slug":62486,"title":62462,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62487,"thumbUrl":62488,"material":751,"size":752,"collection":95,"collections":62489,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246554,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-li-wan-yi-ming-246554",[2135,13336,40447,15301,7713,7,199,26051,50563,13446,40407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7179461742cd50a374346605961ecec.jpg",[],{"id":62491,"slug":62492,"title":62462,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62493,"thumbUrl":62494,"material":751,"size":752,"collection":95,"collections":62495,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246553,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-li-wan-yi-ming-246553",[18,13336,40447,7713,7,14990,50241,11284,15301,13446,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb45c90b0d871cdd6ddc07160215ef8.jpg",[],{"id":62497,"slug":62498,"title":62271,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62499,"thumbUrl":62500,"material":751,"size":752,"collection":95,"collections":62501,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246450,"qian-long-kuan-ti-hong-yu-zhi-shi-wan-yi-ming-246450",[2135,13336,40447,7713,7,26051,60721,50241,50563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5043c25204b18799701ea797379e0843.jpg",[],{"id":62503,"slug":62504,"title":62505,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62506,"thumbUrl":62508,"material":751,"size":752,"collection":95,"collections":62509,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246388,"qian-long-kuan-ti-hong-yu-zhi-shi-jin-li-wan-yi-ming-246388","乾隆款剔红御制诗金里碗",[2135,13336,40447,7713,7,199,50563,60721,40407,62507,31304],"金里","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397a3fefffb57fcc0b7b8d3a97912827.jpg",[],{"id":62511,"slug":62512,"title":62505,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62513,"thumbUrl":62514,"material":751,"size":752,"collection":95,"collections":62515,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246387,"qian-long-kuan-ti-hong-yu-zhi-shi-jin-li-wan-yi-ming-246387",[2135,13336,40447,199,7,49697,50563,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e433b32711c2d5f0d10a4321ab34325.jpg",[],{"id":62517,"slug":62518,"title":62505,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62519,"thumbUrl":62520,"material":751,"size":752,"collection":95,"collections":62521,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246384,"qian-long-kuan-ti-hong-yu-zhi-shi-jin-li-wan-yi-ming-246384",[2135,13336,40447,7713,7,37796,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a84f4aebaafcb37d9111ad8a3ec2eaa.jpg",[],{"id":62523,"slug":62524,"title":62525,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62526,"thumbUrl":62528,"material":751,"size":752,"collection":95,"collections":62529,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246380,"ti-hong-qian-long-yu-zhi-shi-jin-li-wan-yi-ming-246380","剔红乾隆御制诗金里碗",[2135,13336,40447,7713,7,199,62527,49697],"器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a436a88f58b7f0b42d2e060fc2250f8.jpg",[],{"id":62531,"slug":62532,"title":62525,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62533,"thumbUrl":62534,"material":751,"size":752,"collection":95,"collections":62535,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246379,"ti-hong-qian-long-yu-zhi-shi-jin-li-wan-yi-ming-246379",[18,13336,40447,7713,7,50241,50563,30189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd48c7959fcbf50283eac4fba2caf97a.jpg",[],{"id":62537,"slug":62538,"title":62525,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62539,"thumbUrl":62540,"material":751,"size":752,"collection":95,"collections":62541,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246378,"ti-hong-qian-long-yu-zhi-shi-jin-li-wan-yi-ming-246378",[2135,13336,40447,7713,49697,7,199,50241,50563,26051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94a3079551a26c224155e2faf6bbaf59.jpg",[],{"id":62543,"slug":62544,"title":62505,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62545,"thumbUrl":62546,"material":751,"size":752,"collection":95,"collections":62547,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246377,"qian-long-kuan-ti-hong-yu-zhi-shi-jin-li-wan-yi-ming-246377",[18,13336,40447,7713,7,834,49697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb10d29ede4404cb51ae85a9e3a7628b7.jpg",[],{"id":62549,"slug":62550,"title":62551,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62552,"thumbUrl":62553,"material":751,"size":752,"collection":95,"collections":62554,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246376,"ti-hong-qian-long-yu-zhi-shi-jin-li-gai-wan-yi-ming-246376","剔红乾隆御制诗金里盖碗",[2135,13336,40447,7713,199,7,44785,50563,30189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e3cfb46260a531bb952d19c0388750.jpg",[],{"id":62556,"slug":62557,"title":62551,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62558,"thumbUrl":62559,"material":751,"size":752,"collection":95,"collections":62560,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246375,"ti-hong-qian-long-yu-zhi-shi-jin-li-gai-wan-yi-ming-246375",[2135,13336,40447,7713,49697,7,50563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f4a9f6c86680dbda7c771858693811a.jpg",[],{"id":62562,"slug":62563,"title":62551,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62564,"thumbUrl":62565,"material":751,"size":752,"collection":95,"collections":62566,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246374,"ti-hong-qian-long-yu-zhi-shi-jin-li-gai-wan-yi-ming-246374",[18,13336,40447,7713,27,834,2919,7,30189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab08feb4e0efa5549722210b2cbde556.jpg",[],{"id":62568,"slug":62569,"title":62551,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62570,"thumbUrl":62571,"material":751,"size":752,"collection":95,"collections":62572,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246372,"ti-hong-qian-long-yu-zhi-shi-jin-li-gai-wan-yi-ming-246372",[2135,13336,40447,7713,7,37796,44785,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da1e3aebefdd1c9efcd873a496e4b1a.jpg",[],{"id":62574,"slug":62575,"title":62551,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62576,"thumbUrl":62577,"material":751,"size":752,"collection":95,"collections":62578,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246371,"ti-hong-qian-long-yu-zhi-shi-jin-li-gai-wan-yi-ming-246371",[2135,13336,40447,7713,30189,7,834,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5360d6d920df698be98b9bf6ed9a846.jpg",[],{"id":62580,"slug":62581,"title":62551,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62582,"thumbUrl":62583,"material":751,"size":752,"collection":95,"collections":62584,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246370,"ti-hong-qian-long-yu-zhi-shi-jin-li-gai-wan-yi-ming-246370",[13336,7713,40447,30189,7,834,50563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68870ac896ac16a09a273b3ce7dd0e4.jpg",[],{"id":62586,"slug":62587,"title":62525,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62588,"thumbUrl":62589,"material":751,"size":752,"collection":95,"collections":62590,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246368,"ti-hong-qian-long-yu-zhi-shi-jin-li-wan-yi-ming-246368",[13336,7713,40447,30189,50563,428,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a62a3d69715f084778ec4ae3730cca.jpg",[],{"id":62592,"slug":62593,"title":62551,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62594,"thumbUrl":62596,"material":751,"size":752,"collection":95,"collections":62597,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246367,"ti-hong-qian-long-yu-zhi-shi-jin-li-gai-wan-yi-ming-246367",[2135,13336,40447,7713,7,50563,49697,39134,62595],"纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ffd35715c94641b2bcc1b80d7f37ae0.jpg",[],{"id":62599,"slug":62600,"title":62551,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62601,"thumbUrl":62602,"material":751,"size":752,"collection":95,"collections":62603,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246366,"ti-hong-qian-long-yu-zhi-shi-jin-li-gai-wan-yi-ming-246366",[2135,13336,40447,7713,7,49697,44785,50563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa167d3ef1f26c7b53052730aa96d43.jpg",[],{"id":62605,"slug":62606,"title":62551,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62607,"thumbUrl":62608,"material":751,"size":752,"collection":95,"collections":62609,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246365,"ti-hong-qian-long-yu-zhi-shi-jin-li-gai-wan-yi-ming-246365",[2135,13336,40447,7713,7,199,834,30189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58faeac216d34ca673837bac96eb2686.jpg",[],{"id":62611,"slug":62612,"title":50560,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62613,"thumbUrl":62615,"material":751,"size":752,"collection":95,"collections":62616,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246363,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-liu-jin-li-wan-yi-ming-246363",[2135,13336,40447,62614,7713,7,199,834],"铜鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19b081582a28881051ee0fe49a912cc8.jpg",[],{"id":62618,"slug":62619,"title":62525,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62620,"thumbUrl":62621,"material":751,"size":752,"collection":95,"collections":62622,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246361,"ti-hong-qian-long-yu-zhi-shi-jin-li-wan-yi-ming-246361",[2135,13336,40583,40447,7,834,49697,40407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7887cfe2eec06069cadf0395fc2ec75f.jpg",[],{"id":62624,"slug":62625,"title":50560,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62626,"thumbUrl":62627,"material":751,"size":752,"collection":95,"collections":62628,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246358,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-liu-jin-li-wan-yi-ming-246358",[13336,40447,15301,30189,7713,7,199,834,50563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7745a4a428a20f471930e071f57e4ee8.jpg",[],{"id":62630,"slug":62631,"title":50560,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62632,"thumbUrl":62633,"material":751,"size":752,"collection":95,"collections":62634,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246357,"qian-long-kuan-ti-hong-yu-zhi-shi-tong-liu-jin-li-wan-yi-ming-246357",[13336,50241,40447,62614,7713,7,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186b9220cd435a0371d0b4aa0e05f6e7.jpg",[],{"id":62636,"slug":62637,"title":62638,"dynasty":18,"author":454,"museum":107,"description":44782,"tags":62639,"thumbUrl":62641,"material":751,"size":752,"collection":95,"collections":62642,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},246198,"qian-long-kuan-tuo-tai-zhu-qi-ju-ban-shi-wan-yi-ming-246198","乾隆款脱胎朱漆菊瓣式碗",[13336,62640,7,140,834],"脱胎朱漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4786c86115a6464fb2347567909ac689.jpg",[],{"id":62644,"slug":62645,"title":62349,"dynasty":18,"author":454,"museum":107,"description":33012,"tags":62646,"thumbUrl":62647,"material":751,"size":752,"collection":95,"collections":62648,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},246189,"ti-hong-qian-long-yu-zhi-shi-bi-tong-yi-ming-246189",[13336,40583,7713,7,199,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2062f0bbef137e455806de744d6b0f.jpg",[],{"id":62650,"slug":62651,"title":62652,"dynasty":18,"author":454,"museum":107,"description":62653,"tags":62654,"thumbUrl":62655,"material":751,"size":752,"collection":95,"collections":62656,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},245758,"yin-fang-nuan-hu-yi-ming-245758","银方暖壶","方正器身包银为衣，岁月经年让银皮晕开深浅斑驳的痕迹，如时光拓下的旧印。提手缠裹织物，兼顾握持舒适与隔热实用，细节藏着生活的体贴。双壶配链扣圆盖，既锁牢温度，又防行走倾洒；侧出流口便于匀量倾倒，正面开孔暗含巧思，可作暖炉烘手煮水。上手题字带着市井烟火气，是旧时使用者的生活印记。将取暖、煮茶的日常需求融于一体，把平实的工艺揉进冬日起居，朴素形制里藏着古人的生活巧思，携带着旧时光里的温润暖意，尽显日常造物的实用美学。",[22487,2919,7713,7,60,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3467009d8698ad11f50ee4f11a3501b.jpg",[],{"id":62658,"slug":62659,"title":62660,"dynasty":18,"author":454,"museum":107,"description":62661,"tags":62662,"thumbUrl":62664,"material":751,"size":752,"collection":95,"collections":62665,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},245654,"jin-ye-biao-wen-yi-ming-245654","金叶表文","此器以黄金为材，筒身满饰缠枝纹，錾刻走线匀净流畅，枝叶蜿蜒往复如流金织就的锦绣，尽显华贵雍容。盖顶作宝塔状，层层收束，为整器添了几分庄重威仪。\n\n筒中金叶承载表文，以黄金为纸，将虔诚心绪凝铸其中。明丽金泽历经岁月仍温润如初，缠枝肌理层次分明，将金细作工艺的精妙展露无余。整器将贵金属的奢华与肃穆礼制意蕴相融，静诉旧时虔敬礼制的独特风华，尽显工艺的极致考究。",[30189,7713,7,2135,62663],"工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e808d67e07bd71e34f6a5a5d134092e.jpg",[],{"id":62667,"slug":62668,"title":62669,"dynasty":1892,"author":454,"museum":107,"description":8548,"tags":62670,"thumbUrl":62671,"material":751,"size":752,"collection":95,"collections":62672,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},244670,"ming-wen-ge-yi-ming-244670","铭文戈",[1896,15301,1783,1897,457,7,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff91c22eacb36cf3fd6e7c671d884885.jpg",[],{"id":62674,"slug":62675,"title":62676,"dynasty":45,"author":454,"museum":107,"description":39278,"tags":62677,"thumbUrl":62680,"material":751,"size":752,"collection":95,"collections":62681,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},244207,"qi-yan-shi-jing-yi-ming-244207","七言诗镜",[1896,15301,62678,62679,1897,7,26503],"铜镜","葵花形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56d36c67a7a7cc14fad02a517499aa5c.jpg",[],{"id":62683,"slug":62684,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":62685,"thumbUrl":62686,"material":751,"size":752,"collection":95,"collections":62687,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242597,"zhong-ke-chun-hua-ge-tie-yi-ming-242597",[7,198,200,60,398,77,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39aae1b0687f2454d100a0107051ee60.jpg",[],{"id":62689,"slug":62690,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62691,"tags":62692,"thumbUrl":62693,"material":751,"size":752,"collection":95,"collections":62694,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242596,"dong-shu-tang-tie-yi-ming-242596","墨色沉凝古雅，帖文取法二王笔意，行书兼具遒劲与秀逸，结体灵动舒展，笔画牵丝映带间尽显晋人风雅余韵。右侧题序字迹端稳朴拙，与帖文形成动静相宜的视觉层次。古旧装裱带着岁月浸淫的痕迹，纸墨交融间晕染出典型的刻帖风貌，将魏晋尺牍的萧散风神复刻留存。虽是传拓之作，却依旧能让观者触摸到千年前的书法意趣，窥见彼时帖学复刻的工艺水准与审美追求。",[7,198,199,26,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7c9c5d8cebb624de606f0764828421.jpg",[],{"id":62696,"slug":62697,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62698,"tags":62699,"thumbUrl":62700,"material":751,"size":752,"collection":95,"collections":62701,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242595,"dong-shu-tang-tie-yi-ming-242595","此帖墨色沉郁古雅，纸间带着岁月晕染的斑驳质感，所传为唐玄宗行书。笔势丰腴遒劲，牵丝映带间尽显流美灵动，既有帝王的雍容气度，又不失行书的潇洒意趣。\n\n版式疏朗端庄，朱印点缀其间，墨朱相映更添古雅意蕴。刻工精妙入微，将原作的笔锋转折、墨色枯湿都细致复刻，虽历经磨损，却更添沧桑古拙的金石韵味，尽显汇帖刻拓的精湛工艺，让盛唐笔意跨越时光，仍能在拓本里窥见当年的翰墨风流。",[7,198,60,77,1498,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8848ad4249bfec5c7d6a0aae5ea9efc1.jpg",[],{"id":62703,"slug":62704,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62705,"tags":62706,"thumbUrl":62707,"material":751,"size":752,"collection":95,"collections":62708,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242594,"dong-shu-tang-tie-yi-ming-242594","墨色沉凝古穆，版面朴雅厚重。此帖摹刻右军草书，笔势纵逸灵动，牵丝萦带间流转自然，字势欹正相生，行气连贯畅达，将晋人萧散疏朗的风神复刻传神。刻工精妙入微，留存原作使转提按的细腻变化，尽显右军笔法的秀逸遒劲。虽为刻帖，却最大程度还原晋人草法的隽永意趣，将王羲之笔下的萧散洒脱尽数呈现，笔墨间裹挟着跨越千百年的古典风雅，静静诉说着晋人尚韵的笔墨风华。",[7,60,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a32c5c97565039415b3a6755f97bf5.jpg",[],{"id":62710,"slug":62711,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62712,"tags":62713,"thumbUrl":62714,"material":751,"size":752,"collection":95,"collections":62715,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242593,"dong-shu-tang-tie-yi-ming-242593","此帖行书草书兼具，右页行书端雅温润，结体匀停舒展，笔画舒展间带着从容温雅的古意，将尺牍往来的平和心绪藏在笔墨起落里。左侧草书笔意纵逸连贯，牵丝萦带间尽显灵动姿致，把晋人萧散疏朗的气韵尽显纸面。\n\n虽为刻帖却摹刻精良，苍古沉静的墨色晕染在旧纸之上，带着被时光浸洗过的厚重质感。字里行间藏着旧时文人尺牍的风雅日常，把亲友间的牵念、问询都融在婉转笔墨中，让后世得以窥见往昔的翰墨风流。",[7,198,200,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa8fa97f57c08577458b723148f7243.jpg",[],{"id":62717,"slug":62718,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62719,"tags":62720,"thumbUrl":62721,"material":751,"size":752,"collection":95,"collections":62722,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242592,"dong-shu-tang-tie-yi-ming-242592","墨色沉郁古雅，拓本边缘晕开时光浸蚀的旧痕，藏着辗转流传的岁月温度。行笔牵丝映带，时而遒劲厚重，时而灵动舒展，排布错落间尽显晋唐行书的隽永意趣。朱印错落点缀，与乌墨底色相映成趣，金石的沉静质感与翰墨的流动生机相融。它复刻古帖风神，将往昔笔意凝于纸间，每一处顿挫转折都藏着古法传承的脉络，在斑驳旧影里晕开千载书法的氤氲气韵，静静诉说着帖学一路的风雅传承。",[7,198,60,77,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8db491d89392822945b183afa4e35f2.jpg",[],{"id":62724,"slug":62725,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62726,"tags":62727,"thumbUrl":62728,"material":95,"size":95,"collection":95,"collections":62729,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242591,"dong-shu-tang-tie-yi-ming-242591","此帖墨色沉凝乌亮，拓印精良细腻，字口朗晰，笔锋的提按转折宛然可见。小楷字形端雅秀挺，结体匀整舒和，行气贯通流畅，尽显晋唐小楷的清逸风神。\n\n泛黄的纸页裹挟着岁月痕迹，古朴装帧带着旧时光的沉静质感，虽经辗转流传，依旧完整保留了帖中笔墨的雅致意趣。笔笔恪守法度，又暗含灵动意韵，将传统帖学的含蓄雅致蕴藏其间，静静晕开跨越时光的翰墨温情。",[7,200,198,60,199,26,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab256754130b4059a2b81987e0d47136.jpg",[],{"id":62731,"slug":62732,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62733,"tags":62734,"thumbUrl":62735,"material":751,"size":752,"collection":95,"collections":62736,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242589,"dong-shu-tang-tie-yi-ming-242589","此帖墨色乌亮沉凝，小楷隽秀雅致，结体匀停温润，尽得晋唐尺牍的灵动意趣与端严法度。刻工精细入微，笔画间的牵丝映带分毫毕现，完整留存原作笔情墨韵。泛黄纸页裹挟着经年沧桑，将数百载翰墨风雅静静封存，每一处锋棱转折都藏着书写者的行气节奏，观者如见先贤濡毫挥运，于尺幅间体味小楷清雅韵致，尽显汇帖复刻的精巧匠心。",[26,198,200,7,199,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8486980d2cf09c7ca3d889f1c2625516.jpg",[],{"id":62738,"slug":62739,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62740,"tags":62741,"thumbUrl":62742,"material":751,"size":752,"collection":95,"collections":62743,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242588,"dong-shu-tang-tie-yi-ming-242588","此帖墨色乌亮莹润，纸墨交融间古意盎然。行间布白疏朗匀停，尽显行草流美之姿。笔画牵丝映带，圆劲灵动，既不失法度谨严，又暗含萧散简远的意趣。字字顾盼有情，行气连贯如一，将尺牍的散逸风神复刻传神。刊刻细腻忠实，笔锋转折、墨色枯润皆清晰留存，虽为刻拓，却不减挥毫时的鲜活意态，尽显精工刻帖的不俗水准，亦是窥见古帖风神的精妙范本。",[198,60,7,200,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552cab259916fe6d0bec37e78e430cbd.jpg",[],{"id":62745,"slug":62746,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62747,"tags":62748,"thumbUrl":62749,"material":751,"size":752,"collection":95,"collections":62750,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242587,"dong-shu-tang-tie-yi-ming-242587","此帖以乌亮墨底衬出行书笔触，温润灵动尽显二王风神。刻工精细入微，笔画提按转折锋芒未减，牵丝映带间笔意连贯流畅，墨色历经岁月依旧匀净莹润，古意盎然。\n\n版式疏朗妥帖，字行排布错落相宜，留白恰到好处。赏读之时，能清晰感知书写的韵律节奏，笔墨间流淌出晋人尚韵的风雅气度，虽为刻帖，却精准复刻原作精妙笔法，尽显帖学刻本的考究质感，留存下古法书的神韵风骨，实为刻帖之上佳之作。",[7,198,60,26,200,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6cdf58357a3a46e364cab1e91f51d12.jpg",[],{"id":62752,"slug":62753,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62754,"tags":62755,"thumbUrl":62756,"material":751,"size":752,"collection":95,"collections":62757,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242586,"dong-shu-tang-tie-yi-ming-242586","此旧拓墨色沉凝苍古，行草笔意俊逸流畅，字势牵丝映带，尽显二王一脉的潇洒意趣。拓制精良入微，锋棱回转、细劲牵丝皆清晰可辨，虽经年岁摩挲，仍能窥见原作的灵动风神。\n\n章法疏密相宜，字间顾盼有情，行气贯通如流泉，兼具挥洒疏朗与内敛沉静，尽显帖学的典雅蕴藉。古朴装帧裹挟着岁月质感，纸墨交融间，既藏着书法线条的流动之美，也留存着拓印技艺的匠心，是帖学流传与金石拓工结合的佳构。",[7,200,198,60,199,26,1498,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5b82dd5f5d07dcd126e630da6e5b28.jpg",[],{"id":62759,"slug":62760,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62761,"tags":62762,"thumbUrl":62763,"material":751,"size":752,"collection":95,"collections":62764,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242585,"dong-shu-tang-tie-yi-ming-242585","墨色沉凝古雅，历经岁月字口仍劲挺清晰。首篇《黄庭经》尽显王羲之妍雅疏朗书风，点画温润匀净，结体萧散冲和，尽显魏晋士人出尘风神。其后历代名臣书作，诸家笔意各臻其妙，或端雅浑穆，或舒展灵动。整帖章法匀整疏朗，黑底白字晕染自然，旧纸肌理带着时光斑驳印记。虽为刻拓，却未失笔墨书写的鲜活意趣，笔锋转折间留存古帖隽永神采，复刻传递前代法书的风雅气韵，沉淀着跨越年岁的翰墨沉香。",[198,7,77,26,110,199,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50803bbb019a302cc7206776edc57ca4.jpg",[],{"id":62766,"slug":62767,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62768,"tags":62769,"thumbUrl":62771,"material":751,"size":752,"collection":95,"collections":62772,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242583,"dong-shu-tang-tie-yi-ming-242583","此帖黑底银钩，刻摹精工细致，将王献之小楷的秀雅风神尽致留存。笔画舒展灵动，结体疏朗宕逸，转折间锋芒暗蕴，虽为刻本却不减笔墨流动之趣，尽显晋人尚韵的清雅气质。古纸斑驳间墨色沉凝，带着岁月晕染的厚重质感，既有刻帖自带的金石意趣，又完美传递出王献之书法里秀媚超举的笔意，将大令不为多见的端严小楷风貌留存，尽显帖学传承的古韵悠长。",[4038,7,198,77,199,62770,16862,36757,1498],"法书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5df89b124742ec5536c793cc14eb2f2.jpg",[],{"id":62774,"slug":62775,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":62776,"thumbUrl":62777,"material":751,"size":752,"collection":95,"collections":62778,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242582,"zhong-ke-chun-hua-ge-tie-yi-ming-242582",[7,25,198,200,60,398,77,3467,457,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6865654d6dd9013b851486566cf00e10.jpg",[],{"id":62780,"slug":62781,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62782,"tags":62783,"thumbUrl":62784,"material":751,"size":752,"collection":95,"collections":62785,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242579,"dong-shu-tang-tie-yi-ming-242579","此帖墨色乌亮莹润，镌刻精工细腻，完整留存原作笔意。小楷结体端庄秀雅，字形舒展匀停，点画间顾盼有情，兼具晋唐小楷的灵动意趣与端严法度。\n\n纸页虽因岁月经年泛着旧黄，却更衬出古雅沉静的气质，字口清晰传神，将墨迹的转折提按复刻得当。搭配古雅的论书文字，书法与文辞相得益彰，整体气息静谧安和，尽显小楷秀逸隽永之美，含蓄内敛的文人意趣浸透纸面，静静诉说着往昔的翰墨风流，是刻帖中的上乘佳构。",[7,200,198,199,432,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea813ca0825c3cecc9a3159f46151b53.jpg",[],{"id":62787,"slug":62788,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62789,"tags":62790,"thumbUrl":62791,"material":751,"size":752,"collection":95,"collections":62792,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242577,"dong-shu-tang-tie-yi-ming-242577","此帖汇录晋唐名臣手札，摹刻精到，墨色苍浑沉润。笔画流转间尽显晋人萧散飘逸的风神，结体兼具唐楷端稳之态，将尺牍里的雅致文心尽数留存。刻工深悟原作笔意，行笔的起伏顿挫、牵丝映带都清晰可辨，即便历经拓印，依旧能窥见先贤挥毫时的灵动韵致。版面排布疏朗和谐，字间气息连贯悠然，把旧日尺牍里的缱绻心绪与文人风骨复刻传递，让后世得以遥想晋唐名士的笔墨风流。",[7,200,198,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42510cc87c4f0653fe8fa346dcd809ea.jpg",[],{"id":62794,"slug":62795,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62796,"tags":62797,"thumbUrl":62798,"material":751,"size":752,"collection":95,"collections":62799,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242576,"dong-shu-tang-tie-yi-ming-242576","此帖墨色沉凝苍润，纸面带着旧时光晕染出的泛黄痕迹。刻工精妙入微，将原作笔意尽数留存，小楷点画灵动秀雅，提转之间尽显晋人尚韵的风神，结体端稳舒展，行气匀停流畅。\n\n字口虽经传拓依旧清晰可观，既有着法帖的规整肃穆，又不失尺牍自带的萧散意趣。整帖排布疏密合宜，笔锋的粗细变化与牵丝映带皆历历在目，带着复刻古帖的隽永质感，静静铺陈出古典笔墨的雅致意趣，尽显书法传承的厚重脉络。",[25,26,198,200,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab57f291b3ee9b5f20ab0629c84367f7.jpg",[],{"id":62801,"slug":62802,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62803,"tags":62804,"thumbUrl":62805,"material":751,"size":752,"collection":95,"collections":62806,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242575,"dong-shu-tang-tie-yi-ming-242575","此为汇帖拓本，纸色泛黄晕染岁月痕迹，古意盎然。右侧开篇题识端整，其后尺牍行笔灵动婉转，牵丝映带自然随性，将晋人尺牍萧散简远的风神复刻传神。左侧字迹笔力遒劲爽朗，字形欹正相生，布局错落有致。刻工精妙入微，忠实还原原帖墨色浓淡与提按使转的细节，将行书的飘逸妍美与法度意趣平衡恰到好处，尽显魏晋尚韵的书法美学。观者可于拓痕间遥窥先贤笔底风流，它兼具临摹研习与收藏赏鉴价值，笔墨间藏着千载不散的清雅书卷意。",[7,198,200,26,60,77,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cd3c38eb7426b33a0be52097ef1671.jpg",[],{"id":62808,"slug":62809,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62810,"tags":62811,"thumbUrl":62812,"material":751,"size":752,"collection":95,"collections":62813,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242574,"dong-shu-tang-tie-yi-ming-242574","墨色沉凝乌亮，字势端雅匀整，是典型的尚法小楷风貌。笔画清劲爽利，起收顿挫皆具法度，点画排布疏密合宜，通篇气息沉静安和，尽显明人追循晋唐笔法的书风特质。历经岁月，纸面虽残损泛黄，却更添古旧温润的质感，将帖中文字的文思与书艺完美融合，观者摩挲字迹间，可遥见昔人作书时的端严笔态，体味笔墨间承载的雅韵与悠悠文脉。",[7,199,200,198,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ad695dd964a2020a32c2b0b0e987c7.jpg",[],{"id":62815,"slug":62816,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62817,"tags":62818,"thumbUrl":62819,"material":751,"size":752,"collection":95,"collections":62820,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242572,"dong-shu-tang-tie-yi-ming-242572","此拓本墨色沉穆匀净，黑底映出的笔痕清劲明朗。通篇行书取法魏晋尺牍，笔意灵动圆融，牵丝映带间尽显流转自如的书写意趣，字势欹正相生，毫无板滞之感。\n\n章法排布疏朗错落，行气松弛舒展，将尺牍信手写就的随性自然尽数留存。墨色枯湿浓淡的细节虽经拓印仍依稀可辨，原作书写时的起伏心绪仿佛透过纸面扑面而来，尽显文人萧散疏阔的襟怀，带着帖学特有的隽永雅致，静静诉说着古典书法的笔墨情长。",[7,198,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449842857353f416ddba46f198dd154.jpg",[],{"id":62822,"slug":62823,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62824,"tags":62825,"thumbUrl":62826,"material":95,"size":95,"collection":95,"collections":62827,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242571,"dong-shu-tang-tie-yi-ming-242571","此帖取魏晋尺牍，行书萧散简远，尽显晋人尚韵风流。点画圆融灵动，牵丝映带细腻妥帖，结体欹正相生，笔势舒展自在，将魏晋名士疏放襟怀藏于笔墨之间。\n\n刻工精妙，拓制精良，墨色乌亮莹润，忠实还原原作意趣，虽为刻帖却不失手札的鲜活意态，纸墨交融间，将晋唐法书的隽逸雅秀留存下来。展卷观之，仿佛能窥见古人挥毫时的从容自在，尽显丛帖刻拓的匠心与古法书的清逸风神。",[7,200,198,26,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8678b2398c5d0bd923830ac05dc701.jpg",[],{"id":62829,"slug":62830,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62831,"tags":62832,"thumbUrl":62833,"material":751,"size":752,"collection":95,"collections":62834,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242570,"dong-shu-tang-tie-yi-ming-242570","墨色如漆莹润匀净，银钩铁画跃然楮间，字字裹挟汉家笔墨的朴茂古雅。笔画筋骨内含，牵丝映带暗合书写时的流转气韵，结体端稳又不乏舒展意趣，将古帖风神复刻传神。版式疏朗沉静，虽为刻帖，却最大程度留存原作笔墨温度，纸面晕开的旧痕晕染出岁月沉淀的温雅质感，尽显复刻经典、传承翰墨的深心。",[7,200,198,60,36757,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1ee2a2e6b7878cc3fc0c876029bf1f.jpg",[],{"id":62836,"slug":62837,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62838,"tags":62839,"thumbUrl":62840,"material":751,"size":752,"collection":95,"collections":62841,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242569,"dong-shu-tang-tie-yi-ming-242569","此帖墨色乌亮沉润，黑底白字镌刻精工，最大限度留存了原迹意趣。书风端雅灵动，兼具魏晋小楷的隽秀意蕴与唐楷的谨严法度，行笔温润秀劲，起收转合皆见法度，笔画排布疏密得宜，字字舒展雅致。通篇气息匀净安和，字距行距错落谐调，虽经镌刻，却未失笔墨原初的灵动意韵，清雅书卷之气扑面而来，尽显古帖静穆雅致的风神，堪称刻帖中的精良之作，将传统小楷端庄秀逸之美尽显无遗。",[7,199,200,198,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eea1411778f3908e76d2e09b4a77c6.jpg",[],{"id":62843,"slug":62844,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62845,"tags":62846,"thumbUrl":62847,"material":751,"size":752,"collection":95,"collections":62848,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242568,"dong-shu-tang-tie-yi-ming-242568","此帖荟萃魏晋名臣法书，刻拓精工雅致，墨色沉凝如古潭寒玉。左侧羊欣行草萧疏散淡，线条舒展如流云出岫，将暮春感怀的澹然心绪融于笔墨，尽显晋人简远萧散的林下之风。右侧王献之书作笔势开张奇逸，牵丝映带间跌宕相生，结体欹侧灵动，藏露锋互见，既有法度谨严之态，又不失俊爽疏朗之姿。刻工将原作的提按转折、墨色枯润悉数留存，黑底白字古雅沉静，把魏晋尺牍的风神意韵复刻传神，尽显明人汇帖的精湛水准，是追慕魏晋书风的绝佳范本。",[7,198,200,60,398,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dee3a729b9a52355a03a1291f4928a6.jpg",[],{"id":62850,"slug":62851,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62852,"tags":62853,"thumbUrl":62854,"material":751,"size":752,"collection":95,"collections":62855,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242567,"dong-shu-tang-tie-yi-ming-242567","此帖墨色乌沉莹润，刻工精妙入微，尽得唐贤行书神髓。开篇题字端雅周正，尺牍书法则灵动舒展，牵丝映带间流转晋唐风流。笔势或敛或舒，随性自然却不失法度，将文人尺牍的闲散意趣尽显无余。古旧纸面带着岁月浸蚀的斑驳痕迹，更衬出帖中笔墨的清雅韵味，既复刻出唐贤笔意的婉转风神，也彰显出汇帖刻拓的精湛水准，让千年前的文人笔墨意趣，在拓本中辗转留存至今。",[4038,7,198,200,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b08e1cab57bf7aebd0e4147c30fa250.jpg",[],{"id":62857,"slug":62858,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62859,"tags":62860,"thumbUrl":62861,"material":751,"size":752,"collection":95,"collections":62862,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242566,"dong-shu-tang-tie-yi-ming-242566","此帖以乌沉为底，泥金书字，沉凝底色与焕然金彩相映，古雅沉静扑面而来。笔画灵动舒展，尽得右军笔意，牵丝映带间藏晋人萧散飘逸之致。行气匀停疏朗，字势顾盼有情，将尺牍的随性自然与刻帖的精工妥帖相融，既有手札的笔墨意趣，又不失刊刻的规整端严。刀笔追摹毫厘之间，将行书的温润秀雅留存板面，虽经岁月晕染，金石之气与翰墨风神依旧粲然可观，尽显旧时刻帖工艺的匠心，与晋人书法的风流韵致。",[7,60,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc89989474374949eee9dd821db882ab.jpg",[],{"id":62864,"slug":62865,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62866,"tags":62867,"thumbUrl":62868,"material":751,"size":752,"collection":95,"collections":62869,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242565,"dong-shu-tang-tie-yi-ming-242565","墨色沉凝古雅，是汇帖刻本的典型风貌。行列排布匀整疏朗，字间气脉连贯，虽经镌刻，依旧保留原作笔墨意趣。行笔从容舒展，提按转折尽显晋人尺牍萧散风神，尺牍套语亦写得雍和雅致，毫无板滞之感。刻工精良细致，将原迹枯润粗细的细节变化尽数复刻，黑底间字口清晰劲挺，融合金石质感与翰墨柔韵。\n整页尽显魏晋士人温婉恭谨的书信仪制，让后世得以窥见晋代名臣法帖的隽秀风神，是颇为精到的汇帖刻本。",[7,198,200,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83b36fe2a136f4a8c148ce2fe6c841d.jpg",[],{"id":62871,"slug":62872,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62873,"tags":62874,"thumbUrl":62875,"material":751,"size":752,"collection":95,"collections":62876,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242564,"dong-shu-tang-tie-yi-ming-242564","此帖墨色沉凝如古砚寒潭，银字劲挺，尽现刻拓工艺的精妙。所选唐人行书笔意舒展灵动，结体舒朗雅致，提按转合间自带朝堂文臣的端方气度，又藏着文人挥毫的潇洒意趣。刻工细致入微，将原作的笔墨起伏悉心留存，虽经拓印复刻，却未失行书的婉转韵律，通篇气息绵连贯通，带着旧时光摩挲过的沉静质感，尽显古法帖的隽永风华，字里行间晕开千年前的翰墨风流。",[7,199,77,1498,27,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa218ae83c1c66d55dfd83df7d57094ad.jpg",[],{"id":62878,"slug":62879,"title":35082,"dynasty":45,"author":454,"museum":107,"description":62880,"tags":62881,"thumbUrl":62882,"material":751,"size":752,"collection":95,"collections":62883,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242562,"dong-shu-tang-tie-yi-ming-242562","此帖墨色莹润如乌漆，金字灿然醒目。所录草书取法晋唐，笔画牵丝映带、流转自如，结体欹正相生，将章草古雅意趣与今草流便姿态相融，笔力道劲又不失秀逸。行间布白匀停，字势顾盼有情，摹刻极尽精微，原作的笔意起伏、墨痕层次皆被悉心留存，虽为刻帖，却能传递出书写时的灵动气韵，尽显刻帖工艺与书法审美的精妙融合，藏有雅致隽永的古典意韵。",[7,200,198,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F134d2d6dca7f23269cf5e643df89aa1c.jpg",[],{"id":62885,"slug":62886,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62887,"tags":62888,"thumbUrl":62889,"material":751,"size":752,"collection":95,"collections":62890,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242560,"bao-xian-tang-tie-yi-ming-242560","此作为草书刻帖，笔势灵动奔放，牵丝映带如行云流水，尽显晋人尚韵的萧散风神。碑刻墨色沉凝苍古，刀锋精妙还原笔墨意趣，笔画粗细疾缓皆被细致复刻。字间顾盼生姿，行气连贯悠长，将草书跌宕挥洒的韵致完美留存于石上。\n\n章法疏密有致，通篇气息疏朗放旷，虽经镌刻却不失笔墨温润意趣，仍可体味到原作的魏晋风骨。点画间藏锋与露锋交替，提按转合皆存书写时的鲜活意态，让后世得以摩挲千载之上的书法神采，是复刻晋贤笔意的刻帖佳制。",[7,198,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa53de34322da52963346a1e3d5512a02.jpg",[],{"id":62892,"slug":62893,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62894,"tags":62895,"thumbUrl":62896,"material":751,"size":752,"collection":95,"collections":62897,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242559,"bao-xian-tang-tie-yi-ming-242559","此作为漆地填白榜书，二字从右观为“清事”。用笔雄放苍劲，中锋行笔凝练厚重，大开大合间尽显朴拙气度。“清”字竖画斩截利落，撇捺开张如古松探云，欹正相生间雅意暗藏。“事”字笔势连贯圆劲，转折老辣，筋骨尽显。漆色沉黑与填白形成强烈视觉对比，岁月浸漫下漆面斑驳开裂，更添苍浑古旧质感，将文人寄怀清逸雅事的襟怀，融于磅礴笔墨之中，尽显狂放又不失沉厚的独特韵致。",[4038,198,7,200,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff2f5c0ea0b09cf5933f8c3777c811a.jpg",[],{"id":62899,"slug":62900,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62901,"tags":62902,"thumbUrl":62903,"material":751,"size":752,"collection":95,"collections":62904,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242558,"bao-xian-tang-tie-yi-ming-242558","此作为草书尺牍刻拓，墨色沉穆古雅，字口锋棱宛然，完整复刻晋人草法的潇散意趣。行笔牵丝映带自然流畅，将尺牍里随性松弛的日常笔意精妙留存，笔画粗细欹侧互为呼应，把书家挥毫时的起落节奏尽数传递，尺牍间的闲散日常跃然纸上。整幅行气连贯舒展，尽显魏晋尚韵的风神，枯湿浓淡的笔墨变化在拓痕间依稀可辨，将晋人草书简远澹泊的雅趣留存，是承接魏晋笔墨薪火的珍贵载体，让后人得以窥见彼时文人尺牍里的笔墨情致与精神气度。",[4038,7,198,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09542784ab20b197a3faf4c1005a1d53.jpg",[],{"id":62906,"slug":62907,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62908,"tags":62909,"thumbUrl":62910,"material":751,"size":752,"collection":95,"collections":62911,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242557,"bao-xian-tang-tie-yi-ming-242557","此帧汇录晋人尺牍，行草笔致流宕舒展，牵丝映带间尽得晋人尚韵风神。刻工精严，乌亮墨色凝厚沉古，虽经岁时磨泐，仍忠实复刻出晋人笔墨的使转提按，将尺牍里的萧散简远一一铺陈开来。\n\n字里行间漫溢魏晋名士的通脱自在，版式疏朗雅致，让尺牍里的日常意趣跃然楮间，既留存下晋人法书的真意，也尽显汇刻丛帖承载古法、传递书脉的珍贵价值，是追慕魏晋书风的绝佳范本。",[7,60,198,77,4038,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff504e36dbaca80f0b17fd0a9053c6268.jpg",[],{"id":62913,"slug":62914,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62915,"tags":62916,"thumbUrl":62917,"material":751,"size":752,"collection":95,"collections":62918,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242556,"bao-xian-tang-tie-yi-ming-242556","此作为行草书刻帖，墨色沉郁古雅，刊刻精工细致，将原作笔意风神留存真切。线条灵动舒展，牵丝映带间尽显笔势连贯畅达，字势顾盼相生，既有草书的流宕快意，又不失行书的沉稳端雅。\n\n章法排布匀停疏朗，字间行气贯通浑成，笔墨的枯湿浓淡经由刻拓隐约可辨，即便复刻亦不减笔墨生动之趣，尽显晋人尺牍的萧散简远。字里行间自带旧时文人翰札往来的散淡情致，让人得以遥想彼时尺素传情的风雅意趣，是复刻晋人书风的精良范本。",[198,7,200,60,199,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc52885f2001b96cb47eb6b90c34d74.jpg",[],{"id":62920,"slug":62921,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62922,"tags":62923,"thumbUrl":62924,"material":751,"size":752,"collection":95,"collections":62925,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242555,"bao-xian-tang-tie-yi-ming-242555","此帖以刀锋追摹右军笔意，线条圆劲灵动，牵丝映带间尽显草书使转之精妙，将王羲之草法的潇洒韵致凝于石上。行气疏朗跌宕，字势欹正相生，把晋人尚韵的风神尽数留存。\n\n作为集古法帖，虽为刻本却忠实复刻了笔法的提按起伏，墨色苍古沉静，带着旧拓的朴拙质感。观之如见右军挥毫时的自在神采，将东晋草书的妍美放达与文人雅趣完美复刻，尽显帖学传承的深厚底蕴。",[25,198,398,77,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6631ede1996abb541a4c971f6d8841.jpg",[],{"id":62927,"slug":62928,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62929,"tags":62930,"thumbUrl":62931,"material":751,"size":752,"collection":95,"collections":62932,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242554,"bao-xian-tang-tie-yi-ming-242554","此帖墨色沉浑苍古，碑面带着经年拓印留下的斑驳痕迹，依旧难掩书法神采。行草相间，用笔灵动苍劲，牵丝映带间尽显笔意连贯畅达，字势欹侧相生，既有晋唐尺牍的随性舒展，又暗含严谨法度。行列排布错落却气脉贯通，题跋与正文呼应自然，将原作的笔墨意韵妥帖复刻。金石质感浓厚，朴茂雅致的气质尽显刻帖特色，即便历经岁月磨洗，依旧能窥见书家挥毫时的潇洒意态，静静诉说着古帖流传的雅致风骨，尽显传统书法流转千年的艺术美感。",[4038,7,198,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05900414101208b365223c797a07b7d.jpg",[],{"id":62934,"slug":62935,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62936,"tags":62937,"thumbUrl":62938,"material":751,"size":752,"collection":95,"collections":62939,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242553,"bao-xian-tang-tie-yi-ming-242553","此帖行草相间，欹侧灵动，字势跌宕错落，笔墨意趣在刊刻的刀痕里清晰留存。笔画粗细互见，牵丝映带精妙雅致，既有晋唐行书的隽秀法度，又带着明代书风的畅达舒展。\n\n章法上疏行距、紧字距，通篇气息连贯浑然，每一处转折提按都藏着书写时的起伏节奏。刻工细致，精准复刻原作使转的细腻层次，让原本的笔墨韵律透过石板传递，尽显帖学流美的雅致风神，是汇帖中兼具艺术表现力与刊刻水准的佳品。",[7,198,60,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be6f9aae81dd167b169004179a0df1.jpg",[],{"id":62941,"slug":62942,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62943,"tags":62944,"thumbUrl":62945,"material":751,"size":752,"collection":95,"collections":62946,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242552,"bao-xian-tang-tie-yi-ming-242552","此行书刻帖笔势酣畅灵动，结体欹正相生。苏轼书迹雄放中见秀逸，提按顿挫尽显跌宕意趣，牵丝连带婉转自如，将东坡居士疏朗旷达的性情寄寓笔墨间。整幅章法错落有致，字间呼吸自然，墨色虽经拓印沉凝古雅，却不减原作舒展潇洒的风神。刻工精良，将笔锋粗细变化、墨色枯润过渡细致复刻，留存宋贤书法风韵，尽显刻帖技艺精湛，让后世得以窥见彼时名家书法的疏宕雅致。",[7,198,60,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5458890541473b19b1f0a3cf06d11e69.jpg",[],{"id":62948,"slug":62949,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62950,"tags":62951,"thumbUrl":62952,"material":751,"size":752,"collection":95,"collections":62953,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242551,"bao-xian-tang-tie-yi-ming-242551","此页草书刻拓沉凝乌亮，字口清劲分明，将原作笔意妥帖留存。行笔纵逸跌宕，牵丝映带间流转自然，字势欹正相生，既有晋人草书简淡玄远的风神，又带着刻拓朴拙的质感。\n\n以古贤尺牍为内容，章法错落疏朗，行间留白萧散，尽显魏晋士人通脱放旷的意态。笔墨粗细变化历历可见，使转提按皆藏韵致，虽经刻拓未掩疏放意趣，读之如晤古贤，可窥彼时尺牍往来的风雅，兼具艺术审美与文献意趣。",[198,7,200,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea2b6bfff4f8f09cabc97067fdd8733.jpg",[],{"id":62955,"slug":62956,"title":50577,"dynasty":45,"author":454,"museum":107,"description":62957,"tags":62958,"thumbUrl":62959,"material":751,"size":752,"collection":95,"collections":62960,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242550,"bao-xian-tang-tie-yi-ming-242550","此帖以草书为体，笔势灵动奔放，牵丝映带间尽显晋人尚韵的风流格调。字势欹侧跌宕，线条粗细变化自然随性，将草书写意抒情的特质挥洒得淋漓尽致。整体排布疏密有致，行气贯通无碍，虽字字独立却气脉相连，足以窥见书写时的畅达心境。刻工精熟高妙，将原作笔墨的枯润浓淡较好复刻留存，虽经传拓，依然能品味到原迹的潇洒风神，尽显古帖流传过程里的金石韵味与书法美学价值。",[7,198,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c43a191981be3325fc8af474c99b1ea.jpg",[],{"id":62962,"slug":62963,"title":62964,"dynasty":18,"author":454,"museum":107,"description":62965,"tags":62966,"thumbUrl":62967,"material":751,"size":752,"collection":95,"collections":62968,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},242548,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242548","清初拓宝贤堂法帖","这两幅榜书大字，笔力雄强苍劲，线条枯润相生，飞白处尽显老辣朴拙的质感。“清”字左疏右密，结构沉稳端方，笔画敦实厚重，静穆庄重；“事”字则盘旋连贯，牵丝映带间气脉贯通，开张舒展尽显恣肆豪迈。墨色沉凝匀净，拓工精良，将原作的笔法意趣完整留存，黑白对比强烈，视觉冲击力十足，尽显榜书特有的雄浑大气，字里行间裹挟着挥毫时的磅礴力道，尽显豪迈开阔的气度，完美呈现出原作的书法风骨。",[198,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce085fd6f7a34accd236cc4e27ae452.jpg",[],{"id":62970,"slug":62971,"title":62964,"dynasty":18,"author":454,"museum":107,"description":62972,"tags":62973,"thumbUrl":62974,"material":751,"size":752,"collection":95,"collections":62975,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242547,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242547","此拓本墨色乌莹，字口朗润劲挺。所镌草书笔势灵动俊逸，牵丝映带间尽显晋人尚韵风流。提按转折皆见筋骨，线条舒展自在，将草书遒美健秀的特质展露无遗。\n\n整帖行气贯通，布局匀停，虽为刻本却留存原作笔墨使转之态。字势欹正相生、疏密相宜，每字皆具姿态，洒脱自在的魏晋风神跃然纸上，尽显挥毫时的疏放意趣，是复刻晋贤笔意的精良范本。",[7,198,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d940631214cf85f09cf660d8c23561.jpg",[],{"id":62977,"slug":62978,"title":62964,"dynasty":18,"author":454,"museum":107,"description":62979,"tags":62980,"thumbUrl":62981,"material":751,"size":752,"collection":95,"collections":62982,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242546,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242546","墨色沉凝古雅，黑底白字交相衬映，尽显晋人行草风流。整幅行气贯通，字势顾盼生姿，牵丝映带间藏着潇洒韵致，既有法度内的端雅，又不失率性疏朗的意趣。\n\n拓工精良入微，将原作笔墨的粗细起伏、转折棱角尽数留存，枯润浓淡复刻得恰到好处。虽为拓本，却满溢手书的鲜活意态，带着岁月沉淀下的沉静古拙，静静铺陈出旧时文人笔下的风神与雅韵，尽显帖学艺术的隽永魅力。",[198,7,60,398,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7f12b6c03143b5e7d86a22defb509e7.jpg",[],{"id":62984,"slug":62985,"title":62964,"dynasty":18,"author":454,"museum":107,"description":62986,"tags":62987,"thumbUrl":62988,"material":751,"size":752,"collection":95,"collections":62989,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242544,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242544","墨色苍润匀净，纸底乌亮莹润，尽显旧拓的沉静古意。此帖为王羲之行书尺牍，笔势流转自然，牵丝映带如行云流水，笔画粗细跌宕，刚柔并济，将晋人萧散疏朗的风神藏于方寸笔墨间。整帖布局疏密相宜，字势欹正相生，虽经刻拓，原作使转的锋芒意趣依旧鲜活留存。末尾朱红鉴藏印与乌墨相映，为帖页更添厚重的典藏底蕴，金石气与书卷气相融，尽显法帖隽永的书法魅力与传世旧拓的古雅质感。",[7,198,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ca48c8455749d149e1825a1ab9497f.jpg",[],{"id":62991,"slug":62992,"title":62964,"dynasty":18,"author":454,"museum":107,"description":62993,"tags":62994,"thumbUrl":62995,"material":751,"size":752,"collection":95,"collections":62996,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242543,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242543","此帖以乌金拓就，黑底留白间尽显行草风流。笔势舒展灵动，线条圆劲飘逸，将王羲之萧散超逸的魏晋风神尽显无遗。章法错落自然，字间顾盼生姿，牵丝萦带间尽显笔墨流转之妙，藏露、疾徐相得益彰，把王氏行书潇洒出尘的气度诠释尽致。\n\n墨色沉凝匀净，拓工精良细致，忠实还原原作的笔锋神韵，字里行间带着金石古雅韵味，朱红钤印点缀其上，黑白朱三色相映，更添古雅端方之气，尽显法帖典藏价值，可从中窥览魏晋书法审美意趣，是兼具艺术审美与收藏价值的佳拓。",[7,198,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffddb58f47b29504a6533381a711218e6.jpg",[],{"id":62998,"slug":62999,"title":62964,"dynasty":18,"author":454,"museum":107,"description":63000,"tags":63001,"thumbUrl":63002,"material":751,"size":752,"collection":95,"collections":63003,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242542,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242542","此帖墨色乌亮莹润，字口清晰劲挺。行书笔意灵动婉转，牵丝映带自然圆融，尽显王氏笔法飘逸秀雅之态。开篇端稳，笔墨渐次舒展跌宕，笔画粗细随势变幻，线条舒展且筋骨内含，将晋人尚韵的风雅尽数展露。\n\n章法错落疏朗，字间顾盼生情，通篇气脉贯通，把尺牍里的缱绻心绪融在笔墨流转之中。既有法度谨严之态，又不失萧散旷达的风神，将魏晋士人疏放雅致的心境藏在点撇捺挑之间，尽显古法帖的隽永神采，让晋人书法的飘逸韵致跨越岁月，依旧动人心弦。",[198,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf413e8a4d1a76518c0e92beb16077dc.jpg",[],{"id":63005,"slug":63006,"title":62964,"dynasty":18,"author":454,"museum":107,"description":63007,"tags":63008,"thumbUrl":63009,"material":95,"size":95,"collection":95,"collections":63010,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242541,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242541","此作用笔纵逸灵动，行草交织间尽显潇洒风神。提按转合暗藏筋骨，牵丝映带串联章法，字势欹正相生，既有奔涌的笔墨意趣，又不失内敛法度。\n\n墨色沉凝古雅，碑拓晕染出岁月厚重质感，笔画枯润浓淡兼具，将晋人尚韵书风尽致展现。行气连贯通脱，字字俯仰呼应，随性自然间抒怀写意，亦见世家清雅风骨，尽显晋人疏朗散淡的审美意趣。",[198,7,398,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0b8aa23af6ca2aa9f6de6f11547d3b.jpg",[],{"id":63012,"slug":63013,"title":62964,"dynasty":18,"author":454,"museum":107,"description":63014,"tags":63015,"thumbUrl":63016,"material":751,"size":752,"collection":95,"collections":63017,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242540,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242540","此拓本右页摹虞世南行书，笔致温婉秀润，结体舒展端雅，尽显初唐君子温文之风，文辞清隽与书气相融。左页行草灵动跌宕，牵丝映带间行气贯通，使转间尽显笔意流转之美。\n\n墨色乌亮匀净，古纸底色沉雅，装裱齐整妥帖，尽显清初拓制工艺之精良。刻工精准捕捉先贤笔墨细节，将原作笔锋起伏、墨色枯润尽数留存，虽经摹拓，未失原作风神。既复刻初唐书法的蕴藉雅致，亦承载着清代传拓技艺的严谨考究，是兼具艺术赏鉴与文献价值的碑帖佳本。",[198,7,60,398,199,457,77,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe3de8fcaba0569a9042b05e900e4e0f.jpg",[],{"id":63019,"slug":63020,"title":62964,"dynasty":18,"author":454,"museum":107,"description":63021,"tags":63022,"thumbUrl":63024,"material":751,"size":752,"collection":95,"collections":63025,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242539,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242539","此作为行书刻帖，字势灵动舒展，刚柔并济。笔墨粗细变化自然，牵丝映带间笔意连贯，行气舒朗流畅，尽显书写者清逸散淡的文人意趣。\n\n整帖排布匀整，乌亮拓墨与留白相映，既有手写原作的潇洒韵致，又因刻拓工艺晕染出苍朴厚重的金石质感，精妙复刻出原迹的笔墨细节。\n\n字里行间浸透清雅书卷气，尽显明清刻帖复刻古法的功力，在方寸之间留存下古帖的笔墨风神，是兼具审美意趣与帖学价值的刻本佳作。",[198,7,200,60,199,1613,457,398,77,678,63023,250],"星河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e36128f7ce1719b889445ed60f1080.jpg",[],{"id":63027,"slug":63028,"title":62964,"dynasty":18,"author":454,"museum":107,"description":63029,"tags":63030,"thumbUrl":63031,"material":751,"size":752,"collection":95,"collections":63032,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242538,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242538","此帖墨色乌亮沉凝，拓工精湛，字口清劲饱满。所录行书尺牍笔致灵动秀逸，牵丝映带间流转自然，尽显潇洒韵致。行气舒展连贯，既存晋人尺牍的散逸风神，又不失规整法度。\n\n左右开页排布均衡，朱红印章错落点缀乌墨纸间，朱墨相映更衬古雅沉静。整体尽显帖学特有的温润书卷气，藏着古人手札里的笔墨意趣与文人风雅，是清代刻拓法帖中的可观之作。",[198,7,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b47e196a423f8f56cd7007da509448.jpg",[],{"id":63034,"slug":63035,"title":62964,"dynasty":18,"author":454,"museum":107,"description":63036,"tags":63037,"thumbUrl":63038,"material":751,"size":752,"collection":95,"collections":63039,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242537,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242537","此帖墨色乌亮沉凝，匀净莹润，尽显老拓古雅风华。右开尺牍行草牵丝映带，笔意流转随心，结体欹正相生，将晋人尺牍里的日常心绪融于笔墨，萧散放旷的名士风神尽显。左开张华书帖线条圆劲温润，收放自如，笔势舒展雅致，晋人尚韵的特质呼之欲出。\n\n整帖刊刻精良，忠实还原晋人行草笔法意趣，黑底白字对比鲜明，章法错落自然，带着岁月沉淀下的沉静质感，尽显魏晋文人翰札的风流意态，是法帖拓本里的上乘之作。",[198,7,60,398,77,3467,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1430a5cb91c8d6d9bd0d3bc6c31fde79.jpg",[],{"id":63041,"slug":63042,"title":62964,"dynasty":18,"author":454,"museum":107,"description":63043,"tags":63044,"thumbUrl":63045,"material":751,"size":752,"collection":95,"collections":63046,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242536,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242536","此帖为行书拓本，尽得苏字风神。右页字形开张宕逸，行笔粗细变幻随性自然，将东坡尺牍的疏放萧散尽显无余。左页笔意朴茂温厚，牵丝映带间藏着疏朗雅致的文人意趣，点捺起落皆是从容气度。\n\n墨色乌亮莹润，朱红鉴印错落点缀，衬得黑底字痕愈发清劲分明，尽显拓工精湛水准。尺幅之内，日常尺牍的闲散意趣与书法的雄放风骨融为一体，既有手写的灵动鲜活，又留存金石拓本的沉静质感，尽显帖学雅致风貌。",[198,7,60,457,3467,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c685ab2bc34cde9483879140abd6b74.jpg",[],{"id":63048,"slug":63049,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63050,"thumbUrl":63051,"material":751,"size":752,"collection":95,"collections":63052,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242535,"zhong-ke-chun-hua-ge-tie-yi-ming-242535",[7,398,199,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F085fba1e000d3c7f779c0f3dcaf71090.jpg",[],{"id":63054,"slug":63055,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63056,"thumbUrl":63057,"material":751,"size":752,"collection":95,"collections":63058,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242534,"zhong-ke-chun-hua-ge-tie-yi-ming-242534",[7,200,198,77,398,60,110,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1a9b6b3e7a2b8c80d45f905222cc19.jpg",[],{"id":63060,"slug":63061,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63062,"thumbUrl":63063,"material":751,"size":752,"collection":95,"collections":63064,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242532,"zhong-ke-chun-hua-ge-tie-yi-ming-242532",[7,198,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc830df48b98b68f3f57d8d80b5c9a00e.jpg",[],{"id":63066,"slug":63067,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63068,"thumbUrl":63069,"material":751,"size":752,"collection":95,"collections":63070,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242531,"zhong-ke-chun-hua-ge-tie-yi-ming-242531",[7,60,398,198,77,110,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa356b04a62c2e247ad07175d3aef956.jpg",[],{"id":63072,"slug":63073,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63074,"thumbUrl":63075,"material":751,"size":752,"collection":95,"collections":63076,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242530,"zhong-ke-chun-hua-ge-tie-yi-ming-242530",[7,198,200,110,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfdfdeb45e14bad6545155ed90919845.jpg",[],{"id":63078,"slug":63079,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63080,"thumbUrl":63081,"material":751,"size":752,"collection":95,"collections":63082,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242528,"zhong-ke-chun-hua-ge-tie-yi-ming-242528",[25,7,398,199,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab8c1d0880fa076342f3579a826816c.jpg",[],{"id":63084,"slug":63085,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63086,"thumbUrl":63087,"material":751,"size":752,"collection":95,"collections":63088,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242527,"zhong-ke-chun-hua-ge-tie-yi-ming-242527",[7,198,77,60,398,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482f46e0124920f911982c21c306fd90.jpg",[],{"id":63090,"slug":63091,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63092,"thumbUrl":63093,"material":751,"size":752,"collection":95,"collections":63094,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242526,"zhong-ke-chun-hua-ge-tie-yi-ming-242526",[7,198,398,60,77,110,200,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8774d059913ecec88e9512fb8fab6f3.jpg",[],{"id":63096,"slug":63097,"title":40599,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63098,"thumbUrl":63099,"material":751,"size":752,"collection":95,"collections":63100,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},242525,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242525",[7,25,60,398,110,77,26,200,198,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c10973ed89f3c847a44a0a2262a3ed.jpg",[],{"id":63102,"slug":63103,"title":40599,"dynasty":18,"author":454,"museum":107,"description":63104,"tags":63105,"thumbUrl":63106,"material":95,"size":95,"collection":95,"collections":63107,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242523,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242523","淡绿笺面匀净雅致，泥金晕染牡丹枝叶，柔婉的花色枝叶暗作底衬，晕出古雅书卷氛围。行书题跋随笔势流转舒展，笔画秀润间暗含劲挺骨力，牵丝映带自然灵动，尽得帖学娟秀雅逸之韵。文辞随笔墨铺展，将重镌心得娓娓道来，笔墨与题识相生相融，尽显追摹法帖的文人意趣，书画合璧，是兼具鉴藏意涵与雅致格调的小品佳构。",[25,7,60,77,200,110,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41cc4824af059d4dc7b3a26fe91db27.jpg",[],{"id":63109,"slug":63110,"title":40599,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63111,"thumbUrl":63112,"material":751,"size":752,"collection":95,"collections":63113,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242522,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242522",[7,60,110,77,200,198,26,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc03d70ea6941e3134fad8b29f9227232.jpg",[],{"id":63115,"slug":63116,"title":40599,"dynasty":18,"author":454,"museum":107,"description":63117,"tags":63118,"thumbUrl":63119,"material":95,"size":95,"collection":95,"collections":63120,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242520,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242520","此作用笔灵动秀逸，行草相间，牵丝映带间尽显晋人尚韵的风流雅致。提按使转精细入微，忠实还原古帖往来的精妙细节，字字顾盼生姿，行气疏朗从容，暗藏法度又不失散淡飘逸的意趣。墨色匀净古雅，与古雅装裱相得益彰，朱印点缀其间晕开沉静金石古意。整体神韵宛然，将帖学中和隽永的意蕴尽显无遗，可于尺幅之间，品味古典书法的隽永余韵，窥见古法书的灵动风神。",[7,60,110,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681dfb675bf46c9114fe34c6b88f8451.jpg",[],{"id":63122,"slug":63123,"title":40599,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63124,"thumbUrl":63125,"material":751,"size":752,"collection":95,"collections":63126,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},242518,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242518",[7,200,198,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685acdd6f4777b921930b44549a7da7f.jpg",[],{"id":63128,"slug":63129,"title":40599,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63130,"thumbUrl":63131,"material":751,"size":752,"collection":95,"collections":63132,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},242517,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242517",[25,7,200,198,110,77,60,398,199,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6c857e1e1aae099c32fb627dfe5c64.jpg",[],{"id":63134,"slug":63135,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63136,"thumbUrl":63137,"material":751,"size":752,"collection":95,"collections":63138,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242514,"zhong-ke-chun-hua-ge-tie-yi-ming-242514",[7,198,200,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c19b332e5e63405514f47b6492e6eec.jpg",[],{"id":63140,"slug":63141,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63142,"thumbUrl":63143,"material":751,"size":752,"collection":95,"collections":63144,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242513,"zhong-ke-chun-hua-ge-tie-yi-ming-242513",[7,200,198,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38aaaf379d59927d88212e376ec6396.jpg",[],{"id":63146,"slug":63147,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63148,"thumbUrl":63149,"material":751,"size":752,"collection":95,"collections":63150,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242512,"zhong-ke-chun-hua-ge-tie-yi-ming-242512",[7,457,198,110,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4916e40200ab1acde576f01d571e0f.jpg",[],{"id":63152,"slug":63153,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63154,"thumbUrl":63155,"material":751,"size":752,"collection":95,"collections":63156,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242511,"zhong-ke-chun-hua-ge-tie-yi-ming-242511",[7,60,398,110,198,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52849ef62c1fa2dd6473afabadcdb989.jpg",[],{"id":63158,"slug":63159,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63160,"thumbUrl":63161,"material":751,"size":752,"collection":95,"collections":63162,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242510,"zhong-ke-chun-hua-ge-tie-yi-ming-242510",[7,198,200,77,398,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a329453753a0823338bc87cf60ebda2.jpg",[],{"id":63164,"slug":63165,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63166,"thumbUrl":63167,"material":751,"size":752,"collection":95,"collections":63168,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242509,"zhong-ke-chun-hua-ge-tie-yi-ming-242509",[25,7,200,198,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30844180dc88647b18e1ba0b7051534b.jpg",[],{"id":63170,"slug":63171,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63172,"thumbUrl":63173,"material":751,"size":752,"collection":95,"collections":63174,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242508,"zhong-ke-chun-hua-ge-tie-yi-ming-242508",[7,198,200,60,398,199,1613,77,110,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d987a4b395d326bf4656224c3fd935.jpg",[],{"id":63176,"slug":63177,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63178,"thumbUrl":63179,"material":751,"size":752,"collection":95,"collections":63180,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242507,"zhong-ke-chun-hua-ge-tie-yi-ming-242507",[7,198,200,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe9535d6772b5a4663b3294577adcc6.jpg",[],{"id":63182,"slug":63183,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63184,"thumbUrl":63185,"material":751,"size":752,"collection":95,"collections":63186,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242506,"zhong-ke-chun-hua-ge-tie-yi-ming-242506",[7,198,200,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b972a5b4061c90cdbcbb6e8e4f663a.jpg",[],{"id":63188,"slug":63189,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63190,"thumbUrl":63191,"material":751,"size":752,"collection":95,"collections":63192,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242505,"zhong-ke-chun-hua-ge-tie-yi-ming-242505",[7,60,398,77,110,198,26,3467,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4c4a2c20de834069151fb0e3a09eda.jpg",[],{"id":63194,"slug":63195,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63196,"thumbUrl":63197,"material":751,"size":752,"collection":95,"collections":63198,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242504,"zhong-ke-chun-hua-ge-tie-yi-ming-242504",[7,25,198,77,398,60,457,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa384051da1fe85e5745ddaba506295cd.jpg",[],{"id":63200,"slug":63201,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63202,"thumbUrl":63203,"material":751,"size":752,"collection":95,"collections":63204,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242503,"zhong-ke-chun-hua-ge-tie-yi-ming-242503",[7,198,110,77,60,398,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92459bcc300debe7dbf6789514c7683.jpg",[],{"id":63206,"slug":63207,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63208,"thumbUrl":63209,"material":751,"size":752,"collection":95,"collections":63210,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242500,"zhong-ke-chun-hua-ge-tie-yi-ming-242500",[7,60,398,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e929822eb101b2408abb0a79ce99026.jpg",[],{"id":63212,"slug":63213,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63214,"thumbUrl":63215,"material":751,"size":752,"collection":95,"collections":63216,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242499,"zhong-ke-chun-hua-ge-tie-yi-ming-242499",[457,77,198,110,3467,25,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfb7893c117a06887e6dc576481c2a6.jpg",[],{"id":63218,"slug":63219,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63220,"thumbUrl":63221,"material":751,"size":752,"collection":95,"collections":63222,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242497,"zhong-ke-chun-hua-ge-tie-yi-ming-242497",[2135,198,7,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99633d2bacc918e5166f68a932d6a8ad.jpg",[],{"id":63224,"slug":63225,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63226,"thumbUrl":63227,"material":751,"size":752,"collection":95,"collections":63228,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242496,"zhong-ke-chun-hua-ge-tie-yi-ming-242496",[2135,198,60,77,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7526af93ee3d47d1b76a7bc14c844c2e.jpg",[],{"id":63230,"slug":63231,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63232,"thumbUrl":63233,"material":751,"size":752,"collection":95,"collections":63234,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242494,"zhong-ke-chun-hua-ge-tie-yi-ming-242494",[7,198,200,199,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b23ab3d2d587dc3320f4ff4ef78c65.jpg",[],{"id":63236,"slug":63237,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63238,"thumbUrl":63239,"material":751,"size":752,"collection":95,"collections":63240,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242493,"zhong-ke-chun-hua-ge-tie-yi-ming-242493",[7,398,198,77,200,9636,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e51c9367284d24971a8c6b7523c32c0.jpg",[],{"id":63242,"slug":63243,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63244,"thumbUrl":63245,"material":751,"size":752,"collection":95,"collections":63246,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242492,"zhong-ke-chun-hua-ge-tie-yi-ming-242492",[25,7,26,198,200,60,398,77,110,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac936112760263631393263bb8087c6.jpg",[],{"id":63248,"slug":63249,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63250,"thumbUrl":63251,"material":751,"size":752,"collection":95,"collections":63252,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242491,"zhong-ke-chun-hua-ge-tie-yi-ming-242491",[7,25,198,200,77,398,60,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc7391ac8e718313e99700c0ef36cbd.jpg",[],{"id":63254,"slug":63255,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63256,"thumbUrl":63257,"material":751,"size":752,"collection":95,"collections":63258,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242490,"zhong-ke-chun-hua-ge-tie-yi-ming-242490",[198,7,60,398,77,110,26,1498,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835b438016ab1f3562bc3296162db440.jpg",[],{"id":63260,"slug":63261,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63262,"thumbUrl":63263,"material":751,"size":752,"collection":95,"collections":63264,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242489,"zhong-ke-chun-hua-ge-tie-yi-ming-242489",[7,457,198,77,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0e84a05dc0a2b7b6d38e8f881cab8a.jpg",[],{"id":63266,"slug":63267,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63268,"thumbUrl":63269,"material":751,"size":752,"collection":95,"collections":63270,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242488,"zhong-ke-chun-hua-ge-tie-yi-ming-242488",[7,200,198,77,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61cd025d5eea546bd918505ef3e198ef.jpg",[],{"id":63272,"slug":63273,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63274,"thumbUrl":63275,"material":751,"size":752,"collection":95,"collections":63276,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242487,"zhong-ke-chun-hua-ge-tie-yi-ming-242487",[7,60,398,110,198,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c2b3537fdc797000548a33a492bb3fc.jpg",[],{"id":63278,"slug":63279,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63280,"thumbUrl":63281,"material":751,"size":752,"collection":95,"collections":63282,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242486,"zhong-ke-chun-hua-ge-tie-yi-ming-242486",[25,7,198,200,77,60,398,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac1aa51a5236fa6e6a440ab24b64bb4.jpg",[],{"id":63284,"slug":63285,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63286,"thumbUrl":63287,"material":751,"size":752,"collection":95,"collections":63288,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242485,"zhong-ke-chun-hua-ge-tie-yi-ming-242485",[7,200,110,198,77,3467,60,398,457,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87cdcb42b52a1ad30d741dc04d2ec9f.jpg",[],{"id":63290,"slug":63291,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63292,"thumbUrl":63293,"material":751,"size":752,"collection":95,"collections":63294,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242484,"zhong-ke-chun-hua-ge-tie-yi-ming-242484",[198,77,398,60,110,7,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F521a6693208d8820634b5e3538e8b107.jpg",[],{"id":63296,"slug":63297,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63298,"thumbUrl":63299,"material":751,"size":752,"collection":95,"collections":63300,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242483,"zhong-ke-chun-hua-ge-tie-yi-ming-242483",[7,200,198,398,77,3467,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de0fd3fa92a57bff8c45b1b22bcfb19.jpg",[],{"id":63302,"slug":63303,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63304,"thumbUrl":63305,"material":751,"size":752,"collection":95,"collections":63306,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242482,"zhong-ke-chun-hua-ge-tie-yi-ming-242482",[7,25,60,398,198,200,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166a9593aa5b4aa36f5227334be27560.jpg",[],{"id":63308,"slug":63309,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63310,"thumbUrl":63311,"material":751,"size":752,"collection":95,"collections":63312,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242481,"zhong-ke-chun-hua-ge-tie-yi-ming-242481",[7,198,60,398,77,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfcc87f6ed61c46689962eb07c185ba0.jpg",[],{"id":63314,"slug":63315,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63316,"thumbUrl":63317,"material":751,"size":752,"collection":95,"collections":63318,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242480,"zhong-ke-chun-hua-ge-tie-yi-ming-242480",[2135,7,198,110,60,398,457,77,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89475835867eddf0e65cb21834d644f3.jpg",[],{"id":63320,"slug":63321,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63322,"thumbUrl":63323,"material":751,"size":752,"collection":95,"collections":63324,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242479,"zhong-ke-chun-hua-ge-tie-yi-ming-242479",[7,60,398,457,77,198,110,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83268cebc62806ed065e1ac6170c89a0.jpg",[],{"id":63326,"slug":63327,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63328,"thumbUrl":63329,"material":751,"size":752,"collection":95,"collections":63330,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242478,"zhong-ke-chun-hua-ge-tie-yi-ming-242478",[200,198,7,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4898efda972bed501992dfd1b0cccc0.jpg",[],{"id":63332,"slug":63333,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63334,"thumbUrl":63335,"material":751,"size":752,"collection":95,"collections":63336,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242477,"zhong-ke-chun-hua-ge-tie-yi-ming-242477",[7,457,198,110,3467,77,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff069767dfedf3ebe5183ac7b16aa808d.jpg",[],{"id":63338,"slug":63339,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63340,"thumbUrl":63341,"material":751,"size":752,"collection":95,"collections":63342,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242476,"zhong-ke-chun-hua-ge-tie-yi-ming-242476",[7,25,60,398,198,110,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9202242a4eb285871a502272aaaaee.jpg",[],{"id":63344,"slug":63345,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63346,"thumbUrl":63347,"material":751,"size":752,"collection":95,"collections":63348,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242475,"zhong-ke-chun-hua-ge-tie-yi-ming-242475",[7,398,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9fa486230cb86cfd6f407b9a0a449c5.jpg",[],{"id":63350,"slug":63351,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63352,"thumbUrl":63353,"material":751,"size":752,"collection":95,"collections":63354,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242474,"zhong-ke-chun-hua-ge-tie-yi-ming-242474",[7,198,77,60,398,457,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa35dbf8a62b2e891fa7725b42438ea.jpg",[],{"id":63356,"slug":63357,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63358,"thumbUrl":63359,"material":751,"size":752,"collection":95,"collections":63360,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242473,"zhong-ke-chun-hua-ge-tie-yi-ming-242473",[25,7,60,398,457,198,110,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad650e0b544cd48acdf21c520701f1a.jpg",[],{"id":63362,"slug":63363,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63364,"thumbUrl":63365,"material":751,"size":752,"collection":95,"collections":63366,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242472,"zhong-ke-chun-hua-ge-tie-yi-ming-242472",[7,198,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad891594400bad30e2441a8afd33b039.jpg",[],{"id":63368,"slug":63369,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63370,"thumbUrl":63371,"material":751,"size":752,"collection":95,"collections":63372,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242471,"zhong-ke-chun-hua-ge-tie-yi-ming-242471",[25,7,198,200,110,77,60,398,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee94fe4ac74589dff65d201bab30977.jpg",[],{"id":63374,"slug":63375,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63376,"thumbUrl":63377,"material":751,"size":752,"collection":95,"collections":63378,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242470,"zhong-ke-chun-hua-ge-tie-yi-ming-242470",[7,457,77,198,110,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803a721ecf492289b01b3148eba1d1d6.jpg",[],{"id":63380,"slug":63381,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63382,"thumbUrl":63383,"material":751,"size":752,"collection":95,"collections":63384,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242469,"zhong-ke-chun-hua-ge-tie-yi-ming-242469",[7,198,398,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ffa4e15d4bf2127e83347f80de6543.jpg",[],{"id":63386,"slug":63387,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63388,"thumbUrl":63389,"material":751,"size":752,"collection":95,"collections":63390,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242468,"zhong-ke-chun-hua-ge-tie-yi-ming-242468",[198,110,7,200,398,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac80e5ae20c3effe110a6147c469b8c4.jpg",[],{"id":63392,"slug":63393,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63394,"thumbUrl":63395,"material":751,"size":752,"collection":95,"collections":63396,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242467,"zhong-ke-chun-hua-ge-tie-yi-ming-242467",[7,198,200,77,398,60,110,457,3467,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb96b2b6b0472980e5d6202b1de6695a.jpg",[],{"id":63398,"slug":63399,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63400,"thumbUrl":63401,"material":751,"size":752,"collection":95,"collections":63402,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242466,"zhong-ke-chun-hua-ge-tie-yi-ming-242466",[7,198,110,60,77,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d771f6f4be7f6a64888dbe9507ae6e5.jpg",[],{"id":63404,"slug":63405,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63406,"thumbUrl":63407,"material":751,"size":752,"collection":95,"collections":63408,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242465,"zhong-ke-chun-hua-ge-tie-yi-ming-242465",[398,77,198,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2bdc968030e5375b257fb43bfcb265c.jpg",[],{"id":63410,"slug":63411,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63412,"thumbUrl":63413,"material":751,"size":752,"collection":95,"collections":63414,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242464,"zhong-ke-chun-hua-ge-tie-yi-ming-242464",[7,200,198,77,60,398,457,1613,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e84e0ed30b33095b336bcde58756d15.jpg",[],{"id":63416,"slug":63417,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63418,"thumbUrl":63419,"material":751,"size":752,"collection":95,"collections":63420,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242463,"zhong-ke-chun-hua-ge-tie-yi-ming-242463",[2135,198,200,7,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47e52416ba562067f8957cd44b33ac7.jpg",[],{"id":63422,"slug":63423,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63424,"thumbUrl":63425,"material":751,"size":752,"collection":95,"collections":63426,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242462,"zhong-ke-chun-hua-ge-tie-yi-ming-242462",[7,60,398,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff92014999ebebd5670deaf1cba71079f.jpg",[],{"id":63428,"slug":63429,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63430,"thumbUrl":63431,"material":751,"size":752,"collection":95,"collections":63432,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242461,"zhong-ke-chun-hua-ge-tie-yi-ming-242461",[2135,7,198,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26d2c072acd2c410056309743521212.jpg",[],{"id":63434,"slug":63435,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63436,"thumbUrl":63437,"material":751,"size":752,"collection":95,"collections":63438,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242460,"zhong-ke-chun-hua-ge-tie-yi-ming-242460",[7,198,110,77,457,398,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dae110072af9ed71a7f20cb343d27f8.jpg",[],{"id":63440,"slug":63441,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63442,"thumbUrl":63443,"material":751,"size":752,"collection":95,"collections":63444,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242459,"zhong-ke-chun-hua-ge-tie-yi-ming-242459",[25,7,9636,77,3467,60,398,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd530dd0091c42d77f45945c4f3b37d35.jpg",[],{"id":63446,"slug":63447,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63448,"thumbUrl":63449,"material":751,"size":752,"collection":95,"collections":63450,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242458,"zhong-ke-chun-hua-ge-tie-yi-ming-242458",[457,198,7,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30b95318514db655d043c19e84c7983c.jpg",[],{"id":63452,"slug":63453,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63454,"thumbUrl":63455,"material":751,"size":752,"collection":95,"collections":63456,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242457,"zhong-ke-chun-hua-ge-tie-yi-ming-242457",[7,198,77,60,398,199,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd712aa18bd9babd92af1651d8a63218.jpg",[],{"id":63458,"slug":63459,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63460,"thumbUrl":63461,"material":751,"size":752,"collection":95,"collections":63462,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242456,"zhong-ke-chun-hua-ge-tie-yi-ming-242456",[198,7,60,398,77,110,26,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfecfd0f5b6b2ef78b5e03f4cd72b869.jpg",[],{"id":63464,"slug":63465,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63466,"thumbUrl":63467,"material":751,"size":752,"collection":95,"collections":63468,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242455,"zhong-ke-chun-hua-ge-tie-yi-ming-242455",[7,398,77,110,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47997d131dc19ecf0e6fa3340d3b3e4e.jpg",[],{"id":63470,"slug":63471,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63472,"thumbUrl":63473,"material":751,"size":752,"collection":95,"collections":63474,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242454,"zhong-ke-chun-hua-ge-tie-yi-ming-242454",[7,198,398,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85289bbcaf8f64210d3a5d9250cef92.jpg",[],{"id":63476,"slug":63477,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63478,"thumbUrl":63479,"material":751,"size":752,"collection":95,"collections":63480,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242453,"zhong-ke-chun-hua-ge-tie-yi-ming-242453",[7,60,398,457,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea50d495f0297ad016e143aecce744d9.jpg",[],{"id":63482,"slug":63483,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63484,"thumbUrl":63485,"material":751,"size":752,"collection":95,"collections":63486,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242452,"zhong-ke-chun-hua-ge-tie-yi-ming-242452",[7,200,198,60,398,77,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202ed01b5b61bebbb627a47005cfb3d3.jpg",[],{"id":63488,"slug":63489,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63490,"thumbUrl":63491,"material":751,"size":752,"collection":95,"collections":63492,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242451,"zhong-ke-chun-hua-ge-tie-yi-ming-242451",[457,77,198,7,3467,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e9a9be9dc70711c648ed8b71c6d263b.jpg",[],{"id":63494,"slug":63495,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63496,"thumbUrl":63497,"material":751,"size":752,"collection":95,"collections":63498,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242450,"zhong-ke-chun-hua-ge-tie-yi-ming-242450",[7,60,198,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea386836f3d322d2da94b0b65e32c1f.jpg",[],{"id":63500,"slug":63501,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63502,"thumbUrl":63503,"material":751,"size":752,"collection":95,"collections":63504,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242449,"zhong-ke-chun-hua-ge-tie-yi-ming-242449",[7,25,198,77,110,60,398,3467,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7cab8955ec08be25f9c12e31d7b3b14.jpg",[],{"id":63506,"slug":63507,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63508,"thumbUrl":63509,"material":751,"size":752,"collection":95,"collections":63510,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242448,"zhong-ke-chun-hua-ge-tie-yi-ming-242448",[198,7,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9caf3c7c4390c864686a21b06b66b3d5.jpg",[],{"id":63512,"slug":63513,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63514,"thumbUrl":63515,"material":751,"size":752,"collection":95,"collections":63516,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242447,"zhong-ke-chun-hua-ge-tie-yi-ming-242447",[7,200,198,77,60,398,199,110,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6007e343cd8b25fd857a41e0d3d58526.jpg",[],{"id":63518,"slug":63519,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63520,"thumbUrl":63521,"material":751,"size":752,"collection":95,"collections":63522,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242446,"zhong-ke-chun-hua-ge-tie-yi-ming-242446",[7,60,398,198,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e14edda0823b602ee1551b70ef68d51.jpg",[],{"id":63524,"slug":63525,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63526,"thumbUrl":63527,"material":751,"size":752,"collection":95,"collections":63528,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242445,"zhong-ke-chun-hua-ge-tie-yi-ming-242445",[7,198,77,398,60,199,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1946fe09085ae3538488f3f0ad9308d2.jpg",[],{"id":63530,"slug":63531,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63532,"thumbUrl":63533,"material":751,"size":752,"collection":95,"collections":63534,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242444,"zhong-ke-chun-hua-ge-tie-yi-ming-242444",[7,200,198,398,60,77,110,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0982fff6139ab9872de7f9fe7bc921bb.jpg",[],{"id":63536,"slug":63537,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63538,"thumbUrl":63539,"material":751,"size":752,"collection":95,"collections":63540,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242443,"zhong-ke-chun-hua-ge-tie-yi-ming-242443",[7,198,398,77,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf193cbc55e705f0f222548535b9a5f1.jpg",[],{"id":63542,"slug":63543,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63544,"thumbUrl":63545,"material":751,"size":752,"collection":95,"collections":63546,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242442,"zhong-ke-chun-hua-ge-tie-yi-ming-242442",[25,7,198,77,60,398,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ead724d465aad35e6e64b50f8bf0dd.jpg",[],{"id":63548,"slug":63549,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63550,"thumbUrl":63551,"material":751,"size":752,"collection":95,"collections":63552,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242441,"zhong-ke-chun-hua-ge-tie-yi-ming-242441",[7,60,198,77,200,2136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b26dca7f867691cf832cc40fd744e55.jpg",[],{"id":63554,"slug":63555,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63556,"thumbUrl":63557,"material":751,"size":752,"collection":95,"collections":63558,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242440,"zhong-ke-chun-hua-ge-tie-yi-ming-242440",[7,25,26,60,398,198,110,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2108a6d532b3f8118f28a74e5b150f55.jpg",[],{"id":63560,"slug":63561,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63562,"thumbUrl":63563,"material":751,"size":752,"collection":95,"collections":63564,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242439,"zhong-ke-chun-hua-ge-tie-yi-ming-242439",[7,60,77,198,200,2136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8a1723e3b1b606a6d19f37025d7032.jpg",[],{"id":63566,"slug":63567,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63568,"thumbUrl":63569,"material":751,"size":752,"collection":95,"collections":63570,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242438,"zhong-ke-chun-hua-ge-tie-yi-ming-242438",[198,7,200,110,60,398,77,3467,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a8cf03a5d2f1fd28de75f3fd230543.jpg",[],{"id":63572,"slug":63573,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63574,"thumbUrl":63575,"material":751,"size":752,"collection":95,"collections":63576,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242437,"zhong-ke-chun-hua-ge-tie-yi-ming-242437",[198,398,77,26,110,7,457,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5326005955b03f3934dea37e076495.jpg",[],{"id":63578,"slug":63579,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63580,"thumbUrl":63581,"material":751,"size":752,"collection":95,"collections":63582,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242436,"zhong-ke-chun-hua-ge-tie-yi-ming-242436",[457,198,77,110,7,200,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf61c4738bb4cbd442276a4540feb87.jpg",[],{"id":63584,"slug":63585,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63586,"thumbUrl":63587,"material":751,"size":752,"collection":95,"collections":63588,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242435,"zhong-ke-chun-hua-ge-tie-yi-ming-242435",[25,7,26,198,200,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb29c93db9a74c38b7263164dd2da351.jpg",[],{"id":63590,"slug":63591,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63592,"thumbUrl":63593,"material":751,"size":752,"collection":95,"collections":63594,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242434,"zhong-ke-chun-hua-ge-tie-yi-ming-242434",[7,25,26,60,398,77,110,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30f35717ef690490c80e67bd96ea31c.jpg",[],{"id":63596,"slug":63597,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63598,"thumbUrl":63599,"material":751,"size":752,"collection":95,"collections":63600,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242433,"zhong-ke-chun-hua-ge-tie-yi-ming-242433",[7,198,200,110,60,398,199,1613,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9dcf1271bba0b6541bc8666907d6282.jpg",[],{"id":63602,"slug":63603,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63604,"thumbUrl":63605,"material":751,"size":752,"collection":95,"collections":63606,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242432,"zhong-ke-chun-hua-ge-tie-yi-ming-242432",[7,25,26,198,110,60,398,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd304d8c947150418463f2508d13248.jpg",[],{"id":63608,"slug":63609,"title":20370,"dynasty":18,"author":454,"museum":107,"description":63610,"tags":63611,"thumbUrl":63612,"material":95,"size":95,"collection":95,"collections":63613,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242431,"zhong-ke-chun-hua-ge-tie-yi-ming-242431","此作为刻拓法帖，以乌金底托出白亮书迹，尽显晋人草书尺牍的简远风神。笔势峭拔灵动，牵丝映带间藏着魏晋尚韵的疏朗气度，古帖隽秀风骨在刻痕里宛然留存。旁侧小楷释文端整清雅，与草书的纵逸相映成趣，朱红印鉴错落点缀，黑白朱三色交织，晕开古雅沉静的氛围。刻工精到，复刻出原作笔墨的细微意趣，将魏晋名士的简淡襟怀凝于拓面之中，让千年翰墨的风流意韵得以在此传延。",[7,60,398,198,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4fae4f6cd712be3ba1779d150190611.jpg",[],{"id":63615,"slug":63616,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63617,"thumbUrl":63619,"material":751,"size":752,"collection":95,"collections":63620,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242430,"zhong-ke-chun-hua-ge-tie-yi-ming-242430",[7,457,198,77,36757,200,63618,2135],"黑底白字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7b6c30ddb957c53802bd00acbf08e5.jpg",[],{"id":63622,"slug":63623,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63624,"thumbUrl":63625,"material":751,"size":752,"collection":95,"collections":63626,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242429,"zhong-ke-chun-hua-ge-tie-yi-ming-242429",[7,457,77,3467,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7f8800caa30fab38cfe6f59f583a39.jpg",[],{"id":63628,"slug":63629,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63630,"thumbUrl":63631,"material":751,"size":752,"collection":95,"collections":63632,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242428,"zhong-ke-chun-hua-ge-tie-yi-ming-242428",[7,198,110,77,3467,60,398,457,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057a0e21758314cfc787562b9980731e.jpg",[],{"id":63634,"slug":63635,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63636,"thumbUrl":63637,"material":751,"size":752,"collection":95,"collections":63638,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242427,"zhong-ke-chun-hua-ge-tie-yi-ming-242427",[198,7,77,110,3467,398,457,60,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5465a87a1d3a2610fbfde52f58af157f.jpg",[],{"id":63640,"slug":63641,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63642,"thumbUrl":63643,"material":751,"size":752,"collection":95,"collections":63644,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242426,"zhong-ke-chun-hua-ge-tie-yi-ming-242426",[7,198,60,398,77,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6756ca5af9d9fd569241c0d8ec8c5e71.jpg",[],{"id":63646,"slug":63647,"title":20370,"dynasty":18,"author":454,"museum":107,"description":63648,"tags":63649,"thumbUrl":63650,"material":95,"size":95,"collection":95,"collections":63651,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242425,"zhong-ke-chun-hua-ge-tie-yi-ming-242425","墨色沉凝如古砚寒潭，朱印鲜亮似丹砂落纸，黑底白字晕开沉静古雅的气韵。所刻晋人草书，笔势流转俊逸，牵丝映带间尽得晋人萧散风神。刻工精妙入微，将原作使转提按的毫末意趣复刻传神，毫无板滞之感。朱印错落排布，既添庄重古拙之气，也暗合尺牍往来的风雅意境。\n\n虽为重刻，却忠实地留存了晋人法帖的隽永韵味，黑、白、朱三色交织，沉稳里裹挟灵动，仿佛能窥见当年笺牍传情的林下风流，尽显刻帖金石质感与晋人草书飘逸雅致的相融之美，复刻出古典帖学的极致审美意趣。",[7,198,200,60,398,457,77,3467,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc031d776143087c98fde846bbd752e5.jpg",[],{"id":63653,"slug":63654,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63655,"thumbUrl":63656,"material":751,"size":752,"collection":95,"collections":63657,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242424,"zhong-ke-chun-hua-ge-tie-yi-ming-242424",[7,60,398,457,198,77,110,200,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53565915164732cabc437bb99a87c5e4.jpg",[],{"id":63659,"slug":63660,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63661,"thumbUrl":63662,"material":751,"size":752,"collection":95,"collections":63663,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242419,"zhong-ke-chun-hua-ge-tie-yi-ming-242419",[7,198,77,60,398,199,1613,457,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb126e4dec44b319e24f7c0a89d2c5cb9.jpg",[],{"id":63665,"slug":63666,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63667,"thumbUrl":63668,"material":751,"size":752,"collection":95,"collections":63669,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242418,"zhong-ke-chun-hua-ge-tie-yi-ming-242418",[2135,9636,7,200,1498,457,199,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bc40d56c5a51c462bad62ba179570a.jpg",[],{"id":63671,"slug":63672,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63673,"thumbUrl":63674,"material":751,"size":752,"collection":95,"collections":63675,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242417,"zhong-ke-chun-hua-ge-tie-yi-ming-242417",[7,60,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3981a5fb47c7f16a52058fd31a26b724.jpg",[],{"id":63677,"slug":63678,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63679,"thumbUrl":63680,"material":751,"size":752,"collection":95,"collections":63681,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242416,"zhong-ke-chun-hua-ge-tie-yi-ming-242416",[7,25,198,77,60,398,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4110ea758d1e884cf341d101d7a4b2a.jpg",[],{"id":63683,"slug":63684,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63685,"thumbUrl":63686,"material":751,"size":752,"collection":95,"collections":63687,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242415,"zhong-ke-chun-hua-ge-tie-yi-ming-242415",[7,198,60,398,77,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a396fec3d36732fcf0a6176a523a36f.jpg",[],{"id":63689,"slug":63690,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63691,"thumbUrl":63692,"material":751,"size":752,"collection":95,"collections":63693,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242414,"zhong-ke-chun-hua-ge-tie-yi-ming-242414",[7,198,77,60,398,457,1613,199,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a5b578253378f1fca59ae41108c27da.jpg",[],{"id":63695,"slug":63696,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63697,"thumbUrl":63698,"material":751,"size":752,"collection":95,"collections":63699,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242413,"zhong-ke-chun-hua-ge-tie-yi-ming-242413",[7,200,198,398,60,77,110,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689f2377f96441f8e07bb78cd5322691.jpg",[],{"id":63701,"slug":63702,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63703,"thumbUrl":63704,"material":751,"size":752,"collection":95,"collections":63705,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242412,"zhong-ke-chun-hua-ge-tie-yi-ming-242412",[7,198,77,60,398,199,110,3467,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0645608a28b3a6fcfa36e6877902f61.jpg",[],{"id":63707,"slug":63708,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63709,"thumbUrl":63710,"material":751,"size":752,"collection":95,"collections":63711,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242411,"zhong-ke-chun-hua-ge-tie-yi-ming-242411",[7,457,198,77,110,3467,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20eafcc7adb204666fd0f31fa2ee5c9a.jpg",[],{"id":63713,"slug":63714,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63715,"thumbUrl":63716,"material":751,"size":752,"collection":95,"collections":63717,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242410,"zhong-ke-chun-hua-ge-tie-yi-ming-242410",[7,60,398,198,110,77,200,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc38e998ba8bf9492c184e013f41a834.jpg",[],{"id":63719,"slug":63720,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63721,"thumbUrl":63722,"material":751,"size":752,"collection":95,"collections":63723,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242409,"zhong-ke-chun-hua-ge-tie-yi-ming-242409",[2135,7,198,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7381d550902eb68d7a9892e8b2efa784.jpg",[],{"id":63725,"slug":63726,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63727,"thumbUrl":63728,"material":751,"size":752,"collection":95,"collections":63729,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242408,"zhong-ke-chun-hua-ge-tie-yi-ming-242408",[7,398,60,77,198,110,3467,9636,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48e1cea39d31529503779f712fac868.jpg",[],{"id":63731,"slug":63732,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63733,"thumbUrl":63734,"material":751,"size":752,"collection":95,"collections":63735,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242407,"zhong-ke-chun-hua-ge-tie-yi-ming-242407",[7,200,198,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc8e46935d0051357d9d524691af9712.jpg",[],{"id":63737,"slug":63738,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63739,"thumbUrl":63740,"material":751,"size":752,"collection":95,"collections":63741,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242406,"zhong-ke-chun-hua-ge-tie-yi-ming-242406",[7,25,198,77,110,60,398,199,1613,457,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69499e7b195d119eba17126802a0b7b7.jpg",[],{"id":63743,"slug":63744,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63745,"thumbUrl":63746,"material":751,"size":752,"collection":95,"collections":63747,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242405,"zhong-ke-chun-hua-ge-tie-yi-ming-242405",[7,200,198,110,60,398,77,3467,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb02afaa3e891e11544e398286bc953d.jpg",[],{"id":63749,"slug":63750,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63751,"thumbUrl":63752,"material":751,"size":752,"collection":95,"collections":63753,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242404,"zhong-ke-chun-hua-ge-tie-yi-ming-242404",[7,200,198,110,60,398,77,1498,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F307dd88053721776ae15628d6bace2f6.jpg",[],{"id":63755,"slug":63756,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63757,"thumbUrl":63758,"material":751,"size":752,"collection":95,"collections":63759,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242403,"zhong-ke-chun-hua-ge-tie-yi-ming-242403",[198,7,60,398,77,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd2d3fd3cc62165706f7c7c7998e7a6b.jpg",[],{"id":63761,"slug":63762,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63763,"thumbUrl":63764,"material":751,"size":752,"collection":95,"collections":63765,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242402,"zhong-ke-chun-hua-ge-tie-yi-ming-242402",[7,198,398,60,77,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3cf80ac4c678348a725bcfc2e3d638d.jpg",[],{"id":63767,"slug":63768,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63769,"thumbUrl":63770,"material":751,"size":752,"collection":95,"collections":63771,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242401,"zhong-ke-chun-hua-ge-tie-yi-ming-242401",[7,398,198,110,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d91240786af8e092bc9b6b8cc92bb.jpg",[],{"id":63773,"slug":63774,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63775,"thumbUrl":63776,"material":751,"size":752,"collection":95,"collections":63777,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242400,"zhong-ke-chun-hua-ge-tie-yi-ming-242400",[7,198,200,110,60,398,199,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ab448b84006c18d634fa57ae284577.jpg",[],{"id":63779,"slug":63780,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63781,"thumbUrl":63782,"material":751,"size":752,"collection":95,"collections":63783,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242399,"zhong-ke-chun-hua-ge-tie-yi-ming-242399",[7,198,60,77,26,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e41e68ea8174146cca2a6181e081427.jpg",[],{"id":63785,"slug":63786,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63787,"thumbUrl":63788,"material":751,"size":752,"collection":95,"collections":63789,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242398,"zhong-ke-chun-hua-ge-tie-yi-ming-242398",[7,60,198,110,77,3467,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033ed714df8122bdb1bd00d086dc5ddc.jpg",[],{"id":63791,"slug":63792,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63793,"thumbUrl":63794,"material":751,"size":752,"collection":95,"collections":63795,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242397,"zhong-ke-chun-hua-ge-tie-yi-ming-242397",[7,457,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108226b36e7c7d75ba639cda0db6fc57.jpg",[],{"id":63797,"slug":63798,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63799,"thumbUrl":63800,"material":751,"size":752,"collection":95,"collections":63801,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242396,"zhong-ke-chun-hua-ge-tie-yi-ming-242396",[7,198,110,60,398,199,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ec65d9a6bc9fe8ee1bdaf89097151a.jpg",[],{"id":63803,"slug":63804,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63805,"thumbUrl":63806,"material":751,"size":752,"collection":95,"collections":63807,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242395,"zhong-ke-chun-hua-ge-tie-yi-ming-242395",[7,198,77,110,200,60,398,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379dcd5655d5f8071b8ee5b8a84b7d86.jpg",[],{"id":63809,"slug":63810,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63811,"thumbUrl":63812,"material":751,"size":752,"collection":95,"collections":63813,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242394,"zhong-ke-chun-hua-ge-tie-yi-ming-242394",[7,398,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6744a2abd71446b8c759e2bea74fa0.jpg",[],{"id":63815,"slug":63816,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63817,"thumbUrl":63818,"material":751,"size":752,"collection":95,"collections":63819,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242393,"zhong-ke-chun-hua-ge-tie-yi-ming-242393",[198,7,60,398,77,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a492de2f3323fd105591f745b5cc9e.jpg",[],{"id":63821,"slug":63822,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63823,"thumbUrl":63824,"material":751,"size":752,"collection":95,"collections":63825,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242392,"zhong-ke-chun-hua-ge-tie-yi-ming-242392",[198,7,398,60,77,26,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85e8e885469a3e7cec92b375080545c.jpg",[],{"id":63827,"slug":63828,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63829,"thumbUrl":63830,"material":751,"size":752,"collection":95,"collections":63831,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242391,"zhong-ke-chun-hua-ge-tie-yi-ming-242391",[7,60,398,200,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07bf87474169770f7eab15db6571c06.jpg",[],{"id":63833,"slug":63834,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63835,"thumbUrl":63836,"material":751,"size":752,"collection":95,"collections":63837,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242390,"zhong-ke-chun-hua-ge-tie-yi-ming-242390",[7,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9caa63fd8e11caa674aadae36e6bf791.jpg",[],{"id":63839,"slug":63840,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63841,"thumbUrl":63842,"material":751,"size":752,"collection":95,"collections":63843,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242389,"zhong-ke-chun-hua-ge-tie-yi-ming-242389",[7,200,198,60,77,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e91b53ece87618d6aafc17da6742ad2.jpg",[],{"id":63845,"slug":63846,"title":20370,"dynasty":18,"author":454,"museum":107,"description":63847,"tags":63848,"thumbUrl":63849,"material":95,"size":95,"collection":95,"collections":63850,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242388,"zhong-ke-chun-hua-ge-tie-yi-ming-242388","此拓墨色乌莹如漆，镌刻工致入微，将右军草书的奔放纵逸尽数留存。提按使转间，笔底牵丝映带清晰可见，晋人萧散疏朗的风流意气扑面而来。侧旁小楷释文端稳匀整，与草书形成动静相和的韵律。朱红钤印沉敛古雅，为乌墨素拓晕开一抹亮色，更添沉静古拙的意蕴。刻工精妙还原书圣笔下的偃仰向背，即便重刻，也未失原作尚韵的气度，展卷可见千载笔底风神，是传拓与镌刻技艺相融的佳构，静静铺展着帖学传承的脉络。",[25,7,200,198,110,398,77,457,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b5b5d55279e9889a06feefec02abaf.jpg",[],{"id":63852,"slug":63853,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63854,"thumbUrl":63855,"material":751,"size":752,"collection":95,"collections":63856,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242387,"zhong-ke-chun-hua-ge-tie-yi-ming-242387",[7,457,198,110,77,3467,9636,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868e8cdb32165b79f989c6778808c88e.jpg",[],{"id":63858,"slug":63859,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63860,"thumbUrl":63861,"material":751,"size":752,"collection":95,"collections":63862,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242386,"zhong-ke-chun-hua-ge-tie-yi-ming-242386",[7,198,200,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26e265e153ba5b622766b325bc2b1df.jpg",[],{"id":63864,"slug":63865,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63866,"thumbUrl":63867,"material":751,"size":752,"collection":95,"collections":63868,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242385,"zhong-ke-chun-hua-ge-tie-yi-ming-242385",[198,60,398,77,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d4c30e13b2b5aa9d7a3dbc2a0aa696.jpg",[],{"id":63870,"slug":63871,"title":20370,"dynasty":18,"author":454,"museum":107,"description":63872,"tags":63873,"thumbUrl":63874,"material":95,"size":95,"collection":95,"collections":63875,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242384,"zhong-ke-chun-hua-ge-tie-yi-ming-242384","此帖乌底银书，尽现大令草书流妍纵逸之态。行笔牵丝映带，筋骨暗藏，将破体书风的放达风神复刻尽致。字势欹侧相生，或开阖如长风出谷，或收束似幽泉凝潭，刀痕与墨趣交融，将原作使转起伏留存硬牍之上。\n\n双行小注排布错落，与草书虚实相衬，既有法帖的规整肃穆，亦不失尺牍的随性雅致。刀石之间留住晋人尚韵风流，千载之下仍可摩挲彼时翰墨的疏朗散淡。",[7,200,198,110,60,398,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce46ce49cee0fb38aafcf0195392ac88.jpg",[],{"id":63877,"slug":63878,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63879,"thumbUrl":63880,"material":751,"size":752,"collection":95,"collections":63881,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242383,"zhong-ke-chun-hua-ge-tie-yi-ming-242383",[7,198,60,398,77,110,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff310e60ede86264278ec89cc03155229.jpg",[],{"id":63883,"slug":63884,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63885,"thumbUrl":63886,"material":751,"size":752,"collection":95,"collections":63887,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242382,"zhong-ke-chun-hua-ge-tie-yi-ming-242382",[7,198,200,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a882017df3c25f27cf6e934201201c.jpg",[],{"id":63889,"slug":63890,"title":20370,"dynasty":18,"author":454,"museum":107,"description":63891,"tags":63892,"thumbUrl":63893,"material":95,"size":95,"collection":95,"collections":63894,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242381,"zhong-ke-chun-hua-ge-tie-yi-ming-242381","此帖镌刻精工，墨色乌亮莹润，字口爽利明净。以行草为主，笔势婉转灵动，提按顿挫间将王羲之笔法的飘逸妍妙复刻传神，尽显东晋书风的飘洒跌宕。\n\n帖文排布匀整清雅，栏界舒朗，既忠实保留原帖的书法意趣，又带着清代刻帖的精工气质，是摹刻晋人法书的佳制，可观书圣笔底的韵致风神，体悟晋韵流风的隽永雅致。",[7,60,398,457,198,200,110,77,26,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784616cb797ed6144a664051bf98b209.jpg",[],{"id":63896,"slug":63897,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63898,"thumbUrl":63899,"material":751,"size":752,"collection":95,"collections":63900,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242379,"zhong-ke-chun-hua-ge-tie-yi-ming-242379",[7,457,198,77,110,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58cce727a79bf2d834b87a9356657004.jpg",[],{"id":63902,"slug":63903,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63904,"thumbUrl":63905,"material":751,"size":752,"collection":95,"collections":63906,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242378,"zhong-ke-chun-hua-ge-tie-yi-ming-242378",[7,60,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5baceb58689ed0c62f1b8ef4fc98d6.jpg",[],{"id":63908,"slug":63909,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63910,"thumbUrl":63911,"material":751,"size":752,"collection":95,"collections":63912,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242377,"zhong-ke-chun-hua-ge-tie-yi-ming-242377",[26,198,7,200,110,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69927e868ea48375d4d596e2f6f4e98f.jpg",[],{"id":63914,"slug":63915,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63916,"thumbUrl":63917,"material":751,"size":752,"collection":95,"collections":63918,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242376,"zhong-ke-chun-hua-ge-tie-yi-ming-242376",[2135,110,198,60,398,77,7,200,26,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6b8bfebca2aedd444bafdad29e43e4.jpg",[],{"id":63920,"slug":63921,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63922,"thumbUrl":63923,"material":751,"size":752,"collection":95,"collections":63924,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242375,"zhong-ke-chun-hua-ge-tie-yi-ming-242375",[7,200,198,77,60,398,199,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F190eb1074e17ca2992533a730a7fa6a4.jpg",[],{"id":63926,"slug":63927,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63928,"thumbUrl":63929,"material":751,"size":752,"collection":95,"collections":63930,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242374,"zhong-ke-chun-hua-ge-tie-yi-ming-242374",[2135,7,198,200,60,398,457,77,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd5740731d82420386a68864706b6c7.jpg",[],{"id":63932,"slug":63933,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63934,"thumbUrl":63935,"material":751,"size":752,"collection":95,"collections":63936,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242373,"zhong-ke-chun-hua-ge-tie-yi-ming-242373",[7,198,60,398,77,200,110,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74484aacc8bcf62c23f557e828dd2ea5.jpg",[],{"id":63938,"slug":63939,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63940,"thumbUrl":63941,"material":751,"size":752,"collection":95,"collections":63942,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242372,"zhong-ke-chun-hua-ge-tie-yi-ming-242372",[7,198,200,77,398,60,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6b48a3d41f906ce6e938f6947c6925.jpg",[],{"id":63944,"slug":63945,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63946,"thumbUrl":63947,"material":751,"size":752,"collection":95,"collections":63948,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242371,"zhong-ke-chun-hua-ge-tie-yi-ming-242371",[7,198,200,77,60,398,110,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2eddcdeb0631c86178e9de4d73ac8a2.jpg",[],{"id":63950,"slug":63951,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63952,"thumbUrl":63953,"material":751,"size":752,"collection":95,"collections":63954,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242370,"zhong-ke-chun-hua-ge-tie-yi-ming-242370",[7,457,198,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc815bccae80dd0c949ae59b03246ff7d.jpg",[],{"id":63956,"slug":63957,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63958,"thumbUrl":63959,"material":751,"size":752,"collection":95,"collections":63960,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242369,"zhong-ke-chun-hua-ge-tie-yi-ming-242369",[7,200,198,110,60,77,3467,26,9636,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ebd266962227d4710bc1d415aedbf3f.jpg",[],{"id":63962,"slug":63963,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63964,"thumbUrl":63965,"material":751,"size":752,"collection":95,"collections":63966,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242368,"zhong-ke-chun-hua-ge-tie-yi-ming-242368",[198,200,7,398,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780185a11dee38aa1cb8d31c1d783c39.jpg",[],{"id":63968,"slug":63969,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63970,"thumbUrl":63971,"material":751,"size":752,"collection":95,"collections":63972,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242367,"zhong-ke-chun-hua-ge-tie-yi-ming-242367",[7,198,200,77,60,398,199,1613,457,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db984ea95ae865fcf6079d7368bc0e8.jpg",[],{"id":63974,"slug":63975,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63976,"thumbUrl":63977,"material":751,"size":752,"collection":95,"collections":63978,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242366,"zhong-ke-chun-hua-ge-tie-yi-ming-242366",[7,200,198,60,398,77,110,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4a3eff4faf76dee340d05ff7d4a711.jpg",[],{"id":63980,"slug":63981,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63982,"thumbUrl":63983,"material":751,"size":752,"collection":95,"collections":63984,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242365,"zhong-ke-chun-hua-ge-tie-yi-ming-242365",[7,200,198,110,77,60,398,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c4bfe4991a8b1bb8e1d25dffc13644.jpg",[],{"id":63986,"slug":63987,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63988,"thumbUrl":63989,"material":751,"size":752,"collection":95,"collections":63990,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242364,"zhong-ke-chun-hua-ge-tie-yi-ming-242364",[7,198,60,398,77,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9572a582b4b073d01479edf10d8eaae.jpg",[],{"id":63992,"slug":63993,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":63994,"thumbUrl":63995,"material":751,"size":752,"collection":95,"collections":63996,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242363,"zhong-ke-chun-hua-ge-tie-yi-ming-242363",[7,398,198,77,110,26,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F646f3350537f3ee9a8b798ab97913bda.jpg",[],{"id":63998,"slug":63999,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64000,"thumbUrl":64001,"material":751,"size":752,"collection":95,"collections":64002,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242362,"zhong-ke-chun-hua-ge-tie-yi-ming-242362",[198,7,60,398,77,110,200,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe79780f518dd9cc7cb89cfabfe482b.jpg",[],{"id":64004,"slug":64005,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64006,"thumbUrl":64007,"material":751,"size":752,"collection":95,"collections":64008,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242361,"zhong-ke-chun-hua-ge-tie-yi-ming-242361",[7,200,198,110,398,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa732127535e99e985244d961ba1bf921.jpg",[],{"id":64010,"slug":64011,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64012,"thumbUrl":64013,"material":751,"size":752,"collection":95,"collections":64014,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242359,"zhong-ke-chun-hua-ge-tie-yi-ming-242359",[7,198,200,110,60,398,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d545e62c72ef3dfb9c64207259430.jpg",[],{"id":64016,"slug":64017,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64018,"thumbUrl":64019,"material":751,"size":752,"collection":95,"collections":64020,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242358,"zhong-ke-chun-hua-ge-tie-yi-ming-242358",[7,198,200,398,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1df6d59b74b7d8139067bd048508bc.jpg",[],{"id":64022,"slug":64023,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64024,"thumbUrl":64025,"material":751,"size":752,"collection":95,"collections":64026,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242357,"zhong-ke-chun-hua-ge-tie-yi-ming-242357",[7,25,200,198,110,77,26,60,398,199,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed064fab26e5b21093c44c65be2cde4.jpg",[],{"id":64028,"slug":64029,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64030,"thumbUrl":64031,"material":751,"size":752,"collection":95,"collections":64032,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242356,"zhong-ke-chun-hua-ge-tie-yi-ming-242356",[7,200,198,60,110,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17258169a846c1f156300002bf41c4b0.jpg",[],{"id":64034,"slug":64035,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64036,"thumbUrl":64037,"material":751,"size":752,"collection":95,"collections":64038,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242355,"zhong-ke-chun-hua-ge-tie-yi-ming-242355",[7,198,200,457,110,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae9c01269b419ed0482ee14bb9a062a.jpg",[],{"id":64040,"slug":64041,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64042,"thumbUrl":64043,"material":751,"size":752,"collection":95,"collections":64044,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242354,"zhong-ke-chun-hua-ge-tie-yi-ming-242354",[7,198,200,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed735d04bc7b8e09c6b01a909ba401f0.jpg",[],{"id":64046,"slug":64047,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64048,"thumbUrl":64049,"material":751,"size":752,"collection":95,"collections":64050,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242353,"zhong-ke-chun-hua-ge-tie-yi-ming-242353",[7,198,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726fe18a58be3171ad3ca334d6d35073.jpg",[],{"id":64052,"slug":64053,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64054,"thumbUrl":64055,"material":751,"size":752,"collection":95,"collections":64056,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242352,"zhong-ke-chun-hua-ge-tie-yi-ming-242352",[7,198,200,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf40a4beea9ca49808eadd597292566c.jpg",[],{"id":64058,"slug":64059,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64060,"thumbUrl":64062,"material":751,"size":752,"collection":95,"collections":64063,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242351,"zhong-ke-chun-hua-ge-tie-yi-ming-242351",[7,198,200,60,398,77,110,8815,64061,36757],"书法作品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919d15e1b635189c2c7ebb3586071e19.jpg",[],{"id":64065,"slug":64066,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64067,"thumbUrl":64068,"material":751,"size":752,"collection":95,"collections":64069,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242350,"zhong-ke-chun-hua-ge-tie-yi-ming-242350",[7,200,198,60,398,77,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0056bd8fbc64e485ae44a5d820bd0176.jpg",[],{"id":64071,"slug":64072,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64073,"thumbUrl":64074,"material":751,"size":752,"collection":95,"collections":64075,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242349,"zhong-ke-chun-hua-ge-tie-yi-ming-242349",[7,200,198,398,77,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0c2da5d8eeb9a0faec0f633c612c60.jpg",[],{"id":64077,"slug":64078,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64079,"thumbUrl":64080,"material":751,"size":752,"collection":95,"collections":64081,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242348,"zhong-ke-chun-hua-ge-tie-yi-ming-242348",[7,200,198,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1812d66952a3c5ad12f4514dac2ca1.jpg",[],{"id":64083,"slug":64084,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64085,"thumbUrl":64086,"material":751,"size":752,"collection":95,"collections":64087,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242347,"zhong-ke-chun-hua-ge-tie-yi-ming-242347",[7,198,200,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cd45ba3a51652d47b7052a45823cca.jpg",[],{"id":64089,"slug":64090,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64091,"thumbUrl":64092,"material":751,"size":752,"collection":95,"collections":64093,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242346,"zhong-ke-chun-hua-ge-tie-yi-ming-242346",[7,200,198,77,60,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96941151a805e236a68dc8a1c8ac7e6.jpg",[],{"id":64095,"slug":64096,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64097,"thumbUrl":64098,"material":751,"size":752,"collection":95,"collections":64099,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242345,"zhong-ke-chun-hua-ge-tie-yi-ming-242345",[457,198,7,200,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75e04f00ed125c6e172af44a976dc0f.jpg",[],{"id":64101,"slug":64102,"title":50707,"dynasty":18,"author":454,"museum":107,"description":64103,"tags":64104,"thumbUrl":64105,"material":751,"size":752,"collection":95,"collections":64106,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242344,"kuai-xue-tang-fa-tie-yi-ming-242344","此作为小楷刻帖，墨色匀净乌亮，字势俊雅舒展。虽为刻本，却精妙留存米芾小楷的端谨风骨，褪去其行书的跳脱，尽显晋唐小楷的散淡冲和。笔画瘦劲爽利落，结体匀停秀雅，书录《东皇太一》时，将辞章的肃穆意蕴融于笔锋起落，自带清雅文气。\n黑底白字愈显沉静古雅，金石质感裹挟宋人的书法风神，尽显刻帖工艺精湛，将宋书的灵动雅致定格于石板之上，是清代刻帖中留存宋书风貌的上乘之作。",[25,7,198,200,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a2da4fab5f52ad0455168fa0ade449.jpg",[],{"id":64108,"slug":64109,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64110,"thumbUrl":64111,"material":751,"size":752,"collection":95,"collections":64112,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242343,"zhong-ke-chun-hua-ge-tie-yi-ming-242343",[7,198,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4976417dea3d1f66868599e38f9345.jpg",[],{"id":64114,"slug":64115,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64116,"thumbUrl":64121,"material":751,"size":752,"collection":95,"collections":64122,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242342,"zhong-ke-chun-hua-ge-tie-yi-ming-242342",[198,7,398,60,1613,457,200,64117,77,64118,64119,64120],"阁帖","钩摹","释文","考证","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4dfd4640050acefc38060e1553f1030.jpg",[],{"id":64124,"slug":64125,"title":50707,"dynasty":18,"author":454,"museum":107,"description":64126,"tags":64127,"thumbUrl":64128,"material":751,"size":752,"collection":95,"collections":64129,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242341,"kuai-xue-tang-fa-tie-yi-ming-242341","此作为行书册页，黑底白字，愈衬出字迹清劲雅致。行笔流丽婉转，结体舒展灵动，筋骨内含，既有赵孟頫式温润秀雅，又具董其昌般萧散简淡。\n文字详述刻帖原委，笔墨与文辞相得益彰，可见作书者深谙法帖源流。通篇排布疏朗匀停，气息平和安闲，尽显清代题跋书法的典型风貌，笔墨间内敛沉静的文人意趣跃然纸上，是兼具文献价值与审美价值的书法小品。",[7,198,200,60,199,398,457,1613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3fd4bf234db96341a32354371ad6f6.jpg",[],{"id":64131,"slug":64132,"title":64133,"dynasty":18,"author":454,"museum":107,"description":64134,"tags":64135,"thumbUrl":64136,"material":751,"size":752,"collection":95,"collections":64137,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242340,"kuai-xue-tang-tie-lian-ju-yi-ming-242340","快雪堂帖联句","此作为乌金拓本，银字耀于墨底，缠枝纹边框环绕，雅致端方。小楷点画工整流丽，是典型馆阁笔意，筋骨藏于娟秀之间。\n联句追怀名帖传世掌故，将墨帖千年流传的传奇、刻石成堂的风雅尽数咏入诗中。刀工精妙入微，把笔锋的起落转折完美复刻在拓纸上，让小楷的秀润意蕴分毫毕现。\n整体既有金石考据的沉静质感，又带着文人雅集题咏的清逸意趣，尽显对古法帖的追慕与雅致文心。",[198,7,199,200,9636,1498,3467,2136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288eb5a62ad6df91049978217926a59.jpg",[],{"id":64139,"slug":64140,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64141,"thumbUrl":64142,"material":751,"size":752,"collection":95,"collections":64143,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242339,"zhong-ke-chun-hua-ge-tie-yi-ming-242339",[198,7,200,60,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8317de79315ff4443749e7cbb91466.jpg",[],{"id":64145,"slug":64146,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64147,"thumbUrl":64148,"material":751,"size":752,"collection":95,"collections":64149,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242338,"zhong-ke-chun-hua-ge-tie-yi-ming-242338",[7,200,198,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383bfd01651fce24b0119f2bb67968b.jpg",[],{"id":64151,"slug":64152,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64153,"thumbUrl":64154,"material":751,"size":752,"collection":95,"collections":64155,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242337,"zhong-ke-chun-hua-ge-tie-yi-ming-242337",[457,198,7,200,77,3467,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e592c3108a033acc62cf121a6136d8e.jpg",[],{"id":64157,"slug":64158,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64159,"thumbUrl":64160,"material":751,"size":752,"collection":95,"collections":64161,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242336,"zhong-ke-chun-hua-ge-tie-yi-ming-242336",[7,198,200,60,398,199,1613,457,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78c3a123bea135c9ce8f52ee494770b.jpg",[],{"id":64163,"slug":64164,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64165,"thumbUrl":64166,"material":751,"size":752,"collection":95,"collections":64167,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242335,"zhong-ke-chun-hua-ge-tie-yi-ming-242335",[398,198,7,200,77,36757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c9e62d23e02b5bf3489c676f188302.jpg",[],{"id":64169,"slug":64170,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64171,"thumbUrl":64172,"material":751,"size":752,"collection":95,"collections":64173,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242334,"zhong-ke-chun-hua-ge-tie-yi-ming-242334",[7,198,200,77,60,398,110,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefbccf5d54834b0684cf799b496ef73d.jpg",[],{"id":64175,"slug":64176,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64177,"thumbUrl":64178,"material":751,"size":752,"collection":95,"collections":64179,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242333,"zhong-ke-chun-hua-ge-tie-yi-ming-242333",[7,198,200,398,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a727c36bbf2c71e38d2afe699ca111e.jpg",[],{"id":64181,"slug":64182,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64183,"thumbUrl":64184,"material":751,"size":752,"collection":95,"collections":64185,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242332,"zhong-ke-chun-hua-ge-tie-yi-ming-242332",[7,198,60,200,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2b684296041e13679b0b1cd9edafd9.jpg",[],{"id":64187,"slug":64188,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64189,"thumbUrl":64190,"material":751,"size":752,"collection":95,"collections":64191,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242331,"zhong-ke-chun-hua-ge-tie-yi-ming-242331",[7,398,60,198,200,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1daed9ee6a3d5807d2c3d2ec20b3f9a.jpg",[],{"id":64193,"slug":64194,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64195,"thumbUrl":64196,"material":751,"size":752,"collection":95,"collections":64197,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242330,"zhong-ke-chun-hua-ge-tie-yi-ming-242330",[7,198,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d62944bbb6a49ebb4014564a7bd053c.jpg",[],{"id":64199,"slug":64200,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64201,"thumbUrl":64202,"material":751,"size":752,"collection":95,"collections":64203,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242329,"zhong-ke-chun-hua-ge-tie-yi-ming-242329",[198,7,200,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e95b6b1e644bb0d6c652c8518385277.jpg",[],{"id":64205,"slug":64206,"title":20370,"dynasty":8749,"author":454,"museum":107,"description":37614,"tags":64207,"thumbUrl":64208,"material":751,"size":752,"collection":95,"collections":64209,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242328,"zhong-ke-chun-hua-ge-tie-yi-ming-242328",[7,198,200,60,398,199,1613,457,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709b2a4de2630d997adba6ab8d82b944.jpg",[],{"id":64211,"slug":64212,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64213,"thumbUrl":64214,"material":751,"size":752,"collection":95,"collections":64215,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242327,"zhong-ke-chun-hua-ge-tie-yi-ming-242327",[7,200,198,77,60,398,199,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd9be313f2121fd0ef409592d752504b.jpg",[],{"id":64217,"slug":64218,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64219,"thumbUrl":64220,"material":751,"size":752,"collection":95,"collections":64221,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242326,"zhong-ke-chun-hua-ge-tie-yi-ming-242326",[7,198,200,60,398,199,1613,457,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2db6ffb7680d9ac62c7505c601eeaa4.jpg",[],{"id":64223,"slug":64224,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64225,"thumbUrl":64226,"material":751,"size":752,"collection":95,"collections":64227,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242325,"zhong-ke-chun-hua-ge-tie-yi-ming-242325",[457,198,200,7,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14032ea668c07f564e58be554d5292dc.jpg",[],{"id":64229,"slug":64230,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64231,"thumbUrl":64232,"material":751,"size":752,"collection":95,"collections":64233,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242324,"zhong-ke-chun-hua-ge-tie-yi-ming-242324",[7,398,60,199,200,198,77,110,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482e22170fc3cd1884e4d11663c04a91.jpg",[],{"id":64235,"slug":64236,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64237,"thumbUrl":64238,"material":751,"size":752,"collection":95,"collections":64239,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242323,"zhong-ke-chun-hua-ge-tie-yi-ming-242323",[7,198,200,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3576d2b1210c46bee434753c82867748.jpg",[],{"id":64241,"slug":64242,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64243,"thumbUrl":64244,"material":751,"size":752,"collection":95,"collections":64245,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242322,"zhong-ke-chun-hua-ge-tie-yi-ming-242322",[198,7,60,398,200,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5736b29950d2dfb49b41b45989e6eec.jpg",[],{"id":64247,"slug":64248,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64249,"thumbUrl":64250,"material":751,"size":752,"collection":95,"collections":64251,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242321,"zhong-ke-chun-hua-ge-tie-yi-ming-242321",[7,198,200,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea890069b4edcaa7a9437671b067ef2.jpg",[],{"id":64253,"slug":64254,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64255,"thumbUrl":64256,"material":751,"size":752,"collection":95,"collections":64257,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242320,"zhong-ke-chun-hua-ge-tie-yi-ming-242320",[2135,7,198,200,60,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0b59c2faa75770fc24273852d716c93.jpg",[],{"id":64259,"slug":64260,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64261,"thumbUrl":64262,"material":751,"size":752,"collection":95,"collections":64263,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242319,"zhong-ke-chun-hua-ge-tie-yi-ming-242319",[7,198,200,110,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240e3d916c000d5add84b7ea9a311f6b.jpg",[],{"id":64265,"slug":64266,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64267,"thumbUrl":64268,"material":751,"size":752,"collection":95,"collections":64269,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242318,"zhong-ke-chun-hua-ge-tie-yi-ming-242318",[457,198,7,200,110,77,3467,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0642fd75c80c564797b2138ef557311.jpg",[],{"id":64271,"slug":64272,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64273,"thumbUrl":64274,"material":751,"size":752,"collection":95,"collections":64275,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242317,"zhong-ke-chun-hua-ge-tie-yi-ming-242317",[7,198,200,110,60,199,398,1613,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013fdbec539ef420b07ec25c6f766647.jpg",[],{"id":64277,"slug":64278,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64279,"thumbUrl":64280,"material":751,"size":752,"collection":95,"collections":64281,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242316,"zhong-ke-chun-hua-ge-tie-yi-ming-242316",[7,200,198,110,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7862675ae1f111c7b7e6f000eec47e98.jpg",[],{"id":64283,"slug":64284,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64285,"thumbUrl":64286,"material":751,"size":752,"collection":95,"collections":64287,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242315,"zhong-ke-chun-hua-ge-tie-yi-ming-242315",[7,200,198,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b83776f38d32a97e2e41521347d816.jpg",[],{"id":64289,"slug":64290,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64291,"thumbUrl":64292,"material":751,"size":752,"collection":95,"collections":64293,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242314,"zhong-ke-chun-hua-ge-tie-yi-ming-242314",[7,200,198,398,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee00b3524ae06a88cfc1d6b3f044064a.jpg",[],{"id":64295,"slug":64296,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64297,"thumbUrl":64298,"material":751,"size":752,"collection":95,"collections":64299,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242313,"zhong-ke-chun-hua-ge-tie-yi-ming-242313",[7,200,198,398,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd303cc823037f0ffa464849e751544.jpg",[],{"id":64301,"slug":64302,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64303,"thumbUrl":64304,"material":751,"size":752,"collection":95,"collections":64305,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242312,"zhong-ke-chun-hua-ge-tie-yi-ming-242312",[7,198,200,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9c239a471df9881b209bd486bf6768e.jpg",[],{"id":64307,"slug":64308,"title":64309,"dynasty":45,"author":454,"museum":107,"description":64310,"tags":64311,"thumbUrl":64312,"material":751,"size":752,"collection":95,"collections":64313,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242311,"xi-hong-tang-tie-yi-ming-242311","戏鸿堂帖","此帖复刻东坡笔意，墨色乌亮莹润，尽显宋尚意书风的隽永雅致。开篇大字端稳厚重，笔力沉实朴拙，自带庙堂文书的整饬庄重；后续小字行笔流转自然，牵丝映带之间如行云流水，将苏轼书法丰腴浑厚、舒展雍容的风神复刻得传神入微。\n\n章法排布疏密得当，字距错落合宜，既不失制诰文书的规整，又暗合文人书法的萧散意趣。碑刻工艺精良，笔画的粗细提按清晰留存，将东坡书法的韵致风骨凝于寸楮，是明代刻帖中的上乘之作，把宋人写意抒怀的笔墨意趣定格，历经岁月依旧灵动耐看。",[7,25,200,198,60,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6794d83a0a731128bafbce7cedb3b53.jpg",[],{"id":64315,"slug":64316,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64317,"thumbUrl":64318,"material":751,"size":752,"collection":95,"collections":64319,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242310,"zhong-ke-chun-hua-ge-tie-yi-ming-242310",[7,198,200,398,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fca6dbb992056e9f783664a33202965.jpg",[],{"id":64321,"slug":64322,"title":20370,"dynasty":18,"author":454,"museum":107,"description":64323,"tags":64324,"thumbUrl":64325,"material":95,"size":95,"collection":95,"collections":64326,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242309,"zhong-ke-chun-hua-ge-tie-yi-ming-242309","此作以精整小篆摹刻法帖题识，线条匀净婉通，字形端雅规整，将上古至晋人书迹的题跋以篆法重塑，尽显古雅庄重的金石气韵。排版疏朗有序，释文与篆字排布和谐妥帖，既保留了阁帖的古朴金石质感，又以篆体赋予旧帖焕然新意。刻工精细，将小篆的对称之美与匀净笔意尽数呈现，观者可于一笔一画间，触摸跨越千年的书法脉络，品味篆籀文字的典雅厚重，是兼顾书法美学与文献留存的刻帖佳制。",[457,77,200,198,7,110,3467,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a8d9e99310c1950220420d5bbcf5be.jpg",[],{"id":64328,"slug":64329,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64330,"thumbUrl":64331,"material":751,"size":752,"collection":95,"collections":64332,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242308,"zhong-ke-chun-hua-ge-tie-yi-ming-242308",[7,198,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d134132c18ddee7be1715e56d2f5a18.jpg",[],{"id":64334,"slug":64335,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64336,"tags":64337,"thumbUrl":64338,"material":95,"size":95,"collection":95,"collections":64339,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242307,"wan-xiang-tang-su-shu-tie-yi-ming-242307","此作为阴刻拓本，乌金底色托出白描线条，清劲洗练。画面中东坡宽袍博带，斗笠覆顶，竹杖斜倚身侧，长髯垂胸，神情沉静澹然，将他贬谪江湖时寄情山水的疏旷隐逸之气尽显无余。错落排布的题识与画像呼应，寥寥数笔便勾勒出东坡儒雅放达的风神，把文人失意却不改旷达的林下风流刻画得淋漓尽致，尽显苏轼江海寄余生的悠然意态，是极具韵致的古代人物肖像刻本。",[112,198,7,77,113,1752,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7781cef39e20da7bf4001a02e7e41899.jpg",[],{"id":64341,"slug":64342,"title":64343,"dynasty":45,"author":454,"museum":107,"description":64344,"tags":64345,"thumbUrl":64346,"material":95,"size":95,"collection":802,"collections":64347,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},242305,"yu-gang-zhai-tie-yi-ming-242305","郁冈斋帖","此帖行书节录《九辩》，笔致婉畅灵动，牵丝映带间尽显行书舒展意趣，结体疏密欹正，藏着开合自如的章法巧思。乌金墨色沉凝古雅，拓工精良，字里行间漫溢着沉静书卷气。\n\n书法意绪与赋文悲秋怀思相融，笔势随文辞起伏沉郁，将悱恻怅惘暗合在提按转束中。版式匀整端方，字列排布错落有序，既保有行书的挥洒之态，亦不失刻帖的端雅矜重，让辞文的哀婉与笔墨的隽秀融为一体，墨痕里漫溢着古典文韵的悠长余味。",[7,60,200,198,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71401457f2e938fd84bd27597f8f936.jpg",[802],{"id":64349,"slug":64350,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64351,"tags":64352,"thumbUrl":64353,"material":751,"size":752,"collection":95,"collections":64354,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242304,"wan-xiang-tang-su-shu-tie-yi-ming-242304","此作为阴刻行书帖本，墨色沉敛静穆，字口清润劲挺。\n\n左侧书迹舒展跌宕，带着东坡行书特有的丰腴意趣，将湖桥闲步的幽隐之趣藏在笔墨的牵丝顿挫间，笔意从容萧散；右侧题额古雅朴拙，园池诗的书迹疏朗自在，把文人寄情林泉的雅致尽显无余。刻工精妙入微，忠实还原苏书舒展旷达的笔底风神，将北宋文人的林下风流凝在方寸拓纸间，虽经传刻却不减自在书卷气，尽显东坡书法里那份旷达疏朗的意韵。",[7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb363f9c78eafb26a92c6ac94e438f59.jpg",[],{"id":64356,"slug":64357,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64358,"tags":64359,"thumbUrl":64360,"material":751,"size":752,"collection":95,"collections":64361,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242303,"wan-xiang-tang-su-shu-tie-yi-ming-242303","此帖以乌色为底，笔锋莹润亮眼。行书取法东坡意趣，行笔舒展灵动，笔画圆劲丰润，藏锋敛锷却姿态横生。\n\n字字排布错落随性，暗含章法，笔画间牵丝映带，将诗文意绪融于笔墨起伏中。开篇从容铺陈，字句随文气缓急收放，既有文人简淡禅意，又藏尺牍私语的松弛。墨色匀净细腻，把提按粗细尽致展现，瘦处见劲、肥处见妍，尽显“端庄杂流丽，刚健含婀娜”的书法风神。\n\n整幅书卷气盎然，观之如晤旧友漫话闲情，将宋代文人的雅致意趣，凝于这方寸拓本之间。",[7,198,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f209b9f81aa391ec536207a1b0d9ab.jpg",[],{"id":64363,"slug":64364,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64365,"tags":64366,"thumbUrl":64367,"material":751,"size":752,"collection":95,"collections":64368,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242302,"wan-xiang-tang-su-shu-tie-yi-ming-242302","墨底烫金，雅致端凝，尽显东坡行书舒展俊逸之态。用笔随性自然，起收锋毫无滞碍，结体疏密错落，于散淡间暗藏沉厚筋骨，将苏轼独有的文人旷达意趣晕染纸上。\n\n帖中录东坡咏梅诗作，笔墨与诗意相融，词句清隽，书风疏朗，尽显东坡疏放雅致的精神气象。刻工精湛细致，最大程度还原了原作的笔墨神韵，虽为刻本，却精妙留存了苏轼行书的灵动意态，诗书相映，是兼具赏鉴与收藏价值的书法佳刻。",[7,60,198,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f3ca61fe92b6689eab71ad60d6ac43d.jpg",[],{"id":64370,"slug":64371,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64372,"tags":64373,"thumbUrl":64374,"material":751,"size":752,"collection":95,"collections":64375,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242301,"wan-xiang-tang-su-shu-tie-yi-ming-242301","此作为行书刻帖，笔墨取法东坡意趣，乌墨沉润如漆，尽得尚意书风之妙。用笔丰腴跌宕，藏锋处温润内敛，露锋时爽利劲挺，点画间带着宋人独有的散淡疏朗。\n\n所书东坡诗作，结体大小随性错落，章法排布匀整却不失灵动，字间行气连贯自然，将诗中山林清居的悠然襟怀融于笔墨流转。虽为刻帖，依旧能窥见原迹的潇洒风神，尽显追摹宋贤的雅致意趣，把东坡笔下的林下闲逸，凝在寸尺墨纸之间。",[7,60,198,200,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f84a9f101300be44a2c73fd7b2257b.jpg",[],{"id":64377,"slug":64378,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64379,"tags":64380,"thumbUrl":64381,"material":751,"size":752,"collection":95,"collections":64382,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242300,"wan-xiang-tang-su-shu-tie-yi-ming-242300","此帖以泥金书就于乌金笺上，墨色沉凝与金彩明丽相互映衬，视觉清逸雅致。书取苏轼笔意，结体宽博舒展，笔力劲挺温润，将东坡书法的雍容浑厚与明刻帖的精工秀润融为一体。字字排布匀停疏朗，点画间尽显从容温雅的文人意趣，起承转合皆见法度，既不失苏字的萧散风神，又带着刻本独有的整饬质感，将宋代文人的翰墨雅致精妙留存，是一件颇具韵味的法帖佳本。",[7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5c985b165ff21a26b8aac5afbc8e2a.jpg",[],{"id":64384,"slug":64385,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64386,"tags":64387,"thumbUrl":64388,"material":751,"size":752,"collection":95,"collections":64389,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242299,"wan-xiang-tang-su-shu-tie-yi-ming-242299","此作为苏书刻帖，墨色乌亮莹润，字势灵动舒展。左侧录东坡日常尺牍，笔意随性洒脱，提按转折间尽显行书舒展自然的意趣，将修闸琐事化作笔下疏朗的线条，带着家常信札松弛自在的烟火气，无半点刻意雕琢的板滞。\n\n右侧题名朴拙率真，刻工细致入微，将苏轼手札的笔墨温度凝于刀锋之下，把文人日常闲散心事藏于方寸拓纸，尽显宋人尺牍萧散简远的风雅韵味，在墨色与纸底的明暗之间，晕开旧时光里的文人情致，平淡语汇里浸透东坡超逸的笔墨风神。",[7,60,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd2e6384e39c3e5b12e18d5598360f9.jpg",[],{"id":64391,"slug":64392,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64393,"tags":64394,"thumbUrl":64395,"material":751,"size":752,"collection":95,"collections":64396,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242298,"wan-xiang-tang-su-shu-tie-yi-ming-242298","此作用行书录陶渊明《饮酒》名句，笔墨意态追摹东坡风神，结体宽绰舒展，笔力浑厚遒劲又不失灵动潇洒。线条粗细合宜，牵映顾盼间自带萧散悠然之致，与诗文隐世淡远的意境相融相合。碑刻金字沉凝温润，虽经刻拓，依旧留存了原作书写时的松弛快意，将东坡行书雍容跌宕的气质尽显无遗，把陶诗里东篱采菊、悠然忘机的林下风雅，以书法的形式诠释得淋漓尽致，尽显文人淡远出尘的书卷意趣。",[7,60,198,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3addc26317f63045808c53f5687270.jpg",[],{"id":64398,"slug":64399,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64400,"tags":64401,"thumbUrl":64402,"material":751,"size":752,"collection":95,"collections":64403,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242297,"wan-xiang-tang-su-shu-tie-yi-ming-242297","此作为苏书刻帖，墨底朱字，古雅沉静。笔致丰腴跌宕，尽显东坡行书舒展散淡的宋韵风神。刻工精妙，将原作的牵丝映带、结体意趣复刻传神，既有文人书法的雅致疏朗，亦带着碑刻特有的金石朴拙质感。\n\n所录《洞庭春色赋》片段，笔墨间藏着闲适意趣，字里行间漫溢出东坡文辞里的林下风致，明刻复刻颇为得法，在墨色沉凝与朱笔挺秀的反差中，让古帖的书卷气与金石气相融，是复刻苏字的佳妙刻本之一。",[7,198,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff81935ef65ff68458e43811b237704.jpg",[],{"id":64405,"slug":64406,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64407,"tags":64408,"thumbUrl":64409,"material":751,"size":752,"collection":95,"collections":64410,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242296,"wan-xiang-tang-su-shu-tie-yi-ming-242296","此作为行书刻帖，墨底题金，古意盎然。取法东坡笔意，笔画丰腴舒展，藏锋裹气，尽显苏氏行书的朴茂浑厚。章法错落随性，字间行气贯通，欹正相生，还原了宋人尺牍的散淡意趣。\n刻工精良，金字在沉郁墨底上锋芒隐现，复刻出原帖的笔墨层次，将尺牍中随性旷达的文士襟怀尽显无余，看似信手挥洒的文辞笔墨，藏着北宋文人潇洒疏放的风神，让观者窥见宋人尺牍往来的雅致日常，虽为刻本却不失原作天真烂漫的意韵。",[7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe248a4381c430fd17d0b4ac6d23391.jpg",[],{"id":64412,"slug":64413,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64414,"tags":64415,"thumbUrl":64416,"material":751,"size":752,"collection":95,"collections":64417,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242295,"wan-xiang-tang-su-shu-tie-yi-ming-242295","此作为行书刻帖，节取《归去来兮辞》开篇。乌金底板衬起银字愈见清雅隽秀，刻工精良至极。笔墨取法苏轼行书意趣，点画圆劲丰腴，字势舒展灵动，将东坡书法特有的旷达萧散复刻传神。\n\n即便经刊刻转拓，依旧保留着原作笔墨起伏的随性舒展，以苏字疏宕从容的风韵，尽显陶潜归园田居的澹泊襟怀，字字融着文人散淡天真的意绪，是颇具意趣的刻帖佳制。",[7,198,200,60,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c30d6620a963fbe45587d758d4b2f8.jpg",[],{"id":64419,"slug":64420,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64421,"tags":64422,"thumbUrl":64423,"material":751,"size":752,"collection":95,"collections":64424,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242294,"wan-xiang-tang-su-shu-tie-yi-ming-242294","此帖墨色乌亮莹润，刻工精妙，尽显苏轼书风神髓。左侧诗文楷行相融，用笔舒展沉厚，结体宽博雍容，既具楷书端稳筋骨，又不失行书灵动意趣，笔墨间沉郁怀古之意尽显。右侧题署朴拙舒展，藏巧于拙，丰腴笔画内含骨力，是典型的东坡书风。\n整帖将笔墨风神与诗文意境相融，既有文人疏朗雅致，又带着沉雄厚重笔力，虽为刻帖，却完整留存原作精神，尽显宋韵书法意韵悠长，朴茂雄浑中隽秀自生。",[7,198,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a62b3dfa5b819d2355a5ec2fab81d9.jpg",[],{"id":64426,"slug":64427,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64428,"tags":64429,"thumbUrl":64430,"material":751,"size":752,"collection":95,"collections":64431,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242293,"wan-xiang-tang-su-shu-tie-yi-ming-242293","此帖集录东坡书迹，韵致卓然。开篇题字古雅厚朴，行书笔势舒展雍容，带着苏轼标志性的丰腴圆劲，骨力潜于丰肌之中，尽显文人旷达意致。\n\n后接小楷《心经》，结体匀整端雅，笔墨温静安和，静穆间漫出禅意，将东坡书法兼具的萧散简远与端雅沉凝复刻传神。朱印浓艳映于乌墨黑底之上，朱墨撞色让古雅更添灵动，刻工精妙，将苏轼笔底的疏朗意趣留存下来，字里行间既有文人心境，又含出世禅味，是极具赏鉴价值的法帖。",[7,60,198,386,77,200,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8dc3aa4188d6aeec68afa0e8f9bfbe0.jpg",[],{"id":64433,"slug":64434,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64435,"tags":64436,"thumbUrl":64437,"material":751,"size":752,"collection":95,"collections":64438,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242292,"wan-xiang-tang-su-shu-tie-yi-ming-242292","此作取法东坡行书意趣，笔墨圆劲丰润，行笔舒展灵动。所书古风诗作将诗情与笔意相融，章法错落有致，字距行气连贯却开合自如，刻工精良尽显乌亮莹润的墨色质感，忠实还原出东坡书法萧散简远的意韵。\n\n单字顾盼生姿，通篇一气呵成，既有士大夫的疏朗襟怀，又暗藏雄放沉厚笔力，尽显宋人尚意的风神，复刻出坡居士挥毫时的疏放襟怀，将诗文旷达豪情与书法洒脱气质交织，是颇具韵味的刻帖佳品。",[7,198,60,116,773,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef5899b76579696643c781e7875622f.jpg",[],{"id":64440,"slug":64441,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64442,"tags":64443,"thumbUrl":64444,"material":751,"size":752,"collection":95,"collections":64445,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242291,"wan-xiang-tang-su-shu-tie-yi-ming-242291","此作为墨拓刻帖，墨色匀净乌亮，装裱清雅规整。题署小篆古雅端凝，先点明意趣。刻工精妙入微，高度还原东坡书法神韵，行书线条圆劲丰润，藏巧于朴拙之间，尽显苏轼书法萧散旷达的意致。\n\n帖中文辞出自东坡手笔，笔墨与文心交映，既有尺牍随性自然的松弛感，又兼具碑刻沉静厚重的质感。借由成熟刻帖技艺，将苏轼书法的舒展灵动凝于石上传拓，虽经刊刻却未失文人风雅，字里行间漫溢着东坡居士疏朗简远的襟怀，展卷如晤古人，静赏可体味书法传拓的精妙意趣，是复刻名家翰墨、传递古典文心的上乘刻本。",[7,198,60,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F825b5b72678a2c651ea2a8529e9cc68f.jpg",[],{"id":64447,"slug":64448,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64449,"tags":64450,"thumbUrl":64451,"material":751,"size":752,"collection":95,"collections":64452,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242290,"wan-xiang-tang-su-shu-tie-yi-ming-242290","此作为集苏轼行书刻帖，墨地填金，愈显古雅沉静。字法承袭东坡行书典型意韵，笔致丰腴跌宕，圆劲灵动，结体欹侧奇崛却舒展自然，尽显苏轼随性旷达的风神。\n\n帖中内容为东坡养生闲谈，将寻常起居服药之语，以风雅笔墨书就。整幅章法匀整疏朗，字间呼吸相宜，精细复刻出东坡笔墨意趣，泥金与乌墨相映，让宋贤的笔墨风神被妥帖留存，尽显刻帖的隽永质感与宋人的雅致意趣。",[7,198,200,60,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ec6c4d0ea3c26cacfce2f91f0e6207.jpg",[],{"id":64454,"slug":64455,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64456,"tags":64457,"thumbUrl":64458,"material":751,"size":752,"collection":95,"collections":64459,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242289,"wan-xiang-tang-su-shu-tie-yi-ming-242289","此作墨色乌亮如漆，字口清隽朗润，尽显行书飘逸沉凝之姿。用笔提按转折自在随心，笔画舒展灵动，既有丰腴浑厚的笔力，又不失劲挺爽利的镌刻意趣，将尚意风神藏于起收之间。\n章法错落疏朗，字间疏密得宜，行气贯通畅达。笔墨间裹挟着禅意文思，每一字都晕染着雅致高古的书卷气，虽经刊刻却未失笔墨本真，将文人的疏俊襟怀尽数融于笔锋起落，观之如沐清风，尽显书法里的高古意趣。",[4038,60,198,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4213b59a9cec88b61c6aa8596d08f0.jpg",[],{"id":64461,"slug":64462,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64463,"tags":64464,"thumbUrl":64465,"material":751,"size":752,"collection":95,"collections":64466,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242288,"wan-xiang-tang-su-shu-tie-yi-ming-242288","此作为黑底嵌金的刻帖，雅致沉静。右侧开篇以古雅篆字题引，其后小楷书《黄庭内景经》，笔致清劲端雅，舒展灵动，自带晋人飘逸散淡的气韵，提按转折皆细腻可观。左侧小楷行气匀整，笔画温润秀雅，将经文清虚出尘的气质融于笔墨之中。\n\n刻工精妙入微，把原作的笔墨意趣完整复刻，乌亮莹润的墨底间，金字愈发隽秀雅致，虽为拓本，却留存下原作的秀逸风神。整体气息静穆内敛，翰墨与经文相融，观之涤荡尘心，沉浸在古雅清虚的韵致之中，是颇见功力的刻帖佳制。",[4038,198,7,60,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9ca76fd4ff09efa3f4b30f18c516f8.jpg",[],{"id":64468,"slug":64469,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64470,"tags":64471,"thumbUrl":64472,"material":751,"size":752,"collection":95,"collections":64473,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242287,"wan-xiang-tang-su-shu-tie-yi-ming-242287","此帖行书意态温雅舒展，尽得东坡书法神韵。墨色沉凝古雅，刀刻细致还原笔墨提按转折，将纸墨间的氤氲意韵凝于金石，未失笔墨原有的灵动生机。\n\n帖文为东坡谈风物食养的随笔短札，书法与文辞相映成趣，字里行间漫溢出东坡居士寄情日常的散淡疏朗。笔画间既有宋代文人的萧散风神，又藏着明代刻工的精巧用心，复刻出苏字的旷达疏放，带着江南风物的清隽意趣，尽显宋人尺牍的闲雅情致。",[4038,7,198,200,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb532973604adf3da4e3e56d08408dc3e.jpg",[],{"id":64475,"slug":64476,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64477,"tags":64478,"thumbUrl":64479,"material":751,"size":752,"collection":95,"collections":64480,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242286,"wan-xiang-tang-su-shu-tie-yi-ming-242286","此帖节录宋玉《九辩》悲秋开篇，行书取东坡笔意，以铁线精摹勒石，墨色乌亮莹润，古意盎然。行笔舒展灵动，结体疏密得宜，既存东坡行书的丰腴雍容，又不失飘逸隽秀之姿，将苏书尚意的神韵复刻精妙。笔墨与文辞相融，萧瑟秋意寄于婉转笔锋，沉郁雅致的书卷气漫溢纸面。刻工精良，笔画转折间筋骨暗藏，尽显宋明递嬗之际，文人对苏式书风的追慕与传承，是兼具文辞意趣与书法美学的精巧刻帖之作。",[25,7,60,200,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a23d5caee2e08933f687e7f87445fc.jpg",[],{"id":64482,"slug":64483,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64484,"tags":64485,"thumbUrl":64486,"material":751,"size":752,"collection":95,"collections":64487,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242285,"wan-xiang-tang-su-shu-tie-yi-ming-242285","墨底金书古雅沉静，此帖尽得东坡行书神髓。笔画圆劲舒展，结体欹侧不失端稳，将苏轼书法丰腴跌宕、散朗萧散的意韵复刻传神。尺牍文句自带文人酬唱的松弛随性，刻工精细入微，把笔墨间的起伏转折留存完好，虽为刻帖却近乎还原了原作的笔墨气韵，尽显宋代文人书法的隽逸风骨，可让观者触摸到东坡行书的疏朗雅致，是摹刻苏字的精良范本。",[7,200,198,60,110,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd035a2e43fd0d6584dd2b4e6da914b63.jpg",[],{"id":64489,"slug":64490,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64491,"tags":64492,"thumbUrl":64493,"material":751,"size":752,"collection":95,"collections":64494,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242284,"wan-xiang-tang-su-shu-tie-yi-ming-242284","此帖墨色沉凝乌亮，左右分栏排布，章法疏朗安和。左侧苏书笔致舒展俊逸，结体跌宕，尽显东坡行书丰腴旷达的意趣，笔墨间带着宋代文人疏宕的风神。右侧题额古拙厚重，金石朴茂之气盎然，与行书形成刚柔相映的奇妙张力。整作拓工精良，字口清晰分明，将苏轼书法的灵动意韵复刻传神，碑刻与行书意趣相融，尽显法帖雅致厚重的质感，凝练出书法传承里的隽永意趣。",[7,198,60,200,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69314e089f45bd0a13bc407b5cdfcdde.jpg",[],{"id":64496,"slug":64497,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64498,"tags":64499,"thumbUrl":64500,"material":751,"size":752,"collection":95,"collections":64501,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242283,"wan-xiang-tang-su-shu-tie-yi-ming-242283","此作用墨底金字装裱，古雅沉静。书风兼融行书舒展与小草简省，行气匀停疏朗，字间映带自然。提按顿挫富于节律，点画灵动爽利，如“羈、忘”诸字，草意盎然却不失法度。\n所书诗文清雅淡远，笔墨与文辞相得益彰，尽显幽居林壑、寄情山水的文人意趣。整体意韵萧散简远，妍美流便中带着沉静古雅气质，将书写的抒情性与诗文意境相融，是兼具审美价值与文心雅趣的佳构。",[7,60,198,200,2136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55f73e920f006e63c9ca3723c1c4007.jpg",[],{"id":64503,"slug":64504,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64505,"tags":64506,"thumbUrl":64507,"material":751,"size":752,"collection":95,"collections":64508,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242282,"wan-xiang-tang-su-shu-tie-yi-ming-242282","此作为墨底金字行书刻帖，格调古雅沉静。取法东坡行书风神，点画丰腴跌宕，藏锋敛锷又不失舒展开张。字间气脉连贯，欹正相生，既带着文人的疏朗散淡，亦具遒劲骨力。\n\n所书为山林幽居之语，笔墨与文辞相融，尽显林下风流。章法排布匀称，行气疏朗宽绰，字距行间留白得当，通篇气息平和萧散，暗合文中山林问道、幽潭寄怀的意趣。虽为刻帖，却将东坡书法的烂漫天真与沉郁温厚完美复刻，仍能传递出原迹的笔墨情韵，尽显行书雅致风神。",[4038,7,198,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce1de56a9f786e92276c7f3cdf16281d.jpg",[],{"id":64510,"slug":64511,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64512,"tags":64513,"thumbUrl":64514,"material":751,"size":752,"collection":95,"collections":64515,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242281,"wan-xiang-tang-su-shu-tie-yi-ming-242281","此行书刻帖取法东坡笔意，字形欹正错落，肥扁间自带雄迈沉郁的气度。起笔朴拙开张，而后行笔渐次舒展，牵丝映带间尽显萧散随性的文人意趣。\n\n墨色虽经拓印，仍能分辨润燥浓淡，粗笔沉厚如坠石，细笔轻盈若游丝。刻工将挥毫时的疏放襟怀传神复刻，碑石的苍茫质感晕染在笔墨意趣中，尺牍式的章法连贯通透，字字呼应间藏着宋人尚意的风雅。率性挥洒间流露出行云流水的自然韵致，将东坡书法的疏放襟怀凝结在金石拓片之上。",[7,60,198,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8782cd8e5cb1166fd71eb6ccf1896fa8.jpg",[],{"id":64517,"slug":64518,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64519,"tags":64520,"thumbUrl":64521,"material":751,"size":752,"collection":95,"collections":64522,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242280,"wan-xiang-tang-su-shu-tie-yi-ming-242280","此帖墨色苍润沉古，草书笔意纵逸跌宕。线条舒展奔涌，牵丝映带间流转自然，字势开合相生，欹正错落尽显随性疏狂。章法匀整不失灵动，两列排布行气贯通，如行云流水一气呵成，将诗中酣饮酒意化入笔底，把东坡疏旷襟怀藏于点画。刻工精良，不失原作笔墨意趣，金石质感衬出书风雄放，既有宋人意韵，又含刻帖的古雅质感，通篇浑然舒展，尽显潇洒疏朗的文人意气。",[7,25,200,198,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27671664f0c50f24dc337b69ff847b52.jpg",[],{"id":64524,"slug":64525,"title":40619,"dynasty":45,"author":454,"museum":107,"description":64526,"tags":64527,"thumbUrl":64528,"material":95,"size":95,"collection":95,"collections":64529,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242279,"wan-xiang-tang-su-shu-tie-yi-ming-242279","此作为苏书刻帖，墨色乌莹沉厚，开篇以古雅篆题领起，通篇行书取势舒展灵动，尽显东坡手札随性自然的意趣。\n线条圆劲丰润、骨肉停匀，字形欹正相生，藏着东坡“我书意造本无法”的创作主张，将日常信札里松弛朴拙的笔墨情态精妙复刻。刻工精湛，忠实还原了苏轼行书雄放又不失秀逸的质感，把尺牍里的家常语化作笔下动人的书法意韵，尽显宋人尚意的风雅神采，复刻出东坡书法的风神襟度，是留存苏书面貌的上好刻本。",[7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F106408f1787d362c10406466ead4d8b7.jpg",[],{"id":64531,"slug":64532,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64533,"thumbUrl":64534,"material":751,"size":752,"collection":95,"collections":64535,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242278,"zhong-ke-chun-hua-ge-tie-yi-ming-242278",[198,7,200,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1f636bc38cb909541dc3cff57dd51b.jpg",[],{"id":64537,"slug":64538,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64539,"thumbUrl":64540,"material":751,"size":752,"collection":95,"collections":64541,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242276,"zhong-ke-chun-hua-ge-tie-yi-ming-242276",[7,200,198,110,77,60,398,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a225a617821dcd157cc4770f7f47d3d.jpg",[],{"id":64543,"slug":64544,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64545,"thumbUrl":64546,"material":751,"size":752,"collection":95,"collections":64547,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242275,"zhong-ke-chun-hua-ge-tie-yi-ming-242275",[7,200,198,60,398,77,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd763b3fb2a7fb41bf7f100f745b9b2.jpg",[],{"id":64549,"slug":64550,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64551,"thumbUrl":64552,"material":751,"size":752,"collection":95,"collections":64553,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242274,"zhong-ke-chun-hua-ge-tie-yi-ming-242274",[7,198,200,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf23ee2a7b22bb6727e105651b3b6340.jpg",[],{"id":64555,"slug":64556,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64557,"thumbUrl":64558,"material":751,"size":752,"collection":95,"collections":64559,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242273,"zhong-ke-chun-hua-ge-tie-yi-ming-242273",[7,198,60,398,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b2cb6470bc0353ac121d5a04b3a163.jpg",[],{"id":64561,"slug":64562,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64563,"thumbUrl":64564,"material":751,"size":752,"collection":95,"collections":64565,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242272,"zhong-ke-chun-hua-ge-tie-yi-ming-242272",[7,198,200,457,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcef32d265c307007205576365237b845.jpg",[],{"id":64567,"slug":64568,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64569,"thumbUrl":64570,"material":751,"size":752,"collection":95,"collections":64571,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242271,"zhong-ke-chun-hua-ge-tie-yi-ming-242271",[7,198,200,60,398,199,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ae5de262ddbc2329cb11360990aee6.jpg",[],{"id":64573,"slug":64574,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64575,"thumbUrl":64576,"material":751,"size":752,"collection":95,"collections":64577,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242270,"zhong-ke-chun-hua-ge-tie-yi-ming-242270",[7,198,200,60,398,199,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a659ab8e1deb9cf51b3109e6df75723.jpg",[],{"id":64579,"slug":64580,"title":20370,"dynasty":18,"author":454,"museum":107,"description":64581,"tags":64582,"thumbUrl":64583,"material":95,"size":95,"collection":95,"collections":64584,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242269,"zhong-ke-chun-hua-ge-tie-yi-ming-242269","这帧大字行书拓本，用笔雄健苍劲，线条浑厚饱满极具张力。“名”字起笔藏锋敛势，转折圆劲沉稳，下部宽舒开张，尽显疏朗气度；“寓”字上紧下松，宝盖头宽博大气，下部笔画错落呼应，拙朴灵动兼具。\n\n整作以乌金底托出润白书迹，对比强烈，右上角小朱印点缀，虚实相生，章法疏朗开阔。笔墨间既有唐楷端稳之态，又不失行书的灵动意趣，尽显榜书的磅礴开阔，将传统刻帖的金石质感与书法艺术的气韵完美融合，尽显沉雄洒脱的书法意韵。",[7,200,198,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6ecc981941925c2eeaec233cf1e8c9.jpg",[],{"id":64586,"slug":64587,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64588,"thumbUrl":64589,"material":751,"size":752,"collection":95,"collections":64590,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242268,"zhong-ke-chun-hua-ge-tie-yi-ming-242268",[7,200,198,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4041694fd3b94e8acda1a9e5180d4a.jpg",[],{"id":64592,"slug":64593,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64594,"thumbUrl":64595,"material":751,"size":752,"collection":95,"collections":64596,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242267,"zhong-ke-chun-hua-ge-tie-yi-ming-242267",[7,200,198,110,77,60,398,199,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda8c8106af11b7a471f3c75329ab3e9a.jpg",[],{"id":64598,"slug":64599,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64600,"thumbUrl":64601,"material":751,"size":752,"collection":95,"collections":64602,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242266,"zhong-ke-chun-hua-ge-tie-yi-ming-242266",[7,198,200,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd051d06def15e8ece6575cb44f603b.jpg",[],{"id":64604,"slug":64605,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64606,"thumbUrl":64607,"material":751,"size":752,"collection":95,"collections":64608,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242265,"zhong-ke-chun-hua-ge-tie-yi-ming-242265",[7,200,198,398,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F798d51df9270e29c1f2441d8f6f024f5.jpg",[],{"id":64610,"slug":64611,"title":20370,"dynasty":18,"author":454,"museum":107,"description":64612,"tags":64613,"thumbUrl":64614,"material":95,"size":95,"collection":95,"collections":64615,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242264,"zhong-ke-chun-hua-ge-tie-yi-ming-242264","此帖墨色沉凝乌亮，刻工精妙入微，将唐草的纵逸风神尽数留存。字势连绵缠绕，线条灵动跌宕，提按转合间尽显狂放洒脱的笔底意趣。右侧小楷释文与左侧草书形成疏密对照，虚实相映，章法错落有致，既还原了古帖的笔墨情致，又带着复刻本特有的沉静质感。笔下藏着晋唐书法的跌宕心绪，每一处牵丝映带都传递出古人挥毫时的酣畅快意，让观者得以触摸千年前的书法造诣，是复刻法帖里留存古法风貌的上乘之作。",[7,198,200,398,60,110,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fd2940eee4ff503f986ed4281a9780.jpg",[],{"id":64617,"slug":64618,"title":20370,"dynasty":18,"author":454,"museum":107,"description":64619,"tags":64620,"thumbUrl":64621,"material":95,"size":95,"collection":95,"collections":64622,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242263,"zhong-ke-chun-hua-ge-tie-yi-ming-242263","此草书刻帖笔势圆劲流转，牵丝映带自然浑成，字间行气连贯畅达。刻工精良，墨色沉凝匀净，将原作使转提按的细腻笔意尽数留存。\n单字或欹或正，错落生姿。大开大合如“趣”“憂”，尽现放逸跌宕之态，内敛收敛者亦见温婉雅致。旁侧小字释文排布规整，与草书形成疏密对比，章法疏朗协调，层次分明。\n刀笔之间复刻古帖笔墨情致，兼具魏晋草书的潇洒风神，让观者得以遥想原作灵动韵致，触摸跨越时光的书法传承脉络。",[198,7,200,110,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca85b49cf34072ae5f07b6b04c25e71f.jpg",[],{"id":64624,"slug":64625,"title":20370,"dynasty":18,"author":454,"museum":107,"description":64626,"tags":64627,"thumbUrl":64628,"material":95,"size":95,"collection":95,"collections":64629,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242262,"zhong-ke-chun-hua-ge-tie-yi-ming-242262","此帖以摹刻晋人尺牍为本，笔势圆劲流转，牵丝映带间尽显晋人萧散简远的气度。点画粗细变化自然灵动，将王珣尺牍的跌宕意趣复刻传神。\n\n小字释文排布妥帖，与草书本体相映成趣，整体版式疏朗沉静，墨色匀净苍润。虽为刻帖，却最大程度保留了原作的笔墨情致，尽显魏晋尚韵的书法美学，可让观者遥想魏晋名士的风雅襟怀，是复刻古法的佳制。",[7,198,200,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5b5ac2e19a39e26f6dcd7eaafe891f.jpg",[],{"id":64631,"slug":64632,"title":20370,"dynasty":18,"author":454,"museum":107,"description":64633,"tags":64634,"thumbUrl":64635,"material":95,"size":95,"collection":95,"collections":64636,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242261,"zhong-ke-chun-hua-ge-tie-yi-ming-242261","此作为刻帖精品，乌亮墨底衬出银钩草书，线条婉转舒展，将王献之笔法的飘逸风流尽数复刻。刻工精湛细腻，字口爽利清晰，毫厘间还原晋人尚韵的灵动笔意，原作的使转牵丝、俯仰开合都历历可见。\n\n版式疏朗沉静，旁附工稳释文排布妥帖和谐，既便于识读草法，也平衡了视觉节奏。整体气息古雅沉静，兼具书法艺术的笔墨意趣与刻帖工艺的金石质感，尽显晋人法帖的隽永风神。",[7,198,200,398,60,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225ed41350a0bdc6580b318bc01809c1.jpg",[],{"id":64638,"slug":64639,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64640,"thumbUrl":64641,"material":751,"size":752,"collection":95,"collections":64642,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242260,"zhong-ke-chun-hua-ge-tie-yi-ming-242260",[7,198,200,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948e08c0927fe1f181eeae96e65cb988.jpg",[],{"id":64644,"slug":64645,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64646,"thumbUrl":64647,"material":751,"size":752,"collection":95,"collections":64648,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242259,"zhong-ke-chun-hua-ge-tie-yi-ming-242259",[7,198,200,60,398,199,457,1613,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4173f7e543a4947d1a6eef4f4f4e3f2c.jpg",[],{"id":64650,"slug":64651,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64652,"thumbUrl":64653,"material":751,"size":752,"collection":95,"collections":64654,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242258,"zhong-ke-chun-hua-ge-tie-yi-ming-242258",[7,200,198,457,77,3467,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c4e16309dce0f6efc44512dcee0e5d.jpg",[],{"id":64656,"slug":64657,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64658,"thumbUrl":64659,"material":751,"size":752,"collection":95,"collections":64660,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242257,"zhong-ke-chun-hua-ge-tie-yi-ming-242257",[7,198,200,110,60,398,199,1613,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3384bab728d8fad52c16152e6c07dd6b.jpg",[],{"id":64662,"slug":64663,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64664,"thumbUrl":64665,"material":751,"size":752,"collection":95,"collections":64666,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242256,"zhong-ke-chun-hua-ge-tie-yi-ming-242256",[7,198,200,110,60,398,199,457,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc111dc2885fc8ed0db1ba934b96aa4.jpg",[],{"id":64668,"slug":64669,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64670,"thumbUrl":64671,"material":751,"size":752,"collection":95,"collections":64672,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242255,"zhong-ke-chun-hua-ge-tie-yi-ming-242255",[7,198,200,60,398,199,77,110,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc6680170f4722cd8ec8f41dedf075c.jpg",[],{"id":64674,"slug":64675,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64676,"thumbUrl":64677,"material":751,"size":752,"collection":95,"collections":64678,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242254,"zhong-ke-chun-hua-ge-tie-yi-ming-242254",[7,200,198,110,60,398,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe24000416e2ffde525b81d1feebbd244.jpg",[],{"id":64680,"slug":64681,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64682,"thumbUrl":64683,"material":751,"size":752,"collection":95,"collections":64684,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242253,"zhong-ke-chun-hua-ge-tie-yi-ming-242253",[7,200,198,60,398,199,77,110,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368fe8789daa4de1abdc4333061e3042.jpg",[],{"id":64686,"slug":64687,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64688,"thumbUrl":64691,"material":751,"size":752,"collection":95,"collections":64692,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242252,"zhong-ke-chun-hua-ge-tie-yi-ming-242252",[457,200,198,7,3467,110,26,77,64689,64690,36757,11284,385,2115],"重刻","帖本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219e56217c5484ede575cfa0a4d8478.jpg",[],{"id":64694,"slug":64695,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64696,"thumbUrl":64697,"material":751,"size":752,"collection":95,"collections":64698,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242251,"zhong-ke-chun-hua-ge-tie-yi-ming-242251",[7,198,60,200,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b9010f6b6e807717809fa4b1188b99.jpg",[],{"id":64700,"slug":64701,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64702,"thumbUrl":64703,"material":751,"size":752,"collection":95,"collections":64704,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242250,"zhong-ke-chun-hua-ge-tie-yi-ming-242250",[7,198,200,398,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3882ba743ae67871638954dec2c4e030.jpg",[],{"id":64706,"slug":64707,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64708,"thumbUrl":64709,"material":751,"size":752,"collection":95,"collections":64710,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242249,"zhong-ke-chun-hua-ge-tie-yi-ming-242249",[198,200,7,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a16032cccfa3e80cfd13f9d0f18611b.jpg",[],{"id":64712,"slug":64713,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64714,"thumbUrl":64715,"material":751,"size":752,"collection":95,"collections":64716,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242248,"zhong-ke-chun-hua-ge-tie-yi-ming-242248",[7,198,200,110,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac88653bb6eb82e20d971c85dd318615.jpg",[],{"id":64718,"slug":64719,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64720,"thumbUrl":64721,"material":751,"size":752,"collection":95,"collections":64722,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242247,"zhong-ke-chun-hua-ge-tie-yi-ming-242247",[7,198,200,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d346f313a03093f26b9d42c6c2fed63.jpg",[],{"id":64724,"slug":64725,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64726,"thumbUrl":64727,"material":751,"size":752,"collection":95,"collections":64728,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242246,"zhong-ke-chun-hua-ge-tie-yi-ming-242246",[7,198,200,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d37a9880576cd390cc7e91fa3b176f.jpg",[],{"id":64730,"slug":64731,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64732,"thumbUrl":64733,"material":751,"size":752,"collection":95,"collections":64734,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242245,"zhong-ke-chun-hua-ge-tie-yi-ming-242245",[7,198,200,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4a7a163ce9fd1635d45a73a85dc0284.jpg",[],{"id":64736,"slug":64737,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64738,"thumbUrl":64739,"material":751,"size":752,"collection":95,"collections":64740,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242244,"zhong-ke-chun-hua-ge-tie-yi-ming-242244",[7,198,200,60,199,1613,457,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e410ec73fb1be393adbb5a0aa16272c.jpg",[],{"id":64742,"slug":64743,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64744,"thumbUrl":64745,"material":751,"size":752,"collection":95,"collections":64746,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242243,"zhong-ke-chun-hua-ge-tie-yi-ming-242243",[198,200,7,60,398,199,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb4828cf191f227c01f81ba81dc105b.jpg",[],{"id":64748,"slug":64749,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64750,"thumbUrl":64751,"material":751,"size":752,"collection":95,"collections":64752,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242242,"zhong-ke-chun-hua-ge-tie-yi-ming-242242",[7,200,198,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9099fa7ba001cb883794d7494301f4e0.jpg",[],{"id":64754,"slug":64755,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64756,"thumbUrl":64757,"material":751,"size":752,"collection":95,"collections":64758,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242241,"zhong-ke-chun-hua-ge-tie-yi-ming-242241",[198,7,60,398,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae71561e18a20a53bf00d96e0bd00174.jpg",[],{"id":64760,"slug":64761,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64762,"thumbUrl":64763,"material":751,"size":752,"collection":95,"collections":64764,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242240,"zhong-ke-chun-hua-ge-tie-yi-ming-242240",[7,200,198,110,77,26,60,398,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda91f21b7b3a40e41a50cccedc4b1d6.jpg",[],{"id":64766,"slug":64767,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64768,"thumbUrl":64769,"material":751,"size":752,"collection":95,"collections":64770,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242239,"zhong-ke-chun-hua-ge-tie-yi-ming-242239",[7,198,77,398,60,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad9569edc2944aed12e74d1fe47011c.jpg",[],{"id":64772,"slug":64773,"title":20370,"dynasty":18,"author":454,"museum":107,"description":64774,"tags":64775,"thumbUrl":64776,"material":95,"size":95,"collection":95,"collections":64777,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242238,"zhong-ke-chun-hua-ge-tie-yi-ming-242238","此帖取法晋唐草书意趣，行笔流转圆融，牵丝映带尽显使转之妙。右侧题识笔锋劲挺爽利，排布疏朗有致；左侧草书本篇，字字顾盼映带，章法错落和谐，将沉郁笔势与灵动行气相融，把沉挚牵念藏进笔墨起伏之中。\n\n墨色乌亮莹润，刻工精湛入微，将原作的锋棱起伏、枯湿浓淡尽数还原。虽为刻帖，却精准传递出晋人草书萧散简远的风神，尽显重韵尚法的审美意趣，是复刻晋唐草法的精良之作。",[7,198,200,60,398,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32ea0b2ec80e0ab08afff87aa15c6c6.jpg",[],{"id":64779,"slug":64780,"title":20370,"dynasty":18,"author":454,"museum":107,"description":37614,"tags":64781,"thumbUrl":64782,"material":751,"size":752,"collection":95,"collections":64783,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242237,"zhong-ke-chun-hua-ge-tie-yi-ming-242237",[457,198,200,7,77,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f089dd205e73a9dc1a26b39b8b53a2.jpg",[],{"id":64785,"slug":64786,"title":40641,"dynasty":45,"author":454,"museum":107,"description":64787,"tags":64788,"thumbUrl":64789,"material":95,"size":95,"collection":95,"collections":64790,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242233,"bao-xian-tang-fa-tie-yi-ming-242233","墨色沉凝古雅，尽显刻帖风神。开篇笔致舒展萧散，结体欹正随心，牵丝映带间流转尺牍的随性闲适，将日常寄怀的松弛藏在笔画起落里。左侧书迹朴厚温润，收放有度，既有端凝静穆，又不失行书灵动意趣。乌金拓墨色匀净莹润，字口清晰锐劲，复刻原作使转提按分毫毕现，可见刻工精妙匠心。古纸旧拓晕着岁月沉淀的沉静质感，让千年前的笔墨意趣跨越时光，留存下帖学流传的脉脉余韵。",[7,198,26,60,398,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8e952e6170162ca55a58bc124f261d0.jpg",[],{"id":64792,"slug":64793,"title":40641,"dynasty":45,"author":454,"museum":107,"description":64794,"tags":64795,"thumbUrl":64796,"material":95,"size":95,"collection":95,"collections":64797,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242229,"bao-xian-tang-fa-tie-yi-ming-242229","此作草书笔势灵动跳脱，牵丝映带自然圆融，尽显书写时的随性快意。整幅章法匀停舒展，行气连贯如一，乌亮莹润的墨色衬出拓工的精良细腻，将原作的提按使转尽数还原。\n\n字里行间浸着尺牍的闲散意韵，虽是随性挥毫，却暗合草书章法准则。疏密开合间，率意挥洒中藏着法度谨严，把文人间尺牍往来的雅致情致，与草书抒情写意的特质融为一体，尽显刻帖复刻墨迹风神的高超功力，让观者得以遥见彼时书写者的萧散襟怀。",[7,198,60,398,200,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23d3ce2928a8d4b3fdbf9551cac4644d.jpg",[],{"id":64799,"slug":64800,"title":40641,"dynasty":45,"author":454,"museum":107,"description":64801,"tags":64802,"thumbUrl":64803,"material":95,"size":95,"collection":95,"collections":64804,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242228,"bao-xian-tang-fa-tie-yi-ming-242228","此帖笔意纵横跌宕，线条圆劲灵动，将草书流美与骨力相融。牵丝映带间字势顾盼生姿，如行云流水自在舒展。整幅行气连贯，字间疏密相生，时而敛锋收紧，时而铺毫舒展，尽显书写时的心绪起伏。\n\n行笔遒劲中见飘逸，转折利落不失厚重，将尺牍随性与精妙法度相融。虽经拓印墨色沉凝，却仍可窥见原作枯湿浓淡的韵律变化，提按之间暗合章法。通篇气韵浑融，尽显尚韵的风雅意趣，把尺素私语化作纸上笔墨风流，将随性挥洒与文雅风骨合二为一。",[198,7,60,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc9d37f3b35542aa9e236a266d65f08.jpg",[],{"id":64806,"slug":64807,"title":40641,"dynasty":45,"author":454,"museum":107,"description":64808,"tags":64809,"thumbUrl":64810,"material":95,"size":95,"collection":95,"collections":64811,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242226,"bao-xian-tang-fa-tie-yi-ming-242226","墨色沉凝如古潭，白字清劲若惊鸿，整卷拓本带着金石摩挲后的古雅质感。笔底全是晋人萧散风流，牵丝映带间婉转灵动，欹正相生的字形错落排布，将草书的抒情意趣尽致挥洒。线条圆劲遒逸，起落之间尽显洒脱疏朗的韵致，复刻精准还原了书圣笔底的婉转情致，即便隔着岁月烟尘，依然能让人触摸到彼时挥毫时的跌宕心绪，窥见晋人尚韵的书法品格，揽尽古典草书的风神意态。",[7,198,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7357da8ce1f9d3693d79c6483fac173d.jpg",[],{"id":64813,"slug":64814,"title":40641,"dynasty":45,"author":454,"museum":107,"description":64815,"tags":64816,"thumbUrl":64817,"material":95,"size":95,"collection":95,"collections":64818,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242223,"bao-xian-tang-fa-tie-yi-ming-242223","这两帧擘窠大字枯润相济，笔力雄强苍古。“清”“事”二字形神兼备，起笔重挫、收锋劲爽，转折处筋骨尽显。飞白笔触如老树枯藤，苍茫朴拙却暗藏灵动，墨色沉厚处凝实雄浑，枯淡处见空灵韵致。\n\n章法疏宕开阔，黑底白字对比强烈，铺陈出磅礴的视觉张力，尽显豪迈拙朴的气度，将榜书大开大合的风神发挥到极致，足见书者运笔把控的深湛功力。",[7,198,200,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2738a57db2ba82b2458edfdd462ee947.jpg",[],{"id":64820,"slug":64821,"title":40641,"dynasty":45,"author":454,"museum":107,"description":64822,"tags":64823,"thumbUrl":64824,"material":95,"size":95,"collection":95,"collections":64825,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242222,"bao-xian-tang-fa-tie-yi-ming-242222","此帖草书笔势灵动跌宕，行气贯通流转，尽显晋人尚韵的清雅风神。笔画粗细变化自然，牵丝映带精妙入微，字字顾盼生姿，将草书的飘逸放达与内敛法度相融无间。黑底白字的刻帖质感独特，刀痕留存了笔墨的使转意趣，又添朴拙厚重。布局疏朗匀停，通篇气息舒缓雅致，即便历经镌刻流转，依旧能窥见原作笔墨间的潇洒意态，尽显古帖的隽永韵味。",[198,7,398,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5627ff5a23aebda877d55aa1e174b026.jpg",[],{"id":64827,"slug":64828,"title":40641,"dynasty":45,"author":454,"museum":107,"description":64829,"tags":64830,"thumbUrl":64831,"material":95,"size":95,"collection":95,"collections":64832,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},242221,"bao-xian-tang-fa-tie-yi-ming-242221","此作为行书刻帖，墨色沉凝古雅，纸晕晕着旧时光痕。行笔流转自然，牵丝映带尽显萧散意趣，笔画粗细随势缓急变幻，或如流云舒卷，或似坠石沉实。章法错落疏朗，字间呼吸开合相宜，虽为刻本，仍能窥见原迹灵动气韵。\n\n尺牍暗藏魏晋风神，日常絮语寄于笔端，不拘成法却处处合度，尽显士人通脱散淡襟怀。刻工精良，悉心摹刻原迹的提按顿挫，留存原作笔墨情致，即便历经刊刻，依旧能让观者体悟书写时的心绪起伏，于黑底白字的沉静里，触摸古人文翰往来的雅致日常。",[7,198,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386635bb2f7d2aa4e55b402ad29674e.jpg",[],{"id":64834,"slug":64835,"title":10770,"dynasty":18,"author":454,"museum":107,"description":64836,"tags":64837,"thumbUrl":64838,"material":95,"size":95,"collection":802,"collections":64839,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},242196,"lan-ting-ba-zhu-tie-yi-ming-242196","此作用笔爽利舒展，行书笔意流转自然，牵丝映带间尽显章法疏朗之美。开篇字势顾盼生姿，将春游记怀的雅兴藏在起落转合之中，圆融转折不失筋骨力道。\n\n碑刻墨色乌亮如漆，笔画饱满劲挺，既有晋人萧散玄远的林下风流，又兼具摹刻的精工质感。字字错落排布，把曲水宴饮的清旷高致凝于尺幅，观之便如身临雅集，墨痕间漫溢出兰亭雅集的清逸玄远，尽显帖学精髓与摹刻匠心。",[7,60,198,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0090c8dc2df7a0d7453da1d0b8852745.jpg",[802],{"id":64841,"slug":64842,"title":64843,"dynasty":18,"author":44996,"museum":107,"description":44997,"tags":64844,"thumbUrl":64845,"material":751,"size":752,"collection":95,"collections":64846,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241684,"lin-lan-ting-shi-san-ba-zhou-long-yu-huang-tai-hou-241684","临兰亭十三跋轴",[25,7,75,60,110,77,35878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc947017008aa73b5ef979c0ad83da601.jpg",[],{"id":64848,"slug":64849,"title":40673,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":64850,"thumbUrl":64851,"material":751,"size":752,"collection":95,"collections":64852,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241647,"zhi-yang-hu-shu-zha-wen-zheng-ming-241647",[7,60,50,4038,19315,6771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292ec851f26ba019ace37779c1151773.jpg",[],{"id":64854,"slug":64855,"title":45019,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":64856,"thumbUrl":64857,"material":751,"size":752,"collection":95,"collections":64858,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241646,"zhi-chun-qian-shu-zha-wen-zheng-ming-241646",[7,60,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79702af8a0629e1d9ca2cc204e5f969.jpg",[],{"id":64860,"slug":64861,"title":64862,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":64863,"thumbUrl":64864,"material":751,"size":752,"collection":95,"collections":64865,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241645,"zhi-fan-zhi-shu-zha-wen-zheng-ming-241645","致繁祉书札",[7,60,50,25,45,19315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88a21a135294467a5460e0104f20f2fa.jpg",[],{"id":64867,"slug":64868,"title":40673,"dynasty":45,"author":342,"museum":107,"description":10355,"tags":64869,"thumbUrl":64870,"material":751,"size":752,"collection":95,"collections":64871,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241644,"zhi-yang-hu-shu-zha-wen-zheng-ming-241644",[7,60,77,25,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3ae8a92859bbb247c1d9826f543c75.jpg",[],{"id":64873,"slug":64874,"title":50825,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":64875,"thumbUrl":64876,"material":751,"size":752,"collection":95,"collections":64877,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241640,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241640",[7,60,312,50,2135,19315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b94865b4555a493bf3b5024e4bdbd8.jpg",[],{"id":64879,"slug":64880,"title":50825,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":64881,"thumbUrl":64882,"material":751,"size":752,"collection":95,"collections":64883,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},241639,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241639",[7,60,50,19315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe42baf4103c50cbd163345f9df723fcc.jpg",[],{"id":64885,"slug":64886,"title":40680,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":64887,"thumbUrl":64888,"material":751,"size":752,"collection":95,"collections":64889,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241636,"zhi-yuan-tang-zha-lin-ze-xu-241636",[7,60,50,77,26,19315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3d1ebee0d84c3a55dd51699c7dc0a6.jpg",[],{"id":64891,"slug":64892,"title":50825,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":64893,"thumbUrl":64903,"material":751,"size":752,"collection":95,"collections":64904,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241635,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241635",[7,60,433,432,2282,2135,26781,22168,385,54308,64894,13817,2602,16689,64895,64896,64897,29698,64898,64899,64900,64901,64902],"繁体","行书书法","手札形式","传统书信","墨色书写","竖列书写","繁体文字","纸质载体","墨笔书迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f35c1b907f132a1a0043fd277e798a.jpg",[],{"id":64906,"slug":64907,"title":50825,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":64908,"thumbUrl":64909,"material":751,"size":752,"collection":95,"collections":64910,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241634,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241634",[7,60,25,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6dce66fbf563861fb4f15696b2e8c0.jpg",[],{"id":64912,"slug":64913,"title":64914,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":64915,"thumbUrl":64916,"material":751,"size":752,"collection":95,"collections":64917,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241629,"bei-chuang-tie-lin-ze-xu-241629","悲怆帖",[7,60,50,26,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1bd92e5f21ff147c0153e13c0a0c3a.jpg",[],{"id":64919,"slug":64920,"title":64921,"dynasty":18,"author":454,"museum":107,"description":64922,"tags":64923,"thumbUrl":64925,"material":751,"size":752,"collection":95,"collections":64926,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241609,"wei-shu-qi-yan-shi-ye-yi-ming-241609","囗璹七言诗页","此作用笔灵动婉转，牵丝映带自然圆融，行书章法疏密相宜。行笔间时见顿挫，中锋侧锋交替，墨色浓淡晕染有致，将七言诗中江南烟水之景融于笔底。笔墨尽得文人雅韵，通篇气息闲适萧散，将汀洲水禽、暮秋江景的诗意和书法笔意相衬，秀雅清逸的笔调里，藏着江南烟水的朦胧意蕴。整体书卷气浓厚，将诗歌里幽寂清和的江南暮色意境同书法抒情性融为一体，观之如览烟笼江南，韵致悠长，是行书小品里的佳制。",[7,60,77,54,114,52,14121,64924,1677,1002,41481],"晚风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa013a8ccf05354ca843290a029aaa3ee.jpg",[],{"id":64928,"slug":64929,"title":64930,"dynasty":45,"author":64931,"museum":107,"description":64932,"tags":64933,"thumbUrl":64934,"material":751,"size":752,"collection":95,"collections":64935,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241607,"qi-lv-er-shou-juan-zhu-ri-fan-241607","七律二首卷","朱日藩","[明]字子价，江苏宝应人。嘉靖二十三年（一五四四）进士，为乌程令，终九江知府。",[60,7,49,50,77,131,679,844,116,30827,1002,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a68c630101071b11fd919a0c5e07f7.jpg",[],{"id":64937,"slug":64938,"title":64939,"dynasty":18,"author":454,"museum":107,"description":64940,"tags":64941,"thumbUrl":64942,"material":751,"size":752,"collection":95,"collections":64943,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241592,"yang-shu-xing-lu-wen-ye-yi-ming-241592","杨述行录文页","此作小楷取法晋唐，字形端雅秀润，笔画凝练匀净，起收可见提按顿挫，灵动与沉稳兼而有之。章法排布疏朗匀称，字距行距错落相宜，通篇气息平和静穆，尽显文人内敛雅致的书卷意韵。\n笔墨间既有馆阁体的端整工稳，又不失帖学的隽秀灵动，将法度与意趣相融，在规整之中暗藏逸致，尽显书者扎实的书法功底与古典审美意趣，是清代小楷小品里颇具韵味的不俗之作。",[7,60,77,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207075b00c5dbb8594948a3526bec85f.jpg",[],{"id":64945,"slug":64946,"title":64947,"dynasty":18,"author":50901,"museum":107,"description":50902,"tags":64948,"thumbUrl":64949,"material":751,"size":752,"collection":95,"collections":64950,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241588,"lu-yu-yang-shan-ren-jie-ju-ye-cheng-jing-yi-241588","录渔洋山人截句页",[7,25,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6a2f6bec781c07ed9e2b2f40fdfda44.jpg",[],{"id":64952,"slug":64953,"title":45052,"dynasty":18,"author":64954,"museum":107,"description":64955,"tags":64956,"thumbUrl":64957,"material":751,"size":752,"collection":95,"collections":64958,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241584,"lu-wen-ye-bai-qian-241584","柏谦","清（1697~1765），字蕴高（高一作皋），号东皋，崇明（今属上海市崇明区浜镇人）人。善楷书，有唐人风矩。庄舒取之虞世南，刚劲参之欧阳询。回翔馆阁，以文雅著称。卒年六十九。《王芝堂文集》。",[7,60,1498,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9d2387c8130b6612d807e41b72da1.jpg",[],{"id":64960,"slug":64961,"title":64962,"dynasty":18,"author":454,"museum":107,"description":64963,"tags":64964,"thumbUrl":64965,"material":751,"size":752,"collection":95,"collections":64966,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241576,"wang-ce-qi-yan-shi-juan-yi-ming-241576","王册七言诗卷","此卷行书秀雅温润，提按转合间自见法度。点画舒展灵动，映带自然，暗合晋唐行书的清逸意韵。通篇字距疏朗，行距匀停，气息舒缓连贯，长篇诗作写来毫无壅塞仓促之感。墨色浓淡过渡自然，随着书写节奏隐现起伏，可见书者挥毫时的悠然心境。\n\n卷中诗书合璧，笔下清隽的七言句，将春宵羁思、幽庭况味缓缓铺陈，笔情与诗境相融相衬，尽显旧时文人的雅致襟怀，是一件兼具笔墨意趣与文学意涵的佳构。",[25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef2f0ba78468509fc9a8f973144713de.jpg",[],{"id":64968,"slug":64969,"title":64970,"dynasty":18,"author":454,"museum":107,"description":64971,"tags":64972,"thumbUrl":64973,"material":751,"size":752,"collection":95,"collections":64974,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241568,"mao-hui-jian-wei-sheng-ge-zhou-yi-ming-241568","毛会建卫生歌轴","此作用笔纵逸跌宕，枯湿浓淡相生。右列字形大开大合，线条奔放纵肆，笔势裹挟着诗文隐逸高蹈之气；左列行气紧凑却不失疏朗，牵丝映带暗合章法韵律。\n\n提按顿挫间尽显使转灵动，枯笔见筋骨，润笔见腴润，通篇气势贯通，将书写意趣与文人情思相融，尽显尚态重意的草书气质。墨色渐变自然，点画间晕染出林下萧散雅致，观者可于线条流转间，品读书写者寄寓笔底的高旷襟怀。",[2135,7,398,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d82d50a1464c005524149e8920c81e.jpg",[],{"id":64976,"slug":64977,"title":64978,"dynasty":18,"author":64979,"museum":107,"description":64980,"tags":64981,"thumbUrl":64983,"material":751,"size":752,"collection":95,"collections":64984,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241564,"cao-ji-lu-yu-zhou-cao-ji-241564","曹錤录语轴","曹錤","此作为行书轴，师法赵孟頫、董其昌一脉，笔致秀雅温润，点画舒展精劲。牵丝映带自然流畅，行气贯通，通篇气息匀停和顺。\n\n书写米芾藏石轶事，笔墨间暗含闲适文趣，结体妍雅又不失灵动。章法疏朗，字距行距排布合宜，墨色有浓淡枯湿之变，细节尽显用心。落款小字规整秀洁，与正文相得益彰，尽显清代帖学书法的典型风貌，是兼具笔墨意趣与文人情思的行书佳作。",[60,7,75,77,50,678,250,64982],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254c4d4e80a175aa1acd23f5f33dcef8.jpg",[],{"id":64986,"slug":64987,"title":18391,"dynasty":18,"author":64988,"museum":107,"description":64989,"tags":64990,"thumbUrl":64991,"material":751,"size":752,"collection":95,"collections":64992,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241559,"qi-jue-zhou-mao-qi-ling-241559","毛奇龄","毛奇齡（1623年－1716年），字大可，又字於一，號西河，又號河右、初晴、晚晴。浙江蕭山人。明末清初经学家、文学家。",[7,75,60,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae25884ad6a255b964e782da1c8c5f30.jpg",[],{"id":64994,"slug":64995,"title":17213,"dynasty":18,"author":64996,"museum":107,"description":64997,"tags":64998,"thumbUrl":64999,"material":751,"size":752,"collection":95,"collections":65000,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241557,"qi-yan-shi-zhou-zhu-yi-zun-241557","朱彝尊","朱彝尊（公元1629年10月7日－1709年11月14日），字锡鬯（chàng），号竹垞（chá），又号醧（yù）舫，晚号小长芦钓鱼师，别号金风亭长，浙江秀水（今属浙江省嘉兴市）人 。清朝词人、学者、藏书家。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f49fa27cd658afdfd67a9ff482914d.jpg",[],{"id":65002,"slug":65003,"title":45190,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":65004,"thumbUrl":65005,"material":751,"size":752,"collection":95,"collections":65006,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241550,"zhi-gu-qiu-xian-sheng-shou-zha-ce-huang-yue-241550",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcd7450cb9eafb0fa58ece50a6e907df.jpg",[],{"id":65008,"slug":65009,"title":50952,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":65010,"thumbUrl":65011,"material":751,"size":752,"collection":95,"collections":65012,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241548,"zhi-liu-zhou-shou-zha-ce-huang-yue-241548",[7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc315a1770f49ee7af1cbb67619f0cd6d.jpg",[],{"id":65014,"slug":65015,"title":65016,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":65017,"thumbUrl":65018,"material":751,"size":752,"collection":95,"collections":65019,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241547,"zhi-zi-chang-xue-xiong-shou-zha-ce-huang-yue-241547","致子常学兄手札册",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a5af0b64b96c0a2c24a9b5bf30d3a52.jpg",[],{"id":65021,"slug":65022,"title":45190,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":65023,"thumbUrl":65024,"material":751,"size":752,"collection":95,"collections":65025,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241546,"zhi-gu-qiu-xian-sheng-shou-zha-ce-huang-yue-241546",[18,7,60,26,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57321281c12b18f6ac9039779f43f30f.jpg",[],{"id":65027,"slug":65028,"title":50952,"dynasty":18,"author":17643,"museum":107,"description":37708,"tags":65029,"thumbUrl":65030,"material":751,"size":752,"collection":95,"collections":65031,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241545,"zhi-liu-zhou-shou-zha-ce-huang-yue-241545",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617390d6ea419e67455fe22ea19d031a.jpg",[],{"id":65033,"slug":65034,"title":28124,"dynasty":45,"author":65035,"museum":107,"description":65036,"tags":65037,"thumbUrl":65038,"material":751,"size":752,"collection":95,"collections":65039,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241540,"shi-ye-yan-zhao-feng-241540","闫兆凤","此作行书灵动爽利，行笔提转自然，牵丝映带暗合章法，尽显尚态之美。字距疏密随心，行气贯通一体，墨色浓淡枯湿相映成趣。起笔多露锋以见精神，收笔或利落出锋，或含蓄回锋，将诗文意境与笔墨意趣相融无间。\n\n通篇气息舒缓雅致，既有帖学的秀逸灵动，又暗含劲挺骨力，尺幅虽小，却自具萧散简远的文人意韵。笔墨间浸透书写者的随性襟怀，将抒情尚意的书风尽显无余，是一件颇具文人雅致的书法小品。",[25,60,7,4347,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9489007729d4404dc4a0ebe02eebb5.jpg",[],{"id":65041,"slug":65042,"title":50981,"dynasty":45,"author":65043,"museum":107,"description":65044,"tags":65045,"thumbUrl":65046,"material":751,"size":752,"collection":95,"collections":65047,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241533,"wu-yan-shi-er-shou-ye-yin-dao-241533","尹道","此作用笔温润秀雅，行笔间牵丝映带，笔意连贯圆融，毫无板滞之态。字形欹正相生，疏密排布得宜，于舒展之间尽显灵动韵致。章法疏朗通透，字行留白恰到好处，自带萧散简远的文人意趣。\n\n书写内容为咏松之诗，笔墨与诗意相融相合，将青松苍劲高洁的品格隐于流动笔锋之中。整幅气韵清雅悠然，观之如临清风林下，见云栖古松，书韵诗意浑然一体，尽显书写者澄澈的文人襟怀。",[25,7,60,845,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe741f4326455223649cb216d10890546.jpg",[],{"id":65049,"slug":65050,"title":31040,"dynasty":45,"author":31041,"museum":107,"description":65051,"tags":65052,"thumbUrl":65053,"material":751,"size":752,"collection":95,"collections":65054,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241526,"wu-jue-er-shou-ce-ye-zhao-jun-241526","赵均（？~？）字灵均，南直隶苏州府吴县（今属江苏）人，赵宧光之子。从其父传六书之学，又从燕山僧见林授大梵字，并诸图字母，移日分夜，父子自相讲习。",[24,25,26,60,77,7,678,3040,1294,9654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c66c3444bfbec1260d06dca1589a164.jpg",[],{"id":65056,"slug":65057,"title":24648,"dynasty":18,"author":65058,"museum":107,"description":65059,"tags":65060,"thumbUrl":65061,"material":751,"size":752,"collection":95,"collections":65062,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241525,"qi-lv-shi-zhou-wang-guo-dong-241525","王国栋","王国栋（？—1735）字左吾，汉军镶红旗人，清朝大臣。",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d884dd3793e60125d6929b4bb76327.jpg",[],{"id":65064,"slug":65065,"title":65066,"dynasty":45,"author":454,"museum":107,"description":65067,"tags":65068,"thumbUrl":65069,"material":751,"size":752,"collection":95,"collections":65070,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241496,"xuan-zhen-zi-xing-qiu-ye-yong-huai-shi-juan-yi-ming-241496","玹真子行秋夜咏怀诗卷","此卷行书笔墨温婉秀雅，结体舒展灵动，尽显明人书法隽秀风神。起收停转皆循法度，点画温润秀劲，牵丝映带间如行云流水，尽显书写时的悠然畅意。\n\n通篇布局疏朗匀整，字距行距错落合宜，与卷中咏怀诗作的缱绻深情相得益彰。笔墨晕开秋夜怀人的幽柔愁思，诗书意韵融为一体，将思念辗转的细腻心绪藏在笔锋起落之间，是一件兼具笔墨审美与文学意趣的行书精品。",[25,7,49,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223212f50e8705b4b44bd925e0e44a38.jpg",[],{"id":65072,"slug":65073,"title":65074,"dynasty":18,"author":65075,"museum":107,"description":65076,"tags":65077,"thumbUrl":65078,"material":751,"size":752,"collection":95,"collections":65079,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241494,"lu-yu-dan-zhang-li-xiu-cheng-241494","录语单张","李秀成","李秀成（1823年—1864年8月7日 ），初名李以文、李寿成，汉族，生于广西梧州市藤县大黎里新旺村 ，太平天国后期著名将领，近代中国军事家、政治家。\n李秀成出身贫苦，幼时种地耕山，帮工就食，曾随舅父读书。道光二十九年（1849年）加入拜上帝会。辛开元年（1851年）参加太平军后，随太平军转战至天京，历任右四军帅、后殿右二十指挥、二十二检点等职。天京事变后，晋升为地官正丞相、合天侯。翼王石达开出走后，封副掌率、合天义，与又正掌率陈玉成等同主军政。 [14] 因战功卓著而被天王洪秀全赐名“秀成”。\n在太平天国统治的中后期，李秀成与陈玉成、李世贤等力撑危局，取得了一破江北江南大营、二破江北大营、三河大捷、二破江南大营等军事上的胜利，建立了苏福省、天浙省。同时抗击英法侵略者，击毙常胜军指挥者华尔、法国海军提督卜罗德，中兴太平天国。因其功勋卓著，于庚申十年（1860年）被天王洪秀全封为忠王，称“万古忠义”。\n甲子十四年（1864年），湘军攻陷天京，李秀成扶幼天王出逃，不久被俘。在狱中写下数万字的自述后，于天京从容就义，年仅四十二岁。",[7,60,77,2135,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1021afa955678c16b02996e4e80e067b.jpg",[],{"id":65081,"slug":65082,"title":65083,"dynasty":18,"author":454,"museum":107,"description":65084,"tags":65085,"thumbUrl":65086,"material":751,"size":752,"collection":95,"collections":65087,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241493,"qi-yan-shi-wan-shan-yi-ming-241493","七言诗纨扇","此作为行书纨扇，笔法温婉秀润，结体舒展灵动，通篇行气连贯自然，契合纨扇的柔婉形制。书写自作七言长诗，字字顾盼有情，墨色匀净雅致，随着纸面岁月经年泛黄，更衬出沉厚的书卷意趣。没有馆阁体的刻板拘囿，尽显文人随性自在的笔墨意态，将日常襟怀寄寓点画之间，平和疏朗的气息漫溢扇面，是一件兼具书法法度与清雅文心的小品佳构。",[24,25,1250,60,7,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254341c3e8c5b4b6ae57ae96a987fb99.jpg",[],{"id":65089,"slug":65090,"title":37732,"dynasty":18,"author":37733,"museum":107,"description":37734,"tags":65091,"thumbUrl":65092,"material":751,"size":752,"collection":95,"collections":65093,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},241488,"shou-zha-ce-cheng-si-ze-241488",[2135,25,7,26,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dd322b8b01a6e78f6dd4846c102f41.jpg",[],{"id":65095,"slug":65096,"title":65097,"dynasty":18,"author":65098,"museum":107,"description":65099,"tags":65100,"thumbUrl":65101,"material":751,"size":752,"collection":95,"collections":65102,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241485,"lu-wen-cheng-shan-zhang-yu-241485","录文成扇","章钰","章钰（1864年～1937年），近代藏书家、校勘学家。字式之，号茗簃，一字坚孟，号汝玉，别号蛰存、负翁，晚号北池逸老、霜根老人、全贫居士等。藏书室名四当斋。",[1250,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2082a3daa38e398c1d3c00886f16cff5.jpg",[],{"id":65104,"slug":65105,"title":37732,"dynasty":18,"author":37733,"museum":107,"description":37734,"tags":65106,"thumbUrl":65107,"material":751,"size":752,"collection":95,"collections":65108,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},241484,"shou-zha-ce-cheng-si-ze-241484",[25,7,60,26,2282,312,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f08fedc167a36c14ae7b786692f02fd.jpg",[],{"id":65110,"slug":65111,"title":37732,"dynasty":18,"author":37733,"museum":107,"description":37734,"tags":65112,"thumbUrl":65113,"material":751,"size":752,"collection":95,"collections":65114,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},241483,"shou-zha-ce-cheng-si-ze-241483",[7,60,398,26,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd989f4217f65572f4553ef3725a0a09f.jpg",[],{"id":65116,"slug":65117,"title":37732,"dynasty":18,"author":37733,"museum":107,"description":37734,"tags":65118,"thumbUrl":65119,"material":751,"size":752,"collection":95,"collections":65120,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241482,"shou-zha-ce-cheng-si-ze-241482",[18,25,7,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030ca2329595647e14e72fe9b1466d82.jpg",[],{"id":65122,"slug":65123,"title":37732,"dynasty":18,"author":37733,"museum":107,"description":37734,"tags":65124,"thumbUrl":65125,"material":751,"size":752,"collection":95,"collections":65126,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241481,"shou-zha-ce-cheng-si-ze-241481",[7,60,398,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb900b4d535dd2f2c7dbc279a1d8bc8.jpg",[],{"id":65128,"slug":65129,"title":37732,"dynasty":18,"author":37733,"museum":107,"description":37734,"tags":65130,"thumbUrl":65131,"material":751,"size":752,"collection":95,"collections":65132,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241478,"shou-zha-ce-cheng-si-ze-241478",[7,60,26,27,399,2018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd744d70ba7fd17b023e3158b2d2bb1.jpg",[],{"id":65134,"slug":65135,"title":40786,"dynasty":18,"author":40787,"museum":107,"description":40788,"tags":65136,"thumbUrl":65137,"material":751,"size":752,"collection":95,"collections":65138,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241474,"bai-ling-shi-han-ce-zhang-bai-ling-241474",[25,7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1128f557d3601e6dcd27c88c903ace0.jpg",[],{"id":65140,"slug":65141,"title":17924,"dynasty":18,"author":65142,"museum":107,"description":65143,"tags":65144,"thumbUrl":65145,"material":751,"size":752,"collection":95,"collections":65146,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241464,"shi-zhou-wang-yi-qing-241464","王奕清","字幼芬，号拙园，江苏太仓人。清朝学者，政治人物，名门望族之裔，王时敏之孙，颛菴王掞相国之子，其曾上祖是明末万里内阁首辅王锡爵，家族不乏科考得意者，成为名副其实的簪缨之家，在江南一带被盛传“一门两宰相，父子三进士”，康熙三十年（一六九一）进士，选庶吉士，散馆翰林院编修，累官詹事府詹事兼翰林院侍读学士，曾代父赴军，历驻忒斯，雍正四年，命赴阿尔泰坐台，又十年，乾隆元年，召还，乞假葬父，翌年卒，时年七十三岁，曾奉清圣祖之命篡修康熙《钦定词谱》，善书法，工绘事篆刻。",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd625145e44320f48adbcb8a5bc1669dd.jpg",[],{"id":65148,"slug":65149,"title":65150,"dynasty":45,"author":454,"museum":107,"description":65151,"tags":65152,"thumbUrl":65153,"material":751,"size":752,"collection":95,"collections":65154,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241454,"xia-shi-shu-shi-zhou-yi-ming-241454","夏时书诗轴","这幅草书诗轴纵肆雄健，以狂放笔意铺陈全篇。开篇“春风”二字开张大气，起笔如长风卷浪，迅疾洒脱。字形欹侧跌宕，线条枯湿浓淡自然变幻，牵丝映带间气脉贯通，虚实相生。\n\n笔墨节奏贴合诗意，将“春风得意马蹄疾，一日看尽长安花”的登科快意寄寓毫端。重捺如坠石，轻丝若游丝，书写时的情绪起伏跃然纸上，尽显疏放任侠的文人风骨，是明代浪漫书风的典型佳作。",[4038,7,75,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28984d379b2f3e9594c5c254901df6c4.jpg",[],{"id":65156,"slug":65157,"title":18391,"dynasty":45,"author":65158,"museum":107,"description":65159,"tags":65160,"thumbUrl":65161,"material":751,"size":752,"collection":95,"collections":65162,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241452,"qi-jue-zhou-huang-yun-241452","黄云","黄云，明代诗人、书法家，江苏昆山人。字应龙，号丹岩。有《丹岩集》。",[25,24,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50489be84c12227ab4ba18b96ae126e0.jpg",[],{"id":65164,"slug":65165,"title":65166,"dynasty":45,"author":65167,"museum":107,"description":65168,"tags":65169,"thumbUrl":65170,"material":751,"size":752,"collection":95,"collections":65171,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241445,"san-jia-shi-han-juan-li-su-241445","三家诗翰卷","李素","李素，广东梅县人，明朝景泰七年(1456）丙子科举人，天顺四年（1460）会试乙榜。初任宾州训导，历任上犹、贵溪、当涂教谕。致仕归，讲学于东社，筑室于松冈（今梅江区白宫龙冈村），学者远近宗之。",[7,60,49,50,77,651,589,20103,359,3388,2829,360,133,132,282,693,6297,6398,844,55,115,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54332156d2c827078d741d4f365e895.jpg",[],{"id":65173,"slug":65174,"title":65175,"dynasty":18,"author":65176,"museum":107,"description":65177,"tags":65178,"thumbUrl":65179,"material":751,"size":752,"collection":95,"collections":65180,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241444,"kang-shi-jun-zhi-fang-lai-zha-heng-hang-shi-jun-241444","抗世骏致方来札横","杭世骏","杭世骏（1695—1773），清代经学家、史学家、文学家、藏书家。字大宗，号堇浦，别号智光居士、秦亭老民、春水老人、阿骏，室名道古堂，仁和（今浙江杭州）人。",[7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53501560ea1c9d0a025a7b70754f6eb5.jpg",[],{"id":65182,"slug":65183,"title":65184,"dynasty":45,"author":65185,"museum":107,"description":65186,"tags":65187,"thumbUrl":65188,"material":751,"size":752,"collection":95,"collections":65189,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241435,"shi-shi-zha-heng-xu-zhi-yan-241435","试事札横","须之彦","须之彦（？－？），字君美，号日华，南直隶蘇州府嘉定县人，明朝政治人物。 生平[编辑]. 萬曆二十二年（1594年）甲午科应天乡试举人，二十六年（1598年）戊戌科進士",[92,24,25,49,77,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647f5c397e3a27d97b45350275512b5e.jpg",[],{"id":65191,"slug":65192,"title":65193,"dynasty":18,"author":24657,"museum":107,"description":65194,"tags":65195,"thumbUrl":65196,"material":751,"size":752,"collection":95,"collections":65197,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241433,"zhi-ceng-jun-biao-shou-zha-heng-weng-tong-he-241433","致曾君表手札横","翁同龢（1830年~1904年），字叔平，号松禅， 别署均斋、瓶笙、瓶庐居士、并眉居士等，别号天放闲人，晚号瓶庵居士，江苏常熟人，中国近代史上著名政治家、书法艺术家。",[7,60,2282,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5b3d179c307a0c918bf45a89b9345d.jpg",[],{"id":65199,"slug":65200,"title":65201,"dynasty":18,"author":65202,"museum":107,"description":65203,"tags":65204,"thumbUrl":65205,"material":751,"size":752,"collection":95,"collections":65206,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241426,"she-zhi-zhong-zi-ai-ren-zha-juan-xu-jing-241426","畬致仲子蔼人札卷","徐经","徐经（1473-1507），字衡父，又字直夫，自号西坞。南直隶江阴（江苏江阴市）人。徐霞客的高祖。",[23,18,7,49,60,77,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5530dc9cd56e387e3673035d6ca5c8e3.jpg",[],{"id":65208,"slug":65209,"title":65210,"dynasty":45,"author":65211,"museum":107,"description":65212,"tags":65213,"thumbUrl":65214,"material":751,"size":752,"collection":95,"collections":65215,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241421,"tian-xia-you-dao-zhang-ye-qian-long-xi-241421","天下有道章页","钱龙锡","钱龙锡(1579年-1645年)，字稚文，松江华亭(今上海)人，明末大臣，次辅。\n钱龙锡极力举荐袁崇焕为东北关宁（今山海关，宁远）军统帅，巩固边防。等到袁崇焕杀毛文龙，他被弹劾为与袁崇焕同谋越权擅杀大臣等多罪。遂托病辞官归乡。当时的魏忠贤余党聚谋污蔑袁崇焕为逆首，钱龙锡等为逆党，1630年袁崇焕被杀害后，钱龙锡因袁案受到牵连被判为死罪，经一些大臣极力向明思宗崇祯帝陈述求情，才免其死罪，但也被关押。结果钱龙锡被长期关押在狱。后发配戍守定海卫。福王时复官归里。不久病逝。",[7,60,77,25,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654b15983dbd57d0fffc4f6146ec9105.jpg",[],{"id":65217,"slug":65218,"title":12961,"dynasty":18,"author":65219,"museum":107,"description":65220,"tags":65221,"thumbUrl":65222,"material":751,"size":752,"collection":95,"collections":65223,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},241392,"qi-lv-zhou-huang-ren-241392","黄任","黄任（1683一1768）字于莘，又字莘田，因喜藏砚，自号十砚老人、十砚翁，清代著名诗人，藏砚家，永福（今福建永泰县）人。康熙四十一年举人，官广东四会知县，罢官归，船中所载惟砚石。归里后生活清苦。工诗，以轻清流丽为时人所称，七绝尤负盛名。著有《秋江集》《香草笺》。",[25,24,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2b3cf40d1d5a17c44330e3686c88f9.jpg",[],{"id":65225,"slug":65226,"title":21902,"dynasty":18,"author":40796,"museum":107,"description":40797,"tags":65227,"thumbUrl":65228,"material":751,"size":752,"collection":95,"collections":65229,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241386,"lu-yu-zhou-zhang-ying-241386",[2135,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f540564f46056f6d278aa38f1c981dd.jpg",[],{"id":65231,"slug":65232,"title":65233,"dynasty":18,"author":454,"museum":107,"description":65234,"tags":65235,"thumbUrl":65236,"material":751,"size":752,"collection":95,"collections":65237,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241385,"wan-dai-shang-qi-lv-zhou-yi-ming-241385","万代尚七律轴","此作用笔纵逸洒脱，以行书立骨间杂草意，线条粗细枯湿变幻自然，提按转合尽显畅达意气。章法上字间牵丝映带，行气连贯如行云流水，上下顾盼呼应，通篇气机完足。墨色层次丰富，浓墨醒神，淡墨含韵，枯笔添就苍茫古拙之致。\n\n诗句书写一气呵成，将文人雅逸心境融于笔墨，笔势随诗意跌宕，既有肆意挥洒的疏狂，又不失法度谨严，尽显清代行书尚意重韵的典型特质，是一件颇具文人气息的书法佳构，尽显传统书法抒情达意的美学魅力。",[7,60,75,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fab334c906d57c114131966182e6706.jpg",[],{"id":65239,"slug":65240,"title":23662,"dynasty":18,"author":27861,"museum":107,"description":27862,"tags":65241,"thumbUrl":65242,"material":751,"size":752,"collection":95,"collections":65243,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241384,"wu-lv-zhou-li-du-na-241384",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcac4b9bc78f5703e295b4c1bea12c2.jpg",[],{"id":65245,"slug":65246,"title":12961,"dynasty":18,"author":65247,"museum":107,"description":65248,"tags":65249,"thumbUrl":65250,"material":751,"size":752,"collection":95,"collections":65251,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241373,"qi-lv-zhou-zhu-ji-zuo-241373","朱继祚","朱继祚（1593－1649），字立望，号胤岗。福建莆田县横塘（今莆田市荔城区黄石镇横塘村）人。明末政治人物。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc46103b0daf24a5d8d9d9f36a67f83f.jpg",[],{"id":65253,"slug":65254,"title":12961,"dynasty":18,"author":65255,"museum":107,"description":65256,"tags":65257,"thumbUrl":65260,"material":751,"size":752,"collection":95,"collections":65261,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241372,"qi-lv-zhou-deng-zhong-yue-241372","邓钟岳","邓钟岳（1674～1748） 康熙六十年状元， 清代官员。字东长，号悔庐。东昌府人（今聊城市东昌府区人）。邓基哲子。",[24,25,75,60,7,77,132,65258,65259,52098,360,2833],"白鸥","东山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0477809e4096a5437fbedbf114e5b8df.jpg",[],{"id":65263,"slug":65264,"title":17924,"dynasty":18,"author":64988,"museum":107,"description":64989,"tags":65265,"thumbUrl":65266,"material":751,"size":752,"collection":95,"collections":65267,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241370,"shi-zhou-mao-qi-ling-241370",[7,75,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b856c27df2af7e9d881cfdf650f6b8.jpg",[],{"id":65269,"slug":65270,"title":24648,"dynasty":18,"author":65271,"museum":107,"description":65272,"tags":65273,"thumbUrl":65274,"material":751,"size":752,"collection":95,"collections":65275,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241369,"qi-lv-shi-zhou-wu-xiang-241369","吴襄","吴襄（1592年－1644年），字两环，祖籍江南高邮（今江苏高邮）。明末辽东总兵，吴三桂之父，崇祯四年的大凌河之战里，吴襄在赴援时逃亡，导致全军覆灭，因而被判下狱。崇祯十七年三月初，李自成破大同、真定，崇祯起用吴襄提督京营。不久，北京城破，吴襄被大顺军活捉。后来由于其子吴三桂引清兵入关，李自成大怒，在永平城西范家庄斩杀吴襄。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b395ce009e34f2830446c30e4535891.jpg",[],{"id":65277,"slug":65278,"title":27869,"dynasty":18,"author":65279,"museum":107,"description":65280,"tags":65281,"thumbUrl":65282,"material":751,"size":752,"collection":95,"collections":65283,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241365,"lun-shu-zhou-huang-hong-you-241365","黄鸿猷","黄鸿猷（1875～1923），字琼生，1875年出生，广东阳山黎埠镇均安村人。清痒生，广西候补知县。赋有胆略，谋而能断，精明强干，所至有声。淇潭 村民因水利争讼数年，县知事邓沁会同鸿猷妥办，各得其平。尝建黎埠碉楼，谋捍卫，复击败欧金生股匪，民赖以安，遂为当地诸公所器重。民国元年 （1912），委充连阳护商营管带。民国2年（1913），委充广东陆军游击第五营帮统。民国6年（1917），任连县知事。民国7年（1918），任广东省联防局局长。民国8年（1919）9月，任阳山县长。民国9年（1920），护理陆军总司令。民国10年（1921），奉委广东陆军第二军军长。民国 12年（1923），自任广东省省长仅三天，于广州被乱枪击毙。年49岁。",[60,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95745bdb2da9269eb917e0cb83e55f24.jpg",[],{"id":65285,"slug":65286,"title":24648,"dynasty":18,"author":65287,"museum":107,"description":65288,"tags":65289,"thumbUrl":65290,"material":751,"size":752,"collection":95,"collections":65291,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241355,"qi-lv-shi-zhou-wang-hong-xu-241355","王鸿绪","王鴻緒（1645年－1723年），初名度心，中进士后改名鴻緒，字季友，号俨斋，又号橫云山人，江南华亭县（今上海松江区）人，清朝史學家，康熙帝親信。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e5f5c1eafc1dbed4e6e85c0e886ede6.jpg",[],{"id":65293,"slug":65294,"title":24648,"dynasty":45,"author":65295,"museum":107,"description":65296,"tags":65297,"thumbUrl":65298,"material":751,"size":752,"collection":95,"collections":65299,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241350,"qi-lv-shi-zhou-mao-xiang-241350","冒襄","冒襄（1611年－1693年），字辟疆，號巢民。如皋（今屬江蘇）人。明末四公子之一。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d43e5b94e0b0d979a25ebd6e66b220.jpg",[],{"id":65301,"slug":65302,"title":65303,"dynasty":18,"author":65304,"museum":107,"description":65305,"tags":65306,"thumbUrl":65307,"material":751,"size":752,"collection":95,"collections":65308,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241339,"fu-zeng-ge-lin-tie-ce-fu-zeng-ge-241339","福增格临帖册","福增格","福增格，满洲正黄旗人，字赞侯，号松岩。乾隆间官福州将军。是清代的一位文学家，代表作有《晚投庄舍赠常纪》《酌雅斋集》等。",[26,7,110,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924ae6fe7fbbde0352edcaa1b48211d1.jpg",[],{"id":65310,"slug":65311,"title":24534,"dynasty":18,"author":65312,"museum":107,"description":65313,"tags":65314,"thumbUrl":65315,"material":751,"size":752,"collection":95,"collections":65316,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241329,"lu-wen-zhou-sun-yi-jing-241329","孙诒经","清钱塘（今杭州）人。清咸丰十年(1860年)进士，选翰林院庶吉士，以太平军攻占杭州，乞假归奉其母。",[25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebcd894b1e4b882be24e6c1a4704000.jpg",[],{"id":65318,"slug":65319,"title":24534,"dynasty":18,"author":65320,"museum":107,"description":65321,"tags":65322,"thumbUrl":65323,"material":751,"size":752,"collection":95,"collections":65324,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241328,"lu-wen-zhou-wu-xi-qi-241328","吴锡麒","吴锡麒（1746～1818），清代文学家。字圣征，号縠人。钱塘（今浙江杭州）人。 乾隆四十年（1775）进士。\n吴锡麒天姿超迈，吟咏至老不倦，能诗，尤工倚声，诗笔清淡秀丽，古体有时藻采丰赡，代表作如《双忠祠》《凤凰山怀古》《观夜潮》《读放翁集》等。在浙派诗人中，能继朱（彝尊）、杭（世骏）、厉（鹗）之后，自成一家。亦能词，但不如其诗和骈体文的著名。\n吴锡麒骈文颇著称，吴鼒称赞说：“不矜奇，不恃博，词必泽于经史，体必准乎古初，……合汉魏六朝唐人为一炉冶之。”",[7,60,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc084d5f62e1b2604b09b0e266b693eca.jpg",[],{"id":65326,"slug":65327,"title":24534,"dynasty":18,"author":65328,"museum":107,"description":65329,"tags":65330,"thumbUrl":65331,"material":751,"size":752,"collection":95,"collections":65332,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241316,"lu-wen-zhou-wang-wu-jiu-241316","王无咎","王无咎，生卒年不详，字藉茅，河南府孟津县人。性孝友。顺治丙戌科进士，授庶吉士。历官太常寺正卿。善诗文，工草书。",[7,60,75,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70d2ea10606a36e32497d469128c5d0.jpg",[],{"id":65334,"slug":65335,"title":65336,"dynasty":18,"author":454,"museum":107,"description":65337,"tags":65338,"thumbUrl":65339,"material":751,"size":752,"collection":95,"collections":65340,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241307,"qing-tang-shi-zai-zhi-yuan-zhong-zha-juan-yi-ming-241307","清唐时载致元仲札卷","此作为行书尺牍，行笔灵动秀逸，牵丝映带自然精妙，章法错落随性又行气贯通，尽显帖学一脉的雅致风韵。\n书写松弛随性，笔墨间带着日常尺牍的鲜活温度，信中叙知己交游，谈文章风骨，将文人的风雅襟怀与真挚情谊融于笔墨起落间。平淡笔触下铺陈着深厚交谊，是文人日常翰墨的鲜活缩影，把尺牍实用性与书法艺术性融为一体，字里行间藏着温热的旧时文人情致。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920de9df191defe1b85ddaa6254f0d27.jpg",[],{"id":65342,"slug":65343,"title":65344,"dynasty":18,"author":65345,"museum":107,"description":65346,"tags":65347,"thumbUrl":65348,"material":751,"size":752,"collection":95,"collections":65349,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241304,"wang-qin-ming-deng-shi-juan-wang-qin-ming-241304","王钦命等诗卷","王钦命","1729年王钦命莅任保靖首任知县",[7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6271671d6d373f6a12f78b3c48b6f03b.jpg",[],{"id":65351,"slug":65352,"title":65353,"dynasty":45,"author":454,"museum":107,"description":65354,"tags":65355,"thumbUrl":65356,"material":751,"size":752,"collection":95,"collections":65357,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241298,"fan-zhi-mo-qiu-xing-ba-shou-juan-yi-ming-241298","范之默秋兴八首卷","此作以狂草寄怀，笔墨纵逸跌宕，枯湿浓淡交织缠绕，满纸郁勃意气喷薄而出。字势欹正相生，大小错落如骤雨旋风，牵丝萦带间，章法疏密跳宕，恰似秋夜惊鸿掠过长空。\n\n行笔时而迅疾如奔泉穿石，时而滞重似老藤挂壁，将沉郁秋思揉入笔锋节律。枯笔见筋骨，润墨显腴润，通篇一气呵成，以线条铺陈心潮起落，把秋兴感怀化作笔底风云，读来心绪随笔墨起伏，浑茫秋意直扑眉宇，尽显草书抒情写意的极致魅力。",[7,60,49,77,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ce3f3638526dd5278ce7c6af73743a.jpg",[],{"id":65359,"slug":65360,"title":45404,"dynasty":18,"author":65361,"museum":107,"description":65362,"tags":65363,"thumbUrl":65364,"material":751,"size":752,"collection":95,"collections":65365,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241292,"qi-jue-er-shou-zhang-yue-yao-241292","张曰瑶","此作行书舒展灵动，用笔顿挫藏露间尽显儒雅意趣。左右两页布局各具意态，左幅纵向排布，点画粗细随心变幻，牵丝映带如行云流水，节律悠然。右幅字形大小错落，行气疏朗宽和，笔墨带着文人的散淡闲适。整体书风兼具帖学秀雅温润与内敛骨力，字字呼应有致，将诗韵与笔意相融无间，把诗作的清雅意境通过书法线条铺陈开来，笔墨晕染出从容书卷之气，尽显文人书家的审美意趣，笔情墨趣间尽显风雅品格。",[24,25,26,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b770822aa6d8f034c2accc54ccffac.jpg",[],{"id":65367,"slug":65368,"title":65369,"dynasty":18,"author":454,"museum":107,"description":65370,"tags":65371,"thumbUrl":65372,"material":751,"size":752,"collection":95,"collections":65373,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241291,"chun-tang-qi-lv-yi-ming-241291","春塘七律","此行书册页笔势灵动圆融，行笔提按顿挫富于节奏，牵丝映带间尽显流畅自然。左幅结字略开张，筋骨内含，右字形体稍敛，朴拙雅致。墨色浓淡枯湿相映，浓处厚重饱满，枯处见笔力苍劲，章法疏朗错落，字间行距宽绰舒缓，气息静谧雅致。\n\n页内书就七言律句，笔墨与诗文相合，尽显温婉秀雅又不失劲挺的文人风神，将文士酬唱的雅致心境藏于笔墨细节之中，是颇具意趣的清代行书小品佳作。",[2135,60,7,25,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a55eb51fdaea274badbe1b65f6e2fc.jpg",[],{"id":65375,"slug":65376,"title":45404,"dynasty":18,"author":65377,"museum":107,"description":65378,"tags":65379,"thumbUrl":65380,"material":751,"size":752,"collection":95,"collections":65381,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241287,"qi-jue-er-shou-ye-ting-ying-241287","叶廷瑛","此作为行书诗翰，点画灵动温润，起收转折皆存帖学雅韵。行气疏朗连贯，章法排布错落匀停，既保有台阁书风的端稳之态，又不失文人行书的萧散意趣。墨色浓淡自然过渡，笔势间尽显从容雅逸，字里行间晕染出士人酬唱的清雅襟怀，将传统文人的书卷气融于笔墨之间，是清代文人尺牍书法中的清秀佳例。",[25,7,60,77,26,312,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7506bd37e0cf76a1cd68f9765f28fde6.jpg",[],{"id":65383,"slug":65384,"title":45356,"dynasty":18,"author":65385,"museum":107,"description":65386,"tags":65387,"thumbUrl":65388,"material":751,"size":752,"collection":95,"collections":65389,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241286,"qi-lv-yan-shi-pu-241286","颜时普","颜时普,字谷田,号雨亭,南海人。乾隆己酉举人,官太常寺博士",[25,60,77,26,50,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2f43da541fd2a900abb1bc9f2e8749.jpg",[],{"id":65391,"slug":65392,"title":65393,"dynasty":18,"author":65394,"museum":107,"description":65395,"tags":65396,"thumbUrl":65397,"material":751,"size":752,"collection":95,"collections":65398,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241283,"xiang-qi-jue-bing-jie-su-ying-241283","享七绝并解","苏应","此作为行书手札，用笔秀逸灵动，起收可见提按藏露的细腻变化，点画温润雅致，兼具帖学妍美与文人意趣。章法错落自然，字距行间疏密得宜，行气连贯畅达，虽为酬答题咏的信札，却自具萧散简远的韵致。墨色浓淡富于层次，随书写节奏自然过渡，尽显书写时松弛悠然的心境。笔墨与诗思相融，将文人酬唱的雅兴寄于笔端，尽显清代帖学一脉的典型风貌，是兼具文学性与艺术性的小品佳构。",[24,25,7,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F118e95c4727d72ec5a2abe8064efb386.jpg",[],{"id":65400,"slug":65401,"title":27663,"dynasty":45,"author":65402,"museum":107,"description":65403,"tags":65404,"thumbUrl":65405,"material":751,"size":752,"collection":95,"collections":65406,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241280,"shi-ce-he-wu-zou-241280","何吾驺","何吾驺（1581~1651），字龙友，号象冈，初字瑞虎，晚号闲足道人。香山（今广东中山）小榄人。明万历四十七年（1619）进士。永历三年（1649）何吾驺剃发易服降清。",[7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa40710525f4cba59a1b3a4b78d03d622.jpg",[],{"id":65408,"slug":65409,"title":65410,"dynasty":18,"author":65411,"museum":107,"description":65412,"tags":65413,"thumbUrl":65414,"material":751,"size":752,"collection":95,"collections":65415,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241275,"gao-qi-zhuo-lu-wen-zhou-gao-qi-zhuo-241275","髙其倬录文轴","髙其倬","高其倬（1676（丙辰年）—1738）清代官员、诗人。字章之，号美沼、种筠，辽宁铁岭人，隶汉军镶黄旗，指头画创始人高其佩堂弟。康熙三十三年进士，迁内阁学士。世宗朝历云贵、闽浙、两江总督。在闽请解除民间出海贸易禁令，后以故降为江苏巡抚。乾隆初，官至工部尚书，卒谥文良。有奏疏及《味和堂诗集》。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3244a565f0057dc369f08cd389c43b.jpg",[],{"id":65417,"slug":65418,"title":65419,"dynasty":18,"author":65420,"museum":107,"description":65421,"tags":65422,"thumbUrl":65423,"material":751,"size":752,"collection":95,"collections":65424,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241272,"lun-shi-heng-chen-fu-en-241272","论诗横","陈孚恩","陈孚恩（1802—1866），字少默，号子鹤，别号紫藿。江西新城县钟贤（今黎川县中田乡）人。陈希曾次子，刘大观婿。嘉庆七年十月初八日生，同治五年正月二十二日卒。道光五年拔贡，朝考一等，由七品小官，仕至刑部、吏部、兵部尚书、军机大臣，清代著名书法家。",[25,7,60,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb28be6f7d2d1f4c7dbc7645e582d086.jpg",[],{"id":65426,"slug":65427,"title":65428,"dynasty":18,"author":65429,"museum":107,"description":65430,"tags":65431,"thumbUrl":65432,"material":751,"size":752,"collection":95,"collections":65433,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241271,"fei-bai-dou-liang-shan-ji-zhou-zhang-yan-chang-241271","飞白都梁山记轴","张燕昌","张燕昌(1738—1814)，字文鱼，号芑堂，又号金粟山人，清浙江海盐武原镇人。生于乾隆三年，卒于嘉庆十九年，享年七十七岁。乾隆四十三年（一七七七）优贡，嘉庆元年（一七九六）举孝廉方正。擅篆、隶、飞白、行、楷书，精金石篆刻、勒石，工画兰竹，兼善山水、人物、花卉，亦精竹木雕刻，皆攸然越俗，别有意趣。勤奋好学，为浙派创始人丁敬高弟（高弟意为高足、高徒，是丁敬入门弟子）。初及门时，囊负南瓜二枚为贽，各重十馀斤。敬欣然受之，为烹瓜具饭焉。大胆创新，试以飞白体入印，被誉为浙派篆刻的“负弩前驱”。海盐文人治印之风，变始自张氏。亦曾师事嘉兴张庚，又在杭州与梁同书、翁方纲探讨考释，终日不倦，多所创见。",[7,75,3330,60,51,1177,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ebbaa9aa77ad0acec095c1c1a746fff.jpg",[],{"id":65435,"slug":65436,"title":24534,"dynasty":18,"author":65437,"museum":107,"description":65438,"tags":65439,"thumbUrl":65440,"material":751,"size":752,"collection":95,"collections":65441,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241269,"lu-wen-zhou-zhang-yue-song-241269","张岳崧","张岳崧（1773—1842），字子骏，又字翰山、澥山，号觉庵、指山。广东省琼州府定安县人，今海南省定安县龙湖镇高林村人。海南在科举时代唯一的探花，官至湖北布政使（从二品）。革除各种陋规，四次受到皇帝召见，倡导并协助林则徐严禁鸦片。主持编纂《琼州府志》，擅长书画，是清代知名的书画家，与丘濬、海瑞、王佐并誉为海南四大才子，是海南读绝（丘濬）、忠绝（海瑞）、吟绝（王佐）、书绝（张岳崧）“四绝”中的“书绝”。",[75,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c67974f745608bd3271262372a90cad.jpg",[],{"id":65443,"slug":65444,"title":65445,"dynasty":18,"author":65446,"museum":107,"description":65447,"tags":65448,"thumbUrl":65449,"material":751,"size":752,"collection":95,"collections":65450,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241265,"gao-wei-fu-qi-jue-zhou-gao-wei-fu-241265","高为阜七绝轴","高为阜","高为阜,字守村,铅山人。雍正丙午举人,历官姚安知府。",[2135,24,25,75,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2249663be06a51335db64939e3914cd9.jpg",[],{"id":65452,"slug":65453,"title":12961,"dynasty":18,"author":65454,"museum":107,"description":65455,"tags":65456,"thumbUrl":65457,"material":751,"size":752,"collection":95,"collections":65458,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241262,"qi-lv-zhou-hei-ming-feng-241262","黑鸣凤","黑鸣凤，字羽辉，号朝阳，临清州（今山东省临清县）人。中国清代康熙年间（1662～1722）穆斯林武将。回族。生卒年不详。貌温雅，性谦和，喜文好客。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc346860f617001a85f33c15f0f37cd1.jpg",[],{"id":65460,"slug":65461,"title":18391,"dynasty":18,"author":65462,"museum":107,"description":65463,"tags":65464,"thumbUrl":65465,"material":751,"size":752,"collection":95,"collections":65466,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241259,"qi-jue-zhou-guo-fen-241259","郭棻","郭棻（1622—1690）清代官吏、学者、书法家。字芝仙，号快庵、快圃，直隶清苑（今属河北）人。顺治九年进士。历官检讨、赞善、大理寺正、内阁学士，奏疏多直言，工书法，与沈荃有南沈北郭之称，有《学源堂集》。",[24,25,75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2e6fb31646526f9540cb5ea8bb19c9.jpg",[],{"id":65468,"slug":65469,"title":65470,"dynasty":18,"author":51832,"museum":107,"description":51833,"tags":65471,"thumbUrl":65472,"material":751,"size":752,"collection":95,"collections":65473,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241257,"wu-yan-zhou-liu-da-guan-241257","五言轴",[18,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e47efbbf44b869106ac81fcc51f9eaf.jpg",[],{"id":65475,"slug":65476,"title":18391,"dynasty":18,"author":65477,"museum":107,"description":65478,"tags":65479,"thumbUrl":65480,"material":751,"size":752,"collection":95,"collections":65481,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241253,"qi-jue-zhou-fang-song-241253","方嵩","字峙泉，号桐庵，安徽歙县人。工大幅山水。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb085c353538f780dc5fec4f53ae061.jpg",[],{"id":65483,"slug":65484,"title":65485,"dynasty":18,"author":65486,"museum":107,"description":65487,"tags":65488,"thumbUrl":65489,"material":751,"size":752,"collection":95,"collections":65490,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241252,"xing-lu-wen-zhou-shen-jia-yin-241252","行录文轴","申佳胤","申佳胤（1603年－1644年4月25日），《明史》避雍正皇帝胤禛之名讳而作申佳允，申涵光之父。字孔嘉，又字濬源，号素园，北直隶永年（今河北永年）人。\n崇祯四年进士，历任知县、吏部文选司主事、吏部考功司员外郎、南京国子监博士、大理寺评事、太仆寺丞等职。甲申之变，佳胤殉国死节，赠太仆寺少卿，谥节愍。入清，褒扬忠烈，赐谥端愍。有《申端愍公诗集》、《申端愍公文集》传世。",[25,75,60,77,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9567bcaf2231156161a82b2f1bfc7194.jpg",[],{"id":65492,"slug":65493,"title":12961,"dynasty":18,"author":65494,"museum":107,"description":65495,"tags":65496,"thumbUrl":65497,"material":751,"size":752,"collection":95,"collections":65498,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241251,"qi-lv-zhou-hou-fang-ya-241251","侯方崖","此作用笔纵逸洒脱，牵丝映带间尽显流畅韵致，通篇行气疏朗匀停，自右上倾泻而下，如流泉出谷，随性自在。\n\n起笔沉稳，而后渐次舒展，字势开合有度，粗细枯湿相映，时而重笔沉凝，时而轻锋掠纸，将律诗别后怅惘、故交相对的澹澹愁绪，寄寓在笔墨起伏之中。\n\n落款小字清劲利落，与正文的舒展形成微妙呼应，整体风格俊逸放达，既有晚明尚奇书风的余韵，又自出机杼，将文人寄情林泉、安于渔樵的襟怀融于笔底，尽显明清之交文人书法抒情写意的特质。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecde88a96e2ecd89be96422377c164ef.jpg",[],{"id":65500,"slug":65501,"title":65502,"dynasty":18,"author":65503,"museum":107,"description":65504,"tags":65505,"thumbUrl":65506,"material":751,"size":752,"collection":95,"collections":65507,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241248,"peng-jun-xun-qi-lv-zhou-peng-jun-241248","彭浚壦七律轴","彭浚","彭浚（1769年－1833年），字映旟，号宝臣。湖南衡山县（今衡东县）人。清朝政治人物，狀元及第，官至順天府府丞。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4743119a7d557887b7cf31eaad451244.jpg",[],{"id":65509,"slug":65510,"title":24534,"dynasty":18,"author":65511,"museum":107,"description":65512,"tags":65513,"thumbUrl":65514,"material":751,"size":752,"collection":95,"collections":65515,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241238,"lu-wen-zhou-huang-dan-shu-241238","黄丹书","黄丹书（1757--1806），字廷授，号虚舟。顺德人。以诗受知调元。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef9061f8148ff36db38679a52c3b4b0.jpg",[],{"id":65517,"slug":65518,"title":65519,"dynasty":18,"author":65520,"museum":107,"description":65521,"tags":65522,"thumbUrl":65523,"material":751,"size":752,"collection":95,"collections":65524,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241234,"zhuan-lu-yu-zhou-wang-hong-241234","撰录语轴","王弘","王弘（379年－432年），字休元，琅琊郡临沂县（今山东临沂）人，刘宋开国功臣、书法家，东晋丞相王导曾孙，中领军王洽之孙，司徒王珣长子。\n王弘出身琅琊王氏，年少好学，以清悟知名，会稽王司马道子辟为主簿，迁江州刺史，省赋简役，百姓安康。刘裕即位，以佐命功，封华容县公，进号卫将军、开府仪同三司。\n宋文帝即位，进位司空，进号车骑大将军，扬州刺史。元嘉九年（432年）进位太保，领中书监，同年卒于官，谥号文昭，配食武帝庙庭。",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918c27cdf505adf08391bd4083ecc5b2.jpg",[],{"id":65526,"slug":65527,"title":65528,"dynasty":18,"author":65520,"museum":107,"description":65521,"tags":65529,"thumbUrl":65531,"material":751,"size":752,"collection":95,"collections":65532,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241233,"zhuan-wu-lv-zhou-wang-hong-241233","撰五律轴",[7,75,60,50,678,19193,1679,65530],"流泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8faf308974d70710aefddf833bbb7445.jpg",[],{"id":65534,"slug":65535,"title":65536,"dynasty":45,"author":454,"museum":107,"description":65537,"tags":65538,"thumbUrl":65539,"material":751,"size":752,"collection":95,"collections":65540,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241231,"nan-zhu-yuan-ji-tang-ren-ju-zhou-yi-ming-241231","南洙源集唐人句轴","此作用笔纵逸跌宕，以狂草集唐人诗句，笔势连绵缠绕，线条粗细藏露随心切换，节奏感十足。章法上疏朗开阔，字距行距留白舒展，行气贯通又不失错落姿态。\n\n墨色干湿浓淡富于层次，枯笔苍劲老辣，润笔腴润饱满，每字欹侧相生、顾盼有情，将狂草抒意特质融于唐诗句中，既有唐诗的沉郁意境，又尽显晚明尚奇书风的纵肆性情，笔墨间满溢放旷萧散的文人意趣。",[7,398,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b085ed266f1ee55fd571ae70e54364e.jpg",[],{"id":65542,"slug":65543,"title":65544,"dynasty":18,"author":65545,"museum":107,"description":65546,"tags":65547,"thumbUrl":65548,"material":751,"size":752,"collection":95,"collections":65549,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241196,"hu-cong-zhong-ci-ye-hu-cong-zhong-241196","胡从中词页","胡从中","胡从中，字师虞，号天放，书法家、诗人，明末清初江苏淮安人。具体生卒年已无从考证，范以煦《淮壖小记》记其是“崇祯壬午”（1642）举人，《重修山阳县志》讲其“年八十余卒” 。胡从中曾任《康熙淮安府志》的副总编篡，参与《望社》等文人社团的诗社聚会。因此，推测胡从中于明天启元年（1621）前后出生，于清康熙四十年（1701）前后去世，一生历经天启、崇祯、顺治、康熙四朝。",[18,24,25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eecd899c5563ba382a6bf9f1e5f9914.jpg",[],{"id":65551,"slug":65552,"title":65553,"dynasty":18,"author":65554,"museum":107,"description":65555,"tags":65556,"thumbUrl":65557,"material":751,"size":752,"collection":95,"collections":65558,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241192,"song-gong-yi-qi-lv-shi-shan-mian-song-gong-yi-241192","宋恭贻七律诗扇面","宋恭贻","此作为行书小品，笔意灵动舒展，以中锋行笔，线条圆劲温润，牵丝映带间尽显流转自然之态。字形欹正相生，排布错落有致，在恪守法度之余不失随性意趣。\n\n所书诗文清幽淡远，笔墨与山林闲寂诗意相融，将幽人山居的雅静图景缓缓铺展。落款小字端稳雅致，与主体行气呼应协调，朱红印章点缀其间，更添古朴雅致。\n\n整幅作品文气隽秀，既有帖学一脉的妍雅温润，又暗含文人隐世的清逸意趣，是诗书合璧的雅致之作。",[24,25,1250,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e551b679a6e9d8c96ff9b0697dee3b.jpg",[],{"id":65560,"slug":65561,"title":65562,"dynasty":18,"author":64996,"museum":107,"description":64997,"tags":65563,"thumbUrl":65564,"material":751,"size":752,"collection":95,"collections":65565,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241190,"zhi-song-mu-zhong-luo-zha-zhu-yi-zun-241190","致宋牧仲(荦)札",[23,7,60,49,433,432,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1980b772090f1c938921b1ebf69c9d41.jpg",[],{"id":65567,"slug":65568,"title":2282,"dynasty":45,"author":46645,"museum":107,"description":46646,"tags":65569,"thumbUrl":65570,"material":751,"size":752,"collection":95,"collections":65571,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241189,"shou-zha-ma-yi-long-241189",[23,7,60,49,25,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397258fdbf4ea5a824e0108764918f77.jpg",[],{"id":65573,"slug":65574,"title":65575,"dynasty":45,"author":454,"museum":107,"description":65576,"tags":65577,"thumbUrl":65578,"material":751,"size":752,"collection":95,"collections":65579,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241184,"ming-ren-zhi-li-zhong-lu-zha-yi-ming-241184","明人致李中麓札","这卷尺牍合多通信札，兼具两种风神：制式界栏的尺牍，小行楷清隽端稳，笔墨恭谨雅致，尽显士林问讯的郑重仪范。草书手札则纵逸灵动，字形欹正相生，牵丝映带间笔势连贯随性，是密友私语的疏放意态。\n\n古雅纸色间墨色浓淡依旧，既存尺牍的社交礼数，又藏文人私函的自在意趣，完整呈现晚明士人的交游风貌与书法审美，是明代士林翰札的典型佳制。",[23,7,49,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d8999627c986d0b6c606c34a187d470.jpg",[],{"id":65581,"slug":65582,"title":65583,"dynasty":18,"author":454,"museum":107,"description":65584,"tags":65585,"thumbUrl":65586,"material":751,"size":752,"collection":95,"collections":65587,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241181,"qing-ren-ji-jin-ce-he-shao-ji-zi-shu-ye-yi-ming-241181","清人集锦册-何绍基自书页","左幅行书诗文，运笔苍劲老辣，带着回腕笔法特有的沉郁顿挫，结体奇崛跌宕，将诗中江湖野逸的意趣尽数铺展。右幅尺牍小字朴拙随性，笔墨松弛舒展，尽显日常手札的悠然意韵。\n整体融碑学的厚重沉雄与帖学的灵动雅致于一身，笔画间藏着晚清书风变革的脉络，将文人疏放襟怀寄于起伏笔墨之中，尽显不拘一格的笔墨才情。",[24,25,26,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fd1fcd76cc0f479a77452d050e22dc.jpg",[],{"id":65589,"slug":65590,"title":65591,"dynasty":18,"author":29596,"museum":107,"description":37850,"tags":65592,"thumbUrl":65593,"material":751,"size":752,"collection":95,"collections":65594,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241180,"qing-ren-ji-jin-ce-lu-lin-he-jing-shi-san-shou-ye-zhang-wen-tao-241180","清人集锦册-录林和靖诗三首页",[18,25,7,26,60,4440,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c9df2d22a06caf30330b459ff52ba46.jpg",[],{"id":65596,"slug":65597,"title":65598,"dynasty":18,"author":65599,"museum":107,"description":65600,"tags":65601,"thumbUrl":65602,"material":751,"size":752,"collection":95,"collections":65603,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241177,"qing-ren-ji-jin-ce-zi-shu-wen-ye-duan-mu-cai-241177","清人集锦册-自书文页","端木埰","端木埰（公元1816～1892年待考证），字子畴，江宁人（今江苏南京）。著名清朝文学家。清代文学家，任侍读。工书，有《赋源》等多种著作传世。",[24,25,7,26,77,50,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e8f5ded42567cc3bfc8134ec0ff8d8e.jpg",[],{"id":65605,"slug":65606,"title":65598,"dynasty":18,"author":6177,"museum":107,"description":65607,"tags":65608,"thumbUrl":65609,"material":751,"size":752,"collection":95,"collections":65610,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241176,"qing-ren-ji-jin-ce-zi-shu-wen-ye-wang-you-dun-241176","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。",[25,26,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99087d017e1ed954239dcab40ed4d657.jpg",[],{"id":65612,"slug":65613,"title":65614,"dynasty":18,"author":454,"museum":107,"description":65615,"tags":65616,"thumbUrl":65617,"material":751,"size":752,"collection":95,"collections":65618,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241175,"qing-ren-ji-jin-ce-tie-bao-lu-yu-ye-yi-ming-241175","清人集锦册-铁保录语页","此作两页风格相映成趣。右页大字开张雄放，结体宽博浑厚，笔力沉实遒劲，墨色晕染自然，行笔间尽显洒脱疏朗的意趣。左页小字行气连贯流畅，点画顾盼生姿，笔画劲挺利落，在严谨法度中不失文人雅逸之态。\n\n整作一放一收、一疏一密，既融北碑的雄健厚重，又兼帖学的灵动秀雅，将行书挥洒自如的笔意与隽秀雅致的气韵融为一体，尽显遣兴挥毫的悠然意态，藏着传统书法的意蕴之美。",[25,7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7d7088e4bfa3f63c82d216ab09a711.jpg",[],{"id":65620,"slug":65621,"title":65622,"dynasty":18,"author":16817,"museum":107,"description":65623,"tags":65624,"thumbUrl":65625,"material":751,"size":752,"collection":95,"collections":65626,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241174,"qing-ren-ji-jin-ce-ci-ye-bian-shou-min-241174","清人集锦册-词页","边寿民（1684年—1752年），初名维祺，字颐公，又字渐僧、墨仙，号苇间居士，江苏山阳人（今淮安区），晚号苇间老民、绰翁、绰绰老人，清代著名画家。曾考中秀才，善画花鸟、蔬果和山水，尤以画芦雁驰名江淮，有“边芦雁”之称。其泼墨芦雁，苍浑生动，朴古奇逸，极尽飞鸣、食宿、游泳之态。泼墨中微带淡赭，大笔挥洒，浑厚中饶有风骨。又善以淡墨干皴擦小品，更为佳妙。因他画芦雁，称其所居名“苇间书屋”。他又工诗词、精中国书法。和郑板桥、金农等人齐名。",[25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14007f58848141225d107a41f64f9eb.jpg",[],{"id":65628,"slug":65629,"title":29337,"dynasty":18,"author":65630,"museum":107,"description":65631,"tags":65632,"thumbUrl":65633,"material":751,"size":752,"collection":95,"collections":65634,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241171,"wu-lv-shou-shi-zhou-ruan-yu-xuan-241171","阮玉铉","字博之，江都（今江苏扬州）人。与强瓜良、阮玉铉称三高士",[25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d36ef7637782610cce5c667f3f2e5ec.jpg",[],{"id":65636,"slug":65637,"title":65638,"dynasty":18,"author":35899,"museum":107,"description":41795,"tags":65639,"thumbUrl":65640,"material":751,"size":752,"collection":95,"collections":65641,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241170,"zhi-xie-gu-nian-xian-sheng-ye-yu-min-zhong-241170","致嶰谷年先生页",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff41bfd391fd25f2414fb90144ca671.jpg",[],{"id":65643,"slug":65644,"title":41025,"dynasty":18,"author":51832,"museum":107,"description":51833,"tags":65645,"thumbUrl":65646,"material":751,"size":752,"collection":95,"collections":65647,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241162,"wu-yan-shi-zhou-liu-da-guan-241162",[60,7,75,77,651,26716,2739,589,6398,652,359,3039,27934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e326cb37e6d0b8d85a82c191d86650.jpg",[],{"id":65649,"slug":65650,"title":65651,"dynasty":18,"author":26593,"museum":107,"description":26594,"tags":65652,"thumbUrl":65653,"material":751,"size":752,"collection":95,"collections":65654,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241160,"tie-bao-lu-yu-zhou-tie-bao-241160","铁保录语轴",[25,7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f58c0aed477711d47f9eefaea52978.jpg",[],{"id":65656,"slug":65657,"title":65658,"dynasty":18,"author":65659,"museum":107,"description":65660,"tags":65661,"thumbUrl":65662,"material":751,"size":752,"collection":95,"collections":65663,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241155,"lu-hua-zheng-lu-juan-wu-gan-241155","录画征录卷","吴淦","吴淦（1839—1887）字鞠谭，又字超琦，号纯斋，室名原胜斋，浙江钱塘（杭州）人，",[23,7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa232b47f525f90014fd3aa43c04e5b45.jpg",[],{"id":65665,"slug":65666,"title":65667,"dynasty":18,"author":65668,"museum":107,"description":65669,"tags":65670,"thumbUrl":65671,"material":751,"size":752,"collection":95,"collections":65672,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241146,"ji-xian-guan-he-ta-ming-juan-zhou-ji-241146","集贤関鹤塔铭卷","周济","周济（1781年－1839年），字保绪，一字介存，号未斋，晚号止庵，江苏荆溪（今江苏宜兴）人，清朝词人及词论家。",[23,25,49,7,398,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe5a529f52b069eda255e59ee7d19ab.jpg",[],{"id":65674,"slug":65675,"title":17924,"dynasty":18,"author":65676,"museum":107,"description":65677,"tags":65678,"thumbUrl":65679,"material":751,"size":752,"collection":95,"collections":65680,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241145,"shi-zhou-fang-feng-fu-241145","方丰甫","此作用笔纵逸酣畅，字势欹正相生，牵丝映带间尽显章法灵动。整体笔力苍劲朴茂，墨色干湿浓淡富于层次，既有帖学的流美婉转，又具北碑的雄健骨力。\n\n书作内容为夜集怀友之诗，笔墨与诗境相融，将幽寂寒夜的怀人清愁，通过沉郁跌宕的笔意尽数铺展。萧散的文人情致注入挥毫之中，点画间带着深夜寄怀的沉凝思绪，是诗书合一的佳构，尽显文人写意行书的隽永意趣。",[25,75,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8afe1334e576bd9fecf68619652b68.jpg",[],{"id":65682,"slug":65683,"title":65684,"dynasty":18,"author":65685,"museum":107,"description":65686,"tags":65687,"thumbUrl":65688,"material":751,"size":752,"collection":95,"collections":65689,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241135,"ti-huang-shi-zhou-li-tian-fu-241135","题黄诗轴","李天馥","李天馥（1635年～1699年），字湘北，号容斋。科举寄籍归德府永城县 ，合肥人，其先自黄冈徙。清初文臣。\n崇祯十五年（1642年），张献忠攻陷庐州府，李天馥随家人避难永城，寓居于永城赵家。顺治十四年（1657年）中举，顺治十五年（1658年）成进士，改庶吉士，授检讨。历官少詹事、工部尚书、刑部尚书、兵部尚书、吏部尚书。康熙三十一年（1692年），拜武英殿大学士。为官期间，扬清激浊，学行俱优，深受康熙器重。康熙三十八年（1699年）去世，谥文定。著有《容斋千首诗》、《容斋诗馀》等。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e30d079197e9ffed5f6b083d1ace6ac.jpg",[],{"id":65691,"slug":65692,"title":65693,"dynasty":18,"author":47165,"museum":107,"description":65694,"tags":65695,"thumbUrl":65696,"material":751,"size":752,"collection":95,"collections":65697,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241134,"qi-yan-shou-shi-zhou-tang-you-ceng-241134","七言寿诗轴","汤右曾（1656至1722）字西厓，仁和（今杭州）人。康熙二十七年（一六八八）进士，官吏部侍郎。以逸笔写山水，著墨无多，舒展自查初白（慎行）有诗称之。工行楷，遒媚似苏轼。诗与朱彝尊齐名。有怀清堂集。卒年六十七。参见《浙江通志》《国清朝别裁诗传》《敬业堂集》《分甘馀话》、畊《砚田斋笔记》《桐阴论画》《画传编韵》《清画家诗史》。",[18,25,75,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddbca2da5aa8f5a1589815d37376e739.jpg",[],{"id":65699,"slug":65700,"title":65701,"dynasty":18,"author":65702,"museum":107,"description":65703,"tags":65704,"thumbUrl":65705,"material":751,"size":752,"collection":95,"collections":65706,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241132,"xing-qing-chi-shi-zhou-huang-ji-241132","兴庆池诗轴","黄机","字次辰，一字澄斋，号雪台。浙江钱塘（今属杭州）积善坊巷人。宋代福建莆田黄石金墩平海军节度使、赠太师谥清惠黄府十五孙。清顺治四年（1648）进士，选庶吉士，授弘文院编修，迁弘文院侍读。顺治末，诏辑《太祖、太宗圣训》，充纂修官。累迁国史院侍读学士，擢礼部侍郎。康熙初，进礼部尚书。疏陈民穷之由，主张严察地方各级官吏。寻调户部、吏部尚书。因以疏通铨法、议降补官对品除用，为人所劾。寻以迁葬乞归。十八年(1679)特召还朝，以吏部尚书衔管刑部事。次年授清光禄大夫、文华殿大学士兼吏部尚书。康熙二十五年（1686）卒。赠太傅、太师，谥文僖，赐祭葬于灵鹫山金墩武林白乐桥之南。",[24,25,75,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddd427196f2e4a1551d524e4cb8a1906.jpg",[],{"id":65708,"slug":65709,"title":65710,"dynasty":18,"author":65711,"museum":107,"description":65712,"tags":65713,"thumbUrl":65714,"material":751,"size":752,"collection":95,"collections":65715,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241131,"xian-wu-yan-shi-zhou-guo-kui-241131","先五言诗轴","郭奎","郭奎，字子章，巢县人。生年不详，约卒于元惠宗至正二十四年，《四库总目》传于世。\n郭奎慷慨有志节。早从余阙学，颇称之。太祖为吴国公，来归，从事幕府。朱文正开大都督府于南昌，命奎参军事。文正得罪，奎亦坐诛。奎工诗，著有望云集五卷。",[75,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b1f881cbbc0ec5867bb0e98284c77b.jpg",[],{"id":65717,"slug":65718,"title":17213,"dynasty":18,"author":65719,"museum":107,"description":65720,"tags":65721,"thumbUrl":65722,"material":751,"size":752,"collection":95,"collections":65723,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241130,"qi-yan-shi-zhou-cao-rong-241130","曹溶","曹溶（1613—1685年），字秋岳，一字洁躬，亦作鉴躬，号倦圃、鉏菜翁，浙江秀水（今嘉兴）人。\n明崇祯十年进士，官御史。尝劾辅臣谢升，又熊开元参周延儒遭廷杖，曹溶疏白其冤。清顺治元年清兵入北京后，仕清任顺天学政，为清王朝献策，疏陈定官制，定屯田、盐法、钱法规制，禁兵丁将马践食田禾等，皆被采纳实施。又就有关科举、荐举隐逸、访旌殉节者等问题向朝廷建议。三年二月充会试监考官，三月迁升为太仆寺少卿。不久，被发现在学政任上所举贡生中有明代受世袭职和中武举者，降两级调用。接着又因选拔贡生超额被革职回籍。十一年官复原职，迁左通政。次年三月擢左副都御史，旋擢户部右侍郎，接着又授广东布政使。十三年，以举动轻浮，降一级改任山西阳和道。康熙三年裁缺归里。十三年，三藩举兵，阁臣以边才荐，随征福建。十七年诏举博学鸿词，大学士李霨等荐曹溶，未试。十九年，学士徐元文荐曹溶佐修《明史》，未赴。",[2135,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F906efbb4ba9d81d4a8a24b57184ef932.jpg",[],{"id":65725,"slug":65726,"title":65727,"dynasty":18,"author":65728,"museum":107,"description":65729,"tags":65730,"thumbUrl":65731,"material":751,"size":752,"collection":95,"collections":65732,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241128,"liu-jia-xing-za-shu-shi-zha-he-juan-wang-xi-ru-241128","六家行杂书诗札合卷","王熹儒","王熹儒(清初),江苏兴化人。与王士祯、孔尚任交善。工书法,擅长小行楷,神似二王。其兄王仲儒与金圣叹等十七名士被牵涉到清初江南三大案之一的哭庙案而被杀。",[23,25,7,49,60,398,199,50,77,51813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512d5edb2cd68cd0ee86479aa4289621.jpg",[],{"id":65734,"slug":65735,"title":27969,"dynasty":45,"author":65736,"museum":107,"description":65737,"tags":65738,"thumbUrl":65739,"material":751,"size":752,"collection":95,"collections":65740,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241125,"qi-lv-shan-mian-huang-ying-en-241125","黄应恩","此作用泥金笺为底，墨色沉实鲜亮，与华贵底色相映成趣。行草书兼糅，笔画间顾盼生姿，牵丝映带如行云流水，既有法度又不失灵动开张。起笔收锋爽利，提按顿挫尽显韵律，将律诗的文气融于笔墨筋骨之中。\n\n通篇布局疏密得宜，顺着扇面弧度自然排布，行气流畅舒展，笔墨疾缓贴合诗意节奏，字字带着萧散古雅的意趣，尽显明代书风的疏朗放达，笔墨间藏着文人澹然开阔的襟怀。",[1250,60,7,4038,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc542ba75e4792a7196027601415f5395.jpg",[],{"id":65742,"slug":65743,"title":65744,"dynasty":45,"author":65745,"museum":107,"description":65746,"tags":65747,"thumbUrl":65748,"material":751,"size":752,"collection":95,"collections":65749,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241124,"gong-yu-mai-bing-yan-zhi-xi-shi-shan-mian-liu-zai-chao-241124","恭遇麦饼宴志喜诗扇面","刘在朝","刘在朝（1587年8月28日－1646年6月27日），字长孺，号广乘，湖北监利红城乡白家湾村人，明朝政治人物，同进士出身。",[4038,1250,7,60,14990,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7fa2c9fde16c9ab0c96c5f6675f3d.jpg",[],{"id":65751,"slug":65752,"title":65753,"dynasty":45,"author":65745,"museum":107,"description":65746,"tags":65754,"thumbUrl":65755,"material":751,"size":752,"collection":95,"collections":65756,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241123,"xing-qi-lv-shan-mian-liu-zai-chao-241123","行七律扇面",[1250,60,7,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d8f27640014b3c70064c125871b068.jpg",[],{"id":65758,"slug":65759,"title":65760,"dynasty":45,"author":65761,"museum":107,"description":65762,"tags":65763,"thumbUrl":65764,"material":751,"size":752,"collection":95,"collections":65765,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241122,"qi-qi-lv-er-shou-shan-mian-xu-hong-241122","起七律二首扇面","徐鸿","此作为泥金扇面行书，金底墨色相衬，愈显古雅华贵。笔墨取法帖学，点画顾盼生姿，牵丝映带圆润自然，章法顺着扇面弧度排布，行气舒展从容不显局促。\n笔墨藏露相济，时而遒劲利落，时而秀雅温婉，将文人萧散简淡的意趣融于毫端。诗书合璧，笔底带着醇厚书卷气，字句间尽显文雅闲适的襟怀。历经岁月，墨色依旧沉稳鲜亮，形制虽小，却尽显传统文人书画的隽永韵味，是一件颇为雅致的小品佳作。",[4038,1250,60,7,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1010f785f02706d763e97b33884549af.jpg",[],{"id":65767,"slug":65768,"title":45728,"dynasty":45,"author":65769,"museum":107,"description":65770,"tags":65771,"thumbUrl":65772,"material":751,"size":752,"collection":95,"collections":65773,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241121,"qi-lv-shi-shan-mian-zhang-ke-du-241121","张可度","此作为泥金行书扇面，金底沉润古雅，墨色莹亮分明，二者相映更显华贵雅致。书作取法帖学，笔势舒展灵动，起收之间不失法度，牵丝映带暗含章法韵律，兼具明代行书尚势的洒落意趣。诗句排布依循扇面弧度错落铺陈，行气贯通无碍，将笔墨意韵与诗文情志相融无间。整体气息温雅醇厚，字里行间尽显书家的文人涵养，是一件兼具书法美感与文学意趣的小品佳制，尽显晚明文人雅玩的审美意趣。",[1250,7,60,41249,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eee05a1d27a9d44e92096dacafd86e3.jpg",[],{"id":65775,"slug":65776,"title":65777,"dynasty":45,"author":454,"museum":107,"description":65778,"tags":65779,"thumbUrl":65780,"material":751,"size":752,"collection":95,"collections":65781,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241118,"lai-si-zhi-bing-ge-shan-mian-yi-ming-241118","来斯治兵歌扇面","此扇面以小楷录写治兵歌，笔致清劲秀雅，点画提按皆具法度，筋骨内含不失柔和。结体端稳匀整，通篇排布疏密合宜，字里行间带着从容端肃的意韵，既有台阁体的规整隽秀，又暗蕴书写者的个人笔情墨趣。泛黄纸面配沉静墨色，晕开岁月浸润的温润质感，将金戈铁马的军歌以文雅小楷呈现，融肃杀兵气与文人雅趣于一体，尽显儒将风雅，是兼备文学性与书法审美价值的小品佳作。",[1250,7,60,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1149fcd1958afcaa1f742f1096314a8.jpg",[],{"id":65783,"slug":65784,"title":65785,"dynasty":45,"author":454,"museum":107,"description":65786,"tags":65787,"thumbUrl":65788,"material":751,"size":752,"collection":95,"collections":65789,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241117,"zi-yin-qi-lv-shan-mian-yi-ming-241117","□自寅七律扇面","这件泥金行书扇面，字形欹正错落，笔画粗细随势变幻，牵丝映带间笔意连贯圆活，尽显晚明行书放逸灵动的意趣。文字顺着扇面弧度排布，疏密排布自然妥帖，行气舒展流畅，开张的字势暗含内敛法度，毫无浮滑之感。浓墨晕染泥金笺面，苍润兼具，挥运迅疾却不失点画精微，笔墨间带着萧散疏朗的文人意韵，诗书相融，尽显明代尚态的书风特质，是一件格调清雅的书法小品。",[7,1250,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10e03122f72978e7ede299f16a9d1fd.jpg",[],{"id":65791,"slug":65792,"title":65793,"dynasty":45,"author":454,"museum":107,"description":65794,"tags":65795,"thumbUrl":65796,"material":751,"size":752,"collection":95,"collections":65797,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241114,"you-shi-ren-qi-yan-shi-shan-mian-yi-ming-241114","游士任七言诗扇面","此幅行书扇面笔意纵逸灵动，提转间牵丝映带，章法自洽。字势错落欹正，尽显尚态风貌。笔墨枯润浓淡得宜，通篇行气贯通，将诗文意境与书法意韵相融。虽无款署，却可见书家深厚帖学功底，既有晋人尺牍的隽秀风神，又不失疏放意气，扇面形制更将笔墨的舒展雅致烘托尽致，尽显文人士子的翰墨雅趣，是一件颇具格调的书法佳构。",[24,25,1250,7,60,77,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac86d5136e1b8387c077e183d4445f5.jpg",[],{"id":65799,"slug":65800,"title":65801,"dynasty":45,"author":454,"museum":107,"description":65802,"tags":65803,"thumbUrl":65804,"material":751,"size":752,"collection":95,"collections":65805,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241113,"zi-xiu-qi-lv-shan-mian-yi-ming-241113","□自修七律扇面","此行书扇面笔墨顺势贴合扇骨弧度排布，行气舒展自如。用笔枯润相生，起收可见笔法法度，牵丝映带间尽显灵动意趣，兼具规整与随性之美。\n诗墨相融，将文人书卷气藏于毫端，点画流转间带着从容意韵。纸面历经岁月泛黄晕染，沉淀出沉静古雅的质感，文辞笔墨相映成趣，尽显传统小品翰墨的雅致意蕴，藏着旧时光里的文人风雅。",[1250,7,60,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ed696c7490d5e2845999fe1cb6858b.jpg",[],{"id":65807,"slug":65808,"title":65809,"dynasty":45,"author":65810,"museum":107,"description":65811,"tags":65812,"thumbUrl":65813,"material":751,"size":752,"collection":95,"collections":65814,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241109,"shu-shao-ge-shou-shi-ma-shao-fang-241109","书绍歌寿诗","马绍芳","此作行书灵动舒展，笔力遒劲又不失秀雅。牵丝映带自然圆融，提转顿挫暗含法度，字势欹侧相生，尽显书写时的随性快意。\n通篇行气连贯，字间错落呼应，疏密布局恰到好处，留白舒展雅致。墨色枯润相生，将书写心绪藏于笔墨细节间，既有帖学的清雅书卷意，又带着劲爽洒脱的写意情趣，尽显行书抒情写意的典型特质，是一件兼具文人风神与笔墨功底的佳构。",[7,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e84b23818d2a73b4334a848c681e93.jpg",[],{"id":65816,"slug":65817,"title":65818,"dynasty":45,"author":65819,"museum":107,"description":65820,"tags":65821,"thumbUrl":65822,"material":751,"size":752,"collection":95,"collections":65823,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241108,"qi-lv-shou-shi-shen-ting-zhuan-241108","七律寿诗","申廷譔","万历三十七年（1609年）己酉科河南乡试亚魁，四十一年（1613年）癸丑科进士，考选庶吉士。泰昌元年八月，光宗即位，考选散馆各官，授山东道御史，以四方荒歉，请贷民租，寻巡按直隶，押送赏边帑金，至昌平，弹劾内监刘尚忠等指使护陵军士索要帑金。寻被科道弹劾其不能约束，受陵军要挟，遂辞归。",[45,7,60,77,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ec02a036df497213db438d2306237.jpg",[],{"id":65825,"slug":65826,"title":65827,"dynasty":45,"author":65828,"museum":107,"description":65829,"tags":65830,"thumbUrl":65834,"material":751,"size":752,"collection":95,"collections":65835,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241104,"shi-gao-zha-ye-shi-jian-241104","诗稿札页","史鉴","史鉴（1434—1496），字明古，号西村，别署西村逸史。南直隶苏州府吴县（今属江苏）人。生于明宣宗宣德九年，卒于明孝宗弘治九年，年六十三岁。书无不读，尤熟于史。",[7,60,50,77,26,65831,9676,65832,65833],"孤城","江干","晓色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165def873074c5764578be1b0a6ae71e.jpg",[],{"id":65837,"slug":65838,"title":65839,"dynasty":18,"author":65840,"museum":107,"description":65841,"tags":65842,"thumbUrl":65843,"material":751,"size":752,"collection":95,"collections":65844,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241098,"wang-kui-shu-zha-juan-wang-kui-241098","王揆书札卷","王揆","王揆（1619－1696） 字端士，一字芝廛。清太仓人。王时敏次子，王原祁之父。",[23,7,49,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4525d59b4d08aa88743e319e01472a.jpg",[],{"id":65846,"slug":65847,"title":65848,"dynasty":18,"author":65849,"museum":107,"description":65850,"tags":65851,"thumbUrl":65852,"material":751,"size":752,"collection":95,"collections":65853,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241096,"jian-shan-tang-ye-zuo-you-huai-shi-zhou-yang-si-sheng-241096","见山堂夜坐有怀诗轴","杨思圣","杨思圣，字犹龙，号雪樵，直隶巨鹿（今河北省巨鹿县）人，顺治三年进士，改翰林院庶吉士，寻授编修，升修撰。历春坊侍读学士，出为山西按察使，升河南右布政使，转四川左布政使。于入觐返任途中病逝于河南轵关一带的清化镇，年四十四岁。工诗，有《且亭诗》传世，然政声尤著。\n历春坊侍读学士，出为山西按察使，升河南右布政使，转四川左布政使。于入觐返任途中病逝于河南轵关一带的清化镇，年四十四岁。工诗，有《且亭诗》传世，然政声尤著。",[7,60,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891abd2fe3557efe178e8c85456ecc54.jpg",[],{"id":65855,"slug":65856,"title":12961,"dynasty":18,"author":65857,"museum":107,"description":65858,"tags":65859,"thumbUrl":65860,"material":751,"size":752,"collection":95,"collections":65861,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241076,"qi-lv-zhou-he-yuan-ying-241076","何元英","顺治十二年（1655年）进士，官至通政使司参议。工书法。与诗人张纲孙友善。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378f6596be53d2c04826715fd7d9eac5.jpg",[],{"id":65863,"slug":65864,"title":17924,"dynasty":18,"author":65865,"museum":107,"description":65866,"tags":65867,"thumbUrl":65868,"material":751,"size":752,"collection":95,"collections":65869,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241074,"shi-zhou-xu-hong-xun-241074","许弘勋","此作用笔纵逸舒展，以行书挥就七言诗句，笔势往来牵丝映带，尽显潇洒散淡的意趣。中锋行笔骨力内含，侧锋取势添妍美韵致，墨色干湿互济，浓处厚重饱满，淡处清透雅致。\n\n章法错落疏朗，字间呼吸开合自如，排布随兴又不失法度。笔墨与诗句禅意相融，将林泉禅居的清幽况味诉诸笔端，既有帖学的秀雅灵动，又暗合书写者清简襟怀，文气盎然，意韵悠长。",[7,75,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4008faa4e9ddb6fab08afcc1c0f57fca.jpg",[],{"id":65871,"slug":65872,"title":65873,"dynasty":18,"author":454,"museum":107,"description":65874,"tags":65875,"thumbUrl":65876,"material":751,"size":752,"collection":95,"collections":65877,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241068,"shi-han-he-juan-yi-ming-241068","诗翰合卷","此卷行书笔意兼具疏朗与跌宕，右卷大字开张朴拙，左卷小字灵动秀润，墨色干湿浓淡层次丰盈，尽显随性萧散的林下之风。\n\n整卷录赠答、纪游诸诗，将行旅烟波、林泉雅兴付诸笔端，诗与书相得益彰，带着山林文人的疏放意趣。字里行间藏着旧友寄赠、名山访道的雅致交游，笔墨游走间，把海天夜航、峰麓登眺的清景化入笔底，既有禅意清寂，又存俗世雅怀，是诗书合璧的佳构，尽显旧时文人以墨寄情的风流雅致。",[25,49,7,60,77,50,9679,6199,54,1679,678,1283,55,116,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311b1e01fb8d0cc07918139109fee4ad.jpg",[],{"id":65879,"slug":65880,"title":29530,"dynasty":18,"author":65881,"museum":107,"description":65729,"tags":65882,"thumbUrl":65883,"material":751,"size":752,"collection":95,"collections":65884,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241066,"wu-lv-shi-zhou-wang-xi-ru-241066","王熺儒",[24,25,75,50,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dac3d23d8bee39950c01145667a53ee.jpg",[],{"id":65886,"slug":65887,"title":29530,"dynasty":18,"author":33136,"museum":107,"description":33137,"tags":65888,"thumbUrl":65889,"material":751,"size":752,"collection":95,"collections":65890,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241064,"wu-lv-shi-zhou-yang-bin-241064",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00e5ef655220ac51cab377a416756ff.jpg",[],{"id":65892,"slug":65893,"title":26787,"dynasty":18,"author":65894,"museum":107,"description":65895,"tags":65896,"thumbUrl":65897,"material":751,"size":752,"collection":95,"collections":65898,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241063,"qi-jue-shi-zhou-wei-xiang-shu-241063","魏象枢","魏象枢（1617—1687年），字环极（一作环溪），号庸斋，又号寒松，蔚州（今河北省蔚县。在清康熙三十二年以前隶属于山西省大同府治）人。进士出身，官至左都御史、刑部尚书。魏作为言官，敢讲真话；作为能臣，为平定三藩之乱立下大功；作为廉吏，他“誓绝一钱”，甘愿清贫；作为学者，注重真才实学。\n后人以“好人、清官、学者”六字，对他的一生进行了概括。现有魏象枢《寒松堂全集》九卷存世。",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4909494dffc993c34ff0676a6bc85.jpg",[],{"id":65900,"slug":65901,"title":65902,"dynasty":45,"author":454,"museum":107,"description":65903,"tags":65904,"thumbUrl":65905,"material":751,"size":752,"collection":95,"collections":65906,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241058,"wan-dan-qi-jue-shi-zhou-yi-ming-241058","万旦七绝诗轴","此作用笔苍劲老辣，行草相间，线条粗细跌宕变幻，提按转合间尽显笔力沉雄。字间牵丝映带自然流畅，行气贯通如一，章法错落疏朗，萧散古意溢于笔墨。将诗作的林下隐逸意趣，与书家随性疏放的襟怀融为一体，尽显晚明书法尚奇尚势的写意风神。笔墨舒张间，既有草书的纵逸跌宕，又不失行书的沉稳端凝，抒情性与形式美感兼备，尽显明代草书的典型意韵。",[4038,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa192b566448ef4b72da19d33c937754d.jpg",[],{"id":65908,"slug":65909,"title":18391,"dynasty":18,"author":65910,"museum":107,"description":65911,"tags":65912,"thumbUrl":65913,"material":751,"size":752,"collection":95,"collections":65914,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241051,"qi-jue-zhou-sun-yue-ban-241051","孙岳颁","字云韶，号树峯，吴县（今江苏苏州）人。康熙二十一年（一六八二）进士，官至礼部侍郎。",[24,25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a10a2d0d35cc6c22d89b8c197e0a895.jpg",[],{"id":65916,"slug":65917,"title":17924,"dynasty":18,"author":38210,"museum":107,"description":38211,"tags":65918,"thumbUrl":65919,"material":751,"size":752,"collection":95,"collections":65920,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241050,"shi-zhou-mou-ri-zao-241050",[2135,75,7,25,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df661bb840bad14c9b1f0f1ee431517.jpg",[],{"id":65922,"slug":65923,"title":21902,"dynasty":18,"author":65924,"museum":107,"description":65925,"tags":65926,"thumbUrl":65927,"material":751,"size":752,"collection":95,"collections":65928,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241049,"lu-yu-zhou-chen-ding-241049","陈鼎","陈鼎是一位著作等身的著名历史学家、旅游文学家。原名太夏，字定九，又字九符、子重，号鹤沙，晚号铁肩道人。江阴周庄镇陈家仓人（现周西村人）。少年随叔父远至云南，长期生活在云贵高原，考察西南少数民族的风俗民情，对云南、贵州一带的地理、历史情况很有研究，后返归周庄故里定居，死后葬于砂山五峰顶北麓。",[2135,24,25,75,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fbabd6326c8ea428b931f9187e42799.jpg",[],{"id":65930,"slug":65931,"title":45622,"dynasty":18,"author":65932,"museum":107,"description":65933,"tags":65934,"thumbUrl":65935,"material":751,"size":752,"collection":95,"collections":65936,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241046,"shi-ping-zhou-yin-zhao-yong-241046","殷兆镛","殷兆镛（1806年—1883年），字补金，一字序伯，号谱经，江苏吴江人（今江苏省苏州市吴江区），晚清官员。道光二十年（1840年）进士。授编修，任大理寺少卿",[7,60,75,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d590f2632dea9391d89fb808dd4790d.jpg",[],{"id":65938,"slug":65939,"title":65940,"dynasty":18,"author":65941,"museum":107,"description":65942,"tags":65943,"thumbUrl":65944,"material":751,"size":752,"collection":95,"collections":65945,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},241044,"bi-dao-yuan-lin-jiang-tie-ping-zhou-bi-dao-yuan-241044","毕道远临绛帖屏轴","毕道远","毕道远，字仲任，号东河。山东淄川县万家庄（今淄博市周村区王村镇万家庄）人。 明代辽东巡抚毕自肃九世孙，沛县知县毕靖之七世孙。精于经史、文学，长于经济。",[7,60,110,75,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a7a69c4553f69591cc02e14d50ccdd.jpg",[],{"id":65947,"slug":65948,"title":65949,"dynasty":18,"author":34836,"museum":107,"description":34837,"tags":65950,"thumbUrl":65951,"material":751,"size":752,"collection":95,"collections":65952,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241035,"jiang-chen-ying-lin-tie-zhou-jiang-chen-ying-241035","姜宸英临帖轴",[25,7,75,110,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4264635b9dbcdf4e4cafc47f025bc170.jpg",[],{"id":65954,"slug":65955,"title":65956,"dynasty":18,"author":34836,"museum":107,"description":34837,"tags":65957,"thumbUrl":65958,"material":751,"size":752,"collection":95,"collections":65959,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241011,"mian-zhai-shuo-zhou-jiang-chen-ying-241011","勉斋说轴",[24,25,7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e090d16e485cfe02b02b1830ef4d721.jpg",[],{"id":65961,"slug":65962,"title":65963,"dynasty":18,"author":65849,"museum":107,"description":65850,"tags":65964,"thumbUrl":65965,"material":751,"size":752,"collection":95,"collections":65966,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241008,"wu-jia-shi-zha-juan-yang-si-sheng-241008","五家诗札卷",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ed447c51c94b32109fcec3321ab621.jpg",[],{"id":65968,"slug":65969,"title":65970,"dynasty":45,"author":65971,"museum":107,"description":65972,"tags":65973,"thumbUrl":65974,"material":751,"size":752,"collection":95,"collections":65975,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241006,"gong-shu-juan-zha-zhou-zhong-jie-241006","公书卷札","周忠介","周忠介公顺昌，字景文，明朝万历年间进士，曾任吏部文选司员外郎，请假回乡到苏州居住。当时，朝内太监魏忠贤揽大权，扰乱了全国政局。曾任给事中的嘉善人魏大中得罪了魏忠贤，被捕押解经过苏州。先生到他那儿和他饮酒，第三天，把自己的小女儿许配给魏大中的孙子。魏忠贤知道了这件事，非常愤恨。御史倪文焕受了魏忠贤的指使，弹劾先生，就此被削除官籍。正当苏杭织造太监李实和曾任应天巡抚的周起元与先生有怨仇，追查周起元罪状弹劾他，把先生的名字也放进去一起弹劾。魏忠贤就派官差到苏州，要逮捕先生。先生知道这件事，却不放在心上，一点也不为其所动",[23,7,49,60,398,77,25,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33cd583d91ee6673d5046cdfec4d184.jpg",[],{"id":65977,"slug":65978,"title":65979,"dynasty":18,"author":46516,"museum":107,"description":46517,"tags":65980,"thumbUrl":65981,"material":751,"size":752,"collection":95,"collections":65982,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241003,"si-jia-zha-juan-sun-qi-feng-241003","四家札卷",[23,25,7,49,60,77,385,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16afcf4394bae728613c900721d8e31e.jpg",[],{"id":65984,"slug":65985,"title":33241,"dynasty":18,"author":65986,"museum":107,"description":65987,"tags":65988,"thumbUrl":65989,"material":751,"size":752,"collection":95,"collections":65990,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241001,"jia-shu-juan-qu-shi-si-241001","瞿式耜","瞿式耜（耜，音sì\u002Fㄙˋ，1590年－1651年1月8日），字起田，又字伯略，號稼軒，明末政治人物、詩人。直隸常熟縣（今江蘇省常熟市）人。",[23,49,7,60,312,77,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21977330cc53c084c8ee122a17498485.jpg",[],{"id":65992,"slug":65993,"title":65994,"dynasty":45,"author":454,"museum":107,"description":65995,"tags":65996,"thumbUrl":65997,"material":751,"size":752,"collection":95,"collections":65998,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240991,"shi-du-che-yi-hua-bi-shi-juan-yi-ming-240991","释读澈移画璧诗卷","此卷行书纵逸洒脱，牵丝映带间流转灵动，字形错落排布，章法疏密相宜，通篇一气呵成，尽显萧散放旷的林下意趣。\n\n笔墨枯湿浓淡富于变化，将题画诗文的山林意韵晕染开来，把画中苍璧古松的冷峭苍莽，化作笔底清逸筋骨。笔锋起落间带着文人疏朗风雅，诗与书相融相衬，仿佛将山巅云崖、松下清寒都铺展在卷上，观之如临其境，林泉高致扑面而来。",[23,92,24,25,49,50,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2622595711eb13fe87ea7c51724e66a.jpg",[],{"id":66000,"slug":66001,"title":66002,"dynasty":18,"author":46516,"museum":107,"description":46517,"tags":66003,"thumbUrl":66004,"material":751,"size":752,"collection":95,"collections":66005,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240981,"zhu-yi-can-gao-ce-sun-qi-feng-240981","注易残稿册",[7,26,60,77,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e44b6f08d413bbefeebb290bd68744.jpg",[],{"id":66007,"slug":66008,"title":33266,"dynasty":18,"author":66009,"museum":107,"description":66010,"tags":66011,"thumbUrl":66012,"material":751,"size":752,"collection":95,"collections":66013,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240980,"yu-lu-zhou-di-hui-240980","谛晖","清代灵隐寺里有一位住持僧人，法名“慧辂”，字“谛晖”。明朝天启七年（公元1627年）出生，少年出家于灵隐寺，清雍正三年（公元1725年）圆寂于灵隐寺，寿至九十八岁（虚岁九十九）。",[2135,7,25,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceee2d3bfe3eca008b6c7e309e92400.jpg",[],{"id":66015,"slug":66016,"title":66017,"dynasty":18,"author":66018,"museum":107,"description":66019,"tags":66020,"thumbUrl":66021,"material":751,"size":752,"collection":95,"collections":66022,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240978,"you-hua-shan-shi-zhou-cheng-ke-ze-240978","游华山诗轴","程可则","程可则（生卒年月不详），字彦揆，别字周量，又字湟溱，号石曜，其祖先自河南迁来南海，曾在佛山松桂里居住。生年不详，约卒于清圣祖康熙十二年后不久。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe840f03a3c86a9f8669a317f74338323.jpg",[],{"id":66024,"slug":66025,"title":66026,"dynasty":18,"author":66027,"museum":107,"description":66028,"tags":66029,"thumbUrl":66030,"material":751,"size":752,"collection":95,"collections":66031,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240976,"ti-hua-jue-ju-shi-zhou-zhou-er-yan-240976","题画绝句诗轴","周而衍","周而衍，字东会，晚号白云老人。宜兴人，. 满江红·夜泊采石矶. 采石矶边，终古是、长风白浪。流不尽、百篇才思，千杯疏放。当日汉宫飞燕句，谁能谱向亭前唱。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907a1e3cbb03da1424579c649a5677de.jpg",[],{"id":66033,"slug":66034,"title":66035,"dynasty":45,"author":66036,"museum":107,"description":66037,"tags":66038,"thumbUrl":66039,"material":751,"size":752,"collection":95,"collections":66040,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240974,"wu-lv-shan-mian-wu-rui-long-240974","五律扇面","伍瑞隆","伍瑞隆，明万历十三年（1585年） 生，清康熙五年（1666年）卒，享寿八十有二。字国开，号铁山，别署鸠艾山人。香山县大榄都西头坊（今中山市小榄镇永宁）人，明天启元年（1621年）辛酉科解元。崇祯十年（1637年）丁丑科副榜，任化州教谕，次年改授化州学正，聘修高州郡志，以信史称。崇祯十四年（1641年）提升为翰林院待诏，先后调升户部主事、员外郎（管仓场）、河南大梁兵备道、兼署藩臬两司。崇祯十七年（1644年）游黄山，后客居于南京，其间常与金陵名士结社，抨击专权的马士英、阮大铖。南明唐王韦金粤绍武元年，为绍武帝特进太仆寺正卿，中议大夫（正四品）。南京被清兵攻陷后，便回广州，清兵入广州时，伍瑞隆被捕，后放还，归故里香山县大榄都飞驼山下西头坊，结庐于鸠、艾两山之间隐居，从此自号鸠艾山人。其间常与鼎湖山和尚道邱以诗相唱酬。诗曰：“我岁乙酉夏，师年丙戌春，所争九个月，同作七旬人。老官曾何补，名僧自有真。鼎湖山月白，为照劫灰尘。”流露出诗人晚年的消极情绪。",[1250,7,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e3f4cd0111db4cecee150496156407.jpg",[],{"id":66042,"slug":66043,"title":27969,"dynasty":45,"author":66044,"museum":107,"description":66045,"tags":66046,"thumbUrl":66047,"material":751,"size":752,"collection":95,"collections":66048,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240973,"qi-lv-shan-mian-lin-zeng-zhi-240973","林增志","林增志(1593—1667)，字任先，一字可任，俱吉州安福人（今吉安安福人）。明崇祯元年(1628)中进士，寄籍浙江，《碑录》”浙江瑞安“。任蒲圻（今属湖北省）令，政尚廉静，每月讲学明伦堂，士风丕变，考绩异等，擢翰林编修，和黄道周、倪元璐友善。万年避难于泰顺县，墓道遗址有待考究。",[45,1250,60,7,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2a60b853652b65df58ca5b26db8143.jpg",[],{"id":66050,"slug":66051,"title":66052,"dynasty":45,"author":454,"museum":107,"description":66053,"tags":66054,"thumbUrl":66055,"material":751,"size":752,"collection":95,"collections":66056,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240972,"ceng-zai-feng-qi-lv-shan-mian-yi-ming-240972","曾栽凤七律扇面","此作为行书扇面，用笔苍劲老辣，结体欹正相生，顺着扇形走势排布章法，行气连贯舒展，毫无局促之感。\n\n书写七律诗文时笔墨裹挟沉郁古意，笔画粗细枯湿自然变幻，牵丝映带尽显行书灵动韵味，却又不失端稳气度。书者笔力遒劲，墨色浓淡相宜，将诗文沉慨心境与书法跌宕意趣相融，方寸扇面之内自具开阔舒展格局，尽显晚明行书尚态重意的风神，是一件兼具笔墨意趣与文人情怀的书法小品。",[1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a464f0b7b368aa11d9699b8bd1ff173.jpg",[],{"id":66058,"slug":66059,"title":66035,"dynasty":45,"author":66060,"museum":107,"description":66061,"tags":66062,"thumbUrl":66063,"material":751,"size":752,"collection":95,"collections":66064,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240970,"wu-lv-shan-mian-zhang-yi-cheng-240970","张以诚","张以诚（1568年～1615年），字君一，号瀛海，南直隶松江府华亭县（今上海松江）人。张弼的玄孙。明神宗万历二十九年（1601年）辛丑科状元。",[1250,60,7,25,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28b4b7a59fdb87462411dfc8b7fdde8.jpg",[],{"id":66066,"slug":66067,"title":7243,"dynasty":18,"author":66068,"museum":107,"description":66069,"tags":66070,"thumbUrl":66071,"material":751,"size":752,"collection":95,"collections":66072,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240965,"shi-shan-mian-chen-ming-xia-240965","陈名夏","陈名夏（1601年～1654年），字百史，江南溧阳（今江苏省常州市溧阳市）人，明末清初大臣。\n崇祯十六年（1643），考中廷试第三名（探花），授翰林修撰，兼户兵二科都给事中。顺治二年（1645），归顺清廷，以王文奎推荐，恢复原官，旋擢吏部左侍郎兼翰林侍读学士，累官秘书院大学士。以徇私植党，滥用匪人。\n顺治十一年（1654），以多尔衮追论谋逆，为宁完我所弹劾，与刘正宗共证名夏揽权市恩欺罔罪，被劾论死。诗文有名于时，著有《石云居集》十五卷，诗集七卷。",[2135,1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e73b5d690bcd9b4e6ce4c23446b0cca.jpg",[],{"id":66074,"slug":66075,"title":66076,"dynasty":45,"author":3843,"museum":107,"description":66077,"tags":66078,"thumbUrl":66079,"material":751,"size":752,"collection":95,"collections":66080,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240962,"san-wu-mo-miao-ce-shi-wang-feng-yuan-240962","三吴墨妙册-诗","字子新，号吉山。钦佩子。擅海内书名，楷法钟繇，草法王羲之父子。",[7,25,26,60,77,385,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a93c9f7f2ee593620a2b38781a41ef5.jpg",[],{"id":66082,"slug":66083,"title":66084,"dynasty":45,"author":66085,"museum":107,"description":66086,"tags":66087,"thumbUrl":66088,"material":751,"size":752,"collection":95,"collections":66089,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240959,"san-wu-mo-miao-ce-zhi-ya-yi-shi-yuan-zhi-240959","三吴墨妙册-致雅宜诗","袁袠","袁袠（zhì）（1502—1547）字永之，号胥台山人，南直隶苏州府吴县（今属江苏）人，袁鼏第四子。生于明孝宗弘治十五年，卒于世宗嘉靖二十六年，年四十六岁。",[25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3002c67ed7e4c9df7f206746cfc41004.jpg",[],{"id":66091,"slug":66092,"title":66093,"dynasty":45,"author":66094,"museum":107,"description":66095,"tags":66096,"thumbUrl":66097,"material":751,"size":752,"collection":95,"collections":66098,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240958,"san-wu-mo-miao-ce-wei-guo-er-shi-xu-bai-chen-240958","三吴墨妙册-为果儿诗","徐白臣","此作为两开行书册页，取法晋唐意韵，用笔松灵隽秀，牵丝映带间流转自然，点画粗细错落，尽显萧散简远的林下之风。\n左页字形稍纵，笔意舒展烂漫，墨色枯润相生，古意盎然；右页布白匀停，字字顾盼生姿，行气连贯如潺潺溪流，将诗文的雅致心境寄寓在笔墨起落间。\n整作不事雕琢，以随性书写吐露襟怀，文与书相得益彰，尽显清雅散淡的文人意趣，是诗意与笔情融为一体的佳构。",[4038,25,7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a9adf36d7fad0d8c0cca239a87ce4b.jpg",[],{"id":66100,"slug":66101,"title":66102,"dynasty":45,"author":31902,"museum":107,"description":66103,"tags":66104,"thumbUrl":66105,"material":751,"size":752,"collection":95,"collections":66106,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240957,"san-wu-mo-miao-ce-zhi-yuan-si-shi-chen-yi-240957","三吴墨妙册-致原思诗","陈毅（1469年－1538年），字鲁南、宗鲁、石亭、小坡，浙江鄞县人，南京太医院医籍，明朝文人、政治人物。正德丁丑进士，官至太仆寺卿、工诗文书画。",[25,24,26,60,77,50,678,2958,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e28e5e42b256ab2a1f736eb5736ef2.jpg",[],{"id":66108,"slug":66109,"title":66110,"dynasty":45,"author":66111,"museum":107,"description":66112,"tags":66113,"thumbUrl":66114,"material":751,"size":752,"collection":95,"collections":66115,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240956,"san-wu-mo-miao-ce-zhi-zi-dan-qi-jue-er-shou-xu-zhen-qing-240956","三吴墨妙册-致子儋七绝二首","徐桢卿","徐桢卿 （1479—1511）明吴县（今江苏苏州）人，字昌谷、昌国。弘治进士。授大理寺左副，后贬国子监博士。",[24,25,26,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae98e86d31cdf5a0f706c0e479c07f.jpg",[],{"id":66117,"slug":66118,"title":66119,"dynasty":45,"author":31332,"museum":107,"description":38149,"tags":66120,"thumbUrl":66121,"material":751,"size":752,"collection":95,"collections":66122,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240955,"san-wu-mo-miao-ce-chi-bi-fu-jin-cong-240955","三吴墨妙册-赤壁赋",[4038,25,7,60,26,77,50,678,15072],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69b9cad30fda3171860a132b47eb199c.jpg",[],{"id":66124,"slug":66125,"title":66076,"dynasty":45,"author":66126,"museum":7039,"description":66127,"tags":66128,"thumbUrl":66129,"material":95,"size":95,"collection":95,"collections":66130,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240954,"san-wu-mo-miao-ce-shi-zhou-lun-240954","周伦","十六世纪的吴门，地方经济与社会力量获得长足发展，本地对于教育极为重视，读书人口不断攀升，但科举中式的人数却没有得到相应的增长，于是大量有文化知识与文艺才能的读书人不得不滞留本地，他们将诗文、书画、鉴藏等文化活动作为自我追求，并藉此确认文化身份，这是吴门人才辈出的一个重要原因。而此一时期的文化消费也蓬勃发展，书画家开始出现一定的职业性，他们不仅创造出许多特殊的艺术品形制、母题与程序，在大量的文化社交中，他们也集体亮相，相互标榜，所谓“善自标致，相为引重”，流派的形成除了创作观念与手法的口传手授，也与这样的合作方式不无关系。吴门书法的影响所及，匪止苏州一地，还辐射到了三吴以及整个江南地区。文征明去世之后，这一区域的文化权威受到了严峻的挑战。尽管王世贞声称“天下法书归吾吴”，但“文氏一笔书”成为颇难回击的批评，而邻近的松江、徽州与浙江都觊觎吴门在书画与鉴定领域的独尊地位。追随流派核心人物，形成一种具有共同特点的书风，既是地域流派成熟的重要标志，也为它的式微埋下了伏笔。",[25,7,26,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc94b28f5db0239643f15c4c3cd4a4833.jpg",[],{"id":66132,"slug":66133,"title":66134,"dynasty":45,"author":454,"museum":107,"description":66135,"tags":66136,"thumbUrl":66137,"material":751,"size":752,"collection":95,"collections":66138,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240953,"san-wu-mo-miao-ce-peng-nian-zhi-ling-xu-shi-yi-ming-240953","三吴墨妙册-彭年致灵墟诗","此件行书尺牍笔墨灵动秀雅，结体宽和舒朗，暗合晋唐行书遗风。起笔收锋简约利落，牵丝映带暗含章法，字字排布错落随心却气脉贯通通篇。笔力清劲不失温润，点画顾盼生姿，既有文人疏淡散逸的襟怀，也可见信手挥毫时的松弛自在。\n\n沉静墨色晕染于泛黄笺纸，晕开旧时光晕，字里行间藏着酬唱寄怀的文人情思，亦让观者窥见江南书家将日常尺素化为书法雅事的意趣。整体意韵萧散简远，尽显晚明江南文人的审美意趣。",[7,60,77,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e58e5c693030488d3632e4855193c20.jpg",[],{"id":66140,"slug":66141,"title":66142,"dynasty":45,"author":37874,"museum":107,"description":66143,"tags":66144,"thumbUrl":66145,"material":751,"size":752,"collection":95,"collections":66146,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240952,"san-wu-mo-miao-ce-zhi-feng-zhou-shi-chen-liu-240952","三吴墨妙册-致凤洲诗","陈鎏(liú)（1508－1575）明代官吏、学者、书法家。\n字子兼，别号雨泉，吴县（今江苏苏州）人。嘉靖十七年（1538）进士，除工部营缮主事，累官至四川右布政使。诗文冲远有致，书法尤精绝。工小楷。出入钟欧，自篆、隶、行、草、擘窠以逮笺疏、榜署书，尤丰媚遒逸，有天然趣。卒年七十。 著有《已宽堂集》。",[25,7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eeb3b2bd938f20775bb7cf656e0c142.jpg",[],{"id":66148,"slug":66149,"title":66076,"dynasty":45,"author":342,"museum":7039,"description":66127,"tags":66150,"thumbUrl":66151,"material":95,"size":95,"collection":95,"collections":66152,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240947,"san-wu-mo-miao-ce-shi-wen-zheng-ming-240947",[7,60,199,26,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F669a08c010913cf0837785c5b3a569e0.jpg",[],{"id":66154,"slug":66155,"title":27969,"dynasty":45,"author":66156,"museum":107,"description":66157,"tags":66158,"thumbUrl":66159,"material":751,"size":752,"collection":95,"collections":66160,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240944,"qi-lv-shan-mian-zou-di-guang-240944","邹廸光","邹廸光(生卒年不详),字彦吉,号愚谷,明代无锡(今江苏无锡市)人。万曆进士,历官湖广学政。年七十余卒。",[1250,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064f26fa872b4f18df0a41934deb2a9b.jpg",[],{"id":66162,"slug":66163,"title":66164,"dynasty":45,"author":454,"museum":107,"description":66165,"tags":66166,"thumbUrl":66167,"material":751,"size":752,"collection":95,"collections":66168,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240943,"xue-cai-huai-gu-wu-gu-shi-shan-mian-yi-ming-240943","薛寀怀古五古诗扇面","此作为行草扇面，笔法跳宕灵动，字势欹侧相生。点画粗细变化自然，提按顿挫间尽显老辣苍劲，牵丝映带又不失雅致流畅。字间疏密错落排布，顺着扇面弧度舒展行气，通篇浑然一体。\n\n笔墨牵系怀古诗意，将沉郁思情寄于笔端，笔力遒劲处可见胸臆开阔，缓笔萦回时暗藏幽思婉转，尽显明人尚态的书风特质，是一件兼具笔墨意趣与文人情思的小品佳作。",[1250,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11f75aaf825f21313e7782e1dc6adc5.jpg",[],{"id":66170,"slug":66171,"title":66172,"dynasty":45,"author":454,"museum":107,"description":66173,"tags":66174,"thumbUrl":66175,"material":751,"size":752,"collection":95,"collections":66176,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240942,"yan-diao-yu-tang-shi-shan-mian-yi-ming-240942","严调御唐诗扇面","此作为行书扇面，笔墨圆劲秀逸，点画顿挫有度，兼具晋唐行书的灵动意趣与明代文人的雅致书卷气。随扇形走势排布章法，行气连贯舒展，通篇疏密得宜，字字顾盼呼应，毫无局促之感。\n\n所书唐人诗句将林泉归隐的闲雅诗意融于笔墨，尺幅之间写尽山林野居的澹然意趣。纸面墨色匀净沉润，笔力内敛含蓄，尽显书者不俗的笔墨功底与寄情丘壑的文人风雅。",[1250,7,60,77,57944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01831e2d92d5b74a7273638d311df5ea.jpg",[],{"id":66178,"slug":66179,"title":66180,"dynasty":18,"author":66181,"museum":107,"description":66182,"tags":66183,"thumbUrl":66184,"material":751,"size":752,"collection":95,"collections":66185,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240939,"zi-shu-qi-lv-shi-shan-mian-zhuang-heng-240939","自书七律诗扇面","庄恒","此幅行书扇面，行笔圆劲灵动，牵丝映带尽显流转意趣，字势欹侧相生，随扇形自然排布，通篇毫无局促壅塞之感。墨色燥润相间，浓淡层次分明，点画粗细富于变化，笔力藏露互见，既有帖学书法的秀雅温润，亦暗含劲挺骨力。\n整幅作品文辞与笔墨相融，将诗意心境寄寓于挥毫之间，章法行气贯通舒展，尽显文人书法的雅致风神，是兼具笔墨审美与文学意韵的精妙之作。",[2135,7,60,1250,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc8c517354622ab1abcd1caeddc2f90.jpg",[],{"id":66187,"slug":66188,"title":66189,"dynasty":18,"author":66190,"museum":107,"description":66191,"tags":66192,"thumbUrl":66193,"material":751,"size":752,"collection":95,"collections":66194,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240923,"ba-su-sheng-zeng-yan-juan-zhao-han-240923","跋苏生赠言卷","赵函","赵函，字元止，号艮甫，江苏震泽(今吴江)人，侨寓无锡。诸生。诗才豪迈，不事模仿依傍，也不与时习相推转。所作《十哀诗》等，多咏鸦片战争时事，慷慨苍凉。又工词，与曹楸坚(亦号艮甫)齐名江南，一时有“平艮仄艮”之称，另有“江南两艮”之称",[60,3479,7,77,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071b654b1d22152d5ac1cadc807191f9.jpg",[],{"id":66196,"slug":66197,"title":24648,"dynasty":45,"author":66198,"museum":107,"description":66199,"tags":66200,"thumbUrl":66201,"material":751,"size":752,"collection":95,"collections":66202,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240905,"qi-lv-shi-zhou-tao-ru-nai-240905","陶汝鼐","陶汝鼐（1601-1683）字仲调，一字燮友，别号密庵，又号石溪农，湖南宁乡人。明亡削发为僧，号忍头陀。少奇慧，工诗文词翰，海内有“楚陶三绝”之誉。文隽逸，有奇气，词赋尤工。书法初出入米芾，晚为颜鲁公，所过寺院辄为制碑铭联榜，现也宝贵。崇祯六（1633）举于乡，十六年（1643）中会试副榜、官广东教谕。明亡（1644）祝发大阳山，号忍头陀。卒年八十三。",[24,25,75,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141037b63ff6220715bb10edf97eb95a.jpg",[],{"id":66204,"slug":66205,"title":66206,"dynasty":18,"author":21112,"museum":107,"description":25562,"tags":66207,"thumbUrl":66208,"material":751,"size":752,"collection":95,"collections":66209,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240903,"lin-mi-tie-cheng-shan-zhang-ting-ji-240903","临米帖成扇",[1250,110,60,77,7,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e75d4faba6c74297964c52950c77ce.jpg",[],{"id":66211,"slug":66212,"title":24534,"dynasty":18,"author":66213,"museum":107,"description":66214,"tags":66215,"thumbUrl":66216,"material":751,"size":752,"collection":95,"collections":66217,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240902,"lu-wen-zhou-zhang-fei-240902","张芾","张芾(1814～1862)名黼侯，字小浦。陕西泾阳人。 [1] 清道光十五年(1835)进士，选庶吉士，授编修，累迁庶子，值南书房。大考一等，擢少詹事。二十二年四月王鼎自缢后，张以门生至王家，与陈孚恩“共劝王沆”，同意由陈代改遗疏，得穆彰阿赏识，超迁内阁学士，督江苏学政。二十五年(1845)授工部侍郎，任满仍值南书房，旋调吏部；二十九年(1849)督江西学政。",[24,25,7,75,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dfc9d7ec624b79d7f4fc8f74ab0ccdf.jpg",[],{"id":66219,"slug":66220,"title":66221,"dynasty":18,"author":66222,"museum":107,"description":66223,"tags":66224,"thumbUrl":66225,"material":751,"size":752,"collection":95,"collections":66226,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240893,"lu-li-tai-pu-yu-dan-ye-xu-nai-xing-240893","录李太仆语单页","许乃兴","此作为圆形扇面行书小品，笔墨清隽雅致。行笔舒展灵动，点画间牵丝映带自然流畅，尽显书写时的从容韵律。结体疏密排布得宜，既有帖学的严谨法度，又不失随性自在的姿态，将个人意趣融于录语书写之中。墨色浓淡过渡柔和，通篇气息匀和舒缓，尽显秀雅温润的文人审美意趣。整幅虽尺幅小巧，却在有限空间里铺陈出悠然沉静的文人情思，是一件兼具扎实笔墨功底与雅致书卷气的小品佳作。",[25,26,60,77,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f1b597941109e0e944f93e46cfb929.jpg",[],{"id":66228,"slug":66229,"title":66230,"dynasty":45,"author":454,"museum":107,"description":66231,"tags":66232,"thumbUrl":66233,"material":751,"size":752,"collection":95,"collections":66234,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240885,"ju-jie-shi-zhou-yi-ming-240885","居节诗轴","此幅行书用笔爽劲老辣，起收间尽显行书灵动意趣，牵丝映带自然圆融。字形欹正相生，章法疏密错落得宜，通篇气势连贯如一，笔势层层铺展递进。墨色枯湿浓淡富于变化，枯笔苍茫遒劲，润笔腴润饱满，尽显笔墨层次变化之妙。\n\n书法与诗作浑然相合，将诗中寄情山水的疏旷闲逸诉诸笔端，文气与笔意交融共生，既有秀雅文人气韵，又暗含劲挺筋骨，尽显超逸出尘的林下之风，是一件兼备笔墨意趣与文人情致的行书精品。",[25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ffa6d87d857c36711f889a539d9f7d.jpg",[],{"id":66236,"slug":66237,"title":66238,"dynasty":18,"author":64988,"museum":107,"description":64989,"tags":66239,"thumbUrl":66240,"material":751,"size":752,"collection":95,"collections":66241,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240864,"wu-yan-lv-shi-zhou-mao-qi-ling-240864","五言律诗轴",[7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f09d69cd4581e4f7b17b600dd09a619.jpg",[],{"id":66243,"slug":66244,"title":66245,"dynasty":45,"author":454,"museum":107,"description":66246,"tags":66247,"thumbUrl":66248,"material":751,"size":752,"collection":95,"collections":66249,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240863,"jin-shi-xing-yuan-cheng-dao-ren-chuan-juan-yi-ming-240863","今释行元诚道人传卷","此卷以行草小字铺陈主体，间以榜书大字醒眼，疏密排布极具张力。小字灵动跳脱，牵丝映带间行气贯通，笔墨粗细随文思流转自然变化，尽显晚明尚奇抒情的书风意趣。榜书朴拙雄强，方折斩截，墨色浓郁厚重，与小字形成强烈视觉反差，节奏跌宕。\n\n通篇墨色干湿浓淡层次丰富，长卷气脉始终连贯，文字排布随心绪舒展收束，既是详实传记文稿，亦是极具感染力的书法佳作，尽显明代书法不拘成法、以笔抒情的独特品格。",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23f8b9eb66d6270a254f689409ff77ca.jpg",[],{"id":66251,"slug":66252,"title":66253,"dynasty":45,"author":66126,"museum":107,"description":66254,"tags":66255,"thumbUrl":66256,"material":751,"size":752,"collection":95,"collections":66257,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240849,"ku-xi-fu-xian-jiu-gu-shi-juan-zhou-lun-240849","苦媳妇贤舅姑诗卷","周伦（1463年—1542年），字伯明，晚号贞翁，江苏昆山人。弘治十二年（1499）进士，授新安知县，擢大理寺少卿，官至南京刑部尚书。卒，谥康僖。伦著有《贞翁净稿》、《西台纪闻》、《医略》等。后人赞曰：中官不私，君嘉其德。飞蝗不灾，明戴其德。",[23,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb419c6fde1ee660ff14cc4b3bf9f29e9.jpg",[],{"id":66259,"slug":66260,"title":7243,"dynasty":45,"author":66261,"museum":107,"description":66262,"tags":66263,"thumbUrl":66264,"material":751,"size":752,"collection":95,"collections":66265,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240847,"shi-shan-mian-wang-zi-fang-240847","汪子方","这帧草书扇面笔墨酣畅率意，枯润线条交织碰撞，起笔锋棱暗藏，收笔或劲利出锋，或含蓄回腕，牵丝映带间尽显草书灵动韵律。\n\n扇面形制窄促，却排布疏密得宜，字距错落随文跌宕，将诗文意境融于排布之中，浓淡墨色交织出虚实层次，毫无壅塞局促之感。\n\n整幅作品以笔抒情，随性疏朗的文人襟怀裹挟于笔墨间，尽显尚态重情的风度，尺幅有限却气象开阔洒脱，是小品见大境的精妙之作。",[4038,1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecf092f700e2ccbd2f5abeac2413ed82.jpg",[],{"id":66267,"slug":66268,"title":7243,"dynasty":45,"author":66269,"museum":107,"description":66270,"tags":66271,"thumbUrl":66272,"material":751,"size":752,"collection":95,"collections":66273,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240846,"shi-shan-mian-zhao-bing-shu-240846","赵秉枢","赵秉衡（？－？），山东东昌府临清州人。生平天启元年（1621年）辛酉科山东乡试举人，天启五年（1625年）乙丑科进士，授元城县，擢户部主事，督密云粮储。",[92,24,25,1250,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe79afd389ac5c423e561427d98eddd63.jpg",[],{"id":66275,"slug":66276,"title":66277,"dynasty":18,"author":21910,"museum":107,"description":35692,"tags":66278,"thumbUrl":66279,"material":751,"size":752,"collection":95,"collections":66280,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240837,"zhi-li-lan-qing-zha-tong-juan-bao-shi-chen-240837","致李兰卿札(通)卷",[23,7,60,49,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64cd918c01f66138c8b8f56db99ddfa8.jpg",[],{"id":66282,"slug":66283,"title":66284,"dynasty":18,"author":51636,"museum":107,"description":51637,"tags":66285,"thumbUrl":66286,"material":751,"size":752,"collection":95,"collections":66287,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240834,"fa-shi-fan-zha-tong-juan-wang-qi-sun-240834","法时帆札(通)卷",[23,7,49,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ac8284e0fafd8ed0a27c2f69c11ac6.jpg",[],{"id":66289,"slug":66290,"title":66291,"dynasty":18,"author":66292,"museum":107,"description":66293,"tags":66294,"thumbUrl":66295,"material":751,"size":752,"collection":95,"collections":66296,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240832,"xing-lu-yu-zhou-shen-feng-240832","行录语轴","沈凤","沈凤（？～1852）女，字香卿。清代江西崇仁人。陈偕灿妻。清代女诗人。通经史，工诗词，善书画。学诗从夫，互为师友。诗多灵性。",[24,25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6b04543951232c141acc9ec0cdb8f5.jpg",[],{"id":66298,"slug":66299,"title":66300,"dynasty":18,"author":66301,"museum":107,"description":66302,"tags":66303,"thumbUrl":66304,"material":751,"size":752,"collection":95,"collections":66305,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240829,"lv-qian-qi-jue-shi-zhou-lv-qian-240829","呂潛七绝诗轴","呂潛","吕潜（1621-1706），字孔昭，号半隐、石山、石山农、耘叟。四川潼川州遂宁县北坝（今遂宁市船山区北固乡）人。南明永历朝兵部尚书、武英殿大学士文肃公吕大器长子 。明崇祯十五年壬午科（1642）举人，崇祯十六年癸未科杨廷鉴榜（1643）三甲第二百八十七名进士，授太常博士。明亡后，不仕。甲申（1644）受父命，奉母侨居浙江湖州府吴兴县桑苎村，后迁住扬州府泰州海陵。以蜀道险远且继有滇黔之乱，往来苕与扬者四十年。卖书画自给。清康熙二十四年（1685）冬始扶母柩旋里，并迁父柩至遂。潜于遂宁城北门外购楼三楹，题曰“课耕”，日惟徜徉山水，以诗画娱老，年八十六卒。卒葬遂宁枣子坪。入祀遂宁乡贤祠。",[25,7,75,60,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2f234ec37d5234369b41e12d2f779a.jpg",[],{"id":66307,"slug":66308,"title":33631,"dynasty":18,"author":66309,"museum":107,"description":66310,"tags":66311,"thumbUrl":66312,"material":751,"size":752,"collection":95,"collections":66313,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240814,"wu-yan-shi-ye-zhong-ru-yuan-240814","衷如瑗","此作用笔纵逸灵动，行草相生，点画粗细变幻，牵丝映带之间尽显随性舒展的意趣。字里行气连贯畅达，墨色浓枯互见，于法度之内藏挥洒松弛之态，将诗文韵律融于笔墨节奏之中。整体排布错落自然，题署与正文相映成趣，自带文人手札的雅致随性，笔墨间浸透书写时的悠然心境，尽显清人尚韵重意的书法特质。",[25,7,60,77,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c8faf0aeaa8947a49e41c41706fd6e.jpg",[],{"id":66315,"slug":66316,"title":41495,"dynasty":18,"author":66317,"museum":107,"description":66318,"tags":66319,"thumbUrl":66320,"material":751,"size":752,"collection":95,"collections":66321,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240812,"qi-yan-shi-ye-zhou-si-zheng-240812","周思正","此作用笔圆劲灵动，以行书挥就，提按转合间尽显文人逸致。通篇章法疏密得宜，字势错落映带，行气舒展自然。诗境沉郁苍劲，寄寓家国之思与林泉襟怀，笔墨与文思相融无间。笔锋兼具疏朗萧散的意趣，又暗含沉凝心绪，尽显尚意重韵的特质。笔墨间流转着传统文人的情志与书卷风华，将才思与笔情合为一体，是诗书相映的佳构，静静铺陈出一代文人的心绪与韵致。",[7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f5f09f107637c5e623fe974d663efa.jpg",[],{"id":66323,"slug":66324,"title":33631,"dynasty":18,"author":66325,"museum":107,"description":66326,"tags":66327,"thumbUrl":66328,"material":751,"size":752,"collection":95,"collections":66329,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240809,"wu-yan-shi-ye-xia-da-hong-240809","夏大纮","此作为行书诗页，笔墨灵动率意，结体舒展自如。右侧正文字势欹侧相生，大开大合间透着疏宕萧散的意趣，墨色枯湿浓淡富于变化，尽显挥毫时的随性快意。左侧小字落款与朱红印章相映，章法虚实相宜，规整中见洒脱。整幅诗书相融，将文人胸中意气寄寓笔端，既有帖学的妍润灵动，又暗含些许碑意的朴拙苍劲，尽显隽雅逸韵，是颇具文人意趣的书法佳构。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb02aeaa4aede70c58919ec91f06a04.jpg",[],{"id":66331,"slug":66332,"title":51783,"dynasty":18,"author":66333,"museum":107,"description":66334,"tags":66335,"thumbUrl":66336,"material":751,"size":752,"collection":95,"collections":66337,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240804,"liu-yun-hao-xun-jie-ti-ci-ye-yang-zhao-yi-240804","杨兆仪","右侧隶书古拙厚重，笔致方正朴茂，以汉隶风神彰显沉穆庄重，暗合殉节题旨的肃穆底色。左侧行书笔意灵动，牵丝映带间不失沉稳，笔墨晕染着追思的沉郁心绪。文辞追忆逝者殉节往事，笔墨与情志相融相衬，将敬慕悼惋寄于点画起落之间。通篇书卷气盎然，书风随文气流转，以字寄情，以文显骨，凭一纸翰墨留存下对忠义之人的追思，是书情合一、文墨相生的书法佳构。",[2135,7,60,77,1498,26,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff076c4c98c8fba6a6aa3d1e8bcb70c.jpg",[],{"id":66339,"slug":66340,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66341,"thumbUrl":66342,"material":751,"size":752,"collection":95,"collections":66343,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240794,"shu-zha-ce-li-hong-zao-240794",[18,25,26,60,27,7,17657,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b19ef55ba1934eaf427f6f39b389615.jpg",[],{"id":66345,"slug":66346,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66347,"thumbUrl":66348,"material":751,"size":752,"collection":95,"collections":66349,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240792,"shu-zha-ce-li-hong-zao-240792",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ead4e08e65dad18fb1120f47c92fdc.jpg",[],{"id":66351,"slug":66352,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66353,"thumbUrl":66354,"material":751,"size":752,"collection":95,"collections":66355,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240791,"shu-zha-ce-li-hong-zao-240791",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c48c4a8dd7580a5b27bc9e00d1f696a.jpg",[],{"id":66357,"slug":66358,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66359,"thumbUrl":66360,"material":751,"size":752,"collection":95,"collections":66361,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240790,"shu-zha-ce-li-hong-zao-240790",[7,60,26,132,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804acd261f5a1ffc523168827806ff31.jpg",[],{"id":66363,"slug":66364,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66365,"thumbUrl":66366,"material":751,"size":752,"collection":95,"collections":66367,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240789,"shu-zha-ce-li-hong-zao-240789",[7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffc0614df0827da2e580bd49c1ed49be.jpg",[],{"id":66369,"slug":66370,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66371,"thumbUrl":66372,"material":751,"size":752,"collection":95,"collections":66373,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240787,"shu-zha-ce-li-hong-zao-240787",[7,60,26,50,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8c04361031cf570abee5ca372fc93.jpg",[],{"id":66375,"slug":66376,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":66377,"tags":66378,"thumbUrl":66380,"material":312,"size":95,"collection":95,"collections":66381,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240786,"shu-zha-ce-li-hong-zao-240786","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选 同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁 同治四年（1865年），再升 光绪 历任礼部尚书、光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥",[24,25,26,60,7,27,66379],"葡萄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bdc843e8f06862526dfe3e196e66e5.jpg",[],{"id":66383,"slug":66384,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66385,"thumbUrl":66386,"material":751,"size":752,"collection":95,"collections":66387,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240785,"shu-zha-ce-li-hong-zao-240785",[7,60,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612416186505bdf3c29a493154c4f53d.jpg",[],{"id":66389,"slug":66390,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66391,"thumbUrl":66393,"material":751,"size":752,"collection":95,"collections":66394,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240784,"shu-zha-ce-li-hong-zao-240784",[7,60,26,77,17657,385,26781,14632,27201,6771,6769,312,66392],"钤印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4aad5bd2f93e96c7173aa0d8f71a1b.jpg",[],{"id":66396,"slug":66397,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66398,"thumbUrl":66399,"material":751,"size":752,"collection":95,"collections":66400,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240783,"shu-zha-ce-li-hong-zao-240783",[7,60,26,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ba029b4c900736b4b91e09a0a16f43.jpg",[],{"id":66402,"slug":66403,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66404,"thumbUrl":66405,"material":751,"size":752,"collection":95,"collections":66406,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240782,"shu-zha-ce-li-hong-zao-240782",[7,60,26,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a6640de801ddb611acb702e0d940ee5.jpg",[],{"id":66408,"slug":66409,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66410,"thumbUrl":66411,"material":751,"size":752,"collection":95,"collections":66412,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240781,"shu-zha-ce-li-hong-zao-240781",[25,7,60,26,27,77,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11c63bca7edbdd8c8ce68d2bf9fbf55.jpg",[],{"id":66414,"slug":66415,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66416,"thumbUrl":66417,"material":751,"size":752,"collection":95,"collections":66418,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240780,"shu-zha-ce-li-hong-zao-240780",[7,60,26,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa80ca358b35be255cf3fba2e392365e.jpg",[],{"id":66420,"slug":66421,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66422,"thumbUrl":66423,"material":751,"size":752,"collection":95,"collections":66424,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240779,"shu-zha-ce-li-hong-zao-240779",[7,60,26,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e0f36f2c2881d22ff8e22fdaae2a74.jpg",[],{"id":66426,"slug":66427,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66428,"thumbUrl":66429,"material":751,"size":752,"collection":95,"collections":66430,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240778,"shu-zha-ce-li-hong-zao-240778",[7,60,3467,77,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158c111d9efe20bf8c497021ac527df1.jpg",[],{"id":66432,"slug":66433,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66434,"thumbUrl":66435,"material":751,"size":752,"collection":95,"collections":66436,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240777,"shu-zha-ce-li-hong-zao-240777",[7,60,26,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891939bcd2ff61095d2cfe87a5f35c4d.jpg",[],{"id":66438,"slug":66439,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66440,"thumbUrl":66441,"material":751,"size":752,"collection":95,"collections":66442,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240776,"shu-zha-ce-li-hong-zao-240776",[26,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce13ff269a4df16b5eb6b9c877adddc.jpg",[],{"id":66444,"slug":66445,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66446,"thumbUrl":66447,"material":751,"size":752,"collection":95,"collections":66448,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240775,"shu-zha-ce-li-hong-zao-240775",[7,60,26,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff177fdb547e42c926f950cbfcc9a8c0e.jpg",[],{"id":66450,"slug":66451,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66452,"thumbUrl":66453,"material":751,"size":752,"collection":95,"collections":66454,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240774,"shu-zha-ce-li-hong-zao-240774",[7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb644590a7d1ad4cbb75a1bd6b62dd691.jpg",[],{"id":66456,"slug":66457,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66458,"thumbUrl":66459,"material":751,"size":752,"collection":95,"collections":66460,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240773,"shu-zha-ce-li-hong-zao-240773",[7,60,26,77,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd63ec41ffa643184429768deae85c5b.jpg",[],{"id":66462,"slug":66463,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66464,"thumbUrl":66465,"material":751,"size":752,"collection":95,"collections":66466,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240771,"shu-zha-ce-li-hong-zao-240771",[18,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868219ea667f4ef1b5088b5fef14e6d0.jpg",[],{"id":66468,"slug":66469,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66470,"thumbUrl":66471,"material":751,"size":752,"collection":95,"collections":66472,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240770,"shu-zha-ce-li-hong-zao-240770",[18,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82425f20898dbd0f98a4e281fefde6b4.jpg",[],{"id":66474,"slug":66475,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66476,"thumbUrl":66477,"material":751,"size":752,"collection":95,"collections":66478,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240769,"shu-zha-ce-li-hong-zao-240769",[7,60,26,385,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc0c3acf5ca79041c38b4dc2f44a62f.jpg",[],{"id":66480,"slug":66481,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66482,"thumbUrl":66483,"material":751,"size":752,"collection":95,"collections":66484,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240768,"shu-zha-ce-li-hong-zao-240768",[7,60,26,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4c989702e2ad4aa52b136b31654e958.jpg",[],{"id":66486,"slug":66487,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66488,"thumbUrl":66489,"material":751,"size":752,"collection":95,"collections":66490,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240767,"shu-zha-ce-li-hong-zao-240767",[7,60,26,17657,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d38f415adcddee15d6674ea7d7b61e4.jpg",[],{"id":66492,"slug":66493,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66494,"thumbUrl":66495,"material":751,"size":752,"collection":95,"collections":66496,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240766,"shu-zha-ce-li-hong-zao-240766",[7,60,26,17657,312,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c1c808937067a380de9739e32387d9.jpg",[],{"id":66498,"slug":66499,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66500,"thumbUrl":66501,"material":751,"size":752,"collection":95,"collections":66502,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240765,"shu-zha-ce-li-hong-zao-240765",[2135,7,60,26,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877d41b78e717e93405d31bc93b96ede.jpg",[],{"id":66504,"slug":66505,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66506,"thumbUrl":66507,"material":751,"size":752,"collection":95,"collections":66508,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240764,"shu-zha-ce-li-hong-zao-240764",[7,60,26,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7182cf39a5b958596bd54909fbaeca.jpg",[],{"id":66510,"slug":66511,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66512,"thumbUrl":66513,"material":751,"size":752,"collection":95,"collections":66514,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240763,"shu-zha-ce-li-hong-zao-240763",[7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd943d0931b70c90df20ef04b5b86d249.jpg",[],{"id":66516,"slug":66517,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66518,"thumbUrl":66519,"material":751,"size":752,"collection":95,"collections":66520,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240762,"shu-zha-ce-li-hong-zao-240762",[18,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9899abeef29dc0463408a155603f0c91.jpg",[],{"id":66522,"slug":66523,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66524,"thumbUrl":66525,"material":751,"size":752,"collection":95,"collections":66526,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240761,"shu-zha-ce-li-hong-zao-240761",[7,25,26,60,50,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c83726d6ffc901aa3264ddc65675cc5.jpg",[],{"id":66528,"slug":66529,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66530,"thumbUrl":66531,"material":751,"size":752,"collection":95,"collections":66532,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240760,"shu-zha-ce-li-hong-zao-240760",[7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18eb0e55ce0837c1f23900b99ea426f0.jpg",[],{"id":66534,"slug":66535,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66536,"thumbUrl":66537,"material":751,"size":752,"collection":95,"collections":66538,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240759,"shu-zha-ce-li-hong-zao-240759",[7,26,50,60,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699f76d0dc34c100ecfa90d00d3fc78a.jpg",[],{"id":66540,"slug":66541,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66542,"thumbUrl":66543,"material":751,"size":752,"collection":95,"collections":66544,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240758,"shu-zha-ce-li-hong-zao-240758",[7,25,26,60,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b31d0794eb590eb42324fbc927815.jpg",[],{"id":66546,"slug":66547,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66548,"thumbUrl":66549,"material":751,"size":752,"collection":95,"collections":66550,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240757,"shu-zha-ce-li-hong-zao-240757",[7,60,26,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168d6ecf4b481bfc645c2a8308afb99d.jpg",[],{"id":66552,"slug":66553,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66554,"thumbUrl":66555,"material":751,"size":752,"collection":95,"collections":66556,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240756,"shu-zha-ce-li-hong-zao-240756",[7,25,26,60,50,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71258447a9179725db4280c3ceb10ba.jpg",[],{"id":66558,"slug":66559,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66560,"thumbUrl":66561,"material":751,"size":752,"collection":95,"collections":66562,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240755,"shu-zha-ce-li-hong-zao-240755",[7,25,26,60,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe40ae155ba6743b754c139852450f369.jpg",[],{"id":66564,"slug":66565,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66566,"thumbUrl":66567,"material":751,"size":752,"collection":95,"collections":66568,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240754,"shu-zha-ce-li-hong-zao-240754",[24,25,26,60,398,7,50,27,30,140,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d1f0b1f33af2ed562dd3245acdbf36.jpg",[],{"id":66570,"slug":66571,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66572,"thumbUrl":66573,"material":751,"size":752,"collection":95,"collections":66574,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240753,"shu-zha-ce-li-hong-zao-240753",[7,60,26,312,385,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902257c41fe909801817f3452a60a6e6.jpg",[],{"id":66576,"slug":66577,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66578,"thumbUrl":66579,"material":751,"size":752,"collection":95,"collections":66580,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240752,"shu-zha-ce-li-hong-zao-240752",[7,60,26,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b680e5e6fee0d12051ac6c695368847.jpg",[],{"id":66582,"slug":66583,"title":19706,"dynasty":18,"author":38072,"museum":107,"description":9477,"tags":66584,"thumbUrl":66585,"material":751,"size":752,"collection":95,"collections":66586,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240751,"shu-zha-ce-li-hong-zao-240751",[7,25,26,60,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dff1855489e1c5f60574b68d7e6315.jpg",[],{"id":66588,"slug":66589,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66590,"thumbUrl":66591,"material":751,"size":752,"collection":95,"collections":66592,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240749,"shu-zha-ce-zhang-bai-xi-240749",[7,60,26,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e6671c7f804f212afa6af06f629a7f.jpg",[],{"id":66594,"slug":66595,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66596,"thumbUrl":66597,"material":751,"size":752,"collection":95,"collections":66598,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240748,"shu-zha-ce-zhang-bai-xi-240748",[7,26,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4260813b36e8edb97501a3ad2ed181e.jpg",[],{"id":66600,"slug":66601,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66602,"thumbUrl":66603,"material":751,"size":752,"collection":95,"collections":66604,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240747,"shu-zha-ce-zhang-bai-xi-240747",[7,26,60,432,433,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9281d876e9092518934f8b181f2f8ae.jpg",[],{"id":66606,"slug":66607,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66608,"thumbUrl":66609,"material":751,"size":752,"collection":95,"collections":66610,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240746,"shu-zha-ce-zhang-bai-xi-240746",[25,7,26,60,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73bc3562508dcbe0597b0c972cfc7329.jpg",[],{"id":66612,"slug":66613,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66614,"thumbUrl":66615,"material":751,"size":752,"collection":95,"collections":66616,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240745,"shu-zha-ce-zhang-bai-xi-240745",[7,60,26,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1a9e32b4dac7adacab2a93a9c3d90f.jpg",[],{"id":66618,"slug":66619,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66620,"thumbUrl":66623,"material":751,"size":752,"collection":95,"collections":66624,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240744,"shu-zha-ce-zhang-bai-xi-240744",[2135,25,26,60,7,2282,2602,312,66621,66622,29698,22168,385,54308],"竖栏","红格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995f989fa161980f46def34da61387a0.jpg",[],{"id":66626,"slug":66627,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66628,"thumbUrl":66629,"material":751,"size":752,"collection":95,"collections":66630,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240743,"shu-zha-ce-zhang-bai-xi-240743",[7,25,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb9bc19ed253f75924cd3cd0eaf69bc9.jpg",[],{"id":66632,"slug":66633,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66634,"thumbUrl":66635,"material":751,"size":752,"collection":95,"collections":66636,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240742,"shu-zha-ce-zhang-bai-xi-240742",[25,7,26,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa542b0304c55ccf2370ee69563b0e4f.jpg",[],{"id":66638,"slug":66639,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66640,"thumbUrl":66641,"material":751,"size":752,"collection":95,"collections":66642,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240741,"shu-zha-ce-zhang-bai-xi-240741",[7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4716919a2284c218eccd489a2413c13.jpg",[],{"id":66644,"slug":66645,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66646,"thumbUrl":66647,"material":751,"size":752,"collection":95,"collections":66648,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240740,"shu-zha-ce-zhang-bai-xi-240740",[7,60,26,312,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6461056dc94289bb060cb8436834f0e.jpg",[],{"id":66650,"slug":66651,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66652,"thumbUrl":66653,"material":751,"size":752,"collection":95,"collections":66654,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},240739,"shu-zha-ce-zhang-bai-xi-240739",[7,60,26,77,432,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea68f42a6a2eb7fed4c129c37ff58bd3.jpg",[],{"id":66656,"slug":66657,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66658,"thumbUrl":66659,"material":751,"size":752,"collection":95,"collections":66660,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},240738,"shu-zha-ce-zhang-bai-xi-240738",[2135,7,60,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01265e189a52b2ce8df9cc79cfb39ec2.jpg",[],{"id":66662,"slug":66663,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66664,"thumbUrl":66665,"material":751,"size":752,"collection":95,"collections":66666,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240737,"shu-zha-ce-zhang-bai-xi-240737",[7,60,26,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872a8d12f65b4f0c5e08b96d5326e7ea.jpg",[],{"id":66668,"slug":66669,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66670,"thumbUrl":66671,"material":751,"size":752,"collection":95,"collections":66672,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240736,"shu-zha-ce-zhang-bai-xi-240736",[25,7,26,60,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97556358f3d70477be41e7fb165788f.jpg",[],{"id":66674,"slug":66675,"title":19706,"dynasty":18,"author":45902,"museum":107,"description":45903,"tags":66676,"thumbUrl":66677,"material":751,"size":752,"collection":95,"collections":66678,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240735,"shu-zha-ce-zhang-bai-xi-240735",[7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f284304148e0b54ca7685118f2f0d7.jpg",[],{"id":66680,"slug":66681,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66682,"thumbUrl":66683,"material":751,"size":752,"collection":95,"collections":66684,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240733,"shu-zha-ce-chong-qi-240733",[26,60,27,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2220abdfb78f47382217b36af1b38f05.jpg",[],{"id":66686,"slug":66687,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66688,"thumbUrl":66689,"material":751,"size":752,"collection":95,"collections":66690,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240732,"shu-zha-ce-chong-qi-240732",[24,25,26,60,27,138,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311d364b02995b20780d1c854b36f25a.jpg",[],{"id":66692,"slug":66693,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66694,"thumbUrl":66695,"material":751,"size":752,"collection":95,"collections":66696,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},240731,"shu-zha-ce-chong-qi-240731",[7,26,60,27,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d2241f9bcba66c68eacbc4bb57b4cd.jpg",[],{"id":66698,"slug":66699,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66700,"thumbUrl":66701,"material":751,"size":752,"collection":95,"collections":66702,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240730,"shu-zha-ce-chong-qi-240730",[25,26,199,60,7,27,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9046e44ca34f4f8a98d65175fe3b096.jpg",[],{"id":66704,"slug":66705,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66706,"thumbUrl":66707,"material":751,"size":752,"collection":95,"collections":66708,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},240729,"shu-zha-ce-chong-qi-240729",[7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db27ad1c3b6f2b235c120a9c83bc847.jpg",[],{"id":66710,"slug":66711,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66712,"thumbUrl":66713,"material":751,"size":752,"collection":95,"collections":66714,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240728,"shu-zha-ce-chong-qi-240728",[7,26,60,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e33cf0aadaec127a777fef4171dbf74.jpg",[],{"id":66716,"slug":66717,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66718,"thumbUrl":66719,"material":751,"size":752,"collection":95,"collections":66720,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240727,"shu-zha-ce-chong-qi-240727",[7,60,26,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9c5b1a4a1f488e8f4eacf049d316f0.jpg",[],{"id":66722,"slug":66723,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66724,"thumbUrl":66725,"material":751,"size":752,"collection":95,"collections":66726,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240726,"shu-zha-ce-chong-qi-240726",[18,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3f252eb62a9674644909f7c854ef61.jpg",[],{"id":66728,"slug":66729,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66730,"thumbUrl":66731,"material":751,"size":752,"collection":95,"collections":66732,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},240725,"shu-zha-ce-chong-qi-240725",[60,77,26,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89704f3cb2e2b5edee73ee5fb2f07ad4.jpg",[],{"id":66734,"slug":66735,"title":19706,"dynasty":18,"author":35542,"museum":107,"description":35543,"tags":66736,"thumbUrl":66737,"material":751,"size":752,"collection":95,"collections":66738,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240723,"shu-zha-ce-chong-qi-240723",[7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790228d08dae97f68cefab7155c1f949.jpg",[],{"id":66740,"slug":66741,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":66742,"thumbUrl":66743,"material":751,"size":752,"collection":95,"collections":66744,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240717,"shi-zha-ce-lin-ze-xu-240717",[25,26,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c4cd4c097ac55634dec4d2317f5ec.jpg",[],{"id":66746,"slug":66747,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":66748,"thumbUrl":66749,"material":751,"size":752,"collection":95,"collections":66750,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},240716,"shi-zha-ce-lin-ze-xu-240716",[25,26,60,7,50,27,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a302f9a4ed58efdb8e3336507df8d27.jpg",[],{"id":66752,"slug":66753,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":66754,"thumbUrl":66755,"material":751,"size":752,"collection":95,"collections":66756,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240715,"shi-zha-ce-lin-ze-xu-240715",[25,7,26,60,312,50,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bf17c0688e159409e8ab888ce830cb.jpg",[],{"id":66758,"slug":66759,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":66760,"thumbUrl":66761,"material":751,"size":752,"collection":95,"collections":66762,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240714,"shi-zha-ce-lin-ze-xu-240714",[7,26,60,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd20d3751c8e24f8c9fa54346d9fb0f8.jpg",[],{"id":66764,"slug":66765,"title":29434,"dynasty":18,"author":10264,"museum":107,"description":19707,"tags":66766,"thumbUrl":66767,"material":751,"size":752,"collection":95,"collections":66768,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240713,"shi-zha-ce-lin-ze-xu-240713",[25,26,60,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86ae68a9ff8b27bf723c337f8326466.jpg",[],{"id":66770,"slug":66771,"title":66772,"dynasty":45,"author":454,"museum":107,"description":66773,"tags":66774,"thumbUrl":66775,"material":751,"size":752,"collection":95,"collections":66776,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240706,"shi-shan-dao-ren-shu-shi-juan-yi-ming-240706","石山道人书诗卷","此作用笔雄健苍劲，以行草写就，线条粗细跌宕变幻，圆转方折相融相生。开篇重墨挥就的大字极具视觉张力，字形错落排布，行气如行云流水贯通全卷。枯笔飞白与润墨浓笔交替铺陈，尽显老辣苍莽的笔力，章法大开大合，狂放不羁。笔墨间肆意挥洒，将诗文意韵随笔势倾泻，尽显尚势尚情的草书风骨，满纸皆是洒脱疏放的文人意气。",[23,7,49,60,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9356b539e63325e0cdd6d7f22a7b067c.jpg",[],{"id":66778,"slug":66779,"title":66780,"dynasty":18,"author":454,"museum":107,"description":66781,"tags":66782,"thumbUrl":66783,"material":751,"size":752,"collection":95,"collections":66784,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240697,"ceng-ri-wei-qi-lv-shi-shan-mian-yi-ming-240697","曾日唯七律诗扇面","此扇面行书笔墨酣畅，结体欹正相生，顺着扇面弧度排布字形，章法错落却行气贯通，尽显精妙的布局功力。提按顿挫间笔画粗细富于变化，牵丝映带尽显行书灵动洒脱的意趣。笔墨与七律诗文相融，文气墨韵交织，既有帖学功底带来的严谨法度，又不失随性舒展的文人疏朗气度，暗合典型的晚清雅逸书风，虽未署名，却依旧能从中感受到书家不俗的笔墨修养，是一件兼具文学意涵与书法美感的雅致小品。",[1250,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30839433e8c94dc28579833d6f8f4f44.jpg",[],{"id":66786,"slug":66787,"title":66788,"dynasty":18,"author":21910,"museum":107,"description":35692,"tags":66789,"thumbUrl":66790,"material":751,"size":752,"collection":95,"collections":66791,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240684,"shu-jie-lin-shu-pu-zhou-bao-shi-chen-240684","书节临书谱轴",[7,75,398,50,77,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c6f07ab112b1a8478fa2b4a526d574.jpg",[],{"id":66793,"slug":66794,"title":66795,"dynasty":18,"author":66796,"museum":107,"description":66797,"tags":66798,"thumbUrl":66799,"material":751,"size":752,"collection":95,"collections":66800,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240675,"fei-mi-shou-jing-tu-ti-ci-juan-fei-mi-240675","费密授经图题词卷","费密","费密（1625年8月25日—1701年10月8日），明末清初著名学者、诗人和思想家。字此度，号燕峰，四川新繁人。费经虞子。奉父流寓泰州，其父邃于经学，尽传父业，工诗文，究心兵农礼乐等学，以教授、卖文为生，当道拟举鸿博，荐修《明史》，皆为辞。费密守志穷理，讲学著述，在文学、史学、经学、医学、教育和书法等方面都有很高的造诣。费密与遂宁吕潜、达川唐甄合称“清初蜀中三杰”。后代学者评论说：“蜀中自杨升庵外，唯密著作最富，论说精辟，对后世颇有影响”。",[23,24,25,49,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0ce7fc1378edcd2d9308e052e46b6b.jpg",[],{"id":66802,"slug":66803,"title":66804,"dynasty":18,"author":24680,"museum":107,"description":66805,"tags":66806,"thumbUrl":66807,"material":751,"size":752,"collection":95,"collections":66808,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240662,"jie-lu-cai-ming-yuan-tie-zhou-liang-yan-240662","节录蔡明远帖轴","梁巘(yǎn)（1710年——1788年后），字闻山、文山，号松斋，又号断砚斋主人。亳县（今安徽亳州）人。清朝著名书法家。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9631cf46acb05e0291fa2e844594d117.jpg",[],{"id":66810,"slug":66811,"title":66812,"dynasty":18,"author":66813,"museum":107,"description":66814,"tags":66815,"thumbUrl":66816,"material":751,"size":752,"collection":95,"collections":66817,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240661,"cha-sheng-lin-mi-tie-zhou-cha-sheng-240661","查升临米帖轴","查升","芾顿首再启。弊居在丹徒行衙之西，翛闲堂、瀁月、佳丽亭在其后，临运河之阔水。东则月台，西乃西山，故宝晋斋之西为致爽轩。环居桐柳椿杉百十本，以药植之，今十年，皆垂荫一亩，真一亩之居也。四月末，上皇山樵人以异石告，遂视之。八十一穴，大如椀，小容指，制在淮山一品之上。百夫运致宝晋桐杉之间。五月望，甘露满石，次林木焦苇，莫不沾，洁白如玉珠。郡中图去，至今未止。云欲上，既不请，亦不止也。临米南宫帖。请诲翁年长兄先生教。海宁年弟查升。\n款署 ：“请诲翁年长兄先生教。海宁年弟查升。”钤“海宁查声山名升印”白文印、“太史之章”朱文印。鉴藏印钤“载祥欣赏”白文印、“琴娱楼藏书画”白文印。\n此帖临米芾《甘露帖》，内容记述米芾在崇宁元年（1102年）52岁时获上皇山异石“洞天一品”及其祥异之事。原帖现藏台北故宫博物院。查升书风追随董其昌，笔致流丽明快，风度爽健。",[25,24,7,75,60,110,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4680b5dd634c228210ce6cd8ca046342.jpg",[],{"id":66819,"slug":66820,"title":66821,"dynasty":18,"author":66822,"museum":107,"description":66823,"tags":66824,"thumbUrl":66825,"material":751,"size":752,"collection":95,"collections":66826,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240657,"song-luo-lin-tie-zhou-song-luo-240657","宋犖临帖轴","宋犖","字牧仲，號漫堂，又號西陂，别署绵津山人、沧浪㝢公、西陂放鸭翁等。河南商丘人。清代政治人物、詩人。",[25,75,7,110,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7df72262cf1c702c992ec1584451d2.jpg",[],{"id":66828,"slug":66829,"title":17924,"dynasty":18,"author":66830,"museum":107,"description":66831,"tags":66832,"thumbUrl":66833,"material":751,"size":752,"collection":95,"collections":66834,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240655,"shi-zhou-fang-gong-qian-240655","方拱乾","方拱乾，初名策若，字肃之，号坦庵，又号甦庵、云麓老人、江东髯史等。安徽桐城人。明万历二十四年四月初三日（1596年1月29日）生，卒于1667年。明崇祯元年（1628年）进士，官至少詹。清顺治十四年（1657年），因受江南科场案株连于1659年被流放宁古塔，其五子方章钺因与主考官方犹“联宗”而中举，皇帝令刑部将方章钺“速拿来京，严行详审”，子亦谪宁古塔。顺治十八年即1661年赦归故里，1667年客死扬州，时年72岁。拱乾好写诗，在绝域仍“无一日辍吟咏”，留下不少描写异地史诗，如《鬼妾叹》是描写黑龙江活人殉葬的陋俗。方拱乾著《绝域纪略》（又名《宁古塔》）一书，很有史料价值。方氏是桐城望族。其父方大美曾任御史、太仆寺少卿等职，生有五子，拱乾最小。拱乾少年聪颖，成童时能记六经，7岁“能属诗文”。20岁时，诗文已为世人称许，与同乡姚孙森等5人为友，人称“六骏”。万历四十六年（1618年）中举人。崇祯元年（1628年）中进士，授官庶常。崇祯十三年授编修，累迁中允、左渝德，晋少詹事，充东宫（太子）讲官。崇祯十七年三月十八日，闯王李自成率大顺农民军陷北京，明朝灭亡，拱乾被大顺军俘虏，初受酷刑，以行贿得免。清军入山海关，李自成弃北京退山西，拱乾乘乱南归。",[60,7,77,50,1002,845,3040,651,6297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5917108110ee88476633700a0d21cedb.jpg",[],{"id":66836,"slug":66837,"title":66838,"dynasty":18,"author":66839,"museum":107,"description":66840,"tags":66841,"thumbUrl":66842,"material":751,"size":752,"collection":95,"collections":66843,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240654,"guo-lin-shi-zhou-guo-lin-240654","郭麐诗轴","郭麐","郭麐（lín ）（1767～1831）字祥伯，号频伽，因右眉全白，又号白眉生、郭白眉，一号邃庵居士、苎萝长者。江苏吴江人。游姚鼐之门，尤为阮元所赏识。工词章，善篆刻。间画竹石，别有天趣。书法黄庭坚。",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5737748182d4ef12a211b3639794c4c6.jpg",[],{"id":66845,"slug":66846,"title":17924,"dynasty":18,"author":12543,"museum":107,"description":27540,"tags":66847,"thumbUrl":66848,"material":751,"size":752,"collection":95,"collections":66849,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240651,"shi-zhou-chen-zhuan-240651",[2135,75,60,7,3479,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d05e6ce27139912a57817dabc1763f.jpg",[],{"id":66851,"slug":66852,"title":24534,"dynasty":18,"author":66853,"museum":107,"description":66854,"tags":66855,"thumbUrl":66856,"material":751,"size":752,"collection":95,"collections":66857,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240650,"lu-wen-zhou-liu-xi-hai-240650","刘喜海","刘喜海，清代金石学家、古泉学家、藏书家，字燕庭、燕亭、砚庭、吉甫，山东诸城人，嘉庆二十一年（1816）举人，今山东省高密市柴沟镇逄戈庄，别号三巴子。\n善鉴赏金石，著有《海东金石苑补遗》《古泉汇考》《三巴金石苑》。",[199,75,7,25,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07feb503765cb6d3c6602407311b601f.jpg",[],{"id":66859,"slug":66860,"title":66861,"dynasty":18,"author":66862,"museum":107,"description":66863,"tags":66864,"thumbUrl":66865,"material":751,"size":752,"collection":95,"collections":66866,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240648,"fu-ji-zhou-peng-shao-sheng-240648","佛偈轴","彭绍升","彭绍升（1740-1796年），法名际清，字允初，号尺木，江苏长洲人。彭家世清华，祖名定求（1645-1719年），字勤止，号南畇，康熙二十五年（1686）状元，官侍讲。父名启丰（1701-1784年），字翰文，号芝庭，又自号香山老人，雍正五年（1727）状元，官至兵部右侍郎。绍升自幼聪颖。年十六，为诸生。明年举于乡。又明年，捷南宫，以名进士终于家。",[24,25,75,878,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c76f34b8ca37bc88efcfa668a6cb5fd.jpg",[],{"id":66868,"slug":66869,"title":35449,"dynasty":18,"author":66870,"museum":107,"description":66871,"tags":66872,"thumbUrl":66873,"material":751,"size":752,"collection":95,"collections":66874,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240639,"shu-zha-juan-qi-juan-zao-240639","祁雋藻","祁隽藻(1793～1866) 近代诗人书法家。字叔颖，一字淳甫，避讳改实甫，号春圃。山西寿阳人。清嘉庆十九年(1814)进士，由庶吉士授编修，累官至体仁",[23,25,7,49,60,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f6827aaa6d968ef540fc02f6c71dea.jpg",[],{"id":66876,"slug":66877,"title":35449,"dynasty":18,"author":51636,"museum":107,"description":51637,"tags":66878,"thumbUrl":66879,"material":751,"size":752,"collection":95,"collections":66880,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240638,"shu-zha-juan-wang-qi-sun-240638",[23,7,60,49,3479,312,17657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b7ba122d370e5a5a20e0e5b42da42a.jpg",[],{"id":66882,"slug":66883,"title":66884,"dynasty":18,"author":454,"museum":107,"description":66885,"tags":66886,"thumbUrl":66887,"material":751,"size":752,"collection":95,"collections":66888,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240636,"jin-shi-shi-juan-yi-ming-240636","今释诗卷","此作用笔萧散灵动，提按转合尽显行书流美意趣，点画粗细变化自然，牵丝映带暗合行气脉络，通篇一气呵成，毫无滞碍。\n\n布局疏密相宜，字距行距错落有致，在规整法度中不失随性舒展的文人意态。笔墨枯湿浓淡相映，墨色层次丰富，时而温润饱满，时而枯涩老辣，藏着书写时的情绪起伏，将诗书意境与笔墨情趣相融，自带清逸出尘的林下之风，尽显尚态抒情的文人书法特质，是一件颇见功力与文心的行书佳构。",[23,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0a06a7930b4f1e90b5f966868e419b.jpg",[],{"id":66890,"slug":66891,"title":66892,"dynasty":18,"author":454,"museum":107,"description":66893,"tags":66894,"thumbUrl":66895,"material":751,"size":752,"collection":95,"collections":66896,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240635,"cha-ji-gu-yu-lu-zhou-yi-ming-240635","查稽古语录轴","此轴行书灵动舒展，笔法圆融温润，牵丝映带间尽显随性雅致的文人意趣。通篇墨色干湿浓淡富于层次，起收笔兼具帖学法度与抒情率意。字势欹侧相生，行气贯通无碍，文句排布疏朗匀停，将清隽风骨藏于笔墨之间。古雅绢本更衬出翰墨温润质感，每一字皆具姿态，整体气息平和舒展，尽显传统书法的书卷意蕴，是一件颇具文人抒情质感的行书佳作。",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff84dfdf6398c74fab4ec1a152b40451.jpg",[],{"id":66898,"slug":66899,"title":24534,"dynasty":18,"author":454,"museum":107,"description":66900,"tags":66901,"thumbUrl":66902,"material":751,"size":752,"collection":95,"collections":66903,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240631,"lu-wen-zhou-yi-ming-240631","此作用笔纵逸老辣，以中锋行笔，线条枯润粗细变化自然，提按转折尽显苍劲力道。整幅章法疏密得宜，右侧主文从容铺陈，左侧落款欹侧呼应，行气连贯一体。\n墨色浓淡相宜，枯笔见筋骨，润笔含浑厚意趣，将狂放笔势与雅致文心相融，承袭晚明尚奇尚势的书风余韵。笔墨间裹挟着潇洒疏朗的文人意气，字字独立却气脉通连，尽显草书抒情达意的特质，是一件颇具文人风骨的书法佳构。",[2135,75,25,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bc6e4d09984fd12b0b5dddd0f619d1b.jpg",[],{"id":66905,"slug":66906,"title":22728,"dynasty":45,"author":66907,"museum":107,"description":66908,"tags":66909,"thumbUrl":66910,"material":751,"size":752,"collection":95,"collections":66911,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240627,"shi-juan-zhang-shen-yan-240627","张慎言","张慎言（1577年—1645年），字金铭，号藐山，人称藐山先生。山西泽州阳城（今山西阳城）人。明代思想家、诗人，他官至南京吏部尚书，加太子太保，为一品重臣。",[23,45,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdb6e98d173c38348ff14a3ed3837ef.jpg",[],{"id":66913,"slug":66914,"title":22728,"dynasty":45,"author":66915,"museum":107,"description":66916,"tags":66917,"thumbUrl":66918,"material":751,"size":752,"collection":95,"collections":66919,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240626,"shi-juan-wu-gan-lai-240626","吴甘来","吳甘來（1599年－1644年），字節之，號和受，別號葦庵，江西宜豐譚山鎮人，明末官员。",[23,4038,7,60,49,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12f7b2f5aa7f12ec9d427ae44b13600.jpg",[],{"id":66921,"slug":66922,"title":66923,"dynasty":18,"author":66924,"museum":107,"description":66925,"tags":66926,"thumbUrl":66927,"material":751,"size":752,"collection":95,"collections":66928,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240625,"lin-ding-ming-zhou-zhu-wei-bi-240625","临鼎铭轴","朱为弼","朱为弼（1771年－1840年），初名振鹭，字右甫，号椒堂，又号菽堂、颐斋，浙江平湖县（今属嘉兴市）人。清朝政治人物、学者。嘉庆进士，道光年间官至漕运总督。",[7,457,110,75,77,1897,1896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F344e7bd33f2be6d1fd5b147ab645a4a1.jpg",[],{"id":66930,"slug":66931,"title":17924,"dynasty":18,"author":66932,"museum":107,"description":66933,"tags":66934,"thumbUrl":66935,"material":751,"size":752,"collection":95,"collections":66936,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240624,"shi-zhou-geng-jie-240624","耿介","耿介（1622-1693），原名冲壁，字介石，号逸庵，河南登封城关人 [1] 。康熙二十五年初夏（1686）受好友汤斌推荐，被封为少詹事，入值上书房，教授太子允礽书法。翌年，以病辞归，大兴嵩阳书院教育事业。康熙三十年（1693）病卒，终年71岁。有《敬恕堂存稿》。",[75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c6fa98bad7adac1a18a2c07127d1b9.jpg",[],{"id":66938,"slug":66939,"title":17924,"dynasty":18,"author":66940,"museum":107,"description":66941,"tags":66942,"thumbUrl":66943,"material":751,"size":752,"collection":95,"collections":66944,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240617,"shi-zhou-qiu-zun-sheng-240617","裘尊生","清代画家，生卒年不详，约活动于雍正、乾隆年间。字果万，一字义门，号青萝，钱塘（今杭州）人。雍正年间（1723—1735）客淮扬（今扬州）。工人物、花鸟，尤擅墨荷。",[24,25,7,75,60,114,250,845,651,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b8d50b4bee086ea5129e1313ca07eb.jpg",[],{"id":66946,"slug":66947,"title":66948,"dynasty":18,"author":66949,"museum":107,"description":66950,"tags":66951,"thumbUrl":66952,"material":751,"size":752,"collection":95,"collections":66953,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240612,"hu-song-shi-juan-hu-song-240612","胡宋诗卷","胡宋","此作以狂草写就，满卷笔墨奔纵不羁。字势连绵缠绕，欹正相生，通篇行气贯通如长河奔涌，一气呵成。点画粗细枯湿变幻丰富，提按转折尽显笔法老辣苍劲，枯笔似锥画沙，瘦硬通神；润墨饱满沉厚，腴润酣畅。\n\n整幅章法虚实错落，疏密间尽显匠心。书家将满腔意气裹挟于笔墨，笔锋起落之间皆是情绪起伏，把草书抒情写意的特性挥洒到极致，如一曲慷慨长歌倾泻于尺素之上，尽显狂草书体的豪放风神，尽显文人狂放襟怀。",[23,18,7,49,60,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2209f8038b31a35c4bdfdfae908635fa.jpg",[],{"id":66955,"slug":66956,"title":17924,"dynasty":45,"author":35641,"museum":107,"description":66957,"tags":66958,"thumbUrl":66959,"material":751,"size":752,"collection":95,"collections":66960,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240606,"shi-zhou-li-dai-wen-240606","李待问（1603—1645），字存我，南直隶松江华亭（今属上海市奉贤区西渡街道灯塔村）人，崇祯十六年进士，授中书舍人，后在抵御清兵时被杀害。工文章，兼精书法，尤善行草书，远宗二王，近受董其昌影响，书风恬淡清新。松江博物馆藏有手迹行书诗轴。著有《玉裕堂存稿》。",[24,25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa740404f4b7b38d24e9f4ce6fd7dbb12.jpg",[],{"id":66962,"slug":66963,"title":17924,"dynasty":18,"author":66964,"museum":107,"description":66965,"tags":66966,"thumbUrl":66967,"material":751,"size":752,"collection":95,"collections":66968,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240603,"shi-zhou-xu-liang-240603","徐良","这件行书诗轴笔致清逸灵动，以婉转的牵丝映带串联字形，行气舒朗贯通。笔墨干湿互见，起收间爽劲利落，既有帖学书法的秀雅温润，又暗蕴筋骨力道。\n书写陶弘景《诏问山中何所有赋诗以答》，笔墨风神与诗意浑然相融，将岭云自赏、不与世萦的林下襟怀，随笔墨流转徐徐铺展，字里行间尽显淡宕出尘的文人意趣，尽显清代行书雅正秀逸的典型风貌。",[2135,7,60,75,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea52ec5bdc3d7d49abdc39ec5f3e6c.jpg",[],{"id":66970,"slug":66971,"title":17924,"dynasty":18,"author":66972,"museum":107,"description":66973,"tags":66974,"thumbUrl":66975,"material":751,"size":752,"collection":95,"collections":66976,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240601,"shi-zhou-yang-yu-240601","杨堉","杨堉，福建晋江人。幼号神童，既冠，弃举子业，欲游京师，道出吴门，邃为黄氏馆甥。爱金陵江山之胜，乃卜宅焉。",[2135,24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd753538e5ea11065bb51cae08746bd6d.jpg",[],{"id":66978,"slug":66979,"title":66980,"dynasty":45,"author":454,"museum":107,"description":66981,"tags":66982,"thumbUrl":66983,"material":751,"size":752,"collection":95,"collections":66984,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240594,"lai-fu-shi-juan-yi-ming-240594","来复诗卷","此卷行草笔墨纵横跌宕，满纸意气流转。全篇行气贯通，字势欹侧相生，牵丝映带间尽显随性洒脱。用笔枯湿浓淡变幻自然，疾笔处线条爽利劲挺，似将胸中块垒肆意挥洒；缓书时裹锋徐行，墨色温润晕染，藏着文心雅致。\n\n章法错落不拘，字距行距随诗文情绪排布，把诗作感怀融入笔墨节律。通篇酣畅淋漓，既有文人书法的书卷清气，又带着疏狂不羁的抒怀意气，诗心与笔意浑然相融，提按转折皆是心绪吐露，尽显尚态抒情的书法意趣，是以笔写心、诗书合一的佳作。",[23,25,49,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c089416dbfa1f2b0be8c98b02e5cdba.jpg",[],{"id":66986,"slug":66987,"title":66988,"dynasty":45,"author":454,"museum":107,"description":66989,"tags":66990,"thumbUrl":66991,"material":751,"size":752,"collection":95,"collections":66992,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240593,"ye-sheng-shi-zhou-yi-ming-240593","叶盛诗轴","此作用笔纵逸洒脱，行书笔意婉转流丽，牵丝映带自然灵动，墨色枯湿浓淡富于层次变化。字形欹正相生，开合有度，章法纵有行横无列，错落间自具和谐意韵。将诗中壮心未泯的沉郁豪怀融于笔墨流转，枯笔见筋骨，湿墨显浑厚，藏露锋兼用，苍劲又不失朴拙质感。以笔墨载诗情，萧散雄健尽显行书意趣，把诗意与书韵相融，尽显文人书法抒情特质与传统笔墨的精神内涵。",[4038,7,75,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F251fac5b064138eb4a01af03c31c9a52.jpg",[],{"id":66994,"slug":66995,"title":66996,"dynasty":45,"author":66997,"museum":107,"description":66998,"tags":66999,"thumbUrl":67000,"material":751,"size":752,"collection":95,"collections":67001,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240591,"shu-zha-zhou-xu-wei-240591","书札轴","徐囗","此作为两帧行书尺牍，笔墨率意而不失雅度。字势错落欹侧，行气疏朗贯通，点画藏露相生，粗细映带间尽显帖学流美意趣。信手挥毫间，将日常酬酢的松弛鲜活，融于文人书法的雅致法度之内。\n\n尺牍以友朋通信为内容，笔墨间浸透着往来唱和的文人情谊。简淡清隽的纸面，将实用书写与审美意趣相融，尽显士人信笔挥洒的萧散风神，是兼具日常温度与笔墨价值的小品书法佳作。",[7,60,398,75,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe046ace194a28fb8ade6aca091a72613.jpg",[],{"id":67003,"slug":67004,"title":15587,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":67005,"thumbUrl":67006,"material":751,"size":752,"collection":95,"collections":67007,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240583,"za-ji-shu-zha-he-ce-xu-wei-240583",[7,60,398,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a739d67bd51fed8fdb5ce7b010020ef.jpg",[],{"id":67009,"slug":67010,"title":15587,"dynasty":45,"author":125,"museum":107,"description":2719,"tags":67011,"thumbUrl":67012,"material":751,"size":752,"collection":95,"collections":67013,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240582,"za-ji-shu-zha-he-ce-xu-wei-240582",[24,25,26,50,60,398,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8f76958764106ecc175957a38f2d5f.jpg",[],{"id":67015,"slug":67016,"title":35449,"dynasty":18,"author":67017,"museum":107,"description":67018,"tags":67019,"thumbUrl":67020,"material":751,"size":752,"collection":95,"collections":67021,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240572,"shu-zha-juan-xu-fang-240572","徐访","徐枋（1622年5月3日——1694年11月7日，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[23,7,49,60,77,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9678240ad89b6ac55bb575c903ea79d.jpg",[],{"id":67023,"slug":67024,"title":28124,"dynasty":18,"author":38383,"museum":107,"description":67025,"tags":67026,"thumbUrl":67027,"material":751,"size":752,"collection":95,"collections":67028,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240570,"shi-ye-liu-si-wan-240570","刘嗣绾（1762年5月2日－1821年8月23日，乾隆二十七年四月初九日－道光元年七月二十六日），字简之，又字芙初，号醇甫。江苏省常州府阳湖县（今属常州市）。刘于义之玄孙，武进西营刘氏第十五世。清朝翰林，政治人物，学者。专长诗、词、骈文。（清史列传作年六十岁，无卒年。此从补疑年录）少颖异，识量过人。早游京师，知名于时。嘉庆十三年，（公元一八o八年）会试第一，卷进呈，帝道：“朕久知其名，可谓得士矣！”廷试改翰林院庶吉士，散馆，授编修。和平安雅，见义无不为。年五十九，丁母忧，以毁卒。嗣绾诗及骈体文，少作多明艳，中年则以沈博排募胜，晚更清遒骏迈，以快厉之笔，达幽隐之思。",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716c1ef5dbd07f045ce202bcd1f7c7d0.jpg",[],{"id":67030,"slug":67031,"title":67032,"dynasty":18,"author":67033,"museum":107,"description":67034,"tags":67035,"thumbUrl":67036,"material":751,"size":752,"collection":95,"collections":67037,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240569,"zhang-xing-zai-ti-jian-dong-xian-sheng-hu-shan-cao-tang-tu-shi-ye-zhang-xing-zai-240569","张兴载题磵东先生湖山草堂图诗页","张兴载","字坤厚,号甄山、悔堂、悔堂居士、绣云散仙、莼菜桥西散吏,室名一松斋、绣云山房,江苏华亭(今属上海市)人。藏书家。",[18,7,60,77,50,27,28124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efaa63d947be29421ba1442f6a34ae4.jpg",[],{"id":67039,"slug":67040,"title":22728,"dynasty":18,"author":67041,"museum":107,"description":67042,"tags":67043,"thumbUrl":67044,"material":751,"size":752,"collection":95,"collections":67045,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240568,"shi-juan-du-heng-can-240568","杜恒灿","杜恒灿，约公元一六六二年前后在世，字杜若，号苍舒，三原人。生卒年均不详，约清圣祖康熙初前后在世。顺治五年（公元一六四八年）副榜贡生。",[23,25,7,49,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488bd1d6ef566e3aafb8317692535f27.jpg",[],{"id":67047,"slug":67048,"title":28124,"dynasty":18,"author":454,"museum":107,"description":67049,"tags":67050,"thumbUrl":67051,"material":751,"size":752,"collection":95,"collections":67052,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240567,"shi-ye-yi-ming-240567","此作用笔温润秀雅，以小楷出之又暗含行书意趣，起笔收锋皆存晋唐小楷的端严灵秀，行笔间又带着行书舒展灵动的姿态。点画提转自然含蓄，墨色匀净饱满，粗细变化暗藏筋骨。\n\n行款排布疏朗匀停，字距行距错落合宜，通篇气息娴静安和。素纸朱印相映，古雅沉静，将文人寄兴于诗的风雅，融于尺素笔墨之中。虽无华饰，却以笔墨意韵传递出清隽书卷风神，尽显文人日常翰墨的从容意态。",[25,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1744690067c29f1b8bbee64ba593f40c.jpg",[],{"id":67054,"slug":67055,"title":28124,"dynasty":18,"author":38419,"museum":107,"description":38420,"tags":67056,"thumbUrl":67057,"material":751,"size":752,"collection":95,"collections":67058,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240566,"shi-ye-dong-guo-hua-240566",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d760ed844fb5c22fc3b370cea408322.jpg",[],{"id":67060,"slug":67061,"title":67062,"dynasty":18,"author":67063,"museum":107,"description":67064,"tags":67065,"thumbUrl":67066,"material":751,"size":752,"collection":95,"collections":67067,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240561,"fa-shi-shan-wu-lv-zhou-fa-shi-shan-240561","法式善五律轴","法式善","法式善（1752～1813）清代官吏、文学家。姓伍尧氏，原名运昌，字开文，别号时帆、梧门、陶庐、小西涯居士。乾隆四十五年进士，授检讨，官至侍读。乾隆帝盛赞其才",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3296407780ef75fbc07a18fd4fdd88.jpg",[],{"id":67069,"slug":67070,"title":67071,"dynasty":18,"author":46516,"museum":107,"description":46517,"tags":67072,"thumbUrl":67073,"material":751,"size":752,"collection":95,"collections":67074,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240550,"lu-shan-ji-han-zha-juan-sun-qi-feng-240550","鹿善继翰札卷",[23,49,7,60,398,2602,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ee6633658141802a065f373a31e62.jpg",[],{"id":67076,"slug":67077,"title":67078,"dynasty":18,"author":14026,"museum":107,"description":67079,"tags":67080,"thumbUrl":67081,"material":751,"size":752,"collection":95,"collections":67082,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240549,"jiang-zhu-shi-ti-huang-shan-tu-ce-jiang-zhu-240549","江注诗题黄山图册","江注，字允凝，安徽歙县人。僧渐江（一六一o―一六六三）弟子，能诗画，隐于黄山。",[24,25,26,60,7,50,51,77,10794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bac60bc492d80f25f14c4ad4e05a19f.jpg",[],{"id":67084,"slug":67085,"title":46081,"dynasty":18,"author":67086,"museum":107,"description":67087,"tags":67088,"thumbUrl":67090,"material":751,"size":752,"collection":95,"collections":67091,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240546,"shi-ti-huang-shan-tu-ce-wu-qi-feng-240546","吴起凤","此作为行书册页，笔墨温润秀雅，点画舒展灵秀，行气连贯自然，尽显清隽文人意韵。页中以诗寄怀黄山，字句间浸漫着对烟峦云海的眷念，将漫游山水所得的逸致融于笔墨之中。\n\n章法排布疏密合宜，朱印点缀晕开古雅亮色，让素白笺纸更添沉静古拙的质感。整体诗书相合，淡朴笔墨间藏着雅致文心，把山水共情与翰墨雅趣融为一体，尽显旧时文人的风雅情致。",[60,7,4347,51,77,433,67089],"文人风雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36777e648a72fc8fb926bfd6ded5e549.jpg",[],{"id":67093,"slug":67094,"title":67095,"dynasty":18,"author":67096,"museum":107,"description":67097,"tags":67098,"thumbUrl":67099,"material":751,"size":752,"collection":95,"collections":67100,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240541,"ti-huang-shan-tu-ce-yu-chun-zi-240541","题黄山图册","俞纯滋","这帧行书册页纸面古雅温润，排布疏朗从容，笔势牵丝映带，自有雅逸之致。字迹秀润清隽，点画收放随心，既有帖学的妍美韵致，又带着题跋书法的随性松弛。墨色略有浓淡变化，随着题咏文思起伏，笔意愈见舒展自然。将对烟岚奇秀的流连意趣落于笔端，文字与笔墨相得益彰，尽显清雅文心，观之如随作者重历胜境，在尺幅间揽尽林泉雅致。",[24,25,7,60,77,51,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb854804370f1834c41a31b5666a73e8b.jpg",[],{"id":67102,"slug":67103,"title":67095,"dynasty":18,"author":67104,"museum":107,"description":67105,"tags":67106,"thumbUrl":67107,"material":751,"size":752,"collection":95,"collections":67108,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240539,"ti-huang-shan-tu-ce-zhou-jin-ran-240539","周金然","周金然 [清]字广居，号广庵，上海人。康熙二十一年（一六八二）进士，官洗马中允。",[18,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed2dc66a0d74bc89be1523c0063ebd3.jpg",[],{"id":67110,"slug":67111,"title":46081,"dynasty":18,"author":67112,"museum":107,"description":42151,"tags":67113,"thumbUrl":67114,"material":751,"size":752,"collection":95,"collections":67115,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240535,"shi-ti-huang-shan-tu-ce-zhu-guan-240535","朱观",[24,25,26,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c0c283b28a9b224157f20f764e1ed0.jpg",[],{"id":67117,"slug":67118,"title":46081,"dynasty":18,"author":67119,"museum":107,"description":67120,"tags":67121,"thumbUrl":67122,"material":751,"size":752,"collection":95,"collections":67123,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240534,"shi-ti-huang-shan-tu-ce-wang-lu-240534","王辂","王辂，号质庵，顺天大兴籍，浙江慈溪人，由太学考授县丞，补授江南安东县主簿，三署县篆、两摄淮安府山安河务同知印务，行水有方，治民有体，遐迩歌思勿撤。",[24,25,26,7,60,77,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6f97cf7f9c634742575eec0ac1b77d.jpg",[],{"id":67125,"slug":67126,"title":46081,"dynasty":18,"author":67127,"museum":107,"description":67128,"tags":67129,"thumbUrl":67130,"material":751,"size":752,"collection":95,"collections":67131,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240532,"shi-ti-huang-shan-tu-ce-ye-fan-240532","叶藩","浙江仁和人,字登南,号古渠。乾隆十六年进士。补江西建昌知县。性狷介,多治绩。累擢广西思恩知府。去官后以授徒为生,屡为吴楚间书院院长。卒年八十。",[24,25,26,50,77,60,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff56c13de1c2b26d6bf49df5674b5c8f.jpg",[],{"id":67133,"slug":67134,"title":46081,"dynasty":18,"author":67135,"museum":107,"description":67136,"tags":67137,"thumbUrl":67138,"material":751,"size":752,"collection":95,"collections":67139,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240530,"shi-ti-huang-shan-tu-ce-yao-ting-rang-240530","姚廷让","姚廷让，男，字子逊。金山（今上海市）人。生卒年不详。清代画家。姚廷让工吟咏，善绘事。其曾画《枯木寒鸦》图，苍凉细润，颇有丹丘生笔意，萧疏秀雅。",[24,25,26,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa62e56430a4f45afc5939ae29686eeea.jpg",[],{"id":67141,"slug":67142,"title":67143,"dynasty":18,"author":67144,"museum":107,"description":67145,"tags":67146,"thumbUrl":67147,"material":751,"size":752,"collection":95,"collections":67148,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240529,"wan-si-bei-shi-ti-huang-shan-tu-ce-wan-si-bei-240529","万斯备诗题黄山图册","万斯备","泰第七子。不事举业，隐居读书。工书法，兼精篆刻。工诗，与妇翁李邺嗣唱和二十年。",[24,25,26,60,7,51,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17119a85d1a989a39adc79b7223bb1f.jpg",[],{"id":67150,"slug":67151,"title":67095,"dynasty":18,"author":67152,"museum":107,"description":67153,"tags":67154,"thumbUrl":67155,"material":751,"size":752,"collection":95,"collections":67156,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240528,"ti-huang-shan-tu-ce-fang-xiang-huang-240528","方象璜","方象璜（？－？），字雪岷，浙江淳安县人，清朝政治人物。",[24,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F224dd3e402d60c7d29ec698258949ce9.jpg",[],{"id":67158,"slug":67159,"title":67160,"dynasty":18,"author":67161,"museum":107,"description":67162,"tags":67163,"thumbUrl":67164,"material":751,"size":752,"collection":95,"collections":67165,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240520,"wu-su-gong-qi-lv-ti-huang-shan-tu-ce-wu-su-gong-240520","吴肃公七律题黄山图册","吴肃公","吴肃公：明末清初宣州人。江南遗民作家群中重要的学者、史学家、文学家。主要著作有：《街南文集》二十卷.《街南文集续集》七卷.《阐义》二十五卷.《明语林》十四卷.",[25,7,60,77,26,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd02cd3de246f4bd5609297fdd714edd.jpg",[],{"id":67167,"slug":67168,"title":67169,"dynasty":18,"author":67170,"museum":107,"description":67170,"tags":67171,"thumbUrl":67172,"material":751,"size":752,"collection":95,"collections":67173,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240515,"ma-xue-yi-ti-huang-shan-tu-ce-ma-xue-yi-240515","马学衣题黄山图册","马学衣",[24,25,26,60,51,77,50,27,576,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde0135ea0637815ea27575ecbe5e7d57.jpg",[],{"id":67175,"slug":67176,"title":17924,"dynasty":18,"author":67177,"museum":107,"description":67178,"tags":67179,"thumbUrl":67180,"material":751,"size":752,"collection":95,"collections":67181,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240512,"shi-zhou-meng-lu-ling-240512","孟庐陵","孟庐陵（生卒年不详），清河南府洛阳人，因居住地地势较低，人称其家为“孟坑”。孟庐陵与其弟习苏（字眉山）俱为监生。父早丧，事母至孝。",[7,60,75,2135,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27d4a6c3791a55f48392689091c4e1bc.jpg",[],{"id":67183,"slug":67184,"title":67185,"dynasty":18,"author":67186,"museum":107,"description":67187,"tags":67188,"thumbUrl":67189,"material":751,"size":752,"collection":95,"collections":67190,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240503,"zheng-nie-shi-zhou-zheng-nie-240503","正喦诗轴","正喦","此作用笔灵动萧散，枯湿浓淡相映成趣，行气连贯疏朗，将行书的流动畅达与山居野趣的诗意相融。牵丝映带间尽显笔墨情致，字字错落排布，章法清逸自然，暗合题诗里春日幽居的静穆意境。晚明帖学余韵隐于笔底，又带着清代文人特有的闲散襟怀，笔意简淡古雅，将诗文中山林野色、草木天趣寄寓在笔墨之中，观之便如踏入春日幽居，墨痕流转间尽显文人雅逸的林下风致。",[24,25,75,50,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbae7fa1b2ae3c3d4e122c47723bd5102.jpg",[],{"id":67192,"slug":67193,"title":17924,"dynasty":18,"author":51636,"museum":107,"description":51637,"tags":67194,"thumbUrl":67195,"material":751,"size":752,"collection":95,"collections":67196,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240488,"shi-zhou-wang-qi-sun-240488",[75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e6a4e1fc5f58efc45945f92602fc86.jpg",[],{"id":67198,"slug":67199,"title":17924,"dynasty":18,"author":21910,"museum":107,"description":35692,"tags":67200,"thumbUrl":67201,"material":751,"size":752,"collection":95,"collections":67202,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240483,"shi-zhou-bao-shi-chen-240483",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d7faad20eb05891caf2748c82f5805.jpg",[],{"id":67204,"slug":67205,"title":17924,"dynasty":18,"author":67206,"museum":107,"description":67207,"tags":67208,"thumbUrl":67209,"material":751,"size":752,"collection":95,"collections":67210,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240469,"shi-zhou-wang-ji-240469","汪楫","清（公元一六二六年至一六九九年 ）字舟次，号悔斋，安徽休宁人，寄籍江苏江都。生于明崇祯年间，卒于清圣祖康熙三十八年，年七十四岁 。性伉直，意气伟然。力学不倦，日索奇文秘籍读之。岁贡生，署赣榆训导。康熙十八年，（公元一六七九年）荐应“博学鸿儒”，试列一等。授翰林院检讨，纂修明史。著有《崇祯长编》《悔斋集》《使琉球杂录》《册封疏钞》《中州沿革志》《补天石传奇》《观海集》一卷等。",[25,75,60,77,50,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56698fc3ca1e8a5152bca243859ba4f8.jpg",[],{"id":67212,"slug":67213,"title":17924,"dynasty":18,"author":67214,"museum":107,"description":67215,"tags":67216,"thumbUrl":67217,"material":751,"size":752,"collection":95,"collections":67218,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240444,"shi-zhou-xiong-yi-xiao-240444","熊一潇","熊一潇（1638—1706），字汉若，号蔚怀，南昌府南昌人。康熙甲辰科进士，选庶吉士。累官至工部尚书。施政务实有为。",[24,25,75,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5214565d607e4d08ed3affcc93f530e6.jpg",[],{"id":67220,"slug":67221,"title":21902,"dynasty":18,"author":39100,"museum":107,"description":39101,"tags":67222,"thumbUrl":67223,"material":751,"size":752,"collection":95,"collections":67224,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240443,"lu-yu-zhou-qian-da-xin-240443",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a386ae99dd5b1caaeb4cd15efb5ec2.jpg",[],{"id":67226,"slug":67227,"title":17924,"dynasty":45,"author":52181,"museum":107,"description":52182,"tags":67228,"thumbUrl":67229,"material":751,"size":752,"collection":95,"collections":67230,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240442,"shi-zhou-yan-yan-240442",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bcc8bcfc70d78b124913c66cd41d39a.jpg",[],{"id":67232,"slug":67233,"title":67234,"dynasty":45,"author":67235,"museum":107,"description":67236,"tags":67237,"thumbUrl":67238,"material":751,"size":752,"collection":95,"collections":67239,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240432,"si-jia-ge-ti-shu-shi-shan-mian-wang-han-guang-240432","四家各体书诗扇面","王含光","字表朴，一字鹤山，号似鹤，自署鹤道人。猗氏（今山西临猗）人。崇祯四年（一六三一）进士。祖珍吾，父春桢，俱进士。",[1250,7,60,398,199,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08df808dd18425dd384001786198802c.jpg",[],{"id":67241,"slug":67242,"title":27869,"dynasty":18,"author":39100,"museum":107,"description":39101,"tags":67243,"thumbUrl":67244,"material":751,"size":752,"collection":95,"collections":67245,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240426,"lun-shu-zhou-qian-da-xin-240426",[18,7,75,457,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc26a4113e68c59cdfe46a52f8d0690.jpg",[],{"id":67247,"slug":67248,"title":17924,"dynasty":18,"author":67249,"museum":107,"description":67250,"tags":67251,"thumbUrl":67254,"material":751,"size":752,"collection":95,"collections":67255,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240401,"shi-zhou-wang-chong-jian-240401","王崇简","字敬哉，一作敬斋，顺天府宛平（今北京市）人。明崇祯十六年（1643年）中进士。顺治三年授内翰林国史院庶吉士，历任秘书院检讨、国子监祭酒、弘文院侍读学士、詹事府少詹事、吏部侍郎、礼部尚书、太子太保等职。谥文贞。有《青箱堂文集》《青箱堂诗集》传世。",[25,75,60,7,77,298,16643,2930,678,67252,67253],"烟光","雪影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f7a51c07a411bf2265d534cbd10a29.jpg",[],{"id":67257,"slug":67258,"title":67259,"dynasty":45,"author":67260,"museum":107,"description":67261,"tags":67262,"thumbUrl":67263,"material":751,"size":752,"collection":95,"collections":67264,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240385,"su-tai-ming-bai-shi-shan-mian-xu-qian-240385","苏台明白诗扇面","徐汧","徐汧（汉语拼音：qiān，？－1645年），字九一，号勿斋，直隶长洲县人。明朝政治人物。生平少时孤贫，与同里杨廷枢相友善",[1250,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bedcdd5d6fe9d755366b40c1e98748.jpg",[],{"id":67266,"slug":67267,"title":7243,"dynasty":45,"author":67268,"museum":107,"description":67269,"tags":67270,"thumbUrl":67271,"material":751,"size":752,"collection":95,"collections":67272,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240382,"shi-shan-mian-fang-feng-nian-240382","方逢年","方逢年（1585年－1646年），字书田，浙江省严州府遂安县（今浙江省淳安县）人。明末政治人物，进士出身，官至资善大夫、柱国、少傅、东阁大学士兼礼部尚书。",[1250,60,77,7,50,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b031ca4aba7efdb181ea431449b766.jpg",[],{"id":67274,"slug":67275,"title":28124,"dynasty":45,"author":67276,"museum":107,"description":67277,"tags":67278,"thumbUrl":67279,"material":751,"size":752,"collection":95,"collections":67280,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240379,"shi-ye-zheng-da-tong-240379","郑大同","郑大同，字皆吾，号于野，生卒年不详，莆阳城关观桥书仓巷人。郑氏族联云：“家传诗教，系出荥阳。”“宋元明三朝赐命，忠孝义百世流芳。”",[25,60,7,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bce10a358eac24d2d47c97cc5eb7d3.jpg",[],{"id":67282,"slug":67283,"title":28124,"dynasty":45,"author":67284,"museum":107,"description":67285,"tags":67286,"thumbUrl":67287,"material":751,"size":752,"collection":95,"collections":67288,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240364,"shi-ye-chen-ke-240364","陈柯","陈柯（？－？），字君则，福建福州府闽县人，民籍，明朝政治人物。",[25,7,26,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3859b0afbf67203f6f9674c6f37c0.jpg",[],{"id":67290,"slug":67291,"title":28124,"dynasty":45,"author":67292,"museum":107,"description":67293,"tags":67294,"thumbUrl":67295,"material":751,"size":752,"collection":95,"collections":67296,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240363,"shi-ye-huang-lv-xuan-240363","黄履旋","黄履旋1547年明嘉靖二十六年丁未科殿试金榜第三甲第71名同进士出身",[60,7,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3323f6a0f01e340373006e27130dafe.jpg",[],{"id":67298,"slug":67299,"title":28124,"dynasty":45,"author":67300,"museum":107,"description":67301,"tags":67302,"thumbUrl":67303,"material":751,"size":752,"collection":95,"collections":67304,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240362,"shi-ye-zhang-bang-yan-240362","张邦彦","张邦彦（明代），字才甫，号元洲，临朐西北涝洼庄(现属青州市王坟)人。生于明正德四年（1509）十二月十四日，嘉靖十年（1531年）举人，嘉靖二十六年（1547年）高中丁未科李春芳榜第2甲第21名进士进士，官至都察院右佥都御史，巡抚大同，卒于明隆庆三年（1569）五月至隆庆五年（1571）九月之间。",[7,60,77,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d1e716bf87d5fede1fdbd115ccd23f.jpg",[],{"id":67306,"slug":67307,"title":28124,"dynasty":45,"author":67308,"museum":107,"description":67309,"tags":67310,"thumbUrl":67311,"material":751,"size":752,"collection":95,"collections":67312,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240361,"shi-ye-chen-ying-chun-240361","陈应春","陈应春，字汝和，福建省福州市长乐人。嘉靖壬戌进士。初令东阳，多惠政。",[60,7,77,433,432,26,678,116,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e80dcc58ff5a8a6b61d9b2899b9acdd.jpg",[],{"id":67314,"slug":67315,"title":67316,"dynasty":45,"author":454,"museum":107,"description":67317,"tags":67318,"thumbUrl":67319,"material":751,"size":752,"collection":95,"collections":67320,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240359,"peng-jin-shi-ye-yi-ming-240359","彭谨诗页","这件行书诗页笔墨遒劲凝练，结体灵动舒展，字势欹正相生，提转顿挫可见深厚功底。\n通篇行气连贯匀停，布局疏朗雅致，墨色浓淡自然过渡。笔底带着沉郁端肃的气度，既兼得帖学的流美雅致，又暗含雄健朴拙的骨力。诗文与书法相得益彰，将字句里寄寓的家国忧思，藏入婉转的笔墨起伏间，古韵盎然，尽显传统书法的笔墨情致与文心内涵。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627daa304c44d9c4c34d5a8c9fd6f5d5.jpg",[],{"id":67322,"slug":67323,"title":28124,"dynasty":45,"author":67324,"museum":107,"description":67325,"tags":67326,"thumbUrl":67327,"material":751,"size":752,"collection":95,"collections":67328,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240358,"shi-ye-ye-ji-mei-240358","叶继美","叶继美（？－？），字章含，浙江嘉兴府嘉善县人，民籍，明朝政治人物。",[4038,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc89d64958c69928d719c0f07ca42df.jpg",[],{"id":67330,"slug":67331,"title":67332,"dynasty":45,"author":67333,"museum":107,"description":67334,"tags":67335,"thumbUrl":67336,"material":751,"size":752,"collection":95,"collections":67337,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240351,"fu-de-jia-lian-shi-ye-liu-han-240351","赋得嘉莲诗页","刘汉","刘汉，字继远，山东东昌高唐（今山东高唐县）人。明朝大臣，水利学家。",[4038,7,60,50,77,25,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756a2147c8cb072276c84cd9e5dcef9a.jpg",[],{"id":67339,"slug":67340,"title":52307,"dynasty":45,"author":67341,"museum":107,"description":67342,"tags":67343,"thumbUrl":67344,"material":751,"size":752,"collection":95,"collections":67345,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240348,"jia-lian-shi-ye-zhu-wan-nian-240348","朱万年","字鹤南，明朝黎平府（今贵州黎平）人。明神宗万历三十七年（公元1609年）举人，历任山东定陶知县，中城兵马司指挥，户部河南司主事，员外郎、郎中，山东莱州知府等。",[25,7,60,77,45,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe238898297a847612946d825a70575f9.jpg",[],{"id":67347,"slug":67348,"title":67349,"dynasty":45,"author":67350,"museum":107,"description":67351,"tags":67352,"thumbUrl":67353,"material":751,"size":752,"collection":95,"collections":67354,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240345,"yong-bing-tou-lian-shi-ye-liu-da-lin-240345","咏并头莲诗页","刘大临","此作用笔灵动秀雅，以行书书就，深得晋唐行书遗韵。提按顿挫间尽显笔法精妙，笔画粗细、墨色枯湿富于变化，行气贯通自然，结体疏密相宜。通篇排布疏朗舒展，既恪守书法法度，又不失文人写意的随性雅致，尽显明代书法尚态取势的特质。\n诗书相融一体，笔墨间晕染出文人酬唱的清雅意趣，尽显晚明士大夫的风流襟怀，是一件兼具艺术审美价值与文史意涵的行书精品。",[4038,7,60,77,50,25,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8969ec1ec1600dcf3da34f3a52d142.jpg",[],{"id":67356,"slug":67357,"title":67358,"dynasty":45,"author":454,"museum":107,"description":67359,"tags":67360,"thumbUrl":67361,"material":751,"size":752,"collection":95,"collections":67362,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240344,"hu-lin-tu-jia-rui-shi-bing-xiao-yin-ye-yi-ming-240344","胡麟图嘉瑞诗并小引页","此页小楷清劲秀雅，结体端稳匀整，尽显明代台阁书法的中和隽秀之美。笔锋圆融温润，点画排布疏朗停匀，起收转合皆见法度。\n\n页中咏颂嘉莲祥瑞，文辞雅致，笔墨与诗意相融，尽显雅正端方的士人气韵。四方朱印错落钤盖，朱墨映带，为素净纸面晕染出疏宕古雅的装饰意趣。整体兼具诗稿的文学意韵与书法的审美价值，尽显明代文人沉静内敛的审美意趣，是一件文辞笔墨俱佳的小品佳作。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b7bf117522debf97352c8934c8a533.jpg",[],{"id":67364,"slug":67365,"title":67366,"dynasty":45,"author":67367,"museum":107,"description":67368,"tags":67369,"thumbUrl":67370,"material":751,"size":752,"collection":95,"collections":67371,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240341,"lian-fu-sheng-shi-ye-li-wei-240341","莲祔生诗页","李囗","此作用笔纵逸苍劲，线条圆劲灵动，牵丝映带间流转自然，字势开合相生，行气贯通无碍。章法疏密相宜，随字赋形，字间顾盼呼应，尽显书写时的挥洒意气。\n墨色兼具浓淡枯湿，枯笔瘦劲见筋骨，润笔丰润含韵致，将诗文意涵与草书笔意相融，笔墨间尽显随性疏朗的文人风骨，通篇气韵酣畅淋漓，既有草书之法度，又不失抒情之灵动，将内心情志寄寓挥毫之间，笔锋辗转皆是心性舒张，尽显草书抒情尚态的特质，是笔墨功力与文人情思兼备的佳作。",[7,398,77,50,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946f1b691b635c555ba1a864782160bc.jpg",[],{"id":67373,"slug":67374,"title":67375,"dynasty":45,"author":67376,"museum":107,"description":67377,"tags":67378,"thumbUrl":67379,"material":751,"size":752,"collection":95,"collections":67380,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240340,"yong-lang-zhao-tang-jia-lian-fu-sheng-shi-bing-xu-ye-liu-zhen-240340","咏朗照堂嘉莲祔生诗并序页","刘振","泛黄纸页晕开岁月痕迹，左侧竖幅题签墨色沉凝，笔意端稳朴拙。右侧诗帖行书错落排布，随性舒展间带着疏朗文人意趣，字间疏密自在流转，藏着咏莲寄怀的清雅心绪。\n\n纸面斑驳霉痕是时光注脚，整体书卷气浓厚，尽显文人耽于雅事、寄情笔墨的闲散雅致，将诗意心绪藏进笔墨开合疏密之中，旧纸带着沉静质感，将几百年前的清雅文思，封存在这一方册页之内。",[25,7,60,26,2602,433,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c043f88515e0b9423e5facce328832.jpg",[],{"id":67382,"slug":67383,"title":17924,"dynasty":18,"author":51913,"museum":107,"description":51914,"tags":67384,"thumbUrl":67385,"material":751,"size":752,"collection":95,"collections":67386,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240337,"shi-zhou-guo-shang-guang-240337",[2135,75,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93f433dec7797e02c790f8468f30707.jpg",[],{"id":67388,"slug":67389,"title":67390,"dynasty":18,"author":67391,"museum":107,"description":67392,"tags":67393,"thumbUrl":67394,"material":751,"size":752,"collection":95,"collections":67395,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240318,"xu-guan-guang-shi-zhou-xu-guan-guang-240318","徐观光诗轴","徐观光","此作用笔灵动潇洒，以行书书就诗句。字形大小错落、欹正相生，行笔间牵丝映带，尽显流转韵律。墨色枯湿浓淡富于变化，章法疏朗透气，将寻访桃源的悠然意趣融于笔墨之中。\n\n笔势带着闲适萧散的意境，既有帖学的灵动秀雅，又暗含随性自在的文人风骨，整体书卷气盎然，诗意与书法韵味浑然相合，尽显雅致萧散的文人笔墨意趣。",[7,60,75,77,137,9676,679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df7f84aa8541278525b72a6b8ea6ac1.jpg",[],{"id":67397,"slug":67398,"title":42796,"dynasty":45,"author":67399,"museum":107,"description":67400,"tags":67401,"thumbUrl":67402,"material":751,"size":752,"collection":95,"collections":67403,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240313,"tao-li-yuan-xu-zhou-liu-chong-qing-240313","刘重庆","刘重庆（1583.1.20～1632.8.18），字耳枝，号幼孙，山东莱州府掖县（今山东省莱州市）人。明朝著名书法家。万历三十八年（公元1610年）进士，以礼部观政授献县知县。",[4038,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75bc112881e071f1f6969d2d3cfa833.jpg",[],{"id":67405,"slug":67406,"title":17924,"dynasty":18,"author":67407,"museum":107,"description":67408,"tags":67409,"thumbUrl":67410,"material":751,"size":752,"collection":95,"collections":67411,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},240302,"shi-zhou-kang-guang-ren-240302","康广仁","康广仁（1867年－1898年9月28日），本名有溥，字广仁，号幼博，又号大广，广东南海人，康有为之弟，清末维新派。与杨锐谭嗣同等人号称戊戌六君子。",[7,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0a41befeda67996e6e57ec423f5a8b.jpg",[],{"id":67413,"slug":67414,"title":17924,"dynasty":18,"author":33586,"museum":107,"description":67415,"tags":67416,"thumbUrl":67417,"material":751,"size":752,"collection":95,"collections":67418,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240296,"shi-zhou-chen-yi-xi-240296","陈奕禧（1648—1709），清代书法家。字六谦，又字子文、文一，号香泉，晚号葑叟，浙江海宁盐官人。",[25,7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e4955c79c2de0fdb105154f69669f1.jpg",[],{"id":67420,"slug":67421,"title":67422,"dynasty":45,"author":454,"museum":107,"description":67423,"tags":67424,"thumbUrl":67425,"material":751,"size":752,"collection":95,"collections":67426,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240288,"wang-zhi-deng-shi-zhou-yi-ming-240288","王稺登诗轴","此作用笔纵逸灵动，以草书挥洒诗意。起收锋毫间尽显使转之妙，线条粗细随章法自然变幻，墨色干湿浓淡相生，自带萧散疏朗的文人意趣。整幅行气贯通，三列书迹错落揖让，字势开合有度，牵丝映带之间，将诗中幽庭萧秋的清冷空寂，与笔墨节奏融为一体。笔力苍劲却不失秀雅，既有明代草书尚势的典型风貌，又暗含温润书卷气，落款与钤印排布妥帖，虚实相生，气脉完整，将文字意象与书法美感合二为一，尽显文人笔墨里的雅致情致。",[4038,25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a314ab89b7d86075731e4a6d4e55888.jpg",[],{"id":67428,"slug":67429,"title":17924,"dynasty":18,"author":31963,"museum":107,"description":52762,"tags":67430,"thumbUrl":67431,"material":751,"size":752,"collection":95,"collections":67432,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240277,"shi-zhou-wang-shi-hong-240277",[7,60,75,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac77ab393e4386a903483fdf1d257109.jpg",[],{"id":67434,"slug":67435,"title":17924,"dynasty":18,"author":67436,"museum":107,"description":67437,"tags":67438,"thumbUrl":67439,"material":751,"size":752,"collection":95,"collections":67440,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240274,"shi-zhou-liang-yu-ming-240274","梁羽明","梁羽明（1604-1685）字宸须，号芝山，河南兰阳县人（今兰考县）。明崇祯七年甲戌进士，官太常寺少卿，户部右侍郎梁云构之子。\n梁羽明字宸须，号芝山，生于万历三十二（1604），明天启七年丁卯科举人，明崇祯七年甲戌进士，初授行人，考选吏部。顺治三年，授考功司郎中、转升太常寺少卿，里定雅乐，祀事修明。母恙辞官奉母归乡，母卒栖庐不复仕。卒于康熙二十四年（1685），寿八十有二。诰授大中大夫。",[75,7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841b83aa6e249b77e6acb59d55bef05c.jpg",[],{"id":67442,"slug":67443,"title":67444,"dynasty":18,"author":454,"museum":107,"description":67445,"tags":67446,"thumbUrl":67447,"material":751,"size":752,"collection":95,"collections":67448,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240272,"lu-yan-chun-shi-zhou-yi-ming-240272","路衍淳诗轴","此作用笔纵逸酣畅，以行书为主，间糅草意，线条提按顿挫富于变化，墨色润燥相生，尽显潇洒跌宕之致。整幅布局疏密得当，字势欹侧相生，行气连贯流畅，各列顾盼有情，于规整中见灵动。\n\n内容为题咏梅花的诗作，笔墨与诗意相融，将梅之孤高清雅托于笔端，枯湿浓淡间尽显梅之疏朗清逸的君子品格。书者以笔为骨，以墨为韵，把文人咏梅的清雅意趣挥洒淋漓尽致，尽显清代行书尚态抒情的典型风貌，笔墨间裹挟着传统文人的审美意趣与精神追求。",[7,60,75,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F837db5cc5fe899ed0902c280fe4025e4.jpg",[],{"id":67450,"slug":67451,"title":17924,"dynasty":18,"author":67452,"museum":107,"description":67453,"tags":67454,"thumbUrl":67455,"material":751,"size":752,"collection":95,"collections":67456,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240271,"shi-zhou-wang-qi-wo-240271","王启沃","王启沃（生卒年不详），字心乃，系王士琦之子、王象蒙之曾孙。清康熙十一年壬子（公元1672年）举人，康熙十五年丙辰（公元1676年）进士。官内阁中书舍人。",[7,60,75,651,360,1677,589,3038,6398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c59ad37f430b6a7f39a4591906cb7c.jpg",[],{"id":67458,"slug":67459,"title":27953,"dynasty":45,"author":67460,"museum":107,"description":67461,"tags":67462,"thumbUrl":67463,"material":751,"size":752,"collection":95,"collections":67464,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240257,"wu-jue-zhou-he-ying-rui-240257","何应瑞","何应瑞于1610年中进士，先后历任户部主事、常州知府、河南参政、副都御史、工部尚书等职，具有较高的治理政事才能，在朝内享有较高的威望。",[25,75,60,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4299cab4f56336f6401a50da1ee17106.jpg",[],{"id":67466,"slug":67467,"title":17924,"dynasty":18,"author":67468,"museum":107,"description":67469,"tags":67470,"thumbUrl":67471,"material":751,"size":752,"collection":95,"collections":67472,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240254,"shi-zhou-hao-wei-ne-240254","郝帷讷","郝惟讷（1623—1683），字敏公，一字端甫，直隶霸州人，顺治四年进士，历任刑部主事、刑部郎中、通政司右参议、大理寺卿、户部侍郎、吏部侍郎、都察院左都御史、工部尚书、刑部尚书、礼部尚书、户部尚书、吏部尚书等职。康熙二十二年卒，谥恭定。《清史稿》有传。《清史稿》所载之郝维讷、郝惟讷，实为一人，地方志亦载其名为郝惟讷。",[24,25,75,199,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aa935f5af94cbcb12bb53d4aa9826f0.jpg",[],{"id":67474,"slug":67475,"title":67476,"dynasty":18,"author":67477,"museum":107,"description":24994,"tags":67478,"thumbUrl":67479,"material":751,"size":752,"collection":95,"collections":67480,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240249,"gao-xiang-gu-yue-fu-zhou-gao-xiang-240249","髙翔古乐府轴","髙翔",[2135,75,7,1613,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36600948eb63242d39f55e06cb197956.jpg",[],{"id":67482,"slug":67483,"title":67484,"dynasty":45,"author":454,"museum":107,"description":67485,"tags":67486,"thumbUrl":67487,"material":751,"size":752,"collection":95,"collections":67488,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240242,"jin-jie-qi-lv-shi-ye-yi-ming-240242","金阶七律诗页","此作为小行楷，笔势舒展温润，点画清劲雅致，结体端秀匀整，兼得唐楷谨严法度与行书灵动意趣。墨色沉朴晕染自然，古旧笺纸晕开岁月质感，整体沉静古雅，尽显文人温雅气质。\n\n诗中寄寓济世安民襟怀，笔墨文思相融，将士子理想落于笔端，是兼具艺术审美与人文意趣的书法小品，尽显明代书法尚态重韵的雅致风神。",[25,7,60,77,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07a1256999424fa045ee0b53df1e5c5.jpg",[],{"id":67490,"slug":67491,"title":67492,"dynasty":45,"author":454,"museum":107,"description":67493,"tags":67494,"thumbUrl":67495,"material":751,"size":752,"collection":95,"collections":67496,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240236,"xuan-shang-de-geng-lao-shi-de-zheng-hou-ba-ye-yi-ming-240236","宣上德耿老师德政后跋页","纸面泛黄古旧，墨色沉朴温润。此作用笔舒展灵动，结体端雅秀逸，既有台阁体的端整法度，又不失文人手札的随性意趣。行笔间节奏舒缓从容，墨色浓淡自然过渡，笔势牵连间尽显书写时的松弛自如。\n\n作为德政跋文，笔墨与文辞共情，字里行间浸透着对师长的敬慕之意。岁月磨损了纸面，却晕染出更醇厚的书卷古意，让这件小品兼具书法审美与文献价值，尽显明代士人的文雅襟怀。",[25,26,60,77,50,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1d3497a6b96d8417553a9625a30c9a.jpg",[],{"id":67498,"slug":67499,"title":67500,"dynasty":45,"author":454,"museum":107,"description":67501,"tags":67502,"thumbUrl":67503,"material":751,"size":752,"collection":95,"collections":67504,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240235,"zhong-hua-min-qi-lv-shi-ye-yi-ming-240235","锺化民七律诗页","此行书诗页随性舒展，笔墨灵动自然，起收转合见行书流转逸致，字字错落却行气贯通。枯润藏露间不失法度，兼具文人书法的清雅散淡。笔墨追随手底诗意，将凭吊古碑的沉郁、鉴湖泛舟的闲逸一一铺陈，尽显文人寄情志于翰墨山水的雅趣。落款端古雅致，朱印沉稳，与墨色相映，为小品尺牍收束规整，更添隽永悠然的书卷意趣。",[4038,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684ca4916a50fc980950fd3f107f6a6a.jpg",[],{"id":67506,"slug":67507,"title":67508,"dynasty":45,"author":454,"museum":107,"description":67509,"tags":67510,"thumbUrl":67511,"material":751,"size":752,"collection":95,"collections":67512,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240233,"zhang-jiao-qi-lv-shi-ye-yi-ming-240233","张教七律诗页","此作为行书诗页，笔墨随性温润，线条舒展柔和无刻意雕琢之感。行笔牵丝映带自然，章法疏朗行气流畅，字距错落排布却和谐自洽，尽显林下闲适意趣。\n墨色富于浓淡枯湿变化，暗合书写时的情绪起伏，诗书相融，将隐逸淡远的心境诉诸笔端，无张扬之态，却带着沉静雅致的书卷韵味，尽显晚明文人尚韵尚意的书风特质，是一件饱含文人情怀的小品佳作。",[25,24,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed3478389291d63a3a5f5518eb523454.jpg",[],{"id":67514,"slug":67515,"title":46301,"dynasty":45,"author":67516,"museum":107,"description":67517,"tags":67518,"thumbUrl":67519,"material":751,"size":752,"collection":95,"collections":67520,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240230,"wu-lv-shi-ye-huang-ru-heng-240230","黄汝亨","黄汝亨（1558-1626），字贞父，钱塘人，裳子，明万历二十六年进士，官至江西布政司参议。明朝书法家、文学家.",[45,25,7,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b37d2f17ef3c50d1ee5169d5b0052b.jpg",[],{"id":67522,"slug":67523,"title":67524,"dynasty":45,"author":454,"museum":107,"description":67525,"tags":67526,"thumbUrl":67527,"material":751,"size":752,"collection":95,"collections":67528,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240226,"qian-gu-wu-lv-shi-ye-yi-ming-240226","钱穀五律诗页","此作为行书五律诗页，笔墨温润秀雅，笔画舒展灵动，起收转合皆具法度。字里行间顾盼有情，行气连贯疏朗，将帖学的隽逸意蕴融入笔端。\n\n通篇气息沉静端方，带着明代书法尚态重意的典型特质，尽显文人书法的清雅气质。诗作心境与笔墨美感相融，落笔轻重得宜，牵丝映带自然柔和，在规整之中透出随性之趣，尽显古典书法的雅致韵味，静静诉说着旧时光里的文人情致。",[4038,25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb2432d609f1f451cef703fa9468a6d.jpg",[],{"id":67530,"slug":67531,"title":46301,"dynasty":45,"author":46326,"museum":107,"description":46327,"tags":67532,"thumbUrl":67533,"material":751,"size":752,"collection":95,"collections":67534,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240218,"wu-lv-shi-ye-hu-ying-lin-240218",[7,60,77,25,26,50,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a6301c20ac5d68bb6ce438a0ce13d.jpg",[],{"id":67536,"slug":67537,"title":67538,"dynasty":45,"author":454,"museum":107,"description":67539,"tags":67540,"thumbUrl":67541,"material":751,"size":752,"collection":95,"collections":67542,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240214,"shen-shui-hu-qi-lv-shi-ye-yi-ming-240214","沈（氵隺）七律诗页","此作用笔温润秀雅，行书笔意流畅自然，牵丝映带间尽显灵动精妙，整体气息清雅从容。诗句排布疏密得当，行气贯通舒展，单字姿态各别，收放自如，既有帖学书法的严谨法度，又不失随性文人意趣。落款小字恭谨端稳，朱红印章点缀一隅，为整幅添了一抹雅致亮色，将诗书笔墨融为一体，尽显晚明文人书法的风流隽秀，是一件韵味悠长的诗书合璧小品。",[45,7,25,60,77,433,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b59918005e7d9e9589399694e00a640.jpg",[],{"id":67544,"slug":67545,"title":67546,"dynasty":45,"author":454,"museum":107,"description":67547,"tags":67548,"thumbUrl":67549,"material":751,"size":752,"collection":95,"collections":67550,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240206,"shen-pian-wu-yan-shi-ye-yi-ming-240206","沈楩五言诗页","此作用笔灵动秀雅，点画圆润舒展，结体疏朗匀停，通篇气息温婉清逸，既有晋唐行书的隽逸意趣，又带着明代书法特有的温润书卷气。\n\n字距行距错落自然，墨色浓淡相宜，落款处朱印映衬素纸，虚实相生。诗与书相得益彰，将诗作清雅淡远的意境融于笔墨之间，尽显文人闲适冲淡的襟怀，是一件颇具雅致意趣的文人书法小品。",[7,60,77,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2c6eee0b1c3709821291b702160a81.jpg",[],{"id":67552,"slug":67553,"title":67554,"dynasty":45,"author":67555,"museum":107,"description":67556,"tags":67557,"thumbUrl":67558,"material":751,"size":752,"collection":95,"collections":67559,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240203,"shan-yin-geng-zheng-xu-ye-song-ying-chang-240203","山阴耿政序页","宋应昌","宋应昌（1536--1606），字时祥，号桐冈，明浙江仁和(今杭州)人，祖籍浙江会稽。生有异相，方面紫髯，望之如神人、剑客，天生豪杰。明世宗嘉靖四十四年(1565)，进士，授绛州知州。历济南知府、福建布政使，进副都御史。巡抚山东，上《海防事宜》，预策倭患，进选将、练兵、积粟三策。官至兵部左侍郎，加右都御史。著有《道器图说》、《朝鲜复国经略》等。",[25,7,60,199,26,1498,77,50,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56446832c4086f7ad25452a39f9b9cb9.jpg",[],{"id":67561,"slug":67562,"title":67563,"dynasty":18,"author":67564,"museum":107,"description":67565,"tags":67566,"thumbUrl":67567,"material":751,"size":752,"collection":95,"collections":67568,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240201,"jin-dao-an-shi-zhou-jin-dao-an-240201","金道安诗轴","金道安","这件行书轴笔意纵逸洒脱，三列竖写排布疏密得宜，行气贯通流畅。起笔藏露互用，收笔敛放随心，牵丝映带间尽显行书灵动意趣。墨色枯湿浓淡富于层次，时而丰润饱满，时而枯劲老辣，点画间带着舒展的韵律感。\n整幅将诗文里乘马游春的雅逸景致，寄寓于遒劲又不失秀润的笔力之中，法度与性情相融，尽显尚意重韵的审美意趣，是兼具文学性与艺术性的书法佳构。",[7,60,75,14990,6769,14632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e14674951f94a7794ed77639b0dfd9.jpg",[],{"id":67570,"slug":67571,"title":17924,"dynasty":18,"author":67572,"museum":107,"description":67573,"tags":67574,"thumbUrl":67575,"material":751,"size":752,"collection":95,"collections":67576,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},240181,"shi-zhou-he-de-fan-240181","贺德藩","此作用笔老辣苍劲，以行草出之，纵有行而横无列，行气连贯畅达。字势欹侧相生，起收间顿挫利落，线条粗细变化丰富，墨色枯湿浓淡相映，时而重墨沉凝饱满，时而枯锋牵丝映带，尽显笔墨层次。\n\n通篇节奏跌宕明快，肆意挥洒间不失章法矩度，将贺寿诗的吉庆意蕴融于笔墨舒张之中，既带着豪放不羁的抒怀意气，又藏着深厚的笔墨功底，尽显书家抒情达意的才情风骨。",[7,398,75,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe236e45bb4e48744c0a11beadeb6d4e3.jpg",[],{"id":67578,"slug":67579,"title":67580,"dynasty":45,"author":454,"museum":107,"description":67581,"tags":67582,"thumbUrl":67583,"material":751,"size":752,"collection":95,"collections":67584,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240173,"wu-kuan-li-yu-ji-qi-yang-shi-jia-jing-shi-wu-nian-gao-ming-juan-yi-ming-240173","无款李愈及妻杨氏嘉靖十五年诰命卷","此作为馆阁体小楷敕命，笔致匀停秀雅，结体方正端凝，尽显明代官方文书的严整法度。墨色清隽沉静，与朱红玺印相映成趣，朱砂沉凝古艳，晕染于泛黄绢本之上，烘托出皇权诰封的典重威仪。\n文书字句褒扬儒臣伉俪德行，记录朝廷封赏恩典，既是明代官制礼制的鲜活见证，亦尽显馆阁书法的端庄风貌，藏着明代官方书法的审美意趣与封建朝堂的仪制底蕴。",[23,7,199,77,49,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb234aa5197a828226993205acb2b94e6.jpg",[],{"id":67586,"slug":67587,"title":4849,"dynasty":18,"author":67588,"museum":107,"description":67589,"tags":67590,"thumbUrl":67591,"material":751,"size":752,"collection":95,"collections":67592,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240169,"ti-hua-shi-zhou-wu-zi-240169","吴鼒","吴鼒（1755—1821），字及之，一字山尊，号抑庵，又号南禺山樵，晚号达园，安徽全椒人。清代嘉庆四年（1799）进士，官侍讲学士。善书能画，工骈体文。著《夕葵书屋集》《清画家诗史》《墨林今话》《畊砚田斋笔记》等传世。",[24,25,75,60,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe68abd139949fdb26b4869199bd6a7.jpg",[],{"id":67594,"slug":67595,"title":17924,"dynasty":18,"author":67596,"museum":107,"description":67597,"tags":67598,"thumbUrl":67599,"material":751,"size":752,"collection":95,"collections":67600,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240148,"shi-zhou-peng-shou-qian-240148","彭守谦","此作用笔雄放恣肆，以迅疾笔势贯穿全篇。正文线条粗细跌宕，重落起笔如斩钉截铁，行笔枯润互见，末句收笔牵丝映带，气脉浑然贯通，结体欹侧奇崛，将诗句疏狂意趣寄于笔墨。\n\n左侧题款笔势收敛却不失劲挺，与正文形成张弛对比。整幅疏密相生，墨色焦浓淡枯层次分明，以狂放笔意诠释江湖意气，尽显尚气重韵的笔墨特质，将胸中豪情落于尺素，浑朴酣畅间，满纸皆是疏宕豪迈的文士风神。",[7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26579e6a1c4efc0a4b2e0fcc72c50a28.jpg",[],{"id":67602,"slug":67603,"title":67604,"dynasty":45,"author":454,"museum":107,"description":67605,"tags":67606,"thumbUrl":67607,"material":751,"size":752,"collection":95,"collections":67608,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240133,"yu-fan-shi-gao-ye-yi-ming-240133","雨帆诗稿页","此作为行书诗稿，信笔挥毫全无刻意雕饰。字势错落舒展，大小随性依文句情绪排布，墨色浓淡自然晕化，带着松弛率真的书写意趣。\n\n诗书相融无间，笔墨间漫溢出冲淡散逸的林下雅风，将雨后郊园漫步的清寂闲适藏进笔锋起落，尽显文人寄情林泉的清雅襟怀，是日常手札中兼具笔墨功底与文人情致的随性佳作。",[7,60,50,433,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53325f2e62dcc70cb1fcfc7d3411c3ef.jpg",[],{"id":67610,"slug":67611,"title":67612,"dynasty":45,"author":454,"museum":107,"description":67613,"tags":67614,"thumbUrl":67615,"material":751,"size":752,"collection":95,"collections":67616,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240125,"suo-zun-shi-ye-yi-ming-240125","所遵诗页","此作用笔秀雅温润，点画灵动舒展，牵丝映带间尽显行书流畅韵致。结体错落自然，欹正相生，既留存晋唐小楷的端雅遗意，又暗合明代行书的灵动疏朗之风。\n\n通篇墨色枯润得宜，字字顾盼有情，章法排布舒朗宽松，气息安和恬雅。笔墨与清雅高古的诗句相融，将隐逸高蹈的文人襟怀寄寓其间，无剑拔弩张之势，却自有清和隽永的书卷意趣，尽显林下之风，是一件颇具文人雅韵的行书佳构。",[4038,24,25,60,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50333d917f290e5a17c69e8fb772f9f7.jpg",[],{"id":67618,"slug":67619,"title":67620,"dynasty":45,"author":454,"museum":107,"description":67621,"tags":67622,"thumbUrl":67623,"material":751,"size":752,"collection":95,"collections":67624,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240114,"zhu-xin-fu-qi-lv-shi-ye-yi-ming-240114","朱信父七律诗页","此作用笔恣肆灵动，牵丝映带自然圆融，通篇行气贯通流畅。枯润浓淡错落变化，线条粗细交替节奏感十足，将诗作感怀酬答的心绪藏于笔墨起伏之间。\n\n起笔尚见沉稳，后续渐趋疏放洒脱，笔锋辗转腾挪，欹侧相生的字势间不失帖学法度。章法疏密相宜，行间虚实相映，尽显晚明尚态书风的疏朗野逸，笔墨间漫溢着文人自适疏放的林下意气，是一件颇具韵致的草书小品。",[4038,7,60,4347,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374e97181edf38d3e2eb3d99419dfbe6.jpg",[],{"id":67626,"slug":67627,"title":67628,"dynasty":45,"author":454,"museum":107,"description":67629,"tags":67630,"thumbUrl":67631,"material":751,"size":752,"collection":95,"collections":67632,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240105,"ye-liang-zi-yu-lu-ye-yi-ming-240105","叶良鼒语录页","此作小楷取法晋唐，笔法精劲秀雅，结体端稳匀整。字里行间气息静穆安和，提按转合间灵动尽显，点画排布疏密得宜，通篇行气连贯，将文人沉静的书卷气融于笔墨之中。\n\n作为书家自书随笔，虽属日常题跋，却将小楷隽秀工稳的特质发挥到极致。墨色清润匀净，从头至尾未见懈怠，一笔一划皆见功底，是明代台阁体之外，文人小楷的典型风貌，尽显书写者的笔墨造诣与清雅襟怀。",[7,60,77,50,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b57f446f1f047e7a51bdef2a7d4efb6.jpg",[],{"id":67634,"slug":67635,"title":28124,"dynasty":45,"author":67636,"museum":107,"description":67637,"tags":67638,"thumbUrl":67639,"material":312,"size":95,"collection":96,"collections":67640,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240103,"shi-ye-ding-yao-kang-240103","丁耀亢","丁耀亢（公元1599年—1671年），字西生，号野鹤，又号紫阳道人，木鸡道人。山东诸城人，明末清初著名文学家，是郧阳兵备副史丁惟宁第五个儿子。\n丁耀亢幼年丧父，在母亲的训导下刻苦攻读，少有奇才，当时就有“山东中了丁野鹤，天下文墨数不着”的赞誉。后因困于科举，久不得志，于万历四十七年（公元1619年）出走江南，投到董其昌门下，诗文大长。归来后移居到诸城南乡的橡谷山庄隐居（今诸城皇华镇相家沟村），写《天史》十卷，献于青州名儒钟羽正，羽正大惊，称有奇才。后又写了《西湖扇传奇》、《化人游传奇》等十几部书。直至清兵入关，他先避难于斋堂岛，后到父亲的九仙山庄隐居，誓不出仕，当时山东著名诗人王渔洋就以“九仙诗人丁野鹤”誉之。\n顺治五年（公元1648年），为避地方势力的诬害，49岁的丁耀亢被迫入京，以顺天籍考取贡生，充镶白旗教习，与京师名流结交，著《陆舫诗草》，名声大噪。顺治十年（公元1653年），54岁的丁耀亢出任河北容城教谕，五年后再受命出任福建惠安知县，他以母老而不赴，又回到了离别多年的橡谷山庄。于康熙元年（公元1662年）写出了著名的《续金瓶梅》，留诗曰：“懒散六十三，妙用无人识，顺逆两相忘，虚空镇常寂。”\n康熙四年（公元1665年），66岁的丁耀亢因著《续金瓶梅》获罪下狱，度过了120天的牢监生活，回乡后双目失明，自称木鸡道人，于康熙十年（公元1671年）病死橡谷，卒年72岁，葬于庄西黄豆山之阳。\n丁耀亢一生著书颇多，有关他的传说也流传甚广，大至可分为两大类：一是赞他的才，讲他自幼聪慧，精通经史，博学多艺，著作等身，是清初江北才子的楷模，如《一诗解风波》、《狗嘴焉会吐象牙》、《芝麻字》等篇；二是誉他的德，讲他心地良善，品德端正，嫉恶如仇，乐于助人的高尚品德，如《为学友挨打》、《丁野鹤治恶僧》、《野鹤桥》、《“不可”桌子》等篇。\n丁耀亢的传说立意清晰健康，生动感人，充分塑造出丁耀亢为人正派、嫉恶扬善、勤奋做事、坦诚做人的超人才智和高尚情操。给予后人以奋发向上、效贤立德、崇尚文明的教育和熏陶，具有很高的文化价值和艺术价值。",[4038,7,60,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac14f5a3409523fabd6097ceea373bb.jpg",[96],{"id":67642,"slug":67643,"title":67644,"dynasty":45,"author":454,"museum":107,"description":67645,"tags":67646,"thumbUrl":67647,"material":751,"size":752,"collection":95,"collections":67648,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240101,"hu-xuan-qi-lv-shi-ye-yi-ming-240101","胡瑄七律诗页","此作为行书诗页，笔致舒展灵动，起收转合暗含晋唐帖学法度，牵丝映带自然流畅，尽显婉转韵致。字间错落排布，行气贯通如一，墨色浓淡晕染间层次自生。\n\n书文为七言律句，笔墨与诗意相融，烟霞林泉之隐逸意趣跃然纸上，将文人寄情丘壑的林下襟怀凝注毫端。整幅沉静雅致，尽显明人行书尚态重韵的典型风貌，虽无署名，亦足见书写者的文人意趣与不俗笔力，铺陈出明代文人的林下风流。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42745db65f1a2bec70f9f209d2bf1503.jpg",[],{"id":67650,"slug":67651,"title":67652,"dynasty":18,"author":67653,"museum":107,"description":67654,"tags":67655,"thumbUrl":67656,"material":751,"size":752,"collection":95,"collections":67657,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240100,"he-si-nong-shi-ye-zhang-ji-liang-240100","和四农诗页","张际亮","张际亮（1799－1843）字亨甫，号华胥大夫、松寥山人，福建建宁县溪口镇渠村人。是鸦片战争时期享有盛誉的爱国诗人，与魏源、龚自珍、汤鹏并称为“道光四子”。张际亮一生创作诗文上千卷“万余首”，还有32卷、3078首。其诗较多反映了社会现实，揭露了腐败清王朝的政敝民贫，表达自己除弊济民的愿望。其诗作主要辑录于《松寥山人集》、《娄光堂稿》等。",[18,25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c3bd08235c889bc74674338be6f6af.jpg",[],{"id":67659,"slug":67660,"title":67661,"dynasty":18,"author":52681,"museum":107,"description":67662,"tags":67663,"thumbUrl":67664,"material":751,"size":752,"collection":95,"collections":67665,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240097,"qi-gu-shi-gao-ye-lu-yong-240097","七古诗稿页","此作为诗札双页，左页泥金笺墨书，右页素纸行书，笔墨清隽雅致。行笔舒展从容，结体灵动雅致，墨色枯润互见，带着随性松弛的书写意趣。\n\n诗书合璧，诗文清雅意绪与翰墨风神相融，笔底既有帖学的温润法度，又不失书写时的自在性情，尽显文人的书卷襟怀。作为日常诗稿信札，无刻意雕琢的匠气，字里行间皆是文人遣兴抒怀的自然流露，是诗、书相得益彰的小品佳作。",[25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b8e67f883514199eb3689c84f3b2fd3.jpg",[],{"id":67667,"slug":67668,"title":67669,"dynasty":18,"author":46464,"museum":107,"description":46465,"tags":67670,"thumbUrl":67671,"material":751,"size":752,"collection":95,"collections":67672,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240095,"qi-jue-san-shou-gao-ye-huang-jue-zi-240095","七绝三首稿页",[25,7,60,77,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd8c4139fb3668d42fc9660c1116e80.jpg",[],{"id":67674,"slug":67675,"title":67676,"dynasty":18,"author":46464,"museum":107,"description":46465,"tags":67677,"thumbUrl":67678,"material":751,"size":752,"collection":95,"collections":67679,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},240094,"qu-che-xing-shi-gao-ye-huang-jue-zi-240094","驱车行诗稿页",[25,7,60,77,433,46389,40182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63331478395f078323c842ef7ef9dbbf.jpg",[],{"id":67681,"slug":67682,"title":67683,"dynasty":18,"author":454,"museum":107,"description":67684,"tags":67685,"thumbUrl":67686,"material":751,"size":752,"collection":95,"collections":67687,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240093,"wan-bu-man-xing-shi-ye-yi-ming-240093","晚步漫兴诗页","此作为行书诗札，笔墨清隽简淡，行笔舒缓从容，通篇排布疏朗匀净，毫无局促壅塞之感。字迹温润凝练，无刻意雕琢修饰，尽显文人日常遣兴的松弛意趣。\n\n诗作为晚步漫兴所作，诗书合璧，将闲步郊野的悠然心境藏于笔墨间。纸面带着岁月晕染的泛黄痕迹，为这件小品更添古雅质感，整体随性雅致，带着明清文人手札特有的闲散温润，褪去馆阁体的刻板，尽显日常手书的真挚意韵，是兼具文学意趣与书法审美价值的佳品。",[199,7,50,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ab927df32b996188564a32ff26c7fc.jpg",[],{"id":67689,"slug":67690,"title":67691,"dynasty":18,"author":67692,"museum":107,"description":67693,"tags":67694,"thumbUrl":67695,"material":751,"size":752,"collection":95,"collections":67696,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240092,"meng-bo-shi-ye-hu-tang-240092","梦卜诗页","胡棠","此作为小楷诗页，气息温润典雅，用笔精劲细腻，起收笔暗含晋唐小楷的隽秀意趣，结体端秀雅致，虽带有馆阁体的整饬工稳，却无板滞匠气，自内而外透着清逸书卷清气。\n\n两开小幅章法舒朗疏阔，字间行距错落合宜，墨色匀净沉稳，点画排布张弛有度，将诗书意蕴融于笔底，尽显书写者不俗的笔墨功底与清雅襟怀，是清代文人小字书法中颇具意趣的可观之作。",[18,25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151549c4e7a81c55cf561e64016dcda.jpg",[],{"id":67698,"slug":67699,"title":67700,"dynasty":18,"author":52681,"museum":107,"description":67701,"tags":67702,"thumbUrl":67703,"material":751,"size":752,"collection":95,"collections":67704,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240091,"che-qiao-ba-jing-shi-bing-xu-ye-lu-yong-240091","车桥八景诗并序页","这帧小品行书以泛黄古笺为底，墨色沉静依旧。笔致灵动秀雅，牵丝映带间尽显行云流水之妙，行气舒朗连贯，将文人随性悠然的意趣藏于字里行间。\n\n笔墨兼具晋唐行书的飘逸风神与清代帖学的温润气质，诗书相融，落笔时的悠然心境跃然纸上。岁月晕染了笺纸，却未曾减损翰墨的隽永韵味，尽显传统尺牍小品的雅致格调。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12fc0e1ac305d130d2ab4028083b7a6.jpg",[],{"id":67706,"slug":67707,"title":67708,"dynasty":18,"author":52681,"museum":107,"description":67709,"tags":67710,"thumbUrl":67711,"material":751,"size":752,"collection":95,"collections":67712,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},240090,"chun-ri-feng-huai-shi-ye-lu-yong-240090","春日奉怀诗页","此件行书诗页，笔墨清隽秀雅，结体灵动舒展。两开页面对应排布，字距行距疏朗匀净，气息悠然沉静。用笔圆润温婉，起收间可见细腻法度，点画间顾盼有情，墨色带着浓淡枯湿的细微变化，尽显文人书写的松弛意趣。\n\n书写内容为春日怀人诗作，笔墨与诗意相融，将春日怀远的澹澹幽思藏于笔端，以笔抒怀风雅内敛，将抒情文字与书法形制合而为一，尽显传统士人的审美意趣，带着清雅恬和的书卷之气。",[2135,25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a18387c4866e959ce628a97fdaba33.jpg",[],{"id":67714,"slug":67715,"title":67716,"dynasty":18,"author":52666,"museum":107,"description":41344,"tags":67717,"thumbUrl":67718,"material":751,"size":752,"collection":95,"collections":67719,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240089,"qi-lv-si-shou-ye-qiu-guang-ye-240089","七律四首页",[7,60,26,77,18,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae99a57abe1507c47489287ab8908c3e.jpg",[],{"id":67721,"slug":67722,"title":46389,"dynasty":18,"author":454,"museum":107,"description":67723,"tags":67724,"thumbUrl":67725,"material":751,"size":752,"collection":95,"collections":67726,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},240088,"shi-gao-yi-ming-240088","此作为行书诗稿，笔致灵动舒展，带着行草的恣意意趣。字迹排布错落随性，字间牵丝映带自然，行气连贯却无壅塞之感，墨色浓淡晕染天然，尽显随性雅致的文人笔韵。\n\n左页落款配朱红印章，朱墨相映晕开古雅沉静的氛围。通篇以诗寄怀，笔墨兼具法度与文心，无刻意雕琢的匠气，尽是旧时文人间酬唱寄兴时的松弛挥毫，藏着以书明心、以诗传情的雅致日常，尽显清人尺牍小品的冲淡书卷气，还原了传统文人翰墨寄情的悠然风貌。",[25,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65577896e2d861aa4328285fb72f28d5.jpg",[],{"id":67728,"slug":67729,"title":46389,"dynasty":18,"author":454,"museum":107,"description":67730,"tags":67731,"thumbUrl":67732,"material":751,"size":752,"collection":95,"collections":67733,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240086,"shi-gao-yi-ming-240086","纸页晕染着旧时光的昏黄，墨色却依旧沉润鲜亮。两帧诗稿信手书就，行笔错落随性，跳脱了馆阁体的拘谨板正，点画间带着自然的牵丝映带，藏着书写时的悠然心绪。\n诗句与笔墨相融，笔势随着文思缓急舒展，将文人日常寄兴抒怀的松弛尽显。没有刻意的经营排布，反倒将旧时文人把诗意落于尺牍的雅致全然流露。洇开的淡墨与排布的字句，皆是时光沉淀下的平淡意趣，静静诉说着往昔文人间以诗寄情的风雅日常，让观览者窥见旧时光里的文人闲情。",[25,7,60,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81604e5e1a7e636ff0120693031a8e6c.jpg",[],{"id":67735,"slug":67736,"title":67652,"dynasty":18,"author":52666,"museum":107,"description":41344,"tags":67737,"thumbUrl":67738,"material":751,"size":752,"collection":95,"collections":67739,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},240085,"he-si-nong-shi-ye-qiu-guang-ye-240085",[7,25,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2a1e48fab950b83d4d85d24a130a84.jpg",[],{"id":67741,"slug":67742,"title":67743,"dynasty":18,"author":52666,"museum":107,"description":41344,"tags":67744,"thumbUrl":67745,"material":751,"size":752,"collection":95,"collections":67746,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240083,"he-si-nong-fa-jie-shi-ye-qiu-guang-ye-240083","贺四农发解诗页",[18,7,25,60,312,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1465125d6df1c707b669acfbdf2d69.jpg",[],{"id":67748,"slug":67749,"title":67750,"dynasty":18,"author":52666,"museum":107,"description":41344,"tags":67751,"thumbUrl":67752,"material":751,"size":752,"collection":95,"collections":67753,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},240079,"song-si-nong-jiang-zhi-feng-yang-shi-ye-qiu-guang-ye-240079","送四农将之凤阳诗页",[18,25,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2505beacf34e8a74f1ba62e15bbcd5b.jpg",[],{"id":67755,"slug":67756,"title":50981,"dynasty":18,"author":52666,"museum":107,"description":41344,"tags":67757,"thumbUrl":67758,"material":751,"size":752,"collection":95,"collections":67759,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},240078,"wu-yan-shi-er-shou-ye-qiu-guang-ye-240078",[7,60,432,77,26,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd121e9493a94eeea27e4658aeab87d5.jpg",[],{"id":67761,"slug":67762,"title":67763,"dynasty":18,"author":67764,"museum":107,"description":67765,"tags":67766,"thumbUrl":67767,"material":751,"size":752,"collection":95,"collections":67768,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":3443},240076,"zhao-yan-ti-wu-yan-shi-ye-zhao-yan-ti-240076","赵延褆五言诗页","赵延褆","此行书诗页用笔秀雅温润，起收利落自然，牵丝映带暗含章法韵律，尽显从容闲适的文人笔意。字距疏朗、行距匀停，墨色带着浓淡枯湿的层次变化，将诗作清雅意境与书法温婉气质相融。\n\n通篇气息静穆平和，无欹侧跳脱的张扬之态，尽显书卷涵养，笔墨间藏着随性意趣，将吟诗寄兴的雅事以笔墨留存，文与书相得益彰，尽显传统文人的审美意趣。",[7,60,77,50,25,26,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98b7874b7fca7ad1065af5eb81744739.jpg",[],{"id":67770,"slug":67771,"title":67772,"dynasty":18,"author":46464,"museum":107,"description":46465,"tags":67773,"thumbUrl":67774,"material":751,"size":752,"collection":95,"collections":67775,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240073,"da-si-nong-shi-ye-huang-jue-zi-240073","答四农诗页",[7,60,77,26,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c667b1f728ff7a61d38e0639b003d4.jpg",[],{"id":67777,"slug":67778,"title":67779,"dynasty":18,"author":46464,"museum":107,"description":46465,"tags":67780,"thumbUrl":67781,"material":751,"size":752,"collection":95,"collections":67782,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240072,"song-you-hai-shan-yang-shi-ye-huang-jue-zi-240072","送友还山阳诗页",[24,25,60,7,77,27,26,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49c1d3779922c19dee6ac8755dc13da.jpg",[],{"id":67784,"slug":67785,"title":67786,"dynasty":18,"author":67787,"museum":107,"description":67788,"tags":67789,"thumbUrl":67790,"material":751,"size":752,"collection":95,"collections":67791,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240071,"gu-xi-min-ku-gao-ye-song-gan-pei-240071","古稀民哭稿页","宋绀佩","左幅行书取法米芾，笔锋爽利跳宕，结体欹侧错落，笔墨间尽显唱和酬答的文人雅趣。右幅粉笺小字作行草，笔致萦回绵密，墨色带着自然的浓淡晕染，将悼亡的沉恸心绪藏于牵丝映带之间，笔底自有悲切意绪流转。\n\n整幅手札装裱清雅，以尺幅小品承载真挚情志，把日常寄怀与笔墨意趣相融，尽显清代士人书法抒情与法度兼具的别样韵味，是兼具文献性与艺术性的文人手迹精品。",[18,7,60,4347,50,27,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f90f2a982df0fce26a9d7ef42d03dba.jpg",[],{"id":67793,"slug":67794,"title":67795,"dynasty":18,"author":46464,"museum":107,"description":46465,"tags":67796,"thumbUrl":67797,"material":751,"size":752,"collection":95,"collections":67798,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240068,"song-si-nong-nan-gui-shan-yang-shi-ye-huang-jue-zi-240068","送四农南归山阳诗页",[25,7,60,77,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc02d06e1a5abfdd3979b06dc234007f.jpg",[],{"id":67800,"slug":67801,"title":38334,"dynasty":18,"author":38335,"museum":107,"description":52705,"tags":67802,"thumbUrl":67803,"material":751,"size":752,"collection":95,"collections":67804,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240048,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240048",[7,60,77,2282,2135,385,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98731b3d3d2da109957a59afa4627226.jpg",[],{"id":67806,"slug":67807,"title":38334,"dynasty":18,"author":38335,"museum":107,"description":52705,"tags":67808,"thumbUrl":67809,"material":751,"size":752,"collection":95,"collections":67810,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240046,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240046",[7,60,77,2282,385,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd1e376a4b420490f7b61365babf331.jpg",[],{"id":67812,"slug":67813,"title":67814,"dynasty":18,"author":67815,"museum":107,"description":66871,"tags":67816,"thumbUrl":67817,"material":751,"size":752,"collection":95,"collections":67818,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240014,"xing-qi-yan-lian-qi-jun-zao-240014","行七言联","祁寯藻",[24,25,75,2136,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa064d56d8a829dfe74ae31ea43f6e9b0.jpg",[],{"id":67820,"slug":67821,"title":67822,"dynasty":45,"author":454,"museum":107,"description":67823,"tags":67824,"thumbUrl":67825,"material":751,"size":752,"collection":95,"collections":67826,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240012,"gu-lin-deng-shu-zha-juan-yi-ming-240012","顾璘等书札卷","此卷行书尺牍笔墨随性自然，起收锋藏露有度，点画间欹正相生。字形错落排布，如林间泉流顺势蜿蜒，无雕琢造作之态。墨色浓淡过渡自然，枯笔飞白添苍劲质感，润笔饱满尽显温润雅致。\n\n手札带着私人尺牍的松弛意趣，将旧友牵念、近况絮语融在笔墨起伏间。行间留白疏朗透气，章法疏密得当，既不失文人书法的清逸风骨，又带着日常书札的鲜活意韵，尽显旧时尺牍往来的随性风流。",[45,7,49,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7aa5e20eb9956f3654e78629b04cc69.jpg",[],{"id":67828,"slug":67829,"title":67830,"dynasty":18,"author":67831,"museum":107,"description":67832,"tags":67833,"thumbUrl":67834,"material":751,"size":752,"collection":95,"collections":67835,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240011,"shou-zha-heng-tiao-zhang-gai-240011","手札横条","张盖","张盖，详细生卒年代待考，，一字命士，号箬庵，直隶永年（今河北省永年县）人，清初河朔诗派的重要作家，与申涵光、殷岳并称畿南三才子，以能诗闻，工草书，善鼓琴，有《柿叶庵诗选》传世。甲申之变、明清易代之际，张盖曾与申涵光、殷岳、杨思圣等人避乱隐居于沙河县西部之广阳山，并结下生死之交。",[23,7,60,398,49,77,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc1afe155dc71c6135554a531a78b3a.jpg",[],{"id":67837,"slug":67838,"title":67839,"dynasty":45,"author":35791,"museum":107,"description":67840,"tags":67841,"thumbUrl":67842,"material":751,"size":752,"collection":95,"collections":67843,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240005,"zhi-jing-cong-shi-ye-zhao-shi-xian-240005","致景从诗页","赵世显，字仁甫，侯官人。万历癸未进士。",[7,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593754d92ccbc0f87020498c20ea714a.jpg",[],{"id":67845,"slug":67846,"title":28124,"dynasty":45,"author":46543,"museum":107,"description":67847,"tags":67848,"thumbUrl":67849,"material":751,"size":752,"collection":95,"collections":67850,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},240003,"shi-ye-jin-bi-zhai-240003","此作行书萧散灵动，笔意暗含晋人韵致，行笔纵逸自然，牵丝映带暗合章法节奏。字势欹正相生，时而开张如春风舒展，时而敛合如寒梅抱枝，将元日试笔的疏狂意趣融于笔墨之中。\n墨色枯湿浓淡相映，随着诗意铺陈，从开篇端雅渐转后半段纵放，把新年试笔的快意与迟暮自况的喟叹藏在笔触间。布局错落随性却行气贯通，虽为诗稿却不失文人风雅，笔墨间浸着旧岁新元的悠然意绪，将文人心境与书法意趣合而为一。",[7,60,77,433,432,14990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15b06bc0b705cf0bc79690ebe40cc868.jpg",[],{"id":67852,"slug":67853,"title":67854,"dynasty":45,"author":454,"museum":107,"description":67855,"tags":67856,"thumbUrl":67857,"material":751,"size":752,"collection":95,"collections":67858,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239983,"xing-dong-yuan-sheng-tie-zhou-yi-ming-239983","邢侗袁生帖轴","此作用笔纵逸奔放，以大草挥写《袁生帖》。线条枯润浓淡变幻随性，牵丝映带间尽显流转气韵。字形大小错落、欹正相生，通篇章法疏朗却气脉贯通，将二王草法的灵动与晚明尚势书风相融。下笔斩截爽利，枯笔苍茫老辣，湿墨浑厚饱满，既得晋人尺牍的萧散意趣，又不失自我性情的肆意抒发，是一件极具抒情性的草书佳作。",[4038,7,75,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5949946129656e38255ce930c23d6f.jpg",[],{"id":67860,"slug":67861,"title":67862,"dynasty":18,"author":67863,"museum":107,"description":67864,"tags":67865,"thumbUrl":67866,"material":751,"size":752,"collection":95,"collections":67867,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239976,"xing-zhi-wei-lao-gui-li-shi-ye-you-zhen-239976","行致魏老归里诗页","尤珍","尤珍（1647年－1721年），字谨庸，一字慧珠，号沧湄，江南长洲县（今属江苏省苏州市）人，尤侗之子。历任《大清会典》、《明史》、《三朝国史》纂修官，深于诗学。尤珍是康熙二十年（1681年）进士，曾任翰林院庶吉士，并出任大清会典、明史、三朝国史纂修官。",[7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ebd4b756c3c4ba6ba7dcb056dcf9ca.jpg",[],{"id":67869,"slug":67870,"title":52778,"dynasty":18,"author":67871,"museum":107,"description":67872,"tags":67873,"thumbUrl":67874,"material":751,"size":752,"collection":95,"collections":67875,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239974,"zhi-huan-weng-rong-xuan-shi-ye-zhang-ting-shu-239974","张廷枢","张廷枢，字天木。清高邮人。张守中曾孙。郡庠生。工书法，得笔资，即以供甘旨。尝游学虞山。著有《寄庵诗集》（一作《寄庵集》）。",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b537a14eac7c798640d67967bed4c2.jpg",[],{"id":67877,"slug":67878,"title":46569,"dynasty":18,"author":67879,"museum":107,"description":67880,"tags":67881,"thumbUrl":67882,"material":751,"size":752,"collection":95,"collections":67883,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239972,"zhi-wei-lao-gui-li-shi-ye-liu-guo-fu-239972","刘国黻","刘国黻（1653~1700），字禹美，号后斋，康熙二十一年（1682年）进士，改庶吉士，授户科给事中，历督捕理事官。在户科，建言民田亩有大小，地有上中下，请具载简明赋役全书，明示天下。在督捕，详考则例刊布之。往时以逃人为根，以一累百十，以逃案为市。取所历州县官职名待劾，弊不胜诘，皆剔除之，乃裁并兵部。改授鸿胪寺卿。",[2135,7,60,77,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608977c6e693551d1681cd0f896d321d.jpg",[],{"id":67885,"slug":67886,"title":67887,"dynasty":18,"author":67888,"museum":107,"description":67889,"tags":67890,"thumbUrl":67891,"material":751,"size":752,"collection":95,"collections":67892,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239971,"zhi-wei-nian-bo-rong-xuan-shi-ye-wu-yi-fei-239971","致魏年伯荣旋诗页","吴一蜚","吴一蜚（1639年－1713年），江苏长洲人，清朝政治人物、官至吏部尚书。\n康熙二十一年（1682年），吴一蜚中壬戌科殿试金榜二甲第三名进士出身，授庶吉士，授翰林院编修。后改行人司副。由于为人清贫，两子均因贫而丧。康熙帝得知后，擢升至刑部侍郎、刑部尚书、后改吏部尚书。死于任上，家贫不能丧。",[24,25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96b11ad80c6a0bdc0fc3b438adf97af.jpg",[],{"id":67894,"slug":67895,"title":52778,"dynasty":18,"author":67896,"museum":107,"description":67897,"tags":67898,"thumbUrl":67899,"material":751,"size":752,"collection":95,"collections":67900,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239970,"zhi-huan-weng-rong-xuan-shi-ye-li-fu-mi-239970","李復泌","此作为行楷书诗札，笔墨温润秀雅，结体端稳舒展，笔画匀净雅致，兼得晋唐小楷的灵动意趣与馆阁体的整饬工稳。\n笔下唱和寄赠的诗文，将友人间的珍重情意藏于点画之中，字里行间漫溢书卷清气，庄重中带着文人酬唱的温厚韵致。朱红钤印与沉润墨色相映，装裱素雅清隽，尽显旧时翰札的文雅风貌，把传统士大夫的审美意趣融于尺幅之间，是兼具笔墨意趣与人文情致的小品佳作。",[7,60,77,25,26,50,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b346335adda2f7b089ceeab9b5101d4.jpg",[],{"id":67902,"slug":67903,"title":67904,"dynasty":18,"author":67905,"museum":107,"description":67906,"tags":67907,"thumbUrl":67908,"material":751,"size":752,"collection":95,"collections":67909,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239967,"zhi-wei-lao-rong-gui-shi-ye-wang-shen-239967","致魏老荣归诗页","王绅","王绅（1360-1400），字仲缙，室名、号继志斋，元·婺州路义乌县凤林乡（今浙江省义乌县尚阳乡）来山村人。明太祖朱元璋朝翰林待制，同知制诰兼国史院编修王祎之次子，宋濂弟子，有志于学，官国子博士，预修《太祖实录》。与方孝孺为同学，互为知交，相与友善。明·太祖、惠帝时期著名诗人。",[25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d34cbfb180f53079af27852d00dab42.jpg",[],{"id":67911,"slug":67912,"title":67913,"dynasty":18,"author":67104,"museum":107,"description":67105,"tags":67914,"thumbUrl":67915,"material":751,"size":752,"collection":95,"collections":67916,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239966,"zhi-wei-lao-jin-xuan-shi-ye-zhou-jin-ran-239966","致魏老锦旋诗页",[25,7,60,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97de6e98bcc6a86e32a9c4445ba5d5b.jpg",[],{"id":67918,"slug":67919,"title":67920,"dynasty":18,"author":67921,"museum":107,"description":67922,"tags":67923,"thumbUrl":67924,"material":751,"size":752,"collection":95,"collections":67925,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239965,"xing-zhi-wei-tai-fu-zi-gui-li-shi-ye-shi-kui-239965","行致魏太夫子归里诗页","史夔","史夔（1661～1713）字胄司，号耕岩，江苏溧阳人，史鹤龄之子，清朝诗人。生于清顺治十八年（1661）。康熙二十年辛酉（1681）举人，康熙二十一年（1682）进士，廷试二甲一名，选庶吉士，授编修，旋充康熙二十四年（1685）乙酉科会试同考官。康熙二十八年（1689）以编修充日讲起居注官，康熙三十八年（1699）出任己卯科乡试浙江考官，所选拔的很多是饱学贤能之士，如沈近思（后任都宪）、查嗣栗（后任侍讲）等。康熙四十九年（1710）受命为《康熙字典》纂修官，居于27名纂修官的第二位。康熙五十年（1711）四月以詹事府少詹事充经筵讲官，除詹事府詹事。康熙五十五年（1716）《康熙字典》编成印行，共收47035字，给后世学者极大方便。康熙五十二年（1713）卒，享年五十三岁。",[25,7,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070adbf673669c0e1e02e59b6c5cef9.jpg",[],{"id":67927,"slug":67928,"title":46578,"dynasty":18,"author":67929,"museum":107,"description":67930,"tags":67931,"thumbUrl":67932,"material":751,"size":752,"collection":95,"collections":67933,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239964,"zhi-wei-lao-rong-xuan-shi-ye-lu-jing-yuan-239964","陆经远","此小楷诗页结体端秀雅致，笔画匀整凝练，兼取晋唐小楷的隽秀意韵与馆阁体的规整气度。用笔精到克制，起收转合皆循法度，点画筋骨内含，墨色匀净沉稳，尽显书写功力。\n\n通篇排布疏密得宜，字间行气连贯舒展，虽为酬唱诗页，却自带静穆端方的书卷气。笔墨之间藏着文人间酬答寄怀的清雅情思，诠释出清代小楷工稳秀雅的典型风貌，是兼具文辞意趣与书法审美价值的小品佳构。",[7,60,77,25,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dff58b06b5f0787f3b7362df91ae34a.jpg",[],{"id":67935,"slug":67936,"title":67937,"dynasty":18,"author":67938,"museum":107,"description":67939,"tags":67940,"thumbUrl":67941,"material":95,"size":95,"collection":95,"collections":67942,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239962,"xun-zhi-wei-lao-gui-li-shi-ye-ruan-er-239962","询致魏老归里诗页","阮尔","此作为行书诗札，纸墨清雅静和，浅蓝镶边衬出素淡书卷气。笔法秀逸灵动，结体温婉妍丽，深得帖学隽雅意趣，牵丝映带间尽显笔锋流转之妙，字字顾盼呼应，行气舒朗贯通。\n\n题识与跋语排布错落相宜，朱红小印点缀提亮，愈发衬出通篇雅致格调。笔墨意趣暗合诗中故旧归乡的缱绻相惜，文辞心绪与温润笔意融为一体，尽显文人书家以笔寄情的风雅，是兼具笔墨审美与文人情思的小品佳构。",[25,7,60,77,26,50,27,651,133,3388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b199961f56ced7ad09e710adf552d7.jpg",[],{"id":67944,"slug":67945,"title":67946,"dynasty":18,"author":454,"museum":107,"description":67947,"tags":67948,"thumbUrl":67949,"material":751,"size":752,"collection":95,"collections":67950,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239932,"zhan-tang-zhi-lian-shang-shi-ye-yi-ming-239932","詹□堂致莲裳诗页","此作为行书诗笺，笔墨清隽秀雅，行笔舒展灵动，起转收放间尽显文人意趣。字形错落排布，章法疏朗松弛，字里行间浸着随性自然的书卷气。\n\n这一纸寄友书笺，将旧交叙怀的温情藏在笔锋起落里。落笔简淡却意韵悠长，不见刻意雕琢，只以平实笔墨，铺陈出友人之间的惦念与酬唱日常，兼融文书意趣与笔墨美感，尽显旧时文人往来酬唱的雅致风流。",[25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd8adc12198a0d7ee0a89cba5f6bde2.jpg",[],{"id":67952,"slug":67953,"title":67954,"dynasty":18,"author":46595,"museum":107,"description":67955,"tags":67956,"thumbUrl":67957,"material":751,"size":752,"collection":95,"collections":67958,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239930,"shi-feng-lian-shang-ye-hu-sen-239930","诗奉莲裳页","此作用笔灵动秀逸，提转间暗含晋唐尺牍意趣，点画舒展又不失内敛，牵丝映带自然妥帖，将行书的流动感与文人气韵相融。\n\n章法排布匀整从容，字距行距疏朗透气，通篇笔墨温润雅致，每一行气脉贯通，把诗句里的缱绻酬唱情谊随着笔墨缓缓铺陈，文人雅聚的清逸意态尽显。细节间可见笔锋粗细变化细腻和谐，既不失法度，又带着随性抒怀的松弛感，将诗书共情的意韵藏于笔墨行间，尽显清人书法的文秀品格，是一件兼具笔墨意趣与情感温度的小品佳作。",[7,25,60,26,50,433,678,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fd624022f26200d344252304ad73c6.jpg",[],{"id":67960,"slug":67961,"title":67962,"dynasty":18,"author":52814,"museum":107,"description":67963,"tags":67964,"thumbUrl":67965,"material":751,"size":752,"collection":95,"collections":67966,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239925,"song-lian-shang-ye-wei-xue-lian-239925","送莲裳页","此作为朱底小楷，墨色清隽莹润，与朱笺底色相映愈显秀雅沉静。书风端匀秀逸，兼具晋唐小楷的清逸意蕴与馆阁体的端整工致，笔锋藏露得宜，点画排布停匀舒和，可见书写者扎实沉厚的笔墨功力。\n整幅以送别诗作作为内容，笔墨晕染出赠别的缱绻心绪，将文人的书卷气与惜别时的绵长意趣融于一字一画之中，静穆笔致里暗含温润深情，是兼具文情与笔致的清代书法佳构。",[18,25,7,199,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42b81b41c5b9894a2710c0b01f6bd417.jpg",[],{"id":67968,"slug":67969,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":67970,"thumbUrl":67971,"material":95,"size":95,"collection":95,"collections":67972,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239893,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239893",[7,60,49,46632,5784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc8b5ea8e9a50d3967efccdff80929f.jpg",[],{"id":67974,"slug":67975,"title":35824,"dynasty":45,"author":31179,"museum":107,"description":31180,"tags":67976,"thumbUrl":67977,"material":95,"size":95,"collection":95,"collections":67978,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239892,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239892",[7,60,46632,4038,2282,26781,58654,385,14632,2665,16517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5655c282eff83ebe128e1e3b95f69f3.jpg",[],{"id":67980,"slug":67981,"title":21902,"dynasty":18,"author":67982,"museum":107,"description":67983,"tags":67984,"thumbUrl":67985,"material":751,"size":752,"collection":95,"collections":67986,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239874,"lu-yu-zhou-guo-chao-zuo-239874","郭朝祚","郭朝祚，号硕斋，生卒年月待考。",[24,25,7,75,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f3aa9f0f777bc2a0cca9c687348423.jpg",[],{"id":67988,"slug":67989,"title":67990,"dynasty":18,"author":454,"museum":107,"description":67991,"tags":67992,"thumbUrl":67993,"material":751,"size":752,"collection":95,"collections":67994,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239868,"wu-kuan-shou-zi-zhou-yi-ming-239868","无款寿字轴","整体取菱形构图，明黄地衬红底寿字，色调华贵吉庆。浓墨楷书寿字浑厚饱满，笔力沉凝方正，筋骨尽显，稳稳居于中心，尽显福寿绵长的安稳气度。红底之上银线绘就祥龙纹，灵动盘绕于寿字四周，龙身矫健线条细腻，将寿字烘托得愈发庄重威严。龙纹寓意祥瑞护佑，与寿字呼应融合，完美诠释祈福纳祥的美好愿景。整体配色鲜明亮眼，既有书法的笔墨筋骨，又伴纹饰的精巧华美，将祝寿心意融于形制笔墨之间，典雅大气尽显传统吉庆书画的匠心意蕴。",[24,25,75,7,27,111,9340,35050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4fd200833f083480aec8b4bad0c8fb.jpg",[],{"id":67996,"slug":67997,"title":67998,"dynasty":18,"author":46720,"museum":107,"description":46721,"tags":67999,"thumbUrl":68000,"material":751,"size":752,"collection":95,"collections":68001,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239863,"shi-san-shou-ye-xu-xiong-fei-239863","诗三首页",[24,25,7,26,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69fe0462641aba37cfd7c798a8b3b5fc.jpg",[],{"id":68003,"slug":68004,"title":68005,"dynasty":18,"author":68006,"museum":107,"description":68007,"tags":68008,"thumbUrl":68009,"material":751,"size":752,"collection":95,"collections":68010,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239861,"ba-zhi-gong-fu-ye-han-feng-239861","跋致功甫页","韩崶","韩崶（1758—1834），字禹三，号旭亭、桂舲，别称种梅老人，元和（今江苏省苏州市）人。",[25,7,60,50,250,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9258d203d5ed809e3040d6c7a9fc48.jpg",[],{"id":68012,"slug":68013,"title":68014,"dynasty":18,"author":68015,"museum":107,"description":68016,"tags":68017,"thumbUrl":68018,"material":751,"size":752,"collection":95,"collections":68019,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239860,"feng-dian-shi-jing-zhao-er-ye-ceng-shou-239860","奉典试京兆二页","曾绶","此作为行书尺牍，笔致秀逸灵动，提按转合间尽显温雅风骨。行笔流畅自然，毫无雕琢板滞之感，字距错落随性，行距疏朗透气，排布随势生发，尽显日常书写的松弛意趣。墨色浓淡过渡自然，带着书写时的情绪起伏，将酬答文思与笔墨意趣融为一体。既有帖学一脉的娟秀韵味，又蕴含冲淡平和的书卷清气，尽显旧时文人尺牍实用与审美兼具的特质，笔墨间流淌出内敛沉静的文人雅致。",[18,7,60,26,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6fbf4b78a93e8edbd2175ade64c5ba.jpg",[],{"id":68021,"slug":68022,"title":28124,"dynasty":18,"author":68023,"museum":107,"description":68024,"tags":68025,"thumbUrl":68026,"material":751,"size":752,"collection":95,"collections":68027,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239859,"shi-ye-huang-peng-nian-239859","黄彭年","黄彭年（1824—1890）清代官吏、学者。字子寿，号陶楼，晚号更生，贵州贵筑县（今贵阳市）人，黄辅辰之子。道光二十七年进士，授编修。同治元年入骆秉章四川幕府，镇压石达开军，官至湖北布政使。尝掌教关中书院、保定莲池书院。又应李鸿章聘修《畿辅通志》。官至江苏布政使。黄彭年著有《三省边防考略》、《金沙江考略》、《陶楼文钞》等。",[25,7,60,77,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3603f9774a58169e2c3ecbbfef011c.jpg",[],{"id":68029,"slug":68030,"title":68031,"dynasty":18,"author":454,"museum":107,"description":68032,"tags":68033,"thumbUrl":68034,"material":751,"size":752,"collection":95,"collections":68035,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239856,"dan-qiu-shi-gao-ye-yi-ming-239856","□澹秋诗稿页","此两开诗稿小品，行书笔致清隽秀雅，线条舒展灵动，墨色晕染柔和自然，带着文人手稿独有的随性松弛。左侧诗页钤盖两方朱红印章，朱砂暖艳与墨色相衬，为素淡纸面晕开沉静古雅的意趣。整体装裱留白疏朗，素净衬底托出尺幅小品的雅致。此诗稿虽为随性手札，却藏着旧时文人心手相应的笔墨情致，平淡天真间尽显传统尺牍小品的清雅之美，尽显文人日常遣兴挥毫的笔墨意韵。",[7,60,77,25,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6cf723c4cab5e2d79da0535c2d57da.jpg",[],{"id":68037,"slug":68038,"title":68039,"dynasty":18,"author":454,"museum":107,"description":68040,"tags":68041,"thumbUrl":68042,"material":751,"size":752,"collection":95,"collections":68043,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239853,"xing-shi-shi-feng-gong-fu-ye-yi-ming-239853","□兴诗诗奉功甫页","这件尺牍行书笔致灵动秀雅，兼具文人随性与笔墨法度。左侧书作笔画舒展，墨色浓淡自然晕化，藏锋处内敛含蓄，露锋时爽利劲挺，自带闲适萧散的书卷意趣。右侧信札排布疏密得宜，字势随文气欹正相生，虽为日常寄怀的手札，却处处可见书写者的笔墨功底。将往来酬唱的松弛心绪融于点撇捺画之间，笔墨晕染里藏着旧时尺牍独有的雅致情味，尽显手写书信的温度与文人日常的笔墨韵致。",[25,7,60,50,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c5759cf29318bb895a5071d15a397a7.jpg",[],{"id":68045,"slug":68046,"title":68047,"dynasty":18,"author":454,"museum":107,"description":68048,"tags":68049,"thumbUrl":68050,"material":751,"size":752,"collection":95,"collections":68051,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239852,"ting-zhao-xin-yuan-yi-shou-ji-gong-fu-ye-yi-ming-239852","□廷炤心远一首寄功甫页","这件行书尺牍小品清隽秀雅，笔墨舒展灵动，结体疏密得宜。既有晋唐小楷的端稳意韵，又带着行书特有的萧散简淡。以诗寄友，将文人酬唱的温雅情致落于笔端，平淡天真间尽显书卷意趣。泛黄信笺搭配下方朱红小印，古意盎然，尽显清代文人尺牍书法的雅致审美，把日常酬寄的闲情揉进笔墨细节里，通篇透着松弛澹远的林下之风。",[2135,25,7,60,77,312,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ff0b73d3c6639d2ae54a707f5e7b2d.jpg",[],{"id":68053,"slug":68054,"title":68055,"dynasty":18,"author":454,"museum":107,"description":68056,"tags":68057,"thumbUrl":68058,"material":95,"size":95,"collection":96,"collections":68059,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239848,"ren-ben-ti-gong-fu-zhuan-ling-yuan-yun-xiao-zhuan-shi-ye-yi-ming-239848","□仁本题功甫撰令媛韫小传诗页","朱枝淡影晕染纸面，墨笔题字偎依花旁，文与画彼此映衬，漾开沉静雅致的书卷氛围。左侧行书诗文笔致清灵舒展，墨色层次自然柔和，将缱绻诗意藏入流转笔锋里。\n\n旧纸温黄的底色晕开时光质感，诗笺融书、画、情为一体，尽显旧时文人寄情尺牍的风雅意趣，字里画间漫溢着淡远幽柔的怀旧情思，把文人的细腻心绪晕染在方寸之间，清雅动人。",[25,7,60,77,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035c654da8624a2e89960409e1789313.jpg",[96],{"id":68061,"slug":68062,"title":68063,"dynasty":18,"author":38427,"museum":107,"description":38428,"tags":68064,"thumbUrl":68065,"material":751,"size":752,"collection":95,"collections":68066,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239837,"gong-fu-shi-ci-yuan-yun-ye-zhang-xiang-he-239837","功甫诗次原韵页",[25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b79506a15df7dd772764f71d7f91ac.jpg",[],{"id":68068,"slug":68069,"title":68070,"dynasty":18,"author":38427,"museum":107,"description":38428,"tags":68071,"thumbUrl":68072,"material":751,"size":752,"collection":95,"collections":68073,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239833,"da-yu-bu-zhi-shi-feng-gong-fu-ye-zhang-xiang-he-239833","大雨不止诗奉功甫页",[18,25,7,60,77,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67d07f8ea6a8092bc4271d508ff3937a.jpg",[],{"id":68075,"slug":68076,"title":68077,"dynasty":18,"author":68078,"museum":107,"description":68079,"tags":68080,"thumbUrl":68081,"material":751,"size":752,"collection":95,"collections":68082,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239832,"ping-zhi-gong-fu-zha-ye-li-fu-239832","平致功甫札页","李黼","此作为行书尺牍，笔墨随性舒展，行笔间牵丝映带自然精妙，笔画粗细错落尽显节奏韵律。墨色带着岁月晕染的浓淡枯湿变化，古旧纸色晕开浅黄痕迹，更添朴拙质感。\n章法上字距错落不拘，行气贯通流畅，以诗文寄赠抒怀，将文人酬唱的雅致心境融于毫端，既有帖学一脉的温润秀雅，又带着日常书写的松弛意趣，尽显尺牍书法随性自然的文人意韵，将彼时文士的交游风雅，凝于这几行笔墨之间。",[2135,7,60,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5b8c93c453f8a85233cd6bfdbe4404.jpg",[],{"id":68084,"slug":68085,"title":68086,"dynasty":18,"author":38427,"museum":107,"description":38428,"tags":68087,"thumbUrl":68088,"material":751,"size":752,"collection":95,"collections":68089,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239831,"xi-xue-cheng-gong-fu-ye-zhang-xiang-he-239831","喜雪呈功甫页",[18,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05f850255742337fe5f1214290872ca.jpg",[],{"id":68091,"slug":68092,"title":68093,"dynasty":18,"author":38427,"museum":107,"description":38428,"tags":68094,"thumbUrl":68095,"material":95,"size":95,"collection":96,"collections":68096,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239829,"wu-su-qin-wang-mu-da-song-ge-ye-zhang-xiang-he-239829","武肃亲王墓大松歌页",[7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46be600bbc60a48b5bcb29d73cc1eb14.jpg",[96],{"id":68098,"slug":68099,"title":46706,"dynasty":18,"author":38427,"museum":107,"description":38428,"tags":68100,"thumbUrl":68101,"material":751,"size":752,"collection":95,"collections":68102,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239828,"shi-cheng-gong-fu-ye-zhang-xiang-he-239828",[25,7,457,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2112d942b602f76e3304402524dd1fa.jpg",[],{"id":68104,"slug":68105,"title":68106,"dynasty":18,"author":68107,"museum":107,"description":68108,"tags":68109,"thumbUrl":68110,"material":751,"size":752,"collection":95,"collections":68111,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239826,"du-gong-fu-shi-ti-er-jue-ye-zhu-shou-239826","读功甫诗题二绝页","朱绶","道光十一年（公元一八三一年）举人。尝佐梁章钜幕，章奏多出其手。又勤学敦行，廉清简默，为来所重。",[25,7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec077771065a3b50a7c1ca9261267b5.jpg",[],{"id":68113,"slug":68114,"title":68115,"dynasty":18,"author":46698,"museum":107,"description":68116,"tags":68117,"thumbUrl":68118,"material":751,"size":752,"collection":95,"collections":68119,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239824,"jin-men-zhu-zhi-ge-zhi-gong-fu-ye-shen-tao-239824","津门竹枝歌致功甫页","沈涛(约1792—1855)，原名尔岐，尔政，字西雍，号匏庐，浙江嘉兴人。",[7,25,26,60,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56f300b022d4dabf4ba636c8a4bb1dd.jpg",[],{"id":68121,"slug":68122,"title":35849,"dynasty":18,"author":46698,"museum":107,"description":68116,"tags":68123,"thumbUrl":68124,"material":751,"size":752,"collection":95,"collections":68125,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239823,"shi-zhi-gong-fu-ye-shen-tao-239823",[25,26,60,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9135d162a6ee169d48ca271ad45a07dc.jpg",[],{"id":68127,"slug":68128,"title":68129,"dynasty":18,"author":68107,"museum":107,"description":68108,"tags":68130,"thumbUrl":68131,"material":751,"size":752,"collection":95,"collections":68132,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239821,"yi-ju-shi-jue-shi-gong-fu-ye-zhu-shou-239821","移居十绝似功甫页",[24,25,60,77,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d36e7f7d105eb7b1c3378b5e97e4d69.jpg",[],{"id":68134,"slug":68135,"title":68077,"dynasty":18,"author":68078,"museum":107,"description":68136,"tags":68137,"thumbUrl":68138,"material":751,"size":752,"collection":95,"collections":68139,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239819,"ping-zhi-gong-fu-zha-ye-li-fu-239819","此作用行书命笔，笔势舒展灵动，墨色浓淡渐变自然，朱红笺底衬得墨色愈发沉雅温润。行笔间牵丝映带精妙，字形大小错落随性不拘，兼具法度与写意意趣。文字排布疏密有致，行气连贯畅达，既有帖学的秀逸灵动，又暗含朴拙沉稳的笔力。\n\n通篇尽显文人尺牍的随性雅致，将日常寄怀的闲散意趣，融于笔墨流转之中，尽显旧时文人的笔墨情致与风神襟怀，是清代行书小品里的不俗佳构。",[18,25,7,60,26,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30721d37feff0f48f38ad56e793f277.jpg",[],{"id":68141,"slug":68142,"title":68143,"dynasty":18,"author":43147,"museum":107,"description":68144,"tags":68145,"thumbUrl":68146,"material":751,"size":752,"collection":95,"collections":68147,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239818,"ci-feng-gong-fu-qin-han-ye-sun-jun-239818","词奉功甫琴涵页","通篇行书自然率意，用笔松灵秀逸，提按转合暗合晋唐帖学法度却毫无板滞之感。字势欹正相生，错落的行距留白恰到好处，墨色带着浓淡枯湿的层次变化，通篇行气贯通，尽显闲适萧散的文人意趣。\n\n作为诗书合璧的尺幅小品，笔底晕染着江南文人的清雅韵致，舒展的笔画间藏着温润书卷气，不见刻意雕琢的痕迹，将友朋酬唱的雅兴寄寓笔墨之中，随性自在的书写状态跃然纸面，尽显传统文人以翰墨修身寄情的风流雅致。",[25,7,60,77,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074b9a45f454cd617f2171aad783f25f.jpg",[],{"id":68149,"slug":68150,"title":68151,"dynasty":18,"author":68152,"museum":107,"description":68153,"tags":68154,"thumbUrl":68155,"material":751,"size":752,"collection":95,"collections":68156,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239817,"shi-feng-song-gong-fu-ye-zong-xu-chen-239817","诗奉送功甫页","宗续辰","宗稷辰（1792年－1862年），原名续辰，又名龙辰，字涤甫，一作迪甫，号越岘山民，浙江会稽人。清代政治人物和文学家。\n道光元年（1821年）举人，后连年未能考取进士，于是先后于群玉、濂溪、虎溪等书院讲学，道光十九年，补官考取军机章京，又任起居注主事、户部山东司员外郎等。咸丰元年（1851年），历任山东道监察御史、山西道监察御史、山东云河道等职。同治六年生病归乡，主持蕺山书院，同年去世。\n他自年轻时即学桐城派古文，师事李宗传，被认为文章“洁肃坚核，独抒己见，主立意不重修词，故含蓄多而奔放”。（刘声木《桐城文学渊源考》中语）。",[25,26,60,77,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59f9adb9f639292a8f28e5cc15f0f44.jpg",[],{"id":68158,"slug":68159,"title":68160,"dynasty":18,"author":454,"museum":107,"description":68161,"tags":68162,"thumbUrl":68163,"material":751,"size":752,"collection":95,"collections":68164,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239815,"he-shi-feng-gong-fu-ye-yi-ming-239815","□鹤诗奉功甫页","此作为水滴形异形诗笺，以淡墨勾勒水波纹理衬于字间，将行书笔墨与造形巧思相融。笔致清隽秀逸，行气顺着水滴轮廓蜿蜒舒展，字句排布疏密得宜，既贴合形制又不失书法行气韵律。\n\n以酬赠诗作入笺，笔墨晕染间尽显旧时文人酬唱的雅致意趣，将寻常尺牍小品化为别致赏玩之物，藏着清代文人闲逸的文心雅韵，把日常酬答的诗稿，变为兼具笔墨美感与造型巧思的文人雅玩。",[7,60,26,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f8ad0907db19f6d37d200475b53b1db.jpg",[],{"id":68166,"slug":68167,"title":18391,"dynasty":45,"author":66198,"museum":107,"description":66199,"tags":68168,"thumbUrl":68169,"material":751,"size":752,"collection":95,"collections":68170,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239793,"qi-jue-zhou-tao-ru-nai-239793",[24,25,75,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F340374aa69e10fb642772bb2a0868060.jpg",[],{"id":68172,"slug":68173,"title":68174,"dynasty":18,"author":454,"museum":107,"description":68175,"tags":68176,"thumbUrl":68178,"material":751,"size":752,"collection":95,"collections":68179,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239789,"er-ge-gou-tian-lan-ting-xu-ce-yi-ming-239789","二格钩填兰亭叙册","此作为行书钩填兰亭，笔墨温润秀雅，字形舒展灵动，墨色匀净沉静，将晋人萧散风神藏于点画之中。笔锋起落皆有法度，既恪守原作的飘逸简淡，又带着摹填时的谨严工稳，尽得永和雅集的清旷气韵。\n\n朱红古印错落点缀，与墨色相映成趣，晕开古雅意趣。字里行间漫溢着林下风流，虽经钩填，却未失原作疏朗散淡的文人意致，将兰亭修禊的清和雅致，凝练成卷上的笔墨风华，书卷气扑面而来。",[7,60,110,68177,77,26,200],"钩填","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92412137c7bd16d4516f302ea034c6eb.jpg",[],{"id":68181,"slug":68182,"title":68183,"dynasty":18,"author":38483,"museum":107,"description":38484,"tags":68184,"thumbUrl":68185,"material":751,"size":752,"collection":95,"collections":68186,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},239754,"shu-hong-li-han-de-zhai-shi-ce-shen-chu-239754","书弘历含德斋诗册",[7,199,26,77,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b43dc7fa667b0746c694df1d1745127.jpg",[],{"id":68188,"slug":68189,"title":68190,"dynasty":18,"author":68191,"museum":107,"description":68192,"tags":68193,"thumbUrl":68194,"material":751,"size":752,"collection":95,"collections":68195,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239750,"yong-qi-shu-fu-zhou-yong-qi-239750","永璂书赋轴","永璂","爱新觉罗·永璂（qí）（1752年6月7日－1776年3月17日）清朝宗室大臣，清高宗乾隆帝第十二子，母为皇后那拉氏。乾隆三十六年，负责编纂《御制满蒙文鉴》总纲。",[199,7,75,2602,16689,14632,27201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254992b4e872c88b03581870215d0628.jpg",[],{"id":68197,"slug":68198,"title":68199,"dynasty":18,"author":68200,"museum":107,"description":68201,"tags":68202,"thumbUrl":68203,"material":751,"size":752,"collection":95,"collections":68204,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},239748,"yong-cheng-shu-fu-zhou-yong-cheng-239748","永珹书赋轴","永珹","爱新觉罗·永珹（1739年2月21日—1777年3月10日），清朝宗室，满洲正黄旗人，乾隆帝第四子，母为淑嘉皇贵妃金佳氏。\n乾隆四年已未正月十四日卯时生，母淑嘉皇贵妃金佳氏，时为嘉嫔。\n乾隆十六年（1751年）指婚钮祜禄氏总督阿里衮之女，但该女子未出嫁即卒。后指婚伊尔根觉罗氏和硕额驸富僧额之女，乾隆十九年（1754年）正式成婚。福晋之父富僧额因备办妆奁等项，奏请借俸禄、养廉银。奉旨：不必借领，着交内务府大臣照三阿哥福晋之父之例官办。永珹福晋的妆奁照永璋福晋之例办造，共用过崇文门税务处银八千三十余两。\n乾隆二十八年（1763年）十一月，奉旨出继和硕履懿亲王允裪后，降袭履郡王。\n乾隆三十六年（1771年）十一月崇庆皇太后八旬大寿，乾隆帝率皇子、皇孙、皇曾孙、额驸等在慈宁宫彩衣进舞，皇四子永珹、皇六子永瑢、皇八子永璇、皇十一子永瑆、皇十二子永璂、皇十五子永琰、皇十七子永璘进舞。\n乾隆四十二年（1777年）丁酉二月二日辰时薨逝，终年三十九岁，以亲王礼葬，谥号为端。嘉庆四年（1799年）三月，追赠亲王。",[25,199,75,77,2135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da7ab469159bf2bc04a1303c70c289f.jpg",[],{"id":68206,"slug":68207,"title":68208,"dynasty":18,"author":454,"museum":107,"description":68209,"tags":68210,"thumbUrl":68211,"material":751,"size":752,"collection":95,"collections":68212,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},239722,"qing-ren-shu-fu-shuo-guan-wu-liang-shou-jing-ce-yi-ming-239722","清人书佛说观无量寿经册","以瓷青纸为底，泥金楷书恭录经文，沉雅底色与明丽金彩相映，满卷庄严静穆之气。笔法端秀规整，点画匀停内敛，法度谨严不失平和韵致，将礼佛的至诚贯注笔端，笔墨意趣与清净经义相融无间。\n\n册页装帧古朴雅致，每开排版疏朗得当，字里行间皆是书写者的恭谨之心。尽显清代馆阁体写经的端正工稳之美，既承载着抄写者的宗教祈愿，亦兼具书法审美与宗教文化价值，是清代抄经书法中颇具代表性的精致之作。",[26,7,386,199,878,27,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2038d5fe23b5cba844ccf79d0f22fc.jpg",[],{"id":68214,"slug":68215,"title":68216,"dynasty":88,"author":454,"museum":107,"description":68217,"tags":68218,"thumbUrl":68219,"material":95,"size":95,"collection":95,"collections":68220,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239719,"song-xian-yi-han-ce-lu-wei-chao-ju-tie-yi-ming-239719","宋贤遗翰册-陆囗朝裾帖","此作为行书尺牍，行笔灵动舒展，牵丝映带间暗合章法韵律，随性却不失雅致。墨色枯湿浓淡错落，循着书写节奏自然晕化，尽显信手挥毫时的松弛意趣，带着宋人尺牍独有的日常温情，褪去刻意雕琢，全然是士人平素往复的笔墨风流。泛黄斑驳的古纸晕开岁月痕迹，将彼时文人寄友的平实心绪静静封存，字里行间漫溢出闲散萧散的书卷之气，把宋代文人笔下的日常意韵温柔留存。",[88,60,7,26,200,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb2d6decca32cf70c6dd3d25ca7c961.jpg",[],{"id":68222,"slug":68223,"title":68224,"dynasty":88,"author":454,"museum":107,"description":68225,"tags":68226,"thumbUrl":68229,"material":95,"size":95,"collection":95,"collections":68230,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239718,"song-xian-yi-han-ce-zhang-ji-zhi-shi-han-yi-ming-239718","宋贤遗翰册-张即之诗翰","此作用笔以楷书为骨，暗融行书意趣，点画凝练饱满，骨力劲挺又不失温润质感，粗细变化自然灵动，可见书写时松弛悠然的心境。\n\n章法疏朗匀整，行气连贯圆和，墨色浓淡合宜，古雅沉静间带着舒展自在的意致。笔墨与自遣诗文相融，将闲居遣怀的散淡襟怀寄寓笔端，尽显宋贤尚意的书法风神，是书文合一的典型风貌，清雅醇厚的书卷气扑面而来，如见作者于日常闲居中安然自适的情态。",[7,199,60,26,77,68227,68228,25],"书卷气","闲居自适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa08b41e239d28929590229e2023a843d.jpg",[],{"id":68232,"slug":68233,"title":68234,"dynasty":18,"author":68235,"museum":107,"description":68236,"tags":68237,"thumbUrl":68238,"material":95,"size":95,"collection":95,"collections":68239,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":789},239711,"shu-qi-lv-shi-zhou-zhang-xiang-jia-239711","书七律诗轴","张享嘉","此作用粉红蜡笺为底，墨色沉润如漆，与暖艳底色相映，古雅动人。\n书作行楷兼融，点画浑厚朴拙，起收顿挫可见腕间沉实力道，结体端稳又不失灵动，字字排布匀整舒朗，气息从容安和。所书七律寄寓追思先贤的沉郁，笔墨随文辞心境流转，将敬慕之意藏于笔底，带着清儒特有的持重雅致。\n整体诗书相合，既有馆阁体的端方规整，又具文人书法的隽逸意趣，尽显书写者的笔墨功力与襟怀。",[25,7,75,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404ae7c125b0d90b091bd718da7264b6.jpg",[],{"id":68241,"slug":68242,"title":68243,"dynasty":18,"author":68244,"museum":107,"description":68245,"tags":68246,"thumbUrl":68247,"material":95,"size":95,"collection":95,"collections":68248,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239706,"shu-qi-lv-zhou-liang-yao-shu-239706","书七律轴","梁耀枢","此作笔力沉凝厚重，结体端稳匀停，是馆阁风貌的典型佳例，却未失灵动意趣。通篇章法疏密得宜，明黄底色配乌墨书文，庄重堂皇尽显规整雍容的庙堂气度。\n每字起收顿挫皆具法度，转折处圆融方硬兼具，扎实点画间暗蕴刚劲骨力。虽字字独立却气韵贯通，墨色浓黑饱满，将题书的恭谨藏于笔底，规整间见笔情墨趣，庙堂气与文人意趣相融，可观可品。",[199,75,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357eed597d1184e3cdd8227f08e7117e.jpg",[],{"id":68250,"slug":68251,"title":68252,"dynasty":18,"author":454,"museum":107,"description":68253,"tags":68254,"thumbUrl":68255,"material":95,"size":95,"collection":95,"collections":68256,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239697,"er-ge-gou-xuan-ji-yuan-jin-ce-yi-ming-239697","二格钩璇玑鸳锦册","此作为朱笔隶书册页，朱墨鲜亮沉静，与素净装裱相映成趣。字体取法汉隶，兼具清代隶书的端雅工稳，结体匀整舒展，波磔分明，点画凝练劲挺，既葆有汉隶的厚重朴拙，又融有馆阁书风的秀雅规整，金石气与文人情韵相融。所书文辞雅致，摹写器物巧思与艺苑旧事，笔墨间兼具书法美感与文心雅趣，尽显清代隶书成熟期的典型风貌，是一件兼具审美价值与文玩意趣的佚名佳作。",[7,26,199,27,77,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9baa8769a156a35b4dc55ec456b63991.jpg",[],{"id":68258,"slug":68259,"title":68252,"dynasty":18,"author":454,"museum":107,"description":68260,"tags":68261,"thumbUrl":68262,"material":95,"size":95,"collection":95,"collections":68263,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239696,"er-ge-gou-xuan-ji-yuan-jin-ce-yi-ming-239696","此作为篆法示范册页，左右开页朱墨相映。右页玉筋篆取法李阳冰，线条匀挺圆融，温润劲直，结体端庄舒展，尽显小篆雅正之姿。左页奇字古奥诡谲，字形奇崛朴拙，尽显商周古文的瑰异神采。\n\n每页篆文旁配以小字释解，辨析字形流变与笔法传承，既是精妙书法范本，亦是古文字考据小品。朱墨二色静雅清隽，装裱素净古雅，尽显复古谨严的治学审美意趣，将金石考据与书法雅好相融，朴茂静穆间尽显文士沉潜向古的风骨。",[25,7,457,77,26,27,110,200,3467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb47a3ffb8c1942260f8506f92e06d72d.jpg",[],{"id":68265,"slug":68266,"title":68252,"dynasty":18,"author":454,"museum":107,"description":68267,"tags":68268,"thumbUrl":68270,"material":95,"size":95,"collection":95,"collections":68271,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239695,"er-ge-gou-xuan-ji-yuan-jin-ce-yi-ming-239695","此作为朱砂隶书册页，朱墨沉艳衬于素净纸底，古雅沉静。字形端严工稳，恪守汉隶法度，笔画凝练厚重、舒展内敛，既存汉隶朴茂古拙之态，又具清人隶书整饬秀润之姿。\n\n所书为璇玑锦文，将文辞奇变回转之意涵，融于规整的章法排布间，字距行距匀停，行气贯通，把织锦文辞的灵动奇趣和隶书的端雅完美相融，尽显扎实的金石临摹功底，以及清代书坛尚雅崇古的审美意趣，整体静谧庄重，笔墨间满溢隽永醇厚的古典韵味。",[7,199,26,27,68269],"朱砂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67770ae7886e5e830cc8792fd9cf8d0b.jpg",[],{"id":68273,"slug":68274,"title":12112,"dynasty":18,"author":1387,"museum":126,"description":12113,"tags":68275,"thumbUrl":68276,"material":312,"size":12116,"collection":95,"collections":68277,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},239606,"shi-san-zha-ce-zhu-da-239606",[7,25,26,60,398,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8089b0eaf131fda2952d8dc230d71b51.jpg",[],{"id":68279,"slug":68280,"title":53156,"dynasty":18,"author":454,"museum":107,"description":68281,"tags":68282,"thumbUrl":68283,"material":95,"size":95,"collection":95,"collections":68284,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},238894,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238894","此作为诗画合璧小品，上下两帧各成意境。上帧枯木虬枝错落，溪岸浅滩之上，幽人闲坐濯饮，淡赭敷色晕染出料峭早春的清寂疏朗，笔墨简淡却藏悠远况味。\n\n下帧晕染春山浅黛，村居隐于茂林之间，田埂蜿蜒，将春日郊野的融融生机铺展开来。右侧行书秀润端雅，诗句衬景，诗画相映，把春日郊居的闲逸雅兴凝于尺幅，尽显含蓄隽永的文人情致。",[24,25,26,27,51,56,52,268,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88f7b4bca5c328139aed7647428847b.jpg",[],{"id":68286,"slug":68287,"title":68288,"dynasty":18,"author":454,"museum":107,"description":68289,"tags":68290,"thumbUrl":68291,"material":95,"size":95,"collection":95,"collections":68292,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},238647,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238647","平定苗疆战图册","以全景视角铺展苗疆崇山险壑，山道间清军策马挺进，远处营寨森然列阵，将平叛行军的肃杀氛围淋漓呈现。画面线条凌厉精细，山石皴刻尽显地势陡绝，既还原了山地平叛的艰险，也刻画出清军整肃军容。右上方题诗与图景呼应，笔墨载录克捷之功，将纪实叙事与军功宣扬融为一体，以画笔复刻王朝征伐史事，带着厚重的纪史质感。",[24,25,111,50,59,7,51,113,1074,251,56,458,1783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff94fcd4e79e8f17638699ba5ca75a71b.jpg",[],{"id":68294,"slug":68295,"title":68296,"dynasty":18,"author":454,"museum":107,"description":68297,"tags":68298,"thumbUrl":68299,"material":95,"size":95,"collection":95,"collections":68300,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},238636,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238636","平定安南战图册","全景式铺展寿昌江血战，近岸骑兵列阵前驱，水师破浪抢滩，炮火掀卷水浪，将士争先冲锋，硝烟漫过江渚，将战事焦灼烘托尽致。远景山峦静穆，营寨错落其间，动静交织反衬出鏖战之急切。左侧题笔详述破敌经过，图文呼应，完整还原此役始末。\n\n笔触细密写实，甲胄的寒芒、翻涌的怒涛与猎猎旌旗皆刻画入微，以西式铜版画的写实质感，糅合中式题跋叙事，纪实性与艺术性兼具，将征伐的悍勇与军功赫赫的主旨融为一体，尽显这类纪实战绘的独特风貌。",[111,26,7,77,113,1074,51,56,1783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c403ca18a5b22ebe5908d02a4d4ce7d.jpg",[],{"id":68302,"slug":68303,"title":31939,"dynasty":18,"author":454,"museum":107,"description":68304,"tags":68305,"thumbUrl":68310,"material":751,"size":752,"collection":95,"collections":68311,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},238628,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238628","全景式构图铺展激烈战事，层叠山峦与苍郁林木间，兵勇鏖战正酣。旌旗猎猎翻卷，人马奔突厮杀，短兵相接的紧张感跃然纸面，细节处将兵卒格斗、奔逃溃退的动态刻画入微，题诗呼应战局，点明智取克敌的战事脉络。\n\n画作以精细线描勾勒山野形貌与人姿马态，写实还原征战场面，兼具纪实性与艺术性。笔墨沉凝肃杀刚劲，将工笔绘法与纪实特质相融，让观者仿若踏入烽烟烈烈的平叛现场，触摸那段金戈铁马的过往。",[92,24,26,111,50,16623,9812,68306,51,2028,113,1074,1783,68307,36885,68308,7,68309],"纪实","旌旗","肃杀","平叛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbbd2bcfc8379931c4747e16a3b09a1.jpg",[],{"id":68313,"slug":68314,"title":41965,"dynasty":18,"author":454,"museum":107,"description":68315,"tags":68316,"thumbUrl":68317,"material":751,"size":752,"collection":95,"collections":68318,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},238588,"qing-ren-lie-quan-tu-ce-yi-ming-238588","此作工致写实，右幅绘柳下回廊之畔，细犬伏地休憩，棕白相间的毛色晕染细腻，身形舒展灵动，目光警觉有神，将猎犬温顺又不失机敏的神态勾勒得鲜活生动。垂柳依依拂动，苔草点缀阶侧，浅淡设色晕染出庭院的幽寂闲雅。左幅行书题字笔墨舒展雅致，文与图相映成趣。整作敷色柔和清雅，将灵犬神韵与庭院静景相融，既有写生的生动写实，又饱含文人雅逸意趣，尽显中式小品画作的闲静雅致之美。",[24,25,26,27,798,7540,1919,250,11404,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e32766fa086215c925a6a30aac8acda.jpg",[],{"id":68320,"slug":68321,"title":41965,"dynasty":18,"author":454,"museum":107,"description":68322,"tags":68323,"thumbUrl":68324,"material":751,"size":752,"collection":95,"collections":68325,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},238586,"qing-ren-lie-quan-tu-ce-yi-ming-238586","此作以工笔绘就郊原逐猎之景，寒岸枯木虬曲苍劲，枯枝寥寥衬出旷野清寂氛围。猎犬身姿舒展矫健，肌肉线条紧绷，正疾奔扑向仓皇逃窜的野兔，将追逐瞬间的紧张张力尽数定格。画家用工细笔触刻画出猎犬的矫捷剽悍与野兔的惊惶失措，细节生动写实。左幅行书古朴苍劲，文字与画意呼应，诠释猎犬的机敏迅猛。书画合璧，将狩猎的刹那鲜活留存于绢素，尽显写生功力，把郊野逐猎的野性灵动描摹得淋漓尽致，意境悠长隽永。",[24,25,26,111,27,60,7,30717,798,704,57,39737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82cce4918f57da0577c43a925853ae0a.jpg",[],{"id":68327,"slug":68328,"title":41965,"dynasty":18,"author":454,"museum":107,"description":68329,"tags":68330,"thumbUrl":68331,"material":751,"size":752,"collection":95,"collections":68332,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},238585,"qing-ren-lie-quan-tu-ce-yi-ming-238585","此作以工笔绘就郊野逐猎之景，寒枝衰草铺就荒疏底色，奔鹿惶急腾跃，四蹄舒展间尽显惊惧逃遁之态；猎犬弓身疾追，目光紧盯猎物，剽悍之势跃然绢上。\n\n设色清雅写实，兽毛纤毫毕现，将皮毛蓬松柔润的质感刻画入微，动感张力拉满。左侧题诗与画面呼应，文图相映，落笔既见精湛写生功底，又以狩猎野趣衬出雄健灵动之美，融工致写实与清雅文气于一体，尽显隽永意韵。",[24,25,26,27,111,7,60,77,798,10795,30717,704,2062,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870cdd7dcff2a1c197ab79f54aa003e1.jpg",[],{"id":68334,"slug":68335,"title":16729,"dynasty":18,"author":4504,"museum":107,"description":4505,"tags":68336,"thumbUrl":68337,"material":751,"size":752,"collection":95,"collections":68338,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},238549,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238549",[24,25,26,111,27,1128,113,458,77,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d638594cd38dd389d5bf1e7d6710680.jpg",[],{"id":68340,"slug":68341,"title":4167,"dynasty":18,"author":53272,"museum":107,"description":53273,"tags":68342,"thumbUrl":68343,"material":751,"size":752,"collection":95,"collections":68344,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},238004,"shan-shui-ce-qin-zu-yong-238004",[24,25,26,50,59,7,60,77,51,56,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8b9d95f49c37bc8e4901d44ea2fcc5.jpg",[],{"id":68346,"slug":68347,"title":4167,"dynasty":18,"author":53272,"museum":107,"description":53273,"tags":68348,"thumbUrl":68349,"material":751,"size":752,"collection":95,"collections":68350,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},238002,"shan-shui-ce-qin-zu-yong-238002",[24,25,26,50,27,51,458,52,53,56,57,55,7,60,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc8b0915da28b34be636867785c995.jpg",[],{"id":68352,"slug":68353,"title":38730,"dynasty":18,"author":38731,"museum":107,"description":68354,"tags":68355,"thumbUrl":68356,"material":95,"size":95,"collection":95,"collections":68357,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},237570,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237570","此作为行书诗册，笔墨清隽秀雅，行气疏朗自然。以小石为咏题，将拳石林泉逸致寄于笔端，诗文雅致写意，把寸石晕染出山海意趣。笔画舒展灵秀，结体错落有致，字字自带悠然意韵。文人闲逸襟怀藏于笔墨行间，诗与书相映成趣，将江南春韵的雅致融于方寸之内，尽显文人士大夫的林下风流，是文人书画合璧的雅致小品，尽显清雅不俗的文人意趣。",[26,60,7,25,77,250,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c207d13a86e7f23c75977046f29faa.jpg",[],{"id":68359,"slug":68360,"title":38730,"dynasty":18,"author":38731,"museum":107,"description":68361,"tags":68362,"thumbUrl":68363,"material":95,"size":95,"collection":95,"collections":68364,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},237568,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237568","此作为诗书合璧的小品佳作，以小楷书写纪游感怀之诗，笔致秀润温婉，结体端雅间带着灵动意趣，兼具小楷的端稳与行书的舒逸，尽显江南文人的隽秀气质。纸面带着岁月晕染的古旧质感，墨色沉凝雅致，诗中纪游抒怀的文思，与温润笔墨相融，将山河意绪与幽微情思藏入点画之间，晕开旧时文人的清雅风神，尽显清人尺牍小品的隽永意韵。",[24,25,26,60,77,50,27,250,51,652,6139,679,589,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09a044737524aa3e925932c871ee2ff.jpg",[],{"id":68366,"slug":68367,"title":23845,"dynasty":18,"author":454,"museum":107,"description":68368,"tags":68369,"thumbUrl":68370,"material":751,"size":752,"collection":95,"collections":68371,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},237258,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237258","右侧设色人物刻画细腻传神，安坐长者神态端方，跪拜二人姿态恭谨，侍立者垂敛身形，人物情态各有不同。衣纹舒展圆劲，设色清雅柔和，将拜谒场景的肃穆恭敬尽显无遗。左侧行书笔力苍劲浑厚，墨色浓淡层次分明，题文与画作呼应，颂赞名臣高节。整作书画合璧，形制规整和谐，既有叙事绘形的生动鲜活，又兼具翰墨抒情的文人厚重意趣，尽显传统纪实类书画的雅致格调。",[24,25,26,60,27,111,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd771c893c5f3595e0a511f5ba14142b3.jpg",[],{"id":68373,"slug":68374,"title":23845,"dynasty":18,"author":454,"museum":107,"description":68375,"tags":68376,"thumbUrl":68377,"material":751,"size":752,"collection":95,"collections":68378,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},237255,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237255","左侧行书题咏笔致舒展流丽，墨色匀净秀润，诗文咏赞名臣风骨。右侧以浅淡界画勾勒庭院一隅，工笔细绘二人场景：仆从躬身呈物，神态恭谨；官员身姿端凝肃穆，衣纹线条细劲工致，敷色清雅沉稳。\n\n整幅图文合璧，以极简的人物叙事呼应题诗意涵，将朝堂之间的持礼风貌尽藏尺幅，含蓄抒发出对贤良名臣品格的追慕，是工笔人物与书法题咏相融的雅致小品，清和古雅间尽显文人意趣。",[24,25,26,27,111,113,60,7,77,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a0daa0e0725494076730e0833b12aa.jpg",[],{"id":68380,"slug":68381,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68382,"tags":68383,"thumbUrl":68384,"material":751,"size":752,"collection":95,"collections":68385,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236266,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236266","此扇以泥金笺为底，设色雅致明净。远景山峦层叠，赭石晕染坡岩肌理，淡墨轻勾峰脊，兼具沉浑与秀润。近中林木错落，点叶疏密得宜，屋舍隐于林畔水滨，咫尺铺展平远山水的开阔意境，将林泉幽居的静穆闲适徐徐铺陈。整幅山水简而不空，繁而不乱，带着消暑林泉的清逸意趣，与配书笔墨舒展沉稳相映成趣，尽显文人雅赏的韵致，是兼具赏玩与收藏价值的雅致佳构。",[1250,24,27,51,651,652,458,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc70d2c57d9ab656b4606530e56b6d5fe.jpg",[],{"id":68387,"slug":68388,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68389,"tags":68390,"thumbUrl":68391,"material":751,"size":752,"collection":95,"collections":68392,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236264,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236264","此扇以泥金笺为底，墨笔晕染山水。取平远之景铺陈，近岸浅渚细草点点，中麓林木蓊郁，茅庐藏于翠色间，远山淡描逶迤如黛，清寂淡远的山居意趣跃然笺上。\n书画合璧，另一面配书诗翰墨，柔润端秀的笔意与山水意境相映成趣。乌木扇骨搭配竹边，底端嵌饰绿石，工巧雅致。将林泉幽怀与文人情思敛于盈尺纨扇，尽显旧时文玩的隽雅格调。",[24,25,1250,51,27,651,652,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968fc0145de31ffa79a746f309549a0c.jpg",[],{"id":68394,"slug":68395,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68396,"tags":68397,"thumbUrl":68398,"material":751,"size":752,"collection":95,"collections":68399,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236263,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236263","此作为金笺地山水成扇，金箔底衬得墨色愈发清润古雅，山峦层叠逶迤，以淡墨晕染出丘壑起伏，林木攒簇苍劲，点染间见山林幽寂之态，平远构图铺展出清旷辽远的景致，暗合避暑闲游的悠然意境。\n另一面诗文书笔端整秀雅，与山水意韵相得益彰。竹骨莹润匀净，形制精巧，整体融绘事与翰墨于一器，沉静中透着清隽逸趣，尽显清代小品书画的雅致格调。",[1250,24,25,51,27,59,7,60,458,56,57,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1ba3f22a1c0e1b692652004843767b.jpg",[],{"id":68401,"slug":68402,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68403,"tags":68404,"thumbUrl":68405,"material":751,"size":752,"collection":95,"collections":68406,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236262,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236262","此作用泥金笺本设色，全景铺展林泉丘壑。山峦层叠错落，林木蓊郁葱茏，溪谷间板桥横陈，山居隐于深翠之间，晕染出清寂幽深的林下凉境，暗契避暑意韵。笔触细秀雅致，敷色古淡柔和，泥金底纸衬得青绿浅赭愈发温润静和，将林泉清旷夏凉凝于咫尺扇面。\n\n画配诗书，相映成趣，尽展文人清赏林泉、寄怀丘山的雅韵，开合之间纳藏林泉高致，将纳凉赏景与笔墨雅玩合而为一，是颇具意致的小品佳构。",[1250,27,51,7,57,56,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6e7dd37dacc4deb32037faed999bc9.jpg",[],{"id":68408,"slug":68409,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68410,"tags":68411,"thumbUrl":68412,"material":751,"size":752,"collection":95,"collections":68413,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236260,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236260","此扇以泥金为底，浅施色彩绘就山居幽境。屋舍错落隐于葱郁林木间，山石皴法秀雅，远山以淡墨晕染，铺展出清寂安闲的避夏佳处，笔墨温婉内敛，将林泉高致藏于盈尺扇面之中。泥金底色衬得画面更显古雅华贵，搭配匀净打磨的素竹扇骨，棕黑扇骨沉稳雅致，书画相映，尽显旧时文人幽居避暑的闲适意趣，是兼具赏玩与陈设价值的文房雅物。",[1250,24,25,51,458,27,59,1128,56,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d585ad04f1218e6a79592ffbbd5ad6.jpg",[],{"id":68415,"slug":68416,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68417,"tags":68418,"thumbUrl":68419,"material":751,"size":752,"collection":95,"collections":68420,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236259,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236259","泥金扇底沉稳华贵，山峦以披麻皴铺展层叠肌理，坡岸林木错落，屋舍隐于葱茏间，平远开阔的山居景致铺陈开来，将林苑的雄浑与幽居闲适揉合一处，笔墨苍润兼具雅致。细密攒聚的扇骨包浆莹润，与扇面的山水笔墨相映成趣，书画合璧，尽显清隽文心，将山水意趣与文房雅玩的精巧相融，尽显传统制艺与文人审美的绝佳契合。",[24,1250,27,51,458,56,57,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d068b8aa448b0515ffb666b635f59e.jpg",[],{"id":68422,"slug":68423,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68424,"tags":68425,"thumbUrl":68426,"material":751,"size":752,"collection":95,"collections":68427,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236257,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236257","此作为泥金扇面，自带华贵雅润底色，平畴铺展间远山衔翠，浅赭晕染山峦，墨笔点簇林木苍秀错落，将林泉夏景铺陈于方寸之间。笔触清润柔和，以写实之态描摹苑囿平林野趣，层次疏朗分明，无繁复皴法，却将避暑林泉的悠然凉意晕染开来。整体意境清和淡远，咫尺扇面尽揽山野闲趣，藏着消夏的恬然意趣，尽显传统文人寄情林泉的雅致情怀。",[24,25,1250,51,56,268,27,59,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df8e9d7d12ef6b84177b24d50652aae.jpg",[],{"id":68429,"slug":68430,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68431,"tags":68432,"thumbUrl":68433,"material":751,"size":752,"collection":95,"collections":68434,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236255,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236255","此扇以泥金为底，墨笔绘就林泉幽居之景。近处苍松蟠曲，层林错落，山居屋舍隐现其间，似可暂避溽热，静享幽凉。中远景山峦层递，以淡墨晕染烟岚，留白虚实相生，晕出远山空濛悠远之意。水墨勾勒皴擦兼具工稳与写意，将山野清旷之境铺陈开来，一侧诗书相衬，书画合璧，尽显林下雅趣。泥金底色的华贵，中和了水墨的清雅，让画面既具富丽质感，又不失山水静穆澹远之致，轻摇间似可揽得林泉凉意，是兼具赏玩与收藏价值的雅致文玩。",[1250,24,25,51,27,59,56,57,458,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe732b75ad2a28669ee7bc0ed4c3a8102.jpg",[],{"id":68436,"slug":68437,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68438,"tags":68439,"thumbUrl":68440,"material":751,"size":752,"collection":95,"collections":68441,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236252,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236252","以泥金为底，墨色晕染出层叠山峦，苍松茂林错落掩映着屋舍板桥，将名园夏景凝缩于盈尺扇面。笔触清隽秀雅，既写实还原了林泉雅致的园居意趣，又以文人山水的笔墨意韵，勾勒出疏朗开阔的山居清凉，在金笺的华贵底色衬映下，咫尺丘壑里藏着林下幽居的澹然意趣，尽显精致工致的审美意趣。",[24,25,1250,27,51,59,7,251,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b916d94ef4389e164da30dced0ab5b3.jpg",[],{"id":68443,"slug":68444,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68445,"tags":68446,"thumbUrl":68447,"material":751,"size":752,"collection":95,"collections":68448,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236251,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236251","泥金笺底自带华贵沉稳，浅绛晕染出平林远岫之致。近岸林木苍郁，坡岸逶迤着衔起水泽幽光，远山以淡墨轻扫层叠铺展，将夏日林泉的清旷闲逸晕开。笔墨简淡秀雅，不刻意求工，却把幽寂安宁的林泉高致烘托尽致。黝黑莹润的扇骨与金底山水相映，雅致古朴，将避暑的悠然意态藏于开合之间，尽显文人清赏的雅韵风骨。",[1250,24,25,27,59,51,268,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ee76ef6b97b54ef2db5d64d8d8c8a.jpg",[],{"id":68450,"slug":68451,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68452,"tags":68453,"thumbUrl":68454,"material":751,"size":752,"collection":95,"collections":68455,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236250,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236250","这帧金笺扇面以浅绛设色绘就山居消暑之景，远山层峦披黛，淡墨勾勒皴擦出空濛清旷的天际。近林木蓊郁苍润，深浅墨色点染出繁叶错落生机，素朴屋舍隐于浓荫之下，不见人迹却满溢幽寂闲适的消暑意趣。\n\n笔墨清隽柔和，泥金底色衬得画面古雅温润，晕染出山林间静穆凉意，尽显传统山水小品悠然淡远的格调，藏着夏日山居松弛安然的氛围感。",[1250,27,51,458,56,251,7,59,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0142746b271b5d66491bfb420705662a.jpg",[],{"id":68457,"slug":68458,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68459,"tags":68460,"thumbUrl":68461,"material":751,"size":752,"collection":95,"collections":68462,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236249,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236249","泥金笺底凝着华贵光泽，层叠山峦自扇沿铺展，皴笔细劲柔和晕出岩壑肌理，淡赭敷染漫出秋山沉郁苍润。丛树错落植于平坡，将林苑清旷之致揉入尺幅之间，笔墨带着端整雅致的风貌，又暗合文人山水的悠然意趣。\n\n深色竹骨衬得扇面愈见明丽，素洁扇骨与金碧画境相映成趣，开合间尽揽苑囿秋光，把皇家林泉的静穆清逸，藏纳在这一方扇面之中，雅致兼具赏用之美。",[1250,24,27,51,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a975b536de2c1932475f977d30874b.jpg",[],{"id":68464,"slug":68465,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68466,"tags":68467,"thumbUrl":68468,"material":751,"size":752,"collection":95,"collections":68469,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236248,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236248","此作为泥金扇面山水，浅绛设色晕染柔和雅致。远山层峦淡墨轻皴，将天际晕染朦胧悠远；近岸林木苍郁错落，屋舍隐于林麓间，红径蜿蜒接引通幽，水面孤舟泛波，衬出山居的清寂闲雅。笔墨简淡合宜，皴法勾勒山石肌理，既见工致又不失写意松弛，泥金底色托衬浅淡设色，更添沉静古雅氛围，将林泉避暑的悠然隐逸之趣，尽纳咫尺扇面之间，尽显文人心目中的栖居佳境。",[24,25,1250,27,51,458,56,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5388bb9940267fcf1eed940a56223cc.jpg",[],{"id":68471,"slug":68472,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68473,"tags":68474,"thumbUrl":68475,"material":751,"size":752,"collection":95,"collections":68476,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236245,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236245","此作以泥金笺为地，墨色皴染层叠山峦，林麓间屋舍隐现，暗合山居夏凉的清寂幽致。山峦以披麻皴写就，线条松秀苍润，浓淡墨色交错晕染，既勾勒出雄浑山骨，又衬出泥金底的华贵雅致，将林泉幽居的闲静藏于咫尺扇间。素净扇骨与画面相得益彰，笔墨平和悠远，尽显林泉避暑的雅逸意趣，是融华贵材质与文人山水意韵于一体的佳制。",[2135,24,1250,51,27,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7788deada02b9c12276b51876e8c79f.jpg",[],{"id":68478,"slug":68479,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68480,"tags":68481,"thumbUrl":68482,"material":751,"size":752,"collection":95,"collections":68483,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236244,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236244","此扇以泥金笺为地，自带华贵雅致底色。画面绘林苑一隅，重檐楼宇静处方庭，佳木环绕、远山逶迤。笔墨秀润细腻，敷色淡逸沉稳，将苑囿的清寂消暑意韵尽显，石隐木葱，处处透着山居夏凉的疏闲意境。\n\n书画合璧，笔墨兼具写实精巧与写意澹远，将苑林清幽揉入尺幅扇间，尽显传统扇面的隽永意趣，是兼具观赏与把玩价值的佳制。",[2135,24,1250,27,1128,51,458,56,567,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5325818f7d0138bd8effac6eb2a16315.jpg",[],{"id":68485,"slug":68486,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68487,"tags":68488,"thumbUrl":68489,"material":751,"size":752,"collection":95,"collections":68490,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236243,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236243","此扇以泥金为地，水墨晕染出山林幽居之境。淡墨轻扫远山，层叠轮廓似笼薄烟，漾出空濛悠远之态。近处长松郁茂，蓊然成林，掩映间茅舍静立，水泽清浅环伺，将山野间的凉寂闲适铺陈开来。\n笔墨枯湿浓淡相宜，以极简的皴染区分远近层次，将幽居避喧的隐逸意趣融于盈尺扇面。素净扇骨衬得水墨愈见清润雅致，观之如身临林泉，暑意尽散，尽显小品山水的隽永韵味。",[24,25,1250,51,458,56,27,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80c793f4441e4eaa665a86bcb4a8be2.jpg",[],{"id":68492,"slug":68493,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68494,"tags":68495,"thumbUrl":68496,"material":751,"size":752,"collection":95,"collections":68497,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},236242,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236242","此扇以泥金笺为底，墨笔绘就山居丘林景致。远山层叠晕染，草木华滋蓊郁，近舍错落隐于繁荫之间，笔墨苍秀清润，将山居避暑的幽旷闲静氛围尽数铺展。一侧配书诗文，书画合璧，尽显文人雅玩的审美意趣，朴雅古拙的扇骨衬得这帧小品愈显雅致。虽无名款，亦能窥见彼时山水小品的典型风貌，是兼具赏玩与收藏价值的文房清玩。",[1250,24,25,51,27,59,458,56,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e78faae2ebc8efa888f479aad353905.jpg",[],{"id":68499,"slug":68500,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68501,"tags":68502,"thumbUrl":68503,"material":751,"size":752,"collection":95,"collections":68504,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236241,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236241","泥金扇底晕开暖雅底色，远山以淡墨轻勾晕染，烟岚浮于层峦间，晕出空濛悠远之意。丘壑间林木葱郁，山居屋舍隐现其中，似藏夏日幽凉意趣。布局疏密得宜，左侧铺陈山水实景，右侧留白落款虚实相映，尽显中式山水的空灵雅致。乌润扇骨与暖金扇面相映成趣，将林泉高致凝于盈尺扇面之间，开合间尽纳山水丘壑，融文人赏玩意趣与工艺精巧为一体，静赏便觉山居凉意扑面而来。",[1250,51,59,27,7,60,251,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680122ea17ca0664a593a65a39a33a7.jpg",[],{"id":68506,"slug":68507,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68508,"tags":68509,"thumbUrl":68510,"material":751,"size":752,"collection":95,"collections":68511,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236240,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236240","金笺为底，墨色晕染间衬以浅淡青绿，层次婉转分明。远山轻烟弥散，黛色含晕，林泉之间屋舍亭台错落排布，嘉木繁荫葱翠，将盛夏清和消暑的意韵尽显。雅致山水间藏着闲居清赏的意趣，笔墨秀润灵和，写尽林泉雅墅的静穆安恬。配竹骨莹润光洁，工艺精巧，书画合璧，将文人悠然消暑的心境融于咫尺扇面，尽显隽永雅致的旧时雅韵。",[1250,27,51,7,60,458,56,57,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4970e68989959a6db21f5c17cfb9f9e5.jpg",[],{"id":68513,"slug":68514,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68515,"tags":68516,"thumbUrl":68517,"material":751,"size":752,"collection":95,"collections":68518,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236239,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236239","此作用泥金扇面绘就，满幅晕着沉敛华贵的光泽。层林如盖，蓊郁苍润，山居屋舍错落排布于浓荫之间，隐现雅致格局。远处山峦平缓铺展，与平林烟霭相融，将山庄幽寂清宁的夏日常态铺陈眼前，笔墨工致细腻，晕染柔和清润，把山居避暑的闲雅意趣尽数藏入尺幅间。搭配古朴匀整的扇骨，与扇面书画呼应相成，整体意蕴悠然沉静，尽显传统山水小品的雅致情致，藏着旧时林下幽居的恬淡意涵。",[24,25,1250,27,51,458,56,58,7,111,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad75937842031be1e76c63dfd0a475a.jpg",[],{"id":68520,"slug":68521,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68522,"tags":68523,"thumbUrl":68524,"material":751,"size":752,"collection":95,"collections":68525,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236237,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236237","此作为泥金折扇，取平远法绘消暑湖山。近岸林木蓊郁，以浓淡墨色点簇枝叶，翠色鲜活。林间草堂隐现，暗合幽居避暑的闲逸意涵。远景山峦以淡赭轻勾浅染，留白铺作水泽汀洲，层层推演出辽远空阔的湖山胜致。泥金底纸晕染出古雅华贵的质感，笔墨清润简淡，温婉雅致的色调衬出林泉高致的悠然意境，于尺幅扇面收纳千里湖山，尽显清寂出尘的林下雅趣。",[1250,27,51,251,56,268,7,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f75d35e0925af32c1b7463e5b9ce46.jpg",[],{"id":68527,"slug":68528,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68529,"tags":68530,"thumbUrl":68531,"material":751,"size":752,"collection":95,"collections":68532,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236236,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236236","金笺为底，以墨彩晕染出苑囿胜景。山峦逶迤叠嶂，林木苍郁错落，殿宇台榭隐现于林泉之间，平远构图铺展出开阔辽寂的林下气象。笔墨工稳秀润，设色浅淡清雅，既带着文人山水的萧散意趣，又暗合皇家园林的端严静穆，将林泉之胜与规制气度融为一体。配搭的扇骨雕琢暗纹，细腻雅致，与画面相得益彰，尽显清代造扇工艺与山水画小品的精妙融合，是一件兼具观赏与工艺价值的佳构。",[1250,24,25,27,59,51,458,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc244ed513cd4a2aa10f29b3ebe305571.jpg",[],{"id":68534,"slug":68535,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68536,"tags":68537,"thumbUrl":68538,"material":751,"size":752,"collection":95,"collections":68539,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236235,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236235","此作为金笺成扇，水墨设色绘就山居胜景。远山以淡墨晕染层叠，隐没天际，近麓林木苍蔚繁茂，亭台藏于林樾之间，通幅笔墨秀润清逸，将林泉幽致铺陈扇面之上，似可揽得山风凉意，尽显山居静穆旷远的意境。\n\n画面层次分明，近景苍郁、远景虚和，咫尺之间纳得丘壑万千。搭配题诗文气雅致，将林泉高致藏于轻纨之上，案头展观便可神游林麓，是文人雅赏的精妙佳制。",[24,1250,27,51,251,56,458,59,2135,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2b8a06b63d674be7c2c66fa228a636.jpg",[],{"id":68541,"slug":68542,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68543,"tags":68544,"thumbUrl":68545,"material":751,"size":752,"collection":95,"collections":68546,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236233,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236233","此作为泥金笺成扇，以浅绛糅合青绿设色。远景山峦层叠，干笔皴擦勾勒岩体质感，赭石晕染出苍润秋意。近林木色鲜妍，青绿点染生机盎然，临水亭台回廊婉转，屋舍俨然排布，将林居雅意与山水野趣相融无间。\n\n线条秀雅精细，设色雅致沉稳，泥金底衬得画面愈显富丽隽秀，兼具院体工致与文人山水的清逸，尽显苑囿题材山水画的温婉意趣，将幽居避暑的闲适雅致晕染于金笺之上，藏着悠游林泉的澹澹诗意。",[24,25,1250,27,51,458,56,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d19b3c62b6df4883609e067ab0a7f0.jpg",[],{"id":68548,"slug":68549,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68550,"tags":68551,"thumbUrl":68552,"material":751,"size":752,"collection":95,"collections":68553,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236232,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236232","此扇以泥金笺为底，设色绘就山居胜景，山峦层叠晕染细腻，墨色浓淡铺陈出远近层次，坡岸林木错落，点染秋红，为苍润山色添几分灵动意趣。溪上架木桥，屋舍隐于林麓间，笔墨工致又不失写意松弛，将幽居林泉的静谧雅致娓娓铺展。\n扇面书画相映成趣，整体透着温润雅致的古韵，扇骨包浆匀净，装裱完好，融汇诗书画扇工艺之美，是兼具赏玩与收藏价值的雅致佳品。",[24,25,1250,27,59,51,458,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa009aa3814c5612e1ad1e43d2cbc57d3.jpg",[],{"id":68555,"slug":68556,"title":53439,"dynasty":18,"author":454,"museum":107,"description":68557,"tags":68558,"thumbUrl":68559,"material":751,"size":752,"collection":95,"collections":68560,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236231,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236231","泥金笺底晕开夏时湖山，淡墨轻勾远山轮廓，晕染出氤氲空蒙的暑日烟岚。近岸林木葱郁苍润，掩映着临水茅庐，静立湖滨，似藏着幽居纳凉的闲雅意趣。设色清柔雅致，浅赭铺陈山峦，翠色点染茂林，与泥金底色相衬，自带古雅华贵的质感。构图疏密有致，远近层次分明，将水岸消暑的静谧闲淡收于咫尺扇间，把文人寄情林泉的隐逸意趣融于笔墨，方寸之间尽显山水雅韵，自带沉静悠然的消暑氛围。",[1250,24,25,27,111,51,458,56,268,553,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc3c58cc2fcc4cd18228e0256819d91.jpg",[],{"id":68562,"slug":68563,"title":36137,"dynasty":18,"author":36138,"museum":107,"description":36139,"tags":68564,"thumbUrl":68565,"material":751,"size":752,"collection":95,"collections":68566,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236229,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236229",[24,1250,7,27,59,51,651,652,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1b4da77fdeddd88c2429b00422c904.jpg",[],{"id":68568,"slug":68569,"title":36137,"dynasty":18,"author":36138,"museum":107,"description":36139,"tags":68570,"thumbUrl":68571,"material":751,"size":752,"collection":95,"collections":68572,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236225,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236225",[1250,24,27,51,652,651,268,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3b9b20131366ec49e50a04552b2af0.jpg",[],{"id":68574,"slug":68575,"title":36137,"dynasty":18,"author":36138,"museum":107,"description":36139,"tags":68576,"thumbUrl":68577,"material":751,"size":752,"collection":95,"collections":68578,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236220,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236220",[24,25,1250,27,59,51,56,268,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b0de1425846ab8804c4dc78fb5058bf.jpg",[],{"id":68580,"slug":68581,"title":36137,"dynasty":18,"author":36138,"museum":107,"description":36139,"tags":68582,"thumbUrl":68583,"material":751,"size":752,"collection":95,"collections":68584,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236216,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236216",[1250,24,25,27,59,51,57,56,458,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4883bce14a6e5154f233dc0d34281ad7.jpg",[],{"id":68586,"slug":68587,"title":36137,"dynasty":18,"author":36138,"museum":107,"description":36139,"tags":68588,"thumbUrl":68589,"material":751,"size":752,"collection":95,"collections":68590,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236215,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236215",[1250,24,25,27,51,458,56,57,471,111,59,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4624404c63a4d696c7611db343f4e6b9.jpg",[],{"id":68592,"slug":68593,"title":36137,"dynasty":18,"author":36138,"museum":107,"description":36139,"tags":68594,"thumbUrl":68595,"material":751,"size":752,"collection":95,"collections":68596,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236213,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236213",[1250,24,27,51,59,7,458,56,555,268,53,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb219c4ed6a60e21cf2efe7dbb4b17fe5.jpg",[],{"id":68598,"slug":68599,"title":36137,"dynasty":18,"author":36138,"museum":107,"description":36139,"tags":68600,"thumbUrl":68601,"material":751,"size":752,"collection":95,"collections":68602,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236210,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236210",[1250,24,25,51,27,59,56,268,553,359,7713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c5023d403267286e948c63996b43b8.jpg",[],{"id":68604,"slug":68605,"title":36137,"dynasty":18,"author":36138,"museum":107,"description":36139,"tags":68606,"thumbUrl":68607,"material":751,"size":752,"collection":95,"collections":68608,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},236204,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236204",[24,1250,27,59,51,652,589,360,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3a1eaff76b9f767ac05be50cc3e8af.jpg",[],{"id":68610,"slug":68611,"title":4167,"dynasty":18,"author":53470,"museum":107,"description":68612,"tags":68613,"thumbUrl":68614,"material":95,"size":95,"collection":95,"collections":68615,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},235379,"shan-shui-ce-mei-geng-235379","以淡墨晕染烟岚山峦，留白铺陈出空濛水气，山道林木攒簇苍郁朴拙。构图简淡清逸，以虚化实，将雨后初霁的山巅云气翻涌之态尽皆晕染。\n\n笔墨萧散松灵，尽显简淡高逸意趣，将仙山的空濛奇诡诉诸笔端。以极简勾勒渲染出山雨初歇后，流云出岫、峰峦隐现的幽寂空灵。文与画相映成趣，将游记中山川的灵秀与水墨意境相融，藏万千丘壑于尺幅间，淡而弥远，余韵悠长。",[24,25,26,50,59,7,51,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F670927c49a4a74ddb247613abdff8fbc.jpg",[],{"id":68617,"slug":68618,"title":68619,"dynasty":18,"author":454,"museum":107,"description":68620,"tags":68621,"thumbUrl":68622,"material":95,"size":95,"collection":95,"collections":68623,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},235051,"chong-lie-shu-qi-lv-si-shou-ce-ye-yi-ming-235051","崇烈书七律四首册页","此作用笔匀停温润，点画精整秀雅，结体端稳工致，通篇排布疏朗匀净，墨色乌亮莹润，一丝不苟尽显端雅法度。\n\n笔锋藏露得宜，撇捺舒展飘逸，既恪守馆阁体的规整谨严，又暗蕴文人书法的隽雅意趣。朱印轻落，朱墨相映，为通篇的素洁添了几分古雅点缀。\n\n笔墨间浸着清和文气，将仕林翰墨的规矩与酬唱诗文的雅致相融，沉静端凝里藏着平和温雅的书卷之风，如谦谦君子揖立卷上，尽显清雅端凝的翰墨风神。",[18,7,60,26,77,678,1679,116,54,53,55,51,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F433ef1b4e749edb8d06b7b687471ae2d.jpg",[],{"id":68625,"slug":68626,"title":22950,"dynasty":18,"author":454,"museum":107,"description":68627,"tags":68628,"thumbUrl":68629,"material":95,"size":95,"collection":95,"collections":68630,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},235049,"yuan-ji-za-hua-tu-ce-yi-ming-235049","此作用极简水墨绘就鲜果枝叶，以浓淡墨色区分虚实，深墨晕染果实，饱满莹润仿佛可触，淡墨铺衬留白，衬托出鲜果的鲜活质感。叶片以劲爽枯笔写出，笔锋苍劲带着疏朗野趣，寥寥数笔便将蔬果生机尽显。\n\n旁侧题诗与画面相映成趣，诗画合璧尽显文人意趣，以随性的笔墨抒发悠然禅意，不刻意雕琢形貌，只撷取日常小景的天然意韵，将寻常蔬果赋予清雅超脱的文人心境，尽显写意画以形写神的精妙，平淡天真中蕴藏盎然生趣。",[24,50,26,131,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29c7f6fee060e05ba2524c85b948b2c.jpg",[],{"id":68632,"slug":68633,"title":22950,"dynasty":18,"author":454,"museum":107,"description":68634,"tags":68635,"thumbUrl":68636,"material":95,"size":95,"collection":95,"collections":68637,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},235044,"yuan-ji-za-hua-tu-ce-yi-ming-235044","此作用写意水墨绘就兰石，运笔纵逸老辣。怪石以阔笔泼墨晕染，留白勾勒纹理，浑朴厚重，苍莽质感尽显。幽兰以中锋写兰叶，笔势舒展虬曲，如锥画沙，尽显柔韧舒展之姿，淡墨点花，清雅空灵。左侧题款笔力雄健，与画面相映成趣。\n\n整体构图极简，以兰之清逸衬石之朴拙，借物抒怀尽显文人画以物明志的意趣。寥寥数笔间将君子风骨寄寓其中，简淡中见情致，尽显水墨写意的精妙韵味，古雅清幽的意境扑面而来。",[24,25,26,50,139,250,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc2549e142b73e8a4a519e5c9296a25.jpg",[],{"id":68639,"slug":68640,"title":22950,"dynasty":18,"author":454,"museum":107,"description":68641,"tags":68642,"thumbUrl":68643,"material":95,"size":95,"collection":95,"collections":68644,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},235043,"yuan-ji-za-hua-tu-ce-yi-ming-235043","此作书画合璧，疏淡雅致。右侧以淡墨勾勒茶壶，造型朴拙圆润，线条简净温润，静穆中带着烟火暖意；旁侧古瓶斜插梅枝，枯墨写枝，淡墨圈花，梅影横斜清雅灵动，瓶身笔意通透，寥寥数笔便将清寂冬景里的案头雅趣铺展开来。\n\n左侧题诗笔力苍劲洒脱，墨色枯润相宜，与画面意境呼应，将煮茶赏梅的闲情寄于笔墨。整幅以枯淡墨色晕染出疏旷散淡的氛围，尽显文人幽居的悠然意趣，简笔却韵味悠长，淡中见雅，把岁寒清居的诗意描摹尽致。",[24,50,26,60,131,834,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940530150c0491c9c8943a88c16e9e38.jpg",[],{"id":68646,"slug":68647,"title":68648,"dynasty":18,"author":65287,"museum":126,"description":68649,"tags":68650,"thumbUrl":68651,"material":95,"size":95,"collection":95,"collections":68652,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},234512,"lin-mi-tie-ye-wang-hong-xu-234512","临米帖页","王鸿绪（1645年-1723年），清代官员、学者、书法家。初名度心，中进士后改名鸿绪。字季友，号俨斋，别号横云山人，华亭张堰镇（今属上海金山）人。康熙十二年进士，授编修，官至工部尚书。曾入明史馆任《明史》总裁，与张玉书等共主编纂《明史》，为《佩文韵府》修纂之一。后居家聘万斯同共同核定自纂《明史稿》三百一十卷，献与康熙帝，才得以刊行。一生精于鉴藏书画。书学米芾、董其昌，具遒古秀润之趣。\n董其昌再传弟子，著有《横云山人集》等。",[18,7,60,110,77,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f5d29fff48bf554eda7e36131550df.jpg",[],{"id":68654,"slug":68655,"title":53540,"dynasty":45,"author":47423,"museum":107,"description":47424,"tags":68656,"thumbUrl":68657,"material":95,"size":95,"collection":95,"collections":68658,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},233662,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233662",[24,25,26,9636,27,834,7,11446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239093cc26142dddf9ab3762bbd54a6b.jpg",[],{"id":68660,"slug":68661,"title":53540,"dynasty":45,"author":47423,"museum":107,"description":47424,"tags":68662,"thumbUrl":68663,"material":95,"size":95,"collection":95,"collections":68664,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},233611,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233611",[24,25,26,112,27,9636,798,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e0df70c1561629205b1b247fb39d2f.jpg",[],{"id":68666,"slug":68667,"title":53540,"dynasty":45,"author":47423,"museum":107,"description":47424,"tags":68668,"thumbUrl":68669,"material":95,"size":95,"collection":95,"collections":68670,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},233501,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233501",[24,25,26,9636,27,359,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc346444f3caa4f9650e43ef5da5b70e5.jpg",[],{"id":68672,"slug":68673,"title":68674,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68675,"thumbUrl":68676,"material":751,"size":752,"collection":95,"collections":68677,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},232872,"dun-huang-yi-shu-97-yi-ming-232872","敦煌遗书97",[3028,7,386,199,49,50,312,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006d65df44eebd634e633042ba460ff5.jpg",[],{"id":68679,"slug":68680,"title":68681,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68682,"thumbUrl":68683,"material":751,"size":752,"collection":95,"collections":68684,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},232871,"dun-huang-yi-shu-96-yi-ming-232871","敦煌遗书96",[7,386,199,3028,49,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5187305dbdd9ef58252d3ece9aa38d.jpg",[],{"id":68686,"slug":68687,"title":68688,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68689,"thumbUrl":68690,"material":751,"size":752,"collection":95,"collections":68691,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},232870,"dun-huang-yi-shu-95-yi-ming-232870","敦煌遗书95",[3028,386,7,199,49,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a296b6a22ad440f90334f4bcf20cf0e.jpg",[],{"id":68693,"slug":68694,"title":68695,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68696,"thumbUrl":68697,"material":751,"size":752,"collection":95,"collections":68698,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},232869,"dun-huang-yi-shu-94-yi-ming-232869","敦煌遗书94",[3028,386,7,199,1498,49,878,433,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722eaf640735348a12ca4c932db5fd19.jpg",[],{"id":68700,"slug":68701,"title":68702,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68703,"thumbUrl":68704,"material":751,"size":752,"collection":95,"collections":68705,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},232868,"dun-huang-yi-shu-93-yi-ming-232868","敦煌遗书93",[3028,7,386,1498,199,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323f0853880bc806f94ee31d65ed33c5.jpg",[],{"id":68707,"slug":68708,"title":68709,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68710,"thumbUrl":68711,"material":751,"size":752,"collection":95,"collections":68712,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},232866,"dun-huang-yi-shu-92-yi-ming-232866","敦煌遗书92",[3028,386,7,199,878,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b4621425992c3788cb2c45776cb21a1.jpg",[],{"id":68714,"slug":68715,"title":68716,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68717,"thumbUrl":68718,"material":751,"size":752,"collection":95,"collections":68719,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},232865,"dun-huang-yi-shu-91-yi-ming-232865","敦煌遗书91",[3028,386,7,199,1498,878,49,50,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face95514f1a21fad229d461f21020611.jpg",[],{"id":68721,"slug":68722,"title":68723,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68724,"thumbUrl":68725,"material":751,"size":752,"collection":95,"collections":68726,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},232861,"dun-huang-yi-shu-90-yi-ming-232861","敦煌遗书90",[3028,386,7,199,878,1498,433,432,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8682393f35f07654fc6e599dd12cf01c.jpg",[],{"id":68728,"slug":68729,"title":68730,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68731,"thumbUrl":68732,"material":751,"size":752,"collection":95,"collections":68733,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},232860,"dun-huang-yi-shu-89-yi-ming-232860","敦煌遗书89",[3028,386,7,199,49,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd725c5ca040f1f96b13e8c60e7aa3cc0.jpg",[],{"id":68735,"slug":68736,"title":68737,"dynasty":18,"author":454,"museum":72,"description":68738,"tags":68739,"thumbUrl":68740,"material":1179,"size":68741,"collection":95,"collections":68742,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},232673,"xiang-yu-cong-tu-yi-ming-232673","翔玉骢图","玉骢是一个汉语词语，读音yù cōng，即玉花骢。泛指骏马。\n唐 韩翃 《少年行》：“千里斑斓喷玉骢，青丝结尾绣缠鬃。” 元 王实甫 《西厢记》第四本第三折：“柳丝长玉骢难系，恨不倩疏林挂住斜晖。” 清 赵翼 《香山夜归即事》诗：“玉骢亦解人良会，故踏花阴缓缓归。” 郑泽 《杏花》诗：“闲策玉骢游暖昼，春风红到 宋 家东。”",[92,24,25,111,27,1074,798,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3c8b4c721bc0388f04c2e9130ae1f5.jpg","292.6x257.3厘米",[],{"id":68744,"slug":68745,"title":68746,"dynasty":179,"author":454,"museum":107,"description":27799,"tags":68747,"thumbUrl":68748,"material":751,"size":752,"collection":95,"collections":68749,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},231894,"you-zi-wan-yi-ming-231894","有字碗",[25504,60,7,834,3477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc16d82683b9c6042fa81513f52ec8853.jpg",[],{"id":68751,"slug":68752,"title":68753,"dynasty":88,"author":454,"museum":107,"description":68754,"tags":68755,"thumbUrl":68758,"material":751,"size":752,"collection":95,"collections":68759,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},231538,"guan-shi-yin-pu-sa-zuo-xiang-yi-ming-231538","观世音菩萨坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[2601,878,113,7713,1614,68756,7,68757],"题刻","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96ca9f9218418f2c02696086151302f.jpg",[],{"id":68761,"slug":68762,"title":68763,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68764,"thumbUrl":68765,"material":751,"size":752,"collection":95,"collections":68766,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230826,"dun-huang-yi-shu-88-yi-ming-230826","敦煌遗书88",[3028,49,7,386,199,1498,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e5856c98b7981676ef4042134b6745.jpg",[],{"id":68768,"slug":68769,"title":68770,"dynasty":8749,"author":454,"museum":107,"description":68771,"tags":68772,"thumbUrl":68773,"material":751,"size":752,"collection":95,"collections":68774,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230821,"jie-ben-yi-ming-230821","戒本","此卷为残本写经，纸色泛黄斑驳，虽有虫蛀破损，却难掩其沉静古雅的气质。以小楷抄录经文，笔致精劲端稳，点画凝练匀整，带着写经特有的平正肃穆又暗含灵动的意韵。\n\n书写者以虔敬之心落墨，字字恭谨端凝，通篇气息静谧庄严，将宗教的肃穆融于笔墨之间。岁月侵蚀之下，残损的纸页仍承载着旧时的信仰温度，兼具传经的实用价值与书法审美价值，尽显质朴隽秀的写经艺术风貌。",[199,7,386,1498,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc67256b7e863d3f7784de6c4b63fe34.jpg",[],{"id":68776,"slug":68777,"title":68778,"dynasty":8749,"author":454,"museum":107,"description":68779,"tags":68780,"thumbUrl":68781,"material":751,"size":752,"collection":95,"collections":68782,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230817,"fu-shuo-jin-gang-shou-pu-sa-xiang-fu-yi-qie-bu-duo-da-jiao-wang-jing-juan-xia-xie-yi-ming-230817","佛說金剛手菩薩降伏壹切部多大教王経巻下寫","此卷以小楷恭书经文，笔致匀整端雅，墨色古淡沉静，尽显写经书法的肃穆端严。通篇排布齐整，点画凝练敦和，是典型的古写经风貌。纸面虽经岁月磨洗，有虫蚀斑驳与水渍痕迹，却晕染出厚重的时光质感，每一处残损都承载着流转的岁月记忆。书写者以恭谨之心落墨，将虔诚信仰融于笔锋起落之间，让通篇兼具宗教文献价值与书法审美价值，沉静古雅的书卷气息扑面而来，尽显中古写本的隽永意蕴。",[49,7,386,878,199,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8a9a9b0a646535d6652be6a56fb14b.jpg",[],{"id":68784,"slug":68785,"title":68786,"dynasty":8749,"author":454,"museum":107,"description":68787,"tags":68788,"thumbUrl":68789,"material":751,"size":752,"collection":95,"collections":68790,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230816,"fu-shuo-hu-guo-jing-xie-yi-ming-230816","佛說護國経寫","此作为写经小楷，通篇笔致精劲端雅，结体匀整内敛，墨色清润匀净，气息沉静肃穆。字距行距排布齐整工稳，字字恪守矩度却不失灵动意趣，可见书写者落笔时的静定心力。\n\n书写者以虔诚之心落墨，将奉经礼佛的沉静融于笔锋起落之间，笔笔凝练质朴，通篇具足冲淡平和的写经气韵，尽显传统写经书法的清隽虔敬之美，静静诉说着书写时的肃穆心境。",[199,7,386,49,878,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283d6da7ca2d6f534ac3cc3a781c8a26.jpg",[],{"id":68792,"slug":68793,"title":68794,"dynasty":8749,"author":454,"museum":107,"description":68795,"tags":68796,"thumbUrl":68797,"material":751,"size":752,"collection":95,"collections":68798,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230815,"yi-zhu-pu-sa-wan-xing-shou-leng-yan-jing-juan-di-9-quan-juan-yi-ming-230815","义诸菩萨万行首楞厳経巻第9全巻","此卷小楷点画精劲匀停，结体端雅方正，通篇字距行距齐整排布，气息绵密贯通，尽显写经书法的肃穆恭谨。以淡墨落于泛黄绢本之上，古旧底色衬出墨色莹润秀洁，更添沉静古雅之意。\n\n书写者将宗教的清寂虔诚融于笔端，一笔一划皆见静定心力，经文舒朗有序，带着内敛沉静的禅意。历经岁月，纸面虽有斑驳破损，却更衬出这份手写经卷的古朴厚重，是尽显传统写经书法端严静穆之美的古韵佳作。",[49,7,386,1498,312,878,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f9e8c4493e270f4c4e0bde90ded0fb.jpg",[],{"id":68800,"slug":68801,"title":68802,"dynasty":8749,"author":454,"museum":107,"description":68803,"tags":68804,"thumbUrl":68805,"material":751,"size":752,"collection":95,"collections":68806,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230814,"da-ban-nie-pan-jing-juan-yi-ming-230814","大般涅槃経巻","引首题字以瘦硬开张的楷书书就，笔力舒展洞达，撇捺朗润飘逸，尽显褚楷清逸典雅的风神。卷内经文小楷匀整秀雅，字字安稳停匀，笔墨沉静平和，带着抄写佛经时的恭谨肃穆，将书法的工致与经文的禅意相融。整体气息静谧沉和，把唐人写经的端雅风貌传神呈现，笔墨间流淌出平和冲淡的禅意，尽显写经书法特有的秀润端严之美。",[7,386,199,77,49,878,1498,9635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6246a8d6b1d1a34513b35e6994af4984.jpg",[],{"id":68808,"slug":68809,"title":68802,"dynasty":8749,"author":454,"museum":107,"description":68810,"tags":68811,"thumbUrl":68812,"material":751,"size":752,"collection":95,"collections":68813,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},230813,"da-ban-nie-pan-jing-juan-yi-ming-230813","通篇小楷精整端雅，笔锋劲挺匀净，字字排布齐整，墨色沉凝古朴，尽显写经者抄录时的恭谨，尽显唐人写经的典型风貌。\n\n右侧护法神祇衣袂层叠晕染，宝冠璎珞精细富丽，手持法器庄重端严，设色古雅厚重，线条勾勒凝练有神，兼具宗教的肃穆与唐人绘画的丰润气度。\n\n整卷经文与造像合一，既有释典的庄严性，又带着中古宗教艺术的沉静美感，是宗教典籍与传统书画技艺结合的佳例，承载着悠远的宗教文化意涵。",[49,25,878,113,27,111,199,386,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1bc5fefdc466f2a79b176a6aa8c7b5.jpg",[],{"id":68815,"slug":68816,"title":68802,"dynasty":8749,"author":454,"museum":107,"description":68817,"tags":68818,"thumbUrl":68819,"material":751,"size":752,"collection":95,"collections":68820,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230812,"da-ban-nie-pan-jing-juan-yi-ming-230812","这卷装裱带着饱经岁月的温润质感，左侧素净笺纸带着细密纹理与旧时光留下的星点痕迹，静穆空寂，似仍留存着待书经文的留白余韵。右侧包首织就暗纹，缠枝纹样隐在泛黄缣素之下，带着含蓄雅致的古韵。\n整体色调沉和内敛，旧纸的暖棕与缣帛的米黄层次柔和，将古物沉淀下来的沉静肃穆尽数展露，仿佛能感知到曾经被展卷诵读、珍重收藏的过往，晕开东方古物独有的内敛厚重的书卷气韵。",[878,386,7,49,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee13e75a88550612ffede0b0ae2f484c.jpg",[],{"id":68822,"slug":68823,"title":68802,"dynasty":8749,"author":454,"museum":107,"description":68824,"tags":68825,"thumbUrl":68826,"material":751,"size":752,"collection":95,"collections":68827,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},230811,"da-ban-nie-pan-jing-juan-yi-ming-230811","此卷小楷写经笔致清劲端秀，字形匀整内敛，通篇排布齐整如一，行气舒展贯通。书写者以虔敬之心抄写经文，点画精到细腻，提按间尽显法度，笔画粗细匀停，兼具灵秀与厚重。整卷气息静谧安和，笔墨间饱含恭谨，尽显写经书法的庄严端雅。长卷字密却毫无懈怠，一笔一划皆见用心，既契合经文肃穆意蕴，又彰显成熟的写经书法功底，兼具宗教价值与书法审美价值。",[49,878,199,7,386,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadda5a4140ce988be91f0375fdfc9baf.jpg",[],{"id":68829,"slug":68830,"title":68831,"dynasty":8749,"author":454,"museum":107,"description":68832,"tags":68833,"thumbUrl":68835,"material":751,"size":752,"collection":95,"collections":68836,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230808,"xi-xia-wen-zi-xie-jing-yi-ming-230808","西夏文字寫経","这卷写经以素纸为底，墨笔书就的文字排布齐整肃穆，笔锋沉稳凝练，带着质朴虔诚的笔意。泛黄的纸页晕开旧墨的痕迹，卷边带着经年岁月摩挲出的肌理，静静承载着古文明的厚重底蕴。\n经文排布舒朗规整，虽历经岁月侵蚀，字迹依旧清晰劲挺，每一笔都带着抄写者的专注，尽显写经特有的庄严气韵，诉说着远去的信仰碎片，兼具珍贵的文献与艺术价值。",[386,7,1498,49,878,68834,6771],"西夏文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd6e38aa5a11cc54ae8b592455f80b52.jpg",[],{"id":68838,"slug":68839,"title":68831,"dynasty":8749,"author":454,"museum":107,"description":68840,"tags":68841,"thumbUrl":68842,"material":751,"size":752,"collection":95,"collections":68843,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230807,"xi-xia-wen-zi-xie-jing-yi-ming-230807","这卷墨书西夏文写经以麻纸为底，通卷草书西夏文字一气呵成，笔势圆劲流畅，行气错落齐整，可见抄经者深厚的书写功底。泛黄纸页晕染着岁月痕迹，墨色依旧饱满沉凝。\n它承载着西夏佛教传播的脉络，见证着中古西北的文化交融，是兼具宗教、民族语言与书法美学价值的珍贵遗存，静述着远去的党项文明图景。",[386,1498,7,68834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb798404d44906b690d2998ae41a7a97b.jpg",[],{"id":68845,"slug":68846,"title":47625,"dynasty":8749,"author":454,"museum":107,"description":68847,"tags":68848,"thumbUrl":68849,"material":751,"size":752,"collection":95,"collections":68850,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},230800,"miao-fa-lian-hua-jing-yi-ming-230800","# 文案\n此卷小楷笃实端凝，落笔安稳沉厚，尽显唐人写经的虔敬气象。\n起笔斩截利落，捺笔重按轻收，笔势宽博舒展。结体庄重平正，间架宽博，尽显雄强笔力。书写者以毫落墨，字字端严，以恭谨之心写就全篇。\n点画精劲匀净，将经文中的禅理与书法相融，恪守戒律，以身心受持佛法。百万字卷，笔底尽显清净，以无畏之心挥毫，落笔间尽显盛唐写经的恢弘气势。",[386,7,199,49,312,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02bed6eed304744358f0233d989305c.jpg",[],{"id":68852,"slug":68853,"title":47625,"dynasty":8749,"author":454,"museum":107,"description":68854,"tags":68855,"thumbUrl":68856,"material":751,"size":752,"collection":95,"collections":68857,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230799,"miao-fa-lian-hua-jing-yi-ming-230799","这件写本中锋行笔，点画匀净秀雅，结体方正端稳，是典型的唐人写经风貌。书写一丝不苟，起收利落，笔意质朴醇厚，藏着抄经人持敬的心力。\n\n泛黄纸页晕开沉凝墨色，边角残损带着岁月浸蚀的痕迹，更添古卷厚重的沧桑感。通篇笔墨规整肃穆，将宗教虔诚融于笔墨之间，尽显中古写本书法端雅静穆的质感，经文既是信仰的载体，也成了温润动人的书法遗存。",[49,7,386,199,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2cf3fb8a0cafeca0a95db4d3086a43.jpg",[],{"id":68859,"slug":68860,"title":68861,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68862,"thumbUrl":68863,"material":751,"size":752,"collection":95,"collections":68864,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230788,"dun-huang-yi-shu-87-yi-ming-230788","敦煌遗书87",[3028,386,7,19026,77,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c4e4719216c2e58434707d55ea414e.jpg",[],{"id":68866,"slug":68867,"title":68868,"dynasty":8749,"author":454,"museum":107,"description":34149,"tags":68869,"thumbUrl":68870,"material":751,"size":752,"collection":95,"collections":68871,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230787,"dun-huang-yi-shu-86-yi-ming-230787","敦煌遗书86",[3028,386,7,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434e3d0b7c43195771cbc8ac5a41d0cc.jpg",[],{"id":68873,"slug":68874,"title":68875,"dynasty":8749,"author":454,"museum":107,"description":68876,"tags":68877,"thumbUrl":68879,"material":751,"size":752,"collection":95,"collections":68880,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},230539,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-shi-yi-juan-yi-ming-230539","大唐西域记.12卷.唐.玄奘著（第十一卷）","绀纸为底，金泥晕染铺陈诸佛法会。莲台之上主尊宝相端严，圣众侍从环侍左右，祥云托地、宝幢垂悬，线条纤劲流畅，金辉沉敛华贵，将极乐圣域的祥和庄严晕染尽致。\n\n左侧金书经文笔势挺秀端雅，锋棱内敛却筋骨暗藏，金彩与墨色交相辉映，仿佛能窥见昔年笔底流转的虔敬之心。\n书画合璧，装帧古雅，将写绘工艺的极致精巧与佛法的清净庄严相融，暗合丝路梵典流传的悠远佛缘，尽显东方古典宗教美术的雍容气度。",[878,113,16624,36826,68878,1200,7,199,386,27,111,1498],"飞天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b396f3e957f5baef45e7bf8f27c5d5.jpg",[],{"id":68882,"slug":68883,"title":68884,"dynasty":8749,"author":454,"museum":107,"description":68885,"tags":68886,"thumbUrl":68887,"material":751,"size":752,"collection":95,"collections":68888,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},230535,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-jiu-juan-yi-ming-230535","大唐西域记.12卷.唐.玄奘著（第九卷）","此卷以磁青纸为底，泥金书文饰绘。小楷工整端秀，笔锋劲挺雅致，金辉在幽蓝底色上愈发醒目古雅。右侧佛绘以金彩勾勒晕染，主佛趺坐莲台，宝相肃穆，圣众环绕礼拜，灵树生于祥云之间，层叠云气衬出佛国清寂庄严的意境，将文字中的西域佛境具象呈现。整体沉静典雅，融书法、绘事于一体，尽显中古写经造像的细腻匠心，让笔下的梵天盛景化作可观的精妙图景。",[878,27,111,59294,113,16624,1200,57,1739,386,7,4678,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8dbca60f57b60780b0542ae91cb314.jpg",[],{"id":68890,"slug":68891,"title":68892,"dynasty":18,"author":454,"museum":107,"description":68893,"tags":68894,"thumbUrl":68895,"material":751,"size":752,"collection":95,"collections":68896,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},230350,"jing-guan-wan-wu-ce-yi-ming-230350","静观万物册","这幅行书大字落笔雄健浑厚，中锋行笔尽显筋骨力道。“萬”字结构紧凑，上部开张、下部敛气，稳整中见开合之姿；“物”字枯润相生，飞白处笔意流转，尽显酣畅意气。左侧小字题款与大字形成虚实对比，朱红篆刻方正端凝，墨朱相映，章法疏朗雅致。\n整幅作品带着雄阔豪迈的笔墨气势，又兼具文人书法的隽逸风神，将静观沉敛的心境寄于笔墨之中，笔底藏着悠然襟怀，尽显尚势重意的典型风貌，让观者在笔墨起伏间感知那份俯仰观照万物的沉静悠然。",[7,60,77,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8110792697ccdebddb20b1e1ac780487.jpg",[],{"id":68898,"slug":68899,"title":68900,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":68901,"thumbUrl":68902,"material":751,"size":752,"collection":95,"collections":68903,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},229925,"jin-ting-dui-ming-she-shi-cang-yu-yan-fu-yan-he-yi-ming-229925","金廷对铭歙石苍玉砚 附砚盒",[18,3093,19026,7713,7,3956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c95f4cd61e5d41d68d5a1f03e3fb56f.jpg",[],{"id":68905,"slug":68906,"title":68907,"dynasty":18,"author":454,"museum":107,"description":27809,"tags":68908,"thumbUrl":68909,"material":751,"size":752,"collection":95,"collections":68910,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229916,"ying-he-lin-yu-xi-zhi-tie-yi-ming-229916","英和临玉羲之帖",[7,110,60,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c7519347d905dedea867a27705c387.jpg",[],{"id":68912,"slug":68913,"title":68914,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68916,"thumbUrl":68917,"material":751,"size":752,"collection":95,"collections":68918,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229756,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-chao-mo-cao-su-gong-229756","曹素功 御制耕织图诗耖墨","曹素功",[432,7713,27,23087,7,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4280af899529e8dd98c4f160f44f49.jpg",[],{"id":68920,"slug":68921,"title":68922,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68923,"thumbUrl":68924,"material":751,"size":752,"collection":95,"collections":68925,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229755,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-geng-mo-cao-su-gong-229755","曹素功 御制耕织图诗耕墨",[432,7713,7,23087,797,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6dcbb5117203480f0d6ad0f6545b823.jpg",[],{"id":68927,"slug":68928,"title":68929,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68930,"thumbUrl":68932,"material":751,"size":752,"collection":95,"collections":68933,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229754,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-luo-si-mo-cao-su-gong-229754","曹素功 御制耕织图诗络丝墨",[432,7713,27,7,113,58,23087,13446,68931,55138],"农家场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d145b6e4dbd0725ea7c1b3d919d6933.jpg",[],{"id":68935,"slug":68936,"title":68937,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68938,"thumbUrl":68939,"material":751,"size":752,"collection":95,"collections":68940,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229753,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-jing-mo-cao-su-gong-229753","曹素功 御制耕织图诗经墨",[432,7713,112,26617,113,23087,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc57158e1012dc47fdd02cf8e32cd2b5.jpg",[],{"id":68942,"slug":68943,"title":68944,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68945,"thumbUrl":68946,"material":751,"size":752,"collection":95,"collections":68947,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229749,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-si-mo-cao-su-gong-229749","曹素功 御制耕织图诗籭墨",[432,7713,27,457,23087,13063,1177,111,7519,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc52ec3dec9986d503aba988bfbd377.jpg",[],{"id":68949,"slug":68950,"title":68951,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68952,"thumbUrl":68953,"material":751,"size":752,"collection":95,"collections":68954,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229741,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-guan-gai-mo-cao-su-gong-229741","曹素功 御制耕织图诗灌溉墨",[432,7713,26617,7,23087,60323,12028,12029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3bca5ec739d0e62cac131e4d090dbbe.jpg",[],{"id":68956,"slug":68957,"title":68958,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68959,"thumbUrl":68960,"material":751,"size":752,"collection":95,"collections":68961,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229740,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-yu-yin-mo-cao-su-gong-229740","曹素功 御制耕织图诗淤荫墨",[2135,432,7713,23087,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9092c6d91e2366c728f09994914938a.jpg",[],{"id":68963,"slug":68964,"title":68965,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68966,"thumbUrl":68967,"material":751,"size":752,"collection":95,"collections":68968,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229735,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-pan-hua-mo-cao-su-gong-229735","曹素功 御制耕织图诗攀华墨",[432,7713,113,6129,7,13012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811d156a9ce80c54617b07357223ab35.jpg",[],{"id":68970,"slug":68971,"title":68972,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68973,"thumbUrl":68975,"material":751,"size":752,"collection":95,"collections":68976,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229734,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-cha-yang-mo-cao-su-gong-229734","曹素功 御制耕织图诗插秧墨",[2135,432,47698,7713,7,68974,12028,113,12029,30961,20633],"插秧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8e9d07195d254ecbe405edc9f8d173.jpg",[],{"id":68978,"slug":68979,"title":68980,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68981,"thumbUrl":68983,"material":751,"size":752,"collection":95,"collections":68984,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229733,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-zhuo-ji-mo-cao-su-gong-229733","曹素功 御制耕织图诗捉绩墨",[432,7713,27,113,68982,7,2135],"纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795b566a06611cdac31dd7c1974e7f72.jpg",[],{"id":68986,"slug":68987,"title":68988,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68989,"thumbUrl":68992,"material":751,"size":752,"collection":95,"collections":68993,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229731,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-ze-jian-mo-cao-su-gong-229731","曹素功 御制耕织图诗择茧墨",[432,7713,7,113,68982,111,68990,68991],"图文结合","耕织场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6cd78bac170f8caa553fe4874663868.jpg",[],{"id":68995,"slug":68996,"title":68997,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":68998,"thumbUrl":68999,"material":751,"size":752,"collection":95,"collections":69000,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229727,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-jian-bo-mo-cao-su-gong-229727","曹素功 御制耕织图诗剪帛墨",[432,7713,27,113,23087,458,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa841abf8e8caf6b27567f35ccd9d918d.jpg",[],{"id":69002,"slug":69003,"title":69004,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":69005,"thumbUrl":69007,"material":751,"size":752,"collection":95,"collections":69008,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229725,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-ru-cang-mo-cao-su-gong-229725","曹素功 御制耕织图诗入仓墨",[432,7713,113,458,7,69006,11284],"农耕场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff5185d0437a713826f5546cddefe45.jpg",[],{"id":69010,"slug":69011,"title":69012,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":69013,"thumbUrl":69014,"material":751,"size":752,"collection":95,"collections":69015,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229722,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-xia-cu-mo-cao-su-gong-229722","曹素功 御制耕织图诗下簇墨",[2135,7713,27,113,458,432,23087,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc485470fb1804f77063fc4a9235a0c.jpg",[],{"id":69017,"slug":69018,"title":69019,"dynasty":18,"author":68915,"museum":107,"description":35058,"tags":69020,"thumbUrl":69021,"material":751,"size":752,"collection":95,"collections":69022,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229720,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-san-yun-mo-cao-su-gong-229720","曹素功 御制耕织图诗三耘墨",[432,7713,30961,113,23087,7,24351,11446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7d0fa0dbe5678689712f096e027d32.jpg",[],{"id":69024,"slug":69025,"title":69026,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":69027,"thumbUrl":69028,"material":751,"size":752,"collection":95,"collections":69029,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229717,"ri-yue-guang-hua-mo-yi-ming-229717","日月光华墨",[432,7,199,7713,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2641ea12d0ba4634c604b0eeddfb523d.jpg",[],{"id":69031,"slug":69032,"title":69033,"dynasty":18,"author":454,"museum":107,"description":69034,"tags":69035,"thumbUrl":69037,"material":751,"size":752,"collection":95,"collections":69038,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},229713,"yu-zhi-shi-quan-lao-ren-ji-yu-ce-yi-ming-229713","御制十全老人记玉册","此册以苍润素玉为底，墨木镶边，铜扣凝着厚重包浆，古意盎然。金字錾刻工整端稳，笔力沉厚敦实，一笔一划皆见法度。文字间满是对平生履职的自许，将人生功业的沉重心绪凝于温润玉面。\n\n玉质的清润与金字的耀目相映，木框的沉敛调和了视觉张力，器形规整雅致，是玉作与书法工艺相融的佳例。文辞意涵镌于玉石之上，笔墨筋骨伴着玉石温凉质感流传，静默间晕开旧年庄重内敛的心迹。",[26,7714,7713,26617,7,2135,69036,11284],"御制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e49f5e90413376e6c33af1829448bfe.jpg",[],{"id":69040,"slug":69041,"title":69042,"dynasty":18,"author":454,"museum":107,"description":69043,"tags":69044,"thumbUrl":69045,"material":751,"size":752,"collection":95,"collections":69046,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},229667,"qian-long-san-xi-wen-han-yu-ce-1-yi-ming-229667","乾隆 「三希文翰」玉册-1","此件以浅青玉为材，质地莹润清透，整体气质沉静雅致。立面以描金妆点，中心长框内篆字线条苍劲古朴，笔力厚重匀净。两侧浅浮雕描金游龙矫健灵动，龙身蜿蜒穿梭于祥云间，鳞爪分毫毕现，气势雄浑威严，底纹配江崖海水纹样，暗喻江山永寿。玉的清润与金的明煌相互映衬，工艺精细卓绝，将庄重规整的制式与文人雅韵相融，尽显制玉工艺的巅峰水准，是金玉合璧的典范之作。",[7714,7713,457,7,26,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb2b0e876eb620f4ae670c418fb2885.jpg",[],{"id":69048,"slug":69049,"title":69050,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":69051,"thumbUrl":69053,"material":751,"size":752,"collection":95,"collections":69054,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},229662,"mian-hua-tu-zhi-bu-mo-yi-ming-229662","棉花图织布墨",[2135,432,7,457,69052,50042,7713],"织布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67abb7de70ebca8e82fc084697104d2.jpg",[],{"id":69056,"slug":69057,"title":69058,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":69059,"thumbUrl":69060,"material":751,"size":752,"collection":95,"collections":69061,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229657,"yu-zhi-geng-zhi-tu-xu-shi-geng-mu-mo-yi-ming-229657","御制耕织图序诗耕目墨",[2135,7,199,432,7713,30930,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a2a357dd27dae23ef929bf43a45386.jpg",[],{"id":69063,"slug":69064,"title":69065,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":69066,"thumbUrl":69067,"material":751,"size":752,"collection":95,"collections":69068,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229565,"yu-zhi-geng-zhi-tu-shi-er-mian-mo-yi-ming-229565","御制耕织图诗二眠墨",[432,199,7713,50509,2135,7,30961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4e6e9009b800da5d043cbb5ac351a0.jpg",[],{"id":69070,"slug":69071,"title":69072,"dynasty":18,"author":454,"museum":107,"description":69073,"tags":69074,"thumbUrl":69075,"material":751,"size":752,"collection":95,"collections":69076,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229555,"long-de-zhu-mo-1-yi-ming-229555","龙德朱墨-1","这方朱砂墨色泽匀净厚重，朱红深沉饱满。器身以浅浮雕勾勒龙身盘附于边缘，衬以舒卷云纹，龙鳞肌理细腻生动，隐现威严灵动的祥瑞气韵。中部阳刻篆字古雅端方，下方印款排布齐整，金石意趣浓厚。整体形制端庄规整，将纹饰之美与文房雅器结合，既承载着吉祥寓意，又尽显制墨工艺的精巧工致，是兼具装饰性与实用性的文房佳器，尽显传统工艺中典雅端正的审美意涵。",[432,359,3467,7,7713,27,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8658705b79a34ecd33195bb216d25f6.jpg",[],{"id":69078,"slug":69079,"title":69080,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":69081,"thumbUrl":69082,"material":751,"size":752,"collection":95,"collections":69083,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229512,"zhong-xiang-guo-yu-mo-yi-ming-229512","众香国御墨",[18,432,30961,457,7,27,7713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F857990eac9944411d79c51d0c8b4a2e4.jpg",[],{"id":69085,"slug":69086,"title":69087,"dynasty":18,"author":454,"museum":107,"description":69088,"tags":69089,"thumbUrl":69090,"material":751,"size":752,"collection":95,"collections":69091,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229433,"yu-yong-wen-yuan-ge-shi-mo-3-yi-ming-229433","御咏文渊阁诗墨-3","此为扇形墨锭，形制隽秀雅致，将折扇雅趣融于文房器具之中。墨面以端稳楷书镌刻诗文，笔力劲挺方正，排布齐整匀停，笔墨间尽显庄重端凝的皇家气度。墨色乌亮如漆，质地细腻莹润，尽显清代制墨工艺的精湛造诣。御题诗文与制墨匠心相合，既承载帝王文思雅意，亦尽显传统制墨的精巧工致，将实用文房器具与书法审美融为一体，是清代文房雅器里颇具代表性的上乘之作。",[432,7,199,26617,30961,2135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1c02ca02ba19f23568ad24f2bf2fc3.jpg",[],{"id":69093,"slug":69094,"title":69095,"dynasty":18,"author":454,"museum":107,"description":69096,"tags":69097,"thumbUrl":69098,"material":751,"size":752,"collection":95,"collections":69099,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229432,"yu-yong-wen-jin-ge-shi-mo-1-yi-ming-229432","御咏文津阁诗墨-1","此墨取如意长牌造型，上下以云纹作开光，形制素雅规整。墨面以砣工浅刻文津阁实景，层岩叠嶂间飞瀑倾泻而下，林麓掩映间亭台楼宇错落排布，将藏书楼隐于山水的清幽意境复刻传神。\n\n它将制墨工艺与山水浅刻相融，刀工凝练细腻，皴擦晕染得宜，把山林丘壑的雅致意趣勾勒尽致。墨色莹黑如漆，莹润细腻，是兼具文玩审美与工艺价值的上乘佳器，尽显宫廷制器的雅致格调与匠心造诣。",[2135,432,30961,834,7713,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc028a5dc409584f10b367a02bec8990.jpg",[],{"id":69101,"slug":69102,"title":69103,"dynasty":18,"author":454,"museum":107,"description":30928,"tags":69104,"thumbUrl":69105,"material":751,"size":752,"collection":95,"collections":69106,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},229218,"yu-zhi-geng-zhi-tu-shi-mo-yi-ming-229218","御制耕织图诗墨",[2135,432,26617,7713,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210391f98ecb449d110bc15434f861ec.jpg",[],{"id":69108,"slug":69109,"title":47704,"dynasty":18,"author":10652,"museum":107,"description":69110,"tags":69111,"thumbUrl":69112,"material":751,"size":752,"collection":95,"collections":69113,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":207},229044,"qing-long-yue-wu-ce-qing-ren-229044","此册以深沉玄色为底，泥金题字点缀其上，古雅庄重。细密规整的回纹环绕板面，勾勒出端庄雅致的边框形制，尽显工整考究。汉、满双语题字笔致端方秀挺，竖排线格留白疏朗有致，暗合礼制中的规整肃穆之意。\n泥金在墨色衬托下愈显莹润亮眼，装帧工艺精湛华贵，细节间流露着宫廷仪典的庄严气度，将传统装帧美学与礼制内涵融于一体，尽显清代宫廷工艺的精妙考究，自带沉静典雅的皇家仪范。",[25,26,7,199,27,7829],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a6fca3f4e593ad5ce9493a406b8eb5.jpg",[],{"id":69115,"slug":69116,"title":15773,"dynasty":45,"author":8163,"museum":107,"description":24443,"tags":69117,"thumbUrl":69118,"material":751,"size":752,"collection":95,"collections":69119,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},228860,"wu-yan-shi-wen-peng-228860",[23,7,60,25,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624acec994d80e5ef5b939d99a6f30da.jpg",[],{"id":69121,"slug":69122,"title":69123,"dynasty":45,"author":454,"museum":107,"description":30928,"tags":69124,"thumbUrl":69126,"material":751,"size":752,"collection":95,"collections":69127,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},228561,"fang-yu-lu-qi-yun-sheng-jing-ba-jiao-mo-yi-ming-228561","方于鲁齐云胜景八角墨",[432,7,4038,69125,11284],"八角形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ceae392df2af9f1c7057bb381875c3.jpg",[],{"id":69129,"slug":69130,"title":69131,"dynasty":179,"author":454,"museum":107,"description":27799,"tags":69132,"thumbUrl":69133,"material":751,"size":752,"collection":95,"collections":69134,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},228153,"ping-kou-hua-lei-xing-shuang-bing-wan-yi-ming-228153","平口花蕾形双柄碗",[3477,7714,7713,9057,7,199,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957028c1068d8988ba27ef58a356050d.jpg",[],{"id":69136,"slug":69137,"title":69138,"dynasty":18,"author":2301,"museum":107,"description":69139,"tags":69140,"thumbUrl":69141,"material":751,"size":752,"collection":95,"collections":69142,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},227337,"ti-ci-shi-zhen-qian-long-227337","题词石枕","石枕为玉器的一种，汉族夏用枕具。石质，呈凳形。枕板扁平，枕面向内微凹，背作弧形，两凳足外撇。枕板两侧均以弧形枕背阴刻一道弧线纹，两足间为门窗开帘状。",[7,199,834,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a066ad24de04a28168e010007524ecf.jpg",[],{"id":69144,"slug":69145,"title":8749,"dynasty":88,"author":454,"museum":107,"description":69146,"tags":69147,"thumbUrl":69148,"material":95,"size":95,"collection":95,"collections":69149,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},227295,"bu-xiang-yi-ming-227295","这张拓片纸面斑驳泐损，字口虽多有残缺，却仍能窥见宋人楷书的端谨风骨。笔画朴拙厚重，结体方正沉稳，带着典型的庙堂刻石的庄重气质。\n\n岁月侵蚀留下的缺损留白，晕开了古旧苍茫的氛围，漫漶的墨迹如同被时光揉碎的历史片段，残字断句间，仿佛能听见千年前被篆刻下的生平低语，将金石的冷硬与素纸的温软糅合，晕染出跨越时空的沉穆质感。",[198,7,199,10869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a50f20213b1bbd477fd3ff1109ea133.jpg",[],{"id":69151,"slug":69152,"title":69153,"dynasty":162,"author":454,"museum":107,"description":34149,"tags":69154,"thumbUrl":69155,"material":751,"size":752,"collection":95,"collections":69156,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},227142,"dun-huang-13-yi-ming-227142","敦煌13",[1063,3028,27,113,7,878,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38affd3820a1dc66582899159ccf80d8.jpg",[],{"id":69158,"slug":69159,"title":69160,"dynasty":162,"author":454,"museum":107,"description":34149,"tags":69161,"thumbUrl":69162,"material":751,"size":752,"collection":95,"collections":69163,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},227140,"dun-huang-11-yi-ming-227140","敦煌11",[1063,3028,878,27,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84f52931d997da523b04099b06da315.jpg",[],{"id":69165,"slug":69166,"title":69167,"dynasty":162,"author":454,"museum":107,"description":34149,"tags":69168,"thumbUrl":69169,"material":751,"size":752,"collection":95,"collections":69170,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},227138,"dun-huang-9-yi-ming-227138","敦煌9",[1063,3028,25,24,878,27,113,798,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c3edded5e2813f9398a43c7cd92d8c.jpg",[],{"id":69172,"slug":69173,"title":69174,"dynasty":162,"author":454,"museum":107,"description":53971,"tags":69175,"thumbUrl":69176,"material":751,"size":752,"collection":95,"collections":69177,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},227116,"hai-shou-pu-tao-wen-jing-zhi-fu-jian-yi-ming-227116","海兽葡萄纹镜之附件",[834,7,60,77,25476,19026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a269bbdf2d18cb230611d03c408bb53.jpg",[],{"id":69179,"slug":69180,"title":22364,"dynasty":45,"author":21129,"museum":72,"description":69181,"tags":69182,"thumbUrl":69183,"material":95,"size":95,"collection":95,"collections":69184,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},222426,"shu-shan-ye-wu-kuan-222426","吴宽（1435年－1504年8月19日 ），字原博，号匏庵、玉亭主，世称匏庵先生。直隶长州（今江苏苏州）人。明代名臣、诗人、散文家、书法家。\n吴宽为明宪宗成化八年（1472年）状元，授翰林修撰，曾侍奉孝宗读书。孝宗即位，迁左庶子，预修《宪宗实录》，进少詹事兼侍读学士。官至礼部尚书，卒赠太子太保，谥号“文定”。\n吴宽的诗深厚醲郁，自成一家，著有《匏庵集》。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。\n吴宽生于明宣宗宣德十年（1435）。他成年后，以文章及品行闻名于诸生之中。明宪宗成化八年（1472年），吴宽在会试、廷试中均获第一，为明朝苏州第二位状元。后任翰林院修撰。曾侍皇太子朱佑樘，秩满进宫为右谕德。\n成化二十三年（1487）宪宗驾崩，皇太子朱祐樘即位，是为孝宗。吴宽以东宫旧僚身份，迁左庶子，参与修撰《宪宗实录》，进少詹事兼侍读学士。\n弘治八年（1495年），升任吏部右侍郞。适逢继母去世，吴宽守孝归家。吏部缺员，孝宗命虚位待之，待吴宽守丧三年，让其掌詹事府事，入直东阁，专典诰敕，并侍从皇太子朱厚照。\n宦官大多不愿让太子接近儒臣，多次用他事间断讲读。吴宽率领僚属上疏说：“东宫讲学，寒、暑及风雨天就停讲，每月初一、十五和节日停讲，讲学一年不过数月，一月不过数日，一日不过数刻。是进讲的时间少，停讲的日子多，怎能容许又借其他事妨碍讲学。古人八岁时就随师学习，居宿于外，是想他远离不好的环境亲近君子。百姓尚且如此，况且是天下之本的太子呢？”孝宗赞许并接纳了他的意见。\n弘治十六年（1503年），吴宽升任礼部尚书，仍掌詹事府事。他是当时文学侍从之臣中声望最高的一位。另一位状元谢迁进入内阁后，曾经建议引吴宽入阁参与机务，但遭到另一位阁臣刘健的反对。一次，谢迁又说：“吴公的科第、年岁、声望都超过我，我实在是自愧不如，哪是寄情于吴公呢？”到谢迁引退时，举荐吴宽接替自己，其建议仍未被采用。朝内外都为吴宽惋惜，但吴宽很是坦然，说道：“我一开始就没有入阁的念头。”\n孝庄钱太后去世时，朝臣商议将来孝肃周太后去世，与钱太后一同合葬到明英宗的裕陵中，将灵位纎享到太庙中英宗的庙室里，享受原配待遇。弘治十七年（1504年），孝肃周太后去世，准备纎享太庙，孝宗却认为将英宗周贵妃（周太后）与英宗钱皇后一同祔享太庙不合适，要求礼官重新讨论。吴宽说《诗经·鲁颂》中的《閟宫》篇以及《春秋》记载的仲子之宫都是另建一神庙，认为汉、唐也是依照此例。正好朝臣大多也主张周太后纎享别庙，孝宗允准。\n吴宽七十岁时，多次因病请辞，都被慰留，后于弘治十七年（1504年）七月十日（8月19日） 卒于礼部尚书任上。孝宗闻讯后，派官治丧，加祭二坛。追赠太子太保，谥号“文定” 。葬于木渎西花园山。孝宗破格封赠了他的两个儿子，授长子吴奭为中书舍人，补次子吴奂为国子生。\n吴宽操行高洁，不受外界的评价所干扰，对自身严格要求。他对于书籍涉猎广泛，善诗能书。他有几顷田，曾用以救济亲友中的贫困者。友人贺恩患病后，吴宽将他接到家里照顾，日夜探视。贺恩病逝后，吴宽为他服丧达一月之久。\n吴宽少壮时好学，于书无所不读，尤喜《左传》《汉书》以及唐宋大家的散文，最喜苏轼文章。他学有根底，诗文和平恬雅，有典则。《明诗评》说：“文定力扫浮靡，一归雅淡，诗如杨柳受风，煦然不冽；又如学究论天下事，亹亹竟日，本色自露。”代表作有七律《悼沈癯樵画史》《题杨铁崖墓铭后》《送张兼素出知施宗州》《谢顾良弼李世贤携酒过访》等，七古有《赋黄楼送李贞伯》等。诗文集有《家藏集》77卷，其中诗30卷，文40卷，为吴宽自订。后7卷疑为其子所增益。\n吴宽工书法 [13] ，善写真、行、草书，尤工行书，源出自苏东坡，为尊其人而爱其艺，故其书法师承东坡笔意。吴宽《跋黄庭坚“诸上座帖”》云：昔东坡见山谷草书，从旁称叹。钱穆父独惜，以为未见怀素真迹。后山谷见《自叙帖》，书法遂觉顿异。不审此卷作时是尝见耶，抑或未见耶？职方公深于书者，藏此必能辨之。\n书法家邢侗在《来禽馆帖》中曾说：“匏翁吴中前辈，行谊擅绝，不直文翰之工尔也。书法法苏学士，浓颜厚面，祛去吴习。” 吴宽学习的是苏东坡“端庄淳朴，凝重厚实”的书风，而一反当时吴中盛行的“纤巧媚美”风格。 吴宽学习苏书，以摹手追，神形兼善，更可贵的是其笔法能出新意。因此，王鏊说他“作书姿润时出奇倔，虽规模于苏而多自得。”（《震泽集》卷二）这是他能高于同时代一般书法家之所在。对稍后步入书坛的书法家祝允明、文征明等人，起到了开路先锋的作用。\n吴宽有时也作草书，喜用狂草体。他常临摹唐代著名书法家怀素和尚的《自叙帖》，几乎到乱真的境地。吴宽的传世书迹较多，如《种竹诗卷》、《题赵孟頫重江迭嶂图诗》等都是精品。《种竹诗卷》，书于弘治七年（1494），时年60余岁。纸本墨迹。行书，长卷。纵28.2厘米，横582.6厘米。上海博物馆藏。米芾书法墨拓《韩昌黎诗录三章》卷首有吴宽题跋，语曰：“昔人云米海岳书如风吹阵马，观其沉着痛快，当与钟王并行，非虚语也。”成化二年立秋日，延陵吴宽。印文：吴宽（与中国书画家印鉴款识相符）成化二年（1466年、丙戌），吴宽时年31岁，延陵镇为江苏丹阳县所属，进士录中吴宽户籍为“匠籍”，可能由中进士前的延陵（丹阳）迁到苏州。\n吴宽喜藏书，和藏书家沈周、王鏊等交游颇深，藏书以抄本多见，其抄本用红印格抄写，以私印记之。时吴中藏书家多以密册珍籍相夸尚，如朱存理、阎起山、都穆辈皆仿其抄本。抄书笔法绝伦，叶德辉称“自明以来，藏家最珍并争藏之本，首列吴抄”。《静志居诗话》云：“是时吴中藏书家多以秘册相尚，若朱性甫、吴原博、闫秀卿、都玄敬辈皆手自抄录。匏庵遗书流传者悉公手录，以私印记之，前辈风流，不可及也。”所藏抄本《嵇康集》10卷，有顾广圻、张燕昌题跋各一则，黄不烈（署荛翁、复翁）题跋三则。在京为官一品，获赐有《贞观政要》等书。藏书楼名“丛书堂”，《丛书堂书目》1卷，今已佚。预修有《宪宗实录》。著有《家藏集》77卷。",[23,45,1250,7,60,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c533997c02fc2b12e843fe75a20707.jpg",[],{"id":69186,"slug":69187,"title":69188,"dynasty":45,"author":54171,"museum":72,"description":54172,"tags":69189,"thumbUrl":69191,"material":682,"size":69192,"collection":95,"collections":69193,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},222325,"zhi-qing-shi-zun-zhang-chi-du-zhang-xian-yi-222325","致磬石尊丈尺牍",[7,60,2602,77,13817,3155,69190,30413],"界格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1029aaebc98637d9cfccd05aed34a.jpg","27.4×35.6",[],{"id":69195,"slug":69196,"title":69197,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69198,"thumbUrl":69199,"material":682,"size":7424,"collection":95,"collections":69200,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222273,"nan-hua-zhen-jing-26-wang-chong-222273","南华真经26",[23,25,7,199,384,312,385,1498,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84c12647fec6be8b251d9ec493083c3.jpg",[],{"id":69202,"slug":69203,"title":69204,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69205,"thumbUrl":69206,"material":682,"size":7424,"collection":95,"collections":69207,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222272,"nan-hua-zhen-jing-25-wang-chong-222272","南华真经25",[23,7,199,384,386,312,2602,4347,4677,3479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc660ee1de7a95d07d8bfecb910e955e.jpg",[],{"id":69209,"slug":69210,"title":69211,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69212,"thumbUrl":69213,"material":682,"size":7424,"collection":95,"collections":69214,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222271,"nan-hua-zhen-jing-24-wang-chong-222271","南华真经24",[23,25,7,386,199,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e5cd7f39d4e035d1f7add24237b488d.jpg",[],{"id":69216,"slug":69217,"title":69218,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69219,"thumbUrl":69220,"material":682,"size":7424,"collection":95,"collections":69221,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222270,"nan-hua-zhen-jing-23-wang-chong-222270","南华真经23",[23,7,25,386,199,50,1498,384,2602,4677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5546c2e2dad25be14075f1957dff60a.jpg",[],{"id":69223,"slug":69224,"title":69225,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69226,"thumbUrl":69227,"material":682,"size":7424,"collection":95,"collections":69228,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222269,"nan-hua-zhen-jing-22-wang-chong-222269","南华真经22",[23,25,7,386,384,50,312,4038,4347,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2adbb791f1aaa88357eb2b1fa9f84775.jpg",[],{"id":69230,"slug":69231,"title":69232,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69233,"thumbUrl":69234,"material":682,"size":7424,"collection":95,"collections":69235,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222268,"nan-hua-zhen-jing-21-wang-chong-222268","南华真经21",[23,25,7,60,386,50,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edfdc3709a13b97cdeb45b7d6c4ab40.jpg",[],{"id":69237,"slug":69238,"title":69239,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69240,"thumbUrl":69241,"material":682,"size":7424,"collection":95,"collections":69242,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222267,"nan-hua-zhen-jing-20-wang-chong-222267","南华真经20",[23,7,60,386,4347,13817,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9d9945f7e9b533d5a71c3d4e3ff8a1.jpg",[],{"id":69244,"slug":69245,"title":69246,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69247,"thumbUrl":69252,"material":682,"size":7424,"collection":95,"collections":69253,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},222266,"nan-hua-zhen-jing-19-wang-chong-222266","南华真经19",[23,7,386,199,384,50,312,3479,37719,27201,69248,69249,69250,69251],"墨色均匀","笔法细腻","结体端稳","章法严谨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72a63e58cf8e923937ada50d3324d425.jpg",[],{"id":69255,"slug":69256,"title":69257,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69258,"thumbUrl":69259,"material":682,"size":7424,"collection":95,"collections":69260,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222265,"nan-hua-zhen-jing-18-wang-chong-222265","南华真经18",[23,7,384,60,386,50,25,1498,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd34391f7d7a71ce925449b76deb4397.jpg",[],{"id":69262,"slug":69263,"title":69264,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69265,"thumbUrl":69266,"material":682,"size":7424,"collection":95,"collections":69267,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222264,"nan-hua-zhen-jing-17-wang-chong-222264","南华真经17",[23,7,60,386,1498,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021e514c6ca0964ddd9fef81d605f4ef.jpg",[],{"id":69269,"slug":69270,"title":69271,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69272,"thumbUrl":69273,"material":682,"size":7424,"collection":95,"collections":69274,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222263,"nan-hua-zhen-jing-16-wang-chong-222263","南华真经16",[23,7,199,386,1498,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62fa88a05c2fc281186e40f978473419.jpg",[],{"id":69276,"slug":69277,"title":69278,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69279,"thumbUrl":69280,"material":682,"size":7424,"collection":95,"collections":69281,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222262,"nan-hua-zhen-jing-15-wang-chong-222262","南华真经15",[23,7,386,384,50,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c15f7d983865002d13572fb11e56903.jpg",[],{"id":69283,"slug":69284,"title":69285,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69286,"thumbUrl":69287,"material":682,"size":7424,"collection":95,"collections":69288,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222261,"nan-hua-zhen-jing-14-wang-chong-222261","南华真经14",[23,7,60,386,50,312,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412d74436a18ca72abf57a4eafe90106.jpg",[],{"id":69290,"slug":69291,"title":69292,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69293,"thumbUrl":69294,"material":682,"size":7424,"collection":95,"collections":69295,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222260,"nan-hua-zhen-jing-13-wang-chong-222260","南华真经13",[23,7,386,384,2602,312,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6cd4e3593e859411c254cef41ca408c.jpg",[],{"id":69297,"slug":69298,"title":69299,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69300,"thumbUrl":69301,"material":682,"size":7424,"collection":95,"collections":69302,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222259,"nan-hua-zhen-jing-12-wang-chong-222259","南华真经12",[23,7,25,60,386,50,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7daf38893291720fc74561bb5c3441a.jpg",[],{"id":69304,"slug":69305,"title":69306,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69307,"thumbUrl":69308,"material":682,"size":7424,"collection":95,"collections":69309,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222258,"nan-hua-zhen-jing-11-wang-chong-222258","南华真经11",[23,7,60,386,25,24,50,2602,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412cf683d87c4f14c4636b763d87acff.jpg",[],{"id":69311,"slug":69312,"title":69313,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69314,"thumbUrl":69315,"material":682,"size":7424,"collection":95,"collections":69316,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222256,"nan-hua-zhen-jing-9-wang-chong-222256","南华真经9",[23,25,7,60,386,50,26,45,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced953e0bd2f8f9376195bd91e8f1da0.jpg",[],{"id":69318,"slug":69319,"title":69320,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69321,"thumbUrl":69322,"material":682,"size":7424,"collection":95,"collections":69323,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222255,"nan-hua-zhen-jing-8-wang-chong-222255","南华真经8",[23,7,60,386,385,50,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b777d2008a568f5d1395b29343e665a.jpg",[],{"id":69325,"slug":69326,"title":69327,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69328,"thumbUrl":69329,"material":682,"size":7424,"collection":95,"collections":69330,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222254,"nan-hua-zhen-jing-7-wang-chong-222254","南华真经7",[23,25,7,199,50,386,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42efd495be7237677e995f2a69215e63.jpg",[],{"id":69332,"slug":69333,"title":69334,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69335,"thumbUrl":69336,"material":682,"size":7424,"collection":95,"collections":69337,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},222253,"nan-hua-zhen-jing-6-wang-chong-222253","南华真经6",[23,25,7,60,4038,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96207f399bc59b66b34abd0452b29cdb.jpg",[],{"id":69339,"slug":69340,"title":69341,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69342,"thumbUrl":69343,"material":682,"size":7424,"collection":95,"collections":69344,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222252,"nan-hua-zhen-jing-5-wang-chong-222252","南华真经5",[23,7,25,384,386,312,2602,4038,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520795ff9f360427dc8c74e7c4e09d26.jpg",[],{"id":69346,"slug":69347,"title":69348,"dynasty":45,"author":5386,"museum":7420,"description":7421,"tags":69349,"thumbUrl":69350,"material":682,"size":7424,"collection":95,"collections":69351,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":23752},222250,"nan-hua-zhen-jing-3-wang-chong-222250","南华真经3",[23,45,7,60,386,1498,312,50,385,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2a2897e061fb96fd4ed47097aa1407.jpg",[],{"id":69353,"slug":69354,"title":11240,"dynasty":88,"author":48038,"museum":72,"description":54475,"tags":69355,"thumbUrl":69356,"material":312,"size":54478,"collection":95,"collections":69357,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},221655,"shu-chi-du-fan-cheng-da-221655",[23,7,60,50,77,3155,2601,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9effc80a1445f59900eff32013e02430.jpg",[],{"id":69359,"slug":69360,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":69361,"thumbUrl":69362,"material":7043,"size":7044,"collection":95,"collections":69363,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":95},220656,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220656",[54649,7,200,198,60,77,9636,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba36e26461f4dceda54a55a85cb7e47.jpg",[],{"id":69365,"slug":69366,"title":7037,"dynasty":88,"author":7038,"museum":7039,"description":7040,"tags":69367,"thumbUrl":69368,"material":7043,"size":7044,"collection":95,"collections":69369,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":95},220634,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220634",[200,198,7,60,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6048f98f4fc319f2b5ea5ffafc9e6f40.jpg",[],{"id":69371,"slug":69372,"title":69373,"dynasty":18,"author":10695,"museum":107,"description":55098,"tags":69374,"thumbUrl":69375,"material":312,"size":95,"collection":95,"collections":69376,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},218005,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-13-ceng-yan-dong-218005","七道子山水人物画册18帧-13",[23,24,25,26,60,7,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26e58c67e43cbb9dce3313305ffef6d.jpg",[],{"id":69378,"slug":69379,"title":69380,"dynasty":18,"author":10695,"museum":107,"description":55098,"tags":69381,"thumbUrl":69382,"material":312,"size":95,"collection":95,"collections":69383,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},218001,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-16-ceng-yan-dong-218001","七道子山水人物画册18帧-16",[23,24,25,26,7,77,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F216f39b6f066a244d95e025b5e7f3fd2.jpg",[],{"id":69385,"slug":69386,"title":69387,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69388,"thumbUrl":69389,"material":8225,"size":95,"collection":95,"collections":69390,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216651,"xuan-da-shan-xi-san-zhen-tu-4-yi-ming-216651","宣大山西三镇图-4",[23,24,25,27,1127,51,43757,19973,77,7,1128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05e6dbe79ef2a9594ceac412e31d37be.jpg",[],{"id":69392,"slug":69393,"title":69394,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69395,"thumbUrl":69396,"material":8225,"size":95,"collection":95,"collections":69397,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216650,"xuan-da-shan-xi-san-zhen-tu-7-yi-ming-216650","宣大山西三镇图-7",[23,24,25,7,60,1498,77,50,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744c4ac5f8395c7b0bfc74ca35709b1e.jpg",[],{"id":69399,"slug":69400,"title":69401,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69402,"thumbUrl":69403,"material":8225,"size":95,"collection":95,"collections":69404,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216647,"xuan-da-shan-xi-san-zhen-tu-9-yi-ming-216647","宣大山西三镇图-9",[23,24,25,26,27,1127,51,5722,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97bdd6f018a138ded1b33ba0377f9a8c.jpg",[],{"id":69406,"slug":69407,"title":69408,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69409,"thumbUrl":69410,"material":8225,"size":95,"collection":95,"collections":69411,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216645,"xuan-da-shan-xi-san-zhen-tu-11-yi-ming-216645","宣大山西三镇图-11",[23,24,25,27,51,6832,19973,268,1074,113,771,43757,1128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa79fe6499e25bb72d2e728781953366.jpg",[],{"id":69413,"slug":69414,"title":69415,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69416,"thumbUrl":69417,"material":8225,"size":95,"collection":95,"collections":69418,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216642,"xuan-da-shan-xi-san-zhen-tu-16-yi-ming-216642","宣大山西三镇图-16",[23,4038,7,199,50,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89d9b81aeb9c2f42b1f56a9c186da9c.jpg",[],{"id":69420,"slug":69421,"title":69422,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69423,"thumbUrl":69424,"material":8225,"size":95,"collection":95,"collections":69425,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216638,"xuan-da-shan-xi-san-zhen-tu-17-yi-ming-216638","宣大山西三镇图-17",[23,24,1127,27,1128,111,51,458,9190,43757,56,6832,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e03f91d63aafcd24b280edd5a59d1e5.jpg",[],{"id":69427,"slug":69428,"title":69429,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69430,"thumbUrl":69431,"material":8225,"size":95,"collection":95,"collections":69432,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216637,"xuan-da-shan-xi-san-zhen-tu-22-yi-ming-216637","宣大山西三镇图-22",[23,24,27,1127,51,251,43757,19973,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d18f6b99bf6503e09a51ebbd305883e.jpg",[],{"id":69434,"slug":69435,"title":69436,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69437,"thumbUrl":69438,"material":8225,"size":95,"collection":95,"collections":69439,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216636,"xuan-da-shan-xi-san-zhen-tu-19-yi-ming-216636","宣大山西三镇图-19",[23,24,25,199,7,1128,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b5093552f21b8a45ec087514c9fe6b.jpg",[],{"id":69441,"slug":69442,"title":69443,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69444,"thumbUrl":69445,"material":8225,"size":95,"collection":95,"collections":69446,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216635,"xuan-da-shan-xi-san-zhen-tu-20-yi-ming-216635","宣大山西三镇图-20",[23,24,25,26,27,1127,111,7,77,51,6832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d6da8274a50a9ce2a27e8063d6b4d2.jpg",[],{"id":69448,"slug":69449,"title":69450,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69451,"thumbUrl":69452,"material":8225,"size":95,"collection":95,"collections":69453,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216634,"xuan-da-shan-xi-san-zhen-tu-23-yi-ming-216634","宣大山西三镇图-23",[23,24,27,51,59,7,77,26,5721,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb900e87ec8fc3ecd019fd783ef4ed59c.jpg",[],{"id":69455,"slug":69456,"title":69457,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69458,"thumbUrl":69459,"material":8225,"size":95,"collection":95,"collections":69460,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216631,"xuan-da-shan-xi-san-zhen-tu-28-yi-ming-216631","宣大山西三镇图-28",[23,24,27,1127,1128,51,1074,9190,7,1283,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e60970309b0bec22bb6f627d484a9e.jpg",[],{"id":69462,"slug":69463,"title":69464,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69465,"thumbUrl":69466,"material":8225,"size":95,"collection":95,"collections":69467,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216630,"xuan-da-shan-xi-san-zhen-tu-24-yi-ming-216630","宣大山西三镇图-24",[23,24,25,26,27,1127,51,1283,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F972dec31c9043beca756c887970755c3.jpg",[],{"id":69469,"slug":69470,"title":69471,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69472,"thumbUrl":69473,"material":8225,"size":95,"collection":95,"collections":69474,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216629,"xuan-da-shan-xi-san-zhen-tu-30-yi-ming-216629","宣大山西三镇图-30",[23,24,27,51,1128,7,251,19973,43757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a0767228d21bfa38c7e4b7f8a8c812.jpg",[],{"id":69476,"slug":69477,"title":69478,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69479,"thumbUrl":69480,"material":8225,"size":95,"collection":95,"collections":69481,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216628,"xuan-da-shan-xi-san-zhen-tu-26-yi-ming-216628","宣大山西三镇图-26",[23,24,27,1127,51,59,7,1283,1074,113,6832,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecdce5a6fb4dd5ab52aff64315c7e31.jpg",[],{"id":69483,"slug":69484,"title":69485,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69486,"thumbUrl":69487,"material":8225,"size":95,"collection":95,"collections":69488,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216625,"xuan-da-shan-xi-san-zhen-tu-35-yi-ming-216625","宣大山西三镇图-35",[23,24,25,27,51,7,60,59,251,1283,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be5c9e8ddb95596f817feac42e0f70.jpg",[],{"id":69490,"slug":69491,"title":69492,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69493,"thumbUrl":69494,"material":8225,"size":95,"collection":95,"collections":69495,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216624,"xuan-da-shan-xi-san-zhen-tu-31-yi-ming-216624","宣大山西三镇图-31",[23,24,25,26,27,1127,51,251,553,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22393394232244a2db83b48486b24c5b.jpg",[],{"id":69497,"slug":69498,"title":69499,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69500,"thumbUrl":69501,"material":8225,"size":95,"collection":95,"collections":69502,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216623,"xuan-da-shan-xi-san-zhen-tu-33-yi-ming-216623","宣大山西三镇图-33",[23,24,25,51,27,1128,251,252,268,7,4038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9bd4d58e97fd997abc2b9d45a0b1e2.jpg",[],{"id":69504,"slug":69505,"title":69506,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69507,"thumbUrl":69508,"material":8225,"size":95,"collection":95,"collections":69509,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216621,"xuan-da-shan-xi-san-zhen-tu-36-yi-ming-216621","宣大山西三镇图-36",[23,24,27,1127,1128,51,113,1074,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d9427d1fe4ba05fc1ca986cf49b262.jpg",[],{"id":69511,"slug":69512,"title":69513,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69514,"thumbUrl":69515,"material":8225,"size":95,"collection":95,"collections":69516,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216617,"xuan-da-shan-xi-san-zhen-tu-42-yi-ming-216617","宣大山西三镇图-42",[23,24,27,1127,111,51,651,360,5722,1074,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaecd3d50679642fa0b5268749daf0f1.jpg",[],{"id":69518,"slug":69519,"title":69520,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69521,"thumbUrl":69522,"material":8225,"size":95,"collection":95,"collections":69523,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216615,"xuan-da-shan-xi-san-zhen-tu-39-yi-ming-216615","宣大山西三镇图-39",[23,24,25,26,199,7,27,1128,51,458,1283,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F145aa8dbcdcdb9c88f94de696cf4b710.jpg",[],{"id":69525,"slug":69526,"title":69527,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69528,"thumbUrl":69529,"material":8225,"size":95,"collection":95,"collections":69530,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216612,"xuan-da-shan-xi-san-zhen-tu-44-yi-ming-216612","宣大山西三镇图-44",[23,24,27,51,7,6832,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6625ddc26a0e14fcfcb5ead2426aadee.jpg",[],{"id":69532,"slug":69533,"title":69534,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69535,"thumbUrl":69536,"material":8225,"size":95,"collection":95,"collections":69537,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216610,"xuan-da-shan-xi-san-zhen-tu-47-yi-ming-216610","宣大山西三镇图-47",[23,24,25,1128,199,7,27,1283,458,1498,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85db0ee075e59a897d8c6ea4b5abad0a.jpg",[],{"id":69539,"slug":69540,"title":69541,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69542,"thumbUrl":69543,"material":8225,"size":95,"collection":95,"collections":69544,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216607,"xuan-da-shan-xi-san-zhen-tu-49-yi-ming-216607","宣大山西三镇图-49",[23,24,25,26,27,1127,51,55,1283,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f172f119c86a30da0672a3450f3b04e.jpg",[],{"id":69546,"slug":69547,"title":69548,"dynasty":45,"author":454,"museum":107,"description":43248,"tags":69549,"thumbUrl":69550,"material":8225,"size":95,"collection":95,"collections":69551,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216606,"xuan-da-shan-xi-san-zhen-tu-52-yi-ming-216606","宣大山西三镇图-52",[23,24,25,26,27,51,59,7,199,651,252,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95761663897fa7770d69370664faa68d.jpg",[],{"id":69553,"slug":69554,"title":69555,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69557,"thumbUrl":69558,"material":169,"size":95,"collection":95,"collections":69559,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216587,"xuan-da-shan-xi-san-zhen-tu-57-yi-ming-216587","宣大山西三镇图-57","明万历三十一年秘阁本",[23,24,25,27,1127,51,43757,1283,55,55156,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe557b4627ad06ba5104cc52df3b1b26d.jpg",[],{"id":69561,"slug":69562,"title":69563,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69564,"thumbUrl":69565,"material":169,"size":95,"collection":95,"collections":69566,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216586,"xuan-da-shan-xi-san-zhen-tu-56-yi-ming-216586","宣大山西三镇图-56",[23,7,199,77,26,25,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a08955bce8d8d30a984c920d73d95fa.jpg",[],{"id":69568,"slug":69569,"title":69570,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69571,"thumbUrl":69572,"material":169,"size":95,"collection":95,"collections":69573,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216584,"xuan-da-shan-xi-san-zhen-tu-61-yi-ming-216584","宣大山西三镇图-61",[23,24,25,92,27,1127,51,7,199,52,116,113,1074,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40368b3ea7e888647b85bc024bdd6c2.jpg",[],{"id":69575,"slug":69576,"title":69577,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69578,"thumbUrl":69579,"material":169,"size":95,"collection":95,"collections":69580,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216583,"xuan-da-shan-xi-san-zhen-tu-54-yi-ming-216583","宣大山西三镇图-54",[23,24,27,1127,7,199,51,651,553,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F314e2dd3ec50126e1ab669e9bf47e8a1.jpg",[],{"id":69582,"slug":69583,"title":69584,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69585,"thumbUrl":69586,"material":169,"size":95,"collection":95,"collections":69587,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216582,"xuan-da-shan-xi-san-zhen-tu-53-yi-ming-216582","宣大山西三镇图-53",[23,24,27,51,26,7,43757,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aa8b33e462275b4debf718de36b7ed5.jpg",[],{"id":69589,"slug":69590,"title":69591,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69592,"thumbUrl":69593,"material":169,"size":95,"collection":95,"collections":69594,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216581,"xuan-da-shan-xi-san-zhen-tu-59-yi-ming-216581","宣大山西三镇图-59",[23,24,27,51,59,7,77,651,360,19973,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8d61b1179a01d8e4e40b851db4a084.jpg",[],{"id":69596,"slug":69597,"title":69598,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69599,"thumbUrl":69600,"material":169,"size":95,"collection":95,"collections":69601,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216580,"xuan-da-shan-xi-san-zhen-tu-63-yi-ming-216580","宣大山西三镇图-63",[23,24,25,27,51,1074,1283,268,7,43757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87952e1942798fddee310d95bc0b98a.jpg",[],{"id":69603,"slug":69604,"title":69605,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69606,"thumbUrl":69607,"material":169,"size":95,"collection":95,"collections":69608,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216576,"xuan-da-shan-xi-san-zhen-tu-65-yi-ming-216576","宣大山西三镇图-65",[23,24,27,1127,7,26,51,43757,1283,1074,20499,268,6832,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60846477c3b3602c01395e8d8d951783.jpg",[],{"id":69610,"slug":69611,"title":69612,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69613,"thumbUrl":69614,"material":169,"size":95,"collection":95,"collections":69615,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216575,"xuan-da-shan-xi-san-zhen-tu-67-yi-ming-216575","宣大山西三镇图-67",[23,24,25,27,1127,51,1283,55,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a283413ad5a1527d8b5d6802d026d3.jpg",[],{"id":69617,"slug":69618,"title":69619,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69620,"thumbUrl":69621,"material":169,"size":95,"collection":95,"collections":69622,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216574,"xuan-da-shan-xi-san-zhen-tu-66-yi-ming-216574","宣大山西三镇图-66",[23,24,25,51,27,7,60,5721,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d10897cdcdffd8fbd790f81eb60371.jpg",[],{"id":69624,"slug":69625,"title":69626,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69627,"thumbUrl":69628,"material":169,"size":95,"collection":95,"collections":69629,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216572,"xuan-da-shan-xi-san-zhen-tu-70-yi-ming-216572","宣大山西三镇图-70",[23,25,7,199,26,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e8f7babd054c7edb62759ef51f2b18.jpg",[],{"id":69631,"slug":69632,"title":69633,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69634,"thumbUrl":69635,"material":169,"size":95,"collection":95,"collections":69636,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216570,"xuan-da-shan-xi-san-zhen-tu-72-yi-ming-216570","宣大山西三镇图-72",[23,24,25,26,1127,27,51,43757,1283,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5cdf8730794198e0df3842220d6ab4.jpg",[],{"id":69638,"slug":69639,"title":69640,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69641,"thumbUrl":69642,"material":169,"size":95,"collection":95,"collections":69643,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216569,"xuan-da-shan-xi-san-zhen-tu-71-yi-ming-216569","宣大山西三镇图-71",[23,24,25,51,1127,27,7,199,5721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd84360fa9c53fafe606c09adfc0b97.jpg",[],{"id":69645,"slug":69646,"title":69647,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69648,"thumbUrl":69649,"material":169,"size":95,"collection":95,"collections":69650,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216568,"xuan-da-shan-xi-san-zhen-tu-73-yi-ming-216568","宣大山西三镇图-73",[23,24,27,51,7,60,26,5721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80e4955a4f9380e7ccd9dec523e5d6b.jpg",[],{"id":69652,"slug":69653,"title":69654,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69655,"thumbUrl":69656,"material":169,"size":95,"collection":95,"collections":69657,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216567,"xuan-da-shan-xi-san-zhen-tu-74-yi-ming-216567","宣大山西三镇图-74",[23,24,25,27,1128,1127,51,43757,6832,553,19973,27597,7,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc9a3536040d95c4eb74f6f6fa8c5c3.jpg",[],{"id":69659,"slug":69660,"title":69661,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69662,"thumbUrl":69663,"material":169,"size":95,"collection":95,"collections":69664,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216566,"xuan-da-shan-xi-san-zhen-tu-75-yi-ming-216566","宣大山西三镇图-75",[23,24,25,27,1127,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14389f9ceaacad658ece334a38f562db.jpg",[],{"id":69666,"slug":69667,"title":69668,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69669,"thumbUrl":69670,"material":169,"size":95,"collection":95,"collections":69671,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216565,"xuan-da-shan-xi-san-zhen-tu-77-yi-ming-216565","宣大山西三镇图-77",[23,24,25,26,1127,27,51,7,6832,19973,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88a8433a3965630c64c45e858a4fe35d.jpg",[],{"id":69673,"slug":69674,"title":69675,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69676,"thumbUrl":69679,"material":169,"size":95,"collection":95,"collections":69680,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216563,"xuan-da-shan-xi-san-zhen-tu-78-yi-ming-216563","宣大山西三镇图-78",[23,24,25,27,1127,51,43757,19973,1128,7,5721,268,69677,15440,69678,38742],"地理图","设色山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb99cdb6de9b73e8a60eecbb366286d.jpg",[],{"id":69682,"slug":69683,"title":69684,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69685,"thumbUrl":69687,"material":169,"size":95,"collection":95,"collections":69688,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216560,"xuan-da-shan-xi-san-zhen-tu-82-yi-ming-216560","宣大山西三镇图-82",[23,24,27,1128,51,7,199,251,19973,69686,268],"城垣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe38166d075e6c38c7f3213cc223109d.jpg",[],{"id":69690,"slug":69691,"title":69692,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69693,"thumbUrl":69695,"material":169,"size":95,"collection":95,"collections":69696,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216556,"xuan-da-shan-xi-san-zhen-tu-86-yi-ming-216556","宣大山西三镇图-86",[23,24,27,1127,1128,111,7,199,51,251,1283,43757,69694,268,19973,113,56],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfe40176cedcadd5cb2b0521649022e6.jpg",[],{"id":69698,"slug":69699,"title":69700,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69701,"thumbUrl":69702,"material":169,"size":95,"collection":95,"collections":69703,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216553,"xuan-da-shan-xi-san-zhen-tu-87-yi-ming-216553","宣大山西三镇图-87",[23,24,27,1128,7,51,11609,6832,8049,5722,9190,113,1074,19973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd58ae2789ae1129bca3a1497d32979.jpg",[],{"id":69705,"slug":69706,"title":69707,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69708,"thumbUrl":69709,"material":169,"size":95,"collection":95,"collections":69710,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216550,"xuan-da-shan-xi-san-zhen-tu-90-yi-ming-216550","宣大山西三镇图-90",[23,24,25,27,1128,111,51,651,268,9992,7,11284,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3169cfb6337bfe0f7067cf3576deb725.jpg",[],{"id":69712,"slug":69713,"title":69714,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69715,"thumbUrl":69716,"material":169,"size":95,"collection":95,"collections":69717,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216549,"xuan-da-shan-xi-san-zhen-tu-92-yi-ming-216549","宣大山西三镇图-92",[23,24,25,7,199,1128,26,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97bc3e867b379b82b843195a59d55e95.jpg",[],{"id":69719,"slug":69720,"title":69721,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69722,"thumbUrl":69724,"material":169,"size":95,"collection":95,"collections":69725,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216547,"xuan-da-shan-xi-san-zhen-tu-95-yi-ming-216547","宣大山西三镇图-95",[23,4038,1498,7,60,26,1128,50,458,69723],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ca421335adc63384e9958e361ec96a.jpg",[],{"id":69727,"slug":69728,"title":69729,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69730,"thumbUrl":69731,"material":169,"size":95,"collection":95,"collections":69732,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216543,"xuan-da-shan-xi-san-zhen-tu-98-yi-ming-216543","宣大山西三镇图-98",[23,24,92,1127,27,1128,7,51,43757,19973,56,553,5722,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb812155e6d8a68e9df18c876dbe98a4a.jpg",[],{"id":69734,"slug":69735,"title":69736,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69737,"thumbUrl":69738,"material":169,"size":95,"collection":95,"collections":69739,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216541,"xuan-da-shan-xi-san-zhen-tu-103-yi-ming-216541","宣大山西三镇图-103",[23,24,1127,27,51,251,252,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da9ff5a0c63604b4f614f5fcec0e9e2.jpg",[],{"id":69741,"slug":69742,"title":69743,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69744,"thumbUrl":69745,"material":169,"size":95,"collection":95,"collections":69746,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216540,"xuan-da-shan-xi-san-zhen-tu-101-yi-ming-216540","宣大山西三镇图-101",[23,4038,24,25,26,1127,27,51,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719d941a68a4298bfc0b3e314a855513.jpg",[],{"id":69748,"slug":69749,"title":69750,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69751,"thumbUrl":69752,"material":169,"size":95,"collection":95,"collections":69753,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216539,"xuan-da-shan-xi-san-zhen-tu-102-yi-ming-216539","宣大山西三镇图-102",[23,24,1127,27,1128,111,51,43757,6832,268,6139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3dad1f10efc9ac43e04c595c415da12.jpg",[],{"id":69755,"slug":69756,"title":69757,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69758,"thumbUrl":69759,"material":169,"size":95,"collection":95,"collections":69760,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216538,"xuan-da-shan-xi-san-zhen-tu-100-yi-ming-216538","宣大山西三镇图-100",[23,24,25,1127,27,51,24641,7,771,651,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb148ddae35060742603d0ed4ecc61746.jpg",[],{"id":69762,"slug":69763,"title":69764,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69765,"thumbUrl":69766,"material":169,"size":95,"collection":95,"collections":69767,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216537,"xuan-da-shan-xi-san-zhen-tu-105-yi-ming-216537","宣大山西三镇图-105",[23,24,25,50,27,1128,60,77,7,11609,19973,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4219bfa228c8dbebb2c70fda6346cc87.jpg",[],{"id":69769,"slug":69770,"title":69771,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69772,"thumbUrl":69773,"material":169,"size":95,"collection":95,"collections":69774,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216533,"xuan-da-shan-xi-san-zhen-tu-107-yi-ming-216533","宣大山西三镇图-107",[23,24,25,27,1127,51,113,1074,43757,19973,251,56,18093,77,1128,7,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd751303c54509d0498367562e42ee8.jpg",[],{"id":69776,"slug":69777,"title":69778,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69779,"thumbUrl":69780,"material":169,"size":95,"collection":95,"collections":69781,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216532,"xuan-da-shan-xi-san-zhen-tu-109-yi-ming-216532","宣大山西三镇图-109",[23,92,24,27,1127,111,1128,7,77,51,69686,9190,116,268,251,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62eea47f7542df4721da751a94fb8653.jpg",[],{"id":69783,"slug":69784,"title":69785,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69786,"thumbUrl":69787,"material":169,"size":95,"collection":95,"collections":69788,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216531,"xuan-da-shan-xi-san-zhen-tu-113-yi-ming-216531","宣大山西三镇图-113",[23,24,25,1127,27,51,1283,77,7,26,268,6832,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99326e32d0d9694f6b57386bb6a84c2.jpg",[],{"id":69790,"slug":69791,"title":69792,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69793,"thumbUrl":69794,"material":169,"size":95,"collection":95,"collections":69795,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216528,"xuan-da-shan-xi-san-zhen-tu-111-yi-ming-216528","宣大山西三镇图-111",[23,24,27,51,1128,7,26,651,55,797,1074,9190,19973,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d75306fa62d608626e1cd60fdb716d4.jpg",[],{"id":69797,"slug":69798,"title":69799,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69800,"thumbUrl":69801,"material":169,"size":95,"collection":95,"collections":69802,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216524,"xuan-da-shan-xi-san-zhen-tu-117-yi-ming-216524","宣大山西三镇图-117",[23,24,25,27,1127,51,1283,268,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89962474616c56b81f343a77c8c2882.jpg",[],{"id":69804,"slug":69805,"title":69806,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69807,"thumbUrl":69808,"material":169,"size":95,"collection":95,"collections":69809,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216523,"xuan-da-shan-xi-san-zhen-tu-116-yi-ming-216523","宣大山西三镇图-116",[23,24,25,1128,7,199,77,50,1074,1283,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e3e768a500a105a6caeb23e69ea68f.jpg",[],{"id":69811,"slug":69812,"title":69813,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69814,"thumbUrl":69815,"material":169,"size":95,"collection":95,"collections":69816,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216520,"xuan-da-shan-xi-san-zhen-tu-121-yi-ming-216520","宣大山西三镇图-121",[23,24,25,27,1127,1128,7,77,51,1074,113,553,30986,651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a04e9755b1dc5146d780fd1c377e5b3.jpg",[],{"id":69818,"slug":69819,"title":69820,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69821,"thumbUrl":69822,"material":169,"size":95,"collection":95,"collections":69823,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216517,"xuan-da-shan-xi-san-zhen-tu-123-yi-ming-216517","宣大山西三镇图-123",[23,24,25,26,27,1127,51,1283,55,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1263eee3c268ef2985958a4722411c77.jpg",[],{"id":69825,"slug":69826,"title":69827,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69828,"thumbUrl":69829,"material":169,"size":95,"collection":95,"collections":69830,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216516,"xuan-da-shan-xi-san-zhen-tu-126-yi-ming-216516","宣大山西三镇图-126",[23,4038,24,25,7,199,50,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd55a1cbd0cb5daa9aac90e2ee204310.jpg",[],{"id":69832,"slug":69833,"title":69834,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69835,"thumbUrl":69836,"material":169,"size":95,"collection":95,"collections":69837,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216515,"xuan-da-shan-xi-san-zhen-tu-124-yi-ming-216515","宣大山西三镇图-124",[23,24,27,1127,111,51,55,1283,250,77,7,251,19973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5f367939de2c93e4d95463605ad28f.jpg",[],{"id":69839,"slug":69840,"title":69841,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69842,"thumbUrl":69843,"material":169,"size":95,"collection":95,"collections":69844,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216513,"xuan-da-shan-xi-san-zhen-tu-133-yi-ming-216513","宣大山西三镇图-133",[23,24,25,27,1127,51,1283,55,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d881da0f4956ce256f2a3fe165ab72.jpg",[],{"id":69846,"slug":69847,"title":69848,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69849,"thumbUrl":69851,"material":169,"size":95,"collection":95,"collections":69852,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216512,"xuan-da-shan-xi-san-zhen-tu-132-yi-ming-216512","宣大山西三镇图-132",[23,24,27,1127,51,7,60,77,251,19973,69850],"标记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6fb08b8fb180042f1d3a4d604e1195.jpg",[],{"id":69854,"slug":69855,"title":69856,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69857,"thumbUrl":69858,"material":169,"size":95,"collection":95,"collections":69859,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216511,"xuan-da-shan-xi-san-zhen-tu-128-yi-ming-216511","宣大山西三镇图-128",[23,24,25,27,1127,26,7,77,51,458,113,1074,1283,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c53129aa29e963ca52b6082bf3cdb2.jpg",[],{"id":69861,"slug":69862,"title":69863,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69864,"thumbUrl":69865,"material":169,"size":95,"collection":95,"collections":69866,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216508,"xuan-da-shan-xi-san-zhen-tu-129-yi-ming-216508","宣大山西三镇图-129",[23,24,27,1127,111,7,77,51,1283,43757,251,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc228e3fdb1c4a3e2b55f518e3620fa11.jpg",[],{"id":69868,"slug":69869,"title":69870,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69871,"thumbUrl":69872,"material":169,"size":95,"collection":95,"collections":69873,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216507,"xuan-da-shan-xi-san-zhen-tu-134-yi-ming-216507","宣大山西三镇图-134",[23,24,27,1127,1128,7,51,113,1074,1283,24641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf180d7d902d5fb52ebc90c49d4622cc.jpg",[],{"id":69875,"slug":69876,"title":69877,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69878,"thumbUrl":69879,"material":169,"size":95,"collection":95,"collections":69880,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216505,"xuan-da-shan-xi-san-zhen-tu-136-yi-ming-216505","宣大山西三镇图-136",[23,7,199,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9c1d983896e97ec5f51b5a7cf63586e.jpg",[],{"id":69882,"slug":69883,"title":69884,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69885,"thumbUrl":69886,"material":169,"size":95,"collection":95,"collections":69887,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216503,"xuan-da-shan-xi-san-zhen-tu-138-yi-ming-216503","宣大山西三镇图-138",[23,24,25,1127,27,51,6832,19973,43757,1128,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e667bf34aa8765017d93aa20c0b45.jpg",[],{"id":69889,"slug":69890,"title":69891,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69892,"thumbUrl":69893,"material":169,"size":95,"collection":95,"collections":69894,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216501,"xuan-da-shan-xi-san-zhen-tu-140-yi-ming-216501","宣大山西三镇图-140",[23,24,27,1127,51,1283,553,6832,7,77,1128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44113a68ad5438a6aa638908ebe843c5.jpg",[],{"id":69896,"slug":69897,"title":69898,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69899,"thumbUrl":69900,"material":169,"size":95,"collection":95,"collections":69901,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216500,"xuan-da-shan-xi-san-zhen-tu-141-yi-ming-216500","宣大山西三镇图-141",[23,24,27,1127,51,7,77,57,252,19973,26,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f09160f325bd5d8a260cdc8e840151.jpg",[],{"id":69903,"slug":69904,"title":69905,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69906,"thumbUrl":69908,"material":169,"size":95,"collection":95,"collections":69909,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216498,"xuan-da-shan-xi-san-zhen-tu-142-yi-ming-216498","宣大山西三镇图-142",[23,24,25,27,1128,111,7,60,51,268,1074,11284,69907,553,6832],"地图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9152291837cc32b5aa7d84081d7475fe.jpg",[],{"id":69911,"slug":69912,"title":69913,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69914,"thumbUrl":69915,"material":169,"size":95,"collection":95,"collections":69916,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216497,"xuan-da-shan-xi-san-zhen-tu-144-yi-ming-216497","宣大山西三镇图-144",[23,24,25,27,1127,51,113,1074,1283,24641,55,268,251,1128,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3398d806aaed95bdb081d879a678b1b2.jpg",[],{"id":69918,"slug":69919,"title":69920,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69921,"thumbUrl":69922,"material":169,"size":95,"collection":95,"collections":69923,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216496,"xuan-da-shan-xi-san-zhen-tu-143-yi-ming-216496","宣大山西三镇图-143",[23,24,1127,27,51,1283,1074,7,77,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33cefc7c9ca5180275bfd34695f5426a.jpg",[],{"id":69925,"slug":69926,"title":69927,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69928,"thumbUrl":69929,"material":169,"size":95,"collection":95,"collections":69930,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216495,"xuan-da-shan-xi-san-zhen-tu-146-yi-ming-216495","宣大山西三镇图-146",[23,24,27,1128,51,268,1283,20499,9992,6832,7,60,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2977dc491ab302edd9af1e07ba10ebcc.jpg",[],{"id":69932,"slug":69933,"title":69934,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69935,"thumbUrl":69936,"material":169,"size":95,"collection":95,"collections":69937,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216494,"xuan-da-shan-xi-san-zhen-tu-147-yi-ming-216494","宣大山西三镇图-147",[23,24,25,27,1127,51,651,360,1283,55,30986,1074,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f0d3fb7925713ad0a401b5b755129d.jpg",[],{"id":69939,"slug":69940,"title":69941,"dynasty":45,"author":454,"museum":107,"description":69556,"tags":69942,"thumbUrl":69943,"material":169,"size":95,"collection":95,"collections":69944,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216493,"xuan-da-shan-xi-san-zhen-tu-148-yi-ming-216493","宣大山西三镇图-148",[23,24,27,1127,51,7,77,1283,116,6832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d36dcca1541f4a3e5731b589166e77.jpg",[],{"id":69946,"slug":69947,"title":69948,"dynasty":45,"author":454,"museum":107,"description":69949,"tags":69950,"thumbUrl":69951,"material":169,"size":95,"collection":95,"collections":69952,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216491,"xuan-da-shan-xi-san-zhen-tu-152-yi-ming-216491","宣大山西三镇图-152","画面分左右两帧，左帧墨笔小楷细密规整，详述地理沿革与戍守要点，字迹虽淡却见严谨；右帧青绿设色绘城防图景，城池方正、城楼醒目，四周山峦层叠染翠，烽燧沿道路星罗棋布，溪流蜿蜒其间。线条古朴雅致，设色清淡却层次分明，山水与城防交织，既具军事舆图的实用精准，又含传统山水画的意境韵味。文字注记与图像互证，勾勒出边塞要地的地理格局与戍守态势，尽显明代边防舆图的独特风貌，历经岁月仍能让人窥见当时边地防务的细致考量与舆图绘制的匠心。",[23,24,27,1127,1128,7,51,43757,6832,19973,268,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e233ec20269a5d48d1e489d95f492c.jpg",[],{"id":69954,"slug":69955,"title":69956,"dynasty":45,"author":454,"museum":107,"description":69957,"tags":69958,"thumbUrl":69960,"material":169,"size":95,"collection":95,"collections":69961,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216488,"xuan-da-shan-xi-san-zhen-tu-153-yi-ming-216488","宣大山西三镇图-153","画面以图文相契的方式铺展，左侧竖排小楷详述边镇形胜，笔意谨严；右侧青绿设色勾勒山川脉络，墨线清劲。长城如巨龙蜿蜒于峰峦间，烽燧与营堡星罗棋布，“威胡堡”的标识点明军事要冲之位。人马行迹点缀其间，似携戍守的沉凝气息。山峦以简括的青绿晕染，既具地理图籍的精准写实，又含文人画的雅致意趣。文字与图像互为表里，将边地防御格局与自然风貌融于一卷，尽显明代边镇图“实用与审美共生”的独特韵致，仿佛能窥见彼时戍边的壮阔与幽微。",[23,24,25,27,51,1074,69959,651,268,7,77],"长城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d080458de8ebb81fb87aa42811f6ad.jpg",[],{"id":69963,"slug":69964,"title":69965,"dynasty":45,"author":454,"museum":107,"description":69966,"tags":69967,"thumbUrl":69968,"material":169,"size":95,"collection":95,"collections":69969,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216487,"xuan-da-shan-xi-san-zhen-tu-156-yi-ming-216487","宣大山西三镇图-156","这幅图以图文相映的形式呈现，左侧小楷详陈地理与防御脉络，右侧青绿设色晕染山峦，线条古朴苍劲。城池关隘以方框标识，道路蜿蜒串联其间，营帐、行旅等细节点缀，生动还原边镇风貌。画面兼具军事地理的实用记录与传统舆图的艺术意趣，青绿山水的沉稳色调与简洁勾勒相得益彰，既展现明代边镇防御体系的严谨，又蕴含舆图特有的审美韵味，是研究当时边防与视觉文化的珍贵遗存。",[23,24,25,27,1127,7,51,113,1074,1283,268,553,77,56,69723,6832,19973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96e02a74cc0ae838f3b8ea7447a235a.jpg",[],{"id":69971,"slug":69972,"title":69973,"dynasty":45,"author":454,"museum":107,"description":69974,"tags":69975,"thumbUrl":69976,"material":169,"size":95,"collection":95,"collections":69977,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216486,"xuan-da-shan-xi-san-zhen-tu-150-yi-ming-216486","宣大山西三镇图-150","画面分左右两帧，左以墨笔题跋详述地理防务，字迹古朴间承载史料重量；右以淡赭为底，青绿点染层峦，墨线勾连蜿蜒路径与戍守城防，“拒家营堡”标注醒目，周边烽燧星罗棋布。\n\n它将边塞形胜、戍守布局融于笔墨，青绿山峦似含烽烟余韵，线条走向暗合边镇脉动，既存山水图的雅致意趣，更藏军事舆图的严谨肌理，静静铺展着明代边地的防务图景，是历史与艺术交织的珍贵遗存。",[23,92,24,27,1127,7,77,51,6832,19973,43757,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bc5b9127376d7cce9d7d2d2cb84f3b.jpg",[],{"id":69979,"slug":69980,"title":69981,"dynasty":45,"author":454,"museum":107,"description":69982,"tags":69983,"thumbUrl":69984,"material":169,"size":95,"collection":95,"collections":69985,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216485,"xuan-da-shan-xi-san-zhen-tu-158-yi-ming-216485","宣大山西三镇图-158","这幅图将实用舆图与传统绘画巧妙融合，左侧蝇头小楷严谨详录地理沿革与戍防诸事；右侧以青绿晕染山峦，勾勒出起伏的关塞地貌，城池标识清晰，路径蜿蜒其间，偶见人物活动的细微刻画。既保留军事图籍的精准性，又蕴含山水画卷的写意韵味。纸色古雅泛黄，笔墨间沉淀着明代边塞防务的历史厚重感，图文互证的独特形式，不仅展现当时舆图绘制的精湛技艺，更折射出边镇治理的战略考量，是研究明代军事地理与视觉文化的珍贵实物。",[23,24,25,27,1127,1128,7,77,51,113,43757,1283,251,19973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4756c086925146eb8dfc36fd1e1519.jpg",[],{"id":69987,"slug":69988,"title":69989,"dynasty":45,"author":454,"museum":107,"description":69990,"tags":69991,"thumbUrl":69992,"material":169,"size":95,"collection":95,"collections":69993,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216484,"xuan-da-shan-xi-san-zhen-tu-157-yi-ming-216484","宣大山西三镇图-157","这幅图以图文交织的形式铺展边塞地理的壮阔与细节。右侧青绿晕染的山峦层叠起伏，木桥横跨云霭间，方框标注的城邑如星点缀，简劲线条精准勾勒山川形胜。左侧细密文字注记与图像互为表里，详述方位与防务布局。笔墨既有舆图的实用严谨，亦含绘事雅趣——青绿的温润、纸张的岁月肌理，让边防记录更添古朴质感。它不仅是明代边塞防务的地理密码，更以简淡生动的笔触，留存了那个时代对山河的认知与守护之心。",[23,24,25,27,111,1128,51,9190,251,113,1074,19973,553,7,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689cbc3d7fd0dac7c494de660478af86.jpg",[],{"id":69995,"slug":69996,"title":69997,"dynasty":45,"author":454,"museum":107,"description":69998,"tags":69999,"thumbUrl":70000,"material":169,"size":95,"collection":95,"collections":70001,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216483,"xuan-da-shan-xi-san-zhen-tu-159-yi-ming-216483","宣大山西三镇图-159","青绿晕染的峰峦如黛，错落间一方“四海冶”城堡静立，山道上人马辚辚，帐篷与驼马相映，似见边地戍守与往来的鲜活场景。左侧题跋以工整墨字铺陈，图文交织间，勾勒出宣大山西一带的地理形胜与防务细节。画风古朴雅致，山水勾勒简练却层次分明，人物车马的描绘虽小却生动传神。这幅图籍既承载着军事地理的实用信息，又蕴含着绘画的审美意趣，图文并茂的形式尽显明代边防图籍的独特风貌，悄然传递出彼时边地的地理格局与戍边生活的点滴气息。",[23,24,25,27,1127,1128,26,7,51,113,1074,1283,55,30986,43757,251,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8617c0c4184785e3bd87487afe1db5.jpg",[],{"id":70003,"slug":70004,"title":70005,"dynasty":45,"author":454,"museum":107,"description":70006,"tags":70007,"thumbUrl":70008,"material":169,"size":95,"collection":95,"collections":70009,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216482,"xuan-da-shan-xi-san-zhen-tu-155-yi-ming-216482","宣大山西三镇图-155","泛黄纸页间，墨笔工整铺陈宣大山西三镇的边防脉络。细密字迹里，墩台数目、边墙走向、军备调度一一浮现，似能触到明代戍边的紧张脉搏。每笔记录都凝着守土的筹谋，纸页纹理与墨痕交织，沉淀数百年边防记忆。它不止是图卷，更是鲜活的军事档案，将北疆防务细节静静诉说，让后世窥见戍卒们的坚守与岁月的厚重。",[23,25,7,199,50,184,77,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83148ce152fe1e9dab92f0014dd75465.jpg",[],{"id":70011,"slug":70012,"title":70013,"dynasty":45,"author":454,"museum":107,"description":70014,"tags":70015,"thumbUrl":70016,"material":169,"size":95,"collection":95,"collections":70017,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216481,"xuan-da-shan-xi-san-zhen-tu-163-yi-ming-216481","宣大山西三镇图-163","画面分左右两帧，左帧蝇头小楷详述边镇防务，笔致端谨；右帧绘层峦叠嶂，青绿设色晕染出山川苍莽肌理，“耿相堡”以粉框蓝边醒目标出。蜿蜒驿路穿梭峰岭间，偶见人马行迹，似暗合文字中戍守场景。图文相契，既承舆图的实用精准，又蕴山水画的悠远意境，将边塞地理与军事防御融于一纸，尽显古代边镇图籍的独特韵味与历史厚重感。",[23,24,27,1127,51,113,1074,268,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8461f05a42813c5548def8fb81ed830b.jpg",[],{"id":70019,"slug":70020,"title":70021,"dynasty":45,"author":454,"museum":107,"description":70022,"tags":70023,"thumbUrl":70024,"material":169,"size":95,"collection":95,"collections":70025,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216479,"xuan-da-shan-xi-san-zhen-tu-162-yi-ming-216479","宣大山西三镇图-162","左侧蝇头小楷详述边镇地理要害，河道分布与险隘态势跃然纸上；右侧以青绿设色勾勒山峦，城垣、烽燧星罗棋布，“千廋城”标识醒目，边塞格局清晰可见。文字与舆图互补，既精准还原防御地形，又融入传统山水画意境。山石用色厚重，线条简练传神，既保留舆图实用价值，又彰显艺术表现力。整幅作品蕴含对边镇防务的深度认知，是明代边防地理研究与舆图艺术结合的珍贵遗存。",[23,24,27,51,24641,1283,7,1128,111,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F431a9c82b1433fcab3176f764eecde14.jpg",[],{"id":70027,"slug":70028,"title":70029,"dynasty":45,"author":454,"museum":107,"description":70030,"tags":70031,"thumbUrl":70032,"material":169,"size":95,"collection":95,"collections":70033,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216477,"xuan-da-shan-xi-san-zhen-tu-165-yi-ming-216477","宣大山西三镇图-165","墨笔题跋与青绿山水相映成趣，左文详述边镇形胜与防务，右画勾勒山峦驿路之态。淡彩晕染的峰峦间，驿道蜿蜒如带，骑马者行色匆匆，似传军情；“阻胡堡”的标注醒目，点出戍守要冲。文字纪实与图像写意交融，既具舆图的精准，又含绘事的生动。线条简练却见筋骨，色彩清雅而富层次，将明代边塞的地理格局与军事氛围凝于尺幅，是边塞文化与艺术结合的缩影，藏着历史烽烟里的边地脉动。",[23,24,25,27,51,651,1283,1074,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53cff2654ddf8322200d957b6fb679f0.jpg",[],{"id":70035,"slug":70036,"title":70037,"dynasty":45,"author":454,"museum":107,"description":70038,"tags":70039,"thumbUrl":70040,"material":169,"size":95,"collection":95,"collections":70041,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216475,"xuan-da-shan-xi-san-zhen-tu-161-yi-ming-216475","宣大山西三镇图-161","泛黄纸页上，墨笔书就的边关经略静静铺展。山川险隘的描摹、兵力布防的详述、粮草筹谋的记载，字字透着边镇的肃杀与担当。纸间斑驳痕迹似岁月的吻痕，承载着明代守土者的智慧与艰辛。每一行字迹都是历史的切片，将宣大山西三镇的军事图景凝于方寸，无声诉说着当年疆域安危的重量，让今人品读那份跨越时空的厚重与深沉。",[23,25,7,50,26,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adbd3c932b19649f1d72b8199f2bfff.jpg",[],{"id":70043,"slug":70044,"title":70045,"dynasty":45,"author":454,"museum":107,"description":70046,"tags":70047,"thumbUrl":70048,"material":169,"size":95,"collection":95,"collections":70049,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216474,"xuan-da-shan-xi-san-zhen-tu-169-yi-ming-216474","宣大山西三镇图-169","左卷墨笔书录，蝇头小楷细密规整，详述地理沿革与军事布防；右幅青绿晕染山峦，层叠错落间显雄浑气象。驿路蜿蜒串联烽燧、城邑，“马邑城”标识醒目，军事脉络清晰可见。画面以山水为底，融舆图精确性与传统绘画韵味于一体，古朴中见严谨，典雅里藏烽烟。图文互证，既承载边防史料之重，又兼具艺术审美之趣，尽显明代军事舆图的双重价值，是研究当时边防与绘画风格的珍贵遗存。",[23,24,27,1127,51,11609,19973,5722,268,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d719c6196b1c8c3c97bbfb500eae744.jpg",[],{"id":70051,"slug":70052,"title":70053,"dynasty":45,"author":454,"museum":107,"description":70054,"tags":70055,"thumbUrl":70056,"material":169,"size":95,"collection":95,"collections":70057,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216473,"xuan-da-shan-xi-san-zhen-tu-168-yi-ming-216473","宣大山西三镇图-168","右侧以青绿设色绘山峦，峰峦错落有致，山道蜿蜒穿行，井坪城居于核心，城郭形制明晰，道路连缀周边聚落，尽显地理战略之要。左侧题跋详述城防布局与军事价值，文图相契，兼具纪实性与艺术性。青绿设色温润雅致，山峦勾勒简洁有神，道路与城郭标注清晰，既承载边防舆图的实用功能，又融入文人画的审美意趣，是明代军事地理认知与艺术表达融合的佳作，尽显当时对边镇防务的细致描摹与创作巧思。",[23,24,25,27,1128,51,43757,1283,845,251,268,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f585f132854e74b4a11a7680a0c6fc0.jpg",[],{"id":70059,"slug":70060,"title":70061,"dynasty":45,"author":454,"museum":107,"description":70062,"tags":70063,"thumbUrl":70064,"material":169,"size":95,"collection":95,"collections":70065,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216472,"xuan-da-shan-xi-san-zhen-tu-167-yi-ming-216472","宣大山西三镇图-167","纸页泛黄，墨痕清晰，图文交织间藏着明代北疆防务的密码。右侧文字细密如网，铺陈关隘地名、驻军数目与山川走向，一笔一划皆是对边镇地理的精准描摹；左侧留白处似隐似现的图绘，与文字呼应勾勒出宣大山西三镇的军事格局。笔墨间凝注着筹边者的思虑，每一处记载都映照着当年戍卒的足迹与烽火的余温。它不仅是一幅舆图，更是一部镌刻在纸上的北疆史诗，静静诉说着明代边防的严谨与山河的壮阔，让后人得以窥见那个时代戍边生活的鲜活侧影。",[23,24,25,50,1128,7,199,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9002671a79a6c27d49a75d258bcdf833.jpg",[],{"id":70067,"slug":70068,"title":70069,"dynasty":45,"author":454,"museum":107,"description":70070,"tags":70071,"thumbUrl":70072,"material":169,"size":95,"collection":95,"collections":70073,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216470,"xuan-da-shan-xi-san-zhen-tu-172-yi-ming-216470","宣大山西三镇图-172","画面采用图文对开形制，左页墨笔小楷详述地理沿革，笔力端谨；右页以青绿设色绘山川格局，峰峦叠翠间云雾轻笼，道路蜿蜒如带，怀仁城以朱栏方框醒目标出，周边散落塔寺、民居符号，简约传神。线条勾勒精准，色彩淡雅温润，既保留舆图的实用信息，又融入文人画的写意韵致。山峦用披麻皴法，层次分明；建筑与路径的简化处理，平衡写实与艺术表达。整体气息沉静古朴，似能窥见明代边关重镇的地理风貌与人文脉络，尽显传统舆图兼具实用与审美之特质。",[23,24,25,27,1127,7,77,51,43757,19973,268,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea2a237905b2a0b217350340181cbfc.jpg",[],{"id":70075,"slug":70076,"title":70077,"dynasty":45,"author":454,"museum":107,"description":70078,"tags":70079,"thumbUrl":70080,"material":169,"size":95,"collection":95,"collections":70081,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216468,"xuan-da-shan-xi-san-zhen-tu-174-yi-ming-216468","宣大山西三镇图-174","左幅文字凝练铺陈边地地理军事脉络，右幅以青绿设色绘山峦城防。层叠峰峦墨线勾骨，敷染青绿赭石，苍润古朴；城垣关隘、道路驿站细致勾勒，标识清晰，兼具舆图实用精准与绘画审美意趣。图文相生，既载录三镇防务信息，又以传统山水画技法营造悠远意境，是明代军事舆图与艺术融合的典型之作，藏着古人对边地防务的考量与绘事匠心。",[23,92,24,25,27,51,43757,9190,19973,6832,56,18093,7,77,1127,111,1128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad99002ab5411f5eeed64a47e5cb39f7.jpg",[],{"id":70083,"slug":70084,"title":70085,"dynasty":45,"author":454,"museum":107,"description":70086,"tags":70087,"thumbUrl":70088,"material":169,"size":95,"collection":95,"collections":70089,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216467,"xuan-da-shan-xi-san-zhen-tu-173-yi-ming-216467","宣大山西三镇图-173","左卷以端谨小楷详述地域沿革与防务脉络，字里行间藏着边塞的战略考量；右卷淡彩晕染山峦，青绿间显苍茫气象，道路如练串联亭台、村落与“四圣台”标识，布局简约却暗合舆图纪实性。图文相映，既为当时三镇防务提供地理参照，又以古朴笔触绘出边塞风貌，明代舆图融实用与艺术的特质尽显，仿佛能透过泛黄纸页，触摸到那个时代边地的脉动与气息。",[23,24,25,27,51,7,6832,19973,268,56,55,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30506582e0eedffd0d112168ef5cb61e.jpg",[],{"id":70091,"slug":70092,"title":70093,"dynasty":45,"author":454,"museum":107,"description":70094,"tags":70095,"thumbUrl":70096,"material":169,"size":95,"collection":95,"collections":70097,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216465,"xuan-da-shan-xi-san-zhen-tu-175-yi-ming-216465","宣大山西三镇图-175","左页墨笔恭录，详述三镇疆域沿革、关隘兵防之要，字迹端凝；右页以青绿写山水，山峦层叠间云雾轻笼，“分河堡”匾额醒目，营垒、旗帜等符号错落，既存舆图的精准实用，又含山水画的雅致意趣。整幅作品古朴沉静，将军事地理信息与传统绘画面貌相融，是明代边镇视野下的独特遗存，尽显舆图艺术的双重价值——实用与审美之合，于笔墨设色间勾勒出边地防务的鲜活图景。",[23,24,25,51,27,1127,7,651,845,18093,77,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d9af72a0fb3f6f2353d99a1bacfb0b0.jpg",[],{"id":70099,"slug":70100,"title":70101,"dynasty":45,"author":454,"museum":107,"description":70102,"tags":70103,"thumbUrl":70104,"material":169,"size":95,"collection":95,"collections":70105,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216464,"xuan-da-shan-xi-san-zhen-tu-180-yi-ming-216464","宣大山西三镇图-180","这幅图以青绿设色铺陈山峦，层叠错落间透着古朴雅致。画面中央“浑源城”醒目，周边道路蜿蜒，串联起散落的屋宇与舟楫，清晰勾勒出区域地理脉络。左侧墨书文字与右侧图像相呼应，详述方位与军事态势，图文互证，兼具纪实性与实用性。山峦勾勒简洁有神，青绿晕染细腻，佚名之作却尽显明代舆图的精湛——既恪守地理信息的准确传递，又融入传统山水画的审美意趣，实为研究明代边防与舆图艺术的珍贵遗存。",[23,24,25,27,1127,51,43757,6832,1283,268,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecdebbae8de0734be57bcd6a5dcf6c6.jpg",[],{"id":70107,"slug":70108,"title":70109,"dynasty":45,"author":454,"museum":107,"description":70110,"tags":70111,"thumbUrl":70112,"material":169,"size":95,"collection":95,"collections":70113,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216462,"xuan-da-shan-xi-san-zhen-tu-176-yi-ming-216462","宣大山西三镇图-176","画面左幅墨书笔意古拙，文字记述当与边镇地理防务相关，与右幅图像互为补充。右幅以青绿设色绘山峦叠嶂，线条简练却见起伏层次；桥梁如带横贯，建筑错落山间，兼具地理写实与传统山水意趣。整体图文相映，既勾勒出边镇的自然风貌，又暗藏防务布局的考量，笔墨间流露明代舆图类作品实用与艺术交融的特质，是窥见彼时边防图景与绘画风格的珍贵载体。",[23,24,27,51,7,1128,651,360,9190,268,5722,113,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe6e1f62915d053261c208800450511e.jpg",[],{"id":70115,"slug":70116,"title":70117,"dynasty":45,"author":454,"museum":107,"description":70118,"tags":70119,"thumbUrl":70120,"material":169,"size":95,"collection":95,"collections":70121,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216460,"xuan-da-shan-xi-san-zhen-tu-179-yi-ming-216460","宣大山西三镇图-179","青绿染峰峦，靛蓝皴崖岫，云雾轻笼间山峦层叠错落，中段长河如带，岸畔人影稀疏，一方“新平堡”匾额醒目立于此间，勾画出边镇的地理坐标。左侧密匝的小楷似在叙说地域沿革与戍守旧事，图文相契，将舆图的实用与绘画的雅致融于一纸。古雅的设色与沉静的笔墨，于方寸间细致描摹边关形胜，藏着对疆土的深切观照，尽显舆图类绘画兼具纪实与审美之韵。",[23,45,24,25,27,1127,51,6832,553,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b9946c3175b609824ee7d8bb08c6382.jpg",[],{"id":70123,"slug":70124,"title":70125,"dynasty":45,"author":454,"museum":107,"description":70126,"tags":70127,"thumbUrl":70128,"material":169,"size":95,"collection":95,"collections":70129,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216456,"xuan-da-shan-xi-san-zhen-tu-187-yi-ming-216456","宣大山西三镇图-187","墨线勾勒出边防的筋骨，山川关隘如凝固的烽烟。素朴绢本上，城垣错落、烽燧排布，织就一张无声的防御网。没有浓彩重墨，却以精准笔触丈量疆土安危；不见金戈铁马，却能从疏密标注里，触摸明代边防的脉动。它是舆图，更是历史切片——时光磨淡的痕迹，仍诉说着塞防的严谨与沧桑，让观者于静默中感知古人经略边疆的智慧与坚守。每一道墨痕都藏着戍边故事，那些被岁月晕开的线条，至今仍在低语昔日的守土之责。",[23,24,25,1128,60,7,26,27,458,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec32f776e92a61d435c812c7adc3fbf.jpg",[],{"id":70131,"slug":70132,"title":70133,"dynasty":45,"author":454,"museum":107,"description":70134,"tags":70135,"thumbUrl":70136,"material":169,"size":95,"collection":95,"collections":70137,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216454,"xuan-da-shan-xi-san-zhen-tu-184-yi-ming-216454","宣大山西三镇图-184","这幅舆图聚焦明代北边边防，右侧墨书详注镇戍布局与军备事宜，字迹端谨，信息翔实。以功能性为核心，却藏着明代舆图规制与实用兼具的特质，笔墨间承载边镇防御的战略考量，是研究当时军事地理与边防体系的珍贵视觉文献，静静诉说往昔戍边岁月的严谨与厚重。",[23,24,25,7,77,199,9635,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e4fa73fe65d0fcfe5e90249ad5bbbf.jpg",[],{"id":70139,"slug":70140,"title":70141,"dynasty":45,"author":454,"museum":107,"description":70142,"tags":70143,"thumbUrl":70144,"material":169,"size":95,"collection":95,"collections":70145,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216450,"xuan-da-shan-xi-san-zhen-tu-194-yi-ming-216450","宣大山西三镇图-194","画面左侧满布细密注记，详载山川里程、隘口险夷，尽显军事舆图的实用内核；右侧以写意笔触勾勒青黛山峦，城池、营帐与人物错落其间，虽非精准测绘，却生动铺陈边镇地理脉络与戍守氛围。笔墨简练却意涵丰沛，兼具舆图纪实性与传统山水画气韵，是明代边防舆图的典型范本，静静承载着彼时边镇的战略图景与戍卫日常，让观者得以窥见那段烽火与守望交织的边地岁月。",[23,24,25,49,27,1127,51,113,1074,6792,1283,55,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7260419eb02b29b07522502ab8cec80.jpg",[],{"id":70147,"slug":70148,"title":70149,"dynasty":45,"author":454,"museum":107,"description":70150,"tags":70151,"thumbUrl":70152,"material":169,"size":95,"collection":95,"collections":70153,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216449,"xuan-da-shan-xi-san-zhen-tu-191-yi-ming-216449","宣大山西三镇图-191","这幅舆图铺展宣大山西三镇的边防图景，笔墨间凝注着边地的烽烟记忆。河流蜿蜒处标注关隘堡寨，文字详述兵力配置与防御格局，山河险厄与戍守据点交织，勾勒出明代北部边防的严密脉络。每一处线条、每段注记，皆是边防体系的鲜活切片，见证着边地军民的守御智慧，也折射出那个时代对边疆安稳的深切筹谋，为后世留存下一份珍贵的历史镜像。",[23,25,7,199,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2942b18b9b4fa9bf5827c8041ddc147.jpg",[],{"id":70155,"slug":70156,"title":70157,"dynasty":45,"author":454,"museum":107,"description":70158,"tags":70159,"thumbUrl":70160,"material":169,"size":95,"collection":95,"collections":70161,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216447,"xuan-da-shan-xi-san-zhen-tu-192-yi-ming-216447","宣大山西三镇图-192","左卷墨字细密，详述边塞地理要害与戍守方略，文字古雅且军情翔实；右卷青绿设色绘山川形胜，峰峦层叠间标注关隘营垒，线条简练却尽显边塞险峻之势。图文互证，既存军事图籍的实用精准，又含传统山水的写意韵味。青绿晕染的山峦与穿插的城防符号相映，将边塞的雄浑壮阔与戍守的严谨细致融于一纸，尽显明代边镇图籍的写实张力，似能窥见当年将士戍边的壮阔图景，为研究明代边镇军事与地理提供鲜活的视觉参照。",[23,24,25,1127,27,1128,26,51,651,553,268,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c61a568a2a9ece99aa8b84e55e1c886.jpg",[],{"id":70163,"slug":70164,"title":70165,"dynasty":45,"author":454,"museum":107,"description":70166,"tags":70167,"thumbUrl":70168,"material":169,"size":95,"collection":95,"collections":70169,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216446,"xuan-da-shan-xi-san-zhen-tu-196-yi-ming-216446","宣大山西三镇图-196","青绿晕染的山峦层叠错落，河曲县城环水而踞，居于画面中心，显扼守之姿。山间路径蜿蜒隐现，几处聚落点缀其间，兼具地理写实的严谨与传统绘画的意趣。左侧蝇头小楷详载山川形胜、戍守要略，文图相映，既是军政要务的直观载体，亦藏着古人对边地山川的认知与经营智慧。笔墨间无名家落款，却以精准的舆图逻辑与雅致的设色，留存下一段边镇防务的鲜活记忆，于无声处诉说着岁月里的戍边故事与家国情怀。",[23,24,27,1127,51,43757,6832,553,56,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa219dec44148e45b936fe05cb1b9e5de.jpg",[],{"id":70171,"slug":70172,"title":70173,"dynasty":45,"author":454,"museum":107,"description":70174,"tags":70175,"thumbUrl":70176,"material":169,"size":95,"collection":95,"collections":70177,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216442,"xuan-da-shan-xi-san-zhen-tu-200-yi-ming-216442","宣大山西三镇图-200","左页墨笔注记详述山川道里、驻军规制与防务沿革，字迹端凝条理清晰；右页设色地图以淡赭铺底，青蓝染山，墨线勾绘道路、烽燧与城垣，“本云城”方正矗立，周遭驼马络绎、人物往来，鲜活再现边镇景象。图文相契，既是实用军事舆图，又具古朴艺术意趣。简练笔触藏着明代边疆防务的缜密思考，淡雅色彩晕染出塞上边地独特风情，为后世留存兼具历史价值与审美韵味的珍贵遗存。",[23,24,25,27,1128,7,60,51,43757,6832,19973,268,113,10459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f95b575c765d6ce48d75b81152afd6b.jpg",[],{"id":70179,"slug":70180,"title":70181,"dynasty":45,"author":454,"museum":107,"description":70182,"tags":70183,"thumbUrl":70184,"material":169,"size":95,"collection":95,"collections":70185,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216440,"xuan-da-shan-xi-san-zhen-tu-199-yi-ming-216440","宣大山西三镇图-199","此图以细密小楷缀于舆地间，将宣大山西三镇边防图景徐徐铺展。文字详载河防距度、兵备配置与城堡兴修细节——“河距二百里”的精准丈量，“兵三千”的严谨调度，“城堡兴修”的规划考量，处处彰显边镇防御的周密。笔墨间凝注着戍边者的筹谋，每一处标注皆为疆土安危的注脚，既承载实用的军事舆图功能，更藏着明代边镇治理的鲜活印记，静静诉说着那段守土卫国的沉厚岁月。",[23,4038,25,7,199,1498,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ed5b1ad89b2886ca86e68e109bdd09.jpg",[],{"id":70187,"slug":70188,"title":70189,"dynasty":45,"author":454,"museum":107,"description":70190,"tags":70191,"thumbUrl":70192,"material":169,"size":95,"collection":95,"collections":70193,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216439,"xuan-da-shan-xi-san-zhen-tu-201-yi-ming-216439","宣大山西三镇图-201","画面分左右两帧，左为细密文字，叙地域疆界、道里距离及军政典故；右为青绿设色舆图，层岩叠嶂以蓝绿晕染，城邑以方框标识，山间路径婉转勾连。图文相契，兼具纪实性与艺术性，既精准记录地理信息，又蕴含传统山水画的笔墨意趣，生动展现明代舆图绘制的独特范式，为探究当时区域地理与社会状况留存了鲜活的视觉佐证。其笔墨质朴却细节饱满，青绿设色虽简淡却层次分明，于纪实中见雅致，是明代舆图艺术与地理认知结合的典型范本。",[23,24,1127,27,111,7,60,51,251,43757,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b198139a0f4fee299ed65c65234e8c.jpg",[],{"id":70195,"slug":70196,"title":70197,"dynasty":45,"author":454,"museum":107,"description":70198,"tags":70199,"thumbUrl":70200,"material":169,"size":95,"collection":95,"collections":70201,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216438,"xuan-da-shan-xi-san-zhen-tu-203-yi-ming-216438","宣大山西三镇图-203","青绿设色的山峦叠嶂间，蓝绿晕染出苍茫边地气象，既有山水写意的韵致，又暗藏舆图的方位肌理。中间“朔州卫”题框醒目，周边散落的符号似烽燧、驿站，勾连起边镇防务的地理脉络。左侧古朴小楷详注卫所沿革与山川形胜，图文互证，实用与雅致兼具。笔墨将军事舆图的严谨与传统绘画的意趣相融，青绿色泽经岁月沉淀仍温润可观，字里行间藏着明代边镇的战略格局，是窥见当时边防体系与舆图艺术的珍贵窗口。",[23,24,25,27,1127,51,11284,77,7,651,360,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8526d452f0b5dc4f65824d6dd8982567.jpg",[],{"id":70203,"slug":70204,"title":70205,"dynasty":45,"author":454,"museum":107,"description":70206,"tags":70207,"thumbUrl":70208,"material":169,"size":95,"collection":95,"collections":70209,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216437,"xuan-da-shan-xi-san-zhen-tu-204-yi-ming-216437","宣大山西三镇图-204","画面左卷以墨笔详述边镇地理防务，文字古朴凝重，记录山川险易、驻军分布与粮秣供给，尽显戍守之艰。右卷青绿设色绘山川形胜，峰峦叠翠间驿路蜿蜒，营垒烽燧错落，核心城垣标注清晰，兼具军事地图实用与山水画雅致。画风古朴沉郁，线条简练却精准勾勒边防格局，色彩淡雅中透出边塞苍凉肃穆，既是明代边防战略的直观呈现，也暗含对戍边将士的深切致意，笔墨间藏历史厚重。",[23,24,27,1127,51,6832,19973,6792,1074,268,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F222b3cefb1accefa41ac9afa3fc5e583.jpg",[],{"id":70211,"slug":70212,"title":70213,"dynasty":45,"author":454,"museum":107,"description":70214,"tags":70215,"thumbUrl":70216,"material":169,"size":95,"collection":95,"collections":70217,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216435,"xuan-da-shan-xi-san-zhen-tu-207-yi-ming-216435","宣大山西三镇图-207","青绿设色的山峦如黛，层叠环绕着中央的贾家堡城寨。夯土围垣与防御工事勾勒出边塞要塞的肃穆，城寨方正矗立，似守望着一方安宁。左侧细密的小楷文字，详载此地的地理脉络与戍守旧事。图文相契，以写意山水铺展空间格局，用严谨文字补注军事民生细节，将明代边防重镇的沉雄气息凝于纸间。古朴笔触里藏着历史的厚重，青绿晕染中透着戍边的沧桑，既是地理信息的直观呈现，亦是边塞岁月的无声叙事。",[23,24,25,26,1127,27,7,51,5721,268,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F272a877f31f11456e2afc48279f59d9f.jpg",[],{"id":70219,"slug":70220,"title":70221,"dynasty":45,"author":454,"museum":107,"description":70222,"tags":70223,"thumbUrl":70224,"material":169,"size":95,"collection":95,"collections":70225,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216434,"xuan-da-shan-xi-san-zhen-tu-208-yi-ming-216434","宣大山西三镇图-208","画面右半以青绿设色绘山峦，峰峦叠嶂间云雾轻笼，勾勒边塞地形之险峻。水泉营标识醒目，道路蜿蜒穿山谷过平原，营垒据点隐约其间，既具地理方位的纪实性，又含传统山水画的悠远意境。左半题跋文字规整，与图绘互补，传递地域沿革与军事信息。整体画风古朴雅致，青绿设色沉稳，线条简练却精准，将边塞的雄浑气象与地理的严谨记录融于一卷。此作是明代军事舆图中实用与艺术价值兼具的代表，展现了当时对边疆地理的认知深度与绘事技艺的独特融合。",[23,24,25,1127,27,51,7,651,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F427a8e511647d20f93c97e6dc3b2f73a.jpg",[],{"id":70227,"slug":70228,"title":70229,"dynasty":45,"author":454,"museum":107,"description":70230,"tags":70231,"thumbUrl":70232,"material":169,"size":95,"collection":95,"collections":70233,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216432,"xuan-da-shan-xi-san-zhen-tu-209-yi-ming-216432","宣大山西三镇图-209","画面右侧以青绿设色绘山峦，造型概括有神韵，浅赭底色衬出地形脉络，长城蜿蜒其间，“独石堂”标注点明关键节点。左侧文字详述地理沿革与防务事宜，笔墨工整，叙事详实。整体画风古朴，设色淡雅却层次分明，线条流畅勾勒山川与城防。文字与图像互补，既体现边防地理的严谨性，又蕴含传统舆图的艺术韵味，兼具实用与文献价值，是研究明代边防体系与舆图绘制艺术的珍贵遗存。",[23,24,25,1127,27,51,7,1283,6832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3838cc0b0a295ef4402eaf57ad61b918.jpg",[],{"id":70235,"slug":70236,"title":70237,"dynasty":45,"author":454,"museum":107,"description":70238,"tags":70239,"thumbUrl":70240,"material":169,"size":95,"collection":95,"collections":70241,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216431,"xuan-da-shan-xi-san-zhen-tu-210-yi-ming-216431","宣大山西三镇图-210","画面左部竖排文字细密如织，与右侧青绿山水图景相映成趣。层叠山峦以青蓝浓淡晕染，兼具地理写实与山水画意；山间小径蜿蜒，城邑标识清晰，勾勒出边防要地的脉络。文字与图像交织，既承载军事地理实用信息，又以古朴设色与线条，传递明代边塞图籍的沉厚质感——严谨舆图功能里，藏着文人画雅致余韵，似能窥见彼时边关防务与山河形胜的交融图景。",[23,24,25,1127,27,51,7,26,59,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85405e05f2df489fcde239611ec021d.jpg",[],{"id":70243,"slug":70244,"title":70245,"dynasty":45,"author":454,"museum":107,"description":70246,"tags":70247,"thumbUrl":70248,"material":169,"size":95,"collection":95,"collections":70249,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216430,"xuan-da-shan-xi-san-zhen-tu-211-yi-ming-216430","宣大山西三镇图-211","画面分左右两帧，左以墨笔题跋详述地理防御脉络，文字古朴流畅，尽现边疆戍守的严谨布局；右则以青绿设色绘山峦丘壑，峰峦叠翠间，蜿蜒路径串联起标注“五云堂”的节点，旁列塔状符号似为关隘标识。山峦以程式化笔触勾勒，青蓝晕染显层次，既具军事舆图的纪实性，又暗含文人山水的雅致意趣。图文相契，将边疆地理的壮阔与防御布局的严谨融于一纸，尽显明代舆图绘制的独特匠心——于实用中藏审美，在纪实里见笔墨。",[23,24,1127,27,51,7,26,111,651,845,19973,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbba305b7f7d21e6e9843143fc601f65f.jpg",[],{"id":70251,"slug":70252,"title":70253,"dynasty":45,"author":454,"museum":107,"description":70254,"tags":70255,"thumbUrl":70256,"material":169,"size":95,"collection":95,"collections":70257,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216429,"xuan-da-shan-xi-san-zhen-tu-214-yi-ming-216429","宣大山西三镇图-214","画面分左右两帧，右帧以青绿设色晕染峰峦，层叠山峦间嵌“殺胡城”标识，蜿蜒小径穿行其间，尽显边塞地形之险；左帧墨书详述城邑沿革与地理态势，字迹古朴端正，与图绘互为表里。整体画风兼具实用与艺术质感，青绿与靛蓝交织的山峦晕染层次分明，既勾勒出边塞雄峻风貌，又暗含军事地图的严谨。文字与图像的融合，似一扇窗扉，让人窥见古时边防重镇的战略考量与地理风貌，尽显古图的独特韵味。",[23,24,25,27,1127,51,43757,7,1128,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfaeaeaf2a5727cca03c31cd804a19b5.jpg",[],{"id":70259,"slug":70260,"title":70261,"dynasty":45,"author":454,"museum":107,"description":70262,"tags":70263,"thumbUrl":70264,"material":169,"size":95,"collection":95,"collections":70265,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216428,"xuan-da-shan-xi-san-zhen-tu-213-yi-ming-216428","宣大山西三镇图-213","青绿山峦层叠错落，山道如练蜿蜒其间，中央城池以蓝线勾勒轮廓，“广昌城”三字醒目。山水绘法兼具写实与写意，峰峦用色浓淡相宜，尽显山川之峻秀与雄浑。左侧墨笔题跋以工整小楷书就，详述关隘形胜与历史变迁，文图相契，既为军事地理的珍贵记录，亦不失传统舆图的艺术韵味。整幅作品将实用的舆图功能与古典绘画的审美融于一体，笔墨间藏着山河的壮阔与岁月的沉淀，尽显古人对地理空间的认知与艺术表达的巧思。",[23,24,27,1127,1128,7,60,77,51,6832,43757,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15328f7cb4348578074f1e3fa8ed3264.jpg",[],{"id":70267,"slug":70268,"title":70269,"dynasty":45,"author":454,"museum":107,"description":70270,"tags":70271,"thumbUrl":70273,"material":169,"size":95,"collection":95,"collections":70274,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216427,"xuan-da-shan-xi-san-zhen-tu-212-yi-ming-216427","宣大山西三镇图-212","青绿山峦层叠环抱，中央镇堡清晰标识，构图对称而富有空间层次。设色古朴雅致，以青绿晕染山峦，线条勾勒轮廓，兼具地理舆图的精准与传统绘画的审美意趣。左侧题跋文字与右侧图像相映成趣，既承载军事防御的地理信息，又通过山水意境的营造，展现明代舆图艺术的独特风貌。整幅作品将实用与美学巧妙融合，是研究当时边镇防御体系与艺术表现手法的珍贵实例，笔墨间流露着对边地山川与军事重镇的细致描摹。",[23,24,25,51,1127,27,60,7,251,70272],"城塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0999da4b359dca18abdae43a685ea779.jpg",[],{"id":70276,"slug":70277,"title":70278,"dynasty":45,"author":454,"museum":107,"description":70279,"tags":70280,"thumbUrl":70281,"material":169,"size":95,"collection":95,"collections":70282,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216426,"xuan-da-shan-xi-san-zhen-tu-217-yi-ming-216426","宣大山西三镇图-217","画面图文并置，左页墨书古朴，详述边塞地理与防务脉络；右图以青绿设色晕染山峦，层叠错落间尽显雄浑气象。道路如蜿蜒丝带，串联起醒目的“右卫城”与星散的烽燧，驼马队伍点缀其间，似闻丝路驼铃与戍边号角隐隐交织。山石用简洁线条勾勒，青绿深浅相宜，既还原了边塞地貌的壮阔，又暗含文人画的雅致意趣。图文相契处，不仅是实用的舆图档案，更凝萃着明代边塞的历史温度——戍守的坚毅、往来的烟火，皆在笔墨间静静流淌，尽显那段岁月里边塞大地的壮阔与鲜活。",[23,24,27,1127,111,51,1283,1074,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bece2a89fa5cc5cec32825175f713a0.jpg",[],{"id":70284,"slug":70285,"title":70286,"dynasty":45,"author":454,"museum":107,"description":70287,"tags":70288,"thumbUrl":70289,"material":169,"size":95,"collection":95,"collections":70290,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216420,"xuan-da-shan-xi-san-zhen-tu-221-yi-ming-216420","宣大山西三镇图-221","这幅作品以舆图为底，右侧满布蝇头小楷，详载宣大山西三镇的疆域沿革、关隘分布与兵防配置。字迹规整严谨，信息翔实如卷，将明代北边防御要地的地理脉络与军事布局一一铺陈。它不仅是一幅地理图籍，更藏着彼时边防的战略考量：从关隘疏密到兵力部署，字里行间皆见明代对北疆安危的深谋远虑。作为兼具实用与史料价值的遗存，它为后世触摸明代军事地理提供了直观珍贵的参照，让那段关乎边疆稳固的历史，在笔墨间清晰可感。",[23,24,25,26,50,199,7,1128,43757,1283,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0789e86dc164a3c32cc4f2c6a6a7116d.jpg",[],{"id":70292,"slug":70293,"title":70294,"dynasty":45,"author":454,"museum":107,"description":70295,"tags":70296,"thumbUrl":70297,"material":169,"size":95,"collection":95,"collections":70298,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216418,"xuan-da-shan-xi-san-zhen-tu-224-yi-ming-216418","宣大山西三镇图-224","此图分图文两域，左录详实注记，详述边镇地理形胜与防御布局；右绘彩绘舆图，以简洁线条勾连道路城邑，青绿晕染山峦，城郭以方框标示，烽燧关隘星罗棋布。图文相契，既为边防要务提供实用参考，亦显明代舆图绘制之独特意趣——不泥于精确比例，而重地理要素之示意与军事信息之传达。古朴笔触与淡雅设色间，藏着明代边镇防务的缜密考量，是研究当时北部边防与舆图艺术的珍贵遗存。",[23,24,25,27,1127,51,251,56,1283,11609,268,19973,1128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaffaba8bf2ea81b49626873d183027b.jpg",[],{"id":70300,"slug":70301,"title":70302,"dynasty":45,"author":454,"museum":107,"description":70303,"tags":70304,"thumbUrl":70305,"material":169,"size":95,"collection":95,"collections":70306,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216417,"xuan-da-shan-xi-san-zhen-tu-226-yi-ming-216417","宣大山西三镇图-226","古纸泛黄如陈年素笺，墨色沉敛间，细密楷书罗列疆域、军防、屯垦之数，笔致端谨如刻，每一字皆似凝结着边关的风霜。文字间藏着戍防筹策：疆域广狭、营垒分布、粮草贮备，一一清晰，仿佛能窥见当年守将案头的深思。这不仅是一纸舆图的注记，更是明代边防智慧的载体——那些关于山河固守的细节，在泛黄纸页上静静流淌，传递着历史深处的家国情怀。纸张纹理与墨字交错，岁月厚重感扑面而来，每处墨迹都在诉说曾经的守御故事。",[23,24,25,7,199,50,27,51,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50168e41289f94a1b9c7f6e6fa81787b.jpg",[],{"id":70308,"slug":70309,"title":70310,"dynasty":45,"author":454,"museum":107,"description":70311,"tags":70312,"thumbUrl":70313,"material":169,"size":95,"collection":95,"collections":70314,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216416,"xuan-da-shan-xi-san-zhen-tu-223-yi-ming-216416","宣大山西三镇图-223","右侧青绿山峦层叠，粉晕“雁门关”关隘居于中央，山间小径蜿蜒、屋舍错落，兼具地理精准与山水逸韵。左侧墨书题跋详述关隘沿革、方位里程，图文相契，是明代军事舆图的典型样貌。设色古雅沉静，山石以青绿晕染显层次；线条简练却勾画出丘壑之势。整幅融实用测绘与传统绘艺于一炉，既为边防经略提供依据，亦彰显明代舆图独特的艺术表现力，是研究当时军事地理与视觉文化的可贵遗存。",[23,24,25,1127,27,111,51,651,360,268,55,19973,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859ff1eebab2301b2865617223626d7b.jpg",[],{"id":70316,"slug":70317,"title":70318,"dynasty":45,"author":454,"museum":107,"description":70319,"tags":70320,"thumbUrl":70321,"material":169,"size":95,"collection":95,"collections":70322,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216412,"xuan-da-shan-xi-san-zhen-tu-228-yi-ming-216412","宣大山西三镇图-228","青绿晕染的山峦层叠如黛，蜿蜒山道间关隘醒目矗立，墨线勾勒的轮廓与青蓝设色相映，古雅中透着雄浑气象。左侧细密楷书记述防务布局细节，图文相契，既展现明代边镇军事规划的严谨，也以艺术笔触定格边疆地理的壮阔。泛黄纸页间，绘者对关隘、山势的细致描摹清晰可见，既是兼具史料价值的军事文献，亦是蕴含古雅韵致的艺术作品，静静承载着往昔边疆的战略智慧与山河风貌，让历史场景鲜活可感。",[23,24,1127,27,26,51,69959,251,7,77,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e93679bbdda412167b3e269c5252ad0.jpg",[],{"id":70324,"slug":70325,"title":70326,"dynasty":45,"author":454,"museum":107,"description":70327,"tags":70328,"thumbUrl":70329,"material":169,"size":95,"collection":95,"collections":70330,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216411,"xuan-da-shan-xi-san-zhen-tu-230-yi-ming-216411","宣大山西三镇图-230","画面由题跋与舆图两部分构成，左以墨笔书就，字迹端整，详述地理沿革与防务要点；右为设色山水舆图，青绿染山峦，层叠有致，墨线勾勒轮廓，古朴淡雅。山间标注地名如“利风堂”，建筑符号简约，道路细线串联，兼具实用与艺术感。题跋与舆图互补，既存文献价值，又显绘画意趣。整体风格朴拙典雅，线条简练精准，色彩晕染自然，体现明代舆图绘制特色，亦折射当时边疆防务之重，为研究明代军事地理与艺术风貌的珍贵遗存。",[23,4038,27,51,1128,7,251,268,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabca6451fb3271a3c128214f1f2b38f9.jpg",[],{"id":70332,"slug":70333,"title":70334,"dynasty":45,"author":454,"museum":107,"description":70335,"tags":70336,"thumbUrl":70337,"material":169,"size":95,"collection":95,"collections":70338,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216407,"xuan-da-shan-xi-san-zhen-tu-235-yi-ming-216407","宣大山西三镇图-235","这页边防纪要以墨笔书就，是明代宣大山西三镇防御体系的生动载体。文字间详列兵力员额、堡寨分布、山川关隘等细节，如驻军数量、堡名方位、地形险易，皆清晰可考。字里行间透着边地防御的缜密筹谋，既为军事部署的实用记录，亦折射出明廷对北疆安危的深切考量。朴素笔墨下藏着边塞安宁的历史密码，是研究明代边防与地域军事地理的珍贵一手资料，让远去的边镇防御图景在文字中渐次鲜活。",[23,24,25,7,1128,199,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33aa695a75abccf12b705600a1ed3d0.jpg",[],{"id":70340,"slug":70341,"title":70342,"dynasty":45,"author":454,"museum":107,"description":70343,"tags":70344,"thumbUrl":70345,"material":169,"size":95,"collection":95,"collections":70346,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216406,"xuan-da-shan-xi-san-zhen-tu-236-yi-ming-216406","宣大山西三镇图-236","画面分左右相契，左以规整小楷详陈边地信息，笔致端谨；右则以青绿晕染山峦，符号化铺陈城垣、塔楼，错落间尽显边塞聚落格局。山峦用色古朴雅致，青蓝相间的晕染勾出山脊轮廓，简洁却有神韵；建筑符号清晰有序，似在诉说边防重镇的空间肌理。图文互补，既具地理记录的严谨性，又含传统绘画的写意韵致，暗合“左图右史”的认知智慧。整幅作品将实用舆图与雅致绘事相融，既是明代边塞防务的直观呈现，也彰显古人对空间与文字的巧妙结合，兼具史料价值与艺术意趣。",[23,24,27,1127,51,7,1128,199,6832,268,69723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc122581a83c4a08e1ae20ffecbcbaa4e.jpg",[],{"id":70348,"slug":70349,"title":70350,"dynasty":45,"author":454,"museum":107,"description":70351,"tags":70352,"thumbUrl":70353,"material":169,"size":95,"collection":95,"collections":70354,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216402,"xuan-da-shan-xi-san-zhen-tu-241-yi-ming-216402","宣大山西三镇图-241","画面分左右二帧，左帧以蝇头小楷详述边镇地理沿革与防务布置，字迹端谨，内容翔实；右帧为青绿设色舆图，山峦以青蓝晕染，层叠如翠屏列峙，河流如练缠绕其间，中心镇城标识醒目，凸显军事要地之核心地位。整幅作品兼顾实用性与艺术美感，舆图绘制简括却精准传达地形险易，青绿设色古朴雅致，题跋与图像相为表里，既展现明代边镇防御体系的布局智慧，亦反映当时舆图绘制技艺的独特风貌，为研究明代军事地理与视觉文化的珍贵遗存。",[23,24,27,1127,51,7,111,651,553,24641,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28089a29500623bc49d557244369b8f7.jpg",[],{"id":70356,"slug":70357,"title":70358,"dynasty":45,"author":454,"museum":107,"description":70359,"tags":70360,"thumbUrl":70361,"material":169,"size":95,"collection":95,"collections":70362,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216400,"xuan-da-shan-xi-san-zhen-tu-239-yi-ming-216400","宣大山西三镇图-239","画面以图文相辅的形式铺展，右侧绘青绿山峦错落，蜿蜒路径串联起标注“宣府镇”“大同镇”的城邑，墨线勾勒与淡彩晕染间，尽显边镇地理的疏密格局；左侧墨书详述区域沿革与防御态势，字迹规整凝练。整体风格古朴雅致，既承载军事舆图的实用功能，又蕴藉明代绘画的艺术意趣，生动映现当时的边防布局与地理认知，是触摸明代边镇历史脉络的珍贵视觉遗存。",[23,24,25,27,1127,51,11609,553,7,77,4347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e6db5a38f54f5e0d48bca74ea74bf8.jpg",[],{"id":70364,"slug":70365,"title":70366,"dynasty":45,"author":454,"museum":107,"description":70367,"tags":70368,"thumbUrl":70369,"material":169,"size":95,"collection":95,"collections":70370,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216399,"xuan-da-shan-xi-san-zhen-tu-242-yi-ming-216399","宣大山西三镇图-242","泛黄纸页间，墨笔竖行的文字如脉络交织，铺陈明代北疆三镇的军政图景。从分守参将的戍防区划，到按察司的权责调度，再到边隘关防的细致筹谋，每一行字都藏着守土者的经略智慧。笔锋间似能窥见当年河山安危的重责，那些关于布防、调度的记述，不仅是舆图注脚，更是凝固的军事记忆——让后世触摸明代北疆防御的肌理，感受守土者的担当与筹谋，字里行间皆为山河守护的生动注脚。",[23,7,199,50,312,77,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd505e67196287baf2c960cd372261e97.jpg",[],{"id":70372,"slug":70373,"title":70374,"dynasty":45,"author":454,"museum":107,"description":70375,"tags":70376,"thumbUrl":70377,"material":169,"size":95,"collection":95,"collections":70378,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216398,"xuan-da-shan-xi-san-zhen-tu-244-yi-ming-216398","宣大山西三镇图-244","此卷以图文交织之态，铺展明代宣大山西三镇的边防肌理。文字间尽是边镇实务：城垣修缮的工能考量、军备存储的细致规束、边民生计的点滴描摹，每一笔都叩击着明廷北边防御的神经。虽无作者署名，然其对边镇运作的精准刻画，足见绘者深谙戍防之道。\n\n它是明代九边军事体系的微观切片——从城防砖石的肌理到戍卒值守的日常，从边贸隐现的脉络到军情传递的暗线，皆化为卷上鲜活印记。于今观之，仍能带领观者穿越时空，触摸那个时代戍边的艰辛与边防体系的智慧。它不仅是地理图籍的分支，更是一段段边防往事的无声见证，历史重量与人文温度历久弥新。",[23,25,7,199,1128,50,26,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104c887c86cf2587bac8c395ea0b9609.jpg",[],{"id":70380,"slug":70381,"title":70382,"dynasty":45,"author":454,"museum":107,"description":70383,"tags":70384,"thumbUrl":70385,"material":169,"size":95,"collection":95,"collections":70386,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216397,"xuan-da-shan-xi-san-zhen-tu-243-yi-ming-216397","宣大山西三镇图-243","笔墨沉凝处，铺展着明代北边三镇的军政肌理。细密规整的手写文字，似在诉说边地戍守的艰虞、粮饷调度的筹谋与疆域治理的点滴。纸页经岁月摩挲，仍留存着当年经略边防的审慎气息，每一行字迹都承载着对边镇安危的关切，是窥见宣大山西防御体系运作的鲜活切片。它以质朴的记录方式，将历史厚重与边地脉动凝于尺幅，为后世留下触摸那段军事与行政往事的珍贵媒介。",[23,4038,7,199,50,26,1498,13817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21317dd42823ba6e47a01be0f2840c31.jpg",[],{"id":70388,"slug":70389,"title":70390,"dynasty":45,"author":454,"museum":107,"description":70391,"tags":70392,"thumbUrl":70393,"material":169,"size":95,"collection":95,"collections":70394,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216396,"xuan-da-shan-xi-san-zhen-tu-246-yi-ming-216396","宣大山西三镇图-246","纸页泛着旧时光的暖黄，墨痕与朱印错落其间，似在低语边镇往昔的风云。细观文字，或勾勒山川隘口的形胜，或详述戍守布防的筹谋，每一笔都系着明时疆土的安稳考量。斑驳肌理如岁月履痕，将边地的烽烟气、戍卒的守望意凝于方寸纸端。无需喧哗，只凭这古朴的纸色、沉敛的笔墨，便足以让今人品读时触碰到历史的厚重温度，窥见那段与家国安危共生的边镇记忆。",[23,24,25,1128,77,7,60,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0562030f3a6a1ccda826d182fd6811.jpg",[],{"id":70396,"slug":70397,"title":70398,"dynasty":45,"author":454,"museum":107,"description":70399,"tags":70400,"thumbUrl":70401,"material":169,"size":95,"collection":95,"collections":70402,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216395,"xuan-da-shan-xi-san-zhen-tu-245-yi-ming-216395","宣大山西三镇图-245","泛黄纸页上，竖排墨书如古溪蜿蜒流淌，字迹古朴清劲，岁月的痕迹在纸间晕开，更添厚重质感。文字似是对边镇军政防务与地理形胜的细致载录，字里行间藏着明代北疆三镇的戍守筹谋，每一笔都像在低语当年的边地故事，静静铺展着一段被时光封存的历史脉络，让人仿佛能触到那个时代的边声与脉动，感受戍边岁月里的筹算与坚守。",[23,7,199,50,1498,11284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f62bad7ecceb0e60aaa1072043f57b.jpg",[],{"id":70404,"slug":70405,"title":70406,"dynasty":18,"author":454,"museum":442,"description":42588,"tags":70407,"thumbUrl":70408,"material":33,"size":95,"collection":95,"collections":70409,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216237,"shi-quan-tu-ce-7-yi-ming-216237","十犬图册-7",[23,24,25,26,27,111,798,4864,51,651,589,2062,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42821c2ded2f3c0a5df350ae387cd3da.jpg",[],{"id":70411,"slug":70412,"title":70413,"dynasty":18,"author":454,"museum":107,"description":70414,"tags":70415,"thumbUrl":70416,"material":169,"size":95,"collection":95,"collections":70417,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216194,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-7-yi-ming-216194","职贡图巨幅彩绘册页第1册-7","绢素铺展处，彩绘晕染出四海万国的朝贡盛景。册页间，各族风貌与外藩习俗一一铺陈：或衣袂飘举的异域使节，或载歌载舞的边地族群，眉眼间尽是恭谨与鲜活。文字注解与丹青相映，记录着列朝藩属的礼仪往来，也藏着王朝怀柔远人的治世理想。每一笔线条凝着细致观察，每一处设色映着多元交融——这不仅是一卷彩绘册页，更是一部鲜活的民族交流史，让千百年前的朝贡图景，在笔墨间徐徐复苏。",[23,199,7,26,50,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d21f59121258a009cc40a8a7c0602d.jpg",[],{"id":70419,"slug":70420,"title":70421,"dynasty":18,"author":454,"museum":107,"description":70422,"tags":70423,"thumbUrl":70424,"material":169,"size":95,"collection":95,"collections":70425,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216151,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-7-yi-ming-216151","职贡图巨幅彩绘册页第2册-7","此幅册页以双栏呈现，右为端雅楷书，左为流畅满文，笔墨规整间见文书之庄重。文字内容关乎朝贡诸事，记载详实入微，似在勾勒清代边疆与中央的联系脉络。古朴的纸张纹理承载着往昔民族交流的印记，每一笔都藏着那个时代疆域治理与文化交融的温度，静静诉说着邦交往来的故事，是历史与笔墨艺术交织的珍贵载体。",[23,24,25,26,199,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70b43b0210b3f717014d8bdd696a9fe.jpg",[],{"id":70427,"slug":70428,"title":70429,"dynasty":18,"author":454,"museum":107,"description":70430,"tags":70431,"thumbUrl":70432,"material":169,"size":95,"collection":95,"collections":70433,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216150,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-8-yi-ming-216150","职贡图巨幅彩绘册页第2册-8","笔墨端凝规整，墨色沉厚匀净，尽显清代书风的谨严气象。文字铺陈四方来朝之盛景，“外梯航奉”“东西殊俗纪共球”等句，勾勒疆域一统、万邦臻聚的恢弘图景，字里行间流淌着对盛世朝贡体系的颂赞。行笔间见馆阁体的端庄雅正，排布疏朗有致，与职贡图主题相契。每一字皆含历史厚重感，既为书法佳作，亦为当时邦交盛事的文字注脚，图文互映间，尽显时代的恢弘与雅韵。",[23,2135,199,77,7,26,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29148f7ff3c435279214060d63b4a96f.jpg",[],{"id":70435,"slug":70436,"title":70437,"dynasty":18,"author":454,"museum":107,"description":70438,"tags":70439,"thumbUrl":70440,"material":169,"size":95,"collection":95,"collections":70441,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216139,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-19-yi-ming-216139","职贡图巨幅彩绘册页第2册-19","画面展陈两位异域人物风貌。左侧素衣裹身，绿带束腰，手持器物，神态质朴，衣纹线条流畅，尽显边地族群的率真气息；右侧朱红长袍缀暗纹，红巾覆肩，冠帽端正，姿态庄重，色彩浓艳却雅致，衣饰细节精致，显身份不凡。整体画风写实细腻，人物形象鲜活，线条勾勒精准，色彩搭配和谐。既展现不同族群服饰文化差异，又暗含朝贡体系下的多元交流，是清代职贡题材绘画中兼具艺术价值与历史参考意义的佳作。",[23,24,26,27,111,113,167,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6119948ad79cc501fcc50d4c64fe6b32.jpg",[],{"id":70443,"slug":70444,"title":70445,"dynasty":18,"author":454,"museum":107,"description":70446,"tags":70447,"thumbUrl":70448,"material":169,"size":95,"collection":95,"collections":70449,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216129,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-30-yi-ming-216129","职贡图巨幅彩绘册页第2册-30","画面绘两位人物，左侧者着翠绿暗纹长袍，朱履鲜明，头戴彩纹暖帽，手势舒展似在言说；右侧老者衣紫地浅点长褂，束素帛腰封，银髯垂胸，神态端凝。人物线条工细流畅，设色雅致明快，衣纹褶皱与帽饰细节皆刻画入微。旁附墨书题识，当是对人物身份、地域或习俗的注记。整幅画作既具艺术表现力，又承载着清代记录边疆民族风貌的历史意涵，以生动视觉语言再现彼时人文交流图景，是兼具审美价值与史料价值的绘画面卷。",[23,24,25,26,27,111,113,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9890c614ed9668b7860665da2ecdecdc.jpg",[],{"id":70451,"slug":70452,"title":70453,"dynasty":18,"author":454,"museum":107,"description":70454,"tags":70455,"thumbUrl":70456,"material":169,"size":95,"collection":95,"collections":70457,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},216119,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-41-yi-ming-216119","职贡图巨幅彩绘册页第2册-41","此页以满汉双文并置，墨笔雅致，文字间流淌着清代职贡体系的规整气象。汉文详述外邦部族朝觐之仪，封爵赐服、鞍马冠带的规制，尽显天朝怀柔远人的姿态；满文对应译述，彰显多民族治理的格局。书页古朴的质感与严谨的文字排布，承载着对边疆部族往来的细致记录，是研究清代民族关系与朝贡制度的珍贵文献，于静默中诉说着往昔的邦交图景。",[23,24,25,26,199,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761ad7ffa3531a8eaa5d0a1e8f96ad8a.jpg",[],{"id":70459,"slug":70460,"title":70461,"dynasty":18,"author":454,"museum":107,"description":70462,"tags":70463,"thumbUrl":70464,"material":169,"size":95,"collection":95,"collections":70465,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216053,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-30-yi-ming-216053","职贡图巨幅彩绘册页第3册-30","此页以双语并置，汉文楷书端凝规整，满文墨笔流畅自如，二者相映成趣，尽显文书之严谨。文字间详述边疆土目名数、朝贡事宜，点滴记载皆为清代边疆治理与民族交流的鲜活注脚。虽未展全貌彩绘，然文字承载的职贡实况，已足见其历史文献的厚重价值——既是对边地风貌的细致勾勒，亦是王朝怀柔远人的生动见证，于笔墨间藏着一段段被时光封存的民族故事。",[23,24,25,26,199,7,1498,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2141a46f17bc0a45b47da84fd3c4e8ab.jpg",[],{"id":70467,"slug":70468,"title":70469,"dynasty":18,"author":454,"museum":107,"description":70470,"tags":70471,"thumbUrl":70472,"material":169,"size":95,"collection":95,"collections":70473,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216045,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-36-yi-ming-216045","职贡图巨幅彩绘册页第3册-36","笔墨端雅匀整，墨色清润，尽显清代书风之规整雍容。文字勾勒万国梯航、翼戴亲朝的盛景，与职贡图所绘外邦朝贡景象呼应，传递天朝怀柔远人、四海归一的意涵。书页文字既是书法艺术的呈现，亦承载清代对外交流的历史印记，笔墨间流淌庄重气度，为职贡图册添注深厚文化底蕴与历史重量。",[23,24,25,26,27,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf860c5a31f144b9316f204dc8b11a22.jpg",[],{"id":70475,"slug":70476,"title":70477,"dynasty":18,"author":454,"museum":107,"description":70478,"tags":70479,"thumbUrl":70480,"material":169,"size":95,"collection":95,"collections":70481,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},216043,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-37-yi-ming-216043","职贡图巨幅彩绘册页第3册-37","遒劲笔触勾勒端稳结体，沉厚墨色晕染庄重气韵。笔墨流转间，四方来朝的盛景如在眼前——远人赴玉府、万国奉玉帛，天朝威仪与四海宾服的气象尽藏字里行间。两页对开的册页布局疏朗有致，书法之美与历史厚重交相辉映，仿佛透过纸页窥见昔日邦交繁华，实为艺术与历史交融的珍贵遗存。",[23,24,25,26,27,113,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2f28834ac33700f2fdd230ab69326a2.jpg",[],{"id":70483,"slug":70484,"title":70485,"dynasty":18,"author":55250,"museum":107,"description":70486,"tags":70487,"thumbUrl":70488,"material":312,"size":95,"collection":95,"collections":70489,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215790,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-2-wu-gao-zeng-215790","摹吴道子圣贤像赞图册-2","墨色如凝漆沉厚，笔锋似铁画劲挺，字字端严如鼎峙，圣贤赞文的庄穆之意在疏密章法间悄然流淌。摹本承原作神韵，字里行间既有对先贤的拳拳崇仰，亦藏笔墨薪传的脉脉温情。纸张斑驳的岁月痕迹，是时光镌刻的古雅印记，黑底白字的强烈反差，将文字的肃穆与力量感拉满。仿佛能透过笔墨窥见圣贤磊落风骨，触摸到文人敬慕之心的沉甸甸分量，于方寸间见千年文脉的延续与温度。",[23,7,198,199,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b86f9b59592cf43f3a1469b085a96d7.jpg",[],{"id":70491,"slug":70492,"title":70493,"dynasty":18,"author":55250,"museum":107,"description":70494,"tags":70495,"thumbUrl":70496,"material":312,"size":95,"collection":95,"collections":70497,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215787,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-3-wu-gao-zeng-215787","摹吴道子圣贤像赞图册-3","素墨勾勒的背影，宽袍缓履间透着圣贤的沉静气象。负笈行囊压不弯挺然风骨，帽檐下的剪影似在遥想古今文脉。左侧端楷如磐石，字字叩问大道根柢，笔墨沉厚与白描的清劲相映成趣。黑底衬白描，浓淡交织间晕开对先贤的追慕。线条流转若行云，每一笔都藏着对圣贤行迹的敬意，行旅中的思索与笔墨里的虔诚，在方寸间凝成跨越时空的对话。墨色浓淡间，仿佛能触到千年以来对圣贤的追思，白描的简洁中，尽是对道统传承的深挚礼赞。",[23,24,25,26,112,110,199,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e808d0905c24acb58280cfd7fb02b80.jpg",[],{"id":70499,"slug":70500,"title":70501,"dynasty":18,"author":55250,"museum":107,"description":70502,"tags":70503,"thumbUrl":70504,"material":312,"size":95,"collection":95,"collections":70505,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215784,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-8-wu-gao-zeng-215784","摹吴道子圣贤像赞图册-8","墨地衬出白描圣贤像，线条如行云流水，勾勒长袍宽袖的飘逸与拱手而立的庄重。衣袂褶皱间笔力流转，似含“吴带当风”遗韵，将古贤儒雅沉潜的气质尽现。左侧题赞书法笔力遒劲，与画像相映成趣，文墨相辉间，尽显“志存祖述”的胸襟与“务学道长”的气象。整幅作品墨色浓淡相宜，白描清雅，书法端凝，于方寸间融绘像与题咏为一体，传递出深沉的文化底蕴与圣贤品格的感召力，观之令人心生敬意。",[23,112,110,7,77,113,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F867a1513f077eed800155810f61375bc.jpg",[],{"id":70507,"slug":70508,"title":70509,"dynasty":18,"author":55250,"museum":107,"description":70510,"tags":70511,"thumbUrl":70512,"material":312,"size":95,"collection":95,"collections":70513,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215780,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-14-wu-gao-zeng-215780","摹吴道子圣贤像赞图册-14","墨色沉郁的拓本里，左文右图相映成趣。右侧线描圣贤衣袂翩然，手持卷册的姿态儒雅庄重，简练线条勾勒出温润风骨，须发间藏着岁月沉淀的智慧。左侧书法笔力遒劲，文字与画像呼应，似在低语圣贤的德行篇章。拓印肌理带着时光厚重感，文图共生间，既有线条艺术的凝练之美，又传递对圣贤的深切敬仰。笔墨虽简，却将圣贤的精神气韵娓娓道来，仿佛能透过沉郁墨色，触摸古代先贤的儒雅灵魂，是兼具审美意趣与文化温度的佳作。",[23,24,25,26,112,7,199,113,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ecc21a6d54e7507adf6e4495f39900e.jpg",[],{"id":70515,"slug":70516,"title":70517,"dynasty":18,"author":55250,"museum":107,"description":70518,"tags":70519,"thumbUrl":70520,"material":312,"size":95,"collection":95,"collections":70521,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215779,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-10-wu-gao-zeng-215779","摹吴道子圣贤像赞图册-10","墨线如缕，牵曳出圣贤衣袂的翩然风致，衣纹流转似春水，暗承“吴带当风”的盛唐遗韵。人物立姿端凝，眉宇间蕴藉书卷清气，手持卷轴的姿态从容儒雅，风骨毕现。左页赞语以楷体书就，笔力沉厚，与右页画像的灵动线条刚柔相济。墨色浓淡相宜，古纸肌理晕染着时光温润，图文相映成趣。摹写者以虔诚匠心，将对圣贤的敬仰凝注笔端，虽为摹本，却让盛唐画魂于纸间鲜活如初，静穆中藏生动，古雅里见深情。",[23,25,26,112,110,7,199,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230d0b92afff1503ed0b9fbf5b13ad7c.jpg",[],{"id":70523,"slug":70524,"title":70525,"dynasty":18,"author":55250,"museum":107,"description":70526,"tags":70527,"thumbUrl":70528,"material":312,"size":95,"collection":95,"collections":70529,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215778,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-12-wu-gao-zeng-215778","摹吴道子圣贤像赞图册-12","墨痕流转间，圣贤威仪尽显；笔锋起落处，儒风古韵悠长。画面右侧，人物衣袂如行云舒展，手持礼器，神态雍容沉静，眉宇间藏着教化天下的仁厚。线条勾勒灵动又庄重，似承吴带当风之韵，将圣贤儒雅气度凝于纸上。左侧书法笔力沉厚，字字端庄，与画像线条相映成趣，图文共叙圣贤之道。整幅作品墨色浓淡相宜，动静相生，既见摹古精工，又传圣贤德馨，仿佛千年前的儒风拂面而来，让人沉浸于那份庄重与温润的文化意蕴里。",[23,24,25,26,112,199,110,198,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F830ce559db68f875e2c4e6ea7995f920.jpg",[],{"id":70531,"slug":70532,"title":70533,"dynasty":18,"author":55250,"museum":107,"description":70534,"tags":70535,"thumbUrl":70536,"material":312,"size":95,"collection":95,"collections":70537,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215777,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-13-wu-gao-zeng-215777","摹吴道子圣贤像赞图册-13","墨色沉凝如夜潭，白字挺劲若银钩。赞文辞意庄重，笔墨间藏吴道子画中磊落气骨，摹本虽经岁月磨洗，仍能传递原作风神里的沉雄与秀逸。文字与圣贤画像相契，仿佛古贤襟怀透过纸页扑面而来，是文心与笔墨共铸的雅韵。观之如对古贤，心生敬慕，感岁月沉淀下的文脉传承，笔墨间的端严风骨，恰是圣贤气象的纸上回响。",[23,7,110,199,198,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69820f27948e980f85407eb530def4bc.jpg",[],{"id":70539,"slug":70540,"title":70541,"dynasty":18,"author":55250,"museum":107,"description":70542,"tags":70543,"thumbUrl":70544,"material":312,"size":95,"collection":95,"collections":70545,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215776,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-16-wu-gao-zeng-215776","摹吴道子圣贤像赞图册-16","墨拓沉黑底色上，线描人物衣袂翩跹，线条如行云流水，尽显飘逸灵动之韵。人物姿态恭谨，神情肃穆，似藏圣贤的儒雅与深邃智慧。左侧楷书笔力稳健，结体端方，墨色浓淡相宜，文字与画像相映成趣，传递出对先贤德行的赞颂。整体古雅庄重，笔墨间凝注着对先贤的敬仰，拓片的肌理感更添历史厚重，让人在静默中触摸传统文化的辉光与温度，感受先贤风范穿越时空的力量。",[23,2135,112,113,7,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63acd56e32aee84ce14343e85b93e53c.jpg",[],{"id":70547,"slug":70548,"title":70549,"dynasty":18,"author":55250,"museum":107,"description":70550,"tags":70551,"thumbUrl":70552,"material":312,"size":95,"collection":95,"collections":70553,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215775,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-17-wu-gao-zeng-215775","摹吴道子圣贤像赞图册-17","墨线勾勒的圣贤立像，衣袂如卷云舒卷，暗合“吴带当风”的灵动韵致。眉眼间凝着沉静的智光，似藏千卷诗书的底气，举手投足间透着儒雅风骨。左侧楷书题字笔势端稳，墨色沉厚，与右侧线描相映成趣，笔墨交织间藏着对先贤的敬慕。整幅作品以简驭繁，将人物风骨与文字庄重融为一体，素净纸面上铺展悠远怀想，让观者于方寸间触摸古典人文的温润力量，感受圣贤胸中学海丘壑与儒宗正道的绵长回响。",[23,24,25,26,112,113,110,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0d461692e03a1bec2d234051ebdd68.jpg",[],{"id":70555,"slug":70556,"title":70557,"dynasty":18,"author":55250,"museum":107,"description":70558,"tags":70559,"thumbUrl":70560,"material":312,"size":95,"collection":95,"collections":70561,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215774,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-15-wu-gao-zeng-215774","摹吴道子圣贤像赞图册-15","左幅墨书笔力遒劲，字字端凝如磐石；右畔圣贤立像以白描勾勒，衣纹流转若流云舒卷，尽显飘逸灵动之态。人物神态肃穆温润，眉眼间藏着智者的深邃与仁厚，仿佛能洞见古今。文字与画像相映成趣，墨色浓淡相宜，线条简练传神，将圣贤的儒雅风骨与道统传承的庄重感融为一体。观之如沐古风，千年文脉的厚重与艺术的清逸在此交织，令人心生敬慕，仿佛能触摸到那份跨越时空的文化温度。",[23,24,25,26,112,110,199,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997163a105c5ddab18299fba44e3a406.jpg",[],{"id":70563,"slug":70564,"title":70565,"dynasty":18,"author":55250,"museum":107,"description":70566,"tags":70567,"thumbUrl":70568,"material":312,"size":95,"collection":95,"collections":70569,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215773,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-18-wu-gao-zeng-215773","摹吴道子圣贤像赞图册-18","画面左书右像，笔墨相映成趣。右侧圣贤像以线描勾勒，衣袂飘举如清风拂柳，墨线婉转间藏着儒雅风骨，尽显吴带当风的韵致。左侧题字笔力端稳，字句凝着对先贤的敬慕，与画像交织出文气氤氲的氛围。虽为摹本，却将原作风神传递得真切，古雅墨色里仿佛能触到千年前圣贤的温度，观者于笔墨流转间，可感文脉延续与先贤遗风，让圣贤的德行与风骨在尺幅间静静流淌。",[23,24,25,26,112,199,113,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4d648b864b6887272fc2df52fd1f1b.jpg",[],{"id":70571,"slug":70572,"title":70573,"dynasty":18,"author":55250,"museum":107,"description":70574,"tags":70575,"thumbUrl":70576,"material":312,"size":95,"collection":95,"collections":70577,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215772,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-19-wu-gao-zeng-215772","摹吴道子圣贤像赞图册-19","画面左文右图，墨底衬出白描圣贤像与题赞。衣纹如流云舒卷，得吴道子“吴带当风”遗韵，线条挺劲却含飘逸，将先贤儒雅庄重的仪态勾勒得入木三分。人物冠带细节见匠心，眉眼间隐现沉潜豁达的圣贤气象。左侧题赞书法端雅浑厚，与画像灵动线条相映成趣，文图共生暗合“以道为尊”题旨。黑底留白的古朴肃穆中，仿佛让观者透过笔墨触摸先贤精神。摹本精准传递吴道子笔意神韵，是笔墨传承里对圣贤风骨的致敬与守望，尽显古今文脉的接续之美。",[23,18,26,112,110,199,198,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9543258a2c0844f50802027ee6a3e246.jpg",[],{"id":70579,"slug":70580,"title":70581,"dynasty":18,"author":55250,"museum":107,"description":70582,"tags":70583,"thumbUrl":70584,"material":312,"size":95,"collection":95,"collections":70585,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215770,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-20-wu-gao-zeng-215770","摹吴道子圣贤像赞图册-20","墨线流转如行云流水，勾勒圣贤宽袍博带的飘逸之姿。身形挺拔，袍褶层叠有致，既见线条遒劲力度，又含吴派画风灵动气韵。眉宇凝敛智者的沉静深邃，双目低垂似在沉思，尽显圣贤内敛胸襟与儒雅风范。左栏楷书题赞笔力端劲，笔画方正饱满，与画像互为表里，文字庄重与图像清雅相映成趣。整幅以黑白为底，古雅沉静，摹作却得吴派精髓，将圣贤德行风仪融于一纸，兼具线条美感与文化敬仰，尽显传统人物画的笔墨神韵与精神内核。",[23,18,110,112,113,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c303cb9fb3b6ace0de3d042effc8f1.jpg",[],{"id":70587,"slug":70588,"title":70589,"dynasty":18,"author":55250,"museum":107,"description":70590,"tags":70591,"thumbUrl":70592,"material":312,"size":95,"collection":95,"collections":70593,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215769,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-24-wu-gao-zeng-215769","摹吴道子圣贤像赞图册-24","墨色如漆凝于乌楮，笔锋起落藏着摹古的谨严与对圣贤的敬慕。点画端正如立，转折处却见灵动，似将唐人写经的雍容气度揉进字间。字句间流淌着对圣道传承的思索，笔意与文心相映，每一笔都是对古贤精神的追蹑。黑底衬白字，如夜窗映雪，清寂中透着庄严。凝视时，仿佛能透过笔墨触到那份跨越时空的虔诚——非仅复刻形骸，而是以笔为桥，连接古今对圣贤之道的共同仰望。笔墨沉静与文字厚重交织，让这页赞文不只是书法呈现，更成了一场无声的精神对话，引人沉心感受那份藏在笔墨里的敬畏与传承。",[23,26,110,199,198,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d215a7044a550139922b3e64ee9b787.jpg",[],{"id":70595,"slug":70596,"title":70597,"dynasty":18,"author":55250,"museum":107,"description":70598,"tags":70599,"thumbUrl":70600,"material":312,"size":95,"collection":95,"collections":70601,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215768,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-22-wu-gao-zeng-215768","摹吴道子圣贤像赞图册-22","画面分帧呈现，右帧圣贤端坐，墨线勾勒衣袂如流云飘举，衣褶间藏古雅气韵；左帧楷书赞语笔力端严，墨色沉凝，字句颂扬耿介不苟、言行无猜的品格。文图相契，线描得“吴带当风”之妙，摹古却不失鲜活：人物形神兼备，眉眼间见清正风骨；赞语与画像呼应，将圣贤品格凝于笔墨。观者既可品线描的流畅劲道，亦能感文字中的人格光辉，尽显追慕先贤的文心与摹古传真的匠意，一纸之间，风骨与意趣共生。",[23,24,25,26,112,113,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acd571827e4b5bc059f4ab7b60f96d0.jpg",[],{"id":70603,"slug":70604,"title":70605,"dynasty":18,"author":55250,"museum":107,"description":70606,"tags":70607,"thumbUrl":70608,"material":312,"size":95,"collection":95,"collections":70609,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215767,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-21-wu-gao-zeng-215767","摹吴道子圣贤像赞图册-21","画面以黑底白线构制，左右分呈圣贤造像与题赞文字，古雅肃穆。右侧圣贤像线条清劲流畅，衣纹婉转如行云，神态端凝沉静，简笔间尽现儒雅风骨与内在气度，摹绘中藏着对原迹神韵的深透把握。左侧题字楷书端方稳健，笔力沉厚，文辞与图像相契，传递圣贤哲思与德行。整体风格古朴庄重，黑底衬白线更显清逸，笔墨间流淌古典文化厚重感，观之令人心生敬畏，是兼具艺术韵味与文化内涵的摹本佳作，尽显对圣贤的敬仰与传统文化的传承。",[23,18,110,112,113,7,199,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b40227941d7c645dac13ced939ea297.jpg",[],{"id":70611,"slug":70612,"title":70613,"dynasty":18,"author":55250,"museum":107,"description":70614,"tags":70615,"thumbUrl":70616,"material":312,"size":95,"collection":95,"collections":70617,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215765,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-29-wu-gao-zeng-215765","摹吴道子圣贤像赞图册-29","墨条如碑，沉凝古拙，隐现圣贤端肃之姿；赞语金书，笔致清劲，暗契画圣遗韵。摹本虽非原作，却得神髓：线条洗练不浮华，墨色浓淡见层次，文字与图像相衬，既存吴道子的飘逸风骨，又显摹者的敬谨匠心。一页之间，绘事与文辞交融，圣贤之德昭然，画圣之韵流转，堪称承古开新的艺苑珍赏，于方寸中见大境界——墨痕载道，金语传心，尽展传统绘事与文辞结合的雅致，为艺林添一帧可品可藏的小品。",[23,25,26,110,7,199,198,113,112,878,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028d7e7a60c6e0465148aecc606ff74d.jpg",[],{"id":70619,"slug":70620,"title":70621,"dynasty":18,"author":55250,"museum":107,"description":70622,"tags":70623,"thumbUrl":70624,"material":312,"size":95,"collection":95,"collections":70625,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215764,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-28-wu-gao-zeng-215764","摹吴道子圣贤像赞图册-28","黑底如凝墨，白字似琢玉，笔势端稳沉厚，藏着碑刻的筋骨与摹写的匠心。赞语间，圣贤的仁礼大义如缕漫溢——“成德之门”的审慎，“性善”之昭彰，字字叩击着儒家文脉的深沉。摹本虽为追仿，却将原典的庄严与文脉的绵长凝于一纸，墨色浓淡间，似见先贤风骨穿过岁月，与今人遥遥相望。这般古雅气象里，既有对圣贤的敬慕，也显摹者对文化传承的拳拳之心，静静铺展着传统人文的厚重与温润，让哲思的光，在纸页间缓缓流淌。",[23,18,7,199,198,26,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675fb66b91468dd89b8f3b6982b823ad.jpg",[],{"id":70627,"slug":70628,"title":70629,"dynasty":18,"author":55250,"museum":107,"description":70630,"tags":70631,"thumbUrl":70632,"material":312,"size":95,"collection":95,"collections":70633,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215762,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-25-wu-gao-zeng-215762","摹吴道子圣贤像赞图册-25","墨底之上，白描线条如银梭织就，勾勒出圣贤持卷凝思的儒雅身姿。衣袂翩然间藏吴带当风之遗韵，眉眼低垂处露沉潜向学之神情。左侧楷书题字笔力遒劲，楷法端严，与人物清逸风骨相映成趣。文图相契，于素净墨色中见醇厚底蕴，简笔勾勒里藏深情万种。每一笔线条皆为心性流露，每一字墨痕都是文脉传承。整幅作品以极简之法传递圣贤温润气象，尽显传统书画合璧的古雅韵致，让人于方寸间触摸到千年文脉的温润温度。",[23,24,25,26,112,199,113,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ad8eb183792efd9cb5531a7648ad2a.jpg",[],{"id":70635,"slug":70636,"title":70637,"dynasty":18,"author":55250,"museum":107,"description":70638,"tags":70639,"thumbUrl":70640,"material":312,"size":95,"collection":95,"collections":70641,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215761,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-26-wu-gao-zeng-215761","摹吴道子圣贤像赞图册-26","画面以墨底衬白描圣贤像，衣袂飘举如流云渡水，线条流转若风过青筠，尽显飘逸灵动之态，暗合“吴带当风”的笔墨神韵。左侧题字笔力劲挺，墨色沉凝，与画像的线韵相映成趣——文图共生间，圣贤的儒雅风骨与内在气度缓缓流露。虽为摹本，却深攫原作神髓：线描的简洁洗练，书法的苍劲端方，交织成古朴庄重又不失灵动的氛围。笔墨间似有先贤低语，让人于静默中触摸到传统文化的深厚底蕴，感受到圣贤人格的温润力量。",[23,24,25,26,112,110,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feabdec836524938d0cc8ff5997dc63c2.jpg",[],{"id":70643,"slug":70644,"title":70645,"dynasty":18,"author":55250,"museum":107,"description":70646,"tags":70647,"thumbUrl":70648,"material":312,"size":95,"collection":95,"collections":70649,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215760,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-31-wu-gao-zeng-215760","摹吴道子圣贤像赞图册-31","缁底铺陈，金毫落处字字端严。墨色如夜凝沉，金辉似星跃动，文字里的圣贤品格随笔锋漫溢。摹古之笔得前贤遗韵，虽作赞语却藏丹青风骨，每一字皆若圣贤剪影，静默间淌过千年文脉。金黑相衬的方寸间，是对先贤的追慕与传承，纸页间仿佛余温尚存，将往昔风骨凝作眼前庄严，让观者于笔墨中触到圣贤的气息。",[23,110,26,113,7,199,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89c61db51ecee6190afcefcf9895002a.jpg",[],{"id":70651,"slug":70652,"title":70653,"dynasty":18,"author":55250,"museum":107,"description":70654,"tags":70655,"thumbUrl":70656,"material":312,"size":95,"collection":95,"collections":70657,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215759,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-32-wu-gao-zeng-215759","摹吴道子圣贤像赞图册-32","黑底如凝墨，金字若嵌星，竖排字迹在册页间流转，似将圣贤风骨与哲思缓缓铺展。笔墨遒劲处见敬仰，婉转处藏温情，每一字皆承载着文脉的重量。线装的古朴形制，让时光的痕迹隐约可触，典籍的温度透过纸页漫溢开来。这里不仅是书法艺术的呈现，更是文化传承的载体——圣贤的智慧借笔墨留存，传统的韵味随字迹延续，静静诉说着跨越时空的文脉回响，引人沉浸于那份庄重而悠远的文化氛围里。",[23,25,26,110,199,198,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c4085c365344eff9b69601cbc1874a.jpg",[],{"id":70659,"slug":70660,"title":70661,"dynasty":18,"author":55250,"museum":107,"description":70662,"tags":70663,"thumbUrl":70664,"material":312,"size":95,"collection":95,"collections":70665,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215758,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-33-wu-gao-zeng-215758","摹吴道子圣贤像赞图册-33","黑底如缁，金字若曦，衬得满纸庄肃之气。笔致清劲挺拔，每一字皆如劲松立崖，风骨凛然。赞文词句间，敬仰之情沛然流转，似与圣贤隔空对语。版式对称匀整，左右文字相呼相应，尽显章法之美。沉厚的墨色与明润的金色交织，将静态的文字晕染出动态的崇敬，仿佛能听见笔尖划过纸页时，那份对先贤的追慕与礼赞。这般作品，既是文字的凝萃，亦是心意的传扬，静默中藏着千百年的文化温度。",[23,24,25,26,199,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105137afb197bd60a8623e5e9537d493.jpg",[],{"id":70667,"slug":70668,"title":70669,"dynasty":18,"author":55250,"museum":107,"description":70670,"tags":70671,"thumbUrl":70672,"material":312,"size":95,"collection":95,"collections":70673,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215757,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-36-wu-gao-zeng-215757","摹吴道子圣贤像赞图册-36","笔墨间暗涌画圣遗风，线条如惊鸿掠影，勾勒圣贤衣袂飘举之姿——正是吴道子“吴带当风”的灵动再现。旁侧赞语墨色沉凝，小楷端雅如珠，与画像的洒脱风骨相映成趣。眉宇间的仁智之光，衣纹里的浩然之气，皆在摹笔中被细腻捕捉。图文交织处，似能触到千年前画圣挥毫的温度，也见摹者对圣贤风范的虔心追慕。纸页虽旧，却让圣贤形象在笔墨传承里鲜活如初，每一笔都是跨越时空的对话，每一线都藏着对经典的致敬，静静诉说着古今文人对圣贤风骨的永恒向往。",[23,18,110,26,198,7,199,113,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc25418733c3cb739656c50f7d5b5e53.jpg",[],{"id":70675,"slug":70676,"title":70677,"dynasty":18,"author":55250,"museum":107,"description":70678,"tags":70679,"thumbUrl":70680,"material":312,"size":95,"collection":95,"collections":70681,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215756,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-34-wu-gao-zeng-215756","摹吴道子圣贤像赞图册-34","墨线流转间，吴带当风的韵致依稀可辨。圣贤仪态肃穆端方，眉宇间凝着千古仁智的光。黑底衬白字，笔力沉雄苍劲，赞文辞藻典雅蕴藉，与画像相映成趣，似在低语先贤的嘉言懿行。摹本虽承后世之笔，却将盛唐画圣的笔意与圣贤气象凝于尺幅。纸页间漫溢着古雅书卷气，每一笔都浸透着对先贤的敬仰。书画合璧，笔墨与文字交织成网，牵引观者触摸圣贤的精神脉络，是承载文化记忆的瑰宝，尽显传统艺术的厚重与温度。",[23,7,199,110,26,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35f95ca3145a4c5d738009475f407c5.jpg",[],{"id":70683,"slug":70684,"title":70685,"dynasty":18,"author":55250,"museum":107,"description":70686,"tags":70687,"thumbUrl":70688,"material":312,"size":95,"collection":95,"collections":70689,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215750,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-42-wu-gao-zeng-215750","摹吴道子圣贤像赞图册-42","黑底如凝墨的缣帛，白字似琢玉的圭璋，笔画肥劲却藏筋骨，结体宽博更显雍容。朱红印章错落其间，方圜相济，朱痕与墨色相映成趣，如岁月遗落的朱砂痣，为古雅添了几分鲜活。想必这是圣贤像的赞语，笔墨间便浸着对先贤的崇仰——每一笔顿挫都带着虔诚，每一字布局都透着庄重，仿佛能从字里行间望见圣贤的风骨。墨色沉郁如夜，白痕清亮似月，印章古拙如星，三者交织成一幅凝固的礼赞，让观者在笔墨流转中，悄然接住那份跨越时空的敬意。",[23,110,199,77,198,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3667e3be7afff45a7a800c3de10edc1.jpg",[],{"id":70691,"slug":70692,"title":70693,"dynasty":18,"author":55250,"museum":107,"description":70694,"tags":70695,"thumbUrl":70696,"material":312,"size":95,"collection":95,"collections":70697,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215748,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-44-wu-gao-zeng-215748","摹吴道子圣贤像赞图册-44","右侧颜回立像，衣纹线条如流云拂袖，尽显“吴带当风”的飘逸韵致，发髻整肃，面容沉静，眉宇间藏着圣贤的温良与笃定。左侧赞文墨色沉凝，字迹古朴端严，字句间满是对颜回德操的称颂。图文相契，以线塑神，以文传意，将颜回安贫乐道、敏而好学的品格具象化。摹本承古意却自具韵致，线条简练却气韵生动，于尺幅间凝萃圣贤气象，融画艺与文思于一体，尽显图册的文化深度与艺术张力。",[23,24,25,26,112,110,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686adbc7d2ec5bb5993f261961aad73a.jpg",[],{"id":70699,"slug":70700,"title":70701,"dynasty":18,"author":55250,"museum":107,"description":70702,"tags":70703,"thumbUrl":70704,"material":312,"size":95,"collection":95,"collections":70705,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215746,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-45-wu-gao-zeng-215746","摹吴道子圣贤像赞图册-45","画面右幅以流畅线描勾勒圣贤立像，衣袂飘举如带当风，冠冕服饰纹理细腻，尽显庄重儒雅之态。人物眉目含蕴，神情肃穆却不失温厚，仿佛能感知圣贤的仁礼气度。左幅题赞文字笔力端稳，与画像相映成趣，墨色浓淡相宜，古雅气息扑面而来。摹绘之作于细节处见匠心，既传承灵动画风神韵，又以笔墨承载对先贤的敬仰。图文合璧间，似跨越时空与圣贤对话，感受传统文化的深沉力量。",[23,112,110,199,198,113,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3584edea54fcf6ccb1c9f50b4cda2306.jpg",[],{"id":70707,"slug":70708,"title":70709,"dynasty":18,"author":55250,"museum":107,"description":70710,"tags":70711,"thumbUrl":70712,"material":312,"size":95,"collection":95,"collections":70713,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215743,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-48-wu-gao-zeng-215743","摹吴道子圣贤像赞图册-48","画面以沉凝墨色铺展，圣贤立于右侧，衣袂线条如行云流水，既得吴带当风之遗韵，又显摹者笔力之精到。宽袍博带间身姿端凝肃穆，眉宇间藏着济世沉潜与智慧微光。左侧赞文以工整楷体书就，墨痕如刻，与画像相映成趣，文图共叙圣贤风骨。整幅作品古雅庄重，线条刚柔相济，将圣贤人格气象凝于尺幅间，既传递对先贤的崇仰，也彰显传统人物画与书法结合的独特韵味，仿佛能透过纸页，触摸到千年前的圣贤气息。",[23,24,25,26,112,110,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb558952f8f554892d30db9e1f45e4954.jpg",[],{"id":70715,"slug":70716,"title":70717,"dynasty":18,"author":55250,"museum":107,"description":70718,"tags":70719,"thumbUrl":70720,"material":312,"size":95,"collection":95,"collections":70721,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215742,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-52-wu-gao-zeng-215742","摹吴道子圣贤像赞图册-52","墨痕沉敛的版页间，左幅书法笔致端严，字句里漫溢圣贤气象；右方线描勾勒的身影，衣袂飘举似承吴带当风遗韵，须发纹理皆见摹绘者的敬慎。线条流转如行云，衣褶转折藏筋骨，冠带垂坠显雅致，每一笔都浸着对古圣风骨的追慕。赞文与肖像相映成趣，墨色里似有跨越时空的对话——摹者以笔为桥，将盛唐画圣的笔意与清代文人的崇仰凝于方寸。岁月虽在纸页留痕，却未减画面气韵：线的刚柔相济，字的方正含情，共同塑就圣贤庄重超脱之姿，静默中传递着文脉绵续与对仁智之道的永恒崇仰。",[23,18,24,25,26,112,110,7,199,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b7c9c341cc3b6145b7a04736641aaf.jpg",[],{"id":70723,"slug":70724,"title":70725,"dynasty":18,"author":55250,"museum":107,"description":70726,"tags":70727,"thumbUrl":70728,"material":312,"size":95,"collection":95,"collections":70729,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215741,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-49-wu-gao-zeng-215741","摹吴道子圣贤像赞图册-49","黑底之上，白描圣贤像线条简练却见神韵。长袍宽袖随形勾勒，衣袂飘举间透着沉静儒雅；发髻高束，长须垂胸，面容温润庄重，手持器物的姿态沉稳内敛，尽显德高望重之态。左侧赞语书法工整有力，笔墨间见风骨，与画像相映成趣，图文合璧传递出对圣贤品格的敬仰。整体古朴典雅，墨色浓淡相宜，古籍质感中浸透着肃穆崇敬的气息，仿佛能让人触摸到历史深处的圣贤风范，感受那份跨越时空的人文温度。",[23,2135,110,112,199,198,26,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28336defd078d5ecbc3ecba0cda3ae53.jpg",[],{"id":70731,"slug":70732,"title":70733,"dynasty":18,"author":55250,"museum":107,"description":70734,"tags":70735,"thumbUrl":70736,"material":312,"size":95,"collection":95,"collections":70737,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215739,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-51-wu-gao-zeng-215739","摹吴道子圣贤像赞图册-51","画面中圣贤立像以劲挺灵动的线描勾勒，衣纹如兰叶翻飞，暗合“吴带当风”之韵致。人物面容沉静，须髯轻拂，眉宇间凝着睿思，仿佛将千年智慧藏于宽袍广袖之中。侧旁题赞文字笔力沉厚，墨色如漆，与疏朗线描相映成趣——文以咏志，图以传神，二者共生，晕染出圣贤的庄肃与温润。拓本的古朴质感似蒙一层时光薄纱，每一道线条都透着对原作神髓的追摹，让观者在笔墨流转间，触摸到圣贤气象与书画艺术交融的温度，心生悠远敬意。",[23,18,110,112,199,7,113,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F950aeb2aeddc7eee8acb68e0d1ff050a.jpg",[],{"id":70739,"slug":70740,"title":70741,"dynasty":18,"author":55250,"museum":107,"description":70742,"tags":70743,"thumbUrl":70744,"material":312,"size":95,"collection":95,"collections":70745,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215738,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-53-wu-gao-zeng-215738","摹吴道子圣贤像赞图册-53","墨色沉凝的版刻页间，左列楷书端严浑厚，笔锋藏露有致；右侧圣贤造像以铁线描勾勒，衣袂飘举如流云，须发细劲若蚕丝，神态肃穆安闲，隐蕴智者风骨。文与图相映成趣，字里行间的赞语与线条中的气韵交融，既见刀刻的刚劲质感，又含笔墨的温润情致。古朴典雅中传递出对圣贤的追慕之心，仿佛能触到岁月沉淀下的文化温度，尽显传统艺术里“文以载道、图以传神”的妙境。",[23,18,110,112,199,7,113,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea23b349b5f6b712d4f4a8568b186e32.jpg",[],{"id":70747,"slug":70748,"title":70749,"dynasty":18,"author":55250,"museum":107,"description":70750,"tags":70751,"thumbUrl":70752,"material":312,"size":95,"collection":95,"collections":70753,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215737,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-57-wu-gao-zeng-215737","摹吴道子圣贤像赞图册-57","黑底如凝墨，白字似铺霜，版式严整却藏疏朗之致。文字排布错落有序，题款间圣贤篇目罗列如珠玉串联，庄重中透着雅致。清劲端方的字迹似在低语先贤故事，字里行间满是对圣哲的尊崇。摹本以文字为骨，暗蕴对原作风神的追慕，将圣贤像赞的文韵与图魂凝于一纸。既有古籍版式的古朴之美，又融儒家文化的厚重底蕴，静静铺展着传统文脉的温度，让观者于笔墨间触摸到先贤身影与文化传承的脉络。",[23,92,24,25,26,110,112,50,199,7,113,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ffe1120f82901b8db880f54c4fa512.jpg",[],{"id":70755,"slug":70756,"title":70757,"dynasty":18,"author":55250,"museum":107,"description":70758,"tags":70759,"thumbUrl":70760,"material":312,"size":95,"collection":95,"collections":70761,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215736,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-54-wu-gao-zeng-215736","摹吴道子圣贤像赞图册-54","墨线如帛带轻扬，圣贤立姿端凝中藏着飘逸，吴带当风的韵致被摹写得入木三分。左侧楷书赞语笔力沉厚，与画像灵动线条相映成趣，文图共筑儒雅风骨。黑底衬白的画面古朴肃穆，似能窥见千年前画圣笔下的圣贤气象，又带着清代摹本的沉静质感。书画合璧间，尽显圣贤端庄与艺术灵动的交融，是兼具文史意趣与审美价值的雅致之作。",[23,18,110,112,199,7,113,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22bb330b52851dca0bd0b295dea7ea2d.jpg",[],{"id":70763,"slug":70764,"title":70765,"dynasty":18,"author":55250,"museum":107,"description":70766,"tags":70767,"thumbUrl":70768,"material":312,"size":95,"collection":95,"collections":70769,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215735,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-58-wu-gao-zeng-215735","摹吴道子圣贤像赞图册-58","墨底之上，白描线条勾画出圣贤端凝身姿。巾帽束发，宽袍博带随体赋形，衣袂褶皱如流云婉转，暗承“吴带当风”之韵。人物神态肃穆中含儒雅，眉目间似蕴理学昌明气象。左侧题赞以端稳楷书书就，笔力沉厚，字句颂扬其学术功绩，与肖像相映成趣。拓本质感古朴苍劲，既藏对先贤的敬仰，亦显摹者对吴道子笔意的精妙承袭，图文交融间，尽显圣贤风骨与文化传承之味。",[23,18,112,199,113,26,110,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e88e2cc134c4f8aea86338b225b62e3.jpg",[],{"id":70771,"slug":70772,"title":70773,"dynasty":18,"author":55250,"museum":107,"description":70774,"tags":70775,"thumbUrl":70776,"material":312,"size":95,"collection":95,"collections":70777,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215732,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-55-wu-gao-zeng-215732","摹吴道子圣贤像赞图册-55","白描勾勒的圣贤身影，线条清劲如流云泻石，衣纹转折间见古朴气度。手持竹杖，步履沉稳，眉宇间藏着岁月沉淀的智慧与从容。左侧题赞笔墨沉雄，楷法端严，墨色浓黑如漆，与右侧人物画像相映成趣，文图相契，尽显传统书画合一的雅致。整幅作品简素却意蕴丰沛，仿佛能触摸到古人对圣贤的追慕之心，笔墨间流淌着文脉的温润与厚重，是对先贤精神的无声致敬。",[23,24,25,26,112,110,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0f6d217bde5d6854785dd27c8d696f5.jpg",[],{"id":70779,"slug":70780,"title":70781,"dynasty":18,"author":55250,"museum":107,"description":70782,"tags":70783,"thumbUrl":70784,"material":312,"size":95,"collection":95,"collections":70785,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215731,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-63-wu-gao-zeng-215731","摹吴道子圣贤像赞图册-63","墨底衬白描，线条如缕婉转，勾勒出古贤宽袍博带之姿。衣袂带风，笔力简劲，虽无华彩渲染，却以素净线条显人物端凝气度。旁列楷书题赞，笔墨沉实端严，文辞与画像相映——“夜行减燭不改其容”，“知非寡过愈恭愈謙”，字句间映现圣贤的坚守与自省。画像与题跋相契，墨色静穆，线条清疏，摹古之中见匠心，素朴里藏风骨。简素画面承载的，是对先贤品格的追慕，亦是跨越岁月的精神回响，于无声处传递着深沉的文化共鸣。",[23,26,112,199,7,77,113,110,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834ca97b23d6564ceceee5489c2fb31f.jpg",[],{"id":70787,"slug":70788,"title":70789,"dynasty":18,"author":55250,"museum":107,"description":70790,"tags":70791,"thumbUrl":70792,"material":312,"size":95,"collection":95,"collections":70793,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215728,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-65-wu-gao-zeng-215728","摹吴道子圣贤像赞图册-65","墨线流转如行云，衣袂翩然带古风。画中圣贤立身端稳，眉眼间凝着淡泊的智性，衣纹的起伏似藏着静穆的呼吸，尽显沉静风骨。旁侧题赞笔墨端严，字句间咏叹守真自适的襟怀，与画像相映成趣。线描承袭吴门遗韵，简洁却有神，人物姿态从容，仿佛能听见其内心的澄明。整幅作品古雅沉静，线的灵动与字的端稳交织，既见摹古的匠心，更让圣贤的精神气韵跃然纸上，传递出超越时空的人文温度。观者驻足，似能与千年前的圣贤对话，感受那份恬淡清净的生命境界。",[23,112,110,199,7,113,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2267f9275ca346a29a3ff9fff5c4e8ff.jpg",[],{"id":70795,"slug":70796,"title":70797,"dynasty":18,"author":55250,"museum":107,"description":70798,"tags":70799,"thumbUrl":70800,"material":312,"size":95,"collection":95,"collections":70801,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215727,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-66-wu-gao-zeng-215727","摹吴道子圣贤像赞图册-66","墨底之上，右侧线描圣贤身影，衣纹流转如吴带当风，手持书卷尽显儒雅庄重；左侧题字笔力沉稳，词句清逸，与画像相映成趣。线描简括却神韵毕现，书法端整更添雅致，图文合璧间，圣贤的高洁风骨与笔墨的清雅情韵交融，尽显古朴庄重之美。画面以极简之笔勾勒深邃意境，每一处线条皆藏匠心，每一字句俱含敬意，尽显传统文人对圣贤的追慕与笔墨的精妙。",[23,24,25,26,112,199,7,113,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1224336b076522e67b9e94991d8e8c2a.jpg",[],{"id":70803,"slug":70804,"title":70805,"dynasty":18,"author":55250,"museum":107,"description":70806,"tags":70807,"thumbUrl":70808,"material":312,"size":95,"collection":95,"collections":70809,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215725,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-67-wu-gao-zeng-215725","摹吴道子圣贤像赞图册-67","墨底铺陈间，左侧楷书题赞笔力端凝，字句里藏着对圣贤的敬慕；右侧白描人物衣袂翩然，线条简练却筋骨分明，眉眼间透着智者的沉静。长袍褶皱如行云流水般舒展，手持器物衬出庄重仪态。图文相映，墨色的厚重与线描的轻盈形成微妙平衡，既保留传统白描的古朴雅致，又借题赞文字赋予画像更深的文化意蕴。仿佛能透过流畅的线条触摸到圣贤的治学心境，沉静庄重的气息漫溢开来，尽显人文之美与传统艺术的雅致风骨。",[23,24,25,26,112,110,113,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a4aceddf053bf394bfb1956d875477.jpg",[],{"id":70811,"slug":70812,"title":70813,"dynasty":18,"author":55250,"museum":107,"description":70814,"tags":70815,"thumbUrl":70816,"material":312,"size":95,"collection":95,"collections":70817,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215724,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-64-wu-gao-zeng-215724","摹吴道子圣贤像赞图册-64","墨地之上，白描线条如丝缕流转，勾勒出圣贤的峨冠博带与温润神情。人物身姿挺拔，手持卷册似欲展读，衣袂轻扬间暗合“吴带当风”的遗韵。旁侧题字笔力端稳，与画像相映成趣，赞语文辞典雅，将圣贤品格融入笔墨。摹本精准捕捉原作风神，线条的粗细转折、神态的细微刻画，皆见摹者功底。图文交融处，古贤的儒雅风骨与精神气度跃然纸上，尽显传统白描人物画的凝练与生动，为观者打开一扇窥见经典的窗棂。笔墨间传承的不仅是形象，更是千年文脉中圣贤的精神回响。",[23,24,25,26,112,113,110,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa5e798d4753d7c8087fc01823b80e0.jpg",[],{"id":70819,"slug":70820,"title":70821,"dynasty":18,"author":55250,"museum":107,"description":70822,"tags":70823,"thumbUrl":70824,"material":312,"size":95,"collection":95,"collections":70825,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215723,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-70-wu-gao-zeng-215723","摹吴道子圣贤像赞图册-70","画面以浓黑为底，左侧楷书端严挺秀，墨色沉厚如漆；右侧圣贤像以白描勾勒，线条流转若风，衣袂飘举间尽显“吴带当风”的韵致。人物拱手而立，神情恭谨肃穆，眉宇间藏着沉静的智慧。图文相映，赞语与画像互为表里，既传递出对圣贤的敬仰之情，又以线墨的交融展现传统艺术的雅致与庄重。每一笔线条都凝练摹绘者的匠心，将吴道子画派的灵动与楷书的端稳完美结合，构成兼具文史意涵与视觉美感的佳作。线描的转折自然，书法的笔力匀净，黑底的衬托更让画面古意盎然，仿佛能透过纸页触摸到千年文脉的温度。",[23,24,25,26,112,110,113,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75302dad27b8c9453562e55bf52e7dcd.jpg",[],{"id":70827,"slug":70828,"title":70829,"dynasty":18,"author":55250,"museum":107,"description":70830,"tags":70831,"thumbUrl":70832,"material":312,"size":95,"collection":95,"collections":70833,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215722,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-69-wu-gao-zeng-215722","摹吴道子圣贤像赞图册-69","墨底衬素笔，白描线条如流水般勾勒出圣贤的儒雅身姿。宽袍褶皱舒展自然，拱手而立的姿态藏着谦谨之态，眉眼间凝着智者的沉静。旁侧题字笔锋端正，与画像的清雅气质相融，文画相契，晕开古雅的圣贤气象。无浓彩渲染，却以极简笔墨载着深厚的人文意韵，墨白交织间，似能触到古人对圣贤品格的敬慕，沉静中满是古典的余味，让观者于素净里感知那份跨越时光的人文温度。",[23,26,112,7,110,113,199,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022f6e350ff2708f464fa0da32b0d79c.jpg",[],{"id":70835,"slug":70836,"title":70837,"dynasty":18,"author":55250,"museum":107,"description":70838,"tags":70839,"thumbUrl":70840,"material":312,"size":95,"collection":95,"collections":70841,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215721,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-72-wu-gao-zeng-215721","摹吴道子圣贤像赞图册-72","白描线条轻拢慢捻，勾勒出圣贤持卷沉思的儒雅身形，衣纹流转如行云，眉宇间凝着治学的沉潜与笃定。左侧墨书笔力沉雄，字字如矶，与画像相映成趣——文述圣贤之志，图绘圣贤之姿，文图共生，将“容止外渊、圭璧内治”的风骨具象化。画面墨色浓淡相宜，古朴气息漫溢，白描的简洁传神与书法的遒劲有力交织，既显传统艺术韵致，又承载对圣贤精神的追慕。驻足观之，仿佛能触到那份治学虔诚与人格温润，让人心生敬慕，于静默中感受文化传承与智慧回响。",[23,24,25,26,112,110,113,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eac067c2742e3d1e2b4efacc234a2d2.jpg",[],{"id":70843,"slug":70844,"title":70845,"dynasty":18,"author":55250,"museum":107,"description":70846,"tags":70847,"thumbUrl":70848,"material":312,"size":95,"collection":95,"collections":70849,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215720,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-71-wu-gao-zeng-215720","摹吴道子圣贤像赞图册-71","墨底之上，银线勾勒的圣贤立于右侧，衣袂翩然如流风回雪，线条婉转间尽现端庄气象。人物神态沉静，眉宇藏智者深邃，怀中器物似承千年文脉重量。左侧书法笔力苍劲，墨字与白描相映，墨色浓淡相宜，古雅之气扑面而来。线条如灵蛇游走，既守圣贤肃穆，又含笔墨灵动，仿佛能透过纸页触摸先贤胸襟。每一笔浸着对古贤的追慕，观者在笔墨交织里，感受人文厚重与艺术隽永，窥见先贤智慧与胸襟的余温。",[23,24,25,26,112,113,110,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeff4c643e129d745c9c3d5e0d7bd918.jpg",[],{"id":70851,"slug":70852,"title":70853,"dynasty":18,"author":55250,"museum":107,"description":70854,"tags":70855,"thumbUrl":70856,"material":312,"size":95,"collection":95,"collections":70857,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215719,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-76-wu-gao-zeng-215719","摹吴道子圣贤像赞图册-76","黑底之上，白描线条清劲如篆，人物衣袂翩然却含庄重之态，手持卷册似凝思典籍，眉宇间藏着笃学深思的气度。左侧题字笔力沉厚，字句述尽圣贤“好学不倦”“笃力深造”的品格，与人物形象相映成趣，浑然一体。笔墨间将先贤的儒雅风骨与内在修为融于方寸，墨色浓淡交织出古朴典雅之韵，仿佛能透过线条窥见其治学精神，沉静肃穆中尽显传统人物画的神韵与文化底蕴，令人心生敬慕。",[23,24,25,26,112,110,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc96abd7b5f944a83e39caec58d0f1fa.jpg",[],{"id":70859,"slug":70860,"title":70861,"dynasty":18,"author":55250,"museum":107,"description":70862,"tags":70863,"thumbUrl":70864,"material":312,"size":95,"collection":95,"collections":70865,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215718,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-68-wu-gao-zeng-215718","摹吴道子圣贤像赞图册-68","黑底如凝漆，白字若敷霜，笔墨沉实间见筋骨。笔画遒劲利落，转折处方劲藏锋，既存唐人雄健气象，又含摹写时的谨严韵致。圣贤赞文与书法相契，庄肃之气溢于纸间。虽为摹本，却能传原迹神韵，笔端可见对先贤的敬慕，亦显摹者功底。文字排布整饬而不失灵动，黑白色调对比强烈，仿佛圣贤风骨透过笔墨徐徐铺展。一页之间，融书法之美与文化之敬，尽显摹古之诚与艺术之韵。",[23,24,25,26,199,7,198,110,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a49675abd4625fd12f83e30f1d1de6.jpg",[],{"id":70867,"slug":70868,"title":70869,"dynasty":18,"author":55250,"museum":107,"description":70870,"tags":70871,"thumbUrl":70872,"material":312,"size":95,"collection":95,"collections":70873,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215717,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-75-wu-gao-zeng-215717","摹吴道子圣贤像赞图册-75","画面以墨线勾勒出神形兼备的圣贤风姿，衣袂翩然如带当风，尽显吴派画韵的飘逸灵动。人物神情肃穆儒雅，姿态从容端方，似含谆谆教化之韵。左侧书法笔力沉厚端庄，墨色浓淡相宜，与画像相得益彰。摹作追摹古意却不失鲜活，线条流转间藏着对先贤的敬慕。图文相佐，布局雅致均衡，既显笔墨艺术的精妙，又传递出圣贤文化的厚重温润，仿佛跨越时空与先贤对话，感受那份穿越千年的德韵清风。",[23,24,25,26,112,113,7,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8534673b763629c5962bed055a67d50.jpg",[],{"id":70875,"slug":70876,"title":70877,"dynasty":18,"author":55250,"museum":107,"description":70878,"tags":70879,"thumbUrl":70880,"material":312,"size":95,"collection":95,"collections":70881,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215716,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-74-wu-gao-zeng-215716","摹吴道子圣贤像赞图册-74","墨线勾勒的圣贤立像，衣袂翩跹如清风拂柳，线条流畅婉转，尽显飘逸气韵。人物手持书卷，神态专注，眉宇间藏着儒雅智慧，仿佛正沉浸于典籍的深邃世界。旁侧题字笔力劲挺，墨色沉厚，与画像相映成趣——文辞的典雅与线条的灵动交融，古意盎然。整幅作品以黑底衬白描，对比鲜明却不失和谐，将圣贤的端庄风范与笔墨的雅致之美凝于一纸。读之观之，皆能感受到那份穿越时空的文化厚重与艺术张力，仿佛与千年前的圣贤对话，静享片刻文心雅韵。",[23,18,110,112,7,113,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbda479fff9044ac3cebcf8fdab15cfe.jpg",[],{"id":70883,"slug":70884,"title":70885,"dynasty":18,"author":55250,"museum":107,"description":70886,"tags":70887,"thumbUrl":70888,"material":312,"size":95,"collection":95,"collections":70889,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215714,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-77-wu-gao-zeng-215714","摹吴道子圣贤像赞图册-77","左列楷字笔力遒劲，墨色沉凝如石，字句间蕴圣贤风骨；右侧线描人物衣袂翩跹似风，身姿端然如松，手持器物，眉目间藏儒者雅度。线条清逸与墨字厚重相映成趣，将圣贤端庄气度与文脉传承融于一纸。古雅之气漫溢，仿佛触到千年前儒雅风致，文字图像共生共辉，尽显传统艺术含蓄深韵，让人于笔墨间感知圣贤品格与文化底蕴。",[23,18,24,25,26,112,199,7,113,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91a4f363d8c10e5e18db9d818e5beeb.jpg",[],{"id":70891,"slug":70892,"title":70893,"dynasty":18,"author":55250,"museum":107,"description":70894,"tags":70895,"thumbUrl":70897,"material":312,"size":95,"collection":95,"collections":70898,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215713,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-73-wu-gao-zeng-215713","摹吴道子圣贤像赞图册-73","清劲线描勾勒圣贤身影，持卷沉思间神态儒雅，衣纹流转如流云泻地，尽显古贤从容气度。旁侧题赞笔墨端稳古朴，与线描造像相映成趣。整幅作品图文相契，线韵与文气交织，素墨之中见风骨，沉静里藏儒风。寥寥数笔勾勒出圣贤的深邃心境，题赞文字与画像浑然一体，传递出传统人文的雅致与厚重，尽显绘事与书法交融的古典之美。",[23,112,110,199,7,26,113,70896],"圣贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb355d90734df359c1d2a10f6ac034ae9.jpg",[],{"id":70900,"slug":70901,"title":70902,"dynasty":18,"author":55250,"museum":107,"description":70903,"tags":70904,"thumbUrl":70905,"material":312,"size":95,"collection":95,"collections":70906,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215712,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-79-wu-gao-zeng-215712","摹吴道子圣贤像赞图册-79","黑底如漆凝，白字若银绽，笔锋起落间藏着摹古的敬慎与笔墨的灵韵。每一道线条都似在对话圣贤——既追摹原画中人物的清峻气象，又以文字的庄重传递对古贤的仰止之心。笔力挺劲却含温厚，墨色沉实而透微光，仿佛字间能映出圣贤的身影，让图像的神韵化作笔墨的余韵。此作虽为摹本，却以己意续文脉，将画中风骨凝于笔端，让那份对圣贤的敬慕随字迹流转，动人心扉。",[23,7,199,198,110,26,113,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f4a9fc31d4149b8d6574cfbdfdfab9.jpg",[],{"id":70908,"slug":70909,"title":70910,"dynasty":18,"author":55250,"museum":107,"description":70911,"tags":70912,"thumbUrl":70913,"material":312,"size":95,"collection":95,"collections":70914,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215708,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-83-wu-gao-zeng-215708","摹吴道子圣贤像赞图册-83","墨线勾勒的圣贤像立于右侧，衣纹流转如吴带当风，神态庄重儒雅，尽显古贤风骨。左侧赞文字体古朴端雅，笔墨间满是对圣贤的敬慕之情，与画像相得益彰。朱红印章错落点缀，墨色与丹色相映成趣，更添几分古朴韵味。整幅画面融书画印于一体，既传递出圣贤的儒雅气质，又藏着对先贤的追思传承，古意盎然，耐人寻味。",[23,18,110,112,113,7,77,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be8e4dc164eb14d7063826ebce7caa3.jpg",[],{"id":70916,"slug":70917,"title":70918,"dynasty":18,"author":55250,"museum":107,"description":70919,"tags":70920,"thumbUrl":70921,"material":312,"size":95,"collection":95,"collections":70922,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215707,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-85-wu-gao-zeng-215707","摹吴道子圣贤像赞图册-85","墨底衬素线，左幅楷书题赞端雅沉厚，笔锋藏露有致，字句间含圣贤敬仰之思；右幅圣贤立像，衣袂若拂清风，线条如行云流水，摹吴道子遗韵，虽为后世追仿，仍见“吴带当风”之灵动——衣纹转折流畅，身姿挺拔端方，形神间藏古雅气象。文与图相映，墨色沉郁中见清劲，线描简洁却意韵饱满，既承前代画圣之笔意，又融摹者笔墨功底，古朴庄重里透着文墨与画像的交融之美，是一幅兼具笔墨韵味与文化情怀的佳作。",[23,18,110,112,199,113,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab85c33c8848d94b4836cb54f76b260b.jpg",[],{"id":70924,"slug":70925,"title":70926,"dynasty":18,"author":55250,"museum":107,"description":70927,"tags":70928,"thumbUrl":70929,"material":312,"size":95,"collection":95,"collections":70930,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215705,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-87-wu-gao-zeng-215705","摹吴道子圣贤像赞图册-87","画面分左右两栏，右绘圣贤线描立像，左题楷书赞语，图文相契，古雅沉静。圣贤峨冠博带，衣袂如吴带当风般飘举，线条劲挺流转，形神兼备；面容端肃，眉宇间凝蕴智识与仁厚之气。左侧楷书笔力沉厚，结体端方，墨色浓润，与画像清劲线条相映成趣；赞语文辞古朴，阐发圣贤德行，添文化深意。整幅融绘事书道于一体，摹古不失己意，再现吴道子画韵，传递对圣贤的尊崇与文脉赓续，墨痕纸韵间尽展传统艺术雅正之美。",[23,110,112,199,198,26,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f53b808fbcdf3fde54e73fa0fe1656.jpg",[],{"id":70932,"slug":70933,"title":70934,"dynasty":18,"author":55250,"museum":107,"description":70935,"tags":70936,"thumbUrl":70937,"material":312,"size":95,"collection":95,"collections":70938,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215704,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-90-wu-gao-zeng-215704","摹吴道子圣贤像赞图册-90","墨色沉凝如漆，笔锋挺劲似削玉，每一字皆端稳有筋骨，章法严整却气脉暗通。文字间似淌着对圣贤之道的追慕，笔意里藏着对古贤风骨的敬慕。纸面覆着时光薄痕，更衬出笔墨的沉厚力量，仿佛将千年前的圣贤气象凝于方寸。一笔一划皆是对传统的守望，一字一句皆为对文脉的接续。读来见书法之工，更感古意之悠，仿佛与书写者同溯圣贤之境，心随字动，神与文游，墨香里浸着对先贤的礼敬，纸页间藏着文脉的温度。",[23,25,26,110,199,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f286ce9bf106538a60a333dc925582.jpg",[],{"id":70940,"slug":70941,"title":70942,"dynasty":18,"author":55250,"museum":107,"description":70943,"tags":70944,"thumbUrl":70945,"material":312,"size":95,"collection":95,"collections":70946,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215703,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-86-wu-gao-zeng-215703","摹吴道子圣贤像赞图册-86","画面以浓墨为底，线描圣贤像立于右侧，衣纹流转如流云拂水，身姿端凝间透着温润儒雅。人物冠带齐整，眉宇含敛，似在默悟圣道真意。左侧书法笔力沉厚，字字端方如磐石，墨色凝润与人物淡泊气质相映成趣。文与画交织成韵，线条的轻转重落间，勾勒出圣贤风骨；笔墨的浓淡晕染里，晕开古典静谧。每一处细节皆见匠心，既藏着对先贤的敬慕，又显笔墨的雅致功底。整体氛围古朴庄重，仿佛能触到那份沉淀千年的文化底蕴，让观者于方寸间感知圣贤精神的绵长回响。",[23,24,25,26,112,110,7,199,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbb02403aa96a8a0db4fbe87b0247.jpg",[],{"id":70948,"slug":70949,"title":70950,"dynasty":18,"author":55250,"museum":107,"description":70951,"tags":70952,"thumbUrl":70953,"material":312,"size":95,"collection":95,"collections":70954,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215702,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-89-wu-gao-zeng-215702","摹吴道子圣贤像赞图册-89","画面分左右两帧，右帧以白描绘圣贤像，宽袍博带，手持卷册，神情端凝。线条劲挺如铁线，又不失婉转流动之韵，将人物的儒雅风骨与庄重气质尽现笔端。左帧墨书赞语，字体端严浑厚，笔画刚劲有力，墨色浓黑如漆，与画像清疏线条形成鲜明对比却和谐相融。图文相契，既显圣贤人格光辉，又彰传统书画结合的艺术妙趣。整体古朴典雅，气韵生动，传递出对先贤的崇仰之情与深厚文化底蕴。",[23,26,112,110,199,7,113,70896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80e858ac8faebd3c738ea08894e047a9.jpg",[],{"id":70956,"slug":70957,"title":70958,"dynasty":18,"author":55250,"museum":107,"description":70959,"tags":70960,"thumbUrl":70961,"material":312,"size":95,"collection":95,"collections":70962,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215700,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-92-wu-gao-zeng-215700","摹吴道子圣贤像赞图册-92","右侧圣贤像以墨线勾勒，衣纹如行云流水，宽袍博带间藏着“吴带当风”的余韵，冠帽整肃，长须垂落，眉目间凝着仁智的沉静，将先贤的端方气度摹写得入木三分。左侧题赞文字笔致端稳，墨色浓淡相宜，字句里满是对圣贤的敬仰，与画像相衬，图文共生辉。整幅作品于摹古中见情致，线条的灵动与文字的庄重交织，把追慕先贤的心意融在纸间，尽显传统图赞的雅正之美。每一笔线条都似在诉说先贤的德范，每一字句都藏着对仁智的向往，纸墨间漫溢着古朴的敬慕与沉静的力量。",[23,110,112,199,7,26,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93f1b612eb4a45a064ca4847452f6b1.jpg",[],{"id":70964,"slug":70965,"title":70966,"dynasty":18,"author":55250,"museum":107,"description":70967,"tags":70968,"thumbUrl":70969,"material":312,"size":95,"collection":95,"collections":70970,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215699,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-93-wu-gao-zeng-215699","摹吴道子圣贤像赞图册-93","白描线条如行云流水，勾勒出圣贤的儒雅风神。衣袂飘举间藏古韵，眉宇间凝注着温润庄重之态，举手投足皆显君子气象。旁侧赞文墨韵沉厚，与画像相映成趣，以珠玉璞石为喻，道尽人物内蕴的光华与待彰的德才。文图相契，于简洁中见深远，笔墨间流淌着对先贤的敬慕，仿佛能触碰到那份跨越时空的精神力量，尽显传统人物画的笔墨意趣与文化底蕴。",[23,112,110,26,7,113,70896,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c4906eb5387087bc0b8cf0f598aae5.jpg",[],{"id":70972,"slug":70973,"title":70974,"dynasty":18,"author":55250,"museum":107,"description":70975,"tags":70976,"thumbUrl":70977,"material":312,"size":95,"collection":95,"collections":70978,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215698,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-94-wu-gao-zeng-215698","摹吴道子圣贤像赞图册-94","墨底铺陈间，白描勾勒的圣贤身影立于右侧，衣袂线条婉转如流，暗携吴带当风的遗韵。手持卷册的姿态儒雅沉敛，眉宇间藏着智者的深邃。左侧楷书题赞笔力端劲，字句间凝着对圣贤的敬慕与哲思。图文相契，似将千年前的智慧气息封存于此。摹本虽承后世之手，却把原迹的风骨神韵尽纳其中，让圣贤的气度与箴言在墨线白字间静静流转，引观者于方寸间触碰到跨越时空的哲思温度。",[23,26,110,112,199,113,7,24,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b7623f5c759f16830dd3e8239c0773.jpg",[],{"id":70980,"slug":70981,"title":70982,"dynasty":18,"author":55250,"museum":107,"description":70983,"tags":70984,"thumbUrl":70985,"material":312,"size":95,"collection":95,"collections":70986,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215697,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-91-wu-gao-zeng-215697","摹吴道子圣贤像赞图册-91","左右分幅，文图相契。左页楷书笔力遒劲，结体端严，墨色沉厚如古砚凝香，字间透着儒雅正气。右页线描人物身姿端肃，衣袂飘举若流云拂风，纤细线条勾勒衣褶层次与动感，发髻高挽，手持器物，神态肃穆含温润，圣贤风骨尽显。文以赞述，图以传神，笔墨间见匠心，线墨交织里，既有书卷沉静，又有人物生动，古雅气息扑面而来，仿佛窥见往昔圣贤端庄气度，是文图共生的精妙之作。",[23,18,26,112,199,7,113,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f8e65708144aac13e0b24a7de234a74.jpg",[],{"id":70988,"slug":70989,"title":70990,"dynasty":18,"author":55250,"museum":107,"description":70991,"tags":70992,"thumbUrl":70993,"material":312,"size":95,"collection":95,"collections":70994,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215696,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-96-wu-gao-zeng-215696","摹吴道子圣贤像赞图册-96","白描线条似春蚕吐丝，又携吴带当风的灵动韵致，圣贤衣袂翩跹，身姿端凝，眉宇间藏着温润智慧与肃穆气象。左侧赞语墨色沉厚，笔锋转折有力，每一字如磐石稳实，与画像飘逸感形成奇妙平衡。图文交织处，圣贤的教化之道、品格之高透过笔墨缓缓铺陈。无需过多渲染，线与字的对话已足够动人，仿佛能听见古贤谆谆教诲，触碰到那份跨越时空的人文温度，唤起观者对先贤风骨的追慕与敬仰。",[23,112,110,199,198,7,113,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3456b6a1c0077ca27352c40cc49d8091.jpg",[],{"id":70996,"slug":70997,"title":70998,"dynasty":18,"author":55250,"museum":107,"description":70999,"tags":71000,"thumbUrl":71001,"material":312,"size":95,"collection":95,"collections":71002,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215695,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-101-wu-gao-zeng-215695","摹吴道子圣贤像赞图册-101","黑楮为底，白字如练，笔锋起落间尽是对圣贤的虔敬。字体端稳如古柏，筋骨内蕴，每一字皆似在诉说圣贤品格——“清浊有气”的通透，“刚柔有质”的圆融。摹本的严谨传承，让千年前的圣贤气象透过笔墨流转至今，字里行间藏着文人对精神高地的仰望，静静铺展儒家文化的厚重底蕴。仿佛能触碰到古贤的温煦目光，感受到那份跨越时空的精神共鸣，笔墨间流淌的不仅是赞语，更是对传统人文精神的永恒致敬。",[23,110,198,7,199,26,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6b690f1b1e586a6fbc7523d4cf90c0.jpg",[],{"id":71004,"slug":71005,"title":71006,"dynasty":18,"author":55250,"museum":107,"description":71007,"tags":71008,"thumbUrl":71009,"material":312,"size":95,"collection":95,"collections":71010,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215694,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-95-wu-gao-zeng-215694","摹吴道子圣贤像赞图册-95","线描勾勒的圣贤形象衣袂翩跹，如吴带当风般流畅灵动，人物神态庄重沉稳，尽显智者风骨。旁侧墨书题赞笔力浑厚，文字与画像相映成趣，文图共生间传递出对圣贤品格的敬仰。拓本的斑驳质感，更添岁月沉淀的韵味，仿佛跨越时空与古贤对话。整体风格古朴典雅，线韵与墨香交织，既藏艺术之精妙，亦含人文之深蕴，在黑白方寸间，尽显传统图文结合的独特魅力。",[23,24,25,26,112,113,110,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06395decc3c77eae0aaf3256eed47e0.jpg",[],{"id":71012,"slug":71013,"title":71014,"dynasty":18,"author":55250,"museum":107,"description":71015,"tags":71016,"thumbUrl":71017,"material":312,"size":95,"collection":95,"collections":71018,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215693,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-100-wu-gao-zeng-215693","摹吴道子圣贤像赞图册-100","右侧线描人物衣袂轻扬却见沉敛风骨，袍袖褶皱间藏着圣贤的儒雅气象，简练线条勾勒出庄重神态，形神兼备。左侧楷书笔力端稳，墨色沉厚，赞语文字与画像相映成趣，笔墨间浸透着对先贤的敬慕之情。整幅作品以黑白为底，线条为骨，图文共生，既显书法的严谨法度，又彰绘画的传神之妙，将圣贤的人格魅力与文化底蕴凝于一纸，耐人细细品味。",[23,24,25,26,112,113,110,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1979d394ff4f024d90c06064a58137.jpg",[],{"id":71020,"slug":71021,"title":71022,"dynasty":18,"author":55250,"museum":107,"description":71023,"tags":71024,"thumbUrl":71025,"material":312,"size":95,"collection":95,"collections":71026,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215691,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-97-wu-gao-zeng-215691","摹吴道子圣贤像赞图册-97","画面分左右二帧，右帧白描圣贤立像，线条清劲得吴道子“吴带当风 ”之韵——衣袂翩然似携清风拂过，须发苍劲如凝岁月霜华；眉眼间藏儒者仁厚，身姿端凝却含灵动之态，举手投足皆显雍容气度｡左帧以浓墨楷书题赞,笔势沉稳方正,墨色匀净如漆,与画像飘逸线条形成刚柔相济之美｡图文相契处,既见圣贤品格之端方,亦显摹绘者对古贤风韵之精准把握,融线描生动与题跋庄重于一卷,尽展古典艺术“形神兼备､诗书合璧”的雅致意趣与深沉底蕴｡",[23,24,25,26,112,199,7,113,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e02232a00daf8e31a46812e6e3a4687.jpg",[],{"id":71028,"slug":71029,"title":71030,"dynasty":18,"author":55250,"museum":107,"description":71031,"tags":71032,"thumbUrl":71033,"material":312,"size":95,"collection":95,"collections":71034,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215690,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-98-wu-gao-zeng-215690","摹吴道子圣贤像赞图册-98","黑底白线勾勒的圣贤像，线条如行云流水般舒展，衣袂飘举间藏“吴带当风”遗韵。人物面容端肃却含温润，手持方匣似蕴典籍，身姿挺拔沉稳，尽显儒雅风骨。旁列墨书赞语，笔力沉厚与线描灵动相映，文图共生古意盎然。摹绘者得原作精髓，以精炼笔触捕捉圣贤内在气度，黑白碰撞简洁却张力十足，凝传统人物画笔墨神韵与文化底蕴于方寸，读之如见先贤风貌，心生敬慕。",[23,25,26,112,110,7,113,70896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6362471a2857d48493cb2adc510d59b4.jpg",[],{"id":71036,"slug":71037,"title":71038,"dynasty":18,"author":55250,"museum":107,"description":71039,"tags":71040,"thumbUrl":71041,"material":312,"size":95,"collection":95,"collections":71042,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215689,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-106-wu-gao-zeng-215689","摹吴道子圣贤像赞图册-106","左幅墨痕沉厚，题赞文字笔力端凝，古雅之韵隐于笔画间；右幅线描人物衣袂流转若流云，尽得“吴带当风”的灵动。人物神情肃穆，手持器物姿态庄重，圣贤沉静气度跃然纸上。图文相契，笔墨间既见摹古的精工，又藏气韵的生动。黑底衬白描清劲，朱印点缀添古意，整体氛围肃穆典雅，似能触碰到往昔圣贤的风骨，与文脉流转的温度。",[23,24,25,26,112,110,113,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913c24f08bf1afacf29b9a92114a7f88.jpg",[],{"id":71044,"slug":71045,"title":71046,"dynasty":18,"author":55250,"museum":107,"description":71047,"tags":71048,"thumbUrl":71049,"material":312,"size":95,"collection":95,"collections":71050,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215688,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-99-wu-gao-zeng-215688","摹吴道子圣贤像赞图册-99","墨拓肌理间，白描圣贤身姿儒雅，衣纹线条如吴带当风般灵动，简劲中藏飘逸韵致。左侧楷字端严沉厚，字句述颜氏孝悌家风与世德传承，笔墨与画像相映成趣，尽显先贤庄重气象。黑底衬出的白痕似凝岁月沉香，每一笔皆含对古圣的敬慕，让观者于古朴质感里，触摸到文脉传承的温润力量，仿佛与先贤隔空对话，感知那份跨越时空的精神共鸣。",[23,24,25,26,112,199,7,113,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad94c927cdeebbf2f364e2d4d7e9abf.jpg",[],{"id":71052,"slug":71053,"title":71054,"dynasty":18,"author":55250,"museum":107,"description":71055,"tags":71056,"thumbUrl":71057,"material":312,"size":95,"collection":95,"collections":71058,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215686,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-104-wu-gao-zeng-215686","摹吴道子圣贤像赞图册-104","纸页泛黄如陈酿的时光，斑驳纹理间藏着岁月的私语。手写墨迹与贴存的藏书标签，似过往藏家的低语，印刻着文脉流转的痕迹。“圣贤像赞”四字古朴沉厚，隐约可见圣贤风骨与人文温度。那些深浅不一的印记，是时光摩挲的佐证，也是历史与当下的对话。翻开它，仿佛能触到古人对圣贤的敬仰，感受到文脉传承的绵长。每一处磨损、每一枚印记，都在诉说着它走过的岁月，成为连接古今的静默桥梁，让圣贤的精神在时光里静静流淌。",[23,24,25,110,26,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0188fc4c26bcf461596cf337fa04482.jpg",[],{"id":71060,"slug":71061,"title":71062,"dynasty":18,"author":55250,"museum":107,"description":71063,"tags":71064,"thumbUrl":71065,"material":312,"size":95,"collection":95,"collections":71066,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215683,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-107-wu-gao-zeng-215683","摹吴道子圣贤像赞图册-107","左幅楷书题赞笔力沉厚，字字端严；右绘圣贤立像，衣纹线条如吴带当风，流转自然。人物峨冠博带，神情温雅肃穆，手持卷册似欲传道授业，眉宇间藏着经世济民的睿思。文与图相映成趣，赞语的庄重与画像的传神交织，将圣贤的儒雅气度与深邃哲思凝于一纸。墨线虽简，却足见摹绘者功力，既保留原作风骨，又透出古朴韵味，让人仿佛能触摸到千年前圣贤的风范，于静默中体悟那份穿越时空的精神力量。",[23,24,25,26,112,199,7,110,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1180d2f4ae4963e0a3ddf47595531a.jpg",[],{"id":71068,"slug":71069,"title":71070,"dynasty":18,"author":55250,"museum":107,"description":71071,"tags":71072,"thumbUrl":71073,"material":312,"size":95,"collection":95,"collections":71074,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215682,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-114-wu-gao-zeng-215682","摹吴道子圣贤像赞图册-114","左文右图相契成趣，墨线勾勒的圣贤侧首持卷，衣袂飘举如临风，眉宇间凝着沉思与笃定，似将经籍智慧藏于俯仰之间。左侧题字笔力沉厚，字字端严，文辞里满是对勤学治世的推崇，与画像飘逸气韵相映。墨色浓淡相宜，纸间漫着古雅书卷气，把圣贤精神气韵凝在方寸之内，读文见志，观像悟心，一笔一画皆见对先贤的敬慕与文脉传承。",[23,112,110,199,7,26,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6968b1d5f0481433b258998317af182.jpg",[],{"id":71076,"slug":71077,"title":71078,"dynasty":18,"author":55250,"museum":107,"description":71079,"tags":71080,"thumbUrl":71081,"material":312,"size":95,"collection":95,"collections":71082,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215681,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-113-wu-gao-zeng-215681","摹吴道子圣贤像赞图册-113","画面以墨底白描铺展，右侧圣贤像衣纹线条流转如行云，承吴带当风之韵，人物眉目间凝儒雅沉静之态，手持书卷似欲诉经义之奥。左侧题字笔力端稳，与画像相映成趣，墨色浓淡间见古朴质感。整幅作品融线描之灵动与书法之庄重，于方寸间勾勒圣贤风骨，传递古典文化的沉静韵味，仿佛能窥见千年前圣贤授业的雅境，虽经岁月沉淀，仍显笔墨间的人文温度，是书画合璧、摹古见心的佳作。",[23,25,26,112,110,199,7,113,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018804e3c1656f84ae83b96fbb5b2d5a.jpg",[],{"id":71084,"slug":71085,"title":71086,"dynasty":18,"author":55250,"museum":107,"description":71087,"tags":71088,"thumbUrl":71089,"material":312,"size":95,"collection":95,"collections":71090,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215679,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-110-wu-gao-zeng-215679","摹吴道子圣贤像赞图册-110","墨地衬映下，白描圣贤像线条流转如行云，衣袂翩然带吴门画韵遗风，面容端凝间见仁礼气象。旁侧楷书赞语笔力沉厚，字句间颂至孝之行、守礼之节，文图相契，共显圣贤品格。摹绘者以细腻笔意追摹吴道子白描神韵，线条劲挺中含灵动，人物姿态庄重却不板滞，似将先贤风骨凝于纸端。整幅作品古朴雅致，文与画共生，既见笔墨艺术之美，更载圣贤文化之厚重，让人于观瞻间感遇先贤气韵，体悟传统人文的深沉力量。",[23,112,110,199,7,113,26,198,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1765f19a2ab2662a335bc55df29b209.jpg",[],{"id":71092,"slug":71093,"title":71094,"dynasty":18,"author":55250,"museum":107,"description":71095,"tags":71096,"thumbUrl":71097,"material":312,"size":95,"collection":95,"collections":71098,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215678,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-116-wu-gao-zeng-215678","摹吴道子圣贤像赞图册-116","黑底衬白描，如素宣染墨却反其道，愈显人物风骨卓然。袍服褶皱如流云舒卷，线条简练却藏万钧力道，人物神态端肃中含智性，似有圣贤遗风拂面而来。左侧书法笔力遒劲，墨色与白描相映成趣，文辞与造像共生，一字一画皆凝敬慕之心。黑白对比间，古雅之气漫溢，仿佛时空折叠，先贤立于眼前，低语往昔。笔墨间藏着传统艺术的韵致，含蓄而庄重，引人沉潜于历史的幽光里，感受那份跨越千年的精神共鸣。",[23,110,112,199,113,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7983915e18cec809f505ee7e3634f1bd.jpg",[],{"id":71100,"slug":71101,"title":71102,"dynasty":18,"author":55250,"museum":107,"description":71103,"tags":71104,"thumbUrl":71105,"material":312,"size":95,"collection":95,"collections":71106,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215677,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-111-wu-gao-zeng-215677","摹吴道子圣贤像赞图册-111","墨底之上，白描圣贤衣袂翩然，线条似行云流水，勾勒出雍容仪态与肃穆神情，尽显仁智风骨。左侧题字笔锋端稳，与画像相得益彰，笔墨间流淌着古贤的哲思与襟怀。摹作承吴道子画风之韵，以线塑神，以文传意，将圣贤气象与人文底蕴凝于方寸，古雅醇厚，耐人寻味。",[23,112,198,199,110,113,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd10096d8582eb8a177d6455aeaa9fb3.jpg",[],{"id":71108,"slug":71109,"title":71110,"dynasty":18,"author":55250,"museum":107,"description":71111,"tags":71112,"thumbUrl":71113,"material":312,"size":95,"collection":95,"collections":71114,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215676,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-112-wu-gao-zeng-215676","摹吴道子圣贤像赞图册-112","黑底如凝脂，白字似镂玉，墨色沉厚如夜，笔锋挺劲若松。赞语词句庄重，书法端严规整，每一笔都透着对圣贤的虔敬。虽为摹本，却得原作风神，文字与画像（册中图文相契）相映，仿佛能窥见圣贤们的仁风德韵。纸页间古意盎然，墨痕如刻，岁月未减其辉，尽显摹刻之精工。展卷即见儒韵流转，圣贤气象跃然纸上，令人心生敬畏与追慕。笔锋转折处，似有千年文脉流淌，古雅肃穆的氛围，将观者拉回对圣贤之道的沉思里。",[23,25,26,110,199,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0b608259ef8d6625334a3bc7b9afa2.jpg",[],{"id":71116,"slug":71117,"title":71118,"dynasty":18,"author":55250,"museum":107,"description":71119,"tags":71120,"thumbUrl":71121,"material":312,"size":95,"collection":95,"collections":71122,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215675,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-115-wu-gao-zeng-215675","摹吴道子圣贤像赞图册-115","墨底之上，白描人物与楷书题赞相映成趣。右侧圣贤手持书卷，衣纹线条如行云流水，兼具灵动与庄重，眉眼间流露专注儒雅之态。左侧题字笔力沉厚，结体端严，与人物清雅气韵相得益彰。整体布局疏密有致，图文互衬，既保留碑刻古雅质感，又以细腻线条勾勒生动情态。墨色浓淡相宜，线条转折自然，将圣贤端庄与书卷气融于一体，传递沉静内敛的文化意蕴，尽显传统艺术的笔墨神韵与人文情怀。",[23,24,25,26,112,110,199,7,113,70896,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0104ce360705c720e820504675e92bc8.jpg",[],{"id":71124,"slug":71125,"title":71126,"dynasty":18,"author":55250,"museum":107,"description":71127,"tags":71128,"thumbUrl":71129,"material":312,"size":95,"collection":95,"collections":71130,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215674,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-120-wu-gao-zeng-215674","摹吴道子圣贤像赞图册-120","黑底之上，白描线条如流云泻地，勾勒出圣贤宽袍博带的身形，衣袂飘举间藏着吴带当风的遗韵。左侧题赞笔墨苍劲，与画像相映成趣，字里行间的敬仰与画像中的庄重气质交融。墨色浓淡相宜，既保留了古本的沉静质感，又透过细腻线条凸显人物的儒雅风骨。圣贤面容温润，眼神深邃，似含千年智慧，整幅作品在黑白交织中，将圣贤的德范与艺术的韵致凝于一纸，尽显古典雅韵与人文底蕴。",[23,24,25,26,112,110,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923087e2079c1bb00146da411a4a8784.jpg",[],{"id":71132,"slug":71133,"title":71134,"dynasty":18,"author":55250,"museum":107,"description":71135,"tags":71136,"thumbUrl":71137,"material":312,"size":95,"collection":95,"collections":71138,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215673,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-117-wu-gao-zeng-215673","摹吴道子圣贤像赞图册-117","线描勾勒的圣贤形象，冠带整齐，长袍广袖间透着儒雅风范。左手轻抬似欲论道讲学，眉目间藏着深思与庄重。旁侧题赞文字笔力沉厚，与白描人物相映成趣，墨色浓淡间晕染出古雅气息。画面以黑底衬白迹，如拓片般古拙，既见线条凝练的功底，又含对先贤的追慕之情。人物神韵与文字意涵交融，尽显传统艺术的庄重雅致，仿佛能窥见先贤论道的身影，传递出深厚的文化底蕴与艺术魅力。",[23,26,112,110,199,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa167715fab045596362f6a0aee791e7d.jpg",[],{"id":71140,"slug":71141,"title":71142,"dynasty":18,"author":55250,"museum":107,"description":71143,"tags":71144,"thumbUrl":71145,"material":312,"size":95,"collection":95,"collections":71146,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215670,"mo-wu-dao-zi-sheng-xian-xiang-zan-tu-ce-118-wu-gao-zeng-215670","摹吴道子圣贤像赞图册-118","线描圣贤像立于右侧，衣纹如吴带当风，劲挺线条勾勒出儒雅庄重的身姿，手持器物的姿态从容，眉宇间藏着哲思的沉静。左侧墨书沉厚端严，楷字字句皆为赞语，“交以德相尚”的处世智慧，“志渊深力强”的修身追求，与画像相映成趣。图文相契，以线塑神，以文传意，笔墨间见风骨，字里行间藏底蕴。古朴的黑底白描，沉郁中透着清雅，仿佛能触到那份跨越时光的人文温度，让圣贤的德行与智慧在眼前缓缓流淌。",[23,18,110,112,113,7,26,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75aa9ebfedafaa25aa8cfc726473c42c.jpg",[],{"id":71148,"slug":71149,"title":71150,"dynasty":18,"author":11046,"museum":11047,"description":71151,"tags":71152,"thumbUrl":71153,"material":50,"size":95,"collection":95,"collections":71154,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215628,"yu-zhi-geng-zhi-tu-22-kang-xi-215628","御制耕织图-22","墨痕与线条交织成农桑的生动画卷。或绘田畴间扶犁深耕的专注，或描织室里拈线穿梭的勤勉，人物姿态鲜活，器具形制毕肖。题诗笔墨浑厚雅致，与插画相映成趣，字里行间藏着对稼穑艰辛的体恤，对衣食本源的敬畏。纸页间漫溢着劝课农桑的深意，将对民生的关切融于丹青。每一处细节皆见匠心：犁铧的弧度，织机的经纬，乃至农人的衣纹褶皱，都经细致描摹。这不仅是笔墨艺术的佳作，更是承载农耕文明记忆的载体，让千年农桑的温度与智慧，在纸墨间静静流淌，引人回望衣食所系的本源之美。",[23,24,25,7,60,50,26,113,12028,12029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F514e010f93dff88dedba42bba5e99258.jpg",[],{"id":71156,"slug":71157,"title":71158,"dynasty":18,"author":454,"museum":107,"description":71159,"tags":71160,"thumbUrl":71161,"material":169,"size":95,"collection":95,"collections":71162,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},215182,"yi-shi-ji-yao-tan-9-yi-ming-215182","医士及药摊-9","画面定格市井一隅，医士躬身问诊，与坐于药摊前的患者相对，动作间藏着旧时医患的温煦。药摊陈设简素，药罐、布包错落，背景竖牌题字隐约，似是药铺招牌的写意。笔墨线条朴拙却传神，淡彩晕染出清润质感，无浓墨重彩修饰，却将老巷行医日常描摹得鲜活可触。医士衣袂褶皱、患者姿态，乃至药摊旁小物，皆为彼时民生缩影，静静诉说远去岁月里的平凡与真切，满浸生活烟火气。",[23,24,27,26,112,113,834,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095a40c4a577f732ac4d854a472c36f6.jpg",[],{"id":71164,"slug":71165,"title":71166,"dynasty":18,"author":454,"museum":107,"description":55322,"tags":71167,"thumbUrl":71168,"material":33,"size":95,"collection":95,"collections":71169,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215130,"er-shi-si-xiao-tu-ce-11-yi-ming-215130","二十四孝图册-11",[23,24,26,27,113,7,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17b78227ac96c2e0902c5dd182b46d0.jpg",[],{"id":71171,"slug":71172,"title":71173,"dynasty":18,"author":454,"museum":107,"description":55322,"tags":71174,"thumbUrl":71175,"material":33,"size":95,"collection":95,"collections":71176,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215129,"er-shi-si-xiao-tu-ce-9-yi-ming-215129","二十四孝图册-9",[23,24,25,26,111,27,113,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f7aca2678ac037c3d27ee1b8668d62.jpg",[],{"id":71178,"slug":71179,"title":71180,"dynasty":18,"author":454,"museum":107,"description":55322,"tags":71181,"thumbUrl":71182,"material":33,"size":95,"collection":95,"collections":71183,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215125,"er-shi-si-xiao-tu-ce-8-yi-ming-215125","二十四孝图册-8",[23,24,25,26,27,113,132,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c421679aee20b560e67e827f9c46b39.jpg",[],{"id":71185,"slug":71186,"title":71187,"dynasty":18,"author":454,"museum":107,"description":55322,"tags":71188,"thumbUrl":71189,"material":33,"size":95,"collection":95,"collections":71190,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215120,"er-shi-si-xiao-tu-ce-18-yi-ming-215120","二十四孝图册-18",[23,24,25,26,27,113,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd08e2450b02fb71725b50a54d9efc14.jpg",[],{"id":71192,"slug":71193,"title":71194,"dynasty":18,"author":454,"museum":107,"description":55322,"tags":71195,"thumbUrl":71196,"material":33,"size":95,"collection":95,"collections":71197,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215119,"er-shi-si-xiao-tu-ce-13-yi-ming-215119","二十四孝图册-13",[23,24,25,26,27,111,7,199,113,834,2919,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f2692812adcc5ecaa2b17cf0daf32d.jpg",[],{"id":71199,"slug":71200,"title":71201,"dynasty":18,"author":454,"museum":107,"description":55322,"tags":71202,"thumbUrl":71203,"material":33,"size":95,"collection":95,"collections":71204,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215118,"er-shi-si-xiao-tu-ce-22-yi-ming-215118","二十四孝图册-22",[23,24,26,27,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc24d788670c9341b658475572bc21d8a.jpg",[],{"id":71206,"slug":71207,"title":71208,"dynasty":18,"author":454,"museum":107,"description":55322,"tags":71209,"thumbUrl":71210,"material":33,"size":95,"collection":95,"collections":71211,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215117,"er-shi-si-xiao-tu-ce-21-yi-ming-215117","二十四孝图册-21",[23,24,27,113,26,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223b19a4ca2fa60600e1ef5968075000.jpg",[],{"id":71213,"slug":71214,"title":71215,"dynasty":18,"author":454,"museum":107,"description":55322,"tags":71216,"thumbUrl":71217,"material":33,"size":95,"collection":95,"collections":71218,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":100},215114,"er-shi-si-xiao-tu-ce-24-yi-ming-215114","二十四孝图册-24",[23,24,25,26,27,111,113,651,116,7,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e0a88dfdc426e2e8e9497d537c9e80.jpg",[],{"id":71220,"slug":71221,"title":71222,"dynasty":179,"author":454,"museum":72,"description":71223,"tags":71224,"thumbUrl":71225,"material":33,"size":71226,"collection":95,"collections":71227,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},214776,"zhi-sheng-xian-xian-ban-shen-xiang-31-yi-ming-214776","至圣先贤半身像-31","这本60页的画册展示了从孔子到许衡（1209-1281），从春秋时期（公元前770-476年）到元朝的121位著名学者，最初被放置在清宫的南董殿，那里保存着皇帝、皇后和贤臣的图像。",[23,24,25,26,27,111,113,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41ab81dddf580743b525229b1cd55b81.jpg","33.3x24.3",[],{"id":71229,"slug":71230,"title":71231,"dynasty":23400,"author":11301,"museum":20,"description":71232,"tags":71233,"thumbUrl":71234,"material":95,"size":95,"collection":95,"collections":71235,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71236},203274,"wu-chang-shuo-xiang-tu-zhou-wang-zhen-203274","吴昌硕像图轴","这幅肖像以水墨写意手法绘就，线条简练却形神毕肖。吴昌硕身着长袍，手持器物，神态雍容沉静，尽显一代宗师的儒雅气度。上方草书题跋笔势纵逸，墨色浓淡相生，与肖像相映成趣，融书画于一轴，既藏弟子对恩师的敬重，亦显二人艺术精神的共鸣。画面布局疏密得宜，质朴中见真韵，生动捕捉了吴昌硕的长者风范与文人风骨。",[24,50,113,75,7,398,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd300f74dde494133dd2c19faf8ff8f33.jpg",[],"bdb9aa",{"id":71238,"slug":71239,"title":24211,"dynasty":23400,"author":7591,"museum":20,"description":71240,"tags":71241,"thumbUrl":71242,"material":95,"size":95,"collection":95,"collections":71243,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71244},203207,"shu-hua-cheng-shan-wu-hu-fan-203207","扇面之上，山水意境悠然铺展。皴笔勾勒山峦轮廓，墨色浓淡交织间显丘壑层次，浅绛设色晕染出雅致温润的氛围；林木错落，或浓墨点染或淡笔轻描，生机暗藏于方寸之间。一侧书法笔力沉稳流转，与画面相映成趣，书画合璧，将文人雅趣凝于咫尺扇骨间。笔墨流转见匠心，咫尺纳万象，尽显传统艺术的精妙韵味。",[1250,51,27,59,7,251,2028,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e48dcd80a50556b5c5eeec5127996fe.jpg",[],"bab0a3",{"id":71246,"slug":71247,"title":5945,"dynasty":18,"author":19,"museum":20,"description":71248,"tags":71249,"thumbUrl":71250,"material":95,"size":95,"collection":35,"collections":71251,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71252},203134,"hua-hui-tu-ce-yun-shou-ping-203134","画面中桃花灼灼，粉瓣层叠间晕染出自然过渡，嫩蕊含露似带春温，枝叶以淡绿衬之，柔劲相生。恽寿平以没骨法写就，不用墨线勾勒，直以色彩点染花叶，形神毕肖，尽显“写生正派”之韵。旁配行书题跋，诗画相映，文气盎然，印章朱红点睛，更添雅致。整幅作品清新脱俗，将桃花的娇妍与生机凝于尺幅，尽显文人花卉的逸趣与意韵。",[28,27,29,137,26,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0a1164ef9c9d8b91a295284e5ec1ea.jpg",[35],"d8d1be",{"id":71254,"slug":71255,"title":71256,"dynasty":18,"author":10912,"museum":20,"description":71257,"tags":71258,"thumbUrl":71260,"material":95,"size":95,"collection":95,"collections":71261,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71262},203094,"shi-gao-ce-wang-duo-203094","诗稿册","墨色如晕染的烟霞，枯笔似皴裂的古木，涨墨若积雨的云团，笔势如奔马脱缰，纵横捭阖间尽显雄健气象。线条粗细交错，结体欹侧开合，字行顾盼生姿，疏密有致中藏着章法妙趣。诗稿的笔痕浸透着文人的胸臆，每一笔都是心迹的流露，朱红印章点缀其间，添几分古朴雅韵。笔墨与心性交融，尽显书家风骨与才情。",[60,398,2606,9269,4347,77,7,71259,23],"枯润对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a192ba482a4845e0276f2544d2b653.jpg",[],"ae9b80",{"id":71264,"slug":71265,"title":17304,"dynasty":18,"author":19,"museum":20,"description":71266,"tags":71267,"thumbUrl":71268,"material":95,"size":95,"collection":63,"collections":71269,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71270},203059,"shan-shui-tu-ce-yun-shou-ping-203059","这幅山水图册页笔墨清润秀逸，山峦叠嶂间以浅淡皴染勾勒，林木扶疏，茅舍错落溪边，溪流潺潺绕石而过，意境空灵悠远。题跋行书笔势流畅，与画面浑然一体，文气盎然。观者仿佛步入幽林深处，听泉观山，心随境宁，尽显文人山水的雅致与淡然。",[51,26,50,59,2028,333,267,7,60,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff491261e35c367030ff47d3d9e690073.jpg",[63],"d9bc99",{"id":71272,"slug":71273,"title":71274,"dynasty":23400,"author":663,"museum":20,"description":71275,"tags":71276,"thumbUrl":71277,"material":95,"size":95,"collection":95,"collections":71278,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71279},203042,"xia-tu-zhou-qi-bai-shi-203042","虾图轴","这幅水墨虾图笔墨灵动，意趣盎然。淡墨晕染虾身，层次分明间显其透明质感；浓墨点染虾眼与钳，刚劲有神；纤细虾须如丝舒展，似随水波轻颤。数虾姿态各异，或游或戏，彼此呼应，满溢清池生机。齐白石以数十年观察之功，将虾之神韵凝于笔端，墨色浓淡相宜，线条简练传神，尽显文人画的鲜活与雅致，观之如见活虾在水，灵动不已。",[24,50,75,29,1390,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb7956e39aff7850715d064fac4cb1b9.jpg",[],"d0bea0",{"id":71281,"slug":71282,"title":71283,"dynasty":18,"author":14427,"museum":20,"description":71284,"tags":71285,"thumbUrl":71286,"material":95,"size":95,"collection":187,"collections":71287,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71288},202986,"lin-shu-ce-he-shao-ji-202986","临书册","笔墨游走间，篆隶古意隐于行草线条，浑厚如钟鼎沉音，灵动似流水绕石。每一字结体欹正相生，回腕法的笔势裹着苍劲力道，却又不失帖学的婉转韵致。临摹中见自家风骨，既守传统法度，又破陈规束缚，墨色浓淡相宜，章法疏密有致，尽显书家熔铸碑帖的深厚功力与艺术巧思。右下角朱印点缀，更添古朴雅趣，一册在手，可窥书者笔底乾坤。",[7,60,398,110,50,26,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f92c72e83549573010ce497fed7221.jpg",[187],"d2c6b5",{"id":71290,"slug":71291,"title":71292,"dynasty":23400,"author":71293,"museum":20,"description":71294,"tags":71295,"thumbUrl":71296,"material":95,"size":95,"collection":95,"collections":71297,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71298},202772,"hong-lian-tu-zhou-tong-da-nian-202772","红莲图轴","童大年","画面中红莲灼灼，花瓣晕染细腻，从粉白渐变至淡红，花蕊墨绿点缀，尽显娇嫩之态。硕大的荷叶以浓绿设色，脉络清晰如织，与柔媚的花朵相映成趣。旁逸的水草线条灵动，添了几分野趣。上方题诗笔墨流畅，与工致的花鸟相映，诗画交融间，漾出夏日荷塘的清雅生机。整幅作品工笔细腻，设色明丽，既见自然意趣，又含文人雅韵。",[111,27,399,29,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb4ce0191762fbc10ede49e5144e2e9.jpg",[],"a48b5f",{"id":71300,"slug":71301,"title":71302,"dynasty":18,"author":32620,"museum":20,"description":71303,"tags":71304,"thumbUrl":71305,"material":95,"size":95,"collection":95,"collections":71306,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71307},202730,"song-mei-tu-zhou-zhang-peng-chong-202730","松梅图轴","画面下幅以水墨绘就松梅景致：苍松虬枝盘曲，松针劲挺细密，墨色浓淡交错，尽显古木苍劲之态；旁侧疏梅枝桠横斜，寒花点点，清雅脱俗。上幅书法笔力沉稳，结体端方，与下方画作相映成趣，诗书画印融于一体，流露文人雅韵。松梅并置，寓意坚韧高洁，笔墨间饱含对自然生机与品格的赞颂，尽显传统文人画的意趣与风骨。",[24,25,75,50,133,131,199,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4385d1bb31ef2491a9f36bb9474ece.jpg",[],"d0c2ab",{"id":71309,"slug":71310,"title":71311,"dynasty":18,"author":830,"museum":20,"description":71312,"tags":71313,"thumbUrl":71315,"material":95,"size":95,"collection":95,"collections":71316,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71317},202631,"cang-song-tu-zhou-wu-chang-shuo-202631","苍松图轴","苍松主干以篆籀笔法挥写，墨色浓淡交错，皴擦点染间，老干斑驳如千年古木，纹理盘结似龙蛇游走。松针簇簇如剑戟，墨线劲挺，锋芒暗藏；枝干虬曲向上，虽显苍劲却不失灵动，尽显以书入画的金石韵味。整幅以水墨为基调，无华彩设色，却于黑白虚实中营造出松之坚韧不拔、傲立风霜的气度。粗放笔触里藏细腻情思，沉雄墨气中透文人风骨，是写意画中松题材经典之作，尽显画家晚年笔力沉厚与心境旷达。",[24,50,457,59,7,129,71314],"老","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96beea041a51c162272cf2362b03c46.jpg",[],"bcb3ac",{"id":71319,"slug":71320,"title":71321,"dynasty":18,"author":71322,"museum":20,"description":71323,"tags":71324,"thumbUrl":71325,"material":95,"size":95,"collection":95,"collections":71326,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71327},202600,"lin-wang-wen-zhi-xiao-xiang-tu-zhou-zhang-xie-202600","临王文治肖像图轴","张燮","画面底色淡赭清雅，中部老者身着素白长衣，衣纹线条流畅飘逸；手持虬枝拐杖，杖身纤细含劲。老者面容温润沉静，眉宇间尽显儒雅气度。上方题字笔力沉稳，左下角题跋与印章相映，添古朴之韵。构图疏朗，设色淡雅，以线塑型，工细灵动，将文人雅士的闲适心境与超然气度淋漓展现。",[24,75,113,111,27,112,110,7,43460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7905bbcb776aedb3df221c49b6788c1b.jpg",[],"dbcec1",{"id":71329,"slug":71330,"title":71331,"dynasty":18,"author":14852,"museum":20,"description":71332,"tags":71333,"thumbUrl":71334,"material":95,"size":95,"collection":95,"collections":71335,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71336},202394,"song-jian-ming-quan-tu-zhou-zhang-ruo-cheng-202394","松涧鸣泉图轴","画面以水墨晕染，苍松虬枝盘曲，扎根于嶙峋怪石间，松针如簇，尽显古劲之姿。山间飞瀑自崖壁倾泻而下，溪流蜿蜒穿石而过，水声似可闻。山石以皴法勾勒，纹理层叠，质感厚重。笔墨淡雅却见精妙，松的坚韧与水的灵动交织，营造出清幽静谧的山林之境。题跋笔墨与画韵呼应，书法与山水相融，更添文人雅致。",[24,50,51,133,266,59,75,7,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47a87385d8f3adf643d93021753eedf.jpg",[],"d4c4b5",{"id":71338,"slug":71339,"title":71340,"dynasty":45,"author":17189,"museum":20,"description":71341,"tags":71342,"thumbUrl":71343,"material":95,"size":95,"collection":95,"collections":71344,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71345},202296,"pan-qin-tai-xiao-xiang-zhou-ceng-jing-202296","潘琴台肖像轴","画面中人物素袍乌帽，竹杖在手，立于绢素之上。面容以淡墨晕染出细腻肌理，神情沉静儒雅，眉宇间透着文人清逸风骨。衣纹线条简劲流畅，既显衣物垂坠质感，又衬人物从容仪态。四周题跋笔墨苍劲，与肖像相映成趣，融写实精准与文人意趣于一体。墨色层次丰富，神态捕捉传神，是明代肖像画中技法娴熟、意蕴深厚的佳作。",[113,111,27,7,77,50,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074558e8a9c7dc7dad61b62552e219d2.jpg",[],"ac8447",{"id":71347,"slug":71348,"title":71349,"dynasty":18,"author":14665,"museum":20,"description":71350,"tags":71351,"thumbUrl":71352,"material":95,"size":95,"collection":95,"collections":71353,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71354},202234,"qiu-lin-yuan-xiu-tu-zhou-da-chong-guang-202234","秋林远岫图轴","秋意浸染的山水间，远岫朦胧隐于烟霭，近树疏朗垂枝拂水，孤舟轻泛江面，茅舍静立林下，高木苍劲添几分清寂。笔墨以水墨设色为底，皴染结合勾勒山石肌理，树木笔法简练却见生机，舟楫茅舍线条精准，藏生活意趣。右侧题跋书法流畅，与画面相映成趣，文墨共生间，尽显文人山水的雅致悠远。",[24,50,27,51,54,115,17570,59,7,75,43460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6e7f68fa2211c0b234a3d3c5b90360.jpg",[],"a38452",{"id":71356,"slug":71357,"title":71358,"dynasty":45,"author":5463,"museum":20,"description":71359,"tags":71360,"thumbUrl":71363,"material":95,"size":95,"collection":95,"collections":71364,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71365},202074,"xing-shu-qi-jue-shi-zhou-zhang-rui-tu-202074","行书七绝诗轴","墨线如铁画银钩，欹侧结体似险峰叠嶂，于失衡中寻得奇崛平衡。起笔斩钉截铁，行笔奔雷掣电，转折处露锋毕现，尽显绵里藏针的劲道。字间牵丝隐现，行距疏密有致，立轴气势连贯如长江奔涌。笔锋锐利与墨色沉厚交织，将七绝诗意化作纸上跌宕波澜，晚明书风的奇逸在此展露无遗，狂放不羁的艺术风骨跃然绢上。",[60,7,75,15437,3331,10602,77,71361,71362],"奇逸","劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af9bdfed3447fc7719ab3413228e9a4.jpg",[],"a68a59",{"id":71367,"slug":71368,"title":34650,"dynasty":18,"author":6672,"museum":20,"description":71369,"tags":71370,"thumbUrl":71371,"material":95,"size":95,"collection":95,"collections":71372,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":39927},201750,"mo-zhu-tu-zhou-zheng-xie-201750","这幅墨竹以水墨写意，竹竿挺拔却不板滞，节节生姿；竹叶错落如舞，浓墨处如坠露，淡墨处似含烟，墨色层次间藏着自然的风致。画家以书入画，竹枝的撇捺带着行书的笔意，线条刚劲又灵动，每一片叶都透着鲜活的气韵——非对竹摹写，而是胸臆的挥洒。题款行书与竹影相映，笔墨交融，诗画合一，尽显文人画的雅趣。素纸留白处似有清风穿林，清雅之气溢出纸面，既见竹之高节，也藏着画者的傲骨与逸怀。",[50,132,75,60,77,24,7,3091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207f7fe850752772146afddb7b2a47c1.jpg",[],{"id":71374,"slug":71375,"title":71376,"dynasty":45,"author":454,"museum":20,"description":71377,"tags":71378,"thumbUrl":71379,"material":95,"size":95,"collection":95,"collections":71380,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71381},201652,"shu-shan-yi-ming-201652","书扇","扇面形制独特，弧形天地间笔墨流转自如。行笔跌宕起伏，线条粗细变化有致，墨色浓淡相间，显见运笔时的节奏与力度。章法疏密得当，字与字、行与行顾盼生姿，气脉贯通。虽佚名，却尽显明代书法尚意之风，自由洒脱中见功力，每一笔皆含韵致，或疾或缓、或重或轻，如行云流水，于方寸间铺展万千气象，观之赏心悦目，足见书者深厚笔墨功底与艺术才情。",[1250,60,7,77,3331,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5cc2c34ca1fe644aaba285737b600a.jpg",[],"d1bea6",{"id":71383,"slug":71384,"title":71385,"dynasty":18,"author":71386,"museum":20,"description":71387,"tags":71388,"thumbUrl":71389,"material":95,"size":95,"collection":95,"collections":71390,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71391},201498,"mei-yue-shuang-qing-tu-zhou-jin-li-ying-201498","梅月双清图轴","金礼嬴","梅枝虬曲盘绕，老干以干笔皴擦出苍劲肌理，新梢轻盈舒展，墨色浓淡相衔，花萼淡墨点染，素雅灵动。月色未著笔痕，却借留白与梅影相映，漾出清辉满纸的幽远意境。题跋书法与梅枝气韵相融，朱印点缀更添古雅。整幅画以极简笔墨，写尽梅月双清的绝尘之姿，尽显文人画的清雅风骨，观之如沐晚风，暗香浮动。",[24,50,131,75,7,77,59,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b33120df510f3fecb94f74a76af6914.jpg",[],"b79766",{"id":71393,"slug":71394,"title":71395,"dynasty":45,"author":441,"museum":20,"description":71396,"tags":71397,"thumbUrl":71398,"material":95,"size":95,"collection":171,"collections":71399,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71400},201294,"tan-mei-tu-juan-xiang-sheng-mo-201294","探梅图卷","画面以水墨写意，老梅枝干虬劲横斜，花苞点点蕴生机。文人宽袍俯身，凝神探梅，姿态痴憨尽显对梅的钟爱。旁侧孤石嶙峋，竹影疏淡，衬出清寂雅致之境。笔墨简劲，枝干用皴法勾染，苍劲中见柔韧；梅蕊点染精巧，暗藏春意。右侧题跋满布，行书笔意洒脱，诗画相映，印信点缀，尽显诗书画印合一的文人雅趣，传递传统文人对梅的清雅追求与精神寄托。",[24,50,113,131,250,60,7,77,59,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a28f4fc260a01fd004c1ee1438556e.jpg",[171],"d1c5a6",{"id":71402,"slug":71403,"title":30522,"dynasty":18,"author":830,"museum":20,"description":71404,"tags":71405,"thumbUrl":71406,"material":95,"size":95,"collection":171,"collections":71407,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":71408},201235,"da-mo-xiang-zhou-wu-chang-shuo-201235","达摩趺坐于地，衣袍以水墨晕染，线条简劲如篆籀，尽显朴拙大气。面部寥寥数笔，神情慈悲而坚毅，禅意自生。左侧题跋笔墨苍劲，书画交融，是“书画同源”的生动体现。水墨干湿浓淡相宜，枯笔勾勒衣褶与润墨晕染的袍身形成对比，层次丰富。整体画风沉雄老辣，兼具文人意趣与宗教肃穆，于简约中见深致，尽显独特艺术风貌。",[24,50,113,878,7,77,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1ec924b3f4f93479af2ef246f0f046d.jpg",[171],"c1b5a0",1777535686311]