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师楚金创建多宝塔之原委及修建经过。整体秀美刚劲，清爽宜人，有简洁明快，字字珠玑之感。用笔丰厚遒美，腴润沉稳；横细竖粗，对比强烈；起笔多露锋，收笔多回锋，转折多顿笔。结体严谨致密，紧凑规整，平稳匀称，又碑版精良，存字较多，学颜体者多从此碑下手，入其堂奥。",[23,24,7,25,26],"高清","书法","楷书","字帖","纸本,拓本","285x102","",[],2222,16,0,"37474F",{"id":36,"slug":37,"title":38,"dynasty":39,"author":40,"museum":41,"description":42,"tags":43,"thumbUrl":46,"material":47,"size":48,"collection":29,"collections":49,"showCount":50,"zanCount":51,"manualWeight":33,"mainColor":52},231027,"yi-shan-bei-li-si-231027","峄山碑","秦","李斯","藏地不详","《峄山刻石》是刊刻于秦代的一方摩崖石刻，又称“峄山石刻”“峄山碑”“峄山铭”“绎山刻石”“绎山石刻”“绎山碑”“绎山铭”等，分为两部分，前半部分（“始皇诏”）刻于秦始皇二十八年（前219年），后半部分（“二世诏”）刻于秦二世元年（前209年），传为李斯所书，属小篆书法作品，与《泰山刻石》《琅琊刻石》《会稽刻石》合称“秦四山刻石”。刻石原在山东邹县峄山书门，毁于南北朝时期，现有宋代摹刻碑存于西安碑林，元代摹刻碑存于邹城博物馆。",[44,45,7,24,26],"秦代","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547ea823cba1e55ba521ef04c9c525b3.jpg","未知","Xcm*Xcm",[],566,4,"795548",{"id":54,"slug":55,"title":56,"dynasty":18,"author":57,"museum":41,"description":58,"tags":59,"thumbUrl":63,"material":27,"size":29,"collection":64,"collections":65,"showCount":66,"zanCount":67,"manualWeight":33,"mainColor":52},214599,"lan-ting-xu-ou-yang-xun-214599","兰亭序","欧阳询","兰亭序是中国唐代文学家、诗人欧阳询的代表作之一。这首诗以兰亭为题，记录了欧阳询观赏兰花的感受。\n\n兰亭序共五言，结构严谨，语言优美，内容浅显易懂，是中国古典诗歌中较为著名的小令。兰亭序的前两句描写了兰花的美丽，第三句表达了欧阳询对兰花的喜爱，第四句赞扬了兰花的优雅，最后一句讽刺了当时的社会和政治现实。\n\n兰亭序被誉为“小令之王”，在中国文学史上占有重要地位。它被广泛用于中国古代文学教材，也是中国传统文化中常常被提及的代表作之一。",[24,60,7,61,62],"行书","临摹","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91b9c4a74679c00af5b2ca51b36015d.jpg","书法精选",[64],442,5,{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":72,"description":73,"tags":74,"thumbUrl":76,"material":77,"size":78,"collection":64,"collections":79,"showCount":80,"zanCount":11,"manualWeight":33,"mainColor":34},214423,"da-tang-zhong-xing-song-shang-ce-yan-zhen-qing-214423","大唐中兴颂上册","北京故宫博物院","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第一卷。",[24,25,7,75],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64d0b8cf62ec43954df79bc727074ca7.jpg","纸本","29.3x15.5",[64],327,{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":41,"description":87,"tags":88,"thumbUrl":92,"material":93,"size":94,"collection":29,"collections":95,"showCount":96,"zanCount":11,"manualWeight":33,"mainColor":52},214195,"xi-xia-song-yi-ming-214195","西狭颂","汉","佚名","西狭颂是一首古代汉语诗歌，作者不详。它出自《汉书·尚书志》的《尚书·颂词》一章。\n\n这首诗的前两句是：\n\n西狭有苍鹰，绝顶凌虚空。\n\n西狭是古代中国的一个地名，意思是西偏远的地方。苍鹰是一种高傲的猛禽，它们会在最高的山峰上俯瞰下面的景色。这两句诗的意思是，西狭有苍鹰飞翔，它们在最高的山峰上俯瞰下面的景色，象征着西狭是一个神秘而高贵的地方。\n\n整首诗的内容是对西狭这个地方的赞颂，认为西狭有着自然的美景、深远的历史和传奇的人文。它还描述了西狭的自然风光，如高山、河流、草原和森林。诗人用热情的语言描绘了西狭的美景，并赞美西狭的历史文化。\n\n整首诗的语言流畅，描写生动，是一首典型的古代赞颂诗。",[23,89,24,90,7,91],"汉代","隶书","石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eb94abf532cb1e9624a0ca02a3f241.jpg","纸本,水墨,拓本","315x225",[],260,{"id":98,"slug":99,"title":100,"dynasty":18,"author":101,"museum":102,"description":103,"tags":104,"thumbUrl":110,"material":29,"size":29,"collection":111,"collections":112,"showCount":113,"zanCount":33,"manualWeight":33,"mainColor":34},221111,"xian-shi-kong-zi-xing-jiao-xiang-wu-dao-zi-221111","先师孔子行教像","吴道子","原作佚失","中国古代绘制的各种形式和风格的孔子像存世较多，但真正被广泛认可和接受的是现存于山东曲阜孔庙的石刻本《孔子行教像》，一般认为该石刻本原作为唐代著名画家吴道子所绘，但原作早已不幸遗失。",[105,106,107,108,109,7,24],"名画","国画","书画","白描","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ebcef1acb329791e1db6fadd10e7165.jpg","人物画精选",[111],246,{"id":115,"slug":116,"title":117,"dynasty":118,"author":86,"museum":119,"description":120,"tags":121,"thumbUrl":126,"material":27,"size":127,"collection":29,"collections":128,"showCount":129,"zanCount":11,"manualWeight":33,"mainColor":34},214204,"guo-ji-zi-bai-pan-ming-wen-yi-ming-214204","虢季子白盘铭文","周","中国国家博物馆","铭文铸在郭记子白石板的底座上，共有八行，111个字。铭文讲述了虢国的子白奉命出征，战功赫赫，周王为他举行宴会，并赐予他弓马，以庆贺他的功绩，虢国子白因此制作此盘作为纪念。铭文语言简练、庄重，是金文中的书家法本。",[23,45,7,24,122,123,124,125],"青铜器","铭文","西周","刻铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70f2cb1587c2ca910fba6cf61592a4f.jpg","50.88x29.89",[],225,{"id":131,"slug":132,"title":133,"dynasty":134,"author":135,"museum":72,"description":136,"tags":137,"thumbUrl":140,"material":139,"size":29,"collection":141,"collections":142,"showCount":143,"zanCount":144,"manualWeight":33,"mainColor":34},221015,"xuan-shi-biao-zhong-yao-221015","宣示表","晋","钟繇","梁武帝萧衍誉道“势巧形密，胜于自运”。笔法质朴浑厚，雍容自然。王导东渡时将此表缝入衣带携走，后来传给逸少，逸少又将之传给王修，王修便带着它入土为安，从此不见天日。\n现在所能见到的《宣示表》只有刻本，一般论者部认为是根据王羲之临本摹刻，始见于宋《淳化阁帖》，共18行。后世阁帖、单本多有翻刻，应以宋刻宋拓本为佳。此帖较钟繇其他作品，无论在笔法或结体上，都更显出一种较为成熟的楷书体态和气息，点画遒劲而显朴茂，字体宽博而多扁方，充分表现了魏晋时代正走向成熟的楷书的艺术特征。此帖风格直接影响了二王小楷面貌的形成 (从《黄庭经》、《乐毅论》，《洛神赋十三行》等就可看出)，进而影响到元、明、清三代的小楷创作，如赵孟頫、文徵明、王宠、黄道周等。更具历史意义的是，此帖所具备的点画法则、结体规律等影响和促进了楷书高峰——唐楷的到来。因此，钟繇《宣示表》可以说是楷书艺术的鼻祖。",[24,25,7,138,26,139],"碑帖","小楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd55b96c8113998cb9b0e7129ca046fad.jpg","碑帖精选",[141],201,3,{"id":146,"slug":147,"title":148,"dynasty":134,"author":149,"museum":150,"description":151,"tags":152,"thumbUrl":155,"material":156,"size":157,"collection":64,"collections":158,"showCount":159,"zanCount":160,"manualWeight":33,"mainColor":34},221028,"shi-qi-tie-wang-xi-zhi-221028","十七帖","王羲之","日本京都国立博物馆","《十七帖》是王羲之草书代表作，因卷首由“十七”二字而得名。原墨迹早佚，现传世《十七帖》是刻本。唐张彦远“法书要录”记载了《十七帖》原墨迹的情况：“《十七帖》长一丈二尺，即贞观中内本也，一百七行，九百四十三字。是煊赫著名帖也。太宗皇帝购求二王书，大王书有三千纸，率以一丈二尺为卷，取其书迹与言语以类相从缀成卷。”\n此帖为一组书信，据考证是写给他朋友益州刺史周抚的。书写时间从永和三年到升平五年（公元347-361年），时间长达十四年之久，是研究王羲之生平和书法发展的重要资料。清人包世臣有“十七帖疏征”一文可以参考。\n此帖前人评价甚高。如宋黄伯思说：“此帖逸少书中龙也”。朱熹说“玩其笔意，从容衍裕，而气象超然，不与法缚，不求法脱。所谓一一从自己胸襟中流出者。”也有人认为此帖“笔法古质浑然，有篆籀遗意”。这些评价都很中肯。尤其说它们写的从容、不受法的拘束，好像从自己胸中自然流出一样，最为深刻准确。孙过庭曾说过：“子敬（王献之）已下，莫不鼓努为力，标置成体”，即王羲之以下，都是在写字时故意用力，故意要表现自己有自己的艺术风格，这样就反而失去书写时的自然之美了。这种对比式的评论，对书法欣赏很有启示。",[23,153,24,154,26,7],"草书","长卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4981f2b1a02a1372ae9f32e7e1133e56.jpg","纸本墨拓","纵25.1厘米，横16.4厘米。",[64,141],183,2,{"id":162,"slug":163,"title":164,"dynasty":18,"author":101,"museum":41,"description":165,"tags":166,"thumbUrl":170,"material":171,"size":172,"collection":111,"collections":173,"showCount":174,"zanCount":11,"manualWeight":33,"mainColor":52},221112,"xie-yi-guan-yin-xiang-wu-dao-zi-221112","写意观音像","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[106,167,109,108,7,168,169],"宗教","立轴","吴带当风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76df8acb5d86ef3de96d8dfef46cb63e.jpg","拓片","68x31厘米",[111],176,{"id":176,"slug":177,"title":178,"dynasty":179,"author":86,"museum":41,"description":180,"tags":181,"thumbUrl":182,"material":29,"size":29,"collection":141,"collections":183,"showCount":184,"zanCount":33,"manualWeight":33,"mainColor":34},242190,"dong-han-cao-quan-bei-yi-ming-242190","东汉曹全碑","明","此作为汉隶经典范本，笔致秀逸灵动，波磔舒展柔婉却筋骨暗藏。通篇章法匀整疏朗，字距宽绰，行气舒缓从容，将东汉隶书成熟妍雅的风神尽显。\n\n拓本墨色沉凝古雅，刀痕与笔意交融，朴厚静穆的庙堂之气与娟秀飘逸的文人意趣相融共生。每字各尽姿态，或如垂柳拂风，或似流云卷舒，刚柔相济间法度暗藏。历经岁月淘洗，金石质感依旧清晰可感，静静诉说千年前的笔墨温度，尽显汉隶秀美一路的绝佳风貌。",[24,90,7,26,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb45a6f33821c36606c8cb0fb6a8f021.jpg",[141],170,{"id":186,"slug":187,"title":188,"dynasty":18,"author":57,"museum":72,"description":189,"tags":190,"thumbUrl":191,"material":192,"size":193,"collection":64,"collections":194,"showCount":195,"zanCount":11,"manualWeight":33,"mainColor":52},214512,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-ou-yang-xun-214512","宋拓唐虞恭公温彦博碑","此卷名为《虞恭公温彦博碑》，由岑文本作，欧阳询撰文，唐代刻本，宋代拓本，是《蔼蔼高门》中 高 字的未损坏版本。精美的黑墨水地形图，经裁剪后装在小册子里。虞恭公温彦博碑，又称温彦博碑，立于唐贞观十一年（637年）十月，位于陕西省礼泉县。这块石碑是用纯文字书写的，共有36行77个字符。前言是四行16字的篆书。这块石碑是陕西礼泉昭陵太宗（李世民）墓的陪葬碑之一。\n这块石碑上的书法艺术具有极高的价值，被历代书法家所称道。王虚舟跋曰：“史称欧阳询卒于贞观间，年八十五岁，此碑书于贞观十一年，是率更最晚的作品。复四年，尚有小楷千文，计书此碑，亦已将八十矣。而圆秀膄劲，与《醴泉》、《化度》不殊，宜其特出有唐，为百代模楷也。",[23,24,25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ed2ced78623c5d7dd690f27719b9d0.jpg","纸本,水墨","18.3x9.2",[64],168,{"id":197,"slug":198,"title":199,"dynasty":18,"author":57,"museum":41,"description":200,"tags":201,"thumbUrl":202,"material":47,"size":48,"collection":29,"collections":203,"showCount":204,"zanCount":33,"manualWeight":33,"mainColor":205},288064,"jiu-cheng-gong-li-quan-ming-ou-yang-xun-288064","九成宫醴泉铭","欧阳询（生卒年不详），字信本，潭州临湘县（今湖南长沙市）人。唐朝大臣、书法家。欧阳纥之子。\n隋炀帝即位，欧阳询出任太常博士。武德三年（620年），投靠夏王窦建德，授太常卿一职。武德五年（622年），归顺唐高祖李渊，授侍中，累迁银青光禄大夫、给事中、太子率更令、弘文馆学士，册封渤海县男，主持编撰《艺文类聚》。贞观初年去世，时年八十五岁。\n欧阳询精通书法，与虞世南、褚遂良、薛稷三位并称“初唐四大家”。因其子欧阳通善于书法，父子俩被合称为“大小欧”。书法于平正中见险绝，号为“欧体”。代表作：楷书有《九成宫醴泉铭》《皇甫诞碑》《化度寺碑》，行书有《仲尼梦奠帖》《行书千字文》。对书法有其独到的见解，有书法论著《八诀》《传授诀》《用笔论》《三十六法》。所写《化度寺邑禅师舍利塔铭》《虞恭公温彦博碑》《皇甫诞碑》被称为“唐人楷书第一”。",[25,24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b338cf028ed860694d897ef6773d8.jpg",[],153,"BDBDBD",{"id":207,"slug":208,"title":209,"dynasty":18,"author":210,"museum":211,"description":212,"tags":213,"thumbUrl":214,"material":7,"size":215,"collection":64,"collections":216,"showCount":217,"zanCount":33,"manualWeight":33,"mainColor":52},220152,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-liu-gong-quan-220152","神策军碑-皇帝巡幸左神策军纪圣德碑","柳公权","北京国家图书馆","《神策军碑》全称《皇帝巡幸左神策军纪圣德碑》，唐武宗会昌三年（公元843年）立于皇宫禁地，碑石大小不明，崔铉撰文，柳公权书。碑文记录了回纥汗国灭亡及安辑没斯来降等事，具有重要的历史价值。此碑由翰林学士承旨崔铉撰文，集贤院学士判院事柳公权书写，更增添了此碑的艺术价值。柳公权书写的碑文，其书法结构严整，充分体现了“柳体”楷书骨骼开张、平稳匀称的特点，加之此碑刻工精良，拓本与真迹无异，故后世奉为柳书代表作。",[24,25,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0efbad0515922eed1dfa4d8487673ed2.jpg","58X46",[64],150,{"id":219,"slug":220,"title":221,"dynasty":18,"author":19,"museum":72,"description":222,"tags":223,"thumbUrl":224,"material":77,"size":78,"collection":64,"collections":225,"showCount":226,"zanCount":33,"manualWeight":33,"mainColor":52},214477,"da-tang-zhong-xing-song-xia-ce-1-yan-zhen-qing-214477","大唐中兴颂下册-1","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第二卷。",[24,25,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e1815a2be3556f1076f686cd2bf3cd.jpg",[64],136,{"id":228,"slug":229,"title":230,"dynasty":18,"author":231,"museum":20,"description":232,"tags":233,"thumbUrl":234,"material":192,"size":235,"collection":29,"collections":236,"showCount":226,"zanCount":160,"manualWeight":33,"mainColor":34},214206,"ji-wang-sheng-jiao-xu-huai-ren-214206","集王圣教序","怀仁","据说唐僧玄奘从印度回到长安后，为太宗皇帝翻译了各种佛经，太宗皇帝为他写了一篇序言和一份奏折。这篇序言与太宗皇帝的回信、太子的回文和玄奘的《般若波罗密多心经》译文一起被刻在石头上，成为这块碑。从647年到672年，由于志宁、赖吉、许敬宗、薛元超和李义府历时25年完成，并由诸葛神力润色，朱敬彰刻印。宋代以后，宋以后碑石中断，因捶拓日久，字画逐渐浅细，所以未破损的地形都是宋代的地形。",[23,62,7,24,60,167,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9d33b6ee3ce2f2eadb6650d95c9212.jpg","315.3x141.3",[],{"id":238,"slug":239,"title":240,"dynasty":18,"author":241,"museum":242,"description":243,"tags":244,"thumbUrl":257,"material":77,"size":29,"collection":29,"collections":258,"showCount":259,"zanCount":33,"manualWeight":33,"mainColor":52},221146,"wang-chuan-tu-juan-wang-wei-221146","辋川图卷","王维","美国西雅图美术馆","《辋川图》是唐代王维所作的单幅壁画，原作已无存，现只有历代临摹本存世。\n《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[105,106,245,61,7,154,246,247,248,249,250,251,109,252,253,254,255,256],"壁画","山水画","文人画","山水","亭台楼榭","流水","舟楫","饮酒","弈棋","投壶","田园","意态萧然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ac5cea2dc5878a9ef466c907a570d5.jpg",[],134,{"id":261,"slug":262,"title":263,"dynasty":18,"author":19,"museum":41,"description":264,"tags":265,"thumbUrl":267,"material":29,"size":29,"collection":29,"collections":268,"showCount":269,"zanCount":11,"manualWeight":33,"mainColor":52},227245,"yan-qin-li-bei-yan-zhen-qing-227245","颜勤礼碑","颜勤礼碑，全称唐故秘书省著作郎、夔州都督府长史、上护军颜公神道碑，由颜真卿于唐大历十四年（779年）撰文并书。碑文原为四面刻，现存正书三面，计44行，每行36字。碑文通篇字体给人以厚重、雄健、精丽的感觉，为颜体楷书的巅峰之作。此碑1922年10月于长安出土，现移置西安碑林。",[62,25,7,24,266],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb634e45afaff7caa9dba5ad400676ce2.jpg",[],128,{"id":271,"slug":272,"title":273,"dynasty":274,"author":275,"museum":72,"description":276,"tags":277,"thumbUrl":279,"material":77,"size":280,"collection":64,"collections":281,"showCount":282,"zanCount":144,"manualWeight":33,"mainColor":52},219145,"xing-kai-shu-po-qiang-tie-ba-zan-juan-mi-fei-219145","行楷书·破羌帖跋赞卷","宋","米芾","此帖乃米芾为王羲之《破羌帖》所作题赞，属于米芾晚年绘画代表之作。小楷书笔力秀劲，体势健拔，欹侧纵逸，潇洒奔放又不失法度，整体色调率真自然、意趣盎然。根据款署“癸未岁”，可知其书于北宋崇宁二年（1103）。\n\n赵孟頫早年学书，广益多师，对颜真卿、米芾等墨迹多有临习，在其书作中也能展现受这种名家风格的影响，这从《行书二赞二诗》中便可看到端倪。但是，他最后放弃纵肆放逸的抒写方式，选择了追寻“二王”平和雅静的书风，进而取得卓尔不群的艺术面目。",[23,24,60,25,154,75,278,26,7],"篆刻","https:\u002F\u002Foss.chuangq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752年）刻於陕西兴平县千福寺，宋代移西安碑林，今尚存。楷书，高285厘米，宽 102厘米，为岑勋撰文，颜真卿书，史华刊石。\n《多宝塔碑》是颜真卿早期成名之作，书写恭谨诚恳，直接二王、欧、虞、褚余风。整篇结构严密，字行间有乌丝栏界格，点画圆整，端庄秀丽，一撇一捺显得静中有动，飘然欲仙。此碑拓本精美，笔法结构清晰可见，字体整密匀稳、法度严谨，笔法方折丰劲，秀丽多姿。学颜体者从此碑下手，不久即可入其堂奥。",[24,25,7,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b80377e02767d7e21da48e11e3dac8.jpg","高285厘米，宽 102厘米",[],120,{"id":295,"slug":296,"title":297,"dynasty":18,"author":298,"museum":41,"description":299,"tags":300,"thumbUrl":301,"material":29,"size":29,"collection":29,"collections":302,"showCount":303,"zanCount":160,"manualWeight":33,"mainColor":34},232594,"yan-ta-sheng-jiao-xu-chu-sui-liang-232594","雁塔圣教序","褚遂良","《圣教序》21行，行42字，共821字，文左行。《圣教序记》20行，行40字，共642字，文右行。前者题额是隶书、后者为篆书。褚遂良的官名，前者为中书令、后者为尚书右仆射。年月日，前者为永徽四年岁次癸丑十月己卯朔十五日癸巳、后者为永徽四年岁次癸丑十二月戊寅朔十日丁亥。\n《雁塔圣教序》为褚遂良五十八岁时书，是最能代表褚遂良楷书风格的作品，字体清丽刚劲，笔法娴熟老成。褚遂良在书写此碑时已进入了老年，至此他已为新型的唐楷创出了一整套规范。\n结体：在字的结体上改变了欧，虞的长形字，创造了看似纤瘦，实则劲秀饱满的字体。王偁曾评说：“……同州、雁塔两圣教序记是其自家之法，世传《兰亭》诸本，亦与率更不类。盖亦多出自家机杼故也。”褚遂良书法特点中整幅书法作品以弧形线条居多，即使是短线条，也有一咏三叹的情调。弧线的大量使用，使原本笔直、坚挺的基本笔画，增加了柔和委婉。褚遂良在起笔时略微多了点逆笔，然后引回，波转一下。这些用笔都使褚遂良的书法显得生动活泼，不局限于原有的形式。《雁塔圣教序》的笔画纤细而俊秀，即使是复杂的波折转笔，也是一丝不苟，毫无须发的遗憾。褚遂良秉承了文人书法家的笔法，在书写过程中却又能把握轻重、灌输力量。\n运笔：《雁塔圣教序》在运笔上则采用方圆兼施，逆起逆止；横画竖入，竖画横起，首尾之间皆有起伏顿挫，提按使转以及回锋出锋也都有了一定的规矩。唐张怀瓘评此书云：“美女婵娟似不轻于罗绮，铅华绰约甚有余态。”清代秦文锦亦评曰：“褚登善书，貌如罗琦婵娟，神态铜柯铁干。此碑尤婉媚遒逸，波拂如游丝。能将转折微妙处一一传出，摩勒之精，为有唐各碑之冠。”\n评价：《雁塔圣教序》引领大唐楷书新格，书法史上褚遂良因此被重重地书上一笔。初唐三家——欧、虞、褚并称书坛，但真正地开启唐代楷书门户者，非褚氏遂良一人莫属。纵观唐中期的颜真卿、徐浩，莫不受其影响，可以说唐朝中后期书坛风貌是由褚遂良启导的，特别是《雁塔圣教序》更具有创新的时代意义。——王佑贵《褚遂良与〈雁塔圣教序〉》。",[24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb22cb1a211275d5e13e089e574ad1a1e.jpg",[],112,{"id":305,"slug":306,"title":307,"dynasty":134,"author":149,"museum":41,"description":308,"tags":309,"thumbUrl":310,"material":29,"size":311,"collection":64,"collections":312,"showCount":303,"zanCount":33,"manualWeight":33,"mainColor":52},221030,"ding-wu-ben-lan-juan-wang-xi-zhi-221030","定武本兰卷","笔势洞精，笔法严谨遒劲",[23,24,60,7,26,154,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5e671a68d12677bedaa825f200d12c.jpg","35x270cm",[64],{"id":314,"slug":315,"title":316,"dynasty":18,"author":210,"museum":41,"description":317,"tags":318,"thumbUrl":319,"material":47,"size":48,"collection":29,"collections":320,"showCount":321,"zanCount":11,"manualWeight":33,"mainColor":52},227259,"xuan-mi-ta-bei-yuan-ke-liu-gong-quan-227259","玄秘塔碑原刻","《玄秘塔碑》，全称《唐故左街僧录内供奉三教谈论引驾大德安国寺上座赐紫大达法师玄秘塔碑铭并序》，是唐会昌元年 （841年）由时任宰相的裴休撰文，书法家柳公权书丹而成，为楷书书法作品。现今保存于西安碑林第二室。\n《玄秘塔碑》共28行，每行54字。叙大达法师在德宗、顺宗、宪宗三朝所受恩遇，以纪念大达法师之事迹而告示后人。其结体紧密，笔法锐利，筋骨外露，阳刚十足，字迹如刀刻一般，且笔画粗细变化多端，风格特点显著。 《玄秘塔碑》为柳公权书法创作生涯中的一座里程碑，标志着“柳体”书法的完全成熟，历来被作为初学书法者的正宗范本，对后世影响深远。",[62,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aba590c79e21dfd2613f83d93869ef6.jpg",[],109,{"id":323,"slug":324,"title":325,"dynasty":274,"author":326,"museum":72,"description":327,"tags":328,"thumbUrl":329,"material":77,"size":330,"collection":64,"collections":331,"showCount":332,"zanCount":160,"manualWeight":33,"mainColor":205},219143,"xiao-kai-ba-wang-xian-zhi-bao-mu-tie-jiang-kui-219143","小楷·跋王献之保母帖","姜夔","姜夔传世墨迹不多。从小楷《跋王献之保母帖》中可以看出他用笔精到，典雅俊润，且受初唐诸家书风影响，不随时俗，清新脱俗。",[23,154,24,25,139,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d86690fd5236097ac85f5440054f5e7.jpg","纵31.6厘米，横708.3厘米",[64],108,{"id":334,"slug":335,"title":336,"dynasty":18,"author":19,"museum":41,"description":337,"tags":338,"thumbUrl":339,"material":47,"size":48,"collection":29,"collections":340,"showCount":341,"zanCount":11,"manualWeight":33,"mainColor":52},232273,"ji-zhi-wen-gao-yan-zhen-qing-232273","祭侄文稿","颜真卿（709年－784年8月23日 ），字清臣，小名羡门子，别号应方，京兆万年（今陕西省西安市）人 ，祖籍琅玡临沂（今山东省临沂市）。唐朝名臣、书法家，秘书监颜师古五世从孙 、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[60,24,154,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1db0d22aedae6c817acab49b41c36.jpg",[],97,{"id":343,"slug":344,"title":345,"dynasty":18,"author":346,"museum":41,"description":347,"tags":348,"thumbUrl":349,"material":47,"size":48,"collection":29,"collections":350,"showCount":351,"zanCount":33,"manualWeight":33,"mainColor":205},288358,"zhen-cao-qian-zi-wen-zhi-yong-288358","真草千字文","智永","智永和尚（生卒年不详），南朝、隋朝人，本名王法极，字智永，会稽山阴（今浙江绍兴）人，书圣王羲之七世孙，第五子王徽之后代，号“永禅师”。\n智永善书，书有家法。将王羲之作为传家之宝的《兰亭序》，带到云门寺保存。云门寺（原名永欣寺）有书阁，智永禅师居阁上临书20年，留下了“退笔冢”、”铁门槛“等传说。\n智永对后世书法影响深远。他创“永字八法”，为后代楷书立下典范。所临《真草千字文》八百多份，广为分发，影响远及日本。即使现在，依然是书法学习的经典教材。",[24,25,153,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57cce12e812fa72d6f17d7f342709e9.jpg",[],92,{"id":353,"slug":354,"title":355,"dynasty":18,"author":210,"museum":72,"description":356,"tags":357,"thumbUrl":359,"material":360,"size":361,"collection":64,"collections":362,"showCount":363,"zanCount":33,"manualWeight":33,"mainColor":34},221086,"lan-ting-ba-zhu-tie-xun-ce-liu-gong-quan-221086","兰亭八柱帖 （巽）册","蘭亭八柱乃圓明園遺物，於1910年（宣統二年）被移到頤和園，後置於耶律楚材祠中。1915 年，江朝宗致函溥儀內務府，請求拉運圓明園蘭亭碑及山石，以供社稷壇開拓公園之用。其後，蘭亭碑及八根石柱，分別於1917年前和1941年之後運至中山公園，直到1971年，始用八根石柱，在唐花塢西側新建成重檐八角亭，額曰“景自天成”。八根石柱之蘭亭帖，多有風化，半數帖尚好，仍可辨讀。",[23,24,7,60,75,358],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44df0257493edfb5c629ea00d305fe6d.jpg","初拓本","每开纵29.8厘米，横34.2厘米",[64,141],91,{"id":365,"slug":366,"title":367,"dynasty":18,"author":19,"museum":102,"description":368,"tags":369,"thumbUrl":370,"material":371,"size":372,"collection":64,"collections":373,"showCount":374,"zanCount":11,"manualWeight":33,"mainColor":34},221062,"pei-jiang-jun-shi-tie-yan-zhen-qing-221062","裴将军诗帖","传为唐代颜真卿所书。该帖楷、行、草相混而书，书法大小、长短、肥瘦、斜正变化多端，间杂隶书笔法，气雄力厚。北京大学教授、引碑入草开创者的李志敏评价：“颜真卿的《裴将军诗》以汉分为魂，融合诸体，牢笼百态，裴旻剑舞活现于鲁公笔端。欲医草之轻浮，可于此贴中求之”。",[23,154,24,7,26,25,60,153,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f840ab06e0e890cb03487c20c8ad3f8.jpg","楷、行、草相混","第一块碑石为长方形，长74厘米，宽43厘米 第二石为正方形， 长42厘米，宽42厘米 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u002F8ea5aef3a6b5f52de93a223e0876adca.jpg","墨迹","各开纵28.2cm、横13.7cm不等",[64,141],74,"F48FB1",{"id":465,"slug":466,"title":467,"dynasty":274,"author":468,"museum":469,"description":470,"tags":471,"thumbUrl":472,"material":473,"size":29,"collection":64,"collections":474,"showCount":475,"zanCount":33,"manualWeight":33,"mainColor":34},221204,"san-xi-tang-fa-tie-shi-qi-ce-wu-ju-221204","三希堂法帖（十七）册","吴琚","台北故宫博物院","比忽忽附书。谅亦在下旬可到。途中收十月三日手笔并诗。深以为慰。示喻已悉。襄州之行非所惮也。不谓以常式?免。就降改命。?难避事。何以自文。不知阅古之意如何。今必有定论矣。十九日入京。西界交割安抚司职事。廿日方得改差札子。已具?免。且在郢州境上伺候回降。若省札更迟数日。则已到襄阳。郢去襄只二百余里。江陵亦然。岁晚客里。进退不能。势须等候月十日方见次第。地远往返动是许时。远宦非便。殆此类也。旅中灯下作此。言不尽意。余希加爱。不宣。十月廿日琚上。寿父判寺守簿贤弟",[107,24,26,7,358,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d11bc01b27003e7f2e06144bd6cf971.jpg","白纸本",[64],73,{"id":477,"slug":478,"title":479,"dynasty":85,"author":86,"museum":480,"description":481,"tags":482,"thumbUrl":483,"material":27,"size":484,"collection":29,"collections":485,"showCount":486,"zanCount":33,"manualWeight":33,"mainColor":52},214201,"heng-fang-bei-yi-ming-214201","衡方碑","山东省泰安市岱庙碑廊","《衡方碑》为山东省文物保护单位，通高240厘米，宽110厘米，厚25厘米，属圆首碑，上雕蟠螭纹，碑额隶书阳刻“汉故卫尉卿衡府君之碑”2行10字。额下有圆穿，穿下碑文记叙了衡方的祖先及衡方的生平政绩。书法上，其字体方拙朴实，以拙取胜，间架稳实厚重，如虎卧阙下；笔画端正粗壮，笔笔如磐石，折角棱条分明，有严峻之态；章法行密字满，平正之中有欹斜之变。",[23,85,90,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9856f29cf73c21999a966ae9556cd761.jpg","240x110",[],72,{"id":488,"slug":489,"title":490,"dynasty":274,"author":491,"museum":492,"description":493,"tags":494,"thumbUrl":495,"material":496,"size":497,"collection":64,"collections":498,"showCount":499,"zanCount":11,"manualWeight":33,"mainColor":29},220619,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220619","宋刻米芾英光堂帖","米芾,岳珂","香港中文大学文物馆","《英光堂帖》的内容是北宋米芾（1051–1108）的书迹，由抗金名将岳飞的孙子岳珂（1183–1241后）刻于南宋绍定初年（约1229–1233）。米芾是宋代著名书画家，以书法与苏轼（1037–1101）、黄庭坚（1045–1105）、蔡襄（1012–1067）并称「宋四大家」。行草书受二王影响甚深，运笔变化多端，才气奔放，书迹为后世所重视。",[23,24,7,26,60,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29dd8584ab752c096648753e8e1f274.jpg","墨拓,纸本,册页","34 × 36 cm",[64],68,{"id":501,"slug":502,"title":503,"dynasty":18,"author":298,"museum":20,"description":504,"tags":505,"thumbUrl":507,"material":29,"size":508,"collection":29,"collections":509,"showCount":510,"zanCount":11,"manualWeight":33,"mainColor":34},232597,"xin-jing-chu-sui-liang-232597","心经","古往今來，《心經》深受人們喜愛，歷代書法名家和廣大書法愛好者以之練習書法或進行書法創作，既能提高書法水平，又能起到修心養性的作用。\n此拓本褚遂良《心經》，雖然落款「辛丑年 遂良書」，但是很多人認爲是僞托之作。\n释文:观自在菩萨,行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色，色即是空，空即是色，受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界。无无明，亦无无明尽，乃至无老死，亦无老死尽。无苦集灭道，无智亦无得。以无所得故，菩提萨埵，依般若波罗蜜多故，心无罣碍，无罣碍故，无有恐怖，远离颠倒梦想，究竟涅磐。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒，即说咒曰：揭谛揭谛 波罗揭谛 波罗僧揭谛 菩提萨婆诃。",[24,506,25,7,167,429],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff870e9df1ad4582940f40d44cbf34d87.jpg","高285厘米，宽102厘米",[],67,{"id":512,"slug":513,"title":514,"dynasty":409,"author":86,"museum":515,"description":516,"tags":517,"thumbUrl":519,"material":25,"size":29,"collection":141,"collections":520,"showCount":521,"zanCount":33,"manualWeight":33,"mainColor":205},226534,"shi-ping-gong-zao-xiang-ji-yi-ming-226534","始平公造像记","洛阳龙门石窟古阳洞","《始平公造像記》，全稱《比丘慧成為亡父洛州刺史始平公造像題記》，是由孟達撰文，朱義章書寫的龍門石窟造像題記之一，石刻位於洛陽市南郊龍門石窟古陽洞北壁，刊刻於北魏太和二十二年（498年，另有太和十二年、二年、十九年等數種説法）。書體為楷書。為“龍門四品”和“龍門二十品”之一。\n《始平公造像記》記錄了比丘慧成為亡夫造佛像的緣由及願望，石刻正文分縱向10行，每行20字，有方界格，石高75釐米，寬39釐米，額楷書陽文“始平公像一區”2行6字。文與格欄均陽刻凸起，是石刻中所少見的。此石刻已泯盡隸書痕跡，既有漢晉雍容方正之態，又具北方少數民族“金戈鐵馬”粗獷強悍之神，書法雄重遒密，端莊流逸，具龍震虎威之勢，富有陽剛之美。\n用笔\n1．锋鋭果敢，整峻大方\n点的形状多呈几何图形状，以类似三角形的为多。如图中“流”字的侧点，“容”字的竖点、“宗”字的撇点和“答”字的挑点，它们在形态上都类似于三角形，但又不失饱满，起笔多侧锋入纸，露锋短促有力，向右下重顿后逆锋收笔，慢慢弹出，用笔锋鋭果敢，在点画上显得整峻大方。\n2．逆锋行笔，笔含隶意\n用笔以方切为主，在线条运行过程中以逆锋行笔。如图中“大”“寻”“不”字横的写法，起笔时侧锋入纸，向右下重顿，依靠毛笔与纸的摩擦力向右上调锋，然后逆锋行笔，顿笔后回锋。而“丘”字最后的横则为雁尾横，前半段和横的写法一样，只是到收笔时，雁尾横则像隶书的波磔一样向右上，含而不出，再往回收尾，笔含隶意，古朴典雅。\n3．浑厚沉实，亦露亦藏\n用笔方峻，和其他碑帖一样都是无垂不缩，无往不收。但它和唐代楷书在笔法上的不同之处在于线条中段沉实浑厚，以斜鋭之势收笔。如图中“师”“攀”“率”字的竖以藏锋为主，收笔时逆锋向回收笔；“下”字的竖则露锋起笔，收笔时向右下轻顿再出锋。\n4．笔势圆浑，流畅不滞\n在外形上看似有些凝重呆滞，但在点画细节处，《始平公造像记》却通过点画方向的变化和某些连带的点画表现出流畅不滞的书写性。如图中“夫”字的撇向上回环以呼应捺的起笔“玳”字的撇向右上回环以顺承竖的起笔。再如图“大”“运”两字的捺，沉稳劲健，点画浑圆，“一波三折”的用笔特点在其中十分明显，甚至有些装饰性的意味。\n5．用笔准确，骨力内含\n用笔的准确性主要体现在点画的起收笔处，特别是写钩的时候。如图中“代”字的斜钩，起笔如竖线，向右下斜切，其势向下倾斜，行笔厚重有力，至收笔处驻笔，笔锋聚拢，腕指齐力，翻毫向上，靠毛笔所蓄之力将笔锋送出。“则”“寻”“容”字钩的写法也是如此。此外，对骨力的感受则不仅仅停留在方笔的运用上。如图中“国”“恩”“月”“愿”字的转折，虽大多是方折，很少有圆转，这应与刻工有很大关系。\n结体\n1．结构扁方，朴拙飞动\n全文结字以方扁为主，这是隶书向楷书过渡时期的必然结果。横线以舒展为主，竖线则多短粗有力，如图中“始”字本应是方形的，但由于作者巧妙的安排，“女”字旁点画厚重而倾斜，有挤压“台”部之势，而“台”中的“口”正好安置在“女”字旁右下角的空间里，使全字呈扁方形，有向右上飞动之势。又如“公”字，左上方的点以圆笔见浑穆，右上方的点方硬有形，形成一种飞动之态，呼应对比和谐，而下半部分则呈现出一种压缩之态，有向左运动之势，与上半部分呼应顾盼，自然朴拙。“灵”字的处理方式也是如此。\n2．结构欹侧，变化丰富\n除了扁方结体，《始平公造像记》单字结体也有纵长体势的。如图中“焉”字，一般来说应该是方形或是偏扁一些的，而《始平公造像记》则将其变方为长，横线排叠，趋势右上，点画密结，密不透风，最后四点化为一横，大胆开张，反辅为主，起到了承载的作用。也正是因为横线紧密排叠，所以整个字也就由方形变为长方形，造就出了欹侧之势。又如“崇”字，习惯写法是中间的宝盖头要包裹下面的部分，可《始平公造像记》里的“崇”字则是宝盖头紧缩，而下面“示”的第二横伸展夸张，使原本方形的字变成了长方形。再如“奄”字，撇写得开张，而却以捺作点，收缩紧凑，出人意料。\n3．抑左扬右，收放有度\n在结构上习惯压缩左边的部分而舒展右边。如图中“逢”字，上半部分的右面向外舒展，“走”字底的左半部分则向中间压缩，这样整个字就呈现出一种倾斜过来的梯形结构，向右呈辐射状。另外，《始平公造像记》中单个字的结构收放对比也比较大，这是因为结字时中宫往往收得比较紧凑，而一些突出的主笔舒展开来正好与这种紧凑产生了强烈的对比。如“答”字，上半部分收得比较紧凑，而下半部分的撇和捺非常舒展。整个字上下之间的收放对比较大，呈梯形结构，有稳重感。\n章法\n全文皆用阳刻，逐字界格，在整个刻石系统中甚为少见。《始平公造像记》的章法，一个总的特点是横竖成行，端正整齐。如其碑额“始平公像一区”六字，这六字虽然横竖成行，但它们之间的间距很近，大小交错，相互伸展，搭配十分巧妙。如“像”字笔画多，但写得小；“一”字只有一笔，反而写得大。“始”字的一撇与“像”字的一捺搭配，“平”字的一横与“一”字的搭配，“平”字的一竖与“公”的搭配，都妙若天成。再如阳文镌刻的正文。界格横竖交错的线条并不是笔直的，而是有粗有细，有弯有直。界格内的字与字之间的笔画配合也有伸缩。因此，界格根据格内字的结构变化而进行变化，构成了浑然一体的章法。",[23,518,25,7,167,24],"魏碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63291057f9d37c1c9c08d87ade89090b.jpg",[141],65,{"id":523,"slug":524,"title":525,"dynasty":18,"author":526,"museum":41,"description":527,"tags":528,"thumbUrl":529,"material":27,"size":530,"collection":64,"collections":531,"showCount":532,"zanCount":33,"manualWeight":33,"mainColor":52},214615,"jin-ci-ming-li-shi-min-214615","晋祠铭","李世民","碑上刻有 贞观二十年正月二十六日 的字样，用 飞白 书写。碑的两侧刻有一对螭龙，头朝下垂着，这是唐代碑的一个特点。碑文全文由28行1203个字符组成，每行有44-50个字符。这段文字刻在石碑的四面。石碑男性一侧的文字颂扬了唐帝国的民事和军事成就，纪念了唐帝国的早期统治。包括长孙无忌在内的有功之臣的名字都刻在石碑的阴面。在石碑的左右两侧有宋代人物的题字，他们曾到过这里，并在石碑上写下了文字。晋祠的碑文是第一个用行书写成的，被后人认为是行书的杰作，仅次于王羲之的《兰亭序》。",[62,24,60,7,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6065f63d3f1660ddad46fd831cad70.jpg","195x122",[64],63,{"id":534,"slug":535,"title":536,"dynasty":274,"author":537,"museum":538,"description":539,"tags":540,"thumbUrl":542,"material":543,"size":544,"collection":29,"collections":545,"showCount":546,"zanCount":33,"manualWeight":33,"mainColor":34},232616,"shen-xiao-yu-qing-wan-shou-gong-zhao-zhao-ji-232616","神霄玉清万寿宫诏","赵佶","海南省海口市五公祠","《神霄玉清万寿宫诏》碑是宋徽宗赵佶于宣和元年（1119年）用瘦金体御书的一块碑铭。他崇奉道教，自称“教自道君皇帝”，书写后令汴京神霄宫先刻碑，即后以该碑的拓本颁赐天下摹勒立碑。该碑是《清万寿宫诏》碑之一，位于海南省海口市五公祠内，另一通现存福建省莆田市元妙观三清殿内。\n《神霄玉清万寿宫诏》碑在海南琼山府城五公祠内，为宋徽宗赵佶书，海南《神霄玉清万寿宫诏》碑额已失，驮碑的巨型贔屭仍存。现存碑身高2.34米，宽1.21米，书于宣和元年。该碑瘦金体书法挺拔，舒展遒丽，运笔灵动。周刻回文，中暗刻青龙十八条。宋徽宗笃信道教，该碑于汴京刻成后，拓片分发全国各地翻刻竖立。宋徽宗是亡国之君，其碑刻多被后人毁坏\n据可考史料，全国仅存两尊《神霄玉清万寿宫诏》碑，除了五公祠内这一尊，另一尊现存福建省蒲田市元妙观三清殿内。 海南岛上的这通《神霄玉清万寿宫诏》碑原立在琼州府城的天庆观内，元初改称玄妙观，明更名为玉皇庙，清初玉皇庙倒塌。但这通碑被完整地保存下来，几经迁移，1983年移立于两伏波祠前拜亭内；1994年被公布为海南省第一批文物保护单位；2001年又同五公祠一起被公布为第五批全国重点文物保护单位。\n该碑高2.55米，宽1.3米，厚0.29米，正面光平如镜，背面保留开凿时的原貌。碑文竖行，16行，366字，瘦金体，无标点符号，右行“神霄玉清万寿宫诏御制御书”，正文主要阐述了宋徽宗崇信道教的缘由。\n碑文原文:道者，体之可以即至神；用之可以挈天地；推之可以治天下国家，可使一世之民，举得其恬淡寂常之真，而跻于仁寿之域。朕思是道，人所固有，沉迷既久，待教而兴。俾欲革末世之流俗，还隆古之纯风。盖尝稽参道家之说，独观希夷之妙。\n钦惟长生大帝君、青华大帝君，体道之妙，立乎万物之上。统御神霄，监观万国无疆之休。虽眇躬是荷，而下民之命，实明神所司。乃诏天下，建神霄玉清万寿宫，以严奉祀。自京师始，以致崇极，以示训化，累年于兹，诚忱感格，高厚博临。属者，三元八节，按冲科、启净供，风马云车，来顾来飨。震电交举，神光烛天，群仙翼翼，浮空而来者，或掷宝剑，或洒玉篇，骇听夺目，追参化元。卿士大夫，侍卫之臣，悉见悉闻，叹未之有，咸有纪述，著之简编。\n呜呼！朕之所以隆振道教，帝君之所以眷命孚佑者，自帝皇以还，数千年绝道之后，乃复见于今日，可谓盛矣！岂天之将兴斯文以遗朕，而吾民之幸，适见正于今日耶？布告天下，其谕朕意，毋忽。乃令京师神霄玉清万寿宫刻诏于碑，以碑本赐天下，如大中祥符故事，摹勒立石，以垂无穷。\n宣和元年八月十二日奉圣旨立石。",[23,24,541,25,154,26,7],"瘦金体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4739e1d31d9aef0754aa90b310aebc23.jpg","碑","高2.55米，宽1.3米，厚0.29米",[],62,{"id":548,"slug":549,"title":550,"dynasty":134,"author":551,"museum":41,"description":552,"tags":553,"thumbUrl":556,"material":139,"size":29,"collection":141,"collections":557,"showCount":558,"zanCount":33,"manualWeight":33,"mainColor":52},221025,"luo-shen-fu-shi-san-xing-bi-yu-ban-wang-xian-zhi-221025","洛神赋十三行·碧玉版","王献之","《洛神赋》是三国时期文学家曹植创作的辞赋名篇。以浪漫主义手法虚构了自己与洛神的邂逅和彼此思恋爱慕的故事。描写人神之间的真挚爱情，但终因“人神殊道”无法结合而惆怅分离。\n《玉版十三行》是王献之小楷代表作，被誉为“小楷极则”，笔画隽秀挺拔，结字萧散逸荡，顾盼有致，盛名千年不衰。墨迹在宋元时有两本，一为晋麻笺本，一为唐硬黄本，上有柳公权跋，疑为柳公权临本。王献之写过不只一本《洛神赋》，原本墨迹写在晋麻笺纸上，也称晋麻笺本，但流传到唐宋时代就已经首尾残损缺失。如今真迹已不复存在了，唯留南宋时残存的竖版十三行二百五十余字内容小楷作品，在宋代的著录类图书《寳刻類編》中，使用了“《洛神赋》十三行”的称谓，自明代以来普遍称为“十三行”，故称“洛神赋十三行”，简称“十三行”。\n后人相传南宋晚期权相贾似道先得晋麻笺本九行，后又续得四行，乃命巧匠摹刻十三行于佳石之上。因石色深暗青碧材质细腻如玉，出于对书法作品的尊敬，后人尊称为玉版，世称“玉版十三行”，又称“碧玉十三行”。\n后因宋元战火“玉版十三行”石版下落不明，直至明万历年间，在杭州西湖葛岭半闲堂旧址地下发现一方石刻，因其出土地为贾似道半闲堂旧址，时人根据各种资料推论，这就是晋麻笺本“玉版十三行”。“玉版十三行”复得后，归陆梦鹤、翁嵩年。\n这件“碧玉版十三行”到底是谁刻的，目前来说还没有定论，有人认为是翻刻自《寶晉齋法帖》，而《寶晉齋法帖》是南宋曹知格所刻，成于咸淳四年（1268年）。目前藏于首博的这件“玉版十三行”被鉴定为宋代刻石。\n目前认为流传下来的刻本为宋代根据真迹上石的拓本，包括“碧玉版”和“白玉版”两种，“白玉版”为明、清两代宫廷命巧匠根据“碧玉版”将其内容摹刻于白玉之上，有明版和清乾隆版两种，为“碧玉版”的翻版。明“白玉版本”，笔划比“碧玉版本”略枯瘦，石花剥落处有刀刻的痕迹，可知是“碧玉版”翻刻本。明“白玉版”在清代嘉庆三年毁于乾清宫火灾。",[25,7,24,26,554,555],"玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357fc44a3319b6da2cf411f5a623960e.jpg",[141],60,{"id":560,"slug":561,"title":562,"dynasty":18,"author":19,"museum":41,"description":337,"tags":563,"thumbUrl":569,"material":47,"size":48,"collection":29,"collections":570,"showCount":571,"zanCount":11,"manualWeight":33,"mainColor":52},287742,"ma-gu-xian-tan-ji-yan-zhen-qing-287742","麻姑仙坛记",[24,7,25,26,564,565,566,567,568,75],"道教","神话","麻姑","仙坛","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7722d87b73190fdc8e7c527828bc3676.jpg",[],57,{"id":573,"slug":574,"title":575,"dynasty":18,"author":57,"museum":41,"description":200,"tags":576,"thumbUrl":577,"material":47,"size":48,"collection":29,"collections":578,"showCount":579,"zanCount":11,"manualWeight":33,"mainColor":34},232272,"yin-fu-jing-ou-yang-xun-232272","阴符经",[23,62,24,25,7,75,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472521783f3f912897634c95b28f60c0.jpg",[],55,{"id":581,"slug":582,"title":583,"dynasty":118,"author":86,"museum":41,"description":584,"tags":585,"thumbUrl":592,"material":47,"size":48,"collection":29,"collections":593,"showCount":579,"zanCount":33,"manualWeight":33,"mainColor":52},226532,"da-yu-ding-ming-wen-bei-ta-quan-pian-yi-ming-226532","大盂鼎铭文碑拓全片","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[23,7,24,45,586,123,587,588,589,590,591],"金文","碑拓","西周风格","篆体","金石文字","铭刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4648fe470a2c89e4438f34ddff6337a.jpg",[],{"id":595,"slug":596,"title":597,"dynasty":134,"author":551,"museum":469,"description":598,"tags":599,"thumbUrl":600,"material":601,"size":602,"collection":64,"collections":603,"showCount":579,"zanCount":33,"manualWeight":33,"mainColor":52},221022,"san-huai-tie-wang-xian-zhi-221022","散怀帖","王献之（344年－386年），字子敬，小名官奴，琅玡临沂（今山东省临沂市）人。东晋官员、书法家、画家、诗人，右军将军王羲之第七子、晋简文帝司马昱女婿、晋安帝司马德宗的岳父。\n王献之少负盛名，才华过人。得到宰相谢安赏识，历任本州主簿、秘书郎、司徒左长史、吴兴太守，累迁中书令等职，与族弟王珉区分，人称“大令”。他先后迎娶郗道茂及新安公主司马道福为妻，嫁女于太子司马德宗（晋安帝）。太元十一年（386年），病逝，时年四十三岁 [1] 。安帝时获赠侍中、特进、光禄大夫、太宰，谥号为“宪”。\n王献之精习书法，以行书及草书闻名，在楷书和隶书上有深厚功底。在书法史上与王羲之并称“二王”，有“小圣”之称。又与张芝、钟繇、王羲之并称“书中四贤”。唐人张怀瓘《书估》评其书为“第一等”。 [2] 同时，王献之还善于作画，唐人张彦远《历代名画记》目其画为“中品下”。",[24,153,7,358,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3712465363030588952e2ae348618c63.jpg","狂草","27.7x32.5",[64],{"id":605,"slug":606,"title":607,"dynasty":608,"author":86,"museum":41,"description":609,"tags":610,"thumbUrl":611,"material":47,"size":48,"collection":29,"collections":612,"showCount":613,"zanCount":33,"manualWeight":33,"mainColor":52},287721,"dong-jin-wang-xi-zhi-huang-ting-jing-xing-feng-lou-ben-song-ke-ben-yi-ming-287721","东晋 王羲之 黄庭经 星凤楼本宋刻本","不详","此小楷神品，字势宽博舒展，点画温润圆劲，起收含蓄雅致，提按间尽显灵动韵致。布白匀整疏朗，字字如珠玑排布，通篇气息平和冲淡，暗合道经清虚出尘的意蕴。\n行笔牵丝映带若有似无，谨守法度又暗含萧散简远的魏晋风度，将书法工稳与经文玄妙融为一体。墨色沉郁莹润，刻工精湛忠实还原原作风神，笔笔皆具雅正高古之姿，观之如对魏晋清淡萧散的林下之风，尽显超然出俗的书卷雅韵。",[25,7,24,26,506,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794b3c1a917aa55be794eda0c644b484.jpg",[],53,{"id":615,"slug":616,"title":617,"dynasty":618,"author":86,"museum":41,"description":619,"tags":620,"thumbUrl":621,"material":171,"size":622,"collection":141,"collections":623,"showCount":613,"zanCount":33,"manualWeight":33,"mainColor":52},226538,"he-luo-qi-zi-wen-ti-shou-xing-tu-bei-yi-ming-226538","河洛七字文体寿星图碑","隋","此作为书画合璧的巧思之作，将七字隐于寿星形貌之中。线条圆融苍劲，带着篆籀古意，勾勒出寿星鹤发童颜、飘然出尘的仙姿，字与形浑然相融，不见割裂痕迹。\n河洛玄思暗藏笔墨，题跋诗文呼应主题，把福寿祈愿与道家哲思藏于一笔一划间，观览时可在赏形品字之际，体悟这份出世寄怀的雅致意趣，尽显古人构思的精妙绝伦。",[23,7,24,109,45,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17f6670e014bfaf32f07f4aa4e3eaa5.jpg","64.36*116.38厘米",[141],{"id":625,"slug":626,"title":627,"dynasty":18,"author":19,"museum":72,"description":628,"tags":629,"thumbUrl":630,"material":77,"size":631,"collection":64,"collections":632,"showCount":633,"zanCount":33,"manualWeight":33,"mainColor":34},221055,"zheng-zuo-wei-tie-cang-ben-quan-juan-yan-zhen-qing-221055","争座位帖藏本全卷","《争座位帖》亦称《论座帖》、《与郭仆射书》，为颜真卿行草书精品，唐广德二年（公元764）颜真卿写给定襄王郭英义的书信手稿。行草书，传有七纸，约64行古时。\n《争座位帖》与颜的《祭侄文稿》、《祭伯文稿》被合称为“颜书三稿”。与王羲之的《兰亭序》并称为“行书双璧”。此稿信笔疾书，苍劲古雅，为世所珍。",[23,24,60,7,154,26,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19720981560762221af62aac56dad7b8.jpg","38x370cm",[64,141],51,{"id":635,"slug":636,"title":637,"dynasty":18,"author":19,"museum":20,"description":638,"tags":639,"thumbUrl":640,"material":27,"size":641,"collection":64,"collections":642,"showCount":643,"zanCount":11,"manualWeight":33,"mainColor":52},214584,"zang-huai-ke-bei-yan-zhen-qing-214584","臧怀恪碑","《臧怀恪碑》，全称《唐故右武卫将军赠工部尚书上柱国上蔡县开国侯臧公神道碑铭并序》。篆书题额《唐故东莞臧公神道碑》共9字，立于唐贞观五年（770年），碑文共28行，58-64字。碑文是颜真卿在55岁时写的，石头是由翰林院的秘书李秀岩塑造的。有些字符缺失或无法破译，但仍可辨认。它原本矗立在京兆府三原县长澳乡的臧怀谦墓前，1980年被列入西安碑林。臧怀谦（668-724），唐朝时出生于冀州北乡，是上蔡县的侯爵。开元十二年（724年），他在山城去世，被诏令授予右卫将军的称号。在肃宗时期，由于他的工作，他的儿子臧希章被任命为工部尚书。",[62,7,24,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d0980920130348b86fb8433b1066e6.jpg","337x180",[64],49,{"id":645,"slug":646,"title":647,"dynasty":608,"author":86,"museum":41,"description":648,"tags":649,"thumbUrl":650,"material":47,"size":48,"collection":29,"collections":651,"showCount":652,"zanCount":33,"manualWeight":33,"mainColor":34},287831,"bei-wei-yuan-chang-mu-zhi-wei-bei-yi-ming-287831","北魏 元苌墓志 魏碑","墓志是中国古代丧葬制度持续发展的产物，有固定的形制和专门的文体，主要记述死者姓名、卒年和生平事迹。墓志滥觞于秦汉之际，发展于魏晋，完善于北魏，兴盛于唐，延续至明清，经历了由砖造墓志到石刻墓志，由碑形墓志到方形墓志的发展历程。（碑的起源早于墓志，先有碑，后有志，两者在文化上有渊源关系。）",[518,25,7,24,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0490b33ed265b9ce55ba3f7e127ac408.jpg",[],46,{"id":654,"slug":655,"title":656,"dynasty":18,"author":19,"museum":72,"description":628,"tags":657,"thumbUrl":658,"material":77,"size":631,"collection":64,"collections":659,"showCount":652,"zanCount":33,"manualWeight":33,"mainColor":52},221056,"zheng-zuo-wei-tie-yan-zhen-qing-221056","争座位帖",[23,24,60,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4f31613656912ca6722b669276b4fd.jpg",[64,141],{"id":661,"slug":662,"title":663,"dynasty":18,"author":664,"museum":20,"description":665,"tags":666,"thumbUrl":667,"material":27,"size":29,"collection":29,"collections":668,"showCount":652,"zanCount":144,"manualWeight":33,"mainColor":34},214217,"dao-yin-fa-shi-bei-ou-yang-tong-214217","道因法师碑","欧阳通","道因法师碑是一座唐代碑刻，记录了道因法师的生平事迹。据传，道因法师（生卒年不详）是一位著名的佛教高僧，曾在唐朝时期供奉过西天观音菩萨，并在江苏和浙江两省传播佛教。欧阳通是这座碑刻的作者，他是一位著名的唐代文人，擅长写诗和书法。",[23,7,25,24,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324c79e6b251fdf39f9619b4bc733ab2.jpg",[],{"id":670,"slug":671,"title":672,"dynasty":134,"author":86,"museum":41,"description":673,"tags":674,"thumbUrl":676,"material":27,"size":677,"collection":29,"collections":678,"showCount":679,"zanCount":33,"manualWeight":33,"mainColor":52},214205,"cuan-bao-zi-bei-yi-ming-214205","爨宝子碑","这块碑文包含了关于墓主爨宝子的生平和对他的讴歌的信息。该碑字体属于隶书向楷书过渡的书体。",[23,675,7,24,25,266],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a113203545337ff5ce799141a3f40ac.jpg","190x71",[],45,{"id":681,"slug":682,"title":683,"dynasty":274,"author":275,"museum":41,"description":684,"tags":685,"thumbUrl":696,"material":47,"size":48,"collection":29,"collections":697,"showCount":698,"zanCount":160,"manualWeight":33,"mainColor":52},287400,"xiao-xing-ba-xia-mi-fei-287400","晓行巴峡","米芾（1051年-1107年），初名黻，后改芾，字元章，自署姓名米或为芊，祖居太原，后迁湖北襄阳，谪居润州(现江苏镇江)，时人号海岳外史，又号鬻熊后人、火正后人。北宋书法家、画家、书画理论家，与蔡襄、苏轼、黄庭坚合称“宋四家”。曾任校书郎、书画博士、礼部员外郎。\n米芾书画自成一家，枯木竹石，山水画独具风格特点。在书法也颇有造诣，擅篆、隶、楷、行、草等书体，长于临摹古人书法，达到乱真程度。 主要作品有《张季明帖》《李太师帖》《紫金研帖》《淡墨秋山诗帖》等。\n米芾所书《蜀素帖》，亦称《拟古诗帖》，是天下第八行书，被后人誉为中华第一美帖",[23,24,7,60,26,248,686,687,688,689,690,691,692,693,694,695],"飞鸟","深山","殿宇","烟岚","苍松","林径","野岭","宫阙","晴雨","龙宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16030e95c6e55de3a713fc2e76a24cc.jpg",[],44,{"id":700,"slug":701,"title":702,"dynasty":134,"author":703,"museum":72,"description":704,"tags":705,"thumbUrl":707,"material":7,"size":708,"collection":64,"collections":709,"showCount":698,"zanCount":33,"manualWeight":33,"mainColor":52},221019,"yue-yi-tie-suo-jing-221019","月仪帖","索靖","《月仪帖》传为西晋书法家索靖所书，是章草名帖。我们今天见到的是《邻苏园法帖》拓本，纵32厘米。《月仪帖》为书信文例，按月令书写。但传至今日，该拓本已缺四至六月，计18页。\n索靖（239年—303年），字幼安。敦煌龙勒（今甘肃敦煌）人。西晋将领、著名书法家，敦煌五龙之一。索靖善章草，传张芝之法，其书险峻坚劲。其章草书，自名“银钩虿尾”。时人称“瓘得伯英之筋，靖得伯英之肉。”索靖章草自成一家，唐张怀瓘评道“幼安善章草，书出于韦诞，峻险过之，有若山形中裂，水势悬流，云岭孤松，冰河危石，其坚劲则古今不逮。”著有《草书状》等。",[24,706,153,26,7],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F945befcf89cb49b12f26f8c67c6a1af4.jpg","纵35.56cm，横417.03cm",[64],{"id":711,"slug":712,"title":713,"dynasty":714,"author":715,"museum":716,"description":717,"tags":718,"thumbUrl":720,"material":721,"size":722,"collection":64,"collections":723,"showCount":724,"zanCount":160,"manualWeight":33,"mainColor":205},220857,"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","元","赵孟頫","上海博物馆","元代对书法的重视不亚于前代，书法得到一定的发展。探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。在应用价值上来说，算得是最伟大的。故能自后汉相传至今，历久而弥新。《元·赵孟頫法书选——行书灵隐大川济禅师塔铭》为基中一本。\n《灵隐大川济禅师塔铭》卷系赵孟頫于杭州任上所书。有专家考证，此作书于大德十一年，即公元1307年，时年书家54岁。此卷书写工致，融右军、北海笔意于一炉，丰润间蕴含劲拔，一字一珠，是赵中年后极为纯熟的代表作品。后有元人虞集、黄溍、郑元祐等跋，曾经王世贞、徐渭仁等收藏。",[23,60,24,26,7,75,154,719,167],"水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纸本墨笔","纵34.4厘米，横408.9厘米",[64,141],42,{"id":726,"slug":727,"title":728,"dynasty":18,"author":298,"museum":72,"description":729,"tags":730,"thumbUrl":731,"material":732,"size":733,"collection":64,"collections":734,"showCount":735,"zanCount":33,"manualWeight":33,"mainColor":205},221150,"lan-ting-ba-zhu-tie-chu-sui-liang-221150","《兰亭八柱帖》","兰亭八柱帖属于历代丛帖。\n位于中山公园西南角。\n共8卷。\n清乾隆四十四年（1779）内府辑刻。\n此帖是集唐人王羲之《兰亭序》的摹本、明人董其昌和清乾隆的临本刻于一起的作品，计有：《虞世南摹兰亭序》、《褚遂良摹兰亭序》、《冯承素摹兰亭序》、《柳公权书兰亭诗》、《重摹董其昌所收》、《于敏中补缺文》、《董其昌临》和《清高宗弘历临》，各为一卷。\n每一卷刻于一方形石柱之上，再以此8柱建亭于圆明园。\n相关信息 咸丰十年（186）圆明园被焚后此亭石柱未毁，1917年被移至中山公园。\n2世纪7年代初中山公园修整开放前，重建此亭。\n石刻已多有漫漶。",[23,24,60,61,75,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fc06ca0857dbfef5b2d9e373eb55dd.jpg","乌金精拓","纵29．8厘米，横17.3厘米。",[64],41,{"id":737,"slug":738,"title":739,"dynasty":274,"author":740,"museum":741,"description":742,"tags":743,"thumbUrl":744,"material":543,"size":745,"collection":29,"collections":746,"showCount":747,"zanCount":33,"manualWeight":33,"mainColor":34},232615,"nian-nu-jiao-chi-bi-huai-gu-huang-ting-jian-232615","念奴娇·赤壁怀古","黄庭坚","武氏墓群石刻博物馆","黄庭坚《念奴娇·赤壁怀古》，武氏墓群石刻博物馆藏。武氏墓群石刻博物馆位于山东省嘉祥县，是全国第一批重点文物保护单位，以收藏着大量东汉时代武氏墓群的石刻文物而闻名于世。《念奴娇·赤壁怀古》全文的四块石刻，每块刻石均长方形，按石刻拓片每块约高 35cm、宽101cm。\n一、苏东坡是北宋大文豪，千古传颂，世界闻名。《念奴娇·赤壁怀古》词为其重要代表作，脍炙人口。黄庭坚亦乃诗词书法大名家。故此刻石当是珠联璧合的“苏黄”双绝，文化价值、历史价值、文物价值皆珍贵异常。\n二、黄庭坚书写东坡此词，说明两人不同一般的师生情谊，也折射出黄庭坚对苏词之推崇。\n三、刻石完整保留了至今已难得一见的黄庭坚墨宝真迹，而且是一幅长达百字的巨作，笔力遒劲，跌宕起伏，晋风唐韵，龙飞凤舞，一如行云流水，恰似东坡豪迈词意，酣畅淋漓，气象磅礴，雄浑壮美。《三希堂法帖》有黄氏20件墨宝，却缺此件。\n四、此词系东坡谪居黄州游赤壁时所写的千年名篇，流传甚广，而版本各异。黄庭坚作为苏轼门下，自身当时就是著名词人，故其墨迹堪称原始版本，足以作为诸版本之校勘依据。",[23,24,60,7,154,26,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e0349f0fe749f5ac5eba8fa71d1f19.jpg","35cm、宽101cm",[],40,{"id":749,"slug":750,"title":751,"dynasty":18,"author":19,"museum":20,"description":752,"tags":753,"thumbUrl":755,"material":29,"size":508,"collection":29,"collections":756,"showCount":747,"zanCount":11,"manualWeight":33,"mainColor":34},232598,"duo-bao-ta-gan-ying-bei-yuan-ke-yan-zhen-qing-232598","多宝塔感应碑 原刻","《多宝塔碑》全称为《大唐西京千福寺多宝佛塔感应碑》，是唐天宝十一年（752年）由当时的文人岑勋撰文、书法家徐浩题额、书法家颜真卿书丹、碑刻家史华刻石而成，是楷书书法作品。现今保存于西安碑林第二室。\n此碑共三十四行，满行六十六字，内容主要记载了西京龙兴寺禅师楚金创建多宝塔之原委及修建经过。整体秀美刚劲，清爽宜人，有简洁明快，字字珠玑之感。用笔丰厚遒美，腴润沉稳；横细竖粗，对比强烈；起笔多露锋，收笔多回锋，转折多顿笔。结体严谨致密，紧凑规整，平稳匀称，又碑版精良，存字较多，学颜体者多从此碑下手，入其堂奥。\n唐朝天宝年间，楚金禅师夜诵《法华经》时，仿佛有多宝佛塔呈现眼前，他想把幻觉中的多宝佛塔变为现实，誓志筹建。在修造期间，甚至出现了种种灵应和神奇的事情。这份诚意感动了唐玄宗，于是赏赐钱帛，并亲题塔额。经过4年的努力，多宝佛塔终于在天宝十一年（752年）建成。\n而时任武部员外郎、44岁的颜真卿被选中来书写碑文。颜真卿和当时的大多数知识分子一样是正统的儒家，但也信奉佛教，他的书法风格直接“二王”、欧、虞、褚余风，而又与唐人写经有明显的相似之处。碑文的作者岑勋，是诗人岑参的从弟；题写碑额的徐浩，年长颜真卿6岁，是当时的书法名家，也是张旭的学生，这是他俩第一次合作书碑；史华则是当时的刻碑高手。\n该碑用笔多中锋，起笔和收笔有明显的顿按。起笔藏锋为主，兼用露锋，方圆并用。有些横画起笔较为外露，不同于柳体的齐头方脚，而是稍存斜尖，并参以含蓄的笔意使之变化丰富；收笔用顿笔和回锋的较多，强调“护尾”，尤其于横画中最为明显，写横行至收笔处，常向右下方重按，顿笔回锋，体现出颜体的雄浑、大气之韵，竖画粗壮，浑厚力强。横、竖笔画粗细对比鲜明，富节奏、韵律美感，也把颜体的一个“筋”的意味完整地表达出来。\n颜体撇画较轻盈挺健，捺画却粗壮有力，有“蚕头燕尾”之称，给人以刚健的动感，尤其是捺脚较长，顿挫后踢出开衩，含蓄而又有峻利之感。另外，颜体捺画的捺脚多与撇画锋尖持平或稍低，不似柳体的撇低捺高，而呈现出一种舒展沉稳之美。《多宝塔碑》转折变化较多，主要有提耸肩顿挫和按笔削肩暗转之法，有方有圆，方圆兼施。该碑具有唐楷“尚法”的典型特征，结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，已初显颜体成熟期正面示人、雄浑豪迈的书风。\n《多宝塔碑》整篇结构严密，字行间有乌丝栏界格，其结体宽博，布白较匀整，字型稍方，端庄平稳，正气饱满，布势均匀，四周撑满，故气势雄伟，这是“颜体”佛书的又一特色。颜真卿的结体，用的是“外拓”笔法，字势方正，撇捺竭力向左右拓展，气势博大恢弘。无论独体字，还是合体字，都以中心轴线为重心，在结构处理上，既讲究规矩，又生动活泼。在楷书史上还没有一个人有过这样的结体方式，尤其是捺脚，重拙而不作波曳之状，线条涩重雄强，气概非凡。\n《多宝塔碑》的章法之美：整幅作品纵横整齐。从纵看，字的中心在中轴线上；字的大小配合得当。整体雄伟恢弘，实也秀媚多姿。\n明代学者孙鑛《书画跋》：“此是鲁公最匀稳书，亦尽秀媚多姿，第微带俗，正是近世掾史家鼻祖。”\n明代戏曲理论家何良俊《四友斋书论》：“正所谓世下最传者，盖鲁公书妙在险劲，而此书太整齐，失之板耳。”\n现代书法家欧阳中石：“它是颜碑中最讲用笔，法度最为细密严谨的一部。”\n陕西师范大学历史文化学院教授张懋镕：“整篇结构严密，点画圆整，端庄而不呆板。”\n《多宝塔碑》蕴含了“二王”和初唐以来书家的风流，历来为书家珍重。它是唐代“尚法”的代表碑刻之一，学颜体者多从此碑下手，入其堂奥。学子描红、士子举业、居士写经、坊间印书，竞相仿效。至今仍是适用非常广、影响十分巨大的书法作品。\n颜真卿传世书碑之作中，《多宝塔碑》所蕴文献价值是非常大的。其一，此碑书写厚重，石料坚硬细腻，加上运用了直刀深刻法进行镌刻，因而历经1000多年的锤拓仍完好如初，字口清晰，神采奕奕。除康熙年间碑石断裂损泐二十字之外，无缺文、疑字，这对赏鉴颜书、校考碑文、考辨各代拓本流传都甚为有利。其二，碑文撰者岑勋、多宝塔出资助修者许王瓘，检阅史籍后考得生平事迹一二，或可补史志未载。其三，碑文所记禅师楚金事可与同门僧人飞锡撰《楚金禅师碑》及佛教文献互参校考。其四，多宝塔碑叙记之事多有虚诞，但基于唐玄宗时佛教发展达于极盛，伽蓝之数较唐初几增一倍的史实，反观此碑言及，亦无疑是对当时“抑而不毁”的佛教之况、政教关系的一种反映。",[62,25,7,24,266,754],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c0cd473a1a4b8fef76316a36533dd.jpg",[],{"id":758,"slug":759,"title":760,"dynasty":274,"author":761,"museum":492,"description":762,"tags":763,"thumbUrl":766,"material":77,"size":767,"collection":29,"collections":768,"showCount":747,"zanCount":33,"manualWeight":33,"mainColor":29},220759,"yu-fu-ling-zi-cong-shan-ben-lan-xu-ting-zhao-gou-220759","御府领字从山本兰序亭","赵构","王羲之原作赵构临本（*：赵构临本刻画）",[24,60,7,75,138,764,765],"墨书","朱印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c11fe643b87c5f89c7183551bba413.jpg","26.2 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书法上，其笔法较为严谨，笔画均匀遒劲，波磔生动而有特色，转折多呈方形；结体以长方为主，近篆书形态，但篆书结构遗留甚少，不是篆隶结合的书体，而是少见的汉代长形隶书；章法上，全篇布局疏朗透灵，但节奏感不明显，行间字距匀称和笔画粗细适中，其间扁方的少量字形处理较为得当，无生硬、不和谐之感。",[23,89,90,7,24,266,91,795],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51f1a2a98e0fd7a5ab550399b7fe424.jpg","288x105.6",[],{"id":800,"slug":801,"title":802,"dynasty":18,"author":803,"museum":41,"description":804,"tags":805,"thumbUrl":806,"material":29,"size":29,"collection":29,"collections":807,"showCount":808,"zanCount":33,"manualWeight":33,"mainColor":52},232633,"huai-su-guo-zhong-tie-huai-su-232633","怀素过钟帖","怀素","前人写狂草，往往先来一大壶，半醉半醒，醉眼迷离，然后便笔走龙蛇，一气呵成。\n在这种状态下比较突出的两位，是唐代的怀素和张旭，后世有“张颠素狂”或“颠张醉素”之称，张旭史称草圣。、\n而怀素也同样是中国历史上杰出的书法家，他的草书称为狂草，用笔圆劲有力，使转如环，奔放流畅，和张旭齐名。可以说是古典的浪漫主义艺术，对后世影响极为深远。\n怀素能诗，与李白、杜甫、苏涣等诗人都有交往。好饮酒，每当饮酒兴起，不分墙壁、衣物、器皿，任意挥写，时人谓之“醉僧”。\n怀素的草书有《自叙帖》、《苦笋帖》、《食鱼帖》、《圣母帖》、《论书帖》、《大草千文》、《小草千字文》、《四十二章经》、《千字文》、《藏真帖》、《七帖》、《北亭草笔》等等。而《过钟帖》是怀素的草书作品之一\n释文：右軍云吾真書過鍾，而草故不減張僕，以為真 不如鍾，草不及張，所為世之，所重以 其能，懐素書之不足以為道，其言當不虚也 。",[23,24,107,26,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347d2d99acd4fd911a14f4f1d935f8d1.jpg",[],38,{"id":810,"slug":811,"title":199,"dynasty":274,"author":86,"museum":41,"description":812,"tags":813,"thumbUrl":814,"material":29,"size":29,"collection":141,"collections":815,"showCount":816,"zanCount":33,"manualWeight":33,"mainColor":34},242216,"jiu-cheng-gong-li-quan-ming-yi-ming-242216","此拓本墨色沉凝古雅，字口清朗分明，尽显欧楷中正端严的庙堂气象。笔画瘦硬通神，刚劲秀挺间不失温润灵动，转折处方圆兼济，将法度与意趣相融。排布匀整舒展，字字如精工雕琢的良玉，既具碑刻的厚重沉稳，又留存笔墨书写的自然意韵，尽显初唐楷书的极致风骨，堪称楷则典范，让人于纸端窥见唐楷巅峰的雅致端庄。",[24,7,25,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4e8ebd291b14edac1bd0cb3f75394f.jpg",[141],37,{"id":818,"slug":819,"title":820,"dynasty":18,"author":298,"museum":41,"description":821,"tags":822,"thumbUrl":823,"material":824,"size":29,"collection":29,"collections":825,"showCount":826,"zanCount":160,"manualWeight":33,"mainColor":34},221149,"meng-fa-shi-bei-chu-sui-liang-221149","孟法师碑","《孟法师碑》全称《京师至德观主孟法师碑》，唐代正书碑刻，唐岑文本撰，褚遂良书，贞观十六年（642）刻，碑石佚次，仅有清代李宗瀚藏唐拓本传世。",[23,24,7,25,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f5f2d08e77732ccc70e1e946e53183.jpg","碑石佚次，拓本册",[],36,{"id":828,"slug":829,"title":683,"dynasty":274,"author":275,"museum":41,"description":830,"tags":831,"thumbUrl":832,"material":47,"size":48,"collection":29,"collections":833,"showCount":834,"zanCount":11,"manualWeight":33,"mainColor":52},287332,"xiao-xing-ba-xia-mi-fei-287332","此诗描写了巴峡周围的景色和风土人情。词句清丽，景象雄伟。开头点明时间和地点，说在暮春的黎明作者行经巴峡，心中却思念着遥远的京城。接着写诗人沿途所见所闻，清江边有浣衣的少女，朝阳里传来一片鸡鸣。江面上舟船聚拢，水上人家的集市已经开始了；遥望江岸远山，山桥竟横跨在树梢之上。有人认为“万井”是指千泉万涓，而不是指千家万户。因为以巴峡的地势，不可能像平原一样聚居很多人家。也有道理，可备一说。然而这些美丽的景象并不能让诗人欢快起来，因为身在异乡，难免有思乡之愁。尤其是听到人们说着异乡方言，莺啼还是故乡声音的时候。诗人最后说，幸得山水有许多的意趣，才能稍稍缓解他的离别之情。",[24,60,7,26,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1930f2bd3b2557c809e545a213150e9e.jpg",[],35,{"id":836,"slug":837,"title":838,"dynasty":409,"author":86,"museum":41,"description":839,"tags":840,"thumbUrl":841,"material":47,"size":48,"collection":29,"collections":842,"showCount":843,"zanCount":33,"manualWeight":33,"mainColor":52},226523,"yuan-xie-mu-zhi-yi-ming-226523","元勰墓誌","北魏《元勰墓志》太师领司徒公彭城王元勰墓志：永平六年岁在戊子十一月六日（ 508年），志高 62.5，广 59.6CM，十五行，行十七字，末另有两行，字略小，行二列，列九至十六字不等，正书。一九一九年洛阳城北张羊村西一里出土。曾归武进陶兰泉。元勰（ 473— 508年）本名拓跋勰，字彦和，北魏政治家、诗人。献文帝子，孝文帝元宏的弟弟，初封始平王，后改封彭城王，并得到孝文帝信任，官至尚书、侍中。孝文帝在 498年死后，元勰辅佐孝文帝长子宣武帝元恪，虽得到好评，但也因此受到宣武帝及宣武帝舅舅高肇的怀疑，被迫在 508年自杀。",[23,7,24,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75114233aa1d9a758e08438b517d7c9f.jpg",[],34,{"id":845,"slug":846,"title":847,"dynasty":18,"author":848,"museum":41,"description":849,"tags":850,"thumbUrl":851,"material":852,"size":853,"collection":64,"collections":854,"showCount":843,"zanCount":11,"manualWeight":33,"mainColor":52},221072,"shi-ting-ji-qian-qiu-ting-ji-guo-yan-jin-221072","石亭记千秋亭记","郭延瑾","千秋亭原名石亭，唐开元十八年铜山县尉崔文邕创建，开元十九年改称千秋亭，诗序可证。清末康有为曾得《千秋亭记》拓本，秘不示人，潜心摩习。古文字学家、金石篆刻家、书法家商承柞先生认为：“康氏得此拓本后，视为至宝，刻意摹写，并在该刻笔势的基础上，予以进一步的夸张，遂成‘康体’”。今亭和刻石皆废，仅拓片传世。",[23,7,24,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd0d86f8c3560f5c4efd900e5c6e87.jpg","宣纸微喷","108.6*51.51厘米",[64,141],{"id":856,"slug":857,"title":858,"dynasty":18,"author":298,"museum":41,"description":859,"tags":860,"thumbUrl":861,"material":29,"size":29,"collection":29,"collections":862,"showCount":863,"zanCount":33,"manualWeight":33,"mainColor":52},227082,"da-tang-san-zang-sheng-jiao-xu-ji-chu-sui-liang-227082","大唐三藏圣教序記","《雁塔圣教序》亦称《慈恩寺圣教序》，唐代褚遂良书。楷书，共1463字。公元653年（唐永徽四年）立。共二石，均在陕西西安慈恩寺大雁塔下。前石为序，全称《大唐三藏圣教序》，唐太宗李世民撰文，褚遂良书，21行，行42字。后石为记，全称《大唐皇帝述三藏圣教记》，唐高宗李治撰文，褚遂良书。\n\n《雁塔圣教序》引领大唐楷书新格，书法史上褚遂良因此被重重地书上一笔。初唐三家——欧、虞、褚并称书坛，但真正地开启唐代楷书门户者，非褚氏遂良一人莫属。纵观唐中期的颜真卿、徐浩，莫不受其影响，可以说唐朝中后期书坛风貌是由褚遂良启导的，特别是《雁塔圣教序》更具有创新的时代意义。——王佑贵《褚遂良与〈雁塔圣教序〉》。",[62,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F590671c62213d188de0158f9b168790a.jpg",[],33,{"id":865,"slug":866,"title":867,"dynasty":409,"author":86,"museum":41,"description":868,"tags":869,"thumbUrl":870,"material":47,"size":48,"collection":29,"collections":871,"showCount":863,"zanCount":33,"manualWeight":33,"mainColor":205},226522,"san-guo-wei-huang-nv-can-bei-yi-ming-226522","三国魏皇女残碑","此碑为隶书撰刻",[23,7,24,90,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942120fc2104c286911adf161e2542eb.jpg",[],{"id":873,"slug":874,"title":875,"dynasty":85,"author":86,"museum":41,"description":876,"tags":877,"thumbUrl":880,"material":47,"size":48,"collection":29,"collections":881,"showCount":882,"zanCount":11,"manualWeight":33,"mainColor":205},226539,"xi-ping-shi-jing-shang-shu-can-shi-yi-ming-226539","熹平石经尚书残石","汉代地下墓室、墓地祠堂、墓阙和庙阙等建筑上雕刻画像的建筑构石。所属建筑，绝大多数为丧葬礼制性建筑，因此，本质上汉画像石是一种祭祀性丧葬艺术。画像石不仅是汉代以前中国古典美术艺术发展的巅峰，而且对汉代以后的美术艺术也产生了深远的影响，在中国美术史上占有承前启后的重要地位。",[23,89,90,7,24,266,878,429,879],"残石","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf339de84418cccc449d6a629987a275.jpg",[],32,{"id":884,"slug":885,"title":886,"dynasty":134,"author":149,"museum":469,"description":887,"tags":888,"thumbUrl":889,"material":29,"size":890,"collection":64,"collections":891,"showCount":882,"zanCount":33,"manualWeight":33,"mainColor":205},221033,"jiu-ta-cheng-qing-tang-tie-wang-xi-zhi-221033","旧榻澄清堂帖","此帖是由王羲之写给其友人，一般认为原帖已不存在，现存本应为唐代摹本。明代鉴赏家詹景凤认为赵孟𫖯行书受到此帖影响。\n明、清年间，为降清明官冯铨所藏有。康熙十八年（1679年），冯铨之子冯源济将此墨本呈献给皇帝，在乾隆十一年（1746年）与王献之的《中秋帖》以及王珣的《伯远帖》合称“三希”，一起放在宫内“三希堂”中，成为“三希堂”第一珍品。到1795年间，乾隆皇帝共亲自御笔题识71则，晚年因视力不佳，改由董诰代笔三则，可见乾隆皇帝对此帖之热爱。",[24,60,7,26,107,105,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7f48f45d5e7d02a716822e97bc91d6.jpg","41.2x57厘米",[64,141],{"id":893,"slug":894,"title":895,"dynasty":134,"author":896,"museum":469,"description":897,"tags":898,"thumbUrl":899,"material":358,"size":900,"collection":141,"collections":901,"showCount":882,"zanCount":33,"manualWeight":33,"mainColor":34},221012,"bei-song-ta-jiang-tie-ba-ce-liu-ling-221012","北宋榻绛帖 （八）册","刘伶","一醉能醉三年？刘伶不信这个邪。他走进酒馆，问杜康要酒喝，杜康给了他一杯、两杯、三杯，不断地劝他别喝多了。刘伶不依不饶，三杯下肚，顿觉天旋地转，连忙道别。\n刘伶跌跌撞撞回到了家，对妻子交代：「我若死，就埋在酒池内，用酒盅酒壶陪葬。」说完，就人事不知，连呼吸也没有了。刘伶妻子以为他死了，痛哭不已。后来，照刘伶的「遗愿」，妻子安葬了他。\n三年后，杜康来到刘伶家，说是来讨要酒钱的。刘伶的妻子又气又恨，恨杜康给刘伶喝酒喝死了人，要拉杜康去见官。不料，杜康却说：「你的丈夫并没有死，他只是醉了。不信你们把棺材打开。」\n众人将信将疑，如杜康所言，开棺查看。果真见刘伶面色红润，栩栩如生。只听杜康高声叫道：「刘伶醒来，刘伶醒来！」棺材里的刘伶伸了一下懒腰，打个哈欠，居然真的活过来了，嘴里还说道：「好酒，好酒！」",[7,24,26,358,75,60,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437251458fa66f869ebc603ef68c9564.jpg","28.3x33.8 厘米",[141],{"id":903,"slug":904,"title":905,"dynasty":134,"author":906,"museum":469,"description":907,"tags":908,"thumbUrl":909,"material":358,"size":910,"collection":141,"collections":911,"showCount":882,"zanCount":33,"manualWeight":33,"mainColor":52},221011,"yuan-jin-tie-xi-chao-221011","远近帖","郗超","郗超（336年～378年），字景興，一字敬輿，小字嘉賓，高平金鄉（今山東省金鄉縣）人，東晉官員、書法家、佛學家，太尉郗鑑之孫，會稽內史郗愔之子。\n郗超出身於高平郗氏，歷任撫軍掾、徵西椽、大司馬參軍、散騎侍郎、中書侍郎、司徒左長史等職。他是桓温謀主，曾勸説桓温廢帝立威。桓温因不肯採納他的建議，在第三次北伐時大敗而回。桓温死後因母喪辭去司徒左長史之職，後被起復為散騎常侍、此後又授任宣威將軍、臨海太守等職，郗超都沒有接受。太元二年十二月病逝，時年四十二歲。\n郗超善長草書，亞於二王，《書品》將其書法定為中品。他還精通佛學，著有《奉法要》，被支道林等名僧譽為“一時之俊”。",[24,7,60,107,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccbd29ef8c81c0d424a93fbfb5fded7f.jpg","35.8x43.6厘米",[141],{"id":913,"slug":914,"title":915,"dynasty":134,"author":551,"museum":469,"description":916,"tags":917,"thumbUrl":918,"material":473,"size":29,"collection":29,"collections":919,"showCount":920,"zanCount":33,"manualWeight":33,"mainColor":52},227046,"jiu-ta-e-qun-tie-san-wang-xian-zhi-227046","旧搨鹅群帖 （三）","《鹅群帖》是王献之写给家人亲戚的一封书信，刻入《淳化阁帖》。传世有墨迹本，相传为米芾所临，临本今所见为民国影印件，原迹现存佚未详。此帖文中询问住在海盐的各房亲戚生活近况，又谈到刘道士以鹅群相赠之事。相传王羲之爱鹅，曾写《道德经》（一说《黄庭经》）一卷，与山阴道士换鹅。因此黄庭坚等前代学者曾认为此帖本为伪作，系附会传说而成，此说可备参考。",[24,7,26,60,107,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f732167e35b4d7a97f2aac43d50e6d5.jpg",[],31,{"id":922,"slug":923,"title":924,"dynasty":409,"author":86,"museum":41,"description":925,"tags":926,"thumbUrl":930,"material":47,"size":48,"collection":29,"collections":931,"showCount":920,"zanCount":11,"manualWeight":33,"mainColor":205},226530,"yuan-xian-jun-mu-zhi-ming-yi-ming-226530","元顯儁墓誌銘","《元显俊墓志》此志石灰石质，通高35厘米，长75厘米，宽56.5厘米。上面为志盖，用阴线刻满四边形、五边形、六边形的龟甲纹样，龟甲中央阴刻正书“魏故处士元君墓志”八个字。下面镌刻着正书志文，计十九行，行二十一字，共三百五十七字",[23,7,24,25,266,555,927,928,795,929],"龟形","南北朝风格","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417e6dae5e8c8ca2108ba2bef47cfcd7.jpg",[],{"id":933,"slug":934,"title":935,"dynasty":134,"author":551,"museum":41,"description":936,"tags":937,"thumbUrl":938,"material":939,"size":29,"collection":141,"collections":940,"showCount":920,"zanCount":33,"manualWeight":33,"mainColor":52},221024,"e-qun-tie-wang-xian-zhi-221024","鹅群帖","《鹅群帖》是一幅行草书法作品，为东晋王献之所书翰札。宋代《淳化阁帖》收刻。原作墨迹不可考，有宋代米芾临本。历代书法名家多有临摹，如元代鲜于枢，明代邢侗、王铎，清代傅山等。\n《鹅群帖》与《鸭头丸帖》二帖，草、行相参，随兴变化，不主故常，笔画连绵相属，气势奔放洒脱，毫无顾忌，正体现出献之豪放不羁的性情与功力相生相发的高度结合。（徐利明《中国书法风格史》197页）",[24,60,7,107,358,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3513d85327aae12fb62333d46ca473aa.jpg","行草",[141],{"id":942,"slug":943,"title":944,"dynasty":18,"author":19,"museum":41,"description":337,"tags":945,"thumbUrl":946,"material":47,"size":48,"collection":29,"collections":947,"showCount":948,"zanCount":33,"manualWeight":33,"mainColor":34},288123,"qing-yuan-dao-shi-shi-yan-zhen-qing-288123","清远道士诗",[24,7,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed789e839a3a792e97829b8041fc529d.jpg",[],28,{"id":950,"slug":951,"title":952,"dynasty":134,"author":551,"museum":953,"description":954,"tags":955,"thumbUrl":957,"material":29,"size":29,"collection":29,"collections":958,"showCount":948,"zanCount":33,"manualWeight":33,"mainColor":205},227047,"bao-mu-tie-wang-xian-zhi-227047","保母帖","美国弗利尔美术馆","王献之《保母帖》，清宫旧藏，流散后，本帖和部分题跋存弗利尔美术馆（赵子昂、郭天锡、董其昌、徐守和等），大部分题跋存故宫博物院（姜夔、赵子昂、周密、仇远、鲜于枢等）。",[23,24,60,7,154,75,26,956],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614954f526555092c1e1af4e18e4ebab.jpg",[],{"id":960,"slug":961,"title":962,"dynasty":18,"author":963,"museum":41,"description":964,"tags":965,"thumbUrl":966,"material":27,"size":29,"collection":29,"collections":967,"showCount":948,"zanCount":11,"manualWeight":33,"mainColor":52},214216,"gui-feng-ding-hui-chan-shi-bei-pei-xiu-214216","圭峰定慧禅师碑","裴休","碑文由唐代书法家裴休书写，额头为柳公权的篆书。铭文由36行组成，每行65个字符。书法与柳公权的相似，但风格比柳公权的更稳健。其用笔严谨方正，结构严谨有力，书法刚柔并济，是晚唐时期最优秀的佛寺碑刻之一。",[23,62,24,7,25,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766f4c7ba47ecf58cf70d249819695dd.jpg",[],{"id":969,"slug":970,"title":971,"dynasty":18,"author":57,"museum":41,"description":200,"tags":972,"thumbUrl":973,"material":47,"size":48,"collection":29,"collections":974,"showCount":975,"zanCount":11,"manualWeight":33,"mainColor":205},288065,"yu-gong-gong-wen-yan-bo-bei-ou-yang-xun-288065","虞恭公温彦博碑",[24,7,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5429f1cb83981c3af26124536082.jpg",[],27,{"id":977,"slug":978,"title":979,"dynasty":134,"author":149,"museum":469,"description":980,"tags":981,"thumbUrl":982,"material":473,"size":983,"collection":141,"collections":984,"showCount":985,"zanCount":33,"manualWeight":33,"mainColor":52},227053,"shu-yue-yi-lun-01-wang-xi-zhi-227053","书乐毅论01","乐毅论是三国时期魏夏侯玄所撰，论述燕国名将乐毅之事。唐朝初年，王羲之书《乐毅论》入藏内府，经褚遂良鉴定为真迹，列为正书第一，与《兰亭序》并列为唐太宗最珍贵的书迹，并摹拓分赐大臣，故一般人罕见其貌。此刻选自《宋拓越州刻晋唐小楷册》，笔画精妙，字势逸宕，雍容典雅，为传世《乐毅论》之著名版本。",[24,107,25,7,26,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7462174768726bbc21221fc292f712ee.jpg","25.3×12.9厘米",[141],26,{"id":987,"slug":988,"title":989,"dynasty":18,"author":19,"museum":72,"description":73,"tags":990,"thumbUrl":991,"material":77,"size":78,"collection":29,"collections":992,"showCount":985,"zanCount":33,"manualWeight":33,"mainColor":34},214428,"da-tang-zhong-xing-song-shang-ce-4-yan-zhen-qing-214428","大唐中兴颂上册-4",[62,24,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62f20fd30a867221a406a600d7e1b57.jpg",[],{"id":994,"slug":995,"title":996,"dynasty":85,"author":86,"museum":41,"description":997,"tags":998,"thumbUrl":999,"material":47,"size":48,"collection":29,"collections":1000,"showCount":1001,"zanCount":33,"manualWeight":33,"mainColor":52},287379,"fei-zhi-bei-yi-ming-287379","肥致碑","汉碑(音hàn bēi）即 汉代碑刻。碑文字体以隶为主，碑额文字多用篆书。汉碑（包括拓本）流传甚多﹐著名的有《张迁碑》﹑《乙瑛碑》《华山庙碑》﹑《礼器碑》﹑《史晨碑》﹑《曹全碑》等。\n与汉碑体制的高度成熟相适应，汉碑碑文也已成为典型化的文体，即诔文。文字多达千字左右。详细记载墓主的姓名、职官、功绩、生卒日期以及立碑人书碑人姓名，并有华丽腴饰的四言韵文的颂词。\n东汉晚期，汉碑构成礼仪文化的中心“语境”，同时，儒学也开始向汉碑全面渗透。一个明显的事实是，汉碑多出在儒学中心的黄河下游的山东地区，尤其是山东省济宁市地区，有“天下汉碑半济宁”之称。这个时期，汉碑在整体上已消蚀掉早期汉隶的博大气象和自然意味，但由于刀与石的营构，进一步夸张修饰了简帛书法的特征，使汉隶在本体语言上趋于全面成熟。\n传世汉碑数量庞大，风格类型多样，被称为“一碑一奇，莫有同者”。由此，从风格类型方面研究汉碑便构成一个专门的课题。\n朱彝尊在《西岳华山庙碑跋》中说：“汉隶凡三种，一题方整，《鸿都石经》、 《尹宙》、《鲁峻》、《武荣》、《郑固》、《衡方》、《刘熊》、《白石神君》诸碑是已。一种流丽，《韩勃》，《曹全》，《史晨》、《乙瑛》《张迁》诸碑是已。一种奇古，《夏承》、《戚伯著》诸碑是已。”王澍在《虚舟题跋》中说：“汉碑分雄古、浑劲、方整三类。”康有为《广艺舟双楫·本汉》则将汉碑分为：“骏爽，疏宕，高深、丰茂、华艳，虚和，凝整、秀额八类。此外，还有学者依据制作目的将汉碑分为五类：歌颂神冥灵验者，有神碑，神庙石阙；记述祖庙祭祀与修造者的庙碑；歌颂个人德行者，有德政碑、墓碑、墓门石阙；纪念土木工程完工者，有竣功纪念碑。其它，有画像题字，墓记，买冢记，石经等。这种分类充分体察到汉碑的文化功用，并将汉碑不同书风的形成与汉碑体制结合起来加以考察。因而这种分类视角较之仅仅从审美形态上划分汉碑风格类型无疑更具有史学认识价值。",[24,90,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333bf7daac6ef1f785f91b305294f68.jpg",[],25,{"id":1003,"slug":1004,"title":1005,"dynasty":179,"author":86,"museum":41,"description":1006,"tags":1007,"thumbUrl":1008,"material":29,"size":29,"collection":141,"collections":1009,"showCount":1001,"zanCount":33,"manualWeight":33,"mainColor":34},242215,"dong-han-li-qi-bei-yi-ming-242215","东汉礼器碑","此作为汉隶经典拓本，笔画瘦硬挺拔，波磔如燕尾舒展，刚柔相济。结体严谨匀整，间架开合有度，疏密排布精妙，尽显端庄雅正的庙堂之气。墨色沉郁浓厚，碑石残损处晕开斑驳古意，为字迹添上岁月的苍茫质感，线条间藏着朴茂高华的金石气韵，将汉隶方整秀逸的风神展露无遗，是隶书成熟时期的极致范本。",[24,7,90,61,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2ec9b1bb2dc1b386602b3b05636351.jpg",[141],{"id":1011,"slug":1012,"title":1013,"dynasty":179,"author":1014,"museum":1015,"description":1016,"tags":1017,"thumbUrl":1020,"material":29,"size":29,"collection":29,"collections":1021,"showCount":1001,"zanCount":33,"manualWeight":33,"mainColor":52},222040,"tai-shan-ba-jing-shi-ke-dai-jing-222040","泰山八景诗刻","戴经","哈佛艺术博物馆","《泰山八景》正德己卯（1519）岁秋八月上旬，刻于水玉堂中。泰安州知州嘉兴戴经补作。一曰苍茫浩宇望朝暾，涌壑推峰骇若喷。一气鸿蒙沧海接，两间砥柱岱宗尊。神龟幻影占霖雨，老蜃含精散彩缊。拄笏也知看未了，万年留此镇昆仑。二曰徂徕犹种鲁人松，落日苍苍万古风。龙挟云还岩石润，蟾随霞上海天空。也知虎豹潜林外，自喜芝兰满谷中。两眼薄书真俗吏，山灵不语笑吴侬。三曰汶水汤汤一脉深，巡崖转壑下千寻。落虹万古垂流影，飞鹊三秋驾汉心。荷担长途谁稳坐，垂纶荒野几高吟。舆梁莫作寻常事，濡足褰裳正不禁。四曰明堂何处草芊芊，落日荒烟万井田。四国会同周盛日，九重巡幸汉丰年。天开形胜犹今古，世握纲维本后先。却笑北鸡鸣武曌，圣王礼乐可容专。五曰四郊无处不秋成，禾黍龟阴独擅名。嬴博不终齐国好，郓欢犹复鲁人争。中都今古谁称宰，夹谷乾坤几会盟。老我专诚徒碌碌，日星圣道正辉明。六曰何年古洞有潜龙，平地风雷起太空。山岳晦冥随上下，江湖倾倒自流通。借车曾讶朱门宿，分砚真惊白书封。满眼病禾兴宋揠，官输常在雨声中。七曰野鹤孤云自往还，空名千载信朝班。奋髯特立云霄远，偃盖长留岁月闲。岱岳托根真峻地，赢秦承命却惭颜。四时秀色何曾改，桃李春风未许攀。八曰东封玉辇不闻音，柏树犹能慰访寻。一代精神看翠霭，千年物色在苍林。水帘洞上风偏急，御帐亭边雪正深。到底凌寒谁可共，老松郁郁是同心。志书泰山八景目存西诗选，经于政暇补之如右。",[23,7,24,25,1018,248,266,1019],"泰山","古迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0e0ed12eef1dd4aa5067332ecf6fca.jpg",[],{"id":1023,"slug":1024,"title":1025,"dynasty":18,"author":298,"museum":41,"description":1026,"tags":1027,"thumbUrl":1028,"material":27,"size":29,"collection":29,"collections":1029,"showCount":1001,"zanCount":33,"manualWeight":33,"mainColor":52},214608,"fan-xing-bei-chu-sui-liang-214608","樊兴碑","这是一幅清代早期的道光拓片。出字六行的下半部分没有损坏，米字二十九行的右半部分没有损坏。这块石头现存于陕西的三原城隍庙。一幅原汁原味的清代道光地形图。唐，永徽元年（650）。 朱遂良撰。以朱遂良的风格题写。",[62,25,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f74b05c2a9095606b2fc650169bafab.jpg",[],{"id":1031,"slug":1032,"title":1033,"dynasty":274,"author":275,"museum":41,"description":684,"tags":1034,"thumbUrl":1035,"material":47,"size":48,"collection":29,"collections":1036,"showCount":1037,"zanCount":33,"manualWeight":33,"mainColor":34},288105,"song-ming-ren-fa-shu-shen-pin-ce-mi-fei-288105","宋名人法書神品册",[24,7,60,358,75,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ced360e026cba422f3b86be1cf27bee.jpg",[],24,{"id":1039,"slug":1040,"title":1041,"dynasty":1042,"author":1043,"museum":41,"description":1044,"tags":1045,"thumbUrl":1046,"material":47,"size":48,"collection":29,"collections":1047,"showCount":1037,"zanCount":33,"manualWeight":33,"mainColor":52},287421,"shu-fa-ce-cheng-qin-wang-287421","书法册","清","成亲王","和硕成亲王，清朝世袭亲王。乾隆五十四年（1789年），乾隆帝皇十一子永瑆封亲王，封号成，死后谥号哲，未得世袭罔替，每次袭封需递降一级，一共传了七代七位。",[24,25,358,7,75,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6630baf72f7e05d4dba1569d183ff8af.jpg",[],{"id":1049,"slug":1050,"title":1051,"dynasty":274,"author":761,"museum":41,"description":1052,"tags":1053,"thumbUrl":1054,"material":47,"size":48,"collection":29,"collections":1055,"showCount":1037,"zanCount":11,"manualWeight":33,"mainColor":34},283635,"lin-lan-ting-xu-zhao-gou-283635","临兰亭序","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。\n大观元年五月（1107年6月），生于宫中，天性聪明，博闻强记，拜检校太尉、定武军节度使。靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。康王赵构即位于南京应天府（今河南省商丘市），建立南宋。在位期间，迫于形势民心，任用岳飞、韩世忠等主战派将领抗击金军，重用主和派的黄潜善、汪伯彦、王伦、秦桧等人，一味求和，处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣。绍兴三十二年（1162年），禅位于皇太子赵昚，尊号“光尧寿圣宪天体道性仁诚德经武纬文绍业兴统明谟盛烈太上皇帝”。淳熙十四年（1187年），崩于德寿宫，时年八十一岁，成为中国历史上少有的长寿帝王之一，谥号“圣神武文宪孝皇帝”，庙号高宗。宋光宗绍熙二年（1191年），累谥“受命中兴全功至德圣神武文昭仁宪孝皇帝”。\n赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《洛神赋》（草书）等。",[23,105,107,24,7,26,61,25,75,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c677d621917a0640394530eaa3a9f85.jpg",[],{"id":1057,"slug":1058,"title":1059,"dynasty":409,"author":86,"museum":41,"description":1060,"tags":1061,"thumbUrl":1062,"material":29,"size":29,"collection":29,"collections":1063,"showCount":1037,"zanCount":33,"manualWeight":33,"mainColor":52},227069,"bei-wei-zhang-xuan-mu-zhi-ming-yi-ming-227069","北魏张玄墓志铭","张玄字黑女，清代为熙帝讳，一般称《张黑（he）女（ru）墓志》。北魏普泰元年（531年）十月刻。清包世臣跋：“此帖骏利如《隽修罗》，圆折如《朱君山》、疏朗如《张猛龙》、静密如《敬显隽》。”何绍基跋：“化篆、分入楷、遂尔无种不妙，无妙不臻，然遒原精古，未有比肩《黑女》者。”此志集雄健、轻灵秀逸、含蓄为一体，其艺术水平之高，鲜有匹敌。代表北魏善墓志的最高成就。",[24,7,25,518,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4434a7534fd7721b201f32a06dda2ff6.jpg",[],{"id":1065,"slug":1066,"title":1067,"dynasty":134,"author":149,"museum":41,"description":1068,"tags":1069,"thumbUrl":1071,"material":29,"size":29,"collection":141,"collections":1072,"showCount":1073,"zanCount":33,"manualWeight":33,"mainColor":52},227052,"da-guan-tie-wang-xi-zhi-227052","大观帖","王羲之（303年—361年） [1] ，字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[24,7,60,358,26,138,1070],"墨拓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573623cb858e8a1fed32ec1e7964493a.jpg",[141],23,{"id":1075,"slug":1076,"title":1077,"dynasty":85,"author":86,"museum":41,"description":1078,"tags":1079,"thumbUrl":1082,"material":47,"size":48,"collection":29,"collections":1083,"showCount":1084,"zanCount":33,"manualWeight":33,"mainColor":34},288150,"yang-da-yan-zao-xiang-ji-ke-ben-yi-ming-288150","杨大眼造像记 (刻本)","刻于北魏景明正始之际（500年-508年）。楷书，刻在洛阳龙门古阳洞。与《始平公造像》、《孙秋生造像》、《魏灵藏造像》并称“龙门四品”。康有为《广艺舟双楫》将其列峻健、丰伟之宗。",[24,7,25,1080,167,1081,26],"刻本","造像记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e6ced86ffa2e10e23ea9b721e6b6ca8.jpg",[],22,{"id":1086,"slug":1087,"title":1088,"dynasty":1042,"author":1089,"museum":41,"description":1090,"tags":1091,"thumbUrl":1092,"material":47,"size":48,"collection":29,"collections":1093,"showCount":1084,"zanCount":33,"manualWeight":33,"mainColor":34},288095,"zuo-tai-yuan-chuan-deng-shi-ru-288095","作太元传","邓石如","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[24,90,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3e0de4296c6f6741794c1ea0aee04f.jpg",[],{"id":1095,"slug":1096,"title":1097,"dynasty":409,"author":86,"museum":41,"description":1098,"tags":1099,"thumbUrl":1100,"material":47,"size":48,"collection":29,"collections":1101,"showCount":1084,"zanCount":33,"manualWeight":33,"mainColor":52},226533,"tian-bao-zao-xiang-ti-ji-yi-ming-226533","天保造像题记","此拓原石传近年出土于河南许昌，北齐天保五年（公元554年）造。石高三十五厘米、宽四十七厘米，造像左侧有残损，题记在其右侧，共十六行存二百零八字。题记文词尔雅、书法优美，造像更有一种残缺的美感，确为佳品。",[23,24,7,25,167,91,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fa44fe4d45cc94e2cfe0bbc41690c9.jpg",[],{"id":1103,"slug":1104,"title":1105,"dynasty":409,"author":86,"museum":41,"description":1106,"tags":1107,"thumbUrl":1108,"material":29,"size":29,"collection":141,"collections":1109,"showCount":1084,"zanCount":33,"manualWeight":33,"mainColor":52},226527,"yuan-you-qi-feng-shi-mu-zhi-yi-ming-226527","元诱妻冯氏墓志","北魏景明四年（公元 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cm",[141],{"id":1122,"slug":1123,"title":1124,"dynasty":274,"author":86,"museum":41,"description":1125,"tags":1126,"thumbUrl":1127,"material":29,"size":1128,"collection":141,"collections":1129,"showCount":1084,"zanCount":33,"manualWeight":33,"mainColor":52},223433,"song-ke-wang-xian-zhi-shu-luo-shen-fu-shi-san-xing-yi-ming-223433","宋刻王献之书洛神赋十三行","王献之(344年~386年)，字子敬，小名官奴，王羲之第七子，与王羲之并称“二王”。官至中书令(相当于宰相)，世称“王大令”或“大王令”。南朝宋、齐、梁、陈间，其书风靡一时。他各体皆精，为世所重。\n王献之学书主要继承家法，但他并不墨守成规，而是“兼众家之长，集诸体之美”，形成了自己独特的风格。《洛神赋十三行》，简称《洛神赋帖》或《十三行》，是王献之传世的小楷名作。原墨迹写于麻笺，内容为三国时期魏国著名文学家曹植的名篇《洛神赋》，但流传至唐宋已残损亡佚。流传至今的刻本为宋代根据真迹上石的拓本，分“碧玉版本”和“白玉版本”两种，其中“碧玉版本”较好，因石色如碧玉，世称“碧玉十三行”，明万历年间在杭州西湖葛岭半闲堂旧址出土，现藏首都博物馆(如右图，局部)。\n从此作可以看出，其用笔外拓，康有为说：“提笔中含，顿笔外拓，中含者浑劲，外拓者雄强。”《洛神赋十三行》真正做到了这一点。结体匀称和谐，宽绰舒展；姿态妩媚雍容，如大家闺秀；笔致洒脱，轻松优雅，神采飞扬，清爽健利，奕奕动人。字的大小差异，字距、行距变化自然，给人以“大珠小珠落玉盘”的玲珑美。从线条角度分析，其均匀纤细的点画中蕴涵着极强的质感，雅逸秀丽、不臃不滑，可谓精丽绝伦。这些特点与文章内涵极为和谐，被后人誉为“小楷之极则”。\n前人对此作给予了很高的评价。清杨宾《铁函斋书号》认为“字之秀劲圆润，行世小楷无出其右”。宋董迨《广川书跋》说：“子敬《洛神赋》，字法端劲，是书家所难。偏旁自见，不相映带；分有主客，趣向严整。与王羲之《黄庭经》、《乐毅论》相比，一反遒紧缜之态，神化为劲直疏秀。”清人蒋和评价：“《玉版十行》章法之妙，其行间空白处，俱觉有味。”",[24,25,7,26,1080,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee872e0b522040ad47406eab77992345.jpg","石高29厘米，宽26厘米",[141],{"id":1131,"slug":1132,"title":1133,"dynasty":274,"author":740,"museum":41,"description":1134,"tags":1135,"thumbUrl":1137,"material":29,"size":29,"collection":29,"collections":1138,"showCount":1139,"zanCount":33,"manualWeight":33,"mainColor":34},232789,"du-fu-shi-san-shou-yu-gu-tai-fa-tie-huang-ting-jian-232789","杜甫诗三首（郁孤台法帖）","黄庭坚草书十分强调节奏韵律，注重笔法腕法，绫条沉着老辣，极富振荡感、立体感；在结字和章法上也有重大突破，形成独特风格——苍老跌宕。本帖中的山谷草书，精选于《宋拓郁孤台法帖》。在山谷传世书迹中，存有大量有阅佛门禅语之作，如《发愿文》、《华严疏》、《头陀赞》、《阴长生诗》、《诸上座帖》等，多为行楷体书写《诸上座帖》虽为大草，但经清梁清标鉴定为摹怀素书。故本帖中《香严袭灯大师智闲颂十九首》的传世，能使后学者在山谷的大草书中体悟浓烈的见性成佛，领略机锋迅捷的佛家三昧，为研究中国书法史上的特殊类型！！禅书，大开方便之门。此外，黄山谷书录杜甫诗的传世作品也十分罕见，台北「故宫博物院」尚有草书墨迹一件《寄贺兰恬》，而《郁孤台法帖》为我们保存了三首黄山谷草书杜甫诗《西郊》、《别李义》、《秦州杂诗》，弥足珍贵，因此也都收入此帖。",[1136,24,153,7,26,75],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6585ab1cf3e1f3d9f4834771cb1893c.jpg",[],21,{"id":1141,"slug":1142,"title":1143,"dynasty":85,"author":86,"museum":41,"description":997,"tags":1144,"thumbUrl":1145,"material":47,"size":48,"collection":29,"collections":1146,"showCount":1139,"zanCount":11,"manualWeight":33,"mainColor":205},227035,"xian-yu-huang-bei-zheng-tuo-yi-ming-227035","鲜于璜碑整拓",[23,85,7,90,24,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaf530111f1f1f78168e1256dab89ff.jpg",[],{"id":1148,"slug":1149,"title":1150,"dynasty":409,"author":86,"museum":41,"description":648,"tags":1151,"thumbUrl":1152,"material":47,"size":48,"collection":29,"collections":1153,"showCount":1139,"zanCount":33,"manualWeight":33,"mainColor":52},226524,"yuan-ti-mu-zhi-yi-ming-226524","元悌墓志",[23,24,7,25,91,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eaf21ac401c5716799504fe752136d4.jpg",[],{"id":1155,"slug":1156,"title":1157,"dynasty":18,"author":210,"museum":211,"description":212,"tags":1158,"thumbUrl":1159,"material":7,"size":215,"collection":29,"collections":1160,"showCount":1161,"zanCount":33,"manualWeight":33,"mainColor":205},220216,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-1-liu-gong-quan-220216","神策军碑-皇帝巡幸左神策军纪圣德碑1",[25,7,24,75,62,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0521c13eaf5363388ee6f5cebbcb8025.jpg",[],20,{"id":1163,"slug":1164,"title":1165,"dynasty":1042,"author":86,"museum":41,"description":1166,"tags":1167,"thumbUrl":1168,"material":29,"size":29,"collection":141,"collections":1169,"showCount":1170,"zanCount":33,"manualWeight":33,"mainColor":34},242174,"lan-ting-ba-zhu-tie-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-yi-ming-242174","《兰亭八柱帖》戏鸿堂刻柳公权兰亭诗","此拓本墨色沉凝乌亮，字口清劲挺括，将柳公权书法瘦硬通神的筋骨风神尽数留存。笔画斩截爽利，结体端庄开阔，尽显柳书的刚健雅正。刻工精妙入微，把笔锋的起落转折复刻无遗，虽经刻拓，却未失笔墨原初的鲜活意趣。旁侧题识笔意舒展，与帖文相映成趣，添增文韵雅致，让这件拓本兼具碑刻的金石沉浑与翰墨的灵动雅致，尽显兰亭诗帖的悠远意蕴。",[24,7,75,60,25,26,61,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed4c57aeefb2b4f1aed893dbe676dbb.jpg",[141],19,{"id":1172,"slug":1173,"title":1174,"dynasty":134,"author":551,"museum":953,"description":1175,"tags":1176,"thumbUrl":1177,"material":29,"size":29,"collection":29,"collections":1178,"showCount":1170,"zanCount":33,"manualWeight":33,"mainColor":205},227710,"song-ta-bao-mu-tie-quan-juan-wang-xian-zhi-227710","宋搨保母帖全卷","王献之（344年－386年），字子敬，小名官奴，汉族，祖籍琅玡临沂（今山东临沂），生于会稽山阴（今浙江绍兴）。东晋著名书法家、诗人、画家，为书圣王羲之第七子、晋简文帝司马昱之婿。官至中书令，为与族弟王珉区分，人称“大令”，与其父王羲之并称为“二王”。与张芝、钟繇、王羲之并称“书中四贤”。 王献之自幼聪明好学，在书法上专攻草书隶书，也擅长绘画。他自小跟随父亲练习书法，胸有大志，后期兼取张芝，自创新体。他以行书和草书闻名，但是楷书和隶书亦有深厚功底。王献之亦善画，张彦远在《历代名画记》中目其画为“中品下”。",[23,24,7,60,154,75,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230b293c4212ad01d0e3e459b678bbfa.jpg",[],{"id":1180,"slug":1181,"title":1182,"dynasty":274,"author":275,"museum":41,"description":1183,"tags":1184,"thumbUrl":1186,"material":47,"size":48,"collection":29,"collections":1187,"showCount":1188,"zanCount":33,"manualWeight":33,"mainColor":205},290867,"kong-zi-shou-zhi-gui-zan-zhou-mi-fei-290867","孔子手植桧赞轴","米芾撰并书。运笔潇洒俊逸，神采飞扬，筋骨雄毅，刚健端庄，体现了米芾行草的特点，可惜多次被火，残损严重。碑原在孔子手植桧前，后移入十三碑亭内，现存汉魏碑刻陈列馆。",[7,24,168,60,1185],"孔子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb404946e7ef6a6d318e2c24934936e2d.jpg",[],18,{"id":1190,"slug":1191,"title":1192,"dynasty":1042,"author":1193,"museum":41,"description":1194,"tags":1195,"thumbUrl":1196,"material":47,"size":48,"collection":29,"collections":1197,"showCount":1188,"zanCount":33,"manualWeight":33,"mainColor":34},290204,"zhu-zi-zhi-jia-ge-yan-huang-zi-yuan-290204","朱子治家格言","黄自元","黄自元（1837年—1918年），字敬舆，号澹叟，湖南安化县龙塘乡人，清末书法家，实业家。\n生于道光十七年（1837年），清同治六年（1867年）举于乡，次年殿试列第二（榜眼），授翰林院编修。曾任顺天乡试同考官和江南乡试副考官。民国7年（1918年）病逝。曾临摹《间架结构摘要九十二法》书帖，为该书的推广做出了重要贡献。",[25,24,26,7,1192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3dbc49f24783c781b285365a3b2226.jpg",[],{"id":1199,"slug":1200,"title":1201,"dynasty":1042,"author":86,"museum":41,"description":1202,"tags":1203,"thumbUrl":1204,"material":29,"size":29,"collection":64,"collections":1205,"showCount":1188,"zanCount":33,"manualWeight":33,"mainColor":34},242172,"lan-ting-ba-zhu-tie-feng-cheng-su-mo-lan-ting-xu-yi-ming-242172","《兰亭八柱帖》冯承素摹兰亭序","此帖墨色匀净沉凝，将原作秀逸风骨尽数复刻。行笔翩跹灵动，提按转折之间尽显王羲之原作的萧散雅致，把永和雅集的林下风流晕染在碑石之上。朱红鉴藏印错落排布，与乌亮墨色相映成趣，既带着法帖的端严沉静，也藏着历代递藏的厚重底蕴。刀工复刻出笔锋毫厘变化，让晋人书法的清远神韵留存于碑拓之间，复刻的是千年之前的兰亭雅韵，亦是碑刻工艺的匠心造诣，方寸间尽显古典书法与金石拓印融合的独有美感。",[24,60,61,7,75,358,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e19709cea513b71ce2fe7509ce25dfc.jpg",[64],{"id":1207,"slug":1208,"title":656,"dynasty":18,"author":19,"museum":20,"description":1209,"tags":1210,"thumbUrl":1211,"material":29,"size":29,"collection":29,"collections":1212,"showCount":1188,"zanCount":33,"manualWeight":33,"mainColor":52},232599,"zheng-zuo-wei-tie-yan-zhen-qing-232599","《争座位帖》，又名《论座帖》《争座位稿》《与郭仆射书》，为唐广德二年（764年）十一月颜真卿致尚书右仆射、定襄郡王郭英乂的信函，是颜真卿行草书法的代表作，原迹已佚，刻石存西安碑林。\n《争座位帖》原稿用唐畿县狱状磓熟纸写就，共七页，秃笔书，有夹行小注和勾改痕迹，短行不计共六十八行，全文计一千一百九十三字。颜真卿在信中直指郭英乂于安福寺兴道会上藐视礼仪，谄媚宦官鱼朝恩，致其礼遇高于六部尚书之事，字里行间洋溢着忠义之气。该帖随意自如，挥洒有度，为历代书家所重，与王羲之的《兰亭集序》并称行书“双璧”，又与《祭侄文稿》《告伯父文稿》并称为“颜氏三稿”。\n释文:十一月日，金紫光禄大夫检校邢部尚书上柱国鲁郡开国公颜真卿，谨奉寓书於右仆射定襄郡王郭公阁下，盖太上有立德，其次有立功，是之谓不朽。抑又闻之，端揆者，百寮之师长。诸侯王者，人臣之极地，今仆射挺不朽之功业，当人臣极地。岂不以才为世出，功冠一时。挫思明跋扈之师，抗回纥无厌之请，故得身画淩烟之阁，名藏太室之廷，吁足畏也。然美则美矣，然而终之始难。故曰：满而不溢，所以长守富也。高而不危，所以长守贵也。可不儆惧乎？书曰：尔唯弗矜，天下莫与汝争功。尔唯不伐，天下莫与汝争能。以齐桓公之盛业，片言勤王，则九合诸侯，一匡天下。葵丘之会，微有振矜，而叛者九国。故曰：行百里者半九十里，言晚节未路之难也。从古至今，自我高祖太宗已来，未有行此而不理，废此而不乱者也。前者菩提寺行香，仆射指麾宰相与两省三省已下常参官并为一行坐，鱼开府及仆射率诸军将为一行坐，若一时从权，亦犹未可。何况积习更行之乎？一昨以郭令公父子之军，破犬羊凶逆之众，众情欣喜，恨不顶而戴之。是用有兴道之会，仆射又不悟前失。径率意而指麾，不顾班秩之高下，不论文武之左右，苟以取悦军容为心。曾不顾百寮之侧目，亦何异清画攫金之士哉？甚非谓也。君子爱人以礼，不窃见闻姑息。仆射得不深念之乎？真卿偶闻军容之为人，清修梵行，深入佛海，况乎收东京有殄城之业，守陕城有戴天之功，朝野之人，所共景仰，岂独有分於仆射哉。加以利衰涂割，恬然於心。固不以一毁加怒，一敬加喜。尚何半席之座咫尺之地能泊其志哉。且卿裏上齿，宗庙上爵，朝廷上位，皆有等威，以明长幼。故得彝伦叙而天下和平也。且上自宰相御史大夫两省五品以上供奉官自为一行，十二卫大将军次之。三师三公令仆射少师保傅尚书左右侍郎自为一行，九乡三监对之，从古以然，未尝参错，至如节度军将，各有本班卿监之班。将军有将军位，纵是开府特进，并是勋官，用荫即有高卑，会燕合依伦叙，岂可裂冠毁冕，反易彜伦，贵者为卑所凌，尊者为贱所逼，一至於此，振古未闻。如鱼军容阶虽开府，官即监门将军，朝廷列位，自有次叙，但以功绩既高，恩泽莫二，出入王命，众人不敢为此，不可令居本位，须别示有尊崇，只可于宰相师保座南，横安一位，如御史台众尊知难事御史，别置一榻，使百寮共得瞻仰，不亦可乎？圣皇时，开府高力士承恩傅宣，亦只如此横座，亦不闻别有礼数。亦何必令他失位，如李辅国倚承恩泽，径居左右仆射及三公之上。令天下疑怪乎？古人云：益者三友，损者三友，愿仆射与军容为直谅之友，不愿仆射为军容佞柔之友。又一昨裴仆射误欲令左右承勾尝尚书，尝时辄有训对。仆射恃贵，张目见尤，介众之中，不欲显过。今者与道之会，还尔遂非，再谒八座尚书，欲令便向下座。州县军城之礼，亦恐未然。朝廷公宴之宜，不应若此。今既若此，仆射意只应以为尚书之与仆射。若州佐之与县令乎？若以尚书同于县令，则仆射见尚书令，得如上佐事刺史乎？益不然矣。今既三厅齐列，足明不同刺史且尚书令与仆射，同是二品，只校上下之阶，六朝尚书并正三品，又非隔品致敬之类。尚书之事仆射礼数未敢有失。仆射之顾尚书，何乃欲同卑吏？又据宋书有百官志，八座同是第三品，隋及国家始升，别作二品。高自标致，诚则尊崇，向下挤排，无乃伤甚况再於公堂，猲咄常伯，当为令公初到，不欲纷披，黾勉就命，亦非理屈。朝廷纪纲，须共存立，遇尔隳坏，亦恐及身。明天子忽震电含怒，责毂彜伦之人，则仆射其将何辞以对。\n《争座位帖》是颜真卿写给郭英乂的一封书信的草稿。事情的起因是唐朝的中兴名将郭子仪凯旋还朝，代宗命文武百官于长安城举行欢迎仪式。负责安排百官排列次序的郭英乂为取悦于大宦官鱼朝恩，不顾朝廷规制，刻意将鱼朝恩的座位排在品阶比他高的几位尚书之前。对于这样露骨的献媚之举，一向以正色立朝的颜真卿愤然致书郭英乂，对其所作所为进行严词斥责。\n笔法:《争座位帖》不少笔意是从颜书楷体演化而来，写得更为疾速，更为放逸，书风跌宕浪漫，全以中锋用笔，气足意满，杀纸之气溢于纸外，似乎天地之间贯穿着股豪迈的正义力量，无坚不摧。虽是信手写来，但笔笔之中气韵饱满，静动有态，大小参差。以直笔为主，浑厚藏拙，质朴苍劲，奇伟秀拔，笔势纵横，笔力矫健，笔锋雄劲爽利。《争座位帖》笔法中的圆劲，是篆籀的生化，在圆润之中更有劲节，飞动之中更带韧性，融北朝的雄浑遒逸和中唐的肥劲宽博于一炉，劲立拔豪宕，姿态飞动。\n结体:《争座位帖》以行书为体，草书辅之。结字是正书中快写纵逸，以笔势的婉健流动为契机来发行、草之变，既富“飞动诡形异状”之态，又不失有凝重劲拔的神韵。它与《祭侄稿》一样没有刻意做作的成分，是一种在自然的倾诉式的书写中达到了书写的极则，将本我的真、艺术内质的美、空间的腾挪起伏表现融为一体。\n章法:从章法上看，《争座位帖》通篇构成了自然叠嶂、雄逸茂畅、舒和烂漫的心灵图画，一派天机之中，凛冽正义的精神凸出。使人从中可以体味出颜真卿刚强耿直、朴素敦厚的性格。因为写的是书信，是草稿书，所以信手写来，故而前松后紧，行疏字密，大小粗细相间，加上圈误补遗，多处修改，无有任何安排之意，显得自然优雅，任意奔放。\n作品评价:北宋书法家苏轼《东坡题跋·题鲁公书草》：“比公他书尤为奇特，信乎自然，动有姿态。”\n北宋书法家米芾《宝章待访录》：“秃笔，字字意相连属，飞动诡形异状，得于意外也。世之颜行第一书也。”\n清代书法家王澍《虚舟题跋》：“三稿皆公奇绝之作，《祭侄》奇古蒙宕，《告伯父》渊润从容，至《论座》则兼有《祭侄》《告伯》两稿之奇，情结不同，书随之异，所以直入神品，足为《兰亭》后劲也”\n清代学者阮元《颜鲁公争座位帖跋》：“《争座位帖》如熔金出冶，随地流走，元气浑然，不复以姿媚为念。夫不复以姿媚为念者，其品乃高，所以此帖为行书之极致。”\n清代书法家何绍基：“此帖笔法之佳，当在《兰亭》之上。”\n清末民初学者杨守敬《学书迩言》：“行书自右军后，以鲁公此帖为创格，绝去姿媚，独标古劲。”\n《争座位帖》稿本墨迹北宋时藏于长安安师文处，安氏据以摹勒刻石，后安家兄弟分家，将真迹一剖为二，其后又辗转进入内府，自此再无下落，不知所终。惟其刻石今尚存西安碑林，世称“关中本”、“陕刻本”。好事者因以该本为底本反复翻刻，翻本众多，良莠不齐，以宋拓为最珍。\n宋拓之中，据王壮弘《崇善楼笔记》载，以晚清四大藏书楼之铁琴铜剑楼藏北宋拓本为第一，惜今已不知尚存人间否。而存世之宋拓，以吴荣光、潘仕成、梁启超递藏北宋拓本为第一。翁方纲题跋定为北宋，民国七年有正书局亦作为北宋拓本影印出版，郑孝胥有跋，复为梁启超重金购藏，今入国家图书馆善本特藏部，为当今学术界公认之北宋拓本。\n此外，还有何绍基题跋宋拓本，今在上海图书馆，为国家一级文物。其次，则有启功题跋、妙鉴斋藏南宋拓本。",[24,60,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65146d8761030d660bbf3ac73afadf05.jpg",[],{"id":1214,"slug":1215,"title":1216,"dynasty":409,"author":86,"museum":41,"description":1217,"tags":1218,"thumbUrl":1219,"material":29,"size":29,"collection":29,"collections":1220,"showCount":1188,"zanCount":33,"manualWeight":33,"mainColor":205},227065,"bei-wei-yuan-zhen-mu-zhi-ming-yi-ming-227065","北魏元桢墓志铭","《元桢墓志》是元魏宗子志石时间最古的。刻于魏孝文帝太和二十年（公元496年）,是属于北魏中期的典型碑刻。17行，行18字，共306字。志高71厘米，宽71厘米。1926年夏出土于洛阳城北高沟村东南，后经于右任先生收藏并移存西安碑林至今。其笔画茂实刚劲，结体紧峻，意态恣肆，气势雄奇。",[24,7,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ea4fc117f539264f63d3add8d31042.jpg",[],{"id":1222,"slug":1223,"title":1224,"dynasty":18,"author":1225,"museum":1226,"description":1227,"tags":1228,"thumbUrl":1229,"material":27,"size":1230,"collection":29,"collections":1231,"showCount":1188,"zanCount":33,"manualWeight":33,"mainColor":52},214309,"shu-kong-zi-yan-zi-zan-can-ke-li-dan-214309","书孔子顔子赞残刻","李旦","首都图书馆","这块碑是在唐朝十一年立的。曲阜孔庙的唐代楷书碑文 孔子与颜子赞 的原貌是根据教会碑文 老子孔子与颜子赞碑（及赵氏诏书），该碑文也刻于开元11年。如果书法也是出自皇帝的墨宝，那么题词应该是 御制御书，这种书很少出现在早期文献中。",[23,62,24,7,25,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe302d8893bf0d679ca79da4cd434b166.jpg","49x49",[],{"id":1233,"slug":1234,"title":1235,"dynasty":134,"author":86,"museum":1236,"description":1237,"tags":1238,"thumbUrl":1239,"material":47,"size":48,"collection":29,"collections":1240,"showCount":1241,"zanCount":11,"manualWeight":33,"mainColor":52},287722,"wang-xi-zhi-shi-qi-tie-yi-ming-287722","王羲之十七贴","日本早稻田大学图书馆","此作用笔圆劲凝练，线条厚重又不失灵动，草书笔势牵丝萦带却爽利舒展，字字错落有致、顾盼生情。章法疏朗宽绰，气息从容萧散，将尺牍里的日常寄怀，化作笔下超逸的风神。虽为刻帖，依旧能窥见原作里晋人尚韵的风流，笔墨间藏着往来酬答的真挚意趣，尽显高古散淡的魏晋风雅，寥寥尺幅间，尽是林下之风的疏放俊逸。",[153,24,7,26,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb517725125d409c4cbbae1477a421d96.jpg",[],17,{"id":1243,"slug":1244,"title":1245,"dynasty":1042,"author":86,"museum":41,"description":1246,"tags":1247,"thumbUrl":1248,"material":29,"size":29,"collection":64,"collections":1249,"showCount":1241,"zanCount":33,"manualWeight":33,"mainColor":34},242236,"zhong-ke-chun-hua-ge-tie-yi-ming-242236","重刻淳化阁帖","此帖墨色乌莹匀净，装裱古雅沉静。右侧题注楷法端秀挺拔，与左方草书形成动静相宜的视觉韵律。\n\n所录右军草书笔势纵逸灵动，牵丝映带间尽显晋人尚韵的风流风骨，提按转折藏筋抱骨，笔墨线条自带潇洒疏朗的魏晋风神。刻工极尽精妙，将原作使转锋芒、枯湿意趣复刻传神，虽为刻本，却全然留存手札里的萧散情致，字里行间漫溢着东晋士族的散淡襟怀，让观者得以遥见当年尺牍往来的林下风雅。",[7,24,60,153,75,26,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff49fe4a6b22c0b2e9328feb544c825.jpg",[64],{"id":1251,"slug":1252,"title":1253,"dynasty":274,"author":86,"museum":41,"description":1254,"tags":1255,"thumbUrl":1256,"material":29,"size":29,"collection":141,"collections":1257,"showCount":1241,"zanCount":33,"manualWeight":33,"mainColor":52},242217,"quan-zhou-ben-chun-hua-ge-tie-yi-ming-242217","泉州本淳化阁帖","此拓本墨色苍润沉凝，字口锋棱宛然留存。行书笔致灵动舒展，遒劲与秀逸兼具，尽显晋人尺牍的萧散风神。\n\n字间排布错落暗含章法，笔势映带自然，将魏晋名士疏朗通脱的气质藏在点捺流转之中。虽经刊刻拓印，却未掩笔法精妙细节，提按转合间的细腻意趣清晰可见，尽显刻帖的金石意趣与书法本身的隽雅风骨，让观者得以窥见古法书韵的雅致精妙。",[24,7,26,61,60,90,45,153,25,429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56713702ae43d86bbafcf427d11eb645.jpg",[141],{"id":1259,"slug":1260,"title":1261,"dynasty":274,"author":86,"museum":41,"description":1262,"tags":1263,"thumbUrl":1264,"material":29,"size":29,"collection":29,"collections":1265,"showCount":1241,"zanCount":33,"manualWeight":33,"mainColor":205},227565,"chun-hua-ge-tie-1-10-juan-yi-ming-227565","淳化阁帖1－10卷","《淳化阁帖》，又名《淳化秘阁法帖》，简称《阁帖》，共10卷。是中国最早的一部汇集各家书法墨迹的法帖。",[1136,7,24,26,60,153,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acf07071fde65eb01773944a9e7bb62.jpg",[],{"id":1267,"slug":1268,"title":490,"dynasty":274,"author":491,"museum":492,"description":493,"tags":1269,"thumbUrl":1270,"material":496,"size":497,"collection":29,"collections":1271,"showCount":1241,"zanCount":33,"manualWeight":33,"mainColor":29},220655,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220655",[23,7,24,60,153,26,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3022f8ad0aa441fb2259ee833cf194e0.jpg",[],{"id":1273,"slug":1274,"title":1275,"dynasty":409,"author":86,"museum":41,"description":1276,"tags":1277,"thumbUrl":1278,"material":47,"size":48,"collection":29,"collections":1279,"showCount":32,"zanCount":33,"manualWeight":33,"mainColor":205},287432,"shi-ping-gong-zao-xiang-ji-bei-jing-jiu-yi-ming-287432","始平公造像记北京旧","此作为魏碑方笔之冠，笔画斩钉截铁、棱角凌厉，如刀劈斧斫般刚猛雄强。结体宽博方正，字字饱满厚重，尽显北朝石刻的朴拙豪迈气质。\n\n少见的阳刻形制让笔墨意趣与刀石质感相融，沉凝的线条裹着肃穆庄重的力量，将沉笃祈愿凝于刀锋笔痕间。斑驳拓痕带着岁月摩挲的厚重质感，金石气扑面而来，粗犷硬朗的石刻意趣跃然纸上，尽显北朝书法的雄浑气魄。",[24,7,25,518,167,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00ac5f33d19429fffb3a79f6826d921.jpg",[],{"id":1281,"slug":1282,"title":1283,"dynasty":274,"author":740,"museum":41,"description":1284,"tags":1285,"thumbUrl":1288,"material":47,"size":48,"collection":29,"collections":1289,"showCount":32,"zanCount":33,"manualWeight":33,"mainColor":52},287399,"jing-fu-bo-shen-ci-shi-huang-ting-jian-287399","经伏波神祠诗","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[23,24,7,26,60,154,1286,1287],"诗词","伏波神祠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f0efceaa6b2c2dd096dc4416c74f38.jpg",[],{"id":1291,"slug":1292,"title":1293,"dynasty":274,"author":1294,"museum":41,"description":1295,"tags":1296,"thumbUrl":1298,"material":47,"size":48,"collection":29,"collections":1299,"showCount":32,"zanCount":33,"manualWeight":33,"mainColor":52},287369,"qi-zhou-zhang-qing-zhen-xiang-yuan-she-li-ta-ming-su-shi-287369","齐州长清真相院舍利塔铭","苏轼","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[25,7,24,167,1297],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F309e0585f50b65d0cc71c0ea4ea3b865.jpg",[],{"id":1301,"slug":1302,"title":1303,"dynasty":274,"author":86,"museum":41,"description":1304,"tags":1305,"thumbUrl":1306,"material":29,"size":29,"collection":141,"collections":1307,"showCount":32,"zanCount":33,"manualWeight":33,"mainColor":52},242214,"chun-hua-ge-tie-yi-ming-242214","淳化阁帖","此作为行书刻帖，点画灵动秀逸，提按转折间尽显二王一脉的隽永风神。结体欹正相生，字势错落又彼此顾盼，行气连贯悠长。虽为刻拓本，却精准还原原作笔墨细节，刀痕隐于笔意之下，墨色沉凝古雅，将尺牍随性自然的意趣与端雅气度相融。\n\n所录书札既有日常手翰的松弛灵动，亦不失雍容之韵，刻工精妙，完整留存了原作使转的细腻层次，尽显宋刻法帖的典型风貌，是兼具临习价值与鉴藏意义的行书佳范。",[24,7,26,60,25,429,61,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef9d1498fc9ce60eb68e3e32cebc5f1.jpg",[141],{"id":1309,"slug":1310,"title":1311,"dynasty":274,"author":86,"museum":41,"description":1262,"tags":1312,"thumbUrl":1313,"material":29,"size":29,"collection":29,"collections":1314,"showCount":32,"zanCount":33,"manualWeight":33,"mainColor":52},227567,"chun-hua-ge-tie-di-jiu-juan-yi-ming-227567","淳化阁帖第九卷",[24,7,60,107,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebc0ef4755657c5d4d44f7d512d4092.jpg",[],{"id":1316,"slug":1317,"title":1318,"dynasty":409,"author":86,"museum":41,"description":1319,"tags":1320,"thumbUrl":1321,"material":29,"size":29,"collection":29,"collections":1322,"showCount":32,"zanCount":33,"manualWeight":33,"mainColor":205},227064,"bei-wei-yuan-xian-jun-mu-zhi-ming-yi-ming-227064","北魏元显俊墓志铭","《元显俊墓志》此志石灰石质，通高35厘米，长75厘米，宽56.5厘米。上面为志盖，用阴线刻满四边形、五边形、六边形的龟甲纹样，龟甲中央阴刻正书“魏故处士元君墓志”八个字。下面镌刻着正书志文，计十九行，行二十一字，共三百五十七字。",[24,7,25,266,409,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf80031420d0ab1fcd48e2349734aca2.jpg",[],{"id":1324,"slug":1325,"title":1326,"dynasty":179,"author":1327,"museum":41,"description":1328,"tags":1329,"thumbUrl":1331,"material":7,"size":1332,"collection":29,"collections":1333,"showCount":32,"zanCount":11,"manualWeight":33,"mainColor":34},222368,"yu-ri-ren-shu-tie-wang-shou-ren-222368","与日仁书帖","王守仁","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。\n明宪宗成化八年（1472年），王守仁出生于浙江绍兴府余姚县一个显赫的家庭，父亲王华是成化十七年（1481年）状元，官至南京吏部尚书。\n王守仁天生有特殊的气质。他的母亲怀孕十四个月才分娩，在他诞生之前，他的祖母梦见天神衣绯玉，云中鼓吹，抱一赤子，从天而降，祖父遂为他取名为“云”，并给他居住的地方起名为“瑞云楼”。\n王守仁5岁仍不会说话，但已默记祖父所读过的书。有一高僧过其家，摸着他的头说“好个孩儿，可惜道破。”祖父根据《论语·卫灵公》所云“知及之，仁不能守之，虽得之，必失之”，为他改名为“守仁”，随后他就开口说话了。 他的父亲王华喜爱绍兴的山水，才举家离开余姚，移居绍兴。幼年的王守仁，有着良好的家世，也因此拥有一个非常优越的学习环境。\n十二岁时，王守仁正式就读书塾。十三岁，母亲郑氏去世，幼年失恃，这对他来说是一个很大的挫折。但他志存高远，心思不同常人。一次与书塾先生讨论何为天下最要紧之事，他就不同凡俗，认为“科举并非第一等要紧事”，天下最要紧的是读书做一个圣贤的人。当时国家朝政腐败，义军四起。英宗正统年间，英宗被蒙古瓦剌部所俘。这件事情在王守仁幼小的心中投下了巨大的阴影。他发誓一定要学好兵法，为国效忠。十五岁时就屡次上书皇帝，献策平定农民起义，未果。同年，他出游居庸关、山海关一月之久，纵观塞外，那时已经有经略四方之志。\n弘治元年（1488年），王守仁十七岁时，他到南昌与诸养和之女诸氏成婚，可在结婚的当天，大家都找不到他。原来这天他闲逛中遇见一道士在那里打坐，他就向道士请教，道士给他讲了一回养生术，他便与道士相对静坐忘归，直到第二天岳父才把他找回去 。\n弘治二年（1489年），王守仁十八岁时，与夫人诸氏返回余姚，船过广信，王守仁拜谒娄谅。娄谅向他讲授“格物致知”之学，王守仁甚喜。之后他遍读朱熹的著作，思考宋儒所谓“物有表里精粗，一草一木皆具至理”的学说。为了实践朱熹的“格物致知”，有一次他下决心穷竹之理，“格”了七天七夜的竹子，什么都没有发现，人却因此病倒。从此，王守仁对“格物”学说产生了极大的怀疑，这就是中国哲学史上著名的“守仁格竹”。",[23,1330,24,7,153,75],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a621a4ea04ceed4b7314b3c371ac0de.jpg","29.53×76.2cm",[],{"id":1335,"slug":1336,"title":1337,"dynasty":18,"author":57,"museum":72,"description":189,"tags":1338,"thumbUrl":1339,"material":192,"size":193,"collection":29,"collections":1340,"showCount":32,"zanCount":33,"manualWeight":33,"mainColor":52},214510,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-4-ou-yang-xun-214510","宋拓唐虞恭公温彦博碑-4",[23,25,7,26,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726e38a8def864bba39d98d5be2a3c98.jpg",[],{"id":1342,"slug":1343,"title":1344,"dynasty":18,"author":19,"museum":41,"description":337,"tags":1345,"thumbUrl":1346,"material":47,"size":48,"collection":29,"collections":1347,"showCount":1348,"zanCount":33,"manualWeight":33,"mainColor":52},288124,"shu-zhang-zhang-shi-bi-fa-shi-er-yi-yan-zhen-qing-288124","述张长史笔法十二意",[24,7,26,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368c68de7fcd227221e8646a510dbf9a.jpg",[],15,{"id":1350,"slug":1351,"title":1352,"dynasty":714,"author":715,"museum":41,"description":1353,"tags":1354,"thumbUrl":1355,"material":47,"size":48,"collection":29,"collections":1356,"showCount":1348,"zanCount":33,"manualWeight":33,"mainColor":34},287377,"lin-lan-ting-xu-ji-shi-san-ba-kuai-xue-tang-fa-shu-zhao-meng-fu-287377","临兰亭序及十三跋 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；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。\n苏轼擅长写行书、楷书。他曾经遍学晋、唐、五代的各位名家之长，再将王僧虔、徐浩、李邕、颜真卿、杨凝式等名家的创作风格融会贯通后自成一家。他曾自称：“我书造意本无法”、“自出新意，不践古人”。\n黄庭坚称他：“早年用笔精到，不及老大渐近自然。”这说明苏轼一生屡经坎坷，致使他的书法风格跌宕。存世作品有《赤壁赋》、《黄州寒食诗》和《祭黄几道文》等帖。",[23,24,60,7,154,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd417f08ec283075954364da2081efde.jpg",[141],{"id":1686,"slug":1687,"title":1688,"dynasty":18,"author":1689,"museum":41,"description":1690,"tags":1691,"thumbUrl":1692,"material":27,"size":29,"collection":29,"collections":1693,"showCount":1609,"zanCount":33,"manualWeight":33,"mainColor":52},214605,"meng-zhen-rong-bei-su-ling-zhi-214605","梦真容碑","苏灵芝","此刻牛仙客奏文，苏灵芝行书并题额",[24,7,60,62,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973af3411d2e675059f466781014ae54.jpg",[],{"id":1695,"slug":1696,"title":1697,"dynasty":18,"author":57,"museum":72,"description":189,"tags":1698,"thumbUrl":1699,"material":192,"size":193,"collection":29,"collections":1700,"showCount":1609,"zanCount":33,"manualWeight":33,"mainColor":52},214509,"song-tuo-tang-yu-gong-gong-wen-yan-bo-bei-2-ou-yang-xun-214509","宋拓唐虞恭公温彦博碑-2",[23,7,25,24,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff303216d90fcaaa5016bcb12e5ca04f4.jpg",[],{"id":1702,"slug":1703,"title":1704,"dynasty":274,"author":1705,"museum":41,"description":1706,"tags":1707,"thumbUrl":1708,"material":77,"size":29,"collection":64,"collections":1709,"showCount":1710,"zanCount":33,"manualWeight":33,"mainColor":205},241661,"ming-qing-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241661","明清诸家跋赐詹骙诗拓卷","赵眘","宋孝宗趙昚（1127年11月27日－1194年6月28日），初名趙伯琮，後改名趙瑗，賜名趙瑋，字元永，籍貫秀州（今浙江嘉興），宋太祖趙匡胤七世孫、宋高宗趙構養子。宋朝第十一位皇帝、南宋第二位皇帝（1162年7月20日－1189年2月18日在位）。\n紹興二年（1132年），被高宗選中育於宮中。紹興三十年（1160年），被立為皇子，受封開府儀同三司、寧國軍節度使，封建王。紹興三十二年（1162年），被立為皇太子。同年高宗讓位於趙昚，使宋朝的皇位再次回到宋太祖一系。淳熙十六年（1189年），趙昚禪位於三子趙惇，自稱壽皇聖帝。紹熙五年（1194年），趙昚崩逝，在位二十七年，年六十八。累諡號紹統同道冠德昭功哲文神武明聖成孝皇帝，廟號孝宗，葬於永阜陵。《全宋詞》錄有其詞一首。\n後世普遍認為趙昚是南宋最有作為的皇帝。他在位期間，平反岳飛冤案，起用主戰派人士，鋭意收復中原；內政上，加強集權，積極整頓吏治，裁汰冗官，懲治貪污，重視農業生產，百姓生活安康，史稱“乾淳之治”。後世稱其為“卓然為南渡諸帝之稱首”。",[23,107,154,7,24,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039a2b079120574c0a96be072dc2c54b.jpg",[64],10,{"id":1712,"slug":1713,"title":1714,"dynasty":179,"author":1715,"museum":41,"description":1716,"tags":1717,"thumbUrl":1718,"material":77,"size":29,"collection":64,"collections":1719,"showCount":1710,"zanCount":33,"manualWeight":33,"mainColor":205},240927,"wu-kuan-deng-liu-jia-kai-shu-xie-jing-ji-li-dai-fa-shu-can-pian-ji-juan-yang-shen-240927","无款、等六家楷书写经及历代法书残片集卷","杨慎","此卷合集残片，诸家笔墨风神各异。小楷写经端雅匀整，笔致清隽静穆，带着抄经时的沉虔；行草题跋则笔势跌宕纵横，铺陈出文人抒怀的疏放不羁。纸面虽有残损漫漶，墨色依旧沉厚温润，朱印斑驳晕开，晕染出岁月的古旧质感。残片拼接之间，牵系起散佚的文脉，将数代书家的伏案心境揉入长卷，既有敬谨的抄经笔意，亦有洒脱的论书闲情，古意盎然，墨迹里沉淀着悠悠时光的余温。",[23,25,60,90,45,153,24,506,154,26,7,75,278,61,429],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[64],{"id":1721,"slug":1722,"title":1723,"dynasty":1724,"author":86,"museum":41,"description":1725,"tags":1726,"thumbUrl":1727,"material":29,"size":29,"collection":29,"collections":1728,"showCount":1710,"zanCount":33,"manualWeight":33,"mainColor":52},232794,"long-men-er-shi-pin-yi-ming-232794","龍門二十品","五代十国","从河南洛阳南行十三公里左右，就到了著名的“四大佛窟”之一的龙门石窟。这里两山夹峙，有如门阙，伊水长流，一边，是唐代大诗人白居易长眠的香山；一边，是龙门山。在龙门山上，有自北魏至北宋开凿的大大小小的佛窟，至今尚存的就有一千三百五十二个，有佛龛二千三百四十五个，造像多至十万余尊，是中国雕塑艺术的宝库。\u2028 这些造像，大多都有题记。人们在龙门造佛像，有的是为君，有的是为友，有的是为亡妻，有的是为夭女。造好像后，有的人就要刻石记载这一件事，这就是龙门造像题记的来历。许多题记书法都十分精美，尤其是北魏造像题记，是魏碑书法的代表作品，被康有为称为“雄峻伟茂，极意发宕，方笔之极轨也”（《广艺舟双楫·余论》）。\u2028 清代碑学大兴以后，龙门石窟造像题记引起了人们的注意，开始搜求椎拓。开始仅由黄易拓《始平公造像记》一品，后来增至《四品》《十品》《二十品》《五百品》乃至《龙门全山》。其中，以《龙门二十品》最为实用，影响也最大。\u2028 《龙门二十品》是经过许多书家选择的，很具有代表性，所选题记，都是北魏书法中的精品。这二十品是：\u2028\u2028　　《始平公造像记》\u2028\u2028　　《孙秋生造像记》\u2028\u2028　　《尉迟造像记》\u2028\u2028　　《解伯达造像记》\u2028\u2028　　《一弗氏造像记》\u2028\u2028　　《比丘惠感造像记》\u2028\u2028　　《元详造像记》\u2028\u2028　　《魏灵藏造像记》\u2028\u2028　　《杨大眼造像记》\u2028\u2028　　《比丘道匠造像记》\u2028\u2028　　《孙保造像记》\u2028\u2028　　《高树造像记》\u2028\u2028　　《郑长遒造像记》\u2028\u2028　　《贺兰汗造像记》\u2028\u2028　　《马振拜造像记》\u2028\u2028　　《太妃侯为幼孙造像记》\u2028\u2028　　《慈香造像记》\u2028\u2028　　《比丘法生造像记》\u2028\u2028　　《元燮造像记》\u2028\u2028　　《元佑造像记》\n《龙门二十品》，有十九品在古阳洞，仅有一品在老龙洞外慈香窟。从《二十品》中，已经可以大致窥见龙门书风。所书大致出于民间书手，一派天真，有人称之为粗头乱服，天真烂漫，但奇趣天成。康有为在《广艺舟双楫·十六宗》中说：“魏碑无不佳者，虽穷乡儿女造像，而骨血峻宕，拙厚中皆有异态，构字亦紧密非常，岂与晋世皆当书之会耶？何其工也。譬江、汉游女之风诗，汉、魏儿童之谣谚，自能蕴蓄古雅，有后世学士所不能为者，故能择魏世‘造像记’学之，已自能书矣。”\u2028　　龙门造像题记书法对后世的影响非常大，康有为甚至认为有了魏碑，南碑（指南方之碑，如《爨宝子》《爨龙颜》）、齐碑、周碑、隋碑都可以不要了，因为它们所有的风格在魏碑中就已经有了。在这里，我们可以寻到后代许多著名书法家的源头，如赵孟頫、邓石如、赵之谦等。近现代书家，也都把龙门造像题记作为自己学习的极则。",[7,24,25,518,91,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5877464a7433cc0eb7c0c93312c26a.jpg",[],{"id":1730,"slug":1731,"title":1732,"dynasty":1042,"author":86,"museum":41,"description":1733,"tags":1734,"thumbUrl":1737,"material":47,"size":48,"collection":29,"collections":1738,"showCount":1710,"zanCount":33,"manualWeight":33,"mainColor":52},231076,"kong-zi-ji-qi-di-zi-shen-wei-xiang-yi-ming-231076","孔子及其弟子神位像","这幅木刻版画构图严整对称，上方匾额点明主题，两侧楹联烘托出尊崇之意。画面以孔子为中心，众弟子依次拱卫排布，层次分明秩序井然。刻线刚劲细腻，衣褶纹路、冠冕纹饰皆刻画一丝不苟，供桌礼器细节毕现，尽显肃穆的祭祀礼制氛围。整体以黑底衬出线条，古朴厚重的视觉效果尽显庙堂庄重感，具象呈现了尊孔崇儒的文化风貌，承载着传统儒学的精神内核，是民俗与礼教艺术结合的典型之作。",[1522,1735,7,168,167,109,1736],"木刻","礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc86bd56a650ae3bc22c656b2538cd08.jpg",[],{"id":1740,"slug":1741,"title":1742,"dynasty":18,"author":86,"museum":41,"description":1743,"tags":1744,"thumbUrl":1745,"material":47,"size":48,"collection":29,"collections":1746,"showCount":1710,"zanCount":33,"manualWeight":33,"mainColor":34},226535,"ji-zhao-he-shang-bei-duan-cheng-shi-zhuan-wu-ke-shu-li-ying-juan-yi-ming-226535","寂照和尚碑段成式撰無可書李郢鐫","唐大和7年(833)12月卒,經摺裝剪裱",[23,62,7,24,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec1be65632ffcac575e027ca6503d04.jpg",[],{"id":1748,"slug":1749,"title":1750,"dynasty":1042,"author":1751,"museum":469,"description":1752,"tags":1753,"thumbUrl":1754,"material":29,"size":1755,"collection":29,"collections":1756,"showCount":1710,"zanCount":33,"manualWeight":33,"mainColor":34},223281,"qing-ai-tang-shi-ke-si-ce-liu-yong-223281","清爱堂石刻 （四）册","刘墉","刘墉（1720~1804年 ），字崇如，号石庵，山东诸城人，清代政治家、书法家，名臣刘统勋长子。\n清乾隆十六年（1751年），考中进士，官至吏部尚书、体仁阁大学士、太子少保。以奉公守法、清正廉洁闻名于世。\n嘉庆九年（1804年），去世，时年八十五岁，追赠太子太保，谥号文清。刘墉书法造诣深厚，是当时著名的帖学大家，有“浓墨宰相”之称。",[23,24,7,25,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3481115263d7ed95e4fa60540561412.jpg","29.4x28.2",[],{"id":1758,"slug":1759,"title":1760,"dynasty":85,"author":86,"museum":41,"description":997,"tags":1761,"thumbUrl":1762,"material":47,"size":48,"collection":29,"collections":1763,"showCount":1764,"zanCount":33,"manualWeight":33,"mainColor":52},287380,"yuan-bo-bei-yi-ming-287380","袁博碑",[90,7,24,26,266,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a35f28767612d423e51ca80a3b0977.jpg",[],9,{"id":1766,"slug":1767,"title":1768,"dynasty":714,"author":715,"museum":41,"description":648,"tags":1769,"thumbUrl":1770,"material":47,"size":48,"collection":29,"collections":1771,"showCount":1764,"zanCount":11,"manualWeight":33,"mainColor":52},287376,"wei-yi-ren-mu-zhi-shi-qu-bao-ji-fa-tie-zhao-meng-fu-287376","卫宜人墓志 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iu-shi-liu-ying-zhen-xiang-yi-ming-242177","贯休十六应真像","此作用阴刻白描写就，佝偻的罗汉正凝神持卷诵读梵文，沟壑纵横的面庞刻满岁月沧桑，垂挂的佛珠与枯藤禅杖，晕开古朴清寂的禅意。\n\n衣纹线条刚柔相济，顿挫间尽显僧袍的厚重垂坠感，脚下山石皴法粗粝，更衬出罗汉沉潜观经的安然神态。题句呼应观经心境，将禅者毕生苦修、向道至诚的心境娓娓道来，把禅门沉静肃穆的氛围感烘托至极，尽显佛造像版画的精妙意趣。",[108,7,167,109,1970],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa74bfe62da9598727d2e6a13102a8c.jpg",[],{"id":1974,"slug":1975,"title":1976,"dynasty":1042,"author":86,"museum":41,"description":1977,"tags":1978,"thumbUrl":1979,"material":29,"size":29,"collection":141,"collections":1980,"showCount":1943,"zanCount":33,"manualWeight":33,"mainColor":34},242170,"lan-ting-ba-zhu-tie-yu-shi-nan-lin-lan-ting-xu-yi-ming-242170","《兰亭八柱帖》虞世南临兰亭序","此作黑底白字，墨色匀净莹润，刀下毫芒毕现，恍若墨迹初成。笔下温润秀雅，将原作萧散冲和的意韵尽数留存，行笔舒展圆融，点画间带着平和雍容的气度，牵丝映带自然灵动，把修禊雅集里俯仰骋怀的悠然藏在锋棱之中。\n\n章法错落有致，通篇气息连贯畅达，仿佛将曲水流觞的清和风雅凝于尺幅之内，摹刻之际不失原作神韵，让晋人风流与唐楷端雅法度相融，尽显兰亭雅集里天朗气清的悠然意趣。",[24,26,7,61,60,75,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fde375b363527dc97068be7d55f52c.jpg",[141],{"id":1982,"slug":1983,"title":1984,"dynasty":274,"author":1705,"museum":41,"description":1706,"tags":1985,"thumbUrl":1986,"material":77,"size":29,"collection":64,"collections":1987,"showCount":1943,"zanCount":33,"manualWeight":33,"mainColor":205},241659,"xing-ci-zhan-kui-shi-tuo-juan-zhao-shen-241659","行赐詹骙诗拓卷",[23,107,154,7,24,60,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d626d0e0dab15bb200c273c6b447da.jpg",[64],{"id":1989,"slug":1990,"title":1991,"dynasty":274,"author":86,"museum":41,"description":1992,"tags":1993,"thumbUrl":1994,"material":47,"size":48,"collection":29,"collections":1995,"showCount":1943,"zanCount":33,"manualWeight":33,"mainColor":34},231077,"xi-yue-hua-shan-miao-bei-ce-yi-ming-231077","西岳华山庙碑册","此作为汉隶经典风貌，字体方整匀称，气度典雅堂皇，波磔舒展飘逸，尽显庙堂隶书端严正大的气象。墨色沉郁古厚，字口虽有残泐，却更添金石沧桑，朴茂雄浑的气韵扑面而来。\n\n笔画粗细有致，蚕头燕尾极具装饰意趣，结构端稳又不乏灵动变化。残损字痕沉淀着岁月摩挲的厚重质感，带着醇厚的汉代石刻金石意趣，既有法度森严的规整之美，又不失古拙朴茂的高古意韵，将汉隶中正典雅的美学特质诠释尽致。",[7,24,90,358,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac320c4384e6c523c8f6f0c58539a72.jpg",[],{"id":1997,"slug":1998,"title":1999,"dynasty":274,"author":86,"museum":41,"description":2000,"tags":2001,"thumbUrl":2002,"material":29,"size":29,"collection":29,"collections":2003,"showCount":1943,"zanCount":33,"manualWeight":33,"mainColor":463},227573,"zhuan-shu-mu-lu-shi-ke-yi-ming-227573","篆书目录石刻","篆书，又称篆文、篆体，是古老的汉字书体，篆书指隶书以前的书体，又指大篆和小篆。",[45,7,24,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c3d09b1b37f6d865473693011a73d.jpg",[],{"id":2005,"slug":2006,"title":2007,"dynasty":18,"author":86,"museum":41,"description":648,"tags":2008,"thumbUrl":2009,"material":47,"size":48,"collection":29,"collections":2010,"showCount":1943,"zanCount":33,"manualWeight":33,"mainColor":52},227127,"tang-wu-zhou-quan-nan-chan-mu-zhi-ming-yi-ming-227127","唐（武周）泉男产墓志铭",[7,24,25,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb972c4977eaa33cf8eff5ab57e0df9.jpg",[],{"id":2012,"slug":2013,"title":2014,"dynasty":618,"author":86,"museum":41,"description":2015,"tags":2016,"thumbUrl":2017,"material":29,"size":29,"collection":29,"collections":2018,"showCount":1943,"zanCount":33,"manualWeight":33,"mainColor":52},227074,"sui-su-ci-mu-zhi-ming-yi-ming-227074","隋苏慈墓志铭","苏慈为陕西扶风人，历仕西魏、北周及隋。隋文帝仁寿元年(601年)逝于交州（今越南中北部），仁寿三年（603年）三月七日归葬同州（今陕西大荔县），此志当为是年所刻。原题“大隋使持节大将军工兵二部尚书司农太府卿太子左右卫率右庶子洪吉江虔饶袁抚七州诸军事洪州总管安平安公故苏使君之墓志铭”。有界格，楷书37行，行37字。书、刻均极为精美。笔姿秀润兼刚劲，结体平实寓险绝，实开初唐楷书之先河。",[7,24,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55302f65622ed86385ac4a5ffade5ee6.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":85,"author":86,"museum":41,"description":648,"tags":2023,"thumbUrl":2024,"material":47,"size":48,"collection":29,"collections":2025,"showCount":1943,"zanCount":33,"manualWeight":33,"mainColor":52},227036,"dong-wei-zhang-man-mu-zhi-bing-gai-yi-ming-227036","东魏张满墓志并盖",[23,7,24,45,25,91,1447,266,1523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fd1d4e0fd90ae09826f3e302abe5cd.jpg",[],{"id":2027,"slug":2028,"title":2029,"dynasty":85,"author":86,"museum":41,"description":2030,"tags":2031,"thumbUrl":2033,"material":47,"size":48,"collection":29,"collections":2034,"showCount":1943,"zanCount":33,"manualWeight":33,"mainColor":205},227014,"han-wu-feng-er-nian-ke-shi-zhou-yi-ming-227014","汉五凤二年刻石轴","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛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至唐历代名人及帝王书一百余家四百余种。但帖石置于宫中，除宣赐大臣以外，原刻拓木绝少流布人间。\n淸高宗鉴于日趋緊多的翻刻本已完全失去其本来面目，而宋王著昧于辨别，在采择古帖时有真赝混迹现象，编次标越也多处讹误，为避免贻谋后学，希望复原《淳化》旧观。于乾隆三十四年（1769年）持敕命于敏中等据内府所藏宋太宗赐毕士安本《淳化阁帖》详加考证，重新钩摹上石，仍为十卷，每卷隶书标题：“钦定重刻淳化阁帖第 X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[24,7,26,60,153,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de95ff75c6e202033ddf149ce134b61.jpg",[],{"id":2450,"slug":2451,"title":2452,"dynasty":179,"author":86,"museum":41,"description":2453,"tags":2454,"thumbUrl":2455,"material":29,"size":29,"collection":141,"collections":2456,"showCount":51,"zanCount":33,"manualWeight":33,"mainColor":34},242224,"yan-lu-gong-zheng-zuo-wei-gao-yi-ming-242224","颜鲁公争座位稿","笔力雄肆苍劲，线条粗细欹正跌宕，枯润交替间尽显朴拙厚重。行笔纵逸开张，如长枪大戟破风，将愤懑刚直的胸臆倾泻毫端。\n\n章法错落天成，字势大小随心排布，牵丝映带裹挟情绪流动，毫无雕琢之感，尽显率意抒怀的自然之态。它跳脱规整法度的桎梏，以极具抒情性的笔墨语言，将朝堂上的刚正风骨展露无遗，是人格与笔墨的完美融合，尽显雄浑磅礴的盛唐书法气度与文人硬骨。",[24,60,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d01db196b79c19b353504fb7c1f9d4.jpg",[141],{"id":2458,"slug":2459,"title":2460,"dynasty":608,"author":86,"museum":41,"description":2461,"tags":2462,"thumbUrl":2463,"material":29,"size":29,"collection":141,"collections":2464,"showCount":51,"zanCount":33,"manualWeight":33,"mainColor":52},242204,"shou-chan-biao-bei-yi-ming-242204","受禅表碑","此作隶法端严沉雄，笔画厚重遒劲，波磔舒展挺括，结体方正匀稳，褪去汉隶古拙恣肆的野趣，尽显庙堂肃穆气象。字间排布匀净停匀，起收笔法度谨严，蚕头燕尾的典型隶意尚存，却已隐隐显露刚劲方正的楷化端倪，是汉魏书体嬗变的鲜活见证。碑面斑驳泐损，是岁月浸淫的痕迹，为这方石刻晕开沧桑厚重的质感，将往昔郑重的仪轨凝刻于石质肌理之中，既是精工谨严的书刻范本，亦是裹挟着历史余温的金石遗存。",[7,24,90,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c9b977d8ce69500df35b024889e33e.jpg",[141],{"id":2466,"slug":2467,"title":2468,"dynasty":608,"author":86,"museum":41,"description":2469,"tags":2470,"thumbUrl":2471,"material":29,"size":29,"collection":141,"collections":2472,"showCount":51,"zanCount":33,"manualWeight":33,"mainColor":52},242187,"fang-xuan-ling-bei-yi-ming-242187","房玄龄碑","此碑拓笔力劲挺秀雅，兼具初唐庙堂楷书的端整气象，结体沉稳舒展，点画间顿挫明晰，尽显肃穆庄重的庙堂风骨。\n\n碑面虽有泐损斑驳，残痕如时光烙下的印鉴，却未掩书法本真神采，反而晕开古朴苍凉的质感。金石的厚重与笔墨的隽秀交融一处，即便字口漫漶，依旧能窥见刻工与书者的精湛功力，残损的纹路里藏着岁月流转的痕迹，让这份拓本既有书法的法度之美，更带着历史沉淀下的醇厚韵味。",[7,24,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64af3caaa4cacb8789d872f511430bb0.jpg",[141],{"id":2474,"slug":2475,"title":2476,"dynasty":274,"author":1705,"museum":41,"description":1706,"tags":2477,"thumbUrl":2478,"material":77,"size":29,"collection":64,"collections":2479,"showCount":51,"zanCount":33,"manualWeight":33,"mainColor":205},241660,"ming-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241660","明诸家跋赐詹骙诗拓卷",[23,154,24,7,60,75,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34ef92ffa6be07b8b15eee8b880ab.jpg",[64],{"id":2481,"slug":2482,"title":2483,"dynasty":18,"author":86,"museum":41,"description":2484,"tags":2485,"thumbUrl":2486,"material":47,"size":48,"collection":29,"collections":2487,"showCount":51,"zanCount":33,"manualWeight":33,"mainColor":205},231030,"fu-ding-zun-sheng-tuo-luo-ni-zhou-yi-ming-231030","佛顶尊胜陀罗尼咒","这件拓本以端雅小楷书就经文，笔力挺秀凝练，点画匀整精劲，尽显唐楷典正法度，笔墨浸着写经的肃穆虔诚。左上角浅刻坐佛，线条简净洗练，与经文呼应，成就造像与书法相融的佛教遗存。拓墨匀和沉静，虽经岁月磨蚀带着残损痕迹，却更添古雅厚重的质感，将唐代佛教艺术的庄严静定全然铺展。字里行间兼具书法笔法意趣与宗教文本的肃穆气韵，尽显中古写刻一体的独特美感。",[7,25,167,24,506,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4d7a222e715acdcb66d29a325937f0.jpg",[],{"id":2489,"slug":2490,"title":2491,"dynasty":1042,"author":2492,"museum":41,"description":2493,"tags":2494,"thumbUrl":2495,"material":47,"size":48,"collection":29,"collections":2496,"showCount":51,"zanCount":33,"manualWeight":33,"mainColor":34},230164,"shi-qian-long-230164","诗","乾隆","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 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之态。用笔随性自然，起收锋毫无滞碍，结体疏密错落，于散淡间暗藏沉厚筋骨，将苏轼独有的文人旷达意趣晕染纸上。\n\n帖中录东坡咏梅诗作，笔墨与诗意相融，词句清隽，书风疏朗，尽显东坡疏放雅致的精神气象。刻工精湛细致，最大程度还原了原作的笔墨神韵，虽为刻本，却精妙留存了苏轼行书的灵动意态，诗书相映，是兼具赏鉴与收藏价值的书法佳刻。",[24,60,7,26,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f3ca61fe92b6689eab71ad60d6ac43d.jpg",[],{"id":5926,"slug":5927,"title":2718,"dynasty":179,"author":86,"museum":41,"description":5928,"tags":5929,"thumbUrl":5930,"material":47,"size":48,"collection":29,"collections":5931,"showCount":33,"zanCount":33,"manualWeight":33,"mainColor":52},242301,"wan-xiang-tang-su-shu-tie-yi-ming-242301","此作为行书刻帖，笔墨取法东坡意趣，乌墨沉润如漆，尽得尚意书风之妙。用笔丰腴跌宕，藏锋处温润内敛，露锋时爽利劲挺，点画间带着宋人独有的散淡疏朗。\n\n所书东坡诗作，结体大小随性错落，章法排布匀整却不失灵动，字间行气连贯自然，将诗中山林清居的悠然襟怀融于笔墨流转。虽为刻帖，依旧能窥见原迹的潇洒风神，尽显追摹宋贤的雅致意趣，把东坡笔下的林下闲逸，凝在寸尺墨纸之间。",[24,60,7,26,1487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f84a9f101300be44a2c73fd7b2257b.jpg",[],{"id":5933,"slug":5934,"title":2718,"dynasty":179,"author":86,"museum":41,"description":5935,"tags":5936,"thumbUrl":5937,"material":47,"size":48,"collection":29,"collections":5938,"showCount":33,"zanCount":33,"manualWeight":33,"mainColor":52},242300,"wan-xiang-tang-su-shu-tie-yi-ming-242300","此帖以泥金书就于乌金笺上，墨色沉凝与金彩明丽相互映衬，视觉清逸雅致。书取苏轼笔意，结体宽博舒展，笔力劲挺温润，将东坡书法的雍容浑厚与明刻帖的精工秀润融为一体。字字排布匀停疏朗，点画间尽显从容温雅的文人意趣，起承转合皆见法度，既不失苏字的萧散风神，又带着刻本独有的整饬质感，将宋代文人的翰墨雅致精妙留存，是一件颇具韵味的法帖佳本。",[24,60,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5c985b165ff21a26b8aac5afbc8e2a.jpg",[],{"id":5940,"slug":5941,"title":2718,"dynasty":179,"author":86,"museum":41,"description":5942,"tags":5943,"thumbUrl":5944,"material":47,"size":48,"collection":29,"collections":5945,"showCount":33,"zanCount":33,"manualWeight":33,"mainColor":52},242299,"wan-xiang-tang-su-shu-tie-yi-ming-242299","此作为苏书刻帖，墨色乌亮莹润，字势灵动舒展。左侧录东坡日常尺牍，笔意随性洒脱，提按转折间尽显行书舒展自然的意趣，将修闸琐事化作笔下疏朗的线条，带着家常信札松弛自在的烟火气，无半点刻意雕琢的板滞。\n\n右侧题名朴拙率真，刻工细致入微，将苏轼手札的笔墨温度凝于刀锋之下，把文人日常闲散心事藏于方寸拓纸，尽显宋人尺牍萧散简远的风雅韵味，在墨色与纸底的明暗之间，晕开旧时光里的文人情致，平淡语汇里浸透东坡超逸的笔墨风神。",[24,60,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd2e6384e39c3e5b12e18d5598360f9.jpg",[],{"id":5947,"slug":5948,"title":2718,"dynasty":179,"author":86,"museum":41,"description":5949,"tags":5950,"thumbUrl":5951,"material":47,"size":48,"collection":29,"collections":5952,"showCount":33,"zanCount":33,"manualWeight":33,"mainColor":52},242298,"wan-xiang-tang-su-shu-tie-yi-ming-242298","此作用行书录陶渊明《饮酒》名句，笔墨意态追摹东坡风神，结体宽绰舒展，笔力浑厚遒劲又不失灵动潇洒。线条粗细合宜，牵映顾盼间自带萧散悠然之致，与诗文隐世淡远的意境相融相合。碑刻金字沉凝温润，虽经刻拓，依旧留存了原作书写时的松弛快意，将东坡行书雍容跌宕的气质尽显无遗，把陶诗里东篱采菊、悠然忘机的林下风雅，以书法的形式诠释得淋漓尽致，尽显文人淡远出尘的书卷意趣。",[24,60,7,26,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3addc26317f63045808c53f5687270.jpg",[],{"id":5954,"slug":5955,"title":2718,"dynasty":179,"author":86,"museum":41,"description":5956,"tags":5957,"thumbUrl":5958,"material":47,"size":48,"collection":29,"collections":5959,"showCount":33,"zanCount":33,"manualWeight":33,"mainColor":52},242297,"wan-xiang-tang-su-shu-tie-yi-ming-242297","此作为苏书刻帖，墨底朱字，古雅沉静。笔致丰腴跌宕，尽显东坡行书舒展散淡的宋韵风神。刻工精妙，将原作的牵丝映带、结体意趣复刻传神，既有文人书法的雅致疏朗，亦带着碑刻特有的金石朴拙质感。\n\n所录《洞庭春色赋》片段，笔墨间藏着闲适意趣，字里行间漫溢出东坡文辞里的林下风致，明刻复刻颇为得法，在墨色沉凝与朱笔挺秀的反差中，让古帖的书卷气与金石气相融，是复刻苏字的佳妙刻本之一。",[24,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff81935ef65ff68458e43811b237704.jpg",[],{"id":5961,"slug":5962,"title":2718,"dynasty":179,"author":86,"museum":41,"description":5963,"tags":5964,"thumbUrl":5965,"material":47,"size":48,"collection":29,"collections":5966,"showCount":33,"zanCount":33,"manualWeight":33,"mainColor":52},242296,"wan-xiang-tang-su-shu-tie-yi-ming-242296","此作为行书刻帖，墨底题金，古意盎然。取法东坡笔意，笔画丰腴舒展，藏锋裹气，尽显苏氏行书的朴茂浑厚。章法错落随性，字间行气贯通，欹正相生，还原了宋人尺牍的散淡意趣。\n刻工精良，金字在沉郁墨底上锋芒隐现，复刻出原帖的笔墨层次，将尺牍中随性旷达的文士襟怀尽显无余，看似信手挥洒的文辞笔墨，藏着北宋文人潇洒疏放的风神，让观者窥见宋人尺牍往来的雅致日常，虽为刻本却不失原作天真烂漫的意韵。",[24,60,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe248a4381c430fd17d0b4ac6d23391.jpg",[],{"id":5968,"slug":5969,"title":2718,"dynasty":179,"author":86,"museum":41,"description":5970,"tags":5971,"thumbUrl":5972,"material":47,"size":48,"collection":29,"collections":5973,"showCount":33,"zanCount":33,"manualWeight":33,"mainColor":52},242295,"wan-xiang-tang-su-shu-tie-yi-ming-242295","此作为行书刻帖，节取《归去来兮辞》开篇。乌金底板衬起银字愈见清雅隽秀，刻工精良至极。笔墨取法苏轼行书意趣，点画圆劲丰腴，字势舒展灵动，将东坡书法特有的旷达萧散复刻传神。\n\n即便经刊刻转拓，依旧保留着原作笔墨起伏的随性舒展，以苏字疏宕从容的风韵，尽显陶潜归园田居的澹泊襟怀，字字融着文人散淡天真的意绪，是颇具意趣的刻帖佳制。",[24,7,26,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c30d6620a963fbe45587d758d4b2f8.jpg",[],{"id":5975,"slug":5976,"title":2718,"dynasty":179,"author":86,"museum":41,"description":5977,"tags":5978,"thumbUrl":5979,"material":47,"size":48,"collection":29,"collections":5980,"showCount":33,"zanCount":33,"manualWeight":33,"mainColor":52},242294,"wan-xiang-tang-su-shu-tie-yi-ming-242294","此帖墨色乌亮莹润，刻工精妙，尽显苏轼书风神髓。左侧诗文楷行相融，用笔舒展沉厚，结体宽博雍容，既具楷书端稳筋骨，又不失行书灵动意趣，笔墨间沉郁怀古之意尽显。右侧题署朴拙舒展，藏巧于拙，丰腴笔画内含骨力，是典型的东坡书风。\n整帖将笔墨风神与诗文意境相融，既有文人疏朗雅致，又带着沉雄厚重笔力，虽为刻帖，却完整留存原作精神，尽显宋韵书法意韵悠长，朴茂雄浑中隽秀自生。",[24,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a62b3dfa5b819d2355a5ec2fab81d9.jpg",[],{"i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