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:187,"title":188,"dynasty":91,"author":189,"museum":20,"description":190,"tags":191,"thumbUrl":195,"material":196,"size":197,"collection":42,"collections":198,"showCount":199,"zanCount":200,"manualWeight":11,"mainColor":46},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","王蒙","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,25,27,37,57,29,35,192,34,193,194,179,58,38,7],"瀑布","茅屋","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[42,168],1622,16,{"id":202,"slug":203,"title":204,"dynasty":18,"author":205,"museum":206,"description":207,"tags":208,"thumbUrl":213,"material":96,"size":61,"collection":125,"collections":214,"showCount":215,"zanCount":100,"manualWeight":11,"mainColor":46},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","私人收藏","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,24,209,28,77,58,38,7,210,111,120,121,114,117,115,211,177,212],"册","花鸟","石榴","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[125],1280,{"id":217,"slug":218,"title":219,"dynasty":51,"author":220,"museum":106,"description":221,"tags":222,"thumbUrl":224,"material":96,"size":225,"collection":226,"collections":227,"showCount":228,"zanCount":229,"manualWeight":11,"mainColor":46},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","佚名","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,25,26,76,78,28,77,38,7,223,58,79,80,29,32,150,31,34],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8","宋画精选",[226],1270,10,{"id":231,"slug":232,"title":233,"dynasty":145,"author":234,"museum":106,"description":235,"tags":236,"thumbUrl":242,"material":243,"size":61,"collection":61,"collections":244,"showCount":245,"zanCount":246,"manualWeight":11,"mainColor":46},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,25,26,76,27,28,29,37,38,7,35,34,31,30,33,36,237,79,194,238,193,239,240,241],"远山","峭壁","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,6,{"id":248,"slug":249,"title":250,"dynasty":18,"author":251,"museum":53,"description":252,"tags":253,"thumbUrl":255,"material":40,"size":256,"collection":42,"collections":257,"showCount":258,"zanCount":259,"manualWeight":11,"mainColor":46},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,24,25,57,28,77,7,29,79,254,30,31,58,35,34],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[42],1044,13,{"id":261,"slug":262,"title":263,"dynasty":18,"author":19,"museum":53,"description":264,"tags":265,"thumbUrl":267,"material":40,"size":268,"collection":125,"collections":269,"showCount":270,"zanCount":271,"manualWeight":11,"mainColor":46},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[23,24,25,57,28,210,111,266,58,7],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[125],1021,4,{"id":273,"slug":274,"title":275,"dynasty":145,"author":276,"museum":206,"description":277,"tags":278,"thumbUrl":279,"material":123,"size":61,"collection":168,"collections":280,"showCount":281,"zanCount":229,"manualWeight":11,"mainColor":46},216223,"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","金农","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[23,24,25,26,27,111,210,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg",[168],963,{"id":283,"slug":284,"title":285,"dynasty":91,"author":286,"museum":20,"description":287,"tags":288,"thumbUrl":294,"material":123,"size":295,"collection":42,"collections":296,"showCount":297,"zanCount":246,"manualWeight":11,"mainColor":46},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","吴镇","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[23,56,24,25,26,27,289,37,32,290,291,34,178,292,293,7,58],"山水画","蓑笠","渔乐","河流","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","33x651.6",[42],887,{"id":299,"slug":300,"title":301,"dynasty":18,"author":19,"museum":106,"description":302,"tags":303,"thumbUrl":304,"material":96,"size":305,"collection":306,"collections":307,"showCount":308,"zanCount":309,"manualWeight":11,"mainColor":46},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,25,26,27,37,29,177,30,31,32,81,33,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c56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年、中、苇、纸 等字，最后一笔直下，形成长竖，在线条的设计和线条的气韵上，以及整个篇章上，形成了特殊的行间白。苏东坡是宋代商彝书风的代表人物之一。黄庭坚在1100年农历九月前为此卷写了一篇后记，字的大小比东坡的寒食诗要大。",[56,25,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7723c13ef48428ea30b7065ed74c254.jpg","34.2x199.5",[62],803,{"id":370,"slug":371,"title":372,"dynasty":18,"author":19,"museum":373,"description":374,"tags":375,"thumbUrl":378,"material":379,"size":380,"collection":42,"collections":381,"showCount":382,"zanCount":334,"manualWeight":11,"mainColor":46},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","辽宁省博物馆","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[23,24,25,57,27,37,38,7,58,29,33,79,81,376,377],"山","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[42],763,{"id":384,"slug":385,"title":386,"dynasty":145,"author":387,"museum":388,"description":389,"tags":390,"thumbUrl":392,"material":96,"size":393,"collection":125,"collections":394,"showCount":395,"zanCount":246,"manualWeight":11,"mainColor":46},220435,"yu-lan-mu-dan-tu-li-shan-220435","玉兰牡丹图","李鱓","南京博物院","此幅是李复堂较为工致的一幅写生花卉图，玉兰树极具生发之姿，玉兰花怒放，生机无限。巨石旁白牡丹，柔美富贵，体现了扬州画派与世相偕的入世画风。",[23,24,25,57,28,27,7,58,210,391,115,177],"玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9586eb66cdeb4091ec3d5d734d3a1a44.jpg","138.1×69.8cm",[125,155],738,{"id":397,"slug":398,"title":399,"dynasty":51,"author":362,"museum":53,"description":400,"tags":401,"thumbUrl":406,"material":407,"size":61,"collection":61,"collections":408,"showCount":409,"zanCount":259,"manualWeight":11,"mainColor":46},227507,"chi-bi-fu-su-shi-227507","赤壁赋","《赤壁赋》是北宋文学家苏轼创作的一篇赋，作于宋神宗元丰五年（1082）贬谪黄州（今湖北黄冈）时。此赋记叙了作者与朋友们月夜泛舟游赤壁的所见所感，以作者的主观感受为线索，通过主客问答的形式，反映了作者由月夜泛舟的舒畅，到怀古伤今的悲咽，再到精神解脱的达观。全赋在布局与结构安排中映现了其独特的艺术构思，情韵深致、理意透辟，在中国文学上有着很高的文学地位，并对之后的赋、散文、诗产生了重大影响。",[38,7,26,27,58,402,32,31,403,404,376,405],"明月","饮酒","江","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac209c020ded2a63af2f57b2b4992897.jpg","白纸本",[],736,{"id":411,"slug":412,"title":413,"dynasty":91,"author":414,"museum":206,"description":415,"tags":416,"thumbUrl":420,"material":96,"size":421,"collection":125,"collections":422,"showCount":423,"zanCount":424,"manualWeight":11,"mainColor":66},218979,"xi-yuan-chun-se-tu-liu-guan-dao-218979","西园春色图","刘贯道","蛱蝶蹁跹于花草丛中，翅羽斑斓如霞，或振翅欲飞，或停驻吮香，姿态灵动鲜活。草叶舒展，花蕊微绽，淡彩晕染出春日的柔媚生机。旁侧书法笔墨流转，行草相间，墨色浓淡相宜，与工致的花鸟相映成趣。书画交织处，既有自然野趣的鲜活，又有文人笔墨的雅致，仿佛能闻春风里的花香，听纸间墨韵的轻响。整体气息清逸，将西园春日的盎然生机与文人雅兴融于一卷，尽显古典艺术的和谐之美。",[56,24,25,26,77,28,210,417,418,212,119,419,7,38,58],"蝴蝶","荷花","虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec39f61ffab9b2bf23461034a8902f3b.jpg","23x137cm",[125],694,14,{"id":426,"slug":427,"title":428,"dynasty":91,"author":92,"museum":106,"description":429,"tags":430,"thumbUrl":432,"material":40,"size":433,"collection":42,"collections":434,"showCount":435,"zanCount":271,"manualWeight":11,"mainColor":66},218531,"kuai-xue-shi-qing-tu-huang-gong-wang-218531","快雪时晴图","《快雪时晴图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。 画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[23,24,25,26,27,37,29,35,34,431,7,58],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[42,155],675,{"id":437,"slug":438,"title":439,"dynasty":91,"author":440,"museum":73,"description":441,"tags":442,"thumbUrl":446,"material":61,"size":61,"collection":61,"collections":447,"showCount":448,"zanCount":449,"manualWeight":11,"mainColor":46},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","赵孟頫","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,25,26,28,27,37,58,7,38,29,376,377,36,292,293,443,444,445],"芦苇","村落","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,12,{"id":451,"slug":452,"title":453,"dynasty":454,"author":455,"museum":106,"description":456,"tags":457,"thumbUrl":460,"material":165,"size":461,"collection":62,"collections":462,"showCount":464,"zanCount":271,"manualWeight":11,"mainColor":46},221052,"wu-niu-tu-quan-juan-han-huang-221052","五牛图全卷","唐","韩滉","《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[23,24,26,28,77,58,38,7,458,459],"牛","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102bd0cd5d4cb918fdece3f7352d6ced.jpg","525.92X21.6cm",[62,463],"碑帖精选",654,{"id":466,"slug":467,"title":468,"dynasty":18,"author":19,"museum":53,"description":469,"tags":470,"thumbUrl":471,"material":40,"size":472,"collection":42,"collections":473,"showCount":474,"zanCount":334,"manualWeight":11,"mainColor":46},214745,"shan-shui-tu-shen-zhou-214745","山水图","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[24,25,57,27,37,58,38,7,29,81,30,31,135,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[42],653,{"id":476,"slug":477,"title":478,"dynasty":18,"author":479,"museum":53,"description":480,"tags":481,"thumbUrl":482,"material":483,"size":484,"collection":306,"collections":485,"showCount":486,"zanCount":487,"manualWeight":11,"mainColor":66},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","唐寅","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,25,26,28,29,291,31,32,33,34,35,193,79,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","绢","纵29.4cm，横351cm",[306,155],633,5,{"id":489,"slug":490,"title":491,"dynasty":71,"author":72,"museum":373,"description":492,"tags":493,"thumbUrl":496,"material":165,"size":497,"collection":42,"collections":498,"showCount":499,"zanCount":500,"manualWeight":11,"mainColor":66},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,25,26,77,28,79,80,494,29,34,495,82,33,58,38,7,223,56],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[42,155],613,9,{"id":502,"slug":503,"title":504,"dynasty":51,"author":362,"museum":53,"description":505,"tags":506,"thumbUrl":507,"material":123,"size":508,"collection":62,"collections":509,"showCount":510,"zanCount":511,"manualWeight":11,"mainColor":46},214222,"su-shi-chi-du-su-shi-214222","苏轼尺牍","苏轼在奉旨前往凉州的途中，给他最好的朋友赵孟德写了这封信。这幅作品也被称为 "渡海帖"，是典型的苏轼风格，苍劲有力，沉着痛快，为其晚年的代表作。",[23,25,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61013e089b9077df0e32de8156aa212a.jpg","28.6x40.2",[62],601,2,{"id":513,"slug":514,"title":515,"dynasty":91,"author":440,"museum":106,"description":516,"tags":517,"thumbUrl":518,"material":123,"size":519,"collection":125,"collections":520,"showCount":521,"zanCount":334,"manualWeight":11,"mainColor":46},219899,"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[23,24,25,26,27,7,58,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米",[125],566,{"id":523,"slug":524,"title":525,"dynasty":51,"author":526,"museum":527,"description":528,"tags":529,"thumbUrl":531,"material":123,"size":532,"collection":226,"collections":533,"showCount":521,"zanCount":534,"manualWeight":11,"mainColor":46},214884,"lian-she-tu-li-gong-lin-214884","莲社图","李公麟","美国弗利尔美术馆","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,56,24,25,26,78,28,530,79,29,34,33,177,38,223,7,58],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[226],1,{"id":536,"slug":537,"title":538,"dynasty":91,"author":189,"museum":106,"description":539,"tags":540,"thumbUrl":541,"material":542,"size":543,"collection":42,"collections":544,"showCount":545,"zanCount":511,"manualWeight":11,"mainColor":46},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,24,25,57,27,37,29,34,35,31,179,36,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纸本，墨笔","纵118.1厘米，横36.2厘米",[42,168],552,{"id":547,"slug":548,"title":549,"dynasty":145,"author":550,"museum":73,"description":551,"tags":552,"thumbUrl":553,"material":61,"size":61,"collection":125,"collections":554,"showCount":555,"zanCount":184,"manualWeight":11,"mainColor":46},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[23,24,25,26,28,77,7,58,210,119,417,115,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[125],537,{"id":557,"slug":558,"title":559,"dynasty":51,"author":362,"museum":106,"description":560,"tags":561,"thumbUrl":562,"material":407,"size":61,"collection":62,"collections":563,"showCount":564,"zanCount":334,"manualWeight":11,"mainColor":46},221304,"mo-ji-xuan-he-ji-su-shi-221304","墨迹选合集","苏轼（1037年1月8日-1101年8月24日），字子瞻、和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙，北宋著名文学家、书法家、画家，历史治水名人。\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。\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。",[23,38,7,58,26,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2948e558a0b160e7d1fa1c38962ea6ba.jpg",[62],531,{"id":566,"slug":567,"title":568,"dynasty":145,"author":339,"museum":73,"description":569,"tags":570,"thumbUrl":571,"material":196,"size":61,"collection":125,"collections":572,"showCount":573,"zanCount":334,"manualWeight":11,"mainColor":46},220050,"zhu-shi-tu-zheng-ban-qiao-220050","竹石图","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[23,24,25,57,27,109,7,58,112,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[125],528,{"id":575,"slug":576,"title":577,"dynasty":91,"author":440,"museum":53,"description":578,"tags":579,"thumbUrl":580,"material":123,"size":581,"collection":62,"collections":582,"showCount":583,"zanCount":271,"manualWeight":11,"mainColor":46},214219,"xue-qing-yun-san-tie-zhao-meng-fu-214219","雪晴云散帖","雪晴云散帖是元代诗人赵孟頫的一首代表作。\n\n赵孟頫（1254年-1322年），字少华，元代诗人、书法家。他是元代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格清新、婉转，有浓厚的写实感，被认为是元代文学中的经典之作。\n\n雪晴云散帖是赵孟頫的一首著名诗作，其中描写了雪晴云散的风景。这首诗的气势磅礴，描写了雪晴云散的美丽景色，表达了作者对自然的崇敬之情。诗中还描写了雪晴云散周围的风光，表现出作者对自然的热爱。\n\n整首诗的意境深远，描写细腻，是赵孟頫的代表作之一，也是元代文学中的经典之作。",[23,38,7,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf97c8e30e41854d8a25d009cbe353ee.jpg","51.9x24.8",[62],521,{"id":585,"slug":586,"title":587,"dynasty":145,"author":339,"museum":73,"description":588,"tags":589,"thumbUrl":590,"material":407,"size":591,"collection":125,"collections":592,"showCount":593,"zanCount":449,"manualWeight":11,"mainColor":46},223295,"mo-zhu-zheng-ban-qiao-223295","墨竹","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[23,24,57,27,38,7,112,58,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","38*138CM",[125,168],509,{"id":595,"slug":596,"title":597,"dynasty":18,"author":19,"museum":373,"description":598,"tags":599,"thumbUrl":600,"material":196,"size":601,"collection":61,"collections":602,"showCount":603,"zanCount":334,"manualWeight":11,"mainColor":46},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[23,24,25,27,37,7,38,58,29,33,79,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":605,"slug":606,"title":607,"dynasty":18,"author":251,"museum":53,"description":608,"tags":609,"thumbUrl":610,"material":40,"size":611,"collection":42,"collections":612,"showCount":613,"zanCount":246,"manualWeight":11,"mainColor":46},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,24,25,57,28,29,79,7,58,77,37,376,254,33,31,30,377,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[42,168],498,{"id":615,"slug":616,"title":617,"dynasty":51,"author":362,"museum":53,"description":618,"tags":619,"thumbUrl":626,"material":196,"size":627,"collection":62,"collections":628,"showCount":629,"zanCount":246,"manualWeight":11,"mainColor":46},221307,"han-shi-shi-su-shi-221307","寒食诗","《寒食帖》又名《黄州寒食诗帖》或《黄州寒食帖》。是苏轼撰诗并书，墨迹素笺本，行书十七行，129字，现藏台北故宫博物院，那时苏轼因宋朝最大的文字狱，被贬黄州第三年的寒食节作了二首五言诗：“自我来黄州，已过三寒食。年年欲惜春，春去不容惜。今年又苦雨，两月秋萧瑟。卧闻海棠花，泥污燕支雪。暗中偷负去，夜半真有力，何殊病少年，病起须已白。”；“春江欲入户，雨势来不已。小屋如渔舟，蒙蒙水云里。空庖煮寒菜，破灶烧湿苇。那知是寒食，但见乌衔纸。君门深九重，坟墓在万里。也拟哭途穷，死灰吹不起。”\n此帖是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发的 人生之叹。诗写得苍凉多情，表达了苏轼此时惆怅孤独的心情。此诗的书法也正是在这种心情和境况下，有感 而出的。通篇书法起伏跌宕，光彩照人，气势奔放，而无荒率之笔。《寒食诗帖》在书法史上影响很大， 被称为“天下第三行书”，也是苏轼书法作品中的上乘。正如黄庭坚在此诗后所跋：“此书兼颜鲁公，杨少师， 李西台笔意，试使东坡复为之，未必及此。",[23,38,7,26,58,27,620,404,621,495,622,623,624,625],"纸","雨","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","横34.2厘米，纵18.9厘米",[62],452,{"id":631,"slug":632,"title":633,"dynasty":18,"author":251,"museum":20,"description":634,"tags":635,"thumbUrl":636,"material":96,"size":61,"collection":306,"collections":637,"showCount":629,"zanCount":487,"manualWeight":11,"mainColor":638},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,24,25,26,28,29,79,34,193,254,38,7,58,77,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[306,42],"F48FB1",{"id":640,"slug":641,"title":642,"dynasty":454,"author":643,"museum":53,"description":644,"tags":645,"thumbUrl":647,"material":407,"size":648,"collection":62,"collections":649,"showCount":650,"zanCount":271,"manualWeight":11,"mainColor":46},221059,"ji-zhi-wen-gao-quan-juan-yan-zhen-qing-221059","祭侄文稿全卷","颜真卿","《祭侄文稿》与东晋王羲之的《兰亭序》、北宋苏轼的行书《黄州寒食帖》并称为“天下三大行书”，亦被誉为“天下行书第二”。且此稿是在极度悲愤的情绪下书写，不顾笔墨之工拙，故字随书家情绪起伏，纯是精神和平时工力的自然流露。这在整个书法史上都是不多见的，故《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一。",[23,38,7,26,58,646],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625900b54f9cdc3eb453d3c2fceb3e38.jpg","纵28.3厘米，横75.5厘米",[62,463],451,{"id":652,"slug":653,"title":654,"dynasty":91,"author":440,"museum":106,"description":655,"tags":656,"thumbUrl":657,"material":658,"size":659,"collection":62,"collections":660,"showCount":661,"zanCount":184,"manualWeight":11,"mainColor":46},220855,"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[23,56,24,25,26,7,38,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[62],449,{"id":663,"slug":664,"title":665,"dynasty":145,"author":666,"museum":73,"description":667,"tags":668,"thumbUrl":670,"material":61,"size":61,"collection":125,"collections":671,"showCount":672,"zanCount":511,"manualWeight":11,"mainColor":46},238119,"zi-teng-mu-dan-zhou-wu-chang-shuo-238119","紫藤牡丹轴","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,28,210,669,115,7,58],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfc622729b6d71aea89e743af379a39.jpg",[125,155],447,{"id":674,"slug":675,"title":676,"dynasty":454,"author":677,"museum":73,"description":678,"tags":679,"thumbUrl":682,"material":683,"size":61,"collection":62,"collections":684,"showCount":685,"zanCount":487,"manualWeight":11,"mainColor":66},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。",[38,7,680,76,681],"拓本","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91b9c4a74679c00af5b2ca51b36015d.jpg","纸本,拓本",[62],442,{"id":687,"slug":688,"title":689,"dynasty":51,"author":690,"museum":106,"description":691,"tags":692,"thumbUrl":694,"material":96,"size":695,"collection":226,"collections":696,"showCount":697,"zanCount":271,"manualWeight":11,"mainColor":66},214887,"zhao-ling-liu-jun-tu-zhao-lin-214887","昭陵六骏图","赵霖","这幅画以唐太宗昭陵的六匹骏马为蓝本，分为六个部分，每个部分都有一匹马，并在侧面写有铭文。马匹的形状忠实于原作，但也注意到了画作的优势，通过有力的笔触和微妙的色彩，使马匹的皮毛更加逼真自然，战马驰骋疆场的雄姿也被生动地描绘出来。无论他们是奔跑、跳跃、行进还是站立，他们都被充分展现出来。",[23,24,25,26,77,28,76,693,459,79,38,7,58],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d6aa1f7279d174f484a829d34cfa3.jpg","27.4x444.2",[226],441,{"id":699,"slug":700,"title":701,"dynasty":702,"author":703,"museum":704,"description":705,"tags":706,"thumbUrl":710,"material":61,"size":61,"collection":61,"collections":711,"showCount":712,"zanCount":511,"manualWeight":11,"mainColor":46},220453,"hua-niao-ce-ye-pan-tian-shou-220453","花鸟册页","民国","潘天寿","中国美术学院美术馆","这套册页诗书画印浑然天成，十余开铺陈开山野清趣。以浓墨大写鸲鹆，骨力雄健朴拙，墨色厚重凝练尽显沉郁气度；转而写幽花野卉，荷瓣清逸、牵牛含露，水墨晕染虚实相生，将草木舒展之态藏于简括笔意中。\n题跋笔势跌宕，篆隶金石气融于画中，以书入画，线条刚柔相济。每开或绘禽鸟踞枝，或写丛篁蔬果，删繁就简留白疏密得宜，把林泉间的清寂生机缓缓铺展，文人雅致与写意野趣交融无间，笔底带着山野间的灵动意趣，尽显大写意花鸟的诗画交融之妙。",[23,24,25,209,27,28,7,109,58,210,111,120,112,121,118,707,708,177,709],"乌鸦","果实","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1977491dcb09096c6f919e88e1d5b78a.jpg",[],429,{"id":714,"slug":715,"title":716,"dynasty":145,"author":717,"museum":106,"description":718,"tags":719,"thumbUrl":721,"material":722,"size":61,"collection":61,"collections":723,"showCount":724,"zanCount":511,"manualWeight":11,"mainColor":46},234300,"yun-shou-ping-hua-hui-ce-yun-shou-ping-234300","恽寿平花卉册","恽寿平","恽寿平（1633年-1690年），初名格，字惟大，后改字寿平，以字行。别号南田。作为明末清初著名的书画家，他开创了没骨花卉画的独画风，是常州画派的开山祖师。自小敏慧，却一生坎坷\n恽（yùn）寿平出生于官宦之家，又是书香门第，曾祖父、祖父、爹爹、叔父不是为官就是为学，从小敏慧，长相出众，8岁便有咏莲花之诗。清初遭遇战乱，年仅12岁的恽寿平随父远走浙、闽、粤几省，风餐露宿，历尽艰险。后参加了福建建宁王祈的抗清队伍。\n顺治五年（1648年），闽浙总督陈锦率六万清军强攻建宁，15岁的恽寿平坚守孤城。城陷后，与兄皆被虏至清兵营。陈锦无子，其妻见寿平聪明清秀，收为养子。恽寿平虽在总督府生活优裕，但思亲之情未绝。五年后，遇灵隐寺方丈相救，才得以与家人团聚。此后，他刻苦钻研学问，古文、诗词、书画无不精擅。",[24,25,209,720,28,7,58,115,119,210],"没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8ee0032281ae979767d6d432d5240.jpg","纸本，设色",[],407,{"id":726,"slug":727,"title":728,"dynasty":18,"author":105,"museum":527,"description":729,"tags":730,"thumbUrl":731,"material":123,"size":732,"collection":125,"collections":733,"showCount":724,"zanCount":334,"manualWeight":11,"mainColor":46},220099,"shi-er-mo-hua-tu-juan-xu-wei-220099","十二墨花图卷","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,56,24,25,26,27,58,7,38,111,120,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6906eeb6ef87e0a0207882c285c054.jpg","全卷32.8cm×544cm",[125],{"id":735,"slug":736,"title":737,"dynasty":18,"author":479,"museum":738,"description":739,"tags":740,"thumbUrl":741,"material":96,"size":742,"collection":306,"collections":743,"showCount":744,"zanCount":271,"manualWeight":11,"mainColor":66},218350,"ren-wu-gu-shi-ce-tang-yin-218350","人物故事册","大英博物馆","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[23,24,25,209,28,78,79,80,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f6934a53787d0888fc281c204938c0.jpg","32x40.5",[306],396,{"id":746,"slug":747,"title":748,"dynasty":91,"author":749,"museum":106,"description":750,"tags":751,"thumbUrl":752,"material":123,"size":753,"collection":125,"collections":754,"showCount":755,"zanCount":511,"manualWeight":11,"mainColor":46},214583,"si-qing-tu-li-kan-214583","四清图","李衎","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[23,56,24,25,26,27,7,58,77,37,112,328,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[125],394,{"id":757,"slug":758,"title":759,"dynasty":71,"author":760,"museum":53,"description":761,"tags":762,"thumbUrl":763,"material":407,"size":764,"collection":62,"collections":765,"showCount":766,"zanCount":246,"manualWeight":11,"mainColor":46},221032,"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","王羲之","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[23,56,24,25,26,58,7,38,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[62,463],387,{"id":768,"slug":769,"title":770,"dynasty":51,"author":771,"museum":373,"description":772,"tags":773,"thumbUrl":776,"material":96,"size":777,"collection":125,"collections":778,"showCount":779,"zanCount":334,"manualWeight":11,"mainColor":66},216925,"han-ya-tu-li-cheng-216925","寒鸦图","李成","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,56,24,25,26,27,37,774,81,82,775,431,29,177,58,38,7],"枯树","寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[125],385,{"id":781,"slug":782,"title":783,"dynasty":51,"author":784,"museum":53,"description":785,"tags":786,"thumbUrl":787,"material":60,"size":788,"collection":62,"collections":789,"showCount":790,"zanCount":271,"manualWeight":11,"mainColor":46},214341,"shu-qi-yan-lv-shi-tie-zhao-gou-214341","书七言律诗帖","赵构","释文：暮春三月巫峡长，皛皛行云浮日光。雷声忽送千峰雨， 花气浑如百和香。黄莺过水翻回去，燕子衔泥湿不妨。飞阁卷帘图画里，虚无只少对潇湘。赐亿年。宋高宗早年书法黄山谷，后改习二王，是幅字体均匀，结构图活，章法疏朗，乃高宗本色书法，原书后方有赵吴兴补图，惜为后人剪去。宋朝书家，崇尚意趣，往往轻率下笔，任意著墨，将晋唐端严书风大肆更变，有识之士有鉴于此，纷纷改弦易辙，回归传统，高宗亦是其中之功臣也。",[23,38,7,58,27,25,209,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6641a026cecbe41cd716299031cc973.jpg","27.1x48.7",[62],384,{"id":792,"slug":793,"title":794,"dynasty":91,"author":795,"museum":738,"description":796,"tags":797,"thumbUrl":801,"material":802,"size":803,"collection":125,"collections":804,"showCount":805,"zanCount":487,"manualWeight":11,"mainColor":46},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,24,25,26,28,77,210,112,417,798,119,799,800,38,7,223],"蜻蜓","草虫","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","绢本设色","27.8x352.9cm",[125,155],368,{"id":807,"slug":808,"title":7,"dynasty":145,"author":809,"museum":53,"description":810,"tags":811,"thumbUrl":812,"material":123,"size":813,"collection":62,"collections":814,"showCount":815,"zanCount":11,"manualWeight":11,"mainColor":46},214199,"xing-shu-kang-you-wei-214199","康有为","释文：浩风无量刼。所寓知几舍。三十有二相。示现随变化。康有为。",[23,145,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab696d5e99f70e246cbc8a67159777c.jpg","95.7x46.2",[62],362,{"id":817,"slug":818,"title":819,"dynasty":51,"author":362,"museum":527,"description":820,"tags":821,"thumbUrl":822,"material":27,"size":61,"collection":62,"collections":823,"showCount":824,"zanCount":334,"manualWeight":11,"mainColor":66},218610,"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[23,56,24,25,26,27,112,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg",[62],348,{"id":826,"slug":827,"title":828,"dynasty":145,"author":339,"museum":20,"description":588,"tags":829,"thumbUrl":830,"material":407,"size":831,"collection":125,"collections":832,"showCount":833,"zanCount":511,"manualWeight":11,"mainColor":46},223298,"zhu-shi-tu-2-zheng-ban-qiao-223298","竹石图2",[23,24,25,57,27,112,177,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e983ebb0ad92b6de26b6800638f4370.jpg","纵217.4厘米，横120.6厘米",[125,168],346,{"id":835,"slug":836,"title":837,"dynasty":145,"author":838,"museum":53,"description":839,"tags":840,"thumbUrl":841,"material":123,"size":842,"collection":62,"collections":843,"showCount":844,"zanCount":511,"manualWeight":11,"mainColor":46},214198,"lin-huang-shan-gu-ti-zhou-fang-hua-qin-ruan-tu-liu-yong-214198","临黄山谷题周昉画琴阮图","刘墉","临黄山谷题周昉画琴阮图是清代诗人刘墉的一首诗作。\n\n刘墉（1679年-1733年），字清哲，汉族，浙江桐乡人，清代诗人、文学家。他是清代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格婉转、清新，有浓厚的写实感，被认为是清代文学中的经典之作。\n\n临黄山谷题周昉画琴阮图是刘墉的一首著名诗作，其中描写了黄山的风景。这首诗的气势磅礴，描写了黄山的雄伟景色，表达了作者对黄山的崇敬之情。诗中还描写了周昉画琴阮图的情景，表现了作者对艺术的热爱。\n\n整首诗的意境深远，描写细腻，是刘墉的代表作之一，也是清代文学中的经典之作。",[23,38,7,76,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e3642eba9721dbe21f759d69be88206.jpg","104x33.6",[62],345,{"id":846,"slug":847,"title":391,"dynasty":18,"author":19,"museum":53,"description":848,"tags":849,"thumbUrl":850,"material":196,"size":851,"collection":125,"collections":852,"showCount":853,"zanCount":511,"manualWeight":11,"mainColor":46},222106,"yu-lan-shen-zhou-222106","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,56,24,25,209,27,28,391,81,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","34.8×56.5厘米",[125,155],341,{"id":855,"slug":856,"title":857,"dynasty":145,"author":717,"museum":73,"description":858,"tags":859,"thumbUrl":862,"material":61,"size":863,"collection":61,"collections":864,"showCount":865,"zanCount":487,"manualWeight":11,"mainColor":46},233896,"hua-hui-ce-yun-shou-ping-233896","花卉册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,56,209,28,720,210,860,861,58,38,7],"绣球花","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de138b415462f9c2198e7b482bf75a8.jpg","纵32.5厘米，横25.5厘米",[],340,{"id":867,"slug":868,"title":869,"dynasty":18,"author":105,"museum":106,"description":870,"tags":871,"thumbUrl":873,"material":196,"size":874,"collection":306,"collections":875,"showCount":876,"zanCount":334,"manualWeight":11,"mainColor":46},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,56,24,25,57,27,110,210,418,872,58,38,7],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm 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29.7cm",[306,168],336,{"id":878,"slug":879,"title":880,"dynasty":18,"author":881,"museum":20,"description":882,"tags":883,"thumbUrl":886,"material":40,"size":61,"collection":42,"collections":887,"showCount":888,"zanCount":271,"manualWeight":11,"mainColor":46},214656,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","董其昌","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,209,28,37,7,38,58,29,376,884,377,328,179,237,885,34],"水","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg",[42],333,{"id":890,"slug":891,"title":892,"dynasty":91,"author":893,"museum":106,"description":894,"tags":895,"thumbUrl":898,"material":196,"size":899,"collection":42,"collections":900,"showCount":901,"zanCount":271,"manualWeight":11,"mainColor":46},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","倪瓒","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[23,24,896,289,57,37,7,58,38,377,33,897,35,31],"水墨画","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[42,168],329,{"id":903,"slug":904,"title":905,"dynasty":145,"author":666,"museum":106,"description":906,"tags":907,"thumbUrl":909,"material":722,"size":910,"collection":125,"collections":911,"showCount":912,"zanCount":534,"manualWeight":11,"mainColor":46},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,24,25,57,28,27,7,58,109,210,111,118,177,908,266],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[125,155],321,{"id":914,"slug":915,"title":916,"dynasty":71,"author":760,"museum":73,"description":917,"tags":918,"thumbUrl":919,"material":920,"size":921,"collection":61,"collections":922,"showCount":923,"zanCount":271,"manualWeight":11,"mainColor":46},283697,"feng-cheng-su-mo-lan-ting-xu-quan-juan-shen-long-ben-wang-xi-zhi-283697","冯承素摹兰亭序全卷（神龙本）","王羲之（303年—361年），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。”",[23,56,25,38,26,7,76,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26cdba5ef638e960a7c1fa4d917fa25.jpg","未知","Xcm*Xcm",[],320,{"id":925,"slug":926,"title":927,"dynasty":145,"author":666,"museum":73,"description":928,"tags":929,"thumbUrl":930,"material":28,"size":61,"collection":125,"collections":931,"showCount":923,"zanCount":534,"manualWeight":11,"mainColor":932},224225,"mu-dan-tu-wu-chang-shuo-224225","牡丹图","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,56,24,25,57,28,27,210,115,7,58,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[125,155],"FFFFFF",{"id":934,"slug":935,"title":936,"dynasty":454,"author":937,"museum":106,"description":938,"tags":939,"thumbUrl":940,"material":196,"size":941,"collection":62,"collections":942,"showCount":923,"zanCount":334,"manualWeight":11,"mainColor":46},221138,"shang-yang-tai-tie-li-bai-221138","上阳台帖","李白","《上阳台帖》是唐代诗人、书法家 于天宝三年（744年）创作的纸本墨迹草书书法作品，现收藏于 。\n《上阳台帖》为李白自书其四言诗，共25字，既概括了王屋山高耸峻拔之势和源远流长之水，亦通过赞颂 的作品，抒发了作者对其的仰慕之情。\n全卷苍劲雄浑而又气势飘逸，用笔纵放自如，快健流畅，法度不拘一格，一如李白豪放、俊逸的诗风。\n全贴结体亦参差跌宕，顾盼有情，奇趣无穷。\n《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n山高水长，物象千万，非有老笔，清壮可穷。\n十八日，上阳台书，太白。\n引首为 题“青莲逸翰”四个大字，帖前隔水上有徽宗瘦金书题签“唐李太白上阳台”七字。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彝斋”、贾似道“秋壑图书”，元“张晏私印”、“欧阳玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n后纸有宋代徽宗，元代张晏、杜本、欧阳玄、王馀庆、 、驺鲁，清代乾隆皇帝题跋和观款。\n宋徽宗 跋文为：“太白尝作行书乘兴踏月，西入酒家，不觉人物两忘，身在世外一帖，字画飘逸，豪气雄健，乃知白不特以诗鸣也。\n” 元代 跋曰：“谪仙书传世绝少，尝云：欧、虞、褚、陆真奴书耳。\n自以流出于胸中，非若他人积习可到。\n观其飘飘然有凌云之态，高出尘寰得物外之妙。\n尝遍观晋唐法帖，而忽展此书，不觉令人清爽。\n” 元代书法家 题诗云：“唐家公子锦袍仙，文采风流六百年。\n不见屋梁明月色，空余翰墨化云烟。\n” 唐代是中国书法草书体发展的一个巅峰。\n初唐时期，太宗李世民即大力倡导学习王羲之，并带头习王，开清新活泼书风，也从此奠定王羲之书圣之地位。\n而后有孙过庭、李怀琳等草书大家，源于二王，又有创新，笔法丰富而多变，发展完善了二王草书的技法系统。\n及至盛唐时期，那更是对草书尊崇有加，皇宫内府，大臣公侯，士大夫及有文化一族，谁都能挥洒几笔草体，可谓大唐草书之盛世。\n李白亦是在当时涉草并取得一定成就之士。\n其草书来自张旭一脉，且风格飘然有仙气。\n李白于开元十二年（724年）出蜀游三峡，至江陵遇道士 ，得到司马承祯赞赏。\n后唐玄宗命司马承祯王屋山建立道观，并题写匾额。\n而司马承祯不仅道术精深，而且诗、书、画皆有极高造诣，擅长山水画。\n天宝三年（744年），李白与杜甫、高适同游 ，并来此寻访司马承祯，待到达阳台宫后，方知司马承祯已经仙逝。\n不见其人，惟睹其画，故有感而书《上阳台帖》。\n《上阳台帖》其点画如行走在云烟之中，大有收天下于一纸的旷达情怀。\n书法作品作为心理节奏和性格的折射，《上阳台帖》中的每一个墨点、每一根线条都很自然地渗透着李白的这种性格，表现了李白官场绝望后的一种清壮沉雄、自然放达，正如作品中所书：“非有老笔，清壮可穷”，其性情表现得淋漓尽致。\n《上阳台帖》书法苍劲雄浑，气势飘逸，落天纵，笔力劲健，收笔处一放开锋，用笔纵放自如，快健流畅，其用笔于苍劲中见挺秀，意态万千，是《李白墓碑》中所称的“思高笔逸”的真实写照。\n《上阳台帖》其字宽博开张，稚拙而又放逸，其结体亦参差跌宕，顾盼有情，奇趣无穷。\n纵观全帖二十五字，字的长短大小悬殊，“山、水、千、非、有、壮、十八日、上、书、太白”都十分短促，而“高、万、老、笔、清、台”则一字顶俩、顶仨。\n这是很难安排的，作者是靠结构的奇特来显示生的，如“十八日上”四字，有平整欹侧，有仰盼跌宕，笔短而意长。\n而字长者，作者并不将其压缩，而是任其舒展，特别豁达的是“老”字与“台”字，两个撇如逞雄使气一般地挥下，成了此篇最为雄肆的笔触；“何穷”二字则亦收亦放，波澜层叠、浑然一体。\n《上阳台帖》全篇共有草书五行，其章法大小错落，通幅跳跃动荡，浑朴饱满且又天真烂漫，给人以雄壮辽阔、气象不凡之感。\n雄壮辽阔在于用笔的粗犷沉着，笔笔水分充足饱满。\n书写时又缓缓推进，笔笔送到。\n整个作品幅式很小，却体现了一种苍茫、浑厚之感，文中大字小字、小字大字相互交错，真如前人所说“如老翁携幼孙行，长短参差，而情意真挚，痛痒相关”。\n《上阳台帖》写得跌宕起伏，错落有致，如大江大河，突兀而至；如山石崩绝，凌空而来。\n看似漫不经心，随意所书，实则格律森严，神形逸荡。\n“山高”两字，犹如空中坠石，体现出一种险疾之势。\n“非有老笔”四字中的“非”字写得扁而放纵，“有”字则写得小而含蓄，“老”字突然沉笔挥洒，放胆伸毫，将上述诸字轻轻托了起来。\n再如“情”字和“台”字，看似结构并不平稳，似有摇摇欲坠之状，然而，正是在看似颠簸之中营造出的稳健才有韵味。\n“情”字重心略有倾斜，最后一点又恰到好处地把险势拉了回来，真是令人叫绝。\n“台”字的一横同样也起到了这种于险疾中求平整的作。\n整幅作品就像李白的诗歌一样，是跳跃的、非常态的，但又充满了激情，充满了迈，与“黄河之水天上来，奔流到海不复回”的意境相似。\n同时，《上阳台帖》是内容与形式的统一。\n就内容说，令人朗朗上口：“山高水长，物象千万，非有老笔，清壮可穷”，一派苍茫大气，而形式也极相辅。\n明代董其昌《画禅室随笔》：“如凤翥鸾翔，似奇反正。\n” 故宫博物院研究员 ：“太白以诗文青史第一行世，不特书法。\n白此帖中，唯质成文，援笔墨中锋引带，驭锋直冲拔真气，点承暗筑运斤风，沉着痛处，出者进也，纵勒驰掣间：煌煌然，若熔出冶，随地流走，真大德曰生也。\n” 现代书画家、文物鉴定家 ：“此帖有李白名款，有宋徽宗亲题签和跋，用笔不循故常，天马行空，吻合于李白诗风豪迈不覊，宜为太白真迹。\n” 《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n李白留有诗歌九百多首，豪迈奔放，别具一格。\n而其书法则是其诗歌流传的重要载体，亦其诗歌重要的流传途径。\n由其亲笔抄写，且现存下来的《上阳台帖》更是弥足珍贵。\n抚摩观之，诗如其人，书亦如其人也。\n故《上阳台帖》对于李白及其诗的艺术特质和渊源的把握意义重大。\n《上阳台帖》北宋时曾入宣和内府，后归 ，元代经 处，明藏 天籁阁。\n清代先为 所得，再入内府，清末流出宫外，民国时入张伯驹手。\n新中国成立后，张伯驹将《上阳台帖》赠给毛泽东。\n1958年，毛泽东自己立下规矩，党和国家领导人所收礼品一律缴公，所以，这件《上阳台帖》即被送到北京故宫博物院，转交故宫博物院，后一直为其所收藏。\n《上阳台帖》在清代顾复《平生壮观》、清内府《石渠宝笈》、 《墨缘汇观》、 《吴式书画记》等处均有著录。\n29年9月日—11月1日，北京故宫为庆祝建国6周年而推出“故宫藏历代书画展”第六期，《上阳台帖》为展览精品之一。\n218年4月2日—5月6日，在北京故宫武英殿举办的“予所收蓄·永存吾土——张伯驹先生诞辰12周年纪念展”上，《上阳台帖》作为精品之一展出。\n李白（71－762年），字太白，号青莲居士，唐朝诗人，有“诗仙”之称。\n汉族，出生于剑南道之绵州（今四川绵阳江油市青莲乡），一说生于西域碎叶城（今吉尔吉斯斯坦托克马克）。\n存世诗文千余篇，代表作有《蜀道难》、《将进酒》等诗篇，有《李太白集》传世。\n亦工于书法，有《上阳台帖》传世。",[23,25,38,7,58,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9563a2fc3f539952c7388c4fd79fdb.jpg","纵28.5cm，横38.1cm",[62],{"id":944,"slug":945,"title":946,"dynasty":702,"author":947,"museum":106,"description":948,"tags":949,"thumbUrl":951,"material":123,"size":952,"collection":125,"collections":953,"showCount":954,"zanCount":534,"manualWeight":11,"mainColor":46},216929,"wu-ya-song-shu-tu-qi-bai-shi-216929","乌鸦松树图","齐白石","乌鸦松树图是齐白石的一幅著名画作。这幅画描绘了一棵古老的松树，上面停满了乌鸦。树上的乌鸦象征着松树的历史和沧桑。这幅画被认为是齐白石最伟大的作品之一，因为它成功地将自然与人类的悲剧融合在一起。乌鸦松树图也被认为是中国画中最具有感染力的作品之一。",[23,24,27,57,7,707,254,950,109],"松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba80710e587f7a5c2c36e7bf418b96d.jpg","182.8x48.7cm",[125],300,{"id":956,"slug":957,"title":958,"dynasty":145,"author":959,"museum":73,"description":960,"tags":961,"thumbUrl":963,"material":920,"size":921,"collection":125,"collections":964,"showCount":965,"zanCount":334,"manualWeight":11,"mainColor":46},239446,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239446","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,56,25,209,77,28,111,962,58,7],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b48b273c29caa21ee18f0cd382bb4.jpg",[125,155],292,{"id":967,"slug":968,"title":969,"dynasty":91,"author":893,"museum":106,"description":970,"tags":971,"thumbUrl":972,"material":542,"size":973,"collection":168,"collections":974,"showCount":976,"zanCount":534,"manualWeight":11,"mainColor":46},220804,"zhu-zhi-tu-juan-ni-zan-220804","竹枝图卷","倪瓒的《清閟阁全集》卷九中有一段著名的《跋画竹》：“……余之竹聊以写胸中逸气耳，岂复较其似与非，叶之繁与疏，枝之斜与直哉！或涂抹久之，它人视以为麻为芦，仆亦不能强辩为竹，真没耐览者何……”。观此图，竹干与枝节形态宛然，竹叶偃仰疏密布置得当，生意十足，可知作者并非真的不求形似，而是在形似的基础上进一步强调神似，追求笔墨的逸趣，并借以抒发自己的心性。正如倪瓒自己所说：“下笔能形萧散趣，要须胸次有筼筜！”图中用笔峭劲灵动，似懒实苍，实已得墨竹画萧散清逸的旨趣。只有真正做到“胸中有成竹”并辅以高超的笔墨技巧，才能创作出如此优秀的艺术作品。",[23,56,24,25,26,27,112,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d030d476c04d5be58a178a4a413fb1.jpg","纵34厘米，横76.4厘米。",[168,975],"竹石精选",291,{"id":978,"slug":979,"title":980,"dynasty":145,"author":339,"museum":73,"description":981,"tags":982,"thumbUrl":983,"material":61,"size":61,"collection":125,"collections":984,"showCount":985,"zanCount":271,"manualWeight":11,"mainColor":46},237929,"zheng-xie-lan-zhu-ju-tu-zhou-zheng-ban-qiao-237929","郑燮兰竹菊图轴","清代官吏、书画家、文学家。名燮，字克柔，江苏兴化人。康熙秀才、雍正举人、乾隆元年进士。“扬州八怪”之一。历官山东范县、潍县知县，有惠政。以请臻饥民忤大吏，乞疾归。诗书画均旷世独立，人称三绝。有《板桥全集》。",[24,27,109,7,57,120,112,121,266,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c9ee82db8bf4c30827b6a0b1e18900.jpg",[125,168],289,{"id":987,"slug":988,"title":989,"dynasty":145,"author":990,"museum":991,"description":992,"tags":993,"thumbUrl":994,"material":123,"size":61,"collection":42,"collections":995,"showCount":996,"zanCount":534,"manualWeight":11,"mainColor":46},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","仿古山水图","程庭鹭","旅顺博物馆","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[24,27,37,76,25,58,7,29,177,31,178,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[42],285,{"id":998,"slug":999,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":1002,"thumbUrl":1003,"material":196,"size":1004,"collection":42,"collections":1005,"showCount":1006,"zanCount":334,"manualWeight":11,"mainColor":46},234083,"wu-zhong-shan-shui-ce-shen-zhou-234083","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,25,209,27,29,7,58,37,33,31,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[42],282,{"id":1008,"slug":1009,"title":1010,"dynasty":51,"author":1011,"museum":73,"description":1012,"tags":1013,"thumbUrl":1015,"material":1016,"size":1017,"collection":62,"collections":1018,"showCount":1019,"zanCount":271,"manualWeight":11,"mainColor":66},221221,"dao-gu-zhan-chang-yue-fei-221221","悼古战场","岳飞","岳飞我国历史上一位杰出的民族英雄。字鹏举，相州汤阴(今河南汤阴县)人。\n岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[23,56,24,25,26,38,7,1014,27,58],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[62],280,{"id":1021,"slug":1022,"title":1023,"dynasty":18,"author":1024,"museum":106,"description":1025,"tags":1026,"thumbUrl":1027,"material":542,"size":1028,"collection":168,"collections":1029,"showCount":1030,"zanCount":534,"manualWeight":11,"mainColor":46},221972,"lan-zhu-tu-wen-zheng-ming-221972","兰竹图","文徴明","本幅绘坡石兰竹、荆棘溪流，无作者款识，钤“悟言室印”、“徵仲”、“徵仲父”、“惟庚寅吾以降”。接纸文徵明自题一段，款署：“徵明題於玉磬山房”。钤“文徵明印”、“衡山”及引首章“停云”。\n图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。\n清顾文彬《过云楼书画记》著录。",[23,24,25,57,27,120,112,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f2b2285d9f379fc589aa9f5071a31f.jpg","纵26.8厘米，横730厘米",[168,975],278,{"id":1032,"slug":1033,"title":1034,"dynasty":145,"author":666,"museum":73,"description":1035,"tags":1036,"thumbUrl":1037,"material":61,"size":61,"collection":61,"collections":1038,"showCount":1039,"zanCount":334,"manualWeight":11,"mainColor":932},224215,"mo-mei-wu-chang-shuo-224215","墨梅","此作用笔以篆籀之法写梅干，顿挫老辣，枝桠如屈铁盘虬，尽现老梅饱经霜雪的嶙峋傲骨。淡墨圈点花朵，疏密错落缀于枝梢，素洁清雅，如暗香盈盈浮动。\n\n左上题诗行书挥洒，笔意与梅枝苍劲意趣呼应，诗书画印浑融一体。全幅以水墨写意，留白空灵疏朗，苍润相生，刚柔并济，将寒梅孤高清逸的品格尽显无余，寥寥笔墨间，既有金石书法的雄强骨力，又饱含文人淡泊出尘的雅致意韵。",[23,24,25,57,27,210,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4cd64462b75de0e38b9506dffabba6.jpg",[],274,{"id":1041,"slug":1042,"title":1043,"dynasty":91,"author":189,"museum":53,"description":1044,"tags":1045,"thumbUrl":1046,"material":407,"size":1047,"collection":42,"collections":1048,"showCount":1039,"zanCount":534,"manualWeight":11,"mainColor":46},220810,"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[23,24,25,57,27,29,113,79,31,35,193,37,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[42,155],{"id":1050,"slug":1051,"title":1052,"dynasty":454,"author":1053,"museum":106,"description":1054,"tags":1055,"thumbUrl":1056,"material":196,"size":1057,"collection":62,"collections":1058,"showCount":1059,"zanCount":334,"manualWeight":11,"mainColor":46},221102,"mo-lan-ting-xu-feng-cheng-su-221102","摹兰亭序","冯承素","此本用楮纸两幅拼接，纸质光洁精细。因卷首有唐中宗李显神龙年号小印,故称“神龙本”。后纸明项元汴题记：“唐中宗朝馮承素奉勒摹晉右軍將軍王羲之蘭亭禊帖”，后世鉴藏家依此定为冯承素摹本。\n此卷前纸13行，行距较松；后纸15行，行距趋紧，然前后左右映带，攲斜疏密，错落有致，通篇打成一片，优于其它摹本。用笔俯仰反复，笔锋尖端锐利，时出贼毫、叉笔，既保留了照原迹勾摹的痕迹，又显露出自由临写的特点，摹临结合，显得自然生动，并具一定的“存真”的优点，在传世摹本中最称精美，体现了王羲之书法遒媚多姿、神情骨秀的艺术风神，为接近原迹的唐摹本。\n据考，卷首“神龙”半印小玺并非唐中宗内府钤印，而是后人所添，定冯承素摹也不可信，但仍是唐以来流传有绪的古摹本。\n本卷前隔水有“唐摹兰亭”四字标题。引首乾隆御题“晋唐心印”四字。后纸有宋至明20家题跋、观款。钤鉴藏印180余方。其流传经过，根据各题跋、印记和各家著录，大致如下：南宋高宗、理宗内府、驸马都尉杨镇，元郭天锡，明内府、王济、项元汴，清陈定、季寓庸、乾隆内府。历代著录有：明汪砢玉《珊瑚网·书录》、吴其贞《书画记》，清卞永誉《式古堂书画汇考·书考》、顾复《平生壮观》、吴升《大观录》、阮元《石渠随笔》、《石渠宝笈·续编》等。刻入“兰亭八柱”，列第三。",[23,38,7,76,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49007199f121076b6c9a9fcfb4a3913.jpg","纵24.5厘米，横69.9厘米",[62],267,{"id":1061,"slug":1062,"title":1063,"dynasty":18,"author":1064,"museum":738,"description":1065,"tags":1066,"thumbUrl":1069,"material":96,"size":1070,"collection":125,"collections":1071,"showCount":1059,"zanCount":487,"manualWeight":11,"mainColor":66},214701,"ping-hua-tu-chen-hong-shou-214701","瓶花图","陈洪绶","陈洪绶用菊花和霜叶画了一个瓶子，以庆祝另一个人的生日。有些学者认为，在明朝晚期没有这么大的玻璃瓶。",[23,24,25,77,28,1067,121,1068,38,7],"瓶","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf52640088b9212d2c81a4c6b72f18a8.jpg","174.5x98",[125],{"id":1073,"slug":1074,"title":1075,"dynasty":71,"author":760,"museum":1076,"description":1077,"tags":1078,"thumbUrl":1079,"material":96,"size":1080,"collection":62,"collections":1081,"showCount":1082,"zanCount":511,"manualWeight":11,"mainColor":46},218649,"xing-rang-tie-wang-xi-zhi-218649","行穰帖","美国普林斯顿大学美术馆","此帖为唐代王羲之草书作品的双钩，2行，15字。笔画厚实，没有尖锐的边缘，有如印章的含义。角色是开放和多样的",[23,25,26,7,38,58,352,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefa6965b37716730ae0572603f9cce.jpg","24.4x8.9",[62],266,{"id":1084,"slug":1085,"title":1086,"dynasty":51,"author":349,"museum":20,"description":1087,"tags":1088,"thumbUrl":1089,"material":196,"size":1090,"collection":62,"collections":1091,"showCount":1092,"zanCount":271,"manualWeight":11,"mainColor":46},214380,"can-zheng-tie-mi-fei-214380","参政帖","这件作品的书法笔力流畅，结构严谨，字体秀丽。文字中蕴含着米芾对皇帝的敬意和对宋朝文化的尊重。他运用了楷书和行书的特点，使得整件作品显得庄重而富有美感。\n\n米芾是宋代著名的书法家，他的作品擅长运用笔力和结构来表现书法的美感。在参政帖书法中，他运用了流畅的笔力和严谨的结构来描绘文字，使得整件作品显得庄重而有品位。同时，他还运用了秀丽的字体来表现文字的美感，使得这件作品充满生命力和真实感。",[23,38,7,58,27,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe208556c106dec4d231c4319420b8a.jpg","19.6x6.8",[62],264,{"id":1094,"slug":1095,"title":468,"dynasty":18,"author":1096,"museum":527,"description":1097,"tags":1098,"thumbUrl":1099,"material":123,"size":1100,"collection":42,"collections":1101,"showCount":1102,"zanCount":11,"manualWeight":11,"mainColor":46},214298,"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[23,24,25,26,27,37,29,34,35,179,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[42],262,{"id":1104,"slug":1105,"title":1106,"dynasty":702,"author":947,"museum":1107,"description":1108,"tags":1109,"thumbUrl":1112,"material":61,"size":61,"collection":61,"collections":1113,"showCount":1114,"zanCount":11,"manualWeight":11,"mainColor":46},220592,"yi-pan-ying-tao-qi-bai-shi-220592","一盘樱桃","Indianapolis Museum of Art at Newfields","以大写意之笔将寻常鲜果绘就满幅生机。朱砂点染樱桃，颗颗圆润饱满，色泽浓艳透亮，仿佛带着刚摘下的清甜鲜活，攒簇盈盘，尽显丰实意趣。墨笔勾勒案几枝桠，笔法老辣简劲，浓淡相宜，与朱红鲜果撞出强烈视觉张力，素净留白更衬果色鲜亮。散落的两枚樱桃添得灵动野趣，毫无刻意雕琢之感。整画删繁就简，将日常烟火提炼成雅俗共赏的文人意趣，笔底藏着天真烂漫，于极简中见至味，把平淡日常晕染成动人的诗意图景。",[23,24,25,28,27,109,7,58,1110,1111,266],"樱桃","木盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":1116,"slug":1117,"title":1118,"dynasty":51,"author":784,"museum":53,"description":1119,"tags":1120,"thumbUrl":1122,"material":96,"size":1123,"collection":306,"collections":1124,"showCount":1114,"zanCount":534,"manualWeight":11,"mainColor":66},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,24,25,26,56,7,78,28,79,1121,34,35,58,38],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[306],{"id":1126,"slug":1127,"title":1128,"dynasty":18,"author":19,"museum":106,"description":302,"tags":1129,"thumbUrl":304,"material":196,"size":152,"collection":42,"collections":1131,"showCount":1132,"zanCount":534,"manualWeight":11,"mainColor":46},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,25,26,29,1130,27,28,37,7,38,35,34,31,30,32,33],"文人画",[42],248,{"id":1134,"slug":1135,"title":1136,"dynasty":454,"author":1137,"museum":106,"description":1138,"tags":1139,"thumbUrl":1141,"material":658,"size":1142,"collection":62,"collections":1143,"showCount":1144,"zanCount":534,"manualWeight":11,"mainColor":46},239553,"wang-xi-zhi-lan-ting-xu-juan-chuan-tang-chu-sui-liang-mo-ben-chu-sui-liang-239553","王羲之兰亭序卷（传唐褚遂良摹本）","褚遂良","东晋永和九年（353年）三月三日，山阴名士四十一人集于兰亭，修禊祭，宴曲水。即席赋诗，汇为一卷，由王羲之当场作序。这篇序情文并茂，心手双畅，向称“天下第一行书”。其妍美流便的风神，被后世视为行书的典范和楷模。唐太宗李世民酷爱羲之书法，在得到《兰亭序》真迹后，曾命当朝书法名家褚遂良、欧阳询以及弘文馆拓书人冯承素等勾摹数本，分赐臣下，以广布扬。兰亭真迹据记载已随唐太宗殉葬昭陵。这些唐摹本主要有两个系统，一为褚遂良摹本，存世的褚遂良、虞世南、冯承素等墨迹摹本，多属此系统，以冯摹的“神龙本”最为接近原作；一为欧阳询摹本，刻帖“定武本”即源自欧本，为存世最佳的石刻帖本。\n此卷旧传为褚遂良所摹，故卷前项元汴标题“褚摹王羲之兰亭帖”，简称为“褚摹兰亭”，实未必确切。全卷有宋、元、明诸家题跋或观款，以及鉴藏印记215方，又半印4方。其中“滕中”等2方北宋印和南宋绍兴内府“绍兴”、“内府印”、“睿思东阁”等7方印属真，第一后纸上米芾诗题及7方钤印亦真。因知此卷当为北宋米芾前临摹本。但作品质地属楮皮纸，是宋以后方普遍使用的纸质，或可证此为北宋摹本。全卷由两幅纸拼接，前纸19行，后纸9行，行款排列较松匀，以临写为主，辅以勾描，因此书写较为流畅，亦具一定功力。\n此卷流传鉴藏经过大致为：北宋滕中、南宋绍兴内府、元赵孟頫、明浦江郑氏、项元汴、清卞永誉、乾隆内府。曾著录于清顾复《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、清内府《石渠宝笈·续编》、阮元《石渠随笔》等书，并刻入《兰亭八柱帖》。",[23,25,26,76,7,58,38,352,1140],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231a989ca4ec3e5d71859f048f630428.jpg","纵24厘米，横88.5厘米",[62],242,{"id":1146,"slug":1147,"title":1148,"dynasty":145,"author":666,"museum":20,"description":1149,"tags":1150,"thumbUrl":1151,"material":196,"size":1152,"collection":125,"collections":1153,"showCount":1154,"zanCount":534,"manualWeight":11,"mainColor":46},237437,"ju-hua-zhou-wu-chang-shuo-237437","菊花轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,57,27,28,210,121,266,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纵119.9 厘米横51.6",[125],241,{"id":1156,"slug":1157,"title":1158,"dynasty":145,"author":666,"museum":53,"description":1159,"tags":1160,"thumbUrl":1161,"material":123,"size":1162,"collection":62,"collections":1163,"showCount":1164,"zanCount":511,"manualWeight":11,"mainColor":46},214200,"shi-gu-zhong-tang-wu-chang-shuo-214200","石鼓中堂","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。",[23,38,223,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27cb1550e1e5adda3feedc0573082333.jpg","134.8x39.6",[62],240,{"id":1166,"slug":1167,"title":1168,"dynasty":18,"author":1169,"museum":106,"description":1170,"tags":1171,"thumbUrl":1173,"material":542,"size":1174,"collection":125,"collections":1175,"showCount":1176,"zanCount":11,"manualWeight":11,"mainColor":46},222553,"mu-dan-hua-hui-tu-chen-chun-222553","牡丹花卉图","陈淳","本幅上部行草书自题：“春是花时节，红紫各自赋。勿言薄脂粉，适足表贞素。道復。”后钤“陈道復氏”、“陈淳之印”印。\n作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n陈道復创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如故宫博物院藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及上海博物馆藏《洛阳春色图卷》、《玉楼春色图卷》等等。这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家李日华为此幅作品所题云：“破一滴墨水，作种种妖妍。改旦暮之观，备四时之气”。",[23,24,25,27,210,115,1172,7,58,109],"叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ca64f679df2ecd19978f86c81b89a.jpg","纵54.8厘米，横30.8厘米",[125,155],239,{"id":1178,"slug":1179,"title":1180,"dynasty":145,"author":666,"museum":73,"description":928,"tags":1181,"thumbUrl":1182,"material":152,"size":1183,"collection":125,"collections":1184,"showCount":1185,"zanCount":334,"manualWeight":11,"mainColor":46},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[23,24,25,57,27,28,210,418,709,109,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[125,155],231,{"id":1187,"slug":1188,"title":1189,"dynasty":18,"author":1169,"museum":106,"description":1190,"tags":1191,"thumbUrl":1193,"material":123,"size":1194,"collection":125,"collections":1195,"showCount":1185,"zanCount":511,"manualWeight":11,"mainColor":46},214639,"kui-shi-tu-chen-chun-214639","葵石图","一根秋葵枝条靠外，有一朵花和几片叶子，简单清爽；根部被杂草和嫩竹包围，参差不齐，稀稀拉拉；背景是海石，起伏不定，皱巴巴的。这幅画卷的构图和形状非常特别。在这幅画中，水墨画与诗词、书法与绘画的结合，充分表现了鳌鱼石的魅力和意境，使之成为生活中的佳作。",[23,24,25,57,27,109,210,177,1192,58,7],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c64a9381dbae4deff621b5fbbf49d.jpg","68.6x34",[125],{"id":1197,"slug":1198,"title":1199,"dynasty":454,"author":1200,"museum":106,"description":1201,"tags":1202,"thumbUrl":1203,"material":61,"size":1204,"collection":62,"collections":1205,"showCount":1206,"zanCount":534,"manualWeight":11,"mainColor":46},221089,"mo-lan-ting-xu-juan-yu-shi-nan-221089","《摹兰亭序卷》","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[23,38,7,76,26,58,25,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9000c4d4ad5ddc233e1f2a03ab38558.jpg","纵24.8cm，横57.7cm",[62,463],230,{"id":1208,"slug":1209,"title":568,"dynasty":145,"author":339,"museum":106,"description":1210,"tags":1211,"thumbUrl":1212,"material":542,"size":1213,"collection":61,"collections":1214,"showCount":1215,"zanCount":11,"manualWeight":11,"mainColor":46},234675,"zhu-shi-tu-zheng-ban-qiao-234675","郑燮所画之竹，形象千姿百态，笔墨变化多端。同样是数竿竹枝，却有新竹、驼竹、凤竹、晴竹、盆景之竹、庭院之竹、山野之竹、水乡之竹的区别，并呈现各自不同的情态，给人以美的感受。画面上翠竹两竿，瘦劲挺拔，枝叶偃仰，萧疏清逸。竹枝下有山石及竹笋数支，恰当衬托出春竹之勃发郁茂，颇富自然之趣。其言将竹笋与鲥鱼相佐，又创美食之竹，新颖别致，独具匠心。",[24,27,109,37,7,58,57,112,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c732c7221c80d6d805a69736b50619.jpg","纵120厘米，横59.7厘米",[],228,{"id":1217,"slug":1218,"title":1219,"dynasty":145,"author":324,"museum":73,"description":1220,"tags":1221,"thumbUrl":1222,"material":61,"size":61,"collection":61,"collections":1223,"showCount":1215,"zanCount":487,"manualWeight":11,"mainColor":46},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,24,25,26,27,109,37,7,38,58,29,178,292,34,177,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],{"id":1225,"slug":1226,"title":1227,"dynasty":18,"author":1064,"museum":53,"description":1228,"tags":1229,"thumbUrl":1231,"material":96,"size":1232,"collection":61,"collections":1233,"showCount":1234,"zanCount":511,"manualWeight":11,"mainColor":46},290313,"sui-chao-tu-zhou-chen-hong-shou-290313","岁朝图轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,56,25,57,28,77,210,111,1230,391,266,38,7],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f471122fe189fc01200784df42f1f.jpg","90.2x41.1",[],225,{"id":1236,"slug":1237,"title":1238,"dynasty":51,"author":1239,"museum":53,"description":1240,"tags":1241,"thumbUrl":1251,"material":802,"size":1252,"collection":226,"collections":1253,"showCount":1254,"zanCount":11,"manualWeight":11,"mainColor":66},221523,"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","马远","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[23,24,25,77,27,1242,1243,7,58,1244,402,897,35,79,1245,1246,237,1247,1248,1249,1250],"浅设色","边角构图","册页","酒具","桌子","月夜","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","纵25.5厘米，横25.7厘米",[226,42,168],220,{"id":1256,"slug":1257,"title":1258,"dynasty":91,"author":440,"museum":106,"description":1259,"tags":1260,"thumbUrl":1261,"material":1262,"size":1263,"collection":306,"collections":1264,"showCount":1254,"zanCount":246,"manualWeight":11,"mainColor":66},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,56,24,25,26,77,28,693,458,79,34,31,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","绢本，设色","纵28.5厘米，横154厘米。",[306,155],{"id":1266,"slug":1267,"title":1268,"dynasty":18,"author":19,"museum":73,"description":1269,"tags":1270,"thumbUrl":1272,"material":61,"size":61,"collection":61,"collections":1273,"showCount":1274,"zanCount":511,"manualWeight":11,"mainColor":46},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,25,26,27,28,29,33,897,377,31,58,38,7,36,35,1271],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":1276,"slug":1277,"title":1278,"dynasty":51,"author":362,"museum":73,"description":1279,"tags":1280,"thumbUrl":1281,"material":61,"size":61,"collection":61,"collections":1282,"showCount":1283,"zanCount":534,"manualWeight":11,"mainColor":46},227505,"li-bai-xian-shi-juan-la-jian-su-shi-227505","李白仙诗卷蜡笺","《李白仙诗卷》蜡笺本。行书。纵：34.5厘米，横：106厘米 。日本大阪市立美术馆藏。\n\n此作书于元祐八年（1093）七月十日，苏轼五十八岁，是其重要的代表作之一。苏轼的很多作品因注重创造意识，透过它们强烈的艺术感染力，可以多少领会到作者的苦心孤诣，换句话说，是露出了刀劈斧凿之痕的。那线条的优雅，行气的从容，章法的疏密有致，给人一种精美绝伦之感。这当然是一种美，但这种美中的形式因素相对要多一些。试观此《李白仙诗卷》，却大有“粗服乱头”之感。",[23,25,38,7,26,620,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6d975139a01fe3b63e08f3f1c34ac2.jpg",[],213,{"id":1285,"slug":1286,"title":1287,"dynasty":18,"author":881,"museum":53,"description":1288,"tags":1289,"thumbUrl":1291,"material":196,"size":1292,"collection":42,"collections":1293,"showCount":1283,"zanCount":11,"manualWeight":11,"mainColor":46},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[23,56,24,25,57,27,29,76,37,7,58,177,34,1290,292,193],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[42,168],{"id":1295,"slug":1296,"title":1297,"dynasty":145,"author":339,"museum":73,"description":1298,"tags":1299,"thumbUrl":1300,"material":61,"size":61,"collection":61,"collections":1301,"showCount":1302,"zanCount":534,"manualWeight":11,"mainColor":638},230140,"mo-zhu-tu-zheng-ban-qiao-230140","墨竹图","修竹挺拔舒展，以浓淡墨色铺陈枝叶，虚实错落间尽显萧疏清劲，仿佛携着晚来林风，簌簌有声。画竹以书入笔，笔意兼具行书灵动与隶书沉厚，竹叶如“个”似“介”，爽利遒劲，将竹的孤傲磊落全然铺展。左侧题诗与墨竹相映成趣，诗画交融，以竹为寄，把超脱世俗的清介襟怀藏进笔墨。寥寥数笔便写尽竹之神韵，将文人逸致与君子品性合而为一，尽显文人画托物言志、诗画同源的绝妙意境。",[23,24,25,57,27,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f843406125e3d7d75445cdef2772a3.jpg",[],212,{"id":1304,"slug":1305,"title":1306,"dynasty":18,"author":19,"museum":73,"description":1307,"tags":1308,"thumbUrl":1313,"material":920,"size":921,"collection":61,"collections":1314,"showCount":1315,"zanCount":534,"manualWeight":11,"mainColor":66},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,56,24,26,25,289,27,28,37,178,1309,241,1310,30,31,1311,1312,7,38,58],"林木","山居","亭舍","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":1317,"slug":1318,"title":1319,"dynasty":18,"author":251,"museum":388,"description":1320,"tags":1321,"thumbUrl":1322,"material":123,"size":1323,"collection":42,"collections":1324,"showCount":1325,"zanCount":534,"manualWeight":11,"mainColor":46},218246,"zhong-ting-bu-yue-tu-wen-zheng-ming-218246","中庭步月图","《中庭步月图》描绘的是文徵明自京师返回六年后（1532）一个初冬的月夜与来客啜茶聚餐后步于园中赏月话旧的真实记录，款有“风檐石鼎燃湘竹，夜久香浮乳花熟”和“命僮子烹苦茗等茶事记录。该图与苏东坡《记承天寺夜游》一文中描写的境界相同，全画笔墨洒脱清雅，画风平稳细净、明秀简雅，恰如其分地表现了这个特定环境中的情感世界。画风兼乎于“粗文”“细文”之间，工整文静中不失粗放清旷，雄浑气象，是文征明在这一年龄阶段所呈现出来的特有的风格特色，从中可明确感受到文征明绘画风格演变的一些基本脉络。",[24,25,27,37,7,38,79,34,402,1121,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe584a4868045e12b6c6e719755dcfb31.jpg","纵147.6厘米，横50.5厘米",[42],210,{"id":1327,"slug":1328,"title":1329,"dynasty":18,"author":881,"museum":206,"description":1330,"tags":1331,"thumbUrl":1332,"material":40,"size":61,"collection":42,"collections":1333,"showCount":1334,"zanCount":534,"manualWeight":11,"mainColor":46},217035,"fang-gu-shan-shui-ce-liu-kai-dong-qi-chang-217035","仿古山水册六开","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,209,27,28,29,177,34,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c86fc6883114d3cb2271f4635b98dd.jpg",[42],209,{"id":1336,"slug":1337,"title":1338,"dynasty":702,"author":947,"museum":1339,"description":1340,"tags":1341,"thumbUrl":1343,"material":1344,"size":61,"collection":61,"collections":1345,"showCount":1346,"zanCount":11,"manualWeight":11,"mainColor":46},220609,"xia-tu-qi-bai-shi-220609","虾图","中国现当代美术文献研究中心","这幅虾群灵动鲜活，是水墨写意的神来之笔。以淡墨晕染虾身，晕染出甲壳的通透质感，浓墨点睛、重笔挥毫虾枪与虾脑，寥寥数笔便勾勒出河虾的挺拔神气。细劲飘逸的长须似有若无，仿佛随水流轻颤，将群虾在清水中自在穿梭的姿态描摹得淋漓尽致。\n\n群虾排布错落有致，聚散得宜，画面留白暗藏水意，让观者仿佛能窥见池水清浅。左侧题诗与绘画面面相映，尽显晚年笔力的老辣生趣。写实与写意浑然相融，将文人意趣与自然生机揉合无间，寥寥水墨尽显国画留白写意的精妙，把河虾灵动活泼的天性尽数展现，勾勒出鲜活悠游的池底意趣。",[24,27,109,7,1342,57],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be1b5af9ae4beb75fd1a48ec1b40bd.jpg","纸本水墨",[],208,{"id":1348,"slug":1349,"title":1350,"dynasty":91,"author":440,"museum":53,"description":1351,"tags":1352,"thumbUrl":1353,"material":196,"size":1354,"collection":62,"collections":1355,"showCount":1356,"zanCount":511,"manualWeight":11,"mainColor":46},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,56,24,25,26,7,78,27,28,79,29,32,31,402,177,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[62],207,{"id":1358,"slug":1359,"title":1360,"dynasty":91,"author":440,"museum":106,"description":1361,"tags":1362,"thumbUrl":1365,"material":1262,"size":1366,"collection":125,"collections":1367,"showCount":1368,"zanCount":511,"manualWeight":11,"mainColor":66},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,24,25,26,28,77,7,38,693,79,377,1363,1364,31,58],"秋景","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[125,155],206,{"id":1370,"slug":1371,"title":1372,"dynasty":18,"author":19,"museum":73,"description":1307,"tags":1373,"thumbUrl":1375,"material":920,"size":921,"collection":61,"collections":1376,"showCount":1377,"zanCount":334,"manualWeight":11,"mainColor":638},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,56,24,25,26,27,28,29,193,112,34,35,30,33,7,58,1374],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":1379,"slug":1380,"title":1381,"dynasty":145,"author":324,"museum":527,"description":1382,"tags":1383,"thumbUrl":1385,"material":40,"size":61,"collection":125,"collections":1386,"showCount":1377,"zanCount":511,"manualWeight":11,"mainColor":46},218126,"yu-xiang-jiao-ye-tu-shi-tao-218126","雨乡蕉叶图","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,24,27,28,7,58,1384,212],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d80c7cb86c795587ab382481f9fcbed.jpg",[125],{"id":1388,"slug":1389,"title":1390,"dynasty":18,"author":1391,"museum":106,"description":1392,"tags":1393,"thumbUrl":1397,"material":96,"size":1398,"collection":42,"collections":1399,"showCount":1377,"zanCount":487,"manualWeight":11,"mainColor":46},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","仇英","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[23,24,26,25,77,1394,28,79,29,34,1395,1396,38,7],"青绿","车马","职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[42,306],{"id":1401,"slug":1402,"title":1403,"dynasty":51,"author":362,"museum":73,"description":1404,"tags":1405,"thumbUrl":1406,"material":61,"size":61,"collection":61,"collections":1407,"showCount":1408,"zanCount":534,"manua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。明末清初画家，中国画一代宗师。",[23,24,25,26,38,7,27,79,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f9f166a40fcf4ec139f19c82aed61.jpg",[],203,{"id":1420,"slug":1421,"title":1422,"dynasty":145,"author":339,"museum":373,"description":1423,"tags":1424,"thumbUrl":1425,"material":1426,"size":1427,"collection":125,"collections":1428,"showCount":1418,"zanCount":11,"manualWeight":11,"mainColor":46},223297,"you-lan-tu-zheng-ban-qiao-223297","幽兰图","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[23,24,27,109,7,120,112,177,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[125,168,62],{"id":1430,"slug":1431,"title":1432,"dynasty":145,"author":324,"museum":73,"description":1433,"tags":1434,"thumbUrl":1435,"material":61,"size":61,"collection":61,"collections":1436,"showCount":1437,"zanCount":511,"manualWeight":11,"mainColor":46},234169,"yuan-ji-song-zhu-shi-tu-juan-shi-tao-234169","原济松竹石图卷","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,27,26,37,113,112,328,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a026c786782c5ee0e249a5786dafbd.jpg",[],199,{"id":1439,"slug":1440,"title":1441,"dynasty":145,"author":666,"museum":106,"description":1442,"tags":1443,"thumbUrl":1445,"material":243,"size":61,"collection":125,"collections":1446,"showCount":1447,"zanCount":534,"manualWeight":11,"mainColor":46},237158,"mei-hua-zhou-wu-chang-shuo-237158","梅花轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,57,27,7,58,38,1444,210],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ddc2ba3abfecbf7d18533654b3d87.jpg",[125],196,{"id":1449,"slug":1450,"title":1451,"dynasty":51,"author":362,"museum":1452,"description":1453,"tags":1454,"thumbUrl":1457,"material":196,"size":1458,"collection":62,"collections":1459,"showCount":1447,"zanCount":11,"manualWeight":11,"mainColor":46},221313,"dong-ting-zhong-shan-er-fu-quan-juan-su-shi-221313","洞庭中山二赋全卷","吉林省博物院","苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。 他长于行书、楷书， 笔法肉丰骨劲， 跌宕自然， 给人以“大海风涛之气”“古槎怪石之形”的艺术美感。 苏轼的书法，后人赞誉颇高。黄庭坚在他《山谷集》里说：“其书姿媚……至酒酣放浪，意忘工拙，字特瘦劲……至于笔圆而韵胜，挟以文章妙天下，忠义贯日月之气，本朝善书，自当推（苏）为第一”。明董其昌盛赞他“全用正锋，是坡公之兰亭也”。传世书迹有《前赤壁赋》《黄州寒食诗帖》《洞庭春色赋》《中山松醪赋》等。",[23,7,38,26,58,1455,113,1456,29],"洞庭","酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26499125ec3104dc526016eca85f356.jpg","28.3x450.3cm",[62],{"id":1461,"slug":1462,"title":1463,"dynasty":145,"author":1464,"museum":53,"description":1465,"tags":1466,"thumbUrl":1473,"material":802,"size":1474,"collection":61,"collections":1475,"showCount":1476,"zanCount":534,"manualWeight":11,"mainColor":46},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[24,25,57,76,28,77,79,33,377,328,1467,1468,1469,1470,58,38,7,1471,1472],"栏杆","桌案","文人","聚会","庭院","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":1478,"slug":1479,"title":1480,"dynasty":18,"author":1391,"museum":1481,"description":1482,"tags":1483,"thumbUrl":1484,"material":165,"size":1485,"collection":42,"collections":1486,"showCount":1487,"zanCount":511,"manualWeight":11,"mainColor":46},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","美国纳尔逊阿特金斯艺术博物馆","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,25,26,1394,28,77,7,38,29,32,79,33,31,30,150,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[42,155],193,{"id":1489,"slug":1490,"title":1491,"dynasty":71,"author":760,"museum":1492,"description":1493,"tags":1494,"thumbUrl":1496,"material":1497,"size":61,"collection":62,"collections":1498,"showCount":1499,"zanCount":11,"manualWeight":11,"mainColor":46},221027,"sang-luan-de-shi-er-xie-tie-wang-xi-zhi-221027","《丧乱得示二谢帖》","三之丸尚藏馆","《丧乱得示二谢帖》是唐代内府的双钩填墨摹本，奈良时期由遣唐使传入日本。日本皇室宫内厅三之丸尚藏馆藏。",[23,38,7,352,1495],"手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b62cd35fac662a85ccdc68062f08ebe.jpg","尺牍，行书。 纸本",[62],190,{"id":1501,"slug":1502,"title":1503,"dynasty":91,"author":440,"museum":738,"description":1504,"tags":1505,"thumbUrl":1506,"material":96,"size":1507,"collection":306,"collections":1508,"showCount":1499,"zanCount":271,"manualWeight":11,"mainColor":66},218424,"xi-ma-tu-zhao-meng-fu-218424","洗马图","《洗马图》以长卷形制铺展，笔墨生动传神。数匹骏马姿态各异，或昂首伫立，或缓步徐行，线条勾勒精准流畅，兼具书法笔意，马的肌肉纹理与鬃毛质感细腻可见。人物与马互动自然，牵马者神态悠然，骑马者身姿从容，衣袂线条飘逸洒脱。设色淡雅古朴，水墨为主辅以淡彩，营造出清逸雅致的氛围。画面疏密有致，节奏舒缓，既显写实功底，又含文人意趣，将日常洗马场景升华为富有诗意的艺术图景，尽显元代文人画的独特韵味与画家对生活的深刻体察。笔墨间流淌着雅致情韵，于细微处见真章，是元代画坛兼具技法与意境的佳作。",[23,24,25,26,28,79,693,77,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c78c3647eca859103177fa91693b.jpg","31.7x255.4",[306],{"id":1510,"slug":1511,"title":1512,"dynasty":91,"author":92,"museum":73,"description":1513,"tags":1514,"thumbUrl":1516,"material":61,"size":61,"collection":61,"collections":1517,"showCount":1518,"zanCount":11,"manualWeight":11,"mainColor":46},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","以淡墨干皴晕染富春丘壑，峰峦坡陀缓缓铺展，林木萧疏错落，晕开江南初秋的空寂淡远。用笔松秀灵动，线条温润苍劲，墨色干湿浓淡层次丰盈，晕染出山川悠远的氤氲清气。\n卷后题跋与山水相映，文心画意相融无间，尽显文人画的雅致意趣。整卷意境简远高迈，将天地山川的沉静澹泊与文人林下襟怀合而为一，如一首悠然山水长诗，引观画人步入富春烟岚之间，沉醉在清和淡远的隐逸之美中。",[24,25,26,27,29,37,58,38,7,35,34,81,1515],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":1520,"slug":1521,"title":1522,"dynasty":145,"author":1523,"museum":53,"description":1524,"tags":1525,"thumbUrl":1526,"material":61,"size":61,"collection":125,"collections":1527,"showCount":1518,"zanCount":11,"manualWeight":11,"mainColor":66},224119,"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[23,24,25,27,58,38,7,81,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[125,168],{"id":1529,"slug":1530,"title":1531,"dynasty":71,"author":760,"museum":373,"description":1532,"tags":1533,"thumbUrl":1534,"material":61,"size":61,"collection":62,"collections":1535,"showCount":1518,"zanCount":11,"manualWeight":11,"mainColor":66},221029,"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","《萬歲通天帖》又稱唐摹《王羲之一門書翰》、《王氏寶章集》。硬黃紙本，行草書，是東晉王羲之等七人十帖的唐摹書法精品，現藏於遼寧省博物館。\n宋代《秘閣續帖》、明代華夏《真賞齋帖》、文徵明《停雲館帖》、王肯堂《鬱岡齋帖》、清代《三希堂法帖》曾刻錄。 其中以真賞齋為精刻而有名。",[23,38,26,7,1014,76,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[62,463],{"id":1537,"slug":1538,"title":1539,"dynasty":145,"author":1540,"museum":53,"description":1541,"tags":1542,"thumbUrl":1546,"material":40,"size":1547,"collection":61,"collections":1548,"showCount":1549,"zanCount":511,"manualWeight":11,"mainColor":46},219879,"er-shi-si-fan-hua-xin-feng-tu-cai-hua-yu-wang-chun-dong-gao-219879","二十四番花信风图-菜花与望春","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[24,25,28,77,209,38,7,1543,1544,1545],"菜花","望春","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d78a5260915fc3e83cdf201b35e28e.jpg","20x14.2厘米",[],188,{"id":1551,"slug":1552,"title":1553,"dynasty":51,"author":1554,"museum":20,"description":1555,"tags":1556,"thumbUrl":1557,"material":123,"size":61,"collection":42,"collections":1558,"showCount":1549,"zanCount":511,"manualWeight":11,"mainColor":46},218592,"xiao-xiang-tu-mi-you-ren-218592","潇湘图","米友仁","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[24,25,26,27,37,29,179,34,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[42],{"id":1560,"slug":1561,"title":1562,"dynasty":18,"author":1024,"museum":73,"description":1563,"tags":1564,"thumbUrl":1565,"material":61,"size":61,"collection":61,"collections":1566,"showCount":1567,"zanCount":246,"manualWeight":11,"mainColor":66},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,25,26,28,29,7,37,77,33,30,31,34,79,58,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],184,{"id":1569,"slug":1570,"title":1571,"dynasty":145,"author":1572,"museum":1573,"description":1574,"tags":1575,"thumbUrl":1577,"material":243,"size":1578,"collection":125,"collections":1579,"showCount":1567,"zanCount":11,"manualWeight":11,"mainColor":46},222642,"mu-dan-tu-li-zhou-gao-feng-han-222642","牡丹图立轴","高凤翰","美国克利夫兰艺术博物馆","此幅长卷有《梅花》和《牡丹》两幅合并而成，左侧《梅花》图绘梅枝从画上端斜入，细枝颇多，寒冬中梅花绽放出铮铮傲骨；《牡丹》图中二朵牡丹开放，花瓣层层叠叠，还有一朵藏于石后，含羞露出一半，一枝花枝从牡丹花后露出，姿态优美。",[23,24,25,57,28,210,27,7,58,115,1068,1576,1172,38],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aed756d0a5f52a061a356ddf8967852.jpg","20x317cm",[125,168],{"id":1581,"slug":1582,"title":1583,"dynasty":454,"author":643,"museum":106,"description":1584,"tags":1585,"thumbUrl":1586,"material":196,"size":1587,"collection":62,"collections":1588,"showCount":1567,"zanCount":534,"manualWeight":11,"mainColor":66},221054,"zheng-zuo-wei-tie-quan-juan-yan-zhen-qing-221054","争座位帖全卷","《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。",[23,38,7,26,25,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fead3ade21468b04a4fd65a4d6fb8c1.jpg","370x30厘米",[62,463],{"id":1590,"slug":1591,"title":1592,"dynasty":145,"author":314,"museum":20,"description":315,"tags":1593,"thumbUrl":1595,"material":96,"size":61,"collection":61,"collections":1596,"showCount":1597,"zanCount":11,"manualWeight":11,"mainColor":46},214610,"hong-lou-meng-ren-wu-ce-ye-2-yu-lan-214610","红楼梦人物册页-2",[24,28,77,209,7,38,1594,33,112,79,80,31,35,58],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f5029b6dd2fd7aaf133fd9faf6ce40.jpg",[],180,{"id":1599,"slug":1600,"title":1601,"dynasty":145,"author":1602,"museum":53,"description":1603,"tags":1604,"thumbUrl":1605,"material":123,"size":1606,"collection":62,"collections":1607,"showCount":1608,"zanCount":487,"manualWeight":11,"mainColor":46},214231,"shi-xie-shi-he-chao-214231","食蟹诗","何焯","墨痕清润，笔锋起落间藏着严谨法度，却不失灵动之致。结体端稳如磐石，笔画牵丝若隐若现，似蟹螯轻张的意趣。诗中食蟹的闲雅况味，透过一行行秀逸字迹缓缓流露——仿佛能见案头蟹肥酒暖，挥毫者指尖带笑，将唇齿鲜意与心头闲适，尽数化入横竖撇捺。章法疏朗有致，每字皆经得起细品，既见学者沉稳，又藏文人雅趣，墨香与诗味交织，晕染出一段清隽时光。",[23,38,7,27,57,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf41c7623c0f59c57bcc8df2bec020dc.jpg","136.8x45.6",[62],177,{"id":1610,"slug":1611,"title":1612,"dynasty":51,"author":362,"museum":106,"description":1613,"tags":1614,"thumbUrl":1615,"material":196,"size":1616,"collection":62,"collections":1617,"showCount":1618,"zanCount":11,"manualWeight":11,"mainColor":46},221310,"zhi-ping-tie-su-shi-221310","治平帖","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[23,56,24,25,26,7,78,79,58,352],"https:\u002F\u002Foss.chu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侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[23,56,24,25,26,7,27,177,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[62],172,{"id":1630,"slug":1631,"title":1632,"dynasty":454,"author":1633,"museum":53,"description":1634,"tags":1635,"thumbUrl":1637,"material":165,"size":1638,"collection":42,"collections":1639,"showCount":1628,"zanCount":511,"manualWeight":11,"mainColor":66},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","王维","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,25,26,27,37,38,7,1636,29,774,30,31,32,290,33,82],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[42],{"id":1641,"slug":1642,"title":1643,"dynasty":51,"author":349,"museum":53,"description":1644,"tags":1645,"thumbUrl":1646,"material":123,"size":1647,"collection":62,"collections":1648,"showCount":1649,"zanCount":511,"manualWeight":11,"mainColor":46},218543,"shu-lun-shu-mi-fei-218543","书论书","此帖是关于宋代四大书法家真迹的一部分，虽无行书，但被公认为米芾真迹。此帖也是米芾 尊晋重唐 的书法理念的体现，他推崇晋国书法家，贬低唐国书法家。米芾判断的最高境界是 简单而天真。与米芾在其他书中的反复变化相比，此帖沉稳内敛，有深沉的晋国韵味，他主张的审美规范是一致的。",[25,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf4c420e92725c7fca687156352387b.jpg","24.7x37",[62],171,{"id":1651,"slug":1652,"title":1653,"dynasty":18,"author":19,"museum":106,"description":1654,"tags":1655,"thumbUrl":1656,"material":722,"size":1657,"collection":61,"collections":1658,"showCount":1659,"zanCount":534,"manualWeight":11,"mainColor":46},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,25,26,28,29,1130,37,7,38,376,884,33,34,35,193,239,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":1661,"slug":1662,"title":1663,"dynasty":454,"author":643,"museum":1664,"description":1665,"tags":1666,"thumbUrl":1667,"material":1668,"size":1669,"collection":62,"collections":1670,"showCount":1659,"zanCount":534,"manualWeight":11,"mainColor":66},221058,"ji-bo-fu-wen-gao-yan-zhen-qing-221058","祭伯父文稿","原作佚失","《祭伯父文稿》又称《告伯父文稿》，全称《祭伯父濠州刺史文》。自署书于乾元元年(758年) ，行草书，文稿一篇。凡36行，计410字。原刻早佚，见宋《甲秀堂帖》本。",[23,38,7,646,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2e367d390d29de8fe53845c7e6dd7e.jpg","行草书","410字",[62,463],{"id":1672,"slug":1673,"title":1674,"dynasty":145,"author":1540,"museum":53,"description":1541,"tags":1675,"thumbUrl":1679,"material":40,"size":1547,"collection":61,"collections":1680,"showCount":1659,"zanCount":534,"manualWeight":11,"mainColor":46},219873,"er-shi-si-fan-hua-xin-feng-tu-tong-hua-yu-mai-hua-dong-gao-219873","二十四番花信风图-桐花与麦花",[24,25,209,28,77,38,7,1676,1677,800,119,1678,58],"桐花","麦花","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb86962c9013f1d6120ae7f94813ca0.jpg",[],{"id":1682,"slug":1683,"title":1684,"dynasty":18,"author":479,"museum":1685,"description":1686,"tags":1687,"thumbUrl":1688,"material":123,"size":1689,"collection":306,"collections":1690,"showCount":1659,"zanCount":500,"manualWeight":11,"mainColor":46},219700,"jiao-ye-shui-nv-tu-tang-yin-219700","蕉叶睡女图","美国大都会艺术博物馆","唐寅是明中叶时期重要的人物画家，他多才多艺，不仅擅长画人物画，在文学、山水、花鸟，书法都有卓越的成就。唐寅，字子畏，另字伯虎，晚号六如居士，1470年出生于苏州，卒于1524年，与祝允明、文徵明、徐祯卿并称“吴中四才子”。\n明代仕女画的人物造型在经过魏晋时期的秀骨清像，隋唐的丰肥腴丽，宋元的端庄矜持后，逐渐变为明艳清瘦、削肩狭背。而唐寅作为“明四家”之一，他的仕女画师承唐代传统，飘洒高雅，人物造型优美，细巧秀逸，成为明代仕女画的典型代表。\n唐寅仕女画独特的艺术风格在中国美术史上有一定的地位，其绘画的风格对后世人物画的发展与创作有着重要影响，在各种拍卖会上也经常崭露头角。",[23,24,25,26,78,27,7,58,79,80,1384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b3649559e91e7d9b4530da531e4c8.jpg","纵20.3cm，横61.0 cm",[306],{"id":1692,"slug":1693,"title":1694,"dynasty":51,"author":52,"museum":53,"description":1695,"tags":1696,"thumbUrl":1703,"material":407,"size":1704,"collection":62,"collections":1705,"showCount":1706,"zanCount":11,"manualWeight":11,"mainColor":46},221283,"ba-su-shi-huang-zhou-han-shi-shi-huang-ting-jian-221283","跋苏轼黄州寒食诗","《黄州寒食诗卷跋》是黄庭坚在苏轼《黄州寒食诗帖》后写的一段跋语，此跋历来为人们所珍视，与原帖合称“双璧”。《寒食帖跋》表现了“黄书”的基本艺术特点。《跋文》用笔锋利爽截而富有弹性。其字写得藏锋护尾，纵横奇崛，其长笔画波势比较明显。由于黄庭坚善于把握字的松紧，因此形成了中宫收缩而四周放射的特殊形式感，人们也称其为辐射式书体。在布局上，《跋文》常从欹侧中求平衡，于倾斜中见稳定，因此变化无穷，曲尽其妙。从局部看，一行字忽左忽右，但从整体看，呼应对比，浑成一体。此跋给人以神情饱满，气势贯通的感受，决无荒率之病，达到了艺术的化境，所以他在最后不无得意地说：“他日东坡或见此书，应笑我于无佛处称尊也”。",[23,56,38,7,196,1697,1698,1699,1700,1701,1702,26,25],"宋代","墨书","笔力劲健","结体舒展","顿挫有致","墨色变化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee18dc5af9010f82b2dba444201b634.jpg","纵34.2公分，横199.5公分",[62],169,{"id":1708,"slug":1709,"title":1710,"dynasty":702,"author":1711,"museum":704,"description":1712,"tags":1713,"thumbUrl":1715,"material":61,"size":61,"collection":61,"collections":1716,"showCount":1717,"zanCount":334,"manualWeight":11,"mainColor":46},220578,"huang-bin-hong-ben-hua-niao-shan-shui-ce-ye-huang-bin-hong-220578","黄宾虹本花鸟山水册页","黄宾虹","此作以分段折枝花鸟铺陈，各景花木情态自具：牡丹秾艳娇柔，梅枝清癯疏朗，铃兰、山茶各见风姿。以淡彩晕染花萼枝叶，勾勒轻简见笔力，兼具写生之真与写意之逸，既有青藤白阳的纵逸笔意，又自出机杼。题跋书法与花木相映成趣，诗画交融，晕染淡雅却筋骨暗蕴，艳而不俗，淡而不薄，将花木的柔媚与文人画的清雅风骨相融，尽显明清逸格画韵的余味，笔底漾着沉静文心，是极具文人雅致的花鸟小品佳作。",[23,24,25,209,28,77,7,58,210,115,117,121,1714,116,118,120,646,620],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf98760b63f1afddbdee99352c5f94a.jpg",[],168,{"id":1719,"slug":1720,"title":1721,"dynasty":18,"author":1391,"museum":53,"description":1722,"tags":1723,"thumbUrl":1724,"material":407,"size":1725,"collection":61,"collections":1726,"showCount":1727,"zanCount":534,"manualWeight":11,"mainColor":46},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[23,24,25,26,77,28,79,34,35,1364,82,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","纵22厘米、横311厘米",[],167,{"id":1729,"slug":1730,"title":1731,"dynasty":91,"author":440,"museum":1732,"description":1733,"tags":1734,"thumbUrl":1736,"material":196,"size":1737,"collection":62,"collections":1738,"showCount":1739,"zanCount":334,"manualWeight":11,"mainColor":46},220845,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[23,56,24,25,26,78,7,1735,530,58,79],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[62],164,{"id":1741,"slug":1742,"title":1743,"dynasty":51,"author":1744,"museum":1745,"description":1746,"tags":1747,"thumbUrl":1749,"material":165,"size":1750,"collection":226,"collections":1751,"showCount":1752,"zanCount":511,"manualWeight":11,"mainColor":46},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","赵佶","美国波士顿博物馆","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,56,24,25,26,77,28,210,111,1748,38,7,58],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[226,125,155],163,{"id":1754,"slug":1755,"title":1756,"dynasty":145,"author":324,"museum":73,"description":1757,"tags":1758,"thumbUrl":1759,"material":61,"size":61,"collection":42,"collections":1760,"showCount":1761,"zanCount":271,"manualWeight":11,"mainColor":46},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,27,37,57,25,38,7,58,29,30,31,34,36,79,35,192,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[42,168],162,{"id":1763,"slug":1764,"title":1765,"dynasty":51,"author":52,"museum":53,"description":1766,"tags":1767,"thumbUrl":1773,"material":407,"size":1774,"collection":62,"collections":1775,"showCount":1776,"zanCount":334,"manualWeight":11,"mainColor":638},221272,"song-feng-ge-shi-huang-ting-jian-221272","松风阁诗","松风阁在湖北省鄂州市之西的西山灵泉寺附近，海拔160多米，古称樊山，是当年孙权讲武修文、宴饮祭天的地方。宋徽宗崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，听松涛而成韵。",[23,38,7,58,113,1768,376,1769,1770,1771,1772,623,621,328,150],"泉","川","野僧","寒溪","坡道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42961cbb5e0e34b9ca3df7fc4aa599c5.jpg","纵32．8厘米 横219．2厘米",[62],161,{"id":1778,"slug":1779,"title":1780,"dynasty":51,"author":1781,"museum":373,"description":1782,"tags":1783,"thumbUrl":1784,"material":28,"size":1785,"collection":62,"collections":1786,"showCount":1776,"zanCount":511,"manualWeight":11,"mainColor":1787},221203,"hou-chi-bi-fu-quan-juan-zhao-shen-221203","后赤壁赋全卷","赵昚","由于该作之末没有作者的款识，因此对于书写人是谁这一问题，从元代起就有不同的说法：有人认为是宋徽宗赵佶所书，有人认为是宋高宗赵构之作，还有人认为是宋孝宗赵昚手笔。（注：关于书作者问题，元朝的俞贞木认为是赵佶所书，但遭到了同为元朝人黄本等人的质疑。杨仁恺指出，《后赤壁赋》为赵昚作品，并提出了相关论据。具体详见《关于宋孝宗赵昚的几点考察》，载《杨仁恺书画鉴定集》）赵昚学赵构书法很像，几可乱真。从书写上分析，赵昚作字较之赵构，往往落笔凝重不够，结字略显松懈。检视此卷，正有这样的欠缺。再则，赵昚更喜爱苏轼诗文，因此这件草书《后赤壁赋》卷当出自赵昚之手。\n书法是历代帝王在登基之前的必修课，它关乎一国之君的脸面和尊严。他们学习、接受诗文、书画之类的传统文化，表示出对文化的崇敬和亲近，这样做有利于稳固统治地位。上述徽宗赵佶、高宗赵构、孝宗赵昚即是例证。\n在各种书体的书写中，草书最为简洁洗练。一个十分复杂的汉字，可以简略成几根线条；一 件草书作品，只需连续几个动作，连绵而下，便告成功。如果说楷、隶、篆书行笔舒缓，如端人正襟危坐，那么草书则更具动感，兼能含纳激越之情。可以这么说，人人都能写楷、隶、篆书，但草书绝不会是人人都可以写好的。由于草书省去了许多笔画，使空间结构产生了很大变化，更须理清脉络，这对书家的技巧要求就更高、更精。如果不明草理、不依草法，而任墨成形、信笔为体，就难免会产生失误，作品也就会演变成无法辨识的“天书”。草书书写全然是精神化的漫游，是人精神的一种外现。依此来审视这卷草书，我们就会发现赵昚是具备书写技巧的书法家。他以心灵对草书作出深刻体验，使性情与功力相得益彰。\n在南宋，以赵构为中心，学习书法风气甚浓，成为小朝廷“中兴”的一种点缀。赵昚受这种气氛的影响，爱好书法也是理所当然的事。他曾自称“无他嗜好，或得暇，惟读书写字为娱”（马宗霍《书林纪事》）。在书法上，赵昚秉承家法，并有机会得到赵构的亲授，故明陶宗仪在《书史会要》中说：“孝宗书有家庭法度。”这件草书《后赤壁赋》卷结字循规蹈矩，草法纯熟而严谨，笔画秀劲匀整，笔意圆润，行笔圆转流畅，又具有沉着遒劲的韵致，颇具流畅而能浑厚、飞动而兼沉着之美。作品通篇气象浑穆，一气呵成，可见书者书写时神完气足、兴致清畅。面对此作，我们仿佛看到赵昚把笔濡墨，在那一段磁青绢上舒心挥毫，营造出一片春云浮空、卷舒起伏、变化多端的图景。此作虽为草书，读之却使人感受到不温不火、从容自如的大将风范。赵昚书法无连绵苟且之习，用笔起讫分明，笔笔清楚，字字独立而气脉连贯，易于辨识。我们可以从中抽出单个的字来一一欣赏，即便脱离整幅的语言环境也不碍观瞻。赵昚此卷有自家面貌，但也渊源有自，从笔意、字势中均可看到唐、宋书家对他的影响。注重法度是赵昚书法之长，这与苏轼主张“真生行，行生草，真如立，行如行，草如走，未有未能行立而能走者”是一致的。世云“唐人尚法，宋人尚意”，是就唐与宋的整体书风而言的；倘若专论草书，宋人也是“尚法”的。赵昚书法即可印证这一点。",[23,26,38,25,7,223,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cd876766aeb129bded31c4aa34e7c0.jpg","26.9x621",[62],"37474F",{"id":1789,"slug":1790,"title":1791,"dynasty":91,"author":440,"museum":20,"description":1792,"tags":1793,"thumbUrl":1798,"material":165,"size":1799,"collection":62,"collections":1800,"showCount":1776,"zanCount":334,"manualWeight":11,"mainColor":46},220848,"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[23,26,38,7,32,1794,402,1795,404,376,1068,1796,1797,58],"夕阳","秋风","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[62],{"id":1802,"slug":1803,"title":1804,"dynasty":51,"author":362,"museum":20,"description":1805,"tags":1806,"thumbUrl":1807,"material":123,"size":1808,"collection":62,"collections":1809,"showCount":1776,"zanCount":511,"manualWeight":11,"mainColor":46},218559,"da-xie-min-shi-tie-juan-su-shi-218559","答谢民师帖卷","释文：“轼启。是文之意疑若不然，求物之妙如系风捕影，能使是物了然于心者，盖千万人而不一遇也。而况能使了然于口与手者乎。是之谓词达，词至于能达，则文不可胜用矣。扬雄好为艰深之词，以文浅易之说，若正言之，则人人知之矣，此正所谓琱虫篆刻者。其《太玄》《法言》皆是物也，而独悔于赋何哉?终身琱虫而独变其音节，便谓之经，可乎。屈原作《离骚》经，盖风雅之再变者。虽与日月争光可也，可以其似赋而谓之琱虫乎。使贾谊见孔子，升堂而有余矣。而乃以赋鄙之，至与司马相如同科。雄之陋如此比者甚众，可与知者道，难与俗人言也，因论文偶及之耳。欧阳文忠公言，文章如精金美玉，市有定价，非人所能以口舌贵贱也。纷纷多言，岂能有益于左右，愧悚不已。所须惠力法雨堂字，轼本不善作大字，强作终不佳。又舟中局迫难写，未能如教，然则方过临江，当往游焉。或僧有所欲记录，当为作数句留院中，慰左右念亲之意。今日已至峡山寺，少留即去，愈远惟万万以时自爱不宣。轼顿首再拜。民师帐句推官阁下，十一月五日。” 此帖卷首已残，晚明以降，藏家王衡请娄坚仿苏轼书体补写阙文。录如下:“近奉违亟辱问讯，具审起居佳胜，感慰深矣。受性刚简，学迂材下，坐废累年，不敢复齿缙绅。自海还北，见平生亲旧，惘然如隔世人，与左右无一日之雅，而敢求交乎?数赐见临，倾盖如放，幸甚。过望不可言也。所示书教及杂文，视之熟矣。大略如行云流水，初无定质，但常行于所当行，常止于不可不止。文理自然，姿态横生。孔子曰:言之不文，行之不远。又曰:词达而已矣。夫词止于达意，则疑若不文，是大不然。”",[25,26,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895dee5b027d4fad9b0c1f3a56c8960f.jpg","27x96.5cm",[62],{"id":1811,"slug":1812,"title":1813,"dynasty":91,"author":440,"museum":1814,"description":1815,"tags":1816,"thumbUrl":1827,"material":196,"size":1828,"collection":62,"collections":1829,"showCount":1830,"zanCount":271,"manualWeight":11,"mainColor":46},220890,"lou-shi-ming-zhao-meng-fu-220890","陋室铭","广东省博物馆","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[23,38,7,353,1817,1818,376,884,1819,1820,1821,1822,1823,1824,1825,1826],"笔法圆润","结体秀逸","龙","仙","琴","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纵49厘米、横131厘米",[62],156,{"id":1832,"slug":1833,"title":1834,"dynasty":145,"author":1835,"museum":206,"description":1836,"tags":1837,"thumbUrl":1847,"material":123,"size":1848,"collection":42,"collections":1849,"showCount":1830,"zanCount":534,"manualWeight":11,"mainColor":46},220092,"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","弘仁","根据《中国画史馨香录》书中所记，此题画诗原出自郑旼康熙戊申（1668年）录“渐公题诗二十三首”手钞本，1934年，许承尧录寄黄宾虹。渐江和尚画笔师法云林，又得徽州山水特别是黄山松壑云泉的蒙养，加之性格刚硬，所以其画并不为云林所囿。磊磊落落，逋峭冷隽，笔底山川，或幽深邃密，或峻拔嵯峨，气象高华而趣味淡宕，人品画品皆为时称道，是新安派中首屈一指的领军人物。观此卷气象，以平远式构图表现，岩壑奇秀，奇松点缀其中，沿江景物，用笔瘦硬，皴染枯淡而墨韵清润。以刚劲凝练的笔线勾勒，折带皴、披麻皴交互为用，山峰之间，礁石垒叠，疏疏密密、大大小小，形成参差错落的“矾块”，山峰中的涧溪，曲折逶迤而下，形如盘龙出水，跳荡击石，泠然有声。清人杨翰曾评论其突出的风格：“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”当时本幅之写照。此卷诗题：“清秋凝目郁苍苍，百里嶙峋一草堂。世代频更人不到，未燔书尽此中藏。",[24,26,27,289,37,1838,1839,1840,1841,1842,1843,1844,1845,1846,1374,38,7],"折带皴","披麻皴","岩壑","奇松","礁石","涧溪","草堂","清润","冷隽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689de6099893b4044c6746888a67279c.jpg","引首17.5×66.5cm；画心17.5×131cm；题跋17.5×83.5cm",[42,168],{"id":1851,"slug":1852,"title":1853,"dynasty":702,"author":1854,"museum":73,"description":1855,"tags":1856,"thumbUrl":1857,"material":123,"size":61,"collection":306,"collections":1858,"showCount":1830,"zanCount":334,"manualWeight":11,"mainColor":46},218177,"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","张大千","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,25,209,27,1014,7,79,114,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg",[306,168],{"id":1860,"slug":1861,"title":1862,"dynasty":454,"author":455,"museum":106,"description":1863,"tags":1864,"thumbUrl":1865,"material":40,"size":1866,"collection":155,"collections":1867,"showCount":1868,"zanCount":334,"manualWeight":11,"mainColor":46},219970,"wu-niu-tu-han-huang-219970","五牛图","《五牛图》中的五头牛从右至左一字排开，各具状貌，姿态互异。一俯首吃草荆棵蹭痒，一翘首前仰缓步前行，一纵峙而鸣，一回首舐舌，一络首而立。整幅画面除最后右侧有一小树外，没有其他的背景，因此每头牛可独立成章。",[23,24,25,26,28,77,58,38,7,458,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00eb300bc9aeab656f3c3031a5036af.jpg","纵20.8厘米，横139.8厘米",[155],155,{"id":1870,"slug":1871,"title":1872,"dynasty":145,"author":339,"museum":73,"description":1873,"tags":1874,"thumbUrl":1875,"material":407,"size":1876,"collection":125,"collections":1877,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":46},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[23,56,24,25,57,27,7,58,37,112,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[125,168],153,{"id":1880,"slug":1881,"title":1882,"dynasty":18,"author":479,"museum":1685,"description":1883,"tags":1884,"thumbUrl":1886,"material":96,"size":1887,"collection":42,"collections":1888,"showCount":1878,"zanCount":511,"manualWeight":11,"mainColor":66},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,25,26,27,28,29,77,37,7,58,30,31,33,150,32,82,79,81,291,1885,177],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[42,155],{"id":1890,"slug":1891,"title":1892,"dynasty":91,"author":1893,"museum":1685,"description":1894,"tags":1895,"thumbUrl":1898,"material":60,"size":1899,"collection":125,"collections":1900,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":66},214295,"han-mei-tu-wang-mian-214295","寒梅图","王冕","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[23,24,25,57,27,38,7,111,81,1896,1897,58],"树枝","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","113x50.2",[125],{"id":1902,"slug":1903,"title":1904,"dynasty":51,"author":1905,"museum":53,"description":1906,"tags":1907,"thumbUrl":1908,"material":123,"size":1909,"collection":62,"collections":1910,"showCount":1878,"zanCount":511,"manualWeight":11,"mainColor":66},214223,"xing-shu-qi-yan-jue-ju-zhou-wu-ju-214223","行书· 七言绝句轴","吴琚","这首七字诗是根据蔡襄的诗句写的，是宋代罕见的书法作品。吴氏的字俊美优雅，形体和姿态都与米芾一脉相承，但与北宋书法家的作品相比，吴琚的用笔快速有力，偶尔有飞白，显示出南宋书法家更注重渲染上下和整体的主旨，而不是对每个单字的提炼和完善。",[23,56,24,25,57,7,38,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb61b45191b67798358ba3eb2af0473.jpg","98.6x55.3",[62],{"id":1912,"slug":1913,"title":1914,"dynasty":91,"author":440,"museum":106,"description":1915,"tags":1916,"thumbUrl":1920,"material":243,"size":1921,"collection":42,"collections":1922,"showCount":1923,"zanCount":511,"manualWeight":11,"mainColor":46},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[23,24,25,26,27,29,7,58,37,376,884,1917,34,292,1918,1919],"村庄","山丘","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[42,168],149,{"id":1925,"slug":1926,"title":1927,"dynasty":145,"author":1413,"museum":73,"description":1928,"tags":1929,"thumbUrl":1931,"material":61,"size":61,"collection":61,"collections":1932,"showCount":1933,"zanCount":534,"manualWeight":11,"mainColor":46},234226,"hua-hui-tu-juan-zhu-da-234226","花卉图卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[23,24,25,26,27,7,1014,58,210,115,117,1930,78],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9b90b90faf27fd07bc9d5bfdfb023.jpg",[],146,{"id":1935,"slug":1936,"title":1937,"dynasty":51,"author":1239,"museum":73,"description":1938,"tags":1939,"thumbUrl":1940,"material":40,"size":1941,"collection":306,"collections":1942,"showCount":1933,"zanCount":511,"manualWeight":11,"mainColor":46},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,56,24,25,26,27,28,79,29,113,82,177,31,58,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[306],{"id":1944,"slug":1945,"title":1946,"dynasty":145,"author":1413,"museum":73,"description":1947,"tags":1948,"thumbUrl":1953,"material":61,"size":61,"collection":61,"collections":1954,"showCount":1955,"zanCount":11,"manualWeight":11,"mainColor":638},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[23,24,25,38,76,7,27,58,376,1949,112,31,1950,1951,1952],"林","天","风","鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],145,{"id":1957,"slug":1958,"title":1959,"dynasty":51,"author":220,"museum":73,"description":1960,"tags":1961,"thumbUrl":1964,"material":61,"size":61,"collection":61,"collections":1965,"showCount":1955,"zanCount":511,"manualWeight":11,"mainColor":46},227882,"liu-zhi-huang-niao-tu-yi-ming-227882","榴枝黄鸟图","《 》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[23,24,25,209,77,28,210,1962,1963,708,1678,7,58],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],{"id":1967,"slug":1968,"title":1969,"dynasty":51,"author":1970,"museum":53,"description":1971,"tags":1972,"thumbUrl":1973,"material":1974,"size":1975,"collection":226,"collections":1976,"showCount":1977,"zanCount":534,"manualWeight":11,"mainColor":46},221466,"si-mei-hua-tu-juan-yang-wu-jiu-221466","四梅花图卷","扬无咎","四梅花图画面分四段画梅，自题跋语中说：“范瑞伯要予画梅四枝，一未开，一欲开，一盛开，一将残。”四梅纯以水墨绘成，花朵作白描圈线，不加晕染，即为“圈花法”，用笔轻快洗练，毫不拘板。新枝用劲直线条一笔写成，极为挺秀。粗干则用“飞白法”，显笔复加乾皴，虚实相间，墨色变化丰富。全幅呈现出匀协恬静、清淡闲野的气氛，诚如时人所谓的“村梅”格调。作品有借梅言情、迟暮感伤之意。",[23,24,25,26,27,109,78,1444,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adde438dc6811236efafbe596d17dfd.jpg","绢本水墨","纵27.2厘米，横358.8厘米",[226,125,155],144,{"id":1979,"slug":1980,"title":1981,"dynasty":145,"author":1982,"museum":53,"description":1983,"tags":1984,"thumbUrl":1986,"material":40,"size":1987,"collection":42,"collections":1988,"showCount":1977,"zanCount":534,"manualWeight":11,"mainColor":66},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","王翚","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,25,57,28,29,1985,35,192,31,150,34,58,38,7,37],"红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[42,155],{"id":1990,"slug":1991,"title":1992,"dynasty":145,"author":276,"museum":388,"description":1993,"tags":1994,"thumbUrl":1995,"material":96,"size":1996,"collection":125,"collections":1997,"showCount":1977,"zanCount":534,"manualWeight":11,"mainColor":66},218859,"mei-hua-tu-jin-nong-218859","梅花图","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[23,24,25,57,27,111,210,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[125],{"id":1999,"slug":2000,"title":2001,"dynasty":2002,"author":2003,"museum":73,"description":2004,"tags":2005,"thumbUrl":2010,"material":61,"size":61,"collection":61,"collections":2011,"showCount":2012,"zanCount":511,"manualWeight":11,"mainColor":46},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","南北朝","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,56,24,25,26,77,28,79,693,2006,58,38,7,2007,646,620,2008,2009],"书","笔","砚","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],143,{"id":2014,"slug":2015,"title":2016,"dynasty":454,"author":2017,"museum":53,"description":2018,"tags":2019,"thumbUrl":2020,"material":123,"size":2021,"collection":125,"collections":2022,"showCount":2023,"zanCount":271,"manualWeight":11,"mainColor":46},218623,"dou-niu-tu-dai-song-218623","斗牛图","戴嵩","图绘两条硕壮的公牛相斗，一牛低头而以两角尖顶向对方的肚子，肌肉鼓胀，四蹄撒开，急奔而来，可以设想这一顶的力量之猛；而另一牛则掉头离去，目光惊恐，气喘吁吁，落荒而逃。全图纯用水墨，虽也勾线，但已渐渐淡去。牛身通体染墨色，而以墨色的深淡变化，体现出牛身的结构以及运动时肌肉的紧张。用浓墨勾画牛的角、蹄，点出眼睛、鬃毛。看似色彩单纯，但仍能感觉到墨生“五彩”，极其优雅。这样的画法，在戴嵩之前似无，但也正是唐代画家王维倡导的“水墨渲淡”的手法。两头牛的形象、动态，无论是头、身体和四肢，以及彼此间相互协调，都画得非常准确，神态生动，场景激烈。传说他曾画饮水中的牛，水中倒影，唇鼻相连，可以见得戴嵩在写生上下功夫之精微。重写生、重情景，这是唐、宋时期的中国画的一大特点，也是中国画的一大宝贵历史传统。",[56,24,25,26,27,28,458,459,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70d07ff8e284b799a06dedfd6f9ed4.jpg","纵44厘米，横40.8厘米",[125],140,{"id":2025,"slug":2026,"title":2027,"dynasty":18,"author":1064,"museum":2028,"description":2029,"tags":2030,"thumbUrl":2032,"material":802,"size":2033,"collection":42,"collections":2034,"showCount":2035,"zanCount":11,"manualWeight":11,"mainColor":46},221882,"chu-chu-tu-juan-quan-juan-chen-hong-shou-221882","出处图卷全卷","张大千先生的旧藏","画卷前后隔水留下了他的墨宝。此卷是陈洪绶在去世前一年为周亮工所作，这一年陈洪绶相继为周亮工一共创作了42件作品，《出处图》则是其中的精品。展卷之后可见诸葛亮与陶渊明盘坐于树下正侃侃而谈，诸葛亮头戴“诸葛巾”，陶渊明则手抚无弦琴，形象格调高古，气韵不凡，人物衣袖由一根根行云流水般的线条绘就，每根线条都不另起笔，如若不加停顿似的一气呵成，而线条与线条的排列则构成了陈洪绶特有的韵味。",[23,24,25,26,77,28,79,29,34,31,177,38,7,2031],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9517553124fbf7960f3c43dce25b9cc5.jpg","26×195cm",[42,155],139,{"id":2037,"slug":2038,"title":2039,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":2040,"thumbUrl":2043,"material":920,"size":921,"collection":61,"collections":2044,"showCount":2045,"zanCount":534,"manualWeight":11,"mainColor":46},288300,"ba-da-shan-ren-xing-kai-qian-zi-wen-zhu-da-288300","八大山人行楷千字文",[38,2041,7,2031,352,2042],"行楷","千字文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb304caf1691d1b609551af57383ce73c.jpg",[],138,{"id":2047,"slug":2048,"title":2049,"dynasty":51,"author":362,"museum":53,"description":2050,"tags":2051,"thumbUrl":2053,"material":123,"size":508,"collection":62,"collections":2054,"showCount":2045,"zanCount":334,"manualWeight":11,"mainColor":46},214384,"du-hai-tie-su-shi-214384","渡海帖","苏轼在三年（1100年）搬到凉州时，给他的朋友赵梦得写了这封信。此作品又称 渡海帖，是典型的苏轼风格，刚劲有力，沉着痛快，为其晚期代表作。",[38,7,58,25,2052,353],"尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b1387d0b5d4f6ba8adbaac7c6d1ae.jpg",[62],{"id":2056,"slug":2057,"title":2058,"dynasty":91,"author":440,"museum":53,"description":2059,"tags":2060,"thumbUrl":2061,"material":196,"size":2062,"collection":61,"collections":2063,"showCount":2064,"zanCount":511,"manualWeight":11,"mainColor":66},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,25,26,27,28,29,34,1917,292,36,7,38,58,37,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":2066,"slug":2067,"title":2068,"dynasty":18,"author":1391,"museum":53,"description":2069,"tags":2070,"thumbUrl":2071,"material":123,"size":2072,"collection":306,"collections":2073,"showCount":2064,"zanCount":334,"manualWeight":11,"mainColor":46},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,24,25,26,77,28,7,38,79,80,150,1471,2009,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","27.9x388.3厘米",[306],{"id":2075,"slug":2076,"title":2077,"dynasty":454,"author":2078,"museum":2079,"description":2080,"tags":2081,"thumbUrl":2082,"material":123,"size":2083,"collection":61,"collections":2084,"showCount":2064,"zanCount":511,"manualWeight":11,"mainColor":1787},214206,"ji-wang-sheng-jiao-xu-huai-ren-214206","集王圣教序","怀仁","西安碑林博物馆","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。",[23,681,680,38,7,530,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9d33b6ee3ce2f2eadb6650d95c9212.jpg","315.3x141.3",[],{"id":2086,"slug":2087,"title":2088,"dynasty":18,"author":19,"museum":53,"description":2089,"tags":2090,"thumbUrl":2091,"material":407,"size":2092,"collection":61,"collections":2093,"showCount":2094,"zanCount":511,"manualWeight":11,"mainColor":46},222108,"ming-xian-ya-ji-tu-zhou-shen-zhou-222108","名贤雅集图轴","此画设色雅淡，人物衣描粗细合度，用笔写意中带精谨。幅面狭长，山势呈“之”字形走向，益增高远平阔之感。",[23,24,25,57,28,79,29,30,31,81,37,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180750897d2f844fa69ecd89a1960845.jpg","252.9x44.5公分",[],135,{"id":2096,"slug":2097,"title":2098,"dynasty":91,"author":286,"museum":73,"description":2099,"tags":2100,"thumbUrl":2101,"material":61,"size":61,"collection":61,"collections":2102,"showCount":2103,"zanCount":487,"manualWeight":11,"mainColor":46},228177,"fang-dong-po-feng-zhu-tu-wu-zhen-228177","仿东坡风竹图","此作用草书笔意写风竹，右侧竹竿劲挺带折，暗合疾风之势。浓墨挥写竹叶，聚散错落，叶梢尽含动感，似有穿林风鸣萦于耳侧。左侧题书与画作浑然一体，诗画合璧文气满溢。\n\n墨色干湿浓淡层次分明，以淡素纸色为底，虚实相生，将观竹怀人的幽思寄于毫端。把风竹萧然清骨，与林下襟怀相融，尽显以竹明志的元人画趣，是水墨写竹以意驭笔的绝佳典范。",[23,24,25,27,7,57,112,76,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23576077b3964e67aff08149c65dfeae.jpg",[],133,{"id":2105,"slug":2106,"title":2107,"dynasty":51,"author":362,"museum":73,"description":2108,"tags":2109,"thumbUrl":2110,"material":61,"size":61,"collection":61,"collections":2111,"showCount":2103,"zanCount":11,"manualWeight":11,"mainColor":46},227504,"chun-zhong-tie-su-shi-227504","春中帖","本帖鉴藏印有“奎章阁鉴书博士”、“柯氏清玩”、“柯九思鉴□真迹”、“江恂”、“王禹卿氏”。\n此帖是苏轼写给范纯粹（德孺）的信札。范纯粹是北宋著名政治家、文学家范仲淹的第四子。宋神宗元丰年间，共有五路军团出兵讨伐西夏，其中包括由高遵裕率领的环庆军和由刘昌祚率领的泾原军。《宋史》卷三一四《范纯粹本传》记载，北宋元丰末年，范纯粹因调和讨伐西夏的遵裕、昌祚两路军的矛盾有功，神宗将他由陕西转运判官进为转运副使，这与帖中德孺之官衔“运使金部”是一致的。据此可知，此信札的书写时间应为元丰末年，即元丰七八年间（1084—1085年），苏轼年约50岁左右。帖中“二哥”是指范纯仁（范仲淹次子）。\n此帖笔法自然流畅，寓巧于拙，仪态淳古，有浑厚凝重之韵致。虽有缺字、残损，仍不失为苏轼中年时期的上乘之作。",[38,7,24,25,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6570e429c4bfd4bd83be2b02954cabab.jpg",[],{"id":2113,"slug":2114,"title":2115,"dynasty":91,"author":440,"museum":53,"description":2116,"tags":2117,"thumbUrl":2121,"material":123,"size":2122,"collection":42,"collections":2123,"showCount":2103,"zanCount":511,"manualWeight":11,"mainColor":46},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,24,56,25,26,27,37,7,58,29,2118,32,34,178,2119,2120],"江河","岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[42],{"id":2125,"slug":2126,"title":2127,"dynasty":18,"author":19,"museum":106,"description":2128,"tags":2129,"thumbUrl":2131,"material":2132,"size":2133,"collection":61,"collections":2134,"showCount":2135,"zanCount":534,"manualWeight":11,"mainColor":46},233766,"li-shi-tu-zhou-shen-zhou-233766","荔柿图轴","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,25,57,27,109,210,2130,908,38,7,58],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm",[],132,{"id":2137,"slug":2138,"title":2139,"dynasty":145,"author":666,"museum":106,"description":2140,"tags":2141,"thumbUrl":2144,"material":196,"size":61,"collection":125,"collections":2145,"showCount":2135,"zanCount":534,"manualWeight":11,"mainColor":46},224229,"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","使用西洋红设色，一老一新两丛雁来红，构图成对角斜势，虚实相生，主体突出。此作当是吴昌硕大胆运用洋红的最佳范例之一。他把金石的古厚质朴的意趣，引用到绘画用色方面来，自然不落于平薄，更无粉脂俗艳。吴昌硕可以说是大写意花卉史上最善于用色的高手之一。这种绘画方法，对之后的海派绘画，乃至齐白石等京派绘画产生了重大影响。",[23,24,25,57,28,109,7,58,119,800,1576,2142,2143],"红叶","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[125,155],{"id":2147,"slug":2148,"title":2149,"dynasty":454,"author":2150,"museum":1685,"description":2151,"tags":2152,"thumbUrl":2153,"material":196,"size":61,"collection":62,"collections":2154,"showCount":2135,"zanCount":334,"manualWeight":11,"mainColor":46},221074,"zhao-ye-bai-han-gan-221074","照夜白","韩干","这幅画是用水墨线描完成的，描绘的是唐玄宗 喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[23,27,77,196,26,25,693,459,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[62,463],{"id":2156,"slug":2157,"title":2158,"dynasty":91,"author":286,"museum":1745,"description":2159,"tags":2160,"thumbUrl":2161,"material":1344,"size":2162,"collection":42,"collections":2163,"showCount":2135,"zanCount":511,"manualWeight":11,"mainColor":638},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[23,24,26,27,25,37,7,58,29,33,34,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纵23.8厘米，横277.8厘米",[42,168],{"id":2165,"slug":2166,"title":2167,"dynasty":145,"author":339,"museum":73,"description":2168,"tags":2169,"thumbUrl":2170,"material":920,"size":921,"collection":61,"collections":2171,"showCount":2172,"zanCount":511,"manualWeight":11,"mainColor":638},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,56,24,25,57,27,112,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":2174,"slug":2175,"title":2176,"dynasty":145,"author":2177,"museum":53,"description":2178,"tags":2179,"thumbUrl":2180,"material":722,"size":2181,"collection":42,"collections":2182,"showCount":2172,"zanCount":534,"manualWeight":11,"mainColor":46},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡残","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,26,27,28,37,29,192,113,33,30,31,237,179,34,35,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[42,155],{"id":2184,"slug":2185,"title":2186,"dynasty":702,"author":2187,"museum":2188,"description":2189,"tags":2190,"thumbUrl":2191,"material":196,"size":61,"collection":61,"collections":2192,"showCount":2172,"zanCount":11,"manualWeight":11,"mainColor":46},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","傅抱石","龙美术馆西岸馆","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[23,24,27,28,37,57,58,7,29,79,774,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":2194,"slug":2195,"title":2196,"dynasty":145,"author":339,"museum":73,"description":2168,"tags":2197,"thumbUrl":2198,"material":920,"size":921,"collection":61,"collections":2199,"showCount":2200,"zanCount":334,"manualWeight":11,"mainColor":66},288175,"zhu-tu-li-zhou-zheng-ban-qiao-288175","竹图立轴",[23,24,57,27,112,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fca82057ff711fbc4369fe72f5320b.jpg",[],130,{"id":2202,"slug":2203,"title":2204,"dynasty":18,"author":251,"museum":53,"description":2205,"tags":2206,"thumbUrl":2208,"material":123,"size":2209,"collection":168,"collections":2210,"showCount":2200,"zanCount":11,"manualWeight":11,"mainColor":46},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[24,25,28,77,38,7,58,79,34,35,2207,1821,135,177],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[168],{"id":2212,"slug":2213,"title":2214,"dynasty":51,"author":349,"museum":73,"description":2215,"tags":2216,"thumbUrl":2217,"material":920,"size":921,"collection":61,"collections":2218,"showCount":2219,"zanCount":511,"manualWeight":11,"mainColor":46},283691,"chun-shan-rui-song-tu-mi-fei-283691","春山瑞松图","《宋米芾春山瑞松图》是宋代书画家米芾创作的一幅纸本画，原存清宫内府斋宫，现为台北故宫博物院藏。图中描绘云雾掩映的山林景色，图中白云满谷，远山耸立云端，近处古松数株隐显于雾气中。松下有亭，空无一人。山峦青绿晕染，再加“米点” (亦称“落茄被”)，松树笔法细致、严密。",[24,289,27,37,376,254,33,179,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05154bc7bf74f850c5b1be5832c607b.jpg",[],128,{"id":2221,"slug":2222,"title":2223,"dynasty":51,"author":349,"museum":106,"description":2224,"tags":2225,"thumbUrl":2227,"material":196,"size":2228,"collection":62,"collections":2229,"showCount":2230,"zanCount":334,"manualWeight":11,"mainColor":66},219145,"xing-kai-shu-po-qiang-tie-ba-zan-juan-mi-fei-219145","行楷书·破羌帖跋赞卷","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。",[23,38,7,2031,26,58,2226,352,680],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be5a5a72c93f1b4b721df242bc15f84.jpg","纵22.9厘米，横48.2厘米",[62],127,{"id":2232,"slug":2233,"title":2234,"dynasty":91,"author":440,"museum":106,"description":2235,"tags":2236,"thumbUrl":2242,"material":96,"size":2243,"collection":306,"collections":2244,"showCount":2230,"zanCount":271,"manualWeight":11,"mainColor":46},218772,"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[23,2237,25,26,28,77,79,693,2238,7,2239,38,2240,2241],"元代","鞍马","墨笔","人物画","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","纵32.2厘米，横62.5厘米",[306,62],{"id":2246,"slug":2247,"title":2248,"dynasty":18,"author":105,"museum":53,"description":2249,"tags":2250,"thumbUrl":2254,"material":123,"size":2255,"collection":62,"collections":2256,"showCount":2257,"zanCount":11,"manualWeight":11,"mainColor":46},214213,"xing-shu-qi-yan-lian-xu-wei-214213","行书七言联","释文：水夕苍蚊残夏扇。河间红树早秋棃。秋霜先生咲览。天池山人徐渭书。",[23,24,25,38,57,2251,7,27,1985,254,2252,2253],"对联","秋水","梨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cccc9d7148d5550a49ac995d9474fe6.jpg","132.2x32.4",[62],126,{"id":2259,"slug":2260,"title":2261,"dynasty":91,"author":2262,"museum":53,"description":2263,"tags":2264,"thumbUrl":2265,"material":96,"size":2266,"collection":306,"collections":2267,"showCount":2268,"zanCount":11,"manualWeight":11,"mainColor":46},219444,"lu-tong-peng-cha-tu-qian-xuan-219444","卢仝烹茶图","钱选","画中主人是卢同，唐朝济源人。学问非常渊博，并擅长诗文。隐居在少室山，不愿出来作官。他特别喜欢喝茶。这幅就是描绘卢同与童子，坐芭蕉下烹茶的情景。",[24,25,57,28,77,79,1384,177,266,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5d62829496182e3834aaa1c88ab2a.jpg","128.7x37.3",[306],125,{"id":2270,"slug":2271,"title":2272,"dynasty":18,"author":19,"museum":73,"description":2273,"tags":2274,"thumbUrl":2276,"material":920,"size":921,"collection":61,"collections":2277,"showCount":2278,"zanCount":511,"manualWeight":11,"mainColor":46},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,56,24,896,26,29,1130,37,38,7,58,35,34,36,31,32,33,237,2275,1363,82,30,1515,81],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":2280,"slug":2281,"title":2282,"dynasty":51,"author":2283,"museum":106,"description":2284,"tags":2285,"thumbUrl":2289,"material":1262,"size":2290,"collection":61,"collections":2291,"showCount":2278,"zanCount":534,"manualWeight":11,"mainColor":46},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","王诜","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,26,27,28,37,77,29,2286,2287,35,34,31,32,290,2288,30,82,179,38,7,58],"渔村","小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":2293,"slug":2294,"title":2295,"dynasty":91,"author":440,"museum":106,"description":2296,"tags":2297,"thumbUrl":2298,"material":2299,"size":2300,"collection":62,"collections":2301,"showCount":2302,"zanCount":534,"manualWeight":11,"mainColor":66},239648,"lin-lan-ting-xu-juan-zhao-meng-fu-239648","临兰亭序卷","此卷原在赵孟頫“定武兰亭”十六跋后，之后被人分割，另装在南宋翻刻兰亭拓本后面。赵孟頫一生对《兰亭序》极为推重，曾反复临写，此件是其晚年所临，笔法精良。加之此卷前面有南宋翻刻定武《兰亭序》拓本，以及前后尤袤、王厚之、张翥、王蒙等宋元名家题跋，更为珍贵。本幅另有清代庆锡题跋一段。\n释文（略）。本幅款署“子昂”\n鉴藏印“伯谦精鉴”、“伯谦审定真迹”、“绍庭审定”、“蛰蛰公书画”“龙友过眼”等。",[23,76,7,26,38,25,352,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ea3e89479876fe37bc518a1e7ae087.jpg","绢本，行书","纵27.4厘米，横102厘米，28行，324字",[62],123,{"id":2304,"slug":2305,"title":2306,"dynasty":91,"author":440,"museum":2307,"description":2308,"tags":2309,"thumbUrl":2311,"material":196,"size":2312,"collection":62,"collections":2313,"showCount":2302,"zanCount":271,"manualWeight":11,"mainColor":46},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,38,7,26,25,27,58,32,82,31,2310,121,495],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[62],{"id":2315,"slug":2316,"title":2317,"dynasty":18,"author":2318,"museum":1685,"description":2319,"tags":2320,"thumbUrl":2324,"material":96,"size":61,"collection":306,"collections":2325,"showCount":2302,"zanCount":246,"manualWeight":11,"mainColor":46},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","谢环","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[23,24,25,26,28,77,7,2031,58,38,79,34,33,2321,2322,2323,2009,800],"桌椅","乐器","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[306,62],{"id":2327,"slug":2328,"title":936,"dynasty":454,"author":937,"museum":106,"description":2329,"tags":2330,"thumbUrl":2331,"material":196,"size":941,"collection":62,"collections":2332,"showCount":2333,"zanCount":11,"manualWeight":11,"mainColor":66},221139,"shang-yang-tai-tie-li-bai-221139","《上阳台帖》是李白所书自咏四言诗。释文：\n“山高水長，物象千萬，非有老筆，清壯可窮。十八日，上陽臺書，太白。”\n引首清高宗弘历楷书题“青蓮逸翰”四字，正文右上宋徽宗赵佶瘦金书题签：“ 唐李太白上陽臺”一行。\n后纸有宋徽宗赵佶，元张晏、杜本、欧阳玄、王馀庆、危素、驺鲁，清乾隆皇帝题跋和观款。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彜齋”、贾似道“秋壑圖書”，元“張晏私印”、“歐陽玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n这是李白传世的唯一书迹。其落笔天纵，收笔处一放开锋，宋黄庭坚评李白：“及观其稿书，大类其诗，弥使人远想慨然。白在开元、至德间，不以能书传，今其行、草殊不减古人。”(《山谷题跋》)\n此帖曾入宣和内府，后归贾似道，元代曾经张晏处，明藏项元汴天籁阁。清代先为安岐所得，再入内府，清末流出宫外。民国时入张伯驹手，新中国成立后献给国家。1958年此帖转交故宫博物院收藏。",[23,56,25,26,7,38,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddf2bf1d39afff56bc9da86e3bbf57.jpg",[62],122,{"id":2335,"slug":2336,"title":2337,"dynasty":18,"author":19,"museum":73,"description":2338,"tags":2339,"thumbUrl":2340,"material":61,"size":61,"collection":61,"collections":2341,"showCount":2342,"zanCount":334,"manualWeight":11,"mainColor":46},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,56,24,26,27,28,29,291,30,31,32,290,1917,34,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],120,{"id":2344,"slug":2345,"title":2346,"dynasty":51,"author":2347,"museum":2348,"description":2349,"tags":2350,"thumbUrl":2352,"material":96,"size":2353,"collection":42,"collections":2354,"showCount":2342,"zanCount":511,"manualWeight":11,"mainColor":66},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参","圣路易斯艺术博物馆","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,2351,56,24,25,26,29,27,37,28,150,30,31,35,34,79,38,7],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[42],{"id":2356,"slug":2357,"title":568,"dynasty":91,"author":2358,"museum":53,"description":2359,"tags":2360,"thumbUrl":2361,"material":123,"size":2362,"collection":125,"collections":2363,"showCount":2364,"zanCount":11,"manualWeight":11,"mainColor":46},219386,"zhu-shi-tu-guan-dao-sheng-219386","管道升","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[24,56,25,57,27,112,177,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[125],119,{"id":2366,"slug":2367,"title":2368,"dynasty":145,"author":2369,"museum":206,"description":2370,"tags":2371,"thumbUrl":2372,"material":123,"size":61,"collection":42,"collections":2373,"showCount":2364,"zanCount":11,"manualWeight":11,"mainColor":46},214517,"shui-mo-tu-ce-zheng-min-214517","水墨图册","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[209,27,7,38,29,774,35,1576,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg",[42,168],{"id":2375,"slug":2376,"title":2377,"dynasty":18,"author":19,"museum":106,"description":2378,"tags":2379,"thumbUrl":2380,"material":722,"size":2381,"collection":61,"collections":2382,"showCount":2383,"zanCount":334,"manualWeight":11,"mainColor":46},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,27,29,209,37,376,495,377,884,35,58,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg","纵27.8厘米，横37.3厘米",[],118,{"id":2385,"slug":2386,"title":2387,"dynasty":145,"author":324,"museum":106,"description":2388,"tags":2389,"thumbUrl":2392,"material":542,"size":2393,"collection":61,"collections":2394,"showCount":2383,"zanCount":534,"manualWeight":11,"mainColor":46},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[24,25,26,27,29,37,38,58,7,2390,178,292,34,35,179,2391,135],"奇峰","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],{"id":2396,"slug":2397,"title":2398,"dynasty":18,"author":881,"museum":73,"description":2399,"tags":2400,"thumbUrl":2401,"material":165,"size":2402,"collection":62,"collections":2403,"showCount":2383,"zanCount":11,"manualWeight":11,"mainColor":66},219984,"lin-mi-fei-fang-yuan-an-ji-dong-qi-chang-219984","临米芾方圆庵记","全文共计七百六十八字，董其昌首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。",[23,38,7,76,26,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F163332a7ddae4aba4d6a8c5694000721.jpg","高26厘米，长200厘米",[62],{"id":2405,"slug":2406,"title":2407,"dynasty":51,"author":2408,"museum":73,"description":2409,"tags":2410,"thumbUrl":2414,"material":96,"size":2415,"collection":306,"collections":2416,"showCount":2417,"zanCount":487,"manualWeight":11,"mainColor":66},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","刘松年","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,77,28,26,7,38,1594,79,150,1471,34,35,1467,2411,2412,33,1395,2413,1271,254],"台阶","衣冠","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[306],117,{"id":2419,"slug":2420,"title":2421,"dynasty":18,"author":2422,"museum":53,"description":2423,"tags":2424,"thumbUrl":2425,"material":60,"size":2426,"collection":62,"collections":2427,"showCount":2417,"zanCount":534,"manualWeight":11,"mainColor":46},214208,"qi-yan-lv-shi-wang-feng-yuan-214208","七言律诗","王逢元","王逢元以书名于当世，或有人议其真书稍肥，而顾麟则说他庄重沉稳，没有轻浮和机巧，他有钟、王的唯一传承。周辉还说，他最早是跟王羲之和智永学习书法，晚年则是黄庭坚，王逢元用普通文字写了九首七言诗，笔触中带着山谷的气息。",[23,24,25,38,57,7,2239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f4760d3de1a5ad0f1c1c1aaf46d46e.jpg","81.9x38.6",[62],{"id":2429,"slug":2430,"title":716,"dynasty":145,"author":717,"museum":73,"description":2431,"tags":2432,"thumbUrl":2433,"material":920,"size":921,"collection":61,"collections":2434,"showCount":2435,"zanCount":534,"manualWeight":11,"mainColor":46},235082,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235082","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,25,209,28,720,7,58,210,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f6cfe7b0c9fd846a94eda0dfacb50e.jpg",[],115,{"id":2437,"slug":2438,"title":2439,"dynasty":91,"author":2440,"museum":20,"description":2441,"tags":2442,"thumbUrl":2443,"material":542,"size":2444,"collection":168,"collections":2445,"showCount":2435,"zanCount":511,"manualWeight":11,"mainColor":46},221832,"mo-zhu-tu-juan-ke-jiu-si-221832","墨竹图卷","柯九思","元代伯颜不花题记：予旧藏东坡枯木丛竹一小卷，每闲暇，于明窗净几间，时复展玩，不觉尘虑顿消，颇得佳趣耳。 一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[23,24,25,26,27,112,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[168,975],{"id":2447,"slug":2448,"title":2449,"dynasty":18,"author":881,"museum":106,"description":2450,"tags":2451,"thumbUrl":2453,"material":123,"size":2454,"collection":42,"collections":2455,"showCount":2435,"zanCount":11,"manualWeight":11,"mainColor":46},220096,"fang-ju-ran-shan-shui-tu-dong-qi-chang-220096","仿巨然山水图","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\u2028　　画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,29,27,37,76,38,7,58,376,377,254,193,239,2452,431],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纵101.7厘米，横46.7厘米",[42,168],{"id":2457,"slug":2458,"title":2459,"dynasty":71,"author":760,"museum":106,"description":2460,"tags":2461,"thumbUrl":2462,"material":123,"size":2463,"collection":61,"collections":2464,"showCount":2435,"zanCount":11,"manualWeight":11,"mainColor":46},214581,"yu-hou-tie-2-wang-xi-zhi-214581","雨后帖-2","《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。",[38,7,27,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd738a3b7c238ae9018a31bb5922db94d.jpg","25.7x14.9",[],{"id":2466,"slug":2467,"title":2468,"dynasty":18,"author":105,"museum":73,"description":2469,"tags":2470,"thumbUrl":2471,"material":61,"size":61,"collection":61,"collections":2472,"showCount":2473,"zanCount":534,"manualWeight":11,"mainColor":46},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,24,25,26,27,109,58,7,111,120,112,121,114,115,118,116,1714,177,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":2475,"slug":2476,"title":2477,"dynasty":18,"author":881,"museum":738,"description":2478,"tags":2479,"thumbUrl":2480,"material":40,"size":2481,"collection":42,"collections":2482,"showCount":2473,"zanCount":511,"manualWeight":11,"mainColor":66},220429,"hua-fa-mi-jue-tu-dong-qi-chang-220429","画法秘诀图","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，今上海市人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。",[23,24,25,26,27,28,29,34,35,36,38,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F335b0d30fc47e443891fea49553c18fa.jpg","31x276.5",[42,155],{"id":2484,"slug":2485,"title":2486,"dynasty":145,"author":2487,"museum":20,"description":2488,"tags":2489,"thumbUrl":2490,"material":123,"size":2491,"collection":61,"collections":2492,"showCount":2473,"zanCount":534,"manualWeight":11,"mainColor":46},214688,"mei-hua-zhu-shi-tu-ce-1-wang-shi-shen-214688","梅花竹石图册-1","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[24,25,209,27,7,58,111,112,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9c33e7f7afa822865810bf8fc4aaad.jpg","纵25 厘米 横31.5 厘米",[],{"id":2494,"slug":2495,"title":2176,"dynasty":145,"author":324,"museum":73,"description":1757,"tags":2496,"thumbUrl":2497,"material":920,"size":921,"collection":61,"collections":2498,"showCount":2499,"zanCount":534,"manualWeight":11,"mainColor":46},288091,"shan-shui-tu-juan-shi-tao-288091",[23,24,26,25,27,37,29,150,35,1309,31,135,33,223,7,38,58,1363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":2501,"slug":2502,"title":2503,"dynasty":71,"author":760,"museum":73,"description":2504,"tags":2505,"thumbUrl":2506,"material":61,"size":2507,"collection":62,"collections":2508,"showCount":2499,"zanCount":11,"manualWeight":11,"mainColor":66},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",[23,38,7,680,352,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5e671a68d12677bedaa825f200d12c.jpg","35x270cm",[62],{"id":2510,"slug":2511,"title":2512,"dynasty":51,"author":1744,"museum":53,"description":2513,"tags":2514,"thumbUrl":2516,"material":1262,"size":2517,"collection":226,"collections":2518,"showCount":2519,"zanCount":11,"manualWeight":11,"mainColor":66},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[23,26,77,37,27,28,7,2031,58,29,32,2515,34,35,2391],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","纵30.3厘米，横190.8厘米",[226,42,168],111,{"id":2521,"slug":2522,"title":2523,"dynasty":51,"author":1554,"museum":2524,"description":2525,"tags":2526,"thumbUrl":2527,"material":123,"size":2528,"collection":42,"collections":2529,"showCount":2519,"zanCount":534,"manualWeight":11,"mainColor":46},218637,"yun-shan-tu-mi-you-ren-218637","云山图","费城艺术博物馆","画面上群山耸立，半山腰上云雾缭绕，山脚下隐约可见一排排房屋、一座座小桥和船只，泥泞的平原上有几棵水墨画般的树木，树干细长，枝叶茂密。",[23,24,25,27,37,7,29,495,376,377,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370b493c400d975bccc00e55e62a050b.jpg","27.8x23.5",[42],{"id":2531,"slug":2532,"title":2533,"dynasty":51,"author":2534,"museum":373,"description":2535,"tags":2536,"thumbUrl":2537,"material":658,"size":2538,"collection":62,"collections":2539,"showCount":2540,"zanCount":534,"manualWeight":11,"mainColor":638},221196,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221196","自作诗卷（全卷）第一段","陆游","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[23,38,26,7,353,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c86b3e25aa12cb4cbb30509110916e8.jpg","31*7017cm",[62],110,{"id":2542,"slug":2543,"title":2544,"dynasty":145,"author":2545,"museum":147,"description":2546,"tags":2547,"thumbUrl":2548,"material":40,"size":2549,"collection":125,"collections":2550,"showCount":2540,"zanCount":511,"manualWeight":11,"mainColor":66},218733,"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","华嵒","这幅画描绘了一块形状奇特的湖石，靠着湖石生长的翠竹棚，枝条修长，叶子翠绿繁茂，枝头上有两只鸟儿相望；一枝梅花从上往下画，枝头上的花朵灿烂开放，枝头上的鸟儿张着嘴叫，尾巴上的羽毛色彩斑斓，十分可爱。",[23,24,25,57,28,77,109,111,112,962,210,177,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[125],{"id":2552,"slug":2553,"title":2554,"dynasty":18,"author":881,"museum":106,"description":2555,"tags":2556,"thumbUrl":2557,"material":123,"size":2558,"collection":42,"collections":2559,"showCount":2540,"zanCount":11,"manualWeight":11,"mainColor":46},218348,"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[23,24,25,26,27,76,7,38,37,58,29,178,34,179,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[42,168,62],{"id":2561,"slug":2562,"title":2563,"dynasty":91,"author":440,"museum":2564,"description":2565,"tags":2566,"thumbUrl":2567,"material":2568,"size":2569,"collection":125,"collections":2570,"showCount":2571,"zanCount":11,"manualWeight":11,"mainColor":46},220827,"er-yang-tu-zhao-meng-fu-220827","二羊图","美国弗瑞尔美术馆","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[23,24,25,26,27,459,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 水墨","纵25．2厘米，横48．4厘米",[125,168],109,{"id":2573,"slug":2574,"title":2575,"dynasty":51,"author":2576,"museum":73,"description":2577,"tags":2578,"thumbUrl":2580,"material":61,"size":61,"collection":61,"collections":2581,"showCount":2582,"zanCount":487,"manualWeight":11,"mainColor":46},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","李安忠","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,56,24,25,2579,77,28,210,417,58,38,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],108,{"id":2584,"slug":2585,"title":2439,"dynasty":18,"author":479,"museum":1685,"description":2586,"tags":2587,"thumbUrl":2588,"material":2589,"size":2590,"collection":61,"collections":2591,"showCount":2582,"zanCount":511,"manualWeight":11,"mainColor":46},222336,"mo-zhu-tu-juan-tang-yin-222336","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,25,26,27,112,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109eda6bf170676477b998002e80e269.jpg","水墨纸本","29.1x150.2cm",[],{"id":2593,"slug":2594,"title":1297,"dynasty":91,"author":2595,"museum":1685,"description":2596,"tags":2597,"thumbUrl":2598,"material":28,"size":2599,"collection":168,"collections":2600,"showCount":2582,"zanCount":11,"manualWeight":11,"mainColor":46},221863,"mo-zhu-tu-zhao-yong-221863","赵雍","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[23,24,56,25,27,38,7,58,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c49ae27cf37c90ce47878755601d49.jpg","26.7×172.7cm",[168,975],{"id":2602,"slug":2603,"title":2604,"dynasty":18,"author":881,"museum":106,"description":2605,"tags":2606,"thumbUrl":2607,"material":196,"size":2608,"collection":42,"collections":2609,"showCount":2582,"zanCount":534,"manualWeight":11,"mainColor":46},220918,"shan-shui-ce-dong-qi-chang-220918","山水册","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,24,27,37,209,38,7,58,29,376,884,377,328,177,36,495,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[42,168],{"id":2611,"slug":2612,"title":2613,"dynasty":51,"author":362,"museum":53,"description":2614,"tags":2615,"thumbUrl":2616,"material":27,"size":2617,"collection":62,"collections":2618,"showCount":2582,"zanCount":511,"manualWeight":11,"mainColor":46},214829,"huo-jian-tie-su-shi-214829","获见帖","释文：轼启。近者经由。获见为幸。过辱遣人赐书。得闻起居佳胜。感慰兼极。忝命出于馀芘。重承流喻。益深愧慰畏。再会未缘。万万以时自重。人还。冗中。不宣。轼再拜 。长官董侯阁下。六月廿八日。",[38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ee27e03cf357dc2c448c081d7e6f4d.jpg","纵27.7厘米×横38.4厘米",[62],{"id":2620,"slug":2621,"title":2622,"dynasty":91,"author":2623,"museum":1573,"description":2624,"tags":2625,"thumbUrl":2626,"material":96,"size":61,"collection":306,"collections":2627,"showCount":2628,"zanCount":334,"manualWeight":11,"mainColor":46},220368,"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","任仁发","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[23,56,24,25,26,77,28,7,38,58,79,693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[306,155],107,{"id":2630,"slug":2631,"title":2632,"dynasty":51,"author":1239,"museum":2633,"description":2634,"tags":2635,"thumbUrl":2637,"material":2638,"size":2639,"collection":226,"collections":2640,"showCount":2641,"zanCount":11,"manualWeight":11,"mainColor":66},221667,"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","日本京都国立博物馆","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[23,56,24,25,57,27,28,79,29,31,177,2636,37,7,58],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","绢本墨画淡彩","纵77.6厘米，横33厘米",[226,42],106,{"id":2643,"slug":2644,"title":568,"dynasty":91,"author":286,"museum":206,"description":2645,"tags":2646,"thumbUrl":2648,"material":96,"size":2649,"collection":125,"collections":2650,"showCount":2641,"zanCount":11,"manualWeight":11,"mainColor":46},218492,"zhu-shi-tu-wu-zhen-218492","墨竹以中锋运笔，瘦劲中含柔韧，竹叶如剑戟横斜，又似疾风翻卷，墨色浓淡相间，层次分明；石体则以淡墨晕染，辅以干笔皴擦，朴拙厚重中透出清逸之态。竹石相依，动静相生，既见自然野趣，又藏文人风骨——笔端流淌的不仅是水墨的韵律，更是君子坚韧高洁的精神写照。整幅画作简而不薄，意境悠远，尽显元人画中“以书入画”的雅致与隐逸情怀，笔墨间的生机与心性，似可穿越时空，与观者对话。",[23,56,24,25,27,109,112,177,7,58,2647],"元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c4598d701937861a6c59fad8d3c4f.jpg","37.5x94.5cm",[125],{"id":2652,"slug":2653,"title":2654,"dynasty":145,"author":339,"museum":73,"description":588,"tags":2655,"thumbUrl":2656,"material":407,"size":61,"collection":125,"collections":2657,"showCount":2658,"zanCount":534,"manualWeight":11,"mainColor":46},223301,"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[23,24,25,57,27,7,58,38,112,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f693b107ed41d72c1e72ff211b8570.jpg",[125,168],105,{"id":2660,"slug":2661,"title":2662,"dynasty":51,"author":1744,"museum":53,"description":2663,"tags":2664,"thumbUrl":2666,"material":165,"size":2667,"collection":226,"collections":2668,"showCount":2658,"zanCount":534,"manualWeight":11,"mainColor":66},221344,"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[23,24,56,57,77,28,210,111,120,2665,58,38,7],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm",[226,125,155],{"id":2670,"slug":2671,"title":2672,"dynasty":2673,"author":2674,"museum":53,"description":2675,"tags":2676,"thumbUrl":2677,"material":2678,"size":2679,"collection":62,"collections":2680,"showCount":2658,"zanCount":11,"manualWeight":11,"mainColor":46},221142,"jiu-hua-tie-yang-ning-shi-221142","韭花帖","五代十国","杨凝式","《韭花帖》是唐末五代书法家杨凝式创作的墨迹本行书作品，有“天下第五行书”之称，现存3个藏本，分别藏于无锡博物院和台北故宫博物院，罗振玉藏本不知去向。\n《韭花帖》是杨凝式醒后饥饿无比，得韭花珍馐而食，心中惬意故灵感大发写下。字体点画生动，结构端稳，风神简静，全帖表现出入规入矩的端庄与温雅，结体妍丽，并以精严的技巧表达出含蓄内在的文人之气。用笔一丝不苟，却不显得古板呆滞，巧妙地将内擫和外拓的笔法融为一体",[23,38,7,58,352,25,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187304b1c9b023f2dbfc8a55ebeee4c0.jpg","墨迹本","高26厘米，宽28厘米",[62],{"id":2682,"slug":2683,"title":2684,"dynasty":145,"author":717,"museum":1685,"description":2685,"tags":2686,"thumbUrl":2687,"material":2688,"size":2689,"collection":42,"collections":2690,"showCount":2658,"zanCount":11,"manualWeight":11,"mainColor":46},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[23,24,56,25,1244,28,7,38,76,377,1172,402,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[42,155],{"id":2692,"slug":2693,"title":2694,"dynasty":91,"author":440,"museum":53,"description":2695,"tags":2696,"thumbUrl":2697,"material":407,"size":2698,"collection":168,"collections":2699,"showCount":2658,"zanCount":334,"manualWeight":11,"mainColor":66},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[23,24,25,57,27,37,7,58,81,177,112,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[168,975],{"id":2701,"slug":2702,"title":2703,"dynasty":145,"author":2704,"museum":73,"description":2705,"tags":2706,"thumbUrl":2707,"material":920,"size":921,"collection":61,"collections":2708,"showCount":2709,"zanCount":11,"manualWeight":11,"mainColor":46},228959,"mu-dan-tu-ce-jiang-ting-xi-228959","牡丹图册","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[23,25,77,28,210,115,7,38,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb801dbc41af410daf446972498e3c49f.jpg",[],104,{"id":2711,"slug":2712,"title":2713,"dynasty":71,"author":2714,"museum":106,"description":2715,"tags":2716,"thumbUrl":2717,"material":196,"size":2718,"collection":463,"collections":2719,"showCount":2709,"zanCount":534,"manualWeight":11,"mainColor":46},221026,"bo-yuan-tie-wang-xun-221026","伯远帖","王珣","《伯远帖》是晋王珣(350—401年)写的一封信。原文：“珣頓首頓首，伯遠勝業情期群從之寶。自以羸患, 志在優遊。始獲此出意不剋申。分別如昨永爲疇古。遠隔嶺嶠，不相瞻臨。”\n卷前引首有乾隆御书：“江左風華”四大字，上有“乾隆御笔”一玺。并御题：“唐人真迹已不可多得，況晉人耶！內府所藏右軍快雪帖、大令中秋帖，皆希世之珍。今又得王珣此幅，繭紙家风，信堪並美！幾余清赏，亦臨池一助也。御識。”钤“乾隆宸翰”、“涵虛朗鑒”二玺。\n前隔水御书：“家學世範，草聖有傳。宣和書譜”12字。下有：“乾隆宸翰”、“幾暇臨池”、“耽書是宿缘”三玺。\n又御识：“乾隆丙寅春月，獲王珣此帖，遂與快雪中秋二迹並藏養心殿溫室中，顔曰三希堂，御筆。又識”，钤“乾”、“隆”二玺。\n后隔水上有明董其昌跋，后有乾隆御笔绘枯枝文石，并识：“王珣帖與其昌跋皆可寶玩，即裝池側理亦光潤堪愛，漫制枯枝文石以配之。乾隆丙寅春正，長春書屋御識”，钤“几暇怡情”一玺。后有“墨云”一玺。\n卷尾敕董邦达绘图，邦达有记，又有沈德潜书“三希堂歌”。\n卷后有董其昌、王肯堂题记。\n此帖与陆机《平复帖》为现今仅存的两件晋代名人法书。\n王羲之作为“书圣”，垂范百代。但他的书作只以临本、摹本和刻本的形式流传，没有一件真迹传世。王氏家族世代擅书，名家辈出，然其作品命运亦大抵相同。唯羲之族侄王珣有此短笺留在人间，实在是不幸中的大幸。我们可以从中窥见“二王”行草书使转用笔的精微之处，这是刻帖和双勾填墨摹本所无法传达的。\n王珣本人有书名，此帖风神俊朗，潇洒流利，在王氏家族书风的基础上自具面目，在中国书法史上具有崇高的地位。\n王珣《伯远帖》自乾隆十一年（1746年）进入内府，经乾隆品题，与王羲之《快雪时晴帖》、王献之《中秋帖》并藏在养心殿西暖阁内的尽间，乾隆御书匾额“三希堂”。 乾隆十二年又精选内府所藏魏晋唐宋元明书家134家真迹，包括三希在内，摹勒上石，命名《三希堂法帖》。在西苑的北海建“阅古楼”，把上述刻石嵌在楼内墙上，拓本流传以示临池之模范。三希原件仍藏在养心殿三希堂。\n1911年以后至1924年溥仪出宫以前，《伯远帖》、《中秋帖》曾藏在敬懿皇贵妃所居的寿康宫，溥仪出宫之时，敬懿皇贵妃将此帖带出宫，后流散在外。1951 年周恩来总理指示将《伯远帖》、《中秋帖》从香港购回，交故宫博物院收藏。\n《宣和书谱》、《画禅室随笔》、《书画记》、《平生壮观》、《墨缘汇观》、《式古堂书画汇考》、《佩文斋书画谱》、《石渠宝笈·初编》、《古书画过眼要录》等书著录。",[23,56,24,25,26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246f88fa2111a0004e79f669a9b961c0.jpg","纵25.1cm，横17.2cm",[463],{"id":2721,"slug":2722,"title":2723,"dynasty":71,"author":2724,"museum":106,"description":2725,"tags":2726,"thumbUrl":2727,"material":2728,"size":2729,"collection":62,"collections":2730,"showCount":2709,"zanCount":534,"manualWeight":11,"mainColor":638},221020,"dong-shan-song-tie-wang-xian-zhi-221020","东山松帖","王献之","《东山松帖》又名《新埭帖》、《东山帖》。《东山松帖》是王献之所书写的一通信札，下笔婆娑，百态横生，萧散秀逸。",[25,24,7,38,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2e1dad8d0f5a784fa42000b553eb90.jpg","纸本墨迹","纵22.8厘米，横22.3厘米",[62],{"id":2732,"slug":2733,"title":2734,"dynasty":18,"author":881,"museum":106,"description":2735,"tags":2736,"thumbUrl":2737,"material":165,"size":2738,"collection":42,"collections":2739,"showCount":2709,"zanCount":511,"manualWeight":11,"mainColor":46},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[23,24,25,27,37,7,58,57,29,34,30,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[42,168],{"id":2741,"slug":2742,"title":2743,"dynasty":51,"author":349,"museum":20,"description":2744,"tags":2745,"thumbUrl":2746,"material":123,"size":355,"collection":61,"collections":2747,"showCount":2709,"zanCount":11,"manualWeight":11,"mainColor":46},214281,"duo-jing-lou-shi-tie-3-mi-fei-214281","多景楼诗帖-3","笔锋八面翻飞，墨色浓淡相济。字形欹正相生，开张处如江潮拍岸，收敛时若峰峦凝翠。“下”字沉雄如坠石，“江”字流转似惊鸿掠水，“山”字稳峙若孤峰傲立，“樓”字牵丝映带如流云绕檐。每一笔都带着奔涌的豪情，仿佛凭栏多景楼头，望断千里江山，墨色里尽是吞吐天地的气魄。字间顾盼有情，行中气脉相连，既见“刷字”的快意洒脱，更藏深蕴的笔墨法度。跌宕起伏的笔势如长江万里，苍劲中透着灵动，厚重里含着清逸，一笔一画都在诉说着宋人的潇洒风骨与壮怀激烈。",[25,38,7,352,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0965b90af51c1a528377ebb300317951.jpg",[],{"id":2749,"slug":2750,"title":2421,"dynasty":18,"author":251,"museum":53,"description":2751,"tags":2752,"thumbUrl":2753,"material":123,"size":2754,"collection":62,"collections":2755,"showCount":2709,"zanCount":11,"manualWeight":11,"mainColor":46},214255,"qi-yan-lv-shi-wen-zheng-ming-214255","文徵明的书法主要以王羲之和王献之为基础，而大字则以黄庭坚为典范。目前的数字是3.43厘米长，人物是25厘米高。它是文征明罕见的大型书法作品之一。笔法潇洒，变化多端，朴实无华，反映了他书法的深度。",[23,38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5c12fd1f21871075eee4013641478b.jpg","343.8x99.5",[62],{"id":2757,"slug":2758,"title":2759,"dynasty":51,"author":2760,"museum":2761,"description":2762,"tags":2763,"thumbUrl":2764,"material":96,"size":2765,"collection":226,"collections":2766,"showCount":2767,"zanCount":511,"manualWeight":11,"mainColor":46},218561,"chi-bi-tu-yang-shi-xian-218561","赤壁图","杨士贤","波士顿美术馆","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[23,24,25,26,27,28,37,29,32,402,404,1951,34,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[226,42],103,{"id":2769,"slug":2770,"title":2771,"dynasty":702,"author":947,"museum":106,"description":2772,"tags":2773,"thumbUrl":2775,"material":40,"size":2776,"collection":125,"collections":2777,"showCount":2767,"zanCount":534,"manualWeight":11,"mainColor":46},216936,"zhu-qin-tu-ping-qi-bai-shi-216936","竹禽图屏","篆笔古拙沉厚，墨痕间似淌商周遗韵，线条凝练如铸金石。下方禽鸟羽色简淡却神完气足，喙微张欲鸣，爪踏竹篮边缘，憨态可掬。竹篮以寥寥数笔勾廓，经纬交错处见质朴野趣。旁题书法笔势洒脱，墨色浓淡相宜，与禽鸟的鲜活、竹篮的拙朴相映成趣。整幅书画相融，于简淡中藏盎然生机，质朴里蕴文人雅逸，将日常小景化为耐人寻味的意趣，尽显笔墨与生活的交融之妙。",[23,24,27,28,223,7,58,109,962,2774,38],"竹编器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0b158a23761978220ebb961394c51.jpg","36.5x33.2cm",[125],{"id":2779,"slug":2780,"title":2781,"dynasty":18,"author":479,"museum":73,"description":2782,"tags":2783,"thumbUrl":2784,"material":920,"size":921,"collection":61,"collections":2785,"showCount":2786,"zanCount":511,"manualWeight":11,"mainColor":46},288079,"shi-liu-zhi-tu-zhou-tang-yin-288079","石榴枝图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,24,57,210,28,211,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f63c78923d96b6e2af743b41cfd6d6.jpg",[],102,{"id":2788,"slug":2789,"title":2790,"dynasty":145,"author":339,"museum":106,"description":2791,"tags":2792,"thumbUrl":2793,"material":542,"size":2794,"collection":61,"collections":2795,"showCount":2786,"zanCount":11,"manualWeight":11,"mainColor":46},233963,"mei-zhu-tu-zhou-zheng-ban-qiao-233963","梅竹图轴","竹是郑燮最擅长表现的题材，他能出神入化地准确捕捉住竹枝、竹叶在风中摇曳的动态和神韵，并形象生动地表现出来。同时竹之高洁素雅、坚韧不屈的物性亦最能体现郑燮刚直不阿的人品。郑燮画梅的作品仅此一幅，但因他具有深厚的艺术功底，故在梅的表现上亦能挥洒自如，花瓣为中锋运笔，其形状虽方圆不一，但自然的行笔，流畅的圈线，勾勒出了花儿旺盛的生命力。梅与用润墨表现的青竹在相互映衬中体现了它们不同的美。",[24,27,57,109,38,7,58,111,112,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8813cf214f626348dc52b8170329ca3b.jpg","纵127.8厘米，横31.3厘米",[],{"id":2797,"slug":2798,"title":2799,"dynasty":145,"author":2800,"museum":73,"description":2801,"tags":2802,"thumbUrl":2803,"material":61,"size":61,"collection":61,"collections":2804,"showCount":2786,"zanCount":534,"manualWeight":11,"mainColor":46},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","禹之鼎","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[23,56,24,25,26,28,77,29,79,30,31,33,117,7,58,34,1545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],{"id":2806,"slug":2807,"title":2808,"dynasty":51,"author":362,"museum":73,"description":2809,"tags":2810,"thumbUrl":2811,"material":61,"size":61,"collection":61,"collections":2812,"showCount":2786,"zanCount":11,"manualWeight":11,"mainColor":638},227497,"ren-lai-de-shu-tie-su-shi-227497","人来得书帖","《人来得书帖》是在季常之兄伯诚死后苏轼写给季常的慰问信，故有‘伏惟深照死生聚散之常理。悟忧哀之无益，释然自勉’之句。帖上钤有“吴土谔”、“御府宝绘、“仪周赏”等。帖后有董其昌跋:“东坡真迹，余所见无虑数十卷，皆宋人双勾廓填。坡书本浓，既经填墨，盖不免墨猪之论，唯此二帖(新岁、人来)则杜老所谓须臾九重真龙出，一洗万古凡马空也。”\n此帖曾经明项元汴，清安岐等递藏，后入清内府。安岐将此帖与《新岁展庆帖》合成一帖，并称坡公杰作。《人来得书帖》凝重，笔法流畅，为书牍杰作。",[25,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd3a1a36cd114e147a74358e047d6eb.jpg",[],{"id":2814,"slug":2815,"title":2816,"dynasty":2817,"author":2818,"museum":73,"description":2819,"tags":2820,"thumbUrl":2821,"material":920,"size":921,"collection":61,"collections":2822,"showCount":2823,"zanCount":534,"manualWeight":11,"mainColor":66},231039,"tai-hang-shan-ji-wei-dan-231039","太行山记","汉","韦诞","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：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[56,24,25,38,26,7,27,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bfe89ff080cb08ac0a64e22cd3a4985.jpg",[],101,{"id":2825,"slug":2826,"title":2827,"dynasty":51,"author":2534,"museum":53,"description":2828,"tags":2829,"thumbUrl":2830,"material":2831,"size":2832,"collection":62,"collections":2833,"showCount":2823,"zanCount":534,"manualWeight":11,"mainColor":46},221192,"shang-wen-tai-hong-zun-juan-chi-du-lu-you-221192","上问台闳尊眷尺牍","释文：游皇恐百拜。上问台闳尊眷。恭惟均纳殊祉。知监学士。幸数承教。此尝纳职状以见区区。而知监諭以职状。已溢员。势须小缓。别换文字。伏乞台照。游蒙宠寄天花果药等。仰戴恩念。何有穷已。新茶三十胯。子鱼五十尾。驰献尘渎。死罪死罪。建安有委。以命為宠。游皇恐百拜上覆。",[51,38,7,2052,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a5725a7dfe9d2e0c4ef1c664f822f5.jpg","纸本行书","29.3×31.6cm",[62],{"id":2835,"slug":2836,"title":2837,"dynasty":51,"author":52,"museum":53,"description":2838,"tags":2839,"thumbUrl":2847,"material":196,"size":2848,"collection":62,"collections":2849,"showCount":2823,"zanCount":534,"manualWeight":11,"mainColor":46},220007,"tian-min-zhi-ming-tie-huang-ting-jian-220007","天民知命帖","释文：天民、知命、大主簿：霜寒，想八嫂安裕、九嬭、四嬭、大新婦、普姐、師哥、四娘、五娘、六郎、四十、明兒、九娘、十娘、張九（咩兒）、韓十、小韓、曾兒、湖兒、井兒，各安樂。過江來，甚思汝等，寂寞且耐煩，不須憂路上，路上甚安穩。但所經州郡多故舊，須爲酒食留連爾。家中上下，凡事切且和順。三人輪管家事，勿廢規矩。三學生不要令推病在家，依時節送飯及取歸。書院常整齪、文字勿借出也。知命且掉下潑藥草，讀書看經，求清靜之樂爲上，大主簿讀《漢書》必有功矣。十月十四日，立報。諸嬭子以下，各小心照管孩兒們，莫作炒，切切。",[23,38,7,2840,2841,2842,2843,1702,58,2844,2845,2846],"中锋用笔","提按顿挫","线条劲挺","结体欹侧","宋式书法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，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,56,25,26,27,37,7,38,58,29,35,34,192,2932,32,179,178,239],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[42],{"id":2937,"slug":2938,"title":2939,"dynasty":71,"author":760,"museum":106,"description":2460,"tags":2940,"thumbUrl":2941,"material":123,"size":2463,"collection":61,"collections":2942,"showCount":2897,"zanCount":11,"manualWeight":11,"mainColor":46},214580,"yu-hou-tie-3-wang-xi-zhi-214580","雨后帖-3",[25,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b2195af58b31babe6a6950b6c1ecdd.jpg",[],{"id":2944,"slug":2945,"title":2946,"dynasty":454,"author":643,"museum":73,"description":2947,"tags":2948,"thumbUrl":2949,"material":920,"size":921,"collection":61,"collections":2950,"showCount":2951,"zanCount":534,"manualWeight":11,"mainColor":66},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》。",[7,38,26,680,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1db0d22aedae6c817acab49b41c36.jpg",[],97,{"id":2953,"slug":2954,"title":2955,"dynasty":51,"author":52,"museum":53,"description":2956,"tags":2957,"thumbUrl":2958,"material":407,"size":2959,"collection":62,"collections":2960,"showCount":2951,"zanCount":534,"manualWeight":11,"mainColor":46},221269,"han-shan-zi-pang-ju-shi-shi-tie-quan-juan-huang-ting-jian-221269","寒山子庞居士诗帖全卷","黄庭坚《寒山子、庞居士诗卷》，它是北宋书法家黄庭坚的一幅行书代表作，内容是唐代隐士寒山子《劝戒诗》与居士庞蕴的诗偈，现藏于台北故宫博物院。这一诗卷是黄庭坚晚年的杰作，有着鲜明的黄庭坚行书的风格特征，尤其在字的结体上，吸收了《瘗鹤铭》和颜真卿楷书的结字方法，加以夸张和变化，创造出一种俊挺豪迈的新面目。\n这幅作品中字都有这样的特点，一波数折；中宫收敛的地方，笔画排列紧密，显得雄强茂美，而有些笔画，如帖中“水、人、本”等字的撇捺，“黄、箭、世、苹、业”等字的横笔，都是尽情地纵向伸展，横向逸出，显得痛快淋漓，具有豪爽飘逸之气。字形结构上突破了方正规矩的外形，在冲破均衡的同时，又能使字保持住重心，笔画的伸展并不是完全没有方向，疏密处理得很巧妙，笔画之间也是左顾右盼、互相呼应，有放也有收。这幅字的结构上还有“攲侧”的特点，不但横画倾斜，竖画也蛇曲不正，然而这些歪斜的字笔画遒劲，结体开张，很有气派。",[23,38,7,26,352,58,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca27a7894bdb3fa8554156431e57f83.jpg","纵29.1，横213.8厘米",[62],{"id":2962,"slug":2963,"title":2964,"dynasty":91,"author":440,"museum":53,"description":2965,"tags":2966,"thumbUrl":2968,"material":60,"size":2969,"collection":62,"collections":2970,"showCount":2951,"zanCount":534,"manualWeight":11,"mainColor":46},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[56,24,25,38,57,7,27,29,117,81,2967,31],"孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[62],{"id":2972,"slug":2973,"title":2974,"dynasty":2673,"author":2975,"museum":73,"description":2976,"tags":2977,"thumbUrl":2982,"material":920,"size":921,"collection":61,"collections":2983,"showCount":2984,"zanCount":334,"manualWeight":11,"mainColor":46},289987,"gong-zhong-tu-zhou-wen-ju-289987","宫中图","周文矩","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,56,24,26,78,79,80,2978,2979,2980,2322,2981,7,38],"宫女","孩童","犬","宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd82c5d2ffc57e3999164c6f4a0c240dd.jpg",[],96,{"id":2986,"slug":2987,"title":857,"dynasty":145,"author":2988,"museum":73,"description":2989,"tags":2990,"thumbUrl":2991,"material":920,"size":921,"collection":125,"collections":2992,"showCount":2984,"zanCount":11,"manualWeight":11,"mainColor":46},235595,"hua-hui-ce-wang-wu-235595","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[56,24,25,209,28,77,210,177,119,1678,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[125,155],{"id":2994,"slug":2995,"title":2996,"dynasty":145,"author":324,"museum":106,"description":2997,"tags":2998,"thumbUrl":2999,"material":542,"size":3000,"collection":61,"collections":3001,"showCount":2984,"zanCount":534,"manualWeight":11,"mainColor":46},233405,"mo-he-tu-zhou-shi-tao-233405","墨荷图轴","图绘欣欣向荣的荷塘景色。构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。钤白文印二方：“靖江后人”、“大涤堂”。",[24,25,57,27,7,114,709,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fe017aa56845f71e72ee664ba076f8.jpg","纵90.2厘米，横50.4厘米",[],{"id":3003,"slug":3004,"title":3005,"dynasty":91,"author":893,"museum":106,"description":3006,"tags":3007,"thumbUrl":3009,"material":542,"size":3010,"collection":168,"collections":3011,"showCount":2984,"zanCount":11,"manualWeight":11,"mainColor":66},220798,"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","《梧竹秀石图》绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。\n图中画梧桐一株，疏竹数竿，湖石平坡，间以涓涓细流。与以往画家惯用干淡松秀笔墨表现不同的是，全画用大胆的墨笔写成，颇具苍润淋漓之妙。梧叶用阔笔、湿墨侧抹而出，莽苍超忽，而清阴如覆；树干、秀石的表现亦以侧笔写成，湖石用浓墨皴出，其浑厚有北苑之意。这幅画为倪瓒画风成熟期少见的变体之作。画家通过对墨色浓淡、干湿的运用，使画面极富层次感。梧桐、竹石的表现与宋院体画讲究写真、追求形似相比已颇有变化，更突出了笔墨对自我性灵的抒发。正合《艺苑卮言》中云：“山水以气韵为主，形模寓乎其中。”草草点染而又不改物形的矛盾，倪瓒在此图中将其处理得恰到好处。",[23,56,24,27,57,112,3008,177,7,58,109],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[168,975],{"id":3013,"slug":3014,"title":3015,"dynasty":18,"author":251,"museum":53,"description":3016,"tags":3017,"thumbUrl":3019,"material":123,"size":3020,"collection":62,"collections":3021,"showCount":2984,"zanCount":11,"manualWeight":11,"mainColor":46},214313,"ci-chang-shou-cai-lv-shi-wen-zheng-ming-214313","赐长寿彩缕诗","释文：紫宸朝下锡灵丝。金水桥边拜命时。文绣自天腾五色。光华约臂结双螭。重惭潦倒随恩泽。还忝班行覩盛仪。愿得君王千万寿。日华常照衮衣垂。赐长寿彩缕。征明。",[23,3018,38,7,57],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F353897f0799e885400bd52daa4fd9296.jpg","347.1x97.8",[62],{"id":3023,"slug":3024,"title":3025,"dynasty":18,"author":3026,"museum":73,"description":3027,"tags":3028,"thumbUrl":3029,"material":61,"size":61,"collection":61,"collections":3030,"showCount":3031,"zanCount":534,"manualWeight":11,"mainColor":46},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,56,24,25,26,27,7,38,112,120,121,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],95,{"id":3033,"slug":3034,"title":3035,"dynasty":18,"author":1169,"museum":73,"description":3036,"tags":3037,"thumbUrl":3038,"material":61,"size":61,"collection":61,"collections":3039,"showCount":3031,"zanCount":534,"manualWeight":11,"mainColor":46},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[23,24,25,26,28,27,109,210,115,177,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":3041,"slug":3042,"title":3043,"dynasty":18,"author":479,"museum":106,"description":3044,"tags":3045,"thumbUrl":3046,"material":3047,"size":3048,"collection":42,"collections":3049,"showCount":3031,"zanCount":511,"manualWeight":11,"mainColor":46},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[23,24,25,57,27,37,7,111,35,79,774,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纸本，淡设色","纵108.6厘米，横34.5厘米。",[42,168],{"id":3051,"slug":3052,"title":3053,"dynasty":18,"author":105,"museum":527,"description":729,"tags":3054,"thumbUrl":3055,"material":123,"size":732,"collection":61,"collections":3056,"showCount":3031,"zanCount":11,"manualWeight":11,"mainColor":46},220101,"shi-er-mo-hua-tu-juan-4-xu-wei-220101","十二墨花图卷-4",[23,24,25,26,27,210,109,58,38,7,115,116,120,1068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a8eb2b6b2546b1fba3bbf5502311f.jpg",[],{"id":3058,"slug":3059,"title":3060,"dynasty":51,"author":52,"museum":53,"description":3061,"tags":3062,"thumbUrl":3063,"material":196,"size":3064,"collection":62,"collections":3065,"showCount":3031,"zanCount":534,"manualWeight":11,"mainColor":46},220008,"xue-han-tie-huang-ting-jian-220008","雪寒帖","无书写时间，从笔法、结体、风格等方面综合比较，与《动静帖》、《致明叔同年尺牍》非常接近，大致书于绍圣年间。",[23,25,38,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dca2ef8f7c05f24e2fda6ad5dda141.jpg","纵28.8厘米、横17.5厘米",[62],{"id":3067,"slug":3068,"title":3069,"dynasty":145,"author":1835,"museum":73,"description":3070,"tags":3071,"thumbUrl":3073,"material":61,"size":61,"collection":42,"collections":3074,"showCount":3075,"zanCount":11,"manualWeight":11,"mainColor":46},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[24,25,27,37,209,7,58,29,177,3072,192,376,884,34],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[42,168],94,{"id":3077,"slug":3078,"title":3079,"dynasty":51,"author":3080,"museum":73,"description":3081,"tags":3082,"thumbUrl":3084,"material":61,"size":61,"collection":61,"collections":3085,"showCount":3075,"zanCount":534,"manualWeight":11,"mainColor":46},227753,"ju-cong-fei-die-tu-ye-zhu-shao-zong-227753","菊丛飞蝶图页","朱绍宗","《菊丛飞蝶图》页，宋，朱绍宗绘，纨扇页，绢本，设色，纵23.7厘米，横24.4厘米。\n本幅款识：“朱”。钤鉴藏印2方，印文模糊，唯可辨一“璘”字。裱边题签：“朱绍宗菊丛飞蝶”。\n图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。\n对幅有清乾隆御题诗：“趋炎殊众卉，放英独于秋。舞去风全香，承来露半流。绘者具神解，渊明晤庄周。”钤“八征耄念之宝”朱文印、“自强不息”白文印。\n存《四朝选藻》册中。《石渠宝笈续编》著录。",[23,24,25,1244,77,28,210,3083,417,119,7,58,1697,56],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee499b5bb1bb99a6d174c1ae3c18abf.jpg",[],{"id":3087,"slug":3088,"title":3089,"dynasty":51,"author":52,"museum":3090,"description":3091,"tags":3092,"thumbUrl":3093,"material":196,"size":3094,"collection":62,"collections":3095,"showCount":3075,"zanCount":534,"manualWeight":11,"mainColor":66},221263,"liu-ming-zhong-mo-zhu-fu-huang-ting-jian-221263","刘明仲墨竹赋","湖北襄阳图书馆","黄庭坚在书学上追求一种自然之美，忘我的境界，无法之法。他自称“老夫之书本无法也。但观世间万缘，如蚊蚋聚散，未尝一事横于胸中。遇纸则书，纸尽则已，亦不计较工拙与人之品藻讥弹，譬如木人舞中节拍，人叹其工，舞罢则又萧然矣。”他认为“心不知手，手不知心”是书法创作的最高境界。\n黄庭坚《刘明仲墨竹赋》元佑三年作于京师开封府，此帖拓本来源于清朝黄湄《黄文节公法书石刻》，作品横32厘米，纵30.5厘米，共25页",[23,56,24,25,26,7,38,27,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3d7079ee1b5e8a0bf2ec9b0a24e24a.jpg","横32厘米，纵30.5厘米",[62],{"id":3097,"slug":3098,"title":3099,"dynasty":18,"author":881,"museum":106,"description":3100,"tags":3101,"thumbUrl":3103,"material":722,"size":3104,"collection":42,"collections":3105,"showCount":3075,"zanCount":11,"manualWeight":11,"mainColor":46},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[23,24,25,209,27,28,29,35,34,33,292,237,3102,179,7,58,37,76],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg","纵26.3厘米，横25.5厘米",[42,155],{"id":3107,"slug":3108,"title":3109,"dynasty":91,"author":2262,"museum":1685,"description":311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zhao-meng-fu-220825","万寿曲卷","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。\n译文:闾阖初开。正苍苍曙色，天上春回。绛帻鸡人时报，禁漏频催。九奏钧天帝乐，御香惹，千官环珮。鸣鞘静，嵩岳三呼万岁，声震如雷。殊方异域尽来。满彤廷贡珍，皇化无外。日绕龙颜，云近绛阙蓬莱。四海欢欣鼓舞，圣德过，唐虞三代。年年宴，王母瑶池，紫霞长进琼杯。\n春满皇州。见祥烟拥日，初照龙楼。宫花苑柳，映仙仗云移，金鼎香浮。宝光生玉斧，听鸣凤，箫韶乐奏。德与和气游。天生圣人，千载希有。祥瑞电绕虹流。有云成五色，芝生三秀。四海泰平，致民物雍熙，朝野歌讴。千官齐拜舞，玉杯进，长生酒春（二字倒写）。愿皇庆万年，天子与天同寿。\n天上春风（此字点去）来。正阳和布泽，斗柄初回。一朵祥云捧日，万象生辉。帝德光昭四表，玉帛尽，梯航来会。彤廷敞，花覆千官，紫霄鹓鹭裵佪。仁风徧满九垓。望霓旌缓引，宝扇徐开。喜动龙颜，和气蔼然交泰。九奏箫韶舜乐，兽尊举，麒麟香叆。从今数，亿万斯年，圣主福如天大。\n瑞日当天。对绛阙蓬莱，非雾非烟。翠光覆禁苑，正淑景和（此字点去）芳妍。彩仗和风细转，御香飘满黄金殿。喜万国会朝，千官拜舞，亿兆同欢。福祉如山如川。应玉渚流虹，璇枢飞电。八音奏舜韶，庆玉烛调元。岁岁龙舆凤辇，九重春醉蟠桃宴。天下太平，祝吾皇，寿与天地齐年。臣孟頫。",[23,56,24,25,26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37efe029da300c60a044e81cd8a85eee.jpg","27.5*144cm",[62],{"id":3177,"slug":3178,"title":468,"dynasty":145,"author":3179,"museum":373,"description":3180,"tags":3181,"thumbUrl":3182,"material":40,"size":3183,"collection":42,"collections":3184,"showCount":3148,"zanCount":534,"manualWeight":11,"mainColor":46},214692,"shan-shui-tu-cha-shi-biao-214692","查士标","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[23,24,29,27,37,7,1271,292,293,79,458,34,32,237,2275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[42],{"id":3186,"slug":3187,"title":3188,"dynasty":91,"author":1893,"museum":73,"description":3189,"tags":3190,"thumbUrl":3191,"material":920,"size":921,"collection":61,"collections":3192,"showCount":3193,"zanCount":534,"manualWeight":11,"mainColor":46},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,25,26,27,37,7,58,38,29,113,111,32,79,34,31,177,33,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],91,{"id":3195,"slug":3196,"title":3197,"dynasty":18,"author":105,"museum":106,"description":3198,"tags":3199,"thumbUrl":3200,"material":196,"size":3201,"collection":61,"collections":3202,"showCount":3193,"zanCount":534,"manualWeight":11,"mainColor":46},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[24,25,26,27,109,38,7,58,111,120,112,121,114,119,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],{"id":3204,"slug":3205,"title":3206,"dynasty":145,"author":324,"museum":73,"description":3207,"tags":3208,"thumbUrl":3211,"material":61,"size":61,"collection":61,"collections":3212,"showCount":3193,"zanCount":534,"manualWeight":11,"mainColor":46},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,25,26,28,29,37,7,58,38,117,32,82,150,30,31,33,34,35,179,3209,3210],"人家","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":3214,"slug":3215,"title":3216,"dynasty":454,"author":3217,"museum":106,"description":3218,"tags":3219,"thumbUrl":3220,"material":3221,"size":3222,"collection":62,"collections":3223,"showCount":3193,"zanCount":11,"manualWeight":11,"mainColor":1787},221086,"lan-ting-ba-zhu-tie-xun-ce-liu-gong-quan-221086","兰亭八柱帖 （巽）册","柳公权","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。",[23,38,680,7,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44df0257493edfb5c629ea00d305fe6d.jpg","初拓本","每开纵29.8厘米，横34.2厘米",[62,463],{"id":3225,"slug":3226,"title":3227,"dynasty":51,"author":3228,"museum":53,"description":3229,"tags":3230,"thumbUrl":3231,"material":96,"size":3232,"collection":42,"collections":3233,"showCount":3193,"zanCount":334,"manualWeight":11,"mainColor":66},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,25,57,28,37,7,38,29,150,34,35,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[42,226],{"id":3235,"slug":3236,"title":3237,"dynasty":145,"author":666,"museum":73,"description":3238,"tags":3239,"thumbUrl":3240,"material":61,"size":61,"collection":125,"collections":3241,"showCount":3242,"zanCount":534,"manualWeight":11,"mainColor":46},236709,"mo-he-zhou-wu-chang-shuo-236709","墨荷轴","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[24,25,57,27,109,114,418,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[125,62],90,{"id":3244,"slug":3245,"title":3246,"dynasty":145,"author":387,"museum":73,"description":3247,"tags":3248,"thumbUrl":3249,"material":61,"size":61,"collection":61,"collections":3250,"showCount":3242,"zanCount":11,"manualWeight":11,"mainColor":46},224332,"he-hua-tu-zhou-li-shan-224332","荷花图轴","这幅作品以书入画，诗墨相融。狂放苍劲的题笔沿边排布，与水墨荷塘相映成趣。荷叶以泼墨晕染，浓淡干湿间尽显酣畅野逸，墨色沉凝处如积雨重碧，浅淡处似晓露初歇。花瓣以淡墨轻勾，含露亭亭，在浓墨荷叶的衬托下愈显清柔雅致。\n笔线纵恣写意，荷梗挺拔舒展，卷叶、莲蓬错落点缀，虚实相生间晕开荷塘清寂又蓬勃的生机。整幅将物象风神与文人意趣交织，以大写意笔法把荷塘逸态与胸中意气相融，尽显疏朗狂逸的格调，是性情与笔墨共生的绝佳范本。",[23,24,25,57,27,109,7,58,418,709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":3252,"slug":3253,"title":3254,"dynasty":18,"author":3255,"museum":53,"description":3256,"tags":3257,"thumbUrl":3258,"material":123,"size":3259,"collection":62,"collections":3260,"showCount":3242,"zanCount":11,"manualWeight":11,"mainColor":46},214227,"shang-lin-dong-nuan-shi-zhu-zhan-ji-214227","上林冬暖诗","朱瞻基","上林冬暖是一首中国古代诗歌，作者是朱瞻基。这首诗描述了冬季的上林园林，表达了作者对自然美景的喜爱。\n\n上林冬暖是一首七言绝句，共有七句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了作者对冬季上林园林的深深的喜爱。\n\n上林冬暖诗的具体内容如下：\n上林冬暖，玉树乱花。\n池边莲叶，夜来香。\n山间小道，草色浅浅。\n山间鸟鸣，绿荫苍苍。\n\n这首诗通过描述上林冬季的美景来表达作者对自然的热爱。在这首诗中，朱瞻基描述了上林园林在冬季里的温暖和美丽，并表达了对自然的感悟和体会。",[23,18,25,38,7,28,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed13e6102b654ac4127e0fce5854a6b3.jpg","47.3x23.9",[62],{"id":3262,"slug":3263,"title":3264,"dynasty":18,"author":19,"museum":73,"description":3265,"tags":3266,"thumbUrl":3267,"material":920,"size":921,"collection":61,"collections":3268,"showCount":3269,"zanCount":534,"manualWeight":11,"mainColor":46},228828,"wo-you-tu-ce-shen-zhou-228828","卧游图册","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。",[23,24,25,209,27,28,29,210,112,328,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],89,{"id":3271,"slug":3272,"title":3273,"dynasty":91,"author":3274,"museum":53,"description":3275,"tags":3276,"thumbUrl":3277,"material":407,"size":3278,"collection":168,"collections":3279,"showCount":3269,"zanCount":534,"manualWeight":11,"mainColor":66},221762,"quan-shi-xin-huang-tu-gu-an-221762","拳石新篁图","顾安","《拳石新篁图》写新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。",[23,24,896,57,38,7,58,112,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1abfe83cffc1cff26cbc173920a8abd.jpg","纵76厘米，横40厘米",[168,975],{"id":3281,"slug":3282,"title":3283,"dynasty":91,"author":440,"museum":1685,"description":3284,"tags":3285,"thumbUrl":3286,"material":196,"size":3287,"collection":306,"collections":3288,"showCount":3269,"zanCount":534,"manualWeight":11,"mainColor":66},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[23,24,25,26,28,77,38,7,79,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 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创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[24,56,26,27,37,7,58,29,34,35,194,179,1363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],{"id":3316,"slug":3317,"title":3318,"dynasty":454,"author":643,"museum":1664,"description":3319,"tags":3320,"thumbUrl":3322,"material":3323,"size":3324,"collection":62,"collections":3325,"showCount":3305,"zanCount":534,"manualWeight":11,"mainColor":1787},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”。",[23,26,38,680,352,2031,7,1014,3321],"隶书","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 第三石的尺寸极可能长74厘米，宽43厘米",[62,463],{"id":3327,"slug":3328,"title":3329,"dynasty":18,"author":881,"museum":106,"description":3330,"tags":3331,"thumbUrl":3335,"material":3336,"size":3337,"collection":42,"collections":3338,"showCount":3305,"zanCount":534,"manualWeight":11,"mainColor":46},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[23,24,25,57,27,29,34,35,37,7,3332,237,3333,774,3334,178,38],"题跋","近坡","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米",[42,168],{"id":3340,"slug":3341,"title":3342,"dynasty":18,"author":251,"museum":106,"description":3343,"tags":3344,"thumbUrl":3345,"material":96,"size":3346,"collection":42,"collections":3347,"showCount":3305,"zanCount":534,"manualWeight":11,"mainColor":46},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[23,24,25,26,28,77,29,7,79,33,31,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[42],{"id":3349,"slug":3350,"title":3351,"dynasty":454,"author":3352,"museum":53,"description":3353,"tags":3354,"thumbUrl":3355,"material":123,"size":3356,"collection":168,"collections":3357,"showCount":3305,"zanCount":11,"manualWeight":11,"mainColor":46},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,25,26,27,37,38,7,58,29,1844,34,35,31,33,177,30,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[168],{"id":3359,"slug":3360,"title":3361,"dynasty":91,"author":3362,"museum":206,"description":3363,"tags":3364,"thumbUrl":3365,"material":40,"size":61,"collection":42,"collections":3366,"showCount":3305,"zanCount":334,"manualWeight":11,"mainColor":66},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[24,27,37,38,58,7,29,112,376,192,625,31,2452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[42],{"id":3368,"slug":3369,"title":3370,"dynasty":71,"author":760,"museum":73,"description":917,"tags":3371,"thumbUrl":3374,"material":920,"size":921,"collection":61,"collections":3375,"showCount":3376,"zanCount":534,"manualWeight":11,"mainColor":66},288119,"lan-ting-ji-shang-juan-wang-xi-zhi-288119","兰亭记上卷",[23,26,680,38,7,79,3372,403,241,31,3373,352],"雅集","亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fd561b9dece26b1983d27bca1e7e14.jpg",[],87,{"id":3378,"slug":3379,"title":3380,"dynasty":145,"author":324,"museum":106,"description":3381,"tags":3382,"thumbUrl":3385,"material":722,"size":3386,"collection":125,"collections":3387,"showCount":3376,"zanCount":11,"manualWeight":11,"mainColor":46},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[56,24,25,1244,3383,27,28,29,38,7,37,254,193,178,445,3384,79,35,36,239],"清代","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[125,42,155],{"id":3389,"slug":3390,"title":3391,"dynasty":51,"author":1554,"museum":106,"description":3392,"tags":3393,"thumbUrl":3397,"material":542,"size":3398,"collection":226,"collections":3399,"showCount":3376,"zanCount":534,"manualWeight":11,"mainColor":46},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,24,25,26,27,289,37,3394,7,58,495,376,34,237,3395,3396],"米点皴","近树","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[226,42,168],{"id":3401,"slug":3402,"title":3403,"dynasty":18,"author":3404,"museum":106,"description":3405,"tags":3406,"thumbUrl":3408,"material":96,"size":3409,"collection":125,"collections":3410,"showCount":3376,"zanCount":11,"manualWeight":11,"mainColor":66},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","竹鹤双清图","边文进","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[23,56,24,25,57,77,27,28,112,2207,3407,210,38,7,58],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[125],{"id":3412,"slug":3413,"title":3414,"dynasty":51,"author":526,"museum":2524,"description":3415,"tags":3416,"thumbUrl":3417,"material":96,"size":3418,"collection":61,"collections":3419,"showCount":3376,"zanCount":11,"manualWeight":11,"mainColor":46},218436,"luo-shen-fu-tu-li-gong-lin-218436","洛神赋图","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[23,24,25,26,78,28,79,80,29,31,34,177,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":3421,"slug":3422,"title":3423,"dynasty":18,"author":3424,"museum":53,"description":3425,"tags":3426,"thumbUrl":3427,"material":123,"size":3428,"collection":62,"collections":3429,"showCount":3376,"zanCount":534,"manualWeight":11,"mainColor":46},214215,"shi-tie-wang-chong-214215","诗帖","王宠","释文：江东逢著李龟年。肠断歌钟舞袖前。瑶水似闻黄竹奏。梨园新按紫霓篇。生憎玉色欺冰盌。不耐云光媚酒筵。掩泪青衫天畔客。举觞白眼饮中僊。右陆叔平席上作。修竹檀栾池水波。近人鱼鸟碧山阿。",[23,25,24,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe914d368bb33d1a218d6cee66ee71a67.jpg","84.1x29.6",[62],{"id":3431,"slug":3432,"title":3433,"dynasty":51,"author":362,"museum":73,"description":3434,"tags":3435,"thumbUrl":3436,"material":61,"size":61,"collection":61,"collections":3437,"showCount":3438,"zanCount":11,"manualWeight":11,"mainColor":46},227503,"xin-sui-zhan-qing-tie-su-shi-227503","新岁展庆帖","苏轼（1037～1101），字子瞻，号东坡居士，北宋眉山人。是著名的文学家，唐宋散文八大家之一。他学识渊博，多才多艺，在书法、绘画、诗词、散文各方面都有很高造诣。他的书法与蔡襄、黄庭坚、米芾合称“宋四家”；善画竹木怪石，其画论，书论也有卓见。是北宋继欧阳修之后的文坛领袖，散文与欧阳修齐名；诗歌与黄庭坚齐名；他的词气势磅礴，风格豪放，一改词的婉约，与南宋辛弃疾并称“苏辛”，共为豪放派词人",[38,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe686195f2c0ee74acca1a40165e0437a.jpg",[],86,{"id":3440,"slug":3441,"title":3442,"dynasty":91,"author":440,"museum":53,"description":3443,"tags":3444,"thumbUrl":3445,"material":196,"size":3446,"collection":62,"collections":3447,"showCount":3438,"zanCount":511,"manualWeight":11,"mainColor":46},220885,"xian-ju-fu-zhao-meng-fu-220885","闲居赋","学赵孟頫行书，《闲居赋》是一个不错的选择。《闲居赋》法度严谨，相对不可捉摸、更加自由的手札，它具有更清晰明了的书写规范，更适合初学；而相对一些偏正式的书写内容，它又多了几分随性，写来变化丰富，美妙多姿。\n书西晋著名文学家潘岳《闲居赋》一首，56行，凡627字，款署子昂。此作无年款，但从书法上考察，应是晚年所书，为赵孟頫上乘之作。卷末有清曹溶题跋。",[23,38,7,26,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed6c39e105804541eda350961a53ebf.jpg","纵38厘米，横248.3厘米",[62],{"id":3449,"slug":3450,"title":3451,"dynasty":18,"author":3452,"museum":53,"description":3453,"tags":3454,"thumbUrl":3455,"material":123,"size":3456,"collection":62,"collections":3457,"showCount":3438,"zanCount":11,"manualWeight":11,"mainColor":66},214207,"xing-shu-zhou-zhang-rui-tu-214207","行书轴","张瑞图","释文：借问欲栖珠树隺。何年却傍帝城飞。果亭瑞图。",[23,38,7,57,646,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7ddc20f101ed60c4ac5b9f77df0b3b.jpg","166.1x41.3",[62],{"id":3459,"slug":3460,"title":3461,"dynasty":145,"author":666,"museum":106,"description":3462,"tags":3463,"thumbUrl":3465,"material":196,"size":61,"collection":125,"collections":3466,"showCount":3467,"zanCount":534,"manualWeight":11,"mainColor":46},236981,"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,57,28,27,7,58,177,3464,800,37],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[125,168],85,{"id":3469,"slug":3470,"title":3471,"dynasty":145,"author":3472,"museum":106,"description":3473,"tags":3474,"thumbUrl":3475,"material":1262,"size":3476,"collection":306,"collections":3477,"showCount":3467,"zanCount":534,"manualWeight":11,"mainColor":66},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","冷枚","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,77,28,1594,7,58,79,150,1819,494,884,1271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[306],{"id":3479,"slug":3480,"title":2042,"dynasty":91,"author":440,"museum":106,"description":3481,"tags":3482,"thumbUrl":3483,"material":165,"size":3484,"collection":62,"collections":3485,"showCount":3467,"zanCount":534,"manualWeight":11,"mainColor":66},220880,"qian-zi-wen-zhao-meng-fu-220880","引首系明代徐霖篆书“松雪千文”四个大字，卷后有元从张雨、赵雍、赵奕、黄公望，明代莫云卿、张湘詹景凤、徐霖等众人跋文。\n赵孟頫酷爱以千字文为习字素材，他曾在一卷千字文中自题云：“僕二十年来，写千字文以百数”足见共学书之勤奋。本卷是其晚年书写的一件千字文，先是楷书，后渐舒展为行书。\n明代书家詹景凤评说：“此卷笔法高古、圓润峻秀，为承旨得意之作。”\n明代书家莫雲卿评说：“昔人谓方圓一万里，上下数百年，绝无承旨 书法 ，观此本信然。”",[23,25,38,7,2031,26,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e6e46623392abf17fdd5a46b402c2b.jpg","26.5X373.4CM",[62],{"id":3487,"slug":3488,"title":3489,"dynasty":51,"author":3490,"museum":3491,"description":3492,"tags":3493,"thumbUrl":3494,"material":123,"size":3495,"collection":125,"collections":3496,"showCount":3467,"zanCount":534,"manualWeight":11,"mainColor":46},218640,"qiu-lan-tu-quan-juan-zheng-si-xiao-218640","秋兰图全卷","郑思肖","耶鲁大学艺术博物馆","这幅画描绘了一棚无根的兰花，只有几片叶子，其中两片叶子细长而美丽，右边的兰花盛开，芳香四溢。",[23,24,25,26,27,109,120,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50b81ebe46546096d829c3ee4a31f63.jpg","23.2x55.6",[125],{"id":3498,"slug":3499,"title":1227,"dynasty":18,"author":3500,"museum":73,"description":3501,"tags":3502,"thumbUrl":3504,"material":920,"size":921,"collection":61,"collections":3505,"showCount":3506,"zanCount":534,"manualWeight":11,"mainColor":66},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,25,57,56,28,210,113,111,3503,58,38,7,266],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],84,{"id":3508,"slug":3509,"title":3510,"dynasty":91,"author":440,"museum":1732,"description":3511,"tags":3512,"thumbUrl":3513,"material":196,"size":3514,"collection":62,"collections":3515,"showCount":3506,"zanCount":534,"manualWeight":11,"mainColor":46},220884,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[23,56,24,25,26,530,7,38,1735,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[62],{"id":3517,"slug":3518,"title":3519,"dynasty":91,"author":189,"museum":527,"description":3520,"tags":3521,"thumbUrl":3522,"material":196,"size":3523,"collection":42,"collections":3524,"showCount":3506,"zanCount":11,"manualWeight":11,"mainColor":46},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,25,26,27,28,29,33,150,30,31,34,81,37,7,223,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[42],{"id":3526,"slug":3527,"title":927,"dynasty":18,"author":1169,"museum":53,"description":3528,"tags":3529,"thumbUrl":3530,"material":40,"size":3531,"collection":125,"collections":3532,"showCount":3506,"zanCount":11,"manualWeight":11,"mainColor":46},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[24,25,57,109,27,28,7,38,210,115,1576,1172,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[125],{"id":3534,"slug":3535,"title":3536,"dynasty":454,"author":643,"museum":106,"description":3537,"tags":3538,"thumbUrl":3539,"material":658,"size":3540,"collection":62,"collections":3541,"showCount":3542,"zanCount":534,"manualWeight":11,"mainColor":46},221061,"hu-zhou-tie-juan-yan-zhen-qing-221061","湖州帖卷","释文：\u2028　　江外唯湖州最卑下，今年诸州水并凑此州入太湖，田苗非常没溺。赖刘尚书□抚，以此人心差安，不然，仅不可安耳。真卿白。\n此帖为传颜真卿所书的一通信札，讲述湖州地区发生水灾，百姓得到安抚一事。根据书写的内容和史料推测，书写时间应在唐大历七年（772年）以后，即颜真卿任职湖州刺史期间。但经专家鉴定，此帖非颜氏所书，理由如下：其一，书写所用纸张为加粉砑光的竹料纸，而这种纸在宋代才出现。其二，在书写风格方面作者用笔圆转连绵，侧媚多姿，墨色华润，与颜真卿所书《祭侄文稿》的悲切、《争座位帖》的激昂意态迥别，亦缺少颜书中锋多“屋漏痕”意。因此可推断此帖为宋人之仿本。\n清安岐《墨缘汇观》、卞永誉《式古堂书画汇考》著录。",[23,681,38,7,26,58,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d04809f0522878b77120071e44c61c1.jpg","纵27.6厘米，横50.2厘米",[62,463],83,{"id":3544,"slug":3545,"title":3546,"dynasty":145,"author":1523,"museum":73,"description":3547,"tags":3548,"thumbUrl":3549,"material":196,"size":61,"collection":62,"collections":3550,"showCount":3542,"zanCount":11,"manualWeight":11,"mainColor":66},220449,"yu-bi-qi-yan-shi-qian-long-220449","御笔七言诗","乾隆皇帝酷爱书法，日理万机之余潜心临池，遍习诸家，钟情二王。乾隆书法赵孟俯，心慕手追，身体力行。在以赵体为根本的基础上，又参悟二王弋颜真卿、宋四家等人风格，融会贯通，逐渐形成了自己圆润道丽、温妍儒雅的书法风格。",[57,7,38,58,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267402bb05345ad1bcbb01b4b580667a.jpg",[62],{"id":3552,"slug":3553,"title":3554,"dynasty":18,"author":251,"museum":106,"description":3555,"tags":3556,"thumbUrl":3557,"material":196,"size":3558,"collection":62,"collections":3559,"showCount":3542,"zanCount":11,"manualWeight":11,"mainColor":638},219149,"xing-shu-xin-qiu-shi-wen-zheng-ming-219149","行书·新秋诗","此为文徵明所书自写诗，笔法自然浑成，表现了其晚年大字行书的典型风格。",[23,38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad802105bea6f6e536f366b6d79261a2.jpg","纵151.5厘米，横68.5厘米",[62],{"id":3561,"slug":3562,"title":3563,"dynasty":145,"author":666,"museum":73,"description":667,"tags":3564,"thumbUrl":3565,"material":920,"size":921,"collection":61,"collections":3566,"showCount":3567,"zanCount":11,"manualWeight":11,"mainColor":46},235448,"ju-shi-zhou-wu-chang-shuo-235448","菊石轴",[56,24,25,57,28,27,210,121,328,223,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f37afbc0963a70bb464cc5b3b11d679.jpg",[],82,{"id":3569,"slug":3570,"title":3571,"dynasty":51,"author":3572,"museum":106,"description":3573,"tags":3574,"thumbUrl":3575,"material":3576,"size":3577,"collection":62,"collections":3578,"showCount":3567,"zanCount":534,"manualWeight":11,"mainColor":46},221220,"xing-shu-zi-shu-shi-juan-lin-bu-221220","行书自书诗卷","林逋","此卷是林逋归隐西湖孤山时所作，共5首诗，除第2首是五言诗外，其余均为七言诗。\n据诗后林逋自识：“時皇上登寶位歲夏五月”，可知此作品写于仁宗天圣元年癸亥（1023年），林逋时年57岁，其书体瘦劲，秀逸，笔法厚重，风致绰约，与时人李建中风骨俊整的书风极为接近。诗后有苏轼书七言诗《书和靖林处士诗后》，无年款，据徐邦达先生考证可能是元祐四、五年间苏轼（时年约54岁）第二次到杭州作刺史时所书。此书藏锋敛锷，姿媚可爱，是罕见的苏轼传世佳作之一。这两段名人书法相映生辉，珠联璧合，实为难得的珍宝。\n后纸有乾隆皇帝用苏轼原韵五题御制诗题记二则（其中一则由董诰奉敕而书），又有明王世贞、王世懋，清王鸿绪三家题跋。\n本幅钤有“濟陽文府”，清王鸿绪、清内府等鉴藏印。\n宋内府《宣和书谱》，明汪砢玉《珊瑚网》、詹景凤《东图玄览》，清顾复《平生壮观》、吴其贞《书画记》、安岐《墨缘汇观·续编》、卞永誉《式古堂书画汇考》、高士奇《江村消夏录》、吴升《大观录》、阮元《石渠随笔》、内府《石渠宝笈·续编》等书有著录。",[23,25,26,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349bd3fcdb871f93ccb96a158d67a788.jpg","纸本，手卷","纵32厘米，横302.6厘米",[62],{"id":3580,"slug":3581,"title":3582,"dynasty":454,"author":1633,"museum":73,"description":3583,"tags":3584,"thumbUrl":3585,"material":152,"size":3586,"collection":42,"collections":3587,"showCount":3567,"zanCount":11,"manualWeight":11,"mainColor":66},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[23,24,25,26,27,29,34,150,7,58,37,1130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[42,155],{"id":3589,"slug":3590,"title":3591,"dynasty":71,"author":760,"museum":53,"description":3592,"tags":3593,"thumbUrl":3594,"material":3595,"size":3596,"collection":62,"collections":3597,"showCount":3567,"zanCount":11,"manualWeight":11,"mainColor":66},221034,"yuan-huan-tie-juan-wang-xi-zhi-221034","远宦帖卷","此帖首见于《法书要录》卷十右军书记。《宣和书谱》即称〈远宦帖〉。亦刻入〈淳化阁帖〉卷六；〈大观帖〉、〈鼎帖〉、〈宝贤堂帖〉、〈澄清堂帖〉（孙承泽本）均曾刻入。清道光间，叶志诜得王献之〈送梨帖〉，将此帖一同上石。后杨守敬又刻入其〈邻苏园法帖〉中。北宋曾入大观，宣和内府，有大观，宣和诸印玺，卷首徽宗赵佶瘦金书签，上钤双龙方印。专用于古法书者。后曾入金明昌内府，及北燕张氏，后归贾似道。明时曾为秀水项元汴所藏，入清由耿会侯，安岐所递藏，曾着录于《墨缘汇观》，订为唐人钩摹本。嗣入清内府，而未钤内府收藏印，故石渠亦无着录。今藏国立故宫博物院，曾先后辑入《故宫法书晋王羲之真迹册》、《故宫历代法书全集》第一册影印行世",[38,7,352,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925a98205f4f16ac274133ed299304e4.jpg","纸本墨拓","纵24.8厘米，横21.3厘米",[62,463],{"id":3599,"slug":3600,"title":3601,"dynasty":18,"aut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并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,56,24,25,26,7,27,28,37,29,32,79,35,34,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":3740,"slug":3741,"title":3742,"dynasty":51,"author":1970,"museum":53,"description":3743,"tags":3744,"thumbUrl":3745,"material":96,"size":3746,"collection":226,"collections":3747,"showCount":3721,"zanCount":11,"manualWeight":11,"mainColor":66},219965,"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[23,24,25,57,27,37,7,38,58,79,2322,29,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[226,42],{"id":3749,"slug":3750,"title":3751,"dynasty":51,"author":3752,"museum":106,"description":3753,"tags":3754,"thumbUrl":3755,"material":196,"size":3756,"collection":62,"collections":3757,"showCount":3758,"zanCount":534,"manualWeight":11,"mainColor":46},221230,"er-zha-tie-fan-zhong-yan-221230","二札帖","范仲淹","二札即边事、远行二帖，为两通书札。\n边事帖又称乡曲帖，释文：\n“仲淹再拜，知府刑部仁兄：伏惟起居萬福。施鄉曲之惠，占江山之勝，優哉樂乎。此間邊事，夙夜勞苦。仗朝廷威靈，即目寧息，亦漸有倫序。鄉中交親俱荷大庇，幸甚。師道之奇，尤近教育，乞自重，自重。不宣。仲淹拜上，知府刑部仁兄左右。三月十日。”\n信中“知府刑部”即富严，曾官刑部郎中，此时正在苏州知府任上。范仲淹本苏州人，因此对富严给予自己家乡亲人的关照深表谢忱。而仲淹这时则远离故乡，以陕西招讨使的身份，率部戍边，抗击西夏。故信中说：“此间边事，夙夜劳苦。”\n远行帖也称修答帖，释文：\n“仲淹再拜，運使學士四兄：兩次捧教，不早修答，牽仍故也。吳親郎中經過有失款待，乞多謝。吾兄遠行，瞻戀增極，萬萬善愛，以慰貧交。蘇醖五瓶，道中下藥。金山鹽豉五器，別無好物，希不責。不宣。仲淹再拜，象山學士四哥座前。八月五日。”\n此两帖书法瘦硬方正，清劲中有法度。人常将此书风喻其人品，称“公书庄严清澈，信如其品”。",[23,25,38,7,353,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bab8f2a827f449ac6e055019802d9e.jpg","纵31.1厘米，横39厘米",[62],79,{"id":3760,"slug":3761,"title":3762,"dynasty":454,"author":1200,"museum":106,"description":1201,"tags":3763,"thumbUrl":3764,"material":196,"size":3765,"collection":62,"collections":3766,"showCount":3758,"zanCount":11,"manualWeight":11,"mainColor":46},221090,"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷",[23,56,24,25,26,76,7,58,38,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[62,463],{"id":3768,"slug":3769,"title":3770,"dynasty":18,"author":3771,"museum":1685,"description":3772,"tags":3773,"thumbUrl":3774,"material":152,"size":3775,"collection":42,"collections":3776,"showCount":3777,"zanCount":534,"manualWeight":11,"mainColor":66},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,24,25,26,77,28,29,79,377,897,3407,31,33,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[42,155],78,{"id":3779,"slug":3780,"title":3781,"dynasty":702,"author":3782,"museum":3783,"description":3784,"tags":3785,"thumbUrl":3786,"material":61,"size":61,"collection":61,"collections":3787,"showCount":3777,"zanCount":11,"manualWeight":11,"mainColor":46},220519,"zhang-cai-qin-xiang-xu-bei-hong-220519","张采芹像","徐悲鸿","中央美术学院美术馆","此作以淡墨白描写就，洗练雅致。画家精准捕捉主人公温文儒雅的神态，一袭长衫垂坠自然，背手而立的姿态舒展从容，将民国文人沉静端方的风骨尽显无遗。\n\n画面四周题跋疏密有致，墨迹与画像相得益彰，既是挚友间的交游印记，也让画面饱满和谐。作品摒弃繁复设色，以凝练线条勾勒形神，寥寥数笔便将人物气度入微呈现，文气与画韵交融，是兼具写实传神与文人意趣的写意肖像精品。",[23,24,25,78,27,79,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444958c704403f2e072309bafd507fb5.jpg",[],{"id":3789,"slug":3790,"title":3791,"dynasty":18,"author":3792,"museum":53,"description":3793,"tags":3794,"thumbUrl":3795,"material":40,"size":3796,"collection":155,"collections":3797,"showCount":3777,"zanCount":511,"manualWeight":11,"mainColor":46},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[23,24,25,26,28,77,37,58,7,29,79,150,30,31,177,34,33,1471,1545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[155],{"id":3799,"slug":3800,"title":3801,"dynasty":51,"author":3802,"museum":373,"description":3803,"tags":3804,"thumbUrl":3805,"material":3806,"size":3807,"collection":226,"collections":3808,"showCount":3809,"zanCount":534,"manualWeight":11,"mainColor":46},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","马和之","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,24,25,26,78,27,28,79,29,34,33,30,31,82,177,1885,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[226,306,155],77,{"id":3811,"slug":3812,"title":3813,"dynasty":51,"author":349,"museum":20,"description":3814,"tags":3815,"thumbUrl":3816,"material":123,"size":355,"collection":61,"collections":3817,"showCount":3809,"zanCount":11,"manualWeight":11,"mainColor":46},214280,"duo-jing-lou-shi-tie-2-mi-fei-214280","多景楼诗帖-2","笔势如天马行空，八面出锋却无一丝狂乱。浓墨处沉雄如坠石，飞白间灵动似流云。“梦”字欹侧中藏稳劲，“曾”字转折处见刚柔，“游”之走笔如轻舟逐浪，“天”之撇捺若长空舒翼。每一笔都带着“刷字”的痛快，却又暗合法度，晋韵唐法融于一己性情。墨色干湿浓淡相间，线条粗细缓急交错，织就充满韵律的画面——仿佛能听见运笔时的飒飒风声，见其挥毫时的潇洒神态。沉着中见痛快，飘逸里藏筋骨，于不经意间尽显大家气象，这便是米字独有的魅力。",[56,24,25,38,7,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0973bce6cbdb78d7eee5551d38d37e.jpg",[],{"id":3819,"slug":3820,"title":3821,"dynasty":145,"author":666,"museum":106,"description":3462,"tags":3822,"thumbUrl":3824,"material":61,"size":61,"collection":125,"collections":3825,"showCount":3826,"zanCount":534,"manualWeight":11,"mainColor":46},236914,"ping-hua-chang-pu-tu-zhou-wu-chang-shuo-236914","瓶花菖蒲图轴",[24,25,57,28,210,1067,3823,27,38,7,58],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2e8d71982568c3110d604c9844d9.jpg",[125,155],76,{"id":3828,"slug":3829,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":3830,"thumbUrl":3831,"material":196,"size":1004,"collection":61,"collections":3832,"showCount":3826,"zanCount":11,"manualWeight":11,"mainColor":46},234097,"wu-zhong-shan-shui-ce-shen-zhou-234097",[24,25,209,27,37,7,58,29,150,30,31,32,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97c78df6684545aea53e3f99cba50f8.jpg",[],{"id":3834,"slug":3835,"title":3836,"dynasty":51,"author":3837,"museum":53,"description":3838,"tags":3839,"thumbUrl":3840,"material":123,"size":3841,"collection":62,"collections":3842,"showCount":3826,"zanCount":534,"manualWeight":11,"mainColor":46},221247,"lao-zi-qi-niu-tu-zhou-chao-bu-zhi-221247","老子骑牛图轴","晁补之","图中心位置画有一位光秃尖顶、宽额留须的圆脸老人，他身穿右衽长袍，腰有缚带，在两道浓黑的月牙形的长眉下，藏着一对炯炯有神的笑眼，和颜悦色地正面对着观众，骑乘在一头壮牛身上，他双手按扶着牛背。由于山路崎岖险要，刚出幽谷关，地势突变平缓，又要准备西去，这时主人露出成功的喜悦。乘骑在主人的驾驭下，继续开步行进。图左上角画有枯枝残藤沿岩壁漫漶而下，岩石峭壁，大有谷关之要，出关后风光截然不同。\n本图署款：“晁无咎写。”钤印一“云屏烟障吾庐”。诗塘有宋王诜四言赞。本幅有清高宗弘历题诗。收传印记有“明文清世家图书”，清乾隆鉴藏八玺全。",[24,25,57,27,79,458,38,7,58,774],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c80c3c9a6bb3b8623ed0876ee5a459.jpg","50.6x20.4",[62],{"id":3844,"slug":3845,"title":3846,"dynasty":91,"author":440,"museum":106,"description":3847,"tags":3848,"thumbUrl":3849,"material":196,"size":3850,"collection":62,"collections":3851,"showCount":3826,"zanCount":11,"manualWeight":11,"mainColor":46},220879,"qi-jue-shi-ce-zhao-meng-fu-220879","七绝诗册","此帖虽仅短短五行大字，却笔力深沉稳健，气势恢弘傲放，结体严谨端庄，首尾富于变化。书风虽显苍老，但依旧雍容洒脱，是赵氏晚年大行书中的精品。\n释文：煉得身形似鶴形，千株松下兩函經。我來問道無餘事，雲在青天水在瓶。子昂爲中庭老書。",[23,7,38,25,209,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02aa5e347b479247c231fe1bbedb407b.jpg","纵34.7厘米,横35.3厘米",[62],{"id":3853,"slug":3854,"title":3855,"dynasty":91,"author":440,"museum":20,"description":2308,"tags":3856,"thumbUrl":3858,"material":196,"size":3859,"collection":62,"collections":3860,"showCount":3826,"zanCount":511,"manualWeight":11,"mainColor":46},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞",[23,25,38,26,7,2310,494,113,121,495,962,376,3857],"田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米",[62],{"id":3862,"slug":3863,"title":3864,"dynasty":91,"author":440,"museum":20,"description":3865,"tags":3866,"thumbUrl":3868,"material":196,"size":3869,"collection":62,"collections":3870,"showCount":3826,"zanCount":534,"manualWeight":11,"mainColor":46},220833,"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[23,24,25,38,26,7,530,3867,58],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[62],{"id":3872,"slug":3873,"title":3874,"dynasty":91,"author":3875,"museum":53,"description":3876,"tags":3877,"thumbUrl":3878,"material":123,"size":3879,"collection":42,"collections":3880,"showCount":3826,"zanCount":511,"manualWeight":11,"mainColor":46},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,24,25,57,27,37,58,38,7,29,376,495,1636,377,192,35,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[42],{"id":3882,"slug":3883,"title":3884,"dynasty":145,"author":3885,"museum":53,"description":3886,"tags":3887,"thumbUrl":3888,"material":123,"size":3889,"collection":62,"collections":3890,"showCount":3826,"zanCount":11,"manualWeight":11,"mainColor":46},214655,"lin-su-shi-shu-du-fu-shi-wang-you-dun-214655","临苏轼书杜甫诗","汪由敦","苏轼原迹「书杜甫桤木诗」卷",[38,76,7,27,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd0aab16eda6b62bd40f21fb84ca540.jpg","79.3x36.7",[62],{"id":3892,"slug":3893,"title":3894,"dynasty":145,"author":1572,"museum":147,"description":3895,"tags":3896,"thumbUrl":3897,"material":196,"size":3898,"collection":42,"collections":3899,"showCount":3900,"zanCount":11,"manualWeight":11,"mainColor":46},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,56,24,25,26,28,27,210,7,1014,58,114,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[42,168],75,{"id":3902,"slug":3903,"title":3904,"dynasty":18,"author":881,"museum":53,"description":3905,"tags":3906,"thumbUrl":3907,"material":1344,"size":3908,"collection":42,"collections":3909,"showCount":3900,"zanCount":11,"manualWeight":11,"mainColor":46},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,24,25,57,27,37,38,7,29,328,31,254,34,177,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[42,168],{"id":3911,"slug":3912,"title":3913,"dynasty":454,"author":455,"museum":106,"description":3914,"tags":3915,"thumbUrl":3917,"material":60,"size":61,"collection":125,"collections":3918,"showCount":3900,"zanCount":11,"manualWeight":11,"mainColor":46},218914,"feng-ren-tu-han-huang-218914","丰稔图","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[23,24,26,28,77,38,7,58,458,79,3916,34,1364],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[125,62],{"id":3920,"slug":3921,"title":3922,"dynasty":145,"author":3923,"museum":20,"description":3924,"tags":3925,"thumbUrl":3928,"material":96,"size":61,"collection":306,"collections":3929,"showCount":3900,"zanCount":11,"manualWeight":11,"mainColor":46},218481,"ying-xi-tu-hua-nie-218481","婴戏图","华喦","冬日雪后，稚童们围聚戏雪。有的掬雪塑形，指尖翻飞间雪团渐成朦胧佛影；有的俯身拾趣，眉眼间满是专注与欢喜。人物勾勒简括灵动，衣纹线条流转自然，雪地以淡墨晕染留白相映，清逸中透着融融暖意。旁题“儿童亦爱西成佛”，将童真嬉戏与禅意悄然融合，雅趣横生。笔墨兼工带写，既捕捉孩童憨态可掬的神情，又融入文人闲情逸致，画面鲜活而富有韵致，似能听见雪地里清脆的笑语，尽显生活之趣与艺术之美。",[23,24,25,27,28,79,3926,3927,1636,58,7],"儿童","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c292e75fb05f70d009d0f38e72f3e82.jpg",[306],{"id":3931,"slug":3932,"title":3933,"dynasty":51,"author":3934,"museum":53,"description":3935,"tags":3936,"thumbUrl":3938,"material":483,"size":3939,"collection":61,"collections":3940,"showCount":3941,"zanCount":11,"manualWeight":11,"mainColor":46},289352,"pi-pa-shou-dai-tu-xu-chong-si-289352","枇杷绶带图","徐崇嗣","徐崇嗣，北宋画家。徐熙孙。擅画草虫、禽鱼、蔬果、花木及蚕茧等。其画初承家学，因不合当时图画院程式和风尚，遂改学黄筌、黄居寀父子。后自创新体，所作不用墨笔钩勒，而直接以彩色晕染，世称“没骨图”，也称“没骨花”。兄徐崇勋、弟徐崇矩，均擅画花鸟，崇矩并工士女。",[56,24,25,2579,210,28,720,3937,82,7,58],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3638daf283762690d69128dce425c2f8.jpg","25.7x27.8",[],74,{"id":3943,"slug":3944,"title":3945,"dynasty":71,"author":760,"museum":73,"description":917,"tags":3946,"thumbUrl":3948,"material":920,"size":921,"collection":61,"collections":3949,"showCount":3941,"zanCount":11,"manualWeight":11,"mainColor":46},283640,"sang-luan-tie-tang-mo-ben-wang-xi-zhi-283640","丧乱帖（唐摹本)",[23,38,7,352,76,3947],"悲痛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a558189603d3fc9915d19c19c7d1a6.jpg",[],{"id":3951,"slug":3952,"title":1297,"dynasty":18,"author":3953,"museum":73,"description":3954,"tags":3955,"thumbUrl":3956,"material":61,"size":61,"collection":61,"collections":3957,"showCount":3941,"zanCount":534,"manualWeight":11,"mainColor":46},228343,"mo-zhu-tu-wang-you-228343","王右","此作用笔老辣爽利，以浓墨挥写竹竿，劲挺舒展如君子立世；竹叶欹正交错，墨色干湿浓淡相映，错落间尽显偃仰生姿的清灵意态，留白空灵疏朗，衬出幽篁萧散之致。\n\n左侧行书题跋笔势跌宕奇逸，与竹的清刚风神相得益彰，诗书画印浑融一体，将竹的坚贞品格寄寓笔墨。整幅以意写形，脱去匠气，尽显文人写意画以物明志的幽远意趣，清逸苍劲，足见绘者不凡的笔墨功底与文人襟怀。",[23,24,26,27,112,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bce774dc22c38310f619a62d3623a.jpg",[],{"id":3959,"slug":3960,"title":3961,"dynasty":51,"author":1554,"museum":106,"description":3962,"tags":3963,"thumbUrl":3965,"material":3966,"size":3967,"collection":61,"collections":3968,"showCount":3941,"zanCount":534,"manualWeight":11,"mainColor":46},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[23,24,26,27,37,25,38,7,58,29,178,179,34,3964],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":3970,"slug":3971,"title":3972,"dynasty":51,"author":52,"museum":73,"description":3973,"tags":3974,"thumbUrl":3982,"material":3983,"size":3984,"collection":62,"collections":3985,"showCount":3941,"zanCount":511,"manualWeight":11,"mainColor":46},221275,"li-hua-shi-huang-ting-jian-221275","梨花诗","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[23,25,38,26,7,3975,3976,1471,1636,3977,3978,1068,33,3979,884,1951,3980,3981],"梨花","蜂","月","春","燕","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[62],{"id":3987,"slug":3988,"title":3989,"dynasty":18,"author":881,"museum":373,"description":3990,"tags":3991,"thumbUrl":3992,"material":3993,"size":3994,"collection":42,"collections":3995,"showCount":3941,"zanCount":11,"manualWeight":11,"mainColor":46},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,26,27,7,37,376,495,34,36,444,194,237,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[42,168],{"id":3997,"slug":3998,"title":3999,"dynasty":91,"author":440,"museum":53,"description":4000,"tags":4001,"thumbUrl":4002,"material":165,"size":4003,"collection":62,"collections":4004,"showCount":3941,"zanCount":11,"manualWeight":11,"mainColor":1787},220854,"xiao-jing-juan-zhao-meng-fu-220854","孝经卷","翰林沈粲卷首题字:赵松雪金书 赵孟頫书法《孝经》\n唐明皇御制孝经序。\n朕闻上古其风朴略",[25,38,1735,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf115e029874b7da4e01e6d1ada44155.jpg","25.5x878.7",[62],{"id":4006,"slug":4007,"title":4008,"dynasty":91,"author":440,"museum":106,"description":4009,"tags":4010,"thumbUrl":4011,"material":196,"size":4012,"collection":62,"collections":4013,"showCount":3941,"zanCount":511,"manualWeight":11,"mainColor":46},220828,"er-zan-er-shi-juan-zhao-meng-fu-220828","二赞二诗卷","此帖是与好友相聚，一时酒酣的乘兴之作。纸质莹润光滑，信手写来，“神融笔畅”，滂沛悦然。款署“湖州观堂与受益外郎饮酒一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫”。“受益”名张谦，大德元年前后，曾官江浙行省检校。“观堂”是佛寺中修习的场 所。据赵氏《重修观堂记》，湖州的观堂始建于南宋嘉泰年 间，宋木毁圮严电，元至元二十一年曾重新修葺，历时十 年。赵文作于大德元年(1297)九月，本卷也应作于此时。卷未有明代卞荣、王世贞、董其昌、文震孟、陈继儒，清代英 和、永瑆跋。",[23,38,7,26,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44319ff5514e459206f70266d02ef940.jpg","纵27厘米横456.3厘米",[62],{"id":4015,"slug":4016,"title":4017,"dynasty":91,"author":440,"museum":53,"description":4018,"tags":4019,"thumbUrl":4020,"material":60,"size":4021,"collection":62,"collections":4022,"showCount":3941,"zanCount":11,"manualWeight":11,"mainColor":66},214387,"zhou-jin-tang-ji-zhao-meng-fu-214387","昼锦堂记","这幅画以欧阳修的《相州昼锦堂记》为蓝本，形式内敛，笔墨苍劲，充满力量和动感，深受李北海的影响。这是他去世前两年制作的，当时他67岁。",[24,25,38,7,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf3612f1e652db68fe741e63032b48c.jpg","159.3x54",[62],{"id":4024,"slug":4025,"title":4026,"dynasty":51,"author":349,"museum":73,"description":4027,"tags":4028,"thumbUrl":4030,"material":920,"size":921,"collection":61,"collections":4031,"showCount":4032,"zanCount":534,"manualWeight":11,"mainColor":46},289759,"zhong-qiu-deng-hai-dai-lou-zuo-shi-tie-mi-fei-289759","中秋登海岱楼作诗帖","海岱楼位于涟水（江苏涟水），是著名的风景名胜，米芾时常登楼，眺望淮河入海处辽阔壮丽的景色。在本诗帖中，米芾形容海口一片水光粼粼，好似银泻大地，而天际出现万道虹光，孕育出宝贵的珍珠。在诗的后半，米芾则引“吴刚伐桂”的典故，谈到若非吴刚日复一日，不停地砍伐桂树，快速生长的桂枝，必定撑破月轮。米芾以此暗喻自己的仕途常为人所阻，无法充份施展。\n在帖中米芾前后共抄录诗文两次，中间加入一行批注：“三四次写间有一两字好，信书亦一难事”，可见对书法求好的态度。涟水时期，米芾勤于练习晋人草书，此帖与《焚香帖》、《草书论书帖》都是其中的例子。另外，米芾也经常与薛绍彭书信往返，讨论购帖事宜、交换习书心得，或是品评论书，两人堪称最佳书画友。\n米芾担任涟水军使（江苏涟水）期间，最喜欢登临游览的景点就是海岱楼。海岱楼在江苏涟水地区，是唐、宋时代十分著名的望海楼，自古以来，便是许多文人登览赋诗的最佳旅游景点，唐代诗人杜甫曾以“浮云连海岱，平野入青徐”来形容它视野辽阔、宏伟壮丽的景观。它在米芾的诗文中也经常出现，例如〈焚香帖〉（大阪市立美术馆藏）：“雨三日未解，海岱咫尺不能到”，便提到在淫雨霏霏之日，他登海岱楼所见迷蒙的景致。在另一阙词〈蝶恋花?海岱楼玩月作〉中，米芾也提到：“千古涟漪清绝地，海岱楼高。下瞰秦淮尾，水浸碧天天似水，广寒宫阙人间世。”并将海岱楼比喻为月亮上的“广寒宫”，诗人登楼眺望，颇有遗世独立的感觉。",[38,352,7,58,4029,150],"中秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc16fb0d52fc68c2ab722bf075ed45de4.jpg",[],73,{"id":4034,"slug":4035,"title":4036,"dynasty":145,"author":959,"museum":73,"description":4037,"tags":4038,"thumbUrl":4039,"material":920,"size":921,"collection":125,"collections":4040,"showCount":4032,"zanCount":534,"manualWeight":11,"mainColor":46},235697,"hua-hui-tu-ce-zou-yi-gui-235697","花卉图册","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[24,25,209,77,28,210,1068,861,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[125,155],{"id":4042,"slug":4043,"title":4044,"dynasty":51,"author":1905,"museum":53,"description":4045,"tags":4046,"thumbUrl":4047,"material":407,"size":61,"collection":62,"collections":4048,"showCount":4032,"zanCount":11,"manualWeight":11,"mainColor":1787},221204,"san-xi-tang-fa-tie-shi-qi-ce-wu-ju-221204","三希堂法帖（十七）册","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",[25,38,352,680,209,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d11bc01b27003e7f2e06144bd6cf971.jpg",[62],{"id":4050,"slug":4051,"title":4052,"dynasty":51,"author":362,"museum":53,"description":4053,"tags":4054,"thumbUrl":4055,"material":196,"size":4056,"collection":62,"collections":4057,"showCount":4032,"zanCount":511,"manualWeight":11,"mainColor":46},220038,"jiang-shang-tie-su-shi-220038","江上帖","落笔如漫不经心，而整体布白自然错落，丰秀雅逸，端庄圆润，但不做作，笔法精严，但不拘束，作者的学问才气发于笔端，与书札的萧散风格相吻合。",[23,38,7,58,25,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e97c91c20d94825a2705d765b723d19.jpg","9行，58字",[62],{"id":4059,"slug":4060,"title":4061,"dynasty":51,"author":4062,"museum":106,"description":4063,"tags":4064,"thumbUrl":4066,"material":123,"size":4067,"collection":306,"collections":4068,"showCount":4032,"zanCount":534,"manualWeight":11,"mainColor":46},219698,"you-jun-shu-shan-tu-liang-kai-219698","右军书扇图","梁楷","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元初赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,24,27,26,4065,79,377,38,7,58],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f0b5917d813d0d1d8a70b22a64c5bf.jpg","纵27.9厘米，横66.2厘米",[306,62],{"id":4070,"slug":4071,"title":4072,"dynasty":91,"author":440,"museum":738,"description":4073,"tags":4074,"thumbUrl":4075,"material":96,"size":61,"collection":125,"collections":4076,"showCount":4032,"zanCount":534,"manualWeight":11,"mainColor":66},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[23,24,25,57,28,77,693,377,38,7,58,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[125],{"id":4078,"slug":4079,"title":4080,"dynasty":145,"author":4081,"museum":106,"description":4082,"tags":4083,"thumbUrl":4085,"material":40,"size":4086,"collection":42,"collections":4087,"showCount":4032,"zanCount":534,"manualWeight":11,"mainColor":46},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟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， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[56,24,25,57,27,774,112,177,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],70,{"id":4239,"slug":4240,"title":4241,"dynasty":18,"author":479,"museum":73,"description":2782,"tags":4242,"thumbUrl":4244,"material":920,"size":921,"collection":61,"collections":4245,"showCount":4237,"zanCount":511,"manualWeight":11,"mainColor":66},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)",[23,56,24,25,26,28,37,29,32,150,35,34,31,4243,33,7,38,58],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":4247,"slug":4248,"title":4249,"dynasty":2673,"author":2975,"museum":73,"description":2976,"tags":4250,"thumbUrl":4254,"material":920,"size":921,"collection":61,"collections":4255,"showCount":4237,"zanCount":11,"manualWeight":11,"mainColor":66},287395,"ye-yan-tu-ye-zhou-wen-ju-287395","夜宴图页",[23,24,56,1244,77,28,79,80,4251,4252,117,38,7,4253],"宴饮","饮酒器","夜宴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55dccd52718d026c6ccf8e9eb9557d7d.jpg",[],{"id":4257,"slug":4258,"title":4259,"dynasty":71,"author":760,"museum":4260,"description":4261,"tags":4262,"thumbUrl":4266,"material":196,"size":4267,"collection":62,"collections":4268,"showCount":4237,"zanCount":11,"manualWeight":11,"mainColor":46},221039,"pin-you-ai-huo-tie-yu-kong-shi-zhong-tie-you-xuan-tie-wang-xi-zhi-221039","《频有哀祸帖》与《孔侍中帖》、《忧悬帖》","日本尊经阁文库","《频有哀祸帖》行草书。\n为东晋王羲之所书尺牍摹本，原作久佚。存世的《频有哀祸帖》摹本收藏于日本前田育德会，为唐代硬黄响搨、双钩廓填摹本。作品行轴线时曲时直、书体时草时行、点画时方时圆，书写风格沉雄跳宕、劲健流纵，体现了王羲之高超的书写技巧和驾驭能力。作品。\n《孔侍中帖》為唐代摹搨墨跡，是對東晉王羲之尺牘進行的雙鈎廓填而形成的勾摹本。行草書，3行，25字。《孔侍中帖》筆畫體態豐腴雍容；“中和”之美，“多力豐筋”於此帖盡顯。作品墨跡收藏於日本前田育德會。",[38,7,4263,4264,4265],"笔墨","帖","手写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0bf13a3fc38ad9b01d9a38229a29a96.jpg","纵24.8厘米，3行，20字",[62,463],{"id":4270,"slug":4271,"title":4272,"dynasty":51,"author":4273,"museum":527,"description":4274,"tags":4275,"thumbUrl":4277,"material":196,"size":4278,"collection":226,"collections":4279,"showCount":4237,"zanCount":511,"manualWeight":11,"mainColor":1787},220074,"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,24,25,26,78,79,693,4276,38,7,1014,2031],"帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[226],{"id":4281,"slug":4282,"title":4283,"dynasty":18,"author":4284,"museum":2524,"description":4285,"tags":4286,"thumbUrl":4297,"material":96,"size":4298,"collection":42,"collections":4299,"showCount":4237,"zanCount":511,"manualWeight":11,"mainColor":46},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,25,26,28,29,37,38,7,32,31,33,82,1794,402,291,30,4287,4288,4289,4290,4291,4292,1455,4293,4294,4295,2286,4296],"远浦","归帆","山市","晴岚","江天","暮雪","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[42],{"id":4301,"slug":4302,"title":4303,"dynasty":18,"author":4304,"museum":106,"description":4305,"tags":4306,"thumbUrl":4307,"material":123,"size":4308,"collection":125,"collections":4309,"showCount":4237,"zanCount":11,"manualWeight":11,"mainColor":46},219358,"mu-niu-tu-li-lin-219358","牧牛图","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[23,24,25,26,27,109,7,58,458,79,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[125,168],{"id":4311,"slug":4312,"title":4313,"dynasty":18,"author":4314,"museum":106,"description":4315,"tags":4316,"thumbUrl":4317,"material":196,"size":4318,"collection":62,"collections":4319,"showCount":4237,"zanCount":511,"manualWeight":11,"mainColor":46},219155,"xing-kai-shu-rong-deng-tie-ye-du-qiong-219155","行楷书·荣登帖页","杜琼","此帖是杜琼写给吴宽的书信。吴宽于明成化八年（1472年）参加会试、廷试，皆第一，即杜琼所谓“荣登二元”——会元、状元，随后授翰林院修撰。杜琼信中请吴宽为杜家私园延绿亭“作重建延绿亭记”。信写于壬辰（成化八年，1472年）中秋时，这一年杜琼已77岁，且多病，两年后便逝世了。此帖结字瘦长，点划细润工丽，精劲俊峭，具有文人气质。",[23,38,7,2031,2041,620,27,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8ea1ebfbbbbed4a838ebb6eeebdb9.jpg","纵24.2厘米，横48.6厘米",[62],{"id":4321,"slug":4322,"title":4323,"dynasty":91,"author":440,"museum":53,"description":4324,"tags":4325,"thumbUrl":4326,"material":40,"size":4327,"collection":306,"collections":4328,"showCount":4237,"zanCount":11,"manualWeight":11,"mainColor":46},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[23,24,25,26,28,29,79,38,7,58,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[306],{"id":4330,"slug":4331,"title":4332,"dynasty":145,"author":4333,"museum":53,"description":4334,"tags":4335,"thumbUrl":4336,"material":123,"size":4337,"collection":62,"collections":4338,"showCount":4237,"zanCount":11,"manualWeight":11,"mainColor":1787},214717,"xing-shu-ba-yan-lian-zuo-zong-tang-214717","行书八言联","左宗棠","联语“和气春风惠流九有，青天朗日乐及群生”暖意萦怀，气象开阔。笔力遒劲如铁戟横陈，藏锋处见沉厚；行笔灵动若流云渡水，牵丝间显逸致。字势开张却不失端稳，章法疏朗而气脉贯通，墨色浓淡交错，老辣中藏温润。联句的仁惠之思与书法的刚健风神相契，庙堂庄重与江湖洒脱兼具，笔墨间流淌出立朝济世的坦荡胸襟，经世致用的沉雄气度扑面而来，读之顿觉胸次开阔，心向往之。",[38,7,2251,27,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17de373e0744f2a688dbc29fa3de6348.jpg","215.4x44.9",[62],{"id":4340,"slug":4341,"title":2248,"dynasty":145,"author":4342,"museum":53,"description":4343,"tags":4344,"thumbUrl":4345,"material":123,"size":4346,"collection":62,"collections":4347,"showCount":4237,"zanCount":534,"manualWeight":11,"mainColor":46},214233,"xing-shu-qi-yan-lian-ceng-guo-fan-214233","曾国藩","笺纸泛黄，墨色沉雄。行书笔意流畅却不失骨力，起笔如高山坠石，行笔似老树盘根，收笔若惊鸿掠影。联语祥瑞，灵芝美箭遍地生，绛阙云台留美名，字句间的吉庆与笔墨的刚健相得益彰。每一字结构端稳又带灵动，中锋行笔的厚重质感，仿佛承载着岁月的沉淀。书写者的从容气度跃然纸上，将相的沉雄与文人的雅致交融，书艺与文心完美契合，尽显古典书法的隽永韵味，令人观之忘俗。",[23,25,38,7,2251,57,58,27,3383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b508d6f53b2db738d1795cddeab2c3.jpg","174x38.1",[62],{"id":4349,"slug":4350,"title":2421,"dynasty":91,"author":4351,"museum":53,"description":4352,"tags":4353,"thumbUrl":4354,"material":123,"size":4355,"collection":62,"collections":4356,"showCount":4237,"zanCount":534,"manualWeight":11,"mainColor":46},214221,"qi-yan-lv-shi-zhang-yu-214221","张雨","张雨师从赵孟𫖯，行楷处处可见赵氏书风的影响，但此卷却偏离了美学风格，有一种奇怪的野性。从头到尾，欧阳询的身影偶尔可见，但字的排列就像一个醉汉在移动，所用的墨汁有时厚重而枯涩，这可以看作是一个道士酒后心动的痕迹，或是追求浪漫的神来之笔。",[23,38,7,27,58,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f2d77af2252f23f19e281ffd2202f0.jpg","108.4x42.6",[62],{"id":4358,"slug":4359,"title":4360,"dynasty":51,"author":220,"museum":73,"description":4361,"tags":4362,"thumbUrl":4363,"material":4364,"size":4365,"collection":226,"collections":4366,"showCount":4367,"zanCount":11,"manualWeight":11,"mainColor":66},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,25,26,28,77,7,58,79,29,34,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg","长卷 绢本 设色","28x699厘米",[226,306,155],69,{"id":4369,"slug":4370,"title":4371,"dynasty":51,"author":2534,"museum":106,"description":4372,"tags":4373,"thumbUrl":4374,"material":4375,"size":4376,"collection":62,"collections":4377,"showCount":4367,"zanCount":534,"manualWeight":11,"mainColor":46},221195,"zun-juan-tie-lu-you-221195","尊眷帖","《尊眷帖》释文：\n遊惶恐拜問契家尊眷，共惟並擁壽祺。鏡中有委敢請，子聿六粗能勤苦，但恨不能卒業。函丈若不棄遺，尚未晚也。張七三哥□貧可念，官期尚遠，奈何。每爲之心折，顧無所置力耳。三丈亦念之否。遊惶恐再拜。\n本幅鉴藏印有“宋荦审定”、“凇洲”、“江恂之印”、“德畲借观”以及成亲王、成薰等。\n此帖内容为委请类，即陆游委请函丈帮助其幼子子聿完成学业。帖中言及的子聿为陆游之幼子，据陆游年谱知其生于淳熙四年丁酉（1177年），是年放翁53岁。“镜中”指绍兴镜湖即鉴湖，故此帖当书于家中。\n此帖结体颀长，笔画劲健，转折点画精致爽利，既可见杨凝式、苏轼及黄庭坚书法遗意，又自具面目。\n《书画鉴影》卷一著录，《海山仙馆藏真帖》卷三摹刻。",[23,25,38,7,27,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5f770e80aa172e6bd6de9a2f3d045e.jpg","纸本，册页","纵29.3厘米，横38.3厘米",[62],{"id":4379,"slug":4380,"title":4381,"dynasty":454,"author":3217,"museum":106,"description":4382,"tags":4383,"thumbUrl":4384,"material":196,"size":4385,"collection":62,"collections":4386,"showCount":4367,"zanCount":11,"manualWeight":11,"mainColor":66},221088,"meng-zhao-tie-juan-liu-gong-quan-221088","蒙诏帖卷","《蒙诏帖》卷，传为唐柳公权书，纸本，行书，纵26.8厘米，横57.4厘米。\n\n释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[56,24,25,26,7,1014,38,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[62,463],{"id":4388,"slug":4389,"title":4390,"dynasty":91,"author":893,"museum":4391,"description":4392,"tags":4393,"thumbUrl":4395,"material":40,"size":4396,"collection":168,"collections":4397,"showCount":4367,"zanCount":11,"manualWeight":11,"mainColor":46},220800,"shui-zhu-ju-tu-ni-zan-220800","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[23,24,27,289,37,7,38,58,4394,109,884,112,377,35,237,292],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 CM",[168,975],{"id":4399,"slug":4400,"title":4401,"dynasty":145,"author":4402,"museum":53,"description":4403,"tags":4404,"thumbUrl":4405,"material":123,"size":4406,"collection":62,"collections":4407,"showCount":4367,"zanCount":11,"manualWeight":11,"mainColor":66},214212,"lu-wang-duo-zeng-tang-ruo-wang-shi-han-li-rui-qing-214212","录王铎赠汤若望诗翰","李瑞清","笔锋游走间，篆隶古意暗涌。颤笔如老树盘根，线条苍劲中带着金石质感，却又不失流转之姿。取法南北碑版，骨架雄健如北碑扛鼎，血肉温润似南帖漫吟。墨色浓淡枯润交错，章法疏密有致，行气如江河奔涌，一气呵成。单字欹正相生，险中求稳，每一笔都似有千钧之力，却又灵动婉转，将碑学的沉雄与帖学的飘逸融于一体，自成一格。观之如见古贤把盏论道，墨香里藏着岁月的厚重与文心的飞扬，每一处转折都藏着对传统的敬畏与创新的胆魄。",[23,38,57,7,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F702948c8b7c63c234f94601fa105d877.jpg","150.6x39.8",[62],{"id":4409,"slug":4410,"title":4411,"dynasty":145,"author":666,"museum":73,"description":667,"tags":4412,"thumbUrl":4413,"material":920,"size":921,"collection":61,"collections":4414,"showCount":4415,"zanCount":11,"manualWeight":11,"mainColor":46},236379,"li-zhi-tu-shan-ye-wu-chang-shuo-236379","荔枝图扇页",[24,25,2579,28,27,7,58,210,2130,1172,1576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4049316925f6e1ce520b3918ad37dd08.jpg",[],68,{"id":4417,"slug":4418,"title":4419,"dynasty":145,"author":1413,"museum":73,"description":1928,"tags":4420,"thumbUrl":4426,"material":61,"size":61,"collection":61,"collections":4427,"showCount":4415,"zanCount":11,"manualWeight":11,"mainColor":46},234227,"hua-guo-juan-zhu-da-234227","花果卷",[23,24,25,26,27,109,7,4421,4422,4423,211,1444,210,4424,4425,58],"南瓜","白菜","佛手","蔬果","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],{"id":4429,"slug":4430,"title":4431,"dynasty":145,"author":324,"museum":73,"description":4432,"tags":4433,"thumbUrl":4434,"material":61,"size":61,"collection":61,"collections":4435,"showCount":4415,"zanCount":11,"manualWeight":11,"mainColor":46},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[56,24,25,27,28,29,37,7,58,81,1515,33,30,31,32,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":4437,"slug":4438,"title":4439,"dynasty":18,"author":1024,"museum":106,"description":4440,"tags":4441,"thumbUrl":4442,"material":4443,"size":3346,"collection":4444,"collections":4445,"showCount":4415,"zanCount":11,"manualWeight":11,"mainColor":46},221971,"lan-ting-xiu-qi-tu-quan-juan-wen-zheng-ming-221971","兰亭修契图全卷","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。\n卷尾下钤“徵明父印”、“徵仲父印”，右下有“雪坪心赏”、“杜氏藏画”印，左下有“与古维新”印。尾纸首段是文徵明临写王羲之所书的《兰亭序》，其后又有文氏行书自题一段：“曾君曰潜，自号兰亭，余为其写《流觞图》，既临褉帖，兰之复赋，此诗发其命名之意，壬寅五月。”“猗兰亭子袭清芬，珍重山阴迹未陈。高音漫传幽谷操，清真重见永和人。香生环珮光风远，秀茁庭阶玉树新。何必流觞须上巳，一簾（芳？）意四时春。文徵明”。钤“徵明印”、“悟言室印”。由此可知，因曾潜的号与“兰亭修褉”发生的地点相同，文氏便将这一题材入画，并为之题诗，贻赠友朋。尾纸另有王穀祥、陆师道、许初、文彭、文嘉、周复后的题跋。壬寅年为明嘉靖二十一年（1542年）。",[23,24,25,26,28,77,7,29,79,33,31,1309,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb0d378f8205d4f6be244afbdc9303a.jpg","金笺地，设色","山水精选",[4444],{"id":4447,"slug":4448,"title":4449,"dynasty":51,"author":4450,"museum":106,"description":4451,"tags":4452,"thumbUrl":4454,"material":96,"size":4455,"collection":62,"collections":4456,"showCount":4415,"zanCount":11,"manualWeight":11,"mainColor":46},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,56,24,25,26,7,38,27,29,32,431,404,4453,1950],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[62],{"id":4458,"slug":4459,"title":4460,"dynasty":51,"author":52,"museum":53,"description":4461,"tags":4462,"thumbUrl":4463,"material":407,"size":4464,"collection":62,"collections":4465,"showCount":4415,"zanCount":534,"manualWeight":11,"mainColor":66},221268,"shu-wang-xi-zhi-lun-shu-ce-huang-ting-jian-221268","书王羲之论书册","本幅大字行书，落笔奇伟，丰筋多力，笔笔似自空中荡漾而来，充满着飞动之势，却又沉着稳健，呈现出一份闲适自得的意境。",[38,7,209,76,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002c75cd36c4f5fdd968f25e1b4967d8.jpg","32×17.2",[62],{"id":4467,"slug":4468,"title":4469,"dynasty":454,"author":677,"museum":373,"description":4470,"tags":4471,"thumbUrl":4472,"material":2831,"size":4473,"collection":62,"collections":4474,"showCount":4415,"zanCount":534,"manualWeight":11,"mainColor":46},221105,"zhong-ni-meng-dian-tie-ou-yang-xun-221105","仲尼梦奠帖","用笔\n《仲尼梦奠帖》用笔清峻，锋芒毕露，给人以锐利、刻厉之感。其用笔有两个主要特点，一是侧锋入纸，起笔无不锐利，显然是魏碑笔法。下笔直截了当，不藏锋敛迹，加之行笔稍快，如剑戟般的锋芒便外耀无遗了。二是转折顿挫带来的刻厉。在唐书家中，初唐的柔和之风的特征之一就是化方为圆。这样，不仅消失了方角使之更为圆转灵活，而且也加快了书写的速度。欧阳询丝毫不受这种化方转圆的影响，他的转折仍然是重而方，不减作楷书之法，如“仲尼”、“有”、“周”，尽骨节之露，如“奠”之第二笔，起讫三折笔，如怪石嶙峋，与北魏的刀刻痕迹何其相似。可是，这样的笔触是很需要有分寸感的，稍微过头则为造作。在这方面，像欧阳询这样的行家也未能幸免，如“数”字就是一个病例，其“文”字旁起笔牛头角状，十分不雅，有趣的是把这一角状遮去后，这一个字反而格外的流畅、顺眼了。《仲尼梦奠帖》像“过”字这样圆转灵活、随意自然的笔触并不多，全篇的创作仍然是庄严的、认真的，作者创作心态似乎也不轻松，一副如《九成宫碑》那样的庙堂面孔。 [8]\n\n结体\n《仲尼梦奠帖》结体有独特之处，结体修长一目了然。欧阳询不在意从横向上进行发展，因此在行距上显得特别疏朗，每字向下舒展时，欧阳询也把字距拉开，使这一纵向发展显得天地开朗。竖画挺拔坚韧，在每一字中起着砥柱作用，使每一字的骨格坚挺起来。把《仲尼梦奠帖》与虞世南的《汝南公主墓志铭》比较，会看得更清楚。虞氏行书以柔和胜，竖画也起支柱作用，但作用并不明显，也不突出，似乎隐于其中；而欧氏行书竖画刚强外耀、强烈可感，那壁立千仞的挺拔，构成了作品的主要基调。观帖中字，虽用秃笔疾书，却转折随意，笔势圆融，用墨淡而有质感，丝毫无油滑之态。 [8]\n\n章法\n《仲尼梦奠帖》是两种书体的结合，即行书入碑，或曰碑体行书。从章法看，《梦奠帖》“宪章右军，抽锋一线，如猿腾鹘落而泯上下相承之迹”（包世臣《艺舟双楫》），而更多靠单字造型调节章法；帖中“彭”由左右结构变换成半包围结构；“导”字繁体下旁本为“寸”，此处不同，换为“木”旁；“冥”字上首用“宀”代“冖”且书写跳荡；“熟”字结构变异，这四字的安排，使《梦奠帖》章法更显紧凑，以部首移位和比例倒错来调整字形结构及通篇章法。且《仲尼梦奠帖》取魏碑为骨格，以行书的笔意来调节，避免了碑体楷书的平板，显得更加密切、多姿多态。碑体的骨格使每一个字气势开张、伟岸，而行书的绵密活泼又连缀其中，形成刚劲而活络，活络而不失骨力。",[23,38,7,352,25,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed9f1b77f3256e056f28a188b756240.jpg","纵25.5cm，横33.6cm",[62],{"id":4476,"slug":4477,"title":4478,"dynasty":51,"author":4479,"museum":4480,"description":4481,"tags":4482,"thumbUrl":4483,"material":4484,"size":4485,"collection":62,"collections":4486,"showCount":4415,"zanCount":534,"manualWeight":11,"mainColor":61},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。",[23,38,680,352,7,1014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29dd8584ab752c096648753e8e1f274.jpg","墨拓,纸本,册页","34 × 36 cm",[62],{"id":4488,"slug":4489,"title":4490,"dynasty":51,"author":362,"museum":53,"description":4491,"tags":4492,"thumbUrl":4493,"material":196,"size":4494,"collection":62,"collections":4495,"showCount":4415,"zanCount":511,"manualWeight":11,"mainColor":46},220035,"ci-yun-qin-tai-xu-shi-tie-su-shi-220035","次韵秦太虚诗帖","次韵秦太虚诗帖 君不见诗人借车无可载，留得一钱何足赖。晚年更似杜陵翁，右臂虽存耳先聩。人将蚁动作牛斗，我觉风雷真一噫。闻尘扫尽根性空，不须更枕清流派。大朴初散失 浑沌，六凿相攘更胜坏。眼花乱坠酒生风，口业不停诗有债。君知五蕴皆是贼，人生一病今先差。但恐此心终未了，不见不闻还是碍。今君疑我特佯聋，故作嘲诗穷 险怪。须防额痒出三耳，莫放笔端风雨快。",[23,25,38,7,352,58,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca0aba0cbe56551e7fe404ba6ebb228.jpg","45.3*30.7",[62],{"id":4497,"slug":4498,"title":4499,"dynasty":145,"author":2800,"museum":106,"description":4500,"tags":4501,"thumbUrl":4506,"material":96,"size":4507,"collection":306,"collections":4508,"showCount":4415,"zanCount":534,"manualWeight":11,"mainColor":46},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[23,24,25,26,77,28,79,121,1068,4502,4503,4504,2006,2906,4505,38,7,58],"桌","椅","花瓶","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[306],{"id":4510,"slug":4511,"title":4512,"dynasty":51,"author":1239,"museum":206,"description":4513,"tags":4514,"thumbUrl":4515,"material":96,"size":4516,"collection":61,"collections":4517,"showCount":4415,"zanCount":11,"manualWeight":11,"mainColor":46},218046,"song-di-ming-ti-ce-ba-ma-yuan-218046","宋帝命题册(八)","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,56,24,25,209,27,29,33,112,79,38,7,77,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805101e3bc8ae183233b61658ad3f5fc.jpg","纵28厘米、横27厘米",[],{"id":4519,"slug":4520,"title":4521,"dynasty":91,"author":4351,"museum":53,"description":4522,"tags":4523,"thumbUrl":4524,"material":123,"size":4525,"collection":62,"collections":4526,"showCount":4415,"zanCount":11,"manualWeight":11,"mainColor":46},214220,"tang-ren-jue-ju-zhang-yu-214220","唐人绝句","唐人绝句是中国唐朝时期的一种诗歌形式，由四句组成，每句都为五言绝句，即五个字的绝句。张雨是中国唐朝时期的一位诗人。元是中国历史上的一个朝代，公元1279年至1368年，为元朝。",[23,24,25,57,38,7,27,402,113,112,884,2207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9414780fa78d6d95b33d5b8a267d6ef.jpg","154.3x34.3",[62],{"id":4528,"slug":4529,"title":4530,"dynasty":51,"author":4531,"museum":73,"description":4532,"tags":4533,"thumbUrl":4535,"material":920,"size":921,"collection":61,"collections":4536,"showCount":4537,"zanCount":534,"manualWeight":11,"mainColor":46},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","夏圭","为夏氏山水十二景中残存四景中的一部分。图展现平溪汀渚、湖水荡漾，渔舟出没，巨石峭壁，绿树成荫。通过山林，有港湾一泓，数艘渔舟停泊其间。此画山石用斧劈皴，先用水笔皴擦，然后落墨，具有水墨交融，淋漓酣畅的效果。",[23,56,24,26,25,27,29,32,31,178,1309,4534,2515,38,7,37,58],"渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7e2b48.jpg",[],67,{"id":4539,"slug":4540,"title":4541,"dynasty":71,"author":760,"museum":4542,"description":4543,"tags":4544,"thumbUrl":4545,"material":2728,"size":4546,"collection":463,"collections":4547,"showCount":4537,"zanCount":11,"manualWeight":11,"mainColor":46},221035,"you-mu-tie-wang-xi-zhi-221035","游目帖","日本广岛安达万藏","《遊目帖》又名《蜀都帖》、《彼土帖》、《山川諸奇帖》。草書，11行，102字。信中王羲之表達了他對蜀地山山水水諸多奇景的嚮往之情。他期盼一登汶嶺、峨嵋而暢遊意足，並希望這個日子早日到來。《中國書法全集》評價《遊目帖》“行、草書間雜，筆畫遒勁爽利”。",[23,38,7,352,26,58,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5188c56caf21e01b10a04cacb4376ed.jpg","11行，102字",[463],{"id":4549,"slug":4550,"title":4551,"dynasty":18,"author":881,"museum":53,"description":4552,"tags":4553,"thumbUrl":4554,"material":4555,"size":4556,"collection":62,"collections":4557,"showCount":4537,"zanCount":534,"manualWeight":11,"mainColor":66},220901,"wu-yan-gu-shi-zhou-dong-qi-chang-220901","五言古诗轴","董其昌八十岁楷书作品《五言古诗句》",[23,38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8f3e7950a1ba42ac1a4cfdc7f91e01.jpg","楷书，纸本","纸本60.9 x 169 cm",[62],{"id":4559,"slug":4560,"title":4561,"dynasty":91,"author":440,"museum":53,"description":4562,"tags":4563,"thumbUrl":4564,"material":196,"size":4565,"collection":62,"collections":4566,"showCount":4537,"zanCount":534,"manualWeight":11,"mainColor":46},220826,"shu-yue-yang-lou-ji-zhou-zhao-meng-fu-220826","书岳阳楼记轴","岳阳楼记是北宋文学家范仲淹于庆历六年九月十五日（1046年10月17日）应好友巴陵郡太守滕子京之请为重修岳阳楼而创作的一篇散文。也是历年高考频频眷顾的经典名篇。本文写于1046年，范仲淹贬放河南邓州，1047年滕子京重修岳阳楼，请范仲淹作记，因为二人同是被贬之人，因而有共同的思想情感，所以文中满载述志励友之情，既表现作者忧国忧民的远大抱负，又表达对好友的慰勉和规箴之意。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[23,38,7,57,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166c30f08f7da3dbf1b37b1f434a7fa7.jpg","129x53.2",[62],{"id":4568,"slug":4569,"title":4570,"dynasty":18,"author":4571,"museum":73,"description":4572,"tags":4573,"thumbUrl":4574,"material":61,"size":61,"collection":61,"collections":4575,"showCount":4576,"zanCount":11,"manualWeight":11,"mainColor":46},234206,"feng-zhu-tu-zhou-feng-qi-zhen-234206","风竹图轴","冯起震","冯起震(1553—1644)，字青方，明末画家，青州城北青州市高柳村（今山东益都）人。隐居教书，不图仕进，善画竹。来青州做官的，常慕名到他家拜访。崇祯二年（1629），他与儿子冯可宾合作画了竹石图10幅，著名书画家董其昌、邢侗、李君实为之题记。董等非常称赞他，认为“文与可后数百年所仅见”。著有《无声诗史》、《图绘宝鉴续纂》、《榆园画志》等书。崇祯十五年（1642）年90岁尚在。",[23,24,25,27,26,38,7,58,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bf753c1b5f255b01b17c3148f491394.jpg",[],66,{"id":4578,"slug":4579,"title":4580,"dynasty":91,"author":286,"museum":53,"description":4581,"tags":4582,"thumbUrl":4583,"material":407,"size":4584,"collection":42,"collections":4585,"showCount":4576,"zanCount":11,"manualWeight":11,"mainColor":46},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,25,26,27,29,37,7,223,58,150,30,31,33,3867,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[42,168],{"id":4587,"slug":4588,"title":4589,"dynasty":51,"author":349,"museum":20,"description":4590,"tags":4591,"thumbUrl":4593,"material":123,"size":355,"collection":61,"collections":4594,"showCount":4576,"zanCount":11,"manualWeight":11,"mainColor":46},214279,"duo-jing-lou-shi-tie-4-mi-fei-214279","多景楼诗帖-4","笔墨如挟风雷之势，每一笔皆见斩截之利。“舟”字撇捺舒展如振翼，“还”字欹侧中藏稳劲，“明”字飞白破墨似裂帛，“萬”字盘纡如老树盘根。整幅气韵连贯，墨色浓淡相济、干湿互见，于欹斜跌宕间守得平衡之妙，尽显“刷字”的爽利与潇洒。仿佛能窥见书者挥毫时的快意：笔走龙蛇，心随景动，将登高临远的豪情注入笔墨。每一字都似有生命跃然纸上，读之如闻松涛阵阵，见江浪滔滔，把山河壮阔与心绪激荡凝于方寸之间，尽显宋人书法的放达与风骨。",[25,38,7,27,4592],"飞白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f8636c11fbdf0691a35c723e827cc69.jpg",[],{"id":4596,"slug":4597,"title":2248,"dynasty":145,"author":4342,"museum":53,"description":4598,"tags":4599,"thumbUrl":4600,"material":123,"size":4601,"collection":62,"collections":4602,"showCount":4576,"zanCount":534,"manualWeight":11,"mainColor":66},214232,"xing-shu-qi-yan-lian-ceng-guo-fan-214232","笔墨沉雄如老松盘枝，每一笔皆含劲健之气，却又不失行书的流转意趣。欹侧间见平稳，牵丝处藏筋骨，颜体的浑厚与行书的洒脱交融，自成一格。联句“欹枕旧游来眼底，掩书馀味在胸中”文辞清雅，与书法的沉郁韵致相映成趣——墨痕里藏着岁月沉淀，笔锋间流露文人襟怀。读之观之，仿佛触到书写者掩卷沉思的心境：旧游历历如在目前，典籍余味萦绕心间。笔墨与文辞共织成一幅文人雅态，余味悠长，耐人寻味。",[23,38,7,2251,57,27,196,3383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99bdcbbeb48c7f7d13570de73d4bf1b0.jpg","129x30.8",[62],{"id":4604,"slug":4605,"title":4606,"dynasty":51,"author":1744,"museum":73,"description":4607,"tags":4608,"thumbUrl":4609,"material":61,"size":61,"collection":61,"collections":4610,"showCount":4611,"zanCount":534,"manualWeight":11,"mainColor":46},227492,"ba-ou-yang-xun-zhang-han-tie-zhao-ji-227492","跋欧阳询张翰帖","赵佶《题欧阳询张翰帖后跋》，楷书，纸本，25.2cmx33cm，北京故宫博物院藏。\n\n宋徽宗赵佶是古代帝王中著名的书画家，自幼重文史，好丹青，并展现出非同一般的艺术天赋。赵佶的“瘦金体'楷书瘦挺爽利，冷艳如笔法苍劲，笔墨不浮。其独特的审美价值可以说是前无古人，后无来者”。\n\n“瘦金体”的第一个特点是以硬毫作书，据传中国书法史上号称下第一行书““兰亭序”就是王羲之用鼠须硬毫笔所作。欧阳询的书法“瘦硬险劲”，用笔刚则铁画，媚若银钩”，受这些大家的影响，赵佶书写亦喜用硬毫，无论是楷书、草书、工笔、写意均用硬毫作之。\n\n“瘦金体的第二个特点是法度严谨、结构紧密。“瘦金体在结构上内宫紧密四周开张，内宫紧密，表现出书画家的笔老气足，四周开张，则显得风神飘逸。在学习书法的过程中，赵佶师从数家，各取所长，为己所用。被后人评为“瘦金体之祖”。",[56,24,25,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af149f8b233fb60ef6c6d00d514f457.jpg",[],65,{"id":4613,"slug":4614,"title":4615,"dynasty":51,"author":3802,"museum":106,"description":4616,"tags":4617,"thumbUrl":4618,"material":4619,"size":4620,"collection":226,"collections":4621,"showCount":4611,"zanCount":511,"manualWeight":11,"mainColor":66},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,56,24,25,26,78,27,28,29,79,32,81,402,31,82,177,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","绢本，淡设色","25.9*143cm",[226,42,155],{"id":4623,"slug":4624,"title":4625,"dynasty":51,"author":4626,"museum":73,"description":4627,"tags":4628,"thumbUrl":4632,"material":920,"size":921,"collection":61,"collections":4633,"showCount":4634,"zanCount":11,"manualWeight":11,"mainColor":46},289329,"ku-lou-huan-xi-tu-li-song-289329","骷髅幻戏图","李嵩","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。",[23,56,24,25,2579,28,79,4629,2979,4630,4631,38,7,58],"骷髅","母子","幻戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb763370785e266153eaddfb1f724eb.jpg",[],64,{"id":4636,"slug":4637,"title":4638,"dynasty":18,"author":220,"museum":73,"description":4639,"tags":4640,"thumbUrl":4642,"material":61,"size":61,"collection":61,"collections":4643,"showCount":4634,"zanCount":534,"manualWeight":11,"mainColor":66},232907,"fang-huang-quan-hua-niao-chong-die-yi-ming-232907","仿黄荃花鸟虫蝶","冬夜闻虫\n【唐】白居易\n虫声冬思苦于秋，不解愁人闻亦愁。\n我是老翁听不畏，少年莫听白君头\n冬天虫鸣，比秋天更让人发愁，即便不懂愁绪的人听了也会感到忧愁。我已经是个老人了，听了也没什么关系，年轻人就不要听了，那会让你愁白头的。",[23,3018,24,25,26,77,28,76,210,4641,112,1545,417,177,58,38,7],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff995cf8766f0528a866e2854e3963bca.jpg",[],{"id":4645,"slug":4646,"title":4647,"dynasty":51,"author":2283,"museum":53,"description":4648,"tags":4649,"thumbUrl":4650,"material":165,"size":4651,"collection":226,"collections":4652,"showCount":4634,"zanCount":11,"manualWeight":11,"mainColor":638},221378,"ying-shan-tu-juan-wang-shen-221378","赢山图卷","《宋王诜赢山图》用勾勒青绿填染画山，古朴清雅，元代钱选小青绿山水即似此画风，卷末山石上有小楷题识，云：“保宁赐第王晋卿赢山既觉，因图梦中所见，甲辰春正月梦游者。",[23,24,25,26,29,28,37,178,34,36,292,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60b9eb105d6a170d78f0e0696507e39.jpg","纵24.5厘米、横145.1厘米",[226,306,155],{"id":4654,"slug":4655,"title":4656,"dynasty":454,"author":677,"museum":106,"description":4657,"tags":4658,"thumbUrl":4659,"material":196,"size":4660,"collection":62,"collections":4661,"showCount":4634,"zanCount":334,"manualWeight":11,"mainColor":638},221108,"zhang-han-tie-ou-yang-xun-221108","张翰帖","《张翰帖》也称季鹰帖，记张翰故事。释文：\n“張翰字季鷹，吳郡人。有清才，善屬文，而縱任不拘，時人號之爲江東步兵。後謂同郡顧榮曰：天下紛紜，禍難未已。夫有四海之名者，求退良難。吾本山林間人，無望于時。子善以明防前，以智慮後。榮執其（疑缺“手”字）愴然，翰因見秋風起，乃思吳中菰菜鱸魚，遂命駕而歸。”（方框内字残，现据《晋书》补）\n此段文字见于《晋书·文苑》及《世说新语》等书中，但均属节录。张翰是西晋吴郡(今苏州)人，富于才情，为人舒放不羁，旷达纵酒，当时人将他喻为三国魏时“竹林七贤”之一的阮嵇(阮嵇曾为步兵校尉，人称阮步兵)，称他“江东步兵”。他追随贺循至洛阳做了齐王的官，但他并不快乐，时常思念江南故乡，于是萌生隐退山林、远离乱世之念，后终弃官回乡。\n《张翰帖》原属《史事帖》，是唐代著名书法家欧阳询存世四件墨迹之一。此帖是字体修长，笔力刚劲挺拔，风格险峻，精神外露。对开有瘦金书题跋一则，是宋徽宗赵佶在赏鉴之余写下的心得。他评此帖“笔法险劲，猛锐长驱”，并指出欧阳询“晚年笔力益刚劲，有执法面折庭争之风，孤峰崛起，四面削成。”这段评语对我们欣赏《张翰帖》以及其他欧体书都是极为重要的。\n本幅与题跋钤宋高宗赵构和清代收藏家安岐的印记。可知此帖曾藏南宋绍兴内府，清代由安岐收藏，后入乾隆内府，原有清内府玺印及乾隆帝题字，被刮去。\n此帖为唐人钩填本，笔墨厚重，锋棱稍差。\n清卞永誉《式古堂书画汇考》，清吴升《大观录》、安岐《墨缘汇观》等书有著录。",[23,38,7,25,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0030172b585a61f612db1ebc51a2de00.jpg","纵25.1厘米，横31.7厘米",[62],{"id":4663,"slug":4664,"title":4665,"dynasty":51,"author":1239,"museum":206,"description":4513,"tags":4666,"thumbUrl":4667,"material":96,"size":4516,"collection":61,"collections":4668,"showCount":4634,"zanCount":534,"manualWeight":11,"mainColor":46},218066,"song-di-ming-ti-ce-san-ma-yuan-218066","宋帝命题册(三)",[23,24,25,209,27,37,38,7,58,29,254,79,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c1925505197c148c13f3497d28a207.jpg",[],{"id":4670,"slug":4671,"title":4672,"dynasty":145,"author":4673,"museum":106,"description":4674,"tags":4675,"thumbUrl":4676,"material":196,"size":61,"collection":62,"collections":4677,"showCount":4678,"zanCount":534,"manualWeight":11,"mainColor":46},238975,"he-hua-wang-wen-zhi-ti-yong-zhou-pan-gong-shou-238975","荷花王文治题咏轴","潘恭寿","潘恭寿 （1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[57,24,25,27,28,418,709,7,38,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa48d2065c663302255911bf30c46e5.jpg",[62],63,{"id":4680,"slug":4681,"title":4682,"dynasty":91,"author":893,"museum":53,"description":4683,"tags":4684,"thumbUrl":4690,"material":196,"size":4691,"collection":61,"collections":4692,"showCount":4678,"zanCount":534,"manualWeight":11,"mainColor":46},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","元代画家倪瓒喜爱梧桐，相传他每日令童子汲水清洗院中的桐树，“门前杨柳密藏鸦，春事到桐花。敲火试新茶。想月珮，云衣故家。苔生雨馆，尘凝锦瑟，寂寞听鸣蛙。芳草际天涯。蝶栩栩，春晖梦赊。”春日阶前桐花开，画家试新茶时想起故家，有如庄周梦蝶，已是芳草天涯。这首《太常引 伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[24,27,29,37,7,58,376,377,897,36,177,4685,4686,4687,4688,4689,1844,194,2452],"平远构图","题款","枯笔","淡墨","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 厘米",[],{"id":4694,"slug":4695,"title":4696,"dynasty":145,"author":220,"museum":73,"description":4697,"tags":4698,"thumbUrl":4699,"material":61,"size":61,"collection":61,"collections":4700,"showCount":4678,"zanCount":11,"manualWeight":11,"mainColor":46},224109,"kang-xi-yong-zheng-qian-long-jia-qing-dao-guang-yu-bi-wu-fu-tu-yi-ming-224109","康熙、雍正、乾隆、嘉庆、道光御笔五福图","五幅御笔福字各擅风神：康熙之福雍容浑朴，自带庙堂端稳气象；雍正笔力爽利刚劲，法度谨严见骨力；乾隆书体圆润舒展，尽显盛世舒展意态；嘉庆落笔秀雅内敛，静穆端方；道光笔触朴拙厚重，自带沉凝质感。\n\n每字上方钤朱红帝王宝玺，小字题识附于其下，呼应御笔身份。米黄地子衬缠枝暗纹，朱印墨字相映成趣，将五朝帝王的书法意趣，与传统五福祥瑞之意相融，兼具书法审美价值与吉祥文化内涵。",[23,3383,38,25,7,58,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa5f2a0a8689aba2be7855d85362368a.jpg",[],{"id":4702,"slug":4703,"title":4704,"dynasty":145,"author":4705,"museum":53,"description":4706,"tags":4707,"thumbUrl":4708,"material":196,"size":61,"collection":62,"collections":4709,"showCount":4678,"zanCount":11,"manualWeight":11,"mainColor":66},221009,"shu-hua-ce-ye-wu-hu-fan-221009","《书画册页》","吴湖帆","此作为鉴藏题签，以颜楷立骨，行书辅意。主文笔墨沉厚雄健，结体宽博开张，笔势遒劲苍浑；侧款灵动疏朗，与主文虚实相生，错落有致。浓墨配古雅笺纸，朱印鲜亮点睛，书、纸、印三者相得益彰。题字既点明藏品之珍绝，亦寄寓藏家矜惜之意，将鉴藏风雅融于笔墨之间，尽显鉴藏大家的笔墨风骨与文雅襟怀，是一件兼具鉴藏价值与书法审美意趣的文人小品。",[23,38,7,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956aee8c8c5e1ea4324478f47a3f7008.jpg",[62],{"id":4711,"slug":4712,"title":4713,"dynasty":91,"author":440,"museum":20,"description":4714,"tags":4715,"thumbUrl":4716,"material":196,"size":4717,"collection":62,"collections":4718,"showCount":4678,"zanCount":534,"manualWeight":11,"mainColor":46},220851,"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[23,25,38,7,26,58,353,2237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纵达四十七点五厘米,横三百五十六厘米",[62],{"id":4720,"slug":4721,"title":4722,"dynasty":454,"author":4723,"museum":73,"description":4724,"tags":4725,"thumbUrl":4727,"material":683,"size":4728,"collection":62,"collections":4729,"showCount":4678,"zanCount":11,"manualWeight":11,"mainColor":66},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》。",[681,38,7,680,4726],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6065f63d3f1660ddad46fd831cad70.jpg","195x122",[62],{"id":4731,"slug":4732,"title":4733,"dynasty":91,"author":92,"museum":53,"description":4734,"tags":4735,"thumbUrl":4736,"material":920,"size":921,"collection":61,"collections":4737,"showCount":4738,"zanCount":511,"manualWeight":11,"mainColor":66},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[56,24,25,57,27,29,3615,34,31,33,177,37,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":4740,"slug":4741,"title":4742,"dynasty":145,"author":4100,"museum":73,"description":4743,"tags":4744,"thumbUrl":4745,"material":920,"size":921,"collection":61,"collections":4746,"showCount":4738,"zanCount":11,"manualWeight":11,"mainColor":46},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,25,26,28,77,7,38,58,211,908,708,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],{"id":4748,"slug":4749,"title":4750,"dynasty":145,"author":146,"museum":73,"description":4751,"tags":4752,"thumbUrl":4753,"material":920,"size":921,"collection":125,"collections":4754,"showCount":4738,"zanCount":334,"manualWeight":11,"mainColor":46},235482,"huang-shen-shu-guo-tu-ce-huang-shen-235482","黄慎蔬果图册","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,25,209,27,28,4424,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a06080dfb464dc2918e366572dfcfde.jpg",[125],{"id":4756,"slug":4757,"title":4758,"dynasty":18,"author":19,"museum":106,"description":4759,"tags":4760,"thumbUrl":4761,"material":243,"size":61,"collection":61,"collections":4762,"showCount":4738,"zanCount":11,"manualWeight":11,"mainColor":46},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,27,28,37,38,7,223,29,35,34,194,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":4764,"slug":4765,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":4766,"thumbUrl":4767,"material":196,"size":1004,"collection":61,"collections":4768,"showCount":4738,"zanCount":11,"manualWeight":11,"mainColor":46},234096,"wu-zhong-shan-shui-ce-shen-zhou-234096",[24,25,209,27,7,37,29,30,31,32,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff615aa6731f6aad97ced3ec6ba894313.jpg",[],{"id":4770,"slug":4771,"title":4772,"dynasty":145,"author":324,"museum":73,"description":4773,"tags":4774,"thumbUrl":4776,"material":61,"size":61,"collection":61,"collections":4777,"showCount":4738,"zanCount":534,"manualWeight":11,"mainColor":66},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[23,24,27,37,57,25,7,29,4775,494,30,31,113,328,212,79],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ee2c58c5ce1b367e94b44021285a3.jpg",[],{"id":4779,"slug":4780,"title":4781,"dynasty":51,"author":4531,"museum":73,"description":4782,"tags":4783,"thumbUrl":4784,"material":61,"size":61,"collection":61,"collections":4785,"showCount":4738,"zanCount":11,"manualWeight":11,"mainColor":46},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[23,24,25,26,27,37,7,58,29,32,82,291,34,35,31,404,290,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":4787,"slug":4788,"title":4789,"dynasty":51,"author":1744,"museum":73,"description":4790,"tags":4791,"thumbUrl":4792,"material":61,"size":61,"collection":61,"collections":4793,"showCount":4738,"zanCount":534,"manualWeight":11,"mainColor":46},227490,"gong-shi-fang-qiu-chi-zhao-ji-227490","恭事方丘敕","宋徽宗赵佶《恭事方丘敕》质地为五幅不同颜色的均描有金花凤的罗绢，又名《方丘礼戍答妃嫔起居敕》、《方丘季享敕》。",[23,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1cb57e70671faa9fe3a3135ca50598.jpg",[],{"id":4795,"slug":4796,"title":4797,"dynasty":18,"author":4798,"museum":20,"description":4799,"tags":4800,"thumbUrl":4801,"material":28,"size":4802,"collection":125,"collections":4803,"showCount":4738,"zanCount":534,"manualWeight":11,"mainColor":46},222448,"hua-niao-tu-zhou-lin-liang-222448","花鸟图轴","林良","林良作花鸟画取材十分广泛。他最擅于画禽鸟，从江湖山野的苍鹰、小雀、鱼鸟、芦雁，到宫廷后苑的仙鹤、孔雀、凤凰等等，都一一入画。他对禽鸟作了细致入微的观察，将禽鸟的飞鸣食宿之态，跳攀争斗之势表现得十分准确、生动、传神。林良画的花木同样是生气勃勃：汀芦、灌木、翠枝、枯藤等植物呈现出含苞养秀、荣枯凋落等各种生态，充满野趣和生机。\n林良在花鸟画领域中，最具创造性的是他对水墨写意技法的运用。他把南宋马远、夏圭的水墨山水画技法引入花鸟画之中，打破了工笔与写意的界限，大大丰富了花鸟画的表现方法。而林良的写意，又只是在写实之中略为开放，既不背离形似，又不着意于酷似。他以水墨为主作画，黑白变化多端。萧镃于明景泰六年为林良的《九思图》题曰：“……宣庙间，边景昭五色翎毛称独步，近日林良用水墨，落笔往往皆天趣。”《明画录》则称林良“着色花果翎毛极精巧，取水墨为烟波出没，凫雁嚵唼容与之态，颇见清淡。树木遒劲如草书，人莫能及。”",[23,24,57,27,109,210,962,1896,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a383be487dab662a8b62819082463dd.jpg","36X183cm",[125,168],{"id":4805,"slug":4806,"title":4807,"dynasty":51,"author":52,"museum":53,"description":4461,"tags":4808,"thumbUrl":4809,"material":2831,"size":4810,"collection":62,"collections":4811,"showCount":4738,"zanCount":534,"manualWeight":11,"mainColor":46},221267,"shu-han-shan-zi-pang-ju-shi-shi-juan-huang-ting-jian-221267","书寒山子庞居士诗卷",[38,7,26,196,1698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdc8b7f6439835438af172d141a859d.jpg","纵29.1厘米，横213.8厘米",[62],{"id":4813,"slug":4814,"title":4815,"dynasty":91,"author":4816,"museum":1685,"description":4817,"tags":4818,"thumbUrl":4819,"material":96,"size":4820,"collection":306,"collections":4821,"showCount":4738,"zanCount":534,"manualWeight":11,"mainColor":66},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","王振鹏","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,25,26,1594,77,28,79,150,34,35,31,3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“虽戏写亦如欲刻金石”，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[38,7,76,58,26,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e32b4427919d25ac2c78252539055fa.jpg","纵7.1厘米，横26.2厘米",[62],{"id":4896,"slug":4897,"title":4898,"dynasty":91,"author":440,"museum":106,"description":4899,"tags":4900,"thumbUrl":4901,"material":4902,"size":4903,"collection":226,"collections":4904,"showCount":4841,"zanCount":11,"manualWeight":11,"mainColor":66},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[23,24,25,26,28,210,112,82,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 设色画","纵25.4厘米,横36.2厘米",[226,125,155],{"id":4906,"slug":4907,"title":607,"dynasty":18,"author":479,"museum":73,"description":2782,"tags":4908,"thumbUrl":4910,"material":920,"size":921,"collection":61,"collections":4911,"showCount":4912,"zanCount":534,"manualWeight":11,"mainColor":46},290852,"pin-cha-tu-zhou-tang-yin-290852",[56,24,25,57,27,38,58,7,2031,29,79,774,35,36,4909],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c39e34cc459a2556e9473dfeb7bd579.jpg",[],60,{"id":4914,"slug":4915,"title":4916,"dynasty":145,"author":1413,"museum":106,"description":4917,"tags":4918,"thumbUrl":4923,"material":243,"size":4924,"collection":61,"collections":4925,"showCount":4912,"zanCount":11,"manualWeight":11,"mainColor":46},234229,"shu-guo-juan-zhu-da-234229","蔬果卷","从右到左勾勒出黄瓜、芋头、葱、大蒜、茄子、白菜、莲藕、梨等蔬菜水果，排列成行，都是农村常见的，有不同的 形与质，大小不一，疏密，散落。有人生感和禅意。 是八大山人一贯的写意风格。",[23,56,24,25,26,27,109,7,58,4424,2253,4919,4920,4921,4922],"葱","蒜","黄瓜","兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b940c2439fdac30eea8813cf5a83875.jpg","28×206.5厘米",[],{"id":4927,"slug":4928,"title":4929,"dynasty":18,"author":1024,"museum":3142,"description":4930,"tags":4931,"thumbUrl":4932,"material":802,"size":4933,"collection":42,"collections":4934,"showCount":4912,"zanCount":511,"manualWeight":11,"mainColor":66},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,25,26,28,29,7,38,37,77,178,292,150,30,31,32,33,82,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[42,155],{"id":4936,"slug":4937,"title":4938,"dynasty":51,"author":3802,"museum":106,"description":4939,"tags":4940,"thumbUrl":4941,"material":1262,"size":4942,"collection":226,"collections":4943,"showCount":4912,"zanCount":534,"manualWeight":11,"mainColor":66},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,24,25,26,78,28,7,38,79,150,34,1395,29,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[226,42,155],{"id":4945,"slug":4946,"title":4947,"dynasty":18,"author":881,"museum":73,"description":4948,"tags":4949,"thumbUrl":4954,"material":4955,"size":4956,"collection":62,"collections":4957,"showCount":4912,"zanCount":534,"manualWeight":11,"mainColor":46},220966,"tao-yuan-ming-yin-jiu-shi-si-shou-juan-dong-qi-chang-220966","陶渊明饮酒诗四首卷","陶渊明对于后世书法家的影响不可谓不深远。明代的书陶者以“吴中三家”祝允明、文徵明、王宠的成就为最高，但在现存的针对“吴中三家”的研究文献中，对于王宠的研究为最少，论及陶渊明于王宠之影响者更少。在笔者看来，王宠书法承祝、文二家而自出机杼，书法中的禅趣古意实则为三家中最高者，实则获陶渊明之精髓。而随后的董其昌更是在理论的高度吸收了陶渊明的思想，提倡平淡率真的书法品格，对后世产生了巨大影响。但以往对董其昌与陶渊明关系的分析又多浮于表面，多数仅就意象、风格之相似或文辞用典的使用做文章。笔者旨在通过考查王宠、董其昌二人的书法、书论，来进一步阐述陶渊明对于中国文化的巨大影响。",[23,38,7,26,121,376,962,113,212,4950,4951,4952,1949,1456,3857,4953],"霜","日夕","杯","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa855cec2eb1d059b8471f7fba71c89f4.jpg","行草","25x269厘米",[62],{"id":4959,"slug":4960,"title":4961,"dynasty":18,"author":881,"museum":53,"description":4962,"tags":4963,"thumbUrl":4964,"material":407,"size":4965,"collection":42,"collections":4966,"showCount":4912,"zanCount":11,"manualWeight":11,"mainColor":46},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,25,27,29,37,76,38,7,58,30,31,34,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[42,168],{"id":4968,"slug":4969,"title":4970,"dynasty":71,"author":4971,"museum":73,"description":4972,"tags":4973,"thumbUrl":4974,"material":920,"size":921,"collection":61,"collections":4975,"showCount":4976,"zanCount":11,"manualWeight":11,"mainColor":46},288066,"zhong-lang-tie-xie-an-288066","中郎帖","谢安","《中郎帖》是传为东晋人谢安书写的一封报丧书信，信中告知中郎突然去世的消息，同时表达了自己内心痛苦不堪、难以忍受的情感。\n《中郎帖》又称《八月五日帖》。此帖有“德寿”玺印，为南宋高宗之印（高宗赵构做太上皇时曾退居德寿殿），另据此帖纸、墨等判断，可确认它为南宋绍兴御书院中人所临摹的古帖，虽然不是谢安的真迹，依然宝贵。\n在南宋，由于高宗以来历代皇帝对二王及晋人书的嗜好，上行下效，使南宋书风充满古雅萧散的气质。此帖行笔圆转流畅，笔法纯熟，具有典雅丰腴、气度雍容的特点。",[23,38,7,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01a21dca3941d610e11a94e8d446ca5.jpg",[],59,{"id":4978,"slug":4979,"title":3069,"dynasty":145,"author":1835,"museum":73,"description":4980,"tags":4981,"thumbUrl":4982,"material":920,"size":921,"collection":42,"collections":4983,"showCount":4976,"zanCount":534,"manualWeight":11,"mainColor":46},235611,"hong-ren-shan-shui-ce-hong-ren-235611","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[24,25,27,29,150,254,3072,35,238,1244,37,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[42],{"id":4985,"slug":4986,"title":4987,"dynasty":51,"author":784,"museum":73,"description":4988,"tags":4989,"thumbUrl":4990,"material":61,"size":61,"collection":61,"collections":4991,"showCount":4976,"zanCount":11,"manualWeight":11,"mainColor":46},227721,"ci-yue-fei-pi-da-juan-zhao-gou-227721","赐岳飞批剳卷","岳飞（1103~1142）字鹏举，汉族。北宋相州汤阴县永和乡孝悌里（今河南省安阳市汤阴县菜园镇程岗村）人。中国历史上著名战略家、军事家、民族英雄、抗金名将。岳飞在军事方面的才能则被誉为宋、辽、金、西夏时期最为杰出的军事统帅、连结河朔之谋的缔造者。同时又是两宋以来最年轻的建节封侯者。南宋中兴四将（岳飞、韩世忠、张俊、刘光世）之首。岳飞主要军工基本建立在南方，与之相对应的还有镇守四川的大将吴阶。",[38,7,26,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230ca8bf8edd33756c6f84022931725d.jpg",[],{"id":4993,"slug":4994,"title":4995,"dynasty":51,"author":526,"museum":2564,"description":4996,"tags":4997,"thumbUrl":4998,"material":1262,"size":4999,"collection":226,"collections":5000,"showCount":4976,"zanCount":511,"manualWeight":11,"mainColor":66},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,56,24,25,26,78,27,28,79,29,34,36,32,31,33,7,2031,121,112,82,1885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[226,306,168],{"id":5002,"slug":5003,"title":5004,"dynasty":91,"author":440,"museum":1685,"description":5005,"tags":5006,"thumbUrl":5007,"material":196,"size":5008,"collection":62,"collections":5009,"showCount":4976,"zanCount":11,"manualWeight":11,"mainColor":46},220860,"wang-xi-zhi-yi-shi-tie-zhao-meng-fu-220860","王羲之轶事帖","赵孟頫《王羲之轶事帖》，又名《右军四事帖》、《王羲之书事卷》等，书于元代大德年间，是赵氏传世作品中的精品佳作。纸本行书，帖芯24.4×117cm，全卷含题跋26.5×851.2cm，原为美国顾洛阜旧藏，现藏于纽约大都会博物馆。\n《羲之四事帖》书风，以《阁帖》中王羲之书和《兰亭序》为主，兼以《十七帖》笔意，布局精严。赵孟頫学王羲之书，可谓“前无古人，后无来者”。赵孟頫的唯美主义书法整整影响了元、明、清三代，明人何良俊《四友斋丛说》中曾云：“上下五百年，纵横一万里，举无此书”。\n释文：羲之书在始未有奇殊，不胜庾翼、郗愔，迨其末年，乃造其极。尝以章草答庾亮，亮以示翼，翼叹服，因与羲之书云：“吾昔有伯英章草书十纸，过江亡失，常痛妙迹永绝，忽见足下答家兄书，焕若神明，顿还旧观。”\n羲之罢会稽，住蕺山下。旦见一老姥，把十许六角竹扇出市。王聊问：“比欲货耶，一枚几钱？”答云：“二十许。”右军取笔书扇，扇五字。姥大怅惋云：“老妇（妇字原缺，据明抄本补）举家朝餐，俱仰于此，云何书坏。”王答曰：“无所损，但道是王右军书字，请一百。”既入市，人竞市之。后数日，复以数扇来诣，请更书，王笑而不答。\n羲之曾自书表与穆帝，专精任意。帝乃令索纸色类，长短阔狭，与王表相似。使张翼写效，一毫不异，乃题后答之。羲之初不觉，后更相看，乃叹曰：“小人乱真乃尔。”羲之性好鹅，山阳昙忀村有一道士养好者十余。王清旦乘小船，故往看之。意大愿乐，乃告求市易，道士不与。百方譬说，不能得之。道士言性好道，久欲写河上公老子，缣素早办，而无人能书。府若能自书老子（老子原作屈，据明抄本改）《道德》各两章，便合群以奉。羲之停半日，为写毕。笼鹅而归。",[23,26,38,7,352,58,646,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815b7aa9a62e80c21a0150d35e609d27.jpg","帖芯24.4×117cm，全卷含题跋26.5×851.2cm",[62],{"id":5011,"slug":5012,"title":2058,"dynasty":91,"author":440,"museum":73,"description":5013,"tags":5014,"thumbUrl":5015,"material":920,"size":921,"collection":61,"collections":5016,"showCount":5017,"zanCount":534,"manualWeight":11,"mainColor":66},290935,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-290935","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。",[23,56,24,26,25,289,28,27,37,29,34,36,1363,445,292,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3acdbfa403f50624d802c30aec9c15a.jpg",[],58,{"id":5019,"slug":5020,"title":5021,"dynasty":5022,"author":5023,"museum":73,"description":5024,"tags":5025,"thumbUrl":5028,"material":920,"size":921,"collection":61,"collections":5029,"showCount":5017,"zanCount":11,"manualWeight":11,"mainColor":46},290098,"you-chun-tu-quan-juan-zhan-zi-qian-290098","游春图全卷","隋","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[23,24,56,26,1394,28,29,5026,5027,178,31,117,34,82,38,7,58],"春景","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],{"id":5031,"slug":5032,"title":5033,"dynasty":145,"author":2177,"museum":73,"description":5034,"tags":5035,"thumbUrl":5037,"material":61,"size":61,"collection":42,"collections":5038,"showCount":5017,"zanCount":11,"manualWeight":11,"mainColor":46},237873,"shan-shui-tu-zhou-kun-can-237873","山水图轴","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,27,37,57,25,7,58,29,178,34,192,5036,194,2452,179],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[42,62],{"id":5040,"slug":5041,"title":5042,"dynasty":145,"author":717,"museum":73,"description":858,"tags":5043,"thumbUrl":5044,"material":61,"size":61,"collection":61,"collections":5045,"showCount":5017,"zanCount":11,"manualWeight":11,"mainColor":46},233910,"hua-hui-shan-shui-ce-yun-shou-ping-233910","花卉山水册",[24,56,27,29,34,32,36,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f978b31f4e82d9cf3cbe5710996a355.jpg",[],{"id":5047,"slug":5048,"title":5049,"dynasty":51,"author":5050,"museum":73,"description":5051,"tags":5052,"thumbUrl":5053,"material":61,"size":61,"collection":61,"collections":5054,"showCount":5017,"zanCount":534,"manualWeight":11,"mainColor":66},227521,"song-si-jia-chi-du-cai-xiang-227521","宋四家尺牍－","蔡襄","“宋四家”即指宋人苏黄米蔡的书法，是苏轼、黄庭坚、米芾、蔡襄的合称，被后世认为是最能代表宋代书法成就的书法家。有人认为苏黄米蔡的“蔡”应为北宋初年的书法家蔡襄。但就古人十分看重的年齿排辈而言，蔡若为蔡襄，则蔡应当排在苏之前。苏、黄、米皆按年齿排列，因此，作为北宋末年人的蔡京是为蔡，应当毫无争议。而后人认为蔡是指蔡襄，是因为蔡京的名声太臭，导致徽宗亡国，历史地位无法与前几位相提并论，故后人更加喜欢认为蔡指蔡襄。\n\n宋四家传世作品甚多，墨迹传世也不少，故介绍宋四家时以现存墨迹较好的作为推荐。",[38,7,196,353,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24a3d33148651eeecd1f5d52609cefbc.jpg",[],{"id":5056,"slug":5057,"title":5058,"dynasty":71,"author":760,"museum":106,"description":5059,"tags":5060,"thumbUrl":5061,"material":5062,"size":5063,"collection":62,"collections":5064,"showCount":5017,"zanCount":11,"manualWeight":11,"mainColor":638},221038,"yu-hou-tie-wang-xi-zhi-221038","雨后贴","《雨后帖》页，晋，传晋王羲之书，纸本，行草，纵25.7厘米，横14.9厘米。\n释文：\n今日雨后未果奉状，想□能于言话，可定便得书问，永以为训。妙绝无已，当其使转。与都下□信，戴适过于□也。羲之。\n署款下一草押不识，又“禹民”二字题名。\n鉴藏印有 “世南”、“贞观”（画描墨印），以及“四代相印”（朱文，伪）、“志东奇玩”（朱文，伪）、“绍兴”（朱文联珠），清乾隆、嘉庆、宣统内府诸印。\n帖后有元邓文原，明董其昌题跋各一段，明邹之麟题跋两段。\n《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。\n此帖最早见于清代安岐《墨缘汇观》：“雨后帖，草书，纸本，唐模，有‘世南’墨印。”今专家鉴定认为此帖并非王羲之亲书原迹，依据有三：一是此帖上清代以前的钤印中除“绍兴”外皆不真。书法确有沉雄古雅之气，但与《姨母》、《丧乱》诸帖和《兰亭序》对比相去甚远。二是从用纸分析，纸为深褐色带有细横帘纹的竹纸。而竹纸在晋代是没有的，宋苏轼《东坡志林》卷九曾云：“今人以竹为纸，亦古所无有也。”三是晋代的书写工具是实心笔，行笔时笔毫开叉而经常出现贼毫，然《雨后帖》则用兼毫笔，笔画既软又肥，字距之间笔势连带而出现牵丝，无一笔贼毫出现，因此不应为晋时所书。\n从此帖的墨色浓淡变化观察，与运笔的启收、顿挫转折的徐疾和用力相吻合，无勾摹痕迹，因此判断此帖应是古临本，书写年代在北宋至南宋绍兴以前。\n清《书画记》、《平生壮观》、《墨缘汇观续录》、《石渠宝笈初编》著录。",[38,7,1698,3332,209,25,2239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c92ae95145c43b40bb395a52c884972.jpg","纸本，行草","纵25.7厘米，横14.9厘米",[62,463],{"id":5066,"slug":5067,"title":5068,"dynasty":18,"author":881,"museum":106,"description":5069,"tags":5070,"thumbUrl":5071,"material":5072,"size":5073,"collection":62,"collections":5074,"showCount":5017,"zanCount":11,"manualWeight":11,"mainColor":46},220937,"fang-yan-zhen-qing-shu-zhou-dong-qi-chang-220937","仿颜真卿书轴","董其昌《仿颜真卿书轴》，本幅抄录唐人萧嵩诗，赞颂张说（西元六六七至七三Ο年）及唐代集贤院文风。此轴楷书用笔浑厚，结字灵动，承继颜真卿（西元七Ο九至七八五年）楷书精神，但更讲究用笔变化以及疏朗行气，堪称是董其昌在颜体中追求虚和取韵的自我面貌。\n\n董其昌的书法，不仅影响着晚明书坛，并且深刻地影响着清代的康乾盛世。《书林藻鉴》中说：“圣祖则酷爱董其昌书，海内真迹，搜访殆尽，玉、煤金题，汇登秘阁。董书在明末已靡于江南，自经新朝睿赏，声价益重，朝殿考试，斋廷供奉，干禄求仕，视为捷途，风会所趋，香光几定于一尊矣。”",[25,38,57,76,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194bce2ffa4033f864692ba3272ec41f.jpg","绢本，行楷书","纵36.8cm，横1579.7cm",[62],{"id":5076,"slug":5077,"title":5078,"dynasty":18,"author":5079,"museum":3142,"description":5080,"tags":5081,"thumbUrl":5083,"material":123,"size":5084,"collection":42,"collections":5085,"showCount":5017,"zanCount":511,"manualWeight":11,"mainColor":46},219948,"fang-mi-fei-yun-shan-tu-mo-shi-long-219948","仿米芾云山图","莫是龙","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[23,24,25,26,27,76,38,7,37,29,5082,178,34,179,58],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1550e95af95b112efd3574d713c9812.jpg","20.8x233厘米",[42],{"id":5087,"slug":5088,"title":5089,"dynasty":91,"author":5090,"museum":206,"description":5091,"tags":5092,"thumbUrl":5095,"material":123,"size":61,"collection":306,"collections":5096,"showCount":5017,"zanCount":11,"manualWeight":11,"mainColor":46},219398,"zhong-jin-shi-yuan-ye-chu-you-tu-yan-hui-219398","钟进士元夜出游图","颜辉","墨线劲挺如铁，勾勒出钟馗的凛凛威仪，群鬼随扈左右——或扛幡持械，步履生风；或嬉戏打闹，憨态可掬。简括造型里藏着生动细节：鬼卒夸张的肢体、钟馗沉凝的神情，在浓淡相宜的墨色中鲜活起来。画面以动态叙事，仿佛能听见队伍行进的喧腾，元夜的神秘氛围与人间烟火气交织。笔意洒脱却不失精准，将神鬼世界的诙谐与庄重融于一卷，尽显元人写意人物画的妙趣与功力，是寓庄于谐的艺术佳构。",[56,24,25,26,78,27,79,5093,5094,4505,58,38,7,223,2031,2226,77],"鬼神","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b72bdb16674e440c200b8a4b6d4b.jpg",[306],{"id":5098,"slug":5099,"title":5100,"dynasty":145,"author":220,"museum":738,"description":5101,"tags":5102,"thumbUrl":5104,"material":96,"size":5105,"collection":306,"collections":5106,"showCount":5017,"zanCount":11,"manualWeight":11,"mainColor":66},218525,"li-xiang-jun-xiao-xiang-yi-ming-218525","李香君小像","画有李香君的小像，面板左上方有侯方域《李姬传》的小楷长诗。",[24,2579,77,28,79,80,38,7,5103],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa138eb64d00fad7bfd083254678fc512.jpg","22.8x25.5",[306],{"id":5108,"slug":5109,"title":5110,"dynasty":18,"author":5111,"museum":106,"description":5112,"tags":5113,"thumbUrl":5114,"material":40,"size":5115,"collection":125,"collections":5116,"showCount":5017,"zanCount":11,"manualWeight":11,"mainColor":46},216096,"yun-gen-cong-xiao-tu-ye-wang-fu-216096","云根丛篠图页","王绂","本幅墨笔画坡石丛竹，左边款：”王绂“。印”孟端“朱方，乾隆对题一页。有安岐、项子京藏印三方。",[23,24,27,7,58,38,209,112,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f6f8338035b5d4699fea149d00afb4.jpg","纵26.2cm，横29.5cm",[125],{"id":5118,"slug":5119,"title":5120,"dynasty":51,"author":526,"museum":2633,"description":5121,"tags":5122,"thumbUrl":5123,"material":196,"size":5124,"collection":61,"collections":5125,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},231424,"xiao-xiang-wo-you-tu-juan-li-gong-lin-231424","潇湘卧游图卷","《潇湘卧游图》为纸本墨笔，纵30.2厘米，横399.4厘米，意境开阔，大开大阖，随着观者视觉的移动，描绘了潇湘美景。 卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[23,24,25,26,27,29,37,38,7,58,237,2275,34,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":5127,"slug":5128,"title":3989,"dynasty":18,"author":881,"museum":373,"description":3990,"tags":5129,"thumbUrl":5131,"material":1344,"size":5132,"collection":42,"collections":5133,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954",[23,24,25,26,27,37,7,38,58,29,495,34,36,237,5130,194],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","卷纵29.3厘米横340.8厘米",[42,168],{"id":5135,"slug":5136,"title":5137,"dynasty":91,"author":440,"museum":373,"description":5138,"tags":5139,"thumbUrl":5140,"material":196,"size":5141,"collection":62,"collections":5142,"showCount":5,"zanCount":511,"manualWeight":11,"mainColor":46},220866,"qiu-sheng-fu-quan-juan-zhao-meng-fu-220866","秋声赋全卷","大字行书欧阳修《秋声赋》全文，用笔挺劲，中藏锋锷，英标劲骨，遒美俊逸，欲与秋声斗雄。\n行间茂密，丰容缛婉，为其书法风格的典型代表。\n书法既有晋魏名家，特别是二王本来面貌，又反映自家书法特点，是一件集前人大成之作。",[23,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99fc940545db866cd864f26dc0271e3.jpg","书心纵4.8、横182.2厘米。",[62],{"id":5144,"slug":5145,"title":5146,"dynasty":51,"author":362,"museum":53,"description":5147,"tags":5148,"thumbUrl":5149,"material":196,"size":5150,"collection":62,"collections":5151,"showCount":5,"zanCount":534,"manualWeight":11,"mainColor":46},220232,"bao-yue-tie-yu-chuai-cha-tie-su-shi-220232","宝月贴与啜茶贴","啜茶帖作于元丰三年，此帖为《致杜氏五札》之一，是东坡写给好友杜道源的一则便条，内容是邀请道源前来饮茶，顺便有事相商。\n啜茶帖用墨丰腴，笔触精到，每字各具姿态；大小错落，连绵有致，行间气脉贯穿，带有明显的晋人风韵。通篇而论，笔法精严而不拘束，姿态妍美而不做作，行文内容的轻松随意使得落笔自由挥洒，筋骨在形，神情寓内，短短32字气韵生动，传递出一种法度之上更有自在的适然情绪。\n宝月帖于治平二年书,此帖也为《致杜氏五札》之一\n此帖中“大人”，应指东坡之父苏洵；“宝月”，即指东坡族兄僧惟简；“令子监簿”大概指杜道源，吴歼跋云：“明允(苏洵)友君懿而兄事之，道源以父任簿其官。”东坡书此帖时，父亲尚在世。文中云“催了《礼书》事”，这《礼书》即苏洵参与编纂的《太常因革礼》一百卷。《续资治通监》卷六三英宗治平二年九月辛酉：“提举编纂礼书、参知政事欧阳修奏，已编纂书成百卷，诏以《太常因革礼》为名，赐修等银帛有差。”又，欧阳修《故霸州文安县主簿苏君(明允)墓志铭》：“为《太常因革礼》一百卷，书成方奏未报，而君以疾卒。实治平三年四月戊申也。”谈《礼书》事，必在治平三年苏洵死前，且在治平二年九月书成之前。故定为治干二年初书此帖为宜。孔凡礼将此札编人《苏轼文集·轶文汇编》时归人《与杜道源五首》中，有误。因为治乎二年，杜道源之“令子”杜孟坚尚年少，未能“监簿”。\n此帖笔法峻健锐利，应为早年书，是东坡存世墨迹的肇始之作。",[25,38,7,58,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4c2d78a4e0cd6c8a1c9598d173294b.jpg","23厘米×17.7厘米",[62],{"id":5153,"slug":5154,"title":5155,"dynasty":145,"author":339,"museum":5156,"description":5157,"tags":5158,"thumbUrl":5159,"material":196,"size":5160,"collection":62,"collections":5161,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},220137,"jie-lu-huai-su-zi-xu-tie-zheng-ban-qiao-220137","节录怀素自叙帖","武汉博物馆","此轴以画法入笔，左低右高，疏密有致，大小相宜，可谓“乱石铺街”，如“雨夹雪”。它不但完美地展现了板桥书法“真气、真意、真趣”的艺术风格，同时也彰显了艺术家狂放不羁、无拘无束的个性魅力。",[23,57,38,7,1014,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7b134b4869b9dcbeea028d9e01d678.jpg","159cm×91cm",[62],{"id":5163,"slug":5164,"title":5165,"dynasty":18,"author":479,"museum":106,"description":5166,"tags":5167,"thumbUrl":5168,"material":123,"size":5169,"collection":168,"collections":5170,"showCount":5,"zanCount":334,"manualWeight":11,"mainColor":46},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[23,24,25,26,27,28,37,7,38,29,150,81,177,30,31,33,79,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 横102.2厘米",[168],{"id":5172,"slug":5173,"title":5174,"dynasty":91,"author":5175,"museum":5176,"description":5177,"tags":5178,"thumbUrl":5179,"material":123,"size":5180,"collection":42,"collections":5181,"showCount":5,"zanCount":534,"manualWeight":11,"mainColor":46},219934,"tan-you-gui-lai-tu-zhu-de-run-219934","探友归来图","朱德润","金贝尔艺术博物馆","朱德润字泽民，号睢阳山人，又号旹杰，其擅山水，初学许道宁，后法郭熙，所画多作溪山清远、峰岳耸秀、林木挺健，山石用卷云皴，树作蟹爪枝，颇具真实感。",[23,24,25,26,27,37,29,30,31,32,377,35,179,79,193,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72957dd60af3e3d5c952f9e954c2d1e.jpg","28.2x119.3",[42],{"id":5183,"slug":5184,"title":5185,"dynasty":145,"author":5186,"museum":991,"description":5187,"tags":5188,"thumbUrl":5192,"material":40,"size":5193,"collection":125,"collections":5194,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},216114,"shen-gui-tu-cai-jia-216114","神龟图","蔡嘉","该图构思巧妙，刻划生动。石头用浓墨渲染，缀以浑厚苔默；水纹勾线，灵活飘逸。此图构图重心偏下，一片汹涌水浪中微现一孤石，石上一龟，身体缩入甲内，颇有不顾外界任何风云变幻的从容。石畔水草丛生，被风吹得倒向一边，凸现出气氛的凌厉，更反衬龟之安祥。画面上端是金农行书《神龟篇》全文，占去了小半画幅，使原本简练的构图免了单薄之虑，显得十分得体而多姿。",[23,24,25,57,27,7,5189,5190,5191],"神龟","水草","水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b723d9b993907540f7591f1c131e8c.jpg","纵108厘米 横38.5厘米",[125],{"id":5196,"slug":5197,"title":5198,"dynasty":51,"author":3802,"museum":1745,"description":5199,"tags":5200,"thumbUrl":5201,"material":165,"size":5202,"collection":226,"collections":5203,"showCount":5204,"zanCount":511,"manualWeight":11,"mainColor":66},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,56,24,25,26,78,28,7,58,38,79,150,31,30,33,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[226,42,155],56,{"id":5206,"slug":5207,"title":5208,"dynasty":51,"author":349,"museum":73,"description":5209,"tags":5210,"thumbUrl":5211,"material":196,"size":61,"collection":62,"collections":5212,"showCount":5213,"zanCount":11,"manualWeight":11,"mainColor":46},240680,"qian-gu-fang-zhou-mi-fei-240680","钱榖仿轴","此作用笔跳宕爽利，全仿米芾行书意趣，结体欹侧奇崛，一如米氏风樯阵马之势。通篇行气贯通，牵丝映带间尽显笔势流转之美，墨色浓淡干湿自然变化，提按顿挫见腕力遒劲。诗句章法排布疏朗得当，字字顾盼生姿，既有米家刷字的洒脱快意，又蕴含着温润舒展的自运之态，于临摹中不失自我风神，尽显江南书家的风雅意致，笔墨间洋溢出醇厚的书卷清气。",[38,7,76,57,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a415381adfac5f3a0ee41077c5ab03b.jpg",[62],55,{"id":5215,"slug":5216,"title":857,"dynasty":18,"author":3792,"museum":73,"description":5217,"tags":5218,"thumbUrl":5219,"material":196,"size":5220,"collection":125,"collections":5221,"showCount":5213,"zanCount":11,"manualWeight":11,"mainColor":46},237677,"hua-hui-ce-sun-ke-hong-237677","孙克弘（1532—1611） ，明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[24,25,209,7,27,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf2f9a7ff11a15dc084e1a4d50397792.jpg","66.8x60.8",[125,62],{"id":5223,"slug":5224,"title":5225,"dynasty":18,"author":1064,"museum":73,"description":1228,"tags":5226,"thumbUrl":5227,"material":920,"size":921,"collection":61,"collections":5228,"showCount":5213,"zanCount":11,"manualWeight":11,"mainColor":66},228299,"hua-niao-ce-xie-zhi-liu-ti-ba-ben-chen-hong-shou-228299","花鸟册（谢稚柳题跋本）",[24,25,209,28,77,210,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8661ccd841a6b0332bdf5e8f1dd2c7bf.jpg",[],{"id":5230,"slug":5231,"title":5232,"dynasty":18,"author":1024,"museum":106,"description":5233,"tags":5234,"thumbUrl":5235,"material":3047,"size":5236,"collection":61,"collections":5237,"showCount":5213,"zanCount":511,"manualWeight":11,"mainColor":46},221997,"xiang-jun-xiang-fu-ren-tu-wen-zheng-ming-221997","湘君湘夫人图","该图是文徵明早期仅存的人物画名作。此图根据屈原《九歌》中“湘君”、“湘夫人”两章而作。画面上湘君、湘夫人一前一后，前者手持羽扇，侧身后顾，似与后者对答，神情生动。人物造型来自晋顾恺之《女史箴图》、《洛神赋图》，形象古雅，体态修长，长袖飘逸，衣裙曳地，用游丝描，施朱红及白粉，精工古雅。从文徵明和王稺登的题跋可知，文徵明曾请仇英以此题作画，但文氏看过后并不满意，自己又重新创作。可见，文氏是在刻意追求一种“古意”，与仇英有不同的审美趣好。画上方自书《湘君》、《湘夫人》两章，后署“正德十二年丁醜二月已未停雲館中書”。正德十二年（1517年），时文徵明48岁。本幅有文徵明、文嘉、王稺登题跋。\n经清·耿昭忠等鉴藏。",[23,24,25,56,57,77,78,28,79,80,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97f60c8237a52c52ad96b4e9d3caf10.jpg","纵100.8厘米，横35.6厘米",[],{"id":5239,"slug":5240,"title":5241,"dynasty":51,"author":5242,"museum":106,"description":5243,"tags":5244,"thumbUrl":5246,"material":1262,"size":5247,"collection":226,"collections":5248,"showCount":5213,"zanCount":11,"manualWeight":11,"mainColor":66},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,24,25,26,77,28,443,1636,32,82,5245,4291,29,58,7,38],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[226,42,168],{"id":5250,"slug":5251,"title":5252,"dynasty":145,"author":324,"museum":5253,"description":5254,"tags":5255,"thumbUrl":5256,"material":40,"size":61,"collection":42,"collections":5257,"showCount":5213,"zanCount":11,"manualWeight":11,"mainColor":46},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","日本大阪市立美术馆","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,24,209,28,27,29,38,7,37,109,376,884,377,36,33,30,31,79,177,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[42],{"id":5259,"slug":5260,"title":5261,"dynasty":51,"author":349,"museum":20,"description":5262,"tags":5263,"thumbUrl":5264,"material":123,"size":355,"collection":61,"collections":5265,"showCount":5213,"zanCount":11,"manualWeight":11,"mainColor":46},214262,"duo-jing-lou-shi-tie-20-mi-fei-214262","多景楼诗帖-20","墨色浓淡交织，似藏无尽章法于其间。每一笔皆如骤雨惊风，却又收放自如——长画如引弓待发，短撇若惊鸿一瞥。飞白处见筋骨，重墨时显沉雄。字与字气脉相连，顾盼有情，仿佛能听见纸墨相触的脆响，窥见书者挥毫的洒脱姿态。笔法跌宕起伏里，藏着不拘一格的才情，读来只觉意气飞扬，心神被灵动线条牵引，沉醉于率真与雄健的交融之美。那肆意挥洒的笔势，既见功底的深厚，更显性情的奔放，将书写时的畅快与豪情，凝在每一处转折提按之中。",[38,7,27,58,352,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba50dd4540257478299585be2cb34631.jpg",[],{"id":5267,"slug":5268,"title":5269,"dynasty":145,"author":666,"museum":73,"description":5270,"tags":5271,"thumbUrl":5272,"material":61,"size":61,"collection":125,"collections":5273,"showCount":5274,"zanCount":534,"manualWeight":11,"mainColor":46},239112,"mo-mei-tu-zhou-wu-chang-shuo-239112","墨梅图轴","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[24,25,57,27,111,81,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[125,62],54,{"id":5276,"slug":5277,"title":5278,"dynasty":51,"author":3490,"museum":73,"description":5279,"tags":5280,"thumbUrl":5281,"material":61,"size":61,"collection":61,"collections":5282,"showCount":5274,"zanCount":11,"manualWeight":11,"mainColor":46},227293,"mo-lan-tu-zheng-si-xiao-227293","墨兰图","《元郑思肖墨兰图》是元代画家郑思肖所创作的一幅写意水墨画，现为日本大阪市立美术馆藏。该作也是作者留下的传世作品，也是反映他创作思想和艺术造诣的代表作。该作是一幅非常抒情的文人写意水墨画，描绘出兰的野逸、不畏风霜，孤高自傲，无人花自馨的高尚品格。作者借笔墨抒发胸中逸气，是自我思想品格的写照。",[23,24,25,26,27,120,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c729b870cc6b268814e99c4e289b7d.jpg",[],{"id":5284,"slug":5285,"title":5286,"dynasty":91,"author":2262,"museum":1685,"description":5287,"tags":5288,"thumbUrl":5289,"material":196,"size":5290,"collection":61,"collections":5291,"showCount":5274,"zanCount":11,"manualWeight":11,"mainColor":46},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 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，水墨","纵131.1cm，横32cm",[],{"id":5382,"slug":5383,"title":5384,"dynasty":2673,"author":5385,"museum":2564,"description":5386,"tags":5387,"thumbUrl":5388,"material":165,"size":5389,"collection":61,"collections":5390,"showCount":5340,"zanCount":11,"manualWeight":11,"mainColor":66},232620,"fan-bu-xue-wei-tu-juan-hu-qian-232620","番部雪围图卷","胡虔","胡瓌与胡虔父子的生卒年均不详，他们父子熟悉草原生活，专绘游牧民族形形色色的生活场景，内容包括卓歇、牧马、射骑、按鹰、撬幕、汲泉等，创作丰富，描绘极为传神生动。\n[五代·后唐]镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,24,25,26,77,28,79,693,459,774,81,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb672acb1f1813c352c1c5db3e6cbe11.jpg","28.8×117厘米",[],{"id":5392,"slug":5393,"title":5394,"dynasty":18,"author":5395,"museum":53,"description":2273,"tags":5396,"thumbUrl":5397,"material":802,"size":5398,"collection":155,"collections":5399,"showCount":5340,"zanCount":11,"manualWeight":11,"mainColor":46},222595,"xi-shan-qiu-se-tu-quan-juan-lan-ying-222595","溪山秋色图全卷","蓝瑛",[23,24,25,26,28,29,37,7,58,34,237,292,1363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d35e8af764e515efb05842ae219d1.jpg","27×183cm",[155],{"id":5401,"slug":5402,"title":5403,"dynasty":51,"author":52,"museum":73,"description":5404,"tags":5405,"thumbUrl":5406,"material":2728,"size":5407,"collection":62,"collections":5408,"showCount":5340,"zanCount":534,"manualWeight":11,"mainColor":46},221271,"chi-du-quan-ce-huang-ting-jian-221271","尺牍全册","黃庭堅（1045年6月12日—1105年9月30日），字魯直，乳名繩權，號清風閣、山谷道人、山谷老人、涪翁、涪皤、黔安居士、八桂老人，世稱黃山谷、黃太史、黃文節、豫章先生。宋江南西路洪州府分寧人（今江西省九江市修水縣）人。祖籍浙江省金華市。北宋詩人黃庶之子，南宋中奉大夫黃相之父。北宋大孝子，《二十四孝》中“滌親溺器”故事的主角。北宋著名文學家、書法家、江西詩派開山之祖。\n黃庭堅在詩、詞、散文、書、畫等方面取得很高成就。黃庭堅與張耒、晁補之、秦觀都遊學於蘇軾門下，合稱為“蘇門四學士”。黃庭堅的詩，被蘇軾稱為“山谷體”。黃庭堅的書法獨樹一格，自成一家，他和北宋書法家蘇軾、米芾和蔡襄齊名，世稱為“宋四家”。在文學界，黃庭堅生前與蘇軾齊名，時稱“蘇黃”。作品有《山谷詞》《豫章黃先生文集》等。\n治平四年（1067年），黃庭堅進士及第，歷任葉縣縣尉、北京國子監教授、泰和縣知縣、德平鎮監、秘書省校書郎、《神宗實錄》編修官、集賢校理、國史局編修官、起居舍人、宣州知州、鄂州知州、涪州別駕、宣議郎監鄂州、奉議郎兼寧國軍判官、朝奉郎兼舒州知州、吏部員外郎、太平州知州等職。1105年，黃庭堅病逝於宜州南樓，享年61歲。而後，宋高宗追贈黃庭堅為“龍圖閣大學士”。1265年，宋度宗追贈黃庭堅諡號：文節。黃庭堅一生為官清正，治學嚴謹，以文壇宗師、孝廉楷模垂範千古。",[23,25,38,7,209,58,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516ad2358344b02e001f0260a856c627.jpg","27.8cm×47.4cm",[62],{"id":5410,"slug":5411,"title":5412,"dynasty":18,"author":881,"museum":1573,"description":5413,"tags":5414,"thumbUrl":5415,"material":243,"size":5416,"collection":42,"collections":5417,"showCount":5340,"zanCount":534,"manualWeight":11,"mainColor":46},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,56,24,25,26,27,37,29,376,884,34,58,38,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[42,155],{"id":5419,"slug":5420,"title":5421,"dynasty":91,"author":189,"museum":206,"description":5422,"tags":5423,"thumbUrl":5424,"material":96,"size":5425,"collection":42,"collections":5426,"showCount":5340,"zanCount":11,"manualWeight":11,"mainColor":66},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,24,25,26,27,28,37,7,58,38,29,150,30,31,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[42],{"id":5428,"slug":5429,"title":5430,"dynasty":51,"author":5431,"museum":73,"description":5432,"tags":5433,"thumbUrl":5435,"material":920,"size":921,"collection":61,"collections":5436,"showCount":5437,"zanCount":11,"manualWeight":11,"mainColor":46},289350,"sha-ting-yan-shu-tu-hui-chong-289350","沙汀烟树图","惠崇","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[23,24,289,25,27,7,58,38,81,82,5434,3384],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445107f68aa7c5aafbac1748922679d9.jpg",[],52,{"id":5439,"slug":5440,"title":5441,"dynasty":145,"author":220,"museum":73,"description":5442,"tags":5443,"thumbUrl":5444,"material":61,"size":61,"collection":61,"collections":5445,"showCount":5437,"zanCount":11,"manualWeight":11,"mainColor":46},235346,"li-shan-he-hua-tu-zhou-yi-ming-235346","李鱓荷花图轴","此作用水墨写意绘就荷塘景致，泼墨挥写荷叶，浓淡干湿层次分明，墨色晕染尽显苍润淋漓之态。荷花以淡墨轻勾轮廓，清姿绰约，荷茎劲挺穿插，带着舒展野逸的生机。画面搭配狂放题诗，书画相映成趣，笔墨间带着疏放不羁的意趣，将荷塘清韵与文人风骨相融。以极简水墨笔法写尽荷花出尘之姿，尽显写意花鸟酣畅洒脱的格调，朴拙随性间逸气纵横，将夏日荷塘的悠然意趣藏在笔墨虚实之中，尽显以意驭笔的文人画妙味。",[24,27,109,210,418,709,38,7,58,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb26610f2567b72eb84b2c567e8c8efe.jpg",[],{"id":5447,"slug":5448,"title":5449,"dynasty":145,"author":324,"museum":106,"description":5450,"tags":5451,"thumbUrl":5452,"material":243,"size":61,"collection":61,"collections":5453,"showCount":5437,"zanCount":534,"manualWeight":11,"mainColor":46},234504,"yuan-ji-mei-hua-ce-dan-ye-shi-tao-234504","原济梅花册单页","石涛（1642年－1708年）清代著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。明靖江王朱亨嘉之子。与弘仁、髡残、朱耷合称“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,56,209,27,78,7,58,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3586e802482ec56e20f1a800f31d1e.jpg",[],{"id":5455,"slug":5456,"title":5457,"dynasty":145,"author":324,"museum":106,"description":5458,"tags":5459,"thumbUrl":5460,"material":243,"size":61,"collection":61,"collections":5461,"showCount":5437,"zanCount":534,"manualWeight":11,"mainColor":46},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,26,27,37,7,78,29,79,32,35,34,1271,254,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":5463,"slug":5464,"title":5465,"dynasty":91,"author":893,"museum":53,"description":5466,"tags":5467,"thumbUrl":5469,"material":196,"size":5470,"collection":61,"collections":5471,"showCount":5437,"zanCount":11,"manualWeight":11,"mainColor":46},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[56,24,25,26,27,29,37,7,58,237,5468,774,625,177],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 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厘米",[226,125],{"id":5597,"slug":5598,"title":5599,"dynasty":454,"author":677,"museum":106,"description":5600,"tags":5601,"thumbUrl":5602,"material":4375,"size":5603,"collection":62,"collections":5604,"showCount":5576,"zanCount":11,"manualWeight":11,"mainColor":46},221109,"xing-bo-shang-du-shu-tie-ye-ou-yang-xun-221109","行卜商读书帖页","释文：\n“卜商讀書畢，見孔子。孔子問焉，何爲於書。商曰，書之論事，昭昭如日月之代明，離離如參辰之錯行，商所受于夫子者，志之於心，弗敢忘也。”\n这段文字见于《尚书大传》，是孔子与弟子卜商的一段对话。应是欧阳询当年著述手稿，收入他所著的《艺文类聚》卷五五《杂文部·读书》之中，与史籍相较，帖中个别字有出入。\n卜商是孔子弟子，字子夏，春秋时卫国人。师事孔子，师生间常有议论问答，极富哲理。\n此帖为双钩廓填本，墨气鲜润。从书法上看，笔法严谨又不失生动气韵，点画的起止处强化方切硬折。欧阳询晚年将北碑用笔特点融于二王书风，而兼容南北正是“欧体”独到之处。此为欧阳询代表作之一。\n此帖宋代藏于宋徽宗宣和御府，清代归安岐所有，后入乾隆内府，辑入《法书大观》册中。\n宋周密《云烟过眼录》，清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》等书著录。",[23,38,7,352,209,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ec07a542b148372350a60cce3f3a5d.jpg","纵25.7厘米，横16.5厘米",[62],{"id":5606,"slug":5607,"title":5608,"dynasty":454,"author":3217,"museum":106,"description":5609,"tags":5610,"thumbUrl":5611,"material":165,"size":5612,"collection":62,"collections":5613,"showCount":5576,"zanCount":11,"manualWeight":11,"mainColor":66},221087,"lan-ting-shi-quan-juan-liu-gong-quan-221087","兰亭诗全卷","《兰亭诗》卷释文\n本幅无款印。\n卷前引首清乾隆皇帝行书题“笔谏遗型”，题签“兰亭八柱第四”，题记一段。又有瘦金体题签“唐柳公权书群贤诗”。\n卷后有宋邢天宠、杨希甫、习之、蔡襄（后添）、李处益、孙大年、王易、黄伯思（伪）、宋适，金王万庆，明王世贞（两段）、莫是龙、文嘉、张凤翼，清王鸿绪等题跋和观款。\n此书传为柳公权所书东晋穆帝永和九年（353年）三月三日，王羲之与谢安、孙绰等人在会稽（今浙江绍兴）兰亭修禊时与会者所赋的37首诗及诗序。\n本卷笔法僵硬粗糙，且多枯锋，但较自然率易。卷后宋代黄伯思尾题（伪）中云“传柳书”，细观之，个别字的用笔明显不是出自柳书，如：孙统四言诗中的“希”字、庾友四言诗中的“则”字、王涣之四言诗中的“足”字等末笔写的非常丑怪，字的结体亦多不够沉稳，失于浮躁，与柳氏所书王献之《送梨帖》后之题跋墨迹对比不但笔法不类，连结体也无丝毫相同之处。从诗文看，颇有不通处，如：把孙绰四言诗“怀彼伐木”误书为“怀彼代水”，把谢安四言诗“伊昔夫子”误书为“伊昔先子”。“伐木”是《诗经》中语，“夫子”是指孔丘，说明书写者是一位文墨不够精通之人。无论从艺术特征还是艺术水平来分析，该卷决非柳公权之笔。\n此卷断为宋以前抄本。从所录37首诗中可看出，个别用字不避宋讳，如谢安诗中“契慈玄执，寄教林丘”的“玄”字、王肃之诗中“嘉会欣时游，豁朗畅心神”的“朗”字等都没有避北宋始祖皇帝赵玄朗之讳。另外从书法的主体风格看，推测应写于唐代，与杜牧墨迹《张好好诗卷》大略相近，并且是信笔直书，不是临仿得来。作为唐抄古本，此卷与敦煌遗书中《文选·陆机短歌行等残卷》（伯2554）、《玉台新咏卷第二残卷》（伯2503）有同样的文学价值。\n宋《宝章待访录》，明《东图玄览》、《清河书画舫》、《清河见闻表》，清《珊瑚网书凭》、 《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[23,25,38,26,7,2031,58,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[62,463],{"id":5615,"slug":5616,"title":5617,"dynasty":454,"author":5618,"museum":53,"description":5619,"tags":5620,"thumbUrl":5625,"material":61,"size":5626,"collection":62,"collections":5627,"showCount":5576,"zanCount":534,"manualWeight":11,"mainColor":46},221063,"shi-ba-xue-shi-yu-zhi-ning-shu-zan-juan-yan-li-ben-221063","十八学士于志宁书赞卷","阎立本","唐太宗在做秦王时建“文学馆”，收聘贤才，以杜如晦、房玄龄、于志宁、苏世长、姚思廉、薛收、褚亮、陆德明、孔颖达、李玄道、李守素、虞世南、蔡允恭、颜相时、许敬宗、薛元敬、盖文达、苏勗十八人并为学士。复命画家阎立本为十八学士画像， 即为《十八学士写真图》，褚亮题赞。当时获唐太宗选入文学馆者称为“登瀛洲”，后人有所谓“十八学士登瀛洲”，又因唐太宗常与门下十八学士弈棋，后人因此画有《十八学士弈棋图》。",[38,7,27,26,25,79,196,1698,5621,5622,5623,5624],"人物题材","书卷形式","笔墨技法","书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f296a09018a42795a522f41118a330.jpg","29.7x475",[62,463],{"id":5629,"slug":5630,"title":5631,"dynasty":18,"author":881,"museum":73,"description":5632,"tags":5633,"thumbUrl":5634,"material":26,"size":5635,"collection":62,"collections":5636,"showCount":5576,"zanCount":534,"manualWeight":11,"mainColor":638},220959,"zi-jia-shi-juan-dong-qi-chang-220959","紫茄诗卷","《董其昌书法经典鉴赏》是216年四川美术出版社出版的图书，作者是周世闻。\n董其昌，明代书画家。\n书法出入晋唐，自成一格，能诗文，刻有《戏鸿堂帖》。",[23,25,26,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf60a44922b4e634d8287b3b643ba82e.jpg","长414厘米、高24．5厘米",[62],{"id":5638,"slug":5639,"title":5640,"dynasty":18,"author":3424,"museum":4480,"description":5641,"tags":5642,"thumbUrl":5643,"material":5644,"size":5645,"collection":62,"collections":5646,"showCount":5576,"zanCount":11,"manualWeight":11,"mainColor":61},220716,"xing-shu-jie-quan-wang-chong-220716","行书借券","王宠字履仁，后更字履吉，号雅宜山人，吴县（今苏州）人。出生于业商家庭，父王贞雅好收藏古器物书画，并与文征明等贤达时相往来，情谊甚笃。王宠早年与兄王守在苏州太湖洞庭山随蔡羽求学，既而读书石湖之上，二十年中「非岁时省侍，不数数入城。」王宠生平以名节着闻，关于他性情高洁的记述屡见于文词，其洒然出尘的隐者形象深入人心。自正德庚午（1510）至嘉靖辛卯（1531）间，王宠共参加了八次科考，但皆以失败告终，最后一次赴试离他去世只有两年，可想见其终生都在为科名繁忙。\n\n嘉靖七年（1528）四月，王宠请文彭作中，向袁褒借银五十两。文物馆所藏王宠借券，为是次告贷的一纸票据。全券行书八行六十八字，尺幅细小，但历经累世题咏，已成一帧长手卷。券中，双方约定以二分起息，并于同年十二月连本带利偿还，券末有王宠与文彭署名及花押，从内容到形式适合于市井借贷的常例。尽管如此，此券是否真为一件当时借贷的凭据，历来意见不一，从卷后各家的题跋可以窥其大端。质疑者认为，王宠与袁氏交情素厚，借五十金本不必有券，即使有券，亦不必言利，因而仅以「游戏之笔」视之。不过因嘉靖七年是王宠第七次赴科试之年，不少人有见于王宠当时的经济状况和赴考花销，认为借贷之举应是确有其事，虽则王、袁有通财之谊，但既属借贷，王宠也就按著成规，正式立下了借据。\n\n此券后为好事者藏去，数经转徙，甚至一度险付劫灰，而终得以保全，三四百年中代有名贤题咏赞赏，考据二氏生平及往来唱酬之风雅韵事，盖皆当日诸君无从料想之事。惜天不假年，王宠得寿仅四十。虽然人生短暂，其生前的艺术成就已为他赢得书法史上重要的一席。明中期书法以吴门为盛，年轻书家辈出，而唯有王宠得与祝允明、文征明二巨公并称「三家」而无异议。王宠书艺成熟得较早，二十多时已初具规模，大体规摹永兴、大令，高蹈晋法，后虽日臻成熟，其初衷无改。此帧借券书于三十五岁时，属「晚期」之作，即呈现出他那种为世所知的书风。虽然在王宠的传世书作中，此借券不甚起眼，且非「用意之作」，却得后世跋者如林，有为之歌咏作长篇者，有详悉考之成文章者，实洋洋大观，是知王宠书迹可贵，不独以艺事之工。而此券的流传，无疑又为后世提供了「书以人重」的又一典范。",[23,38,25,26,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a5c0832584c8de37372e723ca0e418.jpg","水墨,纸本,手卷","24.3 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21.5厘米",[62],{"id":5648,"slug":5649,"title":5650,"dynasty":2673,"author":5651,"museum":73,"description":5652,"tags":5653,"thumbUrl":5654,"material":920,"size":921,"collection":61,"collections":5655,"showCount":5656,"zanCount":11,"manualWeight":11,"mainColor":66},288840,"jiang-di-wan-jing-tu-dong-yuan-288840","江堤晚景图","董源","该画作是一幅绢本立轴山水画。轴顶上为溥儒题的“大风堂供养南唐北苑副使董源书江堤晚景无上至宝”。轴底为张大千、谢稚柳等人题跋。轴的中间绘绿意盎然的春日里，行人游春赏景，一侧的酒馆挂旗开门营业；松树高大苍翠，群山巍峨，山脚下河面波光粼粼，一片春日好时光！这就是画作的内容了。",[56,24,25,57,1394,28,29,79,30,31,81,1885,150,1794,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb6c45faab9facbb27c89e848862159.jpg",[],49,{"id":5658,"slug":5659,"title":5660,"dynasty":145,"author":5661,"museum":73,"description":5662,"tags":5663,"thumbUrl":5665,"material":920,"size":921,"collection":61,"collections":5666,"showCount":5656,"zanCount":11,"manualWeight":11,"mainColor":46},241686,"huang-tai-hou-fu-lu-shou-tu-zhou-ci-xi-241686","皇太后福禄寿图轴","慈禧","此幅以朱笔书“福、禄、寿”3字，书体与众不同，用象形手法组成，仿佛一件绘画作品。结体上“福”、“禄”两字借用同一偏旁“礻”，而“录”、“畐”之间夹写一个“寿”字，中间空白部分经巧妙布局画成一个寿星拄着拐杖。这种以字体组合成图像的手法多流行于民间，虽见巧妙，却显俗气。关于慈禧太后的书法，近人马宗霍《书林纪事》载：“慈禧太后垂帘当国，亦喜怡情翰墨，学绘花卉，又学作擘窠大字，常书‘福’、‘寿’等字以赐内外大臣……”留存至今的慈禧书法之作多以单字居多，如本幅般书画合一的作品颇为罕见",[24,25,57,38,7,28,58,5664],"寿字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f9bbd159e997b719540ecb4f985a63.jpg",[],{"id":5668,"slug":5669,"title":5670,"dynasty":145,"author":5671,"museum":106,"description":5672,"tags":5673,"thumbUrl":5674,"material":61,"size":61,"collection":42,"collections":5675,"showCount":5656,"zanCount":11,"manualWeight":11,"mainColor":46},236645,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236645","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,209,27,37,7,58,29,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbecd6fb60f813cf83d989c822dd4c04b.jpg",[42,62],{"id":5677,"slug":5678,"title":5679,"dynasty":145,"author":4100,"museum":73,"description":5680,"tags":5681,"thumbUrl":5683,"material":61,"size":61,"collection":125,"collections":5684,"showCount":5656,"zanCount":11,"manualWeight":11,"mainColor":46},236198,"hua-gui-hua-yu-min-zhong-lin-huang-ting-jian-tie-cheng-shan-qian-wei-cheng-236198","画桂花于敏中临黄庭坚帖成扇","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。",[24,25,2579,210,5682,76,7,28],"桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf40f10679bf2abd7c354888e76c59f3.jpg",[125],{"id":5686,"slug":5687,"title":5688,"dynasty":145,"author":1413,"museum":73,"description":5689,"tags":5690,"thumbUrl":5692,"material":61,"size":61,"collection":61,"collections":5693,"showCount":5656,"zanCount":534,"manualWeight":11,"mainColor":46},234158,"hua-hui-juan-zhu-da-234158","花卉卷","八大山人花鸟承袭陈淳、徐渭写意花鸟画的传统，发展为阔笔大写意画法，其特点是通过象征寓意的手法，并对所画的花鸟、鱼虫进行夸张，以其奇特的形象和简练的造型，使画中形象突出，主题鲜明，甚至将鸟、鱼的眼睛画成“白眼向人”，以此来表现自己孤傲不群、愤世嫉俗的性格，从而创造了一种前所未有的花鸟造型。",[23,24,25,26,27,109,38,58,7,119,113,5691,1472,114,210],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],{"id":5695,"slug":5696,"title":5697,"dynasty":91,"author":286,"museum":106,"description":5698,"tags":5699,"thumbUrl":5700,"material":5701,"size":5702,"collection":61,"collections":5703,"showCount":5656,"zanCount":11,"manualWeight":11,"mainColor":46},234099,"yu-fu-tu-zhou-wu-zhen-234099","渔父图轴","在中国古代，渔、樵、耕、读，常常被文人士大夫视为理想化的生活方式，并常被用作文艺作品的主题，以表达作者避世遁隐的愿望，其中尤以“渔隐”的素材最为普遍。时至元代，汉族文人仕进无门，社会地位骤降，江南士人遭遇尤甚。于是，“渔隐”就更频繁地出现在绘画作品中，其中以吴镇的《渔父图》最为典型。吴镇善作“渔隐”题材的山水画，传世《渔父图》即有多幅，此图是其中较有代表性的一幅。图中描绘江南水乡景色，平冈丛树，一渔父驾小舟逍遥于湖弯水色之间。全图墨色苍润，山石、树木、枝叶都注意到了墨色浓淡的交替运用，借以表现层次关系并突出主要物象。笔法多变，皴擦点染，均可看出作者高超的控笔能力。湖山间幽僻清寂的意境跃然纸上，给人以远离尘俗之感。吴镇的《渔父图》大都以秀劲潇洒的草书《渔父群》相配，诗、书、画相得益彰。即如此图中所书：“目斷煙波青有無，霜凋楓葉錦模糊。千尺浪，四鰓鱸，詩筒相對酒葫蘆。”诗为画图点睛，真切地表达出 “一叶随风万里身”的隐逸情思。",[24,25,57,27,37,7,58,29,32,31,81,290,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg","绢本，墨笔","纵84.7厘米，横29.7厘米",[],{"id":5705,"slug":5706,"title":5707,"dynasty":145,"author":324,"museum":1685,"description":5708,"tags":5709,"thumbUrl":5710,"material":196,"size":61,"collection":61,"collections":5711,"showCount":5656,"zanCount":511,"manualWeight":11,"mainColor":46},232606,"ku-gua-he-shang-shu-hua-ce-shi-tao-232606","苦瓜和尚书画册.","此画册《苦瓜和尚书画册》为清代画家石涛绘，共12幅，一图一诗。旧藏日本大收藏家桑名铁城，书名页 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Museum","此作用色鲜亮泼辣，两枚寿桃以朱砂铺陈桃身，晕染出熟透的红润，留白与藤黄轻点桃腹，尽显饱满甜熟的质感，鲜活仿佛将欲滴浆。\n\n浓墨挥写桃叶藤蔓，线条苍劲老拙，墨色干湿浓淡富于层次，与暖艳的桃色形成鲜明对比，艳而不俗，厚重灵动兼具。扇面形制之下布局疏密得当，硕果垂坠于枝桠，暗含丰盈吉祥的意趣。\n题字笔墨雄健朴拙，与画面笔意融为一体，整幅小品简括大气，寥寥数笔便将物象生机与祝福意蕴尽皆抒发，尽显写意精髓。",[702,24,2579,28,109,210,5805,1172,58,7],"桃子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf3a3089bcebf91a06cfe9e353c2e9.jpg","color on 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《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,25,26,28,29,292,3617,2119,3867,34,35,58,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[125,42,155],{"id":5856,"slug":5857,"title":5858,"dynasty":18,"author":1169,"museum":53,"description":5859,"tags":5860,"thumbUrl":5864,"material":5865,"size":5866,"collection":61,"collections":5867,"showCount":5836,"zanCount":534,"manualWeight":11,"mainColor":46},222571,"hua-hui-shan-mian-chen-chun-222571","花卉扇面","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,25,2579,109,27,28,7,119,5861,5862,5863,4263,4425],"花枝","花叶","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b227089b3a30105cdc5394e4006f97.jpg","纸本，泥金","纵18.6厘米横54.1厘米",[],{"id":5869,"slug":5870,"title":5871,"dynasty":51,"author":52,"museum":106,"description":5872,"tags":5873,"thumbUrl":5874,"material":5875,"size":5876,"collection":62,"collections":5877,"showCount":5836,"zanCount":534,"manualWeight":11,"mainColor":46},221270,"ba-fan-zhong-yan-dao-fu-zan-huang-ting-jian-221270","跋范仲淹道服赞","宋代政治家、书法家范仲淹墨迹。\n范仲淹(989～152)字希文，吴县(今江苏苏州)人。\n祥符八年进士,官至枢密副使,参知政事,卒谥“文正”。\n道服赞并序，自识为“平海书记许兄”作。\n书法方劲，落笔痛快沉着，略有《乐毅论》遗法。\n卷后文同、吴立礼、戴蒙、柳贯、胡助、刘魁、戴仁、马、吴宽、卢濬、王世贞跋。\n另黄庭坚一题，是后人抄录其文，非黄氏亲笔所书。",[38,25,7,58,353,3332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa8080d7d4c8bfd22a1317a584909e9.jpg","纸本（疑伪）","纵 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轼不及见其人，然少时所 识，一时名卿盛士多推 尊之，尔来前辈凋丧 略尽能称诵 公者渐不复见，得其 理言遗事，皆当记录 宝藏，况其文章乎 公之孙（师仲）录 公之诗廿五篇以示轼三 复太息，以想见 公之大略云，元丰四年十 一月廿四日眉阳苏轼书。",[23,38,7,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfaffe0183d39974fb89480f5b4ed34f.jpg","27.8厘米×60.6厘米",[62],{"id":5949,"slug":5950,"title":5951,"dynasty":51,"author":362,"museum":53,"description":5952,"tags":5953,"thumbUrl":5954,"material":196,"size":5955,"collection":62,"collections":5956,"showCount":5836,"zanCount":511,"manualWeight":11,"mainColor":46},220037,"dong-wu-tie-su-shi-220037","东武帖","苏轼于元佑四年写的手札",[23,38,7,58,25,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252dbf3f75818f4f173fe00671dccc5.jpg","28.7厘米×66.1厘米",[62],{"id":5958,"slug":5959,"title":5960,"dynasty":18,"author":479,"museum":738,"description":5961,"tags":5962,"thumbUrl":5963,"material":123,"size":5964,"collection":42,"collections":5965,"showCount":5836,"zanCount":11,"manualWeight":11,"mainColor":46},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[24,26,27,28,29,1844,34,36,293,237,37,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[42],{"id":5967,"slug":5968,"title":5969,"dynasty":18,"author":5970,"museum":20,"description":5971,"tags":5972,"thumbUrl":5973,"material":40,"size":5974,"collection":306,"collections":5975,"showCount":5836,"zanCount":534,"manualWeight":11,"mainColor":46},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,18,24,25,26,28,77,7,38,58,79,150,33,34,35,1471,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[306,62],{"id":5977,"slug":5978,"title":5979,"dynasty":91,"author":440,"museum":206,"description":5980,"tags":5981,"thumbUrl":5982,"material":96,"size":5983,"collection":125,"collections":5984,"showCount":5836,"zanCount":11,"manualWeight":11,"mainColor":66},218945,"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[24,56,25,28,79,693,81,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[125],{"id":5986,"slug":5987,"title":525,"dynasty":18,"author":220,"museum":527,"description":5988,"tags":5989,"thumbUrl":5992,"material":123,"size":5993,"collection":42,"collections":5994,"showCount":5836,"zanCount":534,"manualWeight":11,"mainColor":46},217955,"lian-she-tu-yi-ming-217955","《莲花社》说了慧远的故事：东晋元兴年间，慧远在庐山东林寺与十八位专修净土的圣人一起，寻求脱离污秽之地，希望往生极乐世界。",[23,56,24,26,25,530,5990,79,38,7,5991],"佛教","莲社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15dee5dc0c3904ed22a998b96f72a044.jpg","30.1x595.8cm",[42,306],{"id":5996,"slug":5997,"title":5998,"dynasty":18,"author":5999,"museum":53,"description":6000,"tags":6001,"thumbUrl":6002,"material":123,"size":6003,"collection":62,"collections":6004,"showCount":5836,"zanCount":534,"manualWeight":11,"mainColor":1787},214224,"gong-yan-shi-song-ke-214224","公宴诗","宋克","公宴诗是一首中国古代诗歌，作者是宋克明。公宴是中国古代的一种社交形式，通常由统治者或较高社会地位的人主办，以向与会者表示尊敬和感谢。\n\n这首诗歌描述了一场公宴的气氛和场景，表达了作者对古代文化和社会生活的热爱。根据诗歌的内容，我们可以想象出这场公宴是一个盛大而隆重的活动，充满了美食、音乐、艺术、娱乐和交流的氛围。",[23,24,25,38,57,7,1014,27,3018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c8d2b7b8096f89247b372eedeb655.jpg","111.7x32.4",[62],{"id":6006,"slug":6007,"title":6008,"dynasty":91,"author":286,"museum":73,"description":6009,"tags":6010,"thumbUrl":6011,"material":920,"size":921,"collection":61,"collections":6012,"showCount":6013,"zanCount":511,"manualWeight":11,"mainColor":66},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[24,25,57,27,29,32,177,82,79,31,34,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],46,{"id":6015,"slug":6016,"title":6017,"dynasty":145,"author":1540,"museum":73,"description":6018,"tags":6019,"thumbUrl":6020,"material":920,"size":921,"collection":42,"collections":6021,"showCount":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在书法上，陈与义 书法清简，与其诗文相近，为本朝绍兴初期所独有，因此，曾被宋高宗下诏为 音释帖刊误。这幅作品的书法风格古拙，风格淡雅，韵味分明，意境悠远。",[25,38,7,352,58,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66296fa179b324f97dc22acb0bab3d7a.jpg","32.1x41.3",[62],{"id":6080,"slug":6081,"title":6082,"dynasty":51,"author":6083,"museum":53,"description":6084,"tags":6085,"thumbUrl":6086,"material":96,"size":6087,"collection":42,"collections":6088,"showCount":6013,"zanCount":11,"manualWeight":11,"mainColor":46},218822,"guan-shan-xing-lv-tu-li-tang-218822","关山行旅图","李唐","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,56,24,25,209,29,31,32,150,2452,254,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[42],{"id":6090,"slug":6091,"title":6092,"dynasty":18,"author":881,"museum":20,"description":882,"tags":6093,"thumbUrl":6094,"material":40,"size":61,"collection":61,"collections":6095,"showCount":6013,"zanCount":11,"manualWeight":11,"mainColor":46},214654,"qiu-xing-ba-jing-tu-ce-4-dong-qi-chang-214654","秋兴八景图册-4",[24,25,209,28,29,7,38,37,376,377,31,179,2142,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b9afae4d988c47bfbafeba3b68c40.jpg",[],{"id":6097,"slug":6098,"title":6099,"dynasty":18,"author":881,"museum":20,"description":882,"tags":6100,"thumbUrl":6101,"material":40,"size":61,"collection":61,"collections":6102,"showCount":6013,"zanCount":534,"manualWeight":11,"mainColor":46},214653,"qiu-xing-ba-jing-tu-ce-5-dong-qi-chang-214653","秋兴八景图册-5",[24,25,209,28,1394,27,37,7,38,29,376,884,34,254,1794,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893b7c0fa8f94f84a419b7b87e6439e.jpg",[],{"id":6104,"slug":6105,"title":6106,"dynasty":145,"author":6107,"museum":53,"description":6108,"tags":6109,"thumbUrl":6110,"material":123,"size":6111,"collection":62,"collections":6112,"showCount":6013,"zanCount":534,"manualWeight":11,"mainColor":46},214241,"xing-shu-zhong-tang-yao-yuan-zhi-214241","行书中堂","姚元之","通篇布局疏朗有致，字间行气如流泉穿涧，贯通无碍。笔势灵动跌宕，起收转折见筋骨，提按顿挫藏韵味——每一笔皆含温度，浓墨沉雄如岳，淡墨轻逸似云，干湿互渗更添层次。文字与笔墨浑然一体，字态或欹或正、或收或放，顾盼生姿如老友对谈，既有法度严谨的功底，又显随性自然的性情。通篇洋溢从容洒脱之气，观之如沐春风，仿佛能触到书者挥毫时的畅快心境，于动静之间，尽展行书之雅韵。",[23,3383,38,7,57,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61b81b5a7de70d879a30dae9c5d3a0c.jpg","132.2x62",[62],{"id":6114,"slug":6115,"title":6116,"dynasty":145,"author":4705,"museum":73,"description":6117,"tags":6118,"thumbUrl":6119,"material":920,"size":921,"collection":61,"collections":6120,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},290491,"qi-yan-lian-wu-hu-fan-290491","七言联","吴湖帆，江苏苏州人，为吴大澄嗣孙(1894年农历七月初二—1968年8月11日)。初名翼燕，字遹骏，后更名万，字东庄，又名倩，别署丑簃，号倩庵，书画署名湖帆。",[23,24,25,2251,38,7,28,112,4423,119,2905,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff61d5b426294b7d95db061d5a5f81f.jpg",[],{"id":6122,"slug":6123,"title":6124,"dynasty":51,"author":526,"museum":73,"description":6125,"tags":6126,"thumbUrl":6129,"material":920,"size":921,"collection":61,"collections":6130,"showCount":45,"zanCount":534,"manualWeight":11,"mainColor":66},287701,"lan-ting-xiu-qi-tu-juan-li-gong-lin-287701","兰亭修契图卷","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,26,56,28,79,29,1309,35,6127,6128,223,7,38],"兰亭修禊","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046924a3ed3772eda7257e744e0eb0d8.jpg",[],{"id":6132,"slug":6133,"title":6134,"dynasty":145,"author":1413,"museum":106,"description":6135,"tags":6136,"thumbUrl":6137,"material":6138,"size":6139,"collection":62,"collections":6140,"showCount":45,"zanCount":534,"manualWeight":11,"mainColor":46},240307,"shu-tao-hua-yuan-ji-juan-zhu-da-240307","书桃花源记卷","释文：\n晋武陵人渔，忘路之远近，忽逢桃花夹岸，数百步中无杂林，落英缤纷。渔人甚异之，复前行，欲穷其林。尽水源，得一山，山有小口，初极狭，才通人。复行数十步，豁然开朗。土地平旷，屋舍俨然，有良田、美池、桑竹之属。阡陌交通，鸡犬相闻。其中往来耕作，男女衣着，悉如外人。黄发垂髫，并怡然自乐。见渔人，乃大惊，问所从来，具答之。便要还家，设酒杀鸡作食。村中闻此人，咸来问讯。自云先世避秦时乱，率妻子邑人来此绝境，遂不复出焉，既与外人间隔。问今是何世，乃不知有汉，无论魏、晋。此人一一具言所闻，皆叹惋。余人各复延至其家，皆出酒食。停数日，辞去。此中人语云：“不足为外人道也。”既出，得其舟，便扶向路，处处志之。及郡下，诣太守，说如此。太守即遣人随其往，寻向所志，遂迷不复得路。南阳刘子骥，高尚士也。欣然规往，未果。后遂无问津者。丙子六月既望，纳凉在芙山房书，八大山人。\n下钤“可得神仙”、“八大山人”、“遥属”等4印。书前配有清无名氏山水画一段，尾纸有近代陈师曾、齐白石题跋二则。\n此为朱耷书录东晋陶渊明《桃花源记》之作。《桃花源记》系东晋隐逸诗人陶渊明之代表作。当时东晋朝廷腐败，内乱不止，陶渊明不欲从仕，一心归隐，故书此篇。\n朱耷身为前明宗室，面对家国之悲，民族之恨，却无力抗争，只得出家为僧。他习静修真，参研书画，以此抚慰内心的亡国之痛，故朱耷深爱《桃花源记》，时常书之，以表达其誓不与清廷合作而追求世外桃源生活之意。\n据署款，此书写于清康熙三十五年（1696年），作者时年71岁。该书学东晋王献之，兼融小篆之体，笔法纯朴圆润，笔势流畅，意尽笔止，有傲岸之情态和奇妙之格调。此作品为朱氏晚年佳作。",[23,24,25,26,27,7,29,79,2288,117,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aeebef5d9d61f7776caf9efc2c0472.jpg","纸本，行草书","纵26厘米，横211厘米",[62],{"id":6142,"slug":6143,"title":6144,"dynasty":145,"author":6145,"museum":73,"description":6146,"tags":6147,"thumbUrl":6148,"material":920,"size":921,"collection":125,"coll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210厘米",[],{"id":6214,"slug":6215,"title":6216,"dynasty":91,"author":3875,"museum":106,"description":6217,"tags":6218,"thumbUrl":6219,"material":243,"size":6220,"collection":42,"collections":6221,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[23,24,27,37,57,58,38,7,29,32,31,34,2452,179,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[42,168],{"id":6223,"slug":6224,"title":6225,"dynasty":51,"author":3802,"museum":106,"description":4616,"tags":6226,"thumbUrl":6227,"material":4619,"size":4620,"collection":62,"collections":6228,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},221620,"hou-chi-bi-tu-zhao-gou-shu-fu-juan-quan-juan-ma-he-zhi-221620","后赤壁图赵构书赋卷全卷",[23,24,56,26,25,7,27,37,58,32,31,81,79,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccaebc0284553636c09753513a1edf6.jpg",[62],{"id":6230,"slug":6231,"title":6232,"dynasty":18,"author":881,"museum":106,"description":6233,"tags":6234,"thumbUrl":6235,"material":1262,"size":6236,"collection":42,"collections":6237,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":66},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[23,24,25,57,27,28,37,7,58,29,35,34,36,237,3395,2452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[42,168],{"id":6239,"slug":6240,"title":6241,"dynasty":91,"author":6242,"museum":53,"description":6243,"tags":6244,"thumbUrl":6247,"material":123,"size":6248,"collection":125,"collections":6249,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},218819,"xie-sheng-tu-wang-yuan-218819","写生图","王渊","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[24,25,27,77,6245,402,210,177,6246,1896,897,58,38,7],"写生","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[125],{"id":6251,"slug":6252,"title":6253,"dynasty":18,"author":479,"museum":738,"description":739,"tags":6254,"thumbUrl":6255,"material":6256,"size":742,"collection":61,"collections":6257,"showCount":45,"zanCount":534,"manualWeight":11,"mainColor":66},218346,"ren-wu-gu-shi-ce-4-tang-yin-218346","人物故事册-4",[23,24,25,209,28,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823018666898f6a04c19649c91cec78d.jpg","设色,绢本",[],{"id":6259,"slug":6260,"title":6261,"dynasty":51,"author":6262,"museum":73,"description":6263,"tags":6264,"thumbUrl":6268,"material":920,"size":921,"collection":61,"collections":6269,"showCount":6270,"zanCount":534,"manualWeight":11,"mainColor":46},288539,"xie-sheng-jia-die-tu-zhao-chang-288539","写生蛱蝶图","赵昌","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[23,24,56,25,26,77,28,210,6265,799,119,6266,7,58,6267],"蛱蝶","野草","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97796390b63dc3cfc3af98bc62a819e5.jpg",[],44,{"id":6272,"slug":6273,"title":6274,"dynasty":51,"author":349,"museum":73,"description":6275,"tags":6276,"thumbUrl":6286,"material":920,"size":921,"collection":61,"collections":6287,"showCount":6270,"zanCount":511,"manualWeight":11,"mainColor":66},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",[23,38,680,7,352,29,82,6277,6278,6279,6280,6281,6282,6283,6284,6285],"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",[],{"id":6289,"slug":6290,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":6291,"thumbUrl":6292,"material":196,"size":1004,"collection":61,"collections":6293,"showCount":6270,"zanCount":11,"manualWeight":11,"mainColor":46},234090,"wu-zhong-shan-shui-ce-shen-zhou-234090",[24,25,209,27,29,7,58,37,150,254,32,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cc85b8ca75b41a1903f016a2209202.jpg",[],{"id":6295,"slug":6296,"title":6297,"dynasty":18,"author":479,"museum":73,"description":6298,"tags":6299,"thumbUrl":6300,"material":61,"size":61,"collection":61,"collections":6301,"showCount":6270,"zanCount":11,"manualWeight":11,"mainColor":66},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,56,24,25,26,27,28,289,37,38,7,58,29,377,36,79,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":6303,"slug":6304,"title":6305,"dynasty":145,"author":6306,"museum":73,"description":6307,"tags":6308,"thumbUrl":6309,"material":920,"size":921,"collection":61,"collections":6310,"showCount":6270,"zanCount":11,"manualWeight":11,"mainColor":46},224284,"xin-jing-fu-shan-224284","心经","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[23,145,25,38,1735,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207038e9219276266d8b1302b8b30770.jpg",[],{"id":6312,"slug":6313,"title":6314,"dynasty":51,"author":362,"museum":53,"description":6315,"tags":6316,"thumbUrl":6317,"material":196,"size":6318,"collection":62,"collections":6319,"showCount":6270,"zanCount":534,"manualWeight":11,"mainColor":46},221306,"song-si-jia-tao-sheng-qie-zhong-hua-qi-xun-ren-du-hai-su-shi-221306","宋四家:陶生,惬中,花气熏人,渡海","《花气薰人帖》是中国宋代书法家黄庭坚的小品之作，一首二十八个字的小诗，以随意自在的笔法写来，把平日严谨的中锋线和草书中的宛转结合起来，构成一幅完美的小品，是欣赏书法不可多得的佳作。帖上有南宋「缉熙殿宝」的印，入过南宋内府。也有清代朝鲜人安仪周的收藏印安歧是当时最著名的大收藏家。此帖现藏台北故宫博物院。",[23,38,25,26,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dcca8709989e4feb06bb6f1620632e.jpg","30.7×43.2cm",[62],{"id":6321,"slug":6322,"title":6323,"dynasty":18,"author":881,"museum":53,"description":6324,"tags":6325,"thumbUrl":6326,"material":196,"size":6327,"collection":62,"collections":6328,"showCount":6270,"zanCount":11,"manualWeight":11,"mainColor":46},220927,"zhou-zi-tong-shu-dong-qi-chang-220927","周子通书","此作书写的是北宋大儒周敦颐所著《通书》中的内容：“圣可学乎？曰可。有要乎？曰有要。一为要。一者，无欲也。无欲则静虚动直。静虚则明，动直则公。明则通，公则溥。庶矣乎！”董书之内容与周敦颐之原文有出入",[23,38,7,27,25,24,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49525064acaf73341e131973f30c9278.jpg","纵189.4厘米，横154.5厘米",[62],{"id":6330,"slug":6331,"title":6332,"dynasty":702,"author":3782,"museum":3783,"description":6333,"tags":6334,"thumbUrl":6335,"material":330,"size":61,"collection":61,"collections":6336,"showCount":6270,"zanCount":11,"manualWeight":11,"mainColor":46},220523,"xing-shu-wei-ren-min-fu-wu-xu-bei-hong-220523","行书（为人民服务）","此作用魏碑筋骨揉入行书意趣，笔墨沉厚苍劲。右侧笔势开张纵逸，起笔斩截收笔朴拙，将满腔热忱寄于开张笔锋之中，尽显雄强气魄。左侧稍敛锋芒，笔画敦实厚重，墨色枯润相生，枯笔处见苍茫意趣，藏锋裹气尽显沉稳内敛。落款小字与正文形成疏密对比，举重若轻，通篇错落有致，刚柔并济，将碑版的雄强与行书的流丽融为一体，质朴誓言化作沉浑笔墨力量，尽显笔墨风骨与赤诚襟怀。",[25,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690533d439aa7dab00bb7a9de44aceb1.jpg",[],{"id":6338,"slug":6339,"title":6340,"dynasty":51,"author":220,"museum":53,"description":6341,"tags":6342,"thumbUrl":6343,"material":165,"size":61,"collection":62,"collections":6344,"showCount":6270,"zanCount":534,"manualWeight":11,"mainColor":46},218712,"za-shi-tie-yi-ming-218712","杂诗帖","绢本素笺泛着岁月的暖黄，墨色沉敛如漆，行笔间藏着宋人的疏朗意趣。笔画时而轻若游丝，时而重若坠石，牵丝映带处似有春风拂过纸页，随性却不失章法。诗句里的江山清晖、岁月流转，与笔墨的简淡相映，读来竟觉纸间有清风吹出。朱红钤印如晨星落纸，与沉墨、暖绢相映成趣，更添古雅。这帧手札无刻意雕琢，却在日常书写中流露出宋人审美底色——平淡天真，余味悠长。仿佛执笔人临窗挥毫的呼吸仍在字间，每一笔都是时光痕迹，静静诉说千年前文人情思。",[23,51,7,38,25,209,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01222659e4ef1f33f027553818ee7200.jpg",[62],{"id":6346,"slug":6347,"title":6348,"dynasty":91,"author":3875,"museum":206,"description":6349,"tags":6350,"thumbUrl":6351,"material":123,"size":6352,"collection":42,"collections":6353,"showCount":6270,"zanCount":534,"manualWeight":11,"mainColor":46},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,56,24,25,26,27,29,37,58,7,178,179,34,5036,194,237,2275,238,4867,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[42],{"id":6355,"slug":6356,"title":6357,"dynasty":145,"author":6358,"museum":53,"description":6359,"tags":6360,"thumbUrl":6361,"material":123,"size":6362,"collection":62,"collections":6363,"showCount":6270,"zanCount":11,"manualWeight":11,"mainColor":46},214312,"min-xian-mo-bao-lin-ze-xu-214312","闽贤墨宝","林则徐","此卷将圣人林则徐、严复、郭尚贤的笔墨集于一卷",[23,145,38,7,57,2579,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c2bbac2a035f9020459ada7d9b6c2a.jpg","29.1x31.1",[62],{"id":6365,"slug":6366,"title":6367,"dynasty":145,"author":6368,"museum":73,"description":6369,"tags":6370,"thumbUrl":6371,"material":920,"size":921,"collection":61,"collections":6372,"showCount":6373,"zanCount":11,"manualWeight":11,"mainColor":46},290427,"shan-shui-tu-ce-10-kai-gong-xian-290427","山水图册10开","龚贤","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[24,25,209,27,29,35,34,38,7,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eb7410c32536a5d14c4134270b47ae.jpg",[],43,{"id":6375,"slug":6376,"title":6377,"dynasty":51,"author":220,"museum":73,"description":6378,"tags":6379,"thumbUrl":6380,"material":61,"size":61,"collection":61,"collections":6381,"showCount":6373,"zanCount":534,"manualWeight":11,"mainColor":46},239659,"mi-fei-san-zha-juan-yi-ming-239659","米芾三札卷","这卷行书尺牍合集，尽显米氏刷字风神。笔势纵逸跌宕，提按转折间萧散俊朗，点画粗细变幻、字形欹侧相生，带着晋人帖学的流丽韵味。\n\n信札皆是日常絮语，性情全融笔墨之中，或舒展或紧敛，枯湿浓淡相映，章法错落天成，全无匠气排布，尽是随手挥写的真趣。卷内钤印琳琅，与笔墨相映，流转着古雅的收藏脉络，尽显宋代文人信手挥毫的随性雅致，将尺牍书法的抒情性与艺术性融为一体，潇洒笔底尽是一代书家的自在风骨。",[23,25,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728347595c279efbc3ddf6abec3fa9b.jpg",[],{"id":6383,"slug":6384,"title":6385,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":6386,"thumbUrl":6387,"material":920,"size":921,"collection":61,"collections":6388,"showCount":6373,"zanCount":11,"manualWeight":11,"mainColor":46},237938,"za-hua-ce-zhu-da-237938","杂画册",[24,25,209,27,7,109,210,799,1678,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc62b03cb8e858aebb63969a5919883.jpg",[],{"id":6390,"slug":6391,"title":6392,"dynasty":18,"author":6393,"museum":106,"description":6394,"tags":6395,"thumbUrl":6396,"material":6397,"size":6398,"collection":61,"collections":6399,"showCount":6373,"zanCount":534,"manualWeight":11,"mainColor":46},233701,"wu-ling-chun-tu-juan-wu-wei-233701","武陵春图卷","吴伟","图中女子武陵春的面部和衣纹均以细匀的淡墨线条绘成，只在眼眸、发髻处用重墨点染，这种特殊的用墨方法不仅形成了生动的墨韵，同时也令画面清雅秀润，更贴切地表现出女主人的纤秀文静之美。此外，吴伟在创作上还采用了借物言志的艺术手法，以石桌上陈设的琴、笔、砚等文房用具揭示出武陵春内在的文化修养，以石桌左侧的盆景梅花象征武陵春心志如梅的高尚情操。以这些带有寓意性的物品作为衬景点缀画面，无疑在充实武陵春形象的同时也丰富了画面的视觉感受。吴伟凭藉其精湛的艺术造诣曾分别于明成化和弘治年间奉召进京供奉宫廷。他性情孤傲，不慕权势，为朝廷内外的恶浊环境所排斥。返回江南后，他常以饮酒狎妓遣释郁闷的心境，所以，他对青楼女子的生活有一定的接触和了解。当他闻知富有文采的武陵春身在青楼而不受所处境地的影响、对爱情忠贞不渝时，为之深深感动，遂援笔作此图，以示对武陵春的同情与敬仰。清吴麒《图绘宝鉴续纂》认为吴伟“画人物落笔健壮，白描尤佳”。此幅便是吴伟晚期白描画中的精品。吴伟的白描人物宗法唐代吴道子和宋代李公麟，强调线条自身婉转流动的韵律感和塑造形象的精确性。",[24,25,26,78,27,79,80,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c183031801a15d9b56e62fc7c52ea46.jpg","纸本，白描","纵27.5厘米，横93.9厘米",[],{"id":6401,"slug":6402,"title":6403,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":6405,"thumbUrl":6407,"material":920,"size":921,"collection":61,"collections":6408,"showCount":6373,"zanCount":11,"manualWeight":11,"mainColor":66},228880,"zhu-cha-shi-wen-zheng-ming-228880","煮茶诗","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,25,38,7,57,3018,27,58,6406],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb1d4b72435f608c2fe35218f6399b3.jpg",[],{"id":6410,"slug":6411,"title":6412,"dynasty":91,"author":5175,"museum":73,"description":6413,"tags":6414,"thumbUrl":6416,"material":61,"size":61,"collection":61,"collections":6417,"showCount":6373,"zanCount":511,"manualWeight":11,"mainColor":46},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[23,24,56,26,27,37,29,34,36,6415,237,2275,7,58],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],{"id":6419,"slug":6420,"title":6421,"dynasty":145,"author":6422,"museum":73,"description":6423,"tags":6424,"thumbUrl":6425,"material":196,"size":6426,"collection":61,"collections":6427,"showCount":6373,"zanCount":534,"manualWeight":11,"mainColor":46},223372,"lan-tu-yun-xiang-223372","兰图","韵香","清代女道士，无锡人，生卒年不详，俗姓王，名静莲，一名岳莲。自幼出家于惠山福慧双修庵，后自度为女道士。因慕明末秦淮八艳之一卞玉京为人，故取号玉井道人，又号清微道人。韵香能书擅画，尤擅画兰。韵香收藏有《空山听雨图册》，韵香将此图册视为生家性命，因图册佚失，她特地请画家文人重新作图题诗，不料图册再度佚失，韵香因此遭受打击，心灰意懒，不久即离开了人世。韵香死后，《空山听雨图册》几经流转，散而复聚，最后归于无锡博物院。\n《空山听雨图册》外尺寸为横25.5厘米×纵36.5厘米，每开画心尺寸不一，其名称缘于清代金石书画家奚冈为韵香所作《空山听雨图》。今图册中有吴让之所题隶书“空山听雨图”，并跋云：“清微道人有奚铁生所画空山听雨图，生平寄意在此，乞一时名贤题咏……”奚冈所作《空山听雨图》原作佚去，奚冈生卒年为1746—1803年，此图的创作年代不会晚于1803年。无锡博物院所收藏的《空山听雨图》共有5开，吕培一开，作于壬申（1821年）首夏。许乃谷一开，未署年款，落款注明“清微道人属写”。沈梧两开，分别作于同治甲子（1864）年、乙丑（1865）年。叶衍兰一开，作于光绪丁丑（1877）年。沈叶二图当为后世藏家追慕前贤，作图以示敬仰之意。吕培所作为浅设色，许乃谷所作为水墨，二人均用米家云山图写之，水渚烟树小阁，濛潆凄迷。奚冈原作虽不可见，从吕许二人所作云山图可以想象原作大致面貌。\n《空山听雨图》有上百人题咏，其中刘墉一开，其题咏不会晚于刘墉卒年1804年。洪亮吉、赵怀玉同题于一开，分别为1804年和1805年。刘洪赵这二开当为《空山听雨图》未佚失前的原有题咏。（赵钦仁辑）",[23,56,24,25,26,27,120,177,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098d109487c7c07d1876d37c94f78122.jpg","28x383厘米",[],{"id":6429,"slug":6430,"title":6431,"dynasty":18,"author":1391,"museum":373,"description":6432,"tags":6433,"thumbUrl":6435,"material":1262,"size":6436,"collection":61,"collections":6437,"showCount":6373,"zanCount":511,"manualWeight":11,"mainColor":46},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,25,26,28,77,1394,7,58,29,79,32,6434,34,35,150],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":6439,"slug":6440,"title":6441,"dynasty":18,"author":881,"museum":53,"description":6442,"tags":6443,"thumbUrl":6444,"material":658,"size":6445,"collection":62,"collections":6446,"showCount":6373,"zanCount":11,"manualWeight":11,"mainColor":1787},220926,"wu-yan-jue-ju-zhou-dong-qi-chang-220926","五言绝句轴","此展品为明代的书画，此行书五言诗章法疏朗，清淡中见神逸，意趣内涵。\n此辐行书五言诗章法疏朗，清淡中见神逸，意趣内涵，疏淡耐看。\n内容为:“南馆城阴阔,东湖水气多。\n直须台上望,始奈月明何。",[23,38,7,57,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea3b84dbdc9afd92628ef8ff754513a.jpg","纵238厘米，横63.8厘米",[62],{"id":6448,"slug":6449,"title":6450,"dynasty":91,"author":893,"museum":106,"description":6451,"tags":6452,"thumbUrl":6461,"material":196,"size":6462,"collection":62,"collections":6463,"showCount":6373,"zanCount":11,"manualWeight":11,"mainColor":46},220799,"jing-ji-xuan-shi-wen-zhou-ni-zan-220799","静寄轩诗文轴","《静寄轩诗文》是倪瓒自作并书写的。此轴所书共三部分，内容包括《邾伯盛氏小像赞》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[23,57,38,7,2226,58,6453,6454,6455,114,116,117,177,6456,6457,6458,495,4775,376,1636,6459,6460,2207,1444],"孤鹤","瘦骨","苍林","轩","僧","茶烟","门","馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纵62.9cm，横23.3cm",[62],{"id":6465,"slug":6466,"title":6467,"dynasty":145,"author":6468,"museum":3142,"description":6469,"tags":6470,"thumbUrl":6471,"material":40,"size":6472,"collection":62,"collections":6473,"showCount":6373,"zanCount":11,"manualWeight":11,"mainColor":46},220003,"shan-shui-ce-wen-wang-shi-min-220003","山水册-文","王时敏","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,25,209,7,58,76,29,28,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f19818f6e779018292122be7bfb88.jpg","22.5x27.5",[62],{"id":6475,"slug":6476,"title":6477,"dynasty":18,"author":6478,"museum":738,"description":6479,"tags":6480,"thumbUrl":6481,"material":40,"size":6482,"collection":42,"collections":6483,"showCount":6373,"zanCount":11,"manualWeight":11,"mainColor":46},217878,"zhou-li-yuan-shang-kuan-shen-ce-hu-yu-kun-217878","周栎园上款什册","胡玉昆","层岩叠嶂以劲挺线条勾勒，皴擦间显山石嶙峋之态；山间林木疏朗，掩映幽径，远处峰岫隐现，留白处生悠远之境。左侧题跋笔意洒脱，文句含蕴哲思，诗画交融间，墨色与心境共生。山石的刚健与林木的清逸相映，题跋的禅意与山水的空灵相契，尽显传统文人画诗书画印一体的雅韵，传递出静观自然、叩问本心的清雅情怀。笔锋流转处，既有山水的雄浑气象，又藏文人的细腻思致，于尺幅间铺展一幅融视觉与心境于一体的雅致画卷。",[56,24,25,27,37,7,38,29,3615,2452,34,1121,3018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e4408ed38bf72fc6032dc84cddd4e5.jpg","24.7x32.3cm",[42],{"id":6485,"slug":6486,"title":6487,"dynasty":51,"author":349,"museum":20,"description":6488,"tags":6489,"thumbUrl":6490,"material":123,"size":355,"collection":61,"collections":6491,"showCount":6373,"zanCount":11,"manualWeight":11,"mainColor":46},214278,"duo-jing-lou-shi-tie-5-mi-fei-214278","多景楼诗帖-5","笔势如惊鸿掠水，欹侧间藏雷霆力道。单字看似不羁，实则气脉暗连如长河奔涌。浓墨沉厚若坠石，淡笔飞白似游丝，侧锋扫过的锋芒，正是“刷字”神采。“入”字长捺如利剑出鞘，“漠”字转折似老树盘根，每一笔都带着动感。整幅字不拘绳墨却自有章法，书家豪情与才思凝于笔端，读来如闻松涛阵阵、见江海滔滔，尽显宋代尚意书风的洒脱筋骨。",[38,7,352,58,27,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73bbbcfe904b8b4a1dbecc26188a39cf.jpg",[],{"id":6493,"slug":6494,"title":6495,"dynasty":51,"author":6496,"museum":73,"description":6497,"tags":6498,"thumbUrl":6501,"material":920,"size":921,"collection":61,"collections":6502,"showCount":6503,"zanCount":534,"manualWeight":11,"mainColor":46},288550,"cheng-huang-ju-lv-tu-zhao-ling-rang-288550","橙黄橘绿图","赵令穰","入秋的江南，暑气消尽，寒冬未至，正是一年当中最清爽宜人的时节。潺潺溪流，轻巧弯延地划过雾色苍茫的平野；两岸橘树遍植成林，一粒粒芬芳的黄果、绿实，像是地上的点点繁星。空气里弥漫着微润的甘甜，吸引三三两两的水鸟，自在地悠游在汀渚之间。幽静、迷蒙的景境，正是苏东坡笔底下“一年好景君须记，正是橙黄橘绿时”的诗情。虽然在这幅《橙黄橘绿》图里，画家直接用色点叶、画橘，笔线不够精准，可能不是赵令穰的作品，但是画中隐约的柔美，令人悠然神往。",[56,24,25,2579,28,29,34,31,82,38,7,58,1363,6499,6500],"橘树","橙树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d81ea92de40e98db5552b4feec83c05.jpg",[],42,{"id":6505,"slug":6506,"title":6507,"dynasty":51,"author":3080,"museum":73,"description":6508,"tags":6509,"thumbUrl":6510,"material":920,"size":921,"collection":61,"collections":6511,"showCount":6503,"zanCount":534,"manualWeight":11,"mainColor":46},288421,"ju-cong-fei-die-tu-cao-chong-zhu-shao-zong-288421","菊丛飞蝶图-草虫","图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。",[23,24,2579,77,28,210,3083,417,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe49dd3804561dfd01b41e581c283a7eb.jpg",[],{"id":6513,"slug":6514,"title":958,"dynasty":145,"author":959,"museum":73,"description":960,"tags":6515,"thumbUrl":6517,"material":920,"size":921,"collection":61,"collections":6518,"showCount":6503,"zanCount":11,"manualWeight":11,"mainColor":46},239455,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239455",[24,25,209,28,77,38,7,58,119,1172,1576,6516,3083],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184e5bc5ce80dbafe8c1b9f55367f8dd.jpg",[],{"id":6520,"slug":6521,"title":6385,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":6522,"thumbUrl":6523,"material":920,"size":921,"collection":61,"collections":6524,"showCount":6503,"zanCount":11,"manualWeight":11,"mainColor":46},237932,"za-hua-ce-zhu-da-237932",[24,27,109,7,58,391,1576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff5408474c757baba63f71ce63905bf.jpg",[],{"id":6526,"slug":6527,"title":6528,"dynasty":145,"author":6529,"museum":106,"description":6530,"tags":6531,"thumbUrl":6532,"material":1262,"size":6533,"collection":42,"collections":6534,"showCount":6503,"zanCount":534,"manualWeight":11,"mainColor":46},234289,"shan-shui-lou-ge-ce-chen-mei-234289","山水楼阁册","陈枚","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[24,56,209,1594,28,29,150,7,58,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d31cd400a8dc8e30ee5eedf5bda6150.jpg","纵31厘米，横25.3厘米",[42,155],{"id":6536,"slug":6537,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":6538,"thumbUrl":6539,"material":196,"size":1004,"collection":61,"collections":6540,"showCount":6503,"zanCount":534,"manualWeight":11,"mainColor":46},234084,"wu-zhong-shan-shui-ce-shen-zhou-234084",[24,25,209,27,37,7,58,29,150,33,254,35,34,237,3102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca6fe60aab5ac5d2bd9165817433d9c.jpg",[],{"id":6542,"slug":6543,"title":6544,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":6545,"thumbUrl":6546,"material":920,"size":921,"collection":61,"collections":6547,"showCount":6503,"zanCount":11,"manualWeight":11,"mainColor":46},230284,"wu-yan-lian-zhu-da-230284","五言联",[23,38,2251,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae62b118dfc7dc7ee73d8fae7f6edd4f.jpg",[],{"id":6549,"slug":6550,"title":6551,"dynasty":18,"author":5970,"museum":147,"description":6552,"tags":6553,"thumbUrl":6556,"material":196,"size":6557,"collection":125,"collections":6558,"showCount":6503,"zanCount":534,"manualWeight":11,"mainColor":46},222178,"hong-xing-ye-fu-tu-zhou-lu-zhi-222178","红杏野凫图轴","此画杏花盛开、野尧戏游、水草挺秀，一派自然界安宁、雅静、自由、活泼的和谐景象。赏之让人生趣，令人神往。\n画面上的“天空”，几乎被杏树的枝条占满了，盛开的红色杏花伸展于水面的上空，可以用“花枝招展”来形容杏树的形态。花枝横跨画面，连画的右侧顶端也是杏树的枝干，画面的下部，是一只大野尧，优哉优哉地浮现于水面之上，仿佛被盛开的红杏所吸引，在偏首高望;画面的左下侧，河岸边的水草簇簇挺拔，卓然而立。生动和谐、愈趣高雅的画面体现出作者观察之细腻，绘画技艺之高超，令人赏心悦目。这幅花鸟写意画中的“亮”，即是野鸭。古代时这种水鸟，是甚有声望的。",[23,24,25,57,28,27,210,6554,6555,884,5190,1576,7],"红杏","野凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33b057f3aab56336cb3fa23d67505c5.jpg","43.1x119cm",[125,155],{"id":6560,"slug":6561,"title":6562,"dynasty":18,"author":881,"museum":206,"description":6563,"tags":6564,"thumbUrl":6565,"material":165,"size":61,"collection":62,"collections":6566,"showCount":6503,"zanCount":11,"manualWeight":11,"mainColor":66},220895,"lin-mi-fei-fang-yuan-an-ji-quan-juan-dong-qi-chang-220895","临米芾方圆庵记全卷","《董其昌临米芾方圆庵记》，绢本，二十五开，每开六行，行五或六、七、八字。全文共计七百六十八字，首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。\n米芾《方圆庵记》书于北宋元丰六年（一○八三年），是专为当时天竺高僧辩才法师主持杭州龙井山方圆庵所作。由陶拯刊石，墨迹末传。刻石早毁，故宋拓鲜见。沈石田旧藏此记拓本，同过沈俨云：“米友仁称，‘其父书，四角转折有八面，笔笔皆翔劲’，又称，‘有云烟卷舒飞扬之态’。观此记信然矣！” 董其昌（一五五五——一六三六）卒年八十二。少早学李邕，又学米芾，二家盘旋最深，得李十之二三，米之五六。生平无所不临。七十岁时初师颜真卿，又学虞永兴。进而****晋唐诸家，继往开来。行楷之妙，跨绝一代。自云：“与赵文敏较，各有短长……当吾作意，赵书迹输一筹。”但对米芾，则云：“米元章书沉着痛快，直夺晋人之社。”又云：“米老行草书传于世间，与晋人几争道驰矣”！屡云“学书运笔得米元章髓”。 辩才法师方圆之道，亦正米、董书法方贺之悟，所以“过予爱之”。此书是董其昌临本，所以流转与自运无别，一经着其作意书得秀色，于是淋漓翰墨，随意所如，更自起自倒，自收自束，自成体势，笔不能自休，以之书“先”为“圣”，少“观”多“庵”，一气呵成，书之雅逸扑人，熠熠夺目，堪称董书中神品，与米氏宋拓孤本正相映媲美，令人陶然入胜。董书喜用淡墨，但类此着意书往往为浓墨。又历来书家恨不见真迹，现在影印与真迹极度近，是一大快事。此帖因是真迹，或更宝于宋拓孤本。 李宗翰云：“米芾书《方圆庵记》年才三十三岁，正专学晋人之时，运笔能控引王羊，其他诸帖每以奇气掩其古法。因些，世人称此帖为米书第一。”此帖结体用“圣教序”，且兼用大令，褚河南两家之法。董其昌的临写过程不仅再现了米芾风神骏爽的神韵，而且在此基础上发挥国自己个性的他造。",[23,38,26,76,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1602f2b3800c830ac35c9871d04782.jpg",[62],{"id":6568,"slug":6569,"title":6570,"dynasty":91,"author":440,"museum":20,"description":6571,"tags":6572,"thumbUrl":6573,"material":330,"size":6574,"collection":62,"collections":6575,"showCount":6503,"zanCount":511,"manualWeight":11,"mainColor":46},220857,"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","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。",[23,7,38,352,680,58,26,27,530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纵34.4厘米，横408.9厘米",[62,463],{"id":6577,"slug":6578,"title":6579,"dynasty":18,"author":6580,"museum":106,"description":6581,"tags":6582,"thumbUrl":6593,"material":123,"size":6594,"collection":62,"collections":6595,"showCount":6503,"zanCount":11,"manualWeight":11,"mainColor":46},219156,"xing-shu-ti-hong-ya-shan-fang-tu-shi-ye-hu-yan-219156","行书·题洪崖山房图诗页","胡俨","洪崖山位于江西南昌城西山之中，峰峦秀拔，林壑深窅。胡俨自24岁领乡荐便宦游南北，至明永乐十四年（1416年）已达30年。“既衰且老，不能不慨然追念畴昔，望洪崖之山，悠然兴其倦归之思。”遂将所作数篇及后来阁僚为洪崖而作者合为一卷，请中书舍人画家陈宗渊绘《洪崖山房图》。此三首即为题画而作，表达了心灵对退隐洪崖、耕桑读书、为太平之民的渴望之情。第一首末两句“陈郎胸次如摩诘，丘壑能令画里传”是赞扬陈宗渊绘画技艺之高妙。\n此篇尺牍笔画粗壮而古朴，精神外露，具有俊爽雄放的风度，是胡俨56岁时的翰墨佳构。",[23,7,38,6583,4263,6584,6585,6586,112,3977,377,2207,6587,6280,1636,4186,494,6588,495,6589,1951,621,6590,6591,6592],"题诗","章法","结体","山房","藤萝","田舍","烟","晓岚","飞翠","崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255413cc6b058a16472e805f186f1c4d.jpg","纵27.3厘米，横45.5厘米",[62],{"id":6597,"slug":6598,"title":6599,"dynasty":18,"author":6600,"museum":106,"description":6601,"tags":6602,"thumbUrl":6603,"material":196,"size":6604,"collection":62,"collections":6605,"showCount":6503,"zanCount":11,"manualWeight":11,"mainColor":46},219148,"xing-shu-yu-zhong-du-zhuo-shi-xu-lin-219148","行书·雨中独酌诗","徐霖","此书为徐霖自作七言律诗一首，表露了老年人的一种伤感情怀。\n此帖书法用笔骨力遒劲，内含刚柔，结体流美秀丽，线条粗细均匀，无显著的波磔变化，仍保留着这些篆书的笔法。",[23,56,25,38,7,196,58,4263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54909960222c10b5660fd59f71e7cbad.jpg","纵23.7厘米，横36.7厘米",[62],{"id":6607,"slug":6608,"title":6609,"dynasty":18,"author":881,"museum":20,"description":882,"tags":6610,"thumbUrl":6611,"material":40,"size":61,"collection":61,"collections":6612,"showCount":6503,"zanCount":11,"manualWeight":11,"mainColor":46},214648,"qiu-xing-ba-jing-tu-ce-9-dong-qi-chang-214648","秋兴八景图册-9",[24,25,209,27,1394,28,29,33,34,35,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be813ba30d1c9d872056dd97f176faa.jpg",[],{"id":6614,"slug":6615,"title":2248,"dynasty":145,"author":4333,"museum":53,"description":6616,"tags":6617,"thumbUrl":6618,"material":123,"size":6619,"collection":62,"collections":6620,"showCount":6503,"zanCount":11,"manualWeight":11,"mainColor":46},214242,"xing-shu-qi-yan-lian-zuo-zong-tang-214242","墨色沉厚如铸铁，笔锋转折间藏锋棱傲骨。线条刚劲却不失流畅，似老将挥戈带千钧力，又若文士吟啸含书卷气。联语既涌少年意气的蓬勃春潮，又蕴老境自惕的清醒襟怀，笔墨与文心浑然相映。两联布局匀整却不死板，字间气脉贯通如行云流水，每一笔都带着书写者的沉雄气度与儒雅风致。整幅作品刚柔相济，既有武将的磊落风骨，又有学者的深醇底蕴，读之如见历史风烟里的身影，笔底春秋皆见性情。",[23,3383,7,2251,38,25,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad38b3923da1877dd83a984a1b451cf.jpg","166.2x38.7",[62],{"id":6622,"slug":6623,"title":6624,"dynasty":18,"author":479,"museum":73,"description":6625,"tags":6626,"thumbUrl":6627,"material":196,"size":61,"collection":62,"collections":6628,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},241555,"tang-yin-shi-juan-tang-yin-241555","唐寅诗卷","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 [1] 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。 [2]\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,25,26,38,7,58,27,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d1f22c20897817f0de3feff1bc57dd.jpg",[62],41,{"id":6631,"slug":6632,"title":6633,"dynasty":145,"author":3179,"museum":73,"description":6634,"tags":6635,"thumbUrl":6636,"material":61,"size":61,"collection":42,"collections":6637,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},236571,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236571","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[24,25,209,27,7,58,37,29,254,79,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97aaddabf21fec2cdc2cda2b7408da7e.jpg",[42,62],{"id":6639,"slug":6640,"title":6641,"dynasty":145,"author":6642,"museum":73,"description":6643,"tags":6644,"thumbUrl":6645,"material":61,"size":61,"collection":42,"collections":6646,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},235336,"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","王鉴","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[24,25,209,27,28,29,76,7,58,376,377,30,31,36,254,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[42,155],{"id":6648,"slug":6649,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":6650,"thumbUrl":6651,"material":196,"size":1004,"collection":61,"collections":6652,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},234091,"wu-zhong-shan-shui-ce-shen-zhou-234091",[24,25,209,27,37,7,58,29,34,32,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768131a771cc65321f3cd34baec811ed.jpg",[],{"id":6654,"slug":6655,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":6656,"thumbUrl":6657,"material":196,"size":1004,"collection":61,"collections":6658,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},234087,"wu-zhong-shan-shui-ce-shen-zhou-234087",[24,25,209,27,37,7,58,29,30,31,34,36,32,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46249d3f1a8b1efdae161fb0542ffbf.jpg",[],{"id":6660,"slug":6661,"title":6662,"dynasty":145,"author":6663,"museum":73,"description":6664,"tags":6665,"thumbUrl":6666,"material":196,"size":61,"collection":42,"collections":6667,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},231951,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-ceng-yan-dong-231951","七道子山水人物画册18帧","曾衍东","曾衍东生于清乾隆十五年（1750年），字青瞻，一字七如，号七如居士、七道士，祖籍山东嘉祥，为曾子第67代孙。清乾隆壬子（1792年）举人，清乾隆至道光年间画家、小说家、杂剧家。\n据嘉祥《曾氏祖谱》记载，其祖上在明代嘉靖十八年（1539年）被封为翰林院五经博士，并从此世袭爵位。曾衍东的父亲名尚渭，是个恩贡生，游宦江南，曾官居广东博罗县令。曾衍东自幼随父游走南北，童年的经历奠定了其开阔的胸襟，同时也开启了他坎坷飘荡的一生。\n他仕途坎坷，直至50岁迟暮之年由人举荐，才得任湖北江夏县令，后调任巴东县令。曾衍东个性清高、倔强。他曾在《日长随笔》里写道：“人所不能做的，我偏要做去，人所不能减的，我偏要减去。”依这种性格，他在中国官场的遭遇可想而知。63岁那年，因断案而触怒巡抚，而他坚持“此官可去案不移”，终被降罪罢官，流放温州。\n曾衍东携家小流放温州后，先住在同姓旧宦曾儒璋后人曾立亭的家中。曾立亭居温州郡西，其宅名“依绿园”。他念同姓之谊，款接曾衍东居园之“入画楼”。第二年曾衍东在园边宝庵桥附近一大榕树下自建房屋。这里面向九山湖，湖光山色正好，于是他把自己的居所命名“小西湖”。并在门上写了一副对联：“挂冠自昔曾骑虎，闭户于今好画龙。”\n嘉庆二十五年（1820），道光帝即位，曾衍东遇赦，但已贫老不得归乡，约十年后，客死于温州。\n曾衍东生性落拓不羁，工诗及书画，尤善画人物，市井风情、生活百态皆入其构中，举重若轻。在技巧上以笔墨狂放的写意风格取胜。镌图章，摩古出奇，得之者无不视为拱璧，然清贫自守。在近代画坛特别在人物画领域受曾衍东影响的画家有很多，比如王震和丰子恺。但是对他在画坛上地位的认识有所不足，因此当代著名画家程十发先生颇为其抱不平。他在曾衍东的一本人物册中写到：“七道士乃青藤（徐渭）后身，诗文词曲皆胜场，且从书画中与世俗相左而现风骚之气。余曰：近人不重曾衍东是一大遗憾也。”可以说推崇备至。",[23,24,25,209,27,79,693,58,7,38,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e31d6bfb1d8831f9c256406aa1f6a9e.jpg",[42,306],{"id":6669,"slug":6670,"title":6671,"dynasty":91,"author":2595,"museum":73,"description":6672,"tags":6673,"thumbUrl":6674,"material":61,"size":61,"collection":61,"collections":6675,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,56,24,25,26,28,78,79,693,38,7,58,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":6677,"slug":6678,"title":6679,"dynasty":51,"author":6680,"museum":73,"description":6681,"tags":6682,"thumbUrl":6683,"material":61,"size":61,"collection":61,"collections":6684,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,56,24,25,2579,28,77,79,150,80,402,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":6686,"slug":6687,"title":6688,"dynasty":18,"author":19,"museum":388,"description":6689,"tags":6690,"thumbUrl":6691,"material":330,"size":6692,"collection":61,"collections":6693,"showCount":6629,"zanCount":511,"manualWeight":11,"mainColor":46},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,24,25,26,28,27,7,38,37,29,34,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":6695,"slug":6696,"title":6697,"dynasty":51,"author":1905,"museum":106,"description":6698,"tags":6699,"thumbUrl":6700,"material":658,"size":6701,"collection":62,"collections":6702,"showCount":6629,"zanCount":534,"manualWeight":11,"mainColor":638},221205,"shou-fu-tie-ye-wu-ju-221205","寿父帖页","吴琚“性嗜书”，学米芾能神似。此帖为其行书代表作之一，乃淳熙末年为官襄阳时谈论宦途境况的一封尺牍。《墨缘汇观》评为“初视之以为米书”。",[23,38,7,352,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42acbd1c8113c63f546b4b08295fa08c.jpg","纵32.9厘米，横48.9厘米",[62],{"id":6704,"slug":6705,"title":6706,"dynasty":454,"author":1137,"museum":106,"description":6707,"tags":6708,"thumbUrl":6709,"material":6710,"size":6711,"collection":62,"collections":6712,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,38,7,76,58,680,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fc06ca0857dbfef5b2d9e373eb55dd.jpg","乌金精拓","纵29．8厘米，横17.3厘米。",[62],{"id":6714,"slug":6715,"title":568,"dynasty":145,"author":4214,"museum":4480,"description":6716,"tags":6717,"thumbUrl":6718,"material":6719,"size":6720,"collection":61,"collections":6721,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":61},220758,"zhu-shi-tu-zheng-xie-220758","以水墨写就竹石之姿，老石皴擦写意，嶙峋古拙，尽显苍劲风骨。竹叶以“介”“个”笔法挥染，浓淡相宜，枝叶错落交叠，或繁密遒劲，或疏朗清隽，仿佛满纸飒飒生风，将劲竹迎风傲立的清刚之态跃然纸上。\n\n右侧题字笔锋爽利舒展，笔墨与画意相融相合，文画映带间，寄寓着清介拔俗的君子襟怀，把借物言志的文人意趣淋漓尽致铺陈而出。全幅疏密错落，以极简笔墨托物象风神，写意抒情浑然一体，尽显水墨写意通透灵秀的文人雅韵。",[24,25,57,27,109,112,328,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5d7c1e057dd1b985e2e35c1f1e3fd6.jpg","水墨纸本立轴","189.5 ×104厘米",[],{"id":6723,"slug":6724,"title":6725,"dynasty":145,"author":6726,"museum":738,"description":6727,"tags":6728,"thumbUrl":6730,"material":40,"size":6731,"collection":42,"collections":6732,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},220078,"feng-dong-tu-ye-xin-220078","风洞图","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[23,24,289,27,37,35,34,79,6729,3210,38,58,7],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[42],{"id":6734,"slug":6735,"title":6736,"dynasty":91,"author":286,"museum":53,"description":6737,"tags":6738,"thumbUrl":6739,"material":123,"size":61,"collection":61,"collections":6740,"showCount":6629,"zanCount":11,"manualWeight":11,"mainColor":46},216383,"mo-zhu-pu-ce-6-wu-zhen-216383","墨竹谱册-6","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[24,25,209,27,7,112,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe89212c009f37154e122f2c251742aa.jpg",[],{"id":6742,"slug":6743,"title":6744,"dynasty":18,"author":19,"museum":73,"description":1307,"tags":6745,"thumbUrl":6746,"material":920,"size":921,"collection":61,"collections":6747,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883","仿范宽山水",[24,25,209,29,27,37,76,35,192,150,30,31,1885,33,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],40,{"id":6750,"slug":6751,"title":6752,"dynasty":51,"author":5296,"museum":73,"description":6753,"tags":6754,"thumbUrl":6756,"material":920,"size":921,"collection":61,"collections":6757,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[23,56,24,25,26,1594,28,29,150,6755,31,178,38,7,58],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],{"id":6759,"slug":6760,"title":2790,"dynasty":145,"author":666,"museum":73,"description":5270,"tags":6761,"thumbUrl":6762,"material":61,"size":61,"collection":125,"collections":6763,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},239219,"mei-zhu-tu-zhou-wu-chang-shuo-239219",[24,25,57,27,28,210,111,112,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[125],{"id":6765,"slug":6766,"title":6767,"dynasty":18,"author":1024,"museum":106,"description":6768,"tags":6769,"thumbUrl":6770,"material":3336,"size":6771,"collection":61,"collections":6772,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":66},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[23,24,25,26,27,7,76,58,120,112,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纵28厘米,横62.5厘米",[],{"id":6774,"slug":6775,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":6776,"thumbUrl":6777,"material":196,"size":1004,"collection":61,"collections":6778,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},234095,"wu-zhong-shan-shui-ce-shen-zhou-234095",[24,25,209,27,29,32,1271,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b73c5295ebb98f54c55fa1cd601045b.jpg",[],{"id":6780,"slug":6781,"title":6782,"dynasty":51,"author":52,"museum":6783,"description":6784,"tags":6785,"thumbUrl":6786,"material":6787,"size":6788,"collection":61,"collections":6789,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":1787},232615,"nian-nu-jiao-chi-bi-huai-gu-huang-ting-jian-232615","念奴娇·赤壁怀古","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。",[23,38,7,680,26,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e0349f0fe749f5ac5eba8fa71d1f19.jpg","碑","35cm、宽101cm",[],{"id":6791,"slug":6792,"title":6793,"dynasty":145,"author":324,"museum":73,"description":6794,"tags":6795,"thumbUrl":6796,"material":61,"size":61,"collection":168,"collections":6797,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[23,24,25,26,27,37,7,38,29,3615,2452,34,237,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[168],{"id":6799,"slug":6800,"title":6801,"dynasty":145,"author":6802,"museum":73,"description":6803,"tags":6804,"thumbUrl":6805,"material":61,"size":61,"collection":61,"collections":6806,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},224244,"yuan-ji-shi-yi-tu-gai-qi-224244","元机诗意图","改琦","《清改琦元机诗意图》是中国清代画家 创作的一幅人物画。\n此图画的是唐代女诗人 的。\n鱼玄机是个很有才华，而遭遇却很不幸的人，她大约生于844年，卒子871年，字幼微、蕙兰，清代时因避康熙玄烨的讳改称为鱼元机。\n嫁给李忆为妾，因受李妻的妒忌，被迫出家，在长安咸宜观做了女道士。\n由于喜读书，有才思，擅作诗，受到当时文人们的重视，温庭筠等名家常与她作诗唱和。\n后因忌妒笞杀侍婢绿翘，被判死刑，其时年仅二十多岁。\n留有诗文一卷。\n此图设色古雅，衣纹秀劲，玄机倚坐展卷。\n姿容秀美，含蓄深思，刻画传神。\n改琦(177-1828)字伯蕴，号香白，或作香伯，又号七芗，别号玉壶外史。\n先世为西域人，祖为松江参将，遂占籍为华亭（今上海松江）人。\n通敏多能，善书画，人物画出入李公麟、赵孟頫、唐寅及陈洪绶，花草兰竹小品迥出尘表，叉善画佛像，人以新罗山人相比，为清代中叶画坛名家。\n工诗词，曾与钦善、姜皋等结课诗词，辑《泖东诗课》。",[23,24,25,28,77,79,80,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125f440623b2edc344cb81826355bd02.jpg",[],{"id":6808,"slug":6809,"title":6810,"dynasty":91,"author":6811,"museum":373,"description":6812,"tags":6813,"thumbUrl":6814,"material":196,"size":6815,"collection":62,"collections":6816,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},221685,"shu-wang-an-shi-za-shi-juan-quan-juan-xian-yu-shu-221685","书王安石杂诗卷全卷","鲜于枢","书王安石杂诗四首：《题侍郎山水》、《招约之职方并示正甫书记》、《示元度》、《奉酬约之见招》。全卷600余字，书于至元二十八年（公元1291年）。时鲜于枢36岁，正值书艺旺盛时期，故书气恢宏，骨力劲健，圆转流畅，表现了鲜于枢极深的书 * 力。",[23,25,38,26,7,27,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a218ba9122cc9b248081e8fb15f101.jpg","纵50厘米 横1025厘米",[62],{"id":6818,"slug":6819,"title":6820,"dynasty":51,"author":362,"museum":106,"description":6821,"tags":6822,"thumbUrl":6823,"material":196,"size":6824,"collection":62,"collections":6825,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},221314,"ti-wang-shen-shi-tie-ye-su-shi-221314","题王诜诗帖页","释文：\n晋卿为仆所累，仆既谪齐安，晋卿亦贬武当。饥寒穷困，本书生常分，仆处之不戚戚。固宜。独怪晋卿以贵公子罹此忧患而不失其正，诗词益工，超然有世外之乐。此孔子所谓可与久处约，长处乐者耶。元祐元年九月八日苏轼书。\n北宋元祐元年（1086年）苏轼年49岁。\n本帖钤“金巩伯精鉴印”“景行维贤”“小如庵秘笈”“卞令之鉴定”等鉴藏印四方，左右各有“式古堂”等半印六方。此帖原装于王诜《颖昌湖上诗，蝶恋花词卷》后，但非此卷原配，而是从别处挪移而来。《石渠宝笈续编》著录。\n该帖是苏轼为王诜自书诗所作的题跋，记述了王诜因受其累而贬至武当，然仍醉心于诗词，有世外之乐。此跋在《东坡集》卷六五有记载。《东坡集》卷一三中还有苏轼另一跋“和王晋卿诗、并叙”的记载：“元丰二年，予得罪贬黄州，而驸马都尉王诜亦坐类远谪，不相闻者七年。予既召用，而诜亦还朝，相见殿门之外，感叹之余，做诗相属。词虽不慎工，然托物悲慨厄穷而不怨，泰而不骄，怜其贵公子有志如此，故和其韵。”以上两段跋文再结合《宋史》卷二四八《公主传》中的史料，证明了王诜的贬官一方面是受苏轼的牵连，另一方面是因为得罪了他的妻子魏国大长公主。\n该帖笔丰墨满，结体长短交错，纵横抑挫，富有动感。虽是叙事而兼有议论，充满感情色彩，是为知己而作。",[25,38,7,27,58,352,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffbc82412091c1976ee6ce24e619542.jpg","纵29.9厘米，横25.7厘米",[62],{"id":6827,"slug":6828,"title":2049,"dynasty":51,"author":362,"museum":53,"description":6829,"tags":6830,"thumbUrl":6831,"material":6832,"size":6833,"collection":62,"collections":6834,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},221311,"du-hai-tie-su-shi-221311","元符三年（1100），苏轼被诏徙廉州（今广西合浦），路过澄迈（今海南澄迈）时未遇赵梦得，便留下此札。为其晚年书迹之代表，如同东坡自云：“自出新意，不践古人。”全作信笔写来，浑然天成。此札用笔劲利，结体斜向右上，时人认为颇有李邕（北海）之风，如黄庭坚语：“沉著痛快，乃似李北海。”\n“我书意造本无法，点画信手烦推求”，这是苏轼对自己书法的评语。相异传统的笔法与特殊结字，是其书法中最受赞赏的部分。\n此作又名「渡海帖」，为典型苏轼风格，苍劲有力，沉著痛快，为其晚年之代表作。上有项元汴千字文第八0一“具”字编号。",[56,24,25,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824dd81f2df22aa2f03b4e91a13bfe7.jpg","行书，纸本","纵28.6，横4.2cm",[62],{"id":6836,"slug":6837,"title":6838,"dynasty":51,"author":362,"museum":73,"description":6839,"tags":6840,"thumbUrl":6841,"material":196,"size":61,"collection":62,"collections":6842,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},221305,"tian-ji-wu-yun-tie-you-cheng-song-yang-tie-su-shi-221305","天际乌云帖又称嵩阳帖","《天际乌云帖》又称《嵩阳帖》，苏轼诗文一章，行书，真迹曾由明代项元汴收藏，清归翁方纲，有翁氏题跋。共三十六行，计三百零七个字。藏处不详。\n此帖无年款，据清翁方纲所考，苏轼有《常润道中，有怀钱唐，寄述古五首》之作，其次章有“去年柳絮飞时节，记得金笼放雪衣”句，并自注云：“杭人以放鸽为太守寿。”此正是帖中所言陈太守放营妓周韶事，杭人称誉之。因周韶诗中有“开笼若放雪衣女”事，正应放鸽为寿。此在熙宁五、六年间事。翁氏又考苏诗外集有《过潍州驿，见蔡君谟题诗壁上云：“绰约新娇生眼底，逡巡旧事上眉尖。春来试问愁多少，得似春潮夜夜添。不知为谁而作也?和一首》。此事在苏轼自密州移徐州之际，即在熙宁九年苏轼潍州度岁时。翁氏即猜此帖在熙宁十年书。然诗与帖又有矛盾：帖云“仆在钱塘”见“堂前小阁中壁上”书蔡君谟“绰约新娇”诗，而诗云：“过潍州驿，见蔡君谟题诗壁上云：‘绰约新娇……'。”二者必有一伪。再，《苏文忠公诗编注集成总案》又载苏轼《题蔡君谟诗草》云：“此蔡君谟—《梦中》—诗,真迹在济明家，笔力遒劲。”并自署为“元皊五年十月四日”。此是苏轼知杭州事，距初悴杭州又十五、六年时间。这又留下一个可猜想的余地。但帖中“仆在钱塘”云云，书此帖时必不在钱塘。因之，断为熙宁十年左右较合理。然翁氏在帖考中又云此帖书颇类《满庭芳词——为王长官作》和《上清宫词》书。前者书于元丰六年，后者书于元皊二年。因此断定在熙宁十年至元皊二年这十年之间。此又平添一重疑难也。\n翁氏收藏此帖后，又引起了是否钧填本的争论。因存世苏书钩填本很多，而此帖纸质擦损严重，“有二一描失处”，故疑之。但翁氏肯定说这是真迹本，并将此帖与《快雪堂帖》刻本逐一比较，而断定《快雪堂帖》刻本所据乃为董其昌记载所见之摹本。在没有寻找到更多的证据前，我们尊重翁氏之论，也是有道理的。",[23,38,7,26,352,25,27,58,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9cd5f10698a081bf325106fa748e07.jpg",[62],{"id":6844,"slug":6845,"title":6846,"dynasty":91,"author":440,"museum":1573,"description":6847,"tags":6848,"thumbUrl":6850,"material":196,"size":61,"collection":168,"collections":6851,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":46},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,56,24,25,26,27,7,37,112,328,6849,177,58],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[168,975],{"id":6853,"slug":6854,"title":6855,"dynasty":51,"author":784,"museum":4480,"description":6856,"tags":6857,"thumbUrl":6860,"material":196,"size":6861,"collection":61,"collections":6862,"showCount":6748,"zanCount":11,"manualWeight":11,"mainColor":61},220759,"yu-fu-ling-zi-cong-shan-ben-lan-xu-ting-zhao-gou-220759","御府领字从山本兰序亭","王羲之原作赵构临本（*：赵构临本刻画）",[38,7,680,58,6858,1698,6859],"碑帖","朱印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c11fe643b87c5f89c7183551bba413.jpg","26.2 × 12.5厘米",[],{"id":6864,"slug":6865,"title":6866,"dynasty":702,"author":3782,"museum":3783,"description":6867,"tags":6868,"thumbUrl":6869,"material":6870,"size":61,"collection":61,"collections":6871,"showCount":6748,"zanCount":534,"manualWeight":11,"mainColor":46},220520,"zeng-tie-fu-dui-lian-xu-bei-hong-220520","赠铁夫对联","此作取法汉隶，笔力沉浑苍劲，起收斩截利落，线条如铸铁一般厚重雄强，兼具碑版金石气与写意疏朗意趣。竖向排布行气贯通，大字舒张宽博，每字皆具筋骨力道，墨色浓枯自然变幻，朴茂之中暗含灵秀意韵。左侧小字题款灵动跳脱，与正文的端稳厚重形成动静对照，朱红印文提亮画面，整幅刚柔相济，将碑学雄健气度与文人雅逸风骨相融，尽显沉郁大气的书风，字里行间尽显创作者的磊落襟怀。",[38,2251,2031,7,58,27,702,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf85e58c30355e2301e59706de7ba709.jpg","纸本墨笔、 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常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[56,24,25,57,27,29,37,30,1885,774,150,6911,79,6912,7,38],"马匹","风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf383bfeca5b213ba1fc05bc62d43a90.jpg",[],{"id":6916,"slug":6917,"title":6918,"dynasty":51,"author":6919,"museum":73,"description":6920,"tags":6921,"thumbUrl":6924,"material":920,"size":921,"collection":61,"collections":6925,"showCount":6904,"zanCount":11,"manualWeight":11,"mainColor":46},287567,"xian-shan-lou-ge-tu-zhao-bo-ju-287567","仙山楼阁图","赵伯驹","此页以青绿重色描绘山水、建筑，左半部山石层层叠起，楼台殿阁自山脚下湖水边随着山势逶迤推高，直至半山。右半部水面荷叶点点，远山屏立，朵朵祥云飘渺其间。山石空勾填色，线条工细，不用皴法，摹拟赵伯驹、赵伯骕兄弟风格，承续了唐人传统。画面明丽润泽，给人清新之感。",[23,56,24,2579,1394,28,77,29,150,82,6922,38,7,58,5833,6923],"仙山","王母","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ead504db0a03072610e13005477678e.jpg",[],{"id":6927,"slug":6928,"title":6929,"dynasty":18,"author":881,"museum":106,"description":6930,"tags":6931,"thumbUrl":6932,"material":6933,"size":6934,"collection":62,"collections":6935,"showCount":6904,"zanCount":11,"manualWeight":11,"mainColor":46},240412,"dong-qi-chang-qi-jue-shi-zhou-dong-qi-chang-240412","董其昌七绝诗轴","释文： 水北原南野草新，雪消风暖不生尘。城中车马知无数，能解闲行有几人。\n款署：“其昌。”钤“董氏玄宰”、“大宗伯印”、“玄赏斋”。鉴藏印有“鹤舟所藏”、“紫云山房鉴藏书画印”。\n本幅书唐张籍《与贾岛闲游》七言诗，文字与原诗作有出入。此幅诗轴未署年款，从书风及所钤“大宗伯印”判断，当为董其昌77岁就任南京礼部尚书、掌詹事府事以后之作品。\n书法行中夹草，融合自然，行笔流畅，风格洒脱，为董氏晚年之代表作。",[38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb750b29f43e687b97622e1861b58bdd.jpg","金笺，草书","纵145.1厘米，横34.7厘米",[62],{"id":6937,"slug":6938,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":6939,"thumbUrl":6940,"material":196,"size":1004,"collection":61,"collections":6941,"showCount":6904,"zanCount":11,"manualWeight":11,"mainColor":46},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089",[24,25,209,27,7,37,29,376,884,377,81,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd47a46f6ca498fde781cc73a947eca.jpg",[],{"id":6943,"slug":6944,"title":6945,"dynasty":18,"author":6946,"museum":73,"description":6947,"tags":6948,"thumbUrl":6949,"material":61,"size":61,"collection":61,"collections":6950,"showCount":6904,"zanCount":11,"manualWeight":11,"mainColor":46},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","徐贲","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,25,26,27,29,37,38,7,376,884,34,30,31,33,82,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":6952,"slug":6953,"title":6954,"dynasty":18,"author":1391,"museum":73,"description":6955,"tags":6956,"thumbUrl":6957,"material":61,"size":61,"collection":61,"collections":6958,"showCount":6904,"zanCount":11,"manualWeight":11,"mainColor":46},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,1394,28,77,26,25,7,29,79,32,31,33,34,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":6960,"slug":6961,"title":6962,"dynasty":145,"author":339,"museum":73,"description":588,"tags":6963,"thumbUrl":6964,"material":407,"size":61,"collection":62,"collections":6965,"showCount":6904,"zanCount":11,"manualWeight":11,"mainColor":46},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[23,24,25,57,27,112,177,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[62],{"id":6967,"slug":6968,"title":6969,"dynasty":18,"author":3161,"museum":6970,"description":6971,"tags":6972,"thumbUrl":6973,"material":196,"size":6974,"collection":62,"collections":6975,"showCount":6904,"zanCount":534,"manualWeight":11,"mainColor":46},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","苏州博物馆","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,7,38,26,58,27,352,25,32,150,29,82,1794,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[62],{"id":6977,"slug":6978,"title":6979,"dynasty":51,"author":6980,"museum":1685,"description":6981,"tags":6982,"thumbUrl":6983,"material":1974,"size":6984,"collection":226,"collections":6985,"showCount":6904,"zanCount":11,"manualWeight":11,"mainColor":46},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷","郭熙","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,25,26,289,27,28,37,77,38,7,58,29,377,32,30,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg","纵32.4厘米，横104.8厘米",[226,42,168],{"id":6987,"slug":6988,"title":6989,"dynasty":51,"author":2534,"museum":53,"description":6990,"tags":6991,"thumbUrl":6992,"material":196,"size":6993,"collection":62,"collections":6994,"showCount":6904,"zanCount":534,"manualWeight":11,"mainColor":46},221193,"shu-chi-du-lu-you-221193","书尺牍","陆游（1125—1210），字务观，号放翁，绍兴人。自幼好学不倦，29岁时，赴南宋临安（杭州）应锁厅试，名列第一，因居秦桧孙子之前，又因他不忘国耻“喜论恢复”，竟在复试时被除名。他始终坚持抗金恢复中原，在仕途上不断受到当权派的排斥打击。中年入蜀抗金，任夔州（今四川奉节）通判和蜀州、嘉州、荣州代理通判、知州等职。宋光宗继位后，升为礼部郎中兼实录院检讨官，不久即因“嘲咏风月”罢官归居故里。主要著作有《渭南文集》《剑南诗稿》《放翁词》《南唐书》《老学庵笔记》。",[38,7,27,196,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1722258b27ccb271c6c41ad7f642de.jpg","40.5x70.7",[62],{"id":6996,"slug":6997,"title":6998,"dynasty":18,"author":881,"museum":53,"description":6999,"tags":7000,"thumbUrl":7001,"material":196,"size":7002,"collection":62,"collections":7003,"showCount":6904,"zanCount":534,"manualWeight":11,"mainColor":46},220922,"chi-du-shang-ce-dong-qi-chang-220922","尺牍上册","明代董其昌行书临东坡尺牍册，纵25厘米；横14.1厘米，万历四十年（1612）书，上海博物馆藏。\n本册为董氏节录苏轼尺牍七段，阮元《石渠随笔》曾载此册，记为六段，又收入《石渠宝笈续编》。金粟笺本，笔精墨妙。有脱漏或改动字句处。1612年，董文敏58岁，其时于深研二王基础上，董氏进而汲取宋四家之长，除米芾外，钻研最深的便是苏轼。董书以灵动绰约见长，虽不如苏书沉厚雄健，然圆润秀逸则过之。",[23,38,7,209,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d04668bd94745352a74901f084f5ebd.jpg","35.7x42.3",[62],{"id":7005,"slug":7006,"title":7007,"dynasty":91,"author":7008,"museum":206,"description":7009,"tags":7010,"thumbUrl":7012,"material":123,"size":7013,"collection":42,"collections":7014,"showCount":6904,"zanCount":534,"manualWeight":11,"mainColor":46},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[24,25,57,27,37,7,58,29,7011,33,34,35,36,194,3332],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[42],{"id":7016,"slug":7017,"title":7018,"dynasty":145,"author":7019,"museum":73,"description":7020,"tags":7021,"thumbUrl":7023,"material":920,"size":921,"collection":61,"collections":7024,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},290437,"mi-fei-bai-shi-tu-li-zhou-wang-zhen-290437","米芾拜石图立轴","王震","王一亭（1867年—1938年11月），号白龙山人、梅花馆主、海云楼主等，法名觉器。祖籍浙江吴兴（今湖州市），生于上海周浦。清末民国时期上海著名书画家、实业家、杰出慈善家、社会活动家与宗教界名士。\n曾两次任上海总商会主席。加入中国同盟会，资助辛亥革命和二次革命，任中国国民党上海分部部长。上海光复后，历任军政府交通部长、商务总长、中华银行董事。后任南京国民政府中央救灾准备金保委会委员长。曾任中国佛教会执行委员兼常委，上海佛学书局董事长，致力于慈善事业。对海派书画艺术的繁荣和对外交流贡献卓绝。\n王一亭作品具有近代人文主义意识。早年学画得徐小仓指点，后师从任伯年，画艺大进，继承任派风格。晚与金石派大师吴昌硕亦师亦友，趋向阔笔写意，设色浓艳，笔墨酣畅，气势雄阔而不失写实本色。构图讲究，诗书画印，浑然一体。在清末民初海上画派中影响仅次于吴昌硕。吴昌硕赠诗王一亭曰：“天惊地怪生一亭，笔铸生铁墨寒雨。”\n1932年任全国艺术家协会理事。1937年日寇侵占上海后，坚辞不就伪职，表现出高贵的劲风亮节。1938年11月病逝。重庆国民政府明令褒扬公葬。蒋介石题送挽联：“当飘摇风雨之中弥征劲节，待整顿乾坤而后重吊斯人”。",[23,24,57,27,28,79,177,38,7,7022],"米芾拜石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb631ca950933560345aaf0fbe0acb21.jpg",[],38,{"id":7027,"slug":7028,"title":7029,"dynasty":51,"author":1970,"museum":53,"description":7030,"tags":7031,"thumbUrl":7033,"material":920,"size":921,"collection":61,"collections":7034,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":66},290330,"hu-die-hua-zhou-yang-wu-jiu-290330","蝴蝶花轴","杨无咎（1097年～1171年）字补之，杨一作扬，一说名补之，字无咎。自号逃禅老人、清夷长者、紫阳居士。临江清江（今江西樟树市）人，寓居洪州南昌。绘画尤擅墨梅。",[24,25,57,210,27,28,7032,177,38,7,58],"蝴蝶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead7d623474f00490379551d5dc9d47.jpg",[],{"id":7036,"slug":7037,"title":7038,"dynasty":7039,"author":220,"museum":73,"description":7040,"tags":7041,"thumbUrl":7042,"material":920,"size":921,"collection":61,"collections":7043,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},288010,"su-shi-qian-chi-bi-fu-yi-ming-288010","苏轼 前赤壁赋","不详","右侧行书笔墨俊逸舒展，寥寥数语尽显文人尺牍的简淡随性。左侧鉴藏印错落排布，朱白印文交相生辉。御府巨印居于上方，尽显尊崇；诸家私印罗列于侧，见证百年递藏源流。朱印沉艳素纸古雅，笔墨与钤印交织碰撞，将宋代文人的清雅意趣与历代递藏的岁月底蕴融为一体，静诉旧物流转的时光故事，尽显古卷沉静厚重的典藏质感。",[38,7,58,2226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121993f2ecb63c8187ffba8910f0fe0d.jpg",[],{"id":7045,"slug":7046,"title":7047,"dynasty":145,"author":7048,"museum":7049,"description":7050,"tags":7051,"thumbUrl":7052,"material":196,"size":61,"collection":62,"collections":7053,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":66},240476,"lan-ting-xu-zhou-li-xiao-dong-240476","兰亭叙轴","李晓东","北京市天佑兰亭书法文化博物馆","此作用笔灵动秀雅，提按转合间尽显温润圆融，既留存原作萧散疏朗的风神，又自蕴朴拙安和的意趣。结体错落随性，章法匀净舒朗，墨色浓淡过渡自然，将原文俯仰叹惋的幽情藏于笔墨间。字里行间既有放浪形骸的疏逸，也饱含对死生之感的沉郁喟叹，以笔底意绪呼应文辞情志，尽显帖学一脉的雅致风神，是兼具笔墨意趣与文心共情的临摹佳构。",[145,57,7,38,76,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5197642058bb296752108d07d2d8a24f.jpg",[62],{"id":7055,"slug":7056,"title":7057,"dynasty":2673,"author":2674,"museum":106,"description":7058,"tags":7059,"thumbUrl":7060,"material":3576,"size":7061,"collection":62,"collections":7062,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},239562,"shen-xian-qi-ju-fa-juan-yang-ning-shi-239562","神仙起居法卷","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。\n明朱存理《铁網珊瑚》、都穆《寓意编》、张丑《清河书画舫》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》、吴升《大观录》、清内府《石渠宝笈·三编》、胡敬《西清札记》等书有著录。",[23,25,26,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e237cc505d706730d135436a94e02b.jpg","纵27厘米，横21.2厘米",[62],{"id":7064,"slug":7065,"title":857,"dynasty":18,"author":205,"museum":73,"description":7066,"tags":7067,"thumbUrl":7068,"material":920,"size":921,"collection":125,"collections":7069,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},238114,"hua-hui-ce-xiang-sheng-mo-238114","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,25,209,27,210,119,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d64ca3bfca453100e2eec44b78f1024.jpg",[125],{"id":7071,"slug":7072,"title":7073,"dynasty":18,"author":205,"museum":106,"description":7074,"tags":7075,"thumbUrl":7076,"material":542,"size":7077,"collection":42,"collections":7078,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},237697,"fang-huang-gong-wang-shan-shui-zhou-xiang-sheng-mo-237697","仿黄公望山水轴","此画为仿古山水画，有黄公望遗风。本幅上自题：“曾见痴翁半张纸，不多数笔山与水。自然苍润有云烟，聊复从翁画如此。此为会嘉兄临黄子久半张纸，是画即藏李氏秘笈中。崇祯壬申二月晦日题于鹤梦轩，项圣谟。”钤印“项圣谟诗画”、“拙胜”等。",[24,25,57,76,37,27,7,29,376,377,177,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7793cd0d1b4e78c00e3fefb6342305.jpg","43.7厘米，横：31厘米",[42,62],{"id":7080,"slug":7081,"title":2604,"dynasty":18,"author":7082,"museum":73,"description":7083,"tags":7084,"thumbUrl":7086,"material":61,"size":61,"collection":42,"collections":7087,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},235969,"shan-shui-ce-cheng-jia-sui-235969","程嘉燧","此作用极简白描写就，古松枝干盘曲苍劲，松针攒簇尽显虬结风神，松下三人意态萧散，衣纹清瘦简括，将山林晤谈的幽雅氛围勾勒尽致。\n左侧题诗行书清隽疏朗，书画合璧浑融无间。整幅以少胜多，淡墨浅笔间，寄寓幽栖丘壑的林下襟怀，尽得简淡空灵之致，把林泉雅集的澹远意趣浓缩在尺素之上，尽显文人画以意驭笔、以韵胜形的审美意趣，藏雅逸之思于笔墨边角。",[24,25,209,78,27,7,254,79,1469,7085],"童仆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4b1c51b4c7439aeed9b8e939710c82.jpg",[42],{"id":7089,"slug":7090,"title":7091,"dynasty":18,"author":3792,"museum":73,"description":7092,"tags":7093,"thumbUrl":7094,"material":61,"size":61,"collection":61,"collections":7095,"showCount":7025,"zanCount":534,"manualWeight":11,"mainColor":46},234204,"mo-zhu-juan-sun-ke-hong-234204","墨竹卷","中国成语中有“胸有成竹”之说，原意是指画竹之前心里已经有了竹子的形象，后来比喻在做事之前已经有了全面的设想和安排。“胸有成竹”出自宋代苏轼的《文与可画筼筜谷偃竹记》——“故画竹，必先得成竹于胸中”。苏轼的这篇文章写的是文同画竹。宋代文同开创了“墨竹”一派，在中国绘画史上有着重要的地位，而他笔下的竹也被赋予了一种百折不挠的奋斗精神。例如在他的作品《墨竹》中，竹子在岩石的压迫下，先俯以应时，再延伸而上仰，展现出旺盛的生命意志。历代画竹者数不胜数，很多人能够面对“墨竹”这一题目画一辈子。除文同之外，历史上亦有赵孟頫、管道昇、夏昶、李衎、吴镇等人笔下的竹堪称经典。历朝历代也不乏优秀的画家以竹作为描绘对象抒写胸中逸气，明代孙克弘便是其中之一。\n现藏于苏州博物馆的孙克弘《墨竹图》（见下图）纵113厘米、横31.8厘米。画家在画面左下角题识：“湘皋春雨楚烟霏，绿玉参差路欲迷。流水接天人不见，满林花落鹧鸪啼。雪居。”画面右下角生出三枝竹子，其中一枝成为此画的主角。竹子从右下方生长至左上角，显得生机盎然。竹叶施以浓墨，墨笔犀利，竹干和竹枝则用淡墨描绘。画家将两者的前后关系清楚地展现在观者面前，同时又突显了全画的主角，从中可以看出他的良苦用心。另外两枝竹子则沿画面右侧而上，均以淡墨着色，再次衬托出画面中心的主角。\n孙克弘（1533—1611），字允执，号雪居，上海松江人。他善楷、隶、篆等书体，取法宋克，上追秦汉，自成风格。在绘画方面，他早期长于写生花鸟，师法徐熙、赵昌、沈周、陆治。他的绘画作品或工笔，画法工整，色彩明丽；或写意，笔墨放逸，造型工致。他画墨竹仿文同。此幅《墨竹图》笔法谨严有致，又不失潇洒之态，深得文同墨竹的精髓。墨竹不仅如同文人画的一种标本和尺度，同时也反映了中国画笔墨的基本。此画中，竹干劲挺。画面正中的一枝呈“S”形构图，竹枝虬曲，变化中不失弹性，具有一定的节奏感。竹子枝头向上挑起，密叶以向上的趋势奔放扩张、凌空倚势，显示了无穷的生命力度。竹节与竹节之间虽断离而又有牵连之意。画面下方的小枝行笔疾速，婉顺而柔和。三枝主枝横斜曲直、顾盼有情。再看整幅画面的竹叶，看似笔笔随意却又不失生意，显得疏密有致、聚散兼顾。\n孙克弘的《墨竹图》画面整体层次分明，墨色的运用和处理较为丰富。竹干墨色偏淡，不同枝干上的竹叶颜色有深有浅。画家以浓墨描绘竹叶正面，以淡墨表现竹叶背面；老枝以浓墨绘成，嫩叶新枝又以淡墨表现。画面的前后关系随着一虚一实、一明一暗的节奏来表达。同时，画面中留有大量空白，带给人无限的遐想。从画面中，还可以看到无处不在的书法用笔。撇叶锋长却不露毫芒，叶尾转折处提笔露白，以示向背之势，这足以显示出孙克弘深厚的书法功底。\n古人喜画墨竹。从这些墨竹中，后人可体会到观万物之生意的意境，并对这种绵延不息的生意肃然起敬。古人云：“天地之大德曰‘生’。”“生”便是一切万物之源，而墨竹恰恰就体现了这种倔强的生机。画家通过对竹的不同形式的表达，所要传递的便是“生生之谓易”（《周易》）的道理。这也是中国文化中十分珍贵的精义。",[23,24,27,26,112,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ab4f26dfa87319af0ed8c422a44a60.jpg",[],{"id":7097,"slug":7098,"title":6875,"dynasty":18,"author":881,"museum":106,"description":3100,"tags":7099,"thumbUrl":7100,"material":722,"size":3104,"collection":61,"collections":7101,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},233961,"fang-gu-shan-shui-ce-dong-qi-chang-233961",[24,25,209,7,38,58,28,37,29,34,35,194,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2597824fb0e8f717ef82a8d2784b338.jpg",[],{"id":7103,"slug":7104,"title":7105,"dynasty":18,"author":1024,"museum":106,"description":7106,"tags":7107,"thumbUrl":7109,"material":330,"size":7110,"collection":61,"collections":7111,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,25,26,27,77,38,7,58,254,36,79,1471,35,7108],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 横67CM",[],{"id":7113,"slug":7114,"title":7115,"dynasty":71,"author":2724,"museum":73,"description":7116,"tags":7117,"thumbUrl":7118,"material":61,"size":61,"collection":61,"collections":7119,"showCount":7025,"zanCount":534,"manualWeight":11,"mainColor":46},227045,"zhong-qiu-tie-wang-xian-zhi-227045","中秋帖","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,38,7,26,25,58,28,79,34,897,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":7121,"slug":7122,"title":7123,"dynasty":145,"author":7124,"museum":73,"description":7125,"tags":7126,"thumbUrl":7127,"material":196,"size":7128,"collection":62,"collections":7129,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},223125,"shu-hua-ce-ye-ji-gui-zhuang-223125","《书画册页》-寄","归庄","归庄（1613年8月29日——1673年10月1日） ，明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[23,3383,25,1244,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0175a63c532bdaa1c34eaf797535b8ec.jpg","纵24.5厘米，横35.5厘米",[62],{"id":7131,"slug":7132,"title":7133,"dynasty":18,"author":7134,"museum":106,"description":7135,"tags":7136,"thumbUrl":7137,"material":542,"size":7138,"collection":61,"collections":7139,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":66},221934,"pi-pa-xing-tu-zhou-guo-xu-221934","琵琶行图轴","郭诩","此图是根据《琵琶行》诗意创作的写意人物画，表现白居易与歌女邂逅相逢的情景。歌女侧身而立，头绾高髻，面容清秀而暗含忧伤。她怀抱琵琶，身着曳地长裙，体态窈窕俊美。诗人双手抚膝端坐于旁，神情专注地面向歌女，似乎在倾听歌女诉说其不幸的身世。\n此幅构图新颖奇特，占画幅三分之二篇幅的《琵琶行》诗为行草体书写，纵向取势，参差布白，极具宽窄长短之变化；结字笔画纵横奔放，或断或连，枯润纤秾皆在章法之中。画面削尽繁冗，没有任何晕染，仅以简约明了的圆熟线条勾画出诗人与落难中的歌女，形象高度提炼，笔墨大胆精减，却将画中人物“听”与“说”的神态表现得有声有色，极具感染力，展示出作者于人物画创作上形简神足的深厚功底。\n此图上的诗题在画幅中具有重要的意义。其展现的是绘画之外的书法艺术的风采。丰茂的书法墨韵与简逸的绘画笔趣形成和谐的呼应关系并达到了艺术上的完美统一，体现出中国画注重诗书画相结合的艺术特点。诗题内容是对画面最直接的文字补充。相互交融的诗情与画意深化了“同是天涯沦落人”的创作主题。此外，诗题在画幅中起到了令画面充实、平衡、布局更完美的作用，犹如人物活动的衬景，填补了人物上方大片的空白，并通过字距、字体结构的诸多变化扩展了画面的纵深空间，那奔流直下、一泻千里的磅礴气势也令画面清逸儒雅的意境增添了气魄与力度，从而增强了全画的艺术感染力。",[23,24,57,79,27,28,38,7,2322,80,2009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce2d38d79e911d96558ae32663f817e.jpg","纵154厘米，横46.6厘米",[],{"id":7141,"slug":7142,"title":7143,"dynasty":51,"author":1554,"museum":106,"description":3392,"tags":7144,"thumbUrl":7145,"material":542,"size":3398,"collection":61,"collections":7146,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},221484,"yun-shan-mo-xi-tu-mi-you-ren-221484","云山墨戏图",[23,24,25,26,27,29,179,34,3615,37,7,58,38,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66167bb6cc21347584025b2d972b0ccf.jpg",[],{"id":7148,"slug":7149,"title":7150,"dynasty":51,"author":7151,"museum":373,"description":7152,"tags":7153,"thumbUrl":7154,"material":7155,"size":7156,"collection":62,"collections":7157,"showCount":7025,"zanCount":11,"manualWeight":11,"mainColor":46},221461,"mu-ji-ji-xu-wen-tian-xiang-221461","木鸡集序","文天祥","文天祥（一二三六——一二八二），为有宋一代名臣。吉州吉水人。字宋瑞，又字履善，号文山。年二十八岁时举进士，理宗亲拔为第一。考官王应麟对他考卷的评价是：[是卷古谊若龟鉴，忠肝如铁石，臣敢为得人贺。]文天祥后来落入敌手，宁死不屈的经历也确实证明了王应麟是一位有远见的考官。\n文天祥书法宗法二王，以《圣教序》为蓝本，参之以米芾的部分结字，在运笔中则以黄山谷悠扬笔致为指归，笔画粗细变化不大，但注意在布置安排中的疏密变化，观其作品仿佛有一股清泉在流溢，秀逸并富文人气息。\n对宋四家的开拓创新，自朱熹开始，不少人依然是特反对态度的，于是便出现了返归二王正尝的呼声，文天祥无疑是站在这一立场上的。但是，每位书家都难以摆脱一些优秀书家的影响，所以，尽管如此，文天祥或多或少受到宋四家影响。文天祥的这件作品点画精劲微妙，轻起轻落，显得清疏挺竦，有一股神逸癯然的姿态。在结字中他很注意留空，所以，他的每个字的结构显得十分空灵，即便在字与字的连结上，依然是以气势连贯为主，而不强调笔画之间的连带，另外，他将每个字的重心压得较低，故字显得沉稳而有姿态，这无疑是受了米芾的影响。在书写速度上，显得不疾不缓，雍容不迫，颇有大家的风范。\n他的这种笔画及行气的处理方式，可能是与他采用篆法与章草的方法有关，因为，他对于这两种字体，看来也并不陌生，所以，我们可以肯定地说，文天祥在书法上是比较向往魏晋以上的古朴书风的。\n从整个宋代的书法格局来看，文天祥书法并不占很重要的位置，然而，由于其刚正不阿的品性，为后代读书人确立了一个榜样，古人常把人品与书品联系起来，所以在后人的评价中也基本上是出于这一立场。如明王鏊说：[公之精忠大节，焯焯天地间，而字画精妙，虽纸墨之微，亦皆不苟。]这是说他处事为人端严不苟。而明李时勉则是由字仰见其人了：[观公札子，其忠正之气，凛然见于言词之间，俯仰概慕之余，若将见之。]这些对于通过学习书法来提高自己的品德修养，都不无借鉴和警戒的意义。",[23,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e23c04ce51184fe7d6f62aca85de72f.jpg","纸本 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被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[24,25,209,27,28,29,177,34,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060f844f0dcf3a72f0a2f72a480158fe.jpg","30.6x20.7cm",[42],{"id":7321,"slug":7322,"title":7323,"dynasty":91,"author":286,"museum":53,"description":6737,"tags":7324,"thumbUrl":7325,"material":123,"size":61,"collection":61,"collections":7326,"showCount":7223,"zanCount":534,"manualWeight":11,"mainColor":46},216594,"mo-zhu-pu-ce-ye-4-wu-zhen-216594","墨竹谱册页-4",[23,56,24,25,209,27,7,58,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c8a9a08d09a4c179fee51c2b578937.jpg",[],{"id":7328,"slug":7329,"title":1553,"dynasty":2673,"author":5651,"museum":73,"description":6018,"tags":7330,"thumbUrl":7333,"material":920,"size":921,"collection":61,"collections":7334,"showCount":7335,"zanCount":11,"manualWeight":11,"mainColor":46},288280,"xiao-xiang-tu-dong-yuan-288280",[23,56,24,26,25,27,28,37,29,2118,32,7331,1309,82,38,7,1014,58,7332],"洲渚","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],36,{"id":7337,"slug":7338,"title":6055,"dynasty":454,"author":643,"museum":73,"description":2947,"tags":7339,"thumbUrl":7340,"material":920,"size":921,"collection":61,"collections":7341,"showCount":7335,"zanCount":11,"manualWeight":11,"mainColor":46},288122,"zheng-zuo-wei-tie-yan-zhen-qing-288122",[38,7,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f707902a736f6c78a7539bcb3365c6.jpg",[],{"id":7343,"slug":7344,"title":7345,"dynasty":145,"author":7346,"museum":73,"description":7347,"tags":7348,"thumbUrl":7352,"material":920,"size":921,"collection":61,"collections":7353,"showCount":7335,"zanCount":511,"manualWeight":11,"mainColor":46},288062,"long-zhou-jing-du-juan-wang-gai-288062","龙舟竞渡卷","王槩","此卷由三段绘画组成，以江河为主线，渐渐展开端午时节赛龙舟的场面。画面用笔工细，场面宏大。几艘龙舟昂首翘尾，动感十足。船上人小如蚁，但奋力划桨之势尽显。在构图上，运用大片留白表现水天一色和浩渺的江河，给人以开阔的视野。而江中点缀的渔家小船及岸上人们争相观看的情景，又使画卷平添了几许情趣。",[23,24,26,25,27,28,7349,29,31,178,34,135,79,3652,58,7,38,7350,7351],"龙舟","龙舟竞渡","民俗活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcf549de7dc2fe73f37c130e34dbc58.jpg",[],{"id":7355,"slug":7356,"title":7357,"dynasty":18,"author":881,"museum":73,"description":7358,"tags":7359,"thumbUrl":7360,"material":920,"size":921,"collection":61,"collections":7361,"showCount":7335,"zanCount":11,"manualWeight":11,"mainColor":46},283734,"zeng-ke-xue-shan-shui-tu-juan-dong-qi-chang-283734","赠珂雪山水图卷","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,24,26,25,27,29,38,7,37,178,1309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c500429c2c8c477ba68a84e27e3ef7.jpg",[],{"id":7363,"slug":7364,"title":7365,"dynasty":18,"author":1169,"museum":73,"description":4147,"tags":7366,"thumbUrl":7367,"material":920,"size":921,"collection":61,"collections":7368,"showCount":7335,"zanCount":11,"manualWeight":11,"mainColor":46},235796,"chen-dao-fu-tian-xiang-tu-shan-ye-chen-chun-235796","陈道复天香图扇页",[2579,27,210,121,38,7,58,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc792f32bb6847098aa7d32e3c97c6c5e.jpg",[],{"id":7370,"slug":7371,"title":7372,"dynasty":18,"author":1024,"museum":106,"description":7373,"tags":7374,"thumbUrl":7375,"material":542,"size":7376,"collection":61,"collections":7377,"showCount":7335,"zanCount":11,"manualWeight":11,"mainColor":46},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,24,25,26,27,78,38,7,112,120,328,177,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":7379,"slug":7380,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":7381,"thumbUrl":7382,"material":196,"size":1004,"collection":61,"collections":7383,"showCount":7335,"zanCount":11,"manualWeight":11,"mainColor":46},234085,"wu-zhong-shan-shui-ce-shen-zhou-234085",[24,25,209,27,7,37,29,150,34,30,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490de890778b4cc3370fad14bbd48de.jpg",[],{"id":7385,"slug":7386,"title":7387,"dynasty":51,"author":4531,"museum":1481,"description":7388,"tags":7389,"thumbUrl":7390,"material":7391,"size":7392,"collection":61,"collections":7393,"showCount":7335,"zanCount":11,"manualWeight":11,"mainCol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\u2028 卷中钤有宋中书省印九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。《谱图序稿》书法左边“右欧阳氏谱图序稿”8个字为周必大所题。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”\n此卷南宋时由周必大所藏，元代时欧阳修六世孙欧阳耐轩得于钱塘(今浙江杭州)，又传其八世孙欧阳彦珍，清嘉庆时入内府收藏。",[38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2ac32deeae8c09cbc2f6c83a1b2097.jpg",[],{"id":7403,"slug":7404,"title":7405,"dynasty":51,"author":690,"museum":73,"description":7406,"tags":7407,"thumbUrl":7408,"material":61,"size":61,"collection":61,"collections":7409,"showCount":7335,"zanCount":534,"manualWeight":11,"mainColor":66},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,56,24,26,77,28,693,79,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd803f502ab548d08a4d7881bc0191c.jpg",[],{"id":7411,"slug":7412,"title":7413,"dynasty":18,"author":881,"museum":373,"description":7414,"tags":7415,"thumbUrl":7416,"material":196,"size":7417,"collection":62,"collections":7418,"showCount":7335,"zanCount":11,"manualWeight":11,"mainColor":46},220953,"lei-gao-ben-juan-dong-qi-chang-220953","勒稿本卷","《楷书勒搞本卷》是董其昌亲笔书写的明朝万历皇帝对其父母、妻子封赏的诏书。卷首有乾隆御笔题跋,原收入清宫《石渠宝笈》。董其昌楷书《楷书勒搞本卷》为高丽笺纸乌丝栏格楷书告身二通,装裱成一卷，前段为追封其父董汉儒、母沈氏告身,后段为封董其昌本人及夫人龚氏等告身。前者书于明万历二十四年(1596)闰八月二十四日,后者书同年同月二十八日,二者仅隔四天。引首有乾隆长题,讲述诰封产生及演变。",[38,7,26,58,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3055e911536ebd4bd7921f02a8f218cf.jpg","横4143cm,纵26.8cm",[62],{"id":7420,"slug":7421,"title":7422,"dynasty":91,"author":189,"museum":206,"description":7423,"tags":7424,"thumbUrl":7426,"material":40,"size":7427,"collection":42,"collections":7428,"showCount":7335,"zanCount":511,"manualWeight":11,"mainColor":46},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[23,56,24,25,26,27,28,37,29,150,177,33,81,7425,192,35,34,58,38,7,223],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 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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 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[23,38,57,7,58,530,119,5885,7510],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20014fbbbca23c3809a74e13bfaf1bef.jpg",[],35,{"id":7515,"slug":7516,"title":6274,"dynasty":51,"author":349,"museum":73,"description":7517,"tags":7518,"thumbUrl":7519,"material":920,"size":921,"collection":61,"collections":7520,"showCount":7513,"zanCount":534,"manualWeight":11,"mainColor":66},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。",[38,7,680,352,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1930f2bd3b2557c809e545a213150e9e.jpg",[],{"id":7522,"slug":7523,"title":7524,"dynasty":145,"author":1413,"museum":106,"description":7525,"tags":7526,"thumbUrl":7527,"material":61,"size":7528,"collection":62,"collections":7529,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":46},239596,"shi-san-zha-ce-zhu-da-239596","十三札册","朱耷(1626-约1705)，明末清初画家，中国画一代宗师。本名由桵，字雪个，号八大山人、个山 、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[3383,25,38,7,209,2239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc227c47f7b3a82770e5a83861f7a72cb.jpg","纵24.6cm，横15.1cm",[62],{"id":7531,"slug":7532,"title":7533,"dynasty":145,"author":7534,"museum":73,"description":7535,"tags":7536,"thumbUrl":7537,"material":196,"size":7538,"collection":125,"collections":7539,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":46},238972,"hua-hui-zhou-chen-shu-238972","花卉轴","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,57,28,27,210,1444,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8444c4174ac46ef74113137226711cf.jpg","33*65厘米",[125,62],{"id":7541,"slug":7542,"title":7543,"dynasty":145,"author":7544,"museum":73,"description":7545,"tags":7546,"thumbUrl":7547,"material":61,"size":61,"collection":42,"collections":7548,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":46},238708,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238708","画弘历和江文通诗意图册","董邦达","此作用淡墨绘就幽居小景，敞轩之内，文士展卷校读，神态悠然专注。周遭古木虬枝舒展，湖石玲珑错落，浅溪萦回其间，清寂雅致。\n\n笔墨秀润清简，以淡墨皴擦晕染山石肌理，细笔点染出林叶苍然之态，构图疏密得宜，将林下闲居的静穆氛围铺陈开来。画作呼应诗意，把耽于文墨、寄兴丘山的隐逸襟怀融于景致之中，尽显冲淡萧散的文人雅趣，将文人心底幽远的林下之思藏在清和水墨间，尽显风雅静谧的文人画意趣。",[24,25,209,27,37,79,33,34,35,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84e46151266133c953b99627ae19f1f.jpg",[42,306,168],{"id":7550,"slug":7551,"title":7552,"dynasty":145,"author":7553,"museum":73,"description":7554,"tags":7555,"thumbUrl":7557,"material":196,"size":61,"collection":125,"collections":7558,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":46},237639,"shuang-yu-tu-zhou-li-fang-ying-237639","双鱼图轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一 。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[24,25,57,27,7,58,109,7556],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b19355579f3c5af08250390d4501ce2.jpg",[125],{"id":7560,"slug":7561,"title":7562,"dynasty":18,"author":205,"museum":73,"description":7563,"tags":7564,"thumbUrl":7565,"material":61,"size":7566,"collection":61,"collections":7567,"showCount":7513,"zanCount":534,"manualWeight":11,"mainColor":46},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915","花卉草虫册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,25,209,28,7,58,1271,212,177,31,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg","23x31cm",[],{"id":7569,"slug":7570,"title":7571,"dynasty":145,"author":276,"museum":106,"description":7572,"tags":7573,"thumbUrl":7574,"material":196,"size":7575,"collection":61,"collections":7576,"showCount":7513,"zanCount":534,"manualWeight":11,"mainColor":46},233719,"zi-hua-xiang-zhou-jin-nong-233719","自画像轴","此图为扬州八怪之一金农73岁时的自画像。画中老者身着布衣，持杖侧身而立，姿态笃定，神情超然。其头部画法较为写实，具有肖像画的特征，浓密的长髯，细细的发辫，矍烁的双目，真实传神地描绘出金农本人奇倔傲世的性格特征。\n图中人物的体貌不求形似，极尽夸张，具有漫画意味，这是一种文人画家逸笔的肖像画。画家以焦墨渴笔勾勒人物形象，线条生拙简朴，脱胎于南宋马和之“兰叶描”，与题款及诗文的“漆书”共同体现出生涩拙朴、奇绝脱俗的风格。",[24,25,57,78,27,79,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9ed191e96e74c538004f23d2e40f11.jpg","纵131.3厘米 ，横59.1厘米",[],{"id":7578,"slug":7579,"title":654,"dynasty":51,"author":784,"museum":73,"description":7580,"tags":7581,"thumbUrl":7582,"material":61,"size":61,"collection":61,"collections":7583,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":46},227722,"luo-shen-fu-zhao-gou-227722","重整宋家旧河山的高宗赵构，其书法水平也不一般。\n\n他的草书书法长卷《洛神赋》绢本，纵27.9cm，横398cm，辽宁省博物院藏。\n\n《洛神赋卷》未署年款，但卷末署“德寿殿书”款，钤“德寿殿御书宝”朱文印，可知是赵构做太上皇之后所作，处帝王之尊，颇具神韵。是其成熟期的作品。\n\n此卷草法出规入矩，运笔沉着浑厚，飞动流畅，虽是草书，但字字独立，字与字变化很多，字法熟练生动，提按转折无不如意，虽字与字之间无引带，仍然呈现了一气呵成、流畅自如，显示其深的书法造诣。",[23,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92cd4351f98e1e48eb868c2042887edd.jpg",[],{"id":7585,"slug":7586,"title":7587,"dynasty":145,"author":7588,"museum":73,"description":7589,"tags":7590,"thumbUrl":7592,"material":61,"size":61,"collection":61,"collections":7593,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":46},224582,"feng-xian-dao-gua-jiang-ting-xi-zhang-zhao-224582","凤仙倒挂","蒋廷锡 张照","设色明妍清润，凤仙花柔茎舒叶，艳红花瓣娇柔含露，倚石而生，野趣盎然。两只粉蝶一静一翩跹，将花畔生机尽数晕开，工细笔触晕染出蝶翼薄透肌理，花草枝叶的阴阳向背皆细腻入微，兼具工笔精致与写意雅致。\n右侧行书清劲秀雅，笔势流转间将咏花诗意娓娓道来，诗画相映，铺陈出凤仙花的幽逸品格。整幅册页雅致隽秀，融绘事笔墨与文人意趣于一体，尽显温婉雅致之美，是诗画合璧的精妙之作。",[23,24,25,209,28,77,7,210,800,7591,35,417,119],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b550ce4b068e3759d7ebce65ce339e1.jpg",[],{"id":7595,"slug":7596,"title":38,"dynasty":145,"author":339,"museum":73,"description":588,"tags":7597,"thumbUrl":7598,"material":196,"size":61,"collection":62,"collections":7599,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":66},223291,"shu-fa-zheng-ban-qiao-223291",[23,38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c550b955dd9dc9b64ba0d922a1a85e0.jpg",[62],{"id":7601,"slug":7602,"title":7603,"dynasty":51,"author":4164,"museum":106,"description":7604,"tags":7605,"thumbUrl":7606,"material":196,"size":7607,"collection":62,"collections":7608,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":46},221434,"xing-zhuo-ai-tie-quan-juan-ou-yang-xiu-221434","行灼艾帖全卷","释文：\n“修啓，多日不相見，誠以區區。見發言，曾灼艾，不知體中如何？來日修偶在家，或能見過。此中醫者常有，頗非俗工，深可與之論搉也。亦有閒事，思相見。不宣。修再拜，學正足下。廿八日。”\n帖中“见发言”的“发”即欧阳修长子欧阳发。据考，此帖是欧阳修写给自己的学生焦千之的，对其身体状况表示关心，并邀其来家相见。\n关于欧书特点，苏轼评价说：“公用尖笔干墨作方阔字，清眸丰颊，进退晔如。”李东阳在帖后的诗跋中称赞欧书“宋代书家自不孤，当时只许蔡君谟。若将晋法论真印，此老风流世亦无”。\n此帖本幅及前后隔水钤“吴郡张口”“仲口”“世昌”（半印）“仪周鉴赏”“德量审定”“希逸”“江德量鉴藏印”以及项元汴、张珩等鉴藏家印记。尾纸有李东阳、翁方纲题跋。清安岐《墨缘汇观·上编》著录。",[23,25,38,7,26,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4927ee06864027294d250f9799058c.jpg","纵25厘米，横18厘米",[62],{"id":7610,"slug":7611,"title":7612,"dynasty":91,"author":440,"museum":53,"description":7613,"tags":7614,"thumbUrl":7619,"material":407,"size":7620,"collection":42,"collections":7621,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":66},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,26,27,28,77,37,38,7,58,29,7615,445,292,34,36,444,3964,2275,7616,7617,7618],"孤山","平野","远树","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[42,155],{"id":7623,"slug":7624,"title":7625,"dynasty":91,"author":440,"museum":106,"description":7626,"tags":7627,"thumbUrl":7628,"material":196,"size":7629,"collection":62,"collections":7630,"showCount":7513,"zanCount":534,"manualWeight":11,"mainColor":66},220873,"zi-shu-shi-tie-zhao-meng-fu-220873","自书诗帖","书此帖时赵孟坚年六十一岁，是赵氏晚年之笔，笔力雄健，纵逸豪放，有黄庭坚书风。而结体瘦劲，中宫紧结欹侧俯仰之势则师法米芾，自有标度，为其书法代表作。\n旧传宋亡不仕，隐居广陈(今平湖市广陈镇北)。县令往访，孟坚飞舟逸去，县令叹息说“名可闻，身不可见”。从弟孟頫宋亡仕元，自湖州来访，闭门不纳。《芦川竹枝词》中《子固见弟诗》云：“南渡王孙此隐居，踵门贵客枉停车。当年介弟犹坚拒，座上那堪受浊污。”与陶菊隐、殷澄并称“秀州三义”。据近代学者考证，赵孟坚逝于宋亡前10余年，所谓宋亡不仕及拒见赵孟頫事不实。\n《宋人轶事汇编》载：赵孟坚入元以后，不乐仕进，隐居州之广陈镇（古海盐县，今平湖市广陈镇北）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”",[91,38,7,352,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6866225e40ebc88ad1c158c9034d8734.jpg","纵28.8厘米，横216.7厘米",[62],{"id":7632,"slug":7633,"title":7634,"dynasty":51,"author":220,"museum":53,"description":7635,"tags":7636,"thumbUrl":7639,"material":96,"size":7640,"collection":226,"collections":7641,"showCount":7513,"zanCount":11,"manualWeight":11,"mainColor":46},219603,"gao-shi-yan-qing-tu-yi-ming-219603","高士延清图","槐荫笼罩着夜色庭院，主人凭案闲坐，案上茶盏与香炉静立，暖香似随晚风漫开。侍童垂手侧立于阶下，屏气凝神消解了周遭岑寂。远处木桥隐在墨色里，晕染出幽谧的晚凉。\n\n画面与题诗相映，将林下清谈、养素含英的雅趣揉入笔底。空灵简雅的构图里，淡墨晕开夜色，人物意态松弛闲适，器物雅致沉静，把文人耽于幽寂、追寻雅静的心境铺陈开来。笔致温婉含蓄，将俗世之外的闲澹日常绘得动人，尽现雅致闲逸的生活意趣。",[23,24,25,209,28,7,79,328,377,1468,1467,1469,7637,7638],"对坐论诗","石棚槐阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc777cd7db29c9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号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[23,38,2251,7,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771a21123d24bc3c55158473342d6a12.jpg",[],{"id":7719,"slug":7720,"title":7721,"dynasty":18,"author":1391,"museum":73,"description":7722,"tags":7723,"thumbUrl":7724,"material":61,"size":61,"collection":61,"collections":7725,"showCount":7659,"zanCount":11,"manualWeight":11,"mainColor":46},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,25,26,1394,28,77,38,7,29,150,30,31,82,33,328,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":7727,"slug":7728,"title":7729,"dynasty":91,"author":440,"museum":73,"description":7730,"tags":7731,"thumbUrl":7732,"material":61,"size":61,"collection":61,"collections":7733,"showCount":7659,"zanCount":11,"manualWeight":11,"mainColor":46},228261,"jiu-ge-tu-quan-juan-zhao-meng-fu-228261","九歌图全卷","此作为书画合璧妙品，设色清润秀雅，线条如春蚕吐丝，柔中带劲。画卷中仙女神祇各具神采，云中君衣袂翩跹荷影随行，东皇太一端方威严，侍神拱卫左右，将屈子笔下楚地仙灵的缥缈风神尽数铺展。\n\n篆籀书风古朴苍劲，文辞与图绘相得益彰，把《九歌》巫祭歌辞的浪漫幽渺氛围烘托殆尽，将上古巫仪的清灵庄重融于笔端，尽显追摹古意的沉静笔致，让观者恍如置身楚地巫歌灵舞的缥缈幻境之中。",[23,24,25,26,28,77,79,1819,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab31f24e204da3141a05e8169e38bb.jpg",[],{"id":7735,"slug":7736,"title":7737,"dynasty":145,"author":7738,"museum":73,"description":7739,"tags":7740,"thumbUrl":7741,"material":196,"size":61,"collection":62,"collections":7742,"showCount":7659,"zanCount":11,"manualWeight":11,"mainColor":46},223270,"shou-gao-hong-yi-fa-shi-223270","手稿","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,25,38,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba929a2566c55462d1563549dbb0007c.jpg",[62],{"id":7744,"slug":7745,"title":7746,"dynasty":51,"author":1970,"museum":106,"description":7747,"tags":7748,"thumbUrl":7749,"material":165,"size":7750,"collection":226,"collections":7751,"showCount":7659,"zanCount":534,"manualWeight":11,"mainColor":46},221467,"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[23,56,24,25,26,27,7,111,1636,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[226,125],{"id":7753,"slug":7754,"title":7755,"dynasty":91,"author":440,"museum":53,"description":7756,"tags":7757,"thumbUrl":7758,"material":407,"size":2698,"collection":62,"collections":7759,"showCount":7659,"zanCount":534,"manualWeight":11,"mainColor":46},220875,"zhi-zhong-feng-he-shang-chi-du-zhao-meng-fu-220875","致中峰和尚尺牍","赵孟頫妻子管道昇亦在书画上名冠一时，延佑五年(1318)，管夫人脚气病复发，经赵孟頫多次请求，次年四月，方得准送夫人南归。五月中旬，途经山东临清，管夫人病逝舟中。赵孟頫悲痛万分，相濡以沫的管夫人撒手西去，给了赵孟頫很大的打击，他对官场的虚名，也因此彻底看破。由于丧偶，长途跋涉，操理丧事，赵孟頫晚年的健康状况急剧下降。延佑七年，仁宗特遣使臣赐衣缎，并召赵孟頫返京，但此时赵孟頫因病不能长途跋涉了。次年英宗即位，再次遣使召赵书写《孝经》，赵以年迈体弱要求致仕，终于得到朝廷的应允。此时赵孟頫耳鸣眼花，颓然老矣。但他倾心于佛、道之旨，以书写经文为乐，并写下许多书画作品和题跋。他认为“人谁无死，如空华然”，因而在平淡中度过光阴。英宗至治二年 (1322)六月，他逝于吴兴。临死还观书作字，谈笑如常。享年六十九岁。",[25,38,7,58,2052,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f411ab4cfabac501b963148fcc20b3.jpg",[62],{"id":7761,"slug":7762,"title":7763,"dynasty":18,"author":251,"museum":1685,"description":7764,"tags":7765,"thumbUrl":7767,"material":40,"size":7768,"collection":306,"collections":7769,"showCount":7659,"zanCount":11,"manualWeight":11,"mainColor":46},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[23,24,25,26,27,37,29,377,7766,33,3407,36,38,7,58],"桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[306],{"id":7771,"slug":7772,"title":7773,"dynasty":145,"author":2369,"museum":4480,"description":7315,"tags":7774,"thumbUrl":7775,"material":123,"size":7318,"collection":42,"collections":7776,"showCount":7659,"zanCount":11,"manualWeight":11,"mainColor":46},218099,"xin-an-yi-yun-ce-zheng-min-shan-shui-zheng-min-218099","新安逸韵册(郑旼山水)",[23,24,25,209,27,7,58,29,376,377,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e97b172d0eb3c9c22236592b7cdd2a.jpg",[42],{"id":7778,"slug":7779,"title":7780,"dynasty":18,"author":881,"museum":206,"description":1330,"tags":7781,"thumbUrl":7782,"material":40,"size":61,"collection":61,"collections":7783,"showCount":7659,"zanCount":11,"manualWeight":11,"mainColor":46},217032,"fang-gu-shan-shui-ce-liu-kai-3-dong-qi-chang-217032","仿古山水册六开-3",[23,24,25,209,27,37,7,38,58,29,377,2452,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe610f6ed407a4bd2308e029df1f6c21f.jpg",[],{"id":7785,"slug":7786,"title":7787,"dynasty":91,"author":286,"museum":53,"description":6737,"tags":7788,"thumbUrl":7789,"material":123,"size":61,"collection":61,"collections":7790,"showCount":7659,"zanCount":11,"manualWeight":11,"mainColor":46},216384,"mo-zhu-pu-ce-5-wu-zhen-216384","墨竹谱册-5",[56,24,25,209,27,112,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F586b1cd6d74f25311f2e2eae3adb5abc.jpg",[],{"id":7792,"slug":7793,"title":7794,"dynasty":18,"author":881,"museum":20,"description":882,"tags":7795,"thumbUrl":7796,"material":40,"size":61,"collection":61,"collections":7797,"showCount":7659,"zanCount":11,"manualWeight":11,"mainColor":46},214652,"qiu-xing-ba-jing-tu-ce-6-dong-qi-chang-214652","秋兴八景图册-6",[24,25,209,27,1394,28,29,376,377,179,58,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff817eee9f0599f9ebafe594d2a16d4ab.jpg",[],{"id":7799,"slug":7800,"title":7801,"dynasty":18,"author":19,"museum":73,"description":1307,"tags":7802,"thumbUrl":7803,"material":920,"size":921,"collection":61,"collections":7804,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},290889,"liu-tang-qi-an-shen-zhou-290889","柳塘埼岸",[24,25,209,27,7,58,29,1271,35,31,774,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104cc443d8b8dfc69213b920a74481d9.jpg",[],33,{"id":7807,"slug":7808,"title":7809,"dynasty":145,"author":7810,"museum":73,"description":7811,"tags":7812,"thumbUrl":7814,"material":920,"size":921,"collection":61,"collections":7815,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},290593,"yu-yuan-mu-chun-shi-zhou-zhang-ruo-ai-290593","御园暮春诗轴","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,289,28,37,29,36,254,1271,30,35,117,7,58,7813],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":7817,"slug":7818,"title":7819,"dynasty":91,"author":92,"museum":73,"description":7820,"tags":7821,"thumbUrl":7822,"material":920,"size":921,"collection":61,"collections":7823,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":66},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[23,24,26,25,29,27,37,178,34,135,31,7,3321,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],{"id":7825,"slug":7826,"title":7827,"dynasty":51,"author":349,"museum":73,"description":6275,"tags":7828,"thumbUrl":7829,"material":920,"size":921,"collection":61,"collections":7830,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},289970,"zhen-su-tie-mi-fei-289970","真酥帖",[38,7,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc33639ef80c2b03da6a61daf247878.jpg",[],{"id":7832,"slug":7833,"title":2632,"dynasty":51,"author":1239,"museum":73,"description":7834,"tags":7835,"thumbUrl":7836,"material":920,"size":921,"collection":61,"collections":7837,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":66},289763,"dong-shan-du-shui-tu-ma-yuan-289763","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,56,24,25,57,27,28,79,31,29,530,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dbe032eb939aa2d084a741375cb0554.jpg",[],{"id":7839,"slug":7840,"title":7841,"dynasty":51,"author":4626,"museum":106,"description":7842,"tags":7843,"thumbUrl":7845,"material":1262,"size":7846,"collection":226,"collections":7847,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},289326,"qian-tang-guan-chao-tu-li-song-289326","钱塘观潮图","此卷描给钱塘张潮时的壮阔景象。蒸腾鼓荡的海湖以排山倒海之势自江口流入，而江中弄潮的舟船正依次排开、逆水而上。两岸民居、城池，远山历历在目，笔法简括。 该画作用隐喻的手法表达了作者的爱国思想。",[23,56,24,26,25,27,28,29,2515,32,7844,7,38],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[226],{"id":7849,"slug":7850,"title":7851,"dynasty":18,"author":7852,"museum":73,"description":7853,"tags":7854,"thumbUrl":7855,"material":196,"size":61,"collection":62,"collections":7856,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},240425,"wang-duo-shi-zhou-wang-duo-240425","王铎诗轴","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[3018,38,25,57,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38973f25a308f9343ab9f19300e7f3bb.jpg",[62],{"id":7858,"slug":7859,"title":7860,"dynasty":51,"author":362,"museum":73,"description":7861,"tags":7862,"thumbUrl":7863,"material":61,"size":61,"collection":62,"collections":7864,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},239687,"su-shi-san-ma-tu-zan-can-juan-su-shi-239687","苏轼三马图赞残卷","此卷笔墨丰腴厚重又不失灵动跳脱，行书笔意裹挟楷法筋骨，朴茂沉雄间自带旷达书卷气。将追思神骏的惘然寄于笔端，起落转合皆是率真性情。纸间朱印错落排布，与墨色题字相映成趣。残卷的斑驳痕迹晕开旧时光晕，笔墨情思与岁月质感交织相融，尺牍行间既有咏叹神骏的豪迈，又藏旧友追思的缱绻，尽显宋代文人书法的隽永意韵。",[26,7,38,58,25,693,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4139420856c9df426a7a93e05413dd.jpg",[62],{"id":7866,"slug":7867,"title":7868,"dynasty":145,"author":7869,"museum":106,"description":7870,"tags":7871,"thumbUrl":7872,"material":722,"size":7873,"collection":62,"collections":7874,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},237137,"qi-qiao-tu-ce-zhuang-zhou-ren-yi-237137","乞巧图册装轴","任颐","此幅描绘的是民间女子简朴的乞巧场景。任颐（1839-1896），初名润，字伯年。其父任声鹤为民间肖像画家，大伯父为任熊，二伯父为任薰，自幼善画，受民间版画影响深刻。1854-1855年，十五六歳时在上海卖画，模仿任熊作品沿街出卖，恰逢任熊路过，非但不怒，反而赏识其才华，招为弟子，传为逸话。1861年，太平天国进入绍兴时，父卒。曾被招入太平天国军当旗手战时麾之，以为前驱。其后天京（太平天国首都南京）陷落，返乡。1895年因资产丢失之痛及吸食鸦片引发肺炎而死。\n画风在练习铅笔速写后变得较为奔逸，晚年吸收华岩笔意，更简逸灵活。\n任伯年花鸟画的技巧更高，但人物画影响较大，原因大致是当时画人物画家少。",[24,25,209,28,79,80,77,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb981087f212936d0f96ab20398dbf4.jpg","34.5×34.5cm",[62],{"id":7876,"slug":7877,"title":857,"dynasty":145,"author":7878,"museum":73,"description":7879,"tags":7880,"thumbUrl":7881,"material":920,"size":921,"collection":125,"collections":7882,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},235710,"hua-hui-ce-zou-xian-ji-235710","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[56,24,25,209,28,77,7,58,119,1714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fc76969934fa525c9ae94e7f22e5b0.jpg",[125,155],{"id":7884,"slug":7885,"title":7886,"dynasty":145,"author":666,"museum":73,"description":7887,"tags":7888,"thumbUrl":7889,"material":61,"size":61,"collection":61,"collections":7890,"showCount":7805,"zanCount":534,"manualWeight":11,"mainColor":66},234703,"she-se-hong-mei-lan-hua-shan-mian-wu-chang-shuo-234703","设色红梅兰花扇面","香骚遗意。老缶又涂于禅甓轩。缶（朱文） 迢迢雁落沙连海，滑滑禽言树抱轩。天似穹庐梅古雪，一年好事半淞园。躄一足如仙隔尘，澹云微雨去寻春。几生修到梅知否，临笑无端见美人。半淞园看梅。沽酒怡白云，吹笛坐黄犊。江花泊岸红，山雨下庭绿。题画。壶叟属书。丙寅夏，吴昌硕年八十三。苦铁良铁也。《周礼》：典丝……则受良工而藏之……郑云：良当作苦，则苦亦良矣。大聋。吴昌石（朱文）　苦铁（白文）",[24,25,2579,28,210,111,120,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa22462af8c7db2282cd725846a281295.jpg",[],{"id":7892,"slug":7893,"title":857,"dynasty":18,"author":7894,"museum":73,"description":7895,"tags":7896,"thumbUrl":7897,"material":61,"size":61,"collection":125,"collections":7898,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},234267,"hua-hui-ce-qi-xun-234267","戚勋","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[23,24,25,209,7,28,210,117,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f00fd86e3061a7f0db3faaffed7be4.jpg",[125],{"id":7900,"slug":7901,"title":7902,"dynasty":18,"author":7903,"museum":106,"description":7904,"tags":7905,"thumbUrl":7907,"material":722,"size":7908,"collection":61,"collections":7909,"showCount":7805,"zanCount":534,"manualWeight":11,"mainColor":46},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","张宏","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[23,24,25,26,27,28,29,3072,1885,7,58,37,179,7906,35,31],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":7911,"slug":7912,"title":7913,"dynasty":18,"author":105,"museum":106,"description":7914,"tags":7915,"thumbUrl":7916,"material":1344,"size":7917,"collection":61,"collections":7918,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},233475,"ren-wu-hua-hui-ce-xu-wei-233475","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,25,209,27,79,377,177,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9a3afdd86f7423d4b7c78bbcbdc370.jpg","纵26.9厘米 横38.3厘米",[],{"id":7920,"slug":7921,"title":7922,"dynasty":18,"author":220,"museum":73,"description":7923,"tags":7924,"thumbUrl":7925,"material":61,"size":61,"collection":61,"collections":7926,"showCount":7805,"zanCount":534,"manualWeight":11,"mainColor":46},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[23,24,25,26,27,29,774,177,33,37,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":7928,"slug":7929,"title":7930,"dynasty":51,"author":52,"museum":73,"description":7931,"tags":7932,"thumbUrl":7933,"material":61,"size":61,"collection":61,"collections":7934,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},227594,"xing-song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227594","行送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。\n著录于《装余偶记》卷五、《石渠宝笈初编》卷一。",[23,56,24,25,26,27,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29821737f2406a22c55be35d08a7b3fa.jpg",[],{"id":7936,"slug":7937,"title":7938,"dynasty":51,"author":220,"museum":106,"description":7939,"tags":7940,"thumbUrl":7941,"material":165,"size":7942,"collection":61,"collections":7943,"showCount":7805,"zanCount":534,"manualWeight":11,"mainColor":66},223494,"chun-yan-tu-juan-quan-juan-yi-ming-223494","春宴图卷全卷","此图旧题“唐人春宴图”，为李世民创建文学馆，招纳贤才，杜如晦、房玄龄等被称为十八学士。此图绘十八学士集会宴饮的情景，图卷场面宏大，人物姿态各异，构图繁而不乱。",[23,24,25,26,77,28,79,693,377,4502,4503,2009,4251,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5739e812fc48146e4bb8636f43c7fb7.jpg","23x573",[],{"id":7945,"slug":7946,"title":7947,"dynasty":51,"author":6496,"museum":53,"description":7948,"tags":7949,"thumbUrl":7950,"material":165,"size":7951,"collection":62,"collections":7952,"showCount":7805,"zanCount":534,"manualWeight":11,"mainColor":638},221448,"tao-qian-shang-ju-tu-quan-juan-zhao-ling-rang-221448","陶潜赏菊图全卷","描绘了幽林内、小亭中，陶渊明与访友坐对赏花，江干水渚，群卉争发，树本、房舍、池沼、小路等表现很精致，具有化平凡的事物为美丽的事物的艺术效果，设色艳丽，画中人亦无特殊造形，但拖尾诸跋，均以陶潜赏菊故事为题咏，意境颇为优美。卷尾分别有董其昌、詹同、蔡哲、中山居士、张羽、苏伯衡的跋文。",[23,24,25,26,28,77,29,79,121,33,34,2142,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7176750b8b30929f53c7de7d6e7f76.jpg","全卷纵30厘米，横416.4厘米，画心纵30厘米，横84厘米",[62],{"id":7954,"slug":7955,"title":5430,"dynasty":51,"author":5431,"museum":373,"description":5432,"tags":7956,"thumbUrl":7959,"material":165,"size":7960,"collection":61,"collections":7961,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":66},221318,"sha-ting-yan-shu-tu-hui-chong-221318",[23,24,27,29,7,58,7957,34,82,7958,38],"沙岸","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f44e1b10f5849bbce3c7e94e0ad3cb.jpg","纵24cm，横25cm",[],{"id":7963,"slug":7964,"title":7965,"dynasty":51,"author":3752,"museum":106,"description":7966,"tags":7967,"thumbUrl":7968,"material":196,"size":7969,"collection":61,"collections":7970,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},221233,"dao-fu-zan-juan-quan-juan-di-er-duan-fan-zhong-yan-221233","道服赞卷全卷-第二段","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。",[23,38,2031,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdbf0e7b99ee7c1648bc77cfec7a2ee.jpg","34.8*47.9cm",[],{"id":7972,"slug":7973,"title":7974,"dynasty":51,"author":2283,"museum":106,"description":7975,"tags":7976,"thumbUrl":7977,"material":802,"size":7978,"collection":42,"collections":7979,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},221215,"fei-ge-yan-feng-tu-ye-wang-shen-221215","飞阁延风图页","此图原载《四朝选藻册》。图绘二位仕女，佇立楼台远眺，一位站立桌旁泛览古玩，其态悠闲自在。楼前古松葱茏，亭楼隐隐可见。作者用严谨、缜密的界画作楼台，细笔勾松针，笔法娴熟劲健，设色鲜艳和谐。裱边旧题签「王詵飞阁延风」。但从画风对比分析，与王詵风格不同，故改为无名氏作。画中无款，钤二印(一半印)不可辨。对开有清高宗弘历题诗，钤「八征耄念之宝」、「太上皇帝之宝」、「自强不息」等印。曾经清内府收藏，不见著录。",[23,24,25,209,1594,28,150,34,79,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddda2be2d8bd08b99a15bda9153a6936.jpg","纵26、横23.5厘米",[42,155],{"id":7981,"slug":7982,"title":7983,"dynasty":702,"author":3782,"museum":3783,"description":7984,"tags":7985,"thumbUrl":7986,"material":330,"size":61,"collection":61,"collections":7987,"showCount":7805,"zanCount":11,"manualWeight":11,"mainColor":46},220517,"xing-shu-suo-nan-weng-shi-xu-bei-hong-220517","行书（所南翁诗）","此作用笔爽利劲挺，起收果断，融北碑雄健与行书灵动于一体，线条粗细变化自然，带着舒展刚劲的力道。\n安贫乐道的诗句意趣，与笔墨相得益彰。布局错落疏朗，行气连贯，字势顾盼有情，既有文人书法的温雅隽秀，又藏着沉厚雄强的筋骨。笔底带着冲淡平和的悠然意境，将诗意与书韵相融，尽显从容自在的文人品格，是兼具才情与风骨的书作精品。",[38,7,27,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b1e891b4a330ed8bde106d82682e4f.jpg",[],{"id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[54] －1850年11月22日），字元撫，又字少穆、石麟，晚號俟村老人、俟村退叟、七十二峯退叟、瓶泉居士、櫟社散人等 ，福建侯官縣人，清代中期政治家、文學家、思想家，民族英雄。\n林則徐是嘉慶十六年（1811年）進士，歷官翰林編修、江蘇按察使、東河總督、江蘇巡撫、湖廣總督等職。道光十九年（1839年），以欽差大臣赴廣東禁煙時，派人明察暗訪，強迫外國鴉片商人交出鴉片，並將沒收鴉片於虎門銷燬。該事件被認為是第一次鴉片戰爭的導火線。戰爭爆發不久，林則徐被構陷革職，發往新疆戍邊。道光二十五年（1845年）重獲起用，歷任陝甘總督、陝西巡撫、雲貴總督等職，加太子太保。道光三十年（1850年），林則徐在奉命鎮壓拜上帝會起事途中，病逝於潮州普寧。獲贈太子太傅，諡號“文忠”。有《林文忠公政書》等作品傳世。\n林則徐一生遍歷地方，治績卓著。雖在兩廣抗擊西方入侵，但對於西方的文化、科技和貿易則持開放態度，主張學其優而用之。他至少略通英、葡兩種外語，且着力翻譯西方報刊和書籍。他主持編譯的《四洲志》及魏源編撰的《海國圖志》，對晚清的洋務運動乃至日本的明治維新都具有啓發作用。",[145,38,7,76,27,196,8075,58,25,24],"屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[62],{"id":8079,"slug":8080,"title":8081,"dynasty":18,"author":105,"museum":73,"description":8082,"tags":8083,"thumbUrl":8084,"material":920,"size":921,"collection":61,"collections":8085,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},239871,"qi-lv-zhou-xu-wei-239871","七律轴","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[18,38,57,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc005f883ee27f9e4510a7c83aa66459a.jpg",[],{"id":8087,"slug":8088,"title":8089,"dynasty":145,"author":8090,"museum":73,"description":8091,"tags":8092,"thumbUrl":8093,"material":61,"size":61,"collection":61,"collections":8094,"showCount":8037,"zanCount":534,"manualWeight":11,"mainColor":46},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","蒋溥","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[24,25,26,29,27,28,376,495,254,2452,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],{"id":8096,"slug":8097,"title":8098,"dynasty":18,"author":8099,"museum":73,"description":8100,"tags":8101,"thumbUrl":8102,"material":61,"size":61,"collection":62,"collections":8103,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},237692,"lan-hua-zhou-chen-yuan-su-237692","兰花轴","陈元素","此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。明谓王榖祥、周天球所不及。",[24,25,57,27,120,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b3d1371231d23485ff81501fc628a7.jpg",[62],{"id":8105,"slug":8106,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":8107,"thumbUrl":8108,"material":196,"size":1004,"collection":61,"collections":8109,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},234088,"wu-zhong-shan-shui-ce-shen-zhou-234088",[24,27,209,7,29,81,30,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcfb606921be0b9986e3b5388576f24.jpg",[],{"id":8111,"slug":8112,"title":8113,"dynasty":18,"author":1024,"museum":106,"description":8114,"tags":8115,"thumbUrl":8117,"material":8118,"size":8119,"collection":42,"collections":8120,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},233133,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,209,27,29,35,34,32,8116,7,58],"湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纸本 ，设色","纵22.8cm，横33.2cm",[42,155],{"id":8122,"slug":8123,"title":8124,"dynasty":51,"author":6262,"museum":106,"description":8125,"tags":8126,"thumbUrl":8127,"material":165,"size":8128,"collection":61,"collections":8129,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},232993,"nan-tang-wen-hui-tu-ye-zhao-chang-232993","南唐文会图页","《南唐文会图》为宋人作品。无款。裱边题签“赵昌南唐文会”。对幅乾隆御笔题诗：“南唐虽僻立，亦自尚文规。簪佩徜徉处，图书左右披。东瀛前拟法，西雅后开师。位置增精密，晩年还蜀为。”\n图绘南唐文士聚会场面。园林中绿树葱茏，芭蕉成林，中设一大案，数位文人雅士围于案旁，又有婢女仆从侍立在旁。",[24,25,209,28,77,29,79,34,33,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62beb2752eec01d037f48c6dd6e055ad.jpg","30.4X29.6cm",[],{"id":8131,"slug":8132,"title":8133,"dynasty":454,"author":455,"museum":2564,"description":8134,"tags":8135,"thumbUrl":8137,"material":165,"size":8138,"collection":61,"collections":8139,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":66},232625,"xi-cheng-gui-le-tu-juan-han-huang-232625","西成归乐图卷","一说风俗画，各位可别想歪了哈，这风俗画其实是以社会风气习俗为题材的绘画，表现的可能是某地某时的社会活动、风物特产，或是时令气候，风俗画虽然被归在人物画的范畴下，但却具有独特的艺术魅力，要比一般的人物画有意思的多。\n其实，最有名的风俗画便是张择端所绘制的《清明上河图》了，描绘了北宋汴京一带的风景、城郭、市肆、村舍，以及人们的生产生活，是一幅精美绝伦的风俗画巨制，流传至今，备受瞩目。但是今天，我们不说他。\n目前还能见到的风俗画雏形，是各地出土的汉代画像砖，这些图像涉及歌舞宴乐、狩猎农桑等一系列民众活动，直观再现了汉代下至民间百姓，上至贵族的真实生活。\n有表现劳动生产的，如播种、收割、舂米、酿造、盐井、桑园放牧等，有描绘社会风俗的如宴乐、杂技、舞蹈等，有神话故事如西王母、月宫等，还有表现统治阶级车马出行的。\u2028 风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,24,25,26,77,78,79,458,693,3857,8136,38,58,7],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":8141,"slug":8142,"title":8143,"dynasty":18,"author":479,"museum":73,"description":8144,"tags":8145,"thumbUrl":8146,"material":61,"size":61,"collection":61,"collections":8147,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[56,24,25,26,27,28,37,7,38,58,79,29,254,81,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":8149,"slug":8150,"title":8151,"dynasty":51,"author":5050,"museum":73,"description":8152,"tags":8153,"thumbUrl":8154,"material":61,"size":61,"collection":61,"collections":8155,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},230862,"li-dou-tie-cai-xiang-230862","离都帖","《离都帖》，又名《致杜君长官尺牍》， ，行书，纸本，纵29.2cm，横46.8cm， 作品，书于155年。\n该帖书法丰腴厚重处似颜真卿，兼有 行草之俊秀。\n中国 藏 。\n襄启。\n自离都至南京。\n长子匀感伤寒七日。\n遂不起此疾。\n南归殊为荣幸。\n不意灾祸如此。\n动息感念。\n哀痛何可言也。\n承示及书。\n并永平信。\n益用凄恻。\n旦夕渡江。\n不及相见。\n依咏之极。\n谨奉手启为谢。\n不一一。\n襄顿首。\n杜君长官足下。\n七月十三日。\n贵眷各佳安。\n老儿已下无恙。\n永平已曾于递中。\n驰信报之。\n此帖乃蔡襄即将渡长江“南归”途中所书，追述离都（开封）行至南京（今商丘）而痛失长子。\n友人来信慰问，襄作此书答谢。\n蔡襄（112－167），字君谟。\n其先本光州人，居仙游（今属 省），迁甫田。\n官至端明殿学士，知杭州，谥忠惠。\n工正、行、草、隶书，又能飞白书，尝以散笔作草书，称为“散草”或“飞草”。\n书法学 、 ，并取法 人。\n世人评蔡襄行书第一，小楷第二，草书第三。\n与苏轼、黄庭坚、米芾，共称“ ”，誉满书苑。",[38,7,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafffa824fbc4214de71bced66eb5f727.jpg",[],{"id":8157,"slug":8158,"title":8159,"dynasty":145,"author":1413,"museum":73,"description":8160,"tags":8161,"thumbUrl":8162,"material":61,"size":61,"collection":61,"collections":8163,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},230277,"gu-guo-xing-bei-shi-hua-ce-su-qin-wang-juan-shou-zhu-da-230277","故国兴悲诗画册(肃亲王卷首)","此幅书法以行书书就四字，笔力苍劲沉凝，线条如枯藤老树，藏锋裹住满腔郁愤，露锋破开沉重心绪，字形宽博朴拙，尽显沉郁厚重的气度。左侧题款小字清隽端雅，与大字的雄健悲凉形成强烈视觉反差。疏朗留白间朱印点缀，将山河破碎的怆怀融于笔墨，于尺幅间铺陈出悠悠无尽的家国哀思，笔墨起落间皆是乱世流离的沉恸。",[23,24,25,209,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89e9df92d4a66217f7060c595690bf2.jpg",[],{"id":8165,"slug":8166,"title":8167,"dynasty":145,"author":324,"museum":73,"description":8168,"tags":8169,"thumbUrl":8170,"material":61,"size":61,"collection":61,"collections":8171,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},228986,"yuan-ming-shi-yi-ce-ye-shi-tao-228986","渊明诗意册页","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。\n绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。\n他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。\n石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。\n画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。\n此图结构精巧，人物用笔细密。\n远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。\n这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。\n老者远望青山，脚下溪水流淌。\n面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。\n画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。\n构图采用一水两岸的自然分疆法。\n画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。\n与 、 、 合称“清初四僧”。\n早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[24,25,209,28,37,7,29,36,34,6729,79,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2d3809eadb6e757b646a89b366f1d6.jpg",[],{"id":8173,"slug":8174,"title":8175,"dynasty":18,"author":3424,"museum":1745,"description":8176,"tags":8177,"thumbUrl":8178,"material":196,"size":8179,"collection":62,"collections":8180,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},222314,"shi-hu-ba-jue-shi-juan-wang-chong-222314","石湖八绝诗卷","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[23,38,7,26,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04e45f745a3d97883196f288820ebaa.jpg","30cm×307cm",[62],{"id":8182,"slug":8183,"title":8184,"dynasty":18,"author":3424,"museum":73,"description":8185,"tags":8186,"thumbUrl":8187,"material":196,"size":8188,"collection":62,"collections":8189,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},222312,"za-shi-wang-chong-222312","杂诗","其书飞动流转，气度不凡，行笔急速，字距疏密相同，通篇作品给人以拙而不滞、巧而不媚的感觉，可谓是上乘之作。",[23,56,24,25,26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411f8420955b21e3af027f4497c1e2af.jpg","纵28.8厘米，横25.4厘米",[62],{"id":8191,"slug":8192,"title":8193,"dynasty":91,"author":8194,"museum":20,"description":8195,"tags":8196,"thumbUrl":8197,"material":196,"size":8198,"collection":62,"collections":8199,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":638},221843,"zhen-jing-an-mu-yuan-shu-juan-shu-yang-wei-zhen-221843","真镜庵募缘疏卷书","杨维桢","《真镜庵募缘疏卷》是杨维桢的行草书佳作。作者晚年与僧道交往频繁，经常出入于寺庙道院，此卷特地为真镜庵募缘所撰写。其书章局变化丰富，随意而奇崛，用笔力遒韵稚，笔法跳宕，竭尽一唱三叹、回肠荡气的能事。用墨浓淡互济，干湿对比强烈，表现出作者的强烈的艺术个性，怪癖性格的极度张扬。",[23,56,24,25,26,38,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[62],{"id":8201,"slug":8202,"title":8203,"dynasty":51,"author":3802,"museum":106,"description":8204,"tags":8205,"thumbUrl":8206,"material":1262,"size":8207,"collection":226,"collections":8208,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":66},221453,"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[23,24,25,26,78,28,79,29,81,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[226,42,168],{"id":8210,"slug":8211,"title":8212,"dynasty":51,"author":8213,"museum":53,"description":8214,"tags":8215,"thumbUrl":8217,"material":196,"size":8218,"collection":226,"collections":8219,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},221284,"bao-shan-shi-jing-ce-gao-ke-ming-221284","包山十景册","高克明","高克明，生卒年不洋，宋化絳州（今山西新絳） 人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[56,24,25,209,28,37,7,29,1271,7208,8216,34],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[226,42,168],{"id":8221,"slug":8222,"title":8223,"dynasty":71,"author":760,"museum":53,"description":8224,"tags":8225,"thumbUrl":8226,"material":61,"size":8227,"collection":62,"collections":8228,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[38,7,680,352,25,56,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7f48f45d5e7d02a716822e97bc91d6.jpg","41.2x57厘米",[62,463],{"id":8230,"slug":8231,"title":8232,"dynasty":71,"author":8233,"museum":53,"description":8234,"tags":8235,"thumbUrl":8236,"material":209,"size":8237,"collection":463,"collections":8238,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":1787},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！」",[680,38,352,209,58,7,1014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437251458fa66f869ebc603ef68c9564.jpg","28.3x33.8 厘米",[463],{"id":8240,"slug":8241,"title":8242,"dynasty":71,"author":8243,"museum":53,"description":8244,"tags":8245,"thumbUrl":8246,"material":209,"size":8247,"collection":463,"collections":8248,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":66},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”。",[38,680,7,25,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccbd29ef8c81c0d424a93fbfb5fded7f.jpg","35.8x43.6厘米",[463],{"id":8250,"slug":8251,"title":8252,"dynasty":18,"author":19,"museum":206,"description":8253,"tags":8254,"thumbUrl":8255,"material":123,"size":8256,"collection":42,"collections":8257,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},220083,"yi-zhu-tu-shen-zhou-220083","移竹图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,27,37,7,58,1130,112,35,34,36,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[42],{"id":8259,"slug":8260,"title":8261,"dynasty":91,"author":8262,"museum":53,"description":8263,"tags":8264,"thumbUrl":8265,"material":123,"size":8266,"collection":125,"collections":8267,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","张中","图绘折枝桃花，枝上栖一禽鸟。画家用墨直接点写出枝叶，桃花或勾或点，禽鸟略加勾染。构图、用笔都很疏简，较王渊的墨笔花鸟更为简逸，近于写意的画法，亦属墨戏之作。画幅上有杨维桢、范公亮等十余人题咏。",[24,25,27,210,117,962,1576,38,7,1014,58,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[125],{"id":8269,"slug":8270,"title":8271,"dynasty":18,"author":205,"museum":53,"description":8272,"tags":8273,"thumbUrl":8274,"material":96,"size":8275,"collection":42,"collections":8276,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[24,25,57,27,37,29,33,3867,377,36,58,38,7,82,7615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[42],{"id":8278,"slug":8279,"title":8280,"dynasty":18,"author":8281,"museum":106,"description":8282,"tags":8283,"thumbUrl":8284,"material":96,"size":8285,"collection":306,"collections":8286,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":66},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","吕纪","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 大吕 和 小吕。吕纪以画花鸟著称，这幅画的背景是鸟和树，整齐好看，接近吕纪的风格；吕文英擅长人物，线条沉稳，脸部轮廓平实，形态逼真，五官分明，与吕文英的风格相似",[23,24,25,26,28,77,79,112,113,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee6afe5130a0922557acf3dd49180a0.jpg","33.8x395.4",[306],{"id":8288,"slug":8289,"title":8290,"dynasty":91,"author":286,"museum":53,"description":6737,"tags":8291,"thumbUrl":8292,"material":123,"size":61,"collection":61,"collections":8293,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},216377,"mo-zhu-pu-ce-12-wu-zhen-216377","墨竹谱册-12",[24,25,209,27,112,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b84d902bdcd0dfa7857eb27af954466.jpg",[],{"id":8295,"slug":8296,"title":8297,"dynasty":18,"author":6207,"museum":527,"description":8298,"tags":8299,"thumbUrl":8300,"material":165,"size":8301,"collection":61,"collections":8302,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,25,26,27,28,37,7,38,58,29,32,34,35,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 x 75.5",[],{"id":8304,"slug":8305,"title":8306,"dynasty":18,"author":8307,"museum":53,"description":8308,"tags":8309,"thumbUrl":8310,"material":123,"size":8311,"collection":61,"collections":8312,"showCount":8037,"zanCount":11,"manualWeight":11,"mainColor":46},214225,"jiu-si-zhu-you-jian-214225","九思","朱由检","九思是一首中国古代诗歌，作者是朱由检。这首诗是朱由检写给他的朋友李德裕的，内容是朱由检对李德裕的思念之情。\n\n九思是一首五言绝句，共有五句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了朱由检对李德裕的真挚的情感。\n\n这首诗的具体内容如下：\n\n九思，不见君，思君朝朝，暮暮夕夕。\n此水何时休，归海无期迟。\n\n这首诗通过描述思念的情感来表达朱由检对李德裕的思念之情。在这首诗中，朱由检描述了他无法见到李德裕的痛苦和思念之情，并表示希望早日能够和李德裕重聚。",[23,24,25,38,57,7,58,2226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a54d8ec12467818e0bee9415f9a797.jpg","57.6x111.3",[],{"id":8314,"slug":8315,"title":8316,"dynasty":18,"author":1391,"museum":53,"description":8317,"tags":8318,"thumbUrl":8320,"material":123,"size":8321,"collection":168,"collections":8322,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},290870,"liu-tang-yu-ting-zhou-chou-ying-290870","柳塘渔艇轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,57,27,29,291,32,8319,31,290,82,58,7],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f02bdef353d8b20aa856b160f3841a4.jpg","102.9x47.2",[168],31,{"id":8325,"slug":8326,"title":8327,"dynasty":18,"author":19,"museum":73,"description":8328,"tags":8329,"thumbUrl":8330,"material":61,"size":61,"collection":61,"collections":8331,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},239935,"wen-zheng-ming-mei-zhu-xuan-ba-wei-juan-shen-zhou-239935","文徵明梅竹轩跋尾卷","此作为行书题跋，笔墨圆厚灵动，点画舒展温润，章法疏朗匀净，既有晋唐行书的隽逸意趣，又带着吴门书家独有的温雅气质。\n\n题字忆述与旧友三十余年的深挚交情，文辞冲淡真挚，将故友的清雅风骨与二人的知交情谊藏于笔墨流转间。书与文相融相合，尽显江南文人的淡泊襟怀，是兼具书法审美价值与人文意趣的难得佳作。",[25,26,38,7,111,112,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109c328737649499e37c0eeb2fb55101.jpg",[],{"id":8333,"slug":8334,"title":8335,"dynasty":91,"author":220,"museum":73,"description":8336,"tags":8337,"thumbUrl":8338,"material":61,"size":61,"collection":61,"collections":8339,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},239634,"yao-an-dao-shi-ti-zhao-meng-fu-xie-qin-fang-you-tu-ce-ye-yi-ming-239634","姚安道诗题赵孟頫携琴访友图册页","此作用笔秀劲内敛，结体舒展灵动，兼具妍雅温润与朴拙意趣，尽显元人书法典型风貌。通篇行气匀停，字势顾盼相生，将题画诗里的隐逸襟怀融于笔墨起落间，藏露得宜暗含章法。笔墨晕染出林下山居的散淡悠然，把携琴访友的雅逸心境诉诸笔端，是元代文人书法与文人意趣相融的佳例，尽显彼时文人寄情林泉、追慕古贤的林下风流。",[56,25,209,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8983507f0a1b592310aef6968720e1ed.jpg",[],{"id":8341,"slug":8342,"title":4381,"dynasty":454,"author":3217,"museum":106,"description":8343,"tags":8344,"thumbUrl":8345,"material":658,"size":4385,"collection":62,"collections":8346,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":66},239570,"meng-zhao-tie-juan-liu-gong-quan-239570","释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e336129e2c0fb37f0eb11ef2d3893f.jpg",[62],{"id":8348,"slug":8349,"title":8350,"dynasty":145,"author":717,"museum":73,"description":2431,"tags":8351,"thumbUrl":8352,"material":920,"size":921,"collection":61,"collections":8353,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},239429,"shan-shui-hua-hui-ce-yun-shou-ping-239429","山水花卉册",[56,24,25,209,28,720,7,29,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4165765c72dedf8943fa5f69a909a7c7.jpg",[],{"id":8355,"slug":8356,"title":6385,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":8357,"thumbUrl":8358,"material":920,"size":921,"collection":61,"collections":8359,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},237937,"za-hua-ce-zhu-da-237937",[24,25,209,27,7,1014,35,34,109,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86108c56dd64ee2459aadeca6d13748.jpg",[],{"id":8361,"slug":8362,"title":8363,"dynasty":145,"author":1982,"museum":73,"description":8364,"tags":8365,"thumbUrl":8366,"material":61,"size":61,"collection":42,"collections":8367,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},237602,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,25,209,27,37,76,7,58,29,35,192,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[42,62],{"id":8369,"slug":8370,"title":8371,"dynasty":145,"author":8372,"museum":73,"description":8373,"tags":8374,"thumbUrl":8375,"material":61,"size":61,"collection":61,"collections":8376,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[24,25,2579,27,28,37,29,376,377,2452,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":8378,"slug":8379,"title":8380,"dynasty":145,"author":324,"museum":73,"description":5450,"tags":8381,"thumbUrl":8383,"material":61,"size":61,"collection":61,"collections":8384,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴",[24,25,57,27,28,210,8382,1896,1172,58,38,7],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],{"id":8386,"slug":8387,"title":8388,"dynasty":18,"author":8389,"museum":73,"description":8390,"tags":8391,"thumbUrl":8392,"material":61,"size":61,"collection":61,"collections":8393,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":66},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","卞文瑜","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,26,27,37,7,38,58,29,376,34,36,194,179,1363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":8395,"slug":8396,"title":5278,"dynasty":51,"author":4137,"museum":73,"description":8397,"tags":8398,"thumbUrl":8399,"material":61,"size":61,"collection":61,"collections":8400,"showCount":8323,"zanCount":534,"manualWeight":11,"mainColor":46},227697,"mo-lan-tu-zhao-meng-jian-227697","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[23,24,26,27,78,210,120,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":8402,"slug":8403,"title":8404,"dynasty":71,"author":2724,"museum":53,"description":8405,"tags":8406,"thumbUrl":8407,"material":407,"size":61,"collection":61,"collections":8408,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":66},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。",[38,680,352,7,25,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f732167e35b4d7a97f2aac43d50e6d5.jpg",[],{"id":8410,"slug":8411,"title":8412,"dynasty":51,"author":5050,"museum":53,"description":8413,"tags":8414,"thumbUrl":8415,"material":2031,"size":8416,"collection":61,"collections":8417,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},221367,"zheng-jian-yi-ming-gong-chi-du-cai-xiang-221367","政谏议明公尺牍","这幅楷书尺牍，可以说有很多颜真卿的根基和面貌，五代以后，但凡学书者，多少都会受到颜真卿影响。首先，结构上有顾盼和内在联系，像“拜”、“亲”、“赐”、“谏”等有些字，两部分相互倾斜，整体感觉却是平衡，体现出了体态的娇娆轻盈。其次，转折处多用顿笔，提按也分明不显露。不过颜真卿楷书是横细竖粗，力度较大，蔡襄楷书是行云流水，曲雅端庄。这点他们还是明显有区别的。然后，各种戈钩很有虞世南书风，特点就是刚劲挺拔，有很强的骨力感，而且很多钩都形态各异，变化丰富。",[38,7,51,1698,196,2052,1495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02d057a70693ac660746933244f80aab.jpg","28.8x158.6cm",[],{"id":8419,"slug":8420,"title":8421,"dynasty":2673,"author":8422,"museum":1745,"description":8423,"tags":8424,"thumbUrl":8425,"material":8426,"size":8427,"collection":62,"collections":8428,"showCount":8323,"zanCount":534,"manualWeight":11,"mainColor":46},221176,"dong-dan-wang-chu-xing-tu-li-zan-hua-221176","东丹王出行图","李赞华","《辽代李赞华东丹王出行图》是辽代画家李赞华（即东丹王耶律倍）创作的一幅中国古画，现收藏于美国波士顿美术馆。作品是表现人物鞍马内容的画，画中绘有六人骑在骏马上，他们各具姿态，衣冠、服饰、佩带皆因身份的不同而各异。\n作品中的马矫健、丰肥，左右顾盼，慢跑前行。东丹王在马背上手把缰绳，面带忧郁，若有所思，情绪正和他弃辽投后唐的处境吻合。人物及马的线条描绘细腻精良，赋色华丽，尽显宫廷绘画之特色。构图布势前后照应，疏密相宜，整个画面人物和马的动态形成—种行进的韵律。卷末有无名氏题“世传东丹王是也”，书风近宋高宗赵构。李赞华自投后唐明宗后，长期居住在中原，其画风对后人影响很大，郭若虚《图画见闻志》、刘道醇《圣朝名画评》均有著录与评价。从文献著录来看，此卷是接近李赞华画风的—件精品。",[23,24,25,26,28,79,693,77,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3f6f9e1883d6b08661f268900a674a.jpg","绢本，立轴","纵27.8厘米，横125.1厘米",[62],{"id":8430,"slug":8431,"title":8432,"dynasty":71,"author":2724,"museum":73,"description":8433,"tags":8434,"thumbUrl":8435,"material":4955,"size":61,"collection":463,"collections":8436,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":66},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）",[38,7,680,25,209,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3513d85327aae12fb62333d46ca473aa.jpg",[463],{"id":8438,"slug":8439,"title":8440,"dynasty":18,"author":19,"museum":206,"description":8441,"tags":8442,"thumbUrl":8443,"material":123,"size":8444,"collection":42,"collections":8445,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},220088,"qiu-shan-ce-zhang-tu-shen-zhou-220088","秋山策杖图","沈周，吴门画派之开启者，“明四家”之首，以其艺事之高，硕德之重，为明早中期江南人望。擅山水，出宋入元，雄健渊穆，自成大家。亦擅花卉，妍雅朴厚，对后世写意画家影响至深。此卷为其最晚年作，笔意简朴，墨法清润，已入铅华洗净、不求好而自好之境。款亦由熟返生，稚拙之趣可掬，老境可尚如此。\n卷后有一代鉴界巨擘张葱玉、谢稚柳长题。皆断其为石田晚年的笔，亦为此卷增色。石田翁名倾朝野，人又宽厚，其在世时已赝作泛滥，故此卷弥足珍贵。",[23,24,27,29,37,7,38,58,79,34,35,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ac56827735c8101dc33f1513a4a0d7.jpg","26 × 134 cm",[42],{"id":8447,"slug":8448,"title":8449,"dynasty":145,"author":8450,"museum":738,"description":8451,"tags":8452,"thumbUrl":8453,"material":40,"size":8454,"collection":42,"collections":8455,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},219855,"qiu-shan-tu-xiao-yun-cong-219855","秋山图","萧云从","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,25,26,28,29,37,38,7,58,79,150,34,35,31,33,254,774,2142,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[42],{"id":8457,"slug":8458,"title":8459,"dynasty":145,"author":7544,"museum":53,"description":8460,"tags":8461,"thumbUrl":8462,"material":40,"size":8463,"collection":42,"collections":8464,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[24,57,27,28,29,33,30,34,1121,37,58,38,7,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[42],{"id":8466,"slug":8467,"title":8468,"dynasty":18,"author":479,"museum":106,"description":8469,"tags":8470,"thumbUrl":8471,"material":40,"size":8472,"collection":42,"collections":8473,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},218333,"tong-shan-tu-tang-yin-218333","桐山图","图绘峭壁间长出桐树数株，其中一株横垂探水；石罅间有泉水汩汩流出，汇入平湖。湖面演漾，浩淼无边；远山逶迤而去。构图有南宋院体影响，皴染则化刚为柔，苍润而醇厚。\n自题：“吾闻淮水出桐山，古来贤哲产其间。君今自称亦私淑，渔钩须当借一湾。吴门唐寅作桐山图。”钤：“吴趋”朱文印、“唐伯虎”朱文印、“南京解元”朱文印。引首王鏊题“清樾吟窝”，拖尾有文徵明、袁袠、蔡羽、王宠、王穉登等十四家题跋。",[23,24,25,26,27,37,7,29,2452,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ee14b34e9f652e8869f5cb917cf77c.jpg","纵31.2厘米 横137.5厘米",[42],{"id":8475,"slug":8476,"title":8477,"dynasty":51,"author":349,"museum":20,"description":8478,"tags":8479,"thumbUrl":8480,"material":123,"size":355,"collection":61,"collections":8481,"showCount":8323,"zanCount":11,"manualWeight":11,"mainColor":46},214273,"duo-jing-lou-shi-tie-10-mi-fei-214273","多景楼诗帖-10","墨色浓淡相济，笔锋起落如惊鸿掠影。字形欹正相生，灵动中藏沉稳，险绝处见平正。线条兼具刚劲与柔婉，“刷字”之爽利尽显：厚重处似坠石崩云，轻盈处若流泉漱玉，飞白留韵，干湿交错。章法气脉贯通如长河奔涌，跌宕间藏浑然天成之趣。每一字皆具姿态，或如奇峰耸峙，或如松涛摇曳，无一字雷同，无一处板滞。观之仿佛触到书家运笔时的豪情快意，笔墨间跃动山河气象与文人风骨，法度与性情熔铸于尺幅，展万千波澜，令人心折于其笔底风雷与胸臆丘壑。",[38,7,352,27,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6eaf322d14fcbe7d57e25ef7710255.jpg",[],{"id":8483,"slug":8484,"title":8485,"dynasty":145,"author":8486,"museum":106,"description":8487,"tags":8488,"thumbUrl":8491,"material":40,"size":8492,"collection":42,"collections":8493,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图","吴历","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,56,24,25,26,29,27,37,178,34,31,32,82,135,8489,7,58,8490],"江岸","晴霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[42],{"id":8495,"slug":8496,"title":8497,"dynasty":18,"author":479,"museum":53,"description":8498,"tags":8499,"thumbUrl":8500,"material":123,"size":8501,"collection":61,"collections":8502,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},290842,"xi-zhou-hua-jiu-tu-zhou-tang-yin-290842","西洲话旧图轴","该画作山水、人物、花鸟，画中山重岭复，以小斧劈皴为之，雄伟险峻，而笔墨细秀，布局疏朗，风格秀逸清俊。",[24,57,27,38,7,58,774,177,33,79,112,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a8caa51702d0723ff578a2a8a49be70.jpg","110.7x52.3",[],{"id":8504,"slug":8505,"title":8506,"dynasty":18,"author":205,"museum":73,"description":7066,"tags":8507,"thumbUrl":8508,"material":920,"size":921,"collection":61,"collections":8509,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},290350,"ju-hua-zhu-shi-zhou-xiang-sheng-mo-290350","菊花竹石轴",[24,57,27,210,121,112,177,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88993b9b7cc8037876cb5a27b4424100.jpg",[],{"id":8511,"slug":8512,"title":8513,"dynasty":51,"author":1744,"museum":73,"description":8514,"tags":8515,"thumbUrl":8516,"material":920,"size":921,"collection":61,"collections":8517,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},290081,"du-niu-tu-zhao-ji-290081","犊牛图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[24,25,7,38,79,458,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a1438d43f250c27a700ded5d75d9d2.jpg",[],{"id":8519,"slug":8520,"title":8521,"dynasty":145,"author":1413,"museum":106,"description":8522,"tags":8523,"thumbUrl":8524,"material":1014,"size":61,"collection":62,"collections":8525,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},240552,"pi-pa-xing-juan-zhu-da-240552","琵琶行卷","朱耷（1626—1705），字雪个，又字个山、道朗、个山驴、朗月、 庵、传綮、破云樵者、人屋、驴屋和因是僧、八大山人等。江西南昌人。明朱元璋之子宁献王朱权的后裔。八大山人书法成就颇高，但被画名所掩，注目者不多。黄宾虹尝称“书一画二”，确为至言。八大的书体，以篆书的圆润等线体施于行草，自然起截，了无藏头护尾之态，以一种高超的手法把书法的落、起、走、住、叠、围、回，藏蕴其中而不着痕迹。藏巧于拙，笔涩生朴，此中真义必临习日久才能有所悟。简而言之，是用篆书的笔法去写行草书，与《天发神恰似□碑》以隶笔写篆书一样异曲同工。",[23,38,26,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dcc5e932fd20cc12ee7e8c9c692f64.jpg",[62],{"id":8527,"slug":8528,"title":8529,"dynasty":145,"author":324,"museum":73,"description":1757,"tags":8530,"thumbUrl":8531,"material":61,"size":61,"collection":62,"collections":8532,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},239910,"yuan-ji-shi-juan-shi-tao-239910","原济诗卷",[23,24,25,26,27,7,1014,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5781609d7b62ce41d0583ef62356b2.jpg",[62],{"id":8534,"slug":8535,"title":8536,"dynasty":145,"author":324,"museum":73,"description":8537,"tags":8538,"thumbUrl":8539,"material":61,"size":61,"collection":61,"collections":8540,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},235882,"yuan-ji-shan-shui-tu-ce-shi-tao-235882","原济山水图册","此作书画合璧，尽显文人雅趣。绘卷以淡墨轻皴山石，信笔挥写篁竹木卉，萧疏纵逸，随性自然。坡岸茅庐掩映于繁叶之间，远山淡染留白，晕染出江南水乡的澹泊野逸，仿若幽居江湖的避世之境。\n题诗行书笔意苍劲纵恣，与画中清寂意境相得益彰。诗画相映，将文人寄情山水、栖身林下的襟怀尽显无余，简淡笔墨间风神自现，寥寥数笔勾勒出悠远林下意趣，以写意抒怀，尽显随性疏朗的文人画风貌。",[24,25,209,27,7,58,29,112,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3639aa9933df3fcdbab944c903548fff.jpg",[],{"id":8542,"slug":8543,"title":8544,"dynasty":145,"author":8545,"museum":106,"description":8546,"tags":8547,"thumbUrl":8548,"material":722,"size":61,"collection":42,"collections":8549,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[24,25,209,28,77,7,58,29,431,35,774,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[42,155],{"id":8551,"slug":8552,"title":8553,"dynasty":18,"author":8554,"museum":106,"description":8555,"tags":8556,"thumbUrl":8558,"material":722,"size":61,"collection":61,"collections":8559,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,26,27,28,29,37,7,38,8557,35,34,31,30,33,82,32],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":8561,"slug":8562,"title":8563,"dynasty":7039,"author":220,"museum":73,"description":8564,"tags":8565,"thumbUrl":8567,"material":61,"size":61,"collection":61,"collections":8568,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},231580,"yu-en-chun-qiu-liang-yuan-ying-hua-pu-tu-juan-yi-ming-231580","浴恩春秋两园樱花谱图卷","虽然日本没有官方的国花，但樱花之于日本的重要性不言而喻，日本文化的精气神都能在樱花身上得到体现，樱花也成为日本绘画中的常见题材。早在远古，日本人就将樱花看作是春天的化身，是花的神灵。日本语中的“樱时”(古语)，意思就是“春天的时节”。每当春天来临，人们最关注的就是樱花一年一度的花开花落。花蕾结得多少好坏，开花时能否躲过春雨的淋洗开得灿烂，凋谢时能不能遇上春风落瓣洁净。樱花是否开花顺利在日本人看来，意味着这一年是否风调雨顺，五谷丰登。所以每当花开时节，人们就聚集在樱花树下，放歌畅饮，祈祷神灵保佑。",[23,26,25,28,77,1014,7,58,8566],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f94d981568dc00430a3f7f9eb71592.jpg",[],{"id":8570,"slug":8571,"title":8572,"dynasty":18,"author":5970,"museum":527,"description":8573,"tags":8574,"thumbUrl":8576,"material":61,"size":61,"collection":61,"collections":8577,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[23,24,25,26,28,37,7,58,29,34,292,32,237,8575],"沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":8579,"slug":8580,"title":8581,"dynasty":145,"author":324,"museum":73,"description":8582,"tags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纸本 水墨","22x47.4厘米",[],{"id":8616,"slug":8617,"title":8618,"dynasty":91,"author":440,"museum":373,"description":8619,"tags":8620,"thumbUrl":8621,"material":8622,"size":8623,"collection":125,"collections":8624,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,24,25,26,27,77,693,79,58,38,7,223,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[125,155],{"id":8626,"slug":8627,"title":8628,"dynasty":91,"author":440,"museum":2307,"description":8629,"tags":8630,"thumbUrl":8631,"material":196,"size":8632,"collection":62,"collections":8633,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},220882,"gui-qu-lai-ci-juan-hua-xin-zhao-meng-fu-220882","归去来辞卷画芯","自东晋陶渊明的一曲《归去来辞》问世以来，为历代文士所雅好。赵孟頫以宋室后裔入仕元朝，在其任官期间许多次以真、行书写过此篇，其归隐思乡情绪全在其中。\n此卷书于元延佑五年，即1318年，是年赵孟頫六十五岁。\n全篇以行、楷为主，偶参草书，笔法秀媚典雅，苍劲浑厚，结构严密，用笔婉转停匀，具有晋人风范。",[23,56,24,25,26,7,78,79,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58edf3bc226e67307b138bb359553070.jpg","纵48厘米，横455厘米",[62],{"id":8635,"slug":8636,"title":8637,"dynasty":91,"author":440,"museum":373,"description":8638,"tags":8639,"thumbUrl":8640,"material":8641,"size":8642,"collection":306,"collections":8643,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[23,24,25,26,28,77,530,79,377,35,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","纸本，手卷，设色","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[306,155],{"id":8645,"slug":8646,"title":8647,"dynasty":18,"author":479,"museum":738,"description":739,"tags":8648,"thumbUrl":8649,"material":96,"size":742,"collection":61,"collections":8650,"showCount":65,"zanCount":534,"manualWeight":11,"mainColor":66},218344,"ren-wu-gu-shi-ce-5-tang-yin-218344","人物故事册-5",[23,24,25,209,28,79,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c8051ecf044fbabbdf8d061fea5bd2.jpg",[],{"id":8652,"slug":8653,"title":2248,"dynasty":145,"author":8654,"museum":53,"description":8655,"tags":8656,"thumbUrl":8657,"material":123,"size":8658,"collection":62,"collections":8659,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},214246,"xing-shu-qi-yan-lian-qian-feng-214246","钱沣","墨色沉厚如古铜铸字，笔锋顿挫间暗合颜鲁公遗韵。“清德”二字端正如君子垂拱，撇捺舒展似怀抱坦荡；“高文”笔势开张，横画若梁架稳实，竖笔如孤峰耸峙。每一字骨力内蕴，结体方正却不板滞，如老松盘曲而枝干遒劲。笔画牵丝映带藏灵动，墨色浓淡转合显匠心——重处坠石崩云，轻处流云绕岫。联中气息连贯，左顾右盼自成章法，既承颜体沉雄气象，又融钱氏清劲风骨。文辞与笔墨相融，“三益友”的谦冲、“百家书”的豪迈，皆化入点画：或如朗月照襟，或如长风振卷。读来如晤古贤，见其磊落襟怀与翰墨才情，墨香里淌着文人的清正与旷达。",[23,24,25,38,7,2251,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812f029a967f7f64b22a22a7b106d4f9.jpg","131.2x29.4",[62],{"id":8661,"slug":8662,"title":1503,"dynasty":454,"author":2150,"museum":53,"description":8663,"tags":8664,"thumbUrl":8665,"material":802,"size":921,"collection":61,"collections":8666,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},287704,"xi-ma-tu-han-gan-287704","韩干，唐画家。京兆蓝田（治今陕西西安）人。相传年少时曾为酒肆雇工，经王维资助，学画十馀年而艺成。擅绘肖像、人物、鬼神、花竹，尤工画马，曾师曹霸而重视写生。经历唐玄宗年间，被召入宫封为“供奉”。此后专跟宫中画马名家陈闳学习画，但进展不太显著，后来韩干改变只临摹不写生的方法，经常到马厩里去，细心观察马的习性，对比找出马的性格特征，找出马的动作规律，并把各种各样的马记录在案。日子久了，人们对韩干经常进入马厩，甚至搬到马厩里和饲养人一起住感到奇怪。韩干回答说：“我学习画马，马厩里所有的马都是我的老师”。为了深入了解马的习性，他常痴呆地观察上几个时辰，把别的画家不了解的具体细节都弄得清清楚楚，并牢记心上。这样时间久了，马的各种体貌，奔跑雄姿，千变万化的动态，作画之时自然而然就展现在纸上。所以人们都称赞韩干笔下的马是能跑动的马。",[23,24,25,79,693,77,28,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba3b5ac63eeb38d707e63aad4facfc.jpg",[],29,{"id":8669,"slug":8670,"title":8671,"dynasty":91,"author":2262,"museum":73,"description":8672,"tags":8673,"thumbUrl":8674,"material":920,"size":921,"collection":61,"collections":8675,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},283618,"li-hua-tu-qian-xuan-283618","梨花图","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,24,56,26,25,210,3975,7,38,58,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c47c67343792d97cc1609ddfe962a6c.jpg",[],{"id":8677,"slug":8678,"title":8679,"dynasty":145,"author":220,"museum":106,"description":8680,"tags":8681,"thumbUrl":8683,"material":658,"size":8684,"collection":62,"collections":8685,"showCount":8667,"zanCount":511,"manualWeight":11,"mainColor":46},239698,"yu-min-zhong-shu-bu-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-que-bi-juan-yi-ming-239698","于敏中书补戏鸿堂刻柳公权兰亭诗阙笔卷","于敏中擅长书法，尤工楷书和行书，其书法风格乃是透过学习赵孟頫与董其昌而上溯至二王，是几位经常为乾隆皇帝捉刀的大臣之一，曾负责为皇帝拟定诏书。《戏鸿堂法帖》所刻柳公权兰亭诗多有阙笔不全，乾隆四十三年（1778年）命于敏中就刻本漫漶阙划处，因其偏旁补成全字，并仿董其昌临本（兰亭八柱之七）书之，原刻本及董书所无之阙字、阙句，则仍按其旧。目的是既要重新摹刻上石，又要保留原来的书法风貌，“俾还旧观”。本幅正是于敏中奉敕摹补柳公权书兰亭诗阙笔卷。其原诗用较大字书写，遇有某首诗有补阙的字、原刻的别字、错字，诗后则小字注明，如：王彬之四言诗“丹崖竦立，葩藻映林，渌水扬波，载浮载沉”后注：按此诗崖字、扬字原刻有阙笔今补；王羲之五言诗“……大矣造化功，万殊莫不均，……”后注：按此诗“功”字原刻作“切”，今从董临本改。有的地方，董临本没有的或阙损严重的，于敏中就其具体情况，也有补添上的。如:在郗曇、虞悦、孙嗣的三首五言诗后，注：按郗曇、虞悦、孙嗣三诗董临本所无，而原刻有之，今仍为临补；王徽之五言诗“先师有冥藏，安用羁世罗，未若保冲真，齐契箕山河”后注：后阙二句，董临本无，而原刻有之，亦为临补……。由于是皇帝之命，不敢草率行事，书写起来格外仔细认真，结字严整，布白均匀，墨之浓淡恰到好处。但是三十七首诗中，也同样与内府钩填本一样缺少王涣之五言诗最后一句“玄契齐古今”，除此之外，它呈现出的是兰亭诗墨迹的全貌。\n著录于《石渠宝笈续编》。清代刻入“兰亭”八柱，列为第六。",[23,38,7,26,58,8682,27,353],"补阙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d7970b003c44a350301a35655f7790.jpg","纵28.7厘米，横688.2厘米",[62],{"id":8687,"slug":8688,"title":8689,"dynasty":51,"author":8690,"museum":106,"description":8691,"tags":8692,"thumbUrl":8693,"material":3576,"size":8694,"collection":62,"collections":8695,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},239637,"chen-rong-shu-zi-shu-shi-juan-chen-rong-239637","陈容书自书诗卷","陈容","释文：\n潘公海夜饮书楼。陈容。夫君美无度，视世一鼠肝。□夫失意时，不知枢在环。云气上罍樽，渠作瓦缶看。八暝同眼精，我眼双剑寒。潘江字□海，陆海无波澜。文章有战胜，此道难跻攀。向来闻歌商，政以静体观。收心学潜圣，吾身重丘山。岂必猎众智，茫茫芡走盘。诫身与教子，户内天壤宽。苜蓿上朝盘，道人斋入关。土田非蒺藜，莫问岁事艰。夫君不长贫，身在世转难。戊戌前四月书。公海执此为历。此纸得之临川故人家，借此言久交耳。诗不足道。\n本幅鉴藏印钤“双清”、“是为双氏在山泉馆藏物”、“双清长寿”及叶恭绰诸印。卷后有叶恭绰题跋一则。文中纪年“戊戌前四月书”，为宋嘉熙二年（1238年）。\n此书放笔恣纵，有颜真卿遗意，圆中带方，又不尽颜法。行字大小错落，线条粗细变化明显，跌宕有致，自成一格。",[23,38,26,7,1014,27,353,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617a32f0c07c0ede918e5171afbf90a1.jpg","纵31.1cm，横382.8cm",[62],{"id":8697,"slug":8698,"title":8699,"dynasty":145,"author":8700,"museum":73,"description":8701,"tags":8702,"thumbUrl":8703,"material":920,"size":921,"collection":61,"collections":8704,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},239544,"hua-hua-yan-shi-nv-tu-ce-wang-su-239544","画华严仕女图册","王素","王素（1794—1877）字小梅，晚号逊之，甘泉（今江苏扬州）人。幼拜师鲍芥田，又多临华岩，凡人物、花鸟、走兽、虫鱼，无不入妙。道光初与魏小眠、王应祥并驾。自悔书拙，每晨必临数百字，至老无间。 咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[24,25,209,77,28,27,79,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868d343a424f933ec64dc07b7c9db6e4.jpg",[],{"id":8706,"slug":8707,"title":6385,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":8708,"thumbUrl":8709,"material":920,"size":921,"collection":61,"collections":8710,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},237939,"za-hua-ce-zhu-da-237939",[24,25,209,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4b1ad720901e7cba07e192eb1d6e38.jpg",[],{"id":8712,"slug":8713,"title":8714,"dynasty":18,"author":1169,"museum":73,"description":4147,"tags":8715,"thumbUrl":8716,"material":920,"size":921,"collection":61,"collections":8717,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},235798,"zhu-ju-shan-chen-chun-235798","竹菊扇",[24,25,2579,27,210,112,121,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff13ad5e4256b3c5c649deb37133f7c7.jpg",[],{"id":8719,"slug":8720,"title":5269,"dynasty":145,"author":7553,"museum":73,"description":8721,"tags":8722,"thumbUrl":8723,"material":61,"size":61,"collection":61,"collections":8724,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},235634,"mo-mei-tu-zhou-li-fang-ying-235634","此作用笔老辣朴拙，枯苍梅干以顿挫浓墨写就，虬曲倔强，斜逸枝桠舒展灵动，尽显古梅饱经风霜却傲然不屈之态。淡墨圈点梅花，清气盈盈，简淡脱俗，宛若清寒之中悄然绽露芳华。\n\n画面留白疏朗空灵，配上行书题诗，诗画相融，将自身狷介风骨寄寓于梅中，以梅明志，尽显文人画借物抒怀的意趣，寥寥数笔便把梅花的清逸高格勾勒尽致，于极简中见精神风骨，是写意花鸟中借物言志的佳作。",[24,57,27,111,38,7,58,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb1f39a221903b5fa8c775b8d3f18ac.jpg",[],{"id":8726,"slug":8727,"title":8728,"dynasty":145,"author":8729,"museum":106,"description":8730,"tags":8731,"thumbUrl":8732,"material":722,"size":61,"collection":42,"collections":8733,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},234719,"huang-shan-tu-ce-jiang-zhu-234719","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,27,37,38,7,209,29,35,31,179,3615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac352676967682ac8c718cbf1f9170a.jpg",[42],{"id":8735,"slug":8736,"title":8737,"dynasty":18,"author":1024,"museum":73,"description":8738,"tags":8739,"thumbUrl":8740,"material":61,"size":61,"collection":61,"collections":8741,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},228881,"cui-zhu-tu-wen-zheng-ming-228881","翠竹图","此作为诗画合璧的文人佳构，下方墨竹以淡墨写竿，笔致劲挺通脱，浓墨挥写竹叶，俯仰向背错落有致，疏密间尽显萧散清逸，将翠竹挺拔君子之姿淋漓尽显，满幅皆含清和雅正之气。\n上方题诗行书秀雅舒展，笔意温润隽秀，诗与画两相呼应，寄寓着幽居伴竹、静赏林泉的文人雅趣。书画一体，尽显吴门画派的雅致风神，暗合作者淡远冲和的品格心性，整体意境清润隽永，是文人画诗书画交融的精妙之作。",[24,25,57,27,38,7,58,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937c38e3fa101fbcb4b94656e5b43285.jpg",[],{"id":8743,"slug":8744,"title":8745,"dynasty":18,"author":3500,"museum":73,"description":8746,"tags":8747,"thumbUrl":8748,"material":61,"size":61,"collection":61,"collections":8749,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[23,56,24,25,26,27,28,6245,7,1014,58,4424,4422,212,121,112,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],{"id":8751,"slug":8752,"title":4136,"dynasty":51,"author":4137,"museum":73,"description":8753,"tags":8754,"thumbUrl":8755,"material":61,"size":61,"collection":61,"collections":8756,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},227700,"shui-xian-tu-zhao-meng-jian-227700","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[23,24,25,26,78,27,28,38,7,58,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":8758,"slug":8759,"title":8760,"dynasty":18,"author":479,"museum":373,"description":8761,"tags":8762,"thumbUrl":8764,"material":61,"size":8765,"collection":61,"collections":8766,"showCount":8667,"zanCount":534,"manualWeight":11,"mainColor":66},222358,"luo-hua-shi-ce-tang-yin-222358","落花诗册","《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 [1] [1]唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n落花诗墨迹的各个版本唐寅一生曾多次书写落花诗，每次所录诗作的数量不同，内容不同，书法风格也不尽相同。目前所知的有以下几个版本：\n就目前所见的唐寅落花诗真迹有四本：即苏州市博物馆藏本、普林斯顿大学附属美术馆藏本、辽宁省博物馆藏本和中国美术馆藏本。见于著录的唐寅书落花诗则有《蔬香馆法帖》、《海山仙馆藏真三刻》、《珊瑚网》等多种。",[23,56,38,7,352,25,209,27,8763],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa11f9f927e26e7749c62c6b71ab76d0.jpg","纵二十三点五厘米，横四百四十五厘米",[],{"id":8768,"slug":8769,"title":8770,"dynasty":18,"author":19,"museum":53,"description":8771,"tags":8772,"thumbUrl":8773,"material":8774,"size":8775,"collection":125,"collections":8776,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},222124,"zhi-shi-tu-shen-zhou-222124","芝石图","此作未署年款，画芝石笔墨肥润，其书法及款印，与画秋葵相近，似为同年作品。题识：“烨烨神芝，钤冈之。九英挺秀，五色纷披。兆厥祥，杰阁宏基。宸翰辉赫，日丽星义。表以延恩，汪无涯。奕叶朱房，灵光永绥。”钤印：“石田”“日夕堂”。",[23,24,25,56,2579,27,28,5691,328,212,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14977f5430a499d1e4b5206e785058b3.jpg","泥金，纸本，设色","纵18.1厘米，横52.4 厘米",[125,155],{"id":8778,"slug":8779,"title":8780,"dynasty":91,"author":2262,"museum":2564,"description":8781,"tags":8782,"thumbUrl":8783,"material":1262,"size":8784,"collection":61,"collections":8785,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},221716,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-221716","萧翼智赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。 现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。 该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。 徐邦达先生认为辽博、台北故宫藏本大致全是宋人临本，北京故宫藏本衣纹带方折而多顿挫，为南宋人作无疑。北京故宫藏本前后旧绢隔水钤“南师中印”、“伯谦精鉴”、“龙有鉴赏”等收藏印五方，尾纸附旧拓《兰亭序》帖，帖后有南宋王厚之，元王蒙、张翥题跋，三人题跋中均未谈及图画，该帖钤有收藏印二十九方。",[23,24,25,26,28,77,79,266,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8090c7e77955e254b3f443be55f54090.jpg","纵26.6cm，横44.3cm",[],{"id":8787,"slug":8788,"title":8789,"dynasty":51,"author":3802,"museum":106,"description":8790,"tags":8791,"thumbUrl":8792,"material":1262,"size":8793,"collection":226,"collections":8794,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":66},221627,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221627","诗经·小雅·节南山之什图卷全卷","马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教",[24,25,26,78,28,29,79,34,33,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[226,42,155],{"id":8796,"slug":8797,"title":8798,"dynasty":51,"author":8799,"museum":53,"description":8800,"tags":8801,"thumbUrl":8802,"material":196,"size":8803,"collection":62,"collections":8804,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},221565,"shu-juan-zhu-xi-221565","书卷","朱熹","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。 朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。\n朱熹著述甚多，有《四书章句集注》《太极图说解》《通书解说》《周易读本》《楚辞集注》，后人辑有《朱子大全》《朱子集语象》等。其中《四书章句集注》成为钦定的教科书和科举考试的标准。",[56,24,25,26,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbefdf97e9d6ba231c73ef175f4ea8fd.jpg","25.2x251.5",[62],{"id":8806,"slug":8807,"title":8808,"dynasty":51,"author":8809,"museum":53,"description":8810,"tags":8811,"thumbUrl":8812,"material":196,"size":8813,"collection":62,"collections":8814,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},221364,"si-cheng-tie-chi-du-xu-xuan-221364","私诚帖尺牍","徐铉","徐铉（916-991），五代宋初文学家。字鼎臣。广陵（今江苏扬州）人。早年仕于南唐，官至吏部尚书。后随李煜归宋，官至散骑常侍,世称徐骑省。淳化二年（991）被贬谪为静难行军司马，不久就死在贬所。\n他擅长李斯小篆，也工于隶书。他与其弟徐锴是当时最杰出的篆书书法家，被称为“二徐”，他们考订了《说文解字》。此外，北宋淳化五年（994）重刻秦代《峄山刻石》，即根据徐铉的摹本。徐铉所书的篆书，映日视之，笔画中心有缕浓墨，因其笔锋直下不倒侧，故笔锋常在画中，故人也称其如“屋漏痕”、“锥画沙”。黑龙江省博物馆藏有他的《篆书千字文残卷》（宋摹本）。",[23,38,7,58,2052,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001d309fa974056d7525f4e5a98e998.jpg","29.1×44.8cm",[62],{"id":8816,"slug":8817,"title":8818,"dynasty":91,"author":440,"museum":53,"description":8819,"tags":8820,"thumbUrl":8821,"material":196,"size":8822,"collection":62,"collections":8823,"showCount":8667,"zanCount":534,"manualWeight":11,"mainColor":46},220876,"zhi-chuan-dao-chi-du-zhao-meng-fu-220876","致传道尺牍","释文：孟頫顿首传道足下。公素人来得书累幅。既闻起居之详。又获新诗一篇。及公素寄示双石记。居违久矣。不意复闻韶濩之音。喜慰之极。无以云喻。久废笔研。不敢继和。必识此意。会合无期。临书惘惘。秋暑。万万以时自厚。不宣。孟頫顿首再拜。",[25,38,7,27,2052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a608728cb498f1fe076bfe431b2656.jpg","纵39.4厘米,横70.5厘",[62],{"id":8825,"slug":8826,"title":8827,"dynasty":91,"author":286,"museum":53,"description":6737,"tags":8828,"thumbUrl":8829,"material":123,"size":61,"collection":61,"collections":8830,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},216387,"mo-zhu-pu-ce-3-wu-zhen-216387","墨竹谱册-3",[56,24,25,209,27,112,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5d935d0f7c698447c6c743080d955a.jpg",[],{"id":8832,"slug":8833,"title":8834,"dynasty":91,"author":286,"museum":53,"description":6737,"tags":8835,"thumbUrl":8836,"material":123,"size":61,"collection":61,"collections":8837,"showCount":8667,"zanCount":534,"manualWeight":11,"mainColor":46},216371,"mo-zhu-pu-ce-17-wu-zhen-216371","墨竹谱册-17",[56,24,25,209,27,112,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd144c0dfb78e31c18b0424eb85f4a041.jpg",[],{"id":8839,"slug":8840,"title":8841,"dynasty":91,"author":286,"museum":53,"description":6737,"tags":8842,"thumbUrl":8843,"material":123,"size":61,"collection":61,"collections":8844,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},216369,"mo-zhu-pu-ce-19-wu-zhen-216369","墨竹谱册-19",[24,25,209,27,112,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647a03d4eb51f10004ee79e346cc7188.jpg",[],{"id":8846,"slug":8847,"title":8848,"dynasty":51,"author":349,"museum":20,"description":8849,"tags":8850,"thumbUrl":8851,"material":123,"size":355,"collection":61,"collections":8852,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},214272,"duo-jing-lou-shi-tie-12-mi-fei-214272","多景楼诗帖-12","笔势如惊雷破壁，墨韵似流云卷岫。“如翼搏千”四字，开张若鹏翼垂天，紧敛如劲弩待发。“翼”之撇捺舒展振翅，墨色浓淡间藏飞白之趣；“搏”字欹侧却稳如磐石，笔锋转折处露锋芒；“千”的竖画如孤峰拔地，力透纸背。米芾“刷字”妙处尽显——运笔迅疾如挥帚，狂放中守规矩，错落间见章法。字间呼应似登高骋怀，与多景楼诗意暗合。墨痕干湿交织，筋骨与韵味兼具，气脉贯通满纸生风，尽展宋人书法的潇洒与力量。",[38,7,25,27,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf631e5742b647e2d613a5712be268e.jpg",[],{"id":8854,"slug":8855,"title":8856,"dynasty":51,"author":349,"museum":20,"description":8857,"tags":8858,"thumbUrl":8859,"material":123,"size":355,"collection":61,"collections":8860,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},214271,"duo-jing-lou-shi-tie-14-mi-fei-214271","多景楼诗帖-14","笔势如奔雷掣电，八面出锋间尽展“刷字”神韵。浓墨沉厚如坠石，飞白轻盈若游丝，墨色干湿浓淡的变幻里，藏着跌宕意气与豪情。字形欹侧却稳劲，“风”字撇捺舒展如翼，“秋”字点画厚重凝霜，“御”字竖笔挺拔似松。每一笔皆带畅快节奏，仿佛能听见落笔飒飒声，将登高临远的壮阔心境，化作纸上奔腾气象。这是墨与纸的共舞，心性与笔锋的交融，尽显宋代书法的潇洒雄健。",[38,25,7,27,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77cf610f6f42e8a3a0a2408b800767b.jpg",[],{"id":8862,"slug":8863,"title":8864,"dynasty":51,"author":349,"museum":20,"description":8865,"tags":8866,"thumbUrl":8867,"material":123,"size":355,"collection":61,"collections":8868,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},214270,"duo-jing-lou-shi-tie-11-mi-fei-214270","多景楼诗帖-11","笔墨如奔雷掣电，笔锋八面出锋，横斜竖直间尽是洒脱不羁。每一字皆欹侧生姿，却于险绝处见平正，如奇峰罗列却脉理相连。浓墨处沉雄如坠石，淡墨处轻逸似流云，干湿浓淡的变幻间，藏着“刷字”的凌厉与灵动。线条的提按顿挫如乐章起伏，将登高临远的豪情注入笔端，既见魏晋风骨，更显宋人尚意的神采。通篇气势连贯，如江河奔涌，于挥洒自如中见法度森严，尽显书家的旷世才情与疏狂性情。",[25,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d665309976b3c96d55fe270f005caa.jpg",[],{"id":8870,"slug":8871,"title":8872,"dynasty":51,"author":349,"museum":20,"description":8873,"tags":8874,"thumbUrl":8875,"material":123,"size":355,"collection":61,"collections":8876,"showCount":8667,"zanCount":11,"manualWeight":11,"mainColor":46},214269,"duo-jing-lou-shi-tie-16-mi-fei-214269","多景楼诗帖-16","笔势如骤雨旋风，起收间带着“刷字”的爽利——浓墨沉厚如坠石，枯笔飞白似裂帛，墨色的浓淡干湿交织出淋漓节奏。字形欹侧却稳若危岩：“追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尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。\n此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[56,24,25,209,27,37,7,58,29,177,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aad0cc7f91d98f5d6db48d517385e2.jpg",[42,155],{"id":8948,"slug":8949,"title":8950,"dynasty":145,"author":1464,"museum":106,"description":8951,"tags":8952,"thumbUrl":8955,"material":8118,"size":8956,"collection":62,"collections":8957,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":66},236147,"da-shi-xiang-hong-li-shu-xin-jing-he-zhuang-zhou-ding-guan-peng-236147","大士像弘历书心经合装轴","丁观鹏（生卒年不详），擅绘人物、山水。雍正四年（1726年）以画艺精湛入宫供奉，备受雍正、乾隆皇帝的赏识，作品为清宫著录者达83件之多。",[24,57,530,28,77,79,8953,8954,897,82,1797,2452,38,7,1735],"侍女","猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbfde9136bb0fce1adfcc9527d15d37.jpg","纵60cm，横28.3cm",[62],{"id":8959,"slug":8960,"title":857,"dynasty":145,"author":2988,"museum":73,"description":2989,"tags":8961,"thumbUrl":8962,"material":920,"size":921,"collection":61,"collections":8963,"showCount":170,"zanCount":534,"manualWeight":11,"mainColor":46},235603,"hua-hui-ce-wang-wu-235603",[24,25,209,28,77,210,113,1068,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5203f98c5bc6b88482bddebc1961fe00.jpg",[],{"id":8965,"slug":8966,"title":2604,"dynasty":18,"author":8967,"museum":73,"description":8968,"tags":8969,"thumbUrl":8970,"material":61,"size":61,"collection":42,"collections":8971,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},234865,"shan-shui-ce-zhao-pu-234865","赵璞","此作为诗画合璧，淡墨绘就平远江景。近岸松石苍润，林木错落成荫，水波澹澹延展，远山以淡墨晕染，虚茫空濛，尽显江乡日暮的清寂悠远。行书题诗笔致清劲雅致，诗文将羁旅幽思寄寓山水，与画面相映成趣。笔墨简淡松灵，不事雕琢，把江畔闲望的怅惘安闲藏在疏朗构图之中，萧散闲适的文人意趣溢于纸面，淡而不薄，简中见雅，尽显林下澹泊清远的古韵。",[24,25,209,27,37,7,29,34,2452,237,3302,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38743b87d4722c9ed73f5e1e990d74b2.jpg",[42],{"id":8973,"slug":8974,"title":8975,"dynasty":18,"author":8976,"museum":73,"description":8977,"tags":8978,"thumbUrl":8979,"material":196,"size":8980,"collection":61,"collections":8981,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":66},234163,"zhou-tian-qiu-cong-lan-zhu-shi-juan-zhou-tian-qiu-234163","周天球丛兰竹石卷","周天球","周天球,字公瑕，号幼海，又号六止居士，江苏太仓人。善画写意兰草，在文徵明门下学习书法，文徵明赞其：“他日得吾笔者，周生也。”晚年独创书风，当时丰碑大碣皆出自他手。于《心经》气脉贯通，工稳有致，峻厚妍秀，温润苍劲。是谓经典。",[23,56,24,25,26,27,7,58,38,120,112,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44acfd326529873a27f79f238cb93b7.jpg","纵28.3cm，横56.8cm",[],{"id":8983,"slug":8984,"title":8985,"dynasty":145,"author":2177,"museum":106,"description":8986,"tags":8987,"thumbUrl":8988,"material":196,"size":8989,"collection":61,"collections":8990,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[24,25,57,27,37,58,7,29,30,31,32,33,82,81,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":8992,"slug":8993,"title":8994,"dynasty":51,"author":784,"museum":106,"description":8995,"tags":8996,"thumbUrl":8997,"material":196,"size":8998,"collection":61,"collections":8999,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":638},232819,"bai-ju-yi-zi-yong-shi-quan-juan-zhao-gou-232819","白居易自咏诗全卷","赵构《行书白居易诗》，纸本手卷，卷心高27.2厘米，长4296厘米。每行两字，字大如拳，无名款，书后钤有御书葫芦印和朱文方印各一枚，并在接纸骑缝处有“御书之宝”印多方。明陶宗仪《书史会要》：“高宗善真、行、草书，天纵其能，无不造妙。或云初学米芾，又辅以六朝风骨，自成一家。”\n书录白居易诗《自咏》一首：“随宜饮食聊充腹，取次衣裘亦暖身。未必得年非瘦薄，无妨长福是单贫。老龟岂羡牺牲饱，蟠木宁争桃李春。随分自安心自断，是非何用问闲人。”\n赵构实际上是一位艺术家，他精通诗词与音乐，擅长书法、绘画，志趣一直在笔墨方面，是一位相当勤于学习书法的皇帝。他最初是学黄庭坚，中年学米芾，绍兴七年（1137年）书的《赐岳飞手敕》是典型的米芾笔法。\n宋高宗不仅有实际的书画创作，对书法理论也很有研究，著有《翰墨志》一卷，是他在退居德寿宫以后谈论书法的语录，在书法理论上有很精辟的见解，这是南宋前期书法理论的重要著作，也有人将它称为南宋书法理论的代表著作。",[56,25,26,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b10fef921c08ba8bc86a57c3bf82896.jpg","卷心高27.2厘米，长4296厘米",[],{"id":9001,"slug":9002,"title":9003,"dynasty":51,"author":5050,"museum":73,"description":9004,"tags":9005,"thumbUrl":9006,"material":920,"size":921,"collection":61,"collections":9007,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},230864,"cheng-xin-tang-tie-cai-xiang-230864","澄心堂帖","精致的纸质，配上蔡襄秀致而庄重的墨迹，使得这幅“澄心堂”帖格外显得清丽动人。全文以行楷写成，结体端正略扁，字距行间宽紧合适，一笔一画都甚富体态，工致而雍容。信札署有“癸卯”（1063年）年款，时蔡襄年52岁，《澄心堂纸帖》正是他晚年崇尚端重书风的代表之作。\n蔡襄学习“二王”、虞世南、颜真卿。此贴依归“二王”，参以颜公健厚之笔，王颜互用，风貌独具，以柔翰而发之以劲腕，姿容绰约，而勾勒婉健，笔墨浑厚，气势宏大。时有淳淡隽美，更具风韵。",[38,7,58,352,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70595ff81b15475df319f65f0235ed61.jpg",[],{"id":9009,"slug":9010,"title":9011,"dynasty":18,"author":220,"museum":73,"description":9012,"tags":9013,"thumbUrl":9016,"material":61,"size":61,"collection":61,"collections":9017,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},228917,"mo-zhou-wen-ju-zhong-ping-hui-qi-tu-yi-ming-228917","摹周文矩重屏会棋图","此作追摹古意，以精妙笔触还原文人雅集场景：四人围坐博弈，神色各有不同，或蹙眉凝思，或悠然观局，侍童静立旁侧，案上鼎彝、书卷陈列有致，尽显中古文人的闲雅意趣。\n\n画作巧用画中画的重屏构景，层层延展空间，线条细劲工致，设色古雅沉静，尽显原作的院体写实风神。拖尾题跋琳琅，鉴藏朱印错落排布，细数历代递藏脉络，让这幅摹本不止是复刻经典，更成为串联起后世文人追慕古贤的载体，让千年前的文会清韵流转至今。",[23,24,25,26,76,28,77,79,9014,9015,38,7,58],"屏风","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb1113a03fad3557a7452ed4931a72b.jpg",[],{"id":9019,"slug":9020,"title":9021,"dynasty":18,"author":9022,"museum":73,"description":9023,"tags":9024,"thumbUrl":9026,"material":920,"size":921,"collection":61,"collections":9027,"showCount":170,"zanCount":511,"manualWeight":11,"mainColor":46},228740,"tong-ling-guan-tie-chuan-ge-juan-wang-shou-ren-228740","铜陵观铁船歌卷","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。",[23,38,7,26,27,196,9025,376,328,495],"铁船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1411d7dfebd52277f93e0eef00d69aa.jpg",[],{"id":9029,"slug":9030,"title":9031,"dynasty":18,"author":479,"museum":73,"description":9032,"tags":9033,"thumbUrl":9034,"material":61,"size":61,"collection":61,"collections":9035,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[23,24,25,26,28,77,37,7,38,58,29,34,79,30,31,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":9037,"slug":9038,"title":9039,"dynasty":51,"author":6919,"museum":73,"description":9040,"tags":9041,"thumbUrl":9042,"material":61,"size":61,"collection":61,"collections":9043,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,56,24,25,26,27,28,29,81,775,177,34,58,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":9045,"slug":9046,"title":9047,"dynasty":71,"author":2724,"museum":527,"description":9048,"tags":9049,"thumbUrl":9050,"material":61,"size":61,"collection":61,"collections":9051,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},227047,"bao-mu-tie-wang-xian-zhi-227047","保母帖","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）。",[23,38,7,680,26,58,352,3332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614954f526555092c1e1af4e18e4ebab.jpg",[],{"id":9053,"slug":9054,"title":9055,"dynasty":145,"author":324,"museum":73,"description":9056,"tags":9057,"thumbUrl":9058,"material":61,"size":61,"collection":61,"collections":9059,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[23,24,25,26,27,120,112,177,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":9061,"slug":9062,"title":9063,"dynasty":145,"author":6468,"museum":73,"description":9064,"tags":9065,"thumbUrl":9067,"material":61,"size":61,"collection":61,"collections":9068,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":66},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,24,25,26,9066,28,37,7,58,29,30,31,33,81,35,34,194,178,241,193],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":9070,"slug":9071,"title":9072,"dynasty":145,"author":2545,"museum":73,"description":9073,"tags":9074,"thumbUrl":9075,"material":61,"size":61,"collection":61,"collections":9076,"showCount":170,"zanCount":534,"manualWeight":11,"mainColor":66},224183,"hua-niao-cao-chong-tu-ba-02-hua-yan-224183","花鸟草虫图八-02","此作以折枝秋菊入画，兼工带写间尽显秋花意韵。艳红团菊秾丽雅致，绒花攒簇，尽显盛放之态；白瓣舒展清逸，纤条轻曳自带疏朗之气。墨叶枯润相济，笔致松灵，晕染出秋意萧疏却生机不减的情态。\n左侧行书题诗与绘景呼应，诗书入画融成清雅文心，淡赭底色晕开古雅沉静氛围，将秋菊傲霜之姿与文人寄寓的高洁品格融为一体，寥寥数笔便将秋花神韵与清冷意趣尽显，雅致脱俗，意韵悠长。",[23,24,28,210,121,1678,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20b48cd30353e2ac00ef4f5e148df1f.jpg",[],{"id":9078,"slug":9079,"title":9080,"dynasty":18,"author":479,"museum":106,"description":9081,"tags":9082,"thumbUrl":9086,"material":658,"size":9087,"collection":62,"collections":9088,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,3018,38,7,26,27,58,402,1794,29,32,30,31,33,82,1515,81,111,120,112,121,114,115,117,118,7556,1951,621,1636,495,4188,623,3978,9083,9084,9085],"夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纵23.3厘米，横551.3厘米",[62],{"id":9090,"slug":9091,"title":9092,"dynasty":18,"author":19,"museum":53,"description":848,"tags":9093,"thumbUrl":9097,"material":152,"size":9098,"collection":61,"collections":9099,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓",[23,24,25,27,28,7,1130,29,1271,30,33,9094,9095,79,9096],"池塘","浮萍","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ebf57ec710cf7b3feb2eb738b90919.jpg","28x43.5厘米",[],{"id":9101,"slug":9102,"title":9103,"dynasty":91,"author":2358,"museum":106,"description":9104,"tags":9105,"thumbUrl":9106,"material":196,"size":9107,"collection":61,"collections":9108,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},221744,"qiu-shen-tie-guan-dao-sheng-221744","秋深帖","管道升行书秋深帖是管道升给婶婶的问安、馈赠的家信，实为赵孟頫所书。其笔力扎实，体态修长，秀媚圆活，畅朗劲健。赵氏信笔写来一时忘情，末款署了自己的名，发觉后忙又改过，还可以看出涂改之迹。",[23,56,24,25,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709a2cf3722df1bd28d60e5ffd14c32f.jpg","纵26.9cm，横53.3cm",[],{"id":9110,"slug":9111,"title":9112,"dynasty":51,"author":362,"museum":106,"description":9113,"tags":9114,"thumbUrl":9115,"material":196,"size":9116,"collection":62,"collections":9117,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},221308,"xin-sui-zhan-qing-ren-lai-de-shu-tie-su-shi-221308","《新岁展庆人来得书帖》","《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[23,38,7,352,58,26,646,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad00b3f14d230ed716a804c1d3a34fd.jpg","前帖30.2X48.8cm，后帖29.5X45.1cm",[62],{"id":9119,"slug":9120,"title":9121,"dynasty":51,"author":784,"museum":53,"description":9122,"tags":9123,"thumbUrl":9126,"material":9127,"size":9128,"collection":61,"collections":9129,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},221200,"shu-qi-yan-lv-shi-zhao-gou-221200","书七言律诗","《宋赵构书七言律诗》是宋代时期宋高宗创作的书法作品。\n此幅墨迹是宋高宗以楷书书写 的七言律诗（即事），又名「暮春三月诗帖」。\n此一诗帖以中锋书写，通幅看来章法疏朗，字体匀称、圆润，墨色统一，令人看来赏心悦目。\n杜甫这首七律的意境如画，高宗笔墨洗鍊，二者可说是相得益彰。\n诗後原来还有元代赵孟頫为此诗作的图，可惜已被人裁去。\n高宗在绍兴三十二年（1162）晚年时退休，这段时期所作的楷书，多典雅圆融，端正停匀，有一种飘逸潇洒的趣味。\n这幅作品不仅接近这样的风格，因诗幅後还有高宗在位时的用印（御书之宝），因此推测它书写的时间应距退休时间不远。",[23,51,38,25,7,58,353,196,9124,4263,9125],"汉字","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm",[],{"id":9131,"slug":9132,"title":2533,"dynasty":51,"author":2534,"museum":373,"description":2535,"tags":9133,"thumbUrl":9134,"material":658,"size":2538,"collection":61,"collections":9135,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},221198,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221198",[23,38,7,26,27,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd86e4e28de5c93a83e0f57568a97a.jpg",[],{"id":9137,"slug":9138,"title":9139,"dynasty":18,"author":479,"museum":1685,"description":9140,"tags":9141,"thumbUrl":9142,"material":123,"size":9143,"collection":42,"collections":9144,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,25,26,27,7,38,58,37,29,34,31,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[42],{"id":9146,"slug":9147,"title":9148,"dynasty":145,"author":9149,"museum":53,"description":9150,"tags":9151,"thumbUrl":9152,"material":123,"size":9153,"collection":62,"collections":9154,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":66},214719,"xing-shu-shi-da-chong-guang-214719","行书诗","笪重光","这幅画是笪重光为他人的七十岁生日写的，笔触自然，特别是黄鲁直体。",[23,3383,38,7,57,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaf48b6e4dcb0aae8c599d8f8e45087.jpg","190.5x46.5",[62],{"id":9156,"slug":9157,"title":9158,"dynasty":145,"author":324,"museum":206,"description":9159,"tags":9160,"thumbUrl":9161,"material":40,"size":9162,"collection":125,"collections":9163,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},214563,"mo-zui-za-hua-tu-ce-4-shi-tao-214563","墨醉杂画图册-4","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,24,27,7,209,646,25,111,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709d7e0db49796aa6bb86cfde848cf40.jpg","纵51.4厘米，横35.4厘米",[125],{"id":9165,"slug":9166,"title":9167,"dynasty":51,"author":349,"museum":20,"description":9168,"tags":9169,"thumbUrl":9170,"material":123,"size":355,"collection":61,"collections":9171,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":46},214274,"duo-jing-lou-shi-tie-8-mi-fei-214274","多景楼诗帖-8","笔锋游走间，“刷字”神韵跃然纸上。每一笔皆似快剑出鞘，利落干脆：“回”字折角如刀削，棱角分明；“列”字撇捺舒展若鹏翼，裹挟江楼远眺的旷达之气。墨色枯润相间，浓处如乌云聚顶，淡处似薄雾笼山，牵丝映带间行气连贯，如流泉穿石，一气呵成。字势欹侧跌宕，却于欹倾中见平衡——似风中翠竹摇曳生姿，根节仍坚劲不移。这般率意挥洒，融晋韵之飘逸与宋意之灵动，将米颠的疏狂才情凝于笔墨。读之如临多景楼头，涛声与墨韵交织，直教人忘尘俗之扰，心随字势共赴一场快意挥洒的笔墨之约。",[38,25,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26efecb79f1f1b7604adbaa8e9df93b0.jpg",[],{"id":9173,"slug":9174,"title":9175,"dynasty":91,"author":1893,"museum":73,"description":3189,"tags":9176,"thumbUrl":9179,"material":920,"size":921,"collection":61,"collections":9180,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},291030,"mei-zhu-shuang-qing-juan-wang-mian-291030","梅竹双清卷",[38,7,26,58,111,9177,9178,25],"孤月","冻云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691ca9f6c2d3a5aaa99998e8b89d2ef3.jpg",[],27,{"id":9183,"slug":9184,"title":9185,"dynasty":51,"author":9186,"museum":73,"description":9187,"tags":9188,"thumbUrl":9190,"material":920,"size":921,"collection":61,"collections":9191,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},291004,"tang-song-yuan-hua-ji-jin-ce-fu-rong-cui-yu-ma-lin-291004","唐宋元画集锦册 芙蓉翠羽","马麟","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[56,24,25,209,28,77,210,116,9189,38,7,58],"翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14b79bcb51d897bb2ba0c721b32900c.jpg",[],{"id":9193,"slug":9194,"title":9195,"dynasty":91,"author":440,"museum":73,"description":5830,"tags":9196,"thumbUrl":9198,"material":920,"size":921,"collection":61,"collections":9199,"showCount":9181,"zanCount":534,"manualWeight":11,"mainColor":46},290893,"guo-guo-fu-ren-ye-you-tu-zhou-zhao-meng-fu-290893","虢国夫人夜游图轴",[57,38,7,58,3717,9197],"夜游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67d725321df30f7987c941a93805d1ac.jpg",[],{"id":9201,"slug":9202,"title":9203,"dynasty":18,"author":479,"museum":73,"description":2782,"tags":9204,"thumbUrl":9205,"material":920,"size":921,"collection":61,"collections":9206,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},290850,"deng-xiao-gui-hua-zhou-tang-yin-290850","灯霄闺话轴",[24,57,27,25,7,38,29,34,150,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb3c4b4f85d053b5eb272b9977597f9.jpg",[],{"id":9208,"slug":9209,"title":9210,"dynasty":51,"author":1781,"museum":73,"description":8915,"tags":9211,"thumbUrl":9214,"material":920,"size":921,"collection":61,"collections":9215,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},289738,"yu-fu-shi-tuan-shan-zhao-shen-289738","渔父诗团扇",[2579,38,7,58,9212,7556,7510,621,291,403,9213],"酒家","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac54b861f293243ccd4eb3dadcf2fff8.jpg",[],{"id":9217,"slug":9218,"title":9219,"dynasty":51,"author":6919,"museum":73,"description":9220,"tags":9221,"thumbUrl":9224,"material":920,"size":921,"collection":61,"collections":9225,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":66},287813,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-287813","海天旭日图卷","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,56,24,25,26,1394,28,29,38,7,9222,9223,2119],"海天","旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb79aa321968bf59f167e748dd9de4.jpg",[],{"id":9227,"slug":9228,"title":9229,"dynasty":18,"author":9230,"museum":9231,"description":9232,"tags":9233,"thumbUrl":9235,"material":9236,"size":9237,"collection":62,"collections":9238,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},241159,"rong-song-juan-huang-dao-zhou-241159","榕颂卷","黄道周","东山县图书馆","黄道周（1585～1646）明末学者、书画家、文学家、儒学大师、民族英雄。字幼玄，一作幼平或幼元，又字螭若，螭平，号石斋，汉族，福建漳浦铜山（现东山县铜陵镇）人。天启二年进士，深得考官袁可立赏识，历官翰林院修撰、詹事府少詹事。南明隆武时，任吏部兼兵部尚书、武英殿大学士（首辅）。抗清失败，被俘殉国，谥忠烈。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人才。世人尊称之黄圣人、石斋先生。著作甚丰。有《儒行集传》、《石斋集》、《易象正义》、《春秋揆》、《孝经集传》等，后人辑成《黄漳浦先生全集》，现存诗两千余首，被俘后“见三光”的牢室中所作三百多首诗，出自忧愤，最为感人。\n他被视为明代最有创造性的书法家之一。他的书法擅长楷书、行书和草书。他的行书和草书，行笔转折刚劲有力，体势方整，书风雄健奔放。有力量，又有姿态，是黄道周行草书的主调。他以隶书铺毫和方折行笔，点画多取隶意；字虽长，但强调向右上横势盘绕，让点画变得绵而密，虽略带习气，但奇崛刚劲，形成了自己独特的形式语言，尤显出其人刚直不阿的个性。其立轴代表作有行草书《赠蕨仲兄闻警出山诗轴》、《闻奴警出山诗轴》等，两作均加大行距，以连绵草书而成，有奋笔直下之势，激情燃纸，振迅耳目，如闻钟声、蹄声于道。他的楷书主要学习钟繇，比起钟繇的古拙厚重来，更显得清秀、飘逸。 黄道周善楷、行、草诸体书，又工隶书。他的楷书，如《孝经卷》、《张溥墓志铭》，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。他的行草书，如《五言古诗轴》，大略类其楷书的体势，行笔转折方健，结字欹侧多姿，朴拙的风格同样接近钟繇。他的隶书正具有“清截遒媚”的特点，不如楷书那样古拙清刚。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。",[38,25,26,7,27,58,9234],"榕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36769674ee7c84e872e15c893bbd6a2.jpg","绫本楷书","12．5X 23．8厘米",[62],{"id":9240,"slug":9241,"title":9242,"dynasty":145,"author":9243,"museum":73,"description":9244,"tags":9245,"thumbUrl":9247,"material":61,"size":61,"collection":62,"collections":9248,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},239808,"lin-su-shi-tie-heng-fu-chong-en-239808","临苏轼帖横幅","崇恩","崇恩（1803—1878），觉罗氏，字仰之，禹舲、语舲、 雨舲，别号香南居士、敔翁、语铃道人，室名壶青阁、香南精舍、吾亦爱吾等。满洲正红旗人（一作正蓝旗），系满清皇室。出生于嘉庆八年（1803），官仕道光、咸丰、同治三朝，先后任山东巡抚、内阁学士等。工书，法苏轼。画山水，出入宋、元诸名家，撷其精华，故能超轶凡近。喜收藏、精鉴赏，收藏历代书画、古籍碑帖极富，是清代中晚期著名的书法家、收藏家、鉴赏家、金石学家、诗人。著有《香南居士集》《香南精舍金石契》《金石玉铭》《枕琴轩诗草》《崇雨舲中丞诗稿守岱集》等。",[23,38,7,76,9246,58,352],"横幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba04e72a16ceb09d2fd0f65dcc44e99a.jpg",[62],{"id":9250,"slug":9251,"title":9252,"dynasty":145,"author":9253,"museum":73,"description":9254,"tags":9255,"thumbUrl":9257,"material":61,"size":61,"collection":42,"collections":9258,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,25,209,28,1594,29,150,34,32,9256,58,7,38],"桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[42,155],{"id":9260,"slug":9261,"title":9262,"dynasty":18,"author":9263,"museum":73,"description":9264,"tags":9265,"thumbUrl":9267,"material":196,"size":61,"collection":62,"collections":9268,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[24,25,57,27,29,37,38,58,7,377,35,32,31,237,9266],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[62],{"id":9270,"slug":9271,"title":9272,"dynasty":145,"author":1464,"museum":73,"description":9273,"tags":9274,"thumbUrl":9276,"material":920,"size":921,"collection":61,"collections":9277,"showCount":9181,"zanCount":534,"manualWeight":11,"mainColor":46},236026,"ben-shi-shi-jia-mu-ni-fu-ding-guan-peng-236026","本师释迦牟尼佛","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[3383,24,77,28,530,79,9275,58,223,7],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f5b2a6a5e1ab8fac54283430404232.jpg",[],{"id":9279,"slug":9280,"title":9281,"dynasty":18,"author":1169,"museum":73,"description":4147,"tags":9282,"thumbUrl":9283,"material":920,"size":921,"collection":61,"collections":9284,"showCount":9181,"zanCount":534,"manualWeight":11,"mainColor":46},235050,"song-yin-gao-shi-shan-mian-chen-chun-235050","松荫高士扇面",[56,24,25,2579,27,7,58,113,4243,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705e6386ea0a7e4dbbb79ddb32d9180e.jpg",[],{"id":9286,"slug":9287,"title":9288,"dynasty":145,"author":717,"museum":106,"description":9289,"tags":9290,"thumbUrl":9293,"material":802,"size":9294,"collection":61,"collections":9295,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},234186,"jiu-lan-tu-yun-shou-ping-234186","九兰图","建兰，亦称秋兰。图绘兰花树枝，苍秀挺拔，布满画面，国土简洁，画法新颖别致，作者不用一点水墨，纯用赭石、白粉和略加花青点画，只见色痕，为没骨画中具有新意之作。",[23,24,56,25,26,9291,28,9292,120,7],"花鸟画","没骨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6ca653673d74f3e63436fd927d263a4.jpg","23.4×60.8cm",[],{"id":9297,"slug":9298,"title":9299,"dynasty":18,"author":1024,"museum":106,"description":9300,"tags":9301,"thumbUrl":9302,"material":196,"size":61,"collection":61,"collections":9303,"showCount":9181,"zanCount":534,"manualWeight":11,"mainColor":46},234118,"wen-zheng-ming-zhang-cun-ren-lan-shi-er-duan-juan-wen-zheng-ming-234118","文徵明、张存仁兰石二段卷","释文：晚凉斜倚赤阑桥，天远白烟消。酒醒顾见花间影，浮云乱、月在林稍。野火青山隐隐，渔歌绿水迢迢。昔年曾此醉清宵。共艤木兰桡。白头重踏行春路，同游伴、半已难招。夜静山高月小，玉人何处吹箫。右调风入松，文徵明。",[24,25,26,27,120,328,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5095afe898271fb0ae9141e278a74292.jpg",[],{"id":9305,"slug":9306,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":9307,"thumbUrl":9309,"material":196,"size":1004,"collection":61,"collections":9310,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},234086,"wu-zhong-shan-shui-ce-shen-zhou-234086",[25,24,27,209,7,29,377,9308,37],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48adc97417d1815506faccdbda051647.jpg",[],{"id":9312,"slug":9313,"title":9314,"dynasty":18,"author":1024,"museum":106,"description":9315,"tags":9316,"thumbUrl":9317,"material":196,"size":9318,"collection":61,"collections":9319,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},232956,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232956","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,25,209,27,7,58,37,29,31,34,35,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ed62dc5cfe09f6bce91b30b580bae4.jpg","28.5×15.8厘米",[],{"id":9321,"slug":9322,"title":9323,"dynasty":91,"author":795,"museum":73,"description":9324,"tags":9325,"thumbUrl":9326,"material":61,"size":61,"collection":61,"collections":9327,"showCount":9181,"zanCount":534,"manualWeight":11,"mainColor":46},228031,"qian-kun-sheng-yi-tu-xie-chu-fang-228031","乾坤生意图","此卷以精工没骨绘就，秋葵、栀花与幽竹错落排布，柔枝舒展，艳而不俗。蝶蛱振翅、雀鸟掠影，纤毫毕现，将草木的温润柔态与虫禽灵动意趣刻画入微，晕染匀净古雅，满卷流动盎然生机。\n后附诸家题跋，行楷兼具，笔意隽秀疏朗，书画相映成趣，将观照小景所得的天地生机，晕染为一卷悠然鲜活的雅致长卷，尽显静雅意趣，寄寓着对自然生机的由衷赞叹。",[23,56,24,25,26,28,77,210,7591,417,798,897,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458572dbd0c2965e335e70ccb4df8943.jpg",[],{"id":9329,"slug":9330,"title":9331,"dynasty":145,"author":324,"museum":2028,"description":325,"tags":9332,"thumbUrl":9333,"material":9334,"size":9335,"collection":61,"collections":9336,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},224524,"shan-shui-tu-ce-8-kai-8-zhang-da-qian-jiu-cang-shi-tao-224524","山水图册8开-8-张大千旧藏",[23,24,27,37,209,25,58,7,29,32,443,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e46120bfc311a87046dd8a2c51cf479.jpg","纸本 设色","14.9x27.3cm",[],{"id":9338,"slug":9339,"title":9340,"dynasty":145,"author":1413,"museum":73,"description":9341,"tags":9342,"thumbUrl":9343,"material":61,"size":61,"collection":61,"collections":9344,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},224260,"lin-lan-ting-xu-zhu-da-224260","临兰亭序","此作用笔枯淡古拙，将原本兰亭序的飘逸秀雅彻底解构，以欹侧跌宕的字形、稚倔朴茂的线条，揉入自身沉郁孤高的心境。章法错落疏朗，留白间满是冷逸疏离的况味，打破了原作舒展灵动的韵律，代以疏狂萧索的气度，把半生颠沛的孤寂寄寓笔端，在临帖之中注入强烈的个人风骨，为旧文赋予了全新的精神内核，是借经典抒己怀的绝佳范本。",[23,38,76,7,25,58,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719ef5e05a8d705368f4e2ad924f5ebb.jpg",[],{"id":9346,"slug":9347,"title":9348,"dynasty":91,"author":893,"museum":106,"description":9349,"tags":9350,"thumbUrl":9351,"material":243,"size":9352,"collection":61,"collections":9353,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},221818,"yang-zhu-xi-xiao-xiang-quan-juan-ni-zan-221818","杨竹西小像全卷","这是一幅元代人物肖像画的经典作品，由王绎与著名山水画家倪瓒共同绘制。图绘一老者策杖立坡间，旁点缀松石等简单衬景。本幅左侧倪瓒题款：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年（1363年）。据款识可知此卷为王绎、倪瓒合作而成。此图所绘应为杨氏归老林泉后的晚年肖像。图中杨谦头戴乌巾，右手执杖，衣袍宽松，面相清癯、磊落而有神。描绘精细，人物面部均以淡墨为之，以线为主，略事烘染，着墨不多而神情毕肖，表现出很高的艺术水平。倪瓒所补松石，笔墨枯淡、松秀，与人物相得益彰，共同构成了一幅精美的肖像画作品。\n此图由王绎画杨谦（号竹西）小像，倪瓒补画松石平坡。图中杨谦留着长发，头戴小帽，身着长袍，持杖独立。人物面部用细笔勾描，略用淡墨烘染，形象生动逼真。笔墨不多，却较好地表现了杨竹西“清谦谨慎”的性格。画像后亲以小石的弧松，更加烘托了杨竹亡在宋亡后不仕朝迁的气节。画中倪瓒题云：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年，即公元1363年。卷后有元人邓元祜、杨维祯等十一家题记。",[23,24,25,26,78,27,79,177,81,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2134019448775058ad4a63eadde0d16a.jpg","纵27.7厘米，横86.8厘米",[],{"id":9355,"slug":9356,"title":3751,"dynasty":51,"author":3752,"museum":106,"description":3753,"tags":9357,"thumbUrl":9358,"material":196,"size":3756,"collection":62,"collections":9359,"showCount":9181,"zanCount":534,"manualWeight":11,"mainColor":46},221231,"er-zha-tie-fan-zhong-yan-221231",[23,25,38,7,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3eeca4d08ded70a5ea11316f1b9c881.jpg",[62],{"id":9361,"slug":9362,"title":9363,"dynasty":18,"author":881,"museum":1685,"description":9364,"tags":9365,"thumbUrl":9366,"material":196,"size":9367,"collection":61,"collections":9368,"showCount":9181,"zanCount":11,"manualWeight":11,"mainColor":46},220346,"fang-mi-fei-shan-shui-tu-juan-wen-2-dong-qi-chang-220346","仿米芾山水图卷-文2","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[38,7,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610adfcabe39b18044034a9cf98a821c.jpg","25.9 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牧大和三年佐故吏部沈公江西幕。好好年十三，始以善歌舞来乐藉中。后一岁，公镇宣城，复置好好于宣城藉中。后二年，沈著作述师以双鬟纳之。又二岁，余于洛阳东城重睹好好，感旧伤怀，故题诗赠之。 君为豫章姝，十三才有余。翠茁凤生尾，丹脸莲含跗。高阁倚天半，晴江连碧虚。此地试君唱，特使华筵铺。主公顾四座，始讶来踟蹰。吴娃起引赞，低徊暎长裾。双鬟可高下，才过青罗襦。盼盼下垂袖，一声离凤呼。繁弦迸关纽，塞管引圆芦。众音不能逐，袅袅穿云衢。主公再三叹，谓之天下殊。赠之天马锦，副以水犀梳。龙沙看秋浪，明月游东湖。自此每相见，三日以为疏。玉质随月满，艳态逐春舒。绛唇渐轻巧，云步转虚徐。旌旆忽东下，笙歌随舳舻。霜凋小（此字点去）谢楼树，沙暖句溪蒲。身外任尘土，罇前且欢娱。飘然集仙客（著作任集贤校理），讽赋期相如。聘之碧玉佩，载以紫云车。洞闲水声远，月高蟾影孤。尔来未几岁，散尽高阳徒。洛阳重相见，绰绰为当炉。怪我苦何事，少年生白须。朋游今在否，落拓更能无。门馆恸哭后，水云愁景初。斜日挂衰柳，凉风生座偶。口口口（洒尽满）襟泪，短章聊口口（一书）\n此卷鉴藏印有“弘文之印”、“宣龢”、“政和”（连珠）、“宣和”、“政龢”、“内府图书之印”、“秋壑图书”、“张氏珍玩”、“北燕张氏珍藏”、“项子京家珍藏”、“张则之”、“蕉林居士”、“宋荦审定”、“张伯驹珍藏印”等，以及清代乾隆、嘉庆、宣统三帝御览及清内府鉴藏印11方，朱文）等张伯驹鉴藏印。\n此卷是唐代诗人、书法家杜牧的仅存墨迹，也是稀见的唐代名人书法作品之一。张好好是一名歌妓，容颜娇美，才华出众。杜牧的这首五言长诗，就是为她而作。诗中描写了作为少年歌妓的张好好始得高官沈传师宠遇，终因沈的去世而流落市井的不幸身世，寄托了对她的无限同情，是杜牧诗作名篇。诗载杜牧《樊川集》中，墨迹的末二句，因伤残缺“洒尽满”、“一书”五字，然不伤书诗的整体精神。\n该卷书用麻纸，制作相当精细。书用硬笔，笔法劲健，颇多叉笔。这些都是唐代书法的用纸、笔法的特点。《宣和书谱》一书评杜牧书法：“气格雄健，与文章相表里”，是说作者诗文、书法有统一的风格。卷前有宋徽宗赵佶书签“唐杜牧张好好诗”，并钤有宋徽宗御府的诸玺印，保存着北宋内府装潢式样。兹后曾递藏于宋贾似道、明项元汴、张孝思、清梁清标等人，乾隆年间入藏内府。据《式古堂书画记考·卷七》所记，该卷后元人诸跋，是从唐赵模《千字文》后移来。《宣和书谱》、《悦生所藏书画别录》、《平生壮观》、《大观录》、《吴越所见书画录》、《石渠宝笈·初编》等书著录。\n该卷曾被清逊帝溥仪携出宫外，流散民间后归张伯驹所有。1956年张伯驹先生将其捐赠政府，此珍贵文物重为故宫博物院收藏。",[23,25,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dc7418c00d9320a7545a844dc2089e.jpg","纵28.2厘米，横162厘米",[62],{"id":9441,"slug":9442,"title":8350,"dynasty":18,"author":9443,"museum":73,"description":9444,"tags":9445,"thumbUrl":9447,"material":920,"size":921,"collection":125,"collections":9448,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":46},237499,"shan-shui-hua-hui-ce-jiang-shou-cheng-237499","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,25,209,7,28,27,177,9446,58,38],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2c3b2d058865e91051a0184ddf0335.jpg",[125,42],{"id":9450,"slug":9451,"title":9452,"dynasty":18,"author":8942,"museum":73,"description":9453,"tags":9454,"thumbUrl":9455,"material":920,"size":921,"collection":125,"collections":9456,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":46},235752,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235752","梅花文从简诗合璧册","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[24,25,209,27,111,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff0207095efee64f9320a1ddf2f251c.jpg",[125],{"id":9458,"slug":9459,"title":1000,"dynasty":18,"author":19,"museum":106,"description":1001,"tags":9460,"thumbUrl":9461,"material":196,"size":1004,"collection":61,"collections":9462,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":46},234092,"wu-zhong-shan-shui-ce-shen-zhou-234092",[24,25,209,27,29,32,443,3302,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd1d74f643d26df0c5226efe37fd95.jpg",[],{"id":9464,"slug":9465,"title":9466,"dynasty":145,"author":1413,"museum":73,"description":9467,"tags":9468,"thumbUrl":9469,"material":61,"size":61,"collection":61,"collections":9470,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":46},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[23,24,27,76,37,58,38,7,209,29,774,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a04e65a06c5e5dd23ad39258130058b.jpg",[],{"id":9472,"slug":9473,"title":9474,"dynasty":145,"author":7869,"museum":73,"description":9475,"tags":9476,"thumbUrl":9478,"material":61,"size":61,"collection":61,"collections":9479,"showCount":157,"zanCount":534,"manualWeight":11,"mainColor":46},230123,"hua-hui-ce-ye-01-ren-yi-230123","花卉册页01","此作用笔写意松弛，以湖石为景之骨，淡赭水墨晕染出嶙峋体态，略去繁复皴擦，虚实间尽显清隽雅逸。石畔丹红果簇饱满鲜活，浓墨枝叶枯润相宜，艳色与冷调湖石形成鲜明对照，艳而不俗，顽石愈发清灵，花果愈见生动。\n\n右上角题字笔力开张，与花木湖石相得益彰，融书画为一体，将花木蓬勃生机与文人闲淡意趣揉合于纸面，简淡之中自有鲜活情致。",[24,25,1244,109,27,28,210,177,9477,1678,7],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71348d468b7d7e6ca8621b0226ef65d9.jpg",[],{"id":9481,"slug":9482,"title":9483,"dynasty":51,"author":9484,"museum":73,"description":9485,"tags":9486,"thumbUrl":9487,"material":61,"size":61,"collection":61,"collections":9488,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":46},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","许道宁","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[23,56,24,25,26,29,28,1363,8490,178,2118,1309,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],{"id":9490,"slug":9491,"title":9492,"dynasty":18,"author":1064,"museum":73,"description":9493,"tags":9494,"thumbUrl":9495,"material":61,"size":61,"collection":61,"collections":9496,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":46},228285,"shan-shui-shi-hua-ce-chen-hong-shou-228285","山水诗画册","此作对页诗画合一，右侧绘虬曲古松下，高士席地安坐，衣袂舒展悠然，静享林泉幽寂。古松苍劲奇崛，松针层叠清润，石畔苔点幽微，笔致高古静穆，尽显林下幽居的散淡意趣。\n左侧书法清隽挺秀，诗文与画境呼应，禅意悠然。整体以极简笔墨，勾勒出世外风雅，将林下幽栖的禅寂通透相融，传递出超脱世情的澹泊襟怀，是诗画相映的雅致佳构，尽显文人的林下襟怀与静穆审美。",[23,24,25,209,7,27,28,79,254,35,38],"https:\u002F\u002Foss.chuangqi.sto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[1] 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行书。是卷十四字。冲淡萧散。得晋人神趣。历代官帖未经收入。是以嗜古博辨之士。及鉴藏家。举未论及。董香光始以刻之戏鸿堂帖中。定为梁武帝书。而郁冈王氏。则谓是大令得意笔。要亦未有确证。第以脚气帖验之。则董说为长。矧其为书家董狐。不妄许可者耶。今墨迹传人内府。展阅一再。",[38,7,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0370af0e090fb32d4f9757c0adbf93.jpg",[],{"id":9941,"slug":9942,"title":9943,"dynasty":2673,"author":9944,"museum":73,"description":9945,"tags":9946,"thumbUrl":9947,"material":920,"size":921,"collection":61,"collections":9948,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},287307,"cui-zhu-cao-chong-tu-juan-huang-quan-287307","翠竹草虫图卷","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,56,24,25,26,210,77,112,799,38,7,2031,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d53909ea73552937b92b2443bc246.jpg",[],{"id":9950,"slug":9951,"title":9952,"dynasty":18,"author":881,"museum":73,"description":7358,"tags":9953,"thumbUrl":9954,"material":920,"size":921,"collection":61,"collections":9955,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},283760,"fang-gu-shan-shui-tu-ce-ba-kai-dong-qi-chang-283760","仿古山水图册（八开）",[56,24,209,27,29,38,7,58,112,34,30,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71681cfc3387857306541d8538446578.jpg",[],{"id":9957,"slug":9958,"title":9021,"dynasty":18,"author":9022,"museum":106,"description":9959,"tags":9960,"thumbUrl":9961,"material":658,"size":9962,"collection":62,"collections":9963,"showCount":86,"zanCount":534,"manualWeight":11,"mainColor":46},241154,"tong-ling-guan-tie-chuan-ge-juan-wang-shou-ren-241154","释文:\n铜陵观铁船，录寄士洁侍御道，契见行路之难也。青山滚滚如奔涛，铁船何处来停桡。人间刳木宁有此，疑是仙人之所操。仙人一去已千载，山头日日长风号。船头出土尚仿佛，后冈有石云船稍。我行过此费忖度，昔人用心无己忉。由来风波平地恶，纵有铁船还未牢。秦鞭驱之不能动，奡力何所施其篙。我欲乘之访蓬岛，雷师皷舵虹为缫。弱流万里不胜芥，复恐驾此成徒劳。世路难行每如此，独立斜阳首重搔。\n署款：“阳明山人书于铜陵舟次，时正德庚辰春分献俘还自南都。”钤印“阳明山人王伯安印”。\n鉴藏印有“林□周印”、“杜是鉴藏书画之印”、“杜是收藏书画”、“星衍”、“伯渊审定真迹”。\n此书是王守仁在铜陵献俘后回南都的舟中所作，由“铁船”引发出内心感慨，感叹人生道路的坎坷，时年49岁。\n作品每行以三个字居多，行间疏朗，字间互不连属，但每个单字却牵丝不断，如“观”、“洁”、“难”等。通篇字体修长，行笔快捷，骨力内涵，豪放中见沉着，遒劲中见秀丽，有米芾书法“沉着飞翥”的神韵。徐渭曾云：“古人论右军以书掩其人，新建乃不然，以人掩其书。”",[23,38,7,26,27,29,9025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85fe9447d0f222fefa21325307366f7d.jpg","纵31.5厘米，横771.8厘米",[62],{"id":9965,"slug":9966,"title":9967,"dynasty":145,"author":7852,"museum":73,"description":9968,"tags":9969,"thumbUrl":9975,"material":920,"size":921,"collection":61,"collections":9976,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":66},239875,"wang-duo-wu-lv-shi-zhou-wang-duo-239875","王铎五律诗轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[38,57,7,646,58,6589,404,9970,1636,9971,9972,9973,9974],"枫","鸥鹭","南","客","乡音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059b7c2ff452e2bcd629055f590f95a5.jpg",[],{"id":9978,"slug":9979,"title":9980,"dynasty":18,"author":9981,"museum":73,"description":9982,"tags":9983,"thumbUrl":9985,"material":61,"size":61,"collection":61,"collections":9986,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},237921,"qi-lv-lao-zhe-zhou-zhang-lu-237921","骑驴老者轴","张路","以极简写意之笔绘就策驴老者，笔墨酣畅率意，脱尽繁缛。淡墨勾勒衣袍褶皱，寥寥数笔便将老者宽袍缓行、神态悠然的模样尽显，驴儿抬蹄疾走的野趣亦跃然纸上，形神兼备。画面留白雅致，搭配题诗相映成趣，将文人林下游赏归来，不沾尘俗的疏旷随性勾勒尽致，尽显山野逸趣，把超脱不羁的林下襟怀藏进简练笔墨之中。",[24,25,57,27,79,9984,7,58],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1de4e9ca22fe124f140d49132608d5.jpg",[],{"id":9988,"slug":9989,"title":9990,"dynasty":145,"author":9991,"museum":73,"description":9992,"tags":9993,"thumbUrl":9994,"material":61,"size":61,"collection":42,"collections":9995,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},237690,"mei-qing-qu-xing-shi-shi-tu-zhou-mei-qing-237690","梅清瞿硎石室图轴","梅清","梅清（1623-1697），清初画家、诗人。原名士羲，后改今名，字渊公，号瞿山、敬亭山农，宣城（今属安徽）人。世祖顺治十一年（1654）举人，四次 北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 梅清、梅庚、石涛，戴本孝等为黄山派。传世作品有《山村清景图》、《黄山图》、《黄山十九景图》、《黄山炼丹台图》等。",[24,57,27,29,79,254,177,37,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980073cdbde0a994569769bb864028f.jpg",[42],{"id":9997,"slug":9998,"title":9999,"dynasty":145,"author":6196,"museum":73,"description":10000,"tags":10001,"thumbUrl":10004,"material":920,"size":921,"collection":61,"collections":10005,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},236378,"xu-gu-guo-pin-shan-ye-xu-gu-236378","虚谷果品扇页","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,25,2579,28,27,7,109,10002,2253,10003],"葡萄","果品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79e595f08a8d4afc024bc05213ef75a.jpg",[],{"id":10007,"slug":10008,"title":8536,"dynasty":145,"author":324,"museum":73,"description":10009,"tags":10010,"thumbUrl":10011,"material":61,"size":61,"collection":61,"collections":10012,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},235883,"yuan-ji-shan-shui-tu-ce-shi-tao-235883","此开以淡墨晕染出夜江空濛之境，远山如笼轻烟，朦胧柔婉。坡岸古松虬曲苍劲，枝叶疏密交错，暗合晚风拂林之态。浅滩扁舟静泊，舱内灯影隐约，将羁旅夜泊的清寂诗意缓缓铺陈。\n\n行书题诗与画面相映成趣，笔意疏朗清逸，诗句将烟月横塘的缱绻旅思娓娓道来，诗画交融无间。整幅以简驭繁，淡设色烘托出静谧悠远的晚江氛围，寥寥数笔便写尽江湖寄兴的闲淡意绪，尽显文人画诗画合璧的雅致风神，把幽寂淡远的羁愁融于尺幅之间。",[24,25,209,27,28,29,254,625,178,7,38,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d386381e3f4f6870eb0fa126626adb4.jpg",[],{"id":10014,"slug":10015,"title":10016,"dynasty":145,"author":10017,"museum":73,"description":10018,"tags":10019,"thumbUrl":10020,"material":920,"size":921,"collection":306,"collections":10021,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},235533,"xi-xiang-tu-ce-ye-bu-235533","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[24,28,77,1594,79,150,34,38,7,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac80e914df48a93e0155599076982791.jpg",[306,168],{"id":10023,"slug":10024,"title":10025,"dynasty":18,"author":205,"museum":73,"description":7066,"tags":10026,"thumbUrl":10027,"material":920,"size":921,"collection":61,"collections":10028,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},235480,"lan-shi-zhou-xiang-sheng-mo-235480","兰石轴",[24,57,27,28,7,38,58,109,120,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e1ec05a2947cf61302ad7de572a69.jpg",[],{"id":10030,"slug":10031,"title":10032,"dynasty":145,"author":7869,"museum":106,"description":10033,"tags":10034,"thumbUrl":10035,"material":196,"size":10036,"collection":61,"collections":10037,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},233722,"san-you-tu-xiang-zhou-ren-yi-233722","三友图像轴","任颐的人物画是典型中西结合的代表，人物面部刻画借鉴西洋素描画法，力求形似逼真，而人物服饰却又是中国画典型的“线条”的艺术，或作折芦描或作丁头鼠尾描淡色轻染，清新悦目。\n任颐作画，一般都有画稿，是从生活中观察、写生而成。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品，而且他善于捕捉人物一刹那之间的神情动态，使得造型准确，情态生动，衣纹用笔既能表现形体关系，又有衣褶线条变化的灵动之美，很注意突出衣纹的走势。他画肖像画以家学之法为主，脸部塑造以“没骨”法和以色渲染法打底，关键部位以线强调，衣袍服饰以所学众法为之，或写或工，或墨或线。任颐的肖像画形成了独自的风格，并开拓了全新的境界。\n任颐的花鸟画手法多样，远师北宋，近学徐渭、陈淳、石涛、恽寿平等，博采众长，独出一格，工笔、写意、勾勒、没骨、设色、水墨均能运用自如。他多用湿笔，运用淡墨尤有独到处，他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交融，风格明快、温馨、清新、活泼，极富创造性。任颐的绘画在当时及现代具有极大影响，被认为是“仇十洲（仇英）后中国画家第一人”。\n其实任颐作画是用写意画法去画工笔画，是以工笔画为里，写意画为面，在他的画中既有写意的痛快淋漓，又有工笔画的神形兼备，也就是说，他是将工笔画写意化，而不是将文人画写意化。任颐重新整合了工笔画，开创了写意工笔画风，对后世的影响是极其巨大的。\n这幅《三友图像》作于光绪甲申（1884）年，当时作者已经45 岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[56,24,25,57,27,28,79,2007,2006,58,38,7,77,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 厘米",[],{"id":10039,"slug":10040,"title":10041,"dynasty":91,"author":10042,"museum":106,"description":10043,"tags":10044,"thumbUrl":10046,"material":196,"size":10047,"collection":61,"collections":10048,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},233717,"yu-lan-guan-yin-tu-zhou-cui-gao-233717","渔篮观音图轴","崔皋","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。\n佛教中三十三观音之一。手持鱼篮。明宋濂有《鱼篮观音像赞》：“序按《观音感应传》：唐元和十二年（公元817年），陕右金沙滩上有一美艳女子，絜篮鬻鱼，人竞欲室之。女曰：‘妾能授经，一夕能诵《普门品》者，事焉。’黎明，能者二十。女辞曰：‘一身岂堪配众夫邪！请易《金刚经》，如前期。’能者复居其半。女又辞，请易《法华经》，期以三日。惟马氏子能。女令具礼成婚。入门，女即死，死即糜烂立尽，遽瘗之。他日，有僧同马氏子启藏观之，惟有黄金锁子骨存焉。僧曰：‘此观音示现以化汝耳。’言讫飞空而去。自是陕西多诵经者。“",[24,57,530,79,27,78,38,7,58,10045],"渔篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ea14bb4e2cf3950aa4d9d92fc4b7ba.jpg","82.1x32cm",[],{"id":10050,"slug":10051,"title":10052,"dynasty":91,"author":2262,"museum":106,"description":10053,"tags":10054,"thumbUrl":10055,"material":722,"size":10056,"collection":61,"collections":10057,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":66},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[56,24,25,26,28,29,27,37,38,7,223,58,30,31,32,33,34,291,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg","纵26.5厘米，横111.6厘米",[],{"id":10059,"slug":10060,"title":250,"dynasty":18,"author":10061,"museum":53,"description":10062,"tags":10063,"thumbUrl":10064,"material":196,"size":10065,"collection":61,"collections":10066,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},232694,"pin-cha-tu-ju-jie-232694","居节","居节，明代吴门画家，文徵明弟子。在文门子弟、门生当中，居节的声名不若文彭、文嘉、王榖祥、周天球、陆治、钱榖等人显赫，但却能克绍恩师艺风，善画能诗，有着相当高的艺术水平。",[24,25,57,27,28,29,79,34,31,38,7,58,33,1130,4686,9066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb09016bd62c010c7b21fc206e650aa.jpg","本幅 107.1x28.9公分、詩塘 50.4×28.9公分、全幅 52.5公分",[],{"id":10068,"slug":10069,"title":10070,"dynasty":145,"author":4342,"museum":73,"description":10071,"tags":10072,"thumbUrl":10073,"material":920,"size":921,"collection":61,"collections":10074,"showCount":86,"zanCount":534,"manualWeight":11,"mainColor":638},230290,"shu-fa-dui-lian-ceng-guo-fan-230290","书法对联","曾国藩（1811年11月26日－1872年3月12日），初名子城，字伯涵，号涤生 ，宗圣曾子七十世孙。中国晚清时期政治家、战略家、理学家、文学家、书法家 ，湘军的创立者和统帅。\n曾国藩出生普通耕读家庭，自幼勤奋好学，6岁入塾读书。8岁能读四书、诵五经，14岁能读《周礼》《史记》《文选》。道光十八年（1838年）中进士，入翰林院，为军机大臣穆彰阿门生。累迁内阁学士，礼部侍郎，署兵、工、刑、吏部侍郎。与大学士倭仁、徽宁道何桂珍等为密友，以“实学”相砥砺。太平天国运动时，曾国藩组建湘军，力挽狂澜，经过多年鏖战后攻灭太平天国。其一生奉行为政以耐烦为第一要义，主张凡事要勤俭廉劳，不可为官自傲。他修身律己，以德求官，礼治为先，以忠谋政，在官场上获得了巨大的成功。",[23,38,2251,7,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f9213c33205e6a0ffda83025ecfe4a.jpg",[],{"id":10076,"slug":10077,"title":10078,"dynasty":145,"author":7713,"museum":73,"description":7714,"tags":10079,"thumbUrl":10080,"material":920,"size":921,"collection":61,"collections":10081,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},230136,"lin-mi-fei-pai-pin-yi-wei-ai-xin-jue-luo-xuan-ye-230136","临米芾（拍品疑伪）",[23,38,7,76,58,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08abe9b0d1b45a0e2b049510cb17c466.jpg",[],{"id":10083,"slug":10084,"title":10085,"dynasty":91,"author":2262,"museum":73,"description":10086,"tags":10087,"thumbUrl":10088,"material":61,"size":61,"collection":61,"collections":10089,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":638},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,26,28,29,37,7,34,36,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":10091,"slug":10092,"title":10093,"dynasty":51,"author":10094,"museum":73,"description":10095,"tags":10096,"thumbUrl":10097,"material":61,"size":61,"collection":61,"collections":10098,"showCount":86,"zanCount":511,"manualWeight":11,"mainColor":46},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","马世荣","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[23,56,24,25,209,28,77,210,117,177,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":10100,"slug":10101,"title":10102,"dynasty":145,"author":1413,"museum":73,"description":10103,"tags":10104,"thumbUrl":10106,"material":196,"size":61,"collection":62,"collections":10107,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},224261,"xing-cao-zhong-tang-zhu-da-224261","行草中堂","雲雾山头顶。雲边阚小房。夏凉窗近竹。冬暖阁朝阳。茧纸衣裳软。山田饭粥香。此生随分过。无可得思量。",[23,38,7,1014,25,3383,58,10105],"中堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396395465f833e40ffe3753c9ec0d7d7.jpg",[62],{"id":10109,"slug":10110,"title":10111,"dynasty":145,"author":3472,"museum":106,"description":3473,"tags":10112,"thumbUrl":10113,"material":1262,"size":3476,"collection":61,"collections":10114,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":66},222863,"shi-gong-ci-tu-ce-02-leng-mei-222863","十宫词图册02",[23,3383,24,25,77,28,1594,209,38,7,79,4834,150,1471,35,34,117,2411,1467,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5944fe731c667f949444ac12150a4fc0.jpg",[],{"id":10116,"slug":10117,"title":10118,"dynasty":51,"author":3802,"museum":1685,"description":10119,"tags":10120,"thumbUrl":10121,"material":802,"size":10122,"collection":61,"collections":10123,"showCount":86,"zanCount":534,"manualWeight":11,"mainColor":66},221625,"xiao-ya-hong-yan-zhi-shen-tu-ma-he-zhi-221625","小雅·鸿雁之什图","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。\n擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,25,26,78,28,7,79,34,82,29,177,1885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb39b1e043ef15aca59080d2812129.jpg","32.4 1304.9 cm",[],{"id":10125,"slug":10126,"title":10127,"dynasty":51,"author":7151,"museum":106,"description":10128,"tags":10129,"thumbUrl":10130,"material":196,"size":10131,"collection":62,"collections":10132,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},221462,"shang-hong-zhai-tie-juan-wen-tian-xiang-221462","上宏斋帖卷","此帖内容是祝贺宏斋（包恢）晋官，并述政治。书于宋度宗咸淳元年（1265年），文天祥时年30岁。是年正月文氏除湖南提刑，三月到任，书此札时尚在乡里。\n关于此帖书写原由，明代李时勉跋曰：“盖度宗初接位，招宏父为刑部尚书、签书枢密院事，封南城县侯，故公贺以此书也。”\n此件书法清疏挺竦，风格秀劲，古雅可爱。札中内容涉及文天祥在江西任上对赣寇“用兵丁万人，声罪致讨”之事，对研究当时的历史有重要价值。\n明汪砢玉《珊瑚网》、郁逢庆《郁氏续书画题跋记》，清《式古堂书画汇考》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[23,38,7,26,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507eee38ab40acdd9255c30fe796ae68.jpg","纵39.2cm，横149.9cm",[62],{"id":10134,"slug":10135,"title":10136,"dynasty":51,"author":2534,"museum":373,"description":2535,"tags":10137,"thumbUrl":10138,"material":658,"size":2538,"collection":61,"collections":10139,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},221199,"zi-zuo-shi-juan-quan-juan-di-er-duan-lu-you-221199","自作诗卷（全卷）第二段",[23,56,24,25,26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd787697f329c54f001fda4d3482ba4.jpg",[],{"id":10141,"slug":10142,"title":10143,"dynasty":18,"author":881,"museum":53,"description":10144,"tags":10145,"thumbUrl":10150,"material":196,"size":10151,"collection":62,"collections":10152,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},220924,"lin-zhang-xu-lang-guan-bi-ji-dong-qi-chang-220924","临张旭郎官壁记","董其昌《临张旭郎官壁记》轴，本轴钤“大宗伯印”，当作于崇祯五年（一六三二）应宫詹大宗伯之召后。董其昌好杂临诸家，独造奥妙，求其神似于不似间。本幅节临唐张旭郎官壁记，略得张书笔法精严之意，结体沉稳，运笔生动，表现出晚年本色书风。",[23,56,24,25,57,7,76,1698,3018,10146,4955,38,10147,2239,10148,10149],"文人书法","文人书画","书体","临帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85363d9050f5e44bad0a64256d7eb05.jpg","161.2x54.9",[62],{"id":10154,"slug":10155,"title":10156,"dynasty":18,"author":10157,"museum":53,"description":10158,"tags":10159,"thumbUrl":10160,"material":27,"size":10161,"collection":306,"collections":10162,"showCount":86,"zanCount":534,"manualWeight":11,"mainColor":46},219371,"shi-de-xiang-zhou-wang-wen-219371","拾得像轴","王问","拾得是唐朝时能作诗的和尚。他的老师丰干禅师走在赤城的道路上，听到被遗弃小婴儿的哭声，就捡拾教养他，因此名叫“拾得”。拾得与另一位高僧寒山齐名。\n这一幅画，以狂放的笔调，大肆挥洒画出，顷刻之间，就画完成，这是大写意的画法，对于表现拾得疯疯颠颠的形象，真有传神之妙。\n拾得与当世高僧寒山友善，俱以癫狂，好吟词偈。两人传记见於唐人写的《寒山拾得诗》序文：“寒山文殊，遁迹国清；拾得普贤，状如贫子，又似疯狂。”得知时人将二人喻为佛教中的文殊、普贤菩萨。又言：“或长廊徐行，叫嗓凌人。或望空独笑，时僧逐捉打骂，乃驻立抚掌，呵呵大笑，良久而去。”日后画家描绘二人图像，大抵以此为根据，存世作品多见对幅形式，此幅或为其一，唯寒山图去向未知。 画中拾得衣著褴褛，赤足而立，手执扫帚，口张眉扬，神情奇异。疯癫拓落的形象，以写意狂放的笔调，大肆挥洒，整体流畅有致，宛如神来之笔。",[24,25,57,27,79,38,58,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f956757995f65c01ff0229243eb84a.jpg","117.8x54.4",[306],{"id":10164,"slug":10165,"title":10166,"dynasty":18,"author":1064,"museum":1685,"description":10167,"tags":10168,"thumbUrl":10169,"material":96,"size":61,"collection":61,"collections":10170,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},218025,"za-hua-ce-6-chen-hong-shou-218025","杂画册-6","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,25,209,28,79,77,7,266,1140,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d621bec8e19bfddf815ee74ab5a3807.jpg",[],{"id":10172,"slug":10173,"title":10174,"dynasty":145,"author":2545,"museum":527,"description":10175,"tags":10176,"thumbUrl":10177,"material":196,"size":10178,"collection":61,"collections":10179,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":66},214355,"san-jue-shan-shui-ce-2-hua-yan-214355","三绝山水册-2","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,25,209,7,109,29,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff431ab3df6f1a38af36ac51e31a6bf51.jpg","23.4x15.8",[],{"id":10181,"slug":10182,"title":10183,"dynasty":91,"author":8194,"museum":73,"description":10184,"tags":10185,"thumbUrl":10186,"material":920,"size":921,"collection":61,"collections":10187,"showCount":10188,"zanCount":534,"manualWeight":11,"mainColor":66},290952,"chun-shan-tu-yang-wei-zhen-290952","春山图","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[56,24,25,29,27,37,38,7,58,81,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf89c0a69b3ee926f600580cf3131eb.jpg",[],23,{"id":10190,"slug":10191,"title":10192,"dynasty":51,"author":6083,"museum":73,"description":10193,"tags":10194,"thumbUrl":10197,"material":920,"size":921,"collection":61,"collections":10198,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},289592,"qiu-tang-ke-hua-tu-li-tang-289592","秋堂客话图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,56,24,27,79,10195,10196,29,1363,38,7,58],"古树","厅堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa79bcac3d55cf0b2f8dd57920cedcd6.jpg",[],{"id":10200,"slug":10201,"title":10202,"dynasty":145,"author":324,"museum":73,"description":1757,"tags":10203,"thumbUrl":10205,"material":920,"size":921,"collection":61,"collections":10206,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":66},287999,"liu-hua-tu-li-zhou-shi-tao-287999","榴花图立轴",[23,24,56,57,25,28,210,10204,266,7,58],"榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1a8f3e2a2c5a53a9f7c3fd8ca7bf1c.jpg",[],{"id":10208,"slug":10209,"title":10210,"dynasty":91,"author":4816,"museum":73,"description":10211,"tags":10212,"thumbUrl":10214,"material":920,"size":921,"collection":61,"collections":10215,"showCount":10188,"zanCount":534,"manualWeight":11,"mainColor":46},287784,"yang-zheng-tu-juan-wang-zhen-peng-287784","养正图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,24,26,25,1594,77,28,79,150,1471,10213,38,7,1014,2031],"历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac150d266bb48de0451eab13aac2dc0.jpg",[],{"id":10217,"slug":10218,"title":10219,"dynasty":18,"author":881,"museum":73,"description":7358,"tags":10220,"thumbUrl":10221,"material":920,"size":921,"collection":61,"collections":10222,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},283698,"shan-ju-tu-shan-ye-dong-qi-chang-283698","山居图扇页",[2579,24,56,27,29,81,1310,33,35,38,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9638a03be3887c4a4369454edfa5e3.jpg",[],{"id":10224,"slug":10225,"title":10226,"dynasty":18,"author":10227,"museum":106,"description":10228,"tags":10229,"thumbUrl":10230,"material":196,"size":61,"collection":62,"collections":10231,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},241056,"cha-liao-shi-zhou-zhu-zhi-fan-241056","茶寮诗轴","朱之蕃","朱之蕃（1575年—1624年） ，字元升，一作元介，号兰隅、定觉主人，祖籍金陵，明代大臣、书画家。婡万历洎頭條二十三年（1595）科举状元，官终礼部右侍郎，任上曾奉命出使朝鲜。后以母丧，不复出仕。工书法，善画山水花卉，传世作品有《君子林图卷》等，另有文集传世。\n之蕃工绘画，竹石兼东坡神韵，山水酷似米芾等大家。又工书法，真、行书师法赵孟頫得颜真卿、文征明笔意，日可写万字。在他出使朝鲜期间，朝鲜人以人参、貂皮为礼品，请他作画写字。他将所获得的礼品，尽行出售，另买书画、古器以归，其收藏极为丰富。他于泰昌元年（1620）所作《君子林图卷》，现藏故宫博物院。著有《使朝鲜稿》4卷、《纪胜诗》1卷、《落花诗》1卷、《南还杂著》1卷等。",[24,25,57,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c78613c32b498a996da1cacd3311c5.jpg",[62],{"id":10233,"slug":10234,"title":10235,"dynasty":51,"author":3752,"museum":106,"description":10236,"tags":10237,"thumbUrl":10238,"material":3576,"size":10239,"collection":62,"collections":10240,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},239578,"dao-fu-zan-juan-fan-zhong-yan-239578","道服赞卷","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。\n此卷经《铁网珊瑚》、《清河书画舫》、《清河见闻表》、《式古堂书画汇考》、《平生壮观》、《大观录》、《墨缘汇观》、《石渠宝笈·初编》等书著录。刻入明文徵明《停云馆帖》、乾隆内府《三希堂法帖》。\n曾经宋范氏义庄，清安岐、清内府等收藏，后归张伯驹。 1956年张伯驹夫妇将其捐献故宫博物院。",[23,38,7,26,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02431add9c7834cf0e008dcc8b0958b5.jpg","纵34.8厘米,横47.9厘米",[62],{"id":10242,"slug":10243,"title":10244,"dynasty":145,"author":7534,"museum":73,"description":10245,"tags":10246,"thumbUrl":10248,"material":920,"size":921,"collection":306,"collections":10249,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},238544,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,209,28,77,79,7,38,58,34,35,2411,10247,4505,1121],"人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[306,155],{"id":10251,"slug":10252,"title":10253,"dynasty":145,"author":3179,"museum":106,"description":10254,"tags":10255,"thumbUrl":10256,"material":196,"size":61,"collection":42,"collections":10257,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},237208,"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,25,209,27,29,7,37,34,36,2452,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[42,155],{"id":10259,"slug":10260,"title":10261,"dynasty":145,"author":220,"museum":73,"description":10262,"tags":10263,"thumbUrl":10264,"material":61,"size":61,"collection":61,"collections":10265,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},235335,"wang-jian-fang-gu-shan-shui-ce-yi-ming-235335","王鉴仿古山水册","此作绘冬日山林雪景，层峰叠峙，积雪覆于嶙峋山石与枯木之上，以留白晕染出清寒空濛之意。山坳飞瀑垂落，崖畔古寺幽藏，萧寒之中暗蕴灵动生机。\n笔墨苍秀沉厚，以干笔皴擦勾勒山石肌理，淡墨晕铺雪色，布景繁密却通透空灵。将宋元山水古雅意韵融于尺幅，简淡清旷间尽显林泉萧疏淡远之致，可观可游，静中生趣，尽显仿古山水的雅致格调。",[24,25,209,28,29,178,34,150,7,58,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11341c2949a21315b30cb3cbf08de4c6.jpg",[],{"id":10267,"slug":10268,"title":2604,"dynasty":145,"author":3179,"museum":73,"description":10269,"tags":10270,"thumbUrl":10271,"material":61,"size":61,"collection":42,"collections":10272,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},234638,"shan-shui-ce-cha-shi-biao-234638","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,56,209,27,28,29,377,328,884,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d726fef1640e5e482b9d8d3b16c206.jpg",[42],{"id":10274,"slug":10275,"title":10276,"dynasty":145,"author":7869,"museum":106,"description":10277,"tags":10278,"thumbUrl":10279,"material":722,"size":10280,"collection":61,"collections":10281,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},233409,"ge-zhong-hua-xiang-zhou-ren-yi-233409","葛仲华像轴","本幅题记者甚众，均为葛怀英（即葛仲华）文友，计有：胡公寿、沈景成、严信厚、顾德沅、徐大有诸家。\n据葛怀英跋中所言“癸酉春正月属山阴任君伯年写成独立小影”，可知此画应作于清同治十二年（1873年），任伯年时年34岁。\n此图为淡设色绘制葛仲华全身立像。据德林隶书题“仲华二十七岁小景”可知像主当时的年纪。另据葛怀英自跋可知，葛氏是一名空有一腔抱负而不得志的落寞文人，所幸其“心入禅关有乐天”。人物面部施以淡赭色并略加晕染，色调稍有明暗对比，突出了人物面部的立体效果。主人公身着长衫，右手持淡青小花一支于胸前，神态淡定。衣纹以“钉头鼠尾”线描绘，刚柔相济，飘洒自如，富有节奏感，使得人物虽静如动。",[24,25,57,28,79,78,27,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59448d4a4de52b2586b0b291404db2ff.jpg","纵118.6厘米，横60.3厘米",[],{"id":10283,"slug":10284,"title":10285,"dynasty":91,"author":440,"museum":106,"description":10286,"tags":10287,"thumbUrl":10288,"material":1262,"size":10289,"collection":61,"collections":10290,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":66},232774,"xiao-yi-zhuan-lan-ting-xu-tu-juan-zhao-meng-fu-232774","萧翼赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。\n现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。\n该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。",[23,24,25,26,77,28,79,76,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c51deba39226d24cedc232f1a54eba.jpg","纵26.6厘米，横44.3厘米",[],{"id":10292,"slug":10293,"title":10294,"dynasty":18,"author":10295,"museum":73,"description":10296,"tags":10297,"thumbUrl":10298,"material":920,"size":921,"collection":61,"collections":10299,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},228492,"gu-xian-shi-yi-tu-juan-du-jin-228492","古贤诗意图卷","杜堇","全卷共分九段，分别为：右军笼鹅、桃源图、把酒问月、听颖师弹琴、茶歌、饮中八仙、东山宴饮、咏水仙、舟中夜雪。\n金琮书法偏向于厚重一路，倾向沉稳的风格，因其书法很似赵书，故很多金琮的字，即使不是有意作伪，也被后人挖去原款，添上“赵孟頫”三字，以欺世人。\n杜堇所画之人物采用白描法，笔法细劲透逸，形象生动有神。树石、藤草、桌椅、车、马、小舟等点景穿插有致。墨色淡雅，但淡而不薄，雅而不空。构图简洁，意境清幽，皆得诗意要旨。",[23,24,25,26,78,27,77,38,7,79,29,34,177,402,58,2323,403,1246,4504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],{"id":10301,"slug":10302,"title":10303,"dynasty":51,"author":10304,"museum":73,"description":10305,"tags":10306,"thumbUrl":10308,"material":920,"size":921,"collection":61,"collections":10309,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},227328,"zi-zhi-tong-jian-can-gao-si-ma-guang-227328","资治通鉴残稿","司马光","是司马光手迹原本",[23,25,38,26,7,58,1140,353,10307],"稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7b7aadcc6600349ef79463d337d6b2.jpg",[],{"id":10311,"slug":10312,"title":10313,"dynasty":71,"author":760,"museum":73,"description":10314,"tags":10315,"thumbUrl":10317,"material":61,"size":61,"collection":463,"collections":10318,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":66},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。”",[38,680,7,209,352,6858,10316],"墨拓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573623cb858e8a1fed32ec1e7964493a.jpg",[463],{"id":10320,"slug":10321,"title":7737,"dynasty":145,"author":7738,"museum":73,"description":7739,"tags":10322,"thumbUrl":10324,"material":196,"size":61,"collection":62,"collections":10325,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},223269,"shou-gao-hong-yi-fa-shi-223269",[23,3383,38,7,7737,27,10323],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b8bbd2a6b1133663e16d60ab14e235.jpg",[62],{"id":10327,"slug":10328,"title":10329,"dynasty":145,"author":6368,"museum":73,"description":10330,"tags":10331,"thumbUrl":10333,"material":542,"size":10334,"collection":42,"collections":10335,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,56,24,25,26,10332,37,27,29,34,35,179,38,7],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg","纵28.8厘米，横404.1厘米",[42,168,62],{"id":10337,"slug":10338,"title":10339,"dynasty":91,"author":440,"museum":1685,"description":10340,"tags":10341,"thumbUrl":10344,"material":1262,"size":10345,"collection":61,"collections":10346,"showCount":10188,"zanCount":534,"manualWeight":11,"mainColor":46},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,24,25,26,28,79,458,9984,9530,77,7,38,10342,10343,4505],"农耕","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":10348,"slug":10349,"title":10350,"dynasty":18,"author":3161,"museum":3142,"description":10351,"tags":10352,"thumbUrl":10353,"material":196,"size":10354,"collection":62,"collections":10355,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},222472,"yun-jiang-ji-zhu-yun-ming-222472","云江记","此卷写于弘治八年（1495年），祝允明35岁，是他早期的草书。末署“弘治八年秋日，长洲枝山祝允明书”，并钤“允明之印”和“希哲”二印。\n该卷写得劲健豪放，刚柔相济，点画狼藉，烟云变幻。可以看到他已经将二王、怀素、张旭、黄山谷融会贯通。但较其晚年狂草作品，则显出用笔稍轻，因而有人疑为伪。\n祝允明（1460—1527年），字希哲，因为他多生一指，又号枝指生，枝指山人，枝山等。祝允明的祖父祝颢、外祖父徐有贞都是进士，学问渊博，工诗善书。由于先天的禀赋和祖父外、外祖父的影响祝允明的才华很早就显露出来了。\n祝允明五岁能作径尺大字，读书一目数行，九岁即能作诗，而且出语惊人。当他晚年回忆童年学书时说：“所幸独蒙先人之教，自髫丱以来，绝其令学近人书，目所接皆晋、唐帖也。”由于先辈的教诲，他一开始学书，就取法乎上，打下很好的基础。\n祝允明的草书主要是受他外祖父徐有贞的影响，徐的草书学张旭、怀素，雄肆奔放，这对祝氏草书风格的形成起了决定的作用。祝允明书法风格从精楷到狂草，跨度之大令人惊异，一方面是受这二位前辈的启迪，另一方面则是他横溢的才华决定的。\n明弘治五年(1492年)，祝允明33岁，参加乡试中了举人。他的考卷很得主考王鏊的赏识。他踌躇满志，以为凭自己的才学，进京考试中进士，易如反掌。没想到后来七次会试都不见录。\n仕途的失意，大大改变了祝允明的人生态度，使他从发奋读书、追求功名的圣贤之徒，变成了游戏人生，放荡不羁的漫士。这一转变也带来他笔下的变化，他40岁前后很少作草书，50岁后所作草书就多了起来，而且越来越狂放。\n从不同时期的作品中，可以看出他这种风格的变化。",[23,38,1014,7,26,4263,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ac6aa2b52b706efe936629884f10c6.jpg","纵26.6厘米，横265.5厘米",[62],{"id":10357,"slug":10358,"title":10359,"dynasty":18,"author":19,"museum":373,"description":10360,"tags":10361,"thumbUrl":10362,"material":722,"size":10363,"collection":61,"collections":10364,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,56,24,25,26,27,28,7,38,58,37,1130,33,377,30,31,79,3083,35,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":10366,"slug":10367,"title":10368,"dynasty":51,"author":5050,"museum":53,"description":10369,"tags":10370,"thumbUrl":10371,"material":10372,"size":10373,"collection":61,"collections":10374,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":46},221369,"zi-shu-xie-biao-bing-shi-juan-cai-xiang-221369","自书谢表并诗卷","北宋时期，著名书家蔡襄曾得到仁宗皇帝御书赐字『君谟』。为此，蔡襄深感皇恩，楷书谢表并赋七言诗一首︰『臣襄伏蒙联合会下特遣中使赐臣御书一轴，其文曰︰御笔赐字君莫者。臣孤贱远人，无大才艺，陛下亲宸翰，推着经义，俾臣佩诵以尽谟谋之道……。』卷后，有米芾、鲜于枢、解缟、吴宽、陈继儒、董其昌、张祖翼=罗振玉等众多宋、元、明、清名人题跋。这卷流传有绪的墨迹曾经南宋赵明诚收藏，无代曾为乔篑成收藏，明代曾经黄钟、赵用贤收藏，清初为安岐收藏，后又总计著名沣收藏，清末为端方所藏。后流入日本国，现藏于日本书道博物馆。全卷纵二十九点三厘米，横长总计八百二十九点五厘米。据方家评说，台北故官博物院、日本东京国立博物馆也藏有这卷墨迹的不同书写本，但本卷最佳。",[38,7,26,58,1698,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7485e83f20b6f838ccd280dcc988874.jpg","卷","全高25.8隔水一10.8本幅25x10",[],{"id":10376,"slug":10377,"title":10378,"dynasty":91,"author":440,"museum":106,"description":10379,"tags":10380,"thumbUrl":10381,"material":196,"size":10382,"collection":62,"collections":10383,"showCount":10188,"zanCount":534,"manualWeight":11,"mainColor":46},220888,"guo-meng-tie-zhao-meng-fu-220888","过蒙帖","帖中的总管相公应是赵氏同宗。此札一是感谢他对家兄照 顾，二是为其友人求助。\n释文:孟頫记事顿首再拜，总管相公宗兄阀下，孟頫前者家兄过蒙照管。此皆吾兄以孟頫之故。感激难胜。即日炎热。伏惟尊候胜常。学宾康振系。旧在常学有俸。其人至贫。藉此以活。而近乃有住支之行。望吾兄怜其寒素．特与放支。岂胜幸甚．未由侍教。伏乞倍保尊重。不宣。孟頫顿首再拜。",[23,38,7,353,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6659b2a3d4dc119eb9f3a12996918b07.jpg","纵29.5cm，横39.6cm",[62],{"id":10385,"slug":10386,"title":10387,"dynasty":18,"author":881,"museum":4480,"description":10388,"tags":10389,"thumbUrl":10390,"material":209,"size":10391,"collection":61,"collections":10392,"showCount":10188,"zanCount":11,"manualWeight":11,"mainColor":61},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,24,25,27,37,76,29,376,377,33,2452,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg","30.5 × 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X 23 CM X 10",[],{"id":10558,"slug":10559,"title":8536,"dynasty":145,"author":324,"museum":73,"description":10560,"tags":10561,"thumbUrl":10562,"material":61,"size":61,"collection":61,"collections":10563,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},235881,"yuan-ji-shan-shui-tu-ce-shi-tao-235881","近景茅舍隐于茂林，古木虬枝横斜，生机暗涌，远处危岩拔地而起，皴笔朴拙苍劲，苔点错落灵动，淡赭铺陈晕开清和秋意。笔墨纵逸秀润，看似率意挥写，实则骨力内蕴，将实景奇崛与胸中丘壑相融。\n\n搭配上行书题跋，笔墨舒展跌宕，书画相映成趣，尽显文人雅韵。整幅小品以简淡构图承载蓬勃生机，借山川形貌抒发襟怀，将搜尽奇峰的体悟凝于尺幅之间，萧散清寂中藏着通透灵秀，尽显清寂淡远的文人山水意境，是借笔写心的精妙之作。",[24,25,209,27,28,29,177,34,135,58,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da1cb3425542def690c3e5f73f06ab4.jpg",[],{"id":10565,"slug":10566,"title":10567,"dynasty":145,"author":2369,"museum":73,"description":10568,"tags":10569,"thumbUrl":10570,"material":920,"size":921,"collection":42,"collections":10571,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},235092,"zheng-min-shan-shui-ce-zheng-min-235092","郑旼山水册","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[24,25,209,27,37,7,29,376,377,2452,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb34c32d893f22e763f30d2b17213649.jpg",[42,168],{"id":10573,"slug":10574,"title":10575,"dynasty":145,"author":324,"museum":106,"description":5450,"tags":10576,"thumbUrl":10577,"material":722,"size":61,"collection":61,"collections":10578,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},234505,"yuan-ji-shui-zai-gan-shi-shi-yi-tu-dan-ye-shi-tao-234505","原济水灾感事诗意图单页",[24,25,27,28,7,37,209,29,237,34,7208,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad7ee64e8e7b98701b3672d4cb80d8f.jpg",[],{"id":10580,"slug":10581,"title":10582,"dynasty":145,"author":1982,"museum":1685,"description":10583,"tags":10584,"thumbUrl":10585,"material":802,"size":10586,"collection":61,"collections":10587,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202","溪山雪意图卷","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,26,29,27,37,28,431,178,292,34,774,254,36,30,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":10589,"slug":10590,"title":10591,"dynasty":18,"author":9263,"museum":106,"description":10592,"tags":10593,"thumbUrl":10594,"material":243,"size":61,"collection":61,"collections":10595,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,25,26,27,7,58,38,112,29,177,34,79,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":10597,"slug":10598,"title":10599,"dynasty":145,"author":10600,"museum":106,"description":10601,"tags":10602,"thumbUrl":10603,"material":10604,"size":10605,"collection":61,"collections":10606,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","戴熙","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,26,27,29,37,38,7,58,376,884,113,377,328,192,239,36,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":10608,"slug":10609,"title":10610,"dynasty":18,"author":1024,"museum":73,"description":10611,"tags":10612,"thumbUrl":10613,"material":10614,"size":10615,"collection":61,"collections":10616,"showCount":10470,"zanCount":511,"manualWeight":11,"mainColor":46},233675,"wen-zheng-ming-feng-zhu-shan-mian-wen-zheng-ming-233675","文徵明风竹扇面","释文：风揽青桐叶半摧，时飘一片点苍苔。山僮不识林亭趣，却併松枝尽扫开。",[24,25,2579,27,112,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25766ea4c8354139c698f5eeaf00d99d.jpg","泥金纸本","17×52cm",[],{"id":10618,"slug":10619,"title":10620,"dynasty":145,"author":10621,"museum":73,"description":10622,"tags":10623,"thumbUrl":10624,"material":196,"size":10625,"collection":61,"collections":10626,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},232893,"mei-hua-tu-zhou-wu-yan-ru-232893","梅花图轴","吴彦儒","所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。",[23,24,25,57,27,111,81,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ee64b408a7fa0e64c57bda2c32bf75.jpg","56.4x104cm",[],{"id":10628,"slug":10629,"title":10630,"dynasty":18,"author":881,"museum":73,"description":10631,"tags":10632,"thumbUrl":10633,"material":61,"size":61,"collection":61,"collections":10634,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},230850,"gao-yi-tu-dong-qi-chang-230850","高逸图","此作用笔松秀灵动，以干笔枯墨绘就，兼施淡墨晕染。画面分远中近三境，远山以淡墨轻扫，虚灵空濛，似含烟霭；中平湖如镜，汀渚错落，漾出澹澹清寂；近景枯木虬曲苍古，姿态疏朗萧散，尽显荒寒雅逸之气。\n\n以书入画，笔墨间自带文人疏淡风骨，删繁就简，褪去实景冗杂，独留山水精神，将林下高贤寄情丘壑、坐忘林泉的隐逸意趣藏于尺幅之间，静穆清寂的氛围里，尽显文人画尚意重韵的极致品格。",[23,24,25,27,37,7,38,29,34,35,292,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df79a27a9101f03f274d4311d3360.jpg",[],{"id":10636,"slug":10637,"title":3471,"dynasty":145,"author":3472,"museum":73,"description":10638,"tags":10639,"thumbUrl":10640,"material":61,"size":61,"collection":61,"collections":10641,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":66},230146,"shi-gong-ci-tu-ce-leng-mei-230146","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[24,25,209,77,28,1594,7,58,38,79,150,80,1819,494,884,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":10643,"slug":10644,"title":10645,"dynasty":18,"author":1169,"museum":73,"description":10646,"tags":10647,"thumbUrl":10648,"material":61,"size":61,"collection":61,"collections":10649,"showCount":10470,"zanCount":534,"manualWeight":11,"mainColor":46},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[23,24,25,26,27,37,76,7,38,58,29,495,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":10651,"slug":10652,"title":2604,"dynasty":18,"author":6876,"museum":73,"description":10653,"tags":10654,"thumbUrl":10655,"material":61,"size":61,"collection":61,"collections":10656,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},228490,"shan-shui-ce-yun-xiang-228490","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[56,24,25,209,27,29,33,30,31,7,38,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":10658,"slug":10659,"title":10660,"dynasty":18,"author":479,"museum":527,"description":10661,"tags":10662,"thumbUrl":10663,"material":61,"size":61,"collection":61,"collections":10664,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,24,25,26,29,28,27,7,2031,58,37,376,884,33,377,2452,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":10666,"slug":10667,"title":10668,"dynasty":51,"author":10669,"museum":73,"description":10670,"tags":10671,"thumbUrl":10673,"material":61,"size":61,"collection":61,"collections":10674,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","李山","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,56,24,25,26,27,28,37,38,7,58,29,10672,6912,3615,1471,34,35],"松杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":10676,"slug":10677,"title":10678,"dynasty":145,"author":387,"museum":73,"description":10679,"tags":10680,"thumbUrl":10682,"material":61,"size":61,"collection":125,"collections":10683,"showCount":10470,"zanCount":534,"manualWeight":11,"mainColor":46},224297,"hua-hui-shi-er-kai-ce-li-shan-224297","花卉十二开册","此画取材寻常蔬食，笔意写意疏朗。茼蒿茎叶以淡绿晕染，线条舒展灵动，尽显菜叶柔润鲜活之态；生姜皴擦朴拙，还原肌理质感，红辣椒设色鲜亮醒目，点亮画面。\n\n搭配题诗与蔬果相映成趣，以日常食材寄寓情志，将烟火清欢融入文人雅趣之中。淡朴的市井风物化作笔下意趣，不见雕琢之迹，尽显冲淡天真的笔墨意韵，于寻常日常里，勾勒出文人画以物明心的雅致情致。",[23,24,25,209,28,7,58,109,4422,10681,4424],"辣椒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad80d7081dfe9a6e575a0b565504dc3.jpg",[125],{"id":10685,"slug":10686,"title":10687,"dynasty":145,"author":3472,"museum":106,"description":3473,"tags":10688,"thumbUrl":10689,"material":1262,"size":3476,"collection":61,"collections":10690,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":66},222869,"shi-gong-ci-tu-ce-08-leng-mei-222869","十宫词图册08",[23,24,25,209,28,77,1594,7,38,79,150,1471,34,4252,2009,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7348f8fa73a5adb30a79c2bd01d24a6d.jpg",[],{"id":10692,"slug":10693,"title":10694,"dynasty":18,"author":5395,"museum":10695,"description":10696,"tags":10697,"thumbUrl":10698,"material":152,"size":10699,"collection":42,"collections":10700,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":638},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学院","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,25,26,76,37,28,38,7,58,29,34,35,30,31,33,82,1515,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 58厘米，横962 98厘米",[42,155],{"id":10702,"slug":10703,"title":10704,"dynasty":91,"author":10705,"museum":1573,"description":10706,"tags":10707,"thumbUrl":10709,"material":802,"size":10710,"collection":61,"collections":10711,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},221811,"you-yu-xian-tu-juan-yao-ting-mei-221811","有余闲图卷","姚廷美","《有余闲图》的画幅不长，风格和故宫博物院的《雪江游艇图》一致，是典型的文人绘画。它的珍贵处，在于卷后元人题跋超多，前后二十余家，蔚为大观。\n卷前引首是章弼题写的“有余闲”三字篆书，画卷绘一高士坐于临水的茅舍前，姚廷美题：“至正廿年（1360）春正月□日作此，并系鄙语于尾，地偏人远闭柴关，满院松阴白昼闲。眼底风尘浑忘却，坐看流水卧看山。吴兴姚廷美书”。\n后接绢、纸七张，各接缝处有梁清标押缝小印，先是杨维桢绢本《有余闲说》，署“至正庚子（1360）二月初吉东维子书”。",[23,24,26,25,27,37,38,7,58,29,34,35,36,10708],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc526d0800068df29e80deb17c760a832.jpg","23.1 x 84厘米",[],{"id":10713,"slug":10714,"title":10715,"dynasty":91,"author":10716,"museum":2633,"description":10717,"tags":10718,"thumbUrl":10719,"material":10720,"size":10721,"collection":61,"collections":10722,"showCount":10470,"zanCount":534,"manualWeight":11,"mainColor":66},221724,"han-shan-shi-de-tu-chan-ji-tu-duan-jian-yin-tuo-luo-221724","寒山拾得图禅机图断简","因陀罗","自宋代以来就一直在禅僧间广受喜爱。本图是描绘寒山、拾得二人被问及丰干禅师行踪时，沉默不语、只是哈哈大笑的情景。虽然因袭了将人物脸部画得细致、衣衫以粗略笔致来表现的\n日本在 早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[23,24,25,27,78,79,177,113,38,58,530,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 横49.7cm",[],{"id":10724,"slug":10725,"title":10726,"dynasty":51,"author":4626,"museum":106,"description":10727,"tags":10728,"thumbUrl":10731,"material":1262,"size":7846,"collection":61,"collections":10732,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":66},221492,"qian-tang-guan-chao-tu-quan-juan-li-song-221492","钱塘观潮图全卷","本幅无款印。引首及前后隔水有清乾隆题诗，后幅有张仁近、杨基题跋。收藏印有项子京、清内府、梁清标诸印。\n少年时曾作过木工的画院画家李嵩是善画建筑的高手。台北故宫博物院收藏的李嵩所绘《月夜看潮图》页是对南宋官式建筑的风格和细部特点的忠实写真，而此卷则带有缘物抒情的感情色彩，展现了李嵩的其另一种建筑画风。\n每年农历八月十六至十八日为浙江钱塘江的大潮汐期。自南宋迁都临安（今浙江杭州）后，观潮成为临安一年一度的盛大活动。其时海水沿喇叭形的钱塘江口逆江而上，如“玉域雪岭，际天而来，大声如雷霆，震撼激射，吞天沃日，势极雄豪”。\n此幅画面除表现滔滔的江水，即写“大内临江起飞阁”的都城临安。耐人寻味的是作者并没有以其擅长的细腻精微的表现手法再现皇家殿宇的巍峨辉煌、临安城池的雄伟整饬、“岁岁观潮乐”的繁华热烈，而只以简括的笔法写出成片的半露瓦顶于薄雾树影之中朦胧隐现，茂林中三面围墙的宽大空场或许即南宋的宫室所在，意境颇显空寂。作者活动的年代，正值南宋时局动荡，国家面临内忧外患，而小朝廷又沉湎于“钱塘江上开皇畿”，“贪看秋潮忘黍离”的耽乐奢靡。身为画院待诏得以侍于君侧的李嵩忠君忧国而又无力回天的孤寂心境在画面中似有曲折流露。",[23,56,24,25,26,77,28,7,58,38,10729,10730,79,150,32],"潮水","江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fd3ce03bbccea8289caf4b7a3e6d4f.jpg",[],{"id":10734,"slug":10735,"title":10736,"dynasty":51,"author":3119,"museum":373,"description":10737,"tags":10738,"thumbUrl":10739,"material":196,"size":10740,"collection":62,"collections":10741,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},221480,"wang-shi-bao-ben-an-ji-zhang-ji-zhi-221480","汪氏报本庵记","帖后有文徵明跋、项元汴题记。卷前后又有项氏诸印和卞永誉式古堂印，清乾隆、嘉庆、宣统三朝印玺。文徵明云：“按《皇宋书录》，即之，安国之后，甚能传其家学。……。其书师颜鲁公、尝为高宗所称。即之稍变而刻急，遂成名家。”《汪氏报本庵记》一文原为楼钥所撰，汪氏是楼的外祖家，不知道与张即之有无瓜葛，要录写这篇文章。书后的“淳熙十二年(公元1252年)三月二日”款，原应在文内，为后人挖移篇末。此卷小字行书，运笔流畅而劲健，比即之其它擘窠书《杜甫诗卷》要秀逸些，是张氏传世墨迹中的佳作。 乾隆时曾刻入《墨妙轩法帖》第四册。\n相关说明:\n北宋遭靖康之耻，汴京被金兵陷落，徽、钦二帝被虏，宋高宗赵构南逃，建都于临安，此便是历史上的南宋王朝，自建炎元年至祥兴二年先后易九主计一百五十二年。南宋虽苟安一时，但江南之地，物产丰富，人杰地灵，且宋高宗赵构雅好翰墨，北宋刊刻之《淳化阁帖》至南宋时影响渐广，学米《芾》学黄（山谷》学二王之风蔚然一时，帖学又得到长足的发展《鼎帖》、《淳熙秘阁续帖》、《世釆堂帖》相继问世，高宗还设置书学，命米友仁任书学博士．在这种文化氛围的熏陶下，南宋亦出现了不少著名的书家，如岳飞、吴说、范成大、吴琚、朱熹、陆游、姜夔、张即之、文天祥、赵孟坚等人．从总体上来说，南宋书法不及北宋之新意迭出，生气蓬勃，显得比较保守，模仿之风亦较盛，但其中亦不乏富有创意和个性的书家，张即之即是其中的代表人物。\n张即之生于南宋孝宗淳熙十三年（一一八六），卒于理宗咸淳二年（一二六六），字溫夫，号樗寮，安徽和州人．他是参知政事张孝伯之子，南宋的著名书家张孝祥又是他的伯父、即之年青时即以父荫补官．授承务郎，父亡后擢司农寺丞，调任嘉兴知事，因遭受他人巫陷，未赴任上，特授直秘阁而离职，即之一生仕途并不顺利，据《李伯嘉墓志铭》中记其官职为“太中大夫，直秘阁致仕、历阳县开国男、食邑三百户、赐紫金鱼袋”，后引年告老，终年八十一岁。\n张即之的书法在幼年时便受到其伯父张孝祥的影响，始学米芾，后则肆力于褚遂良楷书笔法，在这基础之上，又糅合了隋唐人写经的笔意而自创一格，特别是他的楷书，写得清劲绝俗，用笔极其精到细腻，发笔处喜用搭锋，点画之间，顾盼呼应，而兼行草笔意，又善于用方笔侧锋，显得姿态生动，极其圆熟．即之的书法在南宋时名声就很大，金人常出高价来收购他的宇，据《宋史本传》谓：“即之以能书闻天下，金人尤宝其翰墨”。张即之小楷以精巧圆熟为特征，正如梁闻山《评书帖》所谓：“原自欧出，参有褚法，结体尚紧，特多讨巧之处而不成大方耳”。其实小楷以精巧为特征本身即是一种风格，况即之喜写经文，而经文中重复的字很多，比较难写，即之能在楷法中自成一格，别开生面是非常不容易的，正如叶昌炽《语石．张即之一则》中谓：“张即之，书中之畸士也。好用侧笔，望之如矮松偃盖，婆娑可爱，其运笔以收为纵，又如长房缩地，咫尺有千里之势”。本册所载《张即之书报本庵记》后有“淳熙十二年三月二日二“，考淳熙十二年为一一八五年，而张即之生于一一八六年，故知此为报本庵记写于淳熙十二年，非即之书于此午也．此册行楷骨力劲健，点画精到，结字生动，笔意流动，显得神采焕发，给人以一种轻松自如之感，从其成熟的风格上来看，当为其晚年时所书，无疑是其生平的代表作品。",[23,56,25,26,7,38,58,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e8ee6f88ad6a055877d8d6149cbe3c.jpg","，纵29.3厘米，横91.4厘米",[62],{"id":10743,"slug":10744,"title":10745,"dynasty":51,"author":10746,"museum":106,"description":10747,"tags":10748,"thumbUrl":10749,"material":4375,"size":10750,"collection":61,"collections":10751,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},221410,"gui-zhai-tie-li-jian-zhong-221410","贵宅帖","李建中","释文：\n“貴宅諸郎各計安侍奉，所示請改章服。昨東封須得出身歷任家狀一本，並須齎擎官告敕牒去，未審此來如何行遣也。兼爲莊子事，已令彼僧在三學院安下，近已往彼去來回。此莊始初見說甚好，只是少人管勾，若未貨，可且收拾課租，亦是長計，不知雅意如何也。侯親家亦言可惜拈卻。建中（花押）諮。劉秀才久在科場，洛中拔解，今西遊兼欲祗侯府主，希略一見也。”\n“谘”同咨，是公文的一种。宋代百官有事申述，皆用“状”，唯学士院用咨报，由当值学士一人押字。《贵宅帖》就是这样一篇咨文。文中主要说了三件事：先说与“东封”有关事宜，“东封”是指大中祥符元年（1008年）宋真宗封祀泰山之行；再谈“庄子事”；最后提到“刘秀才”，此人可能即《同年帖》中李建中的女婿刘仲谟。\n《贵宅帖》作于李建中64岁时，书风沉着朴厚，具其所特有的“风骨俊整，骨肉停匀”的艺术美感。帖后明代刘日升七言诗题，称建中书有钟(繇)、王(羲之)法度，足以令后学者效法。此帖钤“东山”“无恙”及项元汴诸鉴藏印。\n明汪珂玉《珊瑚网书跋》、郁逢庆《郁氏读书画题跋记》、吴其贞《吴氏书画记》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》等书著录。",[23,38,7,58,646,620,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e53bb741113da6474d5694e8d1bf6f.jpg","纵31厘米，横27.5厘米",[],{"id":10753,"slug":10754,"title":10755,"dynasty":51,"author":10756,"museum":53,"description":10757,"tags":10758,"thumbUrl":10764,"material":196,"size":10765,"collection":62,"collections":10766,"showCount":10470,"zanCount":534,"manualWeight":11,"mainColor":46},221234,"shu-xi-jiang-yue-ci-zhong-shu-221234","书西江月词","仲殊","北宋僧人、词人。字师利。安州（今湖北安陆）人。本姓张，名挥，仲殊为其法号。\n曾应进士科考试。生卒年不详。年轻时游荡不羁，几乎被妻子毒死，弃家为僧，先后寓居苏州承天寺、杭州宝月寺，因时常食蜜以解毒，人称蜜殊；或又用其俗名称他为僧挥。他与苏轼往来甚厚。徽宗崇宁年间自缢而死。",[23,56,24,25,38,7,27,10759,10760,10761,3977,4950,495,1951,10762,10763],"红旗","黄钺","湖","帆","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893f5c450e666968341f30dfe2e9e801.jpg","48.7x70.3厘米",[62],{"id":10768,"slug":10769,"title":10770,"dynasty":51,"author":10771,"museum":53,"description":10772,"tags":10773,"thumbUrl":10775,"material":196,"size":10776,"collection":62,"collections":10777,"showCount":10470,"zanCount":534,"manualWeight":11,"mainColor":46},221229,"shu-zha-zi-zhou-hu-221229","书劄子","周虎","周虎(1161--1229）字叔子。祖籍临淮(治今江苏洪泽县临淮镇），靖康中迁居常熟。能诗文，善写大字，并习武艺。为人倜傥，轻财尚气。南宋庆元二年(1196年），举武科第一。曾出使金国为副使，后任和州守。开禧二年(1206年），金兵会攻和州，时城中守兵不足2000，周激励将士，誓死守城。一月中作战30余次，杀金兵帅石石乞跶并将领十数人。金兵受重创败退，由此与宋议和，江淮一带得以安定。和州百姓曾立生祠祀其母子。卒后谥“忠惠”。后人并立武状元坊，以为纪念。",[23,1697,25,38,7,27,1698,10774],"书札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebcc1a5057c18e1402f159c61af862c.jpg","48.7x70.3",[62],{"id":10779,"slug":10780,"title":10781,"dynasty":18,"author":881,"museum":53,"description":10782,"tags":10783,"thumbUrl":10784,"material":196,"size":10785,"collection":62,"collections":10786,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},220950,"du-fu-ye-yuan-huang-di-shi-dong-qi-chang-220950","杜甫谒元皇帝诗","这幅墨迹实为临摹唐代大书法家徐浩所书写的杜少陵诗《冬日洛城北谒玄元皇帝庙》。董其昌晚年楷书承颜鲁公圆劲朴厚之风。而我们要知道，在唐代，事实上徐浩的书名要远远超过颜真卿。据说，徐浩曾传授颜真卿以笔法，可谓颜鲁公的老师。那么，董其昌临徐浩的文本，则是其追索笔法的用意了。你看，董其昌写清楚了，他所临的版本“相传为徐季海所书，虽方实圆，脱去虞褚姿媚态，余每临之，此其一也。”",[23,38,7,76,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07ba04c1cc98e019c868058e4aaa874e.jpg","纵181厘米，横46厘米",[62],{"id":10788,"slug":10789,"title":10790,"dynasty":18,"author":251,"museum":4480,"description":10791,"tags":10792,"thumbUrl":10793,"material":2589,"size":10794,"collection":61,"collections":10795,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":61},220757,"xing-shu-ji-jin-ling-you-ren-ci-wen-zheng-ming-220757","行书寄金陵友人词","笔意温润秀劲，带着晋唐遗韵，牵丝映带自然灵动，字势欹正相济，整幅行气贯通如一泓春水迤逦舒展。\n笔墨随着词作心绪起伏，粗细藏着幽思浓淡，时而舒展如堤畔杨柳曳风，时而收敛如幽窗怀人蹙眉。怀友念旧的缱绻深意融在笔锋起落，十年旧梦随着墨色晕开，书文合璧，清雅书卷气裹着沉郁真挚的心境，在流转的笔意里，将故地重逢的怅惘与昔年风流的追忆缓缓铺陈，笔底皆是一往情深。",[23,38,7,25,57,646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00861222d32a45a6960c5ced59ed9103.jpg","348 × 103 cm",[],{"id":10797,"slug":10798,"title":7,"dynasty":702,"author":3782,"museum":3783,"description":10799,"tags":10800,"thumbUrl":5928,"material":330,"size":61,"collection":61,"collections":10805,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},220537,"xing-shu-xu-bei-hong-220537","此作融碑帖意趣于笔端，笔墨苍劲朴拙，线条收放自如，兼具雄健风骨与雅致文心。书录怀古诗作，将家国愁绪寄寓字间，撇捺起落裹挟沉郁忧思。章法疏密错落，行气贯通无间，提按转折藏露互见，尽显融通南北书风的造诣。以画入书，让笔墨自带画面张力，把时代赋予的厚重情怀凝于笔锋，观之如闻低回慨叹，不拘一格的气度尽显于点画之间，文字亦承载起动人的情绪重量。",[7,10801,10802,10803,10804,1794,4775,1795,5925,5926,5927],"民国书法风格","笔墨流畅","运笔遒劲","墨色浓淡",[],{"id":10807,"slug":10808,"title":10809,"dynasty":702,"author":10810,"museum":1107,"description":10811,"tags":10812,"thumbUrl":10813,"material":61,"size":61,"collection":61,"collections":10814,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},220514,"chuan-yue-jiang-shan-de-ju-li-pu-xin-she-220514","穿越江山的距离","溥心畬","以淡墨晕染烟江叠嶂，远山轻描淡扫，留白托出平湖空寂，幽远淡宕。近岸佳木扶苏，笔致清劲灵秀，苍枝翠叶错落生姿，坡石间高士垂眉静坐，与烟水林泉相融无间。\n题跋笔墨隽雅，诗画相映，将幽居闲赏的林下襟怀藏于尺幅间。极简的水墨层次铺展空疏淡远之境，把天地间的清寂逸趣凝缩在这一纸烟岚里，尽显东方文人画的静穆禅意。",[23,24,25,57,27,37,7,58,29,34,32,79,35,237,3395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7f7ce3d1ef48dddd8b0d0f9283b6ce.jpg",[],{"id":10816,"slug":10817,"title":10818,"dynasty":51,"author":9853,"museum":2524,"description":10819,"tags":10820,"thumbUrl":10822,"material":123,"size":61,"collection":42,"collections":10823,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":66},219860,"xue-shan-tu-song-di-219860","雪山图","中国的山水画在肇始之初就承载着文人和士大夫的精神情愫，不论是“天人合一”“明心见性”还是“逍遥隐逸”都与山水画的发生发展过从甚密。并且，中国社会的每一次大变革或者说社会动荡也都映射到影响到山水画的形态之中，成为其转变的重要诱因。先秦的“百家争鸣”奠定了中国画的哲学依据，以线表达的造型方式和魏晋的“畅神”思想又构建了中国画“写意”的整体旨趣。中国人不是不追求“再现物象”的写实主义，而是在追求的过程中没有抛弃“精神性”的哲学依据。所以，中国画一直就是在写实和写意的文化间性上不断求索，自我觉醒。直到两宋，这种现象达到高峰也宣告终结。究其缘由，重点有四：其一，唐代山水画理和山水田园诗高度发达的“理论先行”现象为五代和宋初的画家提供了技法上跟进的可能。其二，宋代“理学”的主导地位促使两宋画家对自然物态描绘上的理性追求。其三，南宋的特殊社会状况一方面促进了山水画图示的新取向，一方面也使山水画走向“艰涩刻板”的程式化囹囿。其四，文人画思潮的逐渐势强将山水画的精神内涵带入“得之于象外”的“适性”之作和技法上温婉醇和的“天真平淡”。\n从以上四点中也可以看出，南宋的山水画是在文人画之前的一个集“理性化”“图式化”和“风格化”的高峰期，而在这之后，除明代初年“院体”对它的短暂重视之外，几乎影响甚微。此幅“河阳宋迪画”的雪景山水正是南宋山水画的突出代表。纵观全幅，气象萧森沉郁，格调清刚峻拔，白山黑水间透出一股雪景的清旷和雅致，让人体会着浑然静穆的冷静。全幅构图以深远和高远为主。近处幽谷深邃，远景峰峦迢递，加以寒江和虚空的间隔使画面景物分明，层层递进，既有北宋山水巍峨雄壮之势，兼具马远、夏圭“半边一角”之形。近景左侧古木嵯峨相生，寒枝低垂，因风摇曳。巨石陡峭突兀，竞相峥嵘。期间一低矮乔木盘旋石上，干若曲铁，枝如银钩，全出马远画法，虽存于幽谷险境，亦生机勃勃不挠。巨石间一浮桥幽悬，将观者的视线引入古木之下的高士寒舍。舍内高士凭窗，注视着院落中煮茗饲鹤的童子，似有语相嘱，又悠然散淡，无限天真。更可观处，画家于山谷屋旁杂以翠竹寒梅，覆雪怒放，生机盎然。全画以白粉作雪，赋于物象高处，又以白粉散落渲染于水天之中，重墨之内，更增雪天景物杳冥之相。远山峰顶，以细密之点攒簇成树，有别于其他植被，可见穷究物理、物态之功。画中浮桥之栏、高士之衣，又以朱红点染，这一抹热色活跃了气氛也打破了色彩的单一。山石全用折笔廓形和大斧劈皴，瘦硬之感强烈，折射出画家内心深处的刚毅。实可宝之！",[24,25,26,27,37,29,10821,376,377,38,7],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef06665fc5cec6884293eb85a3b2e69.jpg",[42],{"id":10825,"slug":10826,"title":10827,"dynasty":51,"author":10828,"museum":53,"description":10829,"tags":10830,"thumbUrl":10831,"material":165,"size":61,"collection":62,"collections":10832,"showCount":10470,"zanCount":534,"manualWeight":11,"mainColor":46},219641,"zhi-zhi-fu-she-ren-chi-du-zhao-bian-219641","致知府舍人尺牍","赵抃","落笔瘦劲爽利，提转藏裹间尽显温润君子气度。通篇章法疏朗留白，气息匀净安宁，无一字赘笔炫技，只以凝练沉稳的笔墨，写就日常谢启心绪。将宋代尚意风雅融于尺牍寸方，把文人清简端方的襟怀藏于毫端。作为日常书札，不见刻意雕琢，只以平实笔触叙写往来，随性雅致间尽显宋人手札的萧散意趣，尺幅虽小却余韵悠长，尽显士大夫的清雅风骨。",[38,7,2052,196,1698,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240deac34ce50dd9ba6240140838dd3d.jpg",[62],{"id":10834,"slug":10835,"title":10836,"dynasty":91,"author":286,"museum":53,"description":6737,"tags":10837,"thumbUrl":10838,"material":123,"size":61,"collection":61,"collections":10839,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":46},216368,"mo-zhu-pu-ce-20-wu-zhen-216368","墨竹谱册-20",[24,25,209,27,7,58,112,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843ee2a4b7bf5bf62ef561372ca22f12.jpg",[],{"id":10841,"slug":10842,"title":10843,"dynasty":145,"author":717,"museum":20,"description":10844,"tags":10845,"thumbUrl":10846,"material":61,"size":61,"collection":125,"collections":10847,"showCount":10470,"zanCount":11,"manualWeight":11,"mainColor":10848},203130,"chun-hua-tu-ce-yun-shou-ping-203130","春花图册","枝桠婉转伸展，桃花嫣然绽放。花瓣以没骨法晕染，淡粉层叠过渡，似含朝露轻颤；翠叶点染其间，脉络隐现，与粉瓣相映成趣。枝干笔墨灵动，干湿相宜，尽显自然生趣。旁侧行书题跋清逸洒脱，诗画相融，蕴藉文人雅韵。整幅画作清新雅致，无勾勒之迹却形神兼备，将桃花的柔媚与生机凝于尺幅，尽显独特的没骨花鸟韵味。",[24,210,720,28,117,7,209,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b9880e877fa8eab8a55fb6a572fc4.jpg",[125],"ded9ce",{"id":10850,"slug":10851,"title":10852,"dynasty":51,"author":10853,"museum":73,"description":10854,"tags":10855,"thumbUrl":10856,"material":920,"size":921,"collection":61,"collections":10857,"showCount":100,"zanCount":534,"manualWeight":11,"mainColor":46},291003,"tang-song-yuan-hua-ji-jin-ce-mai-chun-mei-yuan-lu-zong-gui-291003","唐宋元画集锦册 买春梅苑","鲁宗贵","鲁宗贵，钱塘（今浙江省杭州）人，南宋画家。工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙，尤长于写生，鸡雏乳鸭，颇有生意。传世作品有《春韵鸣喜图》。",[24,25,209,28,7,58,29,79,111,33,30,31,9213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad15f308e18ebb9211341caaa5a1ba7.jpg",[],{"id":10859,"slug":10860,"title":1227,"dynasty":18,"author":10861,"museum":53,"description":10862,"tags":10863,"thumbUrl":10865,"material":40,"size":10866,"collection":61,"collections":10867,"showCount":100,"zanCount":534,"manualWeight":11,"mainColor":46},290316,"sui-chao-tu-zhou-yuan-shang-tong-290316","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[24,57,56,27,37,29,150,30,31,35,81,254,1471,79,33,58,38,7,10864],"岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0196a7d4a11e4bd118161ffb68611fa1.jpg","115.3x58.2",[],{"id":10869,"slug":10870,"title":10871,"dynasty":51,"author":771,"museum":73,"description":10872,"tags":10873,"thumbUrl":10874,"material":920,"size":921,"collection":61,"collections":10875,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},289780,"yao-feng-qi-shu-tu-li-cheng-289780","瑶峰琪树图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[56,24,25,29,27,774,35,431,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f229c5713131362d665ca7363e7250.jpg",[],{"id":10877,"slug":10878,"title":10879,"dynasty":145,"author":10880,"museum":73,"description":10881,"tags":10882,"thumbUrl":10883,"material":196,"size":61,"collection":62,"collections":10884,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},241323,"ge-ti-shu-lin-tie-si-zhong-ping-weng-fang-gang-241323","各体书临帖四种屏","翁方纲","翁方綱（1733～1818年），字正三，一字忠敍，號覃溪，晚號蘇齋，順天大興（今北京大興區）人。清代書法家、文學家、金石學家。\n乾隆十七年進士，授編修。歷督廣東、江西、山東三省學政，官至內閣學士。嘉慶二十三年，卒。\n精通金石、譜錄、書畫、詞章之學，書法與同時的劉墉、梁同書、王文治齊名。論詩創“肌理説”，著有《粵東金石略》《蘇米齋蘭亭考》《復初齋詩文集》《小石帆亭著錄》等。",[25,38,76,7,2031,223,3321,1014,27,196,58,8075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2f5361f3aeafb6e3eaaacb213bbc36.jpg",[62],{"id":10886,"slug":10887,"title":10888,"dynasty":18,"author":3452,"museum":73,"description":10889,"tags":10890,"thumbUrl":10891,"material":196,"size":10892,"collection":62,"collections":10893,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":66},241027,"zhang-rui-tu-wu-jue-zhou-zhang-rui-tu-241027","张瑞图五绝轴","释文：\n“与君青眼尽，共有白云心。不向东山去，旦旦春草深。瑞图。”\n本幅款钤“张长公”、“瑞图”印2方，迎首钤“文学侍从之臣”印。收藏印钤“固始张氏镜菡榭嗣主玮审定续考”、“志仁历史文物馆藏”。\n此轴书法从钟、王入手，笔势生辣，点画纵横，坚实劲挺，虽为行书而折笔侧入，形体尖锐，起止转折倔强，力量饱满，笔墨酣畅。清秦祖永《桐阴论画》评：“瑞图书法奇逸，钟王之外，另辟蹊径。”",[38,7,1014,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5f6bfdd672775f742fb91dad10f457.jpg","纵172.7厘米，横43.5厘米",[62],{"id":10895,"slug":10896,"title":10897,"dynasty":18,"author":105,"museum":73,"description":8082,"tags":10898,"thumbUrl":10899,"material":920,"size":921,"collection":61,"collections":10900,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},240616,"xing-kai-you-lu-fu-zhou-xu-wei-240616","行楷由鹿赋轴",[24,25,57,7,2031,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a85756ce60599f919baff7faf11598.jpg",[],{"id":10902,"slug":10903,"title":10904,"dynasty":18,"author":9230,"museum":106,"description":10905,"tags":10906,"thumbUrl":10907,"material":10908,"size":10909,"collection":62,"collections":10910,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},240394,"shi-zhou-huang-dao-zhou-240394","诗轴","黄道周（1585年3月9日—1646年4月20日 ），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[38,57,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e7d9d45111b0594551cedc04ee5b5e.jpg","綾本行草","158.6×50.4cm",[62],{"id":10912,"slug":10913,"title":2604,"dynasty":145,"author":10914,"museum":73,"description":10915,"tags":10916,"thumbUrl":10917,"material":61,"size":61,"collection":42,"collections":10918,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},239361,"shan-shui-ce-wang-san-xi-239361","王三锡","此作用淡墨晕染崖石，清润苍朴，古松横斜倚立，枯笔写出的松针苍劲蓬松，自带古拙生机。飞瀑自岩间垂落，以留白暗喻水势，撞石溅浪后顺着浅滩汇入清溪，浅纹细波将流水的清浅柔缓尽数写出。\n\n右下角溪岸双鹤幽立，姿态闲雅，衬出林涧的空寂安谧。左侧题诗与画境相融，将“岩前花落，涧上月明”的幽寂禅思藏进笔墨之间，整体意境淡远疏朗，寥寥数笔勾勒出世外幽居的清雅意趣，尽显文人山水的空灵雅致。",[24,25,209,27,37,7,58,29,254,31,35,2207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2220afc42963645c5176b9924a2ca1.jpg",[42,155],{"id":10920,"slug":10921,"title":10922,"dynasty":145,"author":10923,"museum":73,"description":10924,"tags":10925,"thumbUrl":10926,"material":920,"size":921,"collection":42,"collections":10927,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},237479,"shan-shui-tu-ce-yao-song-237479","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,209,27,29,37,7,58,376,884,377,30,36,33,3407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[42],{"id":10929,"slug":10930,"title":4036,"dynasty":145,"author":959,"museum":73,"description":4037,"tags":10931,"thumbUrl":10932,"material":920,"size":921,"collection":61,"collections":10933,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},235708,"hua-hui-tu-ce-zou-yi-gui-235708",[24,25,209,77,28,210,119,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6086d34e6ad0d6be64dfbeba2af35a.jpg",[],{"id":10935,"slug":10936,"title":10937,"dynasty":145,"author":220,"museum":106,"description":10938,"tags":10939,"thumbUrl":10940,"material":802,"size":10941,"collection":42,"collections":10942,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":66},234898,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234898","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,209,28,7,38,58,29,150,35,34,82,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d9b3ab8de6f6a73f21664055f4b51a.jpg","25.7×33厘米",[42,155],{"id":10944,"slug":10945,"title":10946,"dynasty":18,"author":1024,"museum":73,"description":10947,"tags":10948,"thumbUrl":10949,"material":61,"size":61,"collection":61,"collections":10950,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},234224,"wen-zheng-ming-yu-xi-tu-juan-wen-zheng-ming-234224","文徵明雨溪图卷","文壁（1470年－1559年），字徵明，中年后以字行，更字徵仲，号衡山居士、停云生，直隶长州（今江苏苏州）人，祖籍湖广衡山（今湖南衡东），明代画家，与唐寅、沈周、仇英合称为“明四家”（亦称“吴门四家”或“吴门四杰”）；并与唐寅、祝允明、徐祯卿并称“吴中四才子”。一生历经成化、弘治、正德、嘉靖四朝，晚年与老师沈周并驾齐驱，继沈周之后成为吴派领袖。\n从正德到嘉靖年间，据《吴门画史》一书统计，吴派画家共有876人，人材济济，但在当时，出类拔萃，声名显赫，唯有沈周、文徵明等一些人。",[23,24,25,26,27,29,34,897,36,31,237,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8170da07386953cd65ae2ac94a4c1c02.jpg",[],{"id":10952,"slug":10953,"title":1023,"dynasty":18,"author":1024,"museum":106,"description":10954,"tags":10955,"thumbUrl":10956,"material":722,"size":61,"collection":61,"collections":10957,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},234141,"lan-zhu-tu-wen-zheng-ming-234141","文征明（1470-1559），世称“文衡山”，明代画家、书法家、文学家。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。在诗文上，与祝允明、唐伯虎、徐真卿并称“吴中四才子”。在画史上与沈周、唐伯虎、仇英合称“吴门四家”。",[23,24,25,27,78,7,58,120,112,177,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd54efcd564c78baf1fe43aa7a6391a66.jpg",[],{"id":10959,"slug":10960,"title":10961,"dynasty":18,"author":19,"museum":106,"description":10962,"tags":10963,"thumbUrl":10964,"material":330,"size":10965,"collection":61,"collections":10966,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},232998,"si-chao-xuan-zao-zhen-ce-kong-lin-ji-yu-ye-shen-zhou-232998","四朝选藻贞册-空林积雨页","此图原载《四朝选藻册》，作者沈周用率笔随意点染丛林、云雨、平冈、小溪和房舍。用笔灵活潇洒，一气呵成，于简率之中见生动秀逸之致。画上左上方作诗二首，款：乙未九月积雨作《雨闷》二首，复作此景书之。是日忽晴，吾意彼苍，亦闻颠崖赤子私讽之语而见悯耶。念七日周。乙未为公元一四七五年，时沈周四十九岁。钤启南一印。右上方有吴宽题记一则，钤胸中天地一印。又钤安仪周家珍藏印。对开有清高宗弘历题诗，钤太上皇帝之宝等鉴藏印多方，曾经清安岐、清乾隆内府收藏。\n“久雨阴连结，晴天安在哉？”这件作品是画家在积雨郁闷之日所作。画中描绘一平坡后的雨中树林景色。画面构景简洁，坡石后的林中溪水，缓缓流淌。低屋掩映，云气弥漫，雨雾迷朦。画家以粗笔而写，墨色浑润，淡墨渲染，使画面显得湿气欲滴，阴雨连绵与画家郁闷难解的情绪跃然画上，与画家自题两首诗恰相对照。其一曰：“茅檐何日霁，溜响漫沉沉，气郁惟添睡，愁多亦怕吟。积润变鸣琴。安得东轩月，皓然当我襟。”\n沈周出身诗画世家，祖孟渊、父恒吉、伯贞吉，均以诗画名满吴中，祖上收藏甚丰，对古人诗画见多识广。沈周一生不仕，淡泊功名，博览勤学，仅“以丹青以自适”，专心从事丹青与诗文艺术，毕生勤於诗画创作，声誉卓著，德高望重。其艺术质朴而有情致，画风纯化，刻苦研究前人的优秀理论与技法，融会贯通，创立了自己的风格，成为我国十五世纪下半叶在戴进之後最有影响最具独创力的一位画家，在绘画、书法和文学艺术方面都取得了卓越的成就，其最杰出的当表现在绘画方面，嘉靖年间苏州名士王登在《吴郡丹青志》中称“先生石田绘事为当代第一”，绘画兼收并蓄，人物、山水、花鸟无不精通。\n沈周绘画以山水为主，宗法元四家，远取董（源）、巨（然），中年宗元四家笔墨，尤其推崇黄公望，晚年醉心吴镇，与自家学养融为独特风格，结构谨严，用笔苍劲沉着，墨色浓厚，气韵雄逸，在明中期画坛兴起画风剧变之潮。以他为发端，其门人文徵明继之，合唐寅、仇英为一局，树起吴门画派旗帜，广学“唐宋名流及胜国贤胜，上下千载，纵横百辈”皆“兼综条贯，莫不揽其精微”（明朱谋□《画史会要》），成就之巨，在中明画坛骤立巨峰，影响所及，数百年不变，其画艺彪炳画史，成就卓然。同时，沈周作为一代画坛宗匠，其於诗文、书法无一不能，无一不精，其诗意清新，“面试《凤凰台赋》，援笔而就，咸以为不减王子安”（清钱谦益《列朝诗集小传》）。其书法师黄山谷而不染他体，去山谷行书之捍，多灵便秀逸。时人以其诗、书、画为三绝。",[24,25,209,27,37,7,38,109,29,34,194,5036,2452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea074939e6dab7adace5c129ec5c8c97.jpg","纵21.7厘米 横29.2厘米",[],{"id":10968,"slug":10969,"title":10970,"dynasty":145,"author":10971,"museum":10972,"description":10973,"tags":10974,"thumbUrl":10975,"material":196,"size":10976,"collection":61,"collections":10977,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},232897,"chun-se-hai-tang-zhao-zhi-qian-232897","春色海棠","赵之谦","张学良旧藏","同治十一年壬申，客居北京的赵之谦南归在家乡小住，旋赴江西修《江西通志》。临行前，他为朋友画了很多画，自此之后，他一心修《志》，绝少刻印画画，成了晚清艺术史上一大憾事。此轴即作于临去江西前，笔墨雄肆，构图奇突，可见当时的心情和画艺的熟练。极为难得。\n赵之谦（1829－1884），中国清代著名的书画家、篆刻家。浙江绍兴人。初字益甫，号冷君；后改字撝叔，号悲庵、梅庵、无闷等。在晚清艺术史上，赵之谦无疑是最为重要的艺术家之一。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大的影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，实得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。",[2579,24,25,28,210,6516,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe8b2381d0d12b3901547ff7fc132b87.jpg","19×54厘米",[],{"id":10979,"slug":10980,"title":10981,"dynasty":51,"author":52,"museum":53,"description":10982,"tags":10983,"thumbUrl":10988,"material":196,"size":10989,"collection":61,"collections":10990,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},232813,"han-shan-zi-pang-ju-shi-shi-huang-ting-jian-232813","寒山子庞居士诗","《寒山子庞居士诗帖》是唐代隐士寒山劝戒诗与居士庞蕴诗偈，庞蕴（？—1808），唐代著名禅者。字道玄。世称庞居士、庞翁。湖南衡阳人。曾参谒石头希迁，颇有领悟。遗有《庞居士语录》。《寒山子庞居士诗帖》是黄庭坚晚年杰作，落笔奇伟，点画用笔的“沉着痛快”，笔笔似自空中蕩漾而來，充滿飞动之势。结体舒展大度，气宇轩昂，其个性特点十分显著。\n纵观《寒山子庞居士诗》帖，用笔凝练有力、遒劲郁拔，而神闲意株，尤得秦篆中实、汉隶俊俏笔意。行笔曲折顿挫，如同逆水撑舟，力能扛鼎。正如清初诗人冯班《钝吟杂录》所评：“笔从画中起，回笔至左顿腕，实画至右住处，却又跳转，正如阵云之遇风，往而却回也。”结体奇特，几乎每一字都有一些夸张的长画，并尽力送出，形成中宫紧收、四边发散的结字风格。章法富有创造性，经常运用移位的方法打破单字之间的界限，使线条形成新的组合。通篇大气磅礴，笔墨淋漓。清康有力曾评曰：“宋人之书，吾尤爱山谷，虽昂藏郁拔，而神闲意称，入门自媚。若其笔法，瘦劲婉通，则自篆隶。”\n黄庭坚的书法，大抵行书结字修长，中宫紧抱，聚而不散，用笔夸张，如长枪大戟，一波三折，摇电而行，韵味绵长；草书更在形式上突破，挪腾跳跃、奇崛放纵，大有超张迈素之势。山谷书风独特而强烈，故今天被认为是[宋四家]中最自我、最叛逆的一家。但我们不妨再看看他的学书经历。他自己曾说：[余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱。晚得苏才翁、子美书观之，乃得古人毛意。其后又得张长史、僧怀素墨迹，乃窥笔法之妙。]又说[元褡间书，笔意痴钝，用笔多不到，晚入峡见长年荡桨，乃悟笔法。]显而易见，他的叛逆完全是在三个基础上的创变和超越。这三个基础就是：一、有选择、善反思地师古人；二、以敏锐的观察力师造化；三、通过[窥]、[悟]而师吾心。此时他已脱 去“抖擞俗气”，形成了逆势涩行之法，而在结体上的辐射式开张也不再怒张、突兀，可以说是实现了他个人的书法审美主张：绝俗和重韵。\n卷末有元代书家龚璛题跋。龚璛（1266-1331），一作肃，字子敬，号谷阳生，江苏高邮人，后徙居平江（今江苏吴县）。少为徐琬辟幕下，后充和靖、学道两书院山长。以浙江儒学副提举致仕。与戴表元、仇远等人交善。工诗文，擅书法，有晋唐人法度。有《存悔斋集》一卷，补遗一卷。小传详见《苏州府志》。传世书迹有《教授帖》、《静春堂诗序》、《宣城诗并识卷》等。\n释文：我见黄河水，凡经几度清。水流如激箭，人世若浮萍。癡属根本业，爱为煩恼阬。轮迴几許劫，不解了旡明。寒山出此语，举世狂癡半。有事对面說，所以足人怨。心真语亦直，直语无背面。君看渡奈河，谁是喽罗汉。寄语諸仁者，仁以何为怀。归源知自性，自性即知來。任运堂試张通笔为法聳上座书寒山子庞居士诗兩卷。涪翁題。",[23,38,7,1697,10984,10985,1702,10986,58,1698,10987,2846],"中锋行笔","笔画劲健","章法布局","笔力雄健","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5948567560da19a69ec363536ed45a.jpg","29.1x213.8cm",[],{"id":10992,"slug":10993,"title":10994,"dynasty":51,"author":10995,"museum":2564,"description":10996,"tags":10997,"thumbUrl":10998,"material":196,"size":61,"collection":61,"collections":10999,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":66},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","仿钟离访道图","荆浩","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,25,289,27,28,37,77,38,7,58,79,29,35,34,1885,33,51,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":11001,"slug":11002,"title":11003,"dynasty":18,"author":11004,"museum":73,"description":11005,"tags":11006,"thumbUrl":11009,"material":61,"size":61,"collection":61,"collections":11010,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":66},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","张翀","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,24,25,56,26,77,28,7,79,11007,135,377,35,5026,11008,9530,37],"田","猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],{"id":11012,"slug":11013,"title":11014,"dynasty":91,"author":11015,"museum":73,"description":11016,"tags":11017,"thumbUrl":11018,"material":920,"size":921,"collection":61,"collections":11019,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},228032,"song-liu-man-shi-juan-ye-lv-chu-cai-228032","送刘满诗卷","耶律楚材","耶律楚材（1190-1244）字晋卿，号湛然居士，又号玉泉老人。辽宗室。博学能文，元太袓定燕，召为相，历事两朝。耶律楚材少年时受金代文化影响至深，在赵孟頫扭转金及南宋末午书法流风之前，他的书法具有一定的代表性。《元史》本传称其：“善书，晚年所作字画尤劲健，如铸铁所成，刚毅之气，至老不衰。”他的书法继承了唐宋颜真卿，黄庭坚书风，雄放刚健、硬拙挺拔，以端严刚劲著称，有“河朔伟气”，与后来赵孟頫提倡的晋人韵味迥异。",[23,38,26,7,27,58,352,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b16520804b9eccfa270024c95dab57f.jpg",[],{"id":11021,"slug":11022,"title":11023,"dynasty":51,"author":11024,"museum":73,"description":11025,"tags":11026,"thumbUrl":11027,"material":61,"size":61,"collection":61,"collections":11028,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","赵伯骕","南宋 赵伯骕 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舊俗疲庸主，群雄問獨夫。譏歸龍鳳質，威定虎狼都。 天屬尊堯典，神功協禹謨。風雲隨絕足，日月繼高衢。 文物多師古，朝廷半老儒。直詞寧戮辱，賢路不崎嶇。 往者災猶降，蒼生喘未蘇。指揮安率土，盪滌撫洪爐。 壯士悲陵邑，幽人拜鼎湖。玉衣晨自舉，鐵馬汗長趨。 松柏瞻虛殿，塵沙立冥途。寂寞開國日，流恨滿山隅。 右工部行次昭陵詩，困學民書。\n末识：“右工部行次昭陵詩，困學民書。”钤“鲜于”、“白几印章”、“箕子之裔”、“虎林隐吏”、“中山后人”印五方。卷末有王祎、宋濂二跋。鉴藏印记有清乾隆、嘉庆、宣统诸玺及梁清标、宋濂、王祎等印多方。\n这是鲜于枢以行书大字录写的杜甫五言《行次昭陵诗》。杜甫是唐朝著名的现实主义诗歌代表人物，他的作品内容大都与当时的朝政有关，此首诗亦充满了对国家兴衰的关注。\n此帖结体疏朗，笔势雄浑，与鲜于枢个人性情正相吻合。如柳贯所评：“公毅然美大夫，面带河朔伟气，每酒酣骜放，挥毫结字，奇态横生，势有不可遏者。”此卷是鲜于枢大字行书的代表作品。\n明顾复《平生壮观》卷四，清《石渠宝笈初编》卷三一，《故宫已佚书画目》著录。",[23,38,7,26,58,353,9124,11254,2237],"诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c203c0d459c74dc96ff17a149a16b3c.jpg","纵32厘米，横342厘米",[62],{"id":11259,"slug":11260,"title":11261,"dynasty":91,"author":440,"museum":73,"description":11262,"tags":11263,"thumbUrl":11264,"material":61,"size":61,"collection":61,"collections":11265,"showCount":140,"zanCount":334,"manualWeight":11,"mainColor":46},239665,"hang-zhou-fu-shen-guan-ji-juan-zhao-meng-fu-239665","杭州福神观记卷","此作用笔圆劲苍润，起转提按皆具法度，既存唐楷端稳筋骨，又兼行书灵动意趣，点画粗细富于韵律，尽显笔底风华。\n\n通篇布局疏朗匀停，字势顾盼映带，长篇巨制却行气贯通一气呵成，枯湿浓淡交叠变化，整饬之中透着萧散雅逸的书卷清气。笔墨间融含静穆清虚之意，将方外福地的清灵韵致凝于笔端，尽显沉厚的笔墨功底与超然的文人意趣，是行书臻于化境的典范之作。",[23,38,7,26,58,27,530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2129985fd99668b5192c226470e825.jpg",[],{"id":11267,"slug":11268,"title":11269,"dynasty":18,"author":3161,"museum":73,"description":11270,"tags":11271,"thumbUrl":11272,"material":61,"size":61,"collection":62,"collections":11273,"showCount":140,"zanCount":534,"manualWeight":11,"mainColor":46},239611,"yang-sheng-lun-juan-zhu-yun-ming-239611","养生论卷","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[23,25,26,7,1014,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d67df0af9f879bce1f09da0c83364d1.jpg",[62],{"id":11275,"slug":11276,"title":11277,"dynasty":91,"author":440,"museum":106,"description":11278,"tags":11279,"thumbUrl":11280,"material":196,"size":11281,"collection":62,"collections":11282,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},239582,"zhang-zong-guan-mu-zhi-ming-juan-zhao-meng-fu-239582","张总管墓志铭卷","既具大楷沉着刚劲之气，又有小楷秀逸灵动之姿，在赵氏存世墨迹中甚少见。卷后有祝允明、永瑆题识。",[23,25,38,26,7,2031,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ff13d72d8c1ed754db59d6fdcde15.jpg","纵32.7厘米；横259厘米",[62],{"id":11284,"slug":11285,"title":857,"dynasty":18,"author":205,"museum":373,"description":10552,"tags":11286,"thumbUrl":11287,"material":9334,"size":10555,"collection":61,"collections":11288,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},237442,"hua-hui-ce-xiang-sheng-mo-237442",[24,209,28,7,58,81,119,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17741ed89c251e1b5a5cb8ee1b6c2eac.jpg",[],{"id":11290,"slug":11291,"title":11292,"dynasty":18,"author":5970,"museum":73,"description":11293,"tags":11294,"thumbUrl":11295,"material":920,"size":921,"collection":61,"collections":11296,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},237417,"you-zhang-gong-dong-shan-lu-zhi-237417","游张公洞扇","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[2579,24,29,28,37,254,35,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193fe877694581eca743fdfcdc0ae876.jpg",[],{"id":11298,"slug":11299,"title":8536,"dynasty":145,"author":324,"museum":73,"description":11300,"tags":11301,"thumbUrl":11302,"material":61,"size":61,"collection":61,"collections":11303,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[24,25,209,7,27,28,37,38,58,29,178,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f749a49e7b8c667c20c3c60e27a09e8.jpg",[],{"id":11305,"slug":11306,"title":8536,"dynasty":145,"author":324,"museum":73,"description":11307,"tags":11308,"thumbUrl":11309,"material":61,"size":61,"collection":61,"collections":11310,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},235879,"yuan-ji-shan-shui-tu-ce-shi-tao-235879","这幅册页诗画合璧，行书题诗萧散俊逸，笔墨间自带林下幽居的清寂意趣。\n\n山水取景奇崛苍润，危崖拔地而起，飞泉挂壁落于溪涧，苍松杂木错落生姿，山居隐于林间烟岚之中，淡墨轻皴写尽丘壑之态。笔底兼具黄山奇峭风神，又融禅意隐逸之思，以简驭繁，将诗中静伴秋雨、枯禅幽栖的心境，铺陈在咫尺画卷里。\n诗境衬着画境，画境晕染诗心，淡远空灵的气韵漫溢纸面，尽显文人画诗画交融的雅致风神。",[24,25,209,7,27,29,177,34,58,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b855edfdb93578bdd513ec9b3f934a.jpg",[],{"id":11312,"slug":11313,"title":11314,"dynasty":18,"author":220,"museum":73,"description":11315,"tags":11316,"thumbUrl":11317,"material":61,"size":61,"collection":61,"collections":11318,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},235841,"lu-zhi-tian-ping-shan-tu-ye-yi-ming-235841","陆治天平山图页","此作左文右图，诗画合璧。右侧绘层岩峻耸，浅绛设色清润柔和，山石勾勒苍秀兼具，山脚水陂萦回，隐见村舍错落其间，远山晕染朦胧杳霭，尽显江南丘壑灵秀清旷之意。远景山峦淡抹轻皴，近景林木屋舍细致清雅，于工写之间晕染出山林幽寂野趣。\n左侧行书题跋笔意舒展流畅，以文述景，将山川形胜娓娓铺陈，把实景奇崛与人文底蕴融于一卷，笔墨间晕开清雅意趣，将江南名山的形神与文人情思相融，淡远空灵，古意悠然。",[24,25,209,28,29,376,328,34,31,33,38,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],{"id":11320,"slug":11321,"title":11322,"dynasty":145,"author":11323,"museum":73,"description":11324,"tags":11325,"thumbUrl":11326,"material":920,"size":921,"collection":61,"collections":11327,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},235449,"hua-xia-tu-zhou-gao-qi-pei-235449","画虾图轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[24,25,57,27,1342,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f336d98863fd6a942bd26ccc3a6825.jpg",[],{"id":11329,"slug":11330,"title":11331,"dynasty":18,"author":11332,"museum":106,"description":11333,"tags":11334,"thumbUrl":11336,"material":722,"size":11337,"collection":61,"collections":11338,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":66},234152,"feng-yuan-dang-xiong-tu-juan-ding-yun-peng-234152","冯媛挡熊图卷","丁云鹏","此图以翠竹、梧桐、椿树、湖石为背景，表现了冯媛挡熊的故事场景。据《汉书•外戚传下•冯昭仪》记载，西汉建昭年间，元帝率左右随从，于后宫观斗兽。突然有熊逸出圈，攀栏欲上殿，冯婕妤冲上前挡熊而立，保护元帝免遭伤害。“冯媛当熊”应为爱君之典。《汉书》卷三十六称“《列女传》凡八篇，以戒天子”。",[23,24,25,26,77,28,79,459,11335,34,35,2009,7,223,38],"熊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83025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蔡襄（112－167），字君谟，原籍仙游枫亭乡东垞村，后迁居莆田蔡垞村，天圣八年（1）进士，先后在宋朝中央政府担任过馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士、三司使、端明殿学士等职，并出任福建路（今福建福州市）转运使，知泉州、福州、开封（今河南开封市）和杭州府事。\n卒赠礼部侍郎，谥号忠。\n主持建造了我国现存年代最早的跨海梁式大石桥——泉州洛阳桥，蔡襄为人忠厚、正真，讲究信义，而且学识渊博，书艺高深，书法史上论及宋代书法，素有“苏、黄、米、蔡”四大书家的说法。\n蔡襄书法以其浑厚端庄，淳淡婉美，自成一体。\n蔡襄传世墨迹有《自书诗帖》、《谢赐御书诗》，以及《陶生帖》《郊燔帖》、《蒙惠帖》墨迹多种，碑刻有《万安桥记》、《昼锦堂记》及鼓山灵源洞楷书 “忘归石、”“国师岩”等珍品。\n已感节候变，物态 。\n那复壮年意，如今多病身。\n净室焚香久，烘炉煮药频。\n神欢百虑解，销尽眼前尘。",[38,7,25,1697,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13fa495c119733907c887b832e87e117.jpg",[],{"id":11385,"slug":11386,"title":11387,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":11388,"thumbUrl":11389,"material":920,"size":921,"collection":61,"collections":11390,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},230285,"tang-sun-ti-shi-zhu-da-230285","唐孙逖诗",[23,24,25,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d7084dd8942d92792c4688b230d5796.jpg",[],{"id":11392,"slug":11393,"title":11394,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":11395,"thumbUrl":11396,"material":920,"size":921,"collection":61,"collections":11397,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},230274,"nei-jing-jing-zhen-ji-7-zhen-zhu-da-230274","内景经真迹7帧-",[23,38,7,1735,58,25,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edada7cd47b23b6ae58f1db52e17f32.jpg",[],{"id":11399,"slug":11400,"title":11401,"dynasty":145,"author":339,"museum":73,"description":11402,"tags":11403,"thumbUrl":11404,"material":61,"size":61,"collection":61,"collections":11405,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},230141,"si-yan-lian-zheng-ban-qiao-230141","四言联","此作用笔纵逸老辣，主体“得大自在”四字雄开张拓，线条提按顿挫尽显朴厚筋骨，带着标志性的“六分半书”意趣，融诸体于一体，打破规整法度，奇崛跌宕。\n\n两侧小字题款灵动流美，与大字形成疏密虚实的鲜明对比，让整幅章法错落和谐，气息贯通无碍。墨色枯湿浓淡相宜，枯笔见苍劲，重墨显沉浑，将书法的形式美感与“得大自在”的禅意抒怀完美相融，尽显作者疏朗超脱的襟怀，把清人尚意抒怀的书法特质挥洒尽致，文气与笔力共生，是极具个人风格的书法精品。",[23,24,25,57,27,2251,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f41e7ff2e617d50d91127a94c018d01.jpg",[],{"id":11407,"slug":11408,"title":1297,"dynasty":91,"author":4351,"museum":73,"description":11409,"tags":11410,"thumbUrl":11411,"material":61,"size":61,"collection":61,"collections":11412,"showCount":140,"zanCount":534,"manualWeight":11,"mainColor":66},228258,"mo-zhu-tu-zhang-yu-228258","此作用淡墨挥写新竹，枝茎瘦劲清健，自斜角逸出，竹叶疏密有致、俯仰生姿，寥寥数笔便将竹的疏朗孤傲尽显。不着浓艳，仅以水墨晕染出君子清拔之态，尽显文人写意画的极简意趣。\n画面搭配题咏诗书，印信点缀其间，诗书画印相融，将竹的霜节高格与作者幽淡襟怀合而为一，以竹喻人、托物言志。浅淡墨痕里藏着林下高致，萧散笔墨间尽是淡泊脱俗的心境，虽是水墨小品，却将文人画借物抒怀的意韵表达尽致，尽显水墨写心的清雅魅力。",[23,56,24,25,27,7,58,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55750a6d6d41cc71996763bb18ed76ba.jpg",[],{"id":11414,"slug":11415,"title":11416,"dynasty":51,"author":11417,"museum":53,"description":11418,"tags":11419,"thumbUrl":11420,"material":407,"size":61,"collection":61,"collections":11421,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},227720,"yun-ding-shan-shi-juan-xue-shao-peng-227720","云顶山诗卷","薛绍彭","薛绍彭行草书《云顶山诗卷》等杂书卷，纸本，26.1x303.5cm。台北故宫博物院藏。\n\n此卷由四帖所组成，含《云顶山诗》、《上清帖》等，其中有诗作有信札，内容都涉及到四川的风物，是薛绍彭在四川作官时与友人倡和之作。云顶山的云顶寺在四川广汉，此作书於建中靖国元年（1101），可知薛绍彭此时已入川為绵州梓潼路漕。上清宫位在四川青城山上，始建於晋代，是著名的道教胜地。左绵山在四川绵阳（今绵阳）北方。诗中“岳王楼”在绵州（今四川绵州东）西北，旧名“岳王台”，唐显庆中，太宗子越王贞為刺史时所建。",[23,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd35e7eb66535a2091fe015b24658a8c.jpg",[],{"id":11423,"slug":11424,"title":11425,"dynasty":51,"author":4273,"museum":73,"description":11426,"tags":11427,"thumbUrl":11428,"material":61,"size":61,"collection":61,"collections":11429,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","中山出游图卷","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[23,24,25,26,78,27,79,693,5094,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":11431,"slug":11432,"title":11433,"dynasty":51,"author":1554,"museum":73,"description":11434,"tags":11435,"thumbUrl":11438,"material":61,"size":61,"collection":61,"collections":11439,"showCount":140,"zanCount":534,"manualWeight":11,"mainColor":46},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,25,26,27,37,58,7,223,29,178,179,1363,11436,11437],"雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":11441,"slug":11442,"title":11443,"dynasty":51,"author":52,"museum":73,"description":11444,"tags":11445,"thumbUrl":11446,"material":61,"size":61,"collection":61,"collections":11447,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},227587,"zao-jiang-tie-huang-ting-jian-227587","糟姜帖","庭坚顿首，承惠糟姜银杏，极感远意，雍酥二斤，青州枣一蔀，漫将怀向之勤，轻渎不罪，庭坚顿首。\n\n《糟姜帖》，又称《承惠帖》，凡5行，37字。无书写时间，从笔法、结体、风格来判断，应是早年所书，大约书于 1086-1093元祐年间。此帖深得张旭、怀素草书飞动洒脱之神韵。用笔紧峭，瘦劲奇崛，气势雄健，结体变化多端。从首行下笔处，便见笔墨自由舒展，至末尾更显随意，可谓心手双畅，臻入化境。此篇手札虽小，而意含万千气象，达到了东坡所谓“少小时须气象峥嵘、彩色绚烂，渐老渐熟，乃造平淡”、“无意于佳乃佳”的境界。",[56,24,25,7,58,1698,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f56cd8e80bf195332966996f270d3b.jpg",[],{"id":11449,"slug":11450,"title":11451,"dynasty":51,"author":220,"museum":73,"description":11452,"tags":11453,"thumbUrl":11455,"material":61,"size":61,"collection":61,"collections":11456,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[23,24,25,26,1594,77,28,29,150,11454,404,10762,38,7,58],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":11458,"slug":11459,"title":11460,"dynasty":145,"author":7738,"museum":73,"description":7739,"tags":11461,"thumbUrl":11463,"material":196,"size":61,"collection":62,"collections":11464,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},223272,"shou-gao-zhen-ji-di-zang-pu-sa-jiu-hua-shan-ying-ji-ji-hong-yi-fa-shi-223272","手稿真迹-地藏菩萨九华山应蹟记",[23,38,7,530,26,1735,58,11462],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff73b63ea74c5c2705758cb2bd5ea5a.jpg",[62],{"id":11466,"slug":11467,"title":11468,"dynasty":18,"author":479,"museum":11469,"description":11470,"tags":11471,"thumbUrl":11472,"material":722,"size":11473,"collection":61,"collections":11474,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},222360,"ye-ting-ai-rui-tu-juan-tang-yin-222360","野亭霭瑞图卷","美国基怀尔","画卷中古木阴郁，霭云布岫，溪流潺潺，山径曲折，一童子负草药归来。右边一茅庐，一老者坐于其间，前方置有笔、砚、纸，略作沉思状。画面发展到左面三分之二处 ，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[23,24,25,26,27,7,38,29,37,33,254,35,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":11476,"slug":11477,"title":11478,"dynasty":18,"author":3424,"museum":3142,"description":11479,"tags":11480,"thumbUrl":11485,"material":196,"size":11486,"collection":61,"collections":11487,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},222319,"xi-yuan-shi-juan-wang-chong-222319","西苑诗卷","《西苑诗》为明代书法家王宠所书，是王宠的行书力作。该作书于1530年，正值王宠盛年。王宠一生极其短暂，写完此书后的第三年就去世了。",[23,7,38,26,1698,11481,29,11482,3373,58,11483,11484],"园林","池沼","疏朗秀雅","明代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350669abdb79a0b55660e6422bb97d35.jpg","25×235cm",[],{"id":11489,"slug":11490,"title":11491,"dynasty":18,"author":11492,"museum":373,"description":11493,"tags":11494,"thumbUrl":11495,"material":1262,"size":11496,"collection":61,"collections":11497,"showCount":140,"zanCount":534,"manualWeight":11,"mainColor":46},222037,"da-mo-zu-tu-juan-dai-jin-222037","达摩祖图卷","戴进","描绘的是禅宗自菩提达摩到六代慧能祖师的形象。图上不同时期的祖师在山洞里、深山里等静谧、清幽之地打座念佛的场景，诠释“佛在心中”的禅悟。卷后有唐寅、祝允明等大家题款。",[23,56,24,25,26,530,79,29,77,28,37,7,254,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911d3d439313053bf137a91abe6661e9.jpg","240x33.8cm",[],{"id":11499,"slug":11500,"title":2042,"dynasty":18,"author":1024,"museum":73,"description":11501,"tags":11502,"thumbUrl":11503,"material":165,"size":11504,"collection":61,"collections":11505,"showCount":140,"zanCount":511,"manualWeight":11,"mainColor":66},221979,"qian-zi-wen-wen-zheng-ming-221979","文徵明小楷《千字文》，嘉靖十四年乙未（1535年）夏四月二十有九日。徵明时年六十六岁书。他的书法温润秀劲，稳重老成，法度谨严而意态生动。\n在众多的书体中，文征明的小楷艺术成就最高，其取法高古，有“小楷名动海内”之誉。\n他小楷初学赵孟俯，后以晋唐小楷为基础，一改元人软弱秀媚之习气，尤其晚年力追魏晋锺、王笔意，力求古朴苍劲，法度严谨，如朱谋垔所言：“深得智永笔法”。其子文嘉评曰: “始亦规摹宋元之撰，既悟笔意，遂悉弃去，专法晋唐，小楷虽自《黄庭》《乐毅》中来，而温纯精绝，虞、褚而下弗论也。”\n纵观其传世作品，虽各阶段书风略显不同，早期形体略扁，起笔尖细，多棱角; 中期如丰坊《书诀》所述: “五十岁以后，因书诰敕，颇兼时体，渐尚整齐”； 晚年则宗法二王，人书俱老，已入化境。\n但却可以看出他一生都沉浸于小楷，正如王世懋云: “衡山先生……时作小楷，多偏锋，太露芒颖，年九十犹作蝇头书，人以为仙。然行笔未免涩强，其最称合作者，以字行后五六十时也。”可见其对小楷的用功极深。",[23,25,38,2031,7,27,196,58,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0979d9d6d2e102a78d798de62745e07.jpg","34×74厘米",[],{"id":11507,"slug":11508,"title":11509,"dynasty":91,"author":11510,"museum":373,"description":11511,"tags":11512,"thumbUrl":11513,"material":330,"size":11514,"collection":61,"collections":11515,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","张渥","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[23,56,24,25,26,27,78,37,38,7,58,29,112,34,1844,30,31,79,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":11517,"slug":11518,"title":11519,"dynasty":51,"author":11520,"museum":53,"description":11521,"tags":11522,"thumbUrl":11523,"material":407,"size":11524,"collection":62,"collections":11525,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":46},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","武元直","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,24,25,26,29,27,37,38,7,3615,2118,32,34,2452,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg","纵50.8厘米，横136.4厘米",[62],{"id":11527,"slug":11528,"title":11529,"dynasty":18,"author":7852,"museum":4480,"description":11530,"tags":11531,"thumbUrl":11532,"material":11533,"size":11534,"collection":61,"collections":11535,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":61},220661,"xing-shu-song-peng-zi-jian-zhi-chu-shi-wang-duo-220661","行书送彭子籛之楚诗","王铎，字觉斯，号嵩樵、烟潭渔叟等，孟津（今河南孟津）人。明朝天启二年（1622）进士，先后于明崇祯朝、南明弘光朝及清顺治朝为官，累官至礼部尚书、大学士等，死后谥文安。此幅行书挂轴写于清顺治三年（1647），书五言律诗《送彭子籛之楚》赠予前辈张端（字天柱）。\n\n王铎好诗文，有「文唯昌黎，诗惟少陵而已」之论。其诗宗杜甫，尤爱五律，此应与晚明出现的杜诗热有关。王铎《拟山园集》所收录的诗歌，就以五律居多，多见学杜诗沉郁顿挫的格调。此《送彭子籛之楚》即可见其学杜之风。彭子籛即彭而述，明崇祯进士，河南邓州人，入清后转侍清廷。顺治初年，调任湖南，王铎因而写诗送行以表不舍与祝福。王、彭两人本是同乡，又同于明末避走战乱，经历生死，成为至交，故诗中有「昔年同患难」之句。该诗未收入王铎的《拟山园集》，却记录了王、彭两人的交往情谊，为研究王铎的交游提供了参考资料。\n\n王铎因降清，被视为「贰臣」，传统以来对其人品颇有微言，但书法成就却为世称道。他书宗二王，参学米芾，且一生不曾间断临习《淳化阁帖》，终能自出抒机，尝自评书艺「五十自化」。此轴书于五十五岁，正入化境：笔画粗拙，字体方折欹侧，大气淋漓中流露王米的书学渊源。值得留意的是，明代因建筑宏大，像这种长逾两米的大尺幅挂轴开始流行。据载，王铎因难在桌案上书写长作品，常令仆人在两头拉绢，自己在一侧书写。因此，字行时常如本幅所见歪斜摆动，却营造出跌宕气势和节奏。面对如此大绢幅，依然写得流畅有力，其功力之深可以想见。",[24,25,57,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b7c529d2a52a163aaba46af45ba11c.jpg","水墨,绫本,立轴","画心：235.2 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吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。",[24,25,57,27,58,2251,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1c846cf7899990640b1874b2d333b4.jpg",[62],{"id":11663,"slug":11664,"title":11665,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":11666,"thumbUrl":11667,"material":61,"size":61,"collection":62,"collections":11668,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},239721,"zhang-zhou-wen-shi-chi-du-ce-zhi-tai-xue-shao-xi-wen-wen-tie-wen-zheng-ming-239721","长洲文氏尺牍册-致太学少溪闻问帖",[25,38,209,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8907891c275c343bda4bc9f20d352bce.jpg",[62],{"id":11670,"slug":11671,"title":11672,"dynasty":145,"author":220,"museum":73,"description":11673,"tags":11674,"thumbUrl":11675,"material":61,"size":61,"collection":61,"collections":11676,"showCount":11560,"zanCount":511,"manualWeight":11,"mainColor":46},239712,"chang-fu-gou-tian-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-juan-yi-ming-239712","常福钩填戏鸿堂刻柳公权兰亭诗卷","此作为钩填摹本，以柳公权笔意为骨，复刻戏鸿堂刻本风神。行草笔墨爽利挺劲，柳体方硬筋骨隐于牵丝映带间，既存唐楷法度端严，又不失兰亭诗的萧散雅韵。\n\n卷间题跋鉴印层叠排布，朱墨交错晕染古意。橙黄隔水衬以素纸，将旧刻金石气晕化为纸本笔墨的温润质感，摹刻兼融，一卷之中藏尽刻本与摹本的双重意趣，悠悠承载兰亭雅集的传世文脉，尽显复刻古帖时的细腻用心，让旧刻风神于纸卷间焕然新生。",[23,38,26,7,58,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c3569d8bc488425c5319948d0a7076.jpg",[],{"id":11678,"slug":11679,"title":11680,"dynasty":91,"author":7217,"museum":73,"description":11681,"tags":11682,"thumbUrl":11684,"material":920,"size":921,"collection":61,"collections":11685,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},238958,"huo-lang-tu-ye-li-sheng-238958","货郎图页","李升，元代画家。字子云，号紫筼生。濠梁(今安徽凤阳)人。晚年居青浦(今属上海)淀山湖畔，筑草堂，人称“谪仙”。",[56,24,28,79,209,7,58,266,11683],"货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0347df0cf3e06e28d69f0995ea9d966e.jpg",[],{"id":11687,"slug":11688,"title":11689,"dynasty":145,"author":4100,"museum":73,"description":4743,"tags":11690,"thumbUrl":11691,"material":920,"size":921,"collection":42,"collections":11692,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":66},238536,"chun-jing-shan-shui-ce-qian-wei-cheng-238536","春景山水册",[24,25,209,27,7,29,254,36,237,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6372a28c538b6e9ca7385ebf67324e3.jpg",[42],{"id":11694,"slug":11695,"title":4036,"dynasty":145,"author":2704,"museum":73,"description":2705,"tags":11696,"thumbUrl":11697,"material":920,"size":921,"collection":61,"collections":11698,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},238483,"hua-hui-tu-ce-jiang-ting-xi-238483",[24,25,209,28,77,210,177,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7c146fba81e1ea57b650c23d6b3165.jpg",[],{"id":11700,"slug":11701,"title":11702,"dynasty":145,"author":11703,"museum":73,"description":11704,"tags":11705,"thumbUrl":11707,"material":920,"size":921,"collection":125,"collections":11708,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},237706,"qiu-sui-hua-niao-ce-qiu-sui-237706","裘穟花鸟册","裘穟","清，钱塘(今杭州)人。焕子，艺术家，代表作《图绘宝鉴续纂》等。",[24,25,209,28,77,7,58,210,82,1068,11706],"枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c711f99e8ebe27be62a1b260c9970c.jpg",[125,155],{"id":11710,"slug":11711,"title":11712,"dynasty":18,"author":881,"museum":73,"description":11713,"tags":11714,"thumbUrl":11715,"material":61,"size":61,"collection":62,"collections":11716,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},237492,"zhang-gan-she-li-ge-tu-zhou-dong-qi-chang-237492","长干舍利阁图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖） 。 颇能诗文，著有《画禅室随笔》《容台文集》等。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[24,25,57,27,37,7,29,150,34,35,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[62],{"id":11718,"slug":11719,"title":857,"dynasty":18,"author":205,"museum":373,"description":10552,"tags":11720,"thumbUrl":11721,"material":9334,"size":10555,"collection":61,"collections":11722,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},237439,"hua-hui-ce-xiang-sheng-mo-237439",[24,25,209,28,77,7,58,210,119,4149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf592fb900225f870b4311f0ff219a0.jpg",[],{"id":11724,"slug":11725,"title":11726,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":11728,"thumbUrl":11729,"material":920,"size":921,"collection":61,"collections":11730,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},236813,"mo-zhu-shan-ye-sun-ke-hong-236813","墨竹扇页","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[24,2579,27,112,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631b59634d6881d5c6668c1f12868788.jpg",[],{"id":11732,"slug":11733,"title":11734,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":11735,"thumbUrl":11736,"material":920,"size":921,"collection":61,"collections":11737,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},235269,"wen-zheng-ming-zhu-shi-shan-ye-wen-zheng-ming-235269","文徵明竹石扇页",[24,25,2579,27,112,328,120,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6186efbb9a6f3d103b50c388b1fb58e8.jpg",[],{"id":11739,"slug":11740,"title":11741,"dynasty":145,"author":2177,"museum":106,"description":11742,"tags":11743,"thumbUrl":11744,"material":722,"size":11745,"collection":61,"collections":11746,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,56,24,25,26,27,37,7,1014,38,58,29,376,884,377,33,36,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":11748,"slug":11749,"title":11750,"dynasty":145,"author":5850,"museum":106,"description":5851,"tags":11751,"thumbUrl":11752,"material":165,"size":61,"collection":61,"collections":11753,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},234111,"hua-hong-li-jiao-shi-ming-qin-shi-yi-juan-zhang-zong-cang-234111","画弘历蕉石鸣琴诗意卷",[24,25,26,28,29,33,34,3407,36,3210,58,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b204362fe8e043dbf4856d2c360dfbc.jpg",[],{"id":11755,"slug":11756,"title":11757,"dynasty":91,"author":11758,"museum":106,"description":11759,"tags":11760,"thumbUrl":11761,"material":243,"size":11762,"collection":61,"collections":11763,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":66},233786,"mo-zhu-po-shi-tu-zhou-gao-ke-gong-233786","墨竹坡石图轴","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。”",[24,27,57,112,177,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创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,25,26,28,77,79,29,30,31,33,254,897,117,403,11791,1470,7],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":11795,"slug":11796,"title":11797,"dynasty":18,"author":11492,"museum":73,"description":11798,"tags":11799,"thumbUrl":11800,"material":920,"size":921,"collection":61,"collections":11801,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,24,25,26,530,79,29,27,28,37,38,7,58,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":11803,"slug":11804,"title":11805,"dynasty":18,"author":19,"museum":73,"description":11806,"tags":11807,"thumbUrl":11808,"material":920,"size":921,"collection":61,"collections":11809,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,24,25,26,29,28,27,37,7,58,376,377,193,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":11811,"slug":11812,"title":11813,"dynasty":18,"author":5999,"museum":73,"description":11814,"tags":11815,"thumbUrl":11816,"material":61,"size":61,"collection":61,"collections":11817,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[23,24,25,26,27,29,112,34,31,58,7,1014,37,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":11819,"slug":11820,"title":11821,"dynasty":51,"author":8799,"museum":73,"description":11822,"tags":11823,"thumbUrl":11824,"material":61,"size":61,"collection":61,"collections":11825,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},227761,"shu-han-wen-gao-quan-juan-zhu-xi-227761","书翰文稿(全卷)","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n\n朱熹行草《书翰文稿》卷，此卷分为前后两段，前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米。此卷中部分内容为：“老拙衰病，幸未即死；但脾胃终是怯弱，饮食小失节，便觉不快。兼作脾泄挠人，目疾则尤害事，更看文字不得也。”又：“我者是亦似矣。然反身而诚，乃物格知至以后之事，言其穷理之至，无所不尽。故凡天下之理，反求诸身，皆有以见其如目视、耳听、手持、足行之事，毕具于此。”这里所说主要是修身养性及日常之事，心态平和，徐徐道来。\n\n该作品后有元、明两代共有十一位书画家的题识跋浯，内容包括朱熹画像。",[23,56,24,25,26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165c1f3f4c3ffb316f2d335641b0d856.jpg",[],{"id":11827,"slug":11828,"title":11829,"dynasty":71,"author":2724,"museum":527,"description":11830,"tags":11831,"thumbUrl":11832,"material":61,"size":61,"collection":61,"collections":11833,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},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”。",[23,38,680,7,26,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230b293c4212ad01d0e3e459b678bbfa.jpg",[],{"id":11835,"slug":11836,"title":11837,"dynasty":51,"author":52,"museum":53,"description":11838,"tags":11839,"thumbUrl":11841,"material":61,"size":61,"collection":61,"collections":11842,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},227593,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227593","致景道十七使君尺牍","黄庭坚《致景道十七使君尺牍》宋人袁立儒、范成大题跋 台北故宫博物院藏\n\n释文：谿翁續得山谷題前定錄等八詩。小黠大癡螳捕蟬二篇居其中。遺趙景道者小字。送李伯牖者大字。予兼而有之。於好古博雅。不曰徒費光陰矣。寶祐甲寅（1254）中秋日書。\n\n光風轉蕙。汎崇蘭些。此山谷先生小楷氣象。石湖居士題。",[25,38,7,1698,58,1697,353,11840],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465efcfbc458110c943d303f10caf8c3.jpg",[],{"id":11844,"slug":11845,"title":11846,"dynasty":51,"author":220,"museum":73,"description":11847,"tags":11848,"thumbUrl":11849,"material":61,"size":61,"collection":61,"collections":11850,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},227344,"nan-tang-wen-hui-tu-yi-ming-227344","南唐文会图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[23,24,25,28,77,79,29,34,1467,1468,7,38,266,4252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a6e27647f006a060beabf4f36b4ffa.jpg",[],{"id":11852,"slug":11853,"title":10070,"dynasty":145,"author":8923,"museum":73,"description":11214,"tags":11854,"thumbUrl":11855,"material":920,"size":921,"collection":61,"collections":11856,"showCount":11560,"zanCount":534,"manualWeight":11,"mainColor":1787},224437,"shu-fa-dui-lian-he-shao-ji-224437",[38,2251,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa19723fa203ce6b93cc4b22740314ff7.jpg",[],{"id":11858,"slug":11859,"title":11860,"dynasty":145,"author":7738,"museum":73,"description":7739,"tags":11861,"thumbUrl":11862,"material":196,"size":61,"collection":61,"collections":11863,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":932},223273,"li-shu-tong-shou-gao-zhen-ji-chang-sui-fo-xue-hong-yi-fa-shi-223273","李叔同手稿真迹-常随佛学",[23,38,26,27,530,1735,2031,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1edd59dc08725e49bb546ea1fdf4492e.jpg",[],{"id":11865,"slug":11866,"title":11867,"dynasty":145,"author":11868,"museum":53,"description":11869,"tags":11870,"thumbUrl":11871,"material":7180,"size":11872,"collection":42,"collections":11873,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},222805,"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[23,24,25,57,28,29,37,7,58,7011,445,34,32,33,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","99.4x48.3cm",[42,155],{"id":11875,"slug":11876,"title":11877,"dynasty":18,"author":7852,"museum":73,"description":11878,"tags":11879,"thumbUrl":11880,"material":196,"size":61,"collection":62,"collections":11881,"showCount":11560,"zanCount":534,"manualWeight":11,"mainColor":46},222531,"li-he-shi-tie-wang-duo-222531","李贺诗帖","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[23,38,7,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fa1710ac29f4310f484eeb559b23ee.jpg",[62],{"id":11883,"slug":11884,"title":11885,"dynasty":18,"author":3161,"museum":11886,"description":11887,"tags":11888,"thumbUrl":11889,"material":165,"size":11890,"collection":61,"collections":11891,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":66},222482,"xing-kai-luo-shen-fu-juan-zhu-yun-ming-222482","行楷洛神赋卷","上海朵云轩","跋 者断为祝四十岁左右师古之作，有一定道理。观其 点画、结体，《兰亭》意味极浓，又有钟法存乎其 间，淳厚典雅，参以赵孟頫，然变化多致；其行笔 从容不迫，笔笔到位，一派君子之风。此类前贤师 古之作对我们今天学书法者极有借鉴价值。\n祝允明（1460——1526）明代重要书 家，字希哲，号枝山。生而枝指，又号枝指生。长 洲（今江苏苏州）人。与徐祯卿、唐寅、文徵明 号称吴中四才子。以举人授兴宁令，稍迁应天府 通判，未几乞归。书法受外祖父徐有贞和岳父李 应祯指点，上自张芝、钟繇、二王、索靖、智永， 下迄唐宋元之虞世南、欧阳询、张旭、怀素、苏 轼、黄庭坚、米芾、赵孟頫等无不用心。其书法无 论真、草，法度森严，全以力胜。其真行以元常、 王羲之为宗，借鉴于赵孟頫，写得古厚蕴藉；草 书法乳于二王，犹得力于山谷，其点画长戈大戟， 生辣厚重，力量更在山谷之上。祝允明草书名世， 为二王、旭素、山谷后最重要的草书家，一是草 法纯正，二是有鲜明个性特征。读他的草书大作， 奔腾如虬蛇的点画，汹涌如大河的气势促人振 奋，有很强的感招力。这种情形是斤斤于艺事，追 求优雅闲适的书家所难以梦见的境界。草贵气 势，祝允明草书正以气势胜，但他草中之点画分 明，毫无苟且之处，犹如作真。他是一位杰出的 入古以出新者，他在《奴书订》中说：『觚筦士 有「奴书」之论，亦自昔兴，吾独不解此。艺家 一道，庸讵缪执至是，人间事理，至处有二乎哉？ 为圆不从规，拟方不按矩，得乎？自粗归精，既 据妙地，少自翔异，可也。必也革其故而新是图， 将不故之并亡，而第新也与。故尝谓自卯金当涂， 底于典午，音容少殊，神骨一也。沿晋游唐，守 而勿失。今人但见永兴匀圆，率更劲瘠，郎邪雄 沉，诚悬强毅，与会稽分镳，而不察其为祖宗本 貌自粲如也（帖间固存）。迩后皆然，未暇遑计。 赵室四子，莆田恒守惟肖，襄阳不违典刑；眉、豫 二豪，啮羁蹋靮，顾盼自得。观者昧其所宗：子 瞻骨干平原，股肱北海，被服大令，以成完躯。鲁 直白云得长沙三昧。诸师无常而具在，安得谓果 非陪臣门舍耶？而后人泥习耳聆，未尝神访，无 怪执其言而失其旨也。遂使今士举为秘谈，走也 狂简，良不合契，且即肤近。为君谋之，绘日月 者，心规圆而烜丽，方而黔之，可乎？啖必谷，舍 谷而草，曰谷者「奴餐」，可乎?学为贤人必法 渊赐；晞圣者必师孔。违洙泗之衺曲，而曰为孔、 顏者「奴贤」、「奴圣」者也，可乎？』反映了 他这一思想。\n之所以说祝允明书法是一个伟大的未成品， 是因为他的书法仍以『实』称，虚境未全现，而 由实入虚、虚实相生是书道之至境。今人徒务虚 而涉谈境界者，常会轻视他的重于法度，直如只 欲得花，而不知花本生于根与枝叶也．",[23,38,2041,2031,7,26,353,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406c903a42458b570f3fc10f0d8d774d.jpg","纵20.1cm，横161cm",[],{"id":11893,"slug":11894,"title":11895,"dynasty":18,"author":11896,"museum":106,"description":11897,"tags":11898,"thumbUrl":11899,"material":542,"size":11900,"collection":61,"collections":11901,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},222427,"san-tuo-tu-li-shi-da-222427","三驼图","李士达","《三驼图》绘三个驼背的老者，一提篮侧顾，一向提篮者作揖，一拍手大笑，三人形象滑稽，笑态可掬。画家以驼者之间的相互戏谑，来讽喻“世上无直人”。衣纹用“浑描”，须发皆不见钩勒痕迹，笔墨圆润，柔若无骨，可见作者高度的笔墨造型功力。其上方有钱允治诗云：“张驼提盒去探亲，李驼遇见问缘因；赵驼拍手呵呵笑，世上原来无直人。”点明了此幅的讽世主题。李士达的此画如钱允治的题诗一样，将民间歌谣形之于画图，带有通俗而又诙谐的情调。",[23,24,25,57,27,78,79,58,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bc90e03e64b2e24f32eaba2b927d55.jpg","纵78.5厘米，横30.3厘米",[],{"id":11903,"slug":11904,"title":11905,"dynasty":18,"author":1024,"museum":73,"description":11906,"tags":11907,"thumbUrl":11908,"material":165,"size":11909,"collection":62,"collections":11910,"showCount":11560,"zanCount":534,"manualWeight":11,"mainColor":46},222013,"qian-zi-wen-quan-juan-wen-zheng-ming-222013","千字文全卷","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[23,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d71153f24ac240045c29a0c4ff8888.jpg","31厘米x284厘米",[62],{"id":11912,"slug":11913,"title":11914,"dynasty":18,"author":1391,"museum":53,"description":11915,"tags":11916,"thumbUrl":11918,"material":96,"size":11919,"collection":61,"collections":11920,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},218179,"chun-xiao-tu-2-chou-ying-218179","纯孝图-2","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[24,25,77,28,79,693,81,1885,11917,36,7,34],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffeae386b6ebd4cb012fe42050fa7b4.jpg","32.8x21.9",[],{"id":11922,"slug":11923,"title":11924,"dynasty":702,"author":1854,"museum":73,"description":1855,"tags":11925,"thumbUrl":11926,"material":123,"size":61,"collection":61,"collections":11927,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},218169,"da-qian-kuang-tu-ce-9-zhang-da-qian-218169","大千狂涂册-9",[24,25,209,27,7,37,29,34,293,79,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc9e44d039f57472f130362d8701ab2.jpg",[],{"id":11929,"slug":11930,"title":11931,"dynasty":91,"author":286,"museum":53,"description":6737,"tags":11932,"thumbUrl":11933,"material":123,"size":61,"collection":61,"collections":11934,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":46},216374,"mo-zhu-pu-ce-15-wu-zhen-216374","墨竹谱册-15",[24,25,209,27,112,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db1dad1e02d4bd4f9e4002f3a1ba303.jpg",[],{"id":11936,"slug":11937,"title":11938,"dynasty":9895,"author":11939,"museum":20,"description":11940,"tags":11941,"thumbUrl":11942,"material":61,"size":61,"collection":125,"collections":11943,"showCount":11560,"zanCount":534,"manualWeight":11,"mainColor":11944},202812,"shi-liu-hua-tu-zhou-chen-shi-ceng-202812","石榴花图轴","陈师曾","虬枝以焦墨挥写，苍劲中见灵动，石榴果实饱满沉实，设色淡雅却含蕴成熟的暖意，叶片寥寥数笔，意到即止。左侧行书题跋笔势流畅，与朱红印章相映成趣，诗书画印浑然一体。画面不刻意追摹细节，却以写意之笔捕捉石榴的鲜活神韵，仿佛能触到果皮的纹理，嗅到果实的清甜，尽显文人画的雅致与生机，于简淡中藏着醇厚的生活情味。",[24,25,57,28,210,211,7,58,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7af6a211d0d84f32de5d2bb51e17055.jpg",[125],"dfdbd1",{"id":11946,"slug":11947,"title":11948,"dynasty":145,"author":11949,"museum":20,"description":11950,"tags":11951,"thumbUrl":11952,"material":61,"size":61,"collection":61,"collections":11953,"showCount":11560,"zanCount":11,"manualWeight":11,"mainColor":11954},201848,"yue-mei-tu-zhou-hang-shi-jun-201848","月梅图轴","杭世骏","水墨绘就的梅枝横斜逸出，老干皴擦见苍劲，新梢勾勒显挺秀，白花以淡墨点染或留白示意，苞蕾欲放，绽花含露，姿态各异。一轮明月悬于枝间，素净无华，清辉与梅影交织，漾出幽寂清旷的氛围。右侧及下方的行书题跋笔意流畅，墨韵生动，与梅花、明月相映成趣，印章朱红点缀，更添雅致。整幅作品笔墨简淡却意境悠远，梅的孤高与月的清寒相融，尽显文人画诗书画印合一的韵致，传递出雅士的高洁情怀。",[24,27,111,402,7,58,57,1068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73b2f1738ba627b0d9144c68df69391.jpg",[],"c8b69d",{"id":11956,"slug":11957,"title":11958,"dynasty":51,"author":349,"museum":73,"description":11959,"tags":11960,"thumbUrl":11962,"material":920,"size":921,"collection":61,"collections":11963,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[680,38,57,7,11961],"孔子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb404946e7ef6a6d318e2c24934936e2d.jpg",[],{"i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），字崇如，号石庵，山东诸城 人，清代政治家、书法家，首席军机大臣刘统勋长子。\n乾隆十六年（1751年），考中进士，先后历任安徽学政、江苏学政、太原知府、冀宁道台、江宁知府、江西盐驿道、陕西按察使、内阁学士、湖南巡抚。乾隆四十七年（1782年）初调入京师后，历任都察院左都御史、工部尚书兼吏部尚书、吏部尚书兼兵部尚书、协办大学士兼吏部尚书。尚书房总师傅、管理国子监事务大臣等职。官至吏部尚书、体仁阁大学士、太子太保。刘墉以为官清廉著称，深得百姓信赖，早在任江宁知府时就获赞誉 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图》，《烟岚窠石图》各二幅。",[24,56,29,431,38,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d06dfcc696c5dd85402e98745a0a984.jpg",[],{"id":12019,"slug":12020,"title":12021,"dynasty":145,"author":220,"museum":73,"description":12022,"tags":12023,"thumbUrl":12025,"material":920,"size":921,"collection":61,"collections":12026,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":66},288230,"hua-niao-tu-yi-ming-288230","花鸟图","整卷铺陈四时清景，以没骨晕染花卉，工细勾勒禽鸟神形。左首老梅虬枝缀雪，群雀顾盼生姿，竹影横斜衬出幽寂；继而牡丹柔瓣含露，艳而不俗，荆棘穿插添就野趣；再见异花绮丽，红白相映，顽石苔痕自生古意；末了春桃绽蕊，幽禽独立枝梢，静中含动。\n\n题跋书法与绘事相映，笔墨晕染春日清和雅韵，将花木禽鸟的生机雅致融于长卷，尽显写生传神的悠然意趣，是雅致清妍的花鸟佳作。",[23,24,25,26,77,28,210,6246,1444,115,117,119,12024,8892,7],"竹枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1fed4095a95d1cd12f57590df46b43.jpg",[],{"id":12028,"slug":12029,"title":12030,"dynasty":91,"author":2262,"museum":73,"description":12031,"tags":12032,"thumbUrl":12040,"material":920,"size":921,"collection":61,"collections":12041,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},288158,"qiu-jiang-dai-du-qian-xuan-288158","秋江待渡","画面中间部分是辽阔的江面，空阔邈远，远处乃是绵延不绝的群山。近处，红树一簇，树下有几人引颈眺望，而江面上隐隐约约有一叶小舟，那就是待渡者的希望。江面空阔，小舟缓缓，似渺然难见，它和人急迫的等待之间构成强大的情绪张力。正是眼前渺渺秋江阔，隔岸扁舟发棹迟。",[23,56,24,26,25,29,28,77,12033,32,12034,82,12035,12036,1363,12037,12038,7,58,12039,9213],"秋江","丹枫","水岸","村居","斜阳","寒林","待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ea90e2472344b5a66a2202ee6516b3.jpg",[],{"id":12043,"slug":12044,"title":12045,"dynasty":145,"author":6306,"museum":73,"description":6307,"tags":12046,"thumbUrl":12047,"material":920,"size":921,"collection":61,"collections":12048,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},288027,"ji-gu-mei-hua-shi-fu-shan-288027","集古梅花诗",[38,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697fdf534e19e9af2a38d1f1b39f2e67.jpg",[],{"id":12050,"slug":12051,"title":12052,"dynasty":51,"author":526,"museum":73,"description":6125,"tags":12053,"thumbUrl":12055,"material":920,"size":921,"collection":61,"collections":12056,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},287657,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-287657","万方职贡图全卷",[23,56,24,25,26,27,289,38,7,2031,58,12054],"历史题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12fa9c4c1d20df1573091eadb23d1cc.jpg",[],{"id":12058,"slug":12059,"title":12060,"dynasty":18,"author":881,"museum":73,"description":7358,"tags":12061,"thumbUrl":12064,"material":920,"size":921,"collection":61,"collections":12065,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},287385,"luo-shen-fu-shu-hua-he-bi-juan-shou-juan-dong-qi-chang-287385","洛神赋书画合璧卷手卷",[23,26,3687,25,38,7,5832,654,12062,58,80,12063],"神话人物","抒情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f190c9c6dafc6a2436407bd792cb11.jpg",[],{"id":12067,"slug":12068,"title":12069,"dynasty":18,"author":881,"museum":73,"description":7358,"tags":12070,"thumbUrl":12075,"material":920,"size":921,"collection":61,"collections":12076,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":66},283744,"lin-yan-zhen-qing-pei-jiang-jun-shi-juan-dong-qi-chang-283744","临颜真卿裴将军诗卷",[23,38,26,76,7,56,25,693,12071,10821,12072,12073,12074],"兔","天山","征战","将军","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ccec36f7144f94b8f77de5415ac21c.jpg",[],{"id":12078,"slug":12079,"title":12080,"dynasty":18,"author":881,"museum":53,"description":12081,"tags":12082,"thumbUrl":12088,"material":407,"size":921,"collection":61,"collections":12089,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},283715,"lin-mi-fei-wu-jiang-chui-hong-ting-zhu-tie-juan-dong-qi-chang-283715","临米芾吴江垂虹亭诸帖卷","此卷董氏节临米芾《垂虹亭诗帖》《蜀素帖》等，文字稍异。其用笔跌宕，寓颜于米，八面出锋，使转鲜明。“己酉”为1609年，董其昌时年55岁，正值其醉心宋四家尤其取法米芾阶段。",[23,38,26,7,76,352,58,1363,12083,12084,12085,2142,12086,12087],"西山","书院","黄菊","江波","樵人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28692f024e7de5bdc3b7b4593ed0b1f6.jpg",[],{"id":12091,"slug":12092,"title":12093,"dynasty":145,"author":220,"museum":73,"description":12094,"tags":12095,"thumbUrl":12096,"material":61,"size":61,"collection":62,"collections":12097,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":1787},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。",[38,7,76,680,58,209,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e19709cea513b71ce2fe7509ce25dfc.jpg",[62],{"id":12099,"slug":12100,"title":12101,"dynasty":91,"author":440,"museum":73,"description":12102,"tags":12103,"thumbUrl":12104,"material":196,"size":61,"collection":62,"collections":12105,"showCount":128,"zanCount":534,"manualWeight":11,"mainColor":66},241459,"san-zha-juan-zhao-meng-fu-241459","三札卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[56,24,25,26,27,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3242edbe22a43498a5e6b3ae99217475.jpg",[62],{"id":12107,"slug":12108,"title":12109,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":12110,"thumbUrl":12111,"material":920,"size":921,"collection":61,"collections":12112,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},240868,"wu-gu-shi-zhou-zhu-da-240868","五古诗轴",[3383,38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1775b61b5757903e980ee83d7395ede5.jpg",[],{"id":12114,"slug":12115,"title":12116,"dynasty":145,"author":6358,"museum":73,"description":12117,"tags":12118,"thumbUrl":12119,"material":920,"size":921,"collection":62,"collections":12120,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},240290,"shu-zha-ce-lin-ze-xu-240290","书札册","林则徐（1785年8月30日－1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[25,38,209,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9261725c6f352b4da59444ba8901ae6d.jpg",[62],{"id":12122,"slug":12123,"title":12124,"dynasty":91,"author":4351,"museum":106,"description":12125,"tags":12126,"thumbUrl":12127,"material":7,"size":12128,"collection":62,"collections":12129,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":66},239663,"ti-hua-shi-tie-ye-zhang-yu-239663","题画诗帖页","释文：\n清才绝似王摩诘，爱向高堂写雪山。华盖洞中如屋里，赤栏桥外是人间。琼楼只许飞仙住，珠树应留织女攀。莫信寒泉伤玉趾，最宜清暑听潺湲。怪底朝寒云气浓，卷帘金翠出芙蓉。似倾三峡龙门雪，为洗明星玉女峰。玄豹藏来深雾雨，绿阴缺处小房栊。拟求许郭仙人宅，知隔琼华第几重。\n右题张彦辅画《雪山楼观》、《云林隐居》二图。雨。\n又书小字:\n四月廿六日晚，雨试笔，天镜、拙庵此时偃卧清凉室中，小龙了在天年袖中矣。\n钤“张雨私印”、“句曲外史张天雨印”。\n卷后有郑元祐题诗，罗天池题名，南郭翁书法。其中南郭翁书法一段与《题画诗帖》没有必然联系。卷前沈曾植隶书引首“诗留画味”。明周天球题诗及画像皆伪。\n文中“张彦辅”为元至正时人，号六一道士，居北京，善画山水。\n卷后郑元祐诗题中有“可怜斯人头已白”句，可知是张雨晚年的作品。《题画诗帖》书法清劲流利，舒放而又雍容，多具变化，又颇有些峻厉狂怪。张雨早年书法受赵孟頫影响，后得《茅山碑》，其书遂变，故此题字画清遒，染有唐人风格。张雨此件有双胞作品，美国大都会藏有另一本，无跋。两者比较，故宫为摹本，大都会为书写本，应是真迹。",[23,2237,38,7,27,28,79,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd04fe9c729e96af896681562a76f4.jpg","纵29.3厘米，横148.5厘米",[62],{"id":12131,"slug":12132,"title":12133,"dynasty":51,"author":220,"museum":73,"description":12134,"tags":12135,"thumbUrl":12136,"material":61,"size":61,"collection":61,"collections":12137,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},239660,"mi-fei-bai-zhong-yue-ming-shi-tie-juan-yi-ming-239660","米芾拜中岳命诗帖卷","此作用笔纵宕爽利，欹侧奇崛又不失沉稳，笔锋提按转合间牵丝映带，尽显随性潇洒的意趣。行书线条粗细变化自然，墨色润燥相生，将刷书的独特风神淋漓展现。\n\n诗文心境旷远静穆，和书法的逸气相融，笔墨间漫出脱尘的雅韵。整卷鉴藏朱印累累，与墨色相互映衬，晕开时光沉淀的厚重质感，尽显这件法书名迹的不凡价值与绝代风华。",[23,38,7,26,58,352,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f476a5fc1f672ebcd26a550f6bf3c.jpg",[],{"id":12139,"slug":12140,"title":12141,"dynasty":51,"author":11417,"museum":106,"description":12142,"tags":12143,"thumbUrl":12144,"material":12145,"size":12146,"collection":62,"collections":12147,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":638},239641,"da-nian-tie-ye-xue-shao-peng-239641","大年帖页","释文：\n绍彭启：多日廷中不得少款为慊。晴和，想起居佳安。二画久假，上还，希检收。许借承晏、张遇墨，希示一观，千万，千万！承晏若得真完，虽《异热帖》亦可易。更俟续布，不具。绍彭再拜，大年太尉执事。廿八日。\n此帖名也作《晴和帖》。\n这是一封与藏友谈论藏品观摩与交流事宜的书信。信中首先提到归还两幅久借的绘画，然后表示希望借观对方所藏制墨名家李承晏、张遇所制名墨。并云李承晏墨如是完整的真品，愿以自藏王羲之《异热帖》与之交换。信的上款“大年太尉”，据考证应是北宋宗室、名画家赵令穰。\n此帖行笔圆健，结字安详，从容不迫，深得“二王”遗韵，是薛氏的代表作品。上钤“贞元”、“绍兴”等半印，裱工钤“许子仙鉴定印”“许烈之印”“孔氏季修”“受青”等印。\n《寓意编》、《铁网珊瑚》、《式古堂书画汇考》、《平生壮观》等书著录。",[38,7,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F906b52ab4e543f0ab50096f3290f53fe.jpg","纸本，草书","纵25.1厘米，横34.8厘米",[62],{"id":12149,"slug":12150,"title":12151,"dynasty":91,"author":893,"museum":106,"description":12152,"tags":12153,"thumbUrl":12155,"material":12156,"size":12157,"collection":62,"collections":12158,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":66},239633,"xing-dan-shi-shi-zhou-ni-zan-239633","行淡室诗轴","释文：\n欲写新诗尘满几，味我迂言淡如水。白云淡淡何从来，来伴我（此字点去）孤吟北窗里。酒味甘浓易变酸，世情对面九疑山。白云且结无情友，明月幽禽与往还。八月廿日过宗道云栖楼，命余赋子安淡室诗，因赋。是日疏雨生凉，山光满几，殊有幽兴也。瓒。\n无题跋。鉴藏印钤有清“润州戴植字培之鉴藏书画章”印一方。\n《淡室诗》是倪瓒为友人“宗道”所书的一首七律诗。诗中寄托了他避世索居、与白云幽禽为伴的心境。\n此书是倪瓒存世这是一件彰显作者个性的书法作品，以立轴形式装裱在当时是比较少见的。此件楷书运笔俊峭，取法初唐楷书而兼有隶意，韵致高古，结字章法更打破楷书均衡取势之态，颇显生动飘逸的特点。据书风判断应为其晚年之作。",[57,7,38,27,402,1885,5927,12154],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9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(明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[24,25,209,28,210,7,58,116,119,1172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8945201ff343213f536ecf7426aece95.jpg",[],{"id":12235,"slug":12236,"title":12237,"dynasty":18,"author":220,"museum":73,"description":12238,"tags":12239,"thumbUrl":12241,"material":920,"size":921,"collection":61,"collections":12242,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},234970,"qian-gu-hou-chi-bi-tu-shan-ye-yi-ming-234970","钱穀后赤壁图扇页","此作用泥金扇面为底，左畔危岩崚嶒，以硬朗线条勾勒山石轮廓，淡墨皴擦出嶙峋肌理，枯木虬枝错杂，苍劲尽显萧索秋意。右方留白作平湖，汀渚隐现，淡墨晕染远山，空濛悠远，暗合赤壁夜游的清旷之境。边角小字题款，书画相映，笔墨简澹却意韵悠长，将初冬泛舟的幽寂旷达，凝缩在咫尺扇面间，尽显文人山水的隐逸意趣，古雅沉静，余味悠然。",[2579,24,25,27,37,29,774,2452,292,12240,38,7],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72bfe96b7ed4a3d63fff780dbb8b03a.jpg",[],{"id":12244,"slug":12245,"title":12246,"dynasty":18,"author":12247,"museum":106,"description":12248,"tags":12249,"thumbUrl":12250,"material":243,"size":61,"collection":61,"collections":12251,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},234242,"shan-shui-juan-sun-zhi-234242","山水卷","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,26,27,28,37,38,7,29,178,292,3617,34,36,254,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":12253,"slug":12254,"title":12255,"dynasty":91,"author":3875,"museum":106,"description":12256,"tags":12257,"thumbUrl":12258,"material":243,"size":12259,"collection":61,"collections":12260,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":66},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,25,56,27,29,30,31,34,35,37,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":12262,"slug":12263,"title":12264,"dynasty":145,"author":10971,"museum":206,"description":10973,"tags":12265,"thumbUrl":12266,"material":12267,"size":12268,"collection":61,"collections":12269,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},232896,"ju-shi-tu-zhao-zhi-qian-232896","菊石图",[24,25,2579,28,27,109,210,121,177,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd190ad7341a8baac238ac32249ed8e.jpg","设色纸本","17×54厘米",[],{"id":12271,"slug":12272,"title":12273,"dynasty":51,"author":52,"museum":206,"description":12274,"tags":12275,"thumbUrl":12276,"material":196,"size":12277,"collection":61,"collections":12278,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},232814,"di-zhu-ming-quan-juan-huang-ting-jian-232814","砥柱铭全卷","黄庭坚《砥柱铭》，行书。此卷长八米，抄录唐代魏征《砥柱铭》，全文六百多字。黄庭坚大字行书凝练有力，结构独特，是北宋书坛杰出的代表，与苏轼、米芾、蔡襄并称“宋四家”。\n天津美术学院美术史系教授刘金库指出，《砥柱铭》在宋代时为王厚之、南宋权相贾似道收藏，是贾似道收藏的“黄庭坚双璧”之一；入明则为著名收藏家项元汴所藏，在明代鉴赏家张丑的《真迹日录》中著录，明天顺年间归黄庭坚十一世族孙黄洵（字公直）所藏；入清则为项源、伍元蕙、罗天池等有名藏家所藏，后从广东流入日本，为日本有邻馆收藏，此后被一个台湾收藏家购得，最终，在时隔915年之后，现身于北京。并于2010年6月3日被拍出了中国艺术品成交记录——3.9亿元，加上12%的佣金，总成交价4.368亿元。",[23,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beded5450133e161e889393e118a59d.jpg","此卷长八米",[],{"id":12280,"slug":12281,"title":12282,"dynasty":91,"author":220,"museum":1685,"description":12283,"tags":12284,"thumbUrl":12285,"material":165,"size":12286,"collection":61,"collections":12287,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},232803,"xiang-ma-tu-juan-shui-jing-gong-dao-ren-fang-han-gan-yi-ming-232803","相马图卷(水精宫道人仿韩干)","明人王世贞曾说：“文人画起自东坡，至松雪敞开大门。”这句话基本上客观地道出了赵孟頫在中国绘画史上的地位。无论是研究中国绘画史，还是研究中国文人画史，赵孟頫都是一个不可绕开的关键人物。如果说，唐宋绘画的意趣在于以文学化造境，而元以后的绘画意趣更多地体现在书法化的写意上，那么，赵孟頫在其间起到了桥梁作用。如果说，元以前的文人画运动主要表现为舆论上的准备，元以后的文人画运动以其成功的实践逐步取代正规画而演为画坛的主流，那末，引发这种变化的巨擘仍是赵孟頫。",[23,24,25,26,28,76,79,693,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1e492db706ac5af78cddf44ad061db.jpg","30.5x102.9厘米",[],{"id":12289,"slug":12290,"title":12291,"dynasty":51,"author":52,"museum":73,"description":12292,"tags":12293,"thumbUrl":12294,"material":61,"size":61,"collection":61,"collections":12295,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},232793,"shi-yi-zheng-mu-zhi-ming-huang-ting-jian-232793","史翊正墓志铭","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。",[38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8159859da97a876c2336d4e81f25bfca.jpg",[],{"id":12297,"slug":12298,"title":6055,"dynasty":454,"author":643,"museum":2079,"description":12299,"tags":12300,"thumbUrl":12301,"material":61,"size":61,"collection":61,"collections":12302,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":66},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。",[38,7,680,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65146d8761030d660bbf3ac73afadf05.jpg",[],{"id":12304,"slug":12305,"title":12306,"dynasty":145,"author":2487,"museum":73,"description":12307,"tags":12308,"thumbUrl":12309,"material":196,"size":12310,"collection":61,"collections":12311,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},231546,"xun-mei-tu-wang-shi-shen-231546","寻梅图","汪士慎（1686-约1762），清代书画家、篆刻家。字近人，号巢林、溪东外史、左盲生、天都寄客，安徽歙县人，一作安徽休宁人，流寓江苏扬州。精篆刻、隶书，擅画花卉，尤擅画梅，笔墨疏落清劲，气清而神腴，墨淡而趣足，具有秀润恬静之致，与李方膺“铁干铜皮”形成鲜明对比。与金农、华品山等友善，为扬州八怪之一。\n汪士慎极爱梅花，擅长画梅竹，工于篆刻与八分书。人们评论他的梅竹说：“宠梅念竹有真意，剪水断冰无俗痕。”汪士慎跟金农、高翔、罗聘，被时人称为四大画梅高手。\n这幅《梅花》清淡秀雅，瘦劲姿媚，让我们看到了他画梅花的独特风格。汪士慎留世的梅花作品，其枝、花并不太繁，而以疏朗清瘦见长，给人一种疏影潇洒、冷香四溢的感觉。",[23,24,25,57,27,38,7,58,111,1576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebaace359b8eb216fa28c0c02b7b725.jpg","63x160厘米",[],{"id":12313,"slug":12314,"title":12315,"dynasty":91,"author":2262,"museum":73,"description":12316,"tags":12317,"thumbUrl":12319,"material":61,"size":61,"collection":61,"collections":12320,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},231481,"qie-zi-tu-ye-qian-xuan-231481","茄子图页","宋元间湖州吴兴人，字舜举，号玉潭，又号巽峰、霅川翁、清臞老人。幼有文名。宋景定间乡贡进士。入元不仕。工书，善画人物花木。尤善作折枝，其得意者，自赋诗题之。",[56,24,25,1244,28,77,12318,7,58],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d9d4102a916a0108a8d95ed82deeb.jpg",[],{"id":12322,"slug":12323,"title":12324,"dynasty":51,"author":5050,"museum":73,"description":12325,"tags":12326,"thumbUrl":12327,"material":920,"size":921,"collection":61,"collections":12328,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},230898,"zi-shu-shi-cai-xiang-230898","自书诗","蔡襄（1012年3月7日－1067年9月27日），字君谟。兴化军仙游县唐安乡连江里青泽亭境蔡坑（今福建省仙游县枫亭镇九社村蔡坑自然村）人。北宋名臣，书法家、文学家、茶学家。\n宋仁宗天圣八年（1030年），蔡襄登进士第，先后任馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士等职，在朝为谏官时，以直言著称。后数度外出，历知泉州、福州、开封府事。宋英宗即位后正授三司使，再以端明殿学士出知杭州。治平四年（1067年），蔡襄逝世。累赠少师，谥号“忠惠”。\n蔡襄为官正直，所到之处皆有政绩。在福州时，去民间蛊害；在泉州时，与卢锡共同主持建造洛阳桥；在建州时，倡植福州至漳州七百里驿道松，主持制作北苑贡茶“小龙团”。所著《茶录》总结了古代制茶、品茶的经验；《荔枝谱》则被称赞为“世界上第一部果树分类学著作”。蔡襄的诗文清妙，书法浑厚端庄，淳淡婉美，自成一体，为“宋四家”之一。有《蔡忠惠集》等传世。",[23,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e90b7b0597277a3f428e13c7a06decb.jpg",[],{"id":12330,"slug":12331,"title":12332,"dynasty":51,"author":10746,"museum":73,"description":12333,"tags":12334,"thumbUrl":12335,"material":61,"size":61,"collection":61,"collections":12336,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},230891,"tu-mu-tie-li-jian-zhong-230891","土母帖","《宋李建中书谘册》是宋代时期李建中创作的书法作品。\n所示要土母。\n今得一小笼子。\n封全谘送。\n不知可用否。\n是新安门所出者。\n复未知何所用。\n望批示。\n春冬衣历头。\n贤郎未捡到。\n其宅地基尹家者。\n根本未分明。\n难商量耳。\n见别访寻稳便者。\n若有成见宅子又如何。\n细希示及。\n（押字）。\n谘。\n孙号西行少车。\n今有旧车。\n如到彼不用。\n可货却也。\n北宋初期的 ，承袭唐人的传统，以丰肥为美。\n李建中是北宋初期的书法名家，他的书法骨肉停匀，神气清秀，对宋代书家有很深的影响。\n除了黄庭坚曾以“肥而不剩肉”的世间美女赞誉他的字之外，《宋史》本传中，也称赞他“行笔尤工，多构新体，草、隶、篆、籀、八分亦妙”。\n这幅作品又名“ ”，是李建中存世墨迹的代表作。\n天下十大行书之一， 排第十。\n作品中，字的结体紧密而修长，用笔沉着而丰腴。\n虽写的是行书，但起笔、收笔处仍见严谨的楷法笔意，可看出不少唐人书法的特质。\n此外，由于尺牍内提及“新安门”，地近洛阳，所以推测这是李建中晚年居住在洛阳时所写。\n李建中（945—11年），字得中，自称岩夫民伯，京兆（陕西西安）人，北宋初年著名书家。\n进士，曾官曹、解、颖、葵四州刺史，进金部员外郎。\n因掌西京留司御台史，世称“李西台”。\n《宋史》本传称他：“善书札，行笔尤工，多构新体，草、隶、篆籀、八分亦妙。\n人多摹习，争取以为楷法。\n”",[56,24,25,38,352,7,1698,196,353,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b80d16fd2eded94b4ea57e1d1a647b.jpg",[],{"id":12338,"slug":12339,"title":12340,"dynasty":18,"author":1024,"museum":73,"description":12341,"tags":12342,"thumbUrl":12343,"material":61,"size":61,"collection":61,"collections":12344,"showCount":128,"zanCount":511,"manualWeight":11,"mainColor":46},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[23,24,25,26,78,27,2031,7,38,1735,58,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":12346,"slug":12347,"title":12348,"dynasty":18,"author":19,"museum":73,"description":12349,"tags":12350,"thumbUrl":12351,"material":61,"size":61,"collection":61,"collections":12352,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,25,26,27,29,30,31,32,33,82,34,38,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":12354,"slug":12355,"title":1390,"dynasty":18,"author":1391,"museum":73,"description":12356,"tags":12357,"thumbUrl":12361,"material":61,"size":61,"collection":61,"collections":12362,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":66},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,26,77,28,25,38,7,29,79,693,34,12358,30,12359,12360],"旗帜","道路","队伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":12364,"slug":12365,"title":12366,"dynasty":18,"author":5970,"museum":527,"description":12367,"tags":12368,"thumbUrl":12369,"material":61,"size":61,"collection":61,"collections":12370,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,24,25,26,28,29,38,7,37,34,292,178,8216,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":12372,"slug":12373,"title":12374,"dynasty":51,"author":12375,"museum":73,"description":12376,"tags":12377,"thumbUrl":12378,"material":61,"size":61,"collection":61,"collections":12379,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","赵光辅","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[23,56,24,25,26,530,28,77,79,58,38,2009,2031,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":12381,"slug":12382,"title":12383,"dynasty":145,"author":1982,"museum":53,"description":12384,"tags":12385,"thumbUrl":12386,"material":407,"size":61,"collection":61,"collections":12387,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":638},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,24,25,289,28,37,58,38,7,29,34,2142,150,192,194,2452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":12389,"slug":12390,"title":12391,"dynasty":145,"author":387,"museum":73,"description":12392,"tags":12393,"thumbUrl":12395,"material":61,"size":61,"collection":61,"collections":12396,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},224293,"gu-bai-ling-xiao-tu-li-shan-224293","古柏凌霄图","画面中古柏躯干虬曲苍劲，枯笔皴擦尽显饱经风霜的古拙质感。凌霄柔蔓盘绕其上，丹色花朵娇妍明媚，刚柔相映，勾勒出盎然生机。下方湖石奇崛嶙峋，侧锋挥写出嶙峋肌理，石畔幽兰素花轻绽，添了几分清雅柔润。\n笔墨刚柔并济，古木的坚拙与花草的灵秀相融，再辅以题诗错落排布，诗画相映，将文人的清雅意趣寄寓其间，尽显写意花鸟的灵动神韵，生机古意交织成雅致盎然的庭间景致。",[23,24,25,57,28,109,37,7,58,210,81,177,12394],"凌霄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330a94e92eb6ad613697bf518f9e4fc9.jpg",[],{"id":12398,"slug":12399,"title":12400,"dynasty":145,"author":12401,"museum":12402,"description":12403,"tags":12404,"thumbUrl":12405,"material":61,"size":12406,"collection":463,"collections":12407,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":66},224146,"yu-qu-yuan-zhi-zheng-wen-chao-xin-zha-yu-yue-224146","俞曲园致郑文焯信札","俞樾","美国华盛顿国立美术馆","俞樾（1821年12月25日—1907年2月5日），字荫甫，自号曲园居士，浙江省德清县城关乡南埭村人。清末著名学者、文学家、经学家、古文字学家、书法家。现代诗人俞平伯的曾祖父，章太炎、吴昌硕、日本井上陈政皆出其门下。清道光三十年（1850年）进士，曾任翰林院编修。\n俞樾后受咸丰皇帝赏识，放任河南学政，被御史曹登庸劾奏“试题割裂经义”，因而罢官。遂移居苏州，潜心学术达40余载。治学以经学为主，旁及诸子学、史学、训诂学，乃至戏曲、诗词、小说、书法等，可谓博大精深。海内及日本、朝鲜等国向他求学者甚众，尊之为朴学大师。所著凡五百余卷，称《春在堂全书》。除《群经平议》五十卷、《诸子平议》五十卷、《茶香室经说》十六卷、《古书疑义举例》七卷外，其《第一楼丛书》三十卷、《曲园俞楼杂纂》共百卷。《清史稿》有传。\n俞樾是晚清有影响的学者。他长于经学和诗词、小说、戏曲的研究，所作笔记搜罗甚广，包含有中国学术史和文学史的珍贵资料。善诗词，工隶书，学识渊博，对群经诸子、语文训诂、小说笔记，撰著颇丰，一生著述不倦，主要著述有《小浮梅闲话》《右台仙馆笔记》《茶香室杂钞》等，辑为《春在堂全书》，凡500卷。\n在通俗小说方面的重要贡献是修改《三侠五义》，使这部小说得以广泛流传。赵景深在1956年1月所作的《三侠五义》前言中说：《三侠五义》原名《忠烈侠义传》，出现于光绪五年（1879）。1889年俞樾初见此书，认为第一回狸猫换太子“殊涉不经”，便参考《宋史》和《默记》等加以删改；他还认为书中所叙不只三侠，“南侠、北侠、丁氏双侠、小侠艾虎，则已得五侠矣。而黑妖狐智化者，小侠之师也；小诸葛沈仲元者，第一百回中盛称其从游戏中生出侠义来。然则此两人非侠而何？即将柳青、陆彬、鲁英等人概置不数，而已得七侠矣。”就改名为《七侠五义》，与《三侠五义》并行流传。这里反映了俞樾关于小说的学术观，可供历史小说创作的参考。\n他对小说的艺术研究也很精湛，赵景深又说，俞樾对于这书的评话特性也有极 好的比喻：“事迹新奇，笔意酣恣，描写既细入毫芒，点染又曲中筋节。正如柳麻子说《武松打店》，初到店内无人，蓦地一吼，店中空缸空甏皆瓮瓮有声；闲中着色，精神百倍。如此笔墨，方许作评话小说；如此评话小说，方算得天地间另一种笔墨。”如果有人写一部《中国俗小说史》，不可不能提到俞樾。",[23,38,7,11840,58,196,3383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc4e7907f81b8c51ce121fce1b550ae.jpg","30x135",[463],{"id":12409,"slug":12410,"title":12411,"dynasty":145,"author":1464,"museum":53,"description":12412,"tags":12413,"thumbUrl":12415,"material":28,"size":12416,"collection":61,"collections":12417,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","五星二十八宿神形图","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 轸。",[23,3383,77,28,78,7,58,76,79,693,459,530,5833,38,9609,12414,2238],"神形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":12419,"slug":12420,"title":12421,"dynasty":145,"author":8545,"museum":53,"description":12422,"tags":12423,"thumbUrl":12424,"material":12425,"size":12426,"collection":61,"collections":12427,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},222861,"hua-shi-ba-xue-shi-tu-juan-sun-hu-222861","画十八学士图卷","孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。\n周鲲字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。\n丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[24,25,26,28,77,7,58,81,34,445,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070705f270ed15cd0e1471e60583dd9b.jpg","設色,青綠,描金","39×1138.2",[],{"id":12429,"slug":12430,"title":12431,"dynasty":18,"author":12432,"museum":106,"description":12433,"tags":12434,"thumbUrl":12435,"material":722,"size":12436,"collection":61,"collections":12437,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":66},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","钱谷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,24,26,28,77,25,7,2031,58,150,34,12240,30,31,36,1471,897,113,4775,11481,1121,800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":12439,"slug":12440,"title":12116,"dynasty":18,"author":1024,"museum":106,"description":4930,"tags":12441,"thumbUrl":12442,"material":196,"size":12443,"collection":62,"collections":12444,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},221950,"shu-zha-ce-wen-zheng-ming-221950",[23,25,38,209,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb98a0722d4406013accd71a7a1c5c.jpg","10×23.7cm",[62],{"id":12446,"slug":12447,"title":12448,"dynasty":51,"author":12449,"museum":106,"description":12450,"tags":12451,"thumbUrl":12453,"material":1262,"size":12454,"collection":62,"collections":12455,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},221679,"shen-gui-tu-juan-quan-juan-zhang-gui-221679","神龟图卷全卷","张珪","图左上自题“隨駕張珪”，下钤“畫”字等二印。后纸有明人题记一则，年款为“成化二十一年乙巳秋九月望日，熏沐頓首謹跋”。又钱士叔题记。钤“奎章”、“天”、“曆”、“項子京家珍藏”等鉴赏印多方。\n龟在古代为祥瑞之兽，与麟、凤、龙并称“四灵”，外加白虎，又称“五瑞”。此图右下临水沙滩上绘乌龟一只，仰首，口中喷出一股云气，祥云中现出一轮红日，日中有“”字。衬景是广阔的水面和沙丘，使画面平添了神秘感。此图用笔工整细腻，龟之甲纹描画得一丝不苟。构图简洁，设色妍美，画风近院体，为张珪传世孤本。\n清内府《石渠宝笈·初编》著录。",[23,24,25,26,77,28,7,58,12452,29],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd296cbd2ee2bc4e71a513f75b25a7f07.jpg","纵26.5厘米，横53.3厘米",[62],{"id":12457,"slug":12458,"title":11821,"dynasty":51,"author":8799,"museum":373,"description":12459,"tags":12460,"thumbUrl":12462,"material":196,"size":12463,"collection":62,"collections":12464,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},221568,"shu-han-wen-gao-quan-juan-zhu-xi-221568","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n朱熹书法追慕钟、王，注重法度。此卷看似信手而出，运笔迅疾，实则不事雕琢，无意求工，深具功力，独见自然之美。\n在笔法上，此《书翰文稿》卷善用中锋，运转沉着顺畅，入笔藏锋隐芒，绝无狂躁之迹，行气连贯，不刻意工整，风格洒脱自然，文与质、文与道互为表里。",[23,56,24,25,26,7,2031,38,58,12461],"文稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17845e2d30b7a63446a2e48fd4c53ce4.jpg","前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米",[62],{"id":12466,"slug":12467,"title":12468,"dynasty":51,"author":8799,"museum":106,"description":12469,"tags":12470,"thumbUrl":12472,"material":196,"size":12473,"collection":62,"collections":12474,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,7,38,26,353,58,376,884,495,1636,3977,33,328,1949,121,120,11357,404,9084,9085,116,494,113,1951,12471,4186,112,111],"海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[62],{"id":12476,"slug":12477,"title":12478,"dynasty":18,"author":12479,"museum":991,"description":12480,"tags":12481,"thumbUrl":12482,"material":123,"size":12483,"collection":306,"collections":12484,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},220093,"luo-han-tu-juan-wu-xin-dao-ren-220093","罗汉图卷","无心道人","无心道人（公元16一17世纪中）明僧人，陕西终南人，弃儒为僧，明末清初画家，法名无心，自号无心道人，\n生卒年不详。\n善山水、人物，尤擅佛像。\n人物形神刻画潇洒生动，线条遒劲酣畅，笔墨放纵苍泽。\n王锋谓其善山水、诸尊者像，有古法，有操物外权者，果尽书画伦也耶。\n传世作品有《罗汉图》卷，纸本，墨笔，纵279厘米，横1666厘米，卷首款署七十八增无心道人书于马宅花园寂住。",[23,24,25,26,530,79,29,27,78,38,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbcb99a70ef886fc35dc60ca9b27bbd5.jpg","纵279厘米，横1666厘米",[306],{"id":12486,"slug":12487,"title":12488,"dynasty":18,"author":19,"museum":3491,"description":12489,"tags":12490,"thumbUrl":12491,"material":123,"size":12492,"collection":306,"collections":12493,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},219622,"gao-xian-jian-bie-tu-shen-zhou-219622","高贤饯别图","此作为书画合卷，前段行书长札笔力苍劲老辣，笔墨朴拙醇厚，信中铺陈故旧饯别往还，文辞质朴真挚，将江南文人的温厚交谊娓娓道来。\n后段山水以淡墨写意，浅设色晕染出江南暮春风物，林亭错落，烟波澹荡，将临别缱绻心绪融于咫尺尺幅。整卷书卷气沛然，叙事抒情与笔墨意趣相融无间，尽显吴门文人间酬唱寄情的风雅日常，笔墨间漫溢出平和温厚的文人品格，是文心与画境相映的绝佳范本。",[24,25,26,27,28,79,7,38,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5aa41795e30a32b8269de302bb1eed6.jpg","纵26.5横162.7厘米",[306],{"id":12495,"slug":12496,"title":12497,"dynasty":51,"author":220,"museum":53,"description":12498,"tags":12499,"thumbUrl":12502,"material":96,"size":12503,"collection":125,"collections":12504,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":46},218730,"yun-long-shan-que-tu-yi-ming-218730","筠笼山雀图","这幅画描绘了两只小鸟在笼子里和笼子外玩耍的情景，笔触沉重，笼子的结构处理得很差，钱的形式是艺术家的印章 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文作品。",[23,24,26,289,76,27,28,37,178,1309,444,36,3373,194,82,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":12578,"slug":12579,"title":12580,"dynasty":18,"author":881,"museum":73,"description":7358,"tags":12581,"thumbUrl":12583,"material":920,"size":921,"collection":61,"collections":12584,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},283735,"fang-ju-ran-shan-shui-tu-juan-yu-chen-ji-ru-shu-hua-he-juan-dong-qi-chang-283735","仿巨然山水图卷（与陈继儒书画合卷）",[38,7,25,26,29,328,113,7556,402,12582],"夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4537fa29e0be2b7d2ebc9141d08537.jpg",[],{"id":12586,"slug":12587,"title":12588,"dynasty":71,"author":760,"museum":73,"description":917,"tags":12589,"thumbUrl":12591,"material":920,"size":921,"collection":61,"collections":12592,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},283637,"pin-you-ai-huo-kong-shi-zhong-you-xuan-san-tie-wang-xi-zhi-283637","频有哀祸、孔侍中、犹悬三帖",[23,38,7,1014,352,12590],"哀伤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22abba4f45a09ee811a15732747acb4.jpg",[],{"id":12594,"slug":12595,"title":12596,"dynasty":145,"author":220,"museum":73,"description":12597,"tags":12598,"thumbUrl":12599,"material":61,"size":61,"collection":62,"collections":12600,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":1787},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。",[680,38,7,1014,58,352,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff49fe4a6b22c0b2e9328feb544c825.jpg",[62],{"id":12602,"slug":12603,"title":12604,"dynasty":51,"author":220,"museum":73,"description":12605,"tags":12606,"thumbUrl":12607,"material":61,"size":61,"collection":463,"collections":12608,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":66},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。",[38,680,352,76,7,3321,223,1014,2031,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56713702ae43d86bbafcf427d11eb645.jpg",[463],{"id":12610,"slug":12611,"title":12612,"dynasty":145,"author":1523,"museum":73,"description":7508,"tags":12613,"thumbUrl":12614,"material":920,"size":921,"collection":61,"collections":12615,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},241670,"lin-su-shi-qian-zi-wen-juan-qian-long-241670","临苏轼千字文卷",[23,25,26,76,38,7,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4f5b943233bb337a9fa87703d3b5d1.jpg",[],{"id":12617,"slug":12618,"title":12619,"dynasty":145,"author":276,"museum":73,"description":12620,"tags":12621,"thumbUrl":12622,"material":542,"size":12623,"collection":62,"collections":12624,"showCount":12532,"zanCount":534,"manualWeight":11,"mainColor":46},240890,"jin-nong-guan-hua-qi-yan-shi-zhou-jin-nong-240890","金农观画七言诗轴","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等",[38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f5b18909b66f906de484dbe17c3bcb.jpg","纵131.3cm ，横59.1cm",[62],{"id":12626,"slug":12627,"title":12628,"dynasty":145,"author":339,"museum":73,"description":12629,"tags":12630,"thumbUrl":12631,"material":196,"size":61,"collection":62,"collections":12632,"showCount":12532,"zanCount":534,"manualWeight":11,"mainColor":46},240602,"zheng-xie-shi-zhou-zheng-ban-qiao-240602","郑燮诗轴","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。 代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。”\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n②峰石图:郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。",[38,7,58,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434cdb4e2ed64e8239b9850672b71425.jpg",[62],{"id":12634,"slug":12635,"title":12636,"dynasty":18,"author":7082,"museum":8590,"description":12637,"tags":12638,"thumbUrl":12639,"material":196,"size":61,"collection":62,"collections":12640,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},240050,"shi-gao-ce-cheng-jia-sui-240050","诗稿册","程嘉燧（1565～1643）明代書畫家、詩人。字孟陽，號松圓、偈庵，又號松圓老人、松圓道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，釋名海能。南直隸徽州府休寧縣（今安徽休寧）人，應試無所得，僑居嘉定，折節讀書，工詩善畫，通曉音律，與同裏婁堅、唐時升，並稱“練川三老”。謝三賓合三人及李流芳詩文，刻為《嘉定四先生集》，有《浪淘集》。",[25,209,7,58,111,2207,376,1636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c210a8ad98f709920c7948536772e2.jpg",[62],{"id":12642,"slug":12643,"title":12644,"dynasty":145,"author":324,"museum":106,"description":12645,"tags":12646,"thumbUrl":12648,"material":61,"size":61,"collection":62,"collections":12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。元朝官员、学者、诗人，南宋左丞相虞允文五世孙。\n虞集自少受家学，曾随名儒吴澄游学。元成宗大德初年，被举荐为大都路儒学教授，历任国子助教、博士等。元仁宗时，迁集贤殿修撰，除授翰林待制。元文宗时，累官至奎章阁侍书学士、通奉大夫。元宁宗驾崩后，称病返回临川。至正八年（1348年），虞集去世，年七十七。获赠江西行中书省参知政事、护军、仁寿郡公，谥号“文靖”。\n虞集素负文名，与揭傒斯、柳贯、黄溍并称“元儒四家”；诗与揭傒斯、范梈、杨载齐名，并称“元诗四大家”。曾领修《经世大典》，著有《道园学古录》《道园遗稿》等。",[23,38,26,7,58,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f83d15da8d44635581f70c9dc234c8.jpg",[62],{"id":12660,"slug":12661,"title":12662,"dynasty":145,"author":12663,"museum":73,"description":12664,"tags":12665,"thumbUrl":12666,"material":920,"size":921,"collection":61,"collections":12667,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},239481,"qiu-hua-tu-wan-shan-lian-xi-239481","秋花图纨扇","莲溪","此帧团扇布局疏密有致，湖石侧峙稳住画面重心，将红枫、黄菊错落排布。菊瓣淡描晕染，舒展柔婉，尽现清寒里盛放之姿；枫叶设色秾丽鲜亮，与黄花翠叶形成冷暖对照，鲜活耐看。湖石以水墨写意皴擦，兼工带写间尽显随性洒脱，笔墨兼具写生之真与写意之趣。\n左侧行书题款清雅疏朗，朱红印鉴点缀其间，书画印相映成趣。整体氤氲着晚秋清寂又明艳的诗意，将花木傲霜之态跃然绢上，暗合文人淡泊自持的襟怀，尽显灵动雅致的传统花鸟审美意趣。",[24,2579,28,210,77,121,177,2142,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd2fadc75dbee1a2a72d834478b1581.jpg",[],{"id":12669,"slug":12670,"title":2604,"dynasty":145,"author":3179,"museum":73,"description":12671,"tags":12672,"thumbUrl":12673,"material":61,"size":61,"collection":42,"collections":12674,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},239325,"shan-shui-ce-cha-shi-biao-239325","此作用淡墨晕染江天，留白铺就悠远空濛之境。岸畔垂柳依依轻拂水面，三两渔舟泛于烟波之上，尽显江南春日出尘之致。笔致松秀简淡，摒弃繁复皴擦，以极简笔墨勾勒出萧散清远的山水意趣。\n\n左侧行书题诗与画意呼应，笔墨温润舒展，诗书与绘事相得益彰，文气盎然。整幅作品将文人画简淡天真的审美意趣尽显无遗，把春日春江的静穆柔婉融于尺幅之间，淡而弥永，余韵悠长，尽显隐逸安然的林下之风。",[24,25,209,7,27,37,29,32,290,34,3302,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9afb62b36cf20a64628c29321c4312.jpg",[42],{"id":12676,"slug":12677,"title":12678,"dynasty":51,"author":12679,"museum":73,"description":12680,"tags":12681,"thumbUrl":12682,"material":920,"size":921,"collection":61,"collections":12683,"showCount":12532,"zanCount":534,"manualWeight":11,"mainColor":46},238561,"mu-dan-chun-man-tu-ye-li-cong-xun-238561","牡丹春满图页","李从训","杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[56,24,25,2579,2351,77,28,7,58,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a16f8bd6480230e81b4a3f4a60ff8f6.jpg",[],{"id":12685,"slug":12686,"title":4360,"dynasty":51,"author":220,"museum":73,"description":12687,"tags":12688,"thumbUrl":12689,"material":61,"size":61,"collection":61,"collections":12690,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":66},238128,"luo-shen-tu-juan-yi-ming-238128","此作用苍古笔墨铺展川山林壑，晨日悬于崖巅，凌波洛神在水一方，衣袂翩跹回望，对岸侍从簇拥车驾，尽是怅然伫立的惘然。\n\n整卷将辞赋里的缱绻离思融于山水之间，人物意态传神，布景疏密相宜，山石皴擦朴拙苍劲，林木蓊郁幽深，把洛水之别欲留不得的哀婉，晕染在荒寂的川泽烟岚中，尽显古风雅韵，将文辞里的缥缈深情化为可视的丹青愁绪。",[24,25,26,28,77,37,58,7,79,29,34,2452,292,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2387f98ad2c240c9075e91a659cd6878.jpg",[],{"id":12692,"slug":12693,"title":12694,"dynasty":18,"author":12695,"museum":73,"description":12696,"tags":12697,"thumbUrl":12698,"material":920,"size":921,"collection":168,"collections":12699,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},237017,"mo-mei-ce-shen-hao-237017","墨梅册","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,25,209,27,7,58,111,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0ca65ea98fd5f3298cad75afd81b2a.jpg",[168,125],{"id":12701,"slug":12702,"title":12703,"dynasty":18,"author":1169,"museum":73,"description":4147,"tags":12704,"thumbUrl":12705,"material":920,"size":921,"collection":61,"collections":12706,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},236518,"mo-ju-shan-ye-chen-chun-236518","墨菊扇页",[24,25,2579,27,3083,210,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa8094773a549a15b7aa0ff8fdec3c7.jpg",[],{"id":12708,"slug":12709,"title":12710,"dynasty":145,"author":12711,"museum":73,"description":12712,"tags":12713,"thumbUrl":12715,"material":61,"size":61,"collection":42,"collections":12716,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":66},236426,"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》。",[24,25,57,28,79,693,12714,82,1885,29,58,38,7],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[42,168,62],{"id":12718,"slug":12719,"title":12720,"dynasty":145,"author":12721,"museum":73,"description":12722,"tags":12723,"thumbUrl":12726,"material":61,"size":61,"collection":61,"collections":12727,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},235997,"hua-guo-tu-ping-zhou-shu-xi-235997","花果图屏","周淑禧","《周淑禧周淑祜花果图屏》是清代周淑禧、周淑祜合绘的一幅画。\n周淑祜与周淑禧为书画家周荣起的长女和次女。\n此为两姐妹合绘的花果四条屏，每幅均钤“江上女子”与“祜禧合图”印。\n条屏分绘乳柑子、猕猴桃、枇杷和柿子，每幅上均裱有对此种花果的文字介绍，其中两幅下裱有收藏者补题的周淑禧、周淑祜的小传。\n此屏在选材方面自出机杼，巧妙地捕捉到花果的特性，具有女性绘画细腻的特色。\n设色浓重妍丽，继承了文徵明传派的画法，用笔精细工整，一丝不苟，将花果描绘得富有生趣，可爱诱人。\n周氏姊妹传世作品很少，此件作品双姝合璧，甚为难得。",[24,25,28,77,12724,12725,7,38,58],"花果","猕猴桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa215492358992d0a7c64b8deb738e66.jpg",[],{"id":12729,"slug":12730,"title":10922,"dynasty":145,"author":12731,"museum":73,"description":12732,"tags":12733,"thumbUrl":12734,"material":61,"size":61,"collection":42,"collections":12735,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},235895,"shan-shui-tu-ce-guan-quan-235895","官铨","此作以干笔积墨绘山居小景，近岸乱石错落，平田晕着淡墨天光，茂林掩映间茅舍隐现，林叶以点簇堆叠，苍苍莽莽，尽显深幽林下的清寂意趣。\n\n笔墨沉厚朴拙，以密皴铺陈山石林木，墨色干湿互济，淡晕田块与浓墨林梢相映，糅合出温润苍润的质感。左侧题书笔意纵逸，与山水静穆形成动静相生的妙趣，文画呼应，将丘壑藏于尺幅间，暗合幽居忘世的林下襟怀，尽显以笔写心的文人雅逸品格。",[24,25,209,27,37,7,29,377,35,31,30,625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e9011e0c250b9fb2f2e0483defd6da.jpg",[42],{"id":12737,"slug":12738,"title":12739,"dynasty":145,"author":12740,"museum":73,"description":12741,"tags":12742,"thumbUrl":12743,"material":61,"size":61,"collection":61,"collections":12744,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},235857,"qiu-shan-tu-ye-fan-qi-235857","秋山图页","樊圻","此作用笔简秀清雅，以淡墨晕染出空濛烟霭，远山隐没在寒雾之中，只留浅淡轮廓，尽显秋日山空的疏寂。近景枯木虬枝错落，苍劲古拙，板桥横跨浅溪，石畔秋意萧索，寥寥数笔便勾勒出深秋山林的清冷之态。\n\n对页题诗与画意呼应，书画合璧，将荒寒淡远的林泉逸趣烘托尽致。淡彩轻敷，留白写意，铺陈出澹泊宁和的山水诗意，仿佛将人带入清寂幽远的秋日丘壑，沉浸式感受这份沉静内敛的古韵幽情，尽显文人山水的清雅意致。",[24,25,209,27,29,774,177,237,1885,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673113de5c7f14f0084268c94e28ccf.jpg",[],{"id":12746,"slug":12747,"title":4036,"dynasty":145,"author":959,"museum":73,"description":4037,"tags":12748,"thumbUrl":12749,"material":920,"size":921,"collection":61,"collections":12750,"showCount":12532,"zanCount":534,"manualWeight":11,"mainColor":46},235704,"hua-hui-tu-ce-zou-yi-gui-235704",[56,24,25,209,77,28,210,669,1172,1576,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F642a32b506aca4f5b3fdd8c65965b3b9.jpg",[],{"id":12752,"slug":12753,"title":12754,"dynasty":145,"author":146,"museum":73,"description":12755,"tags":12756,"thumbUrl":12757,"material":61,"size":61,"collection":61,"collections":12758,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},235468,"mo-ju-zhou-huang-shen-235468","墨菊轴","以泼墨写意挥写丛菊，老干挺劲欹斜，花枝向上舒展，墨色浓淡铺陈，层次分明。花瓣以大块墨晕点染，间用枯笔勾出细劲筋脉，苍润交织，将寒菊傲霜绽放之态尽显笔端。\n\n右上角草书题款跌宕疏放，笔墨与野菊的朴拙刚健呼应相合，诗画相融，尽显疏放雅致的文人意趣。整幅以简驭繁，以水墨氤氲传递出菊花孤高清绝的品格，把画者疏狂随性的性情与凌霜佳卉的风骨融为一体，尽显大写意花鸟以形写神的妙处。",[24,25,57,27,109,38,7,58,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306e636315367da95f923c6eec5c6800.jpg",[],{"id":12760,"slug":12761,"title":3069,"dynasty":145,"author":220,"museum":73,"description":12762,"tags":12763,"thumbUrl":12765,"material":61,"size":61,"collection":61,"collections":12766,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},235157,"hong-ren-shan-shui-ce-yi-ming-235157","此作为诗画合璧佳构，笔墨简淡疏朗，尽显清逸禅意。画面以淡墨晕染山峦，空灵悠远，山腹石拱如天工开辟，苍松沿溪亭亭如盖，平岸浅溪蜿蜒，村舍错落林间石畔，烟火气隐于清冷丘壑之间。\n\n题书清隽雅致，诗句与画境相契，松杉引径，夕照里野村人家渺远，古寺钟声融在暮霞里，将画中静穆清冷的意境铺展开来。淡笔轻皴里藏着幽远超脱的文人襟怀，观之如临江南寂寂山野，尘俗烦扰尽皆涤荡，尽显山水淡远出尘之美。",[24,25,209,27,29,37,38,7,58,376,884,34,254,1794,1885,33,177,31,12764],"曲路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5772aa239819d308c2c0d814fad933b.jpg",[],{"id":12768,"slug":12769,"title":3300,"dynasty":145,"author":324,"museum":73,"description":1757,"tags":12770,"thumbUrl":12771,"material":61,"size":61,"collection":61,"collections":12772,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},234648,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234648",[24,25,209,27,7,58,29,177,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b94e4bc4ae513265cb49273e2b24099.jpg",[],{"id":12774,"slug":12775,"title":12776,"dynasty":145,"author":12777,"museum":106,"description":12778,"tags":12779,"thumbUrl":12780,"material":61,"size":61,"collection":61,"collections":12781,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},234550,"ling-xiao-zhou-wu-xi-zai-234550","凌霄轴","吴熙载","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”",[24,25,57,28,7,58,210,5522,1897,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47b108b91631f95554ee201b330b8ee.jpg",[],{"id":12783,"slug":12784,"title":12785,"dynasty":145,"author":324,"museum":73,"description":1757,"tags":12786,"thumbUrl":12787,"material":61,"size":61,"collection":61,"collections":12788,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},234250,"yuan-ji-shi-hua-he-bi-tu-juan-shi-tao-234250","原济诗画合璧图卷",[23,24,25,26,27,7,112,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72859f2d1a40d9ef1ad376d60d03ee12.jpg",[],{"id":12790,"slug":12791,"title":12792,"dynasty":18,"author":6207,"museum":106,"description":12793,"tags":12794,"thumbUrl":12795,"material":12796,"size":12797,"collection":61,"collections":12798,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},234049,"mu-yun-shi-yi-tu-shan-ye-xie-shi-chen-234049","暮云诗意图扇页","图绘暮色笼罩下的百花潭烟云缭绕的景致。此图为水墨写意画，运笔飞写自如，气贯笔锋，刚健洒脱。用墨富于变化，浓淡相衬。构图虚实相应，物象间层次清晰，又浑然一体。从右向左横贯画扇中部的云雾以其空灵、多变既增加了画面的高远感，又增加了深远感，同时盘活了整个画面的气韵，使之具有行云流水般的生气。",[24,25,2579,27,37,29,34,35,495,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848c425ef828e37833c6cdd2189b899a.jpg","金笺，墨笔","纵18.5厘米，横50.7厘米",[],{"id":12800,"slug":12801,"title":12802,"dynasty":18,"author":1024,"museum":106,"description":12803,"tags":12804,"thumbUrl":12806,"material":12796,"size":12807,"collection":61,"collections":12808,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},233795,"wen-zheng-ming-hong-xing-hu-shi-tu-shan-ye-wen-zheng-ming-233795","文徵明红杏湖石图扇页","扇页有自题：“三月融融晓雨干，十分春色在长安。香尘属路红云煖，总待仙郎马上看。小诗拙画奉赠补之翰学。丁酉腊月既望。徵明。”钤“徵明”白文印。\n“丁酉”是明嘉靖十六年（1537年），文徵明时年68岁。\n扇页有王守题七言诗一首。\n这是一幅文徵明送与做官友人的画作。图绘有着皱、漏、透、瘦之美的太湖石与体态婆娑的杏树相佐相依的小景。文徵明以工绘山水画著称，偶尔绘人物和兰竹，以杏树为主题的画作仅此一幅扇面画，非常难得。此图布局巧妙，石与树一左一右，呈揖对之势，石以其坚实的质感托出树木的柔媚，增添了画作的刚柔之美。全画于苍润纯熟的笔墨间流露出文人画娟雅之气。",[24,25,56,2579,28,7,58,12805,177],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2635dc9c42b57c75be7ddd36e42bb600.jpg","纵18.5厘米，横51.5厘米",[],{"id":12810,"slug":12811,"title":3380,"dynasty":145,"author":324,"museum":106,"description":3381,"tags":12812,"thumbUrl":12813,"material":722,"size":3386,"collection":61,"collections":12814,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},233781,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233781",[24,25,56,1244,27,109,7,37,29,193,34,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F935a7b3b458e5a228f740951a8462ba8.jpg",[],{"id":12816,"slug":12817,"title":9314,"dynasty":18,"author":1024,"museum":106,"description":9315,"tags":12818,"thumbUrl":12819,"material":196,"size":9318,"collection":61,"collections":12820,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},232958,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232958",[24,25,209,27,7,38,58,29,30,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a14ee541d3763f5d0fed21da63f835.jpg",[],{"id":12822,"slug":12823,"title":9314,"dynasty":18,"author":1024,"museum":106,"description":9315,"tags":12824,"thumbUrl":12825,"material":196,"size":9318,"collection":61,"collections":12826,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},232957,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232957",[24,25,209,27,37,38,7,29,112,177,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1669656e724541295af682597e5a520.jpg",[],{"id":12828,"slug":12829,"title":12830,"dynasty":18,"author":19,"museum":20,"description":12831,"tags":12832,"thumbUrl":12833,"material":196,"size":12834,"collection":61,"collections":12835,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,26,27,28,37,7,223,38,58,29,34,79,3652,292,35,254,897,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":12837,"slug":12838,"title":12839,"dynasty":51,"author":784,"museum":73,"description":12840,"tags":12841,"thumbUrl":12842,"material":61,"size":61,"collection":61,"collections":12843,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},230852,"ba-cao-e-lei-mo-ji-zhao-gou-230852","跋曹娥诔墨迹","此作用笔清润圆融，提按转合皆含二王遗韵，尽显温润秀逸的宋韵风神。行文排布疏朗错落，笔墨间带着清雅书卷气，字字雅致隽永，法度与意趣兼备。朱红印信错落点缀，与墨色相映成趣，章法和谐古雅。题跋既抒对先贤墨宝的赞誉，也以自身笔意展露不俗书艺涵养，将文人雅致融于笔墨方寸之间，尽显温婉质感与文人意趣。",[38,7,58,353,2031],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd0cff312155d75e983a475a0acee4.jpg",[],{"id":12845,"slug":12846,"title":701,"dynasty":145,"author":12847,"museum":73,"description":12848,"tags":12849,"thumbUrl":12854,"material":920,"size":921,"collection":61,"collections":12855,"showCount":12532,"zanCount":534,"manualWeight":11,"mainColor":46},230210,"hua-niao-ce-ye-lang-shi-ning-230210","郎世宁","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,56,24,25,1244,77,28,12850,12851,210,377,5861,12852,12853,2143,1576,38,7,58],"中西合璧","写实","红花","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":12857,"slug":12858,"title":12859,"dynasty":145,"author":12860,"museum":73,"description":12861,"tags":12862,"thumbUrl":12863,"material":61,"size":61,"collection":61,"collections":12864,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","王原祁","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,25,26,28,29,37,76,58,7,38,376,884,34,36,150,30,33,194,444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":12866,"slug":12867,"title":12868,"dynasty":18,"author":12869,"museum":73,"description":12870,"tags":12871,"thumbUrl":12872,"material":920,"size":921,"collection":61,"collections":12873,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},228333,"si-ti-qian-zi-wen-lu-shi-ren-228333","四体千字文","陆士仁","此卷书法工整稳健，圆劲古雅。结字运笔因体取势，篆书温纯古拙，隶书沉着质朴，草、楷书起笔尖微精健，更似文徵明用笔之法。卷后陆士仁之子广明题识：“先君子幼习太史公书，片楮只字无不临摹，几于入室。",[23,25,38,26,7,3321,223,2031,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32cb469298bd6b4e0726b7e7658be108.jpg",[],{"id":12875,"slug":12876,"title":12877,"dynasty":91,"author":11758,"museum":73,"description":12878,"tags":12879,"thumbUrl":12880,"material":61,"size":61,"collection":61,"collections":12881,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,25,209,27,28,29,30,31,32,34,36,179,237,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":12883,"slug":12884,"title":12885,"dynasty":51,"author":220,"museum":73,"description":12886,"tags":12887,"thumbUrl":12890,"material":61,"size":61,"collection":61,"collections":12891,"showCount":12532,"zanCount":11,"manualWeight":11,"mainColor":46},227925,"jiao-yin-ji-qiu-tu-ye-yi-ming-227925","蕉荫击球图页","《蕉阴击球图》是宋代佚名画家创作的一幅绢本设色画，现藏于 。\n无作者款印。\n对幅清高宗弘历御题诗一首。\n本幅、对幅及裱边钤高宗弘历“古稀天子”、“八徵耄念之宝”、“ ”等鉴藏印，共6方。\n此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。\n在笔法上，作者注重物象间的对比互衬关系。\n人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。\n湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。\n湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。\n以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。\n当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。\n此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。\n此图原载《宋人名流集藻册》。\n图绘一仕女童于桌旁观看一老一小两人作击球行了游戏。\n庭院中绿草如茵，湖石矗立，芭蕉成荫。\n仕女认真观球的神态和儿童击球的细小动作刻画得自然生动。\n全图用工笔重彩法，衣纹勾线简练细劲，设色艳而不火，工而不板，为南宋小幅人物画精作。\n此图蕉题签为苏汉臣作，但究其画风，与苏汉臣有别。\n在古代，见婴戏必题 作，见牛必题戴嵩，见马即题韩干之类，实属偏见，故今改为无名氏作。\n画中钤有「东莱」印一方，经《 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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,2579,24,25,28,111,210,38,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be5a61d924c866ae44f4671bd945a59.jpg",[],{"id":13047,"slug":13048,"title":13049,"dynasty":51,"author":1781,"museum":73,"description":8915,"tags":13050,"thumbUrl":13052,"material":920,"size":921,"collection":61,"collections":13053,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},289739,"chi-shang-shi-tuan-shan-zhao-shen-289739","池上诗团扇",[2579,38,7,58,798,9094,6589,13051,9213],"写景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4460b01ff947451a7b3be8d56c4878.jpg",[],{"id":13055,"slug":13056,"title":13057,"dynasty":18,"author":13058,"museum":73,"description":13059,"tags":13060,"thumbUrl":13062,"material":920,"size":921,"collection":61,"collections":13063,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},287949,"ping-sha-luo-yan-tu-ye-sheng-mao-ye-287949","平沙落雁图页","盛茂烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[23,24,25,209,27,38,7,29,82,31,774,13061,79,58],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4367d0d7660d7cc5c1cfaf29d53a369.jpg",[],{"id":13065,"slug":13066,"title":13067,"dynasty":18,"author":220,"museum":73,"description":13068,"tags":13069,"thumbUrl":13072,"material":920,"size":921,"collection":61,"collections":13073,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},287830,"zhao-jun-chu-sai-tu-yi-ming-287830","昭君出塞图","此作用淡晕山水铺陈出塞地辽寂荒寒，平沙远晕染出空阔萧索的塞北底色。近景渡口车马簇聚、行人揖别，细腻勾勒出饯行人群的依依愁绪，将离别的缱绻尽数藏在攒动身影与待发车马之间。\n\n工写相融的笔触，将千古典故里的沉郁叹惋具象化。搭配遒劲题字书画合璧，既以细腻叙事场景还原汉塞之别，又借悠远山水烘托出出塞征程的苍茫苍凉，将离愁与荒寒意境相融，尽显旧典的悠长余味，寄寓着对这段往事的深沉叹惜。",[23,24,25,2240,28,80,693,30,1885,29,13070,13071,58,38,7],"历史事件","昭君出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154b051c5a32df91e9be9ff6b7fa7ebb.jpg",[],{"id":13075,"slug":13076,"title":13077,"dynasty":91,"author":893,"museum":53,"description":13078,"tags":13079,"thumbUrl":13081,"material":123,"size":13082,"collection":42,"collections":13083,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},287761,"yu-hou-kong-lin-zhou-ni-zan-287761","雨后空林轴","画中山石多用披麻、折带皴，干笔淡墨，浓墨点苔，敷色清淡温和。整个画面布局充实饱满，平稳而有变，景象开阔，意境清淡萧疏，雨霁林空之景，宛然目前。而且，倪瓒的多数作品，写景极简，而这件作品则写高大山川，景物丰富。",[56,24,25,57,27,28,29,37,13080,30,31,81,33,38,7,58],"空林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29f3553e93f9b3a86dddb9e78143330.jpg","63.5x37.6",[42],{"id":13085,"slug":13086,"title":13087,"dynasty":2673,"author":13088,"museum":73,"description":13089,"tags":13090,"thumbUrl":13091,"material":920,"size":921,"collection":61,"collections":13092,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},287705,"yan-ai-qiu-she-zhao-gan-287705","烟霭秋涉","赵幹","山谷间流水潺潺，五名行旅提挽裤脚，相继涉水渡溪，背后的树木已呈枯黄，后岭复重重环抱，此境益为幽深绝尘。旧传此幅为赵干之作。",[23,24,25,289,27,37,177,81,1363,5501,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc85a4e660923125f155ac2d2314f28a.jpg",[],{"id":13094,"slug":13095,"title":13096,"dynasty":51,"author":52,"museum":73,"description":11206,"tags":13097,"thumbUrl":13099,"material":920,"size":921,"collection":61,"collections":13100,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},287399,"jing-fu-bo-shen-ci-shi-huang-ting-jian-287399","经伏波神祠诗",[23,38,680,352,7,26,11254,13098],"伏波神祠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f0efceaa6b2c2dd096dc4416c74f38.jpg",[],{"id":13102,"slug":13103,"title":13104,"dynasty":18,"author":881,"museum":73,"description":13105,"tags":13106,"thumbUrl":13107,"material":920,"size":921,"collection":61,"collections":13108,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},283770,"guan-shan-xue-ji-tu-juan-dong-qi-chang-283770","关山雪霁图卷","该画主要对平远山景进行详细描绘，笔墨仍作平远景，山峦起伏层叠，林壑幽深，布局严谨而气势雄健，墨色浑厚用笔苍劲老辣，兼有生拙秀润的韵致。",[23,56,24,26,25,27,29,431,178,1309,37,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b4e279e00538389e26971602b2698b.jpg",[],{"id":13110,"slug":13111,"title":13112,"dynasty":51,"author":220,"museum":73,"description":13113,"tags":13114,"thumbUrl":13115,"material":61,"size":61,"collection":463,"collections":13116,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},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。",[38,680,352,7,2031,1140,76,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef9d1498fc9ce60eb68e3e32cebc5f1.jpg",[463],{"id":13118,"slug":13119,"title":13120,"dynasty":145,"author":1523,"museum":73,"description":7508,"tags":13121,"thumbUrl":13122,"material":920,"size":921,"collection":61,"collections":13123,"showCount":20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。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。",[23,38,7,26,121,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c5465c977d3dfab9995d7c3489a9b.jpg",[],{"id":13175,"slug":13176,"title":13177,"dynasty":91,"author":220,"museum":73,"description":13178,"tags":13179,"thumbUrl":13180,"material":920,"size":921,"collection":61,"collections":13181,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},239723,"yuan-ming-ren-shu-ce-zhao-meng-fu-yu-hang-zhou-qi-jue-yi-ming-239723","元明人书册-赵孟頫寓杭州七绝","元初书法总的情况是崇尚复古。文宗天历初建奎章阁，专掌秘玩古物。元文宗常幸奎章阁欣赏法书名画，书法一度出现兴盛局面。赵孟頫，鲜于枢等名家，是这时期书法的代表。他们主张书画同法，注重结字的体态。但元代书坛纯是继承晋唐，没有自己风格，稍后于赵孟頫的康里巎巎还有些变化，奇崛独出于元代书坛。纵观元代书法，其成就大者还在真行草书方面。至于篆隶，虽有几位名家，但并不怎么出色。这种以真、行、草书为主流的书法，发展到了清代才得到改变。有元一代书风，仍沿宋习盛于帖学，宗唐宗晋，虽各有其妙，亦不能以一家之法立于书坛。",[38,7,209,25,1140,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44dd4cf8948445a502c908ef7a3bbe1.jpg",[],{"id":13183,"slug":13184,"title":13185,"dynasty":18,"author":8307,"museum":73,"description":13186,"tags":13187,"thumbUrl":13188,"material":61,"size":61,"collection":62,"collections":13189,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":638},239700,"shu-si-wu-xie-zhou-zhu-you-jian-239700","书思无邪轴","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位） ，也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。 即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵 ，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[38,7,27,57,58,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006507ca5262abed2fe9cfb7af640d36.jpg",[62],{"id":13191,"slug":13192,"title":13193,"dynasty":51,"author":52,"museum":73,"description":11206,"tags":13194,"thumbUrl":13195,"material":61,"size":61,"collection":62,"collections":13196,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},239644,"jun-yi-tie-ye-huang-ting-jian-239644","君宜帖页",[1697,38,7,58,25,353,196,1244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8ed1965e5015ecc210f24a653c622f.jpg",[62],{"id":13198,"slug":13199,"title":13200,"dynasty":91,"author":8194,"museum":73,"description":13201,"tags":13202,"thumbUrl":13203,"material":61,"size":61,"collection":62,"collections":13204,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},239614,"yan-xiao-ao-dong-xuan-shi-ye-yang-wei-zhen-239614","宴啸傲东轩诗页","《杨维桢行书宴啸傲东轩诗页》是元代时期杨维桢创作的书法作品。\n《宴啸傲东轩诗》页，此页为“天乐大尹”书自作七律一首。\n信手涂抹，墨气淋漓。\n虽系小品，亦颇见性格。\n作品释文： □□老人宴余啸傲东轩。\n座客陈君章、林子山、任叔达、任孟举。\n主者仲氏千里，子仲行、季文、高第，弟子任衡、张师周。\n席上赋诗一解，率诸客用韵成什。\n寄傲先生不乞灵，遥瞻江水接天青。\n未随汉使槎横斗，自爱郝郎书满庭。\n破镜飞来开月殿，洗车过去勒云軿。\n君看天上双星会，不似人间聚德星。\n明日书此纸会乩，抱遗叟杨维桢再拜。\n天乐大尹见此，聊发一卢胡也。\n本幅署款“抱遗叟杨维桢再拜”，钤“杨廉夫”（白文）、“铁笛道人”（朱文）二印。\n有清代安岐，近代何厚琦、赵叔彦、完颜景贤、张爰、谭敬等家鉴藏印。\n收入清代安岐旧藏《元法书大观》册中。",[38,7,58,620,646,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2a5be279f5460e62d5489b0d1ab9.jpg",[62],{"id":13206,"slug":13207,"title":13208,"dynasty":145,"author":13209,"museum":73,"description":13210,"tags":13211,"thumbUrl":13212,"material":920,"size":921,"collection":42,"collections":13213,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},239467,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-fang-jing-hao-shan-shui-ye-wu-chong-239467","清初十四家书画集锦册-仿荆浩山水页","吴宠","吴宏（1615 —1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。",[24,25,209,27,28,29,377,328,31,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3a7791f4a8fba86767183d3f01eb35.jpg",[42],{"id":13215,"slug":13216,"title":13217,"dynasty":145,"author":7869,"museum":73,"description":13218,"tags":13219,"thumbUrl":13220,"material":61,"size":61,"collection":306,"collections":13221,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},239218,"hua-yue-lou-xiang-zhou-ren-yi-239218","画月楼像轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[24,25,56,57,28,77,79,2009,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee59244ae41195ef7e62dfb0e4906b7.jpg",[306,62],{"id":13223,"slug":13224,"title":6017,"dynasty":145,"author":1540,"museum":73,"description":6018,"tags":13225,"thumbUrl":13226,"material":920,"size":921,"collection":61,"collections":13227,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},238334,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238334",[24,25,209,28,77,210,120,119,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736fc932fd3131df73497c0c9c02a3ce.jpg",[],{"id":13229,"slug":13230,"title":2604,"dynasty":145,"author":13231,"museum":73,"description":13232,"tags":13233,"thumbUrl":13235,"material":920,"size":921,"collection":42,"collections":13236,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},237997,"shan-shui-ce-qin-zu-yong-237997","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[24,25,209,27,7,58,37,29,30,31,33,34,35,192,36,239,13234,178,4867,4263,109],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be8cda5b92f8e3e57d5d8504a2c9485.jpg",[42,155],{"id":13238,"slug":13239,"title":3069,"dynasty":145,"author":1835,"museum":73,"description":4980,"tags":13240,"thumbUrl":13241,"material":920,"size":921,"collection":61,"collections":13242,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},237619,"hong-ren-shan-shui-ce-hong-ren-237619",[24,25,209,27,37,7,58,29,34,36,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e01d04b53630c87d96cfa6ca10ce605.jpg",[],{"id":13244,"slug":13245,"title":4853,"dynasty":18,"author":4854,"museum":73,"description":4855,"tags":13246,"thumbUrl":13247,"material":920,"size":921,"collection":61,"collections":13248,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},237543,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237543",[24,25,209,27,7,58,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b54192e1b06741108f0662f5463aef.jpg",[],{"id":13250,"slug":13251,"title":857,"dynasty":18,"author":205,"museum":373,"description":10552,"tags":13252,"thumbUrl":13253,"material":9334,"size":10555,"collection":61,"collections":13254,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},237441,"hua-hui-ce-xiang-sheng-mo-237441",[24,25,209,28,7,58,210,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07aad0227fa41cc8d0cb52ea09bb1747.jpg",[],{"id":13256,"slug":13257,"title":13258,"dynasty":145,"author":6145,"museum":73,"description":13259,"tags":13260,"thumbUrl":13261,"material":61,"size":106,"collection":61,"collections":13262,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},236608,"hua-niao-ce-ma-yuan-yu-236608","花鸟册","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[56,24,25,209,28,109,210,111,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e13c8ac8a28feb2e3e131177244f51.jpg",[],{"id":13264,"slug":13265,"title":737,"dynasty":145,"author":13266,"museum":73,"description":13267,"tags":13268,"thumbUrl":13269,"material":61,"size":61,"collection":306,"collections":13270,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},236523,"ren-wu-gu-shi-ce-chen-zi-236523","陈字","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。",[24,25,209,28,77,7,58,79,121,2009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123d38a6be8ad29378699e0b13450ccd.jpg",[306],{"id":13272,"slug":13273,"title":13274,"dynasty":145,"author":324,"museum":73,"description":13275,"tags":13276,"thumbUrl":13277,"material":61,"size":61,"collection":61,"collections":13278,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},235892,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235892","原济黄山游图册","此作以奇崛危崖撑起画面骨架，焦墨勾勒崖壁嶙峋肌理，淡墨晕染出云气在峰谷间漫漶，明暗虚实铺就山谷的空寂幽深。谷内林麓掩映茅舍，三两旅人或策杖徐行，或围坐晤谈，将山水静穆与林下雅集的悠然意趣相融，动静相生。\n\n笔墨兼具苍润，湿笔晕染出山间空蒙水汽，枯笔皴擦刻画出岩石坚实质感，尽显黄山的清灵出尘。边角题诗与山水呼应，将探幽问道的雅趣藏于丘壑，尽显文人林泉栖隐之思。",[24,25,209,27,37,58,38,7,29,11550,79,693,35,34,1310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96f0d743602994e646e67e90a61dcf4.jpg",[],{"id":13280,"slug":13281,"title":13282,"dynasty":145,"author":3179,"museum":73,"description":13283,"tags":13284,"thumbUrl":13285,"material":61,"size":61,"collection":61,"collections":13286,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},235861,"fang-wu-zhen-shan-shui-ye-cha-shi-biao-235861","仿吴镇山水页","此作用笔极简，以淡墨晕染远山，留白尽显空濛幽远。近渚枯木虬曲，坡岸人家隐于林樾，寥寥数笔便勾勒出江乡春日清寂之景，尽显简淡萧散的逸趣。\n左侧行书与画境相映，笔意清劲疏朗，诗画合璧，文气悠然。整幅以新安画派特有的冷寂清空之韵，追摹吴镇山水苍浑意趣，却自出灵秀澹泊之姿，将江南春景的幽寂淡远尽数铺陈，尽显文人画以笔遣兴、以墨抒情的雅致品格。",[24,27,29,209,7,38,37,376,377,1121,212,884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f52947587da7f3f6d7872bc1adb71b.jpg",[],{"id":13288,"slug":13289,"title":857,"dynasty":18,"author":7894,"museum":73,"description":12230,"tags":13290,"thumbUrl":13291,"material":920,"size":921,"collection":61,"collections":13292,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},235477,"hua-hui-ce-qi-xun-235477",[24,25,209,7,27,78,210,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37bc4a6a7e5fd9cdac8bdc41c2dd64f4.jpg",[],{"id":13294,"slug":13295,"title":13296,"dynasty":145,"author":2177,"museum":106,"description":13297,"tags":13298,"thumbUrl":13299,"material":2132,"size":13300,"collection":61,"collections":13301,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","物外田园图册","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[24,27,37,209,38,7,29,35,34,30,33,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg","纵21.5cm，横16.9cm",[],{"id":13303,"slug":13304,"title":13305,"dynasty":145,"author":13306,"museum":73,"description":13307,"tags":13308,"thumbUrl":13309,"material":61,"size":61,"collection":61,"collections":13310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39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,26,27,29,37,38,7,58,376,884,34,33,30,31,32,2452,36,3210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":13336,"slug":13337,"title":13338,"dynasty":18,"author":1024,"museum":106,"description":13339,"tags":13340,"thumbUrl":13341,"material":13342,"size":13343,"collection":61,"collections":13344,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,24,25,26,27,78,7,58,29,210,79,113,112,328,212,962,111,120,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","纸本 墨笔","每段 纵32.6厘米 横50.8厘米",[],{"id":13346,"slug":13347,"title":13348,"dynasty":18,"author":9263,"museum":106,"description":13349,"tags":13350,"thumbUrl":13351,"material":196,"size":61,"collection":61,"collections":13352,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,25,26,27,29,37,38,58,7,34,30,31,33,82,193,237,7618,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":13354,"slug":13355,"title":13356,"dynasty":145,"author":5850,"museum":106,"description":5851,"tags":13357,"thumbUrl":13358,"material":165,"size":61,"collection":61,"collections":13359,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},234110,"hua-hong-li-ping-shan-tang-shi-yi-juan-zhang-zong-cang-234110","画弘历平山堂诗意卷",[24,25,26,28,29,150,33,34,58,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c98fe5c42d9369522f0ec973ba1a1.jpg",[],{"id":13361,"slug":13362,"title":9729,"dynasty":145,"author":324,"museum":106,"description":13363,"tags":13364,"thumbUrl":13365,"material":196,"size":13366,"collection":61,"collections":13367,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},233127,"yuan-ji-shan-shui-ce-shi-tao-233127","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,209,27,28,37,29,32,178,34,36,179,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20cb7a6d40f44117b887d4717d35798b.jpg","纵33.2cm，横22.8cm",[],{"id":13369,"slug":13370,"title":13371,"dynasty":18,"author":479,"museum":106,"description":13372,"tags":13373,"thumbUrl":13374,"material":5479,"size":5480,"collection":61,"collections":13375,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,25,209,27,28,29,34,150,2452,1471,30,38,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg",[],{"id":13377,"slug":13378,"title":13379,"dynasty":145,"author":2369,"museum":73,"description":13380,"tags":13381,"thumbUrl":13382,"material":12267,"size":13383,"collection":61,"collections":13384,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},232895,"shui-mo-tu-ce-hua-ce-zheng-min-232895","水墨图册画册","郑旼（1632-1683），号墓倩、穆倩、墓道人、神经证史、雪痕后人，安徽歙县人，擅长山水画。明亡之后，黄宾虹《黄山丹青志》中记载郑旼的行迹为：“……隐于狂疾，服如野僧，或有言触往事者，辄哭不休，或望空下拜，拜凡以三。簮绂中人，有愿近昵者，哭以拒之，或先避之，虽坚请不出也。”他在康熙十三年除夕日记云，“饥寒迫身……实愿甘之”，但他决不依附权贵，实在难饥，则以诗画易米，倘若以金帛予之，则必不予，即或成幅，亦毁之。郑旼人品高洁，不同流俗，刚正不阿，憎爱分明，具有坚贞民族气节的遗民。在篆刻方面，郑旼以先秦两汉为宗，每刻必有新意。曾自刻闲章：“闲来写幅青山卖，不使人间造孽钱”，盖于自己的画作上，表现出一个正直文人的清高与不俗。",[24,27,209,7,38,58,37,29,376,377,625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da6b0639be05e6bfd10cc0a42e975a6.jpg","172.5×46.8cm",[],{"id":13386,"slug":13387,"title":2407,"dynasty":51,"author":2408,"museum":73,"description":13388,"tags":13389,"thumbUrl":13390,"material":165,"size":13391,"collection":61,"collections":13392,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},232876,"ren-wu-gu-shi-tu-juan-liu-song-nian-232876","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,56,24,25,26,77,28,1594,38,7,58,79,150,1471,34,35,6911,1467,2411,2009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83c436c11f7cca4cd37dca18f9de04f.jpg","26.1x446.5厘米",[],{"id":13394,"slug":13395,"title":13396,"dynasty":91,"author":893,"museum":73,"description":13397,"tags":13398,"thumbUrl":13399,"material":196,"size":13400,"collection":61,"collections":13401,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,25,26,27,37,7,38,56,29,177,34,30,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":13403,"slug":13404,"title":13405,"dynasty":51,"author":11520,"museum":73,"description":13406,"tags":13407,"thumbUrl":13408,"material":920,"size":921,"collection":61,"collections":13409,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},231035,"chi-bi-ye-you-tu-ti-ba-wu-yuan-zhi-231035","赤壁夜游图（题跋）","武元直（公元12世纪）〔金〕号广莫道人，字善夫，《图绘宝鉴》作字善天，北平（今北京市）人，生卒年不详。金章宗完颜璟明昌（1190—1196）时中进士，善画山水，曾画过《雪霁早行图》《巢云霁雪图》《风雨归舟图》《渔樵闲话图》《桃园图》《桃溪图》《秋江罢钓图》等，惜皆散佚。",[23,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bee1b192bdd70bcab24771f267550ad.jpg",[],{"id":13411,"slug":13412,"title":5664,"dynasty":145,"author":1523,"museum":73,"description":7508,"tags":13413,"thumbUrl":13414,"material":920,"size":921,"collection":61,"collections":13415,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},230161,"shou-zi-qian-long-230161",[38,7,28,1819,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69523a170f0e268eb320e9e0782df9a.jpg",[],{"id":13417,"slug":13418,"title":13419,"dynasty":18,"author":1024,"museum":73,"description":13420,"tags":13421,"thumbUrl":13422,"material":61,"size":61,"collection":61,"collections":13423,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,25,26,28,29,77,37,38,7,58,376,884,377,254,774,193,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":13425,"slug":13426,"title":13427,"dynasty":51,"author":220,"museum":73,"description":13428,"tags":13429,"thumbUrl":13430,"material":61,"size":61,"collection":61,"collections":13431,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 绢本",[23,56,24,25,209,77,28,79,3927,3407,34,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":13433,"slug":13434,"title":13435,"dynasty":51,"author":220,"museum":73,"description":13436,"tags":13437,"thumbUrl":13438,"material":61,"size":61,"collection":61,"collections":13439,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","春江帆饱图页","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[23,24,25,1244,27,28,37,29,6434,3652,34,35,237,10762,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":13441,"slug":13442,"title":13443,"dynasty":51,"author":220,"museum":73,"description":13444,"tags":13445,"thumbUrl":13447,"material":61,"size":61,"collection":61,"collections":13448,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},227852,"shan-dian-feng-lian-tu-ye-yi-ming-227852","山店风帘图页","此帧水墨小品以边角取景，于尺幅间铺展幽寂冬日山居。嶙峋崖石以斧劈皴利落勾勒，苍劲笔墨写出硬质肌理，枯木虬枝弯折古拙，尽显萧寒之态。山坳间的野店隐于林泉，淡墨晕染的远峰裹挟烟岚，朦胧悠远。画师以简淡洗练的笔法拉开远近层次，留白空灵清旷，将山野间荒寒冷寂的氛围渲染尽致，暗含着文人士大夫心向往之的静穆淡远林下幽思，尽显以小见大、以景寄情的隽永意趣。",[23,24,25,209,27,28,29,37,7,58,376,2452,34,1121,13446],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d24dc4618a7f329647a52ced4edb35.jpg",[],{"id":13450,"slug":13451,"title":13452,"dynasty":51,"author":52,"museum":73,"description":13453,"tags":13454,"thumbUrl":13455,"material":61,"size":61,"collection":61,"collections":13456,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},227595,"song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227595","送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。",[23,38,7,26,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3ee6efaf6a6bc07864e1e94e0d9ef0e.jpg",[],{"id":13458,"slug":13459,"title":13460,"dynasty":51,"author":220,"museum":73,"description":12896,"tags":13461,"thumbUrl":13462,"material":61,"size":61,"collection":61,"collections":13463,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},227567,"chun-hua-ge-tie-di-jiu-juan-yi-ming-227567","淳化阁帖第九卷",[38,680,7,25,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebc0ef4755657c5d4d44f7d512d4092.jpg",[],{"id":13465,"slug":13466,"title":13467,"dynasty":51,"author":362,"museum":73,"description":13468,"tags":13469,"thumbUrl":13470,"material":61,"size":61,"collection":61,"collections":13471,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},227506,"ci-bian-cai-yun-shi-su-shi-227506","次辩才韵诗","《次辩才韵诗帖》这件作品写于苏轼被放杭州一年之后。这一年，苏轼在西湖上修筑了南北长堤，便是后人称颂至今的“苏堤”。辩才是苏轼的一位僧人诗友，他的这幅作品就是盛赞辩才老师超然物外、仙风道骨，自己与辩才能二老同游，当是人生幸事。大千世界，一切有法，且如是观之。作品落笔沉着、从容，已没有十年前书写《黄州寒食诗帖》时的激宕，墨色浓重却透着清雅之气，丰腴浑厚仍有秀逸之质。",[23,1697,38,7,24,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde73bd160d54e4ef7de788179945ba55.jpg",[],{"id":13473,"slug":13474,"title":5049,"dynasty":51,"author":362,"museum":73,"description":11032,"tags":13475,"thumbUrl":13476,"material":61,"size":61,"collection":61,"collections":13477,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},227499,"song-si-jia-chi-du-su-shi-227499",[23,38,7,2239,10323,58,1698,1495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc6353cbfb4d1adc7fb04a91c01ed60.jpg",[],{"id":13479,"slug":13480,"title":13481,"dynasty":145,"author":11142,"museum":73,"description":13482,"tags":13483,"thumbUrl":13484,"material":61,"size":61,"collection":61,"collections":13485,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":932},226627,"shu-fa-shan-mian-pu-ru-226627","书法扇面","溥儒 满族，北京人。字心畲，号西山居士、西山逸士、旧王孙等。出身清皇族，姓爱新觉罗，是是道光皇帝第六子亲王的次孙，末代皇帝溥仪的堂兄弟。溥儒自幼饱学，稍长专心研究文学艺术，1911年入贵胄政治学堂，毕业后再入青岛德国威廉帝国研究院，又留学柏林大学，学习天文和生物，获得博士学位，他也精通经史和书画，回国后笃嗜诗文、书画，皆有成就。先住清河二旗村，后隐居西山戒台寺10年，从此专事绘画，以卖书画自食其力。解放前夕出海舟山，后居台湾，于1963年病故。\n溥儒善山水、人物、花鸟、走兽，曾以画名与蜀人张大千并称“南张北溥”；又与吴湖帆并称“南吴北溥”。山水以“北宗”为基，笔法以“南宗”为法。注重线条钩摹，较少烘染。书法习柳公权、裴休出，略近成亲王而风骨过之。",[23,3383,38,2579,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87caf1417859bc4b8e6fabe2b405790c.jpg",[],{"id":13487,"slug":13488,"title":13489,"dynasty":145,"author":13490,"museum":73,"description":13491,"tags":13492,"thumbUrl":13494,"material":61,"size":61,"collection":61,"collections":13495,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},224196,"yan-zi-ji-mo-chou-hu-er-jing-tu-quan-juan-wu-hong-224196","燕子矶莫愁湖二景图全卷","吴宏","此作以全景长卷铺展金陵山水，分绘两处胜景：一侧是燕子矶危崖耸峙，江涛浩渺，帆樯往来，山坞村居错落于林木间，笔墨苍劲，尽显丘壑雄奇；一侧是莫愁湖烟水空濛，汀洲软碧，人家隐于柳岸，笔意清润尽揽湖山温婉。\n\n浅绛设色调和雅致，皴擦勾勒松秀苍逸，远近层次井然，将实景山水晕染出文人意趣。长题诗跋与书画相映，把凭吊幽怀寄于烟岚水色，书卷气漫溢全卷，尽显实景入画又抒情写意的绝妙风韵。",[23,24,25,26,27,29,37,376,884,13493,35,34,3617,58,38,7],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F367d279b39c6d14e9d989d272bc2f3b3.jpg",[],{"id":13497,"slug":13498,"title":13499,"dynasty":51,"author":220,"museum":106,"description":13500,"tags":13501,"thumbUrl":13504,"material":802,"size":13505,"collection":61,"collections":13506,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},223402,"chui-yang-fei-xu-tu-yi-ming-223402","垂杨飞絮图","图绘新绿垂柳四枝，袅袅生姿，柳絮似雪飞舞，透露无限春意。画中柳枝用中锋一笔画出；柳叶用细笔勾勒，并填以汁绿；柳絮用白粉信笔点之。全图用笔工整，赋色淡雅。构图疏密得体。上方垂下的柳枝与右侧伸出的柳枝将画面分割成形状不等的四部分，小中见大，引人遐思。图的左上方有宋宁宗皇后杨氏的题诗：“线捻依依绿，金垂袅袅黄”，并钤八卦中的“坤卦”形印。",[23,24,25,77,28,7,58,4187,13502,13503],"飞絮","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1985b24190a5d26949764d7e323e9b9f.jpg","25.8*24.6厘米",[],{"id":13508,"slug":13509,"title":13510,"dynasty":145,"author":7738,"museum":73,"description":7739,"tags":13511,"thumbUrl":13513,"material":196,"size":13514,"collection":62,"collections":13515,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},223265,"xin-jian-hong-yi-fa-shi-223265","信笺",[23,3383,7,13512,27,1495,11462,58],"毛笔书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bd65ef2310e07f4469e23d873b355d.jpg","35x124",[62],{"id":13517,"slug":13518,"title":13519,"dynasty":145,"author":3472,"museum":106,"description":3473,"tags":13520,"thumbUrl":13521,"material":1262,"size":3476,"collection":61,"collections":13522,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},222867,"shi-gong-ci-tu-ce-06-leng-mei-222867","十宫词图册06",[23,56,24,25,209,77,28,79,150,1471,10421,9530,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168968a1c5eb89201c2550c1aad92216.jpg",[],{"id":13524,"slug":13525,"title":13526,"dynasty":145,"author":3472,"museum":106,"description":3473,"tags":13527,"thumbUrl":13528,"material":1262,"size":3476,"collection":61,"collections":13529,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},222866,"shi-gong-ci-tu-ce-05-leng-mei-222866","十宫词图册05",[23,77,28,79,150,29,254,1467,2411,1471,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd02b3914629137d173dd81a062ecfd.jpg",[],{"id":13531,"slug":13532,"title":13533,"dynasty":145,"author":3472,"museum":106,"description":3473,"tags":13534,"thumbUrl":13547,"material":1262,"size":3476,"collection":61,"collections":13548,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},222864,"shi-gong-ci-tu-ce-03-leng-mei-222864","十宫词图册03",[23,24,25,209,28,77,7,58,79,150,1471,13535,13536,13537,3210,34,13538,13539,13540,13541,13542,13543,13544,13545,13546],"廊","圆门","石阶","花木","古典建筑","园林景观","传统服饰","人物群像","书法题跋","印鉴","建筑装饰","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbdacdc2555c58cb249651b9849937a.jpg",[],{"id":13550,"slug":13551,"title":13552,"dynasty":18,"author":7852,"museum":73,"description":11878,"tags":13553,"thumbUrl":13554,"material":61,"size":13555,"collection":62,"collections":13556,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},222530,"lin-zhe-mo-lan-ting-wang-duo-222530","临禇摹兰亭",[23,25,38,76,7,58,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b795d3b808e6c26621b5a3f414c8d4.jpg","44X144",[62],{"id":13558,"slug":13559,"title":13560,"dynasty":18,"author":3452,"museum":73,"description":13561,"tags":13562,"thumbUrl":13563,"material":61,"size":61,"collection":61,"collections":13564,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},222052,"shu-su-shi-hou-chi-bi-fu-quan-juan-zhang-rui-tu-222052","书苏轼《后赤壁赋》全卷","本书是中国碑帖经典中的一册。收入了明代书法家张瑞图的草书《后赤壁赋》。该帖笔势矫键跌宕，锋芒凌厉，方笔多于圆笔，一扫元明俏媚之书风，虽未入神，已属不朽之作。\n该书印刷精美，较好地再现了原作，是书法爱好者的极佳范本。\n张瑞图 (1570～1641)明代书法家。字长公，又字无画，号二水、白毫庵主等。泉州晋江人。万历三十五年(1607)探花，授编修，历官少詹事、礼部侍郎、礼部尚书，后入阁办事，晋建极殿大学士，加少师。善山水，尤工书，与邢侗、米万钟、董其昌并称“明四家”。其书法奇恣横生，风格多样，不落流俗，在钟繇、王羲之之外另辟蹊径。善用露锋尖笔，笔势跳荡多姿，节奏感强烈。结体平正而内促，形态紧张，显示出一种前所未有的自抑心理。以强烈的个性与崭新的艺术风貌独树一帜。尤精大字匾额。书名远播日本、朝鲜及东南亚诸国。所书《草书后赤壁赋》，日本人视为珍品，称他是“伟大的章草体书法家”。\n学习张瑞图的书法，必须从笔法开始，在熟练掌握方笔法的基础上，才能写出其草书的姿态，要是不注重笔法，仅学其字的形态，就可能滑入丑怪。",[38,26,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdd14654808bc7fd29b40bc7c220432.jpg",[],{"id":13566,"slug":13567,"title":13568,"dynasty":18,"author":3255,"museum":53,"description":13569,"tags":13570,"thumbUrl":13571,"material":61,"size":13572,"collection":61,"collections":13573,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},222019,"ming-xuan-zong-yu-bi-xi-zuo-ci-wu-shou-zhu-zhan-ji-222019","明宣宗御笔戏作词五首","明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十八岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。 著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[56,24,25,209,7,38,27,402,1951,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963871be30a56a6c36f7c0e449908c14.jpg","37x46.6厘米",[],{"id":13575,"slug":13576,"title":13577,"dynasty":91,"author":13578,"museum":106,"description":13579,"tags":13580,"thumbUrl":13581,"material":1344,"size":13582,"collection":61,"collections":13583,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},221806,"xian-zhi-zhai-tu-juan-wu-zhi-zhong-221806","闲止斋图卷","吴致中","此图是吴致中为他的族人吴彦能所绘山间别墅“闲止斋”的景致。\n画家自题：“野外罕人事，即事多所欣。坐止高荫下，遥遥望白云。东园吴致中为宗人彦能写闲止斋并集陶句。”下钤“延陵世家”、“吴致中”2印。\n吴彦能，字子乃，元末延陵（今江苏常州）人。出身于官宦世家，自幼受到良好的教育，曾拜在经学大师胡仲彝门下，在春秋学研究方面有很深的造诣，后隐居于至亲郑居贞的家乡歙南溪（今安徽东南部、新安江上游）。吴彦能最敬慕东晋名士陶渊明弃官归隐之高操，故将自己的隐居之所取名为“闲止斋”。\n此图在艺术手法上采用平远式构图，将近景、中景、远景有机地结合起来。画面近处高树耸立于湖畔，作为主体的“闲止斋”掩映于林木间。对江平沙曲岸，远岫遥岺，生动地点画出元代文人理想中的山林野趣。\n全画笔墨简练而不放纵，从勾皴点染之间营造出清幽雅静的氛围。山石的画法用卷云皴，可明显地看出北宋郭熙绘画技法的影响。吴致中存世作品极少，《闲止斋图》是了解其画风的重要实物资料。",[23,24,25,26,27,28,29,150,30,31,177,33,82,81,7,223,58,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00874a1dadd20cefff589827a0c57942.jpg","21.8厘米，横1.9厘米。",[],{"id":13585,"slug":13586,"title":13587,"dynasty":91,"author":13588,"museum":106,"description":13589,"tags":13590,"thumbUrl":13591,"material":13592,"size":13593,"collection":306,"collections":13594,"showCount":200,"zanCount":534,"manualWeight":11,"mainColor":46},221796,"du-qiu-niang-tu-juan-du-mu-shi-zhou-lang-221796","杜秋娘图卷杜牧诗","周朗","署款：“周朗伯高。”下钤印“冰壶画隐”。本幅有元代著名书法家康里巎巎行书录唐杜牧《杜秋娘诗》，明宋璲题记二段。钤清乾隆、嘉庆、宣统内府收藏印等，共计23方。\n此图创作主题突出，无任何衬景点缀，仅绘杜秋侧身沉思状。作者运用暗喻的艺术手法，根据诗意成功地塑造出栩栩如生的杜秋形象。其雍容丰满的体态及身着的唐装表明了杜秋所处的时代特征，发髻上考究的头饰暗示出她的身份与地位，手中所持排箫则揭示出其内在的文化修养。\n此图在人物造型上与唐代周昉《挥扇仕女图》中的人物相仿。杜秋浓密的头发梳理得齐整服贴，前额不见散丝，鸭蛋形脸，丹凤眼，高鼻梁，嘴唇小而丰满，面部没有过多的表情。躯体丰腴，着以直筒形长裙，遮掩了其腰身的曲线，显示出唐代仕女画的审美意识。在表现技法上，此图受到宋以来白描画法的影响，注重以线造型，与唐人浓彩重抹的画风有所差异，充分表现了作者对线条的理解和娴熟的运用能力。人物面部轮廓以细匀的淡墨线勾勒，线条外柔内刚，富有弹性，与以浓墨晕染的高挽的发髻共同衬托出杜秋白晰的面容及细腻光滑的肌肤。衣纹用曲、直两种线条表现，直线条落笔果断，劲健有力；曲线条连绵宛转。两种线条的有机组合成功地表现出衣料柔软下坠的质感。人物肩上的披纱用细劲流动的线条勾描，不仅展现出纱带轻薄飘逸的美感，而且以其动势使画面更为活泼，增强了作品的生动性。\n周朗真迹传世仅见此一卷。清内府《石渠宝笈初编》著录。",[23,24,56,26,78,28,7,38,58,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3904aa0b94a417e75feeb9f16a97da2.jpg","设色，纸本","纵32.3厘米，横285.5厘米",[306],{"id":13596,"slug":13597,"title":13598,"dynasty":51,"author":5050,"museum":53,"description":13599,"tags":13600,"thumbUrl":13601,"material":10372,"size":13602,"collection":61,"collections":13603,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},221368,"chi-du-juan-cai-xiang-221368","尺牍卷","书风比起蔡襄他书，贵于端重者又增一份工致。书风渊源，用笔、结体、气息，大致融合虞世南、颜真卿二家。\n该幅署款“癸卯”（1063年，嘉祐八年），时年五十二岁，居汴京任翰林院职，属晚期作品。该幅运笔如行，而结体似楷，写来从容不迫，正是“端严而不刻，温厚而不犯。太平之气郁然见于楮毫间。书风比起蔡襄他书，贵于端重者又增一份工致。与次年所书（1063年、甲辰）以故宫所藏《彦犹帖》比较，紧谨严中自有一份雍容，结体、字距行间，宽紧合适，正是端重的代表。即使相对与其它楷书，如“自书谢表并诗”（作于皇祐四、五年间）等，当以此为压卷。\n蔡襄书以浑厚居其上。历来评论蔡襄的书风渊源，受虞世南、颜真卿影响，该幅用笔、结体、气息，大致融合此二家。又蔡襄自谓：“古之善书者，必先楷法，渐而至于行草，亦不离乎楷正。张芝与旭变怪不常，出于笔墨蹊径之外，神逸有余，而与羲献异矣。襄近年粗知其意，而力不及，乌足道哉。”此条未署年，但语义上非年少时，或亦可为晚年该幅尚端重再作一解。\n该帖内文，即求制作纸中名品澄心堂纸，此纸源于五代南唐烈祖李升，命宣城加工制作，澄心堂为李升任金陵节度使住处名称，据称其纸，肤如卵膜，坚洁如玉，细薄光润。宋代士大夫讲究生活品味，于文房用具，尤其考究。“笔墨纸砚精良，人生一乐。”北宋人对文房用品的追求，每每见于诗文杂记题跋中，其中对南唐的墨及纸备加赞扬。蔡襄本人即谓：“纸李王澄心堂为第一。对于文房用具，如《陶生帖》誉“散”笔。对砚的嗜好，《洮河石砚铭》记此砚之“能下墨，隔宿洗之亦不亦不留墨痕。其肌理细润莹洁，不在端溪中洞石下。”《致彦猷尺牍》谢所送“大砚盈尺，风韵异常，斋中之华繇是而生。”蔡绦《铁围山丛谈》“记昭陵（仁宗）赐宴”，一大臣得李超墨，襄得李廷珪墨，襄以之相易。分道时，襄长揖为谢。盖李廷珪墨虽足宝，而李超为李廷珪之父，更足珍。",[25,26,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce7e63e07b5f16b74d9374ebb1826ea.jpg","24x53",[],{"id":13605,"slug":13606,"title":13607,"dynasty":18,"author":881,"museum":53,"description":13608,"tags":13609,"thumbUrl":13610,"material":407,"size":13611,"collection":62,"collections":13612,"showCount":200,"zanCount":534,"manualWeight":11,"mainColor":46},220951,"du-fu-ye-xuan-yuan-huang-di-miao-shi-dong-qi-chang-220951","杜甫谒玄元皇帝庙诗","董宗伯先生书法之妙。世皆知之。然皮相者。先生之行草耳。而?笔十居其七。至于楷法。世人未许梦见。此书乃先生用意临摹。楮墨精好。此予久在先生门下。见其运笔之妙。否则不知其精神所（脱一字）也。此不特得徐浩之法。兼得欧颜之神。非磨墨万锭。未可与窥其奥也。雪蓑声识。",[23,38,7,76,58,27,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccdd89d8a380d7541d59de2edeef33a.jpg","181.5×46.1",[62],{"id":13614,"slug":13615,"title":13616,"dynasty":18,"author":479,"museum":106,"description":7452,"tags":13617,"thumbUrl":7454,"material":60,"size":13618,"collection":306,"collections":13619,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":46},219626,"wang-gong-chu-shan-tu-tang-yin-219626","王公出山图",[23,56,24,25,26,27,77,37,7,38,58,29,79,35,34,33],"纵20厘米，横73.5厘米",[306],{"id":13621,"slug":13622,"title":13623,"dynasty":18,"author":13624,"museum":106,"description":13625,"tags":13626,"thumbUrl":13627,"material":96,"size":13628,"collection":42,"collections":13629,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":66},219218,"yun-yan-jia-sheng-tu-wen-bo-ren-219218","云岩佳胜图","文伯仁","该图描绘虎丘山云岩寺实景，从二山门、千人石、双吊桶、剑池、石桥直到山顶的佛阁和虎丘塔都一一收入画面。作品以写生为基础，捕捉住虎丘山的特征，表现出吴门画风。",[23,24,25,26,29,28,27,37,7,38,58,150,35,34,33,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5658b5730929f9dfde87aa2dd8229ce8.jpg","纵31.1cm，横63.6cm",[42],{"id":13631,"slug":13632,"title":13633,"dynasty":18,"au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），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[56,24,25,26,38,7,58,113,1951,884,3977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[62],{"id":13715,"slug":13716,"title":13717,"dynasty":91,"author":440,"museum":73,"description":5830,"tags":13718,"thumbUrl":13719,"material":920,"size":921,"collection":61,"collections":13720,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},241499,"yuan-you-pian-juan-zhao-meng-fu-241499","远游篇卷",[26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5c6adeedc855e11126feed1d6948ba.jpg",[],{"id":13722,"slug":13723,"title":13724,"dynasty":145,"author":13725,"museum":73,"description":13726,"tags":13727,"thumbUrl":13728,"material":196,"size":61,"collection":62,"collections":13729,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},241103,"dong-po-lu-shan-shi-zhou-bao-shi-chen-241103","东坡庐山诗轴","包世臣","包世臣自幼家贫，但勤于词章，并喜谈国事。嘉庆十三年（1808年）中举，但多次考进士不中。此后曾先后为陶澍、裕谦、杨芳幕客。他一生研究国事，东南各官吏都纷向他咨询，以此名满江淮。\n包世臣思想，反对脱离民事，文章也大都关切时务政事。他反对传统“重农抑商”政策，以“好言利”自许，提出“本末皆富”为“千古治法之宗”、“子孙万世之计”；他又提出“生齿日繁，地之所产，不敷口食”的“人多致贫”论。他坚持经世致用之学，对鸦片战争前后的社会和经济问题，作了较为广泛的探讨，主张具有进步意义的社会改革，在当时社会上有一定影响。",[38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dbcb2ad9db2821263be1d9ead32fd01.jpg",[62],{"id":13731,"slug":13732,"title":13733,"dynasty":18,"author":220,"museum":73,"description":13734,"tags":13735,"thumbUrl":13736,"material":920,"size":921,"collection":62,"collections":13737,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":66},240946,"san-wu-mo-miao-ce-chen-chun-shi-yi-ming-240946","三吴墨妙册-陈淳诗","此作用笔率意纵逸，牵丝映带灵动自如，墨色干湿浓淡富于层次变化，尽显萧散疏朗的文人书风。文字排布错落随性，字势欹正相生，通篇气息连贯畅达。\n\n诗书合璧之下，将诗文的清雅意趣与书法的写意格调融为一体，笔墨间浸透着江南文人的闲散意趣，尽显吴门书家特有的洒脱放旷的笔墨情致，即便未署真名，也能窥见晚明书法重性情、尚意趣的审美风尚，于尺幅之间尽显明代文人书法独有的抒情特质与艺术张力。",[56,24,25,209,7,27,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f768f25b85058211aad53d8a7000572.jpg",[62],{"id":13739,"slug":13740,"title":13741,"dynasty":145,"author":13742,"museum":73,"description":13743,"tags":13744,"thumbUrl":13746,"material":920,"size":921,"collection":62,"collections":13747,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},240819,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240819","行诗文四条屏","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[3383,7,38,25,57,27,58,13745],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34154baf2582364400dda7885830d3ef.jpg",[62],{"id":13749,"slug":13750,"title":13751,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":13752,"thumbUrl":13753,"material":920,"size":921,"collection":61,"collections":13754,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},240459,"xing-zhou-zhu-da-240459","行轴",[3383,38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5327296b6928bb7aaeac1d357b343cb.jpg",[],{"id":13756,"slug":13757,"title":13758,"dynasty":18,"author":881,"museum":73,"description":7358,"tags":13759,"thumbUrl":13760,"material":920,"size":921,"collection":61,"collections":13761,"showCount":13654,"zanCount":534,"manualWeight":11,"mainColor":46},240258,"li-sao-lan-ting-juan-dong-qi-chang-240258","离骚兰亭卷",[23,18,25,38,26,7,27,76,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9a0e30a0a7135aed7c58e6d367beb1.jpg",[],{"id":13763,"slug":13764,"title":13765,"dynasty":145,"author":324,"museum":106,"description":12645,"tags":13766,"thumbUrl":13771,"material":61,"size":61,"collection":62,"collections":13772,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},240034,"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗",[25,38,7,27,58,621,495,13767,5927,13768,13769,13770,402,31],"楼","洲","树影","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg",[62],{"id":13774,"slug":13775,"title":13776,"dynasty":145,"author":324,"museum":106,"description":12645,"tags":13777,"thumbUrl":13778,"material":61,"size":61,"collection":62,"collections":13779,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},240032,"yuan-ji-shu-ti-xue-jiang-juan-zi-shi-ye-shi-tao-240032","原济书题雪江卷子诗页",[38,7,27,58,25,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a26c844631d7bbf1965025ddc3e5ad.jpg",[62],{"id":13781,"slug":13782,"title":13783,"dynasty":145,"author":13784,"museum":73,"description":13785,"tags":13786,"thumbUrl":13787,"material":61,"size":61,"collection":62,"collections":13788,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},239995,"lun-gu-wen-li-yu-er-shuo-zhou-shen-zong-qian-239995","论古文俚语二说轴","沈宗骞","沈宗骞，清代乾嘉（1736—1820）时人。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。\n沈宗骞，清代乾嘉（1736—1820）时人。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。早岁能书、画，小楷、章草及盈丈大字，皆具古人神致魄力。尝见赏于曹地山、钱辛楣﹝钱大昕﹞诸人。画山水、人物、传神，无不精妙。有淳化阁石刻。著《芥舟学画编》，痛斥俗学，阐扬正法，足为画道指南。生平杰作《汉宫春晓》《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。\n辛楣亦翁方纲之友也.翁有（因曹卓亭归震泽致吴兴沈芥舟求画天际乌云句意附以诗往〉诗,吴兴沈芥舟应即指此人也.诗云:\n昔托无轩话旧悰，雨痕苦泥墨痕浓。请君略取蒙蒙意，淡著斜阳一两峯。\n无轩乃吴兴陈焯,亦可见陈与沈之交情.诗题内「曹卓亭」疑即此处所讲之「曹地山」.俟考.\n与晚清重臣曾国藩为挚友。",[3383,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860f0cab3e48339df4d1d4b6beed1223.jpg",[62],{"id":13790,"slug":13791,"title":13792,"dynasty":145,"author":13793,"museum":106,"description":13794,"tags":13795,"thumbUrl":13796,"material":2299,"size":13794,"collection":62,"collections":13797,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":638},239703,"lin-ping-shu-tie-zhou-liang-guo-zhi-239703","临评书帖轴","梁国治","纵73.2厘米，横67.4厘米",[25,38,57,7,76,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894ef876c8e0eb306d6a3d95aa3c625c.jpg",[62],{"id":13799,"slug":13800,"title":13801,"dynasty":91,"author":440,"museum":106,"description":13802,"tags":13803,"thumbUrl":13804,"material":196,"size":13805,"collection":62,"collections":13806,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":66},239664,"er-zan-er-tu-shi-juan-zhao-meng-fu-239664","二赞二图诗卷","元代初年，书法的风貌出现很大的变化。自“宋四家”以来所开拓的文人尚意书风逐渐无以为继，要突破这个困境，唯有追本溯源，上追二王，而赵孟頫便是这一复古潮流的提倡者。在这个背景之下，他的书法倾向于蕴籍沉稳、平正秀丽的风格。赵孟頫的《二赞二图诗卷》所流露的风格却与其追慕的风貌不甚相同而较为少见。此卷款署“湖州观堂与受益外郎饮酒，一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫。”从署款可知，此卷是赵孟頫和友人于湖州观堂相众时乘着酒兴而书的。此卷纸质光滑，又为酒后兴酣之作，故写来信笔飞动，流畅圆转。卷后明代鉴藏家董其昌题跋云： “此赵文敏(孟頫)学颜鲁公(真卿)《送蔡明远叙》兼米海岳(芾)用笔，迥异平日之作”，说明此卷兼有唐代颜真卿及宋代米芾笔意，不同于赵氏的其它墨迹。",[23,56,24,25,26,7,38,58,27,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c170d3ec939624a8380812c02f2b52.jpg","27厘米x456.3厘米",[62],{"id":13808,"slug":13809,"title":13810,"dynasty":91,"author":440,"museum":73,"description":13811,"tags":13812,"thumbUrl":13813,"material":61,"size":61,"collection":62,"collections":13814,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},239613,"shu-tao-yuan-ming-shi-ce-ye-zhao-meng-fu-239613","书陶渊明诗册页","赵孟頫，1254年10月20日生人，字子昂，汉族，号松雪道人，又号水晶宫道人、鸥波，中年曾署孟俯。浙江吴兴（今浙江湖州）人。南宋末至元初著名书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他亦善篆、隶、真、行、草书，尤以楷、行书著称于世。其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。",[38,7,209,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a6bfd5aaf4b1d9e9d7575ef8d23a3a.jpg",[62],{"id":13816,"slug":13817,"title":4036,"dynasty":145,"author":2704,"museum":73,"description":2705,"tags":13818,"thumbUrl":13820,"material":920,"size":921,"collection":61,"collections":13821,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},238481,"hua-hui-tu-ce-jiang-ting-xi-238481",[24,25,209,28,77,7,58,210,119,798,177,13819,4425,7591,800],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7c9fca31ee664bedfe2e8bead96273.jpg",[],{"id":13823,"slug":13824,"title":4036,"dynasty":145,"author":2704,"museum":73,"description":2705,"tags":13825,"thumbUrl":13826,"material":920,"size":921,"collection":61,"collections":13827,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},238479,"hua-hui-tu-ce-jiang-ting-xi-238479",[24,25,209,28,77,7,58,210,119,417,177,800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd3fdf4c9fd65cc5b501bf17420963f.jpg",[],{"id":13829,"slug":13830,"title":857,"dynasty":18,"author":205,"museum":73,"description":7066,"tags":13831,"thumbUrl":13832,"material":920,"size":921,"collection":61,"collections":13833,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},238118,"hua-hui-ce-xiang-sheng-mo-238118",[24,25,209,7,27,418,58,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc779104d688860184936ee207b3185.jpg",[],{"id":13835,"slug":13836,"title":13837,"dynasty":145,"author":11323,"museum":73,"description":13838,"tags":13839,"thumbUrl":13841,"material":61,"size":61,"collection":61,"collections":13842,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},238057,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238057","指画洛神赋图册","画面以淡墨写意出洛神仙姿，衣袂翩跹舒展，简练灵动的墨线勾勒身形，寥寥数笔便将她缓步踏水、御风徐行的轻盈姿态尽显。柔婉线条裹着缥缈仙气，将洛神脉脉含情的温婉神态暗藏于舒展衣褶间，虽无浓丽敷色，却自带出尘飘逸的气质。\n\n一旁题诗与画作相映成趣，文墨交融尽显雅致文人意趣，以指代笔落墨简括却神完气足，将洛神的缱绻幽怨暗含在柔缓步履之中，淡墨余韵悠长，尽显写意之妙。",[24,25,209,78,27,79,80,13840,58,7],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71eef0676ce22d3abe12546c8bcd778f.jpg",[],{"id":13844,"slug":13845,"title":857,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":13846,"thumbUrl":13847,"material":920,"size":921,"collection":61,"collections":13848,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},237687,"hua-hui-ce-sun-ke-hong-237687",[24,25,209,27,7,119,1576,1172,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80173eb72f033a5c308ecbc5cce28297.jpg",[],{"id":13850,"slug":13851,"title":857,"dynasty":18,"author":205,"museum":373,"description":10552,"tags":13852,"thumbUrl":13853,"material":9334,"size":10555,"collection":61,"collections":13854,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},237440,"hua-hui-ce-xiang-sheng-mo-237440",[24,25,209,28,210,121,7,58,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055700a31cac6a5d48ae1e0a0424c8e1.jpg",[],{"id":13856,"slug":13857,"title":13858,"dynasty":145,"author":2704,"museum":106,"description":13859,"tags":13860,"thumbUrl":13861,"material":61,"size":6171,"collection":42,"collections":13862,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},236195,"hui-mei-zhu-tu-kang-xi-di-lin-mi-fei-shu-zhe-shan-jiang-ting-xi-236195","绘梅竹图康熙帝临米芾书折扇","此扇一面为蒋廷锡绘梅竹图，蒋氏的作品大多呈两种面貌，一为墨笔、淡设色的小写意花鸟，一为工笔浓彩的细谨风格。此图即为后者，笔致精细，敷色冶艳，极富皇家华贵典雅的气韵。另一面为康熙帝临米芾书，所书内容出自李衢《都堂试贡士日庆春雪》，释文为：“锡瑞来丰岁，旌贤入贡辰。摇轻梅共笑，飞弱柳和春。绕砌封琼屑，依阶喷玉尘。蜉蝣吟更切，科斗映还新。鹤毳迷难辨，冰壶鉴易真。因歌大君德，率舞咏陶钧。临米芾元章。”",[24,25,2579,27,76,7,111,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db7d8989ef35548b0c37927bc3b15ab.jpg",[42,155],{"id":13864,"slug":13865,"title":13866,"dynasty":145,"author":220,"museum":73,"description":13867,"tags":13868,"thumbUrl":13869,"material":61,"size":61,"collection":61,"collections":13870,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},235865,"nv-dao-zi-fang-zhu-shan-shui-ye-yi-ming-235865","女道子仿朱山水页","此作用水墨写意铺展山林幽境，以淡墨晕染远山，烟岚裹挟群峰，主峰奇峭挺秀，留白晕化出空濛雾霭，将山野清寂之态尽数铺陈。近岸林木苍郁错落，掩映一隅山居茅舍，笔致简淡却意态饱满，寥寥数笔便勾勒出林泉栖居的静穆意趣。\n\n左侧行书题文以文人典故衬出品鉴雅意，书画相映成趣。整作墨色干湿相济，淡墨取韵、浓墨提神，于简淡苍润间尽显清逸萧散的林下之风，寄寓着文人寄情林泉、静守丘壑的幽怀。",[24,25,209,27,37,7,29,33,377,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbw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创作的纸本设色画，现藏于 。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[24,25,57,27,7,38,150,112,377,177,1471,1121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":13898,"slug":13899,"title":857,"dynasty":18,"author":7894,"museum":73,"description":12230,"tags":13900,"thumbUrl":13901,"material":920,"size":921,"collection":61,"collections":13902,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},235475,"hua-hui-ce-qi-xun-235475",[24,25,209,28,210,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb36e3eb09986261d44138604ec048b.jpg",[],{"id":13904,"slug":13905,"title":10922,"dynasty":145,"author":2545,"museum":73,"description":13906,"tags":13907,"thumbUrl":13908,"material":61,"size":61,"collection":61,"collections":13909,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},235080,"shan-shui-tu-ce-hua-yan-235080","此作用枯笔焦墨写飞瀑垂落，嶙峋山石皴擦苍劲，水雾随墨色晕染漫开，将丘壑的厚重与水烟的清柔相融。一叶扁舟随波浮沉，愈发衬出江天空寂。\n左侧题诗行书纵逸跌宕，笔意与画中山水的萧疏浑然相合。整幅以干湿浓淡的笔墨变化，勾勒出世外幽居的清寂意趣，将山瀑奔涌的动，对晤林泉静穆的闲。诗画相生，以书入画，把幽人高隐的林下襟怀铺陈开来，尽显文人水墨抒情写意的雅逸格调。",[24,27,209,37,7,58,29,192,32,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5fdc80d96f85c6bb2327e0092e3558c.jpg",[],{"id":13911,"slug":13912,"title":2604,"dynasty":145,"author":8486,"museum":106,"description":13913,"tags":13914,"thumbUrl":13915,"material":542,"size":13916,"collection":61,"collections":13917,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},235026,"shan-shui-ce-wu-li-235026","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,25,209,27,29,32,81,31,177,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc84bebdcb3c8a0368bf20a1a97b797.jpg","23.2厘米，横28厘米",[],{"id":13919,"slug":13920,"title":13921,"dynasty":18,"author":1096,"museum":73,"description":13922,"tags":13923,"thumbUrl":13924,"material":61,"size":61,"collection":61,"collections":13925,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[23,56,24,25,26,38,7,27,37,29,33,34,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":13927,"slug":13928,"title":13929,"dynasty":18,"author":1024,"museum":73,"description":13930,"tags":13931,"thumbUrl":13932,"material":61,"size":61,"collection":61,"collections":13933,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。 [1]\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,26,27,7,38,58,29,79,30,31,33,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":13935,"slug":13936,"title":13937,"dynasty":18,"author":19,"museum":106,"description":13938,"tags":13939,"thumbUrl":13940,"material":152,"size":13941,"collection":61,"collections":13942,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[23,56,24,25,26,27,28,7,37,29,7465,34,36,178,239,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","画323×33cm；跋64×33cm",[],{"id":13944,"slug":13945,"title":3380,"dynasty":145,"author":324,"museum":106,"description":3381,"tags":13946,"thumbUrl":13947,"material":722,"size":3386,"collection":61,"collections":13948,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773",[24,25,209,27,28,29,34,625,31,35,79,7,58,37,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg",[],{"id":13950,"slug":13951,"title":13952,"dynasty":145,"author":13953,"museum":106,"description":13954,"tags":13955,"thumbUrl":13956,"material":13957,"size":13958,"collection":61,"collections":13959,"showCount":13654,"zanCount":534,"manualWeight":11,"mainColor":46},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像潘恭寿补图轴","任熊","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[24,25,57,28,77,79,120,377,177,121,2007,646,620,2008,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":13961,"slug":13962,"title":13963,"dynasty":18,"author":205,"museum":53,"description":13964,"tags":13965,"thumbUrl":13966,"material":196,"size":13967,"collection":61,"collections":13968,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,26,27,29,37,38,7,58,35,34,31,30,33,79,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":13970,"slug":13971,"title":13972,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":13973,"thumbUrl":13974,"material":61,"size":61,"collection":61,"collections":13975,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,24,25,26,27,37,7,58,29,192,34,35,33,32,31,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":13977,"slug":13978,"title":13979,"dynasty":145,"author":1413,"museum":73,"description":13980,"tags":13981,"thumbUrl":13983,"material":61,"size":61,"collection":61,"collections":13984,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},230283,"wu-yan-pai-lv-jing-xin-zhu-da-230283","五言排律镜心","此作用笔枯润交糅，线条瘦劲老辣，凝练如铁。字距错落排布，行气舒朗连贯，虚实相生间晕开疏淡孤高的底色。\n点画简括却力透纸背，牵丝映带里尽显萧散雅逸，既有晋人行书的灵动意趣，又将沉郁心绪藏在起落转合中。笔墨间浸透着清冷遗世的风骨，把孤高心性与书法意境相融，每一处转折都暗合幽远禅意，以极简形质承载苍劲沉凝的精神内核，尽显以心驭笔的绝妙文人书意。",[23,38,7,1014,27,58,13982],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10294bcc5f79ea0c65b25270013a64a0.jpg",[],{"id":13986,"slug":13987,"title":13988,"dynasty":145,"author":1413,"museum":73,"description":1414,"tags":13989,"thumbUrl":13990,"material":920,"size":921,"collection":61,"collections":13991,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},230273,"tang-geng-wei-ti-qing-yuan-si-shi-zhu-da-230273","唐耿湋题清源寺诗",[23,38,7,1014,27,58,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd15d6de57e2fe44f5aaa1d3f3a16268.jpg",[],{"id":13993,"slug":13994,"title":13995,"dynasty":145,"author":7738,"museum":73,"description":13996,"tags":13997,"thumbUrl":13998,"material":920,"size":921,"collection":61,"collections":13999,"showCount":13654,"zanCount":534,"manualWeight":11,"mainColor":932},230259,"dui-lian-dang-wei-shi-yi-hong-yi-fa-shi-230259","对联《当为世依》","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。",[3383,38,2251,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8abbaeb25fda56919c51d407bfa57c7.jpg",[],{"id":14001,"slug":14002,"title":14003,"dynasty":145,"author":7738,"museum":73,"description":13996,"tags":14004,"thumbUrl":14007,"material":920,"size":921,"collection":61,"collections":14008,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},230258,"xin-xi-lie-xin-feng-tian-jin-bo-wu-guan-hong-yi-fa-shi-230258","信系列-信封(天津博物馆)",[3383,38,7,58,28,10323,14005,353,14006],"书信","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e0f3d64e776a98d557a75865bbc2e9.jpg",[],{"id":14010,"slug":14011,"title":14012,"dynasty":18,"author":10295,"museum":73,"description":14013,"tags":14014,"thumbUrl":14015,"material":61,"size":61,"collection":61,"collections":14016,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[23,24,25,26,27,7,58,38,29,79,113,112,177,33,2207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":14018,"slug":14019,"title":468,"dynasty":18,"author":1096,"museum":73,"description":14020,"tags":14021,"thumbUrl":14022,"material":61,"size":61,"collection":61,"collections":14023,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},228383,"shan-shui-tu-liu-jue-228383","此作用披麻皴晕染江南丘壑，山峦平缓温润，苍松杂木错落于坡石之间，笔墨苍厚松灵，带着吴门画派特有的萧散意趣。淡墨轻烘出烟雨空蒙的氛围，溪谷蜿蜒隐现于林木山石间，尽显吴中山水的温润雅致。\n画作带着文人画的清幽品格，将林泉高致的隐逸心境藏于笔墨间，师法前贤又自出清澹之格，把江南山野的沉静雅致铺陈开来，是兼具笔墨意趣与人文情志的佳构。",[23,24,25,26,27,37,38,7,58,29,34,35,178,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea50e787329b0ad288fa2056b6b465b.jpg",[],{"id":14025,"slug":14026,"title":38,"dynasty":18,"author":1064,"museum":73,"description":1228,"tags":14027,"thumbUrl":14028,"material":920,"size":921,"collection":61,"collections":14029,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},228279,"shu-fa-chen-hong-shou-228279",[25,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3221a6efaf4342fec5dd9784bbb847fa.jpg",[],{"id":14031,"slug":14032,"title":14033,"dynasty":91,"author":6242,"museum":73,"description":14034,"tags":14035,"thumbUrl":14036,"material":61,"size":61,"collection":61,"collections":14037,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[23,24,25,26,27,7,223,38,37,58,29,32,33,34,35,179,31,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":14039,"slug":14040,"title":11837,"dynasty":51,"author":52,"museum":73,"description":14041,"tags":14042,"thumbUrl":14043,"material":61,"size":61,"collection":61,"collections":14044,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},227588,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227588","此帖亦称“与景道使君书”。纸本，纵27.8、横47.4厘米。被《戏鸿堂法书》、《玉烟堂帖》、《海宁陈氏藏真帖》等丛帖收录。\n\n黄庭坚是北宋诗人、书法家，字鲁直，号涪翁，又号山谷道人。江西修水人。黄庭坚书法擅行草书，初师法周越，后上溯颜真卿、怀素，尤其得力于《瘗鹤铭》，用笔以侧险取势，纵横拗崛，自成一家。黄庭坚行书不及其草书艺术水准高，而行书小字似胜大字，当然这是见仁见智的看法。他的大字行书虽长枪大戟，气势很盛，但总觉含蓄不足，不及小字耐人寻味，比如这件尺牍，温文尔雅，收放自如，并不因字小而损气度。\n\n这件尺牍还是一件重要的书论短文：信中写“翰林苏子瞻书法娟秀，虽用墨太丰，而韵有余，于今为天下第一。余书不足学，学者辄笔（懦）无劲气。今乃舍子瞻而学余，未能择术也。”黄书与苏东坡书法比起来，确实是苏字更有韵致，当然这仅是指行书，而苏书用墨太丰，亦是小疵，黄曾戏言苏字“石压蛤蟆”，而苏反唇相讥黄字“死蛇挂树”，双方都提到了对方特点，同时也点到不足，而他们之间的调侃都是善意的，正因为这一点而成了千古佳话。",[25,38,7,2239,196,58,2052,1697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dad10d747084894378b48a94630475a.jpg",[],{"id":14046,"slug":14047,"title":14048,"dynasty":51,"author":362,"museum":73,"description":14049,"tags":14050,"thumbUrl":14051,"material":61,"size":61,"collection":61,"collections":14052,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},227501,"wen-zhu-tu-shou-juan-su-shi-227501","文竹图手卷","这是一首关于笋焖猪肉的打油诗，据说，苏轼在一个派对上品尝这道食物时，就作了这首诗。\n\n你可能还听过他的另一首诗，“宁可食无肉，不可居无竹。无肉令人瘦，无竹令人俗。人瘦尚可肥，士俗不可医。旁人笑此言，似高还似痴。”\n\n由此可见，苏轼对竹子的爱甚至已经超过了肉，宁可食无肉，也要“居有竹”。可能有人会想，瘦一瘦更健康，拿它跟“居无竹”相比，是不是太夸张了？",[23,24,25,26,27,112,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d5e41d22c6c061286d0a76a7284bc9.jpg",[],{"id":14054,"slug":14055,"title":5664,"dynasty":145,"author":11142,"museum":73,"description":14056,"tags":14057,"thumbUrl":14058,"material":61,"size":61,"collection":61,"collections":14059,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},226636,"shou-zi-pu-ru-226636","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,25,38,27,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5ea3013245d575b459bc38ebbef6d1.jpg",[],{"id":14061,"slug":14062,"title":14063,"dynasty":145,"author":8923,"museum":73,"description":14064,"tags":14065,"thumbUrl":14066,"material":4955,"size":14067,"collection":62,"collections":14068,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":638},224438,"yong-luo-hua-qi-lv-shi-wu-zhang-he-shao-ji-224438","咏落花七律十五章","同治四年（乙丑，1865年）春书于苏州。\n何绍基的行草书融篆、隶于一炉，骏发雄强，独具面貌。\n他的篆书，中锋用笔，并能掺入隶笔，而带行草笔势，自成一格。",[23,38,7,26,8763,3978,404,1456,621,3977,1951,376,495,884,33,494,4775,8382],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99b11b1e1294d79f91b13adc0f6273.jpg","横30厘米，纵181厘米",[62],{"id":14070,"slug":14071,"title":14072,"dynasty":145,"author":666,"museum":73,"description":667,"tags":14073,"thumbUrl":14074,"material":920,"size":921,"collection":61,"collections":14075,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":66},224208,"shu-fa-21-wu-chang-shuo-224208","书法21",[38,57,7,223,58,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7447a84ab368b81850adda919cb4968.jpg",[],{"id":14077,"slug":14078,"title":399,"dynasty":145,"author":14079,"museum":73,"description":14080,"tags":14081,"thumbUrl":14082,"material":920,"size":921,"collection":61,"collections":14083,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":1787},224207,"chi-bi-fu-he-shuo-cheng-qin-wang-224207","和硕成亲王","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。",[38,7,402,6434,32,405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f0f199d842a0bb46fc33498c196171.jpg",[],{"id":14085,"slug":14086,"title":14087,"dynasty":145,"author":1523,"museum":73,"description":14088,"tags":14089,"thumbUrl":14090,"material":61,"size":61,"collection":61,"collections":14091,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},224112,"lin-san-xi-tie-qian-long-224112","临三希帖","《三希堂法帖（一箱全五册）》是29年出版的图书，作者是梁诗正。\n《三希堂法帖(套装全5卷)(繁体竖排版)》分为五卷，其中四卷为原刻印本，第五卷为法帖释文和书家小传。\n《三希堂法帖》是我国清代乾隆年间由朝廷谕旨编刻的一部大型丛帖，全称为《御制三希堂石渠宝笈法帖》。\n乾隆十二年（一七四七年），乾隆皇帝敕命大学士吏部尚书梁诗正、户部尚书蒋溥等人，将内府所藏魏晋至明末的书法作品，择其精华加以校勘编次，从全国各地调集书法石刻艺人高手摹刻上石。\n法帖共分三十二册，刻石五百余块，收集自魏晋至明代末年共一百三十五位书法家的三百四十件书法作口叩和二百一十多件题跋，一千六百多方印章，共九万多字。\n帖中收有被乾隆帝视为稀世墨宝的三件东晋书迹，即王羲之的《快雪时晴帖》、王献之的《中秋帖》和王殉的《伯远帖》，而收藏这三件墨宝的地方又被乾隆称为三希堂，故法帖取名《二希堂法帖》。\n乾隆皇帝爱好书法，日理万机之余，潜心临池，遍习诸家，其书法温润妍媚，亲雅有致。\n由于《二希堂法帖》是乾隆皇帝御览之宝，所以刻印考究，版本珍贵。\n后流传民间，刻印日趋繁杂，以致版本良莠不齐。\n鉴于此，黄山书社和北京传世文化发展中心联合有关专家、学者，遴选各家藏馆版本，后选定首都图书馆善本库这套《二希堂法帖》版本予以影印出版。\n该本刻印清楚，神韵犹足，版本完整，堪称珍品。\n在此基础上，我们附加了法帖全部释文和书家小传，以便读者阅读、研习。",[23,38,76,7,26,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d59b3438eb9d2d283990bdc413c4cf5.jpg",[],{"id":14093,"slug":14094,"title":14095,"dynasty":71,"author":220,"museum":373,"description":14096,"tags":14097,"thumbUrl":14098,"material":14099,"size":14100,"collection":61,"collections":14101,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},223497,"cao-e-ci-quan-juan-yi-ming-223497","曹娥辞全卷","《曹娥诔辞》是自东晋流传迄今的楷书墨迹，因卷后署有“升平二年”年款，又名《升平帖》。通篇以小楷书写就，捺笔厚重、结体扁方，尚存隶书笔意，从中可以窥见早期楷书的笔法、结体特征。此卷历来有王羲之墨迹一说，至宋高宗赵构时明确为晋时佚名之作。",[23,26,25,38,7,2031,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d15bd71cc6a624b2f334bb609e141f7.jpg","绢本楷书","32.3x54.3厘米",[],{"id":14103,"slug":14104,"title":14105,"dynasty":145,"author":3472,"museum":106,"description":3473,"tags":14106,"thumbUrl":14110,"material":1262,"size":3476,"collection":61,"collections":14111,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":66},222865,"shi-gong-ci-tu-ce-04-leng-mei-222865","十宫词图册04",[23,24,56,25,1244,2240,1594,28,14107,14108,14109,38,7],"海西画法","宫廷建筑","舞蹈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d448e834bf9f00769c5fbf6f5431d.jpg",[],{"id":14113,"slug":14114,"title":14115,"dynasty":18,"author":3161,"museum":53,"description":14116,"tags":14117,"thumbUrl":14118,"material":196,"size":14119,"collection":62,"collections":14120,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},222464,"shu-shan-ye-zhu-yun-ming-222464","书扇页","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[23,2579,38,7,1014,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44214ec1fb685b490e03762ffc07075.jpg","31.1x37",[62],{"id":14122,"slug":14123,"title":14124,"dynasty":18,"author":1024,"museum":73,"description":11906,"tags":14125,"thumbUrl":14126,"material":14127,"size":14128,"collection":62,"collections":14129,"showCount":13654,"zanCount":534,"manualWeight":11,"mainColor":66},222014,"zi-zuo-shi-juan-quan-juan-wen-zheng-ming-222014","自作诗卷全卷",[23,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F369862cbcb9f4c9abd59e3e40bed88c8.jpg","纸本手卷","27×637cm.",[62],{"id":14131,"slug":14132,"title":14133,"dynasty":51,"author":6919,"museum":373,"description":14134,"tags":14135,"thumbUrl":14136,"material":1262,"size":14137,"collection":61,"collections":14138,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},221672,"lian-zhou-xin-yue-tu-quan-juan-zhao-bo-ju-221672","莲舟新月图全卷","此卷整体画面以色彩渲染，着色清丽,内容描写的北宋著名理学家周敦颐爱莲的故事。画面人物精神清润，能别状貌。柳树旁的两棵对称式的野花，以及坡石上的点苔都极富装饰趣味。",[23,56,24,25,26,1394,28,77,7,38,58,29,418,32,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b08ce584a2b3aee32d00009daf8bd9.jpg","24.2x591.8cm",[],{"id":14140,"slug":14141,"title":14142,"dynasty":51,"author":526,"museum":2564,"description":14143,"tags":14144,"thumbUrl":14145,"material":243,"size":14146,"collection":61,"collections":14147,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},221405,"zui-seng-tu-juan-quan-juan-li-gong-lin-221405","醉僧图卷全卷","此画应为南宋人作。卷末有苏轼草书题跋，另有署名“东村”的长跋，“东村”不知为何人，但书法精妙，当为大家手笔。画作的真伪、年代姑且不论，亦不论卷末题跋者是否苏轼，单就书法水平而言却是着实精彩的。",[23,24,25,26,78,27,38,7,1014,79,377,177,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a82f9d0989e0effd94ca4473f6f65d.jpg","画芯32.5x60.8cm",[],{"id":14149,"slug":14150,"title":14151,"dynasty":51,"author":2283,"museum":373,"description":14152,"tags":14153,"thumbUrl":14154,"material":1014,"size":61,"collection":61,"collections":14155,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":46},221379,"ba-sun-guo-ting-qian-zi-wen-di-wu-ben-wang-shen-221379","跋孙过庭千字文第五本","王詵[shēn]（公元約1048年—公元約1104年），字晉卿，太原（今山西太原）人，後遷汴京（今河南開封） ，北宋畫家。\n北宋熙寧二年（1069年）娶英宗女蜀國大長公主，拜左衞將軍、駙馬都尉。元豐二年，因受蘇軾牽連貶官均州。元祐元年（1086年）復登州刺史、駙馬都尉。擅畫山水，學王維、李成，喜作煙江雲山、寒林幽谷，水墨清潤明潔，青綠設色高古絕俗。亦能書，善屬文。其詞語言清麗，情致纏綿，音調諧美。存世作品有《漁村小雪圖》《煙江疊嶂圖》《溪山秋霽圖》等。",[23,38,7,25,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7f141a38f4bd44373094a8349e4aac.jpg",[],{"id":14157,"slug":14158,"title":14159,"dynasty":51,"author":11417,"museum":106,"description":12142,"tags":14160,"thumbUrl":14161,"material":12145,"size":12146,"collection":61,"collections":14162,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":66},221256,"da-nian-tie-xue-shao-peng-221256","大年帖",[23,38,25,7,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724c47a3271783b03c92462eed77c9b2.jpg",[],{"id":14164,"slug":14165,"title":14166,"dynasty":18,"author":13624,"museum":4480,"description":14167,"tags":14168,"thumbUrl":14169,"material":14170,"size":14171,"collection":61,"collections":14172,"showCount":13654,"zanCount":11,"manualWeight":11,"mainColor":61},220735,"yan-jiang-die-zhang-tu-ba-wen-bo-ren-220735","烟江叠嶂图跋","此小楷题跋笔致清劲秀雅，结体匀整端稳。书者追念原作笔墨逸趣，慨叹辗转得见真迹的幸然，盛赞原作笔意苍茫浑朴，以精妙水墨晕染出烟江层峦的空濛之致，将山川灵秀收于尺幅之间。\n\n字里行间藏着得见真迹的珍视，把寻获佳作的欣喜与对原作风神的倾慕娓娓道来。笔墨文辞相融，既为画作添上一段流传佳话，又以隽雅书迹衬合原作山水意境，尽显文人清雅意趣与鉴藏情怀，书画相映，让这份古雅意韵更添悠长。",[24,25,7,27,28,29,404,178,179,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3032ad22be1f88d0afc7499004d1d852.jpg","设色,纸本","22 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。",[3383,38,1735,7,58,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F604d1a08a91b1c86dc5b976b8df44d66.jpg",[],{"id":14259,"slug":14260,"title":14261,"dynasty":91,"author":8194,"museum":73,"description":10184,"tags":14262,"thumbUrl":14263,"material":196,"size":61,"collection":62,"collections":14264,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":46},241191,"san-yun-suo-zhi-juan-yang-wei-zhen-241191","三云所志卷",[23,25,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7bfb98e6404201a97bdef319aaf1e7.jpg",[62],{"id":14266,"slug":14267,"title":14268,"dynasty":145,"author":10880,"museum":73,"description":14269,"tags":14270,"thumbUrl":14271,"material":920,"size":921,"collection":62,"collections":14272,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":46},241173,"qing-ren-ji-jin-ce-chu-ci-jiao-kan-du-zhu-shi-yi-er-ce-qi-ji-ye-weng-fang-gang-241173","清人集锦册-初次校勘杜注拾遗二册讫记页","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[38,7,209,58,27,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567ca0e2d3d58e8209a59408b25229d7.jpg",[62],{"id":14274,"slug":14275,"title":14276,"dynasty":145,"author":14277,"museum":73,"description":14278,"tags":14279,"thumbUrl":14280,"material":920,"size":921,"collection":61,"collections":14281,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":46},241139,"si-ti-shu-si-tiao-ping-deng-shi-ru-241139","四体书四条屏","邓石如","邓石如 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晕染出春日清和柔缓的氛围。\n\n诗画相映，鉴藏朱印错落点缀，将武陵桃源的隐逸意趣融于尺幅之中。整体章法疏密有致，笔意内敛沉静，以苍润笔墨铺展出出世忘尘的澹然意境，尽显文人山水的清雅格调，藏着山居春日的闲逸悠然。",[23,24,25,29,28,37,117,376,884,34,193,30,31,58,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":14636,"slug":14637,"title":14638,"dynasty":145,"author":1523,"museum":73,"description":14639,"tags":14640,"thumbUrl":14641,"material":920,"size":921,"collection":61,"collections":14642,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":66},224113,"lin-lan-ting-qian-long-224113","临兰亭","据款署，此册于戊寅年（1758年）上巳日临于三希堂。",[23,25,38,26,76,7,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ff6111fae3342a4f814c8ae36a7071.jpg",[],{"id":14644,"slug":14645,"title":14646,"dynasty":51,"author":220,"museum":106,"description":14647,"tags":14648,"thumbUrl":14650,"material":165,"size":14651,"collection":61,"collections":14652,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":46},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,56,24,25,26,27,28,29,37,77,7,1014,2031,38,58,14649,31,34,5036,30,82,177],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":14654,"slug":14655,"title":14656,"dynasty":145,"author":12847,"museum":106,"description":14657,"tags":14658,"thumbUrl":14660,"material":1262,"size":14661,"collection":61,"collections":14662,"showCount":424,"zanCount":534,"manualWeight":11,"mainColor":46},222784,"hua-niao-ce-ye-04-lang-shi-ning-222784","花鸟册页04","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[23,24,56,25,209,77,28,12850,7,38,210,417,119,14659,800],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af1fe78069d3bb1e3fc5bb35e1c1436.jpg","纵32.6厘米，横28.6厘米",[],{"id":14664,"slug":14665,"title":14666,"dynasty":18,"author":7852,"museum":106,"description":14667,"tags":14668,"thumbUrl":14669,"material":5565,"size":61,"collection":62,"collections":14670,"showCount":424,"zanCount":534,"manualWeight":11,"mainColor":66},222536,"zhi-mei-gong-li-nian-xin-zha-wang-duo-222536","致梅公李年信札","此为米芾《行书三札卷》卷后王铎书法手迹，言其对米海岳书法欣喜欢爱，以至于喜爱的睡不着觉了。\n释文：弟昨为米韩马墨迹夜怀不能寐，天明即繇泥泞访年兄，欲一快也。不意年兄今遣苍头持来，谓恐为燕石。弟展观方二行，辄欣喜欢爱，若对海岳，亲见其运腕走毫也。五百年物，兵火不相之而寿如是。迨毕二启，其笔神淡宕，鸟王金羽戏海以簸扬，飞龙变化生云喷风雨。忽入缕针小家箝法,恶足以拟议也。且留弟斋，饫观数日，以慰輖饥。令较书多方爱护，断不敢油腻亵此宝。乃题为燕石云乎哉。虽然弟不欣喜欢爱则已，既欣喜欢爱，能不嫉妬年兄乎！今夜弟怀如何，又恐不能寐。念一笑。弟王铎顿首顿首 梅公李年兄阁下。",[23,38,7,11840,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b2e89dd052f54067bdc45446f467.jpg",[62],{"id":14672,"slug":14673,"title":14674,"dynasty":18,"author":14675,"museum":53,"description":14676,"tags":14677,"thumbUrl":14678,"material":196,"size":14679,"collection":61,"collections":14680,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":932},222403,"hua-song-shan-tu-dong-qi-chang-shu-qi-yan-jue-ju-cheng-shan-wu-ling-222403","画松山图董其昌书七言绝句成扇","吴令","泥金扇面衬得墨色愈见苍润清雅。近岸林木攒簇，山石以干笔淡墨勾勒皴擦，朴拙苍厚，带着沉静古雅的质感。远景坡岸孤树茅舍疏淡简远，留白空灵透气，将松山幽居的静穆清远收拢在方寸之间。\n笔墨简淡松秀，以少胜多，尽显萧散幽寂的林下意趣，与另一面的书法相映成趣，悠悠漾着旧时文人幽居林泉的雅致风流。",[23,2579,24,25,27,37,29,113,376,33,377,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7fa4de35468ed5eb700e3883fbf8cc.jpg","17.8x46.8厘米",[],{"id":14682,"slug":14683,"title":14684,"dynasty":18,"author":479,"museum":373,"description":14685,"tags":14686,"thumbUrl":14687,"material":196,"size":14688,"collection":61,"collections":14689,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":46},222334,"wu-men-bi-shu-shi-zhou-tang-yin-222334","吴门避暑诗轴","释文：\n吴门避暑\n吴门避暑不愁难，绿柳荫浓画舫宽。\n石首鲜呈黄蜡面，杨梅肥绽紫金丸。\n密遮竹叶凉冰檐，散插榴花角黍盘。\n忽报洗天风雨至，一时龙挂万人看。",[23,7,38,58,111,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39006ef32cd0146555aa989f7ec5bcaa.jpg","纵138.2厘米 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卷中钤有宋“中书省印”九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”",[38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdccd4b61c1f80652e006df69e988105b.jpg","纵30.5厘米、横66.2厘米",[],{"id":14718,"slug":14719,"title":14720,"dynasty":702,"author":1854,"museum":73,"description":1855,"tags":14721,"thumbUrl":14722,"material":123,"size":61,"collection":61,"collections":14723,"showCount":424,"zanCount":534,"manualWeight":11,"mainColor":46},218176,"da-qian-kuang-tu-ce-2-zhang-da-qian-218176","大千狂涂册-2",[24,25,209,27,7,1014,79,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec1a29f6db7046fda3f7e1627277b6c.jpg",[],{"id":14725,"slug":14726,"title":4036,"dynasty":145,"author":717,"museum":20,"description":14727,"tags":14728,"thumbUrl":14729,"material":61,"size":61,"collection":125,"collections":14730,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":14731},203213,"hua-hui-tu-ce-yun-shou-ping-203213","画面中桃花枝蔓舒展，粉瓣轻叠似云，嫩叶翠润鲜活。以没骨设色法晕染，花瓣色泽过渡自然，无勾勒之痕却形神毕肖；枝干用墨简练，浓淡相间显苍劲之姿。旁配行书题跋，笔意流畅，与花卉相得益彰，右下角朱印点缀，更添古雅韵致。整体画风清新雅致，融写生之真与文人意趣，尽显没骨花卉的妍丽生机，传递出春日桃花的温婉灵动。",[720,28,117,210,7,58,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2253ae17a601aa17e096a6c29fadd09c.jpg",[125],"d8d1be",{"id":14733,"slug":14734,"title":14735,"dynasty":18,"author":4304,"museum":20,"description":14736,"tags":14737,"thumbUrl":14738,"material":61,"size":61,"collection":306,"collections":14739,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":14740},202144,"bu-dai-ci-zun-shi-ba-zi-tu-juan-li-lin-202144","布袋慈尊十八子图卷","画面中布袋慈尊袒腹含笑，神态雍容祥和。十八童子环绕左右，或嬉戏打闹，或捧物献趣，稚态可掬，灵动鲜活。笔墨以水墨为主，线条婉转流畅，人物造型憨朴生动，晕染自然，尽显童真意趣与温暖氛围。题跋书法笔力遒劲，印章点缀其间，更添古朴雅致。整幅作品融宗教意涵与生活情趣于一体，是明代人物画中兼具观赏性与情感共鸣的精品。",[24,26,27,79,530,77,58,7,114,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929832499cebd6e9b8c8c491b6099b74.jpg",[306],"ab987d",{"id":14742,"slug":14743,"title":14744,"dynasty":91,"author":893,"museum":53,"description":13018,"tags":14745,"thumbUrl":14746,"material":123,"size":14747,"collection":61,"collections":14748,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},290832,"xiu-zhu-tu-zhou-ni-zan-290832","修竹图轴",[24,25,57,27,112,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F822aa93986d1b9a95aca39bfa639557a.jpg","51x34.5",[],{"id":14750,"slug":14751,"title":14752,"dynasty":145,"author":1572,"museum":73,"description":14753,"tags":14754,"thumbUrl":14755,"material":920,"size":921,"collection":61,"collections":14756,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},290463,"feng-xue-shi-hua-tu-ce-gao-feng-han-290463","风雪诗画图册","高凤翰（1683—1749年），字西园，号南村，自号南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州。擅画山水、花卉。山水师法宋人，近赵令穰、郭熙一派。55岁左右，右手病疫改用左手，更号“尚左生”刻印“丁巳残人”。其画具有宋人雄浑之神，元人静逸之气。秦祖永《桐荫论画》评道：“离奇超妙，脱尽笔墨畦径，法备趣足，虽不规规于法，而实不离于法。”",[24,25,209,27,28,114,6912,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f78f50f33fd0518e35fac4c088348b5.jpg",[],{"id":14758,"slug":14759,"title":14760,"dynasty":51,"author":14761,"museum":73,"description":14762,"tags":14763,"thumbUrl":14764,"material":920,"size":921,"collection":61,"collections":14765,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},289946,"jiang-ting-lan-sheng-tu-zhang-xun-li-289946","江亭揽胜图","张训礼","松下一亭子，\n凭栏观江景。\n江上渔舟荡，\n远方山魅影。",[2579,24,56,25,29,27,28,33,32,6434,237,254,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0181bf5435b11285dd064c91fa37c7f4.jpg",[],{"id":14767,"slug":14768,"title":14769,"dynasty":51,"author":526,"museum":73,"description":4996,"tags":14770,"thumbUrl":14772,"material":920,"size":921,"collection":61,"collections":14773,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":66},289800,"tao-yuan-ming-yin-gui-tu-li-gong-lin-289800","陶渊明隐归图",[23,26,24,56,25,27,28,79,29,34,12036,3857,13035,7,38,14771,9213],"归隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05298e088d2ce0b4073db83257a7a7d7.jpg",[],{"id":14775,"slug":14776,"title":14777,"dynasty":91,"author":8194,"museum":73,"description":14778,"tags":14779,"thumbUrl":14780,"material":920,"size":921,"collection":61,"collections":14781,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},289795,"xing-zhu-zi-wo-ming-yang-wei-zhen-289795","行煮字窝铭","此作是一件长篇条幅，这种书法形式在元末并不多见，在杨维桢的传世作品中也属少数，因此章法布局自有其独特之处。通篇既呈绵密之势又见通达之气。结字或劲健厚阔，或轻盈妍丽，灵动圆活，融合汉隶、章草和二王格局，古澹朴拙之中显示出秀劲挺拔的独特魅力，颇具观赏价值。",[23,38,7,25,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F622f2320bec4b370b042af3f6a1eaaad.jpg",[],{"id":14783,"slug":14784,"title":14785,"dynasty":51,"author":1970,"museum":73,"description":14786,"tags":14787,"thumbUrl":14788,"material":920,"size":921,"collection":61,"collections":14789,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},288456,"xue-mei-tu-yang-wu-jiu-288456","雪梅图","此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。",[23,24,56,26,25,27,210,111,1636,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7380b5642da48bacdff84a57a04aa1.jpg",[],{"id":14791,"slug":14792,"title":14793,"dynasty":51,"author":52,"museum":73,"description":11206,"tags":14794,"thumbUrl":14795,"material":920,"size":921,"collection":61,"collections":14796,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":1787},287804,"fa-yu-huang-ting-jian-287804","法语",[23,38,680,352,26,7,1014,530,58,402,376,495,14224,114,403,9213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c286f95b6d7727f0226168b69d6c59.jpg",[],{"id":14798,"slug":14799,"title":14800,"dynasty":51,"author":362,"museum":73,"description":14801,"tags":14802,"thumbUrl":14803,"material":920,"size":921,"collection":61,"collections":14804,"showCount":259,"zanCount":534,"manualWeight":11,"mainColor":1787},287602,"ting-xian-shi-qin-su-shi-287602","听贤师琴","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。",[7,680,38,458,2322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8942c0b72f3529baf94b6078fa32682d.jpg",[],{"id":14806,"slug":14807,"title":8081,"dynasty":145,"author":9149,"museum":73,"description":14808,"tags":14809,"thumbUrl":14810,"material":14811,"size":14812,"collection":62,"collections":14813,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},241086,"qi-lv-zhou-da-chong-guang-241086","释文：\n比来佳自胜，别去念何如。江上一分手，山中两得书。情随篱菊老，秋与故人踈。燕许无先后，垂名及盛初。答长安友人作书为冉渠老公祖年台笑政。欝岗治弟笪重光。\n下钤：“笪重光印”、“欝岗精舍”、“江上外史”印3方。引首钤“华易□主”印。鉴藏印钤“养臣珍藏”。\n《五律诗》轴是笪重光写给冉渠的一首五言律诗。冉渠即吴湛，字伯其，号冉渠，睢阳(今河南商丘县)人，清代文人，清顺治十五年（1658年）进士，曾在笪重光的家乡镇江为官，汤斌为其撰《江南镇江府海防同知冉渠吴公墓志铭》。 笪重光的同乡著名书法家王文治在其所著《快雨堂题跋》中评笪重光的书法“上至章草，下至苏、米，靡所不习。书格超妙，飘然有凌云之气。”可谓推崇备至。笪重光生活的时代正是董其昌书风最为盛行之时，朝野上下以崇董为时尚，而笪重光的书法更强调师法古人，尤其注重用笔。笪重光书法比较注重用笔，在其所著《书筏》中即云：“横画之发（起笔）笔仰，竖画之发笔俯，撇之发笔重，捺之发笔轻……”此幅作品，点划圆润，运笔灵动自然，师法米芾，信笔任墨，字里行间充满沉着悠游风雅的意韵。",[38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16b47355590f53f076f3bf3c41e3b09.jpg","绫本，行草","纵242.8厘米，横52.5厘米",[62],{"id":14815,"slug":14816,"title":14817,"dynasty":145,"author":324,"museum":73,"description":1757,"tags":14818,"thumbUrl":14819,"material":920,"size":921,"collection":61,"collections":14820,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},240963,"yuan-ji-xing-lu-li-bai-shi-wu-shou-shan-mian-shi-tao-240963","原济行录李白诗五首扇面",[2579,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c2409ed2d25ebe8b2868ad5c269148.jpg",[],{"id":14822,"slug":14823,"title":14824,"dynasty":145,"author":14825,"museum":73,"description":14826,"tags":14827,"thumbUrl":14829,"material":196,"size":61,"collection":62,"collections":14830,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},240889,"wu-lv-zhou-gao-shi-qi-240889","五律轴","高士奇","高士奇（1645～1704年），字澹人，號瓶廬，又號江村。浙江紹興府餘姚縣樟樹鄉高家村（今慈溪匡堰鎮高家村）人，後入籍錢塘（今浙江杭州）。 清代官員、史學家。\n早年家貧。康熙十年（1671年）入國子監，試後留翰林院辦事，供奉內廷。康熙十四年（1675年），授職詹事府錄事，不久升內閣中書，領六品俸薪，住在賞賜給他的西安門內。 高士奇每日為康熙帝講書釋疑，評析書畫，極得信任。康熙十八年（1679年）後，歷任翰林院侍講、侍讀、侍讀學士、《大清一統志》副總裁官、詹事府少詹事。康熙二十八年（1689年）隨帝南巡。冬解職歸裏，居平湖。康熙三十三年（1694年）奉召入京，充《明史》纂修官。康熙三十五年（1696年），三次隨康熙帝西征，深得信賴。翌年，以養母求歸，特授詹事府詹事。康熙四十一年（1702年），升禮部侍郎兼翰林院學士，加正一品，以母老未赴。康熙四十二年（1703年），卒於家，追諡文恪，葬於縣城南郊。\u2028 高士奇是清朝康熙皇帝的近臣，一生效忠於康熙帝，同時也是一位在文史哲諸方面都有貢獻的學者。他平生學識淵博，能詩文，擅書法，精考證，善鑑賞，所藏書畫甚富。著有《左傳紀事本末》《春秋地名考略》《清吟堂全集》《江村銷夏錄》《扈從西巡日錄》《經進文稿》《天祿識餘》《隨輦集》《北墅抱甕錄》《左傳國語輯注》等。",[24,25,57,7,38,58,328,14828],"桐叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a15ff9d4f33fe442ad70f5eda243c9.jpg",[62],{"id":14832,"slug":14833,"title":6116,"dynasty":145,"author":339,"museum":73,"description":2168,"tags":14834,"thumbUrl":14835,"material":920,"size":921,"collection":61,"collections":14836,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},240835,"qi-yan-lian-zheng-ban-qiao-240835",[38,2251,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fba08dc6abe04a53127a166f5036e4e.jpg",[],{"id":14838,"slug":14839,"title":14840,"dynasty":145,"author":324,"museum":106,"description":14841,"tags":14842,"thumbUrl":14843,"material":14844,"size":14845,"collection":62,"collections":14846,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},240405,"zeng-gao-xiang-ke-yin-qi-gu-shi-zhou-shi-tao-240405","赠高翔刻印七古诗轴","释文：\n书画图章本一体，精雄老丑贵传神。秦汉相形新出古，今人作意古从新。灵幻只教逼造化 ，急就草创留天真。非云事迹代不精，收藏鉴赏谁其人。只有黄金不变色，磊盘珠玉生埃尘。凤冈凤冈向来铁笔许何程，安得闽石千百换与君 ，凿开混沌仍人嗔。\n署款：“凤冈高世兄以印章见赠，书谢博笑。清湘遗人大涤子草。”款下钤：“伴个溪”、“大涤子”、“大本堂若极”、“清湘遗人”印。引首印为“痴绝”。\n此书是石涛写给凤冈的一首七言古诗，以感谢赠印一事。凤冈即高翔，工书画，兼擅治印，为扬州八怪之一。\n此书以隶书为框架，并参以行楷的笔法，变化丰富。结字并非刻意安排，却能不求工而自工。行笔的笔画虽非完全顺畅，但笔画之粗细，字之大小，形态各异，因此避免了平板单调之感。整幅书法奇宕劲逸，姿态横生，显示出石涛书法艺术的个性和新意。",[25,57,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc726ac025a860cc95815b28d7aa6044.jpg","绫本，隶书","纵443厘米，横27.6厘米",[62],{"id":14848,"slug":14849,"title":14850,"dynasty":18,"author":1024,"museum":53,"description":14851,"tags":14852,"thumbUrl":14853,"material":196,"size":14854,"collection":62,"collections":14855,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},240283,"wen-zheng-ming-wu-lv-shi-zhou-wen-zheng-ming-240283","文徵明五律诗轴","按此诗作于甲戌（一五一四）年冬，见甫田集卷五。题为‘张明远索画，久而未成，岁暮阴寒，雪霰将集，斋居无聊，为写溪山欲雪图，并赋短句’。征明诗课甚勤，不当远录旧作，故书成与诗成之日当甚接近，然亦不必同时。书效黄庭坚，全依山谷法度。是年乙未，征明四十六。\n文征明的书法以功力卓绝见长，成就主要体现在精绝的小楷与潇洒的行书上。其小楷宗二王、欧阳询、智永，法度森严，如《归去来兮辞》（北京故宫）。行、唐、宋名家于一体，端庄而不失风流，逍劲而舒徐有余，刚柔相兼，自成一家。陶宗仪赞其：“如风舞琼花，泉鸣竹润。”如北京故宫藏《西苑诗》。晚年大字习黄庭坚，放纵摆右，骨韵兼得，如苏州博物馆藏《三绝书画》手卷。一生不喜作草书，非不能作，《四体千字文》就写的很精彩，但更偏爱工整一路的书体，这与他自身的性情有关。",[25,57,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadecb45b67a906fc24291dab7a678dd9.jpg","纵191cm，横72.2cm",[62],{"id":14857,"slug":14858,"title":14859,"dynasty":18,"author":220,"museum":73,"description":14860,"tags":14861,"thumbUrl":14862,"material":920,"size":921,"collection":61,"collections":14863,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},240251,"shen-zhou-shi-juan-yi-ming-240251","沈周诗卷","此卷行书笔意舒展灵动，结体随性朴拙，笔墨枯湿浓淡自然过渡，整卷行气贯通，尽显书写时的松弛自在。诗作为自作，将日常闲居、旧友交游的感怀一一入笔，书文相合，把江南文人隐逸散淡的雅趣融于毫端。笔画间带着吴门书派特有的清雅率真，无刻意雕琢的匠气，尽显文人士大夫的随性襟怀，是书意与文心交融的佳构，藏着明代文人日常的雅致意趣。",[23,18,25,26,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223c74a515530f9fd4b06cd9a88854ed.jpg",[],{"id":14865,"slug":14866,"title":14867,"dynasty":145,"author":324,"museum":106,"description":12645,"tags":14868,"thumbUrl":14869,"material":61,"size":61,"collection":62,"collections":14870,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},240035,"yuan-ji-xi-jin-qiao-shang-zuo-shi-shi-tao-240035","原济西津桥上作诗",[38,7,27,3383,9395,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672cc5593011db22953ce5d243c66d5a.jpg",[62],{"id":14872,"slug":14873,"title":6116,"dynasty":145,"author":14874,"museum":73,"description":14875,"tags":14876,"thumbUrl":14877,"material":61,"size":61,"collection":62,"collections":14878,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":66},239944,"qi-yan-lian-tang-yi-fen-239944","汤贻汾","汤贻汾（1778—1853）， 字若仪，号雨生、琴隐道人，晚号粥翁，武进（今江苏常州）人。清代武官、诗人、画家。以祖、父荫袭云骑尉，授扬州三江营守备。擢浙江抚标中军参将、乐清协副将。与林则徐友契，与法式善、费丹旭等文人墨客多有交游。晚寓居南京，筑琴隐园。精骑射，娴韬略，精音律，且通天文、地理及百家之学。书负盛名，为嘉道后大家。工诗文，书画宗董其昌，闲淡超逸，画梅极有神韵。其妻董婉贞也为当时著名画家。太平攻破金陵时，投池以殉，谥忠愍。著有《琴隐园诗集》、《琴隐园词集》、《书荃析览》、杂剧《逍遥巾》等。",[3383,38,2251,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9db5f11392bde62c7c395247f41ec9f.jpg",[62],{"id":14880,"slug":14881,"title":14882,"dynasty":145,"author":14309,"museum":73,"description":14883,"tags":14884,"thumbUrl":14885,"material":920,"size":921,"collection":61,"collections":14886,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},239923,"shi-cheng-lian-shang-ye-wan-cheng-ji-239923","诗呈莲裳页","万承纪（1766～1826）清篆刻家、书法家、藏书家。字廉山，一作廉三，号畴五。江西南昌人。早年由宛平到淮上谋生，乾隆五十七年（1792）举人，嘉庆初以军功任知",[38,7,58,209,28,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806d87b102f82c10a37d7e660e6c0063.jpg",[],{"id":14888,"slug":14889,"title":14890,"dynasty":91,"author":4351,"museum":73,"description":14891,"tags":14892,"thumbUrl":14895,"material":920,"size":921,"collection":61,"collections":14896,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},239909,"wu-kuan-hang-zhou-lu-kai-yuan-gong-bei-ming-guang-mo-zi-zhou-jun-jie-he-juan-zhang-yu-239909","无款杭州路开元宫碑铭、广莫子周君碣合卷","张雨（1283--1350），字伯雨，一字天雨，号句曲外史。年二十余弃家为道士，道名嗣真，道号贞居子。他的书法初学赵孟頫。后在赵氏指点下上追李邕，并旁涉怀素、米芾。风格清虚雅逸，有晋、唐遗意。张雨书性极高，他能从赵氏入而又不被师囿，变赵氏的雍容平和为神骏卿遒，有明显的个人风格。",[23,2237,26,7,38,58,14893,14894,353,196],"碑铭","碣文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0a0ce1827d9ab4f0ab898891d9c053.jpg",[],{"id":14898,"slug":14899,"title":6116,"dynasty":145,"author":4333,"museum":73,"description":14900,"tags":14901,"thumbUrl":14902,"material":61,"size":61,"collection":62,"collections":14903,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},239693,"qi-yan-lian-zuo-zong-tang-239693","左宗棠（1812年~1885年），字季高、朴存，号上农人，湖南湘阳人。道光十二年举人，后三试礼部不第，在家深究经世之学十余年，后官浙江巡抚，咸、同间以四品京堂统军，镇压了太平军及西北回民军等，屡建战功。累官总督、拜东阁大学士，封恪靖候。",[38,2251,7,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a84a5f0a409461c55369f8c0c1f5fd.jpg",[62],{"id":14905,"slug":14906,"title":14907,"dynasty":91,"author":440,"museum":73,"description":14908,"tags":14909,"thumbUrl":14910,"material":61,"size":61,"collection":61,"collections":14911,"showCount":259,"zanCount":534,"manualWeight":11,"mainColor":46},239677,"yu-ji-ni-zan-shi-han-juan-zhao-meng-fu-239677","虞集 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。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 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工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,25,209,27,7,37,29,35,34,237,885,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[42],{"id":15043,"slug":15044,"title":12246,"dynasty":145,"author":15045,"museum":73,"description":15046,"tags":15047,"thumbUrl":15048,"material":722,"size":61,"collection":61,"collections":15049,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},234256,"shan-shui-juan-li-shao-ji-234256","李绍箕","李绍箕（1550～1631后）明代画家、诗人。字懋承。华亭（今上海松江）人。其祖父李日章，官按察副使。绍箕少承家学，长于诗文，以太学生官南京鸿胪寺序班，后官江西都昌主簿。擅画山水，师岳父顾正谊，能师承其画风，并因任职南昌，多涉历山川胜景，画艺益进，晚年运笔苍劲，年八十有余尚挥洒不倦。",[23,24,25,26,27,37,38,7,29,178,34,254,36,3964,292,2452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1d2d7087f5607236ef25610e823c52.jpg",[],{"id":15051,"slug":15052,"title":15053,"dynasty":18,"author":15054,"museum":106,"description":15055,"tags":15056,"thumbUrl":15057,"material":243,"size":61,"collection":61,"collections":15058,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},234230,"san-cai-li-qu-tu-juan-zhang-fu-yang-234230","三才理趣图卷","张复阳","张复阳(1403-1490)，名复，以字行，号南山，浙江平湖人。道士，居浙江洞霄宫一枝堂。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真；草树人物，各臻其妙。",[23,24,25,26,27,29,79,254,177,179,7,38,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d0330ddca90d3c56a5f65f60f97e1f.jpg",[],{"id":15060,"slug":15061,"title":15062,"dynasty":18,"author":220,"museum":106,"description":15063,"tags":15064,"thumbUrl":15065,"material":722,"size":61,"collection":61,"collections":15066,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[23,24,25,26,27,29,79,7,1014,38,58,34,31,32,33,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":15068,"slug":15069,"title":15070,"dynasty":18,"author":479,"museum":106,"description":15071,"tags":15072,"thumbUrl":15073,"material":12796,"size":15074,"collection":61,"collections":15075,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},233797,"yu-zhu-shan-mian-tang-yin-233797","雨竹扇面","此幅《雨竹》细笔画属其本色，又蕴含文人画笔意，景色简约清朗，用笔纤细有力，墨色淋漓多变，风格奇峭而又秀润，形成远近朦胧之感。可谓“雨中赏竹”之代表作。",[56,24,25,2579,27,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7c5af2a7419c593175bb50706be58.jpg","纵18CM，横54.2CM",[],{"id":15077,"slug":15078,"title":3380,"dynasty":145,"author":324,"museum":106,"description":3381,"tags":15079,"thumbUrl":15080,"material":722,"size":3386,"collection":61,"collections":15081,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[24,29,28,37,7,58,35,31,34,193,4866,30,1271,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg",[],{"id":15083,"slug":15084,"title":15085,"dynasty":145,"author":324,"museum":73,"description":2864,"tags":15086,"thumbUrl":15087,"material":542,"size":2867,"collection":61,"collections":15088,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},233690,"yuan-ji-lan-zhu-ce-lan-cao-shi-tao-233690","原济兰竹册－兰草",[24,25,209,27,7,58,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d41cd98cbd4b7710323d21f2b19cd9.jpg",[],{"id":15090,"slug":15091,"title":15092,"dynasty":145,"author":324,"museum":73,"description":2864,"tags":15093,"thumbUrl":15094,"material":542,"size":2867,"collection":61,"collections":15095,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},233684,"yuan-ji-lan-zhu-ce-lan-hua-shi-tao-233684","原济兰竹册－兰花",[24,25,209,27,7,58,120,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2180aa17525b58af0bb2e537112baac.jpg",[],{"id":15097,"slug":15098,"title":15099,"dynasty":145,"author":324,"museum":73,"description":2864,"tags":15100,"thumbUrl":15101,"material":542,"size":2867,"collection":61,"collections":15102,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},233680,"yuan-ji-lan-zhu-ce-gu-mu-lan-cao-shi-tao-233680","原济兰竹册－古木兰草",[24,25,209,27,7,120,177,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797de6a6914b98ce9c32818051c84e45.jpg",[],{"id":15104,"slug":15105,"title":15106,"dynasty":91,"author":893,"museum":53,"description":15107,"tags":15108,"thumbUrl":15109,"material":196,"size":15110,"collection":61,"collections":15111,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},232886,"shan-shui-shu-hua-he-bi-quan-juan-ni-zan-232886","山水书画合壁全卷","此画倪瓒六十三岁（西元一三六三年）作。山上长皴，未成折带；远树横点，神似大痴。盖云林本学董源，而又幼于黄公望三十三岁，故不能无影响也。此画本为赠行而作，受画者由水路往会稽，故所画系舟中望两岸之景，受画者为谁，已不可知。上款惟允二字，系画商妄改，借增此画身价。",[23,24,56,26,25,27,37,38,7,29,774,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0bf161896ef34eaf69a1f8b40af91c.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厘米",[],{"id":15132,"slug":15133,"title":15134,"dynasty":2673,"author":8422,"museum":73,"description":15135,"tags":15136,"thumbUrl":15137,"material":920,"size":921,"collection":61,"collections":15138,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},230844,"huo-lu-tu-juan-li-zan-hua-230844","获鹿图卷","耶律倍（899年—937年1月11日），又名耶律突欲，赐名李赞华，是辽太祖耶律阿保机的长子，辽太宗耶律德光的长兄，辽世宗耶律阮的父亲。\n自幼聪颖好学，深得耶律阿保机的喜爱和器重，916年被立为皇太子。926年，封为东丹国王、称“人皇王”。926年太祖病逝后，耶律德光继位为帝。天显三年（928年）东丹国南迁，升东平为南京。同时耶律德光对耶律倍施以控制和监视。930年耶律倍弃国投奔后唐。936年后唐发生政变，耶律倍遇害，葬显陵。\n947年，耶律德光去世。耶律倍长子耶律阮最终夺回了皇位，追谥耶律倍为让国皇帝，庙号义宗。",[23,56,24,25,26,28,77,79,693,459,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c78c4635306e17df9bb76f00a59baf.jpg",[],{"id":15140,"slug":15141,"title":275,"dynasty":145,"author":276,"museum":73,"description":15142,"tags":15143,"thumbUrl":15144,"material":61,"size":61,"collection":61,"collections":15145,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},230235,"han-mei-yi-zhi-hua-jin-nong-230235","笔意清疏古拙，带着金石沉凝之气的题字，将访梅逸兴与旧游心绪相融。以袖里藏春暗合梅枝不随岁华凋残的品格，折梅入袖的雅事，呼应画中寒梅冷艳清嘉的风姿。淡墨绘就孤梅，极简构图衬出孤高疏淡风韵，诗画相生，借梅自喻，尽显清癯耿介的文人风骨。字句间漫着冷香幽韵，将赏梅、忆旧、寄怀揉作一处，淡而弥远，清而愈醇，尽显以文入画、画文同趣的扬州画派意趣。",[23,24,25,7,58,111,210,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7275f1b71fa722e04d1ac278389fe7b6.jpg",[],{"id":15147,"slug":15148,"title":15149,"dynasty":145,"author":15150,"museum":73,"description":15151,"tags":15152,"thumbUrl":15153,"material":920,"size":921,"collection":61,"collections":15154,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},230214,"hua-hai-xi-ji-hui-ce-yu-sheng-230214","画海西集卉册","余省","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,25,209,28,77,210,177,12852,2143,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd37e09a286a4c51cbf60bdd3607ac.jpg",[],{"id":15156,"slug":15157,"title":15158,"dynasty":145,"author":8923,"museum":73,"description":11214,"tags":15159,"thumbUrl":15160,"material":920,"size":921,"collection":61,"collections":15161,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":66},230201,"shu-fa-zhong-tang-he-shao-ji-230201","书法中堂",[23,3383,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e21ba33617a6406960aaa5eadbd0f0.jpg",[],{"id":15163,"slug":15164,"title":15165,"dynasty":145,"author":324,"museum":73,"description":8168,"tags":15166,"thumbUrl":15167,"material":61,"size":61,"collection":61,"collections":15168,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图",[24,25,209,28,29,7,38,58,37,6729,193,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg",[],{"id":15170,"slug":15171,"title":15172,"dynasty":18,"author":205,"museum":73,"description":15173,"tags":15174,"thumbUrl":15175,"material":61,"size":61,"collection":61,"collections":15176,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,25,26,27,29,37,58,38,7,35,34,292,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":15178,"slug":15179,"title":15180,"dynasty":51,"author":4062,"museum":73,"description":15181,"tags":15182,"thumbUrl":15183,"material":920,"size":921,"collection":61,"collections":15184,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},227978,"you-jun-shu-shan-tu-juan-ba-wen-liang-kai-227978","右军书扇图卷(跋文)","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元人赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,38,7,26,58,27,25,2226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5eaef1cd544138440d4dec3fac1cad1.jpg",[],{"id":15186,"slug":15187,"title":14760,"dynasty":51,"author":15188,"museum":73,"description":15189,"tags":15190,"thumbUrl":15191,"material":61,"size":61,"collection":61,"collections":15192,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[23,24,25,2579,28,29,7,6434,237,254,12240,293,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":15194,"slug":15195,"title":15196,"dynasty":51,"author":15197,"museum":73,"description":15198,"tags":15199,"thumbUrl":15200,"material":920,"size":921,"collection":61,"collections":15201,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},227947,"gao-shen-juan-si-ma-ji-227947","诰身卷","司马伋","司马伋，字季思，夏县 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。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,24,25,57,28,29,37,376,377,292,1364,2142,4867,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":15212,"slug":15213,"title":15214,"dynasty":18,"author":479,"museum":373,"description":15215,"tags":15216,"thumbUrl":15217,"material":243,"size":15218,"collection":61,"collections":15219,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},222340,"wu-yang-zi-yang-xing-tu-quan-juan-tang-yin-222340","悟阳子养性图全卷","图绘溪水流淌、绿树成荫的幽静之处，有草厅一间，一老者坐于蒲团之上，双手握于膝上，仰望的姿势似观赏远处的大好山水，身旁一桌上置诗书几本，表达出修身养性的意境；卷后有文徵明题《悟阳子诗叙》，二大才子书画合璧，精彩绝伦！",[23,24,25,26,27,7,38,29,79,193,34,177,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458bac5765bb1775c9eeabee74ee5f5.jpg","29.5x103.5cm",[],{"id":15221,"slug":15222,"title":15223,"dynasty":91,"author":15224,"museum":2633,"description":15225,"tags":15226,"thumbUrl":15227,"material":15228,"size":15229,"collection":61,"collections":15230,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":66},221786,"yuan-zhen-zeng-fa-yin-da-he-shang-wei-bing-zhi-zheng-da-shi-shi-hao-chi-shu-xiao-ye-dao-feng-221786","円珍赠法印大和尚位并智证大师諡号勅书","小野道风","延历寺第十代住持增命和尚圆寂时，由朝廷赐予「静观」之谥号，同时，增命之师、已故之圆珍（814－891）和尚则被升晋为僧人中地位最高的「法印大和尚位」，并赐予「智证大师」之谥号。时为延长五年（西元927年），也就是圆珍和尚圆寂后第三十六年的事。\n本卷即是当时用来宣告醍醐天皇（885－930，897－930在位）御令之诏书。据记载，内文是由藤原博文起稿，小野道风（894－966）誊写。在淡蓝色的纸上，施以淡墨界栏，并以具有量感的浑厚和样化书风及充满气魄的笔势所写成。被视为和样化书法创始者的小野道风，誊写本诏书之时，年　　三十四，正任中务省少内记之职，担当书写诏书或位记的工作（位记指授予官吏位阶时所颁发的文书）。本诏书正面共钤有「天皇御玺」朱文方印十三处，背面有二处。\n圆珍是延历寺第五代住持，也是天台宗寺门派的开山祖师，由于他的努力，才使得园城寺（三井寺）再次兴盛起来。",[23,2237,38,1735,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401ef7701286afab6dc5c97da0b82bbb.jpg","彩笺","28.7×156.9;",[],{"id":15232,"slug":15233,"title":3451,"dynasty":18,"author":881,"museum":388,"description":15234,"tags":15235,"thumbUrl":15236,"material":7,"size":15237,"collection":61,"collections":15238,"showCount":259,"zanCount":534,"manualWeight":11,"mainColor":46},220947,"xing-shu-zhou-dong-qi-chang-220947","画心纵长175.9厘米，横46厘米\n\n立轴、绫本。这轴行书取法晋唐，用笔十分精到，内涵丰富，在笔的运动中完成点画的各种形态，\n\n气贯韵满，虚实结合，由此生动变化而曲尽其妙。书法结体上讲究精微、紧密而有势；在章法上则讲究\n\n疏密相间，以字距大、行距大形成疏朗的调子，将结体的美与行间的空白产生有与无的对比，因而造成",[25,57,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65dd1225c7182139c2bf49e99a424309.jpg","179.5×46cm",[],{"id":15240,"slug":15241,"title":15242,"dynasty":145,"author":11939,"museum":1339,"description":15243,"tags":15244,"thumbUrl":15247,"material":15248,"size":61,"collection":61,"collections":15249,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":46},220461,"bei-jing-feng-su-qiang-you-er-chen-shi-ceng-220461","北京风俗•墙有耳","画面以淡墨写意勾勒两位私语老者，二人交头接耳神态隐秘，一旁素简栅栏暗合隔墙有耳的讽喻。线条洗练传神，寥寥数笔便将人物的警惕描摹尽致，浅淡设色晕染出老北京街陌的烟火气，又藏着沉郁的时代心绪。\n\n题跋详述旧京世情，记录清末民初城中的言说禁忌，将市井纪实与讽喻融为一体。画作跳脱传统文人画的雅趣窠臼，以质朴笔墨定格巷陌日常，把当时社会噤若寒蝉的世相揉入简约画面，既是鲜活的风俗剪影，也暗藏对时代氛围的细腻体察，是兼具人文温度与现实关照的小品佳作。",[24,25,27,28,79,15245,15246,7,58],"墙","风俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64bdfe2a44ae985682ac241e3be3a4df.jpg","纸本水墨设色",[],{"id":15251,"slug":15252,"title":15253,"dynasty":145,"author":220,"museum":20,"description":15254,"tags":15255,"thumbUrl":15256,"material":40,"size":15257,"collection":306,"collections":15258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":66},218480,"mao-xiang-xiao-xiang-tu-yi-ming-218480","冒襄肖像图","头戴围巾的男子坐在圆椅上，神情轻松，凝视着远方，他的围巾和衣服都是明代风格，线条流畅，形象生动；座位旁边的桌子是托盘和酒桌，砚台的形状是起伏的山峰，瀑布穿插着溪流和山谷，动态非凡。石头的底座是按照形状来塑造的，线条简单，还有一些当地的如意矮脚。",[23,24,25,77,28,7,79,177,9015,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7cd6fb035d8a671704cf1a5626532c7.jpg","82x44",[306],{"id":15260,"slug":15261,"title":15262,"dynasty":18,"author":13624,"museum":20,"description":15263,"tags":15264,"thumbUrl":15266,"material":61,"size":61,"collection":42,"collections":15267,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":15268},203430,"qiu-pu-song-bie-tu-juan-wen-bo-ren-203430","秋浦送别图卷","画面铺展秋浦江天，烟波浩渺间岛屿错落，林木葱茏处隐现亭台。近岸孤舟待发，船帆轻扬，岸边人物揖别，意韵缱绻。远景山峦层叠，云雾氤氲，水色天光交融成一派清旷。笔墨细腻处见工致，山石皴法显肌理，树木点染得法，设色淡雅温润。卷后行书题跋流畅，与画风相得益彰，尽显雅致风神。整卷以景衬情，将送别之怅惘藏于山水幽远，读来如临其境，怅然若失。",[23,24,25,26,28,77,37,38,7,29,32,150,34,31,79,33,15265,3302,3617,1121,4425],"岸边景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c20e12301268a7c13276cf69343153.jpg",[42],"c0b095",{"id":15270,"slug":15271,"title":2604,"dynasty":18,"author":8554,"museum":20,"description":15272,"tags":15273,"thumbUrl":15274,"material":61,"size":61,"collection":42,"collections":15275,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":15276},203305,"shan-shui-ce-li-liu-fang-203305","淡墨晕染的远山如轻烟笼黛，近渚的树木与村落以简劲笔触勾勒，墨色浓淡相间，尽显江南水乡的清寂之趣。左侧行书笔意流畅灵动，与山水意境相融相生，诗书画印浑然一体，传递出文人画特有的雅致与疏放。画面不着浓彩，以水墨的晕染与皴擦营造空濛之境，笔触简练却意韵悠长，如吟一首清寂的田园小诗，引人沉浸于那份悠然淡远的笔墨世界里。",[29,27,7,37,209,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd980e310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用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[24,25,38,57,27,58,7,1014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed2616910e10b8c60f65114e90721.jpg",[],{"id":15436,"slug":15437,"title":15438,"dynasty":18,"author":3452,"museum":73,"description":15439,"tags":15440,"thumbUrl":15441,"material":920,"size":921,"collection":61,"collections":15442,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":66},240672,"xi-yuan-ya-ji-zhou-zhang-rui-tu-240672","西园雅集轴","张瑞图（1570年-1644年），字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[24,25,57,38,7,58,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917b2b3a2e09b1355131e2b1b0fd327.jpg",[],{"id":15444,"slug":15445,"title":6116,"dynasty":145,"author":15446,"museum":73,"description":15447,"tags":15448,"thumbUrl":15449,"material":196,"size":61,"collection":62,"collections":15450,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},240281,"qi-yan-lian-weng-tong-he-240281","翁同龢","翁同龢（1830-1904），字叔平，號松禪， 別署均齋、瓶笙、瓶廬居士、並眉居士等，別號天放閒人，晚號瓶庵居士，江蘇常熟人，中國近代史上著名政治家、書法藝術家。體仁閣大學士翁心存第三子，咸豐六年（1856年）狀元，歷任户部、工部尚書、軍機大臣兼總理各國事務衙門大臣。先後擔任清同治、光緒兩代帝師。卒後追諡文恭。\n翁同龢工詩，間作畫，尤以書法名世，幼學歐、褚，初學董其昌、米芾，中年後由錢灃上追顏真卿，又不受顏字束縛，結體寬博開張，筆畫剛勁有力，風格蒼渾遒勁，朴茂雍容，著有《翁文恭公日記》《瓶廬詩文稿》等。",[25,38,7,2251,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2397a6c891f444b01b985452b67db6.jpg",[62],{"id":15452,"slug":15453,"title":15454,"dynasty":145,"author":324,"museum":106,"description":12645,"tags":15455,"thumbUrl":15456,"material":61,"size":61,"collection":62,"collections":15457,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},240039,"yuan-ji-song-jin-shan-jue-ding-ye-shi-tao-240039","原济颂金山绝顶页",[3383,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbbd3c582e163ef87e6d33252387817.jpg",[62],{"id":15459,"slug":15460,"title":15461,"dynasty":145,"author":324,"museum":106,"description":12645,"tags":15462,"thumbUrl":15463,"material":61,"size":61,"collection":62,"collections":15464,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},240033,"yuan-ji-zeng-weng-shan-shi-ye-shi-tao-240033","原济赠翁山诗页",[24,25,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b71aa2c0e79bb949456e320b138809b.jpg",[62],{"id":15466,"slug":15467,"title":15468,"dynasty":145,"author":15469,"museum":73,"description":15470,"tags":15471,"thumbUrl":15472,"material":61,"size":61,"collection":62,"collections":15473,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},239949,"lin-wang-xi-zhi-tie-zhou-liang-yan-239949","临王羲之帖轴","梁巘","梁巘（1710年——1788年后），字闻山、文山，号松斋，又号断砚斋主人；祖居亳州十九里镇，后居住在亳州城里夏候巷街（现夏候小学西跨院），殁后埋葬在十九里集南一里半杜庄村后。{曾祖父粱继宗；祖父梁尔禄，字天赐，国学生；父亲粱接孟，字介贤，候选经历，敕赠文林郎（文职、正七品）；兄粱峰，字屏山、号六松，性孝友，善文章、工书法。梁巘长子俊业，早卒；次子伟业，嘉庆六年（1801年）辛酉拔贡，官浙江於潜县知县。业师陈师古，字圣绪，乾隆九年（1744年）甲子科举人。门生有姚莲府、萧景云、王鲁庵、许春林等。}清乾隆二十七年（1762年）敕授文林郎壬午科举人，由咸安宫教习转任湖北巴东县知县；寿州（今安徽省寿县）循理书院院长（山长）。其在书法上的成就远大于政治，他与乾隆年间五位（张照、王澍、刘墉、王文治、梁同书）重要书家齐名，为清代著名书法家之一。",[38,76,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b11df7d3495d800ed5a9b1a91c25dd.jpg",[62],{"id":15475,"slug":15476,"title":15477,"dynasty":91,"author":2595,"museum":106,"description":15478,"tags":15479,"thumbUrl":15480,"material":196,"size":15481,"collection":62,"collections":15482,"showCount":449,"zanCount":534,"manualWeight":11,"mainColor":46},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,26,25,38,7,27,58,111,1636,376,884,402,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[62],{"id":15484,"slug":15485,"title":15486,"dynasty":91,"author":4351,"museum":73,"description":15487,"tags":15488,"thumbUrl":15489,"material":61,"size":61,"collection":61,"collections":15490,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":638},239653,"shi-zha-juan-zhang-yu-239653","诗札卷","《元张雨小楷诗札卷》是元代书画家 创作的一幅书法作品。\n书于元至元六年（14），现藏于故宫博物院纸本小楷，通幅。\n张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n这件小楷，严整清和，洋溢着古风古韵，和其“道法自然”、“道可道，非常道”的道家审美标准有着一定的距离。\n在复古大旗指引下行进的元代书法，对于古法的承续，在书法史上可谓空前。\n元代的书法家对“晋韵唐风”多是一副沉迷状，张雨亦不例外。\n故宫博物院收藏的张雨的这件《诗札卷》（图为作品局部），书于元至元六年（14），系纸本小楷，通幅纵21.5厘米，横1.9厘米。\n从书法风格来看，张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n欧书用笔规范严整、体势刚劲险绝，是楷书中的巅峰之作。\n赵松雪称欧阳询书法“清劲秀健，古今一人”。\n张雨小楷在承续欧书基础上，又另僻蹊径地融入一些晋人萧散飘逸的灵动之气，为自己的书作增色不少。\n从用笔的感觉上来看，此卷小楷中一些横式笔画的习惯性动作，同民间的经生所创的“写经体”有着高度的契合，这是一个值得关注的问题，或许是因为张雨自身本来就是一个隐入丛林道观的高明的“经生书手”的缘故吧。\n在此作中，一些横势用笔的斜切、轻行、重按和轻入重收都和民间“写经体”书法保持着高度的一致。\n而其中一些放式用笔的体势，又使人怀疑此作系明人写的小楷。\n从明代祝枝山、王宠的小楷体例的斜欹体式的运用中，可体察出明代小楷书家们或多或少地受到了张雨小楷书风的影响。\n这种书风和取法的“代代承传”符合书法的客观发展规律。\n而张雨此卷“楷中插行”的书法体式则自赵松雪运用以来，已逐渐成为一种惯用的书法体例。\n这一体例还频繁地出现在他后来的小楷书作之中。\n和其同时代的倪云林，其后的张瑞图、黄道周、王铎等人的作品，也同样沿用了这一体例。\n张雨此卷中钤有“敬身”、“龙泓馆印”、“玉礼治印”、“龙尾山房”、“萧山蔡陆士藏玩书画钤记”、“金瘦仙青父箱长物”、“彭城观澜阁藏”等印记，也是流传有绪的一件作品。\n张雨（128-15），元代诗文家，号句曲外史，道名嗣真，道号贞居予，自称曲外史，人称句曲先生，钱塘（今浙江杭州）人，是宋崇国公张九成之后裔。\n其人学识渊博，善谈名理，诗文、书法、绘画，无一不通。\n曾师从虞集，与赵孟颡交好，后弃家为道士，居于茅山，拜茅山檀四十三代宗师许道杞弟子周大静为师。\n曾有人邀其进京为官，不就：著《句曲外史贞居先生诗集》，今存小令五首，曲风清丽淡雅。",[23,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaaa6eafb50e0619e08776e1ab9665a7.jpg",[],{"id":15492,"slug":15493,"title":15494,"dynasty":51,"author":15495,"museum":73,"description":15496,"tags":15497,"thumbUrl":15498,"material":61,"size":61,"collection":61,"collections":15499,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},239651,"wang-da-ling-bao-mu-zhuan-ti-ba-juan-jiang-kui-239651","王大令保母砖题跋卷","姜夔","此卷笔墨清劲秀雅，笔致灵动舒展，暗合晋人萧散风神。题字疏密错落，墨色枯润相生，朱印点缀素纸，丹砂与墨色相映成趣，雅致尽显。\n\n题跋兼具金石考据的谨严与文人挥毫的随性，将考证之思寄于笔墨挥洒之中，书卷气扑面而来，是宋人尚意书风里的清雅典范。清冷隽秀的笔意一如作者词韵，尽显宋代文人淡远空灵的审美意趣，耐人反复品味。",[23,56,24,25,26,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb0fb92962b6cd0165bd6474876165a.jpg",[],{"id":15501,"slug":15502,"title":15503,"dynasty":51,"author":15504,"museum":73,"description":15505,"tags":15506,"thumbUrl":15507,"material":61,"size":61,"collection":61,"collections":15508,"showCount":449,"zanCount":511,"manualWeight":11,"mainColor":46},239649,"zi-shu-shi-lian-ju-shi-juan-wu-jun-239649","自书诗联句诗卷","吴浚","《自书诗联句诗卷》是宋年出版的图书，作者是吴浚。\n【名称】自书诗联句诗卷【年代】宋 【作者】吴浚 【类别】纸本，行书，手卷 【规格】纵6.2cm，横1cm，纵6.2cm，横141cm，79行，12字。\n本幅钤“山西”、“国”、“云根”、“虚谷”诸印。\n鉴藏印钤“生”、“南禺世史”、“丰氏人叔”、“云间邹氏珍藏”、“苕南吴氏午峰鉴赏”及项元汴诸印。\n卷后有宋朱鉴孙、翁□，明丰坊题跋。\n署年款“咸淳丁卯”，为咸淳三年（1267年）。\n此卷书法气秀色润，笔调谦和，点画精细柔媚，一钩一捺，均以温婉取态，反映了吴浚的典型书风。",[23,38,26,7,1014,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918438660d71677b30f9ca090b89abc0.jpg",[],{"id":15510,"slug":15511,"title":15512,"dynasty":51,"author":15513,"museum":106,"description":15514,"tags":15515,"thumbUrl":15516,"material":61,"size":15517,"collection":62,"collections":15518,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":66},239643,"men-nei-xing-ju-tie-ye-wu-shuo-239643","门内星聚帖页","吴说","吴说（生卒年不详），钱塘人。字傅朋，号练塘，居钱塘之紫溪。宋诗纪事谓为王令之外孙。官知信州（江西上饶），绍兴间（公元1144年左右）为尚书郎。说之书，楷、行、草及榜书均佳，小楷称宋时第一。榜书深稳端润，甚得高宗之称赏。行草圆美流丽，洞天清録以其深入黄太史之室。而时作钟体，其杂体游丝书亦颇擅名，一行一笔，游丝连绵，笔意似得自古篆柳叶体，即时挥毫相赠，深自得意。",[51,38,7,196,1244,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332d04d13fe6ac6be69a0beb092de2c7.jpg","纵25厘米，横45.4厘米",[62],{"id":15520,"slug":15521,"title":15522,"dynasty":18,"author":9230,"museum":73,"description":15523,"tags":15524,"thumbUrl":15525,"material":61,"size":61,"collection":61,"collections":15526,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},239627,"xing-kai-shi-shan-mian-huang-dao-zhou-239627","行楷诗扇面","此作笔墨刚敛沉凝，字形方整峭拔，似古柏攒枝，带着浑朴刚劲的气度。顺着扇面弧度排布的行气，错落间不失连贯，毫无局促壅塞之感。线条凝练厚重，枯润相映，既有魏晋楷法的古雅意趣，又自出机杼，将刚直风骨揉入点画之间。每一处起收转折都斩截爽利，却又暗含温雅书卷气，诗文意韵与笔墨力道相融，把沉郁刚正的心境藏于笔底，尽显奇崛清刚的笔墨风神，是文人书法筋骨与文气兼备的精妙之作。",[3018,38,2579,2041,7,2031],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff186cda31c033c0500c61eea9669728.jpg",[],{"id":15528,"slug":15529,"title":15530,"dynasty":18,"author":5111,"museum":106,"description":15531,"tags":15532,"thumbUrl":15533,"material":2031,"size":15534,"collection":62,"collections":15535,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":66},239572,"zhong-guo-qing-shou-si-deng-shi-tie-wang-fu-239572","重过庆寿寺等诗帖","此作小楷书七言诗四首，乃王绂游览京城诸胜景时所成诗篇，并于永乐九年（1411年）为沈度书写。这一年王绂50岁，沈度55岁，二人为朝中同僚。作品以锺、王小楷为法，风格端劲清雅，与当时宫廷中盛行的“台阁体”相比，别具古澹意蕴。",[25,38,352,7,196,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4269fa91207891eeb7ac969b91f2a58.jpg","纵26.8厘米，横41.2厘米",[62],{"id":15537,"slug":15538,"title":15539,"dynasty":91,"author":15540,"museum":106,"description":15541,"tags":15542,"thumbUrl":15545,"material":61,"size":61,"collection":62,"collections":15546,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},239567,"xing-fang-cao-tie-ce-ye-deng-wen-yuan-239567","行芳草帖册页","邓文原","邓文原（1258年—1328年），字善之，一字匪石，人称素履先生，绵州（今四川绵阳）人，又因绵州古属巴西郡，人称邓文原为“邓巴西”。其父早年避兵入杭，遂迁寓浙江杭州，或称杭州人。\n历官江浙儒学提举、江南浙西道肃政廉访司事、集贤直学士兼国子监祭酒、翰林侍讲学士，卒谥文肃。其政绩卓著，为一代廉吏，其文章出众，也堪称元初文坛泰斗，《元史》有传。著述有《巴西文集》《内制集》《素履斋稿》等。\n邓文原擅行、草书。传世书迹有《临急就章卷》等。与赵孟頫、鲜于枢齐名，号称“元初三大书法家”，尤以擅章草而闻名。",[38,7,32,31,15543,15544,1545,58],"暮烟","鸥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9f44f03c82473d486a19d389c5da98.jpg",[62],{"id":15548,"slug":15549,"title":15550,"dynasty":145,"author":15551,"museum":73,"description":15552,"tags":15553,"thumbUrl":15554,"material":61,"size":61,"collection":125,"collections":15555,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},239277,"hou-qi-zhi-hua-hua-niao-ce-hou-qi-239277","后祺指画花鸟册","后祺","此作以指为笔，尽显写意风流。枯笔焦墨勾勒老干，苍劲朴拙自带风霜之态。泼墨晕染葡萄藤叶，浓淡铺陈虚实层次，墨色酣畅淋漓，不见毛笔尖秀精巧，反生朴野天然的肌理意趣。垂挂的葡萄果实以淡墨点染，稚拙可爱，暗合秋实之味。\n\n右侧题诗与画境相融，将秋夜风摇叶落的清寂悄然铺展。整幅简淡空灵，不刻意描摹形貌，却把秋夜的幽静谧穆藏在笔墨间，文人画的雅致禅意尽显，以指画的生涩拙朴，勾勒出清秋独有的疏朗意境，韵味悠长。",[24,25,209,13840,27,7,58,210,1896,1172,708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2655be70d1638baa59bcfacabcc51dd.jpg",[125],{"id":15557,"slug":15558,"title":15559,"dynasty":145,"author":15560,"museum":73,"description":15561,"tags":15562,"thumbUrl":15563,"material":61,"size":61,"collection":125,"collections":15564,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[24,25,57,27,78,37,7,29,193,1472,34,35,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[125,168],{"id":15566,"slug":15567,"title":15568,"dynasty":145,"author":1540,"museum":73,"description":15569,"tags":15570,"thumbUrl":15571,"material":61,"size":61,"collection":61,"collections":15572,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825","董诰墨庄览胜图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,209,28,1394,27,29,35,34,774,33,31,58,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":15574,"slug":15575,"title":4036,"dynasty":145,"author":2704,"museum":73,"description":2705,"tags":15576,"thumbUrl":15577,"material":920,"size":921,"collection":61,"collections":15578,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},238482,"hua-hui-tu-ce-jiang-ting-xi-238482",[24,25,209,28,77,210,119,800,58,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf3c885708c60ef0a4db10475b9f1c78.jpg",[],{"id":15580,"slug":15581,"title":4036,"dynasty":145,"author":2704,"museum":73,"description":2705,"tags":15582,"thumbUrl":15583,"material":920,"size":921,"collection":61,"collections":15584,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},238477,"hua-hui-tu-ce-jiang-ting-xi-238477",[24,25,209,77,28,210,962,1068,417,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf72f563137cfc036687dab4d24ce7d.jpg",[],{"id":15586,"slug":15587,"title":857,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":15588,"thumbUrl":15589,"material":920,"size":921,"collection":61,"collections":15590,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},237685,"hua-hui-ce-sun-ke-hong-237685",[24,25,209,7,27,120,212,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046574996353020d0a57e9782c2db571.jpg",[],{"id":15592,"slug":15593,"title":4853,"dynasty":18,"author":4854,"museum":73,"description":4855,"tags":15594,"thumbUrl":15595,"material":920,"size":921,"collection":61,"collections":15596,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},237542,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237542",[24,25,209,27,7,111,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd0cf7bf9c41a14fce38f1946f60dad.jpg",[],{"id":15598,"slug":15599,"title":857,"dynasty":145,"author":15600,"museum":73,"description":15601,"tags":15602,"thumbUrl":15603,"material":196,"size":61,"collection":61,"collections":15604,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},237286,"hua-hui-ce-wu-kai-237286","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 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，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,25,26,27,7,1014,79,377,897,82,29,3302,3332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":15728,"slug":15729,"title":5774,"dynasty":18,"author":19,"museum":106,"description":15730,"tags":15731,"thumbUrl":15732,"material":542,"size":5779,"collection":61,"collections":15733,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},233833,"chu-ji-tu-ye-shen-zhou-233833","从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[24,25,27,210,5777,7,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3886c457920ae97c8f13eb891504ce.jpg",[],{"id":15735,"slug":15736,"title":5580,"dynasty":91,"author":2623,"museum":106,"description":5581,"tags":15737,"thumbUrl":15738,"material":1262,"size":5584,"collection":61,"collections":15739,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":66},233828,"er-ma-tu-juan-ren-ren-fa-233828",[24,25,26,77,28,693,459,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1058010d2a8e2e377aa7c701fb014f9b.jpg",[],{"id":15741,"slug":15742,"title":3380,"dynasty":145,"author":324,"museum":106,"description":3381,"tags":15743,"thumbUrl":15744,"material":722,"size":3386,"collection":61,"collections":15745,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},233777,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233777",[24,25,209,27,28,7,37,29,79,36,34,237,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa129f1fd9aee99203d27679dcaa08816.jpg",[],{"id":15747,"slug":15748,"title":3380,"dynasty":145,"author":324,"museum":106,"description":3381,"tags":15749,"thumbUrl":15750,"material":722,"size":3386,"collection":61,"collections":15751,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774",[24,25,209,27,28,29,1271,12240,3083,79,1794,495,1545,7,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg",[],{"id":15753,"slug":15754,"title":3380,"dynasty":145,"author":324,"museum":106,"description":3381,"tags":15755,"thumbUrl":15756,"material":722,"size":3386,"collection":61,"collections":15757,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},233772,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233772",[24,25,209,27,28,7,37,29,254,193,79,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b13f182bff57b8fc3868382c434e29.jpg",[],{"id":15759,"slug":15760,"title":15761,"dynasty":18,"author":1391,"museum":106,"description":15762,"tags":15763,"thumbUrl":15764,"material":1262,"size":15765,"collection":61,"collections":15766,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[24,25,26,28,77,37,7,38,58,29,79,150,30,31,33,82,34,193,237,2275,444,3210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg","纵26.9厘米，横124厘米",[],{"id":15768,"slug":15769,"title":2604,"dynasty":91,"author":15318,"museum":106,"description":15770,"tags":15771,"thumbUrl":15772,"material":722,"size":15773,"collection":61,"collections":15774,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":66},233176,"shan-shui-ce-cao-zhi-bai-233176","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,25,27,7,37,209,29,34,292,237,179,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17ecbbd4b4d239fdd07a6646c24e93.jpg","纵33.1cm，横27.4cm",[],{"id":15776,"slug":15777,"title":15778,"dynasty":18,"author":479,"museum":106,"description":8114,"tags":15779,"thumbUrl":15780,"material":8118,"size":8119,"collection":61,"collections":15781,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},233139,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xing-chun-qiao-tu-ye-tang-yin-233139","明人西山胜景合壁册-行春桥图页",[24,25,209,27,7,37,29,30,31,177,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9513286f80bd3fb6fa61c9ad4e095.jpg",[],{"id":15783,"slug":15784,"title":15785,"dynasty":145,"author":666,"museum":73,"description":15786,"tags":15787,"thumbUrl":15791,"material":61,"size":61,"collection":61,"collections":15792,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},232796,"shu-fa-ce-ye-wu-chang-shuo-232796","书法册页","吴昌硕（1844 —1927）原名俊，字昌硕，别号缶庐、苦铁等，浙江安吉人。我国近、现代书画艺术发展过渡时期的关键人物，诗、书、画、印四绝的一代宗师，晚清民国时期著名国画家、书法家、篆刻家，与任伯年、赵之谦、虚谷齐名为清末海派四大家。吴昌硕的艺术别辟蹊径、贵于创造，最擅长写意花卉，他以书法入画，把书法、篆刻的行笔、运刀、章法融入绘画，形成富有金石味的独特画风。他以篆笔写梅兰，狂草作葡萄，所作花卉木石，笔力敦厚老辣、纵横恣肆、气势雄强，构图也近书印的章法布白，虚实相生、主体突出，画面用色对比强烈。",[38,209,7,27,15788,15789,10987,10804,15790],"金石气","篆隶笔意","线条苍劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1f5359a1b1bda2e1890ee62746457.jpg",[],{"id":15794,"slug":15795,"title":15796,"dynasty":91,"author":440,"museum":991,"description":15797,"tags":15798,"thumbUrl":15814,"material":330,"size":15815,"collection":61,"collections":15816,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},232261,"yu-zhen-lan-ting-zhao-meng-fu-232261","玉枕兰亭","久负盛名的玉枕兰亭序，是缩临《兰亭序》，为携带方便，可以随时展玩。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。这卷玉枕兰亭序高比通常所见的《兰亭》拓本小了将近三倍，但书写自如，气度雍容，不但形模毕肖，那种婉转遒美、玉润珠圆的神韵，简直可与唐代诸公的摹写一争高下。\n赵孟頫不仅有此 《缩本兰亭玉：枕兰亭序》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为笔法位置全然相似，亦当世之名迹也。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种游戏。但赵孟頫是落笔便作千古想的，所以 虽戏写亦如欲刻金石，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[7,38,76,4263,15799,2917,15800,15801,15802,15803,15804,15805,15806,15807,15808,15809,405,7813,15810,15811,241,31,15812,15813],"笔法流畅","章法自然","山阴","茂林","修竹","清流激湍","曲水","流觞","惠风","和风","朗气","初会","崇山峻岭","天朗气清","惠风和畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F103a8a40a8658fb27cde43d28fa23fc0.jpg","13.8X32厘米",[],{"id":15818,"slug":15819,"title":15820,"dynasty":51,"author":52,"museum":73,"description":11206,"tags":15821,"thumbUrl":15822,"material":920,"size":921,"collection":61,"collections":15823,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},230868,"zhi-ming-shu-tong-nian-chi-du-huang-ting-jian-230868","致明叔同年尺牍",[38,7,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09f053c7e96032c4163fa62c45b028b.jpg",[],{"id":15825,"slug":15826,"title":15827,"dynasty":51,"author":15828,"museum":73,"description":15829,"tags":15830,"thumbUrl":15831,"material":920,"size":921,"collection":61,"collections":15832,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},230560,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-230560","金刚般若经开题残卷","弘法大师空海","弘法大师空海（公元774—835）是日本真言宗的开山祖师，为汉传密宗八祖，作为日本弘扬佛法的先驱者享有崇高的声誉。大师在奈良时代末，于宝龟五年（公元774）诞生于风景秀丽的“玉藻所归之岛，櫲樟蔽日之浦”赞岐国（现香川县）屏风浦。其父为佐伯田公，母为阿刀氏。",[23,38,1735,26,7,530,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0893179b2d0c67d9aeaabae2404d729.jpg",[],{"id":15834,"slug":15835,"title":15836,"dynasty":145,"author":15837,"museum":73,"description":15838,"tags":15839,"thumbUrl":15840,"material":920,"size":921,"collection":61,"collections":15841,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},230295,"lin-sheng-jiao-xu-li-hong-zhang-230295","临圣教序","李鸿章","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[23,38,26,7,76,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689d84932e9309fab27ff7e5a4389dad.jpg",[],{"id":15843,"slug":15844,"title":15845,"dynasty":145,"author":838,"museum":73,"description":11997,"tags":15846,"thumbUrl":15847,"material":920,"size":921,"collection":61,"collections":15848,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":1787},230152,"shu-fa-ce-liu-yong-230152","书法册",[38,209,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4ac5168f96efcdcd6e168bc28e61af.jpg",[],{"id":15850,"slug":15851,"title":15852,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":15853,"thumbUrl":15854,"material":920,"size":921,"collection":61,"collections":15855,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞",[23,24,25,26,7,27,254,3083,897,35,7108,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":15857,"slug":15858,"title":15859,"dynasty":18,"author":2595,"museum":73,"description":15860,"tags":15861,"thumbUrl":15863,"material":61,"size":61,"collection":61,"collections":15864,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":66},228401,"yu-dong-qun-xian-tu-zhao-yong-228401","玉洞群仙图","青绿晕染出层叠仙山，苍松虬枝斜曳，桃林漫山绽花，幽谷间烟云轻漾。群仙散游林泉：或围坐松下清谈，或策杖寻幽揽胜，或凭崖临流遐观，情态自在萧散，尽得世外雅逸之趣。\n\n全卷气息清灵古雅，山水与人物相融无间，青绿妍丽厚重，人物笔致简逸传神，烘托出洞天幽寂出尘的氛围。卷后题咏呼应画境，诗画合璧，将文人梦寐中的栖隐仙乡藏于尺幅之间，尽显世外仙乡的出尘之致。",[23,24,25,26,3018,28,77,29,79,15862,34,35,7],"群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85733ce0975ae279b032bedb227bdbd2.jpg",[],{"id":15866,"slug":15867,"title":15868,"dynasty":18,"author":15869,"museum":73,"description":15870,"tags":15871,"thumbUrl":15872,"material":61,"size":61,"collection":61,"collections":15873,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","陈焕","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[23,24,25,209,28,27,29,402,33,34,3302,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":15875,"slug":15876,"title":15877,"dynasty":18,"author":3424,"museum":73,"description":15878,"tags":15879,"thumbUrl":15880,"material":920,"size":921,"collection":61,"collections":15881,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},228340,"song-chen-zi-ling-hui-shi-shi-ye-wang-chong-228340","送陈子龄会试诗页","王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。",[23,38,7,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe52e5ea085681326edf964a9c7510da5.jpg",[],{"id":15883,"slug":15884,"title":15885,"dynasty":18,"author":15886,"museum":73,"description":15887,"tags":15888,"thumbUrl":15889,"material":61,"size":61,"collection":61,"collections":15890,"showCount":449,"zanCount":534,"manualWeight":11,"mainColor":46},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","钱贡","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,25,26,27,77,7,29,79,33,30,31,34,2452,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":15892,"slug":15893,"title":15894,"dynasty":18,"author":4854,"museum":73,"description":15895,"tags":15896,"thumbUrl":15897,"material":920,"size":921,"collection":61,"collections":15898,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":66},228277,"da-mo-yi-wei-du-jiang-tu-chen-ji-ru-228277","达摩一苇渡江图","一苇渡江是达摩祖师的宗教故事。达摩传说渡过长江时，并不是坐船，而是在江岸折了一根芦苇，立在苇上过江的。",[23,24,25,57,530,28,79,7,58,31,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0240dfce7c73589d32eb17587517aa.jpg",[],{"id":15900,"slug":15901,"title":15902,"dynasty":51,"author":526,"museum":73,"description":15903,"tags":15904,"thumbUrl":15905,"material":61,"size":61,"collection":61,"collections":15906,"showCount":449,"zanCount":534,"manualWeight":11,"mainColor":66},227604,"wu-zhong-san-xian-tu-juan-li-gong-lin-227604","吴中三贤图卷","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,56,24,25,26,78,28,79,38,7,58,1140,2009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a8d47955d7901c90829f8ca4228c24.jpg",[],{"id":15908,"slug":15909,"title":15910,"dynasty":51,"author":52,"museum":73,"description":15911,"tags":15912,"thumbUrl":15913,"material":61,"size":61,"collection":61,"collections":15914,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},227589,"zhi-tian-min-zhi-ming-da-zhu-bao-shu-huang-ting-jian-227589","致天民知命大主薄书","《致天民知命大主薄书》亦称《与天民知命书》，作于1095年。《致天民知命大主薄书》是一则信礼，是黄庭坚的著名行书作品之一。黄庭坚的书法作品都比较奇特，他的很多书法作品都有别名，如《御刻三希堂石渠宝笈法帖释文》称《家书》，《大观录》称《家书帖》，《墨缘汇观》称《天民知命帖》，《珊瑚网》称《手简一通》等。他的书法特点是字体结构严谨，中宫稳重。",[25,38,7,11840,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bfddde26e8363b2f92566accb871ab7.jpg",[],{"id":15916,"slug":15917,"title":15918,"dynasty":2002,"author":220,"museum":73,"description":15919,"tags":15920,"thumbUrl":15921,"material":920,"size":921,"collection":61,"collections":15922,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":66},226536,"de-bao-ti-shi-can-bei-yi-ming-226536","德保题诗残碑","清乾隆32年。民国拓本",[23,680,38,58,7,4726],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5085bc5bb470d7fb54d771f30f58e29c.jpg",[],{"id":15924,"slug":15925,"title":15926,"dynasty":145,"author":387,"museum":73,"description":15927,"tags":15928,"thumbUrl":15929,"material":61,"size":61,"collection":61,"collections":15930,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},224315,"hua-niao-ce-shi-kai-5-li-shan-224315","花鸟册十开5","紫英垂悬如瀑，花瓣以淡墨晕染，浓淡间分出初绽苞蕾与盛放娇花，枝叶以枯笔淡绿点染，随性舒展，野趣天成。翎羽以赭黄铺陈，丹喙亮眼，禽鸟振翅欲动，垂首窥花，灵动神态跃然纸上。\n\n行书题字纵逸跌宕，笔意与画意相融，诗画合璧更添清雅文韵。兼工带写间，把花鸟生机藏于笔墨，随性又不失精致，尽显文人写意的疏朗意趣，将江乡春日花鸟的鲜活景致，凝于尺幅之间。",[23,24,25,209,28,109,7,58,210,82,669,1576,1172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e68e1bbf2be065a2dd861feabc0ade8.jpg",[],{"id":15932,"slug":15933,"title":15934,"dynasty":145,"author":387,"museum":73,"description":15935,"tags":15936,"thumbUrl":15937,"material":61,"size":61,"collection":61,"collections":15938,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},224313,"hua-niao-ce-shi-kai-3-li-shan-224313","花鸟册十开3","这幅写意花鸟以淡墨晕染禽鸟，借浓淡变化铺陈羽毛肌理，将小雀憨然俏立的姿态勾勒得灵动鲜活。虬曲花枝以枯笔挥就，老辣苍劲的笔力尽显藤蔓野逸之态，极简笔墨却生机饱满。\n右侧题诗与画面相映成趣，诗画交融尽显文人意趣。挣脱院体工整桎梏，以随性纵逸的笔墨抒发襟怀，将寻常小景晕染出清隽雅致的格调，诗书印浑然一体，尽显肆意洒脱的文人风骨，笔简意足，尽显水墨写意的疏朗之美。",[23,24,25,209,27,210,82,58,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab6bcbfe1b99fd380c38ac8586d9a07.jpg",[],{"id":15940,"slug":15941,"title":15942,"dynasty":145,"author":666,"museum":73,"description":667,"tags":15943,"thumbUrl":15944,"material":920,"size":921,"collection":61,"collections":15945,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},224209,"shu-fa-23-wu-chang-shuo-224209","书法23",[38,223,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73568a81bc566946d76b688804a851e8.jpg",[],{"id":15947,"slug":15948,"title":15949,"dynasty":51,"author":220,"museum":73,"description":15950,"tags":159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明福建漳浦人，字幼玄，一字螭若，又字细遵，门人称石斋先生。天启二年进士。授编修。崇祯初进右中允，曾三次疏救故相钱龙锡，贬三秩，而龙锡得减死。又屡上疏言诸臣专事互相报复，不顾大局，语刺大学士周延儒、温体仁等，被斥为民。复起为少詹事，因疏劾杨嗣昌等，下诏狱，旋释出，谪戍广西。十五年，复故官。福王即位，用为礼部尚书。南京陷，唐王即位福州，擢武英殿大学士。自请往江西图恢复，至婺源遇清兵，战败被执，不屈死。道周潜心经学，亦工书画。有《易象正义》、《三易洞矶》、《洪范明义》、《石斋集》等。",[23,38,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91634670146726797df4c02e7892ff58.jpg","25.6×270.5cm",[],{"id":15994,"slug":15995,"title":15996,"dynasty":18,"author":9230,"museum":3142,"description":15997,"tags":15998,"thumbUrl":15999,"material":196,"size":16000,"collection":61,"collections":16001,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},221872,"xiao-jing-song-huang-dao-zhou-221872","《孝经颂》","黄道周被视为明代最有创造性的书法家之一。他的行书和草书，行笔转折刚劲有力，体势方整，书风雄健奔放。他的楷书主要学习钟繇，比起钟繇的古拙厚重来，更显得清秀、飘逸。\n他的楷书，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。\n乾隆帝亦说他：“不愧一代完人”。",[23,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba37b6ca183453c0c2595f1622b0991.jpg","23.4×12.7cm×23",[],{"id":16003,"slug":16004,"title":16005,"dynasty":51,"author":16006,"museum":373,"description":16007,"tags":16008,"thumbUrl":16009,"material":722,"size":16010,"collection":62,"collections":16011,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},221684,"er-jun-tu-juan-yang-wei-221684","二骏图卷","杨微","描绘女真族人驯马手套马之惊心动魄场面。画中一奚官裘皮秋装乘骑奔驰，两匹正在奔腾的淡赭墨色马肥壮野逸，造型准确，神态生动，大有追风抹电之势，令人惊奋。\n该画用笔严谨工整，沉着豪放，线条遒劲，勾勒灵活，运笔流畅，人物和马之神态表情刻画细腻，栩栩如生，真实地反映了北方少数民族狩猎生活之特点和勇悍、粗犷之个性。明代黄旸题诗赞曰：“雄姿腾踏双飞黄，走如抹电风沙扬。权奈自是渥洼种，奔逐恍若神龙骧。\n前驹野性未易制，胡儿直把长缨系。且驱且挽力无穷，落日平沙浩无际。乃知调习良可驯，伯乐一顾价无伦。毛品虽为天厩亚，神骏能空冀北群。人间此马难重致，杨微妙笔传真意。……”图左自署款：“大定甲辰高唐杨微画”。从署款推定，此图作于金世宗大定二十四年（1184）。拖尾有明初人应光雯、黄寿、黄旸三人七言诗题跋，一九八三年詹宏羲先生将其捐赠给辽宁省博物馆收藏。",[23,24,25,26,77,28,79,693,7,58,1885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63999d1776682b106f06be528567b609.jpg","纵29.8厘米，横62.3厘米",[62],{"id":16013,"slug":16014,"title":16015,"dynasty":51,"author":8799,"museum":53,"description":8800,"tags":16016,"thumbUrl":16017,"material":196,"size":16018,"collection":62,"collections":16019,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},221564,"zhi-yan-xiu-shao-fu-chi-du-zhu-xi-221564","致彦修少府尺牍",[23,1697,38,7,27,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0774a9b1fdd2ca37c536b5c21b232501.jpg","纵27.3厘米，横55.1厘米",[62],{"id":16021,"slug":16022,"title":16023,"dynasty":51,"author":3119,"museum":106,"description":16024,"tags":16025,"thumbUrl":16026,"material":3576,"size":16027,"collection":61,"collections":16028,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":66},221474,"shuang-song-tu-ge-juan-zhang-ji-zhi-221474","双松图歌卷","《双松图歌》为杜甫诗《戏为双松图歌韦偃画》，释文：\n天下幾人畫古松，畢宏已老韋偃少。絕筆長風起纖末，滿堂動色嗟神妙。兩株慘裂苔蘚皮，屈鐵交錯迴高枝。白摧朽骨龍虎死，黑入太陰雷雨垂。松根胡僧憩寂寞，龐眉皓首無住著。偏袒右肩露雙腳，葉裏松子僧前落。韋侯韋侯數相見，我有一匹好東絹，重之不減錦繡段。已令拂拭光淩亂，請公放筆爲直幹。張即之七十二歲寫，時積雨連霉，槐龍舞翠，與客小飲，醉中戲書。\n款署：“张即之七十二岁写。时积雨连霉，槐龙舞翠，与客小饮醉中戏书。”钤“张”、“张氏”、“即之”印。自识“七十二岁”，应为南宋理宗宝祐五年（1257年）书。卷前有苏东坡作古柏图，非真迹。尾纸有明洪武时陈新、夏彦良二跋。\n此卷是张即之晚年之笔。后人皆称他“以能书闻天下”，“大字古雅遒劲，细书尤俊健不凡”。此卷擘窠大字，神完气足，劲健雄肆，又时见险怪之态。张即之作为南宋著名书法家，书宗唐人，结体严谨，笔法险劲，对当时书坛影响很大，北方金人亦多效其体。\n清缪日藻《寓意录》、清内府《石渠宝笈·初编》等书著录。",[23,56,24,25,26,7,38,27,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0742ab750432300eb32e874e9ddc04d.jpg","纵.8cm，横1196cm",[],{"id":16030,"slug":16031,"title":16032,"dynasty":51,"author":16033,"museum":53,"description":16034,"tags":16035,"thumbUrl":16041,"material":407,"size":16042,"collection":61,"collections":16043,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":46},221245,"xi-hu-shi-jing-ti-zi-ye-xiao-yan-221245","西湖十景题字","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 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，清朝江苏镇江丹徒人，字步江，号海门。是一个诗赋家。\n他自幼聪明，家贫，向人借书阅读，熟记胸中，13岁在\n清康熙年间，余京 康熙末年鲍皋与 鲍皋年轻时曾在扬州，得到盐运使尹会一之助。雍正 王豫评三诗人，认为 镇江\n鲍皋一生沉溺于诗，不事科举。其妻陈蕊珠(1714-1778)、子之钟(1740-1802)、三个女儿之兰(1751-1812)、之蕙(1757-1810)、之芬(1761-1808)都能诗，可称一门风雅。",[3383,57,7,38,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c871edb19255706560ce3e465beafd.jpg",[62],{"id":16232,"slug":16233,"title":16234,"dynasty":145,"author":16235,"museum":73,"description":16236,"tags":16237,"thumbUrl":16238,"material":920,"size":921,"collection":61,"collections":16239,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},241336,"xing-kai-qian-wen-juan-fan-zhen-241336","行楷千文卷","樊镇","樊镇，（清）道士。俗名嗣曾，字主实，号竹师，一号煮石山人，清代北通州（今北京市通州）人。住白马庙。",[23,24,25,26,38,2041,2031,7,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516758955027818f87868c19a4cbbbe6.jpg",[],{"id":16241,"slug":16242,"title":16243,"dynasty":145,"author":15446,"museum":106,"description":16244,"tags":16245,"thumbUrl":16246,"material":2831,"size":16247,"collection":62,"collections":16248,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},241079,"jie-lu-ku-shu-fu-zhou-weng-tong-he-241079","节录枯树赋轴","翁同龢（1830年~1904年），字叔平，号松禅， 别署均斋、瓶笙、瓶庐居士、并眉居士等，别号天放闲人，晚号瓶庵居士，江苏常熟人，中国近代史上著名政治家、书法艺术家。体仁阁大学士翁心存第三子，咸丰六年（1856年）状元，历任户部、工部尚书、军机大臣兼总理各国事务衙门大臣。先后担任清同治、光绪两代帝师。卒后追谥文恭。\n翁同龢（hé）工诗 [16] 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itle":16325,"dynasty":18,"author":16326,"museum":73,"description":16327,"tags":16328,"thumbUrl":16329,"material":61,"size":61,"collection":62,"collections":16330,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},239798,"shi-han-juan-fan-qin-239798","诗翰卷","范钦","范钦（1506年－1585年），字尧卿，号东明，浙江鄞县（今宁波市鄞州区）人。明代著名藏书家，中国现存最古老的藏书楼——天一阁的主人。\n嘉靖十一年（1532年）进士。历任随州知州、工部员外郎、袁州知府、广西参政、福建按察使、云南右布政使、陕西左布政使、副都御史等职。后晋兵部右侍郎，未赴任而去职还乡。\n一生喜爱藏书。归里后，于嘉靖四十年至四十五年（1561-1566年）间，在宁波月湖西岸的居宅东侧建造了藏书楼，取“天一生水、地六成之”之义，名“天一阁”。其藏书以明版地方志及登科录为世人所重，在明时已有“浙东藏书第一家”之誉。历经400余年后的今天，已成为中国国内最古老的藏书楼。著述有《四明范氏书目》《烟霞小说》《抚掌录》《奏议》《草朝遗忠录》《明文臣爵谥》《古今谚》。",[23,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7efa13184a215e5f9930f7d8baf070f.jpg",[62],{"id":16332,"slug":16333,"title":16334,"dynasty":145,"author":16335,"museum":73,"description":16336,"tags":16337,"thumbUrl":16338,"material":61,"size":61,"collection":61,"collections":16339,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},239710,"lin-dong-qi-chang-shu-tang-ren-shi-tie-zhou-zhang-zhao-239710","临董其昌书唐人诗帖轴","张照","此作用笔温润秀雅，将董其昌疏淡萧散的笔意揣摩尽致，又自带着雍容端严的气度。行笔舒展灵动，遒劲不失飘逸，结体开合随心，行气连贯通脱。墨色浓淡自然过渡，落笔收锋尽显法度。\n\n以笔墨铺陈唐人诗作，将宫苑早朝开阔雄浑的诗意融于点画之间，通篇布局匀整和谐，临古却不泥古，在师法前人的同时晕染出自身的文人雅韵，尽显从容闲适的书写意趣，是将诗书意蕴与笔墨美感融为一体的临摹佳制。",[76,7,38,27,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c94fbdef56f98cdd1049f489a184221.jpg",[],{"id":16341,"slug":16342,"title":3170,"dynasty":91,"author":440,"museum":106,"description":16343,"tags":16344,"thumbUrl":16345,"material":196,"size":16346,"collection":62,"collections":16347,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},239667,"wan-shou-qu-juan-zhao-meng-fu-239667","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。",[23,56,24,25,26,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20c96ff0adeb32d5b02a2720d9315e5.jpg","纵27.5厘米，横144厘米",[62],{"id":16349,"slug":16350,"title":16351,"dynasty":91,"author":440,"museum":106,"description":16352,"tags":16353,"thumbUrl":16354,"material":658,"size":16355,"collection":62,"collections":16356,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},239666,"jiu-de-song-juan-zhao-meng-fu-239666","酒德颂卷","释文：\n有大人先生以天地爲一朝，以萬期爲須臾，日月爲扃牖，八荒爲庭除。行無轍迹，居無室廬，幕天席地，縱意所如。止則摇卮執孤，動則挈榼提壺，唯酒是務，焉知其餘。有貴介公子，搢紳處士，聞吾風聲，議其所以，陳說禮法，是非蠭起，奮袂攘襟，怒目切齒。先生於是方捧甖承槽，銜杯嗽醪，奮髯箕踞，枕麹藉糟，無思無慮，其樂陶陶。兀然而醉，恍爾而醒。靜聽不聞雷霆之聲，熟視不見泰山之形。不覺寒暑之切肌，嗜欲之感情。俯觀萬物，擾擾焉如江海之載萍。二豪侍側，如螺蠃之與螟蛉。延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。\n本幅自识：“延祐三年丙辰歲十一月廿一日，爲瞿澤民書。子昂。”钤“赵子昂氏”印。帖后题跋有孙星衍（5段）、徐有贞、陈鉴、刘珏、杨循吉、文彭、王穉登、翁方纲（4段）、阮元等26家。鉴藏印有戴植、吴云、顾文彬等15方。\n明詹景凤《东图玄览编》、《真迹日录》，清顾文彬《过云楼书画记》、完颜景贤《三虞堂书画目》著录。\n延祐三年（1316年），赵孟頫时年63岁。\n此卷是赵孟頫为瞿泽民录写的西晋刘伶《酒德颂》全文，共19行。瞿泽民无考。刘伶为“竹林七贤”之一，其《酒德颂》充分反映了晋代文人的心态，由于社会动荡不安，统治者对一些文人的政治迫害，使有的文人或借酒浇愁，或以酒避祸，并借酒后狂言发泄对时政的不满。\n此帖笔法纵逸，又是自家风貌，肥不没骨，瘦不露筯，姿媚隽逸，出神入化，可谓人书俱老，炉火纯青，是赵氏书法的精品之作。正如帖后文彭跋所云：“信手拈来，头头是佛，若必曰'兰亭'，恐不必以此论松雪。”明、清各家题跋亦对此卷推崇备至。其文校之《昭明文选》小有出入。",[23,26,38,7,2031,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31512f695b6d65fe30c4b2db8aaaaa7f.jpg","纵28.5厘米，横65.2厘米，19行",[62],{"id":16358,"slug":16359,"title":16360,"dynasty":91,"author":16361,"museum":73,"description":16362,"tags":16363,"thumbUrl":16364,"material":61,"size":61,"collection":62,"collections":16365,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":638},239647,"shi-tie-juan-zhang-shen-239647","诗帖卷","张绅","张绅，字士行，一字仲绅，元代末期胶州人（（宣统）《山东通志·艺文志》于其著《法书通释》下云绅为登州人）。元至正七年（1347年）与弟经、缉同领乡荐。张咏乖崖之孙。\n《四库全书总目》于其著《法书通释》下云：“《书史会要》但称为山东人，洪武中官浙江布政使，不详为山东何地之人(应为济南人，《孔子庙堂碑》古拓本中有记载)，亦不详其出身。考《明史·吴伯宗传》附载鲍恂事，称洪武十五年（1382年）吉安余诠、高邮张长年、登州绅并以明经老成为礼部主事所荐，召至京。恂、长年皆以老病辞归，惟绅授鄠县教谕，寻召为右佥都御史，终浙江布政使。则绅乃为登州人，以荐举起家也。”是以知（宣统）《山东通志》沿《明史》之误。今按（道光）《重修胶州志》于《人物志》中列张绅传，于《艺文志》中收入其《逸诗》一卷，且有“元至正七年与弟经、缉同领乡荐”之载，并加按语云：“《明史》绅登州人，《明山左诗抄》绅济南卫人，又称云门山樵，盖尝至益都，皆其生平流寓之地。” 《法书通释》分十篇：八法、结构、执使、篇段、从古、立式、辨体、名称、利器、总论。多汇集晋、唐以来名家之论，间及苏轼、黄庭坚、姜夔之说，所取古人碑帖至唐而止，然均为习见之文。立式篇“辨古无真书之名，钟、王楷书皆是隶法”一条，足正近代俗者之陋。",[23,38,26,7,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e46960c1b670d0173f9d60a749a4e3.jpg",[62],{"id":16367,"slug":16368,"title":16369,"dynasty":91,"author":16370,"museum":106,"description":16371,"tags":16372,"thumbUrl":16373,"material":196,"size":16374,"collection":62,"collections":16375,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,56,24,25,26,7,38,58,352,1140,620,646,2007,2008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[62],{"id":16377,"slug":16378,"title":16379,"dynasty":91,"author":189,"museum":106,"description":16380,"tags":16381,"thumbUrl":16382,"material":6832,"size":16383,"collection":62,"collections":16384,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},239564,"ai-hou-tie-ye-wang-meng-239564","爱厚帖页","释文：\n蒙顿首再拜\n德常判府相公尊契兄，恃在爱厚，輙为禀白：友人林静子山，吴兴人，亦赵氏之甥也。读书博学，多艺能，而未有成名。欲权于彼学中养赡，得三石米足矣。用是求书专注，望介注为祷。斯人年幼而多学，亦公家所当养者。王府君处意不殊此，未由晤会，万冀调攝，以膺峻擢，不具。二月廿四日，王蒙顿首再拜，余控。\n帖后钤“也园珍赏”、“世受堂”两方鉴藏印。\n无题跋。\n《爱厚帖》是王蒙存世的唯一一通尺牍，弥足珍贵。此信写给做官的朋友“德常判府”，内容是举荐他的朋友林静（赵孟頫的外孙），请求给其安排一份工作，并介绍了此人“读书博学，多艺能”等特点。德常，名张经，字德常，金坛（今镇江）人。其父张监、弟张枢与王蒙、倪瓒交往密切。元至正二十二年（1362年）张经曾任松江府判官，书中称“判府相公”，可知此信应书于至正二十二年以后，是王蒙中年的作品。\n此书学赵孟頫，不仅点画转折具赵书规模，结体也仿学极似，且笔墨圆润流畅，风格清劲飘逸。明吴宽《匏翁家藏集》云：“黄鹤山人书，当不在赵魏公下。”\n《元诸名家尺牍册》、《石渠宝笈初编》著录。",[91,7,38,25,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd610f72ada49e0203ea8b31f3a88d5.jpg","纵33.3厘米，横58.7厘米",[62],{"id":16386,"slug":16387,"title":10922,"dynasty":145,"author":234,"museum":73,"description":16388,"tags":16389,"thumbUrl":16390,"material":920,"size":921,"collection":42,"collections":16391,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},237745,"shan-shui-tu-ce-cheng-zheng-kui-237745","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[24,25,209,27,28,7,37,29,376,884,32,150,34,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a67fa5c35f2204db75537c9a6afe59.jpg",[42],{"id":16393,"slug":16394,"title":857,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":16395,"thumbUrl":16396,"material":920,"size":921,"collection":61,"collections":16397,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},237684,"hua-hui-ce-sun-ke-hong-237684",[24,25,209,27,7,121,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aba2a0ed65c0675aa3b34144c66a0a5.jpg",[],{"id":16399,"slug":16400,"title":857,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":16401,"thumbUrl":16402,"material":920,"size":921,"collection":61,"collections":16403,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},237681,"hua-hui-ce-sun-ke-hong-237681",[24,25,209,27,7,119,115,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12cb7643290d35895c388087f757c2.jpg",[],{"id":16405,"slug":16406,"title":4853,"dynasty":18,"author":4854,"museum":73,"description":4855,"tags":16407,"thumbUrl":16408,"material":920,"size":921,"collection":61,"collections":16409,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},237539,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237539",[24,25,209,27,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf939112e8fd6d6506e2acfa483ea73.jpg",[],{"id":16411,"slug":16412,"title":16413,"dynasty":18,"author":16414,"museum":73,"description":16415,"tags":16416,"thumbUrl":16417,"material":920,"size":921,"collection":61,"collections":16418,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":66},236667,"qiu-jiang-diao-ting-shan-ye-song-jue-236667","秋江钓艇扇页","宋珏","宋珏（1576—1632）明代诗人、书画家。字比玉，号荔支子，浪道人、国子仙，福建莆田人。国子监生。漫游吴越，客死吴地，工书画篆刻。山水学米氏、黄公望、吴镇，用笔苍老秀逸，不拘于法，兼善画松。",[2579,27,29,32,6434,82,291,37,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa005189c8c25c3552046034c87135ba8.jpg",[],{"id":16420,"slug":16421,"title":16422,"dynasty":145,"author":7810,"museum":106,"description":16423,"tags":16424,"thumbUrl":16428,"material":802,"size":16429,"collection":61,"collections":16430,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},236154,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236154","冷枚养正图书合册","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,25,209,28,77,79,11481,34,36,12358,16425,16426,7,1471,1364,16427],"古代服饰","对话场景","互动人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fcf8e863cb31ba23c03e50a91e6ff93.jpg","纵三二·二厘米 横四二·三厘米",[],{"id":16432,"slug":16433,"title":16434,"dynasty":145,"author":1982,"museum":73,"description":16435,"tags":16436,"thumbUrl":16438,"material":920,"size":921,"collection":61,"collections":16439,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},235912,"lu-hua-diao-chuan-ye-wang-hui-235912","芦花钓船页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,209,27,16437,32,291,29,58,7],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77779a097697f97d9978945754d71b8d.jpg",[],{"id":16441,"slug":16442,"title":16443,"dynasty":18,"author":9263,"museum":73,"description":16444,"tags":16445,"thumbUrl":16446,"material":61,"size":61,"collection":61,"collections":16447,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},235847,"san-mao-tu-ye-wen-jia-235847","三泖图页","此作用浅青淡赭晕染远景山峦，烟岚空濛间漾出江南春日的柔润秀雅。湖心洲渚之上，佛塔层檐叠峙，垂柳轻拂屋舍，静立水波中央。水面舟楫错落，张帆者趁风徐行，摇橹者信步闲渡，将水乡的恬然生机铺陈开来。\n\n左侧题文详述此地胜状，书画合璧尽显文人雅趣。全画笔致秀婉松灵，设色清浅柔润，以简淡之笔勾勒出水泽空阔的诗意，将实景清丽与隐逸之思相融，尽展温雅悠然的文人意韵。",[24,25,28,29,150,11454,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6a59c4dc57b3f7828ee9560939649b.jpg",[],{"id":16449,"slug":16450,"title":16451,"dynasty":18,"author":15625,"museum":73,"description":16452,"tags":16453,"thumbUrl":16454,"material":61,"size":61,"collection":61,"collections":16455,"showCount":184,"zanCount":534,"manualWeight":11,"mainColor":46},235843,"bei-gu-shan-tu-ye-zhu-lang-235843","北固山图页","此作以秀雅笔触晕染山川形胜，危崖拔地而起，古寺层叠依岩错落，逶迤山道缠绕崖壁，山脚林木蓊然繁茂。远景江天淡远清旷，将京口名山大江之状收揽尺幅。\n\n淡色清润柔和，勾勒皴擦兼具苍浑与秀逸，题诗与山水相映，把“天下第一江山”的壮怀诗意融于画中，既写实摹画出雄踞江岸的山川气势，又带着文人画的淡逸格调，尽展名关古刹的沉郁古意，将山水形胜与家国壮怀悄然合璧。",[24,25,29,28,209,37,150,35,34,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4f3307e6d2d133782d3d2478c169b1.jpg",[],{"id":16457,"slug":16458,"title":857,"dynasty":145,"author":7878,"museum":73,"description":7879,"tags":16459,"thumbUrl":16460,"material":920,"size":921,"collection":61,"collections":16461,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},235712,"hua-hui-ce-zou-xian-ji-235712",[24,25,209,28,77,210,5805,1678,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70ff5078b9e099abb3fbeb03dbdc09e.jpg",[],{"id":16463,"slug":16464,"title":16465,"dynasty":18,"author":220,"museum":73,"description":16466,"tags":16467,"thumbUrl":16468,"material":61,"size":61,"collection":61,"collections":16469,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},235621,"zhu-zhan-ji-wu-hou-gao-wo-tu-juan-yi-ming-235621","朱瞻基武侯高卧图卷","此卷以淡墨写幽篁林泉，武侯侧身卧于林间，竹枝苍秀清润，笔墨简逸秀雅，将林下幽寂旷远的意韵尽数铺展，寥寥几笔便勾勒出武侯高蹈淡泊的襟怀。\n\n后拖尾题跋连绵，合体篆书点缀其间，将跨越千古的君臣知遇之意娓娓道来，字里行间皆是对武侯鞠躬尽瘁的追慕，亦暗含对识贤明君的叹赏。书画合璧，淡墨绘尽贤相风骨，长题书就千古知己佳话，整卷清雅沉静，将武侯隐逸风姿与君臣相得的美谈融于一处，是书画共情的绝佳典范。",[23,24,25,26,27,7,58,112,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674be4be137862148724ce7ef701a8a9.jpg",[],{"id":16471,"slug":16472,"title":857,"dynasty":18,"author":7894,"museum":73,"description":12230,"tags":16473,"thumbUrl":16474,"material":920,"size":921,"collection":61,"collections":16475,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},235472,"hua-hui-ce-qi-xun-235472",[24,25,209,7,28,77,210,1714,1678,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490a6d8cd0412f0d7d29c27368562d38.jpg",[],{"id":16477,"slug":16478,"title":2604,"dynasty":18,"author":16479,"museum":73,"description":16480,"tags":16481,"thumbUrl":16482,"material":61,"size":61,"collection":42,"collections":16483,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},234269,"shan-shui-ce-sun-ri-shao-234269","孙日绍","此册页诗画合璧，右幅以淡墨晕染山水：近岸木桥横卧浅波，汀渚寂然，层叠远山如黛，烟岚轻笼间隐见楼阁，笔墨简淡空灵，晕染出烟雨江天的空濛悠远。左侧书法笔意纵逸跌宕，题诗意境呼应画中丘壑。二者相映成趣，将幽居林泉的闲雅疏旷铺陈开来，以极简笔墨勾勒出悠远山水，寄寓着文人澄怀观道的隐逸襟怀，诗书画相融相生，晕开恬淡雅致的古典意趣，尽显萧散出尘的文人山水情怀。",[23,24,25,209,27,37,7,29,376,884,30,33,34,1121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fde4ab358a106b7645441ca1c163a4b.jpg",[42],{"id":16485,"slug":16486,"title":16487,"dynasty":18,"author":9263,"museum":106,"description":16488,"tags":16489,"thumbUrl":16490,"material":196,"size":16491,"collection":61,"collections":16492,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},234155,"yun-shan-tu-juan-wen-jia-234155","云山图卷","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,25,26,27,37,7,38,29,5082,179,178,34,1917,36,30,31,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":16494,"slug":16495,"title":7663,"dynasty":18,"author":1024,"museum":106,"description":16496,"tags":16497,"thumbUrl":16498,"material":4443,"size":3346,"collection":61,"collections":16499,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":46},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,25,26,28,77,7,29,33,79,31,30,34,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg",[],{"id":16501,"slug":16502,"title":16503,"dynasty":91,"aut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在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[25,38,7,26,11840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780d500e113fe99af594781fc50f9f4a.jpg",[62],{"id":16976,"slug":16977,"title":16978,"dynasty":91,"author":2440,"museum":73,"description":16979,"tags":16980,"thumbUrl":16981,"material":920,"size":921,"collection":61,"collections":16982,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},241013,"su-da-nian-ba-yu-ji-zhu-wen-fu-can-pian-juan-ke-jiu-si-241013","，苏大年跋虞集诛蚊赋残片卷","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[38,7,58,26,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffd8d5198e008f4b5fed14a7f6d8543.jpg",[],{"id":16984,"slug":16985,"title":16986,"dynasty":18,"author":9022,"museum":73,"description":9023,"tags":16987,"thumbUrl":16988,"material":920,"size":921,"collection":61,"collections":16989,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},241004,"zhi-luo-feng-zha-juan-wang-shou-ren-241004","致罗峰札卷",[23,56,24,25,26,27,7,223,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88979f0060eb58657f91f1b367c1d40f.jpg",[],{"id":16991,"slug":16992,"title":16993,"dynasty":145,"author":14286,"museum":73,"description":14287,"tags":16994,"thumbUrl":16995,"material":920,"size":921,"collection":61,"collections":16996,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240984,"zhi-huang-yi-xiao-song-zha-xi-gang-240984","致(黄易)小松札",[38,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93fef9ac62fcdb78efd90004efbb8e3.jpg",[],{"id":16998,"slug":16999,"title":17000,"dynasty":18,"author":17001,"museum":73,"description":17002,"tags":17003,"thumbUrl":17004,"material":196,"size":61,"collection":62,"collections":17005,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,2031,7,3321,223,1014,38,1735,26,352,680,58,2226,76,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[62],{"id":17007,"slug":17008,"title":17009,"dynasty":145,"author":17010,"museum":73,"description":17011,"tags":17012,"thumbUrl":17013,"material":196,"size":61,"collection":42,"collections":17014,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240886,"lu-tang-yao-he-shi-ju-ye-qi-zhi-jia-240886","录唐姚合诗句页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启 明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[24,25,209,27,29,376,377,625,37,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd420e1227963466a348e450bf9d57d90.jpg",[42],{"id":17016,"slug":17017,"title":17018,"dynasty":145,"author":13742,"museum":73,"description":17019,"tags":17020,"thumbUrl":17021,"material":196,"size":61,"collection":62,"collections":17022,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240555,"shi-san-xing-ye-ai-xin-jue-luo-yong-xing-240555","十三行页","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。\n对其书法的评价，有杨翰《息柯杂著》谓：“王得窥内府所藏，而自藏又甚富，故书法大备如是，大抵皆从\n帖中问津，未深究古碑耳。”（清）礼亲王昭梿《啸亭杂录》谓：“永瑆幼时握笔，即波磔成文，少年工赵文敏，又尝见康熙时内监。言其师少时犹及见董文敏用笔。惟以前三指握管，悬腕书之，故王广推其语，作拨灯法。”又说：“永瑆名重一时，士大夫得片纸只字，重若珍宝。论者谓国朝自王若霖（澍）下，一人而已。”《息柯杂著》又谓：“诒晋斋书，素未究心，但知其从赵承旨上溯欧阳率更，虽偶涉诸家，终不离两家宗旨。集卷随手杂临，竟有脱尽町畦，不似本家笔意者。篆、隶亦有法度，盖书非一时，临非一家，不甚经意，而精神所寄，一一浑足，此无意胜于有意也。”\n善收藏。著有《听雨书屋诗集》《诒晋斋诗文集》及《续集》《随笔》《仓龙集》等。《清史稿》卷二百二十一有传。",[25,38,7,196,2239,58,3383,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a7bc313925afdf882a3abc62d6938ef.jpg",[62],{"id":17024,"slug":17025,"title":17026,"dynasty":18,"author":17027,"museum":73,"description":17028,"tags":17029,"thumbUrl":17031,"material":196,"size":61,"collection":62,"collections":17032,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 兄弟二人均为进士；均为官清正廉洁，世称“天下清绝，顾问顾阙”；均为当时著名的理学家，并称“二顾”",[23,7,38,26,27,58,418,17030,884,494,1794,402,1068],"莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg",[62],{"id":17034,"slug":17035,"title":17036,"dynasty":145,"author":10971,"museum":73,"description":17037,"tags":17038,"thumbUrl":17039,"material":920,"size":921,"collection":61,"collections":17040,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240465,"lin-mi-tie-zhou-zhao-zhi-qian-240465","临米帖轴","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[38,57,7,76,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda18544c74d9e060860a196c66f8ef0e.jpg",[],{"id":17042,"slug":17043,"title":10904,"dynasty":18,"author":11649,"museum":73,"description":15431,"tags":17044,"thumbUrl":17045,"material":920,"size":921,"collection":61,"collections":17046,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240447,"shi-zhou-ni-yuan-lu-240447",[25,38,57,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb93a2a796b137abd324ce4bc50a9afb.jpg",[],{"id":17048,"slug":17049,"title":17050,"dynasty":145,"author":10971,"museum":73,"description":17037,"tags":17051,"thumbUrl":17052,"material":920,"size":921,"collection":61,"collections":17053,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240428,"si-ti-shu-lin-bei-ping-zhao-zhi-qian-240428","四体书临碑屏",[38,76,223,3321,2031,7,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40210c999f1f822e95b642f197823213.jpg",[],{"id":17055,"slug":17056,"title":17057,"dynasty":145,"author":717,"museum":73,"description":2431,"tags":17058,"thumbUrl":17059,"material":920,"size":921,"collection":61,"collections":17060,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240415,"ti-hua-gao-ce-yun-shou-ping-240415","题画稿册",[24,25,209,7,58,720,210,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9415120a293fd2616460e625cdcc022.jpg",[],{"id":17062,"slug":17063,"title":10904,"dynasty":145,"author":17064,"museum":73,"description":17065,"tags":17066,"thumbUrl":17067,"material":196,"size":61,"collection":62,"collections":17068,"showCount":229,"zanCount":534,"manualWeight":11,"mainColor":46},240193,"shi-zhou-bi-yuan-240193","毕沅","毕沅（1730年—1797年），字纕蘅，亦字秋帆，因从沈德潜学于灵岩山，自号灵岩山人。江苏镇洋（今江苏太仓）人。清代著名学者。\n乾隆二十五年（1760）进士，廷试第一，状元及第，授翰林院编修。乾隆五十年（1785）累官至河南巡抚，第二年擢湖广总督。嘉庆元年（1796）赏轻车都尉世袭。病逝后，赠太子太保，赐祭葬。\n嘉來庆二冄年頭（17樤97）年病逝，获赠太子太保。",[38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bd0c7f5d59860c6fb46c27b0d3589d3.jpg",[62],{"id":17070,"slug":17071,"title":17072,"dynasty":18,"author":220,"museum":73,"description":17073,"tags":17074,"thumbUrl":17075,"material":61,"size":61,"collection":62,"collections":17076,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":66},240176,"wu-kuan-li-yu-ji-qi-yao-shi-jia-jing-er-shi-si-nian-gao-ming-juan-yi-ming-240176","无款李愈及妻姚氏嘉靖二十四年诰命卷","此卷制式规整典重，首端织金云龙环绕题额，朱红九叠篆玺印方正雄浑，尽显庙堂威仪。敕命以馆阁小楷书就，笔致端雅匀净，法度森严；旁侧题跋行书舒展灵动，文气隽秀。一文一跋，庙堂规整与文人意趣相映成趣。缣素古旧，朱痕晕染岁月沉韵，既承载着封建荣典的礼制重量，亦兼具织造、书法的双重审美价值，尽显明代官方文书的庄重气度与彼时工艺、书法的不俗风貌。",[23,25,26,28,1819,58,223,7,2031,38,5885,1140,77,2226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f77157b943e606600b994ab8ce8cb.jpg",[62],{"id":17078,"slug":17079,"title":17080,"dynasty":145,"author":13742,"museum":73,"description":13743,"tags":17081,"thumbUrl":17082,"material":920,"size":921,"collection":61,"collections":17083,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240062,"xing-chun-gong-shu-juan-ai-xin-jue-luo-yong-xing-240062","行春宫疏卷",[23,3383,7,38,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205b8163967c1aa7c341346d434836e0.jpg",[],{"id":17085,"slug":17086,"title":17087,"dynasty":145,"author":324,"museum":106,"description":12645,"tags":17088,"thumbUrl":17090,"material":61,"size":61,"collection":62,"collections":17091,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},240037,"yuan-ji-jin-shan-liu-yun-ting-chang-he-yun-shi-ye-shi-tao-240037","原济金山留云亭唱和韵诗页",[25,38,3383,7,1014,27,196,58,11462,9395,4263,17089,14006],"毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea08cb353e3a80880d6cb515cd68110.jpg",[62],{"id":17093,"slug":17094,"title":17095,"dynasty":18,"author":4854,"museum":73,"description":17096,"tags":17097,"thumbUrl":17098,"material":61,"size":61,"collection":62,"collections":17099,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},239946,"qi-jue-shi-zhou-chen-ji-ru-239946","七绝诗轴","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。\n陈继儒书法学苏轼、米芾，对苏、米墨迹，最为喜爱，虽残碑断简，也必搜采，手自摹刻，成《晚香堂帖》及《来仪堂帖》。\n所画山水，空远清逸，松江博物馆藏有《潇湘烟雨图》1幅。所画梅竹，点染精妙，名重当时。用水墨画梅，乃其第一次，曾编《陈眉公梅花诗画册》，为后世所法。传世作品有《梅花》《梅竹双清图》等，（现藏故宫博物院）。\n另有《梅花图》8页（藏于日本东京国立博物馆）。书法传世作品有《行书半研斋诗》《行书李白诗》等（现藏故宫博物院）。曾评批《西厢记》《琵琶记》《绣襦记》等。并善鼓琴，订正琴谱，名重一时。\n其书画印有：“陈继儒印”（阴文印2方）、“陈眉公书画记”（阳文印2方）、“眉公”（阳文印）、“雪堂”（阴文印） ；“眉公”（阴文印）、“麋公”（阴文、阳文印）、“晚香堂”（阴文印）",[24,25,57,7,1014,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd16067cc84ccd926b198314f3717c73.jpg",[62],{"id":17101,"slug":17102,"title":10904,"dynasty":145,"author":17103,"museum":73,"description":17104,"tags":17105,"thumbUrl":17106,"material":61,"size":61,"collection":62,"collections":17107,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":66},239797,"shi-zhou-yun-li-239797","允礼","果毅亲王爱新觉罗·允礼（1697年3月24日—1738年3月21日），原名爱新觉罗·胤礼，满洲正红旗人，清康熙帝第十七子，雍正帝异母弟，母为纯裕勤妃。生于康熙三十六年(1697年)，卒于乾隆三年(1738)。其初行次为第二十七，序齿为第十七。\n允礼九岁以后常随康熙帝出塞外，雍正元年被封为果郡王，管理藩院事。雍正帝认为他实心报国，操守清廉，于雍正六年进亲王，七年管工部事，八年总理户部三库，十一年管户部；十二年赴泰宁送达赖喇嘛回西藏，顺路问视各省驻防及绿营兵；十三年还京师，办理苗疆事务。雍正帝临终时，命允礼辅政。乾隆即位，允礼任总理事务，主刑部事务，由于身体较弱，乾隆帝命其在私邸中办事，隔几天进宫一次即可，这在当时是一种不同寻常的特殊照顾。他秉性忠直，深受乾隆帝赏识；乾隆元年因事罢双俸，三年二月薨。乾隆帝万分悲痛，亲临其丧。二月初九日，乾隆令给允礼加祭一次，谥曰“毅”。因允礼无子，故以雍正帝第六子弘曕为嗣子。因允礼彼时年幼未参与康熙晚期夺嫡之争，故在康熙帝诸多皇子中算是下场较好的一个。",[38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c8e1568ccebe81dafddeb0354faa.jpg",[62],{"id":17109,"slug":17110,"title":17111,"dynasty":51,"author":220,"museum":73,"description":17112,"tags":17113,"thumbUrl":17114,"material":61,"size":61,"collection":62,"collections":17115,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},239679,"wu-kuan-xing-pan-gu-xu-juan-yi-ming-239679","无款行盘谷序卷","通篇以行草挥就，笔势欹正相生，牵丝映带灵动自然，尽显宋人尚意书风的疏放意趣。笔墨燥润相济，提转顿挫间将文辞意涵与书家性情相融，通篇气息浑融连贯，把《盘谷序》的文气挥洒得淋漓尽致。\n\n卷身遍钤朱红鉴藏印玺，与墨色书迹交相辉映，历代题跋环列其间，织就厚重递藏脉络。疏密排布得宜，既有肆意挥洒的疏朗，亦不失点画精到的谨严，尽显宋代行书抒情达意的文人风骨，是兼具书法艺术价值与流传考据价值的佳作。",[23,24,25,26,7,38,27,29,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cef04be1b92ec6142891fe4070e31d1.jpg",[62],{"id":17117,"slug":17118,"title":17119,"dynasty":91,"author":12654,"museum":106,"description":17120,"tags":17121,"thumbUrl":17122,"material":196,"size":17123,"collection":62,"collections":17124,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},239676,"ji-chen-tie-ye-yu-ji-239676","即辰帖页","释文（略）\n\n据《元史·虞集传》：“文宗崩，集在告，欲谋南还，弗果。幼君（宁宗）崩，大臣将立妥欢帖陆尔太子（惠宗），用至大故事，召诸老臣赴上都议政，集在召列。（马）祖常使人告之曰：‘御史有言，乃谢病归临川。’”此帖中提到姑苏、惠泉（惠泉在无锡），可知此时虞集已经谢病南归。帖中又说：“方今龙飞御天”，应指惠宗即位事，与文献所述时间亦合。由此推断，此帖当书于惠宗即位之后，是虞集的晚年作品。\n陶宗仪在《书史会要》中对虞集的书法有很高的评价，认为：“集真、行、草、篆皆有法度，古隶为当代第一。”《即辰帖》为楷体，兼有行书笔意。书法精道、淳古、苍劲，波澜老成，有碑版之状。\n《铁网珊瑚·卷五》、《平生壮观·卷四》等书著录。",[23,38,25,7,352,196,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f7ae574ec2261810c44d0220845d3f.jpg","纵32.3厘米，横93.2厘米",[62],{"id":17126,"slug":17127,"title":17128,"dynasty":91,"author":440,"museum":73,"description":13811,"tags":17129,"thumbUrl":17130,"material":61,"size":61,"collection":62,"collections":17131,"showCount":229,"zanCount":534,"manualWeight":11,"mainColor":46},239669,"za-shu-si-tie-juan-zhao-meng-fu-239669","杂书四帖卷",[23,56,24,25,26,7,27,28,29,377,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105971cba05216f4482cfe7d6dfe6465.jpg",[62],{"id":17133,"slug":17134,"title":17135,"dynasty":91,"author":17136,"museum":106,"description":17137,"tags":17138,"thumbUrl":17141,"material":196,"size":17142,"collection":62,"collections":17143,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},239623,"wu-gu-shi-tie-ye-zhang-yuan-239623","五古诗帖页","张渊","释文：\n云卧三十年，好闲复爱仙。蓬壶虽冥绝，鸾鹤心悠然。归来桃花岩，得憩云窗眠。对岭人共语，饮潭猿相连。时升翠微上，邈若罗浮巅。两岑抱东壑，一嶂横西天。树杂日易隐，崖倾月难圆。芳草换野色，飞萝摇春烟。入远构石室，选幽开山田。独此林下意，杳无区中缘。永辞霜台客，千载方来檐。用拙斋书。\n钤“张氏清夫”印。鉴藏印钤“仪周鉴赏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”等10方。\n张渊书法学赵孟頫，用笔结字亦步亦趋，形神兼备，有相当的功力。此帖学赵孟頫中年书体，笔画清健，笔力圆劲，结体方阔，点画精美，翩翩有致。",[7,38,352,58,27,1244,4263,376,11007,6589,212,4188,6592,3977,117,2207,17139,328,495,17140,621,112],"潭","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724ec50f12966d6fdc1a11a385cc48b9.jpg","纵27.4厘米, 横52.7厘米",[62],{"id":17145,"slug":17146,"title":17147,"dynasty":91,"author":17148,"museum":106,"description":17149,"tags":17150,"thumbUrl":17151,"material":4375,"size":17152,"collection":62,"collections":17153,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},239615,"shen-you-zhong-jiu-za-shi-bing-jian-tie-shen-you-239615","沈右中酒杂诗并简帖","沈右","此帖是沈右写给陈植的书信并诗5首。帖中提到了敬初（陈基）、明德（郑元佑）、伯行（钱逵）3人，他们都是擅名当时的文人和书法家。有元一代，吴越地区是文人荟萃之地，这些文人在政治倾向、个人经历、艺术创作等方面往往有相同或相似之处，因此彼此诗酒唱和，往来十分密切。这种现象在元代后期尤为明显。沈右此帖便涉及了当时文人日常生活和彼此交往的某些方面。 沈右小楷以精致、遒媚、古澹见称，自成一家面目。此帖体势端紧，笔笔妥贴，通篇自然协调，极具艺术品味。 《铁网珊瑚》、《式古堂书画汇考》、《平生壮观》、《墨缘汇观》、《三虞堂书画目》等书著录。",[25,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a129ca34510503c781b9b0c8d392a32.jpg","纵27cm，横40.5cm",[62],{"id":17155,"slug":17156,"title":17157,"dynasty":18,"author":1096,"museum":106,"description":17158,"tags":17159,"thumbUrl":17160,"material":196,"size":61,"collection":62,"collections":17161,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},239586,"lun-hua-tie-ce-ye-liu-jue-239586","论画帖册页","刘珏(1410-1472)，字廷美，号完庵，南直隶苏州府长洲(今江苏苏州)人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年(1438)中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。",[24,25,209,7,58,352,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd148d31786a2242d48c77a2c46a482a8.jpg",[62],{"id":17163,"slug":17164,"title":17165,"dynasty":51,"author":17166,"museum":106,"description":17167,"tags":17168,"thumbUrl":17169,"material":7,"size":17170,"collection":62,"collections":17171,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":638},239577,"ti-xu-xuan-zhuan-shu-tie-lou-yao-239577","题徐铉篆书帖","楼钥","“舊見岸老筆談載騎省竵匾之說，近有敷原王季中、彥良，實襄敏諸孫。余及見其莫年，嘗問古人篆字真迹，何以無燥筆。季中笑曰：‘罕有問及此者，蓋古人力在腕，不盡用筆力。今人以筆爲力，或燒筆使禿而用之，移筆則墨已燥矣。’今觀此軸，信然。子孫非不甚工，惜其自壞家法，反以端直姿媚售一時，後進競效之，古意頓盡，但可爲知者道爾。紹熙改元清明。鮚埼樓鑰。”钤“鑰”。\n又题：“紹熙之元，歲在庚戌。余與季路同爲南廟考官，嘗題此卷。今二十年矣。二十年間，何所不有，年號亦四改，時事可知。季路居太末，余挂冠甬東，豈復有再見之理。更化之後，乃復會於此，撫卷爲之增慨。余方求歸，再識歲月，嘉定三年仲夏朔日，書于攻愧齋。”钤“钥”、“攻愧斋”。\n楼钥此跋原书于徐铉篆书《项王亭赋》后，分前后两则，书写时间相距20年。前跋作于绍熙改元（1190年），楼钥时年54岁。后跋作于嘉定三年（1210年），楼钥时年74岁。跋中“骑省”即徐铉，字鼎臣，初仕南唐，入宋官至散骑常仕，有《骑省集》三十卷，宋代著名书家，精小篆。“季路”为汪逵的字，南宋孝宗乾道年间进士，嘉定初为太常卿，累官吏部尚书。\n此帖书法方正，用笔随意，捺笔微掺隶意。《书史会要》称楼钥“善大字，高宗时太学成，奉敕书匾”，在当时也是颇有名气的书法家。",[38,7,223,58,1698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd6a187af17d447a9e5aeb247efc7ab.jpg","纵26.7厘米，横78.3厘米",[62],{"id":17173,"slug":17174,"title":17175,"dynasty":145,"author":14286,"museum":73,"description":17176,"tags":17177,"thumbUrl":17178,"material":61,"size":61,"collection":61,"collections":17179,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},239324,"xi-hu-jian-chun-juan-xi-gang-239324","西湖饯春卷","此卷行书诗稿笔墨萧散疏朗，起首灵动松秀，随卷舒展，字迹错落排布。岁月留下的墨污缺损，晕染出斑驳古意，反而更衬出笔底的文人风骨。提按转合间带着江南春暮的缱绻惆怅，将饯春的依依心绪融在撇捺之中。朱红钤印点缀素纸，黑白朱三色相映，古雅沉静。全篇带着清逸的书卷气，把西湖春归的不舍藏在每一处笔墨细节里，是兼具性情与笔力的清代文人书法佳制，尽显清雅淡远的文人心境。",[23,24,25,26,27,38,7,223,29,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03d74dc700ccd093d22caea5fa3d874.jpg",[],{"id":17181,"slug":17182,"title":857,"dynasty":18,"author":205,"museum":73,"description":7066,"tags":17183,"thumbUrl":17184,"material":920,"size":921,"collection":61,"collections":17185,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},238117,"hua-hui-ce-xiang-sheng-mo-238117",[24,25,209,7,27,28,210,116,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b84248c76ae88020ff3c723d9c64b81.jpg",[],{"id":17187,"slug":17188,"title":857,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":17189,"thumbUrl":17190,"material":920,"size":921,"collection":61,"collections":17191,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},237683,"hua-hui-ce-sun-ke-hong-237683",[24,25,209,27,7,210,1230,861,38,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc77d32263ac7b7601e0cfdfb88d99eb.jpg",[],{"id":17193,"slug":17194,"title":857,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":17195,"thumbUrl":17196,"material":920,"size":921,"collection":61,"collections":17197,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},237678,"hua-hui-ce-sun-ke-hong-237678",[24,25,209,27,210,114,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d385c8faf6efe6aff712ff7b5f1828c.jpg",[],{"id":17199,"slug":17200,"title":17201,"dynasty":145,"author":3179,"museum":73,"description":17202,"tags":17203,"thumbUrl":17204,"material":920,"size":921,"collection":125,"collections":17205,"showCount":229,"zanCount":534,"manualWeight":11,"mainColor":46},237651,"ku-mu-zhu-shi-ce-cha-shi-biao-237651","枯木竹石册","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,25,209,27,327,112,328,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc50ab9dbf9106f927ff8c2fe9707414.jpg",[125],{"id":17207,"slug":17208,"title":4853,"dynasty":18,"author":4854,"museum":73,"description":4855,"tags":17209,"thumbUrl":17210,"material":920,"size":921,"collection":61,"collections":17211,"showCount":229,"zanCount":534,"manualWeight":11,"mainColor":46},237540,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237540",[24,25,209,27,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b14e36026da2474d58c67cda6fdc01c.jpg",[],{"id":17213,"slug":17214,"title":4853,"dynasty":18,"author":4854,"museum":73,"description":4855,"tags":17215,"thumbUrl":17216,"material":920,"size":921,"collection":61,"collections":17217,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},237538,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237538",[24,25,209,7,27,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dddc85924093eed6185627e9ca3e8ce.jpg",[],{"id":17219,"slug":17220,"title":17221,"dynasty":145,"author":17222,"museum":73,"description":17223,"tags":17224,"thumbUrl":17225,"material":920,"size":921,"collection":61,"collections":17226,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},237456,"hua-tu-shan-ye-zhang-shu-qiu-237456","花图扇页","张舒秋","图绘秋花烂漫的景致。作者在仿恽寿平笔意的基础上，注重将写意与写形、传神与达情、没骨与勾勒、工谨与遒媚相结合。同时，在刻画主体菊花上还特别注重虚实对比，花瓣用线造型笔笔为实；叶片设色渲染，水融色虚，虚实相生中表现出菊花淡雅冷艳之美。作者不仅画风学恽氏，书风也与恽氏相近，显现出对恽氏书画的学习已经达到较高的艺术水准。",[24,25,2579,28,210,121,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7e596e72d25c0af0f4ceb4c6ab8867.jpg",[],{"id":17228,"slug":17229,"title":5508,"dynasty":145,"author":5509,"museum":73,"description":5510,"tags":17230,"thumbUrl":17231,"material":61,"size":61,"collection":61,"collections":17232,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},237089,"jiang-feng-shi-nv-ce-jiang-feng-237089",[24,25,209,28,79,80,77,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae459c5de0d9fe3976698b466e9bbda5.jpg",[],{"id":17234,"slug":17235,"title":5508,"dynasty":145,"author":5509,"museum":73,"description":5510,"tags":17236,"thumbUrl":17237,"material":61,"size":61,"collection":61,"collections":17238,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},237084,"jiang-feng-shi-nv-ce-jiang-feng-237084",[24,25,209,77,28,79,80,58,38,7,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb6dc4e41575ed3e42470a2459f78c8.jpg",[],{"id":17240,"slug":17241,"title":17242,"dynasty":7039,"author":17243,"museum":73,"description":17244,"tags":17245,"thumbUrl":17246,"material":61,"size":61,"collection":42,"collections":17247,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},236333,"ma-shi-ying-shan-shui-chi-du-he-zhuang-zhou-ruan-da-cheng-236333","马士英山水尺牍合装轴","阮大铖","马士英（约1591～1646），字瑶草，贵州贵阳人，明末大臣，官至内阁首辅，相传本姓李，过继马氏，祖籍广西梧州。明万历己未（1619年）成进士，授南京户部主事，后历官严州、河南、大同知府、庐凤总督等职。甲申变后，马士英与南京兵部尚书史可法、南京户部尚书高弘图等拥立福王朱由崧为帝，是为弘光帝。因“拥兵迎福王于江上”有功，升任东阁大学士兼兵部尚书，都察院右副都御史，成为南明明弘光政权首辅，人称“马阁老”。后国事不济，拥立福王朱由崧登基，抵抗清兵入侵，最终殉国而死，但世人对其死因存疑，在清代，被后人所责骂。\n夏允彝、夏完淳父子《幸存录》对其持论公允。有《永城纪略》（含《永牍》）及部分诗文、书画作品传世。",[24,25,57,27,37,29,81,177,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cfd45a1fae363e79f9e55bf504aa31.jpg",[42,168,62],{"id":17249,"slug":17250,"title":2604,"dynasty":18,"author":7082,"museum":73,"description":17251,"tags":17252,"thumbUrl":17253,"material":61,"size":61,"collection":61,"collections":17254,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},235970,"shan-shui-ce-cheng-jia-sui-235970","此作以淡墨晕染江天冬色，近岸枯木槎桠、疏枝无叶，萧寒之气扑面而来。江心一舟独泛，远山轻描如黛，融于空濛烟水间，留白尽揽江天一色的空寂清冷。\n\n左侧行书秀雅清劲，诗句与画境浑然相融，将寄情山湖的幽怀藏于字间。笔触简淡松灵，不事雕琢，以极简之形写极深之境，把江野荒寒澄澈，与文人萧散闲愁融为一体，尽显幽淡冷逸的林下之风。",[24,25,209,27,7,58,29,32,81,774,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7df33560b51c033851173362bcb8ea5.jpg",[],{"id":17256,"slug":17257,"title":4036,"dynasty":145,"author":959,"museum":73,"description":4037,"tags":17258,"thumbUrl":17259,"material":920,"size":921,"collection":61,"collections":17260,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},235701,"hua-hui-tu-ce-zou-yi-gui-235701",[24,25,209,77,28,210,119,1068,861,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b99d30b0fc8e2443dff1e5ef5b139fb.jpg",[],{"id":17262,"slug":17263,"title":2604,"dynasty":18,"author":15054,"museum":73,"description":17264,"tags":17265,"thumbUrl":17266,"material":920,"size":921,"collection":61,"collections":17267,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},235352,"shan-shui-ce-zhang-fu-y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明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[24,25,209,27,78,7,38,58,29,79,254,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce44968cf045b96d8ac072ab3b27b0b7.jpg",[],{"id":17269,"slug":17270,"title":2604,"dynasty":18,"author":15054,"museum":73,"description":17264,"tags":17271,"thumbUrl":17272,"material":920,"size":921,"collection":61,"collections":17273,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},235351,"shan-shui-ce-zhang-fu-yang-235351",[24,25,209,27,37,7,38,58,29,377,79,8954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c5698b1319643a835571b882c6b69db.jpg",[],{"id":17275,"slug":17276,"title":6385,"dynasty":145,"author":146,"museum":73,"description":4751,"tags":17277,"thumbUrl":17278,"material":920,"size":921,"collection":61,"collections":17279,"showCount":229,"zanCount":534,"manualWeight":11,"mainColor":46},235193,"za-hua-ce-huang-shen-235193",[24,25,209,27,7,121,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059473f548f02cb346b8c757f64e88a2.jpg",[],{"id":17281,"slug":17282,"title":8544,"dynasty":145,"author":8545,"museum":106,"description":17283,"tags":17284,"thumbUrl":17285,"material":7180,"size":17286,"collection":61,"collections":17287,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},234921,"xue-jing-gu-shi-ce-sun-hu-234921","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,25,209,28,77,431,29,150,36,35,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2ba6b5b5d446cd11a4073a42a45b840.jpg","纵31．5厘米 横25．6厘米",[],{"id":17289,"slug":17290,"title":10937,"dynasty":145,"author":220,"museum":106,"description":10938,"tags":17291,"thumbUrl":17292,"material":802,"size":10941,"collection":61,"collections":17293,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":66},234902,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234902",[24,25,209,28,1394,77,7,58,29,150,30,31,35,34,79,5036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad5383086c2addf23d56ecae8eba42a.jpg",[],{"id":17295,"slug":17296,"title":17297,"dynasty":145,"author":12860,"museum":73,"description":17298,"tags":17299,"thumbUrl":17300,"material":196,"size":17301,"collection":61,"collections":17302,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},234895,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234895","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,25,209,28,37,76,7,58,29,30,31,34,150,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd041938481266e5261f5879a6dd0ddf8.jpg","纵21厘米，横27厘米",[],{"id":17304,"slug":17305,"title":2604,"dynasty":145,"author":3179,"museum":73,"description":10269,"tags":17306,"thumbUrl":17307,"material":61,"size":61,"collection":61,"collections":17308,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},234645,"shan-shui-ce-cha-shi-biao-234645",[24,25,209,27,7,37,29,33,377,237,2275,177,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c45098315924d5068c0fa9dad5a669e.jpg",[],{"id":17310,"slug":17311,"title":17312,"dynasty":145,"author":17313,"museum":106,"description":17314,"tags":17315,"thumbUrl":17316,"material":61,"size":61,"collection":61,"collections":17317,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},234467,"kong-gu-liu-quan-tie-luo-shen-zhen-lin-234467","空谷流泉贴落","沈振麟","沈振[清]字凤池，一作凤墀，吴县（今江苏苏州）人。工写照，兼善写生，及山水、人物，各臻其妙。供奉内廷。\n慈禧太后赐御笔“传神妙手”区额。尝奉勅画马便面二叶，各有宣宗御题三字一曰“飞霞骢”，一曰“翔玉骢”，钤有道光御用方玺。又百鸽图每页书签各名，尽绘物之妙。《寒松阁谈艺琐录、瓯钵罗室书画过目考》",[24,25,27,78,7,58,81,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15494e53daf9f50f24ac3f3cfd5dfc57.jpg",[],{"id":17319,"slug":17320,"title":17321,"dynasty":145,"author":17322,"museum":73,"description":17323,"tags":17324,"thumbUrl":17325,"material":61,"size":61,"collection":42,"collections":17326,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},234351,"you-niao-shi-tu-ce-jin-kun-234351","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[24,25,209,28,7,29,34,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e38f87e663c10e7db2d2540db6fbfc0.jpg",[42,155],{"id":17328,"slug":17329,"title":17330,"dynasty":18,"author":9263,"museum":73,"description":10592,"tags":17331,"thumbUrl":17332,"material":722,"size":61,"collection":61,"collections":17333,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},234259,"xuan-cheng-song-bie-juan-wen-jia-234259","宣城送别卷",[23,24,25,26,7,58,28,27,29,34,112,36,30,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3da9f12e4c80cb38116a7672a637566.jpg",[],{"id":17335,"slug":17336,"title":17337,"dynasty":18,"author":17338,"museum":106,"description":17339,"tags":17340,"thumbUrl":17341,"material":61,"size":61,"collection":61,"collections":17342,"showCount":229,"zanCount":534,"manualWeight":11,"mainColor":46},234200,"xue-ting-tu-juan-zhao-han-234200","雪亭图卷","赵汉","此作以淡墨晕染出群峰雪意，素净浑茫间，山坳雪亭幽然独立，枯木覆雪点染出清寂萧寒的冬日意境。整卷书画合璧，数段题书风格各异，行书秀逸苍劲，草书纵逸跌宕，擘窠大字雄健厚重。题诗文笔清隽，尽数铺展出林泉高致，将冬日幽居的清冷旷达与归隐忘俗的雅趣相融，笔墨间呼应画中逸韵，尽显诗画同源、以书入画的文人审美意趣。",[23,24,25,26,27,29,7,37,33,376,377,1636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc873cb1136ddbd79b8abebe8260093.jpg",[],{"id":17344,"slug":17345,"title":17346,"dynasty":18,"author":17347,"museum":73,"description":17348,"tags":17349,"thumbUrl":17350,"material":5701,"size":17351,"collection":61,"collections":17352,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},234120,"hua-tao-jing-jie-tu-juan-li-cui-lan-234120","画陶靖节图卷","李翠兰","全卷共分13段，分别表现了东晋陶靖节（即陶渊明）的画像及其作品归去来兮词等内容。此图当为有本而摹的一件临摹之作，但从中亦不难看出李翠兰熟练的白描功底，行笔流畅自如，线条萧散圆润。陶靖节不为五斗米折腰，毅然解印去职，他高尚的人品令历代文人志士纷纷写诗作画加以表现，而女画家中仅见李翠兰一人取此题材，因此该作品又别具一层特殊的意义。",[24,26,78,7,38,58,79,4252,2009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbafe1cb9333abd2afc922a21aa14ebba.jpg","纵26.8cm，横469.2cm",[],{"id":17354,"slug":17355,"title":17356,"dynasty":145,"author":324,"museum":73,"description":2864,"tags":17357,"thumbUrl":17358,"material":542,"size":2867,"collection":61,"collections":17359,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},233682,"yuan-ji-lan-zhu-ce-po-shi-lan-cao-shi-tao-233682","原济兰竹册－坡石兰草",[24,25,209,27,120,1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清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,26,28,77,1594,530,38,2031,7,79,150,30,31,693,459,29,33,82,34,1121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":17392,"slug":17393,"title":17394,"dynasty":145,"author":17395,"museum":73,"description":17396,"tags":17397,"thumbUrl":17398,"material":920,"size":921,"collection":61,"collections":17399,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":66},230182,"qi-yan-lian-li-zhou-chen-hong-shou-230182","七言联立轴","陈鸿寿","陈鸿寿（1768～1822年），钱塘（今浙江杭州）人，书画家、篆刻家。字子恭，号曼生、曼龚、曼公、恭寿、翼盦、种榆仙吏、种榆仙客、夹谷亭长、老曼等。曾任赣榆代知县、溧阳知县、江南海防同知。\n其工诗文、书画，善制宜兴紫砂壶，人称其壶为“曼生壶”。书法长于行、草、篆、隶诸体。行书峭拔隽雅、分书开张纵横，独步有清一代。篆刻师法秦汉玺印，旁涉丁敬、黄易等人，印文笔画方折，用刀大胆，自然随意，锋棱显露，古拙恣肆，苍茫浑厚。为“西泠八家”之一。\n有《种榆仙馆摹印》、《种榆仙馆印谱》行世，并著有《种榆仙馆诗集》、《桑连理馆集》。嘉庆二十一年为周春著的《佛尔雅》撰写序跋。",[23,38,57,2251,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd7c21e471c4d64a1b1fba8d59d069a.jpg",[],{"id":17401,"slug":17402,"title":17403,"dynasty":145,"author":838,"museum":73,"description":17404,"tags":17405,"thumbUrl":17406,"material":61,"size":61,"collection":61,"collections":17407,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":66},230153,"mei-hua-shi-liu-yong-230153","梅花诗","此作用笔敦实内敛，绝无锋芒外露，墨色浓郁匀净，尽显标志性的沉厚风格。字体筋骨内蕴，拙朴温润，布局整饬却暗藏灵动，字距行距匀停妥帖，通篇气息温雅端庄。\n\n以笔为梅枝，以墨凝梅香，将咏梅诗句的清癯高格，融于端稳笔墨之中，褪去妍媚浮华，尽显醇和静穆的文人意趣。诗书意境与沉浑书气相融共生，尽显老成持重的笔底风华，藏着文人骨子里的清雅底色，是清代帖学极具代表性的佳作。",[23,25,38,7,57,27,111,58,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7e6f8883f1504e88ef38becdaf8ee.jpg",[],{"id":17409,"slug":17410,"title":17411,"dynasty":91,"author":220,"museum":73,"description":17412,"tags":17413,"thumbUrl":17414,"material":920,"size":921,"collection":61,"collections":17415,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":66},228204,"huan-ji-tu-yi-ming-228204","宦迹图","此作用笔匀稳秀雅，墨色沉润妍丽，行书结体舒展俊逸，牵丝映带自然流畅，兼具帖学流美与端凝气度。整幅以长题辨伪析真，文思随笔墨流转，考据的严谨与书法的灵动相融无间。古朴装裱间朱印错落点缀，金石气晕染笔墨意趣，旧迹古雅质感尽显。将学术考辨的理性与翰墨创作的审美风韵合为一体，既是鉴藏考据的珍贵文献，亦是颇具审美价值的书法佳迹，尽显古卷雅致意蕴。",[23,24,25,26,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a18b15997a9a31f9d9c80679db188d4.jpg",[],{"id":17417,"slug":17418,"title":5580,"dynasty":91,"author":2623,"museum":73,"description":17419,"tags":17420,"thumbUrl":17421,"material":61,"size":61,"collection":61,"collections":17422,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":66},228172,"er-ma-tu-juan-ren-ren-fa-228172","此作以两马对照，道尽世相。肥马油光水滑，络首垂缰，姿态轩昂，全然是养尊处优之态；瘦马骨瘦嶙峋，绳索缠身，垂首缓步，尽显潦倒疲顿。\n\n作者以马喻世，将朝堂贪腐官吏与廉能寒官的境遇暗藏其中，辛辣讽刺吏治不公。后附题跋笔墨苍劲，点明画作托物言志的深意，工笔写实兼带写意讽喻，设色雅致克制，将状物抒情融为一体，是借物针砭时弊的经典笔墨。",[23,56,24,25,26,77,28,693,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8000c097545c3f6282e70f9b5caa8d.jpg",[],{"id":17424,"slug":17425,"title":17426,"dynasty":51,"author":220,"museum":73,"description":17427,"tags":17428,"thumbUrl":17429,"material":61,"size":61,"collection":61,"collections":17430,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[23,56,24,25,26,78,27,79,34,3407,403,1469,14301,38,7,223,58,3332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],{"id":17432,"slug":17433,"title":17434,"dynasty":51,"author":1239,"museum":73,"description":17435,"tags":17436,"thumbUrl":17439,"material":61,"size":61,"collection":61,"collections":17440,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,24,25,26,7,58,38,27,28,79,3857,7108,7466,10343,78,29,17437,13541,17438,1698,165,77,109],"农事场景","古文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":17442,"slug":17443,"title":17444,"dynasty":51,"author":52,"museum":53,"description":17445,"tags":17446,"thumbUrl":17447,"material":61,"size":61,"collection":61,"collections":17448,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":46},227592,"jing-zhou-tie-huang-ting-jian-227592","荊州帖","《荆州帖》，纸本，行书，亦称《动静帖》、《致公蕴知县宣德执事尺牍》，30.4×43.5cm，现藏台北故宫博物院。\n\n公元1095年（绍圣二年）三月，黄庭坚在荆州登船离行前，以小行楷书与公蕴知县道珍重。该幅字势欹侧，结体开张，具其书风特色，所书笔法沉稳，惟笔画中之顿挫起伏较少，与大行书略有差别。此牍曾入宋元秘府，后并入《三希堂法帖》。",[38,25,7,58,352,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5615ef47c334626dd2da3323d409de86.jpg",[],{"id":17450,"slug":17451,"title":17452,"dynasty":145,"author":12777,"museum":73,"description":17453,"tags":174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天启丁卯(1627)科举人，崇祯甲戌(1634)科进士。",[25,38,57,7,58,495,1636,962,2207,402,17734],"五岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59a841e4fcb1d3b6d4a28a2f9e2fb23.jpg",[],{"id":17738,"slug":17739,"title":17740,"dynasty":145,"author":17741,"museum":73,"description":17742,"tags":17743,"thumbUrl":17744,"material":920,"size":921,"collection":61,"collections":17745,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},241244,"dong-po-lun-shu-zhou-li-jian-241244","东坡论书轴","黎简","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。",[38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbb23fcdcd8da24ff286dc438e28fda.jpg",[],{"id":17747,"slug":17748,"title":10904,"dynasty":18,"author":17749,"museum":106,"description":17750,"tags":17751,"thumbUrl":17752,"material":5565,"size":17753,"collection":62,"collections":17754,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},241214,"shi-zhou-wen-zhen-meng-241214","文震孟","初名从鼎，字文起，号湘南，别号湛持。长洲（今江苏苏州）人。\u2028 文震孟出身书香门第，吴门画派创始人、“明四家”之一文徵明，是其曾祖父。震孟幼承家学，读书认真，21岁即获乡荐，但会试屡屡下第。后得“醉颖堂”废址，缮修加筑，更名“药圃”。园建成后约二年，他第十一次赴京赶考，得一甲一元，状元及第，也是苏州史称的四大“状元宰相”之一。授翰林院修撰。因疏陈勤政讲学，忤魏忠贤，被廷杖八十，贬职调外，愤而告归故里。崇祯元年（1628）以侍读召，改左中允，充日讲官。三年（1630）进左谕德，掌司经局，直讲如故。又因连劾魏党王永光，被斥为“任情牵诋”，乘机避归五年。五年（1632），在家被擢为右庶子，重新赴任，未久进少詹事。崇祯八年（1635）正月，闯王李自成占安徽凤阳，捣毁皇陵。借此历陈致乱之源，七月擢为礼部左侍郎兼东阁大学士，入阁预政。因与权奸温体仁不洽，被劾落职。九年（1636）卒，十二年（1639）诏复原职，十五年（1643）赠礼部尚书衔，赐祭葬。南明福王追谥“文肃”。\n崇祯初拜礼部左侍郎，兼东阁大学士。书画有家风，“书迹遍天下，一时碑牒署额，与待诏（文徵明）埒”。《明史》有其传。著述丰，主要有《念阳徐公定蜀记》、《剃茶说》、《策书圆记》、《姑苏名贤小记》、《文肃公日记》、《文文起诗》等。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4c2e0c4d7a08d98f5eb8c27acd128f0.jpg","196.3×66.8cm",[62],{"id":17756,"slug":17757,"title":17758,"dynasty":18,"author":3255,"museum":73,"description":17759,"tags":17760,"thumbUrl":17762,"material":920,"size":921,"collection":61,"collections":17763,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},241149,"xin-chun-deng-shi-han-zhu-zhan-ji-241149","新春等诗翰","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”，书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,38,7,26,58,1636,3977,1951,1068,376,884,1950,495,4188,17761],"地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be7a94c8a0c1162eee63a9d2c0330ac.jpg",[],{"id":17765,"slug":17766,"title":8081,"dynasty":145,"author":666,"museum":73,"description":667,"tags":17767,"thumbUrl":17768,"material":920,"size":921,"collection":61,"collections":17769,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},241092,"qi-lv-zhou-wu-chang-shuo-241092",[38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f6dbd630f4046ef7d059d6639d4cb0.jpg",[],{"id":17771,"slug":17772,"title":17773,"dynasty":18,"author":17774,"museum":73,"description":17775,"tags":17776,"thumbUrl":17777,"material":920,"size":921,"collection":61,"collections":17778,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},240945,"qi-lv-shan-mian-zhao-shi-yin-240945","七律扇面","赵师尹","赵师尹（1580～约1615）字任甫，号瀛松。江西九江人。明万历四十一年（1613）周延儒榜进士第三人。授翰林院编修。只可惜他居官一年便以疾病告归而卒。赵师尹生平以廉隅自爱。去世后，检点他的家藏，只有一些名家字帖，图书数箱而已。",[2579,7,38,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fca134dc4cc9b7c12df4b6f050ac7de.jpg",[],{"id":17780,"slug":17781,"title":17782,"dynasty":91,"author":440,"museum":73,"description":5830,"tags":17783,"thumbUrl":17784,"material":920,"size":921,"collection":61,"collections":17785,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":66},240933,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-er-zhao-meng-fu-240933","赵孟頖妙法莲花经册卷二",[25,38,1735,209,7,530,27,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438a51782c2e18404b96924a66130662.jpg",[],{"id":17787,"slug":17788,"title":17789,"dynasty":18,"author":17790,"museum":73,"description":17791,"tags":17792,"thumbUrl":17793,"material":920,"size":921,"collection":61,"collections":17794,"showCount":500,"zanCount":534,"manualWeight":11,"mainColor":46},240678,"chi-bi-fu-zhou-fan-jing-wen-240678","赤壁赋轴","范景文","范景文（1587年11月29日-1644年4月25日），明朝末期政治家、文学家、东阁大学士。字梦章，号思仁，别号质公，河间府吴桥（今属河北）人。万历四十一年（1613年）进士，官至工部尚书兼东阁大学士。\n崇祯十七年（1644年）李自成破宣府，烽火逼京师，众臣请帝南幸，范景文劝帝“固结人心，坚守待援”，不久崇祯自缢。范景文留下遗书曰：“身为大臣，不能灭贼雪耻，死有余恨。”后赴双塔寺旁的古井自杀。赠太傅，谥文忠。著有《大臣谱》、《战守全书》。",[38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1df3f43d713dd9c8a25fb414a08e76.jpg",[],{"id":17796,"slug":17797,"title":17798,"dynasty":18,"author":9230,"museum":73,"description":17799,"tags":17800,"thumbUrl":17801,"material":920,"size":921,"collection":61,"collections":17802,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},240665,"xi-yu-shi-zhou-huang-dao-zhou-240665","喜雨诗轴","黄道周（1585年3月9日—1646年4月20日），汉族，字幼玄，一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。福建漳州府漳浦县（今福建省东山县铜陵镇）人，祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[38,57,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f1eaae06e354913d23f45008cacc60.jpg",[],{"id":17804,"slug":17805,"title":10904,"dynasty":145,"author":17806,"museum":17807,"description":17808,"tags":17809,"thumbUrl":17810,"material":196,"size":17811,"collection":62,"collections":17812,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":66},240605,"shi-zhou-wang-xian-zuo-240605","王显祚","山西晋祠博物馆","崇祯举人。顺治三年（1646年），由山东运使擢为山西布政使司参政、分守河东道。五年，任陕西按察使、管右布政使事。又转福建按察使。十年六月，擢为山西右布政使，一直到顺治十一年十一月改任。傅山十年秋才由汾州移居土堂。次年春，宋谦被捕，供词连及傅山。六月，傅山入狱。王显祚在此期间是否参与开脱傅山，史无记载。不过，王显祚任此职时间应并不长，作用有限。傅山与王显祚之交往，应是顺治十七年后的事。《清实录》载，顺治十七年（1660年），王显祚由福建左布政使转为山西左布政使。又《新编傅青主年谱》康熙二年条：“六月，申涵光游太原，访青主。访中表、山西布政使王显祚，请其为青主买宅。”是王显祚与傅山结识由申涵光所介绍。王显祚在山西做了八年布政使，时间可谓不短，与傅山交往应会不少。康熙六年（1667年），王显祚因福建道御史 而吴怀清《天生先生年谱》康熙三年条有注云：“康熙六年，总督某索赂不应，为所劾，落职归。”总督，实指当时山陕总督 依此说，王显祚之落职，非贪婪之故，而实受栽赃陷害。",[38,57,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a363e2dd3389051b69e740c43975a7d.jpg","纵180厘米，横62厘米",[62],{"id":17814,"slug":17815,"title":17816,"dynasty":145,"author":220,"museum":53,"description":17817,"tags":17818,"thumbUrl":17819,"material":196,"size":10151,"collection":62,"collections":17820,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},240494,"zhang-zhao-lang-guan-bi-ji-zhou-yi-ming-240494","张照郎官壁记轴","張照（1691～1745），字得天，號涇南，亦號天瓶居士，江南婁縣人。康熙四十八年進士。清藏書家、書法家、戲曲家、書畫目錄整理者。\n張照，初名默，字得天、長卿，號涇南、梧窗、天瓶居士。清松江府婁縣人，家住秀野橋西。天資聰敏，通釋氏之教，其作詩豪放好驅使禪語。能詩，善畫，通音律，精鑑賞，尤工書法。19歲成進士，官至刑部尚書，參與修纂《大清會典》及《一統志》。雍正十三年（1735年），為總理苗疆事務經略大臣，赴雲南，以“無功”被劾，革職擬斬後得寬免，命在武英殿修書處行走。乾隆七年（1742年）又升為刑部尚書，精曉法律，曾修訂過一些比較合理的刑事條例。乾隆六年（1741年），奉命與莊親王查明《律呂正義》源委，續修《律呂正義》後編。嗣後主持為平署編纂宮廷大戲，作有雜劇《月令應承》《九九大慶》等；並作傳奇《勸善金科》《昇平寶筏》，規模宏大，各有240出，供宮廷搬演，開“連台本戲”之先河。戲曲研究家星煜評價張照的戲劇創作説：“他是中國連續劇的創始者，無可爭議”。“事實上《勸善金科》和《昇平寶筏》對崑劇、京劇以及各種地方戲的影響遠比人們所想象的大得多”，“如果當年張照沒有編寫這兩部240出的連續劇，我們所看到的楊小樓、鄭長泰、蓋叫天、張翼鵬的悟空戲（猴戲）就不會有那麼豐富多彩”。乾隆九年（1744年），奉命與梁詩正等鑑別宮廷所藏曆代書畫，分類編成《石渠寶笈》（44卷），並主持編纂《秘殿珠林》（24卷）。",[38,24,25,57,7,76,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb221427162600041caae8c71e692323b.jpg",[62],{"id":17822,"slug":17823,"title":17824,"dynasty":145,"author":17825,"museum":73,"description":17826,"tags":17827,"thumbUrl":17828,"material":920,"size":921,"collection":61,"collections":17829,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},240320,"bei-cha-xing-ye-shen-ji-240320","焙茶行页","沈楫","沈楫［清］字蓉洲，号东山，嘉定（今属上海市）人。画法赵孟頫。",[25,209,7,38,58,2226,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3021a03c586aa24a14da470a55984e.jpg",[],{"id":17831,"slug":17832,"title":17833,"dynasty":145,"author":17834,"museum":73,"description":17835,"tags":17836,"thumbUrl":17837,"material":61,"size":61,"collection":62,"collections":17838,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},240312,"jie-lin-dong-qi-chang-lan-ting-xu-ye-li-shang-lin-240312","节临董其昌兰亭序页","李上林","李上林，江南如皋（今江蘇省如皋市）人。監生，明萬曆年間（1573年～1620年）以德州同知委署新泰。\n愛民如子，當時正值歲歉，請求賑濟，先向鄰縣借來粟米，新泰縣民賴以保全性命。不久對本縣進行改革：“除無名之費，定徵輸之條，嚴治左右，寬恤裏甲，修築石城，杜絕開採。”又置公學田地三頃八十二畝。李在任五年間，“桑麻遍野，邑無逃亡。”本縣士民為之立生祠祀之。祀《名宦》。李工詩，其步高如山韻所作《秋日登新甫山有感》詩刻於蓮花山雲孤寺正殿西溪摩崖之上，至今清晰可見",[38,7,76,58,376,1949,112,884,328,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069cf3c2e28e5b843e3ea77d2e4b3a7.jpg",[62],{"id":17840,"slug":17841,"title":17842,"dynasty":145,"author":387,"museum":73,"description":17843,"tags":17844,"thumbUrl":17845,"material":920,"size":921,"collection":61,"collections":17846,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},240289,"li-shan-shi-zhou-li-shan-240289","李鱓诗轴","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[24,25,57,7,38,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308b3c2debc85a55603b171bd6907627.jpg",[],{"id":17848,"slug":17849,"title":17850,"dynasty":145,"author":1572,"museum":73,"description":17851,"tags":17852,"thumbUrl":17853,"material":196,"size":61,"collection":62,"collections":17854,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},240116,"shi-ye-gao-feng-han-240116","诗页","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》\n高凤翰的右手书法严谨流畅，左手书法上溯魏晋风格，继承元明笔法，气韵流动，古趣横生，被人誉为明清两朝数百年间以左手擅长书法的，尚无人与之媲美并列。当时能得到其只字片幅不是易事。\n“不抱云山骨，哪成金石心。自然奇节士，落墨见高襟。”是不是很熟悉？对，这就是高凤翰的书法作品《章草书》全诗，寓意书法作品的功底，要亲近云和山那样的风骨，才能求得金石之心。何谓云山风骨，就是像云一样潇洒飘逸变化无穷，圆转自如，像山一样坚毅挺峻，拥抱云和山的精髓，才能够体味到金石之心的真谛。后寓意为励志，意指不经历风雨，怎么见彩虹。\n高凤翰主工花卉山水，宋人雄浑之神和元人静逸之气在其作品中同时流露，艺术造诣十分精湛。高凤翰的画不拘成法，因而被人归于“扬州八怪”，也有将他列为“画中十哲”的。高凤翰的传世作品有《牡丹竹石图》轴等，并著有《南阜山人诗集》、《砚史》等书。\n高凤翰在一黑陶罐上的诗刻和画有三足陶器的《博古图》花轴引起山东大学考古工作者的注意，后人们按图上提供的信息往胶州三里河求索，终于发掘出一处重要的古文化遗址。 青岛百花苑置有他的雕像。",[25,38,7,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa57422b9cc1367b164e0f1c594bb8f.jpg",[62],{"id":17856,"slug":17857,"title":17858,"dynasty":18,"author":17859,"museum":106,"description":17860,"tags":17861,"thumbUrl":17862,"material":658,"size":17863,"collection":62,"collections":17864,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},240030,"dong-zhuang-za-yong-shi-juan-shao-bao-240030","东庄杂咏诗卷","邵宝","《东庄杂咏诗》卷释文\n署款：“友生邵宝顿首稿上复斋先生吟伯请教。三月廿八日。”\n款下钤“国贤”、“常郡锡邑世家”印。引首印“二泉”。\n无题跋及鉴藏印。\n此为邵宝为赞美吴宽的“东庄别墅”之景色所作的20首五言绝句。\n此书用笔稳健，顿挫有致，笔墨浓郁温厚，气势沉实宽博。其笔画钩如屈铁，点如坠石，巧拙互用，时出怪异之笔，有李东阳之韵意，且自家风格极突出。",[23,56,24,25,26,7,38,3857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe826e86530cece2a1585e86a8e64466d.jpg","纵25.8厘米，横231.5厘米",[62],{"id":17866,"slug":17867,"title":17868,"dynasty":145,"author":17869,"museum":73,"description":17870,"tags":17871,"thumbUrl":17872,"material":61,"size":61,"collection":62,"collections":17873,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},240022,"lin-tang-tai-zong-shi-zhi-tie-ping-zhou-dai-wang-lun-240022","临唐太宗使至帖屏轴","戴王纶","戴王纶，字经碧，号一斋，直隶沧州（今河北沧县）人。其父戴明说为明崇祯四年进士，官至户部尚书。戴王纶为顺治五年（1648年）戊子科顺天乡试第五名举人，顺治十二年（1655年）中一甲第二名进士（榜眼），授翰林院编修。官至江西粮道。康熙十八年（1679年）举博学鸿词科。工诗、书，善于画兰。",[38,7,76,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b7e2ca2c826c74211a9ec0588bd13c.jpg",[62],{"id":17875,"slug":17876,"title":17877,"dynasty":145,"author":17878,"museum":73,"description":17879,"tags":17880,"thumbUrl":17881,"material":61,"size":61,"collection":62,"collections":17882,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239996,"gan-guo-ji-shi-zhou-gan-guo-bi-239996","甘国基诗轴","甘国璧","甘国璧（？—1747），字东屏，汉军正蓝旗人，云贵总督甘文焜之子，清朝官吏。",[25,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35312559c36214acbff3ca430912430d.jpg",[62],{"id":17884,"slug":17885,"title":6116,"dynasty":145,"author":16132,"museum":73,"description":17886,"tags":17887,"thumbUrl":17888,"material":61,"size":61,"collection":62,"collections":17889,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239947,"qi-yan-lian-lu-hui-239947","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加太平军工作，功名之路永绝。从刘德六游，习花果、翎毛，有出兰之誉。尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤吴大瀓，相与谈艺，大悦，纵观吴之所藏，上窥唐、宋，下樵元、明，艺事大进。旋客吴幕，得游三湘，辽东名胜。所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工汉隶，旁参魏晋六朝，遒劲而具有金石气。尝作衡山记游图八幅，认为生平杰作，谓可媲美黄易《访碑图》。\n光绪二十二年（1896）张之洞任江督，集海内名画家补绘元王恽所进《承华事略》，以总其事。图中衣冠、彝器悉准历代制度。中年归苏州，潜心绘事，考订金石文字，垂三十年。为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹评画中九友“以吴江陆廉夫得名最早，山水学四王，渲染尤能逼真。”",[38,2251,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4306a6678d4afb150d8aef509e5d84.jpg",[62],{"id":17891,"slug":17892,"title":17893,"dynasty":145,"author":14309,"museum":73,"description":14310,"tags":17894,"thumbUrl":17895,"material":61,"size":61,"collection":62,"collections":17896,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239921,"shi-song-lian-shang-ye-wan-cheng-ji-239921","诗送莲裳页",[3383,25,38,7,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ac2a5bd587d4df7383b138741ceda5.jpg",[62],{"id":17898,"slug":17899,"title":17900,"dynasty":18,"author":17901,"museum":73,"description":17902,"tags":17903,"thumbUrl":17904,"material":61,"size":61,"collection":62,"collections":17905,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239802,"lin-lan-ting-xu-ye-yuan-yu-ling-239802","临兰亭序页","袁于令","袁于令（1592-1672年），本名原晋，字昭令，小字韫玉，号吉衣主人，苏州吴县（今江苏省苏州市）人。明末清初戏曲家、小说家。\n明末，进入国子监读书。清兵入关后，任工部虞衡司主事、营缮司员外郎等职。顺治五年，升任荆州知府。顺治十年（1653），罢官，侨寓江宁、会稽。\n康熙十一年，去世，时年八十一岁。著作有《剑啸阁传奇》《双莺传》《隋史遗文》等。",[3018,38,25,7,76,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19491f91c785a89387d5a989a58924e.jpg",[62],{"id":17907,"slug":17908,"title":17909,"dynasty":145,"author":1523,"museum":73,"description":7508,"tags":17910,"thumbUrl":17912,"material":920,"size":921,"collection":61,"collections":17913,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239781,"qian-sou-yan-gong-yi-huang-zu-yuan-yun-qi-lv-zi-tiao-qian-long-239781","千叟宴恭依皇祖元韵七律字条",[38,25,7,58,17911],"字条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3140f11bf0e3ea78228eb1c3e908fd63.jpg",[],{"id":17915,"slug":17916,"title":17917,"dynasty":145,"author":17918,"museum":73,"description":17919,"tags":17920,"thumbUrl":17922,"material":920,"size":921,"collection":61,"collections":17923,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239764,"shu-su-shi-shu-tie-dan-ye-zhou-xing-dai-239764","书苏轼书帖单页","周兴岱","周兴岱（1744—1809）字长五，一字冠三，号东屏，四川涪州（今重庆市涪陵区）人，清朝官吏，周煌次子，清代大诗人张船山岳父。乾隆三十六年进士，改庶吉士，散馆授编修。累迁侍讲学士。超授内阁学士。擢侍郎，历礼、吏、户诸部。命在南书房行走。",[3383,7,38,352,28,25,17921,58],"单页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49379d813f4dd89dac336b572613da69.jpg",[],{"id":17925,"slug":17926,"title":6450,"dynasty":91,"author":893,"museum":73,"description":17927,"tags":17928,"thumbUrl":17929,"material":61,"size":61,"collection":61,"collections":17930,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239656,"jing-ji-xuan-shi-wen-zhou-ni-zan-239656","此作书法萧散简淡，和倪氏山水意境一脉相承。正文兼融行楷意趣，笔画清瘦秀逸，排布疏朗空灵，恰似画中太湖汀渚的空寂留白，自带清冷出尘的气韵。\n\n笔墨简净却意韵悠长，将元末文人幽居避世的澹泊襟怀，藏于笔锋起落之间。题跋与正文相映成趣，朱红印信点缀素纸，为通篇的素朴增添雅致意趣，书文相合，将静寄轩的幽谧禅意落于纸面，尽显古淡天真的文人风骨。",[25,57,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0f7bebe3d776f9d508db07a5ed5d0.jpg",[],{"id":17932,"slug":17933,"title":17934,"dynasty":91,"author":17935,"museum":106,"description":17936,"tags":17937,"thumbUrl":17938,"material":658,"size":17939,"collection":62,"collections":17940,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":66},239640,"huai-cun-zhai-shi-tie-ye-chen-zhi-239640","怀存斋诗帖页","陈植","释文：\n九日有怀存斋隐君一首，聊发一笑。并呈云林先生，植顿首上。\n冉冉秋复冬，凄凄寒栗烈。澒洞风尘际，念子久睽别。林屋雨山间，雅怀寄奇绝。沦迹屏纷嚣，蕴真独悟悦。高崖延白云，清沂弄华月。穷搜吊荒亡，松下寻古碣。摩挲读漫字，皮陆名炳列。感慨赋（点去）賸萹什，玄谈唾霏屑。时从仙侣游，或迓支郎谒。思归笠泽秋，扁舟昕旦发。青旻风日澹，丹葩媚林樾。江空景澄霁，水落石齾齧。今朝定何朝，霜菊粲可撷。汎汎黄金英，眷言此嘉节。负痾志願违，怀君释悁结。载歌伐木诗，嗟彼朋友缺。美人不可亲，耿耿中心□。毋惜问音徽，庶以慰饥渴。\n此帖无题跋。帖后自钤“慎独斋”、“一丘一壑”印两方。\n鉴藏印钤有明项元汴“项子京家珍藏”，清孙承泽“北平孙氏”、安岐“安氏仪周书画之章”，近代衡永“衡酒仙家珍藏”等。\n《怀存斋诗帖》以诗代柬，是陈植写给朋友“存斋隐君”的一首五言诗。“存斋”即沈右，沈右自署“存存斋。”明陈基《夷白斋稿》中有“存存斋记”一篇，云：“沈君仲说（沈右字仲说）隐居于吴会，耕学于笠泽，庐于陈公之原，而皆名其室曰存存斋”。此诗句中“思归笠泽秋”也与上记相符。在沈右的书札中也常提及陈植，故宫藏《中酒杂诗并简帖》就是其写给陈植的书札，可见二人交往密切。“云林”即倪瓒，时亦在吴中。\n此书有赵孟頫书法的规模，体势方峻、流便，笔画略显潦草，起笔、收笔处未尽到位，而显示出较随意、迅疾、无意求工的行笔特色。",[38,7,58,1698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f2e585985f2a8a66c29b8ed56bb5fc.jpg","纵23.3厘米，横56.4厘米",[62],{"id":17942,"slug":17943,"title":9427,"dynasty":91,"author":440,"museum":73,"description":17944,"tags":17945,"thumbUrl":17946,"material":61,"size":61,"collection":61,"collections":17947,"showCount":500,"zanCount":534,"manualWeight":11,"mainColor":46},239579,"qian-zi-wen-juan-zhao-meng-fu-239579","此作用笔圆转遒劲，提按顿挫自带韵律，整卷如行云流水，一气呵成。草书笔势连绵缠绕，牵丝映带自然灵动，线条枯湿浓淡相映，尽显挥毫时的意气流转。\n\n字间疏密开合得宜，排布错落有致，既存晋唐草书的飘逸风神，又融温润隽秀的文人意趣，将狂放草法与雅致书卷气融为一体。俯仰之间可见笔墨流转的灵动生机，千字排布气韵贯通，笔底风神毕现，尽显草书豪放洒脱之态，又不失法度内敛的从容，观之如临松涛流云，心神随之舒展。",[23,38,7,26,353,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20233b79a047b353ad9bdc087629956c.jpg",[],{"id":17949,"slug":17950,"title":6144,"dynasty":145,"author":6145,"museum":73,"description":6146,"tags":17951,"thumbUrl":17952,"material":920,"size":921,"collection":61,"collections":17953,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239409,"hua-niao-tu-ce-ma-yuan-yu-239409",[24,25,209,27,1444,7,58,210,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7737a0442173f20e8d5f70e3b968efb7.jpg",[],{"id":17955,"slug":17956,"title":6144,"dynasty":145,"author":6145,"museum":73,"description":6146,"tags":17957,"thumbUrl":17958,"material":920,"size":921,"collection":61,"collections":17959,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239400,"hua-niao-tu-ce-ma-yuan-yu-239400",[24,25,209,27,28,7,58,210,111,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd13a04a415d57e7f54657a76843ec.jpg",[],{"id":17961,"slug":17962,"title":2604,"dynasty":145,"author":10914,"museum":73,"description":17963,"tags":17964,"thumbUrl":17965,"material":920,"size":921,"collection":61,"collections":17966,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239368,"shan-shui-ce-wang-san-xi-239368","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[24,25,209,27,28,29,177,82,81,112,402,58,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa865d6cefc0c198737a49c1a24313f98.jpg",[],{"id":17968,"slug":17969,"title":17970,"dynasty":18,"author":220,"museum":73,"description":17971,"tags":17972,"thumbUrl":17973,"material":920,"size":921,"collection":61,"collections":17974,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239357,"ming-ren-fang-huang-gong-wang-jiu-feng-xue-ji-tu-juan-yi-ming-239357","明人仿黄公望九峰雪霁图卷","此作以水墨晕开雪后丘壑，留白铺陈皑皑雪意，山峦素裹、枯木错落，村居隐于岩畔，萧寒清寂尽现冬日山林的荒寒淡远。长卷书画合璧，题跋行笔苍劲雅致，文辞与山水意趣相融，托寄文人静穆观照的审美本心。\n\n仿作追摹原作的极简萧寒，以淡墨晕染山石肌理，以空为雪，尽显元人山水萧散简远之致，借古抒怀，以笔墨写胸中丘壑，将群峰雪后岑寂空灵的意境复刻淋漓，尽显文人山水的雅逸风神，是一件颇具意韵的仿古佳制。",[23,24,25,26,27,37,76,38,7,58,29,3615,1636,34,2452,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1ba8894fb65bed006c1b198de90cf2.jpg",[],{"id":17976,"slug":17977,"title":17978,"dynasty":145,"author":17979,"museum":73,"description":17980,"tags":17981,"thumbUrl":17982,"material":61,"size":61,"collection":61,"collections":17983,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},239344,"xi-xi-hua-juan-lin-shu-239344","西溪画卷","林纾","此作用水墨晕染勾勒全景，层峦叠嶂间林木蓊郁，汀洲水湾蜿蜒萦回，村居茅舍隐于烟霭林麓之间，尽显江南水畔的幽寂野趣。皴擦点染兼具，以苍朴笔墨写尽溪山清旷之致。\n\n卷后长篇行书题跋，笔致沉厚古拙，词句自况寄怀，书画相映成趣，将闲游幽思与林泉归隐的意趣融为一体，尽显文人画诗书画合一的雅致风骨，藏着作者寄情山水的缱绻襟怀。",[23,24,25,26,27,37,77,38,7,58,29,292,34,36,30,3617,35,1919,5036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4075e15f1cdd0703ca33f467c5e4924e.jpg",[],{"id":17985,"slug":17986,"title":7543,"dynasty":145,"author":7544,"museum":73,"description":17987,"tags":17988,"thumbUrl":17989,"material":61,"size":61,"collection":61,"collections":17990,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},238732,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238732","以淡墨写就清润雅致的幽居之景，堂内文士凭窗静思，案头琴樽宛然，暗合诗中闲寂文心。坡岸怪石嶙峋，修竹婆娑弄影，古木交柯成荫，淡墨晕染出草木苍润之态，留白铺陈出空阔悠然的意境。\n题画诗与景致呼应交融，以极简笔墨勾勒出林泉雅舍的沉静氛围，将文人幽居悟怀的林下风致藏于笔底。笔意简淡松灵，诗画合一，尽显古典文人心底的静雅意趣，余韵悠长。",[24,25,209,27,77,37,79,33,377,328,112,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd301652b0efeb1460046b050b55b468a.jpg",[],{"id":17992,"slug":17993,"title":857,"dynasty":18,"author":205,"museum":73,"description":7066,"tags":17994,"thumbUrl":17995,"material":920,"size":921,"collection":61,"collections":17996,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},238115,"hua-hui-ce-xiang-sheng-mo-238115",[24,25,209,27,7,58,210,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6132b815f3f25b64d6ec0cf425b572b0.jpg",[],{"id":17998,"slug":17999,"title":18000,"dynasty":145,"author":18001,"museum":73,"description":18002,"tags":18003,"thumbUrl":18004,"material":61,"size":61,"collection":61,"collections":18005,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},237880,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237880","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,209,27,28,29,112,377,177,7,58,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61175dbfe080a1ad3dc87a345d7c1ae4.jpg",[],{"id":18007,"slug":18008,"title":857,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":18009,"thumbUrl":18010,"material":920,"size":921,"collection":61,"collections":18011,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},237682,"hua-hui-ce-sun-ke-hong-237682",[209,7,27,210,38,58,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657b19b9dc610bf6ba0a935e2fd04b1.jpg",[],{"id":18013,"slug":18014,"title":857,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":18015,"thumbUrl":18016,"material":920,"size":921,"collection":61,"collections":18017,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},237680,"hua-hui-ce-sun-ke-hong-237680",[24,25,209,78,27,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5673ffbc6986d0243ec075669ec75059.jpg",[],{"id":18019,"slug":18020,"title":857,"dynasty":18,"author":3792,"museum":73,"description":11727,"tags":18021,"thumbUrl":18022,"material":920,"size":921,"collection":61,"collections":18023,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},237679,"hua-hui-ce-sun-ke-hong-237679",[24,25,209,27,7,119,5682,1172,1576,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4d37d83c8aaf04938e8a539bd09f79.jpg",[],{"id":18025,"slug":18026,"title":18027,"dynasty":145,"author":18028,"museum":73,"description":18029,"tags":18030,"thumbUrl":18031,"material":920,"size":921,"collection":42,"collections":18032,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},237640,"li-yin-fang-gu-shan-shui-ce-li-yin-237640","李寅仿古山水册","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[24,25,209,27,7,76,29,32,150,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d15916e4360359e76199e98391e0ee.jpg",[42,125],{"id":18034,"slug":18035,"title":8363,"dynasty":145,"author":1982,"museum":73,"description":8364,"tags":18036,"thumbUrl":18037,"material":61,"size":61,"collection":61,"collections":18038,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},237603,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237603",[24,25,209,27,15674,37,38,7,58,29,402,81,35,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd29576a70d9eb2b4dfb84f569157a5.jpg",[],{"id":18040,"slug":18041,"title":10922,"dynasty":145,"author":10923,"museum":73,"description":10924,"tags":18042,"thumbUrl":18043,"material":920,"size":921,"collection":61,"collections":18044,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},237490,"shan-shui-tu-ce-yao-song-237490",[24,25,209,28,7,37,376,328,377,150,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a227ab991caac1a9cf1943ec96dae.jpg",[],{"id":18046,"slug":18047,"title":18048,"dynasty":145,"author":18049,"museum":73,"description":18050,"tags":18051,"thumbUrl":18052,"material":920,"size":921,"collection":61,"collections":18053,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},237356,"shu-guo-shan-chen-heng-ke-237356","蔬果扇","陈衡恪","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[24,2579,27,28,109,4424,115,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131de842b69ad77f176aecadd2445a7f.jpg",[],{"id":18055,"slug":18056,"title":5508,"dynasty":145,"author":5509,"museum":73,"description":5510,"tags":18057,"thumbUrl":18058,"material":61,"size":61,"collection":61,"collections":18059,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},237087,"jiang-feng-shi-nv-ce-jiang-feng-237087",[24,25,209,28,79,80,177,82,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c388e059ac7be16ab2c8569663a09e.jpg",[],{"id":18061,"slug":18062,"title":18063,"dynasty":145,"author":18064,"museum":73,"description":18065,"tags":18066,"thumbUrl":18067,"material":920,"size":921,"collection":61,"collections":18068,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},236950,"jiu-ru-zhi-ji-ce-wang-gai-236950","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,25,209,28,79,150,29,77,7,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a2d2d9da2686115d82c0adb31f4bb9.jpg",[],{"id":18070,"slug":18071,"title":18072,"dynasty":18,"author":18073,"museum":73,"description":18074,"tags":18075,"thumbUrl":18076,"material":61,"size":61,"collection":306,"colle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气浮空。\n\n画幅左上题满诗文，金石质感的书法与简逸山水相映，诗画合璧，将幽人避世的襟怀融于尺幅。枯笔焦墨褪去妍丽，只留清寂淡然，似将尘嚣尽数隔绝于江外，独乘浮槎，与天地沧浪对晤，尽显冷逸超迈的出世之思。",[25,24,27,29,38,58,7,37,32,1515,81,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7604bb2aef552bc42153652a7bbcb7c5.jpg",[],{"id":18139,"slug":18140,"title":18141,"dynasty":18,"author":18142,"museum":73,"description":18143,"tags":18144,"thumbUrl":18145,"material":61,"size":61,"collection":61,"collections":18146,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},235844,"jin-shan-tu-ye-wang-gu-xiang-235844","金山图页","王谷祥","此作用笔极简，右侧设色清浅柔润，以青绿轻染江心孤丘，苍松错落覆于山巅，寥寥数笔点出江中片帆、汀渚小石，大幅留白铺陈出扬子江的空阔辽远，将金山浮于江心的缥缈灵秀尽数展现。\n\n左侧行书题跋笔意隽秀挺劲，文辞详述金山形胜，书画合璧，以文衬景，把江南名刹的烟水诗意娓娓道来，淡墨轻岚间藏着悠远清宁的山水逸情，尽显淡雅疏朗的文人审美意趣。",[24,25,1244,27,28,7,38,29,376,34,33,884,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c3a799516fa8158ff1c5f6ac466aec.jpg",[],{"id":18148,"slug":18149,"title":18150,"dynasty":18,"author":18151,"museum":73,"description":18152,"tags":18153,"thumbUrl":18154,"material":920,"size":921,"collection":61,"collections":18155,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},235804,"dai-yue-qin-gong-tu-shan-ye-chen-guan-235804","岱岳秦宫图扇页","陈祼","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。",[24,25,2579,27,79,254,81,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615973fe61084cc687dbfa7a60947cfa.jpg",[],{"id":18157,"slug":18158,"title":8350,"dynasty":18,"author":205,"museum":73,"description":7066,"tags":18159,"thumbUrl":18160,"material":920,"size":921,"collection":61,"collections":18161,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},235690,"shan-shui-hua-hui-ce-xiang-sheng-mo-235690",[24,25,209,28,77,7,58,210,119,1172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60f114f1c1d66accec9468b22e9b3b9.jpg",[],{"id":18163,"slug":18164,"title":2604,"dynasty":18,"author":15054,"museum":73,"description":17264,"tags":18165,"thumbUrl":18166,"material":920,"size":921,"collection":61,"collections":18167,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},235348,"shan-shui-ce-zhang-fu-yang-235348",[24,25,209,27,29,79,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa890c4220ad7d79135a1f7b85307cfde.jpg",[],{"id":18169,"slug":18170,"title":6641,"dynasty":145,"author":6642,"museum":73,"description":7654,"tags":18171,"thumbUrl":18172,"material":920,"size":921,"collection":61,"collections":18173,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},235338,"fang-gu-shu-hua-ce-wang-jian-235338",[24,56,25,209,28,27,37,7,38,29,30,31,81,178,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc233811ed793ba119337b4d341e256.jpg",[],{"id":18175,"slug":18176,"title":18177,"dynasty":18,"author":3452,"museum":106,"description":18178,"tags":18179,"thumbUrl":18180,"material":61,"size":61,"collection":61,"collections":18181,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},235014,"le-zhi-lun-gui-qu-lai-ci-shu-hua-ce-zhang-rui-tu-235014","乐志论归去来辞书画册","该书画册为纸本，共11页，书及款7。页，墨笔画4页。\n题签：张二水书画合璧精品，渔隐题签。印文：骏叔。\n绘画部分题识：（一）白毫庵，瑞图作。印文：无画氏。（二）白毫庵，图。印文：张瑞图印。（三）白毫庵，图。印文：瑞图。（四）白毫庵，图。印文：瑞图。每页均有题句，其中两页录《归去来辞》句，其书分别为行书《乐志论》及“果亭山人瑞图”款；行书“归去来辞”。\n该作主要是以元代大画家黄公望的画法画出的，骨格苍劲，点染清逸，用笔颇有灵气，画面上山石、树木、楼阁、村舍皆刻划严谨，画境富于古意。其画皆山水，用笔秀逸，各有意境，颇得生机。\n第一幅绘雾松图，用的都是黄公望画法，第二幅溪桥雾霁图，画树法与王铎相仿，第三幅溪岸图，中锋行笔，超凡脱俗，落墨沉重，凛然生气，第四幅雪山寒松图，以偏锋笔力，劲健横撑，耸肩方折，风骨摇醉，恰似 他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[24,25,209,27,29,33,34,31,37,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":18183,"slug":18184,"title":10937,"dynasty":145,"author":220,"museum":106,"description":10938,"tags":18185,"thumbUrl":18186,"material":802,"size":10941,"collection":61,"collections":18187,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":66},234909,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234909",[24,25,209,28,1394,37,29,35,34,179,3615,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b62b1e5bd3d7a5f2f180e1ad3242ac.jpg",[],{"id":18189,"slug":18190,"title":2604,"dynasty":18,"author":8967,"museum":73,"description":18191,"tags":18192,"thumbUrl":18193,"material":61,"size":61,"collection":61,"collections":18194,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},234872,"shan-shui-ce-zhao-pu-234872","此作以水墨写意绘就空山春景，远山以淡墨披麻皴轻施晕染，似笼着薄雾轻烟，将山野空濛之态悄然铺展。近岸古木盘曲、修篁挺立，苔点错落点缀坡石，寥寥数笔便勾勒出林泉幽寂之致。\n\n左侧题字笔意疏朗秀逸，墨色浓淡层次分明，诗画相映成趣。整幅没有浓丽设色，纯以水墨写尽春日丘壑的澹远空灵，将文人寄情山水的林下风流藏于尺幅之间，淡而愈浓，简而弥长，尽显文人画以情入画、诗画相融的雅致意韵。",[24,25,209,7,27,29,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07946324d8ab4adf4a14156f7fcd3b5.jpg",[],{"id":18196,"slug":18197,"title":8728,"dynasty":145,"author":8729,"museum":106,"description":8730,"tags":18198,"thumbUrl":18199,"material":722,"size":61,"collection":61,"collections":18200,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},234766,"huang-shan-tu-ce-jiang-zhu-234766",[24,25,209,27,37,38,7,58,29,177,31,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a104026573d.jpg",[],{"id":18202,"slug":18203,"title":2604,"dynasty":145,"author":3179,"museum":73,"description":10269,"tags":18204,"thumbUrl":18205,"material":61,"size":61,"collection":61,"collections":18206,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},234644,"shan-shui-ce-cha-shi-biao-234644",[24,25,209,27,7,29,377,33,30,31,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9d06e411b9b13d70f95bc92270295.jpg",[],{"id":18208,"slug":18209,"title":2604,"dynasty":145,"author":3179,"museum":73,"description":10269,"tags":18210,"thumbUrl":18211,"material":61,"size":61,"collection":61,"collections":18212,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},234642,"shan-shui-ce-cha-shi-biao-234642",[24,25,209,27,7,38,29,377,35,79,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd571a94f7c6223027c110d269704e0.jpg",[],{"id":18214,"slug":18215,"title":18216,"dynasty":18,"author":18217,"museum":106,"description":18218,"tags":18219,"thumbUrl":18220,"material":243,"size":18221,"collection":61,"collections":18222,"showCount":500,"zanCount":534,"manualWeight":11,"mainColor":46},234255,"lian-hua-lao-tu-juan-zhou-guan-234255","莲花落图卷","周官","周官，今江苏苏州人，生卒年不想，大约生活在明中期，善画人物，精于白描。画中后面的那个人个子较高，目盲，背着琵琶，由前面一人用一根细杆牵引；前面那个人正回顾后者，他身上搭着布包，屈腰前行。\n莲花落是一种流传于民间的说唱曲艺艺术。表演者位一人或多人，自说自唱，用以伴奏的乐器称为“七件子”，即右手执两片大竹板，左手执五片小竹板。莲花落，一作莲花乐，源于唐、五代时的“散花月”，最早位僧侣募化时所唱的宣传佛教教义的警世歌曲，宋代开始流行于民间，盛行于明清，大多为盲人表演。",[23,24,25,26,78,27,79,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c1d952ce2747d5d22f310a8a0a1e7a.jpg","纵22厘米 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的杰出代表。",[3018,38,25,7,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345e2f2c7cfec8f947c3d06c4c8a3e5.jpg",[],{"id":18369,"slug":18370,"title":57,"dynasty":18,"author":11649,"museum":73,"description":18371,"tags":18372,"thumbUrl":18373,"material":61,"size":61,"collection":61,"collections":18374,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":66},228768,"li-zhou-ni-yuan-lu-228768","此作笔力雄肆奇崛，纵宕老辣，尽显晚明尚新的书法风骨。行笔斩截爽利，线条粗细腾挪跳荡，枯墨苍劲斑驳，润墨沉凝厚重，视觉张力饱满。\n\n字势欹侧错落，章法大开大合，牵丝映带间行气贯通流畅。奇拙刚劲的笔致，将诗中疏狂放达的饮酒快意尽数相融，把文人磊落狷介的襟怀诉诸笔端，跳脱了传统帖学的甜熟柔媚，以雄朴硬朗的意趣，尽显独异的艺术格调，心性与笔墨完美合一，是极具代表性的晚明行书精品。",[23,38,7,1014,57,58,1698,17089,3018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6162d85078997d91f1626475259f0f57.jpg",[],{"id":18376,"slug":18377,"title":18378,"dynasty":18,"author":18379,"museum":73,"description":18380,"tags":18381,"thumbUrl":18383,"material":61,"size":61,"collection":61,"collections":18384,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,24,25,1244,28,27,7,58,38,29,376,1636,377,36,18382,37,3302],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":18386,"slug":18387,"title":18388,"dynasty":18,"author":15869,"museum":73,"description":18389,"tags":18390,"thumbUrl":18391,"material":61,"size":61,"collection":61,"collections":18392,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,24,25,209,28,27,7,29,1271,30,31,79,36,34,1794,2286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],{"id":18394,"slug":18395,"title":18396,"dynasty":51,"author":18397,"museum":73,"description":18398,"tags":18399,"thumbUrl":18400,"material":61,"size":61,"collection":61,"collections":18401,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},228169,"xi-cheng-tu-juan-qiao-zhong-chang-228169","西成图卷","乔仲常","这擘窠大字笔力雄强苍劲，中锋行笔尽显厚重质感，墨色枯润互见，焦墨的沉凝与飞白的疏朗交织，尽显老辣朴拙的笔意。“西”字端稳周正，收束内敛，“成”字欹侧跌宕，肆意开张，一动一静间暗合尚意的书法风神。\n\n将秋收的沉实喜悦寄于笔墨，寥寥两字气象浑穆，把丰年的安稳厚重藏于笔锋起落之间，尽显功底与文人笔下的质朴意趣。",[56,24,25,26,7,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c7089484860a26da93e367d54fd451.jpg",[],{"id":18403,"slug":18404,"title":18405,"dynasty":91,"author":8932,"museum":73,"description":18406,"tags":18407,"thumbUrl":18408,"material":61,"size":61,"collection":61,"collections":18409,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},228048,"shu-qi-yan-lv-shi-san-shou-rao-jie-228048","书七言律诗三首","通篇笔墨酣畅率意，结体欹正相生。行笔温润中不失奇崛开张，牵丝映带尽显书写时的灵动思绪，笔画粗细随文势缓急自然变换，将诗作意境与笔意相融。字态各具姿态，统摄于舒朗章法之中，既带有元代书法尚态重韵的共性，又自出机杼，将文人诗韵与书法意趣完美结合，笔墨间尽显书家潇散出尘的心境，让观者在品读字迹时，亦可窥见挥毫时的快意自在，尽显元末文人放达的笔墨风流。",[2237,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3381db1a59a8d075b1a4d66507215bc.jpg",[],{"id":18411,"slug":18412,"title":18413,"dynasty":51,"author":220,"museum":73,"description":18414,"tags":18415,"thumbUrl":18416,"material":61,"size":61,"collection":61,"collections":18417,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},227919,"dan-ping-qiu-hui-tu-ye-yi-ming-227919","胆瓶秋卉图页","《宋扇面画胆瓶秋卉图》是宋代佚名画家创作的一幅设色扇面画，现藏于 。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,56,24,25,209,77,28,210,121,266,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":18419,"slug":18420,"title":18421,"dynasty":51,"author":18422,"museum":73,"description":18423,"tags":18424,"thumbUrl":18425,"material":61,"size":61,"collection":61,"collections":18426,"showCount":500,"zanCount":534,"manualWeight":11,"mainColor":46},227709,"xie-shen-lao-jun-bie-hao-shi-shi-tu-juan-wang-li-yong-227709","写神老君别号事实图卷","王利用","《寫神老君別號事實圖》相傳爲南宋王利用所作，現藏於美國納爾遜美術館。絹本，設色。 南宋進士王利用，字賓王，今四川綿陽人，善於畫山水人物，其書法也是一絕，宋高宗尤其喜歡其書法，愛屋及烏自然也對其畫作頗爲讚賞，但就後人評述，其畫作藝術價值略遜於書法。\n\n王利用入仕之後，成爲了一名宮廷畫師，其畫作多爲宋代院體畫，其中最具代表的就是這幅《寫神老君別號事實圖》。\n\n作爲中國傳統宗教，道教的文化頗爲深入人心，尤其是在宋代這樣一個文化大發展的時代，道教的發展也到達了巔峯。關於道教創始人老子的傳說也非常繁多，本作就講述了老子的前世今生。以三皇時代開始，上三皇時爲玄中法師，下三皇時爲金闕帝君……直到周文王時文邑先生爲止，共10個別稱。",[23,24,25,26,77,28,79,530,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5de22a118e47aaca2e25a2be1379de.jpg",[],{"id":18428,"slug":18429,"title":18430,"dynasty":51,"author":362,"museum":73,"description":18431,"tags":18432,"thumbUrl":18433,"material":61,"size":61,"collection":61,"collections":18434,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":66},227502,"xin-sui-zhan-qing-ren-lai-de-shu-tie-he-juan-su-shi-227502","新岁展庆.人来得书帖合卷","《新岁展庆、人来得书帖》合卷，北宋，苏轼书，纸本，行书，前帖纵30.2厘米，横48.8厘米，后帖纵29.5厘米，横45.1厘米。\n《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[23,38,7,26,58,352,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233edbd97200e5b0efe464964aa1c7a3.jpg",[],{"id":18436,"slug":18437,"title":18438,"dynasty":51,"author":15828,"museum":73,"description":15829,"tags":18439,"thumbUrl":18440,"material":920,"size":921,"collection":61,"collections":18441,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},225292,"jin-gang-bo-re-jing-kai-ti-can-juan-hong-fa-da-shi-kong-hai-225292","金刚般若経开题残巻",[23,25,26,38,1735,7,1697,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f5c9eb7296272356e65989911badcc.jpg",[],{"id":18443,"slug":18444,"title":18445,"dynasty":145,"author":387,"museum":73,"description":18446,"tags":18447,"thumbUrl":18448,"material":61,"size":61,"collection":61,"collections":18449,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[23,24,56,25,209,28,7,58,38,210,7591,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":18451,"slug":18452,"title":18453,"dynasty":145,"author":387,"museum":73,"description":18454,"tags":18455,"thumbUrl":18456,"material":61,"size":61,"collection":61,"collections":18457,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},224316,"hua-niao-ce-shi-kai-6-li-shan-224316","花鸟册十开6","此作以水墨淡彩写就，右侧顽石以大写意挥就，焦墨点苔，苍劲朴拙，似藏山野沉浑之气。左侧花枝鲜活灵动，叶片以青绿分染，深浅层叠尽显舒展之姿，粉花柔婉点缀枝梢，轻丽动人。\n\n画面左上题以行书，笔意潇洒跌宕，书画相映成趣。笔致兼具放逸与秀雅，不拘成法，将花木清隽生机与顽石沉静古拙相互映衬，诗书画印浑然一体，把寻常小景绘出悠然林下之致，淡彩晕染衬出雅致格调，墨色干湿浓淡尽显写意意趣，尽显疏朗脱俗的文人审美意韵。",[23,24,25,209,109,28,7,58,177,210,5862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0972e453f468c17ec7ec34647dfa52a.jpg",[],{"id":18459,"slug":18460,"title":468,"dynasty":145,"author":5850,"museum":73,"description":18461,"tags":18462,"thumbUrl":18463,"material":61,"size":61,"collection":61,"collections":18464,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[23,24,25,57,28,27,29,31,32,34,35,58,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":18466,"slug":18467,"title":18468,"dynasty":51,"author":220,"museum":73,"description":18469,"tags":18470,"thumbUrl":18471,"material":196,"size":61,"collection":62,"collections":18472,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},223371,"lan-ting-ba-zhu-di-er-mi-ti-shi-ben-yi-ming-223371","兰亭八柱第二米题诗本","《米芾诗题本》旧传为唐代褚遂良所摹，因卷前项元汴标题“褚摹王羲之兰亭帖”而被简称为“褚摹兰亭”，但这种说法未必正确。有人认为该卷是北宋摹本。清代卞永誉在题跋中肯定此卷是临本而非摹本，但仍认为出自褚遂良手笔。",[23,25,26,7,58,38,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd40294b9307954a81a1c3c7c6091cf.jpg",[62],{"id":18474,"slug":18475,"title":4036,"dynasty":18,"author":1169,"museum":1745,"description":18476,"tags":18477,"thumbUrl":18478,"material":152,"size":18479,"collection":61,"collections":18480,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},222561,"hua-hui-tu-ce-chen-chun-222561","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 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，以一注冰雪之韵，写出了他简远萧疏，枯淡清逸的特有风格。",[56,24,25,209,7,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580a21f2475ced61f129c3785046374e.jpg","纵24.4厘米，横20.1",[975],{"id":18573,"slug":18574,"title":18575,"dynasty":91,"author":18576,"museum":4480,"description":18577,"tags":18578,"thumbUrl":18579,"material":5644,"size":18580,"collection":61,"collections":18581,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":61},220659,"wu-lin-sheng-ji-bai-ting-220659","武林胜集","白珽","《武林胜集》诗卷为元人白珽、张楧、邓文原、有在、仇远、张坰、鲜于枢、俞伯奇等于至元二十四年（1287）十二月二日杭州雅聚时之作，兼有诗歌与书法之妙。据卷前白珽序文所记，是日适逢大雪，众人借此而聚，拆北宋盛次仲「飞入园林总是春」句为韵，各赋五言诗。除张坰外，共得七首而录，遂有此卷。其引首有明人篆书「武林胜集」四字，「武林」旧指杭州。是篇序文及诸人诗作，于清人鲍廷博、鲍士恭父子所刊刻的白珽《湛渊遗稿》中有辑录，却将「武林胜集」误作「武陵胜集」。\n\n白珽，字廷玉，号湛渊；仇远，字仁近，号山村。二人由宋入元后长隐不仕，又因同籍钱塘（今浙江杭州），并以诗文闻名，人称「仇白」。 《书史会要》称白珽「德望清重，书学米元章」、仇远「好古博雅，楷书学欧」。此诗卷上，二人书迹正契此评。除「仇白」外，是次雅集中的邓文原与鲜于枢更是元代与赵孟俯齐名的书法大家。鲜于枢，字伯机，号困学民、虎林隐吏等，渔阳（今天津蓟县）人，官至太常寺典簿，工诗擅画精鉴，楷、草书尤为称绝，中岁居西溪而与杭州艺文圈中人物交酬频多。邓文原，字善之，人谓素履先生，绵州（今四川绵阳）人，父徙钱塘，自少即负学名，诗文、书画兼擅，章草成就最受赞誉，曾官国子监祭酒、翰林侍讲学士。张楧，字仲实，号菊存，为南宋「中兴四将」之一张俊五世孙、醇儒牟巘婿。因张俊五世祖由凤翔（今陕西凤翔）迁秦州成纪（今甘肃天水），故张楧有一方印为「西秦张楧」。巧合的是，卷中代仇远录诗的张坰亦是西秦人士，不知二人是否为同宗兄弟。至于有在和俞伯奇二人则殊乏史载，难以稽考。\n\n《武林胜集》诗卷汇集元代多位大家名手的诗文书法，其中如白珽、张瑛、有在等人的书迹传世罕见，弥足珍贵。此卷也校实了历来《四库全书》《元诗纪事》等对于此雅集记载的「武陵」之误。武陵位于湖南，于浙江的武林实有天壤之别。宋元易代，世局丕变，杭州作为两朝艺文活动中心仍是文人荟萃、艺事纷频。此诗卷也从另一角度，展现了其时杭州及寓杭文人、书家、遗民、官员风雅酬唱的一面。",[56,24,25,26,7,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ea8f609e0ce0a0cde73e21e1aa456.jpg","画心：22.2 × 170.05 厘米（8 3\u002F4 × 66 15\u002F16 英寸） 画心：22.2 × 279.3 厘米（8 3\u002F4 × 109 15\u002F16 英寸）",[],{"id":18583,"slug":18584,"title":18585,"dynasty":18,"author":251,"museum":106,"description":16071,"tags":18586,"thumbUrl":18587,"material":123,"size":16074,"collection":61,"collections":18588,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},214871,"shan-shui-ce-9-wen-zheng-ming-214871","山水册-9",[23,24,25,209,27,37,29,34,178,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa15097161056ff49135e6be054a1d293.jpg",[],{"id":18590,"slug":18591,"title":18592,"dynasty":18,"author":251,"museum":106,"description":16071,"tags":18593,"thumbUrl":18594,"material":123,"size":16074,"collection":61,"collections":18595,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},214866,"shan-shui-ce-13-wen-zheng-ming-214866","山水册-13",[23,24,25,209,27,78,7,38,58,29,177,81,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c88cd26e4cf71c33534ce545991e59e.jpg",[],{"id":18597,"slug":18598,"title":18599,"dynasty":145,"author":2369,"museum":206,"description":2370,"tags":18600,"thumbUrl":18601,"material":123,"size":61,"collection":61,"collections":18602,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":46},214493,"shui-mo-tu-ce-10-zheng-min-214493","水墨图册-10",[23,24,25,27,209,7,37,29,33,377,237,885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e451a5ca2a21daecedb3a464b69e68.jpg",[],{"id":18604,"slug":18605,"title":18606,"dynasty":145,"author":4214,"museum":20,"description":18607,"tags":18608,"thumbUrl":18609,"material":61,"size":61,"collection":168,"collections":18610,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":18611},203300,"lan-zhu-tu-ce-zheng-xie-203300","兰竹图册","这幅画作以水墨写兰，笔墨简劲洒脱。兰叶以焦墨挥写，线条如屈铁盘丝，又含行书撇捺之韵，转折处见骨力；兰花用淡墨点染，姿态清雅，顾盼有情。右侧题款与朱印相映，诗书画印浑然一体，尽显文人画意趣。墨色浓淡相宜，虚实相生，将兰草幽姿逸韵表现得淋漓尽致，传递出清逸高洁的文人品格，于简淡中见精神，疏朗中藏情致。",[27,25,120,7,58,109,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c27abfc3ebb49823e795780d6ca39f2.jpg",[168],"ddcdbd",{"id":18613,"slug":18614,"title":18615,"dynasty":145,"author":324,"museum":20,"description":18616,"tags":18617,"thumbUrl":18618,"material":61,"size":61,"collection":61,"collections":18619,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":18620},203185,"hua-hui-shan-shui-tu-ce-shi-tao-203185","花卉山水图册","这两幅花卉册页，以水墨写意入笔，尽显笔墨灵动之趣。兰草疏叶淡花，墨色层次清雅，题款行书流畅，与兰之飘逸相契，文画交融见文人雅趣；菊花淡墨勾瓣，浓叶衬花，枝干苍劲，花蕊点染细腻，姿态傲岸，传递凌霜之气。画面构图简括却意蕴悠长，笔势纵逸中见法度，将花卉神韵与书法意趣浑然一体，展现出“我自用我法”的艺术个性，于简约中藏万千气象。",[24,25,209,27,210,7,109,120,121,1469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636091cf10df30d7002b14e0adfa5f27.jpg",[],"cfc6b7",{"id":18622,"slug":18623,"title":18624,"dynasty":145,"author":11323,"museum":20,"description":18625,"tags":18626,"thumbUrl":18627,"material":61,"size":61,"collection":42,"collections":18628,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":18629},202160,"zhi-hua-shan-shui-tu-zhou-gao-qi-pei-202160","指画山水图轴","以指代笔，匠心独运。画面中山石以浓淡墨块交错铺陈，指尖皴擦的肌理苍劲朴拙，线条简练却藏骨力。留白处烟岚隐现，意境空濛悠远。右侧行书题跋笔意洒脱，与画面率意风格浑然相融，朱红印章点缀其间，更添古雅韵致。整作跳出毛笔细腻窠臼，凭指尖独特触感传递山水雄浑灵秀之态，尽显苍古洒脱之趣，为指画艺术代表性佳作。",[13840,27,29,177,58,7,37,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad447925188041d26f194209d30acd6f.jpg",[42],"9f8c7b",{"id":18631,"slug":18632,"title":18633,"dynasty":18,"author":18634,"museum":20,"description":18635,"tags":18636,"thumbUrl":18637,"material":61,"size":61,"collection":42,"collections":18638,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":18639},201735,"xi-shan-ru-meng-tu-juan-li-ri-hua-201735","溪山入梦图卷","李日华","水墨淡逸，山水清旷。远山层叠晕染如黛，近树疏枝点染生姿，溪流蜿蜒穿岩过谷，屋舍隐于林麓间，似有幽人栖居。整卷以水墨写意，皴擦简括，意境空灵悠远，如入烟霞梦境，尽显文人画的萧散淡远之趣，藏着画家对自然与心境交融的诗意追寻。",[24,29,26,27,37,7,58,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a3daae7e3c301ae5e16b1d67805746.jpg",[42],"c1b7a7",{"id":18641,"slug":18642,"title":18643,"dynasty":18,"author":1064,"museum":20,"description":18644,"tags":18645,"thumbUrl":18646,"material":61,"size":61,"collection":306,"collections":18647,"showCount":500,"zanCount":534,"manualWeight":11,"mainColor":18648},201682,"xi-yuan-tu-juan-chen-hong-shou-201682","西园图卷","这幅画作铺展西园雅集盛景，构图疏密相宜，人物造型古雅奇崛。线条刚柔并济，勾勒出诸贤挥毫题诗、抚琴赏画、品茗对谈的风雅神态，衣袂流转间尽显文人逸趣。设色淡雅温润，山石花木与人物活动相映成趣，营造出清旷悠然的氛围。陈洪绶以独特笔墨，将才情与闲逸融入画面，细节处见匠心，尽显传统文人画的韵致与深度。",[24,26,79,77,7,58,646,620,2007,2008,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207bd5d65d801af7bc7f17b3b58e23e2.jpg",[306],"d6bd94",{"id":18650,"slug":18651,"title":18652,"dynasty":145,"author":10810,"museum":73,"description":18653,"tags":18654,"thumbUrl":18655,"material":920,"size":921,"collection":61,"collections":18656,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":932},290214,"shu-hua-he-bi-cheng-shan-pu-xin-she-290214","书画合璧成扇","溥心 畬 （ yú ） （1896年9月2日－1963年11月18日），爱新觉罗氏，滿洲鑲藍旗人，恭親王奕訢次孫，溥字輩，光緒帝賜名儒，字心畬，齋號寒玉堂。生於大清北京。",[23,2579,38,7,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed55f3ada5a1986e602ac202c7b4ba57.jpg",[],8,{"id":18659,"slug":18660,"title":18661,"dynasty":7039,"author":18662,"museum":73,"description":18663,"tags":18664,"thumbUrl":18665,"material":920,"size":921,"collection":61,"collections":18666,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},288999,"bai-shi-shi-juan-teng-yuan-xing-cheng-288999","白氏诗卷","藤原行成","藤原行成（天禄3年（972年） - 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31,"dynasty":51,"author":18732,"museum":73,"description":18733,"tags":18734,"thumbUrl":18735,"material":920,"size":921,"collection":61,"collections":18736,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},241097,"wu-kuan-deng-ba-jia-ti-hou-chi-bi-fu-tu-ba-wei-can-juan-zhao-yan-241097","无款、等八家题后赤壁赋图跋尾残卷","赵岩","赵岩，原名赵霖，陈州宛丘（今河南淮阳县）人。后梁太祖朱温女婿，忠武军节度使赵犨次子。\n开平初年，授卫尉卿、驸马都尉，转天威军节度使。以勋戚自负，货赂公行，穷奢极欲。后梁灭亡后，为徐州贼温韬所杀。",[23,38,7,27,58,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b05d1f682443c5e4e4879e49df1085a.jpg",[],{"id":18738,"slug":18739,"title":18740,"dynasty":18,"author":2422,"museum":53,"description":18741,"tags":18742,"thumbUrl":18743,"material":18744,"size":18745,"collection":62,"collections":18746,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},241053,"shi-he-juan-wang-feng-yuan-241053","诗合卷","[明]字子新，號吉山。欽佩子。擅海內書名，楷法鍾繇，草法王羲之父子。",[23,25,38,7,26,58,27,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79741274da4dca2dce551b419ee6efa6.jpg","紙本","29.7×30.8cm",[62],{"id":18748,"slug":18749,"title":18750,"dynasty":91,"author":6811,"museum":73,"description":18751,"tags":18752,"thumbUrl":18754,"material":920,"size":921,"collection":61,"collections":18755,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},241012,"yu-shi-zhen-juan-can-pian-xian-yu-shu-241012","御史箴卷残片","鲜于枢（1246年—1302年），字伯机，号困学山民、直寄老人，晚年营室名“困学之斋”，祖籍金代德兴府（今张家口涿鹿县），生于汴梁（今河南开封），汉族，大都（今北京）人，一说渔阳（今津蓟州区）人，元代著名书法家，寓居扬州、杭州。大德六年（1302年）任太常典薄。元世祖至元年间以才选为浙东宣慰司经历，后改浙东省都事。\n鲜于枢晚年任太常典簿。好诗歌与古董，文名显于世，书法成就最著。明朱权《太和正音谱》将其列于“词林英杰”一百五十人之中。《新元史》有传。鲜于枢善诗文，工书画。尤工草书，酒酣吟诗作字，奇态横生，赵孟頫极推重之。有《困学斋杂录》、《困学斋诗集》。",[38,7,58,18753,2237,1698,196],"残片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b52e364f68ca3ff6c81ea9b767f25c3.jpg",[],{"id":18757,"slug":18758,"title":18759,"dynasty":18,"author":18760,"museum":73,"description":18761,"tags":18762,"thumbUrl":18763,"material":196,"size":61,"collection":62,"collections":18764,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240881,"du-huang-he-wu-lv-zhou-wu-xing-zuo-240881","渡黄河五律轴","吴兴祚","吳興祚（1632年—1697年），字伯成，號留邨，紹興府山陰（今浙江紹興）州山人，後入漢軍正紅旗。清初名臣。\n其父為吳執忠，早年作為禮親王代善的幕僚，被授為頭等護衞。 [1] 吳興祚自幼聰穎，奮攻科藝，順治七年（1650年）以貢生的身份授為江西萍鄉知縣。當時金聲桓叛變，江西的郡縣多被佔領，唯有萍鄉沒有被佔領。很快他被授為山西大寧知縣。順治十八年（1661年），遷移為山東沂州知州 [2] 。不久以驛務遲誤、對白蓮教起義鎮壓不力之罪被罷，康熙帝二年（1663）降補無錫知縣。在任內，清丈全縣田畝，編號繪圖，因田徵賦，切行“攤丁入畝”。康熙十四年（1675年）四月，進為福建按察使。招撫耿精忠部將陳龍等人，生擒朱統錩。康熙十七年（1678年），被提升為福建巡撫，率部屢敗鄭經的軍隊。因功進秩正一品，後又進為兩廣總督，他上任後上疏言前督尚之信在廣東橫徵苛斂，奏請罷除鹽埠、渡税、漁科等苛捐雜税，又奏請允開海禁。\n康熙三十五年（1696年），康熙帝親征噶爾丹，吳興祚隨康熙帝效力，康熙三十六年（1697年）逝世。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ba2a34285731bb57f0b5a85bc0ccf4.jpg",[62],{"id":18766,"slug":18767,"title":14247,"dynasty":18,"author":18768,"museum":106,"description":18769,"tags":18770,"thumbUrl":18771,"material":3576,"size":18772,"collection":62,"collections":18773,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240858,"shi-juan-wang-shi-zhen-240858","王世贞","释文：\n王山人自称十岳，先有二诗见寄，极国士之许，千里命驾，曾未淹日，欲游（留）金陵，长篇志别，拂衣北首，聊此抒赠：凤鸟摩青天，片羽飞东海。却坠七尺篱，鷃目荧然改。得子頷下珠，夜必吐光彩。孙醑骄欲鸣，青灯耿相待。不谓双垂杨，果系出剡舟。野夫虽称病，为汝强梳头。沉沉薜色夏，忽起商（双）飚秋。特达壮士縒，未许黄金酬。谓予九州水，当复有九州。禺儿志五岳，逝将十岳游。酒间叩沂边，泰岱曾入手。马迹重云颠，鸡声浴日后。狂扣玉女盆，中原敬培塿。自揽烟霞色，语语不离口。五岳天中外，子尚余其九。寒暑炼玉容，去日各非有。昔予读损益，亦复思名山。晚师维摩诘，旦夕棲衡关。纵横千界表，乃在弹指间。笑攀青莲花，归插玉女鬟。奚必策玄踝，役役劳神颜。我语虽大佳，听之了无答。杯酒散城烟，孤帆凌超忽。唯余留别句，掷地金石发。后夜倘见怀，长江弄秋月。余以（亦）止观法门，留仲房不得，仲房翻笑予恋恋庭户，不则谓予坐驰也。翼日倘更为仲房牵引，蹑一屐山水间，不又为仲房大笑也。天弢居士王世贞病中书。\n钤“王元美氏”、“天弢居士”印2方。\n此卷书法闲雅秀丽，古朴清新，运笔凝练，骨力内涵，方圆并济，豪放中见沉着，遒劲中见婉秀。明朱谋垔《书史会要续编》言：“世贞书学虽非当家，而议论翩翩，笔法古雅。”其结字、布局似出自赵孟頫书法，显示了较深厚的传统功力。",[23,25,38,26,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5250d5f49da55e3a27a14828f97fab.jpg","纵25.8厘米，横135厘米",[62],{"id":18775,"slug":18776,"title":18777,"dynasty":145,"author":7852,"museum":73,"description":9968,"tags":18778,"thumbUrl":18779,"material":920,"size":921,"collection":61,"collections":18780,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},240828,"wang-duo-lin-tie-zhou-wang-duo-240828","王铎临帖轴",[25,38,57,76,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c4d7e776a8e86d9dd6eb0a7a09d694.jpg",[],{"id":18782,"slug":18783,"title":18784,"dynasty":145,"author":11323,"museum":73,"description":18096,"tags":18785,"thumbUrl":18786,"material":196,"size":61,"collection":62,"collections":18787,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},240797,"jie-tan-shi-zhou-gao-qi-pei-240797","戒坛诗轴",[24,25,57,7,38,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518958c7d3997b76c3270ea88a7501b3.jpg",[62],{"id":18789,"slug":18790,"title":18791,"dynasty":145,"author":6358,"museum":73,"description":18792,"tags":18793,"thumbUrl":18794,"material":196,"size":61,"collection":62,"collections":18795,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240712,"shi-zha-ce-lin-ze-xu-240712","诗札册","林则徐（1785年8月30日 －1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等 ，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[25,38,7,209,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5830a7f383b30854898ed12ea4d2c6.jpg",[62],{"id":18797,"slug":18798,"title":18799,"dynasty":145,"author":14445,"museum":73,"description":18800,"tags":18801,"thumbUrl":18802,"material":920,"size":921,"collection":61,"collections":18803,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240677,"jia-lian-shi-juan-liu-ru-shi-240677","嘉莲诗卷","柳如是（1618年～1664年），本名杨爱，字如是，又称河东君，因读宋朝辛弃疾《贺新郎》中：“我见青山多妩媚，料青山见我应如是”，故自号如是。浙江嘉兴人。与马湘兰、卞玉京、李香君、董小宛、顾横波、寇白门、陈圆圆同称“秦淮八艳”。后嫁有“学贯天人”、“当代文章伯”之称的明朝大才子钱谦益为侧室。明末清初女诗人。",[23,38,26,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ddec1fe22944a9f7fb0ef4e23c2227.jpg",[],{"id":18805,"slug":18806,"title":17095,"dynasty":145,"author":18807,"museum":73,"description":18808,"tags":18809,"thumbUrl":18810,"material":196,"size":61,"collection":62,"collections":18811,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240641,"qi-jue-shi-zhou-wang-xu-ling-240641","王顼龄","王頊齡（1642-1725）：字顓士，一字容士，號瑁湖，晚號松喬老人，清·江南華亭縣（今上海市金山區）張堰鎮人，御史王廣心長子。",[38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70788b27dea80da7b227e3446aab3249.jpg",[62],{"id":18813,"slug":18814,"title":9668,"dynasty":18,"author":105,"museum":73,"description":8082,"tags":18815,"thumbUrl":18816,"material":920,"size":921,"collection":61,"collections":18817,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240589,"za-ji-shu-zha-he-ce-xu-wei-240589",[38,7,1014,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9bccd7ee789c6e2f272f962ddd3564.jpg",[],{"id":18819,"slug":18820,"title":18821,"dynasty":18,"author":1064,"museum":73,"description":1228,"tags":18822,"thumbUrl":18823,"material":920,"size":921,"collection":61,"collections":18824,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240551,"ci-zhou-chen-hong-shou-240551","词轴",[38,7,57,18,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe46e67a845fb0f2d7a8c444858f830a.jpg",[],{"id":18826,"slug":18827,"title":18828,"dynasty":18,"author":18829,"museum":73,"description":18830,"tags":18831,"thumbUrl":18832,"material":196,"size":61,"collection":62,"collections":18833,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240508,"qi-jia-xing-shi-han-juan-xie-duo-240508","七家行诗翰卷","谢铎","謝鐸（1435年～1510年），字鳴治，號方山，又號方石，浙江温嶺桃溪（今温嶺市大溪鎮兆岙）人。明朝官員、文學家。\n天順八年（1464年）進士，入翰林院為庶吉士，次年授編修。成化三年（1467年），參修《英宗實錄》，成化九年（1473年）校勘《通鑑綱目》，後升侍講。時值邊警，上疏《論西北備邊事宜狀》，指陳邊防弊端，主張整飭邊務。成化十四年（1478年），父喪告假回鄉。弘治初，參修《憲宗實錄》。弘治三年（1490年），升南京國子祭酒。次年辭官回鄉，家居十年，先後有數十人舉薦。明孝宗命吏部遣人員至其家，起用為南京禮部右侍郎兼國子祭酒。七十二歲告老還鄉。謝鐸博通經史，文學造詣極深。卒贈禮部尚書，諡文肅。\n謝鐸博通經史，尤精理學，文學造詣極深。時詩壇盛行台閣體，堆砌辭藻，粉飾太平。謝鐸與李東陽等主張詩歌革新，詩宗杜甫，成為茶陵派代表詩人之一，寫有不少揭露現實、關心民生疾苦詩作。應台州知府陳相之邀，纂修《赤城新志》。著有《伊洛淵源續錄》、《尊鄉錄》、《赤城論諫錄》（與黃孔昭合編）、《桃溪淨稿》等。",[23,3018,7,26,38,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf75cf53868c880203f9cca320053528.jpg",[62],{"id":18835,"slug":18836,"title":18837,"dynasty":145,"author":7852,"museum":73,"description":9968,"tags":18838,"thumbUrl":18839,"material":920,"size":921,"collection":61,"collections":18840,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240504,"wang-duo-e-mei-shan-ji-you-shi-juan-wang-duo-240504","王铎峨嵋山记游诗卷",[23,38,7,1014,26,58,27,376,884,495,3977,328,113,111,112,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb42eaa858f60f4db13931247b16798.jpg",[],{"id":18842,"slug":18843,"title":18844,"dynasty":145,"author":666,"museum":73,"description":667,"tags":18845,"thumbUrl":18846,"material":196,"size":61,"collection":62,"collections":18847,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240493,"wu-chang-shuo-shi-zhou-wu-chang-shuo-240493","吴昌硕诗轴",[38,57,7,223,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce394c6dee22fe283439c8f89aaf021.jpg",[62],{"id":18849,"slug":18850,"title":18851,"dynasty":145,"author":18133,"museum":73,"description":18852,"tags":18853,"thumbUrl":18854,"material":920,"size":921,"collection":61,"collections":18855,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240464,"shi-ce-fang-zhou-cheng-sui-240464","诗册方轴","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[145,24,25,209,27,7,58,29,81,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2677ddb3b16b2e9d41e3393f65c7e12a.jpg",[],{"id":18857,"slug":18858,"title":18859,"dynasty":145,"author":809,"museum":73,"description":18860,"tags":18861,"thumbUrl":18862,"material":920,"size":921,"collection":61,"collections":18863,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240429,"kang-you-wei-shi-zhou-kang-you-wei-240429","康有为诗轴","康有为（1858年3月19日—1927年3月31日），原名祖诒，字广厦，号长素，又号明夷、更甡、西樵山人、游存叟、天游化人，广东省广州府南海县丹灶苏村人，人称康南海，中国晚清时期重要的政治家、思想家、教育家，资产阶级改良主义的代表人物。康有为出生于封建官僚家庭，光绪五年（1879年）开始接触西方文化。光绪十四年（1888年），康有为再一次到北京参加顺天乡试，借机第一次上书光绪帝请求变法，受阻未上达。光绪十七年（1891年）后在广州设立万木草堂，收徒讲学。光绪二十一年（1895年）得知《马关条约》签订，联合1300多名举人上万言书，即“公车上书”。",[38,7,57,58,14224,404,4188,3977,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07ed06526316ea47f5ea9522c0a6edd.jpg",[],{"id":18865,"slug":18866,"title":18867,"dynasty":145,"author":838,"museum":73,"description":11997,"tags":18868,"thumbUrl":18869,"material":920,"size":921,"collection":61,"collections":18870,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240339,"ge-jia-shou-zha-juan-liu-yong-240339","各家手札卷",[38,7,26,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d98709abc63ef82e4e099321d618fc5.jpg",[],{"id":18872,"slug":18873,"title":18874,"dynasty":145,"author":4214,"museum":73,"description":2168,"tags":18875,"thumbUrl":18876,"material":920,"size":921,"collection":61,"collections":18877,"showCount":18657,"zanCount":534,"manualWeight":11,"mainColor":46},240299,"zheng-xie-lun-shu-zhou-zheng-xie-240299","郑燮论书轴",[25,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d27791b75036095e4161526a1f4dad.jpg",[],{"id":18879,"slug":18880,"title":18881,"dynasty":18,"author":1064,"museum":73,"description":18882,"tags":18883,"thumbUrl":18885,"material":196,"size":18886,"collection":42,"collections":18887,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240245,"wu-lv-shi-zhou-chen-hong-shou-240245","五律诗轴","释文：\n“剪落入城市，拙岁隐者伦。亲朋虽传舌，景物最伤神。老病锦官府，还山愧野人。往来轻似叶，幸不厌清员。洪绶似玄濬道盟兄正之，二十余年不见，重为作书乐甚。”\n款钤“陈洪绶印”、“章侯氏”印2方。\n本轴书五言律诗一首，从落款处称僧人玄濬为“道盟兄”，可知此诗是陈洪绶晚年为僧时所作。\n陈洪绶的书法与绘画均显现共同而鲜明的特色，即奇异、怪诞。此轴书法结构修长，字形呈欹峭之势，用笔紧密而细腻，简洁而质朴，姿态夸张，富于变化，线条潇洒俊健，颇有风姿，表现了作者独特的书风。",[25,57,38,7,27,58,376,18884],"市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24d443d8c38b222178f604a0751cdec.jpg","纵141厘米，横57.5厘米",[42],{"id":18889,"slug":18890,"title":6544,"dynasty":145,"author":18891,"museum":73,"description":18892,"tags":18893,"thumbUrl":18894,"material":18895,"size":61,"collection":62,"collections":18896,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240177,"wu-yan-lian-chen-peng-nian-240177","陈鹏年","陈鹏年（1663年～1723年）字北溟，又字沧州，康熙二十三年（1684）举人，三十年进士。历官浙江西安知县、江南山阳知县、江宁知府、苏州知府、有《道荣堂文集》、《喝月词》、《历仕政略》、《河工条约》等。\n陈鹏年死后，清廷下诏厚葬。其墓气势肃穆，规模宏大，东西长50米，南北宽15米，自东向西，成对排列着 立有花岗石牌楼、还有墓庐两栋。墓上主碑书“陈恪勤公之墓”。诰命 据传，东雾山西麓所建东岑禅院及山顶的石泉精舍，都是陈鹏年少时读书的地方。墓之东西有石龙山、彭何观等景观。石龙山系宋末文人李半村隐居之地。过去有石龙寺，后改名慈航庵。西有洞口水库等景观。南有青翠峰、清总兵陈必友故居位于此处。",[38,2251,57,7,58,646,5885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79145631ef2fecdb874957b66efd5f.jpg","立轴纸本",[62],{"id":18898,"slug":18899,"title":18900,"dynasty":145,"author":12777,"museum":106,"description":18901,"tags":18902,"thumbUrl":18903,"material":196,"size":61,"collection":62,"collections":18904,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240064,"lin-ge-jia-shu-juan-wu-xi-zai-240064","临各家书卷","吴熙载（1799-1870），原名廷扬，字熙载，后以字行，改字让之，亦作攘之，号让翁、晚学居士、方竹丈人等。江苏仪征人。清代篆刻家、书法家。包世臣的入室弟子。善书画，尤精篆刻。少时即追摹秦汉印作，后直接取法邓石如，得其神髓，又综合自己的学识，发展完善了“邓派”篆刻艺术，在明清流派篆刻史上具有举足轻重的地位。\n吴昌硕评曰：“让翁平生固服膺完白，而于秦汉印玺探讨极深，故刀法圆转，无纤曼之气，气象骏迈，质而不滞。余尝语人：学完白不若取径于让翁。”\n吴煕载，原名廷飏，字煕载，后因避穆宗载淳讳更字让之，号晚学居士，江苏仪征人。他长期寓居扬州，以卖书画刻印为生，晚年落魄穷困，栖身寺庙借僧房鬻书，潦倒而终。吴煕载是包世臣的入室弟子。其行草学包世臣，篆隶及篆刻则师法邓石如。尤其是篆刻，不仅自成面目，而且进一步完善了邓派印风，后来学邓派印者，多从吴让之入手。吴煕载以篆书和隶书最为知名。其篆书点画舒展飘逸，结体瘦长疏朗，行笔稳健流畅。古朴虽不及邓石如，而灵动典雅似则过之，颇具妩媚优雅之趣，在晚清书坛享有很高的声誉。对后来的赵之谦、吴昌硕均有影响。",[23,38,7,76,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b7bf85b89a41fe36bf57b554a9fa39.jpg",[62],{"id":18906,"slug":18907,"title":18908,"dynasty":145,"author":2177,"museum":106,"description":5034,"tags":18909,"thumbUrl":18910,"material":61,"size":61,"collection":62,"collections":18911,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240040,"shi-can-ye-kun-can-240040","诗残页",[25,38,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e39f5ac315cea2303be48a247bf23f.jpg",[62],{"id":18913,"slug":18914,"title":18915,"dynasty":18,"author":5079,"museum":106,"description":5080,"tags":18916,"thumbUrl":18917,"material":61,"size":61,"collection":62,"collections":18918,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},240031,"shu-shi-juan-mo-shi-long-240031","书诗卷",[23,38,7,26,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75343ed660bed2800471ba4bf595fabc.jpg",[62],{"id":18920,"slug":18921,"title":18922,"dynasty":145,"author":18923,"museum":106,"description":18924,"tags":18925,"thumbUrl":18926,"material":61,"size":61,"collection":62,"collections":18927,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239980,"cha-si-ji-lin-sheng-jiao-xu-juan-cha-si-ji-239980","查嗣基临圣教序卷","查嗣基","此临作笔势洞精，苍森古逸，卷后有查士标、沈珩题跋。",[23,38,76,7,26,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37149cefa48a657291b99d79c59f9f1a.jpg",[62],{"id":18929,"slug":18930,"title":18931,"dynasty":145,"author":18932,"museum":73,"description":18933,"tags":18934,"thumbUrl":18935,"material":61,"size":61,"collection":62,"collections":18936,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239953,"shu-ye-shi-zhou-zhang-wen-tao-239953","暑夜诗轴","张问陶","张问陶（1764年—1814年） ，字仲冶，一字柳门，其故乡四川遂宁城西有船山，因以为号。因善画猿，亦自号“蜀山老猿”。清四川潼川州遂宁县黑柏沟（今属遂宁市蓬溪县）人 。清代诗人、诗论家、书画家。\n张问陶于乾隆五十五年（1790年）进士及第，曾任翰林院检讨、江南道监察御史、吏部郎中。后出任山东莱州知府，后辞官寓居苏州虎邱山塘。晚年遨游大江南北，嘉庆十九年（1814）三月初四日，病卒于苏州寓所，享年五十一岁。\n张问陶撰有《船山诗草》，存诗3500余首。其诗天才横溢，与袁枚、赵翼合称清代“性灵派三大家”，与彭端淑、李调元合称“清代蜀中三才子”， 被誉为“青莲再世”、“少陵复出”、清代“蜀中诗人之冠”。",[25,38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484968d3445b0ccbbfc46e2523cafa2f.jpg",[62],{"id":18938,"slug":18939,"title":10904,"dynasty":18,"author":18940,"museum":73,"description":18941,"tags":18942,"thumbUrl":18943,"material":61,"size":61,"collection":62,"collections":18944,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239912,"shi-zhou-gu-qi-yuan-239912","顾起元","顾起元（1565年～1628年），应天府江宁（今南京）人，明代官员、金石家、书法家。字太初，一作璘初、瞒初，号遁园居士。万历二十六年进士，官至吏部左侍郎，兼翰林院侍读学。乞退后，筑遁园，闭门潜心著述。朝廷曾七次诏命为相，均婉辞之，卒谥文庄。著有《金陵古金石考》《客座赘语》《说略》等。",[25,38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9477840cc14d7a0d0a1a3f1f4e4791e.jpg",[62],{"id":18946,"slug":18947,"title":18948,"dynasty":145,"author":10880,"museum":73,"description":14269,"tags":18949,"thumbUrl":18950,"material":920,"size":921,"collection":61,"collections":18951,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239882,"shu-li-er-tong-zhou-weng-fang-gang-239882","书礼二通轴",[3383,25,57,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefeb4e5e4c4f2cbf4f43009833c5f1a5.jpg",[],{"id":18953,"slug":18954,"title":10904,"dynasty":18,"author":18955,"museum":73,"description":18956,"tags":18957,"thumbUrl":18958,"material":61,"size":61,"collection":62,"collections":18959,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239796,"shi-zhou-yi-wang-239796","益王","此作用笔纵逸灵动，牵丝映带圆融自然，尽显草书畅达疏朗的意趣。起收提按间顿挫分明，字势欹正相生，干湿浓淡的墨色交织，既有疾风骤雨般的爽利落拓，又暗蕴沉静雅致的书卷气。\n通篇布局疏密得宜，行气如长河奔涌贯通始终，将酬唱诗句的豪迈襟怀寄于笔墨流转之间，落笔处皆是心绪与笔意的交融，把文人酬赠的情志挥洒得淋漓尽致，笔墨间裹挟着诗意豪情，雅致洒脱的气韵扑面而来。",[24,25,57,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a16d9eb30d0d7b7e04757c99739adf.jpg",[62],{"id":18961,"slug":18962,"title":18963,"dynasty":18,"author":18964,"museum":106,"description":18965,"tags":18966,"thumbUrl":18967,"material":196,"size":18968,"collection":62,"collections":18969,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239745,"shuang-he-rui-wu-fu-juan-wang-fu-zhi-239745","双鹤瑞舞赋卷","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家” ，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[23,56,24,25,26,38,7,1014,196,646,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[62],{"id":18971,"slug":18972,"title":18973,"dynasty":454,"author":220,"museum":73,"description":18974,"tags":18975,"thumbUrl":18978,"material":61,"size":61,"collection":62,"collections":18979,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},239682,"wu-kuan-huang-chao-qi-yi-ji-can-ye-yi-ming-239682","无款黄巢起义记残页","黄巢起义，指的是乾符五年（878年）至中和四年（884年）由黄巢领导的民变，是王仙芝起义的后续。也是唐末民变中，历时最久，遍及最大，影响最深远的一场农民起义。黄巢之乱转战近半唐朝江山，导致唐末国力大衰。\n黄巢起义，采用流动作战的方式，避实攻虚，走遍今天山东、河南、安徽、浙江、江西、福建、广东、广西、湖南、湖北、陕西等省广大地区，动摇了唐朝的统治。但由于长期流动作战，没有稳定的后方，缺乏经济上的保障和群众基础，故而很难持久下去，使起义军最后失败。",[681,38,7,353,18976,1140,4265,9124,18977,1698],"残页","古籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26a9b5915211b536825c381c7234e93.jpg",[62],{"id":18981,"slug":18982,"title":14325,"dynasty":51,"author":3572,"museum":73,"description":18983,"tags":18984,"thumbUrl":18985,"material":61,"size":61,"collection":61,"collections":18986,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239662,"zi-shu-shi-juan-lin-bu-239662","这件行书诗卷清劲瘦硬，萧散淡远，恰如其主梅妻鹤子的隐士襟怀。用笔瘦挺而具弹性，提按顿挫间尽显灵动，牵丝映带自然圆融，字势错落顾盼生情。宽绰行距铺展出从容疏朗的章法，褪去尘俗烟火气，满卷皆是林下清风。\n\n诗文与笔墨互为表里，将湖山行吟、赏梅观鹤的幽隐心境藏在每一处笔锋辗转间，把孤高疏淡的隐士意趣融于笔底，是宋尚意书法的绝佳注脚，书文俱佳，尽显宋代文人清雅脱俗的精神底色。",[23,56,24,25,38,26,7,27,58,111,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26372b075a6a47c8f0af2b3403e1bb9e.jpg",[],{"id":18988,"slug":18989,"title":18990,"dynasty":91,"author":440,"museum":53,"description":18991,"tags":18992,"thumbUrl":18993,"material":196,"size":18994,"collection":62,"collections":18995,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239635,"zhao-yong-shang-zhong-feng-zha-juan-zhao-meng-fu-239635","赵雍上中峰札卷","管道昇心信佛法，是虔诚的佛教徒，拜中峰和尚为师．小札中更尊中峰和尚為“父师”，而自称女弟子：此尺牘无纪年，文中有“年时得以中首座来都”句，可知管道昇时在京都。管氏於至元二十六年（1289)与赵孟頫伉俪儷之合后，又於至大三年（1310）十月随赵孟頫应召离吴兴赴京，很有可能，此尺牘是管夫人赴京不久所书，约五十岁左右。句中“以中”为天目山僧，在天目山出任中峰和尚之首座，常代替中峰和尚外出联络，处理佛门事务，与赵孟頫、管道昇颇多交往。\n此尺牍书风与赵孟頫颇為相近，而运笔结字间时露才女特有的性情。世传管夫人书作“寸縑片纸，人争购之，后学為之模范”",[23,38,7,26,196,353,14005,58,4263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782f49a77fc0d17c04e62e7e00cab13.jpg","31.7×72.9cm",[62],{"id":18997,"slug":18998,"title":18999,"dynasty":91,"author":19000,"museum":106,"description":19001,"tags":19002,"thumbUrl":19005,"material":196,"size":19006,"collection":62,"collections":19007,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239622,"gong-su-jiao-shou-tie-ye-gong-su-239622","龚璛教授帖页","龚璛","释文：\n记事拜复钱翼之教授足下，客袁州龚璛敬封。璛记事拜复翼之教授足下。小婿子行来，重为手帖，深慰岑寂。近作见教，如对笑谈。序文甚欲云云，喧嚣倥偬，实无一毫佳思，容少间尝应命，非推调也。《荔枝谱》留与小孙习之。令郎笔仗如此，可谓撞过烟楼。碧潭回，拈纸奉复。拔暇未觅挂漏，且希昭恕，兹不具。璛再拜。\n鉴藏印有项元汴、安岐、谭敬、赵叔彦、张爰等印23方，半印5方。本幅右下有明代项元汴用《千字文》编的号码“集字号”，左下方有“甲二”字样。\n此帖中“钱翼之”为钱良佑。“子行”是吾衍的字。吾衍为太末（今浙江龙游）人，居杭州，精于篆学，是龚璛之婿。“令郎”指钱氏之子逵。《荔枝谱》为宋朝蔡襄撰。《教授帖》中称“留与小孙习之”，或是蔡氏手书墨迹，待考。此帖上款称钱氏为“教授”（即教谕），可知应书于元至大年间（1308-1311年）钱氏为吴县教谕时。当时龚璛年约40余岁，应为其中年之笔。\n此帖书法运笔流畅自然，连贯潇洒，下笔强劲而有力度，可以看出龚璛很善于运用笔锋。书法表现古澹清和，不失晋人法度。\n《墨缘汇观·法书卷下》、《三虞堂书画目》著录。",[38,7,27,58,196,19003,19004,1698,9630],"元代书法","毛笔书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976bf4b8303c2810fea72c4762be40c2.jpg","28cm，横38.4cm",[62],{"id":19009,"slug":19010,"title":19011,"dynasty":91,"author":19012,"museum":106,"description":19013,"tags":19014,"thumbUrl":19015,"material":658,"size":19016,"collection":62,"collections":19017,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239620,"yuan-jue-ya-tan-tie-ye-yuan-jue-239620","袁桷雅谭帖页","袁桷","释文：\n桷比者终日获接雅谭，继即探伺，且有假书之请。迺闻风帆趁潮，将促运米舟以还，繇是不果。兹审珮音琅然，方持螯高詠，视吾徒如逐臭。妙墨相遇，惜不能与玉柱惠文相聚耳。二碑岂立谈可了，明当聚首。不具。桷再拜。\n本幅有鉴藏印“安仪周家珍藏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”、“赵叔彦”等12方，半印2方。\n此帖为应酬信札，故信笔书写，无拘无束，章法自然得体，用笔结字颇有法度，提按转折，刻意精致，具有米芾沉着痛快，欹侧奇险之笔势。\n《墨缘汇观·法书卷》、《三虞堂书画目》两书著录。",[38,7,352,58,25,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45bb2338bc357d31534407d9d4f71206.jpg","纵28.3厘米, 横38.9厘米",[62],{"id":19019,"slug":19020,"title":19021,"dynasty":91,"author":4351,"museum":106,"description":19022,"tags":19023,"thumbUrl":19024,"material":196,"size":19025,"collection":62,"collections":19026,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},239617,"song-gan-er-shi-tie-ye-zhang-yu-239617","送柑二诗帖页","释文：\n次韵谢天镜上人送柑：肚能紧束三条篾，手亦亲栽两棵梨。尚忆黄甘三百颗，好山多在洞庭西。\n尘中谁识罗公远，一嗅黄（此字点去）香甘瓣瓣轻。不似枇杷金弹子，只供游侠打啼莺。天雨。\n钤“句曲外史”印。鉴藏印钤“安仪周家珍藏”、“莲樵鉴赏”、“景贤”、“谭敬”等11方。\n据明姚广孝《逃虚子集》记载，文中“天镜”指杭州灵隐寺僧人圆净。圆净字天镜，著有《朴园集》。\n李日华云：“伯雨书性极高，人言其请益赵魏公（元代赵孟頫），公授以李泰和（唐代李邕）《云麾碑》，书顿进。”此帖舒放俊丽，清和闲雅，有赵书遗意，但刚劲峻拔，又有李邕风格，给人以用笔精紧、遒逸清新之感。",[38,7,352,58,1698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a53837f4c863dcfb41fc99bef941bc.jpg","纵26.5厘米, 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ty":145,"author":6306,"museum":106,"description":19371,"tags":19372,"thumbUrl":19373,"material":802,"size":19374,"collection":125,"collections":19375,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},233812,"shan-shui-ce-fu-shan-233812","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,25,209,7,38,27,29,3867,377,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7207aa4714a6c40bb3a6c5365c536f07.jpg","纵36.5厘米，横37厘米",[125,42],{"id":19377,"slug":19378,"title":16528,"dynasty":145,"author":276,"museum":106,"description":16529,"tags":19379,"thumbUrl":19380,"material":16532,"size":16533,"collection":61,"collections":19381,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":638},233398,"shan-shui-ren-wu-ce-jin-nong-233398",[24,25,209,27,38,7,78,79,81,1121,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1660b2f6bf892603d6fcab8ae26a966d.jpg",[],{"id":19383,"slug":19384,"title":19385,"dynasty":18,"author":479,"museum":106,"description":8114,"tags":19386,"thumbUrl":19387,"material":8118,"size":8119,"collection":61,"collections":19388,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},233138,"ming-ren-xi-shan-sheng-jing-he-bi-ce-yue-lai-xi-tu-ye-tang-yin-233138","明人西山胜景合壁册-越来溪图页",[24,25,209,27,29,774,35,15667,194,237,179,34,4866,37,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3926a6ab069ef73d913001355611c3.jpg",[],{"id":19390,"slug":19391,"title":19392,"dynasty":18,"author":1169,"museum":106,"description":8114,"tags":19393,"thumbUrl":19394,"material":8118,"size":8119,"collection":61,"collections":19395,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},233134,"ming-ren-xi-shan-sheng-jing-he-bi-ce-tao-hua-wu-ye-chen-chun-233134","明人西山胜景合壁册-桃花坞页",[24,25,209,7,27,29,34,3407,117,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1625054511cd74fa7d87587b64b1b6f.jpg",[],{"id":19397,"slug":19398,"title":19399,"dynasty":91,"author":19400,"museum":106,"description":19401,"tags":19402,"thumbUrl":19403,"material":5701,"size":19404,"collection":61,"collections":19405,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},232997,"yue-yang-lou-tu-shan-ye-xia-yong-232997","岳阳楼图扇页","夏永","画家采用虚实相对的对角线构图，高三层的岳阳楼被安排在画幅的左侧，而于右侧留下一片空白，巨壑空茫，远山一带，取孟浩然“气蒸云梦泽，波撼岳阳城”诗意，整幅笔法秀劲细密，巧妙地把直线、横线、斜线、弧线等各种线条有机地结合，通过轮廓的轻重，线条的疏密，清楚地交代出楼阁远近纵深的层次感和“向背分明”的体积感，比例构造准确合度，飞檐、梁柱、斗拱、围栏等细节描写具体而精致，让观者有几可走进画中之感。舍弃设色而纯用白描的表现手法，使得画面虽千繁万复却不显阻滞拥塞，盈尺之间，明洁素雅，美仑美奂。其精整工细的线描，正可谓“细若蚊睫，侔于鬼工”，这种纯以墨笔白描界画建筑的手法到元代以后已成为绝响，以至于清人李佐贤误以为此图是宋人所为：“《岳阳楼图》，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工……此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。”\n此幅右上以蝇头小楷题写《岳阳楼记》全文，这些题字同样“小如蚁目”、“细若标针”，与其细密的画风相和谐，同时补充了画意，增强了作品的文学性和抒情效果，这也是夏永对中国古代界画发展的一大贡献。",[1594,2579,27,150,29,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc087d53b49148d8ef5692355ffa9e186.jpg","纵25.2厘米，横25.8厘米",[],{"id":19407,"slug":19408,"title":19409,"dynasty":51,"author":19410,"museum":73,"description":19411,"tags":19412,"thumbUrl":19413,"material":61,"size":19414,"collection":61,"collections":19415,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},232822,"jiang-ting-wan-tiao-tu-shu-fa-zhu-guang-pu-232822","江亭晚眺图(书法)","朱光普","这帧泥金团扇行书，笔意灵动婉转，牵丝映带间尽显文人疏淡意趣。字句勾勒出江亭向晚，烟波万顷、斜晖脉脉的暮色秋景，渔舟远归的闲寂意境和笔墨相融。\n笔势或舒展或收敛，粗细枯湿富于变化，结体欹正相生，既有晋人行书的萧散，又兼具尚意书风的随性。朱红钤印与泥金底色相映成趣，暖润古雅。整体书卷气浓厚，将书法意韵和诗意画境完美结合，尽显风雅襟怀，是一件兼具笔墨审美与意境营造的小品佳作。",[38,7,58,27,33,32,1794,31,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb478051a108a0fa18ec58772b26d39b5.jpg","23.9x24.3",[],{"id":19417,"slug":19418,"title":19419,"dynasty":51,"author":4137,"museum":73,"description":19420,"tags":19421,"thumbUrl":19422,"material":61,"size":61,"collection":61,"collections":19423,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},232779,"song-ren-chi-du-zhao-meng-jian-232779","宋人尺牍","宋宗室，太祖十一世孙。字子固，号兰坡，又号彝斋居士，，浙江湖州人。家境清寒，理宗宝庆二年（1226）中进士，官至朝散大夫严州守。工诗善书，擅水墨白描水仙、梅、兰、竹石，有梅谱传世。笔迹劲利，风格清高。 赵孟坚也是南宋最出名的书画收藏家，他嗜好收藏书画古物，常用一只船载着书画文物及纸笔墨砚等，东游西适，评赏书画古玩，吟诗作画。当时人称其舟为“赵子固书画船”。史载其“多藏三代以来金石名迹，遇其会意时，虽倾囊易之而不靳也”。 据说他曾得书法珍品五字不损本兰亭，归家时，风作舟覆，其“被湿衣立浅水中，手持褉帖示人曰：‘兰亭在此，余不足惜也。’因题八字于卷首云：‘性命可轻，至宝是保。’”其酷嗜收藏到了几乎疯狂的地步。宋人周密赞曰：“噫，近世求好事博雅如子固者，岂可得哉。”（周密《齐东野语》卷19）。\n另据载赵孟坚入元以后，不乐仕进，隐居州之广陈镇（今海盐县）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”（《宋人轶事汇编》下册 中华书局出版，丁传靖辑）由是可见其品格甚高。诗文有《彝斋文编》。",[23,1697,38,7,58,196,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff250bf479213aa0b8c8ba870249d7514.jpg",[],{"id":19425,"slug":19426,"title":19427,"dynasty":145,"author":7738,"museum":73,"description":17378,"tags":19428,"thumbUrl":19429,"material":196,"size":61,"collection":61,"collections":19430,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},232679,"yuan-mei-hong-yi-fa-shi-232679","袁枚",[23,145,25,38,7,1698,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b416ea713fbd6f58899364bfd1dd18b.jpg",[],{"id":19432,"slug":19433,"title":19434,"dynasty":7039,"author":19435,"museum":73,"description":19436,"tags":19437,"thumbUrl":19438,"material":920,"size":921,"collection":61,"collections":19439,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},231626,"he-tu-xia-hui-he-ge-juan-ben-a-mi-guang-yue-231626","鹤图下绘和歌卷","本阿弥光悦","此作以长卷铺陈，群鹤错落满卷，水墨淡笔晕染出仙鹤清癯灵动的身姿，或振翅唳空，或梳羽伫立，百态悠然。浅褐旧痕晕开在素纸之上，晕染出经年沉淀的温润质感。\n\n书法与绘鹤交织共生，笔意清简疏朗，将和歌风雅与绘鹤的幽玄禅意相融，舒展悠长的尺幅里，藏着侘寂闲雅的古典意趣，淡墨轻色勾勒出清寂出尘的东方意境，尽显雅致悠远的和风之美。",[23,56,24,25,26,27,7,82,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271140e49cbac0d36129fe323eb65f23.jpg",[],{"id":19441,"slug":19442,"title":19443,"dynasty":7039,"author":19444,"museum":73,"description":19445,"tags":19446,"thumbUrl":19448,"material":920,"size":921,"collection":61,"collections":19449,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},231584,"shi-ting-shi-dai-po-mo-shan-shui-tu-xue-zhou-231584","室町时代 破墨山水图","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,56,57,19447,27,37,25,7,38,58,29,32,377,376,884,33],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":19451,"slug":19452,"title":19453,"dynasty":18,"author":9527,"museum":73,"description":19454,"tags":19455,"thumbUrl":19456,"material":920,"size":921,"collection":61,"collections":19457,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},230991,"yu-le-tu-zhou-chen-230991","渔乐图","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[24,25,29,291,77,37,27,28,32,290,31,30,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d5492e12e7ca9101bce747991b1ada.jpg",[],{"id":19459,"slug":19460,"title":19461,"dynasty":145,"author":16335,"museum":73,"description":19462,"tags":19463,"thumbUrl":19464,"material":61,"size":61,"collection":61,"collections":19465,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},230860,"lin-wang-xi-zhi-shu-dou-tie-zhang-zhao-230860","临王羲之蜀都帖","此作用笔雄健酣畅，提按转合间尽显流转灵动，既恪守原帖使转精熟的草法要义，又融入自身劲爽刚健的笔性特质。牵丝映带之间行气贯通，通篇字势欹正相生，错落有致。\n\n墨色枯润互见，浓墨处厚重沉稳，枯笔处筋骨毕现，将原尺牍的萧散雅韵，化作更具张力的笔墨节奏。临帖却不拘泥于形，师古又能自出机杼，将尺牍的随性自然，以饱满笔力演绎出舒展磅礴的庙堂气象，让古帖意蕴焕然新生，尽显草书奔放而不失法度的意趣。",[24,25,57,76,7,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec530e4987f559489814dbbe4501b02.jpg",[],{"id":19467,"slug":19468,"title":19469,"dynasty":145,"author":6468,"museum":73,"description":19470,"tags":19471,"thumbUrl":19472,"material":920,"size":921,"collection":61,"collections":19473,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},230179,"shan-shui-shi-kai-wang-shi-min-230179","山水十开","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[24,25,209,29,37,27,58,38,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9913ea809a69d5f1c043447649bdf2.jpg",[],{"id":19475,"slug":19476,"title":19477,"dynasty":145,"author":19478,"museum":73,"description":19479,"tags":19480,"thumbUrl":19481,"material":920,"size":921,"collection":61,"collections":19482,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},228970,"bai-liang-ti-shi-xu-juan-yin-zhen-228970","柏梁体诗序卷","胤禛","清世宗爱新觉罗·胤禛（1678年12月13日—1735年10月8日），清朝第五位君主（1722年—1735年在位），定都北京后第三位皇帝。年号雍正。康熙帝第四子，母为孝恭仁皇后（即德妃乌雅氏），生于北京紫禁城永和宫。",[23,25,38,7,26,58,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6821a141beec3eef192ac7697a955e9.jpg",[],{"id":19484,"slug":19485,"title":19486,"dynasty":18,"author":3424,"museum":73,"description":15878,"tags":19487,"thumbUrl":19488,"material":920,"size":921,"collection":61,"collections":19489,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},228341,"ya-yi-shan-ren-shi-han-wang-chong-228341","雅宜山人诗翰",[23,25,38,7,26,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7785461ab08e2c5afbbba31ed4f636.jpg",[],{"id":19491,"slug":19492,"title":19493,"dynasty":91,"author":19494,"museum":73,"description":19495,"tags":19496,"thumbUrl":19497,"material":920,"size":921,"collection":61,"collections":19498,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},228268,"teng-wang-ge-tu-wei-ba-tang-di-228268","滕王阁图-尾跋","唐棣","唐棣（1296-1364），字子华，号遁斋,祖籍钱塘（今浙江杭州），因先世在吴兴做官，迁徙归安（今浙江湖州）。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年（1329）应诏在南京龙翔寺绘制画壁，至顺四年（1333）第二次北上大都，奉诏在宫廷作画，晚年返乡埋头读书作画，生活较凄苦。",[24,25,38,7,1594,27,28,29,150,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f5f43a1f68f280907f5479996eaa37.jpg",[],{"id":19500,"slug":19501,"title":19502,"dynasty":91,"author":4351,"museum":73,"description":19503,"tags":19504,"thumbUrl":19505,"material":61,"size":61,"collection":61,"collections":19506,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[23,24,25,26,78,27,28,79,29,34,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":19508,"slug":19509,"title":19510,"dynasty":51,"author":220,"museum":73,"description":19511,"tags":19512,"thumbUrl":19513,"material":61,"size":61,"collection":226,"collections":19514,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},227570,"yu-lou-chun-si-tu-yi-ming-227570","玉楼春思图","此图画水殿楼阁、渔舟、古松和江亭，本幅无名款，清代梁清标题签为王诜之作，然而将此作与王氏传世作品对照，并无多少相同之处。\n\n惟据图上小楷书“鱼游春水”一阕，词意与画意吻合，从书法风格考察，可能为宋高宗赵构以后宫廷常见的书体，故推测此画系同时代所绘，是宋代画院的佳作。画上钤有“宣统御览之宝”等收藏印章。\n\n是图为团扇，构图为左右相对形式。中为辽阔的江面，左部近景作水殿楼阁回廊萦绕，堤上柳荫浓郁，一仕女面江扶栏遐思。隔江云山起伏，意境深远。\n画上题《鱼游春水》词，词意与画意相吻合。\n\n此作曾为清初梁清标收入《唐宋元集绘册》中，梁氏鉴定为王诜作品。就画作的构图与画法来看与王氏画风是有距离的，南宋风格明显。\n\n另外《鱼游春水》一词原是刻于绍兴古碑碑阴之上的佚名词作，北宋政和时为宫人抄入宫中填曲传唱，政和中期以后才流入到民间。死于元祐四年（公元1089年）的王诜不可能以此题作画。故而梁清标的鉴定有误，书与画应属南宋画院的书画佳作。清《石渠宝笈重编》著录。",[23,56,24,25,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dcbc748bfb2945570382841dfc1ac9.jpg",[226],{"id":19516,"slug":19517,"title":19518,"dynasty":71,"author":760,"museum":73,"description":917,"tags":19519,"thumbUrl":19521,"material":920,"size":921,"collection":61,"collections":19522,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},227056,"jin-tang-zheng-shu-wang-xi-zhi-227056","晋唐正书",[19520,38,680,7,58,209],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46bea167c0887bbf8168a2d57af6b21a.jpg",[],{"id":19524,"slug":19525,"title":29,"dynasty":145,"author":14622,"museum":73,"description":19526,"tags":19527,"thumbUrl":19528,"material":61,"size":61,"collection":61,"collections":19529,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},224406,"shan-shui-wang-xue-hao-224406","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[23,24,25,27,37,7,57,29,35,34,897,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":19531,"slug":19532,"title":19533,"dynasty":145,"author":387,"museum":73,"description":19534,"tags":19535,"thumbUrl":19537,"material":61,"size":61,"collection":61,"collections":19538,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},224331,"hua-niao-shi-er-kai-9-li-shan-224331","花鸟十二开9","淡墨晕染出松鼠身形，蓬松皮毛的质感呼之欲出，尖吻微张，长尾轻扬，攀附松枝之上，警觉灵动的神态跃然纸面。苍松以焦墨挥写，浓墨点簇松针，老辣笔力勾勒出虬曲枝干，尽显苍古拙朴的风骨。左侧行书题字与画面相得益彰，笔墨枯润相生，尽显写意随性野趣。整幅作品以简驭繁，笔情纵逸，将文人写意的酣畅与林间生机相融，寥寥数笔便定格住松间嬉游的悠然意趣，尽显写意花鸟的动人神韵。",[23,24,25,209,27,109,459,19536,254,7,58],"松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523b8f0015029b872e9adff78fa964b0.jpg",[],{"id":19540,"slug":19541,"title":19542,"dynasty":145,"author":3179,"museum":73,"description":19543,"tags":19544,"thumbUrl":19545,"material":61,"size":61,"collection":61,"collections":19546,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},224256,"xian-lou-gao-zhi-cha-shi-biao-224256","仙楼高峙","此作用淡渴墨勾勒崖壁轮廓，皴擦简率松秀，寥寥数笔便绘出山石清峭之态。坡岸与丛木以写意点染，虚实相生间，晕染出幽寂空濛的山境。左侧行书笔致萧散飘逸，笔墨舒展随性，与画中简淡意境相融，文气悠悠。\n\n整体脱去尘俗，以极简的笔墨铺陈出清旷出尘的林下仙境，尽显新安画派笔简意赅、气韵荒寒的特质，观之如临幽林高阁，心神也随之沉静，沉醉于这份水墨疏淡里的幽远禅意。",[23,24,25,209,27,37,7,58,29,150,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7674da97971c55f319361c3f120ebd48.jpg",[],{"id":19548,"slug":19549,"title":19550,"dynasty":145,"author":2545,"museum":73,"description":19551,"tags":19552,"thumbUrl":19553,"material":920,"size":921,"collection":61,"collections":19554,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},224174,"gan-li-tu-quan-juan-hua-yan-224174","敢荔图全卷","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,24,25,26,28,79,29,377,38,7,223,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e347c76a16901f1b2b37187d2892d85.jpg",[],{"id":19556,"slug":19557,"title":19558,"dynasty":51,"author":220,"museum":106,"description":19559,"tags":19560,"thumbUrl":19561,"material":1262,"size":19562,"collection":61,"collections":19563,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},223419,"kong-men-di-zi-xiang-juan-yi-ming-223419","孔门弟子像卷","此画是唐代杰出画家阎立本最大最长最佳的一幅巨作，是画家传世的六件作品之一，后在近代被日本军火商买走，并被列为国宝。最后在中贸圣佳拍卖公司购得，迎回国内，曾经引起过轰动。此画最终被首都博物馆以超低价提前收购。\n《孔子弟子像》全图采取平列式构图，无背景，绘孔子弟子立像五十九人，无名款。墨笔勾勒，着色，人物形象各异，须眉生动。\n包首题签“阎立本画孔子弟子像”，引首乾隆御题“杏坛遗范”，卷上有“顺治三年(1646)七月初二钦赐大学士臣宋权恭记”长方印、清宫收藏鉴赏印玺和清高宗弘历御笔题字。后幅有乾隆二十二年(1757年)户部尚书蒋溥题跋、乾隆丁未(1787年)大臣王杰、曹文埴、彭元瑞、董诰共同审定，董诰书写的题跋。鉴藏宝玺有乾隆八玺等，收藏印有“顺治三年七月初二日钦赐大学士臣宋权恭记”、“商丘金石书画印”、“宋权私印”、“经公”等。卷后拖尾有蒋溥题跋、董诰书写的其与王杰、曹文埴、彭元瑞的合跋，文字内容、钤盖印章与《石渠宝笈续编》著录文字完全相同。\n考证画后跋语，可以大致勾勒出《孔子弟子像》在清代的流传过程。清初顺治皇帝将此件画作钦赐给大学士宋权，一百余年后乾隆时期，宋氏后人将此作转鬻他所，蒋溥购得后，将其进献给了乾隆皇帝，复归内府收藏，并于《石渠宝笈续编》中加以著录。 至于这件作品是如何从清内府流传出去，溥仪在《我的前半生》中回忆，宣统八年十一月十四日，将名为《阎立本画孔子弟子像一卷》赏给了自己的师傅梁鼎芬。",[23,56,24,25,26,28,77,79,2009,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34aaeae7bdfbdd0d6197e46cf919b0e.jpg","纵32.3厘米，横870厘米",[],{"id":19565,"slug":19566,"title":19567,"dynasty":18,"author":220,"museum":73,"description":19568,"tags":19569,"thumbUrl":19570,"material":196,"size":19571,"collection":61,"collections":19572,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[23,24,25,26,27,7,29,30,31,32,33,34,3964,4453,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],{"id":19574,"slug":19575,"title":19576,"dynasty":454,"author":19577,"museum":73,"description":19578,"tags":19579,"thumbUrl":19581,"material":196,"size":920,"collection":61,"collections":19582,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},223387,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-di-si-3-bai-ju-yi-223387","古抄残卷《白氏文集》第三巻第四3","白居易","白居易（772年－846年），字乐天，号香山居士，又号醉吟先生，祖籍山西太原，到其曾祖父时迁居下邽，生于河南新郑。 是唐代伟大的现实主义诗人，唐代三大诗人之一。白居易与元稹共同倡导新乐府运动，世称“元白”，与刘禹锡并称“刘白”。\n白居易的诗歌题材广泛，形式多样，语言平易通俗，有“诗魔”和“诗王”之称。官至翰林学士、左赞善大夫。公元846年，白居易在洛阳逝世，葬于香山。有《白氏长庆集》传世，代表诗作有《长恨歌》《卖炭翁》《琵琶行》等。\n1988年，日本中国文化显彰会为白园捐立石碑，以纪念白居易，碑文用中、日两种文字书写。1995年，4个日本人于此上书“樱献”。\n\n生平:\n唐代宗大历七年（772年）正月，白居易出生于河南新郑的一个“世敦儒业”的中小官僚家庭。白居易出生之后不久，家乡便发生了战争。藩镇李正己割据河南十余州，战火烧得民不聊生。白居易二岁时，任巩县令的祖父卒于长安，紧接他的祖母又病故。白居易的父亲白季庚先由宋州司户参军授徐州彭城县县令（780年），一年后因白季庚与徐州刺史李洧坚守徐州有功，升任徐州别驾，为躲避徐州战乱，他把家居送往宿州符离安居。白居易得以在宿州符离度过了童年时光。 而白居易聪颖过人，读书十分刻苦，读得口都生出了疮，手都磨出了茧，年纪轻轻的，头发全都白了。\n806年，白居易罢校书郎。同年四月试才识兼茂明于体用科，及第，授盩庢县（今西安周至县）尉。807年，任进士考官、集贤校理，授翰林学士。808年任左拾遗，迎娶杨虞卿从妹为妻。810年改任京兆府户部参军，811年母亲陈氏去世，离职丁忧，归下邽。814年回长安，授太子左赞善大夫。\n任左拾遗时，白居易认为自己受到喜好文学的皇帝赏识提拔，故希望以尽言官之职责报答知遇之恩，因此频繁上书言事，并写大量的反应社会现实的诗歌，希望以此补察时政，乃至于当面指出皇帝的错误。白居易上书言事多获接纳，然而他言事的直接，曾令唐宪宗感到不快而向李绛抱怨：“白居易小子，是朕拔擢致名位，而无礼于朕，朕实难奈。”李绛认为这是白居易的一片忠心，而劝谏宪宗广开言路。\n815年，宰相武元衡遇刺身亡，白居易上表主张严缉凶手，被认为是越职言事。其后白居易又被诽谤：母亲看花而坠井去世，白居易却著有“赏花”及“新井”诗，有害名教。遂以此为理由贬为江州（今江西九江）司马。818年，白居易的弟弟白行简至江州与白居易相聚。当白居易被任命为忠州刺史时，白行简也一同与兄长溯江而上。途中与元稹相遇于黄牛峡，三人相游之处被称为三游洞。在忠州任职的时间，白居易在忠州城东的山坡上种花，并命名此地为“东坡”。同年冬，被任命为忠州（今重庆市忠县）刺史，819年到任。820年夏，被召回长安，任尚书司门员外郎。\n白居易的母亲虽因看花坠井去世，然而白居易早有许多咏花之作，而依宋代的纪录，新井诗作于元和元年左右（新井诗今已失传），可见此事不能构成罪名。他被贬谪的主因，很可能与他写讽谕作品而得罪当权者有关。贬谪江州是白居易一生的转折点：在此之前他以“兼济”为志，希望能做对国家人民有益的贡献；至此之后他的行事渐渐转向“独善其身”，虽仍有关怀人民的心，表现出的行动却已无过去的火花了。然而白居易在江州虽不得志，大体上仍能恬然自处，曾在庐山香炉峰北建草堂，并与当地的僧人交游。\n820年冬，转任主客郎中、知制诰。821年，加朝散大夫，始正式著五品绯色朝服，（绯色即朱色，为五品以上官员所用的服色）。转上柱国，又转中书舍人。822年，白居易上书论当时河北的军事，不被采用，于是请求到外地任职，7月被任命为杭州刺史，10月到任。任内有修筑西湖堤防、疏浚六井等政绩。824年5月，任太子左庶子分司东都，秋天至洛阳，在洛阳履道里购宅。825年，被任命为苏州刺史，5月到任。826年因病去职，后与刘禹锡相伴游览于扬州、楚州一带。\n在杭州刺史任内，见杭州有六口古井因年久失修，便主持疏浚六井，以解决杭州人饮水问题。又见西湖淤塞农田干旱，因此修堤蓄积湖水，以利灌溉，舒缓旱灾所造成的危害，并作《钱塘湖石记》，将治理湖水的政策、方式与注意事项，刻石置于湖边，供后人知晓，对后来杭州的治理湖水有很大的影响。离任前，白居易将一笔官俸留在州库之中作为基金，以供后来治理杭州的官员公务上的周转，事后再补回原数。当这笔基金一直运作到黄巢之乱时，当黄巢抵达杭州，文书多焚烧散失，这笔基金才不知去向。\n西湖有白堤，两岸栽种有杨柳，后世误传这即是白居易所修筑的堤，而称之为白公堤。事实上这道“白堤”在白居易来杭州之前已存在，当时称为“白沙堤”，且见于白居易的诗作之中。\n当白居易在杭州时，元稹亦从宰相转任浙东观察使，浙东、杭州相去并非太远，因而二人之间有许多往还的赠答诗篇。当白居易任满离开杭州时，元稹要求白居易交出全部的作品，编成《白氏长庆集》五十卷。\n在苏州刺史任内，白居易为了便利苏州水陆交通，开凿了一条长七里西起虎丘东至阊门的山塘河，山塘河河北修建道路，叫“七里山塘”，简称“山塘街”。\n827年，白居易至长安任秘书监，配紫金鱼袋，换穿紫色朝服（三品以上官员所用的服色）。828年，转任刑部侍郎，封晋阳县男。829年春，因病改授与太子宾客分司，回洛阳履道里。830年12月，任河南尹。831年七月元稹去世。832年，为元稹撰写墓志铭，元家给白居易润笔的六七十万钱，白居易将全数布施于洛阳香山寺。833年，因病免河南尹，再任太子宾客分司。835年，被任命为同州刺史，辞不赴任，后改任命为太子少傅分司东都，封冯翊县侯，仍留在洛阳。839年10月得风疾。841年，罢太子少傅，停俸。842年，以刑部尚书致仕，领取半俸。\n晚年白居易的生活，大多是以“闲适”的生活反应自己“穷则独善其身”的人生哲学。而844年，73岁的白居易出钱开挖龙门一带阻碍舟行的石滩，事成后作诗《开龙门八节石滩诗二首并序》留念，诗中仍反映出他“达则兼济天下”的人生观。\n晚年的白居易大多在洛阳的履道里第度过，与刘禹锡唱和，时常游历于龙门一带。作《池上篇》、《醉吟先生传》自况。845年，白居易74岁，尚在履道里第举行“七老会”，与会者有胡杲、吉皎、郑据、刘真、卢贞、张浑与白居易；同年夏，以七老合僧如满、李元爽，画成“九老图”。白居易晚年笃信佛教，号香山居士，为僧如满之弟子。\n武宗会昌六年（846年）八月十四日（9月8日），白居易去世于洛阳，享年75岁，赠尚书右仆射，谥号“文”，葬于洛阳香山。白居易去世后，唐宣宗李忱写诗悼念他说：“缀玉联珠六十年，谁教冥路作诗仙？浮云不系名居易，造化无为字乐天。童子解吟《长恨》曲，胡儿能唱《琵琶》篇。文章已满行人耳，一度思卿一怆然。”著有《白氏长庆集》，共有七十一卷。",[23,38,7,1140,26,19580,681,353,196],"手抄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfae861faca812473d745bd85ae7ef52.jpg",[],{"id":19584,"slug":19585,"title":19586,"dynasty":18,"author":7852,"museum":2633,"description":11878,"tags":19587,"thumbUrl":19588,"material":196,"size":61,"collection":61,"collections":19589,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},222540,"bian-jing-nan-lou-shi-juan-wang-duo-222540","忭京南楼诗卷",[23,38,7,1014,26,27,58,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b990a58a50b4c2546f3fdf93fe77d11.jpg",[],{"id":19591,"slug":19592,"title":19593,"dynasty":18,"author":7852,"museum":6970,"description":19594,"tags":19595,"thumbUrl":19596,"material":196,"size":19597,"collection":61,"collections":19598,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},222532,"ku-lan-fu-hua-tu-ba-juan-wang-duo-222532","枯兰复花图跋卷","释文：\n已丑五月夜。同观画。梁眉居。黄于石。张坦公。张天调。薛行坞。傅梦祯。刘瀛洲。宋牧仲。宋赤城。主人玄平号雨恭。时同饮三槐下。王铎。\n已丑夏五月廿二日。闻雨恭先生阁下盎中建兰于既萎后倏发一茎三花。予骇焉。萎而花。此中有道。其发兰之为其所以发皇者。果兰之为耶。兰。花卉中抱德者也。孤秀幽藏。异乎炫。无人清湛。异乎佝。不斗艳于鼠姑将离。异乎争。映景乘旺。萼蕤跗联。乃于萎荄勃然生灵光奇馞。於戏。兰亦受命者。气垕理苞。即司百物者。不能閟。况天况墬况人况兰。凡后日千叶万萼。雨先生为国家发无穷光华。流馨千禩。为王者笃材。不与凡卉伍。吾于斯。率尔席上即写兰卷。又纪其三花之像。钟万哗盛与古咎箄。鸠方絜馥臻茂。开一代之昌运。必得一代异人。兰何能为政哉。噫。公之所以楙昭前路迓所以发皇者。佗他日吾以此卷券之矣。西洛王铎跋并画。吋及燃炬在蔬圃中。",[23,56,24,25,26,7,1014,38,58,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7702460746d4760892dcf81172f816a5.jpg","32.6X1035.5cm",[],{"id":19600,"slug":19601,"title":19602,"dynasty":18,"author":1024,"museum":73,"description":11906,"tags":19603,"thumbUrl":19604,"material":18744,"size":19605,"collection":62,"collections":19606,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},222015,"xing-cao-kou-hao-shi-shou-juan-wen-zheng-ming-222015","行草口号十首卷",[23,38,7,1014,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf29ec663f4894d48986d0871118d70b.jpg","高28.5厘米，纵310.6厘米",[62],{"id":19608,"slug":19609,"title":14115,"dynasty":18,"author":1024,"museum":106,"description":19610,"tags":19611,"thumbUrl":19612,"material":196,"size":19613,"collection":61,"collections":19614,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},221949,"shu-shan-ye-wen-zheng-ming-221949","释文：\n久客念当归，何待秋风生。黄花有佳色，青山无俗情。是间有真乐，悠悠空令名。\n履道心神融，驰劳情意凿。是非两悠悠，大梦谁当觉。陶翁终已久，畴须问今昨。\n款署：“旧作二首，闲录一过，戊戌八月晦日，徵明”。印“文徵明印”白方、“徵仲”朱方。\n此书录文徵明自作诗《归来堂》和《今是亭》两首，载《文氏五家集》卷一，时年六十九岁。文徵明这段时间的草书作品较多，而到了晚年几乎就见不到了。此扇面笔势曲屈环绕，线条清瘦明朗，跌宕起伏富有节奏，虽为狂草，然有规有矩，绝无草率之笔，有张旭、怀素草书的意味。",[23,2579,38,7,3018,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed66673af90293bf58665b319efca62.jpg","纵18.1厘米，横53厘米",[],{"id":19616,"slug":19617,"title":14638,"dynasty":18,"author":1024,"museum":53,"description":4930,"tags":19618,"thumbUrl":19619,"material":407,"size":19620,"collection":61,"collections":19621,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":66},221948,"lin-lan-ting-wen-zheng-ming-221948",[23,25,38,76,7,58,26,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95dc6d941074d8f2933f2a66c39791c5.jpg","纵29.2厘米，横120.5厘米",[],{"id":19623,"slug":19624,"title":6385,"dynasty":18,"author":7134,"museum":20,"description":19625,"tags":19626,"thumbUrl":19627,"material":196,"size":19628,"collection":61,"collections":19629,"showCount":18657,"zanCount":11,"manualWeight":11,"mainColor":46},221927,"za-hua-ce-guo-xu-221927","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,25,209,27,109,78,79,459,38,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b9c8d51985fa1f5c88c9c1b2cef819.jpg","纵28.5 厘米横46.5 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清代学者、文学家、藏书家。字申耆，晚号养一老人，阳湖（今属江苏常州市）人。他精舆地、考据、训诂之学，是阳湖派代表作家之一。",[38,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52eb01c1b85e668cafbaae75473331b9.jpg",[],{"id":20023,"slug":20024,"title":20025,"dynasty":18,"author":20026,"museum":73,"description":20027,"tags":20028,"thumbUrl":20029,"material":196,"size":61,"collection":62,"collections":20030,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241531,"wu-jue-er-shou-ce-ye-zhao-jun-241531","五绝二首册页","赵均","赵均（1591-1640），字灵均，苏州人，赵宧光之子。从其父传六书学，后又从燕山僧，学习梵文，博学多才。父子俩不断探究，于是“遂法其精”，赵均之妻文淑，是文征明的玄孙女，天性明慧，书画得家风传授和熏陶，成为苏州女画家中的佼佼者。书法密码微店",[25,209,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c108e7f346c422ef67386753d6c7535.jpg",[62],{"id":20032,"slug":20033,"title":20034,"dynasty":145,"author":20035,"museum":73,"description":20036,"tags":20037,"thumbUrl":20038,"material":920,"size":921,"collection":61,"collections":20039,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241461,"shao-xi-yu-yin-cong-hua-zhou-liang-tong-shu-241461","苕溪渔隐丛话轴","梁同书","梁同书（1723年～1815年），清代书法家。字元颖，号山舟，晚年自署不翁、新吾长翁，钱塘（今浙江杭州）人。大学士梁诗正之子。\n梁同书于乾隆十二年（1747）中举人，十七年特赐进士，官侍讲。著有《频罗庵遗集》。 梁同书家学渊源。他自幼接触书法，12岁时即能书写擘窠大字。初学颜真卿、柳公权，中年以后又取法米芾，70岁以后融汇贯通，纯任自然。他习书60余年，久负盛名，所书碑刻极多。\n梁同书工于楷、行书，到晚年犹能写蝇头小楷，其书大字结体紧严，小楷秀逸，尤为精到。与刘墉、翁方纲、王文治并称“清四大家”。年九十余，尚为人书碑文墓志，终日无倦容，并无苍老之气。传世书迹甚富，小楷书作尤多。著有《频罗庵遗集》《频罗庵论书》等。",[3383,38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a90b60fcb9904bef6492bb19c72e1.jpg",[],{"id":20041,"slug":20042,"title":20043,"dynasty":145,"author":8923,"museum":73,"description":11214,"tags":20044,"thumbUrl":20045,"material":920,"size":921,"collection":61,"collections":20046,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241434,"zhi-xiu-min-zha-heng-he-shao-ji-241434","致秀民札横",[38,7,1495,27,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52db119fe69ec711d5eee86c00f7a065.jpg",[],{"id":20048,"slug":20049,"title":20050,"dynasty":145,"author":20051,"museum":73,"description":20052,"tags":20053,"thumbUrl":20055,"material":920,"size":921,"collection":61,"collections":20056,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":20057},241399,"bai-hua-zhou-chun-qing-qi-jue-zhou-ruan-yuan-241399","白花洲春晴七绝轴","阮元","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[38,7,57,58,28,404,20054,1951,884,6589,376],"城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc7ecaab75e3b90d8efb1dc2be883d5.jpg",[],"FF9800",{"id":20059,"slug":20060,"title":20061,"dynasty":145,"author":20062,"museum":73,"description":20063,"tags":20064,"thumbUrl":20065,"material":920,"size":921,"collection":61,"collections":20066,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241371,"jie-lu-tian-ma-fu-zhou-shen-quan-241371","节录天马赋轴","沈荃","沈荃（1624～1684），字贞蕤，号绎堂，别号充斋，华亭（今上海松江）人。顺治九年探花，授编修，累官至翰林院侍读学士、礼部侍郎，卒谥文恪。学行醇洁，书法尤有名。他工书法，宗法米芾、董其昌，是康熙年间最重要的书法家之一。",[57,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f50f0aa2948f6984146293e0a4601c8.jpg",[],{"id":20068,"slug":20069,"title":20070,"dynasty":18,"author":3424,"museum":73,"description":20071,"tags":20072,"thumbUrl":20073,"material":920,"size":921,"collection":61,"collections":20074,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},241368,"qi-lv-shi-zhou-wang-chong-241368","七律诗轴","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。",[25,38,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a466a34a0ee5f31974a68a6e6832c42.jpg",[],{"id":20076,"slug":20077,"title":8081,"dynasty":145,"author":13793,"museum":73,"description":20078,"tags":20079,"thumbUrl":20081,"material":196,"size":61,"collection":62,"collections":20082,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241321,"qi-lv-zhou-liang-guo-zhi-241321","梁国治（1723—1786），清代书法家，字阶平，号瑶峰，一号丰山，又号梅塘，浙江会稽（今绍兴）人。\n乾隆十三年（1748）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书。以经术勤吏治，清俭自守，好学爱才，治事敬慎缜密。有《敬思堂文集》。曾充任《四库全书》副总裁。卒谥文定。\n梁国治，清朝大臣。清代上虞中塘梁巷（又说为浙江会稽，今绍兴）人。天资聪颖，博通经史，工制艺。乾隆十三年中状元，先授编修，后充日讲起居官、国子监司业。二十一年接任广东道员二十五年，移署粮驿道。因政绩卓著，擢督察院左副都御史、吏部左侍郎。广东总督杨廷璋追论其在署粮驿道时失察家人舞弊，被夺职。后起授山西冀宁道，迁江苏学政、湖南布政使、湖北巡抚。乾隆三十四年（1769），署湖广总督，兼荆州将军。赈济灾民。三十六年，移湖南巡抚。从征金川，治军械，造弹药，筹军费，业绩卓著。三十八年召还，命在军机处行走。次年授户部侍郎，迁户部尚书，四十八年，协办大学士，五十年，累迁至东阁大学士兼军机大臣、户部尚书，并先后任广东、江西、顺天乡试正考官，又充任过《四库全书》副总裁。平生治事缜密，不徇私情，廉政清俭，俸入随手即尽。乾隆下谕赞称其“品学端醇，小心谨慎，扬历中外”。工书法，著有《敬思堂文集》。卒于乾隆五十一年，赠太子太保，谥文定。",[57,7,38,58,27,32,20080,82,29,117],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982a86984c6fb1ab11ebf061f12708d3.jpg",[62],{"id":20084,"slug":20085,"title":20086,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":20087,"thumbUrl":20088,"material":920,"size":921,"collection":61,"collections":20089,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241182,"ming-wen-zheng-ming-shou-zha-wen-zheng-ming-241182","明文徵明手札",[23,38,7,1698,1495,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c98196188bd1c8af15ea72a6627650.jpg",[],{"id":20091,"slug":20092,"title":20093,"dynasty":145,"author":20094,"museum":73,"description":20095,"tags":20096,"thumbUrl":20101,"material":920,"size":921,"collection":61,"collections":20102,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241166,"liang-qi-chao-qi-jue-shi-zhou-liang-qi-chao-241166","梁启超七绝诗轴","梁启超","梁启超（1873年2月23日—1929年1月19日），字卓如，一字任甫，号任公，又号饮冰室主人、饮冰子、哀时客、中国之新民、自由斋主人。广东省广州府新会县熊子乡茶坑村（今广东省江门市新会区茶坑村）人 。清朝光绪年间举人，中国近代思想家、政治家、教育家、史学家、文学家，戊戌变法（百日维新）领袖之一、中国近代维新派、新法家代表人物。 幼年时从师学习，八岁学为文，九岁能缀千言，17岁中举。后从师于康有为，成为资产阶级改良派的宣传家。维新变法前，与康有为一起联合各省举人发动“公车上书”运动，此后先后领导北京和上海的强学会，又与黄遵宪一起办《时务报》，任长沙时务学堂的主讲，并著《变法通议》为变法做宣传。\n戊戌变法失败后，与康有为一起流亡日本，政治思想上逐渐走向保守，但是他是近代文学革命运动的理论倡导者。逃亡日本后，梁启超在《饮冰室合集》《夏威夷游记》中继续推广“诗界革命”，批判了以往那种诗中运用新名词以表新意的做法。在海外推动君主立宪。辛亥革命之后一度入袁世凯政府，担任司法总长；之后对袁世凯称帝、张勋复辟等严词抨击，并加入段祺瑞政府。他倡导新文化运动，支持五四运动。其著作合编为《饮冰室合集》。\n1929年1月19日，梁启超在北京协和医院溘然长逝，终年56岁。",[38,57,7,58,20097,20098,4188,623,20099,20100],"东海","红桑","潮","酒城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26abdd14f264b99622848f1af842c8d4.jpg",[],{"id":20104,"slug":20105,"title":18881,"dynasty":18,"author":15652,"museum":73,"description":20106,"tags":20107,"thumbUrl":20108,"material":920,"size":921,"collection":61,"collections":20109,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241148,"wu-lv-shi-zhou-fang-yi-zhi-241148","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[3018,38,24,25,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e0384aede683fc36a175b3449a11cb.jpg",[],{"id":20111,"slug":20112,"title":20113,"dynasty":91,"author":20114,"museum":73,"description":20115,"tags":20116,"thumbUrl":20117,"material":196,"size":61,"collection":62,"collections":20118,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241107,"xing-ti-qian-feng-shi-juan-liu-bing-241107","行题嵌峰诗卷","刘昺","刘昺（1199—1277年），祖籍宁州安定（今甘肃省宁县南义）。生当金元交替时代，后成为元朝疆臣。元睿宗（成吉思汗四子拖雷）攻灭金国时，与金朝河南从事龚忠归降，因受赏识而招赘东宫蒲察二公主，命佩索鞑，成为皇帝的信臣",[56,24,25,26,7,38,58,27,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb463bb13665fc5877deda78f05816b95.jpg",[62],{"id":20120,"slug":20121,"title":20122,"dynasty":18,"author":20123,"museum":73,"description":20124,"tags":20125,"thumbUrl":20126,"material":920,"size":921,"collection":61,"collections":20127,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},241094,"xing-shu-shou-zha-yang-yi-qing-241094","行书手札","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 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苏州府长洲（今江苏省苏州市）人。明末清初诗人、戏曲家，曾被顺治誉为“真才子”，康熙誉为“老名士”。\n尤侗为顺治三年（1646年）副榜贡生，之后参加会试屡试不第。顺治九年授永平（今河北卢龙）推官。顺治十三年（1656年）春，杖责骄横旗丁后，反遭弹劾，被降二级调用。因此愤然辞官，返回故里。此后，居家先后创作《读离骚》《钧天乐》《吊琵琶》《桃花源》《黑白卫》《清平调》。康熙十八年（1679年），举博学鸿儒，授翰林院检讨，参与修《明史》。康熙二十二年（1683年），告老归家。康熙四十二年（1703年），康熙帝南巡，晋官号为侍讲。次年逝世，享年八十七岁\n尤侗在诗、文、词、曲等多个领域均有建树。他论诗、论文尚性情、尚真。 尤侗影响最大的是曲。主张能为曲者方能为诗词，见解独到。他的戏曲创作融史识、议论、曲唱于一炉，为顺治帝所赏识。 尤侗著作浩繁，大都收入《西堂全集》61卷和《余集》共135卷中。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2426ddc1ba01972399dc433b6dff91.jpg",[62],{"id":20337,"slug":20338,"title":14325,"dynasty":18,"author":20339,"museum":8590,"description":20340,"tags":20341,"thumbUrl":20342,"material":165,"size":61,"collection":62,"collections":20343,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},240028,"zi-shu-shi-juan-li-dong-yang-240028","李东阳","明李东阳行草自书诗卷，该卷作于正德八年（1513年），作者时年67岁。所作的诗有《钱塘江潮歌》、《西湖春晓图》、《清明日西庄作》、《城西省墓归过赵生园池二首》、《独酌二首》、《一醉二首》。这些诗除《钱塘江潮歌》（原名为《钱塘江潮图·为乔少卿希大作》）及《西湖春晓图》（原名为《题湖山春晓图》）已收入《怀麓堂全集》外，其余的诗均未见辑集。",[23,38,7,26,1698,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949fe8a4fe96c34611bb4dece97462ee.jpg",[62],{"id":20345,"slug":20346,"title":18881,"dynasty":145,"author":20347,"museum":73,"description":20348,"tags":20349,"thumbUrl":20350,"material":196,"size":61,"collection":62,"collections":20351,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},240026,"wu-lv-shi-zhou-pan-tang-240026","潘棠","潘棠（？－？），字希召，直隶宁国府太平县人，湖广辰州卫军籍，明朝政治人物。\n湖广乡试第五十一名举人。弘治十八年（1505年）中式乙丑科三甲第一百四十名进士\n曾祖潘九成；祖父潘镛；父潘汰，正七品散官。母傅氏",[56,24,25,57,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aecde9661120d4d4020dd7a9340f1aa.jpg",[62],{"id":20353,"slug":20354,"title":20355,"dynasty":145,"author":2545,"museum":73,"description":20356,"tags":20357,"thumbUrl":20358,"material":61,"size":61,"collection":62,"collections":20359,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239992,"zi-shu-shi-zhou-hua-yan-239992","自书诗轴","华喦（1682—1756年），字秋岳，号新罗山人、东园生、布衣生等，福建上杭人，清代画家。擅画人物、山水，尤精花鸟、草虫走兽，重视写生，构图新颖，所绘的形象生动多姿。时用枯笔干墨淡彩，敷色鲜嫩不腻，别树一帜，对清中叶以后的花鸟画影响甚大。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccee985cfca50f9f69b8d1c6af755e6a.jpg",[62],{"id":20361,"slug":20362,"title":20355,"dynasty":145,"author":20363,"museum":73,"description":20364,"tags":20365,"thumbUrl":20366,"material":61,"size":61,"collection":62,"collections":20367,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239991,"zi-shu-shi-zhou-fang-da-you-239991","方大猷","[清]（一五九七―？）字欧余，号允升，浙江乌程（今湖州）人，贰臣。明崇祯十年（一六三七）进士。降清，官山东巡抚。山水学董，间为倪、黄，多溼笔，善书、工诗。卒年八十余。",[38,7,57,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddf4c98e63a4e6d692b9a27eccba83f.jpg",[62],{"id":20369,"slug":20370,"title":20371,"dynasty":145,"author":20372,"museum":73,"description":20373,"tags":20374,"thumbUrl":20375,"material":61,"size":61,"collection":62,"collections":20376,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239942,"ying-he-qi-yan-lian-ying-he-239942","英和七言联","英和","英和（1777～1840），初名石桐，字定甫、树琴，号煦斋、梦禅居士，满州正白旗人。德保子。乾隆五十八年进士，授编修，道光二年由户部尚书授协办大学士、步军统领、军机大臣。道光七年革职，赏二品，授热河都统。藏书甚富。工书法，与成亲王、刘墉齐名当时。",[25,38,2251,57,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2f74d0b89543bddfc753305f2ad9ff.jpg",[62],{"id":20378,"slug":20379,"title":16269,"dynasty":145,"author":339,"museum":73,"description":2168,"tags":20380,"thumbUrl":20381,"material":920,"size":921,"collection":61,"collections":20382,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239879,"shi-ju-zhou-zheng-ban-qiao-239879",[38,57,7,3321,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3825c8688393765f47b4fa86c9f6a51.jpg",[],{"id":20384,"slug":20385,"title":20386,"dynasty":145,"author":20387,"museum":73,"description":20388,"tags":20389,"thumbUrl":20390,"material":61,"size":61,"collection":62,"collections":20391,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239813,"fei-lu-pan-gu-qi-quan-ge-feng-chun-quan-ye-xu-xiong-239813","飞录盘古七泉歌奉春泉页","徐熊","此作为行书尺牍，行笔灵动婉转，牵丝映带间尽显随性舒展之态。章法纵有列而横无矩，行气贯通悠然，墨色枯湿浓淡富于层次，晕染出朴拙古雅的质感。笔墨随着诗文韵律跌宕起伏，将酬赠的温厚情谊藏于线条流转之中，既有文人书卷的清雅风神，又暗含沉静内敛的笔墨张力。整作简淡疏朗，尽显旧时文士日常尺牍的随性雅致，文与墨相融相合，在方寸间晕开从容温雅的文人意趣。",[25,7,58,38,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fcb557ca0771c25effbf9e506520d.jpg",[62],{"id":20393,"slug":20394,"title":20395,"dynasty":145,"author":1523,"museum":73,"description":7508,"tags":20396,"thumbUrl":20397,"material":920,"size":921,"collection":61,"collections":20398,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},239787,"san-xi-tang-zhi-bian-qian-long-239787","三希堂纸匾",[38,7,58,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5140ecb2c68b79501ee39619a90d59.jpg",[],{"id":20400,"slug":20401,"title":20402,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":20403,"thumbUrl":20404,"material":61,"size":61,"collection":61,"collections":20405,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239727,"zhang-zhou-wen-shi-chi-du-ce-shi-zhi-tie-wen-zheng-ming-239727","长洲文氏尺牍册-使至帖",[38,7,209,58,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da403c3213fd2371c586db959c7d0a9.jpg",[],{"id":20407,"slug":20408,"title":20409,"dynasty":91,"author":440,"museum":106,"description":20410,"tags":20411,"thumbUrl":20412,"material":658,"size":20413,"collection":62,"collections":20414,"showCount":309,"zanCount":534,"manualWeight":11,"mainColor":46},239668,"san-duan-juan-zhao-meng-fu-239668","三段卷","释文：\n首段：昔者圣人之作《易》也，幽赞于神明而生蓍，参天两地而倚数，观变于阴阳而立卦，发挥于刚柔而生爻，和顺于道德而理于义，穷理尽性以至于命。大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫鉴藏印。\n首段节录《周易·系辞》，署款：“大德九年十月十一日谒介真馆，为南谷尊师书此章。弟子赵孟頫。”钤“赵氏子昂”印。书于元大德九年（1305年），作者时年52岁。\n二段：玄都坛歌。故人昔隐东蒙峰，已佩含景苍精龙。故人今居子午谷，独在阴崖结茅屋。屋前太古玄都坛，青石漠漠常风寒。子规夜啼山竹裂，王母昼下云旗翻。知君此计成长往，芝草琅玕日应长。铁锁高垂不可攀，致身福地何萧爽。大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。\n二段录杜甫《玄都坛歌》，署款：“大德十年正月十八日，南谷尊师过我车桥之馆。要写古诗，乃书此篇。弟子吴兴松雪道人赵孟頫书。”钤印同上。书于元大德十年（1306年），作者时年53岁。\n末段：白云从何来，乃在计筹山。山中老仙伯，翱翔白云间。结屋松竹里，开窗泉石边。焚香诵《道德》，清斋降神仙。俯仰皆自得，洗心游太玄。我欲往从之，规买山下田。艺药扫白发，栽桃映红颜。庶几林下意，期了区中缘。丹成从师去，笑拍洪崖肩。 琼山发天秀，珠泉表地灵。柔荑吐丹葩，乔林标绛英。酌醴吸冲和，汲涧漱甘清。石门开洞门，木龙走岩扃。清飚一时至，四座浮幽馨。阆风何必远，世尘空自冥。从游当有期，淹留讵无成。左手撷紫芝，右手采黄精。振衣陟崇冈，遐观散神情。长啸烟雾里，满空鸾鹤声。吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。前诗似更有二句，然老昏忘之矣。\n末段录自作诗《寄题杜尊师白云庵琼秀亭》二首，署款：“吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。”钤印亦同前。书于元延祐六年（1319年），作者时年66岁。\n赵孟頫喜与释道人物游，执弟子礼师事者，则为僧人中峰明本与道士南谷真人。南谷名杜道坚，曾住持杭州宗阳宫等道观。本卷前二段即为南谷而书；末段则系南谷殁后为其弟子袁安道而书，亦寓纪念南谷之意，是研究赵氏生平交谊的重要资料。以书法论，三段皆精心用意之作。首段奔放跌宕，二段妍润隽逸，末段遒健苍古，堪称赵氏中、晚年行书的代表作品。卷前有元人乔宇篆书引首；尾纸有元陈旅、张雨、杜本、揭傒斯、张翥等12人及明项元汴所作题识。卷中钤有明项元汴，清李肇亨、梁清标及乾隆、嘉庆、宣统内府章。",[23,56,24,25,26,38,7,27,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89b0144482e38292a3052899d495ae76.jpg","首段纵31.1厘米，横101.5厘米，二段纵31.1厘米，横100.2厘米。三段纵29.9厘米，横103厘米",[62],{"id":20416,"slug":20417,"title":20418,"dynasty":91,"author":20419,"museum":106,"description":20420,"tags":20421,"thumbUrl":20422,"material":196,"size":20423,"collection":62,"collections":20424,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":638},239626,"an-he-tie-duan-tian-you-239626","安和帖","段天祐","释文：\n天佑顿首书奉起善贤契友执事：小林回，领书，承近候安和为喜。贱疾回杭又两发矣。二月上旬后又苦痎疟，寒暑交战，狼狈不可言。此岂俗谚所谓横赛者耶。书籍许以宽限，甚感。张子昭近来杭，解后陈思复书铺内所假书，亦曾亲与之言，明当并起善者同纳矣。师夔画帧不敢有忘，已嘱其人平昔厚善者，俟其至，即从求之。臈糟谨奉一坛，泥头上有题识。香楠木欲作少器皿，截开作正白色者不可用，烦更为物色。如沉香颜色者，价钱比前买者加贵无伤。因官窑季子良有行，灯下草草奉此。春寒祈善爱。不具。天佑顿首再拜。\n此帖钤有项元汴、安岐、何子彰、谭敬、完颜景贤、赵叔彦等人鉴藏印记。《墨缘汇观》、《三虞堂书画目》著录。\n这是段天祐写给好友起善的书信，内容谈及自己的诸多病况、归还起善等人书籍、为起善向师夔求画、请起善为自己物色木料等等。信里涉及起善、张子昭、师夔等人。\n此帖从米芾书风中取法，又具有元人特有的精致与平和。",[38,7,26,353,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd0117ba7b423af562fc88c8d4a99c.jpg","纵27.3厘米，横54.5厘米",[62],{"id":20426,"slug":20427,"title":20428,"dynasty":91,"author":20429,"museum":106,"description":20430,"tags":20431,"thumbUrl":20432,"material":196,"size":20433,"collection":62,"collections":20434,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239619,"heng-tang-tie-ye-zhao-lin-239619","衡唐帖页","赵麟","释文：\n今早拟欲专造，缘执事昨晚云，大尹兄到弊舍，所以不果，而专俟舟从之来临耳。不然安敢坐待，以速罪也。伏希情恕不具。赵麟拜启。衡唐征君先生。衡唐先生。赵麟完。\n本幅鉴藏印有“安岐仪周书画之章”、“无恙”、“樵李氏鹤梦轩珍藏记”、“景贤”等16方。\n赵孟頫翰墨之妙名贯一代。其孙赵麟虽无盛名，但书翰皆出规入矩，笔意流动，洒落超逸，亦不失家法。正如明陶宗仪《书史会要》所言：“麟书更益以工，便可造其父之域。”",[23,25,38,7,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0aab4d637be25f30f819f1430d4e09.jpg","纵28.2厘米，横25.2厘米",[62],{"id":20436,"slug":20437,"title":20438,"dynasty":91,"author":3362,"museum":106,"description":20439,"tags":20440,"thumbUrl":20441,"material":4375,"size":20442,"collection":62,"collections":20443,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239616,"shi-jian-tie-lu-guang-239616","诗简帖","《诗简帖》释文（略）\n帖上钤有项元汴、孙承泽、安岐、完颜景贤、何厚琦、赵叔彦、张爰、谭敬诸家印记。\n这两首诗并信笺是写给“克用先生”即虞堪的。虞堪是南宋名相雍国公虞允文的八世孙。虞雍公曾有古剑一柄，为人叹赏，陆广第一首诗就是咏这把剑的，同时追忆虞雍公对社稷朝廷的忠勤业绩。元代文人杨维桢、倪瓒、秦文仲等人亦有咏此剑的诗篇。第二首诗陆广记述与虞堪愉快而难忘的相会。此篇书法师《曹娥碑》，风格瘦硬清劲。\n《墨缘汇观》、《三虞堂书画目》著录。",[23,38,7,58,352,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6947843ad4bda8ffbb8096f4970ca09a.jpg","纵29.7厘米，横32.4厘米",[62],{"id":20445,"slug":20446,"title":20447,"dynasty":18,"author":20448,"museum":106,"description":20449,"tags":20450,"thumbUrl":20451,"material":12145,"size":20452,"collection":62,"collections":20453,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239612,"qian-zi-bi-yin-zha-juan-zhang-jun-239612","遣子毕姻札卷","张骏","释文：\n北京遣第三子云鹤还松江毕姻，与唐亲家书。维时野梅呈腊，宫柳回春，共谂晋国郡尊太亲家，阖闳宝聚前。天锡鸿庥，日臻燕祉。乐丘园而遯迹，藉诗酒以陶情。一别星标，五更岁籥，遥切一门婘爱，不胜千里之驰思。丹凤楼头，载笔叨依于日下，黄龙浦口，飞帆未得向江南。暑递往而寒递来，霎然过眼，男将婚而女将嫁，寔尔劳心。且小儿缪习夷书，滥赝冠带。而令爱素闲红女绣，宜施衿鞶言。念唐子方以来，世系绵绵乎瓜瓞；张公瑾而下，家声秩秩乎冠缨。幸谐二姓之天缘，获缔百年之星眷。珠冠结凤，少陪奠鹰之仪，尺素衔鱼，将遂乘龙之愿。计高明之雅度，礼虽薄而无嫌， 惟远大之后图，来期速而无缓，或符至愿，敢负深恩，岂草木之无知，当琼瑶之有报。麾留是望，鉴念不宣。又礼书一通，物状刑楮，陈之荪不赘，清河郡眷生张骏拜手。昼绣堂书。\n款下印“绿屋人仙”、“金紫清华”，引首印“世经科第”。鉴藏印钤“嘉兴唐翰题子冰书画记”、“德大审定”、“罗振玉印”等诸方。\n卷后有唐翰题、罗振玉题跋两则。\n此书是张骏致唐姓“亲家”的一封礼书，內容是让其子回松江（今上海）完婚，并送去了彩礼。\n张骏的书法时以狂草体著称，以他狂怪奔放的草书风格而论，此书则显得拘谨刻板得多。其书笔法精润，笔画起落轻重分明，使转灵便，呈现出圆润妍美、劲健潇洒的风韵。",[23,25,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36a4b5d65ccdac03ac2dfafd831cf29.jpg","纵24厘米，横230厘米",[62],{"id":20455,"slug":20456,"title":20457,"dynasty":91,"author":440,"museum":106,"description":20458,"tags":20459,"thumbUrl":20460,"material":196,"size":61,"collection":62,"collections":20461,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239593,"zhi-ji-zong-yuan-er-zha-juan-zhao-meng-fu-239593","致季宗源二札卷","赵孟頫，中国元代天才文学艺术家。他是宋朝王孙，自幼英机敏识，勤奋好学，青中年时代便在经史、文学、书画、金石、音乐诸方面取得极高成就，是著名的“吴兴八俊”之首。入元后，他被荐入朝，备受荣宠，仕至翰林学士承旨，荣禄大夫，富贵显赫，但对书法、绘画的研究与实践则从未暇怠，终于开生面，登高峰，力纠南宋晚期书坛画苑的积习，开启了一代新风，其影响之深广，同代诸大家无一可与比肩。\n赵孟頫的书法与他的绘画一样，不仅诸体兼擅，真、草、隶、篆都取得极高成就。特别是他的楷、行，更是力追晋唐，妙集众长，融通贯化，自成其潇洒隽美，朗润清华，既有古意又具今貌的“赵书”风韵。鲜于枢称“子昂篆、隶、真、行、颠草为当代第一”，应该是言出由衷的。\n赵氏书法流传不少，一是因为求索甚众书写勤快，一是历来受到珍视，得到妥善的保存。不过，他的书迹如今已大多归之于世界各大博物馆了，民间绝少留存。今春现身中国嘉德的赵书《致宗元总管札》便是近二十年来拍卖市场难得一见的赵孟頫手墨。",[23,38,25,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640a960cf1ed87720690f810e9c26c25.jpg",[62],{"id":20463,"slug":20464,"title":20465,"dynasty":91,"author":20466,"museum":106,"description":20467,"tags":20468,"thumbUrl":20469,"material":20470,"size":20471,"collection":62,"collections":20472,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239566,"shu-feng-ji-tie-ye-kang-li-nao-nao-239566","书奉记帖页","康里巎巎","释文：\n巎再拜奉记\n彦中州判贤友执事者，范涣卿所寄来绒大二帖，已领。前所托者望付便人来，甚幸。更望二香卓，其一小者（旁注“高尺余”3小字），欲几榻间放；其一大者，高博尺四尺可也。得坚实素木为之，妙！复望惠及诸样海味，有便寄下。辄恃知爱，故尔叨喋，仍恕干烦也。巎再拜。\n鉴藏印钤明项元汴“墨林祕玩”、李肇亨“槜李李氏鹤梦轩珍藏记”等。\n《奉记帖》是康里巎巎写给朋友叶彦中的一封信札，内容为托寄香桌、海味等物件之事。\n帖左下角有朱笔楷书小字3行，记录的是康里巎传略：“子山，康里氏，父不忽木，祖燕贞，世有功业。巎亦学士承旨。卒谥曰文忠。”\n此帖笔法颇类怀素，运笔疾速飞动，结体圆转婉畅，笔画清劲妍丽，字字自相牵绕而又不相互连带，展示出书家自己的个性和风格。",[38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59fe5c3ad7ecbb4d90a1b06f8943fa3.jpg","行草书，纸本","纵29.8厘米，横55.7厘米",[62],{"id":20474,"slug":20475,"title":20476,"dynasty":145,"author":20477,"museum":73,"description":20478,"tags":20479,"thumbUrl":20480,"material":920,"size":921,"collection":42,"collections":20481,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239499,"lv-bi-shan-shui-ce-lv-bi-239499","吕璧山水册","吕璧","此作为书画对开，右侧绘平远水色：浅滩岸柳扶风，枝叶含烟，湖面扁舟轻泛，渔人悠然。远山以淡墨晕染，虚实掩映，尽显江南水泽清旷空濛之致，笔墨秀润简约，意境幽寂淡远。左侧行书题诗，笔意疏朗俊逸，墨色浓淡相宜，诗境与画境呼应相合，将文人画诗画交融的意趣挥洒尽致，尽显清雅简淡的文人心境与审美意涵。",[24,25,209,27,29,37,376,884,81,32,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e148bed07c3295c76c3c1c3fd874cf.jpg",[42,155],{"id":20483,"slug":20484,"title":6144,"dynasty":145,"author":6145,"museum":73,"description":6146,"tags":20485,"thumbUrl":20486,"material":920,"size":921,"collection":61,"collections":20487,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},239407,"hua-niao-tu-ce-ma-yuan-yu-239407",[24,25,209,27,7,58,111,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd98384a56d762a78a7780fc0a630b24.jpg",[],{"id":20489,"slug":20490,"title":10544,"dynasty":145,"author":7544,"museum":73,"description":20491,"tags":20492,"thumbUrl":20493,"material":61,"size":61,"collection":61,"collections":20494,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},238762,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238762","此作以淡墨晕染出氤氲烟岚，高阁临水踞于浅丘之上，错落村居隐于疏林薄雾，左下角层岩叠翠，补足画面虚实章法。山石皴擦简淡轻柔，林木点染秀雅温润，尽显江南林泉的清逸悠然。\n\n左侧行书笔致舒展秀逸，诗画相映成趣，将闲隐居息的诗意融于咫尺册页，以极简笔墨铺陈出淡远空灵的山水意境，尽显清和雅致的中式林居意韵，把文人心中的幽居闲情晕染在笔墨之间。",[24,209,27,1594,29,33,150,34,35,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59b8ccb66a570f2f34df50afc214e30.jpg",[],{"id":20496,"slug":20497,"title":7543,"dynasty":145,"author":7544,"museum":73,"description":20498,"tags":20499,"thumbUrl":20500,"material":61,"size":61,"collection":61,"collections":20501,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},238709,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238709","此作用虚实相生之构，左侧层岩叠嶂、古木蓊郁，白衣策杖士人循山径徐行，林岫深邃尽显幽寂山居之致。右侧留白绘汀洲水榭，烟波澹澹，以虚衬实，极大拓宽了山水意境。\n笔墨苍秀雅正，以干笔皴擦勾勒山石肌理，墨色浓淡层叠晕染，将山林的浑厚华滋尽现笔底。题诗与画作相映，诗画交融，把古人耽爱丘壑、寄情林泉的隐逸雅趣，尽显无余。",[24,27,37,209,7,38,29,79,34,35,150,897,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2843021b7f9f4857ab24c33b0ecc002d.jpg",[],{"id":20503,"slug":20504,"title":20505,"dynasty":18,"author":220,"museum":73,"description":20506,"tags":20507,"thumbUrl":20513,"material":920,"size":921,"collection":61,"collections":20514,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},238560,"si-chao-xuan-zao-zhen-ce-ming-ren-han-shan-xiao-si-tu-ye-yi-ming-238560","四朝选藻贞册-明人寒山萧寺图页","此作用淡墨晕染山峦，以留白晕出山间空濛寒雾。枯木虬枝错落交织，不见半分新绿，将深冬寒山的荒疏冷寂铺陈眼前。山涧细流蜿蜒回环，愈发衬得林麓阒寂无声。层崖之上，梵寺隐于雾霭林峦间，遗世独立，禅意自生。\n\n搭配行书题诗，笔意清逸萧散，诗画相映，把踏雪寻寺、谈禅说笑的清逸图景藏于尺幅之间，将冬日山景的萧寒荒疏与古寺的空灵禅韵相融，勾勒出静穆淡远的幽寂意境，尽显冬日山林的空寂禅意。",[24,29,28,37,7,209,20508,20509,774,35,150,239,34,20510,20511,7258,20512,13543,58],"寒山","萧寺","寺庙建筑","秋冬意境","传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著有《种书堂遗稿》等。",[209,27,7,29,79,693,81,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ead96bc1ffc5bf506f5a5e573c082.jpg",[],{"id":20848,"slug":20849,"title":20850,"dynasty":145,"author":20851,"museum":106,"description":20852,"tags":20853,"thumbUrl":20854,"material":243,"size":61,"collection":61,"collections":20855,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},234301,"yu-mu-shang-xin-ce-shan-shui-ce-gao-cen-234301","娱目赏心册-山水册","高岑","盛唐诗人高适和岑参的合称，为盛唐边塞诗歌代表诗人的专称。但“高岑”并称，则始于他们的好友杜甫《寄彭州高三十五使君适、虢州岑二十七长史参三十韵》：“高岑殊缓步，沈鲍得同行。”说他们两人成名较晚，而才学堪比沈约、鲍照，原非专称\n高适、岑参的诗以“悲壮为宗”(胡应麟《诗薮》)。他们都积极进取，但长期功名失意。一再出塞谋求报国立功，对仕途坎坷和边塞生活有着深刻体验。所作主要以边塞战争、塞上风光和仕途艰难为题材，善于运用七言古诗等体裁，表现报国安边、治国安民的壮志和奋发进取的精神，或抒发怀才不遇、功业无成的悲愤。其诗意气豪迈，情辞慷慨，奇偶相生，手法多样。这是他们共同的地方。\n由于生活经历、个性、文学思想和渊源等差异，高适、岑参的诗又有重要区别。“高悲壮而厚，岑奇逸而峭”（王士禛《师友师传续录》）。高适善于反映战士和农民的疾苦，暴露现实，笔调严谨，直抒胸臆，以常语感人；岑参擅长讴歌胜利，描绘奇境，抒发豪情，寓情于景，以奇语动人。\n高、岑边塞诗成就最高。近人以“高岑”并称往往是因其边塞诗。同时，唐代边塞诗派也被称为“高岑诗派”，诗风相近的王之涣、王翰、王昌龄、崔颢、李颀等人均被列入此派。\n高适（700—765) ，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[24,25,209,27,37,7,58,29,177,33,3615,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":20857,"slug":20858,"title":857,"dynasty":18,"author":7894,"museum":73,"description":7895,"tags":20859,"thumbUrl":20860,"material":61,"size":61,"collection":61,"collections":20861,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},234268,"hua-hui-ce-qi-xun-234268",[23,24,25,209,27,7,58,119,120,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0033685bba334666ca8ac9ae54eca497.jpg",[],{"id":20863,"slug":20864,"title":12246,"dynasty":18,"author":12247,"museum":73,"description":12248,"tags":20865,"thumbUrl":20866,"material":61,"size":61,"collection":61,"collections":20867,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},234222,"shan-shui-juan-sun-zhi-234222",[23,24,25,26,29,27,28,37,178,34,292,3617,36,5036,2119,254,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":20869,"slug":20870,"title":20871,"dynasty":145,"author":1982,"museum":106,"description":20872,"tags":20873,"thumbUrl":20874,"material":722,"size":20875,"collection":61,"collections":20876,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,25,26,27,28,29,37,7,38,32,82,31,34,8489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":20878,"slug":20879,"title":20880,"dynasty":18,"author":18142,"museum":106,"description":20881,"tags":20882,"thumbUrl":20883,"material":722,"size":61,"collection":61,"collections":20884,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},234147,"xie-sheng-shu-hua-juan-wang-gu-xiang-234147","写生书画卷","王榖祥 （1501-1568），字禄之，号酉室，长洲（今江苏苏州）人。嘉靖八年（一五二九）进士，官吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不坠羲之献之之风，篆籀八体及摹印，并臻妙品。卒年六十八。",[23,24,25,26,27,6245,7,58,111,114,115,117,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea5c2be707b2e0f8af30540e90fe00f.jpg",[],{"id":20886,"slug":20887,"title":20888,"dynasty":18,"author":20889,"museum":106,"description":20890,"tags":20891,"thumbUrl":20892,"material":196,"size":61,"collection":61,"collections":20893,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,24,25,26,7,28,77,27,29,150,30,31,33,112,377,36,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":20895,"slug":20896,"title":20897,"dynasty":18,"author":479,"museum":106,"description":20898,"tags":20899,"thumbUrl":20900,"material":9334,"size":20901,"collection":61,"collections":20902,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[24,25,26,27,28,7,38,37,29,79,34,897,36,3407,1469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纵30.7厘米 横112.8厘米",[],{"id":20904,"slug":20905,"title":20906,"dynasty":145,"author":20907,"museum":73,"description":20908,"tags":20909,"thumbUrl":20910,"material":61,"size":61,"collection":61,"collections":20911,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},232820,"xi-jin-chun-feng-shu-fa-wang-shi-hong-232820","西禁春风 书法","汪士鋐","汪士鋐（1658年－1723年），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，授翰林院修撰，修纂《佩文韵府》、《全唐诗》、《渊鉴类函》等书。官至中允。书法与姜宸英并称“姜汪”。与笪重光、姜宸英、何焯并称康熙四大家。有《秋泉居士集》。",[23,25,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142c4b7f8bc573944d7f80ab0aba0dbf.jpg",[],{"id":20913,"slug":20914,"title":20915,"dynasty":145,"author":7738,"museum":73,"description":17378,"tags":20916,"thumbUrl":20917,"material":196,"size":61,"collection":61,"collections":20918,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},232681,"si-yan-shi-shan-mian-hong-yi-fa-shi-232681","四言诗扇面",[2579,25,38,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2096a8250d6b8c5c2abd663a75bd0a7e.jpg",[],{"id":20920,"slug":20921,"title":20922,"dynasty":145,"author":20923,"museum":73,"description":20924,"tags":20925,"thumbUrl":20926,"material":196,"size":20927,"collection":61,"collections":20928,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},232611,"shan-shui-ce-ye-dai-si-wang-232611","山水册页","戴思望","［清］字怀古，安徽休宁人。善鼓琴，能诗词，工书法。画山水宗法元人，峰峦林壑，精疏淡宕。每扁舟往来两浙、三吴间，遇佳山水辄留峦不忍去。善谐笔，有时旬日不语，人以为痴。构风疾而殁。《国［清］朝画徵录、桐阴论画、倚玉堂诗话、画传编韵、昭代尺牍小传》",[24,27,29,209,32,79,177,7,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675dbe42f36407113547d54da0288d21.jpg","25 x 32.8cm",[],{"id":20930,"slug":20931,"title":20932,"dynasty":91,"author":440,"museum":1685,"description":20933,"tags":20934,"thumbUrl":20935,"material":196,"size":20936,"collection":61,"collections":20937,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},232592,"you-jun-si-shi-ba-zhao-meng-fu-232592","《右军四事》跋","赵孟頫的书法，成就最高的是楷书和行书。传世的楷书名作有《胆巴碑》、《湖州妙严寺记》、《仇锷碑》等；小楷有《汲黯传》等；行书作品不少，如《洛神赋卷》、《赤壁二赋帖》、《定武兰亭十三跋》等。\n他作品最主要的特点，无论楷书还是行书，都很工整，四平八稳。温和、典雅是他书法的主要特色。虽然他对晋人书法下过很深的工夫，但晋人书法中精妙的用笔，在他的作品中几乎没有体现；或者说，他将晋人笔法的精微之处大大加以简化了。尽管如此，他的作品总是洋溢着一种高贵、典雅的气息。这完全是他深厚的学问、修养所致。\n此帖为赵孟頫行书《右军四事》卷，纸本，24.4×117cm，美国大都会博物馆藏。他主张遵从古法，认为书法应用笔为上，所以勤摹古人，探究笔法。赵孟頫的书法深受东晋书法家王羲之的影响，《右军四事》卷可以看出赵孟頫对王羲之的虔诚。",[56,24,25,26,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe692d3c2e529a9ae742f8b2f7109e4b0.jpg","24.4×117cm",[],{"id":20939,"slug":20940,"title":20465,"dynasty":91,"author":20466,"museum":106,"description":20467,"tags":20941,"thumbUrl":20942,"material":196,"size":20471,"collection":61,"collections":20943,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},231394,"shu-feng-ji-tie-ye-kang-li-nao-nao-231394",[23,25,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82986a2819a3a47a8d0e209f24c1e431.jpg",[],{"id":20945,"slug":20946,"title":20947,"dynasty":7039,"author":220,"museum":73,"description":20948,"tags":20949,"thumbUrl":20950,"material":920,"size":921,"collection":61,"collections":20951,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":932},230810,"liu-shi-can-juan-yi-ming-230810","刘氏残卷","此卷小行书简净松灵，结体萧散天然，暗合晋唐书风的清隽散淡。纸页斑驳泅渍，残损之间更添古旧沧桑，却无损笔墨间的林下清韵。\n书者落笔毫无雕琢匠气，顺着笔势自然游走，将玄学语录写得简远疏放。字里行间浸着旧世文人的隐逸襟怀，仿佛可见执笔人展卷挥毫时，神游物外的澹泊情态，随性之中藏着沉静的风雅意趣。",[25,26,38,7,58,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d4e32fb79a9047442fc592223fd7c8.jpg",[],{"id":20953,"slug":20954,"title":20955,"dynasty":7039,"author":220,"museum":73,"description":20956,"tags":20957,"thumbUrl":20958,"material":920,"size":921,"collection":61,"collections":20959,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},230556,"ba-jiao-ye-yu-tu-ri-ben-shi-ting-shi-dai-yi-ming-230556","芭蕉夜雨图-日本室町时代","轻烟晕染远山淡影，茅庐偎依芭蕉古松，板桥隐没于空蒙水雾间，将秋夜听雨的清寂铺展于卷上。湿冷的潮气仿佛浸透纸面，夜雨敲打着芭蕉叶，声声都揉着羁旅幽愁。\n\n整幅以画载情，上部题满唱和诗书，笔墨错落间，将寒宵孤坐的怅惘与同侪酬和的共情融为一体，书画相映，把蕉下听雨的清冷意绪，晕染得愈发绵长醇厚。",[23,24,25,27,37,7,38,58,29,1472,377,621,376,884,328,495,9084,9308,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff965d35070656840bce03fd2737af2ec.jpg",[],{"id":20961,"slug":20962,"title":20963,"dynasty":145,"author":20964,"museum":73,"description":20965,"tags":20966,"thumbUrl":20967,"material":61,"size":61,"collection":61,"collections":20968,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},230291,"lin-lu-bao-shan-hua-ce-li-shan-230291","临陆包山画册","李善","这幅小品设色清雅柔润，淡赭晕染豆荚，将饱满绵密的肌理尽显，淡蓝铺陈叶片，墨线细勾叶脉，枯笔写就的枝蔓苍劲灵动。蝈蝈工细写实，翅脉纤毫毕现，触须轻颤欲动，将秋虫的鲜活之态凝于纸面，写意的花果与工致的草虫相映成趣。\n\n题诗与画面呼应，诗书印相融晕染出文人雅趣。画师将秋日篱边小景的生机尽数铺展，既有写生的真切生动，又不失写意的淡朴雅致，寥寥笔墨间揽尽清秋闲情，尽显传统花鸟小品的隽永意韵。",[24,25,76,28,27,210,19715,1172,7591,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3038fe2fed241b071c06cc83341136e1.jpg",[],{"id":20970,"slug":20971,"title":468,"dynasty":145,"author":2545,"museum":73,"description":20972,"tags":20973,"thumbUrl":20974,"material":61,"size":61,"collection":61,"collections":20975,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},230183,"shan-shui-tu-hua-yan-230183","此作笔致秀逸清灵，以淡赭晕染层叠崖壁，勾勒垂落飞泉，孤松虬枝斜倚崖侧，疏朗带风。画中高士凭岩端坐，临流观瀑，尽显林泉高致。远景山峦淡晕朦胧，留白铺就空寂辽远的天地，将山野幽居的萧散之趣尽数铺陈。四周题跋密布，书画交融，更添文雅古意，把文人耽爱林泉、静悟山水的隐逸心境藏入尺幅之间，淡远空灵，尽显幽寂出尘的林下之风，将山水清旷与书卷雅韵相融，尽显高古清幽的隐逸之美。",[23,24,25,28,37,7,38,29,79,377,192,2452,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb52b9cce7c0aec2faa81b9a65f6fa2.jpg",[],{"id":20977,"slug":20978,"title":20979,"dynasty":18,"author":20980,"museum":73,"description":20981,"tags":20982,"thumbUrl":20983,"material":61,"size":61,"collection":61,"collections":20984,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图","冷谦","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[23,24,25,26,28,77,223,7,29,150,79,34,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":20986,"slug":20987,"title":20988,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":20989,"thumbUrl":20990,"material":920,"size":921,"collection":61,"collections":20991,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},228863,"wu-kuan-ti-ti-yuan-yu-zi-zhi-shu-xiang-yuan-bian-ti-tao-wu-liu-shi-wen-zheng-ming-228863","无款题；题元俞紫芝书；项元汴题陶五柳诗",[24,25,209,58,2226,7,2031,223,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e96d881414ac4716f41f771645b5a8.jpg",[],{"id":20993,"slug":20994,"title":20995,"dynasty":18,"author":3161,"museum":73,"description":20996,"tags":20997,"thumbUrl":20998,"material":61,"size":61,"collection":61,"collections":20999,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},228399,"chi-bi-sheng-you-tu-juan-zhu-yun-ming-228399","赤壁胜游图卷","开卷是平远江景，淡墨晕染汀渚林峦，茅庐隐于烟霭疏树之间，清寂萧散，暗合夜游的幽旷意韵。后段行书铺陈全篇，开篇浓墨榜书造势，笔力沉厚雄奇，随后行笔渐趋舒展灵动，提按藏枯涩润秀之变，行气绵密贯通，将泛舟叩舷、酾酒临江的旷达心境，藏于笔锋流转之中。\n\n书画合璧，文辞、笔墨与画意融为一体，把夜游赤壁的浩渺襟怀，化作纸上烟岚与笔底波澜，尽显萧散狂逸的文人意趣，是书画互衬的精妙之作。",[23,24,25,26,27,7,38,29,32,34,58,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b52125cd618b3e7941437626cd79b.jpg",[],{"id":21001,"slug":21002,"title":21003,"dynasty":18,"author":21004,"museum":73,"description":21005,"tags":21006,"thumbUrl":21012,"material":920,"size":921,"collection":61,"collections":21013,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},228347,"huang-zhou-zhu-lou-ji-shen-zao-228347","黄州竹楼记","沈藻","沈藻，字凝清，一字仲藻，华亭（今松江属上海市）人，明代书法家沈度之子。",[38,7,58,21007,376,3977,11236,495,112,1821,1456,21008,494,377,2207,21009,9308,20054,21010,21011,405],"竹楼","茶","雁","滩濑","素月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f132ee553de624622d081448aee353c.jpg",[],{"id":21015,"slug":21016,"title":21017,"dynasty":18,"author":7852,"museum":53,"description":21018,"tags":21019,"thumbUrl":21020,"material":407,"size":16684,"collection":61,"collections":21021,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},228339,"zeng-zheng-gong-du-shi-wang-duo-228339","赠郑公度诗","金山顶鸿飞阁。秋山晚更青，垂老探玄冥。 漠漠朝多雨，苍苍夜降灵。 菊醑无客醉，萧韵与猿听。 辗转怀萧爽，银河展幔亭。 告大次寒阳山趣 懒人山是与，长夏触心光。 已见碧桃实，空思紫草芳。 辑书蛇性善，抚轸鹤音凉。 劝汝勤鞅掌，白头养石房。 上烟欲行 何道能留汝，生涯正未穷。 围城榆鼓稻，花风叶雨戎。 漕自江淮转，人才邹鲁通。 片帆安可问，海气远天空。 阳山郊 浞浞寻香岫，傍傍过水门。 江帆（安何）所事，村柳自无喧。 客况空高埠，莺音似故园。 不闻何处去，悦悟在岩根。 石惠召自浒墅入大石山。登象鼻诸峰。 牢落江湖客，偏将梵服寻。 苟非同采药，不易有幽心。 蔚荟消诸霭，琴书閟一岑。 足音无亦好，蚓食保芳林。 崇祯皇帝十六载，寓孟庄山志园灯下，书狂作数首，公度郑词丈正之。 孟津王铎年五十二岁笔",[23,38,1014,7,26,27,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e866cd7553ecb789aa57fe9c56edd66.jpg",[],{"id":21023,"slug":21024,"title":21025,"dynasty":91,"author":21026,"museum":73,"description":21027,"tags":21028,"thumbUrl":21029,"material":61,"size":61,"collection":61,"collections":21030,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},228178,"zhi-chen-zhi-shu-zha-liu-ji-yi-228178","致陈植书札","刘继益","这帧手札行书随性疏朗，带着元代文人特有的散逸意趣。书写毫无刻意雕琢之感，起笔灵动率意，收笔朴拙厚重，枯湿浓淡随兴生发，字势顾盼有情，牵丝映带间尽显书写时松弛自然的心境。\n\n作为日常尺牍，笔墨随着心绪流转，将家常絮语落于笔端，亲昵真挚的思绪藏在笔墨细节之中。纸面带着岁月晕染的痕迹，为这件小品更添古雅质感，既承载着尺牍的温度，也尽显元代行书简淡萧散的美学品格，是文人以书寄情的典型佳作。",[23,38,7,27,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1967c732a38e778625d4b69409578904.jpg",[],{"id":21032,"slug":21033,"title":21034,"dynasty":51,"author":220,"museum":73,"description":21035,"tags":21036,"thumbUrl":21038,"material":61,"size":61,"collection":61,"collections":21039,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[23,24,25,1697,209,2579,27,28,418,709,21037,872,7,58],"莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":21041,"slug":21042,"title":21043,"dynasty":51,"author":220,"museum":73,"description":21044,"tags":21045,"thumbUrl":21046,"material":61,"size":61,"collection":61,"collections":21047,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,56,24,25,1244,2579,28,7,37,1594,29,150,3615,34,179,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":21049,"slug":21050,"title":21051,"dynasty":51,"author":8799,"museum":73,"description":21052,"tags":21053,"thumbUrl":21054,"material":61,"size":61,"collection":61,"collections":21055,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},227760,"shou-zha-yi-tong-wu-ting-jiu-cang-zhu-xi-227760","手札一通(吴廷旧藏)","从“收藏”角度而言，“书札”固然是“尺牍”之义，却是指广义的，内中是包括了一些笔记、题辞、手稿、札记、公牍、讣告、收条、请帖、名刺、板报等等种种纷繁的“杂多”形式。换言之，“书札”是纷繁的搜藏项目的一种概括。",[23,38,7,58,1495,51,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca39154fd519ae1621c215f93bcd271.jpg",[],{"id":21057,"slug":21058,"title":21059,"dynasty":51,"author":21060,"museum":73,"description":21061,"tags":21062,"thumbUrl":21063,"material":61,"size":61,"collection":61,"collections":21064,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":638},227297,"shu-guang-zong-ti-yang-bu-zhi-hong-mei-tu-shi-li-zong-227297","书光宗题杨补之红梅图诗","理宗","宋理宗赵昀（1205年1月26日－1264年11月16日），初名赵与莒，后改名赵贵诚，绍兴府山阴县（今浙江绍兴）人，宋朝第十四位皇帝（1224年9月17日—1264年11月16日在位），南宋第五位皇帝。宋太祖赵匡胤十世孙，赵德昭九世孙。 [1-2]\n嘉定十五年（1222年），被立为宋宁宗弟沂王嗣子，赐名贵诚。嘉定十七年（1224年），立为宁宗皇子，赐名昀。 [3] 宋宁宗死后，赵昀被权臣史弥远拥立为帝。赵昀继位的前十年都是在权相史弥远挟制之下，自己对政务完全不过问，自己则尊崇理学，纵情声色，直到绍定六年（1233年），史弥远死后，赵昀才开始亲政。他亲政之初立志中兴，采取罢黜史党、亲擢台谏、澄清吏治、整顿财政等改革措施，史称“端平更化”。端平元年（1234年），派兵联蒙灭金。同年出兵收复三京，但以失败告终，次年（1235年）蒙古大汗窝阔台以宋朝背约为由，全面侵宋，持续四十多年的宋蒙战争爆发。晚年赵昀又沉湎于醉生梦死的荒淫生活中，朝政相继落入丁大全、贾似道等奸相之手，国势急衰。\n景定五年（1264年），赵昀在临安去世，在位四十一年，仅次于仁宗，享年六十岁。谥号建道备德大功复兴烈文仁武圣明安孝皇帝，庙号理宗。葬于永穆陵",[23,24,25,2579,7,58,111,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ab459a45ebc90b3709cbd648351953.jpg",[],{"id":21066,"slug":21067,"title":21068,"dynasty":145,"author":12860,"museum":73,"description":21069,"tags":21070,"thumbUrl":21071,"material":61,"size":61,"collection":61,"collections":21072,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[24,25,57,27,37,58,38,7,29,376,34,36,292,2452,254,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":21074,"slug":21075,"title":21076,"dynasty":145,"author":13742,"museum":73,"description":21077,"tags":21078,"thumbUrl":21079,"material":61,"size":61,"collection":61,"collections":21080,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},224362,"cheng-qin-wang-qing-yong-xing-shu-gao-zong-yu-zhi-si-shi-yan-qing-shi-zhou-ai-xin-jue-luo-yong-xing-224362","成亲王 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物心流水会，草外即平皋。怀土佳兵厌，占云挟雨高。学狂希羽客，引笑佐溪毛。幽影皆为象，前滩响莫涛。瓜州大慈庵夏望 吾择慈庵寂，焚香起正心。杖因江稻植，山在寺门寻。楚越中区抱，金焦大壑深。紫天开素气，鸦路意阴阴。 贺九山村已遇枇杷熟，频过碌石园。远柯兼瀑影，古凸自柴门。骨傲仍多性，兰衰尚有根。昌阳飞半腹，石穴共寒温。 问牧斋拂水山崖 欲履虞山迳，还赊六尺筇。思君偕寤语，似共万溪松。桂酒留华榭，天门落古镛。可知头尽皓，更得扰玄龙。 丙戌五月朔，王铎书。",[23,38,7,26,27,58,29,10400,21157,7766,9446,82,194,21158,21159,6755,1310,403,21160],"古松","石穴","柴门","诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb46539435de274822f16f672ccbf5c3.jpg","27X253cm",[],{"id":21165,"slug":21166,"title":21167,"dynasty":18,"author":3161,"museum":3142,"description":21168,"tags":21169,"thumbUrl":21170,"material":7,"size":21171,"collection":61,"collections":21172,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":638},222483,"shu-gui-tian-fu-zhu-yun-ming-222483","书归田赋","本册因无年款，故鉴赏者据其书风未臻晚年豪放不拘之境界，多定为祝允明中年之作，应可信。本册行书一段，风格中蕴涵了苏、黄、米、赵，尤其以赵子昂的影响为最多，但又不是全仿，意在通过赵氏而上追晋、唐意趣；草书一段，仍是规矩有度，而未放任挥洒。两段用纸相同，应为同一时期所书。从某种意义上说，本册应该是祝允明尝试着将宋、元意趣融入晋、唐法度时期的作品。就书法风格而论，与他正德五年（1510年）所书的《等诗卷》(珍藏美国普林斯顿大学美术馆)等较为相近.因此,它们应该中祝允明50岁前后尚未入仕时期的作品,可视为祝允明中年时期的书法精品.",[23,38,7,26,196,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374037d1a0c29dd6b0ec54a9a592160b.jpg","纵22.0 厘米横102.5 厘米",[],{"id":21174,"slug":21175,"title":21176,"dynasty":18,"author":3161,"museum":53,"description":21177,"tags":21178,"thumbUrl":21179,"material":196,"size":21180,"collection":61,"collections":21181,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},222468,"he-tao-yin-jiu-shi-ce-zhu-yun-ming-222468","和陶饮酒诗册","诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。\n祝允明(1460-1526)，字希哲，因右手有枝生手指，故自号枝山。世称祝京兆，长洲(今江苏吴县)人，自幼聪慧过人。弘治五年(1429)中举，后久试不第。正德九年(1514)，授为广东兴宁县知县，嘉靖元年(1522)，转任为应天(今南京)府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内，与唐寅意气相投，遭际与共。与唐寅、文徵明、徐祯卿并称吴中四才子。与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追二王。草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。\n《名山藏》云:允明书出入晋魏，晚益奇纵，为国朝第一。\n清代朱和羹《临池心解》云:祝京兆大草深得右军神理，而时露伧气;小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。\n代表作有《太湖诗卷》、《箜篌引》、《赤壁赋》等。所书六体书诗赋卷、草书杜甫诗卷、古诗十九首、草书唐人诗卷及草书诗翰卷等皆为传世墨宝。\n诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。册中一段章草，祝允明以流畅行书笔意融合楷书与章草，克服明初章草的生硬突兀感。用笔则是沉稳俐落，结体疏密有致，字形变化错落，行气摇曳，为明代章草之佳作，惜未有全彩清晰图。",[23,38,25,209,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a4f5a38575721f4d66c46de5f7072f.jpg","17.3×10.3厘米",[],{"id":21183,"slug":21184,"title":21185,"dynasty":18,"author":479,"museum":73,"description":21186,"tags":21187,"thumbUrl":21188,"material":196,"size":21189,"collection":61,"collections":21190,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},222349,"man-xing-mo-ji-quan-juan-tang-yin-222349","漫兴墨迹全卷","唐寅不仅善诗文，尤善丹表，山水、人物、仕女、花鸟、竹木无不精工，可以说其书的名为画名所掩。他所以能取得如此成就，与他所处环境有关，苏州多收藏家、裱画店，为他提供了观摩学习机会，他又与当时的名画家周臣、沈石田、王鏊、文徵明等人交往，在这种浓郁的文化氛围中再加上他的聪敏才智，造就了一代画家在艺术上的成功。唐寅变精于书法，其书上溯亚唐，尤得益于赵孟用笔之法，点画温润妍雅，结字微带欹侧之势，虽有薄弱之评，但字里行间，却洋溢着一种超轶的书卷之气，本册所载《唐寅温兴墨迹》是其为友人所书的自作温兴诗，通卷千余字一气呵成，用笔精到细腻，体势向右欹侧，富有生动姿态，如高雅之士，闲庭信步于阆苑林木之间，十分耐人寻味，卷后末署书写年月，但从其淡雅自然的笔调之中当为其晚年所书，唐寅传世真变甚少，除《落花诗册》外，《漫兴》便是其主要的代表作品，今影印出版，以飨广大书法爱好者。",[23,38,7,26,353,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7db8ea62f9571bed4949f49979c87fb.jpg","36.8x422厘米",[],{"id":21192,"slug":21193,"title":21194,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":21195,"thumbUrl":21196,"material":407,"size":18495,"collection":61,"collections":21197,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":18497},222308,"nan-hua-zhen-jing-61-wang-chong-222308","南华真经61",[3018,38,7,196,58,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8a04fb640de66b11933898bb802a6.jpg",[],{"id":21199,"slug":21200,"title":14115,"dynasty":18,"author":3424,"museum":73,"description":8176,"tags":21201,"thumbUrl":21202,"material":61,"size":21203,"collection":61,"collections":21204,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},222246,"shu-shan-ye-wang-chong-222246",[23,2579,7,38,18,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041c00af70a1617f37fc92d5b937f0c4.jpg","19×54cm",[],{"id":21206,"slug":21207,"title":21208,"dynasty":18,"author":3452,"museum":73,"description":5544,"tags":21209,"thumbUrl":21210,"material":61,"size":61,"collection":61,"collections":21211,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},222054,"shan-mian-1-zhang-rui-tu-222054","扇面1",[23,3018,2579,38,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f405422bf0a2191c422398e2a1b935f.jpg",[],{"id":21213,"slug":21214,"title":21215,"dynasty":18,"author":1024,"museum":20,"description":6404,"tags":21216,"thumbUrl":21217,"material":196,"size":21218,"collection":61,"collections":21219,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},221945,"qi-lv-shi-jiang-cheng-qiu-se-wen-zheng-ming-221945","七律诗江城秋色",[23,38,7,57,1698,1363,9124,11254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a91d53d4f49e7a339785a9df6b505d7.jpg","122x59cm",[],{"id":21221,"slug":21222,"title":21223,"dynasty":18,"author":21224,"museum":53,"description":21225,"tags":21226,"thumbUrl":21230,"material":196,"size":21231,"collection":61,"collections":21232,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},221943,"ci-han-ce-wang-xi-jue-221943","词翰册","王锡爵","王锡爵(1534-1611)，字元驭，号荆石，南直隶苏州府太仓州(今江苏太仓)人。嘉靖四十一年会试名列第一（会元），廷试名列第二（榜眼）。万历二十一年（1593年）为内阁首辅。谥号文肃，著有《王文肃公全集》55卷。在任期间发生日本侵朝事件，力主出兵。子王衡万历二十九年（1601年）进士及第第二名，被时人誉为“父子榜眼”。孙王时敏、玄孙王原祁皆为清初画坛宗师，太仓王氏家族为明清两代著名的簪缨世家。\n王锡爵笔法秀颖，依稀有翡翠兰苕状，著名的书法家董其昌称他深于书。书尤深于唐碑。晚年犹悬碑刻满四壁，特不欲以书名耳。小楷清整秀劲，大可径寸者尤骨重脉和。",[24,25,209,7,27,4775,21227,21228,114,402,884,21229],"池","鸳鸯","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b219e55a1dfdd43dcd80315f7a707a0.jpg","本幅26.1x14.4公分",[],{"id":21234,"slug":21235,"title":21236,"dynasty":18,"author":9230,"museum":1664,"description":21237,"tags":21238,"thumbUrl":21239,"material":4955,"size":21240,"collection":61,"collections":21241,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},221874,"ming-cheng-tang-zi-shu-shi-shi-zhang-juan-huang-dao-zhou-221874","明诚堂自书诗十章卷","历来书家都赞成“书如其人”的观点。在唐以前文人对人品美的概括是侧重于人的心灵自由，不太强调儒家的“忠、孝、节、义”，然而南宋以降，对人品美的概括则逐渐偏向对忠诚、气节等伦理方面，“失节”成为人品的最大污点。\n因而在评论其书时，也往往带有一些讥讽。这也是人们在评价明末清初的几位书家时，推崇倪元璐、黄道周、傅山，而对王铎则颇有微词的缘由。黄道周是明代最具创造力的书家之一，同时也是人品和书品完美结合的一位书家。黄道周是传统文人士大夫的代表，是儒家信条和道统标准的信奉者，一生忠孝、正直。正是他的这种精神，才造就了他的人格魅力，他的书法才会充满生命力和感染力。\n黄道周把忠孝当作是言行的准则，在他的一生中，把“忠孝”放在首位，入则言朝，出则守墓，在其二十多年的为官经历中，黄道周都保持了一个儒家传统卫道士的形象，对一些违背原则的事情据理力争，从不妥协，表现了其忠肝义胆的气节。",[23,38,26,7,18,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0385f62d31dadbc0e3c12e8f5121a4.jpg","纵30cm，横305cm",[],{"id":21243,"slug":21244,"title":21245,"dynasty":91,"author":21246,"museum":2633,"description":21247,"tags":21248,"thumbUrl":21249,"material":196,"size":21250,"collection":61,"collections":21251,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":46},221799,"yu-wu-yin-yuan-hui-shi-feng-zi-zhen-221799","与无隐元晦诗","冯子振","此为冯子振亲自挥毫赠与日本僧人无隐元晦的书迹，内容为冯子振的三首七言绝句。无隐元晦为日本丰前人，于延庆一年（西元1308年）渡元，在中峰明本处修行，于嘉历元年（西元1326年）返回日本，并成为京都建仁寺的住持。除了本件之外，尚有其他冯子振写与无隐元晦的书迹传世，由此可知冯子振十分重视无隐元晦。",[23,38,7,26,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8503410725a0e02dafd7e29714ef6e.jpg","纵32.7cm 横102.4cm",[],{"id":21253,"slug":21254,"title":21255,"dynasty":91,"author":6811,"museum":53,"description":21256,"tags":21257,"thumbUrl":21258,"material":196,"size":21259,"collection":61,"collections":21260,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":66},221688,"ma-zheng-jun-tou-guang-gu-jing-ge-xian-yu-shu-221688","麻徵君透光古镜歌","此贴结构近方形，字距和行距由于是裁别而成，以无法窥见原貌，从痕迹看，原来可能是四字一行。字体按字之笔画多少与固有形态，略有大小，总体上大小均匀，笔画粗细变化不大，字体结构从晋唐楷书来。\n似乎不经意于每一笔画的精美，而着力于每个字的整体气势与形象的创造。苏轼曾说过:“大字难于结密而无间，小字难于宽绰而有余。”此幅大字称得上“结密无间”，而且越往后写的越好，运笔着墨均达到完美的程度。总体看，此幅大字体势规整，气势恢弘，是鲜于氏大楷书的典型之作。",[38,7,25,196,353,18977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685950f3aec55ae9c75343e45718960.jpg","30.5 x 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鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[25,57,7,38,58,621,494,10761,11007,21771,693,10421],"渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141a41c616b5c4177e13d57a8186737.jpg",[],{"id":21775,"slug":21776,"title":6116,"dynasty":145,"author":19344,"museum":73,"description":19345,"tags":21777,"thumbUrl":21778,"material":920,"size":921,"collection":61,"collections":21779,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},240822,"qi-yan-lian-fei-dan-xu-240822",[38,7,2251,112,33,376,884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfdc67f964f63eb8718cd5e0dd3488a.jpg",[],{"id":21781,"slug":21782,"title":21783,"dynasty":18,"author":3161,"museum":106,"description":21784,"tags":21785,"thumbUrl":21786,"material":4955,"size":61,"collection":62,"collections":21787,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":638},240702,"wu-kuan-she-zhi-qu-juan-zhu-yun-ming-240702","无款射雉曲卷","祝允明(1460-1526)，字希哲，长洲人。允明生而枝指，故自号枝山，又号枝指生。五岁作径尺字，九岁能诗，稍长，博览群集，文章有奇气，当筵疾书，思若涌泉。尤工书法，名动海内。",[23,56,24,25,26,38,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30610b9a344def6651e5496722c2d9f.jpg",[62],{"id":21789,"slug":21790,"title":21791,"dynasty":145,"author":16335,"museum":106,"description":21792,"tags":21793,"thumbUrl":21794,"material":658,"size":21795,"collection":62,"collections":21796,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},240611,"zhang-zhao-qi-lv-shi-zhou-zhang-zhao-240611","张照七律诗轴","释文：\n安石榴花开最迟，绛裘深树出幽菲。吾庐想见无限好，客子倦游何不归。坐上一尊虽得满，古来四事巧相违。今人却忆湖边寺，垂柳阴阴昼揜扉。张照。\n下钤“张照之印”、“瀛海仙琴”印2方。引首钤“既醉轩”印。无鉴藏印。\n此书行笔圆转流畅，墨色浓润，偶出枯笔于牵丝回绕处，愈觉神采飞扬。张照的书法融董其昌疏朗闲逸的布白和颜真卿淳厚敦朴的笔致于一体，从而呈现出别具特色的自家风貌。",[38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a4c692de130a0182986bfaed5d19fc.jpg","纵143.7厘米，横54.8厘米",[62],{"id":21798,"slug":21799,"title":10904,"dynasty":145,"author":6358,"museum":73,"description":12117,"tags":21800,"thumbUrl":21801,"material":920,"size":921,"collection":61,"collections":21802,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":638},240609,"shi-zhou-lin-ze-xu-240609",[145,57,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d94c60dc320bc4d6c9b6d11300c03f.jpg",[],{"id":21804,"slug":21805,"title":21806,"dynasty":145,"author":21807,"museum":73,"description":21808,"tags":21809,"thumbUrl":21810,"material":196,"size":61,"collection":62,"collections":21811,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},240604,"han-tan-shu-shi-zhou-han-tan-240604","韩菼书诗轴","韩菼","韩菼tǎn（1637年-1704年），字元少，别号慕庐，长洲（今苏州）人。性嗜酒。顺天乡试时，尚书徐乾学取之遗卷中。康熙十一年（1672年）入国子监做监生。康熙十二年（1673年）中状元，授翰林院修撰，修《孝经衍义》百卷。历官日讲起居注官、右赞善、侍讲、侍读，礼部侍郎、吏部右侍郎，官至礼部尚书兼翰林院掌院学士。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb7744e0306dd5e4103e6d78594d88f.jpg",[62],{"id":21813,"slug":21814,"title":21815,"dynasty":145,"author":21816,"museum":73,"description":21817,"tags":21818,"thumbUrl":21819,"material":920,"size":921,"collection":62,"collections":21820,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},240519,"shi-ti-huang-shan-tu-ce-yao-wen-yan-240519","诗题黄山图册","姚文焱","清代，字彦昭，江南桐城人。著有《楚游诗》。",[25,209,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ea1a82afbcb77c5872149522945e8.jpg",[62],{"id":21822,"slug":21823,"title":21824,"dynasty":18,"author":21825,"museum":73,"description":21826,"tags":21827,"thumbUrl":21828,"material":196,"size":61,"collection":62,"collections":21829,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},240440,"shi-liu-jia-ge-ti-shu-he-zuo-song-xing-shi-zhou-liu-han-ke-240440","十六家各体书合作送行诗轴","刘汉客","此作集十六家笔墨，诸体纷呈却气脉相融。或楷法端凝，筋骨沉厚，似将临歧珍重尽藏于方整笔意；或行草疏朗，墨色枯润相衔，笔锋起落间尽是赠别缱绻。\n\n通篇排布错落和谐，各家书风自具面目，却共寄送行深意。晚明文人酬唱的风雅尽显绢素之上，笔墨间既有对远行知己的殷殷期许，亦展露诸家浸淫翰墨的深厚功底，把惜别心绪落于笔底，让酬赠之谊凝为纸上风华，是一众文人翰墨交心、情志相投的绝佳见证。",[38,57,7,1014,2031,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e78b38cee032c3940cdd54e40d21fa2.jpg",[62],{"id":21831,"slug":21832,"title":21833,"dynasty":145,"author":220,"museum":73,"description":21834,"tags":21835,"thumbUrl":21836,"material":196,"size":61,"collection":62,"collections":21837,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},240439,"zeng-sun-lie-shi-zhou-yi-ming-240439","曾孙烈诗轴","此作以草书挥就，用笔纵逸恣肆，提按顿挫间力道尽显。线条枯湿浓淡相生，时而厚重沉凝，时而飘逸灵动，节奏感十足。字势欹正相生、上下映带，行气贯通无滞，章法疏朗开阔，将诗作寄情林泉、物我两忘的隐逸意韵藏于笔墨间。以笔墨延伸诗意，把山园幽居的闲适情志化作笔底波澜，尽显抒情写意的文人风骨。",[3383,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0955d5944b6fa983de68e79892ac1f8.jpg",[62],{"id":21839,"slug":21840,"title":10904,"dynasty":18,"author":21841,"museum":73,"description":21842,"tags":21843,"thumbUrl":21844,"material":196,"size":61,"collection":62,"collections":21845,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},240377,"shi-zhou-zhu-rong-zhong-240377","朱容重","字子庄，明宗室。好古能文，尤精八法，作各体书，国中凡赠送庆诵以文章介兕觥勒金石者，靡不以其书为重。匪第以其书，盖重其人也。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43147f145a6745751cb8fad4ac66ee6.jp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年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[25,38,3321,7,58,3383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1faf777552d2fcd15997dd2a8d3f113e.jpg",[],{"id":21905,"slug":21906,"title":6116,"dynasty":145,"author":8013,"museum":73,"description":21907,"tags":21908,"thumbUrl":21909,"material":920,"size":921,"collection":61,"collections":21910,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},240139,"qi-yan-lian-pan-zu-yin-240139","潘祖荫（1830～1890），清代官员、书法家、藏书家。字在钟，小字凤笙，号伯寅，亦号少棠、郑盦。吴县（今江苏苏州）人，大学士潘世恩之孙。内阁侍读潘曾绶之子，咸丰二年一甲三名进士，探花，授编修。数掌文衡殿试，在南书房近四十年。光绪间官至工部尚书。通经史，精楷法，藏金石甚富。有《攀古楼彝器图释》。辑有《滂喜斋丛书》《功顺堂丛书》。",[38,2251,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f22056123f4a95139bb692b3bb3dad.jpg",[],{"id":21912,"slug":21913,"title":21914,"dynasty":18,"author":21915,"museum":73,"description":21916,"tags":21917,"thumbUrl":21918,"material":920,"size":921,"collection":61,"collections":21919,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},240127,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240127","行题宋八家书跋页","许乃普","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。",[25,38,7,27,1244,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feba4f3c35d065ebd5c4bdf8945af96.jpg",[],{"id":21921,"slug":21922,"title":21914,"dynasty":18,"author":21915,"museum":73,"description":21923,"tags":21924,"thumbUrl":21925,"material":196,"size":61,"collection":62,"collections":21926,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},240126,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240126","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。\n乾隆五十二年五月初四未时生，同治五年(1866)卒，御赐祭葬，谥文恪，国史馆列传。\n清嘉庆二十五年(1820年)殿试一甲二名进士，即榜眼。嘉庆、道光、咸丰3朝三迁内阁学士，五度入直南书房，五充经筵讲官。历官贵州、江西学政，兵部、工部、刑部、吏部尚书，实录馆总裁，多次充任殿试、朝考读卷官、阅卷大臣。任内获道光御笔“迎祥”和咸丰御笔“宜尔子孙”匾额。谥文恪，谕称“许乃普学问优长，供职恪慎”“屡司文柄”。\n其父许学范，乾隆三十七年(1772年)进士，有七子，乃济、乃普、乃钊三子为进士，另四子为举人，有“七子登科”之美称。清代学者、书法家梁同书曾书写“世间数百年旧家，无非积德；天下第一件好事，还是读书”一联送给许学范，称颂许氏家族。",[24,25,38,7,209,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aac0bb7b117a9794869d64ac4e0df32.jpg",[62],{"id":21928,"slug":21929,"title":21930,"dynasty":18,"author":220,"museum":73,"description":21931,"tags":21932,"thumbUrl":21933,"material":196,"size":61,"collection":62,"collections":21934,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},240124,"shi-yuan-zhong-shi-ye-yi-ming-240124","释元中诗页","此件书法分幅呈现，笔墨意趣各有千秋。右侧诗作用笔酣畅恣肆，行书线条苍劲灵动，结体疏密错落、欹侧相生，牵丝映带间尽显随性潇洒，将诗句空寂幽绝的江景意境融于笔端，风神疏朗俊逸。\n左侧尺牍小字朴拙内敛，笔意厚重沉稳，枯润互见，以平实笔墨承载日常心绪，自带手札特有的质朴温情。整作大小相映、动静相宜，笔墨间浸透文人随性自在的风雅襟怀，是兼具笔墨审美与人文意趣的小品佳作。",[3018,38,25,7,58,1244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d10390a306232dd0f128201886731af.jpg",[62],{"id":21936,"slug":21937,"title":21938,"dynasty":18,"author":21939,"museum":73,"description":21940,"tags":21941,"thumbUrl":21942,"material":196,"size":61,"collection":62,"collections":21943,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},240122,"ceng-ti-nan-fu-ti-bi-shi-ye-wei-shu-240122","曾题南阜题壁诗页","囗淑","题壁诗始于两汉，盛于唐宋。汉代以后，题壁者代不乏人。南北朝 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manualWeight":11,"mainColor":46},234947,"yue-man-qing-you-ce-chen-mei-234947","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,28,77,79,80,150,1471,2906,58,7,1467,2411,34,22430,121,3383,209,38,9395],"石桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa802a71d4482087ccb76c4c0c68fc81e.jpg",[],{"id":22434,"slug":22435,"title":9720,"dynasty":145,"author":6529,"museum":73,"description":22428,"tags":22436,"thumbUrl":22437,"material":920,"size":921,"collection":61,"collections":22438,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},234945,"yue-man-qing-you-ce-chen-mei-234945",[56,24,25,209,28,77,79,80,34,30,31,177,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a79bb60951349b844904bd5a72956c6.jpg",[],{"id":22440,"slug":22441,"title":8544,"dynasty":145,"author":8545,"museum":106,"description":17283,"tags":22442,"thumbUrl":22444,"material":7180,"size":17286,"collection":61,"collections":22445,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},234918,"xue-jing-gu-shi-ce-sun-hu-234918",[24,25,209,28,77,431,79,36,34,21313,444,22443,58,7],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f466dcb732a693b1629daac77929f2e.jpg",[],{"id":22447,"slug":22448,"title":8544,"dynasty":145,"author":8545,"museum":106,"description":17283,"tags":22449,"thumbUrl":22450,"material":7180,"size":17286,"collection":61,"collections":22451,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},234917,"xue-jing-gu-shi-ce-sun-hu-234917",[24,25,209,1594,28,29,150,34,1636,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651c88ea69facb650383e765a79334c.jpg",[],{"id":22453,"slug":22454,"title":10937,"dynasty":145,"author":220,"museum":106,"description":10938,"tags":22455,"thumbUrl":22456,"material":802,"size":10941,"collection":61,"collections":22457,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},234905,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234905",[24,25,209,28,29,38,7,58,37,35,34,5036,31,179,117,239,79,36,2452,4867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc038be5466895a672399e0b9fd52138e.jpg",[],{"id":22459,"slug":22460,"title":10937,"dynasty":145,"author":220,"museum":106,"description":10938,"tags":22461,"thumbUrl":22462,"material":802,"size":10941,"collection":61,"collections":22463,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},234903,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234903",[24,25,209,7,28,77,37,29,111,33,150,79,1636,35,34,292,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711ec21c2b74711dce512776b1b5b456.jpg",[],{"id":22465,"slug":22466,"title":10937,"dynasty":145,"author":220,"museum":106,"description":10938,"tags":22467,"thumbUrl":22468,"material":802,"size":10941,"collection":61,"collections":22469,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},234899,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234899",[24,25,209,27,28,29,37,7,32,290,34,2452,31,293,254,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ad99601fd92d64dfce53d08f3e5d05.jpg",[],{"id":22471,"slug":22472,"title":17297,"dynasty":145,"author":12860,"museum":73,"description":17298,"tags":22473,"thumbUrl":22474,"material":196,"size":17301,"collection":61,"collections":22475,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},234891,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234891",[15674,28,37,7,58,29,376,328,377,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9008f59216e7f132cb809ba7a4207ec.jpg",[],{"id":22477,"slug":22478,"title":17297,"dynasty":145,"author":12860,"museum":73,"description":17298,"tags":22479,"thumbUrl":22480,"material":196,"size":17301,"collection":61,"collections":22481,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},234889,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234889",[24,25,209,28,29,76,7,58,37,1917,34,31,30,82,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a787b044c23fe3b27d88960491f37b.jpg",[],{"id":22483,"slug":22484,"title":17297,"dynasty":145,"author":12860,"museum":73,"description":17298,"tags":22485,"thumbUrl":22486,"material":196,"size":17301,"collection":61,"collections":22487,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},234888,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-2348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[1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,2579,79,76,38,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f13ca67f90afdb783c1f99045c97754.jpg",[],{"id":22515,"slug":22516,"title":22517,"dynasty":18,"author":4314,"museum":73,"description":12573,"tags":22518,"thumbUrl":22519,"material":61,"size":61,"collection":61,"collections":22520,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},234223,"du-qiong-meng-xuan-tang-tu-juan-du-qiong-234223","杜琼梦萱堂图卷",[23,24,25,26,27,29,37,38,7,58,33,34,178,1121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b3528e3fa7f667927b9d355b3593ba.jpg",[],{"id":22522,"slug":22523,"title":22524,"dynasty":145,"author":16549,"museum":106,"description":22525,"tags":22526,"thumbUrl":22527,"material":196,"size":61,"collection":61,"collections":22528,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},234140,"shi-shu-hua-he-juan-huang-yi-234140","诗书画合卷","故宫博物院藏有黄易的一纸《诗书画合卷》，在《诗书画合卷》中黄易分别临习了王羲之的《黄庭经》和《东方朔画像赞》。此二作虽为临习作品，黄易却对原作进行了大胆改变，这种改变可以说是以钟繇来冲破“二王”。首先，他临王羲之楷书中带有些许钟繇的字势特点。他将王羲之楷书结体的纵向取势变为横向取势，并在某些笔画上参入隶书笔意，特别是捺画夸张和舒展得更为明显，以隶书的波挑来调节楷书的板滞。其次，黄易改王羲之楷书的疏朗宽阔为茂密紧凑，不管是行距还是字距都远小于原作，使章法更为葱郁。再次，此作在略微增加线条厚度的同时，又增加了不少起笔和收笔的出锋，这就使作品厚重之中更具有灵动感和活泼的情趣。",[23,24,25,26,38,27,37,29,377,328,1121,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2594a0466d2bc6670524a74ac93c1c2d.jpg",[],{"id":22530,"slug":22531,"title":12945,"dynasty":91,"author":12946,"museum":106,"description":22532,"tags":22533,"thumbUrl":22534,"material":802,"size":22535,"collection":61,"collections":22536,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},233893,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-233893","陆行直字季道吴江（今江苏吴江）人。洪武中（公元1368—1398年）以人才授翰林典籍。善书诗画清劲为人所称。小传见《画史会要》、《珊瑚網》等书。 此图画巨大的湖石一堵屹立画面正中旁边梧桐和柏树冲天而立。笔墨清劲构图平中寓险为陆行直传世名作。画右自题词一首：「侯虫凄段人语西风岸月落沙平流水漫 驚见芦花来雁。可憐瘦损兰趁多情因为卿卿只有一枝梧页不知多少秋声。」后识「友人张叔夏赠余之作也余不能记忆于至治元年仲夏二十四日戏作碧梧苍石与冶仙西 窗夜坐因语及此转瞬二十一载今卿卿叔夏皆成故人恍然如隔世事遂书于卷首以记一时之感慨云。季道陆行直题。」钤「致和斋」、「陆季道氏」二印右下又题词一首 款「陆行直重题」。本幅有元刘则□、页衡、冶仙、曹仲达、卫达辰等十四家题记诗塘有明刘稽、周鼎题识裱边有谢希曾跋语。钤明项子京等收藏印多方。《汪氏珊 瑚網》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。",[24,25,57,27,37,7,38,177,81,3008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a0d56a3607216b38f91cd9c8d213f8.jpg","纵107cm，横53.2cm",[],{"id":22538,"slug":22539,"title":8728,"dynasty":145,"author":9991,"museum":106,"description":17363,"tags":22540,"thumbUrl":22541,"material":722,"size":17366,"collection":61,"collections":22542,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},233441,"huang-shan-tu-ce-mei-qing-233441",[24,25,209,27,28,29,35,150,34,237,37,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcad87ebd9140b2f96032cf30f420971.jpg",[],{"id":22544,"slug":22545,"title":2604,"dynasty":91,"author":15318,"museum":106,"description":15770,"tags":22546,"thumbUrl":22547,"material":722,"size":15773,"collection":61,"collections":22548,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},233175,"shan-shui-ce-cao-zhi-bai-233175",[24,27,37,209,7,38,29,376,884,34,2452,237,179,7208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1665cd980e58c01dcfcbc88ae1e167d9.jpg",[],{"id":22550,"slug":22551,"title":22552,"dynasty":51,"author":220,"museum":106,"description":22553,"tags":22554,"thumbUrl":22555,"material":1262,"size":22556,"collection":61,"collections":22557,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},232996,"zhu-lin-bo-ruan-tu-ye-yi-ming-232996","竹林拨阮图页","此图绘溪边竹林下，三位文士，身着长袍，对坐于兽皮垫上。姿态各异，或拨阮，或凝听。\n旁有一童子侍候，一童子跪伏溪边汲水。\n图中人物生动传神，衣纹细劲流畅。衬景丛竹老树，疏密、远近、浓淡相间，错落有致。\n作者佚名。签题李唐作。\n按此图状人物甚工，但非李唐的作风。我们观李唐的《伯夷、叔齐采薇图》是那样的形象深刻，便显得此幅的纤弱了。故改题为无名氏作。",[24,25,209,28,7,77,112,79,2322,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1202ac649e222e9dd12763a3f720d050.jpg","纵22.7厘米，横24.5厘米",[],{"id":22559,"slug":22560,"title":13481,"dynasty":18,"author":3452,"museum":73,"description":15439,"tags":22561,"thumbUrl":22562,"material":920,"size":921,"collection":61,"collections":22563,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},232823,"shu-fa-shan-mian-zhang-rui-tu-232823",[2579,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc735e30f8eaa4c62a480aba02c6e189.jpg",[],{"id":22565,"slug":22566,"title":22567,"dynasty":145,"author":11868,"museum":53,"description":22568,"tags":22569,"thumbUrl":22570,"material":165,"size":22571,"collection":61,"collections":22572,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},232678,"qiu-shan-ping-yuan-tu-he-yi-232678","秋山平远图","此作用平远之法铺展秋景，近岸苍松虬劲，杂木以丹黄点染，将秋意揉进枝叶肌理，茅庐依水而居，野趣横生。平湖如镜，一舟独泛，载着闲逸随波漫行，汀渚蒹葭苍苍，晕开渺渺秋光。远景山峦轻笼烟霭，墨色澹宕清润，将秋山空寂辽远铺陈开来。\n\n画作以元人笔意写就，浅设色晕染出疏淡秋韵，配上行书题诗，书画相融，尽抒林泉幽栖的隐逸襟怀，把秋日郊野的萧散闲雅，晕成一卷可赏可居的诗意天地。",[24,25,57,28,29,37,7,58,32,33,34,35,237,3395,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb042d680982c51c068e54818b5dddb47.jpg","99.4×48.3",[],{"id":22574,"slug":22575,"title":22576,"dynasty":145,"author":12860,"museum":1573,"description":15116,"tags":22577,"thumbUrl":22579,"material":196,"size":15119,"collection":61,"collections":22580,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)",[56,24,25,57,27,37,7,38,58,29,3615,34,254,897,35,179,22578],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg",[],{"id":22582,"slug":22583,"title":22584,"dynasty":91,"author":220,"museum":1573,"description":22585,"tags":22586,"thumbUrl":22587,"material":196,"size":22588,"collection":61,"collections":22589,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},231888,"lu-ye-da-mo-tu-yi-ming-231888","芦叶达摩图","亲近佛道的人，除了兴趣，往往都有自救的动机和解脱的渴望——他们对心中迷乱挣扎有着更真切的体会和更迫切的出离愿望。但常听人问起如何才能心不乱、到底应该如何去修等问题，先圣经典对此讲说甚多而明明白白，为什么还有这么普遍的困惑呢？除了法门太多而无从抉择的原因，更多的恐怕还是很多法门都太高妙，自己找不到实在的下手处。\n法门的选择上，先圣早已明言：“佛说一切法，为治一切心；若无一切心，何须一切法”、“一门深入，即可成就”。一切法门都是为适应众生不同根机的方便，实相和本源皆在言外法下，纠结于名相或盯在高低优劣，都是不解乃至大违圣意。正确的路子，是依自己适合的而抉择，然后笃定地做下去便是。\n无从下手则是实实在在的难处，强求不了。到底有没有既深契高妙又可真正下手的法门？我能想到的最好的答案是菩提达摩的32字心法，记载于《景德传灯录》中。\n达摩是禅宗西天第二十八祖，东土初祖。他的名号在中国可谓无人不知无人不晓，他的教法了解的却恐怕不多。禅宗的发展是向着越来越玄妙、越来越难以把握去的，因为祖师们觉得一切把握都等同于妄，非得透一切名相而直契本源不可，只是其中超妙非利根而不得入。禅宗是否一向如此呢？不是的，至少不完全是——在达摩祖师的时代，教法上不仅有着禅宗一贯的宗旨，下手上也是朴实直接的。这点其实一直到六祖慧能也还保留着，我们看《坛经》中的接引，也都是实实在在的。\n32字心法的内容是：“外息诸缘，内心无喘。心如墙壁，可以入道。明佛心宗，等无差误。行解相应，名之曰祖。”它有两个重大处，一是不是孤立提出，而是在达摩祖师总结的入道二门——理入和行入的基础上提出来的。行入又包括四行，是入道的四个可以真正下手处，称之为“四行观”，“其余诸行，悉入此中”。二是理入与行入之间，还暗含一大玄机，乃一切法门的总纲所在，可称根本心法，却少为人注意。\n只是这理入的玄机，非详知四行而不得解。所以达摩虽将理入安立在行入之前，并大有如此安排的深意，却需要先从四个可以真正下手处说起。",[23,24,57,530,79,78,27,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa936cbcd0ef7ed62fe770ec635c672.jpg","175×38.5厘米",[],{"id":22591,"slug":22592,"title":22593,"dynasty":145,"author":2704,"museum":73,"description":22594,"tags":22595,"thumbUrl":22597,"material":61,"size":61,"collection":61,"collections":22598,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},228956,"yu-zhi-wan-fang-an-he-jing-shu-shi-jiang-ting-xi-228956","御制万方安和敬述诗","此作用云蝠纹粉笺书写，底色瑞纹雅致，与笔墨相映成趣。行书兼具馆阁端稳与文人意趣，用笔圆劲秀逸，起收间顿挫有度，结体匀整端庄又暗含灵动姿态，字行气脉贯通，章法疏朗合宜。\n笔墨间带着恭谨雅致的庙堂气韵，既有台阁体的规整雍容，又融个人隽秀书风，将庄重感与温润笔墨相融，在严整法度中透出温婉情致，尽显清中期翰苑书法典型风貌，纹饰与笔墨相得益彰，更添祥和雅正之韵。",[23,24,25,57,7,38,28,22596,58],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5e125151224206e9ae776a4d8ee0ab.jpg",[],{"id":22600,"slug":22601,"title":22602,"dynasty":18,"author":1024,"museum":53,"description":22603,"tags":22604,"thumbUrl":22605,"material":407,"size":22606,"collection":61,"collections":22607,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},228884,"du-le-yuan-ji-qi-yong-juan-wen-zheng-ming-228884","独乐园记七咏卷","此幅以王蒙笔法画司马光独乐园图，嘉靖戊午（1558）七月二十日，作独乐园图。绘村居篱落，临水而筑。篱前立苍松，屋後植脩竹。敞轩之中，士人倚窗凝视，远水遥岑。笔多圆转，意亦较滞，项圣谟专学此等。行书独乐园记，用新笔，秀妩温润之甚，去尽少年圭角。八十九岁老翁，精力不减盛年也。",[23,56,24,25,26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848062856841e9511f46a506c0accf83.jpg","纵27cm，横655.2cm",[],{"id":22609,"slug":22610,"title":22611,"dynasty":18,"author":15363,"museum":73,"description":15364,"tags":22612,"thumbUrl":22613,"material":920,"size":921,"collection":61,"collections":22614,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},228861,"you-lan-shi-wen-peng-228861","幽兰诗",[23,38,25,26,7,58,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3d76f4c6dc7db49dc2e6f090bee8ff.jpg",[],{"id":22616,"slug":22617,"title":22618,"dynasty":18,"author":19,"museum":73,"description":22619,"tags":22620,"thumbUrl":22621,"material":920,"size":921,"collection":61,"collections":22622,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},228840,"chun-xue-ge-jing-xin-shen-zhou-228840","春雪歌镜心","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,2579,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ed06e54c1727261421608c690df658.jpg",[],{"id":22624,"slug":22625,"title":22626,"dynasty":18,"author":11649,"museum":73,"description":22627,"tags":22628,"thumbUrl":22629,"material":61,"size":61,"collection":61,"collections":22630,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},228766,"liu-hua-tu-ni-yuan-lu-228766","六花图","此作为诗画合璧长卷，水墨花卉写意挥洒，墨色干湿浓淡变幻自然。牡丹、寒梅等花木虬枝苍劲，花瓣晕染淋漓，笔底带着疏朗桀骜的生气，将草木风骨跃然纸上。\n\n配题行书笔力奇崛雄健，结体欹侧跌宕，与画意相得益彰，诗文与绘事交织，融画境、文心、笔情为一体。\n笔底藏着晚明文人的疏狂耿介，将写意精神抒发尽致，是诗书画印合一的文人佳构，尽显磊落襟怀与不俗格调。",[23,24,25,26,27,7,58,111,120,114,115,118,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065af1defdfd694ae2722cb69a9abca8.jpg",[],{"id":22632,"slug":22633,"title":8297,"dynasty":18,"author":3161,"museum":73,"description":22634,"tags":22635,"thumbUrl":22636,"material":61,"size":61,"collection":61,"collections":22637,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,56,24,25,26,7,38,27,28,29,32,34,31,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":22639,"slug":22640,"title":22641,"dynasty":51,"author":220,"museum":73,"description":22642,"tags":22643,"thumbUrl":22644,"material":61,"size":61,"collection":61,"collections":22645,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},227845,"tian-mo-gui-fan-tu-yi-ming-227845","天末归帆图","淡墨轻晕远汀，留白铺陈出浩渺水色，归帆杳杳隐在烟霭之间，寥寥数笔便写尽水天空寂的清寥诗意。\n\n右侧行书笔致苍雅隽秀，将羁人盼归的怅惘藏在笔墨间，与画境浑然相融。后幅题跋评点精当，诗书画印合为一体，尽显宋人的雅致襟怀。咫尺团扇之中，以极简的水墨语言晕染出江南泽国的空濛澹远，把山水写意与文人情思揉作一处，悠悠古韵扑面而来。",[23,24,25,27,28,29,10762,495,884,494,7,58,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f10e214dabe06bffc5da9e27b7f30bb.jpg",[],{"id":22647,"slug":22648,"title":22649,"dynasty":51,"author":22650,"museum":73,"description":22651,"tags":22652,"thumbUrl":22653,"material":61,"size":61,"collection":61,"collections":22654,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},227692,"song-li-zong-mo-ji-zhao-li-zong-zhao-yun-227692","宋理宗墨迹","赵理宗赵昀","宋理宗赵昀（1205年1月26日－1264年11月16日），原名赵与莒，后赐名赵贵诚，宋太祖次子燕懿王赵德昭九世孙，宋宁宗太子赵竑与宰相史弥远不睦，1224年宁宗驾崩后，弥远矫诏立贵诚为帝，是为宋理宗，改名赵昀，是南宋的第五位皇帝（1224年9月17日－1264年11月16日在位），在位40年，享年59岁。",[38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632e8f5ca900610cfd30ca48bcd40c4d.jpg",[],{"id":22656,"slug":22657,"title":22658,"dynasty":71,"author":760,"museum":73,"description":22659,"tags":22660,"thumbUrl":22661,"material":61,"size":61,"collection":61,"collections":22662,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},227054,"da-guan-tie-3-wang-xi-zhi-227054","大观贴-3","此帖笔力爽利遒劲，行草随心变幻，牵丝映带间尽显使转灵动，粗细俯仰间生机盎然。起笔斩截利落，收锋或峭拔出锋或内敛回护，将真性情藏在线条疾缓之中。布局疏密错落天成，整行气脉贯通如流云出岫，拓本之下仍难掩笔墨舒展俊逸。\n字字顾盼相生，既不失法度规整，又尽显萧散简远的林下之风，将晋人尚韵的风雅气度融于每一处提按顿挫，把超逸出尘的魏晋风神藏在寸缣尺素之间。",[7,680,38,352,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90d7db95288c774c53bbc15056abef8.jpg",[],{"id":22664,"slug":22665,"title":22666,"dynasty":18,"author":22667,"museum":73,"description":22668,"tags":22669,"thumbUrl":22670,"material":61,"size":61,"collection":61,"collections":22671,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},224206,"shu-hua-ce-ye-16-xiao-yun-cong-wu-guo-dui-224206","《书画册页》-16","萧云从 吴国对","此幅行书题诗笔致秀雅灵动，结体舒展安和。起笔收锋自带文人清逸书卷气，字距错落有致，行气疏朗从容。\n\n诗句隽秀清雅，以石骨冰肌衬出幽居雅意，将春日将雪的清寂仙气融于笔墨之间。朱红印章与泛黄素纸相映，金石朴拙中和了笔锋秀润，尽显文人寄情山水、醉心林泉的雅致襟怀，是诗书印合一的小品佳制。",[23,18,25,209,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0575266b8de62bc752b24fb55d1b49.jpg",[],{"id":22673,"slug":22674,"title":22675,"dynasty":51,"author":220,"museum":73,"description":22676,"tags":22677,"thumbUrl":22678,"material":920,"size":921,"collection":61,"collections":22679,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},223589,"fan-wang-li-fo-tu-juan-quan-juan-yi-ming-223589","番王礼佛图卷（全卷）","此卷以白描法绘释迦牟尼约见番王讲经的场景，共三十二人，笔法工细严谨，人物情态生动，衣纹流畅。无款印，引首处唐俞书“番王礼佛”四字，卷后有元人妙声、李简、余简、余泽、易伟等八家题记。",[23,56,24,25,26,78,7,58,530,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25771369fc18fcaedf9e8709f465efd6.jpg",[],{"id":22681,"slug":22682,"title":9911,"dynasty":51,"author":220,"museum":53,"description":22683,"tags":22684,"thumbUrl":22685,"material":802,"size":22686,"collection":61,"collections":22687,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},223505,"song-hu-diao-yin-tu-yi-ming-223505","叶小舟浮于湖上，一人独坐垂 钓，远山峰峦突起，妙造自然，以精细的笔法，用焦 墨勾树石，显得郁茂葱笼，瘦硬峭拔。画面无作者款 印。此图从画风多受马、夏影响这一点来看",[23,24,25,29,28,37,7,58,254,32,35,237,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9d875e6692c9267b51e8524a861af6.jpg","25.3x25.8厘米",[],{"id":22689,"slug":22690,"title":22691,"dynasty":51,"author":220,"museum":106,"description":22692,"tags":22693,"thumbUrl":22694,"material":802,"size":22695,"collection":61,"collections":22696,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":66},223464,"yan-gui-tu-yi-ming-223464","岩桧图","此图描绘君烟上古树参天，天气稀疏。 照片取自山的一角，左侧用雄壮的笔描绘牛仔山的陡峭上升，两棵枯萎的古树斜向空中。 笔下潇洒奔放，风风火火。 山石外，竹水亭，元代远有人居二宋，似呼唤同伴来此歇息。 山石古树的写意，笔法是郭熙的，但郭繁星的笔法是郭繁星的一点点，被认为是南锡熙画派的作品。",[23,24,25,27,28,29,177,81,7,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f1cb467eb71decc35abd1492185aa5.jpg","50.5×39.2厘米",[],{"id":22698,"slug":22699,"title":22700,"dynasty":145,"author":13953,"museum":73,"description":22701,"tags":22702,"thumbUrl":22703,"material":196,"size":61,"collection":61,"collections":22704,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},223134,"shi-wan-tu-ce-shan-mian-1-ren-xiong-223134","十万图册-扇面1","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,25,2579,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c301b18131701c4457753e800f42e9.jpg",[],{"id":22706,"slug":22707,"title":22708,"dynasty":18,"author":7852,"museum":73,"description":11878,"tags":22709,"thumbUrl":22710,"material":61,"size":22711,"collection":61,"collections":22712,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},222548,"ba-ti-li-cheng-xiao-han-lin-wang-duo-222548","跋（题李成《小寒林》）",[23,38,7,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6802d0b1772156bd9946f7a86cbdcdbc.jpg","40x61",[],{"id":22714,"slug":22715,"title":22716,"dynasty":18,"author":7852,"museum":2633,"description":22717,"tags":22718,"thumbUrl":22719,"material":5565,"size":22720,"collection":61,"collections":22721,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},222547,"zeng-zhang-bao-yi-shi-juan-quan-juan-wang-duo-222547","赠张抱一诗卷全卷","《王铎草书赠张抱一诗卷》的内容，是作者王铎自撰的七律诗五首，主要为赠送友人张抱一而作，并在诗歌内容上、在书法艺术中抒发、体现自己的情感。诗卷全文如下（注：原作品没有标点断句）：\n《张抱一公祖招集湖亭》：有酒沧池对烟丘，相招者谁任意游。晋人唐人曾几度，泉水溪水还同流。钟鼓此城鸣白露，戎兵何处领高秋。芦花今古依然在，羡尔无声眠野鸥。（注：第一首七律完）《登岳庙天中阁看山同友》：四围紫逻坐相望，突兀高峰划大荒。谁复凌空呼帝座，我今乘胜挹天浆。香烟古庙通灵气，石路神丘点太阳。冻草暮云无限意，汉京封禅旧山房。（注：第二首七律完）《牛首山同堪虚静原》：一樽绝巘放高歌，回首禅房忘坎坷。旦树晴分天目近，午帆气挟海风过。山吞吴楚犹新燕，寺趁齐梁只故萝。莫管星辰朽不朽，吹箫何处倚嵯峨。（注：第三首七律完）《频入》：频入长安过九衢，谁知幽梦在髭须。只今人路何从说，渐审岩居不可无。屈指箸筹赊日月，伤心戎旅满江湖。此生休外韬真处，锦瑟琪华待醍醐。（注：第四首七律完）《汴京南楼》夷门萧瑟俯晴空，万事欷献向此中。梁苑池台新萑苇，宋家艮岳老苔丛。牧人壕外时驱犊，猎骑天边晚射鸿。旧月多情依汴水，滔滔东去更朦胧。（注：第五首七律完）崇祯十五年三月夜。洪洞同邑弟王铎具草。抱翁公祖教正。\n按：《张抱一公祖招集湖亭》卷中七律五首，有三首见于《拟山园选集》（台湾学生书局）。分别是：《登岳庙天中合看山同友》，载集中七律卷九，题作《登岳庙天中阁看山感时》，原为二首，卷中所书为第一首；《频入》，载集中七律卷三，卷中所书之“待醍醐”，集中作“醉醍醐”；《汴京南楼》亦载集中七律卷三。\n另两首虽不见于集中，但是，同书五律卷三有《湛虚、静原游牛首》、《燕子矶湛虚招同静原》、《上天开岩同湛虚、静原》三首，与卷中《牛首山同湛虚、静原》—诗显然是同时之作。湛虚，即张镜心，字孝升，湛虚为号，累官至兵部尚书，是王铎的挚友。见于《拟山园选集》（台湾学生书局）及《拟山园初集》中的与张镜心有关的诗作多达五十首以上。张镜心亦曾为王铎的《拟山园初集》作序，与王铎以“年弟”相称，盛赞王铎诗文“浩乎哉如烟海，修辞之家，未之有也。”\n王铎书法的书法，到了《赠张抱一草书诗卷》时，已经摆脱了模仿的痕迹，有了主体性较强的跌宕雄逸的意态。《赠张抱一草书诗卷》亦是王铎草书长卷现可见较早的一件。《王铎草书赠张抱一诗卷》，在王铎书法的发展过程中具有十分重要的意义，从这件作品可领略王铎若干书法艺术特点。\n一个是强烈的节奏感使草书作品产生出运动力和冲击力。《王铎草书赠张抱一诗卷》中书法的点画线质表现其弹性产生运动力，运动的返急产生冲击力，在这一点上王铎成功地将力运用到书法点画的变化上，使笔在绢、绞、纸上的运动过程中产生顿挫、仰侧、奇崛、突变，使个性的张扬发挥到极致。尤其是充满着激情的用笔，如同少林武僧，有屈铁之力，挥棒生风。\n一个是前无古人的字法造势。王铎亦受时风影响，但他站在传统基础之上，破除旧有的模式，创建出一种崭新的恢弘博大的图式，充满艺术的震撼力。王铎书法的一个鲜明特点便是造势。《王铎赠张抱一行书卷》中，通篇显现出变幻莫测的感觉，字势左右叵诡，笔致老辣，章法宕逸。唐张旭狂草《古诗四帖》，如龙蛇之行，富于变幻，王铎在这一点上进一步追求草书中险绝、突变、膨胀与内敛之势，识字者，可领略触笔、行笔、运笔中的运动轨迹。\n第三是墨象万千，酣畅淋漓。中国画中有墨分五彩之说，利用墨之浓、淡、干、湿可使画面产生出无穷的变化，显现出生机勃勃的趣味。王铎从中国画中悟出用墨之道，并大胆地运用到书法创作中，从而增强了作品的视觉效果，把涨墨之法发挥到极致。《王铎赠张抱一行书卷》中，其作品的冲击力与用墨是分不开的，他书法点画的流动感也与用墨紧密相关。历史上在王铎以前的草书大家无一人用“涨墨”法，此法实乃王铎开创也，这种不同位置的参差对比，使作品在整体视觉效果上别具一格，特点鲜明。\n最后是独特笔法。王铎笔法早年受二王影响，笔势较为平和，行笔温润，他中年学米后，笔势、笔法发生了较为明显的变化。后终于成中国书法技法集大成式的开拓者。在《王铎草书赠张抱一诗卷》中，多处凸显其集大成的大家手笔，可谓将壮美之力表现到极致。在中国书法发展的这条主线上，王铎既崇尚对传统吸收，又善标新立异达到裂变之意。\n王铎为书近五十年的探索，终自成家法，成为“有明书法推第一”（吴昌硕诗句）、“于明季书坛可谓中兴之主”（沙孟海《近三百年的书学》）。他的书法对后世影响极大。清代早期的傅山受王铎书风影响之后，创博大流变之体，标立书坛。至近现代受王铎书风影响最深，写大草的书家，如林散之、沙孟海、沈鹏等书法家，都对王铎书法有深入的研究和汲取过优秀的养分。在日本等，他更是影响东瀛书坛多年。日本人对王铎的书法极其欣赏，还因此衍发成一派别，称为“明清调”。在日本关西地区甚至整个日本书坛，有“后王（王铎）胜前王（王羲之）”的说法。",[23,25,38,26,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b2f5e3e433f8fdbc6532a50d80d3de.jpg","469X26厘米",[],{"id":22723,"slug":22724,"title":22725,"dynasty":18,"author":7852,"museum":106,"description":22726,"tags":22727,"thumbUrl":22735,"material":196,"size":22736,"collection":61,"collections":22737,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},222543,"jian-biao-ce-wang-duo-222543","剪裱册","此册为王铎去世前的冬天所写，当时王铎59岁，于次年3月去世。这件作品虽经剪裱，但原作可能为巨幅，近乎榜书，其字已经入化走定。",[23,38,7,1014,27,209,58,22728,22729,22730,22731,5927,22732,22733,22734,121],"青门","巷竹","早蕨","晚饷","白鸟","暮岭","归鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F377dcc7af48e4623b8c325a64f2230f3.jpg","36×18×21㎝",[],{"id":22739,"slug":22740,"title":11221,"dynasty":18,"author":7852,"museum":106,"description":11222,"tags":22741,"thumbUrl":22742,"material":11225,"size":11226,"collection":61,"collections":22743,"showCount":246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眼）。后来其子王衡在顺天乡试名列第一，在万历二十九年（1601年）高中进士及第第二名，被时人誉为“父子榜眼”。王锡爵的后代不乏科场得意者，其家族延续到清代成为名符其实的簪缨世家。\n王锡爵在进士及第，授翰林院编修，累迁詹事府右谕德、国子祭酒、詹事、礼部右侍郎、文渊阁大学士。万历二十一年（1593年），官至太子太保、吏部尚书、建极殿大学士，为内阁首辅。万历二十二年，辞官致仕，仍一再被皇帝相召。万历三十八年，王锡爵终老于太仓老家，赠太保，谥号文肃，著有《王文肃公全集》55卷。\n王锡爵在任期间，发生了日寇侵略朝鲜，朝廷纷争，是战还是不战？王锡爵看穿了日本以朝鲜为跳板，真实目的在于侵略大明王朝的实质，力主对日本一战。最后在他的运筹之下，大明战而胜之，彻底的斩断了日寇侵略中国的妄想。",[23,38,7,26,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b372740eefb7f6f31897885f3905bd.jpg",[],{"id":23195,"slug":23196,"title":23197,"dynasty":145,"author":23198,"museum":73,"description":23199,"tags":23200,"thumbUrl":23201,"material":196,"size":61,"collection":62,"collections":23202,"showCount":487,"zanCount":534,"manualWeight":11,"mainColor":46},241521,"zhu-fu-shi-zhou-ma-zhi-fei-241521","祝福诗轴","马之騛","此作为行书长轴，笔致圆融灵动，兼具帖学流美与北碑朴拙筋骨。开篇起笔沉凝，渐次舒展，字势顾盼生姿，行气连贯如流泉映带。\n\n整幅布局匀停，虚实相生，虽为长篇祝颂之辞，却无板滞壅塞之感，起承转合间节律悠然。点画筋骨内含，牵丝映带尽显行书飘逸之态，将敬贺心意寄寓笔墨之中，文辞与书韵相得益彰。\n书者深谙笔法意趣，融二王秀雅与碑版沉雄，既有文人情致，又具庙堂端雅气度，笔墨间尽显精湛功力与虔敬心意，是一件颇具意韵的行书佳作。",[24,25,57,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d430142e87d48699e001e86460f4ce1.jpg",[62],{"id":23204,"slug":23205,"title":18713,"dynasty":145,"author":23206,"museum":73,"description":23207,"tags":23208,"thumbUrl":23209,"material":196,"size":61,"collection":62,"collections":23210,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},241502,"lu-yu-zhou-gu-chun-241502","顾莼","顾莼（1765—1832）字希翰，一字吴羹，号南雅，晚号息庐，江苏吴县（今苏州）人，清朝官吏、学者。\n生于清高宗乾隆三十年，卒于宣宗道光十二年，年六十八岁。嘉庆七年进士（1802）进士，改翰林院庶吉士。散馆，授编修。累官至通政司副使，正直不阿。晚年，名益盛，有文坛耆宿之誉。书工楷法，师欧阳询。下笔英挺，行、草、分、隶亦沈郁入古。 少好诗古文，晚岁画宗扬补之，水仙似赵孟坚。墨梅古趣洋溢，墨兰雅润，不专一家。或肆为粉披，或敛为简淡，皆天真自然，不求妍妙而别饶风趣。 [1] 诗文师大苏，音格高雅，赋骈体皆师唐、宋，居词馆三十余年，文名动天下。卒年六十八。所著有《南雅诗文钞》，《清史列传》行于世。",[7,57,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537079440bf1da33f780cf7b1a014b4e.jpg",[62],{"id":23212,"slug":23213,"title":23214,"dynasty":18,"author":23215,"museum":73,"description":23216,"tags":23217,"thumbUrl":23218,"material":920,"size":921,"collection":61,"collections":23219,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241468,"qi-yan-shi-ju-zhou-yang-ji-sheng-241468","七言诗句轴","杨继盛","杨继盛（1516年6月16日－1555年），字仲芳，号椒山。直隶容城（今河北容城县北河照村）人。明朝中期著名谏臣。\n嘉靖二十六年（1547年），杨继盛登进士第，初任南京吏部主事，师从南京吏部尚书韩邦奇学习律吕。后官兵部员外郎。因上疏弹劾仇鸾开马市之议，被贬为狄道典史。其后被起用为诸城知县，迁南京户部主事、刑部员外郎，调兵部武选司员外郎。\n嘉靖三十二年（1553年），上疏力劾严嵩“五奸十大罪”，遭诬陷下狱。在狱中备经拷打，终于嘉靖三十四年（1555年）遇害，年四十。明穆宗即位后，以杨继盛为直谏诸臣之首，追赠太常少卿，谥号“忠愍”，世称“杨忠愍”。后人以其故宅改庙以奉，尊为城隍。有《杨忠愍文集》。",[38,7,57,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3fcfb9904df575dee9b05b5a313429.jpg",[],{"id":23221,"slug":23222,"title":23223,"dynasty":145,"author":339,"museum":73,"description":2168,"tags":23224,"thumbUrl":23225,"material":920,"size":921,"collection":61,"collections":23226,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241463,"zi-xu-gao-juan-zheng-ban-qiao-241463","自叙稿卷",[38,7,26,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315d72a62dc01a9ad5959ff2c5717882.jpg",[],{"id":23228,"slug":23229,"title":23230,"dynasty":145,"author":10880,"museum":73,"description":14269,"tags":23231,"thumbUrl":23233,"material":920,"size":921,"collection":61,"collections":23234,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241440,"ling-xi-xi-zha-heng-weng-fang-gang-241440","令西席札横",[38,7,27,620,58,23232],"横卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff831f5311a37710a8242344795c3470e.jpg",[],{"id":23236,"slug":23237,"title":23238,"dynasty":18,"author":9263,"museum":73,"description":23239,"tags":23240,"thumbUrl":23241,"material":920,"size":921,"collection":61,"collections":23242,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241439,"zhi-qing-shi-ri-lai-zha-heng-wen-jia-241439","致磬室日来札横","文嘉（1501年～1583），字休承，号文水，南直隶 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:11,"mainColor":46},241186,"zhi-yao-xian-wen-zha-juan-yang-lian-241186","致姚现闻札卷","杨涟","杨涟（1572年7月10日－1625年8月28日），字文孺，号大洪，汉族，湖广应山（今属湖北广水）人。明末著名谏臣，东林党人，“东林六君子”之一。\n万历三十五年（1607年），杨涟登进士第。初任常熟知县，举全国廉吏第一，入朝任户科给事中、兵科给事中。明神宗病危时，杨涟力主太子朱常洛（明光宗）进宫服侍神宗。光宗即位后，他极力反对郑贵妃求封皇太后。光宗病重时，杨涟上疏力陈其过失，得以获光宗召见，受顾命之任。李选侍在光宗逝世后，欲挟太子朱由校（明熹宗）把持朝政。杨涟说服朝臣，挺身而出，闯进乾清宫，拥熹宗即位，并逼李选侍移出乾清宫，安定朝局。累迁至左副都御史。\n天启五年（1625年），因弹劾魏忠贤二十四大罪，被诬陷受贿二万两，历经拷打，惨死狱中。崇祯元年（1628年），杨涟获平反，追赠太子太保、兵部尚书，谥号“忠烈”。有《杨忠烈公文集》传世。\n杨涟终生致力于争“红丸案”、“移宫案”以正宫闱，反阉党以遏止魏忠贤，为挽救混乱的政局献出了自己宝贵的生命。",[23,38,7,26,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1945b7f5c8f316b93aae84afdc083e.jpg",[62],{"id":23320,"slug":23321,"title":23322,"dynasty":145,"author":838,"museum":73,"description":11997,"tags":23323,"thumbUrl":23324,"material":920,"size":921,"collection":61,"collections":23325,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241157,"song-cai-ming-yuan-xu-zhou-liu-yong-241157","送蔡明远叙轴",[25,38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30e70280c45adde96c5c0ab5b247d46.jpg",[],{"id":23327,"slug":23328,"title":23329,"dynasty":145,"author":23330,"museum":73,"description":23331,"tags":23332,"thumbUrl":23333,"material":61,"size":61,"collection":62,"collections":23334,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241136,"qi-yan-shi-zhou-liu-tong-xun-241136","七言诗轴","刘统勋","刘统勋（1700年2月11日—1773年12月29日），字延清，号尔钝，青州府诸城县（今山东省高密市）人。清朝大臣、政治家，刘墉的父亲。\n雍正二年（1724年），考中进士，选为庶吉士、翰林院编修，历任南书房行走、上书房行走和东宫詹事等。乾隆帝继位，历任刑部侍郎、左都御史、漕运总督、太子太傅兼陕甘总督、工部尚书、吏部尚书、翰林院掌院学士、军机大臣、东阁大学士、国史馆总裁 [1] 。为政四十余年，清廉正直，敢于直 谏，在吏治、军事、治河、修史等方面均有显著政绩。\n乾隆三十八年（1773年），去世，时年七十五，获赠太傅，谥号文正。",[38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaad8b364873777a4241de58886d8b00.jpg",[62],{"id":23336,"slug":23337,"title":12628,"dynasty":145,"author":4214,"museum":73,"description":2168,"tags":23338,"thumbUrl":23339,"material":920,"size":921,"collection":61,"collections":23340,"showCount":487,"zanCount":534,"manualWeight":11,"mainColor":638},241129,"zheng-xie-shi-zhou-zheng-xie-241129",[145,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6690e16dbc217ea900110d0c31b4c11b.jpg",[],{"id":23342,"slug":23343,"title":10904,"dynasty":145,"author":23344,"museum":73,"description":23345,"tags":23346,"thumbUrl":23348,"material":196,"size":61,"collection":62,"collections":23349,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241078,"shi-zhou-fang-xun-241078","方薰","方薰(1736—1799)，字兰士，一字懒儒，号兰坻、兰如、兰生、长青、樗庵，别署语儿乡农，浙江石门（今属桐乡）布衣。槑子。性高逸狷介，朴野如山僧。诗、书、画并妙，写生尤工，与钱塘奚冈（字铁生，西泠八家之一）齐名，世称浙西两高士，称“方奚”。一时能手，无出二人之上。阮元评其画说：“深得宋元人秘法。”陈希濂则说：“兰士作画，繁不重，简不略，厚在神，秀在骨，高旷之气，突过时辈。”作品有《山静居诗稿》《山静居词稿》《题画诗》《山静居画论》。",[25,57,7,38,58,20508,495,23347,404,12471,17140,1636,1951,3977,1068,884,6589,328],"湖山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a37ec1aed7712c705ad5c860ddd550.jpg",[62],{"id":23351,"slug":23352,"title":23353,"dynasty":18,"author":23354,"museum":73,"description":23355,"tags":23356,"thumbUrl":23357,"material":196,"size":61,"collection":62,"collections":23358,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":638},241057,"deng-she-shan-shi-zhou-ye-xiang-gao-241057","登摄山诗轴","叶向髙","叶向高（1559年9月1日－1627年10月7日），字进卿，号台山，晚号福庐山人，福州府福清（今福建福清市）人。明朝大臣、政治家，万历、天启年间两度出任内阁辅臣。\n万历十一年（1583年），考中进士，授职庶吉士，随后提升为翰林院编修，历任南京国子司业、太子左中允。万历二十六年（1598年），升为太子左庶子。上疏请求取消矿税、撤矿税监，被沈一贯排挤出京，转任南京礼部右侍郎。万历三十五年（1607年），升任礼部尚书、东阁大学士。万历三十六年（1608年）后，一人主持阁务达七年之久，人称“独相”。万历四十二年（1614年），连上六十二道奏疏请求致仕，获准回乡。天启元年（1621年），二度入阁为首辅。由于阉党势力过于强大，叶向高不甘受误国之骂名，又连上六十七道奏疏请辞。天启四年（1624年），叶向高以太子太傅致仕。\n天启七年（1627年），叶向高病逝，终年六十九岁。崇祯初年，追赠太师，谥号文忠。\n叶向高善于决断大事，任首辅期间，为明神宗出谋划策，调剂大臣之间的关系，更对维护太子正统、遏制魏忠贤的势力起到了不可替代的作用。",[38,57,7,27,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0f7adaa6165376a44749ffd29eb0f.jpg",[62],{"id":23360,"slug":23361,"title":13127,"dynasty":145,"author":7852,"museum":73,"description":9968,"tags":23362,"thumbUrl":23363,"material":920,"size":921,"collection":61,"collections":23364,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":638},241024,"wang-duo-wu-lv-zhou-wang-duo-241024",[38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75211a89a0d11156842279200dda173.jpg",[],{"id":23366,"slug":23367,"title":23368,"dynasty":145,"author":23369,"museum":73,"description":23370,"tags":23371,"thumbUrl":23372,"material":196,"size":61,"collection":62,"collections":23373,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241021,"qi-yan-zhou-gong-you-rong-241021","七言轴","龚有融","龚有融（1755～1831）清著名书画家。字晴皋，号绥山樵子，晚号拙老人，清四川省重庆府巴县人。祖父辈由营山县迁入巴县，定居西里冷水场（今重庆九龙坡区华岩乡）。\n乾隆四十四年（1779年）举人。后屡试春闱不第，以游幕和馆课为生。嘉庆十七年（1812）大挑一等，选山西崞县（今原平县）知县。旧例新令至可得数千金。龚有融单车抵县，破旧例，却金不受。在官三年，多惠政。\n会抚军巡县，供张之费，须敛民财，有融不忍，亲自支应。驺从哄于署。是时有融方食，惟麦饭豆菽，举以示之曰：“此吾所自奉，共食何如？”次日抚军启行，呼左右不即至，抚军不悦。\n未几，调任石楼知县，有融年已六十，宦情淡薄，遂称病辞官。崞县民众攀辕泣送，为立生祠祀之。归里薄置田宅，自题宅旁小溪曰“退溪”。于石碾房课徒讲学，名曰“碾斋书堂”。\n教授勤恳，远近才俊，慕名来学者众，至屋舍不能容，造就颇多。间应朋友之请，作书画得润笔以自给。晚年自号“拙老人”。高简不轻出，当道欲图一见不可得，亟重其画。某太守生辰，郡人将制锦以献。太守曰：“以幅纸得龚先生书画足矣。”有融时馆于城，竟走避。比太守拜见，不见，亦不答。\n道光十一年（1831）病卒于家。崇祀乡贤祠。",[145,25,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb12e447b9f0ed29a963d7f48cf90b4.jpg",[62],{"id":23375,"slug":23376,"title":23377,"dynasty":145,"author":23378,"museum":73,"description":23379,"tags":23380,"thumbUrl":23382,"material":196,"size":61,"collection":62,"collections":23383,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241019,"wu-gu-zhou-cao-ting-dong-241019","五古轴","曹廷栋","生于清圣祖康熙三十八年，卒于高宗乾隆五十年，年八十七岁。诸生。少嗜学工诗，中年后，绝意进取。于所居累土为山，环植花木，以奉母，名之日慈山，因自号慈山居士。时或弹琴赋诗写兰石摹篆隶以抒其闲寂。后益耽著述，不下楼者三十年，所坐木榻穿而复补。性旷达，晚自营生圹，手植梅花成林。廷栋生平最爱贺铸诗，故所为大似北宋人。尝以《宋诗钞》漏略尚多，因搜采遗佚，为《宋百家诗存》二十八卷；他着有《产鹤亭诗集》七卷，《老老恒言》五卷，《易准》四卷，《昏礼通考》二十四卷，《孝经通释》十卷，《逸语》十卷，及《琴学内篇》一卷，《外篇》一卷，均《清史列传》并传于世。",[38,57,7,58,693,80,23381,2252,5926,402,1794,112],"渭水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5376f4e87589ee425ab452052d0c32.jpg",[62],{"id":23385,"slug":23386,"title":23387,"dynasty":145,"author":3179,"museum":73,"description":23388,"tags":23389,"thumbUrl":23390,"material":196,"size":61,"collection":62,"collections":23391,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},241016,"shu-zha-juan-cha-shi-biao-241016","书札卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[24,25,26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c8f1c05b13de6e1378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tags":23563,"thumbUrl":23564,"material":196,"size":61,"collection":62,"collections":23565,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240297,"lu-xiang-sheng-shi-zhou-lu-xiang-sheng-240297","卢象昇诗轴","卢象昇","卢象升（1600年4月16日—1640年1月10日），字建斗，又字斗瞻、介瞻，号九台，南直隶常州府宜兴县（今江苏宜兴）人。明末杰出将领。万历二十八年三月四日（1600年4月16日），卢象升生于常州府宜兴县张渚镇。\n天启二年（1622年）进士。自崇祯六年（1633年）起，参与镇压李自成等农民军有功，升任右副都御史，总理河北、河南、山东、湖广、四川军务，兼湖广巡抚，后升任兵部侍郎，再迁兵部左侍郎，总督宣府、大同、山西军务。崇祯七年（1634年），击溃张献忠农民军。崇祯八年（1635年），击败高迎祥、李粜自成洎农民頭军。樤崇祯十一年（1638年），担任兵部尚书，力主抗清，守卫京师，连战皆捷，反被太监高起潜陷害，免去尚书职务，以侍郎视事。著有《卢忠肃公集》、《卢象升疏牍》。\n崇祯十二年（1639年），率部在巨鹿贾庄被清军包围，高起潜拥兵不救，终因炮尽矢绝，战死疆场，年仅三十九岁，追赠太子太师、兵部尚书。南明福王时，追谥“忠烈”。清朝，追谥“忠肃”。",[24,25,57,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbff6ef8793eae0f03f8071c1660f4e.jpg",[62],{"id":23567,"slug":23568,"title":23569,"dynasty":145,"author":9149,"museum":73,"description":23570,"tags":23571,"thumbUrl":23572,"material":920,"size":921,"collection":61,"collections":23573,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240266,"ni-bai-le-tian-fang-ge-xing-zhou-da-chong-guang-240266","拟白乐天放歌行轴","笪重光（1623年—1692年），字在辛，号君宜，又号蟾光、逸叟、江上外史、郁冈扫叶道人，晚年居茅山学道改名传光、蟾光，亦署逸光，号奉真、始青道人，江苏丹徒句容东荆（今江苏句容白兔镇茅庄村）人（一作江苏丹徒人），清朝著名书画家。",[145,38,7,57,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925e736ee36deb39c916ea9e65eb92b5.jpg",[],{"id":23575,"slug":23576,"title":23577,"dynasty":18,"author":23578,"museum":73,"description":23579,"tags":23580,"thumbUrl":23581,"material":920,"size":921,"collection":61,"collections":23582,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240252,"jiu-jia-ju-bo-chan-shi-song-xing-shi-juan-liu-ruo-zai-240252","九家居伯禅师送行诗卷","刘若宰","刘若宰（1595～1640），字胤平，号退斋，南直隶安庆府怀宁县（今安徽省怀宁县平山街道大塅）人。明崇祯元年（1628年）状元，书画家。\n刘若宰出生于书香门第，文思敏捷，出口成章。擅长书画，楷、行、草书均精绝。他常向朝廷举荐智勇忠贞的人才，明末名将史可法由安池道监军升为巡抚，就是因为他的举荐。崇祯十三年四月十三日，他因积劳成疾辞世。死后追赠詹事，赐祭葬，荫子。后因子刘馀慧仕，加赠太仆太卿。旧时县学宫（今安庆市）前建有状元坊，刘若宰在安庆的府邸称状元府，今安庆状元府宾馆得名于此。",[23,25,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2749b494f30ecb0f8cb23e045d2fa4.jpg",[],{"id":23584,"slug":23585,"title":23586,"dynasty":145,"author":13725,"museum":73,"description":23587,"tags":23588,"thumbUrl":23589,"material":920,"size":921,"collection":61,"collections":23590,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240247,"si-tiao-ping-bao-shi-chen-240247","四条屏","包世臣（1775一1855），安吴（今安徽泾县）人。清代学者、书法家。包世臣是北宋名臣——包拯二十九世孙。字慎伯，晚号倦翁、小倦游阁外史。嘉庆二十年举人，曾官江西新喻知县，被劾去官。包世臣学识渊博，喜兵家言，治经济学。对农政、货币以及文学等均有研究。28岁时遇邓石如，师从学篆隶，后又倡导北魏。晚年习二王。自称：“慎伯中年书从颜、欧入手，转及苏、董，后肆力北魏，晚习二王，遂成绝业。”自拟为“右军第一人”，自负之极。包世臣的主要历史功绩在于通过书论《艺舟双楫》等倡导碑学，对清代中、后期书风的变革影响很大，为书界称颂。",[3383,196,7,38,8075,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440eb73fcca47dbb95b3e2f4c992bb6b.jpg",[],{"id":23592,"slug":23593,"title":18713,"dynasty":145,"author":23594,"museum":73,"description":23595,"tags":23596,"thumbUrl":23597,"material":196,"size":61,"collection":62,"collections":23598,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240200,"lu-yu-zhou-yin-zhuang-tu-240200","尹壮图","尹壮图，字楚珍，云南蒙自人，于乾隆三十一年（1766年）考中进士，乾隆三十九年（1774年）入阁任内阁学士，兼礼部侍郎。乾隆五十五年（1790年），他上书乾隆皇帝，向皇帝直言议罪银制为朝廷带来的不利。关于这件事，《清史稿》中有详细的记载",[3383,25,57,7,58,38,646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c91df5a1a2e7742c119d9e8bc9f427.jpg",[62],{"id":23600,"slug":23601,"title":14247,"dynasty":18,"author":3452,"museum":73,"description":23602,"tags":23603,"thumbUrl":23604,"material":196,"size":61,"collection":62,"collections":23605,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240194,"shi-juan-zhang-rui-tu-240194","明代市民阶层崛起，经济领域以及意识形态都发生了巨大变化。思想文化领域出现了以解放个性为中心的王阳明心学。美学思想也不例外，在书法上主要是强调创作源于心灵，以师心代替师古，突破前人束缚,独抒性灵。\n明代中期以后，陈淳、徐渭以其狂放不羁的个性和骇世惊俗的面目，首先在书坛上掀起波澜，传统的审美范式受到了强有力的冲击。时至明末清初，张瑞图、黄道周、王铎、倪元璐、傅山等脱颖而出。他们以一种纵横豪迈酣畅的气势，形成了一股十分引人注目的求异出新的浪潮。",[23,25,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf8c4caf7c2415220fb939c272e16a8.jpg",[62],{"id":23607,"slug":23608,"title":23609,"dynasty":145,"author":23610,"museum":106,"description":23611,"tags":23612,"thumbUrl":23613,"material":196,"size":61,"collection":62,"collections":23614,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240184,"wen-zhou-cao-zhen-xiu-240184","文轴","曹贞秀","曹贞秀(1762-1822)，字墨琴，自署写韵轩，安徽休宁人，侨居吴门，为曹锐女，王芑孙妻，无金粉之好，能绘事，书法钟王，士林重之。",[24,25,57,7,1014,2031,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824c855bb34f23e3b4e8153b00263aba.jpg",[62],{"id":23616,"slug":23617,"title":10904,"dynasty":145,"author":23618,"museum":73,"description":23619,"tags":23620,"thumbUrl":23621,"material":61,"size":61,"collection":62,"collections":23622,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},240183,"shi-zhou-sun-shi-jie-240183","孙世杰","此作用笔纵逸苍劲，以中锋立骨、侧锋取势，提按顿挫间尽显老辣雄奇。章法错落跌宕，字势欹侧相生，墨色浓枯变幻自然，重墨处浑穆淋漓，枯笔飞白间尽显苍茫意趣。\n整幅以行草书写就自作诗篇，笔墨与文辞相得益彰，既有北碑的雄强浑朴，又不失帖学的灵动流转，将郁勃豪迈的意气寄寓于点画之间，尽显清初行草书尚势的典型风尚，尽显书家不俗的胸襟与扎实笔力，是极具个性风貌的书法佳构。",[38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba6ffce4540c25f4e4241c2da97e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字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[23,56,24,25,26,27,58,38,1014,7,352,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[62],{"id":23658,"slug":23659,"title":10904,"dynasty":145,"author":23660,"museum":73,"description":23661,"tags":23662,"thumbUrl":23663,"material":196,"size":61,"collection":62,"collections":23664,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},240025,"shi-zhou-liu-liang-song-240025","刘梁嵩","刘梁嵩. 字玉少，江南江都人。康熙甲辰进士",[3383,38,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c619ea66d77d5eb18f789bb069cbd9.jpg",[62],{"id":23666,"slug":23667,"title":23668,"dynasty":18,"author":23669,"museum":106,"description":23670,"tags":23671,"thumbUrl":23673,"material":196,"size":23674,"collection":62,"collections":23675,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240024,"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[23,38,26,7,76,58,27,620,418,4775,10761,4186,23672,884,1068,376,3977,495,177],"浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[62],{"id":23677,"slug":23678,"title":17850,"dynasty":18,"author":23679,"museum":73,"description":23680,"tags":23681,"thumbUrl":23682,"material":61,"size":61,"collection":62,"collections":23683,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240007,"shi-ye-zhao-shi-xian-240007","赵世显","赵世显，字仁甫，侯官人。万历癸未进士。\n世显风度秀整，其为诗一意盛唐而已。初任池州司李，左迁稍起为梁山令。复转别驾，以母老不赴。自负才名，郁郁不得志，杜门却轨，以文、酒娱日，达官罕识其面也。所著有《芝园稿》。其同年举有郑日休，字廷德，能诗文，官终惠州司李。",[38,7,27,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5938d878c15dc0239a99ad47afab2e26.jpg",[62],{"id":23685,"slug":23686,"title":23687,"dynasty":18,"author":220,"museum":73,"description":23688,"tags":23689,"thumbUrl":23690,"material":61,"size":61,"collection":62,"collections":23691,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},240000,"dan-gu-gui-qu-lai-ci-ye-yi-ming-240000","澹古归去来辞页","此作用笔灵动温润，牵丝映带自然妥帖，字势顾盼相生，尽显典型的明代行书风貌。起收笔遒劲不失秀雅，点画粗细变化富有韵律，将陶潜辞中散淡隐逸的林下之风融于笔墨。\n\n通篇布局匀整和谐，行气连贯从容，不见刻意狂放，将归园田居的释然快意藏于笔墨节奏之中。笔墨间闲适安和，文辞意趣与书法技法相融，尽显传统文人书法的清雅书卷气，是颇具意致的行书佳制。",[3018,38,7,196,27,113,121,494,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60a3634479f719cca678a6bca8ff6d7.jpg",[62],{"id":23693,"slug":23694,"title":23695,"dynasty":18,"author":23696,"museum":73,"description":23697,"tags":23698,"thumbUrl":23699,"material":61,"size":61,"collection":62,"collections":23700,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},239990,"zeng-zhao-da-yin-shi-zhou-zhu-gang-239990","赠赵大尹诗轴","朱棡","朱棡（1358年12月18日 [8] －1398年3月30日 [9] ），明朝宗室亲王，明太祖朱元璋第三子，母为孝慈高皇后马氏（即马皇后），《南京太常寺志》记载为李淑妃所生，元至正十八年（1358年）十一月十八日（12月18日）生。\n明朝第一任晋王，攘夷九大塞王之一。洪武三年（1370年）四月封晋王，洪武十一年（1378年）就藩太原。\n洪武三十一年（1398年）三月十二日（3月30日），晋王朱棡薨，年41岁，明太祖震悼，哀恸不已，上谥“恭”，是为晋恭王。葬于太原城东南10公里的黑驼山之上。",[3018,57,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb25768dcf524aae65def79e78ba4038.jpg",[62],{"id":23702,"slug":23703,"title":14308,"dynasty":145,"author":23704,"museum":73,"description":23705,"tags":23706,"thumbUrl":23707,"material":61,"size":61,"collection":62,"collections":23708,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239920,"zhi-lian-shang-ye-wang-chong-xi-239920","王崇熙","王崇熙，清江西省抚州府南城县人，为清代嘉庆贰拾肆年（公元1819年）《新安县志》的主编者 ( 注：广东省新安县，后名宝安县，今天广东省深圳市），主修是当时的新安县令舒懋官。",[25,38,7,209,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa087d44b374c08fa1ebbe93d73efb220.jpg",[62],{"id":23710,"slug":23711,"title":23712,"dynasty":18,"author":20123,"museum":73,"description":20124,"tags":23713,"thumbUrl":23714,"material":61,"size":61,"collection":62,"collections":23715,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239890,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239890","明代名人，申时行等墨宝",[38,7,26,27,25,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fbbe7667dd57131d3c4f62400f5f7a.jpg",[62],{"id":23717,"slug":23718,"title":23719,"dynasty":18,"author":23720,"museum":73,"description":23721,"tags":23722,"thumbUrl":23723,"material":61,"size":61,"collection":62,"collections":23724,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},239885,"shou-xu-juan-wen-ti-ren-239885","寿序卷","温体仁","温体仁（1574年1月1日-1638年8月11日） 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著有《已宽堂集》。",[24,25,209,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30f126de5b03811bb887d5764c53e96.jpg",[62],{"id":23778,"slug":23779,"title":23780,"dynasty":51,"author":220,"museum":73,"description":23781,"tags":23782,"thumbUrl":23783,"material":61,"size":61,"collection":62,"collections":23784,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239717,"song-xian-yi-han-ce-wang-sheng-qiu-shen-tie-yi-ming-239717","宋贤遗翰册-王升秋深帖","此作用笔纵逸洒脱，以行草写就，牵丝映带自然圆融，尽显尚意风神。点画间提按顿挫节奏明快，墨色枯湿浓淡交叠，粗细线条相映成趣。\n章法疏朗错落，字势开合自如，通篇气息流转浑融，将尺牍里的惦念之意藏入笔墨。随性挥洒间不失沉稳法度，萧散雅致的笔意里，暗合着文人间日常酬答的悠悠情思，把寻常牵挂化作纸上动人韵致。",[38,7,209,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f9574ade223ffd2ff0d1f826e970b9.jpg",[62],{"id":23786,"slug":23787,"title":23788,"dynasty":145,"author":14277,"museum":73,"description":14278,"tags":23789,"thumbUrl":23791,"material":920,"size":921,"collection":61,"collections":23792,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239688,"deng-shi-ru-cang-hai-ri-zhang-lian-deng-shi-ru-239688","邓石如沧海日长联",[38,2251,2031,7,3383,353,9124,17089,23790],"书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc955ef66ba7a8009522ea33fcb97635a.jpg",[],{"id":23794,"slug":23795,"title":23796,"dynasty":91,"author":12921,"museum":73,"description":23797,"tags":23798,"thumbUrl":23799,"material":61,"size":61,"collection":61,"collections":23800,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239672,"chun-hui-tang-ji-juan-ou-yang-xuan-239672","春晖堂记卷","《春晖堂记》卷是元代欧阳玄创作的楷书书法作品。\n署款：“国史冀郡欧阳玄记”，款下钤“冀郡欧阳玄印”。\n鉴藏印有清安岐、乾隆内府、嘉庆内府、宣统内府诸印。\n卷后有元张翥、吴当、贡师道、程益四家题诗。\n《春晖堂记》是欧阳玄为王伯善的“奉亲之堂”所撰并书的记文。\n文中赞扬了王伯善对母亲的孝敬，同时又歌颂了王母的贤惠。\n从文中可知，此奉亲之堂名“春晖”,是当时的文人吴养浩据唐孟郊“谁言寸草心，报得三春晖”的诗意而起。\n此卷后面的诗跋咏颂的都是王伯善奉孝母亲之事，而不是对欧阳玄书法的评价。\n此书学苏轼，笔法浑厚稳健，刚劲流畅，笔画精到，起承转折分明，结体方扁，分间布白极其匀称，是欧阳玄合文章、书法为双美的代表作品。\n欧阳玄（？-157）字原功，号圭斋，浏阳人。\n祖籍江西。\n系欧阳修的族裔。\n清康熙年间修浏阳县志时因避康熙皇帝玄烨讳，改玄为元，所以又有欧阳元之称。\n115年（元延二年），取中进士第三名，为官4余年先后六入翰林，两为祭酒，两任主考，以史学成就最为突出，同时也以诗文闻名天下，因其学识渊博，文绩卓著，人称“一代宗师”。",[23,56,24,25,26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc486d24397cc66b8fc169a4d8a916a62.jpg",[],{"id":23802,"slug":23803,"title":23804,"dynasty":51,"author":23805,"museum":53,"description":23806,"tags":23807,"thumbUrl":23808,"material":61,"size":61,"collection":62,"collections":23809,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239645,"shou-xia-tie-ye-wang-sheng-239645","首夏帖页","王升","父王举逸，性至孝，郡县孝廉不就，慷慨好义，急人之急，曾令仆人驾船救溺，全活数十人。王升幼承家训，立志力学。明永乐元年(1403年)，乡试中举，永乐二年成进士，选翰林院庶吉士，奉敕到江西搜求遗书。复命后，先后任江西安福、湖广罗田二县知县，都有善政，调陕西平凉府推官，历升大理寺左评事，大理寺左寺正，复审刑部、都察院、五军断事官署所移狱讼案牍，务得其实，多所平反。当时有锦衣卫张千户系狱，定为死谳，升省其冤，遂予平反。宣德五年(1430年)五月，宣宗以知府多循资格不称职，其时有重要九郡缺守，命大臣举京官廉能者充任。遂擢郎中况锺等9人为知府。这年冬，复用薜广等29人任知府。王升受宰相杨士奇荐举，出任江西抚州(今属临州市地)知府。为政重在利民，设学校，兴礼教，遇到荒年，率先捐俸赈济，全活数千人。任职9年，秩满当迁，州民相率到京师，呈请留任，朝廷遂赐王升帛，进阶正三品，并准续任。经过两年，因病辞归。正统十三年(1448年)谢世，葬鹤鸣铺恒坑山。后人祀府学乡贤祠。《明史·循吏传》有小传",[23,38,7,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891453a5159e74f901fc904e2cc336a2.jpg",[62],{"id":23811,"slug":23812,"title":23813,"dynasty":91,"author":23814,"museum":73,"description":23815,"tags":23816,"thumbUrl":23817,"material":61,"size":61,"collection":62,"collections":23818,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239621,"shu-shi-ce-ye-yu-yi-239621","书诗册页","庾益","庾翼（305年～345年8月16日），字稚恭。颍川鄢陵（今河南省鄢陵县）人。东晋中期将领、外戚、书法家，征西将军庾亮、晋明帝皇后庾文君之弟。世称小庾、庾征西 、庾小征西 。\n庾翼外表风仪秀伟，年轻时便有经世大略。苏峻之乱时以白衣身份守备石头城，又随庾亮逃奔温峤。事后，受太尉陶侃征辟，历任参军、从事中郎，后任振威将军、鄱阳太守，转任建威将军、西阳太守。庾亮准备北伐时，任命庾翼为南蛮校尉、南郡太守等职，镇守江陵，以协助保卫石城之功，封都亭侯。庾亮逝世后，出任都督六州诸军事、安西将军、荆州刺史，接替庾亮镇守武昌。后部署诸将，意图北伐，任征西将军、荆州刺史。永和元年（345年）去世，获赠车骑将军，谥号“肃”。有文集二十二卷。《唐会要》将其尊为魏晋八君子之一。\n庾翼工书法，《淳化阁帖》收录有《故吏帖》。《宣和书谱》称其“善草隶，与王羲之并驰争先。”有其草书《步征帖》、行书《盛事帖》。",[38,7,209,58,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d60c5bdf123eceac3fa035b04bbf5e.jpg",[62],{"id":23820,"slug":23821,"title":23822,"dynasty":18,"author":23823,"museum":73,"description":23824,"tags":23825,"thumbUrl":23826,"material":61,"size":61,"collection":62,"collections":23827,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239594,"hui-yi-tie-ce-ye-wei-ji-239594","诲益帖册页","魏骥","魏骥为明成祖永乐三年（1405年）举人，次年以进士副榜授官松江府儒学训导，参与纂修《永乐大典》。历任太常博士、吏部考功员外郎、南京太常寺少卿、行在吏部左侍郎等职，曾多次奉命巡视畿甸蝗灾，询问民间疾苦。正统八年（1443年），改礼部左侍郎，以年老力衰请求致仕，遂改南京吏部侍郎。正统十三年（1448年），再以老辞官，未获准许。次年，升任南京吏部尚书。“土木之变”时，为对瓦剌用兵献计献策，屡被朝廷采纳施行。景泰元年（1450年）致仕，家居二十余年，病逝于明宪宗成化八年（1472年），年九十八，获赐谥号“文靖”。魏骥能诗文，有《南斋前后集》《松江志》《水利事实》《水利切要》《理学正义》《南斋摘稿》等",[25,38,7,1244,196,1698,58,3018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b776fcdd8989ee74911520bab0086ff.jpg",[62],{"id":23829,"slug":23830,"title":17499,"dynasty":91,"author":17500,"museum":106,"description":17501,"tags":23831,"thumbUrl":23832,"material":658,"size":17504,"collection":62,"collections":23833,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239565,"fa-jian-ye-tie-ye-li-xiao-guang-239565",[23,38,7,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c906c6059d7c65244bf7feabf0eba3.jpg",[62],{"id":23835,"slug":23836,"title":2604,"dynasty":145,"author":3179,"museum":73,"description":17202,"tags":23837,"thumbUrl":23838,"material":920,"size":921,"collection":61,"collections":23839,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239332,"shan-shui-ce-cha-shi-biao-239332",[24,25,209,27,7,37,29,774,178,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74458d219673175ee12b1e558e6fc03e.jpg",[],{"id":23841,"slug":23842,"title":22119,"dynasty":145,"author":21744,"museum":73,"description":23843,"tags":23844,"thumbUrl":23845,"material":61,"size":61,"collection":61,"collections":23846,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},239198,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239198","此作以枯淡水墨绘就林泉幽境，危崖层叠嵯峨，飞瀑垂落寒潭，山径蜿蜒通至崖畔山居，林木萧疏掩映屋舍，尽现山野荒寂之致。笔墨苍浑秀润，皴擦间尽显山石肌理质感，简淡中见深隽意境。左侧题跋笔意萧散古雅，与山水意境相融相合，书画合璧更添林下之风。整幅作品寄寓幽栖避世的隐逸襟怀，尽显文人山水的高致雅趣，淡墨浅痕间铺陈出静穆清远的林下丘壑。",[24,25,209,27,37,38,58,7,29,192,35,34,36,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6194dc0c33f78efbc5de6255ec8b8f55.jpg",[],{"id":23848,"slug":23849,"title":7543,"dynasty":145,"author":7544,"museum":73,"description":23850,"tags":23851,"thumbUrl":23853,"material":61,"size":61,"collection":61,"collections":23854,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},238715,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238715","此作左诗右图，诗画相生。纯以水墨白描写就，山石勾勒皴擦浑厚苍劲，层峦叠嶂间古松虬曲伸展，深谷茅舍隐现晕染出林泉幽寂之态。\n\n临崖文人衣袂飘然，凭栏纵览溪山，溪畔麋鹿驻足回眸，为幽寂丘山添了一抹灵动生机。笔墨间将诗文里栖隐丘壑、养性忘俗的意涵具象铺陈，既有北宗山水的雄峻层次，又带着南派文人画的静穆禅意，观之如踏入这方幽林丘山，共赏林下高风，尽得林泉雅趣。",[24,25,209,27,37,7,58,38,29,79,254,35,31,150,23852,34,495],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cf5375a37c220680a5b4422747aaa3.jpg",[],{"id":23856,"slug":23857,"title":10244,"dynasty":145,"author":7534,"museum":73,"description":10245,"tags":23858,"thumbUrl":23859,"material":920,"size":921,"collection":61,"collections":23860,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},238550,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238550",[24,25,209,7,38,77,28,79,29,34,35,7108,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64043e6183224a8724b2c4fe706e9c2.jpg",[],{"id":23862,"slug":23863,"title":20524,"dynasty":145,"author":8090,"museum":73,"description":14555,"tags":23864,"thumbUrl":23865,"material":920,"size":921,"collection":61,"collections":23866,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},238511,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238511",[24,25,209,28,29,38,7,178,34,1121,7208,12359,4867,444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ed131b207df3bf16b5cd7ca0ee261.jpg",[],{"id":23868,"slug":23869,"title":2604,"dynasty":145,"author":19088,"museum":73,"description":23870,"tags":23871,"thumbUrl":23872,"material":61,"size":61,"collection":61,"collections":23873,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},238154,"shan-shui-ce-yun-xi-238154","此作用笔松秀温润，以淡墨皴擦勾勒层叠山峦，苍松虬枝错落生姿，古拙清刚的意趣藏于枝叶舒展间。涧谷蜿蜒，茅庐隐于松石深处，留白晕染出空濛山意，将幽寂深邈的山居之境铺陈开来。\n\n左侧行书笔势舒展俊逸，诗书与山水相映成趣，把山中空寂清冷的禅意融于笔墨间。整体简淡萧散，尽显静穆淡远的林下之风，是诗画合一的文人佳构，将林泉高致藏于尺幅之间。",[24,25,27,37,7,58,209,29,35,254,34,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72adfcce328fa41b56724de28129eca.jpg",[],{"id":23875,"slug":23876,"title":23877,"dynasty":51,"author":220,"museum":73,"description":23878,"tags":23879,"thumbUrl":23881,"material":61,"s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陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,56,24,25,26,28,77,7,58,29,254,33,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":24178,"slug":24179,"title":24180,"dynasty":18,"author":23421,"museum":73,"description":24181,"tags":24182,"thumbUrl":24184,"material":61,"size":61,"collection":61,"collections":24185,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},234165,"lin-mou-yi-shan-ze-za-shu-zhou-zhuang-juan-ma-yu-234165","临缪佚山泽杂树轴装卷","马愈， 明代书画家。字抑之，号华发仙人，人号 马清痴，嘉定（今属 上海市）人。其父 马轼曾以星占服务于军中，又是著名的院体画家。马愈于 明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有 《马氏日抄》一卷。",[23,24,25,26,76,27,37,7,58,29,24183,35,31],"杂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd053d0aa504c020ce53dd9906b558821.jpg",[],{"id":24187,"slug":24188,"title":24189,"dynasty":51,"author":220,"museum":106,"description":24190,"tags":24191,"thumbUrl":24192,"material":802,"size":24193,"collection":61,"collections":24194,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},234038,"si-lun-tu-zhou-yi-ming-234038","丝纶图轴","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[24,25,57,27,28,37,38,7,29,34,254,36,79,239,1471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc447fe7cf03f1038a72f049cc5ebbc4f.jpg","纵83.2厘米 横37.5厘米",[],{"id":24196,"slug":24197,"title":8728,"dynasty":145,"author":9991,"museum":106,"description":17363,"tags":24198,"thumbUrl":24199,"material":722,"size":17366,"collection":61,"collections":24200,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},233430,"huang-shan-tu-ce-mei-qing-233430",[24,27,209,37,7,58,29,35,113,31,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449f759d0c7814ce3563b05c336b9043.jpg",[],{"id":24202,"slug":24203,"title":24204,"dynasty":145,"author":24205,"museum":106,"description":24206,"tags":24207,"thumbUrl":24208,"material":196,"size":61,"collection":61,"collections":24209,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},233149,"hua-yun-feng-qiu-ji-tu-xiang-zhou-hu-xi-gui-233149","画云峰求己图像轴","胡锡珪","就求己图而言，现藏于故宫博物院的清代画家胡锡珪的《云峰求己图》这幅作品，画面是典型的求己图的构图模式，画作是为一位名叫云峰的朋友所创作的很可能是祝寿性质的肖像画。整个画作淡墨写就并略敷淡色，线条灵动，设色淡雅，整体上气韵悠然。画中右侧一位身着长衫的文士模样的人手中拿着一本书站立着，其面前一位人物伏地长叩，脑袋后的辫子悬至腰际，整个构图带有一股文人雅士的超然气息。这幅作品上有题跋达十处之多，从题跋上看诸多题款是云峰邀请其好友为其题词，其中胡锡珪题道：“求己图，云峰仁兄大人，玉照清玩。”此外还有许多题词更是不乏溢美之词，由此可见这幅作品当时画中主角云峰仁兄的心头之好，对此图和此图之意也颇有自许之意，这点可从他本人在这幅作品中的题诗可以看出：\n\n事业千秋醉亦休，人生原是一沙鸥。\n痴心欲开丹青里，为底殷勤把自求。\n凡事须先求自己，临场何必仰他人。\n男人福命生来定，只要心头把得真。\n天涯何处觅良俦，回首已经四十秋。\n一样求人求己好，衣粮便得自家谋。",[24,25,57,77,27,28,79,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f92bf88c40346946e03286fb556143a.jpg",[],{"id":24211,"slug":24212,"title":24213,"dynasty":18,"author":7852,"museum":373,"description":24214,"tags":24215,"thumbUrl":24216,"material":196,"size":24217,"collection":61,"collections":24218,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},232859,"san-tan-shi-juan-wang-duo-232859","三潭诗卷","释文：三潭。地灵深秘势峥嵘。倚石肃然旅魄惊。雷(声)响砰轰霖雨蓄。神共摩盪药苗荣。即观元气同开辟。岂与寒泉共死生。怪岛休将人境说。栖真玄灏有天声。予素未书隶。寓苏门始学汉体。恨年异壮。学之晚。虽然。羲之。高适五十可也。\n王铎 甲申春正月为顺後（无阝）亲丈书求教。",[38,7,26,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30053a0b6295f9524da88f105eacd750.jpg","27×158cm",[],{"id":24220,"slug":24221,"title":24222,"dynasty":145,"author":7738,"museum":73,"description":17378,"tags":24223,"thumbUrl":24225,"material":196,"size":61,"collection":61,"collections":24226,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},232684,"shu-fa-dan-pian-hong-yi-fa-shi-232684","书法单片",[23,145,38,7,58,24224,27],"单片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb50d0a501ffc161b95b63475fcca0.jpg",[],{"id":24228,"slug":24229,"title":24230,"dynasty":7039,"author":24231,"museum":73,"description":24232,"tags":24233,"thumbUrl":24241,"material":61,"size":61,"collection":61,"collections":24242,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[23,24,25,26,27,28,78,7,58,109,24234,9533,24235,24236,254,1444,212,5805,24237,1819,24238,24239,79,417,495,24240,459],"扇子","盘子","狮子","蛇","水果","猴子","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":24244,"slug":24245,"title":24246,"dynasty":145,"author":19344,"museum":73,"description":24247,"tags":24248,"thumbUrl":24250,"material":196,"size":24251,"collection":61,"collections":24252,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},231566,"yu-hu-qiu-fan-tu-fei-dan-xu-231566","玉湖秋泛图","题跋：〈鲍正言〉（词一首，不录）筱溪尊兄先生属题即正。丙午九秋衍香鲍言草稿。\n〈朱紫贵〉（七律一首，不录）道光辛丑孟陬题奉筱溪宗兄雅正。\n斋贵书于西泠学舍。\n〈朱步沆〉（七律二首，雨不录）用初白先生中方舟夹山瀁韵二首题\n应筱溪三兄雅属希政之。时壬寅六月二十五日沁泉沆甫\n稿。\n〈奚疑〉（词一首，不录）丁亥冬余招同人泛舟夹山瀁诗雨生都督\n缋图纪游。筱溪三兄先生属新填蝶恋花词，录请敦正。\n方屏山樵奚疑稿。丙午十月，时年七十有二也。\n〈达受〉（七律二首，不录）咸丰五年乙卯七月二十有二日，小诗\n题奉筱溪先生玉照并祈政句。南屏迟隐憎六舟达受未定稿。",[23,24,25,26,28,27,77,7,38,58,29,79,32,443,3867,5468,237,24249],"天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a59c2367b4d88e6db4c04a1ccd7115.jpg","引首：33.5×110.5cm 本幅：34×105.5cm 题跋：31×33cm×13",[],{"id":24254,"slug":24255,"title":24256,"dynasty":18,"author":7903,"museum":73,"description":24257,"tags":24258,"thumbUrl":24259,"material":61,"size":61,"collection":61,"collections":24260,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},230915,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-230915","史记君臣故事图","此作笔墨秀雅清润，以平远视角铺展庭院景致。垂杨柳丝扶苏，掩映廊庑台榭，墨色晕染出清寂空疏的氛围。画面左下角，着官袍士人正与仆从揖对，旁侧马匹静候，将朝臣谒见等候的场景娓娓铺陈，人物情态生动自然，尽显古礼分寸。\n\n布景简淡洗练，线条细劲工致，淡设色晕染浅淡柔和，将史记旧事的沉静静谧融于日常朝谒场景之中。画作兼具叙事性与文人雅意，无需繁复铺陈，便把君臣故事里的恭敬庄重，藏在庭院幽寂氛围里，尽显温婉古雅的文人叙事画格调。",[24,25,28,1594,77,79,693,34,150,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce24d8ae3f83d6f50fe771dbf7b0a0f.jpg",[],{"id":24262,"slug":24263,"title":24264,"dynasty":145,"author":24265,"museum":73,"description":24266,"tags":24267,"thumbUrl":24270,"material":920,"size":921,"collection":61,"collections":24271,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},230881,"shu-pu-jie-lu-shan-mian-yan-xin-hou-230881","书谱节录扇面","严信厚","原名严经邦，字筱舫，又字小舫，号石泉居士。清末著名实业家、书法家、画家，浙江慈溪县人。他是中国近代早期民族资本家的代表之一，也对中国教育的近代化做出了贡献。",[145,2579,7,38,2239,196,24268,24269],"节录","传统书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04bc3191c8fecf9693aaa21a22b86b6.jpg",[],{"id":24273,"slug":24274,"title":24275,"dynasty":7039,"author":24276,"museum":73,"description":24277,"tags":24278,"thumbUrl":24282,"material":920,"size":921,"collection":61,"collections":24283,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,25,26,28,77,78,76,58,210,79,32,82,116,115,33,150,31,2579,24279,24280,24281,113,112,35,30,80,7556,11454,1545,34,962,7,223],"孔雀","雉鸡","燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":24285,"slug":24286,"title":24287,"dynasty":145,"author":1523,"museum":73,"description":7508,"tags":24288,"thumbUrl":24289,"material":920,"size":921,"collection":61,"collections":24290,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},230160,"qian-long-yu-ti-ce-qian-long-230160","乾隆御题册",[38,7,209,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979d825066978e9e416697787d811ef5.jpg",[],{"id":24292,"slug":24293,"title":24294,"dynasty":18,"author":24295,"museum":73,"description":24296,"tags":24297,"thumbUrl":24298,"material":61,"size":61,"collection":61,"collections":24299,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},228900,"xiao-fu-tu-juan-zhang-feng-bu-tu-gu-meng-you-228900","啸赋图卷张风补图","顾梦游","水墨淡绘峰林幽谷，隐者策杖独行，留白疏淡间，漾出幽远超尘的林下意趣。随行行书长卷笔致秀雅舒展，录就《啸赋》全篇，笔墨清逸萧散，与画境相映成趣。\n\n书画合璧，将赋文里寄怀烟霞、啸傲林泉的隐逸襟怀融于卷中，明人尚雅的高致风流尽在其中，文、书、画相生相融，勾勒出古贤遁世丘山的澹泊襟怀。",[23,56,24,25,26,78,27,29,177,38,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2daf2a4d157139ac44e11d0373f8546.jpg",[],{"id":24301,"slug":24302,"title":24303,"dynasty":18,"author":479,"museum":73,"description":2782,"tags":24304,"thumbUrl":24308,"material":920,"size":921,"collection":61,"collections":24309,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},228474,"sui-bi-01-tang-yin-228474","随笔01",[56,24,25,209,7,58,38,27,12033,16437,24305,24306,31,24307,1794,82,1985,237,4950,5501,32],"林屋","春云","竹篱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf19c957fdf26ac11f1c1b360d532ce7.jpg",[],{"id":24311,"slug":24312,"title":24313,"dynasty":18,"author":8976,"museum":73,"description":24314,"tags":24315,"thumbUrl":24316,"material":61,"size":61,"collection":61,"collections":24317,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},228460,"wu-yan-lv-shi-zhou-tian-qiu-228460","五言律诗","此作用笔圆劲温润，线条舒展遒劲，字势顾盼有情，行气流畅悠然，尽显吴门书风的儒雅秀逸。师法文徵明又自出机杼，将晋唐行书的灵动意趣融于笔墨，牵丝映带间节奏舒缓雅致。笔墨间浸润着林下幽栖的沉静安闲，完美呼应诗文隐逸自适的意涵，通篇气息俊逸萧散，尽显风雅襟怀。",[3018,38,7,57,27,58,24313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe729b69a26ad19c5195b4d894e038a67.jpg",[],{"id":24319,"slug":24320,"title":24321,"dynasty":18,"author":7852,"museum":73,"description":24322,"tags":24323,"thumbUrl":24324,"material":920,"size":921,"collection":61,"collections":24325,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},228338,"shi-zhou-ling-ben-wang-duo-228338","诗轴绫本","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[23,38,7,1014,57,5565,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa99ec2c22995307e8c020f20c2c3cd5f.jpg",[],{"id":24327,"slug":24328,"title":24329,"dynasty":18,"author":24330,"museum":73,"description":24331,"tags":24332,"thumbUrl":24333,"material":61,"size":61,"collection":61,"collections":24334,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},228336,"xi-shan-zhen-shang-tu-jin-run-228336","溪山真赏图","金润","《溪山真赏图》是中国明代画家 的国画作品，现藏于天津市艺术博物馆。\n该作品纸本，设色，纵29厘米，横16.5厘米，据卷后题跋可知是为其婿陈坚远所作。\n《溪山真赏图》是中国明代画家 的国画作品，画上自题“静虚写溪山真赏图，时年七十四也”。\n卷后自题署成化戊戌款，可知此图作于成化十四年，作者时年七十四岁，属晚年之作。\n欧阳序篆书引首，拖尾有作者自题及吴宽、马迪、陈璚、杜堇、性嘉、周孟中、蒋谊等人的题跋。\n卷中钤有清初朱之赤、清内府及吴亦先、陈嗣宗、张叔诚等鉴藏印。\n该作品用笔工细简淡，设色清雅，构图平远，疏密有致，是金润画作精品，亦是其现存海内孤本。\n金润 (公元15世纪)〔明〕字伯玉，又字静虚，上元(今江苏南京)人，生卒年不详。\n幼即嗜学，年十二能赋诗，正统(146-1449)间举乡贡，授兵部司务。\n为少保于谦所重，每与之咨议兵事。\n后擢南安知府，政暇即弹琴写画赋诗。\n精通音律，工书画。\n书法类赵孟頫，山水法方从义。\n所画山水天真横溢，工整简淡，细笔勾皴，浓墨点醒，勾点兼用，构图严谨，疏密有致。\n从艺活动约在正统、成化年间。",[24,25,7,38,29,14649,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d37175f7f1a0a5de4cde2f0f3cab04.jpg",[],{"id":24336,"slug":24337,"title":9798,"dynasty":18,"author":4854,"museum":73,"description":24338,"tags":24339,"thumbUrl":24340,"material":920,"size":921,"collection":61,"collections":24341,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},228278,"wu-yan-shi-chen-ji-ru-228278","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,56,24,25,26,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45af0e2b190495cfb4d69b5a01f05ee.jpg",[],{"id":24343,"slug":24344,"title":24345,"dynasty":91,"author":220,"museum":73,"description":24346,"tags":24347,"thumbUrl":24348,"material":61,"size":61,"collection":61,"collections":24349,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},228229,"guan-jing-tu-yi-ming-228229","观景图","以水墨晕染出林泉幽隅，老干虬曲的大树遮天蔽日，浓墨点簇的枝叶如盖，掩映着后方隐约的山居茅舍。淡墨皴擦的坡岸蜿蜒延伸，留白处似清溪浅濑，石上隐者凭坐对谈，共赏烟林清景。\n\n笔意简淡清疏，不施浓艳，以水墨的浓淡干湿晕开朦胧烟岚，将幽居林下的散淡襟怀藏在晕染的雾气之中。残题与画作相映，尽显简远意趣，寥寥数笔便勾勒出林泉高致，把山泽间的静穆悠然铺陈在尺幅之内，观之如身临疏旷幽寂的林下烟景，尽得闲雅隐逸之致。",[24,25,27,29,79,7,37,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bae947a0ca7be4223f0dd9af5acdecc.jpg",[],{"id":24351,"slug":24352,"title":24353,"dynasty":51,"author":8799,"museum":53,"description":24354,"tags":24355,"thumbUrl":24356,"material":407,"size":19843,"collection":61,"collections":24357,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},227759,"yi-xi-ci-ce-14-zhen-zhu-xi-227759","易系辞册14帧","朱熹《书易系辞》册 纸本，共14开 台北故宫博物馆，“书易系辞”册，一向被学者公认为是朱熹存世仅见的大字真迹。\n\n《书易系辞》，纸本，全册共十四开，102字，均纵36.5厘米，横61.8厘米，是朱熹存世仅见的大字真迹。全册共十四开，一百零二字，每行仅书写二字，内容为《易经·系辞》的节句。笔力凌厉豪劲，墨色黝黑，时而又出现飞白效果，显得格外精神奕奕。古代许多书法家是不善于写大字的，但这恰恰是朱熹的擅长，所以他的大行书远远胜过小行书。作品有朱熹名款及“定静堂”印记，为林宗毅先生所藏，后捐赠与台北博物馆。",[23,1697,38,7,209,58,25,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4118aefb6f5380b7d57297807840ac9.jpg",[],{"id":24359,"slug":24360,"title":24361,"dynasty":51,"author":4626,"museum":73,"description":24362,"tags":24363,"thumbUrl":24364,"material":61,"size":61,"collection":61,"collections":24365,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},227740,"huo-lang-tu-ye-wen-zi-li-song-227740","货郎图页文字","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[23,2351,24,25,1244,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c816ffda703346d49c1e5d87e5fc6fa.jpg",[],{"id":24367,"slug":24368,"title":24369,"dynasty":51,"author":220,"museum":73,"description":24370,"tags":24371,"thumbUrl":24372,"material":61,"size":61,"collection":61,"collections":24373,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},227373,"xi-shan-cang-cui-tu-ye-yi-ming-227373","溪山苍翠图页","以谨严苍劲的笔墨描绘文人的隐逸生活。画面上高山峻拔，溪流绕岸，松林苍翠。一隐士漫步于溪岸，仰望远山，陶醉于林泉山色中。",[23,24,25,2351,27,28,7,209,29,81,82,2452,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529b992184b93821d121297b00ee2b7e.jpg",[],{"id":24375,"slug":24376,"title":24377,"dynasty":454,"author":220,"museum":73,"description":24378,"tags":24379,"thumbUrl":24380,"material":61,"size":61,"collection":61,"collections":24381,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},227124,"shi-ji-di-er-shi-jiu-juan-he-qu-shu-di-qi-can-juan-yi-ming-227124","史记第二十九卷河渠书第七残卷","《史记》，二十四史之一，最初称为《太史公书》或《太史公记》、《太史记》，是西汉史学家司马迁撰写的纪传体史书，是中国历史上第一部纪传体通史，记载了上至上古传说中的黄帝时代，下至汉武帝太初四年间共3000多年的历史。太初元年（前104年），司马迁开始了《太史公书》即后来被称为《史记》的史书创作。该著作前后经历了14年，才得以完成。\n《史记》全书包括十二本纪（记历代帝王政绩）、三十世家（记诸侯国和汉代诸侯、勋贵兴亡）、七十列传（记重要人物的言行事迹，主要叙人臣，其中最后一篇为自序）、十表（大事年表）、八书（记各种典章制度记礼、乐、音律、历法、天文、封禅、水利、财用）。《史记》共一百三十篇，五十二万六千五百余字，比《淮南子》多三十九万五千余字，比《吕氏春秋》多二十八万八千余字。《史记》规模巨大，体系完备，而且对此后的纪传体史书影响很深，历朝正史皆采用这种体裁撰写。\n《史记》被列为“二十四史”之首，与《汉书》、《后汉书》、《三国志》合称“前四史” ，对后世史学和文学的发展都产生了深远影响。其首创的纪传体编史方法为后来历代“正史”所传承。《史记》还被认为是一部优秀的文学著作，在中国文学史上有重要地位，被鲁迅誉为“史家之绝唱，无韵之《离骚》”，有很高的文学价值。刘向等人认为此书“善序事理，辩而不华，质而不俚”。",[2031,7,38,1140,26,58,1735],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b213715ab01b245069886378432e5a.jpg",[],{"id":24383,"slug":24384,"title":24385,"dynasty":145,"author":387,"museum":73,"description":24386,"tags":24387,"thumbUrl":24388,"material":61,"size":61,"collection":61,"collections":24389,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},224307,"hua-hui-shi-er-kai-8-li-shan-224307","花卉十二开8","此作用写意笔墨绘就春日杜鹃，设色清妍柔润。粉紫花瓣以淡彩晕染，瓣边留白衬出通透娇态，深红花苞点缀其间，层次鲜活分明。枝叶晕染雅致，墨色与水色交融，尽显舒展灵动之姿。淡赭勾勒枝干，笔力简括遒劲，将花枝舒展的野逸生机藏于线条间。\n\n旁侧题字笔意纵逸，书画相映成趣，诗画交融尽显文人雅韵。全画尽显率意清隽的风骨，寥寥数笔便将杜鹃柔丽烂漫的春日之态定格尺幅，于简淡挥洒中留住花木天然意趣，观之便觉春深枝上，雅韵悠然绵长。",[23,24,25,209,28,210,119,1068,1172,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3833b53e864ef1456151f8c63af9773.jpg",[],{"id":24391,"slug":24392,"title":24393,"dynasty":145,"author":387,"museum":73,"description":24394,"tags":24395,"thumbUrl":24396,"material":61,"size":61,"collection":61,"collections":24397,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},224299,"hua-hui-shi-er-kai-11-li-shan-224299","花卉十二开11","此作用笔极简，以水墨写兰草，枯湿浓淡间，兰叶舒展有姿，苍劲线条带着萧疏散淡的野逸之趣。振翅的草虫是点睛之笔，羽翼纹路纤毫毕现，写实的虫豸和写意兰草形成精妙对照，将深秋里的鲜活生机定格在纸上。\n\n右侧题字笔意纵肆跌宕，与画面笔墨气息呼应，诗书画印浑然相融。画作放逸却不失精微，将文人写意的随性洒脱与写生的细腻写实巧妙结合，在萧疏秋景里晕开朴拙鲜活的意趣，尽显文人画特有的清逸格调。",[23,24,25,209,27,7,1014,58,210,7591,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334dc0678cadf23c41e470a0eda5e33b.jpg",[],{"id":24399,"slug":24400,"title":24401,"dynasty":145,"author":13793,"museum":73,"description":24402,"tags":24403,"thumbUrl":24404,"material":920,"size":921,"collection":61,"collections":24405,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},224203,"shu-qian-long-yu-zhi-jing-ming-yuan-yan-tu-za-yong-cheng-shan-liang-guo-zhi-224203","书乾隆御制静明园沿途襍咏成扇","梁国治（1723-1786），清代书法家，乾隆十三年（1748年）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书，充任过《四库全书》副总裁。平生治事缜密，廉政清俭，好学爱才。工书法，著有《敬思堂文集》。《颜真卿千字文》。",[2579,38,7,2031,19050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea002b5e50af17565445baa745756026.jpg",[],{"id":24407,"slug":24408,"title":24409,"dynasty":145,"author":16335,"museum":73,"description":24410,"tags":24411,"thumbUrl":24412,"material":920,"size":921,"collection":61,"collections":24413,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},224152,"lin-wang-xi-zhi-shan-chuan-zhu-qi-tie-zhou-zhang-zhao-224152","临王羲之山川诸奇帖轴","张照（1691-1745），娄县（今上海松江市）人，字得天，号天瓶、泾南，谥文敏。博学多才，乾隆皇帝称赞其书法：‘有米（芾）之雄，而无米之略。复有董（其昌）之整，而无董之弱。’ 《山川诸奇帖》为《十七帖》中的一札，又称《游目帖》。本幅书于洒金笺，并以泥金界线。结字多参杂己意，章法则吸收了元人以降放大、直幅临书的表现手法。虽自称临书，然已与原帖面貌大相径庭，显示出书法艺术与时代发展密不可分的关系。",[23,24,25,57,76,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0b45d01c2dd96107c5a16e4d793de4f.jpg",[],{"id":24415,"slug":24416,"title":24417,"dynasty":145,"author":12401,"museum":73,"description":24418,"tags":24419,"thumbUrl":24420,"material":920,"size":921,"collection":61,"collections":24421,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":66},224149,"shou-zha-er-shi-si-tong-er-yu-yue-224149","手札二十四通二","有清一代，书法可分两途。康、乾时期，书宗董、赵，以帖为式，风格清健流丽，儒雅闲静。然以承继为主。嘉、道之后，此风参以颜、柳，庙堂之气重而风流韵致少，故“馆阁”之讥，时或有之。与其反道而行之者，碑派兴起，渐成流风。晚清士大夫，初学阁帖，中年之后参以北碑，既增筋骨，又不乏生动。遂成一时之风尚。俞曲园即其一例也。\n曲园与小坡二十四札书信，以言学术、诗词者居多，时间大约在光绪八年（1882-1887）之间。信札之书体，除一通为隶书外，俱为行楷书。曲园早年科举应试，字体工整圆润，有馆阁之风。后习篆、隶，书风为之一变，隶形篆意，古朴厚重，不加雕饰，犹如经生治史。老年所书楷联，则参以碑意，大气重拙。然此册之书法，除古朴、重拙之外，更有气质闲雅，潇洒风流，宋人之意跃然纸上。此或翰札特有之形态，抑或特有之魅力也。",[23,38,7,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0946fcc669995b966cbe7ff1a365b0e.jpg",[],{"id":24423,"slug":24424,"title":24425,"dynasty":51,"author":220,"museum":73,"description":24426,"tags":24427,"thumbUrl":24428,"material":1262,"size":24429,"collection":61,"collections":24430,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":46},223533,"jiang-cheng-tu-yi-ming-223533","江城图","图为一幢高大的建筑耸立在河边，梁檐厚重，气势磅礴。 三、两个人正从大楼的上层向外望去； 河岸，河水波涛汹涌，浪涛拍岸，船径顺岸。 , 河边的人已经到了毛伊岛岸边； 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X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[38,680,352,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de95ff75c6e202033ddf149ce134b61.jpg",[],{"id":24913,"slug":24914,"title":24915,"dynasty":18,"author":220,"museum":73,"description":24916,"tags":24917,"thumbUrl":24918,"material":61,"size":61,"collection":463,"collections":24919,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":1787},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。",[38,7,680,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d01db196b79c19b353504fb7c1f9d4.jpg",[463],{"id":24921,"slug":24922,"title":24923,"dynasty":145,"author":220,"museum":73,"description":24924,"tags":24925,"thumbUrl":24926,"material":920,"size":921,"collection":61,"collections":24927,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},242165,"liu-yong-shu-nan-shu-fang-mu-bian-yi-ming-242165","刘墉书＂南书房＂木匾","木质肌理晕染着旧漆沉褐的色泽，岁月摩挲下的包浆凝着时光温度。其书笔力沉浑雍容，点画圆劲内敛，平正端稳里暗含舒展灵动，将庙堂持重与文人风雅相融。糙砺木面的细碎划痕，皆是光阴镌刻的注脚，静静承载着殿阁之内的翰墨余韵，尽显旧朝文气沉凝的端方风骨。",[3383,19050,38,2031,7,5886],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49327fa7908094e7a58c8009a24b0952.jpg",[],{"id":24929,"slug":24930,"title":24931,"dynasty":145,"author":1523,"museum":73,"description":7508,"tags":24932,"thumbUrl":24933,"material":920,"size":921,"collection":61,"collections":24934,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241672,"shi-ding-shi-juan-qian-long-241672","事定诗卷",[23,25,26,7,58,38,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e95ceb5d3c41171b283ca2d262382a.jpg",[],{"id":24936,"slug":24937,"title":24938,"dynasty":145,"author":1523,"museum":73,"description":7508,"tags":24939,"thumbUrl":24940,"material":920,"size":921,"collection":61,"collections":24941,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":66},241669,"hou-shao-lu-fu-juan-qian-long-241669","后哨鹿赋卷",[23,56,24,25,26,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a59290c31dd9689ee613fae38a17f8.jpg",[],{"id":24943,"slug":24944,"title":24945,"dynasty":145,"author":7713,"museum":73,"description":7714,"tags":24946,"thumbUrl":24947,"material":920,"size":921,"collection":61,"collections":24948,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241666,"jiu-ri-dui-ju-shi-zhou-ai-xin-jue-luo-xuan-ye-241666","九日对菊诗轴",[24,25,38,57,7,27,121,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940374649d4220832d9f2cabeb1359df.jpg",[],{"id":24950,"slug":24951,"title":24952,"dynasty":51,"author":16936,"museum":73,"description":16937,"tags":24953,"thumbUrl":24954,"material":196,"size":61,"collection":62,"collections":24955,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241660,"ming-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241660","明诸家跋赐詹骙诗拓卷",[23,26,38,680,7,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34ef92ffa6be07b8b15eee8b880ab.jpg",[62],{"id":24957,"slug":24958,"title":24959,"dynasty":51,"author":220,"museum":73,"description":24960,"tags":24961,"thumbUrl":24962,"material":196,"size":61,"collection":62,"collections":24963,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":66},241655,"wu-kuan-shao-xing-shi-san-nian-chi-shu-juan-yi-ming-241655","无款绍兴十三年敕书卷","此卷行书率意洒脱，尽显宋人尚意风神。用笔苍劲朴拙，提按转折皆见筋骨，线条粗细富于韵律，行气连贯舒展。绢本底色古雅沉静，墨色浓淡自然晕染，与错落钤印相映成趣。\n卷中敕文与题跋排布疏密有致，既有官家文书的端严规整，又不失文人书法的隽逸自在，笔墨间流转着宋时的风雅法度，藏着旧日文心与典制厚重，将实用文书与书法意趣完美相融。",[23,38,25,26,7,58,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030f99fe6451374a768cc8dff81941ef.jpg",[62],{"id":24965,"slug":24966,"title":22022,"dynasty":18,"author":24967,"museum":73,"description":24968,"tags":24969,"thumbUrl":24970,"material":920,"size":921,"collection":61,"collections":24971,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241539,"wu-yan-shi-ye-tang-huan-241539","汤焕","汤焕，字尧文，号鄰初。，仁和（今浙江杭州）人，斋号五桂轩等。生卒年不详，明隆庆四年（1570）举人。为江阴教谕，后征为翰林待诏，转郡丞。擅书，兼工篆刻，亦有诗名",[38,7,58,196,11462,9798],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa438606bac007b6a67b55621890aec.jpg",[],{"id":24973,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老松烧尽结轻花，妙法来从北李家。翠色冷光何所似，墙东鬒发堕寒鸦。刘墉。\n刘墉学古不追求外表的形似而注重用笔之法。起笔喜用藏锋，转折处用偃笔作折锋，字形丰满圆润，内中骨力强劲，犹如棉里裹铁；用墨于润中见枯，拙中见巧；结体疏密有致，点划轻灵多变，气韵苍遒。清人张维屏在《松轩随笔》中指出刘墉的书法特征：“貌丰骨劲，味厚神藏，不受古人牢笼，超然独出”，可谓中的。康有为也高度评价刘墉的书法成就：“力厚思沈，筋摇脉聚。近世行草书作浑厚一路，未有能出石庵之范围者，吾故谓石庵集帖学之成也。”\n作为刘墉书法的代表作，这件作品体现了上述多种特征。所书内容取自苏轼二首诗“书李世南所画秋景二首”其一，见《全宋诗》卷十八；“谢宋汉杰惠李承晏墨”，见《全宋诗》卷二十三。",[196,7,76,25052,10984,2917,25053,58],"墨色厚重","笔力浑厚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91307d4b9f0465eca618d45d6e29ab35.jpg","纵102厘米，横58.5厘米",[62],{"id":25058,"slug":25059,"title":25060,"dynasty":145,"author":10880,"museum":73,"description":14269,"tags":25061,"thumbUrl":25062,"material":920,"size":921,"collection":61,"collections":25063,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241396,"ji-fu-bo-yan-zhou-weng-fang-gang-241396","记伏波岩轴",[25,38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70bf14e1daa93b062de5c7bf9e4cc63d.jpg",[],{"id":25065,"slug":25066,"title":25067,"dynasty":145,"author":25068,"museum":73,"description":25069,"tags":25070,"thumbUrl":25071,"material":920,"size":921,"collection":61,"collections":25072,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241338,"liu-yong-xing-shi-wen-juan-liu-yong-241338","刘墉行诗文卷","刘镛","刘镛，字云仲，祖籍贵州省贯州。福建长乐人，清康熙二十六年任峄县知县。\n现事迹陈列于位于山东枣庄台儿庄古城内的枣庄古代清官廉吏展馆。",[23,38,7,26,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4c9d71a2d2bbbd92c62e6ec8b513ba.jpg",[],{"id":25074,"slug":25075,"title":25076,"dynasty":145,"author":10880,"museum":73,"description":14269,"tags":25077,"thumbUrl":25078,"material":920,"size":921,"collection":61,"collections":25079,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":66},241327,"heng-zhou-weng-fang-gang-241327","横轴",[25,38,25076,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5352d4b95a10824815b561f249741644.jpg",[],{"id":25081,"slug":25082,"title":25083,"dynasty":145,"author":25084,"museum":73,"description":25085,"tags":25086,"thumbUrl":25087,"material":920,"size":921,"collection":61,"collections":25088,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":66},241326,"guan-ju-shi-zhou-zhang-mu-241326","观菊诗轴","张穆","张穆（1805年11月29日 ——1849年12月22日 ），山西平定人，近代的爱国思想家、地理学家、诗人和书法家。生于嘉庆十年（1805）。鸦片战争中，他曾抱着爱国热情，上书言事，奔走呼号，联络在京友人，通过纪念顾炎武的活动，振奋人心。此后，他本着张扬国威，抵御沙俄侵略的目的，致力于西北边疆地理和蒙古史的研究。1849年12月22日（道光二十九年十一月九日，己酉年丙子月壬寅日）卒于京师，享年四十五岁 。1850年归葬故乡 。",[7,57,27,38,121,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88ae322ce816e0cee812a5aed59bfa63.jpg",[],{"id":25090,"slug":25091,"title":25092,"dynasty":145,"author":25093,"museum":73,"description":25094,"tags":25095,"thumbUrl":25096,"material":920,"size":921,"collection":61,"collections":25097,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241277,"qi-gu-zhou-wu-rong-guang-241277","七古轴","吴荣光","吴荣光（1773 — 1843），字伯荣，一字殿垣，号荷屋、可庵，晚号石云山人，别署拜经老人，广东广州府南海县佛山镇（今佛山禅城区祖庙街道）人。清代官员、诗人、书法家、藏书家、岭南著名的书画金石鉴藏家。 [4]\n嘉庆四年（1799）进士，由编修官擢御史。道光中任湖南巡抚兼湖广总督。后坐事降为福建布政使。其不仅官至封疆大吏，还工诗文、擅书画，尤酷嗜金石，精鉴赏，名极一时，书法更为世所推重。康有为云：吾粤吴荷屋中丞帖学名家，其书为吾粤冠……”他遗留下来的书画作品已被列入国家文物局文物出境限制，精品不准出境 [4] 。著有《历代名人年谱》、《筠清馆金石录》、《筠清馆帖》、《辛丑销夏记》、《帖镜》、《石云山人文集》、《绿枷楠馆录》、《吾学录》等。 吴荣光是清中期著名汉学家，清道光十一年（1831），吴荣光在长沙创办了湘水校经堂。左宗棠在长沙湘水校经堂就读期间，吴荣光是他的授课教师。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc418e078515da0ae2195ad06a2c3aec.jpg",[],{"id":25099,"slug":25100,"title":25101,"dynasty":145,"author":18932,"museum":73,"description":25102,"tags":25103,"thumbUrl":25104,"material":920,"size":921,"collection":61,"collections":25105,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241266,"jiu-piao-shi-zhou-zhang-wen-tao-241266","酒瓢诗轴","张问陶（1764年—1814年） 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弘治十三年（1500年），陈献章病逝，终年72岁，谥号“文恭”。\n万历初年，从祀孔庙，著有《白沙子全集》。陈献章提出“学贵知疑”教育理论，强调“提出问题”之于学习与成长的重要意义，逐渐形岭南学派，倡导的白沙心学，打破程朱理学沉闷和僵化的模式，开启明代心学先河，成为宋明理学史上是一个承前启后、转变风气的关键人物，推崇倡导涵养心性、静养“端倪”之说，推动明代儒学实现了由理学向心学的转变，成为儒学发展史上的一个重要转折点。高扬“宇宙在我”的主体自我价值，突出个人在天地万物中的存在意义，对整个明代文人精神的取向产生了深刻影响。",[38,25,26,7,3018,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff043b0fe5d59c2e354cb465e0ecb0432.jpg",[],{"id":25124,"slug":25125,"title":21664,"dynasty":18,"author":23772,"museum":73,"description":25126,"tags":25127,"thumbUrl":25128,"material":196,"size":61,"collection":62,"collections":25129,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241223,"qi-jue-zhou-chen-liu-241223","字子兼，别号雨泉，吴县（今江苏苏州）人。嘉靖十七年（1538）进士，除工部营缮主事，累官至四川右布政使。诗文冲远有致，书法尤精绝。工小楷。出入钟欧，自篆、隶、行、草、擘窠以逮笺疏、榜署书，尤丰媚遒逸，有天然趣。卒年七十。 著有《已宽堂集》。",[3018,38,7,57,27,196,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125ced80709d2875179352206abc7bac.jpg",[62],{"id":25131,"slug":25132,"title":25133,"dynasty":18,"author":25134,"museum":73,"description":25135,"tags":25136,"thumbUrl":25137,"material":196,"size":61,"collection":62,"collections":25138,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241219,"wu-lv-er-shou-zhou-dang-chong-ya-241219","五律二首轴","党崇雅","党崇雅（1584年—1666年），字于姜，明末清初陕西省宝鸡市蟠龙镇人。\n明天启5年（1625）进士。累观官户部侍郎，督饷天津。清顺治元年（1644）在通州降大顺，仍于户部任职，同年6月降清，以原职赴京补用，9月改任刑部侍郎。以明律为基础，草拟成《大清律集解附例》。顺治元年（1644）秋，上奏将施死刑分为立决和监候，建议恢复朝审和秋审。顺治六年（1649），为刑部尚书、太子太保，顺治八年（1651）改户部，顺治九年（1652）请老归。顺治十一年（1654）特旨起用授翰林国史院大学士加太保兼太子太傅，时人呼为党阁老。顺治十三年（1656）再乞休，获准。\n被列入中国历代名相录，明清时期宝鸡政治地位最高、历史影响最大的文化名人。",[3018,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e22916986bad572a3300334c732211.jpg",[62],{"id":25140,"slug":25141,"title":1495,"dynasty":18,"author":25142,"museum":73,"description":25143,"tags":25144,"thumbUrl":25145,"material":920,"size":921,"collection":61,"collections":25146,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241188,"shou-zha-ge-yi-long-241188","葛一龙","葛一龙. 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浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。\n陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[18,7,38,26,111,376,495,884,20135,1068,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[62],{"id":25171,"slug":25172,"title":25173,"dynasty":18,"author":25174,"museum":73,"description":25175,"tags":25176,"thumbUrl":25177,"material":196,"size":61,"collection":62,"collections":25178,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},241082,"gu-lin-zhi-shi-ting-deng-shu-zha-juan-gu-lin-241082","顾璘至石亭等书札卷","顾璘","顾璘（1476年－1545年），字华玉，号东桥居士，世称“东桥先生”，长洲（今江苏省吴县）人，寓居上元（今江苏省南京市）。 [1] 明代政治家、文学家。\n顾璘于明孝宗弘治九年（1496年）登进士第，历任广平知县、开封知府、全州知州、台州知府、浙江布政使。期间参与平定刘六、刘七起义，政绩显著。嘉靖十六年（1537年）再度被启用为湖广巡抚，后升至工部尚书。嘉靖二十三年（1544年），以南京刑部尚书之职致仕归里，建成息园，时常与宾客置酒高会、诗文唱和。嘉靖二十四年（1545年）去世，享年七十岁。\n顾璘少有才名，以诗著称于时，与刘元瑞、徐祯卿并称“江东三才”，与陈沂、王韦、朱应登并称“金陵四大家”， [1] 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。\n杨守敬一生勤奋治学，博闻强记，以长于考证著名于世，是一位集舆地、金石、书法、泉币、藏书以及碑版目录学之大成于一身的大学者。他一生著述达83种之多，被誉为“晚清民初学者第一人”，代表作《水经注疏》，是郦学史上的一座丰碑。",[145,38,2251,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0e6b56425898b0b69723491e90022ec.jpg",[],{"id":25402,"slug":25403,"title":25404,"dynasty":18,"author":220,"museum":73,"description":25405,"tags":25406,"thumbUrl":25409,"material":196,"size":61,"collection":62,"collections":25410,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},240115,"shi-gao-ye-yi-ming-240115","诗稿页","此作用笔苍劲灵动，行书间带着草意的疏放，字势错落随性，毫无雕琢匠气。墨色枯湿浓淡相映，枯笔见骨力，润笔显腴润，牵丝映带自然连贯，将书写时的思绪流转藏在笔锋起落之间。\n\n通篇行气疏朗舒展，带着信笔挥毫的松弛意趣，诗书意气尽数融在笔墨中，尽显文人手札特有的鲜活温度，仿佛能窥见挥毫当下的悠然肆意，触摸到那份不拘格律、直抒胸臆的文人风神。",[3018,38,7,27,5927,1794,150,25407,25408],"佳人","雨歇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17184b5c5e86b0892b1609d3f5a67ce3.jpg",[62],{"id":25412,"slug":25413,"title":17850,"dynasty":18,"author":220,"museum":73,"description":25414,"tags":25415,"thumbUrl":25416,"material":196,"size":61,"collection":62,"collections":25417,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},240113,"shi-ye-yi-ming-240113","此作行书随性舒展，章法错落自在。墨色富于枯湿浓淡之变，重墨沉凝朴拙，枯笔疏朗萧散，线条圆劲中带着松放意趣。诗稿随性走笔，将感怀心绪寄寓于笔墨起落之间，文思与书情相融无间。\n\n通篇带着疏放自适的风雅意态，无刻意雕琢的匠气，是日常遣兴时的率意挥毫，将文人士子寄情诗酒、闲散自洽的心境展露无遗，尽显手写诗稿独有的鲜活书卷情致。",[38,7,196,27,3018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb238ae350d704eeb70b7ba2667db209.jpg",[62],{"id":25419,"slug":25420,"title":17850,"dynasty":145,"author":25421,"museum":73,"description":25422,"tags":25423,"thumbUrl":25424,"material":196,"size":61,"collection":62,"collections":25425,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},240112,"shi-ye-wang-shi-zhen-240112","王士祯","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[7,38,58,27,29,150,495,621,1636,212,81,404,20054,884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[62],{"id":25427,"slug":25428,"title":18713,"dynasty":145,"author":20035,"museum":106,"description":25429,"tags":25430,"thumbUrl":25431,"material":658,"size":25432,"collection":62,"collections":25433,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},240057,"lu-yu-zhou-liang-tong-shu-240057","释文：\n大苏云：把笔无定法，要使虚而宽。欧阳文忠公谓余，当使指运而腕不知，此语最妙。方其运也，左右前后却不免欹侧，及其定也，上下如引绳，此之谓笔正。柳诚悬之语良是。次公同学兄先生。乙巳三月山舟梁同书。\n钤“梁同书印”、“梁氏元颖”朱文印2方。\n此作录文出自苏轼《东坡题跋》卷五之《记欧公论把笔》，阐述执笔用笔之法，对后世颇有影响。作品书于清乾隆五十年（1785年），时梁同书63岁。此作章法疏朗，用笔平和优雅、娴熟精湛，是梁氏中晚期行书之力作。",[24,25,57,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d20c2d702a6159359aa63d5828a8969.jpg","纵127.5厘米，横57.8厘米",[62],{"id":25435,"slug":25436,"title":25437,"dynasty":145,"author":25438,"museum":73,"description":25439,"tags":25440,"thumbUrl":25441,"material":196,"size":61,"collection":62,"collections":25442,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},240045,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240045","国朝名人手简册-等17人手札","黄宗羲顾炎武","黃宗羲（1610年9月24日－1695年8月12日），浙江餘姚人，字太沖，一字德冰，號南雷，別號梨洲老人、梨洲山人、藍水漁人、魚澄洞主、雙瀑院長、古藏室史臣等，學者稱“梨洲先生”。明遺民。明末清初經學家、史學家、思想家、地理學家、天文歷算學家、教育家。“東林七君子”之一黃尊素長子。\n黃宗羲提出“天下為主，君為客”的民主思想。他説“天下之治亂，不在一姓之興亡，而在萬民之憂樂”，主張以“天下之法”取代皇帝的“一家之法”，從而限制君權，保證人民的基本權利。黃宗羲的政治主張抨擊了封建君主專制制度，有極其重要的意義，對其後反專制鬥爭起了積極的推動作用。\n黃宗羲與顧炎武、王夫之、唐甄並稱“明末清初四大啓蒙思想家”，與顧炎武、方以智、王夫之、朱舜水並稱為“明末清初五大家”，與陝西李顒、直隸容城孫奇逢並稱“海內三大鴻儒”，亦有“中國思想啓蒙之父”之譽。\n黃宗羲學問極博，思想深邃，著作宏富，一生著述多至50餘種，300多卷，其中最為重要的有《明儒學案》《宋元學案》《明夷待訪錄》《孟子師説》《葬制或問》《破邪論》《思舊錄》《易學象數論》《明文海》《行朝錄》《今水經》《大統歷推法》《四明山志》等。\n\n顾炎武（1613年7月15日—1682年2月15日），本名顾绛，字宁人，人称亭林先生，南直隶昆山（今江苏昆山市）人。明末清初的杰出的思想家、经学家、史地学家和音韵学家，与王夫之、黄宗羲、唐甄并称为明末清初“四大启蒙思想家”。 明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[38,7,58,620,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b38e964d38bb9c47b62937ecb85ab38.jpg",[62],{"id":25444,"slug":25445,"title":20355,"dynasty":145,"author":25446,"museum":73,"description":25447,"tags":25448,"thumbUrl":25449,"material":196,"size":61,"collection":62,"collections":25450,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},240044,"zi-shu-shi-zhou-du-shou-chang-240044","杜首昌","杜首昌，明末清初人，字湘草，江苏淮安盐商，祖籍山西太原，能诗能书，善行、草书，一时俊彦。颇豪富，以钱买官，修名园（绾秀园），种花草；崇祯十七年暮春，福王避难居其园中，见杜有妹极美，能琴能棋，遂订婚约，并得到杜的资助。杜首昌入清不仕，游历他乡，不肯结交官府，家遂败落。",[24,25,57,27,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb556a3613a19ed66b61a7d8e26a1594b.jpg",[62],{"id":25452,"slug":25453,"title":18713,"dynasty":145,"author":25454,"museum":73,"description":25455,"tags":25456,"thumbUrl":25457,"material":61,"size":61,"collection":62,"collections":25458,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239948,"lu-yu-zhou-wang-su-239948","王涑","字讲泉，湖州归安（今浙江湖州）籍，寄居柘水。官广西河池州知州。一门善书，其父士锤，笔法尤高，以不入俗眼，且大耄，故求者不多。涑能书得欧、柳法，与钱塘高塏齐名，名噪大江南北，在京师最久。其堂伯即複堂殿撰，京城中以楹帖、园屏、扇、册求书者，始无虚日，恒倩涑捉刀。亦能写墨兰，意在郑思肖、赵孟坚唻臫頭樤之间。　《小蓬莱阁画鉴》、《清朝书画家笔录》",[38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57407924affdf670842cdb08d38179dc.jpg",[62],{"id":25460,"slug":25461,"title":25462,"dynasty":145,"author":25463,"museum":73,"description":25464,"tags":25465,"thumbUrl":25466,"material":61,"size":61,"collection":62,"collections":25467,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239919,"zhi-yuan-shu-ye-liu-si-wan-239919","致元淑页","刘嗣绾","刘嗣绾 （1762年5月2日－1821年8月23日，乾隆二十七年四月初九日－道光元年七月二十六日），字简之，又字芙初，号醇甫。江苏省常州府阳湖县（今属常州市）人。刘于义之玄孙，武进西营刘氏第十五世。清朝翰林，政治人物，学者。专长诗、词、骈文。（清史列传作年六十岁，无卒年。此从补疑年录）少颖异，识量过人。早游京师，知名于时。嘉庆十三年，（公元一八o八年）会试第一，卷进呈，帝道：“朕久知其名，可谓得士矣！”廷试改翰林院庶吉士，散馆，授编修。和平安雅，见义无不为。年五十九，丁母忧，以毁卒。嗣绾诗及骈体文，少作多明艳，中年则以沈博排募胜，晚更清遒骏迈，以快厉之笔，达幽隐之思。所著有《尚絅堂集》，《清史列传》行于世。",[25,38,7,209,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a40bde7f2ad343d27197e4f5caf9567.jpg",[62],{"id":25469,"slug":25470,"title":25471,"dynasty":145,"author":25472,"museum":73,"description":25473,"tags":25474,"thumbUrl":25475,"material":61,"size":61,"collection":62,"collections":25476,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239917,"dui-yue-ge-yi-pian-zeng-lian-shang-ye-wu-ci-he-239917","对月歌一篇赠莲裳页","吴慈鹤","生于清高宗乾隆四十三年，卒于宣宗道光六年，年四十九岁少随父俊宦游粤东、济南，所为诗规仿徐、庾、孟、韩，为时流所重。嘉庆十四年（1809）进士，改翰林院庶吉士。散馆，授编修。充云南乡试副考官，督学河南、山东。性好游览，使车所至，山水为缘，而发之于诗。官至翰林院侍讲。慈鹤工诗，善骈体文，与彭兆荪交最契，兆荪推挹甚至。著有《兰鲸录》、《凤巢山樵求是录》及《岑华居士外集》，《清史列传》并传于世。",[56,24,25,209,7,58,38,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e274cf8e856a7e1e7cb307a42021faa.jpg",[62],{"id":25478,"slug":25479,"title":25480,"dynasty":145,"author":25481,"museum":73,"description":25482,"tags":25483,"thumbUrl":25484,"material":61,"size":61,"collection":62,"collections":25485,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239915,"tai-cheng-lu-yi-que-feng-lian-shang-ye-sun-yan-239915","台城路一阕奉莲裳页","孙延","工诗词、篆、隶，善写生墨梅，惜未竞其技而殁。事迹见于《墨林今话》、《畊砚田斋笔记》等。",[145,24,25,209,27,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ce4b33d92269f6bc6a30541aeea2ab.jpg",[62],{"id":25487,"slug":25488,"title":25489,"dynasty":18,"author":25490,"museum":73,"description":25491,"tags":25492,"thumbUrl":25493,"material":920,"size":921,"collection":61,"collections":25494,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":638},239872,"wu-kuan-chong-zhen-er-nian-ren-guan-chi-shu-juan-tao-wen-zheng-239872","无款崇祯二年任官敕书卷","陶问政","此件以泛黄麻纸朱丝栏为底，笔墨沉实端正，规整的馆阁体带着庙堂文牍的肃穆气息。卷上墨书勾改、补签痕迹错落，边角批答与押字历历在目，清晰还原了晚明任官从题覆到领任的政务流转脉络。\n\n它不止是一纸文书，更是明末官场运作的鲜活注脚，字里行间载着当年的铨选细节与政务仪制。岁月留下的破损晕染，为工整的官牍笔墨晕开厚重沧桑，是晚明行政制度与文人笔札风貌的双重遗存。",[38,7,26,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c22b73af1651a78b68917858d437b3.jpg",[],{"id":25496,"slug":25497,"title":25498,"dynasty":145,"author":25499,"museum":73,"description":25500,"tags":25501,"thumbUrl":25502,"material":920,"size":921,"collection":61,"collections":25503,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239866,"feng-he-gong-fu-qi-xi-shi-er-shou-ye-xie-jie-shu-239866","奉和功甫七夕诗二首页","谢阶树","谢阶树（1778-1825）字欣植，又字子玉，号向亭（芗亭）。江西省宜黄县城北门人。清代官吏、学者、思想家。宣南诗社最早成员之一。",[56,24,25,209,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8371553bbeb2a6f50d19ffe45e06ef.jpg",[],{"id":25505,"slug":25506,"title":25507,"dynasty":145,"author":25508,"museum":73,"description":25509,"tags":25510,"thumbUrl":25511,"material":61,"size":61,"collection":62,"collections":25512,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239850,"chu-xi-jian-mei-he-gong-fu-yun-ye-dong-guo-hua-239850","除夕见梅和功甫韵页","董国华","董国华（1773－1850）清代官员、诗人。江苏吴县（今苏州）人，字荣若，号琴南。据钱庆曾《竹汀居士年谱续编》，董氏曾在乾隆五十八年（1793）紫阳书院受业于钱大昕门下。嘉庆十三年（1808）进士，自号清闲居士，又号绿溪渔隐，道光间官至广东雷琼道。致仕归，历主云间书院，紫阳书院讲习，工诗文，词尤婉约。有《云寿堂文集》、《诗集》、《词钞》、《绿溪笔谈》、《海南笔记》等。",[38,25,209,7,58,27,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa372afe99d3432cc158f6841f9a8a6.jpg",[62],{"id":25514,"slug":25515,"title":17850,"dynasty":145,"author":25516,"museum":73,"description":25517,"tags":25518,"thumbUrl":25519,"material":61,"size":61,"collection":62,"collections":25520,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239838,"shi-ye-zhang-xiang-he-239838","张祥河","嘉庆二十五年（一八二0）进士，官工部尚书。谥温和。尝客京师董相国诰邸，与袁少迂（沛）、周芸皋（凯）讲求六法。充大清会典绘图。仁宗六旬，进庚辰万纪图诗画册，称旨。写意花草宗徐渭、陈道复，山水私淑文征明。晚年又涉石涛（道济）一派。笔颇健举，然气韵魄力仍是书生本色。黄钺告归，以书万卷先行，祥河为写饯书图，钺称其得五峰（文伯仁）意。画梅亦工。。咸丰十一年（1861年），因病致仕。次年，卒于京邸，谥“温和”。其墓在横山南麓。",[24,25,38,209,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266a258e18eb07c47a9e4a1347f381e8.jpg",[62],{"id":25522,"slug":25523,"title":23737,"dynasty":145,"author":220,"museum":73,"description":25524,"tags":25525,"thumbUrl":25526,"material":61,"size":61,"collection":62,"collections":25527,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239835,"bao-jin-shi-feng-gong-fu-ye-yi-ming-239835","此作为两开尺牍小品，左开以暗纹绿笺作书，小行书清劲秀雅，行气舒展匀停，墨色在华笺上愈发莹润秀逸；右开以浅黄麻纸落墨，用笔苍朴内敛，字势错落随性，带着手札特有的松弛意趣。\n\n二者皆为日常酬唱的信札书迹，笔墨间藏着旧时文人的风雅交游，冲淡疏逸的书卷气浸透纸背，将尺素传情的知己酬答，凝为纸上耐人寻味的悠长余韵。",[38,7,58,209,25,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd6ae6bb0cfd6992c3c19382096607c.jpg",[62],{"id":25529,"slug":25530,"title":23728,"dynasty":145,"author":25531,"museum":73,"description":25532,"tags":25533,"thumbUrl":25534,"material":61,"size":61,"collection":62,"collections":25535,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239811,"ti-zi-ye-wu-yi-feng-239811","吴翌凤","吴翌凤（1742～1819），是清著名藏书家，字伊仲，号枚庵、一作眉庵，别号古欢堂主人，初名凤鸣，祖籍安徽休宁，侨居吴郡槐树街（今苏州），藏书家吴铨后裔。诸生。家贫而笃好典籍，无力购置，往往借书阅览。三十三年至五十二年（1768年～1787）寓陶氏东斋，日寝馈书史，得佳本，则用手抄，至数千百卷",[25,38,7,209,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d3a54d9dd026c37e84b2e0924c51dc.jpg",[62],{"id":25537,"slug":25538,"title":17850,"dynasty":18,"author":25539,"museum":73,"description":25540,"tags":25541,"thumbUrl":25542,"material":61,"size":61,"collection":62,"collections":25543,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239804,"shi-ye-du-qi-239804","杜启","杜启是进士。弘治三年，授长垣知县。治河有功，筑太行长堤，增坝堰铺舍，暇与诸生讲授易学，人士皆宗之。擢监察御史。",[25,38,7,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F955a4f1f638f81f59042c23be8e8113b.jpg",[62],{"id":25545,"slug":25546,"title":25547,"dynasty":51,"author":25548,"museum":73,"description":25549,"tags":25550,"thumbUrl":25551,"material":61,"size":61,"collection":62,"collections":25552,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239675,"de-zhi-ti-wu-xi-tu-shi-de-zhi-239675","德止题浯溪图诗","德止","此作为尚意书风的典型写照，用笔灵动跳脱。笔画粗细跌宕间，牵丝映带自然圆融，字势欹侧相生，通篇行气贯通，流转着萧散出尘的禅意。\n\n章法疏朗错落，墨色干湿浓淡交织变幻，起收笔尽显随性洒脱，将禅家冲淡襟怀融于笔墨。每一字舒展自在，既带着行书流美的韵律感，又裹挟着林下清逸的禅味，尽显文人禅僧的简淡心境，是宋代禅意书法的上乘佳构。",[1697,38,7,11254,3332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def52d025d9d08a1b13db3467b5f51e.jpg",[62],{"id":25554,"slug":25555,"title":25556,"dynasty":91,"author":12654,"museum":106,"description":25557,"tags":25558,"thumbUrl":25559,"material":196,"size":25560,"collection":62,"collections":25561,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239625,"bai-yun-fa-shi-tie-ye-yu-ji-239625","白云法师帖页","释文：\n集顿首奉记。白云法师和上乡契，去年过访，足仞至情。别后极深怀系。大墓甚感用情，亲戚同不知首尾，不知归附心来，又六十余年，先参政之所经理遣意，老者今秋遣女后方可出。秋深要来，能来为妙。竹深旧相识，如来说可奉承。兹因俞伯康山长还吴，略得布此。秋冬间能来住一两月，同出亦好也。大墓事已开嘱丹阳以先世委用之意，必蒙相体。此行亦修路，侯一书讬伯康言之凡可。幸熟议勿停恩勿误事，则区区不肖之望也。植舟及小儿偶出，不及致问。溪山在斋，教两小儿如常也。伯婉受助后，月日未到未上，已尽达雅意矣。道人处传语诸亲知都为寄声为妙。眼昏写字不多整齐，勿罪。比相见好不及。虞集上记。\n鉴藏印有项元汴诸印，“董奕少氏”、“李肇亨”、“桃花源里人家”及安岐、完颜景贤、何子彰、赵叔彦、张爰、谭敬诸印28方，半印2方。\n文中自称“眼昏写字不多整齐”。虞氏晚年有目疾，并经常在信札中谈到，故此帖为其晚年之作。书法行笔环萦，字若连绵，法度险峭，劲健古雅。如王世贞所言：“用笔若草草，而中自遒劲。”\n《墨缘汇观·法书卷》、《三虞堂书画目》著录。",[38,7,353,2237,58,1244,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b35c3537d0bf8e28b8f4824d09fc1cb.jpg","纵30.7厘米，横51.8厘米",[62],{"id":25563,"slug":25564,"title":7524,"dynasty":145,"author":1413,"museum":106,"description":7525,"tags":25565,"thumbUrl":25566,"material":196,"size":7528,"collection":61,"collections":25567,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239605,"shi-san-zha-ce-zhu-da-239605",[24,25,209,7,1014,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12508c534b77105d73a7b003e7769052.jpg",[],{"id":25569,"slug":25570,"title":7524,"dynasty":145,"author":1413,"museum":106,"description":7525,"tags":25571,"thumbUrl":25572,"material":196,"size":7528,"collection":61,"collections":25573,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239604,"shi-san-zha-ce-zhu-da-239604",[38,7,27,58,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe807e602ccff54f87149dd5e6a45920d.jpg",[],{"id":25575,"slug":25576,"title":7524,"dynasty":145,"author":1413,"museum":106,"description":7525,"tags":25577,"thumbUrl":25578,"material":196,"size":7528,"collection":61,"collections":25579,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239603,"shi-san-zha-ce-zhu-da-239603",[3383,7,38,25,24,1244,27,58,1469,4263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239e52d7c98022240a611f05b935670a.jpg",[],{"id":25581,"slug":25582,"title":25583,"dynasty":18,"author":25584,"museum":106,"description":25585,"tags":25586,"thumbUrl":25587,"material":196,"size":61,"collection":62,"collections":25588,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239591,"cun-ji-tie-ce-ye-xia-shi-zheng-239591","存记帖册页","夏时正","夏时正(1412—1499)，字季爵，晚号留余道人，慈溪汶溪（今属镇海区）人。少随父居仁和（今杭州）。明正统十年(1445)中进士，授刑部主事，后升刑部郎中。景泰六年(1455)复查福建刑事案卷，平反死狱60余人，擢南京大理卿。成化七年(1471)巡视江西灾情，免除无名税10余万石，放粮赈济灾民23万户，汰诸司冗役数万名，罢不称职官吏200余名，增筑南昌章江门滨江堤坝和丰城诸县堤岸。后乞归杭州，贫甚，布政使张瓒为他筑西湖书院以居。卒葬杭州三峰山。纂有成化《杭州府志》、《太平志》，著有《留余稿》等。",[38,209,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1fb875efcbf86277345ec51f5e2e359.jpg",[62],{"id":25590,"slug":25591,"title":25592,"dynasty":18,"author":25593,"museum":106,"description":25594,"tags":25595,"thumbUrl":25596,"material":196,"size":61,"collection":62,"collections":25597,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},239585,"jiao-yan-tie-ce-ye-wang-hong-239585","教言帖册页","王竑","王竑（1413年—1488年），字公度，号休庵、戅庵。湖北江夏（今属武汉市）人，生于河州（今甘肃临夏）。明朝名臣。\n王竑为正统四年（1439年）进士，授户部给事中，豪迈负气节，正色敢言。土木之变后奋臂率众击毙王振党羽、锦衣指挥马顺，名震天下。也先入犯，受命受御京城，擢右佥都御史，寻督漕运，再抚淮、扬。明宪宗初年，官至兵部尚书。致仕后居家二十年。\n弘治元年（1488年），王竑去世，年七十五。明武宗时追赠太子少保，谥号“庄毅”。",[18,38,7,209,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ff26d78a700838e78b4642a6149eaf.jpg",[62],{"id":25599,"slug":25600,"title":16548,"dynasty":145,"author":16549,"museum":73,"description":21900,"tags":25601,"thumbUrl":25602,"material":920,"size":921,"collection":61,"collections":25603,"showCount":271,"zanCount":11,"manualWeigh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，中国民国初年天才横溢的画家，美术教育家。字师曾，号槐堂、朽道人，祖籍江西义宁(今修水)，1876年3月12日出生于湖南凤凰县。著名诗人陈三立长子，陈寅恪之兄。曾留学日本，攻读博物学。归国后从事美术教育与研究。擅山水花鸟人物，其花鸟画浑厚绮丽，山水画钩多皴少，人物画带速写情趣。又工篆刻、书法，能诗，出奇造意，矫柔为刚。由于陈师曾的人品、学问及诗、书、画、印“四全”，因此被公认为民国初年北京画坛最有名望的画家。梁启超称他为“现代美术界具有艺术天才、高人恪、不朽价值的第一人”。著有《中国绘画史》、《中国文人画之研究》。",[24,25,209,27,28,37,7,29,35,254,237,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177bbaeff17ad321a599c995d572aad2.jpg",[],{"id":25673,"slug":25674,"title":10544,"dynasty":145,"author":7544,"museum":73,"description":25675,"tags":25676,"thumbUrl":25677,"material":61,"size":61,"collection":61,"collections":25678,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},238765,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238765","此作用淡墨平远取景，远山含烟如黛，溪岸村居隐于茂林，野水萦回漾着清光。林下二人对坐展卷，置茶饮宴，将诗意化为林泉雅集。笔墨松秀简淡，以逸笔点染林木屋舍，淡墨皴写山峦，舍去浓丽敷色，尽得清雅意致。右侧恭书诗文，小楷端雅秀润，与水墨山水相映成趣。\n\n整幅诗画合璧，将御诗中的林泉高致落于纸面，淡岚浅墨间晕开悠然高旷的林下风雅，尽显清和温婉的文人画韵致。",[24,25,209,27,7,37,29,79,36,34,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14836ed43c794c1d3d606f36ff387fe4.jpg",[],{"id":25680,"slug":25681,"title":10544,"dynasty":145,"author":7544,"museum":73,"description":25682,"tags":25683,"thumbUrl":25684,"material":61,"size":61,"collection":61,"collections":25685,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},238764,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238764","以淡墨皴擦铺展平远秋郊，坡岸虬枝苍劲，淡墨晕染出林木萧疏的秋意。林下策杖缓行的文士，衣袂简括悠然，正骋目遥观林间隐现的高台。\n\n左侧题诗与画境呼应，诗书画相融无间。笔法松秀温润，全以水墨浓淡分出层次，不着艳色，晕染出清寂淡远的氛围，暗合拟古诗的澹澹诗意，将文人寄情林泉、澄怀观道的雅趣藏在简淡笔墨之中，尽显悠然闲逸的林下之思，是兼具诗境与画韵的文人山水佳构。",[24,25,209,27,29,79,34,33,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a6b4a16c71ff0d19154e6a540211cc.jpg",[],{"id":25687,"slug":25688,"title":10544,"dynasty":145,"author":7544,"museum":73,"description":25689,"tags":25690,"thumbUrl":25691,"material":61,"size":61,"collection":61,"collections":25692,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},238747,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238747","此作用淡墨写就山水林泉，右侧巉岩峻崚，古木盘虬于石畔，涧水漱石有声；左侧平坡疏林，士人携童策杖徐行，似正流连林壑幽景。\n笔墨清隽秀雅，以简淡皴擦勾勒山石肌理，林木仅以淡墨点染枝叶，全无浓艳敷色，尽显文人山水的疏淡逸致。画幅题诗与景致相映，将诗意融于山水间，把林下行吟的雅事铺展开来，传递出林泉高致的隐逸意趣，简淡中裹挟着温润秀逸的气韵，观之如身临幽山，可共赴林壑闲居之乐。",[24,25,209,27,78,37,7,58,29,79,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a9d1e57865971baf5429d4b67f7c74d.jpg",[],{"id":25694,"slug":25695,"title":7543,"dynasty":145,"author":7544,"museum":73,"description":25696,"tags":25697,"thumbUrl":25698,"material":61,"size":61,"collection":61,"collections":25699,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},238719,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238719","画面分作两处景致，左侧亭畔雅士驻足凝睇，右侧水村茅庐内有人凭窗独坐，一色清月悬于墨色夜空，牵起两地幽思。\n作者以枯淡笔墨绘林木萧疏，淡墨晕开烟水空濛，留白铺就夜色清寂，将羁旅怀远的缱绻心绪融于萧疏秋景之中。诗画合璧，把客子念旧的别愁，化作眼前空濛悠远的秋宵图景，简澹秀雅的笔触里，尽显文人写意水墨的空灵风神，清冷月色漫过水岸亭台，晕开满幅寂廖怀人之思。",[24,25,209,27,78,77,79,33,34,193,29,177,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685e75274ee14cd63fb4e9d802c99914.jpg",[],{"id":25701,"slug":25702,"title":7543,"dynasty":145,"author":7544,"museum":73,"description":25703,"tags":25704,"thumbUrl":25705,"material":61,"size":61,"collection":61,"collections":25706,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},238718,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238718","此作用淡墨晕染江渚，空濛淡远，枯笔皴写林木苍劲疏朗。茅庐依树而建，曳杖老者独立坡岸，身形萧索，怅然远望。\n\n画面极简，却将拟陶诗中归来不见旧人、饥寒愧恨的凄清意绪尽数铺陈。干湿浓淡间尽显幽寂冷逸，以画释意，诗韵与画境浑然相合。简淡笔墨勾勒出世故寥落，藏着文人归处难觅的怅惘，尽显诗画交融的清雅意趣。",[24,27,37,7,58,38,209,79,29,81,193,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb255cccc29c416bdf6b4a094d25bb4f7.jpg",[],{"id":25708,"slug":25709,"title":10244,"dynasty":145,"author":220,"museum":73,"description":25710,"tags":25711,"thumbUrl":25712,"material":61,"size":61,"collection":61,"collections":25713,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},238547,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-yi-ming-238547","此作图文合璧，右侧设色古淡清润，工笔绘就君臣定鼎典仪。人物衣冠古雅俨然，礼器陈于案上，肃穆静雅的氛围还原出定鼎安邦的庄重古意，线条清劲秀雅，设色沉稳朴拙，摹古意趣浓厚。\n\n左侧书法追摹东坡笔意，结体舒朗宽和，笔力浑厚朴拙，书文呼应画意，将史事意蕴娓娓道来。整体简而不疏，雅静端方，以细腻笔触与沉厚笔墨，传递出庙堂典仪的厚重肃穆，尽显复古考究的古典质感。",[24,25,209,28,79,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbe8dc866252d67c728f1562571484.jpg",[],{"id":25715,"slug":25716,"title":9252,"dynasty":145,"author":9253,"museum":73,"description":25717,"tags":25718,"thumbUrl":25719,"material":61,"size":61,"collection":61,"collections":25720,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},238247,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238247","以留白晕出山巅积雪，淡墨轻绘背阴处的沉郁，层峦尽数裹上素皑冬衣，将雪后山林的清寒萧寒铺展眼前。枯木琼枝错落山腰，古寺村居隐于其中，静穆禅意漫溢卷间，似能听见山寺晓钟穿破雪色而来。对页行书题诗笔致秀雅舒展，诗画相映，把雪晴时分的朗润空寂揉为一体，既写尽冬山冷峭，又藏着烟火暖意，将雪霁西山的清灵空远尽数定格。",[24,25,209,28,7,58,37,29,1636,774,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f48103f799cddc9965b303f8b837a6.jpg",[],{"id":25722,"slug":25723,"title":2604,"dynasty":145,"author":25724,"museum":73,"description":25725,"tags":25726,"thumbUrl":25729,"material":61,"size":61,"collection":61,"collections":25730,"showC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。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 ，山石都在形似间。著有《绘林伐材》、《蓬心诗钞》，卒年七十八岁。与王玖、王愫、王昱合称小四王。",[23,24,25,26,27,37,7,38,29,32,34,26149,31,82],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde05bc6dbfab643b6def47925a554166.jpg",[],{"id":26153,"slug":26154,"title":26155,"dynasty":145,"author":16549,"museum":106,"description":16550,"tags":26156,"thumbUrl":26157,"material":2132,"size":26158,"collection":61,"collections":26159,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},234185,"xie-qin-fang-you-juan-huang-yi-234185","携琴访友卷",[23,24,25,26,27,28,7,58,29,79,34,177,30,31,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4af429963430d611c94223cadd68049.jpg","纵26.7cm，横90.1cm",[],{"id":26161,"slug":26162,"title":26163,"dynasty":18,"author":26164,"museum":73,"description":26165,"tags":26166,"thumbUrl":26167,"material":61,"size":61,"collection":61,"collections":26168,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},234170,"yun-guan-tu-juan-gao-ting-li-234170","云冠图卷","高廷礼","[明]（一三五o至一四二三）本宋尚书张镇后，出继高氏。初名棅，字彦恢，自号漫士（一作慢仕），福建长乐人。永乐（一四o三至一四二四）初自布衣召授翰林待诏，迁为典籍。博学能文，工书、画，世称三绝，为闽中十才子之一。书得汉隶法，画善山水。宗米芾、高克恭，笔力苍古，墨气秀润，自成一家。有木天清气集、啸台集。卒年七十四。《明史本传、明史艺文志、福建通志、板画记、明画录、无声诗史、名山藏、玉堂丛话、曝书亭集》",[23,24,25,26,27,7,37,29,31,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458c9f96c3727df079f353f9302c1955.jpg",[],{"id":26170,"slug":26171,"title":26172,"dynasty":18,"author":26173,"museum":73,"description":26174,"tags":26175,"thumbUrl":26176,"material":61,"size":61,"collection":61,"collections":26177,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},234166,"hua-niao-tu-juan-cao-pu-234166","花鸟图卷","曹镤","曹镤（？－？），字良金，直隶苏州府吴江县人，民籍，明朝政治人物。应天府乡试第一百二十二名举人。弘治六年（1493年）中式癸丑科二甲第四十一名进士.曾祖曹瑾；祖父曹𤩽；父曹珵，母李氏",[23,24,25,26,28,27,24754,58,7,210,82,962,1896,119,3407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483c4b66e3025fed4af1d5d6c8ef3840.jpg",[],{"id":26179,"slug":26180,"title":26181,"dynasty":145,"author":26007,"museum":106,"description":26182,"tags":26183,"thumbUrl":26185,"material":152,"size":26186,"collection":61,"collections":26187,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},233750,"tu-wan-zhen-xiang-sha-fu-233750","屠婉贞像","屠婉贞出身名门，是清代画家屠倬的孙女，嫁给清宗室毓本为妻。题跋中称赞她可媲美赵孟頫的夫人管道昇，刺绣技艺高超，又善丹青，同时还是一位慈母，训导子课。屠婉贞的脸部由民间画工绘制，衣纹和古玩器具由海派画家沙馥补画，并有吴昌硕、杨岘等题跋。\n虽然社会对女子的限制仍然非常多，但赵琰哲认为，明清女子的活动空间在不断拓展，如蹴鞠、投壶、舞剑、音律、看戏听曲等用以深闺消遣，或者节日游园、逛庙会，或者结社唱和，饮酒赋诗，写字作画。因此，明末清初江南地区出现了很多擅长诗文书画的才女，才与德变得同样重要。在这种氛围中，绘画与女子的关系变得更为紧密：一方面江南地区女性独幅肖像出现，意味着女性拥有了独立成像的权利，画中女子不再是作为艳俗的仕女画供男子赏玩，而是体现出女性的自我独立与自我肯定；另一方面，女性也亲身参与到绘画活动中。",[24,25,28,77,79,4504,118,26184,1246,7,3332],"椅子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00a43a0b7d9438f3a47839e5dd81676.jpg","133.3×32.8厘米",[],{"id":26189,"slug":26190,"title":8728,"dynasty":145,"author":9991,"museum":106,"description":17363,"tags":26191,"thumbUrl":26192,"material":722,"size":17366,"collection":61,"collections":26193,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},233439,"huang-shan-tu-ce-mei-qing-233439",[24,27,29,209,37,7,58,3615,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b1d26b63541bbc140b68dde5d3bd3a7.jpg",[],{"id":26195,"slug":26196,"title":26197,"dynasty":7039,"author":26198,"museum":73,"description":26199,"tags":26200,"thumbUrl":26201,"material":920,"size":921,"collection":61,"collections":26202,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},231829,"jing-shang-xin-wan-juan-yi-teng-bo-wen-231829","井上馨宛卷","伊藤博文","伊藤博文伊藤（伊藤博文伊藤，1841年10月16 - 1909 10月26日）时，明治阶段日本的政治家[1] 。排名Kunto爵位在按照首位大订单的公爵。\n明治时代在4度到内阁制晚些时候推出的首相（第一代：1885年- 1888年，五代：1892年- 1896年- 7代：1898年，10代：1900年- 1901年），已知的作为。在第一次内阁时，他成为中心人物的起草工作中的明治宪法，并在时间的第二个机柜，他起草了中日和平条约。在四阶内阁中，通过创立创始人总统（在任1900 年至1903 年）组建了新政府rikken seiyūkai，并为政党政治铺平了道路。另一位主要的枢密院主席（任期1888 年-1889），主要的上议院主席府（任期1890年- 1891年），创始人韩国居住总（在办公室1905年- 1909年），参议院被服务等。\n讳是伊藤博文（伊藤博文，有时读为“ Hakubun ”）。他还称自己为“ Ochijuku Ryohirofumi ”。小名被改期到（补赛）后，吉田松荫从给定俊英顺俊介和（俊介），进一步Harusuke改名（俊介）。不。春嵘（Shunpo），常被称为Haruseoyake。所述小田原排屋的沧浪亭，因为它是在占有沧浪阁主人被称为（所以城堡丈夫）符号和密封也用作一个。",[23,25,38,26,7,1014,27,58,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d413e5167b26e90276d1e60627bbdfe.jpg",[],{"id":26204,"slug":26205,"title":26206,"dynasty":7039,"author":220,"museum":73,"description":26207,"tags":26208,"thumbUrl":26209,"material":920,"size":921,"collection":61,"collections":26210,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},231828,"yang-sheng-xun-shou-gao-quan-juan-yang-sheng-xun-shou-gao-quan-juan-yi-ming-231828","养生训手稿全卷-养生训手稿全卷","此作为行书长卷，开篇擘窠大字雄劲开张，笔力沉厚浑朴，颇有颜体宽博气象，后续小字行书舒展连贯，提按转折间筋骨尽显，墨色浓枯变幻自然，章法疏密错落，通篇一气呵成，韵致悠长。\n内容为养生之训，文辞意涵与笔墨意趣相融相衬，将修身静气的哲思寄寓于流动线条之中，缓急徐舒间藏内敛静气，既见书写者的笔底功力，也尽显其对养生之道的通透体悟，书卷气盎然，是兼备文学性与艺术性的书法佳制。",[23,38,7,26,7737,353,58,1140,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7152585e5aca7365e5983ebf24ba5cd.jpg",[],{"id":26212,"slug":26213,"title":26214,"dynasty":7039,"author":24231,"museum":73,"description":26215,"tags":26216,"thumbUrl":26217,"material":920,"size":921,"collection":61,"collections":26218,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[23,24,25,26,27,28,38,7,1014,58,29,112,115,79,33,82,114,120,111,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":26220,"slug":26221,"title":26222,"dynasty":7039,"author":220,"museum":73,"description":26223,"tags":26224,"thumbUrl":26225,"material":920,"size":921,"collection":61,"collections":26226,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},231799,"ri-ben-jiang-hu-shi-qi-shou-juan-yi-ming-231799","日本江户时期手卷","此卷行书笔墨酣畅，通篇行气贯通，字势顾盼相生，提按转合间尽显书写时的随性快意。枯湿浓淡自然变幻，牵丝映带灵动飘逸，既恪守晋唐行书隽雅法度，又不失狂放舒展的写意意趣。\n整卷为题咏诗文，书者笔随文势起伏，抒情处笔意舒缓温雅，激昂处笔墨恣肆开张，将文辞情志与书法笔韵相融无间，笔墨间尽显文人的旷达襟怀。章法排布疏密有致，卷首卷尾印信点缀得宜，通篇浑然一体，尽显书者深厚功底与潇洒风骨，是一件极具抒情性的行书佳作。",[23,26,38,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe027a5552153bbfd251e3763006f6a8.jpg",[],{"id":26228,"slug":26229,"title":26230,"dynasty":7039,"author":26231,"museum":73,"description":26232,"tags":26233,"thumbUrl":26234,"material":920,"size":921,"collection":61,"collections":26235,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},231782,"zhu-ming-jia-shou-jian-shou-jian-duo-he-jie-yong-deng-231782","诸名家手简 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本幅无款印。\n清《石渠宝笈续编》著录。",[23,24,56,25,77,28,210,114,418,962,884,58,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be29216666561141745ebb74a270e35.jpg",[],{"id":26400,"slug":26401,"title":26402,"dynasty":51,"author":220,"museum":106,"description":26403,"tags":26404,"thumbUrl":26405,"material":165,"size":26406,"collection":61,"collections":26407,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":638},223585,"tian-jun-zui-gui-tu-juan-yi-ming-223585","田畯醉归图卷","田畯是古时管理田地的官员。图中绘村官田畯接受乡民敬酒后，骑牛醉归的情景。老者戴簪花巾子，袍带松落，穿平民麻鞋，动作僵硬，满脸醉意，由人扶持，前面有村童一边牵牛，一边吃包子，生动表现乡村生活的一景。",[23,26,77,28,79,458,3857,38,7,27,1885,34,1248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbff0c953615a5950f2c984a7e1c392b.jpg","21.7x75.8",[],{"id":26409,"slug":26410,"title":26411,"dynasty":51,"author":220,"museum":73,"description":26412,"tags":26413,"thumbUrl":26414,"material":5479,"size":26415,"collection":61,"collections":26416,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":66},223514,"shu-se-qing-yuan-yi-ming-223514","树色清远","绘崇山峻岭，树木林立，近景中小桥流水，隐约可见农夫担柴过桥。此卷有郭熙风格，蟹爪形树枝，画面布局等，有着郭熙画风中空远广阔之景。",[23,24,25,26,27,37,29,377,35,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d346d51b98ba5168b74928d312811d2.jpg","25x651cm",[],{"id":26418,"slug":26419,"title":26420,"dynasty":145,"author":838,"museum":373,"description":26421,"tags":26422,"thumbUrl":26423,"material":5479,"size":26424,"collection":61,"collections":26425,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},223282,"jie-shu-yuan-jing-lou-ji-liu-yong-223282","节书远景楼记","刘墉的墨法“以浓用拙，以燥用巧”，擅长以“浓墨助其采”，被人戏称为“浓墨宰相”。但用“浓”字来概括刘墉书法的用墨特点并不准确，用一个“丰”字来加以形容或许更加合适。\n刘墉书法在历史上曾有“墨猪”之诮，但这只是一种表浅的意见。如果仔细品味刘墉书法的原作，就会发现他作品中“浓墨”非但没有使自己的字变成“墨猪”，反而增添了字的光彩，这是因为他的用墨充满了“活趣”。他的字只是表面看来肥厚臃肿，实际却是在“丰貌”之下隐含着“劲骨”——那些墨块非但并不“板滞”，反而晶莹剔透，层次清楚，光彩照人！透过层次丰富的墨色轮廓，点画内部笔毫运动的轨迹清晰可见，如“绵里裹铁”！．这就使他的书法味厚神藏，在朴素的外表下透露出内蕴的风采。",[23,56,24,25,38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f91f9ae8526d11d0d73de325ad2c2e6.jpg","纵125.5cm，横56.3cm",[],{"id":26427,"slug":26428,"title":26429,"dynasty":145,"author":13953,"museum":106,"description":26430,"tags":26431,"thumbUrl":26433,"material":1262,"size":26434,"collection":61,"collections":26435,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},223149,"yao-xie-shi-yi-tu-ce-di-er-kai-du-ye-ling-bo-jing-gu-deng-shi-er-zhi-ren-xiong-223149","姚燮诗意图册-第二开：独夜凌波景，孤镫是尔知","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,24,209,78,27,28,7,58,210,118,26432,266],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc49c27cd0d54af838bc7165d4071cc.jpg","纵27.3厘米，横32.5厘米",[],{"id":26437,"slug":26438,"title":26439,"dynasty":145,"author":146,"museum":373,"description":26440,"tags":26441,"thumbUrl":26442,"material":196,"size":26443,"collection":61,"collections":26444,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},222669,"peng-mei-tu-huang-shen-222669","捧梅图","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,25,27,109,57,7,79,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd778e0836a6ad07faf43424193f69955.jpg","纵124厘米，横65厘米",[],{"id":26446,"slug":26447,"title":26448,"dynasty":18,"author":26449,"museum":73,"description":26450,"tags":26451,"thumbUrl":26452,"material":196,"size":26453,"collection":61,"collections":26454,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},222580,"shu-deng-dai-shi-ce-jiang-jie-222580","书登岱诗册","蒋杰","明代蒋杰书法欣赏。蒋杰。曾任广东副使，文采风流，雅有时誉，是当时有名的四大书法家之一。他纵情山水，足迹几半天下，所到之处，多有题咏，诗文清丽，与姑苏王遵考、天台蔡稚含、新安洪平叔、荆溪张以登结清言社，诸君子诗酒往还，即景赋诗，悠闲自得。其书法与黄道周、董其昌、米万钟当时有名的四大书法家，笔力矫健，晚年更显苍劲。著名书法家董其昌曾写诗为他祝寿。《黔诗纪略》录其诗一首。",[23,38,7,209,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb336e4e591d6b6f2148cb92d1f499dfd.jpg","30x344厘米",[],{"id":26456,"slug":26457,"title":26458,"dynasty":18,"author":3452,"museum":73,"description":26459,"tags":26460,"thumbUrl":26461,"material":1014,"size":26462,"collection":61,"collections":26463,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":66},222056,"tao-yuan-dong-kou-shi-juan-zhang-rui-tu-222056","桃源洞口诗卷","张瑞图在晚明书坛的地位相当重要，可以说是晚明新书派标志性人物。其书法无论是外观面貌还是内涵意蕴，都与前人迥然不同。凌厉的点画, 奇倔的字形, 构成作品的主旋律强烈的力感, 动荡的气势，给人一种崭新的审美感受。\n明初的“三宋”（宋克、宋广、宋璲）“二沈”（沈度、沈粲），中期以祝允明、文徵明、王宠等为代表的吴门书派，虽然在追求精致工整和雍容秀雅方面取得很高成就，但从整体面貌来看，基本上还是宋元书风的延续。而沈度、沈粲以善书获官，深得皇帝喜爱，在当时名气极大，群起效仿，愈演愈烈，遂形成“台阁体”书风。",[23,25,26,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0210a2ae4d20e650b68763044499846.jpg","21cmx322cm",[],{"id":26465,"slug":26466,"title":26467,"dynasty":18,"author":18363,"museum":73,"description":26468,"tags":26469,"thumbUrl":26470,"material":77,"size":26471,"collection":61,"collections":26472,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},222041,"de-qu-zai-ren-ce-13-kai-1-wang-zhong-222041","得趣在人册13开1","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[18,25,38,7,209,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccfafefefc5b45f065e542e1cdd5d131.jpg","30×27cm",[],{"id":26474,"slug":26475,"title":26476,"dynasty":18,"author":1024,"museum":53,"description":11906,"tags":26477,"thumbUrl":26479,"material":196,"size":26480,"collection":61,"collections":26481,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},222025,"hua-qiu-lin-shu-wu-bing-zi-shu-qi-yan-lv-shi-cheng-shan-wen-zheng-ming-222025","画秋林书屋并自书七言律诗成扇",[23,2579,24,29,26478,8557,37,28,38,7],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7580989f754610379536baedf0c049.jpg","30.5x48",[],{"id":26483,"slug":26484,"title":26485,"dynasty":18,"author":1024,"museum":106,"description":4930,"tags":26486,"thumbUrl":26487,"material":196,"size":12443,"collection":61,"collections":26488,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},221951,"shu-zha-ce-2-wen-zheng-ming-221951","书札册2",[23,38,7,209,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80fb545f98d7be6bd1379c39010c1be6.jpg",[],{"id":26490,"slug":26491,"title":6385,"dynasty":18,"author":7134,"museum":20,"description":19625,"tags":26492,"thumbUrl":26493,"material":196,"size":19628,"collection":61,"collections":26494,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},221923,"za-hua-ce-guo-xu-221923",[23,24,25,209,78,27,79,2007,620,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88026a0355c9c36f896899988f2e732.jpg",[],{"id":26496,"slug":26497,"title":26498,"dynasty":18,"author":1064,"museum":1573,"description":26499,"tags":26500,"thumbUrl":26501,"material":209,"size":61,"collection":61,"collections":26502,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},221904,"hua-niao-jing-pin-ce-15-chen-hong-shou-221904","花鸟精品册15","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[24,25,209,210,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb0c8224e323424f7fb028cfad51774.jpg",[],{"id":26504,"slug":26505,"title":26506,"dynasty":91,"author":12654,"museum":53,"description":26507,"tags":26508,"thumbUrl":26509,"material":196,"size":26510,"collection":61,"collections":26511,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},221869,"zhi-dan-qiu-bo-shi-gong-chi-du-yu-ji-221869","致丹丘博士公尺牍","虞集（1272-1348）元代文学家。字伯生，号道园，人称邵庵先生。祖籍仁寿（今属四川）。其五世祖虞允文，为南宋著名爱国将领，曾在绍兴三十一年(1161)的采石之战中大败金军，官至丞相。其父虞汲，曾任黄冈尉，宋亡后侨居临川崇仁(今属江西)。虞集自幼学习程朱理学，深受儒家正统观念的影响，但又不拘成法，思想比较开通。宋亡后，侨居临川崇仁（今属江西）。元成宗大德元年(1297)， 虞集至大都，他被荐授大都路儒学教授。仁宗时，为集贤修撰。泰定帝时，升任翰林直学士兼国子祭酒。文宗为怀王时，已知虞集之名，继位后授之奎章阁侍书学士，进翰林侍讲学士，并与赵世延等编纂《经世大典》。因虞集曾草诏说顺帝非明宗子，所以顺帝即位后，他就谢病回乡。谥文靖。\n诗文为当时大家，“一时宗庙朝廷之典册，公卿士大夫碑版咸出其手。粹成一家之言”。与杨载、范□（木亨）、揭傒斯先后齐名，人称“虞、杨、范、揭”，并称“元诗四大家”。他主张宗唐宗古，以李白、杜甫为正宗，而又特别欣赏陶渊明、王维、韦应物、柳宗元等人，提倡“舒迟而淡泊”的审美观。诗文风格谨严，但多模拟前人。有《道园学古录》、《道园遗稿》。\n书法亦是大家，曾与赵孟頫同在翰林院共事，赵孟頫是他的上级，书法自然受到赵孟頫影响，观其作品，深得晋人韵味，清朗蕴藉之气不减赵氏。陶宗仪式《书史会要》称他“真行草篆皆有法度。古隶为当代第一。”明代书法家李东阳说：“书家者流，所谓人品高、师法古者，伯生殆兼有之。”书迹主要留于鉴赏题跋，传世作品还有《刘垓神道碑铭》墨迹本（上海博物馆藏）为大字真书，可见钟繇、苏轼笔法，曾为奎章阁篆印两方“奎章阁宝”、“天历之宝”，可见他的篆书在当时也很出众。虽为当时重要书家，流传作品不多，风格也不甚鲜明。",[38,7,1698,58,2052,2237,196,17089,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f8b1fed963ae62c82bdac274eb8285.jpg","21×37.7cm",[],{"id":26513,"slug":26514,"title":26515,"dynasty":91,"author":4351,"museum":53,"description":26516,"tags":26517,"thumbUrl":26520,"material":18744,"size":24483,"collection":61,"collections":26521,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":46},221734,"qi-yan-jue-ju-zhang-yu-221734","七言绝句","张雨（1283－1350）字伯雨，号贞居之，又号句曲外史。元代诗文家、词曲家、书画家、茅山派道士。旧名张泽之，又名张嗣真，浙江钱塘人。\n\n张雨的书法曾得赵孟頫指授，字画清逸舒放，这幅书法是罕见的大字行草，字形倾侧动荡，忽大忽小，运墨燥湿互济，锋势劲锐，别具纵逸峻历之势，结构布局无拘无束，显示出他能放纵能收敛的高度技巧。时而出现跳跃夸张的笔画，抒发了“隐士书家”内心郁结已久的块垒，更能显现“隐士书家”特有的孤傲不群，更能将道家的自由散漫和清虚雅逸诠释的淋漓尽致。",[38,7,58,209,27,113,328,458,26518,26519,1456],"飞鸿","樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2927e44bffd84da4f10d29039f2a2e7.jpg",[],{"id":26523,"slug":26524,"title":26525,"dynasty":91,"author":4351,"museum":53,"description":26526,"tags":26527,"thumbUrl":26531,"material":620,"size":26532,"collection":61,"collections":26533,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":66},221732,"tang-ren-jue-ju-zhou-zhang-yu-221732","唐人绝句轴","张雨（西元一二八三－一三五０年），字伯雨，号句曲外史，浙江钱塘人。元代着名的道教人物。文才清丽，书画清逸，倪瓒称其诗文字画为「道品第一」。 通幅书作，运笔放纵，流转自如，劲健洒脱，用墨浓时而枯，淋漓痛快。结体圆实，行笔潇洒之处，可看出早年学赵孟頫的迹象。",[24,25,57,38,7,58,26528,113,112,6434,402,26529,26530],"秋月","翠帐","竹房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51baeeeab2d4cc8e58254774872862e1.jpg","(公分) 本幅154.3x34.3 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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 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玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[25,209,7,58,19953,5103,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45043b951e34bd9aa57f04cf29a56bd3.jpg",[],{"id":27009,"slug":27010,"title":12596,"dynasty":145,"author":220,"museum":73,"description":24908,"tags":27011,"thumbUrl":27012,"material":920,"size":921,"collection":61,"collections":27013,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":1787},242498,"zhong-ke-chun-hua-ge-tie-yi-ming-242498",[38,680,58,7,1014,76,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8935d780af15271e21dd5bf0a5c3f7e5.jpg",[],{"id":27015,"slug":27016,"title":27017,"dynasty":18,"author":220,"museum":73,"description":27018,"tags":27019,"thumbUrl":27020,"material":920,"size":921,"collection":62,"collections":27021,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":66},242277,"wan-xiang-tang-su-shu-tie-yi-ming-242277","晚香堂苏书帖","此帖用笔温润秀劲，提按转合间尽显潇洒韵致，笔意圆活舒展，毫无板滞之感。结体疏密得宜，字形欹正相生，既有端稳沉静之态，又不失灵动跳脱之姿。乌金沉底配莹润墨色，愈发衬出字里行间的从容雅致。\n\n以《凌虚台记》为书文，笔墨与文辞相得益彰，将文中寄寓的山水襟怀，化作笔底流转的风神，观之仿若亲临终南山麓，凌虚凭眺，山水悠然之境跃然眼底，尽显文人书法的清雅意趣，是颇具东坡神韵的刻帖佳制。",[38,7,352,680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9efe2d1d58861d109378fea9e789a25.jpg",[62],{"id":27023,"slug":27024,"title":6055,"dynasty":454,"author":220,"museum":73,"description":27025,"tags":27026,"thumbUrl":27027,"material":61,"size":61,"collection":463,"collections":27028,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":66},242232,"zheng-zuo-wei-tie-yi-ming-242232","此作用笔苍劲朴拙，点画浑厚开张，尽显宽博雄健的气度。字势欹正相生，章法疏密随性自然，笔墨间裹挟着直谏时的激愤意气，将忠义肝胆寄于笔端。\n墨色沉凝古雅，虽为刻拓却不失原作的酣畅气势，行笔间带着独有的雄浑风骨，把文人气节与书法意趣相融，字里行间皆是率真饱满的情绪起伏，尽显壮逸格调，是极具感染力的行草典范。",[38,680,7,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5037d956fd7683d70e044ca6d075c8cb.jpg",[463],{"id":27030,"slug":27031,"title":6055,"dynasty":145,"author":220,"museum":73,"description":27032,"tags":27033,"thumbUrl":27034,"material":61,"size":61,"collection":463,"collections":27035,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":1787},242230,"zheng-zuo-wei-tie-yi-ming-242230","此作用笔雄健苍劲，线条跌宕恣肆，将书者朝堂据理力争的凛然风骨寄寓笔墨间。行笔纵横捭阖，墨色斑驳沉郁，尽显刻石拓本的沧桑厚重。章法欹正相生、大小错落，看似随意排布却浑然天成。\n\n笔画粗细变化极具张力，牵丝映带间融行书灵动与朴拙为一体，既不失端稳法度，又脱尽刻板拘束，以散逸不羁的姿态成为行书经典。晕染的拓痕为其添上古雅沉静的岁月质感，让观者能触摸到千年前文人的铮铮铁骨。",[38,680,7,209,352,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6815a8f1c8fcfebc068f7bb1d47e64f3.jpg",[463],{"id":27037,"slug":27038,"title":27039,"dynasty":18,"author":220,"museum":73,"description":27040,"tags":27041,"thumbUrl":27042,"material":61,"size":61,"collection":62,"collections":27043,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":66},242219,"bao-xian-tang-fa-tie-yi-ming-242219","宝贤堂法帖","此帖荟萃晋人手札，黑底白墨古雅沉静，尽显刻帖精妙质感。右侧书作笔意圆融灵动，点画顾盼生姿，将尺牍的随性自在铺陈开来，晋人散逸潇洒的风神跃然楮墨。左侧字迹纵逸奔放，牵丝映带间尽显挥毫时的畅快意气，笔墨藏着晋韵风流的审美底色。\n\n摹刻精良，忠实留存晋人行草的章法笔意，将两通信札的日常意趣与书法精妙合二为一，虽是刻本却毫发尽显笔底情致，可让观者遥想当年挥毫的自在情态，体味古法帖隽永的笔墨魅力。",[680,38,7,1014,58,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d36d092de5a51de88c73a35db58586.jpg",[62],{"id":27045,"slug":27046,"title":27047,"dynasty":145,"author":220,"museum":73,"description":27048,"tags":27049,"thumbUrl":27050,"material":61,"size":61,"collection":463,"collections":27051,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":1787},242181,"yuan-jian-zhai-fa-tie-yi-ming-242181","渊鉴斋法帖","此作用笔舒展俊逸，牵丝映带尽显灵动意趣，结体疏密相宜，字势顾盼有情。墨色乌亮莹润，刻工精良妥帖，忠实还原了行笔的粗细疾徐，将笔底的儒雅意态尽数留存。\n\n整幅章法匀停平和，文辞古雅与笔墨意韵相融，尽显雍容端秀的庙堂之风，将行书的舒展雅致与刻帖的金石质感巧妙结合，藏着清人尚雅的书风意趣，尽显从容雍和的文人气韵。",[38,7,680,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324ba74e9a66e76194663d137b1acdf8.jpg",[463],{"id":27053,"slug":27054,"title":27055,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":27056,"thumbUrl":27057,"material":196,"size":61,"collection":62,"collections":27058,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241650,"zhi-kong-jia-shu-zha-wen-zheng-ming-241650","致孔加书札",[38,7,27,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d5b622986830b562269c5e473baf69e.jpg",[62],{"id":27060,"slug":27061,"title":27062,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":27063,"thumbUrl":27064,"material":920,"size":921,"collection":61,"collections":27065,"showCount":334,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。即取以市大布制棉衣以施寒者，乡里称善人，卒年六十七 。著有《响泉集》、《梁溪诗钞》。",[25,7,58,28,10761,150,33,2252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3bbc5aec8ed12d63dc3e4f6a9f4af7.jpg",[],{"id":27089,"slug":27090,"title":23329,"dynasty":145,"author":14874,"museum":73,"description":27091,"tags":27092,"thumbUrl":27093,"material":920,"size":921,"collection":61,"collections":27094,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241569,"qi-yan-shi-zhou-tang-yi-fen-241569","汤贻汾（1778—1853）， 字若仪，号雨生、琴隐道人，晚号粥翁，武进（今江苏常州）人。清代武官、诗人、画家。以祖、父荫袭云骑尉，授扬州三江营守备。",[38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0972c17ac9489951e3f6d1329328867a.jpg",[],{"id":27096,"slug":27097,"title":27098,"dynasty":18,"author":21973,"museum":73,"description":27099,"tags":27100,"thumbUrl":27101,"material":920,"size":921,"collection":61,"collections":27102,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":638},241566,"wu-lv-ping-zhou-song-cao-241566","五律屏轴","宋曹（1620-1701），字彬臣， 号射陵，又号耕海潜夫。明泰昌元年生于盐城县新兴场人（现盐城市亭湖区新兴镇）。宋家祠堂大门两侧曾有两朝辅弼，十世簪缨的对联。从宋曹曾祖、祖父起，皆以举人入官。\n明崇祯时，25岁官至中书舍人，其位级从七品官。南明复亡，1642年，宋曹的好友司石盘、厉豫等人因不满清朝黑暗统治，举兵起义。未及一年，兵败淮安。清政府派人四处抓拿，宋曹受其牵连，身陷囹圄。营释后，先到北宋庄，后又携家小隐居到30公里以外的汤庄，筑蔬枰园侍奉老母。每年仍到北宋庄祭祖。大纵湖有一龙兴寺，建于明开启年间，苦于无名。宋曹隐居北宋庄，让寺庙主持喜出望外，请他题名龙兴禅院，他欣然挥毫。抗战爆发，禅院毁于战火，宋曹真迹随之荡然无存了。三十寒暑，宋曹闭门养息，会友谈艺，聚首唱和，遂使诗书融合，造诣日深。康熙元年到八年间，两度诏举，不肯出林，仍隐逸汤村。康熙十七年，清以纂修明史，开博学鸿词科，征召海内名儒，侍郎严沅和江苏巡抚慕无颜共举宋曹为博学鸿词，他均以母老固辞未赴。康熙22年（1683）年，两江总督于成龙请他去 南京编撰《江南通志》，盛情难却，他带上长子恭贻一起赴任。志书编成，宋曹坚不留名，最终《江南通志》仅署了恭贻的名字。于成龙敬重他的人品，称他为射陵先生。于成龙邀其出山，终于使宋曹结束了隐居生涯。为了实现书法方面的抱负，他毅然离家出游，浪迹江淮，客维扬、润州、昆山、苏州、杭州等地，拜师会友，吊古觅胜。康熙六年，会顾炎武，互赠诗赋，结为友好。历数载，他纵觅南北名碑，吮吸精髓，悟入微际，并加以融会贯通，取舍扬弃，为自己寻得一条正宗的书法道路。",[38,7,57,58,121,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c53b5e4811f44127a75a253a0972ffc.jpg",[],{"id":27104,"slug":27105,"title":27106,"dynasty":18,"author":220,"museum":73,"description":27107,"tags":27108,"thumbUrl":27109,"material":196,"size":61,"collection":62,"collections":27110,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241529,"yi-an-qi-lv-shi-bing-xu-ye-yi-ming-241529","逸庵七律诗并序页","这件行书小品笔意连贯疏朗，墨色浓淡自然晕化，字势欹侧相生。牵丝映带的笔画里藏着随性洒脱的笔情，行距错落却章法自洽，尽显明代文人的林下之风。\n\n枯墨处筋骨暗藏，润墨时腴润舒展，藏露兼济间既有帖学法度，又不失写意之趣。笔墨随着诗意流转，将诗书合一的雅致尽数展露，随性书写里带着松弛安然的文人意绪，尽显旧时光里清雅的文人心境。",[56,24,25,38,7,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bc4a9170cc24554e3f00fdb26c6a263.jpg",[62],{"id":27112,"slug":27113,"title":27114,"dynasty":145,"author":27115,"museum":73,"description":27116,"tags":27117,"thumbUrl":27120,"material":920,"size":921,"collection":61,"collections":27121,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241520,"fa-qi-jue-shi-zhou-xu-ang-241520","发七绝诗轴","徐昂","此作用笔温润秀雅，取法元人行书笔意，线条舒展灵动，牵丝映带自然圆融。结体匀称端庄，章法错落有致，字势随诗文意境缓缓铺陈。\n\n诗里溪潭夜色、泛舟沉醉的闲趣，融于笔墨虚实之间。笔锋轻重提转皆合韵律，将文人林下萧散闲适的意趣尽显无余，笔墨间流转着清雅书卷气，是颇具韵致的行书佳作，尽显传统文人书法的审美意涵。",[25,38,57,7,58,27118,112,4186,114,27119,3977],"花潭","覆水船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e898aa97b0f30422041baa11dd5210.jpg",[],{"id":27123,"slug":27124,"title":27125,"dynasty":145,"author":27126,"museum":73,"description":27127,"tags":27128,"thumbUrl":27129,"material":920,"size":921,"collection":61,"collections":27130,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241513,"ji-bai-shou-mei-hua-shi-tie-ce-liang-wei-jia-241513","集百首梅花诗帖册","梁维佳","此作用笔温润秀雅，行书舒展灵动，兼具小楷的端稳意韵。排布疏朗匀停，墨色浓淡合宜，点画流转间尽显文人笔墨的清雅意趣。\n\n册页录咏梅诗句，笔墨与诗意相融相生，将寒梅孤高清隽的品格藏于笔端。书“彻骨清寒”时笔力沉凝，暗合梅花凌寒之姿；写花清句时笔锋秀逸，尽显梅之灵秀风神。以笔为引，寄情于字，让观者于点撇捺挑间，窥见藏在笔墨深处的爱梅之心，书卷气盎然扑面，尽显文人的清雅襟怀。",[24,25,209,7,27,111,38,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e617c6775e414ac6a8238abe6681096.jpg",[],{"id":27132,"slug":27133,"title":20070,"dynasty":145,"author":27134,"museum":73,"description":27135,"tags":27136,"thumbUrl":27137,"material":196,"size":61,"collection":62,"collections":27138,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":66},241501,"qi-lv-shi-zhou-shi-yi-zhi-241501","史贻直","史贻直（1682-1763年），字儆弦，号铁崖，江苏溧阳县人。清朝大臣。\n康熙三十九年（1699年），中进士，授检讨。历充云南主考、广东督学、赞善、侍讲、太子庶子、讲读学士。雍正元年（1723年），任内阁学士。次年，升吏部侍郎。后来署理闽浙总督，升左都御史，协理西安巡抚，又升户部、兵部尚书。 乾隆初年，历任湖广、直隶总督。乾隆九年（1744年），授文渊阁大学士兼吏部尚书。乾隆二十五年（1755年），他为次子史奕昂担任甘肃布政司写信给巡抚鄂昌，被告发而削职。乾隆二十七年（1757年），入朝拜相。乾隆二十八年（1758年），去世，追赠太保，谥号“文靖”，入祀贤良祠。",[25,57,7,38,114,112,2905,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d2bc0f7f5852f8e8fb0b22c26bbddd.jpg",[62],{"id":27140,"slug":27141,"title":27142,"dynasty":145,"author":27143,"museum":73,"description":27144,"tags":27145,"thumbUrl":27146,"material":920,"size":921,"collection":61,"collections":27147,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":66},241495,"jie-lu-ban-gu-dong-dou-fu-wan-shan-zheng-wen-zhu-241495","节录班固东都赋纨扇","郑文洙","此作为纨扇小楷，暗纹装裱衬底晕开岁月泛黄的肌理，古意盎然。笔致端秀匀停，点画温润内敛，通篇排布疏朗合宜，字字恪守矩矱却不失灵动意趣，墨色沉凝饱满，将经赋文字在尺幅团扇间铺陈得从容雅致。\n书者以翰墨载文，尽显扎实功底与沉静的文人书卷气，将旧时雅赏清玩的意趣融于尺素之间，晕开的纸色为这件小品更添古拙沉静的韵味，是兼具笔墨审美与文心雅意的佳构。",[2579,38,7,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b495a479813aac149a4335d48de3621.jpg",[],{"id":27149,"slug":27150,"title":27151,"dynasty":145,"author":27152,"museum":73,"description":27153,"tags":27154,"thumbUrl":27155,"material":920,"size":921,"collection":62,"collections":27156,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241473,"bai-ling-shi-han-ce-zhang-bai-ling-241473","百龄诗翰册","张百龄","张百龄，清朝大臣。出为湖南按察使，调浙江，历贵州、云南布政使。",[25,209,7,38,58,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F432e640a215bbb1bf7fa1a27c89ee9e6.jpg",[62],{"id":27158,"slug":27159,"title":27160,"dynasty":145,"author":27161,"museum":73,"description":27162,"tags":27163,"thumbUrl":27164,"material":920,"size":921,"collection":61,"collections":27165,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":638},241472,"wu-jia-xing-kai-za-shu-juan-zhang-ying-241472","五家行楷杂书卷","张英","张英（1638年~1708年），字敦复，又字梦敦，号学圃，又号圃翁，安徽桐城人。清朝大臣，名相张廷玉之父。张秉彝第五子。\n康熙六年（1667年）进士，选庶吉士。翰林院编修，充日讲起居注官，累迁侍读学士。康熙十六年（1677年）设南书房，奉命入值，并得赐房第于西安门内。深得康熙器重。每逢康熙出行，张英必从。一时制诰多出其手。后历任翰林院学士，兼礼部侍郎、兵部待郎，调礼部兼管詹事府，充经筵讲官。康熙二十八年（1689年），任工部尚书、兼翰林院掌院学士，此后历任礼部尚书，国史馆总裁官。康熙三十八年（1699年），拜文华殿大学士，兼礼部尚书。张英性情温和，不图虚名。任讲筵官时，民生利病，四方水旱，知无不言。康熙帝曾称赞道：“张英始终敬慎，有古大臣风。”",[23,38,26,7,2031,2041,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec3f1718dd5edeb5bbe50c9bac7f687.jpg",[],{"id":27167,"slug":27168,"title":27169,"dynasty":145,"author":27170,"museum":73,"description":27171,"tags":27172,"thumbUrl":27173,"material":920,"size":921,"collection":61,"collections":27174,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241471,"han-zhuan-yan-ge-juan-duan-mu-guo-hu-241471","汉砖研歌卷","端木国瑚","端木国瑚（1773年4月1日——1837年10月19日），字子彝、鹤田、井伯，晚号太鹤山人，浙江省青田县城太鹤山麓人。清代学者。\n7岁开始学《易经》。清嘉庆元年（1796），浙江学政阮元见国瑚的《画虎赋》，大加赞赏。邀赴杭州，就读于敷文书院。所作《定香亭赋》，清思古藻，似齐梁人手笔，一时艺林相与传诵，阮元赞不绝口，以诗相赠：“谁是齐梁作赋才，定香亭上碧莲开，括苍酒监秦淮海，招得青田白鹤来。”由此，国瑚被誉为“青田一鹤”。\n嘉庆三年，中举人。十三年，赴京会试不第，授为知县。国瑚潜心学业，呈请改任教职。道光十年（1830）宣宗皇帝改卜寿陵，国瑚以通堪舆之术，受宗室大臣举荐被召赴京，选定陵址后，任为县令，又奏请任教官。道光十三年，考取进士，仍以知县任用，再呈请注销，改任内阁中书，先后三辞县令。\n国瑚博通经史及阴阳术数，精研《易经》。道光七年，以治经闻名的龚自珍在京与国瑚论《易经》，国瑚阐述“乾初九不易世”一节，自珍叹为闻所未闻。道光十七年，朝鲜使臣慕名求见国瑚，说：“君所为《定香亭赋》，东国人皆传诵。”又请讲解《易经》，求取诗文经注手迹，欣然而去。同年三月，国瑚告老返乡，迁居瑞安。八月赴处州，游遂昌。九月感嗽疾，病故。著有《太鹤山人诗集》13卷、《太鹤山人文集》4卷、《周易指》45卷、《周易葬说》1卷、《地理元文注》4册。",[25,26,38,7,27,58,11462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa83d48aef5fb66a8324f10a1dd1b201.jpg",[],{"id":27176,"slug":27177,"title":27178,"dynasty":145,"author":1602,"museum":73,"description":27178,"tags":27179,"thumbUrl":27180,"material":920,"size":921,"collection":61,"collections":27181,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241448,"tao-yuan-ming-shi-ce-he-chao-241448","陶渊明诗册",[38,25,209,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f31537e22ca2855a241bfa11ce09880.jpg",[],{"id":27183,"slug":27184,"title":27185,"dynasty":145,"author":27186,"museum":73,"description":27187,"tags":27188,"thumbUrl":27189,"material":920,"size":921,"collection":61,"collections":27190,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241430,"xu-yuan-wen-shou-zha-juan-xu-qian-xue-241430","徐元文手札卷","徐乾学","康熙九年（1670）进士。同年任《明史》编辑部主任，同年任内阁学士，后任武士礼部、佐藤御史、尚书尚书。但因党争被反对党弹劾，同年回国。除了参与《明史》、《大成改天》、《大成一成》的编纂外，他还着有《圣园书》（第36卷）和《读命通书》（第120卷）等书籍。",[23,25,38,26,7,27,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f38e9d42a63d56ccc26f50c2b8e125.jpg",[],{"id":27192,"slug":27193,"title":27194,"dynasty":145,"author":27195,"museum":73,"description":27196,"tags":27197,"thumbUrl":27198,"material":920,"size":921,"collection":61,"collections":27199,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241428,"zhi-shou-shan-zha-juan-yi-bing-shou-241428","致手山札卷","伊秉绶","伊秉绶（1754-1815），字组似，号墨卿，晚号默庵，清代书法家，福建汀州府宁化县人，故人又称“伊汀州”。乾隆四十四年举人，乾隆五十四年进士，师戴联奎，历任刑部主事，后擢员外郎。\n嘉庆四年任惠州知府，因与其直属长官、两广总督吉庆发生争执，被谪戍军台，昭雪后又升为扬州知府，1802年（嘉庆七年），伊秉绶54岁时，因父病死，去官奉棺回乡，扬州数万市民洒泪送别。62岁病逝后，扬州人为仰慕其遗德，在当地“三贤祠”（祀欧阳修、苏轼、王士祯三人之祠）中并祀伊秉绶，改称“四贤祠”。在任期间，以“廉吏善政”著称。\n伊秉绶喜绘画、治印，亦有诗集传世。工书，尤精篆隶，精秀古媚。其书超绝古格，使清季书法，放一异彩。隶书尤放纵飘逸，自成高古博大气象，与邓石如并称大家。",[23,145,38,26,223,7,2031,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cec330bef7a75d234429e4d9d9492.jpg",[],{"id":27201,"slug":27202,"title":27203,"dyn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，新法家代表人物。\n先后毕业于福建船政学堂和英国皇家海军学院，曾担任过京师大学堂译局总办、上海复旦公学校长、安庆高等师范学堂校长，清朝学部名辞馆总编辑。在李鸿章创办的北洋水师学堂任教期间，培养了中国近代第一批海军人才，并翻译了《天演论》、创办了《国闻报》，系统地介绍西方民主和科学，宣传维新变法思想，将西方的社会学、政治学、政治经济学、哲学和自然科学介绍到中国。出版有《严复全集》。",[57,7,76,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca719fc6b14033f02b89939b57da484.jpg",[],{"id":27285,"slug":27286,"title":27287,"dynasty":18,"author":27288,"museum":73,"description":27289,"tags":27290,"thumbUrl":27291,"material":196,"size":61,"collection":62,"collections":27292,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241232,"shan-zhong-shi-er-yong-juan-jiang-ming-feng-241232","山中十二咏卷","蒋明凤","蒋明凤（？～1644后）",[38,7,26,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1848d09a0cfe62e928d5723536608224.jpg",[62],{"id":27294,"slug":27295,"title":27296,"dynasty":18,"author":27297,"museum":73,"description":27298,"tags":27299,"thumbUrl":27300,"material":196,"size":61,"collection":62,"collections":27301,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241216,"xing-qi-jue-shi-zhou-wei-xue-cheng-241216","行七绝诗轴","魏学诚","此作笔墨圆融温润，点画暗含法度却不露圭角，带着明人行书独有的舒散意趣。行笔舒展灵动，将妍雅与朴拙揉合一处，笔势随诗意流转起伏。\n\n诗句疏放悠然，布局也随文气自然铺陈，字距错落松弛，章法疏朗透气。笔墨浓淡枯湿富于变化，后半段枯笔运用恰到好处，把诗里不问世事、呼酒尽欢的林下心境，尽数诉诸笔端。\n\n落款小字与正文协调呼应，朱红钤印沉稳内敛，和墨色相映成趣。整幅诗书相生，尽显文人风雅萧散的襟怀，是典型的明代文人行书佳构。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4aa45982d7f214fd11b3c8ebdf58e60.jpg",[62],{"id":27303,"slug":27304,"title":27305,"dynasty":18,"author":27306,"museum":73,"description":27307,"tags":27308,"thumbUrl":27309,"material":196,"size":61,"collection":62,"collections":27310,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},241183,"shou-cheng-jia-shu-zha-juan-hou-dong-ceng-241183","守城家书札卷","侯峒曾","侯峒曾（1591年10月1日—1645年8月24日），字豫瞻，号广成，南直隶松江府上海县（今上海市闵行区）人，祖籍苏州府嘉定县（今上海市嘉定区）， 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曾廷澐之子。",[145,24,25,7,78,120,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb323c021d758be0a8e4ff2c28d097b.jpg",[62],{"id":27897,"slug":27898,"title":27899,"dynasty":18,"author":27900,"museum":73,"description":27901,"tags":27902,"thumbUrl":27903,"material":61,"size":61,"collection":61,"collections":27904,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239913,"wu-ding-shi-ye-wang-xing-shu-239913","武定诗页","王行书","此作用笔爽利苍劲，中锋侧锋兼施，牵丝映带间尽显灵动意趣，字字顾盼相生，左右两页行气贯通，章法疏朗通透。结体欹正错落，时而开张大气，时而收敛紧致，既有晋人行书的飘逸韵致，又兼具明人尚态的舒展洒脱。墨色富于浓淡枯湿变化，随书写时的情绪起伏自然过渡，将文思与笔墨风骨相融。通篇带着疏放洒脱的书卷气息，文人意趣浸透于每一处笔墨细节，尽显书写者的随性襟怀，抒情性与笔墨表现力相互成就，是极具个性风采的行书佳作。",[3018,38,7,1244,27,28,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58757ca143145908c0c9c9d7b65a8cd1.jpg",[],{"id":27906,"slug":27907,"title":27908,"dynasty":18,"author":3161,"museum":73,"description":11270,"tags":27909,"thumbUrl":27910,"material":61,"size":61,"collection":62,"collections":27911,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239911,"shi-wai-zhuan-juan-zhu-yun-ming-239911","诗外传卷",[23,38,7,1014,26,27,58,1140,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1ff69ebcbaddc6016658cab5a6faf6.jpg",[62],{"id":27913,"slug":27914,"title":23712,"dynasty":18,"author":20123,"museum":73,"description":20124,"tags":27915,"thumbUrl":27916,"material":61,"size":61,"collection":61,"collections":27917,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239901,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239901",[38,25,24,26,7,27,58,2226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98ea6b414bb2eefd6807d89390d76fd.jpg",[],{"id":27919,"slug":27920,"title":27921,"dynasty":18,"author":27922,"museum":73,"description":27923,"tags":27924,"thumbUrl":27925,"material":61,"size":61,"collection":62,"collections":27926,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239888,"huang-fu-jiao-yi-juan-huang-cong-239888","黄福教仪卷","黄琮","黄琮为宋朝官吏，字子方，莆田人（生卒不详）,唐校书郎黄璞的后裔，宋哲宗元符三年（1100年）中进士，授长溪县县尉，县尉主管社会治安。每次派员下乡巡查，他总是预先约束手下官吏，不得任意骚扰百姓。遇有重大巡查急务，他从不向地方百姓派款派夫，因此深得百姓敬重。",[23,25,26,38,58,530,7,1735],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3672b4f04e0e545551c38a03ad75d415.jpg",[62],{"id":27928,"slug":27929,"title":27930,"dynasty":18,"author":27931,"museum":73,"description":27932,"tags":27933,"thumbUrl":27934,"material":61,"size":61,"collection":62,"collections":27935,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239886,"tao-yan-shu-zha-tao-yan-239886","陶琰书扎","陶琰","陶琰（1449-1532），字廷信，号逸庵，山西承宣布政使司平阳府绛州（今山西省运城市新绛县）陶家巷人。正统十四年（1449）出生，少时聪敏好学，过目成诵。成化七年（1471）乡荐第一。弘治时任固原兵备副使，执法不挠。正德初迁刑部右侍郎，忤刘瑾下狱。瑾败复官，正德七年(1512)以右都御史巡视浙江，修筑萧山至会稽防洪堤，先后三次总督漕运。嘉靖元年(1522)以功任工部尚书，寻改南京兵部。次年致仕，卒于家。",[38,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eec4bb951e334ccc0ff1ec3c5b4692a.jpg",[62],{"id":27937,"slug":27938,"title":27939,"dynasty":145,"author":16549,"museum":73,"description":21900,"tags":27940,"thumbUrl":27941,"material":920,"size":921,"collection":61,"collections":27942,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239877,"ti-shi-bi-shi-shan-mian-huang-yi-239877","题石壁诗扇面",[2579,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb035bd8d9327345be78d41760e08b4dc.jpg",[],{"id":27944,"slug":27945,"title":27946,"dynasty":145,"author":220,"museum":73,"description":27947,"tags":27948,"thumbUrl":27950,"material":61,"size":61,"collection":62,"collections":27951,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239854,"xing-shi-ti-cang-lang-ting-shi-zhi-gong-fu-ye-yi-ming-239854","□兴诗题沧浪亭诗致功甫页","这是两开信札行书，笔意舒展灵动，点画圆融温润，提转间自然流露帖学的秀雅意趣。左侧尺牍字形稍作内敛，章法匀整平和，墨色带着细微浓淡变化，尽映书写时松弛悠然的心境。右侧信札布局更见错落之美，字距疏密相映，行笔间漫溢萧散随性的文人意态。\n\n尺素寸笺间记录着友人间酬唱往还的日常，笔墨藏着文人群雅聚题咏的雅致气息，以书寄情，把平淡日常晕染成文心诗意，是清代民间文人书法的典型写照，兼具实用功用与审美价值。",[38,7,58,209,145,27949],"诗题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ebcbe332fbdb2f33d4296d79d60ba4.jpg",[62],{"id":27953,"slug":27954,"title":27955,"dynasty":145,"author":27956,"museum":73,"description":27957,"tags":27958,"thumbUrl":27959,"material":61,"size":61,"collection":62,"collections":27960,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239845,"zhi-gong-fu-zha-ye-li-fu-ping-239845","致功甫札页","李黼平","李黼平（1770年——1833年2月10日） 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熊飛本為監生，加捐縣丞。曾任同安知縣。道光六年（1826年）接替李慎彝擔任台灣府台灣縣知縣。",[24,25,209,27,28,119,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ca4797c1637f84567e6e8c651d740e5.jpg",[],{"id":28100,"slug":28101,"title":2604,"dynasty":145,"author":3179,"museum":73,"description":17202,"tags":28102,"thumbUrl":28103,"material":920,"size":921,"collection":61,"collections":28104,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239334,"shan-shui-ce-cha-shi-biao-239334",[24,25,209,27,7,37,29,178,34,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae5a08a2d083b3292167be42c12f9fb.jpg",[],{"id":28106,"slug":28107,"title":15550,"dynasty":145,"author":220,"museum":73,"description":28108,"tags":28109,"thumbUrl":28110,"material":61,"size":61,"collection":61,"collections":28111,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239282,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239282","以指代笔绘就秋菊，墨色晕染层次分明，浓淡间尽显花瓣舒展之姿，挺劲花枝带着清峭冷逸的秋意，寥寥数笔勾勒出菊花傲霜独立的风骨。旁侧题书笔力苍劲，诗文与绘景相和，将文人慕恋清逸的襟怀寄寓于菊。整幅书画相融，虚实相生，简淡疏朗间意境悠长，尽显写意花鸟的文人意趣，把深秋寒卉的孤高清雅尽数铺陈于尺幅之中。",[24,25,209,27,210,121,13840,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbfead6f604a88b656fbc6b231773246.jpg",[],{"id":28113,"slug":28114,"title":14341,"dynasty":145,"author":13266,"museum":73,"description":14342,"tags":28115,"thumbUrl":28116,"material":920,"size":921,"collection":61,"collections":28117,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239182,"hua-hui-ren-wu-ce-chen-zi-239182",[24,25,209,7,28,77,210,82,266,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9c25053cd5fa5df0b7d2950354a5e3.jpg",[],{"id":28119,"slug":28120,"title":14341,"dynasty":145,"author":13266,"museum":73,"description":14342,"tags":28121,"thumbUrl":28122,"material":920,"size":921,"collection":61,"collections":28123,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239180,"hua-hui-ren-wu-ce-chen-zi-239180",[25,209,28,77,7,58,119,20705,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e6cd09c7f2c4ee537f546cf0bad9c3.jpg",[],{"id":28125,"slug":28126,"title":8350,"dynasty":145,"author":18049,"museum":73,"description":28127,"tags":28128,"thumbUrl":28129,"material":61,"size":61,"collection":61,"collections":28130,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},239163,"shan-shui-hua-hui-ce-chen-heng-ke-239163","此作为典型文人小品，右侧以淡墨晕染寿桃，轮廓简约却饱满莹润，浓墨勾枝，拙朴苍劲，寥寥数笔便将桃实的清灵生机尽显。左侧行书题词，笔力隽逸舒展，墨色浓淡变化自然，词句与画意相映成趣。\n\n整体构图疏朗空灵，以少胜多，水墨写意间尽显简澹天真的意趣。将花果的清雅与词作幽寂的意境相合，不着艳色，却在干湿浓淡的笔墨变化中，晕染出东方文人淡泊恬然的审美意韵，余味悠长。",[24,25,209,27,7,38,119,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2753ad7037255f25709ae0a5269cbf.jpg",[],{"id":28132,"slug":28133,"title":10544,"dynasty":145,"author":7544,"museum":73,"description":28134,"tags":28135,"thumbUrl":28136,"material":61,"size":61,"collection":61,"collections":28137,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238766,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238766","此作截取庭院一角，素衫文士静立林间，半幅围墙圈住一方幽隅，虬枝错叶疏密有致。数只飞鸟或低空掠影，或振翼远去，为静谧小苑添了灵动生气。\n\n画面以淡墨轻勾慢染，笔致秀润简淡，不着浓艳色彩，将林泉闲居的清寂氛围感烘托尽致。左侧题诗与画境相映成趣，诗画合璧，把文人寄情丘山、澹泊自适的林下襟怀融于尺幅之中，萧散淡远，余韵悠然，尽显文人诗意画的雅致格调。",[24,25,209,27,28,79,34,82,177,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7508f2bcc3d467137ff4bbc1b416305e.jpg",[],{"id":28139,"slug":28140,"title":10544,"dynasty":145,"author":7544,"museum":73,"description":28141,"tags":28142,"thumbUrl":28143,"material":61,"size":61,"collection":61,"collections":28144,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238761,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238761","此作用淡墨晕染出悠远空濛的云山，山峦以简淡皴笔轻勾慢写，烟岚隐现，恍若世外丘壑。近景苍木环合，山居掩映林麓间，屋中幽人凭窗凝思，尽显林下幽居的闲静意趣。\n题诗朱印错落排布，诗画交融互衬，笔墨清润秀雅，褪去浓艳重彩，以萧散简淡的笔致，勾勒出文人理想中的幽栖之境，将沉静淡远的林下雅趣融在山水方寸间，尽显雅致平和的文人画韵致。",[24,25,209,27,37,7,58,29,377,36,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c7a4b6f5671e6fabc2aa9220bfad07.jpg",[],{"id":28146,"slug":28147,"title":7543,"dynasty":145,"author":7544,"museum":73,"description":28148,"tags":28149,"thumbUrl":28150,"material":61,"size":61,"collection":61,"collections":28151,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238725,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238725","此作以水墨晕开春日水居雅景，柳丝垂绦依依拂岸，二人临石闲坐，抬目遥览远汀。柔波萦回水畔，凫雁群游浅沙，远空禽鸟振翅列队掠过长天，将春日清和生机铺展卷上。淡墨晕出空濛水色，细笔勾出柳丝轻飏之态，人物意态萧散恬然，尽显闲居悠游之趣。题诗与绘景相生相融，笔墨简淡却意韵悠长，将春日水滨的澹澹清宁晕染尽致，把闲淡诗意铺展为眼前画卷。",[24,27,78,209,7,58,79,82,1271,31,177,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf25d862aa5bf02732ec2c8fdc99f40.jpg",[],{"id":28153,"slug":28154,"title":7543,"dynasty":145,"author":7544,"museum":73,"description":28155,"tags":28156,"thumbUrl":28157,"material":61,"size":61,"collection":61,"collections":28158,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238722,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238722","平坡之上三人意态悠然，静立者垂眸凝思，二人或蹲坐、或俯身拨弄草木，共赏林中山趣。周遭虬曲嘉木与错落山石相映，以清润水墨晕染出苍润质感，林木萧疏清逸，笔墨写意简练。诗画相映成趣，将文人情思寄寓林泉丘壑，把诗意具象为林下幽景，勾勒出超然尘外的雅集之境，传递出静穆淡远的隐逸意趣，尽显文人画诗画合璧的悠然格调。",[24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，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[2579,29,38,28,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288f035cf5315ab1f42605fb7e0105b2.jpg",[],{"id":28176,"slug":28177,"title":10244,"dynasty":145,"author":220,"museum":73,"description":28178,"tags":28179,"thumbUrl":28180,"material":61,"size":61,"collection":61,"collections":28181,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238548,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-yi-ming-238548","此作为书画合璧，右幅设色场景界画工稳，古松虬曲苍劲，楼阁层叠雅致。人马仪仗井然有序，人物神态恭谨端肃，细腻还原汉高帝祀圣的庄重场面，古雅色调烘托出肃穆的礼制氛围。左幅行书笔致舒展俊朗，墨韵流畅雅致，文辞追述高祖祀孔典故，图文相得益彰。整体工致清雅，将史事铺陈与翰墨意韵相融，既有纪实叙事的厚重感，又兼具文雅悠远的书卷气，尽显尊儒重道的内核与古典雅致的审美意趣。",[3383,25,209,7,28,77,79,150,34,693,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167245fff3a5d53827667e8b6588bb3.jpg",[],{"id":28183,"slug":28184,"title":28185,"dynasty":145,"author":4100,"museum":73,"description":4743,"tags":28186,"thumbUrl":28187,"material":61,"size":61,"collection":61,"collections":28188,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238522,"shan-shui-xiao-ce-qian-wei-cheng-238522","山水小册",[24,25,27,209,37,7,38,29,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3c3897e70a66417d3cc912dde3cc4f.jpg",[],{"id":28190,"slug":28191,"title":9252,"dynasty":145,"author":9253,"museum":73,"description":28192,"tags":28193,"thumbUrl":28194,"material":61,"size":61,"collection":61,"collections":28195,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238253,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238253","此作绘就秋晓清景，晓月初悬远空，薄雾柔化山棱，永定河如素练蜿蜒铺展，石桥静卧河面，桥畔村舍错落、林树疏朗。晨霭晕开天地边界，将清寂秋意漫染四方。浅淡赭石晕染坡岸，轻墨勾绘林木屋舍，不作繁冗皴擦，却将平远之境铺陈得悠远空寂。\n\n右侧题诗笔意秀雅舒展，诗画相映，把客行早发的羁旅清怀融进烟水晓色中。整体设色明净清润，淡远间藏着细腻意趣，将朝暾初露时的薄寒意韵，与题诗中的早行情致合为一体，尽显文人画雅致清寂的韵致。",[24,25,209,28,1594,7,58,29,30,31,36,34,237,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353f4e0eef594e7649adc21cf5ff24c.jpg",[],{"id":28197,"slug":28198,"title":9252,"dynasty":145,"author":9253,"museum":73,"description":28199,"tags":28200,"thumbUrl":28201,"material":61,"size":61,"collection":61,"collections":28202,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238251,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238251","淡墨晕开远近层叠的山峦，烟岚轻笼林麓村居，田埂蜿蜒铺展在浅淡春色里，平远山水的空濛写意尽显无余。简淡清润的笔墨，未作繁复皴擦，却将郊野朝暮的闲逸野趣勾勒入微，仿佛晨雾漫过松梢，裹着浅淡烟火漫溢故城荒台。\n\n右侧题诗与画作相映成趣，诗画合璧间，把此间的幽远清旷藏在留白之中，观之便好似身临其间，静赏烟霭浮沉，漫品古意澹泊的悠然况味。",[24,25,209,27,7,37,28,29,376,34,36,239,1290,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c560aa45220e40da3bd29e71e8298a.jpg",[],{"id":28204,"slug":28205,"title":19079,"dynasty":145,"author":19080,"museum":73,"description":28206,"tags":28207,"thumbUrl":28208,"material":61,"size":61,"collection":61,"collections":28209,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238223,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238223","此作以诗画合璧尽显文人意趣。右侧绘就溪岸春景，上部烟柳疏朗映带茅亭，下部浅滩错落，杂树生姿，留白铺就空濛淡远的水乡氛围，笔墨清润秀雅，以干淡之墨轻皴慢染，晕染出江南春日温婉闲静的悠悠况味。\n\n左侧题咏诗文与画面呼应，笔意萧散俊朗，文墨相生，将春日溪亭的幽寂闲情尽数铺陈，带着含蓄古雅的书卷气，把文人寄情山水的雅趣融于尺幅之间，静谧悠然，余韵悠长。",[24,25,209,27,29,7,58,37,377,4775,33,3407,15667,237,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb760a72235c209c2457aa958655b8ec5.jpg",[],{"id":28211,"slug":28212,"title":2604,"dynasty":145,"author":19088,"museum":73,"description":28213,"tags":28214,"thumbUrl":28215,"material":61,"size":61,"collection":61,"collections":28216,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238158,"shan-shui-ce-yun-xi-238158","此作用笔简淡秀雅，枯笔勾勒山石轮廓，略施皴擦便尽显崖壁嶙峋之态。一江春水空濛辽远，远山晕染出清旷虚灵之境，近岸竹树错落、茅舍隐于石畔，将幽居野逸的林下意趣藏于尺幅间。\n\n搭配行书题诗，笔墨俊逸萧散，诗画呼应，把林泉高致的雅趣融于纸间。整体简而不空、淡而有味，尽显静穆淡远的文人山水意韵，藏着文人寄情丘壑、静享林幽的雅怀。",[24,25,209,27,29,35,34,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ad12cf9ac6d401f476427c2bee4913.jpg",[],{"id":28218,"slug":28219,"title":2604,"dynasty":145,"author":19088,"museum":73,"description":28220,"tags":28221,"thumbUrl":28222,"material":61,"size":61,"collection":61,"collections":28223,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238155,"shan-shui-ce-yun-xi-238155","此作用淡墨勾勒尖削峰林，以留白晕染雪意，群峰莹白清寒，如被素雪裹覆。山坳板桥茅舍隐现，枯木疏枝错落溪岸，寒水无波，处处漫着冬日的清寂萧疏。\n\n笔墨极简却意韵悠长，以劲爽线条勾勒山石肌理，淡墨皴擦写出雪中山峦的苍润质感，不着粉白却尽显冬山素净。搭配左侧题诗，诗书相映，将林下幽居的出世雅趣融在尺幅之间，借清冷冬景寄寓超脱孤高的文人襟怀，淡远空寂中藏着静谧禅意。",[24,25,209,27,37,38,7,58,29,30,31,150,35,774,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ee8007cd6cbc51f1607ef9f15f0123.jpg",[],{"id":28225,"slug":28226,"title":2604,"dynasty":145,"author":19088,"museum":73,"description":28227,"tags":28228,"thumbUrl":28229,"material":61,"size":61,"collection":61,"collections":28230,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":46},238150,"shan-shui-ce-yun-xi-238150","此作半幅绘汀洲水村，丘峦错落逶迤，洲渚萦回水畔，村舍隐于茂林浅岸间。笔墨秀润清和，淡赭轻墨晕染出空濛烟水，浅淡设色衬出草木温润生机，尽显静穆悠远的山居雅韵。\n另一侧题以行书诗句，笔致俊逸舒展，诗画呼应，将林泉幽意与文人情思相融。整幅疏密相宜，抛却繁复刻绘，以极简之笔勾勒出萧散清旷的山水意境，藏着文人寄情丘壑的澹然襟怀。",[24,25,209,28,29,7,58,37,30,31,34,35,150,237,2275,444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ca3093fbc2bc3b2ed6fa2df9b8fbf5.jpg",[],{"id":28232,"slu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明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。 顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[23,38,7,1014,27,26,58,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23c692a81cc7fc65faefffc7480ede.jpg",[],{"id":30404,"slug":30405,"title":30406,"dynasty":18,"author":4854,"museum":73,"description":30407,"tags":30408,"thumbUrl":30409,"material":196,"size":61,"collection":62,"collections":30410,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240996,"zhi-si-weng-zha-juan-chen-ji-ru-240996","致思翁札卷","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 [1] 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。\n著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,7,38,26,27,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa112671d44d0758619edfd1200d9f2ed.jpg",[62],{"id":30412,"slug":30413,"title":30414,"dynasty":145,"author":30415,"museum":73,"description":30416,"tags":30417,"thumbUrl":30418,"material":920,"size":921,"collection":61,"collections":30419,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240982,"wu-yun-ti-lan-ting-tuo-tie-ce-wu-yun-240982","吴云题兰亭拓帖册","吴云","字少甫，号平斋、榆庭、愉庭、抱罍子，晚号退楼主人。嘉庆十六年（1811）生，光绪九年（1883）去世。浙江归安（今湖州）人，一作安徽歙县人。斋堂号有两罍轩、二百兰亭斋、敦罍斋、金石寿世之居。\n道光诸生，屡试皆困，援例任常熟通判，历知宝山、镇江。咸丰间总理江北大营营务及筹军饷，擢苏州知府。\n收藏鼎彝、碑帖、名画、古印、宋元书籍甚富，精鉴别与考据。工书法，得力於颜真卿、何绍基。偏爱王羲之《兰亭序》，藏拓本达二百数，颜其斋曰「二百兰亭斋」。亦能画，偶作山水、花鸟，随意点染，脱尽恒蹊。\n工刻印，泽古功深，用刀、布局均得古趣。\n同治时寓居上海，与海上名家周闲等合作，鬻艺为生。",[38,7,680,58,209,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ed042e98c91c0dfc5f7b10ff1a9ad5.jpg",[],{"id":30421,"slug":30422,"title":21664,"dynasty":145,"author":30423,"museum":73,"description":30424,"tags":30425,"thumbUrl":30426,"material":920,"size":921,"collection":61,"collections":30427,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240979,"qi-jue-zhou-huang-jun-240979","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb44ed08c90662bba71d78f884c3ff382.jpg",[],{"id":30429,"slug":30430,"title":30431,"dynasty":145,"author":30432,"museum":73,"description":30433,"tags":30434,"thumbUrl":30435,"material":920,"size":921,"collection":61,"collections":30436,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240968,"fang-shi-shu-xing-zhu-zhi-ci-zhou-fang-shi-shu-240968","方士庻行竹枝词轴","方士庶","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。",[38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33da60a4a1df9741ed38f452cfec6a0.jpg",[],{"id":30438,"slug":30439,"title":20192,"dynasty":145,"author":27501,"museum":73,"description":27502,"tags":30440,"thumbUrl":30441,"material":920,"size":921,"collection":61,"collections":30442,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240967,"shi-shan-mian-zhu-ang-zhi-240967",[145,2579,25,38,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eabfc1282b4b1356d8ef2f32326f1c1.jpg",[],{"id":30444,"slug":30445,"title":30446,"dynasty":18,"author":30447,"museum":73,"description":30448,"tags":30449,"thumbUrl":30450,"material":920,"size":921,"collection":61,"collections":30451,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240948,"qi-lv-shi-shan-mian-gu-da-shen-240948","七律诗扇面","顾大申","顾大申，生卒年不详，约清圣祖康熙初前后在世。清代水利专家。本名镛，字震雉，号见山，又号堪斋，华亭（今上海市松江区）人。顺治九年进士，授工部主事。康熙九年，疏言浚三江故道解吴越水患。大申精水利，工诗文，善画山水，画作上追董、巨；下承黄、王，为松江派之后劲。",[2579,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b26670daf1255a965ad26823b31e0a.jpg",[],{"id":30453,"slug":30454,"title":30446,"dynasty":18,"author":24038,"museum":73,"description":30455,"tags":30456,"thumbUrl":30457,"material":920,"size":921,"collection":61,"collections":30458,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240940,"qi-lv-shi-shan-mian-lu-shi-dao-240940","陆师道（1510年10月10日－1573年），字子传，号元洲，改号五湖，南直隶苏州府长洲（今江苏苏州）人。嘉靖十七年（1538 年）进士，历官工部主事、礼部主事、尚宝司少卿。师事文征明，工小楷、古篆，著有《五湖集》和《左史子汉镌》等传于世。",[56,24,25,2579,7,58,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872cd3ef937b1b9f28d6861958e7675c.jpg",[],{"id":30460,"slug":30461,"title":30462,"dynasty":145,"author":30463,"museum":53,"description":30464,"tags":30465,"thumbUrl":30466,"material":61,"size":61,"collection":62,"collections":30467,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240912,"xing-huang-ting-jing-ji-shi-he-ce-cheng-yao-tian-240912","行黄庭经及诗合册","程瑶田","程瑶田（1725～1814）清代著名学者、徽派朴学代表人物之一。字易田，一字易畴，号让堂，安徽歙县人。与戴震同师事事江永。精通训诂，提倡“用实物以整理史料”，开启了传统史料学同博物考古相结合的研究路径。在数学、天文、地理、生物、农业种植、水利、兵器、农器、文字、音韵等领域，程皆有深入研究，堪称一代通儒。著有《通艺录》《释虫小记》《释草小记》等。\n程瑶田“自少迄老，笃志著述。其学长于涵咏经文，得其真解，不屑依傍传注”（支伟成《清代朴学大师列传》）。其著述长于旁搜曲证，多方详考，考证名物和典章制度大都精当，富有认真不苟、求真求是、敢于挑战权威的批判精神。所撰《禹贡三江考》，谓《禹贡》扬州的“三江”，实只一江，以订正郦道元《水经注》；《仪礼丧服文足徽记》，规正郑玄注《礼》的失误。其学术非止名物一端，在文字训诂方面造诣亦深，研究“转语”多有发明，对于纠正传注的误失，亦有很多创获。于天文历算方面“既明其义，又穷其用，而神明变化，举措咸宜”（阮元《俦人传》）。\n其治学受其师江永学宗汉宋的影响，虽重考证而不废义理。在研究成果中体现义理、考据、辞章三者并重的特点，成为徽派朴学大师中非常有代表性的一位。《清史稿》载：“东原戴氏自谓尚逊其精密。”\n工于诗，刘大櫆称其诗“五言得力渊明，最为高妙；七言从古乐府 求；律诗取迳宋人；绝句逼真江西宗派，尤近涪翁矣”。史震林评其诗“清高绝俗。云林树、米家山，可比仙”。",[7,209,38,1735],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c52d758f85af206b65d99fbfd50375.jpg",[62],{"id":30469,"slug":30470,"title":18713,"dynasty":18,"author":30471,"museum":73,"description":30472,"tags":30473,"thumbUrl":30474,"material":920,"size":921,"collection":61,"collections":30475,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240909,"lu-yu-zhou-huang-chun-yao-240909","黄淳耀","黄淳耀（1605年7月13日——1645年8月24日） ，初名金耀，字蕴生，一字松厓，号陶庵，又号水镜居士，汉族，南直隶苏州府嘉定（今属上海）人。曾组“直言社”，崇祯十六年（1643）成进士，归益研经籍。弘光元年（1645），嘉定人抗清起义，与侯峒曾被推为首领。城破后，与弟黄渊耀自缢于馆舍。能诗文，有《陶庵集》。",[56,24,25,57,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913123aa94bc0052beb1572bacba72dd.jpg",[],{"id":30477,"slug":30478,"title":30479,"dynasty":145,"author":19344,"museum":73,"description":19345,"tags":30480,"thumbUrl":30481,"material":920,"size":921,"collection":61,"collections":30482,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240908,"ping-hua-wan-shan-fei-dan-xu-240908","评画纨扇",[24,25,2579,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9579445ad91c5b4a22a1fca7159c50e.jpg",[],{"id":30484,"slug":30485,"title":30486,"dynasty":18,"author":30487,"museum":73,"description":30488,"tags":30489,"thumbUrl":30490,"material":920,"size":921,"collection":61,"collections":30491,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240899,"tang-shi-juan-xu-chu-240899","唐诗卷","许初","字复初，一字元复，以县学生序贡授教职，擢南京太仆寺主簿，迁汉阳府通判。工篆，庄整而秀；兼善楷、草，法二王。亦工大书，不轻与人书。又能刻印。",[38,26,7,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba3ff23478a615bdf5fa505bc2df12.jpg",[],{"id":30493,"slug":30494,"title":10904,"dynasty":145,"author":30495,"museum":73,"description":30496,"tags":30497,"thumbUrl":30500,"material":920,"size":921,"collection":61,"collections":30501,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240888,"shi-zhou-tang-ying-240888","唐英","唐英（1682-1756年），清代陶瓷艺术家，能文善画，兼书法篆刻且又精通制瓷。沈阳人，隶属汉军正白旗，雍正六年（1728年）奉命任景德镇御窑厂协理官，乾隆元年（1736年）起先后管理淮安关及九江关并兼理窑务，直至二十一年（其中十五、十六两年一度中止）。",[25,38,57,7,58,3977,376,1950,241,30498,113,1068,12471,5927,30499],"雲","鐘磬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd423859685711d326acb32c007d9b8.jpg",[],{"id":30503,"slug":30504,"title":30505,"dynasty":145,"author":27563,"museum":73,"description":27564,"tags":30506,"thumbUrl":30508,"material":920,"size":921,"collection":61,"collections":30509,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240884,"zhou-liang-gong-qi-lv-shi-zhou-zhou-liang-gong-240884","周亮工七律诗轴",[38,7,57,58,121,376,693,2006,30507,11346,12471],"帷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ae57aec5d72a56413c9d534f985754.jpg",[],{"id":30511,"slug":30512,"title":30513,"dynasty":18,"author":20339,"museum":73,"description":27494,"tags":30514,"thumbUrl":30515,"material":920,"size":921,"collection":61,"collections":30516,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240874,"chun-yuan-za-shi-juan-li-dong-yang-240874","春园杂诗卷",[25,38,26,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda31e4123682e0e4a9c860b4c4814178.jpg",[],{"id":30518,"slug":30519,"title":14247,"dynasty":18,"author":30520,"museum":73,"description":30521,"tags":30522,"thumbUrl":30523,"material":920,"size":921,"collection":61,"collections":30524,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240872,"shi-juan-li-meng-yang-240872","李梦阳","李梦阳（1473年1月5日—1530年1月28日），字献吉，号空同，汉族，祖籍河南扶沟，出生于庆阳府安化县（今甘肃省庆城县），后又还归故里，故《登科录》直书李梦阳为河南扶沟人。他善工书法，得颜真卿笔法，精于古文词。明代中期文学家，复古派前七子的领袖人物。提倡“文必秦汉，诗必盛唐”，强调复古，《自书诗》师法颜真卿，结体方整严谨，不拘泥规矩法度，学卷气浓厚。李梦阳所倡导的文坛“复古”运动盛行了一个世纪，后为袁宗道、袁宏道、袁中道三兄弟为代表的“公安派”所替代。",[38,7,26,27,402,1794,1885,82,32,29,33,81,1515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d8669501aa08cedc3e954ea4176b16.jpg",[],{"id":30526,"slug":30527,"title":14824,"dynasty":18,"author":23492,"museum":73,"description":30528,"tags":30529,"thumbUrl":30530,"material":920,"size":921,"collection":61,"collections":30531,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":66},240862,"wu-lv-zhou-shen-shi-xing-240862","申时行（1535年－1614年），字汝默，号瑶泉，晚号休休居士，南直隶苏州府长洲县（今属苏州）人 。明代大臣。嘉靖四十一年殿试第一名，获状元。历任翰林院修撰、礼部右侍郎、吏部右侍郎兼东阁大学士、首辅、太子太师、中极殿大学士。",[3018,38,7,57,58,1698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19dae1fc16696ee5c15f8c0f5fe8bb54.jpg",[],{"id":30533,"slug":30534,"title":30535,"dynasty":18,"author":18964,"museum":73,"description":30536,"tags":30537,"thumbUrl":30538,"material":920,"size":921,"collection":61,"collections":30539,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":66},240856,"da-yun-shan-ge-zhou-wang-fu-zhi-240856","大云山歌轴","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家”，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[24,25,57,7,38,27,29,495,17140,3977,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3f9202b5da64bf1a988fd6cd43d56d.jpg",[],{"id":30541,"slug":30542,"title":30543,"dynasty":18,"author":6600,"museum":73,"description":16841,"tags":30544,"thumbUrl":30545,"material":920,"size":921,"collection":61,"collections":30546,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":66},240853,"shao-ling-shi-si-shi-yun-zhou-xu-lin-240853","少陵诗四十韵轴",[38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f93c0a9d72957208bb4339d7b2ec753.jpg",[],{"id":30548,"slug":30549,"title":30550,"dynasty":145,"author":7124,"museum":73,"description":30551,"tags":30552,"thumbUrl":30556,"material":920,"size":921,"collection":61,"collections":30557,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240827,"gui-zhuang-qi-jue-shi-zhou-gui-zhuang-240827","归荘七绝诗轴","明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[38,7,57,58,27,621,116,4950,9970,30553,1444,30554,30555],"渔","映日","红霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8abaae6b532fe1956437f8ab88d579.jpg",[],{"id":30559,"slug":30560,"title":13741,"dynasty":145,"author":13742,"museum":73,"description":13743,"tags":30561,"thumbUrl":30562,"material":920,"size":921,"collection":61,"collections":30563,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240821,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240821",[7,38,58,25,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffd390c5b03044a761e2ed5a053b78f.jpg",[],{"id":30565,"slug":30566,"title":23253,"dynasty":145,"author":25041,"museum":73,"description":25042,"tags":30567,"thumbUrl":30568,"material":920,"size":921,"collection":61,"collections":30569,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240815,"lin-tie-zhou-jiang-ren-240815",[25,38,57,7,76,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff255cf82a8893ab52355bf25bba965e6.jpg",[],{"id":30571,"slug":30572,"title":30573,"dynasty":145,"author":30574,"museum":73,"description":27701,"tags":30575,"thumbUrl":30576,"material":920,"size":921,"collection":61,"collections":30577,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":66},240796,"zhang-ting-ji-qi-yan-lian-zhang-ting-ji-240796","张廷济七言联","张廷济",[38,2251,3321,7,27,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc66ac6105b8b6c83a4b8dc674cea09.jpg",[],{"id":30579,"slug":30580,"title":12116,"dynasty":145,"author":30581,"museum":73,"description":30582,"tags":30583,"thumbUrl":30584,"material":920,"size":921,"collection":62,"collections":30585,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":66},240734,"shu-zha-ce-zhang-bai-xi-240734","张百熙","张百熙（1847—1907年），字埜秋，一作冶秋，号潜斋，湖南长沙人。清末大臣，著名教育家。同治十三年（1874年）进士，授编修。光緖七年（1881年），督山东学政。十四年（1888年），典试四川。十五年，命直南书房。二十一年，迁侍读学士。二十三年，督广东学政，迁内阁学士。戊戌政变后，因荐举康有为获罪，革职留任。二十六年，任礼部侍郞，擢左都御史。后又历任工部、刑部、吏部、户部、邮传部尙书。并曾充管学大臣，主持京师大学堂，创医学及译学馆、实业馆，选派留学生出国深造。\n三十三年（1907年）卒，赠太子少保，谥文达。",[38,25,209,7,196,1698,145,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282f58591b0159d999ae574010910307.jpg",[62],{"id":30587,"slug":30588,"title":14247,"dynasty":145,"author":30589,"museum":73,"description":30590,"tags":30591,"thumbUrl":30592,"material":30593,"size":30594,"collection":62,"collections":30595,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240711,"shi-juan-wang-yong-nian-240711","王永年","此卷草书如长河奔涌，行气贯通连绵，字势跌宕奇崛，通篇顾盼生姿。行笔中锋侧锋互用，提按顿挫间笔力苍劲灵动，线条枯湿浓淡交织，时而细韧如游丝，时而厚重如坠石，尽显狂草肆意放逸之态。疏密开合排布精妙，牵丝映带一气呵成，将胸臆间疏狂意气化为纸上龙蛇。墨色燥润相生，虚实相映，尽显文人放旷疏野之姿，诗书意境与笔墨意趣相融尽显抒情草书的动人魅力。",[23,25,38,26,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b06d0de3ab7ed592f8222b994c09d.jpg","水墨绫本","27.5×197cm",[62],{"id":30597,"slug":30598,"title":14247,"dynasty":145,"author":17604,"museum":106,"description":30599,"tags":30600,"thumbUrl":30602,"material":11225,"size":30603,"collection":62,"collections":30604,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},240703,"shi-juan-cha-ji-zuo-240703","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 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把幽居寻游的隐逸心境缓缓铺展，是兼蓄笔墨法度与文人情思的佳构。",[23,24,25,209,7,38,27,2207,25728,377,17140,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0a8f524714afbea1ce5e6b2234491c.jpg",[],{"id":32471,"slug":32472,"title":32473,"dynasty":145,"author":6468,"museum":73,"description":32474,"tags":32475,"thumbUrl":32476,"material":32477,"size":32478,"collection":61,"collections":32479,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":638},224411,"shu-hua-shi-liu-kai-12-wang-shi-min-224411","书画十六开-12","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,25,209,7,27,1794,402,114,418,709,11454,177,212,27808,884,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84aedfa28e75d33e856affa0fda90d1.jpg","墨色绢本","48x32",[],{"id":32481,"slug":32482,"title":32483,"dynasty":145,"author":12401,"museum":73,"description":24418,"tags":32484,"thumbUrl":32485,"material":920,"size":921,"collection":61,"collections":32486,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":66},224148,"shou-zha-er-shi-si-tong-san-yu-yue-224148","手札二十四通三",[23,25,38,26,7,58,28,150,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7056e696fa256fbf0163cb6639b594c3.jpg",[],{"id":32488,"slug":32489,"title":32490,"dynasty":145,"author":12401,"museum":73,"description":32491,"tags":32492,"thumbUrl":32493,"material":61,"size":61,"collection":463,"collections":32494,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":66},224147,"shou-zha-er-shi-si-tong-yi-yu-yue-224147","手札二十四通一","曲园与小坡二十四札书信，以言学术、诗词者居多，时间大约在光绪八年（1882-1887）之间。信札之书体，除一通为隶书外，俱为行楷书。曲园早年科举应试，字体工整圆润，有馆阁之风。后习篆、隶，书风为之一变，隶形篆意，古朴厚重，不加雕饰，犹如经生治史。老年所书楷联，则参以碑意，大气重拙。然此册之书法，除古朴、重拙之外，更有气质闲雅，潇洒风流，宋人之意跃然纸上。此或翰札特有之形态，抑或特有之魅力也。",[23,38,7,1495,196,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f3a811d9b191bb274a9a859c3249078.jpg",[463],{"id":32496,"slug":32497,"title":32498,"dynasty":18,"author":220,"museum":53,"description":32499,"tags":32500,"thumbUrl":32501,"material":61,"size":32502,"collection":61,"collections":32503,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},223488,"wu-kuan-chi-du-di-wu-ze-yi-ming-223488","无款尺牍第五则","这幅行草尺牍笔墨简劲爽利，牵丝映带间尽显流美韵致。起笔收锋自在随心，点画粗细错落，或轻捷如惊鸿掠水，或沉凝似坠石留痕，章法疏朗匀停，字间行气连贯通脱，毫无壅塞之感。\n\n通篇气息萧散淡远，虽为日常尺牍手札，却自含文人风雅意趣，不见刻意雕琢之态，将尺素往来的随性自然融于笔墨间，藏着旧时士人酬酢的从容襟怀。笔墨间的简淡松弛，正是帖学一脉的寻常风流，随手挥洒间，尽显文人间的清雅况味。",[24,25,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51706483f4f9c83f2360681af7fa68.jpg","31.1x34.2.",[],{"id":32505,"slug":32506,"title":32507,"dynasty":145,"author":32508,"museum":106,"description":32509,"tags":32510,"thumbUrl":32513,"material":61,"size":32514,"collection":61,"collections":32515,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},223185,"geng-zhi-tu-ce-jiao-bing-zhen-223185","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[56,24,25,77,28,1594,38,7,79,32511,34,1271,7466,3857,10342,32512,31],"农舍","稻垛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06fbf0d04d79780f5ae8f6162575ed6.jpg","34.7cm×27.7cm",[],{"id":32517,"slug":32518,"title":32519,"dynasty":145,"author":1572,"museum":1685,"description":3895,"tags":32520,"thumbUrl":32521,"material":7258,"size":32522,"collection":61,"collections":32523,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},222637,"shan-shui-shu-fa-ce-liu-kai-3-gao-feng-han-222637","山水书法册六开-3",[23,24,25,209,28,7,58,81,117,177,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726010e2ae0381698f9dcb7ef1bf9740.jpg","31.8x24.8厘米",[],{"id":32525,"slug":32526,"title":32527,"dynasty":145,"author":1572,"museum":1685,"description":3895,"tags":32528,"thumbUrl":32529,"material":7258,"size":32522,"collection":61,"collections":32530,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},222636,"shan-shui-shu-fa-ce-liu-kai-2-gao-feng-han-222636","山水书法册六开-2",[23,24,25,209,28,27,38,7,29,33,117,34,35,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d133bad1288c0f92c3dd591e2a742fc.jpg",[],{"id":32532,"slug":32533,"title":14115,"dynasty":18,"author":29516,"museum":53,"description":32534,"tags":32535,"thumbUrl":32536,"material":196,"size":29093,"collection":61,"collections":32537,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},222410,"shu-shan-ye-wen-cong-jian-222410","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。\n山水画似文徵明、文嘉，能传家法，笔墨简淡，略带荒率之致，但较少变化。用水墨居多，思致清或，布局安详，境界空灵，气韵浑厚。兼学王蒙、倪瓒，喜用枯笔皴斫，作方从义笔法，脱尽时人蹊径。书法李邕，最得其神。",[23,3018,2579,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d64f0c9f7beefda418341964eb025f.jpg",[],{"id":32539,"slug":32540,"title":14115,"dynasty":18,"author":15363,"museum":53,"description":32541,"tags":32542,"thumbUrl":32543,"material":196,"size":32544,"collection":61,"collections":32545,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":46},222387,"shu-shan-ye-wen-peng-222387","文彭（1498年—1573年），字寿承，号三桥，别号渔阳子、三桥居士、国子先生，南直隶苏州府长洲（今江苏苏州）人。文徵明长子。\n以明经廷试第一，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。\n文彭为明代画家文徵明之子，文彭少承家学，初学钟（繇）王（羲之），后效怀素，自成一家。晚年全力倾于孙过庭，篆、隶最见精粹，曾书《古诗十九首卷》，并有嘉靖三十年（1551）《题仇十洲摹本清明上河图记》。尤精篆刻，风格工稳，与何震并称“文何”。原多作牙章，亲自落墨，请南京李石英镌刻。后得灯光石，乃多刻石章，为后世所宗，称为文人流派印章之“开山鼻祖”。传世画作有隆庆六年（1572）作《兰竹图》卷，图录于《晋唐五代宋元明清书画集》《兰花图》轴现藏故宫博物院。嘉靖四十一年（1562）作《墨竹图》轴，自题：“我爱江南小满天，繁花销尽竹娟娟。北窗自展南华读，时有凉风到枕边。文彭写寄方壶先生，壬戌端阳日。”现藏广东省博物馆。亦能诗，著有《博士诗集》。\n初学钟、王，后效怀素，晚年则全学过庭，而尤精于篆、隶。索书者接踵不断。其父以书名当代，然有时不乐书，虽权贵人不敢强。彭手不停挥，求者无不当意。工刻印，后人奉为金科玉律。所作多牙章，往往自落墨而命金陵人李文甫镌之。李善雕箑边，其所镌花卉，皆玲珑有致，彭以印属之，辄能不失笔意，故其牙章半出李手。彭后在南监时得灯光石，乃不复治牙，于是冻石之名，始艳博于世。写墨竹，老笔纵横，直入文同之室。山水苍郁似吴镇。亦善写花果。卒年七十六。\n文彭对诗文、书画、篆刻均有造诣。对六书有深入的研究，和何震主张篆刻必须精通六书，才能入印。他所用牙章，亲自篆写，请南京李石英镌刻。据说在南京时，偶然得到民间雕琢首饰用的灯光石，用来制作印材，篆刻家可以亲自镌刻，既方便又能得到满意的效果。从此冻石之名才被世知，冻石也被篆刻家所广泛采用，给明、清流派篆刻的发展提供了条件。\n继承父亲藏书和书画，有藏书处曰“清白堂”，收藏宋元古籍和当代书画作品。藏书印有“渔阳子”“清白堂”。弟文嘉，亦喜藏书，藏书楼有“归来堂”，藏书印有“五峰山人”“元珠室”“五峰樵客”等。文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。子文元发，字子悱，官卫辉同治，喜藏书，其藏书印有“二楚精神”等；孙文震孟，字文起，号湖南，亦有藏书印曰“石经堂”“两日平章”等。\n文彭草书闲散不失章法，错落有致，神采风骨，兼其父文徵明和孙过庭之长，甚见功力。善写墨竹，老笔纵横，直入文同之室。亦工山水，所作类父风，花果亦佳。精书法，与何震（字主臣、长卿，号雪渔）并称“文何”。文彭书《岳阳楼记》，取法北宋书法家黄庭坚。传世作品有辽宁博物馆藏的《小楷赤壁赋》，故宫博物院藏的《行草五律诗》轴，上海博物馆藏有《隶书有美堂记》等19幅隶、行、草书作品，文彭亦擅绘画，作品不多。\n文彭篆刻秀丽典雅，风格妍媚清新。他的朱文章法疏朗，在宋、元圆朱文的基础上加以变化，篆法略呈方，显得质朴浑厚。他另一种朱文，纯用方折结构，可能是受汉印的影响。由于他刻印讲究六书，篆文不涉怪诞，又能向秦、汉玺印汲取营养，因而他的印章在当时确使印坛面目为之一新。冻石便于镌刻，印章的边款也可以由作者自己镌刻。他的边款是先在石面上书写行楷书，再依字迹用双刀刻成。在文彭、何震的倡导和影响下，一时篆刻之风大起，文人、书法家和画家都参加篆刻创作，文彭成为文人篆刻流派的先导。苏州一带学习文彭的有陈万言、李流芳、归昌世、顾听等，后人称他们为吴门派。\n文彭在印学上的地位要比在书法上高得多,他是公认的明清流派篆刻的开山祖师。真正有史料记载第一个用青田石治印的是明代国子监博士文彭，他在南京任职时，有一天偶遇一位卖青田石的老汉，买下了四筐石头，回家锯开一看，灯光下奇石晶莹剔透，成了一方方晶莹夺目的图章，其中质优者，就是半透明的“灯光冻石”，稍差者，也是当时的老坑矿石。从此他治印不再用象牙而用青田石了。于是冻石之名始见于世，名传四方。在印章流派艺术的历史上，文彭堪称鼻祖。从此，文人学士便逐渐改用石章，自篆自刻。由于石章的广为使用，对篆刻艺术的发展起了很大的催化作用。明代著名篆刻家朱简描述：“自三桥下，无不从斯、籀，字字秦汉，猗欤盛哉！”可见文人流派篆刻艺术发展史上文彭的重要地位。文彭以后，印学大发展，四百年来，影响遍及海内外。文彭是明代江南四大才子之一文征明的长子，家学渊博，才华出众，诗文、书画、篆刻均有造诣，被后人尊为我国篆刻艺术的开山鼻祖。文彭用青田石治印，结束了我国2000多年的铜印时代，进入了以文士为主体、个性为特征、名家辈出的石章时代。由于文彭的影响,加上石质印章本身具有的优越性,以石治印便在文人中很快地流行开来。\n文彭用冻石刻印，并首创印章边款，改变了元代以来板滞纤弱的弊病，恢复了汉印传统，他和何震提出篆刻应以六书为准则，并努力创作实践，取得了空前的成就，开创了文人自篆自刻并与书画三足鼎立的局面，文人掀起了学习篆刻的热潮。有很多人专学文彭，后人称“吴门派”；有些人则学何震，后人称“徽派”或“皖派”。\n他的篆刻具有开朝华而启夕秀的承上启下的意义，作品以安逸典雅、沉静清丽为基调，白文刻意追溯汉法，朱文则取宋元遗风而自出新意。文彭还创立了明代的第一个篆刻流派--吴门派，或称三桥派，该派的健将主要有陈万言、李流芳、归昌世等。他的篆刻作品，在当时没有编过印谱，原作存世极少，而张灏在万历年间把所藏印编为《承清馆印谱》，收有文彭刻的白文印十九方，但这些印章原石，至今未曾发现。作为书画地位均很高的两京国博，文彭对篆刻的提倡与参与，对于初创阶段的篆刻艺术，其意义是巨大的。　文彭对于篆刻艺术的杰出贡献是毋庸置疑的。他开倡明清篆刻的风气，曾直接和间接地影响了以后篆刻流派的形成和发展，功莫大焉。然而过去我们对其人其艺却所知甚少，这不能不说是明清篆刻史研究中的一桩缺憾。笔者通过研究，对过去对文彭的一些错误认识，进行了必要的澄清，对其在篆刻史上的地位和贡献，进行了较为接近真实的评价。",[23,2579,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F595e1f71fa271dc59d1f36164528c840.jpg","17.4x50.3",[],{"id":32547,"slug":32548,"title":32549,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":32550,"thumbUrl":32551,"material":407,"size":18495,"collection":61,"collections":32552,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":18497},222294,"nan-hua-zhen-jing-47-wang-chong-222294","南华真经47",[23,38,7,1735,25,1698,209,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbaf68c5717fca5d91d771a11d40d95.jpg",[],{"id":32554,"slug":32555,"title":32556,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":32557,"thumbUrl":32558,"material":407,"size":18495,"collection":61,"collections":32559,"showCount":511,"zanCount":11,"manualWeight":11,"mainColor":18497},222249,"nan-hua-zhen-jing-2-wang-chong-222249","南华真经2",[23,38,1735,7,27,25,1140,2031],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5616abf90a145e38681e7d5d5fad9204.jpg",[],{"id":32561,"slug":32562,"title":32563,"dynasty":18,"author":5999,"museum":53,"description":32564,"tags":32565,"thumbUrl":32566,"material":407,"size":32567,"collection":61,"collections":32568,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著有《惜抱轩诗文集》，编有《古文辞类纂》等。",[57,38,7,27,58,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320a2387cd59ea933c02a4bf076b9b9f.jpg",[],{"id":34196,"slug":34197,"title":34198,"dynasty":145,"author":29897,"museum":73,"description":34199,"tags":34200,"thumbUrl":34201,"material":920,"size":921,"collection":61,"collections":34202,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},241240,"zhuang-bao-shu-qi-jue-zhou-zhuang-bao-241240","庄宝书七绝轴","此作为行书七绝，笔墨苍劲灵动，提按顿挫间节律婉转，起收锋棱可见筋骨力道。牵丝映带让行气贯通流转，分行布白疏朗匀停，虚实相生。\n正文大字雄逸舒展，落款小字古秀内敛，主次对比分明。枯润浓淡的墨色变化，搭配古旧绢本的岁月晕染，将诗文里幽寂的林泉禅意融于笔底，把山僧伴月、闲话忆溪的澹远雅趣尽数铺陈，尽显清代行书尚意且不失法度的文人意趣。",[38,57,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8b3ce4d939f954cf7b77dea9c5970.jpg",[],{"id":34204,"slug":34205,"title":34206,"dynasty":145,"author":34207,"museum":73,"description":34208,"tags":34209,"thumbUrl":34210,"material":920,"size":921,"collection":61,"collections":34211,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},241237,"qiu-ri-yuan-ju-shi-zhou-zhao-qian-241237","秋日园居诗轴","赵谦","此作用笔圆润灵动，以行书间杂草意，牵丝映带自然流畅，笔画粗细映带相生，行气连贯悠长。书写自作园居诗作，笔墨间尽显秋日幽居的萧散闲逸，将诗书意韵融于笔墨章法之中。通篇布局舒朗匀停，字势顾盼有情，带着秀雅温润的帖学风神，把幽居青山、静对晚色的澹然心境化作笔底意趣，尽显文人修身寄兴的清雅襟怀。",[24,25,57,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de9595c93327a3a15e69744ceed14dc.jpg",[],{"id":34213,"slug":34214,"title":18881,"dynasty":145,"author":34215,"museum":73,"description":34216,"tags":34217,"thumbUrl":34218,"material":920,"size":921,"collection":61,"collections":34219,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},241229,"wu-lv-shi-zhou-li-shan-shu-241229","李善树","此作用笔纵逸灵动，行书间杂草意，起笔藏露相济，行笔提按顿挫富于变化，线条粗细枯润相映成趣。枯笔苍劲见筋骨，湿墨浑厚蕴丰腴，墨色层次分明，尽显笔法意趣。\n\n章法疏朗错落，字间牵丝映带自然，行气贯通流畅。笔墨疾缓呼应诗文情志，将书韵与诗意相融，放逸中不失沉稳洒脱。每一字随势生发，通篇浑然一体，尽显文人书法抒情达意的雅致，将笔法之美、章法之妙与文学意趣相合，尽显古典书法抒情与艺术之美。",[145,57,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350a03ac60c6e25c04f5a206802e1774.jpg",[],{"id":34221,"slug":34222,"title":34223,"dynasty":145,"author":20907,"museum":73,"description":34224,"tags":34225,"thumbUrl":34226,"material":196,"size":61,"collection":62,"collections":34227,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},241210,"han-shi-xiao-zhou-wang-shi-hong-241210","韩诗小轴","汪士鋐（1658年—1723年），字文升，号退谷，又号秋泉居士，长洲（今江苏苏州）人。清代书法家、藏书家。汪琬从子。\n汪士鋐（1658－1723），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，官中允。书法与姜西溟（宸英）称姜汪。得执笔法，书绝瘦硬颉颃张照，诸子莫及。曾题沈凡民印谱自谓初学停云馆麻姑仙坛、阴符经，友人讥为木板黄庭，因一变学赵（赵孟頫）得其弱，再变学褚（褚遂良）得其瘦。晚年尚慕篆、隶，时悬阳冰（李阳冰）颜家庙碑额于壁间，观玩摹拟而岁月迟暮，精进无几。其书能大而不能小，然有奇势，纵横自放，而分间布白，无分寸失。名公卿碑版多出其手。著瘗鹤铭考、秋泉居士集、全秦艺文志。卒年六十六。《书林纪事、履园丛话、昭代尺牍小传、论书帖》\n翁方纲诗有“楷法同时汪与何”，自注“汪谓退谷中允”，“何乃何焯也”。（复初斋诗集卷12‧院之东厅，康熙乙未秋长洲何义门学士书联云「仪凤祥麟游集盛，金书玉字职司勤。」字画遒劲，方纲摹而重锓之，记以四诗）",[25,38,57,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbff9120af23d3728916b1c74330b304.jpg",[62],{"id":34229,"slug":34230,"title":20221,"dynasty":145,"author":9149,"museum":73,"description":23570,"tags":34231,"thumbUrl":34232,"material":920,"size":921,"collection":61,"collections":34233,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},241195,"wu-lv-shi-shan-mian-da-chong-guang-241195",[56,24,25,2579,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5eb24edfd7e25be849ad92064052e24.jpg",[],{"id":34235,"slug":34236,"title":30446,"dynasty":18,"author":21973,"museum":73,"description":27099,"tags":34237,"thumbUrl":34238,"material":920,"size":921,"collection":61,"collections":34239,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},241193,"qi-lv-shi-shan-mian-song-cao-241193",[38,2579,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7958df6cac865a64d2f3f9787858ac98.jpg",[],{"id":34241,"slug":34242,"title":34243,"dynasty":18,"author":34244,"museum":73,"description":34245,"tags":34246,"thumbUrl":34247,"material":920,"size":921,"collection":61,"collections":34248,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},241187,"zhi-yao-xian-wen-zha-zuo-guang-dou-241187","致姚现闻札","左光斗","左光斗（1575年10月12日—1625年8月30日），字遗直，一字拱之、共之，号浮丘，又号苍屿。安庆府桐城县（今安徽省枞阳县横埠镇）人。明末东林党人，水利专家，“东林六君子”之一。\n左光斗自小勤奋好学。其于万历三十五年（1607年）进士及第，授中书舍人。万历四十七年（1619年），被举任为浙江道监察御史。 之后历官左佥都御史、直隶屯田事、大理寺左寺丞。天启五年三月十九日（1625年4月25日），因对抗权宦魏忠贤而下狱。七月二十六日（8月30日）在狱中被折磨而死，享年五十一岁。南明弘光时平反，谥为忠毅。\n左光斗为官清正、磊落刚直，被誉为“铁面御史”，为挽救明王朝做出了许多努力，出任屯田监察御史期间，在天津实施“三因十四议”的屯田方案。 还主持了西北水利空间范围内的京东、畿辅的水利屯田实践，取得明显成效。 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（1560－1595）乌程（今浙江吴兴）人。万历八年（1580）进士，工吟咏，善行、楷，绘事超然有简远之趣。卒年三十六。字号：伯念、清芝、采芝仙子，浙江湖州人。擅长行、楷书及绘画。",[3018,2579,38,7,353,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7171fe17d8430f6048fe9ac74e4b01.jpg",[],{"id":34442,"slug":34443,"title":18740,"dynasty":145,"author":34444,"museum":73,"description":34445,"tags":34446,"thumbUrl":34447,"material":920,"size":921,"collection":61,"collections":34448,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240925,"shi-he-juan-wang-qi-sun-240925","王芑孙","王芑孙（1755—1817），清代文学家、赋论家。字念丰，一字沤波，号惕甫，一号铁夫、云房，又号楞伽山人。长洲（今江苏苏州）人。乾隆五十三年（1788）召试举人，任国子监典籍、咸安宫教习、华亭县教谕。后辞官归，任扬州乐仪书院山长。学问宏博，文章名震一时，肆力于诗，最工五古，被称为“吴中尊宿”。工书逼刘墉，不期而合。吴门自明季以来，书家用笔，皆以清秀俊逸见长，至芑孙，始以遒厚浑古矫之，遂为三百年所未有。著有《碑版广例》、《楞伽山房集》、《渊雅堂集》。",[23,25,26,38,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb636181f8cdc43e399fbf45c8fe84290.jpg",[],{"id":34450,"slug":34451,"title":14325,"dynasty":18,"author":34452,"museum":73,"description":34453,"tags":34454,"thumbUrl":34455,"material":920,"size":921,"collection":61,"collections":34456,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240922,"zi-shu-shi-juan-zhao-nan-xing-240922","赵南星","赵南星（1550年4月19日—1628年1月23日），字梦白，号侪鹤，别号清都散客，北直隶真定府高邑（今河北省高邑县）人。明代后期政治家、文学家，东林党的首领之一。\n明神宗万历二年（1574年），赵南星登进士第。历任汝宁推官、户部主事、吏部考功郎中、吏部文选员外郎等职。万历二十一年（1593年），与孙鑨负责癸巳京察，触动在朝者利益，被罢黜。此后在家闲居长达二十余年。明熹宗天启三年（1623年），赵南星被重新启用，任吏部尚书。为政期间，革新吏治，整肃朝纲，风气为之一新。但随着东林党人与阉党斗争的失败，赵南星被革去官职，削籍戍代州。明思宗即位之初，即清查魏忠贤案，为其平反。天启七年十二月（1628年1月），赵南星去世，享年七十八岁。追赠太子太保，谥号“忠毅”，世称赵忠毅公。\n赵南星对明代后期政治改革提出了一些富有见地的思想主张，并勇敢地付诸实践，在当时取得明显的成效，对清明政治起了很好的作用。赵南星在文学上亦造诣颇深，作品涉及诗词，散曲等，题材种类之多为明代作家之少有。有《芳茹园乐府》等作传世。",[23,3018,25,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e194be605d3cee0186e81fb351cd5b.jpg",[],{"id":34458,"slug":34459,"title":34460,"dynasty":18,"author":34461,"museum":73,"description":34462,"tags":34463,"thumbUrl":34464,"material":920,"size":921,"collection":61,"collections":34465,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240915,"fang-tai-nan-tuo-an-bei-ji-juan-yang-ru-cheng-240915","方台难陀菴碑记卷","杨汝成","杨汝成（？－？），字载宁，号元玉，南直隶松江府华亭县灶籍。",[38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6474eb6d9cdd26949460a1661d62a8f0.jpg",[],{"id":34467,"slug":34468,"title":14824,"dynasty":145,"author":234,"museum":73,"description":16388,"tags":34469,"thumbUrl":34470,"material":920,"size":921,"collection":61,"collections":34471,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240913,"wu-lv-zhou-cheng-zheng-kui-240913",[38,57,7,1014,27,58,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5f3184806d8dc7411f81b683c97183.jpg",[],{"id":34473,"slug":34474,"title":34475,"dynasty":145,"author":34476,"museum":73,"description":34477,"tags":34478,"thumbUrl":34479,"material":920,"size":921,"collection":61,"collections":34480,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240906,"liu-lin-qi-jue-er-shou-zhou-tang-bin-240906","柳林七绝二首轴","汤斌","汤斌（1627年—1687年），字孔伯，号荆岘，晚号潜庵。河南睢州（今河南睢县）人，清朝政治家、理学家暨书法家，官至工部尚书，卒谥文正。汤斌一生清正廉明，是实践朱学理论的倡导者，所到之处体恤民艰，弊绝风清，政绩斐然，被尊为“理学名臣”。",[24,25,57,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5de1cf7ddefe1ee893a03a06ae3e17fe.jpg",[],{"id":34482,"slug":34483,"title":34484,"dynasty":145,"author":33891,"museum":73,"description":33892,"tags":34485,"thumbUrl":34486,"material":920,"size":921,"collection":61,"collections":34487,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240904,"lu-yu-wan-shan-chen-bao-chen-240904","录语纨扇",[25,2579,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab23046161a3cf8fd0cf35ee4d8a275.jpg",[],{"id":34489,"slug":34490,"title":34491,"dynasty":145,"author":34492,"museum":73,"description":34493,"tags":34494,"thumbUrl":34495,"material":920,"size":921,"collection":61,"collections":34496,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240892,"zi-shu-shi-tuan-shan-mian-sun-yi-jun-240892","自书诗团扇面","孙义钧","这两幅团扇面纸面虽有残损，却晕开独属于旧时光的厚重质感。笔法清隽秀雅，点画间顾盼有情，行笔舒展灵动，是兼具馆阁法度与文人意趣的小行书。诗作与笔墨相映成趣，字里行间尽显文人雅致，落笔既有端稳谨严的章法，又藏着随性舒展的闲情。残损纸面非但没有折损其美感，反而为这件小品添了几分古旧温柔的书卷气，将旧时文人笔下的风雅意态尽数铺展在这一方团扇之上，尽显手写诗文里的沉静文心。",[2579,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11124306a925117e5445adf48e35a74e.jpg",[],{"id":34498,"slug":34499,"title":34500,"dynasty":18,"author":13169,"museum":73,"description":13170,"tags":34501,"thumbUrl":34502,"material":920,"size":921,"collection":61,"collections":34503,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240883,"za-shu-shi-ce-wu-kuan-240883","杂书诗册",[25,209,7,38,353,3018,9124,11254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b7f882622f12b0a331a79d29ef1c3c.jpg",[],{"id":34505,"slug":34506,"title":34507,"dynasty":18,"author":34508,"museum":73,"description":34509,"tags":34510,"thumbUrl":34511,"material":920,"size":921,"collection":61,"collections":34512,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240876,"wan-qing-fu-ce-xing-dong-240876","晚晴赋册","邢侗"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字石生，号贞庵，又号昆林，直隶柏乡（今邢台市柏乡县）人，清初大臣。顺治三年进士，选庶吉士。四年，授工科给事中、左都御史、太子太保、吏部尚书、保和殿大学士、太子太傅等职。著述有《兼济堂文集》传世。雍正间，祀贤良祠。乾隆元年，追谥文毅。\n魏裔介入阁办理国家大事时年仅40余岁，须发皆黑，历史上称之为“乌头宰相”。“清初相业，无出其右者” 。时人曾说，自宋朝欧阳修以后，他是唯一的先为谏臣、后升宰相、历职长久并“展其嘉漠”之人。后人评价他条陈时事、“敢言第一”，清初“诸大典”多依其“奏议所定”。嘉庆、道光年间，还有人将他同并称“二魏”的另一名臣魏象枢（山西蔚州人）作了比较，认为“其相业胜蔚州多矣”。\n康熙三年（1664年），任内秘书院大学士，进入内阁，参与国家大事的决策，因时年 48 岁而被人称“乌头宰相”。康熙二十五年（1686 年） 因牙疾病逝。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1c8e77a1a5ad1725c64ad86e749bb5.jpg",[],{"id":34680,"slug":34681,"title":34682,"dynasty":145,"author":34683,"museum":73,"description":34684,"tags":34685,"thumbUrl":34686,"material":920,"size":921,"collection":61,"collections":34687,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240659,"song-xiang-qi-jue-shi-zhou-song-xiang-240659","宋湘七绝诗轴","宋湘","宋湘（1756年－1826年），字焕襄，号芷湾，广东嘉应州（今梅州市）客家人，清代政治人物、诗人 。 生平[编辑]. 宋湘出身贫寒，受家庭影响勤奋读书，十七岁即中秀才。",[38,25,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3ef1ec7c29bbdc21c26466a82bd20bd.jpg",[],{"id":34689,"slug":34690,"title":34691,"dynasty":18,"author":881,"museum":73,"description":7358,"tags":34692,"thumbUrl":34693,"material":920,"size":921,"collection":61,"collections":34694,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240658,"shu-lin-song-si-jia-juan-dong-qi-chang-240658","书临宋四家卷",[23,38,26,76,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa2722079e4d42db68a6c7dd6afce4c.jpg",[],{"id":34696,"slug":34697,"title":34698,"dynasty":145,"author":34699,"museum":73,"description":34700,"tags":34701,"thumbUrl":34702,"material":920,"size":921,"collection":61,"collections":34703,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240656,"du-shu-lu-juan-qiao-chong-lie-240656","读书录卷","乔崇烈","乔崇烈，字无功，号学斋，江苏宝应人。康熙四十五年（1706）进士，因其长于文学及书法，优选为庶吉士。为人倜傥不羁，诗文对客，挥毫千言立就。",[23,25,38,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2092cfd0043df289aad8a8b879ba3759.jpg",[],{"id":34705,"slug":34706,"title":17095,"dynasty":145,"author":34707,"museum":73,"description":34708,"tags":34709,"thumbUrl":34711,"material":920,"size":921,"collection":61,"collections":34712,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240652,"qi-jue-shi-zhou-fang-heng-xian-240652","方亨咸","方亨咸（？－？），字吉偶、吉儒，號邵邨、邵村，南京安慶府桐城縣人，清朝政治人物、進士出身。方拱乾之子、方玄成之弟、方章鉞之兄。",[57,7,38,58,113,112,34710,5082,2207],"茅亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe469cdb18f78aa3901ab2155bee61b17.jpg",[],{"id":34714,"slug":34715,"title":10904,"dynasty":145,"author":34716,"museum":73,"description":34717,"tags":34718,"thumbUrl":34719,"material":196,"size":61,"collection":62,"collections":34720,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240645,"shi-zhou-feng-gui-fen-240645","冯桂芬","冯桂芬（1809～1874）晚清思想家、散文家。字林一，号景亭，吴县（今江苏苏州）人，曾师从林则徐。道光二十年进士，授编修，咸丰初在籍办团练，同治初，入李鸿章幕府。少工骈文，中年后肆力古文，尤重经世致用之学。在上海设广方言馆，培养西学人才。先后主讲金陵、上海、苏州诸书院。冯桂芬为改良主义之先驱人物，最早表达了洋务运动“中体西用”的指导思想。著有《校邠庐抗议》《说文解字段注考证》《显志堂诗文集》。\n冯桂芬之思想，上接林、魏，下启康、梁，其意义不单单只是“求西学、思变法”的一脉相承，而在于其率先提出了消解现代化过程中的中西、古今矛盾的方法，即“惟善是从”。冯桂芬“惟善是从”的思想根基于中国文化中的见贤思齐、刚健有为的传统，是从中国文化本土生长出来的、可以导致中国文化与时俱进的极其宝贵的思想，也是中国文化具有强大生命力的生动体现。\n冯桂芬在第二次鸦片战争时期，更加全面地论述了向西方学习问题。他继承了林则徐、魏源的传统，肯定了“师夷长技以制夷”的口号，主张学习西方的军事工业。不过，军事工业只是他学习的一个方面了。冯桂芬指出“此外，如算学、重学、视学、光学、化学，皆得格物致理。舆地书备山川厄塞风土物产，多中人所不及。”看到了“农具、织具百工所需，多用机轮，用力少而成功多，是可资以治生。”明确提出在农、工业生产中采用机器的主张。究竟夷之长技有哪些？冯桂芬的认识较魏源有较大的进步。他总结出中国五不如夷。除了认识到船坚炮利不如夷外，还认识到“人无弃才不如夷，地无遗利不如夷，君民不隔不如夷，名实必符不如夷”这里冯桂芬除了在技术方面外，还提出了“君民不隔”问题，这是很可贵的。冯桂芬提出了“自强攘夷”的主张，他把其主张概括为“以中国之名教伦常为原本，辅之以诸国富强之术。”\n冯桂芬非常强调中国自己掌握新式技术。他用了一段很精彩的话：“或曰，购船雇人何如？曰，不可。能造，能修，能用，则我之利器。不能造，不能修，不能用，则仍人之利器也。利器在人手，以之转漕，而一日可令我饥饿；以之运盐，而一日可令我食淡；以之涉江海，而一日可令我复溺┅┅借兵雇船皆暂也，非常也。目前固无隙，固可暂也。日后岂能必无隙，固不可常也。终以自造、自修、自用之为无弊也。”这里包含着发展中国家在向发达国家学习中必须自己掌握经济命脉，才能确保独立的思想。这个思想，对于今天第三世界诸国在同发达国家打交道有借鉴意义。\n冯桂芬对清朝的腐败统治有所不满，建议改革时政。他重视西方经世致用之学问，主张采用西学、制造洋器，他以中国的伦常名教为本，辅以外洋诸国富强新术。他的思想理论对洋务派有很大影响，同时也被资产阶级改良派奉为先导。\n冯桂芬去世以后，他的治国理论，如：裁减冗员、精制规则、停捐输、变科举、广取士、废武科、采用西学、制造洋器等等评议，全都被朝廷甄别、采纳，大部分得以施行。即使到光绪年间大搞变法，也是要变法而没能背离他的统治之道。",[25,38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a13835864f8df2e408b9095f7d26b52.jpg",[62],{"id":34722,"slug":34723,"title":25327,"dynasty":145,"author":34724,"museum":73,"description":34725,"tags":34726,"thumbUrl":34727,"material":920,"size":921,"collection":61,"collections":34728,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240628,"xing-kai-shi-zhou-guo-shang-guang-240628","郭尚光","郭尚光(1785-1832),字元闻,又字兰石,福建莆田人。嘉庆十四年(1809)进士,官大理寺卿。 他是福建莆田人。",[38,7,2031,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3448e10891b6addb616bf418345335a3.jpg",[],{"id":34730,"slug":34731,"title":10904,"dynasty":145,"author":34732,"museum":73,"description":34733,"tags":34734,"thumbUrl":34735,"material":196,"size":61,"collection":62,"collections":34736,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":66},240620,"shi-zhou-lu-ken-tang-240620","陆肯堂","陆肯堂（1650～1696）字邃深，（一作邃升）一字澹成，生于清世祖 康熙二十四年，（累官至 朝廷大著作，多出其手。圣祖尝赞其学问人品，屡加恩赐。肯堂颖悟嗜学，工诗古文辞，滂沛闳阔，如 着有三礼辨真、怀鸥舫诗存、陆氏人物考《清史列传》等，并行于世。\n陆肯堂是清代第十八位状元，字邃升，一字澹成，江苏 其先人世居浙江 陆延楫在乡里声名昭著，品行学识受人称道。他仁慈谨厚，好行善赈济贫困，乡人颂其为有德之人。又嗜书笃学，学识博洽，对天文地理靡不精通。陆肯堂的父亲陆兖，个性豪放，为人敏捷有智略，曾被 陆肯堂是家中独子，倍受爱抚，自幼受到良好教育，颖悟的天赋得到了开发，加之苦读嗜学，每日诵读典籍数千言，培养形成了耳目所接，一过不复忘的超人记忆能力。这一切为他顺利通过 在弱冠之年，陆肯堂补为博士弟子员，即有了秀才的身份。康熙十六年（1677）被授以 康熙二十年（1681）参加 三年后被授以颍上县学学官，未及到任，又参加了康熙二十四年（1685）乙丑科会试。是科会试，始创榜前皇帝令先以前10本试卷进呈候钦走，进呈卷由试官贴黄笺，上书拟议的第一到第十的名次。康熙皇帝 榜眼浙江海宁人状元及第，朝廷授官陆肯堂 此后，陆肯堂留京为官。康熙二十六年（1687）即充任丁卯科乡试江西正考官。他秉公办事，以才选人，所得尽知名人士，时人皆赞其公正严明。故返京城后，由于尽心尽职，康熙三十年（1691）起连续升迁，先是擢为 居京为官期间，陆肯堂在馆阁整理典籍，所撰著文字，颇受同僚推服。他撰著文章，专心尽力，倚马而就，滂沛闳阔，凌厉顿挫，文如泉涌，不可遏止。张伯行 以张伯行处理康熙五十年（1711）辛卯科江南乡试案看，他决非曲笔虚美之徒。丁卯江南乡试，正主考左必蕃，副主考赵晋，榜发解元刘捷，苏郡中试，者13人，外多中扬州盐商子弟，舆论喧哗，试子多认为是科考官受贿通关节。诸考生集于 又争作联语以讥嘲，左丘明两目无珠，赵子龙一身是胆。影射主考官和副考官。有人甚至以纸糊盖 地方官噶礼亦有受贿通关节之嫌。但他竟将考生首领下尔戬等拘押，欲以诬控谋反而治罪。朝廷命尚书逢江 苏巡抚 张伯行弹劾噶礼欺君抗旨，年 皇帝诏令解除二人职务，仍由张鹏翮审案。张鹏翮竟上奏说张伯行所弹劾之事全是子虚乌有，应革职治罪，皇帝 康熙帝认为张伯行天下清官第一，此案是非颠倒有疑，诏令 张伯行回江苏巡抚任上，噶礼革职，作弊之人分别治罪。张伯行正直高洁的品行表明，他对陆肯堂的颂言是可信的。\n陆肯堂不仅才学为人称颂，而且德行令人钦佩。孝顺父母，爱抚兄弟，赈济穷困，是封建社会的道德要求，也是中华民族的传统美德，至今为人称道。陆肯堂的品行堪称封建道德的典范。史载他天性孝友，笃于仁义。父早身亡，能尽心赡养祖父，抚养异母弟，爱护之情诚恳。对幼孤辅之成人，而对待姊妹尤为循礼关照，凡出嫁必准备一份丰厚的嫁妆。如婿贫穷，不能娶者，则扫馆迎之。宗室乡邻之人，生活匮乏，则时与馈遗赒贷。对他的仁慈爱人行为，他自以为理所当然。时人认为他的德望才学均不愧于状元之称。康熙皇帝褒嘉云：陆肯堂学问甚优，人品亦好。当陆肯堂因疾欲乞归乡里时，康熙皇帝关心地遣 倍受皇恩礼遇，陆肯堂遂又留京供职。康熙三十五年（1696）卒于宫。",[145,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef855ddf6b8e05b343525e4beb3b9c5.jpg",[62],{"id":34738,"slug":34739,"title":10904,"dynasty":18,"author":34740,"museum":73,"description":34741,"tags":34742,"thumbUrl":34743,"material":920,"size":921,"collection":61,"collections":34744,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240615,"shi-zhou-zhang-xin-240615","张忻","張忻，书法邢侗，画仿董其昌。著游夏草。著作有《清画家诗史、山左诗抄》。雍正《山东通志》卷二八之四《艺文志》收有他的《三芸馆诗草》及《归围日记》。",[3018,38,25,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b24691fe76f9969fbb7100eaf2d9587.jpg",[],{"id":34746,"slug":34747,"title":9668,"dynasty":18,"author":105,"museum":73,"description":8082,"tags":34748,"thumbUrl":34749,"material":920,"size":921,"collection":61,"collections":34750,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240584,"za-ji-shu-zha-he-ce-xu-wei-240584",[38,7,1014,209,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d322d44ebd2ef9616d66997d53b4c44.jpg",[],{"id":34752,"slug":34753,"title":9668,"dynasty":18,"author":105,"museum":73,"description":8082,"tags":34754,"thumbUrl":34755,"material":920,"size":921,"collection":61,"collections":34756,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240581,"za-ji-shu-zha-he-ce-xu-wei-240581",[25,209,38,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba1a9cc09552ba7d90ab9ecee5a080d.jpg",[],{"id":34758,"slug":34759,"title":34760,"dynasty":145,"author":34761,"museum":73,"description":34762,"tags":34763,"thumbUrl":34764,"material":920,"size":921,"collection":61,"collections":34765,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240563,"ti-hu-shan-cao-tang-tu-shi-ye-zhou-hou-yuan-240563","题湖山草堂图诗页","周厚辕","周厚辕（1746-1809），乾隆三十六年（1771）二甲九名进士。江西湖口人，字驭远，一字驾堂，号载轩。任翰林院编修，上书房行走，实录馆纂修官，历任浙江湖广京畿道监察御史，官至户科掌印给事中，巡天津漕务。诰授奉政医生。",[25,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e26d4142eaf1055118c4fb3e8508b4f.jpg",[],{"id":34767,"slug":34768,"title":34769,"dynasty":145,"author":13725,"museum":73,"description":23587,"tags":34770,"thumbUrl":34771,"material":920,"size":921,"collection":61,"collections":34772,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240562,"lu-shu-pu-zhou-bao-shi-chen-240562","录书谱轴",[38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac166f05fc2afe4b0c04ffa29664a5b6.jpg",[],{"id":34774,"slug":34775,"title":21664,"dynasty":145,"author":34776,"museum":73,"description":34777,"tags":34778,"thumbUrl":34779,"material":920,"size":921,"collection":61,"collections":34780,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240559,"qi-jue-zhou-zhang-ci-ning-240559","张赐宁","张赐宁（1743—1818）字坤一，号桂岩，清代画家，直隶沧州（今河北沧县）人。初游京师与罗聘齐名，为南通州判官。",[25,57,38,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c317bfd69fdd37c2a9bfa63ffa8138c.jpg",[],{"id":34782,"slug":34783,"title":17036,"dynasty":145,"author":31091,"museum":73,"description":31092,"tags":34784,"thumbUrl":34785,"material":920,"size":921,"collection":61,"collections":34786,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":638},240558,"lin-mi-tie-zhou-he-cai-240558",[38,7,76,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8aed991871f647712674eaefb8801e.jpg",[],{"id":34788,"slug":34789,"title":18713,"dynasty":145,"author":23729,"museum":73,"description":34790,"tags":34791,"thumbUrl":34792,"material":920,"size":921,"collection":61,"collections":34793,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240557,"lu-yu-zhou-cai-zhi-ding-240557","蔡之定（1745年－1830年），字麟昭，号生甫，晚号积谷山人，浙江德清人。\n乾隆十年十二月十二日生。乾隆五十八年（1793年）中进士，选庶吉士，嘉庆元年（1796年）散馆授编修，历任高宗实录馆总篡，升国子监司业、侍讲学士。嘉庆十九年（1814年），因建议以纸币代银，以“妄言乱政”降鸿胪寺少卿。晚年，主讲钟山、蕺山两书院。\n蔡之定擅书法，时与翁方纲、刘墉、铁保号称“四大书家”。道光十四年（1834年）九月初八卒。",[3383,38,57,7,1698,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb18ad7cff5cc3189618e102c36c63e.jpg",[],{"id":34795,"slug":34796,"title":21815,"dynasty":145,"author":34797,"museum":73,"description":34798,"tags":34799,"thumbUrl":34800,"material":920,"size":921,"collection":61,"collections":34801,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240547,"shi-ti-huang-shan-tu-ce-cao-zhen-ji-240547","曹贞吉","曹贞吉(1634～1698) 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游京师，客徐乾学家，为校勘宋元经解。后受李楠邀请，校补其父李清所著之《南北史合注》。由此张获得声名，“其后诸公贵人考订文史，必以相属” 张伯行抚吴，延纂《陆陇其为当路所排，云章上书徐乾学以救之。张伯行与噶礼互劾，奏谳久未决，云章覆上书李光地，责其别白是非。后吏部尚书汤右曾以孝廉方正荐于朝，赴京与修《尚书汇纂》，书成，议叙知县，不谒选。张伯行总督仓场，留主潞河书院，逾年，辞归。雍正四年，卒，年七十九。",[23,38,7,27,58,25,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda05ae3021e39ae85a805f687ed9818.jpg",[62],{"id":34894,"slug":34895,"title":20070,"dynasty":18,"author":4854,"museum":73,"description":4855,"tags":34896,"thumbUrl":34897,"material":920,"size":921,"collection":61,"collections":34898,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240506,"qi-lv-shi-zhou-chen-ji-ru-240506",[25,38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3f8e6a4113eafcafddb7314b6fef0.jpg",[],{"id":34900,"slug":34901,"title":10904,"dynasty":145,"author":34902,"museum":73,"description":34903,"tags":34904,"thumbUrl":34905,"material":920,"size":921,"collection":61,"collections":34906,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240491,"shi-zhou-zhang-zhi-dong-240491","张之洞","张之洞（1837年9月2日—1909年10月4日 ），字孝达，号香涛，时为总督，称“帅”，故时人皆呼之为“张香帅”。 晚清名臣、清代洋务派代表人物，祖籍直隶南皮，出生于贵州兴义府（今安龙县 ）。咸丰二年（1852年）十六岁中顺天府解元，同治二年（1863年）二十七岁中进士第三名探花，授翰林院编修，历任教习、侍读、侍讲、内阁学士、山西巡抚、两广总督、湖广总督、两江总督（多次署理，从未实授）、军机大臣等职，官至体仁阁大学士。\n张之洞早年是清流派首领，后成为洋务派的主要代表人物。教育方面，他创办了自强学堂（今武汉大学前身）、三江师范学堂（今南京大学前身）、湖北农务学堂（今华中农业大学前身） 、湖北武昌蒙养院、湖北工艺学堂、慈恩学堂（南皮县第一中学）、广雅书院等。 政治上主张“中学为体，西学为用”。工业上创办汉阳铁厂、大冶铁矿、湖北枪炮厂等。八国联军入侵时，大沽炮台失守，张之洞会同两江总督刘坤一与驻上海各国领事议订“东南互保”，并镇压维新派的唐才常、林圭、秦力山等自立军起义，光绪三十四年（1908年）11月，以顾命重臣晋太子太保，次年病卒，谥文襄。有《张文襄公全集》。张之洞与曾国藩、李鸿章、左宗棠并称“晚清中兴四大名臣”。",[25,57,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc474dafc7aaa4e38bc70efbef0db781c.jpg",[],{"id":34908,"slug":34909,"title":34910,"dynasty":145,"author":18714,"museum":73,"description":26278,"tags":34911,"thumbUrl":34912,"material":920,"size":921,"collection":61,"collections":34913,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240489,"han-zha-juan-qian-chen-qun-240489","翰札卷",[23,26,25,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181b7f9978c438cc6ade14bbde36dcd6.jpg",[],{"id":34915,"slug":34916,"title":34917,"dynasty":145,"author":220,"museum":73,"description":34918,"tags":34919,"thumbUrl":34925,"material":920,"size":921,"collection":61,"collections":34926,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240479,"fa-shi-shan-shi-zhou-yi-ming-240479","法式善诗轴","此作用笔灵动秀雅，提按顿挫富于变化，牵丝映带自然舒展，字字顾盼生姿，行气贯通流畅。以行书书自作诗篇，笔墨与诗意相融无间，将古寺林泉的清寂禅意诉诸笔端。\n\n章法排布疏密得宜，正文大字萧散简远，落款小字清雅端凝，二者相映成趣，尽显文人逸致。整幅作品意韵悠长，笔墨间漫溢出幽淡出尘的林下之风，尽显书写者的文人修养，是极具韵致的行书佳构。",[38,7,57,27,58,34920,27703,150,1068,177,34921,34922,6457,34923,13767,34924,2006],"红墙","江湖","钟磬","家","路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3491ad0f926bdea271c18da54c29375b.jpg",[],{"id":34928,"slug":34929,"title":34930,"dynasty":18,"author":18379,"museum":73,"description":34931,"tags":34932,"thumbUrl":34933,"material":920,"size":921,"collection":61,"collections":34934,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240477,"qi-jue-shan-mian-fan-yun-lin-240477","七绝扇面","范允临（1558～1641年）明代官员、书画家。字长倩，号长白，南直隶苏州府吴县（今属江苏）人。万历二十三年进士，官至福建布政司参议。晚居苏州天平山麓，建园林，乐声伎，称神仙中人。工书画，时与董其昌齐名，归筑室天平山，著有《轮廖馆集》。",[2579,38,7,58,82,1068,328,1949,4188,3978,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165ca376b94d4d7bed4053c45630beac.jpg",[],{"id":34936,"slug":34937,"title":25034,"dynasty":18,"author":34938,"museum":73,"description":34939,"tags":34940,"thumbUrl":34941,"material":920,"size":921,"collection":61,"collections":34942,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240472,"shou-zha-juan-li-ru-nan-240472","李汝楠","此卷手札兼具两种风貌，其一为梅花笺馆阁小楷，结字端秀匀停，笔致清劲工稳，一丝不苟，衬以淡梅暗纹，尽显明人尺牍的规整雅致。另一部分为行草信札，笔墨纵逸跌宕，信笔挥洒，点画间带着随性自然的文人松弛意绪，将日常交游的畅意融于笔端。\n整卷涵盖公私尺牍，既是往昔交游的鲜活凭证，也尽显书家兼工能放的书艺功底。古旧纸色晕染着岁月质感，墨色留存完好，尽显晚明尺牍的清雅韵致，是兼具文献与书法价值的文人手迹珍品。",[23,25,38,26,7,1014,27,58,620,646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa49eea5a63ffe88b3e0999ce96fdce.jpg",[],{"id":34944,"slug":34945,"title":10904,"dynasty":145,"author":34946,"museum":73,"description":34947,"tags":34948,"thumbUrl":34949,"material":920,"size":921,"collection":61,"collections":34950,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240470,"shi-zhou-ma-lv-tai-240470","马履泰","（1753—1829），字叔安、定民，号菽庵、秋药，浙江杭州府仁和县人。乾隆十八年生，道光九年卒。乾隆四十四年召试举人，五十二年成进士，选庶吉士，仕至太常寺卿。著有《秋药庵诗集》。",[24,25,57,7,27,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f408d70dcdbf564cffc16adc3a8f4b7.jpg",[],{"id":34952,"slug":34953,"title":34954,"dynasty":18,"author":17859,"museum":73,"description":34955,"tags":34956,"thumbUrl":34957,"material":920,"size":921,"collection":61,"collections":34958,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240460,"xing-shou-zha-ce-shao-bao-240460","行手札册","邵宝（1460-1527），明代官员、著名藏书家、学者。字国宝，号二泉，江苏无锡人。成化二十年（1484）进士，历为江西提学副使，官至南京礼部尚书，谥文庄。文典重和雅，诗清和淡薄。著有《简端二馀》、《慧山记》、《容春堂集》等。",[23,18,209,7,38,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0506e6a2ffc062e957366cb49d5138bc.jpg",[],{"id":34960,"slug":34961,"title":34962,"dynasty":18,"author":18379,"museum":73,"description":34931,"tags":34963,"thumbUrl":34964,"material":920,"size":921,"collection":61,"collections":34965,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240423,"kan-mei-shi-zhou-fan-yun-lin-240423","看梅诗轴",[18,7,38,57,58,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857ce0384b6e19e684bcc1ff6e641bf.jpg",[],{"id":34967,"slug":34968,"title":23253,"dynasty":18,"author":34969,"museum":73,"description":34970,"tags":34971,"thumbUrl":34972,"material":920,"size":921,"collection":61,"collections":34973,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240422,"lin-tie-zhou-liu-li-shun-240422","刘理顺","刘理顺（1582年－1644年），字复礼，号湛六，河南杞县人，明末状元。\n会试十次不第，崇祯七年（1634年）中一甲一名进士（状元），思宗还宫喜曰：“朕今日得一耆硕矣。”官至左中允。崇祯十七年（1644年）李自成入北京，刘理顺在墙壁上写下成仁取义，孔、孟所传。文信践之，吾何不然之句后，便酌酒自尽。其妻万氏、妾李氏及其子刘孝廉加上婢仆十八人，阖门缢死。南明弘光元年（1645年）赠詹事，追谥文正。清顺治十年（1653年）改谥文烈。",[38,25,24,57,76,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65e8c1716d8ff082cc6756958d6cb52.jpg",[],{"id":34975,"slug":34976,"title":34977,"dynasty":18,"author":34978,"museum":73,"description":34979,"tags":34980,"thumbUrl":34981,"material":920,"size":921,"collection":61,"collections":34982,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240418,"shi-liu-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... 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生平[编辑]. 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生平[编辑]. 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陈玉庭曾于万历二十年接替马贯任兴化府知府一职，万历二十六年由李大钦接任。",[18,38,7,58,27,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a2fa48e7d47fefde5ce7f9d5cef86.jpg",[],{"id":35311,"slug":35312,"title":35313,"dynasty":18,"author":220,"museum":73,"description":35314,"tags":35315,"thumbUrl":35317,"material":920,"size":921,"collection":61,"collections":35318,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240208,"zhang-ming-e-wu-lv-shi-ye-yi-ming-240208","张鸣鶚五律诗页","此作为行书五律诗页，笔致秀润灵动，提转顿挫皆合章法，笔画舒展雅致，尽显文人书法的清逸风神。字里行间排布错落从容，行气贯通如一，墨色匀净沉稳，古旧笺纸晕染出经年沉淀的古朴质感。诗作与笔墨相映成趣，落笔时的从容心境跃然纸上，既有法度谨严的帖学意韵，又不失随性舒展的书写意趣，尽显明代文人雅致的笔墨风流，是一件颇具赏玩价值的书法小品。",[7,38,620,646,58,35316],"书法小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f3f6535f8e7fb240a255291d6f204da.jpg",[],{"id":35320,"slug":35321,"title":30882,"dynasty":18,"author":35322,"museum":73,"description":35323,"tags":35324,"thumbUrl":35325,"material":920,"size":921,"collection":61,"collections":35326,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240207,"wu-lv-shi-ye-qian-yang-lian-240207","钱养廉","钱养廉，字国维，浙江杭州府仁和县匠籍。明朝政治人物、进士出身。\n广西副使钱立之子。万历十六年（1588年）戊子科举人，十七年（1589年）己丑科进士，授工部主事，筦河夏镇、汶泗诸泉，以夏镇为壑，而昭阳诸湖又在其下流，自留城至镇口，百里无际，粮船非乘风不得达，养廉亲履其地视察，从堤旁开二支河，以杀水势，又议于昭阳凿石通道至徐邳，以下出口，则内水无壅滞，而漕渠可百年无事。总河舒应龙然其策，会以父丧去位，后人卒用其议，成泇河。服阕，召补吏部考功署郎中事，日本入侵朝鲜，尚书石星主和议，总督孙矿不用其议，乃诬矿通书币，奉旨会议，养廉属草剖析利害，极明矿无罪，星计不得行，和议亦止。升稽勲司员外郎，调验封，署司事。以礼部尚书范谦赠荫事，吏部司官忤辅臣张位，吏部在任在籍二十七人，留用五人，余尽放逐，养廉竟削夺归。养廉少时娶黄氏，后失明，黄翁意且难之，养廉请于父，以方刘庭式，竟娶之。卒年五十八，所著有《贻清堂诗文》二十卷、《考功疏草》一卷，后赠光禄寺少卿。",[38,7,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31537d31e876e69e37424d3c54ea5e03.jpg",[],{"id":35328,"slug":35329,"title":18881,"dynasty":145,"author":35330,"museum":73,"description":35331,"tags":35332,"thumbUrl":35333,"material":920,"size":921,"collection":61,"collections":35334,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":66},240191,"wu-lv-shi-zhou-xu-yuan-wen-240191","徐元文","徐元文（1634年－1691年），字公肃，号立斋，江苏昆山人。探花徐乾学、徐秉义之弟，兄弟三人皆官贵文名，号称“昆山三徐”、斋号“集义居”。\n清顺治十六年（1659年）进士第一，顺治帝称徐元文为“佳状元”，赐冠带、蟒服、乘御马等，授翰林院修撰。康熙十八年，出任修《明史》总裁，荐万斯同入史局。升国子监祭酒，充经筵讲官。康熙称赞他：“徐元文为祭酒，规条严肃，满洲子弟不率教者，辄加挞责，人人敬畏。后人不能及也。”后任左都御史，官至文华殿大学士兼翰林院掌院学士。\n康熙二十九年（1690年），《尼布楚条约》签订后的隔年，清廷为建立界碑，用汉、满、蒙、拉丁、俄五种文字将条约刻于碑上。刻碑汉文由徐元文根据《实录本》润饰写定，前有徐元文所写序言。《清朝通志》《清朝经世文篇》《中俄约章会要》所载即为徐元文汉文本，一共有六条。徐元文与其兄长徐乾学、徐秉义都是进士出身，很有名望，号称“昆山三徐”。顾炎武曾勖勉徐元文：“有体国经野之心，而后可以登山临水；有济世安民之略，而后可以考古论今。”\n康熙二十九年（1690年）江南江西总督傅拉塔弹劾徐乾学及其弟徐元文不法之事共十五款，被解职。闰七月二七日“惊悸呕血而死”，享年五十八岁。著有《含经堂集》《得树园诗集》。",[145,38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff917595406d75a7cdfa8a472d8f45131.jpg",[],{"id":35336,"slug":35337,"title":10904,"dynasty":145,"author":35338,"museum":73,"description":35339,"tags":35340,"thumbUrl":35341,"material":920,"size":921,"collection":61,"collections":35342,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240188,"shi-zhou-wang-xi-240188","王熙","王熙（1628~1703年），字子雍，顺天府宛平县（今北京丰台区）人。清初大臣，礼部尚书王崇简之子。\n顺治四年，中进士，选庶吉士，累擢弘文院学士。康熙帝即位，历任弘文馆学士、左都御史、工部尚书，转兵部尚书、武英殿大学士。《清太祖实录》修成，加太子太傅，进少傅。\n康熙四十二年，卒于家，钦命皇长子直郡王允禔、大学士马齐临丧，行拜奠礼，举哀酹酒，恩礼有加，谥号文靖，入祀贤良祠。",[145,25,24,57,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028f38eead4844c6e259f4ad161d5d22.jpg",[],{"id":35344,"slug":35345,"title":10904,"dynasty":145,"author":35346,"museum":73,"description":35347,"tags":35348,"thumbUrl":35349,"material":920,"size":921,"collection":61,"collections":35350,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240187,"shi-zhou-liu-fang-zhu-240187","刘芳躅","刘芳躅（生卒不详）字增美，号锺山。涿州人。著有《拙翁集》、《拙翁庸语》。",[38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6092d475985893461dadc9541ff3220f.jpg",[],{"id":35352,"slug":35353,"title":10904,"dynasty":145,"author":35354,"museum":73,"description":35355,"tags":35356,"thumbUrl":35357,"material":920,"size":921,"collection":61,"collections":35358,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},240186,"shi-zhou-feng-pu-240186","冯溥","冯溥（1609-1691） 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、绵津山人 ，晚号西陂老人、西陂放鸭翁 。归德府（今河南商丘）人。清代诗人、画家、政治家。“后雪苑六子”之一。\n清顺治四年（1647年），宋荦应诏以大臣子列侍卫。康熙三年（1664年），被授予湖广黄州通判、康熙十六年（1677年），补理藩院判，迁员外郎。历官山东按察使，江苏布政使、江西巡抚、江苏巡抚。康熙三十八至四十四年（1699—1705年），康熙皇帝三次南巡，皆由宋荦负责接待。康熙四十四年（1705年）十一月，升任吏部尚书。康熙五十二年（1713年）春，加太子少师。同年九月逝世，享年八十岁，赐祭葬于商丘西陂别墅。\n宋荦为官正直，被康熙帝誉为“清廉为天下巡抚第一”。 宋荦笃学博闻，能诗文，工书画，精鉴赏，尤以诗享盛誉于清初文坛，一时文士多与之交游。 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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,25,209,28,37,7,58,29,30,31,34,1917,693,79,36498,36,1271,28760],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35dde4c19bf31999408a992d8a81474.jpg",[],{"id":36502,"slug":36503,"title":36504,"dynasty":51,"author":220,"museum":106,"description":36505,"tags":36506,"thumbUrl":36507,"material":165,"size":36508,"collection":61,"collections":36509,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},234022,"tian-mo-gui-fan-tu-ye-yi-ming-234022","天末归帆图页","描绘黄昏湖光山色，画面右下方长满水草，渔船横卧，远山若隐若现。 画面留白，构图简单，左边是宋高宗的提词：日终风帆何处歇，渔舟犹近何首乌。",[56,24,25,209,7,58,29,10762,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97769f76f7a68ffd8b1eb6f38d6c6d94.jpg","24.2x25.5cm",[],{"id":36511,"slug":36512,"title":36513,"dynasty":145,"author":220,"museum":73,"description":36514,"tags":36515,"thumbUrl":36516,"material":61,"size":36517,"collection":61,"collections":36518,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},233109,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233109","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[145,7,38,58,27,11462,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4775784975d56074491ead8150414d5e.jpg","87.3×50cm",[],{"id":36520,"slug":36521,"title":36522,"dynasty":18,"author":23215,"museum":73,"description":36523,"tags":36524,"thumbUrl":36525,"material":196,"size":36526,"collection":61,"collections":36527,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":66},232824,"qi-yan-shi-li-zhou-yang-ji-sheng-232824","七言诗立轴","杨继盛（1516年6月16日 [1] －1555年），字仲芳，号椒山。直隶容城（今河北容城县北河照村）人。明朝中期著名谏臣。\n嘉靖二十六年（1547年），杨继盛登进士第，初任南京吏部主事，师从南京吏部尚书韩邦奇学习律吕。后官兵部员外郎。因上疏弹劾仇鸾开马市之议，被贬为狄道典史。其后被起用为诸城知县，迁南京户部主事、刑部员外郎，调兵部武选司员外郎。\n嘉靖三十二年（1553年），上疏力劾严嵩“五奸十大罪”，遭诬陷下狱。在狱中备经拷打，终于嘉靖三十四年（1555年）遇害，年四十。明穆宗即位后，以杨继盛为直谏诸臣之首，追赠太常少卿，谥号“忠愍”，世称“杨忠愍”。后人以其故宅改庙以奉，尊为城隍。有《杨忠愍文集》。",[23,25,57,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573795b0f9d64d449ca68fae739f1e31.jpg","95×27cm",[],{"id":36529,"slug":36530,"title":36531,"dynasty":7039,"author":220,"museum":73,"description":36532,"tags":36533,"thumbUrl":36535,"material":920,"size":921,"collection":61,"collections":36536,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},231808,"mu-hu-xiao-yun-shu-jian-juan-bao-yi-ming-231808","木戸孝允书简卷-包","这两件尺牍小品，墨色沉静朴拙，行书笔法舒展自然。左侧题笺笔势清劲沉稳，文字叙记旧友手札真迹，文末朱印为素淡纸页添了古雅点缀，带着文人题识的端严意趣。右侧封套字迹更见率意鲜活，落笔松弛随性，是日常寄件的平实样貌。泛黄纸页晕开旧时光迹，承载着旧日文人间的往来温热，将尺牍酬酢的雅致况味藏于笔墨纸色之间，尽显传统手札的温润余韵。",[23,38,7,27,58,196,36534],"书简","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7815b012036f77f39c6a0cdd14d7181.jpg",[],{"id":36538,"slug":36539,"title":36540,"dynasty":7039,"author":220,"museum":73,"description":29656,"tags":36541,"thumbUrl":36542,"material":920,"size":921,"collection":61,"collections":36543,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},231772,"mu-xia-wen-shu-juan-li-qing-cheng-qing-xian-sheng-yi-mo-yi-ming-231772","木下文书卷-立卿成卿先生遗墨",[23,25,26,38,7,1014,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb74c757e73c2b0d731022f92553f47b.jpg",[],{"id":36545,"slug":36546,"title":36547,"dynasty":7039,"author":220,"museum":73,"description":36548,"tags":36549,"thumbUrl":36550,"material":920,"size":921,"collection":61,"collections":36551,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},231765,"yi-teng-bo-wen-shu-jian-juan-yi-ming-231765","伊藤博文书简卷","此卷草书手卷落笔雄健苍劲，通篇气息酣畅贯通。字势欹侧相生，笔墨枯润浓淡相映，将尺牍的私密感与书法抒情性融为一体。行笔提转自如，线条粗细富于变化，牵丝萦带间尽显书写时的酣畅快意，藏着书写者的情绪起伏。看似随性挥洒却不失章法，每字布白疏密得宜，整卷如行云流水，毫无刻意雕琢之感，尽显率真自然的文人意气，带着手札独有的松弛质感，尽展笔底风神与文人情致。",[23,38,26,7,1014,58,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba703b72f61ac2afd9116df47adf3dc6.jpg",[],{"id":36553,"slug":36554,"title":36555,"dynasty":7039,"author":220,"museum":73,"description":36556,"tags":36557,"thumbUrl":36558,"material":920,"size":921,"collection":61,"collections":36559,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},231762,"zhu-ming-jia-shou-jian-shui-fu-ming-jia-shou-jian-yi-ming-231762","诸名家手简 水府名家手简","此长卷为草书尺牍合集，笔走龙蛇，牵丝映带间尽显随性自然。书者运笔迅疾不失法度，提按顿挫皆藏章法，墨色兼具浓淡枯湿，将书写时的心绪起伏融于笔墨中。整卷虽为多帖合集，却气韵贯通，日常叙旧与感怀寄兴皆化作纸上情致，尽显旧时尺牍的松弛雅致，把文人的笔墨性情与心绪意趣融为一体，藏着传统手札书法的随性之美。",[23,38,26,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6a1ff75b951f5c3d365688b1a689c7.jpg",[],{"id":36561,"slug":36562,"title":36563,"dynasty":7039,"author":220,"museum":73,"description":36564,"tags":36565,"thumbUrl":36566,"material":920,"size":921,"collection":61,"collections":36567,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},231761,"yuan-zhou-ban-qie-wen-bing-zong-ba-shu-jian-yi-ming-231761","远州半切文并宗巴书简","此为合装的两帧尺牍手卷。左侧长卷笔势牵丝映带，纵逸连贯，线条枯润相生，字形欹侧跌宕，将日常尺牍的松弛意趣融于笔墨流转间，随性自在。\n\n右侧短幅更为简率开张，字形错落排布，墨色酣畅饱满，落笔迅疾烂漫，藏露锋颖随心切换。古纸的岁月斑驳让笔墨更添朴拙古雅，朱红印信点缀素纸，墨痕朱印相映，尽显古笔草书萧散野逸的格调，将文人尺牍的日常随性与书法的抒情性融为一体，浸着旧时光里清雅的文人气韵。",[23,38,26,1014,7,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4cef5929dd921b4f1cb497441dad54.jpg",[],{"id":36569,"slug":36570,"title":36571,"dynasty":7039,"author":220,"museum":73,"description":36572,"tags":36573,"thumbUrl":36574,"material":920,"size":921,"collection":61,"collections":36575,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},231760,"yi-neng-zhong-jing-li-zhou-yi-ming-231760","伊能忠敬立轴","青绿素绫配褐棕镶边，装裱古雅沉静，衬得素宣墨色愈发温润清透。通篇小楷清瘦劲挺，字字端稳匀净，行气舒展连贯，毫无板滞匠气。行间小字批注错落排布，疏密相生，带着手札独有的随性松弛，暗合书写时的自然心绪。收尾朱印一点，点亮整幅素净画面，晕开旧时光里的手泽温度。笔墨间藏着沉静的书写意趣，内敛古雅，兼具文书底蕴与书法审美价值。",[23,24,25,57,38,7,3321,223,1014,2031],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52668dc4e5ab653c6058332fd396f347.jpg",[],{"id":36577,"slug":36578,"title":36579,"dynasty":7039,"author":220,"museum":73,"description":36580,"tags":36581,"thumbUrl":36582,"material":920,"size":921,"collection":61,"collections":36583,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},231705,"jiang-hu-shi-qi-shan-shui-ren-wu-juan-yi-ming-231705","江户时期 山水人物卷","这卷绘作融书画为一体，右侧设色山水清隽雅致，金箔晕染出水岸朦胧柔光，苍松石崖静立汀洲，笔墨轻简却带着幽远空寂的意境。左侧手书墨色温润柔雅，与绘景相映成趣，留白处金箔碎点如沙洲浮絮，晕开慵懒闲淡的侘寂氛围。整体将山水幽居之静与文思雅韵相融，淡墨轻色间藏着和风独有的闲寂意趣，晕染出一卷清和悠远的林下幽思。",[23,24,25,26,28,29,79,254,38,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2414dbd1ce707a942ef33860aad41545.jpg",[],{"id":36585,"slug":36586,"title":36587,"dynasty":7039,"author":36588,"museum":73,"description":36589,"tags":36590,"thumbUrl":36591,"material":920,"size":921,"collection":61,"collections":36592,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":66},231631,"shi-ting-shi-dai-zhu-zhai-du-shu-tu-zhou-wen-231631","室町时代 竹斋读书图","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[24,25,57,27,7,58,29,177,81,112,79,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4952e7551ba4aa4ca15319a1c60d38.jpg",[],{"id":36594,"slug":36595,"title":33276,"dynasty":7039,"author":220,"museum":73,"description":36596,"tags":36597,"thumbUrl":36598,"material":920,"size":921,"collection":61,"collections":36599,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":66},230796,"shou-gao-jing-ye-yi-ming-230796","这页手札纸色泛黄发脆，边角磨损斑驳，带着岁月浸淫的厚重痕迹。笔墨晕染自然随性，行书笔意朴拙舒展，没有刻意修饰的规整，带着旧时公牍文书特有的松弛鲜活。浓淡不一的墨色，留存下书写时的运笔节奏，字里行间藏着早已湮没的公务往来日常。\n\n它无雕琢匠气，笔锋带着未经打磨的原生质感，将细碎的旧日公务凝固下来。残破纸页如同被时光淘洗过的旧物，每一处磨损都藏着光阴的故事，拙朴笔墨带着俗世烟火里的人文温度，是跨越年岁递来的鲜活切片，静静诉说着被淡忘的往昔日常。",[38,1735,7,27,196,11462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb378042344f09f7af0ad6fccdaa174be.jpg",[],{"id":36601,"slug":36602,"title":36603,"dynasty":7039,"author":220,"museum":73,"description":36604,"tags":36605,"thumbUrl":36607,"material":920,"size":921,"collection":61,"collections":36608,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},230782,"fu-shi-hui-164-yi-ming-230782","浮世绘164","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[36606,28,77,79,80,38,7,58,33379,2905,4836],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb679f860e951c05b3586454f9a5f5139.jpg",[],{"id":36610,"slug":36611,"title":36612,"dynasty":145,"author":220,"museum":73,"description":36613,"tags":36614,"thumbUrl":36616,"material":920,"size":921,"collection":61,"collections":36617,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":66},229666,"qian-long-san-xi-wen-han-yu-ce-yi-ming-229666","乾隆 「三希文翰」玉册","此青玉册莹润清透，质地匀净内敛，自带沉静素雅之态。錾刻填金行书跃于玉面，笔意舒展灵动，行气连贯悠然，将笔墨流转的意趣凝于玉石之上，把书法的挥洒之美与玉的温润质感相融相合。\n题句清雅旷达，与玉石气质相得益彰，以玉为纸，以金代墨，将文人诗意与玉作工艺精妙结合，尽显雅致隽永的文人心韵，是玉作与书法美学碰撞的精巧之作，藏着清代工艺审美中的文风雅趣。",[19953,19954,7,209,36615,38],"填金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dae33701b8951b6c3dca639b5635757.jpg",[],{"id":36619,"slug":36620,"title":36621,"dynasty":18,"author":1024,"museum":73,"description":6404,"tags":36622,"thumbUrl":36623,"material":920,"size":921,"collection":61,"collections":36624,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},228885,"zi-zuo-shi-juan-wen-zheng-ming-228885","自作诗卷",[23,56,24,25,26,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a1722bb9a497fe7d0b1900cfb6c297.jpg",[],{"id":36626,"slug":36627,"title":36628,"dynasty":18,"author":13169,"museum":73,"description":28919,"tags":36629,"thumbUrl":36630,"material":920,"size":921,"collection":61,"collections":36631,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},228419,"ji-yuan-zhong-cao-mu-shi-wu-kuan-228419","记园中草木诗",[23,25,38,7,26,58,111,120,112,121,7108,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f893f55899cbaf234dbab537549d9a.jpg",[],{"id":36633,"slug":36634,"title":2052,"dynasty":51,"author":36635,"museum":73,"description":36636,"tags":36637,"thumbUrl":36638,"material":61,"size":61,"collection":61,"collections":36639,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":66},227746,"chi-du-da-hui-zong-gao-227746","大慧宗杲","大慧宗杲尺牍，纸本，行书，38.0×65.5cm。日本东京国立博物馆藏（松平直亮氏寄赠）。\n\n本件是大慧宗杲放逐于梅州时寄给友人无相居士的书信，笔致富于气势，为大慧宗杲的书迹中最受重视的作品。先由江户时代初期茶道家、禅僧江月宗玩收藏，而后又归身兼茶道家的诸侯松平不昧所有。",[23,25,38,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89789953bbde44774404d7149e1c0856.jpg",[],{"id":36641,"slug":36642,"title":36643,"dynasty":454,"author":220,"museum":73,"description":36644,"tags":36645,"thumbUrl":36648,"material":920,"size":921,"collection":61,"collections":36649,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":66},227103,"shuang-luan-wen-jing-yi-ming-227103","双鸾纹镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[681,36646,19954,7,36647],"铜制","鸾鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7852f936b4515d55099459408aaebd97.jpg",[],{"id":36651,"slug":36652,"title":36653,"dynasty":18,"author":26357,"museum":73,"description":36654,"tags":36655,"thumbUrl":36656,"material":920,"size":921,"collection":61,"collections":36657,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":932},224564,"shu-hua-ce-ye-6-xiao-yun-cong-wang-shi-zhen-224564","《书画册页》-6","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[25,209,7,38,27,196,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1559fd17f8e83346a6cd6f722290ed2e.jpg",[],{"id":36659,"slug":36660,"title":36661,"dynasty":18,"author":26357,"museum":73,"description":36662,"tags":36663,"thumbUrl":36664,"material":61,"size":61,"collection":61,"collections":36665,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":932},224563,"shu-hua-ce-ye-5-xiao-yun-cong-wang-shi-zhen-224563","《书画册页》-5","此帧行书题跋笔墨清隽儒雅，笔意秀逸连贯，结体舒展灵动，兼具帖学流美与文人疏淡意趣。通篇以雅致文辞追忆旧友交游、叙录昔年藏物，文墨相得益彰。点画提转自然圆融，章法排布错落有致，字字独立却气脉贯通，既有恪守的笔墨法度，又不失随性挥洒的自在。字里行间浸透着文人的风雅襟怀，沉静书卷气随笔墨流淌而出，将才情与林下意趣寄寓方寸之间，是兼备文献价值与审美价值的翰墨小品。",[25,7,27,1244,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fb7a8619485142c30a1e2d6656bdf0.jpg",[],{"id":36667,"slug":36668,"title":36669,"dynasty":18,"author":26357,"museum":73,"description":36670,"tags":36671,"thumbUrl":36672,"material":61,"size":61,"collection":61,"collections":36673,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},224561,"shu-hua-ce-ye-26-xiao-yun-cong-wang-shi-zhen-224561","《书画册页》-26","此作为行书小品，取法晋唐尺牍意趣，笔致清隽疏朗。起笔收锋皆见潇洒之态，文字排布错落随性，行气疏宕却暗含呼应。墨色枯湿过渡自然，细劲线条裹挟温润质感，将诗句里空山幽寂、寒松伴居的清寂意绪，融于笔墨起落间。朱红古印浅缀纸面，与泛黄旧纸相映，晕开古澹沉静的书卷气息，把题诗里幽居自适的林下襟怀，借着笔墨娓娓铺陈，是兼具文心与笔韵的雅致小品。",[56,24,25,209,7,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5803abd9e8a371c01a42b5d270819e.jpg",[],{"id":36675,"slug":36676,"title":36677,"dynasty":18,"author":26357,"museum":73,"description":36678,"tags":36679,"thumbUrl":36680,"material":61,"size":61,"collection":61,"collections":36681,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},224559,"shu-hua-ce-ye-24-xiao-yun-cong-wang-shi-zhen-224559","《书画册页》-24","这幅行书尺牍清隽疏朗，用笔灵动秀逸，起收间暗合魏晋帖学雅韵。字形欹正相生，章法错落自然，字距留白透气，尽显萧散简远的文人意趣。\n\n笔势连贯遒劲，牵丝映带间贴合诗句意境，将蜀道千峰云林的壮怀幽寂寄寓笔墨，文思与笔墨相融。浅淡古旧的笺纸配朱红古雅钤印，墨色与印色相衬，晕开明清之际文人士大夫沉静风雅的审美意趣。",[24,25,209,7,27,38,58,17140,495,1949,1885,1636,1794,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3faaa018bf64f093840ed594760d1a3.jpg",[],{"id":36683,"slug":36684,"title":36685,"dynasty":18,"author":26357,"museum":73,"description":36686,"tags":36687,"thumbUrl":36688,"material":61,"size":61,"collection":61,"collections":36689,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},224555,"shu-hua-ce-ye-20-xiao-yun-cong-wang-shi-zhen-224555","《书画册页》-20","此作行书清逸隽秀，题笔朴拙雅致，二者相映成趣。起笔收锋灵动舒展，线条圆劲温润，章法错落自然，字距疏密得宜，墨色带着自然的浓淡渐变，漫出林下散逸之气。\n\n诗文与笔墨交融无间，将山水栖居的悠然隐趣藏在婉转笔意之中。笔势带着明清文人特有的简淡萧散，每一处提按转折都暗含雅致文心，尽显江南文人的林下襟怀，是一件兼具笔墨意趣与诗意内核的小品佳作。",[25,209,38,7,376,4186,113,402,34921,30553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a0b58d3ccedeae0d9a2fcb23c9f292.jpg",[],{"id":36691,"slug":36692,"title":36693,"dynasty":18,"author":26357,"museum":73,"description":36694,"tags":36695,"thumbUrl":36696,"material":61,"size":61,"collection":61,"collections":36697,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},224553,"shu-hua-ce-ye-18-xiao-yun-cong-wang-shi-zhen-224553","《书画册页》-18","此幅行书小品，行气疏朗空灵，笔致温润清隽，带着江南文人特有的儒雅散淡。凭吊故地的诗句沉郁哀惋，笔墨与文辞意韵相融，将怅惘幽思藏在舒缓的笔锋流转间。四方朱印错落排布，朱红印晕染在浅米旧纸之上，素朴底色里更添沉静厚重的文人情致。诗书印三者相融无间，尽显旧时文人寄情笔墨、以书抒怀的淡然风骨，悠悠古意漫溢纸面。",[24,25,209,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a219bf505e7c6e609e89ddf03746c5.jpg",[],{"id":36699,"slug":36700,"title":36701,"dynasty":18,"author":26357,"museum":73,"description":36702,"tags":36703,"thumbUrl":36704,"material":61,"size":61,"collection":61,"collections":36705,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},224550,"shu-hua-ce-ye-14-xiao-yun-cong-wang-shi-zhen-224550","《书画册页》-14","此作行书清隽秀雅，笔墨疏朗通透，起收间带着温雅散淡的文人意趣。字迹排布错落舒展，笔画瘦劲灵动，提按转合暗含章法，毫无滞涩之感。笔锋轻捷利落，筋骨暗藏，墨色枯湿自然过渡，尽显书写时的松弛随性。\n\n诗句幽寂沉郁，笔墨贴合诗文意境，将林泉间的怅惘愁绪融在笔锋起落间，浸透着沉郁的怀古幽思，尽显士人清雅澹泊的审美意趣。整幅小品书卷气盎然，书法美感与文心诗意相融，是颇具格调的文人墨痕。",[25,209,7,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb2a92decd18ac405594d098ff06769.jpg",[],{"id":36707,"slug":36708,"title":36709,"dynasty":18,"author":26357,"museum":73,"description":36710,"tags":36711,"thumbUrl":36712,"material":61,"size":61,"collection":61,"collections":36713,"showCount":534,"zanCount":11,"manualWeight":11,"mainColor":46},224549,"shu-hua-ce-ye-13-xiao-yun-cong-wang-shi-zhen-224549","《书画册页》-13","行笔舒展灵动，牵丝映带自然圆融，墨色枯湿浓淡富于层次变化。笔画粗细跌宕，章法松弛错落，全无雕琢造作之气，尽显随性自在的文人意趣。\n字里行间浸透着萧散简远的林下之风，日常感怀诉诸笔端，笔墨与题文相得益彰，藏着旧时光里的沉静雅致。仿佛能窥见挥毫时的闲适心境，让观者在笔墨流转间，触摸到那份冲淡安然的文人审美意趣。",[56,24,25,209,7,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c4d8b2ab7ae65b7f6bf66172e2226af.jpg",[],{"id":36715,"slug":36716,"title":36717,"dynasty":18,"author":26357,"museum":73,"description":36718,"tags":36719,"thumbUrl":36720,"material":61,"size":61,"collection":61,"collections":36721,"showCount":534,"zanCount":11,"manualWeight":11,"ma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实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[2008,37881,38,7,19050,29668],"朱砂砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbee7239c6edea23425dc7e0fb388469.jpg",[],{"id":37885,"slug":37886,"title":37887,"dynasty":145,"author":220,"museum":73,"description":37879,"tags":37888,"thumbUrl":37890,"material":920,"size":921,"collection":61,"collections":37891,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},271385,"wang-jie-kuan-cheng-ni-yan-yi-ming-271385","王杰款澄泥砚",[2008,37889,38,7,29668],"澄泥砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5ef75cde4bc2e22aa1b73120409101.jpg",[],{"id":37893,"slug":37894,"title":37895,"dynasty":145,"author":220,"museum":73,"description":29656,"tags":37896,"thumbUrl":37897,"material":920,"size":921,"collection":61,"collections":37898,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1787},271209,"wu-tian-zhang-bi-sheng-hua-mo-yi-ming-271209","吴天章笔生花墨",[646,29668,38,7,2226,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1541de9c0c10974cf8e0e865727a2a.jpg",[],{"id":37900,"slug":37901,"title":37902,"dynasty":145,"author":220,"museum":73,"description":37879,"tags":37903,"thumbUrl":37905,"material":920,"size":921,"collection":61,"collections":37906,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},271178,"duan-shi-chang-fang-yan-yi-ming-271178","端石长方砚",[2008,37904,19050,38,7,29668],"端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b20b89b977e4cfa39b32bf1a0597745.jpg",[],{"id":37908,"slug":37909,"title":37910,"dynasty":145,"author":220,"museum":73,"description":37911,"tags":37912,"thumbUrl":37916,"material":920,"size":921,"collection":61,"collections":37917,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1787},270988,"cheng-fen-wen-ju-wen-zhu-cha-ping-yi-ming-270988","成份文具-文竹插屏","此插屏以文竹精作，边框回纹环绕，线条规整古雅，尽显沉静端方之气。屏心行书临帖，笔墨灵动秀逸，尽得晋人书法疏朗俊雅的风神，墨色温润沉着，与素净板面相互映衬，韵致悠然。\n\n底座纹饰与屏框呼应，回纹辗转往复，暗含绵长圆满之吉意，雕工细腻工致，将竹作肌理的清润与书法雅趣相融。置诸案头，可观笔墨流转间的晋韵风流，可抚竹制器物的温润质感，将文房清隽雅致的审美意蕴凝于一方，尽显旧时书案之上的风雅情致。",[37913,37914,37915,19954,38,7,58],"文具","插屏","文竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b4440a37e2312363b6a71960f8bd8.jpg",[],{"id":37919,"slug":37920,"title":37921,"dynasty":145,"author":220,"museum":73,"description":29656,"tags":37922,"thumbUrl":37923,"material":920,"size":921,"collection":61,"collections":37924,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},270598,"qian-long-kuan-mo-yun-shi-ji-mo-yi-ming-270598","乾隆款墨云室记墨",[646,29668,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e158f32308389ec36b1f7fd69a121.jpg",[],{"id":37926,"slug":37927,"title":37928,"dynasty":145,"author":220,"museum":73,"description":37929,"tags":37930,"thumbUrl":37932,"material":920,"size":921,"collection":61,"collections":37933,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},270419,"zong-zhu-gu-zhao-bing-chong-shu-zhe-shan-yi-ming-270419","棕竹股赵秉冲书折扇","棕竹扇骨色泽沉穆古雅，纹理静敛温润，衬得泥金扇面愈见华贵雅致。扇面满书小楷，笔墨精劲端秀，点画含筋抱骨，笔势顾盼有情。字字排布错落停匀，行气舒朗贯通，既有唐楷的端谨法度，又暗含行书的灵动意趣，将旧时文人的书卷雅韵凝于尺幅扇面之上。开合之间，墨色与金面相映，古意悠悠，尽显文房清玩的雅致格调，是一件兼具赏玩与书法审美价值的佳器。",[2579,38,7,37931,33379],"棕竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1545e7dd90e25359c70386f8483df40.jpg",[],{"id":37935,"slug":37936,"title":37937,"dynasty":145,"author":220,"museum":73,"description":37938,"tags":37939,"thumbUrl":37940,"material":920,"size":921,"collection":61,"collections":37941,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},270242,"hong-mu-gu-diao-hua-bian-pu-dong-zhe-shan-yi-ming-270242","红木股雕花边溥侗折扇","此扇骨雕花边婉转灵秀，古雅细腻，衬出沉静雅致的质感。金笺扇面之上小楷清隽挺秀，笔锋敛藏力道，点画排布错落合宜，墨色在金底晕开，古雅沉稳间带着温润书卷气。开合之间，将文人闲居弄墨的雅趣融于方寸，既是案头清玩，也是翰墨雅赏之物，尽显旧时文人心底的沉静意韵，藏着中式雅文化的悠然情致。",[33368,2579,38,7,19050,19954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8efde539da8fedfbb4f3d9ccfa9d6c8.jpg",[],{"id":37943,"slug":37944,"title":37945,"dynasty":145,"author":220,"museum":73,"description":37946,"tags":37947,"thumbUrl":37948,"material":920,"size":921,"collection":61,"collections":37949,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},270224,"hei-qi-gu-ru-yi-shi-bian-zhe-shan-yi-ming-270224","黑漆股如意式边折扇","如意为木胎，其上采用八成金质累丝工艺。如意头的正面为累丝古钱纹，中心嵌绿松石“乙酉”二字，背面为镂空的古钱纹并露出木胎。柄的正面亦为累丝古钱纹，镶嵌绿松石“万年如意”四字，背面为累丝六角锦纹。如意的侧边以卷草纹为饰。",[2579,33368,26979,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f86ad555da020efbc08924b55f290b6.jpg",[],{"id":37951,"slug":37952,"title":37945,"dynasty":145,"author":220,"museum":73,"description":37946,"tags":37953,"thumbUrl":37954,"material":920,"size":921,"collection":61,"collections":37955,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},270223,"hei-qi-gu-ru-yi-shi-bian-zhe-shan-yi-ming-270223",[2579,38,7,33368,26979,33379],"https:\u0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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[37970,29679,29668,19954,38,7,266],"竹刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cf73ba4c75ecc4fa36e7f723f5389f.jpg",[],{"id":37974,"slug":37975,"title":37976,"dynasty":145,"author":220,"museum":73,"description":37977,"tags":37978,"thumbUrl":37979,"material":920,"size":921,"collection":61,"collections":37980,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},269374,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-wu-ce-yi-ming-269374","紫檀嵌玉乾隆御临兰亭八柱帖册页-第五册","此作以紫檀为材，质地沉敛温润。封面满饰高浮雕双龙戏云，龙躯矫健蜿蜒，鳞爪灵动威严，祥云层叠迤逦，刀工圆劲细腻，将瑞气相融于木纹之中，尽显雕工精湛。中心嵌填金字样，笔锋端稳厚重，与木雕相得益彰，尽显宫廷御制的华贵考究。\n\n器物内纳御笔临帖，既承兰亭雅韵风骨，又蕴帝王书风威仪，是木雕工艺与书法典藏的完美合璧，古朴庄重间尽显皇家藏品的矜贵气韵，堪称精工与文心兼具的典藏佳品。",[209,38,352,7,19050,19954,1819,19953,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524be4b4bbb3f48475937c60595cadc5.jpg",[],{"id":37982,"slug":37983,"title":37984,"dynasty":145,"author":220,"museum":73,"description":37985,"tags":37986,"thumbUrl":37988,"material":920,"size":921,"collection":61,"collections":37989,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},269373,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-liu-ce-yi-ming-269373","紫檀嵌玉乾隆御临兰亭八柱帖册页-第六册","此函以紫檀为材，器表高浮雕双龙游弋于流云之中，鳞爪遒劲分明，云纹舒卷灵动，刀工圆润细腻，将瑞兽的威仪与云气的仙逸完美融合。中央嵌饰填金题字，笔力沉凝端方，尽显庄重典雅的皇家气韵。\n\n其书作兼具二王行书的飘逸灵动，与御笔的雍容规整，墨色饱满匀净，结体舒展沉稳，既承续古法风神，又自带帝王笔墨的华贵气度。整器装帧考究，从函套工艺到内页书迹，皆是精工细作的典范，凝聚着工艺美学与书法艺术的双重价值，尽显皇家典藏的质感与底蕴。",[209,38,352,76,19954,1819,19050,37987,7],"嵌玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dba95780b68d5fcb7093e207431e35.jpg",[],{"id":37991,"slug":37992,"title":37993,"dynasty":145,"author":220,"museum":73,"description":37994,"tags":37995,"thumbUrl":37996,"material":920,"size":921,"collection":61,"collections":37997,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1787},269370,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-shi-ce-yi-ming-269370","紫檀嵌玉乾隆御临兰亭八柱帖诗册","封面取紫檀为材，深浮雕双龙盘绕云海，鳞爪灵动饱满，辗转腾挪间威仪自生。题签阴刻填金，笔力端凝沉厚，古韵幽幽。\n\n内页以玉为纸镌字，玉质温莹清润，刀工细腻妥帖，将法帖的笔墨筋骨融于玉石肌理之中，既有书法的流动意趣，又兼玉雕的雅致质感。\n\n整器形制端庄华贵，是传统工艺与书法美学的绝妙合璧，尽显庄重典雅的宫廷气度，静静诉说着旧时御制文玩的匠心格调。",[209,19050,19954,1819,38,352,76,19953,7,5886],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac9cee3b66de4814d91fcfb929f67d.jpg",[],{"id":37999,"slug":38000,"title":38001,"dynasty":145,"author":220,"museum":73,"description":38002,"tags":38003,"thumbUrl":38004,"material":920,"size":921,"collection":61,"collections":38005,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},269369,"zi-tan-qian-yu-qian-long-yu-lin-lan-ting-ba-zhu-tie-ce-ye-di-er-ce-yi-ming-269369","紫檀嵌玉乾隆御临兰亭八柱帖册页-第二册","此作以紫檀为材，高浮雕双龙穿梭云海之间，龙身遒劲灵动，鳞爪分毫毕现，云纹舒卷自如，刀工细腻凝练，尽显庄重华贵的皇家气度。中央嵌玉题字，玉色莹润素雅，与紫檀沉郁色泽相互映衬，御笔字体端稳厚重，章法井然。整器工艺精湛考究，将木雕之浑厚与玉饰之温润融为一体，既是收纳法帖的精巧宝匣，亦是清代宫廷工艺的绝佳缩影，于方寸间尽显造物匠心，内敛中流露雍容华贵的皇家格调。",[209,38,352,76,19050,19954,1819,7,19953,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bd39a3d0e5495f1dd0d7df43966aa1.jpg",[],{"id":38007,"slug":38008,"title":38009,"dynasty":145,"author":220,"museum":73,"description":38010,"tags":38011,"thumbUrl":38012,"material":920,"size":921,"collection":61,"collections":38013,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},269107,"xiang-ya-diao-yue-man-qing-you-wu-yue-jing-ce-yi-ming-269107","象牙雕月曼清游五月景册","此作以牙雕摹绘池亭消夏之景，亭台构件玲珑秀雅，仕女衣袂柔润舒展，或低语闲话或凭栏凝睇，神态温婉悠然。染色牙料雕就花树、池水，晕开初夏清润氛围，刀工写实细腻，将庭院消暑的慵懒闲适铺陈尽致。\n\n右侧行书笔致隽秀灵动，诗文图景两相呼应，把闲雅消夏的意趣融为一体。整作融精微牙雕与雅致书法于一帧，工艺精巧兼具文心，尽显旧时庭院消暑的悠然意韵。",[209,33421,19954,79,80,33,150,31,7,38,1471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d20dfa3f1bda1e1c7f6216df7343527.jpg",[],{"id":38015,"slug":38016,"title":38017,"dynasty":145,"author":220,"museum":73,"description":38018,"tags":38019,"thumbUrl":38020,"material":920,"size":921,"collection":61,"collections":38021,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},269106,"xiang-ya-diao-yue-man-qing-you-shi-yi-yue-jing-ce-yi-ming-269106","象牙雕月曼清游十一月景册","以象牙为材，佐玉石点染池台栏基，雕出深闺初冬雅集之景。仕女或环立听琴，或凭栏私语，衣袂柔婉飘逸，鬓发丝缕分明，亭台窗棂的回纹、枯木霜枝的肌理皆细腻入微，将闺中闲雅意趣尽显。右侧行书题诗，墨色浓莹与牙色温润相映，诗画合璧，把深闺清赏的温婉闲情定格在方寸之间，尽显匠艺精工与雅致意境。",[33421,19954,209,79,80,150,38,7,2322,1471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ec834c464e8092a52f739b2ba65d863.jpg",[],{"id":38023,"slug":38024,"title":38025,"dynasty":145,"author":220,"museum":73,"description":33446,"tags":38026,"thumbUrl":38029,"material":920,"size":921,"collection":33450,"collections":38030,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},261728,"xing-you-heng-tang-kuan-yi-xing-yao-zi-sha-tu-hua-fu-wen-wan-yi-ming-261728","行有恒堂款宜兴窑紫砂凸花蝠纹碗",[29677,38027,4252,7,19954,38028],"紫砂","蝠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b4d7c7dc0925570e29583ce2a9857f.jpg",[33450],{"id":38032,"slug":38033,"title":38034,"dynasty":145,"author":220,"museum":73,"description":37968,"tags":38035,"thumbUrl":38037,"material":920,"size":921,"collection":61,"collections":38038,"showCoun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因战功卓著而被天王洪秀全赐名“秀成”。\n在太平天国统治的中后期，李秀成与陈玉成、李世贤等力撑危局，取得了一破江北江南大营、二破江北大营、三河大捷、二破江南大营等军事上的胜利，建立了苏福省、天浙省。同时抗击英法侵略者，击毙常胜军指挥者华尔、法国海军提督卜罗德，中兴太平天国。因其功勋卓著，于庚申十年（1860年）被天王洪秀全封为忠王，称“万古忠义”。\n甲子十四年（1864年），湘军攻陷天京，李秀成扶幼天王出逃，不久被俘。在狱中写下数万字的自述后，于天京从容就义，年仅四十二岁。",[38,7,58,3383,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1021afa955678c16b02996e4e80e067b.jpg",[],{"id":40144,"slug":40145,"title":40146,"dynasty":145,"author":220,"museum":73,"description":40147,"tags":40148,"thumbUrl":40149,"material":920,"size":921,"collection":61,"collections":40150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241493,"qi-yan-shi-wan-shan-yi-ming-241493","七言诗纨扇","此作为行书纨扇，笔法温婉秀润，结体舒展灵动，通篇行气连贯自然，契合纨扇的柔婉形制。书写自作七言长诗，字字顾盼有情，墨色匀净雅致，随着纸面岁月经年泛黄，更衬出沉厚的书卷意趣。没有馆阁体的刻板拘囿，尽显文人随性自在的笔墨意态，将日常襟怀寄寓点画之间，平和疏朗的气息漫溢扇面，是一件兼具书法法度与清雅文心的小品佳构。",[24,25,2579,7,38,58,3383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254341c3e8c5b4b6ae57ae96a987fb99.jpg",[],{"id":40152,"slug":40153,"title":25000,"dynasty":145,"author":25001,"museum":73,"description":25002,"tags":40154,"thumbUrl":40155,"material":920,"size":921,"collection":61,"collections":40156,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":638},241488,"shou-zha-ce-cheng-si-ze-241488",[3383,25,38,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dd322b8b01a6e78f6dd4846c102f41.jpg",[],{"id":40158,"slug":40159,"title":40160,"dynasty":145,"author":40161,"museum":73,"description":40162,"tags":40163,"thumbUrl":40164,"material":920,"size":921,"collection":61,"collections":40165,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},241485,"lu-wen-cheng-shan-zhang-yu-241485","录文成扇","章钰","章钰（1864年～1937年），近代藏书家、校勘学家。字式之，号茗簃，一字坚孟，号汝玉，别号蛰存、负翁，晚号北池逸老、霜根老人、全贫居士等。藏书室名四当斋。",[2579,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2082a3daa38e398c1d3c00886f16cff5.jpg",[],{"id":40167,"slug":40168,"title":25000,"dynasty":145,"author":25001,"museum":73,"description":25002,"tags":40169,"thumbUrl":40170,"material":920,"size":921,"collection":61,"collections":40171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":638},241484,"shou-zha-ce-cheng-si-ze-241484",[25,38,7,209,1495,196,1698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f08fedc167a36c14ae7b786692f02fd.jpg",[],{"id":40173,"slug":40174,"title":25000,"dynasty":145,"author":25001,"museum":73,"description":25002,"tags":40175,"thumbUrl":40176,"material":920,"size":921,"collection":61,"collections":40177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":638},241483,"shou-zha-ce-cheng-si-ze-241483",[38,7,1014,209,196,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd989f4217f65572f4553ef3725a0a09f.jpg",[],{"id":40179,"slug":40180,"title":25000,"dynasty":145,"author":25001,"museum":73,"description":25002,"tags":40181,"thumbUrl":40182,"material":920,"size":921,"collection":61,"collections":40183,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241482,"shou-zha-ce-cheng-si-ze-241482",[145,25,38,209,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030ca2329595647e14e72fe9b1466d82.jpg",[],{"id":40185,"slug":40186,"title":25000,"dynasty":145,"author":25001,"museum":73,"description":25002,"tags":40187,"thumbUrl":40188,"material":920,"size":921,"collection":61,"collections":40189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},241481,"shou-zha-ce-cheng-si-ze-241481",[38,7,1014,209,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb900b4d535dd2f2c7dbc279a1d8bc8.jpg",[],{"id":40191,"slug":40192,"title":25000,"dynasty":145,"author":25001,"museum":73,"description":25002,"tags":40193,"thumbUrl":40194,"material":920,"size":921,"collection":61,"collections":40195,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241478,"shou-zha-ce-cheng-si-ze-241478",[38,7,209,28,418,4922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd744d70ba7fd17b023e3158b2d2bb1.jpg",[],{"id":40197,"slug":40198,"title":27151,"dynasty":145,"author":27152,"museum":73,"description":27153,"tags":40199,"thumbUrl":40200,"material":920,"size":921,"collection":61,"collections":40201,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241474,"bai-ling-shi-han-ce-zhang-bai-ling-241474",[25,38,209,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1128f557d3601e6dcd27c88c903ace0.jpg",[],{"id":40203,"slug":40204,"title":10904,"dynasty":145,"author":40205,"museum":73,"description":40206,"tags":40207,"thumbUrl":40208,"material":920,"size":921,"collection":61,"collections":40209,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241464,"shi-zhou-wang-yi-qing-241464","王奕清","字幼芬，号拙园，江苏太仓人。清朝学者，政治人物，名门望族之裔，王时敏之孙，颛菴王掞相国之子，其曾上祖是明末万里内阁首辅王锡爵，家族不乏科考得意者，成为名副其实的簪缨之家，在江南一带被盛传“一门两宰相，父子三进士”，康熙三十年（一六九一）进士，选庶吉士，散馆翰林院编修，累官詹事府詹事兼翰林院侍读学士，曾代父赴军，历驻忒斯，雍正四年，命赴阿尔泰坐台，又十年，乾隆元年，召还，乞假葬父，翌年卒，时年七十三岁，曾奉清圣祖之命篡修康熙《钦定词谱》，善书法，工绘事篆刻。",[24,25,57,7,38,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd625145e44320f48adb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别署均斋、瓶笙、瓶庐居士、并眉居士等，别号天放闲人，晚号瓶庵居士，江苏常熟人，中国近代史上著名政治家、书法艺术家。",[38,7,1495,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5b3d179c307a0c918bf45a89b9345d.jpg",[],{"id":40253,"slug":40254,"title":40255,"dynasty":145,"author":40256,"museum":73,"description":40257,"tags":40258,"thumbUrl":40259,"material":920,"size":921,"collection":61,"collections":40260,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241426,"she-zhi-zhong-zi-ai-ren-zha-juan-xu-jing-241426","畬致仲子蔼人札卷","徐经","徐经（1473-1507），字衡父，又字直夫，自号西坞。南直隶江阴（江苏江阴市）人。徐霞客的高祖。",[23,145,38,26,7,58,1014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5530dc9cd56e387e3673035d6ca5c8e3.jpg",[],{"id":40262,"slug":40263,"title":40264,"dynasty":18,"author":40265,"museum":73,"description":40266,"tags":40267,"thumbUrl":40268,"material":920,"size":921,"collection":61,"collections":40269,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241421,"tian-xia-you-dao-zhang-ye-qian-long-xi-241421","天下有道章页","钱龙锡","钱龙锡(1579年-1645年)，字稚文，松江华亭(今上海)人，明末大臣，次辅。\n钱龙锡极力举荐袁崇焕为东北关宁（今山海关，宁远）军统帅，巩固边防。等到袁崇焕杀毛文龙，他被弹劾为与袁崇焕同谋越权擅杀大臣等多罪。遂托病辞官归乡。当时的魏忠贤余党聚谋污蔑袁崇焕为逆首，钱龙锡等为逆党，1630年袁崇焕被杀害后，钱龙锡因袁案受到牵连被判为死罪，经一些大臣极力向明思宗崇祯帝陈述求情，才免其死罪，但也被关押。结果钱龙锡被长期关押在狱。后发配戍守定海卫。福王时复官归里。不久病逝。",[38,7,58,25,209,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654b15983dbd57d0fffc4f6146ec9105.jpg",[],{"id":40271,"slug":40272,"title":8081,"dynasty":145,"author":40273,"museum":73,"description":40274,"tags":40275,"thumbUrl":40276,"material":920,"size":921,"collection":61,"collections":40277,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":638},241392,"qi-lv-zhou-huang-ren-241392","黄任","黄任（1683一1768）字于莘，又字莘田，因喜藏砚，自号十砚老人、十砚翁，清代著名诗人，藏砚家，永福（今福建永泰县）人。康熙四十一年举人，官广东四会知县，罢官归，船中所载惟砚石。归里后生活清苦。工诗，以轻清流丽为时人所称，七绝尤负盛名。著有《秋江集》《香草笺》。",[25,24,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2b3cf40d1d5a17c44330e3686c88f9.jpg",[],{"id":40279,"slug":40280,"title":18713,"dynasty":145,"author":27161,"museum":73,"description":27162,"tags":40281,"thumbUrl":40282,"material":920,"size":921,"collection":61,"collections":40283,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241386,"lu-yu-zhou-zhang-ying-241386",[3383,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f540564f46056f6d278aa38f1c981dd.jpg",[],{"id":40285,"slug":40286,"title":40287,"dynasty":145,"author":220,"museum":73,"description":40288,"tags":40289,"thumbUrl":40290,"material":920,"size":921,"collection":61,"collections":40291,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241385,"wan-dai-shang-qi-lv-zhou-yi-ming-241385","万代尚七律轴","此作用笔纵逸洒脱，以行书立骨间杂草意，线条粗细枯湿变幻自然，提按转合尽显畅达意气。章法上字间牵丝映带，行气连贯如行云流水，上下顾盼呼应，通篇气机完足。墨色层次丰富，浓墨醒神，淡墨含韵，枯笔添就苍茫古拙之致。\n\n诗句书写一气呵成，将文人雅逸心境融于笔墨，笔势随诗意跌宕，既有肆意挥洒的疏狂，又不失法度谨严，尽显清代行书尚意重韵的典型特质，是一件颇具文人气息的书法佳构，尽显传统书法抒情达意的美学魅力。",[38,7,57,58,3383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fab334c906d57c114131966182e6706.jpg",[],{"id":40293,"slug":40294,"title":14824,"dynasty":145,"author":17707,"museum":73,"description":17708,"tags":40295,"thumbUrl":40296,"material":920,"size":921,"collection":61,"collections":40297,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241384,"wu-lv-zhou-li-du-na-241384",[25,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcac4b9bc78f5703e295b4c1bea12c2.jpg",[],{"id":40299,"slug":40300,"title":8081,"dynasty":145,"author":40301,"museum":73,"description":40302,"tags":40303,"thumbUrl":40304,"material":920,"size":921,"collection":61,"collections":40305,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":66},241373,"qi-lv-zhou-zhu-ji-zuo-241373","朱继祚","朱继祚（1593－1649），字立望，号胤岗。福建莆田县横塘（今莆田市荔城区黄石镇横塘村）人。明末政治人物。",[38,57,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc46103b0daf24a5d8d9d9f36a67f83f.jpg",[],{"id":40307,"slug":40308,"title":8081,"dynasty":145,"author":40309,"museum":73,"description":40310,"tags":40311,"thumbUrl":40314,"material":920,"size":921,"collection":61,"collections":40315,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241372,"qi-lv-zhou-deng-zhong-yue-241372","邓钟岳","邓钟岳（1674～1748） 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清代官员。字东长，号悔庐。东昌府人（今聊城市东昌府区人）。邓基哲子。",[24,25,57,7,38,58,112,40312,40313,34924,884,1825],"白鸥","东山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0477809e4096a5437fbedbf114e5b8df.jpg",[],{"id":40317,"slug":40318,"title":10904,"dynasty":145,"author":40045,"museum":73,"description":40046,"tags":40319,"thumbUrl":40320,"material":920,"size":921,"collection":61,"collections":40321,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241370,"shi-zhou-mao-qi-ling-241370",[38,57,7,1014,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b856c27df2af7e9d881cfdf650f6b8.jpg",[],{"id":40323,"slug":40324,"title":20070,"dynasty":145,"author":40325,"museum":73,"description":40326,"tags":40327,"thumbUrl":40328,"material":920,"size":921,"collection":61,"collections":40329,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241369,"qi-lv-shi-zhou-wu-xiang-241369","吴襄","吴襄（1592年－1644年），字两环，祖籍江南高邮（今江苏高邮）。明末辽东总兵，吴三桂之父，崇祯四年的大凌河之战里，吴襄在赴援时逃亡，导致全军覆灭，因而被判下狱。崇祯十七年三月初，李自成破大同、真定，崇祯起用吴襄提督京营。不久，北京城破，吴襄被大顺军活捉。后来由于其子吴三桂引清兵入关，李自成大怒，在永平城西范家庄斩杀吴襄。",[38,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b395ce009e34f2830446c30e4535891.jpg",[],{"id":40331,"slug":40332,"title":17715,"dynasty":145,"author":40333,"museum":73,"description":40334,"tags":40335,"thumbUrl":40336,"material":920,"size":921,"collection":61,"collections":40337,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241365,"lun-shu-zhou-huang-hong-you-241365","黄鸿猷","黄鸿猷（1875～1923），字琼生，1875年出生，广东阳山黎埠镇均安村人。清痒生，广西候补知县。赋有胆略，谋而能断，精明强干，所至有声。淇潭 村民因水利争讼数年，县知事邓沁会同鸿猷妥办，各得其平。尝建黎埠碉楼，谋捍卫，复击败欧金生股匪，民赖以安，遂为当地诸公所器重。民国元年 （1912），委充连阳护商营管带。民国2年（1913），委充广东陆军游击第五营帮统。民国6年（1917），任连县知事。民国7年（1918），任广东省联防局局长。民国8年（1919）9月，任阳山县长。民国9年（1920），护理陆军总司令。民国10年（1921），奉委广东陆军第二军军长。民国 12年（1923），自任广东省省长仅三天，于广州被乱枪击毙。年49岁。",[7,38,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95745bdb2da9269eb917e0cb83e55f24.jpg",[],{"id":40339,"slug":40340,"title":20070,"dynasty":145,"author":40341,"museum":73,"description":40342,"tags":40343,"thumbUrl":40344,"material":920,"size":921,"collection":61,"collections":40345,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241355,"qi-lv-shi-zhou-wang-hong-xu-241355","王鸿绪","王鴻緒（1645年－1723年），初名度心，中进士后改名鴻緒，字季友，号俨斋，又号橫云山人，江南华亭县（今上海松江区）人，清朝史學家，康熙帝親信。",[25,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e5f5c1eafc1dbed4e6e85c0e886ede6.jpg",[],{"id":40347,"slug":40348,"title":20070,"dynasty":18,"author":40349,"museum":73,"description":40350,"tags":40351,"thumbUrl":40352,"material":920,"size":921,"collection":61,"collections":40353,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241350,"qi-lv-shi-zhou-mao-xiang-241350","冒襄","冒襄（1611年－1693年），字辟疆，號巢民。如皋（今屬江蘇）人。明末四公子之一。",[38,7,57,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d43e5b94e0b0d979a25ebd6e66b220.jpg",[],{"id":40355,"slug":40356,"title":40357,"dynasty":145,"author":40358,"museum":73,"description":40359,"tags":40360,"thumbUrl":40361,"material":920,"size":921,"collection":61,"collections":40362,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241339,"fu-zeng-ge-lin-tie-ce-fu-zeng-ge-241339","福增格临帖册","福增格","福增格，满洲正黄旗人，字赞侯，号松岩。乾隆间官福州将军。是清代的一位文学家，代表作有《晚投庄舍赠常纪》《酌雅斋集》等。",[209,38,76,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924ae6fe7fbbde0352edcaa1b48211d1.jpg",[],{"id":40364,"slug":40365,"title":30000,"dynasty":145,"author":40366,"museum":73,"description":40367,"tags":40368,"thumbUrl":40369,"material":920,"size":921,"collection":61,"collections":40370,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241329,"lu-wen-zhou-sun-yi-jing-241329","孙诒经","清钱塘（今杭州）人。清咸丰十年(1860年)进士，选翰林院庶吉士，以太平军攻占杭州，乞假归奉其母。",[25,57,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebcd894b1e4b882be24e6c1a4704000.jpg",[],{"id":40372,"slug":40373,"title":30000,"dynasty":145,"author":40374,"museum":73,"description":40375,"tags":40376,"thumbUrl":40377,"material":920,"size":921,"collection":61,"collections":40378,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},241328,"lu-wen-zhou-wu-xi-qi-241328","吴锡麒","吴锡麒（1746～1818），清代文学家。字圣征，号縠人。钱塘（今浙江杭州）人。 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[1] 。康熙二十五年初夏（1686）受好友汤斌推荐，被封为少詹事，入值上书房，教授太子允礽书法。翌年，以病辞归，大兴嵩阳书院教育事业。康熙三十年（1693）病卒，终年71岁。有《敬恕堂存稿》。",[57,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c6fa98bad7adac1a18a2c07127d1b9.jpg",[],{"id":41984,"slug":41985,"title":10904,"dynasty":145,"author":41986,"museum":73,"description":41987,"tags":41988,"thumbUrl":41989,"material":920,"size":921,"collection":61,"collections":41990,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240617,"shi-zhou-qiu-zun-sheng-240617","裘尊生","清代画家，生卒年不详，约活动于雍正、乾隆年间。字果万，一字义门，号青萝，钱塘（今杭州）人。雍正年间（1723—1735）客淮扬（今扬州）。工人物、花鸟，尤擅墨荷。",[24,25,38,57,7,80,177,495,376,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b8d50b4bee086ea5129e1313ca07eb.jpg",[],{"id":41992,"slug":41993,"title":41994,"dynasty":145,"author":41995,"museum":73,"description":41996,"tags":41997,"thumbUrl":41998,"material":920,"size":921,"collection":61,"collections":41999,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240612,"hu-song-shi-juan-hu-song-240612","胡宋诗卷","胡宋","此作以狂草写就，满卷笔墨奔纵不羁。字势连绵缠绕，欹正相生，通篇行气贯通如长河奔涌，一气呵成。点画粗细枯湿变幻丰富，提按转折尽显笔法老辣苍劲，枯笔似锥画沙，瘦硬通神；润墨饱满沉厚，腴润酣畅。\n\n整幅章法虚实错落，疏密间尽显匠心。书家将满腔意气裹挟于笔墨，笔锋起落之间皆是情绪起伏，把草书抒情写意的特性挥洒到极致，如一曲慷慨长歌倾泻于尺素之上，尽显狂草书体的豪放风神，尽显文人狂放襟怀。",[23,145,38,26,7,1014,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2209f8038b31a35c4bdfdfae908635fa.jpg",[],{"id":42001,"slug":42002,"title":10904,"dynasty":18,"author":23535,"museum":73,"description":42003,"tags":42004,"thumbUrl":42005,"material":920,"size":921,"collection":61,"collections":42006,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240606,"shi-zhou-li-dai-wen-240606","李待问（1603—1645），字存我，南直隶松江华亭（今属上海市奉贤区西渡街道灯塔村）人，崇祯十六年进士，授中书舍人，后在抵御清兵时被杀害。工文章，兼精书法，尤善行草书，远宗二王，近受董其昌影响，书风恬淡清新。松江博物馆藏有手迹行书诗轴。著有《玉裕堂存稿》。",[24,25,38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa740404f4b7b38d24e9f4ce6fd7dbb12.jpg",[],{"id":42008,"slug":42009,"title":10904,"dynasty":145,"author":42010,"museum":73,"description":42011,"tags":42012,"thumbUrl":42013,"material":920,"size":921,"collection":61,"collections":42014,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240603,"shi-zhou-xu-liang-240603","徐良","这件行书诗轴笔致清逸灵动，以婉转的牵丝映带串联字形，行气舒朗贯通。笔墨干湿互见，起收间爽劲利落，既有帖学书法的秀雅温润，又暗蕴筋骨力道。\n书写陶弘景《诏问山中何所有赋诗以答》，笔墨风神与诗意浑然相融，将岭云自赏、不与世萦的林下襟怀，随笔墨流转徐徐铺展，字里行间尽显淡宕出尘的文人意趣，尽显清代行书雅正秀逸的典型风貌。",[3383,38,7,57,58,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea52ec5bdc3d7d49abdc39ec5f3e6c.jpg",[],{"id":42016,"slug":42017,"title":10904,"dynasty":145,"author":42018,"museum":73,"description":42019,"tags":42020,"thumbUrl":42021,"material":920,"size":921,"collection":61,"collections":42022,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240601,"shi-zhou-yang-yu-240601","杨堉","杨堉，福建晋江人。幼号神童，既冠，弃举子业，欲游京师，道出吴门，邃为黄氏馆甥。爱金陵江山之胜，乃卜宅焉。",[3383,24,25,57,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd753538e5ea11065bb51cae08746bd6d.jpg",[],{"id":42024,"slug":42025,"title":42026,"dynasty":18,"author":220,"museum":73,"description":42027,"tags":42028,"thumbUrl":42029,"material":920,"size":921,"collection":61,"collections":42030,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240594,"lai-fu-shi-juan-yi-ming-240594","来复诗卷","此卷行草笔墨纵横跌宕，满纸意气流转。全篇行气贯通，字势欹侧相生，牵丝映带间尽显随性洒脱。用笔枯湿浓淡变幻自然，疾笔处线条爽利劲挺，似将胸中块垒肆意挥洒；缓书时裹锋徐行，墨色温润晕染，藏着文心雅致。\n\n章法错落不拘，字距行距随诗文情绪排布，把诗作感怀融入笔墨节律。通篇酣畅淋漓，既有文人书法的书卷清气，又带着疏狂不羁的抒怀意气，诗心与笔意浑然相融，提按转折皆是心绪吐露，尽显尚态抒情的书法意趣，是以笔写心、诗书合一的佳作。",[23,25,26,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c089416dbfa1f2b0be8c98b02e5cdba.jpg",[],{"id":42032,"slug":42033,"title":42034,"dynasty":18,"author":220,"museum":73,"description":42035,"tags":42036,"thumbUrl":42037,"material":920,"size":921,"collection":61,"collections":42038,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240593,"ye-sheng-shi-zhou-yi-ming-240593","叶盛诗轴","此作用笔纵逸洒脱，行书笔意婉转流丽，牵丝映带自然灵动，墨色枯湿浓淡富于层次变化。字形欹正相生，开合有度，章法纵有行横无列，错落间自具和谐意韵。将诗中壮心未泯的沉郁豪怀融于笔墨流转，枯笔见筋骨，湿墨显浑厚，藏露锋兼用，苍劲又不失朴拙质感。以笔墨载诗情，萧散雄健尽显行书意趣，把诗意与书韵相融，尽显文人书法抒情特质与传统笔墨的精神内涵。",[3018,38,57,7,58,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F251fac5b064138eb4a01af03c31c9a52.jpg",[],{"id":42040,"slug":42041,"title":42042,"dynasty":18,"author":42043,"museum":73,"description":42044,"tags":42045,"thumbUrl":42046,"material":920,"size":921,"collection":61,"collections":42047,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240591,"shu-zha-zhou-xu-wei-240591","书札轴","徐囗","此作为两帧行书尺牍，笔墨率意而不失雅度。字势错落欹侧，行气疏朗贯通，点画藏露相生，粗细映带间尽显帖学流美意趣。信手挥毫间，将日常酬酢的松弛鲜活，融于文人书法的雅致法度之内。\n\n尺牍以友朋通信为内容，笔墨间浸透着往来唱和的文人情谊。简淡清隽的纸面，将实用书写与审美意趣相融，尽显士人信笔挥洒的萧散风神，是兼具日常温度与笔墨价值的小品书法佳作。",[38,7,1014,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe046ace194a28fb8ade6aca091a72613.jpg",[],{"id":42049,"slug":42050,"title":9668,"dynasty":18,"author":105,"museum":73,"description":8082,"tags":42051,"thumbUrl":42052,"material":920,"size":921,"collection":61,"collections":42053,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},24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。性伉直，意气伟然。力学不倦，日索奇文秘籍读之。岁贡生，署赣榆训导。康熙十八年，（公元一六七九年）荐应“博学鸿儒”，试列一等。授翰林院检讨，纂修明史。著有《崇祯长编》《悔斋集》《使琉球杂录》《册封疏钞》《中州沿革志》《补天石传奇》《观海集》一卷等。",[25,57,7,58,27,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56698fc3ca1e8a5152bca243859ba4f8.jpg",[],{"id":42316,"slug":42317,"title":10904,"dynasty":145,"author":42318,"museum":73,"description":42319,"tags":42320,"thumbUrl":42321,"material":920,"size":921,"collection":61,"collections":42322,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240444,"shi-zhou-xiong-yi-xiao-240444","熊一潇","熊一潇（1638—1706），字汉若，号蔚怀，南昌府南昌人。康熙甲辰科进士，选庶吉士。累官至工部尚书。施政务实有为。",[24,25,57,7,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5214565d607e4d08ed3affcc93f530e6.jpg",[],{"id":42324,"slug":42325,"title":18713,"dynasty":145,"author":42326,"museum":73,"description":42327,"tags":42328,"thumbUrl":42329,"material":920,"size":921,"collection":61,"collections":42330,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240443,"lu-yu-zhou-qian-da-xin-240443","钱大昕","钱大昕（1728年2月16日—1804年11月2日），字晓征，又字及之，号辛楣，晚年自署竹汀居士，江苏太仓州嘉定县望仙桥河东宅（今属上海市嘉定区望新乡）人。清代史学家、文学家、教育家，乾嘉学派代表人物。\n钱大昕早年以诗赋闻名江南。乾隆十六年（1751年），因向乾隆帝献赋被提督学政庄有恭选为一等。后在召试中被评为一等，特赐举人，授内阁中书学习行走。乾隆十九年（1754年）三月，中进士，经御试后改翰林院庶吉士。其后历任翰林院编修、右春坊右赞善、武英殿纂修官、功臣馆纂修官、詹事府少詹事，提督广东学政。期间还出任过会试同考官及山东、湖南、浙江、河南等地乡试考官。乾隆四十年（1775年），因父丧归里，从此引疾不仕。归田三十年，潜心著述课徒，历主钟山、娄东、紫阳书院讲席，出其门下之士多至二千余人。嘉庆九年（1804年），于苏州紫阳书院逝世，享年七十七岁。\n钱大昕是18世纪中国渊博和专精的学术大师，其学以“实事求是”为宗旨，其治学范围广博精深，在史学、经学、小学、算学、校勘学及金石学等学术领域，均有建树和创见。有《十驾斋养新录》，后世以之与顾炎武《日知录》并称。一生著述甚富，后世辑为《潜研堂丛书》刊行。",[38,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a386ae99dd5b1caaeb4cd15efb5ec2.jpg",[],{"id":42332,"slug":42333,"title":10904,"dynasty":18,"author":34992,"museum":73,"description":34993,"tags":42334,"thumbUrl":42335,"material":920,"size":921,"collection":61,"collections":42336,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240442,"shi-zhou-yan-yan-240442",[24,25,57,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bcc8bcfc70d78b124913c66cd41d39a.jpg",[],{"id":42338,"slug":42339,"title":42340,"dynasty":18,"author":42341,"museum":73,"description":42342,"tags":42343,"thumbUrl":42344,"material":920,"size":921,"collection":61,"collections":42345,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240432,"si-jia-ge-ti-shu-shi-shan-mian-wang-han-guang-240432","四家各体书诗扇面","王含光","字表朴，一字鹤山，号似鹤，自署鹤道人。猗氏（今山西临猗）人。崇祯四年（一六三一）进士。祖珍吾，父春桢，俱进士。",[2579,38,7,1014,2031,223,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08df808dd18425dd384001786198802c.jpg",[],{"id":42347,"slug":42348,"title":10904,"dynasty":145,"author":42349,"museum":73,"description":42350,"tags":42351,"thumbUrl":42355,"material":920,"size":921,"collection":61,"collections":42356,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240401,"shi-zhou-wang-chong-jian-240401","王崇简","字敬哉，一作敬斋，顺天府宛平（今北京市）人。明崇祯十六年（1643年）中进士。顺治三年授内翰林国史院庶吉士，历任秘书院检讨、国子监祭酒、弘文院侍读学士、詹事府少詹事、吏部侍郎、礼部尚书、太子太保等职。谥文贞。有《青箱堂文集》《青箱堂诗集》传世。",[25,57,7,38,58,1444,14565,42352,402,42353,42354],"灯","烟光","雪影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f7a51c07a411bf2265d534cbd10a29.jpg",[],{"id":42358,"slug":42359,"title":42360,"dynasty":18,"author":42361,"museum":73,"description":42362,"tags":42363,"thumbUrl":42364,"material":920,"size":921,"collection":61,"collections":42365,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240385,"su-tai-ming-bai-shi-shan-mian-xu-qian-240385","苏台明白诗扇面","徐汧","徐汧（汉语拼音：qiān，？－1645年），字九一，号勿斋，直隶长洲县人。明朝政治人物。生平少时孤贫，与同里杨廷枢相友善",[2579,38,7,27,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bedcdd5d6fe9d755366b40c1e98748.jpg",[],{"id":42367,"slug":42368,"title":20192,"dynasty":18,"author":42369,"museum":73,"description":42370,"tags":42371,"thumbUrl":42372,"material":920,"size":921,"collection":61,"collections":42373,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240382,"shi-shan-mian-fang-feng-nian-240382","方逢年","方逢年（1585年－1646年），字书田，浙江省严州府遂安县（今浙江省淳安县）人。明末政治人物，进士出身，官至资善大夫、柱国、少傅、东阁大学士兼礼部尚书。",[2579,7,58,38,27,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b031ca4aba7efdb181ea431449b766.jpg",[],{"id":42375,"slug":42376,"title":17850,"dynasty":18,"author":42377,"museum":73,"description":42378,"tags":42379,"thumbUrl":42380,"material":920,"size":921,"collection":61,"collections":42381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240379,"shi-ye-zheng-da-tong-240379","郑大同","郑大同，字皆吾，号于野，生卒年不详，莆阳城关观桥书仓巷人。郑氏族联云：“家传诗教，系出荥阳。”“宋元明三朝赐命，忠孝义百世流芳。”",[25,7,38,209,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1bce10a358eac24d2d47c97cc5eb7d3.jpg",[],{"id":42383,"slug":42384,"title":17850,"dynasty":18,"author":42385,"museum":73,"description":42386,"tags":42387,"thumbUrl":42388,"material":920,"size":921,"collection":61,"collections":42389,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},240364,"shi-ye-chen-ke-240364","陈柯","陈柯（？－？），字君则，福建福州府闽县人，民籍，明朝政治人物。",[25,38,209,7,58,27],"https:\u002F\u002Fo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），字原博，号匏庵、玉亭主，世称匏庵先生。直隶长州（今江苏苏州）人。明代名臣、诗人、散文家、书法家。\n吴宽为明宪宗成化八年（1472年）状元，授翰林修撰，曾侍奉孝宗读书。孝宗即位，迁左庶子，预修《宪宗实录》，进少詹事兼侍读学士。官至礼部尚书，卒赠太子太保，谥号“文定”。\n吴宽的诗深厚醲郁，自成一家，著有《匏庵集》。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。\n吴宽生于明宣宗宣德十年（1435）。他成年后，以文章及品行闻名于诸生之中。明宪宗成化八年（1472年），吴宽在会试、廷试中均获第一，为明朝苏州第二位状元。后任翰林院修撰。曾侍皇太子朱佑樘，秩满进宫为右谕德。\n成化二十三年（1487）宪宗驾崩，皇太子朱祐樘即位，是为孝宗。吴宽以东宫旧僚身份，迁左庶子，参与修撰《宪宗实录》，进少詹事兼侍读学士。\n弘治八年（1495年），升任吏部右侍郞。适逢继母去世，吴宽守孝归家。吏部缺员，孝宗命虚位待之，待吴宽守丧三年，让其掌詹事府事，入直东阁，专典诰敕，并侍从皇太子朱厚照。\n宦官大多不愿让太子接近儒臣，多次用他事间断讲读。吴宽率领僚属上疏说：“东宫讲学，寒、暑及风雨天就停讲，每月初一、十五和节日停讲，讲学一年不过数月，一月不过数日，一日不过数刻。是进讲的时间少，停讲的日子多，怎能容许又借其他事妨碍讲学。古人八岁时就随师学习，居宿于外，是想他远离不好的环境亲近君子。百姓尚且如此，况且是天下之本的太子呢？”孝宗赞许并接纳了他的意见。\n弘治十六年（1503年），吴宽升任礼部尚书，仍掌詹事府事。他是当时文学侍从之臣中声望最高的一位。另一位状元谢迁进入内阁后，曾经建议引吴宽入阁参与机务，但遭到另一位阁臣刘健的反对。一次，谢迁又说：“吴公的科第、年岁、声望都超过我，我实在是自愧不如，哪是寄情于吴公呢？”到谢迁引退时，举荐吴宽接替自己，其建议仍未被采用。朝内外都为吴宽惋惜，但吴宽很是坦然，说道：“我一开始就没有入阁的念头。”\n孝庄钱太后去世时，朝臣商议将来孝肃周太后去世，与钱太后一同合葬到明英宗的裕陵中，将灵位纎享到太庙中英宗的庙室里，享受原配待遇。弘治十七年（1504年），孝肃周太后去世，准备纎享太庙，孝宗却认为将英宗周贵妃（周太后）与英宗钱皇后一同祔享太庙不合适，要求礼官重新讨论。吴宽说《诗经·鲁颂》中的《閟宫》篇以及《春秋》记载的仲子之宫都是另建一神庙，认为汉、唐也是依照此例。正好朝臣大多也主张周太后纎享别庙，孝宗允准。\n吴宽七十岁时，多次因病请辞，都被慰留，后于弘治十七年（1504年）七月十日（8月19日） 卒于礼部尚书任上。孝宗闻讯后，派官治丧，加祭二坛。追赠太子太保，谥号“文定” 。葬于木渎西花园山。孝宗破格封赠了他的两个儿子，授长子吴奭为中书舍人，补次子吴奂为国子生。\n吴宽操行高洁，不受外界的评价所干扰，对自身严格要求。他对于书籍涉猎广泛，善诗能书。他有几顷田，曾用以救济亲友中的贫困者。友人贺恩患病后，吴宽将他接到家里照顾，日夜探视。贺恩病逝后，吴宽为他服丧达一月之久。\n吴宽少壮时好学，于书无所不读，尤喜《左传》《汉书》以及唐宋大家的散文，最喜苏轼文章。他学有根底，诗文和平恬雅，有典则。《明诗评》说：“文定力扫浮靡，一归雅淡，诗如杨柳受风，煦然不冽；又如学究论天下事，亹亹竟日，本色自露。”代表作有七律《悼沈癯樵画史》《题杨铁崖墓铭后》《送张兼素出知施宗州》《谢顾良弼李世贤携酒过访》等，七古有《赋黄楼送李贞伯》等。诗文集有《家藏集》77卷，其中诗30卷，文40卷，为吴宽自订。后7卷疑为其子所增益。\n吴宽工书法 [13] ，善写真、行、草书，尤工行书，源出自苏东坡，为尊其人而爱其艺，故其书法师承东坡笔意。吴宽《跋黄庭坚“诸上座帖”》云：昔东坡见山谷草书，从旁称叹。钱穆父独惜，以为未见怀素真迹。后山谷见《自叙帖》，书法遂觉顿异。不审此卷作时是尝见耶，抑或未见耶？职方公深于书者，藏此必能辨之。\n书法家邢侗在《来禽馆帖》中曾说：“匏翁吴中前辈，行谊擅绝，不直文翰之工尔也。书法法苏学士，浓颜厚面，祛去吴习。” 吴宽学习的是苏东坡“端庄淳朴，凝重厚实”的书风，而一反当时吴中盛行的“纤巧媚美”风格。 吴宽学习苏书，以摹手追，神形兼善，更可贵的是其笔法能出新意。因此，王鏊说他“作书姿润时出奇倔，虽规模于苏而多自得。”（《震泽集》卷二）这是他能高于同时代一般书法家之所在。对稍后步入书坛的书法家祝允明、文征明等人，起到了开路先锋的作用。\n吴宽有时也作草书，喜用狂草体。他常临摹唐代著名书法家怀素和尚的《自叙帖》，几乎到乱真的境地。吴宽的传世书迹较多，如《种竹诗卷》、《题赵孟頫重江迭嶂图诗》等都是精品。《种竹诗卷》，书于弘治七年（1494），时年60余岁。纸本墨迹。行书，长卷。纵28.2厘米，横582.6厘米。上海博物馆藏。米芾书法墨拓《韩昌黎诗录三章》卷首有吴宽题跋，语曰：“昔人云米海岳书如风吹阵马，观其沉着痛快，当与钟王并行，非虚语也。”成化二年立秋日，延陵吴宽。印文：吴宽（与中国书画家印鉴款识相符）成化二年（1466年、丙戌），吴宽时年31岁，延陵镇为江苏丹阳县所属，进士录中吴宽户籍为“匠籍”，可能由中进士前的延陵（丹阳）迁到苏州。\n吴宽喜藏书，和藏书家沈周、王鏊等交游颇深，藏书以抄本多见，其抄本用红印格抄写，以私印记之。时吴中藏书家多以密册珍籍相夸尚，如朱存理、阎起山、都穆辈皆仿其抄本。抄书笔法绝伦，叶德辉称“自明以来，藏家最珍并争藏之本，首列吴抄”。《静志居诗话》云：“是时吴中藏书家多以秘册相尚，若朱性甫、吴原博、闫秀卿、都玄敬辈皆手自抄录。匏庵遗书流传者悉公手录，以私印记之，前辈风流，不可及也。”所藏抄本《嵇康集》10卷，有顾广圻、张燕昌题跋各一则，黄不烈（署荛翁、复翁）题跋三则。在京为官一品，获赐有《贞观政要》等书。藏书楼名“丛书堂”，《丛书堂书目》1卷，今已佚。预修有《宪宗实录》。著有《家藏集》77卷。",[23,18,2579,38,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c533997c02fc2b12e843fe75a20707.jpg",[],{"id":43700,"slug":43701,"title":43702,"dynasty":18,"author":36783,"museum":53,"description":36784,"tags":43703,"thumbUrl":43706,"material":407,"size":43707,"collection":61,"collections":43708,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":46},222325,"zhi-qing-shi-zun-zhang-chi-du-zhang-xian-yi-222325","致磬石尊丈尺牍",[38,7,1698,58,10323,2052,43704,43705],"界格","装饰边框","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1029aaebc98637d9cfccd05aed34a.jpg","27.4×35.6",[],{"id":43710,"slug":43711,"title":43712,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":43713,"thumbUrl":43714,"material":407,"size":18495,"collection":61,"collections":43715,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":18497},222268,"nan-hua-zhen-jing-21-wang-chong-222268","南华真经21",[23,25,38,7,1735,27,209,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edfdc3709a13b97cdeb45b7d6c4ab40.jpg",[],{"id":43717,"slug":43718,"title":43719,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":43720,"thumbUrl":43721,"material":407,"size":18495,"collection":61,"collections":43722,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":18497},222267,"nan-hua-zhen-jing-20-wang-chong-222267","南华真经20",[23,38,7,1735,1244,10323,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9d9945f7e9b533d5a71c3d4e3ff8a1.jpg",[],{"id":43724,"slug":43725,"title":43726,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":43727,"thumbUrl":43728,"material":407,"size":18495,"collection":61,"collections":43729,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":18497},222265,"nan-hua-zhen-jing-18-wang-chong-222265","南华真经18",[23,38,36814,7,1735,27,25,1140,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd34391f7d7a71ce925449b76deb4397.jpg",[],{"id":43731,"slug":43732,"title":43733,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":43734,"thumbUrl":43735,"material":407,"size":18495,"collection":61,"collections":43736,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":18497},222264,"nan-hua-zhen-jing-17-wang-chong-222264","南华真经17",[23,38,7,1735,1140,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021e514c6ca0964ddd9fef81d605f4ef.jpg",[],{"id":43738,"slug":43739,"title":43740,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":43741,"thumbUrl":43742,"material":407,"size":18495,"collection":61,"collections":43743,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":18497},222261,"nan-hua-zhen-jing-14-wang-chong-222261","南华真经14",[23,38,7,1735,27,196,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412d74436a18ca72abf57a4eafe90106.jpg",[],{"id":43745,"slug":43746,"title":43747,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":43748,"thumbUrl":43749,"material":407,"size":18495,"collection":61,"collections":43750,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":18497},222259,"nan-hua-zhen-jing-12-wang-chong-222259","南华真经12",[23,38,25,7,1735,27,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7daf38893291720fc74561bb5c3441a.jpg",[],{"id":43752,"slug":43753,"title":43754,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":43755,"thumbUrl":43756,"material":407,"size":18495,"collection":61,"collections":43757,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":18497},222258,"nan-hua-zhen-jing-11-wang-chong-222258","南华真经11",[23,38,7,1735,25,24,27,1698,1244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412cf683d87c4f14c4636b763d87acff.jpg",[],{"id":43759,"slug":43760,"title":43761,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":43762,"thumbUrl":43763,"material":407,"size":18495,"collection":61,"collections":43764,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":18497},222256,"nan-hua-zhen-jing-9-wang-chong-222256","南华真经9",[23,25,38,7,1735,27,209,18,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced953e0bd2f8f9376195bd91e8f1da0.jpg",[],{"id":43766,"slug":43767,"title":43768,"dynasty":18,"author":3424,"museum":18492,"description":8176,"tags":43769,"th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