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、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》。",[24,207,208,209,74,210,7],"楷书","册","书画","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ffe7149ebe943943cbfc7b59fb81d9.jpg",[],21,"795548",{"id":216,"slug":217,"title":218,"dynasty":18,"author":71,"museum":130,"description":219,"tags":220,"thumbUrl":224,"material":142,"size":143,"collection":196,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":43},288346,"fang-xia-gui-mao-yu-xun-zhuang-tu-yi-ming-288346","仿夏圭冒雨寻庄图","以边角取景写尽江南烟雨之致。坡岸逶迤间，林木蓊郁错落，掩映着三两村居，小径萦回，似可听闻淅沥雨声。远景以淡墨晕染山峦，与空濛天色相融，留白处满含烟雨潮气，将冒雨寻庄的迷蒙静谧铺陈开来。\n\n画面以简淡笔墨勾勒皴擦，墨色干湿浓淡层次丰富，将雨天湿润的空气质感表现尽致，带着宋人独有的含蓄雅致，把郊野雨景的清冷幽寂藏于方寸圆幅之中，尽显山居野逸的诗意氛围，引人遐想冒雨途中的悠然心境。",[75,74,189,158,7,221,81,222,223,27],"山峦","屋舍","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd427350b61575b9e153a5f1a8a378775.jpg",[],20,{"id":228,"slug":229,"title":230,"dynasty":231,"author":232,"museum":96,"description":233,"tags":234,"thumbUrl":239,"material":178,"size":240,"collection":39,"collections":241,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":43},240043,"xing-shu-yuan-ren-shi-zhou-liang-shi-zheng-240043","行书元人诗轴","清","梁诗正","释文：\n每忆城西路，曾来好画亭。兰花经雨白，野竹入云青。\n波影浮春砌，山光扑昼扃。褰衣对萝薜，凉月照人醒。\n元人一律。梁师正。\n款署 “梁诗正”，钤“梁诗正”白文印、“薌林”朱文印。引首钤“十二楼前侍从印”朱文椭圆形印。\n此幅书元王士熙《题玩芳亭五首》之一。梁诗正书法初学柳公权，后参以赵孟頫、文徵明，晚年师法颜真卿、李邕。此作笔画伸展，结字严紧，骨力矫健，集众家之长，得雍容俊拔之态。",[235,25,24,79,166,104,156,236,31,237,238,7],"立轴","山光","波","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3553d66abb03032c0de31ff38bc875ed.jpg","纵129厘米，横56.8厘米",[39],{"id":243,"slug":244,"title":245,"dynasty":231,"author":246,"museum":96,"description":247,"tags":248,"thumbUrl":254,"material":196,"size":196,"collection":39,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":43},240034,"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗","石涛","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。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。对后来扬州画派和近代画风，影响极大。",[209,24,25,28,27,7,31,249,250,251,252,253,156,161],"楼","青山","洲","树影","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg",[39],15,{"id":258,"slug":259,"title":260,"dynasty":231,"author":261,"museum":130,"description":262,"tags":263,"thumbUrl":269,"material":270,"size":271,"collection":39,"collections":272,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":66},224438,"yong-luo-hua-qi-lv-shi-wu-zhang-he-shao-ji-224438","咏落花七律十五章","何绍基","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。",[23,24,25,26,264,173,30,265,7,105,115,53,31,266,79,112,267,268],"落花","酒","水","柳","桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99b11b1e1294d79f91b13adc0f6273.jpg","行草","横30厘米，纵181厘米",[39],{"id":274,"slug":275,"title":276,"dynasty":128,"author":129,"museum":130,"description":131,"tags":277,"thumbUrl":282,"material":142,"size":143,"collection":144,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":214},225799,"rain-1889-fan-gao-225799","Rain 1889",[74,133,278,7,279,280,281],"后印象派","田野","乡村","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e6c6827ec14e6fa868ddfeaecf6b1e.jpg",[144],11,{"id":286,"slug":287,"title":288,"dynasty":289,"author":290,"museum":96,"description":291,"tags":292,"thumbUrl":298,"material":37,"size":299,"collection":39,"collections":300,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":43},239623,"wu-gu-shi-tie-ye-zhang-yuan-239623","五古诗帖页","元","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。",[25,24,210,27,28,293,100,53,294,114,295,172,118,105,169,107,296,58,31,297,7,104],"册页","田","草","潭","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724ec50f12966d6fdc1a11a385cc48b9.jpg","纵27.4厘米, 横52.7厘米",[39],10,{"id":303,"slug":304,"title":305,"dynasty":94,"author":306,"museum":130,"description":307,"tags":308,"thumbUrl":315,"material":142,"size":143,"collection":196,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":43},240667,"zhuan-shu-chun-jiang-qu-shi-zhou-wang-qi-shu-240667","篆书春江曲诗轴","汪启淑","汪启淑（1728-1799）字秀峰，号讱庵，一字慎仪。自称“印癖先生”。清著名藏书家、金石学家、篆刻家安徽歙县人，居于杭州。家以经商致富，遂捐官为工部都水司郎中，迁至兵部郎中。喜交友，与厉鹗、杭世骏、朱樟结“南屏诗社”。嗜古代印章，曾搜罗周代、秦代迄宋、元、明各朝印章数万钮。又精纂刻，在巨珠上刻篆文，以补诸品中所未备。",[309,24,235,27,30,115,310,311,312,313,172,114,314,7,31],"篆书","浪","星","杨花","雾","鸥鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2886693bfc35e9ee748bceda1b07557.jpg",[],9,{"id":319,"slug":320,"title":321,"dynasty":128,"author":71,"museum":130,"description":322,"tags":323,"thumbUrl":326,"material":142,"size":143,"collection":196,"collections":327,"showCount":328,"zanCount":11,"manualWeight":11,"mainColor":214},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。",[23,75,209,28,223,25,24,27,158,324,106,7,53,266,58,31,175,325,51],"芭蕉","屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff965d35070656840bce03fd2737af2ec.jpg",[],7,{"id":330,"slug":331,"title":332,"dynasty":231,"author":333,"museum":130,"description":334,"tags":335,"thumbUrl":340,"material":142,"size":143,"collection":196,"collections":341,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},240845,"shi-zhou-li-fang-ying-240845","诗轴","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。",[209,235,25,24,27,7,112,336,294,337,338,339],"湖","渠","马","车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141a41c616b5c4177e13d57a8186737.jpg",[],{"id":343,"slug":344,"title":345,"dynasty":94,"author":346,"museum":347,"description":348,"tags":349,"thumbUrl":352,"material":25,"size":353,"collection":196,"collections":354,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":214},221976,"yong-hua-shi-juan-wen-zheng-ming-221976","咏花诗卷","文徴明","河北省博物馆","行草书录其旧作咏花诗七律十二首，《文徵明杂花诗卷》曾经安岐、清内府及陈夔麟等收藏，现藏上海博物馆。今将《文徵明杂花诗卷》墨迹影印出版，以飨广大书法爱好者。",[23,24,25,26,27,165,169,350,115,7,105,173,238,351,266],"梨花","蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069ed314ba6e32260b4023881b7ef8a7.jpg","纵39.3厘米，横546厘米",[],{"id":356,"slug":357,"title":358,"dynasty":289,"author":359,"museum":20,"description":360,"tags":361,"thumbUrl":363,"material":37,"size":364,"collection":196,"collections":365,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":43},221761,"qi-yan-lv-shi-liang-qi-221761","七言律诗","良琦","释良琦，字元璞，苏州人。住天平山之龙门寺。与顾阿瑛、陶宗仪、张渥等交游甚密。元末随顾瑛移居嘉兴,住城东兴圣寺。既究禅理，兼通儒学，亦能诗文。",[23,74,209,24,25,28,27,7,161,156,104,79,362],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4867de88d29dfd67b134418ad75ba572.jpg","50.8x73.9厘米",[],5,{"id":368,"slug":369,"title":370,"dynasty":231,"author":371,"museum":130,"description":372,"tags":373,"thumbUrl":375,"material":37,"size":196,"collection":39,"collections":376,"showCount":377,"zanCount":11,"manualWeight":11,"mainColor":43},240112,"shi-ye-wang-shi-zhen-240112","诗页","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。",[25,24,27,28,158,59,31,7,110,295,164,30,374,266],"城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[39],4,{"id":379,"slug":380,"title":381,"dynasty":231,"author":382,"museum":130,"description":383,"tags":384,"thumbUrl":387,"material":37,"size":196,"collection":39,"collections":388,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":43},240707,"shi-juan-zhou-shao-xing-240707","诗卷","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[23,24,26,25,385,27,30,105,115,175,33,386,104,51,238,265,112,53,266,31,7,110,165,166,167],"草书","梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[39],{"id":390,"slug":391,"title":392,"dynasty":231,"author":393,"museum":130,"description":394,"tags":395,"thumbUrl":403,"material":142,"size":143,"collection":196,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":43},240827,"gui-zhuang-qi-jue-shi-zhou-gui-zhuang-240827","归荘七绝诗轴","归庄","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》。",[24,25,235,27,28,7,396,397,398,399,400,401,402],"芙蓉","霜","枫","渔","梅花","映日","红霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8abaae6b532fe1956437f8ab88d579.jpg",[],2,{"id":407,"slug":408,"title":381,"dynasty":231,"author":409,"museum":96,"description":410,"tags":411,"thumbUrl":416,"material":417,"size":418,"collection":39,"collections":419,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":43},240703,"shi-juan-cha-ji-zuo-240703","查继佐","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， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[23,24,26,25,28,27,412,413,114,7,336,238,105,115,106,414,112,136,161,157,156,415,79,162,159,158,165,166,104,167],"江南","芳草","鸟","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[39],{"id":421,"slug":422,"title":423,"dynasty":231,"author":424,"museum":130,"description":425,"tags":426,"thumbUrl":433,"material":196,"size":196,"collection":196,"collections":434,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":43},231048,"xing-shu-zhou-lin-shu-231048","行书轴","林纾","此作用笔苍朴老辣，揉合帖学流秀与碑学沉厚，起收可见颜体沉雄，又兼得苏黄萧散意韵。通篇行气疏朗，字势错落欹侧，首句起笔舒缓墨足，随诗文情绪铺展，笔墨愈见跳宕，至末句笔锋开张，尽显放达之态。题款小字敛藏锋芒，与正文虚实相映，章法疏密得宜。\n\n以文人笔意入书，将诗文禅寂悠然融于笔墨间，整幅既是书法佳构，亦是作者心性襟怀的展露，漫溢出山林世外的清逸意趣。",[23,74,75,209,24,25,235,427,428,7,55,31,429,111,430,431,53,165,432],"水寺","钟楼","深院","船","道人","琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1dfb6014cf5b75cddea9b9ecd5908a.jpg",[],{"id":436,"slug":437,"title":438,"dynasty":94,"author":439,"museum":130,"description":440,"tags":441,"thumbUrl":445,"material":37,"size":196,"collection":39,"collections":446,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":43},241532,"wu-yan-shi-er-shou-ye-zhang-hong-lie-241532","五言诗二首页","张鸿烈","行笔舒展灵动，牵丝映带间尽显流畅雅致，结体端秀又不失飘逸姿态。笔墨与五言诗意相融，将雨中访友、宴饮雅谭的清隽意趣，随着点画流转铺陈开来，暗合着高洁自持的品格抒怀。\n\n通篇疏密得宜，笔画枯湿浓淡相宜，粗细富于变化，尽显尚意风雅风貌。林下风流藏于撇捺之间，整体气息冲淡平和，匀净和谐，是颇具韵致的行书佳构，尽显文人墨客的雅致襟怀。",[209,24,25,27,7,165,31,442,166,443,265,444],"秋水","宴","歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c9dc797aee9870061cd9e78e1611b1.jpg",[39],{"id":448,"slug":449,"title":370,"dynasty":94,"author":450,"museum":130,"description":451,"tags":452,"thumbUrl":454,"material":142,"size":143,"collection":196,"collections":455,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":43},240123,"shi-ye-liu-su-240123","刘塐","此幅行书诗页笔意取法晋唐，萧散简远，尽显文人随性之姿。字形欹正相生，牵丝映带间流转自如，笔墨枯湿浓淡错落，隽秀清雅。\n诗书合璧，以自作春日寄怀之诗入书，将探春闲情融于笔墨寸尺间，下笔松灵圆活，不见刻意雕琢。通篇气息淡远疏朗，尽显尚韵尚意的书法特质，寥寥数行便将文人春日感怀的逸趣尽数铺陈，是小品书法里诗书相融的佳制。",[209,24,25,27,169,267,7,115,238,105,162,453,266,53],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a8f44ea41c0aa32ae63c9c10aad4c.jpg",[],{"id":457,"slug":458,"title":459,"dynasty":231,"author":460,"museum":96,"description":461,"tags":462,"thumbUrl":468,"material":196,"size":196,"collection":196,"collections":469,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":43},234511,"shu-qi-lv-er-shou-ce-ye-li-guang-di-234511","书七律二首册页","李光地","李光地(1642-1718)，字晋卿，号厚庵，别号榕村，福建安溪人。康熙九年(1670)进士，历任翰林院编修、翰林学士、兵部右侍郎、直隶巡抚，协助平定三藩之乱、统一台湾，康熙四十四年(1705年)，拜文渊阁大学士兼吏部尚书。著有《四书解》、《性理精义》、《朱子全书》等书。\n康熙帝：“李光地谨慎清勤，始终一节，学问渊博。朕知之最真，知朕亦无过光地者。”",[24,25,27,293,104,463,297,464,465,79,115,7,105,466,52,58,467,265],"藤","涧","寺","林","谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8452eb7ec141e137b956ad933afcc9.jpg",[],{"id":471,"slug":472,"title":473,"dynasty":128,"author":474,"museum":130,"description":475,"tags":476,"thumbUrl":480,"material":142,"size":143,"collection":196,"collections":481,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":214},232128,"jockeys-in-the-rain-glasgow-art-gallery-and-museum-scotland-de-jia-232128","Jockeys in the Rain - - Glasgow Art Gallery and Museum (Scotland)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[477,133,76,138,338,7,478,479],"印象派","草地","天空 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7925f68a8b78e546b77ab637147da8ce.jpg",[],{"id":483,"slug":484,"title":485,"dynasty":128,"author":71,"museum":130,"description":486,"tags":487,"thumbUrl":490,"material":142,"size":143,"collection":196,"collections":491,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":43},225517,"fu-shi-hui-275-yi-ming-225517","浮世绘275","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。",[135,488,76,138,362,489,7],"木刻","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1421bb850f09393523dea84cd541e.jpg",[],{"id":493,"slug":494,"title":495,"dynasty":231,"author":71,"museum":130,"description":496,"tags":497,"thumbUrl":500,"material":142,"size":143,"collection":196,"collections":501,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},241609,"wei-shu-qi-yan-shi-ye-yi-ming-241609","囗璹七言诗页","此作用笔灵动婉转，牵丝映带自然圆融，行书章法疏密相宜。行笔间时见顿挫，中锋侧锋交替，墨色浓淡晕染有致，将七言诗中江南烟水之景融于笔底。笔墨尽得文人雅韵，通篇气息闲适萧散，将汀洲水禽、暮秋江景的诗意和书法笔意相衬，秀雅清逸的笔调里，藏着江南烟水的朦胧意蕴。整体书卷气浓厚，将诗歌里幽寂清和的江南暮色意境同书法抒情性融为一体，观之如览烟笼江南，韵致悠长，是行书小品里的佳制。",[24,25,27,159,498,160,264,499,110,7,412],"美人","晚风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa013a8ccf05354ca843290a029aaa3ee.jpg",[],{"id":503,"slug":504,"title":505,"dynasty":94,"author":506,"museum":130,"description":507,"tags":508,"thumbUrl":510,"material":142,"size":143,"collection":196,"collections":511,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},241607,"qi-lv-er-shou-juan-zhu-ri-fan-241607","七律二首卷","朱日藩","[明]字子价，江苏宝应人。嘉靖二十三年（一五四四）进士，为乌程令，终九江知府。",[25,24,26,28,27,165,30,112,162,509,7,238],"春风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a68c630101071b11fd919a0c5e07f7.jpg",[],{"id":513,"slug":514,"title":332,"dynasty":231,"author":515,"museum":130,"description":516,"tags":517,"thumbUrl":518,"material":142,"size":143,"collection":196,"collections":519,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":214},240655,"shi-zhou-fang-gong-qian-240655","方拱乾","方拱乾，初名策若，字肃之，号坦庵，又号甦庵、云麓老人、江东髯史等。安徽桐城人。明万历二十四年四月初三日（1596年1月29日）生，卒于1667年。明崇祯元年（1628年）进士，官至少詹。清顺治十四年（1657年），因受江南科场案株连于1659年被流放宁古塔，其五子方章钺因与主考官方犹“联宗”而中举，皇帝令刑部将方章钺“速拿来京，严行详审”，子亦谪宁古塔。顺治十八年即1661年赦归故里，1667年客死扬州，时年72岁。拱乾好写诗，在绝域仍“无一日辍吟咏”，留下不少描写异地史诗，如《鬼妾叹》是描写黑龙江活人殉葬的陋俗。方拱乾著《绝域纪略》（又名《宁古塔》）一书，很有史料价值。方氏是桐城望族。其父方大美曾任御史、太仆寺少卿等职，生有五子，拱乾最小。拱乾少年聪颖，成童时能记六经，7岁“能属诗文”。20岁时，诗文已为世人称许，与同乡姚孙森等5人为友，人称“六骏”。万历四十六年（1618年）中举人。崇祯元年（1628年）中进士，授官庶常。崇祯十三年授编修，累迁中允、左渝德，晋少詹事，充东宫（太子）讲官。崇祯十七年三月十八日，闯王李自成率大顺农民军陷北京，明朝灭亡，拱乾被大顺军俘虏，初受酷刑，以行贿得免。清军入山海关，李自成弃北京退山西，拱乾乘乱南归。",[25,24,27,28,7,31,115,53,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5917108110ee88476633700a0d21cedb.jpg",[],1777535714333]