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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。",[23,75,183,7,30,143,200,184,51,25,49],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[56,203],"碑帖精选",132,{"id":206,"slug":207,"title":208,"dynasty":209,"author":210,"museum":118,"description":211,"tags":212,"thumbUrl":214,"material":7,"size":215,"collection":56,"collections":216,"showCount":217,"zanCount":127,"manualWeight":11,"mainColor":39},220864,"zhen-cao-qian-zi-wen-zhao-meng-fu-220864","真草千字文","元","赵孟頫","赵孟頫临写智永千字文最勤，他自称二十年来写千文以数百。赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。这件册页未署书的年代，观其书用笔极其温润圆劲，点画精到细腻，结字妍美简静。无疑是一本初学者入门的极佳范本。本帖字迹匀称，笔势圆劲流丽，结构布局端庄秀美。不仅具有极高的艺术欣赏价值和收藏价值，也让广大书法爱好者领略到中国古典书法的一种理想境界，以柔寓刚、外柔内刚。初学者可根据每个字的用笔、结构、布势等去临摹。《赵孟頫真草千字文》这本字帖当为罕世珍品，可以说是初学者的最佳范本。",[23,25,213,121,30,7,138,50,51],"真书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd596427226b7898ee2dbf52d1143a72c.jpg","纵:24.7厘米,横:25厘米",[56],118,{"id":219,"slug":220,"title":221,"dynasty":18,"author":222,"museum":118,"description":223,"tags":224,"thumbUrl":230,"material":7,"size":231,"collection":56,"collections":232,"showCount":233,"zanCount":112,"manualWeight":11,"mainColor":39},219153,"kai-shu-qian-yi-zhai-ming-ye-shen-du-219153","楷书·谦益斋铭页","沈度","本幅书《谦益斋铭》。笔墨妍润，风姿俊雅，为“台阁体”书法之典范。",[23,25,104,225,226,227,228,229,7,138],"明代","台阁体","工整","严谨","秀丽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165163e619419312f72d08b1e1a284d1.jpg","纵24.4厘米，横31.3厘米",[56],111,{"id":235,"slug":236,"title":237,"dynasty":44,"author":238,"museum":46,"description":239,"tags":240,"thumbUrl":242,"material":7,"size":243,"collection":56,"collections":244,"showCount":245,"zanCount":161,"manualWeight":11,"mainColor":39},221346,"qian-zi-wen-zhao-ji-221346","千字文","赵佶","宋徽宗是一位极不称职的皇帝，然而却是一位风流的才子。他才世杰出，于琴棋书画皆精，尤其在书法与绘画方面，颇有成就。他自创的[瘦金书]与兼工带写的画作至今为人所推崇。他的书法早年学习唐初四家之一的薛稷，明《书史会要》说徽宗[行昔日、正书笔势劲逸，初学薛稷，变其法度，自号瘦金书。要是意度天成，非可以陈迹求也]。薛稷书法，用笔纤细，结体疏瘦。虽[瘦金书]生发于唐人薛稷已成为共识，但徽宗在此基础上，聪　慧创意成为定型的瘦金体。此书体被后世誉为第一奇书，长横例作鱼头状，中截细若游丝，收笔重顿，竖笔很少作悬针，大多呈一右向倒钩，横与竖过渡折笔侧锋明显，运笔步骤展露无遗，的确不同于任何书体。徽宗还能狂草，笔意纯学怀素，并临怀素《千字文》洋洋洒洒。本法书长达十一米，用的是珍贵的描金云龙签，平添了富丽堂皇的皇家气象。他随意书写的[掠水燕翎寒自转，随泥花片湿相重]团扇，令后世书家赞叹不已。",[25,121,30,7,51,241],"瘦金体风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e764baf1059bcff75f3e36431346a8d.jpg","纵31.2cm，横323.2cm",[56],102,{"id":247,"slug":248,"title":249,"dynasty":209,"author":210,"museum":133,"description":250,"tags":251,"thumbUrl":258,"material":145,"size":259,"collection":56,"collections":260,"showCount":261,"zanCount":161,"manualWeight":11,"mainColor":39},220830,"shu-lun-yu-shi-nan-pei-xing-jian-shu-fa-zhao-meng-fu-220830","书论虞世南裴行俭书法","赵孟頫《论裴行俭书法》行书，来源于赵孟頫与鲜于枢墨迹合册之二\u002F论裴行俭帖。\n唐高宗曾经赐裴行俭白绢，命他书写《昭明文选》。高宗观赏之后，喜爱其用笔的法度，赏赐颇为丰厚。史载裴行俭曾说：“如果不是精美的笔和墨，褚遂良还不曾经常写。不选择笔、墨的好坏而能写得机灵敏捷的，只有我和虞世南而已。”他撰写《选谱》、《草字杂体》等书，有好几万字。\n释文：裴行俭工草隶，名家。帝尝以绢素诏写《文选》，览之，秘爱其法，赉物良厚。行俭每曰：“褚遂良非精笔佳墨，未尝辄书，不择笔墨而妍捷者，余与虞世南耳。”所譔《选谱》、《草字杂体》数万言。又为营阵、部伍、料胜负、别器能等四十六诀，武后使武承嗣就第取去，不复传。\n裴行俭，是大唐军神苏烈的徒弟，“儒将之雄”是对他最好的评价。裴行俭，字守约，绛州闻喜人。唐朝名将、政治家、书法家，隋朝礼部尚书裴仁基次子。裴行俭精通阴阳历法，善于鉴别人才。他工于书法，尤擅草、隶。有文集二十卷，并著有《草字杂体》、《选谱》及兵法秘诀四十六条。 裴行俭不仅是政治家，还是书法家，赵孟頫此帖，记录的便是裴行俭书法。",[25,49,7,51,252,253,254,255,256,257],"圆转流畅","结构严谨","笔法娴熟","复古风格","笔墨细腻","结体端庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbc471608779f041aedd9ec4c182bdb.jpg","38.4x60.6cm",[56],98,{"id":263,"slug":264,"title":265,"dynasty":44,"author":238,"museum":153,"description":266,"tags":267,"thumbUrl":268,"material":269,"size":270,"collection":56,"collections":271,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":162},221348,"cai-xing-chi-juan-zhao-ji-221348","蔡行敕卷","此帖乃宋徽宗赵佶不允蔡行辞殿中省事之手敕。行书，凡二十一字，共一百二十七字。此敕行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。\n此卷是宋徽宗不准蔡行辞去领殿中省之职所颁的敕书全文行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。",[23,136,24,143,30,49,25,51,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deae8a7337124f7de79f711ec96d05f.jpg","手卷","行书35.5 x 214.6 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险怪。须防额痒出三耳，莫放笔端风雨快。",[23,143,25,49,50,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca0aba0cbe56551e7fe404ba6ebb228.jpg","45.3*30.7",[56],68,{"id":308,"slug":309,"title":310,"dynasty":18,"author":19,"museum":133,"description":311,"tags":312,"thumbUrl":314,"material":91,"size":315,"collection":79,"collections":316,"showCount":317,"zanCount":127,"manualWeight":11,"mainColor":39},221996,"hu-xi-cao-tang-hua-xin-wen-zheng-ming-221996","浒溪草堂画芯","作品是作者六十六岁时所作。描绘的是吴邑沉天民的浒溪草堂，既反映了草堂主人淡泊明志，不追逐名利的品格，又对映了主人热情好客的秉性，同时也折射出了作者本人的好恶。\n《浒溪草堂图》原藏沉天民家中，明末遗失。沉天民曾孙沈培风少时曾在朋友姚子文家见到此画，想要购回，却终究没好意思开口，一直是心头的一块心病，念念不忘。二十年后的一天，得知姚子文已于一年前的冬天患病不治而逝的讯息后，沈培风立即前往浙江的姚宅，欲觅得此画，可惜宅内已空无一物。有道是功夫不负有心人，不久有人将画送上门来。经过二十年世事沧桑，百变流转，培风又遇此画，便下定决心说什么也不能让机会从自己身边再次溜走。于是，几乎倾其所有，重金购得，并请工匠重新装裱后珍藏起来。此举显示出培风与其曾祖一样不忘本，具有难得的孝心。当年天民虽生活在城市，但仍不忘先祖的桑梓生活而在城市中修建草堂，取名为浒溪，才得以有画作《浒溪草堂图》留传至今，让后人一睹名家画作的风采。\n此画画法秀润，意境清幽，构图严谨，笔法细腻，设色明快。画面上描绘的是高木浓荫，掩映草堂，群山环抱，清波蜒曲，帆樯林立，榭阁屋宇错落。近处草堂敞轩，二高士案前对坐，正在高谈阔论；远山以石青晕染，近山则石青加赭石微抹，树干纯以赭石钩染，枝叶以石绿加石青点染，背光处加渴墨，显得更加郁郁葱葱。在艺术表现手法上，用笔细腻严谨，山石仅用渴笔微抹，以点苔显出明暗，经营位置，得写生之助化出清幽境界。",[23,24,69,70,71,72,73,74,156,28,313,29,30,7],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb9da20bb028a48cc761920595df3e9.jpg","166 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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》。",[25,49,75,30,143,380,7,138,381,382,383,384],"人物","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",[56,203],50,{"id":390,"slug":391,"title":392,"dynasty":44,"author":393,"museum":133,"description":394,"tags":395,"thumbUrl":398,"material":145,"size":399,"collection":78,"collections":400,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":39},221260,"mo-ji-wang-chuan-tu-ba-qin-guan-221260","摩诘辋川图跋","秦观","余曩卧病汝南。友人高符仲携摩诘辋川图。过直中相示。言能愈疾。遂命童持于枕旁阅之。恍入华子冈。泊文杏竹里馆。与斐（应作裴）迪诸人相酬唱。忘此身之匏系也。因念摩诘画。意在尘外。景在笔端。足以娱性情而悦耳目。前身画师之语非谬已。今何幸复睹是图。仿佛西域雪山。移置眼界。当此盛夏。对之凛凛如立风雪中。觉惠连所赋。犹未尽山林景耳。吁。一笔墨间。向得之而愈病。今得之而清暑。善观者宜以神遇而不徒目视也。五月二十日。高邮秦观记。",[137,49,7,138,396,143,397],"题跋","册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e830ec8acd1dae73308208a6a36dc33.jpg","纵25.2、横39.4cm",[],49,{"id":403,"slug":404,"title":405,"dynasty":18,"author":406,"museum":133,"description":407,"tags":408,"thumbUrl":412,"material":413,"size":78,"collection":79,"collections":414,"showCount":415,"zanCount":11,"manualWeight":11,"mainColor":39},220933,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册","董其昌","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[136,24,143,358,107,69,409,410,75,411,51,49,91,7],"雪景","孤石","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg","绢本与纸本",[79,81],47,{"id":417,"slug":418,"title":419,"dynasty":18,"author":420,"museum":118,"description":421,"tags":422,"thumbUrl":424,"material":7,"size":425,"collection":56,"collections":426,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,136,143,25,49,7,51,423],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54909960222c10b5660fd59f71e7cbad.jpg","纵23.7厘米，横36.7厘米",[56],42,{"id":429,"slug":430,"title":431,"dynasty":18,"author":19,"museum":118,"description":432,"tags":433,"thumbUrl":436,"material":437,"size":438,"collection":79,"collections":439,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":39},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[23,24,434,435,69,70,71,72,74,75,29,76,7],"小桥","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纸本，墨笔","纵95.8厘米，横48.7厘米",[79,81],40,{"id":442,"slug":443,"title":444,"dynasty":44,"author":445,"museum":133,"description":446,"tags":447,"thumbUrl":448,"material":7,"size":449,"collection":56,"collections":450,"showCount":451,"zanCount":174,"manualWeight":11,"mainColor":39},221193,"shu-chi-du-lu-you-221193","书尺牍","陆游","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》。",[25,49,75,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1722258b27ccb271c6c41ad7f642de.jpg","40.5x70.7",[56],39,{"id":453,"slug":454,"title":455,"dynasty":18,"author":406,"museum":153,"description":456,"tags":457,"thumbUrl":458,"material":104,"size":459,"collection":56,"collections":460,"showCount":461,"zanCount":161,"manualWeight":11,"mainColor":39},220907,"qin-zheng-li-xue-zhen-dong-qi-chang-220907","勤政励学箴","以进士官至礼部尚书，富收藏，精鉴赏，为明代晚期的画坛领袖，松江画派的创立者。\n书画集历代名家之长，各有新创，并以“南北宗”理论，对清代艺坛产生了重要影响。\n董其昌书法创作以行草最多，造诣最高，然其楷书造诣颇深、具相当功力。\n此卷是其楷书中的精湛之作，传达出淡雅萧散的逸韵。",[23,25,49,76,7,138,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8217a2ea94d85fd4a984c4058d02b43b.jpg","纵214.5厘米，横61.8厘米",[56],38,{"id":463,"slug":464,"title":465,"dynasty":209,"author":210,"museum":118,"description":466,"tags":467,"thumbUrl":468,"material":7,"size":469,"collection":56,"collections":470,"showCount":471,"zanCount":174,"manualWeight":11,"mainColor":162},239598,"xu-qian-zi-wen-juan-zhao-meng-fu-239598","续千字文卷","赵孟頫是元代的著名诗人、画家、楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫开创了元代新画风，被称为“元人冠冕”，他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,25,49,30,75,7,50,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3cc1e190189297105c44a223a0fe295.jpg","24.3×153.3cm",[56],37,{"id":473,"slug":474,"title":475,"dynasty":196,"author":476,"museum":64,"description":477,"tags":478,"thumbUrl":481,"material":482,"size":483,"collection":56,"collections":484,"showCount":471,"zanCount":174,"manualWeight":11,"mainColor":485},227257,"zi-zhi-jin-zi-jin-guang-ming-zui-sheng-wang-jing-gong-10-juan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七子过关图》，均辑入《中国历代名画集》。",[24,143,136,183,28,479,380,51,7,512,513,514],"服饰","鞋履","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg","人物画精选",[516],35,{"id":520,"slug":521,"title":522,"dynasty":18,"author":19,"museum":118,"description":523,"tags":524,"thumbUrl":525,"material":437,"size":526,"collection":34,"collections":527,"showCount":518,"zanCount":11,"manualWeight":11,"mainColor":162},221993,"ku-mu-shu-huang-tu-zhou-wen-zheng-ming-221993","枯木疏篁图轴","此图绘古松如龙，虬干曲枝，老气横秋；疏竹翠色盎然，丛簇纷披。画家运用自己在书法尤其是行草书方面的高深造诣和雄放的笔力，以湿润淋漓的墨色自由挥写，既表现了雨后竹树苍润欲滴、秋意渐浓的状态和美感，也反映出作者安逸闲适的放松心态，是文徵明盛年粗笔绘画中具有较强笔墨个性和诗化意境的作品之一。",[23,26,186,75,29,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772a95dcda3e0ac56d1e3817034c10bf.jpg","纵88.2厘米，横47.8厘米",[34,36],{"id":529,"slug":530,"title":531,"dynasty":18,"author":19,"museum":133,"description":532,"tags":533,"thumbUrl":534,"material":145,"size":535,"collection":516,"collections":536,"showCount":518,"zanCount":11,"manualWeight":11,"mainColor":39},221991,"qiao-lin-zhu-ming-tu-zhou-wen-zheng-ming-221991","乔林煮茗图轴","不见鹤翁今几年，如闻仙骨瘦于前。\n只应陆羽高情在，坐荫乔林煮石泉。",[23,24,69,70,71,72,75,29,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 84.1x26.4公分、全幅 51公分",[516,81],{"id":538,"slug":539,"title":540,"dynasty":179,"author":541,"museum":64,"description":542,"tags":543,"thumbUrl":545,"material":7,"size":78,"collection":56,"collections":546,"showCount":547,"zanCount":11,"manualWeight":11,"mainColor":39},240414,"lin-tie-si-tiao-ping-lin-ze-xu-240414","临帖四条屏","林则徐","林則徐（1785年8月30日 [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。",[179,25,49,107,75,7,544,51,143,24],"屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[56],32,{"id":549,"slug":550,"title":551,"dynasty":18,"author":19,"museum":20,"description":65,"tags":552,"thumbUrl":553,"material":554,"size":555,"collection":79,"collections":556,"showCount":557,"zanCount":174,"manualWeight":11,"mainColor":39},222007,"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[23,24,67,25,69,89,72,73,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","水墨设色","31.6x56.2厘米",[79,36],31,{"id":559,"slug":560,"title":561,"dynasty":44,"author":355,"museum":133,"description":562,"tags":563,"thumbUrl":566,"material":104,"size":567,"collection":78,"collections":568,"showCount":557,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[25,49,44,138,7,564,565],"尺牍","手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02d057a70693ac660746933244f80aab.jpg","28.8x158.6cm",[],{"id":570,"slug":571,"title":572,"dynasty":18,"author":19,"museum":133,"description":573,"tags":574,"thumbUrl":575,"material":145,"size":576,"collection":78,"collections":577,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":39},222008,"cha-shi-tu-zhou-wen-zheng-ming-222008","茶事图轴","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏·茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。\n本幅上方自题“茶具十咏”五言律诗十首，分别为茶坞、茶人、茶笋、茶籝、茶舍、茶灶、茶焙、茶鼎、茶瓯、煮茶。后款署：“嘉靖十三年岁在甲午，谷雨前三日，天池、虎丘茶事最盛，余方抱疾偃息一室，弗能往与好事者同为品试之会。佳友念我走惠二三种，乃汲泉吹火烹啜之，辄自第其高下，以适其幽闲之趣。偶忆唐贤皮陆辈‘茶具十咏’，因追次焉，非敢窃附于二贤后，聊以寄一时之兴耳。漫为小图，遂录其上。衡山文徵明识。”钤“徵”“明”朱方联珠印。嘉靖十三年即1534年，文徵明时年65岁。右下钤“徵仲父印”白文方印、“衡山”朱文方印。",[23,24,28,25,69,70,71,72,73,75,29,76,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","纵136.1cm，横26.8cm",[],29,{"id":580,"slug":581,"title":582,"dynasty":18,"author":583,"museum":64,"description":584,"tags":585,"thumbUrl":588,"material":482,"size":483,"collection":78,"collections":589,"showCount":590,"zanCount":161,"manualWeight":11,"mainColor":39},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。",[23,25,49,30,75,7,586,70,89,587],"铁船","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1411d7dfebd52277f93e0eef00d69aa.jpg",[],28,{"id":592,"slug":593,"title":594,"dynasty":44,"author":595,"museum":133,"description":596,"tags":597,"thumbUrl":600,"material":601,"size":602,"collection":78,"collections":603,"showCount":590,"zanCount":11,"manualWeight":11,"mainColor":39},221200,"shu-qi-yan-lv-shi-zhao-gou-221200","书七言律诗","赵构","《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。",[23,44,25,143,49,51,52,7,598,423,599],"汉字","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm",[],{"id":605,"slug":606,"title":607,"dynasty":608,"author":609,"museum":64,"description":610,"tags":611,"thumbUrl":621,"material":482,"size":483,"collection":78,"collections":622,"showCount":623,"zanCount":11,"manualWeight":11,"mainColor":624},230592,"su-miao-6-da-fen-qi-230592","素描-6","不详","达芬奇","列奥纳多·达·芬奇［意大利语：Leonardo da Vinci；儒略历1452年4月15日（公历4月23日）~1519年5月2日］。意大利文艺复兴画家、科学家、发明家。 现代学者称他为“文艺复兴时期最完美的代表”，是人类历史上绝无仅有的全才，其最大的成就是绘画，他的杰作《蒙娜丽莎》和《最后的晚餐》等作品，体现了他精湛的艺术造诣。\n达·芬奇思想深邃，学识渊博、擅长绘画、雕刻、发明、建筑，通晓数学、生物学、物理学、天文学、地质学等学科 。保存下来的手稿大约有6000页。达·芬奇认为自然中最美的研究对象是人体，人体是大自然的奇妙之作品，画家应以人为绘画对象的核心。\n达·芬奇生于托斯卡纳的芬奇镇附近。他在少年时已显露艺术天赋，15岁左右到佛罗伦萨拜师学艺，成长为具有科学素养的画家、雕刻家。并成为军事工程师和建筑师。 1482年应聘到米兰后，在贵族宫廷中进行创作和研究活动，1513年起漂泊于罗马和佛罗伦萨等地。1516年侨居法国，1519年5月2日病逝。\n2021年7月9日，达·芬奇素描《熊的头部》在伦敦佳士得以885.75万英镑，约合8000万元人民币的价格成交，创下达·芬奇素描画新的拍卖纪录",[380,612,613,614,7,615,616,617,618,619,620],"素描","写实","肖像","侧脸","长发","胡须","线条","光影","明暗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc611cec1fbad5f12ba10f41a7225a550.jpg",[],27,"F48FB1",{"id":626,"slug":627,"title":628,"dynasty":18,"author":19,"museum":133,"description":629,"tags":630,"thumbUrl":631,"material":145,"size":632,"collection":34,"collections":633,"showCount":623,"zanCount":11,"manualWeight":11,"mainColor":39},222004,"qiu-kui-zhe-zhi-tu-wen-zheng-ming-222004","秋葵折枝图","图绘折枝秋葵一枝，取其正面之势。花开粲然，叶呈多貌，浓墨淡墨穿插其间，神韵清俊舒朗。",[23,24,26,27,75,29,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa792f16172d45ac3e5b4b10cf32a318e.jpg","纵65.4厘米，横30.3厘米",[34,81],{"id":635,"slug":636,"title":637,"dynasty":18,"author":638,"museum":133,"description":639,"tags":640,"thumbUrl":641,"material":54,"size":642,"collection":78,"collections":643,"showCount":623,"zanCount":11,"manualWeight":11,"mainColor":39},214554,"za-shu-shi-tie-juan-4-zhu-yun-ming-214554","杂书诗帖卷-4","祝允明","此卷书曹植《乐府》诗四首，写草书而不乱，情密势足，激越跃发，荦荦大度，点画狼藉，纵横驰骋，是他晚年狂草作品的高峰。",[23,25,30,121,49,50,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf08149ef9b2f9388cacc189eac07ab.jpg","36.1x1147.5",[],{"id":645,"slug":646,"title":647,"dynasty":44,"author":132,"museum":133,"description":648,"tags":649,"thumbUrl":650,"material":78,"size":78,"collection":78,"collections":651,"showCount":652,"zanCount":174,"manualWeight":11,"mainColor":39},227590,"ku-sun-fu-tie-huang-ting-jian-227590","苦笋赋帖","此帖凡11行，181字，书于元符二年(1099年)。曾经吴桢、安岐、陈定等人收藏.《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《故宫书画录》等著录。《御刻三希堂石渠宝笈法帖》、《仁聚堂法帖》、《墨缘堂藏真帖》、《宋四家墨宝》等收录。现藏台北故宫博物院。\n\n宋徽宗曾说：“黄书如抱道足学之士，坐高车駟马之上，横钳上下，无不自如。”山谷书法对当时及后世影响很大，受到极高的评价，為北宋四大家之一。此帖笔势遒劲，中宫敛结，长笔外拓，英俊洒脱，显示出山谷纵逸豪放的雅韵，并充分发挥倾侧的动向美感。选自《宋四家墨宝》册。",[136,143,25,49,75,7,269,138,51,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7eb941959901f32fb43c8955cbc0a87.jpg",[],26,{"id":654,"slug":655,"title":656,"dynasty":44,"author":45,"museum":46,"description":657,"tags":658,"thumbUrl":659,"material":54,"size":55,"collection":78,"collections":660,"showCount":652,"zanCount":11,"manualWeight":11,"mainColor":39},214264,"duo-jing-lou-shi-tie-19-mi-fei-214264","多景楼诗帖-19","笔锋如刷扫过纸间，似携风带雨。墨色浓淡相济，重处沉雄如坠石，轻处飘洒若流云，飞白处见筋骨嶙峋。字势欹侧跌宕，险绝中藏平衡，如危峰兀立却根基稳固。字与字顾盼呼应，行气如江河奔涌，裹挟登高临远的豪情直泻而下。每一笔率意挥洒却暗合法度，每一字狂放不羁又藏精微。线条时而刚劲如剑斫，时而柔婉如丝绕，胸中丘壑化作纸上波澜，尽显奇逸超迈的气度与吞吐万象的笔力，将“米颠”书法的颠逸与沉雄揉作一体，读之如临高阁，满目江山奔来眼底。",[143,25,49,50,75,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a51aef5c4ea5bc78dc050ca1d3c205.jpg",[],{"id":662,"slug":663,"title":664,"dynasty":18,"author":19,"museum":133,"description":665,"tags":666,"thumbUrl":667,"material":145,"size":668,"collection":79,"collections":669,"showCount":670,"zanCount":11,"manualWeight":11,"mainColor":39},222006,"lv-yin-cao-tang-wen-zheng-ming-222006","绿荫草堂","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[23,24,67,435,69,70,71,72,73,587,28,29,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4007e2b20e82443bd2644ea7ebe072f.jpg","纵80.5厘米，横29厘米",[79,36],25,{"id":672,"slug":673,"title":674,"dynasty":44,"author":355,"museum":133,"description":675,"tags":676,"thumbUrl":677,"material":678,"size":679,"collection":78,"collections":680,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[25,49,30,51,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7485e83f20b6f838ccd280dcc988874.jpg","卷","全高25.8隔水一10.8本幅25x10",[],23,{"id":683,"slug":684,"title":685,"dynasty":18,"author":19,"museum":64,"description":65,"tags":686,"thumbUrl":687,"material":688,"size":689,"collection":79,"collections":690,"showCount":691,"zanCount":11,"manualWeight":11,"mainColor":39},221995,"shui-ting-shi-si-tu-wen-zheng-ming-221995","水亭诗思图",[23,24,69,70,71,72,73,75,29,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4c5da43adfb3612de6ee83625cd7e2.jpg","纸本，水墨","73.3x28cm",[79,36],22,{"id":693,"slug":694,"title":695,"dynasty":44,"author":696,"museum":133,"description":697,"tags":698,"thumbUrl":699,"material":91,"size":78,"collection":56,"collections":700,"showCount":691,"zanCount":174,"manualWeight":11,"mainColor":39},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。",[25,49,564,7,138,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240deac34ce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。明末清初画家，中国画一代宗师。",[23,25,49,105,51,143,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edada7cd47b23b6ae58f1db52e17f32.jpg",[],20,{"id":733,"slug":734,"title":237,"dynasty":18,"author":19,"museum":64,"description":735,"tags":736,"thumbUrl":737,"material":91,"size":738,"collection":78,"collections":739,"showCount":731,"zanCount":161,"manualWeight":11,"mainColor":162},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。",[23,143,25,104,49,75,7,51,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0979d9d6d2e102a78d798de62745e07.jpg","34×74厘米",[],{"id":741,"slug":742,"title":743,"dynasty":179,"author":705,"museum":118,"description":744,"tags":745,"thumbUrl":746,"material":78,"size":78,"collection":56,"collections":747,"showCount":748,"zanCount":11,"manualWeight":11,"mainColor":39},240054,"xing-shu-lun-shu-juan-weng-fang-gang-240054","行书论书卷","翁方纲(1733～1818)，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。历督广东、江西、山东三省学政，官至内阁学士。精通金石、谱录、书画、词章之学，书法与同时的刘墉、梁同书、王文治齐名。",[23,49,25,30,51,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e94a414d463d97def4dd844bf31d23.jpg",[56],19,{"id":750,"slug":751,"title":752,"dynasty":179,"author":753,"museum":118,"description":754,"tags":755,"thumbUrl":762,"material":7,"size":763,"collection":78,"collections":764,"showCount":765,"zanCount":11,"manualWeight":11,"mainColor":39},232785,"zhuan-shu-xu-shi-shuo-wen-zhao-zhi-qian-232785","篆书许氏说文","赵之谦","赵之谦篆书许氏说文叙册。纸本，纵32.4cm，横57.5cm。每页10行，行4字。此册篆书节录汉许慎《说文解字叙》一段，末开识云：“方壶属书此册，故露笔痕以见起讫转折之用。”\n从赵之谦识语推测，此册当是为弟子习字用所书范本，上款方壶应为其弟子或爱其书者。此册书法结构谨严，篆法精丽，起讫之处未用藏锋，其意为使弟子易见笔法之踪痕，却获得了一种意外的效果，使之不同于一般篆书之圆润流美，自具特色。同时，此册笔力健劲，使转自如，将北碑书法融于篆书之中，也为赵氏书法之一大特色。本册具体书写时间不详，但从书法风格及为弟子书写范本的情况看，当为赵氏中年以后作品，是赵之谦具有代表性的篆书作品之一。\n释文:黄帝之史仓颉，见鸟兽蹄迒之迹，知分理之可相别异也。初造书契，百官以乂，万民以察，盖取诸夬夬扬于王庭。言文者，宣教明化于王者，朝廷君子所以施禄及下，居德则忌也。仓颉之初作书，盖依类象形，故谓之文。其后形声相益，即谓之字。字者，言孳乳而浸多也。著於竹帛谓之书。书者，如也。以讫五帝三王之世，改易殊体，封于秦山者七十有二代，靡有同焉。周礼八岁（入）小学，保氏教国子先以六书。一曰指事。指事者，视而可识，察而可见，上下是也。二曰象形。象形者，画成其物，随体诘诎，日月是也。三曰形声。形声者，以事为名，取辟相成，江河是也。四曰会意。会意者，比类合谊，以见指撝，武信是也。五曰转注。转注者，建类一首，同意相受，考老是也。六曰假借。假借者，本无其字，依声托事，令长是也。及宣王太史籀著大篆十五篇，与古文或异，至孔子书六经，左邱明述春秋传，皆以古文厥意可得而说。许氏说文叙。",[25,708,756,7,397,757,758,759,760,761],"墨笔","金石气","中锋用笔","隶书笔意","古朴","浑厚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c5625c27b1bbdd537e79f97528a97f7.jpg","纵32.4cm，横57.5cm",[],18,{"id":767,"slug":768,"title":769,"dynasty":44,"author":770,"museum":64,"description":771,"tags":772,"thumbUrl":773,"material":78,"size":78,"collection":78,"collections":774,"showCount":765,"zanCount":11,"manualWeight":11,"mainColor":39},230891,"tu-mu-tie-li-jian-zhong-230891","土母帖","李建中","《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”",[136,24,143,25,50,49,138,7,52,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b80d16fd2eded94b4ea57e1d1a647b.jpg",[],{"id":776,"slug":777,"title":778,"dynasty":179,"author":779,"museum":780,"description":781,"tags":782,"thumbUrl":784,"material":78,"size":785,"collection":203,"collections":786,"showCount":765,"zanCount":11,"manualWeight":11,"mainColor":162},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。",[23,25,49,783,51,7,326],"信札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc4e7907f81b8c51ce121fce1b550ae.jpg","30x135",[203],{"id":788,"slug":789,"title":790,"dynasty":18,"author":19,"museum":133,"description":791,"tags":792,"thumbUrl":793,"material":794,"size":795,"collection":79,"collections":796,"showCount":765,"zanCount":11,"manualWeight":11,"mainColor":39},222003,"pan-gu-xu-zhang-ruo-ai-tu-wen-zheng-ming-222003","盘谷叙（张若霭图）","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、父亲张廷玉均为雍正、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。",[23,24,435,69,70,71,72,73,75,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b650b4925f0f0747575859ea9d269c6.jpg","纸本长卷","纵15.8厘米，横129.7厘米",[79,81],{"id":798,"slug":799,"title":800,"dynasty":196,"author":801,"museum":118,"description":802,"tags":803,"thumbUrl":804,"material":805,"size":806,"collection":56,"collections":807,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},223395,"tang-ren-fa-hua-jing-xuan-zan-juan-yi-ming-223395","唐人法华经玄赞卷","佚名","此卷界乌丝栏，首尾皆缺，书者不明。书写内容为《法华经玄赞》，这是唐代玄奘法师的弟子窥基（632—682年）撰述的一部阐说《妙法莲华经》教义的专著。\n唐人写经多为楷书，草书者极为罕见。此卷行气均匀，风格典雅，字形虽小，但使转精妙，法度俨然，今草之中略带章草韵味，可与隋人《出师颂》及孙过庭《书谱》互参，应为初唐高手所写。",[23,25,105,30,104,51,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff307974923d709fff0cac39ca1111c3a.jpg","乌丝","纵28.4cm，横373.2cm",[56],{"id":809,"slug":810,"title":811,"dynasty":44,"author":300,"museum":133,"description":812,"tags":813,"thumbUrl":814,"material":145,"size":815,"collection":78,"collections":816,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},221312,"zhi-ji-chang-chi-du-su-shi-221312","致季常尺牍","这幅作品质朴敦厚，用笔凝重，笔画丰腴多肉，且结字偏斜，前半段的情感平和，逐渐趋於起伏，所以全作字形大小、笔画粗细、字体型态等也随之改变，相当具有变化的趣味。\n苏轼一生宦海浮沉，谪居于黄州的期间，正是他艺术创作的顶峰时期，这幅作品即是他在这段时间所作的行书精品之一，充满了文人交往的日常生活气息，作品遒劲茂丽，神采动人。",[143,25,49,358,7,138,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60783d4a02d7273a68e936dd5f9183c.jpg","30.3 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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。",[23,121,30,25,51,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706317ef80c72d495a33ab77cf4de37a.jpg","绫本","长469cm，高26cm",[],{"id":972,"slug":973,"title":974,"dynasty":179,"author":975,"museum":64,"description":976,"tags":977,"thumbUrl":978,"material":7,"size":78,"collection":56,"collections":979,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":39},240555,"shi-san-xing-ye-ai-xin-jue-luo-yong-xing-240555","十三行页","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》。\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。",[143,25,49,7,756,51,326,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a7bc313925afdf882a3abc62d6938ef.jpg",[56],10,{"id":982,"slug":983,"title":984,"dynasty":179,"author":985,"museum":118,"description":986,"tags":987,"thumbUrl":991,"material":78,"size":78,"collection":56,"collections":992,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":39},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","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。",[143,25,326,49,121,75,7,51,988,892,423,989,990],"文字","毛笔","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea08cb353e3a80880d6cb515cd68110.jpg",[56],{"id":994,"slug":995,"title":996,"dynasty":179,"author":997,"museum":64,"description":998,"tags":999,"thumbUrl":1000,"material":78,"size":78,"collection":56,"collections":1001,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":39},239918,"zhi-lian-shang-shi-ye-hong-wu-239918","致莲裳诗页","洪梧","生卒年不详，清代人，活动于乾隆年间。安徽歙县人，字桐生，洪榜弟，乾隆进士，由编修官沂州知府。其学博通古今，邃于《经》学。亦工词翰，擅书法。清·包世臣《艺舟双楫》评其小真书为佳品上。《中国书法大辞典》等收录。",[179,25,104,7,138,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2d2e1e2efa236aaa405605d4f13151.jpg",[56],{"id":1003,"slug":1004,"title":1005,"dynasty":209,"author":1006,"museum":118,"description":1007,"tags":1008,"thumbUrl":1009,"material":7,"size":1010,"collection":56,"collections":1011,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":39},239676,"ji-chen-tie-ye-yu-ji-239676","即辰帖页","虞集","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。",[23,25,143,49,50,7,75,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f7ae574ec2261810c44d0220845d3f.jpg","纵32.3厘米，横93.2厘米",[56],{"id":1013,"slug":1014,"title":1015,"dynasty":18,"author":1016,"museum":64,"description":1017,"tags":1018,"thumbUrl":1021,"material":78,"size":78,"collection":203,"collections":1022,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":39},239631,"huang-dao-zhou-xiao-jing-ce-huang-dao-zhou-239631","黄道周孝经册","黄道周","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。",[23,25,105,104,358,75,7,143,988,1019,18,138,397,227,1020],"儒家","经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ea3f5205a326ac20e377674fcb541e.jpg",[203],{"id":1024,"slug":1025,"title":1026,"dynasty":608,"author":1027,"museum":64,"description":1028,"tags":1029,"thumbUrl":1033,"material":482,"size":483,"collection":78,"collections":1034,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":624},232506,"he-er-bai-yin-165-he-er-bai-yin-232506","荷尔拜因165","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[136,612,614,380,613,1030,1031,617,1032,618,7],"男性","帽子","衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8b49b984de339ba47e78696103feeb.jpg",[],{"id":1036,"slug":1037,"title":1038,"dynasty":608,"author":1027,"museum":64,"description":1028,"tags":1039,"thumbUrl":1041,"material":482,"size":483,"collection":78,"collections":1042,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":624},232348,"he-er-bai-yin-7-he-er-bai-yin-232348","荷尔拜因7",[136,612,613,380,1040,7],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde42edb2996979ff5bc07e76e3573000.jpg",[],{"id":1044,"slug":1045,"title":1046,"dynasty":608,"author":801,"museum":64,"description":1047,"tags":1048,"thumbUrl":1055,"material":482,"size":483,"collection":78,"collections":1056,"showCount":980,"zanCount":11,"manualWeight":11,"mainColor":162},231830,"nan-bei-chao-sheng-man-shi-zi-hou-yi-cheng-da-fang-bian-fang-guang-jing-sheng-man-jing-yi-ming-231830","南北朝 胜鬘师子吼一乘大方便方广经 胜鬘经","这卷写经以泛黄古纸为底，手绘花叶作界格点缀，古雅静谧扑面而来。其书为规整写经楷书，结体匀停端庄，笔画舒展秀润，笔力内敛沉实。通篇排布齐整，气息平和肃穆，尽显写经时的虔敬心力，毫无板滞匠气，在法度谨严中带着灵动雅致。笔墨晕染着六朝写经特有的沉静韵味，既体现写经书法的庄严工整，又暗藏书写者静定的笔底风神，是兼具宗教人文意蕴与书法审美价值的珍本。",[25,105,138,104,7,30,760,227,228,1049,1050,1051,1052,1053,1054],"纵向排列","文字密集","边缘饰彩色叶状图案","墨色浓黑","字迹清晰","传统书法风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996fe4a7b73f7273519276850c949b94.jpg",[],{"id":1058,"slug":1059,"title":1060,"dynasty":196,"author":801,"museum":64,"description":1061,"tags":1062,"thumbUrl":1069,"material":78,"size":78,"collection":78,"collections":1070,"showCount":980,"zanCount":174,"manualWeight":11,"mainColor":39},227217,"fa-hua-jing-fang-bian-pin-zhu-sheng-dao-jing-yi-ming-227217","法华经方便品（竹生岛经）","因本卷曾收藏于琵琶湖上竹生岛之宝严寺，故称为「竹生岛经」。原本应抄录了魏晋南北朝僧人兼翻译家、鸠摩罗什（344－413）所译《法华经》八卷之全文，但目前仅存卷第一中的〈方便品〉一卷，即本件，以及现仍由宝严寺收藏的经摺装〈序品〉一册。\n本卷采用以金、银泥描画蝴蝶、禽鸟、宝相华、花草、祥云等纹样的上等纸张，其上施以金泥行界，每纸二十八行，书写之笔致沉稳而工整，是极为优美的装饰经（指具有装饰性目的之写经，纸张染色并描绘各种纹饰，施加金银粉或细箔）。现存的〈方便品〉及〈序品〉上，都有松花堂昭乘（1584－1639）的题跋，松花堂昭乘与本阿弥光悦、近卫信尹等宽永年间三大名书家，同誉为「宽永三笔」。跋文中虽提及此卷出自源俊房（1035－1121）之笔，但并无确凿有力之证据。",[23,1063,105,104,7,479,25,1064,1065,1066,1067,1068],"唐代","古籍","手写","经文","传统书法","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde11b79c9b2a676beb39ef8701b43034.jpg",[],{"id":1072,"slug":1073,"title":1074,"dynasty":209,"author":1075,"museum":133,"description":1076,"tags":1077,"thumbUrl":1078,"material":145,"size":1079,"collection":56,"collections":1080,"showCount":1081,"zanCount":11,"manualWeight":11,"mainColor":39},221809,"shu-mo-fa-si-shou-wu-zhi-chun-221809","书墨法四首","吴志淳","释文：墨法四首录上。南谷师一笑。吴志淳。久知墨诀在丹丘。子独来从逐客求。雾冷歙山春隐豹。月沉易水夜藏虬。鳞胶万杵应难制。松骨千年不易收。太史名家有遗谱。更须归向阿戎谋。谪居认病已无闻。袖出绫编喜见君。天上图书应奎璧。人间珠玉在诗文。墨铭拟问唐司户。书法还求晋右军。若就龙香千百片。临池能换白鹅群。乌玦流传出李家。后人涂抹已尘沙。括囊手剔千金直。秘阁神方百世夸。玉法试论无杜甫。玄经酷好有侯芭。工成进上蓬莱殿。五色寒光动晓霞。千里担簦走朔风。免冠接语恨匆匆。却闻作客依刘表。共说从师须马融。山路逢梅寒载酒。晴江待月夜归篷。将诗为问黄司马。茆屋还过访巳公。",[23,922,25,143,49,52,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab68cf5dccb4a5178eede475dbe99ca.jpg","48.7x70.3厘米",[56],9,{"id":1083,"slug":1084,"title":1085,"dynasty":209,"author":1086,"museum":64,"description":1087,"tags":1088,"thumbUrl":1090,"material":482,"size":483,"collection":78,"collections":1091,"showCount":1092,"zanCount":11,"manualWeight":11,"mainColor":39},241012,"yu-shi-zhen-juan-can-pian-xian-yu-shu-241012","御史箴卷残片","鲜于枢","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》。",[25,49,51,1089,922,138,7],"残片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b52e364f68ca3ff6c81ea9b767f25c3.jpg",[],8,{"id":1094,"slug":1095,"title":1096,"dynasty":18,"author":1097,"museum":118,"description":1098,"tags":1099,"thumbUrl":1101,"material":7,"size":1102,"collection":56,"collections":1103,"showCount":1092,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,136,24,143,30,25,49,121,7,1100,51],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[56],{"id":1105,"slug":1106,"title":1107,"dynasty":209,"author":210,"museum":133,"description":1108,"tags":1109,"thumbUrl":1111,"material":7,"size":1112,"collection":56,"collections":1113,"showCount":1092,"zanCount":11,"manualWeight":11,"mainColor":39},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”",[23,25,49,30,7,52,1110,51,423],"书信","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782f49a77fc0d17c04e62e7e00cab13.jpg","31.7×72.9cm",[56],{"id":1115,"slug":1116,"title":1117,"dynasty":209,"author":1118,"museum":118,"description":1119,"tags":1120,"thumbUrl":1124,"material":7,"size":1125,"collection":56,"collections":1126,"showCount":1092,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[25,49,75,51,7,1121,1122,138,1123],"元代书法","毛笔书写","行书技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976bf4b8303c2810fea72c4762be40c2.jpg","28cm，横38.4cm",[56],{"id":1128,"slug":1129,"title":1130,"dynasty":44,"author":1131,"museum":64,"description":1132,"tags":1133,"thumbUrl":1134,"material":78,"size":78,"collection":78,"collections":1135,"showCount":1092,"zanCount":11,"manualWeight":11,"mainColor":39},232779,"song-ren-chi-du-zhao-meng-jian-232779","宋人尺牍","赵孟坚","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》。",[23,137,25,49,51,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff250bf479213aa0b8c8ba870249d7514.jpg",[],{"id":1137,"slug":1138,"title":1139,"dynasty":179,"author":1140,"museum":64,"description":1141,"tags":1142,"thumbUrl":1143,"material":482,"size":483,"collection":78,"collections":1144,"showCount":1092,"zanCount":11,"manualWeight":11,"mainColor":162},230223,"zhuan-shu-hai-shan-xian-guan-wu-chang-shuo-230223","篆书海山仙馆","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》。",[23,25,708,51,143,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3fe639f942a0433a92ff7dbb380fa8.jpg",[],{"id":1146,"slug":1147,"title":1148,"dynasty":196,"author":1149,"museum":64,"description":1150,"tags":1151,"thumbUrl":1152,"material":7,"size":482,"collection":78,"collections":1153,"showCount":1092,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,25,49,106,30,955,1063,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfae861faca812473d745bd85ae7ef52.jpg",[],{"id":1155,"slug":1156,"title":1157,"dynasty":179,"author":1158,"museum":64,"description":1159,"tags":1160,"thumbUrl":1161,"material":482,"size":483,"collection":78,"collections":1162,"showCount":1163,"zanCount":11,"manualWeight":11,"mainColor":39},241434,"zhi-xiu-min-zha-heng-he-shao-ji-241434","致秀民札横","何绍基","何绍基（1799年—1873年），字子贞，号东洲，别号东洲居士，晚号猿叟（一作蝯叟），湖南道州（今道县）人，晚清诗人、画家、书法家。\n道光十六年进士。咸丰初简四川学政，曾典福建等乡试。历主山东泺源、长沙城南书院。\n何绍基通经史，精小学金石碑版。据《大戴记》考证《礼经》。书法初学颜真卿，又融汉魏而自成一家，尤长草书。著有《惜道味斋经说》《东洲草堂诗·文钞》《说文段注驳正》等。",[25,49,565,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52db119fe69ec711d5eee86c00f7a065.jpg",[],7,{"id":1165,"slug":1166,"title":1167,"dynasty":18,"author":1168,"museum":64,"description":1169,"tags":1170,"thumbUrl":1171,"material":482,"size":483,"collection":78,"collections":1172,"showCount":1163,"zanCount":11,"manualWeight":11,"mainColor":39},240816,"qi-yan-shi-juan-chen-hong-shou-240816","七言诗卷","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,25,30,49,51,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F658dac69ba332788e6140d0f020f5e50.jpg",[],{"id":1174,"slug":1175,"title":1176,"dynasty":179,"author":1177,"museum":64,"description":1178,"tags":1179,"thumbUrl":1180,"material":482,"size":483,"collection":78,"collections":1181,"showCount":1163,"zanCount":11,"manualWeight":11,"mainColor":162},239787,"san-xi-tang-zhi-bian-qian-long-239787","三希堂纸匾","乾隆","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。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。",[25,49,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5140ecb2c68b79501ee39619a90d59.jpg",[],{"id":1183,"slug":1184,"title":1185,"dynasty":608,"author":1027,"museum":64,"description":1028,"tags":1186,"thumbUrl":1191,"material":482,"size":483,"collection":78,"collections":1192,"showCount":1163,"zanCount":11,"manualWeight":11,"mainColor":39},232361,"he-er-bai-yin-20-he-er-bai-yin-232361","荷尔拜因20",[136,612,1187,613,184,1188,1189,1190,7],"淡彩","羊","动物","写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d666903e2b7290a950aad45d2e9943.jpg",[],{"id":1194,"slug":1195,"title":1196,"dynasty":209,"author":1197,"museum":64,"description":1198,"tags":1199,"thumbUrl":1200,"material":78,"size":78,"collection":78,"collections":1201,"showCount":1163,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,25,49,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1967c732a38e778625d4b69409578904.jpg",[],{"id":1203,"slug":1204,"title":1205,"dynasty":18,"author":638,"museum":289,"description":1206,"tags":1207,"thumbUrl":1208,"material":49,"size":1209,"collection":78,"collections":1210,"showCount":1163,"zanCount":11,"manualWeight":11,"mainColor":624},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.",[23,25,49,30,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374037d1a0c29dd6b0ec54a9a592160b.jpg","纵22.0 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上卷","纸色昏黄斑驳，残损的边角晕开时光浸洇的旧痕。行楷笔锋朴拙温润，点画排布匀停妥帖，不见刻意妍美的雕琢，尽是抄经手人伏案濡墨时的平实虔诚。\n\n作为《论语集解》古写本，浓淡错落的墨色留存着千年前的笔底呼吸，字里行间交织着儒家典籍的肃穆厚重与抄录日常的松弛从容。缺损的纸边如同被时光揉碎又展平的信笺，将千年前的诵读与书写，凝作可触摸的文脉余温，旧纸墨香里的孔门意涵，穿过悠悠岁月仍能叩动心弦。",[30,25,104,106,50,1064,7,105,1250],"儒家经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182fab8496396bfb3de4b3b9ae2491c7.jpg",[],{"id":1254,"slug":1255,"title":1256,"dynasty":179,"author":1257,"museum":64,"description":1258,"tags":1259,"thumbUrl":1260,"material":482,"size":483,"collection":78,"collections":1261,"showCount":1243,"zanCount":11,"manualWeight":11,"mainColor":624},241498,"shi-xu-ce-zheng-ban-qiao-241498","诗叙册","郑板桥","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》。",[179,49,397,25,51,756,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3195e24019e907a81bb1f8dc2ee84f24.jpg",[],{"id":1263,"slug":1264,"title":1265,"dynasty":179,"author":1257,"museum":64,"description":1258,"tags":1266,"thumbUrl":1267,"material":482,"size":483,"collection":78,"collections":1268,"showCount":1243,"zanCount":11,"manualWeight":11,"mainColor":162},241466,"lu-jiu-zuo-jia-shu-er-ze-juan-zheng-ban-qiao-241466","“录旧作家书二则”卷",[25,49,30,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd181e0ffb53ebbea9b9084459f1149.jpg",[],{"id":1270,"slug":1271,"title":1272,"dynasty":179,"author":801,"museum":64,"description":1273,"tags":1274,"thumbUrl":1276,"material":7,"size":78,"collection":78,"collections":1277,"showCount":1243,"zanCount":11,"manualWeight":11,"mainColor":39},217939,"da-mo-yi-jin-ba-duan-jin-1-yi-ming-217939","达摩易筋八段锦-1","达摩易筋八段锦是一部关于清朝时期佚名所著的武术典籍。这部书是在清朝末年出版的，共包含了8段关于身体动作的详细讲解，涵盖了许多中国武术的基本功和技巧。\n\n达摩易筋八段锦的作者是佚名，这个名字意思是“不知名”，因此无法确定他的真实身份。不过，有人认为他可能是一位清朝时期的武术家，并且据说他的武术技巧非常高超。",[24,143,104,28,25,1275,7],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1556fee3f176934e9200f6131f69cd0.jpg",[],{"id":1279,"slug":1280,"title":1281,"dynasty":18,"author":1282,"museum":64,"description":1283,"tags":1284,"thumbUrl":1285,"material":482,"size":483,"collection":78,"collections":1286,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":39},241439,"zhi-qing-shi-ri-lai-zha-heng-wen-jia-241439","致磬室日来札横","文嘉","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。”",[225,25,49,7,783,756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268b2daf85aa2364c08c9eaca87a0d4d.jpg",[],{"id":1288,"slug":1289,"title":1290,"dynasty":18,"author":1291,"museum":64,"description":1292,"tags":1293,"thumbUrl":1294,"material":482,"size":483,"collection":78,"collections":1295,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":39},240961,"lun-xue-tie-juan-li-liu-fang-240961","论学帖卷","李流芳","李流芳（1575～1629年），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，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n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，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[23,25,49,30,50,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bd8689517bf5495fdb7d83f11f4d6b.jpg",[],{"id":1297,"slug":1298,"title":1299,"dynasty":18,"author":1300,"museum":64,"description":1301,"tags":1302,"thumbUrl":1304,"material":7,"size":78,"collection":56,"collections":1305,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":162},240389,"gong-shi-juan-xiao-ke-240389","恭诗卷","萧克","此卷分段书就，泥金冷灰笺交错排布，视觉层次分明。笔墨枯湿浓淡相映，行笔纵肆飞动，线条苍劲老辣，字势欹侧跌宕，牵丝萦带间行气贯通如一。狂草笔法奔放纵恣，笔画缠绕回旋，将书写时的酣畅意气倾注笔端，兼具草书的跌宕韵律，与文人沉静的书卷之气，尽显笔底风雷的抒怀快意。",[23,225,30,25,49,121,7,1303,75,28],"洒金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f7768e8b43e04f0b1805f6f05b8c9e3.jpg",[56],{"id":1307,"slug":1308,"title":1309,"dynasty":179,"author":1310,"museum":64,"description":1311,"tags":1312,"thumbUrl":1313,"material":482,"size":483,"collection":78,"collections":1314,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":39},240247,"si-tiao-ping-bao-shi-chen-240247","四条屏","包世臣","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。",[326,7,49,25,544,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440eb73fcca47dbb95b3e2f4c992bb6b.jpg",[],{"id":1316,"slug":1317,"title":1318,"dynasty":18,"author":1319,"museum":64,"description":1320,"tags":1321,"thumbUrl":1324,"material":7,"size":78,"collection":56,"collections":1325,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":39},240118,"shi-ye-fa-kun-hou-240118","诗页","法坤厚","字南峯，号黄棠，别号白石山人。\n若真（一六一三至一六九六）曾孙，胶州贡生。善画，得若真不传之秘。《山左诗续抄》",[225,25,49,75,7,358,1322,1323],"白云","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab758464cc484e02e98853ea6167de6.jpg",[56],{"id":1327,"slug":1328,"title":1329,"dynasty":18,"author":801,"museum":64,"description":1330,"tags":1331,"thumbUrl":1336,"material":78,"size":78,"collection":56,"collections":1337,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[225,25,49,7,75,1332,1333,1334,1335],"松","菊","舟","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60a3634479f719cca678a6bca8ff6d7.jpg",[56],{"id":1339,"slug":1340,"title":1341,"dynasty":179,"author":1342,"museum":64,"description":1343,"tags":1344,"thumbUrl":1345,"material":78,"size":78,"collection":56,"collections":1346,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":39},239812,"shi-zhi-gong-fu-ye-wu-song-liang-239812","诗致功甫页","吴嵩梁","吴嵩梁（1766-1834），字子山，号兰雪，晚号澈翁，别号莲花博士、石溪老渔。江西东乡新田（今属红光垦殖场）人。清代文学家、书画家。清代江西最杰出的诗人。有“诗佛”之誉。生于乾隆三十一年。吴居澳之子。少孤贫，有异才，以鬻文养母。15岁以文名于乡，为金溪杨頀所识，结为忘年交。乾隆四十九年（1784），高宗南巡时，吴嵩梁应召赴金陵应试，时年不到20岁，诗稿已有数百首。嘉庆五年（1800）举人，授国子监博士，旋改内阁中书。道光十年（1830）擢贵州黔西知州，时年已65岁，上任次年在黔西东山开元寺修建阳明书院，有惠政。因事得罪上司，转为长寨厅（今长顺县）同知。后曾两任乡试同考官。卒于道光十四年，年六十九岁。",[25,49,51,358,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d29388d21a67c891ec9f075281dcd8d.jpg",[56],{"id":1348,"slug":1349,"title":1350,"dynasty":18,"author":1351,"museum":64,"description":1352,"tags":1353,"thumbUrl":1354,"material":78,"size":78,"collection":56,"collections":1355,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":39},239803,"li-zhai-ji-ye-shi-feng-239803","砺斋记页","施凤","此作为行书小品，整体气息温雅端和，结体舒展匀稳，笔画圆秀灵动，牵丝映带间尽显书写时的从容意态。点画粗细错落，节奏舒缓平和，既可见赵孟頫书风的妍润遗意，又自具沉稳端方的气质。\n\n通篇笔墨与文中修身之旨相融，将砥砺修身的文心寄寓于笔墨之间，字字排布疏朗有致，通篇气韵连贯统一，尽显明代文人书法尚雅重韵的审美意趣，是兼具文情与书艺的佳构。",[225,25,49,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0609839033e8e32f4976a317bd7fe1.jpg",[56],{"id":1357,"slug":1358,"title":1359,"dynasty":179,"author":1360,"museum":64,"description":1361,"tags":1362,"thumbUrl":1364,"material":78,"size":78,"collection":78,"collections":1365,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":39},239770,"shu-hong-li-luan-he-ru-shui-kao-yuan-zheng-ce-liang-guo-zhi-239770","书弘历滦河濡水考源证册","梁国治","此作取法唐人楷书，兼融馆阁体端秀之风。用笔方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，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 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》。",[23,25,49,121,565,30,51,225,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b8f209cdad2cf152b12019e6910799.jpg",[],{"id":1439,"slug":1440,"title":1441,"dynasty":179,"author":1442,"museum":118,"description":1443,"tags":1444,"thumbUrl":1448,"material":7,"size":1449,"collection":56,"collections":1450,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},241409,"shu-lin-tie-lu-shi-wen-zhou-liu-yong-241409","书临帖录诗文轴","刘墉","释文：\n野水参差落涨痕，踈林攲倒出霜根。扁舟一櫂向何处，家在江南黄叶村。 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。",[7,49,107,1445,1446,253,1447,51],"墨色厚重","中锋行笔","笔力浑厚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91307d4b9f0465eca618d45d6e29ab35.jpg","纵102厘米，横58.5厘米",[56],{"id":1452,"slug":1453,"title":1454,"dynasty":18,"author":1455,"museum":64,"description":1456,"tags":1457,"thumbUrl":1458,"material":7,"size":78,"collection":56,"collections":1459,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},241223,"qi-jue-zhou-chen-liu-241223","七绝轴","陈鎏","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》。",[225,25,49,76,75,7,143,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125ced80709d2875179352206abc7bac.jpg",[56],{"id":1461,"slug":1462,"title":1463,"dynasty":18,"author":801,"museum":64,"description":1464,"tags":1465,"thumbUrl":1466,"material":7,"size":78,"collection":56,"collections":1467,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},240204,"zhang-zhen-xian-qi-lv-shi-ye-yi-ming-240204","张振先七律诗页","此作为行书七律诗页，笔致灵动秀逸，行气连贯畅达。起收转合间利落自然，牵丝映带尽显书写时的悠然韵律，粗细提按富有层次变化，将明人行书尚态的特质融于笔墨之中。通篇疏密排布得当，气息冲淡平和，以书法线条晕染出诗作里山居春日的静雅况味，把乡野幽居的闲适心境依托笔墨流转传递而出，诗书相融，尽显文人雅趣，是一件意韵悠长的书法小品。",[225,143,25,49,51,7,397,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6376044a439460565d2a209471703be3.jpg",[56],{"id":1469,"slug":1470,"title":1318,"dynasty":18,"author":801,"museum":64,"description":1471,"tags":1472,"thumbUrl":1473,"material":7,"size":78,"collection":56,"collections":1474,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[25,49,7,75,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb238ae350d704eeb70b7ba2667db209.jpg",[56],{"id":1476,"slug":1477,"title":1478,"dynasty":179,"author":1479,"museum":64,"description":1480,"tags":1481,"thumbUrl":1485,"material":482,"size":483,"collection":78,"collections":1486,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},239699,"shu-hong-li-bi-shu-shan-zhuang-wu-fu-wu-dai-tang-ji-ce-shen-chu-239699","书弘历避暑山庄五福五代堂记册","沈初","沈初（1735年－1799年），字景初，号云椒，浙江平湖（今属嘉兴市）人。",[179,358,25,104,28,988,7,1482,1483,1484],"木质","玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe552bbfe0d4d0fb390f8409b705ffc24.jpg",[],{"id":1488,"slug":1489,"title":1490,"dynasty":209,"author":1006,"museum":118,"description":1491,"tags":1492,"thumbUrl":1493,"material":7,"size":1494,"collection":56,"collections":1495,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[25,49,52,922,51,397,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b35c3537d0bf8e28b8f4824d09fc1cb.jpg","纵30.7厘米，横51.8厘米",[56],{"id":1497,"slug":1498,"title":1499,"dynasty":18,"author":801,"museum":64,"description":1500,"tags":1501,"thumbUrl":1503,"material":482,"size":483,"collection":78,"collections":1504,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":162},237855,"yun-wo-ting-qin-shi-si-tu-shan-yi-ming-237855","云窝停琴诗思图扇","此作用极简水墨铺陈悠远意境，石畔隐士静坐，置琴于侧，似在凝听松风与流云私语。淡墨晕染山峦云霭，虚实相生间漾开空寂清远的氛围。简笔勾勒出人物安闲萧散之态，笔墨皴染随性自然，将林下幽居、寄情丘壑的雅趣藏于尺幅扇面。整体意韵清寂淡远，以画载情，尽显文人超脱尘俗、物我两忘的林下襟怀，寥寥笔墨间，铺展出一方可居可游的诗意天地。",[24,910,7,75,29,411,69,587,380,1502],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F089201117226a859f591fe02927e6e2c.jpg",[],{"id":1506,"slug":1507,"title":1508,"dynasty":179,"author":1509,"museum":64,"description":1510,"tags":1511,"thumbUrl":1514,"material":78,"size":78,"collection":78,"collections":1515,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},236533,"ren-wu-gu-shi-ce-chen-zi-236533","人物故事册","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。",[24,143,358,28,380,49,25,183,1512,326,1513,7],"器物","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f449f9acbe42ce3242b012f56b10040.jpg",[],{"id":1517,"slug":1518,"title":1519,"dynasty":608,"author":801,"museum":64,"description":1520,"tags":1521,"thumbUrl":1522,"material":482,"size":483,"collection":78,"collections":1523,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,25,49,30,1238,52,51,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7152585e5aca7365e5983ebf24ba5cd.jpg",[],{"id":1525,"slug":1526,"title":1527,"dynasty":608,"author":1528,"museum":64,"description":1529,"tags":1530,"thumbUrl":1531,"material":482,"size":483,"collection":78,"collections":1532,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},231757,"xiao-ye-jia-jiu-cang-yi-teng-gui-jie-231757","小野家旧藏","伊藤圭介","伊藤圭介（伊藤圭介，ToruKazu 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1月20日），在江户时期的结束，从明治时期的采药人-荷兰研究人，自然·医学博士。日本第一位理学博士。男爵。它也以创造“雄蕊”、“雌蕊”和“花粉”等词而闻名。尾张省名古屋市（现爱知县名古屋市）出生。名字是顺民和清民。角色是大子和圭介。不。锦窠。",[23,25,30,49,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1195ff2293dc1dddc74712cb8907ad47.jpg",[],{"id":1534,"slug":1535,"title":1536,"dynasty":196,"author":801,"museum":64,"description":1537,"tags":1538,"thumbUrl":1539,"material":482,"size":483,"collection":78,"collections":1540,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},223544,"fa-hua-jing-fang-bian-pin-7-yi-ming-223544","法华经方便品7","南海贡奇女庐眉娘，工巧无比，能于尺绢之上，绣法华经七卷，字之大小不逾粟粒，点划分明，细于毫发。这是刺绣绣字的最早文字记录。",[1063,30,7,25,105,104,479,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f63bcb28de84b40b673eab540fb29c2.jpg",[],{"id":1542,"slug":1543,"title":1544,"dynasty":209,"author":1006,"museum":133,"description":1545,"tags":1546,"thumbUrl":1547,"material":7,"size":1548,"collection":78,"collections":1549,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[25,49,138,51,564,922,7,989,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f8b1fed963ae62c82bdac274eb8285.jpg","21×37.7cm",[],{"id":1551,"slug":1552,"title":1553,"dynasty":44,"author":1554,"museum":118,"description":1555,"tags":1556,"thumbUrl":1559,"material":7,"size":1560,"collection":78,"collections":1561,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":162},221567,"shu-da-gui-yi-zhong-tie-zhu-xi-221567","书大桂驿中帖","朱熹","此帖是《宋贤遗翰册》中一页。按朱熹《年谱》，宋绍熙五年五月知潭州，《宁宗本纪》言：“七月庚午，召秘阁修撰知潭州朱熹诣行在。”文中“辛苦三月，已不胜郡事”，即五月至八月，在任正好三个月。“告归未获”，指朱熹在六月曾“申乞放归田里”。文中所提及诸事多为绍熙五年事，故推算此帖为绍熙五年作品，朱熹时年65岁。\n《大桂驿中帖》书法纵逸不拘，醇古自然，意态畅达，如烟云舒卷，意在行文，有自得之趣。如詹景凤所言：“不以书名，固以学掩之。”\n《石渠宝笈·续编》著录。",[23,25,143,52,49,7,30,75,1557,1558,423,618,51],"宋代书法","文人书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee75601295dc929695527313345c875.jpg","纵33.4厘米，横57.3厘米",[],{"id":1563,"slug":1564,"title":1565,"dynasty":608,"author":801,"museum":64,"description":1566,"tags":1567,"thumbUrl":1570,"material":482,"size":483,"collection":78,"collections":1571,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},287806,"yu-jia-shi-di-lun-sheng-wen-di-fen-men-ji-juan-zhi-bei-yi-ming-287806","瑜伽師地論聲聞地分門記卷纸背","这帧古卷是写经余料的二次复用，泛黄麻纸带着岁月浸淫的斑驳痕迹，朱墨二色字迹错落排布。朱笔醒目劲挺，标注着义学条目的层级分梳，墨笔字痕虽已漫漶轻浅，仍能窥见当时学人伏案抄录的专注。\n\n它是中古写本文化的微小缩影，古人惜纸的习性凝结其中，将讲论佛理的稿文誊抄于旧卷背面，带着千年前的伏案余温，纸页的毛边与暗斑，都是时光摩挲过的印记，静静述说着旧日的释门研学日常。",[23,30,25,105,1568,104,7,479,1569],"佛教典籍","朱批","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2781e832cf344bc81fa8e07feb93d11.jpg",[],{"id":1573,"slug":1574,"title":1575,"dynasty":18,"author":19,"museum":64,"description":1576,"tags":1577,"thumbUrl":1578,"material":482,"size":483,"collection":78,"collections":1579,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},241641,"zhi-yang-hu-shu-zha-wen-zheng-ming-241641","致阳湖书札","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”。",[225,25,49,51,7,564,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588c7c691a4650c35c73306c75c378ec.jpg",[],{"id":1581,"slug":1582,"title":1583,"dynasty":179,"author":1442,"museum":64,"description":1584,"tags":1585,"thumbUrl":1586,"material":482,"size":483,"collection":78,"collections":1587,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},240468,"lin-mi-tie-zhou-liu-yong-240468","临米帖轴","刘墉（1720~1804年 ），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 “少时知江宁府，颇以清介持躬，名播海内，妇人女子无不服其品谊，至以包孝肃比之”，朝鲜使臣称赞。以奉公守法、清正廉洁闻名于世。",[25,107,49,76,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac5884878a6de837f6ac5341c73dc559.jpg",[],{"id":1589,"slug":1590,"title":1591,"dynasty":179,"author":1592,"museum":64,"description":1593,"tags":1594,"thumbUrl":1595,"material":482,"size":483,"collection":78,"collections":1596,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},240452,"zhuan-shu-lu-wen-zhou-wang-tai-yue-240452","篆书录文轴","王太岳","王太岳（1722年-1785年）字基平，号芥子，直隶定兴人。生于清圣祖康熙六十一年，乾隆七年（1742年）进士，改翰林院庶吉士，擅文名，卒于高宗乾隆五十年（1785年），年六十四岁。",[326,708,76,25,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc5a9f3b2702bd3f162fc8e4c496c21.jpg",[],{"id":1598,"slug":1599,"title":1600,"dynasty":179,"author":541,"museum":64,"description":1601,"tags":1602,"thumbUrl":1604,"material":482,"size":483,"collection":78,"collections":1605,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},240395,"shou-zha-heng-fu-lin-ze-xu-240395","手札横幅","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。",[25,49,7,326,1603,565,52],"横幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb907ea73b88f28cb5cc339cc01fe2d76.jpg",[],{"id":1607,"slug":1608,"title":1609,"dynasty":179,"author":1610,"museum":64,"description":1611,"tags":1612,"thumbUrl":1613,"material":482,"size":483,"collection":78,"collections":1614,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},239779,"guan-huai-shu-yong-yan-qing-shu-zhai-shi-zhou-guan-huai-239779","关槐书颙琰清淑斋诗轴","关槐","字晋卿，一字晋轩，号雪岩，一号署笙，又号柱生，晚号青城山人，仁和（今杭州）人。乾隆四十五年（1780）传胪，官礼部侍郎。词章翰墨，脱颖不群。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。供奉内廷，宠眷特懋。有《群仙胪祝轴》、《溪山秋爽轴》等。",[326,25,104,76,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b307f49b761d181dbb690175e89ea45.jpg",[],{"id":1616,"slug":1617,"title":1618,"dynasty":18,"author":19,"museum":64,"description":1576,"tags":1619,"thumbUrl":1620,"material":78,"size":78,"collection":78,"collections":1621,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},239725,"zhang-zhou-wen-shi-chi-du-ce-zhi-yong-zhi-xie-bei-tie-wen-zheng-ming-239725","长洲文氏尺牍册-致永之写碑帖",[25,49,358,51,7,756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e94a95fd2c7305f6656bad6e6405e95.jpg",[],{"id":1623,"slug":1624,"title":1625,"dynasty":179,"author":1626,"museum":64,"description":1627,"tags":1628,"thumbUrl":1629,"material":78,"size":78,"collection":78,"collections":1630,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},236091,"hua-luo-han-ce-leng-mei-236091","画罗汉册","冷枚","此作右幅绘袒腹罗汉安坐石堆，面容圆和自得，三名弟子或仰首凝神聆教，或垂首沉心参悟，衣纹柔劲舒展，将人物姿容意态刻画得鲜活传神。左幅配行书题诗，笔墨隽秀雅致，与画作相得益彰。整体设色淡雅明净，工细中带着写意的松弛，以简练构图铺陈禅门论道的静穆氛围，将空灵悠远的禅思融于尺幅之间，尽显细腻生动的人物表现力与营造意境的深厚功底。",[358,25,380,28,183,397,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62d09b46e13423aaee78a881d7cae11.jpg",[],{"id":1632,"slug":1633,"title":1634,"dynasty":179,"author":1635,"museum":64,"description":1636,"tags":1637,"thumbUrl":1638,"material":482,"size":483,"collection":78,"collections":1639,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},232862,"jing-di-xiao-yuan-za-shi-ruan-yuan-232862","京邸小园杂诗","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。",[25,49,76,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2f8c97b3fcb7d115d71ce883667013.jpg",[],{"id":1641,"slug":1642,"title":1643,"dynasty":18,"author":1215,"museum":1216,"description":1217,"tags":1644,"thumbUrl":1645,"material":145,"size":1220,"collection":78,"collections":1646,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":1222},222305,"nan-hua-zhen-jing-58-wang-chong-222305","南华真经58",[23,25,49,7,138,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2882fcc7babc146b00d5b7f2a20983aa.jpg",[],{"id":1648,"slug":1649,"title":1650,"dynasty":608,"author":801,"museum":64,"description":1651,"tags":1652,"thumbUrl":1653,"material":482,"size":483,"collection":78,"collections":1654,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":39},290650,"miao-fa-lian-hua-jing-juan-di-liu-shou-gao-yi-ming-290650","妙法莲华经卷第六手稿","纸色泛黄斑驳，残损处带着时光剥蚀的痕迹，却难掩笔墨的沉静力量。书写端严匀净，是典型的写经体风貌，笔致舒展凝练，既有恪守楷则的规整，又带着抄经时自然流露的温润意趣。整卷文字排布齐整如林，字里行间藏着抄写者的恭敬之心，墨迹沉实，带着古卷特有的沉静书卷气，将过往的虔敬与笔墨温度留存至今，沧桑间尽显古雅肃穆的质感。",[105,25,30,479,1239,106,104,1066,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17e5e69ff817c81eac9252a1e6d66c47.jpg",[],{"id":1656,"slug":1657,"title":1658,"dynasty":608,"author":801,"museum":64,"description":1659,"tags":1660,"thumbUrl":1661,"material":482,"size":483,"collection":78,"collections":1662,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":39},290628,"da-fang-bian-fu-bao-en-jing-juan-di-wu-shou-gao-yi-ming-290628","大方便佛报恩经卷第五手稿","此卷以泛黄旧纸为载，墨色沉凝匀净，是工整端秀的写经书法。起收笔皆循法度，点画舒展从容，通篇行气贯通，字字安稳雅致，将宗教文本的肃穆气质与笔墨意趣相融，可见抄经人落笔时的恭谨虔诚。纸面晕开几处浅淡渍痕，是岁月留下的斑驳印记，为手卷晕染出厚重的时光质感。每一笔都带着沉静的心力，经文在笔墨间缓缓铺展，让信仰与书法合二为一，静静留存下旧时光里抄经岁月的平和与敬畏。",[25,105,30,479,1239,104,106,1238,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261d10538eea8b5834939ee8184b723f.jpg",[],{"id":1664,"slug":1665,"title":1666,"dynasty":44,"author":801,"museum":64,"description":1667,"tags":1668,"thumbUrl":1669,"material":482,"size":483,"collection":78,"collections":1670,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":162},241657,"wu-kuan-zhan-yi-zhi-gu-fu-feng-zeng-gao-ming-juan-yi-ming-241657","无款詹仪之故父封赠诰命卷","此作用笔朴拙苍劲，以行书为主，笔意连贯舒展，尽显宋代尚意书法风神。长卷墨色富于浓淡枯湿变化，时而浑厚沉实，时而枯涩飞白，古意盎然。\n\n章法排布随诰命文句自然铺陈，既保有官方文书的端整肃穆，又不失行书灵动写意的意趣。笔墨间尽显宋代士大夫的儒雅笔致，承载着诰命的庄重与书法的审美价值，在史料性与艺术性之间达成绝妙平衡，历经岁月经久弥香。",[23,137,30,25,104,49,7,138,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb83a71b3c5454f4959127ecf1680a2.jpg",[],{"id":1672,"slug":1673,"title":1674,"dynasty":179,"author":1675,"museum":64,"description":1676,"tags":1677,"thumbUrl":1678,"material":482,"size":483,"collection":78,"collections":1679,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":39},241571,"mei-yi-lu-yu-ping-zhou-mei-yi-241571","梅釴录语屏轴","梅釴","此作用笔温润秀雅，牵丝映带间尽显行书流动之美，结体错落随性，毫无板滞之感。墨色清透匀净，随着行文自然晕开浓淡变化，古意盎然。\n\n录写古人问道读书的清雅佳话，笔墨与文意相融相合，尽显书家的文人情趣与审美意趣。落款小字精劲端严，与正文的舒展灵动形成动静对比，两枚朱印沉稳点睛，让整幅作品章法和谐完满，尽显清代帖学书法的隽雅之风，是兼具笔墨意趣与文心内涵的佳构。",[24,143,76,49,25,51,756,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88482ccd6af7c80216c973f92090793.jpg",[],{"id":1681,"slug":1682,"title":1683,"dynasty":179,"author":1389,"museum":64,"description":1390,"tags":1684,"thumbUrl":1685,"material":482,"size":483,"collection":78,"collections":1686,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":1687},241503,"lu-wen-zhou-yan-xin-hou-241503","录文轴",[326,25,49,76,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2010d5d8ead3086a9c95736d3e47d0de.jpg",[],"37474F",{"id":1689,"slug":1690,"title":1691,"dynasty":179,"author":1692,"museum":64,"description":1693,"tags":1694,"thumbUrl":1696,"material":482,"size":483,"collection":78,"collections":1697,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":39},241437,"zhi-gong-ci-shuo-wen-yi-zi-gai-heng-wang-ding-241437","致公朿说文佚字改横","王鼎","王鼎（1768年－1842年），字定九，號省厓，陝西同州府蒲城縣（今陕西省渭南市蒲城县）人，清朝大臣。",[23,25,143,49,30,7,52,989,598,1695],"书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb756aa44ee4d4d2f2110c0a5d6a9102a.jpg",[],{"id":1699,"slug":1700,"title":1701,"dynasty":18,"author":406,"museum":64,"description":1702,"tags":1703,"thumbUrl":1704,"material":482,"size":483,"collection":78,"collections":1705,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":39},241293,"lin-wang-jiu-tie-juan-dong-qi-chang-241293","临王九帖卷","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。",[107,49,121,25,30,51,50,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec6c0447d7909f53d2ccb86a980ae30.jpg"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[1] 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Top","这是一幅巧思盎然的错视佳作，将凌乱堆叠的速写稿铺陈于桌面之上，虚实交融模糊了画内画外的边界。\n小幅速写各有乾坤：戴羽饰的异域男子神情桀骜，鞍马奔踏带着旷野的风，旅人彳亍、水乡小镇晕开静谧烟火，每一页都封存着鲜活的采风日常。\n画稿看似随意摊放，带着刚被翻阅搁置的松弛感，仿佛能窥见画师方才辍笔的模样，将零散的灵感碎片定格成充满生活温度的创作一隅，尽显古典手绘的精妙意趣。",[612,1971,1972,380,200,1973,7,613,1974,1975],"速写","错视画","建筑","风景","市井场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb75bb43ce9bc25a1738131ad9e5540.jpg",[],{"id":1979,"slug":1980,"title":1981,"dynasty":179,"author":541,"museum":64,"description":1601,"tags":1982,"thumbUrl":1983,"material":482,"size":483,"collection":78,"collections":1984,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":39},241633,"zhi-lao-fu-zi-da-ren-zha-lin-ze-xu-241633","致老夫子大人札",[143,25,49,7,75,1512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e8f80858e2895c0f5a21583052716c7.jpg",[],{"id":1986,"slug":1987,"title":1988,"dynasty":179,"author":541,"museum":64,"description":1601,"tags":1989,"thumbUrl":1990,"material":482,"size":483,"collection":78,"collections":1991,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":162},241632,"zhi-jie-ping-zha-lin-ze-xu-241632","致介平札",[25,49,7,52,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071f2ee9465dcbeedaf8409c6e1d1b1d.jpg",[],{"id":1993,"slug":1994,"title":1988,"dynasty":179,"author":541,"museum":64,"description":1601,"tags":1995,"thumbUrl":1996,"material":482,"size":483,"collection":78,"collections":1997,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":39},241626,"zhi-jie-ping-zha-lin-ze-xu-241626",[25,49,75,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c9b2d4f5905e4c4ef7701478497ebe9.jpg",[],{"id":1999,"slug":2000,"title":2001,"dynasty":18,"author":2002,"museum":64,"description":2003,"tags":2004,"thumbUrl":2006,"material":7,"size":78,"collection":56,"collections":2007,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":39},241528,"qi-lv-ye-fang-xiang-ying-241528","七律页","方象瑛","生于明崇祯五年（1632），字渭仁，浙江遂安人。天资颖异，九岁能诗，十岁作《远山净赋》，见者惊异。与毛际可等友善。康熙六年，（公元一六六七年）成进士，授内阁中书。充顺天乡试同考官。十八年、因荐试中“博举鸿儒”科二等，授 历迁侍讲，告归。象瑛著有《健松斋诗文集》三十四卷，《封长白山记》一卷，《松窗笔乘》三十卷，（均清史列传）并行于世。",[25,49,397,756,7,225,2005,51],"诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd71424a0f93ff353445747b79ebe0f80.jpg",[56],{"id":2009,"slug":2010,"title":2001,"dynasty":18,"author":2011,"museum":64,"description":2012,"tags":2013,"thumbUrl":2014,"material":7,"size":78,"collection":56,"collections":2015,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":39},241527,"qi-lv-ye-mao-ji-ke-241527","毛际可","毛际可（1633年－1708年），字会侯，号鹤舫，晚号松皋老人。遂安（今属浙江）人，清代文学家。",[143,25,49,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1816756b2fa52194de0ec735a9f416.jpg",[56],{"id":2017,"slug":2018,"title":2019,"dynasty":179,"author":2020,"museum":64,"description":2021,"tags":2022,"thumbUrl":2023,"material":482,"size":483,"collection":78,"collections":2024,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":39},241442,"shou-zha-heng-liang-zhang-ju-241442","手札横","梁章钜","梁章钜（1775－1849），字闳中，又字茝林，号茝邻，晚号退庵，祖籍福建福州府长乐县（今福建省福州市长乐区），生于福州府城。其先祖于清初迁居福州市区。",[23,179,25,49,7,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754d935ec7173b23ac696cc0424d3816.jpg",[],{"id":2026,"slug":2027,"title":2028,"dynasty":18,"author":2029,"museum":64,"description":2030,"tags":2031,"thumbUrl":2032,"material":482,"size":483,"collection":78,"collections":2033,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":39},241423,"shan-jian-bu-bo-zhang-ye-yu-da-cheng-241423","善建不拨章页","余大成","余大成，字集生，号石衲，江宁人。明朝人物。万历三十五年（1607年）进士，官兵部职方司主事。参与保卫北京的战斗，并自称与袁崇焕接触，以招回关宁军。崇祯帝曾亲书“清执”二字赐给了他。\n崇祯四年担任山东巡抚期间，发生“吴桥兵变”。起初主张剿灭叛军的余大成在所部被孔有德数百人击溃后丧失了继续作战的勇气，主张招抚，并严禁与叛军作战，被嘲笑为“白莲督院”。然而招抚多次失败，导致兵马损失和大员被害，上震怒，将其贬谪。\n崇祯八年，他在被贬前往广东电白途中，特别迂道至东莞，吊祭袁崇焕，慷慨呜咽，见者声泪俱下。他既是袁崇焕的继任者，又是袁崇焕的崇拜者。留有记事名篇《剖肝录》。",[25,49,51,143,358,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb1c5c68628a7327f036208f9fa7152.jpg",[],{"id":2035,"slug":2036,"title":2037,"dynasty":179,"author":2038,"museum":64,"description":2039,"tags":2040,"thumbUrl":2041,"material":482,"size":483,"collection":78,"collections":2042,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":162},241144,"wan-bai-shan-ren-chuan-heng-sun-yun-gui-241144","完白山人传横","孙云桂","余自与石如交情……每掀髯大言曰：邓布衣篆书，世岂有敌哉，其狂不可及则畏之。迨浃洽久，出肺肝相示，忘形骸精诚可贯金石。盖古之任侠士也，则昵而爱之。……君名琰号石如邓其姓怀宁人。",[25,49,30,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275a154c4531b98a7d4483b4528340e5.jpg",[],{"id":2044,"slug":2045,"title":2046,"dynasty":18,"author":2047,"museum":64,"description":2048,"tags":2049,"thumbUrl":2050,"material":482,"size":483,"collection":78,"collections":2051,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":39},240938,"ji-huai-shi-er-shou-shan-mian-dong-si-cheng-240938","寄怀诗二首扇面","董嗣成","董嗣成 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