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人生之叹。诗写得苍凉多情，表达了苏轼此时惆怅孤独的心情。此诗的书法也正是在这种心情和境况下，有感 而出的。通篇书法起伏跌宕，光彩照人，气势奔放，而无荒率之笔。《寒食诗帖》在书法史上影响很大， 被称为“天下第三行书”，也是苏轼书法作品中的上乘。正如黄庭坚在此诗后所跋：“此书兼颜鲁公，杨少师， 李西台笔意，试使东坡复为之，未必及此。",[23,28,54,27,29,55,7,56,57,58,59,60,61,62],"行书","水墨","江","雨","云","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","纸本","横34.2厘米，纵18.9厘米","书法精选",[66],452,6,"BDBDBD",{"id":72,"slug":73,"title":74,"dynasty":75,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":85,"material":86,"size":87,"collection":88,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":45},222724,"qian-long-huang-di-chao-fu-xiang-lang-shi-ning-222724","乾隆皇帝朝服像","清","郎世宁","北京故宫博物院","画中的乾隆皇帝慈眉善目，端庄大方，透露着一国之君的威严。郎世宁所画的肖像画，都有着造型准确，并富有立体感的特点;同时为了适合东方民族的欣赏习惯与审美心理，在画面光线的运用上，一律取正面光照，从而使人物面部五官都处在明亮部位，观之非常清晰。\n该作品是根据清代宫廷礼制的需要，每位皇帝、皇后以及主要的嫔妃都画有穿戴整齐的朝服像，这些作品华丽工细，格式相似。此幅即是郎世宁为乾隆皇帝所画的朝服像。",[23,26,80,25,30,81,82,39,7,83,38,84],"油画","龙","笔","砚","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea3a27eb07c0608d6f69acd2f551812.jpg","绢本 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。日本大阪市立美术馆藏。\n\n此作书于元祐八年（1093）七月十日，苏轼五十八岁，是其重要的代表作之一。苏轼的很多作品因注重创造意识，透过它们强烈的艺术感染力，可以多少领会到作者的苦心孤诣，换句话说，是露出了刀劈斧凿之痕的。那线条的优雅，行气的从容，章法的疏密有致，给人一种精美绝伦之感。这当然是一种美，但这种美中的形式因素相对要多一些。试观此《李白仙诗卷》，却大有“粗服乱头”之感。",[23,98,28,54,27,7,29],"书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6d975139a01fe3b63e08f3f1c34ac2.jpg",[],213,{"id":103,"slug":104,"title":105,"dynasty":106,"author":107,"museum":108,"description":109,"tags":110,"thumbUrl":111,"material":112,"size":113,"collection":66,"collections":114,"showCount":116,"zanCount":91,"manualWeight":11,"mainColor":45},221058,"ji-bo-fu-wen-gao-yan-zhen-qing-221058","祭伯父文稿","唐","颜真卿","原作佚失","《祭伯父文稿》又称《告伯父文稿》，全称《祭伯父濠州刺史文》。自署书于乾元元年(758年) ，行草书，文稿一篇。凡36行，计410字。原刻早佚，见宋《甲秀堂帖》本。",[23,28,54,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2e367d390d29de8fe53845c7e6dd7e.jpg","行草书","410字",[66,115],"碑帖精选",170,{"id":118,"slug":119,"title":120,"dynasty":121,"author":122,"museum":123,"description":124,"tags":125,"thumbUrl":136,"material":41,"size":41,"collection":41,"collections":137,"showCount":138,"zanCount":139,"manualWeight":11,"mainColor":70},220578,"huang-bin-hong-ben-hua-niao-shan-shui-ce-ye-huang-bin-hong-220578","黄宾虹本花鸟山水册页","民国","黄宾虹","中国美术学院美术馆","此作以分段折枝花鸟铺陈，各景花木情态自具：牡丹秾艳娇柔，梅枝清癯疏朗，铃兰、山茶各见风姿。以淡彩晕染花萼枝叶，勾勒轻简见笔力，兼具写生之真与写意之逸，既有青藤白阳的纵逸笔意，又自出机杼。题跋书法与花木相映成趣，诗画交融，晕染淡雅却筋骨暗蕴，艳而不俗，淡而不薄，将花木的柔媚与文人画的清雅风骨相融，尽显明清逸格画韵的余味，笔底漾着沉静文心，是极具文人雅致的花鸟小品佳作。",[23,126,98,127,26,25,54,29,128,129,130,131,132,133,134,135,39,7],"国画","册","花鸟","牡丹","桃花","菊","月季","芙蓉","水仙","兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf98760b63f1afddbdee99352c5f94a.jpg",[],168,3,{"id":141,"slug":142,"title":143,"dynasty":144,"author":145,"museum":20,"description":146,"tags":147,"thumbUrl":151,"material":41,"size":41,"collection":41,"collections":152,"showCount":153,"zanCount":154,"manualWeight":11,"mainColor":70},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","南北朝","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,148,126,98,27,25,26,30,149,150,29,28,54,82,39,7,83,38],"名画","马","书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],143,2,{"id":156,"slug":157,"title":158,"dynasty":159,"author":160,"museum":161,"description":162,"tags":163,"thumbUrl":168,"material":169,"size":170,"collection":88,"collections":171,"showCount":172,"zanCount":91,"manualWeight":11,"mainColor":45},219416,"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","明","陈洪绶","上海博物馆","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[126,164,26,30,165,166,28,29,7,39,38,167],"立轴","梅","器","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","绢本,设色","纵100.8厘米，横49.4厘米",[88],138,{"id":174,"slug":175,"title":176,"dynasty":106,"author":177,"museum":178,"description":179,"tags":180,"thumbUrl":184,"material":185,"size":186,"collection":66,"collections":187,"showCount":188,"zanCount":91,"manualWeight":11,"mainColor":70},221067,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221067","灵飞经四十三行","钟绍京","美国大都会艺术博物馆","《灵飞经》又名《六甲灵飞经》，是灵道教的一部经。主要阐述存思之法。今道藏有《上清琼宫灵飞六甲左右上符》，一卷。《汉武内传》谓此经用于请命延算、长生久视、驱策众灵、役使鬼神。\n《灵飞经》书法作品是唐代著名小楷之一，无名款。元袁桷、明董其昌皆以为唐钟绍京书。明董其昌说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[23,28,181,182,183,29,167,39,7],"楷书","写经","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7864d29aa6825557fee2422369ffc5.jpg","墨迹本","20.8×8.9cm",[66,115],114,{"id":190,"slug":191,"title":192,"dynasty":121,"author":193,"museum":194,"description":195,"tags":196,"thumbUrl":201,"material":41,"size":41,"collection":41,"collections":202,"showCount":203,"zanCount":91,"manualWeight":11,"mainColor":70},220491,"zhang-da-qian-yang-xiong-du-shu-tu-zhang-da-qian-220491","张大千杨雄读书图","张大千","四川博物院","此作用淡墨铺就清寂意境，右侧枯木虬劲苍古，枝桠错落间漫出萧索秋意。嶙峋湖石立在一旁，苔痕轻缀，晕开幽幽古意。\n\n榻上主人眉目疏朗静和，正浸在书卷意趣里神游，身侧侍童垂首伫立，一室安闲自适。案头笔墨横陈，暗合读书主题。\n\n左上角题笔行书舒展雅致，书画相映，文气暗生。全幅以水墨淡绘，摒去浓丽敷色，以极简笔触勾勒人物情态与周遭景致，将贤士沉湎诗书、物我两忘的静穆心境，晕染得淋漓尽致，尽显林下雅逸风流。",[23,126,98,164,55,25,30,197,198,167,82,39,7,83,199,200],"孤石","老树","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9c04228945a41faa0f8502855c33b.jpg",[],108,{"id":205,"slug":206,"title":207,"dynasty":18,"author":208,"museum":209,"description":210,"tags":211,"thumbUrl":219,"material":169,"size":220,"collection":221,"collections":222,"showCount":223,"zanCount":154,"manualWeight":11,"mainColor":45},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","佚名","波士顿美术馆","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[23,126,98,27,26,25,28,30,212,213,214,215,216,217,218,82,39,7,83],"山水","亭","小桥","流水","孤舟","树木","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6","宋画精选",[221],101,{"id":225,"slug":226,"title":227,"dynasty":75,"author":208,"museum":20,"description":228,"tags":229,"thumbUrl":232,"material":64,"size":41,"collection":88,"collections":233,"showCount":234,"zanCount":154,"manualWeight":11,"mainColor":70},215272,"bai-miao-jie-tou-mai-mai-hua-ce-yi-ming-215272","白描街头买卖画册","白描线条简净却含韵致，人物端坐案前，指尖捻丝点翠，眉眼凝着专注。衣袂褶皱随坐姿舒展，线条如微风拂过般流畅。案上木盒静立，瓷杯映着微光，散落的工具似留着指尖余温。无浓墨重彩，却将市井手工艺人的日常定格得细腻动人。素纸之上，每道线条都牵着旧时光的烟火暖意，街头买卖的鲜活气息在极简笔墨里缓缓流淌，藏着对生活本真的温柔描摹，让平凡的手艺场景，在白描清韵中成为时光里的一抹温情印记。",[23,230,127,30,166,82,39,7,83,231],"白描","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3896dc480a68a226c767c74139ac5e66.jpg",[88],95,{"id":236,"slug":237,"title":238,"dynasty":106,"author":239,"museum":20,"description":240,"tags":241,"thumbUrl":244,"material":64,"size":245,"collection":66,"collections":246,"showCount":247,"zanCount":91,"manualWeight":11,"mainColor":70},223386,"gu-chao-can-juan-bai-shi-wen-ji-di-san-juan-bai-ju-yi-223386","古抄残卷《白氏文集》第三巻","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。",[23,28,181,167,242,7,243],"抄本","墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89515a061475fbfc4d99003bda2efa65.jpg","未知",[66],85,{"id":249,"slug":250,"title":251,"dynasty":18,"author":252,"museum":51,"description":253,"tags":254,"thumbUrl":260,"material":261,"size":262,"collection":66,"collections":263,"showCount":264,"zanCount":91,"manualWeight":11,"mainColor":45},221206,"cai-xiang-qi-yan-jue-ju-yi-shou-wu-ju-221206","蔡襄七言绝句一首","吴琚","《七言绝句》诗文出自蔡襄《访陈处士》，它是吴琚存世唯一一件大字行书挂轴之作，也是现在所见最早的一件挂轴形式的书迹。《石渠宝笈初编》著录。上面没有署款，只鈐“云壑书印”一印，有学者认為可能是一组书屏之一。大字书轴适於悬挂欣赏，重在行气连贯与左右上下字的呼应，吴琚此轴笔势较一般小字快速而强劲，结字紧密，以倾侧取势，上下字相映带，更为强调米芾行书的特色，同时代的陆游(1125-1209)与范成大(1126-1193)都有类似风格，可见一时风气，《宋元学案》提到范成大、陆游与吴琚“引為师友”，因此也可能在书法上互相影响",[23,28,54,39,7,29,214,255,256,257,258,259],"溪","垂杨","花","日","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbb93e387618892f877990551cbc300.jpg","绢","98.6x55.3cm",[66],71,{"id":266,"slug":267,"title":268,"dynasty":159,"author":269,"museum":77,"description":270,"tags":271,"thumbUrl":274,"material":64,"size":275,"collection":66,"collections":276,"showCount":277,"zanCount":154,"manualWeight":11,"mainColor":70},219155,"xing-kai-shu-rong-deng-tie-ye-du-qiong-219155","行楷书·荣登帖页","杜琼","此帖是杜琼写给吴宽的书信。吴宽于明成化八年（1472年）参加会试、廷试，皆第一，即杜琼所谓“荣登二元”——会元、状元，随后授翰林院修撰。杜琼信中请吴宽为杜家私园延绿亭“作重建延绿亭记”。信写于壬辰（成化八年，1472年）中秋时，这一年杜琼已77岁，且多病，两年后便逝世了。此帖结字瘦长，点划细润工丽，精劲俊峭，具有文人气质。",[23,28,54,181,272,7,55,29,273],"行楷","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8ea1ebfbbbbed4a838ebb6eeebdb9.jpg","纵24.2厘米，横48.6厘米",[66],70,{"id":279,"slug":280,"title":281,"dynasty":159,"author":282,"museum":283,"description":284,"tags":285,"thumbUrl":286,"material":287,"size":288,"collection":41,"collections":289,"showCount":290,"zanCount":91,"manualWeight":11,"mainColor":70},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","仇英","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,126,98,27,230,25,30,31,38,82,39,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],65,{"id":292,"slug":293,"title":294,"dynasty":295,"author":296,"museum":20,"description":297,"tags":298,"thumbUrl":299,"material":245,"size":300,"collection":41,"collections":301,"showCount":302,"zanCount":91,"manualWeight":11,"mainColor":70},231019,"bo-yuan-tie-wang-xun-231019","伯远帖","晋","王珣","王珣（349年－400年6月24日），字元琳，小字法护，琅琊临沂（今山东省临沂市）人。东晋时期大臣、书法家，丞相王导之孙、中领军王洽之子。\n王珣出身琅琊王氏，初任大司马（桓温）主簿，深得桓温敬重，累迁琅邪王友、中军（桓冲）长史、给事黄门侍郎。太傅谢安当政，授秘书监。以才学文章受知于晋孝武帝司马曜，成为心腹大臣，累迁左仆射、征虏将军，领太子詹事。隆安元年（397年），迁尚书令。司马道子征讨王恭时，担任卫将军、都督琅琊水陆军事。平乱有功，加位散骑常侍。隆安四年（400年），王珣去世，时年五十二，获赠车骑将军、开府仪同三司，谥号“献穆”，累赠司徒。著有文集十一卷。\n王珣工于书法，董其昌称其“潇洒古澹，东晋风流，宛然在眼。”其代表作《伯远帖》是东晋时难得的法书真迹，且是东晋王氏家族存世的唯一真迹，一直被历代书法家、收藏家、鉴赏家视为稀世瑰宝。",[23,28,54,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb510a3c7978fb7554da6286166e9e069.jpg","Xcm*Xcm",[],61,{"id":304,"slug":305,"title":306,"dynasty":307,"author":308,"museum":77,"description":309,"tags":310,"thumbUrl":311,"material":64,"size":312,"collection":66,"collections":313,"showCount":302,"zanCount":91,"manualWeight":11,"mainColor":70},220859,"lin-yu-zhen-lan-ting-zhao-meng-fu-220859","临玉枕兰亭","元","赵孟頫","关于玉枕兰亭传说颇多，有言贾秋壑得一石枕，光莹可爱，使廖莹中以灯影缩小法刻于灵壁石上，宛如定武本，缺损处皆全，人称玉枕兰亭。\n缩临古帖，历来有之，似为携带方便，可以随时展玩，故有《玉枕兰亭》之传。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。赵孟頫不仅有此《缩本兰亭》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为“笔法位置全然相似，亦当世之名迹也”。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种“游戏”。但赵孟頫是落笔便作千古想的，所以 “虽戏写亦如欲刻金石”，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[28,54,24,29,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e32b4427919d25ac2c78252539055fa.jpg","纵7.1厘米，横26.2厘米",[66],{"id":315,"slug":316,"title":317,"dynasty":307,"author":308,"museum":178,"description":318,"tags":319,"thumbUrl":320,"material":64,"size":321,"collection":66,"collections":322,"showCount":323,"zanCount":11,"manualWeight":11,"mainColor":70},220860,"wang-xi-zhi-yi-shi-tie-zhao-meng-fu-220860","王羲之轶事帖","赵孟頫《王羲之轶事帖》，又名《右军四事帖》、《王羲之书事卷》等，书于元代大德年间，是赵氏传世作品中的精品佳作。纸本行书，帖芯24.4×117cm，全卷含题跋26.5×851.2cm，原为美国顾洛阜旧藏，现藏于纽约大都会博物馆。\n《羲之四事帖》书风，以《阁帖》中王羲之书和《兰亭序》为主，兼以《十七帖》笔意，布局精严。赵孟頫学王羲之书，可谓“前无古人，后无来者”。赵孟頫的唯美主义书法整整影响了元、明、清三代，明人何良俊《四友斋丛说》中曾云：“上下五百年，纵横一万里，举无此书”。\n释文：羲之书在始未有奇殊，不胜庾翼、郗愔，迨其末年，乃造其极。尝以章草答庾亮，亮以示翼，翼叹服，因与羲之书云：“吾昔有伯英章草书十纸，过江亡失，常痛妙迹永绝，忽见足下答家兄书，焕若神明，顿还旧观。”\n羲之罢会稽，住蕺山下。旦见一老姥，把十许六角竹扇出市。王聊问：“比欲货耶，一枚几钱？”答云：“二十许。”右军取笔书扇，扇五字。姥大怅惋云：“老妇（妇字原缺，据明抄本补）举家朝餐，俱仰于此，云何书坏。”王答曰：“无所损，但道是王右军书字，请一百。”既入市，人竞市之。后数日，复以数扇来诣，请更书，王笑而不答。\n羲之曾自书表与穆帝，专精任意。帝乃令索纸色类，长短阔狭，与王表相似。使张翼写效，一毫不异，乃题后答之。羲之初不觉，后更相看，乃叹曰：“小人乱真乃尔。”羲之性好鹅，山阳昙忀村有一道士养好者十余。王清旦乘小船，故往看之。意大愿乐，乃告求市易，道士不与。百方譬说，不能得之。道士言性好道，久欲写河上公老子，缣素早办，而无人能书。府若能自书老子（老子原作屈，据明抄本改）《道德》各两章，便合群以奉。羲之停半日，为写毕。笼鹅而归。",[23,27,28,54,273,29,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815b7aa9a62e80c21a0150d35e609d27.jpg","帖芯24.4×117cm，全卷含题跋26.5×851.2cm",[66],59,{"id":325,"slug":326,"title":327,"dynasty":159,"author":328,"museum":161,"description":329,"tags":330,"thumbUrl":334,"material":335,"size":336,"collection":88,"collections":337,"showCount":338,"zanCount":11,"manualWeight":11,"mainColor":70},219405,"tie-di-tu-wu-wei-219405","铁笛图","吴伟","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[126,98,230,30,331,332,82,39,7,83,333,33,29],"松树","石","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纸本,水墨","纵32.1厘米，横155.4厘米",[88],56,{"id":340,"slug":341,"title":342,"dynasty":75,"author":343,"museum":77,"description":344,"tags":345,"thumbUrl":346,"material":169,"size":347,"collection":88,"collections":348,"showCount":349,"zanCount":91,"manualWeight":11,"mainColor":45},219102,"kang-xi-di-bian-zhuang-xie-zi-xiang-gong-ting-hua-jia-219102","康熙帝便装写字像","宫廷画家","图中康熙帝身穿便装，左手轻按平铺于方桌上的白纸，右手提笔正欲习字，身后屏风上的墨龙暗示着王者尊贵的地位。以特色透视技法画出的方桌与用欧洲焦点透视法描绘的屏风座形成了场景中能够调和的冲突。由此无法判断出，这幅佳作绘制于西风东渐的初期，是一位学习过西方画法、但又没有彻底明了其透视原理的宫廷作家所构思的。虽然此画存在不协调的现象，但它仍然是中西绘画交流、碰撞下的有趣的作品，值得我们进一步探究和分析。",[23,126,25,26,30,81,82,39,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a24ed93f8ff588cb1d9dfc78cc5cfa.jpg","纵50.5厘米，横31.9厘米",[88],53,{"id":351,"slug":352,"title":353,"dynasty":159,"author":354,"museum":51,"description":355,"tags":356,"thumbUrl":357,"material":358,"size":359,"collection":66,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":362},220929,"lu-chang-shi-zhou-dong-qi-chang-220929","陆畅诗轴","董其昌","董其昌以草书抄录唐陆畅〈惊雪〉：“怪得北风急，前庭如月晖。天人宁许巧，剪水作花飞。”此作书于绫本上，整体的书写效果与纸本相当不同，墨色的深浅变化较不明显，稍微晕染的性质也让整体线条精致度下滑。相较董其昌纸本书法对于材质与用笔的讲究，绫本的特性让他在书写态度上无须如此精谨，用笔也可以比较率性而不假修饰。无论是书写或是视觉表现上，此作都反映出较多应酬书法的特性。",[98,28,164,54,29,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac515934bf51ea7276a8c5e7cae2a703.jpg","绫本","95.9x28.8",[66],51,"37474F",{"id":364,"slug":365,"title":366,"dynasty":367,"author":368,"museum":20,"description":369,"tags":370,"thumbUrl":374,"material":245,"size":300,"collection":375,"collections":376,"showCount":377,"zanCount":11,"manualWeight":11,"mainColor":362},226147,"shang-ren-ge-ao-er-ge-ji-sai-xiao-han-si-huo-er-bai-yin-226147","商人格奥尔格·吉塞","不详","小汉斯·霍尔拜因","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》",[80,371,30,7,82,372,373,200,38,257],"写实","书籍","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a694ea2d89efc2767401182cad29d48.jpg","油画精选",[375],45,{"id":379,"slug":380,"title":381,"dynasty":18,"author":382,"museum":161,"description":383,"tags":384,"thumbUrl":385,"material":335,"size":386,"collection":41,"collections":387,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":70},214278,"duo-jing-lou-shi-tie-5-mi-fei-214278","多景楼诗帖-5","米芾","笔势如惊鸿掠水，欹侧间藏雷霆力道。单字看似不羁，实则气脉暗连如长河奔涌。浓墨沉厚若坠石，淡笔飞白似游丝，侧锋扫过的锋芒，正是“刷字”神采。“入”字长捺如利剑出鞘，“漠”字转折似老树盘根，每一笔都带着动感。整幅字不拘绳墨却自有章法，书家豪情与才思凝于笔端，读来如闻松涛阵阵、见江海滔滔，尽显宋代尚意书风的洒脱筋骨。",[28,54,273,29,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73bbbcfe904b8b4a1dbecc26188a39cf.jpg","31.2x538.1",[],43,{"id":390,"slug":391,"title":392,"dynasty":159,"author":393,"museum":20,"description":394,"tags":395,"thumbUrl":396,"material":64,"size":41,"collection":66,"collections":397,"showCount":398,"zanCount":11,"manualWeight":11,"mainColor":70},241555,"tang-yin-shi-juan-tang-yin-241555","唐寅诗卷","唐寅","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 [1] 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。 [2]\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,98,27,28,54,29,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d1f22c20897817f0de3feff1bc57dd.jpg",[66],41,{"id":400,"slug":401,"title":402,"dynasty":307,"author":403,"museum":404,"description":405,"tags":406,"thumbUrl":407,"material":64,"size":408,"collection":66,"collections":409,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":70},221685,"shu-wang-an-shi-za-shi-juan-quan-juan-xian-yu-shu-221685","书王安石杂诗卷全卷","鲜于枢","辽宁省博物馆","书王安石杂诗四首：《题侍郎山水》、《招约之职方并示正甫书记》、《示元度》、《奉酬约之见招》。全卷600余字，书于至元二十八年（公元1291年）。时鲜于枢36岁，正值书艺旺盛时期，故书气恢宏，骨力劲健，圆转流畅，表现了鲜于枢极深的书 * 力。",[23,98,28,27,54,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a218ba9122cc9b248081e8fb15f101.jpg","纵50厘米 横1025厘米",[66],40,{"id":412,"slug":413,"title":414,"dynasty":18,"author":208,"museum":20,"description":415,"tags":416,"thumbUrl":417,"material":41,"size":41,"collection":41,"collections":418,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":45},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","萧翼赚兰亭图","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,126,98,27,25,230,55,26,30,29,28,82,39,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],35,{"id":421,"slug":422,"title":423,"dynasty":367,"author":208,"museum":20,"description":424,"tags":425,"thumbUrl":427,"material":245,"size":300,"collection":41,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":70},290630,"bao-ta-xin-jing-shou-gao-yi-ming-290630","宝塔心经手稿","这帧残页纸色泛黄古旧，虫蛀圆痕带着岁月浸蚀的痕迹，自带沉静古韵。字迹取唐人写经笔意，中锋行笔瘦挺端雅，墨色沉凝质朴，经文排布错落雅致，内敛肃穆的禅意藏于笔锋起落之间。残损的形制非但未减风采，反而赋予其残缺古雅之美，仿佛能窥见抄经时，执笔人沉心敛神的虔诚姿态，笔墨晕染着佛门特有的静谧安然，将千年时光里的禅意温度封存在纸页之上。",[28,182,183,181,7,167,426],"心经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8668384200549e969b5da74717b6060c.jpg",[],31,{"id":431,"slug":432,"title":433,"dynasty":159,"author":434,"museum":435,"description":436,"tags":437,"thumbUrl":439,"material":438,"size":440,"collection":41,"collections":441,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":45},222236,"bai-yan-shi-quan-juan-xu-wei-222236","白燕诗全卷","徐渭","绍兴市文物考古研究所","释文：\n白燕诗卷\n西飞岁岁侯青阳。花发名园何处藏。天子郊禖呈瑞色。主人台榭有辉光。轻翰掠雨绡初剪。小尾流风练愈长。万里东归看 易没。海天元是白云乡。一时伴侣自应稀。海路空长遇亦非。汉 将玉门投老入。赵妃雪夜待人归。孤回夏日摇寒雪。渐下秋空见羽 衣。却说朱门无可托。玉楼天上任高飞。素壁红芳照苑墙。冲花 泛羽唼群芳。霜迷万瓦单栖渺。草绿千堤片影凉。云母屏深低缟袖。水晶帘动拂流黄。西园蝴蝶浑无赖。暗粉飘尘上海棠。 白燕四首。书似镇南朱内史一笑。天池徐渭。\n徐渭的书法和明代早期书坛沉闷的气氛对比显得格外突出，他最擅长气势磅礴的狂草，但一般人很难看懂，用笔狼藉，他对自己的书法极为喜欢，自认为“书法第一，诗第二，文第三，画第四”。\n他的书法也是从吴门书派主张唐法的反叛中出发，继而吸取北宋苏轼、黄庭坚、米芾追求艺术个性化的积极因素中走来。\n徐渭打破了以“台阁体”为主导的明代书坛的寂寞，开启和引领了晚明“尚态”书风，把明代书法引向了新的高峰。陶望龄认为其书法“称为奇绝，谓有明一人”。袁宏道则称：“予不能书，而谬谓文长书决在王雅宜、文征仲之上，不论书法而论书神，先生者诚八法之散圣，字林之侠客矣！”",[23,148,126,98,27,55,7,438,28],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df2f85d03ab6130ec22e417c81f958c.jpg","纵30厘米，横420.5厘米",[],{"id":443,"slug":444,"title":445,"dynasty":367,"author":208,"museum":446,"description":447,"tags":448,"thumbUrl":449,"material":64,"size":450,"collection":66,"collections":451,"showCount":429,"zanCount":139,"manualWeight":11,"mainColor":70},221046,"sui-ren-xie-jing-da-ban-nie-pan-jing-jia-ye-pu-sa-pin-shou-juan-yi-ming-221046","隋人写经大般涅槃经迦叶菩萨品手卷","美国弗瑞尔美术馆","该卷经文用笔犀利\n行笔淋漓尽致",[23,182,28,181,27,183,167,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828a17b3e983bfa837f24dc56406fdc8.jpg","20.9厘米x380.3厘米",[66],{"id":453,"slug":454,"title":455,"dynasty":18,"author":50,"museum":77,"description":456,"tags":457,"thumbUrl":458,"material":64,"size":459,"collection":66,"collections":460,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":70},221308,"xin-sui-zhan-qing-ren-lai-de-shu-tie-su-shi-221308","《新岁展庆人来得书帖》","《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[23,28,54,273,29,27,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad00b3f14d230ed716a804c1d3a34fd.jpg","前帖30.2X48.8cm，后帖29.5X45.1cm",[66],28,{"id":463,"slug":464,"title":465,"dynasty":466,"author":467,"museum":77,"description":468,"tags":469,"thumbUrl":470,"material":471,"size":472,"collection":66,"collections":473,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":70},239575,"xia-re-tie-yang-ning-shi-239575","夏热帖","五代十国","杨凝式","《夏热帖》是杨凝式写的一封信札。内容大致是，因天气炎热，送给僧人消夏饮料“酥密水”表示问候。\n释文：\n“凝式啓：夏熱體履佳宜，長□酥密水，即欲致法席，苦□□□乳之供，酥似不如也。(以下数字残损难识)病？(下二行残损)。”\n首署款：“凝式”。\n后纸有宋王钦若，元鲜于枢、赵孟頫，清张照题跋及乾隆皇帝的释文。\n卷前后及隔水上钤有宋“賢志堂印”，元赵孟頫，明项元汴，清曹溶、纳兰成德、清内府等鉴藏印。另有数方古印不辨。\n此帖是杨凝式唯一的传世草书作品，书法兼取唐颜真卿、柳公权笔法，体势雄奇险崛，运笔爽利挺拔，《神仙起居法》有异曲同工之妙，为杨凝式书法代表作品作之一。\n此帖曾刻入《三希堂法帖》。\n明汪砢玉《珊瑚网书跋》，清吴其贞《书画记》、顾復《平生壮观》、卞永誉《式古堂书画汇考》、内府《石渠宝笈·初篇》等书著录。",[23,28,438,29,7,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec344d88b3dc1f7b96f45d8b8ae900.jpg","纸本，手卷","纵23.8厘米，横33厘米",[66],27,{"id":476,"slug":477,"title":478,"dynasty":75,"author":479,"museum":480,"description":481,"tags":482,"thumbUrl":489,"material":490,"size":491,"collection":41,"collections":492,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":45},223046,"hong-lou-meng-171-sun-wen-223046","红楼梦171","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,25,26,30,218,483,484,485,486,487,167,38,82,39,7,83,488,199,200],"桌子","椅子","花瓶","香炉","对联","陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d40f24129146a3cb7acd32054a038f.jpg","绢本","纵43.3厘米、横76.5厘米",[],{"id":494,"slug":495,"title":496,"dynasty":106,"author":208,"museum":20,"description":497,"tags":498,"thumbUrl":500,"material":41,"size":41,"collection":66,"collections":501,"showCount":502,"zanCount":91,"manualWeight":11,"mainColor":45},221118,"fo-jing-dian-lan-ran-se-zhi-yi-ming-221118","佛经靛蓝染色纸","靛蓝染纸褪去了初时鲜亮，晕出温柔褐调，纸面洒金星子点缀，暗生华贵。残卷唐楷法度端严，笔锋筋骨依旧清晰，墨色沉实沉静，带着写经特有的庄敬气韵。\n\n青褐织锦的莲纹缠枝古雅雍容，将残妥帖承托，织纹与染纸旧色相映成趣。边角虽被岁月磨蚀缺损，却如时光镌刻的印记，让纸面的虔诚笔墨更添厚重。断句残卷里，依旧藏着盛唐奉经的沉静端方，染纸余色与写经墨痕交织，化作跨越年岁的梵音回响，静静诉说旧时光里的信仰温度。",[23,182,28,181,7,183,167,499],"靛蓝染色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7aab4e82e17a524b405fa65438116bd.jpg",[66],26,{"id"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大乘经五大部中之第五部。",[23,183,28,182,181,27,7,39,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a682b6d006132fdc9dc1275129a8f68.jpg",[66],24,{"id":522,"slug":523,"title":524,"dynasty":18,"author":208,"museum":51,"description":525,"tags":526,"thumbUrl":527,"material":169,"size":41,"collection":88,"collections":528,"showCount":520,"zanCount":91,"manualWeight":11,"mainColor":45},219613,"ren-wu-tu-yi-ming-219613","人物图","画面雅致沉静，铺展出宋人的书斋日常。主人踞坐榻上，神色安然静穆，侍从躬身研墨，尽显仪范分寸。\n\n室内陈设错落合宜，屏间肖像映着瓶花清韵，案头书卷、香鼎、花觥排布雅致，处处流露宋代文人尚雅的审美意趣。设色古雅温润，绢底晕染着岁月沉淀的暗黄，却未减分毫沉静氛围感。线条秀逸凝练，将人物仪态、器物质感一一勾勒入微，尽显工笔精妙，让观者窥见千年前文人书斋里的闲雅日常，触摸宋人雅致的生活格调。",[23,148,126,98,26,25,30,38,166,82,39,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acb38e674bcaf962f75e9151169ea4e.jpg",[88],{"id":530,"slug":531,"title":532,"dynasty":75,"author":479,"museum":480,"description":481,"tags":533,"thumbUrl":535,"material":490,"size":491,"collection":41,"collections":536,"showCount":537,"zanCount":11,"manualWeight":11,"mainColor":70},222933,"hong-lou-meng-58-sun-wen-222933","红楼梦58",[23,126,98,25,26,30,36,534,166,82,39,7,83,38,200,127],"盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7fb05d8c632be2dfa4c21f8193d437.jpg",[],23,{"id":539,"slug":540,"title":541,"dynasty":106,"author":208,"museum":20,"description":542,"tags":543,"thumbUrl":544,"material":41,"size":41,"collection":66,"collections":545,"showCount":537,"zanCount":11,"manualWeight":11,"mainColor":45},221116,"fo-jing-fa-hua-jing-yun-mu-zhi-yi-ming-221116","佛经法华经云母纸","此作为典型唐代经生写经小楷，笔法端秀匀净，结体平正工稳，尽显书写者娴熟扎实的抄经功底。起收提按一丝不苟，点画温润舒展，带着初唐写经特有的内敛安然，字里行间浸透着抄经时肃穆沉静的宗教虔诚。\n云母纸历经岁月仍莹润匀净，墨色沉凝饱满，搭配雅致装裱愈显古雅朴拙。它是唐代民间书法与佛教文化融合的遗存，暗合唐人尚法的书风特质，于朴素平淡间流露冲淡平和的审美意趣，兼具宗教文献与书法艺术双重价值。",[23,28,182,183,167,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c3a89135a40bb478a52a82317ad2b.jpg",[66],{"id":547,"slug":548,"title":549,"dynasty":159,"author":434,"museum":20,"description":550,"tags":551,"thumbUrl":552,"material":245,"size":300,"collection":41,"collections":553,"showCount":554,"zanCount":11,"manualWeight":11,"mainColor":45},240894,"zhou-jin-tang-ji-zhou-xu-wei-240894","昼锦堂记轴","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[164,54,28,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f409c5aa46f457f2f28622eb41cf21.jpg",[],22,{"id":556,"slug":557,"title":558,"dynasty":18,"author":559,"museum":77,"description":560,"tags":561,"thumbUrl":562,"material":563,"size":564,"collection":41,"collections":565,"showCount":554,"zanCount":11,"manualWeight":11,"mainColor":70},221410,"gui-zhai-tie-li-jian-zhong-221410","贵宅帖","李建中","释文：\n“貴宅諸郎各計安侍奉，所示請改章服。昨東封須得出身歷任家狀一本，並須齎擎官告敕牒去，未審此來如何行遣也。兼爲莊子事，已令彼僧在三學院安下，近已往彼去來回。此莊始初見說甚好，只是少人管勾，若未貨，可且收拾課租，亦是長計，不知雅意如何也。侯親家亦言可惜拈卻。建中（花押）諮。劉秀才久在科場，洛中拔解，今西遊兼欲祗侯府主，希略一見也。”\n“谘”同咨，是公文的一种。宋代百官有事申述，皆用“状”，唯学士院用咨报，由当值学士一人押字。《贵宅帖》就是这样一篇咨文。文中主要说了三件事：先说与“东封”有关事宜，“东封”是指大中祥符元年（1008年）宋真宗封祀泰山之行；再谈“庄子事”；最后提到“刘秀才”，此人可能即《同年帖》中李建中的女婿刘仲谟。\n《贵宅帖》作于李建中64岁时，书风沉着朴厚，具其所特有的“风骨俊整，骨肉停匀”的艺术美感。帖后明代刘日升七言诗题，称建中书有钟(繇)、王(羲之)法度，足以令后学者效法。此帖钤“东山”“无恙”及项元汴诸鉴藏印。\n明汪珂玉《珊瑚网书跋》、郁逢庆《郁氏读书画题跋记》、吴其贞《吴氏书画记》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》等书著录。",[23,28,54,29,39,7,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e53bb741113da6474d5694e8d1bf6f.jpg","纸本，册页","纵31厘米，横27.5厘米",[],{"id":567,"slug":568,"title":569,"dynasty":18,"author":50,"museum":20,"description":570,"tags":571,"thumbUrl":572,"material":41,"size":41,"collection":41,"collections":573,"showCount":574,"zanCount":11,"manualWeight":11,"mainColor":70},227500,"chi-du-su-shi-227500","尺牍","苏轼（1037-1101），字子瞻，号东坡居士，四川眉山人。北宋著名文学家、书画家。诗词开豪放一派，为唐宋八大家之一。苏轼少负才名，博通经史。宋嘉佑二年（1057年）进士，曾官礼部尚书，翰林学士等职。他一生坎坷，多次被贬官放逐。他在宋神宗时曾受重用，然因新旧党争，屡遭贬抑，出任杭州、密州、徐州、湖州等地方官；又因作诗“讪谤朝政”，被人构陷入狱。出狱后贬黄州。此后几经起落，再贬惠州、琼州，一直远放到儋州（今海南儋县），从此随缘自适，过着读书作画的晚年生活。直到元符三年（1100年）宋徽宗即位，他才遇赦北归。建中靖国元年（1101年）七月死于常州。\n\n苏轼为人正直、性旷达，才华横溢，诗词文赋而外，对书画也很擅长，同蔡襄、黄庭坚、米芾并称“宋四家”。苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。",[23,28,54,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c5836fed0d2e2d8e0dec2ed1492a82.jpg",[],21,{"id":576,"slug":577,"title":578,"dynasty":75,"author":579,"museum":77,"description":580,"tags":581,"thumbUrl":583,"material":584,"size":585,"collection":66,"collections":586,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":70},240453,"he-shao-ji-ba-yan-lian-he-shao-ji-240453","何绍基八言联","何绍基","释文：\n古砚华笺分桂上露，清言妙理来松下风。\n韫斋大公祖大人正。弟何绍基。\n款署 ：“韫斋大公祖大人正。弟何绍基。”钤“何绍基印”朱文印、“子贞”白文印。\n何绍基书法初学北魏张玄墓志，后师法颜真卿，并追溯篆、隶书渊源，特别研习《张迁碑》，晚年喜摹欧阳询，融入沉着雄健之韵味。此作虽为楷书，但结体宽绰，稍作斜欹，笔致飘逸自由，不拘成法，具有个性风范。",[487,28,181,29,582,7],"墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66bed45fc908f74cd870bb98d7371fc.jpg","纸本，楷书","纵191.4厘米，横42.8厘米",[66],20,{"id":589,"slug":590,"title":591,"dynasty":159,"author":160,"museum":20,"description":592,"tags":593,"thumbUrl":595,"material":245,"size":300,"collection":41,"collections":596,"showCount":597,"zanCount":11,"manualWeight":11,"mainColor":45},287349,"gao-xian-ren-wu-tu-chen-hong-shou-287349","高贤人物图","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,126,148,98,164,26,30,32,594,82,39,7,83,29],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59eaa13f4b03c1b47792d71384cb70.jpg",[],19,{"id":599,"slug":600,"title":601,"dynasty":307,"author":602,"museum":20,"description":603,"tags":604,"thumbUrl":605,"material":41,"size":41,"collection":66,"collections":606,"showCount":607,"zanCount":11,"manualWeight":11,"mainColor":70},239614,"yan-xiao-ao-dong-xuan-shi-ye-yang-wei-zhen-239614","宴啸傲东轩诗页","杨维桢","《杨维桢行书宴啸傲东轩诗页》是元代时期杨维桢创作的书法作品。\n《宴啸傲东轩诗》页，此页为“天乐大尹”书自作七律一首。\n信手涂抹，墨气淋漓。\n虽系小品，亦颇见性格。\n作品释文： □□老人宴余啸傲东轩。\n座客陈君章、林子山、任叔达、任孟举。\n主者仲氏千里，子仲行、季文、高第，弟子任衡、张师周。\n席上赋诗一解，率诸客用韵成什。\n寄傲先生不乞灵，遥瞻江水接天青。\n未随汉使槎横斗，自爱郝郎书满庭。\n破镜飞来开月殿，洗车过去勒云軿。\n君看天上双星会，不似人间聚德星。\n明日书此纸会乩，抱遗叟杨维桢再拜。\n天乐大尹见此，聊发一卢胡也。\n本幅署款“抱遗叟杨维桢再拜”，钤“杨廉夫”（白文）、“铁笛道人”（朱文）二印。\n有清代安岐，近代何厚琦、赵叔彦、完颜景贤、张爰、谭敬等家鉴藏印。\n收入清代安岐旧藏《元法书大观》册中。",[28,54,29,7,39,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2a5be279f5460e62d5489b0d1ab9.jpg",[66],16,{"id":609,"slug":610,"title":611,"dynasty":75,"author":208,"museum":20,"description":612,"tags":613,"thumbUrl":621,"material":41,"size":41,"collection":41,"collections":622,"showCount":623,"zanCount":11,"manualWeight":11,"mainColor":70},234390,"hong-li-shi-yi-shi-er-tu-zhou-yi-ming-234390","弘历是一是二图轴","工笔淡彩晕染出雅致书斋，主人凭榻安坐，仆从侍侧奉茶。博古架上瓷瓶书卷错落，案头盆景清供雅致静立，将文人闲居意趣铺陈开来。\n线条秀逸细腻，设色柔和平静，画面写实入微，又暗藏是一是二的禅意哲思。主人凝睇画像，物我交融的意境悄然流露，将古时文人士大夫观照自我的精神世界定格绢素，让人身临其境触摸旧日清贵的闲雅日常。",[126,26,25,30,212,614,615,84,37,616,617,331,618,619,82,39,7,83,486,620,534,36],"文房四宝","家具","榻","盆景","梅枝","室内场景","几案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a85e7afac4f195c0df770e25d47790.jpg",[],15,{"id":625,"slug":626,"title":627,"dynasty":75,"author":628,"museum":77,"description":629,"tags":630,"thumbUrl":632,"material":633,"size":634,"collection":41,"collections":635,"showCount":623,"zanCount":91,"manualWeight":11,"mainColor":70},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像潘恭寿补图轴","任熊","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[126,98,164,26,25,30,135,631,197,131,82,39,7,83,28,54,29],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":637,"slug":638,"title":639,"dynasty":75,"author":208,"museum":20,"description":640,"tags":641,"thumbUrl":642,"material":245,"size":300,"collection":41,"collections":643,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},234407,"yi-zhu-chao-fu-zuo-hua-xiang-zhou-yi-ming-234407","奕詝朝服作画像轴","此作工笔细腻沉稳，设色华贵雅致，将帝王伏案挥毫的片刻凝于绢本之上。主角身着满饰龙纹的朝服，明黄、石青与金彩层层晕染，云锦肌理纤毫毕现，矫健龙纹暗合九五威仪。\n\n画师以精微笔触勾勒面容，眉眼清隽沉静，执笔落墨间神态端肃安然，揉合了帝王威仪与文雅气度。案头文房清供、博古摆件错落有致，既藏文人情趣，亦显宫廷器物的精致考究。\n\n整幅构图均衡规整，素净背景衬出人物庄重气场，将纪实性与审美性相融，是清代宫廷肖像画的精妙之作。",[126,26,25,164,30,38,82,39,7,83,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971c26820df64b0aa633e4422e60e6c7.jpg",[],{"id":645,"slug":646,"title":647,"dynasty":159,"author":208,"museum":20,"description":648,"tags":649,"thumbUrl":651,"material":41,"size":41,"collection":41,"collections":652,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":70},228817,"nao-xue-tu-tuan-shan-ye-yi-ming-228817","闹学图团扇页","整幅画面定格书塾日常的松弛一瞬，执教先生伏案酣眠，彻底解开学童身上的课业枷锁。顽童们或是肆意嬉闹，或是摆弄文房玩趣，将肃穆书斋化作稚趣横生的小天地。\n\n设色调古雅柔和，浅晕慢染间晕开旧时光的沉静质感，线条轻细灵动，精准捕捉孩童跳脱的身形与狡黠神态。以细腻的市井视角，将课业之外的稚真快活凝于绢面，把日常闲趣勾勒得鲜活饱满，尽显小品风俗画的动人情致，让旧时顽童嬉闹的鲜活意趣跨越年岁，直抵观者眼底。",[23,126,650,26,30,166,82,39,7,83],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260700c922023b178b3f968e38060294.jpg",[],{"id":654,"slug":655,"title":656,"dynasty":106,"author":208,"museum":20,"description":657,"tags":658,"thumbUrl":659,"material":41,"size":41,"collection":66,"collections":660,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":70},227218,"wang-bo-ji-di-er-shi-jiu-juan-can-juan-yi-ming-227218","王勃集第二十九卷残卷","唐佚名、王勃集第二十九卷残卷残卷，纵25.2cm，横21.8cm，存十二行，每行十四至十五字不等。乌丝栏界。楮纸色偏灰白，有虫蛀纸背为平安时期日僧书写戒文，复经日本皮纸托裱。",[23,167,27,28,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a5b00e03e821d0cab6ee22783e7428.jpg",[66],{"id":662,"slug":663,"title":664,"dynasty":75,"author":665,"museum":20,"description":666,"tags":667,"thumbUrl":668,"material":64,"size":41,"collection":41,"collections":669,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":362},217104,"bai-miao-luo-han-16-leng-mei-217104","白描罗汉-16","冷枚","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[126,98,127,230,183,30,82,39,7,83,166,129,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebf8955d667d28d96f617c81f929a87.jpg",[],{"id":671,"slug":672,"title":673,"dynasty":18,"author":50,"museum":77,"description":456,"tags":674,"thumbUrl":675,"material":676,"size":677,"collection":66,"collections":678,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":70},239571,"xin-sui-zhan-qing-ren-lai-de-shu-tie-he-juan-su-shi-239571","新岁展庆、人来得书帖合卷",[28,54,27,29,39,7,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8873c37e80c5a497c09b89ea5c7aeb53.jpg","纸本，行书","前帖纵30.2厘米，横48.8厘米，后帖纵29.5厘米，横45.1厘米",[66],13,{"id":681,"slug":682,"title":683,"dynasty":75,"author":208,"museum":20,"description":684,"tags":685,"thumbUrl":689,"material":245,"size":300,"collection":41,"collections":690,"showCount":691,"zanCount":11,"manualWeight":11,"mainColor":45},252824,"cai-su-xi-chun-zuo-hua-xiang-yi-ming-252824","彩塑惜春作画像","三女围桌，尽显闺中艺文雅趣。居中者敛眉凝思，指尖将落未落，素纸铺陈、笔砚列置，将挥毫瞬间的沉静定格。左侧侍女执扇侍立，探手微侧，鲜活灵动带着侍奉的温婉妥帖，右侧仕女安坐凝睇，眉目娴静温婉。\n\n彩塑敷色调和清润，衣褶纹理写实自然，人物神态各有韵致，以朴拙生动的造像手法，定格深闺雅集的悠然瞬间，细腻还原旧时闺中研墨挥毫的雅致场景，将东方闺阁的娴静风雅藏入每一处细节里。",[686,26,687,30,31,82,39,7,83,688,38],"彩塑","清代","桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948ed08e87480a3982412c9e1406f162.jpg",[],11,{"id":693,"slug":694,"title":695,"dynasty":307,"author":696,"museum":77,"description":697,"tags":698,"thumbUrl":699,"material":64,"size":700,"collection":66,"collections":701,"showCount":691,"zanCount":11,"manualWeight":11,"mainColor":70},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[23,148,126,98,27,54,28,29,273,167,7,39,82,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[66],{"id":703,"slug":704,"title":705,"dynasty":75,"author":706,"museum":20,"description":707,"tags":708,"thumbUrl":709,"material":41,"size":41,"collection":41,"collections":710,"showCount":711,"zanCount":11,"manualWeight":11,"mainColor":45},230153,"mei-hua-shi-liu-yong-230153","梅花诗","刘墉","此作用笔敦实内敛，绝无锋芒外露，墨色浓郁匀净，尽显标志性的沉厚风格。字体筋骨内蕴，拙朴温润，布局整饬却暗藏灵动，字距行距匀停妥帖，通篇气息温雅端庄。\n\n以笔为梅枝，以墨凝梅香，将咏梅诗句的清癯高格，融于端稳笔墨之中，褪去妍媚浮华，尽显醇和静穆的文人意趣。诗书意境与沉浑书气相融共生，尽显老成持重的笔底风华，藏着文人骨子里的清雅底色，是清代帖学极具代表性的佳作。",[23,98,28,54,164,55,165,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7e6f8883f1504e88ef38becdaf8ee.jpg",[],10,{"id":713,"slug":714,"title":715,"dynasty":106,"author":716,"museum":20,"description":717,"tags":718,"thumbUrl":719,"material":41,"size":41,"collection":41,"collections":720,"showCount":711,"zanCount":11,"manualWeight":11,"mainColor":45},227091,"xiao-zi-fa-hua-jing-juan-shang-bu-li-yuan-hui-227091","小字法华经卷上部","李元惠","本卷乃唐人李元惠于延载元年（西元694年）所抄写之经卷，内容为活跃于魏晋南北朝时代的僧人兼佛典翻译家、鸠摩罗什（344-413）译于后秦弘始八年（西元406年）的《法华经》。李元惠是长安人，但具体的生平事迹并不清楚。\n\n本卷是由麻纤维抄造而成的麻纸三十九张连接而成，每纸施以淡墨行界五十六行，每行作三十二字，将一部七卷的《法华经》写成一长卷，全长逾二十公尺。书写之文字是略呈扁平状的蝇头小楷，字迹精细而谨慎，但随着抄写卷数的增加，用笔转趋迅速，字体亦略显放逸。本卷之书写年代可确定为唐代，而以蝇头小字将一部《法华经》全部抄写于一卷中的做法，也十分珍贵。\n\n本卷的拨形（弹奏琵琶的拨子）轴头上镶有碧玉，而用以收纳本卷的经筒则以一段分裁两半、刳空木心的沉香木制成。本卷长久以来一直收藏于法隆寺，相传是圣德太子生前所有物，并俗称为“御同朋经”。根据传闻，圣德太子乃中国高僧慧思禅师转世降生，本经典乃太子派人渡唐取回，为其前世于中国修行时之寺院道友（即“同朋”所指）使用的经书，故云。",[23,28,182,27,181,183,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bf78e50c50364d376832c3ce6eb677.jpg",[],{"id":722,"slug":723,"title":724,"dynasty":159,"author":160,"museum":161,"description":725,"tags":726,"thumbUrl":727,"material":41,"size":41,"collection":88,"collections":728,"showCount":729,"zanCount":91,"manualWeight":11,"mainColor":730},201682,"xi-yuan-tu-juan-chen-hong-shou-201682","西园图卷","这幅画作铺展西园雅集盛景，构图疏密相宜，人物造型古雅奇崛。线条刚柔并济，勾勒出诸贤挥毫题诗、抚琴赏画、品茗对谈的风雅神态，衣袂流转间尽显文人逸趣。设色淡雅温润，山石花木与人物活动相映成趣，营造出清旷悠然的氛围。陈洪绶以独特笔墨，将才情与闲逸融入画面，细节处见匠心，尽显传统文人画的韵致与深度。",[126,27,30,25,54,29,39,7,82,83,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207bd5d65d801af7bc7f17b3b58e23e2.jpg",[88],9,"d6bd94",{"id":732,"slug":733,"title":734,"dynasty":75,"author":735,"museum":20,"description":736,"tags":737,"thumbUrl":738,"material":245,"size":300,"collection":41,"collections":739,"showCount":740,"zanCount":11,"manualWeight":11,"mainColor":70},235544,"xi-xiang-tu-ce-ye-bu-235544","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[126,98,127,26,25,30,54,29,82,39,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc2e370d6908deec52c91be4f952cd.jpg",[],8,{"id":742,"slug":743,"title":744,"dynasty":307,"author":208,"museum":20,"description":745,"tags":746,"thumbUrl":747,"material":41,"size":41,"collection":41,"collections":748,"showCount":740,"zanCount":11,"manualWeight":11,"mainColor":45},228186,"ren-wu-tu-juan-yi-ming-228186","人物图卷","此作用色古雅沉朴，线条圆劲清隽，以日常梳洗闲憩入画，将文人闲居意趣尽显。画面左侧侍者躬身展巾，主家赤足踞坐，正倾水盥手，神态松弛自适，把松弛慵懒的日常情态刻画入微。右侧两位侍从或持巾侍立、或捧具待命，人物排布错落有致，动静相宜。\n\n整作不着过多布景，以素净留白衬托前景人物，衣褶晕染贴合躯体动态，尽显以形写神的笔墨妙处。没有繁复刻画，却凭借细腻的生活化描摹，传递出古雅悠然的闲居氛围，是一幅兼具烟火意趣与古典气韵的人物画佳作。",[23,148,126,98,27,25,26,30,38,166,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5381a994fb57f53b3c691b27916e64eb.jpg",[],{"id":750,"slug":751,"title":752,"dynasty":106,"author":753,"museum":20,"description":754,"tags":755,"thumbUrl":757,"material":245,"size":300,"collection":41,"collections":758,"showCount":740,"zanCount":11,"manualWeight":11,"mainColor":70},227258,"zi-zhi-jin-zi-jin-guang-ming-zui-sheng-wang-jing-gong-10-juan-di-6-juan-yi-jing-227258","紫纸金字金光明最胜王经共10卷第6卷","义净","据传本来是安置在备后国（今广岛县）的国分寺，十卷完整地保存下来，其金字至今依然灿烂发光与紫纸相互辉映，充满着气韵与品格，不愧为天平时代写经的绝品",[27,28,182,181,7,756],"金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c78addb89d5e576a583466ba0d99de6.jpg",[],{"id":760,"slug":761,"title":762,"dynasty":106,"author":208,"museum":20,"description":763,"tags":764,"thumbUrl":765,"material":245,"size":300,"collection":41,"collections":766,"showCount":740,"zanCount":11,"manualWeight":11,"mainColor":70},227230,"tang-xuan-zang-a-pi-da-mo-ju-she-lun-juan-er-shi-di-wu-zhi-er-yi-ming-227230","唐玄奘 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Harmensz.van Rijn - 076","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[80,371,796,797,30,798,7,82,799,800],"明暗对比","肖像画","帽子","古典服饰","胡须","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e51a6d18e7bbe12c89408bd560493c9.jpg",[375],{"id":804,"slug":805,"title":806,"dynasty":75,"author":208,"museum":20,"description":807,"tags":808,"thumbUrl":810,"material":64,"size":41,"collection":41,"collections":811,"showCount":69,"zanCount":11,"manualWeight":11,"mainColor":70},215553,"bai-miao-jie-tou-mai-mai-hua-ce-3-yi-ming-215553","白描街头买卖画册-3","素笔勾勒的市井一隅，三人情态鲜活如绘——左侧二人或驻足端详，或抬手持物问询；右侧摊主拱手而立，似正应答主顾。桌案上笔架横陈，旁侧长杆斜倚，隐约见街头杂贩的日常。衣袂褶皱以流畅线条晕染生活质感，人物姿态间藏着买卖间的细碎烟火。无浓墨重彩，仅以白描之法，将清代街头买卖的鲜活意趣凝于纸上，极简笔触里，是市井生活最本真的温度与生动。",[23,230,127,30,82,39,7,83,809],"买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aec2deecbcf8f4047e9615f28d5a8c7.jpg",[],{"id":813,"slug":814,"title":815,"dynasty":75,"author":816,"museum":20,"description":817,"tags":818,"thumbUrl":820,"material":245,"size":300,"collection":41,"collections":821,"showCount":822,"zanCount":11,"manualWeight":11,"mainColor":70},241440,"ling-xi-xi-zha-heng-weng-fang-gang-241440","令西席札横","翁方纲","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[28,54,55,7,29,819],"横卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff831f5311a37710a8242344795c3470e.jpg",[],5,{"id":824,"slug":825,"title":826,"dynasty":159,"author":827,"museum":20,"description":828,"tags":829,"thumbUrl":830,"material":64,"size":41,"collection":66,"collections":831,"showCount":822,"zanCount":11,"manualWeight":11,"mainColor":70},240065,"gu-shi-shi-jiu-shou-juan-zhu-yun-ming-240065","古诗十九首卷","祝允明","祝允明(1460-1526) 字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[23,148,126,98,27,55,29,28,438,54,273,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[66],{"id":833,"slug":834,"title":835,"dynasty":159,"author":836,"museum":77,"description":837,"tags":838,"thumbUrl":846,"material":64,"size":847,"collection":66,"collections":848,"showCount":822,"zanCount":11,"manualWeight":11,"mainColor":70},240024,"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[23,28,27,54,24,29,55,7,839,840,841,255,842,843,257,844,845,58,197],"荷花","柳","湖","浪","水","山","月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[66],{"id":850,"slug":851,"title":852,"dynasty":159,"author":853,"museum":161,"description":854,"tags":855,"thumbUrl":856,"material":857,"size":858,"collection":41,"collections":859,"showCount":822,"zanCount":11,"manualWeight":11,"mainColor":45},222061,"shu-du-fu-shi-ce-zhang-rui-tu-222061","书杜甫诗册","张瑞图","书于明季生产的云母册页上，以淡墨书熟，是功夫欠佳者所不敢办的，也为张氏墨迹中颇不多见的一路。册页在清初被改装为手卷，长近九米，字逾六百，当是晚年作。此卷曾为藏家姚文黛、赵光、王蒙泉所递藏。王蒙泉收藏的张氏墨迹，多且精，如其所藏册页等两种今皆在故宫博物院，亦钤有「文心审定」等印，可资考正。",[23,28,438,27,29,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790296e55478b6d33a8f5b4c7e57d62.jpg","行草","194.3cm*60.8cm",[],{"id":861,"slug":862,"title":863,"dynasty":159,"author":827,"museum":20,"description":864,"tags":865,"thumbUrl":866,"material":245,"size":300,"collection":41,"collections":867,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":70},288081,"yuan-you-er-shou-zhu-yun-ming-288081","远游二首","祝允明草书冠绝古今，后人对此关注尤盛，而祝允明小楷亦独步当世，后人对此关注却远不及其草书，原因大致有三：一是祝允明草书名气太盛，掩盖了其在小楷方面的成就；二是吴门另一领袖文徽明有“明小楷第一”之称的成就，掩盖了祝允明的光芒；三是在后人看来，祝允明小楷作品较为难得，或是少见，进而难以作全面的观照。",[28,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdda412e99be4e20574b59b6b753ef2f.jpg",[],4,{"id":870,"slug":871,"title":872,"dynasty":75,"author":873,"museum":20,"description":874,"tags":875,"thumbUrl":876,"material":245,"size":300,"collection":41,"collections":877,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":70},241672,"shi-ding-shi-juan-qian-long-241672","事定诗卷","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。",[23,98,27,54,29,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e95ceb5d3c41171b283ca2d262382a.jpg",[],{"id":879,"slug":880,"title":881,"dynasty":106,"author":208,"museum":20,"description":882,"tags":883,"thumbUrl":884,"material":245,"size":300,"collection":41,"collections":885,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":70},240802,"wu-kuan-xie-jing-can-juan-yi-ming-240802","无款写经残卷","此卷小楷气脉贯通，千余字排布齐整却灵动自然，尽显唐人写经典型韵致。结体以方整为基调，暗含欹侧之势，点画饱满圆融，起收笔带着淡淡篆隶古意，质朴雅致。\n\n朱笔校勘的痕迹错落其间，为古卷添上鲜活的人间烟火气，隐约可见抄经手虔敬沉潜的书写日常。泛黄的纸色衬着历久弥醇的墨色，字字安稳端严，既有宗教写经的恭谨肃穆，又不失文人小楷的舒展自在，是唐代民间书法造诣的极佳体现，亦是唐人日常书写的珍贵实物范本。",[23,28,182,181,27,39,7,183,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae2a504010c28d09d122872cc9a10cb2.jpg",[],{"id":887,"slug":888,"title":889,"dynasty":75,"author":890,"museum":20,"description":891,"tags":892,"thumbUrl":893,"material":64,"size":41,"collection":66,"collections":894,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":70},240045,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240045","国朝名人手简册-等17人手札","黄宗羲顾炎武","黃宗羲（1610年9月24日－1695年8月12日），浙江餘姚人，字太沖，一字德冰，號南雷，別號梨洲老人、梨洲山人、藍水漁人、魚澄洞主、雙瀑院長、古藏室史臣等，學者稱“梨洲先生”。明遺民。明末清初經學家、史學家、思想家、地理學家、天文歷算學家、教育家。“東林七君子”之一黃尊素長子。\n黃宗羲提出“天下為主，君為客”的民主思想。他説“天下之治亂，不在一姓之興亡，而在萬民之憂樂”，主張以“天下之法”取代皇帝的“一家之法”，從而限制君權，保證人民的基本權利。黃宗羲的政治主張抨擊了封建君主專制制度，有極其重要的意義，對其後反專制鬥爭起了積極的推動作用。\n黃宗羲與顧炎武、王夫之、唐甄並稱“明末清初四大啓蒙思想家”，與顧炎武、方以智、王夫之、朱舜水並稱為“明末清初五大家”，與陝西李顒、直隸容城孫奇逢並稱“海內三大鴻儒”，亦有“中國思想啓蒙之父”之譽。\n黃宗羲學問極博，思想深邃，著作宏富，一生著述多至50餘種，300多卷，其中最為重要的有《明儒學案》《宋元學案》《明夷待訪錄》《孟子師説》《葬制或問》《破邪論》《思舊錄》《易學象數論》《明文海》《行朝錄》《今水經》《大統歷推法》《四明山志》等。\n\n顾炎武（1613年7月15日—1682年2月15日），本名顾绛，字宁人，人称亭林先生，南直隶昆山（今江苏昆山市）人。明末清初的杰出的思想家、经学家、史地学家和音韵学家，与王夫之、黄宗羲、唐甄并称为明末清初“四大启蒙思想家”。 明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[28,54,29,7,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b38e964d38bb9c47b62937ecb85ab38.jpg",[66],{"id":896,"slug":897,"title":898,"dynasty":367,"author":899,"museum":20,"description":900,"tags":901,"thumbUrl":902,"material":245,"size":300,"collection":41,"collections":903,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":70},231829,"jing-shang-xin-wan-juan-yi-teng-bo-wen-231829","井上馨宛卷","伊藤博文","伊藤博文伊藤（伊藤博文伊藤，1841年10月16 - 1909 10月26日）时，明治阶段日本的政治家[1] 。排名Kunto爵位在按照首位大订单的公爵。\n明治时代在4度到内阁制晚些时候推出的首相（第一代：1885年- 1888年，五代：1892年- 1896年- 7代：1898年，10代：1900年- 1901年），已知的作为。在第一次内阁时，他成为中心人物的起草工作中的明治宪法，并在时间的第二个机柜，他起草了中日和平条约。在四阶内阁中，通过创立创始人总统（在任1900 年至1903 年）组建了新政府rikken seiyūkai，并为政党政治铺平了道路。另一位主要的枢密院主席（任期1888 年-1889），主要的上议院主席府（任期1890年- 1891年），创始人韩国居住总（在办公室1905年- 1909年），参议院被服务等。\n讳是伊藤博文（伊藤博文，有时读为“ Hakubun ”）。他还称自己为“ Ochijuku Ryohirofumi ”。小名被改期到（补赛）后，吉田松荫从给定俊英顺俊介和（俊介），进一步Harusuke改名（俊介）。不。春嵘（Shunpo），常被称为Haruseoyake。所述小田原排屋的沧浪亭，因为它是在占有沧浪阁主人被称为（所以城堡丈夫）符号和密封也用作一个。",[23,98,28,27,54,438,55,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d413e5167b26e90276d1e60627bbdfe.jpg",[],{"id":905,"slug":906,"title":907,"dynasty":106,"author":208,"museum":20,"description":908,"tags":909,"thumbUrl":910,"material":245,"size":300,"collection":41,"collections":911,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":45},227240,"fa-hua-jing-fa-shi-gong-de-pin-di-shi-jiu-yi-ming-227240","法华经法师功德品第十九","唐代楷书经书",[23,28,182,27,181,183,167,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d14e2e9ed711ac288cd41b147b795bd.jpg",[],{"id":913,"slug":914,"title":915,"dynasty":106,"author":208,"museum":20,"description":908,"tags":916,"thumbUrl":917,"material":245,"size":300,"collection":41,"collections":918,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":45},227238,"miao-fa-lian-hua-jing-di-8-guan-shi-yin-pu-sa-men-pin-di-er-shi-wu-yi-ming-227238","妙法莲华经第8观世音菩萨门品第二十五",[23,98,27,183,182,28,181,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1a1eda4331743d036369d18a857c4d1.jpg",[],{"id":920,"slug":921,"title":922,"dynasty":159,"author":923,"museum":161,"description":924,"tags":925,"thumbUrl":926,"material":64,"size":927,"collection":41,"collections":928,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":70},222487,"shang-bo-hua-ji-xuan-36-12-zhang-lu-222487","上博画集选36-12","张路","张路（1464—1538 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用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[98,28,54,7,55,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb031992d068c3b45e9f7f4ceb42631.jpg",[],{"id":1091,"slug":1092,"title":1093,"dynasty":367,"author":208,"museum":20,"description":1094,"tags":1095,"thumbUrl":1096,"material":245,"size":300,"collection":41,"collections":1097,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":70},231764,"shan-dong-jing-yun-shu-jian-shou-juan-yi-ming-231764","山东京伝书简手卷","此卷以草书作尺牍，泛黄笺纸晕开旧时光痕，墨色枯润交叠，线条圆劲灵动。字势欹侧相生，行笔忽疾忽缓，带着信笔挥毫的随性自在，将日常酬答的细碎心绪落于笔尖。\n\n行与行错落排布，牵丝映带间尽显草书的跌宕意趣，却又不失尺牍的松弛温情。斑驳纸色衬着淋漓墨痕，把文人间的私语寄怀，晕染成满卷风雅。笔墨游走藏着书写时的情绪起伏，整卷书卷气盎然，将日常尺素晕染成带着时光温度的书法佳构。",[23,27,28,54,438,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69491b8bce5db0ce3526ebe66f5f4707.jpg",[],{"id":1099,"slug":1100,"title":1101,"dynasty":106,"author":208,"museum":20,"description":908,"tags":1102,"thumbUrl":1103,"material":245,"size":300,"collection":41,"collections":1104,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":45},227233,"miao-fa-lian-hua-jing-di-2-pi-yu-pin-di-san-yi-ming-227233","妙法莲华经第2 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玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[1042,7,1043,1309,28],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22635f07554f08eb9caac44efe263160.jpg",[],{"id":1313,"slug":1314,"title":1315,"dynasty":367,"author":208,"museum":20,"description":1316,"tags":1317,"thumbUrl":1318,"material":245,"size":300,"collection":41,"collections":1319,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":70},226156,"da-cheng-wu-liang-shou-jing-yi-ming-226156","大乘无量寿经","净土三部中，二卷之佛说无量寿经，净影，道绰，善导诸家，谓之大经。天台谓之大本。玄义分传通记三曰：“大经者无量寿经，三经之中此经广故，对余二经名大经也。天台此经名大本，阿弥陀经名小本，嘉祥名双卷，净影道绰与今家同，龙兴名两卷经。",[28,182,27,181,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260ad52b3b95643feb76685c0d1a13af.jpg",[],{"id":1321,"slug":1322,"title":1323,"dynasty":367,"author":208,"museum":20,"description":1109,"tags":1324,"thumbUrl":1326,"material":245,"size":300,"collection":41,"collections":1327,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":70},225580,"fu-shi-hui-71-yi-ming-225580","浮世绘71",[1111,26,1112,30,31,82,39,7,83,1325,372],"卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e586f687094bfaa3457fc2cf23e82d8.jpg",[],{"id":1329,"slug":1330,"title":1331,"dynasty":367,"author":208,"museum":20,"description":1109,"tags":1332,"thumbUrl":1341,"material":245,"size":300,"collection":41,"collections":1342,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":70},225518,"fu-shi-hui-276-yi-ming-225518","浮世绘276",[1111,1112,26,30,212,1333,1334,1335,1336,1337,82,7,1338,1339,1340],"枯树","草地","水域","岩石","武器","服饰","眼镜","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff668069ff761107c0adfd790ab359b.jpg",[],{"id":1344,"slug":1345,"title":1346,"dynasty":106,"author":208,"museum":20,"description":1347,"tags":1348,"thumbUrl":1349,"material":245,"size":300,"collection":41,"collections":1350,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":70},223581,"wang-bo-ji-di-er-shi-jiu-juan-can-juan-2-yi-ming-223581","王勃集第二十九卷残卷2","残卷与日藏四种唐钞本为同一写手，且与上野本、翰墨城本同属卷二十八。文中有“又迁杨府録事”之语，为志主最后终官，又有“縂章元年”字样，与王勃写作时代相合，故推测此残篇当即上野本佚失的《陆录事墓志》。此为最新发现的王勃集佚篇断简，极为珍贵。通的最长残卷，也是唐写本首次出现在国内的拍卖会。它的发现在唐代文学史、文物史、书法史等方面均具有重要意义，也为非敦煌系统的中国早期写本的鉴定提供了物质实证。",[23,28,181,27,167,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfd30ec62af21104177f9df99891bbe.jpg",[],{"id":1352,"slug":1353,"title":1354,"dynasty":75,"author":208,"museum":20,"description":1355,"tags":1356,"thumbUrl":1357,"material":169,"size":1142,"collection":41,"collections":1358,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":70},215914,"qing-ren-xiao-xiang-tu-ce-6-yi-ming-215914","清人肖像图册-6","画面中人物端坐案旁，神态沉稳雍容。红顶暖帽衬出身份，玄色常服缀锦鸡补子，朱红朝珠垂于胸前，纹饰细腻，质感厚重。案上陈放典籍、笔砚与青绿釉器，案几雕工雅致，线条婉转。侧旁朱栏墨柱，简约中见古雅，衬得人物愈发端庄。设色沉稳，笔触写实，人物面容刻画入微，胡须鬓发皆显生动，尽显清代肖像画注重形神兼备的特质。整幅作品于细节处见匠心，传递出人物的儒雅气度与时代的审美意趣。",[126,30,25,26,38,1309,166,82,7,167,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a292c62c30d6ecbe05337774ff3e25b.jpg",[],{"id":1360,"slug":1361,"title":1362,"dynasty":75,"author":208,"museum":20,"description":1363,"tags":1364,"thumbUrl":1365,"material":64,"size":41,"collection":41,"collections":1366,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":70},215242,"bai-miao-jie-tou-mai-mai-hua-ce-314-yi-ming-215242","白描街头买卖画册-314","素笔轻描的身影静倚竹椅，青布衣衫的褶皱随坐姿婉转铺展，发间簪花隐着几分温婉。面前木桌摊开素纸，指尖似凝墨欲落，旁侧笔砚与卷册静静候着，似待路人停步相询。竹制桌椅的纹理经简练线条晕开，与人物衣袂的柔劲相映成趣。白描的清简里藏着市井的温热——无浓彩重墨，却将街头营生的专注与寻常日子的安然，凝在每道精准勾勒中。如旧巷掠过的一缕风，把市井烟火的淡远真切，刻进素净线条里，让寻常买卖场景，有了细腻动人的生活质感。",[23,126,98,127,230,30,82,39,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc522672d5e7db1542182eb581e8abdab.jpg",[],{"id":1368,"slug":1369,"title":1370,"dynasty":75,"author":208,"museum":20,"description":1371,"tags":1372,"thumbUrl":1373,"material":64,"size":41,"collection":41,"collections":1374,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":70},215241,"bai-miao-jie-tou-mai-mai-hua-ce-316-yi-ming-215241","白描街头买卖画册-316","素净墨线勾勒市井小景，人物端坐桌前，指尖拈物似在凝神细作，案上纸砚罗列，旁侧叠纸隐现营生模样。衣袂线条婉转贴合身形，眉眼间凝着专注，虽无色彩晕染，却以线之疏密曲直传递出人物状态与场景静谧。这帧画作将寻常买卖的细节凝于尺幅，没有繁复铺陈，仅用白描便勾勒出市井生活的鲜活肌理，仿佛能触到当时街头的烟火气，于极简中藏丰盈，细微处见真意，尽显白描手法的凝练传神与市井百态的生动。",[23,230,127,30,82,39,7,83,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb626d6d58580a5e05cb881cd176f8f84.jpg",[],{"id":1376,"slug":1377,"title":1378,"dynasty":75,"author":208,"museum":20,"description":1379,"tags":1380,"thumbUrl":1381,"material":64,"size":41,"collection":41,"collections":1382,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":70},215212,"bai-miao-jie-tou-mai-mai-hua-ce-344-yi-ming-215212","白描街头买卖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