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。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,25,26,30,29,34,35,59,36,40,60,61,62,33,31,32,7,63],"舟","云","飞鸟","亭","名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","绢本","横572.8cm，纵27.1 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1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,24,25,26,29,30,115,116,117,118,119,120,121,31,32,7],"花鸟","竹","蝴蝶","蜻蜓","花卉","草虫","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","绢本设色","27.8x352.9cm","花鸟画精选",[125,69],368,5,{"id":130,"slug":131,"title":132,"dynasty":133,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":140,"material":103,"size":141,"collection":142,"collections":143,"showCount":144,"zanCount":145,"manualWeight":48,"mainColor":49},214200,"shi-gu-zhong-tang-wu-chang-shuo-214200","石鼓中堂","清","吴昌硕","台北故宫博物院","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。",[23,31,7,32,138,139,33],"立轴","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27cb1550e1e5adda3feedc0573082333.jpg","134.8x39.6","书法精选",[142],240,2,{"id":147,"slug":148,"title":149,"dynasty":150,"author":19,"museum":151,"description":152,"tags":153,"thumbUrl":158,"material":159,"size":160,"collection":88,"collections":161,"showCount":162,"zanCount":11,"manualWeight":48,"mainColor":163},214204,"guo-ji-zi-bai-pan-ming-wen-yi-ming-214204","虢季子白盘铭文","周","中国国家博物馆","铭文铸在郭记子白石板的底座上，共有八行，111个字。铭文讲述了虢国的子白奉命出征，战功赫赫，周王为他举行宴会，并赐予他弓马，以庆贺他的功绩，虢国子白因此制作此盘作为纪念。铭文语言简练、庄重，是金文中的书家法本。",[23,7,83,31,154,155,156,157],"青铜器","铭文","西周","刻铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70f2cb1587c2ca910fba6cf61592a4f.jpg","纸本,拓本","50.88x29.89",[],225,"37474F",{"id":165,"slug":166,"title":167,"dynasty":133,"author":134,"museum":20,"description":168,"tags":169,"thumbUrl":174,"material":175,"size":176,"collection":88,"collections":177,"showCount":178,"zanCount":145,"manualWeight":48,"mainColor":49},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[24,138,29,170,115,171,172,173,139,7],"写意","紫藤","藤蔓","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米",[],203,{"id":180,"slug":181,"title":182,"dynasty":133,"author":183,"museum":135,"description":184,"tags":185,"thumbUrl":188,"material":42,"size":189,"collection":142,"collections":190,"showCount":191,"zanCount":145,"manualWeight":48,"mainColor":163},214210,"zhuan-shu-ba-yan-lian-yang-yi-sun-214210","篆书八言联","杨沂孙","释文: 上善若水上德若谷。持酒以礼持才以愚",[23,186,7,187,31,138],"清代","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0cdd98e7ca26423e27c34e194471a5.jpg","271.9x61.4",[142],200,{"id":193,"slug":194,"title":195,"dynasty":18,"author":196,"museum":56,"description":197,"tags":198,"thumbUrl":199,"material":29,"size":200,"collection":142,"collections":201,"showCount":202,"zanCount":145,"manualWeight":48,"mainColor":163},221203,"hou-chi-bi-fu-quan-juan-zhao-shen-221203","后赤壁赋全卷","赵昚","由于该作之末没有作者的款识，因此对于书写人是谁这一问题，从元代起就有不同的说法：有人认为是宋徽宗赵佶所书，有人认为是宋高宗赵构之作，还有人认为是宋孝宗赵昚手笔。（注：关于书作者问题，元朝的俞贞木认为是赵佶所书，但遭到了同为元朝人黄本等人的质疑。杨仁恺指出，《后赤壁赋》为赵昚作品，并提出了相关论据。具体详见《关于宋孝宗赵昚的几点考察》，载《杨仁恺书画鉴定集》）赵昚学赵构书法很像，几可乱真。从书写上分析，赵昚作字较之赵构，往往落笔凝重不够，结字略显松懈。检视此卷，正有这样的欠缺。再则，赵昚更喜爱苏轼诗文，因此这件草书《后赤壁赋》卷当出自赵昚之手。\n书法是历代帝王在登基之前的必修课，它关乎一国之君的脸面和尊严。他们学习、接受诗文、书画之类的传统文化，表示出对文化的崇敬和亲近，这样做有利于稳固统治地位。上述徽宗赵佶、高宗赵构、孝宗赵昚即是例证。\n在各种书体的书写中，草书最为简洁洗练。一个十分复杂的汉字，可以简略成几根线条；一 件草书作品，只需连续几个动作，连绵而下，便告成功。如果说楷、隶、篆书行笔舒缓，如端人正襟危坐，那么草书则更具动感，兼能含纳激越之情。可以这么说，人人都能写楷、隶、篆书，但草书绝不会是人人都可以写好的。由于草书省去了许多笔画，使空间结构产生了很大变化，更须理清脉络，这对书家的技巧要求就更高、更精。如果不明草理、不依草法，而任墨成形、信笔为体，就难免会产生失误，作品也就会演变成无法辨识的“天书”。草书书写全然是精神化的漫游，是人精神的一种外现。依此来审视这卷草书，我们就会发现赵昚是具备书写技巧的书法家。他以心灵对草书作出深刻体验，使性情与功力相得益彰。\n在南宋，以赵构为中心，学习书法风气甚浓，成为小朝廷“中兴”的一种点缀。赵昚受这种气氛的影响，爱好书法也是理所当然的事。他曾自称“无他嗜好，或得暇，惟读书写字为娱”（马宗霍《书林纪事》）。在书法上，赵昚秉承家法，并有机会得到赵构的亲授，故明陶宗仪在《书史会要》中说：“孝宗书有家庭法度。”这件草书《后赤壁赋》卷结字循规蹈矩，草法纯熟而严谨，笔画秀劲匀整，笔意圆润，行笔圆转流畅，又具有沉着遒劲的韵致，颇具流畅而能浑厚、飞动而兼沉着之美。作品通篇气象浑穆，一气呵成，可见书者书写时神完气足、兴致清畅。面对此作，我们仿佛看到赵昚把笔濡墨，在那一段磁青绢上舒心挥毫，营造出一片春云浮空、卷舒起伏、变化多端的图景。此作虽为草书，读之却使人感受到不温不火、从容自如的大将风范。赵昚书法无连绵苟且之习，用笔起讫分明，笔笔清楚，字字独立而气脉连贯，易于辨识。我们可以从中抽出单个的字来一一欣赏，即便脱离整幅的语言环境也不碍观瞻。赵昚此卷有自家面貌，但也渊源有自，从笔意、字势中均可看到唐、宋书家对他的影响。注重法度是赵昚书法之长，这与苏轼主张“真生行，行生草，真如立，行如行，草如走，未有未能行立而能走者”是一致的。世云“唐人尚法，宋人尚意”，是就唐与宋的整体书风而言的；倘若专论草书，宋人也是“尚法”的。赵昚书法即可印证这一点。",[23,26,31,25,32,7,33,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cd876766aeb129bded31c4aa34e7c0.jpg","26.9x621",[142],161,{"id":204,"slug":205,"title":206,"dynasty":133,"author":207,"museum":208,"description":209,"tags":210,"thumbUrl":215,"material":216,"size":217,"collection":88,"collections":218,"showCount":219,"zanCount":11,"manualWeight":48,"mainColor":49},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","岁朝清供图","赵之谦","荣宝斋","岁朝图是中国传统绘画的重要题材之一。岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[23,24,25,138,29,139,115,211,212,213,101,214,33,7],"牡丹","荷","柿子","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],148,{"id":221,"slug":222,"title":223,"dynasty":133,"author":134,"museum":79,"description":224,"tags":225,"thumbUrl":227,"material":86,"size":87,"collection":88,"collections":228,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},289648,"ju-hua-tu-li-zhou-wu-chang-shuo-289648","菊花图立轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,24,25,138,29,115,226,101,33,31,7],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b0b195545b21cb0c63067b6bbe12e1.jpg",[],119,{"id":231,"slug":232,"title":182,"dynasty":133,"author":183,"museum":135,"description":233,"tags":234,"thumbUrl":235,"material":103,"size":236,"collection":142,"collections":237,"showCount":229,"zanCount":11,"manualWeight":48,"mainColor":49},214211,"zhuan-shu-ba-yan-lian-yang-yi-sun-214211","释文：廉于取名锐于求志。博而不俗文而又儒。",[23,186,7,31,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa86eecb17cab4a0ff2851cbb3be428b.jpg","176.9x29.4",[142],{"id":239,"slug":240,"title":241,"dynasty":133,"author":242,"museum":79,"description":243,"tags":244,"thumbUrl":250,"material":86,"size":87,"collection":88,"collections":251,"showCount":252,"zanCount":11,"manualWeight":48,"mainColor":49},288091,"shan-shui-tu-juan-shi-tao-288091","山水图卷","石涛","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,24,26,25,139,245,36,38,246,247,39,248,62,7,32,31,33,249],"皴法","山石","林木","屋舍","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":254,"slug":255,"title":256,"dynasty":133,"author":134,"museum":79,"description":257,"tags":258,"thumbUrl":259,"material":260,"size":88,"collection":69,"collections":261,"showCount":262,"zanCount":48,"manualWeight":48,"mainColor":49},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,24,25,138,29,139,115,226,101,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg","纸本 设色",[69],103,{"id":264,"slug":265,"title":266,"dynasty":267,"author":268,"museum":20,"description":269,"tags":270,"thumbUrl":273,"material":274,"size":275,"collection":125,"collections":276,"showCount":262,"zanCount":11,"manualWeight":48,"mainColor":49},216936,"zhu-qin-tu-ping-qi-bai-shi-216936","竹禽图屏","民国","齐白石","篆笔古拙沉厚，墨痕间似淌商周遗韵，线条凝练如铸金石。下方禽鸟羽色简淡却神完气足，喙微张欲鸣，爪踏竹篮边缘，憨态可掬。竹篮以寥寥数笔勾廓，经纬交错处见质朴野趣。旁题书法笔势洒脱，墨色浓淡相宜，与禽鸟的鲜活、竹篮的拙朴相映成趣。整幅书画相融，于简淡中藏盎然生机，质朴里蕴文人雅逸，将日常小景化为耐人寻味的意趣，尽显笔墨与生活的交融之妙。",[23,24,139,29,7,32,33,170,271,272,31],"鸟","竹编器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0b158a23761978220ebb961394c51.jpg","纸本,设色","36.5x33.2cm",[125],{"id":278,"slug":279,"title":280,"dynasty":18,"author":281,"museum":282,"description":283,"tags":284,"thumbUrl":289,"material":42,"size":290,"collection":291,"collections":292,"showCount":262,"zanCount":11,"manualWeight":48,"mainColor":49},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","波士顿美术馆","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[23,63,24,25,26,29,30,245,34,36,40,285,286,31,7,287,288,33],"云气","神仙","楷书","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5","人物画精选",[291],{"id":294,"slug":295,"title":296,"dynasty":133,"author":297,"museum":79,"description":298,"tags":299,"thumbUrl":301,"material":88,"size":302,"collection":88,"collections":303,"showCount":304,"zanCount":11,"manualWeight":48,"mainColor":49},222800,"zhuan-shu-xin-jing-deng-shi-ru-222800","篆书心经","邓石如","书法上极有创意。取法李阳冰铁线篆，其中又有以隶笔作篆的意味，笔力遒练，体势沉着，是他传世墨迹中的代表作。\n释文:观自在菩萨，行深般若波罗蜜多时，照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色。色即是空，空即是色。受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼耳鼻舌身意，无色声香味触法，无眼界，乃至无意识界，无无明，亦无无明尽，乃至无老死，亦无老死盡。无苦集滅道，无智亦无得，以无所得故。菩提薩埵，依般若波罗蜜多故，心无罣礙，无罣礙故，无有恐怖，远离颠倒梦想，究竟涅槃。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故知般若波罗蜜多，是大神咒，是大明咒，是无上咒，是无等等咒，能除一切苦，真实不虚。故说般若波罗蜜多咒。即说咒曰：揭諦揭諦，波罗揭諦，波罗僧揭諦，菩提萨婆訶。般多心経。嘉庆龙飞九年，岁在逢困敦十有一月，丙戌朔粤十有八日癸卯。古皖邓石如篆。",[23,31,7,300,100,26,186],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaacba25735befff5d1b956c05f59017.jpg","单字宽约2厘米",[],91,{"id":306,"slug":307,"title":308,"dynasty":309,"author":19,"museum":310,"description":311,"tags":312,"thumbUrl":313,"material":103,"size":314,"collection":88,"collections":315,"showCount":316,"zanCount":145,"manualWeight":48,"mainColor":72},214203,"yuan-an-bei-yi-ming-214203","袁安碑","汉","河南博物院","此碑结体宽博，笔势强健道劲，骨力劲拔而有弹性，使书法厚重而雄浑。",[23,7,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6140336930b89ef5dfd4cc47c02862e2.jpg","150x79",[],88,{"id":318,"slug":319,"title":320,"dynasty":110,"author":321,"museum":97,"description":322,"tags":323,"thumbUrl":326,"material":327,"size":328,"collection":67,"collections":329,"showCount":330,"zanCount":48,"manualWeight":48,"mainColor":49},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","王蒙","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,25,26,139,29,36,62,38,324,39,40,325,245,32,7,33],"小桥","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","纸本","24.5x97.2厘米",[67],84,{"id":332,"slug":333,"title":334,"dynasty":133,"author":134,"museum":79,"description":224,"tags":335,"thumbUrl":337,"material":86,"size":87,"collection":88,"collections":338,"showCount":339,"zanCount":48,"manualWeight":48,"mainColor":49},235448,"ju-shi-zhou-wu-chang-shuo-235448","菊石轴",[63,24,25,138,29,139,115,226,336,7,32,33],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f37afbc0963a70bb464cc5b3b11d679.jpg",[],82,{"id":341,"slug":342,"title":343,"dynasty":344,"author":19,"museum":79,"description":345,"tags":346,"thumbUrl":353,"material":86,"size":87,"collection":88,"collections":354,"showCount":339,"zanCount":11,"manualWeight":48,"mainColor":163},226716,"long-shan-qi-jia-xi-yu-gui-yi-ming-226716","龙山—齐家系玉圭","新石器时代","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[347,348,349,7,350,351,352],"玉石","礼器","雕刻","龙纹","纹饰","新石器时代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83bb06a4b3acc1e0776cad27204783e6.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":267,"author":268,"museum":359,"description":360,"tags":361,"thumbUrl":362,"material":363,"size":88,"collection":88,"collections":364,"showCount":365,"zanCount":48,"manualWeight":48,"mainColor":49},220583,"zhuan-shu-e-mi-tuo-fo-qi-bai-shi-220583","篆书“阿弥陀佛”","國立故宮博物院","此作用隶意入篆，打破篆书匀整旧制，起收笔斩截刚劲，线条厚重苍莽，带着金石摩挲出的斑驳质感。四字排布开张奇崛，字势欹侧错落却浑融一体，将佛号的庄穆，以生辣雄强的笔力托出。\n\n左侧题款小字灵动舒展，与厚重篆文形成动静对冲，疏密间尽显错落意趣。整作褪去雕琢匠气，把禅门静穆与写意野趣相融，笔墨间满是老辣天真的风骨，以书法写尽禅意沉浑。",[24,25,138,100,7,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd1d7fbd1e528643671dd29dda0d313.jpg","Ink 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字孟思，号雪涛散人、青云生、养素处士，出生于杭州。因将其所学传递到吴门一带。是吾衍的弟子，擅长书法，尤其精通篆、隶。”他在篆书、隶书、印章方面都接受了吾衍的思想，并在这个基础之上有所发展。《篆书千字文》、《隶书离骚》、《九歌图卷跋》等流传于世。于1355年终于昆山。",[23,31,26,7,300,373,33,374,84],"道教","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1e531dcb0129a0625d73cecbc77670.jpg",[],71,{"id":379,"slug":380,"title":381,"dynasty":110,"author":382,"museum":135,"description":383,"tags":384,"thumbUrl":387,"material":388,"size":389,"collection":67,"collections":390,"showCount":392,"zanCount":48,"manualWeight":48,"mainColor":49},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","吴镇","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,25,26,139,36,245,32,7,33,38,324,39,62,385,40,386],"塔","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","白纸本","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[23,83,31,7,482,155,483,484,485,486,487],"金文","碑拓","西周风格","篆体","金石文字","铭刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4648fe470a2c89e4438f34ddff6337a.jpg",[],55,{"id":492,"slug":493,"title":494,"dynasty":420,"author":495,"museum":20,"description":496,"tags":497,"thumbUrl":500,"material":426,"size":88,"collection":88,"collections":501,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":49},234167,"song-zhu-mei-juan-chen-jia-yan-234167","松竹梅卷","陈嘉言","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[23,63,24,25,26,139,7,33,31,498,116,499],"松","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb706e263f815b90ab97a1bb3c330a393.jpg",[],53,{"id":504,"slug":505,"title":506,"dynasty":507,"author":19,"museum":79,"description":508,"tags":509,"thumbUrl":511,"material":512,"size":513,"collection":514,"collections":515,"showCount":502,"zanCount":48,"manualWeight":48,"mainColor":72},226538,"he-luo-qi-zi-wen-ti-shou-xing-tu-bei-yi-ming-226538","河洛七字文体寿星图碑","隋","此作为书画合璧的巧思之作，将七字隐于寿星形貌之中。线条圆融苍劲，带着篆籀古意，勾勒出寿星鹤发童颜、飘然出尘的仙姿，字与形浑然相融，不见割裂痕迹。\n河洛玄思暗藏笔墨，题跋诗文呼应主题，把福寿祈愿与道家哲思藏于一笔一划间，观览时可在赏形品字之际，体悟这份出世寄怀的雅致意趣，尽显古人构思的精妙绝伦。",[23,83,31,34,7,510],"碑刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17f6670e014bfaf32f07f4aa4e3eaa5.jpg","拓片","64.36*116.38厘米","碑帖精选",[514],{"id":517,"slug":518,"title":519,"dynasty":133,"author":297,"museum":79,"description":520,"tags":521,"thumbUrl":524,"material":86,"size":87,"collection":88,"collections":525,"showCount":526,"zanCount":48,"manualWeight":48,"mainColor":49},287996,"zhuan-shu-bai-shi-cao-tang-ji-deng-shi-ru-287996","篆书白氏草堂记","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[23,31,7,138,25,522,523,33],"名帖","白氏草堂记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50c5d1e16b90a9a938f5767e25d30edf.jpg",[],52,{"id":528,"slug":529,"title":530,"dynasty":133,"author":134,"museum":79,"description":257,"tags":531,"thumbUrl":532,"material":327,"size":533,"collection":142,"collections":534,"showCount":526,"zanCount":48,"manualWeight":48,"mainColor":49},224234,"zhong-ding-wen-shu-fa-wu-chang-shuo-224234","钟鼎文书法",[23,31,7,139,138,27,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936d07072312c8818810bc720fd43608.jpg","108X57cm",[142],{"id":536,"slug":537,"title":538,"dynasty":133,"author":134,"museum":79,"description":539,"tags":540,"thumbUrl":543,"material":88,"size":88,"collection":88,"collections":544,"showCount":545,"zanCount":11,"manualWeight":48,"mainColor":49},235244,"li-ju-ping-zhou-wu-chang-shuo-235244","篱菊屏轴","此作以阔笔泼墨绘就葫芦秋架，枯笔写藤蔓，遒劲如铁，盘绕交错尽显野逸生机。葫芦以淡彩晕染，黄润清透，将秋实饱满的质感尽显，墨叶泼辣淋漓，浓淡铺陈相宜，苍润兼具。\n\n左侧题画诗文笔苍朴，篆隶笔法老辣厚重，诗画呼应相融，将田园秋意与文人逸趣合二为一。整幅下笔雄浑朴拙，以金石意趣入画，寥寥数笔便定格秋日架上鲜活意态，朴拙间见灵秀蓬勃，尽显大写意花鸟的盎然生机与沉厚韵味。",[24,25,138,139,29,170,115,541,172,542,7,32,33],"葫芦","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],51,{"id":547,"slug":548,"title":549,"dynasty":550,"author":19,"museum":79,"description":480,"tags":551,"thumbUrl":555,"material":86,"size":87,"collection":88,"collections":556,"showCount":545,"zanCount":48,"manualWeight":48,"mainColor":49},226748,"jia-gu-wen-yi-ming-226748","甲骨文","商",[552,349,7,31,553,554],"商代","兽骨","阴刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3ad3c2b7a38c3dd19c5d40b4a40299.jpg",[],{"id":558,"slug":559,"title":560,"dynasty":267,"author":268,"museum":561,"description":562,"tags":563,"thumbUrl":566,"material":567,"size":88,"collection":88,"collections":568,"showCount":5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吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\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》。",[7,187,31,589,590],"金石笔法","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddb81776b0d1cf8ba430c1c7fbc09a0.jpg",[142],48,{"id":595,"slug":596,"title":597,"dynasty":133,"author":598,"museum":79,"description":599,"tags":600,"thumbUrl":601,"material":86,"size":87,"collection":88,"collections":602,"showCount":593,"zanCount":145,"manualWeight":48,"mainColor":603},230856,"bai-shou-quan-tu-li-hong-zhang-230856","百寿全图","李鸿章","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[31,7,29,25,411,287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959ee7019a280c62ec2c7430aab6b404.jpg",[],"D50000",{"id":605,"slug":606,"title":607,"dynasty":18,"author":96,"museum":79,"description":608,"tags":609,"thumbUrl":612,"material":86,"size":87,"collection":88,"collections":613,"showCount":614,"zanCount":11,"manualWeight":48,"mainColor":72},287701,"lan-ting-xiu-qi-tu-juan-li-gong-lin-287701","兰亭修契图卷","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,26,63,29,34,36,247,246,610,611,7,32,31],"兰亭修禊","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046924a3ed3772eda7257e744e0eb0d8.jpg",[],45,{"id":616,"slug":617,"title":618,"dynasty":619,"author":620,"museum":79,"description":621,"tags":622,"thumbUrl":623,"material":86,"size":87,"collection":88,"collections":624,"showCount":625,"zanCount":48,"manualWeight":48,"mainColor":163},288116,"cheng-huang-miao-bei-zhuan-shu-li-yang-bing-288116","城隍庙碑(篆书)","唐","李阳冰","李阳冰（生卒年不详），约生于唐玄宗开元年间。唐代书法家。字少温，谯郡（治今安徽亳州）人，出自赵郡李氏南祖。李白族叔，为李白作《草堂集序》。\n初为缙云令、当涂令，后官至国子监丞、集贤院学士。世称少监。兄弟五人皆富文词、工篆书。初师李斯《峄山碑》，以瘦劲取胜。他善词章，工书法，尤精小篆。自诩“斯翁之后，直至小生，曹喜、蔡邕不足也。”他所书写的篆书，“劲利豪爽，风行而集，识者谓之苍颉后身。”甚至被后人称为“李斯之后的千古一人”。\n唐代宗宝应元年（762）十一月，李白一病不起。在病榻将自己的诗文草稿交给李阳冰，请他编辑作序。",[7,31,84,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5badfbec5a8b51b4deae602e0be6302.jpg",[],43,{"id":627,"slug":628,"title":629,"dynasty":133,"author":134,"museum":79,"description":224,"tags":630,"thumbUrl":632,"material":86,"size":87,"collection":88,"collections":633,"showCount":634,"zanCount":48,"manualWeight":48,"mainColor":49},224217,"xiao-rong-shi-ce-zhuan-shu-wu-chang-shuo-224217","小戎诗册篆书",[23,7,31,631,26,33],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac50f5eaec7f55cb5dcad0fa1a75421.jpg",[],41,{"id":636,"slug":637,"title":638,"dynasty":133,"author":134,"museum":79,"description":639,"tags":640,"thumbUrl":643,"material":88,"size":88,"collection":125,"collections":644,"showCount":645,"zanCount":48,"manualWeight":48,"mainColor":49},239176,"teng-luo-tu-zhou-wu-chang-shuo-239176","藤萝图轴","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[24,138,115,170,29,139,172,641,642,33,31,7],"枝叶","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202c0b852afa26acbbbea618af316f2d.jpg",[125],36,{"id":647,"slug":648,"title":649,"dynasty":110,"author":321,"museum":467,"description":650,"tags":651,"thumbUrl":654,"material":274,"size":655,"collection":67,"collections":656,"showCount":645,"zanCount":145,"manualWeight":48,"mainColor":49},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[23,63,24,25,26,139,29,245,36,38,101,62,325,652,653,246,40,33,31,32,7],"古林","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 cm题跋：25×228 cm.",[67],{"id":658,"slug":659,"title":660,"dynasty":77,"author":19,"museum":79,"description":661,"tags":662,"thumbUrl":663,"material":86,"size":87,"collection":88,"collections":664,"showCount":665,"zanCount":48,"manualWeight":48,"mainColor":666},284851,"wei-qiu-guan-xi-yi-ming-284851","唯丘关玺","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 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。",[33,411,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec28587ed6839dd7e64efb0686ed6ae3.jpg",[],34,"F48FB1",{"id":668,"slug":669,"title":670,"dynasty":133,"author":134,"museum":79,"description":224,"tags":671,"thumbUrl":673,"material":86,"size":87,"collection":88,"collections":674,"showCount":665,"zanCount":48,"manualWeight":48,"mainColor":49},240259,"wu-chang-shuo-lin-shi-gu-wen-si-tiao-ping-wu-chang-shuo-240259","吴昌硕临石鼓文四条屏",[31,7,27,672,33],"四条屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0d90d58107bbd9505651a5be0bcb89.jpg",[],{"id":676,"slug":677,"title":678,"dynasty":133,"author":679,"museum":135,"description":680,"tags":681,"thumbUrl":683,"material":274,"size":684,"collection":67,"collections":685,"showCount":686,"zanCount":48,"manualWeight":48,"mainColor":49},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","董邦达","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[24,138,139,29,36,62,324,40,682,245,33,31,32,7],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[67],31,{"id":688,"slug":689,"title":690,"dynasty":133,"author":297,"museum":79,"description":520,"tags":691,"thumbUrl":692,"material":86,"size":87,"collection":88,"collections":693,"showCount":694,"zanCount":48,"manualWeight":48,"mainColor":49},287790,"bo-re-bo-luo-mi-duo-xin-jing-zhuan-shu-deng-shi-ru-287790","般若波罗密多心经(篆书)",[63,24,25,31,7,300,100,33,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25053c6de0983a13b159453929f5d3a1.jpg",[],30,{"id":696,"slug":697,"title":698,"dynasty":110,"author":699,"museum":20,"description":700,"tags":701,"thumbUrl":702,"material":327,"size":703,"collection":142,"collections":704,"showCount":694,"zanCount":48,"manualWeight":48,"mainColor":49},239638,"zhou-bo-qi-zhuan-shu-gong-xue-guo-shi-er-zhen-zhou-bo-qi-239638","周伯琦篆书宫学国史二箴","周伯琦","释文：\n宫学箴。惟民生厚，迷复曷反。爰作之师，由近及远。夔兴虞庠，旦扬周典。有美国胄，执经宫馆。养正匪蒙，勿亟勿缓。庸之煣之，圣功斯显。经国子民，所赉岂浅。惟严惟尊，不在躬践。毁范裂模，皋毗有腼。敬谂从者，圅丈有勔。国史箴。乾象昭列，人文肇兴。结绳既邈，方册是徵。姚妃典谟，三代诰命。褒善斯勖，恶有惩。获麟聿削，是式是承。合辞比类，历世相仍。晋狐称良，奸憝齿冰。暴私蔑实，起薉售憎。史尚传信，匪信匪能。执简以告，下严或圣。蕃阳周伯琦述并书。\n本幅钤“周氏伯琦”、“玉雪坡真逸”、“致用斋”印记三方。鉴藏印有：“越琪私印”、“长白李慎勤伯氏鉴赏章”、“叶恭绰誉虎印”等多方。引首有李慎篆书“伯温墨妙”。本幅后有张雨、方鼎录题跋观款。\n“宫学”指为皇族子弟设立的学校，“国史”指一国之史或一朝之史。“箴”乃一种文体，用以规劝他人或戒律自己。由《元史》本传得知，伯琦于元至正元年（1341年）“为宣文阁授经郎，教戚里大臣子弟。每进讲，辄称旨。”上述二箴或是当时进讲用的教材。\n周伯琦之篆书在当时有“本朝之冠”的美誉。陶宗仪在《书史会要》一书中称“伯琦篆师徐铉、张有，行笔结构殊有隶体。”明代杨士奇认为“其作字结构，盖出泰山李斯旧碑。”伯琦虽师法前人，但不拘于古法，在结体和笔法上参以石鼓文，笔兼方圆，使转变化亦多，整体风格于规整圆熟中见生拙萧散之致，有别于稳妥匀称一类的平庸之作。此卷结字严谨端庄，笔势沉稳丰润，为周氏篆书的上佳之作。",[23,7,31,26,139,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb068151c2e79aefcb7d9d92cdf0abc72.jpg","纵26厘米，横284.5厘米",[142],{"id":706,"slug":707,"title":708,"dynasty":110,"author":709,"museum":56,"description":710,"tags":711,"thumbUrl":714,"material":715,"size":716,"collection":125,"collections":717,"showCount":694,"zanCount":48,"manualWeight":48,"mainColor":49},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","赵孟頫","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,24,25,26,139,30,712,34,33,31,32,7,713],"马","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[125,69],{"id":719,"slug":720,"title":721,"dynasty":110,"author":722,"museum":79,"description":723,"tags":724,"thumbUrl":727,"material":86,"size":87,"collection":88,"collections":728,"showCount":729,"zanCount":48,"manualWeight":48,"mainColor":49},290157,"hun-lun-tu-zhu-de-run-290157","浑沦图","朱德润","此图坡石突凸，石间屹立一棵古松，盘曲多姿，藤蔓牵缠松干，飘曳向空。石画一圆圈，其意玄奥不可知。所作松石笔致婉和精巧，墨韵温润。卷首自题九行，其中[已丑]为至正九年即公元一三四九年，作者时年五十六岁。",[63,24,25,26,139,31,7,32,725,726,33],"枯松","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa70b7eb3e06d9a2cf3da9eedd45f2.jpg",[],28,{"id":731,"slug":732,"title":733,"dynasty":133,"author":19,"museum":79,"description":734,"tags":735,"thumbUrl":739,"material":86,"size":87,"collection":88,"collections":740,"showCount":729,"zanCount":48,"manualWeight":48,"mainColor":72},287699,"fang-li-di-tao-shu-qing-niao-tu-yi-ming-287699","仿李迪桃树青鸟图","此作工致妍丽，虬曲桃枝横展，垂挂的硕桃晕染出粉红斑斓，饱满鲜活似将盈汁，枝叶疏密错落，勾勒晕染皆细致入微。\n\n两只青鸟静立枝桠，翎毛敷色明丽且层次丰富，蓝羽如琢似染，身姿雍容隽雅，神意悠然。另有小雀穿梭叶底，灵鸟翩跹空际，动静相生，将桃林春日的恬然生机晕开。\n\n整体设色古雅沉稳，工笔细致尽显雅致意趣，把花果丰润与禽鸟灵动相融，晕开满幅吉庆清和的悠然意境。",[23,24,25,26,30,29,115,736,737,738,61,7,27],"桃树","桃实","青鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4522b7ba06d3506ecb78a734e6713c7.jpg",[],{"id":742,"slug":743,"title":744,"dynasty":133,"author":745,"museum":79,"description":746,"tags":747,"thumbUrl":748,"material":327,"size":88,"collection":142,"collections":749,"showCount":729,"zanCount":48,"manualWeight":48,"mainColor":49},241153,"zhuan-shu-shi-yan-lian-mo-you-zhi-241153","篆书十言联","莫友芝","莫友芝（1811～1871）字子偲，自号郘亭，又号紫泉、眲叟，贵州独山人。晚清金石学家、目录版本学家、书法家，宋诗派重要成员。家世传业，通文字训诂之学，与遵义郑珍并称“西南巨儒”。",[7,187,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b813a450d635f51c8e35ca39df6e3d9.jpg",[142],{"id":751,"slug":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雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,631,29,30,271,757,758,246,33,287,7,115],"雉鸡","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3660f3d2f11d187fa12faa414f7f4d28.jpg",[125,69],{"id":762,"slug":763,"title":764,"dynasty":133,"author":765,"museum":79,"description":766,"tags":767,"thumbUrl":769,"material":86,"size":87,"collection":88,"collections":770,"showCount":771,"zanCount":11,"manualWeight":48,"mainColor":49},236026,"ben-shi-shi-jia-mu-ni-fu-ding-guan-peng-236026","本师释迦牟尼佛","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[186,24,30,29,100,34,768,33,7,32],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f5b2a6a5e1ab8fac54283430404232.jpg",[],27,{"id":773,"slug":774,"title":775,"dynasty":420,"author":19,"museum":79,"description":776,"tags":777,"thumbUrl":778,"material":86,"size":87,"collection":88,"collections":779,"showCount":780,"zanCount":11,"manualWeight":48,"mainColor":72},228775,"xia-yuan-shui-guan-tu-yi-ming-228775","下元水官图","道家有三官：天官、地官、水官，谓天官赐福，地官赦罪，水官解厄。三官的诞生日分别为农历的正月十五、七月十五、十月十五，这三天被称为“上元节”、“中元节”、“下元节”。下元节，就是水官解厄旸谷帝君解厄之辰，俗谓是日。",[100,7,33,25,31,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99035456ab0e4b057bbd6aea0852718.jpg",[],26,{"id":782,"slug":783,"title":784,"dynasty":309,"author":19,"museum":79,"description":785,"tags":786,"thumbUrl":789,"material":86,"size":87,"collection":88,"collections":790,"showCount":780,"zanCount":48,"manualWeight":48,"mainColor":49},223959,"bo-ju-wen-jing-1-yi-ming-223959","博局纹镜-1","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[309,154,787,349,31,7,788,214],"铜制","博局纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e1c9003fabe4afbd80898467a8405d.jpg",[],{"id":792,"slug":793,"title":794,"dynasty":133,"author":134,"museum":79,"description":224,"tags":795,"thumbUrl":796,"material":86,"size":87,"collection":88,"collections":797,"showCount":798,"zanCount":48,"manualWeight":48,"mainColor":49},240495,"wu-chang-shuo-zhuan-shu-lin-shi-gu-wen-zhou-wu-chang-shuo-240495","吴昌硕篆书临石鼓文轴",[186,7,27,138,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c7f30ab645fdc8680805621df326eb.jpg",[],24,{"id":800,"slug":801,"title":802,"dynasty":420,"author":803,"museum":79,"description":804,"tags":805,"thumbUrl":807,"material":86,"size":87,"collection":88,"collections":808,"showCount":798,"zanCount":48,"manualWeight":48,"mainColor":72},240419,"zhuan-shu-qian-zi-wen-juan-xu-lin-240419","篆书千字文卷","徐霖","徐霖（1462年-1538年），字子仁，号九峰、髯仙，又称徐山人。先世长洲（今江苏苏州）人，出生于华亭（今上海松江），后移居金陵。明代戏曲作家。\n徐霖性格倜傥、豪爽，工于书法，又兼善绘画。填曲富有才情，且颇精于格律，他与散曲作家陈铎在当时并有“曲坛祭酒”的称号，并与谢承举一起被称为“江东三才子”。",[7,31,26,806,33,374],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ca668f53888a848e6792c65866a2ea.jpg",[],{"id":810,"slug":811,"title":812,"dynasty":110,"author":433,"museum":20,"description":813,"tags":814,"thumbUrl":816,"material":817,"size":818,"collection":88,"collections":819,"showCount":798,"zanCount":48,"manualWeight":48,"mainColor":72},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[63,24,25,26,29,36,139,245,31,32,7,33,324,39,37,62,40,815,34],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg","纸本，设色","纵26.5厘米，横111.6厘米",[],{"id":821,"slug":822,"title":823,"dynasty":133,"author":297,"museum":79,"description":824,"tags":825,"thumbUrl":834,"material":86,"size":87,"collection":88,"collections":835,"showCount":836,"zanCount":11,"manualWeight":48,"mainColor":49},241460,"deng-shi-ru-zhuan-shu-xun-zi-you-zuo-pian-zhou-deng-shi-ru-241460","邓石如篆书荀子宥坐篇轴","邓石如 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家世传业，通文字训诂之学\n莫友芝著述甚多，他的《宋元旧本书经眼录》及附录、《知见传本书目》、《恃静斋藏纪要》，为目录版本学者所重视；《他的《郘亭遗诗》八卷，收集诗作546首，《郘亭诗抄》六卷，收401首，《影山词》二卷，外集一卷，收集词作百余阕，另有《素阴杂记》一卷，《樗茧谱注》一卷（按：《樗茧谱》一卷，郑珍著。），《资治通鉴索隐》等。此外，他还收集了贵州266家诗人的诗2290余首，编成《黔诗纪略》三十三卷。这些著作，有很高的文学价值和史料价值。",[31,7,879,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f10c81f241fbe5c57c1134e7425a58.jpg","128×32cm×4",[142],{"id":932,"slug":933,"title":182,"dynasty":133,"author":134,"museum":20,"description":934,"tags":935,"thumbUrl":936,"material":327,"size":937,"collection":142,"collections":938,"showCount":901,"zanCount":48,"manualWeight":48,"mainColor":49},240392,"zhuan-shu-ba-yan-lian-wu-chang-shuo-240392","释文：\n花时鲤帛寓安迺乐，辞中虎帅写翰为猷。 集猎碣字。时丁巳先花朝数日客春申浦。安吉吴昌硕。\n此件集石鼓文对联书于民国六年（1917年），吴昌硕时年74岁。笔法浑厚流畅，方圆兼济，变化丰富，充满古朴凝练、沉实恣肆的金石气，是吴昌硕晚年创作的石鼓文精品。\n石鼓为战国时期秦国刻石，以形状似鼓而得名，因铭文内容记述贵族游猎事，又称猎碣。石鼓共十只，分刻先秦古歌一篇。石鼓文是籀文向小篆过渡阶段的文字，其体态堂皇整肃，笔法雄浑圆活，风神气质在古文字书法中独树一帜。因时代久远，字迹多有磨灭。石鼓现藏北京故宫博物院（注：展出地点会变化）。\n作为继邓石如之后的又一位篆书大师，吴昌硕将邓石如立足小篆的探索领域拓展到商周大篆，主要围绕石鼓文进行创作。他打破了清人以笔追金的拟古观念，以自然舒展的行书笔法入篆，从神形两方面表现三代文字雄强苍浑的审美趣味，为大篆古法注入了新的气息。",[7,187,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c8a69672213d323d9e057a5fb9345f.jpg","纵172.5厘米，横36.7厘米",[142],{"id":940,"slug":941,"title":942,"dynasty":133,"author":943,"museum":79,"description":944,"tags":945,"thumbUrl":946,"material":88,"size":88,"collection":142,"collections":947,"showCount":901,"zanCount":48,"manualWeight":48,"mainColor":49},239689,"wan-bai-shan-ren-mu-zhi-ming-ce-he-shao-ji-239689","完白山人墓志铭册","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。",[31,7,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdca624b68ff2d04fb334f2defbfb077.jpg",[142],{"id":949,"slug":950,"title":951,"dynasty":420,"author":952,"museum":20,"description":953,"tags":954,"thumbUrl":956,"material":817,"size":957,"collection":88,"collections":958,"showCount":959,"zanCount":48,"manualWeight":48,"mainColor":72},234152,"feng-yuan-dang-xiong-tu-juan-ding-yun-peng-234152","冯媛挡熊图卷","丁云鹏","此图以翠竹、梧桐、椿树、湖石为背景，表现了冯媛挡熊的故事场景。据《汉书•外戚传下•冯昭仪》记载，西汉建昭年间，元帝率左右随从，于后宫观斗兽。突然有熊逸出圈，攀栏欲上殿，冯婕妤冲上前挡熊而立，保护元帝免遭伤害。“冯媛当熊”应为爱君之典。《汉书》卷三十六称“《列女传》凡八篇，以戒天子”。",[23,24,25,26,30,29,34,713,955,40,246,288,32,7,31],"熊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F830255b25762baaa67f04e22303126f0.jpg","纵32.6厘米，横148.8厘米",[],20,{"id":961,"slug":962,"title":963,"dynasty":18,"author":964,"museum":79,"description":965,"tags":966,"thumbUrl":970,"material":88,"size":88,"collection":88,"collections":971,"showCount":959,"zanCount":11,"manualWeight":48,"mainColor":49},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷","米友仁","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,25,26,139,245,33,32,7,36,967,442,249,968,969],"山峦","雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":973,"slug":974,"title":975,"dynasty":133,"author":976,"museum":977,"description":978,"tags":979,"thumbUrl":986,"material":327,"size":987,"collection":142,"collections":988,"showCount":989,"zanCount":48,"manualWeight":48,"mainColor":49},241394,"qi-jue-zhou-zhao-zhi-chen-241394","七绝轴","赵之琛","南京博物院","赵之琛（1781-1852），钱塘（今浙江杭州）人。字次闲，号献父、献甫，又号宝月山人，斋号补罗迦室。蝶隐园书画杂缀作赵之瑛。清代著名的篆刻家和书画家，精心嗜古，邃金石之学，篆刻得其乡陈豫锺传，能尽各家所长。尝为阮元摹刊钟鼎款识，兼工隶法，善行楷。画山水师倪、黄，以萧疏幽澹为宗。花卉笔意潇洒，傅色清雅，大有华嵓神趣。间作草虫，随意点笔，各种体貌，无不逼肖。然丈尺之幅，腕力已薄，虽不能追踪古人，亦当抗衡奚冈、方薰、黄易。\n竹，是中国古代画家最为喜爱的绘画题材之一。由于竹有着挺拔、有节、虚心向上、耐寒不凋等习性特点，中国古代画家常常以之作为精神的写照和人格的象征，不论是梅、兰、竹、菊的“四君子”，还是松、竹、梅的“岁寒三友”，萧萧修篁都赫然位列其间。至于修竹与瘦石的结合，更是自宋元以降历代文人画家的拿手好戏，在中国古代的绘画史上，擅写竹石的画家俯拾皆是，不胜枚举。\n关于竹的画法，一般可分为两类：一类是双勾填色，一类是水墨写意（也有以色代墨者）。前者立足于画，致力于形态；后者立足于写，强调的是风神。赵孟頫所谓“石如飞白木如籀，写竹也应八法通；若也有人能会此，须知书画本来同”云云，即是以枯木竹石作为例证，来阐释中国画尤其是文人画的书法性原则的。不过，赵之琛的这幅《双勾竹石图》里竹子的画法却用的是双勾。画面下方的土坡上修篁三竿，亭亭玉立，直冲画外，竹叶繁茂，左右纷披，昂抑错落，姿态优美，尤其浅淡的汁绿渲染，更使得整个竹子显生机勃发，清气盎然。\n从总体上看，赵之琛对竹子竿、节、叶的形态皆能准确的把握，法度谨严，笔法工细，位置的穿插安排，自然合理，疏密有度，颇见功力与匠心。在竹子的前端，画家画有湖石一方，玲珑剔透，瘦峭崛立，此亦中国文人画的惯用手法，其作用一则为了与修竹相互映衬，另一则为了稳定画面。需要引起注意的是，赵之琛笔下的这块湖石形态独特，重心前倾，在构图上显得颇为奇险，而画家却能处险不惊，化险为夷，实属难能可贵。湖石的四周另有茅草随意点缀，益发有助于画面的和谐和自然。",[31,909,7,138,980,981,982,983,984,985],"笔墨","寒景","清风","飞","泉","清景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1baaeaf7f25126adf970cbdc055a876.jpg","131.5×60.5cm",[142],19,{"id":991,"slug":992,"title":993,"dynasty":133,"author":183,"museum":20,"description":994,"tags":995,"thumbUrl":996,"material":997,"size":998,"collection":142,"collections":999,"showCount":989,"zanCount":48,"manualWeight":48,"mainColor":49},240851,"yang-yi-sun-zhuan-shu-qi-yan-lian-yang-yi-sun-240851","杨沂孙篆书七言联","释文：梅花有香清在骨，谏果之味美于回。梦陶世讲兄雅正。濠叟杨沂孙书。\n款署：“梦陶世讲兄雅正。濠叟杨沂孙书。”钤“杨沂孙印”白文印、“濠叟”白文印、“历劫不磨”朱文印。\n此幅是杨沂孙为友人所作篆书对联，笔力苍劲，篆法精纯，结构严整，表现出其晚年篆书的成熟面貌。",[31,7,187,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751fd00444ea219ce8358b97c8085aec.jpg","纸本，篆书","纵133厘米，横29.8厘米",[142],{"id":1001,"slug":1002,"title":670,"dynasty":133,"author":134,"museum":79,"description":224,"tags":1003,"thumbUrl":1004,"material":86,"size":87,"collection":88,"collections":1005,"showCount":989,"zanCount":48,"manualWeight":48,"mainColor":49},240435,"wu-chang-shuo-lin-shi-gu-wen-si-tiao-ping-wu-chang-shuo-240435",[31,7,27,138,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f14bcbc77d3ab8853655b4161e72e6c.jpg",[],{"id":1007,"slug":1008,"title":1009,"dynast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。崇祯十六年（1643年）进士，官刑部主事。明亡自缢，获救不死。后为僧，名宏坚。著有《易宪》四卷。\n沈泓命运多舛，出生才5个月，父亲就故世。母亲宋氏年仅23岁，执意守节，独自抚养儿子。沈泓三四岁时，便能背诵母亲教授的孝经。6岁时常临摹父亲留下的书字，常因此触景生情而抱母痛哭，人都称其为孝子。崇祯二年（1629年）母亲病故，他抚棺恸哭不止。此后食蔬4年守于墓侧，乡人无不感动。崇祯六年（1633年）沈泓中举人后，即为母亲陈述苦节，事载松江府志，并蒙恩旨旌表，建完节坊。沈泓的孝名在《枫泾小志》也多有记载，如娄县沈祥龙序曰：“沈进士泓以孝行称许”。\n沈泓的孝还引出过一段逸事。据《续修枫泾小志》记述：沈泓曾为节母求得海内诗文数百篇，不料被盗，他号泣于路上整整7天不肯离去。不久的一天，佘山寺老僧早晨起来见到供桌上有一卷书，上留条：“烦上人亲致沈孝子”。原来窃贼也被沈泓的孝心感化了，于是沈的诗文又失而复得。\n沈泓中进士后，官邢部主事。但不久便请辞归故里，意欲回乡葬亲后再为朝廷履职。明亡后，他悲痛欲绝，绝意遁入佛门，曰：“吾君亲两负求死不得，唯有祝发空门或可自靖耳！”遂投雪峤禅师缁染，改名宏坚，徙住会稽东山庆国寺。后因患病不肯医治而去世。",[31,7,631,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aada180879d35b33f232b588c4bd551.jpg",[142],{"id":1025,"slug":1026,"title":1027,"dynasty":309,"author":19,"museum":79,"description":1028,"tags":1029,"thumbUrl":1034,"material":86,"size":87,"collection":88,"collections":1035,"showCount":989,"zanCount":11,"manualWeight":48,"mainColor":49},226902,"xi-yuan-25-220-nian-chang-le-bi-yi-ming-226902","西元25-220年「长乐」璧","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[347,349,1030,1031,1032,350,1033,857,348,7],"透雕","浮雕","谷纹","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa9e19907412ce6d392877544d258c2.jpg",[],{"id":1037,"slug":1038,"title":1039,"dynasty":133,"author":207,"museum":20,"description":1040,"tags":1041,"thumbUrl":1049,"material":327,"size":1050,"collection":88,"collections":1051,"showCount":1052,"zanCount":48,"manualWeight":48,"mainColor":49},232785,"zhuan-shu-xu-shi-shuo-wen-zhao-zhi-qian-232785","篆书许氏说文","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。",[31,7,1042,327,1043,1044,1045,1046,1047,1048],"墨笔","册页","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":1054,"slug":1055,"title":1056,"dynasty":133,"author":1057,"museum":79,"description":1058,"tags":1059,"thumbUrl":1060,"material":86,"size":87,"collection":88,"collections":1061,"showCount":1052,"zanCount":48,"manualWeight":48,"mainColor":72},230261,"zhuan-shu-dui-lian-hong-yi-fa-shi-230261","篆书对联","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。",[23,31,7,187,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3f0082cd2356172086231095f1cd39.jpg",[],{"id":1063,"slug":1064,"title":1065,"dynasty":309,"author":19,"museum":79,"description":785,"tags":1066,"thumbUrl":1068,"material":86,"size":87,"collection":88,"collections":1069,"showCount":1052,"zanCount":48,"manualWeight":48,"mainColor":49},223964,"ming-guang-jing-zhi-fu-jian-yi-ming-223964","明光镜之附件",[7,31,349,347,1067,214],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b04653f4af6d87789941376a9ac9ece.jpg",[],{"id":1071,"slug":1072,"title":1073,"dynasty":110,"author":19,"museum":1074,"description":1075,"tags":1076,"thumbUrl":1077,"material":446,"size":88,"collection":88,"collections":1078,"showCount":1052,"zanCount":48,"manualWeight":48,"mainColor":72},223393,"cheng-ma-tu-yi-ming-223393","呈马图","美国弗瑞尔美术馆","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[23,24,63,26,29,30,34,712,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":108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，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[25,631,31,287,7,29,30,1687,347,349,33,499,116,214],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb343cccdd58284e92fce8fc7cbc9d.jpg",[],{"id":1691,"slug":1692,"title":1693,"dynasty":133,"author":19,"museum":79,"description":1694,"tags":1695,"thumbUrl":1696,"material":88,"size":88,"collection":88,"collections":1697,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":72},232795,"zhuan-shu-shi-gu-wen-yi-ming-232795","篆书石鼓文","吴昌硕（1844 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的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[23,24,25,26,29,30,7,32,36,38,34,40,62,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":1935,"slug":1936,"title":1937,"dynasty":420,"author":1938,"museum":79,"description":1939,"tags":1940,"thumbUrl":1941,"material":86,"size":87,"collection":88,"collections":1942,"showCount":1819,"zanCount":48,"manualWeight":48,"mainColor":49},228863,"wu-kuan-ti-ti-yuan-yu-zi-zhi-shu-xiang-yuan-bian-ti-tao-wu-liu-shi-wen-zheng-ming-228863","无款题；题元俞紫芝书；项元汴题陶五柳诗","文徴明","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”。",[24,25,631,33,411,32,287,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e96d881414ac4716f41f771645b5a8.jpg",[],{"id":1944,"slug":1945,"title":1946,"dynasty":420,"author":19,"museum":79,"description":1947,"tags":1948,"thumbUrl":1951,"material":86,"size":87,"collection":88,"collections":1952,"showCount":1819,"zanCount":48,"manualWeight":48,"mainColor":49},228499,"yong-le-guo-bao-mo-yi-ming-228499","永乐国宝墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[806,1949,1108,349,1950,7],"墨","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a5e618b9a1e1ef8cbd2630ce10e7e3.jpg",[],{"id":1954,"slug":1955,"title":1956,"dynasty":18,"author":19,"museum":79,"description":1957,"tags":1958,"thumbUrl":1959,"material":88,"size":88,"collection":88,"collections":1960,"showCount":1819,"zanCount":48,"manualWeight":48,"mainColor":666},227573,"zhuan-shu-mu-lu-shi-ke-yi-ming-227573","篆书目录石刻","篆书，又称篆文、篆体，是古老的汉字书体，篆书指隶书以前的书体，又指大篆和小篆。",[7,83,31,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c3d09b1b37f6d865473693011a73d.jpg",[],{"id":1962,"slug":1963,"title":1964,"dynasty":309,"author":19,"museum":79,"description":1965,"tags":1966,"thumbUrl":1968,"material":86,"size":87,"collection":88,"collections":1969,"showCount":1819,"zanCount":48,"manualWeight":48,"mainColor":72},227036,"dong-wei-zhang-man-mu-zhi-bing-gai-yi-ming-227036","东魏张满墓志并盖","墓志是中国古代丧葬制度持续发展的产物，有固定的形制和专门的文体，主要记述死者姓名、卒年和生平事迹。墓志滥觞于秦汉之际，发展于魏晋，完善于北魏，兴盛于唐，延续至明清，经历了由砖造墓志到石刻墓志，由碑形墓志到方形墓志的发展历程。（碑的起源早于墓志，先有碑，后有志，两者在文化上有渊源关系。）",[23,83,31,7,287,1396,1967,510,1336],"墓志","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fd1d4e0fd90ae09826f3e302abe5cd.jpg",[],{"id":1971,"slug":1972,"title":1973,"dynasty":1974,"author":19,"museum":79,"description":1975,"tags":1976,"thumbUrl":1981,"material":86,"size":87,"collection":88,"collections":1982,"showCount":1819,"zanCount":11,"manualWeight":48,"mainColor":163},225317,"fu-shi-hui-56-yi-ming-225317","浮世绘56","不详","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[1977,1978,29,7,33,1979,1980,246],"漆器","嵌螺钿","菊花","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea9f568e642200151d387e3f7a41d6.jpg",[],{"id":1984,"slug":1985,"title":1986,"dynasty":309,"author":19,"museum":79,"description":785,"tags":1987,"thumbUrl":1988,"material":86,"size":87,"collection":88,"collections":1989,"showCount":1819,"zanCount":48,"manualWeight":48,"mainColor":72},223998,"wen-jing-mu-tuo-fu-jian-yi-ming-223998","纹镜木托附件",[1687,349,31,7,214,1483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278b145decc907a60d85af3b59e99798.jpg",[],{"id":1991,"slug":1992,"title":1993,"dynasty":110,"author":709,"museum":79,"description":1965,"tags":1994,"thumbUrl":1996,"material":86,"size":87,"collection":88,"collections":1997,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},290412,"zhang-zong-guan-mu-zhi-ming-zhao-meng-fu-290412","张总管墓志铭",[23,31,26,287,7,1995,33,25],"墓志铭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322dfb61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年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[7,31,187,186,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee2fcc89afd93421fdcbd37bb5f1122.jpg",[],{"id":2042,"slug":2043,"title":2044,"dynasty":133,"author":1877,"museum":79,"description":1878,"tags":2045,"thumbUrl":2046,"material":86,"size":87,"collection":88,"collections":2047,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},240599,"hong-liang-ji-zhuan-shu-qi-yan-lian-hong-liang-ji-240599","洪亮吉篆书七言联",[31,7,187,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dea7426ea89fdfc3852cdfbd0e728f7.jpg",[],{"id":2049,"slug":2050,"title":2051,"dynasty":133,"author":134,"museum":79,"description":224,"tags":2052,"thumbUrl":2053,"material":86,"size":87,"collection":88,"collections":2054,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},240433,"wu-chang-shuo-lin-lie-jie-si-tiao-ping-wu-chang-shuo-240433","吴昌硕临猎碣四条屏",[7,31,25,138,27,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef486d368cc44295475fc849b529225.jpg",[],{"id":2056,"slug":2057,"title":1531,"dynasty":133,"author":2058,"museum":79,"description":2059,"tags":2060,"thumbUrl":2061,"material":86,"size":87,"collection":88,"collections":2062,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},239985,"zhuan-shu-lu-wen-zhou-hu-shu-239985","胡澍","胡澍（shù）（1825-1872年）清代醫家。字荄甫，又字甘伯，號石生。績溪（今安徽省績溪縣）人。咸豐九年（1859年）舉於鄉，後捐升郎中，分發户部山西司。",[7,31,138,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0f0022c93bc401df15fcfa4ae7bb16.jpg",[],{"id":2064,"slug":2065,"title":915,"dynasty":133,"author":1010,"museum":79,"description":1011,"tags":2066,"thumbUrl":2067,"material":86,"size":87,"collection":88,"collections":2068,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":49},239938,"zhuan-shu-qi-yan-lian-wu-xi-zai-239938",[7,187,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54f83c19469ce142f5288d2ed1a82ac.jpg",[],{"id":2070,"slug":2071,"title":2072,"dynasty":133,"author":134,"museum":79,"description":224,"tags":2073,"thumbUrl":2074,"material":86,"size":87,"collection":88,"collections":2075,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239810,"zhuan-shu-lin-lie-jie-zhou-wu-chang-shuo-239810","篆书临猎碣轴",[31,7,27,138,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6324a080eafd401eb93a65f27d220b.jpg",[],{"id":2077,"slug":2078,"title":2079,"dynasty":133,"author":2080,"museum":79,"description":2081,"tags":2082,"thumbUrl":2087,"material":86,"size":87,"collection":88,"collections":2088,"showCount":1998,"zanCount":48,"manualWeight":48,"mainColor":72},239715,"shu-wan-shou-ji-cheng-nan-ji-xian-shou-tu-zhou-mou-bing-tai-239715","书万寿集成南极献寿图轴","缪炳太","缪炳太 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正肃穆形成动静对照，于庄重中揉入灵动巧思，尽显清代匠作的精湛工法。整器形制庄严规整，将礼制规制与工艺巧思相融，静静承载着追远敬祖的肃穆情怀，是清代祭祀礼器中的上乘之作。",[1687,349,348,7,2146,1852],"牌位","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c22a707b2f71c2876a1f7c69cb33b8.jpg",[],{"id":2150,"slug":2151,"title":2152,"dynasty":309,"author":19,"museum":79,"description":785,"tags":2153,"thumbUrl":2154,"material":86,"size":87,"collection":88,"collections":2155,"showCount":128,"zanCount":48,"manualWeight":48,"mainColor":72},244910,"qing-ming-jing-yi-ming-244910","清明镜",[857,154,787,349,7,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9878219901a1ab849de55a79daaa26db.jpg",[],{"id":2157,"slug":2158,"title":2159,"dynasty":619,"author":19,"museum":79,"description":2160,"tags":2161,"thumbUrl":2164,"material":86,"size":87,"collection":88,"collections":2165,"showCount":128,"zanCount":48,"manualWeight":48,"mainColor":163},244704,"shuang-feng-ba-gua-wen-jing-yi-ming-244704","双凤八卦纹镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[154,787,349,2162,61,2163,7],"凤","八卦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9cccf6901ac7f236671e3ff91886540.jpg",[],{"id":2167,"slug":2168,"title":2169,"dynasty":420,"author":2170,"museum":79,"description":2171,"tags":2172,"thumbUrl":2173,"material":86,"size":87,"collection":88,"collections":2174,"showCount":128,"zanCount":48,"manualWeight":48,"mainColor":72},241340,"zhuan-shu-shang-fang-yu-jing-zhou-wang-shu-241340","篆书尚方御镜轴","王澍","王澍，字蒻林，号虚舟，江南金坛人。1668年生，1743年逝世，官至吏部员外郎。康熙时以善书，特命充五经篆文馆总裁官。",[806,7,138,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5634d6df8706d0e7dde0aa375e60ff.jpg",[],{"id":2176,"slug":2177,"title":2178,"dynasty":133,"author":1675,"museum":79,"description":2179,"tags":2180,"thumbUrl":2181,"material":86,"size":87,"collection":88,"collections":2182,"showCount":128,"zanCount":48,"manualWeight":48,"mainColor":49},240931,"zhuan-li-jin-wen-shu-lin-jin-shi-ming-wen-shan-mian-wu-ting-kang-240931","篆隶金文书临金石铭文扇面","吴廷康[清]（一七九九至？）字元生，号康甫，又号赞甫，一作赞府，别号晋斋，晚号茹芝，安徽桐城人，清代官员、画家，作品有《墨林今话续编》、《迟鸿轩所见书画录》、《广印人传》、《竹刻录》、《工馀谈艺》。",[1325,7,909,482,27,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8872cfee12ce9820eadecd70504ab78.jpg",[],{"id":2184,"slug":2185,"title":2186,"dynasty":133,"author":2187,"museum":79,"description":2188,"tags":2189,"thumbUrl":2190,"material":86,"size":87,"collection":88,"collections":2191,"showCount":128,"zanCount":48,"manualWeight":48,"mainColor":49},240919,"yang-jie-yuan-qi-lv-lin-kong-zhou-ming-ji-jin-wen-wan-shan-fan-yong-240919","杨捷元、七律、临孔宙铭及金文纨扇","范镛","范镛（1422年－？），字彦声，江西南昌府丰城县人，民籍，明朝政治人物。进士出身。江西乡试第六十三名。景泰五年（1454年），参加甲戌科会试，得贡士第一百六十一名。",[1325,31,27,7,909,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc9a2c6ddf5a58f710b54d244ba71fa.jpg",[],{"id":2193,"slug":2194,"title":2195,"dynasty":133,"author":1619,"museum":79,"description":1620,"tags":2196,"thumbUrl":2197,"material":86,"size":87,"collection":88,"collections":2198,"showCount":128,"zanCount":48,"manualWeight":48,"mainColor":49},240878,"zhuan-shu-wu-lv-shi-zhou-wu-da-cheng-240878","篆书五律诗轴",[7,31,138,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b5c5b3c417987ac9eb1868684471ce.jpg",[],{"id":2200,"slug":2201,"title":2202,"dynasty":133,"author":1877,"museum":79,"description":1878,"tags":2203,"thumbUrl":2206,"material":86,"size":87,"collection":88,"collections":2207,"showCount":128,"zanCount":48,"manualWeight":48,"mainColor":49},240698,"zhuan-shu-bi-lang-gan-guan-heng-hong-liang-ji-240698","篆书碧琅玕馆横",[186,7,31,33,590,2204,411,2205],"汉字","横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2264c912a2edff6ffced1add31d16754.jpg",[],{"id":2209,"slug":2210,"title":2211,"dynasty":1974,"author":2212,"museum":79,"description":2213,"tags":2214,"thumbUrl":2220,"material":86,"size":87,"collection":88,"collections":2221,"showCount":128,"zanCount":48,"manualWeight":48,"mainColor":49},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,25,26,29,30,28,27,33,115,34,37,61,1234,211,62,38,39,1325,2215,757,2216,498,116,246,324,35,2217,2218,2219,40,271,32,7],"孔雀","燕子","鱼","船","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":22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，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” 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X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[31,7,33,27,84,83,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e822f629e7ca7af62ff21c56fc00849.jpg",[],{"id":2557,"slug":2558,"title":2559,"dynasty":133,"author":2560,"museum":79,"description":2561,"tags":2562,"thumbUrl":2563,"material":86,"size":87,"collection":88,"collections":2564,"showCount":2465,"zanCount":48,"manualWeight":48,"mainColor":49},241428,"zhi-shou-shan-zha-juan-yi-bing-shou-241428","致手山札卷","伊秉绶","伊秉绶（1754-1815），字组似，号墨卿，晚号默庵，清代书法家，福建汀州府宁化县人，故人又称“伊汀州”。乾隆四十四年举人，乾隆五十四年进士，师戴联奎，历任刑部主事，后擢员外郎。\n嘉庆四年任惠州知府，因与其直属长官、两广总督吉庆发生争执，被谪戍军台，昭雪后又升为扬州知府，1802年（嘉庆七年），伊秉绶54岁时，因父病死，去官奉棺回乡，扬州数万市民洒泪送别。62岁病逝后，扬州人为仰慕其遗德，在当地“三贤祠”（祀欧阳修、苏轼、王士祯三人之祠）中并祀伊秉绶，改称“四贤祠”。在任期间，以“廉吏善政”著称。\n伊秉绶喜绘画、治印，亦有诗集传世。工书，尤精篆隶，精秀古媚。其书超绝古格，使清季书法，放一异彩。隶书尤放纵飘逸，自成高古博大气象，与邓石如并称大家。",[23,133,31,26,7,32,287,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cec330bef7a75d234429e4d9d9492.jpg",[],{"id":2566,"slug":2567,"title":2026,"dynasty":133,"author":2364,"museum":79,"description":2365,"tags":2568,"thumbUrl":2575,"material":86,"size":87,"collection":88,"collections":2576,"showCount":2465,"zanCount":48,"manualWeight":48,"mainColor":49},241405,"zhuan-shu-lu-yu-heng-qian-dian-241405",[31,7,830,2569,1045,2570,2571,2572,2573,2574],"铁线篆风格","线条匀净","篆体书写","笔法圆劲","细劲流畅","篆法严谨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff704b564f862b568e424befb95be84bd.jpg",[],{"id":2578,"slug":2579,"title":2580,"dynasty":133,"author":2581,"museum":79,"description":2582,"tags":2583,"thumbUrl":2584,"material":86,"size":87,"collection":88,"collections":2585,"showCount":2465,"zanCount":48,"manualWeight":48,"mainColor":49},240896,"zhuan-shu-lin-shi-song-ding-ming-zhou-zhang-ting-ji-240896","篆书临史颂鼎铭轴","张廷济","张廷济(1768—1848)，清代金石学家、书法家。原名汝林，字顺安，号叔未，一字说舟，又字作田，又号海岳庵门下弟子，晚号眉寿老人，浙江嘉兴新篁人。嘉庆三年（一七九八）解元，以后几次会试未中，遂家居从事学术研究和艺术创作。工诗词，风格朴质，善用典故，精金石考据之学，尤擅长文物鉴赏，一碑一器都能辨其真伪，别其源流。喜收藏各类古器文物，收藏鼎彝、碑版及书、画甚多。",[7,27,138,31,154,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa6a90d8d2c3b32a73f81d92e679a5f.jpg",[],{"id":2587,"slug":2588,"title":1531,"dynasty":133,"author":2589,"museum":79,"description":2590,"tags":2591,"thumbUrl":2592,"material":86,"size":87,"collection":88,"collections":2593,"showCount":2465,"zanCount":48,"manualWeight":48,"mainColor":49},240452,"zhuan-shu-lu-wen-zhou-wang-tai-yue-240452","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。",[186,7,138,31,33,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc5a9f3b2702bd3f162fc8e4c496c21.jpg",[],{"id":2595,"slug":2596,"title":2380,"dynasty":133,"author":1452,"museum":79,"description":2597,"tags":2598,"thumbUrl":2599,"material":86,"size":87,"collection":88,"collections":2600,"showCount":2465,"zanCount":48,"manualWeight":48,"mainColor":49},240446,"zhuan-shu-shi-zhou-sun-xing-yan-240446","孙星衍（1753年－1818年），字伯渊，一字渊如，号季述。江蘇陽湖縣（今屬江苏省常州市）人，祖籍安徽濠州，清代经史学家，考据学者，金石学家。",[7,31,138,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c7ff60e557c94e1cb07dcf473bdc25.jpg",[],{"id":2602,"slug":2603,"title":2396,"dynasty":133,"author":2364,"museum":79,"description":2365,"tags":2604,"thumbUrl":2606,"material":86,"size":87,"collection":88,"collections":2607,"showCount":2465,"zanCount":48,"manualWeight":48,"mainColor":49},239934,"zhuan-shu-lu-yu-zhou-qian-dian-239934",[2605,7,31,138,33],"清朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b1a17aca9197cd5a13e278e8a6812d7.jpg",[],{"id":2609,"slug":2610,"title":2611,"dynasty":18,"author":19,"museum":1074,"description":2612,"tags":2613,"thumbUrl":2614,"material":88,"size":2615,"collection":88,"collections":2616,"showCount":2465,"zanCount":48,"manualWeight":48,"mainColor":49},232626,"zhuan-shu-qian-zi-wen-yi-ming-232626","篆书千字文","碑额铁线篆笔致匀净秀挺，如银丝盘绕，古雅庄重。正文先篆后隶，篆法端谨工稳，字形排布齐整，笔力瘦劲通透，尽显浑穆金石气；隶意朴拙方厚，与篆书形成视觉层次，疏朗章法衬出静穆安和的气息。刀痕与笔意交融，秦篆的规整法度揉入宋人的文雅意趣，即便历经岁月磨泐，依旧可见刻工精良，石痕与墨韵相映，将千字韵文的韵律凝固于碑间，尽显古法传承的厚重质感，是篆隶合参的经典刻石。",[7,31,83,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe80279445652eb7c8e547448714afe7.jpg","92.7x85.7厘米",[],{"id":2618,"slug":2619,"title":2620,"dynasty":420,"author":2170,"museum":79,"description":2171,"tags":2621,"thumbUrl":2622,"material":86,"size":87,"collection":88,"collections":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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[4243,10983,7,10984,10956,10985,10986],"盘","蝠纹","矾红地","拔白技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2efce028f0582976cf23a41c940888c6.jpg",[],{"id":10990,"slug":10991,"title":10992,"dynasty":133,"author":19,"museum":79,"description":4212,"tags":10993,"thumbUrl":10995,"material":86,"size":87,"collection":88,"collections":10996,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},259425,"tong-zhi-kuan-huang-di-hong-cai-shou-zi-gai-wan-yi-ming-259425","同治款黄地红彩“寿”字盖碗",[4243,4214,10994,10956,7],"黄地红彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac07d4e3d611c91daa220ce9a826c45.jpg",[],{"id":10998,"slug":10999,"title":11000,"dynasty":133,"author":19,"museum":79,"description":11001,"tags":11002,"thumbUrl":11006,"material":86,"size":87,"collection":88,"collections":11007,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},259424,"tong-zhi-kuan-huang-di-hong-cai-shou-zi-zha-dou-yi-ming-259424","同治款黄地红彩“寿”字渣斗","此器取经典束腰渣斗形制，敞口敛足，器型饱满端庄，线条舒缓雅致。娇黄地釉色匀净莹润，如蜜似蜡，红彩寿字鲜亮沉稳，色彩搭配明丽和谐。变体篆体寿字分上下两圈排布，线条舒展规整，既点明福寿吉庆的美好寓意，也让器面视觉层次分明。整体装饰规整雅致，带着晚清官窑典型的吉祥喜庆意趣，将装饰美学与祈福寓意相融，尽显宫廷用瓷的端庄考究，是清代御窑吉祥纹饰瓷作的典型之作。",[4243,4214,11003,11004,10956,7,11005],"红彩","黄地","渣斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2043c8cfb140cbf0ef8da30dfea130cf.jpg",[],{"id":11009,"slug":11010,"title":11011,"dynasty":133,"author":19,"museum":79,"description":11012,"tags":11013,"thumbUrl":11014,"material":86,"size":87,"collection":88,"collections":11015,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},259423,"tong-zhi-kuan-huang-di-hong-cai-shou-zi-zhong-yi-ming-259423","同治款黄地红彩“寿”字盅","匀净明黄为地，尽显御用华贵底色，矾红篆书寿字排布器身，线条浑厚饱满，篆法端整庄重，将福寿祈愿凝于装饰之上。此盅器型小巧秀雅，敞口敛腹，圈足修胎匀整，内里白釉莹润细腻，与外壁黄地形成柔和反差。\n\n红彩沉稳浓艳，黄釉温润鲜亮，冷暖色调相映，既具鲜明视觉张力，又不失雅致端庄。整体制作规整利落，装饰简约却寓意鲜明，尽显晚清典型的宫廷吉祥瓷审美风尚，将礼制规制与美好祈愿融于一身，是颇具特色的吉祥彩瓷器物。",[4243,4269,4214,29,7,10956,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a2f1c1f602bd77afb89fc451eb8a66.jpg",[],{"id":11017,"slug":11018,"title":11019,"dynasty":133,"author":19,"museum":79,"description":10953,"tags":11020,"thumbUrl":11025,"material":86,"size":87,"collection":88,"collections":11026,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":163},259381,"bai-shou-tang-ji-kuan-li-song-shi-lv-you-wai-bai-di-fan-hong-cai-miao-jin-shou-zi-wan-yi-ming-259381","百寿堂记款里松石绿釉外白地矾红彩描金寿字碗",[4243,4214,11021,11022,1950,11023,7,11024],"碗","矾红彩","松石绿釉","寿字纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe304d6ca8cb7f49ad9deb31c5b2f2591.jpg",[],{"id":11028,"slug":11029,"title":11030,"dynasty":133,"author":19,"museum":79,"description":4212,"tags":11031,"thumbUrl":11033,"material":86,"size":87,"collection":88,"collections":11034,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":163},257988,"kang-xi-kuan-hong-cai-miao-jin-bai-shou-zi-gai-wan-yi-ming-257988","康熙款红彩描金百寿字盖碗",[4243,11032,29,214,10956,7],"红彩描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0ce1592a7f9174cb188455186d5980.jpg",[],{"id":11036,"slug":11037,"title":11038,"dynasty":133,"author":19,"museum":79,"description":345,"tags":11039,"thumbUrl":11040,"material":86,"size":87,"collection":88,"collections":11041,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":163},252637,"qian-long-kuan-bi-yu-zhen-gui-yi-ming-252637","乾隆款碧玉镇圭",[347,348,349,1950,7,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8bdffaa39677ea871830ac686966.jpg",[],{"id":11043,"slug":11044,"title":11045,"dynasty":420,"author":19,"museum":79,"description":345,"tags":11046,"thumbUrl":11047,"material":86,"size":87,"collection":88,"collections":11048,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},252620,"qing-yu-ke-zi-ba-fang-lei-yi-ming-252620","青玉刻字八方勒",[347,349,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f5cb4051980356e595d2396d020eb9.jpg",[],{"id":11050,"slug":11051,"title":11052,"dynasty":150,"author":19,"museum":79,"description":345,"tags":11053,"thumbUrl":11054,"material":86,"size":87,"collection":88,"collections":11055,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":72},252440,"yu-jue-yi-ming-252440","玉玦",[347,349,351,214,1067,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0c9e401938570bf650221fd1e3accd.jpg",[],{"id":11057,"slug":11058,"title":11059,"dynasty":420,"author":19,"museum":79,"description":11060,"tags":11061,"thumbUrl":1106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