台北故宫展“国宝再现” 件件都是书画史赫赫名?！嗣裾?/title> <link href="/css/css.css" rel="stylesheet" type="text/css" /> <link href="/css/site_header.css" rel="stylesheet" type="text/css" /> <link href="/css/news_list_content.css" rel="stylesheet" type="text/css" />  <script type="text/javascript" src="http://www.rmzxb.com.cn/js/jquery-1.8.3.min.js"></script> <script>window.jQuery || document.write('<script src="http://www.rmzxb.com.cn/js/jquery-1.8.3.min.js" type="text/javascript"><\/script>')</script> <script src="/js/jquery.soChange1.js"></script> <script src='/js/roller.js'></script> <script src="http://www.rmzxb.com.cn/js/js.js"></script> <script src="http://www.rmzxb.com.cn/js/detailPagePublicJs.js"></script> <script src="http://www.rmzxb.com.cn/js/advPublicJs.js"></script> <style> *{font-family: "微软雅黑", "Microsoft Yahei", "SimSun", "宋体", "Arial Narrow"}; </style> <meta http-equiv="Cache-Control" content="no-transform" /> <meta http-equiv="Cache-Control" content="no-siteapp" /> <script>var V_PATH="/";window.onerror=function(){ return true; 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text-align: left;">筹备已久的“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区210室开幕。记者从台北故宫博物院获悉，此次展览从王羲之到苏轼、米芾，再到宋高宗、鲜于枢，可看二王帖学的传承脉络；从萧照到夏珪、武元直，再到赵孟頫，始知山水画的变法途径；从花鸟微言到历史故事，再到帝后坐像，方解粉饰与教化之言。总之，这些展品可谓件件为美术史的经典之作。展览持续至12月25日。</p><div class="i2i2jyu4k" id="wrapOuter" style="text-indent: 2em; text-align: left;"><div style="text-indent: 2em; text-align: left;"><div class="i2i2jyu4k" id="artibody" data-sudaclick="blk_content" style="text-indent: 2em; text-align: left;"><p style="text-indent: 2em; text-align: left;">台北故宫方面表示，台北故宫博物院典藏的书画，依其艺术性的高下，被划分为“国宝”、“重要古物”和“一般古物”三种等级。为了向公众推介古物分级制度的宗旨与成果，继去年“国宝的形成─书画菁华特展”获得极大反响之后，台北故宫博物院今年再度推出“国宝再现─书画菁华特展”，即于北部院区二一〇陈列室展出二十六件国宝级精品，展览年代自东晋横跨唐宋而至元代，展品兼具重要的历史、文化及艺术的价值，各时期的名家之作件件是中国美术史中声名赫赫的一时之选。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196557_600x600.jpg" alt="台北故宫10月4日展览现场" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196558_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋苏轼《宝月帖》、《喫茶帖》尺牍</p><p style="text-indent: 2em; text-align: left;">展览将持续至12月25日。其中，限展品将分前后两期展出，10月4日至11月14日为第一期，第一期展出6件限展菁华，包括晋王羲之《平安、何如、奉橘三帖》卷、唐阎立本《画萧翼赚兰亭图》卷、宋萧照《画山腰楼观》轴、宋夏珪《溪山清远》卷、宋陈居中《文姬归汉图》轴、元赵孟頫《鹊华秋色》卷等。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196559_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">晋王羲之《平安帖》</p><p style="text-indent: 2em; text-align: left;">第二期展览则从11月15日起至12月25日止。其中，有7件限展国宝，分别为唐玄宗《书鶺鴒颂》卷、唐徐浩《书朱巨川告身》卷、宋易元吉《猴猫图》卷、宋钱选《桃枝松鼠》卷、《宋人翠竹翎毛》轴、宋人《折槛图》轴、金武元直《赤壁图》卷等。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196560_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋人《翠竹翎毛》轴</p><p style="text-indent: 2em; text-align: left;">从王羲之法帖到皇帝御笔，再到文人尺牍</p><p style="text-indent: 2em; text-align: left;">书法部分将展出晋王羲之的《平安》、《何如》、《奉橘》三帖卷，唐玄宗的《鶺鴒颂卷》，唐徐浩所书的《朱巨川告身卷》，宋高宗赵构御笔《赐岳飞手敕卷》，苏轼书尺牍册页，宋米芾《致希声吾英友尺牍并七言诗》册页等。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196561_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">展览现场</p><p style="text-indent: 2em; text-align: left;">王羲之的《平安》、《何如》、《奉橘》三帖均为尺牍，被装裱在一个手卷之中，前隔水有宋徽宗题款“晋王羲之奉橘帖”。但此三帖并非王羲之真迹，为双钩摹本。米芾《书史》中记载“又有唐摹右军帖，双钩，蜡纸摹。末后一帖，是‘奉橘三百颗，霜末降，未可我得’。韦应物诗云：‘书后欲题三百颗，洞庭更待满林霜’。盖用此事?？适四耆露呷眨尉恐罡鹩?、咨议参军开府学士柳顾言、释智果跋其尾?！?/p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196562_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">晋王羲之《何如帖》</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196563_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">晋王羲之《奉橘帖》</p><p style="text-indent: 2em; text-align: left;">手卷的第一则为《平安帖》，这是一件行书兼草书的作品。第二则《何如帖》和第三则《奉橘帖》都是用行书书写。三帖中，《平安帖》的运笔提按顿挫变化较多，一些牵丝引带的草书笔法，十分灵巧；《奉橘帖》的字形大小偃仰，也很富变化；相形之下，《何如帖》就比较端整。</p><p style="text-indent: 2em; text-align: left;">王羲之、王献之父子的书法作品被后世奉为帖学正宗，对后世影响巨大。无论是国家最高统治者皇帝，还是文人士大夫、僧侣隐士，无不对二王法帖精研细读，奉为规范。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196564_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196565_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196566_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">唐玄宗《鶺鴒颂》</p><p style="text-indent: 2em; text-align: left;">展览中，一直被视为唐玄宗李隆基唯一存世的书法真?！耳W鴒颂》。文中描写了当时宫廷里的情景。某年九月，一千余只鶺鴒飞到宫廷庭院游玩，过了十天这些鶺鴒仍不离去，最后终于亲近得连在旁边拍手它们也不会飞走，于是玄宗邀请了五位臣子在这金秋季节共同度过了愉快的一天。后面又有蔡京、蔡卞、王文治等人的题跋，还有众多重要的收藏印。宋人赵明诚《金石录》中记载：“唐鶺鴒颂，明皇撰并书?！?/p><p style="text-indent: 2em; text-align: left;">一切都看似流传有序，然而对于这墨迹本变的年代、墨迹真伪都有质疑。无论是坚持认为《鶺鴒颂》是真迹，还是认为是双钩摹写或伪作，大家都认为该卷书作承袭了王羲之的书风，同时又有盛唐的丰腴之美，具有唐玄宗时期的书风特点。</p><p style="text-indent: 2em; text-align: left;">徐邦达认为《鹡鸰颂》完成时间不会晚于开元二十年，是玄宗四十二岁之前的作品。江兆申在《唐玄宗书鹡鸰颂完成年岁考》一文则提出完成时间应为“开元七年”，这个说法有相当广泛且持续的影响，台北故宫的林柏亭、黄伟中、谭怡令等人也沿用“开元七年”之说。</p><p style="text-indent: 2em; text-align: left;">曾任台北故宫博物院副院长的何传馨和方展里等人提出“开元五年”之说。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196567_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">唐玄宗《鶺鴒颂》局部</p><p style="text-indent: 2em; text-align: left;">台北故宫的侯怡利提出“开元九年”一说，并对拖尾上的跋文本身的真伪提出疑问，认为蔡京、蔡卞二人跋文书写质量稍差，并且有较多笔误，因此并非真迹而是有根据的临写本，本卷是在宣和年间由册页改成手卷的。</p><p style="text-indent: 2em; text-align: left;">徐邦达先生认为是墨迹本正文是双钩廓填，江兆申先生对此存疑。而侯怡利先生经过目鉴，又借助高清数字设备看后，认为不是双钩廓填，而是写本。启功先生则认为《鶺鴒颂》墨迹本为翰林院内学御书体的专职官员代书，书后由皇帝敕字。即前面的正文是代笔，后面的“勑”字才是唐玄宗真迹。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196568_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋高宗赵构御笔《赐岳飞手敕卷》</p><p style="text-indent: 2em; text-align: left;">唐玄宗李隆基宗法王羲之，宋高宗赵构亦追师《兰亭》。赵构在政治上虽不及明君圣主，然精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋入神韵，其书法影响和左右了南末书坛，后人多效法其书迹。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196569_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋高宗赵构御笔名款</p><p style="text-indent: 2em; text-align: left;">宋高宗赵构御笔《赐岳飞手敕卷》存世有两件，均后署“付岳飞”3字，上钤“御前之宝”，下有高宗御押二印。台北故宫博物院展出的这本，据内容推断，约书于绍兴七年（1137年）至绍兴十一年（1141年）之间，著录于《石渠宝笈初编》。此幅写付岳飞（1103-1142）。据“淮西军叛”语，应书于1137年秋，旨在宣慰并论边防事宜。通篇书体在真行之间，字体时大时小，字距宽裕，行气严整。观“盛”、“寒”、“良”、“带”、“管”、“至”、“体”等字，隐见《兰亭》、《集字圣教》笔意。然字形宽，布白匀，多有侧锋、圆转、饱满的线条，或受智永（6-7世纪）影响，展现出临古功深的书学造诣。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196570_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋高宗赵构御笔《赐岳飞手敕卷》局部</p><p style="text-indent: 2em; text-align: left;">另外一本为台北兰千山馆藏本，元时有赵孟頫钤印，明为项元汴收藏，钤“墨林秘玩”、“项元汴印”等，清初时为江昱收藏，钤“江氏凌寒竹轩珍藏印”。后入清宫，《石渠宝笈三编》著录。民国期间为台湾林熊光所藏，钤“林熊光印”、“朗盦”。根据朱家溍《故宫退食录》中所考证，此卷应写于绍兴十一年（1141年）三月十九日。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196571_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋高宗赵构御笔《赐岳飞手敕卷》</p><p style="text-indent: 2em; text-align: left;">在书法圈里，名人尺牍近年来越来越热。大都因为其形式不加修饰、不做作，为其真情实感的流露所打动。前面提到的王羲之《平安》、《何如》、《奉橘》三帖均为尺牍，此次展览中米芾、苏轼的书法作品也是尺牍作品。其中，米芾《致希声吾英友尺牍并七言诗》共九行，六十一个字，所书内容为：芾非才当剧，咫尺音敬缺然，比想庆侍，为道增胜，小诗因以奉寄。希声吾英友。芾上。竹前槐后午阴繁，壶领华胥屡往还。雅兴欲为十客具，人和端使一身闲。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196572_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋米芾《致希声吾英友尺牍并七言诗》</p><p style="text-indent: 2em; text-align: left;">书信的开头提到：“非才当剧”（我不是人才却担当大任）这句话，透露出米芾第一次出任地方行政首长，戒慎恐惧的心情。然而，在诗中米芾也回忆起数年前与朋友相聚，共游山川、玩赏文物，或是雅集盛筵的欢乐情景。这种闲适自得的心情，与即将接踵而至的繁忙政事，形成强烈的对比。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196573_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">展览现场</p><p style="text-indent: 2em; text-align: left;">从溪山清远到鹊华秋色的山水画之变</p><p style="text-indent: 2em; text-align: left;">绘画部分，则涵盖了南宋至元代山水、花鸟、人物画的经典作品，其中。山水画中包括南宋萧照《山腰楼观图》、夏珪《溪山清远卷》，金代武元直《赤壁图》，元代赵孟頫《鹊华秋色》等。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196574_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">南宋夏珪《溪山清远卷》局部</p><p style="text-indent: 2em; text-align: left;">夏珪的《溪山清远卷》可以说是代表了整个南宋山水画，“水墨氤氲、构图空灵”既展现了南宋的山水画特点与审美趣味，又映证了“夏半边”的经典图式。而这种一角山水的形成，除了自然环境、政治因素的影响之外，离不开画家的一脉相承。这中间至关重要的人物就是李唐，而萧照就是李唐的学生。李霖灿先生认为，萧照的《山腰楼观图轴》轴看似不起眼，但是它继承了李唐《万壑松风图》的笔法，更重要的是这幅画在章法上有了新的改变。即画面的主体由北宋以来中央式的全景构图中慢慢偏移到画面左边边沿，摇身一变成为了开启南宋“边角式”的代表。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196575_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196576_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">元代赵孟頫《鹊华秋色图》</p><p style="text-indent: 2em; text-align: left;">而元代赵孟頫《鹊华秋色图》则是推倒南宋山水画程式，主张“作画贵有古意”，构建晋唐气韵的产物。明代大画家董其昌评价此图说：“吴兴此图，右、北苑二家画法。有底人之致，去其纤，有北宋之雄，去其犷。故曰师法舍短，亦如书家，以肖似古人不能变体为书奴也?！?/p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196577_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">《鹊华秋色图》上董其昌的题跋</p><p style="text-indent: 2em; text-align: left;">此画是元代画家赵孟頫于元贞元年（1295年）回到故乡浙江时为好友周密所作，描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，恬静悠闲然。</p><p style="text-indent: 2em; text-align: left;">有意思的是，此卷又和乾隆皇帝有着“欢喜冤家”般的故事。乾隆十三年（1748），乾隆皇帝巡狩济南，闲暇里登上城门远眺，觉得这一带景色似曾相识，突然回想起这是《鹊华秋色图》中的景色，心中大喜。他连忙急命飞骑去京城禁中取来，对着鹊、华二山展卷对观，一番赞叹不绝之后，发现所画之景与现实中不相符，于是将此卷深藏内府，不复观。然而当他再次巡幸济南时，又一次想起了宫中的《鹊华秋色图》。面对美景，念及名画，他早已把上次的事忘得一干二净，于是下旨又一次派人回宫取画，且又在画上题写了“深情”的一跋。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196578_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">金代武元直《赤壁图》</p><p style="text-indent: 2em; text-align: left;">花狸松鼠，花鸟微言</p><p style="text-indent: 2em; text-align: left;">花鸟画中，则展示了宋易元吉《猴猫图卷》、宋人《翠竹翎毛》、宋人《富贵花狸》、元代钱选《桃枝松鼠》等。宋代花鸟画的主流面貌是写实的，因为在宋代画院花鸟画家无不写生。除了写实，画院花鸟画为了起到“富丽堂皇”的装饰效果，画面色彩多浓艳，从《翠竹翎毛》、《富贵花狸》中就可看出。而元代钱选一改花鸟画的浓艳富贵，转而吸收水墨花卉的技法，画面淡雅古拙，《桃枝松鼠》就是其艺术特色的一例。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196579_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋易元吉《猴猫图》</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196580_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋人《富贵花狸》</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196581_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">元钱选《桃枝松鼠》</p><p style="text-indent: 2em; text-align: left;">从历史故事到帝后肖像</p><p style="text-indent: 2em; text-align: left;">人物画方面，有历史神话故事，如宋陈居中《文姬归汉图轴》、宋马麟《三官出巡图》、宋人《却坐图》、宋人《折槛图》等；还有宋代帝后像，如《宋太祖坐像》、《宋仁宗后坐像》、《宋宁宗后坐像》等?！独恰房此怠胺蚧叱山袒?，助人伦，穷神变测幽微，与六籍同功，四时并运?！闭庑┤宋锘蠖际卿秩菊谓袒纳?。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196582_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋陈居中《文姬归汉图》轴</p><p style="text-indent: 2em; text-align: left;">宋陈居中《文姬归汉图》描绘了汉末女诗人蔡文姬在兵乱中流落匈奴，后为曹操赎回的故事。图中土冈沙丘，疏枝衰草，汉使列队迎候，左贤王即席饯别，二子牵衣不舍，人物神情细致生动，仪态肃穆庄严。衣纹用铁线描，严谨精工，风格古朴。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196583_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋人《折槛图》</p><p style="text-indent: 2em; text-align: left;">《折槛图》描绘的是朱云折槛的故事。西汉成帝时，宰相张禹恃宠而骄，朝中大臣多因张禹曾为皇上的老师，而不敢加以纠举弹劾。一日，槐里令朱云上书求见，当着公卿大臣面前，请赐上方斩马剑斩佞臣，皇上怒斥朱云以下犯上，竟然当廷污辱其师，于是下令要将朱云处死。朱云攀着殿槛抵抗，以至槛折。此时左将军辛庆忌，卸下冠帽印绶，叩头力保，朱云才得以免其罪。事后当要修缮殿槛时，成帝却要保留原状，藉以表彰忠臣，并作为日后的警诫。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196584_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋人《却坐图》</p><p style="text-indent: 2em; text-align: left;">宋人《却坐图》也是类似的故事，讲的是袁盎劝谏汉文帝帝宠妃慎夫人要尊卑有序的故事。画中人物的描绘精微备至，人物面部神态毕现。</p><p style="text-indent: 2em; text-align: left;">《宋仁宗后坐像》则与其他帝后像不同，画中除了有仁宗皇后，还有两位宫女分立两旁。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196585_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">《宋仁宗后坐像》</p><p style="text-indent: 2em; text-align: left;">曹皇后头戴九龙纹钗冠，面贴珠钿，翟衣绶带用环佩。人物神态庄重肃穆，服饰华美而光鲜?！端问贰芳窃厝首诨实塾辛礁龌屎螅汗屎蠛筒芑屎蟆６屎蟊环?，而曹皇后又是北宋又名的贤后，曾辅佐宋英宗、神宗皇帝，因而此幅所绘应为曹皇后画像。</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196586_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">《宋宁宗后坐像》</p><p style="text-indent: 2em; text-align: left;">另外，展览中还可以看到美术史上赫赫有名的“杨妹子”画像，即宋宁宗后坐像，这位书法极似宋宁宗的杨皇后，为后人留下了不少墨宝遗迹。</p><p style="text-indent: 2em; text-align: left;">部分展品</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196587_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">唐徐浩《朱巨川告身》（局部）</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196588_600x600.jpg" alt="唐阎立本（传）《萧翼赚兰亭图》" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196589_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋人《松泉盘石》</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196590_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; text-align: left;">宋范宽《秋林飞瀑图》</p><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196591_600x600.jpg" alt="宋人《冬日婴戏图》" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><div style="text-indent: 2em; text-align: left;"><p style="text-align:center"><img src="/upload/resources/image/2018/10/08/2196592_600x600.jpg" alt="" style="border-width: 0px; border-style: initial; vertical-align: middle; display: block; margin: 0px auto;"/></p></div><p style="text-indent: 2em; 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