[{"data":1,"prerenderedAt":2298},["ShallowReactive",2],{"artist-chou-ying-341":3},{"artist":4,"artworks":17},{"id":5,"slug":6,"name":7,"dynasty":8,"birthAndDeath":9,"shortDesc":10,"longDesc":11,"coverUrl":12,"tags":13,"workNumber":14,"initial":15,"showCount":16},341,"chou-ying-341","仇英","明","1498年-约 1552年","字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。","","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg",[],111,"C",702,[18,59,84,105,126,145,157,168,181,196,210,226,240,253,265,280,293,303,318,332,343,351,362,374,383,396,416,431,442,459,469,481,492,503,512,522,529,542,554,564,573,584,595,605,618,631,643,653,664,675,685,695,706,717,728,739,753,765,775,790,802,814,823,833,844,858,869,878,886,896,909,918,930,939,948,957,966,973,982,993,1003,1015,1032,1041,1052,1062,1073,1084,1094,1102,1111,1120,1134,1144,1155,1165,1177,1193,1201,1209,1218,1230,1238,1248,1265,1275,1284,1292,1300,1311,1320,1329,1338,1349,1358,1366,1376,1387,1396,1403,1416,1426,1434,1443,1453,1463,1472,1479,1489,1497,1504,1515,1523,1542,1550,1559,1566,1575,1582,1589,1596,1605,1614,1623,1632,1641,1648,1655,1664,1676,1683,1690,1702,1710,1717,1726,1733,1742,1751,1759,1767,1774,1784,1791,1800,1807,1816,1823,1830,1837,1845,1855,1862,1872,1879,1891,1902,1910,1917,1925,1932,1941,1949,1957,1964,1971,1978,1986,1993,2002,2012,2021,2028,2035,2044,2051,2058,2074,2081,2088,2095,2104,2111,2119,2127,2134,2147,2155,2162,2169,2176,2185,2192,2203,2210,2217,2224,2236,2243,2250,2260,2270,2279,2289],{"id":19,"slug":20,"title":21,"dynasty":8,"author":7,"museum":22,"description":23,"tags":24,"thumbUrl":49,"material":50,"size":51,"collection":52,"collections":53,"showCount":55,"zanCount":56,"manualWeight":57,"mainColor":58},217887,"qing-ming-shang-he-tu-chou-ying-217887","清明上河图","美国大都会艺术博物馆","此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。",[25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45,46,47,48],"高清","国画","长卷","工笔","设色","界画","临摹","人物","楼阁","小桥","流水","树木","商铺","船只","街市","车马","建筑","庭院","行人","市集","舟楫","道路","市井","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102b4f88d7b2d81f25208305d2123fef.jpg","绢本,设色","29.2x645.2cm","人物画精选",[52,54],"设色画精选",11185,132,0,"795548",{"id":60,"slug":61,"title":62,"dynasty":8,"author":7,"museum":63,"description":64,"tags":65,"thumbUrl":77,"material":78,"size":79,"collection":80,"collections":81,"showCount":82,"zanCount":83,"manualWeight":57,"mainColor":58},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[25,66,26,67,27,68,29,28,69,70,71,72,32,33,34,35,73,74,36,75,76],"名画","书画","青绿","皴法","印章","山水","桃花","孤舟","亭","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 472cm","山水画精选",[80,54],5479,37,{"id":85,"slug":86,"title":87,"dynasty":8,"author":7,"museum":88,"description":89,"tags":90,"thumbUrl":98,"material":99,"size":100,"collection":11,"collections":101,"showCount":102,"zanCount":103,"manualWeight":57,"mainColor":104},228451,"han-gong-chun-xiao-tu-quan-juan-chou-ying-228451","汉宫春晓图全卷","台北故宫博物院","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[25,26,67,27,28,29,30,32,91,33,42,36,92,93,94,95,96,97],"美人","山石","花鸟","孔雀","栏杆","屏风","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd722d077e75673c4e2d4185ed0fe78d.jpg","绢","纵30.6cm，横574.1cm",[],4769,63,"BDBDBD",{"id":106,"slug":107,"title":108,"dynasty":8,"author":7,"museum":109,"description":110,"tags":111,"thumbUrl":121,"material":50,"size":122,"collection":52,"collections":123,"showCount":124,"zanCount":125,"manualWeight":57,"mainColor":58},216362,"xi-xiang-ji-tu-ye-chou-ying-216362","西厢记图页","美国弗利尔美术馆","清人绘，款仇英",[26,28,29,30,32,42,36,112,95,113,114,115,41,116,117,118,119,120],"芭蕉","石桌","藤蔓","假山石","仕女","文人","屋顶","围墙","石台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73073efbf2fef3fc9d47804d1d4a0e8.jpg","18.5*38",[52,54],2008,11,{"id":127,"slug":128,"title":129,"dynasty":8,"author":7,"museum":130,"description":131,"tags":132,"thumbUrl":139,"material":140,"size":141,"collection":80,"collections":142,"showCount":143,"zanCount":144,"manualWeight":57,"mainColor":58},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","天津博物馆","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[25,26,67,133,68,29,28,71,32,33,34,36,92,134,41,135,136,137,138],"立轴","云雾","植被","山峦","溪流","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 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坐闲谈，观之令人兴味盎然。",[26,28,29,68,30,71,33,92,36,41,246,247],"路径","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纸本,设色","纵 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时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[25,26,67,28,29,93,271,272,70],"水仙","腊梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","设色,绢本","纵47厘米，横25厘米","花鸟画精选",[276],467,4,{"id":281,"slug":282,"title":283,"dynasty":8,"author":7,"museum":88,"description":284,"tags":285,"thumbUrl":289,"material":249,"size":290,"collection":52,"collections":291,"showCount":292,"zanCount":279,"manualWeight":57,"mainColor":104},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[66,26,67,133,286,32,28,29,287,70,288],"宗教","云","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纵104.2横52.5厘米",[52,54],393,{"id":294,"slug":295,"title":296,"dynasty":8,"author":7,"museum":230,"description":297,"tags":298,"thumbUrl":300,"material":50,"size":11,"collection":52,"collections":301,"showCount":302,"zanCount":195,"manualWeight":57,"mainColor":58},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[25,26,67,27,28,29,30,32,33,36,92,299,74,42,76,189],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[52,54],384,{"id":304,"slug":305,"title":306,"dynasty":8,"author":7,"museum":214,"description":307,"tags":308,"thumbUrl":313,"material":314,"size":315,"collection":11,"collections":316,"showCount":317,"zanCount":239,"manualWeight":57,"mainColor":58},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[25,26,27,31,28,68,29,71,32,299,309,34,136,310,311,312],"古道","历史画","侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg","未知","Xcm*Xcm",[],380,{"id":319,"slug":320,"title":321,"dynasty":8,"author":7,"museum":322,"description":323,"tags":324,"thumbUrl":328,"material":50,"size":329,"collection":52,"collections":330,"showCount":331,"zanCount":195,"manualWeight":57,"mainColor":58},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","私人收藏","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[25,26,67,217,28,29,30,68,71,32,33,74,35,73,34,76,325,326,327,309,91,174],"老树","夕阳","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[52],376,{"id":333,"slug":334,"title":335,"dynasty":8,"author":7,"museum":88,"description":336,"tags":337,"thumbUrl":338,"material":339,"size":340,"collection":80,"collections":341,"showCount":342,"zanCount":225,"manualWeight":57,"mainColor":104},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[25,26,67,133,30,28,29,71,33,92,36,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","白纸本","110.5x42.1",[80,54],351,{"id":344,"slug":345,"title":346,"dynasty":8,"author":7,"museum":109,"description":110,"tags":347,"thumbUrl":348,"material":50,"size":122,"collection":11,"collections":349,"showCount":350,"zanCount":57,"manualWeight":57,"mainColor":58},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2",[26,67,217,28,29,32,299,34,35,71,36,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg",[],331,{"id":352,"slug":353,"title":354,"dynasty":8,"author":7,"museum":109,"description":110,"tags":355,"thumbUrl":359,"material":50,"size":122,"collection":11,"collections":360,"showCount":361,"zanCount":239,"manualWeight":57,"mainColor":58},216364,"xi-xiang-ji-tu-ye-4-chou-ying-216364","西厢记图页-4",[26,28,29,30,217,91,32,42,204,356,34,357,358,95,41],"假山","花","桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9370c6adea01f708797c2450551be843.jpg",[],307,{"id":363,"slug":364,"title":365,"dynasty":8,"author":7,"museum":88,"description":366,"tags":367,"thumbUrl":369,"material":339,"size":370,"collection":276,"collections":371,"showCount":372,"zanCount":373,"manualWeight":57,"mainColor":104},222200,"shui-xian-la-mei-zhou-chou-ying-222200","水仙蜡梅轴","本幅画水仙两本，蜡梅一枝，以勾勒填彩法成之，着意无多，而清丽雅澹之韵，盎然绢素，乃仇英之精者，款书十五字，出项元汴手笔。此图另存一幅，现流传于国外。",[25,26,67,133,28,29,93,271,368,70],"蜡梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16cf1c9094975ec18e1391b0dc61eace.jpg","195.8x44厘米",[276,54],300,3,{"id":375,"slug":376,"title":199,"dynasty":8,"author":7,"museum":88,"description":200,"tags":377,"thumbUrl":205,"material":50,"size":379,"collection":54,"collections":380,"showCount":381,"zanCount":382,"manualWeight":57,"mainColor":58},219320,"chun-shan-yin-shang-zhou-chou-ying-219320",[26,67,133,29,28,69,71,32,74,36,203,92,137,41,204,136,378],"春景","157.5x63.2",[54],295,2,{"id":384,"slug":385,"title":386,"dynasty":8,"author":7,"museum":387,"description":388,"tags":389,"thumbUrl":390,"material":391,"size":392,"collection":80,"collections":393,"showCount":394,"zanCount":395,"manualWeight":57,"mainColor":58},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","辽宁省博物馆","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[25,26,67,66,27,68,29,28,71,34,35,33,74,260,36,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","绢本设色","纵30.5厘米 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现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[66,26,27,29,28,32,33,34,35,601,299,47],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],159,{"id":606,"slug":607,"title":608,"dynasty":8,"author":7,"museum":88,"description":609,"tags":610,"thumbUrl":614,"material":50,"size":615,"collection":52,"collections":616,"showCount":617,"zanCount":382,"manualWeight":57,"mainColor":58},218222,"ying-xi-tu-chou-ying-218222","婴戏图","孩子们在花园里玩耍的快乐场景。他们可能在弹钢琴、骑木马或看书，显示出对儿童生活的兴趣。",[26,67,28,29,32,218,202,569,42,611,612,613],"玩耍","传统绘画","明式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605a2acb64c38c0548f9ab700825bd08.jpg","182x58.9",[52],157,{"id":619,"slug":620,"title":621,"dynasty":8,"author":7,"museum":185,"description":622,"tags":623,"thumbUrl":627,"material":191,"size":628,"collection":80,"collections":629,"showCount":630,"zanCount":382,"manualWeight":57,"mainColor":104},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[25,26,67,66,133,29,28,71,36,624,625,35,73,70,626],"房屋","田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[80,54],156,{"id":632,"slug":633,"title":634,"dynasty":8,"author":7,"museum":185,"description":186,"tags":635,"thumbUrl":640,"material":191,"size":192,"collection":11,"collections":641,"showCount":642,"zanCount":239,"manualWeight":57,"mainColor":104},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古",[25,26,67,28,29,32,260,636,218,637,42,638,639],"器","侍女","古物","品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg",[],152,{"id":644,"slug":645,"title":646,"dynasty":8,"author":7,"museum":88,"description":647,"tags":648,"thumbUrl":650,"material":50,"size":11,"collection":52,"collections":651,"showCount":652,"zanCount":239,"manualWeight":57,"mainColor":58},219376,"guan-yin-chou-ying-219376","观音","画中十六罗汉供奉观音，观音坐南海普陀山传法。 十六罗汉被他们包围。 布局很巧妙。",[26,67,133,286,28,29,32,649,71],"祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[52],148,{"id":654,"slug":655,"title":656,"dynasty":8,"author":7,"museum":88,"description":657,"tags":658,"thumbUrl":659,"material":660,"size":661,"collection":52,"collections":662,"showCount":663,"zanCount":373,"manualWeight":57,"mainColor":104},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[25,26,67,27,28,29,537,536,32,91,33,42,189,636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","纸本,水墨","27.9x388.3厘米",[52],136,{"id":665,"slug":666,"title":667,"dynasty":8,"author":7,"museum":230,"description":668,"tags":669,"thumbUrl":671,"material":50,"size":672,"collection":52,"collections":673,"showCount":674,"zanCount":239,"manualWeight":57,"mainColor":58},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[25,26,67,66,28,29,68,71,36,670,35,174,424,133],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[52,54],131,{"id":676,"slug":677,"title":678,"dynasty":8,"author":7,"museum":88,"description":679,"tags":680,"thumbUrl":681,"material":50,"size":682,"collection":52,"collections":683,"showCount":684,"zanCount":373,"manualWeight":57,"mainColor":58},218532,"guan-bang-tu-chou-ying-218532","观榜图","明清时代之考试主要分三级，初级为院试，及格者通称生员，亦称秀才。二级为乡试，中者为举人，榜首称解元。最高一级为会试，举人均可参加，中者称贡士，榜首称会元。贡士得入殿廷由皇帝面试，殿试成绩最高者为状元，次名称榜眼，三名称探花。画中观榜人潮汹涌，高中者兴奋地登马而去，落榜首，则满脸沮丧，由人搀扶，颓然而返。",[25,26,67,27,28,29,30,32,33,34,36,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee18be5368280214a5e995327e5a302.jpg","34.4x638",[52],128,{"id":686,"slug":687,"title":688,"dynasty":8,"author":7,"museum":88,"description":689,"tags":690,"thumbUrl":691,"material":50,"size":692,"collection":52,"collections":693,"showCount":694,"zanCount":373,"manualWeight":57,"mainColor":58},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[25,26,66,67,28,29,30,32,33,71,36,76,287,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[52,54],126,{"id":696,"slug":697,"title":698,"dynasty":8,"author":7,"museum":699,"description":700,"tags":701,"thumbUrl":702,"material":50,"size":703,"collection":80,"collections":704,"showCount":705,"zanCount":57,"manualWeight":57,"mainColor":58},219780,"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","上海博物馆","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[26,66,67,217,31,28,29,71,76,174,35,325,437,233,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[80,52],120,{"id":707,"slug":708,"title":709,"dynasty":8,"author":7,"museum":88,"description":710,"tags":711,"thumbUrl":714,"material":50,"size":715,"collection":52,"collections":716,"showCount":705,"zanCount":382,"manualWeight":57,"mainColor":104},218181,"chun-xiao-tu-chou-ying-218181","纯孝图","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[66,26,67,217,28,29,32,33,712,713],"孝道","母爱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb17260b42142b1b7cf5eaa6624bcc18.jpg","32.8x21.9",[52],{"id":718,"slug":719,"title":720,"dynasty":8,"author":7,"museum":699,"description":721,"tags":722,"thumbUrl":725,"material":660,"size":11,"collection":52,"collections":726,"showCount":727,"zanCount":239,"manualWeight":57,"mainColor":104},219403,"liu-xia-mian-qin-tu-zhou-chou-ying-219403","柳下眠琴图轴","柳丝轻垂，拂过苍劲老干，似携幽微风意。树下文人斜卧，衣袂舒展，琴置身侧，眉宇间尽是悠然散淡。童子捧物而立，眸中带着稚气的专注，悄然侍立，不扰这份清宁。山石寥寥数笔见嶙峋之态，草色浅淡更衬天地宽闲。笔墨工致中藏写意，线条柔中带刚，将文人林下之趣、物我两忘的心境悄然铺展。仿佛能闻柳间蝉鸣，听风过琴弦余韵，一派魏晋风骨般的疏朗自在，尽在尺幅间流转。",[26,67,133,28,723,29,32,204,724,174,590],"水墨","琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e410afa50f999f6c817fada7ee75f.jpg",[52],118,{"id":729,"slug":730,"title":731,"dynasty":8,"author":7,"museum":214,"description":732,"tags":733,"thumbUrl":736,"material":314,"size":315,"collection":11,"collections":737,"showCount":738,"zanCount":373,"manualWeight":57,"mainColor":58},287560,"gong-nv-you-yuan-tu-juan-chou-ying-287560","宫女游园图卷","此图中的女子涵盖量是真的不少了，有围坐对弈的，有团团坐斗草的，更有乐器演奏的，梳妆熏香烫衣一样不少，慢慢均是仪式感的古代慢生活",[25,26,27,28,29,116,33,42,734,735],"湖石","游园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed9f08f4878403d82d79b31123c8e1d.jpg",[],117,{"id":740,"slug":741,"title":742,"dynasty":8,"author":7,"museum":214,"description":743,"tags":744,"thumbUrl":748,"material":191,"size":749,"collection":52,"collections":750,"showCount":752,"zanCount":239,"manualWeight":57,"mainColor":58},222199,"gu-dai-shi-nv-li-zhou-chou-ying-222199","古代仕女立轴","图绘后院内芭蕉高大粗壮，叶片宽大下垂，一叶叶尖和中部开裂真实自然，与湖石相依成景；两位仕女头梳高髻，手执团扇，低垂的眼睑，手托下巴，或为情所困，或他事烦恼。画右侧题“实父仇英制”和印章一枚。",[25,745,26,67,133,28,29,116,32,112,42,746,95,747],"明代","石阶","古装服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3009f0a28946d85c8a86a50a39f771cf.jpg","95×38cm",[52,751],"水墨画精选",113,{"id":754,"slug":755,"title":756,"dynasty":8,"author":7,"museum":88,"description":757,"tags":758,"thumbUrl":761,"material":50,"size":762,"collection":80,"collections":763,"showCount":764,"zanCount":373,"manualWeight":57,"mainColor":58},222204,"qiu-jiang-dai-du-zhou-chou-ying-222204","秋江待渡轴","此幅用笔极工，盖实父着意之作也。画未署款，惟石角水陬，分钤三印。竹树双钩，如唐人小楷，笔笔尽法。山石带皴带砍，要与斧劈为近，重而不滞，轻而不浮。点景人物，尤尽传神之妙。有项元汴，安岐藏印。",[25,66,26,67,133,29,28,69,71,32,759,73,760,92,36,234],"江水","秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22204dd46057a8ac8e4dd002a40813.jpg","155.4x133.4公分",[80,54],112,{"id":766,"slug":767,"title":768,"dynasty":8,"author":7,"museum":185,"description":769,"tags":770,"thumbUrl":12,"material":191,"size":772,"collection":80,"collections":773,"showCount":774,"zanCount":373,"manualWeight":57,"mainColor":58},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[25,26,29,28,71,31,771,35,437,92,203,32,136],"水阁","纵41.1厘米，横33.8厘米",[80,54],106,{"id":776,"slug":777,"title":778,"dynasty":8,"author":7,"museum":185,"description":186,"tags":779,"thumbUrl":787,"material":191,"size":192,"collection":11,"collections":788,"showCount":789,"zanCount":57,"manualWeight":57,"mainColor":58},222195,"ren-wu-gu-shi-tu-gao-shan-liu-shui-chou-ying-222195","人物故事图-高山流水",[25,26,497,780,29,781,782,783,35,74,36,117,784,785,786],"工笔重彩","高山","飞瀑","松林","知音","高山流水","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67ca6c35996e488c7d2585cfe17e4a3.jpg",[],101,{"id":791,"slug":792,"title":793,"dynasty":8,"author":7,"museum":185,"description":794,"tags":795,"thumbUrl":798,"material":191,"size":799,"collection":11,"collections":800,"showCount":801,"zanCount":373,"manualWeight":57,"mainColor":58},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[26,67,133,29,28,68,71,32,33,34,35,437,796,134,92,74,41,287,36,797,202],"山洞","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],98,{"id":803,"slug":804,"title":805,"dynasty":8,"author":7,"museum":88,"description":806,"tags":807,"thumbUrl":810,"material":50,"size":811,"collection":80,"collections":812,"showCount":813,"zanCount":57,"manualWeight":57,"mainColor":104},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[26,67,217,31,29,28,71,808,809,73,76,74],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[80],96,{"id":815,"slug":816,"title":817,"dynasty":8,"author":7,"museum":214,"description":818,"tags":819,"thumbUrl":820,"material":11,"size":11,"collection":11,"collections":821,"showCount":822,"zanCount":57,"manualWeight":57,"mainColor":58},228385,"shang-lin-tu-juan-si-ren-shou-cang-chou-ying-228385","上林图卷（私人收藏）","《明仇英上林图卷》由明朝画家仇英绘画。\n仇英《上林图卷》画意取自西汉司马相如的名篇《上林赋》，描写了汉武帝时的皇家园囿“上林苑”的美景，以及汉武帝与群臣狩猎时的壮观景象。\n【名称】明仇英上林图卷 【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[25,28,68,29,27,71,33,32,36,92,35,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],91,{"id":824,"slug":825,"title":826,"dynasty":8,"author":7,"museum":827,"description":828,"tags":829,"thumbUrl":830,"material":191,"size":831,"collection":80,"collections":832,"showCount":822,"zanCount":57,"manualWeight":57,"mainColor":58},222207,"liu-yuan-ren-xing-shan-shui-tu-chou-ying-222207","柳园人形山水图","日本京都国立博物馆","柳园里建筑整齐划一，假山和房屋非常考究，屋内三三两两侃侃而谈。运用点缀法，在灌木上点上白色，以示花开。仇英，明代画家，与唐寅、文征明、沈周并称“明四家”。",[25,26,28,29,30,71,33,32,325,202,41,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[80,54],{"id":834,"slug":835,"title":836,"dynasty":8,"author":7,"museum":230,"description":837,"tags":838,"thumbUrl":841,"material":50,"size":842,"collection":52,"collections":843,"showCount":822,"zanCount":57,"manualWeight":57,"mainColor":58},218359,"luo-han-tu-chou-ying-218359","罗汉图","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[25,27,28,29,30,286,32,287,839,33,840,92],"水","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[52],{"id":845,"slug":846,"title":399,"dynasty":8,"author":7,"museum":214,"description":847,"tags":848,"thumbUrl":855,"material":11,"size":11,"collection":11,"collections":856,"showCount":857,"zanCount":239,"manualWeight":57,"mainColor":58},228431,"xi-yuan-ya-ji-tu-chou-ying-228431","林壑幽深处，文士凭崖观眺、揖谈畅叙，松竹环合，尽显林下清旷风流。下方庭院里，宾主列坐，或展卷挥毫，或品鉴器物，侍从随侍左右，朱门红栏衬出雅集端雅规整。\n\n整作工细秀雅，设色古澹清润，以全景式构图铺展雅聚盛景，将文人酬唱往还的意趣融于山园之中，山野清旷与庭院娴雅相融，把历代文人心向往之的林下雅兴具象呈现，复刻出一段隽永的名士雅境。",[25,26,66,67,29,28,32,71,849,260,42,850,97,851,852,853,854],"松","朱门","文士雅集","挥毫","清旷","娴雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8f1f98099d9cdf33ce0c57c0cde632.jpg",[],88,{"id":859,"slug":860,"title":861,"dynasty":8,"author":7,"museum":185,"description":186,"tags":862,"thumbUrl":867,"material":191,"size":192,"collection":11,"collections":868,"showCount":857,"zanCount":57,"manualWeight":57,"mainColor":104},222192,"ren-wu-gu-shi-tu-xun-yang-pi-pa-chou-ying-222192","人物故事图-浔阳琵琶",[25,26,780,29,497,32,601,71,36,863,864,865,866],"骆驼","音乐","历史故事","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35abb769ff5e9054e9cf450da226925.jpg",[],{"id":870,"slug":871,"title":872,"dynasty":8,"author":7,"museum":214,"description":873,"tags":874,"thumbUrl":875,"material":11,"size":11,"collection":11,"collections":876,"showCount":877,"zanCount":57,"manualWeight":57,"mainColor":58},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[25,26,67,217,28,29,68,71,32,508,35,36,92,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],87,{"id":879,"slug":880,"title":881,"dynasty":8,"author":7,"museum":109,"description":882,"tags":883,"thumbUrl":884,"material":50,"size":11,"collection":80,"collections":885,"showCount":877,"zanCount":239,"manualWeight":57,"mainColor":58},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[26,67,133,28,29,71,30,32,33,299,74,36,92,35,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[80],{"id":887,"slug":888,"title":889,"dynasty":8,"author":7,"museum":185,"description":186,"tags":890,"thumbUrl":893,"material":191,"size":192,"collection":11,"collections":894,"showCount":895,"zanCount":57,"manualWeight":57,"mainColor":104},222190,"ren-wu-gu-shi-tu-ming-fei-chu-sai-chou-ying-222190","人物故事图-明妃出塞",[25,26,66,67,217,28,29,32,299,891,309,91,892],"车","猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ba20774bb9e29add1a777c3c73b95e.jpg",[],84,{"id":897,"slug":898,"title":899,"dynasty":8,"author":7,"museum":88,"description":900,"tags":901,"thumbUrl":905,"material":50,"size":906,"collection":52,"collections":907,"showCount":908,"zanCount":239,"manualWeight":57,"mainColor":58},218227,"geng-zhi-tu-ce-cha-yang-chou-ying-218227","耕织图册-插秧","明朝纺织业空前发展，政府特设织造局管理丝织品生产、销售等事宜。这个时期的耕织图也尤其重视“养蚕缫丝”的主题，其中最有代表性的就是仇英的《宫蚕图卷》。",[66,26,217,29,28,32,902,903,36,34,904],"农田","插秧","耕织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0148083e2c4e0f19cb9c03018b50477.jpg","35.4x35.9",[52],82,{"id":910,"slug":911,"title":912,"dynasty":8,"author":7,"museum":214,"description":913,"tags":914,"thumbUrl":915,"material":314,"size":315,"collection":11,"collections":916,"showCount":917,"zanCount":239,"manualWeight":57,"mainColor":58},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[25,66,26,67,27,71,29,69,31,136,36,624,601,34,35,537,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb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创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[25,26,67,133,29,28,68,71,32,74,36,35,92,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],74,{"id":958,"slug":959,"title":960,"dynasty":8,"author":7,"museum":185,"description":186,"tags":961,"thumbUrl":964,"material":191,"size":192,"collection":11,"collections":965,"showCount":956,"zanCount":57,"manualWeight":57,"mainColor":104},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图",[25,26,67,28,29,217,32,204,624,71,35,590,962,42,963],"小孩","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg",[],{"id":967,"slug":968,"title":969,"dynasty":8,"author":7,"museum":185,"description":186,"tags":970,"thumbUrl":971,"material":191,"size":192,"collection":11,"collections":972,"showCount":956,"zanCount":57,"manualWeight":57,"mainColor":104},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水",[25,26,67,217,28,29,71,32,35,34,36,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg",[],{"id":974,"slug":975,"title":976,"dynasty":8,"author":7,"museum":214,"description":307,"tags":977,"thumbUrl":979,"material":314,"size":315,"collection":11,"collections":980,"showCount":981,"zanCount":279,"manualWeight":57,"mainColor":104},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷",[25,66,26,67,27,28,29,32,978,935,840,536,70],"神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],72,{"id":983,"slug":984,"title":985,"dynasty":8,"author":7,"museum":88,"description":986,"tags":987,"thumbUrl":990,"material":99,"size":991,"collection":52,"collections":992,"showCount":981,"zanCount":373,"manualWeight":57,"mainColor":104},228445,"di-wang-dao-tong-wan-nian-tu-ce-chou-ying-228445","帝王道统万年图册","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等20为中国历史名主的画像和事迹",[66,26,67,217,28,29,32,636,988,989,189],"铜制","屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63189a24bb1d7c00253398001e840c12.jpg","共20开，每开32.5＊32.6ＣＭ",[52],{"id":994,"slug":995,"title":996,"dynasty":8,"author":7,"museum":214,"description":997,"tags":998,"thumbUrl":1000,"material":11,"size":11,"collection":11,"collections":1001,"showCount":1002,"zanCount":57,"manualWeight":57,"mainColor":104},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[26,67,999,745,28,29,32,116,91,33,42,93],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],71,{"id":1004,"slug":1005,"title":1006,"dynasty":8,"author":7,"museum":214,"description":1007,"tags":1008,"thumbUrl":1012,"material":11,"size":11,"collection":11,"collections":1013,"showCount":1014,"zanCount":239,"manualWeight":57,"mainColor":58},228430,"jiang-shan-zao-chun-tu-juan-chou-ying-228430","江山早春图卷","此卷以青绿敷色晕染山峦，石青浅绛晕出早春烟岚空濛之态，平远构图铺展百里江南。层峦如螺黛迤逦，汀渚蜿蜒如带，茂林村居散缀江畔，渔舟横波独行，将早春清灵秀雅尽数铺陈。\n\n笔墨工致细腻，青绿设色古雅妍丽却无俗艳之感，远山轻描淡写含黛色，近树苍劲已带新翠，茅庐隐于林泉，尽显逸世幽居之趣。画作融院体精工与文人山水淡远意境于一体，暗藏清寂悠然，将山水静穆与早春生机相融，引人身临其境，静赏江南早春的温柔诗意。",[25,26,67,27,28,68,29,69,71,1009,36,33,34,35,1010,1011],"山峰","村庄","人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08aa96f29fa17783d88d6937cda876e.jpg",[],66,{"id":1016,"slug":1017,"title":1018,"dynasty":8,"author":7,"museum":1019,"description":1020,"tags":1021,"thumbUrl":1027,"material":1028,"size":1029,"collection":11,"collections":1030,"showCount":1031,"zanCount":239,"manualWeight":57,"mainColor":104},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[25,26,67,27,1022,28,32,91,189,1023,1024,1025,1026],"白描","笔","墨","纸","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],65,{"id":1033,"slug":1034,"title":1035,"dynasty":8,"author":7,"museum":185,"description":186,"tags":1036,"thumbUrl":1039,"material":191,"size":192,"collection":11,"collections":1040,"showCount":103,"zanCount":57,"manualWeight":57,"mainColor":104},222188,"ren-wu-gu-shi-tu-zi-lu-wen-jin-chou-ying-222188","人物故事图-子路问津",[25,26,217,780,29,32,71,36,92,759,1037,1038,865,117],"马车","子路问津","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3113aa636a1969d1889567021aaf7551.jpg",[],{"id":1042,"slug":1043,"title":1044,"dynasty":8,"author":7,"museum":185,"description":186,"tags":1045,"thumbUrl":1048,"material":191,"size":1049,"collection":80,"collections":1050,"showCount":1051,"zanCount":239,"manualWeight":57,"mainColor":104},233754,"ren-wu-gu-shi-ce-chou-ying-233754","人物故事册",[26,67,217,28,29,1046,32,71,33,116,117,784,508,93,865,247,783,35,1047,866],"重彩","寓言传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","纵41.4厘米，横33.8厘米",[80,52,54],61,{"id":1053,"slug":1054,"title":1055,"dynasty":8,"author":7,"museum":185,"description":1056,"tags":1057,"thumbUrl":1058,"material":191,"size":1059,"collection":80,"collections":1060,"showCount":1061,"zanCount":382,"manualWeight":57,"mainColor":58},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[25,66,26,67,133,28,29,30,32,91,116,33,42,508,202,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[80,54],59,{"id":1063,"slug":1064,"title":1065,"dynasty":8,"author":7,"museum":88,"description":1066,"tags":1067,"thumbUrl":1070,"material":249,"size":1071,"collection":52,"collections":1072,"showCount":1061,"zanCount":57,"manualWeight":57,"mainColor":104},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[26,66,67,133,28,29,723,69,32,117,1068,1069,92,464],"童子","桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[52,54],{"id":1074,"slug":1075,"title":1076,"dynasty":8,"author":7,"museum":827,"description":1077,"tags":1078,"thumbUrl":1080,"material":391,"size":1081,"collection":11,"collections":1082,"showCount":1083,"zanCount":239,"manualWeight":57,"mainColor":104},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[25,26,67,999,28,29,32,91,73,202,260,1079],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],58,{"id":1085,"slug":1086,"title":1087,"dynasty":8,"author":7,"museum":88,"description":1088,"tags":1089,"thumbUrl":1092,"material":550,"size":11,"collection":11,"collections":1093,"showCount":1083,"zanCount":57,"manualWeight":57,"mainColor":104},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[25,26,67,999,28,29,71,260,1090,36,1091,92],"荷","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":1095,"slug":1096,"title":1097,"dynasty":8,"author":7,"museum":185,"description":186,"tags":1098,"thumbUrl":1099,"material":191,"size":192,"collection":11,"collections":1100,"showCount":1101,"zanCount":239,"manualWeight":57,"mainColor":58},222191,"ren-wu-gu-shi-tu-song-lin-liu-yi-chou-ying-222191","人物故事图-松林六逸",[25,26,66,67,28,29,32,849,71,74,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65ad3deb6636a800eff9db2e999c190.jpg",[],57,{"id":1103,"slug":1104,"title":256,"dynasty":8,"author":7,"museum":214,"description":1105,"tags":1106,"thumbUrl":1108,"material":314,"size":315,"collection":11,"collections":1109,"showCount":1110,"zanCount":239,"manualWeight":57,"mainColor":104},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[25,26,67,27,29,28,30,32,33,34,35,74,36,464,92,42,95,1107],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],56,{"id":1112,"slug":1113,"title":1114,"dynasty":8,"author":7,"museum":214,"description":1115,"tags":1116,"thumbUrl":1117,"material":11,"size":11,"collection":11,"collections":1118,"showCount":1119,"zanCount":57,"manualWeight":57,"mainColor":58},228432,"guan-yin-xiang-li-zhou-chou-ying-228432","观音像立轴","此作用铁线白描写就，观音安坐高榻之上，衣褶线条细劲匀停，如流云舒卷，将纱衣轻柔垂坠之态尽皆铺展。菩萨面容温婉沉静，宝相端严，身旁童子神态稚拙恭谨，烘托出清和肃穆的禅意。\n\n右上方题跋与造像相映成趣，画幅下方浅绘乘蛟逐月，笔意简淡空灵，衬出佛界的幽远高渺。整作未施丹青，却凭借精妙线法勾勒出丰盈神态与物象质感，褪去浓丽浮华，尽显白描素净洗练之美，将观音的慈悲静定，融于每一缕流转的线条之中，清寂中自含庄严禅韵。",[25,133,286,28,1022,30,32,935,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe329623b759309ed5ef59a72ea6029c0.jpg",[],55,{"id":1121,"slug":1122,"title":1123,"dynasty":8,"author":7,"museum":88,"description":1124,"tags":1125,"thumbUrl":1130,"material":50,"size":1131,"collection":11,"collections":1132,"showCount":1133,"zanCount":57,"manualWeight":57,"mainColor":58},290879,"chun-you-wan-gui-tu-zhou-chou-ying-290879","春游晚归图轴","本幅画夜幕低垂中，主仆四人春游归来。边角式的布局虽源于南宋院画，但取意则与明初戴进的「春游晚归」相近。惟仇作烘染细腻，人物情态生动，较戴进描写更加细致详实",[26,133,28,29,1126,32,1127,36,92,1128,1129],"山水画","房舍","春游","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b904ecf120414f9ce0182de0f6afa95.jpg","145.5x76.5",[],54,{"id":1135,"slug":1136,"title":1137,"dynasty":8,"author":7,"museum":88,"description":1138,"tags":1139,"thumbUrl":1140,"material":50,"size":1141,"collection":80,"collections":1142,"showCount":1143,"zanCount":239,"manualWeight":57,"mainColor":58},290878,"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[66,26,133,29,28,71,74,437,32,35,233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[80],53,{"id":1145,"slug":1146,"title":1147,"dynasty":8,"author":7,"museum":214,"description":1148,"tags":1149,"thumbUrl":1153,"material":314,"size":315,"collection":11,"collections":1154,"showCount":1143,"zanCount":57,"manualWeight":57,"mainColor":104},228438,"lin-guan-xiu-bai-miao-luo-han-tu-juan-chou-ying-228438","临贯休白描罗汉图卷","所绘罗汉,有的庞眉大目,有的高颧隆鼻,面貌都是“胡貌梵相”,这种奇异之相,立意免俗。",[25,26,67,27,1022,31,286,32,1150,1151,1152,840,92,287,70],"罗汉","虎","猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f322aff8127d791c2c05a48d900a610.jpg",[],{"id":1156,"slug":1157,"title":1158,"dynasty":8,"author":7,"museum":185,"description":1159,"tags":1160,"thumbUrl":1161,"mat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画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[25,26,67,27,29,28,68,537,70,71,32,73,759,36,92,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],43,{"id":1276,"slug":1277,"title":1278,"dynasty":8,"author":7,"museum":214,"description":307,"tags":1279,"thumbUrl":1281,"material":314,"size":315,"collection":11,"collections":1282,"showCount":1283,"zanCount":57,"manualWeight":57,"mainColor":58},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴",[25,66,26,67,133,28,29,68,32,71,476,1280,204],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg",[],42,{"id":1285,"slug":1286,"title":1287,"dynasty":8,"author":7,"museum":185,"description":1056,"tags":1288,"thumbUrl":1290,"material":191,"size":1059,"collection":80,"collections":1291,"showCount":1283,"zanCount":239,"manualWeight":57,"mainColor":58},222220,"nv-le-tu-chou-ying-222220","女乐图",[25,26,28,29,91,508,33,42,32,1289,97,67],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1773ae43fc8291acbb6e1133fb797250.jpg",[80,54],{"id":1293,"slug":1294,"title":1295,"dynasty":8,"author":7,"museum":214,"description":215,"tags":1296,"thumbUrl":1297,"material":50,"size":11,"collection":11,"collections":1298,"showCount":1299,"zanCount":57,"manualWeight":57,"mainColor":58},216286,"er-shi-si-xiao-tu-6-chou-ying-216286","二十四孝图-6",[66,26,67,28,29,32,437,287,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c672e15bc395ed9888e1075631c823.jpg",[],41,{"id":1301,"slug":1302,"title":1303,"dynasty":8,"author":7,"museum":185,"description":622,"tags":1304,"thumbUrl":1307,"material":191,"size":1308,"collection":11,"collections":1309,"showCount":1310,"zanCount":239,"manualWeight":57,"mainColor":1176},233141,"lian-xi-yu-yin-tu-zhou-chou-ying-233141","莲溪渔隐图轴",[26,67,133,66,29,28,71,424,1090,36,624,1305,1306],"水域","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff729e8182fa8b670a238d77c7e5dfb3a.jpg","纵126.5厘米，横66.3厘米",[],40,{"id":1312,"slug":1313,"title":1314,"dynasty":8,"author":7,"museum":699,"description":1315,"tags":1316,"thumbUrl":1317,"material":191,"size":1318,"collection":80,"collections":1319,"showCount":1310,"zanCount":373,"manualWeight":57,"mainColor":58},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[25,66,26,67,27,28,29,30,32,91,299,36,33,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[80,54],{"id":1321,"slug":1322,"title":1323,"dynasty":8,"author":7,"museum":214,"description":1324,"tags":1325,"thumbUrl":1326,"material":11,"size":11,"collection":11,"collections":1327,"showCount":1328,"zanCount":57,"manualWeight":57,"mainColor":104},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[25,68,29,28,27,67,537,71,32,73,35,74,36,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],39,{"id":1330,"slug":1331,"title":1332,"dynasty":8,"author":7,"museum":88,"description":1333,"tags":1334,"thumbUrl":1335,"material":50,"size":1336,"collection":52,"collections":1337,"showCount":1328,"zanCount":57,"manualWeight":57,"mainColor":104},218224,"er-shi-si-xiao-ce-da-shun-xiao-gan-dong-tian-chou-ying-218224","二十四孝册-大舜孝感动天","孝感动天，《二十四孝》中第一个故事，讲述的是虞舜孝心感动上天。《二十四孝》全名《全相二十四孝诗选》，由历代二十四个孝子从不同角度、不同环境、不同遭遇行孝的故事集而成。",[26,67,217,28,29,32,71,840,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47767f7c756281e39cccf352de4644f8.jpg","31.2x22.3",[52],{"id":1339,"slug":1340,"title":1341,"dynasty":8,"author":7,"museum":214,"description":1342,"tags":1343,"thumbUrl":1346,"material":314,"size":315,"collection":11,"collections":1347,"showCount":1348,"zanCount":57,"manualWeight":57,"mainColor":58},290950,"yu-dong-shao-dan-juan-chou-ying-290950","玉洞烧丹卷","乍辞紫府出仙都。来问丹成事有无。云雾衣裳芝作馔。桃花颜色雪为肤。壶中满贮长生药。卷内同看太极图。寄语群仙机尽息。何须更问玉蟾蜍。仇英实甫画玉洞烧丹图。精细工雅。深得松年千里二公神髓。诚当代绝技也。雨窓无聊。据案展阅。不觉情思飞扬。漫赋短句。嘉靖壬子（1552）征明识。",[26,27,28,29,68,32,71,437,134,1344,1345],"炼丹","道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea85c55f212fc077fd9230bbed9a7f2.jpg",[],38,{"id":1350,"slug":1351,"title":1352,"dynasty":8,"author":7,"museum":214,"description":215,"tags":1353,"thumbUrl":1356,"material":50,"size":11,"collection":11,"collections":1357,"showCount":1348,"zanCount":57,"manualWeight":57,"mainColor":58},216285,"er-shi-si-xiao-tu-7-chou-ying-216285","二十四孝图-7",[26,28,29,32,189,636,1354,1355],"床榻","帘子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fd7108a8ed2886a16c7c8549b673a1c.jpg",[],{"id":1359,"slug":1360,"title":1361,"dynasty":8,"author":7,"museum":214,"description":215,"tags":1362,"thumbUrl":1364,"material":50,"size":11,"collection":11,"collections":1365,"showCount":1348,"zanCount":57,"manualWeight":57,"mainColor":58},216269,"er-shi-si-xiao-tu-24-chou-ying-216269","二十四孝图-24",[26,67,28,29,32,91,218,1223,1224,1363],"室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b1868ae9aca77ace350a7dcb3a1cb6c.jpg",[],{"id":1367,"slug":1368,"title":1369,"dynasty":8,"author":7,"museum":109,"description":1370,"tags":1371,"thumbUrl":1374,"material":11,"size":11,"collection":11,"collections":1375,"showCount":83,"zanCount":57,"manualWeight":57,"mainColor":58},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[25,26,66,27,28,29,68,71,32,299,36,1372,92,1373],"旗帜","军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":1377,"slug":1378,"title":1379,"dynasty":8,"author":7,"museum":546,"description":1380,"tags":1381,"thumbUrl":1383,"material":1384,"size":1385,"collection":11,"collections":1386,"showCount":83,"zanCount":57,"manualWeight":57,"mainColor":58},222212,"yu-di-tu-chou-ying-222212","渔笛图","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 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