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涟漪轻漾，衬得鹤影清逸。绢本底色古雅，笔墨细腻处藏灵动，简淡间蕴生机，动静相济，尽显禽鸟之姿与自然清趣。",[1553,1554,1555,1607,1622,1637,1557,1720,1667,1721,1722],"白鹤","枯木","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85286d792591c1fa8b6e849da1c7fd76.jpg","132.5x61.5cm",[6,1726,1613],"宋画精选",2668,25,{"id":23,"slug":1730,"title":1731,"dynasty":1715,"author":1732,"museum":1604,"description":1733,"tags":1734,"thumbUrl":1736,"material":1610,"size":1737,"collection":1726,"collections":1738,"showCount":1739,"zanCount":1740,"manualWeight":1568,"mainColor":1658},"cha-hua-tu-yi-ming-218834","茶花图","佚名","一枝开着灿烂花朵的白色山茶花，用厚厚的粉末涂抹，使其更加精致。这片叶子色彩斑斓，脉络清晰，只有大师才能做出这样的作品。",[1553,1554,1607,1637,1557,1559,1735,1595],"茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc625951d87f1d891f7dbc2fa5b931890.jpg","26.3x26.2",[1726,6],2560,15,{"id":24,"slug":1742,"title":1743,"dynasty":1715,"author":1744,"museum":1550,"description":1745,"tags":1746,"thumbUrl":1750,"material":1610,"size":1751,"collection":6,"collections":1752,"showCount":1753,"zanCount":1754,"manualWeight":1568,"mainColor":1658},"hua-hui-cao-chong-tu-yan-yan-nv-shi-214284","花卉草虫图","艳艳女史","花卉草虫图是宋代画家艳艳女史的一幅代表作。这幅画作描绘了花卉、草木和虫类的生活场景。\n\n在这幅画作中，艳艳女史巧妙地捕捉了花卉、草木和虫类的生活特征。她用浓墨重彩的画法，勾勒出了花卉、草木和虫类的形态。她还用细腻的线条勾勒出了花卉、草木和虫类的细节，让人感受到了花卉、草木和虫类的自然韵味。",[1553,1607,1554,1555,1666,1637,1557,1559,1560,1747,1748,1749],"草虫","蝴蝶","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8031ffdafeef83437ebb80105be86b.jpg","32.5x333.5",[6],2504,32,{"id":25,"slug":1756,"title":1757,"dynasty":1548,"author":1758,"museum":1604,"description":1759,"tags":1760,"thumbUrl":1766,"material":1563,"size":1580,"collection":6,"collections":1767,"showCount":1768,"zanCount":1615,"manualWeight":1568,"mainColor":1569},"xie-sheng-ce-hua-yan-214864","写生册","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[1554,1761,1559,1637,1557,1762,1763,1764,1593,1765],"清代","写生","桃子","昆虫","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85168c608b5f4e5ce62443e201735732.jpg",[6],2225,{"id":26,"slug":1770,"title":1771,"dynasty":1548,"author":1549,"museum":1683,"description":1772,"tags":1773,"thumbUrl":1774,"material":1775,"size":1776,"collection":6,"collections":1777,"showCount":1778,"zanCount":1754,"manualWeight":1568,"mainColor":1569},"jiu-lan-tu-yun-shou-ping-220970","九兰图","此图又名《建兰图》。建兰，亦称秋兰。图绘兰花数枝，苍秀挺拔，布满画面，构图简洁，画法新颖别致，作者不用一点水墨，纯用赭石、白粉和略加花青点画，只见色痕，为没骨画中具有新意之作。从画末自题可知，该图表现了作者对澹贻堂主人“闽海”离后的怀念之情。",[1553,1554,1607,1555,1557,1559,1695,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2849227d424582c35a1dde4e843e4fcc.jpg","绢本 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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[1553,1554,1557,1637,1840,1841,1842,1843,1638,1844,1749],"界画","人物","楼阁","山水","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[6,1613],1764,{"id":32,"slug":1851,"title":1852,"dynasty":1548,"author":1853,"museum":1812,"description":1854,"tags":1855,"thumbUrl":1856,"material":1563,"size":1857,"collection":6,"collections":1858,"showCount":1859,"zanCount":1860,"manualWeight":1568,"mainColor":1569},"jing-fu-si-qi-dong-jing-tu-qian-wei-cheng-216258","景敷四气冬景图","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n拒霜因可入初冬，袅袅芳姿照浦秾。迴顾水华似相傲，耐寒还属木芙蓉。钤印：几席有余香",[1554,1555,1559,1637,1557,1693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a25f1df3c06bf2bd6d2c19564df959a.jpg","21.9 × 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创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[1553,1554,1607,1555,1556,1557,1637,1558,1559,1608,1901,1594,1595],"叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[6,1613],1541,7,{"id":37,"slug":1909,"title":1910,"dynasty":1715,"author":1911,"museum":1604,"description":1912,"tags":1913,"thumbUrl":1916,"material":1610,"size":1917,"collection":1726,"collections":1918,"showCount":1906,"zanCount":1919,"manualWeight":1568,"mainColor":1569},"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[1553,1607,1554,1555,1637,1557,1559,1914,1815,1915,1594],"秋葵","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","25x28cm",[1726,6],10,{"id":38,"slug":1921,"title":1922,"dynasty":1715,"author":1923,"museum":1924,"description":1925,"tags":1926,"thumbUrl":1931,"material":1802,"size":1932,"collection":1726,"collections":1933,"showCount":10,"zanCount":1935,"manualWeight":1568,"mainColor":1658},"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","陈容","波士顿美术馆","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[1553,1607,1554,1555,1666,1591,1562,1595,1686,1927,1928,1929,1930],"渲染","龙","云雾","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[1726,6,1934],"水墨画精选",20,{"id":39,"slug":1937,"title":1938,"dynasty":1648,"author":1649,"museum":1663,"description":1939,"tags":1940,"thumbUrl":1941,"material":1942,"size":1943,"collection":1726,"collections":1944,"showCount":10,"zanCount":1629,"manualWeight":1568,"mainColor":1658},"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[1553,1607,1554,1555,1666,1637,1557,1559,1689,1667,1592,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[1726,6,1613],{"id":40,"slug":1946,"title":1947,"dynasty":1633,"author":1948,"museum":1550,"description":1949,"tags":1950,"thumbUrl":1956,"material":1610,"size":1580,"collection":6,"collections":1957,"showCount":1958,"zanCount":1728,"manualWeight":1568,"mainColor":1658},"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","任仁发","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[1553,1554,1637,1557,1559,1667,1951,1952,1707,1795,1953,1954,1722,1955],"水禽","鸭子","树枝","花叶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg",[6],1515,{"id":41,"slug":1960,"title":1961,"dynasty":1715,"author":1962,"museum":1573,"description":1963,"tags":1964,"thumbUrl":1965,"material":1610,"size":1966,"collection":1726,"collections":1967,"showCount":1968,"zanCount":1969,"manualWeight":1568,"mainColor":1658},"lu-chi-zhuo-su-tu-wu-bing-218573","渌池擢素图","吴炳","吴炳，生卒年不详，南宋画家。毗陵武阳（今江苏常州）人。工画花鸟，写生折枝，妙夺造化，彩绘精致富丽。绍熙初（公元1131-1162年），宋光宗赵悼皇后李氏，赏识其画，授画院待诏，赐金带。。画风谨守院体，作品较多。画迹有《春池睡鸭》、《山茶鹁鸽》、《鸳鸯瑞莲》、《宝珠玉蝶》、《折枝绛桃》等二十六件，著录于《绘事备考》。传世作品有《出水芙蓉图》、《竹雀图》、《嘉禾草虫图》、《枇杷绣羽图》等。",[1607,1554,1555,1637,1557,1559,1577,1578,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6610c8fae2457627a5a08640bf940f45.jpg","25.4×26cm",[1726,6],1495,23,{"id":42,"slug":1971,"title":1972,"dynasty":1587,"author":1973,"museum":1573,"description":1974,"tags":1975,"thumbUrl":1977,"material":1610,"size":1978,"collection":6,"collections":1979,"showCount":1980,"zanCount":1788,"manualWeight":1568,"mainColor":1569},"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[1553,1976,1554,1555,1556,1557,1637,1559,1638,1748,1560,1764],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","21.5×16cm",[6],1477,{"id":43,"slug":1982,"title":1983,"dynasty":1984,"author":1985,"museum":1683,"description":1986,"tags":1987,"thumbUrl":1990,"material":1563,"size":1991,"collection":6,"collections":1992,"showCount":1993,"zanCount":1919,"manualWeight":1568,"mainColor":1569},"hua-die-tu-zhou-qi-bai-shi-216935","花蝶图轴","民国","齐白石","画面以泼洒的蓝彩点染花朵，墨色线条勾勒叶片，苍劲中透着灵动。几株蓝花亭亭而立，叶片舒展如剑，与轻盈的花瓣相映成趣。花丛间，一只螳螂敛足欲动，姿态警觉；空中蝴蝶振翅，飞虫轻舞，小生灵的动态被捕捉得活灵活现。右上角题字与朱印相映，平衡构图之余更添文人意趣。整幅画作将自然生机与笔墨意趣相融，草虫的鲜活与花卉的雅致交织，尽显对生活细微之美的敏锐感知与精湛表现力。",[1553,1554,1557,1591,1559,1622,1815,1988,1989,1764,1901],"蝶","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1010a81c5646f35a6bf665ff905dca.jpg","103x41.3cm",[6],1472,{"id":44,"slug":1995,"title":1996,"dynasty":1548,"author":1549,"museum":1812,"description":1997,"tags":1998,"thumbUrl":2001,"material":2002,"size":2003,"collection":6,"collections":2004,"showCount":2005,"zanCount":1969,"manualWeight":1568,"mainColor":2006},"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[1553,1554,1555,1666,1557,1558,1637,1559,1560,1608,1999,1696,1577,1638,1693,1794,1694,1796,2000,1576,1748,1764],"百合","芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[6,1613],1418,"F48FB1",{"id":45,"slug":2008,"title":2009,"dynasty":1587,"author":1682,"museum":1604,"description":2010,"tags":2011,"thumbUrl":2015,"material":1625,"size":2016,"collection":6,"collections":2017,"showCount":2018,"zanCount":1884,"manualWeight":1568,"mainColor":1569},"he-hua-tu-xu-wei-218732","荷花图","这幅画的构图简洁明了，布局清新精致。荷叶用滴水不漏的方式画出，而荷花则是寥寥数笔，充满了情感和笔墨的意趣。",[1554,1555,1622,1591,1686,1562,1595,2012,1577,1578,2013,2014],"草书","水草","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","141.7x37.2cm",[6],1397,{"id":46,"slug":2020,"title":2021,"dynasty":1715,"author":2022,"museum":2023,"description":2024,"tags":2025,"thumbUrl":2027,"material":2028,"size":2029,"collection":1726,"collections":2030,"showCount":2031,"zanCount":1969,"manualWeight":1568,"mainColor":1658},"rui-he-tu-zhao-ji-221339","瑞鹤图","赵佶","辽宁省博物馆","《瑞鹤图》描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。\n《瑞鹤图》，其不仅具神性的光辉与君主的华贵，也有仙音袅袅、高雅灵动之感。一方面，皇宫殿宇端端正正置于画面下方，均衡对称，留出三分之二湛蓝天空，正大光远，大气天成，颇具皇家风范。围绕殿宇的祥云打破屋宇水平线，稳重端庄的画面于是气韵流转，一派天趣。另一方面，仙鹤有表明志向高洁、品德高尚之意。停留在屋顶上的两只仙鹤，袅袅婷婷，以静寓动，与空中缭绕的鹤群相呼应，款款生姿。整个画面又多了一分高洁隽雅、飘逸灵秀之气。",[1553,1554,1555,1666,1557,1840,1637,2026,1667,1842],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef20e4191bb4faf39fae804720c95f29.jpg","绢本设色","纵51厘米，横138.2厘米",[1726,6],1376,{"id":47,"slug":2033,"title":2034,"dynasty":1548,"author":2035,"museum":1573,"description":2036,"tags":2037,"thumbUrl":2039,"material":1625,"size":2040,"collection":6,"collections":2041,"showCount":2042,"zanCount":1860,"manualWeight":1568,"mainColor":1569},"hua-niao-si-tiao-ping-zhu-da-216924","花鸟四条屏","朱耷","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[1553,1554,1555,1622,1591,1686,1559,1592,1877,2038,1815],"山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700f64005b95bf5fc96a186eb8e59446.jpg","182.5×49cm",[6],1374,{"id":48,"slug":2044,"title":2045,"dynasty":1548,"author":1549,"museum":1663,"description":2046,"tags":2047,"thumbUrl":2049,"material":1580,"size":2050,"collection":6,"collections":2051,"showCount":2052,"zanCount":1711,"manualWeight":1568,"mainColor":1569},"hua-hui-shan-shui-ce-yun-shou-ping-233901","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[1554,1555,1558,1557,1559,1638,2048,1595],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10aa5773f16fa6bd4dd6b950a442d3b2.jpg","纵32.5厘米，横25.5厘米",[6],1349,{"id":49,"slug":2054,"title":2055,"dynasty":1548,"author":2056,"museum":2057,"description":2058,"tags":2059,"thumbUrl":2060,"material":1563,"size":1580,"collection":6,"collections":2061,"showCount":2062,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"shui-xian-zhu-zhi-tu-shi-tao-218130","水仙竹枝图","石涛","美国弗利尔美术馆","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。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。",[1553,1554,1591,1557,1686,1690,1694,1707,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112234b8c56ae7eab1e3115341e7947f.jpg",[6],1313,3,{"id":50,"slug":2065,"title":2066,"dynasty":1548,"author":1837,"museum":1604,"description":2067,"tags":2068,"thumbUrl":2076,"material":2028,"size":2077,"collection":6,"collections":2078,"showCount":2079,"zanCount":1907,"manualWeight":1568,"mainColor":1658},"bai-jun-tu-lang-shi-ning-222779","百骏图","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[1553,1637,1557,1666,2069,2070,1844,2071,2072,1841,2073,1843,2074,2075],"中西合璧","马","河流","草地","帐篷","坡地","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","纵102厘米，横813厘米",[6,1613],1291,{"id":51,"slug":2081,"title":2082,"dynasty":1715,"author":2083,"museum":1683,"description":2084,"tags":2085,"thumbUrl":2087,"material":2088,"size":2089,"collection":1726,"collections":2090,"showCount":2091,"zanCount":1615,"manualWeight":1568,"mainColor":1658},"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[1553,1607,1554,1555,1637,1557,1556,1559,2086,1667,1595],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 ，设色","纵26.9cm，横27.2cm",[1726,6,1613],1282,{"id":52,"slug":2093,"title":2094,"dynasty":1587,"author":2095,"museum":1573,"description":2096,"tags":2097,"thumbUrl":2099,"material":1610,"size":1580,"collection":6,"collections":2100,"showCount":2101,"zanCount":2102,"manualWeight":1568,"mainColor":1569},"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[1553,1554,1556,1557,1637,1595,1562,1688,1559,1689,1695,1696,1692,1638,1608,2098,1707,1955],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[6],1280,21,{"id":53,"slug":2104,"title":2105,"dynasty":1548,"author":1549,"museum":1604,"description":2106,"tags":2107,"thumbUrl":2109,"material":1557,"size":2110,"collection":6,"collections":2111,"showCount":2112,"zanCount":2113,"manualWeight":1568,"mainColor":1569},"mu-dan-tu-yun-shou-ping-220990","牡丹图","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[1553,1554,1555,1559,1557,1558,1608,1560,2108,1595],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b5f207c857db2c2b1912c82d5800ded.jpg","纵28.5公分 横43公分",[6,1613],1162,8,{"id":54,"slug":2115,"title":2116,"dynasty":1548,"author":1549,"museum":2117,"description":2118,"tags":2119,"thumbUrl":2126,"material":1610,"size":2127,"collection":6,"collections":2128,"showCount":2129,"zanCount":2130,"manualWeight":1568,"mainColor":1658},"yun-shou-ping-hua-guo-shu-cai-ce-ye-yun-shou-ping-216110","恽寿平花果蔬菜册页","天津博物馆","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[1607,1554,1555,1556,2120,1591,1557,1559,2121,2122,2123,2124,1901,2125],"白描","蔬菜","花果","丝瓜","藤蔓","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm",[6],1136,6,{"id":55,"slug":2132,"title":2133,"dynasty":1587,"author":2134,"museum":1683,"description":2135,"tags":2136,"thumbUrl":2139,"material":1903,"size":2140,"collection":2141,"collections":2142,"showCount":2143,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"wo-you-tu-ce-qiu-shan-du-shu-shen-zhou-233832","卧游图册－秋山读书","沈周","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[1554,1555,1556,1591,1843,1841,2137,2038,2138,1562],"老树","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纵27.8厘米，横37.3厘米","山水画精选",[2141,6,1613],1120,5,{"id":56,"slug":2146,"title":2147,"dynasty":1633,"author":1732,"museum":1683,"description":2148,"tags":2149,"thumbUrl":2150,"material":2151,"size":2152,"collection":6,"collections":2153,"showCount":2154,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"zhu-shi-tu-yi-ming-214260","竹石图","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[1553,1554,1607,1555,1622,1591,1690,1707,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","绢本,水墨","138x79",[6],1055,2,{"id":57,"slug":2157,"title":2158,"dynasty":1715,"author":2083,"museum":1604,"description":2159,"tags":2160,"thumbUrl":2163,"material":1610,"size":2164,"collection":6,"collections":2165,"showCount":2166,"zanCount":1740,"manualWeight":1568,"mainColor":1569},"xie-sheng-hai-tang-tu-lin-chun-218892","写生海棠图","这幅画表现的是开花或含苞待放的海棠的一个单枝。花朵的颜色是白色粉末，带有一丝腮红，使它们变得精致而漂亮。",[1553,1554,1555,2161,1637,1557,1559,2162,1901],"扇面","海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6ee140dbb46294f76dd28443ed475a.jpg","23.4x24",[6],1048,{"id":58,"slug":2168,"title":2169,"dynasty":1548,"author":1758,"museum":1550,"description":2170,"tags":2171,"thumbUrl":2173,"material":1563,"size":2174,"collection":6,"collections":2175,"showCount":2176,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"jin-ji-zhu-ju-tu-zhou-hua-yan-218895","锦鸡竹菊图轴","华嵒的《锦鸡竹菊图》轴既融合了没骨写生，又揉和了水墨泼染之长，形成了兼工带写、灵巧松秀的小写意风格，栩栩如生，姿态万千，艺术手法非常高超。",[1554,1557,1559,1637,1622,2172,1690,1696,1707],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e481200e5ac0e9cc66a96220c80926.jpg","纵106.8厘米，横47.2厘米",[6],1037,4,{"id":59,"slug":2179,"title":2180,"dynasty":1587,"author":2134,"museum":1604,"description":2181,"tags":2182,"thumbUrl":2184,"material":1563,"size":2185,"collection":6,"collections":2186,"showCount":2187,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[1553,1554,1555,1622,1557,1559,1689,2183,1595,1688],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[6],1021,{"id":60,"slug":2189,"title":2190,"dynasty":1633,"author":2191,"museum":1604,"description":2192,"tags":2193,"thumbUrl":2194,"material":2195,"size":2196,"collection":6,"collections":2197,"showCount":2198,"zanCount":1711,"manualWeight":1568,"mainColor":1569},"tai-ping-chun-se-zhou-zhang-zhong-221741","太平春色轴","张中","插花从花材的选择、色彩搭配、构图造型、乃至内涵意境都有了一定的要求。张中《太平春色》就是以插花为题材的绘画作品。",[1553,1554,1555,1622,1637,1557,1559,1608,2183,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056cf2082cbbbc43245d5e3aee80f4c8.jpg","白纸本","99.1x41.1公分",[6,1613],1017,{"id":61,"slug":2200,"title":2201,"dynasty":1548,"author":1732,"museum":1604,"description":2202,"tags":2203,"thumbUrl":2205,"material":1610,"size":1580,"collection":6,"collections":2206,"showCount":2207,"zanCount":1740,"manualWeight":1568,"mainColor":1569},"ke-si-hua-niao-zhou-yi-ming-216218","缂丝花鸟轴","缂丝花鸟轴是一件来自清朝的著名织物，它的特点是精细的缂丝织法，用细密的金丝或银丝织成花鸟图案。这种织物通常是用来装饰床单、枕头和窗帘的，也可以用作礼服的饰品。这种织物的制作需要高超的技艺，因此它们非常珍贵且价值高。",[1761,2204,1554,1622,1557,1637,1559,1844,2038,1608,1667,1707],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb707e05f41a56d8bb90d7d98b005b201.jpg",[6],1010,{"id":62,"slug":2209,"title":2210,"dynasty":1548,"author":1549,"museum":2211,"description":2212,"tags":2213,"thumbUrl":2215,"material":2216,"size":2217,"collection":6,"collections":2218,"showCount":2219,"zanCount":1870,"manualWeight":1568,"mainColor":1569},"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[1553,1554,1555,1607,1556,1558,1557,1559,2214,1593,1595],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 设色","24.5×29.3cm",[6,1613],1003,{"id":63,"slug":2221,"title":2222,"dynasty":1548,"author":1874,"museum":2223,"description":2224,"tags":2225,"thumbUrl":2228,"material":1892,"size":2229,"collection":6,"collections":2230,"showCount":2231,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"mei-hua-shi-nv-tu-ren-yi-223230","梅花仕女图","浙江省博物馆","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[1553,1554,1557,1841,2226,1689,2227,1591,1555],"美人","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09824e74b525459649eeeeac703e697c.jpg","103 1cmx36 6cm",[6,1613],967,{"id":64,"slug":2233,"title":2234,"dynasty":1548,"author":1549,"museum":1663,"description":2235,"tags":2236,"thumbUrl":2237,"material":1580,"size":1580,"collection":6,"collections":2238,"showCount":2239,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"yun-shou-ping-hua-hui-ce-yun-shou-ping-235081","恽寿平花卉册","此作为没骨写生，以清润淡彩晕染桃花，粉嫩花瓣层次自然，嫩枝新芽鲜活灵动，将春日桃花柔婉娇妍的姿态尽显笔底，不见勾勒之痕却形神兼备。\n\n画幅左侧搭配行书题诗，笔意舒展雅致，诗画相映，文心诗意融于花香之间，尽显文人花鸟画的清雅格调。整体设色明秀柔和，带着江南春日的温润诗意，把桃花轻俏柔美的娇态精妙铺展，笔墨间饱含悠然的抒情特质，尽显清隽雅致的文人意趣。",[1554,1555,1556,1557,1559,1638,1595,1558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05006248feb5fc43ca2e8c0e38ecde0.jpg",[6,1613],908,{"id":65,"slug":2241,"title":2242,"dynasty":1548,"author":1549,"museum":1663,"description":1781,"tags":2243,"thumbUrl":2244,"material":1784,"size":1785,"collection":6,"collections":2245,"showCount":2246,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"shan-shui-hua-hui-ce-yun-shou-ping-239423","山水花卉册",[1554,1555,1556,1558,1557,1560,1561,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eef68a8ee5bb0820ecadbf2acb5d76.jpg",[6,1613],906,{"id":66,"slug":2248,"title":2249,"dynasty":1548,"author":2250,"museum":1550,"description":2251,"tags":2252,"thumbUrl":2253,"material":1625,"size":2254,"collection":6,"collections":2255,"showCount":2256,"zanCount":2130,"manualWeight":1568,"mainColor":1569},"mei-hua-zhu-shi-tu-ce-wang-shi-shen-214687","梅花竹石图册","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[1554,1555,1556,1591,2120,1689,1690,1669,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775e1c19a55ed4a95fa31138be1fa875.jpg","纵25 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厘米 横37.9 厘米",[6],853,{"id":72,"slug":2314,"title":2315,"dynasty":1715,"author":2316,"museum":1663,"description":2317,"tags":2318,"thumbUrl":2319,"material":2320,"size":2321,"collection":1726,"collections":2322,"showCount":2323,"zanCount":2324,"manualWeight":1568,"mainColor":1658},"mei-zhu-tu-ye-ma-lin-221182","梅竹图页","马麟","绿竹丛中逶迤伸出白梅两枝，清丽冷艳",[1553,1607,1554,1555,1556,1637,1557,1559,1689,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d26a148f7c6e0c7598c67b7543456d8.jpg","绢本","纵26厘米，横26.5厘米",[1726,6,1613],851,9,{"id":73,"slug":2326,"title":2327,"dynasty":1548,"author":2328,"museum":1604,"description":2329,"tags":2330,"thumbUrl":2332,"material":1563,"size":2333,"collection":6,"collections":2334,"showCount":2335,"zanCount":1919,"manualWeight":1568,"mainColor":1569},"teng-hua-shao-yao-zhou-zou-yi-gui-219433","藤花芍药轴","邹一桂","紫藤藤蔓虬曲伸展，紫蓝花穗垂落如串串玉珠，枝叶葱茏带露；下方芍药竞放，白瓣皎洁如霜，粉蕊柔婉似云，红苞艳若丹砂，叶片舒展有致，脉络清晰可见。设色清丽雅致，线条细腻灵动，花叶的姿态鲜活自然，尽显春日芳菲的生机与韵致。笔墨间藏着对自然的深情体察，每一处细节都透着工笔花卉的精妙之美，雅致中蕴蓬勃活力，宛如将春日一隅凝于绢素之上。",[1554,1555,1622,1637,1557,1559,2331,2000,1595,1560],"藤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a37dff9eccfbfc632eca571c3b1785.jpg","129.1x60.8",[6],836,{"id":74,"slug":2337,"title":2338,"dynasty":1715,"author":1732,"museum":1604,"description":2339,"tags":2340,"thumbUrl":2341,"material":1610,"size":2342,"collection":6,"collections":2343,"showCount":2344,"zanCount":1919,"manualWeight":1568,"mainColor":1658},"shan-cha-mei-hua-tu-yi-ming-218394","山茶梅花图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[1553,1554,1555,1622,1559,1637,1557,1826,1827,1592,1593,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg","33.6x46.7",[6],833,{"id":75,"slug":2346,"title":2347,"dynasty":1715,"author":1811,"museum":1604,"description":2348,"tags":2349,"thumbUrl":2351,"material":2352,"size":2353,"collection":1726,"collections":2354,"showCount":2355,"zanCount":1884,"manualWeight":1568,"mainColor":1658},"sui-chao-tu-zhao-chang-221299","岁朝图","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[1553,1607,1554,1555,1622,1557,1637,1559,1560,2350,2347],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","绢","103.8×51.2cm",[1726,6,1613],830,{"id":76,"slug":2357,"title":2358,"dynasty":1548,"author":2359,"museum":1573,"description":2360,"tags":2361,"thumbUrl":2362,"material":1625,"size":1580,"collection":6,"collections":2363,"showCount":2364,"zanCount":1907,"manualWeight":1568,"mainColor":1569},"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[1553,1554,1555,1666,1591,1686,1562,1688,1595,1695,1690,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[6],816,{"id":77,"slug":2366,"title":2367,"dynasty":1715,"author":1732,"museum":1550,"description":2368,"tags":2369,"thumbUrl":2370,"material":1610,"size":2371,"collection":1726,"collections":2372,"showCount":2373,"zanCount":2113,"manualWeight":1568,"mainColor":1658},"ye-he-hua-tu-yi-ming-218560","夜合花图","画的是一枝两朵夜来香花，右枝花含苞待放，左枝花半开半合，洁白如玉，气质高雅。花朵被轻轻地勾勒和上色，用白色粉末点缀花蕊，用少量浅色墨水给拖曳的花朵上色。绿叶前后间隔，白花绿叶，色彩淡雅，让人赏心悦目。",[1607,1554,1555,2161,1557,1637,1559,1815,1901,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405700bb70527a1c1a9640d967df709.jpg","23.9x25.4",[1726,6],804,{"id":78,"slug":2375,"title":2376,"dynasty":1715,"author":1811,"museum":1604,"description":2377,"tags":2378,"thumbUrl":2379,"material":1563,"size":2380,"collection":6,"collections":2381,"showCount":2382,"zanCount":2113,"manualWeight":1568,"mainColor":1658},"hua-niao-tu-zhao-chang-214815","花鸟图","这幅以元明风格绘制的水墨花卉画",[1607,1554,1637,1557,1592,1815,1593,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111da4cdbebe9fd7bbaf5fcd9d2e5a34.jpg","45.8x29.5",[6],789,{"id":79,"slug":2384,"title":2385,"dynasty":1984,"author":1985,"museum":1683,"description":2386,"tags":2387,"thumbUrl":2389,"material":1563,"size":2390,"collection":6,"collections":2391,"showCount":2392,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"hua-xia-zhou-qi-bai-shi-216932","画虾轴","墨痕流转间，虾的意态毕现。淡墨晕染虾身，层次细腻如见肌理通透；劲挺线条勾勒须足，纤细却藏弹性，似随水波轻颤。几只虾俯仰交错，须足相缠时竟有嬉戏之趣，留白处虽无池水，却满溢清灵之气。笔简神足，将虾的鲜活与水墨的韵致融于一纸，尽显生命的灵动与艺术的妙境。",[1553,1554,1622,1591,2388,1559],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0cba5480e9b60c0762bf4eec1cc7d9.jpg","68.4x34.5cm",[6],770,{"id":80,"slug":2394,"title":2009,"dynasty":1715,"author":1732,"museum":1550,"description":2395,"tags":2396,"thumbUrl":2397,"material":1610,"size":2398,"collection":6,"collections":2399,"showCount":2400,"zanCount":1919,"manualWeight":1568,"mainColor":1658},"he-hua-tu-yi-ming-218552","画中的荷叶和菖蒲随风右旋，重叠的花瓣逐渐张开，荷叶花瓣用金笔精巧地勾勒，用红色到粉色的渐变画出。这是南宋时期的生活绘画杰作，其精致丰富的画风源于南宋花鸟画家吴炳。",[1554,2161,1559,1637,1557,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496db9762ca838a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三友图》《林居高士图》等，笔墨润秀，神完气足。其没骨花卉画柔美秀雅，开创了一代新风，时人争相仿效。\n王翚有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》、《芳洲图》（常熟博物馆藏）等传世。着有《清晖画跋》。",[1553,1554,1555,1607,1557,1558,1559,1560,1556,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d394a60f3fe31f74cc2a4529d753ab.jpg","43x29厘米",[6,1613],750,{"id":86,"slug":2449,"title":2450,"dynasty":1648,"author":1649,"museum":1604,"description":2451,"tags":2452,"thumbUrl":2455,"material":1610,"size":2456,"collection":6,"collections":2457,"showCount":2458,"zanCount":1711,"manualWeight":1568,"mainColor":1569},"xie-sheng-zhi-zi-xu-xi-218753","写生栀子","雪白的栀子花与绿叶相映成趣，麻雀站在树枝上，试图捕食被花香吸引的黄蜂。蜜蜂的发音与 封 相同，麻雀的发音与 爵 相似，所以用 爵 的谐音来表示祝贺，这是一幅成功的宫廷画。",[1553,1554,1637,1557,1559,1762,2453,1592,1800,1915,2454],"栀子","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8936453d77d3d3461e49f1fe82137570.jpg","24.7x26.5",[6],744,{"id":87,"slug":2460,"title":2461,"dynasty":1548,"author":2462,"museum":2463,"description":2464,"tags":2465,"thumbUrl":2466,"material":1610,"size":2467,"collection":6,"collections":2468,"showCount":2469,"zanCount":2130,"manualWeight":1568,"mainColor":1569},"yu-lan-mu-dan-tu-li-shan-220435","玉兰牡丹图","李鱓","南京博物院","此幅是李复堂较为工致的一幅写生花卉图，玉兰树极具生发之姿，玉兰花怒放，生机无限。巨石旁白牡丹，柔美富贵，体现了扬州画派与世相偕的入世画风。",[1553,1554,1555,1622,1557,1591,1688,1595,1559,1652,1608,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9586eb66cdeb4091ec3d5d734d3a1a44.jpg","138.1×69.8cm",[6,1613],738,{"id":88,"slug":2471,"title":2472,"dynasty":1587,"author":1973,"museum":1550,"description":2473,"tags":2474,"thumbUrl":2475,"material":1610,"size":1580,"collection":6,"collections":2476,"showCount":2477,"zanCount":1919,"manualWeight":1568,"mainColor":1658},"chun-feng-jia-die-tu-chen-hong-shou-219749","春风蛱蝶图","陈洪绶（1598-1652年），字章侯，号老莲，别号老迟、悔迟，浙江诸暨人。此图作于顺治八年（1651)，画赠老友戴茂齐。所绘山雀、竹枝、海棠、水仙、蛱蝶、怪石、梨花，设色妍丽，富有装饰意味。卷末有作者自题，据此可知：是年秋天，画家曾以一金购得文徵明画一幅，戴茂齐喜之，遂赠之。后数日，友人丁秋平之子病重，陈氏借戴一金，赠以资汤药。孟冬，画家又作《博古叶子》一本赠戴，时家中乏米，借戴一金，故作此卷酬之。",[1554,1555,1666,1557,1637,2120,1595,1562,1559,1689,1695,1690,1694,1748,1592,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f9e4cf48118d09a7f3ae27d2908752.jpg",[6],712,{"id":89,"slug":2479,"title":2480,"dynasty":1548,"author":1549,"museum":1550,"description":2481,"tags":2482,"thumbUrl":2483,"material":2484,"size":2485,"collection":6,"collections":2486,"showCount":2487,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"hua-hui-shi-kai-yun-shou-ping-219822","花卉十开","此作以没骨法写就牡丹，不用墨线勾勒轮廓，纯以色彩晕染塑形。两朵粉牡丹或侧或正，花瓣由淡粉渐次过渡至胭红，层层叠叠，柔润舒展，仿佛凝着朝露尽显娇妍。叶片以深浅绿意晕染，脉络隐现，俯仰生姿，枝叶错落相依，衬得花头愈发雍容秀雅。\n\n整体设色清和柔润，褪去牡丹常有的艳俗，只留清雅端方的韵致，将春日盛放的花姿凝于绢上，带着恬淡平和的意趣，把草木的生机与温婉雅致尽数藏于笔墨晕染之间，淡而不薄，丽而不妖，尽显一花一叶的灵动情致。",[1607,1554,1555,1556,1557,1559,1608,1558,1637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6f10f9ed98e171597fc55f333a01f8.jpg","设色,绢本","20.4×29.2厘米",[6],704,{"id":90,"slug":2489,"title":2009,"dynasty":1587,"author":1973,"museum":1604,"description":2490,"tags":2491,"thumbUrl":2492,"material":1557,"size":2493,"collection":6,"collections":2494,"showCount":2495,"zanCount":1907,"manualWeight":1568,"mainColor":1569},"he-hua-tu-chen-hong-shou-219452","湖石嶙峋，瘦漏透皱间藏古拙意趣，墨色浓淡层叠，如老衲坐禅般沉稳。荷花亭亭，瓣尖染淡粉似晨露晕开，留白处见清灵；荷叶或卷或展，青绿间带赭石，随水波轻漾。线条如春蚕吐丝，劲挺却柔婉，将花叶石的形态勾勒得奇崛又生动。题跋墨痕流转，朱印点缀，添几分文人雅韵。整幅画浸在古绢暖光里，淡雅中藏倔强风骨，古意盎然却透着鲜活气，如无声禅诗，引人沉湎于那份清寂与悠远。",[1554,1555,1622,1637,1557,1577,1707,1578,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0331e9c85b7f539e58f688b2de6e8fb.jpg","75.8x39",[6],696,{"id":91,"slug":2497,"title":2498,"dynasty":1715,"author":2404,"museum":1573,"description":2499,"tags":2500,"thumbUrl":2503,"material":1610,"size":1580,"collection":6,"collections":2504,"showCount":2495,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"han-jiang-du-diao-tu-ma-yuan-218621","寒江独钓图","寒江浩渺，孤舟一叶浮于烟波间。渔翁披蓑戴笠，垂纶独钓，孑然身影似与天地融为一体。近景枯树虬枝如铁，劲挺笔触勾勒出冬日萧瑟；山石以斧劈皴皴擦，棱角分明，冷峻刚硬，与江面空濛形成鲜明对照。画面大片留白，若皑皑白雪覆江天，又似寒雾弥漫四野，将“空”与“寂”推至极致。寥寥数笔，于极简中藏丰盈，孤寂里见超脱。水墨留白之妙尽显，观者于冷寂意境中，可感那份遗世独立的悠然旷达，仿佛听见寒江之上的风，拂过枯枝，掠过孤舟，漾开一圈圈清寂的涟漪。",[1553,1554,1607,1622,1591,2274,1843,2501,2502],"孤舟","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2e94c6e14b8cb3f8a3e897c8b3b89c.jpg",[6],{"id":92,"slug":2506,"title":2507,"dynasty":1633,"author":2508,"museum":1573,"description":2509,"tags":2510,"thumbUrl":2511,"material":1610,"size":2512,"collection":6,"collections":2513,"showCount":2514,"zanCount":1788,"manualWeight":1568,"mainColor":1658},"xi-yuan-chun-se-tu-liu-guan-dao-218979","西园春色图","刘贯道","蛱蝶蹁跹于花草丛中，翅羽斑斓如霞，或振翅欲飞，或停驻吮香，姿态灵动鲜活。草叶舒展，花蕊微绽，淡彩晕染出春日的柔媚生机。旁侧书法笔墨流转，行草相间，墨色浓淡相宜，与工致的花鸟相映成趣。书画交织处，既有自然野趣的鲜活，又有文人笔墨的雅致，仿佛能闻春风里的花香，听纸间墨韵的轻响。整体气息清逸，将西园春日的盎然生机与文人雅兴融于一卷，尽显古典艺术的和谐之美。",[1607,1554,1555,1666,1637,1557,1559,1748,1577,1955,1560,1800,1688,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec39f61ffab9b2bf23461034a8902f3b.jpg","23x137cm",[6],694,{"id":93,"slug":2516,"title":2517,"dynasty":1633,"author":2518,"museum":1550,"description":2519,"tags":2520,"thumbUrl":2521,"material":1591,"size":1580,"collection":6,"collections":2522,"showCount":2523,"zanCount":2113,"manualWeight":1568,"mainColor":1658},"mo-mei-tu-wang-mian-219213","墨梅图","王冕","墨笔绘就的梅树，老干如铁，新枝挺秀，虬曲间自有风骨。花朵以圈点法写成，清妍淡雅，不施粉黛却含雪魄冰魂。枝桠疏密有致，留白处见空灵，墨色的浓淡干湿晕染出自然生机。题款行书与朱红印章相映，诗书画印浑然一体，更添文心雅致。整幅画清气袭人，将梅花的傲霜之姿与文人的狷介情怀相融，观之如闻暗香，尽显元人画梅的高致。",[1553,1554,1591,1622,1689,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00404bc2afa0c1bb049526819a65b91b.jpg",[6],685,{"id":94,"slug":2525,"title":2526,"dynasty":1648,"author":1649,"museum":1604,"description":2527,"tags":2528,"thumbUrl":2529,"material":2320,"size":2530,"collection":1726,"collections":2531,"showCount":2532,"zanCount":2144,"manualWeight":1568,"mainColor":1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的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[1553,1607,1554,1555,1556,1557,1559,1608,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","41×33",[1726,6,1613],683,{"id":95,"slug":2534,"title":2535,"dynasty":1648,"author":1649,"museum":1663,"description":2536,"tags":2537,"thumbUrl":2538,"material":1610,"size":1580,"collection":6,"collections":2539,"showCount":2540,"zanCount":1711,"manualWeight":1568,"mainColor":1569},"hong-mu-dan-tu-xu-xi-219178","红牡丹图","徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。",[1553,1607,1554,1555,1559,1608,1557,1637,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffaf2140f2c68889a42d1ec443c4e02.jpg",[6],680,{"id":96,"slug":2542,"title":2543,"dynasty":1715,"author":2260,"museum":1604,"description":2544,"tags":2545,"thumbUrl":2547,"material":1610,"size":2548,"collection":6,"collections":2549,"showCount":2550,"zanCount":1919,"manualWeight":1568,"mainColor":1658},"hua-lan-tu-dong-li-song-218937","花篮图-冬","篮子上装饰着水仙花、韵草、绿萼梅、单花茶花和蜡梅，中央的朱砂茶花以其艳丽的红色取胜，周围是芬芳的花朵。",[1553,1607,1554,1555,1637,1557,1559,2183,1560,1693,1595,2546],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ed24f58dd4748fe5e7c6a5283a48e2.jpg","26.1x26.3",[6],662,{"id":97,"slug":2552,"title":2553,"dynasty":1587,"author":1973,"museum":1683,"description":2554,"tags":2555,"thumbUrl":2557,"material":1610,"size":2558,"collection":6,"collections":2559,"showCount":2560,"zanCount":2144,"manualWeight":1568,"mainColor":1658},"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[1553,1607,1554,1555,1622,1637,1557,1559,1692,2556,1707],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[6,1613],661,{"id":98,"slug":2562,"title":2563,"dynasty":1548,"author":1549,"museum":2211,"description":2212,"tags":2564,"thumbUrl":2567,"material":2216,"size":2217,"collection":6,"collections":2568,"showCount":2569,"zanCount":2324,"manualWeight":1568,"mainColor":1569},"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花",[1553,1607,1554,1555,1556,1557,1558,1559,1560,2565,1594,2566],"桂花","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg",[6,1613],657,{"id":99,"slug":2571,"title":2572,"dynasty":1715,"author":2022,"museum":1683,"description":2573,"tags":2574,"thumbUrl":2576,"material":1846,"size":2577,"collection":1726,"collections":2578,"showCount":2579,"zanCount":2155,"manualWeight":1568,"mainColor":2006},"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[1553,1554,1607,1555,1622,1637,1557,1841,1691,1690,2575,1562,1595],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 厘米",[1726,6,1613],656,{"id":100,"slug":2581,"title":2582,"dynasty":1548,"author":1853,"museum":2583,"description":2584,"tags":2585,"thumbUrl":2586,"material":1557,"size":2587,"collection":6,"collections":2588,"showCount":2589,"zanCount":1884,"manualWeight":1568,"mainColor":1569},"wan-you-tong-chun-tu-juan-qian-wei-cheng-222691","万有同春图卷","美国波士顿博物馆","画卷以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以没骨法绘写花叶、花瓣，形态逼真。钱氏画风以干笔勾勒，重视烘染，笔墨浑然，用笔缜密，以青绿、赭石相间设色，极富宫廷富贵气息。\n一如其画卷的题目“万有”，他以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以恽寿平的没骨法绘写花叶、花瓣，形态逼真。我们可以轻松地根据花来辨别物种。",[1553,1554,1666,1557,1637,1559,1608,1794,1694,1638,1693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28df3bc101f8e21a132c570146c27eaa.jpg","36.3X787.3厘米",[6,1613],647,{"id":101,"slug":2591,"title":2592,"dynasty":1715,"author":1923,"museum":2593,"description":2594,"tags":2595,"thumbUrl":2597,"material":2151,"size":2598,"collection":6,"collections":2599,"showCount":2600,"zanCount":2144,"manualWeight":1568,"mainColor":2601},"yun-long-tu-chen-rong-219263","云龙图","广东省博物馆","陈容是南宋画家,生卒年不详,其绘画很有特点。《云龙图》是一幅足以代表陈容艺术风格的佳作。画中绘有一气势非凡、腾空飞跃的巨龙,其凌厉的龙爪,飞扬的龙须, 突兀的眼睛,锋利的牙齿,粗壮强劲的躯体,无不揭示了这是一条充满力量和超凡脱俗功力的神化了的龙。画上有画家自题: “扶河汉,触华嵩。普厥施,收成功。骑元气,游太空。所翁作。”画上钤有几方收藏印章。",[1554,1607,1555,1622,1591,1928,2596],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35519b25bbea9229aa8a1232b23672c8.jpg","纵201.5厘米 横130.5厘米",[6],642,"37474F",{"id":102,"slug":2603,"title":2604,"dynasty":1715,"author":2605,"museum":1604,"description":2606,"tags":2607,"thumbUrl":2610,"material":1610,"size":2611,"collection":6,"collections":2612,"showCount":2613,"zanCount":2130,"manualWeight":1568,"mainColor":1658},"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[1553,1607,1554,1555,1637,1591,1557,1690,2608,1749,2275,2609,1707,1594],"禽鸟","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米",[6,1726],641,{"id":103,"slug":2615,"title":2616,"dynasty":1715,"author":1732,"museum":2057,"description":2617,"tags":2618,"thumbUrl":2619,"material":1610,"size":1580,"collection":6,"collections":2620,"showCount":2621,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"ke-si-mu-dan-hu-die-tu-yi-ming-214834","缂丝牡丹蝴蝶图","缂丝牡丹蝴蝶图是宋代佚名画家的一幅著名图画。这幅图画描绘了一朵牡丹花和蝴蝶在相互追逐的场景。牡丹花象征着美丽和优雅，而蝴蝶则代表着自由和转化。这幅图画结合了自然与人文的元素，展现出一种优美的意境。画中蝴蝶的细腻写实和牡丹花的浓艳色彩相得益彰，使得这幅图画在宋代颇受欢迎。",[1553,1554,1607,1555,2161,1559,2204,1557,1608,1748,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263c73234939963e2722e8b4fcab0d10.jpg",[6],637,{"id":104,"slug":2623,"title":2624,"dynasty":1548,"author":1662,"museum":1683,"description":2625,"tags":2626,"thumbUrl":2627,"material":2028,"size":2628,"collection":6,"collections":2629,"showCount":2630,"zanCount":1860,"manualWeight":1568,"mainColor":1569},"song-mei-shuang-he-tu-shen-quan-223161","松梅双鹤图","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。\n将工笔、写意、兼工带写、重彩、淡彩、没骨、水墨、白描、勾勒填彩、钩花点叶等绘画技法在写生中灵活运用并加以发展，既重形似，又重神似。",[1553,1554,1555,1637,1557,1559,1691,1689,1671,1690,2038,2416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc931c0442a93ab3c28aef5baea6bb17.jpg","191cm×98.cm",[6],633,{"id":105,"slug":2632,"title":2376,"dynasty":1548,"author":2633,"museum":1717,"description":2634,"tags":2635,"thumbUrl":2637,"material":1610,"size":2638,"collection":6,"collections":2639,"showCount":2640,"zanCount":1919,"manualWeight":1568,"mainColor":1658},"hua-niao-tu-zhou-quan-219051","周铨","绘河塘的一角，铺天盖地的荷叶和花朵高高耸立，白色花瓣中的黄色花蕊错落有致，刚刚冒出的小荷叶和花蕾展现出勃勃生机；地面上，一只羽毛斑斓、微闭双眼的野鸭子似乎正在打盹。",[1553,1554,1557,1637,1622,1559,1577,1578,2636,2013],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74352fefe18eb2942c55d970a733680.jpg","94x48.6cm",[6],628,{"id":106,"slug":2642,"title":2643,"dynasty":1548,"author":1549,"museum":1604,"description":2644,"tags":2645,"thumbUrl":2646,"material":1557,"size":2647,"collection":6,"collections":2648,"showCount":2649,"zanCount":2130,"manualWeight":1568,"mainColor":1569},"yu-zao-tu-ce-bai-he-yun-shou-ping-220988","鱼藻图册-百合","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[1553,1554,1555,1556,1558,1557,1559,1999,1901,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2762924bf1e1eee5608b789b14168bf1.jpg","37.8x60.5厘米",[6,1613],626,{"id":107,"slug":2651,"title":2652,"dynasty":1548,"author":1758,"museum":1683,"description":2653,"tags":2654,"thumbUrl":2656,"material":1610,"size":2657,"collection":6,"collections":2658,"showCount":2659,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"hai-tang-qin-tu-tu-hua-yan-219334","海棠禽兔图","华嵒的花鸟画丰富了传统的“黄家富贵，徐熙野逸”的审美情趣，寓真情实感于创作，使作品具有丰富的感情和个性，具有雅俗共赏的特征。此图是他晚年的代表作，画家运用拟人化的手法，将鹦鹉按捺不住的欣喜和黑兔胆小好奇的神态表现得生动传神。在画法上，华嵒从恽寿平淡雅清丽的没骨花卉入手，涉猎诸家，形成了鲜明的个人风格。此图结构新奇，笔法将宋人工笔花鸟之细腻工致与写意花鸟之秀逸洗练相结合，敷色活泼。海棠以胭脂及白粉点染，树叶颜色用石青、石绿，其间又有微带白黄色的大叶，颜色浓丽湿润，黑兔的墨色变化更为微妙丰富，浓淡之间表现出柔软疏松的质感，并与树木花卉的暖色调和谐统一，使整幅画面洋溢着花香鸟语的初春气氛。",[1553,1554,1622,1557,1637,1559,2162,2655,1667,1595],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd34c59b5ebbf048bf68fd04c4a04bed.jpg","纵135.2厘米，横52.8厘米",[6,1613],620,{"id":108,"slug":2661,"title":2662,"dynasty":1587,"author":2306,"museum":1604,"description":2663,"tags":2664,"thumbUrl":2667,"material":1610,"size":2668,"collection":6,"collections":2669,"showCount":2670,"zanCount":1788,"manualWeight":1568,"mainColor":1658},"hua-hui-tu-chen-chun-214726","花卉图","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[1553,1554,1555,1607,1622,1557,1686,1559,1560,1707,2665,2666],"草木","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[6],619,{"id":109,"slug":2672,"title":2673,"dynasty":1715,"author":2674,"museum":1924,"description":2675,"tags":2676,"thumbUrl":2678,"material":1557,"size":2679,"collection":1726,"collections":2680,"showCount":2681,"zanCount":2324,"manualWeight":1568,"mainColor":1658},"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[1553,1554,1607,1555,1637,1557,1559,2098,2677,1765,1901,1595],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[1726,6,1613],615,{"id":110,"slug":2683,"title":2684,"dynasty":1548,"author":2035,"museum":1573,"description":2685,"tags":2686,"thumbUrl":2688,"material":1625,"size":1580,"collection":6,"collections":2689,"showCount":2690,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"yu-shi-tu-zhou-zhu-da-216942","鱼石图轴","朱耷的鱼石图轴是一件著名的绘画作品，它是朱耷在清朝时期创作的。这幅作品以细腻的线条和丰富的色彩，描绘了一幅生动的海洋图景，其中包括众多的海鱼和石头。鱼石图轴以其高超的绘画技巧和对海洋生物的生动描绘而闻名。",[1553,1554,1555,1622,1591,1686,2687,1707],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d988e50b2be54a69df81067fcfd25.jpg",[6],610,{"id":111,"slug":2692,"title":2693,"dynasty":1715,"author":2694,"museum":2296,"description":2695,"tags":2696,"thumbUrl":2697,"material":2028,"size":2698,"collection":1726,"collections":2699,"showCount":2700,"zanCount":1907,"manualWeight":1568,"mainColor":1658},"hong-bai-fu-rong-tu-li-di-221594","红白芙蓉图","李迪","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。\n《红白芙蓉图》是双幅画，描写红白芙蓉盛开的景色。红、白芙蓉各两朵，都画盛开时的花瓣，红色娇艳鲜嫩，白色粉白如玉，花叶为深绿色。",[1553,1554,1555,1559,1637,1557,1693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a01f8634d699b1442498a83bf153de.jpg","纵25.2×横26.cm×2",[1726,1613,6],609,{"id":112,"slug":2702,"title":2703,"dynasty":1548,"author":2704,"museum":1683,"description":2705,"tags":2706,"thumbUrl":2710,"material":1846,"size":2711,"collection":6,"collections":2712,"showCount":2713,"zanCount":2144,"manualWeight":1568,"mainColor":1658},"wu-tong-shuang-tu-tu-leng-mei-222873","梧桐双兔图","冷枚","此图似为中秋佳节而作。图中野菊满地，桂花飘香，高大的梧桐树下，两只肥硕的白兔惬意地在草地上嬉戏。双兔写实，造型准确生动，皮毛以细笔一一画出，具有柔软的质感。兔目用白色点出高光，令眼神活灵活现顿生神采。山石以折带笔方正写出，于坚硬中见峻峭之美。构图疏密有致，设色注重冷暖色调的对比。整幅作品大气秀美，富丽堂皇，受到了西洋绘画技法的影响，具有康熙朝宫廷绘画的风貌。",[1553,1554,1637,1557,1879,2655,2707,1670,2708,2709,1595],"梧桐","栏杆","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d226d3f4c0a53ecbb5a2d754ae2b5b.jpg","纵176.2厘米，横95厘米",[6,1613],595,{"id":113,"slug":2715,"title":2716,"dynasty":1587,"author":2717,"museum":1604,"description":2718,"tags":2719,"thumbUrl":2720,"material":1563,"size":2721,"collection":6,"collections":2722,"showCount":2723,"zanCount":2102,"manualWeight":1568,"mainColor":1569},"pi-pa-zhen-qin-tu-zhou-zhi-mian-218793","枇杷珍禽图","周之冕","画面中，枇杷枝叶舒卷，翠叶如盖，嫩黄果实攒聚枝间，饱满莹润。一只禽鸟栖于枝桠，羽色柔和，神态闲静，似在细赏花叶，又若欲振翅，姿态鲜活传神。画家运笔细腻，勾勒花叶轮廓精准，设色淡雅清逸；叶片脉络、果实肌理刻画入微，禽鸟羽毛层次分明，质感逼真。枝叶穿插自然，虚实相生，画面疏密有致，气韵流动。整体风格宁静雅致，融工笔之精丽与写意之灵动，尽显自然生机与闲适意趣，如同一帧鲜活的春日小景，引人驻足细品。",[1607,1554,1555,1622,1637,1557,1559,2086,1593,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b876424f375b541ae9f0153ebc04f8d.jpg","71.4x30.4cm",[6],594,{"id":114,"slug":2725,"title":2726,"dynasty":1715,"author":1811,"museum":1604,"description":2727,"tags":2728,"thumbUrl":2731,"material":1610,"size":2732,"collection":6,"collections":2733,"showCount":2734,"zanCount":1919,"manualWeight":1568,"mainColor":1569},"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[1553,1607,1554,1555,2161,1637,1557,1762,1559,2729,1594,2125,2730],"杏花","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[6],572,{"id":115,"slug":2736,"title":2737,"dynasty":1715,"author":2738,"museum":1604,"description":2739,"tags":2740,"thumbUrl":2741,"material":1625,"size":2742,"collection":6,"collections":2743,"showCount":2734,"zanCount":1860,"manualWeight":1568,"mainColor":1569},"sui-han-san-you-tu-zhao-meng-jian-215109","岁寒三友图","赵孟坚","莹净的纸面上，画家以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹著如星芒般的松针与墨影般的竹叶，将它们横斜置於画面中央。这三株折枝植物的组合，不但是一件写生佳作，同时画中岁寒三友－松、竹、梅的组合，又代表当时文人认为应该具备的节操与美德。",[1553,1554,1555,1591,2120,1689,1690,1691,1595,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb649cf50efa4be46ecb8b6ea14056db.jpg","32.2×53.4cm",[6],{"id":116,"slug":2745,"title":2746,"dynasty":1715,"author":2747,"museum":2748,"description":2749,"tags":2750,"thumbUrl":2756,"material":1625,"size":2757,"collection":6,"collections":2758,"showCount":2759,"zanCount":1711,"manualWeight":1568,"mainColor":1569},"mo-lan-tu-zheng-si-xiao-218639","墨兰图","郑思肖","日本大阪市立美术馆","这是一幅描绘两朵兰花的画，闲适而优雅，有一种侵入性的清晰。叶子是对称的，但花只在左边，重心稍微向左倾斜。叶子不多，但不是孤零零的散落，笔法轻重不一，大小不一，通篇使用淡墨，使画作更加优雅柔美。这幅画延续了南宋的写实风格，开创了元代文人画的先河。叶子分两组画，每组有三片叶子，笔法与图中对称，略带左右强调。笔触有轻有重，笔触准确。剑身略宽，给人以丰富和艳丽的美感。位于长叶子之间的短叶子，仍然用同样明亮的墨水和笔触绘制。画的是两朵花，一朵是盛开的四片花瓣，一朵是含苞待放的两片花瓣。两片长而弯曲的叶子被放在画框的底部中心，环绕着它们，这就是画的眼睛。花瓣也很饱满，笔触与画叶子的笔触相同。花蕊是用浓墨勾勒出来的，花的描绘方式是其他画作中所没有的。",[1553,1607,1591,1686,2751,1695,2752,1560,2753,2754,2755],"文人画","简笔","墨笔","文人花卉","水墨花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9c1a31515452db9f01aafbc38687bb.jpg","34.3x59.6",[6],570,{"id":117,"slug":2761,"title":2762,"dynasty":1633,"author":2763,"museum":1683,"description":2764,"tags":2765,"thumbUrl":2766,"material":1625,"size":2767,"collection":6,"collections":2768,"showCount":2769,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","赵孟頫","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[1553,1554,1555,1666,1591,1688,1595,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米",[6],566,{"id":118,"slug":2771,"title":2772,"dynasty":1715,"author":2773,"museum":1683,"description":2774,"tags":2775,"thumbUrl":2778,"material":2028,"size":2779,"collection":1726,"collections":2780,"showCount":2781,"zanCount":2324,"manualWeight":1568,"mainColor":1658},"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[1553,1554,1555,1666,2776,1557,1843,2038,1844,2071,1842,2777,1637,2274],"青绿","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[1726,6,1613],551,{"id":119,"slug":2783,"title":2784,"dynasty":1548,"author":2359,"museum":2785,"description":2786,"tags":2787,"thumbUrl":2788,"material":2789,"size":1580,"collection":6,"collections":2790,"showCount":2791,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"lan-zhu-tu-zheng-ban-qiao-223294","兰竹图","美国克利夫兰艺术博物馆","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[1554,1555,1622,1591,1695,1690,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681d28d4f5f08cb75a05b07ab8eceef3.jpg","水墨纸本",[6,1934],547,{"id":120,"slug":2793,"title":2794,"dynasty":1548,"author":2795,"museum":1663,"description":2796,"tags":2797,"thumbUrl":2798,"material":1580,"size":1580,"collection":6,"collections":2799,"showCount":2800,"zanCount":1860,"manualWeight":1568,"mainColor":1569},"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[1553,1554,1555,1666,1557,1637,1688,1595,1559,1560,1748,1608,1694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[6],537,{"id":121,"slug":2802,"title":2147,"dynasty":1548,"author":2359,"museum":1663,"description":2803,"tags":2804,"thumbUrl":2805,"material":1802,"size":1580,"collection":6,"collections":2806,"showCount":2807,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-zheng-ban-qiao-220050","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[1553,1554,1555,1622,1591,1686,1688,1595,1690,1669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[6],528,{"id":122,"slug":2809,"title":2810,"dynasty":1548,"author":1549,"museum":2211,"description":2212,"tags":2811,"thumbUrl":2814,"material":2216,"size":2217,"collection":6,"collections":2815,"showCount":2816,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"hua-hui-tu-ce-dou-hua-shi-zhu-yun-shou-ping-221000","花卉图册·豆花石竹",[1553,1554,1555,1556,1558,1557,1559,2812,2813],"豆花","石竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e5a05a9a06168177d3bb7fda38b174.jpg",[6,1613],523,{"id":123,"slug":2818,"title":2819,"dynasty":1548,"author":1549,"museum":1604,"description":2820,"tags":2821,"thumbUrl":2824,"material":2352,"size":2825,"collection":6,"collections":2826,"showCount":2827,"zanCount":1711,"manualWeight":1568,"mainColor":1569},"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[1553,1554,1555,1622,1637,1557,1559,1638,2822,2823,2687,1667],"柳","燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","120.5×61.2",[6,1613],522,{"id":124,"slug":2829,"title":2376,"dynasty":1633,"author":1732,"museum":1604,"description":2830,"tags":2831,"thumbUrl":2832,"material":1610,"size":2833,"collection":6,"collections":2834,"showCount":2835,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"hua-niao-tu-yi-ming-216222","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[1554,1555,1607,1637,1557,1559,1592,1815,1707,1795,1999,1594,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[6],520,{"id":125,"slug":2837,"title":2838,"dynasty":1548,"author":2359,"museum":1663,"description":2786,"tags":2839,"thumbUrl":2840,"material":2195,"size":2841,"collection":6,"collections":2842,"showCount":2843,"zanCount":1711,"manualWeight":1568,"mainColor":1569},"mo-zhu-zheng-ban-qiao-223295","墨竹",[1553,1554,1622,1591,1562,1688,1690,1595,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","38*138CM",[6,1934],509,{"id":126,"slug":2845,"title":2846,"dynasty":1633,"author":1948,"museum":2847,"description":2848,"tags":2849,"thumbUrl":2850,"material":1563,"size":2851,"collection":6,"collections":2852,"showCount":2853,"zanCount":1919,"manualWeight":1568,"mainColor":1569},"wu-wang-zui-gui-tu-ren-ren-fa-216741","五王醉归图","上海龙美术馆","《五王醉归图》出自元代画坛巨匠任仁发之手，描绘唐玄宗登基前，与四位兄弟出游饮宴，醉后策马归途的景象。据《旧唐书》记载，唐玄宗登基前，在兴庆坊西南方置楼，常邀诸王宴饮，赋诗燕嬉，感情深厚。本幅便是描绘其身为临淄王时醉后策马的景象。画中主角包括李隆基长兄宋王李宪、二兄申王李撝、四弟岐王李范，以及五弟薛王李业，另尚有四名侍从，合乘九匹骏马。\n任仁发的画马成就，堪与同时代的赵孟頫媲美。 《五王醉归图》是其笔下罕见的纸本作品，宋笺纸质细密，包浆良好，色彩明亮；用笔轻松自然，整幅线条勾勒凝练潇洒，人马排列为平铺式构图，是唐人造型和元人用笔之结合。",[1553,1554,1555,1666,1637,1557,1841,2070,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3028cb21d01ead2581ac3d3aa2d0dcc1.jpg","35x368cm",[6],497,{"id":127,"slug":2855,"title":2856,"dynasty":1548,"author":1837,"museum":1604,"description":2857,"tags":2858,"thumbUrl":2859,"material":2028,"size":2860,"collection":6,"collections":2861,"showCount":2862,"zanCount":2130,"manualWeight":1568,"mainColor":2006},"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","此图是郎世宁花鸟画的代表作。画面描绘一对绚丽丰润的仙鹤，和两只小鹤。一只仙鹤阔步行走回首下顾，注视着满身细毛茸茸的小鹤；另一只仙鹤转颈整理羽毛，一脚举起，神态安详。他吸收并采用中国画的传统技法，糅合中西画法进行创作。是二百年前外来文化“中国化”的尝试，是别具一格的杰作。",[1553,1622,1637,1557,1559,1671,1794,1707,2666,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","170.7厘米×93.1厘米.",[6,1613],495,{"id":128,"slug":2864,"title":2865,"dynasty":1715,"author":2022,"museum":1604,"description":2866,"tags":2867,"thumbUrl":2869,"material":1610,"size":2870,"collection":1726,"collections":2871,"showCount":2862,"zanCount":1907,"manualWeight":1568,"mainColor":1658},"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[1553,1607,1554,1555,1622,1637,1557,1559,2868,2666],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[1726,6,1613],{"id":129,"slug":2873,"title":2874,"dynasty":1633,"author":2875,"museum":1604,"description":2876,"tags":2877,"thumbUrl":2878,"material":1625,"size":1580,"collection":6,"collections":2879,"showCount":2880,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"mo-zhu-pu-ce-ye-wu-zhen-216597","墨竹谱册页","吴镇","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[1553,1554,1555,1607,1556,1591,1595,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4166808e7bc40a42f776572d6d7608.jpg",[6],489,{"id":130,"slug":2882,"title":2883,"dynasty":1548,"author":2328,"museum":1604,"description":2884,"tags":2885,"thumbUrl":2887,"material":1563,"size":2888,"collection":6,"collections":2889,"showCount":2880,"zanCount":2113,"manualWeight":1568,"mainColor":1569},"bi-tao-chun-niao-tu-zou-yi-gui-216219","碧桃春鸟图","碧桃春鸟图是清朝时期画家邹一桂的一幅名作。这幅画描绘了一只翠绿色的春天鸟儿，它正在一棵桃树上欢快地唱歌。画中的色彩鲜艳，线条流畅，构图精美，反映了邹一桂独特的画风。\n\n邹一桂（1630年～1708年）是清朝时期著名的画家，也是邹氏画派的创始人之一。他的作品擅长描绘自然景观，尤其擅长画鸟。邹一桂的碧桃春鸟图被认为是他的代表作之一，并被广泛收藏和喜爱。",[1554,1607,2886,1557,1637,1638,1667,1595],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf75f4e0b3c61e6c01028b990b23d999.jpg","29.2x21.6公分",[6],{"id":131,"slug":2891,"title":2892,"dynasty":1715,"author":1962,"museum":2893,"description":2894,"tags":2895,"thumbUrl":2896,"material":1610,"size":2897,"collection":1726,"collections":2898,"showCount":2899,"zanCount":1907,"manualWeight":1568,"mainColor":1658},"shan-cha-tu-wu-bing-218635","山茶图","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[1554,1555,1607,1559,1637,1557,1826,1594,1901,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[1726,6],487,{"id":132,"slug":2901,"title":2902,"dynasty":1633,"author":1732,"museum":1573,"description":2903,"tags":2904,"thumbUrl":2906,"material":1610,"size":2907,"collection":6,"collections":2908,"showCount":2909,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"ju-hua-xiao-niao-tu-yi-ming-216732","菊花小鸟图","菊花小鸟图 是一幅来自中国元朝时期的著名图画。这幅图画被认为是元朝时期最著名的菊花图案之一，也是当时最具代表性的艺术品之一。\n\n这幅图画中的小鸟是鸟类中常见的山雀，它们正在菊花丛中欢快地嬉戏。菊花是中国传统文化中非常重要的象征，象征着品德高尚、忠诚可靠。在这幅图画中，菊花丛与小鸟的自然互动，展现出人与自然和谐相处的美好愿景。\n\n虽然这幅图画的作者并不是众所周知的，但它仍然是元朝时期艺术史上的重要作品，在当时的艺术市场上也颇受欢迎。如今，菊花小鸟图仍然是许多人所熟知和喜爱的著名图画之一。",[1553,1554,1637,1557,1559,1795,2905],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8acc0d8c6d4a1dedbc8b9a6a108b16.jpg","22.5x26.6cm",[6],479,{"id":133,"slug":2911,"title":2912,"dynasty":1587,"author":2913,"museum":1604,"description":2914,"tags":2915,"thumbUrl":2917,"material":2484,"size":2918,"collection":6,"collections":2919,"showCount":2920,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"shui-xian-la-mei-tu-chou-ying-220126","水仙腊梅图","仇英","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”。",[1553,1554,1555,1637,1557,1559,1694,2916,1595],"腊梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","纵47厘米，横25厘米",[6],467,{"id":134,"slug":2922,"title":2923,"dynasty":1548,"author":2924,"museum":1604,"description":2925,"tags":2926,"thumbUrl":2928,"material":1563,"size":2929,"collection":6,"collections":2930,"showCount":2931,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"cao-chong-hua-hui-hu-shi-si-ping-zi-wei-ju-lian-220335","草虫花卉湖石四屏-紫薇","居廉","居廉对岭南画派的影响十分深远，岭南画派创始人高剑父、陈树人均师从居廉。“二居”所创立的十香园成为岭南画派发源之地，当时岭南绘画界八成以上的人都出自十香园门下或是经受过二居绘画艺术的熏陶，在中国美术史上垂名的杰出弟子多达三十余人。二居以革命精神开创的“撞水”、“撞粉”技法被后来者沿袭至今，二居、二高一陈富于创新的革命艺术精神更使得岭南画派开一时风气之先，在中国画坛独领风骚。",[1553,1554,1555,1559,1637,1557,1560,1747,1707,2124,2927,1989],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[6],464,{"id":135,"slug":2933,"title":2934,"dynasty":1548,"author":2935,"museum":1717,"description":2936,"tags":2937,"thumbUrl":2938,"material":1610,"size":1580,"collection":6,"collections":2939,"showCount":2940,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[1553,1554,1555,1559,1637,1557,1608,1652,1592,1815,2454,1915,2038,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[6],456,{"id":136,"slug":2942,"title":2147,"dynasty":1633,"author":2943,"museum":1683,"description":2944,"tags":2945,"thumbUrl":2946,"material":1563,"size":2947,"collection":6,"collections":2948,"showCount":2940,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"zhu-shi-tu-li-kan-214307","李衎","这幅画中的竹子被整齐而优雅地画上了双色的轮廓，显示了大自然在春天的重生，老竹子旁边有两棵新竹子，让人想起雨后发芽的春笋。山坡上的悬崖被涂成漂亮的厚重的黑色，以突出形成的角落，岩石后面的小竹子和野树增加了多样性。",[1553,1607,1554,1555,1622,1591,2274,1690,1669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05faafdaaa730a5ac24d211025a2689.jpg","185.5x153.7",[6],{"id":137,"slug":2950,"title":2951,"dynasty":1715,"author":2260,"museum":1604,"description":2952,"tags":2953,"thumbUrl":2955,"material":2320,"size":2956,"collection":1726,"collections":2957,"showCount":2958,"zanCount":2113,"manualWeight":1568,"mainColor":1658},"hua-lan-tu-li-song-221490","花篮图","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[1553,1607,1554,1555,1556,1637,1557,1559,2183,2954,1608,1999,1560,1901],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 x 26.3公分",[1726,6,1613],454,{"id":138,"slug":2960,"title":2961,"dynasty":1548,"author":2056,"museum":2057,"description":2058,"tags":2962,"thumbUrl":2965,"material":1563,"size":1580,"collection":6,"collections":2966,"showCount":2967,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图",[1553,1554,1555,1607,1556,1591,1557,1686,1692,1578,2963,2964,1595],"莲花","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[6],451,1,{"id":139,"slug":2970,"title":2971,"dynasty":1548,"author":2972,"museum":1663,"description":2973,"tags":2974,"thumbUrl":2975,"material":1580,"size":1580,"collection":6,"collections":2976,"showCount":2977,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"zi-teng-mu-dan-zhou-wu-chang-shuo-238119","紫藤牡丹轴","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[1554,1557,1559,1576,1608,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfc622729b6d71aea89e743af379a39.jpg",[6,1613],447,{"id":140,"slug":2979,"title":2980,"dynasty":1548,"author":2056,"museum":2057,"description":2058,"tags":2981,"thumbUrl":2982,"material":1563,"size":1580,"collection":6,"collections":2983,"showCount":2984,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图",[1553,1554,1555,1559,1591,1557,1638,1690,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[6],446,{"id":141,"slug":2986,"title":2517,"dynasty":1633,"author":1732,"museum":2023,"description":2987,"tags":2988,"thumbUrl":2989,"material":1610,"size":2990,"collection":6,"collections":2991,"showCount":2984,"zanCount":1907,"manualWeight":1568,"mainColor":1658},"mo-mei-tu-yi-ming-215142","墨梅图是元朝时期的一幅名画，作者是佚名。这幅画描绘了一棵梅花树，梅花盛开，瓣瓣舒展，散发出浓浓的花香。画面上有几只蝴蝶，它们在梅花树周围飞舞，与花朵相互辉映。整幅画清新淡雅，浓轻相宜，富有诗意。墨梅图是中国古代山水画的典范之作，在历史上有很高的艺术价值。",[1554,1555,1591,1559,1689,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f7caa3d46ac3b4a7bc205ebabf73b9.jpg","24.4x20.3cm",[6],{"id":142,"slug":2993,"title":2994,"dynasty":1715,"author":2022,"museum":1683,"description":2995,"tags":2996,"thumbUrl":2997,"material":2320,"size":2998,"collection":1726,"collections":2999,"showCount":3000,"zanCount":2130,"manualWeight":1568,"mainColor":1658},"fu-rong-jin-ji-tu-zhao-ji-221345","芙蓉锦鸡图","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[1553,1554,1607,1555,1637,1557,1559,1693,2172,1748,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bfe5492760fd3a258b75e61f1a62fd.jpg","纵81.5厘米，横53.6厘米",[1726,6,1613],442,{"id":143,"slug":3002,"title":3003,"dynasty":1715,"author":1923,"museum":3004,"description":3005,"tags":3006,"thumbUrl":3008,"material":1610,"size":3009,"collection":6,"collections":3010,"showCount":3011,"zanCount":2144,"manualWeight":1568,"mainColor":1658},"shuang-long-xi-hai-tu-chen-rong-219064","双龙戏海图","圣路易斯艺术博物馆","绢本苍褐的底色上，云雾如墨烟般晕散，两条巨龙腾跃其间。上方龙身盘旋，鳞爪劲健，昂首欲飞；下方龙潜于汹涌浪涛，尾摆鳍张，与翻卷的浪花嬉戏。海浪以细腻线条勾勒，层层叠叠如奔雷涌动，龙鳞的纹理、龙须的飘逸皆刻画入微。整幅画将龙的威严与海的壮阔融于一体，云雾的虚渺与浪涛的实感相映，既见神兽的灵动神韵，又显自然的磅礴气势，笔墨间尽是沉雄与细腻的交织，意境深远，引人叹服。",[1553,1554,1555,1622,1557,1928,3007,1929],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbee6e92aaf60e4d5ceb8d3fada746dc.jpg","纵135.2cm横84cm",[6],438,{"id":144,"slug":3013,"title":3014,"dynasty":1548,"author":1874,"museum":1683,"description":3015,"tags":3016,"thumbUrl":3019,"material":1563,"size":3020,"collection":6,"collections":3021,"showCount":3022,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"mu-dan-bai-tou-tu-ren-yi-219288","牡丹白头图","任颐（1840—1896），字伯年，别号山阴道上行者，清末著名画家。浙江绍兴人，寓居上海，以卖画为生，与任熊、任熏、任预并称为“海上四任”，是“海上画派”中成就最为突出者。他的绘画吸收了民间艺术的技法，人物、肖像、山水、花鸟无不精工。\n其人物画早年师法陈洪绶，造型夸张，装饰效果强，后变得较为奔逸。其花鸟画早年师法北宋诸家，后融汇了恽派、陈淳、徐渭、朱耷的写意画法，又吸收了西方水彩绘画的色调，设色淡雅，格调清新明快，对近现代花鸟画产生了深远的影响。",[1553,1554,1555,1622,1557,3017,1559,1608,3018,1707,1953,1815,1592,1749],"兼工带写","白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c3984c898ba3c385fce26f73cd95b.jpg","纵133.5cm，横64.8cm",[6,1613],437,{"id":145,"slug":3024,"title":3025,"dynasty":1648,"author":1649,"museum":1550,"description":3026,"tags":3027,"thumbUrl":3029,"material":2151,"size":3030,"collection":6,"collections":3031,"showCount":3032,"zanCount":2063,"manualWeight":1568,"mainColor":2601},"xue-zhu-tu-xu-xi-220365","雪竹图","描绘江南雪后严寒中的枯木竹石。石后三竿粗竹挺拔苍劲，其旁有弯曲和折断了的竹竿，又有一些细嫩丛杂的小竹参差其间，更觉情趣盎然、生机勃勃。此图无款识。画中大石右侧的竹竿上，有篆书体倒写“此竹价重黄金百两”八字。此画以线条墨色为主，工整精微而写实，构图新颖，层次丰富，为五代的佳作。",[1553,1648,1554,1607,1555,3028,1637,1591,1690,1669,1668,2609],"落墨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22b918bbfe1d12ce62c14f33a7c8f3a.jpg","纵151.1厘米，横99.2厘米",[6],436,{"id":146,"slug":3034,"title":3035,"dynasty":1548,"author":3036,"museum":2117,"description":3037,"tags":3038,"thumbUrl":3040,"material":2320,"size":3041,"collection":6,"collections":3042,"showCount":3043,"zanCount":2130,"man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鉴赏家认为是南宋初年画院中的作品。",[1553,1607,1554,1555,1666,1591,2274,2275,2137,1667,3186,3187,1843,1707,1595,1562,1688],"寒鸦","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 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横56.4cm",[6,1613],368,{"id":170,"slug":3264,"title":3265,"dynasty":1633,"author":3266,"museum":1717,"description":3267,"tags":3268,"thumbUrl":3270,"material":2028,"size":3271,"collection":6,"collections":3272,"showCount":3262,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 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。",[1553,1554,1555,1666,1557,1637,1559,1690,1748,1799,1560,1747,2666,1562,1688,3269],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","27.8x352.9cm",[6,1613],{"id":171,"slug":3274,"title":3275,"dynasty":1548,"author":3255,"museum":1683,"description":3276,"tags":3277,"thumbUrl":3278,"material":1802,"size":1580,"collection":6,"collections":3279,"showCount":3280,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"zi-teng-yue-ji-zhou-yun-bing-236979","紫藤月季轴","恽冰，清代乾隆、嘉庆、道光年间深得家传的一位女画家，生卒年不详。字清於，号浩如，别号兰陵女史，亦署南兰女子。武进（今江苏常州）人。诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[1554,1555,1622,1557,1637,1559,1576,1794,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374a2ed75db25d5c170942d267887b07.jpg",[6],360,{"id":172,"slug":3282,"title":3283,"dynasty":1587,"author":3284,"museum":1604,"description":3285,"tags":3286,"thumbUrl":3287,"material":1610,"size":3288,"collection":6,"collections":3289,"showCount":3280,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"hua-niao-zhou-zhao-shou-219412","花鸟轴","赵寿","画面布局疏朗空灵，留白处似有清风徐来，漾开淡远意韵。山石皴法古拙，肌理如岁月镌刻，托举柔婉花枝与挺秀竹影。鸟羽覆墨褐光泽，喙带明黄，静立枝头凝望着白花——花瓣层叠如绢，蕊心浅晕鹅黄，与叶间红果相映成趣。水仙叶片舒展如带，花姿清雅；竹枝疏斜，添萧散之态。细腻笔触勾勒生机，淡雅色调晕染文人逸致，花鸟相依、石竹为伴，静谧中藏灵动意趣，仿佛能听见枝头轻啼，嗅到花间淡香，于方寸间尽显自然与人文交融的雅致。",[1554,1637,1557,1622,1559,1592,1815,1694,1623,1749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13055a8e50fdc8f77b496181a0f0a5cb.jpg","103.8x49.2",[6],{"id":173,"slug":3291,"title":3292,"dynasty":1587,"author":3147,"museum":2296,"description":3293,"tags":3294,"thumbUrl":3300,"material":2028,"size":3301,"collection":6,"collections":3302,"showCount":3303,"zanCount":1907,"manualWeight":1568,"mainColor":1658},"si-ji-hua-niao-tu-xia-lv-ji-222392","四季花鸟图-夏","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[1553,1554,1607,2886,1637,1557,3295,3296,1693,3297,2038,3298,3299],"黄莺","野鸭","杜鹃","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","176.0×100.8",[6,1613],358,{"id":174,"slug":3305,"title":3306,"dynasty":1715,"author":3307,"museum":1604,"description":3308,"tags":3309,"thumbUrl":3311,"material":2352,"size":3312,"collection":1726,"collections":3313,"showCount":3303,"zanCount":2144,"manualWeight":1568,"mainColor":1658},"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[1553,1554,1607,1555,1622,1637,1557,1559,1879,2655,1667,2275,1955,3310],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[1726,6,1613],{"id":175,"slug":3315,"title":3316,"dynasty":3317,"author":1732,"museum":1573,"description":3318,"tags":3319,"thumbUrl":3323,"material":1610,"size":1580,"collection":6,"collections":3324,"showCount":3325,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","隋","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[1553,1554,1557,1637,1622,1559,3320,1693,3321,1930,1749,2608,1560,2666,3322],"雁","芦苇","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[6],356,{"id":176,"slug":3327,"title":3328,"dynasty":1587,"author":3329,"museum":2117,"description":3330,"tags":3331,"thumbUrl":3332,"material":1892,"size":3333,"collection":6,"collections":3334,"showCount":3335,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mu-dan-tu-zhou-lu-zhi-222369","牡丹图轴","陆治","画卷绘折枝牡丹二枝，枝头各自开放花朵，棕色在前，金色略被遮挡，花朵硕大饱满，花瓣层层叠叠，中间配以鹅黄花蕊。技法上，花朵以墨晕染，再以鹅黄点缀花蕊，绿叶细笔深绿构绘叶脉，后以淡绿晕染，清新脱俗。\n陆治，字叔平，明代画家。因居包山，自号包山。善行、楷，尤通绘事，点染花鸟竹石清新自然，山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格。",[1553,1554,1555,1622,1557,1637,1608,1593,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd605f4b1d772948191c493247cd631c3.jpg","31.7x102.8厘米",[6,1613],354,{"id":177,"slug":3337,"title":3283,"dynasty":1715,"author":3338,"museum":1604,"description":3339,"tags":3340,"thumbUrl":3345,"material":1610,"size":3346,"collection":6,"collections":3347,"showCount":3348,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"hua-niao-zhou-xiao-rong-219395","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[1553,1607,1554,1559,1622,1557,1690,2138,2278,1667,3341,3342,1560,3343,3344],"山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[6],350,{"id":178,"slug":3350,"title":3351,"dynasty":1548,"author":2972,"museum":1663,"description":3352,"tags":3353,"thumbUrl":3354,"material":1580,"size":1580,"collection":6,"collections":3355,"showCount":3356,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"ju-hua-zhou-wu-chang-shuo-236535","菊花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[1554,1555,1622,1591,1559,1795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ffe773aea11dae9ed7c7699653a8ef.jpg",[6,1934],348,{"id":179,"slug":3358,"title":3359,"dynasty":1548,"author":2359,"museum":1550,"description":2786,"tags":3360,"thumbUrl":3361,"material":2195,"size":3362,"collection":6,"collections":3363,"showCount":3364,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-2-zheng-ban-qiao-223298","竹石图2",[1553,1554,1555,1622,1591,1690,1707,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e983ebb0ad92b6de26b6800638f4370.jpg","纵217.4厘米，横120.6厘米",[6,1934],346,{"id":180,"slug":3366,"title":3367,"dynasty":1548,"author":1549,"museum":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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 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ore\u002Fthumbweb\u002F43bf0edaaa3f25a2c4a60fa09e4aa741.jpg","纵63.7厘米，横32.3厘米",[6],323,{"id":191,"slug":3464,"title":3465,"dynasty":1548,"author":2972,"museum":1683,"description":3466,"tags":3467,"thumbUrl":3469,"material":1903,"size":3470,"collection":6,"collections":3471,"showCount":3472,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","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》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[1553,1554,1555,1622,1557,1591,1688,1595,1686,1559,1689,1694,1707,3468,2183],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[6,1613],321,{"id":192,"slug":3474,"title":2105,"dynasty":1548,"author":2972,"museum":1663,"description":3475,"tags":3476,"thumbUrl":3477,"material":1557,"size":1580,"collection":6,"collections":3478,"showCount":3479,"zanCount":2968,"manualWeight":1568,"mainColor":3480},"mu-dan-tu-wu-chang-shuo-224225","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。",[1553,1607,1554,1555,1622,1557,1591,1559,1608,1688,1595,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[6,1613],320,"FFFFFF",{"id":193,"slug":3482,"title":3483,"dynasty":1715,"author":1732,"museum":1550,"description":3484,"tags":3485,"thumbUrl":3487,"material":1610,"size":3488,"collection":6,"collections":3489,"showCount":3479,"zanCount":2130,"manualWeight":1568,"mainColor":1658},"shu-kui-tu-yi-ming-218540","蜀葵图","这幅画描绘的是两枝蜀葵，枝头花开，粉红色和红色的花瓣清新娇艳，绿色的茎叶茂盛繁多。描绘细致工整，色彩丰富，墨线几乎看不到，着色漂亮，把花开的样子表现得淋漓尽致，令人陶醉。",[1554,1555,1607,2161,1557,1637,1559,3486,1815,1915],"蜀葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409cefad89ff6783fe33bcc0e3b49c14.jpg","21.5x22.9cm",[6],{"id":194,"slug":3491,"title":3492,"dynasty":1587,"author":2306,"museum":2583,"description":3493,"tags":3494,"thumbUrl":3496,"material":1892,"size":3497,"collection":6,"collections":3498,"showCount":3499,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"hua-hui-tu-ce-chen-chun-222557","花卉图册","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[1553,1554,1555,1559,1556,1686,1591,1557,1560,1608,1749,1593,3495],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[6,1613],314,{"id":195,"slug":3501,"title":3502,"dynasty":1548,"author":3503,"museum":1683,"description":3504,"tags":3505,"thumbUrl":3507,"material":1625,"size":3508,"collection":6,"collections":3509,"showCount":3499,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","王时敏","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[1553,1607,1554,1555,1622,1591,1557,1559,1637,1560,2666,1901,2125,3506],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[6],{"id":196,"slug":3511,"title":3512,"dynasty":1587,"author":3147,"museum":1683,"description":3513,"tags":3514,"thumbUrl":3516,"material":3517,"size":3518,"collection":6,"collections":3519,"showCount":3520,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[1553,1607,1554,1555,1622,1637,1557,1559,3515,1696,1667,1707,1953,1560,2608],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[6,1613],312,{"id":197,"slug":3522,"title":3523,"dynasty":1715,"author":2316,"museum":2296,"description":3524,"tags":3525,"thumbUrl":3527,"material":2028,"size":3528,"collection":1726,"collections":3529,"showCount":3530,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[1553,1554,1555,1607,1556,1637,1557,1559,1689,3526],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[1726,6,1613],311,{"id":198,"slug":3532,"title":1661,"dynasty":1648,"author":1649,"museum":2057,"description":3533,"tags":3534,"thumbUrl":3536,"material":1610,"size":3537,"collection":6,"collections":3538,"showCount":3539,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"bai-niao-chao-feng-tu-xu-xi-220047","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[1553,1607,1554,1666,1637,1557,1559,1667,1672,1671,1844,1670,2038,2138,3535],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 x 236.9",[6],308,{"id":199,"slug":3541,"title":3542,"dynasty":1715,"author":1732,"museum":1604,"description":2339,"tags":3543,"thumbUrl":2341,"material":1610,"size":1580,"collection":1726,"collections":3544,"showCount":3545,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"mei-hua-shan-cha-tu-yi-ming-220213","梅花山茶图",[1553,1554,1555,1637,1557,1559,1689,1826,1592],[1726,6],307,{"id":200,"slug":3547,"title":3548,"dynasty":1548,"author":1732,"museum":1573,"description":3549,"tags":3550,"thumbUrl":3552,"material":1610,"size":3553,"collection":6,"collections":3554,"showCount":3555,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"long-bao-tu-yi-ming-216676","龙豹图","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[1553,1607,1554,1555,1557,1637,1591,1928,3551,1879,2038,2665,1929],"豹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","87x82cm",[6],306,{"id":201,"slug":3557,"title":3558,"dynasty":1548,"author":1662,"museum":3559,"description":3560,"tags":3561,"thumbUrl":3562,"material":3563,"size":3564,"collection":6,"collections":3565,"showCount":3566,"zanCount":2130,"manualWeight":1568,"mainColor":1658},"he-tang-yuan-yang-tu-shen-quan-223166","荷塘鸳鸯图","安徽省博物馆","夏天，荷花风光，荷叶盛开，老嫩枯萎，随风飘扬，荷花枝叶高高突出。\n荷花或盛开，或抱以待放。 淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[1553,1554,1555,1607,1622,1637,1557,1559,1577,1578,2556,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[6,1613],304,{"id":202,"slug":3568,"title":3569,"dynasty":1715,"author":3570,"museum":1604,"description":3571,"tags":3572,"thumbUrl":3577,"material":1625,"size":3578,"collection":6,"collections":3579,"showCount":3580,"zanCount":2130,"manualWeight":1568,"mainColor":1569},"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","牧溪","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[1553,1554,1555,1666,1591,1762,1686,1559,1560,3573,1690,1692,1608,2687,1592,3574,3575,2426,2014,3576,1693,1638,1694],"蔬果","白菜","萝卜","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[6],302,{"id":203,"slug":3582,"title":3583,"dynasty":1633,"author":1634,"museum":1604,"description":3584,"tags":3585,"thumbUrl":3593,"material":2320,"size":3594,"collection":1726,"collections":3595,"showCount":3596,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[1553,1554,1607,1557,1637,1670,3586,1749,1559,1555,3587,3588,3589,1560,1764,2038,3590,3591,3592,2665,1816],"蜜蜂","设色花鸟","工笔花鸟","元代绘画","传统绘画","工笔设色","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[1726,6,1613],301,{"id":204,"slug":3598,"title":3486,"dynasty":1715,"author":1732,"museum":1604,"description":3599,"tags":3600,"thumbUrl":3601,"material":1610,"size":1580,"collection":6,"collections":3602,"showCount":3596,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"shu-kui-yi-ming-216104","画面中蜀葵悄然绽放，花瓣层叠如轻绡，粉晕从瓣尖漫向花心，似沾了晨露的柔媚。叶片脉络纤细如丝，墨绿间晕染浅碧，藏着风过的微颤。枝干斜逸有致，不带刻意雕琢的匠气，却透着自然生长的生趣。古雅的底色衬得花姿愈发清雅，每一笔都凝着宋人对万物的细腻观照——不追繁复，只撷取蜀葵最动人的一瞬，以温润笔触将娇妍与静谧锁于方寸。无炫技的华丽，唯有物态的鲜活与文人的雅致，恰是宋画“以形写神”的韵味：似能嗅到淡香浮动，触到叶片微凉，让观者于静穆中感知生命的鲜活。",[1553,2546,1554,1607,2161,1637,1557,1559,3486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b86c98450e1da128f001588b205adf.jpg",[6],{"id":205,"slug":3604,"title":3605,"dynasty":1587,"author":2913,"museum":1604,"description":3606,"tags":3607,"thumbUrl":3609,"material":2195,"size":3610,"collection":6,"collections":3611,"showCount":3612,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"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。",[1553,1554,1555,1622,1637,1557,1559,1694,3608,1595],"蜡梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16cf1c9094975ec18e1391b0dc61eace.jpg","195.8x44厘米",[6,1613],300,{"id":206,"slug":3614,"title":3615,"dynasty":1984,"author":1985,"museum":1683,"description":3616,"tags":3617,"thumbUrl":3621,"material":1625,"size":3622,"collection":6,"collections":3623,"showCount":3612,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"wu-ya-song-shu-tu-qi-bai-shi-216929","乌鸦松树图","乌鸦松树图是齐白石的一幅著名画作。这幅画描绘了一棵古老的松树，上面停满了乌鸦。树上的乌鸦象征着松树的历史和沧桑。这幅画被认为是齐白石最伟大的作品之一，因为它成功地将自然与人类的悲剧融合在一起。乌鸦松树图也被认为是中国画中最具有感染力的作品之一。",[1553,1554,1591,1622,1688,3618,3619,3620,1686],"乌鸦","松树","松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba80710e587f7a5c2c36e7bf418b96d.jpg","182.8x48.7cm",[6],{"id":207,"slug":3625,"title":3626,"dynasty":1548,"author":2924,"museum":1663,"description":3627,"tags":3628,"thumbUrl":3629,"material":1580,"size":1580,"collection":6,"collections":3630,"showCount":3631,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"hua-hui-qi-shi-ce-shi-er-kai-ju-lian-224369","花卉奇石册-十二开","此作以玲珑拳石为视觉中心，通透窍洞破开画面虚实，石上草虫振翅欲飞，翅脉纤毫毕现，将微末生机藏于静境之中。\n\n石畔幽花柔叶舒展，细茎擎着星状小花，素白鹅黄点缀苔痕苍润的坡岸，淡赭底色晕开旧绢的温雅质感。画作以没骨之法写就，敷色清妍秀润，奇石以淡墨勾形再晕染石色，苍润古拙不凝滞。\n\n静石、幽花与小虫相映成趣，将岭南边角野景的清逸意趣晕染尽致，淡远恬和间尽显小品雅致，把寻常小景升华为充满生机的清雅画境，藏着独属于晚晴的细腻闲情。",[1553,1554,1555,1607,1556,1637,1557,1707,1560,1764,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee4772b0b0bf227b89265b6f3697b9a.jpg",[6,1613],299,{"id":208,"slug":3633,"title":3634,"dynasty":1548,"author":2972,"museum":1663,"description":3475,"tags":3635,"thumbUrl":3636,"material":1892,"size":1580,"collection":6,"collections":3637,"showCount":3638,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"shen-xiang-ting-mu-dan-tu-wu-chang-shuo-224224","沈香亭牡丹图",[1553,1554,1555,1622,1557,1686,1559,1608,1696,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c9d82e7f776cb18bd2518ac5c4a852.jpg",[6,1613],296,{"id":209,"slug":3640,"title":3641,"dynasty":1548,"author":2035,"museum":1683,"description":3642,"tags":3643,"thumbUrl":3646,"material":1625,"size":1580,"collection":2141,"collections":3647,"showCount":3638,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"bai-lu-tu-zhu-da-218774","柏鹿图","虬枝如铁，苍柏孑立，似承霜雪之重。白鹿昂首，长颈引向天际，目含清寂，身姿简括却筋骨隐现。墨色浓淡相济，枝干的枯涩与鹿身的柔劲相映，留白处更显空远孤高。画面无喧嚷，唯有冷寂中透出的坚守，恰如画家心境——于乱世中抱守孤洁，以物寄情，将满腔郁勃化入简淡笔墨，自成一派清绝之境。笔意纵逸却不失沉稳，每一处线条都藏着内敛的力量，让苍柏与白鹿成为跨越时空的精神载体，静静诉说着那份独属于旧朝遗民的孤傲与怅惘。",[1553,1554,1591,1622,1686,2274,1879,3644,3645,2137,1707],"鹿","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33c355a23e9081c6ca7d116aca7e485.jpg",[2141,6],{"id":210,"slug":3649,"title":3650,"dynasty":1633,"author":3651,"museum":2296,"description":3652,"tags":3653,"thumbUrl":3654,"material":2320,"size":3655,"collection":6,"collections":3656,"showCount":3657,"zanCount":1907,"manualWeight":1568,"mainColor":1569},"lan-tu-xue-chuang-221703","兰图","雪窗","简洁而秀逸的兰花，生于幽谷，遗世独立，清雅高洁。在历朝历代文人雅士的笔下，以兰花为表现对象的作品比比皆是。 画兰究竟始于何时已无法考证。《全唐诗》载有牟融《山寺律僧画兰竹》诗。查阅 唐宋绘画史专著，未见有关唐宋画家画兰的记载。史传宋杨补之画过兰花，但作品没有流传下来。有作品流传的画兰名家，当以徐禹功、赵孟坚、郑思肖为最早。其次如赵孟頫、赵雍、王英孙、释道隐、释明雪窗、李至规等亦擅画兰。\n释明雪窗 （？－约1352），元代僧人，画家，以画兰花闻名于世。俗姓曹，号雪窗，法号普明，通称明雪窗，松江（今属上海市）人，在平江出家。至元四年（1338）曾为平江虎丘云岩寺主持，后改为承天能仁主持。精于针灸，擅画兰。与释柏子庭齐名，时称“家家恕斋（班惟志）字，户户雪窗兰”。\n四海出家，同称释氏，中国佛教的出家人都姓释迦牟尼的“释”。在中国美术史上，都把这位元代画兰高僧称为“释明雪窗”，其实应该和石涛、髡残一样，把他称为“明雪窗”。雪窗和尚的画和他的名字一样，在今天鲜为人知，但在大师辈出的元代，雪窗和尚的兰花可谓是家喻户晓，我们无法想象“家家恕斋字，户户雪窗兰”所描述的是一种怎样的景象。\n元人孔齐撰《至正直记》（又名《静斋至正直记》、《静斋类稿》）是作者避兵四明时写的一部见闻杂记，内容包括当时政治、经济状况，器物制作情况，文学、艺术成就和当时的人文社会习俗，是一部很有资料价值的笔记。《至正直记》卷二有《画兰法》一文，记载了一位名叫郎玄隐的道士向孔齐传授明雪窗画兰技法，这些方法和今天画兰教科书里的方法并无二致。",[1553,1554,1555,1591,1559,1695,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c046834cdc068347a37c68ff699feb.jpg","32.9 36.0",[6,1934],295,{"id":211,"slug":3659,"title":3660,"dynasty":1587,"author":3110,"museum":1683,"description":3661,"tags":3662,"thumbUrl":3663,"material":1846,"size":3664,"collection":6,"collections":3665,"showCount":3666,"zanCount":2130,"manualWeight":1568,"mainColor":1658},"zhu-he-tu-zhou-bian-wen-jin-221941","竹鹤图轴","图中一对仙鹤姿态优雅，轩昂高洁，在翠竹间怡然自得。画家以工细的笔法描绘仙鹤的形象，高超的技法使笔触融汇于物象之中，仙鹤洁白轻盈的羽毛片片分明，好似浮在画面之上，令观者屏息凝神。仙鹤的头颈与尾羽处则用重墨，再加上鹤顶的一点丹红，格外醒目。画竹以墨笔双勾再施色彩。全幅设色对比鲜明，整体画风是边景昭的典型风格，承继了五代黄筌以及宋代画院花鸟画的富贵品貌，带有浓郁的宫廷气息。",[1553,1607,1554,1555,1622,1637,1557,1559,1690,1671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed729de72a5a8f756cc02b29a5044bdd.jpg","纵180.4厘米，横118厘米",[6,1613],294,{"id":212,"slug":3668,"title":3669,"dynasty":1633,"author":2271,"museum":1604,"description":3670,"tags":3671,"thumbUrl":3672,"material":1625,"size":3673,"collection":6,"collections":3674,"showCount":3675,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"zhu-zhi-ni-zan-218666","竹枝","竹枝以中锋铁线勾勒，瘦劲如屈铁，竹叶疏疏落落，墨色清润中见骨力。枝干挺拔却不僵滞，叶片似含风微动，寥寥数笔便逸气横生。右侧题跋与竹影相映，书法萧散古雅，笔墨与文字浑然一体，尽显文人画“书画同源”之妙。画面留白空灵，古纸的淡褐底色衬得竹影愈发清寂，仿佛风过竹梢的轻响穿透纸面，窥见画家淡泊孤高的心境——不逐繁艳，独守疏朗，以极简之笔写尽竹之神韵与文人风骨。",[1553,1554,1555,1556,1591,2120,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec0cb571fce64d130bde86f086a5564.jpg","55.1x31.8cm",[6],293,{"id":213,"slug":3677,"title":3678,"dynasty":1548,"author":2328,"museum":1663,"description":3679,"tags":3680,"thumbUrl":3681,"material":1784,"size":1785,"collection":6,"collections":3682,"showCount":3683,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239446","邹一桂花鸟草虫图册","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[1554,1607,1555,1556,1637,1557,1689,1592,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b48b273c29caa21ee18f0cd382bb4.jpg",[6,1613],292,{"id":214,"slug":3685,"title":3686,"dynasty":1548,"author":2359,"museum":1663,"description":3687,"tags":3688,"thumbUrl":3689,"material":1580,"size":1580,"collection":6,"collections":3690,"showCount":3691,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"zheng-xie-lan-zhu-ju-tu-zhou-zheng-ban-qiao-237929","郑燮兰竹菊图轴","清代官吏、书画家、文学家。名燮，字克柔，江苏兴化人。康熙秀才、雍正举人、乾隆元年进士。“扬州八怪”之一。历官山东范县、潍县知县，有惠政。以请臻饥民忤大吏，乞疾归。诗书画均旷世独立，人称三绝。有《板桥全集》。",[1554,1591,1686,1688,1622,1695,1690,1696,2183,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c9ee82db8bf4c30827b6a0b1e18900.jpg",[6,1934],289,{"id":215,"slug":3693,"title":3694,"dynasty":1548,"author":1732,"museum":1573,"description":3695,"tags":3696,"thumbUrl":3698,"material":1610,"size":3699,"collection":6,"collections":3700,"showCount":3701,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"he-li-shi-zhu-tu-yi-ming-218955","鹤立石柱图","振翅的鹤，白羽层叠如凝雪，墨羽缀于翼尖似泼墨，长颈曲转间自有灵韵。双爪紧扣嶙峋石柱，石柱立于翻涌的浪涛之上，岩纹与水纹交织出苍劲古意。深褐底色衬得鹤羽愈发明净，动静相生间，似有清唳破风而来，尽显生灵与天地相融的傲然之态。笔意细腻处见羽毛纤毫，粗犷处显山石磅礴，于方寸间藏万千气象，足见匠心独运。",[1554,1555,1637,1557,1622,1667,1671,1707,3697,1559],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5174cd1ea8ffbe0f8da17cfa3f06a65b.jpg","171x89cm",[6],285,{"id":216,"slug":3703,"title":3704,"dynasty":1548,"author":1549,"museum":2211,"description":2212,"tags":3705,"thumbUrl":3706,"material":2320,"size":3707,"collection":6,"collections":3708,"showCount":3709,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"hua-hui-tu-ce-tao-hua-yun-shou-ping-220995","花卉图册·桃花",[1553,1554,1555,1556,1557,1558,1559,1638,1560,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb300ee60f9ba34664528d3e4e7228c38.jpg","每帧纵32.5厘米，横25.5厘米",[6,1613],284,{"id":217,"slug":3711,"title":3712,"dynasty":1715,"author":2083,"museum":1604,"description":3713,"tags":3714,"thumbUrl":3717,"material":1610,"size":3718,"collection":6,"collections":3719,"showCount":3720,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"cheng-huang-ju-lv-tu-lin-chun-215108","橙黄橘绿图","橙黄橘绿图是宋朝著名画家林椿的代表作之一。这幅画作品以其鲜艳的色彩和生动的画风而闻名。\n\n橙黄橘绿图描绘了一个山水田园风光的场景，画面中有美丽的山峦、流动的河流、茂密的树林、漫山遍野的果树以及田田温馨的农舍。画中还有许多动物和人物，丰富了画面的内容。\n\n林椿在橙黄橘绿图中运用了丰富的色彩，让这幅画作充满了生机和活力。他使用的是深浅不一的黄色、橙色、绿色等色彩，使画面显得栩栩如生。\n\n橙黄橘绿图被誉为宋朝山水画的杰作，其中蕴含着林椿对自然界的敬畏和深刻的观察。它不仅是一幅美丽的画作，更是一份对自然的热爱和尊重的见证。",[1553,1607,1554,1555,1556,1637,1557,1559,3715,3716,1593],"橙","橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdd9d36a11dabb7bd116b3d6c267f63.jpg","23.8x24.3cm",[6],283,{"id":218,"slug":3722,"title":3723,"dynasty":1548,"author":2924,"museum":1663,"description":3724,"tags":3725,"thumbUrl":3726,"material":1580,"size":1580,"collection":6,"collections":3727,"showCount":3728,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"hua-hui-si-ping-zhi-yi-ju-lian-224364","花卉四屏之一","此作用笔兼工带写，艳红凌霄花晕染鲜活，明丽暖调点亮画面，虬曲藤蔓以枯笔勾勒，苍劲老辣尽显古拙质感。湖石以淡墨勾皴，空灵通透的孔洞颇具玲珑意趣，与柔蔓繁花形成刚柔对照。\n\n两只螳螂纤毫毕现，身形灵动写实，悄然栖于枝桠，暗藏盛夏幽丛间的野趣。画面疏密错落，花叶垂曳、顽石静立，草虫点缀出鲜活生机，将庭院小景的清幽雅致尽数铺展，尽显清丽脱俗的花鸟意韵。",[1553,1554,1555,1622,1637,1557,1559,2124,1901,1560,1749,1989,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb303d0182d4e4c3f71398cf0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(Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[1553,1554,1555,1556,1591,1843,2275,1707,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[6],{"id":220,"slug":3736,"title":3737,"dynasty":1548,"author":2056,"museum":1573,"description":3738,"tags":3739,"thumbUrl":3742,"material":1563,"size":3743,"collection":6,"collections":3744,"showCount":3728,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mo-zui-za-hua-tu-ce-shi-tao-214566","墨醉杂画图册","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[1553,1607,1554,1555,1556,1591,1557,1843,1841,1707,3740,3741],"柳树","野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe201a3420f1c56b81b5ab47c63b832a.jpg","纵51.4厘米，横35.4厘米",[6],{"id":221,"slug":3746,"title":3747,"dynasty":1715,"author":2404,"museum":1604,"description":3748,"tags":3749,"thumbUrl":3751,"material":2028,"size":3752,"collection":1726,"collections":3753,"showCount":3754,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"yi-yun-xian-xing-tu-ye-ma-yuan-221513","倚云仙杏图页","此图绘一枝杏花轻灵润秀、堆粉砌霜之姿。用笔精细工整，设色淡雅，气韵生动。",[1553,1554,1555,1556,1557,1637,1559,3750,1595],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691f620dcbbcac861019cd1c8d7a54bc.jpg","25.8X27.3",[1726,6,1613],280,{"id":222,"slug":3756,"title":3757,"dynasty":1633,"author":1634,"museum":1683,"description":3758,"tags":3759,"thumbUrl":3760,"material":1892,"size":3761,"collection":6,"collections":3762,"showCount":3763,"zanCount":2130,"manualWeight":1568,"mainColor":1569},"ba-hua-tu-juan-qian-xuan-221707","八花图卷","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[1553,1554,1555,1666,1557,1637,1559,1694,1608,2162,2453,2214,1638,1827,1796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纵29.4厘米，横333.9厘米",[6,1613],279,{"id":223,"slug":3765,"title":3766,"dynasty":1548,"author":1549,"museum":2117,"description":3767,"tags":3768,"thumbUrl":3772,"material":2320,"size":3773,"collection":6,"collections":3774,"showCount":3763,"zanCount":2113,"manualWeight":1568,"mainColor":1569},"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[1553,1554,1555,1666,1557,1843,2274,1844,3769,2138,2501,3770,2038,3771],"湖","小桥","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 57.6cm",[6,1613],{"id":224,"slug":3776,"title":3777,"dynasty":1587,"author":3778,"museum":1683,"description":3779,"tags":3780,"thumbUrl":3781,"material":1610,"size":3782,"collection":6,"collections":3783,"showCount":3784,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"mei-hua-shuang-qin-juan-chen-ji-ru-216937","梅花双禽卷","陈继儒","梅花双禽卷是中国明朝时期陈继儒所作的一幅山水画。这幅画描绘了两只居于梅花树下的雄鹰，它们正在寻找猎物。画中的景象十分写实，雄鹰的羽毛细腻而生动，而梅花树下的草地也非常逼真。梅花双禽卷被认为是陈继儒最杰出的作品之一，并被誉为“中国画史上的经典之作”。",[1553,1554,1666,1557,1559,1689,1592,1562,1595,1594,2125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b7f00452e9bbd679851fd52e23c4e.jpg","纵32.5cm，横256.5cm",[6],277,{"id":225,"slug":3786,"title":3787,"dynasty":1587,"author":2134,"museum":3788,"description":3789,"tags":3790,"thumbUrl":3791,"material":1625,"size":1580,"collection":6,"collections":3792,"showCount":3793,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mo-hua-ce-shen-zhou-214925","墨花册","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[1553,1607,1554,1591,1556,1559,1560,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f196629d6204bca22e9e6f450463f95.jpg",[6],276,{"id":226,"slug":3795,"title":3796,"dynasty":1548,"author":3797,"museum":1683,"description":3798,"tags":3799,"thumbUrl":3800,"material":3801,"size":3802,"collection":6,"collections":3803,"showCount":3804,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"song-mei-tu-hong-ren-216100","松梅图","弘仁","此卷分前后两段。前段画末有弘仁书写的程守蚀庵《省静堂集·一年诗》中的七言绝句《遍阅山中诸碑》，款署：“丙申春日偶写揭蚀庵集因一绝。渐江学人。”钤“渐江僧”白文印。\n前段图绘虬龙盘曲的苍松和棱角分明的怪石。弘仁的松石是对黄山松石的真实写照，石涛言：“公游黄山最久，故得黄山之真性情也，即一木一石，皆黄山本色。”图中的松石以粗犷霸悍的行笔、淋漓酣畅的施墨表现，具有弘仁晚年豪放洒脱的画风特点，简洁的构图体现出诗意中的空寂。\n后段图绘水墨梅花。梅不畏严寒、高标独立的精神正是作者所追求的人生品格。弘仁一生最喜画梅，自号“梅花古衲”，创作出大量以梅为主题的佳作，此卷便是其中之一。图中的梅枝如曲铁，婉转中呈现刚毅不屈之态。其简约的格局，精谨的笔墨，结构出一派纯净、幽旷而又俊逸的意境。",[1553,1554,1555,1666,1591,2274,1562,1595,1691,1689,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fadfb3b3275d62e25c91b495f8cfe05.jpg","绢本,设色,水墨","前段设色，纵27.8厘米，横269.7厘米；后段墨笔，纵27.8厘米，横86.7厘米",[6],275,{"id":227,"slug":3806,"title":3807,"dynasty":1548,"author":1549,"museum":1604,"description":2106,"tags":3808,"thumbUrl":3809,"material":1557,"size":3810,"collection":6,"collections":3811,"showCount":3812,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"mu-dan-tu-ce-yun-shou-ping-220991","牡丹图册",[1553,1554,1555,1557,1559,1696,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1509bd428d413830e6d87672ff9b19.jpg","49.2x88.2",[6,1613],274,{"id":228,"slug":3814,"title":3815,"dynasty":1587,"author":2717,"museum":1683,"description":3816,"tags":3817,"thumbUrl":3818,"material":3819,"size":3820,"collection":6,"collections":3821,"showCount":3822,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"bai-hua-tu-zhou-zhi-mian-222416","百花图","是图有作者自识：“萬曆壬寅(1602年)秋日寫，汝南周之冕。”系周之冕的晚年之作。该图勾画了四季花卉，其中木本花卉多为折枝。画家将吴派的写意山水笔墨转化为花鸟画的造型语言，形成了勾花点叶派。画家以写意的手法勾写或涂抹出花叶、枝干，随意之中透露着明快和清雅，反映出文人画家淡泊不羁的胸臆。\n清《石渠宝笈·三编》著录。",[1553,1554,1555,1557,1637,1559,1666,1689,1638,1652,1560,1593,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a3ecd116129eeb96dfb86398c9a098.jpg","纸本，墨笔","纵31.5厘米，横706厘米",[6,1613],273,{"id":229,"slug":3824,"title":3825,"dynasty":1587,"author":2717,"museum":1683,"description":3826,"tags":3827,"thumbUrl":3828,"material":1580,"size":1580,"collection":6,"collections":3829,"showCount":3830,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"he-hua-yuan-yang-zhou-zhou-zhi-mian-239086","荷花鸳鸯轴","此图画面下部绘有一对鸳鸯，活跃在荷塘水草之中，一只雄性的徴莺，正潜水觅食，双翅合拢，羽尾上翘，伸颈张嘴，正在捕捉食物。另一只雌性站立在荷塘岸上，扭弯脖颈，双目炯炯有神，正在注视河水中正在捕食的雄性。画面的背景主要集中右上方，右侧湖石从旁伸展，湖石造型奇特，玲珑别透，湖石上面有一棵廾满花朵的花树，枝干弯曲，伸向画面左中侧。湖石旁有数株荷叶，荷茎挺拔，荷花盛开，荷叶有的平展，有的悬垂，荷叶整、残相间，另间有其水草。\n此图写湖石、荷花、鸳鹫，形象通真，生动传神。画面清秀，笔墨自然，设色艳丽。此画是周氏用勾花点叶画法画的一幅典型作品，作者把草书的笔法融汇到画法中去，运笔疾速，枝叶的穿插、花朵的安排都恰到好处。作品用笔简洁、概括，例如河岸、湖石的画法，用粗笔勾勒，只有很少的儿笔魃染，寥寥数笔却颇具形态，水面大部分空白，只以淡淡的几条水纹表现水的存在，却有动感，杂草看去似不经心之笔却错落有致。鸳鸯的造型是在写实的基础上略有变化。两只鸳鹫神态各异，但都生动自然，日似点漆，颇具精神。鸳鹫大部分以淡墨浅设色写出，颈部、背部的毛用纤细的笔法画出，根根可见，表现出画家娴熟的工笔技法。头、尾、足又巧妙地利用了生纸的性能，水墨自然晕开，甚为生动，翅膀用笔虽较硬，但由于水墨涸晕的效果，把羽毛丰满的鸳鸯形象表现得淋漓尽致。兼工.带写，别具一格。鸳整体设色浓淡得宜立体感很强。荷花采用匀花点叶法，花以线条勾出，叶子则直接落笔成形，然后以墨勾叶筋，荷花设色淡雅，清新自然。这一切都显示了画家的笔墨造形功力。",[1554,1607,1622,1559,1557,1637,1577,2556,1592,1578,1953,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[6,1613],272,{"id":230,"slug":3832,"title":3833,"dynasty":1548,"author":3834,"museum":1683,"description":3835,"tags":3836,"thumbUrl":3837,"material":1580,"size":1580,"collection":6,"collections":3838,"showCount":3839,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"tao-hua-ce-ye-ma-yuan-yu-238946","桃花册页","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[1554,1555,1556,1557,1559,1638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c4fb8323fe9cc6ab422db9d25bae45.jpg",[6,1613],270,{"id":231,"slug":3841,"title":2784,"dynasty":1548,"author":2250,"museum":1663,"description":3842,"tags":3843,"thumbUrl":3844,"material":1802,"size":1580,"collection":6,"collections":3845,"showCount":3839,"zanCount":2144,"manualWeight":1568,"mainColor":1658},"lan-zhu-tu-wang-shi-shen-220147","汪士慎工诗及八分书，画水仙、梅花清妙独绝。金农谓其画梅之妙，与高西唐（翔）异曲同工。汪士慎画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。西唐画疏枝半开蝉朵，用玉楼人口脂抹一点红，良缣精楮，各臻其微。汪士慎老而目瞽，为人画梅，或作八分书，工妙胜于未瞽时。精篆刻，与张潜乙、金筋齐名",[1553,1554,1555,1622,1591,2120,1695,1690,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02b3c39e8909994e36da16ef7bad4da.jpg",[6],{"id":232,"slug":3847,"title":3848,"dynasty":1548,"author":2935,"museum":2748,"description":3849,"tags":3850,"thumbUrl":3852,"material":1610,"size":3853,"collection":6,"collections":3854,"showCount":3839,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[1553,1554,1555,1622,1637,1557,1559,2331,3851,1667,1707,1844,1796,2075,2278,3458],"山雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[6,1613],{"id":233,"slug":3856,"title":3857,"dynasty":1587,"author":2134,"museum":2117,"description":3858,"tags":3859,"thumbUrl":3860,"material":1892,"size":3861,"collection":6,"collections":3862,"showCount":3863,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"ping-he-tu-shen-zhou-222118","瓶荷图","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[1553,1554,1555,1622,1557,1577,1578,2183,1637,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","60x143cm",[6,1613],267,{"id":234,"slug":3865,"title":3866,"dynasty":1587,"author":1973,"museum":1717,"description":3867,"tags":3868,"thumbUrl":3870,"material":1610,"size":3871,"collection":6,"collections":3872,"showCount":3863,"zanCount":2144,"manualWeight":1568,"mainColor":1658},"ping-hua-tu-chen-hong-shou-214701","瓶花图","陈洪绶用菊花和霜叶画了一个瓶子，以庆祝另一个人的生日。有些学者认为，在明朝晚期没有这么大的玻璃瓶。",[1553,1554,1555,1637,1557,3869,1696,1815,1562,1688],"瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf52640088b9212d2c81a4c6b72f18a8.jpg","174.5x98",[6],{"id":235,"slug":3874,"title":3875,"dynasty":1548,"author":3876,"museum":1663,"description":3877,"tags":3878,"thumbUrl":3879,"material":1784,"size":1785,"collection":6,"collections":3880,"showCount":3881,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"shan-shui-hua-niao-ce-yang-jin-239058","山水花鸟册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[1554,1555,1556,1591,1557,1559,1692,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2612a5bb23dac773d1efcf83ecb99dd1.jpg",[6,1613],262,{"id":236,"slug":3883,"title":3884,"dynasty":1587,"author":1588,"museum":1683,"description":3885,"tags":3886,"thumbUrl":3887,"material":1563,"size":3888,"collection":6,"collections":3889,"showCount":3881,"zanCount":2324,"manualWeight":1568,"mainColor":1658},"yu-tang-zhi-lan-tu-sun-ke-hong-219121","玉堂芝兰图","图绘拳石之旁，玉兰、兰花竞相开放。花、石的技法均极工细，玉兰花用粉多次轻染分出浓淡，再用工笔勾勒烘托出花瓣的肥大白嫩。枝干双勾填色并施以皴擦，极富质感。山石的技法是先以淡墨勾出轮廓，然后用浓淡墨多次晕染，逐渐加深，直至显现出丰富的前后层次及石体的细腻。山石玲珑剔透而刚硬，玉兰和兰花​​​​​​​婀娜多姿而柔媚。本幅设色明丽清亮，层次细密，变化微妙，典雅端丽，属作者绘画山水之作品。",[1553,1554,1555,1622,1637,1557,1559,1652,1695,2038,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[6],{"id":237,"slug":3891,"title":3892,"dynasty":1587,"author":1682,"museum":1683,"description":3893,"tags":3894,"thumbUrl":3896,"material":3897,"size":3898,"collection":6,"collections":3899,"showCount":3900,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"ren-wu-hua-hui-ce-xu-wei-233464","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[1554,1555,1607,1556,1591,1686,1577,1578,3895],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351e01471d4a02f5b5c49d72a35b166f.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[6,1934],260,{"id":238,"slug":3902,"title":3903,"dynasty":1715,"author":1923,"museum":3904,"description":3905,"tags":3906,"thumbUrl":3907,"material":1625,"size":3908,"collection":6,"collections":3909,"showCount":3910,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"xi-zhu-long-tu-chen-rong-219265","戏珠龙图","苏宁博物馆","墨色淋漓间，矫健龙身腾跃于云雾之中，鳞爪飞扬，气势磅礴。龙首昂扬，双目炯炯，似与宝珠相戏，动感十足。画家以浓淡干湿的笔墨变化，勾勒出龙的刚劲体态与云雾的缥缈朦胧，虚实相生间尽显龙的威严与神秘。画面中题跋与印章错落，承载着历史印记，更添古朴厚重之感。整幅作品将龙的祥瑞之气与艺术的笔墨神韵融为一体，是传统龙题材绘画中的经典之作，尽显东方美学的独特魅力。",[1607,1554,1555,1666,1591,1928,1929,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc419787f4a611822757835e84e90923c.jpg","纵32.5横237.5厘米",[6],258,{"id":239,"slug":3912,"title":3913,"dynasty":1715,"author":2022,"museum":3914,"description":3915,"tags":3916,"thumbUrl":3917,"material":2028,"size":3918,"collection":1726,"collections":3919,"showCount":3920,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[1553,1554,1555,1559,1637,1557,1638,1667,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[1726,6,1613],257,{"id":240,"slug":3922,"title":3923,"dynasty":1548,"author":3924,"museum":1683,"description":3925,"tags":3926,"thumbUrl":3928,"material":1563,"size":3929,"collection":6,"collections":3930,"showCount":3920,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"hong-lian-lv-zao-tu-tang-guang-220380","红莲绿藻图","唐炗","此图是唐炗（音光）与恽寿平联手为祝王翚40岁诞辰所作。唐炗绘荷花，恽寿平画荇藻。荷花与荇藻皆采用了没骨法，透露出轻盈飘逸与湿润的感觉。微风中，仿佛莲叶与荷花的清香淡淡而来。水塘里荇藻则用一笔点画。状物形神兼备，风格清新淡雅。",[1553,1554,1555,1622,1637,1557,1559,1577,1578,3927],"绿藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce64fa92c044787704676762c01daae.jpg","纵135.7厘米，横59厘米",[6,1613],{"id":241,"slug":3932,"title":2892,"dynasty":1648,"author":2605,"museum":1604,"description":3933,"tags":3934,"thumbUrl":3935,"material":1610,"size":3936,"collection":6,"collections":3937,"showCount":3920,"zanCount":2113,"manualWeight":1568,"mainColor":1569},"shan-cha-tu-huang-quan-218755","这幅画以丰富的色彩描绘了一朵退去的山茶花，花和叶子都用土金勾勒，丰富而美丽，是一场视觉盛宴。",[1553,1554,1555,1559,2161,1637,1557,1826,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b503e3c5d376270f52b0dba78e04e9.jpg","23.3x24.6厘米",[6],{"id":242,"slug":3939,"title":2413,"dynasty":1548,"author":2035,"museum":1663,"description":3940,"tags":3941,"thumbUrl":3942,"material":1784,"size":1785,"collection":6,"collections":3943,"showCount":3944,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"za-hua-ce-zhu-da-237935","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[1554,1591,1556,1686,2608,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70d916505230aa21d22544d3ff8bc6d.jpg",[6],256,{"id":243,"slug":3946,"title":3947,"dynasty":1548,"author":2972,"museum":1663,"description":3352,"tags":3948,"thumbUrl":3949,"material":1580,"size":1580,"collection":6,"collections":3950,"showCount":3944,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mei-hua-zhou-wu-chang-shuo-236555","梅花轴",[1607,1554,1555,1622,1591,1557,1827,1707,1686,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cde97128964b36df30a12461f59e8a.jpg",[6,1613],{"id":244,"slug":3952,"title":3953,"dynasty":1548,"author":2972,"museum":1683,"description":3954,"tags":3955,"thumbUrl":3956,"material":1580,"size":1580,"collection":6,"collections":3957,"showCount":3958,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"ba-jiao-mu-dan-zhou-wu-chang-shuo-236892","芭蕉牡丹轴","此画充分利用了水、墨二者的结合及浸渍变化，以饱含水分的笔触，率性而作，洗练简阔，却有神情气爽之感。\n吴昌硕（1844年~1927年），初名俊，后改俊卿，字昌硕，号缶庐、苦铁等，浙江安吉人。善书法，精篆刻，工诗擅画。其大写意花鸟，博取徐渭、八大、石涛、李鱓、赵之谦诸家之长，以篆、隶、狂草笔意入画，用笔雄健古拙，用墨酣畅淋漓，着色艳丽富贵，可谓匠心独运，为中国近代杰出的艺术家，海派主要画家之一。",[1607,1554,1555,1622,1557,1591,1559,1686,1608,1877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b7aefc21c35bfdb8ce148ec1e96f63.jpg",[6,1613],252,{"id":245,"slug":3960,"title":1586,"dynasty":1587,"author":3961,"museum":1663,"description":3962,"tags":3963,"thumbUrl":3965,"material":1784,"size":1785,"collection":6,"collections":3966,"showCount":3967,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"hua-niao-ce-tan-zhi-yi-235720","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[1554,1637,1557,1556,1559,3964,1593],"杨梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181ec405e55e4ff9733d37e050394af1.jpg",[6],250,{"id":246,"slug":3969,"title":3970,"dynasty":1715,"author":1811,"museum":1604,"description":2727,"tags":3971,"thumbUrl":2731,"material":1610,"size":3973,"collection":1726,"collections":3974,"showCount":3967,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"xing-hua-tu-zhao-chang-220176","杏花图",[1553,1607,1554,1555,3972,1557,1637,1559,2729,1594,1595],"团扇","纵25.2厘米，横27.3厘米",[1726,6],{"id":247,"slug":3976,"title":3977,"dynasty":1715,"author":3307,"museum":1604,"description":3978,"tags":3979,"thumbUrl":3981,"material":1610,"size":3982,"collection":1726,"collections":3983,"showCount":3984,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"zhu-ou-tu-cui-bai-219216","竹鸥图","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[1553,1554,1559,1557,1637,1690,3980,2278,2013],"白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","101.3x49.9cm",[1726,6,1613],242,{"id":248,"slug":3986,"title":3987,"dynasty":1548,"author":1732,"museum":1717,"description":3988,"tags":3989,"thumbUrl":3991,"material":1563,"size":1580,"collection":6,"collections":3992,"showCount":3984,"zanCount":2144,"manualWeight":1568,"mainColor":1658},"hu-tu-yi-ming-216736","虎图","猛虎蹲踞于地，双目炯炯凝视前方，蓄势待发的姿态暗藏山林王者的威慑。墨线勾勒斑纹，浓淡交错间晕染出毛发的细腻层次，笔触兼具工致与雄健。背景丛草以简笔写意，虚实相生中凸显虎的主体地位。整体色调古朴沉敛，虽佚名却见娴熟笔墨功底，将虎的威猛与沉静之态融于画面，尽显清代兽畜画写实与传神的特质，静中寓动，气韵生动。",[1554,1555,1761,1557,1637,3990,1879,1955],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93c5c1a0ef67b390978f2e35d1221fd.jpg",[6],{"id":249,"slug":3994,"title":3351,"dynasty":1548,"author":2972,"museum":1550,"description":3995,"tags":3996,"thumbUrl":3997,"material":1802,"size":3998,"collection":6,"collections":3999,"showCount":4000,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"ju-hua-zhou-wu-chang-shuo-237437","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。” [2] 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》。",[1554,1555,1622,1591,1557,1559,1696,2183,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纵119.9 厘米横51.6",[6],241,{"id":250,"slug":4002,"title":4003,"dynasty":1587,"author":2306,"museum":1683,"description":4004,"tags":4005,"thumbUrl":4006,"material":3819,"size":4007,"collection":6,"collections":4008,"showCount":4009,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mu-dan-hua-hui-tu-chen-chun-222553","牡丹花卉图","本幅上部行草书自题：“春是花时节，红紫各自赋。勿言薄脂粉，适足表贞素。道復。”后钤“陈道復氏”、“陈淳之印”印。\n作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n陈道復创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如故宫博物院藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及上海博物馆藏《洛阳春色图卷》、《玉楼春色图卷》等等。这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家李日华为此幅作品所题云：“破一滴墨水，作种种妖妍。改旦暮之观，备四时之气”。",[1553,1554,1555,1591,1559,1608,1901,1688,1595,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ca64f679df2ecd19978f86c81b89a.jpg","纵54.8厘米，横30.8厘米",[6,1613],239,{"id":251,"slug":4011,"title":4012,"dynasty":1715,"author":1811,"museum":1683,"description":4013,"tags":4014,"thumbUrl":4015,"material":4016,"size":4017,"collection":1726,"collections":4018,"showCount":4019,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[1553,1554,1555,1666,1637,1557,3425,1670,2666,1748,1560,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[1726,6,1613],238,{"id":252,"slug":4021,"title":4022,"dynasty":1715,"author":2316,"museum":1604,"description":4023,"tags":4024,"thumbUrl":4025,"material":1580,"size":1580,"collection":1726,"collections":4026,"showCount":4019,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"shi-liu-wen-niao-ma-lin-221186","石榴文鸟","马麟马世荣之孙，马远之子，马远是宋光宗、宋宁宗两朝画院待诏，马麟画承家学， 用笔圆劲，轩昂洒落，画风秀润处过于乃父。 ​",[1553,1554,1555,1637,1557,1559,2098,1667,1953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg",[1726,6,1613],{"id":253,"slug":4028,"title":4029,"dynasty":1715,"author":4030,"museum":1604,"description":4031,"tags":4032,"thumbUrl":4034,"material":2320,"size":4035,"collection":1726,"collections":4036,"showCount":4037,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","苏汉臣","该画作描绘了在秋天的一富家庭院里，姐弟俩正围着螺钿漆墩玩着自制的小玩具的情景。急躁的小弟弟全神贯注，衣领滑下了肩，显示出他顽皮、好动的外向性格；细心的姐姐耐心地照看着小弟弟，她性情沉静温和。两个孩子玩得着了迷，似乎忘记了刚才发生的一切。在他们身后的另一张螺钿漆墩上，杂乱地摆放着其他玩具，可能刚才他们曾在花丛边追打嬉闹过。 [2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[1553,1554,1607,1555,1622,1637,1557,1841,4033,1707,1693,2183],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[1726,6,2419,1613],237,{"id":254,"slug":4039,"title":4040,"dynasty":1548,"author":2359,"museum":1663,"description":2786,"tags":4041,"thumbUrl":4042,"material":2195,"size":1580,"collection":6,"collections":4043,"showCount":4044,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1",[1553,1554,1555,1622,1591,1690,1669,1695,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg",[6,1934],236,{"id":255,"slug":4046,"title":4047,"dynasty":1715,"author":4048,"museum":1604,"description":4049,"tags":4050,"thumbUrl":4051,"material":1610,"size":4052,"collection":6,"collections":4053,"showCount":4044,"zanCount":1907,"manualWeight":1568,"mainColor":1569},"xie-sheng-ying-su-tu-ai-xuan-215112","写生罂粟图","艾宣","此册共二十六开，包含许多精采的宋元册页。各别的作品曾经过南宋内府、十四世纪安徽收藏家吴志淳、十五世纪黔宁王沐璘、十七世纪山东收藏家张笃行等人收藏过。裱装形式上，除了少数有对题者，左边空白对幅皆以明代流行的金粟山藏经纸裱装之，并有风格统一的题签。配合裱纸上梁清标（一六二○－一六九一） 的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[1553,1607,1554,1555,2161,1637,1557,1559,3370,1560,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[6],{"id":256,"slug":4055,"title":4056,"dynasty":1715,"author":2083,"museum":1604,"description":4057,"tags":4058,"thumbUrl":4060,"material":1610,"size":4061,"collection":6,"collections":4062,"showCount":4063,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xie-sheng-yu-zan-tu-lin-chun-218939","写生玉簪图","这幅画描绘了玉针花站在一个妃子身上，其香味吸引了蝴蝶飞来飞去。花和蝴蝶都是先用细墨线勾勒，然后上色的。白色的花瓣和绿色的叶子使芬芳的花朵更加美丽。在左下角的叶子下面可以看到林椿的签名。",[1553,1554,1607,2161,1637,1557,1762,1559,4059,1748],"玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbcbd3282deb21b8a8f4f226720bde.jpg","23.6x24.6",[6],235,{"id":257,"slug":4065,"title":3866,"dynasty":1715,"author":1732,"museum":1573,"description":4066,"tags":4067,"thumbUrl":4068,"material":1610,"size":4069,"collection":6,"collections":4070,"showCount":4063,"zanCount":1919,"manualWeight":1568,"mainColor":1658},"ping-hua-tu-yi-ming-218554","画的是一个中心中空的竹制花篮，篮子里有几朵菊花和木槿。芙蓉花瓣由内而外由紫变淡红，大方得体，而粉色和白色的菊花层层叠叠，繁而不乱，画面不大，却诠释了秋天的多种色彩。",[1554,1555,1557,1637,1559,1696,2183,1693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ea7ee08022ee5215dc568f32303c97.jpg","21x19cm",[6],{"id":258,"slug":4072,"title":4073,"dynasty":1587,"author":4074,"museum":1663,"description":4075,"tags":4076,"thumbUrl":4077,"material":1580,"size":1580,"collection":6,"collections":4078,"showCount":4079,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"song-he-ling-xiao-zhou-wang-wei-lie-238075","松鹤凌霄轴","王维烈","王维烈字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。\n王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[1554,1555,1622,1637,1557,1559,1691,1671,2038,1560,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd83a04879ea1f1f5ef9c405bd25556.jpg",[6],233,{"id":259,"slug":4081,"title":4082,"dynasty":1548,"author":1549,"museum":2117,"description":2644,"tags":4083,"thumbUrl":4085,"material":1557,"size":4086,"collection":6,"collections":4087,"showCount":4079,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"ou-xiang-guan-xie-yi-ce-lu-xie-yun-shou-ping-220987","瓯香馆写意册-芦蟹",[1553,1607,1554,1555,1556,1686,1591,3321,4084,1595],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7632b42ef28d0c95b7691b56f54951.jpg","31.8x37.2厘米",[6,1934],{"id":260,"slug":4089,"title":4090,"dynasty":1548,"author":1874,"museum":1683,"description":4091,"tags":4092,"thumbUrl":4095,"material":1563,"size":1580,"collection":6,"collections":4096,"showCount":4079,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"bo-luo-ju-xie-ye-ren-yi-219292","菠萝菊蟹页","画面以菠萝为底，菊丛旁逸，蟹螯张弛，茶壶静卧，四物相映成趣。红蟹墨螯，笔触劲挺如蟹螯探物；菠萝鳞甲层叠，墨色浓淡间见肌理之趣；蓝菊翠叶，水色晕染似含秋露；深褐茶壶，朴拙造型衬出雅致清欢。笔墨兼具工写，红与蓝撞色鲜活，墨与彩交融和谐。寻常蔬果水族，经笔底点染，既有文人画的逸趣，又含市井生活的鲜活，尽显海派画风的灵动与包容，仿佛一帧秋日常景，藏着岁月的温润与生机。",[1553,1554,1557,1559,1686,1556,4093,1696,4094,2183],"菠萝","蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0150d4cb986e4079fb87d6e7b65100b.jpg",[6],{"id":261,"slug":4098,"title":4099,"dynasty":1548,"author":2056,"museum":1683,"description":4100,"tags":4101,"thumbUrl":4102,"material":1802,"size":4103,"collection":6,"collections":4104,"showCount":4105,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[1553,1554,1555,1666,1591,2274,1562,1595,1689,1690,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纵34.2厘米，横194.4厘米",[6],232,{"id":262,"slug":4107,"title":4108,"dynasty":1587,"author":3147,"museum":1573,"description":4109,"tags":4110,"thumbUrl":4113,"material":1610,"size":4114,"collection":6,"collections":4115,"showCount":4105,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[1553,1607,1554,1555,1622,1637,1557,2320,1976,1559,4111,4112,3039,1594],"红花","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[6],{"id":263,"slug":4117,"title":4118,"dynasty":1548,"author":2972,"museum":1663,"description":3475,"tags":4119,"thumbUrl":4120,"material":1892,"size":4121,"collection":6,"collections":4122,"showCount":4123,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[1553,1554,1555,1622,1591,1557,1559,1577,1578,1686,1562,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[6,1613],231,{"id":264,"slug":4125,"title":4126,"dynasty":1587,"author":2306,"museum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。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[1553,1554,1555,1666,1591,2687,2636,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纵23.2厘米 横569.5厘米",[6],{"id":285,"slug":4320,"title":4321,"dynasty":1548,"author":1662,"museum":1550,"description":4322,"tags":4323,"thumbUrl":4324,"material":1563,"size":4325,"collection":6,"collections":4326,"showCount":4327,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[1607,1554,1637,1557,1559,1667,1844,2125,1593,2038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 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鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[1553,1554,1555,1637,1557,1559,1763,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d0bec16d60826eb99359fe54491c93.jpg",[1726,6,1613],207,{"id":288,"slug":4346,"title":4347,"dynasty":1587,"author":1732,"museum":4159,"description":4348,"tags":4349,"thumbUrl":4351,"material":1610,"size":1580,"collection":6,"collections":4352,"showCount":4344,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"lian-chi-cang-lu-tu-yi-ming-216906","莲池苍鹭图","莲池苍鹭图是明朝时期的一幅著名图画，作者不详。这幅图画描绘了一个山间池塘，池塘中有许多莲花，并有一只苍鹭在池塘中游荡。图画中还有许多树木和山峰，构成了一幅优美的山水画。莲池苍鹭图被认为是明朝时期山水画的代表作之一，其中融合了中国传统的山水画风格和新兴的写意山水画风格，反映了明朝时期的艺术特点。",[1553,1554,1557,1637,1622,1559,1577,1578,4350,1667],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[6],{"id":289,"slug":4354,"title":4355,"dynasty":1633,"author":2763,"museum":1683,"description":4356,"tags":4357,"thumbUrl":4359,"material":1846,"size":4360,"collection":6,"collections":4361,"showCount":4362,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[1553,1554,1555,1666,1557,1637,1688,1562,2070,1841,1668,4358,2072,2138,1595],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[6,1613],206,{"id":290,"slug":4364,"title":4365,"dynasty":1548,"author":2056,"museum":2057,"description":2058,"tags":4366,"thumbUrl":4368,"material":1563,"size":1580,"collection":6,"collections":4369,"showCount":4370,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"yu-xiang-jiao-ye-tu-shi-tao-218126","雨乡蕉叶图",[1553,1554,1591,1557,1688,1595,4367,1955],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d80c7cb86c795587ab382481f9fcbed.jpg",[6],205,{"id":291,"slug":4372,"title":4373,"dynasty":1587,"author":3237,"museum":1683,"description":4374,"tags":4375,"thumbUrl":4376,"material":2320,"size":4377,"collection":6,"collections":4378,"showCount":4379,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[1553,1554,1555,1622,1558,1557,1559,1707,1560,1748,1799,2124,1593,2125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[6,1613],204,{"id":292,"slug":4381,"title":4382,"dynasty":1715,"author":2022,"museum":1550,"description":4383,"tags":4384,"thumbUrl":4386,"material":1802,"size":4387,"collection":1726,"collections":4388,"showCount":4379,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[1553,1607,1554,1555,1666,1637,1557,3740,3618,3321,4385,1623,1667,1595],"大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[1726,6,1613],{"id":293,"slug":4390,"title":4391,"dynasty":1548,"author":1732,"museum":1573,"description":4392,"tags":4393,"thumbUrl":4396,"material":1610,"size":4397,"collection":6,"collections":4398,"showCount":4379,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"gui-he-yan-nian-tu-yi-ming-218956","龟鹤延年图","丹顶朱冠，白羽墨翅，仙鹤或昂首引颈似欲唳天，或曲颈垂首若啄苔矶，姿态灵动。修竹挺翠，叶影婆娑，掩映其间；侧畔飞瀑流泉，漱石鸣玉，云雾氤氲如缕，漫笼山隰。笔墨古雅，设色沉朴，仙鹤的灵秀与竹石的清逸相映成趣，流露出祥瑞康宁的意蕴。画面古朴静谧，仿佛将自然生机凝于绢素之上，尽显岁月沉淀下的雅致与吉祥。",[1554,1637,1557,1690,1671,4394,2138,2038,1559,4395],"龟","长寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cfda5f494d8b62a606671a72d79ae1.jpg","111x54cm",[6],{"id":294,"slug":4400,"title":4401,"dynasty":1548,"author":2359,"museum":2023,"description":4402,"tags":4403,"thumbUrl":4404,"material":4405,"size":4406,"collection":6,"collections":4407,"showCount":4408,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"you-lan-tu-zheng-ban-qiao-223297","幽兰图","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[1553,1554,1591,1686,1688,1695,1690,1707,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[6,1934,3062],203,{"id":295,"slug":4410,"title":4411,"dynasty":1548,"author":1837,"museum":1683,"description":4412,"tags":4413,"thumbUrl":4414,"material":1610,"size":4415,"collection":6,"collections":4416,"showCount":4408,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"wan-ji-shuang-lang-shi-ning-216752","万吉骦","乾隆八年（1743年，癸亥），郎世宁绘制《十骏图》轴，万吉骦被称赞为十骏之首。画上文字记载：“喀尔喀郡王多尔济札尔进，高四尺二寸、长七尺一寸五分。乾隆癸亥孟春，海西臣郎世宁恭画”\n载于《石渠宝笈初编》，收贮于御书房，由郎世宁一人所画，十幅十马分别命名为奔霄骢、赤花鹰、雪点雕、霹雳骧、薾云驶、万吉骦、阚虎骝、狮子玉、自在驈、英骥子。",[1553,1607,1554,1555,1637,1557,2070,1879,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71c71a91f3ec9d93f4380b8fbbde8b.jpg","纵239厘米，横269厘米",[6],{"id":296,"slug":4418,"title":4419,"dynasty":1548,"author":4420,"museum":1550,"description":4421,"tags":4422,"thumbUrl":4423,"material":1802,"size":1580,"collection":6,"collections":4424,"showCount":4425,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-ju-hua-hai-tang-ye-zhao-zhi-qian-233182","花卉册-菊花海棠页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[1554,1555,1556,1557,1591,1686,1559,1696,2162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5edbc8bd73f1dd91029ea9127ec59094.jpg",[6,1613],201,{"id":297,"slug":4427,"title":4428,"dynasty":1548,"author":2972,"museum":1683,"description":4429,"tags":4430,"thumbUrl":4431,"material":3059,"size":1580,"collection":6,"collections":4432,"showCount":4433,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"lan-hua-zhou-wu-chang-shuo-237157","兰花轴","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》。",[1554,1555,1622,1591,1796,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6b4b3f9192dc4eaf607bfc0f395f74.jpg",[6],197,{"id":298,"slug":4435,"title":3947,"dynasty":1548,"author":2972,"museum":1683,"description":4429,"tags":4436,"thumbUrl":4437,"material":3059,"size":1580,"collection":6,"collections":4438,"showCount":4439,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mei-hua-zhou-wu-chang-shuo-237158",[1554,1555,1622,1591,1688,1595,1562,1827,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ddc2ba3abfecbf7d18533654b3d87.jpg",[6],196,{"id":299,"slug":4441,"title":4442,"dynasty":1715,"author":1923,"museum":1812,"description":4443,"tags":4444,"thumbUrl":4445,"material":1625,"size":4446,"collection":6,"collections":4447,"showCount":4439,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","这幅无名画据说是宋代著名龙画家陈容的作品，与波士顿博物馆的标准九龙图相比，它最接近波士顿博物馆的收藏。两条龙盘踞在岩石间的缝隙中，墨色苍白而古老，笔触滴水不漏。这幅画可以说是陈所翁画派的一个精品。",[1553,1554,1555,1666,1591,2274,1928,1668,2038,2596,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[6],{"id":300,"slug":4449,"title":2347,"dynasty":1548,"author":4450,"museum":1604,"description":4451,"tags":4452,"thumbUrl":4453,"material":1610,"size":4454,"collection":6,"collections":4455,"showCount":4456,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[1607,1554,1555,1622,1557,1559,1691,1689,1695,1694,1562,1595,3590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[6],195,{"id":301,"slug":4458,"title":4459,"dynasty":1587,"author":4460,"museum":1604,"description":4461,"tags":4462,"thumbUrl":4463,"material":2151,"size":4464,"collection":6,"collections":4465,"showCount":4456,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"mei-hua-tu-lu-fu-214733","梅花图","陆复","这幅《雪梅图》是元末王冕画法的衍生品，略有不同。枝干用飞白涂抹，然后用淡墨勾勒，花瓣则用油脂沾染，轻轻勾勒，红色的花蕊也被晒干，增强了梅花的优雅精神。",[1554,1622,1557,1637,1689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4128fe7627228b3bb64d50437c275998.jpg","205.3x108.7",[6],{"id":302,"slug":4467,"title":4468,"dynasty":1548,"author":1853,"mu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—1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[1553,1554,1555,1607,1622,1557,1637,1559,1560,1608,1652,1593,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[6,1613],194,{"id":303,"slug":4476,"title":4477,"dynasty":1548,"author":2359,"museum":1550,"description":4478,"tags":4479,"thumbUrl":4480,"material":3059,"size":4481,"collection":6,"collections":4482,"showCount":4483,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[1553,1554,1555,1622,1591,1559,1690,1696,2183,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[6,1934],193,{"id":304,"slug":4485,"title":4486,"dynasty":1715,"author":2022,"museum":2211,"description":4487,"tags":4488,"thumbUrl":4489,"material":1610,"size":1580,"collection":1726,"collections":4490,"showCount":4491,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[1554,1666,1637,2120,1559,1592,1689,1690,1595,1591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[1726,6],192,{"id":305,"slug":4493,"title":4494,"dynasty":1984,"author":1985,"museum":1683,"description":4495,"tags":4496,"thumbUrl":4499,"material":1563,"size":4500,"collection":6,"collections":4501,"showCount":4491,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zong-shu-guo-guo-tu-qi-bai-shi-216931","棕树蝈蝈图","赭色树干以浓淡墨线勾皴，如老藤盘结，墨叶纷披似风过梢头，洒脱不羁。画面一隅，蝈蝈翅脉分明，肢足灵动，朱红与赭黄晕染出鲜活质感，似欲振翅而鸣。工细的虫与豪放的树形成鲜明对照，笔意间藏着对生活的细腻观察。简淡的纸本上，墨色苍劲与设色明丽相映成趣，寻常景物里溢出盎然生机，尽显白石老人以小见大、以俗见雅的艺术妙趣。",[1553,1554,1557,1591,1637,1559,4497,4498,1595],"棕树","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34160a48a9de7587fb99671f3678ca1f.jpg","69.5x34.3cm",[6],{"id":306,"slug":4503,"title":4504,"dynasty":1633,"author":4505,"museum":1573,"description":4506,"tags":4507,"thumbUrl":4508,"material":1563,"size":4509,"collection":6,"collections":4510,"showCount":4491,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[1554,1555,1666,1637,1557,2070,1668,1707,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[6],{"id":307,"slug":4512,"title":4513,"dynasty":1587,"author":4514,"museum":1663,"description":4515,"tags":4516,"thumbUrl":4517,"material":1846,"size":4518,"collection":6,"collections":4519,"showCount":4520,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[1553,1607,1554,1555,1622,1557,1637,1559,1795,2137,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[6,1613],191,{"id":308,"slug":4522,"title":2105,"dynasty":1715,"author":1732,"museum":1573,"description":4523,"tags":4524,"thumbUrl":4525,"material":1610,"size":1580,"collection":6,"collections":4526,"showCount":4527,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"mu-dan-tu-yi-ming-218556","这幅牡丹图尽显宋人工笔花鸟的精妙意趣。花瓣层叠繁复，却以细腻线条勾勒得一丝不苟，粉白渐变间晕染出娇嫩柔润之态，花心处细微纹理亦清晰可见，足见画师对物象观察之深。叶片以浓淡不一的翠绿设色，叶脉勾勒精准，翻转向背间尽显生机，与花瓣的柔美形成刚柔呼应。古朴绢色背景更衬出牡丹的雍容雅致，无过多修饰却意境悠远。宋画重“格物”，此作于写实中蕴含诗意，将牡丹的华贵与清逸完美融合，虽为佚名之作，却不失宋代院体画的严谨与神韵，是宋代花鸟小品中的上乘之作。",[1553,1637,1557,1559,1608,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cec98d7c1e9e0929c01e3c92e11d37.jpg",[6],190,{"id":309,"slug":4529,"title":4530,"dynasty":1548,"author":4531,"museum":1604,"description":4532,"tags":4533,"thumbUrl":4534,"material":1580,"size":1580,"collection":6,"collections":4535,"showCount":4536,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[1553,1554,1555,1591,1595,1562,1688,2137,3619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b33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×29.8cm",[6],184,{"id":315,"slug":4582,"title":2376,"dynasty":1548,"author":2795,"museum":1663,"description":4583,"tags":4584,"thumbUrl":4585,"material":4586,"size":4587,"collection":6,"collections":4588,"showCount":4580,"zanCount":2130,"manualWeight":1568,"mainColor":1658},"hua-niao-tu-ma-quan-222662","马荃（生卒年不详），字江香，江苏常熟人。清代女画家。马元驭之（1669—1722）女（一作马元驭孙女），逸妹。生活于康熙、乾隆年间，\n时与女画家恽冰齐名。\n龚克和妻。工花卉，妙得家法。其夫亦工书、画，偕游京师，以绘事给衣食，颇怡。夫亡归里，绸缠染翰，饮冰茹茶，而名益高，四方以缣素兼金求画者益聚。常蓄婢数人，悉令调铅杀粉。而琴川多贵游士女，皆来求授指法。时常州恽冰画以没骨名，而江香以勾染名，江南人谓之双绝。康熙三十五年（1696）作花卉草虫册十二页，乾隆四年（1739）作琳池草虫扇。马荃代表作品价位2008年行情在3—5万\u002F平尺，市场升值潜力较大，为很多书画收藏家所追捧。",[1553,1554,1607,1555,1622,1637,1557,1559,1748,1999,3370,1707,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 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创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[1553,1607,1554,1555,1666,1637,1557,1559,1689,4718,1562,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[1726,6,1613],163,{"id":349,"slug":4887,"title":1572,"dynasty":1548,"author":1823,"museum":1663,"description":4888,"tags":4889,"thumbUrl":4890,"material":1784,"size":1785,"collection":6,"collections":4891,"showCount":4892,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-dong-gao-238883","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[1554,1555,1556,1637,1557,1559,1560,1815,1915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5565de81860414a56e206c890dc9266.jpg",[6,1613],162,{"id":350,"slug":4894,"title":4895,"dynasty":1587,"author":3147,"museum":2057,"description":4896,"tags":4897,"thumbUrl":4898,"material":1610,"size":4899,"collection":6,"collections":4900,"showCount":4892,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[1553,1554,1607,1637,1557,3619,2556,1667,1559,1560,2137,2277,1670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[6],{"id":351,"slug":4902,"title":4903,"dynasty":1715,"author":4904,"museum":1604,"description":4905,"tags":4906,"thumbUrl":4907,"material":1610,"size":1580,"collection":6,"collections":4908,"showCount":4909,"zanCount":2144,"manualWeight":1568,"mainColor":1658},"hua-die-tu-li-zhong-xuan-219722","花蝶图","李仲宣","此作取景雅致，草木错落排布，野趣盎然。挺秀的秋菊缀着金黄花盘，柔润白花轻绽，带露红浆果垂于青绿叶间，茎叶舒展的姿态写实入微，设色古雅沉稳，晕染细腻尽显草木鲜活生机。\n\n翩跹蝶虫刻画精细，翅脉纹理纤毫毕现，振翅姿态灵动逼真，仿佛携着花间微风扑面而来。整体构图疏密相宜，留白得当，以工笔技法写形传神，既有精致不苟的写实功力，又暗藏平淡天真的诗意，将秋日郊野一隅的闲适意趣定格，尽显创作者观照自然的细腻心境。",[1554,1607,1637,1557,1559,1748,1815,1696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65cb4af11c29f63da0e9192564f9ae77.jpg",[6],161,{"id":352,"slug":4911,"title":4912,"dynasty":1633,"author":2763,"museum":1717,"description":4913,"tags":4914,"thumbUrl":4915,"material":1610,"size":4916,"collection":6,"collections":4917,"showCount":4909,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"shi-ma-tu-zhao-meng-fu-219098","十马图","群马姿态各异，或昂首伫立，或低头啮草，或相互亲昵，动静交织间满溢生机。线条勾勒细腻传神，鬃毛飘逸如丝缕，马尾垂落似流瀑，马匹肌理与灵动之态毕现。设色淡雅温润，赭墨晕染出毛色层次，古朴绢底衬得画面沉静雅致。马匹互动自然和谐，似能闻蹄声轻响，尽显画家对生命的细致体察与文人画的清逸韵味。",[1553,1554,1555,1666,1637,1557,2070,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7681aecb61572b4fba7da83735ac45.jpg","纵26横233厘米",[6],{"id":353,"slug":4919,"title":4920,"dynasty":1548,"author":1662,"museum":2023,"description":4921,"tags":4922,"thumbUrl":4923,"material":1610,"size":4924,"collection":6,"collections":4925,"showCo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这幅画是根据宋徽宗爱画白鹰奇石的传说.",[1553,1554,1607,1555,1622,1637,1557,1667,3176,1690,1707,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[6,1613],146,{"id":383,"slug":5182,"title":5183,"dynasty":1715,"author":1732,"museum":1812,"description":5184,"tags":5185,"thumbUrl":5186,"material":1563,"size":5187,"collection":6,"collections":5188,"showCount":5189,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"liu-ma-tu-yi-ming-218851","六马图","画面中六匹骏马神态各异，或低头啮草，或昂首嘶鸣，或随人徐行，鬃毛飞扬间尽显灵动生机。人物衣着朴素却细节饱满，牵马者的专注、骑马者的悠然、树下交谈者的闲适，皆通过简练线条勾勒得栩栩如生。背景以淡墨晕染山石，枯树虬枝点缀其间，营造出清旷悠远的氛围。整幅画作线条细腻流畅，设色淡雅自然，构图疏密有致，将人与马的日常互动融入山水意境中，既见写实之妙，又含雅致情韵，于静谧中藏生动，于细微处见匠心。",[1553,1554,1666,1557,1637,1841,2070,1668,2038,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba5c4f2cdf33d8406cb0ae099666d89.jpg","46.2x168.3cm",[6],145,{"id":384,"slug":5191,"title":5192,"dynasty":1548,"author":2359,"museum":5193,"description":5194,"tags":5195,"thumbUrl":5196,"material":1580,"size":1580,"collection":6,"collections":5197,"showCount":5198,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"zheng-xie-lan-shi-zhou-zheng-ban-qiao-237887","郑燮兰石轴","重庆中国三峡博物馆","此展品为清代的书画，此轴以水墨绘石上兰竹。笔墨洒脱，竹枝新发，兰草妙曼。山石以侧锋勾勒，微微点苔。布局疏密相间，别致雅趣。",[1554,1591,1622,1695,1707,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491c7eb56947056680423de9cd451ae.jpg",[6,1934],144,{"id":385,"slug":5200,"title":1586,"dynasty":1587,"author":5201,"museum":1663,"description":5202,"tags":5203,"thumbUrl":5204,"material":1580,"size":1580,"collection":6,"collections":5205,"showCount":5198,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"hua-niao-ce-ling-bi-zheng-237664","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[1607,1554,1555,1556,1557,1637,1559,1594,1901,2125,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb686e450eda3e1b564356a6d16a40e28.jpg",[6,1613],{"id":386,"slug":5207,"title":5208,"dynasty":1715,"author":5209,"museum":1604,"description":5210,"tags":5211,"thumbUrl":5212,"material":5213,"size":5214,"collection":1726,"collections":5215,"showCount":5198,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"si-mei-hua-tu-juan-yang-wu-jiu-221466","四梅花图卷","扬无咎","四梅花图画面分四段画梅，自题跋语中说：“范瑞伯要予画梅四枝，一未开，一欲开，一盛开，一将残。”四梅纯以水墨绘成，花朵作白描圈线，不加晕染，即为“圈花法”，用笔轻快洗练，毫不拘板。新枝用劲直线条一笔写成，极为挺秀。粗干则用“飞白法”，显笔复加乾皴，虚实相间，墨色变化丰富。全幅呈现出匀协恬静、清淡闲野的气氛，诚如时人所谓的“村梅”格调。作品有借梅言情、迟暮感伤之意。",[1553,1554,1555,1666,1591,1686,2120,1827,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adde438dc6811236efafbe596d17dfd.jpg","绢本水墨","纵27.2厘米，横358.8厘米",[1726,6,1613],{"id":387,"slug":5217,"title":5218,"dynasty":1715,"author":2022,"museum":1683,"description":5219,"tags":5220,"thumbUrl":5221,"material":2028,"size":5222,"collection":1726,"collections":5223,"showCount":5198,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"dai-sheng-tu-zhao-ji-221365","戴胜图","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[1553,1607,1554,1555,1637,1557,1559,1667,1560,1593,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[1726,6,1613],{"id":388,"slug":5225,"title":4459,"dynasty":1548,"author":4573,"museum":2463,"description":5226,"tags":5227,"thumbUrl":5228,"material":1610,"size":5229,"collection":6,"collections":5230,"showCount":5198,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"mei-hua-tu-jin-nong-218859","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[1553,1554,1555,1622,1591,1689,1559,1688,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[6],{"id":389,"slug":5232,"title":5233,"dynasty":1587,"author":2717,"museum":1604,"description":5234,"tags":5235,"thumbUrl":5236,"material":1610,"size":5237,"collection":6,"collections":5238,"showCount":5198,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[1554,1557,1637,1690,1693,4779,1748,2038,1559,2124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[6],{"id":390,"slug":5240,"title":2105,"dynasty":1715,"author":1732,"museum":5241,"description":5242,"tags":5243,"thumbUrl":5244,"material":1610,"size":5245,"collection":6,"collections":5246,"showCount":5198,"zanCount":2968,"manualWeight":1568,"mainColor":2601},"mu-dan-tu-yi-ming-218645","福冈市立美术馆","沉棕底色如旧绢凝香，中央牡丹姿态雍容却不失清雅。花瓣层叠如浪，米白与浅褐的晕染间藏着淡粉的柔韵，似被时光打磨出温润质感。墨线勾出的叶片翠意内敛，叶脉纤细如丝，与花的柔婉相映成趣。整幅画作工致细腻，尽显宋画的沉静风骨，将牡丹的端庄神韵凝于方寸之间，仿佛能窥见千年之前画者笔下那一抹含蓄的生机，静谧中流淌着古雅的诗意。",[1553,1607,1554,1555,1559,1637,1557,1608,1954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7837e7613763e599f5ea1a410e470c01.jpg","26.7x31.2",[6],{"id":391,"slug":5248,"title":1572,"dynasty":1548,"author":5249,"museum":1550,"description":5250,"tags":5251,"thumbUrl":5252,"material":1625,"size":1580,"collection":6,"collections":5253,"showCount":5198,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-luo-pin-214693","罗聘","罗聘（1733年－1799年）是一位清代的画家，他的花卉册是一本记录花卉的画册，其中包含了许多精美的花卉画作。这本画册是由罗聘亲手绘制并装帧而成，并由他的学生赠送给他。罗聘是一位非常有才华的画家，他的花卉册中的画作非常生动，能够很好地展现出花卉的美丽和优美。\n\n这本画册是一件非常珍贵的艺术品，对于研究罗聘的艺术风格和清代花卉画艺术有着重要的意义。",[1554,1555,1556,1591,1559,1560,1608,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22e30016320aef8a29832998f488225.jpg",[6],{"id":392,"slug":5255,"title":5256,"dynasty":1548,"author":2359,"museum":1683,"description":5257,"tags":5258,"thumbUrl":5259,"material":2195,"size":2841,"collection":6,"collections":5260,"showCount":5261,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mo-bi-zhu-shi-tu-zhou-zheng-ban-qiao-223296","墨笔竹石图轴","郑板桥画墨竹，多为写意之作。一气呵成．生活气息十分浓厚，一枝一叶．不论枯竹新篁，丛竹单枝，还是风中之竹。雨中之竹．都极富变化之妙．如竹之高低错落，浓淡枯荣．点染挥毫，无不精妙。画风清劲秀美，超尘脱俗，给人一种与众不同之感。他说：“文与可画竹，胸有成竹；郑板桥画竹，胸无成竹。与可之有成竹．所谓渭川千亩在胸中也；板桥之无成竹，如雷霆霹雳，草木怒生，有莫如其然而然者，盖大化之流行．其道如是，与可之有，板桥之无，是一是二解人会之。”实际上，板桥“胸无成竹”与文与可“胸有成竹”在根本上是不矛盾的，郑板桥注意的是在创作之前，构思要与熟练的技巧相结合，但这种写意画与文与可高度写实墨竹画在技法上又是有区别的，即有写意与写实、抽象与具象、神似与形似的不同。特别引人注目的是郑板桥画竹还讲究书与画的有机结合，“以草书之中竖长撇法运之”，他说：“书法有行款，竹更要有行款，书法有浓淡，竹更要有浓淡，书，去有疏密，竹更要有疏密。”为此，人们都能从他的字画中体味到。",[1553,1554,1591,1622,1690,1707,1595,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00450bf3ebc8d27f10d2ec819e60152f.jpg",[6,1934],143,{"id":393,"slug":5263,"title":5264,"dynasty":1633,"author":4767,"museum":1604,"description":5265,"tags":5266,"thumbUrl":5269,"material":2195,"size":5270,"collection":6,"collections":5271,"showCount":5261,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"tao-zhu-jin-ji-tu-zhou-wang-yuan-221838","桃竹锦鸡图轴","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[1553,1554,5267,1637,1559,1622,3123,1690,2172,2278,5268,3592],"水墨画","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14268d3dd72321107b543bb80edf552.jpg","纵102.3cm，横55.4cm",[6,1934],{"id":394,"slug":5273,"title":5274,"dynasty":1715,"author":1811,"museum":1683,"description":5275,"tags":5276,"thumbUrl":5277,"material":2320,"size":5278,"collection":1726,"collections":5279,"showCount":5280,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[1553,1554,1607,1666,1637,1557,1559,1748,1799,1764,1670,1765,1901,1749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","29.4x174.6cm",[1726,6,1613],142,{"id":395,"slug":5282,"title":2413,"dynasty":1548,"author":2035,"museum":1663,"description":4556,"tags":5283,"thumbUrl":5284,"material":1802,"size":1580,"collection":6,"collections":5285,"showCount":5286,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"za-hua-ce-zhu-da-237626",[1554,1555,1591,1686,1556,3573,1690,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f6f00ac3e82f228b59b368b2013046.jpg",[6,1934],141,{"id":396,"slug":5288,"title":5289,"dynasty":4850,"author":5290,"museum":1604,"description":5291,"tags":5292,"thumbUrl":5294,"material":1625,"size":5295,"collection":6,"collections":5296,"showCount":5297,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"dou-niu-tu-dai-song-218623","斗牛图","戴嵩","图绘两条硕壮的公牛相斗，一牛低头而以两角尖顶向对方的肚子，肌肉鼓胀，四蹄撒开，急奔而来，可以设想这一顶的力量之猛；而另一牛则掉头离去，目光惊恐，气喘吁吁，落荒而逃。全图纯用水墨，虽也勾线，但已渐渐淡去。牛身通体染墨色，而以墨色的深淡变化，体现出牛身的结构以及运动时肌肉的紧张。用浓墨勾画牛的角、蹄，点出眼睛、鬃毛。看似色彩单纯，但仍能感觉到墨生“五彩”，极其优雅。这样的画法，在戴嵩之前似无，但也正是唐代画家王维倡导的“水墨渲淡”的手法。两头牛的形象、动态，无论是头、身体和四肢，以及彼此间相互协调，都画得非常准确，神态生动，场景激烈。传说他曾画饮水中的牛，水中倒影，唇鼻相连，可以见得戴嵩在写生上下功夫之精微。重写生、重情景，这是唐、宋时期的中国画的一大特点，也是中国画的一大宝贵历史传统。",[1607,1554,1555,1666,1591,1557,5293,1879,1688,1595],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70d07ff8e284b799a06dedfd6f9ed4.jpg","纵44厘米，横40.8厘米",[6],140,{"id":397,"slug":5299,"title":5300,"dynasty":1633,"author":1634,"museum":1604,"description":5301,"tags":5302,"thumbUrl":5303,"material":2320,"size":5304,"collection":1726,"collections":5305,"showCount":5306,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"hua-cao-zhong-si-qian-xuan-221709","花草螽斯","钱选，字舜举，号玉潭，霅川人。宋景定间，乡贡进士。元初吴兴有八俊之号，以赵孟頫为称首，而选与焉。及孟頫被荐等朝，诸公皆相附取宦达，独选龃龉不合，流连诗画以终其身。人物师李公麟，山水师赵伯驹，花鸟师赵昌，尤善作折枝，得意者赋诗其上。赵孟頫尝从之问画法。尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉也。湖州人经其指教，类皆以能画称。画多人物花鸟，山水颇罕其传。",[1553,1554,1637,1557,1559,1764,1670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2cd550ee9c53d194f657bfeb038acc.jpg","26.6x23",[1726,6,1613],139,{"id":398,"slug":5308,"title":2413,"dynasty":1548,"author":5309,"museum":1704,"description":5310,"tags":5311,"thumbUrl":5313,"material":1563,"size":1580,"collection":6,"collections":5314,"showCount":5306,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"za-hua-ce-bian-shou-min-216589","边寿民","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[1553,1554,1591,1686,4084,5312,1556],"竹篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404de24995c9ac625b609aeaa91a95e6.jpg",[6],{"id":399,"slug":5316,"title":5317,"dynasty":1548,"author":1837,"museum":1683,"description":5318,"tags":5319,"thumbUrl":5320,"material":1846,"size":5321,"collection":6,"collections":5322,"showCount":5323,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"jiao-yuan-mu-ma-tu-juan-lang-shi-ning-238125","郊原牧马图卷","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[1666,1637,1557,2070,3740,2072,1841,2038,1879,1930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb62906769fc51d887721bda8835ce.jpg","纵51.2厘米，横166厘米",[6],138,{"id":400,"slug":5325,"title":5326,"dynasty":1548,"author":2462,"museum":1663,"description":5327,"tags":5328,"thumbUrl":5329,"material":1580,"size":1580,"collection":6,"collections":5330,"showCount":5323,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-niao-ce-shi-kai-li-shan-224310","花鸟册十开","《范本传真:李鱓花鸟册》是乾隆时原装裱，品相绝佳，原藏日本，曾于日本“扬州八怪”展上展出，而且当时“扬州八怪”展的宣传海报所用图片即为此册中“蕉阴兰蕙”一开；据日本原藏者介绍，此册几十年前在日还出版过挂历。\n图书信息 《范本传真:李鱓花鸟册》由人民美术出版社出版。",[1553,1554,1591,1556,1559,1577,1686,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefaef9a058a6aa6890761dcabb948f6.jpg",[6,1613],{"id":401,"slug":5332,"title":5333,"dynasty":1587,"author":2134,"museum":1604,"description":5334,"tags":5335,"thumbUrl":5337,"material":1563,"size":5338,"collection":6,"collections":5339,"showCount":5323,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"jiu-sheng-huan-yu-tu-shen-zhou-219361","鸠声唤雨图","述了行走在街头和庭园，常掠过一种和鸽子类似的鸟类，它的造型和色彩朴素，就连那咕咕的叫声，也是浑厚的，这便是斑颈鸠了。它的这份质朴，正是文人画家偏爱的感觉。斑颈鸠，体态雍容华丽，颈部斑点有如珍珠瑰丽，也是乡土鸟类中广为熟悉的鸟。沈周的一幅「鸠声唤雨」画出一只瞪著大眼、嘟著嘴，有著圆胖身体的斑颈鸠，孤孤单单栖踞枝头，看起来特别古朴与淡雅。",[1554,1607,1555,1622,1557,1686,1667,5336,2137,1559,1595],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 30.4",[6],{"id":402,"slug":5341,"title":4347,"dynasty":1587,"author":1732,"museum":2057,"description":5342,"tags":5343,"thumbUrl":5344,"material":1610,"size":5345,"collection":6,"collections":5346,"showCount":5323,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"lian-chi-cang-lu-tu-yi-ming-219268","墨绿荷叶如伞盖层叠，粉嫩荷花亭亭绽于其间，瓣尖晕染淡红，花心素白如雪。几只苍鹭姿态各异：一者振翅展羽，翎毛纤毫毕现；一者引颈长唳，喙尖微张似欲唤侣；另有两羽相偎，身形依偎间流露亲昵。背景深褐如古绢晕染，衬得花叶禽鸟愈发清雅。笔触细腻处见工致，羽毛的柔滑、荷叶的脉络皆清晰可触，却又不失写意的空灵。整幅画氤氲着静谧生机，似将莲池畔的刹那闲趣凝于绢上，尽显雅致韵致，观之如临清池，闻得荷风与禽鸣交织，恍若触到古绢上凝住的清润时光。",[1553,1554,1607,1555,1557,1637,1559,4350,1577,1578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da87412892d3bb3ded765cef53220cf.jpg","纵97.7横43.1厘米",[6],{"id":403,"slug":5348,"title":5349,"dynasty":1548,"author":5350,"museum":1604,"description":5351,"tags":5352,"thumbUrl":5353,"material":1563,"size":5354,"collection":6,"collections":5355,"showCount":5356,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"gou-tu-shen-zhen-lin-218994","狗图","沈振麟","这是一幅站在竹子和梅花树下的京巴，姿态呆萌，系金钟，想必是宫廷犬的家族。描写敏感而写实，可能受到西方绘画风格的影响。",[1554,1557,1637,1879,1689,1690,1622,1802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f54e80e7dec55c15cb031502a3d45e4.jpg","纵92.8横75.6厘米",[6],137,{"id":404,"slug":5358,"title":5359,"dynasty":1715,"author":2694,"museum":1663,"description":5360,"tags":5361,"thumbUrl":5362,"material":1610,"size":5363,"collection":6,"collections":5364,"showCount":5356,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"zhen-qin-tu-li-di-218557","珍禽图","画面中两只禽鸟栖息于枝间，翎羽纤毫毕现，墨色晕染层次分明，黑褐斑纹与浅白羽毛相映成趣。上方禽鸟颔首敛翅，姿态娴静；下方者展翅欲动，羽翼柔润中透着劲挺。枝叶扶疏，浅金色叶片与棕褐枝干交织，古朴绢本底色衬出物象温润质感。构图疏密有致，动静相宜，每道线条皆见功底：羽毛的蓬松、枝干的纹理刻画入微，似能闻林间轻响，观禽鸟灵动之态。笔墨间藏着对自然的细腻体察，于方寸间尽显生机与雅致，让人沉醉于这份古朴而鲜活的意趣里。",[1553,1607,1554,1555,2161,1637,1557,1559,1667,1953,1901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232d7931170a1c143b987fbb2c17089a.jpg","28x32",[6],{"id":405,"slug":5366,"title":5367,"dynasty":1715,"author":2404,"museum":1683,"description":5368,"tags":5369,"thumbUrl":5371,"material":1846,"size":5372,"collection":1726,"collections":5373,"showCount":5374,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[1553,1554,1555,1556,1591,1557,2274,1689,1707,2138,5370,1667,1559,1595],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[1726,6,1613],136,{"id":406,"slug":5376,"title":5377,"dynasty":1715,"author":5378,"museum":2847,"description":5379,"tags":5380,"thumbUrl":5382,"material":1610,"size":1580,"collection":6,"collections":5383,"showCount":5374,"zanCount":2968,"manualWeight":1568,"mainColor":2006},"mei-hua-shuang-que-tu-tang-zheng-zhong-218889","梅花双鹊图","汤正仲","虬干盘结如铁，皴擦间尽现老木苍劲之姿；新梢斜逸若剑，挺秀中暗藏生机。素蕊攒枝，以圈花点蕊之法写就，清疏淡雅如覆薄雪，暗香似欲溢出纸面。双鹊栖于枝间，一俯一仰顾盼有情，羽翼细墨勾勒与梅枝粗放形成呼应，添几分灵动暖意。整幅画以墨骨立形，淡彩敷色，既承扬派墨梅清逸，又融自家笔意沉厚。寒梅高洁品格与双鹊吉祥意趣交织，冬日清寂中晕开一抹生机，尽显宋人花鸟画雅致韵致与文人情怀。",[1607,1554,1555,1622,1637,1557,1559,1689,5381,1667,5336,2137],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15447dc3a3314b0bcbd372dc5a108d12.jpg",[6],{"id":407,"slug":5385,"title":5386,"dynasty":1548,"author":2972,"museum":1663,"description":5387,"tags":5388,"thumbUrl":5389,"material":1580,"size":1580,"collection":6,"collections":5390,"showCount":5391,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hong-mei-juan-wu-chang-shuo-239029","红梅卷","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》。",[1554,1666,1591,1557,1689,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09767ee0d5b587971ce9dfadc909df1f.jpg",[6,1613],135,{"id":408,"slug":5393,"title":5394,"dynasty":1548,"author":1549,"museum":1683,"description":5395,"tags":5396,"thumbUrl":5397,"material":2320,"size":5398,"collection":6,"collections":5399,"showCount":5391,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"shuang-qing-tu-yun-shou-ping-220973","双清图","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[1553,1554,1555,1622,1557,1559,1558,1689,1695,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da6c06676028e116b16baef378dbe92.jpg","纵88.5cm，横54cm",[6,1613],{"id":409,"slug":5401,"title":5402,"dynasty":1715,"author":2022,"museum":5403,"description":5404,"tags":5405,"thumbUrl":5406,"material":1610,"size":5407,"collection":6,"collections":5408,"showCount":5391,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"ya-tu-zhao-ji-218921","鸭图","东京五岛美术馆","这幅画代表了徐熙的画派，虽然整幅画是彩色的，但水墨淋漓，充满了野趣。这幅画据说是徽宗所画，但由徽宗所画的可能性较小，但仍然是宋代花鸟画的代表作。",[1553,1607,1554,1555,1622,1637,1557,1559,2636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff029476e533b2343127e16bcd597c59e.jpg","37.9x25.8cm",[6],{"id":410,"slug":5410,"title":5411,"dynasty":1548,"author":1837,"museum":1604,"description":5412,"tags":5413,"thumbUrl":5416,"material":1610,"size":5417,"collection":6,"collections":5418,"showCount":5391,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"san-yang-kai-tai-tu-lang-shi-ning-218854","三羊开泰图","其画风中融合特殊中西笔触，尤其是运用写实画派光影透视技巧，郎氏画作特别讨喜尤受皇帝欣赏。\n三羊开泰用于岁首祝福时，人们也常用“三羊”来代替“三阳”，把“三阳开泰”写成“三羊开泰”，乃取其谐音而已。根据泰卦的释义，“三阳开泰”的引申意思，则有好运即将降临之意。\n拿“三羊”来代替“三阳”，除了“羊”与“阳”两字谐音而外，也还有寓有更隐蔽的深层的文化含义。",[1553,1761,1554,1637,1557,2069,5414,5415,1879,1689,1690,1669,2072,2666,1622],"写实","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","横60厘米 纵98厘米",[6],{"id":411,"slug":5420,"title":4304,"dynasty":1633,"author":4767,"museum":2748,"description":5421,"tags":5422,"thumbUrl":5423,"material":1625,"size":5424,"collection":6,"collections":5425,"showCount":5426,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"zhu-que-tu-wang-yuan-219062","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[1607,1554,5267,1637,2120,1559,1690,1592,1748,2038,1670,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[6],134,{"id":412,"slug":5428,"title":1910,"dynasty":1715,"author":1732,"museum":1550,"description":5429,"tags":5430,"thumbUrl":5431,"material":1610,"size":5432,"collection":6,"collections":5433,"showCount":5426,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"qiu-kui-tu-yi-ming-218563","画面中，秋葵舒展的花瓣如凝脂般温润，白中透粉的晕染似含朝露，娇嫩欲滴。花蕊以深褐点染，在素净花瓣间格外醒目，几笔细致勾勒便显生机。叶片脉络清晰，边缘锯齿纹理与枝干苍劲形成呼应，花苞或敛或绽，层次错落间见自然意趣。\n\n笔墨工致却不刻意，色彩淡雅而富韵致，尽显写生之妙——于细微处见真章，将秋葵清雅姿态凝于绢素。无繁复布景，仅以一花一叶情态，传递自然生命的静美与从容，仿佛能嗅到初秋清晨的微凉气息，藏着宋人对日常草木的深情观照。",[1554,1607,1555,1637,1557,1559,1914,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabea7ea1898f36c4440d93cfb77bd36.jpg","25.6x25.7",[6],{"id":413,"slug":5435,"title":5436,"dynasty":1587,"author":3329,"museum":1604,"description":5437,"tags":5438,"thumbUrl":5440,"material":1610,"size":5441,"collection":6,"collections":5442,"showCount":5426,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[1554,1555,1607,1622,1637,1557,1559,1672,1608,1844,2038,5439,4112,1976],"小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[6],{"id":414,"slug":5444,"title":5445,"dynasty":1715,"author":5209,"museum":1573,"description":5446,"tags":5447,"thumbUrl":5448,"material":1625,"size":5449,"collection":6,"collections":5450,"showCount":5451,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"xiang-xue-hun-tu-yang-wu-jiu-218568","香雪魂图","画的是寒梅杆的两枝，主枝上有许多细而有力的枝条，上面的梅花有的盛开，有的含苞待放，香气四溢，很是热闹。",[1553,1554,1555,1607,1591,2120,1827,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f2ec726fcf9db57c0bfd136610c735.jpg","29x45cm",[6],133,{"id":415,"slug":5453,"title":5454,"dynasty":1548,"author":2972,"museum":1683,"description":5455,"tags":5456,"thumbUrl":5457,"material":1802,"size":1580,"collection":6,"collections":5458,"showCount":5459,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","使用西洋红设色，一老一新两丛雁来红，构图成对角斜势，虚实相生，主体突出。此作当是吴昌硕大胆运用洋红的最佳范例之一。他把金石的古厚质朴的意趣，引用到绘画用色方面来，自然不落于平薄，更无粉脂俗艳。吴昌硕可以说是大写意花卉史上最善于用色的高手之一。这种绘画方法，对之后的海派绘画，乃至齐白石等京派绘画产生了重大影响。",[1553,1554,1555,1622,1557,1686,1688,1595,1560,2666,1594,2416,3039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[6,1613],132,{"id":416,"slug":5461,"title":5462,"dynasty":1633,"author":4767,"museum":1604,"description":5463,"tags":5464,"thumbUrl":5466,"material":1610,"size":5467,"collection":6,"collections":5468,"showCount":5459,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-ya-zhi-cao-wang-yuan-219136","花卉册-鸭跖草","淡赭绢面上，鸭跖草细叶舒展如碧带，脉络隐现于墨痕的深浅交错间。数点蓝花轻缀叶丛，似星子落于草梢，带着未散的晨露莹光。两只蜻蜓姿态各异：红身者尾尖微垂，翅脉如丝缕勾勒，似欲栖于叶上；浅色者翼薄如纱，透着朦胧光影，正振翅掠过花丛。笔墨细腻却不繁琐，草叶的柔韧、花的娇俏、蜻蜓的轻盈皆藏于线条与淡色中。画面虽小，却凝住了一瞬的生机：风过草叶的轻颤，蜻蜓振翅的微响，都在古雅的底色里漫开，似夏日闲窗下偶然瞥见的小景，清宁而动人。",[1553,1607,1554,1555,1556,1557,1637,1559,5465,1799],"鸭跖草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c3055f4bc0f80bc6e1a1d4988a133.jpg","25.9x23.6cm",[6],{"id":417,"slug":5470,"title":5471,"dynasty":1548,"author":1837,"museum":1683,"description":5472,"tags":5473,"thumbUrl":5474,"material":1610,"size":5475,"collection":6,"collections":5476,"showCount":5459,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"han-hu-liu-zhou-lang-shi-ning-218996","阚虎骝轴","绢本之上，骏马昂首挺立，身姿矫健如虎。毛发质感细腻入微，鬃尾似流云垂落，斑纹错落间晕染出肌肉的起伏与光影变化，尽显写实功底。线条勾勒与色彩晕染相融，既有西方绘画的立体感，又不失东方笔墨的雅致。背景素净，题跋与朱印相映成趣，添几分古雅意蕴。此作将异域技法与本土审美巧妙结合，绘就骏马的灵动神韵，亦藏跨文化艺术碰撞的妙趣。",[1553,1554,1555,1622,1637,1557,2070,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e691cfea774237a293ec3b0231849.jpg","纵270横240.3厘米",[6],{"id":418,"slug":5478,"title":5479,"dynasty":1548,"author":2328,"museum":1604,"description":5480,"tags":5481,"thumbUrl":5482,"material":1557,"size":5483,"collection":6,"collections":5484,"showCount":5485,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"shu-kui-shi-liu-zhou-zou-yi-gui-219435","蜀葵石榴轴","画面中蜀葵藤蔓舒展，淡紫花瓣层叠晕染，花蕊明黄点缀其间，叶片脉络清晰如缕，尽显工笔之细腻。旁侧石榴花枝虬劲，红橙花朵簇生，与蜀葵的柔婉形成鲜明对比，红绿相映间生机勃发。笔墨温婉雅致，设色清丽明快，枝叶的交错、花瓣的肌理皆刻画入微，既保留了自然野趣，又蕴含规整韵致。题跋与朱印错落有致，文气与画意交融，似将夏日的绚烂与清雅凝于一纸，观之如沐和风，满溢生机与雅致。",[1554,1555,1622,1557,1637,1559,3486,2098,1901,2125,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5048cc1dc3f6fc3cf98be5ce658aca31.jpg","83.4x44.6",[6],131,{"id":419,"slug":5487,"title":5488,"dynasty":1715,"author":2674,"museum":1604,"description":5489,"tags":5490,"thumbUrl":5491,"material":1610,"size":5492,"collection":1726,"collections":5493,"showCount":5485,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[1553,1554,1607,1555,1622,1637,1557,1559,1689,1826,1592,2038,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[1726,6,1613],{"id":420,"slug":5495,"title":5496,"dynasty":1548,"author":2035,"museum":5497,"description":5498,"tags":5499,"thumbUrl":5500,"material":1802,"size":5501,"collection":6,"collections":5502,"showCount":5503,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","湖南省博物馆","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[1554,1555,1622,1591,2120,1691,3644,1879,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[6],130,{"id":421,"slug":5505,"title":5506,"dynasty":1548,"author":2035,"museum":1663,"description":5507,"tags":5508,"thumbUrl":5510,"material":1580,"size":5511,"collection":6,"collections":5512,"showCount":5513,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-jiao-tu-zhou-zhu-da-236310","竹蕉图轴","朱耷（1626－1706），族名朱统筌，有雪个、个山、人屋、道朗、八大山人等别号。 “八大”二字，据人解释有“哭之”、“笑之”，哭笑不得的意思。南昌人。明末清初卓越的大画家。他是明太祖朱元璋第十六子朱权的九世孙。朱权封宁王于南昌，繁衍八支，朱耷属弋阳王支，袭封辅国中尉。他的父祖都善书画，因此朱耷从小就受到艺术陶冶。八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。弱冠为诸生。明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。后隐居进贤县介冈及永丰县睦冈等地。顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。他想把这里造成一块世外桃源，以求达到他向来“欲觅一个自在场头”的愿望。但这个“自在场头”毕竟是建立在清王朝统治之下，“门外不必来车马”是不可能的。因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。一年多后，他又回到青云谱，并在这里度过“花甲华诞”。当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。后又隐避在南昌附近的北兰寺、开元观等处。并常卖画度日。后来自筑陋室，名“寤歌草”堂。叶丹居章江有《过八大山人》一诗云：“一室寤歌处，萧萧满席尘蓬蒿藏户暗，诗画入禅真。遗世逃名老，残山剩水身。青门旧业在，零落种瓜人”。他是孤寂贫寒地在这个环堵萧然的草堂中度过了他的晚年。\n八大山人一生以主要的精力从事绘画，他襟怀浩落，慷慨啸歌。由于时代特点和身世遭遇，他抱着对清王朝誓不妥协的态度，把满腔悲愤发泄于书画之中。所以画中出现是鼓腹的鸟，瞪眼的鱼，甚至禽鸟一足着地，以示与清廷势不两立，眼珠向上，以状白眼向青天。他常常把“八大山人”四个字联缀起来草写，形似“哭之”、“笑之”字样。他还有很多隐晦艰涩的诗句跋语，表示对清廷极端的仇恨和蔑视。\n他的作品，表现了鲜明的爱和憎。如脍灸人口的《孔雀图》及其题诗：“孔雀名花雨竹屏，竹梢强半墨生成；如何了得论三耳，恰是逢春坐二更。”辛辣地讽刺了那班头戴三眼花翎乌纱帽的汉族大地主屈膝求荣、投降新主子的奴才丑态。有一幅山水册页题云：“郭家皴法云头小，董老麻皮树上多；想见时人解图画，一峰还写宋山河。”他称慕五代北宁间画家董源、郭熙，以其独特笔墨描绘没有受外族侵凌的宋朝江山，而激发起热爱故国的思想感情。《鹊石图轴》（现藏画家八大山人纪念馆），画中描绘着两只喜鹊立于大石之上，究其画意，具有鹊巢鸠占，翔集浣磐的含义。《诗.召南.鹊巢》云：“维鹊有巢，维鸠居之。”传云：“尸鸠不自为巢，居鹊之成巢。”八大山人作此喻以讽刺清贵不善自谋而强占别人地主。并着意表现双鹊集栖于磐石之上，这不是尸鸠可以占据和动摇得了的。他常画的莲荷松石、梅兰竹菊、芦雁凫鹤、鱼鸭鹰鹿等等，大都象征他性格的倔强与高风亮节。他一生坚不为清廷权贵画一花一大石，而一般农民、贫士、山僧、小儿却很容易得到他的作品，这种不屈于权势的精神，历来为人们赞赏与称颂。\n八大山人在艺术上有杰出的成就。他以绘画为中心，对于书法、诗跋、篆刻也都有很高的造诣。在绘画上他以大笔水墨写意画著称，并善于泼墨，尤以花鸟画称美于世。在创作上他取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。三百年来，凡大笔写意画派都或多或少受了他的影响。清代张庚评他的画达到了“拙规矩于方圆，鄙精研于彩绘”的境界。他作画主张“省”，有时满幅大纸只画一鸟或一石，寥寥数笔，神情毕具。他的书法具有劲健秀畅的气格。篆刻形体古朴，独成格局。\n朱耷在形成自己风格的发展过程中，继承了前代的优良传统，又自辟蹊径。他的花鸟画，远宗五代徐熙的野逸画风和宋文人画家的兰竹墨梅，也受明林良、吕纪、陆治的技法影响，尤致意青藤白阳的粗放画风。他的山水画，远尚南朝宗炳，又师法董、巨、米芾、倪、黄以至董其昌等人的江南山水。在书法方面，他精研石鼓文，刻意临写汉、魏、晋、唐以来的诸家法帖，尤以王羲之的为多。\n朱耷绘画艺术的特点大致说来是以形写情，变形取神；着墨简淡，运笔奔放；布局疏朗，意境空旷；精力充沛，气势雄壮。他的形式和技法是他的真情实感的最好的一种表现。\n朱耷对艺术修养与功力铸锻，正如他自己所说的：“读书至万卷，此心乃无惑；如行路万里，转见大手笔。”他认为画事有如登高，“必频登而后可以无惧”，说明他对艺术不断磨炼的精神。清初画坛在革新与保守的对峙中，八大山人是革新派“四大画僧”中起了突出作用的一人。为了纪念这位大画家，解放后已在南昌市青云谱建立了“画家八大山人纪馆”。朱耷的艺术已经在东方尤其在日本以至世界画坛引起了很大的反映。八大山人的书画有少作品，已不复得见。如：《荷塘戏禽图卷》、《河上花并题图卷》、《鱼鸭图卷》、《鱼乐图卷》、《杂花图卷》以及《杨柳浴禽图轴》、《芙蓉芦雁图轴》、《大石游鱼图轴》、《双鹰图轴》、《古梅图轴》、《墨松图轴》、《秋荷图轴》、《芭蕉竹石图轴》、《椿鹿图轴》、《快雪时晴图轴》、《幽溪泛舟图轴》、《四帧绢本浅绛山水大屏》，以及许多条幅，册页中的花鸟鱼鸭，山水树石等。书法方面有《临兰亭序轴》、《临“临河叙”四屏》，以及各大家法帖和行草诗书轴册等，都在国内外的博物馆、院中珍藏。",[1554,1622,1591,1690,5509,1595],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62eeee4764011b2c51b52909de9dad7.jpg","纵220.5厘米 横88厘米",[6,1934],129,{"id":422,"slug":5515,"title":5516,"dynasty":1587,"author":5517,"museum":1683,"description":5518,"tags":5519,"thumbUrl":5521,"material":5522,"size":5523,"collection":6,"collections":5524,"showCount":5513,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[1553,1607,1554,1555,1666,1591,1686,1559,5520,2608,1667,1593],"灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[6,1934],{"id":423,"slug":5526,"title":5527,"dynasty":1548,"author":2035,"museum":1683,"description":5528,"tags":5529,"thumbUrl":5530,"material":1625,"size":5531,"collection":6,"collections":5532,"showCount":5513,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"lu-yan-tu-zhu-da-218775","芦雁图","图绘6只芦雁在水际岸边飞、鸣、行、止的瞬间。芦雁的造型准确严谨，动、静的体态表现得出神入化。其背部的羽毛是先以淡墨晕染，趁湿在淡墨上点以浓墨，浓淡墨交融处显现出羽毛柔软细密的质感和厚重的量感。图中描绘山石的笔墨老辣娴熟，石上的青苔以卧笔横锋点染，纵横随意中不失章法，其苔点与芦雁身上的墨点在笔法上形成呼应，令全幅深得酣畅淋漓之趣。",[1553,1554,1591,1622,1686,3320,3321,1749,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dede01fc11a7c1a00978bff3e757b.jpg","纵221.5厘米，横114.2厘米",[6],{"id":424,"slug":5534,"title":5535,"dynasty":1715,"author":2316,"museum":1812,"description":5536,"tags":5537,"thumbUrl":5538,"material":2028,"size":5539,"collection":1726,"collections":5540,"showCount":5541,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"shi-liu-la-zui-tu-ma-lin-221670","石榴蜡嘴图","马麟是马远之子，生卒年不详。马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。此《石榴蜡嘴》图页传为马麟所作，但据考，未确认。",[1553,1607,1554,1555,1637,1557,1559,2098,1592,1953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7383521319c32631aeca0f4aaf74fe.jpg","纵27.3厘米，横27.3厘米",[1726,6,1613],128,{"id":425,"slug":5543,"title":5544,"dynasty":1715,"author":5545,"museum":1604,"description":5546,"tags":5547,"thumbUrl":5550,"material":1610,"size":5551,"collection":6,"collections":5552,"showCount":5541,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"song-yuan-ji-hui-lu-zhou-feng-die-li-de-mao-218870","宋元集绘-芦洲蜂蝶","李德茂","这幅画来自《宋元画集》。在风景的一角，一些芦苇从地面升起，沿着画的整个长度运行，使地平线感觉特别低，天空更加开阔。一对粉红色的蝴蝶和一对红色的蜻蜓在小花间飞来飞去。虽然简单，但这个缩影是大自然的一个美丽缩影。李德茂（13世纪下半叶）来自河南省的孟县。在南宋理宗时期，他是一名宫廷画师。他从其父亲李迪那里学到了他的绘画风格，但技术稍逊一筹。",[1553,1554,1607,1637,1557,3321,5548,5549,5439],"洲渚","蜂蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec12d3d398f5c08cd9cdb2c137c6921.jpg","25x26.7",[6],{"id":426,"slug":5554,"title":5555,"dynasty":1548,"author":2056,"museum":2057,"description":2058,"tags":5556,"thumbUrl":5557,"material":1563,"size":1580,"collection":6,"collections":5558,"showCount":5541,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mu-dan-chun-tu-shi-tao-218129","牡丹春图",[1553,1554,1555,1591,1557,1559,1608,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54421eb9c1a00afe897aab682510aa31.jpg",[6],{"id":427,"slug":5560,"title":4903,"dynasty":1587,"author":5561,"museum":1573,"description":5562,"tags":5563,"thumbUrl":5564,"material":1610,"size":1580,"collection":6,"collections":5565,"showCount":5541,"zanCount":2155,"manualWeight":1568,"mainColor":2601},"hua-die-tu-jiang-bo-chuan-216957","江伯川","花蝶图 是一幅江伯川所作的画作，出自明朝时期（1368-1644年）。江伯川是一位著名的中国画家，他的作品风格独特，富有表现力，为明朝画风做出了巨大贡献。\n\n花蝶图是一幅典型的明朝山水画，画中绘制了一片美丽的花园，空气中弥漫着花香。画面中的花蝶翩翩起舞，为整幅画增添了活力和热情。这幅画中使用了鲜艳的色彩，搭配精细的线条勾勒出了花朵、蝴蝶、树木等景物的细节，让人看起来十分美妙。",[1554,1555,1607,1622,1637,1557,1559,1815,1988,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa424ceb845aca879a2e4daa3861c09.jpg",[6],{"id":428,"slug":5567,"title":5568,"dynasty":1548,"author":1732,"museum":1663,"description":5569,"tags":5570,"thumbUrl":5571,"material":1784,"size":1785,"collection":6,"collections":5572,"showCount":5573,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"qing-ren-mu-dan-pu-ce-yi-ming-238919","清人牡丹谱册","此作以设色小笔写牡丹，花瓣水红晕染，由尖至根渐次浅淡，柔瓣舒展层叠，将初绽盛放的娇妍之态尽显无余。浓黄点染花蕊，醒目鲜活，仿若能引蜂蝶驻足。叶片以墨骨打底，敷石绿再晕赭色叶边，既有鲜嫩生机，又带着清润古雅的质感，苍劲朴拙的简笔枝干暗藏风骨。\n\n画面留白空灵雅致，仅取一花数枝，便将牡丹的华贵温婉凝于尺幅，将写实写生与写意抒情相融，尽显古典花鸟画清隽静雅的文人意趣，淡冶宜人，意韵悠长。",[1554,1555,1556,1557,1637,1559,1608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2cc58af73fe9e9ebcec8d4b817842b.jpg",[6,1613],127,{"id":429,"slug":5575,"title":5576,"dynasty":1548,"author":2972,"museum":1663,"description":3475,"tags":5577,"thumbUrl":5578,"material":1892,"size":4121,"collection":6,"collections":5579,"showCount":5573,"zanCount":1568,"manualWeight":1568,"mainColor":3480},"zhao-ri-hong-he-2-wu-chang-shuo-224222","朝日红荷2",[1553,1554,1555,1622,1686,1591,1557,1559,1608,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee70d82dd0fb7821970c9c33faebe94.jpg",[6,1613],{"id":430,"slug":5581,"title":5582,"dynasty":1548,"author":2056,"museum":1663,"description":5583,"tags":5584,"thumbUrl":5585,"material":1802,"size":5586,"collection":2141,"collections":5587,"showCount":5588,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233378","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[1554,1591,2274,1556,1595,1843,3770,2138,1844,4854,2038,4602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af052cf182809b3d590f54883cbc337.jpg","纵24.6cm横17.6cm",[2141,6],126,{"id":431,"slug":5590,"title":5591,"dynasty":1715,"author":5592,"museum":2296,"description":5593,"tags":5594,"thumbUrl":5597,"material":2320,"size":5598,"collection":1726,"collections":5599,"showCount":5588,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[1553,1607,1554,1555,1637,1591,1557,5595,1879,5596,5414],"猴","金泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[1726,6,1613],{"id":432,"slug":5601,"title":2347,"dynasty":1715,"author":1732,"museum":1604,"description":5602,"tags":5603,"thumbUrl":5605,"material":1610,"size":5606,"collection":6,"collections":5607,"showCount":5588,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[1553,1607,1554,1555,1622,1637,1557,1559,1689,1690,1592,5604,2038,1560],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[6],{"id":433,"slug":5609,"title":5610,"dynasty":1633,"author":2763,"museum":1573,"description":5015,"tags":5611,"thumbUrl":5612,"material":1610,"size":1580,"collection":6,"collections":5613,"showCount":5588,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1",[1553,1554,1555,1607,1556,1557,1637,2120,1841,2070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[6],{"id":434,"slug":5615,"title":5616,"dynasty":1633,"author":2763,"museum":1573,"description":5617,"tags":5618,"thumbUrl":5619,"material":2151,"size":1580,"collection":6,"collections":5620,"showCount":5621,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[1553,1554,1607,2120,1637,1591,1557,1841,2070,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[6,2419],125,{"id":435,"slug":5623,"title":5624,"dynasty":1715,"author":2083,"museum":1604,"description":5625,"tags":5626,"thumbUrl":5627,"material":1610,"size":5628,"collection":6,"collections":5629,"showCount":5621,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"qiu-qing-cong-ju-tu-lin-chun-218395","秋晴丛菊图","绢本之上，丛菊攒簇若繁星，瓣瓣晕染细腻，边缘隐带淡白如凝秋霜，似含晴阳余温。叶片脉络清晰，叠翠间藏露生机，全无萧瑟之感。淡赭底色如晴秋薄暮，衬得菊色愈显清妍。旁侧墨笔题跋与朱印相映，文气与画韵交融，尽得雅致。笔触轻细却含筋骨，没骨技法藏锋于柔，将秋晴时菊丛的疏朗鲜活凝于尺幅，观之如沐和风，似闻暗香浮动，心随花影渐远，满溢淡然幽趣。",[1553,1607,1554,1555,1637,1557,1559,1696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750cb01efbb3fd284998c56993afeae5.jpg","25x26.5cm",[6],{"id":436,"slug":5631,"title":5632,"dynasty":4850,"author":5633,"museum":1604,"description":5634,"tags":5635,"thumbUrl":5638,"material":1557,"size":5639,"collection":6,"collections":5640,"showCount":5641,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"qiu-shi-shan-qin-tu-bian-luan-219724","秋实山禽图","边鸾","此作以精工之笔描摹秋隅小景，黑羽山禽昂首枝上，翎羽纤毫毕现，油亮光泽宛若可触，尖喙微张似将引吭，灵动神态跃然绢上。枝桠间垂挂饱满秋瓜，表皮肌理莹润逼真，衬叶或鲜或残，脉络清晰可见，将秋日萧疏与生机相融。\n\n设色调和雅致，以沉稳古色晕染绢底，把草木禽鸟的鲜活神韵尽数铺陈，写实中暗藏雅致意趣，将刹那间的秋意生机定格成永恒，尽显工笔花鸟的细腻精妙，内敛古朴间流露着静谧悠然的秋日况味。",[1554,1555,1556,1637,1557,1559,5636,1765,1593,5637,1607],"山禽","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f4300f8a942f5a262a8fc8beee2aea.jpg","26.9x27.4",[6],124,{"id":437,"slug":5643,"title":4286,"dynasty":1715,"author":1732,"museum":1604,"description":5644,"tags":5645,"thumbUrl":5646,"material":1610,"size":5647,"collection":6,"collections":5648,"showCount":5641,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"mei-que-tu-yi-ming-219236","图绘细雪飘花，山喜鹊一双，倚偎于梅梢上。梅枝勾勒，线条精整，画中梅，圈瓣以淡墨细线为之，外围复以白粉提醒，萼则以胭脂红敷染，色彩搭配，虽不繁复，令人有如于雪光下，见清雅君子，一尘不染。宋人作画重理，画花尤重写生，此幅足为一例。前人论画梅，枝干交错之法，有如「女」字，此幅虽为写生一枝，亦于此法符合。",[1553,1554,1555,1559,1637,1557,1689,3526,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ee8eb63474c1ac957d63dde5b26a63.jpg","25.5x29cm",[6],{"id":438,"slug":5650,"title":5651,"dynasty":1715,"author":1732,"museum":1550,"description":5652,"tags":5653,"thumbUrl":5655,"material":1610,"size":5656,"collection":6,"collections":5657,"showCount":5641,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"yu-mei-ren-tu-yi-ming-219173","虞美人图","该幅图绘大红、浅紫、粉红色波斯菊花三朵。花朵娇艳，姿态文秀。花叶前后关系、花朵朝向差异、叶片正反变化体现得非常写实。",[1607,1554,1557,1637,1559,5654,1595],"虞美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b38f3d3bd70d7d5d6339cf59032129.jpg","25.5cm×26.2cm",[6],{"id":439,"slug":5659,"title":5660,"dynasty":1548,"author":5661,"museum":1663,"description":5662,"tags":5663,"thumbUrl":5664,"material":1784,"size":1785,"collection":6,"collections":5665,"showCount":5666,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"si-ji-hua-hui-ping-zhang-xiong-239081","四季花卉屏","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[1554,1557,1637,1559,1707,1560,1622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a972c0e37f7684a3d727f061a740104.jpg",[6,1613],123,{"id":440,"slug":5668,"title":4723,"dynasty":1548,"author":2035,"museum":1663,"description":5669,"tags":5670,"thumbUrl":5671,"material":1580,"size":1580,"collection":6,"collections":5672,"showCount":5666,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-zhou-zhu-da-236461","朱耷（1626—1705年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『0137』，小名耷。清顺治五年（1648年）落发为僧，法名传綮。一生字、号、别号甚多，有个山、驴屋驴、人屋等。康熙二十三年（1684年）始号八大山人。坎坷的命运影响着他的人生观及艺术思想，其绘画作品多寄托着对清王朝的痛恨，及对明王朝的眷恋之情。他的山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。其花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。借此表达自己作为明皇族后裔，百般无奈的感慨之情。他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。书法宗王献之、颜真卿，淳朴圆润，自成一格。朱耷中晚年，在书画作品款署中多使用“八大山人”。",[1554,1555,1622,1591,1686,1690,1669,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f836ef9cd8492d7bd9c07df16cc664.jpg",[6,1934],{"id":441,"slug":5674,"title":5675,"dynasty":1548,"author":1549,"museum":1604,"description":5676,"tags":5677,"thumbUrl":5678,"material":1892,"size":1580,"collection":6,"collections":5679,"showCount":5666,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"ping-shan-mian-hua-ce-yun-shou-ping-220979","平扇面畫冊","扇面顧名思義就是扇子形狀的一個面，在幾何上是這樣定義何為扇形的：一條弧和經過這條弧兩端的兩條半徑所圍成的圖形叫扇形，那麼扇面是不是就是一個扇形的面呢？其實並不是。\n現多指為書畫作品的一種形式，分為摺扇和團扇。",[1553,2161,1558,1557,1559,1608,1560,1593,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7984a13c489e6e7b3ce49166670d47.jpg",[6,1613],{"id":442,"slug":5681,"title":5682,"dynasty":1715,"author":3307,"museum":1604,"description":5683,"tags":5684,"thumbUrl":5687,"material":1610,"size":5688,"collection":1726,"collections":5689,"showCount":5666,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[1553,2263,3588,1557,5414,1762,5685,4385,1693,5686,1577,2608,1670,1578,1667],"细腻笔触","蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 133公分",[1726,6],{"id":443,"slug":5691,"title":4903,"dynasty":1587,"author":3204,"museum":1604,"description":5692,"tags":5693,"thumbUrl":5694,"material":1610,"size":5695,"collection":6,"collections":5696,"showCount":5666,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"hua-die-tu-wen-chu-219526","以水墨晕染湖石，嶙峋苍古，苔点缀饰更添朴拙意趣。萱花挺然而立，淡墨勾茎，朱红逐层点染花瓣，柔妍舒展，浅绿草叶衬其娇态。粉蝶振翅翩跹，翅翼晕透清浅绿意，灵动似逐香而来。\n整幅设色明丽温婉，笔法细秀工致，揉合工笔精巧与文人写意的雅致，将花草柔妍与湖石朴拙相映成趣，把初夏小景晕染得生机清逸，淡冶宜人，尽抒细腻柔婉的闺中情思。",[1554,1555,1622,1557,1637,1559,1707,1988,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576da20624683bb4876eb7e480a8d79c.jpg","149.3x47厘米",[6],{"id":444,"slug":5698,"title":5699,"dynasty":1648,"author":2605,"museum":1717,"description":5700,"tags":5701,"thumbUrl":5707,"material":1610,"size":5708,"collection":6,"collections":5709,"showCount":5666,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[1553,1554,1607,1555,1637,1557,1622,1721,1951,1667,5702,2277,5703,2137,4658,2038,5704,2608,5705,5706],"白鹅","岸边","水泊","水畔","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[6,2141],{"id":445,"slug":5711,"title":5712,"dynasty":1548,"author":5713,"museum":1663,"description":5714,"tags":5715,"thumbUrl":5716,"material":1580,"size":1580,"collection":6,"collections":5717,"showCount":5718,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230217","十二金钗图轴","张善孖","此作跳脱了猛虎惯常的威肃凌厉之态，绘虎缓步于烟霭乱石间，笔力劲挺勾勒出雄健躯干，斑纹晕染苍劲写实，却敛去凶煞戾气，姿态带着幽婉柔媚的意趣。\n\n题诗呼应画意，以佳人风姿拟虎，将百兽之王与婉约情致相融，淡墨晕染的空濛云雾衬出悠远氛围感，工写兼具，既尽显虎的筋骨力道，又裹挟着文人画的雅致文心，是独出机杼的写虎佳制。",[1553,1554,1555,1622,1591,1557,3990,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b4ce6ce085278e695890e586d2946e.jpg",[6,2141],122,{"id":446,"slug":5720,"title":5721,"dynasty":1587,"author":3147,"museum":1604,"description":5722,"tags":5723,"thumbUrl":5724,"material":1610,"size":5725,"collection":6,"collections":5726,"showCount":5718,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[1553,1554,1555,1622,1557,1637,1559,2729,1672,1608,1707,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[6,1613],{"id":447,"slug":5728,"title":5729,"dynasty":1633,"author":5730,"museum":1604,"description":5731,"tags":5732,"thumbUrl":5734,"material":1625,"size":5735,"collection":6,"collections":5736,"showCount":5718,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"jia-tu-guan-dao-sheng-214818","茄图","管道升","管道升（生卒年不详）是中国元代（1271年 - 1368年）的画家。他主要以写意山水画著称。管道升的茄图是一幅以茄子为主题的山水画。茄子是一种常见的蔬菜，被广泛用于烹饪。这幅画中的茄子极具写意，呈现出自然的姿态和神韵。管道升善于运用水墨画的技法，表现出山水中的细腻和精致。\n\n管道升的茄图是一幅脍炙人口的名作，被广泛传颂和收藏。它的笔墨简洁，意境深远，描绘出了大自然的美丽和生机。这幅画不仅描绘了山水的美景，而且也表达了作者对生活的感悟和思考。管道升的茄图是中国山水画史上的经典之作，对中国画坛产生了深远的影响。",[1554,1555,1591,1637,1559,5733,1594,1901,1595],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2d3ee1317752964db7545c6ea152f.jpg","52.1x28.4",[6],{"id":448,"slug":5738,"title":5739,"dynasty":1548,"author":5740,"museum":1663,"description":5741,"tags":5742,"thumbUrl":5744,"material":1903,"size":5745,"collection":6,"collections":5746,"showCount":5747,"zanCount":2144,"manualWeight":1568,"mainColor":1569},"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[1553,1554,1607,1555,1666,5743,1637,1557,1841,1842,1843,1844,1879],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[6],121,{"id":449,"slug":5749,"title":5750,"dynasty":1548,"author":5751,"museum":1604,"description":5752,"tags":5753,"thumbUrl":5754,"material":5755,"size":5756,"collection":6,"collections":5757,"showCount":5747,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[1553,1554,1555,1556,1557,1637,1559,1690,1689,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[6,1613],{"id":450,"slug":5759,"title":5760,"dynasty":1587,"author":3110,"museum":1604,"description":5761,"tags":5762,"thumbUrl":5763,"material":1610,"size":5764,"collection":6,"collections":5765,"showCount":5747,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[1553,1554,1637,1557,1622,1559,1691,1690,1689,1592,1667,1707,1594,2278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[6,1613],{"id":451,"slug":5767,"title":5768,"dynasty":1715,"author":5769,"museum":1604,"description":5770,"tags":5771,"thumbUrl":5773,"material":1610,"size":5774,"collection":6,"collections":5775,"showCount":5747,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"ye-ju-qiu-chun-tu-li-an-zhong-219228","野菊秋鹑图","李安忠","画幅中心位置上画两只鹑鸟，全身几乎长满了近似粉白色的翎毛，只有少量的黑褐色斑毛，将头部与背勾画得更加显明突出。一只鹑鸟抬头远望，一只鹑鸟低头啄食，它们伫立在倾斜的土坡上、土坡的上方，白色的野菊花穿插在带棘的灌木中，还有竹竿枝权探头画面上、土坡的下方有蒲公英等野草花点缀着，一仰一俯的两只鹑鸟，互相依偎，自由地在大自然的环境中生活，其神态逼真，栩栩如生。该图设色淡雅，配色和谐。",[1553,1554,1607,1637,1557,1559,4779,5772,1690],"野菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763aa29896547493e563c587705ce6b7.jpg","纵24.1cm，横40.5cm",[6,1613,1726],{"id":452,"slug":5777,"title":5778,"dynasty":1715,"author":5779,"museum":1573,"description":5780,"tags":5781,"thumbUrl":5782,"material":1625,"size":5783,"collection":6,"collections":5784,"showCount":5747,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"qi-xiao-tu-liang-kai-216207","栖鸮图","梁楷","栖鸮图是中国宋朝画家、书法家梁楷的名作。这幅画描绘了一只美丽的栖鸮鸟停在树枝上，身躯优美，栩栩如生。\n\n梁楷是宋朝最伟大的画家之一，他在画鸟时细致入微，把鸟的形态、羽毛和神情都写得栩栩如生。他的作品常常被视为中国画的精品，在世界艺术史上享有极高的地位。",[1554,1591,1686,1595,1667,1690,1953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c4639fd1e32157af0aa83de738b753.jpg","78x29cm",[6],{"id":453,"slug":5786,"title":5787,"dynasty":1548,"author":2250,"museum":1683,"description":5788,"tags":5789,"thumbUrl":5790,"material":1903,"size":5791,"collection":6,"collections":5792,"showCount":5793,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mei-hua-tu-zhou-wang-shi-shen-236382","梅花图轴","图绘一株生机盎然的梅树，盛开的梅花洁白无瑕，交错的枝干扶摇向上，表现了梅作为花中君子具有“不恋世间佳丽地，独上寒山称骄子”的高逸之气。此图梅花以淡墨勾轮廓，线条工细，梅干以浓墨一挥而就，墨气淋漓。干与花巧妙地形成黑与白的对比，令简约的画面不失层次的变化。",[1554,1622,1591,1689,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe0c491bd8337e9c24d78ad0b1bcf11.jpg","纵93.4厘米，横52.9厘米",[6,1613],120,{"id":454,"slug":5795,"title":5796,"dynasty":1587,"author":1973,"museum":2785,"description":5797,"tags":5798,"thumbUrl":5799,"material":1556,"size":1580,"collection":6,"collections":5800,"showCount":5793,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-niao-jing-pin-ce-chen-hong-shou-221905","花鸟精品册","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[1554,1555,1556,1557,1637,1559,1707,1953,1901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852ddfb4bab4ecb9d65b1c1507a19737.jpg",[6,1613],{"id":455,"slug":5802,"title":5803,"dynasty":1633,"author":4767,"museum":1683,"description":5804,"tags":5805,"thumbUrl":5806,"material":1846,"size":5807,"collection":6,"collections":5808,"showCount":5793,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[1553,1633,1554,1555,1622,1637,1557,1559,2868,1690,1707,1667,1670,2278,1844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[6,1613],{"id":456,"slug":5810,"title":5811,"dynasty":1548,"author":1853,"museum":1604,"description":5812,"tags":5813,"thumbUrl":5814,"material":1892,"size":5815,"collection":6,"collections":5816,"showCount":5817,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mei-cha-shui-xian-zhou-qian-wei-cheng-222694","梅茶水仙轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[1553,1607,1554,1555,1622,1637,1557,1827,1735,1694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394ac89657041d7c37b5fb8d711ba23.jpg","114.1x75.6",[6,1613],119,{"id":457,"slug":5819,"title":5820,"dynasty":1715,"author":5821,"museum":1604,"description":5822,"tags":5823,"thumbUrl":5825,"material":1557,"size":5826,"collection":6,"collections":5827,"showCount":5817,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"zhong-si-mian-die-tu-han-you-219945","螽斯绵瓞图","韩祐","本幅选自“宋元集绘”册第十三开。描写田间一角，花叶生长茂盛，瓜果也已熟透，引来了两只觅食的螽斯。",[1553,1607,1554,1555,1637,1557,1764,5824,1901,1815,2124],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233d23d19042c4fdd48f185c470972b0.jpg","25.3 x 26公分",[6],{"id":458,"slug":5829,"title":2147,"dynasty":1633,"author":5730,"museum":1604,"description":5830,"tags":5831,"thumbUrl":5832,"material":1625,"size":5833,"collection":6,"collections":5834,"showCount":5817,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-guan-dao-sheng-219386","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[1554,1607,1555,1622,1591,1690,1707,1688,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[6],{"id":459,"slug":5836,"title":5837,"dynasty":1587,"author":3147,"museum":1717,"description":5838,"tags":5839,"thumbUrl":5841,"material":1610,"size":1580,"collection":6,"collections":5842,"showCount":5817,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[1553,1554,1555,1559,1637,1557,1622,1690,2868,5840,1670,2038],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg",[6,1613],{"id":460,"slug":5844,"title":5845,"dynasty":1587,"author":3147,"museum":1573,"description":4109,"tags":5846,"thumbUrl":5847,"material":1610,"size":5848,"collection":6,"collections":5849,"showCount":5817,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图",[1553,1554,1607,1637,1557,1559,1693,3320,2666,1594,1901,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[6],{"id":461,"slug":5851,"title":5852,"dynasty":1587,"author":3329,"museum":1683,"description":5853,"tags":5854,"thumbUrl":5856,"material":1557,"size":5857,"collection":6,"collections":5858,"showCount":5817,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"qiang-wei-shan-mian-lu-zhi-216097","蔷薇扇面","陆治（1496—1576年），字叔平，吴县（今属江苏苏州）人。因居太湖之包山，号包山子，后隐居支硎山中。文徵明弟子，诗、文、书、画都有相当造诣，擅长画山水、花鸟，为“吴门画派”后期重要画家。花鸟画兼工能写，风格清秀。山水画笔墨劲峭，深受宋元人和文徵明影响而又创立了自己的风格。",[1553,2161,1554,1557,1559,1560,5855,1593,1562,1595],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8d7a219ff7f6c557ee6210e2bc55f4.jpg","15.9x49cm",[6],{"id":462,"slug":5860,"title":5861,"dynasty":1548,"author":1662,"museum":1573,"description":4803,"tags":5862,"thumbUrl":5868,"material":2028,"size":5869,"collection":6,"collections":5870,"showCount":5871,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[1553,1554,1666,1637,1557,1559,5863,1673,4149,1672,1667,1844,1827,1608,5864,3740,2038,2138,5865,5866,5867],"百鸟","翠竹","繁花","祥和","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[6,1613],118,{"id":463,"slug":5873,"title":5874,"dynasty":1715,"author":5875,"museum":1604,"description":5876,"tags":5877,"thumbUrl":5879,"material":1557,"size":5880,"collection":1726,"collections":5881,"showCount":5871,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[1553,1607,1554,1555,1666,1637,1557,5733,1593,2125,1764,5878],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[1726,6,1613],{"id":464,"slug":5883,"title":5884,"dynasty":1587,"author":1732,"museum":1573,"description":5885,"tags":5886,"thumbUrl":5887,"material":1610,"size":5888,"collection":6,"collections":5889,"showCount":5871,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"mei-hua-xiao-niao-tu-yi-ming-216673","梅花小鸟图","梅花小鸟图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了一只小鸟停在一棵梅花树上，周围是一片茂密的树林。图画中使用了精致的线条和细腻的色彩，捕捉了小鸟和树林的美妙景象。这幅图画被认为是明朝时期图画艺术的杰作，具有极高的艺术价值。",[1554,1555,2161,1557,1637,1559,1689,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef71e1b2dede42b0a2dc0768e23aa09f.jpg","24.5x25cm",[6],{"id":465,"slug":5891,"title":5892,"dynasty":1548,"author":5893,"museum":1683,"description":5894,"tags":5895,"thumbUrl":5896,"material":1903,"size":1580,"collection":6,"collections":5897,"showCount":5898,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zi-wei-gui-hua-tu-zhou-yun-huai-e-237156","紫薇桂花图轴","恽怀娥","恽怀娥为恽源濬长女，字纫兰，善画花卉， 尤其善画桃，窦镇《国朝书画家笔录》称其“花 卉精雅”，《耕砚田斋笔记》 则称其“著色鲜 润，一本家法”，都是指其花卉画而言，并言 其继承了恽南田一路的“家法”。传世作品目前 仅见有一件《紫薇桂花图轴》（北京故宫博物院 藏），文献著录的作品也仅有一件《岁朝图》（李 玉棻《瓯钵罗室书画过目考·附》）[32]。笔者并未 见过其传世作品，但从李湜《明清闺阁绘画研 究》中可知，“图中花瓣以粉笔带脂点染，气韵 生动，色度变化妙极自然，为其小帧画作中的 佳品”，说明仍然还是恽寿平没骨写生一路 的风格。",[1554,1622,1557,1559,2927,2565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6298096c9a83f2e4e2d26c8c1da3a71f.jpg",[6],117,{"id":466,"slug":5900,"title":5901,"dynasty":1548,"author":3093,"museum":1663,"description":5902,"tags":5903,"thumbUrl":5904,"material":1580,"size":1580,"collection":6,"collections":5905,"showCount":5898,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xu-gu-san-yu-tu-zhou-xu-gu-236537","虚谷三鱼图轴","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[1554,1555,1622,1557,2687,2013],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322ba8e10765708da950451e20edb9d5.jpg",[6,1934],{"id":467,"slug":5907,"title":5908,"dynasty":1548,"author":1837,"museum":1604,"description":5909,"tags":5910,"thumbUrl":5912,"material":1775,"size":5913,"collection":6,"collections":5914,"showCount":5898,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-shi-jun-quan-jin-chi-xian-zhou-lang-shi-ning-222775","画十骏犬金翅猃轴","画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[1622,1637,1557,1879,5911,3619,2137,1815,1955,1707,1595],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","每幅纵246.6厘米，横163.9厘米",[6,1613],{"id":468,"slug":5916,"title":5917,"dynasty":1715,"author":1732,"museum":1604,"description":5918,"tags":5919,"thumbUrl":5921,"material":1610,"size":5922,"collection":6,"collections":5923,"showCount":5898,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xiu-huang-quan-hua-hua-niao-ce-1-yi-ming-216598","绣黄筌画花鸟册-1","绣线摹写黄筌笔意，工致入微。禽鸟翎羽以细针密缕铺陈，绒光流转间似含振翅之态；喙爪纹理清晰，两两相顾的闲趣跃然绢上。花草茎脉如丝，花瓣晕染若初绽，嫩黄与绯红相映，衬出枝叶的翠色层次。石矶以淡墨绣线勾勒，朴拙中见古雅。整幅绣品将宋画的清隽风骨凝于针下，每一处细节皆藏巧思——无论是禽鸟的灵动神情，还是草木的自然生机，都在方寸间流转，尽显宋代绣艺摹古传真的妙境与对自然意趣的细腻捕捉。",[1715,5920,1557,1559,2868,1815,1707,2666,1556,1637],"绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb50574abd884824c93c805bfc865464.jpg","23.1x21.1cm",[6],{"id":469,"slug":5925,"title":5926,"dynasty":1548,"author":5740,"museum":1683,"description":5927,"tags":5928,"thumbUrl":5929,"material":1563,"size":5930,"collection":6,"collections":5931,"showCount":5932,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"tao-liu-shuang-yan-tu-ren-xiong-219285","桃柳双燕图","杨柳青青随风摇曳，桃花几株隐现其中，枝头上两只燕子正欢快地嬉戏。画家巧妙地通过弯曲的柳条和燕子的上下飞舞增加了画面的动感，暗示出轻拂花柳的春风。画面风貌写实，设色明丽，色彩对比柔和，桃花在柳条间若隐若现，成为画面中最明丽的亮点，可见画家在色彩运用上的娴熟技艺。",[1553,1554,1557,1559,1622,1638,2822,4704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f133d7080974e75316cc983e4b2b15.jpg","纵140.7厘米，横32.7厘米",[6],116,{"id":470,"slug":5934,"title":5935,"dynasty":1715,"author":1732,"museum":1573,"description":5936,"tags":5937,"thumbUrl":5939,"material":1610,"size":1580,"collection":6,"collections":5940,"showCount":5932,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"cao-chong-tu-yi-ming-218950","草虫图","藤蔓如蚓，蜿蜒牵惹着几片翠叶与明黄的花，柔劲的线条里藏着自然的生趣。笼栅细劲，圈住一只草虫——翅翼的纹理纤毫毕现，触须轻颤似在嗅闻叶间清香，敛足欲跃的姿态，让静穆画面漫出一丝灵动。绢本的古褐底色如陈年书卷，淡绿与嫩黄的晕染，似将春日温煦凝在绢上。\n\n宋人画草虫向来重写实却不泥于形，这帧小品无浓墨喧阗，只有对生命细微处的温柔体察：藤蔓卷舒、花叶轻颤、草虫意态，都藏着文人案头的闲雅时光。风过叶隙时，仿佛能听见那若有若无的虫鸣，漫溢出清宁的田园况味，古雅的色调里，沉淀着时光的温煦与悠然。",[1553,1554,1637,1557,1559,1747,2124,1901,2125,5938],"虫笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd768168c81591ad3b140352772d501.jpg",[6,1726],{"id":471,"slug":5942,"title":5943,"dynasty":1548,"author":2972,"museum":1683,"description":5944,"tags":5945,"thumbUrl":5946,"material":5947,"size":5948,"collection":6,"collections":5949,"showCount":5950,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mu-dan-shui-xian-tu-zhou-wu-chang-shuo-236754","牡丹水仙图轴","图中牡丹以没骨积染法刻画，笔致潇洒飘逸，水与墨、色有机地交融，表现出牡丹旺盛的生命力和贵而不骄、艳而不俗的神韵。水仙以白描双勾法刻画，其不着一色的叶片与浓艳的牡丹相比具有洗尽铅华始见真的淡雅之美。生机勃发的牡丹和水仙营造出喜庆祥和的氛围，成功地表达了作者以此图祝福长辈健康长寿的主题，当属吴昌硕花卉画的代表作之一。",[1554,1622,1591,1686,1608,1694,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e4f3d78148a5c14ce790f58f1d5d01.jpg","洒金，设色","纵174.7厘米，横47.5厘米",[6,1934],115,{"id":472,"slug":5952,"title":4304,"dynasty":1548,"author":1732,"museum":1573,"description":5953,"tags":5954,"thumbUrl":5955,"material":1610,"size":5956,"collection":6,"collections":5957,"showCount":5950,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"zhu-que-tu-yi-ming-216675","竹雀图是一幅出自清朝佚名画家之手的名画。这幅画描绘了一只竹雀和一些竹子的景象。竹雀图以其细腻的线条和精确的造型而闻名，代表了清朝时期中国画的高超技艺。此外，竹雀图还被认为是一幅充满寓意的画作，象征着含蓄、谦虚和高尚的品质。",[1554,1555,1622,1557,1637,1559,1690,1592,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af219407ce773a050075d6ae42b557d.jpg","128x29cm",[6],{"id":473,"slug":5959,"title":5960,"dynasty":1587,"author":3147,"museum":2023,"description":5961,"tags":5962,"thumbUrl":5963,"material":1846,"size":5964,"collection":6,"collections":5965,"showCount":5966,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"shi-tou-e-tu-lv-ji-222401","狮头鹅图","该画作工笔设色绘白鹅踱步于梅树之下，树干古拙，花蕾点点，侧有玲珑剔透的太湖石，石旁花卉丛生。鹅身用笔轻柔，赋色细腻。左上角有吕纪单款，并钤印章。该作品无论在画幅尺寸还是构图气势上都给人一种“大”的感觉，让人在百步之外都能感受到一种强烈的艺术气息。",[1553,1554,1555,1637,1557,1559,1689,4640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ef3147a069d98f929795d817ad87ed.jpg","纵191厘米，横104厘米",[6,1613],114,{"id":474,"slug":5968,"title":5969,"dynasty":1587,"author":3110,"museum":5970,"description":5971,"tags":5972,"thumbUrl":5973,"material":1846,"size":5974,"collection":6,"collections":5975,"showCount":5966,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"bai-he-tu-juan-bian-wen-jin-221940","百鹤图卷","四川省博物馆","此图笔墨精炼，色调明快，绘白鹤近百只，皆丹顶白毛黑尾长腿，或空中盘旋、或水中嬉戏、或伏地栖息、或飞鸣啄食、或舒翼理毛……神态各异，莫不栩栩如生，各臻其妙。鹤群栖息之处鲜花绽放、松树遒劲、水流奔腾、湖石耸立，群鹤和睦，情景融融。",[1553,1554,1666,1637,1557,1559,1671,3619,1638,2038,1844,1667,1843],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94bd1c5f39208d59af0aa9219a8508f.jpg","25.4*241.33cm",[6,1613],{"id":475,"slug":5977,"title":5978,"dynasty":1633,"author":5979,"museum":1924,"description":5980,"tags":5981,"thumbUrl":5983,"material":5984,"size":5985,"collection":6,"collections":5986,"showCount":5966,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"jia-shang-ying-tu-xu-ze-221738","架上鹰图","徐泽","画面中一只矫健的雄鹰站于鹰架之上，两只脚由绳子捆绑，这只鹰虽失去翱翔天空的自由但仍有鸟中之王的戾气，羽毛勾画细致，体现极好的层次感，架子上的红色的横梁色彩艳丽装饰华丽，图案搭配带有一种宫廷气息。",[1553,1554,1555,1607,1622,1637,1557,1879,3141,5982],"架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefa9aab2caa303b4a77c9061c22fdcf.jpg","绢本设色.","51.9cmx78.6cm.",[6,1613],{"id":476,"slug":5988,"title":5989,"dynasty":1715,"author":2404,"museum":2296,"description":5990,"tags":5991,"thumbUrl":5992,"material":2028,"size":5993,"collection":1726,"collections":5994,"showCount":5966,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"lin-he-jing-mei-hua-tu-ma-yuan-221528","林和靖梅花图","孤山已无吟诗处，\n西湖仍有处处枝。\n疏影高士横卧看，\n红日半斜香风迟。",[1553,1554,1555,1591,1557,1637,2274,1841,1843,1689,2964,1669,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcda8f28fa7dbe93178e2179ff242a9b.jpg","24.5×38.6cm",[1726,6,1934],{"id":477,"slug":5996,"title":3987,"dynasty":1715,"author":3570,"museum":3788,"description":5997,"tags":5998,"thumbUrl":5999,"material":2151,"size":6000,"collection":6,"collections":6001,"showCount":5966,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"hu-tu-mu-xi-218980","简淡墨线勾出虎的轮廓，鬃毛与斑纹以淡墨晕染，不追形似却藏沉雄气。虎身微俯，双目半阖，似对脚下枯枝荒草凝思，又若沉入自心的寂定。寥寥几笔的背景，枯枝斜逸，荒草疏疏，留白处漾着空寂禅意。没有猛兽的暴戾张扬，只有禅者的静默观照——牧溪以禅心驭笔，将野性化为内在静定，让画面漫出冲淡平和的韵致，仿佛能嗅到山野清寂，触到那份不扰不惊的禅味，于简素中见深幽，于静默里藏万钧。",[1553,1554,1591,1622,3990,1879,1721,1707,2274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72ce90985e025abbe4fdc39118c3cf7.jpg","101.7x49.5cm",[6],{"id":478,"slug":6003,"title":6004,"dynasty":1548,"author":6005,"museum":1663,"description":6006,"tags":6007,"thumbUrl":6008,"material":1580,"size":1580,"collection":6,"collections":6009,"showCount":6010,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"wan-shou-chang-chun-ce-wang-cheng-pei-238193","万寿长春册","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[1554,1557,1637,1559,1608,1707,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9204c9b628002d3a076dd544d5ad19.jpg",[6,1613],113,{"id":479,"slug":6012,"title":6013,"dynasty":1548,"author":1874,"museum":1663,"description":6014,"tags":6015,"thumbUrl":6018,"material":1846,"size":6019,"collection":6,"collections":6020,"showCount":6010,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ling-mao-ping-ren-yi-234983","花卉翎毛屏","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[1554,1557,1559,1622,1637,3218,1560,6016,6017],"棕榈","枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd890e2f692a2d99201f17f205a6278b8.jpg","149 x 61 cm",[6,1613],{"id":480,"slug":6022,"title":2147,"dynasty":1548,"author":2972,"museum":1663,"description":3475,"tags":6023,"thumbUrl":6024,"material":1802,"size":6025,"collection":6,"collections":6026,"showCount":6010,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-wu-chang-shuo-224228",[1553,1554,1555,1622,1591,1690,1669,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ace95061fde7ae66bb96ebc63b2458.jpg","34.5x138.3cm",[6,1613],{"id":481,"slug":6028,"title":6029,"dynasty":1548,"author":1837,"museum":6030,"description":6031,"tags":6032,"thumbUrl":6034,"material":1846,"size":6035,"collection":6,"collections":6036,"showCount":6010,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"rui-gu-tu-lang-shi-ning-222777","瑞谷图","中国第一档案馆","雍正初年，全国五谷丰登，雍正皇帝令大学士张延玉传旨，清朝御用画师意大利传教士郎世宁作《瑞谷图》，雍正五年八月二十二日，雍正皇帝颁示《瑞谷图》，并降旨曰：「今蒙上天特赐嘉谷，养育万姓，坚实实好，确有明征，朕祗承之下，感激欢着绘图颁示各省督抚等。朕非夸张，以为祥瑞也。自兹以往，观览此图益加儆惕，以修德为事神之本，以敬民为立政之基」",[1553,1637,1557,6033,1595],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623c985ffdd6fd14c6fbf6f9eea47154.jpg","纵61厘米，横183厘米",[6,1613],{"id":482,"slug":6038,"title":6039,"dynasty":1587,"author":3147,"museum":2117,"description":6040,"tags":6041,"thumbUrl":6043,"material":2028,"size":6044,"collection":6,"collections":6045,"showCount":6010,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"xue-mei-ji-qin-tu-li-zhou-lv-ji-222402","雪梅集禽图立轴","吕纪主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。",[1553,1554,1555,1622,1637,1557,1559,1689,2608,6042,2038],"雪梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e407cc061f6c00f1c4b4a682ce1be3.jpg","192cmx110cm",[6,1613],{"id":483,"slug":6047,"title":4355,"dynasty":1633,"author":2763,"museum":1683,"description":4356,"tags":6048,"thumbUrl":6051,"material":1846,"size":1580,"collection":6,"collections":6052,"showCount":6053,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868",[1553,1557,1637,1666,1562,1595,2070,1844,2071,1841,6049,1843,6050],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[6,1613],112,{"id":484,"slug":6055,"title":6056,"dynasty":1548,"author":5661,"museum":1604,"description":6057,"tags":6058,"thumbUrl":6060,"material":1563,"size":1580,"collection":6,"collections":6061,"showCount":6053,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"shu-guo-tu-zhang-xiong-216102","蔬果图","清朝张熊的蔬果图是指18世纪末19世纪初的清朝画家张熊所创作的一幅著名的绘画作品，其中描绘了许多种类的水果和蔬菜。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。\n\n张熊是一位著名的清朝画家，他的蔬果图是他的代表作之一。这幅画作品描绘了许多种类的水果和蔬菜，包括苹果、梨、桃子、柑橘、葡萄、菠萝、香蕉、西瓜、茄子、辣椒、芹菜、芥菜、豆芽等。画中的水果和蔬菜都按照真实的外观进行描绘，颜色鲜艳，造型生动。\n\n张熊的蔬果图是以轮廓线和色彩为主要表现手法的，在描绘水果和蔬菜的同时，还表现了每种水果和蔬菜的独特的形态和质地。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。",[1553,1554,1555,1557,1637,3573,3575,6059,1595],"梨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf464bdc7825df56f0578c227961066.jpg",[6],{"id":485,"slug":6063,"title":6064,"dynasty":1633,"author":1634,"museum":2117,"description":6065,"tags":6066,"thumbUrl":6067,"material":2216,"size":6068,"collection":6,"collections":6069,"showCount":6070,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-niao-tu-juan-qian-xuan-221715","花鸟图卷","第一段桃花翠鸟，画一枝春桃花繁叶茂，枝头站立一只通体羽毛幽蓝的翠鸟，小鸟身体直立，极目远眺，正是鸟儿振翅起飞前的瞬间写照。第二段牡丹，画一束绿叶中，盛开着两朵淡粉的牡丹，叶子向左下微垂，似有阵阵清风掠过。第三段干枝梅，画一棵梅枝垂挂而下，错节的大小梅枝上许多梅花盛开。钱选画花鸟善于捕捉实景中最生动自然的情形，形态逼真富有情趣，此卷正是钱选这一画风的充分体现。图画设色淡雅清丽，精巧传神，洋溢着隽秀清高之美，构图虽简，但更显画家的技法精湛。\n如此形象准确，神态生动，笔力遒劲的得意之作，钱选自然要赋诗题上。在每段画的后面，都有钱选自题的七言诗一首。第一段和第三段的题诗已漫漶不能全识，第二段题诗如下：头白相看春又残，折花聊助一时欢。东君命驾归何连，犹有余情在牡丹。题诗以行楷书写，含蓄内敛、平淡天真，严谨而朴拙，颇有钟繇遗风。画卷诗情画意相得益彰，为钱选花鸟画的至精之作。卷尾署“至元甲午画于太湖之滨并题，习懒翁钱选舜举”。可知这是钱选晚年所作，正值钱选诗书画印诸艺炉火纯青之时。",[1553,1554,1555,1666,1557,1637,1559,1638,1608,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ccc0a162c10a33940263f3fc4a9708.jpg","纵38厘米 横316.7厘米",[6,1934],111,{"id":486,"slug":6072,"title":6073,"dynasty":1633,"author":1634,"museum":4861,"description":6074,"tags":6075,"thumbUrl":6077,"material":1563,"size":6078,"collection":6,"collections":6079,"showCount":6070,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"shuang-jiu-tu-qian-xuan-219118","双鸠图","画面描绘了一根梨枝的主干，枝头有许多枝条，枝条上盛开着洁白的梨花。 树枝上栖息着两只鸽子，一只低着脖子哼了一声，一只好奇地盯着树枝。",[1554,1555,1637,1557,6076,1953,1560,1562,1595],"鸠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c9c5dce479a9ec47c315e8badbe4e8.jpg","30.5x97.8cm",[6],{"id":487,"slug":6081,"title":6082,"dynasty":1548,"author":6083,"museum":1604,"description":6084,"tags":6085,"thumbUrl":6086,"material":1563,"size":6087,"collection":6,"collections":6088,"showCount":6070,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"feng-huang-wu-tong-tu-yang-da-zhang-218916","凤凰梧桐图","杨大章","设色画梧桐竹石，众鸟翔集。凤凰、白鹤、鸳鸯双栖其下，色彩鲜艳，呈现一片祥瑞之气。当时宫廷绘画喜好吉祥，本幅题材与画风即属此类。",[1554,1555,1622,1637,1557,1559,1673,2707,1671,2038,1844,2608,2665,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff067e5de5237cf8c1c1b5a25bd6bdb9b.jpg","337.3x122.6cm",[6],{"id":488,"slug":6090,"title":6091,"dynasty":1548,"author":1837,"museum":1604,"description":6092,"tags":6093,"thumbUrl":6094,"material":1846,"size":6095,"collection":6,"collections":6096,"showCount":6097,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"bai-gu-tu-lang-shi-ning-222778","白鹘图","乾隆十六年，郎世宁六十二岁作山涧里，一湾小瀑，松干横空而出，一白鹘踏枝上，似闻声惊起。画白鹘以白粉精细描绘，松石配景全然中国写意笔墨，清代白鹘图为大学士忠勇公傅恒所进。郎世宁六十二岁作。\n图中白鹘栖息于涧松之上,于传统画法中,参用光影透视,遂使画面突出于绢上 落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[1553,1607,1554,1555,1637,1557,1667,3619,2038,4825,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","纵121.7×横64公分",[6,1613],110,{"id":489,"slug":6099,"title":6100,"dynasty":1715,"author":2083,"museum":1550,"description":6101,"tags":6102,"thumbUrl":6103,"material":1610,"size":6104,"collection":6,"collections":6105,"showCount":6097,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"mei-zhu-han-qin-tu-lin-chun-219281","梅竹寒禽图","《梅竹寒禽图》在不满方尺的画面上截取梅竹支干的局部，表现了梅树的老硬和竹簧丛生的气势。画中有一寒莺栖立梅梢，处于此画的显著地位，禽鸟的刻划柔和。在技法上梅枝用笔苍劲，竹枝叶勾撇笔力坚挺，从而使整体画法显得刚柔相济。画上有楷书林椿题款，是为难得的宋代有款之迹。",[1607,1554,1555,2161,1559,1637,1557,1689,1690,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab319fa906b174b4282f08d0d10130a.jpg","纵24.8厘米，横26.9厘米",[6],{"id":490,"slug":6107,"title":6108,"dynasty":1548,"author":1662,"museum":1717,"description":6109,"tags":6110,"thumbUrl":6111,"material":1610,"size":6112,"collection":6,"collections":6113,"showCount":6097,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"que-tu-tu-shen-quan-219043","鹊兔图","画面上是初春的小河，凉风习习，梅花和茶花盛开，三只野兔和三只鸟已经感受到春天的气息，出来觅食和活动。这幅画的风格与沈铨的风格不同，尤其是画的野草和流水，与沈铨的美术风格不一致，这幅画不是沈铨的作品。",[1553,1554,1557,1637,1559,1879,2655,1667,1689,1668,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c22d6c57cb0a16f7d500ffac33a3533.jpg","纵140横63.8厘米",[6],{"id":491,"slug":6115,"title":6116,"dynasty":1548,"author":1758,"museum":3559,"description":6117,"tags":6118,"thumbUrl":6119,"material":1563,"size":6120,"collection":6,"collections":6121,"showCount":6097,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","这幅画描绘了一块形状奇特的湖石，靠着湖石生长的翠竹棚，枝条修长，叶子翠绿繁茂，枝头上有两只鸟儿相望；一枝梅花从上往下画，枝头上的花朵灿烂开放，枝头上的鸟儿张着嘴叫，尾巴上的羽毛色彩斑斓，十分可爱。",[1553,1554,1555,1622,1557,1637,1686,1689,1690,1592,1559,1707,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[6],{"id":492,"slug":6123,"title":3182,"dynasty":1715,"author":2404,"museum":1663,"description":6124,"tags":6125,"thumbUrl":6126,"material":1610,"size":1580,"collection":6,"collections":6127,"showCount":6097,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"han-ya-tu-ma-yuan-218548","枯枝虬曲如铁线，从绢本深褐底色中挣出清劲骨力，枝桠间寒鸦三两：或敛翅栖于梢头，墨羽浓淡晕染出绒绒暖意；或振翅欲飞，翅尖的墨痕似带起微凉的风。远处坡岸简笔勾勒，留白处恍若覆雪，荒寒之意漫开。\n\n马远以边角之景造阔远之境，此图疏枝横斜间，寒鸦的灵动破开冬日沉寂。线条挺健如老松，墨韵含蓄似淡诗，将霜天清寂与生命鲜活揉作一处。展卷时，仿佛能嗅到冷冽空气里的松针香，又被寒鸦轻啼牵起一丝暖意——宋人笔墨的雅致与深情，尽在这方寸绢素中流转。",[1553,1607,1554,1555,1556,1591,2274,1667,5336,2137,1707,1843,2277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea5df84a8c9f6ef5813d9284515ec0.jpg",[6],{"id":493,"slug":6129,"title":6130,"dynasty":1587,"author":2134,"museum":3559,"description":6131,"tags":6132,"thumbUrl":6133,"material":2028,"size":6134,"collection":6,"collections":6135,"showCount":6136,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"chun-xuan-tu-shen-zhou-222117","椿萱图","此画的主体为椿萱，双钩设色。图绘千年椿树高大挺拔，枝叶繁茂；树下奇石玲珑，兰草丛生；萱草清柔透明，婀娜多姿；花朵妍丽娇嫩，宛如美女横波微盼。图右上角行书自题七律一首曰：“灵椿寿及八千岁，萱草同生寿亦同。白发高堂进春酒，凤凰飞下影云中。沈周”钤朱文 “沈氏启南”印、白文 “白石翁”印。沈周是个孝子，51岁时其父去世，一直留家照顾母亲，这也是他多次婉辞出仕的理由。其母99岁去世后，他多次创作思萱题材以怀念母亲。\n古代传说大椿长寿，庄子曾经说过“上古有大椿者，以八千岁为春，八千岁为秋”，可见它有多么长寿。因此古人就把它拿来比喻父亲，盼望父亲像大椿一样长生不老。后来为一切男性长辈祝寿，都尊称对方为“椿寿”。又因为当年孔子的儿子孔鲤怕打扰父亲思考问题，“趋庭而过”，快步走过自家的庭院，因此古人就把“椿”和“庭”合起来称“椿庭”，称父亲为“椿庭”。古人不单独把父亲称为“椿”，那毕竟是一棵树，而是称为“椿庭”。将“椿”、“萱”合称“椿萱”即代指父母，父母都健在称为“椿萱并茂”，前引“堂上椿萱雪满头”的诗句就是形容父母都老了，头发都白了。",[1553,1554,1557,1637,2137,4834,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa835837569826e86e816c94d9ef1b7d0.jpg","纵170.9厘米，横92.8厘米",[6,1613],109,{"id":494,"slug":6138,"title":6139,"dynasty":1633,"author":2763,"museum":6140,"description":6141,"tags":6142,"thumbUrl":6143,"material":6144,"size":6145,"collection":6,"collections":6146,"showCount":6136,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"er-yang-tu-zhao-meng-fu-220827","二羊图","美国弗瑞尔美术馆","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[1553,1554,1555,1666,1591,1879,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 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一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[1554,1555,1556,1557,6231,1559,1695,1595],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e08f4453ea59c906d1aecbc008de815.jpg",[6],106,{"id":505,"slug":6236,"title":6237,"dynasty":1548,"author":1837,"museum":6238,"description":6239,"tags":6240,"thumbUrl":6241,"material":2028,"size":6242,"collection":6,"collections":6243,"showCount":6234,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[1553,1607,1554,1555,1637,1557,2070,2822,2137,2278,2072,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","横62厘米，纵115.1厘米",[6,1613],{"id":506,"slug":6245,"title":6246,"dynasty":1715,"author":3570,"museum":1683,"description":6247,"tags":6248,"thumbUrl":6251,"material":1802,"size":6252,"collection":1726,"collections":6253,"showCount":6234,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"shui-mo-xie-sheng-tu-mu-xi-221500","水墨写生图","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。\n沈周卷后题识称：“不施色彩，任意潑墨，儼然若生。回視黃筌、舜舉之流，風斯下矣。”本幅无作者款印，沈周定为“真宋物也”。徐邦达先生认为，沈周题跋中“牧”字有挖改痕迹，是“似牧非牧之画”。",[1553,1554,1607,1555,1666,1591,1762,1686,1559,3573,6249,2687,2388,4094,1592,4704,6250,3575,3574,1577,1560,2666,2013,1901],"水族","麻雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf031a51ea46b7afc61efea8475b520.jpg","纵47.3厘米，横814．1厘米",[1726,6,1934],{"id":507,"slug":6255,"title":6256,"dynasty":1648,"author":2605,"museum":1717,"description":6257,"tags":6258,"thumbUrl":6259,"material":1610,"size":1580,"collection":6,"collections":6260,"showCount":6234,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"ban-jiu-tu-huang-quan-219025","斑鸠图","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[1553,1607,1554,1555,1556,1637,1557,1559,1667,1592,1815,1593,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[6],{"id":508,"slug":6262,"title":6263,"dynasty":1548,"author":2935,"museum":1604,"description":6264,"tags":6265,"thumbUrl":6267,"material":1610,"size":6268,"collection":6,"collections":6269,"showCount":6234,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"si-rui-qing-deng-tu-jiang-ting-xi-218778","四瑞庆登图","蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。\n画两棵高梁结满穗粒，并点缀有白头翁、菊花和泉石。画法承恽氏之风，虽用笔工致，但不板滞，兼有写生之趣。此时蒋氏五十五岁，调任礼部侍郎，同年又调任户部。蒋氏鲜少在画上落款处加官职，此图以端正楷书写上礼部右侍郎等字，应是应制之作。而四瑞写各种祥瑞事物，应是称颂雍正皇帝继承帝位是顺天应民之意。",[1554,1557,1637,1559,1622,1592,1667,6266,1749,1795,1595],"高粱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73b7e62a8dadfcb098962fa2d8a6e8a.jpg","185.2x87.2cm",[6],{"id":509,"slug":6271,"title":2147,"dynasty":1633,"author":2875,"museum":1573,"description":6272,"tags":6273,"thumbUrl":6275,"material":1610,"size":6276,"collection":6,"collections":6277,"showCount":6234,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-wu-zhen-218492","墨竹以中锋运笔，瘦劲中含柔韧，竹叶如剑戟横斜，又似疾风翻卷，墨色浓淡相间，层次分明；石体则以淡墨晕染，辅以干笔皴擦，朴拙厚重中透出清逸之态。竹石相依，动静相生，既见自然野趣，又藏文人风骨——笔端流淌的不仅是水墨的韵律，更是君子坚韧高洁的精神写照。整幅画作简而不薄，意境悠远，尽显元人画中“以书入画”的雅致与隐逸情怀，笔墨间的生机与心性，似可穿越时空，与观者对话。",[1553,1607,1554,1555,1591,1686,1690,1707,1688,1595,6274],"元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c4598d701937861a6c59fad8d3c4f.jpg","37.5x94.5cm",[6],{"id":510,"slug":6279,"title":6280,"dynasty":1648,"author":2605,"museum":2893,"description":6281,"tags":6282,"thumbUrl":6283,"material":1610,"size":6284,"collection":6,"collections":6285,"showCount":6234,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"xie-sheng-yuan-yang-tu-huang-quan-216746","写生鸳鸯图","画面描绘了一棵古老的梅花树，枝干粗壮，梅花枝条细长，树下有一丛绿竹；右下方是一对羽毛鲜艳的鸳鸯，一只蹲在地上，扭曲的头和嘴藏在羽毛中。",[1554,1555,2161,1637,1557,1559,2556,2137,4658,1689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b5310b6859685fde5b35c131cf676e.jpg","23.6x24.2cm",[6],{"id":511,"slug":6287,"title":6288,"dynasty":1548,"author":2359,"museum":1663,"description":2786,"tags":6289,"thumbUrl":6290,"material":2195,"size":1580,"collection":6,"collections":6291,"showCount":6292,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[1553,1554,1555,1622,1591,1688,1595,1562,1690,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f693b107ed41d72c1e72ff211b8570.jpg",[6,1934],105,{"id":512,"slug":6294,"title":6295,"dynasty":1715,"author":2022,"museum":1604,"description":6296,"tags":6297,"thumbUrl":6298,"material":2320,"size":6299,"collection":1726,"collections":6300,"showCount":6292,"zanCount":2968,"manual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厘米，横59.4 厘米",[6],{"id":519,"slug":6355,"title":6356,"dynasty":1984,"author":1985,"museum":1683,"description":6357,"tags":6358,"thumbUrl":6360,"material":1563,"size":6361,"collection":6,"collections":6362,"showCount":6345,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"zhu-qin-tu-ping-qi-bai-shi-216936","竹禽图屏","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。",[1553,1554,1591,1557,3269,1688,1595,1686,1592,6359,1562],"竹编器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0b158a23761978220ebb961394c51.jpg","36.5x33.2cm",[6],{"id":520,"slug":6364,"title":6365,"dynasty":1548,"author":2035,"museum":1663,"description":4556,"tags":6366,"thumbUrl":6367,"material":1580,"size":1580,"collection":6,"collections":6368,"showCount":6369,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"jiao-lu-tu-zhou-zhu-da-237923","蕉鹿图轴",[1554,1622,1591,1686,1879,3644,5509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ee521beeb95700367cfecb5b3cbb7.jpg",[6,1934],102,{"id":521,"slug":6371,"title":6372,"dynasty":1548,"author":1874,"museum":1663,"description":6373,"tags":6374,"thumbUrl":6375,"material":1580,"size":1580,"collection":6,"collections":6376,"showCount":6369,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"la-mei-han-que-zhou-ren-yi-237138","腊梅寒雀轴","任颐绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。\n任颐（1840—1896年），初名润，字小楼、伯年，浙江绍兴人，寓居上海，以卖画为生。擅长人物、肖像、花鸟、山水画。其绘画除继承民间及传统文人画，融汇陈洪绶、陈淳、徐渭诸家之长外，还吸收了西画速写、设色诸法，形成丰姿多彩，新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。与任熊、任熏、任预并称为“海上四任”。",[1554,1622,1557,1591,1559,1689,3526,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021cedaf0e04a0116abaa047e0a25a57.jpg",[6],{"id":522,"slug":6378,"title":6379,"dynasty":1548,"author":2972,"museum":1663,"description":3475,"tags":6380,"thumbUrl":6381,"material":1802,"size":6382,"collection":6,"collections":6383,"showCount":6369,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"nong-yan-zhuo-zhuo-yun-jin-xian-li-zhou-wu-chang-shuo-224227","秾艳灼灼云锦鲜立轴",[1553,1554,1555,1622,1557,1559,1707,1638,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9cf103a50a6f03f9f5e08b4a20601c.jpg","93x45cm",[6,1613],{"id":523,"slug":6385,"title":6386,"dynasty":1587,"author":2717,"museum":1604,"description":6387,"tags":6388,"thumbUrl":6389,"material":1610,"size":6390,"collection":6,"collections":6391,"showCount":6369,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"ba-bai-chang-chun-tu-zhou-zhi-mian-218791","八百长春图","群鸟聚于虬枝间，动静交织成趣。或振翅俯冲，羽翼翻飞带起风意；或引颈相鸣，喙张似闻啁啾之声；或敛翼静栖，黑亮羽色衬暖褐底色，浓淡墨痕晕染出羽毛层次。虬枝蜿蜒，叶芽点缀其间，野趣盎然。整幅画面鲜活生动，鸟的姿态各异却和谐相融，似捕捉了林间一瞬的热闹场景，墨色与绢本底色相映成辉，尽显自然生机与笔墨意趣。",[1553,1554,1607,1555,1622,1637,1559,1667,2137,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd7ed05d03aaa2f92e4f07cd2b388aa.jpg","111.8x50cm",[6],{"id":524,"slug":6393,"title":2376,"dynasty":1548,"author":1732,"museum":2057,"description":6394,"tags":6395,"thumbUrl":6396,"material":1610,"size":6397,"collection":6,"collections":6398,"showCount":6369,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"hua-niao-tu-yi-ming-216726","花鸟图是清朝时期佚名画家创作的一类绘画作品，其中包含了许多花卉和鸟类的描绘。这类画作通常都具有鲜艳的色彩和精致的细节，描绘的花卉和鸟类也常常具有浓郁的自然气息。花鸟图被广泛地用作装饰品，被视作清朝文化中的珍宝。",[1554,1555,1622,1637,1557,1559,1592,1815,1748,1953,2072,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[6],{"id":525,"slug":6400,"title":6401,"dynasty":1587,"author":6402,"museum":6403,"description":6404,"tags":6405,"thumbUrl":6406,"material":3059,"size":6407,"collection":6,"collections":6408,"showCount":6409,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mo-zhu-tu-ce-feng-qi-zhen-237544","墨竹图册","冯起震","山东省博物馆","这幅《墨竹图》，所绘为风中之竹。画中有老竹二竿，小竹三竿，另有新篁三株。作者以淡墨绘老竹的竿与叶。竹竿亭亭竖劲，枝繁叶盛。一棵小竹依傍其左，另两竿小竹立其右。小竹枝、竿、叶均以浓墨写出，将青春勃发的幼竹秀颀、挺拔之态淋漓洒脱地表现出来。作者在写竹叶时，无论老竹幼竹，都用墨的浓淡的层次不同，来分出其阴阳向背以及叶梢的枯萎卷折，自然逼真，有形有神。\n竹下，有新笋拔地而起。其中一株已抽出肥嫩的竹节，大有冲天而发之势。另外两株小笋则跃跃欲试，似在蓄积力量，等待着雨后的拔节。笋皆以浓墨写出，清新可人。\n画中之竹，因经受着风的吹打，均倾向右侧。竹，非草非木，虽中心虚空，却能任风卷残云，我自岿然。这种宁折不弯的品性，正是画家通过他的《墨竹图》要传达给世人的。竹不是孤根而生，一枝独秀。在广袤的田园，抑或是在贫瘠的山间，竹必定是以群体的形式迎击着时时掠过的东西南北风。冯起震的《墨竹图》，着力渲染了竹的这种相依而生的特性。画中所绘竹丛，密处不繁，疏处不陋，有长幼之序，有父子之亲，老幼相傍，高下互让，拳拳之情，俨然如人间的手足相携，父子顾盼。\n以竹入画，始自唐代。初系著色，五代时用墨染，北宋开始流行墨竹。宋·李昉在《文苑英华》中说竹“劲本竖节不受霜，刚也；绿叶凄凄翠荫浮浮，柔也；虚心而直无所隐蔽，忠也；不孤根以挺拔，必相依以擢秀，义也”。这“刚、柔、忠、义”四种品德，正是历代中国文人所看重的修养与情操，甚至将其中的“忠”与“义”看得比生命还要重要。所以，谦谦君子，案头必定有竹相伴。以墨写竹，摒去了其他色彩，铅华洗尽，纯以黑白示人，更是清雅飘逸。北宋之后，墨竹在画坛上大行其道。到了明代，随着文人画日见称盛，墨竹作者更是名家辈出，冯起震便是其中自具特色的一位。\n《墨竹图》布局尤其独特。画中别无他物，只置绿竹一丛，顶天立地，上下均不留空间，只在左右两侧留白。画家只截取了竹的生长状态中的一部分予以表现，而不是写其全貌。至于竹究竟有多高，叶究竟有多茂，只有观者自己去想象了。由此，也可见出作者不为成法所拘，在画幅上自由驰骋的一面。\n如此大的篇幅，应当是作者张纸于壁上，一挥而就。所以，才使得这幅画淋漓利落，满纸清风。",[1554,1555,1556,1591,1690,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce3c0964d656b67a08c1ef1ccd0e3f4.jpg","纵178厘米，横88厘米",[6],101,{"id":526,"slug":6411,"title":1618,"dynasty":1587,"author":6412,"museum":1604,"description":6413,"tags":6414,"thumbUrl":6415,"material":1591,"si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鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 右下角，渚石上诞生了几朵野花，色彩淡雅，分外妖娆。",[1553,1554,1555,1637,1557,1559,6471,2556,2138,1749,5878],"寒柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164801a49616e2eaf0f52e7357700d20.jpg","纵60cm,横85cm",[6,1613],{"id":533,"slug":6476,"title":5527,"dynasty":1587,"author":5517,"museum":1717,"description":6477,"tags":6478,"thumbUrl":6480,"material":1610,"size":1580,"collection":6,"collections":6481,"showCount":6464,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"lu-yan-tu-lin-liang-219052","墨色浓淡交织间，苇丛恣肆舒展，叶片如剑划破虚灵的背景，尽显野逸之趣。雁群姿态憨然，或低头啄食，或翘首顾盼，羽毛以淡墨晕染，绒质感呼之欲出，兼工带写的笔法将水禽的灵动与野趣凝于尺幅。画面不着艳色，却于水墨淋漓中透出秋江芦岸的清寂与生机，笔力雄健又不失细腻，尽显写意花鸟的奔放与传神，仿佛能听见苇叶沙沙，雁鸣轻啼，将自然之趣定格成永恒的诗意图景。",[1553,1554,1591,1686,1559,3321,3320,1667,6479,1707],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef142504755ac0f39ccbabbb50b7aca.jpg",[6],{"id":534,"slug":6483,"title":6484,"dynasty":1587,"author":3147,"museum":1604,"description":6485,"tags":6486,"thumbUrl":6488,"material":1610,"size":6489,"collection":6,"collections":6490,"showCount":6464,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"xian-chun-si-xi-tu-lv-ji-218787","先春四喜图","梅枝苍劲，皴痕间晕开早春的暖意——淡粉花萼次第舒展，艳红山茶点缀其间，为清寒添了几分热烈。四只喜鹊姿态各异：或立于枝巅梳理羽翼，或俯身探看枝干纹理，或两两相望似在私语，灵动身影让静谧画面骤然鲜活。鸟羽的黑白分明，与花的柔粉、叶的浅绿相映成趣，绢本暖黄底色更衬出雅致与喜庆。工笔细描的鸟羽纹理、花瓣脉络，与写意勾勒的枝干苍劲形成巧妙平衡，将吉祥意趣藏进每一处生动细节。整幅画似有春风拂面，让人心头漾起融融暖意。",[1554,1555,1622,1637,1557,1559,1689,1592,6487],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc55ecd4d03ee71fbc7cd4b5d506fd18.jpg","139.8x49.2cm",[6],{"id":535,"slug":6492,"title":3492,"dynasty":1548,"author":6493,"museum":1683,"description":6494,"tags":6495,"thumbUrl":6496,"material":2028,"size":1580,"collection":6,"collections":6497,"showCount":6498,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-hui-tu-ce-fan-ting-zhen-232941","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[1554,1555,1761,1556,1637,1557,1559,1608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df710205e22d5669d2e2a24740a6861.jpg",[6],98,{"id":536,"slug":6500,"title":6501,"dynasty":1715,"author":6502,"museum":1604,"description":6503,"tags":6504,"thumbUrl":6508,"material":2195,"size":6509,"collection":6,"collections":6510,"showCount":6498,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"sui-chao-tu-zhou-dong-xiang-221222","岁朝图轴","董祥","“岁朝”，是指阴历的正月初一，也就是我们通常谓之“年初一”——“春节”。在这一岁之始，人们为了祈求新的一年平安吉祥，往往喜欢在厅堂挂一些“岁朝图”，图上画的象征平安祥瑞的花卉器物，在这寒冽萧瑟的严冬，给家宅带来明媚温煦的春意。这民间的风俗，始于唐代，起先不过是一些仕绅、文人在大年初一将金石、书画、古董等雅玩之物精心摆设于临窗的案几上，渐渐地也有将这些物品勾染成画挂壁，意在祈福纳祥。至宋代，这民俗流行宫廷内外，宋徽宗每逢春节将临，乃命其图画院的画师们描画冬季不能见到的花卉禽鸟，陈列宫中，以增添岁朝的喜庆气氛。此后，岁朝图的内容逐渐扩展，经明、清而至近现代，大至文房器物，小至灯笼、鞭炮、果蔬等日常生活用品，都成为图上的吉祥物，日益成为一种雅俗共赏、意蕴丰厚，融诗、书、画、印于一体的画种。",[1553,1554,1555,1622,1591,1637,1595,1562,1688,3869,1560,6505,6506,2183,6507],"松枝","器物","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23bfa3f92c3fbaf6e40503c0241d83.jpg","115.2x44.3公分",[6,1613],{"id":537,"slug":6512,"title":5394,"dynasty":1548,"author":1549,"museum":1663,"description":5395,"tags":6513,"thumbUrl":6515,"material":1846,"size":6516,"collection":6,"collections":6517,"showCount":6498,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shuang-qing-tu-yun-shou-ping-220974",[1553,1554,1555,1622,1761,1558,1557,1559,1827,1694,1594,2566,6514],"传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d9b08a441f3b8f0cf2cc92ce26149c.jpg","纵88.5厘米，横54厘米",[6,1613],{"id":538,"slug":6519,"title":6520,"dynasty":4850,"author":6521,"museum":1604,"description":6522,"tags":6523,"thumbUrl":6524,"material":1563,"size":6525,"collection":6,"collections":6526,"showCount":6498,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水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，体现了刁光胤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，刁光胤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。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水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，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[1554,1555,1556,1557,1843,2275,1879,2138,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[6],{"id":539,"slug":6528,"title":6529,"dynasty":1548,"author":1837,"museum":1683,"description":6530,"tags":6531,"thumbUrl":6533,"material":1846,"size":6534,"collection":6,"collections":6535,"showCount":6536,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[1554,1607,1555,1622,1637,1557,2069,1841,2070,1667,1843,2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他曾任清军参将，后因不愿奉命打 其为人性情孤僻，非相处情深者不能得其片纸。携笔墨、着僧装，“闲中写出三千幅，行乞人间作饭钱”，其一生极为清苦，却云游四海，其行程之广，作品之多，为当时所罕见。他承古创新，独辟捷径，广集素材，勤于创作，终成一代巨擘。",[1554,1555,1622,1557,1559,1696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe7cc2ae8930ce3b58efcd7f5e7c78b.jpg","197.4×48.2",[6],96,{"id":541,"slug":6546,"title":6547,"dynasty":1587,"author":1732,"museum":1663,"description":6548,"tags":6549,"thumbUrl":6550,"material":2320,"size":1580,"collection":6,"collections":6551,"showCount":6544,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"wang-zi-yuan-hua-niao-ce-yi-ming-236282","王子元花鸟册","此作清雅悠然，绶带鸟栖于梨枝之上，翎毛以细笔丝描晕染，墨色层叠尽显绒羽柔泽，蓝首醒目，长尾轻曳，姿态娴静灵动。枝头梨花绽放，淡墨勾瓣，敷色轻浅柔润，将花瓣舒展之态描摹尽致。叶片以没骨晕染，浓淡晕化间尽显春日枝叶的鲜活生机。\n\n画面构图疏朗雅致，工写相融，于细腻笔触中藏着写意的悠然意趣，将禽鸟的灵动与花木的温婉相融，笔墨间晕开春日清和的淡远意境，尽显静谧雅致的文人闲情。",[1554,1555,1556,1557,1637,1559,1592,1815,1593,1976],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[6,1613],{"id":542,"slug":6553,"title":1572,"dynasty":1548,"author":5751,"museum":1663,"description":6554,"tags":6555,"thumbUrl":6556,"material":1784,"size":1785,"collection":6,"collections":6557,"showCount":6544,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-wang-wu-235595","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[1607,1554,1555,1556,1557,1637,1559,1707,1560,1593,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[6,1613],{"id":543,"slug":6559,"title":3796,"dynasty":1548,"author":2972,"museum":2117,"description":6560,"tags":6561,"thumbUrl":6562,"material":1892,"size":6563,"collection":6,"collections":6564,"showCount":6544,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"song-mei-tu-wu-chang-shuo-224223","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[1553,1554,1555,1622,1591,1557,1559,1691,1689,1595,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[6,1613],{"id":544,"slug":6566,"title":6567,"dynasty":1548,"author":1837,"museum":1683,"description":6568,"tags":6569,"thumbUrl":6570,"material":1846,"size":6571,"collection":6,"collections":6572,"showCount":6544,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-niao-ce-ye-lang-shi-ning-222781","花鸟册页","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[1553,1607,1554,1555,1556,1637,1557,1559,1689,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg","纵32.6厘米，横28.6厘米",[6,1613],{"id":545,"slug":6574,"title":6575,"dynasty":1548,"author":1549,"museum":1663,"description":2212,"tags":6576,"thumbUrl":6577,"material":6578,"size":6579,"collection":6,"collections":6580,"showCount":6544,"zanCount":1568,"manualWeight":1568,"mainColor":2006},"hua-hui-li-zhou-yun-shou-ping-221001","花卉立轴",[1553,1554,1622,1558,1557,1559,1608,1690,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72df777f65aff6071f8368bf22ed0ab.jpg","纸","48.5×118.5",[6,1613],{"id":546,"slug":6582,"title":6583,"dynasty":1587,"author":5517,"museum":1604,"description":6584,"tags":6585,"thumbUrl":6586,"material":1625,"size":6587,"collection":6,"collections":6588,"showCount":6544,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"ying-tu-lin-liang-218845","鹰图","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[1554,1555,1607,1622,1591,1686,1559,1667,3141,4658,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[6],{"id":547,"slug":6590,"title":6591,"dynasty":1548,"author":1732,"museum":1604,"description":6592,"tags":6593,"thumbUrl":6595,"material":1610,"size":6596,"collection":6,"collections":6597,"showCount":6544,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","这幅画是在七色牡丹花下画了一对公鸡和母鸡接近小鸡的场景。牡丹的画法是恽代英式的，鸡的形状也很准确，采用的是略带西方色彩的凹版画法，所以这幅画应该是清代宫廷画家的作品。",[1554,1557,1637,1559,5034,6594,5840,1608,1749,1670],"母鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","138.5x69cm",[6],{"id":548,"slug":6599,"title":6600,"dynasty":1715,"author":1732,"museum":1604,"description":6601,"tags":6602,"thumbUrl":6603,"material":1610,"size":6604,"collection":6,"collections":6605,"showCount":6544,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"xi-ma-tu-yi-ming-216214","洗马图","洗马图是宋朝时期的一幅著名图画，其作者不详。这幅图展示了一群人在洗马，图中人物栩栩如生，每个人都有自己独特的表情和动作。洗马图被认为是中国古代绘画史上的杰作，其精细的绘画技巧和生动的人物造型吸引了许多观众的眼球。\n\n洗马图是在宋朝时期创作的，当时中国的绘画艺术正处于高峰期。在宋朝时期，绘画艺术得到了极大的发展，许多著名的绘画家都涌现出来，创作出了许多传世的杰作。洗马图就是其中的一例，其精细的绘画技巧和生动的人物造型使其成为了中国古代绘画史上的杰作。\n\n目前，洗马图被认为是中国古代艺术宝藏之一，并被收藏在台北故宫博物院之中。许多人都向往能够看到这幅珍贵的图画，并为其中的细节所惊叹。洗马图是中国古代艺术的杰作，值得我们去探究和珍视。",[1554,1555,1607,1637,1557,1841,2070,1668,1840,2546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b0938793c42dc54607d2778cc0ab9b.jpg","55x60.8cm",[6],{"id":549,"slug":6607,"title":6608,"dynasty":1715,"author":1732,"museum":2748,"description":6609,"tags":6610,"thumbUrl":6611,"material":1610,"size":6612,"collection":1726,"collections":6613,"showCount":6544,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"mu-niu-tu-yi-ming-215141","牧牛图","柳树下母子牛与牧童幽然自得，老牛正舔小水牛，使人很自然想起舔犊情深的成语。一牧童依坐在柳树下打盹欲睡，远处池塘水波拂动，柳树及所有青草一齐飘拂一边，显然是春风和熙的春天情境。",[1553,1554,1637,1557,1841,5293,1668,2072],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb029c7a8756d57f421eeee8d256b9e45.jpg","24.7x25.6cm",[1726,6],{"id":550,"slug":6615,"title":6616,"dynasty":1587,"author":2306,"museum":1604,"description":3377,"tags":6617,"thumbUrl":6621,"material":1892,"size":6622,"collection":6,"collections":6623,"showCount":6624,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴",[1553,1554,1622,1591,1557,1686,1559,1577,2014,1952,2013,3321,1976,4358,2608,1560,2666,6618,2751,6619,5268,6620],"淡彩","写意花鸟","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[6,1613],95,{"id":551,"slug":6626,"title":6627,"dynasty":1587,"author":2717,"museum":2023,"description":6628,"tags":6629,"thumbUrl":6630,"material":1580,"size":6631,"collection":6,"collections":6632,"showCount":6624,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mei-hua-ye-zhi-tu-zhou-zhi-mian-222415","梅花野雉图","彩绘老干红梅，野雉栖于其上，竹石映带左右。作者周之冕江苏苏州人，善画花鸟，能的其神态；设色清雅，在陈淳、陆治之间，钩花点叶，间出新意。惟酒成癖，诚是一病。此图写生意味颇浓，构图匀称；工笔精细逼真，而无板滞痕迹，正是难能可贵之处。上有作者“丙申夏日汝南周之冕写”名款，下钤“周之冕印”、“服卿”印章二方。图的整体布局严谨，描摹惟妙惟肖，是同时期画作中的佳品。",[1553,1554,1559,1557,1591,1689,1592,1707,1637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2989106565d8ba25606cccdc69711.jpg","纵: 134.5厘米. 横: 33.6厘米",[6,1613],{"id":552,"slug":6634,"title":6635,"dynasty":1633,"author":6636,"museum":1604,"description":6637,"tags":6638,"thumbUrl":6641,"material":1563,"size":6642,"collection":6,"collections":6643,"showCount":6624,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"dong-yuan-zai-jiu-tu-cao-zhi-bai-218661","东园载酒图","曹知白","这幅画画的是曹知白自己在采芝窝的隐居地，山川秀丽，笔墨温润，思想极为高雅明朗，使之成为曹氏山水画的精品。",[1553,1607,1554,1555,1622,1591,2274,6639,1843,2038,1844,1842,6640],"干笔","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4e4c7f20f69be119e1b5cb8d07c1f7.jpg","97.1x54.8cm",[6],{"id":553,"slug":6645,"title":6646,"dynasty":1548,"author":6647,"museum":1704,"description":6648,"tags":6649,"thumbUrl":6650,"material":1625,"size":6651,"collection":6,"collections":6652,"showCount":6624,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"song-ying-tu-gao-qi-pei-216113","松鹰图","高其佩","高其佩的指画，墨法得力于吴镇，形象近于吴伟，以减笔写意法见长，尤喜画虎、画钟馗。在技巧方面，他在《述画诗》中道：“吾画从吾手，甲骨掌背俱，手落尚无物，物成手却无。”可见他的指画运用了手的各个部分。他的指画有“叱石成羊”之妙，人物形象极为生动，面部用尖指甲细勾，简练传神，画衣纹指尖指甲并用，顿挫自如，冠靴用指掌涂抹，墨色浑然；花鸟画则随意点染的浓淡干湿墨色，飞动不露笔痕的粗细线条，蹲鹰的蓬松羽毛，老树的苍劲之质均表现得十分出色。\n高其佩以指画在画坛独树一帜，指画作品清、奇、简淡浑厚，而神韵尤在指墨之外，其艺术成就，对后世影响很大。在他之后，出现了很多知名指画家，其中包括他的徒弟“扬州八怪”的罗聘，李鱓和黄慎亦擅指画，清晚期著名的指画家就有一百多人，现代国画大师潘天寿、钱松岩等都深受其影响。他的指画创作则信手一挥，倾刻数十幅，令人惊讶，一生的作画数量极为惊人。主要作品有：《饱虎图》、《雁行图》、《怒容钟馗图》、《梧桐喜鹊图》、《虬松莫岫图》、《高冈独立图》、《稻穗螳螂图》、《松阴小琪图》、《指画人物》册等。",[1553,1554,1607,1591,1686,2274,1622,2137,3619,3141,1667,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff940dda9a789d8da923f8b9917eaad90.jpg","172x90cm",[6],{"id":554,"slug":6654,"title":6655,"dynasty":1633,"author":4767,"museum":2296,"description":6656,"tags":6657,"thumbUrl":6658,"material":2028,"size":6659,"collection":6,"collections":6660,"showCount":6661,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"lian-ji-ling-tu-wang-yuan-221840","莲鹡鸰图","此图是唐绘手鉴《笔耕园》60幅册页中的一幅。王渊花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。天机溢发，肖古而不泥古。",[1553,1607,1554,1555,1637,1557,1559,1577,1667,1578,2014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8dcc488c7d4ab10557e1ad0364ca7b.jpg","29.9×36cm",[6,1613],94,{"id":555,"slug":6663,"title":6664,"dynasty":1715,"author":3307,"museum":1663,"description":6665,"tags":6666,"thumbUrl":6667,"material":2320,"size":6668,"collection":1726,"collections":6669,"showCount":6661,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"xie-sheng-cao-chong-tu-juan-cui-bai-221442","写生草虫图卷","崔白，字子西，北宋濠梁人，杰出的花鸟画家。北宋中期翰林图画院画家，擅长画花鸟，所做动物在写生基础上概括，形象生动活泼。他不仅擅画花竹翎毛、败荷凫雁，而且画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生，所画鹅、蝉、雀堪称三绝。他一改百余年画风，成为北宋画坛革新主将，数百年来颇受画坛尊祟。\n崔白的一生中大部分时间只是个民间画工，生活颠沛流离，后来有很多人都为他的不得赏识打抱不平。像米芾在他的《画史》中说，在嘉年间（1056—1063年），公卿贵族们的收藏竞相一味求古，多是阎立本、韩滉一类画家的赝品，而对于像崔白这么优秀的当代画家的画作，他们却熟视无睹。",[1553,1554,1555,1666,1637,1557,1762,1747,1748,2666,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e1171b5cd251561cf91850b031251.jpg","26×150",[1726,6,1613],{"id":556,"slug":6671,"title":6672,"dynasty":1548,"author":6673,"museum":1604,"description":6674,"tags":6675,"thumbUrl":6677,"material":1610,"size":6678,"collection":6,"collections":6679,"showCount":6661,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"song-jian-wo-hu-tu-a-er-bai-220405","松间卧虎图","阿尔粺","清代阿尔粺绘。阿尔粺是一位满族画家，字香榖，舒穆禄氏，满洲镶蓝旗人。阿尔粺善画虎、鹰等，《啸亭杂录》云 “精于绘事，以画虎闻名，赏鉴家宝之”。画轴中之虎双目微睁，前爪平放，脊背伸长，似乎是一只刚刚睡醒正在伸懒腰的睡虎，画面上下的松树恰好将虎包围起来，给人一种虎躺在窝中安逸祥和之感。此幅现藏于台北故宫博物院，绢本设色。",[1553,1607,1554,1555,1557,1637,3619,6676,2038,1879,1761],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc39579ce3a98b7f5b622e8f5b4f35.jpg","70.5x46.7",[6,1613],{"id":557,"slug":6681,"title":6682,"dynasty":1715,"author":6683,"museum":3004,"description":6684,"tags":6685,"thumbUrl":6686,"material":1610,"size":6687,"collection":1726,"collections":6688,"showCount":6661,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[1553,1607,1554,1555,1622,1637,1557,1559,1689,1690,1707,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[1726,6],{"id":558,"slug":6690,"title":6691,"dynasty":1715,"author":2674,"museum":1573,"description":6692,"tags":6693,"thumbUrl":6694,"material":1563,"size":6695,"collection":6,"collections":6696,"showCount":6661,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"e-tu-lu-zong-gui-218947","鹅图","绘有一只雏鸟在母亲脖子后面的右侧，低头看着水面，而另一只雏鸟则在母亲的左侧，抬头望天，呜呜地叫着。这个场景相当有趣，反映了动物之间的母子关系。",[1554,1607,1555,1637,1557,1559,4640,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7faa8a7a2eafd67f868c6d30b023f7.jpg","60x80cm",[6],{"id":559,"slug":6698,"title":6699,"dynasty":1548,"author":1823,"museum":1663,"description":6700,"tags":6701,"thumbUrl":6702,"material":1580,"size":1580,"collection":6,"collections":6703,"showCount":6704,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238366","董诰延春荟彩图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[1554,1555,1556,1637,1557,1559,1560,1901,1795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e56e69a03dcde8ab9a366f27b7c94c8.jpg",[6,1613],93,{"id":560,"slug":6706,"title":6707,"dynasty":1587,"author":3237,"museum":1663,"description":6708,"tags":6709,"thumbUrl":6710,"material":1637,"size":6711,"collection":6,"collections":6712,"showCount":6704,"zanCount":2968,"manualWeight":1568,"mainColor":3243},"de-qu-zai-ren-ce-13-kai-wang-zhong-222042","得趣在人册13开","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[1553,1607,1554,1555,1556,1557,1637,1559,1690,1592,1815,2183,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f74d819ae04a78f0a4642cdafcc5cd.jpg","30×27厘米",[6,1613],{"id":561,"slug":6714,"title":6715,"dynasty":1715,"author":2022,"museum":1683,"description":6716,"tags":6717,"thumbUrl":6719,"material":6720,"size":6721,"collection":1726,"collections":6722,"showCount":6704,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"pi-pa-shan-niao-tu-ye-zhao-ji-221333","枇杷山鸟图页","本幅款押“天下一人”。钤“御书”朱文葫芦形印一方。裱边题签：“宋宣和枇杷山鸟”。鉴藏印钤“宣统御览之宝”，中缝钤“八征耄念之宝”、“太上皇帝之宝”朱文印各一方。\n图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[1553,1554,1555,2161,1591,1637,1558,1559,2086,3851,6718,1562,1595],"凤蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc63c4273f7440564bd9b6a15e123f.jpg","绢本墨笔","纵22.6厘米，横24.5厘米",[1726,6,1613],{"id":562,"slug":6724,"title":6725,"dynasty":1715,"author":1811,"museum":1717,"description":4186,"tags":6726,"thumbUrl":6727,"material":6728,"size":6729,"collection":1726,"collections":6730,"showCount":6704,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"xiao-niao-tu-zhao-chang-221301","小鸟图",[1553,1554,1555,1637,1557,1559,2905,1690,1707,5878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb5c32590fc804144ae8ebd0bd02d8d.jpg","绢本淡设色","纵23厘米，横30厘米",[1726,6,1613],{"id":563,"slug":6732,"title":6733,"dynasty":1715,"author":1732,"museum":1604,"description":6734,"tags":6735,"thumbUrl":6736,"material":2151,"size":6737,"collection":6,"collections":6738,"showCount":6704,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"ku-mu-zhu-shi-tu-yi-ming-218910","枯木竹石图","在这幅画中，用飞白的方法在画面上画了一个石块，墨色淡而笔力强。三两根竹子站在岩石的背面，叶子用优雅而厚实的笔画着，仿佛是春山上的云朵。在一棵寒冷的树枝上，栖息着一种山鸟，它的羽毛非常精致。仔细观察笔触和墨迹，艺术家已经开始形成与赵孟𫖯的相似性。",[1553,1554,1555,1607,1591,2274,1559,1721,1690,1707,1667,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae588fde6c3ba57b3dc0a96ffdc698.jpg","107.9x51.1厘米",[6],{"id":564,"slug":6740,"title":6741,"dynasty":1587,"author":3110,"museum":1604,"description":6742,"tags":6743,"thumbUrl":6744,"material":1610,"size":6745,"collection":6,"collections":6746,"showCount":6704,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mei-hua-you-niao-tu-bian-wen-jin-216775","梅花幽鸟图","边文进（活动于1403-1428），字景昭，福建沙县人。永乐朝宫廷画家，至宣德年间被授与武英殿待诏官衔。善画花果翎毛，为明初宫廷画家中花鸟画最著名画家，并与善画山水人物的蒋子诚、画虎的赵廉并称「禁中三绝」。\n本幅为〈历代名绘册〉其中一开，描绘盛开白梅，并有一黄眉鵐栖于梅枝上，引颈顾盼。梅枝由左向画幅右侧伸出，曲虬横错，白梅盛开与将开的花苞倚侧枝头，并局部施以白线条勾勒花瓣型态，虽花朵颜料有些脱落，仍可略窥白梅盛开风华。枝头黄眉鵐鸟羽描绘精细，并呈现松活充盈之效。画幅左侧有「景昭」二字，提示画家身份，然似有涂抹痕迹。与院藏另一件边文进〈三友百禽〉相比，梅枝用笔略有相近之处，或许为时间相差不远的学仿者之作。此画整体承接宋代院画折枝花鸟的构图之趣以及优雅娴静气氛，与〈三友百禽〉所显示的喧闹气氛颇不相同，可丰富对明初宫廷花鸟画面貌的认识。",[1553,1554,1607,1555,2161,1637,1557,1559,1689,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242a8a95847e379f0a5854c0f83e0499.jpg","23.8x24.7cm",[6],{"id":565,"slug":6748,"title":4504,"dynasty":1548,"author":1837,"museum":1604,"description":6749,"tags":6750,"thumbUrl":6751,"material":1846,"size":6752,"collection":6,"collections":6753,"showCount":6754,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"ba-jun-tu-lang-shi-ning-222755","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[1553,1607,1554,1555,1637,1557,2070,3740,1841,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[6,1613],92,{"id":566,"slug":6756,"title":6757,"dynasty":1715,"author":2316,"museum":1683,"description":6758,"tags":6759,"thumbUrl":6760,"material":1846,"size":6761,"collection":6,"collections":6762,"showCount":6754,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ju-lv-tu-ma-lin-221185","橘绿图","图中橘子由绿转黄，满压枝头。\n画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。\n橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。\n虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。",[1553,1554,1607,1555,2161,1637,1557,1559,3716,1915,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb517af2b4a5bcb26aab4781737446347.jpg","纵2cm，横2.5cm",[6,1613],{"id":567,"slug":6764,"title":6765,"dynasty":1548,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（1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[1554,1607,1555,1556,1637,1557,1559,1608,1764,1593,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fed9927c9cb8158097d1385b7448f6.jpg",[6,1613],91,{"id":570,"slug":6789,"title":3351,"dynasty":1548,"author":3093,"museum":1663,"description":5902,"tags":6790,"thumbUrl":6791,"material":1580,"size":1580,"collection":6,"collections":6792,"showCount":6787,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"ju-hua-zhou-xu-gu-236536",[1554,1555,1622,1591,1557,1559,1696,1686,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b132bc15cc8d2b8bf8215263d9b1c17.jpg",[6,1934],{"id":571,"slug":6794,"title":2553,"dynasty":1548,"author":1874,"museum":1683,"description":6795,"tags":6796,"thumbUrl":6797,"material":6798,"size":6799,"collection":6,"collections":6800,"showCount":6787,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"he-hua-yuan-yang-tu-ren-yi-223238","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[1553,1554,1557,1559,1577,2556,1622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748a198151e8ce689be26e752c960fdc.jpg","绢本、设色","纵138厘米，横42厘米",[6,1613],{"id":572,"slug":6802,"title":6803,"dynasty":1548,"author":6804,"museum":1683,"description":6805,"tags":6806,"thumbUrl":6808,"material":1610,"size":6809,"collection":6,"collections":6810,"showCount":6787,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"duan-yang-jing-tu-yu-zhi-219221","端阳景图","余穉","本图借助对动植物的描绘来体现端阳时节大地回暖的场景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等植物在春光中跳跃、飞翔，一派生机盎然的欢悦景象。此图是作者任职宫廷之后所作，线条工细、匀整、流畅，设色淡雅富丽并充满装饰性。动植物造型精确且充满生趣，显示出作者较强的写实手法。",[1553,1554,1637,1557,1559,1560,1955,6807,1799,1879,1764,2666],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee229c4c1e5619fb234c345e8e4f6d14.jpg","纵137.3厘米，横68.8厘米",[6],{"id":573,"slug":6812,"title":6813,"dynasty":1715,"author":2022,"museum":2463,"description":6814,"tags":6815,"thumbUrl":6816,"material":1563,"size":6817,"collection":6,"collections":6818,"showCount":6787,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"qu-yu-tu-zhao-ji-219085","鸜鹆图","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[1554,1607,1555,1637,1559,1667,3619,4658,1591,1557,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[6],{"id":574,"slug":6820,"title":6821,"dynasty":1633,"author":1732,"museum":1604,"description":6822,"tags":6823,"thumbUrl":6824,"material":1610,"size":6825,"collection":6,"collections":6826,"showCount":6787,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[1553,1554,1555,2161,1637,1557,1559,3123,1608,2454,1915,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[6],{"id":575,"slug":6828,"title":6829,"dynasty":1548,"author":2972,"museum":1663,"description":6830,"tags":6831,"thumbUrl":6832,"material":1580,"size":1580,"collection":6,"collections":6833,"showCount":6834,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mo-he-zhou-wu-chang-shuo-236709","墨荷轴","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[1554,1555,1622,1591,1686,1692,1577,1562,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[6,3062],90,{"id":576,"slug":6836,"title":6837,"dynasty":1715,"author":1923,"museum":3914,"description":6838,"tags":6839,"thumbUrl":6840,"material":6720,"size":6841,"collection":1726,"collections":6842,"showCount":6834,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"mo-long-juan-chen-rong-221459","墨龙卷","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[1553,1554,1591,1666,1928,2596,1930,1686,4621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","185.8厘米×106.1厘米",[1726,6,1934],{"id":577,"slug":6844,"title":6845,"dynasty":1715,"author":5875,"museum":1683,"description":6846,"tags":6847,"thumbUrl":6848,"material":1846,"size":6849,"collection":1726,"collections":6850,"showCount":6834,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"si-yang-tu-chen-ju-zhong-221455","四羊图","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[1553,1554,1607,1637,1557,5415,1879,2275,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[1726,6,1613],{"id":578,"slug":6852,"title":6853,"dynasty":1633,"author":2943,"museum":1683,"description":6854,"tags":6855,"thumbUrl":6856,"material":1610,"size":6857,"collection":6,"collections":6858,"showCount":6834,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"mu-yu-zhu-tu-li-kan-220342","沐雨竹图","自宋以来，梅、兰、竹、菊被士大夫称为“四君子”，象征“清高”“幽洁”“虚心”“隐逸”“气节”等精神品格。当社会危机、民族危机严重时，一些知识分子无力抗争，在孤愤与绝望中把情感寄托于笔墨，通过高度净化了的形式，表现这几种植物的品性，以喻君子的傲骨和高风。入元以后，“四君子”画不但更为兴盛，而且在思想情感的表现上更加丰富和深刻，笔墨情趣也更加讲究。特别是墨竹，用笔单纯简洁、挥洒自由，具有书法的意态，引起了士大夫的强烈兴趣。",[1554,1555,1622,1591,1637,1690,1669,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcead2e46dbd68e83194ae99afee9827.jpg","纵111.5厘米，横55 厘米",[6],{"id":579,"slug":6860,"title":6861,"dynasty":1715,"author":6862,"museum":1573,"description":6863,"tags":6864,"thumbUrl":6865,"material":1610,"size":6866,"collection":6,"collections":6867,"showCount":6834,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[1607,1554,1555,1559,1637,1557,1592,2416,1953,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[6],{"id":580,"slug":6869,"title":6870,"dynasty":1587,"author":1588,"museum":1683,"description":6871,"tags":6872,"thumbUrl":6873,"material":1625,"size":6874,"collection":6,"collections":6875,"showCount":6834,"zanCount":1568,"manualWeight":1568,"mainColor":2006},"mao-die-tu-sun-ke-hong-218770","耄耋图","此图是幅寓意画。图绘一猫仰头注目空中飞蝶，意欲捕捉的生动瞬间。猫蝶即耄耋的谐音，古代人生八十称耄，九十称耋，寓长寿之意。本幅构图简洁，无任何背景衬托，蝶与猫构成一上一下、一动一静的对比，别有情趣。猫以墨彩重写，又以粗毫勾其毛发，造型准确生动。蝶以水墨绘出，勾染结合，着笔简约传神。此为作者墨笔粗简一路画风的代表作。",[1553,1554,1591,1878,1748,1686,1622,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67f1548430697540b035cee22f8e29a.jpg","纵139.5厘米，横47厘米",[6],{"id":581,"slug":6877,"title":3328,"dynasty":1548,"author":6878,"museum":3559,"description":6879,"tags":6880,"thumbUrl":6881,"material":1846,"size":6882,"collection":6,"collections":6883,"showCount":6884,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"mu-dan-tu-zhou-chen-zhuo-222687","陈卓","绘盛开牡丹数朵，姹紫嫣红，花瓣层层叠叠，绿叶繁茂；湖石立于花中，灰黑的颜色让花儿更加娇艳。图中的牡丹为典型的没骨画法。陈卓，字中立，清代画家，擅绘青绿山水，喜作青绿设色，兼工花鸟、人物。",[1553,1554,1555,1622,1637,1557,1608,2038,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3a743980de113f98a6c8a0a9babb69.jpg","149x68cm",[6,1613],89,{"id":582,"slug":6886,"title":6887,"dynasty":1715,"author":6888,"museum":2057,"description":6889,"tags":6890,"thumbUrl":6891,"material":1610,"size":6892,"collection":6,"collections":6893,"showCount":6884,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"yuan-yang-za-qin-tu-han-you-218925","鸳鸯杂禽图","韩佑","这幅画上画着密密麻麻的梅花和山茶花，表达了冬天的精致。一对鸳鸯依偎在萧瑟的坡岸上，为画面增添了一丝温情。这幅画据说是宋代的韩佑所作，但山石的风格是明代画院的风格，官方网站将其定为15至16世纪。",[1607,1554,1555,1622,1637,1557,1559,1689,2556,2608,1560,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9960809d93f2f94c401c8fe943f369.jpg","154x94.2cm",[6],{"id":583,"slug":6895,"title":6896,"dynasty":1548,"author":6897,"museum":1604,"description":6898,"tags":6899,"thumbUrl":6900,"material":1563,"size":6901,"collection":6,"collections":6902,"showCount":6884,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"hua-niao-quan-shi-tu-dai-hong-218805","花鸟泉石图","戴洪","作者戴洪，生死时年藉贯均不详。高宗乾隆时，任职内廷画院供奉。擅长山水、花鸟画。他的画，以笔路纤细，着色秾丽见长，曾和程志道、金昆、孙佑等人，合画清明上河图，精美绝伦，深蒙乾隆赞赏。偶尔也画水墨山水，用笔虽较开放，但仍不脱细谨作风。",[1554,1557,1637,1622,1559,1592,1815,1749,1623,2138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83a526f4a08022e9761839fce88641.jpg","185x66.3cm",[6],{"id":584,"slug":6904,"title":6905,"dynasty":1587,"author":3147,"museum":1604,"description":6906,"tags":6907,"thumbUrl":6908,"material":1610,"size":6909,"collection":6,"collections":6910,"showCount":6884,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[1553,1554,1607,1637,1557,1559,3218,1560,2556,1953,2125,2277,1749,1667,3740],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[6],{"id":585,"slug":6912,"title":6913,"dynasty":1633,"author":1634,"museum":4287,"description":6914,"tags":6915,"thumbUrl":6917,"material":1610,"size":6918,"collection":6,"collections":6919,"showCount":6884,"zanCount":2177,"manualWeight":1568,"mainColor":1658},"sun-tu-qian-xuan-216098","笋图","钱选（1213年－1275年），字善彦，元朝时期的书画家。他是著名的书法家和画家，也是著名的丹青家。他的著名作品有《笋图》。\n\n《笋图》是钱选的代表作之一，它是一幅花卉画，描绘了一棵竹子长出的笋竹。画中笋竹细腻而精巧，表现了钱选对竹子的生长过程的细致观察和深刻理解。画中的竹叶细腻，竹子的轮廓线清晰，构图简单而优美。整幅画浑然一体，极富艺术魅力。钱选的《笋图》被誉为元朝花卉画的代表作之一。",[1554,1555,1557,1637,6916],"笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa36c699fa827e03d1122c5524ea426.jpg","21x31.5cm",[6],{"id":586,"slug":6921,"title":6922,"dynasty":1587,"author":1732,"museum":1573,"description":6923,"tags":6924,"thumbUrl":6925,"material":1625,"size":6926,"collection":6,"collections":6927,"showCount":6928,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mo-he-tu-yi-ming-216671","墨荷图","墨荷图是明朝时期的一幅水墨画作品，作者是佚名。这幅画的主题是人与自然的和谐关系，描绘了一片森林中的景色。",[1554,1555,1591,1692,1577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7c76365ae85c084aaded251b4cdbcc.jpg","29x35cm",[6],88,{"id":587,"slug":6930,"title":1572,"dynasty":1587,"author":2095,"museum":2023,"description":6931,"tags":6932,"thumbUrl":6933,"material":2216,"size":6934,"collection":6,"collections":6935,"showCount":6936,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-xiang-sheng-mo-237438","项圣谟五十六岁创作的《花卉十开》是其花鸟画册页精品之一。十幅画皆纸本设色、淡彩没骨，依次画千叶桃花、石榴、白色桃花、白色梅花、海棠、兰花、野菊、秋菊、荷花荷叶、莲蓬莲藕，第一、三、四、五、八开画家题诗，第二、六、七、九、十开画家仅题名号，每一幅都有清代画家汪家珍题写诗文。",[1554,1555,1556,1557,1559,1826,1562,1595,1976,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482745d7ab05be19737eae85edd0cf06.jpg","31 X 23 CM X 10",[6,1613],87,{"id":588,"slug":6938,"title":6939,"dynasty":1548,"author":2056,"museum":1683,"description":6940,"tags":6941,"thumbUrl":6947,"material":1903,"size":6948,"collection":6,"collections":6949,"showCount":6936,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[1607,1554,1555,4864,1761,1591,1557,1843,1562,1688,2274,3619,6942,6943,6944,6945,1841,2038,4854,6946],"茅屋","山峦","平原","烟树","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[6,2141,1613],{"id":589,"slug":6951,"title":6952,"dynasty":1587,"author":3147,"museum":2223,"description":6953,"tags":6954,"thumbUrl":6956,"material":2028,"size":6957,"collection":6,"collections":6958,"showCount":6936,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[1553,1554,1555,1622,1557,1637,1559,1689,1826,5604,6955,2137,2278],"鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[6,1613],{"id":590,"slug":6960,"title":6961,"dynasty":4850,"author":1732,"museum":2296,"description":6962,"tags":6963,"thumbUrl":6965,"material":1892,"size":6966,"collection":6,"collections":6967,"showCount":6936,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"ci-shan-dian-xin-tu-yi-ming-221144","此山点心图","唐绘手鉴笔耕园",[1553,1554,1557,1637,6964],"点心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd463580216147b46561ba8406a7b22.jpg","24.6×24.2",[6,1613],{"id":591,"slug":6969,"title":6970,"dynasty":1587,"author":1732,"museum":2893,"description":6971,"tags":6972,"thumbUrl":6974,"material":1610,"size":6975,"collection":6,"collections":6976,"showCount":6936,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"luo-hua-you-yu-tu-yi-ming-219080","落花游鱼图","画面下部描绘了一条张着嘴的鸳鸯鱼，鱼身上有绚丽的背鳍和斑点，周围有荷叶和花朵，还有一条更低调的鲤鱼，鳞片整齐，鱼鳍挥舞，似乎正在向鸳鸯鱼游去。",[1554,1555,1637,1557,1559,2687,1577,6973,1578],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfa03c687a78c5002929fc39069b598.jpg","49.3x33.5cm",[6],{"id":592,"slug":6978,"title":6979,"dynasty":1715,"author":1732,"museum":1604,"description":6980,"tags":6981,"thumbUrl":6982,"material":1610,"size":6983,"collection":6,"collections":6984,"showCount":6936,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"die-fen-hua-cong-tu-yi-ming-218861","蝶粉花丛图","画面上画着五枝月季花，枝头上的花有的开得灿烂，有的含苞待放，花瓣是红色的，花尖是粉红色的，枝头上的叶子是深绿色的，花和叶子色彩斑斓，清新漂亮，两只蝴蝶在花丛中盘旋，伴着花香翩翩起舞。这幅画的笔触和色彩与卫昇，林椿的相似，应该说是南宋画派的代表作。",[1553,1554,1607,1637,1557,1559,1556,1748,1608,1954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59d14f0dd44d2a05a8c854eb299aff6.jpg","23.6x25.2",[6],{"id":593,"slug":6986,"title":6987,"dynasty":1587,"author":3147,"museum":1604,"description":6988,"tags":6989,"thumbUrl":6990,"material":1610,"size":6991,"collection":6,"collections":6992,"showCount":6936,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"chun-xi-tu-lv-ji-218789","春喜图","疏梅横斜，数羽雏鸟栖于枝间，啾鸣似唤春声。老干虬曲，山鹧羽色斑斓，立于石畔枝上，姿态雍容闲雅。靛蓝山石衬暖褐禽羽，白梅与粉花点染其间，清妍与厚重相映。笔墨工致细腻，禽鸟神态鲜活，花木情态毕肖。全图春意氤氲，生机流转，于工笔间见灵动韵致，尽显春日雅趣与自然生机。",[1554,1555,1622,1637,1557,1559,1689,1592,2038,4565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[6],{"id":594,"slug":6994,"title":4213,"dynasty":1587,"author":3110,"museum":1683,"description":6995,"tags":6996,"thumbUrl":6997,"material":1610,"size":6998,"collection":6,"collections":6999,"showCount":6936,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"zhu-he-shuang-qing-tu-bian-wen-jin-218768","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[1553,1607,1554,1555,1622,1637,1591,1557,1690,1671,1749,1559,1562,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[6],{"id":595,"slug":7001,"title":7002,"dynasty":1548,"author":2035,"museum":1704,"description":7003,"tags":7004,"thumbUrl":7005,"material":4577,"size":7006,"collection":6,"collections":7007,"showCount":7008,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"song-lu-zhou-zhu-da-237408","松鹿轴","以简淡之笔绘苍松与雌鹿，构图简明，意境寥阔深远。右上自题“乙酉夏日写，八大山人”，钤“八大山人”、“荷园”二印。右下钤收藏印二，其一“大兴刘铨福家世守印”，另一印模糊不辨。乙酉为康熙四十四年，公元1705年，作者时年80岁。",[1554,1622,1591,2120,2274,1691,3644,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d36fc960d2f3493e1ebe2d740dd1e76.jpg","182cmx88cm",[6],86,{"id":596,"slug":7010,"title":1586,"dynasty":1548,"author":1758,"museum":6140,"description":7011,"tags":7012,"thumbUrl":7013,"material":1563,"size":7014,"collection":6,"collections":7015,"showCount":7008,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-niao-ce-hua-yan-233943","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》载:华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鳝、郑板桥及盐商巨子马曰管、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[1554,1555,1556,1557,1591,1686,1559,1592,1955,1593,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[6],{"id":597,"slug":7017,"title":7018,"dynasty":1715,"author":7019,"museum":1604,"description":7020,"tags":7021,"thumbUrl":7023,"material":1610,"size":7024,"collection":6,"collections":7025,"showCount":7008,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"song-zhi-qun-lu-tu-mou-zhong-fu-219225","松芝群鹿图","牟仲甫","图绘松荫下双鹿，旁有翠竹灵芝。二鹿耸起耳朵，目光凝视同方向，似为某事所惊动。画家以极精致的笔法，描画出二鹿的形态，捕捉到自然界中生动微妙的刹那，这就是宋朝画家的长处。牟仲甫，生卒年待考。随州（今湖北省随县）人。画猿獐猴鹿与易元吉相似，画鸡尤有意趣。",[1553,1554,1607,2161,1557,1637,1691,3644,7022],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8e3db937a2cc36b9216018ebe39af9.jpg","23.9x24.3cm",[6],{"id":598,"slug":7027,"title":7028,"dynasty":1633,"author":4767,"museum":1663,"description":7029,"tags":7030,"thumbUrl":7031,"material":1610,"size":5467,"collection":6,"collections":7032,"showCount":7008,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-ju-wang-yuan-219123","花卉册-菊","赭黄绢底晕开浅淡秋光，几簇白菊簇生枝侧。花瓣以细劲游丝勾勒，层叠如缕，留白处恍若凝着晨露；旁逸竹枝挺秀，竹叶撇捺间见笔力，墨色深浅映出劲节。右下角粉蝶轻振翅翼，翅脉以淡墨晕染，姿态翩跹欲落未落，为静谧花竹注入灵动生气。\n\n笔法兼工带写，柔媚菊瓣与刚劲竹枝相衬，无浓艳设色却清雅入骨。画面凝萃着文人对秋菊傲霜的喟叹，亦藏着对自然生机的细腻捕捉。笔墨间流转元代文人画的内敛韵致——于素淡中见丰腴，于细微处显匠心，每一笔都似在诉说秋日常景里的清雅情味，让观者沉湎于这份不事张扬的诗意中。",[1553,1554,1555,1607,1556,1557,1637,1559,1696,1690,1748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9037637de8126cac747bb8560b156.jpg",[6],{"id":599,"slug":7034,"title":7035,"dynasty":1715,"author":1732,"museum":1573,"description":7036,"tags":7037,"thumbUrl":7038,"material":1610,"size":7039,"collection":6,"collections":7040,"showCount":7008,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"wu-mao-tu-yi-ming-219116","五猫图","这幅画是一棵古老的柳树，从土壤的右下坡笔直向上延伸。 柳树周围画有五只猫。 母猫的皮毛颜色很好。 它看起来天真无邪，喜欢在草坡上玩耍。",[1554,1607,1557,1637,1879,1878,2137,3740,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[6],{"id":600,"slug":7042,"title":7043,"dynasty":1633,"author":1634,"museum":1604,"description":7044,"tags":7045,"thumbUrl":7048,"material":1563,"size":7049,"collection":6,"collections":7050,"showCount":7008,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[1553,1554,1607,1637,1557,1559,7046,7047,1763,1562,1595],"松鼠","桃枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[6],{"id":601,"slug":7052,"title":7053,"dynasty":1633,"author":1732,"museum":1573,"description":7054,"tags":7055,"thumbUrl":7056,"material":1610,"size":1580,"collection":6,"collections":7057,"showCount":7008,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"you-yu-tu-yi-ming-216668","游鱼图","游鱼图是由元朝（1271-1368年）的佚名画家创作的一幅著名的中国画作。这幅画描绘了一条鱼游动在清澈的池塘中，周围是葱郁的树木和山峦。画中的鱼看起来栩栩如生，似乎可以随时从画面中跳出来。这幅画被认为是元朝画坛上最杰出的代表作之一，因其精细的绘画技巧和生动的写意风格而备受赞赏。",[1554,1555,1591,1557,1637,2687,2013],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c4249a76f6272444c798a69ae2976f.jpg",[6],{"id":602,"slug":7059,"title":7060,"dynasty":1548,"author":2972,"museum":1683,"description":7061,"tags":7062,"thumbUrl":7063,"material":1802,"size":1580,"collection":6,"collections":7064,"showCount":7065,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","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》。",[1554,1555,1622,1557,1591,1688,1595,1707,4658,2666,2274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[6,1934],85,{"id":603,"slug":7067,"title":7068,"dynasty":1548,"author":1758,"museum":1683,"description":7069,"tags":7070,"thumbUrl":7072,"material":1903,"size":7073,"collection":6,"collections":7074,"showCount":7065,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-yan-qiang-wei-shan-niao-zhou-hua-yan-233941","华嵒蔷薇山鸟轴","华嵒作为活跃于扬州卖画的职业画家，其花鸟画创作善于捕捉自然界中最生动的天趣。图绘春光明媚的时节，一只山鸟栖于蔷薇枝头，引吭高鸣，其清脆的鸣声不仅令无声的画面声情并茂，且生动地图解了“花气晴熏日，鸟声娇战春”之诗意。此图笔墨松秀，设色清丽淡雅，造型自然传神，构图简约空灵，显示了画家在小写意花鸟画方面的非凡造诣和俊逸清新的独特画风。",[1554,1607,1622,1557,1591,1686,1559,5855,7071,1707],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c4ffd5974bd96e38b7cc4bca6e60ff.jpg","纵127.1厘米，横55.5厘米",[6],{"id":604,"slug":7076,"title":7077,"dynasty":1715,"author":2747,"museum":4159,"description":7078,"tags":7079,"thumbUrl":7080,"material":1625,"size":7081,"collection":6,"collections":7082,"showCount":7065,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"qiu-lan-tu-quan-juan-zheng-si-xiao-218640","秋兰图全卷","这幅画描绘了一棚无根的兰花，只有几片叶子，其中两片叶子细长而美丽，右边的兰花盛开，芳香四溢。",[1553,1554,1555,1666,1591,1686,1695,1562,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50b81ebe46546096d829c3ee4a31f63.jpg","23.2x55.6",[6],{"id":605,"slug":7084,"title":7085,"dynasty":1548,"author":6647,"museum":1717,"description":7086,"tags":7087,"thumbUrl":7089,"material":1563,"size":7090,"collection":2419,"collections":7091,"showCount":7065,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhi-tou-za-hua-ce-gao-qi-pei-214987","指头杂画册","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[1553,1554,1555,1556,1591,7088,1841,2226,2964,1595],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1303c0abf4226c4f79f47a932c622f9e.jpg","36.7x33.1cm",[2419,6],{"id":606,"slug":7093,"title":4903,"dynasty":1587,"author":7094,"museum":1812,"description":7095,"tags":7096,"thumbUrl":7098,"material":1610,"size":7099,"collection":6,"collections":7100,"showCount":7101,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"hua-die-tu-lv-jing-fu-219312","吕敬甫","棕褐底色如古笺轻展，鲜妍花卉自其间漾开生机。粉白花瓣晕染淡红边缘，似沾晨露般娇嫩；翠叶柔茎交错，脉络清晰如织。彩蝶翩跹，或振翅掠花，或停瓣小憩；草虫隐于叶底，细足微蜷，灵动毕现。笔墨细腻见工致，设色淡雅含明艳，晕染自然天成。画面简而丰沛，动静相宜，将田园闲逸凝于尺幅。观之如沐清风，心随蝶影轻飏，仿佛能闻花叶簌簌、虫翅微振，尽得自然野趣与雅致情味。",[1554,1637,1557,1559,1748,1764,1560,1976,2666,7097],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F487bfc2f1c455b3d2ec1c663f8992c9a.jpg","101.6x53cm",[6],84,{"id":607,"slug":7103,"title":7104,"dynasty":1715,"author":1732,"museum":1604,"description":7105,"tags":7106,"thumbUrl":7109,"material":1610,"size":7110,"collection":6,"collections":7111,"showCount":7101,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"yang-liu-ru-que-tu-yi-ming-218714","杨柳乳雀图","这幅画描绘了一只鸟在喂养它的孩子。这只鸟被描绘得简单而微妙，它的翅膀用浓墨勾勒，用淡墨上色，小鸟的身高、腹部和背部，俯视、仰视和俯视的姿势都非常精致。柳树稀疏的、交叉的、交错的、下垂的枝条也画得很好。",[1553,1607,1554,1555,1637,1557,1559,7107,7108,1593,1667],"杨柳","雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6bfbc2c1c72fbc541eff9d6f5e0b7.jpg","24.8x24.8",[6],{"id":608,"slug":7113,"title":2105,"dynasty":1587,"author":2306,"museum":1604,"description":7114,"tags":7115,"thumbUrl":7116,"material":1563,"size":7117,"collection":6,"collections":7118,"showCount":7101,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[1554,1555,1622,1686,1591,1557,1688,1562,1559,1608,1594,1901,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[6],{"id":609,"slug":7120,"title":7121,"dynasty":1715,"author":2694,"museum":1683,"description":7122,"tags":7123,"thumbUrl":7124,"material":1846,"size":7125,"collection":1726,"collections":7126,"showCount":7127,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[1553,1554,1555,1622,1637,1557,1559,1879,3141,5604,2137,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[1726,6,1613],83,{"id":610,"slug":7129,"title":7130,"dynasty":1715,"author":2694,"museum":1604,"description":7131,"tags":7132,"thumbUrl":7134,"material":7135,"size":7136,"collection":1726,"collections":7137,"showCount":7127,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪“画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，超亦能作山水小景。构思精妙，功力深湛，雄伟处动人心魄。”所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[1553,1607,1554,1555,1666,1557,1637,1559,3740,1670,1707,7133],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 隔水一13 隔水二13 拖尾34.7x43",[1726,6,1613],{"id":611,"slug":7139,"title":7140,"dynasty":1715,"author":2404,"museum":1573,"description":7141,"tags":7142,"thumbUrl":7144,"material":2151,"size":1580,"collection":6,"collections":7145,"showCount":7127,"zanCount":2968,"manualWeight":1568,"mainColor":2601},"song-xia-qun-lu-tu-ma-yuan-218909","松下群鹿图","松枝如铁线盘曲，苍劲中透着清逸，松针细密如织，筛下斑驳光影。鹿群或静立凝神，或缓步石间，与松涛山影相融成趣。远山以淡墨晕染，云雾似轻纱流转，留白处尽展天地空阔。笔墨简练却意境悠远，枯润相生的笔触里，藏着宋人对自然的敬畏与诗意栖居的向往。边角构图见乾坤，每一处细节都透着匠心，将山水的静谧与生灵的灵动悄然铺展，让观者在静谧中感受山林间的和谐共生，沉醉于宋画独有的雅致与哲思。",[1553,1554,2137,1843,7143,1930,1668,1591,1686,1622,2320],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[6,2141],{"id":612,"slug":7147,"title":7148,"dynasty":1548,"author":2250,"museum":1550,"description":7149,"tags":7150,"thumbUrl":7151,"material":1625,"size":7152,"collection":6,"collections":7153,"showCount":7127,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mao-tu-zhou-wang-shi-shen-218902","猫图轴","此轴画一黑白相间的猫蹲踞石上，双目斜睨画外，神态生动。画上题诗“每餐先备买鱼钱，曾记携归小似拳，一自爪牙动黠鼠，傍人安稳卧青氊”。并题为雍正六年戊申（1728）九月所画，时年32岁。",[1554,1591,1686,1622,1878,1749,1955,1953,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e98d0a6a379b6c7d84e39c07b0d0aec.jpg","纵125.7厘米，横60.8 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从 尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤 旋客吴幕，得游三湘，所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工 尝作衡山记游图八幅，认为生平杰作，谓可媲美\n光绪 图中衣冠、中年归苏州，潜心绘事，考订 为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹",[1554,1555,1622,1557,1559,1608,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19c6ad9cdb51e1097c313f45d064bf4.jpg",[6,1613],80,{"id":620,"slug":7217,"title":7218,"dynasty":1587,"author":1973,"museum":1550,"description":7219,"tags":7220,"thumbUrl":7221,"material":2320,"size":7222,"collection":6,"collections":7223,"showCount":7215,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mei-hua-xiao-niao-chen-hong-shou-221895","梅花小鸟","此图虽为花鸟，却有山水格局。勾皴之石较为丰富，与梅树虬劲的老干浑然一体；红树有虫啮之痕，与树后精整的双钩之竹相映成趣；梅枝与小鸟，在大片空白的衬托下，成为鲜明的画眼。由此而营造了一种静中有动，清寒澄爽的意境。画梅颇有蓝瑛意趣，而气息雅于其师。藏上海博物馆。\n陈洪绶（1598-1652)，字章侯，号老莲，诸砰枫桥（今属浙江）人。出生干没落官宦之家的陈洪绶能诗，擅书画，尤长于绘画。人物、山水、花鸟、走兽无所不精，是明末淸初最著名的画家之一。初学蓝瑛，师法唐人，兼有李公麟、赵孟频之妙。运笔旋转，一气呵成，具有鲜明独特的风格。花鸟画渊源两宋，颇有奇趣。",[1554,1555,1559,1557,1637,1689,1667,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b5794e3e57e740d6a66c2ddcd1a652.jpg","22.2x21cm",[6,1613],{"id":621,"slug":7225,"title":7226,"dynasty":1715,"author":7227,"museum":1663,"description":7228,"tags":7229,"thumbUrl":7231,"material":2789,"size":7232,"collection":1726,"collections":7233,"showCount":7215,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"pu-tao-tu-wen-ri-guan-221249","葡萄图","温日观","善草书，精画葡萄，自成一家。他于一笔中带有深浅不同之墨色画叶，并以深墨点染仍带湿润 之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[1553,1607,1554,1555,1559,1591,7230,2124,1556],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","27×188.5cm",[1726,6,1934],{"id":622,"slug":7235,"title":7236,"dynasty":1548,"author":3093,"museum":1604,"description":6539,"tags":7237,"thumbUrl":7239,"material":1802,"size":1580,"collection":6,"collections":7240,"showCount":7241,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"xu-gu-yang-liu-jin-yu-tu-zhou-xu-gu-237220","虚谷杨柳金鱼图轴",[1554,1622,1557,1591,1559,7107,7238],"金鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c814e1d8ff895dc019b71e2a3d06d5.jpg",[6],79,{"id":623,"slug":7243,"title":7244,"dynasty":1548,"author":2972,"museum":1663,"description":3475,"tags":7245,"thumbUrl":7246,"material":1557,"size":1580,"collection":6,"collections":7247,"showCount":7241,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mu-dan-shui-xian-zhou-wu-chang-shuo-224226","牡丹水仙轴",[1553,1554,1555,1622,1557,1559,1608,1694,1595,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751c4dca763d55c5f20268cdb50760d5.jpg",[6,1613],{"id":624,"slug":7249,"title":7250,"dynasty":1548,"author":7251,"museum":2023,"description":7252,"tags":7253,"thumbUrl":7254,"material":3059,"size":7255,"collection":6,"collections":7256,"showCount":7241,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mu-dan-shan-zhe-tu-zhou-mu-dan-shuang-he-xu-yang-222822","牡丹山鹧图轴(牡丹双鹤)","徐扬","图绘二只山鹧，一只掉于水中，另一只站在石上尾巴散开，羽毛蓬松，圆睁的眼睛似为同伴落水而焦急不已；石边牡丹花绽放，硕大的花朵，层层叠叠的花瓣，高贵典雅。",[1553,1554,1555,1622,1591,1637,1559,1608,1667,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca665cb56cece71915c2720da655165.jpg","117*55.8cm",[6],{"id":625,"slug":7258,"title":7259,"dynasty":1587,"author":2306,"museum":1604,"description":3377,"tags":7260,"thumbUrl":7261,"material":1802,"size":7262,"collection":6,"collections":7263,"showCount":7241,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zi-wei-shan-mian-chen-chun-222556","紫薇扇面",[1553,1607,1554,1555,2161,1686,1591,1557,1559,2927,2038,4854,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[6,1613],{"id":626,"slug":7265,"title":7266,"dynasty":1715,"author":1811,"museum":1663,"description":7267,"tags":7268,"thumbUrl":7271,"material":2028,"size":7272,"collection":1726,"collections":7273,"showCount":7241,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[1553,1554,1607,1666,1637,1557,1559,4779,1690,1692,1592,2075,1670,2124,2074,4173,7269,7270],"野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm",[1726,6,1613],{"id":627,"slug":7275,"title":7276,"dynasty":1548,"author":1732,"museum":1604,"description":7277,"tags":7278,"thumbUrl":7279,"material":1610,"size":7280,"collection":6,"collections":7281,"showCount":7241,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"lin-wang-yuan-hua-niao-tu-yi-ming-219761","临王渊花鸟图","王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[1554,1555,1622,1637,1557,6231,1690,1559,1667,1560,2138,1749,2072,2608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c785004791e5277ea86d862f6b70ee1.jpg","160.2x83.7厘米",[6],{"id":628,"slug":7283,"title":3046,"dynasty":1633,"author":6311,"museum":1604,"description":7284,"tags":7285,"thumbUrl":7286,"material":2151,"size":7287,"collection":6,"collections":7288,"showCount":7241,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"mo-zhu-tu-gu-an-219473","顾安（活动于1345－1373），字定之，江苏人。书学赵孟俯，以墨竹著称，师法北宋文同，元代李衎、赵孟俯，用笔遒劲，融入书法意趣。绘坡石间三竹，枝干劲挺，茎叶逆风翻转飘动。用笔浓淡变化，衬托出迷蒙雾气。构图简洁，重在表现动态，具写实精神，又富有文人写意情调。",[1554,1555,1591,1690,1707,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb5d92e714290aee8a17305935e6cdf.jpg","122.9x53",[6],{"id":629,"slug":7290,"title":7291,"dynasty":1715,"author":1732,"museum":1683,"description":7292,"tags":7293,"thumbUrl":7295,"material":1610,"size":7296,"collection":6,"collections":7297,"showCount":7241,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[1553,1607,1554,1555,2161,1637,1557,1595,7294,1844,1765,1879],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg","纵25厘米，横25.6厘米",[6],{"id":630,"slug":7299,"title":3492,"dynasty":1548,"author":2935,"museum":1663,"description":3442,"tags":7300,"thumbUrl":7301,"material":1784,"size":1785,"collection":6,"collections":7302,"showCount":7303,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"hua-hui-tu-ce-jiang-ting-xi-238472",[1554,1555,1556,1557,1637,1559,1560,1748,2666,1901,1764,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07b787cc47539c1c123f3829eddaf8.jpg",[6,1613,3062],78,{"id":631,"slug":7305,"title":1572,"dynasty":1548,"author":7306,"museum":1663,"description":7307,"tags":7308,"thumbUrl":7309,"material":7310,"size":1580,"collection":6,"collections":7311,"showCount":7303,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-wu-kai-237283","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[1554,1555,1556,1557,1637,1559,1560,1576,1595,1607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg","设色纸本",[6],{"id":632,"slug":7313,"title":2517,"dynasty":1548,"author":4573,"museum":1683,"description":7314,"tags":7315,"thumbUrl":7316,"material":3819,"size":7317,"collection":6,"collections":7318,"showCount":7303,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mo-mei-tu-jin-nong-222706","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[1553,1554,1555,1591,1622,1689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7967e3dda2c9b321a8c00cdad902d330.jpg","纵117厘米，横43.6厘米",[6,1613],{"id":633,"slug":7320,"title":7321,"dynasty":1587,"author":2306,"museum":1683,"description":3377,"tags":7322,"thumbUrl":7323,"material":2028,"size":7324,"collection":6,"collections":7325,"showCount":7303,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴",[1553,1554,1607,1555,1622,1557,1686,1559,1560,1690,1707,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[6,1613],{"id":634,"slug":7327,"title":7328,"dynasty":1587,"author":7329,"museum":1604,"description":7330,"tags":7331,"thumbUrl":7332,"material":1802,"size":7333,"collection":6,"collections":7334,"showCount":7303,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-die-cao-chong-ce-du-da-cheng-222433","花蝶草虫册","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[1553,1554,1591,1556,1559,1815,1988,1747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd5485eb18b52994d17f0f3d39c21a.jpg","27x34cm",[6],{"id":635,"slug":7336,"title":7337,"dynasty":1587,"author":7338,"museum":1604,"description":7339,"tags":7340,"thumbUrl":7341,"material":1610,"size":7342,"collection":6,"collections":7343,"showCount":7303,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hua-die-zhou-zhao-wen-chu-221942","画花蝶轴","赵文俶","赵文俶，长洲（今苏州）人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名「寒山草木昆虫状」，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。赵文俶此卷迭经恭亲王奕砢、觯斋郭世五收藏，明女史画家作品妍雅若此，甚属难得。",[1553,1554,1622,1557,1637,1559,1707,1815,1988,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[6,1613],{"id":636,"slug":7345,"title":7346,"dynasty":1587,"author":4074,"museum":1604,"description":7347,"tags":7348,"thumbUrl":7349,"material":1610,"size":7350,"collection":6,"collections":7351,"showCount":7303,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shuang-xi-tu-wang-wei-lie-219378","双喜图","王维烈，字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。",[1554,1555,1557,1637,1559,1689,1592,4111,1594,1749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a7e80f45c240fc050ed87c323beb18.jpg","85×39cm",[6],{"id":637,"slug":7353,"title":5527,"dynasty":1715,"author":3386,"museum":1604,"description":7354,"tags":7355,"thumbUrl":7356,"material":1610,"size":7357,"collection":1726,"collections":7358,"showCount":7303,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"lu-yan-tu-huang-ju-cai-219300","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[1553,1554,1607,1555,1637,1557,1559,3320,3321,1592,1930,4162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[1726,6,1613],{"id":638,"slug":7360,"title":3146,"dynasty":1633,"author":1948,"museum":7361,"description":7362,"tags":7363,"thumbUrl":7364,"material":1610,"size":7365,"collection":6,"collections":7366,"showCount":7303,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"zhu-qin-tu-ren-ren-fa-219274","云南省博物馆","此图为工笔写生小品，颇具宋代院体风格，线条细劲匀称，色彩典雅，动静结合，生趣盎然。画面上，一只鸟栖于竹梢上，昂首作鸣叫状，瞬间的动态表现得极为成功，姿态逼真，灵气飞扬，似闻之有声。画家画竹用双钩笔法完成，笔画坚实细劲。被风吹乱的竹叶之阴阳向背表现得自然准确，虽为静止的瞬间，却有动的意味。此画尺幅虽小，然气韵飞扬，灵动自然。任仁发此幅画作继承了宋代院体画传统，笔势稳健，双钩之线均匀细劲，并填以典雅、和谐、轻艳的色彩，使得画面严谨而婉丽、和谐而富有生机。从收藏印鉴看，该作曾经明代大收藏家王士祯及清代王允祥珍藏。由此可知，此画为传世佳作。",[1554,1607,1555,1637,1557,1690,2608,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c7c64af9c22bf6f547706221e866df.jpg","纵25.8厘米，横22.9厘米",[6],{"id":639,"slug":7368,"title":7369,"dynasty":1587,"author":1732,"museum":2057,"description":7370,"tags":7371,"thumbUrl":7372,"material":1610,"size":1580,"collection":6,"collections":7373,"showCount":7303,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"an-chun-bai-hua-tu-yi-ming-219122","鹌鹑百花图","鹌鹑敛翅蹲踞，羽纹以细劲墨线勾勒，敷染赭褐与墨黑，斑纹交错如鳞，绒毛质感毕现。旁侧花枝扶疏，白瓣粉蕊的花朵舒展如蝶翼，紫菊点缀其间，叶片墨绿带黄晕，藤蔓缠绕有致。前景草叶劲挺，枯枝斜出添野趣，背景赭黄绢底温润古雅。整幅画以工笔细描见长，禽鸟的憨态与花卉的鲜妍相映成趣，疏密布局得当，于静谧中藏生机，尽显花鸟写生的细腻与意趣。",[1607,1554,1555,1557,1637,1559,4779,1815,1901,1749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cdc4849f24e6562ead882abb23c70e.jpg",[6],{"id":640,"slug":7375,"title":7376,"dynasty":1715,"author":2083,"museum":3004,"description":7377,"tags":7378,"thumbUrl":7379,"material":1610,"size":7380,"collection":1726,"collections":7381,"showCount":7303,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","描绘了两枝树支。 下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[1553,1607,1554,1555,1637,1557,1559,5636,1953,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[1726,6],{"id":641,"slug":7383,"title":7384,"dynasty":1548,"author":7385,"museum":1717,"description":7386,"tags":7387,"thumbUrl":7388,"material":1610,"size":7389,"collection":6,"collections":7390,"showCount":7303,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[1553,1607,1554,1555,1622,1637,1557,3141,2278,1844,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[6],{"id":642,"slug":7392,"title":7393,"dynasty":1715,"author":3570,"museum":1573,"description":7394,"tags":7395,"thumbUrl":7396,"material":2151,"size":7397,"collection":6,"collections":7398,"showCount":7303,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"yuan-hou-tu-mu-xi-216905","猿猴图","猿猴图是宋朝画家牧溪的一幅名作。这幅画描绘了一群猿猴在森林中的生活。牧溪在这幅画中展现了猿猴的各种姿态和表情，并通过森林的树木、花草和鸟类来增强画面的生动感。这幅画被认为是牧溪最优秀的作品之一，其中巧妙地融合了传统中国画风和西方透视画法。",[1554,1607,1591,1879,5595,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f9647d72e31482e658c10b4cc0b24.jpg","88x33cm",[6],{"id":643,"slug":7400,"title":7401,"dynasty":1715,"author":5769,"museum":1550,"description":7402,"tags":7403,"thumbUrl":7404,"material":1610,"size":7405,"collection":6,"collections":7406,"showCount":7303,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"an-chun-tu-ye-li-an-zhong-216082","鹌鹑图页","此宋人鹌鹑图页，无作者款印。图绘鹌鹑一只，体形滚圆，斑纹、毛羽如生，作回首状，点缀平坡、秋黍等。清代曾经清耿昭忠、耿嘉祚父子收藏，各有鉴藏印记。近代经吴湖帆、潘静淑夫妇收藏，有吴湖帆题签：“北宋李安忠鹌鹑”。",[1553,1554,1555,1607,4864,1637,1557,1559,4779,1955,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d691dcbeca802bd7e1c7806aa13adcd.jpg","纵23.5厘米，横23.1厘米",[6],{"id":644,"slug":7408,"title":7409,"dynasty":1548,"author":1823,"museum":1663,"description":7410,"tags":7411,"thumbUrl":7412,"material":1580,"size":1580,"collection":6,"collections":7413,"showCount":7414,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"si-ji-hua-hui-ce-dong-gao-238342","四季花卉册","此作以没骨法绘就春日群芳，设色柔婉清新。白牡丹花瓣晕染层叠，莹润饱满，尽显雍容之态；旁侧粉花轻绽，胭脂点染花苞，娇妍粉嫩，灵动鲜活。左侧嫩枝青叶敷色淡雅，笔致秀逸，将草木舒展之姿尽数勾勒。\n\n画面构图错落舒展，数枝花枝交织却不显拥塞，气息恬和雅致。以细腻笔触晕染花叶的柔润肌理，将春日群芳竞绽的清柔意趣定格纸面，雅致秀润，尽显传统花卉小品的隽永韵味。",[1554,1555,1556,1557,1637,1559,1608,1638,1560,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66475b0ae51b2faa51d20ca589d4cd02.jpg",[6,1613],77,{"id":645,"slug":7416,"title":7417,"dynasty":1587,"author":7418,"museum":1663,"description":7419,"tags":7420,"thumbUrl":7421,"material":1580,"size":1580,"collection":6,"collections":7422,"showCount":7414,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"mo-he-yuan-yang-tu-zhou-li-yin-237497","墨荷鸳鸯图轴","李因","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。 [1]\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[1554,1555,1622,1591,1559,1692,2556,1578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557524c45070d0779dcb0b92bcfbebf5.jpg",[6],{"id":646,"slug":7424,"title":7425,"dynasty":1548,"author":1758,"museum":1663,"description":7426,"tags":7427,"thumbUrl":7428,"material":1784,"size":1785,"collection":6,"collections":7429,"showCount":7414,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-niao-tu-ce-hua-yan-235381","花鸟图册","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[1554,1556,1557,1559,1690,1592,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e4d0cc55e7ee07e955ecc27f59a38e.jpg",[6],{"id":647,"slug":7431,"title":5787,"dynasty":1548,"author":4573,"museum":1663,"description":7432,"tags":7433,"thumbUrl":7435,"material":1802,"size":4743,"collection":6,"collections":7436,"showCount":7414,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mei-hua-tu-zhou-jin-nong-222708","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[1553,1554,1622,1591,1686,1689,1594,1707,1595,1562,7434],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg",[6,1613],{"id":648,"slug":7438,"title":7439,"dynasty":1587,"author":1888,"museum":2117,"description":7440,"tags":7441,"thumbUrl":7442,"material":1892,"size":7443,"collection":6,"collections":7444,"showCount":7414,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"song-shi-gao-shi-tu-wen-zheng-ming-221992","松石高士图","据蔡羽序记，正德十三年二月十九日，文徵明与好友蔡羽、王守、王宠、汤珍等人至无锡惠山游览，品茗饮茶，吟诗唱和，十分相得，事后便创作了这幅记事性作品。画面采用截取式构图，突出“茶会”场景，在一片松林中有座茅亭泉井，诸人冶游其间，或围井而坐，展卷吟哦，或散步林间，赏景交谈，或观看童子煮茶。人物面相虽少肖像画特征，大都雷同，动态、情致刻画却迥异，饶有生意，并传达出共通的闲适、文雅气质，反映了文人画家传神胜于写形的艺术宗旨。同时，青山绿树、苍松翠柏的幽雅环境，与文人士子的茶会活动相映衬，也营造出情景交融的诗意境界。",[1553,1554,1843,7143,1930,1668,1557,1686,1622,1802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c92706428937b31f81e452f3db90dc6.jpg","纵71cm，横35cm",[6,1613],{"id":649,"slug":7446,"title":7447,"dynasty":1715,"author":1732,"museum":1604,"description":7448,"tags":7449,"thumbUrl":7452,"material":1610,"size":7453,"collection":1726,"collections":7454,"showCount":7414,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[1553,1554,1557,1637,4864,1559,3321,3980,7450,1667,7451,1591],"汀渚","水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","25x25.5cm",[1726,6],{"id":650,"slug":7456,"title":7457,"dynasty":1587,"author":1732,"museum":1717,"description":7458,"tags":7459,"thumbUrl":7460,"material":1610,"size":7461,"collection":6,"collections":7462,"showCount":7414,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"gua-shu-tu-yi-ming-219003","瓜鼠图","这幅画描绘了一只老鼠啃食甜瓜的情景，象征着甜瓜的长寿和后人的祝福。由于没有背景，瓜子很逼真，老鼠很灵动，使这个民俗吉祥的题材变得清新雅致，不是一般的普通手笔，可能是出自训练有素的宫廷画师之手。",[1553,1607,1554,1555,1637,1557,1559,5091,5824,1815,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786880bde7884db33cdeb9b80987b151.jpg","24.6x25.6cm",[6],{"id":651,"slug":7464,"title":7465,"dynasty":1633,"author":1732,"museum":1604,"description":7466,"tags":7467,"thumbUrl":7468,"material":1610,"size":7469,"collection":6,"collections":7470,"showCount":7414,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"san-yang-kai-tai-tu-yi-ming-216210","三阳开泰图","三阳开泰图 中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[1554,1607,4694,1637,1557,5415,1689,1690,1669,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[6],{"id":652,"slug":7472,"title":7473,"dynasty":1548,"author":2972,"museum":1683,"description":7061,"tags":7474,"thumbUrl":7475,"material":1580,"size":1580,"collection":6,"collections":7476,"showCount":7477,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"ping-hua-chang-pu-tu-zhou-wu-chang-shuo-236914","瓶花菖蒲图轴",[1554,1555,1622,1557,1559,3869,3506,1591,1562,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2e8d71982568c3110d604c9844d9.jpg",[6,1613],76,{"id":653,"slug":7479,"title":7480,"dynasty":1548,"author":5751,"museum":1604,"description":5752,"tags":7481,"thumbUrl":7484,"material":1580,"size":7485,"collection":6,"collections":7486,"showCount":7477,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"bian-dou-hua-wang-wu-222808","扁荳花",[1553,1554,1559,1557,1637,1562,1595,7482,1901,7483,2124],"扁豆花","豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe5cc35daef658d871bd3f676303498.jpg","34.2x50.4",[6,1613],{"id":654,"slug":7488,"title":7489,"dynasty":1587,"author":7490,"museum":2023,"description":7491,"tags":7492,"thumbUrl":7493,"material":1903,"size":7494,"collection":6,"collections":7495,"showCount":7477,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"mei-cha-shan-que-tu-zhu-zhu-222522","梅茶山雀图","朱竺","图绘梅、茶花、山雀的花鸟图。雀站立于茶树枝上，昂头望着上方的红茶花和金色梅花，神态专注；梅枝自然伸展，朵朵梅花点缀其上；茶花争相绽放，一抹红色美艳动人。朱竺，号君实，明代画家，工山水，亦能花鸟、人物。",[1553,1554,1555,1622,1557,1637,1595,1689,1826,3851,1559,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","119.3x39.6cm",[6,1613],{"id":655,"slug":7497,"title":7498,"dynasty":1587,"author":3147,"museum":1683,"description":7499,"tags":7500,"thumbUrl":7501,"material":7502,"size":7503,"collection":6,"collections":7504,"showCount":7477,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"can-he-ying-lu-tu-lv-ji-222400","残荷鹰鹭图","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[1553,1554,1555,1622,1559,1637,1557,1591,1692,3141,3415,3321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae54932f80827cb6ce0d4337c4bf1.jpg","绢本，水墨","纵190厘米，横105.2厘米",[6,1934],{"id":656,"slug":7506,"title":7507,"dynasty":1715,"author":7508,"museum":1604,"description":7509,"tags":7510,"thumbUrl":7513,"material":2151,"size":7514,"collection":1726,"collections":7515,"showCount":7477,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[1553,1607,1554,1555,1557,1637,1667,1707,2137,1559,7511,7512],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[1726,6],{"id":657,"slug":7517,"title":5233,"dynasty":1715,"author":1732,"museum":1573,"description":7518,"tags":7519,"thumbUrl":7520,"material":1610,"size":7521,"collection":6,"collections":7522,"showCount":7477,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"hua-zhu-an-chun-tu-yi-ming-218949","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[1554,1555,1666,1637,1557,1690,4779,1815,1592,2124,1749,1670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[6],{"id":658,"slug":7524,"title":1586,"dynasty":1548,"author":3834,"museum":1663,"description":3835,"tags":7525,"thumbUrl":7526,"material":1580,"size":1683,"collection":6,"collections":7527,"showCount":7528,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-niao-ce-ma-yuan-yu-236606",[1554,1555,1556,1557,1591,1559,1592,1953,1915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e74d9e1c5842148c80d29f7995d049e.jpg",[6,1613],75,{"id":659,"slug":7530,"title":7531,"dynasty":1587,"author":1962,"museum":1604,"description":7532,"tags":7533,"thumbUrl":7535,"material":7536,"size":7537,"collection":6,"collections":7538,"showCount":7528,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"jia-he-cao-chong-tu-wu-bing-222173","嘉禾草虫图","本幅选自「名绘集珍」册。画水稻两株，在田间婷婷伫立，成串的稻穗，已经俯首低垂。蝴蝶、花虻和蜻蜓，有的兀自在空中飞舞，有的则栖息在叶梢。由于右上方的叶子，和上方的稻穗，均溢出了画幅的边界，推测可能是表面曾经遭到污损，才由大裁小，改装成现在所看到的形式。",[1553,1976,1554,1607,1637,1557,1559,7534,1747,1748,1799,3586,2666],"嘉禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3e40e787e59113179f539e535e2cfe.jpg","册页，设色","27.3 x 45.7公分",[6,1613],{"id":660,"slug":7540,"title":7541,"dynasty":1587,"author":5031,"museum":4861,"description":7542,"tags":7543,"thumbUrl":7544,"material":1610,"size":7545,"collection":6,"collections":7546,"showCount":7528,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"li-hua-shuang-jiu-tu-yu-yuan-220315","梨花双鸠图","陶渊明的诗作在清新自然的氛围中营造了一种恬淡宁静、纯朴自然的境界，这正是老庄艺术境界与人生境界的合一。钱选追慕陶渊明式的的隐逸生活，他曾画了多幅《归去来图》以示对陶潜的景仰之情，画中曾经题诗：“衡门植五柳，东篱采丛菊。长啸有余清，无奈酒不足。当世宜沈酣，作色召侮辱。乘兴赋归欤，千载一辞独。”钱选的传世作品《柴桑翁像》卷描绘陶渊明头戴明纱巾，脚着木屐，携杖款款而行的样子。画中题道：“晋陶渊明得天真之趣，无青州从事而不可陶写胸中磊落，尝命童子佩酒以随，故时人模写之。余不敏，亦写此以况。”可见钱选是借陶渊明来书写胸臆，仿陶潜之隐逸，寻道老庄，建自身之心隐，表达对陶潜自喻的隐居素志和平淡生活情趣的田园生活的向往，钱选在生活和绘画创作中极力营造心目中“桃花源”，一个平和、繁华但又远离尘世，隐心俗世之外，又从世外深情俯视人间之境。",[1553,1554,1555,1622,1637,1557,1559,2214,6076],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f327fd3c66d28a0a0a4df196d628d00.jpg","97cm×30.2cm",[6],{"id":661,"slug":7548,"title":7549,"dynasty":4850,"author":7550,"museum":1717,"description":7551,"tags":7552,"thumbUrl":7553,"material":2151,"size":7554,"collection":6,"collections":7555,"showCount":7528,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"shuang-niu-tu-han-huang-219041","双牛图","韩滉","这幅画画在一个平坦的斜坡上，左边是一棵断裂枯萎的老树，画面中间是两头牛，一前一后，正在前进，前面的牧童骑着牛，后面的牧童跟着牛。",[1553,1554,1666,1591,1637,5293,1841,1668,2038,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe648b205f631048024faea7c42d32cae.jpg","纵35.6横93.5厘米",[6],{"id":662,"slug":7557,"title":7558,"dynasty":1587,"author":1732,"museum":1717,"description":7559,"tags":7560,"thumbUrl":7561,"material":1610,"size":1580,"collection":6,"collections":7562,"showCount":7528,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ping-an-tu-yi-ming-219015","平安图","坡岸之上，竹丛疏密有致，枝叶间光影流转。数只禽鸟散落其间，或低头啄食草籽，或侧身梳理羽翎，姿态各异却皆显安然。白菊清雅，红果艳艳，点缀在苍褐的底色上，如散落在时光里的星子。溪流蜿蜒而过，山石静默伫立，整个画面似被一层温润的古意包裹。每一处细节都藏着对自然生机的细腻捕捉，笔墨间流淌着恬淡的野趣，更将“平安”的美好期许悄然融入这一方天地，让观者于静谧中感受那份岁月沉淀的祥和与安然。",[1554,1666,1637,1557,1559,4779,1690,1696,4112,2416,2038,2075,2905,4602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8578e8b33b1c86d88f4b80524cd58b57.jpg",[6],{"id":663,"slug":7564,"title":7565,"dynasty":4850,"author":7550,"museum":1683,"description":7566,"tags":7567,"thumbUrl":7569,"material":2151,"size":1580,"collection":6,"collections":7570,"showCount":7528,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"feng-ren-tu-han-huang-218914","丰稔图","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[1553,1554,1666,1557,1637,1562,1688,1595,5293,1841,7568,1844,2072],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[6,3062],{"id":664,"slug":7572,"title":7573,"dynasty":1633,"author":7574,"museum":2463,"description":7575,"tags":7576,"thumbUrl":7578,"material":1610,"size":7579,"collection":6,"collections":7580,"showCount":7528,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"cang-jiang-heng-di-tu-sheng-mao-218239","沧江横笛图","盛懋","此图所描绘的是一幅江畔秋景。画面远处烟波浩渺，青山伏卧，一派江南平淡幽远的山水景色。近处岸边斜伸出几棵大树，阵风吹过，落叶萧然，惊起的三、五只雀鸟，或飞或栖，自在悠然。树下渔人临风横笛，神情专注。",[1554,1622,1557,1843,1841,1668,1667,2575,7577,2276,2274],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f90e787aa60094f0aca0e0ed0c9958b.jpg","纵84.8厘米，横47.1厘米",[6,2141],{"id":665,"slug":7582,"title":7583,"dynasty":1548,"author":2035,"museum":1683,"description":7584,"tags":7585,"thumbUrl":7586,"material":3819,"size":7587,"collection":6,"collections":7588,"showCount":7589,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"gu-mei-tu-zhou-zhu-da-237621","古梅图轴","图绘一株古梅树，根部无土，树心中空，旁枝上数朵梅花盛开，显示出顽强的生命力。根据画中的自题诗：“梅花画里思思肖”而知，此图是朱耷仿宋遗民画家郑思肖画兰不着土、以暗示国土为异族人所夺之意的画作，表达了他对明朝的怀念之情。图中用笔苍健有力，线条粗犷，多方硬曲折。施墨枯润结合，富有表现力。此图是朱耷中年时期的代表作。\n本幅朱耷自题三首，分别款署：“驴屋驴书”，钤“字日年”朱文印；“壬小春又题”，钤“驴”朱文印；“夫婿殊驴”。“壬小春”是指清康熙二十一年（1682年），朱耷时年57岁。\n幅下有罗朝汉题记。鉴藏印有“惠祖斋”朱文印、“大兴刘铨福家世守印”白文印。",[1554,1555,1622,1591,1686,1689,2137,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d785eed0c86.jpg","纵96厘米，横55厘米",[6],74,{"id":666,"slug":7591,"title":7592,"dynasty":1587,"author":5517,"museum":1683,"description":7593,"tags":7594,"thumbUrl":7595,"material":7596,"size":7597,"collection":6,"collections":7598,"showCount":7589,"zanCount":1568,"manualWeight":1568,"mainColor":2006},"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[1553,1554,1555,1622,1591,1686,1559,1672,1690,1669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","绢本，墨笔","纵155.3厘米，横78厘米",[6,1934],{"id":667,"slug":7600,"title":7601,"dynasty":1715,"author":1732,"museum":1604,"description":7602,"tags":7603,"thumbUrl":7605,"material":1610,"size":7606,"collection":1726,"collections":7607,"showCount":7589,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[1553,1607,1554,1555,1622,1637,1557,1559,7604,3321,1667,3187,1749],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[1726,6,1613],{"id":668,"slug":7609,"title":7610,"dynasty":1715,"author":7611,"museum":4159,"description":7612,"tags":7613,"thumbUrl":7614,"material":1610,"size":7615,"collection":1726,"collections":7616,"showCount":7589,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"ku-mu-xi-qin-tu-xu-dao-ning-219885","枯木溪禽图","许道宁","许道宁，北宋画家，生卒年不详，活跃于北宋初到北宋中期，长安（今陕西西安）人，又作河间 (今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[1554,1591,1557,1843,2275,2608,1707,2138,2274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[1726,6],{"id":669,"slug":7618,"title":7619,"dynasty":1587,"author":7620,"museum":1604,"description":7621,"tags":7622,"thumbUrl":7623,"material":1563,"size":7624,"collection":6,"collections":7625,"showCount":7589,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"xian-sui-xiang-ying-zhou-chen-gua-219450","献岁祥霙轴","陈栝","此幅绘水仙、腊梅、茶花、竹枝、文禽，山石雪景。用笔灵动，设色清雅。",[1554,1555,1622,1637,1557,1559,1689,1592,1690,2038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf87f356fe872769882685c6c3b9a98.jpg","161.6x43.1厘米",[6],{"id":670,"slug":7627,"title":6583,"dynasty":1715,"author":4946,"museum":1604,"description":7628,"tags":7629,"thumbUrl":7630,"material":1610,"size":7631,"collection":6,"collections":7632,"showCount":7589,"zanCount":2968,"manualWeight":1568,"mainColor":2601},"ying-tu-wang-shen-218928","秃鹰和狗争夺野鸡的画作",[1553,1554,1607,1622,1637,1557,1559,3141,2608,2278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da43e23b75b5b5522d773dee5a0b8c2.jpg","136.7x69.7",[6],{"id":671,"slug":7634,"title":3492,"dynasty":1548,"author":2328,"museum":1663,"description":7635,"tags":7636,"thumbUrl":7637,"material":1784,"size":1785,"collection":6,"collections":7638,"showCount":7639,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-hui-tu-ce-zou-yi-gui-235697","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[1554,1555,1556,1637,1557,1559,1815,1915,1562,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[6,1613],73,{"id":672,"slug":7641,"title":7642,"dynasty":1548,"author":5249,"museum":1683,"description":7643,"tags":7644,"thumbUrl":7645,"material":1903,"size":7646,"collection":6,"collections":7647,"showCount":7639,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[1554,1591,1557,1556,1841,1843,2501,2138,2137,1955,3740,2274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纵24.2厘米，横30.7厘米",[6,2141,1613],{"id":673,"slug":7649,"title":7650,"dynasty":1633,"author":2763,"museum":1717,"description":7651,"tags":7652,"thumbUrl":7653,"material":1610,"size":1580,"collection":6,"collections":7654,"showCount":7639,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[1553,1554,1555,1622,1557,1637,2070,1668,1562,1688,1595,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[6],{"id":674,"slug":7656,"title":7657,"dynasty":1715,"author":7658,"museum":1573,"description":7659,"tags":7660,"thumbUrl":7661,"material":1625,"size":7662,"collection":6,"collections":7663,"showCount":7639,"zanCount":1568,"manualWeight":1568,"mainColor":2006},"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","李公麟","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[1607,1554,1555,1622,2120,1591,2070,1841,1690,1669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[6],{"id":675,"slug":7665,"title":7666,"dynasty":1587,"author":5517,"museum":1573,"description":7667,"tags":7668,"thumbUrl":7672,"material":1610,"size":7673,"collection":6,"collections":7674,"showCount":7639,"zanCount":1568,"manualWeight":1568,"mainColor":2601},"xue-jing-shui-qin-tu-lin-liang-218962","雪景水禽图","寒林雪意笼于纸面，枯枝以枯笔焦墨写出，如铁骨横斜，墨色浓淡交织间见苍劲之态。几只水禽错落分布：枝头者羽翼覆雪，绒毛细腻处见工致；石上者昂首远眺，身姿灵动似欲振翅。留白隐作积雪，清寂中藏生机。笔墨兼工带写，禽鸟形神毕肖，背景枯枝竹丛则写意挥洒，墨韵淋漓。寒冬萧瑟却未失活力，于荒寒中见生命意趣，尽显对自然的细致观察与笔墨掌控力，是冬日花鸟题材中的妙品。",[1554,2886,1591,3017,3187,5706,4658,1951,1707,7669,7670,7671],"竹丛","清寂","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a378a33ce7744cfbe4f86a39a9d8d6.jpg","142.5x55.5cm",[6],{"id":676,"slug":7676,"title":7677,"dynasty":1715,"author":1732,"museum":1604,"description":7678,"tags":7679,"thumbUrl":7680,"material":1610,"size":7681,"collection":1726,"collections":7682,"showCount":7639,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"yue-ming-jin-su-tu-yi-ming-218838","月明金粟图","这幅画描绘了山中的一轮明月，一枝金桂（又称金粟）从天而降，香气远扬。其构图在古代和现代的折叠式微型画中是独一无二的，折叠式花枝伴随着远山、云彩和月亮。",[1553,1607,1554,1555,2161,1637,1557,2964,2565,1593,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffe1f4cf683153ff158daeb9f1f5bf1.jpg","21.7x23.8",[1726,6],{"id":677,"slug":7684,"title":7685,"dynasty":1548,"author":3797,"museum":1683,"description":7686,"tags":7687,"thumbUrl":7688,"material":1846,"size":7689,"collection":6,"collections":7690,"showCount":7691,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"hong-ren-jie-shou-tu-zhou-hong-ren-236353","弘仁节寿图轴","弘仁的《节寿图轴》山水画，是一幅画在绢上的比较早的作品。画家51岁的时候画的，风格面貌已经成熟，松树干上有皴擦，石头做了渲染，画得很生动。特别是水，画得有一层一层流动的感觉。当代的一些山水画，常常画山就有水，但是不能明确“水”在画面中所起到的作用。所以水容易画得很概念，留空白就代表水，如果瀑布就从源头一直画到下端，好像瀑布很短、很矮，一眼能够全部看到，这都是不妥当的。其实对于自然山水中的溪流、瀑布来说，一般只能看到一个部分，其他会被山石、树木等遮挡，不可能全部看到。弘仁的这幅作品中，对于水流的处理是一个很好的参考。画中的瀑布溪流，平面过来一层，又有一个平面，又是一层，流过来再有一个下降的过程，就有了节奏和变化，而且符合大自然的规律。要画好水，就要去观察研究水的实际动态，研究古人画的水，研究自然中的水。",[1548,1591,1843,1622,2274,1691,1690,2038,2075,2278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70ff3779eca9bcdcd2e3e605f6901b2.jpg","102.2×51.5cm",[6,1613],72,{"id":678,"slug":7693,"title":7694,"dynasty":1587,"author":7695,"museum":1604,"description":7696,"tags":7697,"thumbUrl":7699,"material":1892,"size":7700,"collection":6,"collections":7701,"showCount":7691,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"hua-zi-mu-ji-tu-zhou-zhu-zhan-ji-222085","画子母鸡图轴","朱瞻基","此画无背景，仅在一公、一母、七雏的鸡群附近俩有一些杂草，遍布地面，虽较稀疏，但远看似一层薄薄的绿色地毯，以象征出整片的草地，对整个画面起到陪衬作用。画幅下部和偏右画有一公鸡、一母鸡。右侧的公鸡低首啄食，口内衔虫，近靠二雏，二双爪有力地抓在地上，长尾飞翘舒展开来，双翅紧合，头部有较大的肉冠及肉瓣，脚健壮，跗臁及趾皆被鳞板，趾网、后趾高而短小，尾部发达。左侧为一母鸡蹲在地上，作待哺的神态，双爪有力地抓地上，嘴短、鼻孔被鳞状瓣，头部肉冠和肉瓣比公鸡小，尾巴上二翘舒展开来。七只小鸡偎近母鸡，其中一只雏鸡，全身旱绒绒的一小团，走起来呈摇摇摆摆之状，似具有初出壳的娇弱之态，皆生动传神，充分体现明宣宗有着写实的功力。\n此画以工笔勾勒白鸡，且勾线十分明显，偏向于工整之笔，染色也较平面化。画法上以工笔勾勒，别开生面，焦墨点睛，炯炯有神，羽毛捕法精细，双爪勾勒，笔扎实有力。鸡的形象画得真实生动，质感强烈，表现了一瞬间各鸡的动作神态。",[1553,1554,1555,1622,1637,1557,1559,2868,7698,1595],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c553fe940de32eacb1d4b982556980.jpg","79.7x57.2cm",[6,1613],{"id":679,"slug":7703,"title":7704,"dynasty":1715,"author":5209,"museum":1604,"description":5210,"tags":7705,"thumbUrl":7706,"material":5213,"size":5214,"collection":1726,"collections":7707,"showCount":7691,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"si-mei-tu-juan-quan-juan-yang-wu-jiu-221465","四梅图卷全卷",[1553,1607,1554,1555,1666,1591,2120,1689,1562,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21caf8fd4f408a77f793104e6fbc872.jpg",[1726,6,1613],{"id":680,"slug":7709,"title":7710,"dynasty":1633,"author":2943,"museum":1604,"description":7711,"tags":7712,"thumbUrl":7713,"material":2320,"size":1580,"collection":6,"collections":7714,"showCount":7691,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-zhi-tu-li-kan-219639","竹枝图","此幅小品取“出墙”之境，一枝竹斜逸于圆幅之中。淡绢为底，虚实相生，留白衬出竹之疏朗意韵。墨色层次分明，竹叶以中锋运笔，正反向背各具姿态，笔力劲挺清刚，尽显君子拔俗之姿，枝桠转折苍劲利落，暗摹风动之态。\n\n题字“出墙”点出意境，带着些许野趣俏皮，打破幽寂，让尺幅间生出鲜活生机。整幅简淡清逸，以极简笔墨写尽竹之风神，将文人寄情于物的意趣藏于毫端，淡墨疏枝之间，清高雅韵悠长。",[1553,1554,1555,1591,1690,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ceb9ff1310f445e5e46a19e09ff932.jpg",[6],{"id":681,"slug":7716,"title":7717,"dynasty":1715,"author":2738,"museum":2117,"description":7718,"tags":7719,"thumbUrl":7720,"material":1802,"size":7721,"collection":6,"collections":7722,"showCount":7691,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"shui-xian-tu-zhao-meng-jian-219542","水仙图","全幅绘水仙，其上的留白空间将整幅长卷分成三个部分，每个部分又有三组水仙。第一部分较为稀疏，水仙花茎端方可爱，花叶舒展自然。第二部分的第一组水仙，前后排布，其下鼓起了一些小土坡。第三部分的水仙花和第二部分的第一组水仙花叶相似，穿插密实而错落有致，较为孤立。",[1553,1607,1554,1555,1666,2120,1591,1694,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a6518f83bf7b9332ac84bcd8ddc655.jpg","34.1 × 993.6 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整幅画是水，不是一笔一划，而是海藻随波逐流，鱼群追逐，红花飘扬。 这是非常生动的。 所有的绘画方法都是渲染的，而不是轮廓。",[1554,1607,1557,1637,1559,2687,6973,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140f4302cb2d72fab458841216deaf68.jpg",[6],{"id":693,"slug":7819,"title":7820,"dynasty":1633,"author":2191,"museum":1550,"description":7821,"tags":7822,"thumbUrl":7823,"material":1625,"size":7824,"collection":6,"collections":7825,"showCount":7782,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"fu-rong-yuan-yang-tu-zhou-zhang-zhong-219282","芙蓉鸳鸯图轴","此图描绘了一幅秋高气爽时节的生动景象，水边的木芙蓉枝叶舒展，枝头花朵绽放；两只鸳鸯在水中嬉戏，其中雌鸳鸯昂首鸣叫，雄鸳鸯垂首清波。此图笔墨简洁古朴，山石不修饰以苔点，以水墨点触晕染，生动写实而清雅隽永，富于韵味。",[1553,1554,1555,1622,1591,1637,1559,1693,2556,1930,1955,1749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eac47218af15810079b2edc1cc7f16f.jpg","纵147 厘米，横56.8 厘米",[6,1934],{"id":694,"slug":7827,"title":7828,"dynasty":1548,"author":2972,"museum":1663,"description":3475,"tags":7829,"thumbUrl":7830,"material":1892,"size":7831,"collection":6,"collections":7832,"showCount":7833,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"chun-feng-chui-chu-hong-wu-chang-shuo-224220","春风吹出红",[1553,1554,1555,1559,1557,1591,1562,1595,1608,1901,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe082f7e60dc29bf6eac47500e2168d46.jpg","69x104厘米",[6,1613],70,{"id":695,"slug":7835,"title":7836,"dynasty":1548,"author":1837,"museum":1663,"description":7837,"tags":7838,"thumbUrl":7839,"material":1846,"size":1580,"collection":6,"collections":7840,"showCount":7833,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[1553,1554,1607,1622,1557,1637,1667,1879,3619,2137,4825,2038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[6,1613],{"id":696,"slug":7842,"title":7843,"dynasty":1587,"author":1973,"museum":1683,"description":7844,"tags":7845,"thumbUrl":7846,"material":3819,"size":7847,"collection":6,"collections":7848,"showCount":7833,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mei-shi-tu-zhou-chen-hong-shou-221894","梅石图轴","本幅署款“老蓮洪綬畫于柳莊”。钤“蓮白衣”。\n是图以古拙奇特的造型绘拳石耸立，旁伴一株被截去诸多枝干的老梅树，树上几朵梅花绽蕾展瓣。构图简约洗练，并注重物象间的相互衬托与对比。画石用线勾出圆润的外形，再以淡墨渲染。画梅则用浓、枯墨笔勾勒，线条古拙方硬，具金石韵味，体现了老梅饱经沧桑的古木气息。\n清内府《石渠宝笈》著录。",[1553,1554,1555,1622,1591,1689,1707,2137,1669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccbca84501d57cd1d024bcd73a8d609.jpg","纵115.2厘米，横56厘米",[6,1934],{"id":697,"slug":7850,"title":7851,"dynasty":1715,"author":2404,"museum":1604,"description":7852,"tags":7853,"thumbUrl":7856,"material":2320,"size":7857,"collection":1726,"collections":7858,"showCount":7833,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"xue-tan-shuang-lu-tu-ma-yuan-221539","雪滩双鹭图","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[1553,1554,1555,1607,1591,2274,7854,3187,7855,5169,2275,2278],"留白","滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg","纵60厘米，横38厘米",[1726,6,1613],{"id":698,"slug":7860,"title":7861,"dynasty":1548,"author":7862,"museum":1663,"description":7863,"tags":7864,"thumbUrl":7865,"material":1557,"size":1580,"collection":6,"collections":7866,"showCount":7833,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[1553,1607,1554,1555,1761,1666,1637,1557,1559,1694,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[6],{"id":699,"slug":7868,"title":6608,"dynasty":1587,"author":7869,"museum":1683,"description":7870,"tags":7871,"thumbUrl":7872,"material":1625,"size":7873,"collection":6,"collections":7874,"showCount":7833,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mu-niu-tu-li-lin-219358","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[1553,1554,1555,1666,1591,1686,1688,1595,5293,1841,1844,2138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[6,1934],{"id":700,"slug":7876,"title":7877,"dynasty":1715,"author":1732,"museum":1604,"description":7878,"tags":7879,"thumbUrl":7880,"material":1610,"size":1580,"collection":6,"collections":7881,"showCount":7833,"zanCount":2177,"manualWeight":1568,"mainColor":1569},"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[1553,1607,1554,1555,2161,1637,1557,1559,1826,1592,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[6],{"id":701,"slug":7883,"title":7884,"dynasty":1715,"author":1732,"museum":1573,"description":7885,"tags":7886,"thumbUrl":7887,"material":1610,"size":1580,"collection":1726,"collections":7888,"showCount":7833,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"e-xi-tu-yi-ming-218537","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[1553,1554,1555,2161,1557,1637,4640,1692,1668,1930,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[1726,6],{"id":702,"slug":7890,"title":7891,"dynasty":1633,"author":7892,"museum":1550,"description":7893,"tags":7894,"thumbUrl":7895,"material":1625,"size":7896,"collection":6,"collections":7897,"showCount":7833,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shu-shi-tu-chen-lin-218257","树石图","陈琳","虬枝枯树斜倚坡石，墨线如铁般盘结交错，似诉岁月沧桑。山石以淡墨晕染，皴擦相间，肌理分明，朴拙中透着空灵。左侧题跋笔意流转，诗画相映，书卷气盎然。整幅作品简而不空，墨色清润，意境萧散淡远。枯树的苍劲与山石的沉稳相融，于静谧间藏生机，尽显文人画的雅致风骨。观之如临清寂山林，心随笔墨沉淀，得一份古雅之趣，笔墨间的留白与晕染，更让画面余韵悠长，耐人寻味。",[1554,1555,1607,1591,2275,1707,2274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e4aac310bc644eed1f183659092e43.jpg","30.6x49.7cm",[6],{"id":703,"slug":7899,"title":7900,"dynasty":1633,"author":1732,"museum":6403,"description":7901,"tags":7902,"thumbUrl":7904,"material":1610,"size":7905,"collection":2141,"collections":7906,"showCount":7833,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[1554,1607,1555,1637,1557,1559,1667,7903,2137,1623],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[2141,6],{"id":704,"slug":7908,"title":7909,"dynasty":1633,"author":4767,"museum":1604,"description":7910,"tags":7911,"thumbUrl":7913,"material":1610,"size":7914,"collection":6,"collections":7915,"showCount":7833,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"han-jiang-lu-yan-zhou-wang-yuan-216949","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[1554,1622,1637,1557,1559,4694,3321,4385,7912,1749],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde012ecdad844b3e749ba9f388e9437d.jpg","149.7x62.7公分、全幅 90公分",[6],{"id":705,"slug":7917,"title":7918,"dynasty":1548,"author":2250,"museum":1683,"description":7919,"tags":7920,"thumbUrl":7921,"material":1580,"size":1580,"collection":6,"collections":7922,"showCount":7923,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"lan-mei-ce-wang-shi-shen-236579","兰梅册","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[1554,1555,1556,1591,1559,1689,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a22d9903ebf77ab39f57a28f615460f.jpg",[6,1934],69,{"id":706,"slug":7925,"title":7926,"dynasty":1587,"author":1732,"museum":1663,"description":7927,"tags":7928,"thumbUrl":7929,"material":1784,"size":1785,"collection":6,"collections":7930,"showCount":7923,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"wen-chu-hua-hui-ce-yi-ming-235583","文俶花卉册","此作以糙涩米黄沙底为衬，浅纹隐现，愈显清雅悠然。柔婉青茎舒展虬曲，羽状细叶以淡青晕染，通透轻盈，尽显草木灵秀。两朵万寿菊轻绽枝头，瓣边暖橙柔润，瓣心赭红沉凝，层次细腻，将盛放娇妍定格，旁侧花苞颔首待放，静藏生机。全作未施浓彩，以轻淡设色搭配素朴底纸，尽显清隽雅致的小品意趣，将草木鲜活生机晕染在方寸之间，观之如嗅浅淡花香，悠然意远。",[1554,1555,1556,1637,1557,1559,1560,1593,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc6eb7dafe3ffa707e1031a8859d55b.jpg",[6],{"id":707,"slug":7932,"title":7933,"dynasty":1587,"author":7934,"museum":1683,"description":7935,"tags":7936,"thumbUrl":7937,"material":1903,"size":7938,"collection":6,"collections":7939,"showCount":7923,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"kui-shi-xia-die-tu-zhou-dai-jin-222036","葵石峡蝶图轴","戴进","此幅画盛开的蜀葵一株，两只蝴蝶翩翩飞舞。\n在戴进的作品中，工笔设色花鸟并不多见，此图用笔细润，色彩清丽，既保留了宋代院体花鸟的工致，又吸收了元代钱选没骨设色的文雅之气。画面下端的湖石纹理粗糙，凹凸有致，与花卉草虫形成鲜明的对比。\n近代何昆玉、庞莱臣《虚斋名画录》卷二著录。",[1553,1607,1554,1622,1557,1637,1559,4129,1748,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7690becc18ef2b29aaf5e830a77ab9fb.jpg","纵115厘米，横39.6厘米",[6,1613],{"id":708,"slug":7941,"title":7942,"dynasty":1587,"author":7943,"museum":1604,"description":7944,"tags":7945,"thumbUrl":7946,"material":1563,"size":7947,"collection":6,"collections":7948,"showCount":7923,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xian-chun-bao-xi-tu-liu-shi-ru-218878","先春报喜图","刘世儒","虬枝盘曲如铁，嫩蕊缀枝似霞，寒香暗浮处，数只喜鹊栖于梅间。或翘首啼鸣，清音欲穿晓寒；或侧耳相和，墨羽轻拂春风。花瓣染粉带露，枝干皴擦见骨，工笔与写意相融，既得梅之清雅，又显鹊之灵动。题字与花鸟相映，诗趣入画，更添文人雅韵。整幅画如早春晨曦，将料峭生机与报喜暖意悄然铺展——梅开先春，鹊鸣报喜，每一笔藏岁月期许，每处细节漾人间欢悦，观之令人心脾俱畅，仿佛已闻春声渐近。",[1554,1555,1622,1557,1637,1559,1689,1667,6487,1562,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bf908b018a03efb77d029306b4e34c.jpg","113.4x56.6cm",[6],{"id":709,"slug":7950,"title":7951,"dynasty":1633,"author":1732,"museum":1604,"description":7952,"tags":7953,"thumbUrl":7954,"material":1563,"size":7955,"collection":6,"collections":7956,"showCount":7923,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"hua-e-xiao-jing-tu-yi-ming-218835","花鹅小景图","白鹅曲颈伫立，绒羽以细笔晕染，柔润如凝脂，尾羽纹理纤毫可见。身旁草叶疏朗，野花含露轻绽，淡紫与浅红的花瓣似携微风颤动；后方岩石以简劲笔触皴擦，苍朴质感与鹅的柔媚相映成趣。古旧纸色衬得景物愈发温润，笔触间藏着细腻生机——仿佛能听见鹅喙轻啄草叶的细碎声响，或是风拂野花的微颤。整幅小景虽简，却将自然的恬淡雅致凝于尺幅，细处见工致，疏处显意趣，尽显宋元小景画的清逸之韵。",[1607,1554,1555,1637,1557,4640,1815,1707,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aca3e9066be932f6397474cf4d654f4.jpg","57.5x37cm",[6],{"id":710,"slug":7958,"title":7959,"dynasty":1633,"author":1732,"museum":1604,"description":7960,"tags":7961,"thumbUrl":7963,"material":1563,"size":1580,"collection":6,"collections":7964,"showCount":7923,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"san-yang-kai-tai-tu-zhou-yi-ming-216209","三羊开泰图轴","三羊喻三阳开泰，吉祥之意。采用一孩三羊构图方式，小孩骑在最大只的绵羊上，手拿枝条，头戴皮幅，低头看着最小的那只羊。",[1554,1622,1841,5415,1557,3344,1595,1562,7962],"三羊开泰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e5313ba3f7ad1912675271f03e5126.jpg",[6],{"id":711,"slug":7966,"title":7967,"dynasty":1548,"author":7968,"museum":2463,"description":7969,"tags":7970,"thumbUrl":7972,"material":1610,"size":7973,"collection":6,"collections":7974,"showCount":7975,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"bai-hua-cheng-rui-tu-li-fang-ying-220436","百花呈瑞图","李方膺","李方膺的这件作品一反他笔墨豪放，纵逸豪宕的风格，用笔、设色都较工整收敛，清新明快，秀丽雅致。从自题七言中推知此画也许是为长辈所作，所以画面祥和安逸，色调稳重。\n李方膺的作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 诗草》，仅二十六首，多数散见于画上。",[1553,1554,1555,1622,1557,1559,1694,1608,1560,1686,3587,7971],"花卉题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472fcd233211bf609eb0bda41e43b4d.jpg","纵162.5厘米，横43.1厘米",[6,1613],68,{"id":712,"slug":7977,"title":7978,"dynasty":1715,"author":7979,"museum":1573,"description":7980,"tags":7981,"thumbUrl":7982,"material":1610,"size":7983,"collection":6,"collections":7984,"showCount":7975,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","李唐","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[1554,1555,1843,2274,1591,1557,5293,3619,1667,2038,1844,2137,2276,2072],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[6],{"id":713,"slug":7986,"title":7987,"dynasty":1587,"author":5517,"museum":2296,"description":7988,"tags":7989,"thumbUrl":7990,"material":1802,"size":7991,"collection":6,"collections":7992,"showCount":7993,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"mu-niao-tu-lin-liang-222446","木鸟图","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。\n明初洪武至弘治的百余年内， 占据画坛主位的是皇家画院的宫廷绘画。时代特色和风格成型主要体现在宣德、成化、弘治三朝。尤其是花鸟画， 突破“院体”程式，出现了工笔重彩、水墨写意、设色没骨等多种风格， 并有所创新。其中水墨写意的开派人物便是林良。\n他创作的“文人画化”的水墨写意花鸟画，使明代“院体”花鸟出现了新的生机。虽然在明之前也有水墨写意花鸟，但仍以勾染为主流形式，而且宋“院体”花鸟在元代仍保持着很大的影响力。\n明代的水墨写意花鸟画， 由林良开派， 以后耕耘其间者接踵而至， 如沈周、陈淳、徐渭等， 一步步将写意法推向臻境，并成为明代花鸟画最流行和最富成就的一种形式， 终汇就明清泱泱大观的写意花鸟画风。林良无疑起了先导作用。他在花鸟画的发展史上， 是不可或缺的重要人物。",[1553,1554,1591,1686,1559,1592,1953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a952a0aa9c1a5088e4461d5982c15c7.jpg","30.3×31.3",[6,1934],67,{"id":714,"slug":7995,"title":6733,"dynasty":1715,"author":1732,"museum":1604,"description":7996,"tags":7997,"thumbUrl":7998,"material":1610,"size":7999,"collection":6,"collections":8000,"showCount":7993,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"ku-mu-zhu-shi-tu-yi-ming-219181","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石头后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的突显，属元代枯木竹石画风。画中草木与院藏赵孟俯〈竹石古木〉表现诸如，此画上虽无款印，但可估计此后一画风的古代例子，学者猜测可能正与赵孟俯关系密切。",[1553,1554,1591,1622,1721,1690,1707,2274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59e40997092e7d1968961782449871.jpg","107.9x51.1",[6],{"id":715,"slug":8002,"title":8003,"dynasty":1715,"author":2316,"museum":4159,"description":8004,"tags":8005,"thumbUrl":8007,"material":1610,"size":8008,"collection":6,"collections":8009,"showCount":7993,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"can-he-yuan-yang-tu-ma-lin-219084","残荷鸳鸯图","图为荷塘岸边枯萎的荷花，两朵荷花干枯，细杆上隐约可见一层薄薄的雪花，似弯折折断； 一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[1607,1554,1555,2161,1557,1637,1692,8006,2556,1592,1559,1707,1595],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[6],{"id":716,"slug":8011,"title":8012,"dynasty":1548,"author":6083,"museum":1604,"description":8013,"tags":8014,"thumbUrl":8015,"material":1563,"size":8016,"collection":6,"collections":8017,"showCount":7993,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[1607,1554,1555,1622,1637,1557,1559,1592,1608,1668,2038,1562,1595,1667,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[6],{"id":717,"slug":8019,"title":6608,"dynasty":4850,"author":5290,"museum":1573,"description":8020,"tags":8021,"thumbUrl":8022,"material":1563,"size":1580,"collection":6,"collections":8023,"showCount":7993,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mu-niu-tu-dai-song-216664","牧牛图 是一幅画作，出自唐朝时期的画家戴嵩。它是一幅水墨画，描绘了一头牛在田野里放牧的场景。这幅画被认为是戴嵩的代表作之一，因为它体现了戴嵩独特的画风和技巧。牧牛图在唐朝时期广受欢迎，并被认为是中国水墨画的杰出作品。",[1554,1555,1591,1557,1841,5293,1668,2072,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f31192c42e51a9881f491e3d50c022.jpg",[6],{"id":718,"slug":8025,"title":8026,"dynasty":1548,"author":2250,"museum":1683,"description":8027,"tags":8028,"thumbUrl":8029,"material":3819,"size":8030,"collection":6,"collections":8031,"showCount":8032,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mei-hua-lan-shi-tu-zhou-wang-shi-shen-237637","梅花兰石图轴","款署：“庚戌仲秋近人慎写于寿萱堂中。”钤“士慎”白文印。鉴藏印有：“白门李氏珍藏”朱文印。\n“庚戌”为清雍正八年（1730年），作者时年45岁，正是其艺术日臻成熟期。\n图绘春风中兰叶翻飞、梅花初绽的景致。拳石、梅树和丛兰以豪放的笔墨一挥而就，淋漓酣畅的墨气与梅兰旺盛勃发的生命力相符相合。梅花以工细的线条勾勒，俏丽的花姿显现出梅树清幽典雅的风韵和“空里疏香”的诗意。",[1554,1555,1622,1591,1559,1689,1695,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48e794336aa1087c4c94cc1fc7e8274.jpg","纵138.4厘米，横44.4厘米",[6,1934],66,{"id":719,"slug":8034,"title":8035,"dynasty":1548,"author":2056,"museum":1663,"description":8036,"tags":8037,"thumbUrl":8038,"material":1580,"size":1580,"collection":6,"collections":8039,"showCount":8032,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yuan-ji-zhu-shi-tu-zhou-shi-tao-237535","原济竹石图轴","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。",[1554,1555,1622,1591,1686,2274,1690,1669,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042b55af991c313cd4588dd0d5c88465.jpg",[6],{"id":720,"slug":8041,"title":8042,"dynasty":1715,"author":8043,"museum":2296,"description":8044,"tags":8045,"thumbUrl":8046,"material":8047,"size":8048,"collection":1726,"collections":8049,"showCount":8032,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"zhu-ji-tu-zhou-luo-chuang-221669","竹鸡图轴","萝窗","本画描绘的是五更（凌晨四时）之时，在未明的幽暗中的身兼文、武、勇、仁、信五德的家鸡的形象。不过，鸡的形象仿佛一位在五更时分大彻大悟的禅僧。浅野家旧藏。",[1553,1554,1607,1622,1557,1637,1559,1690,2868,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020ebfe9cf8bf048ae9e63dc5de2973.jpg","绢本，墨画","纵96.3cm 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(公元11世纪)〔北宋〕江南人，生卒年不详。画院待诏，为熙宁(1068-1077)前画院高手，工画花竹、翎毛，《宣和画谱》称：“下笔有法，颇得生意。又工为鹦鹉及狮、猫等，非山林草野之所能，不唯责形象之似，亦兼取其富贵态度，自是一格，苟不能焉，终不到也。”重视写生，观察入微，用笔工整，设色绚丽，神态逼肖，形神兼备，笔力精劲，具有宋代院体画特点，作品流传甚少。《宣和画谱》著录御府藏其《绣墩狮猫图》一幅。传世作品有《子母鸡图》册页，纸本，设色，纵42.2厘米，横32.3厘米，描绘一只母鸡携群雏作啄饲状之情景，以形写神，构思巧妙，藏露倚侧，曲尽其妙，笔墨简练，韵格清新，耐人寻味。画面钤有元代顾德辉“金粟道人”、明代“侯懋功印”、清代“宣统御览之宝”和“锡山谈氏珍藏”等收藏印5枚。此图原为清宫旧藏，是故宫《集古图集》册页之一帧，《石渠宝笈初编》著录，现藏台北故宫博物院。",[1553,1607,1554,1555,1559,1637,1557,6594,7698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c311c2ad6d882cfc576c77d301c9e91.jpg","纵42.2厘米，横32.3厘米",[6,1613],{"id":722,"slug":8060,"title":8061,"dynasty":1548,"author":8062,"museum":1604,"description":8063,"tags":8064,"thumbUrl":8066,"material":1610,"size":8067,"collection":6,"collections":8068,"showCount":8032,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"qiu-cheng-sheng-zhi-zhou-chen-shu-qiu-219447","秋塍生植轴","陈书秋","秋草葳蕤间，秀穗垂曳似携风露。蜻蜓振翅掠叶，粉翅沾着晓光；彩蝶翩跹，翅间星斑如缀墨玉；蚂蚱或伏或跃，肢足纤毫毕现。近坡双鹌相倚，一者低头啄虫，羽纹细腻如织，另一侧首凝睇，眸含憨态。细菊绽蕊淡香似溢，红果点翠添秋温润。笔墨工细却不板滞，生灵姿态鲜活，草木纹理清晰，藏着对自然的深情。静中有动，恬淡里透着蓬勃生机，仿佛能听见虫鸣唧唧，风拂草叶轻响，将秋日田园意趣尽揽其中。",[1554,1555,1622,1637,1557,1595,1559,1764,1955,4779,1748,1799,8065,1696,2666],"蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a0fe93ad5cc02980e9601cf4c1e288.jpg","100.1x29.2",[6],{"id":723,"slug":8070,"title":8071,"dynasty":1548,"author":1732,"museum":1573,"description":8072,"tags":8073,"thumbUrl":8074,"material":1610,"size":1580,"collection":6,"collections":8075,"showCount":8032,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"qun-hou-xi-shui-shuang-ping-yi-ming-219273","群猴戏水双屏","松枝虬曲横斜，松针如簇。枝间群猴灵动，或攀附树干探头探脑，或倒挂金钩似的垂落，长尾轻摆，神态憨然。树下涧边，几只小猴追逐打闹，或掬水顽劣，或投石逗趣，更有仰头望枝上同伴者，姿态各异，满是天真野趣。远处淡墨晕染出山水轮廓，一轮清月隐现天际，绢色沉润如古酿，笔墨简淡却意韵盎然。整幅画将猴群的活泼与山林的静谧相融，既见自然生机，又含悠然意韵，观之令人莞尔，心生清趣。",[1554,1555,1622,1591,1557,1879,5595,3619,1623,1843,2964,1637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c0347eed9f967050d2b173b7446b.jpg",[6],{"id":724,"slug":8077,"title":8078,"dynasty":1648,"author":8079,"museum":2057,"description":8080,"tags":8081,"thumbUrl":8083,"material":1610,"size":8084,"collection":6,"collections":8085,"showCount":8032,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"qiu-ying-tu-guo-qian-you-218997","秋鹰图","郭乾佑","铁羽敛霜华，孤峙危岩之巅。目光如炬，俯瞰怒涛卷雪。苍溟之上，残阳如血，晕染出沉雄古意。浪涛拍岸，礁石嶙峋，似与雄鹰共守天地孤绝。笔触凝练，墨色层叠，将猛禽的傲岸与沧海的壮阔熔于一帧。静中藏动：鹰之沉稳如磐，浪之奔涌若雷；刚柔相济：铁喙利爪含锐，云涛雾霭蕴柔。古雅质感里，尽显五代画风的沉郁与雄健。此作以鹰为魂，以海为魄，于苍茫间见风骨，于动荡中显定力，不愧传世之品。",[1554,1555,1557,1637,1879,1667,1707,3007,8082],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7349f8201c5a9ec1d079a27dc457270.jpg","纵142.9横76.2厘米",[6],{"id":725,"slug":8087,"title":8088,"dynasty":1715,"author":5769,"museum":1573,"description":8089,"tags":8090,"thumbUrl":8092,"material":1610,"size":1580,"collection":6,"collections":8093,"showCount":8032,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"yan-zi-xi-he-tu-li-an-zhong-218972","燕子戏禾图","这幅画描绘了三个方向的三株小米，果实成熟并压弯了茎秆，两只燕子站在茎秆上，一只向下啄食，另一只盯着上方。",[1553,1554,1607,1555,2161,1637,1557,1559,1667,8091],"禾穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b85eaf5c3080c2ada2253abb4a55fe9.jpg",[6],{"id":726,"slug":8095,"title":8096,"dynasty":1715,"author":3570,"museum":1573,"description":8097,"tags":8098,"thumbUrl":8099,"material":1625,"size":8100,"collection":6,"collections":8101,"showCount":8032,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yuan-xi-tu-mu-xi-218940","猿戏图","水墨氤氲里，猿臂如弓探向虚空，蜷身踞于石上，抬首凝睇似若参禅。淡墨晕染出绒毛细密之态，面部留白与深墨轮廓相映，愈显灵动机敏。旁侧竹枝疏朗，石痕简淡，寥寥数笔勾出山涧清寂。整幅画以极简之笔写尽生灵意趣，禅意隐于虚实之间，仿佛能闻猿啸穿林，见心猿归寂，尽显宋元禅画“以简寓深”的妙境，引人沉潜于空灵之思。",[1607,1554,1622,1591,1686,5595,1690,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa1b8b9497c24c2c7c01000f8df95dd.jpg","97x34cm",[6],{"id":727,"slug":8103,"title":2994,"dynasty":1715,"author":1732,"museum":1573,"description":8104,"tags":8105,"thumbUrl":8106,"material":1610,"size":1580,"collection":6,"collections":8107,"showCount":8032,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"fu-rong-jin-ji-tu-yi-ming-218886","画面中锦鸡昂首立于石巅，羽色斑斓绚丽，红腹如霞，彩尾曳地，每片翎羽的纹理皆细致入微，尽显灵动之态。上方芙蓉花繁盛绽放，粉瓣凝露，绿叶婆娑，藤蔓缠绕间透着盎然生机。石下小禽啄食，姿态憨趣，与锦鸡的雍容相映成趣。山石皴染古朴厚重，草木点缀清雅自然，构图疏密有致，动静相宜。笔墨细腻处见工致，设色淡雅中含艳丽，既彰显宋代花鸟画的写实功力，又于细节间流露对自然生灵的细腻观察与喜爱，仿佛能闻花叶清香，听禽鸟轻啼，一派静谧鲜活的田园意趣跃然绢上。",[1607,1554,1555,2161,1557,1637,1559,1693,2172,2038,2666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb635e3caa4d97317fda4cdd78b12a00.jpg",[6],{"id":728,"slug":8109,"title":8110,"dynasty":1633,"author":8111,"museum":1604,"description":8112,"tags":8113,"thumbUrl":8114,"material":1563,"size":8115,"collection":6,"collections":8116,"showCount":8032,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"gu-mu-shuang-jiu-tu-xie-tian-you-218824","古木双鸠图","谢天游","画面中双鸠栖于古木枝上，一鸟垂首理羽，一鸟侧颈凝睇，姿态憨然生动。鸠鸟羽色温润，墨线勾勒间晕染淡赭，颈间星斑点缀，细腻传神。古木枝干虬曲，以枯笔皴擦出苍劲质感，枝梢苔点稀疏，尽显古意。背景以淡墨轻染，留白处衬出空濛之境，与禽鸟的鲜活形成呼应。整幅画作笔墨简淡却意韵悠长，清雅中见生机，尽显文人画的疏朗雅致，仿佛能闻林间风息，静赏自然之趣。",[1554,1555,1637,1557,1559,2137,1592,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf06d60a26483cd36712d9a4fa48bc3.jpg","43.7x29.7cm",[6],{"id":729,"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44,"slug":8247,"title":8248,"dynasty":1587,"author":8249,"museum":1717,"description":8250,"tags":8251,"thumbUrl":8252,"material":1610,"size":8253,"collection":6,"collections":8254,"showCount":1567,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"qun-lu-tu-wen-zheng-ming-219028","群鹿图","文徵明","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[1553,1554,1557,1637,2274,1843,3644,1879,1844,2038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[6],{"id":745,"slug":8256,"title":5591,"dynasty":1715,"author":3570,"museum":1573,"description":8257,"tags":8258,"thumbUrl":8259,"material":1563,"size":4281,"collection":6,"collections":8260,"showCount":1567,"zanCount":2063,"manualWeight":1568,"mainColor":1658},"yuan-tu-mu-xi-218941","墨色晕染间，猿猴踞于山石之上，敛息凝神，似与周遭空寂相融。枯枝斜出，线条简劲如铁，牵起几分悠远禅意。山石以淡墨皴擦，肌理隐现却不刻意，留白处尽是天地的虚静。整幅画无多余笔墨，却在简淡中藏着深湛的禅思——物我两忘，心与境合。猿的眼神安详，仿佛已沉入永恒的静谧，连风都在此刻停驻。笔墨的疏朗与意境的幽远交织，恰似禅者的顿悟，于无声处叩击心灵。每一处淡墨的晕散、每一道线条的起落，都在诉说着禅画的精髓：不执于形，只追于心。山石的朴拙、猿的静定，共同织就一幅空灵的禅境图卷，引人踏入物我两忘的虚静之境。",[1554,1555,1607,1591,1686,2274,6441,1879,1707,1953,5878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a688cef2370db7643864b3746bd2747.jpg",[6],{"id":746,"slug":8262,"title":3492,"dynasty":1548,"author":1758,"museum":1663,"description":8263,"tags":8264,"thumbUrl":8265,"material":1580,"size":1580,"collection":6,"collections":8266,"showCount":8267,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-tu-ce-hua-yan-236002","此作取景清雅，折枝粉菊伴棘条挺然生姿，朱色竹枝斜斜破局，水墨湖石静卧留白处，虚实错落间尽显疏朗意韵。\n\n设色秀润柔和，菊瓣晕染细腻，将霜蕊的清妍尽显；朱竹艳而不俗，风骨暗藏；湖石以淡墨轻擦慢皴，苍润空灵。右上角题诗入画，与花木绘境相映，诗书印画相融，文气满溢。\n\n笔意松灵秀逸，将花木的清刚与温婉揉为一处，借草木寄寓幽人风骨，淡远雅致的逸趣扑面而来，尽显文人隽雅的审美意趣。",[1554,1557,1591,1556,1559,1696,1690,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaea60374c721a553bff14a64dc81773.jpg",[6,1613],62,{"id":747,"slug":8269,"title":8270,"dynasty":1548,"author":8271,"museum":1663,"description":8272,"tags":8273,"thumbUrl":8274,"material":1784,"size":1785,"collection":6,"collections":8275,"showCount":8267,"zanCount":2063,"manualWeight":1568,"mainColor":1569},"huang-shen-shu-guo-tu-ce-huang-shen-235482","黄慎蔬果图册","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[1554,1555,1556,1591,1557,3573,1595,1562,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a06080dfb464dc2918e366572dfcfde.jpg",[6],{"id":748,"slug":8277,"title":8278,"dynasty":1715,"author":1732,"museum":1604,"description":8279,"tags":8280,"thumbUrl":8281,"material":1610,"size":8282,"collection":1726,"collections":8283,"showCount":8267,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[1553,1554,1607,1555,1622,1637,1557,1559,1689,1690,1592,1707,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[1726,6,1613],{"id":749,"slug":8285,"title":4321,"dynasty":1587,"author":5517,"museum":1550,"description":8286,"tags":8287,"thumbUrl":8288,"material":1557,"size":8289,"collection":6,"collections":8290,"showCount":8267,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-niao-tu-zhou-lin-liang-222448","林良作花鸟画取材十分广泛。他最擅于画禽鸟，从江湖山野的苍鹰、小雀、鱼鸟、芦雁，到宫廷后苑的仙鹤、孔雀、凤凰等等，都一一入画。他对禽鸟作了细致入微的观察，将禽鸟的飞鸣食宿之态，跳攀争斗之势表现得十分准确、生动、传神。林良画的花木同样是生气勃勃：汀芦、灌木、翠枝、枯藤等植物呈现出含苞养秀、荣枯凋落等各种生态，充满野趣和生机。\n林良在花鸟画领域中，最具创造性的是他对水墨写意技法的运用。他把南宋马远、夏圭的水墨山水画技法引入花鸟画之中，打破了工笔与写意的界限，大大丰富了花鸟画的表现方法。而林良的写意，又只是在写实之中略为开放，既不背离形似，又不着意于酷似。他以水墨为主作画，黑白变化多端。萧镃于明景泰六年为林良的《九思图》题曰：“……宣庙间，边景昭五色翎毛称独步，近日林良用水墨，落笔往往皆天趣。”《明画录》则称林良“着色花果翎毛极精巧，取水墨为烟波出没，凫雁嚵唼容与之态，颇见清淡。树木遒劲如草书，人莫能及。”",[1553,1554,1622,1591,1686,1559,1592,1953,1562,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a383be487dab662a8b62819082463dd.jpg","36X183cm",[6,1934],{"id":750,"slug":8292,"title":8293,"dynasty":1587,"author":3961,"museum":1604,"description":8294,"tags":8295,"thumbUrl":8296,"material":1557,"size":8297,"collection":6,"collections":8298,"showCount":8267,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"song-qin-tu-tan-zhi-yi-219406","松禽图","松针如缕，淡蓝晕染似含晨露清光，垂枝轻逸如丝带斜曳。鸟儿敛翅栖于枝上，羽色温润，黑眸凝睇间藏着几分闲逸与机警。笔墨细腻处，鸟羽纹理纤毫毕现；写意枝干带着自然苍劲，工写相济间气韵流动。留白铺陈更显空灵，仿佛能听见风过松梢轻响，窥见林间幽寂。整幅画无繁复景致，却于极简中见真意——是文人对自然宁静的向往，亦是笔墨间流淌的雅致情韵，将寻常小景化作耐人寻味的诗意栖居。",[1554,1555,1622,1637,1557,1559,1691,2608,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565dd85179d3be607a9685089f10b499.jpg","138.3x33.6",[6],{"id":751,"slug":8300,"title":8301,"dynasty":1587,"author":1732,"museum":2057,"description":8302,"tags":8303,"thumbUrl":8305,"material":1610,"size":1580,"collection":6,"collections":8306,"showCount":8267,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"ying-jue-ye-tu-tu-yi-ming-218987","鹰攫野兔图","苍鹰振翅俯冲，利爪紧扣野兔，生死博弈的瞬间被凝于绢素。鹰羽纹理毕现，毳毛蓬松若触；野兔蜷身挣扎，双目圆睁含惧。旁侧山石以浓墨皴擦，肌理厚重；枝上红白花簇点缀，柔艳与苍劲相映。笔墨兼具工致与写意，动静相生间，既藏自然野趣，亦显传统花鸟对生命瞬间的精准捕捉——凌厉中见细腻，苍莽里含生机，尽展古画摹写物象、传递意韵的精妙。",[1554,1557,1637,1622,3141,8304,2278,1608],"野兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419616a943fe6b976a5a62a0f0010da8.jpg",[6],{"id":752,"slug":8308,"title":8309,"dynasty":1633,"author":2763,"museum":1604,"description":8310,"tags":8311,"thumbUrl":8312,"material":1610,"size":8313,"collection":6,"collections":8314,"showCount":8267,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"shuang-ji-tu-zhou-zhao-meng-fu-218830","双骥图轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[1554,1622,1557,1637,1841,2070,2275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae25d8ef2b999b84e7d49b2c4aee4162.jpg","102.8x50.9cm",[6],{"id":753,"slug":8316,"title":8317,"dynasty":1633,"author":1732,"museum":1573,"description":8318,"tags":8319,"thumbUrl":8321,"material":1610,"size":8322,"collection":6,"collections":8323,"showCount":8267,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"shi-hu-san-biao-tu-yi-ming-216751","十虎三彪图","这是一幅虎画长卷，名曰《十虎三彪图》，宋人佚名作，共画了十只虎，三只彪。\n\n龙生九子，各有不同。虎生三子，必有一彪。\n\n在传统文化里，龙虎都少不了一些衍生同类，彪是虎演化而来的。故事相传，母虎生有三虎崽，其中一虎崽格外凶狠彪悍，有吞食另外两只幼崽的能力，因此母虎日夜提防着凶虎崽和另外两只虎崽单独相处。",[1553,1554,1555,1666,1591,2274,3990,8320,1879,1844,2038],"彪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22319c2472e4a7063456b1ee2a4fb07f.jpg","27x349cm",[6],{"id":754,"slug":8325,"title":8096,"dynasty":1715,"author":5158,"museum":1573,"description":8326,"tags":8327,"thumbUrl":8328,"material":1610,"size":4987,"collection":6,"collections":8329,"showCount":8267,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"yuan-xi-tu-yi-yuan-ji-216669","枝间猿猱倒挂，长尾如丝垂悬，似欲探取下方轻物，姿态灵动若脱纸而出。虬枝盘曲如铁，缀以青果繁叶，墨色浓淡交错间，见苍劲中含生机。远山以淡墨皴染，近石用粗笔勾勒，虚实相映间拓开清旷空间。猿之毛发细劲蓬松，根根可见；果叶晕染鲜活，如沐朝露。笔墨工致却不失野趣，于方寸圆扇内凝注山林间的灵动瞬间——风过枝颤，猿眸流转，似能闻叶隙间的轻响。宋画的精微与诗意在此尽显：以细致笔触捕捉生命本真，用简淡意境传递自然野逸，让观者仿若置身深林，与这灵物共醉于片刻闲趣。风过枝摇时，灵猿的每一寸毛发都似在轻颤，果叶的脉络里藏着晨露的光，深林的野趣与宋人的雅致，尽凝于这一方圆幅中。",[1554,1607,1557,1637,1879,5595,1668,2038,1843],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e09b8ae55b49ba935e0ab9aca615986.jpg",[6],{"id":755,"slug":8331,"title":8332,"dynasty":1587,"author":3778,"museum":1663,"description":8333,"tags":8334,"thumbUrl":8335,"material":1784,"size":1785,"collection":6,"collections":8336,"showCount":8337,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mei-hua-dui-ti-tu-ce-chen-ji-ru-237537","梅花对题图册","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[1554,1555,1556,1591,1688,1689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe663b1fb3979ba9855c154842e6048.jpg",[6,1934],61,{"id":756,"slug":8339,"title":8340,"dynasty":1715,"author":7508,"museum":2296,"description":8341,"tags":8342,"thumbUrl":8343,"material":8344,"size":8345,"collection":1726,"collections":8346,"showCount":8337,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"yan-tu-hui-chong-221251","雁图","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。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。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[1553,1607,1554,1555,1591,1557,3320,1667,1930,3321,1707,2546,7512,2608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[1726,6,1613],{"id":757,"slug":8348,"title":8349,"dynasty":1633,"author":2763,"museum":1683,"description":8350,"tags":8351,"thumbUrl":8352,"material":8353,"size":8354,"collection":1726,"collections":8355,"showCount":8337,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[1553,1554,1555,1666,1557,1559,1690,1667,1562,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 设色画","纵25.4厘米,横36.2厘米",[1726,6,1613],{"id":758,"slug":8357,"title":8358,"dynasty":1587,"author":1973,"museum":1550,"description":8359,"tags":8360,"thumbUrl":8361,"material":1610,"size":8362,"collection":6,"collections":8363,"showCount":8337,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"tan-mei-tu-chen-hong-shou-220339","探梅图","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[1553,1554,1555,1622,1637,1557,1841,2070,1689,1843,1668,2278,2138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[6,1613],{"id":759,"slug":8365,"title":8366,"dynasty":1548,"author":2056,"museum":1663,"description":8036,"tags":8367,"thumbUrl":8368,"material":1580,"size":8369,"collection":6,"collections":8370,"showCount":1583,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mo-mei-tu-zhou-shi-tao-237761","墨梅图轴",[1554,1555,1622,1591,2120,1689,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fab0adcf142610f1d8c057e202ce5f9.jpg","133×66cm.",[6],{"id":760,"slug":8372,"title":6401,"dynasty":1587,"author":6402,"museum":1663,"description":6404,"tags":8373,"thumbUrl":8374,"material":1580,"size":1580,"collection":6,"collections":8375,"showCount":1583,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"mo-zhu-tu-ce-feng-qi-zhen-237545",[1607,1554,1555,1556,1591,1690,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5abfcb084d62f761b36774aaa15f54.jpg",[6],{"id":761,"slug":8377,"title":8378,"dynasty":1548,"author":2972,"museum":1663,"description":8379,"tags":8380,"thumbUrl":8381,"material":1802,"size":8382,"collection":6,"collections":8383,"showCount":1583,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"xia-qi-tu-zhou-wu-chang-shuo-224236","霞气图轴","昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而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”表现形式。",[1553,1554,1622,1591,1557,1559,1689,1707,1595,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[6,1613],{"id":762,"slug":8385,"title":8386,"dynasty":1587,"author":5517,"museum":8387,"description":8388,"tags":8389,"thumbUrl":8390,"material":8391,"size":8392,"collection":6,"collections":8393,"showCount":1583,"zanCount":1568,"manualWeight":1568,"mainColor":1580},"shuang-ying-tu-lin-liang-220761","双鹰图","香港中文大学文物馆","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[1553,1554,1555,1591,1686,1622,1559,1879,1667,2275,1707,1953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 cm",[6],{"id":763,"slug":8395,"title":4691,"dynasty":1548,"author":7418,"museum":1550,"description":8396,"tags":8397,"thumbUrl":8398,"material":1625,"size":8399,"collection":6,"collections":8400,"showCount":1583,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"fu-rong-yuan-yang-tu-li-yin-218900","该画以竖构图表现池畔一隅，景致于深阔中见清逸，画的下方，几缕淡淡的游丝线勾出透明的水域，一对鸳鸯仿佛边游边聊着。画的中上部，从画外探进来的芙蓉花占了画面三分之二多，一枝俯垂，一枝上扬，俯仰之间既各得其韵，又彼此呼应；芙蓉花是用白描法淡墨勾勒而成，花朵之间的摆布迎让有序、相辅相成，毫无刻意造作之气，线条使转流畅，给人以运笔迅疾之感；叶子用没骨法点饰，大小、浓淡适宜，层次分明，墨色明透清亮，且叶筋勾勒得劲健挺拔，淡墨写出的几缕蒲草叶点缀其间，与花的团叶互为映衬，又于疏密中见丰富。水面上，两只鸳鸯相拥着游向接近水面的花，大概是雌鸳鸯嗅到了花香发出惊叫，引得雄鸳鸯回头观望，那温柔的神态充满爱意。鸳鸯的造型生动、准确，羽毛勾勒后用淡墨晕染，笔触细腻，墨分五彩，虽未着色却显现出绚丽华滋的富贵之气。纵观全画，作者以构图的疏朗与简括，笔墨的简洁与精劲，营造出花开季节游禽恬淡安闲的状态，进而通过诗画的意境传达出一种浪漫气息。同时，画面的空明与洁静，也体现出作者高超的笔墨功夫。",[1554,1591,1559,1622,1693,2556,1722,1578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63764a7a72a14f84ca58ebff73c6e3c8.jpg","纵115厘米，横47.3厘米",[6],{"id":764,"slug":8402,"title":8403,"dynasty":1548,"author":1732,"museum":1604,"description":8404,"tags":8405,"thumbUrl":8406,"material":1563,"size":8407,"collection":6,"collections":8408,"showCount":1583,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 是一件佚名的清朝时期的著名画作。这幅画描绘了一匹神骏的马，看起来非常生动和真实。据说这幅画是宣宗本人亲笔题写的，因此得名。宣宗（生于1711年，卒于1735年）是清朝乾隆皇帝的第三个儿子，在位期间，他对文化艺术有着浓厚的兴趣。这幅画被认为是宣宗对艺术的贡献之一，同时也是清朝时期的艺术瑰宝。",[1553,1554,1555,1557,1637,2070,1879,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5818583a57e5269ba4a314a5f27b2ed.jpg","292.6x257.3cm",[6],{"id":765,"slug":8410,"title":7209,"dynasty":1548,"author":8411,"museum":1663,"description":8412,"tags":8413,"thumbUrl":8414,"material":1580,"size":1580,"collection":6,"collections":8415,"showCount":8416,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mu-dan-zhou-zhang-meng-gao-237457","张孟皋","张孟皋，一字梦皋，名学广，以字行，工画人物，翎毛、花卉、尤工折枝。道光时官钱塘典史。所作元气浑然。 张孟皋之名，盖由近人吴昌硕师事其风而名声振广，吴缶翁师其数十年，题画多见拟仿学、临等。尤如张赐宁等为官江浙者，其作赋色妍丽，用笔洒脱，极得时人珍爱，任伯年亦有题师张孟皋。\n张孟皋是清代嘉道时期的一位花卉画家，画史上介绍很简单，他名学广，字孟皋，以自行。多记载他是天津人，实际应是北平（今北京）大兴人，他在自己的画作上多次题“北平张孟皋”。",[1554,1622,1557,1637,1559,1608,1593,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d14e2a9c338194b64463d0442e5d96.jpg",[6],59,{"id":766,"slug":8418,"title":8419,"dynasty":1548,"author":4573,"museum":1663,"description":8420,"tags":8421,"thumbUrl":8422,"material":1802,"size":8423,"collection":6,"collections":8424,"showCount":8416,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"an-ma-tu-jin-nong-222710","鞍马图","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[1553,1554,1555,1622,1591,1557,1841,2070,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[6,1613],{"id":767,"slug":8426,"title":8427,"dynasty":1587,"author":3110,"museum":1604,"description":8428,"tags":8429,"thumbUrl":8430,"material":2028,"size":8431,"collection":6,"collections":8432,"showCount":8416,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[1553,1554,1555,1607,1622,1637,1557,1559,1690,1815,1592,1707,6487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[6,1613],{"id":768,"slug":8434,"title":8435,"dynasty":1548,"author":1549,"museum":1604,"description":8436,"tags":8437,"thumbUrl":8438,"material":2195,"size":8439,"collection":6,"collections":8440,"showCount":8416,"zanCount":2968,"manualWeight":1568,"mainColor":2006},"wu-qing-tu-zhou-yun-shou-ping-220982","五清图轴","恽寿平为人敦厚，个性孤介洒脱，不愿应试科举，以卖画为生，过着与世无争的日子，气节和人品相当受人敬重，而他的画也如他的人品一样，具有高洁不流俗的风格。五清指的是松、竹、梅及水、月。松柏经霜雪而不凋谢，竹子以其有节空心，代表君子的节操与虚心；梅花不畏风霜，愈冷愈开花，是品格坚贞的写照；而水与明月更是清澈透明、洁白无瑕的象征，所以合称「五清」，自古以来就常被用来比喻君子的德行。君子才德兼备，有高风亮节的情操，和「贫贱不能移，富贵不能屈」的志节，是社会上值得尊敬的人。这幅画，恽寿平以五清来代表君子，构图简单，分为三段，上段画老松由右横斜至左，明月高挂当空，中段则有梅花盛开，伴着青翠绿竹；下段流水潺潺。款识「辛酉初秋南田寿平制」，是恽寿平四十九岁的作品。笔墨多变，有的墨色饱含水份，有的枯干焦浓。有的先湿后枯，先浓后淡，墨趣丰饶。用笔温文柔和，呈现一种平和宁静的气氛，就像他所敬重的谦谦君子一般",[1553,1554,1622,1557,1691,1689,1690,1669,2964,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f71bba414a2c44d511dc3af19b001.jpg","86.1x38.4",[6,1613],{"id":769,"slug":8442,"title":8443,"dynasty":1587,"author":1732,"museum":4159,"description":8444,"tags":8445,"thumbUrl":8446,"material":1610,"size":8447,"collection":6,"collections":8448,"showCount":8416,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[1553,1554,1607,1555,1637,1557,1689,1690,2038,1592,5604,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 × 93.3",[6,1613],{"id":770,"slug":8450,"title":8451,"dynasty":1587,"author":2717,"museum":1604,"description":8452,"tags":8453,"thumbUrl":8456,"material":1610,"size":8457,"collection":6,"collections":8458,"showCount":8416,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕(1521-?)，明代画家。字服卿，号少谷，长洲(今江苏苏州)人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。",[1976,8454,1554,1555,1622,2320,1557,1559,1560,2608,3619,2038,8455,3017],"古画","勾花点叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[6],{"id":771,"slug":8460,"title":8461,"dynasty":1587,"author":3329,"museum":1604,"description":8462,"tags":8463,"thumbUrl":8464,"material":1563,"size":8465,"collection":6,"collections":8466,"showCount":8416,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shuang-ji-tu-lu-zhi-218847","双鸡图","双鸡相倚石畔，一羽红冠微昂，一羽低首敛翅，毛羽以细笔勾染，晕出柔润光泽。石体干墨皴擦，纹理苍劲，与旁侧舒展的草叶形成刚柔对比。蜻蜓振翅悬于草尖，细足轻点，姿态灵动如真。笔墨间工写交织，设色淡雅却藏生机，题款朱印错落，更添古朴意蕴。整幅画似截取田园一隅，静谧中透着鲜活气息，将寻常物态绘出文人雅趣，尽显笔墨之妙与自然之趣，读之如沐林间清意，心随画境沉于恬淡。",[1554,1555,1622,1557,1559,2868,1707,1955,1764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28bf2849a86dd45fd3a78edb2b1cdfa.jpg","63.2x31.5cm",[6],{"id":772,"slug":8468,"title":2147,"dynasty":1587,"author":8469,"museum":6338,"description":8470,"tags":8471,"thumbUrl":8472,"material":1625,"size":8473,"collection":2141,"collections":8474,"showCount":8416,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-chen-jia-yan-218002","陈嘉言","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[1553,1554,1555,1622,1591,2274,1690,1707,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[2141,6],{"id":773,"slug":8476,"title":8477,"dynasty":1587,"author":8478,"museum":1663,"description":8479,"tags":8480,"thumbUrl":8482,"material":1580,"size":1580,"collection":6,"collections":8483,"showCount":8484,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"gui-shi-lan-zhi-zhou-chen-can-236618","桂石兰芝轴","陈粲","陈粲名，1524年出生，国籍中国，是 万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[1554,1555,1622,1557,1637,1559,3515,1669,5081,1695,1560,2038,8481],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[6,1613],58,{"id":774,"slug":8486,"title":8487,"dynasty":1715,"author":1732,"museum":8488,"description":8489,"tags":8490,"thumbUrl":8491,"material":2320,"size":8492,"collection":6,"collections":8493,"showCount":8484,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"shan-que-pi-pa-tu-yi-ming-223463","山鹊枇杷图","中央美术学院美术馆","图绘两只山雀站在枇杷枝上。枝头果实累累，枇杷青涩，黄中带绿。",[1607,1554,1555,1556,1637,1557,1559,1667,2086,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17bd14416d2c445966f588ee332fa32c.jpg","30X31cm",[6,1613],{"id":775,"slug":8495,"title":8496,"dynasty":1548,"author":8497,"museum":3559,"description":8498,"tags":8499,"thumbUrl":8500,"material":2028,"size":8501,"collection":6,"collections":8502,"showCount":8484,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[1553,1607,1554,1555,1622,1637,1557,1559,2707,3018,2278,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","纵101厘米，横40.5厘米",[6,1613],{"id":776,"slug":8504,"title":8505,"dynasty":1587,"author":3329,"museum":1604,"description":8506,"tags":8507,"thumbUrl":8508,"material":8509,"size":8510,"collection":6,"collections":8511,"showCount":8484,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-shan-mian-lu-zhi-222179","花卉扇面","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[1553,1554,1555,1607,2161,1557,1559,1560,2454,1915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf89fa4fadd7ff6f66e547f02d3e913.jpg","泥金，纸本","纵18.3厘米， 横52.5厘米",[6,1613],{"id":777,"slug":8513,"title":8514,"dynasty":1633,"author":8515,"museum":1604,"description":8516,"tags":8517,"thumbUrl":8518,"material":1557,"size":8519,"collection":6,"collections":8520,"showCount":8484,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"gu-he-yun-song-tu-zhou-ba-yan-bu-ha-221743","古壑云松图轴","巴颜布哈","该幅构景很突出，苍松高耸，峰岭出于云表。\n笔墨颇具文人画的趣味。\n【规格】该幅12242.2公分；全幅6公分 【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 巴颜布哈（生年不详，卒于公元一三五九年），元史列传作伯颜不花的斤。\n蒙古人，姓畏吾儿氏，高昌王的孙子。\n字苍巖，号苍崖。\n是元朝大书法家鲜于枢的外甥。\n作官至江东廉访副使。\n通晓音乐，以画龙出名。",[1553,1554,1555,1622,1591,2274,1843,1691,2596,1669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6532dd4672785d8ba523288a0bcec6ec.jpg","122x42.2公分",[6,1934],{"id":778,"slug":8522,"title":8523,"dynasty":1715,"author":2694,"museum":1812,"description":8524,"tags":8525,"thumbUrl":8526,"material":4586,"size":8527,"collection":1726,"collections":8528,"showCount":8484,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"shuang-que-tu-li-di-221589","双雀图","景德二年（1005年），状元及第，出任徐州通判。历任著作郎、直史馆、三司盐铁判官、海州监税、右司谏、知郓州、起居舍人、吏部员外郎、三司盐铁副使、知制诰、秘书监、等职，在地方政绩卓著，在中央参与军国要务，出入内外，两度担任同平章事（宰相），以太子太傅致仕。\n庆历七年（1047年），李迪去世，享年七十七岁，追赠司空兼侍中，谥号“文定”，宋仁宗亲题其碑首为“遗直之碑”。《全宋诗》录其诗，《全宋文》录有其文。",[1553,1554,1555,2161,1557,1637,1559,2137,1667,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe559fda312675455de696e9c73c23466.jpg","35x34",[1726,6,1613],{"id":779,"slug":8530,"title":6803,"dynasty":1587,"author":8469,"museum":1604,"description":8531,"tags":8532,"thumbUrl":8533,"material":1610,"size":1580,"collection":6,"collections":8534,"showCount":8484,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"duan-yang-jing-tu-chen-jia-yan-219446","墨石崚嶒，以浓淡干湿之笔写出苍劲肌理，似含嶙峋风骨。石畔百合舒卷有致，瓣白如玉，清雅绝尘；艳艳红花点缀其间，色如渥丹，相映成趣。细碎野花丛生，黄绿枝叶错落，笔墨兼工带写，设色明丽却不艳俗。整幅画面生机盎然，野趣中透着雅致，仿佛能嗅到端阳时节的草木清气，尽显文人画的疏朗意韵。笔意洒脱，构图疏密得当，于不经意间流露自然之美，引人沉醉于这方清幽小景里。",[1554,1622,1557,1591,1686,1559,1707,1999,1560,2666,1901,1955,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ef5005627b1e39b1323e869dbb1145.jpg",[6],{"id":780,"slug":8536,"title":8537,"dynasty":1548,"author":1662,"museum":1717,"description":8538,"tags":8539,"thumbUrl":8540,"material":1610,"size":8541,"collection":6,"collections":8542,"showCount":8484,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"mu-ma-tu-shen-quan-219351","牧马图","画面中数匹骏马姿态各异，或卧地休憩，或昂首侧望，或缓步前行。毛发晕染细腻温润，斑纹勾勒清晰写实，轮廓线条灵动传神，尽显马匹的鲜活气韵。背景枯树虬枝盘结，枝干以干笔皴擦，苍劲中透出古意；地面浅草碎石点缀，淡墨晕染出悠远空间。整体工写结合，设色雅致，马儿的悠闲神态与萧瑟树影相映成趣，传递出牧歌式的宁静安适。于细腻笔触中藏生机，于古朴意境里显情韵，尽显传统走兽画的精妙功力与悠远意趣。",[1553,1554,1607,1555,1622,1637,1557,2070,2275,2137,1879,1843,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[6,1613],{"id":781,"slug":8544,"title":8545,"dynasty":1715,"author":1732,"museum":1550,"description":8546,"tags":8547,"thumbUrl":8549,"material":1610,"size":8550,"collection":6,"collections":8551,"showCount":8484,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ying-tao-huang-li-tu-yi-ming-218887","樱桃黄鹂图","此画作者佚其名，但画上有杨皇后题名，知为南宋院画。1949年5月吴湖帆以家藏古本易得，并于画上题咏图意、考证杨氏名号之实。",[1554,1555,1607,1637,1557,1559,1667,8548,3228,1595],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe027451de9b614f98a0abec26761ef.jpg","纵12.1厘米， 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横38.5厘米",[6],{"id":796,"slug":8674,"title":8675,"dynasty":1548,"author":1823,"museum":1663,"description":4888,"tags":8676,"thumbUrl":8677,"material":1784,"size":1785,"collection":6,"collections":8678,"showCount":8679,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"dong-gao-li-gu-ying-chun-tu-xiao-ce-dong-gao-238421","董诰郦谷迎春图小册",[1554,1607,1556,1557,1637,1559,1696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb824a714acac94049fd4d0c4889ebffb.jpg",[6,1613],56,{"id":797,"slug":8681,"title":8682,"dynasty":1548,"author":8271,"museum":1683,"description":8683,"tags":8684,"thumbUrl":8685,"material":3819,"size":8686,"collection":6,"collections":8687,"showCount":8679,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"he-lu-tu-zhou-huang-shen-236383","荷鹭图轴","黄慎的花鸟画更多地继承了明代徐渭的泼墨大写意花鸟画风。此图描绘雨后双鹭于荷塘憩戏觅食的情景。画上荷花数茎，枝叶劲挺，花瓣娇媚，似有暗香浮动。两只白鹭翩翩而下，谨慎地着入水面，画家通过这一细节巧妙地表现出“水满池”的情景，“用笔极简，意趣自足”，由此可见一斑。对于荷叶的用笔恣肆狂放，墨色浓重，显示出荷花枝叶肥厚、“风飘不动”的旺盛生命力。在硕壮浓郁的荷叶的衬托下，以淡而轻的笔法描绘出白鹭的轻盈稚嫩，惹人怜爱。此外，画家在简洁的构图中力求营造空间感：图中荷花高低错落，荷叶相互掩映，俯仰向背，姿态各异，有着明显的纵深前后关系。两只白鹭停息在荷杆之后，尤其那只迎面飞来的白鹭起到了扩展画面空间的作用。在文人画中，很容易因注重笔墨形式而忽略景物的空间感，职业画家出身的黄慎在吸收文人笔墨情趣的同时，恰当地将写实与写意相结合，从而形成自己独特的风格。",[1554,1555,1622,1591,1686,1562,1559,1692,1577,5169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ddc7422f4a85b05d360154cb4bbb54.jpg","纵130.2 厘米，横71.2厘米",[6,1934],{"id":798,"slug":8689,"title":8690,"dynasty":1548,"author":8691,"museum":8488,"description":8692,"tags":8693,"thumbUrl":8694,"material":8695,"size":8696,"collection":6,"collections":8697,"showCount":8679,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-ju-hua-tu-zhou-pu-hua-223252","竹菊花图轴","蒲华","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[1553,1554,1557,1591,1622,1559,1690,1696,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f837281a5a3ede855624505ab9f5514.jpg","纸本，册页，设色","纵27厘米、横34厘米",[6,1613],{"id":799,"slug":8699,"title":8700,"dynasty":1548,"author":1837,"museum":1683,"description":5318,"tags":8701,"thumbUrl":8703,"material":1846,"size":5321,"collection":6,"collections":8704,"showCount":8679,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图",[1553,1637,1557,2070,3740,1841,2072,2278,1844,2416,8702],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg",[6,1613],{"id":800,"slug":8706,"title":8707,"dynasty":1587,"author":2134,"museum":1683,"description":8708,"tags":8709,"thumbUrl":8711,"material":1802,"size":8712,"collection":6,"collections":8713,"showCount":8679,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"xin-yi-mo-cai-tu-juan-shen-zhou-222129","辛夷墨菜图卷","第一段：本幅无款，右下钤印“启南”（朱文）。另有吴宽题诗：“半含成木笔，本号是辛夷。一树石庭下，故园增我思。”钤印“延州来季子后”（朱文）。另钤“项元汴印”（朱文）等鉴藏印多方。此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\n第二段：本幅无款，右下钤“启南”朱文印。另有吴宽题诗：“翠玉晓茏葱，畦间足春雨。咬根莫弄叶，还可作羹煮。”钤“原博”朱文印。另钤项元汴“平生真赏”朱文印等鉴藏印多方。画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[1553,1666,1591,1557,1686,8710,3574,1560,2666,1595,1562],"辛夷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36497ff253f3762a4bf12e6f7a25d7a3.jpg","第一段，纸本，设色，纵34.9厘米，横58.8厘米；第二段，纸本，墨笔，纵34.9厘米，横58.8厘米。",[6,1934],{"id":801,"slug":8715,"title":8716,"dynasty":1715,"author":5769,"museum":1550,"description":4340,"tags":8717,"thumbUrl":8718,"material":8719,"size":8720,"collection":1726,"collections":8721,"showCount":8679,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"an-chun-tu-li-an-zhong-221585","鹌鹑图",[1553,1607,1554,1555,1637,1557,1559,4779,1748,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[1726,6,1613],{"id":802,"slug":8723,"title":8724,"dynasty":1548,"author":1549,"museum":1663,"description":8725,"tags":8726,"thumbUrl":8727,"material":1563,"size":8728,"collection":6,"collections":8729,"showCount":8679,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[1553,1554,1555,1559,1607,1622,1558,1557,1637,1608,1749,1623,1560,1593,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[6],{"id":803,"slug":8731,"title":8732,"dynasty":1715,"author":8733,"museum":1604,"description":8734,"tags":8735,"thumbUrl":8737,"material":1610,"size":8738,"collection":6,"collections":8739,"showCount":8679,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"ye-shu-cao-chong-tu-xu-di-219940","野蔬草虫图","许迪","素净的地面上，有一株孤伶伶的白菜。零星的叶片，褪了不少绿意，也被虫子啃蚀得有些残破。一只红尾的蝗虫大剌剌地弹跳了过来，看来又是想要来饱食一顿的饕客。白菜上方，另一位访客－淡黄的粉蝶也翩然而至，与一只黑翅的蜻蜓不期而遇。看这只蜻蜓摩拳搓掌的样子，不禁令人替这只娇弱的粉蝶捏把冷汗。",[1553,1607,1554,2161,1637,1557,2121,1747,1748,1799,8736],"蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9714821a89822cea4d8aee785f1a6b.jpg","纵25.8厘米、横26.9厘米",[6],{"id":804,"slug":8741,"title":8742,"dynasty":1548,"author":1837,"museum":1683,"description":8743,"tags":8744,"thumbUrl":8745,"material":1610,"size":8746,"collection":6,"collections":8747,"showCount":8679,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[1553,1607,1554,1555,1622,1637,1557,2069,3619,4825,2038,4824,5081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[6],{"id":805,"slug":8749,"title":8750,"dynasty":1648,"author":8751,"museum":1604,"description":8752,"tags":8753,"thumbUrl":8754,"material":1610,"size":8755,"collection":6,"collections":8756,"showCount":8679,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[1553,1554,1607,2161,1559,1637,1557,8151,1592,4658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","24.7x26.1cm",[6],{"id":806,"slug":8758,"title":8759,"dynasty":1715,"author":2083,"museum":1604,"description":8760,"tags":8761,"thumbUrl":8762,"material":1610,"size":8763,"collection":1726,"collections":8764,"showCount":8679,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[1553,1607,1554,1555,2161,1637,1557,1559,1815,1668,1592,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[1726,6],{"id":807,"slug":8766,"title":8767,"dynasty":1633,"author":1732,"museum":1573,"description":8768,"tags":8769,"thumbUrl":8773,"material":1610,"size":8774,"collection":6,"collections":8775,"showCount":8679,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"shuang-ge-tu-yi-ming-216670","双鸽图","双鸽图是一幅元朝时期的图画，作者不详。这幅图展示了两只鸽子相互依偎的情景。它是元朝时期著名的一幅婚姻主题的图画，象征着爱情和婚姻的美好。图中的两只鸽子代表夫妻，它们形态优美，相互依偎，象征着夫妻之间的亲密感情。双鸽图被广泛用于装饰家庭和公共场所，作为对美好婚姻的祝福。",[1607,1554,1555,1637,1557,1559,8770,2608,8771,8772],"鸽子","鸟类","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ba5c03c75a12c756a61bed0e670df3.jpg","30x44cm",[6],{"id":808,"slug":8777,"title":8778,"dynasty":1548,"author":5350,"museum":1663,"description":8779,"tags":8780,"thumbUrl":8782,"material":1580,"size":1580,"collection":6,"collections":8783,"showCount":8784,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xian-zhi-zhu-shou-tu-zhou-shen-zhen-lin-238178","仙芝祝寿图轴","沈振麟（生卒年不详，生活于19世纪），字凤池，一作凤墀，元和（今江苏省吴县）人。他以创作题材广泛，花鸟虫鱼人物山水各臻其妙，笔法工细写实而成为晚清重要的宫廷画家。任如意馆画作首领数十年。",[1554,1622,1557,1637,1707,5081,1560,1593,2038,5439,8781],"白色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035c9856899db7d34109e2309e3bffa5.jpg",[6],55,{"id":809,"slug":8786,"title":1572,"dynasty":1587,"author":1588,"museum":1663,"description":8787,"tags":8788,"thumbUrl":8789,"material":1802,"size":8790,"collection":6,"collections":8791,"showCount":8784,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-sun-ke-hong-237677","孙克弘（1532—1611） ，明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[1554,1555,1556,1688,1591,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf2f9a7ff11a15dc084e1a4d50397792.jpg","66.8x60.8",[6,3062],{"id":810,"slug":8793,"title":8794,"dynasty":1587,"author":4074,"museum":1663,"description":8795,"tags":8796,"thumbUrl":8797,"material":1580,"size":1580,"collection":6,"collections":8798,"showCount":8784,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"bai-xian-zhou-wang-wei-lie-237577","白鹇轴","王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[1554,1557,1637,1622,1559,4985,3619,1623,2038,1608,1694,1667,8151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a3695a1f1f05cfc401f1714fd482ef.jpg",[6,1613],{"id":811,"slug":8800,"title":1572,"dynasty":1548,"author":2972,"museum":1663,"description":2973,"tags":8801,"thumbUrl":8802,"material":1784,"size":1785,"collection":6,"collections":8803,"showCount":8784,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-wu-chang-shuo-235195",[1607,1554,1555,1556,1591,1557,1689,1559,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f37309801ecded7fc20ed764eeb56d7.jpg",[6],{"id":812,"slug":8805,"title":8806,"dynasty":1633,"author":4505,"museum":2296,"description":8807,"tags":8808,"thumbUrl":8809,"material":1846,"size":8810,"collection":6,"collections":8811,"showCount":8784,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"ma-yuan-hou-tu-zhao-yong-221868","马猿猴图","图绘一马一猴，棕色老马微闭眼，卧于地，四蹄白额；三只猴子趴在马背上，前臂紧紧箍住马宽，生怕被翻倒。",[1553,1554,1555,1557,1637,2070,5595,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1442745ce95163d515106a3804234b.jpg","32.3×31.7cm",[6,1613],{"id":813,"slug":8813,"title":6327,"dynasty":1633,"author":1948,"museum":2296,"description":8814,"tags":8815,"thumbUrl":8817,"material":1892,"size":8818,"collection":6,"collections":8819,"showCount":8784,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"da-dou-tu-ren-ren-fa-221772","任仁发（1254—1327年），字子明，一字子垚，号月山道人，其先祖为邳县（今属江苏省）人，后迁居松江（今属上海）。擅长书法、绘画，书学李北海，画学李公麟。画马尤其出色，曾奉敕画御苑马厩中的名马，得到皇帝的赏识。擅长人物画，所画人物笔墨苍润，生动传神。此外任仁发还是一位很有成就的水利专家，曾先后主持修治浙西吴松江、大都（今北京）通惠河等工程，并有水利工程著作传世。\n传世作品有：至元十七年（1280）作《出圉图》卷，《二马图》卷，《张果见明皇图》卷，藏故宫博物院；《秋水凫鹥图》轴，藏上海博物馆；《饮中八仙图》《贡马图》《横琴高士图》《秋林诗友图》藏台北故宫博物院；《神骏图》《三骏图》《九马图》在美国；《饲马图》在英国；《文会图》《牵马图》等在日本。著有《浙西水利议答录》十卷。《书史会要》、《书画史》、《六研斋随笔》、《黄渡镇志》、《海上墨林》、《练水画徵录》。",[1553,1554,1557,1637,1559,1799,8816,2812,1593,4694],"豆叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3356f80cc6353f6b9795618f4536e468.jpg","纵18.7厘米，横19.4厘米",[6,1613],{"id":814,"slug":8821,"title":7053,"dynasty":1548,"author":7968,"museum":1683,"description":8822,"tags":8823,"thumbUrl":8824,"material":1625,"size":8825,"collection":6,"collections":8826,"showCount":8784,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"you-yu-tu-li-fang-ying-219298","《游鱼图》是李方膺的代表作。画中春水方生，欢腾的鲤鱼争相穿越于河水间，它们或直冲入水底，或徜徉于水面，或摇头摆尾，或展鳍跳跃，在寒冷的冬天之后尽情享受着春天河水复苏带来的喜悦。画面生动传神而富有情趣。作者用笔洗练，虽无一笔背景，却使人透过温和的春水仿佛看到了江南明媚的春日景象，达到了意到笔不到、景在画外的艺术效果。\n根据画面的风格和题诗，可以推断此图是李方膺罢官（乾隆十三年，1748年）之后的作品。画中作者以游鱼自拟，隐喻他久困樊笼，终得返归自然，表现了作者向往自由生活的思想及其品格情操。明清文人常以“四君子”题材直抒胸臆，表现闲雅高洁的品行。李方膺也善画梅，而在晚年，他选择了游鱼为题材表达自己的思想感受，跳出了文人画的樊篱，立意新颖，扩大了文人画的表现领域和审美情趣，他的创新也正表现出“扬州八怪”对绘画的突出贡献。\n在画面位置经营上，此图也与众不同。5尾姿态不同的游鱼组成一条反“S”形曲线，鱼头、鱼尾相互呼应，既有形式上的美感，又渲染了腾跃而出的气氛。右边题诗一贯到底，字体浑厚雄肆，增强了画面的整体感，从而成为诗、书、画完美统一的佳构。",[1553,1554,1591,1622,1686,2687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff613ec4e2d38e9fcb8dd2ed4789cd59.jpg","纵123.5厘米，横60厘米",[6,1934],{"id":815,"slug":8828,"title":8829,"dynasty":1548,"author":8830,"museum":1717,"description":8831,"tags":8832,"thumbUrl":8833,"material":1610,"size":8834,"collection":6,"collections":8835,"showCount":8784,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"lu-ya-tu-sun-yi-219060","芦鸭图","孙益","疏苇亭亭，叶带风意，枝干交错间藏着野趣。岸石上双鸭相依，一者昂首理羽，绿颈蓝斑映着天光；一者低首小憩，绒羽纹理细腻如触。淡赭底色晕开清寂，笔墨工致却不板滞——芦苇的线条柔韧含苍，禽鸟的姿态灵动传神，似能闻得水畔风鸣，见得细浪轻拍岸石。整幅画将江南水泽的闲淡之景凝于尺幅，草木的苍劲与生灵的鲜活相映成趣，尽显自然生机里的静谧况味。",[1553,1554,1555,1622,1637,1557,1559,3321,1952,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89361e3af2e269c9833f44d7c0be584d.jpg","159.3x96.5cm",[6],{"id":816,"slug":8837,"title":5527,"dynasty":1587,"author":5517,"museum":2893,"description":8838,"tags":8839,"thumbUrl":8840,"material":1610,"size":8841,"collection":6,"collections":8842,"showCount":8784,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"lu-yan-tu-lin-liang-218631","画面以淡墨晕染出秋郊水畔的清寂氛围，芦苇疏斜摇曳，残荷半卷低垂，尽显萧瑟之致。一只雁振翅俯冲而下，羽翼的劲健与气流的动感跃然绢上；地面三只雁姿态各异——或低头啄食，喙尖轻触水面，似有涟漪隐现；或昂首远眺，颈间线条舒展，似与飞雁相和；或蜷身小憩，绒毛以淡墨点染，憨态可掬。\n\n笔墨兼工带写，雁的羽毛以浓淡墨色层叠晕染，质感蓬松而富有层次；芦苇则用劲挺的线条勾勒，末梢的飞白似有风掠过。整幅画于简淡中见生机，动静相宜，将禽鸟的野逸之趣与自然的清幽之境融为一体，尽显水墨写意的灵动韵味。",[1607,1554,1591,1686,1559,3320,3321,1622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce0607b35d95314ba2cb9879ec01f41.jpg","179x99",[6],{"id":817,"slug":8844,"title":8845,"dynasty":1633,"author":4767,"museum":1573,"description":8846,"tags":8847,"thumb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- 1368年）的一位著名画家，他的代表作品是《鸽子图》。《鸽子图》是一幅水墨画，描绘了一群自由自在地飞翔的鸽子。这幅画被认为是王渊最优秀的作品之一，其中体现了王渊对动物自然、生动的描绘方式。此外，《鸽子图》还展示了王渊对色彩运用的精湛技巧，使得画面栩栩如生，充满生机和活力。",[1553,1554,1557,1637,1559,1667,1696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2859eb0a4bf8656af4d2d93c4ff4064.jpg","26x28cm",[6],{"id":818,"slug":8852,"title":8366,"dynasty":1548,"author":2972,"museum":1663,"description":8853,"tags":8854,"thumbUrl":8855,"material":1580,"size":1580,"collection":6,"collections":8856,"showCount":8857,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mo-mei-tu-zhou-wu-chang-shuo-239112","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。",[1554,1555,1622,1591,1689,2137,1562,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[6,3062],54,{"id":819,"slug":8859,"title":1572,"dynasty":1548,"author":8860,"museum":1663,"description":8861,"tags":8862,"thumbUrl":8863,"material":1784,"size":1785,"collection":6,"collections":8864,"showCount":8857,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-zhang-wei-235211","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[1554,1555,1559,1556,1557,1637,1696,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0af649121c5bfa8eb70d98878fbc2a5.jpg",[6],{"id":820,"slug":8866,"title":8867,"dynasty":1587,"author":8868,"museum":2117,"description":8869,"tags":8870,"thumbUrl":8871,"material":1802,"size":8872,"collection":6,"collections":8873,"showCount":8857,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hong-ye-qiu-qin-tu-lan-ying-222604","红叶秋禽图","蓝瑛","枝头稀稀落落的几片叶子，让人联想到地上可能已有大片的落叶，秋意渐浓",[1553,1622,1554,1557,1591,1559,2416,2608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0891cd63ac53d923be6085e133c60d20.jpg","35.8x94.7",[6,1613],{"id":821,"slug":8875,"title":8876,"dynasty":1715,"author":2694,"museum":1812,"description":8877,"tags":8878,"thumbUrl":8880,"material":2320,"size":8881,"collection":1726,"collections":8882,"showCount":8857,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[1553,1554,1607,2161,1637,1557,2822,5415,1879,1841,2072,7772,8879],"郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[1726,6,1934],{"id":822,"slug":8884,"title":8885,"dynasty":1633,"author":1634,"museum":1604,"description":8886,"tags":8887,"thumbUrl":8889,"material":1610,"size":8890,"collection":6,"collections":8891,"showCount":8857,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"qiu-fang-niao-yu-tu-qian-xuan-220384","秋芳鸟语图","钱选山水师赵令穰，人物师李公麟，花鸟师赵昌，青绿山水师赵伯驹，尤善作折枝，其得意者赋诗其上。工临仿，尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉。选多写人物、花鸟，故所图山水当世罕传。。钱选与赵孟頫同乡并同享盛名。擅画人物、花卉及山水。其自题《其与花鸟画曾师法赵昌，又自有变法，多表现田园隐居等情趣，如《柴桑翁像》、等山水画。后因为手颤，以及对付诸多仿造者，改作水墨写意花卉。明代鲁王朱檀墓随葬有钱选等，多以水墨画就。",[1553,1607,1554,1555,2161,1557,1637,1559,1696,1667,1707,8888],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194ffa877014eafa9f6fefd8f3e58dd3.jpg","24.2x26.2",[6],{"id":823,"slug":8893,"title":8894,"dynasty":1548,"author":2462,"museum":1663,"description":8895,"tags":8896,"thumbUrl":8898,"material":1557,"size":1580,"collection":6,"collections":8899,"showCount":8857,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[1553,1554,1555,1622,1557,1591,1686,1559,3619,1608,2124,8897,1594],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[6],{"id":824,"slug":8901,"title":8902,"dynasty":1715,"author":8903,"museum":1663,"description":8904,"tags":8905,"thumbUrl":8907,"material":1802,"size":8908,"collection":6,"collections":8909,"showCount":8857,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ba-ba-niao-tu-guo-xi-220044","叭叭鸟图","郭熙","画上并没有牧溪的落款和任何题字，只有一方“牧溪”印章。这种小尺幅的画，可能是挂在僧人的禅房中作为观想用的。牧溪的画深得日本僧人喜爱，流传到日本之后，依然会悬挂在禅寺或私家园林最具礼仪性的空间—茶室之中。",[1554,1607,1555,1591,1637,1559,1667,5336,8906],"孤枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0721f1062efb8a06417db50da227369e.jpg","纵78.5厘米，横39厘米",[6],{"id":825,"slug":8911,"title":8912,"dynasty":1633,"author":1732,"museum":1550,"description":8913,"tags":8914,"thumbUrl":8915,"material":1610,"size":8916,"collection":6,"collections":8917,"showCount":8857,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[1553,4694,1607,1554,1555,1559,1637,1557,2729,2556,1668,1930,1749,58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[1]\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。” [2] 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。 [3] 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》。",[1554,1591,1622,1827,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fdc0b1567dec10d70138b0220acb282.jpg","纵196.5厘米，横96厘米",[6],{"id":834,"slug":8986,"title":1586,"dynasty":1587,"author":8987,"museum":1663,"description":8988,"tags":8989,"thumbUrl":8990,"material":1580,"size":1580,"collection":6,"collections":8991,"showCount":8977,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-niao-ce-tang-zhi-yin-236539","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[1554,1555,1556,1557,1637,1559,1667,1689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b669b84d4f71b6aa2834de627edee9.jpg",[6,1613],{"id":835,"slug":8993,"title":8994,"dynasty":1715,"author":2022,"museum":1663,"description":8995,"tags":8996,"thumbUrl":8997,"material":2320,"size":1580,"collection":1726,"collections":8998,"showCount":8977,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"shan-ying-tu-ye-zhao-ji-221321","山鹰图页","宋徽宗赵佶（1082年11月2日-1135年6月4日），号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[1553,1607,1554,1555,1556,1637,1557,1667,2275,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[1726,6,1613],{"id":836,"slug":9000,"title":9001,"dynasty":1633,"author":1948,"museum":9002,"description":9003,"tags":9004,"thumbUrl":9005,"material":1610,"size":1580,"collection":6,"collections":9006,"showCount":8977,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"si-ma-tu-ren-ren-fa-219096","饲马图","维多利亚和阿尔伯特博物馆","画面捕捉饲马的日常瞬间：红衣者俯身照料，另一人持物趋近，两马或立或侧，姿态悠然。线条如铁线般挺劲，勾勒出马的健硕肌理与人物衣褶的流转，细节处见匠心——马鬃的蓬松、鞍具的纹理，皆刻画入微。设色淡雅却点睛：红衣的暖艳与背景的素净相映，衬出场景的质朴鲜活。整体风格写实，却于平凡中藏着对生命的关照，既见游牧文化对马的珍视，也显画家对生活烟火的细腻捕捉。画面静谧却涌动着日常生机，似能闻草料轻响，触岁月温软，是元代生活图景与艺术匠心的凝练呈现，于质朴中见生动，于细微处显深情。",[1607,1554,1555,4694,1637,1557,1841,2070,2183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4df022bb041213a807994378e568d.jpg",[6],{"id":837,"slug":9008,"title":9009,"dynasty":1715,"author":3307,"museum":1573,"description":9010,"tags":9011,"thumbUrl":9013,"material":1610,"size":1580,"collection":6,"collections":9014,"showCount":8977,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"yan-e-tu-cui-bai-218905","雁鹅图","画面中雁鹅姿态鲜活，羽翼层叠间细笔勾出绒羽的蓬松质感，白绒与墨羽晕染过渡自然，红掌轻点地面似欲移步，尽显禽鸟灵动之态。旁侧水草以疏朗线条勾勒，叶片随风摇曳如含生机，与雁鹅的写实刻画相映成趣。古绢底色沉雅温润，衬得物象愈发鲜活，打破了宋初院体画的刻板拘谨，透出自然野趣。整作以写生为基，笔墨兼具工致与意趣，将禽鸟的鲜活与草木的清逸融于方寸纨扇，于细微处见生机盎然，尽显宋代画坛新风韵。",[1553,1554,1555,2161,1557,1637,1559,9012,3321,1707,2277],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[6],{"id":838,"slug":9016,"title":9017,"dynasty":1715,"author":1732,"museum":1604,"description":9018,"tags":9019,"thumbUrl":9020,"material":1610,"size":9021,"collection":6,"collections":9022,"showCount":8977,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xiang-shi-chui-jin-tu-yi-ming-218737","香实垂金图","它被画上了两个金灿灿的橙子，树枝经过精心挑选，给人以秋天水果的香味。这幅画被倒置装裱，观看时可以用旋钮转动。",[1553,1607,1554,1555,1556,1637,1557,1559,1765,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d905cd84a86e927d93aef90fabb11.jpg","24.3x27.5",[6],{"id":839,"slug":9024,"title":9025,"dynasty":1548,"author":2250,"museum":1550,"description":9026,"tags":9027,"thumbUrl":9028,"material":4577,"size":9029,"collection":6,"collections":9030,"showCount":9031,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mei-hua-tu-ce-wang-shi-shen-238069","梅花图册","汪士慎(公元1686—约1759年)，字近人，号巢林，别号溪东外史、晚春老人等。安徽省歙县人，居扬州，以卖画为生。他一生清贫，却能安贫乐道，精研艺术，善画墨笔梅、兰、竹，尤以画梅著称。其画疏淡秀雅，清妙多姿，有“铁骨冰心”之号。54岁后，双目相继失明，遂练习以手摸索写字作画，竟能“工妙胜未瞽时”。亦工诗、篆刻和八分书，为“扬州八怪之一”，有《巢林诗集》行世。此册共12开，多以润笔淡墨画梅干，浓墨点刺，梅树曲劲奇倔，枝梢瘦劲，墨法单纯却风姿多变。花朵或用扬补之圈白法，浓墨密蕊，秀润清丽;或用崖白点墨法，干老花疏，风格独具。金农评他的梅花“巢林画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。”从其存世画梅作品看，并非全是繁枝，也常画疏枝，但不论繁简，都有空里疏香，风雪山林之趣。此册作于乾隆壬戌(公元1742年)二月，画家时年57岁。",[1554,1555,1556,1591,1595,1559,1689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d108d80e52eee9a2465656a987baad.jpg","纵25.1厘米，横32.3厘米",[6],52,{"id":840,"slug":9033,"title":9034,"dynasty":1715,"author":4048,"museum":1604,"description":9035,"tags":9036,"thumbUrl":9038,"material":1556,"size":9039,"collection":1726,"collections":9040,"showCount":9031,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xie-sheng-ying-su-ai-xuan-221262","写生罂粟","五色的蜀葵、纯白的栀子和红艳石榴花，要比罂粟花常见得多。罂粟花艳丽的“五色”，使得人们常把它与蜀葵相提并论，二者的播种和花期也都相似。宋代罂粟主要是用于食用和药材，嫩苗堪比园蔬，罂粟籽则可作粥。在现存宋代画扇中，至少可以看到两幅《罂粟花图》，台北故宫博物院藏传艾宣《写生罂粟图》尤为精彩，画中还是一枝并蒂的罂粟，显现出祥瑞之意。这些画扇，也应是宋代宫廷画家的杰作。",[1553,1554,1607,1555,1556,1637,1557,1762,1559,9037,1593],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9fe1801c419e7cafc2c8afc755bdcc.jpg","43x75.7",[1726,6,1613],{"id":841,"slug":9042,"title":9043,"dynasty":1587,"author":9044,"museum":1683,"description":9045,"tags":9046,"thumbUrl":9048,"material":1610,"size":9049,"collection":6,"collections":9050,"showCount":9031,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"yan-long-yu-shu-tu-chen-lu-220375","烟笼玉树图","陈录","陈录，[明]生卒年不详，字宪章，以字行，号如隐居士，会稽（今浙江绍兴）人。善墨梅、松、竹、兰蕙，笔意儒雅，与王谦齐名。评者以二家虽格意不同，录笔力实过王谦。正统十一年（一四四六）尝作墨梅图。传世作品有《万玉图》、《烟笼玉树图》、《梅花图》等。《图绘宝鉴续纂》、《画史会要》、《绍兴府志》、《明画录》、《无声诗史》、《越画见闻》。\n《烟笼玉树图》中树干苍劲，绽花枝头，构图巧妙，点染精当，可谓花鸟花上品。",[1553,1554,1591,1557,1622,1559,1689,1594,2125,1686,9047],"烟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62ea251e0e978b64171ad65c333d8be.jpg","纵137.5厘米，横65.4厘米",[6,1613],{"id":842,"slug":9052,"title":9053,"dynasty":1587,"author":5517,"museum":2893,"description":9054,"tags":9055,"thumbUrl":9058,"material":1610,"size":9059,"collection":6,"collections":9060,"showCount":9031,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"lu-cong-shuang-e-tu-lin-liang-219081","芦丛双鹅图","芦苇叶渐枯，零零散散的芦花开放，芦丛中两只鹅正啄着芦苇叶，黑色的羽毛，翅膀下露出白色的绒毛，几条黑色的勾线体现出了绒毛的柔软。 林良，字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。",[1554,1555,1976,1559,1591,1686,3321,4640,2608,9056,9057],"禽鸟画","水墨花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b092c0a58f8959a48a02ec93af2364.jpg","纵146厘米，横88厘米",[6],{"id":843,"slug":9062,"title":9063,"dynasty":1715,"author":1732,"museum":1604,"description":9064,"tags":9065,"thumbUrl":9066,"material":1610,"size":9067,"collection":6,"collections":9068,"showCount":9031,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"han-tang-qun-yan-tu-yi-ming-218707","寒塘群雁图","这是一幅描绘池塘一角的画，岸边有枯草和树叶，给人一种寒意。几只大雁聚集在一起，其中一只飞向空中，与伸出头来的那只大雁遥相呼应，形成一个生动的画面。笔触和色彩的灵感来自于崔白。",[1553,1554,1607,1555,1637,1557,3320,1667,3416,1668,1955,1930,5703,2608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dfdb429461da18280483cbdee873a7.jpg","194.4x109.2",[6],{"id":844,"slug":9070,"title":9071,"dynasty":1548,"author":4420,"museum":1683,"description":9072,"tags":9073,"thumbUrl":9074,"material":1580,"size":1580,"collection":6,"collections":9075,"showCount":9076,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yi-tuan-fu-gui-tu-zhou-zhao-zhi-qian-237150","一团富贵图轴","赵之谦（1829年8月8日 －1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[1554,1555,1622,1557,1559,1608,2183,1595,1562,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[6,1613],51,{"id":845,"slug":9078,"title":9079,"dynasty":1633,"author":1634,"museum":1663,"description":9080,"tags":9081,"thumbUrl":9082,"material":2028,"size":9083,"collection":6,"collections":9084,"showCount":9076,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"shu-tu-qian-xuan-221705","鼠图","他画的《黠鼠图》是目前我们所能见到的最早的一件画鼠作品。\n画中的老鼠正在偷食瓜果，每个老鼠的形态不一，笔触细腻，老鼠的狡黠形象跃于纸上。",[1553,1554,1555,1557,1637,5091,1879,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d4a9ecece2b0a34a04e94dee2d0a5.jpg","24.3 27.3",[6,1613],{"id":846,"slug":9086,"title":9087,"dynasty":1633,"author":4767,"museum":1604,"description":9088,"tags":9089,"thumbUrl":9090,"material":1557,"size":9091,"collection":6,"collections":9092,"showCount":9076,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[1553,1607,1554,1555,1622,1637,1591,1557,1559,1667,1953,2666,1901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[6],{"id":847,"slug":9094,"title":9095,"dynasty":1633,"author":9096,"museum":1604,"description":9097,"tags":9098,"thumbUrl":9100,"material":1625,"size":9101,"collection":6,"collections":9102,"showCount":9076,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"wan-xiang-gao-jie-tu-ke-jiu-si-219360","晚香高节图","柯九思","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。",[1607,1554,1591,1686,2274,1690,1669,1696,1955,9099,1595],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ea458d2092b5764321504018ff651.jpg","126.5厘米，横75.2厘米",[6],{"id":848,"slug":9104,"title":4766,"dynasty":1715,"author":4240,"museum":1573,"description":9105,"tags":9106,"thumbUrl":9107,"material":1610,"size":9108,"collection":6,"collections":9109,"showCount":9076,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"tao-zhu-jin-ji-tu-ma-ben-218882","马氏家族绘画代代相传，必然有一些绘画技法是代代相传的。从这个角度，我们可以看到，《桃竹锦鸡图》右边的桃树枝干部分，与马远《西园雅集图》等作品中的树干画法，非常接近，都是直来直去的描绘方式；《桃竹锦鸡图》中非常显眼的燕子，与收藏在日本大和文华馆的马远《竹燕图》，存在非常明确的一致性。竹子的画法与传世马远多件绘画中的竹子，更是接近。通过这些细节的全面比较，可以判断：《桃竹锦鸡图》是马氏家族的作品。\n《桃竹锦鸡图》从时间坐标上看，是宣和时代；从绘画特征来看，是马氏家族；那么，按照逻辑，《桃竹锦鸡图》的作者就是马贲。马贲的生活时代跨北宋神宗、哲宗、徽宗，比崔白、吴元瑜等画家的活动时间略晚10-20年。他是南宋大画家马远的曾祖父，马氏五代绘画家族的第一代人物。他的晚期作品，受宣和时代影响，应该具有典型的宣和画家绘画意识。",[1554,1607,1555,1637,1557,1559,3123,1690,2172,1707,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1576814ae297b450aa13cc8ea4cb67.jpg","21x22cm",[6],{"id":849,"slug":9111,"title":9112,"dynasty":1548,"author":1874,"museum":1663,"description":9113,"tags":9114,"thumbUrl":9115,"material":1802,"size":1580,"collection":6,"collections":9116,"showCount":9117,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yang-liu-qu-yu-tu-zhou-ren-yi-238963","杨柳鸲鹆图轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[1554,1622,1559,1591,1557,1686,7107,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5e4f5fad3781f2b6d9d87d03ee6f2.jpg",[6,1613],50,{"id":850,"slug":9119,"title":9120,"dynasty":1587,"author":3147,"museum":2117,"description":3293,"tags":9121,"thumbUrl":9122,"material":1802,"size":9123,"collection":6,"collections":9124,"showCount":9117,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴",[1553,1554,1557,1637,1559,1622,3141,6487,1691,4825,2038,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","93x51",[6,1613],{"id":851,"slug":9126,"title":9127,"dynasty":1715,"author":9128,"museum":2023,"description":9129,"tags":9130,"thumbUrl":9131,"material":2320,"size":9132,"collection":1726,"collections":9133,"showCount":9117,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xue-zhong-mei-zhu-tu-xu-yu-gong-221470","雪中梅竹图","徐禹功","雪中梅竹图卷，以前部南宋徐禹功《雪中梅竹图》卷为主体，徐卷后有杨补之“柳梢青”词十首，赵孟坚跋二则，元人张雨“柳梢青”和韵一首。此图画雪梅一枝横空而出，修竹三管，雪压枝头，笔法清逸洒丽，意境清幽朦胧，充满诗情画意。作者徐禹功画史无考，惟在卷后赵孟坚题跋中始知为画家扬无咎之及门弟子，又从书于竹节之名款“辛酉人”考之，当生于1141年（南宋绍兴十一年）。画上有清代乾隆皇帝及董邦达、梁诗正等人的题诗。",[1553,1554,1555,1666,1591,2120,1562,1688,1595,1689,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F825e67ae4c8c60235698f2c0399e5488.jpg","纵29.6 厘米，横122 厘米",[1726,6],{"id":852,"slug":9135,"title":9136,"dynasty":1715,"author":2674,"museum":1683,"description":9137,"tags":9138,"thumbUrl":9139,"material":2320,"size":9140,"collection":1726,"collections":9141,"showCount":9117,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[1553,1607,1554,1555,1637,1557,1559,1592,3619,1749,2666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 × 52 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钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[1553,1554,1555,1666,6231,1591,2120,1559,1689,1696,1692,1608,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[6,1934],{"id":868,"slug":9270,"title":9271,"dynasty":1587,"author":2134,"museum":1683,"description":9272,"tags":9273,"thumbUrl":9274,"material":3819,"size":9275,"collection":6,"collections":9276,"showCount":9260,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"chu-ji-tu-ye-shen-zhou-222130","雏鸡图页","本幅自题七言诗：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长。”自识“沈周”，钤“启南”朱方印、“白石翁”白方印。收藏印钤“朱卧庵收藏印”、“之赤”、“昆王成宪画印”等，右下骑缝花押。\n从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[1553,1554,1555,1591,1688,1559,5840,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6374170d786fdeec4131bd7de6727b5b.jpg","纵28.1厘米，横37.6厘米",[6,1934],{"id":869,"slug":9278,"title":9279,"dynasty":1587,"author":9280,"museum":1663,"description":9281,"tags":9282,"thumbUrl":9283,"material":1580,"size":1580,"collection":6,"collections":9284,"showCount":9260,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","陶成","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[1553,1554,1555,1666,1591,1557,1762,1560,1696,1690,1955,2038,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[6,1934],{"id":870,"slug":9286,"title":9287,"dynasty":1715,"author":9288,"museum":9289,"description":9290,"tags":9291,"thumbUrl":9292,"material":1557,"size":9293,"collection":1726,"collections":9294,"showCount":9260,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","昆仑堂美术馆","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[1553,1554,1637,1557,2320,1559,2964,1667,7108,1953,1901,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[1726,6,1613],{"id":871,"slug":9296,"title":9297,"dynasty":1715,"author":2022,"museum":1604,"description":9298,"tags":9299,"thumbUrl":9301,"material":1610,"size":1580,"collection":6,"collections":9302,"showCount":9260,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"li-peng-qiu-zhan-zhao-ji-219224","栗蓬秋绽","墨叶扶疏间，栗蓬携尖刺静绽，外壳微裂处，嫩实隐现如珠。工笔细描的叶片脉络分明，墨色晕染出苍劲与柔润的层次，枝干线条如篆如隶，藏着书法般的骨力。秋意凝于绢素，既有院体画的精工写实，又含文人画的雅致韵致。一笔一画皆见对自然物态的深察，从刺尖的锋芒到叶脉的转折，皆细致入微，尽显宋画格物致知的精神，让秋之栗蓬的生机与静美，在方寸扇面间流转不息。",[1553,2546,1554,1555,2161,1637,1557,1559,9300,1901,1953,1595],"栗蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc547c3110157d019ed1ea0f90ee3b260.jpg",[6],{"id":872,"slug":9304,"title":2201,"dynasty":1715,"author":1732,"museum":1604,"description":9305,"tags":9306,"thumbUrl":9307,"material":1610,"size":9308,"collection":6,"collections":9309,"showCount":9260,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"ke-si-hua-niao-zhou-yi-ming-218863","通经断纬的缂丝工艺，将荷塘清景织入方寸丝帛。墨绿丝线层叠出荷叶丰腴肌理，脉络宛然如活；粉白与淡红交织的荷花，或半绽含露，或含苞待放，姿态温婉。蜻蜓振翅悬于荷间，翅翼薄透感借丝线疏密巧妙呈现，仿佛下一秒便点破水面涟漪。水鸟嬉戏碧波，尾羽轻扫，漾开的细纹用浅蓝丝线勾勒，柔婉灵动。整幅作品清幽静谧，尽显宋人的雅致审美，每缕丝缕凝注匠人心血，于无声处传递自然生机与工艺之妙，是宋代缂丝艺术中含蓄隽永的佳作。",[2204,1557,1559,1692,1799,1764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe16873c733f5f22048f0f9f3cffd96.jpg","75.8x81.7cm",[6],{"id":873,"slug":9311,"title":5496,"dynasty":1548,"author":2035,"museum":1704,"description":9312,"tags":9313,"thumbUrl":9314,"material":4577,"size":7006,"collection":6,"collections":9315,"showCount":1657,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"song-lu-tu-zhou-zhu-da-238040","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。",[1554,1555,1622,1591,1686,2274,1691,3644,1669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9244ade8ce785509d3cb147daa31bcce.jpg",[6],{"id":874,"slug":9317,"title":9318,"dynasty":1548,"author":9319,"museum":1683,"description":9320,"tags":9321,"thumbUrl":9325,"material":2320,"size":1580,"collection":6,"collections":9326,"showCount":1657,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","张宗苍","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[1554,1555,1666,1557,1843,2071,9322,9323,9324,1844,2038,1595,1688,2274],"船只","岛屿","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[6,2141,1613],{"id":875,"slug":9328,"title":9329,"dynasty":1715,"author":2316,"museum":1812,"description":9330,"tags":9331,"thumbUrl":9332,"material":1846,"size":9333,"collection":6,"collections":9334,"showCount":1657,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"xue-mei-tu-ye-ma-lin-221190","雪梅图页","《雪梅图》中梅花枝条从左上角斜逸而出，伸向右下角，枝条纤细有骨力。梅花以墨线勾勒，浓墨点出花苞，枝条上和花瓣上尤有雪痕。整体观之，疏影横斜，暗香浮动，耐人揣摩",[1553,1607,1554,1555,2161,1557,1559,1689,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9feb1bb92a02678ce933bdbe405dd03d.jpg","30x31",[6,1613],{"id":876,"slug":9336,"title":1618,"dynasty":1587,"author":9337,"museum":1604,"description":9338,"tags":9339,"thumbUrl":9340,"material":2151,"size":9341,"collection":6,"collections":9342,"showCount":1657,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"zhu-tu-lv-duan-jun-219508","吕端浚","此作用水墨写就，运笔爽利遒劲，丛竹叶叶交叠，以浓淡墨色区分层次，俯仰向背各具意态，繁密却不失条理，尽显修竹清刚挺拔之姿，仿佛有穿林风声拂过纸面。\n\n下方奇石以淡墨晕染轮廓，焦墨点苔，朴拙古雅，稳稳承托劲竹，与秀逸修竹形成刚柔相济的意趣，地面细草寥寥几笔，野趣自生。\n\n题款与画面相映成趣，整幅以极简水墨承载文人意趣，将竹的君子风骨融于尺素，笔情墨韵间满是萧散出尘的雅致。",[1554,1622,1591,1690,1707,1955,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944e6c300e61ee66ba74b2b616fa2a07.jpg","169.1x87.6",[6],{"id":877,"slug":9344,"title":9345,"dynasty":1587,"author":5517,"museum":8387,"description":9346,"tags":9347,"thumbUrl":9348,"material":2151,"size":9349,"collection":6,"collections":9350,"showCount":1657,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"gu-song-shuang-que-tu-lin-liang-219333","古松双鹊图","在这幅画中，两只喜鹊爬上一根松枝，寓意吉祥。 笔墨笔墨爽朗，为后世水墨花鸟画的发展树立了典范。",[1553,1554,1591,1686,1622,1559,1691,5381,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5813e37306a3d1eca136d2b6f4a716c.jpg","纵140横75厘米",[6],{"id":878,"slug":9352,"title":9353,"dynasty":1715,"author":9354,"museum":2748,"description":9355,"tags":9356,"thumbUrl":9358,"material":1563,"size":9359,"collection":6,"collections":9360,"showCount":1657,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","马和之","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[1607,1554,1555,2161,1557,1843,1879,9357,2038,2138,4825],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[6],{"id":879,"slug":9362,"title":9363,"dynasty":1633,"author":2763,"museum":1573,"description":9364,"tags":9365,"thumbUrl":9366,"material":1610,"size":9367,"collection":6,"collections":9368,"showCount":1657,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[1554,1607,1555,1557,1841,2070,2137,1688,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[6],{"id":880,"slug":9370,"title":9371,"dynasty":1587,"author":7934,"museum":1604,"description":9372,"tags":9373,"thumbUrl":9374,"material":1610,"size":9375,"collection":6,"collections":9376,"showCount":1657,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"wan-niu-tu-dai-jin-218808","纨牛图","中国人对于牛的情感不同于对待其他动物，这种感情是复杂且深厚的。这不仅是因为牛的性格敦厚老实，更主要的还是因为对于一个历史悠久的农业国家，牛在农耕文明中一直都担任着十分重要的劳动力角色，它几乎是每一个农村家庭不可缺少的伙伴。",[1554,1607,1622,1557,1637,1841,5293,1879,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2af2f1fd17bdb3ed688b14800f04d97.jpg","181x96.3cm",[6],{"id":881,"slug":9378,"title":9379,"dynasty":1633,"author":9380,"museum":4287,"description":9381,"tags":9382,"thumbUrl":9385,"material":1610,"size":9386,"collection":6,"collections":9387,"showCount":1657,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[1553,1607,1554,1555,1591,2274,1843,1667,2275,9383,9384,2276],"雪地","汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[6],{"id":882,"slug":9389,"title":9390,"dynasty":1715,"author":1732,"museum":1573,"description":9391,"tags":9392,"thumbUrl":9393,"material":1610,"size":1580,"collection":6,"collections":9394,"showCount":1657,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[1553,1607,1554,1555,1637,1557,1559,3526,1696,1707,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[6],{"id":883,"slug":9396,"title":9397,"dynasty":1548,"author":1823,"museum":1663,"description":9398,"tags":9399,"thumbUrl":9400,"material":1784,"size":1785,"collection":6,"collections":9401,"showCount":9402,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238386","董诰陶篱益寿图小册","董诰（1740—1818年），字雅伦，号蔗林，清浙江富阳人。乾隆二十八年（1763年）进士，官至内阁学士，充四库馆副总裁。甚得高宗、仁宗宠遇。朝廷编修，多有由其主持者。善画。谥文恭。著有《满洲源流考》、《高宗实录》等。",[1554,1555,1556,1557,1637,1559,1696,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb8691a4eb4254aa7a1767cfe05698c.jpg",[6,1613],46,{"id":884,"slug":9404,"title":9405,"dynasty":1587,"author":9406,"museum":1663,"description":9407,"tags":9408,"thumbUrl":9409,"material":1580,"size":1580,"collection":6,"collections":9410,"showCount":9402,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"yi-chuang-chun-yu-zhou-xia-chang-237861","一窗春雨轴","夏昶","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[1554,1555,1622,1591,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ffe0f0713ce4807c396998164f7582.jpg",[6],{"id":885,"slug":9412,"title":9413,"dynasty":1587,"author":1588,"museum":1604,"description":9414,"tags":9415,"thumbUrl":9416,"material":1557,"size":9417,"collection":6,"collections":9418,"showCount":9402,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"fu-rong-hua-tu-sun-ke-hong-222138","芙蓉花图","孙克弘，晚明时士夫画家，官至汉阳知府，多才艺，山水、花鸟、人物、仙佛无不擅长，万历时极享盛誉。此扇写溪头景色，芙蓉正开，芦花染赭，参差掩映，野趣可人。",[1553,1554,2161,1557,1559,1693,1593,5268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F603131f0ebc82cf5654bc007cb890ea7.jpg","66.8x60.8厘米",[6,1613],{"id":886,"slug":9420,"title":9421,"dynasty":1587,"author":3329,"museum":1604,"description":9422,"tags":9423,"thumbUrl":9425,"material":1563,"size":9426,"collection":6,"collections":9427,"showCount":9402,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"liu-hua-xiao-jing-tu-lu-zhi-219461","榴花小景图","陆治不仅长于山水画,也能画花鸟,所作花卉生意盎然,在吴派画家中以能得宋人韵度,备受赞赏",[1554,1607,1622,1637,1557,1559,9424,3495,1595],"榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42162f4933d3bd900c46a0622726a62f.jpg","65.3x33.3",[6],{"id":887,"slug":9429,"title":9430,"dynasty":1587,"author":9431,"museum":1573,"description":9432,"tags":9433,"thumbUrl":9434,"material":1610,"size":9435,"collection":6,"collections":9436,"showCount":9402,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"jin-ji-han-mei-tu-bian-jing-zhao-219314","锦鸡寒梅图","边景昭","寒石之上，锦鸡敛翅静立，翎羽如锦绣裁就，红腹似霞晕染，连绒羽的细绒都清晰可见，仿佛能触到那柔软的质感。旁侧枯枝斜逸，梅蕊初绽，素白的花与苍劲的枝桠相映，冷寂中透出雅致。沉郁的底色如古砚磨出的墨晕，将禽鸟的鲜活托得愈发分明，梅香似随微风漫开，清寒里藏着脉脉生机。笔触细腻入微却不板滞，色彩浓淡相宜，既有工笔的精致写实，又含写意的空灵意境，于冬日的静谧中，绘就一份鲜活与雅致，似能听见锦鸡轻啄梅瓣的微响，冷冽中溢出温情。",[1554,1555,1559,1637,1557,1689,1592,1707,5336,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[6],{"id":888,"slug":9438,"title":9439,"dynasty":1633,"author":1732,"museum":1604,"description":9440,"tags":9441,"thumbUrl":9442,"material":1610,"size":9443,"collection":6,"collections":9444,"showCount":9402,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"hua-hu-tu-yi-ming-219239","画虎图","松林石涧间,一巨虎黄皮黑纹,毛色鲜丽,体态威武雄壮.虎之双眼,俱以金粉涂饰,并略染汁绿,显得格外神气逼人.其背隆起,宛如张弓欲发,隐然有即将出击之势.虎口微启,低吟而未啸.树梢,二山鹧见状,相与惊跃鸣叫,更为此猛虎出山的场景,平添紧张、不安的气息.通幅描绘如真,渍染极得润厚的韵致.画无名款,旧签定为元人.惟据画风判断,与明代宫廷画风,颇多相近处,是以推断,本幅或出自明代良工之手",[1553,1554,1622,1557,3990,2038,1844,1955,2274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb563ac7aba93522a5230f6ac6e3bb83c.jpg","206.5x122cm",[6],{"id":889,"slug":9446,"title":9447,"dynasty":1715,"author":5769,"museum":1604,"description":9448,"tags":9449,"thumbUrl":9450,"material":1610,"size":9451,"collection":1726,"collections":9452,"showCount":9402,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[1553,1607,1554,1555,1622,1637,1557,1559,1667,1707,1955,1815,4658,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[1726,6,1613],{"id":890,"slug":9454,"title":9455,"dynasty":1715,"author":3307,"museum":4159,"description":9456,"tags":9457,"thumbUrl":9458,"material":1610,"size":9459,"collection":6,"collections":9460,"showCount":9402,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"xue-qin-tu-cui-bai-219088","雪禽图","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[1554,1555,2161,1559,1637,1557,1592,1953,2609,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[6],{"id":891,"slug":9462,"title":9463,"dynasty":1633,"author":1948,"museum":3788,"description":9464,"tags":9465,"thumbUrl":9467,"material":1610,"size":1580,"collection":6,"collections":9468,"showCount":9402,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"ying-sun-tu-ren-ren-fa-219067","鹰隼图","画面描绘了一只白腹黑背、体态丰满、羽毛整齐的大壮鹰，用一对锋利的爪子按住一只麻雀，张开翅膀，圆睁双眼，张开嘴，却无计可施。",[1607,1554,1637,1557,1622,3141,9466,2275,5878,1560,2038,1559],"隼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[6],{"id":892,"slug":9470,"title":9471,"dynasty":1548,"author":9472,"museum":1717,"description":9473,"tags":9474,"thumbUrl":9475,"material":1610,"size":9476,"collection":6,"collections":9477,"showCount":9402,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[1553,1607,1554,1555,1637,1557,1559,1638,6250,3619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[6],{"id":893,"slug":9479,"title":9480,"dynasty":1715,"author":5158,"museum":2748,"description":9481,"tags":9482,"thumbUrl":9483,"material":1610,"size":9484,"collection":6,"collections":9485,"showCount":9402,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"ju-yuan-tu-yi-yuan-ji-216666","聚猿图","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[1553,1607,1554,1555,1666,1637,2274,1591,5595,5336,2137,2038,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg","纵41.3厘米，横146厘米",[6],{"id":894,"slug":9487,"title":7425,"dynasty":1548,"author":3834,"museum":1663,"description":7778,"tags":9488,"thumbUrl":9489,"material":1784,"size":1785,"collection":6,"collections":9490,"showCount":9491,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-niao-tu-ce-ma-yuan-yu-239398",[1554,1555,1556,1591,1557,1559,1689,1695,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf29bd90c79214ba6d288bab877f2a.jpg",[6,1613],45,{"id":895,"slug":9493,"title":9494,"dynasty":1548,"author":2972,"museum":1663,"description":8853,"tags":9495,"thumbUrl":9496,"material":1580,"size":1580,"collection":6,"collections":9497,"showCount":9491,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mo-mei-zhou-wu-chang-shuo-239223","墨梅轴",[1554,1555,1622,1591,1559,1689,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616f4702c3bcf964d4d3612a77d98457.jpg",[6,1934],{"id":896,"slug":9499,"title":9500,"dynasty":1548,"author":1732,"museum":1663,"description":9501,"tags":9502,"thumbUrl":9503,"material":1580,"size":1580,"collection":6,"collections":9504,"showCount":9491,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238811","董诰律宣韶景册","此作绘春日花溪胜境，浅青晕染重峦，烟岚轻笼远山，虚实相生间晕出空濛雅致。溪谷桃林遍绽，丹红如云霞漫过翠嶂，柔化了峰石的硬朗。涧水穿林漱石，湍波映着花光，灵动清冽。林麓深处隐见屋舍，暗合春深幽居之趣。\n\n笔法秀雅工致，青绿设色明丽温润，以淡墨烘衬烟霭，糅合工笔精细与写意空灵，将暮春山乡的融融春意铺展纸上，观之便如身临桃源，尽览静雅恬和的东方山水意韵。",[1554,1555,1556,1557,1843,2274,1844,2038,2138,1638,1929],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe181bd02ef517366b84f0e2f5bc99ff.jpg",[6,2141,1613],{"id":897,"slug":9506,"title":9507,"dynasty":1548,"author":1823,"museum":1663,"description":4888,"tags":9508,"thumbUrl":9509,"material":1784,"size":1785,"collection":6,"collections":9510,"showCount":9491,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-hui-xiao-ce-dong-gao-238354","花卉小册",[1554,1555,1556,1557,1559,1689,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d50c13f022c4472099b3f84f506d57.jpg",[6,1613],{"id":898,"slug":9512,"title":9513,"dynasty":1548,"author":2935,"museum":1683,"description":9514,"tags":9515,"thumbUrl":9516,"material":1580,"size":9517,"collection":6,"collections":9518,"showCount":9491,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"hua-mei-hua-xuan-ye-shu-fan-zhou-xi-hu-shi-cheng-shan-jiang-ting-xi-236196","画梅花玄烨书泛舟西湖诗成扇","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[1554,1555,2161,1689,1688,1559,1557,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefea21cbd916e8e96569fa9ba15061da.jpg","纵34厘米，横56厘米",[6,1613],{"id":899,"slug":9520,"title":7820,"dynasty":1587,"author":7418,"museum":2117,"description":9521,"tags":9522,"thumbUrl":9523,"material":3059,"size":9524,"collection":6,"collections":9525,"showCount":9491,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"fu-rong-yuan-yang-tu-zhou-li-yin-226155","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[1553,1554,1607,1622,1591,1559,1693,2556,1707,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","138.9x47.8cm",[6],{"id":900,"slug":9527,"title":9528,"dynasty":1548,"author":3093,"museum":9529,"description":9530,"tags":9531,"thumbUrl":9533,"material":1802,"size":9534,"collection":6,"collections":9535,"showCount":9491,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shan-yin-cao-tang-tu-xu-gu-222823","山阴草堂图","广州艺术博物院","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。",[1553,1607,1554,1555,1666,1591,2274,1562,1688,1843,1844,2038,9532,1929],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d1a7fdce3cd4a97891e59a5fb55386.jpg","283.6x29",[6,1934],{"id":901,"slug":9537,"title":6217,"dynasty":1633,"author":4767,"museum":1604,"description":9538,"tags":9539,"thumbUrl":9540,"material":1625,"size":9541,"collection":6,"collections":9542,"showCount":9491,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"xie-sheng-tu-wang-yuan-218819","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[1554,1555,1591,1637,1762,2964,1559,1707,2608,1953,1623,1595,1562,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[6],{"id":902,"slug":9544,"title":9545,"dynasty":1587,"author":9546,"museum":1573,"description":9547,"tags":9548,"thumbUrl":9549,"material":2151,"size":1580,"collection":6,"collections":9550,"showCount":9491,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"shi-liu-li-shu-tu-ge-shu-ying-216955","石榴栗鼠图","葛淑英","葛淑英（1565年－1628年）是一位中国明朝时期的画家。葛淑英出生于江苏省无锡市，是明朝最著名的女画家之一。她以其精湛的画技和绚丽多彩的作品而闻名。其中最著名的作品之一是《石榴栗鼠图》。\n\n《石榴栗鼠图》是一幅以石榴和栗鼠为主题的水墨画。在这幅画中，葛淑英用柔和的线条勾勒出了两只栗鼠的轮廓。这三只栗鼠正在咀嚼着一个石榴，举动自然，看起来很可爱。葛淑英用细腻的笔触描绘出了栗鼠的皮毛，使它们看起来栩栩如生。此外，画中还有一棵树，树上有许多绿色的叶子，为整幅画增添了一丝清新的气息。\n\n《石榴栗鼠图》展示了葛淑英对自然的描绘能力，也展示了她对生活细节的捕捉能力。这幅画不仅美观，而且充满了温暖的气息，是一件令人感动的艺术作品。",[1607,1554,1555,1622,1637,1557,5091,1879,2098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba5a7329abdb4f2ba88cf74167c31af.jpg",[6],{"id":903,"slug":9552,"title":9553,"dynasty":1548,"author":2056,"museum":1573,"description":3738,"tags":9554,"thumbUrl":9555,"material":1563,"size":3743,"collection":6,"collections":9556,"showCount":9491,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mo-zui-za-hua-tu-ce-2-shi-tao-214565","墨醉杂画图册-2",[1553,1554,1555,1556,1557,1591,2274,1707,1693,1692,1955,2277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bb60e03b8a80aef02ca4e630d97a6a.jpg",[6],{"id":904,"slug":9558,"title":9559,"dynasty":1548,"author":9560,"museum":1663,"description":9561,"tags":9562,"thumbUrl":9563,"material":1580,"size":1580,"collection":6,"collections":9564,"showCount":9565,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mo-ju-zhou-liang-ding-fen-237469","墨菊轴","梁鼎芬","梁鼎芬（1859—1919），晚清文学家、藏书家、诗人，广东番禺（今广州市）人。字星海，一字心海，又字伯烈，号节庵，别号不回山民、孤庵、病翁、浪游词客、葵霜、藏山、藏叟等；室名有耻堂、葵霜阁、栖凤楼、抗愤堂等。\n光绪六年进士，授编修。历任知府、按察使、布政使，曾因弹劾李鸿章，名震朝野。后应张之洞聘，主讲广东广雅书院和江苏钟山书院，为《昌言报》主笔。辛亥革命前有反帝主战思想。后任爱新觉罗.溥仪的老师，被授予“毓庆宫行走”。诗词多慷慨愤世之作，与罗惇曧等人并称“岭南近代四家”。",[1554,1555,1622,1591,1696,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeefe3abfc7a226970d3e72815c667d0.jpg",[6,3062],44,{"id":905,"slug":9567,"title":2147,"dynasty":1587,"author":9568,"museum":9569,"description":9570,"tags":9571,"thumbUrl":9572,"material":9573,"size":9574,"collection":6,"collections":9575,"showCount":9565,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"zhu-shi-tu-zhu-yun-ming-222830","祝允明","河北省博物馆","竹石图轴，此图顽石突兀，修竹三竿，清雅宜人。构图简洁明晰，用墨浓淡适.",[1553,1554,1555,1622,1591,1690,1669,2274,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92f7cc0839c81fbce897d7978e64e42.jpg","绫本，墨笔","纵163.5、横52厘米",[6,1934],{"id":906,"slug":9577,"title":9578,"dynasty":1587,"author":7943,"museum":4287,"description":9579,"tags":9580,"thumbUrl":9581,"material":2151,"size":9582,"collection":1934,"collections":9583,"showCount":9565,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）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，墨笔","纵155.5cm，横66cm",[6,1613],42,{"id":925,"slug":9742,"title":9743,"dynasty":1587,"author":4269,"museum":1604,"description":9744,"tags":9745,"thumbUrl":9746,"material":2028,"size":9747,"collection":6,"collections":9748,"showCount":9740,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"hua-fu-rong-bai-lu-zhou-zheng-shi-222407","画芙蓉白鹭轴","郑石，生卒年不详。系明画院中人，自署锦衣百户。\n工画花鸟，其画之风格出自宫廷花鸟画家吕纪。\n画幅之构图和树、石、花鸟的用笔，比之吕纪「秋鹭芙蓉」、「秋渚水禽」，显见在布局上较吕氏为简化。而用笔则不如其细致，有着较明显之提顿变化，渐趋向于浙派晚期之风味。",[1553,1554,1555,1622,1557,1637,1559,1693,3980,2137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6580b27108d81173535dc902fb47cdad.jpg","纵144.4厘米，横74.3厘米",[6,1613],{"id":926,"slug":9750,"title":9751,"dynasty":1587,"author":3329,"museum":3559,"description":9752,"tags":9753,"thumbUrl":9756,"material":1802,"size":9757,"collection":6,"collections":9758,"showCount":9740,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hong-xing-ye-fu-tu-zhou-lu-zhi-222178","红杏野凫图轴","此画杏花盛开、野尧戏游、水草挺秀，一派自然界安宁、雅静、自由、活泼的和谐景象。赏之让人生趣，令人神往。\n画面上的“天空”，几乎被杏树的枝条占满了，盛开的红色杏花伸展于水面的上空，可以用“花枝招展”来形容杏树的形态。花枝横跨画面，连画的右侧顶端也是杏树的枝干，画面的下部，是一只大野尧，优哉优哉地浮现于水面之上，仿佛被盛开的红杏所吸引，在偏首高望;画面的左下侧，河岸边的水草簇簇挺拔，卓然而立。生动和谐、愈趣高雅的画面体现出作者观察之细腻，绘画技艺之高超，令人赏心悦目。这幅花鸟写意画中的“亮”，即是野鸭。古代时这种水鸟，是甚有声望的。",[1553,1554,1555,1622,1557,1591,1559,9754,9755,1930,2013,1594,1688],"红杏","野凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33b057f3aab56336cb3fa23d67505c5.jpg","43.1x119cm",[6,1613],{"id":927,"slug":9760,"title":9494,"dynasty":1633,"author":9761,"museum":1604,"description":9762,"tags":9763,"thumbUrl":9764,"material":1625,"size":9765,"collection":6,"collections":9766,"showCount":9740,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"mo-mei-zhou-chen-li-shan-221764","陈立善","款题：“白玉蟾善画梅，梅枝戍削几类荆棘，著花甚繁，寒葩冻萼不知有世上人。玉蟾本姓葛名长庚，出游海上，号海琼子，又号缤庵、武夷散人、神霄散吏、紫清真人，殆乎仙者也。昔年曾见其小幅题诗亦清绝，今擬之颇多合处。予初号两峰子，又号花之寺僧、金牛山人、蓼洲渔父、鹿裘生、人日生人，可谓遥遥相契于千载上矣。此帧为云峰先生作回溯厥画梅之源自若家始也。己亥孟冬罗聘记”。钤“两峰”白文印。“己亥”为乾隆四十四年（1779年），罗聘时年47岁。\n图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[1553,1554,1555,1622,1591,1689,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd340bc3b59e9c79c1a466dbf8d908424.jpg","纵125.5厘米，横42.5厘米",[6,1934],{"id":928,"slug":9768,"title":9769,"dynasty":1715,"author":2694,"museum":1683,"description":9770,"tags":9771,"thumbUrl":9772,"material":1846,"size":9773,"collection":1726,"collections":9774,"showCount":9740,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"lie-quan-tu-li-di-221593","猎犬图","犬类作为专门的绘画题材最早出现在北宋《宣和画谱》中的“鸟兽”一门。宋代不乏画犬的专家，如宫廷画家李迪、李嵩、赵永年等。此图描绘的是宫廷御用猎犬，步伐矫健而闲雅。画风追求工整写实、细腻华丽而又形神兼备的宫廷审美趣味，是宋代院画的典型作品。",[1553,1607,1554,1555,1637,1557,1879,6221,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b356f522e268e5858d309346e863d8.jpg","纵26.5厘米，横26.9厘米",[1726,6,1613],{"id":929,"slug":9776,"title":9777,"dynasty":1715,"author":1732,"museum":2748,"description":9778,"tags":9779,"thumbUrl":9780,"material":1625,"size":1580,"collection":6,"collections":9781,"showCount":9740,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"san-mu-tu-yi-ming-219089","散牧图","素净雪景铺展天地，淡墨晕染出苍茫清寂。枯树枝桠疏朗，似在寒风中轻颤；山石皴法简练，线条勾勒雪的厚重。几株老树苍劲，与留白雪地相映，更显悠远。牛群或缓步觅食，或嬉戏追逐，牧童骑于牛背，衣袂轻扬，尽展山野童趣。远处林峦朦胧，似隐似现，添了几分空濛。构图疏密有致，笔法细腻却不失洒脱，传递出人与自然相融的宁静之美，尽显雅致恬淡的意趣，仿佛能听见牧童的嬉笑声，随晚风消散在雪后的山林间。",[1553,1554,1555,1666,1591,2274,1595,1843,5293,1841,2275,1707,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d87cbb3dc7c63f2731e50347052b00d.jpg",[6],{"id":930,"slug":9783,"title":9784,"dynasty":1633,"author":2763,"museum":1604,"description":9785,"tags":9786,"thumbUrl":9787,"material":1563,"size":9788,"collection":6,"collections":9789,"showCount":9740,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"bai-bi-gua-tu-zhao-meng-fu-218828","白鼻䯄图","笔墨流转间，神骏之姿跃然纸上。马身淡墨晕染，线条如篆籀般圆劲，鬃毛轻扬处藏笔锋灵动，白鼻轻点更显温驯雅致。牵马人身着异域服饰，衣袂飘飘，神态悠然，与马的从容相映成趣。画面上方题跋清逸，诗画相生，尽展“书画同源”之韵。作品不刻意写实，却于简淡中藏深意，笔墨韵味与形象生动完美融合，传递出静谧悠远的意境，仿佛能听见马蹄轻踏，感受到人与马的默契温情，尽显文人画的雅逸风骨。",[1607,1554,1555,1591,1557,1841,2070,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c59d0294d40e3fb352cc6ee315fc6.jpg","26.2x41.8cm",[6],{"id":931,"slug":9791,"title":9792,"dynasty":1715,"author":1732,"museum":1604,"description":9793,"tags":9794,"thumbUrl":9795,"material":1610,"size":9796,"collection":6,"collections":9797,"showCount":9740,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-an-chun-tu-yi-ming-218396","画鹌鹑图","这是一幅描绘两只鹌鹑在沙地上玩耍和觅食的画。其生动的造型和多变的笔触使其成为宋元微型绘画的典范。",[1553,1554,1555,1622,1637,1557,1559,4779,1930,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f7c7b18cd6012e81e56549879d6d73.jpg","35.3x25.8cm",[6],{"id":932,"slug":9799,"title":1586,"dynasty":1548,"author":9800,"museum":1663,"description":9801,"tags":9802,"thumbUrl":9803,"material":1802,"size":1580,"collection":6,"collections":9804,"showCount":9805,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"hua-niao-ce-wang-gang-237349","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[1554,1555,1556,1557,1559,1576,1690,1667,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3aa7f6b70cd20a98fe57417a482275a.jpg",[6,1613],41,{"id":933,"slug":9807,"title":9808,"dynasty":1548,"author":1853,"museum":1604,"description":5812,"tags":9809,"thumbUrl":9811,"material":3897,"size":9812,"collection":6,"collections":9813,"showCount":9805,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴",[1553,1554,1555,1622,1557,1637,3869,9810,5081,3468,1689,1691,1815,2183,1595],"盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","105.2x55.9厘米",[6,1613],{"id":934,"slug":9815,"title":7346,"dynasty":1587,"author":1732,"museum":1604,"description":9816,"tags":9817,"thumbUrl":9818,"material":2320,"size":1580,"collection":6,"collections":9819,"showCount":9805,"zanCount":1568,"manualWeight":1568,"mainColor":2601},"shuang-xi-tu-yi-ming-219978","古松虬曲苍劲，皴笔勾勒出嶙峋肌理，两只鹊鸟栖于枝桠，一者侧目远眺，一者敛羽静立，灵动生姿暗破幽寂。坡石间野卉柔婉绽放，灵芝丛生，青绿与赭石晕染出幽润山意。工写兼施，勾勒细腻却无板滞之感，沉古设色晕染出静谧雅致的氛围，将山野一隅的清宁生机铺陈开来，藏祥瑞意趣于林泉小景，尽显雅致悠远的林下况味，把幽居山野的恬然意趣凝于笔墨方寸间。",[1554,1557,1637,1622,1559,1667,3619,2038,1560,5081,1844,2274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f61b9d977cd1947a41502e7a1ac6a3.jpg",[6],{"id":935,"slug":9821,"title":9822,"dynasty":1633,"author":1732,"museum":1604,"description":9823,"tags":9824,"thumbUrl":9825,"material":1563,"size":9826,"collection":6,"collections":9827,"showCount":9805,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"hua-xia-jiang-chu-tu-yi-ming-219324","花下将雏图","画幅下面有一湖石横卧其间，湖石两侧长有几丛幽竹，枝叶伸展，匍伏于湖石上，湖石四周杂草遍地，以象征出整片的草地，对整个画面起到衬托作用。画幅右侧有湖石竖立其旁，湖石上大下小，向左倾斜，呈险势状。湖石造型奇特，玲珑剔透。湖石后有一束翠竹横出，又有几株鲜花盛开的牡丹。枝头上硕大的花朵，由绿叶衬托，更显得艳丽秀美。花枝有的向画面左侧横出，有一枝条伸展至画幅左上部位，这是妙笔，将画幅左上部位空白处填补，起到了充实和平衡整个画面的作用。在湖石和牡丹枝荫下，有鸡一公、一母、七雏，立于湖石和盛开着的牡丹的草地上，左侧公鸡低首觅食，两爪有力抓在地上，头部肉冠及肉办较大，短翼，脚健壮，跗跖及趾皆被鳞板，尾发达，体较大，羽色亦美，尾羽夸张地飘动着如海草一般；母鸡蹲伏在地上，两爪有力抓地，双翅上翘，尾巴舒展开来呈扇形，弯颈低首，双目下视；母鸡背部立一雏，另一雏在翼下，二雏藏尾后，余下三雏则在近处草地啄食，皆毛羽缕缕可见。",[4694,1554,1555,1607,1622,1637,1557,1559,1608,5034,6594,5840,2137,2038,2665,2608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553dd7adab84486b80b38f993362b208.jpg","182x102.8公分",[6],{"id":936,"slug":9829,"title":9830,"dynasty":1715,"author":5779,"museum":9831,"description":9832,"tags":9833,"thumbUrl":9836,"material":1610,"size":9837,"collection":6,"collections":9838,"showCount":9805,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"han-tang-tu-liang-kai-219075","寒塘图","哈佛艺术博物馆","寒塘漾着薄暮的影，枯树的枝桠如写尽沧桑的笔锋，斜斜划过空濛的背景。几只水鸟依偎在岸石边，绒羽的留白透着怯怯的暖，与周遭的冷寂形成温柔对照。淡墨晕开的水面，似有若无的波纹，把清寒气息漫向画外。\n\n减笔不简意，枯槁里藏生机，空疏中含情味——萧瑟里是生命在冷意中的坚守，空濛间是天地幽远的淡然。寥寥数笔，将冬日寒塘的清寂与微芒揉合，每一处墨色浓淡、线条曲直，都藏着对自然的深刻观照：冷到极致时，反而见得生命本真的模样。这方圆镜里，是画，更是心与天地的对话。",[1554,1591,9834,1843,5336,2137,1667,1707,9835],"减笔","寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3589e99e2899dbb7d805d459868c98e0.jpg","24.6x25.7cm",[6],{"id":937,"slug":9840,"title":9841,"dynasty":1715,"author":1732,"museum":1550,"description":9842,"tags":9843,"thumbUrl":9844,"material":1610,"size":9845,"collection":6,"collections":9846,"showCount":9805,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"he-tang-ji-ling-tu-yi-ming-218965","荷塘鹡鸰图","枯枝斜倚间，鹡鸰敛翅而立。羽色黑白相衬：墨色背羽似覆薄霜，腹羽轻敷淡粉，尾羽挺括如剑；尖喙微垂，似在打量水面游弋的细物，爪尖紧扣枝桠，力道藏于柔劲线条。背景是朦胧荷塘一角：淡墨晕染的荷叶若隐若现，水波漾成细碎纹理，远处岸汀模糊成浅褐色块，留白处似有清风掠过。\n\n整幅画以小见大，写实中透着空灵。无繁复堆砌，仅用简练笔墨勾勒生命鲜活——宋人的雅致尽在方寸间。观者于静谧里捕捉自然幽微：鸟的凝神、风的轻拂、水的微动，皆融于淡雅色调，似能听见荷叶婆娑，触到空气里的湿润凉意。",[1607,1554,1555,2161,1637,1557,1559,1692,1667,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa026a32cb53006818e2bc15bbd910790.jpg","22.4x23cm",[6],{"id":938,"slug":9848,"title":2376,"dynasty":1548,"author":9849,"museum":1604,"description":9850,"tags":9851,"thumbUrl":9852,"material":1610,"size":9853,"collection":6,"collections":9854,"showCount":9805,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-niao-tu-yu-sheng-218876","俞笙","绘制八哥相搏，情态甚为生动。画柳、芙蓉、草虫，笔意潇洒简当。",[1554,1557,1637,1591,1559,1667,1608,3740,1594,1954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027ca06eef5220d7c34a3b53d8eedd35.jpg","132.5x49cm",[6],{"id":939,"slug":9856,"title":9857,"dynasty":1587,"author":3147,"museum":1604,"description":9858,"tags":9859,"thumbUrl":9860,"material":1610,"size":9861,"collection":6,"collections":9862,"showCount":9805,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"xue-jing-ling-mao-tu-lv-ji-218841","雪景翎毛图","图绘雪后萧条，江天如墨。群凫畏寒相聚，半入睡乡。冻雀寒鸠，栖依衰柳，皆体贴入微，直同真景，而笔墨浑朴，不求繁缛，较之他作，似又更多一层古趣。",[1554,1637,1557,1559,3740,2609,2608,9383,2277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38d71dfec08e8c1a64f428f5c218ce0.jpg","169.6x90.5cm",[6],{"id":940,"slug":9864,"title":5624,"dynasty":1715,"author":2083,"museum":1604,"description":9865,"tags":9866,"thumbUrl":5627,"material":1610,"size":9868,"collection":6,"collections":9869,"showCount":9805,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"qiu-qing-cong-ju-tu-lin-chun-218678","晴光轻洒，簇簇秋菊绽于绢素间。瓣瓣舒展如凝霜，或嫩黄带暖，或素白含清，层叠纹理似能触到柔润质感。叶片墨色浓淡相宜，脉络隐现风中之姿，转折处藏着未褪的生机。圆形构图里，花枝错落有致，留白处似有余晖漫漾。笔触细腻却不刻意，设色温润清雅，将秋晴下菊的恬淡与灵动凝于方寸。仿佛能嗅到淡淡的菊香，随微风漫过画面，静享这秋日里的一抹雅致闲逸。每一处细节皆见匠心，把晴秋的清和与菊的风骨，悄然融于这一方团扇之中。",[1553,1607,1554,1555,1637,1557,1559,1696,9867,1595],"秋","25x26.5",[6],{"id":941,"slug":9871,"title":9872,"dynasty":1548,"author":2972,"museum":1663,"description":8853,"tags":9873,"thumbUrl":9874,"material":1580,"size":1580,"collection":6,"collections":9875,"showCount":9876,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mei-zhu-tu-zhou-wu-chang-shuo-239219","梅竹图轴",[1554,1555,1622,1591,1557,1559,1689,1690,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[6],40,{"id":942,"slug":9878,"title":9879,"dynasty":1548,"author":9880,"museum":1663,"description":9881,"tags":9882,"thumbUrl":9884,"material":1580,"size":1580,"collection":6,"collections":9885,"showCount":9876,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-qia-xuan-yuan-tu-ce-huang-yue-238274","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[1554,1557,1559,1556,9883,1765,1901,1749,1955,1764,1707],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[6,1613],{"id":943,"slug":9887,"title":9888,"dynasty":1587,"author":9889,"museum":1663,"description":9890,"tags":9891,"thumbUrl":9892,"material":1580,"size":1580,"collection":6,"collections":9893,"showCount":9876,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[1554,1555,1622,1557,1637,1559,3141,3980,1667,2666,2278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[6,1613],{"id":944,"slug":9895,"title":9896,"dynasty":1587,"author":9897,"museum":1683,"description":9898,"tags":9899,"thumbUrl":9900,"material":1802,"size":1580,"collection":6,"collections":9901,"showCount":9876,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mo-zhu-tu-zhou-wang-duo-236980","墨竹图轴","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n明朝万历二十年（1592年），生于河南孟津县。天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[1554,1591,1622,1690,1595,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51936768834ede011f6ae5fbcc3fc68b.jpg",[6,1934],{"id":945,"slug":9903,"title":9904,"dynasty":1548,"author":1874,"museum":1683,"description":9113,"tags":9905,"thumbUrl":9906,"material":1580,"size":1580,"collection":6,"collections":9907,"showCount":9876,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shu-shi-zhou-ren-yi-236932","树石轴",[1554,1555,1622,1557,2274,1591,1843,1668,1669,2416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247e360fb7e59b111c8c0d5ee3fec789.jpg",[6,1934],{"id":946,"slug":9909,"title":2413,"dynasty":1548,"author":1758,"museum":1663,"description":9910,"tags":9911,"thumbUrl":9912,"material":1580,"size":1580,"collection":6,"collections":9913,"showCount":9876,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"za-hua-ce-hua-yan-234298","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[1554,1556,1557,1559,1690,1592,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18261950f2c430698f9dc86a6d3b1d6c.jpg",[6,2141],{"id":947,"slug":9915,"title":9916,"dynasty":1548,"author":8271,"museum":9917,"description":9918,"tags":9919,"thumbUrl":9921,"material":1892,"size":9922,"collection":6,"collections":9923,"showCount":9876,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"xiong-ji-tu-zhou-huang-shen-222673","雄鸡图轴","中国国家博物馆","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[1553,1554,1555,1622,1591,1557,1562,9920,1953,2416,1559],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纵124.6厘米，横59.8厘米",[6,1613],{"id":948,"slug":9925,"title":9926,"dynasty":1715,"author":1634,"museum":1604,"description":9927,"tags":9928,"thumbUrl":9929,"material":1903,"size":9930,"collection":6,"collections":9931,"showCount":9876,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"san-shu-tu-zhou-qian-xuan-221706","三蔬图轴","画塘上有乾隆帝题：秋圃真香。钱选（约1235-1307前），字舜举，浙江吴兴人。工诗，善书画，与赵孟俯同为“吴兴八俊”之一。",[1553,1554,1557,1637,5733,5824,2121,2666,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ac9cca7755d4ddbdc81bfe39278a07.jpg","97.6x47.4cm",[6,1613],{"id":949,"slug":9933,"title":6646,"dynasty":1587,"author":3147,"museum":1717,"description":9934,"tags":9935,"thumbUrl":9936,"material":1610,"size":1580,"collection":6,"collections":9937,"showCount":9876,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"song-ying-tu-lv-ji-219746","吕纪（1439年-1505年），字廷振，号乐愚，鄞（今浙江宁波）人。明代院体花鸟画家。",[1553,1554,1555,1637,1557,1559,1691,3141,1592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ac887d96b6abbbb34b17fc5d912f97.jpg",[6],{"id":950,"slug":9939,"title":9940,"dynasty":1548,"author":9319,"museum":1683,"description":9941,"tags":9942,"thumbUrl":9944,"material":1610,"size":9945,"collection":6,"collections":9946,"showCount":9876,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"cang-qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-218524","苍秋岚飞瀑图轴","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[1553,1607,1554,1622,1843,1557,2274,2038,9943,2138,1844,1842,1929],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd631dc13de2e69a5451abd4d5af28756.jpg","纵184cm，横117.7cm",[6],{"id":951,"slug":9948,"title":9949,"dynasty":1587,"author":9950,"museum":1717,"description":9951,"tags":9952,"thumbUrl":9953,"material":1610,"size":1580,"collection":6,"collections":9954,"showCount":9876,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"hua-niao-ye-chen-xun-216735","花鸟页","陈询","陈询是一位明朝画家，他出生于公元1340年左右，是著名画家陈丹青的后代。他以其优秀的绘画技艺和对自然的热爱而闻名。他的花鸟图是其代表作之一，这些作品描绘了自然界中的动植物，特别是花和鸟。这些作品通常以水墨画的形式呈现，具有浓郁的文化气息和精细的细节。陈询的花鸟图被认为是中国画的经典之作，至今仍广受欢迎。",[1554,1557,1559,1707,1556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d8256ebfba18ef8b93df884871df4c.jpg",[6],{"id":952,"slug":9956,"title":9957,"dynasty":1548,"author":9958,"museum":1604,"description":9959,"tags":9960,"thumbUrl":9962,"material":1610,"size":9963,"collection":6,"collections":9964,"showCount":9876,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"suan-ni-zhou-liu-jiu-de-216212","狻猊轴","刘九德","刘九德（Liu Jiude）是一位清朝的画家，他的狻猊图是他最著名的作品之一。狻猊图是一幅大型油画，描绘了一只狮子在草原上的场景。这幅画以其精细的细节、生动的色彩和传神的描绘而闻名。刘九德在创作狻猊图时，深受中国传统山水画的启发，并结合自己的独特艺术风格。狻猊图被认为是中国清朝时期最优秀的艺术作品之一，并被广泛收藏。",[1554,1555,1622,1557,1637,1879,9961,3619,2038,1623],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7c5161fa971df7d7b5ae04c0307600.jpg","176.8x238.5cm",[6],{"id":953,"slug":9966,"title":9967,"dynasty":1548,"author":1732,"museum":1683,"description":9968,"tags":9969,"thumbUrl":9972,"material":1846,"size":1580,"collection":6,"collections":9973,"showCount":9974,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"hong-li-gu-zhuang-tong-jing-ping-yi-ming-236178","弘历古装通景屏","此作以高远法铺展冬日盛景，层叠群山覆着素雪，枯木寒林错落山间，淡墨晕染留白尽显积雪清寒之气，绘出北地冬日的萧寒辽远。\n\n下方宅邸界画工整流利，屋舍俨然。庭院之内人物往来鲜活灵动，或伫立寒暄，或穿梭备事，衣饰鲜亮，为清冷天地晕开融融暖意。画面以萧寒雪景衬宅邸温煦日常，一动一静相映成趣。笔触兼具北宗山水的苍劲雄浑与院体精工之致，将幽居雅集的闲逸意趣，融在素裹天地之中，清冷意境与人间暖意交织，尽显古典园居的雅致韵味。",[1554,1555,9970,1557,1637,1840,1843,1842,1841,1844,3187,9971],"屏","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded276fb2933bdf92b40267c15571dff.jpg",[6,2141,2419,1613],39,{"id":954,"slug":9976,"title":9977,"dynasty":1587,"author":9978,"museum":1663,"description":9979,"tags":9980,"thumbUrl":9985,"material":1580,"size":1580,"collection":2141,"collections":9986,"showCount":9974,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shan-shui-ce-li-liu-fang-235817","山水册","李流芳","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[1554,1555,1556,1591,1557,2274,1843,1844,2038,4854,2071,9981,6618,9982,9983,9984,2277],"平远","林木","坡岸","民居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[2141,6],{"id":955,"slug":9988,"title":9989,"dynasty":1548,"author":1662,"museum":1683,"description":9990,"tags":9991,"thumbUrl":9992,"material":3563,"size":9993,"collection":6,"collections":9994,"showCount":9974,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[1553,1554,1555,1622,1637,1557,1843,5595,1879,1816,4825,2138,2278,1844,1623,2124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","184cm 96.6cm",[6,1613],{"id":956,"slug":9996,"title":9997,"dynasty":1548,"author":6647,"museum":2211,"description":9998,"tags":9999,"thumbUrl":10001,"material":10002,"size":10003,"collection":2141,"collections":10004,"showCount":9974,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhi-hua-xi-lie-zhi-hua-xin-zhu-gao-qi-pei-222646","指画系列-指画·新竹","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[1553,1554,1555,10000,1591,1690,1595],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb762941767222f61c46e64997c0aa546.jpg","浅设色","35.88x57.31cm",[2141,6],{"id":957,"slug":10006,"title":10007,"dynasty":1715,"author":1732,"museum":1604,"description":10008,"tags":10009,"thumbUrl":10010,"material":2028,"size":10011,"collection":1726,"collections":10012,"showCount":9974,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[1553,1554,1555,1622,1559,1557,1637,3320,2013,1577,3416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 167厘米",[1726,6,1613],{"id":958,"slug":10014,"title":10015,"dynasty":1548,"author":10016,"museum":1604,"description":10017,"tags":10018,"thumbUrl":10021,"material":1563,"size":10022,"collection":6,"collections":10023,"showCount":9974,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hai-cuo-tu-di-si-ce-nie-huang-219667","海错图第四册","聂璜","清代康熙年间一部主要描绘海洋生物的图谱，由聂璜绘制，共四册。清雍正四年（1726年），被太监苏培盛搜罗入宫，现第一、二、三册，共三存于北京故宫博物院，第四册存于台北故宫博物院。",[1554,1556,1555,1557,1637,10019,10020],"贝类","海洋生物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4eb0f7a8d554200285becf061fb80f4.jpg","30.4x68厘米",[6],{"id":959,"slug":10025,"title":10026,"dynasty":1548,"author":10027,"museum":1573,"description":10028,"tags":10029,"thumbUrl":10031,"material":1625,"size":10032,"collection":2141,"collections":10033,"showCount":9974,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"han-tang-xi-chi-tu-wang-hui-219355","寒塘鸂鶒图","王翚","《寒塘鸂鶒图》描绘的是江南随处可见的池塘一角，有稀疏的草木、零散的荷叶苇草，以及在当中玩耍的水鸟。近景向中远景延伸，墨色渐渐转淡，隐隐约约可以看见一些景物，相当朦胧虚幻，彷彿隔着一片薄雾，富有诗意。",[1553,1554,1555,1591,2274,10030,1692,5370,2137,1707,2013],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4dce38db866812034183e07f13c1b6.jpg","73 x 41.6 公分",[2141,6],{"id":960,"slug":10035,"title":10036,"dynasty":1715,"author":9354,"museum":1604,"description":10037,"tags":10038,"thumbUrl":10039,"material":1610,"size":10040,"collection":6,"collections":10041,"showCount":9974,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"liu-tang-yuan-xi-tu-ma-he-zhi-219231","柳塘鸳戏图","风拂柳丝软，池漾碧波轻。柳条以淡墨勾勒，柔韧如丝，似随微风拂动水面，余韵悠悠。塘岸简笔皴擦，草色依稀，野趣天成。鸳鸯两两相戏，红羽点缀素净底色，情态亲昵自然，于静谧中添一抹生动。笔墨疏朗却意韵丰满，不刻意渲染却得自然之趣，恰是宋人崇尚的“平淡天真”之境。观之如临清塘畔，柳风轻拂，鸳鸯悠游，心亦随之沉静，仿佛能闻水波轻响，感受那份独属于宋人的清雅闲逸。",[1553,1554,1607,1557,1637,1559,2822,3416,2556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a58fd64843b5aa46fa30a846f821cb.jpg","23x24.4cm",[6],{"id":961,"slug":10043,"title":10044,"dynasty":1548,"author":1732,"museum":2893,"description":10045,"tags":10046,"thumbUrl":10047,"material":1625,"size":10048,"collection":6,"collections":10049,"showCount":9974,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"shi-li-tu-yi-ming-219097","事犁图","斗笠覆顶，布衣宽袖，农夫躬身扶犁的姿态，似将田垄的气息凝在绢素之上。黑牛沉腰发力，犁铧划开的浅痕如时光笔触，在泛黄纸页间漾开生活真味。线条简劲却藏温度，无繁复设色，仅以墨色浓淡勾勒劳作肌理——农夫手背的筋络、牛身的鬃毛，都在极简中见生动。\n\n整幅画截取农耕日常的一瞬，无喧嚣，只有人与耕牛的默契，及土地里生长的烟火气。古朴绢色如岁月滤镜，让劳作的质朴更显厚重，仿佛能听见犁尖蹭过泥土的轻响，触到农人间歇时的喘息。这份对平凡劳作的描摹，藏着最本真的生活诗意，于简淡笔墨里，照见古人与土地相依的温情。",[1554,2120,1591,1841,5293,2502,2183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38490095cc1dab28575b96775c05b60e.jpg","23x27.1cm",[6],{"id":962,"slug":10051,"title":10052,"dynasty":1633,"author":2763,"museum":1604,"description":10053,"tags":10054,"thumbUrl":10056,"material":2320,"size":1580,"collection":6,"collections":10057,"showCount":9974,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"shuang-gou-shui-xian-tu-zhao-meng-fu-218744","双钩水仙图","素笺之上，水仙疏影悄然铺展。双钩线条如缕金萦玉，勾勒花叶轮廓——叶片修长劲挺，似含墨韵风骨；花瓣轻绽，脉络细劲，若凝霜雪之姿。墨色层次隐现，花叶间留白透气，衬得水仙清逸出尘。\n\n线条自带书法意趣，转折处见笔力，既摹物象之真，又抒文人雅怀。无浓艳设色，却以极简之笔，写尽“凌波仙子”的冰洁灵秀。淡墨浅痕里，仿佛有暗香浮动，于简静中藏生机，素朴中见雅致，尽显传统文人画的审美韵致，令人心驰神往。",[1553,1554,1555,2120,10055,1591,1559,1694],"双钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3a0cd86b20ca5480736257072df823.jpg",[6],{"id":963,"slug":10059,"title":10060,"dynasty":1548,"author":10061,"museum":1663,"description":10062,"tags":10063,"thumbUrl":10064,"material":1580,"size":1580,"collection":6,"collections":10065,"showCount":1644,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hong-wu-yang-ju-tu-ce-hong-wu-238160","弘旿洋菊图册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[1554,1555,1556,1637,1557,1559,1696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a5a4823fcb39f418b46b4852488828b.jpg",[6,1613],{"id":964,"slug":10067,"title":10068,"dynasty":1548,"author":1874,"museum":1683,"description":10069,"tags":10070,"thumbUrl":10073,"material":1903,"size":10074,"collection":6,"collections":10075,"showCount":1644,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yue-ye-shan-ji-tu-zhou-ren-yi-238121","月夜山鸡图轴","任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[1554,1622,1557,1591,1686,1559,10071,1707,1690,10072],"山鸡","月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059fae90ced9eeb925fdc440f4355ca3.jpg","纵111.2厘米，横55.4厘米",[6],{"id":965,"slug":10077,"title":1572,"dynasty":1587,"author":2095,"museum":1663,"description":10078,"tags":10079,"thumbUrl":10080,"material":1784,"size":1785,"collection":6,"collections":10081,"showCount":1644,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-xiang-sheng-mo-238114","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[1554,1555,1556,1591,1559,1560,1595,1688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d64ca3bfca453100e2eec44b78f1024.jpg",[6],{"id":966,"slug":10083,"title":10084,"dynasty":1548,"author":10085,"museum":1663,"description":10086,"tags":10087,"thumbUrl":10088,"material":1580,"size":1580,"collection":6,"collections":10089,"showCount":1644,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"bai-ding-lan-shi-ce-bai-ding-238033","白丁兰石册","白丁","白丁为云南人，明楚藩之裔，僧人。晚年为香海庵僧人本元当司书，八十余岁，殁于昆明。明亡，披剃游滇，居无定所。攻写兰，抒其心画，当与郑思肖、赵孟坚旷世同珍。亦能急就印章，自录一谱。本元曾为之序，今失。郑燮（郑板桥）谓其作画，不令人见，画毕微乾，用水喷噀，其细如雾。笔墨之痕，因兹化去。人以郑燮画兰学白丁，郑燮云：石涛和尚客扬州数十年，见其兰幅极多，学一半，撇一半，未尝全学也。诗曰：“十分学七要抛三，各有灵苗各自探。当面石涛还不学，何能万里学云南。” 《板桥集》、《书画纪略》、《滇南书画录》",[1607,1554,1555,1556,1591,1695,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a27f24753f601b614b775dd8f1accc.jpg",[6],{"id":967,"slug":10091,"title":10092,"dynasty":1548,"author":1732,"museum":1663,"description":10093,"tags":10094,"thumbUrl":10095,"material":1580,"size":1580,"collection":6,"collections":10096,"showCount":1644,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"qing-yuan-ben-qin-can-tu-juan-xian-jian-yi-ming-228932","清院本亲蚕图卷 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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（1719年）至扬州鬻画，人争客之。\n雍正五年（1727年）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。\n乾隆十六年(1751年)黄慎的母亲去世，他又重游扬州，居住六年，才返故里，苦度晚年。\n乾隆三十三年（1768年）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[1553,1554,1555,1556,1591,1557,1559,2012,1686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032ca96686e1dafcb055cff42ba16f41.jpg",[6],{"id":979,"slug":10183,"title":10184,"dynasty":1715,"author":3307,"museum":1812,"description":10185,"tags":10186,"thumbUrl":10187,"material":10188,"size":10189,"collection":1726,"collections":10190,"showCount":10160,"zanCount":1568,"manualWeight":1568,"mainColor":2006},"sha-zhu-fu-chu-tu-cui-bai-221446","沙渚凫雏图","崔白（1004-1088），中國北宋畫家，字子西，活躍於宋神宗前後，濠州（今安徽鳳陽）人。崔白是開始發揮寫生精神的畫家，其無前人的畫稿可臨摹或參考，但其依靠超越前人的觀察研究及描繪能力，探索花木鳥獸的生意，擺脫花鳥屬裝飾圖案的遺影，開創新的發展方向。其擅花竹、翎毛，亦長於佛道壁畫，畫佛道鬼神、山水、人物亦精妙絕倫，尤長於寫生。所畫鵝、蟬、雀堪稱三絕，手法細緻，形象真實，生動傳神，富於逸情野趣。一改百餘年墨守成規的花鳥畫風（指「黃筌畫派」），成為北宋畫壇的革新主將，數百年來頗受畫壇尊崇。",[1553,1607,1554,1555,1559,1557,1637,2608,1707,2013,1953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86470bd0b6cb5ed33a9003d7bca038ca.jpg","册页，绢本","31.4cm×25.7cm",[1726,6,1613],{"id":980,"slug":10192,"title":10193,"dynasty":1715,"author":10194,"museum":2057,"description":10195,"tags":10196,"thumbUrl":10197,"material":1610,"size":10198,"collection":6,"collections":10199,"showCount":10160,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ying-zhu-ye-qin-tu-chao-shuo-zhi-220257","鹰逐野禽图","晁说之","晁说之（1059-1129），字以道，一字伯以，济州钜野（今山东巨野）人（《宋史·晁补之传》）。因慕司马光为人，自号景迂生。神宗元丰五年（1082）进士。哲宗元祐初，官兖州司法参军，绍圣时为宿州教授，元符中知磁州武安县。徽宗崇宁二年（1103），知定州无极县。后入党籍。大观、政和间监明州造船场，起通判鄜州。宣和时知成州，未几致仕。钦宗即位，以著作郎召，除秘书少监、中书舍人，复以议论不合，落职。高宗立，召为侍读，后提举杭州洞霄宫。建炎三年卒，年七十一。有《嵩山文集》（又名《景迂生集》）二十卷。事见《嵩山文集》附录其孙子健所作文集后记、《晁氏世谱节录》，及集中有关诗文。晁说之诗，以四部丛刊续编影印旧钞本《嵩山文集》（集中“祯”字皆缺，注“今上御名”，当沿宋本之旧）为底本。校以影印文渊阁《四库全书》本（简称四库本）等。新辑集外诗，附於卷末。",[1553,1554,1555,1622,1637,1591,1557,1559,1667,3141,8950,1955,1953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9b3c49df88c28a1d7b446c5a24edbc.jpg","168.2厘米×86.6厘米",[6],{"id":981,"slug":10201,"title":10202,"dynasty":1587,"author":8201,"museum":1717,"description":10203,"tags":10204,"thumbUrl":10205,"material":1610,"size":1580,"collection":6,"collections":10206,"showCount":10160,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"hua-niao-tu-yi-yue-zhou-219325","花鸟图(一)","枯枝虬曲如铁，却绽几点新红，似冬末春初的暖意悄然浸来。枝上双禽相顾，羽色黑白分明，灵动如生；坡前雉鸡敛翅，尾羽拖曳如绢，斑驳羽纹间藏着野趣。花木与禽鸟相契，笔墨工致处见羽毛肌理，写意处显枝干苍劲，松针细劲，山石朴拙，似能听见枝间轻啼，嗅到草间清芬。整幅画面古雅静谧，生机暗涌，将自然之趣凝于绢素，尽显传统花鸟的意韵悠长。",[1553,1554,1555,1622,1637,1557,1559,1689,2137,9654,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095ebf46cf6c15794eea3c98ab045de1.jpg",[6],{"id":982,"slug":10208,"title":10209,"dynasty":1587,"author":1732,"museum":2893,"description":10210,"tags":10211,"thumbUrl":10212,"material":1610,"size":10213,"collection":6,"collections":10214,"showCount":10160,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"yu-qin-tu-yi-ming-219078","浴禽图","画的是一只站在木盆边上的黑鸟，盆里装了一半的水，鸟的嘴很尖，全身都是黑毛，翅膀中间和尾羽上都有一族白色的羽毛装饰。",[1554,1607,1555,1637,1557,1559,1667,2183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05cb17584d98781bb9ead39718e572d4.jpg","23.5x23.5cm",[6],{"id":983,"slug":10216,"title":10217,"dynasty":1548,"author":10218,"museum":1604,"description":10219,"tags":10220,"thumbUrl":10221,"material":1610,"size":10222,"collection":6,"collections":10223,"showCount":10160,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"xian-quan-tu-liu-yi-218879","仙犬图","刘亿","几只仙犬或蜷卧小憩，或嬉戏逗趣，毛羽勾勒得柔润细腻，神态憨态可掬，似含灵韵。近旁老枝盘曲，素花点缀枝头，暗香仿佛随风轻溢；石矶以墨色皴染，苍劲中带着朴拙。背景淡褐晕开，虚实相映，留白处漾着空濛意趣，更衬出犬儿的灵动与花木的清雅。笔墨浓淡相宜，细腻却不刻意，将生灵之趣与幽境之美融于尺幅间，似能感受到画者对自然生灵的温柔观照，观之令人心生悠然，满是沁人的雅致。",[1554,1555,1607,1557,1637,1879,5911,1668,1669,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc59a546e228caa4b665afbe19974a9f.jpg","42.2x56.8cm",[6],{"id":984,"slug":10225,"title":10226,"dynasty":1548,"author":8148,"museum":1704,"description":10227,"tags":10228,"thumbUrl":10229,"material":1610,"size":10230,"collection":6,"collections":10231,"showCount":10160,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[1553,1554,1555,1607,1622,1637,1591,1559,2822,1592,3176,3416,1930,1669,1844,1667,3321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[6],{"id":985,"slug":10233,"title":10234,"dynasty":1715,"author":1732,"museum":1604,"description":10235,"tags":10236,"thumbUrl":10237,"material":1610,"size":10238,"collection":6,"collections":10239,"showCount":10160,"zanCount":1568,"ma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希望多子 的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[1553,1607,1554,1555,1556,1637,1557,1747,5824,1901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[6],{"id":986,"slug":10241,"title":10242,"dynasty":1715,"author":3307,"museum":1604,"description":10243,"tags":10244,"thumbUrl":10247,"material":1610,"size":10248,"collection":6,"collections":10249,"showCount":10160,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"qiu-feng-jin-feng-tu-cui-bai-218701","秋风金凤图","这幅画描绘了一株绿叶红花的凤仙花，枝叶整齐，花瓣自然。铭文中的 崔白 是不真实的，应该是后来的归属。",[1553,1554,1555,1556,1557,1637,1559,10245,1593,10246],"金凤花","秋风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38eb6e795308295e5ccd85afcb7adb45.jpg","22.9x26cm",[6],{"id":987,"slug":10251,"title":10252,"dynasty":1633,"author":2875,"museum":1604,"description":10253,"tags":10254,"thumbUrl":10256,"material":2151,"size":1580,"collection":6,"collections":10257,"showCount":10160,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-quan-xiao-ting-wu-zhen-218664","竹泉小艇","墨韵淋漓间，翠竹苍劲挺拔，枝叶以劲挺之笔写出，墨色浓淡交错，似有清风穿叶而过。泉流隐于山石缝隙，虽未见全貌，却借留白与苔点暗喻潺潺之态。近处小艇泊于岸侧，舟中无人，留白生趣，引人遐想隐士或倚竹听泉，或泛艇寻幽。远处山峦以淡墨皴染，云雾轻笼，尽显江南山水的悠远空寂。整幅画以水墨为骨，诗意入魂，将文人隐逸情怀融于尺幅间，笔意简远却意蕴深长，仿佛能闻竹声泉响，触到那份远离尘嚣的淡然心境，尽显元人山水的空灵与闲适。",[1553,1554,1607,1555,1562,1591,2274,1843,1690,10255,2501],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13688cdad196b0705ce407027cb5e838.jpg",[6],{"id":988,"slug":10259,"title":10260,"dynasty":1548,"author":2972,"museum":1663,"description":8853,"tags":10261,"thumbUrl":10262,"material":1580,"size":1580,"collection":6,"collections":10263,"showCount":10264,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"teng-luo-tu-zhou-wu-chang-shuo-239176","藤萝图轴",[1554,1622,1559,1686,1557,1591,2124,1593,2125,1595,1562,3269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202c0b852afa26acbbbea618af316f2d.jpg",[6],36,{"id":989,"slug":10266,"title":10267,"dynasty":1548,"author":10268,"museum":1663,"description":10269,"tags":10270,"thumbUrl":10271,"material":1580,"size":1580,"collection":6,"collections":10272,"showCount":10264,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"tian-ma-xian-rui-tu-zhou-ding-guan-peng-238134","天马献瑞图轴","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。",[1554,1555,1622,1557,1637,1841,2070,1667,1843,1668,2075,2072,2074,2276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555d4db6996ce7a4c36e4c570f989413.jpg",[6,2419,1613],{"id":990,"slug":10274,"title":10275,"dynasty":1587,"author":10276,"museum":1663,"description":10277,"tags":10278,"thumbUrl":10279,"material":1802,"size":1580,"collection":6,"collections":10280,"showCount":10264,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"sun-di-zhu-shi-shui-xian-zhou-sun-di-237370","孙杕竹石水仙轴","孙杕","孙杕(清)字子周，一字漫士，号竹痴，钱塘(今杭州)人。与陈洪绶同时。用笔遒劲，画写生花鸟直逼黄筌、赵昌，尤精钩勤飞白竹石。兼工分、隶、竹、草。李告辰本西厢记中陈洪绶所画莺莺像后，有所画仿离图、竹图。天启二年(一六二二)曾作海棠图赠吴令，蓝田叔题之。顺治八年(一六五一)作梅花册(明画隶、图绘宝鉴续纂、中国版画史图录、清画家诗史)",[1554,1622,1591,1637,2274,1690,1669,1694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd100e03927364d1cd72ca46bb6e8ee.jpg",[6],{"id":991,"slug":10282,"title":10283,"dynasty":1548,"author":2972,"museum":1663,"description":3352,"tags":10284,"thumbUrl":10285,"material":1580,"size":1580,"collection":6,"collections":10286,"showCount":10264,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shui-xian-shi-zhou-wu-chang-shuo-236534","水仙石轴",[1554,1555,1622,1607,1686,1591,1557,1707,1694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360c9041d2e14afe6b7ddc54dad153cd.jpg",[6,1934,3062],{"id":992,"slug":10288,"title":10289,"dynasty":1633,"author":2763,"museum":1604,"description":10290,"tags":10291,"thumbUrl":10292,"material":1802,"size":10293,"collection":6,"collections":10294,"showCount":10264,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shuang-jun-tu-juan-zhao-meng-fu-220838","双骏图卷","“书画同源”这四个字简单地概括出了书法和绘画之间的相互关系。书法和中国画作为中国最传统的两门艺术，本就存在着许多相似之处。笔墨纸砚作为书写时的必要工具，同时也是中国画在绘画时的必要工具。另外，书法作为一门线的艺术，其本身在于研究线的多样性，同样，中国画如果失去了线，本身也毫无艺术感可言。\n由此可见，书法和绘画本身是相同的。“书画同源”的绘画理想是通过文人画家的努力实现的。赵孟頫作为一个艺术全才，在书法和绘画领域都有着极高的成就，为书法和绘画的结合提供了坚实的基础。\n赵孟頫在绘画中追求画面的真实和完美，身体力行，擅长山水、花鸟、人物、鞍马和竹石墨戏，同时亦精通工笔、写意、设色、水墨，并且在长期的实践中，他逐渐厚积薄发，取得了高超精湛的技艺，以其凝重简练，浓丽隽秀的艺术语言，通过不断的努力，他将书法与绘画用笔有机地结合起来，找到了书画的内在联系，转移了一代画风，对元代文人画的理论、技法、风格的兴盛起到了开创性的作用，在中国绘画历史上占据了举足轻重的地位，尤其是文人画史留下了浓郁的一笔。",[1553,1554,1555,1607,1666,1557,1637,2070,2275,2074,5878,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915d4bbcd23d66254959e7c9838e7b20.jpg","纵19cm",[6,1613],{"id":993,"slug":10296,"title":10297,"dynasty":1715,"author":8240,"museum":1604,"description":10298,"tags":10299,"thumbUrl":10302,"material":1610,"size":10303,"collection":6,"collections":10304,"showCount":10264,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"hua-qi-shi-an-chun-tu-cui-que-219949","画杞实鹌鹑图","林野中的某个角落，一株枸杞以及禾草旁，有只鹌鹑正眈眈地望著地上的蝼蛄。蝼蛄从土穴中爬出後，在地上恍恍惚惚地游走，没有察觉大难即将临头。",[1553,1607,1554,1555,1637,1557,1559,4779,10300,1593,10301],"杞实","小虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe749a2e7ecdcdc364f38650b480dde.jpg","27.5 x 25.5公分",[6],{"id":994,"slug":10306,"title":10307,"dynasty":1633,"author":1732,"museum":1683,"description":10308,"tags":10309,"thumbUrl":10310,"material":1610,"size":1580,"collection":6,"collections":10311,"showCount":10264,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ying-fu-tu-yi-ming-219258","鹰凫图","画面定格鹰扑击野鸭的瞬间：鹰爪紧扣猎物，翎羽贲张如蓄势之弓，野性力量破纸而出；野鸭双翼垂落却仍微挣，脖颈屈折间藏着不甘，生死博弈的张力在方寸间拉满。背景芦苇疏淡、岩石朴拙，以极简之笔衬出主体冲突，暗合元代对生命张力的隐寓。笔墨细腻处见翎羽纹理纤毫毕现，粗犷处显山石气韵苍劲，动静相生间，将自然法则的残酷与壮美凝于绢素，尽显元代花鸟画写实与写意交融的妙境——于无声处听惊雷，于绢素间观天地。",[1554,1607,1559,1637,1557,3141,9221,2038,5878,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cc36a821ca8467128e4f60dec1bde6.jpg",[6],{"id":995,"slug":10313,"title":10314,"dynasty":1587,"author":1732,"museum":2057,"description":10315,"tags":10316,"thumbUrl":10317,"material":1610,"size":10318,"collection":6,"collections":10319,"showCount":10264,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"he-tang-shuang-lu-tu-yi-ming-218989","荷塘双鹭图","深褐底色如浸了岁月的绢帛，将双鹭与青荇轻轻托于画的下半阙。一鹭昂首引颈，尖喙似欲刺破空寂；一鹭敛首依偎，绒羽在淡墨晕染下泛着温润光泽。几丛水草如翠带轻扬，碧色破了沉郁底色，添几分野逸生机。画面上虚下实，留白处似有无尽烟波，静谧中藏着自然的温情。笔墨细腻却不繁缛，鹭鸟的姿态、水草的柔劲，皆透着恬淡的生机，如观一段无人惊扰的水泽时光，清寂又动人。",[1554,1637,1557,1559,3415,1577,3321,1930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aa8a8cedcc6e9b6cc62630b1cae3dd.jpg","99x43.2cm",[6],{"id":996,"slug":10321,"title":10322,"dynasty":1587,"author":1732,"museum":2057,"description":10323,"tags":10324,"thumbUrl":10325,"material":1610,"size":10326,"collection":6,"collections":10327,"showCount":10264,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[1554,1555,1591,1557,1637,2274,3141,2275,5336,7143,2278,4825,2138,1953,1707,2608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[6],{"id":997,"slug":10329,"title":10330,"dynasty":1633,"author":7892,"museum":1604,"description":10331,"tags":10332,"thumbUrl":10334,"material":1610,"size":10335,"collection":6,"collections":10336,"showCount":10264,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"cang-ya-gu-shu-tu-chen-lin-218668","苍崖古树图","这幅画描绘了一条河的两岸，笔触简单而清晰。较早的记录显示，这是一位无名的元代画家的作品，但结合顾瑛的题词和两个残存的印章来看，这是赵孟頫的弟子陈琳的作品。",[1553,1554,1555,1591,2274,1556,1843,10333,1707,1667],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F382f50b644095d01a6b64f045370d65f.jpg","31.2x47.4cm",[6],{"id":998,"slug":10338,"title":10339,"dynasty":1587,"author":3961,"museum":1550,"description":10340,"tags":10341,"thumbUrl":10342,"material":1580,"size":1580,"collection":6,"collections":10343,"showCount":10264,"zanCount":1568,"manualWeight":1568,"mainColor":10344},"li-hua-shuang-niao-tu-zhou-tan-zhi-yi-201826","梨花双鸟图轴","双鸟栖于梨花枝间，一昂首似盼，一低首若思，羽色明丽：墨羽衬粉腹，红喙点翠冠，姿态鲜活传神。梨花以淡墨勾描轮廓，填染白粉，清雅如凝雪；枝叶用细劲线条勾勒，敷以浅绿，晕染细腻自然。绢本底色古朴温润，与花鸟的鲜妍相映成趣，营造出静谧悠然的意境。工笔技法精巧，线条婉转，设色雅致，既显自然生机，又蕴文人雅趣，仿佛春风拂过，梨花轻颤，鸟鸣声幽，尽显传统花鸟之韵致。",[1637,1559,1557,2214,1667,1622,1554,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f104372fc2a4f302977798c26fb281.jpg",[6],"98815c",{"id":999,"slug":10346,"title":10347,"dynasty":1548,"author":10348,"museum":1663,"description":10349,"tags":10350,"thumbUrl":10351,"material":1802,"size":10352,"collection":6,"collections":10353,"showCount":1600,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-zhou-chen-shu-238972","花卉轴","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[1554,1555,1622,1557,1591,1559,1827,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8444c4174ac46ef74113137226711cf.jpg","33*65厘米",[6,3062],{"id":1000,"slug":10355,"title":10356,"dynasty":1548,"author":1837,"museum":10357,"description":10358,"tags":10359,"thumbUrl":10360,"material":1846,"size":10361,"collection":6,"collections":10362,"showCount":1600,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-yin-xi-ling-tu-zhou-lang-shi-ning-238081","竹荫西狑图轴","沈阳故宫博物院","郎世宁，西名加斯提里阿纳Giuseppe，意大利美朗诺市人。于康熙五十四年(1715)来华传教，时年27岁，召入内廷为画院供奉，历仕三朝。画法参酌中西，善写生，人物、花鸟，奕奕有神，尤工画马，如百骏图、名马图、武功图至今有声世界。郎氏初本欲将西法输入中国，因不为清帝所喜，遂创折衷画法。一时从之学者甚众，流风至今未绝。卒年七十八。《故宫郎世宁画集》。郎世宁的主要活动在乾隆时，除了画弘历的肖像外，为清宫画了不少战功图，也画马、画花卉。郎世宁参酌中西画法，设色艳丽，精工细致。",[1607,1554,1555,1622,1557,1637,1690,1560,5911,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af978560aaab5bcd5e5a1dd51cf3f2.jpg","246×133厘米",[6,1613],{"id":1001,"slug":10364,"title":10365,"dynasty":1548,"author":7968,"museum":1663,"description":10366,"tags":10367,"thumbUrl":10368,"material":1802,"size":1580,"collection":6,"collections":10369,"showCount":1600,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shuang-yu-tu-zhou-li-fang-ying-237639","双鱼图轴","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一 。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[1554,1555,1622,1591,1688,1595,1686,2687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b19355579f3c5af08250390d4501ce2.jpg",[6],{"id":1002,"slug":10371,"title":10372,"dynasty":1715,"author":1732,"museum":1663,"description":10373,"tags":10374,"thumbUrl":10375,"material":1580,"size":1580,"collection":6,"collections":10376,"showCount":1600,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"bai-tou-cong-zhu-tu-ye-yi-ming-227901","白头丛竹图页","《白头丛竹图》是南宋佚名创作的绢本设色画，现藏于 。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[1553,1607,1554,1555,2161,1556,1637,1557,1559,1690,1667,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[6],{"id":1003,"slug":10378,"title":10379,"dynasty":1548,"author":10380,"museum":1663,"description":10381,"tags":10382,"thumbUrl":10383,"material":1580,"size":1580,"collection":2141,"collections":10384,"showCount":1600,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shan-shui-hua-hui-ce-fu-shan-224270","山水花卉冊","傅山","此作用笔纵逸随性，以淡墨写垂柳长条，笔致轻柔连贯，如见春风拂柳之姿。芙蓉花以浓淡墨色晕染点簇，淡墨勾描花瓣轮廓，浓墨点苔铺叶，干湿互衬，尽显花之娇柔蓬松。\n\n画面留白疏朗，右上角题字与绘景相映成趣，诗画交融间尽显文人画萧散简淡的意韵。整幅水墨写意不重形似而尚神趣，带着林下幽人的闲适疏放，将花木清灵与文人澹泊襟怀相融，寥寥笔墨间晕染出清逸脱俗的雅致氛围。",[1553,1554,1555,1556,1591,1559,2048,1608,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b0015526d185a3e1348fa9df2adfd1.jpg",[2141,6],{"id":1004,"slug":10386,"title":10387,"dynasty":1587,"author":1888,"museum":1683,"description":10388,"tags":10389,"thumbUrl":10390,"material":3819,"size":10391,"collection":6,"collections":10392,"showCount":1600,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ku-mu-shu-huang-tu-zhou-wen-zheng-ming-221993","枯木疏篁图轴","此图绘古松如龙，虬干曲枝，老气横秋；疏竹翠色盎然，丛簇纷披。画家运用自己在书法尤其是行草书方面的高深造诣和雄放的笔力，以湿润淋漓的墨色自由挥写，既表现了雨后竹树苍润欲滴、秋意渐浓的状态和美感，也反映出作者安逸闲适的放松心态，是文徵明盛年粗笔绘画中具有较强笔墨个性和诗化意境的作品之一。",[1553,1559,1690,1591,1686,1622,1802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772a95dcda3e0ac56d1e3817034c10bf.jpg","纵88.2厘米，横47.8厘米",[6,1613],{"id":1005,"slug":10394,"title":10395,"dynasty":1587,"author":8868,"museum":1604,"description":10396,"tags":10397,"thumbUrl":10398,"material":1563,"size":10399,"collection":6,"collections":10400,"showCount":1600,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"qiu-lao-wu-tong-zhou-lan-ying-219399","秋老梧桐轴","描绘了秋色节令，而图中乾隆皇帝的题诗又为此画增添了流传千古的一段文坛佳话。",[1554,1622,1557,1637,1559,2707,1592,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4552d34b1f14023a19d7989f826fdca7.jpg","136.6x31.2",[6],{"id":1006,"slug":10402,"title":10403,"dynasty":1633,"author":4505,"museum":4159,"description":10404,"tags":10405,"thumbUrl":10406,"material":1610,"size":10407,"collection":6,"collections":10408,"showCount":1600,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"liu-xia-cang-lu-tu-zhao-yong-219086","柳下苍鹭图","古梅树浓密，枝头红梅，花开锦绣。 三只白鹭站在粗杆上，昂首挺胸； 发芽的柳条垂下几根，沐浴着春风，像一堵绿墙一样在两边摆动； 小鸟躲在里面，拿着柳条在秋千上荡秋千，或者栖息在春天里，互相欣赏。",[1554,1607,1555,1622,1637,1557,1559,3740,3415,1827,1667,4658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e32fdc6ff622340002106f04ee40b3a.jpg","231.1x101.9cm",[6],{"id":1007,"slug":10410,"title":10411,"dynasty":1587,"author":10412,"museum":1573,"description":10413,"tags":10414,"thumbUrl":10415,"material":1610,"size":1580,"collection":6,"collections":10416,"showCount":1600,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"lu-tu-zhou-yuan-216727","鹿图","周渊","周渊（1352年－1419年）是明朝时期的一位学者，他在明朝时期撰写了一本名为《鹿图》的书。这本书的主要内容是关于中国历史的，其中包括有关周渊所生存的时代的历史事件和人物的记录。周渊还编写了许多其他的书籍，其中包括《古今图书集成》、《汉学义谈》和《顺治图书》。周渊是明朝时期著名的历史学家和文学家，他在当时期对中国历史的研究和记录有着很大的贡献。",[1554,1622,1557,1637,1879,3644,1668,1670,2278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20428cbe62ec60d3b6feb86ebda3315c.jpg",[6],{"id":1008,"slug":10418,"title":10419,"dynasty":1648,"author":2605,"museum":1604,"description":10420,"tags":10421,"thumbUrl":10422,"material":1784,"size":1785,"collection":6,"collections":10423,"showCount":10424,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"chang-chun-zhu-que-zhou-huang-quan-290375","长春竹雀轴","黄筌最擅长于花鸟，大都画宫廷里的珍禽奇卉。作画时，先以墨笔很严谨地勾勒线条，然后再层层填染色彩。他的色调鲜明艳丽，特别有富丽堂皇的感觉。",[1554,1622,1559,1637,1557,1690,1667,1560,5878,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e814712a278bac9a311dc6a24d7162e.jpg",[6],34,{"id":1009,"slug":10426,"title":10427,"dynasty":1548,"author":2972,"museum":1683,"description":3995,"tags":10428,"thumbUrl":10429,"material":1802,"size":1580,"collection":6,"collections":10430,"showCount":10424,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shui-xian-zhou-wu-chang-shuo-237343","水仙轴",[1554,1555,1622,1591,1694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79067443b6ab251baaf4620b222a9e8.jpg",[6],{"id":1010,"slug":10432,"title":3857,"dynasty":1587,"author":2134,"museum":2117,"description":3858,"tags":10433,"thumbUrl":10434,"material":1892,"size":3861,"collection":6,"collections":10435,"showCount":10424,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"ping-he-tu-shen-zhou-230957",[1553,1554,1555,1622,1557,1637,1577,1578,2183,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[6,1613],{"id":1011,"slug":10437,"title":10438,"dynasty":1548,"author":2462,"museum":1663,"description":10439,"tags":10440,"thumbUrl":10441,"material":1580,"size":1580,"collection":6,"collections":10442,"showCount":10424,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-niao-shi-er-kai-tu-li-shan-224320","花鸟十二开图","泼墨写就湖石，酣畅间尽显灵秀通透，似藏嶙峋古意。石畔花枝挺秀，粉紫娇花轻点晕染，明雅柔丽的设色晕开春日清趣。双鸡意态生动，一昂首侧目警觉周遭动静，一垂首理羽尽显慵懒闲适。禽鸟羽毛以淡墨晕染辅以细笔轻勾，将绒羽蓬松柔润的质感尽数铺陈。\n\n左畔行书款识笔意潇洒，与写意画格相融，诗书画印浑然一体。整幅兼工带写，既有文人写意的简逸纵恣，又不失精微写实的生趣，将花木禽鸟的天趣雅致藏于笔端，尽显悠然野逸的林下清致。",[1553,1554,1555,1556,1591,1557,1559,1707,2608,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04865c6f750cd80cf1f66c8c803e6a71.jpg",[6],{"id":1012,"slug":10444,"title":8588,"dynasty":1548,"author":1837,"museum":1604,"description":8589,"tags":10445,"thumbUrl":10448,"material":1846,"size":8595,"collection":6,"collections":10449,"showCount":10424,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"jin-chun-tu-lang-shi-ning-222794",[1553,1607,1554,1557,1559,2172,8152,1560,10446,10447,5414],"山涧","杂卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1bcec4cb1230187f87809e407b8069.jpg",[6,1613],{"id":1013,"slug":10451,"title":10452,"dynasty":1587,"author":10453,"museum":2117,"description":10454,"tags":10455,"thumbUrl":10456,"material":6720,"size":10457,"collection":6,"collections":10458,"showCount":10424,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"bing-hun-leng-rui-tu-wang-qian-222051","冰魂冷蕊图","王谦","用墨笔截取倒垂老梅，枝干劲健挺拔，梅花双勾而成，繁花密蕊，清奇可爱。 以淡墨晕染绢地，更衬托出梅花凄厉冷艳的姿色。 作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[1553,1554,1607,1555,1591,1686,1689,1707,1594,2125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","纵186cm，横111cm",[6,1613],{"id":1014,"slug":10460,"title":10461,"dynasty":1633,"author":10462,"museum":1604,"description":10463,"tags":10464,"thumbUrl":10465,"material":1557,"size":10466,"collection":6,"collections":10467,"showCount":10424,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"tie-di-tu-zhou-yang-wei-zhen-221859","铁笛图轴","杨维桢","乾隆皇帝于苏州题咏时，引杨维祯〈冶师行〉的内容作题，认为舟上吹笛者为杨维祯，岸上听笛者是为其铸铁笛的冶师缑长弓。题诗内容展现他对杨维祯诗文、生平的认识，以及将文史知识连结到画面内容的欣赏角度",[1607,1554,1555,1622,1591,1841,1690,2501,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff828bd52bc7e967b8fa17905c2fe1009.jpg","该幅 95.6x51.6公分、诗塘 28.4x51.6公分、全幅 72.3公分",[6,1934],{"id":1015,"slug":10469,"title":10470,"dynasty":1715,"author":5769,"museum":1683,"description":10471,"tags":10472,"thumbUrl":10474,"material":1846,"size":10475,"collection":1726,"collections":10476,"showCount":10424,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"bu-chu-tu-ye-li-an-zhong-221583","哺雏图页","图中寒冬中二枝芦苇业已枯败，杆上有三只鸟儿栖息，其中鸟父母嘴里叨着虫子向中间小的鸟儿走来，喂食它们的孩儿。图上芦苇叶子描画精细，正翻面和缺口自然显现；鸟儿的眼神专注，将父母对子女无私的爱自然流露出来。",[1553,1607,1554,1555,1556,1637,1557,1559,1690,1592,10473],"雏鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8da06ac16d1aa8ac5e037145a98372f.jpg","22.8*24cm",[1726,6,1613],{"id":1016,"slug":10478,"title":10479,"dynasty":1715,"author":5209,"museum":1683,"description":10480,"tags":10481,"thumbUrl":10482,"material":2320,"size":10483,"collection":1726,"collections":10484,"showCount":10424,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[1553,1607,1554,1555,1666,1591,1688,1689,2609,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[1726,6],{"id":1017,"slug":10486,"title":10487,"dynasty":1587,"author":1732,"museum":1663,"description":10488,"tags":10489,"thumbUrl":10491,"material":1610,"size":10492,"collection":6,"collections":10493,"showCount":10424,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"xuan-kui-shuang-li-tu-yi-ming-219906","萱葵双鹂图","垂柳叶丝轻曳水畔，两只黄鹂栖停枝梢，翅羽晕染细腻绵密，灵动身姿似正私语嬉游。左侧蜀葵攒簇粉艳花团，浓绿叶片饱满鲜活，下方萱花舒展素白瓣朵，依偎嶙峋湖石而生。\n\n整作设色古雅沉稳，沉褐绢底衬得花叶明丽、禽鸟娇俏。工笔晕染精妙入微，将蜀葵秾艳、萱花清柔，黄鹂的娇憨灵动画韵尽显，留白水岸清寂悠远，把初夏水畔的闲静生机凝于绢上，笔致工秀柔和，揉合雅致野趣，尽显悠然清逸的隐逸意趣。",[1553,1554,1557,1637,1559,4834,3486,3740,2038,10490,1667,1560,2666],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1ccf1c70a12fed695098a1073e3dd5.jpg","纵118厘米 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边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[1554,1591,1556,1595,4094,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c02b9ac6b226b056d529a5e4f8b6e1.jpg",[6],{"id":1025,"slug":10552,"title":2242,"dynasty":1587,"author":10553,"museum":1663,"description":10554,"tags":10555,"thumbUrl":10556,"material":1580,"size":1580,"collection":2141,"collections":10557,"showCount":10537,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"shan-shui-hua-hui-ce-shao-mi-236896","邵弥","此作用笔秀逸松灵，取景简括却意韵悠长。虬曲古松扎根危崖，苍枝舒展间满含劲挺生机。白衣策杖之人缓步山道，形神安闲，恍若幽居之士暂寄林泉。山涧清泉漱石潺潺，流云轻笼天际，衬出空山清寂之境。整体意境萧疏散淡，带着静穆淡远的文人意趣，将幽人栖隐丘壑的雅怀尽数铺展，尽显超然出尘的林下之风。",[1554,1555,1607,1556,1557,2274,1843,3619,2038,1929,1841,2138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90685468beeb5f9c37cf6bf844517d26.jpg",[2141,6,1613],{"id":1026,"slug":10559,"title":10560,"dynasty":1587,"author":10561,"museum":1663,"description":10562,"tags":10563,"thumbUrl":10564,"material":1580,"size":10565,"collection":6,"collections":10566,"showCount":10537,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"sun-qi-mei-hua-zhou-sun-qi-236107","孙启梅花轴","孙启","此作以淡墨绢地托衬，老梅古干嶙峋遒劲，枝桠盘折如铁，横斜破壁，满缀素色梅花。作者以焦墨点苔刻画出老干的沧桑质感，浓墨写枝尽显虬劲姿态，圈花留白晕染出梅花冰肌玉骨之态，冷香暗涌纸面。\n\n画幅下方以浅淡笔墨绘拳石细草，清寂空疏，愈发烘托出冬梅凌霜孤高的品格。整幅布局空灵雅致，以极简笔触写尽文人心底的清雅意趣，笔意苍秀古拙，将梅花傲雪不屈的风骨与幽淡清逸的气韵相融，藏暗香于素绢，含清韵于笔端。",[1554,1555,1622,1591,1686,1827,1707,1955,1560,1976],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51c92a8adcfb9367d4420abfbb471a7.jpg","纵156.8cm,横61.6cm",[6,1613],{"id":1027,"slug":10568,"title":1572,"dynasty":1548,"author":10569,"museum":1663,"description":10570,"tags":10571,"thumbUrl":10572,"material":1784,"size":1785,"collection":6,"collections":10573,"showCount":10537,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-zou-xian-ji-235710","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[1607,1554,1555,1556,1557,1637,1688,1595,1560,1794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fc76969934fa525c9ae94e7f22e5b0.jpg",[6,1613],{"id":1028,"slug":10575,"title":1572,"dynasty":1587,"author":10576,"museum":1663,"description":10577,"tags":10578,"thumbUrl":10579,"material":1580,"size":1580,"collection":6,"collections":10580,"showCount":10537,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-qi-xun-234267","戚勋","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[1553,1554,1555,1556,1688,1557,1559,1638,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f00fd86e3061a7f0db3faaffed7be4.jpg",[6],{"id":1029,"slug":10582,"title":10583,"dynasty":1715,"author":3307,"museum":1604,"description":10584,"tags":10585,"thumbUrl":10586,"material":1563,"size":10587,"collection":6,"collections":10588,"showCount":10537,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"liu-yin-xi-e-tu-cui-bai-219644","柳阴戏鹅图","此作为边角小景，以极简笔意铺陈幽淡意境。柔垂柳丝以淡墨写就，细枝袅袅垂落晕开浅绿，晕染出水岸阴凉。白鹅卧于坡岸，白羽刻画工细写实，绒软质感呼之欲出，它垂首驻足浅滩，似正流连水畔，憨态悠然尽显生机。坡岸杂草以浓墨点染，枯润相生，将白鹅衬得愈发莹洁剔透。\n\n整幅小品不事雕琢，清雅柔和，将郊野水岸的闲静氛围凝于尺幅之间，以小见大，尽显精微写实与诗意意境相融的雅致美感，让人仿佛置身初夏水岸，独享这片刻宁谧悠然。",[1554,1555,1607,1556,1557,1637,1559,2822,4640,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6175d0a863e4aed9c5ea44bb06d9fe.jpg","22.4x17.9",[6],{"id":1030,"slug":10590,"title":10591,"dynasty":1587,"author":1732,"museum":8387,"description":10592,"tags":10593,"thumbUrl":10594,"material":1610,"size":1580,"collection":6,"collections":10595,"showCount":10537,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"bai-niu-tu-yi-ming-219119","百牛图","百牛散于郊野，姿态万千：或缓步啮草，或扬蹄奔跃，或抵角相戏，或卧地休憩。稚童身影错落其间，或骑牛背悠然吹笛，或牵绳引犊徐行，或蹲踞石畔观牛群嬉戏。林木疏朗，溪流缓绕，草地茵茵，一派生机盎然的田园牧歌景象。整幅画作笔墨细腻，牛的憨态与童的天真相映成趣，尽显自然之趣与生活之美，令人仿佛置身于宁静悠远的郊野之中，心随牛群漫步，意伴稚童欢嬉，沉醉于这份恬淡自在的烟火气里。",[1553,1554,1666,1557,1637,5293,1841,1668,2072,2071,2038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930c8aa569d3e32ea734c96bb3a9529f.jpg",[6,2141],{"id":1031,"slug":10597,"title":10598,"dynasty":1715,"author":1811,"museum":1663,"description":10599,"tags":10600,"thumbUrl":10601,"material":1784,"size":1785,"collection":1726,"collections":10602,"showCount":1754,"zanCount":2155,"manualWeight":1568,"mainColor":1658},"niao-tu-zhao-chang-288288","鸟图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[1554,1637,1557,1559,1690,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc98ef3fc15f317b0f1cc98d344e19622.jpg",[1726,6,1613],{"id":1032,"slug":10604,"title":10605,"dynasty":1587,"author":10606,"museum":1663,"description":10607,"tags":10608,"thumbUrl":10609,"material":1580,"size":1580,"collection":6,"collections":10610,"showCount":1754,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-zhu-zhou-chen-qin-239420","画竹轴","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，",[155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这幅画飞扬而不失形，或画的下部被切掉，造成画不完整。",[1553,1554,1607,1591,1686,1559,1622,3740,5381,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1a6f8f3388ac631614527f9aa6831.jpg","139.4x76cm",[6],{"id":1038,"slug":10652,"title":10653,"dynasty":1715,"author":1732,"museum":1604,"description":10654,"tags":10655,"thumbUrl":4815,"material":1610,"size":10656,"collection":6,"collections":10657,"showCount":1754,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"fu-rong-tu-yi-ming-218700","芙蓉图","一枝芙蓉斜逸而出，花瓣层叠如凝脂，粉白晕染间似沾着晨露的清润；含苞的蓓蕾裹着淡红，敛着半开的心事。墨绿叶片脉络分明，纤细却劲挺，肌理薄韧如绢。深青底色如幽潭静水，将花朵的明丽衬得愈发温润。画面无冗余缀饰，却于细微处见匠心：花瓣的柔纹、叶尖的轻颤，皆被捕捉得恰到好处。宋人的笔意藏在每一笔晕染里，不张扬却动人，似将芙蓉的清雅与生机，凝在这一方圆境中，静静诉说着时光里的温柔与诗意。",[1553,1607,1554,1555,1556,1557,1637,1559,1693],"21.0x23.5",[6],{"id":1039,"slug":10659,"title":2413,"dynasty":1548,"author":10660,"museum":1663,"description":10661,"tags":10662,"thumbUrl":10663,"material":1784,"size":1785,"collection":6,"collections":10664,"showCount":10665,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"za-hua-ce-chen-zi-236275","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[1554,1555,1556,1557,1637,1559,2416,1764,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf91b3188b1d2657236050474f40d5dd.jpg",[6,1613],31,{"id":1040,"slug":10667,"title":9977,"dynasty":1587,"author":10668,"museum":1663,"description":10669,"tags":10670,"thumbUrl":10674,"material":1784,"size":1785,"collection":2141,"collections":10675,"showCount":10665,"zanCount":2155,"manualWeight":1568,"mainColor":1569},"shan-shui-ce-shen-hao-235285","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[1554,1555,1556,1557,1843,2137,1842,2276,1595,10671,10672,10673,1844,6943,5268],"淡彩山水","古建","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[2141,6],{"id":1041,"slug":10677,"title":10678,"dynasty":1587,"author":3147,"museum":1604,"description":10679,"tags":10680,"thumbUrl":10681,"material":1625,"size":10682,"collection":6,"collections":10683,"showCount":10665,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[1553,1554,1622,1559,1637,1591,1557,10071,3187,2275,1623,2038,1595,2608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[6,1613],{"id":1042,"slug":10685,"title":10686,"dynasty":1587,"author":3147,"museum":1717,"description":10687,"tags":10688,"thumbUrl":10690,"material":1610,"size":10691,"collection":6,"collections":10692,"showCount":10665,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"su-chun-tu-lv-ji-219047","粟鹑图","这幅画画在深秋，地上的小雏菊盛开，到处可见黄色的小花；粟穗已经成熟，穗粒饱满下垂，叶子已经枯萎，粟穗丛中有三只鹌鹑，右边的一只正在啄食粟穗粒为食。",[1553,1554,1555,1637,1557,1559,4779,10689,1670],"粟穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc190124f6a5eefee9c247d2fc4d3dce2.jpg","117.7x85cm",[6],{"id":1043,"slug":10694,"title":10695,"dynasty":1548,"author":10696,"museum":1663,"description":10697,"tags":10698,"thumbUrl":10699,"material":1580,"size":1580,"collection":6,"collections":10700,"showCount":10701,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"fang-gu-ji-you-tu-ce-huang-yi-239530","访古纪游图册","黄易","此作以淡墨绘就水畔闲景，右侧疏木立异石，浅林掩映茅舍，远山含晕，留白铺就湖面，漾开空濛清寂。枯笔写木，皴擦刻画出湖石奇崛肌理，淡墨轻扫远山晕出水气。\n题跋与画作相映成趣，笔墨简淡秀润，将纪游幽怀寄于萧散景致里。整体意境澹泊静穆，尽显文人林下之风，把江南水畔的闲雅清居，揉进悠悠文心，淡而愈远，简中含情。",[1554,1555,1556,1591,2120,1843,1690,1707,4854,1844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfee47df568b62a35375d8d73831df5.jpg",[6,1934],30,{"id":1044,"slug":10703,"title":10704,"dynasty":1548,"author":1823,"museum":1663,"description":4888,"tags":10705,"thumbUrl":10706,"material":1784,"size":1785,"collection":6,"collections":10707,"showCount":10701,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238320","玉圃霏香图小册",[1554,1555,1556,1557,1637,1559,1696,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475255c6acc359abf01bc8ea3ff6976d.jpg",[6,1613],{"id":1045,"slug":10709,"title":10710,"dynasty":1587,"author":10711,"museum":1683,"description":10712,"tags":10713,"thumbUrl":10714,"material":10715,"size":10716,"collection":6,"collections":10717,"showCount":10701,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-zhu-tu-zhou-tang-yin-237676","画竹图轴","唐寅","此图画竹枝两枝自左斜出，临风飒飒，构图新颖，俯仰有致。用笔铦利洒落，墨色秀润。\n画上自题：“满窗萧洒五更风，怪是无端搅梦中。梦见故人忙起望，白烟寒竹路西东。南塘邹蠡溪过余学圃堂，因言及南沙知己，故写此为寄。唐寅。”钤：“唐伯虎”朱文印。\n鉴藏印：“陆润之藏”朱文印、“天泉阁”朱文印等。",[1554,1555,1622,1591,1690,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a12578cd86679d31ca70dbe5bae2925.jpg","纸本 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创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[1553,1554,1555,1591,1557,1559,2636,2138,2666,1707,1562,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[6],{"id":1048,"slug":10735,"title":10736,"dynasty":1548,"author":10737,"museum":1704,"description":10738,"tags":10739,"thumbUrl":10740,"material":3897,"size":10741,"collection":6,"collections":10742,"showCount":10701,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"gu-mu-zhu-shi-tu-luo-mu-223304","古木竹石图","罗牧","图绘岸边一隅古木树叶凋零，枝杆苍劲；石块耸立，粗笔勾勒其轮廓，中部留白；四周翠竹环绕，繁茂苍翠，生机勃勃。",[1553,1554,1591,1622,2137,5336,1690,1707,2274,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0b8c417963c4bbe141ba7b938a3e34.jpg","纵127cm，横54cm",[6,1934],{"id":1049,"slug":10744,"title":10745,"dynasty":1587,"author":7620,"museum":9529,"description":10746,"tags":10747,"thumbUrl":10748,"material":2028,"size":10749,"collection":6,"collections":10750,"showCount":10701,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","此画不拘于象的写法发挥至极致，其勾点皴擦，随心所欲，绝出尘象之外",[1553,1607,1554,1555,1622,1557,1637,1559,1560,3486,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[6,1613],{"id":1050,"slug":10752,"title":10753,"dynasty":1633,"author":2763,"museum":2023,"description":10754,"tags":10755,"thumbUrl":10756,"material":10757,"size":10758,"collection":6,"collections":10759,"showCount":10701,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yin-ma-tu-zhao-meng-fu-220892","饮马图","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。",[1553,1554,1555,1666,1591,1637,2070,1841,1595,1562,1688,3269,1879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[6,1613],{"id":1051,"slug":10761,"title":2147,"dynasty":1633,"author":9096,"museum":1550,"description":10762,"tags":10763,"thumbUrl":10764,"material":2320,"size":10765,"collection":6,"collections":10766,"showCount":10701,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhu-shi-tu-ke-jiu-si-219638","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[1553,1554,1555,1607,2161,1591,1690,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed570f5ae80a8cf1f11fe236660d293.jpg","纵28.4厘米，横25.1厘米",[6],{"id":1052,"slug":10768,"title":10769,"dynasty":1587,"author":6412,"museum":1604,"description":10770,"tags":10771,"thumbUrl":10772,"material":1625,"size":10773,"collection":6,"collections":10774,"showCount":10701,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"han-lin-qu-yu-tu-yao-shou-219512","寒林鸲鹆图","表现了水边奇石及枯木丛篁中的景象。",[1554,1591,1622,1686,1562,1595,1559,2275,1592,1623,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc50daeb2e5949a3519195445d994f7.jpg","纵116.7厘米横29.6厘米",[6],{"id":1053,"slug":10776,"title":10777,"dynasty":1548,"author":9186,"museum":1604,"description":10778,"tags":10779,"thumbUrl":10780,"material":1610,"size":10781,"collection":6,"collections":10782,"showCount":10701,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"bai-ying-zhou-ai-qi-meng-219389","白鹰轴","白鹰昂首立于岩巅，翎羽皎洁若初雪，纹理细密如织，双目炯炯透着凛凛锐气。旁侧红叶灼灼似燃，与苍劲山石相映，添几分艳色却不掩清旷。山石皴法古拙，枯枝虬劲，而白鹰造型写实入微，翎羽的轻盈与岩石的厚重形成张力。中西技法相融，既得禽鸟生动之态，又存传统山水的古雅意境。淡远的背景晕染出空濛，更衬出主体的傲然独立，整幅画气韵生动，尽显自然灵趣与生命的雄健风骨。",[1554,1622,1557,1637,4824,1707,2416,2278,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江寒汀","这幅长卷铺展百禽之态，或栖枝啁啾，或振翅掠空，或啄食嬉戏，神情毕肖。笔墨兼工带写，禽鸟羽毛勾勒精细，纹理毕现；花木枝干墨色灵动，设色清雅中见艳丽。梅、竹、牡丹等景致错落，与禽鸟相映成趣，画面疏密有致，动静相宜，满溢自然生机，尽显笔墨功底与对生命的细腻体察，堪称花鸟佳作。",[1554,1666,1559,1637,1557,1689,1690,1608,1667,2608,3017,10905,10906,7671,1553],"羽毛纹理","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b255eb679be70f777ef7738be689750.jpg",[6],"000000",{"id":1068,"slug":10911,"title":10912,"dynasty":1548,"author":10913,"museum":1550,"description":10914,"tags":10915,"thumbUrl":10916,"material":1580,"size":1580,"collection":6,"collections":10917,"showCount":1629,"zanCount":2155,"manualWeight":1568,"mainColor":10918},"ju-hua-tu-zhou-wu-xi-zai-201840","菊花图轴","吴熙载","此图笔墨疏朗灵动，以水墨为基，淡彩点染，尽显菊花清逸之姿。两朵白菊花瓣层叠舒展，勾勒细腻却含写意之趣；墨叶泼写而成，浓淡干湿交错，叶脉隐于晕染间，苍劲中带秀润。旁逸枝蔓穿插自然，小花嫩叶添生机。构图虚实相生，留白悠远，笔墨渗透书家功底，清雅脱俗，尽显菊花傲霜品格，予人静谧淡远之感。",[1554,1555,1622,1591,1557,1559,1696,1607,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8cfec34c764d9f76d0033964da2fc2.jpg",[6],"d7c9b9",{"id":1069,"slug":10920,"title":10921,"dynasty":1548,"author":9683,"museum":1663,"description":10922,"tags":10923,"thumbUrl":10924,"material":1784,"size":1785,"collection":6,"collections":10925,"showCount":1806,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-1-yu-sheng-239104","花卉册1","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[1554,1555,1556,1591,1557,1559,1560,1748,1707,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605e27d7cfb58a061b88e561669dc373.jpg",[6,1613],{"id":1070,"slug":10927,"title":10928,"dynasty":1548,"author":10929,"museum":1604,"description":10930,"tags":10931,"thumbUrl":10932,"material":1580,"size":1580,"collection":6,"collections":10933,"showCount":1806,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"shu-hua-you-niao-er-shi-zhang-ce-zhang-ruo-ai-238259","书画有鸟二十章册","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[1554,1555,1556,1557,1637,1592,5604,2072,2038,1595,2026,3269,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3660f3d2f11d187fa12faa414f7f4d28.jpg",[6,1613],{"id":1071,"slug":10935,"title":10936,"dynasty":1548,"author":10380,"museum":1683,"description":10937,"tags":10938,"thumbUrl":10939,"material":1802,"size":1580,"collection":6,"collections":10940,"showCount":1806,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"fu-shan-lan-zhi-zhou-fu-shan-237454","傅山兰芝轴","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[1554,1555,1622,1591,1695,7022,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c35d01ea4392d55c4239ad5cde0d02.jpg",[6],{"id":1072,"slug":10942,"title":10943,"dynasty":1548,"author":1758,"museum":1683,"description":10944,"tags":10945,"thumbUrl":10946,"material":1903,"size":10947,"collection":6,"collections":10948,"showCount":1806,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华嵒潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华嵒一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华嵒身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[1607,1554,1555,1622,1591,1557,2274,1686,1843,1841,1707,2138,2038,2665,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg","纵130.5厘米，横50.7厘米",[6,10949],"明清缂绣画",{"id":1073,"slug":10951,"title":10952,"dynasty":1587,"author":10953,"museum":1812,"description":10954,"tags":10955,"thumbUrl":10956,"material":10957,"size":10958,"collection":6,"collections":10959,"showCount":1806,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"cao-chong-ce-ye-wen-liang-222417","草虫册页","温良","温良，山西山阴人，明朝政治人物。进士出身。\n永乐九年，辛卯科山西乡试中举。永乐十九年（1421年）辛丑科进士，授户部郎中",[1553,1554,1557,1637,1556,1747,2278,2666,2124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c9ca4b052ee1ae78ddd46b0f652dc2.jpg","绢本水墨设色","12.7×17.1",[6,1613],{"id":1074,"slug":10961,"title":10962,"dynasty":1633,"author":10963,"museum":1683,"description":10964,"tags":10965,"thumbUrl":10968,"material":1846,"size":10969,"collection":6,"collections":10970,"showCount":1806,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ying-gui-tu-zhang-shun-zi-221822","鹰桧图","张舜咨","此图是由雪界翁、张师夔两位画家合作绘制而成。图绘山石间一株古桧，枝干挺劲，枯枝与新叶相映成趣。老干横斜，一只苍鹰昂首挺立其上，双目炯然，脚爪锋利，紧抓树枝，给人以坚如磐石、临危不惧之感。图中苍鹰以工笔重彩法写出，刻画细腻，笔笔精到，具有宋代院体花鸟画遗风。古桧山石完全用写意风格的画法，出自张舜咨手笔，画风略显粗犷，然颇具气势。苍鹰与山石、古桧虽出自不同人的手笔，但配合默契，毫无突兀、不协调之感，极具特色。",[1553,1554,1607,1555,1622,1557,1637,3141,10966,10333,4658,1707,10967],"桧树","丛草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f781d4069309ad9530fe25a1c35bbcd.jpg","纵147.3厘米，横96.8厘米",[6,1613],{"id":1075,"slug":10972,"title":10973,"dynasty":1587,"author":10974,"museum":1604,"description":10975,"tags":10976,"thumbUrl":10979,"material":1610,"size":10980,"collection":6,"collections":10981,"showCount":1806,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"lu-yan-tu-zhou-liu-zhao-219306","芦雁图轴","刘炤","刘炤［明］字巢云，会稽（今浙江绍兴）人。善画翎毛、花卉，且喜吟咏、有自题芦雁图。巨幅精妙绝伦。《越画见闻》",[1554,1622,1591,1637,1559,10977,1667,10978,3321,7270],"芦雁","群雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa920dcb117448210cb4372402005253a.jpg","291x128.2cm",[6],{"id":1076,"slug":10983,"title":10984,"dynasty":1633,"author":7574,"museum":1604,"description":10985,"tags":10986,"thumbUrl":10987,"material":1625,"size":10988,"collection":6,"collections":10989,"showCount":1806,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"chun-tang-qin-le-tu-sheng-mao-218821","春塘禽乐图","图绘塘中一斜坡，坡上一棵柳树，下有野鸭栖息著。燕子逐著春光，一派春日景象。本幅画有「子昭」款，惟画风似与其他盛懋作品不同，疑为后人所加。",[1554,1607,1555,1591,1559,1843,1667,3740,3296,1595,8153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907a0e23a9917f1bca565613adcaa56d.jpg","52x28.3cm",[6],{"id":1077,"slug":10991,"title":10992,"dynasty":1548,"author":2056,"museum":1573,"description":3738,"tags":10993,"thumbUrl":10995,"material":1563,"size":3743,"collection":6,"collections":10996,"showCount":1806,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mo-zui-za-hua-tu-ce-4-shi-tao-214563","墨醉杂画图册-4",[1553,1554,1591,1688,1556,10994,1555,1689,2183],"墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709d7e0db49796aa6bb86cfde848cf40.jpg",[6],{"id":1078,"slug":10998,"title":10999,"dynasty":1548,"author":1823,"museum":1663,"description":4888,"tags":11000,"thumbUrl":11001,"material":1784,"size":1785,"collection":6,"collections":11002,"showCount":1678,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238376","金英凝露图小册",[1554,1555,1556,1637,1557,1559,1696,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca8dd959dd7f8e67a3b4a11cdf0ce96d.jpg",[6,1613],{"id":1079,"slug":11004,"title":2413,"dynasty":1548,"author":10660,"museum":1663,"description":11005,"tags":11006,"thumbUrl":11007,"material":1802,"size":1580,"collection":6,"collections":11008,"showCount":1678,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"za-hua-ce-chen-zi-237276","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[1554,1555,1556,1557,1637,1559,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F494a86d42e56684196274a0260d6d4d8.jpg",[6],{"id":1080,"slug":11010,"title":1572,"dynasty":1587,"author":11011,"museum":1663,"description":11012,"tags":11013,"thumbUrl":11014,"material":1784,"size":1785,"collection":6,"collections":11015,"showCount":1678,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-wang-gu-xiang-235260","王穀祥","王谷祥（1501年－1568年），字禄之，号酉室，南直隶苏州府长洲县（今苏州）人。嘉靖八年（1529年）进士，授工部主事。历吏部员外郎，持法不阿，忤尚书汪鋐，贬真定通判。",[1554,1555,1556,1591,1559,1689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866cb4c101d73090564ffb244a656437.jpg",[6],{"id":1081,"slug":11017,"title":11018,"dynasty":1715,"author":1732,"museum":1683,"description":11019,"tags":11020,"thumbUrl":11023,"material":7502,"size":11024,"collection":6,"collections":11025,"showCount":1678,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"han-ting-luo-yan-tu-zhou-yi-ming-223447","寒汀落雁图轴","图为寒冬枯树滩、野鸭、黑乌鸦、野雁。 老树枯干，几只黑乌鸦没能栖息； 野鸭在浅滩上成群结队，踱步，或觅食； 接吻雁扇动着翅膀飞了起来，以“一”字形飞向天涯。 这幅画以水墨构想了一个冰冷、寂静、空旷的场景。",[1553,1554,1622,1591,1557,2275,11021,11022,5706,2277,1843,9383,1667],"鸿雁","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","125.9＊92.6cm",[6,1934],{"id":1082,"slug":11027,"title":11028,"dynasty":1587,"author":1888,"museum":1604,"description":11029,"tags":11030,"thumbUrl":11031,"material":2195,"size":11032,"collection":6,"collections":11033,"showCount":1678,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"qiu-kui-zhe-zhi-tu-wen-zheng-ming-222004","秋葵折枝图","图绘折枝秋葵一枝，取其正面之势。花开粲然，叶呈多貌，浓墨淡墨穿插其间，神韵清俊舒朗。",[1553,1554,1559,1560,1591,1686,1622,1802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa792f16172d45ac3e5b4b10cf32a318e.jpg","纵65.4厘米，横30.3厘米",[6,1934],{"id":1083,"slug":11035,"title":11036,"dynasty":1587,"author":1732,"museum":2057,"description":11037,"tags":11038,"thumbUrl":11039,"material":1610,"size":11040,"collection":6,"collections":11041,"showCount":1678,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"ku-zhi-han-que-tu-yi-ming-218984","枯枝寒雀图","这幅画描绘了一只长尾小鸟站在一根枯枝上，羽毛蓬松，脖子略显萎缩，眼神略显呆滞，迎着寒风，周围是光秃秃的树枝和散落的树叶，一副荒凉的场景。",[1554,1555,1559,4658,1667,1637,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30e7b258206ffc7c6e1012de8dece2a.jpg","17.8x22.4cm",[6],{"id":1084,"slug":11043,"title":11044,"dynasty":1587,"author":1732,"museum":2057,"description":11045,"tags":11046,"thumbUrl":11048,"material":1610,"size":11049,"collection":6,"collections":11050,"showCount":1678,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"shuang-feng-tu-yi-ming-218983","双凤图","双凤立于苍石之上，一昂首扬尾，羽色斑斓；一低首理翎，姿态娴静。笔触细腻处，翎羽纹理毕现，古朴色泽中透着温润；写意间，墨竹疏斜，花草点缀，衬出清幽之境。山石的厚重与凤鸟的灵秀相映，满含祥瑞之气，尽显古典花鸟的雅致韵致与自然生机。笔墨工写相济，将凤鸟的灵动与环境的静谧完美融合，传递出传统艺术中对生命与祥瑞的美好期许。",[1553,1554,1555,1637,1557,1559,11047,1690,1749,1670,1667],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281d3ed1187e1095135d352c1b21d46.jpg","155.3x103.2cm",[6],{"id":1085,"slug":11052,"title":11053,"dynasty":1715,"author":1732,"museum":1550,"description":11054,"tags":11055,"thumbUrl":11056,"material":1610,"size":11057,"collection":6,"collections":11058,"showCount":1678,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"jin-ji-zhu-que-tu-yi-ming-218973","锦鸡竹雀图","画在河岸边倾斜的石头上，翠绿的竹子、荆棘和杂草在石头堆中顽强地生长着，两只野鸭雏鸟蜷缩着脖子在石头上休息，而一对彩色的鸟儿相对站在上面的枯枝上，下面的鸟儿歪着头紧紧地盯着上面的鸟儿，专注而爱怜。",[1607,1554,1555,1637,1557,1559,1690,3526,1592,1707,1844,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654c4e85a777c9fd02c4b1bd5b7eed32.jpg","24.3x24.9cm",[6],{"id":1086,"slug":11060,"title":8716,"dynasty":1715,"author":1732,"museum":1604,"description":9793,"tags":11061,"thumbUrl":9795,"material":1610,"size":11062,"collection":6,"collections":11063,"showCount":1678,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"an-chun-tu-yi-ming-218696",[1553,1554,1555,1637,1557,1559,4779,1595],"35.3x25.8",[6],{"id":1087,"slug":11065,"title":11066,"dynasty":1587,"author":5131,"museum":1573,"description":11067,"tags":11068,"thumbUrl":11069,"material":1563,"size":1580,"collection":6,"collections":11070,"showCount":1678,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"han-xi-meng-song-yuan-ming-ji-ce-xi-ma-tu-han-xi-meng-216325","韩希孟宋元名迹册·洗马图","柳丝垂拂如缕，随风轻摆，与潺潺流水应和。花斑骏马缓步水中，鬃毛轻扬，蹄下涟漪圈圈漾开，悠然自得。牵马者衣袂轻飘，俯身似与马低语，神情闲适。\n\n以针代笔，线代墨：丝线深浅晕染出水面波光，柳丝细劲借长短针脚勾勒，兼具笔墨的灵动与绣线的肌理质感。左侧书法笔墨清雅，与绣面相映成趣，将宋元文人画的闲逸气韵凝于丝缕之间。\n\n仿佛能闻柳下清风，听水声潺潺，藏着一份从容自在的诗意，是艺术与工艺交融的雅致佳作。",[1554,1555,1556,1557,1841,2070,3740,2138,1562,1595,6231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841e03fd2c6d3244da7016352e90be97.jpg",[6],{"id":1088,"slug":11072,"title":11073,"dynasty":1548,"author":2056,"museum":1573,"description":3738,"tags":11074,"thumbUrl":11075,"material":1563,"size":3743,"collection":6,"collections":11076,"showCount":1678,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mo-zui-za-hua-tu-ce-12-shi-tao-214555","墨醉杂画图册-12",[1553,1554,1555,1556,1591,1595,1689,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf179e6fbf7e601ff7c204a40316518.jpg",[6],{"id":1089,"slug":11078,"title":11079,"dynasty":1548,"author":1732,"museum":1663,"description":11080,"tags":11081,"thumbUrl":11084,"material":1784,"size":1785,"collection":6,"collections":11085,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"xuan-tong-yu-lan-hai-guai-tu-ji-yi-ming-290174","宣统御览海怪图记","左幅海兽糅合走兽与游鱼特征，狞厉兽首长有鳍状鬃毛，前爪贲张似正咆哮，下半身舒展鱼尾，怪诞中尽显狞猛威严。右侧海鱼造型诡谲，无眼无颌，躯干鼓胀，晕染柔和的配色反衬出造型的妖异神秘。\n\n整作设色雅致妍丽，晕染细腻写实，将臆想中的深海精怪具象化，既有博物图录的写实笔法，又藏志怪传说的浪漫诡谲，将深海未知的幽幻魅力勾勒尽致，尽显古人对远洋秘境的瑰丽遐想与精妙画工。",[1554,1556,1557,1637,11082,2687,11083],"海怪","神话生物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213f3b83f7555ce2db5993ce2885b822.jpg",[6],26,{"id":1090,"slug":11088,"title":11089,"dynasty":1548,"author":1732,"museum":1663,"description":11090,"tags":11091,"thumbUrl":11092,"material":1784,"size":1785,"collection":6,"collections":11093,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"qing-ren-ju-pu-ce-yi-ming-238908","清人菊谱册","此作以秋菊为绘，主瓣描红如霞，瓣心晕染素白，将盛放的雍容与清柔揉于一处，层次柔和雅致，把秋菊柔中带傲的姿态尽显。淡绿晕染枝叶，细勾叶脉，叶片舒展间带着清隽生机，新苞小花错落排布，疏密得宜，让画面满溢悠然秋意。\n设色清丽秀雅，工细却不失写意舒展，将文人推崇的秋菊风骨与温婉韵致融于笔端，尽显秋日名花的雅致姿态，晕染出淡然出尘的文人意趣。",[1554,1555,1556,1557,1637,1559,1696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cee3d06092af8e0fb0a7df961aa8060.jpg",[6,1613],{"id":1091,"slug":11095,"title":2242,"dynasty":1587,"author":11096,"museum":1663,"description":11097,"tags":11098,"thumbUrl":11099,"material":1784,"size":1785,"collection":6,"collections":11100,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"shan-shui-hua-hui-ce-jiang-shou-cheng-237499","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[1554,1555,1556,1688,1557,1591,1707,3495,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2c3b2d058865e91051a0184ddf0335.jpg",[6,2141],{"id":1092,"slug":11102,"title":11103,"dynasty":1548,"author":7210,"museum":1604,"description":11104,"tags":11105,"thumbUrl":11109,"material":1802,"size":11110,"collection":6,"collections":11111,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"jian-chun-zhou-lu-hui-237346","饯春轴","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[1554,1555,1622,1637,1557,1608,11106,11107,2666,1765,1901,11108,6507,2183],"壶","篮","木桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c18372e35b5a588fefe72981a0da5.jpg","151x39.5",[6,1613],{"id":1093,"slug":11113,"title":11114,"dynasty":1587,"author":10553,"museum":1663,"description":11115,"tags":11116,"thumbUrl":11117,"material":1784,"size":1785,"collection":6,"collections":11118,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235752","梅花文从简诗合璧册","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[1554,1555,1556,1591,1689,1688,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff0207095efee64f9320a1ddf2f251c.jpg",[6],{"id":1094,"slug":11120,"title":1572,"dynasty":1548,"author":5751,"museum":1663,"description":11121,"tags":11122,"thumbUrl":11123,"material":1580,"size":1580,"collection":6,"collections":11124,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-wang-wu-229026","此作以淡墨晕染牡丹瓣层，借留白衬出素白花容，焦墨点簇花蕊，将白花柔润蓬松之态尽显。叶片以浓淡墨分梳阴阳向背，笔致苍秀，兼得写生之真与文人雅韵。下方蛱蝶用工细笔触勾勒翅脉，淡墨晕染出薄翼通透质感，与写意牡丹相映成趣，一动一静鲜活灵动。\n\n通篇笔墨秀逸工丽，简淡不失厚重，题字钤印排布妥帖，将花木雍容与草虫灵动相融，尽显清丽脱俗的文人花鸟意趣，把写实写生与书卷气完美结合，雅致隽永。",[1554,1591,1556,1559,1608,1748,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8ab86cb0de430d95e4c3fd5e56001e.jpg",[6],{"id":1095,"slug":11126,"title":11127,"dynasty":1587,"author":8868,"museum":1683,"description":11128,"tags":11129,"thumbUrl":11131,"material":1802,"size":11132,"collection":6,"collections":11133,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"qiu-se-wu-tong-tu-lan-ying-222603","秋色梧桐图","此画面一片秋高气爽的气氛，上杂红树一枝。一只美丽的小鸟，悠闲地栖立于梧桐枝上，形象生动自然，神气逼肖。在构图上采用传统折枝的方法，截取梧桐与丹枫的枝头横斜下垂之势。在枝叶参差错落之中，求得疏密有致。花木点染随意，桐叶饱含水墨，抒情性很强。墨笔写成枝干，糅合了山水画的用笔，显得枝干劲健有力。山鸟基本以墨画成，略施淡赭色彩，令人感到素雅可亲。双勾的丹枫叶，显得挺俏遒劲；在画法上，勾染兼施，笔法活脱，墨色浓淡适度，看来随意写出，反映了作者娴熟的笔墨技巧。",[1553,1554,1555,1591,1557,1686,2707,1592,1953,1901,1595,1562,1688,1559,11130],"秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e93218349e6d8e418d86b3be8a8b4.jpg","65X32",[6,1613],{"id":1096,"slug":11135,"title":11136,"dynasty":1715,"author":1732,"museum":1573,"description":11137,"tags":11138,"thumbUrl":11139,"material":1610,"size":1641,"collection":6,"collections":11140,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"ying-sun-lie-hu-tu-yi-ming-218969","鹰隼猎狐图","振翅俯冲的猛禽携风而下，惊惶奔窜的狐兽攒足欲逃，劲挺的枯枝斜出岩隙，丛丛劲草在荒坡间摇曳。笔墨于精微处见真章：禽鸟羽翮层次分明，狐兽肌理细腻传神，岩石皴擦苍劲老辣。荒野的萧瑟与捕猎的焦灼交织，一瞬张力被定格成永恒。宋人笔下的野趣，在动静相衔间流淌，于形神兼备中尽显自然生息的生动与凛冽，每一处线条都藏着对生命状态的精准捕捉，每片墨色都晕染出荒野间的原始张力。",[1553,1607,1554,1555,2161,1557,1637,1879,1667,1707,9609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3bc526ab9976cefd9af3dab0639ec3.jpg",[6],{"id":1097,"slug":11142,"title":11143,"dynasty":1633,"author":1732,"museum":4287,"description":11144,"tags":11145,"thumbUrl":11146,"material":2151,"size":1580,"collection":6,"collections":11147,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"lian-lu-tu-zhou-2-yi-ming-216881","莲鹭图轴-2","莲鹭图轴是一幅绘有莲花和鹭鸶的图画，出自元朝（1271-1368年）的佚名画家之手。这幅图画是一根长卷，画面中央是一朵盛开的莲花，周围是若干只鹭鸶，它们正在莲花周围游荡。\n\n莲鹭图轴是元朝时期的一件杰作，当时的画家们非常喜欢用莲花和鹭鸶这种自然元素来表现他们的艺术感悟。莲花象征着清新、优雅和纯洁，而鹭鸶则象征着平静、宁静和和平。这幅图画把这两种元素结合在一起，表现出了一种浪漫、优美、安宁的气氛。\n\n莲鹭图轴是一幅非常精美的图画，画面细腻、线条流畅、色彩和谐。这幅图画现在被认为是元朝艺术的代表作之一，是中国古代绘画艺术的杰作。",[1554,1607,1622,1591,1557,1637,1577,5169,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d6fce71076fb407edc41d3ce20b6a1.jpg",[6],{"id":1098,"slug":11149,"title":11150,"dynasty":10524,"author":1985,"museum":1550,"description":11151,"tags":11152,"thumbUrl":11154,"material":1580,"size":1580,"collection":6,"collections":11155,"showCount":11086,"zanCount":1568,"manualWeight":1568,"mainColor":11156},"yan-lai-hong-tu-zhou-qi-bai-shi-202837","雁来红图轴","雁来红枝干挺劲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。",[1554,1686,1591,1557,1559,2086,1707,1593,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4635b70f2fe5cc3c60129d3f14ea46.jpg",[6],"bdb29d",{"id":1128,"slug":11386,"title":11387,"dynasty":10524,"author":11388,"museum":1550,"description":11389,"tags":11390,"thumbUrl":11391,"material":1580,"size":1580,"collection":6,"collections":11392,"showCount":1833,"zanCount":2968,"manualWeight":1568,"mainColor":11393},"qiu-hua-san-ji-tu-zhou-cheng-zhang-202797","秋花三鸡图轴","程璋","画面中三只鸡雏情态生动，或俯首啄食，或侧颈谛听，羽毛以墨色浓淡晕染，兼施细笔勾勒，质感蓬松而层次分明。背景秋花竞放，黄花明艳，红叶似火，墨叶苍劲，笔墨写意中见工致，色彩明快却不失雅致。构图疏密有致，禽鸟与花草相映成趣，既得传统花鸟之生机，又融写实技法之精准，尽显秋日田园的恬淡意趣。",[1554,1622,1559,2868,1557,1591,5414,1637,3426,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90bc5d7d0a33799eeec73b51380fa026.jpg",[6],"c3b6a5",{"id":1129,"slug":11395,"title":11396,"dynasty":1548,"author":11397,"museum":1550,"description":11398,"tags":11399,"thumbUrl":11400,"material":1580,"size":1580,"collection":6,"collections":11401,"showCount":1833,"zanCount":1568,"manualWeight":1568,"mainColor":11402},"song-pi-ling-mao-tu-zhou-chen-lv-zu-201825","松枇翎毛图轴","陈率祖","松枝虬曲，松针纤劲如缕；枇杷叶墨色浓淡相叠，果实圆润饱满。翎毛独立枝间，羽翅以简笔勾勒，黑羽如漆、白羽若雪，喙眼点睛便活灵活现，似欲振翅或引颈而鸣。笔墨疏朗有致，写意传神，松的苍劲与果的鲜活相映成趣，禽鸟的灵动为画面注入生机，尽显文人画的清雅意趣，于简淡中藏深致，于疏放中见情韵。",[1591,1686,1559,1691,2086,3218,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8328f4bb5841999177a64decb8b03f79.jpg",[6],"b1a08c",{"id":1130,"slug":11404,"title":11405,"dynasty":1548,"author":9683,"museum":1663,"description":10922,"tags":11406,"thumbUrl":11407,"material":1784,"size":1785,"collection":6,"collections":11408,"showCount":1969,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-shou-pu-ce-yu-sheng-238541","画兽谱册",[1554,1555,1556,1557,1879,1843,2038,1844,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9544dfd446f8c2df9428c8857d17029f.jpg",[6,1613],{"id":1131,"slug":11410,"title":11411,"dynasty":1548,"author":2935,"museum":1683,"description":9514,"tags":11412,"thumbUrl":11413,"material":1580,"size":1580,"collection":6,"collections":11414,"showCount":1969,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-mei-shou-wan-nian-yin-zhen-shu-shi-cheng-shan-jiang-ting-xi-236197","画眉寿万年胤禛书诗成扇",[2161,1557,1637,1559,1690,1608,1748,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d589b7d3952d3019df6eeb035cec4a.jpg",[6,1613],{"id":1132,"slug":11416,"title":11417,"dynasty":1587,"author":3110,"museum":1604,"description":11418,"tags":11419,"thumbUrl":11420,"material":1610,"size":11421,"collection":6,"collections":11422,"showCount":1969,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"fen-bu-tu-zhou-bian-wen-jin-221938","分哺图轴","边文进，字景昭，福建沙县人，生卒年待考。曾供事内殿，活跃于永乐（1403 －1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[1553,1607,1554,1555,1622,1637,1557,1559,2868,7698,1690,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[6,1613],{"id":1133,"slug":11424,"title":11425,"dynasty":1633,"author":2763,"museum":1683,"description":11426,"tags":11427,"thumbUrl":11429,"material":1892,"size":11430,"collection":6,"collections":11431,"showCount":1969,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"kui-hua-tu-zhou-zhao-meng-fu-220877","葵花图轴","赵孟頫提倡作画贵有古意，对唐至北宋的绘画风格多有摹仿。此图即采用五代西蜀黄筌父子的“黄体”——勾勒填彩的画法，线条细劲，敷色明净。因从现实生活中“写生”而来，秋葵姿态生动，比“黄体”更富有生机。此图画面简洁，笔法细润，风韵高雅，体现了赵氏所追求的古意与高华，是其早年花鸟画的代表作品。",[1607,1554,1555,1622,1559,11428,1557,1595],"葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557cd23baf3c150ccc7416dd5ee46a65.jpg","纵31厘米,横23.8厘米",[6,1613],{"id":1134,"slug":11433,"title":11434,"dynasty":1715,"author":3183,"museum":1604,"description":11435,"tags":11436,"thumbUrl":11438,"material":2151,"size":11439,"collection":6,"collections":11440,"showCount":1969,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"han-lin-ji-xue-tu-li-cheng-218698","寒林积雪图","这幅《雪山萧寺图》只取了李成画寒林雪的名字，但风格更接近于蓝瑛和刘度的风格。",[1553,1554,1607,1555,1666,1843,5706,11437,2275,2038,1557,2274,1591],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e6c410e1468f140d6db63b045c2caf.jpg","29.7x21cm",[6],{"id":1135,"slug":11442,"title":11443,"dynasty":1548,"author":2056,"museum":1573,"description":3738,"tags":11444,"thumbUrl":11445,"material":1563,"size":3743,"collection":6,"collections":11446,"showCount":1969,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"mo-zui-za-hua-tu-ce-3-shi-tao-214564","墨醉杂画图册-3",[1553,1607,1554,1555,1556,1591,1688,1562,1686,1765,1901,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5352e5f92c7271679bc91ceab1620a.jpg",[6],{"id":1136,"slug":11448,"title":3875,"dynasty":1548,"author":2035,"museum":1550,"description":11449,"tags":11450,"thumbUrl":11451,"material":1580,"size":1580,"collection":6,"collections":11452,"showCount":1969,"zanCount":1568,"manualWeight":1568,"mainColor":11453},"shan-shui-hua-niao-ce-zhu-da-203419","画面以浓淡交织的水墨铺陈，笔墨简劲却内蕴千钧。两只禽鸟以焦墨挥写，羽色浓黑如泼，质感沉厚；眼目留白斜睨，神态孤傲倔强，似含遗世之慨。下方孤石以淡墨皴擦，线条寥寥却见嶙峋风骨，背景淡墨晕染出远山隐迹，空寂冷逸的氛围漫溢纸面。整幅作品于极简中藏深致，笔墨间裹挟着沉郁孤愤的情愫，寥寥数笔便将生命的倔强与环境的荒寒熔于一炉，尽显写意之精髓。",[1554,1591,1559,1707,1667,2274,1595,1556,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ee1c67b3cf42ae09f05a38c5493af.jpg",[6],"eae6e0",{"id":1137,"slug":11455,"title":3328,"dynasty":1548,"author":8691,"museum":1550,"description":11456,"tags":11457,"thumbUrl":11458,"material":1580,"size":1580,"collection":6,"collections":11459,"showCount":1969,"zanCount":2968,"manualWeight":1568,"mainColor":11460},"mu-dan-tu-zhou-pu-hua-201864","这幅牡丹图笔墨恣肆灵动，设色鲜妍而不失雅致。粉艳的牡丹花瓣层叠舒展，花蕊以细笔点染，尽显雍容之态；叶片用青绿与墨色交融晕染，脉络清晰，生机盎然。旁侧山石以浓淡干湿的墨笔皴擦，线条粗放却骨力内蕴，刚健的石姿与柔美的花容形成鲜明对比，刚柔相济间更显画面意趣。整体画风兼具写意的纵逸洒脱与工笔的细腻传神，既捕捉了牡丹的华贵之姿，又融入了自然野趣，笔墨间流露着画家独特的艺术情韵。",[1554,1622,1557,1559,1608,1707,1591,1637,1686,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51771a1972890dc71a0f6721a9da53f6.jpg",[6],"c1b2a7",{"id":1138,"slug":11462,"title":11463,"dynasty":1587,"author":1682,"museum":1550,"description":11464,"tags":11465,"thumbUrl":11466,"material":1580,"size":1580,"collection":6,"collections":11467,"showCount":1969,"zanCount":1568,"manualWeight":1568,"mainColor":11468},"mo-hua-tu-juan-xu-wei-201810","墨花图卷","这幅长卷以水墨为魂，诗书画印浑然一体。笔墨如狂涛倾泻，肆意挥洒间，梅枝虬曲似铁，墨花冷艳含傲骨；兰叶飘逸若带，寥寥数笔尽得清逸；竹影横斜，笔力劲健欲生风；菊瓣泼墨而成，浓淡交织藏秋意；荷叶片片如盖，墨色淋漓见清雅；牡丹雍容却脱媚俗，狂放中显生机。每一处笔触皆随性生发，无拘无束，将花卉神韵与画家孤愤心性相融，墨气蒸腾处，尽显生命的郁勃与孤傲。诗题与朱印错落其间，更添古朴雅韵，是文人写意画的经典之作。",[1554,1666,1591,1559,1689,1695,1690,1696,1692,1608,1562,1688,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce09cb9b2025503b1df0db08b59dd0d4.jpg",[6],"c8bcb0",{"id":1139,"slug":11470,"title":11471,"dynasty":1548,"author":10027,"museum":1663,"description":11472,"tags":11473,"thumbUrl":11474,"material":1580,"size":1580,"collection":6,"collections":11475,"showCount":11476,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yang-liu-xiao-yue-zhou-wang-hui-236882","杨柳晓月轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[1554,1555,1622,1591,1557,2274,1843,7107,2964,1667,2275,2075,2276,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff957e7b95f4b3c3cb57f8c7616ebfbf9.jpg",[6],22,{"id":1140,"slug":11478,"title":11479,"dynasty":1587,"author":9617,"museum":1683,"description":9618,"tags":11480,"thumbUrl":11481,"material":1802,"size":9621,"collection":6,"collections":11482,"showCount":11476,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"zhou-tian-qiu-mo-lan-tu-ce-zhou-tian-qiu-236757","周天球墨兰图册",[1554,1607,1591,1556,1707,1695,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17204765c5f106a82d6e2d3873eaa755.jpg",[6,1934],{"id":1141,"slug":11484,"title":11485,"dynasty":1548,"author":2462,"museum":1663,"description":11486,"tags":11487,"thumbUrl":11489,"material":1580,"size":1580,"collection":6,"collections":11490,"showCount":11476,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"hua-hui-shi-er-kai-ce-li-shan-224297","花卉十二开册","此画取材寻常蔬食，笔意写意疏朗。茼蒿茎叶以淡绿晕染，线条舒展灵动，尽显菜叶柔润鲜活之态；生姜皴擦朴拙，还原肌理质感，红辣椒设色鲜亮醒目，点亮画面。\n\n搭配题诗与蔬果相映成趣，以日常食材寄寓情志，将烟火清欢融入文人雅趣之中。淡朴的市井风物化作笔下意趣，不见雕琢之迹，尽显冲淡天真的笔墨意韵，于寻常日常里，勾勒出文人画以物明心的雅致情致。",[1553,1554,1555,1556,1557,1688,1595,1686,3574,11488,3573],"辣椒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad80d7081dfe9a6e575a0b565504dc3.jpg",[6],{"id":1142,"slug":11492,"title":1910,"dynasty":1587,"author":2134,"museum":1604,"description":11493,"tags":11494,"thumbUrl":11495,"material":11496,"size":11497,"collection":6,"collections":11498,"showCount":11476,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"qiu-kui-tu-shen-zhou-222123","此作采用没骨法写生法绘秋葵一枝，叶与干全用老绿一再渍染，因泥金地上有油质，本不托色，故笔迹重，锋芒都尽，布景不多，自有一种简秀朴质之韵。书法较晚年略觉软熟，可能是其五十至六十岁间的作品。作品左边题识：“庭前秋葵一枝。欹栏独立。檀心自舒。犹佳人含思清愁。大有可怜之态。第恐一朝萎露。因寄之丹青以永观。周”钤印“石田”。右边题识：“条条秋风清。湛湛秋露泫。许有向阳心。秋云任舒卷。石田又题于静观阁。” 钤印“启南”。",[1553,1607,1554,1555,2161,1557,1559,1562,1595,1914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b2133c05bcc2d6a54e38c46654ab66.jpg","纸本，泥金，扇面，设色","纵18.0厘米， 横53.6厘米",[6,1613],{"id":1143,"slug":11500,"title":11501,"dynasty":1587,"author":9044,"museum":2117,"description":11502,"tags":11503,"thumbUrl":11504,"material":1802,"size":11505,"collection":6,"collections":11506,"showCount":11476,"zanCount":1568,"manualWeight":1568,"mainColor":1658},"mei-yue-hui-ying-tu-chen-lu-220401","梅月辉映图","此幅《梅月辉映图》写倒垂梅一株，枝由右上角出，主干弧形弯曲，构成梅枝总的动势。小枝则有穿插、变化，形成枝蕊参差交错、俯仰顾盼，梅花烂漫怒放的景象，图中以没骨写干，双钩圈花，淡墨渲染背景，突出千条万玉、花团锦簇的视觉的效果。",[1553,1554,1555,1607,1622,1591,1689,2964,2137,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ccb4e9ed68ba2b036805e6a57cbb30.jpg","223cm x 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顺口溜。这幅画和这枚印章都是不真实的，应该被视为普通的复制品。",[1553,1554,1555,1607,1637,1557,1559,3851,11926,1688,1556],"竹笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc639dbae1130bcbdab21b8cb2ceef9.jpg","26.9x25.9",[6],{"id":1196,"slug":11931,"title":11932,"dynasty":1587,"author":10880,"museum":1683,"description":11607,"tags":11933,"thumbUrl":11934,"material":1563,"size":11935,"collection":6,"collections":11936,"showCount":1615,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-niu-shan-ye-zhang-hong-216927","画牛扇页",[1554,2161,1591,5293,3740,1841,1879,2072],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccc76923873475685601e9d35f19f81.jpg","纵17.6cm，横61.8cm",[6],{"id":1197,"slug":11938,"title":5787,"dynasty":10524,"author":11939,"museum":1550,"description":11940,"tags":11941,"thumbUrl":11944,"material":1580,"size":1580,"collection":6,"collections":11945,"showCount":1615,"zanCount":1568,"manualWeight":1568,"mainColor":11946},"mei-hua-tu-zhou-he-xiang-ning-203275","何香凝","这幅画以水墨写意手法绘就，梅枝虬劲如铁，纵横交错间尽显苍古之态，笔触老辣简练，干笔皴擦出的枝干纹理，传递出梅花的坚韧傲骨；旁侧牡丹花瓣层叠晕染，墨色浓淡相宜，雍容中透着清雅，与梅枝相映成趣。整幅作品笔墨奔放却不失细腻，线条张力十足，刚柔并济间，既有梅花的高洁品格，又含牡丹的典雅气度，尽显写意花鸟的神韵与生机。",[1554,1591,1686,1827,1608,1559,11942,11943,1622,1553],"干笔皴擦","淡墨晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55019e2bc3112bfcc93e37f002df58fb.jpg",[6],"cfc6b4",{"id":1198,"slug":11948,"title":11949,"dynasty":10524,"author":11950,"museum":1550,"description":11951,"tags":11952,"thumbUrl":11953,"material":1580,"size":1580,"collection":6,"collections":11954,"showCount":1615,"zanCount":1568,"manualWeight":1568,"mainColor":11955},"mu-dan-xiao-niao-tu-zhou-yu-fei-an-202992","牡丹小鸟图轴","于非闇","艳红牡丹盛放如霞，花瓣层叠晕染，浓丽中见细腻质感；翠叶脉络分明，深浅相生，尽显蓬勃生机。老干虬曲苍劲，与柔花嫩羽相映成趣。枝头小鸟俏立，羽色鲜活灵动，似欲啁啾，为画面添几分逸趣。整作工笔细腻入微，设色富丽雅致，融书画印于一体，尽显传统花鸟之韵致，是工笔重彩的典范之作。",[1637,1557,1608,1559,1667,1554,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36cbd9f69ebd3d624531f11b9788fd9e.jpg",[6],"d7ceb9",{"id":1199,"slug":11957,"title":11958,"dynasty":10524,"author":11875,"museum":1550,"description":11959,"tags":11960,"thumbUrl":11961,"material":1580,"size":1580,"collection":6,"collections":11962,"showCount":1615,"zanCount":2968,"manualWeight":1568,"mainColor":11963},"hong-mei-tu-zhou-chen-shi-ceng-202811","红梅图轴","墨枝如铁，虬劲盘折，尽显老干苍古之姿；胭脂点花，浓淡相宜，绽放红梅嫣然情态。笔力雄健洒脱，墨色层次丰富，枝干转折交叉皆见章法，花朵点缀疏密有致，于写意中见生动，于简淡中藏生机。留白得当，清雅韵致与傲然风骨尽显，是文人画中花鸟写意的佳构。",[1554,1591,1557,1559,1689,1686,11886,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec90339486a1ad246ae416b4554373e.jpg",[6],"e2ded4",{"id":1200,"slug":11965,"title":11966,"dynasty":1548,"author":11967,"museum":1550,"description":11968,"tags":11969,"thumbUrl":11971,"material":1580,"size":1580,"collection":6,"collections":11972,"showCount":1615,"zanCount":1568,"manualWeight":1568,"mainColor":11973},"wan-nian-qing-tu-zhou-gong-cheng-201875","万年青图轴","龚橙","画面以兼工带写之法绘就，万年青叶片线条劲挺，白描勾勒间衬以淡墨晕染，叶脉纹理清晰可见；朱红果簇点缀其间，色泽明艳，尽显生机。旁侧枝叶以没骨写意，墨色枯润相济，姿态舒展自然。背景山石泼墨而成，浓淡交错，晕染出雄浑朴拙之韵，与前景植物的柔美雅致形成对比。题款书法笔力遒劲，与画面相得益彰，尽显文人画的意趣与格调。整体构图疏密有致，设色淡雅却不失鲜活，传递出清逸隽秀的审美意蕴。",[1554,1622,1557,1559,11970,1707,1637,1591,1562,1595,1553],"万年青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661818d8ed6e818b0cc3891f1a1f2591.jpg",[6],"c4bdaf",{"id":1201,"slug":11975,"title":11976,"dynasty":1548,"author":11977,"museum":1550,"description":11978,"tags":11979,"thumbUrl":11980,"material":1580,"size":1580,"collection":6,"collections":11981,"showCount":1615,"zanCount":1568,"manualWeight":1568,"mainColor":11982},"qiu-hua-hu-die-tu-zhou-tang-guang-qi-201829","秋花蝴蝶图轴","汤光启","画面以暖棕绢本铺陈，秋花簇生于山石侧畔。明黄花朵舒展瓣翼，绛红菊瓣层叠如丝，紫蓝小菊与细碎野卉点缀其间，枝叶脉络毕现。一只蝴蝶振翅悬停，姿态轻盈灵动，为静谧秋景添几分生机。山石以淡墨皴染，质感朴拙，与花卉的妍丽设色相映成趣。构图疏密有致，笔墨细腻工致，尽显秋日野趣与自然意韵，是清代花鸟画作中兼具雅致与生机的小品。",[1554,1637,1557,1559,1748,3426,2038,1696,1622,1555,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbafa48b9b14fb9082841f66cc66e2d38.jpg",[6],"815723",{"id":1202,"slug":11984,"title":11985,"dynasty":1548,"author":11986,"museum":1663,"description":11987,"tags":11988,"thumbUrl":11989,"material":1784,"size":1785,"collection":6,"collections":11990,"showCount":1870,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"yun-zi-hua-hui-ce-yun-zi-238107","恽资花卉册","恽资","此作以没骨法写折枝花卉，枝叶晕染清润柔和，粉瓣过渡自然，将盛放娇花与将谢残英并置，暗含荣枯之思。\n笔底花叶舒展灵动，设色明雅柔和，淡而有神，将草木柔媚之态与脉脉生韵相融。旁配行书题跋，笔意隽秀清雅，书画相映成趣，尽显文人意趣。\n画作脱却匠气，以写生为要，尽显细腻情思，于尺幅间晕染出雅致恬然的林下风致，尽显闺阁画柔婉雅致的独特风貌。",[1554,1555,1556,1637,1557,1559,1560,1595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ebf255ec050eb15310032b3d56a6ab.jpg",[6,1613],{"id":1203,"slug":11992,"title":11993,"dynasty":1633,"author":1732,"museum":1663,"description":11994,"tags":11995,"thumbUrl":11996,"material":1580,"size":1580,"collection":6,"collections":11997,"showCount":1870,"zanCount":2968,"manualWeight":1568,"mainColor":1658},"po-shu-kun-chong-ye-yi-ming-238064","坡蔬昆虫页","此作以小品之境写就郊野秋意，淡墨晕染坡岸，尽显荒疏松软的野地质感。野蔬茎干挺秀，菜叶以赭红晕染，舒展间带着晚风轻拂的柔态，旁侧兰叶修长劲挺，笔墨清简古雅。\n\n三只草虫各得其所，伏于菜叶的凝神静立，栖于长茎的振翅欲飞，勾勒精细入微，翅脉纤毫毕现，将秋虫灵动之态定格。整体设色浅淡含蓄，意境清寂淡远，把乡野一隅的幽微生机全然铺展，尽显简淡空灵的审美意韵，藏着秋日郊野的闲静野趣。",[1607,1554,155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浑。整幅笔墨凝练，将松之坚韧与鹰之豪迈相融，传递刚健向上的精神气质。",[1554,1591,1559,1691,3141,1637,2274,1622,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdabe760fed5d02f497a26bc3c559c913.jpg",[6],"ad9d88",{"id":1308,"slug":12837,"title":12838,"dynasty":1548,"author":12839,"museum":1550,"description":12840,"tags":12841,"thumbUrl":12842,"material":1580,"size":1580,"collection":6,"collections":12843,"showCount":1860,"zanCount":1568,"manualWeight":1568,"mainColor":12844},"ku-mu-qu-yu-tu-zhou-zhou-shi-biao-201992","枯木鸜鹆图轴","周士标","墨色晕染间，鸜鹆独立枯枝，羽翅浓淡相叠如泼墨流云，眼瞳点金似藏清光。枯枝以干笔皴擦，虬枝盘曲，线条苍劲见老木风霜。鸟之灵动与枝之古拙相映，寥寥数笔尽得生机。题跋行书流畅，诗画相融，笔墨简括却韵味悠长，素绢之上凝住清寂傲然之态，尽显文人画的意趣与风骨。",[1554,1591,1559,5336,2137,1667,2274,1688,1595,1622,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd1041b828af381d0dfaabcd38331ff2.jpg",[6],"9d774d",{"id":1309,"slug":12846,"title":12847,"dynasty":1548,"author":12848,"museum":1550,"description":12849,"tags":12850,"thumbUrl":12852,"material":1580,"size":1580,"collection":6,"collections":12853,"showCount":1860,"zanCount":2155,"manualWeight":1568,"mainColor":12854},"fu-rong-bai-tou-tu-zhou-ren-yu-201856","芙蓉白头图轴","任预","淡墨挥写的芦苇疏枝摇曳，衬得粉润芙蓉愈显烂漫——叶片敷染淡蓝，花瓣晕开浅粉，笔墨细腻处见生趣。白头鸟静栖苇秆，羽色勾勒层次分明，神态悠然间藏灵动。整作兼工带写，花鸟相映成趣，清逸雅致的意境中，满溢自然生机与温婉意韵。",[1559,1557,3017,1693,3018,3321,1548,12851,1553],"海派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6aa49c4bee8055c36ef760fd76506.jpg",[6],"d3bea4",{"id":1310,"slug":12856,"title":11593,"dynasty":1587,"author":2306,"museum":1550,"description":12857,"tags":12858,"thumbUrl":12859,"material":1580,"size":1580,"collection":6,"collections":12860,"showCount":1860,"zanCount":1568,"manualWeight":1568,"mainColor":10909},"hua-hui-tu-juan-chen-chun-201795","这幅花卉图卷以水墨写意入笔，笔墨纵横恣肆，气韵生动。枝蔓花卉以浓淡干湿的墨色变化铺陈，线条洒脱不拘，如梅枝苍劲、兰叶飘逸、荷叶舒展，皆在寥寥数笔间尽显神韵。画面不重形似而尚意趣，一花一叶透着文人清雅风骨，墨色淋漓处见生机，留白间藏余韵，将自然草木情态与画家逸兴融为一体，尽显写意花鸟的灵动疏放之美。",[1554,1666,1591,1559,1689,1695,1690,1696,1692,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7eb71a5de54d509ffccb7ce7bcbfe4.jpg",[6],{"id":1311,"slug":12862,"title":12863,"dynasty":1548,"author":12864,"museum":1550,"description":12865,"tags":12866,"thumbUrl":12867,"material":1580,"size":1580,"collection":6,"collections":12868,"showCount":1860,"zanCount":2063,"manualWeight":1568,"mainColor":12869},"he-hua-lu-zi-tu-zhou-zhang-nai-qi-201637","荷花鹭鶅图轴","张迺耆","这幅荷塘图中，荷叶以水墨浓淡晕染，墨色层次错落，舒展自然；荷花施淡粉，娇嫩清雅，花瓣纹理细腻可见。两只鹭鸶姿态鲜活：一昂首似欲引吭，一低首若寻食，羽毛细笔勾勒后敷淡白，喙爪墨线劲挺，神韵毕现。笔墨兼融写意的淋漓与工致的精巧，设色淡雅柔和，营造出清逸闲适的荷塘生趣，尽显文人画的雅致韵味。",[1554,1559,1577,12285,1591,1557,1637,1622,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb40becd4539943deb191776b5b8640.jpg",[6],"cac1b4",{"id":1312,"slug":12871,"title":12872,"dynasty":1548,"author":2056,"museum":1550,"description":12873,"tags":12874,"thumbUrl":12875,"material":1580,"size":1580,"collection":6,"collections":12876,"showCount":1860,"zanCount":2968,"manualWeight":1568,"mainColor":12877},"jiao-ju-zhu-shi-tu-zhou-shi-tao-201607","焦菊竹石图轴","画面以水墨写意写竹石蕉菊，笔墨纵逸洒脱。焦墨挥就的竹叶如剑戟横斜，尽显劲节；阔大蕉叶浓淡相破，层次叠生；嶙峋奇石皴擦兼施，肌理毕现；丛菊点缀石畔，淡雅疏朗。整幅画气韵生动，以简驭繁，将竹的坚韧、石的苍劲、蕉的清逸、菊的傲岸融为一体，尽显文人画“以物喻志”的意趣。笔势跌宕，墨色淋漓，于山野之趣中藏笔墨之妙，不经意间流露自然生机与人格寄托，是写意花鸟中情景交融的佳作。",[1591,2274,1690,1696,1707,1559,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d75643bba6c7a73727d229570de7ff2.jpg",[6],"c2b6aa",{"id":1313,"slug":12879,"title":12880,"dynasty":1548,"author":12881,"museum":1663,"description":12882,"tags":12883,"thumbUrl":12884,"material":1784,"size":1785,"collection":6,"collections":12885,"showCount":1919,"zanCount":2968,"manualWeight":1568,"mainColor":1569},"ku-mu-zhu-shi-ce-cha-shi-biao-237651","枯木竹石册","查士标","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[1554,1555,1556,1591,1721,1690,1669,1688,1595,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc50ab9dbf9106f927ff8c2fe9707414.jpg",[6],{"id":1314,"slug":12887,"title":10613,"dynasty":1548,"author":10614,"museum":1663,"description":12888,"tags":12889,"thumbUrl":12890,"material":1580,"size":1580,"collection":6,"collections":12891,"showCount":1919,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-niao-guo-ce-li-qi-236715","此作用水墨写就枝间野趣，禽鸟栖于细枝之上，喙衔小虫，姿态灵动自若。以浓淡墨色晕染禽鸟羽毛，层次宛然，将绒羽蓬松质感尽数展现，鲜活如生。右侧枯枝苍劲，松针皴擦老辣枯涩，与禽鸟的细腻刻画形成鲜明反差，虚实相映。左侧题字笔力苍拙，书画相融，更添文人雅韵。整幅简淡疏朗，于写意间暗含写生之真趣，寥寥笔墨便将林间小景的野逸之态尽显，清雅生动，意韵悠长。",[1554,1555,1556,1591,1559,1592,1953,2608,1594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c311ed68016fef5ab151c351fbaca3.jpg",[6,1934],{"id":1315,"slug":12893,"title":1572,"dynasty":1548,"author":6493,"museum":1663,"description":12894,"tags":12895,"thumbUrl":12896,"material":1580,"size":1580,"collection":6,"collections":12897,"showCount":1919,"zanCount":1568,"manualWeight":1568,"mainColor":1569},"hua-hui-ce-fan-ting-zhen-235566","此作以枯淡水墨绘就梅石，左侧顽石晕染出厚重质感，苔痕暗藏生机，细草柔蔓斜出，中和石之嶙峋冷硬；右侧老梅枝干虬曲苍劲，花苞圆浑饱满，墨色枯润相济，尽显古梅傲雪之姿。\n\n书画相融无间，题诗借旧语寄慨，以梅石抒怀，将幽独清高的文人襟怀寄寓在朴拙笔墨中。整体简淡萧疏，刚柔相衬，以画言情，风骨凛然，尽显诗画相生的雅致意趣，朴拙之中见清逸，余韵悠长。",[1554,1555,1556,1591,1707,1560,1594,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408c8a09ac4f62a1af0ad8c556f2968f.jpg",[6],{"id":1316,"slug":12899,"title":12900,"dynasty":10524,"author":12901,"museum":1550,"description":12902,"tags":12903,"thumbUrl":12904,"material":1580,"size":1580,"collection":6,"collections":12905,"showCount":1919,"zanCount":1568,"manualWeight":1568,"mainColor":12906},"lan-hua-tu-zhou-bai-jiao-203404","兰花图轴","白蕉","这幅兰花图轴笔墨简淡却气韵生动。白蕉以行草笔意入画，兰叶线条刚柔相济，飘逸自然，兼具书法的灵动与绘画的意趣；花朵淡墨点染，清雅含蓄，尽显兰之幽姿。画面构图疏朗，留白有致，题跋书法与兰草笔墨呼应，诗书画印融为一体，尽显文人画的清雅品格，是写意兰草的典范之作。",[1554,1591,1695,1562,1595,1559,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de9de7f4cc7c534228c4be48f0d61a.jpg",[6],"dad0b2",{"id":1317,"slug":12908,"title":2413,"dynasty":1548,"author":5309,"museum":1550,"description":12909,"tags":12910,"thumbUrl":12911,"material":1580,"size":1580,"collection":6,"collections":12912,"showCount":1919,"zanCount":1568,"manualWeight":1568,"mainColor":12913},"za-hua-ce-bian-shou-min-203253","泼墨写就的荷叶以浓淡干湿的墨色交织晕染，笔触苍劲老辣，似带清风拂过，墨气氤氲间尽显生机。旁侧行书题款笔势婉转流畅，与水墨荷景相映成趣，朱红印章点缀其间，更添古雅韵致。整体取水墨写意之法，不拘泥于形骸，重在神韵传达，尽显文人画疏淡野逸的格调，将夏日荷塘的清幽之态凝于方寸册页中。",[1554,1591,1559,1692,1688,1595,1556,1686,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd273a762e38a52eef90654f24bb99bf.jpg",[6],"ceb895",{"id":1318,"slug":12915,"title":1586,"dynasty":1587,"author":1588,"museum":1550,"description":12916,"tags":12917,"thumbUrl":12918,"material":1580,"size":1580,"collection":6,"collections":12919,"showCount":1919,"zanCount":1568,"manualWeight":1568,"mainColor":12920},"hua-niao-ce-sun-ke-hong-203132","飞鸟栖于枝干，羽色细腻生动：淡墨晕染躯体，翅间蓝纹点缀如星，尾羽青黛流转，姿态昂然似欲啼鸣。旁侧花叶相衬，粉瓣轻绽，青叶浅绿含翠，设色淡雅却见鲜活。枝干以枯润墨笔勾勒，苍劲中藏秀逸，与柔媚花叶形成刚柔对比。画作兼工带写，工笔细描鸟羽之态，写意挥洒枝干之姿，水墨与设色交融，尽显自然生机与文人雅韵。",[1554,1559,1556,1557,1637,1591,1667,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc667933a0b93f3983a65a9d7e22b6be.jpg",[6],"cac3b9",{"id":1319,"slug":12922,"title":12923,"dynasty":10524,"author":12124,"museum":1550,"description":12924,"tags":12925,"thumbUrl":12926,"material":1580,"size":1580,"collection":6,"collections":12927,"showCount":1919,"zanCount":1568,"manualWeight":1568,"mainColor":12928},"qun-e-tu-zhou-xu-bei-hong-203080","群鹅图轴","几只白鹅或昂首引颈，或曲身小憩，或低头理羽，憨态可掬，神情灵动鲜活。简练墨线勾勒轮廓，淡墨晕染与白粉点染交织，尽显羽毛蓬松质感；红喙黄蹼设色明艳，与素雅背景形成鲜明对比，更添鹅群生机。画面构图疏朗，意境清新，寥寥数笔便将鹅的天真之态跃然纸上，笔墨生动，趣味盎然。",[1554,1591,1557,1559,4640,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931111a0e448d242881154c3fba718d7.jpg",[6],"cab393",{"id":1320,"slug":12930,"title":12931,"dynasty":10524,"author":11388,"museum":1550,"description":12932,"tags":12933,"thumbUrl":12934,"material":1580,"size":1580,"collection":6,"collections":12935,"showCount":1919,"zanCount":1568,"manualWeight":1568,"mainColor":12936},"zi-teng-yuan-yang-tu-zhou-cheng-zhang-203070","紫藤鸳鸯图轴","画面中紫藤虬枝垂落，紫花串串点缀其间，叶色浓淡相宜，藤蔓舒展自然。下方双鸳鸯相偎青石，一俯一啄，姿态亲昵，羽毛纹理细腻入微，设色清雅却鲜活灵动。背景瀑布潺潺而下，山石以淡墨皴染，虚实相映，衬出清幽之境。整体笔墨工写结合，花鸟传神，山水雅致，于细节处见生机，尽显自然意趣与温情。",[1554,1559,1557,1637,1576,2556,4825,2038,2274,1622,1553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59823ed39c5f4545af129ee17d8cf9e.jpg",[6],"b6a996",{"id":1321,"slug":12938,"title":12939,"dynasty":10524,"author":1985,"museum":1550,"description":12940,"tags":12941,"thumbUrl":12942,"material":1580,"size":15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