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，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[1153,1154,1155,1156,1157,1158,1159,1160,1161,1162,1163,1164,1165,1166,1167,1168,1169],"高清","国画","书画","长卷","青绿","设色","工笔","山水","山峰","河流","湖泊","小船","树木","房屋","桥梁","云雾","植被","绢本，设色","纵51.5厘米，横1191.5厘米","宋画精选",[1172,6,1174],"设色画精选",22979,181,0,"795548",{"id":13,"slug":1180,"title":1181,"dynasty":1182,"author":1183,"museum":1184,"description":1185,"tags":1186,"thumbUrl":1194,"material":1195,"size":1196,"collection":6,"collections":1197,"showCount":1198,"zanCount":1199,"manualWeight":1177,"mainColor":1178},"zan-hua-shi-nv-tu-juan-zhou-fang-221115","簪花仕女图卷","唐","周昉","辽宁省博物馆","《簪花仕女图》传为唐代周昉绘制的一幅粗绢本设色画。\n作品现藏于 。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[1153,1154,1159,1158,1187,1188,1189,1190,1191,1192,1193],"美人","鹤","狗","花","衣帽","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米",[6,1174],15398,116,{"id":14,"slug":1201,"title":1202,"dynasty":1203,"author":1204,"museum":1205,"description":1206,"tags":1207,"thumbUrl":1226,"material":1227,"size":1228,"collection":6,"collections":1229,"showCount":1230,"zanCount":1231,"manualWeight":1177,"mainColor":1178},"qing-ming-shang-he-tu-chou-ying-217887","清明上河图","明","仇英","美国大都会艺术博物馆","此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。",[1153,1154,1156,1159,1158,1208,1209,1210,1211,1212,1213,1165,1214,1215,1216,1217,1218,1219,1220,1221,1222,1223,1224,1225],"界画","临摹","人物","楼阁","小桥","流水","商铺","船只","街市","车马","建筑","庭院","行人","市集","舟楫","道路","市井","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102b4f88d7b2d81f25208305d2123fef.jpg","绢本,设色","29.2x645.2cm",[6,1174],11185,132,{"id":15,"slug":1233,"title":1234,"dynasty":1235,"author":1236,"museum":1237,"description":1238,"tags":1239,"thumbUrl":1243,"material":1227,"size":1244,"collection":6,"collections":1245,"showCount":1246,"zanCount":1247,"manualWeight":1177,"mainColor":1248},"han-xi-zai-ye-yan-tu-gu-hong-zhong-216930","韩熙载夜宴图","五代十国","顾闳中","台北故宫博物院","他出生于江南，在南唐时担任元宗父子的御史，与周文儒同时。据传说，韩熙载是一个很好的声乐表演者，他是夜里喝酒的特殊客人。后者想看看台阶灯、台阶蜡烛和摇曳的筹码，所以他命令马德在晚上监视他，上面画的就是这幅画。这是人物画的最后一部分，只有八个人物，没有任何痕迹，这幅画非常古老，虽然不是顾雏军的原作，但可能是很早的一个大师的摹本。",[1153,1154,1240,1156,1159,1158,1210,1187,1191,1241,1242],"名画","乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3e16a6989ea7dc1166ef8b9300366.jpg","27.9x69",[6],6027,25,"BDBDBD",{"id":16,"slug":1250,"title":1251,"dynasty":1252,"author":1253,"museum":1254,"description":1255,"tags":1256,"thumbUrl":1262,"material":1227,"size":1263,"collection":6,"collections":1264,"showCount":1265,"zanCount":1266,"manualWeight":1177,"mainColor":1178},"gui-fei-chu-yu-tu-gu-jian-long-214875","贵妃出浴图","清","顾见龙","美国克利夫兰艺术博物馆","该图描绘了杨贵妃沐浴的情景，她赤身裸体，身披绣花红纱，身体半遮半掩，有古画人体的失落感，腿长，三寸金莲。戒指上有湖泊、石头和竹子以及红色的窗帘等奢侈的装饰，表示皇室和财富。画笔和颜料很重但不浑浊，金泥的中间轮廓很独特。",[1153,1240,1154,1155,1257,1159,1158,1210,1187,1258,1259,1260,1191,1261],"立轴","竹","荷","器","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39bc5a717a934b272fce5bd0a4f3c219.jpg","96.5x44.1",[6],5763,38,{"id":17,"slug":1268,"title":1269,"dynasty":1182,"author":1270,"museum":1271,"description":1272,"tags":1273,"thumbUrl":1280,"material":1281,"size":1282,"collection":6,"collections":1283,"showCount":1284,"zanCount":1285,"manualWeight":1177,"mainColor":1286},"ba-shi-qi-shen-xian-juan-wu-dao-zi-223367","八十七神仙卷","吴道子","徐悲鸿纪念馆","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[1153,1154,1155,1156,1274,1275,1210,1211,1276,1277,1278,1279],"宗教","白描","祥云","飘带","仪仗","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de302348f3ee25a5f65f77fe3cfccd0.jpg","绢本白描","30x290cm",[6],5500,51,"F48FB1",{"id":18,"slug":1288,"title":1289,"dynasty":1290,"author":1291,"museum":1205,"description":1292,"tags":1293,"thumbUrl":1300,"material":1227,"size":1301,"collection":6,"collections":1302,"showCount":1303,"zanCount":1247,"manualWeight":1177,"mainColor":1178},"shui-yue-guan-yin-tu-yi-ming-218243","水月观音图","不详","佚名","观音自在趺坐，披帛流云曳水，红裳金纹若焰，白纱轻透如雾。圆光笼身似月华轻泻，眉目低垂间慈悲满溢。净瓶插柳清寂，下方童子仰首献诚，水波微动处莲草点缀。线条婉转细腻，衣袂流转间庄严与温婉交织。水月之境的空灵与观音悲悯相融，静穆中藏生机，尽显古典造像的神韵雅致。",[1153,1154,1155,1257,1274,1159,1158,1210,1294,1295,1296,1297,1298,1192,1299,1193],"童子","水","石头","植物","明月","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff68d9e4a23b4ea007f24b249a1fb16.jpg","102.9x51.8",[6],5238,{"id":19,"slug":1305,"title":1306,"dynasty":1252,"author":1307,"museum":1150,"description":1308,"tags":1309,"thumbUrl":1318,"material":1227,"size":1319,"collection":6,"collections":1320,"showCount":1321,"zanCount":1322,"manualWeight":1177,"mainColor":1178},"xiao-sheng-xian-huang-hou-chao-fu-xiang-lang-shi-ning-214682","孝圣宪皇后朝服像","郎世宁","清世宗孝圣宪皇后钮祜禄氏（1693年1月1日—1777年3月2日），满洲镶黄旗人，加封一等承恩公、四品典仪官凌柱之女。\n十三岁时入侍雍亲王府邸，为雍王胤禛藩邸格格。康熙五十年生弘历，即乾隆皇帝。雍正元年封为熹妃，雍正八年封为熹贵妃。雍正十三年其子弘历（乾隆皇帝）即位，尊为圣母皇太后，上徽号曰崇庆皇太后。卒于乾隆四十二年正月二十三日，葬泰东陵。全谥为：孝圣慈宣康惠敦和诚徽仁穆敬天光圣宪皇后。\n孝圣宪皇后一生享尽了荣华富贵，她寿数之高，在清代皇太后中居于首位，在中国历代皇太后中也是极为罕见的。",[1153,1310,1311,1159,1158,1210,1312,1313,1314,1315,1316,1317],"清代","宫廷画","朝服","龙纹","宝座","地毯","朝珠","冠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b00629c91409bf2cc2df880364053c.jpg","233.5x141.5",[6],3757,9,{"id":20,"slug":1324,"title":1325,"dynasty":1148,"author":1326,"museum":1327,"description":1328,"tags":1329,"thumbUrl":1330,"material":1331,"size":1332,"collection":1172,"collections":1333,"showCount":1334,"zanCount":1335,"manualWeight":1177,"mainColor":1178},"mo-zhang-xuan-dao-lian-tu-zhao-ji-221330","摹张萱捣练图","赵佶","美国波士顿博物馆","卷中绘唐装仕女、女仆、女童十二人，依次为捣练、圈线、缝衣、熨练的情景。人物姿态雍容，线描挺劲，赋色浓丽。画中无款识，前隔水细花黄绫上有金章宗完颜璟仿徽宗瘦金体书题「天水摹张萱捣练图」。\n卷后有明初张绅、清高士奇、近人罗文彬题跋。画卷上分钤金章宗明昌七玺，清高士奇、金望乔等鉴藏印。《江村书画目》《大观录》《墨缘汇观续录》著录。\n「天水」为赵氏郡望，历来将此作系于宋徽宗赵佶名下，但丛用笔赋色的细腻精巧等特征来看，应出自宣和画院画家之手，不是徽宗亲笔。此图虽系摹本，但结合传世的如《挥扇仕女图》等唐人作品考察，可推知应为比较忠实的摹古之作，保留了十分珍贵的唐代绘画资料。特别是在张萱原作不存的情况下，我们据此可以探究张萱的绘画风貌。",[1153,1154,1155,1156,1159,1158,1210,1187,1209,1193,1191,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ccfee95d303f5ca82b607f6c92ef6.jpg","扇面画","纵：37厘米，横：145.3厘米",[1172,6,1174],2907,23,{"id":21,"slug":1337,"title":1338,"dynasty":1252,"author":1291,"museum":1150,"description":1339,"tags":1340,"thumbUrl":1345,"material":1227,"size":1346,"collection":6,"collections":1347,"showCount":1348,"zanCount":1349,"manualWeight":1177,"mainColor":1248},"yong-zheng-di-xing-le-tu-yi-ming-214261","雍正帝行乐图","雍正帝行乐图是一幅作者不详的清代画作。这幅画作描绘了雍正帝在行乐时的场景。\n\n在这幅画作中，画家巧妙地捕捉了雍正帝在行乐时的气质。他用浓墨重彩的画法，勾勒出了雍正帝的容貌。他还用细腻的线条勾勒出了雍正帝的衣着和配饰，让人感受到了雍正帝的尊贵气质。\n\n此外，画家在这幅画作中还描绘了雍正帝行乐时的场景。他用色彩丰富的画法，描绘了雍正帝行乐时的景象。这些景色与雍正帝的尊贵气质形成了鲜明的对比，让人感受到了雍正帝在行乐时的辉煌景象。",[1153,1154,1158,1159,1210,1341,1160,1342,1343,1168,1344],"龙","悬崖","波浪","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fd4e631a84421cc17c1546ad52fc90.jpg","34.9x31",[6],2811,8,{"id":22,"slug":1351,"title":1352,"dynasty":1182,"author":1353,"museum":1354,"description":1355,"tags":1356,"thumbUrl":1359,"material":1227,"size":1360,"collection":6,"collections":1361,"showCount":1362,"zanCount":1363,"manualWeight":1177,"mainColor":1248},"li-dai-di-wang-tu-yan-li-ben-214574","历代帝王图","阎立本","波士顿美术馆","本卷绘十三位帝王：前汉昭帝、汉光武帝、魏文帝曹丕、吴主孙权、蜀主刘备、晋武帝司马炎、陈宣帝陈顼、陈文帝陈蒨、陈废帝陈伯宗、陈后主陈叔宝、北周武帝宇文邕、隋文帝杨坚、隋炀帝杨广。整个卷轴共有四十六个人物。\n线条强而有力，色彩厚重，具有很高的艺术水准。通过细节，画家表达了皇帝们的内心世界和经历，用画笔表达了有爱有恨的故事。这幅画在色彩的使用和人物服装的处理上受到了佛教艺术的影响。",[1153,1154,1155,1156,1158,1210,1159,1357,1358,1191],"印章","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb3ca2dbf330c36c9516b2bb0dec8242.jpg","51.3 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的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[1153,1154,1155,1156,1464,1465,1160,1261,1212,1213,1560,1493,1437,1358,1561],"孤舟","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[6,1538,1174],877,7,{"id":37,"slug":1568,"title":1569,"dynasty":1252,"author":1570,"museum":1571,"description":1572,"tags":1573,"thumbUrl":1574,"material":1496,"size":1551,"collection":6,"collections":1575,"showCount":1576,"zanCount":1577,"manualWeight":1177,"mainColor":1248},"hong-lou-meng-ren-wu-ce-ye-yu-lan-214611","红楼梦人物册页","喻兰","上海博物馆","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[1154,1155,1492,1158,1210,1187,1261,1213,1493,1561,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab150ff0a3409c18b30e7aba25d52c8.jpg",[6],863,4,{"id":38,"slug":1579,"title":1580,"dynasty":1148,"author":1326,"museum":1237,"description":1581,"tags":1582,"thumbUrl":1592,"material":1227,"size":1593,"collection":6,"collections":1594,"showCount":1595,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"wen-hui-tu-zhao-ji-214251","文会图","文会图是宋代诗人赵佶的一幅代表作。这幅画作描绘了文会图的美丽风景。\n\n文会图位于宋代的江西省，是一座著名的风景名胜。它有着壮丽的山水景色，群山环绕，江河纵横。这里的山川秀美，让人流连忘返。\n\n在这幅画作中，赵佶巧妙地捕捉了文会图的美丽景色。他用浓墨重彩的画法，勾勒出了文会图的群山和江河。他还描绘了文会图周围的古迹和古建筑，让人感受到了宋代文化的博大精深。\n\n总之，文会图是一幅精美的画作，描绘了文会图的美丽风景。它让我们感受到了宋代诗人赵佶对自然的崇敬之情，也让我们感受到了宋代文化的魅力。",[1153,1154,1155,1158,1159,1210,1165,1219,1583,1584,1585,1422,1586,1358,1587,1588,1589,1590,1591],"饮酒","桌椅","餐具","聚会","场景描绘","细致写实","器物","园林","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9e09405eba855cbe3e826712631928.jpg","184.4x123.9",[6],862,{"id":39,"slug":1597,"title":1202,"dynasty":1148,"author":1598,"museum":1150,"description":1599,"tags":1600,"thumbUrl":1604,"material":1391,"size":1605,"collection":1172,"collections":1606,"showCount":1607,"zanCount":1457,"manualWeight":1177,"mainColor":1178},"qing-ming-shang-he-tu-zhang-ze-duan-221324","张择端","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[1153,1154,1156,1208,1158,1601,1159,1210,1211,1212,1213,1215,1216,1214,1165,1217,1602,1389,1218,1224,1223,1219,1603,1220],"风俗画","牛","商贩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[1172,6,1174],858,{"id":40,"slug":1609,"title":1610,"dynasty":1235,"author":1611,"museum":1237,"description":1612,"tags":1613,"thumbUrl":1617,"material":1227,"size":1618,"collection":6,"collections":1619,"showCount":1620,"zanCount":1430,"manualWeight":1177,"mainColor":1178},"shi-nv-tu-zhou-wen-ju-218529","仕女图","周文矩","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[1153,1154,1158,1159,1210,1187,1614,1477,1615,1438,1478,1616,1344,1257],"猫","蝴蝶","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb332ba757d3b97ebad0f1f7b7982c84e.jpg","180.9x102.1",[6],820,{"id":41,"slug":1622,"title":1623,"dynasty":1148,"author":1149,"museum":1150,"description":1151,"tags":1624,"thumbUrl":9,"material":1170,"size":1171,"collection":1172,"collections":1628,"showCount":1629,"zanCount":1630,"manualWeight":1177,"mainColor":1178},"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[1153,1154,1240,1155,1156,1157,1158,1159,1465,1160,1625,1162,1212,1165,1626,1627,1168,1169],"山峦","亭台","舟船",[1172,6,1174],809,10,{"id":42,"slug":1632,"title":1633,"dynasty":1203,"author":1204,"museum":1150,"description":1634,"tags":1635,"thumbUrl":1637,"material":1170,"size":1638,"collection":6,"collections":1639,"showCount":1640,"zanCount":1457,"manualWeight":1177,"mainColor":1248},"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[1153,1154,1240,1155,1159,1158,1210,1187,1211,1165,1417,1479,1477,1478,1636,1191],"器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[6,1174],808,{"id":43,"slug":1642,"title":1643,"dynasty":1203,"author":1644,"museum":1369,"description":1645,"tags":1646,"thumbUrl":1651,"material":1227,"size":1652,"collection":6,"collections":1653,"showCount":1654,"zanCount":1655,"manualWeight":1177,"mainColor":1178},"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[1153,1154,1155,1156,1158,1159,1208,1210,1211,1160,1165,1212,1213,1627,1626,1439,1647,1219,1648,1649,1650,1162,1625,1218],"宫殿","人群","松","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[6,1174],775,13,{"id":44,"slug":1657,"title":1658,"dynasty":1203,"author":1659,"museum":1205,"description":1660,"tags":1661,"thumbUrl":1666,"material":1227,"size":1551,"collection":1667,"collections":1668,"showCount":1669,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"za-hua-ce-chen-hong-shou-218031","杂画册","陈洪绶","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[1154,1158,1159,1492,1662,1663,1664,1665],"花鸟","昆虫","红叶","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c5103e3f5c96e67bf35677653152a4.jpg","花鸟画精选",[1667,1538,6],758,2,{"id":45,"slug":1672,"title":1673,"dynasty":1252,"author":1674,"museum":1184,"description":1675,"tags":1676,"thumbUrl":1684,"material":1685,"size":1686,"collection":6,"collections":1687,"showCount":1688,"zanCount":1630,"manualWeight":1177,"mainColor":1178},"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","徐扬","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[1153,1240,1154,1155,1156,1158,1159,1208,1210,1211,1212,1213,1215,1216,1214,1677,1165,1224,1218,1678,1220,1679,1680,1681,1682,1683],"河道","码头","货船","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 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于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[1153,1159,1158,1210,1211,1219,1417,1754,1187,1261,1165,1755,1218,1421,1756,1757,1758,1759,1760],"廊庑","古典园林","庭院景观","传统服饰","园林建筑","彩色绘制","精细勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f1fb4911504a20d8c776ac2c7c4877.jpg","纵43.3厘米、横76.5厘米",[6],620,{"id":52,"slug":1766,"title":1767,"dynasty":1148,"author":1768,"museum":1237,"description":1769,"tags":1770,"thumbUrl":1771,"material":1772,"size":1773,"collection":6,"collections":1774,"showCount":1775,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","李公麟","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[1153,1154,1155,1156,1275,1160,1211,1212,1213,1437,1165,1210,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","纸本,水墨","28.9x364.6",[6],600,{"id":53,"slug":1777,"title":1778,"dynasty":1148,"author":1779,"museum":1237,"description":1780,"tags":1781,"thumbUrl":1786,"material":1227,"size":1787,"collection":1172,"collections":1788,"showCount":1789,"zanCount":1457,"manualWeight":1177,"mainColor":1178},"nian-cha-tu-liu-song-nian-219699","撵茶图","刘松年","《撵茶图》为工笔白描，描绘了宋代从磨茶到烹点的具体过程、用具和点茶场面。画中左前方一仆设坐在矮几上，正在转动碾磨磨茶，桌上有筛茶的茶罗、贮茶的茶盒等。另一人伫立桌边，提着汤瓶点茶(泡茶)，他左手边是煮水的炉、壶和茶巾，右手边是贮水瓮，桌上是茶筅、茶盏和盏托。一切显得十分安静整洁，专注有序。画面右侧有三人，一僧伏案执笔作书，传说此高僧就是中国历史上的“书圣”怀素。一人相对而坐，似在观赏，另一人坐其旁，正展卷欣赏。\n刘松年传世作品很多，仅涉及到茶事内容的就有《斗茶图》、《卢仝烹茶图卷》、《茗园赌市图》、《博古图》、《撵茶图》等多幅，对了解宋代茶事有很高的学术参考价值。《撵茶图》从一个侧面充分展示了贵族官宦之家讲究品茶的生动场面，是宋代茶叶品饮的真实写照。",[1154,1240,1155,1159,1158,1275,1210,1782,1783,1784,1422,1785,1589],"茶具","桌案","棕榈","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e804e0a8eabdd2d17d440cc528efba.jpg","纵44.2厘米，横66.9厘米",[1172,6],574,{"id":54,"slug":1791,"title":1792,"dynasty":1252,"author":1291,"museum":1150,"description":1793,"tags":1794,"thumbUrl":1799,"material":1170,"size":1800,"collection":6,"collections":1801,"showCount":1802,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 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”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[1154,1158,1159,1208,1795,1160,1211,1796,1477,1797,1439,1210,1798],"行乐图","松树","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg","纵188.2厘米，横102.2厘米",[6,1174],568,{"id":55,"slug":1804,"title":1805,"dynasty":1203,"author":1204,"museum":1369,"description":1806,"tags":1807,"thumbUrl":1811,"material":1227,"size":1551,"collection":6,"collections":1812,"showCount":1813,"zanCount":1541,"manualWeight":1177,"mainColor":1178},"er-shi-si-xiao-tu-ce-chou-ying-216291","二十四孝图册","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[1240,1154,1155,1492,1159,1158,1210,1808,1809,1810,1297],"孩童","土墙","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9bda63260d3643cffa6017775670d8.jpg",[6],563,{"id":56,"slug":1815,"title":1816,"dynasty":1252,"author":1291,"museum":1150,"description":1817,"tags":1818,"thumbUrl":1819,"material":1195,"size":1551,"collection":6,"collections":1820,"showCount":1821,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"yin-zhen-ban-shen-xiang-zhou-yi-ming-236173","胤禛半身像轴","清朝人画的胤禛像。爱新觉罗·胤禛（1678—1735） 雍正，满族，是清朝第五位皇帝，入关后第三位皇帝，清圣祖康熙第四子，母为孝恭仁皇后，即德妃乌雅氏，1722—1735年在位，年号雍正，庙号清世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之清泰陵。",[1154,1210,1159,1158,1257,1191,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f705ee2f9ff7c893abe608f40192e4d.jpg",[6,1174],553,1,{"id":57,"slug":1824,"title":1825,"dynasty":1252,"author":1307,"museum":1150,"description":1826,"tags":1827,"thumbUrl":1829,"material":1170,"size":1830,"collection":6,"collections":1831,"showCount":1832,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-222723","乾隆皇帝大阅图轴","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[1153,1257,1159,1158,1210,1389,1160,1191,1828],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ee2f5e76e9f30efbdf7e15fcadde66.jpg","纵332.5厘米，横232厘米",[6],548,{"id":58,"slug":1834,"title":1488,"dynasty":1203,"author":1204,"museum":1517,"description":1835,"tags":1836,"thumbUrl":1838,"material":1227,"size":1839,"collection":1538,"collections":1840,"showCount":1832,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[1153,1154,1240,1159,1158,1465,1160,1165,1837,1210,1213,1664],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[1538,6,1174],{"id":59,"slug":1842,"title":1843,"dynasty":1203,"author":1449,"museum":1237,"description":1844,"tags":1845,"thumbUrl":1849,"material":1697,"size":1698,"collection":6,"collections":1850,"showCount":1851,"zanCount":1322,"manualWeight":1177,"mainColor":1248},"chang-e-ben-yue-tu-zhou-tang-yin-289743","嫦娥奔月图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[1154,1257,1158,1210,1187,1846,1298,1847,1848,1358,1357,1421],"嫦娥","兔","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg",[6],539,{"id":60,"slug":1853,"title":1854,"dynasty":1148,"author":1291,"museum":1237,"description":1855,"tags":1856,"thumbUrl":1858,"material":1227,"size":1859,"collection":6,"collections":1860,"showCount":1861,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"xian-yan-shou-lu-tu-yi-ming-216215","仙岩寿鹿图",""仙岩寿鹿图" 是宋朝时期的一幅绘画作品，其作者不详。这幅作品描绘了一处神奇的山洞，里面生活着许多寿鹿。寿鹿是一种传说中的动物，身体像鹿，有着长长的寿命。在这幅画中，寿鹿被描绘成了幸福、健康、长寿的象征。整幅画浓郁的山水意境，深深地吸引着观众的眼球。",[1240,1154,1155,1257,1158,1159,1210,1187,1857,1741,1261,1837],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[6],533,{"id":61,"slug":1863,"title":1864,"dynasty":1367,"author":1865,"museum":1237,"description":1866,"tags":1867,"thumbUrl":1868,"material":1227,"size":1869,"collection":6,"collections":1870,"showCount":1861,"zanCount":1541,"manualWeight":1177,"mainColor":1178},"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","赵孟頫","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[1153,1154,1155,1156,1275,1158,1210,1493,1160,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[6],{"id":62,"slug":1872,"title":1873,"dynasty":1148,"author":1874,"museum":1354,"description":1875,"tags":1876,"thumbUrl":1877,"material":1227,"size":1878,"collection":1172,"collections":1879,"showCount":1880,"zanCount":1349,"manualWeight":1177,"mainColor":1881},"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[1153,1240,1154,1155,1257,1274,1159,1158,1210,1439,1165,1168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[1172,6],530,"37474F",{"id":63,"slug":1883,"title":1884,"dynasty":1148,"author":1885,"museum":1237,"description":1886,"tags":1887,"thumbUrl":1889,"material":1496,"size":1551,"collection":6,"collections":1890,"showCount":1891,"zanCount":1541,"manualWeight":1177,"mainColor":1178},"guan-fu-xi-ying-tu-su-han-chen-216963","灌佛戏婴图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[1154,1240,1155,1159,1158,1210,1403,1258,1438,1888,1417],"假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc85835c28e628810548dd2c93dbfbd.jpg",[6],525,{"id":64,"slug":1893,"title":1894,"dynasty":1148,"author":1291,"museum":1184,"description":1895,"tags":1896,"thumbUrl":1897,"material":1227,"size":1551,"collection":6,"collections":1898,"showCount":1899,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"mo-gu-kai-zhi-luo-shen-fu-tu-di-er-juan-yi-ming-214860","摹顾恺之洛神赋图（第二卷）","摹顾恺之洛神赋图（第二卷）是宋朝佚名画家的一幅作品。这幅画描绘了洛神，她是中国神话中的一位美丽的仙女，被认为是花的化身。洛神赋图是一组描绘洛神的图画，可能是以绘画的形式来记录洛神的故事。这幅画的风格典雅，线条流畅，色彩明快，极富表现力。",[1153,1209,1154,1156,1275,1158,1210,1341,1627,1160,1477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e06b4414fc9a2b292ec17325cf42bd.jpg",[6],522,{"id":65,"slug":1901,"title":1306,"dynasty":1252,"author":1291,"museum":1150,"description":1308,"tags":1902,"thumbUrl":1904,"material":1227,"size":1905,"collection":6,"collections":1906,"showCount":1907,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"xiao-sheng-xian-huang-hou-chao-fu-xiang-yi-ming-214678",[1153,1154,1159,1158,1210,1313,1312,1314,1903],"珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631a192117b99cc7e5402bb134df43bd.jpg","248.7x116.8",[6],501,{"id":66,"slug":1909,"title":1910,"dynasty":1203,"author":1204,"museum":1254,"description":1911,"tags":1912,"thumbUrl":1913,"material":1227,"size":1914,"collection":6,"collections":1915,"showCount":1916,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[1153,1154,1156,1155,1159,1158,1208,1160,1210,1211,1437,1212,1213,1258,1165,1439,1219,1662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[6],497,{"id":67,"slug":1918,"title":1919,"dynasty":1920,"author":1921,"museum":1237,"description":1922,"tags":1923,"thumbUrl":1926,"material":1227,"size":1927,"collection":6,"collections":1928,"showCount":1929,"zanCount":1457,"manualWeight":1177,"mainColor":1178},"liu-chao-liang-zhang-seng-yao-xue-shan-hong-shu-tu-zhang-seng-yao-220434","六朝梁张僧繇雪山红树图","南北朝","张僧繇","全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。",[1154,1155,1257,1158,1160,1924,1925,1212,1389,1210,1439,1165],"雪山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd533a6eb07070436caaa6f33827a741c.jpg","118x60.8",[6,117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这位女士坐在质朴的座位上，手里拿着一本书。 她随意的姿势、精致的外表和透明的衣着表明冷梅可能一直在描绘一个妓女。 艺术家的技巧可以从纺织品设计的细腻渲染和帷幔的流畅线条中看出。",[1153,1154,1159,1158,1210,1187,1191,1193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1e3b4f1eb980004fca2e6dfb0e546.jpg","纵90 厘米横31 厘米",[6],489,{"id":69,"slug":1940,"title":1941,"dynasty":1203,"author":1659,"museum":1517,"description":1942,"tags":1943,"thumbUrl":1944,"material":1496,"size":1945,"collection":6,"collections":1946,"showCount":1947,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"ma-gu-xian-shou-tu-chen-hong-shou-219532","麻姑献寿图","“麻姑献寿”是传统绘画特别是民间年画的常见题材。传说三月三日西王母寿辰，麻姑在绛珠河畔以灵芝酿酒，为王母祝寿。麻姑是神话人物，晋代葛洪《神仙传》说她是建昌人，修道于牟州东南姑余山。此画描写麻姑和侍女二人，均面相端庄美丽。麻姑一手执仙杖，杖端系有盛灵芝酒的宝葫芦，另一手执玉盘。衣纹用线钩勒粗简方折，而衣上带图案的银白色花纹却描绘得极工细匀整，既素雅又华丽，显示出人物的非凡身份和在祝寿的特定情境中对寿者(西王母)的尊敬和虔诚。麻姑身后的侍女双手捧花瓶，瓶插雪白的梅花和红艳的山茶花，与麻姑面向一致，目视前方，神情专注。",[1153,1154,1155,1257,1159,1158,1210,1187,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe811cb5aa985accd1f172e8ea3508614.jpg","190.2x104.6厘米",[6,1174],478,{"id":70,"slug":1949,"title":1950,"dynasty":1182,"author":1291,"museum":1951,"description":1952,"tags":1953,"thumbUrl":1955,"material":1956,"size":1551,"collection":6,"collections":1957,"showCount":1958,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"jiang-mo-bian-dun-huang-tu-juan-yi-ming-217282","降魔变·敦煌图卷","法国国家图书馆","纤细灵动的墨线勾勒出神态各异的人物，衣袂飘举间藏着唐代绘画的潇洒韵致。残存的朱红、赭石色调虽经岁月晕染，仍可窥见当初设色的浓淡相宜。画面分段铺陈降魔故事：左侧人物群像或肃穆或专注，似在静待一场斗法开启；中间帐幔低垂，端坐者的静谧与周遭张力暗合；右侧则将神魔相搏的激烈瞬间定格，动态构图尽显情节跌宕。整幅作品以叙事性画面传递佛教义理，线条流转与情节起伏相映成趣，既是唐代佛教艺术的生动遗存，也为后世窥见当时审美与信仰世界的窗口。",[1240,1154,1155,1156,1158,1159,1274,1210,1954],"敦煌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a40ea02cdf882170b7ef7d5d3e495f.jpg","设色,拓本",[6],473,{"id":71,"slug":1960,"title":1961,"dynasty":1252,"author":1962,"museum":1237,"description":1963,"tags":1964,"thumbUrl":1966,"material":1227,"size":1967,"collection":6,"collections":1968,"showCount":1969,"zanCount":1630,"manualWeight":1177,"mainColor":1248},"mai-jiang-tu-yao-wen-han-219480","卖浆图","姚文瀚","这幅画是市场上卖纸浆的场景。 十个人，男女老少，聚在一起，或搅炉熬浆； 或者提着锅卖掉； 对纸浆和器物的描述细致入微。 整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[1153,1154,1155,1158,1159,1210,1260,1224,1965,1344,1785,1357],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","59.3x108cm",[6,1174],463,{"id":72,"slug":1971,"title":1972,"dynasty":1503,"author":1504,"museum":1150,"description":1505,"tags":1973,"thumbUrl":1974,"material":1508,"size":1509,"collection":6,"collections":1975,"showCount":1976,"zanCount":1457,"manualWeight":1177,"mainColor":1248},"nv-shi-zhen-tu-juan-quan-juan-gu-kai-zhi-221041","女史箴图卷全卷",[1153,1154,1155,1156,1275,1159,1210,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e325b86458ef996bbbc4b4e8cbd033.jpg",[6,1721],458,{"id":73,"slug":1978,"title":1979,"dynasty":1203,"author":1489,"museum":1571,"description":1980,"tags":1981,"thumbUrl":1982,"material":1227,"size":1551,"collection":6,"collections":1983,"showCount":1984,"zanCount":1541,"manualWeight":1177,"mainColor":1286},"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[1153,1154,1155,1156,1158,1160,1210,1165,1730,1796,1358,1561,1357,1159,1465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[6,1538],452,{"id":74,"slug":1986,"title":1987,"dynasty":1367,"author":1988,"museum":1413,"description":1989,"tags":1990,"thumbUrl":1991,"material":1496,"size":1992,"collection":6,"collections":1993,"showCount":1994,"zanCount":1566,"manualWeight":1177,"mainColor":1248},"yang-gui-fei-shang-ma-tu-qian-xuan-220289","杨贵妃上马图","钱选","《杨贵妃上马图》描绘唐玄宗与贵妃杨玉环准备出游的情景，玄宗骑马在前，回头望着贵妃，贵妃在两侍女协助下正往马鞍上爬，娇态毕现。\n作品构图接近唐代，人物分组而呈错落有致的横向排列，以人物间的顾盼联系各段，将全画串联起来，犹同舞台效果。\n《杨贵妃上马图》收录于《石渠宝笼续编·御书房》，画卷上现在仍可以清楚看到“御书房鉴藏宝”、“乾隆御览之宝”、“嘉庆御览之宝”等印，居中位置可看到“宣统御览之宝”的字样。说明一直为皇室所收藏，但不见《佚目》记载，未便肯定为《佚目》外的“东北货”。清王朝覆灭后，“末代皇帝”溥仪对故官藏画进行整理时，此画还在官中。后来随着太监的盗卖、溥仪对弟弟溥杰的“赏赐”以及其他流失途径，流出宫外，为湖州张珩购得，后经其叔张叔驯携带到美国出售他人，此画便流出国门，后进入美国弗利尔美术馆。",[1153,1154,1155,1156,1159,1158,1210,1187,1389,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff618d905a3604488c129f373b3e069d1.jpg","纵29.5厘米，横117厘米",[6,1174],448,{"id":75,"slug":1996,"title":1997,"dynasty":1252,"author":1998,"museum":1517,"description":1999,"tags":2000,"thumbUrl":2001,"material":1227,"size":1551,"collection":6,"collections":2002,"showCount":1994,"zanCount":1322,"manualWeight":1177,"mainColor":1178},"tian-nv-san-hua-tu-xu-mei-219574","天女散花图","徐玫","此作中天女身姿婉柔，发髻轻簪雅饰，宽袖长裙随云舒卷，衣带如流风回雪，将凌虚而行的轻盈尽显。她手托花盏，眉目低垂含婉，似正将满捧花雨播向凡尘。细劲灵动的墨线勾勒仙袂翩跹的柔美，淡彩晕染裙间纹饰，古旧绢底晕开朦胧云霭，愈衬得天女出尘脱俗，仿佛携着缥缈仙气自云间缓步而来，将神女温婉端丽与飘逸灵动融为一体，尽显清丽秀雅的仕女画格调，余韵悠然绵长。",[1153,1154,1155,1257,1159,1158,1210,1187,1277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c2b641db2cfe3c536c5c9f958366b5.jpg",[6,1174],{"id":76,"slug":2004,"title":2005,"dynasty":1203,"author":1291,"museum":1237,"description":2006,"tags":2007,"thumbUrl":2010,"material":1227,"size":2011,"collection":6,"collections":2012,"showCount":1994,"zanCount":1322,"manualWeight":1177,"mainColor":1178},"ru-bi-tu-yi-ming-214833","入跸图","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[1153,1240,1154,1156,1159,1158,1210,1211,1165,1217,1278,2008,2009],"皇家出行","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg","92.10x3003.6",[6],{"id":77,"slug":2014,"title":2015,"dynasty":1252,"author":1291,"museum":1369,"description":2016,"tags":2017,"thumbUrl":2018,"material":1227,"size":1551,"collection":6,"collections":2019,"showCount":2020,"zanCount":1541,"manualWeight":1177,"mainColor":1178},"hong-lou-meng-fu-tu-ce-yi-ming-216695","红楼梦赋图册","疏朗庭院间，虬枝松叶覆半面轩窗，雕花棂格透出彩绸轻曳。廊下女子或凭栏低语，或执扇凝眸；阶前二人衣袂相叠，似在话叙家常。坡上苔石生绿，丛花点染胭脂色，远处水榭隐于烟柳后，添几分悠远。淡彩晕染的笔触细腻勾勒园林景致，将红楼女儿的闲雅日常融于其间。温婉氛围如轻烟绕梁，既见深宅里的温柔情致，又藏着一丝难以言说的怅惘，似在静静诉说着那些藏于书页间的细腻心事。",[1153,1154,1155,1492,1159,1158,1210,1187,1211,1437,1438,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf370b172b95445b5b66d2705d0e226e.jpg",[6],446,{"id":78,"slug":2022,"title":2023,"dynasty":1252,"author":2024,"museum":1571,"description":2025,"tags":2026,"thumbUrl":2028,"material":1496,"size":2029,"collection":6,"collections":2030,"showCount":2031,"zanCount":1541,"manualWeight":1177,"mainColor":1248},"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","石涛","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[1153,1240,1154,1155,1156,1158,1465,1210,1160,1212,1213,1438,1616,2027],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[6,1174],443,{"id":79,"slug":2033,"title":1448,"dynasty":1252,"author":2034,"museum":1237,"description":2035,"tags":2036,"thumbUrl":2037,"material":1496,"size":2038,"collection":6,"collections":2039,"showCount":2040,"zanCount":2041,"manualWeight":1177,"mainColor":1248},"sui-chao-tu-jin-ting-biao-214713","金廷标","它描绘了孩子们在梅花盛开的院子里玩耍的情景。根据乾隆对这首诗的题词，这似乎是一个训诫。",[1240,1154,1155,1158,1159,1210,1808,1212,1417,1165,1296,1478,1219,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7359c4847fbcbefede1de57ca93a09.jpg","96x65.9",[6],437,12,{"id":80,"slug":2043,"title":2044,"dynasty":1367,"author":2045,"museum":1150,"description":2046,"tags":2047,"thumbUrl":2049,"material":2050,"size":2051,"collection":6,"collections":2052,"showCount":2053,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"yu-fu-tu-wu-zhen-220778","渔父图","吴镇","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[1153,1154,1155,1464,1465,1160,1560,2048,1438,1213,1439,1729],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","绢本，墨笔","纵84.7厘米，横29.7厘米",[6,1721],434,{"id":81,"slug":2055,"title":2056,"dynasty":1148,"author":2057,"museum":1369,"description":2058,"tags":2059,"thumbUrl":2060,"material":1227,"size":2061,"collection":6,"collections":2062,"showCount":2063,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"song-xia-tan-qin-tu-ma-yuan-218652","松下弹琴图","马远","这幅画的构图是马远的绘画风格，有岩石、松树和一个和尚，或者是 伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[1153,1154,1155,1158,1210,1796,1439,1165,1294,1241,1465,1159,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[6],402,{"id":82,"slug":2065,"title":2066,"dynasty":1203,"author":1449,"museum":1517,"description":2067,"tags":2068,"thumbUrl":2069,"material":1227,"size":2070,"collection":6,"collections":2071,"showCount":2072,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"ren-wu-gu-shi-ce-tang-yin-218350","人物故事册","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[1153,1154,1155,1492,1158,1275,1210,1187,1357,1561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f6934a53787d0888fc281c204938c0.jpg","32x40.5",[6],396,{"id":83,"slug":2074,"title":2075,"dynasty":1148,"author":2076,"museum":1237,"description":2077,"tags":2078,"thumbUrl":2080,"material":1468,"size":2081,"collection":1538,"collections":2082,"showCount":2072,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"shan-ju-liu-ke-tu-xia-gui-214723","山居留客图","夏圭","该图像描绘了一块有云的岩石和一座延伸到水面的长桥。在一棵老松树下面，两个老人在森林里的房子里休息和喝酒，一个孩子和一个老妇人在治疗设备，一个仆人在担架上睡觉，一个人拿着一把古筝。这幅画的风格与明代画院的风格接近，怀疑这幅画不是真迹。山石都是用斧头凿出来的，笔法轻柔，通常用侧锋，以获得力道，但细腻和克制的程度有点欠缺，可能是出自明人模仿夏圭的风格。",[1154,1155,1240,1257,2079,1464,1465,1160,1493,1211,1212,1210,1213],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687bcb8647a4f89cd2f269b229f4d848.jpg","164.7x102.8",[1538,6],{"id":84,"slug":2084,"title":2085,"dynasty":1148,"author":2086,"museum":1369,"description":2087,"tags":2088,"thumbUrl":2089,"material":1195,"size":2090,"collection":6,"collections":2091,"showCount":2092,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"chao-yuan-xian-zhang-tu-wu-zong-yuan-221325","朝元仙仗图","武宗元","《朝元仙仗图》为北宋宗教画家 所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[1153,1240,1154,1155,1156,1275,1274,1210,1211,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[6,1721],395,{"id":85,"slug":2094,"title":2095,"dynasty":1203,"author":1204,"museum":1237,"description":2096,"tags":2097,"thumbUrl":2099,"material":1496,"size":2100,"collection":6,"collections":2101,"showCount":2102,"zanCount":1577,"manualWeight":1177,"mainColor":1248},"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[1240,1154,1155,1257,1274,1210,1159,1158,2098,1357,1192],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纵104.2横52.5厘米",[6,1174],393,{"id":86,"slug":2104,"title":2105,"dynasty":1203,"author":1204,"museum":1517,"description":2106,"tags":2107,"thumbUrl":2108,"material":1227,"size":1551,"collection":6,"collections":2109,"showCount":2110,"zanCount":1457,"manualWeight":1177,"mainColor":1178},"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[1153,1154,1155,1156,1159,1158,1208,1210,1211,1165,1439,1389,1437,1219,1477,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[6,1174],384,{"id":87,"slug":2112,"title":2113,"dynasty":1252,"author":2114,"museum":1237,"description":2115,"tags":2116,"thumbUrl":2120,"material":1227,"size":2121,"collection":6,"collections":2122,"showCount":2123,"zanCount":1541,"manualWeight":1177,"mainColor":1248},"zhong-qiu-jia-qing-tu-zhang-ting-yan-216951","中秋佳庆图","张廷彦","这幅画描绘了一个亭子，仆人们忙着送盒子里的食物，皇帝和皇后在露台上与大臣和音乐家们一起欣赏秋月。这幅画的风格似乎受到了明代宫廷绘画的启发，但笔触有些稀疏。",[1240,1154,1208,1158,1210,1211,1437,2117,1357,2118,2119],"露台","中秋赏月","宫廷佳庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a0e35fc35d7564a8cd3792e88ea71f.jpg","134.5x65.4",[6],377,{"id":88,"slug":2125,"title":2126,"dynasty":1203,"author":1204,"museum":2127,"description":2128,"tags":2129,"thumbUrl":2132,"material":1227,"size":2133,"collection":6,"collections":2134,"showCount":2135,"zanCount":1457,"manualWeight":1177,"mainColor":1178},"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","私人收藏","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[1153,1154,1155,1492,1159,1158,1208,1157,1160,1210,1211,1437,1213,1560,1212,1477,1493,2130,1298,2131,1187,1261],"夕阳","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[6],376,{"id":89,"slug":2137,"title":2138,"dynasty":1252,"author":1291,"museum":1517,"description":2139,"tags":2140,"thumbUrl":2141,"material":1227,"size":1551,"collection":6,"collections":2142,"showCount":2143,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"luo-shen-tu-yi-ming-219541","洛神图","洛神凌波徐行，素色罗裙晕着浅蓝镶边，飘带随水波漾动缱绻，将乘虚而行的柔婉轻盈尽数勾勒。她手持灵草，眉含轻愁、眼波低垂，清冷眉目间带着神女独有的幽怨缱绻。暗沉底色衬出人物素洁清丽，线条秀雅工细，设色简淡古雅，将洛神出尘仙姿与脉脉情思揉入笔底，把缥缈神女的古典美感定格于绢素之上，尽显传统仕女画的含蓄温婉意韵。",[1153,1240,1154,1155,1158,1159,1210,1187,1277,1757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93171803f70c792a8db19d4ca0123d4b.jpg",[6],367,{"id":90,"slug":2145,"title":2146,"dynasty":1182,"author":2147,"museum":1237,"description":2148,"tags":2149,"thumbUrl":2150,"material":1732,"size":2151,"collection":6,"collections":2152,"showCount":2153,"zanCount":1457,"manualWeight":1177,"mainColor":1178},"mu-ma-tu-han-gan-221075","牧马图","韩干","描画了一位虬须戴巾、腰插马鞭的奚官准备出外放牧的情景。主题明瞭，情节简单，图中黑白双马，奚官虬髻戴头巾，手执缰缓行。此图线条纤细遒劲，勾出马的健壮体形，黑马身配朱地花纹锦鞍，更示出其神彩；人物衣纹疏密有致，结构严谨，用笔沉着，神采生动。",[1153,1154,1240,1155,1159,1158,1210,1389,1741,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8144ec5912ae9e8da1db7870cd9b68a.jpg","纵27.5cm，横34.1cm",[6,1721],362,{"id":91,"slug":2155,"title":2156,"dynasty":1252,"author":2034,"museum":1150,"description":2157,"tags":2158,"thumbUrl":2160,"material":1227,"size":2161,"collection":6,"collections":2162,"showCount":2163,"zanCount":1566,"manualWeight":1177,"mainColor":1178},"shi-nv-zan-hua-tu-jin-ting-biao-220398","仕女簪花图","图中精致的家具、富丽的陈设所构筑出的典雅高贵的环境，表明此图表现的是宫廷女子日常生活的景象。梳妆打扮是贵族妇女每日生活中的重要内容之一，对此，她们不敢有丝毫的怠慢。图绘晨起的女子对镜理妆的情景。她为了取得良好的照镜角度，不禁起身而立，双目注视着桌上的铜镜，同时，左手缓缓地往云鬓上插玉簪。情节生动，人物举止自然，显示出作者细致入微的观察力和准确传神的艺术表现力。\n图中女子杏脸桃腮，皓齿朱唇，身段婀娜多姿，富于曲线变化，体虚力弱中显现出娇柔典雅的娟秀气，体现出清代仕女画清新俊秀的时代特征。人物衣纹用笔顿挫转折，线条遒劲刚健，与以界画方式表现的家具及室内装饰物所采用的守规守矩、见棱见角的线条相互呼应，笔墨格调于统一中显现出所绘物象不同的质感。此幅构图颇具机巧，近景为全身像的簮花女子，中景系若隐若现的理书侍女，远景是含烟带雾的翠竹一隅。繁复的画面，既未掩簪花的创作主题，又通过近、中、远三景的自然展现加强了画幅的立体、纵深效果，从而在有限的画面上扩展出无限的空间。",[1153,1159,1158,1210,1187,1260,1191,1192,1478,1417,2159],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836624fe83b39d31a2d2db2d60908583.jpg","纵223厘米，横130.5厘米",[6,1174],360,{"id":92,"slug":2165,"title":2166,"dynasty":1203,"author":2167,"museum":1571,"description":2168,"tags":2169,"thumbUrl":2170,"material":1227,"size":1551,"collection":6,"collections":2171,"showCount":2163,"zanCount":2041,"manualWeight":1177,"mainColor":1178},"shi-nv-juan-du-jin-218253","仕女卷","杜堇","长卷铺展间，亭台花木错落，数十位仕女于其间各展风姿。她们衣袂翩跹，眉目温婉，或倚栏低语，或临案抚琴，或捧卷凝思，或嬉戏于阶前竹下。笔墨细腻处，衣纹流转如行云，发饰精巧似蝶落；设色淡雅间，朱红轻点裙裾，墨绿晕染枝叶，层次隐现。庭院深深，竹影婆娑，山石静立，将闺阁的闲适与雅致悄然收纳。人物互动自然生动，仿佛能听见轻声笑语，嗅到草木清芬。整幅作品以流畅线条勾勒温婉神韵，用舒缓节奏铺陈宁静时光，尽显古代仕女生活的诗意与从容。",[1153,1154,1155,1156,1159,1158,1210,1187,1211,1219,1417,1479,1165,1439,1589,1344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa7f600640a884b3f3a55ef2144af81.jpg",[6],{"id":93,"slug":2173,"title":2174,"dynasty":1182,"author":1291,"museum":1237,"description":2175,"tags":2176,"thumbUrl":2177,"material":1227,"size":2178,"collection":6,"collections":2179,"showCount":2180,"zanCount":1457,"manualWeight":1177,"mainColor":1178},"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。中央四人，则负责吹乐助兴。所持用的乐器，自右而左，分别为筚篥、琵琶、古筝与笙。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[1153,1240,1154,1155,1257,1159,1158,1210,1187,1241,1242,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb907e859af37c3582daa5bb82bd4794.jpg","48.7x69.5",[6],342,{"id":94,"slug":2182,"title":2183,"dynasty":1252,"author":2184,"museum":1150,"description":2185,"tags":2186,"thumbUrl":2189,"material":1227,"size":2190,"collection":6,"collections":2191,"showCount":2192,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"bing-xi-tu-jin-kun-214366","冰嬉图","金昆","金昆（1734-1798）是清代著名的画家，他的作品《冰嬉图》是其代表作之一。\n\n《冰嬉图》描绘了一群人在冰上嬉戏的画面。金昆在画中运用了精细的笔墨和细腻的造型，勾勒出人物的动态感和气氛的欢乐。作品中的人物衣着艳丽，手持冰鞋、冰鞭，在冰上滑行、打闹，形成了一幅生动的冬日画面。\n\n《冰嬉图》被认为是金昆写意人物画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《冰嬉图》也是收藏家们青睐的经典之作。\n\n金昆的《冰嬉图》是一幅描绘冬日活动的画作，它体现了中国传统文化中“冰上嬉戏”的理念。在中国传统文化中，冰上嬉戏是冬日的休闲活动之一，人们可以在冰上滑行、打闹，享受冬日的清新气息。金昆的《冰嬉图》不仅是一幅精美的画作，更是一首关于冬日活动的诗篇。",[1153,1159,1158,1210,1211,1165,2187,1279,2188,1647],"旗帜","冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff197d6b8677f087f4ec01dfab7441fea.jpg","35.2x581",[6],337,{"id":95,"slug":2194,"title":2195,"dynasty":1203,"author":2196,"museum":1150,"descript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thumbUrl":2371,"material":1227,"size":1551,"collection":6,"collections":2372,"showCount":2373,"zanCount":1566,"manualWeight":1177,"mainColor":1178},"ying-wu-shi-nv-tu-yi-ming-219589","鹦鹉仕女图","圣路易斯艺术博物馆","仕女发髻簪饰精巧，面庞柔丽含笑，朱色坠耳衬出温婉气质。青缎衣衫间绣朱红云纹，腰束锦带垂曳飘饰，配色沉雅鲜亮，尽显裁衣考究。她抬臂托举鹦鹉，指尖轻拢衣袂，姿态娴静柔缓。\n\n掌间鹦鹉翎羽红绿相映，灵动鲜活，将闺中女子的悠然与小生灵的俏皮相融。古绢底色晕染出岁月厚重，笔触工细写实，把深闺日常的闲雅意趣，藏在眉眼笑意与禽鸟互动间，静中生趣，尽显古典仕女画含蓄柔美的意蕴风骨。",[1154,1155,1240,1257,1159,1158,1210,1187,1477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f589fcafbb38f6a42e918129a45e1a.jpg",[6,1174],284,{"id":112,"slug":2375,"title":2376,"dynasty":1252,"author":1307,"museum":1150,"description":2377,"tags":2378,"thumbUrl":2379,"material":1170,"size":2380,"collection":6,"collections":2381,"showCount":2382,"zanCount":1822,"manualWeight":1177,"mainColor":2383},"ping-an-chun-xin-tu-li-zhou-lang-shi-ning-222771","平安春信图立轴","图绘在青竹、寒梅以及湖石点缀的田园环境中，两位身着汉装的男子正在以梅枝相递送，其典雅高贵的举止与优雅的环境相得益彰，情景交融之中加深了画意。\n《平安春信图》寓意吉祥，父子二人品竹赏梅，充满了浓郁的生活气息，画家以写实的手法表现了年少皇子睿智的目光，以及他与父皇融融的亲情。让人体会到严肃的宫廷生活中也有寻常百姓家的天伦之乐。\n这幅肖像，是作者参酌中法的新式肖像画，作者巧妙地将中西画融合在一起，产生出中西合璧的佳作。对人物的刻画细致入微，尤其两人面部表情的刻画，即将一老一少的不同面容能准确真实地表现出来，说明画家具有细致的观察能力和写实的功力。\n翠竹及人物面部以西画笔法，刻画入微，作品用色泽的深浅浓淡来表现人物的五官，立体感十足。而衣纹却用中国传统的笔墨勾线，加以晕染，亦显质感。",[1153,1154,1240,1155,1257,1158,1159,1210,1258,1261,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5a33b3478bd6f01524150db632d534.jpg","纵68.8厘米，横40.8厘米",[6,1174],283,"2A56C6",{"id":113,"slug":2385,"title":2386,"dynasty":1182,"author":1270,"museum":1369,"description":2387,"tags":2388,"thumbUrl":2390,"material":1551,"size":2391,"collection":6,"collections":2392,"showCount":2393,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"guan-yin-pu-sa-xiang-wu-dao-zi-221113","观音菩萨像","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[1154,1155,1275,1274,1210,2389],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab452937c56ebab3c3994f7c7a8a10c.jpg","80x32cm",[6],281,{"id":114,"slug":2395,"title":2396,"dynasty":1203,"author":1204,"museum":1517,"description":2397,"tags":2398,"thumbUrl":2408,"material":1227,"size":2409,"collection":6,"collections":2410,"showCount":2411,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"xi-yuan-ya-ji-tu-chou-ying-219566","西园雅集图","层叠奇峰拔地而起，晕染出幽寂高远的山境，霜林点丹、佳木凝翠，清溪蜿蜒穿绕岩谷。林麓间亭台隐现，雅集之人或立谈论艺，或执卷沉吟，侧旁侍童恭谨随侍，右下角二童煎茶添趣，将文人林下雅聚的闲逸意趣尽数铺陈。\n画作工细妍雅，设色清丽古润，以院体精工勾勒人物神态衣袂，又以文人画的萧散意韵晕染山水林泉，复刻出雅集的风流意气，将古今文人心心念念的林下清欢，凝于绢素之上，尽显古雅悠然的中式意趣。",[1153,1154,1240,1158,1159,1160,2399,2400,2401,2402,1626,2299,2403,2404,2405,2406,2407],"奇峰","霜林","佳木","清溪","侍童","煎茶","闲逸意趣","古雅悠然","林下雅聚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0809efd85a8a77ee96ecfd1cf70ae5e.jpg","纵127.90横54厘米",[6,1174],273,{"id":115,"slug":2413,"title":2414,"dynasty":1148,"author":1885,"museum":1237,"description":1886,"tags":2415,"thumbUrl":2419,"material":1496,"size":1551,"collection":6,"collections":2420,"showCount":2421,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"ying-xi-tu-su-han-chen-216964","婴戏图",[2079,1159,1158,1210,2416,1219,1218,2417,1888,2418,1357],"婴孩","榻","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683c03575faeba1accf39da01c82a0c5.jpg",[6],271,{"id":116,"slug":2423,"title":2424,"dynasty":1148,"author":2425,"museum":1413,"description":2426,"tags":2427,"thumbUrl":2428,"material":1772,"size":2429,"collection":6,"collections":2430,"showCount":2431,"zanCount":1577,"manualWeight":1177,"mainColor":1248},"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[1153,1240,1154,1155,1156,1275,1464,1210,1166,1165,1160,1389,1357,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 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436.2",[6,1722],267,{"id":117,"slug":2433,"title":2434,"dynasty":1252,"author":1962,"museum":1237,"description":2435,"tags":2436,"thumbUrl":2440,"material":1496,"size":1551,"collection":6,"collections":2441,"showCount":2442,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"tian-wang-xiang-yao-wen-han-218044","天王像","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[1240,1154,1158,1159,1210,1274,2437,2438,1741,1276,1439,1165,2439,1357],"护法神","琵琶","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg",[6],263,{"id":118,"slug":2444,"title":2445,"dynasty":2446,"author":1291,"museum":1571,"description":2447,"tags":2448,"thumbUrl":2449,"material":1227,"size":2450,"collection":6,"collections":2451,"showCount":2452,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"qing-you-zun-zhe-xiang-yi-ming-218466","庆有尊者像","隋","尊者面容褶皱如苍松凝霜，双目微阖藏禅意，嘴角轻扬带几分超脱。衣袍纹样交错，黑白菱形间暗纹隐现，披帛垂落如流云卷舒，线条勾勒如铁线银钩，织物质感触手可及。手中竹杖纹理斑驳，似经岁月摩挲；脚边小兽蜷卧，双目半睁若伴若侍，憨态中藏灵韵。画面设色沉雅古朴，褐蓝主调衬出人物沉静，细节处见匠心——衣纹转折流畅，毛发蓬松柔软，杖身肌理分明，皆细腻传神。整体姿态闲适，静中蕴动，禅意与生活气息交融，尽显古画的厚重与灵动，观之如临禅境，心自澄明。",[1154,1155,1274,1159,1158,1210,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13174c2841fec92e686a973c4f67e315.jpg","127.3x62.8",[6],258,{"id":119,"slug":2454,"title":2455,"dynasty":1203,"author":1291,"museum":1205,"description":2456,"tags":2457,"thumbUrl":2458,"material":1227,"size":2459,"collection":6,"collections":2460,"showCount":2452,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"ba-xian-tu-dui-fu-yi-ming-218278","八仙图对幅","这幅画的主角是吕洞宾、韩湘子、张果老和何仙姑。其中，张果老倒骑毛驴，而南极则骑着仙鹤漂浮在空中。",[1240,1154,1155,1257,1158,1159,1210,1477,1589,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4836b19ce99b951c2196e0bdabb8b82a.jpg","139.7x78.7",[6],{"id":120,"slug":2462,"title":2463,"dynasty":1148,"author":2464,"museum":1237,"description":2465,"tags":2466,"thumbUrl":2467,"material":1227,"size":2468,"collection":6,"collections":2469,"showCount":2452,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","赵构","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[1153,1154,1155,1156,1240,1561,1275,1158,1210,1218,1165,1439,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[6],{"id":121,"slug":2471,"title":2472,"dynasty":1235,"author":1611,"museum":1517,"description":2473,"tags":2474,"thumbUrl":2476,"material":1227,"size":1551,"collection":6,"collections":2477,"showCount":2478,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"juan-xiu-tu-zhou-wen-ju-219500","倦绣图","此作用柔婉工笔铺陈深闺日常，床帏内仕女斜倚，眉宇间带着绣作之余的慵懒倦怠，身侧侍女静立侍奉。左侧侍者端物缓步而来，右侧仕女凭桌伫立，似在打理妆台。边角案几陈设着盆栽器物，衬出闺阁的雅致静谧。设色清淡古雅，线条匀细柔丽，将深阁女子闲散松弛的情态刻画入微，晕染出日常闺中休憩的幽柔氛围，藏着平淡雅致的闺中诗意。",[1153,1240,1154,1155,1156,1159,1158,1210,1187,2475,1297,1584,1357],"床帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc8762f2527e714db62518fa3278003.jpg",[6,1174],257,{"id":122,"slug":2480,"title":2481,"dynasty":1203,"author":1449,"museum":1571,"description":2482,"tags":2483,"thumbUrl":2484,"material":1496,"size":1551,"collection":6,"collections":2485,"showCount":2486,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"qiu-feng-wan-shan-tu-tang-yin-219407","秋风纨扇图","图绘庭园一角，一女子手执纨扇，在坡前沉思徘徊。图中的仕女体态端庄，风姿婉约，秀发挽成高髻，饰以淡色鬓朵，越发衬托出发光乌亮。披帛和衣裙随风飘拂，巧妙地寓“秋”意于其中。从她眉宇间微露忧伤感的神色，和欲行又止的动态，表明她正陷入沉思之中：忧郁、怅惘，却又无可奈何！背景仅用细竹数枝、湖石一角来点缀，显得疏落空旷，令人联想到引申画外的僻静境界，平添几分萧瑟气象。整幅画的笔墨凝练明快，极其传神。",[1154,1155,1257,1275,1464,1158,1210,1187,1258,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5374ce013b2c7f9c2a6c4ac31ecab.jpg",[6],255,{"id":123,"slug":2488,"title":2489,"dynasty":1252,"author":1307,"museum":1150,"description":2490,"tags":2491,"thumbUrl":2495,"material":1227,"size":2496,"collection":6,"collections":2497,"showCount":2498,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"ma-shu-tu-lang-shi-ning-215038","马术图","阿穆尔萨纳和先登上准噶尔汗国的达瓦齐因利益冲突而相互争斗，在他们失败后，阿穆尔萨纳要求加入清廷并拜访乾隆皇帝。乾隆皇帝对阿穆尔萨纳主动加入清朝感到欣喜若狂。阿穆尔萨纳投奔清廷后，康熙皇帝非常高兴，他对准噶尔帝国的内部情况有了更多的了解，并有信心利用准噶尔帝国的动乱完成其祖父康熙皇帝和父亲雍正皇帝的 未竟之业。考虑到阿姆尔-萨纳还没有感染水痘，在寒冷的冬季，听众在夏宫举行。",[1153,1240,1154,1158,1210,1389,2492,1477,2009,2493,2494],"马术","郊野","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5d061082897e962ce93759d1385c0.jpg","223.4x426.2",[6],254,{"id":124,"slug":2500,"title":2501,"dynasty":1182,"author":1183,"museum":1237,"description":2502,"tags":2503,"thumbUrl":2506,"material":1227,"size":2507,"collection":6,"collections":2508,"showCount":2509,"zanCount":1541,"manualWeight":1177,"mainColor":1178},"ren-wu-juan-zhou-fang-218265","人物卷","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[1153,1154,1240,1155,1156,1159,1158,1210,1741,1165,1417,2504,2505,1260],"小孩","大人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[6],252,{"id":125,"slug":2511,"title":1610,"dynasty":1203,"author":1659,"museum":1150,"description":2512,"tags":2513,"thumbUrl":2514,"material":1227,"size":2515,"collection":6,"collections":2516,"showCount":2517,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"shi-nv-tu-chen-hong-shou-219628","陈洪绶（1599~1652），明末清初著名书画家、诗人。字章侯，幼名莲子，一名胥岸，号老莲，晚号老迟、悔迟，又号悔僧、云门僧。\n他的作品荒诞而深情，鲁迅先生对之极为推崇，认为“老莲的画，一代绝作”。\n陈洪绶是明代著名的人物画家，他在人物画中对女性形象有着独特的关注视点，在造型方面追 求高古奇骇的古拙之美，在色墨运用上崇尚淡彩的雅丽之美。\n他笔下的女性人物形象既具备了明清 时期女性纤弱清秀的时代气质，又通过“诗画相生”的艺术表达体现出中国文人画家的精神特质， 对后世女性人物形象塑造，乃至人物画的发展都产生了深刻影响。",[1153,1154,1159,1158,1210,1187,1261,1452,1191,1193,1192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[6,1174],249,{"id":126,"slug":2519,"title":2520,"dynasty":1182,"author":1270,"museum":2521,"description":2522,"tags":2523,"thumbUrl":2525,"material":1551,"size":1551,"collection":6,"collections":2526,"showCount":2527,"zanCount":1177,"manualWeight":1177,"mainColor":1881},"xian-shi-kong-zi-xing-jiao-xiang-wu-dao-zi-221111","先师孔子行教像","原作佚失","中国古代绘制的各种形式和风格的孔子像存世较多，但真正被广泛认可和接受的是现存于山东曲阜孔庙的石刻本《孔子行教像》，一般认为该石刻本原作为唐代著名画家吴道子所绘，但原作早已不幸遗失。",[1240,1154,1155,1275,1210,2524,1358],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ebcef1acb329791e1db6fadd10e7165.jpg",[6],246,{"id":127,"slug":2529,"title":2530,"dynasty":1148,"author":2057,"museum":1237,"description":2531,"tags":2532,"thumbUrl":2533,"material":1468,"size":2534,"collection":6,"collections":2535,"showCount":2536,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"cheng-long-tu-ma-yuan-219606","乘龙图","本幅画中人物为一老者，其鼻长，面相上谓为老龙相，此与马远时之皇帝宁宗，其面相之特征亦为老龙像。故宫所藏〈宁宗像〉，亦足证名此项面貌特征。按《庄子•天地》篇：「千岁厌世，去而上仙，彼乘白云，至于帝乡。」又《史记•封禅书》：「黄帝采首山铜，铸鼎于荆山下；鼎既成，有龙垂胡髯下迎黄帝，黄帝上骑，群臣后宫从上者七十余人，龙乃上去；余小臣不得上，乃悉持峦龙髯，龙髯拔坠，堕黄帝之弓，百官始仰望，黄帝既上天，乃抱其弓与胡髯号。」故后世皇帝死升天，上天乘龙。皇帝死曰「宾天」，宋代皇室信仰道教，作此图画是可从此道理连想。",[1153,1154,1155,1257,1275,1210,1341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da643835190212f952accdd55118302.jpg","本幅 108.1x52.6公分、全幅 54公分",[6],243,{"id":128,"slug":2538,"title":2539,"dynasty":1148,"author":1779,"museum":2540,"description":2541,"tags":2542,"thumbUrl":2544,"material":1227,"size":2545,"collection":6,"collections":2546,"showCount":2547,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"gong-nv-tu-liu-song-nian-218667","宫女图","日本东京国立博物馆","画面铺展雅致静谧的宋式日常，几位宫女衣袂轻扬，或持物相待，或静立侧畔，神情温婉如春水。浴盆中孩童戏水喧闹，稚态可掬，与身旁娴静形成生动对照。背景苍劲的绿植与古朴小桌相映，笔墨细腻处见衣纹流转，设色淡雅间显器物温润。整幅画以细腻笔触捕捉宫廷生活的温情片刻，既藏宋画的精致风骨，又含人间烟火的柔软，似将千年的静谧与鲜活，凝于这一方绢素之上。",[1153,1240,1154,1155,2543,1158,1159,1210,1187,1261,1260,1297],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8003e2340ab08b6d3bbb4b0c835b26ac.jpg","24.4x25.8",[6],240,{"id":129,"slug":2549,"title":2550,"dynasty":1252,"author":2551,"museum":1237,"description":2552,"tags":2553,"thumbUrl":2557,"material":1227,"size":2558,"collection":6,"collections":2559,"showCount":2547,"zanCount":1322,"manualWeight":1177,"mainColor":1248},"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-215148","仿杨大章宋院本金陵图卷","冯宁","长卷是一幅色彩斑斓的画，画中有山有城，有街有路，有车有马，有亭有村，有农业，有数百人。这个场景有一丝张择端《清明上河图》的宏大和活泼的风格。卷尾的签名是：乾隆五十年十一月，我冯宁受命仿制宋院体金陵画。",[1153,1240,1154,1156,1158,1159,1209,1160,1211,1210,2554,2235,2555,1165,1224,2556],"村落","马匹","农业","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa95f5753c7200f69180a52966afeeee4.jpg","35x1050",[6],{"id":130,"slug":2561,"title":2562,"dynasty":1148,"author":1885,"museum":1237,"description":2563,"tags":2564,"thumbUrl":2566,"material":1195,"size":2567,"collection":1172,"collections":2568,"showCount":2569,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","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。",[1153,1154,1240,1155,1257,1159,1158,1210,1808,1261,2565,1260],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[1172,1667,6,1174],237,{"id":131,"slug":2571,"title":2572,"dynasty":1252,"author":2573,"museum":1517,"description":2574,"tags":2575,"thumbUrl":2576,"material":1227,"size":2577,"collection":6,"collections":2578,"showCount":2569,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"shi-nv-tu-ce-li-ting-xun-218354","仕女图册","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为秦贤和花痴，是一位罕见的艺术家，或者说是广东人。",[1154,1155,1492,1158,1159,1210,1187,1344,1828,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a6f600a83e3dfe0c423dd1fddcced.jpg","19x28",[6],{"id":132,"slug":2580,"title":2581,"dynasty":1203,"author":1291,"museum":1205,"description":2582,"tags":2583,"thumbUrl":2585,"material":1227,"size":2586,"collection":6,"collections":2587,"showCount":2588,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"song-zi-guan-yin-tu-yi-ming-218402","送子观音图","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[1153,2584,1154,1155,1257,1274,1159,1158,1210,1741],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d664823f52846dd02b7281134809d0.jpg","120.7x60.3",[6],233,{"id":133,"slug":2590,"title":2591,"dynasty":1203,"author":1449,"museum":1517,"description":2592,"tags":2593,"thumbUrl":2594,"material":1227,"size":2595,"collection":6,"collections":2596,"showCount":2597,"zanCount":1457,"manualWeight":1177,"mainColor":1178},"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[1153,1154,1240,1257,1158,1159,1210,1187,1438,1478,1260,1191,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[6],231,{"id":134,"slug":2599,"title":2600,"dynasty":1367,"author":1865,"museum":1150,"description":2601,"tags":2602,"thumbUrl":2603,"material":2604,"size":2605,"collection":6,"collections":2606,"showCount":2607,"zanCount":1541,"manualWeight":1177,"mainColor":1248},"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[1153,1154,1155,1156,1158,1159,1210,1389,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 设色 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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1372,1274,1158,2613,1210,2614,2615,2616,2617,2618,2619,2620,2621,2622,2623],"佛像","装饰图案","几何纹样","花纹边框","传统纹样","连续造像","图案装饰","色彩装饰","宗教形象","造像群","纹样组合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac18271bb005bee4242c71c4670c0b0.jpg",[6],223,{"id":136,"slug":2628,"title":2629,"dynasty":1203,"author":1204,"museum":1237,"description":2630,"tags":2631,"thumbUrl":2635,"material":1227,"size":1551,"collection":6,"collections":2636,"showCount":2637,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"yi-zhu-tu-chou-ying-219367","移竹图","竹影婆娑间，数人合力抬竹、培土，动作连贯如活；池畔亭榭半掩，莲叶浮波，士人或俯身打理，或凭栏远眺，笔墨细腻处见生活真趣。设色温润古雅，青绿点缀山石，赭黄晕染土地，墨色浓淡层叠出林木深幽。移竹之雅事，既显文人爱竹之癖，亦藏生活劳作之态，以工笔之精融自然与人文于一卷，动静相宜。画面层次分明，上段林泉移竹见生机，下段亭池闲居显雅致，细节中藏匠心，尽显明代文人生活的诗意与烟火气。",[1154,1159,1158,1157,1208,1210,2632,1165,2633,2200,1439,1211,2634,1219,1213],"竹子","荷塘","廊榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7039905c000f406bb6ce231d79361d8a.jpg",[6,1174,1538],222,{"id":137,"slug":2639,"title":2640,"dynasty":1367,"author":1865,"museum":1150,"description":2641,"tags":2642,"thumbUrl":2643,"material":1170,"size":2644,"collection":6,"collections":2645,"showCount":2646,"zanCount":1457,"manualWeight":1177,"mainColor":1178},"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[1153,1240,1154,1155,1156,1159,1158,1389,1602,1210,1165,1213,1357,1358,1561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[6,1174],220,{"id":138,"slug":2648,"title":2649,"dynasty":1203,"author":1204,"museum":1517,"description":2650,"tags":2651,"thumbUrl":2652,"material":1227,"size":2653,"collection":6,"collections":2654,"showCount":2655,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"xun-mei-tu-chou-ying-219544","寻梅图","仇英博取众长，多学于赵伯驹、刘松年，发展了南宋李唐、刘松年、马远、夏圭的'院体画'传统，集前人之大成，形成自己独特的艺术风格。他在山水、花卉、界画、人物、仕女等素材方面造诣极高，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'。",[1153,1240,1154,1159,1158,1210,1187,1452,1493,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaa20363f9665e27d71a3435ec5364b.jpg","102.7x50.7厘米",[6],219,{"id":139,"slug":2657,"title":2658,"dynasty":1148,"author":1768,"museum":2127,"description":2659,"tags":2660,"thumbUrl":2661,"material":1468,"size":1551,"collection":1172,"collections":2662,"showCount":2663,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[1153,1154,1155,1492,1275,1464,1274,1210,1261,1494,1493,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg",[1172,6],217,{"id":140,"slug":2665,"title":2666,"dynasty":1148,"author":2057,"museum":1237,"description":2667,"tags":2668,"thumbUrl":2669,"material":1227,"size":2670,"collection":1538,"collections":2671,"showCount":2672,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[1153,1154,1155,1257,1464,1158,1465,1258,1210,1160,1357,1213,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[1538,6],216,{"id":141,"slug":2674,"title":2675,"dynasty":1252,"author":2676,"museum":1150,"description":2677,"tags":2678,"thumbUrl":2681,"material":1496,"size":2682,"collection":6,"collections":2683,"showCount":2684,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"su-wu-mu-yang-tu-ren-yi-219630","苏武牧羊图","任颐","在任颐众多的人物故事画中，“苏武牧羊”是他描绘较多的题材之一。《汉书·苏武传》中记载：苏武，字子卿，曾奉汉武帝命以中郎将身分出使匈奴，单于欲降苏武，苏武不屈，被留放北海(今贝尔加湖)长达19年，苏武“杖汉节牧羊，卧起操持，节旌尽落”，表现了强烈的爱国精神。作为出身于市民，又一度随太平军转战的任颐，面对加速殖民化的国土，深感“身居十里洋场，无异置身异域”，甚至寄希望于“草莽英雄”，正是这种思想驱使他在画中寄托忧患意识，歌颂高尚的爱国情操。图中苏武手持汉节，如坚石般站立于画面中心，双目望于画外，似在遥望汉国，目光坚定自信，表现了不屈的精神。\n画中人物造型比例准确，除保持了陈洪绶人物奇古伟岸的特征之外，还融汇了西洋画速写、素描的技法，线条凝练概括，具有力度，与主题相统一。色墨的渲染协调统一，尤其是羊群运用写意的手法，在黑、白、灰的墨色变化中准确地描绘出羊群的造型，同时也描绘出群羊因寒冷而挤作一团的情景，以此衬托出环境的恶劣，从而突出了人物不畏艰难险阻的刚毅气节。",[1153,1240,1154,1155,1257,1158,2679,1210,2680,1741],"写意","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c2700d0183a4f433fabbc66c36e14d.jpg","纵149.5厘米，横81厘米",[6,1174],215,{"id":142,"slug":2686,"title":2687,"dynasty":1252,"author":2688,"museum":1369,"description":2689,"tags":2690,"thumbUrl":2691,"material":1496,"size":2692,"collection":6,"collections":2693,"showCount":2694,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"zhong-kui-tu-huang-shen-214670","钟馗图","黄慎","这幅画描绘的是钟馗在吃石榴，而一个小孩子和他一起玩。这是黄慎委托的一幅吉祥画",[1153,1154,1155,1257,1464,1275,1210,1274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6631ced5ea11c63e64cba3d283250e.jpg","149x110",[6],214,{"id":143,"slug":2696,"title":2697,"dynasty":1252,"author":2698,"museum":1150,"description":2699,"tags":2700,"thumbUrl":2701,"material":1551,"size":1551,"collection":6,"collections":2702,"showCount":2703,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"shi-nv-ce-cui-wei-237110","仕女册","崔鏏","工人物、仕女，擅写真，宗法宫廷画家焦秉贞，略得西洋晕染技法，画面颇有古风，布局饱满，用笔细致，有宋院体画之风，带有受郎世宁画风影响的痕迹。描染净丽，格调婉约。",[1154,1158,1159,1492,1210,1187,1260,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbff89887b390659e0e35416e22bea5.jpg",[6],213,{"id":144,"slug":2705,"title":2706,"dynasty":1148,"author":1291,"museum":2707,"description":2708,"tags":2709,"thumbUrl":2710,"material":1227,"size":2711,"collection":6,"collections":2712,"showCount":2703,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"shui-yue-guan-yin-xiang-yi-ming-218476","水月观音像","奈良国立博物馆","观世音菩萨的雕像带着佛光，呈圆圈状，坐在一块立在水中的怪石上，旁边有一个插着柳枝的花瓶，静静地注视着左边下面水中反射的月亮。在背景中，从上面的悬崖可以看到一个瀑布。白色的慈悲女神与在曼陀罗的莲花部分看到的不一样。这幅图中的白衣观音似乎是在南宋时期的禅林中创作的，就像中国宋元时期和日本镰仓时期之后的情况一样。",[1154,1155,1257,1274,1210,1275,1158,1298,1261,1297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6ed05393745747280c984d98e7da9f.jpg","88x36.7",[6],{"id":145,"slug":2714,"title":2715,"dynasty":1252,"author":2716,"museum":1237,"description":2717,"tags":2718,"thumbUrl":2719,"material":1496,"size":2720,"collection":6,"collections":2721,"showCount":2722,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[1154,1240,1155,1158,1159,1187,1416,2200,1437,1212,1261,1417,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[6],212,{"id":146,"slug":2724,"title":2725,"dynasty":1182,"author":2726,"museum":2727,"description":2728,"tags":2729,"thumbUrl":2731,"material":1158,"size":1551,"collection":6,"collections":2732,"showCount":2733,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"fu-sheng-shou-jing-tu-wang-wei-219167","伏生授经图","王维","日本大阪市立美术馆","图中的伏生席地而坐，手持书卷，形象清矍苍老，似正在认真讲授。其神情专注而和蔼。从画中清晰可见伏生额头的皱纹与身体上极为松弛的皮肤，非常生动而且真实的描绘出了当时伏生的身体状况。通过画面中对伏生神态的描绘，可以想象，年老的伏生讲授《尚书》时的吃力。此图线描手法高超，敷色清雅。",[1153,1154,1155,1210,1159,1275,1158,1357,2730,1191],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8701c647bf80d991a6ae005e685af840.jpg",[6],210,{"id":147,"slug":2735,"title":2736,"dynasty":1235,"author":1611,"museum":1237,"description":2737,"tags":2738,"thumbUrl":2739,"material":1227,"size":2740,"collection":6,"collections":2741,"showCount":2733,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"an-le-tu-zhou-wen-ju-218748","按乐图","这幅画描绘了一个有朱色栅栏的花园，花台上种着一棵香蕉，还有五个宫廷女乐师，两个人吹着竹笛和琵琶，一个人打着拍板，另外两个人拍着手掌，很和谐。这些人物身着双球，头发上插着半月形的角梳，每个人都有丰富的色彩。笔触如丝，色彩优雅明快，说明是南宋绘画大师所作。女士坐在朱漆的方凳上，藤椅的轮廓在两腿之间巧妙地形成了壶门的形状，腿和脚则是如意的形状。院子里的帐篷，有一根长长的横杆，两端都有灵芝花的装饰，上面挂着带有莲花图案的锦缎披风。",[1153,1154,2543,1159,1158,1210,1187,1241,1261,1297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0036a38b7087699df87e8643fee08137.jpg","23.5x24.9",[6],{"id":148,"slug":2743,"title":2744,"dynasty":1203,"author":2745,"museum":1237,"description":2746,"tags":2747,"thumbUrl":2748,"material":1772,"size":2749,"collection":6,"collections":2750,"showCount":2751,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"luo-han-tu-li-yu-214252","罗汉图","李遹","罗汉图是明代画家李遹的一幅代表作。这幅画作描绘了罗汉的神圣形象。\n\n罗汉是佛教中的神，被认为是佛教徒的保护神。在这幅画作中，李遹巧妙地捕捉了罗汉的神圣形象。他用浓墨重彩的画法，勾勒出了罗汉的宏伟身形。他还用细腻的线条勾勒出了罗汉的面容，让人感受到了罗汉的慈祥和仁慈。\n\n此外，李遹在这幅画作中还描绘了罗汉周围的景色。他用色彩丰富的画法，描绘了罗汉周围的山川和河流。这些景色与罗汉的神圣形象形成了鲜明的对比，让人感受到了自然与神的和谐统一。\n\n总之，罗汉图是一幅精美的画作，描绘了罗汉的神圣形象。它让我们感受到了明代画家李遹对佛教的崇敬之情，也让我们感受到了明代文化的魅力。\n\n在这幅画作中，李遹运用了丰富的色彩和细腻的线条，将罗汉的神圣形象展现得淋漓尽致。他还用精美的画法描绘了罗汉周围的景色，让人感受到了自然与神的和谐统一。\n\n罗汉图是明代文化中的经典之作，也是李遹的代表作之一。它不仅展现了李遹的艺术才华，也是一幅能够唤起人们对佛教的崇敬之情的画作。",[1153,1154,1155,1274,1275,1464,1210,1341,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120eeb39e103b48205756344a5362f0a.jpg","56.6x32.6",[6],209,{"id":149,"slug":2753,"title":2754,"dynasty":1252,"author":1307,"museum":1150,"description":2755,"tags":2756,"thumbUrl":2757,"material":1170,"size":2758,"collection":6,"collections":2759,"showCount":2760,"zanCount":1822,"manualWeight":1177,"mainColor":2761},"yong-zheng-chao-fu-xiang-zhou-lang-shi-ning-222796","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[1153,1158,1159,1210,1341,1191,1193,1257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f084389b4a5403ca87fac736d099533.jpg","纵277厘米，横143厘米",[6,1174],207,"FDD835",{"id":150,"slug":2763,"title":2764,"dynasty":1203,"author":1659,"museum":2765,"description":2766,"tags":2767,"thumbUrl":2768,"material":1227,"size":2769,"collection":6,"collections":2770,"showCount":2760,"zanCount":1822,"manualWeight":1177,"mainColor":1881},"yin-cha-tu-chen-hong-shou-218407","饮茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[1153,1154,1155,1159,1158,1210,1261,1259,1260,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[6],{"id":151,"slug":2772,"title":2773,"dynasty":1252,"author":2676,"museum":1751,"description":2774,"tags":2775,"thumbUrl":2776,"material":1496,"size":2777,"collection":6,"collections":2778,"showCount":2760,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"san-yang-kai-tai-tu-ren-yi-217065","三羊开泰图","这是一幅三羊开泰的画作，象征着三羊开泰 的含义。这幅画画在生纸上，是艺术的杰作，人物形象显著，有老莲的传承。三只羊的排列也很引人注目，黑羊只露出眼睛和两个长角，进一步显示了作者的创造性和天才。",[1153,1154,1158,1464,1159,1257,1210,2680,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaf294ec271b5da04f59a3aa051ce5f.jpg","145x75",[6],{"id":152,"slug":2780,"title":2781,"dynasty":1203,"author":1204,"museum":1150,"description":2782,"tags":2783,"thumbUrl":2785,"material":1227,"size":2786,"collection":1538,"collections":2787,"showCount":2788,"zanCount":1541,"manualWeight":1177,"mainColor":1248},"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[1153,1154,1156,1155,1159,1157,1158,1210,1160,1165,1217,2784,1358,1561],"职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[1538,6],205,{"id":153,"slug":2790,"title":2791,"dynasty":1252,"author":1291,"museum":1951,"description":2792,"tags":2793,"thumbUrl":2794,"material":2203,"size":1551,"collection":6,"collections":2795,"showCount":2796,"zanCount":1670,"manualWeight":1177,"mainColor":1881},"xi-xiang-ji-tu-ce-yi-ming-216870","西厢记图册","清辉漫洒的月夜，太湖石皱透玲珑，似藏幽怀几许。垂丝柳如缕拂墙，枝丫间漏下细碎银光。石畔佳人绿衫红襟，凭石凝眸，眉梢轻锁着朦胧心事；墙侧书生探身倚柳，目光灼灼，暗将情愫托与风。阶前细草缀淡紫小花，与石上苔痕相映成趣，更衬天地幽寂温柔。画面以淡彩晕染，线条婉转，凝住西厢记里墙头遥望的经典场景——不须言语，只眼波流转、柳丝轻拂，便把欲说还休的情愫，揉进月色朦胧的园囿中。",[1154,1158,1159,1492,1210,1187,1261,1298,1531,1417,2351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd228540a2e55badb58a67f3b014301b9.jpg",[6,1174],204,{"id":154,"slug":2798,"title":2799,"dynasty":1203,"author":2196,"museum":1150,"description":2800,"tags":2801,"thumbUrl":2803,"material":2203,"size":2804,"collection":6,"collections":2805,"showCount":2806,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"lv-bei-yin-shi-tu-zhou-xu-wei-222238","驴背吟诗图轴","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”（《琅嬛文集·跋徐青藤小品画》）",[1153,1154,1464,2679,1257,1210,2802,1358,1357],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纵112.2厘米，横30厘米",[6,1721],203,{"id":155,"slug":2808,"title":2809,"dynasty":1148,"author":1768,"museum":1517,"description":2810,"tags":2811,"thumbUrl":2812,"material":1772,"size":2813,"collection":6,"collections":2814,"showCount":2815,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[1153,1240,1154,1155,1156,1274,1275,1210,1341,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[6],201,{"id":156,"slug":2817,"title":2818,"dynasty":1290,"author":1291,"museum":1369,"description":2819,"tags":2820,"thumbUrl":2826,"material":1496,"size":1551,"collection":6,"collections":2827,"showCount":2828,"zanCount":1577,"manualWeight":1177,"mainColor":1248},"ri-ben-jie-tou-sheng-huo-tu-juan-yi-ming-215033","日本· 街头生活图卷","长卷铺展，市井烟火缓缓流淌。画面中，人物百态跃然绢上：挑担商贩步履匆匆，执伞行人衣袂轻扬，孩童追蝶跑过街巷，工匠俯身专注劳作。半掩的店门后，掌柜笑脸依稀；巷口茶摊边，老者围坐闲谈。伞的弧线、担的轮廓、车的轱辘，交织成动态的生活图景。每一处细节都藏着鲜活故事，仿佛能听见吆喝声、欢笑声、器物碰撞声，在时光里轻轻回响。这是对日常的温柔描摹，将平凡岁月里的热闹与鲜活，永远定格在素净的绢帛之上，让观者瞬间跌入那充满烟火气的旧时光。",[1153,2821,1240,1156,1158,1159,1275,1210,1680,2235,1603,1220,2822,1224,2823,2824,2825],"日本画","动物","店铺","摊位","日常","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e3a1210052e7e7d88509d4781dd6f9.jpg",[6],200,{"id":157,"slug":2830,"title":2831,"dynasty":1367,"author":1865,"museum":1150,"description":2832,"tags":2833,"thumbUrl":2834,"material":1195,"size":2835,"collection":6,"collections":2836,"showCount":2837,"zanCount":1577,"manualWeight":1177,"mainColor":1881},"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[1153,1154,1155,1156,1158,1159,1389,1210,1438,1213,1602,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","纵28.5cm,横154cm",[6,1174],198,{"id":158,"slug":2839,"title":2840,"dynasty":1148,"author":2841,"museum":1237,"description":2842,"tags":2843,"thumbUrl":2844,"material":1227,"size":2845,"collection":1172,"collections":2846,"showCount":2847,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","李嵩","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[1153,1154,1155,1257,1158,1208,1159,1210,1211,1212,1477,1160,1165,1439,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[1172,6,1174],197,{"id":159,"slug":2849,"title":2850,"dynasty":1367,"author":2851,"museum":1237,"description":2852,"tags":2853,"thumbUrl":2854,"material":1227,"size":2855,"collection":6,"collections":2856,"showCount":2847,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","胡廷晖","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[1240,1154,1158,1208,1159,1465,1160,1211,1212,1210,1796,1168,1437,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[6,1538],{"id":160,"slug":2858,"title":2859,"dynasty":1252,"author":2860,"museum":1369,"description":2861,"tags":2862,"thumbUrl":2863,"material":1551,"size":1551,"collection":6,"collections":2864,"showCount":2865,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"shui-hu-ren-wu-ren-xun-223079","水浒人物","任薰","任薰(1835-1893)，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。\n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。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[1153,1240,1154,1155,1257,1158,1159,1210,1191,1828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg",[6],195,{"id":161,"slug":2867,"title":2868,"dynasty":1203,"author":2869,"museum":1205,"description":2870,"tags":2871,"thumbUrl":2873,"material":1227,"size":1551,"collection":6,"collections":2874,"showCount":2875,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[1153,1154,1155,1156,1464,1158,1159,1465,1160,1210,1437,1212,1213,1165,1616,1358,2872],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[6],193,{"id":162,"slug":2877,"title":2878,"dynasty":1252,"author":1291,"museum":2879,"description":2880,"tags":2881,"thumbUrl":2882,"material":1227,"size":2883,"collection":6,"collections":2884,"showCount":2875,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"da-bei-shen-zhou-fo-xiang-yi-ming-214337","大悲神咒佛像","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[1153,1154,1158,1159,1210,1274,1548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e895004504e57c59c94e87ae8fcdf58.jpg","27.5x16",[6],{"id":163,"slug":2886,"title":2887,"dynasty":1148,"author":1291,"museum":1150,"description":2888,"tags":2889,"thumbUrl":2890,"material":2891,"size":2892,"collection":1172,"collections":2893,"showCount":2894,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[1153,1154,1156,1159,1158,1275,1210,1187,1160,1627,1341,1477,1165,1439,1211,1389,1168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[1172,6,1174],192,{"id":164,"slug":2896,"title":2897,"dynasty":1203,"author":2898,"museum":1517,"description":2899,"tags":2900,"thumbUrl":2906,"material":1227,"size":2907,"collection":6,"collections":2908,"showCount":2894,"zanCount":1541,"manualWeight":1177,"mainColor":1178},"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[1153,1240,1154,1155,1257,1208,1158,1159,2901,1211,1647,1210,1389,2802,1218,2902,1278,2903,2904,1165,1167,2905],"宫城","城池","官员","侍从","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[6,1174],{"id":165,"slug":2910,"title":1610,"dynasty":1252,"author":1291,"museum":2911,"description":2912,"tags":2913,"thumbUrl":2914,"material":1227,"size":2915,"collection":6,"collections":2916,"showCount":2894,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"shi-nv-tu-yi-ming-218422","费城艺术博物馆","画面中仕女身姿窈窕，衣袂轻垂如流云。左侧二人发髻簪饰精致，神态温婉相依，似低语絮谈；右侧小鬟恭立，身形纤弱，尽显娴静恭谨之态。线条细腻婉转，勾勒衣纹柔缓褶皱；设色古朴淡雅，棕褐基调晕染时光沉淀的温润质感。背景素净无华，更衬人物清雅气韵。虽佚名之作，细节处见匠心：发间金饰隐现微光，腰间丝带垂坠有致，衣料纹理细腻传神。笔墨间传递传统仕女画的含蓄之美，尽显闺阁女子温婉情致与古典韵致，如一缕旧时光里的清风，拂过观者心田。",[1154,1155,1158,1159,1210,1187,1191,1192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5a96fcffa4d742d6230cf50a67fe0a.jpg","115x60.4",[6],{"id":166,"slug":2918,"title":2919,"dynasty":1148,"author":1461,"museum":1205,"description":2920,"tags":2921,"thumbUrl":2922,"material":2923,"size":2924,"collection":1172,"collections":2925,"showCount":2926,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[1153,1154,1155,1156,1158,1159,1357,1210,1389,1493,1437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 设色 手卷","纵29.4厘米 横827厘米",[1172,6,1174],190,{"id":167,"slug":2928,"title":2929,"dynasty":1367,"author":1865,"museum":1517,"description":2930,"tags":2931,"thumbUrl":2932,"material":1227,"size":2933,"collection":6,"collections":2934,"showCount":2926,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"xi-ma-tu-zhao-meng-fu-218424","洗马图","《洗马图》以长卷形制铺展，笔墨生动传神。数匹骏马姿态各异，或昂首伫立，或缓步徐行，线条勾勒精准流畅，兼具书法笔意，马的肌肉纹理与鬃毛质感细腻可见。人物与马互动自然，牵马者神态悠然，骑马者身姿从容，衣袂线条飘逸洒脱。设色淡雅古朴，水墨为主辅以淡彩，营造出清逸雅致的氛围。画面疏密有致，节奏舒缓，既显写实功底，又含文人意趣，将日常洗马场景升华为富有诗意的艺术图景，尽显元代文人画的独特韵味与画家对生活的深刻体察。笔墨间流淌着雅致情韵，于细微处见真章，是元代画坛兼具技法与意境的佳作。",[1153,1154,1155,1156,1158,1210,1389,1159,1561,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c78c3647eca859103177fa91693b.jpg","31.7x255.4",[6],{"id":168,"slug":2936,"title":2937,"dynasty":1367,"author":1865,"museum":1237,"description":2938,"tags":2939,"thumbUrl":2940,"material":1496,"size":2941,"collection":6,"collections":2942,"showCount":2926,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"chui-xiao-shi-nv-tu-zhao-meng-fu-216973","吹箫仕女图","这幅画宋濂定为是赵孟頫的真迹，并把它与《道德经》小卷前的老子画像和行书《赤壁赋》前的东坡画像逐一进行了比较。宋濂的碑文越老，越是笨拙，全盛时期的亭子里的楷书越是小。",[1154,1155,1257,1158,1210,1187,1261,1241,1297,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53774ccebb8879781edf0e87cf8e7962.jpg","75.1x26",[6],{"id":169,"slug":2944,"title":2945,"dynasty":1148,"author":2946,"museum":1237,"description":2947,"tags":2948,"thumbUrl":2952,"material":2203,"size":2953,"collection":6,"collections":2954,"showCount":2955,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"hua-fan-xiang-juan-zhang-sheng-wen-221217","画梵像卷","张胜温","《大理国梵像卷》是大理国（937－1254）（与五代和宋代同一时代）传世的唯一画卷，全卷设色贴金，绘製精谨，共分四段：第一段画大理国王利贞皇帝礼佛图，第二段绘佛、菩萨、佛母、天王和护法等数百位佛教人物，第三段为多心和护国宝幢，第四段是十六国王图。全卷内容丰富，素有「南天瑰宝」之誉。 内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[1153,1154,1155,1156,1274,1159,1158,1210,2613,2949,2950,2951,1357],"菩萨","飞天","经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","全长1635.5厘米，宽30.4厘米",[6,1174],189,{"id":170,"slug":2957,"title":2958,"dynasty":1235,"author":1611,"museum":2368,"description":2959,"tags":2960,"thumbUrl":2961,"material":1227,"size":1551,"collection":6,"collections":2962,"showCount":2963,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[1153,1154,1155,1257,1159,1158,1210,1187,1808,1258,1452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3506e1a0eb430a5f568336d083e69bc2.jpg",[6],188,{"id":171,"slug":2965,"title":2966,"dynasty":1203,"author":1659,"museum":1517,"description":2967,"tags":2968,"thumbUrl":2969,"material":1227,"size":2970,"collection":6,"collections":2971,"showCount":2963,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"bu-gun-tu-chen-hong-shou-219531","补衮图","衮是古代君王的礼服，补衮有补救规谏帝王过失的寓意。图中绘有四人，发髻高耸，雍容华贵。",[1153,1154,1155,1159,1158,1210,1187,1260,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0bcfbcf40168efa236701b517fe221.jpg","纵109横78.5cm",[6,1174],{"id":172,"slug":2973,"title":2974,"dynasty":1148,"author":1291,"museum":2975,"description":2976,"tags":2977,"thumbUrl":2979,"material":1158,"size":2980,"collection":6,"collections":2981,"showCount":2982,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"rui-guang-ta-si-tian-wang-xiang-yi-ming-220245","瑞光塔四天王像","苏州瑞光寺塔","是可供研究唐代吴道子画风的一件重要绘画遗存。\n吴道子一生以宗教画创作为主，留下壁画三百余壁，但从唐武宗会昌五年（845）废寺毁佛像以后，存留就寥寥无几了。不过，他的画风由唐代粉本，和后世画家的仿作中所保存下来的还是不少。四天王像的创作年代在大中祥符六年（1013）之前，距吴道子逝世两个半世纪左右，当时，吴画原作还有少量寺庙壁画遗存。他的画风在宗教画中有强大影响。从四天王像中，就明显地可以看到吴道子画风的几个富有特征的表现。",[1148,1274,1210,1158,1159,1741,2978],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb600a4c58790b06121a6db55967ede52.jpg","42.5X123厘米",[6],186,{"id":173,"slug":2984,"title":2697,"dynasty":1252,"author":2985,"museum":1571,"description":2986,"tags":2987,"thumbUrl":2995,"material":1496,"size":1551,"collection":6,"collections":2996,"showCount":2982,"zanCount":1322,"manualWeight":1177,"mainColor":1248},"shi-nv-ce-wu-jia-you-218255","吴嘉猷","细腻笔触晕染出闺阁的温婉时光。仕女们或临窗研墨，或凭栏观鸟，或围坐品茗，或抚琴寄怀。庭院花木扶疏，轩窗屏风雅致，每一处细节都藏着东方生活的诗意。衣袂褶皱、器物纹理、人物神态皆被精心勾勒，尽显古代女性的娴静灵秀。一幅幅日常场景串联成流动画卷，将清人闺阁的雅致情趣与审美意趣悄然铺展，引人沉醉于那份古典的温柔与从容。笔墨间流淌的不仅是生活片段，更是东方美学里独有的温婉与雅致，让观者仿佛踏入时光回廊，触摸到古代仕女的细腻心境。",[1153,1154,1492,1159,1158,1421,1187,1219,1211,2988,1480,2418,1477,2989,2990,2991,2992,2993,2994,1589,1590],"轩窗","抚琴","品茗","研墨","温婉","娴静","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbf079b3eb908aacb932a649ab3bd75.jpg",[6],{"id":174,"slug":2998,"title":2999,"dynasty":1203,"author":1449,"museum":1369,"description":3000,"tags":3001,"thumbUrl":3002,"material":1227,"size":1551,"collection":6,"collections":3003,"showCount":3004,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"wang-xian-zhi-xiu-qi-tang-yin-218408","王献之休妻","疏柳垂丝如诉，嶙峋山石衬出几分萧索。白衣男子立于其间，衣袂轻扬却难掩眉宇间的复杂——是决绝？还是隐于礼法下的无奈？旁侧两位女子相拥而立，罗裙轻垂，身影柔弱如风中飘絮，彼此依偎的姿态似是对命运的无声抵抗。\n\n线条流转细腻，设色淡雅却见功底，人物神情的描摹尤见匠心：男子微蹙的眉头藏着隐衷，女子低垂的眼眸裹着悲戚，连垂落的柳枝都似在替人拭泪。整幅画以景衬情，将旧闻里的礼法束缚与情长纠葛凝于笔墨间，每一处细节都在轻声诉说：那些被时光掩埋的无奈，从来都藏在人物的一颦一笑、山石草木的一呼一吸里。",[1240,1154,1155,1257,1158,1159,1210,1160,1493,1439,1187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c441d0be13c6b563da78fdded2b86c.jpg",[6],185,{"id":175,"slug":3006,"title":3007,"dynasty":2446,"author":3008,"museum":1237,"description":3009,"tags":3010,"thumbUrl":3013,"material":1496,"size":3014,"collection":6,"collections":3015,"showCount":1176,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"san-gu-cao-lu-tu-dong-zhan-220447","三顾草庐图","董展","本幅绘汉末刘备三顾草庐、邀诸葛孔明出山之故实。画中长松修竹掩翳茅屋，孔明羽扇纶巾、依榻凝思，童仆正应门而出。篱外刘备、关羽、张飞三骑及从者行近，山岭后并见旌旗戈戟微露，人马仍众。画笔轻健秀润，惟上半山岭系后人补笔。幅上无款，依元萨都剌至正甲午之题，定为隋董展所作。然萨都剌之题字与其年款及跋语内容均不合，应为后人作品所伪托。",[1153,1154,1155,1158,1160,1210,1389,1165,1439,1218,3011,3012],"小径","人物活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935336d0a9d6d7dd611cbe1a446059.jpg","全幅 43.8x29.5公分，诗塘 17.8x29.5公分",[6],{"id":176,"slug":3017,"title":3018,"dynasty":1203,"author":1291,"museum":1413,"description":3019,"tags":3020,"thumbUrl":3022,"material":1227,"size":3023,"collection":6,"collections":3024,"showCount":3025,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"xiang-long-luo-han-tu-yi-ming-218294","降龙罗汉图","罗汉袒胸盘坐，红衣如焰翻卷，青带若云流转，神情从容间藏着威严。手中钵盂盛翠，似凝天地生机；法杖拄地，顶轮熠熠，似镇世间妄念。足下蛟龙蜷身，鳞爪毕现却温顺俯首，龙须轻摆仍余灵动，尽显降伏之态。背景幽岩深暗，衬出主体鲜活。线条劲健流畅，衣纹褶皱如行云流水；设色浓淡相宜，红与蓝的碰撞点亮画面。整作将罗汉法力无边与慈悲相济凝于笔端，龙的驯服更显佛法庄严，尽显明代佛画的精湛造诣与精神内核，观之令人心生敬畏与宁静。",[1154,1274,1210,1341,1158,1159,1257,1439,3021],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bcc5483184976244b0b04126d77aa8.jpg","172.2x109.2",[6],179,{"id":177,"slug":3027,"title":3028,"dynasty":1148,"author":3029,"museum":1237,"description":3030,"tags":3031,"thumbUrl":3032,"material":1227,"size":3033,"collection":6,"collections":3034,"showCount":3035,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"yu-wang-kai-shan-tu-juan-zhao-bo-ju-216969","禹王开山图卷","赵伯驹","赵伯驹，是中国宋代画家。他的作品《禹王开山图卷》是一幅著名的山水画，是他最著名的作品之一。\n\n《禹王开山图卷》画中描绘的是禹王开山垦沼的故事，以及禹王统治时期的生活和文化。画面上的人物和建筑都极具细致和生动，山水风光也非常优美。\n\n赵伯驹的画风风格独特，他擅长用细腻的线条勾勒出各种题材，并运用浓淡自然的墨色，使画面充满生机和活力。《禹王开山图卷》是宋代著名的山水画之一，被视为赵伯驹的代表作。",[1240,1154,1155,1156,1157,1158,1159,1465,1160,1210,1439,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff12f946a0ce4f72da37bbe835ca4f7.jpg","35x221.1",[6],178,{"id":178,"slug":3037,"title":3038,"dynasty":1148,"author":3039,"museum":3040,"description":3041,"tags":3042,"thumbUrl":3044,"material":2203,"size":3045,"collection":1172,"collections":3046,"showCount":3047,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"tai-bai-xing-yin-tu-liang-kai-221605","太白行吟图","梁楷","日本京都国立博物馆","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[1153,1154,1464,3043,2679,1210,1357],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceb68802f7eb8ed417349f2db1071bb.jpg","纵向81.2厘米，横向30.4厘米",[1172,6,1721],177,{"id":179,"slug":3049,"title":3050,"dynasty":1182,"author":1270,"museum":1369,"description":2387,"tags":3051,"thumbUrl":3053,"material":3054,"size":3055,"collection":6,"collections":3056,"showCount":3057,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"xie-yi-guan-yin-xiang-wu-dao-zi-221112","写意观音像",[1154,1274,1210,1275,2524,1257,3052],"吴带当风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76df8acb5d86ef3de96d8dfef46cb63e.jpg","拓片","68x31厘米",[6],176,{"id":180,"slug":3059,"title":3060,"dynasty":1252,"author":3061,"museum":1205,"description":3062,"tags":3063,"thumbUrl":3066,"material":1227,"size":3067,"collection":6,"collections":3068,"showCount":3069,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[1153,1154,1156,1159,1158,1465,1160,1210,1211,1212,1213,1437,1165,3064,3065,1223,1389,1162,1625,1168],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[6,1538],175,{"id":181,"slug":3071,"title":3072,"dynasty":1148,"author":2057,"museum":3073,"description":3074,"tags":3075,"thumbUrl":3079,"material":1227,"size":3080,"collection":6,"collections":3081,"showCount":3069,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"yu-le-tu-ma-yuan-218409","渔乐图","耶鲁大学艺术博物馆","山石以斧劈皴斫出棱线，苍松虬枝斜探，似要牵住远山的雾影。水面留白如镜，载一扁舟静泊，船篷半掩着渔获的细碎声响。近岸处两渔者对坐，或执竿轻叩地面，或捧物低语，衣袂随微风舒展，满是江湖散淡的意趣。\n\n马远以“一角”之景框定天地，却让渔樵的闲逸漫出画外——没有庙堂的车马喧，只有松风穿叶、水波轻漾的自在。笔墨简劲却藏着温软，将宋人的雅致与山野的旷达揉作一处：你看那渔者的笑纹，似能触到日光的暖；那松枝的弧度，恰如心尖的舒展。叫观者也想随这舟子，枕着松涛入眠，把尘事都忘在烟水之外。",[1154,1240,1155,1464,1465,1160,1210,1560,1796,3076,3077,3078],"远山","近石","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg","218.2x148",[6],{"id":182,"slug":3083,"title":3084,"dynasty":1148,"author":1291,"museum":1413,"description":3085,"tags":3086,"thumbUrl":3088,"material":1227,"size":3089,"collection":6,"collections":3090,"showCount":3069,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[1153,1154,1155,1156,1209,1158,1275,1159,1210,1187,1160,1560,1211,1165,3087,1439,2216,1477],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[6],{"id":183,"slug":3092,"title":3093,"dynasty":1203,"author":1659,"museum":1150,"description":3094,"tags":3095,"thumbUrl":3096,"material":1170,"size":3097,"collection":6,"collections":3098,"showCount":3099,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"xi-ying-tu-you-ming-tong-zi-li-fo-tu-chen-hong-shou-221884","戏婴图（又名童子礼佛图）","《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。",[1153,1154,1159,1158,1210,1261,1260,1274,1478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa41ef319564f201fad45f52a944993.jpg","纵150厘米，横67.3厘米",[6,1174],174,{"id":184,"slug":3101,"title":3102,"dynasty":1182,"author":1353,"museum":1237,"description":3103,"tags":3104,"thumbUrl":3110,"material":1732,"size":3111,"collection":6,"collections":3112,"showCount":3099,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"zhi-gong-tu-yan-li-ben-221066","职贡图","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[1153,1154,1155,1240,1156,1159,1158,1210,3105,1389,2822,1589,1278,3106,3107,3108,1344,3109],"异域人物","推车","随从","伞盖","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","纵61.5cm，横191.5cm",[6,1174],{"id":185,"slug":3114,"title":3115,"dynasty":1252,"author":3116,"museum":1751,"description":3117,"tags":3118,"thumbUrl":3120,"material":1227,"size":3121,"collection":6,"collections":3122,"showCount":3099,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[1153,1154,1155,1257,1159,1158,1210,1160,1520,1616,3119,1583,1438],"宴乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[6,1174],{"id":186,"slug":3124,"title":3125,"dynasty":1252,"author":1291,"museum":1254,"description":3126,"tags":3127,"thumbUrl":3144,"material":1158,"size":1551,"collection":6,"collections":3145,"showCount":3146,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"lv-du-mu-tang-ka-yi-ming-219259","绿度母唐卡","绿度母为观世音菩萨的化身。全称圣救度佛母，我国古代称多罗菩萨、多罗观音，度母有许多不同的化现，包括有二十一度母、五百度母等等，皆为观世音菩萨之化身，而绿度母为所有度母之主尊，总摄其余二十尊化身之所有功德，她能救八种苦难，如狮难、象难、蛇难、水难、牢狱难、贼难、非人难，又称为“救八难度母”。同时，还能把称为五毒的人类行为贪、嗔痴、慢、疑中的“疑”转成究竟圆满的智慧，有护持妇妇幼儿的功德。满足一切众生愿求，现世富贵长寿平安吉祥、除诸病苦业魔障碍等，帮助众生解脱生死苦海，命终往生极乐世界。",[1153,1310,1274,1158,1159,1210,1741,3128,3129,3130,1276,3131,3132,3133,3134,3135,2217,3136,3137,3138,3139,3140,3141,3142,3143],"莲花座","法器","宝相花","重彩","金箔","神佛","华丽纹饰","佛教题材","宗教艺术","彩绘","佛教造像","坐姿","珠宝配饰","背光","红绿色调","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ac8bfafa525c5792f7b1976d8fd638.jpg",[6],173,{"id":187,"slug":3148,"title":3149,"dynasty":1367,"author":3150,"museum":1150,"description":3151,"tags":3152,"thumbUrl":3153,"material":1170,"size":3154,"collection":6,"collections":3155,"showCount":3156,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[1153,1154,1158,1159,1357,1210,1341,1389,1295,1211,1168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[6,1174],172,{"id":188,"slug":3158,"title":1433,"dynasty":1148,"author":3159,"museum":1413,"description":3160,"tags":3161,"thumbUrl":3162,"material":1227,"size":3163,"collection":6,"collections":3164,"showCount":3156,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"xiang-shan-jiu-lao-tu-ma-xing-zu-216922","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[1153,1240,1154,1156,1159,1158,1210,1258,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695cadd81d87bdb7478f46096b1241a9.jpg","27.1x217.2",[6],{"id":189,"slug":3166,"title":3167,"dynasty":1148,"author":3168,"museum":1237,"description":3169,"tags":3170,"thumbUrl":3174,"material":1227,"size":1551,"collection":6,"collections":3175,"showCount":3176,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[1153,1154,1155,1156,1159,1158,1210,1160,1389,1165,1439,3171,2904,3172,2215,2493,3173],"旌旗","骑兵","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[6],171,{"id":190,"slug":3178,"title":3179,"dynasty":1148,"author":1768,"museum":3040,"description":3180,"tags":3181,"thumbUrl":3182,"material":3183,"size":3184,"collection":1172,"collections":3185,"showCount":3186,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"wei-mo-ju-shi-xiang-li-gong-lin-221409","维摩居士像","李公麟（149～116），北宋舒州人（今安徽桐城人），宋代杰出画家。\n字伯时,号龙眠居士，(149-116)享年五十七岁。\n熙宁三年(公元17年)进士。\n李龙眠即李公麟，字伯时，安徽桐城人，因桐城有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n元符三年（11）病痹告老，居家乡桐城龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n李公麟做官三十年，也是他的艺术逐渐成熟，成为名画家的时期：这一时期也正是王安石变法失败，转入史称“朋党”之争的时期。\n李公麟和的关系很好，熙宁七年以后，王安石失势，退居，曾与李公麟同游，并赠诗四首，但同时，李公麟和反对王安石的等关系也很密切。\n李公麟和、、等人同是驸马家的座上客。\n他们在王诜家里的聚会曾被纪录在李公麟画的《》（现存各种摹本）中，米芾也为此写了一篇文章。\n他们十几个人在王诜家的花园中饮酒、作诗、写字画画、谈禅、论道等等。\n这是他们交游的第一个时期，是在苏轼被黜，离开汴梁去杭州作官以前。\n元丰二年（公元一○七九年）苏轼因作诗遭祸，陷入险境，王诜也被株连，据说李公麟在街上遇见苏家人，就以扇遮面，因而受到人们的讥笑。\n李公麟和等人第二次交游是在哲宗元祐年间，那时已经去世，正是旧党短期得势，而苏轼又恢复了自己的政治地位的时候，李公麟又画了第二幅《》。\n苏轼和的诗集中载多首赠诗和称赞他作品的诗。\n李公麟对于古代的美术修养极深。\n对古器物和古文字具有知识，曾摹绘古代的铜器并加以考订，他参加了整理皇家收藏的古器物的工作。\n他的父亲李虚一收藏古代画迹很多，他都进行临摹，并且也临摹了很多他人收藏的名迹。\n他保存了很多自己临摹前代名画的副本。\n他的绘画才能，首先表现 在他的题材的多样性上。\n他擅长鞍马、佛像、人物和。\n他在临摹古人名迹中掌握了绘画技法，而越出古人的技法。\n李公麟擅长画马和人物。\n他画的人物，据说能够从外貌上区别出“廊庙馆阁、山林、闾阎臧获、台舆皂隶”等社会各阶层人的特点，并能分别出地域和种族的具体特点，及动作表情的各种具体状态。\n他的艺术创造有生活现实性为基础，所以他敢于追求新的表现。\n他敢于突破前人的定式，画长带观音，飘带长过一身有半，还画过石上卧观音，这些都是他创造的新式样。\n他的创造性还表现 在他对题材的理解上，他画“观自在观音”，不是按照一般流行的坐相，他说“自在在心，不在相”，不必限制于某一固定的坐相，而是另创一种他认为能表现出心情自在的坐相。\n他画的“归去来辞”一诗把表现的重点放在正在思维中的神态上，不在一般化的描写田园松菊等自然风物，而注重描绘“临清流处”——发人深思的流水。\n李公麟画汉代的将军夺了胡人的马逃回来，在马上引弓瞄准追骑，箭锋所指，人马就应弦而倒。\n李公麟自己说，如果是旁人画就要画箭射中追骑了。\n可见李公麟很了解艺术的真实有别于生活的真实，表面上好象不合理，而能产生更强烈的艺术力量。\n他善画人物，尤工画马，称赞他：“龙眠胸中有千驷，不惟画肉兼画骨”。\n《》为其代表作。\n画中五匹大马，由五个人牵引，神采焕发，顾盼惊人。\n用笔简练，马的一举一动，极其细致生动地表现出骏马运动和性情的特征。\n他还发展了“”画法，创造出“扫支粉黛、淡毫清墨”，“不施，而光彩动人”。\n他的作品，保存下来的不多。\n除《》外，尚有《》《》《居士像》《十六小马图》《》《》《》《》《草堂图》《》《明皇演乐图》《农节图》《》《明皇醉归图》《》《汴桥会盟图》《白描罗汉图》《海会图》《》等。\n李公麟画了一幅六七个汉子围在桌旁赌博的《贤己图》，图中人物栩栩如生，其中有一个人伏在桌上，眼盯盆内的骰子，张嘴急呼，这时骰子转到“六”的位置上。\n元符三年（11）告老，居故乡桐城双溪，号龙眠居士。\n他好古博学，善鉴定。\n不仅能画人物鞍马、神仙佛道，也能画花鸟。\n他对传统绘画作过大量的临摹，同时重视写生，敢于独创。\n他的人物能从外貌上区别出身份、地域和性格特点。\n在画法上，他以著称。\n这种善用线描，多不设色的白描，造型准确，神态生动，这样就把传统的线描造型方法推进到一个新的水准。\n对其后代影响很大。\n他画的山水，亦有创格。\n工行、楷书，有晋、宋之风。\n后人论其作画“以立意在先，布置缘饰为次”。\n还长于考古。\n存世作品有《》《临苇偃牧放图》《九歌》《免胄图》《居士像》等图。\n《》，纸本浅设色，纵29.厘米，横22.5厘米。\n现为日本私人收藏。\n李公麟善于画马，“每欲画，必观群马，以尽其态”。\n《》就是李氏根据写生创作的。\n每匹马各有一人牵引。\n人、单线勾出比例准确，动作生动，清晰地表现出肌肉骨骼的结构，身体的重量感、软硬质感，乃至光泽印象，可代表他画的水准。\n尤见画中马匹、人物的生动神态，不愧为传世杰作。\n画后有跋。\n李公麟(149-116)，北宋著名画家。\n字伯时，号龙眠居士。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法 。\n李龙眠即李公麟，字伯时，祖籍舒州（今安徽桐城）， 桐城北乡龙眠山，李公麟归隐于山下，所以又自号龙眠居士或龙眠山人。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、米芾、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n居京师十年不游权贵之门，以访名园荫林为乐。\n元符三年（11）病痹告老，居家乡龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得正传；着色山水追李思训心法；画马过。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n传世作品有《》卷，现藏；《》卷、《维摩演教图》藏故宫博物院；《赤壁图》《蜀川胜概图》流往美国；《莲社图》轴（南宋摹本）藏南京博物院。\n李公麟是北宋时期一位颇具影响的名士，其绘画为当世第一。\n《》第七卷在评论他的作品时赞曰：“（龙眠）尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、、闾阎、臧荻、占舆、皂隶。\n至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。\n贵贱研丑止以肥红瘦黑分之。\n大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。\n”称“其神与万物交，智与百工通”。\n清初大家评李公麟：“自龙眠而后未有其匹，恐前世顾（恺之）、陆（探微）诸人亦所未及也。\n”而邓椿在他的《》里说：“画今古一人而已，以予观之，伯时既出，道玄（）讵容独步。\n”因此，李公麟笔下“扫去粉黛、淡毫轻墨、高雅超逸的画，被后人称为”天下绝艺矣”。\n在中国绘画技法中，线描是最有特色的技法之一，而纯用线条和浓淡墨色描绘实物的白描画法，可以说是线描技法发展的最高、最纯的阶段。\n而李公麟正是在这艺术浪尖上的弄潮儿，他使白描技法成为后人学画所遵从的样板典范，“犹如群龙之首”千百年来代代相传。\n北宋的人物画，其构形技法，到北宋后期为李公麟（149年-116年）发扬光大，线条健拔却有粗细浓淡，构图坚实稳秀而又灵动自然，画面简洁精练，但富有变化；题材广及人物、鞍马、、花鸟，既有真实感，又有文人情趣，而且所作皆不着色，被称作“大师”。\n《》和《》标志着单线勾勒的技法在中国绘画艺术中的巨大成就。\n单线勾勒的写实能力在于它有可能表现对象的形体、质感、量感、运动、空间。\n所以单线勾勒是一种效果明显而高度简洁的描绘技法。\n李公麟是一个卓 越的现实主义艺术的大师。\n他在绘画史上的地位尚有待更细致的分析，他创造了富于概括力的真实而鲜明的艺术形象，他掌握极优美的提炼形象的能力和表现技巧。\n但是他之选取非现实性的题材的倾向和追求一种与的生活密切联系的细腻的趣味，都说明他的艺术中蕴藏了一个危机。\n北宋的人物画，著名者有的《朝元仙仗图》，清秀娴丽，气度恢弘，而其构形技法，到北宋后期为李公麟发扬光大，线条健拔却有粗细浓淡。\n《五马图》为其传世佳作，纸本墨笔，纵29.厘米，横225厘 米，无名款。\n图以白描的手法画了五匹西域进贡给北宋朝廷的骏马，各由一名奚官牵引。\n每匹马后有宋黄庭坚题字，谓马之年龄、进贡时间、马名、收于何厩等，并 跋称为李伯时（公麟）所作。\n五匹马各具美名，令人遐想，依次为：凤头骢、锦膊骢、好头赤、照夜白、满川花，而五位奚官则前三人为西域装束，后两人为汉人。\n五匹马体格健壮，虽毛色不一，姿态各异，但显得驯养有素，极其温顺。\n五个奚官则因身份不同，或骄横，或气盛，或谨慎，或老成，举手投足，无不恰如其分。\n李龙眠画罗汉渡江，凡十有八人。\n一角漫灭，存十五人有半，及童子三人。\n一人值纸坏，仅见腰足。\n一人携杖，衣袂翩然，若将渡而无意者。\n一人凝立远望，开口自语。\n一人跽左足，蹲右足，以手捧膝作缠结状；双屦脱置足旁，回顾微哂。\n一人坐岸上，以手踞地，伸足入水，如测浅深者。\n者九人：一人以手揭衣，一人左手策杖，目皆下视，口呿不合。\n一人脱衣，双手捧之，而承以首。\n一人前其杖，回首视捧衣者。\n两童子首发鬅鬙，共舁一人以渡。\n所舁者，长眉覆颊，而怪伟如秋潭老蛟。\n一人仰面视长眉者。\n一人貌亦老苍，伛偻策杖，去岸无几，若幸其将至者。\n一人附童子背，童子瞪目闭口，以手反负之，若重不能胜者。\n一人貌老过於伛偻者，右足登岸，左足在水，若起未能。\n而已渡者一人，捉其右臂，作势起之。\n老者努其喙，缬纹皆见。\n又一人已渡者，双足尚跣，出其屦将纳之，而仰视石壁，以一指探鼻孔，轩渠自得。\n按：罗汉於佛氏为得道之称，後世所传高僧，犹云「锡飞」、「杯渡」。\n而为渡江，艰辛乃尔，殊可怪也。\n推画者之意，岂以佛氏之作止语默，皆与人同，而世之学佛者，徒求卓诡变幻、可喜可愕之迹，故为此图，以警发之与？昔人谓太清楼所藏吕真人画像，俨若孔、老，与他画师作轻扬状者不同，当即此意。\n的，性质上就是「看图作文」。\n作者体会到李龙眠人物画运笔传神，寓意含蓄的特点，对画面形象的记叙，也多攫住人物的自然神情。\n描写人物虽仅寥寥数语，却能得其精神。\n写方渡的罗汉，那种离岸涉水时敛神屏息的神情，及至中流时勉为其难的神情，去岸不远时庆幸欣喜的神情，描摹细腻，栩栩如生，并且凸显罗汉的不胜其苦。\n至于未渡的五个罗汉（其中一个，因纸坏仅见腰足），也极力描写他们各自不同的神态：一个是临渡而无意，一个是逡巡而观望，一个写出他决心初下的愉悦神情，一个描写入水将渡前的审慎心理。\n对这一组人物的刻意描写，也是为了衬托渡江的艰难。\n已渡者怡然自得的神态，实际上也是对渡江艰难的一种反衬。\n作者对於李龙眠画作「在心不在相」，著重人物内在精神的刻画，可谓深得其旨。\n从52岁辞官归故里之后就再也没有离开过家乡了，最后在故里去世，安葬在县城东南的磐石圩。\n李公麟（149～116），北宋舒州（今安徽桐城）人。\n有“独步中国画坛”、“宋画第一”等美誉。\n关于他的绘画，奇闻逸事颇多。\n传得最广的是他画马。\n公麟的马画得好是出了名的，为了画马，他常常去马厩中一呆就是一天，有一次皇宫御苑来了西域进贡的宝马，他来此画马，画成后，马却死了。\n人都说那马是被公麟摄了精魄去了。\n难怪他的马画得出神入幻。\n东坡有云：“龙眠胸中有千驷，不唯画肉兼画骨。\n”弄得后来管御马的小吏见了公麟就紧张，生怕他来画马，又把马给画死了。\n李公麟除了画画，还是个官员，他在政治上似乎没什么建树，在朝中似乎也是个没派别的人。\n在他做官的时候，正是苏东坡和王安石闹新旧党争的时候，但他既非新党又非旧党，他和苏、王二人都是朋友。\n这也许正是他艺术家气质的表现。\n不过，细数起来，他最要好的朋友还是苏东坡和黄庭坚。\n《苏轼诗选》里面就有《》和《》，这“戏书”和“画马试院”就可看出他们之间的友谊已经超出一般的官场交往，而是至交了。\n三个人都是考官，在科举考试的间隙李公麟画马，苏、黄二人题诗其上，岂不是忙里偷闲，情趣盎然。\n李公麟晚年因为身体不太好，回到了故里桐城龙眠山安度晚年，还建了一处大气的庄园叫做龙眠山庄。",[1153,1240,1154,1155,1257,1274,1275,1210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","绢本水墨","纵91 2厘米，横51 4厘米",[1172,6,1721],170,{"id":191,"slug":3188,"title":3189,"dynasty":1203,"author":1449,"museum":1205,"description":3190,"tags":3191,"thumbUrl":3193,"material":1772,"size":3194,"collection":6,"collections":3195,"showCount":3186,"zanCount":1322,"manualWeight":1177,"mainColor":1248},"jiao-ye-shui-nv-tu-tang-yin-219700","蕉叶睡女图","唐寅是明中叶时期重要的人物画家，他多才多艺，不仅擅长画人物画，在文学、山水、花鸟，书法都有卓越的成就。唐寅，字子畏，另字伯虎，晚号六如居士，1470年出生于苏州，卒于1524年，与祝允明、文徵明、徐祯卿并称“吴中四才子”。\n明代仕女画的人物造型在经过魏晋时期的秀骨清像，隋唐的丰肥腴丽，宋元的端庄矜持后，逐渐变为明艳清瘦、削肩狭背。而唐寅作为“明四家”之一，他的仕女画师承唐代传统，飘洒高雅，人物造型优美，细巧秀逸，成为明代仕女画的典型代表。\n唐寅仕女画独特的艺术风格在中国美术史上有一定的地位，其绘画的风格对后世人物画的发展与创作有着重要影响，在各种拍卖会上也经常崭露头角。",[1153,1154,1155,1156,1275,1464,1561,1357,1210,1187,3192],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b3649559e91e7d9b4530da531e4c8.jpg","纵20.3cm，横61.0 cm",[6],{"id":192,"slug":3197,"title":2715,"dynasty":1252,"author":3198,"museum":1413,"description":3199,"tags":3200,"thumbUrl":3201,"material":1496,"size":3202,"collection":6,"collections":3203,"showCount":3204,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ba-jiao-mei-ren-tu-fei-dan-xu-219434","费丹旭","图为一名女子坐在巨大的芭蕉叶下的石凳上，手握横琴，右手解开绳索。",[1154,1158,1159,1257,1210,1187,1416,2632,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834ca7c705f9fff58342e9eb1411e042.jpg","纵104.5横34.1厘米",[6],169,{"id":193,"slug":3206,"title":3207,"dynasty":1182,"author":1183,"museum":3073,"description":3208,"tags":3209,"thumbUrl":3210,"material":1227,"size":1551,"collection":6,"collections":3211,"showCount":3212,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"zhi-shan-shi-nv-tu-zhou-fang-219579","执扇仕女图","画面以淡墨轻晕出幽寂庭院，仕女孑然独立，素衣柔婉，眉眼间凝着幽微怅惘。旁侧松梅虬枝疏朗，苍雅古拙的枝桠斜斜探伸，衬出院中空阔清寒的氛围。\n\n设色雅致内敛，浅淡赭石与花青晕染景物，虚实相生里晕开朦胧柔润的古雅意韵。笔致秀逸清隽，以简淡线条勾勒仕女风神，将深闺女子闲静缱绻的幽思，藏在氤氲的笔墨间。全图虚实相宜，把闺中清寂与仕女温婉愁绪悄然铺陈，尽显古典仕女画含蓄淡远的美学意境。",[1154,2543,1158,1159,1187,1261,1165,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1570cff7b0df2beea2b544ac3d39105.jpg",[6],168,{"id":194,"slug":3214,"title":3215,"dynasty":1182,"author":3216,"museum":2727,"description":3217,"tags":3218,"thumbUrl":3219,"material":1227,"size":3220,"collection":6,"collections":3221,"showCount":3222,"zanCount":1566,"manualWeight":1177,"mainColor":1178},"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[1153,1240,1154,1155,1156,1274,1159,1158,1275,1210,1602,1389,1741,1341,1847],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[6],167,{"id":195,"slug":3224,"title":3225,"dynasty":1203,"author":1659,"museum":1150,"description":3226,"tags":3227,"thumbUrl":3229,"material":1227,"size":3230,"collection":6,"collections":3231,"showCount":3232,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"sheng-an-zan-hua-tu-chen-hong-shou-215041","升庵簪花图","这幅画是艺术家的艺术杰作。人物夸张的造型，活泼的神态，圆润有力的线条，以及背景中老树的虬枝，进一步强调了主人公不羁的个性，显示了陈洪绶成熟期人物画的典型面貌。",[1153,1154,1240,1155,1257,1159,1158,1210,3228,1261,1493,1191],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04b11c9f447e25c6cc519aa5697678e.jpg","143.5x64.5",[6],165,{"id":196,"slug":3234,"title":3235,"dynasty":1148,"author":1291,"museum":1237,"description":3236,"tags":3237,"thumbUrl":3241,"material":1227,"size":1551,"collection":1172,"collections":3242,"showCount":3243,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"bo-gu-tu-yi-ming-220204","博古图","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[1153,1154,1155,1158,1159,1210,1649,1616,1452,3238,1589,1219,1808,1422,1783,3239,3240,2418],"古物","古玩","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[1172,6],164,{"id":197,"slug":3245,"title":1610,"dynasty":1203,"author":1449,"museum":1369,"description":1844,"tags":3246,"thumbUrl":3247,"material":1551,"size":1551,"collection":6,"collections":3248,"showCount":3249,"zanCount":1577,"manualWeight":1177,"mainColor":1248},"shi-nv-tu-tang-yin-222333",[1153,1154,1159,1158,1357,1210,1187,1261,1784,1257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a1ac006358157f9823c6c6e26a159a.jpg",[6,1174],161,{"id":198,"slug":3251,"title":3252,"dynasty":1148,"author":1885,"museum":1237,"description":3253,"tags":3254,"thumbUrl":3258,"material":1195,"size":3259,"collection":1172,"collections":3260,"showCount":3249,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"huo-lang-tu-su-han-chen-221380","货郎图","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[1153,1154,1240,1159,1158,1210,3255,1452,1297,1192,3256,3257,1478],"儿童","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米",[1172,6,1174],{"id":199,"slug":3262,"title":3263,"dynasty":1252,"author":3264,"museum":1237,"description":3265,"tags":3266,"thumbUrl":3270,"material":1496,"size":3271,"collection":6,"collections":3272,"showCount":3273,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","华嵒","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[1153,1154,1155,1158,1464,2679,1210,1531,1261,2027,3267,2351,1357,3268,1439,3269],"伞","饮酒场景","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[6],160,{"id":200,"slug":3275,"title":3276,"dynasty":1148,"author":3277,"museum":3278,"description":3279,"tags":3280,"thumbUrl":3281,"material":1468,"size":1551,"collection":6,"collections":3282,"showCount":3273,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"bu-dai-he-shang-tu-hu-zhi-fu-214651","布袋和尚图","胡直夫","日本京都野村博物馆","这是一幅简单的佛教僧侣回望尘世并返回斗室宫的画作。南宋画家胡直夫主要活跃在宋末元初，从事山水和人物画创作。他的白描技术来自于李公麟，他的笔触强而有力。他的人字形线描继续出现在后来的一般佛教色彩画中，并成为道教和佛教主题人物的一种特殊风格。他的大部分画作现在都被日本人收藏了。这幅画得到了景山比丘如燕的赞许。",[1153,1154,1155,1257,1275,1464,1274,1210,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093d29532ba9d45dca29e6f299658810.jpg",[6],{"id":201,"slug":3284,"title":3285,"dynasty":1182,"author":1291,"museum":1237,"description":3286,"tags":3287,"thumbUrl":3290,"material":1227,"size":2178,"collection":6,"collections":3291,"showCount":3292,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"gong-le-tu-yi-ming-288360","宫乐图","本图描写后宫嫔妃十人,围坐于一张巨型的方桌四周,有的品茗,有的在行酒令。中央四人,则负责吹乐助兴。所持用的乐器,自右而左,分别为筚篥、琵琶、古筝与笙。",[1153,1154,1155,1158,1159,1210,1187,1421,1241,1614,3288,3289],"宫廷宴乐","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39857b914581e42221c8c2d3a920666e.jpg",[6],159,{"id":202,"slug":3294,"title":3295,"dynasty":1148,"author":3296,"museum":1413,"description":3297,"tags":3298,"thumbUrl":3301,"material":1227,"size":3302,"collection":6,"collections":3303,"showCount":3292,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[1153,1154,1240,1155,1257,1464,1465,1160,1210,1796,1439,3299,3300],"瀑布","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[6,1172],{"id":203,"slug":3305,"title":3306,"dynasty":1182,"author":3307,"museum":3073,"description":3308,"tags":3309,"thumbUrl":3310,"material":1227,"size":3311,"collection":6,"collections":3312,"showCount":3292,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"mu-niu-tu-han-huang-218385","牧牛图","韩滉","平坡旷野间，双牛安卧，墨色晕染出厚重肌理，犄角宛转，似带泥土气息。牧童蜷身酣眠，草帽斜倚，竹杖横陈，尽是天真慵懒。旁侧老枝虬劲，竹影疏疏，墨痕浓淡交织出野趣。整幅画无喧嚣，唯留田园静穆。笔墨简括却神形毕肖，牛的憨态、牧童的自在，皆藏于线条间。盛唐乡野的悠然时光，仿佛凝在绢上，望之忘俗，心生惬意。",[1240,1154,1155,1158,1159,1210,1602,1258,1261,1357,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002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清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[1153,1154,1159,1158,1274,1257,1210,1211,1165,1439,1276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[6],157,{"id":205,"slug":3323,"title":2414,"dynasty":1203,"author":1204,"museum":1237,"description":3324,"tags":3325,"thumbUrl":3328,"material":1227,"size":3329,"collection":6,"collections":3330,"showCount":3321,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"ying-xi-tu-chou-ying-218222","孩子们在花园里玩耍的快乐场景。他们可能在弹钢琴、骑木马或看书，显示出对儿童生活的兴趣。",[1154,1155,1159,1158,1210,1808,1438,1188,1219,3326,2217,3327],"玩耍","明式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605a2acb64c38c0548f9ab700825bd08.jpg","182x58.9",[6],{"id":206,"slug":3332,"title":3333,"dynasty":3334,"author":3335,"museum":1369,"description":3336,"tags":3337,"thumbUrl":3339,"material":1772,"size":1551,"collection":6,"collections":3340,"showCount":3341,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","民国","张大千","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[1154,1155,1492,1464,3338,1561,1210,1259,2679],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg",[6,1721],156,{"id":207,"slug":3343,"title":3344,"dynasty":1148,"author":2841,"museum":1237,"description":3345,"tags":3346,"thumbUrl":3349,"material":1227,"size":3350,"collection":6,"collections":3351,"showCount":3352,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"shi-dan-ying-xi-tu-li-song-215107","市担婴戏图","朴实的农村中，传来了熟悉的'咚不隆咚声。一位老货郎手摇着拨浪鼓，费力地挑着百货杂物走城串乡来了。一名还在喂餵乳的村妇，闻声赶上前来。大小娃儿们跟着围在一旁，又是焦急又是欢喜：争相向母亲示意哪个玩具好玩新奇；性急的，索幸自个儿爬上摊子抓取了！\n南宋时，画院曾流行描绘农村生活的情态，个中翘楚，首推李嵩。在这幅《市担婴戏图》里，可以亲眼目赌这位老画师画技的不凡。只消看看货郎担上、身上所披挂的各式膏药、杂货与童玩（据画上提示有“五百件”），就已足够令人眼花缭乱，技艺的超群也就不言而喻了。除此之外，画中在描绘货郎为生计辛勤奔波、村妇为家计费心盘量的同时，画家能匠心地摹绘孩童的无邪天真，更在在显示刻划手法的独到与细腻。李嵩出身民间工匠，对农村生活的观察，体会尤深。在图1这幅图中，他以精准、顿挫有致的笔法，既呈现出市井小民的情态，也展现乡野浓厚的生命气息，可说是一件杰出、令人动容的小品。",[1153,1154,1155,2543,1159,1158,1275,1210,1808,3347,1165,3348],"货担","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f373c10d3030225f43684528bc8cd74.jpg","25.8x27.6公分",[6],155,{"id":208,"slug":3354,"title":3355,"dynasty":1148,"author":1768,"museum":1369,"description":3356,"tags":3357,"thumbUrl":3358,"material":1391,"size":3359,"collection":1172,"collections":3360,"showCount":3361,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"bai-miao-shi-nv-tu-li-gong-lin-221404","白描仕女图","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[1153,1154,1155,1240,1275,1210,1187,1211,1452,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[1172,6,1721],153,{"id":209,"slug":3363,"title":3364,"dynasty":1252,"author":1291,"museum":1413,"description":3365,"tags":3366,"thumbUrl":3368,"material":1227,"size":1551,"collection":6,"collections":3369,"showCount":3361,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"liu-yin-dou-cha-tu-yi-ming-219491","柳荫斗茶图","君德壶之所以受世人推崇，很大一部分原因是，君德脱胎于梨形，即经典脱胎于经典。\n耿宝昌先生曾在《明清瓷器鉴定》一书中谈到：“梨壶，因造型类似梨而得名。元代始烧造，其后历明、清两代，经久不衰”，是传承了几百年的经典之器。",[1154,1155,1158,1159,1210,1493,1260,3367,1532,1296],"斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5a6d9aeb8db5fa496b3792c21d17.jpg",[6],{"id":210,"slug":3371,"title":3372,"dynasty":1148,"author":1874,"museum":1354,"description":3373,"tags":3374,"thumbUrl":3375,"material":1391,"size":3376,"collection":1172,"collections":3377,"showCount":3378,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[1153,1154,1155,1240,1159,1158,1274,1210,1258,1168,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg","111.5x53.1cm",[1172,6,1174],152,{"id":211,"slug":3380,"title":3381,"dynasty":1182,"author":1353,"museum":1150,"description":3382,"tags":3383,"thumbUrl":3385,"material":1508,"size":3386,"collection":6,"collections":3387,"showCount":3388,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"suo-jian-tu-juan-yan-li-ben-222242","锁谏图卷","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。\n以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致。",[1153,1154,1155,1156,1159,1158,1210,3384,1165,1439,1191,1828,1357],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41980eacf357c3e6917c0ffd1915bdef.jpg","纵32厘米，横208厘米",[6,1174],150,{"id":212,"slug":3390,"title":3391,"dynasty":1252,"author":3392,"museum":1517,"description":3393,"tags":3394,"thumbUrl":3395,"material":1227,"size":3396,"collection":6,"collections":3397,"showCount":3398,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"fang-wu-dao-zi-wu-liang-shou-zun-zhe-xiang-li-gen-218420","仿吴道子无量寿尊者像","李根","面容饱满圆润，眉眼含笑间藏着悲悯与智慧，耳垂丰腴垂坠，尽显尊者气度。袈裟层叠厚重，墨黑与棕褐交织的纹理间，露出青绿裙摆，绣纹繁复精致，足见匠心。手中竹杖纹理清晰，似能触到岁月的质感，步履间衣袂轻扬，暗合吴带当风之韵。笔墨流转传神，设色古雅沉静，将尊者的慈悲与自在跃然绢上，尽显传统人物画的传神妙趣，观之令人心生敬意与平和。",[1153,1154,1155,1257,1274,1158,1210,1209,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3ebcf7aef87cf32d2b60941bb44dc0.jpg","168x83",[6],149,{"id":213,"slug":3400,"title":1547,"dynasty":1203,"author":1204,"museum":1237,"description":3401,"tags":3402,"thumbUrl":3403,"material":1227,"size":1551,"collection":6,"collections":3404,"showCount":3405,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"guan-yin-chou-ying-219376","画中十六罗汉供奉观音，观音坐南海普陀山传法。 十六罗汉被他们包围。 布局很巧妙。",[1154,1155,1257,1274,1159,1158,1210,1276,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[6],148,{"id":214,"slug":3407,"title":3408,"dynasty":1182,"author":1353,"museum":1150,"description":3409,"tags":3410,"thumbUrl":3411,"material":1195,"size":3412,"collection":6,"collections":3413,"showCount":3414,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"kong-zi-di-zi-xiang-yan-li-ben-221065","孔子弟子像","《孔子弟子像》全图采取平列式构图，无背景，墨笔勾勒，着色，人物形象各异，须眉生动。绘孔子弟子立像五十九人，无名款。从体貌上对照，第三人即为孔子，以后诸人亦形态相仿，顺序一致，惟个别处有遗漏或增补，如子迟和子贡之间缺子夏，孔子前多出两人。但根据北京故宫博物院藏的宋无款《七十二贤相》卷进行对比，本幅画所绘为孔子及弟子像内容是确凿无疑的。",[1153,1154,1240,1155,1156,1159,1158,1275,1210,1357,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62b0109df8752c442e8801281dc33fb.jpg","纵32.3厘米，横870厘米",[6,1174],147,{"id":215,"slug":3416,"title":3417,"dynasty":1203,"author":1291,"museum":1704,"description":3418,"tags":3419,"thumbUrl":3420,"material":1372,"size":1551,"collection":6,"collections":3421,"showCount":3422,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"fu-hui-xi-yi-ming-222152","赴会西","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[1153,1154,1372,1274,1158,1159,1210,1276,1165,1212,2351,1439,1156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a3843792607369b3d33ef8fab9484.jpg",[6],146,{"id":216,"slug":3424,"title":3425,"dynasty":1203,"author":1291,"museum":1413,"description":3426,"tags":3427,"thumbUrl":3429,"material":1496,"size":1551,"collection":6,"collections":3430,"showCount":3422,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"liu-zhi-guan-yin-xiang-yi-ming-219702","柳枝观音像","此作观音跏趺安坐，长发垂落飘拂，神态温婉静谧，自带慈悲柔和的气韵。一手拈柳枝，一手托净瓶，正是渡厄救难的经典意象。衣袂线条舒展柔婉，青蓝主调雅致沉静，朱红饰带点缀其间，提亮画面的同时更衬出清净出尘之感。\n\n敷色晕染细腻动人，肌肤柔润通透，宝冠华饰刻画入微，发丝纤毫毕现，尽显工笔细谨之态。淡墨晕开的朦胧背景，让观音恍若隐于烟岚之中，将沉静悲悯的神性融于笔墨方寸，整体清隽典雅，把观音的温婉慈蔼诠释得淋漓尽致，尽显古典佛造像的审美意趣。",[1154,1159,1158,1274,1210,3428,1192,1257,1344],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d5db2c784faec6cc21f518b4575362.jpg",[6],{"id":217,"slug":3432,"title":3433,"dynasty":1148,"author":2057,"museum":1369,"description":3434,"tags":3435,"thumbUrl":3436,"material":1496,"size":3437,"collection":6,"collections":3438,"showCount":3422,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[1153,1240,1154,1155,1156,1464,1158,1210,1160,1649,1477,1261,1213,1357,1358,1561,1465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[6],{"id":218,"slug":3440,"title":3441,"dynasty":1182,"author":1291,"museum":1951,"description":3442,"tags":3443,"thumbUrl":3444,"material":1158,"size":1551,"collection":6,"collections":3445,"showCount":3422,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"guan-yin-jing-bian-tu-juan-yi-ming-217906","观音经变图卷","画面分栏叙事，线条如铁线银钩，遒劲中藏柔婉；设色古拙温润，晕染间沉淀着岁月的厚重。左侧人物仪态娴雅，衣纹流转似携清风；中间鬼怪造型夸张，狰狞里仍见动态生机；右侧场景描摹细致，骑乘的昂扬与受刑的肃穆形成对照，暗合经文中的因果寓意。图文相生，将抽象经义化作具象图景，既有宗教的神圣感，又融入世俗生活的烟火气。每一处细节皆显匠心，把经卷故事铺展得鲜活可感，尽显唐代经变画的叙事魅力与艺术高度。",[1182,1156,1274,1158,1210,1358,1954,3137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a302c97f60fce4016a6eb33371fd9c1.jpg",[6],{"id":219,"slug":3447,"title":3448,"dynasty":1290,"author":1291,"museum":2540,"description":3449,"tags":3450,"thumbUrl":3455,"material":1158,"size":3456,"collection":6,"collections":3457,"showCount":3422,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ri-ben-shi-jia-jin-guan-chu-xian-tu-yi-ming-216776","日本· 释迦金棺出现图","这幅画描绘了释迦牟尼佛躺在金棺材里，进入涅槃，这时他以巨大的神力复活，并对他的母亲说话，他的母亲从天上来，但还没有看到他。",[1153,1240,1158,1210,1274,3451,3452,3453,3454],"佛教","释迦牟尼","涅槃","金棺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb770ce3cc7a39753b7dfa8bac03fa17b.jpg","160x229.5",[6],{"id":220,"slug":3459,"title":3460,"dynasty":1203,"author":3461,"museum":1150,"description":3462,"tags":3463,"thumbUrl":3466,"material":1391,"size":3467,"collection":6,"collections":3468,"showCount":3469,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[1153,1240,1154,1155,1159,1158,1210,3464,1828,1438,3465,3076,1223],"武将","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","纵198厘米，横236厘米",[6,1174],145,{"id":221,"slug":3471,"title":3252,"dynasty":1203,"author":3472,"museum":1517,"description":3473,"tags":3474,"thumbUrl":3476,"material":1227,"size":3477,"collection":6,"collections":3478,"showCount":3469,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"huo-lang-tu-cui-zi-zhong-219564","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[1153,1154,1159,1158,1257,1601,1210,1808,3475,1796,1439,2351,1477,1589,1165],"货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[6,1174],{"id":222,"slug":3480,"title":3481,"dynasty":1203,"author":1291,"museum":1237,"description":3482,"tags":3483,"thumbUrl":3484,"material":1227,"size":3485,"collection":6,"collections":3486,"showCount":3487,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"ming-tai-zu-ban-shen-xiang-yi-ming-216959","明太祖半身像","这幅画表现了朱元璋的壮年时期，他的脸几乎是正面的。他的脸是红色和紫色的，留着短胡须，眼睛有光泽，采取坐姿，双手自然放在膝盖上，暗示着一种权力和力量的感觉。他头上戴着头巾，穿着带有龙纹图案的明黄色御用长袍，腰间系着蟒蛇腰带，脚穿皂靴，看起来就像一个统治世界的国王。",[1154,1159,1158,1210,1341,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1c716274a71c68d6b068424ee8dfa.jpg","270x163.6",[6],144,{"id":223,"slug":3489,"title":3490,"dynasty":1203,"author":3491,"museum":1571,"description":3492,"tags":3493,"thumbUrl":3494,"material":1551,"size":1551,"collection":6,"collections":3495,"showCount":3496,"zanCount":1577,"manualWeight":1177,"mainColor":1248},"shen-xian-tu-ce-zhang-lu-222503","神仙图册","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[1153,1154,1240,1155,1492,1464,1275,1158,1210,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad175defc4617369b4400b273e45b98.jpg",[6],142,{"id":224,"slug":3498,"title":3499,"dynasty":1148,"author":2841,"museum":1237,"description":3500,"tags":3501,"thumbUrl":3503,"material":1227,"size":3504,"collection":6,"collections":3505,"showCount":3496,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ting-ruan-tu-li-song-219975","听阮图","此图园中高木奇石，枝叶掩映翁郁，树下士人持拂闲坐于榻上，左腿盘起，聆听拨阮演乐并赏古玩。旁有仪态娇美仕女，焚香、拈花、持扇随侍。人物线条流畅，绘法近似明代画家杜蓳、唐寅。",[1154,1240,1155,1257,1159,1158,1210,1422,1421,3502,1241,1438,1416,1478,1783,2302,1191,1297],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f429ae99228b49a6346c6be40873864.jpg","177.5x104.5公分",[6],{"id":225,"slug":3507,"title":2272,"dynasty":1252,"author":1291,"museum":1150,"description":3508,"tags":3509,"thumbUrl":3510,"material":1227,"size":3511,"collection":6,"collections":3512,"showCount":3513,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"qian-long-huang-di-chao-fu-xiang-yi-ming-219633","此作工笔细腻，写实传神。画中帝王面容俊朗，神色端凝沉稳，自带不怒自威的从容气度。明黄朝服遍绣祥龙，十二章纹错落排布，金线勾勒下瑞兽纹样鲜活灵动，珠玉朝珠垂坠于前，礼制森严间尽显极致华贵。髹金龙椅雕刻繁复精妙，卷云虬龙层层环绕，衬出帝王的独尊地位。\n\n画面底色素净克制，将视觉重心全然倾注于人物之上，设色富丽却不俗艳，工整细致的笔触，将盛世帝王的威仪气度凝于绢素，尽显宫廷肖像画的典雅规整，让观者仿佛能窥见当年紫禁城中的肃穆华贵。",[1153,1240,1154,1155,1257,1159,1158,1210,1191,1310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0605e9fa04d93aeb448927849ebb7b94.jpg","纵271厘米，横142厘米",[6],140,{"id":226,"slug":3515,"title":3516,"dynasty":1203,"author":1291,"museum":1237,"description":3517,"tags":3518,"thumbUrl":3525,"material":1227,"size":1551,"collection":6,"collections":3526,"showCount":3513,"zanCount":1541,"manualWeight":1177,"mainColor":1248},"gu-xiu-ba-xian-qing-shou-gua-ping-yi-ming-218219","顾绣八仙庆寿挂屏","这幅画采用了典型的明朝画风，包括浓艳的色彩、精细的线条和富有章法的构图。画中的人物均为虚构的仙人，每一位仙人都有着独特的服装和长相，并且每一位仙人的手持的吉祥物也不尽相同。\n\n整幅画呈现出一种和谐美的氛围，传达出祝福寿星的良好意愿。这幅画非常适合用来装饰寿星的家中，作为庆祝寿辰的艺术品。",[1153,3519,3520,1158,1210,3521,2098,3522,3523,3524,3129],"顾绣","挂屏","八仙","祝寿","刺绣","仙禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea7d97637a772d7995c32ddac177cc0.jpg",[6],{"id":227,"slug":3528,"title":3529,"dynasty":1252,"author":3530,"museum":1517,"description":3531,"tags":3532,"thumbUrl":3533,"material":1496,"size":1551,"collection":6,"collections":3534,"showCount":3535,"zanCount":1566,"manualWeight":1177,"mainColor":1248},"xie-yi-xun-long-tu-yu-zhi-ding-219550","斜倚薰笼图","禹之鼎","此作用笔秀雅匀净，线条挺括柔婉，浅淡敷色晕染精妙。斜倚薰笼的仕女软红覆身，执卷似读非读，眉眼含着慵懒倦怠，将深闺女子百无聊赖的娇柔之态尽显无余。立侍女子佩剑负囊，神色温婉恭谨，静穆疏离的情态与坐者形成微妙呼应。画面氛围幽柔沉静，把闺中静谧松弛的氛围烘托尽致，将仕女柔婉闲淡的幽微心绪刻画入微，尽显传统仕女画雅致隽秀的审美意韵。",[1153,1154,1155,1159,1158,1275,1210,1187,1260,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886625e8924a96d8b20fbfff9e4f4569.jpg",[6,1174],138,{"id":228,"slug":3537,"title":3538,"dynasty":1203,"author":1659,"museum":1571,"description":3539,"tags":3540,"thumbUrl":3541,"material":1227,"size":3542,"collection":6,"collections":3543,"showCount":3535,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[1154,1257,1158,1210,1452,1260,1358,1357,2278,2277,1191,2730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","纵100.8厘米，横49.4厘米",[6],{"id":229,"slug":3545,"title":3546,"dynasty":1203,"author":1291,"museum":1237,"description":3547,"tags":3548,"thumbUrl":3549,"material":1227,"size":3550,"collection":6,"collections":3551,"showCount":3552,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"fo-xiang-tu-yi-ming-218526","佛像图","这些天人各自手持法器，被他们的同伴骑着并护送着，他们都面朝右边，坐在天空的云朵上，可能是一组描绘天人聆听佛陀教诲的佛画的一部分。三面六臂的力士可能是来自八大天师的阿修罗；持剑的武士和美女是罗刹，罗刹是十二天之一，原本是异教的恶魔，被降服后成为佛教的保护者。整块画板用薄薄的颜料描绘了天人的肌肉，他们的袖子卷起又折起的样子，大多是兰花叶的样式，是吴道子以来专业画家的风格。这幅画的衣服上也有丰富的金色和钩纹装饰，颜料也有很多地方是泥金的。从这幅画的风格来看，它是在15世纪明朝时期绘制的。",[1153,1154,1155,1257,1159,1158,1274,1210,2098,1341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052330f7cc5224c48e44b4f0a6b3ba9.jpg","143.7x81.5",[6],137,{"id":230,"slug":3554,"title":2687,"dynasty":1252,"author":3555,"museum":1517,"description":3556,"tags":3557,"thumbUrl":3558,"material":1227,"size":3559,"collection":6,"collections":3560,"showCount":3552,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"zhong-kui-tu-lv-xue-218356","吕学","图中描绘的是钟馗手持宝剑，两个小孩子手持灵芝，背着书卷。这些人物是以浙江画派的风格用犀利的笔触画出来的。",[1153,1154,1155,1257,1275,1464,1210,1796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e129c128c96a4adf8e82487a264110.jpg","167.7x95.6",[6],{"id":231,"slug":3562,"title":3563,"dynasty":1148,"author":3564,"museum":1237,"description":3565,"tags":3566,"thumbUrl":3567,"material":1732,"size":3568,"collection":6,"collections":356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余下四人为随从仆役，九人九骑，神态各异，呼之欲出\n2020年10月8日，在香港苏富比古代书画拍卖中，《五王醉归图》最终以3.065亿港币（折合约2.7亿元人民币）成交。\n《五王醉归图》描绘了唐代临淄王李隆基（即唐玄宗，712-756年在位）与他的四个兄弟宋王李成器、申王李成礼和岐王李范、薛王李业出游饮酒，醉后骑马回家的情景。据唐郑处诲《明皇杂录》中记载，五王少时感情和睦，常一同宴饮，或喝酒、下棋，或斗鸡、击球，或打猎、游赏。此卷画中共有五王，四个侍从，九骑九乘。其中，穿深红色衣服，由两个侍从搀扶者为李隆基，坐骑为“照夜白”；在李隆基后面的是身着淡黄衣、骑乌骓马、面部醉红的宋王李宪；接着是顾前盼后、骑玉花骢的岐王李范和骑黄骢骠的薛王李业；需要侍从侧骑服侍、伏鞍欲吐者为申王李撝，坐骑为九花虬。伺从挽着袖子，一边照料身旁醉得快坐不住的王，一边还要回头问后边那位能否撑得住，好不生动。",[1153,1154,1156,1158,1159,1210,1389,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb754a83b3cca8f419f2c984d519f85bc.jpg","纸本设色","35.5x212.5厘米",[6,1174],122,{"id":262,"slug":3845,"title":3481,"dynasty":1203,"author":1291,"museum":1237,"description":3846,"tags":3847,"thumbUrl":3849,"material":1496,"size":3850,"collection":6,"collections":3851,"showCount":3852,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ming-tai-zu-ban-shen-xiang-yi-ming-216958","这幅画描绘了朱元璋的长脸，气势非凡，眼睛深邃，脸颊修长。",[1154,1155,1159,1158,1210,1191,1341,3848],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f24401c5275f2f31ff091e08817cfd6.jpg","101.6x65.4",[6],121,{"id":263,"slug":3854,"title":3855,"dynasty":1252,"author":1307,"museum":1150,"description":3856,"tags":3857,"thumbUrl":3865,"material":3866,"size":3867,"collection":6,"collections":3868,"showCount":3869,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[1153,1154,1158,1159,3749,3858,3451,3859,3860,1796,2632,1212,1213,1439,3861,2904,3862,3863,3864],"画中画","普贤菩萨","文殊菩萨","帝王","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纸本，设色","纵136.4厘米，横62厘米",[6,1174],120,{"id":264,"slug":3871,"title":2613,"dynasty":1252,"author":3872,"museum":1400,"description":3873,"tags":3874,"thumbUrl":3875,"material":3840,"size":3876,"collection":6,"collections":3877,"showCount":3869,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"fo-xiang-jin-nong-222705","金农","图中释迦牟尼，正面全身，头顶青螺结，身着红袈裟，一臂袒露拱手伫立，神态安详而肃穆。面部以刚劲的铁线描勾出，敷设淡彩，丰腴圆润，神采飘逸。周身的衣纹采用枯笔折绝画法，下接卷云莲座，线条展转流动，有升腾动荡之感。\n又于释迦两侧作记，右边文日：“十五年前为暖鹑居士写金刚经卷，刻之枣木，精装千本，善施天下名胜禅林……今又画佛，画菩萨、画罗汉，将俟世之信心，敬俸者锓摹上石，一如写经之流传云。七十四双机郡金农记。”左边题《古佛颂》，长远百余字。书体楷中兼隶，有“漆书”之称，其风格独绝。书画和谐，使佛像更为突出。其画面形式极适于“摹上石”流传于世。",[1153,1154,1155,1274,1210,1158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef5ee14a984d59580b5e0d42f846e7c.jpg","133cm×62.5cm",[6],{"id":265,"slug":3879,"title":3880,"dynasty":1203,"author":1204,"museum":1571,"description":3881,"tags":3882,"thumbUrl":3883,"material":1227,"size":3884,"collection":1538,"collections":3885,"showCount":3869,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[1154,1240,1155,1492,1209,1159,1158,1160,1477,1261,1213,1493,1796,1837,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[1538,6],{"id":266,"slug":3887,"title":3888,"dynasty":1203,"author":1204,"museum":1237,"description":3889,"tags":3890,"thumbUrl":3893,"material":1227,"size":3894,"collection":6,"collections":3895,"showCount":3869,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"chun-xiao-tu-chou-ying-218181","纯孝图","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[1240,1154,1155,1492,1159,1158,1210,1211,3891,3892],"孝道","母爱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb17260b42142b1b7cf5eaa6624bcc18.jpg","32.8x21.9",[6],{"id":267,"slug":3897,"title":3898,"dynasty":1203,"author":1291,"museum":1237,"description":3899,"tags":3900,"thumbUrl":3902,"material":1496,"size":1551,"collection":6,"collections":3903,"showCount":3869,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"ming-dai-di-hou-ban-shen-xiang-yi-ming-217063","明代帝后半身像","宪宗纯皇帝与孝贞纯皇后",[1154,1155,1159,1158,1210,3901,1341,1191,1192,2584],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4dd485eb0cd4eaa47ae7a14e2407c.jpg",[6],{"id":268,"slug":3905,"title":3906,"dynasty":1203,"author":1489,"museum":1237,"description":3907,"tags":3908,"thumbUrl":3910,"material":1496,"size":3911,"collection":6,"collections":3912,"showCount":3869,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"jin-gang-jing-wen-zheng-ming-216998","金刚经","这幅画描绘了释迦牟尼与他的弟子迦叶和阿难站在一棵松树下，一个迦叶跪在他们面前。在四位金刚护法的环绕下，场景精致而细腻。面板上是文徵明用小楷书写的《金刚经》，笔法细致，与仇英的画相得益彰。",[1155,1358,3909,2303,1357,1257],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a8b708c5e2260b373f837e5c7842b8.jpg","116.4x30.5",[6],{"id":269,"slug":3914,"title":2066,"dynasty":1252,"author":3915,"museum":1369,"description":3916,"tags":3917,"thumbUrl":3918,"material":1551,"size":1551,"collection":6,"collections":3919,"showCount":3920,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"ren-wu-gu-shi-ce-fan-xue-yi-234263","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[1153,1159,1158,1208,1210,1187,1211,1438,1260,1219,1417,1479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[6,1174],119,{"id":270,"slug":3922,"title":3923,"dynasty":1203,"author":1659,"museum":1400,"description":3924,"tags":3925,"thumbUrl":3939,"material":1391,"size":3940,"collection":6,"collections":3941,"showCount":3920,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"jiao-lin-zhuo-jiu-tu-chen-hong-shou-221914","蕉林酌酒图","该图设色画夏日庭园，湖石玲珑，蕉竹摇翠，月季盛开。花石丛中，一老人傍石案，手把古爵，悠然酌酒。下有一仕女、一婢女，正忙于漉酒。画面器物，如鼎、壶、琴、书等，皆为古物，反映出主人的身份，是一位超然世外的好古博雅之士。\n线条:全画线条细劲，画法全用细劲的线描勾勒而成，衣褶用笔，细劲清圆，芭蕉奇石用笔简净而抑健，线条有如刀刻，呈现出刚柔、曲折，变化多端，功力极其精湛。其线描的长短、疏密、粗细均服从于写实要求，更多地按照画面构成的需要，产生一种略有装饰的效果，具有较高的审美价值。赋色淡雅透明，即使古铜器上的石绿、石青锈斑，也不作浓涂厚抹。\n色彩:此画总体来说，以青绿冷色凋为主，仅在蕉花、靠垫和仕女的内衣部位点染朱红，万绿丛中有几点红，因而观之对比鲜明而强烈，色彩较为艳丽，但却没有艳俗火气，充分说明画家在用墨设色方面，已达到了炉火纯青的境界。",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画面上有八个人物，明皇坐位前置一棋局，官员一人、和尚二人、道士二人、 优人一人、侍从内官一人。关于画面上的八个人物有各种不同说法，至今未 有定论。有人认为，跟唐明皇下棋的是日本留学僧辨正；有人说，在是棋待 诏郑观音。不论画中的人物是谁，这幅作品都真实地反映了唐代宫廷中的围棋活动",[1159,1158,1156,1210,3955,1191,1357,1358],"棋盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004c58d3b635335bb0e20419635d93d8.jpg",[6],{"id":273,"slug":3959,"title":3960,"dynasty":1203,"author":1204,"museum":1571,"description":3961,"tags":3962,"thumbUrl":3963,"material":1772,"size":1551,"collection":6,"collections":3964,"showCount":3949,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"liu-xia-mian-qin-tu-zhou-chou-ying-219403","柳下眠琴图轴","柳丝轻垂，拂过苍劲老干，似携幽微风意。树下文人斜卧，衣袂舒展，琴置身侧，眉宇间尽是悠然散淡。童子捧物而立，眸中带着稚气的专注，悄然侍立，不扰这份清宁。山石寥寥数笔见嶙峋之态，草色浅淡更衬天地宽闲。笔墨工致中藏写意，线条柔中带刚，将文人林下之趣、物我两忘的心境悄然铺展。仿佛能闻柳间蝉鸣，听风过琴弦余韵，一派魏晋风骨般的疏朗自在，尽在尺幅间流转。",[1154,1155,1257,1159,1464,1158,1210,1531,3933,1261,1532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e410afa50f999f6c817fada7ee75f.jpg",[6],{"id":274,"slug":3966,"title":3967,"dynasty":1148,"author":3625,"museum":1369,"description":3968,"tags":3969,"thumbUrl":3971,"material":1496,"size":3972,"collection":6,"collections":3973,"showCount":3949,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"ji-gong-tu-mu-xi-218285","济公图","画面人物情态鲜活，右侧身影衣衫宽博，神态不羁却藏温煦，似正与周遭人语。周遭老幼或凝神谛听，或俯身趋近，动态毕现。笔墨简括灵动，线条如行云流水，衣衫褶皱寥寥数笔便见洒脱之姿，墨色浓淡相宜，衬出人物神情的真切。背景淡远，更显群像生动。于简约中见真意，随性之笔捕捉瞬间生活气息，又暗蕴禅家超脱与悲悯，笔墨间那份直击人心的生动与温暖，悄然流转。观者仿佛能听见席间笑语，触到那份不拘形骸的自在，于水墨晕染里，感受画中人物的鲜活与烟火气交织的独特韵味。",[1240,1154,1155,1464,1275,1210,1439,3970,1357],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8931c719123b1f804d7302dcd90dfc65.jpg","26x29",[6],{"id":275,"slug":3975,"title":3976,"dynasty":1203,"author":1659,"museum":1150,"description":3977,"tags":3978,"thumbUrl":3980,"material":3981,"size":3982,"collection":6,"collections":3983,"showCount":3984,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"shi-nv-zhou-chen-hong-shou-237386","仕女轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[1154,1155,1257,1158,1159,1210,1187,3979,1478,1261],"花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","绢本 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x 39.6cm",[6],114,{"id":281,"slug":4031,"title":4032,"dynasty":1252,"author":4033,"museum":1369,"description":4034,"tags":4035,"thumbUrl":4036,"material":1697,"size":1698,"collection":6,"collections":4037,"showCount":4038,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"hua-hua-yan-shi-nv-tu-ce-wang-su-235120","画华严仕女图册","王素","王素（1794—1877）字小梅，晚号逊之，甘泉（今江苏扬州）人。幼拜师鲍芥田，又多临华岩，凡人物、花鸟、走兽、虫鱼，无不入妙。道光初与魏小眠、王应祥并驾。自悔书拙，每晨必临数百字，至老无间。 咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[1154,1155,1492,1159,1158,1210,1187,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcbec6b44d875f6875f0d4a4e8faa49.jpg",[6],113,{"id":282,"slug":4040,"title":4041,"dynasty":1203,"author":1204,"museum":1369,"description":4042,"tags":4043,"thumbUrl":4045,"material":1170,"size":4046,"collection":6,"collections":4047,"showCount":4038,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"gu-dai-shi-nv-li-zhou-chou-ying-222199","古代仕女立轴","图绘后院内芭蕉高大粗壮，叶片宽大下垂，一叶叶尖和中部开裂真实自然，与湖石相依成景；两位仕女头梳高髻，手执团扇，低垂的眼睑，手托下巴，或为情所困，或他事烦恼。画右侧题“实父仇英制”和印章一枚。",[1153,2584,1154,1155,1257,1159,1158,1421,1210,1416,1219,3465,1417,4044],"古装服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3009f0a28946d85c8a86a50a39f771cf.jpg","95×38cm",[6,1721],{"id":283,"slug":4049,"title":4050,"dynasty":1182,"author":1183,"museum":1237,"description":4051,"tags":4052,"thumbUrl":4053,"material":1227,"size":4054,"collection":6,"collections":4055,"showCount":4038,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"yan-le-tu-zhou-zhou-fang-221114","演乐图轴","大松下五位士人围长案雅聚，童子张琴，仕女抱阮或备茶，人物器用俱以中锋细笔钩勒，顿起顿收，转折挺劲，如画树的枝桠。画上无作者款印，旧传周昉作。按周昉（活动于八世纪末）是陕西长安人，唐代著名人物画家，画史称其人物善于刻画个别的性格，并能掌握特定环境下的情态。本幅构图似是取自其他作品拼凑而成，如士人围坐的构图便是摹仿传世十八学士的一段。",[1153,1154,1155,1257,1159,1158,1210,1241,1796,1477,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21b1bfe7ff31574b4855b09db89917a.jpg","165.6x84.4",[6,1174],{"id":284,"slug":4057,"title":4058,"dynasty":1148,"author":4059,"museum":2540,"description":4060,"tags":4061,"thumbUrl":4062,"material":1227,"size":4063,"collection":1172,"collections":4064,"showCount":4038,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"shi-liu-luo-han-tu-di-er-zun-zhe-jin-da-shou-220122","十六罗汉图-第二尊者","金大受","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[1153,1240,1154,1155,1257,1158,1159,1274,1210,1276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3ad92414ef1bcdc9e61d67eae92da0.jpg","118.8×51.7cm",[1172,6],{"id":285,"slug":4066,"title":4067,"dynasty":1203,"author":1291,"museum":2911,"description":4068,"tags":4069,"thumbUrl":4071,"material":1227,"size":1551,"collection":6,"collections":4072,"showCount":4038,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"ting-zhong-shang-le-tu-yi-ming-219577","庭中赏乐图","画面绘闺中闲景，四位仕女各得幽趣。二人对坐似行猜枚之戏，指尖轻扬，情态灵动鲜活；侧坐仕女支臂观戏，慵懒悠然；侍立婢女持扇静候，恭谨安恬。衣褶线条柔婉舒展，晕染出绫罗软缎的垂坠质感，鬓间花钿衬出闺阁佳人的柔秀雅致。布景简淡，仅以浅绘草卉点染庭中清寂，古褐底色晕出庭院静谧松弛的氛围。笔致清逸简淡，将深闺日常的闲散意趣娓娓道来，尽显温婉含蓄的古典仕女审美意韵。",[1154,1155,1159,1158,1210,1187,4070,1241,1344],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86260b0dda74b3817ea2971ec93bb2fa.jpg",[6],{"id":286,"slug":4074,"title":4075,"dynasty":1148,"author":1461,"museum":1237,"description":4076,"tags":4077,"thumbUrl":4081,"material":1227,"size":4082,"collection":6,"collections":4083,"showCount":4038,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"wen-ji-gui-han-tu-ce-li-tang-218162","文姬归汉图册","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[1154,1155,1492,1158,1159,1210,4078,1217,4079,4080],"帐篷","胡地","毡房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66d2ebe72e8271220a920899a0213a3.jpg","50.7x39.7",[6],{"id":287,"slug":4085,"title":4086,"dynasty":1148,"author":1768,"museum":1237,"description":4087,"tags":4088,"thumbUrl":4089,"material":1772,"size":4090,"collection":6,"collections":4091,"showCount":4092,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"gui-qu-lai-ci-juan-li-gong-lin-218504","归去来辞卷","画面以白描入笔，线条如清风拂柳，婉转间藏骨力。主角策杖徐行，衣袂飘举若流云，眉宇间漾着归隐的释然；仆从负笈紧随，姿态恭谨，似与主人共享归乡的轻悦。笔墨极简却意韵丰沛，无浓彩重墨，却以墨线的缓急粗细，勾勒出辞官归田的恬淡心境。每一笔都浸着文人对田园的向往，墨痕淡处是远离尘嚣的澄澈，线条动处是奔向本心的轻快。观者仿佛随画中人踏过青山，步入炊烟故园，感受那份不恋官场、归向自然的自在安宁。",[1154,1155,1156,1275,1210,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6acdec1b46ff1f1232f15cdb6ca0b1c9.jpg","34x898.8",[6],112,{"id":288,"slug":4094,"title":4095,"dynasty":1203,"author":1291,"museum":1237,"description":4096,"tags":4097,"thumbUrl":4101,"material":1227,"size":4102,"collection":6,"collections":4103,"showCount":4092,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"shi-jia-mu-ni-fu-yi-ming-218437","释迦牟尼佛","该图像描绘了佛祖坐在三个小孩子的身体上，这种仪式很少见。台北故宫的这幅画是由一位不知名的明代艺术家所作，但与宋旭的佛像画有一定的联系，面板上也有他的印记和印章，所以可以说是他的作品。",[1154,1158,1159,1274,1257,1210,4098,4099,1438,4100],"佛","小鬼","衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7058a98101b5e16f2e6e599d46b8955b.jpg","135.7x76.8",[6],{"id":289,"slug":4105,"title":4106,"dynasty":1252,"author":1399,"museum":1369,"description":4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脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[1153,1240,1154,1156,1275,1159,1210,1389,1189,1191,1357,1591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[1172,6,1174],{"id":295,"slug":4163,"title":4164,"dynasty":1367,"author":1865,"museum":1150,"description":4165,"tags":4166,"thumbUrl":4169,"material":3840,"size":4170,"collection":6,"collections":4171,"showCount":4152,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"zhu-ge-liang-xiang-zhou-zhao-meng-fu-220886","诸葛亮像轴","绘诸葛亮手持如意，凭隐囊而坐。隐囊的渊源在印度，汉译佛经中名作丹枕或倚枕，系印度上流社会日常生活中的习用之具。丹枕很早就进入中土（中原），传播时改名为隐囊。此图像中的隐囊既有图式相因的成分，也有着生活中的真实为依凭。",[1153,1154,1155,1257,1158,1159,1210,1357,3257,4167,4168],"床榻","鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff49140761c7111aa118768ff034947.jpg","纵208.4厘米,横100.6厘米",[6,1174],{"id":296,"slug":4173,"title":4174,"dynasty":1148,"author":1291,"museum":4175,"description":4176,"tags":4177,"thumbUrl":4178,"material":1227,"size":1551,"collection":6,"collections":4179,"showCount":4152,"zanCount":1670,"manualWeight":1177,"mainColor":1881},"e-mi-tuo-fo-san-zun-xiang-yi-ming-218475","阿弥陀佛三尊像","九州国立博物馆","画面以中央佛尊为核心，两侧胁侍菩萨对称而立，构图均衡庄重。佛身袈裟朱红浓艳，衣纹流转间尽显织物纹理的细腻；菩萨璎珞垂坠、披帛飘拂，纹饰繁复却不失灵动，每一处线条皆勾勒得精准雅致。背景莲座层叠，祥云萦绕，色调古雅沉敛，与主体鲜明色彩形成微妙平衡。整幅画作既流露宗教造像的肃穆神圣，又通过衣饰细节刻画，传递宋代艺术对质感与韵律的极致追求，仿佛能让人触摸到那份跨越时空的宁静慈悲。",[1154,1274,1210,1158,1159,1257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2174681840b9c33a3c7c2fedd82bbe.jpg",[6],{"id":297,"slug":4181,"title":4182,"dynasty":1252,"author":1291,"museum":1517,"description":4183,"tags":4184,"thumbUrl":4185,"material":1227,"size":1551,"collection":6,"collections":4186,"showCount":4152,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"yang-gui-fei-you-yuan-ban-hua-yi-ming-218429","杨贵妃游园版画","红衣仕女身姿婉约，凝眸间似含游园的惬意；跪姿侍从持物躬身，恭谨神态跃然纸上。竹栏掩映的庭院里，花木扶疏，石径蜿蜒，衬出几分雅致清幽。右侧人物立于栏侧，目光轻落，似与仕女共享园景之美。画面以流畅线条勾勒衣纹，色彩古朴却明艳，将古典游园的闲适氛围与人物互动巧妙融合。飘动的衣袂、点缀的花木、竹栏的纹理，每一处细节都传递着千年雅致韵味，让人仿佛窥见那段悠然的园居时光，沉浸在古典生活的清幽与闲适中。",[1153,1154,2213,2214,1158,1210,1187,1211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0caa96964a9db4f424c1e94abf61435.jpg",[6],{"id":298,"slug":4188,"title":4189,"dynasty":1367,"author":1291,"museum":1517,"description":4190,"tags":4191,"thumbUrl":4192,"material":1227,"size":4193,"collection":6,"collections":4194,"showCount":4152,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"di-shi-san-luo-han-yin-jie-tuo-yi-ming-218322","第十三罗汉因揭陀","铭文表明，这是一套16罗汉中的第13罗汉，其余的已经没有了。笔法工整，颜料精致，是刘墉的遗作。我们不知道灵芝上的苔藓裂纹是否是独一无二的，还是因为绿色石头的失色而造成的。",[1153,1154,1155,1257,1158,1159,1274,1210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71bf7fa5ae17cb049fe8365b643e0e.jpg","126x61.5",[6],{"id":299,"slug":4196,"title":4197,"dynasty":1252,"author":4198,"museum":1413,"description":4199,"tags":4200,"thumbUrl":4201,"material":1496,"size":4202,"collection":6,"collections":4203,"showCount":4204,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"shi-nv-xi-ying-tu-juan-ding-guan-peng-220140","仕女戏婴图卷","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。",[1153,1159,1158,1156,1357,1210,1187,2416,1344,3639,1532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff310295ea2961dee759cc9fec13486b2.jpg","24.64*167.48厘米",[6],108,{"id":300,"slug":4206,"title":4207,"dynasty":1203,"author":1449,"museum":1517,"description":4208,"tags":4209,"thumbUrl":4210,"material":1227,"size":4211,"collection":6,"collections":4212,"showCount":4204,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"xian-shan-ji-xue-tu-wei-tang-yin-219791","仙山积雪图(伪)","以淡赭晕染层叠雪山，留白造境尽显雪域寥廓空寂。红衣胡商与褐驼形成鲜亮色彩反差，醒目亮眼。人物虬髯胡服，牵驼徐行，骆驼憨拙生动，抬蹄缓移，将塞外羁旅的苦寒苍茫尽显笔底。\n\n线条简括写意，舍弃繁复皴擦，以极简色调烘托荒寒辽远的异域氛围，写意间藏质朴厚重，把行者的孤寂与天地的浩渺相融，淡远清旷，尽显萧瑟冷寂的雪域行旅意趣。",[1153,1154,1257,1158,1210,1741,1160,1477,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0633bdf79276409a6fb09df39c2199.jpg","纵109.9、横38.9厘米",[6],{"id":301,"slug":4214,"title":4215,"dynasty":1367,"author":3835,"museum":1254,"description":4216,"tags":4217,"thumbUrl":4218,"material":1227,"size":1551,"collection":6,"collections":4219,"showCount":4220,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[1153,1240,1154,1155,1156,1159,1158,1561,1358,1357,1210,1389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[6,1174],107,{"id":302,"slug":4222,"title":4223,"dynasty":1203,"author":1449,"museum":1517,"description":4224,"tags":4225,"thumbUrl":4226,"material":1468,"size":1551,"collection":6,"collections":4227,"showCount":4220,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"lao-zi-tu-tang-yin-219551","老子图","笔意简逸空灵，以淡墨轻勾铺就画面。老子宽袍长髯，安坐牛背，神态超旷淡然，不见半分行旅劳顿，尽显太上忘情的出尘之姿，将道家风骨藏于简约笔墨之中。\n\n水牛造型朴拙写实，缓步行进间憨态尽显，与老子的清矍超然相映成趣。设色浅淡近乎白描，衣纹褶皱简括凝练，留白处氤氲着悠远超脱的林下之风，暗合道家“大象无形”的哲思。\n\n整幅画不见繁复铺陈，以极简物象传递出逍遥物外的高远意境，是兼具文思与笔情的写意佳作。",[1153,1154,1155,1240,1464,1275,1210,1602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b062d62495bd228b5ed34446dc0182.jpg",[6],{"id":303,"slug":4229,"title":2414,"dynasty":1148,"author":1885,"museum":1369,"description":4230,"tags":4231,"thumbUrl":4234,"material":1227,"size":1551,"collection":6,"collections":4235,"showCount":4220,"zanCount":1177,"manualWeight":1177,"mainColor":1881},"ying-xi-tu-su-han-chen-218273","孩童发髻疏朗，衣袂轻垂，坐于鼓形座上。小手拢着衣角，似藏着几分娇憨。鼓身镶边缀点，旁侧鼓槌斜倚，小鞋散落，细节里尽是日常的鲜活。绢本的棕褐晕染出时光的温软，线条简淡却藏着细腻——衣纹褶皱随姿态舒展，孩童眼神澄澈如溪，悄然勾连起宋人对稚子生活的珍视。没有繁复布景，天真却漫溢开来，仿佛能触到柔软布料，听见孩童细碎笑语。画中藏不住的生动与温情，将寻常童趣凝作永恒的画面，让时光在此刻慢了下来。",[1154,1240,1155,1159,1158,1210,2416,4232,4233,1191],"鼓","鼓槌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f3549cbb86ed88cd0157c95e237591.jpg",[6],{"id":304,"slug":4237,"title":4238,"dynasty":1252,"author":2716,"museum":1237,"description":4239,"tags":4240,"thumbUrl":4242,"material":1227,"size":4243,"collection":6,"collections":4244,"showCount":4220,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"xian-ren-tu-xu-liang-biao-216966","仙人图","仙女被描绘成骑着一只凤凰，或西方的王母。仙女拿着一顶花帽，并由一只携带生日珍珠的白鹿陪伴。景色清晰，色彩鲜艳，是对长寿的长久赞美。人物、凤凰和白鹿的着色受到西方绘画的明暗影响。",[1240,1154,1155,1257,1159,1158,4241,1857,1478,2632,2098],"仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0446b8d31845aaa90342626f5354c64.jpg","260.5x142.6",[6],{"id":305,"slug":4246,"title":4247,"dynasty":1203,"author":1291,"museum":1517,"description":4248,"tags":4249,"thumbUrl":4251,"material":1227,"size":4252,"collection":6,"collections":4253,"showCount":4254,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"xian-nv-feng-huang-tu-yi-ming-219569","仙女凤凰图","仕女身姿柔婉，高髻簪饰，曳地长裙衣带萦回，袂角随风轻扬，仪态娴静端雅，尽是闺秀仙姿。身旁凤凰翎毛苍劲蓬松，写意笔法朴拙大气，与仕女衣纹的细劲铁线描相映成趣。浅淡设色融于古旧绢底，晕染出幽渺古雅的氛围感，仙姝伴灵禽，似正欲乘鸾凌云，缥缈出尘。\n\n笔墨兼具工写之妙，仕女沉静柔婉，凤凰灵动苍健，动静相生，将世外仙乡的清隽逸气凝于尺幅之间，尽显雅致出尘的古典意韵。",[1153,1154,1155,1275,1158,1210,4250,1257],"凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5aad1fb6eda19289875db3f46e21ef8.jpg","146.8x94.5厘米",[6],106,{"id":306,"slug":4256,"title":4257,"dynasty":1148,"author":3168,"museum":2127,"description":4258,"tags":4259,"thumbUrl":4260,"material":1496,"size":1551,"collection":6,"collections":4261,"showCount":4254,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"zhong-xing-rui-ying-tu-chen-ju-zhong-218541","中兴瑞应图","苍莽绢素间，人马奔涌如沸，旌旗翻卷似火，甲胄冷光与衣袍艳色在青绿底色上跃动。左侧群鸟振翅惊飞，羽翼划破暮霭；右侧峭岩劲松静立，与奔涌的动势形成奇妙张力。笔锋细腻处，鞍马筋肉、人物神情历历可辨；设色古朴中，山水悠远衬出叙事沉厚。奔突的队列藏着热望，翻飞的翎羽似携吉兆，将历史壮阔与人心祈盼凝作绢上流转的光影——每一处细节都在诉说那段岁月里，对“中兴”的期盼与激昂，让沉厚的过往在笔墨间鲜活如初。",[1154,1159,1158,1210,1389,1477,1160,1165,2187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0604cba49667b67c7ec636b0895bcd.jpg",[6,1174],{"id":307,"slug":4263,"title":4264,"dynasty":1367,"author":1988,"museum":3040,"description":4265,"tags":4266,"thumbUrl":4267,"material":1170,"size":4268,"collection":6,"collections":4269,"showCount":4270,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ba-jiao-tang-zi-tu-qian-xuan-221714","芭蕉唐子图","图绘三个孩童呆在一个似沙窖一样的场地里，二孩端坐，一孩侧卧，皆专心致志玩耍；后面一块蓝色湖石耸立，形状奇特，数棵芭蕉长势茂盛，叶面碧绿宽大，生机勃勃。",[1153,1154,1158,1159,1210,1294,1416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adc604b34d72f5e7124ec9b6584ce7d.jpg","25.2×21cm",[6,1174],105,{"id":308,"slug":4272,"title":4273,"dynasty":1252,"author":4274,"museum":1237,"description":4275,"tags":4276,"thumbUrl":4279,"material":1496,"size":4280,"collection":1538,"collections":4281,"showCount":4270,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"fang-tang-ren-da-yu-zhi-shui-tu-xie-sui-214832","仿唐人大禹治水图","谢遂","谢遂（1743-1815年）是一位清代画家，他最著名的作品之一是《仿唐人大禹治水图》。这幅画描绘了传说中的大禹如何利用智慧和勇气治理水旱，保护人民免受灾害的故事。画中大禹站在江边，手持着伞，身旁是他的忠实追随者。大禹所在的位置是一座山峰，表示他的权威和力量。整幅画的画风浓重，线条流畅，色彩和谐。这幅画是谢遂在清代的代表作之一，在当时颇受欢迎，并被广泛流传。",[1240,1154,1158,1210,1160,1439,3299,4277,4278],"大禹治水","神话传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af9e7e13ca4921759b92fd42dfeb838.jpg","160.7x89.8",[1538,6],{"id":309,"slug":4283,"title":4284,"dynasty":1252,"author":1399,"museum":1150,"description":4285,"tags":4286,"thumbUrl":4289,"material":4290,"size":4291,"collection":6,"collections":4292,"showCount":4293,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"bai-zi-tu-leng-mei-222874","百子图","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[1153,1159,1158,1156,1210,1437,1211,1797,2200,4287,1165,1417,1219,4288,3255,1218,4025],"舟","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[6],104,{"id":310,"slug":4295,"title":4296,"dynasty":1203,"author":4297,"museum":1237,"description":4298,"tags":4299,"thumbUrl":4300,"material":1195,"size":4301,"collection":6,"collections":4302,"showCount":4293,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"mi-le-fo-wu-bin-222066","弥勒佛","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[1153,1154,1155,1158,1159,1274,1210,1492,1297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce39456c770de63cb1cae3b58b4969d.jpg","62.3 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35.3厘米",[6,1174],{"id":311,"slug":4304,"title":4305,"dynasty":1148,"author":1885,"museum":3040,"description":4306,"tags":4307,"thumbUrl":4309,"material":1391,"size":4310,"collection":1172,"collections":4311,"showCount":4293,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"zhen-tong-kui-lei-tu-su-han-chen-221353","侲童傀儡图","本画署款苏汉臣所作，苏汉臣（1094―1172），汴梁（今河南开封）人，宋代宫廷画家，历徽宗、高宗、孝宗三朝。苏汉臣画师刘宗古，善画仙佛人物，尤以婴戏图题材最为著名。苏汉臣在宋代画家中以画儿童婴戏著称，因此后世凡见宋人无款婴戏图常题苏汉臣作用来提高画的价值。宋朝社会流行木偶戏，宋人称之为“傀儡戏”，同时傀儡也被制成了儿童的玩具。本幅苏汉臣所画的《侲童傀儡图》描绘的正是三个小童在玩“杖头傀儡”的场景。作者笔下的小童神情专注，笔法简洁细劲，设色典雅。石色的使用最忌板滞轻浮，而本画中的石色明丽沉稳，堪称典范。图中假山的画法与宋徽宗《祥龙石图》如出一辙，阴阳凹凸皆以龙麟状的墨块点画而成，这与南宋院体画喜用小斧劈皴不同。这也在一定程度上反映了作者传承的是北宋宣和院体画风。",[1153,1240,1154,1159,1158,1210,3255,4308,1165,2079],"傀儡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128d6f14c797843ff768db6c9441c208.jpg","23.6×23.2cm",[1172,6,1174],{"id":312,"slug":4313,"title":4314,"dynasty":1367,"author":4315,"museum":1254,"description":4316,"tags":4317,"thumbUrl":4318,"material":1468,"size":4319,"collection":6,"collections":4320,"showCount":4293,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[1153,1240,1154,1155,1156,1275,1464,1210,1298,1828,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","24.8X240.3",[6,1721],{"id":313,"slug":4322,"title":4323,"dynasty":1148,"author":4324,"museum":4325,"description":4326,"tags":4327,"thumbUrl":4328,"material":1227,"size":4329,"collection":6,"collections":4330,"showCount":4293,"zanCount":1577,"manualWeight":1177,"mainColor":1248},"xie-shen-lao-jun-bian-hua-shi-shi-tu-wang-li-yong-215008","写神老君变化十式图","王利用","美国纳尔逊阿特金斯艺术博物馆","道教以老子为祖先，赋予这位先秦哲人以神秘而神圣的光芒，赋予他自己神奇的力量。在这幅画中，老子被分段描绘在横幅上，从天地初开到殷商时期，老子化身为顾主、金阙皇帝、玉华子、大成子、广寿子、广成子、镇星子、解颐子、牟成子、川桓子等真实人格。宋朝皇帝提倡道教，所以这类题材的绘画很受欢迎。",[1153,1240,1154,1155,1156,1159,1158,1274,1210,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474edbfbed198eb48c688584feee12ec.jpg","44.8x188.4",[6],{"id":314,"slug":4332,"title":4333,"dynasty":1148,"author":2057,"museum":1150,"description":4334,"tags":4335,"thumbUrl":4336,"material":1195,"size":4337,"collection":1172,"collections":4338,"showCount":4339,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"kong-qiu-xiang-tu-ye-ma-yuan-221516","孔丘像图页","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[1153,1154,1155,1492,1210,1275,1158,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140533cc0f37b2814b2ddd30cf0df06f.jpg","27.7x23.2",[1172,6,1174],103,{"id":315,"slug":4341,"title":4342,"dynasty":1290,"author":1291,"museum":1413,"description":4343,"tags":4344,"thumbUrl":4345,"material":1227,"size":4346,"collection":6,"collections":4347,"showCount":4339,"zanCount":1822,"manualWeight":1177,"mainColor":1881},"di-ba-fa-an-luo-fu-duo-luo-zun-zhe-yi-ming-218291","第八伐闇罗弗多罗尊者","怒目含威却藏澄明，头光晕染出柔和光晕，与尊者棱角分明的面容形成微妙平衡。膝畔蛟龙盘绕，鳞爪毕肖却敛去戾气，似被指尖轻触的温煦驯服——那是愿力凝成的慈悲。衣袂间墨线流转如行云，青蓝裙摆与深褐袈裟相映，古雅色调裹着绢本的厚重质感。赤足踏地，趾节细节入微；袈裟褶皱层叠，每一道纹路都似承载着岁月的呼吸。笔墨刚健处见筋骨，柔婉处显气韵，庄严中透着灵动：尊者以定力伏龙，让野性归于安宁，千年后的今天，仍能从这帧古画里，触摸到那份深邃的佛法力量与匠心温度。",[1154,1257,1274,1210,1341,1159,1158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1687d11dff2f0af58d4d94077f2ae885.jpg","114.4x59.5",[6],{"id":316,"slug":4349,"title":4350,"dynasty":1148,"author":4351,"museum":1354,"description":4352,"tags":4353,"thumbUrl":4356,"material":1227,"size":4357,"collection":6,"collections":4358,"showCount":4339,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[1153,1240,1154,1155,1156,1158,1159,1465,1210,1160,1165,3087,4354,1358,4355,2303,1191,1357],"神仙","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[6],{"id":317,"slug":4360,"title":4361,"dynasty":1252,"author":1291,"museum":1369,"description":4362,"tags":4363,"thumbUrl":4366,"material":1697,"size":1698,"collection":6,"collections":4367,"showCount":4368,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"sheng-ping-le-shi-tu-ce-shi-er-kai-yi-ming-289911","升平乐事图册十二开","设色雅致柔润，取景精妙入微。水岸雕栏楼阁内，仕女孩童凭栏观览，孩童探身嬉玩，仕女悠然垂目，神态鲜活尽显闲逸松弛。水滩货幌高挑，摊贩游人往来鲜活，将市井升平的融融暖意铺陈开来。\n\n画面远近疏密相宜，浅淡水色晕染出空濛柔美的水岸氛围，细碎笔触勾摹衣饰、风物细节，将日常里的安乐太平藏进雅致笔墨里，把俗世闲情的脉脉温情揉进方寸画幅间，尽显清和悠然的盛世烟火意趣。",[1154,1492,1158,1159,1210,1602,1165,4364,4365,1965],"廊台","喜乐","https:\u002F\u002Fos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横四二·三厘米",[6,1174],96,{"id":341,"slug":4583,"title":2414,"dynasty":1203,"author":1659,"museum":1517,"description":4584,"tags":4585,"thumbUrl":4591,"material":1496,"size":4592,"collection":6,"collections":4593,"showCount":4594,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"ying-xi-tu-chen-hong-shou-218355","这是一幅简单的画，画的是一个孩子手里拿着一个拨浪鼓在玩。该图头大身短，衣服的画法很特别,贝壳雕工细致，造型奇特，上面站着一个带袖子的绿巨人，显示了明末时期儿童玩具的精致和多样化。",[1153,1154,1155,1257,1159,1158,1210,3348,4586,4587,4588,4589,4590],"变形夸张","线条古拙","设色典雅","孩童形象","玩具元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e183fec1f5f9e94d6157074b740cff.jpg","84.1x31.9",[6],95,{"id":342,"slug":4596,"title":4597,"dynasty":1148,"author":1291,"museum":4598,"description":4599,"tags":4600,"thumbUrl":4601,"material":1227,"size":4602,"collection":6,"collections":4603,"showCount":4594,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"dou-jiang-tu-yi-ming-217008","斗浆图","黑龙江省博物馆","斗浆这个词在宋代就是斗茶的意思。斗茶在宋代几乎发展成为了一种全民项目，不管是文人雅士、平民百姓，还是商贾人家、皇亲国戚，都躲不开它的魔力。斗茶没什么地点上的限制，茶室或街头都能进行。《斗浆图》是南宋风俗画的代表之一，描绘的是市井街头的斗茶场景。六位斗茶人身边都有全套的家伙什，大到加热所需的炭火、小到茶筅茶盏无一不备。",[1153,1240,1154,1155,1158,1159,1210,1260,1224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137dc318c8daffb2d8540efeb64b42d9.jpg","33.8x40.6",[6],{"id":343,"slug":4605,"title":4606,"dynasty":1203,"author":1291,"museum":1237,"description":4607,"tags":4608,"thumbUrl":4609,"material":1227,"size":4610,"collection":6,"collections":4611,"showCount":4594,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"guan-yin-da-shi-xiang-yi-ming-216956","观音大士像","画一僧人，以狮子为座骑。名虽为观音，当是文殊。 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庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[1153,1154,1158,1159,1208,1210,1187,1211,1452,1260,1241,1219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[6],{"id":351,"slug":4677,"title":4678,"dynasty":1148,"author":1291,"museum":1413,"description":4679,"tags":4680,"thumbUrl":4685,"material":1227,"size":3089,"collection":6,"collections":4686,"showCount":4659,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"luo-shen-fu-tu-yi-ming-218235","洛神赋图","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[1153,1240,1154,1155,1156,1158,1159,1210,1187,4681,1560,1213,1165,3087,4682,1477,4683,4684],"洛神","仙禽异兽","怅惘","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[6],{"id":352,"slug":4688,"title":4689,"dynasty":1252,"author":2688,"museum":4690,"description":4691,"tags":4692,"thumbUrl":4693,"material":1496,"size":4694,"collection":6,"collections":4695,"showCount":4659,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"tan-zhu-tu-huang-shen-216737","探珠图","南京博物院","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[1153,1154,1155,1240,1257,1464,1158,1210,2679,1295,1452,1341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[6],{"id":353,"slug":4697,"title":4698,"dynasty":1252,"author":3615,"museum":1150,"description":4699,"tags":4700,"thumbUrl":4703,"material":1170,"size":4704,"collection":6,"collections":4705,"showCount":4706,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[1153,1154,1155,1156,1158,1159,1208,1160,1210,1211,1213,1215,1165,1437,1212,4701,4702],"田野","城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[6,1174],93,{"id":354,"slug":4708,"title":3624,"dynasty":1235,"author":4709,"museum":3040,"description":4710,"tags":4711,"thumbUrl":4713,"material":2203,"size":4714,"collection":6,"collections":4715,"showCount":4706,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"er-zu-diao-xin-tu-shi-ke-221178","石恪","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。\n《二祖调心图》在表现手法上“删繁就简”，“虚实相生”，“无画处皆成妙境”，正是道家精神的体现。",[1153,1240,1154,1155,1464,1274,1210,1741,2679,4712],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a98bd3b86105555a71ed545d41d263.jpg","纵35.5厘米，横129厘米",[6,1721],{"id":355,"slug":4717,"title":4718,"dynasty":1252,"author":4719,"museum":1237,"description":4720,"tags":4721,"thumbUrl":4722,"material":1227,"size":4723,"collection":6,"collections":4724,"showCount":4706,"zanCount":1822,"manualWeight":1177,"mainColor":1881},"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","仿宋院本金陵图","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[1153,1154,1155,1156,1158,1159,1209,1208,1210,1211,1212,1213,1165,1389,1602,1166,2235,1221,1215,1626,2905,1220,2823,1162,1167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[6,1174],{"id":356,"slug":4726,"title":4727,"dynasty":1367,"author":1291,"museum":1369,"description":4728,"tags":4729,"thumbUrl":4730,"material":1227,"size":4731,"collection":6,"collections":4732,"showCount":4706,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"e-mi-tuo-fo-tu-yi-ming-218450","阿弥陀佛图","佛像庄严伫立，右手施无畏印，左手自然垂落，姿态慈悲安详。身着暗红袈裟，饰金色法轮纹样，衣袂垂落间尽显古朴庄重。肤色温润，头光与背光层次分明，暗褐背景更衬神圣。装裱精致，上下深蓝底金纹织物，中间金色祥云边框环绕，金彩熠熠与暗红袈裟相映。整体色调深沉华丽，肃穆中透着慈悲，尽显元代佛教艺术的庄严典雅，仿佛能让人感受到超越时空的宁静与神圣。",[1153,1154,1155,1257,1158,1159,1274,1210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f3ca149a4f4214a7e0dedff73f805c.jpg","98.2x41.9",[6],{"id":357,"slug":4734,"title":4735,"dynasty":1252,"author":4198,"museum":1237,"description":4736,"tags":4737,"thumbUrl":4738,"material":2203,"size":4739,"collection":6,"collections":4740,"showCount":4706,"zanCount":1577,"manualWeight":1177,"mainColor":1248},"fang-li-gong-lin-ming-huang-ji-qiu-tu-ding-guan-peng-218363","仿李公麟明皇击球图","场景中画有16个人物，10个人聚集在场景中间，争夺一个小球。场景中央的人是唐朝的明朝皇帝李隆基。皇帝用臀部骑着一匹骏马，看起来专注而敏捷。他周围的人，有的戴着官帽，有的头上戴着发卡，也都骑在马背上，手持球棒，与皇帝争夺地上的球。他们是皇帝身边的官员、同伴和嫔妃，有两个人在头顶，两个人在卷尾看守目标。画中的人物姿态各异，静中有动，动中有变。这幅画画得很稀疏，线条流畅。",[1153,1154,1155,1156,1275,1209,1210,1389,1357,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3926ed3aac8697de219bc21a49828.jpg","32.1x523.2",[6],{"id":358,"slug":4742,"title":3306,"dynasty":1203,"author":4743,"museum":1237,"description":4744,"tags":4745,"thumbUrl":4746,"material":1227,"size":4747,"collection":6,"collections":4748,"showCount":4706,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"mu-niu-tu-dai-jin-216954","戴进","戴进对人物的描绘通常是蚕头鼠尾式的，笔触笨拙而有力。柳树沾满了墨水，密密麻麻地洒满了叶子，加上风中摇曳的小草，纸面上一片清凉，沁人心脾。",[1240,1154,1155,1257,1158,1464,1465,1210,1602,1531,1532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8c78bf69b7ec732d14fa5209f10d6.jpg","38.6x30.6",[6],{"id":359,"slug":4750,"title":4751,"dynasty":1148,"author":1768,"museum":1369,"description":4752,"tags":4753,"thumbUrl":4754,"material":1551,"size":1551,"collection":6,"collections":4755,"showCount":4756,"zanCount":1177,"manualWeight":1177,"mainColor":1881},"bai-miao-fo-xiang-di-san-zun-zhe-li-gong-lin-228895","白描佛像第三尊者","此作用笔兼具铁线之刚劲与游丝之柔韧，行云流水般勾勒出尊者清癯沧桑的风骨。眉峰微蹙垂目凝神，仿佛正于幽林静悟禅机，沉静淡然的禅意溢于眉眼之间。衣褶线条随体态利落转折，纱罗布料的垂坠轻薄之感呼之欲出，将静坐的松弛动态尽显。旁侧挺劲棕榈与层叠奇石，以淡墨轻擦晕染，寥寥数笔铺陈出空山幽寂的林下氛围。整幅以白描立骨，不施浓艳敷色，尽显素雅古拙的韵致，将禅家内敛沉静的气度融于笔墨，尽显清雅文人意趣。",[1153,1154,1155,1257,1275,1274,1210,1438,1616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b0cb0ff09215be2d518fb581eea61d.jpg",[6],92,{"id":360,"slug":4758,"title":4759,"dynasty":1203,"author":1449,"museum":1150,"description":2246,"tags":4760,"thumbUrl":4761,"material":1150,"size":2249,"collection":6,"collections":4762,"showCount":4756,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"wang-shu-gong-ji-tu-tang-yin-222350","王蜀宫妓图",[1153,1154,1155,1257,1159,1158,1210,1187,1192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185c945ec24f42176232f09a48815d.jpg",[6,1174],{"id":361,"slug":4764,"title":4765,"dynasty":1148,"author":1768,"museum":1150,"description":4766,"tags":4767,"thumbUrl":4768,"material":1195,"size":4769,"collection":1172,"collections":4770,"showCount":4756,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[1153,1240,1154,1155,1156,1209,1275,1389,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[1172,6,1721],{"id":362,"slug":4772,"title":4773,"dynasty":1203,"author":1449,"museum":1369,"description":4774,"tags":4775,"thumbUrl":4776,"material":1496,"size":4777,"collection":6,"collections":4778,"showCount":4756,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[1153,1154,1155,1156,1159,1158,1210,1437,1160,1165,1258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[6],{"id":363,"slug":4780,"title":4781,"dynasty":1148,"author":1461,"museum":1237,"description":4782,"tags":4783,"thumbUrl":4784,"material":1195,"size":4785,"collection":1172,"collections":4786,"showCount":4787,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"zhi-ai-tu-li-tang-221579","炙艾图","《炙艾图》，又叫做《村医图》，是南宋著名画家李唐的传世作品;收藏于台北故宫博物院。《村医图》为一幅风俗人物画，描述走方郎中为村民治病的情形。作品通过对灸艾治疗这一紧张情节的朴实无华的具体描绘，反映了当时农民的困苦生活，有小中见大的寓意。\n《炙艾图》除了真实的记录一名中国古代村医用中医灸法为病人治病的情景 ，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[1153,1240,1154,1155,1159,1158,1210,3228,1296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[1172,6,1174],91,{"id":364,"slug":4789,"title":4790,"dynasty":1203,"author":4791,"museum":1254,"description":4792,"tags":4793,"thumbUrl":4796,"material":1227,"size":4797,"collection":6,"collections":4798,"showCount":4787,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[1153,1154,1155,1156,1160,1158,1465,1210,1212,1213,1560,2048,1211,1165,1439,4794,1730,1168,4795,2554],"渔船","风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[6,1174],{"id":365,"slug":4800,"title":2744,"dynasty":1203,"author":1204,"museum":1517,"description":4801,"tags":4802,"thumbUrl":4803,"material":1227,"size":4804,"collection":6,"collections":4805,"showCount":4787,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"luo-han-tu-chou-ying-218359","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[1153,1156,1159,1158,1208,1274,1210,2098,1295,1211,1741,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[6],{"id":366,"slug":4807,"title":4808,"dynasty":1252,"author":1291,"museum":1369,"description":4809,"tags":4810,"thumbUrl":4816,"material":1697,"size":1698,"collection":6,"collections":4817,"showCount":4818,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"bu-kong-juan-suo-guan-shi-yin-pu-sa-tang-ka-yi-ming-234453","不空羂索观世音菩萨唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[4811,3451,4812,1158,4813,3749,4814,4815,1478],"唐卡","宗教绘画","铺金描银","不空羂索观世音菩萨","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33646f9b1c0dd82929dab59dbb9202dd.jpg",[6],89,{"id":367,"slug":4820,"title":4821,"dynasty":1182,"author":1291,"museum":1369,"description":4822,"tags":4823,"thumbUrl":4824,"material":1551,"size":1551,"collection":6,"collections":4825,"showCount":4818,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[1153,1154,1155,1240,1372,1209,1275,1158,1159,1210,1187,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[6,1174],{"id":368,"slug":4827,"title":4828,"dynasty":1367,"author":1865,"museum":1205,"description":4829,"tags":4830,"thumbUrl":4831,"material":2203,"size":4832,"collection":6,"collections":4833,"showCount":4818,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[1153,1154,1155,1156,1158,1159,1358,1561,1210,1165,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 横:375.3cm",[6,1721],{"id":369,"slug":4835,"title":4836,"dynasty":1203,"author":4837,"museum":1571,"description":4838,"tags":4839,"thumbUrl":4841,"material":1227,"size":1551,"collection":6,"collections":4842,"showCount":4818,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"li-heng-xiang-ceng-jing-219696","李亨像","曾鲸","此作以精微写实的笔触塑造人物，先以淡墨勾定轮廓，再层层晕染面部，将人物鬓发纹理、眉目间沉静内敛的神态全然铺展，尽显儒雅清隽的文人风骨。\n服饰设色调和雅致，石青镶边与米衣料相映，线条清劲凝练，将衣料垂坠质感细腻呈现，朴拙中带着雅致气度。画面舍去繁复布景，以素净底色烘托人物，形神兼备，将肖像画写实传神的特质发挥到极致，是兼具笔墨意趣与写真功力的佳作。",[1154,1155,1158,1210,3901,4840,1159,2584,1191],"墨骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a419af8e6a79113dda1540d232af906.jpg",[6],{"id":370,"slug":4844,"title":4845,"dynasty":1148,"author":2841,"museum":2368,"description":4846,"tags":4847,"thumbUrl":4849,"material":1227,"size":1551,"collection":6,"collections":4850,"showCount":4818,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"hua-shan-huo-lang-tu-li-song-219576","画扇货郎图","《货郎图》把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。该画作对了解宋代风俗也具有重大价值。",[1154,1159,1158,1492,1210,4848,1165,1589,1808,1796,1532],"货郎担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf12b7ebb458d226c09221c94572f4e8.jpg",[6],{"id":371,"slug":4852,"title":4853,"dynasty":1148,"author":4854,"museum":1237,"description":4855,"tags":4856,"thumbUrl":4857,"material":1227,"size":4858,"collection":6,"collections":4859,"showCount":4818,"zanCount":1746,"manualWeight":1177,"mainColor":1248},"lan-ting-xi-yin-tu-guo-zhong-shu-218795","兰亭禊饮图","郭忠恕","这幅画描绘的是永和九年的兰亭大典，小板上有三十多个学者在场，山峦起伏，茂林修竹，画工精细，原题为郭忠恕，但实际上更接近元代胡廷辉的风格。",[1153,1154,1240,1158,1208,1159,1210,1437,1212,1160,1165,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767a47a8ddc517fcfb474984ffbf175b.jpg","22.1x23.2",[6],{"id":372,"slug":4861,"title":4862,"dynasty":1252,"author":4198,"museum":1237,"description":4863,"tags":4864,"thumbUrl":4867,"material":1772,"size":1551,"collection":6,"collections":4868,"showCount":4818,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"tang-ming-huang-ji-ju-tu-ding-guan-peng-217923","唐明皇击鞠图","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[1240,1154,1155,1159,1275,1158,1208,1210,1389,1218,1357,1191,4865,4866],"古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[6],{"id":373,"slug":4870,"title":4871,"dynasty":1203,"author":1291,"museum":1150,"description":3945,"tags":4872,"thumbUrl":4873,"material":1391,"size":1551,"collection":6,"collections":4874,"showCount":4875,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"zhang-liang-xiang-zhou-yi-ming-236159","张良像轴",[1154,1155,1257,1158,1159,1210,1191,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ea3055380793c01b2c8b24c4717441.jpg",[6,1174],88,{"id":374,"slug":4877,"title":4878,"dynasty":1252,"author":3615,"museum":1150,"description":4879,"tags":4880,"thumbUrl":4883,"material":1551,"size":4884,"collection":1538,"collections":4885,"showCount":4875,"zanCount":1577,"manualWeight":1177,"mainColor":1248},"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[1240,1154,1155,1492,1158,1159,1310,1210,1602,4881,1165,1213,4882,1466,2217],"农田","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[1538,6,1174],{"id":375,"slug":4887,"title":4888,"dynasty":1148,"author":1779,"museum":1237,"description":4889,"tags":4890,"thumbUrl":4891,"material":4892,"size":4893,"collection":1172,"collections":4894,"showCount":4875,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"yao-chi-xian-shou-tu-liu-song-nian-221545","瑶池献寿图","《瑶池献寿图》是南宋画家刘松年所创作，此图描绘了仙山楼阁的神仙世界，是当时上层社会的做寿喜庆场面。\n人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[1153,1154,1159,1158,1465,1208,1160,1210,1211,1796,1439,1165,1168,1626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 绢本 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该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[1153,1240,1154,1155,1156,1159,1158,1208,1465,1210,1211,1160,1165,1389,1437,1219,1166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[6],87,{"id":379,"slug":4921,"title":4922,"dynasty":1182,"author":3307,"museum":1369,"description":4923,"tags":4924,"thumbUrl":4925,"material":1227,"size":4926,"collection":6,"collections":4927,"showCount":4919,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"nong-qian-tu-han-huang-219580","农迁图","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[1154,1155,1156,1159,1158,1210,1602,2802,1189,2680,4882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","25.1x91.1厘米",[6],{"id":380,"slug":4929,"title":4930,"dynasty":1148,"author":1779,"museum":1237,"description":4931,"tags":4932,"thumbUrl":4935,"material":1227,"size":4936,"collection":1538,"collections":4937,"showCount":4919,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ma-gu-cai-zhi-xian-tu-liu-song-nian-219388","麻姑采芝仙图","画中一众仙姑，结伴山间采药，正在林间休息。不知何故，仙姑们的发际线严重退后，仅剩一光溜的脸蛋，状貌甚异，身板瘦削，可能是日夜忙碌劳累所致。画中人物用线与山石、松树一般呆硬，人物形象、树、石套路严重，或为明末或清代早期的画作。",[1154,1158,1210,1160,1439,1165,1187,4933,4934,1848],"麻姑","采芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca18f2756764adf26aa0982d7262715.jpg","116.4x82.1厘米",[1538,6],{"id":381,"slug":4939,"title":4940,"dynasty":1235,"author":1528,"museum":1237,"description":4941,"tags":4942,"thumbUrl":4943,"material":1227,"size":4944,"collection":6,"collections":4945,"showCount":4919,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[1153,1240,1154,1155,1159,1158,1210,1389,1165,1532,1533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[6],{"id":382,"slug":4947,"title":4948,"dynasty":1252,"author":2230,"museum":1237,"description":4949,"tags":4950,"thumbUrl":4958,"material":1551,"size":4959,"collection":6,"collections":4960,"showCount":4961,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"yuan-ben-qing-ming-shang-he-tu-sun-hu-222834","院本清明上河图","此画由清宫画院的五位画家协作画成，是参照了各朝仿本、集各家所长的作品。同时增加了明清时代的特殊风俗，如踏青、表演等等娱乐活动，亦增添了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，使画中人物增加到超过4,000人，而且受到西洋画风的影响，街道房舍均以透视原理作画，并有西式建筑行置其中。此卷用色鲜丽明亮，用笔达圆熟细致，所画之桥梁、屋宇、人物皆细腻严谨，是院画中的精品之作。",[1153,1154,1156,1158,1159,1210,1211,1167,4951,2235,4633,4952,4953,4954,4955,4956,1601,4957],"屋宇","戏剧","特技","擂台","西式建筑","踏青","院画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98aa9c3aaaf37a0138ff09866aaaffc7.jpg","长1152.8公分及宽35.6公分",[6,1174],86,{"id":383,"slug":4963,"title":4964,"dynasty":1203,"author":1291,"museum":3073,"description":4965,"tags":4966,"thumbUrl":4967,"material":1227,"size":1551,"collection":6,"collections":4968,"showCount":4961,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"tong-zi-li-fo-tu-yi-ming-219582","童子礼佛图","团扇取景庭院一隅，玲珑湖石旁牡丹绽蕊晕香，晕染出雅致闲静的氛围。数位童子稚态尽显，或合力捧持佛龛，或敛衣垂首礼拜，憨拙的动作将孩童模仿佛事的天真烂漫融于其中。设色柔丽清雅，衣纹线条纤细婉转，将童子娇憨的神态与稚嫩身形刻画入微，并未渲染礼佛的肃穆沉重，反以孩童的烂漫消解了仪式感，尽显日常嬉玩的松弛意趣，是兼具工致院体笔意与市井童真的小品佳作。",[1240,1154,1155,2543,1274,1158,1210,1294,1261,1478,1357,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95ae7ebde4a39a5de3ea7632554bec3.jpg",[6],{"id":384,"slug":4970,"title":4971,"dynasty":1252,"author":4972,"museum":1517,"description":4973,"tags":4974,"thumbUrl":4980,"material":1227,"size":4981,"collection":6,"collections":4982,"showCount":4961,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"chun-jie-mo-jing-tu-xu-ting-kun-219558","春节磨镜图","徐廷琨","深宅巷口寒梅初绽，年意漫溢在古雅院墙间。老匠人俯身转轴磨镜，铜轮轻转，正将镜面拭得锃亮。仕女携稚子围拢观望，孩童们或捧起面具把玩，或躲在朱门后探头窥看，更有小顽童踮脚逗趣，把岁朝的松弛鲜活尽数铺展。朱红楹联衬着素淡院墙，冷枝与暖色调相映，笔触细腻温婉，将市井年俗的温情揉进淡墨浅彩里，把巷陌间的年节烟火定格，晕开旧时光里独有的团圆暖意。",[1153,1154,1158,1159,1257,1210,4975,3255,4976,1452,4977,4978,1166,1296,4979],"老人","妇女","对联","磨镜工具","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b293983689f1320abb018c4c354e19.jpg","53x109cm",[6,1174],{"id":385,"slug":4984,"title":4985,"dynasty":1148,"author":1885,"museum":1237,"description":4986,"tags":4987,"thumbUrl":4988,"material":1227,"size":4989,"collection":6,"collections":4990,"showCount":4961,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"wu-rui-tu-zhou-su-han-chen-219402","五瑞图轴","本幅描绘五个孩童带着各式的面具，模仿大人们跳起「大傩舞」，傩是一种驱鬼避邪的仪式﹐主要是以扮演各种鬼怪所害怕的人物﹐以达驱鬼除邪的目的。本幅不但设色鲜艳丰富，画家更精心描绘衣服上的各种质材与花纹。画中场景设在一个置有湖石的花园，湖石以细笔皴擦质地，并以留白显示突起的棱线，地面则以排点与平行短线表现树叶与杂草，这些特点显示与弘治宫廷画家吕文英作品有相同的描绘格套，应为明代宫廷风格。",[1240,1154,1155,1257,1159,1158,1210,1808,1403,1258,1439,1478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9ef843f31da8da3bf30cd9d26b5ab.jpg","165.5x102.5",[6],{"id":386,"slug":4992,"title":4993,"dynasty":1203,"author":1291,"museum":1413,"description":4994,"tags":4995,"thumbUrl":4996,"material":1227,"size":4997,"collection":6,"collections":4998,"showCount":4961,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ji-le-tu-yi-ming-218275","伎乐图","衣袂相偎处，古调似欲漫出绢素。一人执杖而立，衣纹沉郁如暮云垂落；一人抱阮斜倚，弦上仿佛栖着未散的余音。线条简淡却藏韵致，服饰褶皱如流水舒展，古雅色调晕染出时光的温润。两人姿态亲昵，似共守一段静谧辰光，又或在乐声里彼此慰藉。无繁复布景，仅以人物相依与乐器呼应，便勾勒出伎乐生涯中的一抹温情——让千年后的观者，仍能触到那份含蓄暖意与悠然古意，于绢素间听见岁月的轻吟。",[1154,1257,1158,1159,1210,1187,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb577d3e5073e741217357fcfbccf10a8.jpg","83.4x38.2",[6],{"id":387,"slug":5000,"title":5001,"dynasty":1252,"author":2676,"museum":1150,"description":5002,"tags":5003,"thumbUrl":5004,"material":3866,"size":5005,"collection":6,"collections":5006,"showCount":5007,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ren-yi-feng-chen-san-xia-tu-zhou-ren-yi-237136","任颐风尘三侠图轴","该图的大致内容是：隋末司徒杨素的侍妾红拂女与才子李靖相爱后私定终生，后在剑侠虬髯客的帮助下为唐王李世民建立了功勋。所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。\n风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。\n任颐《风尘三侠图》所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。画家用钉头鼠尾描组成火焰般的衣纹，表现出自己内心按捺不住的激情。任颐曾多次以风尘三侠为题作画，反映了画家对描绘反封建题材的人物画怀有炽热的创作热情。\n马匹作白描法，颇有装饰趣味，黑驴用没骨法，但肌肤的表现效果欠佳。",[1240,1154,1155,1257,1158,1159,1210,1389,2802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f741247a6bb0597dc560a48dfb84f.jpg","纵148.5cm、横66cm",[6],85,{"id":388,"slug":5009,"title":5010,"dynasty":1252,"author":1399,"museum":1150,"description":5011,"tags":5012,"thumbUrl":5013,"material":1170,"size":5014,"collection":6,"collections":5015,"showCount":5007,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[1153,1154,1159,1158,1208,1561,1357,1210,1211,1341,4287,1295,1531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[6],{"id":389,"slug":5017,"title":5018,"dynasty":1203,"author":4524,"museum":1150,"description":5019,"tags":5020,"thumbUrl":5022,"material":1170,"size":5023,"collection":6,"collections":5024,"showCount":5007,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[1154,1240,1155,1257,1464,1158,1210,1160,1438,1616,1477,3078,5021,1465,1258],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[6,1721],{"id":390,"slug":5026,"title":5027,"dynasty":1252,"author":1291,"museum":1150,"description":5028,"tags":5029,"thumbUrl":5033,"material":1227,"size":5034,"collection":6,"collections":5035,"showCount":5007,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[1153,1159,1158,1208,1156,1210,1647,1278,5030,1165,1532,1479,4560,5031,5032,2187,1223],"祭祀","队伍","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[6,1174],{"id":391,"slug":5037,"title":5038,"dynasty":1203,"author":5039,"museum":1237,"description":5040,"tags":5041,"thumbUrl":5042,"material":1772,"size":5043,"collection":6,"collections":5044,"showCount":5007,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"ru-lai-xiang-sun-huang-216944","如来像","孙璜","Rādhārāṇī是释迦牟尼佛的十大名号之一。如 又称 如来，即 真如，指的是佛陀所说的绝对真理，按照这个真理行事，就能达到佛陀领地的外部世界。中国佛教徒尊崇他为最高的神灵。这幅画的笔法与《曹衣出水》相同，只是手太大了，也可能是作者为了显示自己的 神性 而想这么做。",[1154,1155,1274,1210,1275,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df3abe0179d316e6b6680707fa9ce16.jpg","101x45.1",[6],{"id":392,"slug":5046,"title":5047,"dynasty":1252,"author":5048,"museum":1517,"description":5049,"tags":5050,"thumbUrl":5052,"material":1496,"size":5053,"collection":6,"collections":5054,"showCount":5007,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"zhi-tou-za-hua-ce-gao-qi-pei-214987","指头杂画册","高其佩","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。",[1153,1154,1155,1492,1464,5051,1210,1187,1298,1357],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1303c0abf4226c4f79f47a932c622f9e.jpg","36.7x33.1cm",[6,1667],{"id":393,"slug":5056,"title":5057,"dynasty":1182,"author":5058,"museum":1237,"description":5059,"tags":5060,"thumbUrl":5061,"material":1170,"size":5062,"collection":6,"collections":5063,"showCount":5064,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"da-bei-guan-yin-xiang-zhou-fan-qiong-221134","大悲观音像轴","范琼","头戴宝冠，宝冠中画阿弥陀佛，在青色莲台上结跏趺坐。\n他有三只眼睛、四十二只手，每只手掌中间还画一只眼睛，是密教中千手千眼观音（又称大悲观音）的一种类型。\n此幅右下方有范琼（活动于八四六－八七九年）的题款，虽然清代的查士标和张丑都认为这是一幅范琼的真迹，可是这幅观音女相的造形与唐代的 不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[1240,1154,1155,1257,1274,1210,1158,1159,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 26.7x8.7公分",[6,1174],84,{"id":394,"slug":5066,"title":5067,"dynasty":1203,"author":1449,"museum":1237,"description":5068,"tags":5069,"thumbUrl":5071,"material":1772,"size":5072,"collection":6,"collections":5073,"showCount":5064,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"ban-ji-tuan-shan-tu-tang-yin-220377","班姬团扇图","画中，班姬手拈纨扇，独自在棕榈树下悄然而立。尽管画的是明眸粉颊、姿容秀丽，神情却怅然若有所思。庭前，点缀着一株花蕊绽放的蜀葵，画家应是想藉此来暗示时序已属夏末秋凉的季节。\n唐寅原是恋恋红尘里的有情种子，素来就擅长图写女性形象。本幅援引文学作品入画，透过人物与景境的巧妙配搭，具体呈现了画中人的感情和际遇。这份深刻、动人的描写力，无疑已让观者超迈了时空的隔阻，共感于汉代美人的沧桑与情痴！",[1153,1154,1155,1257,1158,1159,1210,1187,1438,1296,1219,5070,1357,1591],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c91421866b019a6fe5f56d55012294.jpg","150.4×63.6公分",[6,1174],{"id":395,"slug":5075,"title":5076,"dynasty":1203,"author":1449,"museum":5077,"description":5078,"tags":5079,"thumbUrl":3002,"material":1227,"size":1551,"collection":6,"collections":5080,"showCount":5064,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"wang-xian-zhi-xiu-xi-dao-mao-xu-qu-xin-an-gong-zhu-tu-tang-yin-219588","王献之休郗道茂续娶新安公主图","沃尔特斯艺术博物馆","画面以枯荣交织的柳树起笔，萧寂山水铺陈出沉郁底色。右侧男子抬臂欲语，眉宇间漫着化不开的怅然，满腔无奈终究凝在抬手之间。左侧郗道茂依偎侍女，垂首敛肩将悲戚藏在背影里，被弃的凄楚默然漫溢。\n\n淡墨晕染山石空远幽寂，衬得这场诀别更添孤凉。工细衣纹勾勒出人物仪态，将情爱里身不由己的遗憾揉进绢本，把旧年憾事定格成含蓄深沉的无声诗篇，失意与伤情铺展在山水之间，余韵悠长。",[1154,1159,1158,1465,1210,1187,1160,1531,1439,1493],[6],{"id":396,"slug":5082,"title":5083,"dynasty":1203,"author":1291,"museum":1205,"description":5084,"tags":5085,"thumbUrl":5086,"material":1227,"size":5087,"collection":6,"collections":5088,"showCount":5064,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"wang-yuan-shuai-tu-yi-ming-218510","王元帅图","这是一幅道教的水陆画，出自明朝的一位宫廷画家之手。它原本是晚清皇帝翁同龢的收藏品，但后来传到了国外。",[1154,1155,2584,1274,1159,1158,1210,1341,2098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f92abe7d417f37cf2f5565f9557e76.jpg","98.4x62.5",[6],{"id":397,"slug":5090,"title":5091,"dynasty":1252,"author":3872,"museum":1150,"description":5092,"tags":5093,"thumbUrl":5094,"material":5095,"size":5096,"collection":1538,"collections":5097,"showCount":5098,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[1154,1155,1492,1158,1275,1464,1210,1416,1213,1417,1260,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[1538,6,1174],83,{"id":398,"slug":5100,"title":5101,"dynasty":1252,"author":2676,"museum":1369,"description":5102,"tags":5103,"thumbUrl":5105,"material":1170,"size":5106,"collection":6,"collections":5107,"showCount":5098,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[1153,1154,1155,1156,1158,1159,3749,1160,1440,1276,1211,2200,1165,1439,1297,4241,1344,5104,3707],"祝寿元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[6,1174],{"id":399,"slug":5109,"title":5110,"dynasty":1203,"author":5111,"museum":5112,"description":5113,"tags":5114,"thumbUrl":5116,"material":1227,"size":5117,"collection":6,"collections":5118,"showCount":5098,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"liu-hai-xi-chan-tu-liu-jun-220350","刘海戏蟾图","刘俊","河北省博物馆","图绘刘海居中，呈侧身面像，身着宽袖长袍，衣带飘动，与海涛和谐，腰系宝芦与紫芝，左手托金蟾，漂游于海上。此图的背景为天空祥云飘渺，脚下为浩瀚无边际的大海，汹涌澎湃的波涛作烘托，给人以海阔天空的感觉，从而更加突出了刘海不同凡人的仙人气质。",[1153,1240,1154,1155,1159,1158,1210,1343,5115],"蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e188e8c25060d16d9643720fc227de.jpg","纵181.3厘米,横108.8厘米",[6],{"id":400,"slug":5120,"title":5121,"dynasty":1367,"author":1291,"museum":1254,"description":5122,"tags":5123,"thumbUrl":5126,"material":1227,"size":1551,"collection":6,"collections":5127,"showCount":5098,"zanCount":1822,"manualWeight":1177,"mainColor":1881},"yao-shi-ru-lai-ji-shi-er-shen-jiang-tu-yi-ming-219235","药师如来及十二神将图","中央药师如来法相庄严，结跏趺坐于层叠莲座之上，手印沉静，身周光环如晕，暖意暗涌。十二神将环伺左右，或持法器怒目，或执兵戈肃立，衣袂间纹饰流转，铠甲暗映微光。构图层次分明，从莲座之稳到神将之动，动静相生；色彩沉郁中见华彩，金箔隐现于深褐与朱红之间，似藏千年香火余温。整幅画作既显佛法的慈悲肃穆，又含护法神将的威严张力，每一处线条与色彩的交织，皆暗喻着护持众生的愿力与力量，仿佛能听见古刹钟声里，护法者的坚定心跳。",[1153,1154,1274,1210,1159,1158,1257,5124,5125],"佛教人物","神将","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fdf94c9cba41d6cda65e6d7278d109b.jpg",[6],{"id":401,"slug":5129,"title":5130,"dynasty":1148,"author":1779,"museum":1237,"description":5131,"tags":5132,"thumbUrl":5133,"material":1227,"size":5134,"collection":6,"collections":5135,"showCount":5098,"zanCount":1541,"manualWeight":1177,"mainColor":1286},"ming-yuan-du-shi-tu-liu-song-nian-218901","茗园赌市图","这幅画以人物为主，卖茶的人有水点茶，有壶提着，有杯子品茶。一个茶贩子在右前方抬着茶叶，停下来看他的肩膀，一个女人一手拿着壶，一手抱着孩子，边走边看茶战。在这幅画中，有男人，有女人，有老人，有壮年人，有小孩，都有特色的表情，目光都集中在 斗茶 的卖茶人身上，每一个活生生的形象，把宋代街头流行的斗茶场景最大程度地展现在世人面前。这幅画署名刘松年，但笔墨风格更接近于李嵩。",[1153,1159,1275,1158,1210,1260,1224,2233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8c9d6e6c9da08adc2121f8104eb9e6.jpg","27.2x25.7",[6],{"id":402,"slug":5137,"title":2414,"dynasty":1367,"author":5138,"museum":1205,"description":5139,"tags":5140,"thumbUrl":5143,"material":1227,"size":5144,"collection":6,"collections":5145,"showCount":5098,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"ying-xi-tu-han-cheng-218312","韩晟","这幅画描绘了一个农场，许多孩子在玩耍，四个孩子在玩滑梯，一个亭子在下棋和读书，院子里有一个骑士和一只蚂蚱。嬉戏打闹，无可否认地表达了孩子们的活泼、快乐、童真和美丽的外表。",[1154,1155,1158,1159,1208,1210,1808,1211,1437,1219,1165,5141,1584,5142,1533],"盆栽","玩具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189fe2b51b76e3feedecd63c68921ed.jpg","139.4x76.2",[6],{"id":403,"slug":5147,"title":5148,"dynasty":1203,"author":1644,"museum":1369,"description":1645,"tags":5149,"thumbUrl":5152,"material":1227,"size":5153,"collection":6,"collections":5154,"showCount":5098,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)",[1153,1154,1156,1158,1159,1208,1210,1211,1212,1213,1160,1165,1647,1439,1478,1215,5150,1219,1417,1479,2187,5151,1437],"火焰","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[6],{"id":404,"slug":5156,"title":5157,"dynasty":1148,"author":5158,"museum":1237,"description":5159,"tags":5160,"thumbUrl":5161,"material":1195,"size":5162,"collection":1172,"collections":5163,"showCount":5164,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"feng-yu-gui-mu-tu-li-di-221597","风雨归牧图","李迪","《风雨归牧图》描绘的是两个牧童赶牛归家的场景，整个画面勾点结合，浓淡相济，层次丰富，朦朦胧胧，带来了凤雨欲来，细雾先到的清润之感。\n这幅画表现的是风雨刚来的一刹那，柳梢被风吹得摇摆，两个骑牛的牧童，急忙地往家跑。一个匍匐在牛背，用手扯住牧笠，挡住急风骤雨；另一个帽子已被风吹落，在迷濛的空间，可以依稀看到倾斜的雨流。诗堂有题诗一首写道：“冒雨衔风两牧儿，笠蓑低绾绿杨枝，深宫玉食何从得，稼穑艰难岂不知。”署款“缉熙殿书”，钤“御前之印”一玺。",[1153,1240,1154,1155,1159,1158,1602,1741,1438,1532,4795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[1172,6,1174],82,{"id":405,"slug":5166,"title":5167,"dynasty":1203,"author":1204,"museum":1237,"description":5168,"tags":5169,"thumbUrl":5172,"material":1227,"size":5173,"collection":6,"collections":5174,"showCount":5164,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"geng-zhi-tu-ce-cha-yang-chou-ying-218227","耕织图册-插秧","明朝纺织业空前发展，政府特设织造局管理丝织品生产、销售等事宜。这个时期的耕织图也尤其重视“养蚕缫丝”的主题，其中最有代表性的就是仇英的《宫蚕图卷》。",[1240,1154,1492,1158,1159,1210,4881,5170,1165,1212,5171],"插秧","耕织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0148083e2c4e0f19cb9c03018b50477.jpg","35.4x35.9",[6],{"id":406,"slug":5176,"title":5177,"dynasty":1252,"author":2034,"museum":1237,"description":5178,"tags":5179,"thumbUrl":5180,"material":1496,"size":5181,"collection":6,"collections":5182,"showCount":5164,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"yi-tao-tu-jin-ting-biao-216978","移桃图","这幅画展示了一个有绿色树木的村庄。一个男人和一个瘸子站在窗外，教一个孩子种桃花。惟不免作家气重些。",[1154,1155,1159,1158,1160,1210,1165,1439,1213,1520,1166,1465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7567eb36e902b6cd0d71a3b920a0b4d.jpg","187.3x63.2",[6,1538],{"id":407,"slug":5184,"title":5185,"dynasty":1252,"author":1291,"museum":1150,"description":5186,"tags":5187,"thumbUrl":5192,"material":1551,"size":1551,"collection":6,"collections":5193,"showCount":5194,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"fu-gui-sui-chao-tu-zhou-yi-ming-238431","福贵岁朝图轴","孩童们有的手举鱼、龙等各种形象的彩灯；有的胆大的孩子点燃炮竹，周围孩子掩耳观望；有的孩子登高折梅枝，树下的孩子将花枝插入瓶中，寓意岁岁平安；湖面已结冰，孩子们在冰面滑动冰车，打打闹闹，不小心滑倒还哈哈大笑；还有孩子吹拉弹唱，奏响乐器，妙趣横生。欢度佳节的喜气跃然纸上，仿佛能听到孩子们嬉闹的笑声。",[1154,1158,1159,1210,1211,1437,1452,1808,5188,5189,1241,1341,5190,4365,5191],"彩灯","炮竹","鱼","岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8b1d3424982278598217ea629c0f2.jpg",[6,1174],81,{"id":408,"slug":5196,"title":5197,"dynasty":1148,"author":1461,"museum":1150,"description":5198,"tags":5199,"thumbUrl":5200,"material":1195,"size":5201,"collection":1172,"collections":5202,"showCount":5194,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"mu-niu-tu-ye-li-tang-221580","牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[1153,1240,1154,1155,1492,2543,1158,1602,3228,1477,1357,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[1172,6,1174],{"id":409,"slug":5204,"title":5205,"dynasty":1252,"author":4198,"museum":1237,"description":5206,"tags":5207,"thumbUrl":5208,"material":1227,"size":5209,"collection":6,"collections":5210,"showCount":5194,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"shi-liu-luo-han-xiang-di-shi-si-na-a-ga-sai-na-zun-zhe-ding-guan-peng-218459","十六罗汉像-第十四纳阿噶塞纳尊者","虽临摹自贯休的作品，但这套16幅画用明暗法来表现人物脸部、手部和脚部的裸露部分，使其具有逼真生动的肌肉纹理。周围的家具和石头有相当精确的透视，明显受到西方绘画风格的影响，色彩鲜艳丰富，有凹凸的立体感。人物的头发和胡须也被仔细地、艰苦地描绘出来。这幅画展示了罗汉的性格和品质，他是一个具有超越性思维和开放性思想的人。",[1154,1155,1158,1159,1210,1274,1357,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72eac59f02a9575a8bac111da40f688.jpg","127.5x57.5",[6],{"id":410,"slug":5212,"title":5213,"dynasty":1203,"author":4524,"museum":1571,"description":5214,"tags":5215,"thumbUrl":5219,"material":1227,"size":5220,"collection":6,"collections":5221,"showCount":5222,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[1154,1240,1155,1257,1464,2679,1158,1160,1210,1560,1477,1213,1494,1493,5216,2048,1261,5217,1419,1837,5218],"渔翁","芦苇","秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61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:5355,"title":5356,"dynasty":1148,"author":2425,"museum":1184,"description":5357,"tags":5358,"thumbUrl":5359,"material":5360,"size":5361,"collection":1172,"collections":5362,"showCount":5353,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[1153,1154,1155,1156,1275,1464,1158,1210,1160,1165,1437,1212,1213,1477,1261,2131,1357,1358,1561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[1172,6,1174],{"id":427,"slug":5364,"title":5365,"dynasty":1235,"author":5366,"museum":1150,"description":5367,"tags":5368,"thumbUrl":5369,"material":1195,"size":5370,"collection":6,"collections":5371,"showCount":5353,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"lang-yuan-nv-xian-tu-juan-ruan-gao-221152","阆苑女仙图卷","阮郜","“阆苑”是传说中仙人的住处，有时也指宫苑。此图描绘的当是仙山阆苑，为仙女生活游玩之地。图中描绘苍松翠竹间，一群女仙休闲的情景，其中三个地位显赫，在小仙女的陪侍下坐在一起，或执卷欲书，或展卷凝视，或拨弄三弦。四周有乘鸾女仙、乘龙女仙、驾云女仙，还有在海面上凌波漫步，缓缓而来的女仙，与地上群仙互为呼应。\n画中女仙体态纤弱，衣纹勾描细密圆软，一反唐周昉时代侍女之丰肥与衣纹线条之方硬。树枝多画成蟹爪状，画法略似李成。坡石以墨线勾，染青绿色。水纹繁复，刻划极为生动，有唐人遗风。清人高士奇在跋中云：“五代阮郜畫，世不多見。《閬苑仙女圖》曾入宣和御府，筆墨深厚，非陳居中、蘇漢臣輩所可比擬。”",[1153,1240,1154,1155,1156,1159,1158,1210,1187,1160,1165,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde423de1a5e6f1d004a4e19fd7e97f3e.jpg","纵42.7厘米，横177.2厘米。",[6,1174],{"id":428,"slug":5373,"title":5374,"dynasty":1203,"author":1291,"museum":1413,"description":5375,"tags":5376,"thumbUrl":5378,"material":2203,"size":1551,"collection":6,"collections":5379,"showCount":5353,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"liu-hai-du-hai-tu-yi-ming-219895","刘海渡海图","赤足凌于翻涌浪涛之上，衣袂被海风拂卷翻飞，仙者神色沉静安然，不见渡海的惶然。怀中紧捧三足金蟾，另一手牵系着仙桃的丝带，仙家灵韵尽数铺展。\n\n画作以劲挺流畅的线条勾勒衣褶，衣物垂坠质感尽显。细密笔触层叠出浪涛奔涌之态，虚实相映烘托出烟波浩渺的渡海意境。整体色调沉古雅致，将世外之人超凡出尘的气质晕染开来，把刘海渡海的传说融于笔墨间，空灵悠远，在叙事与审美之间达成绝妙平衡，尽显古画仙逸出尘的独特意趣。",[1154,1155,1257,1158,1159,1274,1210,5377,5115],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e14f2c2835480ab5d26a9db6287108.jpg",[6],{"id":429,"slug":5381,"title":5382,"dynasty":1252,"author":1291,"museum":1369,"description":5383,"tags":5384,"thumbUrl":5386,"material":1227,"size":1551,"collection":6,"collections":5387,"showCount":5353,"zanCount":1822,"manualWeight":1177,"mainColor":1881},"fu-hua-luo-han-jiu-zhang-lao-xiang-yi-ming-218125","佛画·罗汉九长老像","佚名的佛画 "罗汉九长老像" 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 "罗汉九长老像" 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[1153,1274,1158,1159,1157,1210,1438,1439,5385,2098],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a09e08d048331cf689d6066907fd6fc.jpg",[6],{"id":430,"slug":5389,"title":5390,"dynasty":1148,"author":1768,"museum":1369,"description":5391,"tags":5392,"thumbUrl":5395,"material":2203,"size":1551,"collection":6,"collections":5396,"showCount":5353,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"bai-miao-luo-han-tu-ce-1-li-gong-lin-218076","白描罗汉图册-1","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[1153,1154,1155,1492,1275,1464,1274,1210,5393,5394,1168],"罗汉","山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c753992917e049858fa3fcec2e2773.jpg",[6],{"id":431,"slug":5398,"title":5399,"dynasty":1367,"author":5400,"museum":1237,"description":5401,"tags":5402,"thumbUrl":5403,"material":1227,"size":5404,"collection":6,"collections":5405,"showCount":5353,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[1154,1155,1257,1158,1159,1274,1210,1258,1261,1477,1295,1191,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[6],{"id":432,"slug":5407,"title":5408,"dynasty":1203,"author":1659,"museum":1150,"description":5409,"tags":5410,"thumbUrl":5411,"material":5412,"size":5413,"collection":1538,"collections":5414,"showCount":5415,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[1153,1240,1154,1155,1492,1158,1465,1209,1160,1439,1213,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","绢本、设色","纵30.2＊横25.1CM",[1538,6,1174],76,{"id":433,"slug":5417,"title":5418,"dynasty":1203,"author":1291,"museum":1184,"description":5419,"tags":5420,"thumbUrl":5423,"material":1227,"size":5424,"collection":6,"collections":5425,"showCount":5415,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[1153,1154,1156,1158,3749,1159,2299,1796,3638,3819,1358,5421,5422],"士大夫","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","纵47横344厘米",[6,1174,1722],{"id":434,"slug":5427,"title":5428,"dynasty":1290,"author":1291,"museum":1237,"description":5429,"tags":5430,"thumbUrl":5431,"material":1227,"size":5432,"collection":6,"collections":5433,"showCount":5415,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"huo-lang-tu-zhou-yi-ming-219410","货郎图轴","货郎挑担来到牡丹花下敲锣叫卖，孩童们争相前来，有拿铜钱的、拖玩具小车、打陀螺，还有手上把玩风车，脸上洋溢着欢喜与兴奋。货郎扁担为高肩形式，装饰着一对华丽的蟠龙，这是明代流行的样式。伞盖下悬挂灯笼、葫芦。置物架上内嵌木格，装满了瓶罐、玩具，及福禄寿样貌的泥塑偶人。背景牡丹盛开，桃实累累，充满吉祥意味。",[1154,1155,1257,1159,1158,1210,1808,3475,1589,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c2e1b92d7b7e924913d4aafee674fb.jpg","183.5x116.3",[6],{"id":435,"slug":5435,"title":5436,"dynasty":1367,"author":1291,"museum":1237,"description":5437,"tags":5438,"thumbUrl":5439,"material":1227,"size":5440,"collection":6,"collections":5441,"showCount":5442,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"mei-hua-shi-nv-zhou-yi-ming-290745","梅花仕女轴","此幅画作，梅花树下，一名身形窈窕的美人，正手持铜镜，专注地妆扮着自己。身侧，并点缀了奇石和水仙花。全画的情境，被塑造得无比恬静而优雅。\n美人额间所装饰的梅花形“花钿”，似乎是整张画中最引人注目的焦点。唐代徐坚的《初学记》曾记载，南朝宋武帝（420－422在位）的女儿寿阳公主，某一日，在含章殿屋檐下休息假寐时，刚好有朵梅花掉落到她的额头上。当公主醒来起身，这朵梅花居然还停留在额间。此情此景，被宫中的女眷们看见，均大表赞赏，甚至纷纷起而仿效，掀起一股“梅花妆”的流行风潮。",[1154,1257,1158,1159,1210,1187,1421,1452,4070,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[6],75,{"id":436,"slug":5444,"title":5445,"dynasty":1203,"author":1659,"museum":1369,"description":5446,"tags":5447,"thumbUrl":5448,"material":2203,"size":1551,"collection":6,"collections":5449,"showCount":5442,"zanCount":1177,"manual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明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 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更将人物的表情、神态很传神地掌握，像这个拿著蛤蟆的孩，一脸恶作剧的神情，连手上的蛤蟆也闪著狡猾得意的笑容，而惊吓过度的孩子则蹲在地上，双手护著头，十分害怕地颤抖著，不由得令人心生爱怜，另一个见义勇为的孩子，一个箭步赶来，神情坚定地要阻止这场恶作剧，空白的背景，更加凸显他们神气活现的面貌。",[1153,1154,1155,1159,1158,1210,1808,5715,5716,5717,5718,5719,5720,5721],"蟾蜍","石榴","长命锁","金钏玉饰","端阳","恶作剧","童趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3da25db485c4495d2fa1b8a9eaea3cf.jpg","纵：88.9公分，横：51.3公分",[6],{"id":468,"slug":5726,"title":5727,"dynasty":1203,"author":5728,"museum":1237,"description":5729,"tags":5730,"thumbUrl":5732,"material":1227,"size":5733,"collection":6,"collections":5734,"showCount":5681,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","周臣","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[1153,1154,1155,1257,1158,1159,1210,1437,1439,1416,1212,1417,1297,1218,5731],"纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[6],{"id":469,"slug":5736,"title":2744,"dynasty":1367,"author":1291,"museum":1205,"description":5737,"tags":5738,"thumbUrl":5739,"material":1227,"size":5740,"collection":6,"collections":5741,"showCount":5681,"zanCount":1822,"manualWeight":1177,"mainColor":1881},"luo-han-tu-yi-ming-218310","丰腴袒胸的罗汉立于绢素之上，光头浓髯，眉目间透着沉静的威严。朱红披帛斜搭肩头，随体态垂落自然褶皱；橙黄下裳宽松覆足，赤脚踝间系着细饰，添了几分随性。右手托莲碗，碗中清莲绽放，花瓣层叠，似携着佛国的净气。\n\n线条劲挺却不失柔润，勾勒出肌肤的丰腴与衣物的质感；设色古朴雅致，朱红与橙黄的暖调衬着绢本的古旧底色，更显沉静。整幅画将罗汉的庄重与生活化细节相融，既见佛法的肃穆，又含人间温情——似在无声传递禅意的悠远，让观者于古雅笔墨中，触到佛性与人性交织的温度。\n\n笔墨间藏着元代人物画的凝练，每一处褶皱、每片莲瓣都透着匠人的用心，把罗汉的神性与烟火气揉得恰到好处，似一幅流动的禅语，静静诉说着时光里的禅意绵长。",[1154,1155,1257,1158,1210,1274,1259,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e1ecce8051f6de779a1b198f6fa590.jpg","112.4x49.1",[6],{"id":470,"slug":5743,"title":5744,"dynasty":1367,"author":5745,"museum":1237,"description":5746,"tags":5747,"thumbUrl":5749,"material":1227,"size":5750,"collection":6,"collections":5751,"showCount":5681,"zanCount":1822,"manualWeight":1177,"mainColor":1881},"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","盛懋","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[1154,1155,1240,1257,1160,1210,5748,1165,1439,1465,1464,1158],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8",[6],{"id":471,"slug":5753,"title":5754,"dynasty":1203,"author":1291,"museum":1413,"description":5755,"tags":5756,"thumbUrl":5758,"material":1227,"size":5759,"collection":6,"collections":5760,"showCount":5681,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"si-ma-guang-gui-yin-tu-yi-ming-215030","司马光归隐图","独乐园 是宋代司马光在熙宁六年（1073年）左右建造的，虽然不是什么宏伟的房子，但因为司马光在这里写了《资治通鉴》，苏轼等人也在这里写了诗，所以它就出名了。李格非的《洛阳名园记》描述了该园的 水笔、读书堂、鱼贯寺、药园 和 竹园。《竹园》、《看山台》、《浇花》中也对这七种景象进行了简单的描述。这张图片是对竹子种植园的故事的描述。画中的鲜活人物可与晋国的陶渊明媲美。",[1153,1154,1158,1159,1210,2632,1213,1439,5757],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32007569961fc2242c4cd2050def5e9.jpg","76x136",[6],{"id":472,"slug":5762,"title":5763,"dynasty":1367,"author":1865,"museum":1237,"description":5764,"tags":5765,"thumbUrl":5766,"material":1496,"size":5767,"collection":6,"collections":5768,"showCount":5681,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[1153,1154,1155,1156,1158,1160,1210,1358,1561,1357,1165,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[6],{"id":473,"slug":5770,"title":5771,"dynasty":1148,"author":1291,"museum":1369,"description":2888,"tags":5772,"thumbUrl":5773,"material":2891,"size":2892,"collection":1172,"collections":5774,"showCount":5775,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"luo-shen-tu-juan-yi-ming-223548","洛神图卷",[1153,1154,1155,1156,1158,1159,1561,1357,1210,1160,1165,1439,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg",[1172,6,1174],69,{"id":474,"slug":5777,"title":5778,"dynasty":1203,"author":5779,"museum":1369,"description":5780,"tags":5781,"thumbUrl":5783,"material":2203,"size":1551,"collection":6,"collections":5784,"showCount":5775,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"zhong-kui-yi-jia-tu-qian-gu-220103","钟馗移家图","钱谷","钱谷（公元1508~1578年），字叔宝，号磬室，江苏苏州人。好读书，曾手抄稀有书籍，跟从文征明学习诗文书画。山水笔墨疏朗稳健，也能画人物、兰竹，风格较平实。编有〈续吴都文粹〉等。作品有〈雪山策骞图轴〉，〈虎丘前山图轴〉，〈董姬像（册页）〉，〈晴雪长松图轴〉。",[1153,1154,1155,1156,1275,1158,1210,5782,1274,1357],"鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee38741396103f6c03bb189f8e3e50a.jpg",[6],{"id":475,"slug":5786,"title":2744,"dynasty":1203,"author":5787,"museum":1237,"description":5788,"tags":5789,"thumbUrl":5790,"material":1227,"size":5791,"collection":6,"collections":5792,"showCount":5775,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"luo-han-tu-song-xu-216948","宋旭","这是一幅达摩面对水面的画作，看起来很疲惫，嘴唇紧闭在思考。笔触重而不浊，是宋旭的原画风格。",[1154,1257,1158,1210,1160,1796,1261,1168,1465,1274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd87f722f408a0c00a88f3338e2dc80.jpg","140.6x36.3",[6],{"id":476,"slug":5794,"title":5795,"dynasty":1252,"author":2024,"museum":1369,"description":5796,"tags":5797,"thumbUrl":5798,"material":1551,"size":1551,"collection":6,"collections":5799,"showCount":5800,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"bai-kai-luo-han-tu-1-shi-tao-228989","百开罗汉图1","《石涛罗汉百开册页》是石涛青年时期绘制的工笔人物作品，为完整一百开册页，共画山水背景中的罗汉人物1位，各册页中罗汉左右分别陪饰众多人物及似龙、虎、鹿、狮等神兽形象。\n根据 在画中自题，最早一开创作于“丁未” (1667 年)，石涛时年26岁。\n整套册页作品分别作于1667年、1669年、167年，1672年，即从石涛的26岁至1岁，历时6年之久，实为石涛倾力之作。\n《罗汉百开图》册页集人物、山水、花鸟之大成，是石涛技艺日臻成熟时的作品，所绘人物，造型生动，神态各异，笔墨洗练，叙事清楚，饱含人文情怀。\n石涛最早的人物画是康熙时期所作的《百美图》，这是对仇英作品的临摹，更是一次再创作。\n吴湖帆正是看了此画，才有上面提到的‘石涛画人物最佳’之说。\n这幅画被石涛的老师梅青借走，供于香案之上，每日膜拜，后不知所踪。\n美国大都会博物馆所藏《十六应真图》，长达六米，人物纯用线描，而配以山水背景。\n另外还听说波士顿博物馆藏有一幅石涛人物画。\n有记录的石涛作品，现存世约4件，《石涛罗汉百开册页》占了其中1件。\n崔如琢还另外藏有石涛的两套册页以及手卷、中堂、条幅若干，藏品总数达1件，应该是收藏石涛作品最多的人。\n但他始终认为，《石涛罗汉百开册页》的价值最为独特，较之同时代西方文艺复兴时期的绘画，无论内容、题材、技法都称得上相映生辉。",[1154,1155,1274,1464,1275,1210,1493,1261,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedcff1d2c958f6590b2e104032c599.jpg",[6],68,{"id":477,"slug":5802,"title":5803,"dynasty":1252,"author":5804,"museum":1517,"description":5805,"tags":5806,"thumbUrl":5807,"material":1227,"size":5808,"collection":6,"collections":5809,"showCount":5800,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"ma-gu-jin-jia-tu-xiang-kun-219518","麻姑晋斝图","项焜","画中麻姑乘槎浮于沧溟之上，鬓簪粉花，身着绣彩华裳，手持长篙缓行。仙槎遍缀灼灼牡丹，置放献礼樽斝，浪涛以淡赭浅墨晕染，烟霭水色清润朦胧。工笔勾勒仕女柔婉细腻，衣纹走线精工匀净，设色明丽柔和，晕染自然雅致。她垂首敛眉，神态温婉娴静，将赴宴献寿的虔诚柔态尽显。整幅作品兼具雅致装饰意趣与清隽仙逸氛围，尽显古典仙佛仕女题材画作的悠然意韵。",[1154,1155,2543,1158,1159,1210,1187,1242,1295,1478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99442fb06e9016f86d9569ee343991a6.jpg","21x25cm",[6],{"id":478,"slug":5811,"title":5812,"dynasty":1252,"author":1399,"museum":1237,"description":5813,"tags":5814,"thumbUrl":5815,"material":1227,"size":5816,"collection":6,"collections":5817,"showCount":5800,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"ren-wu-tu-leng-mei-219379","人物图","在这幅画中，高石在雪地里探寻梅花，冷画大师焦秉祯经常使用透视和凹凸阴影。 色彩鲜艳明快，笔墨工整。",[1154,1240,1155,1257,1159,1158,1210,1160,1452,1260,1191,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[6],{"id":479,"slug":5819,"title":2744,"dynasty":1148,"author":1291,"museum":1237,"description":5820,"tags":5821,"thumbUrl":5823,"material":1227,"size":5824,"collection":6,"collections":5825,"showCount":5800,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"luo-han-tu-yi-ming-218719","在花园的一个角落里，一个盘腿的罗什坐在冥想椅上，右手拿着一个花瓶，从花瓶里向天空照出一道红光。椅子前面是一张花台，上面有一盆植物和一个香炉，花台前面是一个人，手里拿着一个宝箱。颜色鲜艳，装饰柔和，笔触精确。罗汉和拜师者衣服上的凤凰和花朵图案，禅椅上的锦垫，花几上的花巾，禅椅上的树和坐垫，甚至拜师者的头发，都刻画得非常细致，可与刘松年的罗汉院画相媲美。",[1153,1154,1155,1257,1158,1159,1274,1210,5393,1531,1417,5822,4168,2904,1165,1783],"座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd362133adfb33f41649c7af71c1066fb.jpg","105.5x55.6",[6],{"id":480,"slug":5827,"title":5828,"dynasty":1252,"author":3530,"museum":1150,"description":5829,"tags":5830,"thumbUrl":5833,"material":1227,"size":5834,"collection":6,"collections":5835,"showCount":5800,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[1153,1154,1155,1156,1159,1158,1210,5831,1190,5641,5832,3979,3934,5141,1344,1358,1561,1357],"菊","椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[6],{"id":481,"slug":5837,"title":5838,"dynasty":1203,"author":5839,"museum":1150,"description":5840,"tags":5841,"thumbUrl":5842,"material":1170,"size":5843,"collection":6,"collections":5844,"showCount":5845,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"sui-chao-jia-zhao-tu-zhu-jian-shen-222082","岁朝佳兆图","朱见深","画幅右上方有明宪宗朱见深御题：“柏柿如意。一脉春回暖气随，风云万里值明时。画图今日来佳兆，如意年年百事宜。”款署：“成化辛丑文华殿御笔”，钤“广运之宝”。\n图中画钟馗，犀利的目光紧盯着飞来的蝙蝠，一手持如意，一手扶在小鬼的肩头；小鬼双手捧着盛有柿子和柏枝的托盘，寓意“百事如意”。\n明代以前，悬挂钟馗像是年节时一项重要的风俗活动，用以驱鬼辟邪，至明清之交此风俗才渐渐移向端午，所以这幅“岁朝佳兆图”可以看作是一幅祈祥祝福的宫廷年画。此图作于成化十七年（1481年），画法老练，衣纹的勾描顿挫有力，人物的造型生动夸张，显示了这位皇帝画家的娴熟技能。",[1153,1240,1154,1155,1257,1158,1159,1275,1210,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b9fc4e6f55bfb12448810b6d3f9227.jpg","纵59.7厘米，横35.5厘米",[6,1174],67,{"id":482,"slug":5847,"title":5848,"dynasty":1252,"author":1570,"museum":1369,"description":5849,"tags":5850,"thumbUrl":5854,"material":1227,"size":5855,"collection":6,"collections":5856,"showCount":5845,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ting-qin-tu-yu-lan-218491","听琴图","幽篁入镜，琴音似萦。室内雅集间，主人横琴而坐，指下弦动；侧畔听者凝神，眉宇间尽是悠然。侍女轻持乐器侍立，案上文玩罗列，红萼点缀其间，更添几分雅致。窗外竹影婆娑，与镜中幽林相映，虚实交织间，尽显文人闲逸之趣。笔墨细腻，器物精描，人物神态宛然，将一段琴韵中的闲适时光，凝于绢素之上，引人沉醉于这清寂又温暖的雅境里。",[1154,1240,1159,1158,1210,3502,1241,3933,1258,5851,2872,5852,5853],"文玩","闲逸","室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79ea1cf75ecae2ee4a8c203cf5dc219.jpg","88x41.7",[6],{"id":483,"slug":5858,"title":4350,"dynasty":1148,"author":1291,"museum":4598,"description":5859,"tags":5860,"thumbUrl":5861,"material":1772,"size":5862,"collection":6,"collections":5863,"showCount":5845,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"jiu-ge-tu-yi-ming-217001","此《九歌图》共九段，分别绘《东君》《河伯》《湘夫人》《大司命》《少司令》《云中君》《湘君》 《山鬼》《国荡》，缺《东皇太一》《礼魂》。",[1153,1154,1155,1156,1275,1464,1210,4127,2098],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec00dfbd7a8b8065f4b1da78192376.jpg","33x743",[6],{"id":484,"slug":5865,"title":5866,"dynasty":1252,"author":5867,"museum":1237,"description":5868,"tags":5869,"thumbUrl":5870,"material":1227,"size":5871,"collection":6,"collections":5872,"showCount":5845,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"li-zhu-cui-xiu-ce-liang-mu-lan-he-da-zi-216968","丽珠萃秀册-梁木兰","赫达资","梁木兰是清朝著名的艺术家，她是在《丽珠萃秀册》中被介绍的。《丽珠萃秀册》是一部清朝时期的艺术名录，其中记录了当时著名的艺术家、书画家、雕塑家、音乐家和舞蹈家的作品和生平经历。梁木兰是其中的一位艺术家，她出身于辽宁省大连市，在清朝时期以其精湛的书法和绘画技艺而闻名。",[1154,1155,1492,1158,1159,1210,1261,1160,1828,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607e3ef4147ab6d830a434d5bcc7fcb8.jpg","30.1x22.5",[6],{"id":485,"slug":5874,"title":5875,"dynasty":1252,"author":5876,"museum":1369,"description":5877,"tags":5878,"thumbUrl":5879,"material":1227,"size":5880,"collection":6,"collections":5881,"showCount":5845,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[1153,1154,1155,1156,1209,1158,1159,1465,1210,1796,1439,1165,1357,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[6],{"id":486,"slug":5883,"title":3072,"dynasty":1148,"author":2057,"museum":3073,"description":5884,"tags":5885,"thumbUrl":3079,"material":1227,"size":1551,"collection":6,"collections":5886,"showCount":5887,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"yu-le-tu-ma-yuan-219863","画面截取边角山水景致，峭壁斜出，虬松探枝舒展，笔墨刚劲爽利，斧劈皴利落勾勒山石棱角，尽显苍劲雄浑。\n\n水岸平滩处，二渔人相对促膝，姿态松弛随意，似正畅谈渔间趣事，简笔淡墨便将隐逸闲适的情态尽数铺陈。远景山峦含混于烟霭间，水色空蒙辽远，留白虚实相生，将江天寥廓的空寂意境晕染开来，把江湖渔隐的悠然意趣藏于尺幅之间，观之令人忘却尘嚣。",[1154,1240,1155,1160,1210,1560,1493,1439,3078,1465,1464,1158,1729],[6],66,{"id":487,"slug":5889,"title":5890,"dynasty":1148,"author":2057,"museum":1237,"description":5891,"tags":5892,"thumbUrl":5894,"material":1227,"size":5895,"collection":6,"collections":5896,"showCount":5887,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"song-quan-shuang-niao-tu-ma-yuan-219611","松泉双鸟图","画士人执拂麈坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝桠笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[1153,1154,1240,1158,1159,1465,1796,5893,1477,1210,1439,1213,4127],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fbf9bf28988f8ff5408f7b8b0a37cf5.jpg","26.8x53.8cm",[6],{"id":488,"slug":5898,"title":5899,"dynasty":1367,"author":1291,"museum":5900,"description":5901,"tags":5902,"thumbUrl":5905,"material":1496,"size":5906,"collection":6,"collections":5907,"showCount":5887,"zanCount":1577,"manualWeight":1177,"mainColor":1178},"hu-ren-yu-ma-tu-yi-ming-218944","胡人圉马图","丹佛艺术博物馆","红衣宽袍的胡人侧立，毡帽下须髯轻垂，手中长鞭斜握，缰绳牵住花斑骏马。马身丰腴却见筋骨，花斑错落如流云散雪，鬃尾以浓淡墨色晕染，线条流畅间透着矫健。人与马的姿态舒缓，似在旷野缓行，素净的背景更衬出红衣的暖艳与马的沉静。笔致简练却神形毕肖，胡人眉眼间藏着游牧民族的质朴沉毅，骏马的温顺与灵动跃然纸上。画面虽静，却仿佛能感知风过草甸的轻响，尽显元代绘画面向生活的写实意趣与含蓄韵味。",[1240,1154,1155,1159,1158,1275,1210,1389,5903,1344,5904],"胡人","马鞭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932df26e99bdc85330734a726db7ce26.jpg","29.5x45cm",[6],{"id":489,"slug":5909,"title":1448,"dynasty":1203,"author":1291,"museum":1413,"description":5910,"tags":5911,"thumbUrl":5912,"material":1227,"size":1551,"collection":6,"collections":5913,"showCount":5887,"zanCount":1822,"manualWeight":1177,"mainColor":1881},"sui-chao-tu-yi-ming-218478","庭院深深，松枝覆瓦，梅蕊缀枝，晕开岁朝的暖意。廊下阶前，人影错落：或凭栏低语，衣袂轻扬；或庭中嬉戏，笑靥隐现；或执伞徐行，步履从容。朱檐黛瓦间，花木扶疏，将新年的热闹藏进每一处细节。人物衣饰虽简，却见情态生动，或立或坐，或俯或仰，皆透着阖家团聚的温馨。\n\n整幅画以细腻笔触勾勒宅院格局，用含蓄色彩晕染节庆氛围，不见喧嚣却满是祥和，似能闻得笑语穿林，触到岁时流转的温柔。明代画风的写实与意趣在此交融，将寻常人家的新年光景，凝作一纸隽永的吉祥图卷。",[1154,1158,1159,1208,1210,1211,1219,1165,1478,1257,1187,1437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7171fb6577a794a15f1f49797f21e776.jpg",[6],{"id":490,"slug":5915,"title":5916,"dynasty":1367,"author":1291,"museum":3073,"description":5917,"tags":5918,"thumbUrl":5919,"material":1227,"size":5920,"collection":6,"collections":5921,"showCount":5887,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"mei-zhu-shi-nv-tu-yi-ming-218468","梅竹仕女图","淡墨晕染开古雅绢本的温润底色，素衣仕女伫立坡岸。云鬓轻挽，身姿婉约，似凝眸梅枝间疏影横斜，又若静听竹梢上风声细语。老梅虬枝盘曲，新蕊隐现；修竹挺秀，竹叶婆娑，与梅枝相映成趣。画面构图疏朗，留白得宜，墨色浓淡相宜。笔意细腻却不繁缛，线条流畅中含含蓄。仕女眉宇间的淡淡情思，与梅竹的清逸孤高相契，融成一片幽远沉静的意境。古典雅致的韵致流淌其间，仿佛能触到绢丝上的时光温度，窥见文人笔下的温婉灵秀，尽展东方美学的含蓄之美与悠然情致。",[1153,1154,1155,2543,1158,1210,1187,1452,1258,1261,1159,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f37405abe06d3ec65e0911fa250c43.jpg","22.86x22.23",[6],{"id":491,"slug":5923,"title":5924,"dynasty":1252,"author":2676,"museum":1369,"description":5925,"tags":5926,"thumbUrl":5929,"material":1227,"size":5930,"collection":6,"collections":5931,"showCount":5887,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"qiu-lin-dui-yin-tu-ren-yi-218288","秋林对吟图","秋林如染，丹红似火的枝桠与橙黄若霞的树冠交叠，墨绿深影衬出沉郁，青蓝树影添了清奇。虬曲树干上斑驳树瘤如岁月印记，苍劲中藏着灵动。林间两人对吟，衣袂轻扬间似有清声随林风漫溢，闲逸之态与秋林绚烂相映成趣。笔墨兼具工致与写意，树色浓淡、枝干皴擦透着自然生机；人物简笔勾勒，更显文人雅集的悠然。整卷将秋的浓郁与人文之趣融于一体，观之如临其境，仿佛触到林风温润，听见诗句回响。",[1153,1154,1158,2494,5927,1210,1160,1213,2679,1159,2299,5852,5928],"秋林","虬干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74afa578b5504f46957f28934b0ca53.jpg","144x77.5",[6],{"id":492,"slug":5933,"title":5934,"dynasty":1203,"author":2167,"museum":1369,"description":5935,"tags":5936,"thumbUrl":5937,"material":2203,"size":1551,"collection":6,"collections":5938,"showCount":5887,"zanCount":1177,"manualWeight":1177,"mainColor":1881},"shui-hu-quan-tu-du-jin-217180","水浒全图","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[1154,1155,1492,1275,1208,1210,1211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd1806824c0c79c76f3500636299236.jpg",[6],{"id":493,"slug":5940,"title":5941,"dynasty":1252,"author":1291,"museum":2127,"description":5942,"tags":5943,"thumbUrl":5947,"material":1227,"size":1551,"collection":6,"collections":5948,"showCount":5949,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"hu-ren-xing-lv-tu-yi-ming-219478","胡人行旅图","此作以枯寂寒荒的塞外平野为底，疏槎兀立，淡墨晕染出土石的荒寒之气。画面里的行旅队伍意态生动，有人策骑缓行，裹紧衣袍抵御朔风，有人牵马驻足，与同伴低语暂歇，鞍上驮囊暗合行路迢遥。\n\n笔触简淡古雅，设色沉着温润，将边地行旅的羁旅劳顿，同侪间的松弛慰藉细腻铺陈。未刻意描摹壮阔景致，只截取这一段行路日常，便将塞外游子的漂泊况味尽显，带着质朴厚重的边地生活质感，淡远的氛围感勾画出羁旅之人的漫漫归途。",[1240,1154,1158,1210,1389,3228,2131,5944,5945,5946],"羁旅","行旅","塞外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64831dedfb1933a98537829e6477b59c.jpg",[6],65,{"id":494,"slug":5951,"title":5952,"dynasty":1252,"author":5953,"museum":1571,"description":5954,"tags":5955,"thumbUrl":5956,"material":1496,"size":1551,"collection":6,"collections":5957,"showCount":5949,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"zhu-cha-xi-yan-tu-zhou-qian-hui-an-219427","煮茶洗砚图轴","钱慧安","此画作于同治十年辛未（1870）。画一文士安坐水榭，石案上摆放着陶壶瓷杯、古鼎铜尊，与琴书相伴。两个小童一人正在煮茶，另一人则在溪边洗刷砚台，水面清透，可见金鱼数条。画上篆书画题“煮茶洗砚”，钤“吉生”朱文钱形印。",[1154,1155,1159,1158,1210,1437,1213,1261,1260,1796,1440,2279,2277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c2c4a3ab8226ebbe0005936e35de5b.jpg",[6],{"id":495,"slug":5959,"title":5960,"dynasty":1148,"author":5961,"museum":2707,"description":5962,"tags":5963,"thumbUrl":5966,"material":1227,"size":5967,"collection":6,"collections":5968,"showCount":5949,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"shi-wang-tu-ce-lu-xin-zhong-219027","十王图册","陆信忠","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[1153,1274,1159,1158,1210,1211,5964,1191,1260,5965],"鬼神","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d532ab5c900a8a678b7aae912853ec.jpg","85.9x50.8",[6],{"id":496,"slug":5970,"title":5971,"dynasty":1367,"author":5972,"museum":1369,"description":5973,"tags":5974,"thumbUrl":5975,"material":1227,"size":5976,"collection":6,"collections":5977,"showCount":5949,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"xie-qin-guan-pu-tu-liu-guan-dao-218381","携琴观瀑图","刘贯道","层岩间烟岚轻笼，飞瀑自云端垂落漱石。虬松盘曲崖畔，老干如铁，松针如簇，漏下细碎天光。树下石矶上，二三雅士或对坐清谈，或凭石凝睇飞瀑，另有一人携琴而立，似欲鼓琴和鸣山水。笔墨苍劲中见秀逸，山石勾勒简练，松枝墨色有浓淡层次，人物衣袂飘飘神态悠然。整体意境清旷淡远，尽显文人寄情山水、畅怀林泉的雅趣，松涛与瀑声相和，知己围坐论道，心随画境飘向烟水深处。",[1154,1155,1240,1257,1158,1465,1160,1210,1649,3299,1439,1165,3933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c2da0de3b85af27da0921f07f0a3cb.jpg","184.3x68.2",[6],{"id":497,"slug":5979,"title":5980,"dynasty":1203,"author":5981,"museum":1413,"description":5982,"tags":5983,"thumbUrl":5985,"material":1227,"size":5986,"collection":6,"collections":5987,"showCount":5949,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"zhu-mai-chen-fu-xin-du-shu-tu-shi-rui-215025","朱买臣负薪读书图","石锐","该图描绘了西汉时期的大臣朱买臣，在得到汉武帝的赏识之前，他在家中一边读书，一边靠打柴为生。这个人物优雅的举止使他有别于普通的木匠，他的双手专注于书本，表明他是一位牧师。人物身上的笔触与物体的画像形式相对应，石头也是以夏的方式刮擦的。然而，其中一个手指不见了，以史睿的地位，似乎不太可能犯这样的小错误。虽然不能确定其年代，但可以断定其年代为明代",[1153,1240,1154,1155,1257,1158,1159,1210,1165,1439,4979,5984,5021],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f1c51e57b673059f5905e665bc312ca.jpg","126x75",[6],{"id":498,"slug":5989,"title":5990,"dynasty":1367,"author":5991,"museum":1254,"description":5992,"tags":5993,"thumbUrl":5994,"material":1772,"size":5995,"collection":6,"collections":5996,"showCount":5949,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"wu-zu-zai-lai-tu-yin-tuo-luo-214296","五祖再来图","因陀罗","因陀罗（1247-1317）是元代著名的画家，他的《元五祖再来图》是其代表作之一。\n\n《元五祖再来图》描绘了五位道士依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出五位道士与山林的和谐关系。因陀罗在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《元五祖再来图》被认为是因陀罗写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《元五祖再来图》也是收藏家们青睐的经典之作。\n\n因陀罗的《元五祖再来图》是一幅描绘五位道士依山而居的画作，它体现了道家哲学中“和谐”的理念。五位道士与周围的山林和谐相处，表现出人与自然和谐共处的理想。因陀罗的《元五祖再来图》不仅是一幅精美的画作，更是一首关于人与自然和谐相处的诗篇。",[1153,1154,1155,1240,1275,1464,1210,1493,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce02a048b10ef3981bf016dade452b6.jpg","32.7x44.6",[6],{"id":499,"slug":5998,"title":5999,"dynasty":1148,"author":6000,"museum":1237,"description":6001,"tags":6002,"thumbUrl":6003,"material":1195,"size":6004,"collection":1172,"collections":6005,"showCount":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当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[1153,1240,1154,1155,1274,1208,1158,1210,1439,1168,1218,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[6],{"id":502,"slug":6024,"title":6025,"dynasty":1252,"author":6026,"museum":1571,"description":6027,"tags":6028,"thumbUrl":6029,"material":1227,"size":1551,"collection":6,"collections":6030,"showCount":6006,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"xie-liu-ru-shi-fu-jin-xiao-xiang-tu-gu-shao-218387","写柳如是幅巾小象图","顾韶","顾韶，字螺峰，钱塘(今杭州)人。清代画家顾洛女。其父擅人物、山水、花卉、翎毛，尤长仕女。写古衣冠，渊雅静穆。顾韶得父真传，人物、花卉臻妙，尤妙婴戏图。\n这幅肖像所画人物为明末清初名妓柳如是。上书小篆“柳如是幅巾小象”，落款“螺峰女史顾韶学画”，钤“螺峰”朱白文印。\n柳如是（1618—1664）本姓杨，名爱，字蘼芜，又有影怜、云娟等别名，改姓柳，名是，又名隐，字如是，号我闻室主人，人称河东君。嘉兴人。明末名妓，秦淮八艳之一。幼年为盛泽徐氏养女，后入吴江故相周道登家为侍婢。继为盛泽归家院妓，能诗善画，曾结交陈子龙，欲托身而未能。后嫁钱谦益为妾，南明亡，劝谦益殉国，不能从。谦益卒，族人争产，自经死。有《戊寅草》、《湖上草》等。\n史载柳如是喜男装。这幅小象中，她幅巾广袖，风姿如玉，眉目间自有清逸之气，可谓传神。",[1154,1155,1257,1275,1158,1210,1187,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9021ddbd10d5a9fe53dfbc4a7171900.jpg",[6],{"id":503,"slug":6032,"title":2744,"dynasty":1252,"author":3872,"museum":1517,"description":6033,"tags":6034,"thumbUrl":6035,"material":1772,"size":6036,"collection":6,"collections":6037,"showCount":6006,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"luo-han-tu-jin-nong-218382","这是一幅长须罗汉坐在棕榈树下，神态安详的画，他已经获得了大罗汉的果位。这幅画是金农人物画的代表作。",[1153,1154,1155,1257,1274,1275,1464,1210,1438,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75ebb87baf372dcdb84c225c1bba02a.jpg","69.1x25.5",[6],{"id":504,"slug":6039,"title":6040,"dynasty":1182,"author":6041,"museum":1150,"description":6042,"tags":6043,"thumbUrl":6044,"material":1227,"size":6045,"collection":6,"collections":6046,"showCount":6006,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"liu-zun-zhe-xiang-tu-ce-lu-leng-qie-218143","六尊者像图册","卢楞伽","卢楞伽（生卒年不详），长安（今西安）人。学画于吴道子，喜作经文变相一类绘画，唐玄宗驻跸四川期间由汴入蜀，声名益著。乾元（758-760年）初于大圣慈寺画行道僧，颜真卿为之题名，号称“二绝”。",[1153,1154,1155,1492,1158,1159,1274,1210,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc5667212353981bcfb16635801cb73.jpg","30x58",[6],{"id":505,"slug":6048,"title":6049,"dynasty":1235,"author":4400,"museum":1237,"description":6050,"tags":6051,"thumbUrl":6052,"material":1227,"size":1551,"collection":6,"collections":6053,"showCount":6006,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"luo-han-zhou-guan-xiu-216985","罗汉轴","罗汉图是五代十国时期的一件珍贵的文物。它是一幅画，描绘了佛教的著名的罗汉（又被称作“菩萨”）。这幅画的特别之处在于，它是由贯休所画。\n\n贯休（907年-971年）是五代十国时期的一位著名的佛教徒和文学家。他是宋朝的开国皇帝赵匡胤的政治顾问，在赵匡胤建立宋朝后，贯休成为了宋朝的一位高级官员。贯休是当时佛教界的知名人士，他著有许多佛教经典，并且在佛教研究方面有很高的造诣。\n\n罗汉图是五代十国时期最重要的佛教文物之一，它对于研究这一时期的佛教文化和历史具有重要的价值。",[1154,1155,1257,1274,3749,1158,1159,1210,1297,1589,3135,2217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dce4cc8cc12226031be8f6e4d29a72c.jpg",[6],{"id":506,"slug":6055,"title":6056,"dynasty":1252,"author":1674,"museum":1150,"description":6057,"tags":6058,"thumbUrl":6059,"material":1170,"size":6060,"collection":6,"collections":6061,"showCount":6062,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"duan-yang-gu-shi-tu-ce-xu-yang-238204","端阳故事图册","此图册各开分别描绘了端阳节期间的重要民俗活动，集中表现了历代各地的风俗习惯。每开均以隶书题写画名，并以行书对画作加以注释，以便读者进一步理解画面内容。乾隆皇帝作为出身于满族的清王朝统治者，将顺民心、近民俗视为稳定朝政的一条治国的根本之道，他常谕令宫廷画家以写实的绘画技法表现汉族的民俗事象，除谕令徐扬绘本图册之外，还谕令徐扬绘《姑苏繁华图》、《京春诗意图》，以及命宫廷画家周鲲绘《村市生涯图》等等，以便对汉民族的风俗传统有更为形象的认知。\n第一开名《射粉团》，题：“射粉团，唐宫中造粉团角黍饤盘中，以小弓射之，中者得食。”\n第二开名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。”\n第三开名《採药草》，题：“五日午时蓄採众药治病，最效验。”\n第四开名《养鸲鹆》，题：“取鸲鹆儿毛羽新成者去舌尖，养之皆善语。”\n第五开名《悬艾人》，题：“荆楚风俗以艾为人悬门户上，以禳毒气。”\n第六开名《系采丝》，题：“系采丝，以五色丝系臂，谓之长命缕。”\n第七开名《裹角黍》，题：“以菰叶裹粘米为角黍取阴阳包裹之义，以赞时也。”\n第八开名《观競渡》，题：“观競渡，聚众临流称为龙舟胜会。”\n此图册构图严谨精妙，人物造型秀逸生动，线条遒劲流畅，色彩明丽典雅，显示出作者较强的写实功底和乾隆朝宫廷绘画工整清丽的笔墨特点。\n图册上钤有乾隆皇帝诸方玺印：“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等。",[1154,1155,1492,1159,1158,1210,1438,1357,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23165b22fac125b7d6ddb6e8f6f1549e.jpg","每开纵20.7厘米，横18.2厘米",[6,1174],63,{"id":507,"slug":6064,"title":6065,"dynasty":1252,"author":1291,"museum":1369,"description":6066,"tags":6067,"thumbUrl":6068,"material":1551,"size":1551,"collection":6,"collections":6069,"showCount":6062,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"hong-ren-shan-shui-ce-yi-ming-235155","弘仁山水册","此作为书画合璧，题字行书清隽疏朗，诗文自带幽寂襟怀，与下幅山水浑然相融。\n\n画面以淡墨皴擦写秋山，山石造型方硬简劲，不作繁复修饰，尽显冷峻清瘦之态。几株疏木错落林间，枝叶简淡萧疏，衬出空山寥落之境。林下二人对坐晤谈，于幽寂山境中添上几分文人情致，不见烟火气，只余林泉高致。整幅笔墨极简，却将静穆淡远的出世意趣尽数铺陈，淡而不枯、简而不空，尽显文人山水画以简驭繁的悠远意境，藏着寄心林泉的幽然雅怀。",[1154,1155,1492,1464,1465,1160,1165,1439,1210,2632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5652b925f461d694a5eb18ea56028f.jpg",[6,1722],{"id":508,"slug":6071,"title":6072,"dynasty":1252,"author":4198,"museum":1237,"description":6073,"tags":6074,"thumbUrl":6075,"material":2203,"size":6076,"collection":6,"collections":6077,"showCount":6062,"zanCount":1177,"manu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古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[1153,1154,1155,1492,1275,1210,1160,1165,1437,1477,1389,1213,2131,1211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[6],{"id":533,"slug":6278,"title":6279,"dynasty":1203,"author":6280,"museum":1237,"description":6281,"tags":6282,"thumbUrl":6289,"material":1227,"size":6290,"collection":6,"collections":6291,"showCount":6214,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"qi-xian-tu-juan-liu-zhong-xian-218267","七贤图卷","刘仲贤","素绢之上，赭黄底色晕染出古朴雅致的氛围。雅士们或踞坐鼓琴，指尖似凝弦上意；或对弈楸枰，棋局间藏尽机锋；或醉卧倾杯，醺然态尽显放达；或执笔临帖，墨痕若带纸间香。人物衣袂翩然，线条流畅婉转，神态鲜活灵动——鼓琴者专注，对弈者凝思，醉酒者憨态，执笔人沉静。简淡背景未加繁复修饰，却将文人雅集的闲适超脱烘托得淋漓尽致。笔墨间暗蕴魏晋风骨余韵，将古代文人的精神情致凝成永恒画面，尽显生活之趣与心灵之境。",[1153,1154,1155,1156,1158,1159,1210,2299,1241,6283,6284,3819,6285,3955,5643,2989,6286,6287,6288,3638],"棋具","酒器","古琴","对弈","书写","古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e87f9ff8949e45d600c5bd0cd4deed.jpg","31.4x128.5",[6],{"id":534,"slug":6293,"title":6294,"dynasty":1367,"author":5518,"museum":1369,"description":6295,"tags":6296,"thumbUrl":6297,"material":1772,"size":1551,"collection":6,"collections":6298,"showCount":6214,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"xue-ye-fang-dai-tu-zhang-wo-218244","雪夜访戴图","疏枝横斜，托出夜雪的清寒；孤棹轻漾，载得随性的旷达。画面中，枯树虬劲如铁，寒江空蒙似练，小舟泊于岸侧，篷窗半掩。舟中人物或凭舷凝思，或敛袖安坐，神态悠然自适。此作取王子猷雪夜访戴典故，不着一字写雪，却以萧索枯枝、静谧孤舟暗合冬夜清寂。笔墨简练传神，线条流畅婉转，皴染淡雅自然，将魏晋士人“乘兴而来，兴尽而返”的旷达心境，融入寒江孤棹的图景。观者仿佛能透过纸面，触摸那份不拘形迹的自在，感受超脱世俗的精神余韵，尽显古典文人画的意境之美。",[1154,1155,1275,1464,1210,1560,3228,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52371083784394e711a04b815e88c70f.jpg",[6],{"id":535,"slug":6300,"title":6301,"dynasty":1148,"author":1768,"museum":1369,"description":6302,"tags":6303,"thumbUrl":6305,"material":2203,"size":1551,"collection":6,"collections":6306,"showCount":6214,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"bai-miao-shi-liu-luo-han-du-hai-tu-li-gong-lin-218088","白描十六罗汉渡海图","宋朝时期，有一位名叫李公麟的画家，他创作了一幅名为“白描十六罗汉渡海图”的作品。这幅画描绘了十六位罗汉在海上渡江的情景。\n\n在这幅画中，十六位罗汉都站在船上，举着经书，准备渡江。他们身穿红袈裟，头戴黄色的僧帽，神情肃穆。周围的水面上有许多小鱼和蝴蝶在玩耍。\n\n这幅画的背景是一片蔚蓝的天空和海水，上面有云朵在飘动。整幅画的画风简洁明快，线条流畅，色彩明亮，充满了生机和动感。\n\n这幅画反映了宋朝佛教文化的特点，也是李公麟作品中的经典之作。",[1153,1154,1156,1275,1274,1210,1160,5393,6304],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fe367beaa46b579b2e0e93d18fe367.jpg",[6],{"id":536,"slug":6308,"title":5110,"dynasty":1203,"author":5111,"museum":6309,"description":6310,"tags":6311,"thumbUrl":6313,"material":1227,"size":1551,"collection":6,"collections":6314,"showCount":6315,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"liu-hai-xi-chan-tu-liu-jun-219498","中国美术馆","画中主人公笑容憨态可掬，眉眼弯起尽显爽朗乐天，怀中金蟾探头蹭向掌心，亲昵灵动，将闲适谐趣的氛围拉满。衣纹线条刚柔兼具，晕染细腻柔和，将粗布衣衫的朴实质感勾勒得真切自然。背景以浓淡层次分明的涡旋云水铺陈，卷浪翻涌间氤氲出缥缈仙气，动静相映间，把凡俗的烟火意趣与仙道的缥缈意境相融，将主人公自在逍遥的神态刻画得入木三分，雅俗共赏，尽显传统人物画的精妙意韵。",[1154,1159,1158,1210,5715,5377,6312,4168],"长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b8fb11b825dd207c4e7201544fb69f.jpg",[6],60,{"id":537,"slug":6317,"title":6318,"dynasty":1235,"author":1291,"museum":1237,"description":6319,"tags":6320,"thumbUrl":6323,"material":1227,"size":6324,"collection":6,"collections":6325,"showCount":6315,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"xian-xiu-san-xing-tu-yi-ming-216986","线绣·三星图","画上绣有十九个人，场景从上到下分为四层，第一层从左到右分别是禄、福、寿三颗星。身穿绿色斗篷的 若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[6321,1158,1274,1210,1796,1212,1857,6322,1276,1741,1589,1218],"线绣","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2",[6],{"id":538,"slug":6327,"title":6328,"dynasty":1203,"author":6329,"museum":2127,"description":6330,"tags":6331,"thumbUrl":6332,"material":1496,"size":6333,"collection":6,"collections":6334,"showCount":6315,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"quan-sheng-yu-sheng-shan-ye-wen-zhen-heng-214882","泉声语声扇页","文震亨","皴染的山石间，细泉蜿蜒而下，似携泠泠清音穿林过隙。二三文士散坐岩畔，衣袂轻扬处，或侧耳凝听泉鸣，或执手低语清谈，语声与泉声相和，融于松风竹韵间。笔墨简淡却意韵悠长，古雅绢色衬出山林的清幽，人物情态生动传神，尽显文人林下雅聚的悠然意趣。不必刻意铺陈，却于方寸扇面间，藏尽自然之妙与人文之雅，仿佛能让人暂离尘嚣，静享这片刻的泉声语声交织的清宁。",[2543,1154,1155,1158,1160,1210,1465,1439,1165,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3285efdae6163e4d15a75b0ff14abde9.jpg","16.5x50.5cm",[6],{"id":539,"slug":6336,"title":6337,"dynasty":1148,"author":1768,"museum":6338,"description":6339,"tags":6340,"thumbUrl":6341,"material":1170,"size":6342,"collection":1172,"collections":6343,"showCount":6344,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","美国弗瑞尔美术馆","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[1153,1240,1154,1155,1156,1275,1464,1158,1210,1160,1165,1166,1560,1213,1437,1561,2303,5831,1258,1477,2131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 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花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[1153,1154,1155,1464,1275,1492,1210,3228,1417,1357,6445],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 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宗教图像艺术的杰作。这幅画描绘的是观音菩萨的形象，她身着白衣，头戴冠冕，手持莲花，神态庄严肃穆。\n\n观音菩萨是佛教传统中的一位菩萨，被认为是慈悲与智慧的化身。她的莲花代表了佛教的清净，而白色的衣服则象征着她的纯洁和超凡的品德。\n\n白衣观音图的风格独特，线条流畅，色彩明亮。画家巧妙地运用了透视法和光影效果，使得观音菩萨的形象更加立体生动。\n\n白衣观音图至今仍被认为是中国古代宗教绘画的杰作，其独特的风格和出色的艺术技巧吸引了众多观众的目光。它不仅是一幅优秀的艺术品，也是中国文化遗产的瑰宝。",[1154,1155,1257,1274,1275,1464,1158,1210,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53f25759ae0a1847993ffe0f015ebbf.jpg",[6],{"id":561,"slug":6511,"title":6512,"dynasty":1252,"author":4719,"museum":1237,"description":6513,"tags":6514,"thumbUrl":6516,"material":1772,"size":6517,"collection":6,"collections":6518,"showCount":6449,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"gan-lu-da-shi-tu-yang-da-zhang-216960","甘露大士图","这是杨大章的一幅虔诚之作，以白描的方式画出了观音，用的是细笔和淡墨。",[1154,1155,1257,1274,1210,1275,1357,6515],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1759f3a863f1747347f926856bc74106.jpg","131.7x64.5",[6],{"id":562,"slug":6520,"title":6521,"dynasty":1252,"author":1291,"museum":1150,"description":6522,"tags":6523,"thumbUrl":6525,"material":1170,"size":6526,"collection":6,"collections":6527,"showCount":6528,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"qing-ren-wan-guo-lai-chao-tu-zhou-yi-ming-236161","清人万国来朝图轴","此画描绘的是藩属及外国使臣到紫禁城朝贺的场面。作者以鸟瞰的角度从太和门前的两个青铜狮子画起，将紫禁城中的主要建筑一一收入画幅，近大远小，主次分明，层次丰富，在大雪的银装素裹之下，整个场面宏伟壮观。",[1240,1154,1155,1208,1158,1210,1211,1647,5748,6524,2009],"大象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3007a2fd17c1d62f37b42bee59db909.jpg","纵299cm，横207cm",[6,1174],57,{"id":563,"slug":6530,"title":6531,"dynasty":1252,"author":4198,"museum":1237,"description":4736,"tags":6532,"thumbUrl":4738,"material":1772,"size":6534,"collection":6,"collections":6535,"showCount":6528,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"qing-ding-guan-peng-ming-huang-ji-ju-ding-guan-peng-219553","清丁观鹏明皇击鞠",[1153,1240,1154,1155,1156,1159,1275,1158,1210,1389,6533,1357],"击鞠","32.1x523.2厘米",[6,1721],{"id":564,"slug":6537,"title":6538,"dynasty":1367,"author":5562,"museum":1205,"description":6539,"tags":6540,"thumbUrl":6541,"material":1772,"size":6542,"collection":6,"collections":6543,"showCount":6528,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"wei-mo-bu-er-tu-wang-zhen-peng-219499","维摩不二图","此幅画作描绘的是《维摩诘经》中的一件趣事，居士为摩维诘和代表智慧的文殊菩萨间的一次论法，据经文所载，维摩诘以沉默应对让他解释佛法的要求，微妙地阐述了是万物皆空的佛法实质。\n画后有两段重要的作者自跋，描述了此幅画作的创作背景。此画完成于1308年，受命于当时的皇太弟，也就是后来继位的元仁宗。跋文中明确记载了王振鹏接到元仁宗作画命令时的宫殿，并记有当时在场的拜住怯薛之名。\n王振鹏在跋文中提到，他是以金代马云卿摹李公麟的画作为他的范本，北京故宫博物院藏有一幅画，为《维摩演教图》的手卷，被归为李公麟的作品，但实际上应该是被王振鹏当做创作范本的马云卿的作品。\n在中国绘画中，常用极具流动感的线来描绘佛教人物衣纹，被称为“行云流水描”，右图中僧人所著的僧袍就是以此绘法描绘的，但王振鹏笔下颇有几何规则的线条，明显成铁线描特征，线条圆润规则无明显粗浅变化，表现为他对卧榻的图案和木纹一丝不苟的精致描绘。\n王振鹏对狮子的描绘可倾心倾力，他将一头猛兽塑造成了一只嬉戏的狮子狗，炉火纯青的笔法，从神兽精美的鬃毛上可见一斑。薄纱头巾，扇子，长袖宽袍，印度佛教居士维摩诘在这里俨然被塑造成了一个中国文人学士的模样。",[1153,1156,1275,1159,1274,1210,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ee15f114f82711278e555b4721cf3f.jpg","39.5厘米，横217.7厘米",[6],{"id":565,"slug":6545,"title":6546,"dynasty":1203,"author":6547,"museum":1413,"description":6548,"tags":6549,"thumbUrl":6550,"material":1227,"size":6551,"collection":6,"collections":6552,"showCount":6528,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ri-ben-ma-wei-po-tu-du-bian-nan-yue-218308","日本· 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　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[1153,1154,1156,1464,1159,1210,1560,1438,1162,5217,1729,1465,6585,6586],"船","渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[6],{"id":570,"slug":6591,"title":6592,"dynasty":1367,"author":1291,"museum":2127,"description":6593,"tags":6594,"thumbUrl":6595,"material":1227,"size":6596,"collection":6,"collections":6597,"showCount":6562,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"shou-lie-tu-yi-ming-219007","狩猎图","猎手策马前行，肩挎箭囊的弧度里藏着草原的风，暖黄衣袍与黑马的沉墨撞出视觉张力，粗砺笔触勾出游牧者的剽悍。猎犬腾跃紧随，四肢的动感与马的沉稳形成呼应，背景晕染的朦胧弱化了具体场景，却让狩猎的紧张感直抵人心。墨色的浓淡晕染出马匹的肌理，衣纹的褶皱里藏着动作的余韵，没有繁复修饰，却将猎场上的瞬间生机与豪迈气慨鲜活铺展——每一笔都是对生活本真的捕捉，仿佛能听见马蹄踏过草地的声响，看见猎手眼中的锐利与专注，让游牧民族狩猎时的粗犷与灵动，在岁月里静静流淌。",[1154,1158,1210,1389,1741,6257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14464278e09077cfad9f79eba8cf35e5.jpg","24.4x27.4cm",[6],{"id":571,"slug":6599,"title":6600,"dynasty":1203,"author":1291,"museum":2911,"description":6601,"tags":6602,"thumbUrl":6603,"material":1227,"size":6604,"collection":6,"collections":6605,"showCount":6562,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"mao-nv-tu-yi-ming-218451","毛女图","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[1154,1155,2543,1158,1159,1210,1741,1160,1213,1261,1297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[6],{"id":572,"slug":6607,"title":6608,"dynasty":1252,"author":2860,"museum":1571,"description":6609,"tags":6610,"thumbUrl":6613,"material":1227,"size":6614,"collection":6,"collections":6615,"showCount":6562,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"ke-zhai-ji-gu-tu-juan-shang-ren-xun-218248","愙斋集古图卷-上","这部作品有两卷：上卷和下卷。上卷由艺术家任薰绘制，下卷由胡祥和陆恢合作完成。\n任薰的这幅画描绘了坐在客人对面的吴氏。他盘腿坐在沙发上，周围都是珍贵的古董，古董铜器被逐一命名。",[1153,1154,1156,1158,1159,1210,3932,6611,1242,6612],"礼器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9fef0b9a8c954811340da2b17afad5.jpg","41.5x160.5",[6],{"id":573,"slug":6617,"title":2044,"dynasty":1203,"author":1291,"museum":2911,"description":6618,"tags":6619,"thumbUrl":6620,"material":1227,"size":6621,"collection":6,"collections":6622,"showCount":6562,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"yu-fu-tu-yi-ming-215036","渔父图是明朝时期的一幅杂技图画。该图画描绘了一位渔夫和他的儿子在渔池里捕鱼的情景。这幅图画的画风简洁流畅，构图巧妙，笔触简练而富有力量。\n\n杂技图画是明朝时期流行的一种艺术形式，通常由多幅图画组成，每幅图画都描绘了一个故事或场景。杂技图画的特点是通过精细的线条和色彩描绘人物形象，并使用富有表现力的肢体语言和动作来讲述故事。\n\n渔父图是明朝时期著名的杂技图画之一，其中渔夫和他的儿子的形象鲜活生动，描绘了渔民勤劳的生活方式。这幅图画的画风鲜明独特，对后世产生了深远的影响。",[1154,1158,1159,1210,1160,1477,1165,1837,1729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f55a0d1c2d8e2093168ae785f5d24f.jpg","23x25.8cm",[6],{"id":574,"slug":6624,"title":6625,"dynasty":1203,"author":3491,"museum":1237,"description":6626,"tags":6627,"thumbUrl":6629,"material":1772,"size":6630,"collection":6,"collections":6631,"showCount":6632,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"lao-zi-qi-niu-zhou-zhang-lu-222521","老子骑牛轴","《老子骑牛图》人物的面部刻画得非常传神，衣纹的穿插也灵活巧妙，整个人物给人一气画成之感，形象生动而富有情致。",[1153,1154,6628,1257,1210,1602,1357,2679,1464,1741,1477],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206effd797ba2e6ba61c8c1c5ee3941c.jpg","纵101.5厘米 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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[1153,1154,1155,1208,1257,1158,1159,1210,1211,1258,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[1172,6,1174],{"id":588,"slug":6740,"title":6741,"dynasty":1252,"author":6742,"museum":1150,"description":6743,"tags":6744,"thumbUrl":6745,"material":1227,"size":6746,"collection":6,"collections":6747,"showCount":6730,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"kang-xi-di-bian-zhuang-xie-zi-xiang-gong-ting-hua-jia-219102","康熙帝便装写字像","宫廷画家","图中康熙帝身穿便装，左手轻按平铺于方桌上的白纸，右手提笔正欲习字，身后屏风上的墨龙暗示着王者尊贵的地位。以特色透视技法画出的方桌与用欧洲焦点透视法描绘的屏风座形成了场景中能够调和的冲突。由此无法判断出，这幅佳作绘制于西风东渐的初期，是一位学习过西方画法、但又没有彻底明了其透视原理的宫廷作家所构思的。虽然此画存在不协调的现象，但它仍然是中西绘画交流、碰撞下的有趣的作品，值得我们进一步探究和分析。",[1153,1154,1159,1158,1210,1341,2276,2277,2278,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a24ed93f8ff588cb1d9dfc78cc5cfa.jpg","纵50.5厘米，横31.9厘米",[6],{"id":589,"slug":6749,"title":2744,"dynasty":1252,"author":1291,"museum":1413,"description":6750,"tags":6751,"thumbUrl":6752,"material":1227,"size":1551,"collection":6,"collections":6753,"showCount":6730,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"luo-han-tu-yi-ming-218300","罗汉趺坐神兽身侧，衣袂如流云舒卷，线条婉转间藏松活之趣。光头映着古绢暗纹，长须皴染得苍劲有力，眉目低垂时，禅意便从眼角眉梢漫出。神兽造型奇崛，鬃毛卷曲似浪涛翻涌，双目圆睁却含温驯，与罗汉的静定相映成趣。设色淡雅，墨骨清晰，浅晕的赭石与石青点缀其间，恰如古寺晨钟里的一抹微光。岁月在绢上留下斑驳痕迹，却让这份禅意更显醇厚——动静相生的构图里，是超然物外的平和，亦是传统佛画对心性的温柔观照。",[1154,1155,1257,1274,1159,1158,1210,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbeb3ee91439ac7a59fb3d67f3c6b0.jpg",[6],{"id":590,"slug":6755,"title":6756,"dynasty":1148,"author":6757,"museum":1413,"description":6758,"tags":6759,"thumbUrl":6762,"material":1227,"size":6763,"collection":6,"collections":6764,"showCount":6730,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"cai-yao-xian-ren-tu-meng-xian-218299","采药仙人图","孟显","长髯垂胸，衣袂带风，仙人负筐徐行。筐中松针攒簇、花草含露，似携来云崖清气；手中小锄轻握，步履悠然，眉宇间透着山野的清旷与超然。笔墨简括却神形兼备，衣纹线劲挺流畅，如吴带当风般舒展；设色古雅温润，棕褐底色衬出人物的朴拙逸气。整幅画将采药闲逸之态凝注于简练线条与含蓄晕染中，不刻意雕琢却细节见风骨，仿佛能闻药草淡香，望见云深幽居，尽显宋代人物画对神韵的极致追求——于平淡处藏真意，于简淡中见风骨。",[1240,1154,1155,1257,1158,1210,4241,6760,1848,6761],"草药","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f7c5ae46894b861fb1474f9a2c232b.jpg","84.1x27.4",[6],{"id":591,"slug":6766,"title":6767,"dynasty":1203,"author":6768,"museum":1237,"description":6769,"tags":6770,"thumbUrl":6772,"material":1496,"size":6773,"collection":6,"collections":6774,"showCount":6730,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[1153,1154,1155,1159,1158,1274,1210,1389,1438,1160,1439,1532,1162,1357,2904,6771],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[6],{"id":592,"slug":6776,"title":6777,"dynasty":1203,"author":1291,"museum":1205,"description":6778,"tags":6779,"thumbUrl":6781,"material":1227,"size":1551,"collection":6,"collections":6782,"showCount":6783,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"wei-mo-tu-yi-ming-219536","维摩图","此作以淡古之笔，绘居士斜踞高榻，宽袍半披，一手搭膝垂眸，面容清癯，倦怠里带着参禅初歇的松弛。衣纹兼用铁线、兰叶二描，挺劲中见柔婉，褐白配色沉稳雅致，衬出居士疏朗随性的林下风神。榻旁香鼎轻烟萦纡，暗合清修意趣；榻下摆着素面皮靴，为世外之人添了几分人间烟火的真实。旧绢底色晕开沉静古雅的氛围，寥寥笔墨便将这位在家佛者超然又亲和的神韵尽数铺展，淡而不寡，静中藏着悠悠禅机，尽显人物画传神见性的精妙功力。",[1154,1155,1158,1159,1210,1274,4167,1191,6780],"鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27dbbd5e2c23a4f706e33389cb316e43.jpg",[6,1174],52,{"id":593,"slug":6785,"title":6786,"dynasty":1367,"author":6787,"museum":1237,"description":6788,"tags":6789,"thumbUrl":6790,"material":1496,"size":6791,"collection":6,"collections":6792,"showCount":6783,"zanCount":1177,"manualWeight":1177,"mainColor":1286},"xiang-ma-tu-zhou-zhao-lin-218831","相马图轴","赵麟","赵麟（西元十四世纪），浙江吴兴人。雍之子，孟俯之孙，字彦征，官浙江省检校。工书，善画人物，至正壬午（一三四二年）作春山图，乙巳（一三六五年）作洗马图。赵麟画传世绝少，此帧画老树枯枝，藤萝缠绕。一人朱衣纱帽，坐树根。前一马低首啮草。其人端详视其骨相以度骏驽。人物衣褶、马之鬃鬣，皆细劲有力。树稍逊，款书极得家法。",[1154,1155,1240,1257,1158,1159,1210,1389,1494,1493,1261,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac95bc04a45d346bbbbee2ed1b2bee5.jpg","95.7x30.1cm",[6],{"id":594,"slug":6794,"title":6795,"dynasty":1252,"author":1291,"museum":1150,"description":6796,"tags":6797,"thumbUrl":6798,"material":1158,"size":1551,"collection":6,"collections":6799,"showCount":6783,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"gu-xiu-wu-shi-san-can-tu-ce-yi-ming-217311","顾绣·五十三参图册","绣线流转间，善财童子的虔诚跃然绢上。顾绣以针代笔，将山水的淡远、人物的温煦凝于丝缕：或见童子俯身问法，衣袂飘举间藏着求道的恳切；或观善知识拈花含笑，眉眼舒展处透着慈悲的从容。针脚细密处晕染出虚实层次，丝线的柔光与笔墨的雅致相融，似有禅意悄然流淌。草木的舒展、山石的肌理，皆以灵动针法勾勒——既存画之韵致，更显绣之精工。每一幅皆是一段求道的缩影，绣工于细节处藏巧思，尽显明清绣艺与释教题材结合的雅致深味，让观者在丝缕交织里触碰到那份千年不变的虔诚与静穆。",[3519,3523,1159,1158,1274,1210,1160,1165,1439,1213,1796,1294,2949,1492],"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，生卒年不详，约活动于康熙、雍正年间。字芬若，号芝仙，江苏常熟人。少从王士祯学诗，诗体近李贺，擅画花卉及白描人物，线条生动，名盛一时。二十岁时出游京师，数十年仅回乡一次。",[1154,1155,1257,1275,1159,1210,1187,6806,2276,2277,2279,1589],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd148ea9e16bb0d745cc44e58dfa559.jpg",[6],{"id":596,"slug":6810,"title":6811,"dynasty":1252,"author":6812,"museum":1369,"description":6813,"tags":6814,"thumbUrl":6815,"material":2203,"size":1551,"collection":6,"collections":6816,"showCount":1285,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"jiang-feng-shi-nv-ce-jiang-feng-237083","蒋峰仕女册","蒋峰","仕女画在中国传统绘画中属于人物画的范畴，但由于它以女性为描绘对象，通过塑造优美动人的妇女形象，来反映当时的社会生活，传达特定的艺术趣味和审美观念，在题材内容、思想内涵、创作方法、表现形式等方面都有独特之处，其肇始、成熟、演变、发展的历史轨迹也不全与人物画同步，因此，它已成为中国绘画中的一个独立画科，其艺术传统还一直延续到今天，对当代的国画、年画，以及牙雕、玉器、雕漆、宫灯、花丝镶嵌等工艺品有着不可忽视的影响。",[1154,1155,1492,1158,1159,1210,1187,1241,1358,1561,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f5e9f674e02a1ae624093d9b343a35.jpg",[6],{"id":597,"slug":6818,"title":6819,"dynasty":1148,"author":2841,"museum":3040,"description":6820,"tags":6821,"thumbUrl":6823,"material":6824,"size":6825,"collection":1172,"collections":6826,"showCount":1285,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"long-gu-che-tu-li-song-221494","龙骨车图","李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》、《水殿招凉图》，《观潮图》、《西湖图》、《仙山瑶涛图》，《骷髅幻戏图》、《观灯图》、《柳塘聚禽图》、《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[1153,1154,1159,1158,1208,6822,1602,1210,1260],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","绢本墨画淡彩","25.626.4cm",[1172,6,1721],{"id":598,"slug":6828,"title":6829,"dynasty":1203,"author":6830,"museum":1237,"description":6831,"tags":6832,"thumbUrl":6833,"material":1496,"size":1551,"collection":6,"collections":6834,"showCount":1285,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"shou-xing-tu-zhu-zhan-ji-219650","寿星图","朱瞻基","明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日—1435年1月31日在位）、书画家，年号“宣德”。",[1154,1155,1210,1158,1159,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e610390b67ca78dfcbe69d37be9a06.jpg",[6],{"id":599,"slug":6836,"title":6837,"dynasty":1252,"author":1291,"museum":2127,"description":6838,"tags":6839,"thumbUrl":6840,"material":1227,"size":6841,"collection":6,"collections":6842,"showCount":1285,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[1153,1154,1156,1158,1159,1210,1389,1160,1165,4078,6257,2494,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[6,1538],{"id":600,"slug":6844,"title":6845,"dynasty":1148,"author":1291,"museum":1571,"description":6846,"tags":6847,"thumbUrl":6848,"material":1227,"size":6849,"collection":6,"collections":6850,"showCount":1285,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[1153,1154,1240,1155,1156,1158,1159,1210,1389,1160,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[6],{"id":601,"slug":6852,"title":6853,"dynasty":1148,"author":1291,"museum":1150,"description":6854,"tags":6855,"thumbUrl":6857,"material":6858,"size":6859,"collection":1172,"collections":6860,"showCount":6861,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"you-qi-tu-juan-yi-ming-223561","游骑图卷","该卷旧传是唐人手笔，实为北宋翰林图画院某画家摹写唐代人马画的精品，显露出宋代院体细谨求实的艺术面貌，得到宋徽宗赵佶的认可。此图属行乐类题材，画7人5马，似出游狩猎。人物全身唐装，衣纹作铁线描，细劲刚挺，神情刻划细致入微，生动传神。设色极简，清淡明洁。无论是从绘画技巧，还是风格来讲，都可视为中国古典写实绘画表现鞍马题材的典范之作，与西方文艺复兴早期如鸟切诺等人的写实绘画相比，在鞍马人物形象的准确性与形体透视的生动性等方面的把握上，似乎具有更感人的魅力。可知中国古典写实绘画应是比西方更早掌握了如何通过透视缩形来真实表现客观物体的方法。尽管西方意义的科学透视法并不在中国产生，但那种中国式的视觉投影方法，曾经有力支撑着中国封建时代盛期的绘画写实艺术，那么，甚至在图像时代的今天，我们仍然有必要对其现实意义进行研究。",[1153,1240,2079,1156,1159,1275,1158,1210,1389,6856],"骑马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc607519eb1cdca03b10fb72d38b179c4.jpg","绢本淡设色","47x195",[1172,6,1174],50,{"id":602,"slug":6863,"title":6864,"dynasty":1148,"author":1768,"museum":1184,"description":6865,"tags":6866,"thumbUrl":6867,"material":2203,"size":6868,"collection":6,"collections":6869,"showCount":6861,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[1153,1154,1155,1156,1275,1158,1210,1160,1439,1165,1626,1357],"https:\u002F\u002Foss.chuan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画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[1153,1154,1155,1240,1257,1158,1159,1210,1389,1741,6257,6975],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[6,1174],{"id":616,"slug":6980,"title":6981,"dynasty":1203,"author":4524,"museum":1150,"description":6982,"tags":6983,"thumbUrl":6986,"material":1468,"size":6987,"collection":1538,"collections":6988,"showCount":6969,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[1153,1154,1155,1257,6628,2679,1465,1160,1649,6984,1560,6985,1213,5273,1616,1729,1165],"溪","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[1538,6],{"id":617,"slug":6990,"title":6991,"dynasty":1203,"author":6992,"museum":1571,"description":6993,"tags":6994,"thumbUrl":6995,"material":1227,"size":1551,"collection":6,"collections":6996,"showCount":6969,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"wang-yang-ming-xiao-xiang-cai-shi-xin-219891","王阳明肖像","蔡世新","众画师绘制王阳明的正面像，很难描绘出其两颧棱峭的面貌特征，王阳明多不满意。蔡世新年幼即从王阳明学习，非常熟悉老师的形貌特征",[1154,1155,2584,1210,1159,1158,2730,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275b5a52018d4ba6a2ede02fa6df1460.jpg",[6],{"id":618,"slug":6998,"title":6999,"dynasty":1252,"author":7000,"museum":1517,"description":7001,"tags":7002,"thumbUrl":7003,"material":1227,"size":1551,"collection":6,"collections":7004,"showCount":6969,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"cai-zhi-tu-yu-bing-shun-219835","采芝图","禹秉舜","此作以青绿晕染烟霞山峦，古松虬枝横斜，苍劲的松针间裹挟流云，将山林晕染出空寂出尘的仙气。下方溪桥之上，仕女衣袂翩跹徐行，侍女手捧灵芝紧随其后，人物眉目温婉情态娴静，衣纹勾勒细腻雅致。\n\n画作兼用工写之法，山石松干以粗笔淡墨皴擦出苍润古意，人物则精细描摹，明丽设色衬出雅致格调，将林下寻芝的隐逸雅趣融于山水之间，淡远清和，尽显温婉古韵。",[1153,1154,1158,1159,1257,1796,1439,1168,1187,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb0c561ceeb62412f8daaea5ff098e.jpg",[6],{"id":619,"slug":7006,"title":7007,"dynasty":1367,"author":1988,"museum":1237,"description":7008,"tags":7009,"thumbUrl":7010,"material":1227,"size":7011,"collection":6,"collections":7012,"showCount":6969,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"san-yuan-song-xi-tu-qian-xuan-219694","三元送喜图","本幅描绘庭院一角，有两株梧桐傍石而生，桐荫下，三名童子聚精会神的观赏著画。轴中画的花禽，分别是香椽与喜鹊，与三 “元” 送 “喜” 谐音。三元指状元、会元、解元，故本图有科考高中之吉祥寓意。",[1153,1154,1155,1159,1158,1210,1808,1438,1533,1219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2316fbe648f0293f1ca11463ab959048.jpg","111.4x62.8厘米",[6],{"id":620,"slug":7014,"title":7015,"dynasty":1203,"author":7016,"museum":1517,"description":7017,"tags":7018,"thumbUrl":7019,"material":1227,"size":1551,"collection":6,"collections":7020,"showCount":6969,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"yao-chi-xian-ju-tu-zhang-chong-219548","瑶池仙剧图","张翀","左上题笔苍劲古朴，与下方群景相映成趣。画中仙者围聚雅奏，吹笛人垂眸凝神，乐音似随笔墨漫溢而出；持板者庄容敛目，静候合律；侧耳听者沉醉忘形，仕女柔婉端丽，老者骨相清奇。衣纹以铁线描游走，顿挫间尽显飘逸灵动，晕染细腻贴合身形，将仙家出尘之姿尽数铺展。古雅棕褐底色晕开瑶池的缥缈清旷，把群仙宴乐悠然盛景刻画入微，既有传统人物画的精工雅致，又暗蕴超脱尘俗的浪漫气韵，尽显精妙笔力与古典审美意趣。",[1153,1154,1158,1159,1210,1187,1741,1341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7624c2f1c2e8fe233684b55cd2200168.jpg",[6],{"id":621,"slug":7022,"title":7023,"dynasty":1203,"author":4524,"museum":1237,"description":7024,"tags":7025,"thumbUrl":7031,"material":1227,"size":7032,"collection":6,"collections":7033,"showCount":6969,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"bei-hai-zhen-ren-xiang-zhou-wu-wei-219510","北海真人像轴","画中仙者束发袒襟，神态清和古雅，安坐灵龟背上行于浅渚苇荡间。他手持枯藤，灵蛇盘绕其上，衣袂飘然随微风舒展，尽显出尘之气。\n\n灵龟昂首探行，笔墨简练却将其沉健之态勾勒分明，苇草轻淡晕染衬出清虚氛围。整幅画作以粗笔写意，衣纹顿挫简练，粗率之中见法度，将真人餐霞饮风、伴云游世的逍遥仙韵尽显，把道家超然物外的隐逸意趣融于尺幅间，静穆里暗藏灵动仙气。",[1154,1257,1210,1464,2679,7026,5757,7027,7028,1494,7029,7030],"道家","灵龟","灵蛇","苇草","仙气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b042adf830649bd30427a7e5845d3ff.jpg","158.4x93.2",[6],{"id":622,"slug":7035,"title":2414,"dynasty":1203,"author":1291,"museum":1517,"description":7036,"tags":7037,"thumbUrl":7039,"material":1227,"size":7040,"collection":6,"collections":7041,"showCount":6969,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"ying-xi-tu-yi-ming-218372","画的是一个骑着白色羊毛羊的孩子，戴着羊毛帽，穿着厚厚的长袍，肩上扛着一根细细的梅花杆，在隆冬时节，在一群不同颜色的羊毛中间放着一个鸟笼。",[1153,1154,1158,1159,1210,3348,2680,1189,1438,7038,1741],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb0eaf577239595e5412db7830f04d.jpg","65.4x42.54",[6],{"id":623,"slug":7043,"title":2744,"dynasty":1203,"author":7044,"museum":1237,"description":7045,"tags":7046,"thumbUrl":7047,"material":1496,"size":7048,"collection":6,"collections":7049,"showCount":6969,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"luo-han-tu-chen-yuan-217000","陈远","罗汉图是明朝陈远所作的一幅著名的书画作品。它描绘了一群罗汉在山间修行的场景，山水画风格细腻，造型生动，富有表现力。罗汉是佛教徒中的一种职业，被视为道德模范，修行苦修，常常身着袈裟，头戴顶冠，手持佛像，在山林中修行禅定。\n\n陈远（1360-1453年），字元和，号清臣，是明朝著名的书画家。他的作品中有许多著名的山水画，其中罗汉图是其代表作之一。陈远的画风浑厚而不失精细，富有感染力，是明朝画坛的重要代表。",[1154,1155,1257,1274,1159,1158,1210,1493,1260,1191,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e868355eac240b9a49b9ea292fc510f.jpg","101.7x50",[6],{"id":624,"slug":7051,"title":7052,"dynasty":1252,"author":1399,"museum":1571,"description":7053,"tags":7054,"thumbUrl":7055,"material":1195,"size":7056,"collection":6,"collections":7057,"showCount":7058,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"xue-yan-tu-leng-mei-222875","雪艳图","冷枚，清代宫廷画家，大约生于1669年，卒于1742年。字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼",[1154,1155,1257,1310,1159,1158,1210,1187,3502,2350,1439,1218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f985d1b3640c0897853b0e606f7428.jpg","60cmx105cm",[6],48,{"id":625,"slug":7060,"title":7061,"dynasty":1367,"author":1291,"museum":1150,"description":7062,"tags":7063,"thumbUrl":7064,"material":1227,"size":7065,"collection":6,"collections":7066,"showCount":7058,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"jie-bo-tu-yi-ming-219632","揭钵图","此图系佛教故事画，描绘佛世尊为惩治鬼子母而将其幼子宾伽罗扣于钵下，鬼子母遣众小鬼意欲揭钵救子的情景。图中佛世尊神态安然地趺坐在莲花座上，众天神手执兵器耀武扬威地护其左右，正藐视地静观众小鬼徒劳无功的揭钵场面。小儿于钵中哭叫着张手求救，小鬼们不遗余力地用尽各种方法抢救，鬼子母面带忧色地被众孩儿团团围住，她显然已为解救幼子而心力交瘁。\n作者通过对处于尖锐冲突中的不同人物的性格和感情的个性化描绘准确地表明了他们不同的地位和彼此之间的关系，从而令场面宏大、人物众多的画面具有形散而神不散的内聚力。此图中对小鬼的描绘最为生动。作者以丰富的想象力幽默诙谐地表现了造型夸张变异的小鬼。通过他们绳拉木撬等忙乱的举动赋予画面强烈的动感并烘染出紧张激烈的气氛，从而准确地表达了揭钵的创作主题。图中不同的形象用不同的笔墨线条勾画，武士及小鬼以粗犷的墨线勾描，通过对他们坚实的皮肉筋骨的刻画表现出他们的力量和所具有的勇猛精神。佛世尊及仕女、童子用轻柔的细线勾勒，通过衣料柔软的质感衬托出他们纤秀婉约的姿容。全幅用勾线填彩法，色彩厚重丰富，有早期壁画的风格，给人以活泼明快的视觉感受，令画面显得不过于沉重。",[1153,1154,1155,1156,1158,1159,1274,1210,4098,1276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7b0415fc6a78a06f7b07e161173c714.jpg","纵31.8厘米，横97.6厘米",[6],{"id":626,"slug":7068,"title":7069,"dynasty":1252,"author":1291,"museum":1517,"description":7070,"tags":7071,"thumbUrl":7072,"material":1227,"size":1551,"collection":6,"collections":7073,"showCount":7058,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"yi-ju-tu-yi-ming-219557","移居图","苍松虬劲盘绕，层岩峻壑氤氲古雅幽寂之气，林谷恍若世外桃源。一行人策蹇徐行，骑牛者衣袂舒展，神色悠然，随行众人或持物或顾盼，情态松弛怡然，将举家迁居的奔波，化为踏山寻幽的雅事。\n\n设色古淡沉着，绢面的岁月斑驳，更添沉静古意。山石以粗劲斧劈皴写就，古松笔墨苍劲老辣，人物线条细劲灵动，动静相映间，把隐世迁居的从容散淡尽数铺展，尽显寄情林泉的隐逸意趣，晕开东方古典人文的温雅余韵。",[1153,1154,1155,1158,1159,1465,1160,1210,1602,1165,1837,2131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff184a8f18e6d13ec3a08cbd9aea9857b.jpg",[6],{"id":627,"slug":7075,"title":7076,"dynasty":1252,"author":2688,"museum":1413,"description":7077,"tags":7078,"thu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面前是一个窄口的直瓶。 瓶子里有两根无叶的花枝。 老者目不转睛，认真地看着花朵。 此人的衣纹、眉髯都非常有文采，是黄慎人物画的杰作。",[1154,1155,1257,1464,1158,2679,1210,4975,3979,7079,1357],"兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a98079d56aeaa314481baecfab8d367.jpg","102x40厘米",[6],{"id":628,"slug":7084,"title":7085,"dynasty":1367,"author":1291,"museum":1571,"description":7086,"tags":7087,"thumbUrl":7088,"material":1468,"size":1551,"collection":6,"collections":7089,"showCount":7058,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"bai-miao-qun-xian-xiang-yi-ming-218471","白描群仙像","素绢铺展，墨线如流霞婉转，勾画出群仙雅聚的清灵之境。人物神态各异：或执羽轻摇，衣袂飘举间见笔墨凝练；或躬身颔首，似与同侪低语，情态生动。伏侧的虎形温顺灵动，无半分戾气，恰与仙者的超然相映成趣。线条兼具铁线的劲挺与蚕丝的柔细，衣纹转折、须发纤毫皆精准传神，不施丹青却鲜活可感。整幅画携古卷幽韵，将仙凡相契的闲逸之气凝于笔端，墨色虽简，意境却远，引人沉醉于那份古朴雅致的超凡之美。",[1154,1155,1275,1210,1274,3629,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dcc4913ac8e436933091ef6c1afde81.jpg",[6],{"id":629,"slug":7091,"title":2414,"dynasty":1203,"author":4556,"museum":1517,"description":4557,"tags":7092,"thumbUrl":4561,"material":1227,"size":7093,"collection":6,"collections":7094,"showCount":7058,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ying-xi-tu-you-qiu-218365",[1153,1154,1155,1257,1159,1158,1210,1808,1796,4560,3267,4232,4559,3348],"89.3x53.4",[6],{"id":630,"slug":7096,"title":7097,"dynasty":1203,"author":3472,"museum":1237,"description":7098,"tags":7099,"thumbUrl":7101,"material":1496,"size":7102,"collection":6,"collections":7103,"showCount":7058,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"sao-xiang-tu-cui-zi-zhong-216950","扫象图","扫荡的形象是扫荡的相，在禅宗的文本中可以找到。这是崔子忠的真迹，用笔有趣，与陈洪绶和吴彬相似。",[1154,1158,1159,1210,7100,1438,1616,1260,1274],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f7d57a096db0018e4ff62346b76960.jpg","101.2x53.3",[6],{"id":631,"slug":7105,"title":4371,"dynasty":1252,"author":7106,"museum":1237,"description":7107,"tags":7108,"thumbUrl":7111,"material":1496,"size":7112,"collection":6,"collections":7113,"showCount":7058,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"cai-zhi-xian-tu-yan-hong-zi-216943","严宏滋","此幅画采芝仙女，席地休憩，状甚消遥闲适。开脸略受西洋阴影法影响，设色明净，衣纹则以流利笔意写之，于工谨中，亦饶雅逸之趣。\n严宏滋，字丕绪，江苏江阴人。生卒年未详，约活动于乾隆朝中期。善书画，尤精道释人物。高宗两次南巡，献画，均称旨。",[1154,1159,1158,1210,7109,1649,4375,7110,1191],"葫芦","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4121cbe3194dc69e7b172162cc673400.jpg","96.3x118.3",[6],{"id":632,"slug":7115,"title":7116,"dynasty":1252,"author":6566,"museum":1369,"description":7117,"tags":7118,"thumbUrl":7119,"material":1551,"size":1551,"collection":6,"collections":7120,"showCount":7121,"zanCount":1177,"manualWeight":1177,"mainColor":6243},"ce-ye-ren-xiong-223133","册页","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[1153,1154,1155,1492,1158,1159,1210,1452,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfe570f51dcb149ceb8140bb0a3e451.jpg",[6],47,{"id":633,"slug":7123,"title":7124,"dynasty":1203,"author":3491,"museum":1571,"description":3492,"tags":7125,"thumbUrl":7126,"material":2203,"size":7127,"collection":1538,"collections":7128,"showCount":7121,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"shang-bo-hua-ji-xuan-36-1-zhang-lu-222484","上博画集选36-1",[1153,1240,1154,1464,1275,1298,1343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b5d5778cff96abe98aa324850a403d.jpg","55.88厘米 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有祷辄应。梁楷曾流寓杭州，或听过此传说。",[1240,1154,1155,1464,3043,1210,1274,1358,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039957feaf907cdaebe3debd5fc5b332.jpg","23.7x37.8厘米",[6],{"id":638,"slug":7163,"title":7164,"dynasty":1203,"author":7165,"museum":1571,"description":7166,"tags":7167,"thumbUrl":7168,"material":1496,"size":7169,"collection":6,"collections":7170,"showCount":7121,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[1153,1203,1154,1155,1156,1158,1159,1561,1358,1357,1210,1211,1437,1165,1439,1219,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[6,1722],{"id":639,"slug":7172,"title":7173,"dynasty":1367,"author":5667,"museum":7174,"description":7175,"tags":7176,"thumbUrl":7178,"material":1227,"size":1551,"collection":6,"collections":7179,"showCount":7121,"zanCount":1177,"manualWeight":1177,"mainColor":1881},"ce-ma-jiang-pan-tu-zhao-yong-219396","策马江畔图","上海龙美术馆","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[1154,1158,1159,1210,1389,1438,1160,7177,1532],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c44a61a340e34488548d8875de51ea0.jpg",[6],{"id":640,"slug":7181,"title":2744,"dynasty":1203,"author":1291,"museum":1517,"description":7182,"tags":7183,"thumbUrl":7184,"material":1227,"size":7185,"collection":6,"collections":7186,"showCount":7121,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"luo-han-tu-yi-ming-218368","这幅画与林廷珪、周继昌的《五百罗汉受虎贲图》是同一题材，其笔触和色彩也与宋代的画作相近。大英博物馆将这幅画归于明代，但如果我们参照台北故宫收藏的《十六罗汉双肩图》来看，我们可以认为它是在元代绘制的。",[1154,1158,1159,1274,1210,1258,3629,1439,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01738ac3829421493eb90de1e7375c9f.jpg","170.5x88",[6],{"id":641,"slug":7188,"title":7189,"dynasty":1203,"author":1291,"museum":1413,"description":7190,"tags":7191,"thumbUrl":7193,"material":1772,"size":7194,"collection":1538,"collections":7195,"showCount":7121,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"lian-she-tu-yi-ming-217955","莲社图","《莲花社》说了慧远的故事：东晋元兴年间，慧远在庐山东林寺与十八位专修净土的圣人一起，寻求脱离污秽之地，希望往生极乐世界。",[1153,1240,1154,1156,1155,1274,3451,1210,1358,1561,7192],"莲社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15dee5dc0c3904ed22a998b96f72a044.jpg","30.1x595.8cm",[1538,6],{"id":642,"slug":7197,"title":7198,"dynasty":1203,"author":1291,"museum":1237,"description":7199,"tags":7200,"thumbUrl":7204,"material":1551,"size":1551,"collection":6,"collections":7205,"showCount":7206,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"nv-xiang-zhou-yi-ming-239050","女像轴","翟冠垂珠错落，映出妇人端凝仪容，朱红大衫覆身，尽显华贵庄重。胸前补子上云凤翩跹，翎羽纹路纤毫毕现，晕染细腻灵动，衣纹以沉稳墨线勾勒，贴合身形，礼制威严中暗蕴柔婉气度。\n\n此作敷色妍雅沉稳，衣冠配饰皆恪守仪制，以工致笔意捕捉人物神态，将贵族妇人静穆尊贵的气韵凝于绢素，形神兼备，将世家命妇的仪范风骨定格，尽显肖像画写实传神的精妙，让观者窥见旧时望族内眷的端庄风华。",[1159,1158,1257,1210,7201,1191,1344,7202,5822,7203],"女像","补子","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99e456f4b5e98f3486ae1451cc556ee.jpg",[6],46,{"id":643,"slug":7208,"title":7209,"dynasty":1203,"author":7210,"museum":1369,"description":7211,"tags":7212,"thumbUrl":7213,"material":1551,"size":1551,"collection":6,"collections":7214,"showCount":7206,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"cai-lian-tu-zhou-shen-zhen-238667","采莲图轴","沈贞","沈贞（1400－？ 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动地刻画了夏禹慈祥和蔼的形象和内在性格。",[1153,1240,1154,1155,1257,1159,1158,1210,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3904a30a552db81105dd7a9584a7ffa9.jpg","249x111.3厘米",[6],{"id":656,"slug":7310,"title":7311,"dynasty":1148,"author":7312,"museum":1237,"description":7313,"tags":7314,"thumbUrl":7316,"material":1227,"size":7317,"collection":6,"collections":7318,"showCount":7284,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"song-xia-ye-zhang-tu-xu-dao-ning-219609","松下曳杖图","许道宁","湖滨之畔，苍松翠竹，盘纡成阴，松下逸士自小径出，持杖凝神，倾听松籁竹韵。江渚野趣，清朗怡人。本幅结构严密，景物偏幅右边，全图描写着重一风字。幅内之松、竹、草、枯枝、士人衣褶帽带皆因风势顺成一向，双钩墨笔点画松竹人物，描绘甚为灵动。本幅旧签题为许道宁，然依画松竹人物等作风则与刘松年较近，可能为南宋后期受刘氏影响的作品。本幅为「历代名绘」册第八幅。许道宁（约西元11世纪），河北河间人。初市药于都门，好描绘街坊各色人物。后游太华山，转好写山水。",[1153,1240,1154,1155,2543,1158,1210,1649,1439,7315],"曳杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecbfb88746858382f40f7dd5ca3d89fb.jpg","24.2x25.3厘米",[6],{"id":657,"slug":7320,"title":7321,"dynasty":1252,"author":7322,"museum":1237,"description":7323,"tags":7324,"thumbUrl":7325,"material":1772,"size":7326,"collection":6,"collections":7327,"showCount":7284,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"sui-chao-zhong-kui-tu-zhang-zhong-xue-219594","岁朝钟馗图","张仲学","该幅画岁除时节，钟馗搦管书桃符。桃木自古即被视同可以制鬼避邪的灵物。",[1154,1464,1257,1210,1796,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d7d656b930f10e70ec46acf48de3e4.jpg","127.5×63.5公分",[6],{"id":658,"slug":7329,"title":7330,"dynasty":1203,"author":5111,"museum":1205,"description":7331,"tags":7332,"thumbUrl":7333,"material":1227,"size":1551,"collection":6,"collections":7334,"showCount":7284,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"na-jian-tu-liu-jun-219560","纳谏图","工笔设色铺陈出朝堂议事的肃穆图景。主尊踞坐帐中，神色沉敛威严，阶下诸人或躬身禀奏、或长跪进言，武将甲胄鲜明英挺，文士宽袍意态恭谨，人物神态各尽其肖，将君臣纳谏对答的郑重氛围尽显。苍松虬劲卓立，奇石牡丹点缀帐顶，衬出仪制的雅致庄重。设色古雅厚重，衣纹铁线描劲挺流畅，既刻画出不同身份人物的风骨仪态，又精准渲染出朝堂议事的端严氛围，细节处见匠心笔力，尽显传统人物画的写实功力与礼制意涵。",[1153,1240,1154,1155,1159,1158,1210,1438,1403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be98c2f733f4de9fc678f8e7c26724b.jpg",[6],{"id":659,"slug":7336,"title":7337,"dynasty":1367,"author":5745,"museum":1150,"description":7338,"tags":7339,"thumbUrl":7340,"material":1464,"size":7341,"collection":6,"collections":7342,"showCount":7284,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"li-er-shou-jing-tu-sheng-mao-219275","李耳授经图","盛懋，字子昭，浙江嘉兴人，约活动于元至正年间(1341--1367年)。其家世代以画为业，他继承家学，善画人物、山水，风格近董源和赵孟頫，用笔较尖峭繁细，山石多用披麻、解索皴，设色明丽，主体面貌属董巨派系。",[1153,1154,1155,1156,1275,1159,1210,1796,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7141c0d84eb6efa5c43db7928d3b5e.jpg","24.8x117.7厘米",[6],{"id":660,"slug":7344,"title":2744,"dynasty":1203,"author":4743,"museum":1237,"description":7345,"tags":7346,"thumbUrl":7347,"material":1496,"size":7348,"collection":6,"collections":7349,"showCount":7284,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"luo-han-tu-dai-jin-218463","明人画景，喜欢参透人物的真实，戴进这幅画中的罗汉手持法杖静静地坐在堂前，左手徐徐伸向猛虎，另一个僮仆侧身在门后窥视，表现出恐惧，而罗汉、猛虎却平静自如。人物的脸部刻画精细，生动传神；岩石上凿有大斧头，水墨淋漓，粗壮有力。笔触迅捷，推进有形，笔墨有聚有放，工作与书写之间刚柔相济，巧拙相间。",[1153,1154,1155,1257,1274,1275,1464,1210,3629,1741,1258,1438,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a316db5cd7b66cdcda9599be7778b79.jpg","113.9x36.7",[6],{"id":661,"slug":7351,"title":7352,"dynasty":1367,"author":1291,"museum":1369,"description":7353,"tags":7354,"thumbUrl":7355,"material":1772,"size":1551,"collection":6,"collections":7356,"showCount":7284,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"guan-yin-xiang-yi-ming-218241","观音像","古绢泛黄的肌理间，墨线轻勾出观音趺坐之姿。衣纹流转如微风拂水，宽袍广袖间藏着沉静慈悲。她身侧瓶花斜插，清供映心；石畔童子躬身，似在聆听梵音。上方枯枝疏朗，如淡墨写就的禅意，与下方苍劲的岩峦相映。笔墨简淡却含韵致，线条简练而神完气足，每一笔都透着元代文人画的清雅风骨。整幅画似将尘世喧嚣滤尽，只留一方澄明之境，让观者在素朴的墨色里，触摸到那份跨越时空的宁静与悲悯。",[1154,1274,1275,1464,1210,1261,1257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c0b36713cf7ce305c20d87a62db56.jpg",[6],{"id":662,"slug":7358,"title":7359,"dynasty":1203,"author":5728,"museum":1237,"description":7360,"tags":7361,"thumbUrl":7362,"material":1772,"size":7363,"collection":6,"collections":7364,"showCount":7284,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[1154,1240,1155,1257,1464,1275,1465,1210,1602,1493,1261,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[6],{"id":663,"slug":7366,"title":7367,"dynasty":1252,"author":2676,"museum":1150,"description":7368,"tags":7369,"thumbUrl":7370,"material":3866,"size":7371,"collection":1538,"collections":7372,"showCount":7373,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ren-yi-yun-shan-ce-ma-tu-zhou-ren-yi-239548","任颐云山策马图轴","本幅自题：“山从人面起，云傍马头生。光绪丙戌长夏，山阴任颐伯年甫作图于海上寓次。”钤二白文印：“任伯年”、“任颐印”。\n又题：“霭庭仁兄先生见而谬赏即赠之就正。任颐。”钤二白文印：“任颐印”、“任伯年”。\n“丙戌”是清光绪十二年（1886年），任颐时年47岁。\n此图据李白《送友人入蜀》诗句：“山从人面起，云傍马头生”（见《全唐诗》卷一七七）拟意而作。通过描绘迎面而起的山峦，马头处浮动的白云，生动地图解了诗意，山形地势的险峻和行旅者不畏艰险的探索精神了然于目。此图在创作上摒弃了传统山水画高远、平远、深远的构图方式，以“S”形山脊为主线，突出了人、马的形象，同时也延伸了山峦的纵向走势，使画作的空间层次得以扩展，是任颐艺术成熟期的人物山水画精品之作。",[1154,1155,1257,1158,1464,1210,1160,1389,1439,1168,1465,2131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddee5e93c323d07fb938845edf71c073.jpg","纵135.5厘米，横65厘米",[1538,6,1174],44,{"id":664,"slug":7375,"title":7376,"dynasty":1252,"author":7377,"museum":1369,"description":7378,"tags":7379,"thumbUrl":7380,"material":1551,"size":1551,"collection":1538,"collections":7381,"showCount":7373,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"xi-yuan-ya-ji-tu-zhou-zhang-ling-237464","西园雅集图轴","张翎","这幅全景式园林雅集图，以山石林木划分出数处雅聚小境。苍松虬劲、蕉竹扶苏，池苑溪桥蜿蜒其中。文人们三两成群，或围案观摩友人挥毫落墨，或凭栏远眺私语清谈，或坐卧林泉观鱼赏景，动静之间尽显林下风流。淡墨勾勒山石肌理，晕染出温润质感，枝叶点染细致秀逸，淡设色衬出雅致恬淡的氛围，将文人雅聚的闲散意趣与从容气度尽皆铺展于绢素之上，尽显古典文人群聚的清隽韵味。",[1154,1464,1158,1159,1465,1210,1160,1212,1796,2632,1439,2299,1165,1837,1219,1783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abbe124c0e31104ad7c8467b2cb3887.jpg",[1538,6],{"id":665,"slug":7383,"title":5091,"dynasty":1203,"author":7384,"museum":1150,"description":7385,"tags":7386,"thumbUrl":7387,"material":2203,"size":7388,"collection":6,"collections":7389,"showCount":7373,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"shan-shui-ren-wu-ce-guo-fen-ya-236480","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[1154,1464,1158,1492,1210,1160,1857,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F829e7d3f099522e9857d1983f1256050.jpg","纵38.8厘米，横60.4厘米",[6,1174],{"id":666,"slug":7391,"title":7392,"dynasty":1148,"author":1291,"museum":1237,"description":7393,"tags":7394,"thumbUrl":7395,"material":1227,"size":7396,"collection":1172,"collections":7397,"showCount":7373,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"liu-yin-gao-shi-tu-yi-ming-219693","柳荫高士图","这幅画论布局，论笔法、设色，均臻上乘。画中人物之猜测为谁﹖其理由是以前景中的柳树，以应陶渊明是「五柳先生」，再加以头上的巾子足以漉酒，渊明正是好酒之人。本幅从服饰及坐具、酒具，显然是画晋人，而无唐以后风俗。陶渊明出现的形象，基本上是一位「高士」，然而这个高士大致有两种面貌，一种是悠游山林的隐者，一种是醺醺醉矣的酒客。柳阴高士可能是现存画陶渊明醉醺醺的最早一幅画了。画中树下一翁，席以豹皮，前置一手卷、一盏酒，老翁袒胸赤足，头戴葛巾，双目凝神下视，实已醺醺然微醉矣。渊明坐前双脚处，席上置有盛酒之碗，酒盛九分满，沿上犹挂著一把勺子，碗与勺皆是外壁黑，内面朱，且其质薄，看来是漆器一类而非陶器。，从器皿及服饰的发展，画中人物是非唐而为晋。\n柳荫下，一位士人袒胸露背，跣足而坐于豹皮之上，潇洒超脱，充满雅逸逍遥之趣。士人两眼有醺醺然之貌，故幅上乾隆题诗称这位高士不是唐的李白，就是晋的陶潜。由于陶潜曾作＜五柳先生传＞以自况，故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[1153,1154,1155,1257,1158,1159,1465,1210,1531,1493,1242,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[1172,6],{"id":667,"slug":7399,"title":7400,"dynasty":1252,"author":5466,"museum":1571,"description":7401,"tags":7402,"thumbUrl":7403,"material":1772,"size":7404,"collection":6,"collections":7405,"showCount":7373,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"jin-gu-yuan-tu-zhou-hua-nie-219419","金谷园图轴","华喦（yán）的笔墨既有继承传统的一面，又重视写生，构图大胆新颖。他所刻画的艺术形象鲜活生动，用笔干湿浓淡灵活多变，表现力强。是图，华岩重构了西晋石崇所建别墅金谷园，潇洒淋漓的笔墨与烂漫的花草使奢华的园林带有了些许文人气韵。",[1154,1257,1158,1159,1210,1160,1165,1439,1187,1190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900b496b8d7d1df5eea57bd7f71090a2.jpg","纵178.7 厘米 横94.4 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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。",[1154,1155,1464,1275,1210,1492,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3311b8c74a0e1e53cd7d87fe52db69.jpg",[6,1538],43,{"id":675,"slug":7463,"title":7464,"dynasty":1148,"author":4351,"museum":1327,"description":7465,"tags":7466,"thumbUrl":7467,"material":1158,"size":7468,"collection":1172,"collections":7469,"showCount":7461,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[1153,1154,1240,1155,1156,1158,1159,1210,1160,2098,1438,1358,1357,1344,4354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 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这些团体是不同的，而且剧情也不同。有几个小组只有一个人，但很多小组有几十个人。在群体之间，他们被那些回头看的人和搔首弄姿的人联系起来，以一种自然的方式不留痕迹地过渡。这确实是运动和起伏的组合。",[1153,1154,1155,1156,1274,1210,1159,1158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F564d9e1b9d92f19ebe7c9da066bf364a.jpg","34.6x893",[6],{"id":683,"slug":7529,"title":7530,"dynasty":1203,"author":6768,"museum":1369,"description":7531,"tags":7532,"thumbUrl":7533,"material":1468,"size":1551,"collection":6,"collections":7534,"showCount":7461,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"bai-miao-ying-zhen-tu-2-ding-yun-peng-217055","白描应真图-2","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[1154,1155,1156,1274,1275,1210,1493,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e22d21a4546a2f44db8635013c06ce4.jpg",[6],{"id":684,"slug":7536,"title":7537,"dynasty":1203,"author":1291,"museum":1150,"description":7538,"tags":7539,"thumbUrl":7545,"material":1170,"size":7546,"collection":6,"collections":7547,"showCount":7548,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ming-ren-xiao-yi-zhuan-lan-ting-tu-zhou-yi-ming-239478","明人萧翼赚兰亭图轴","在宋时即多摹本。据史所载，唐代著名画家阎立本绘有此图，此外，据《宣和画谱》，唐吴侁亦作此图一幅。其后，前蜀支仲元、南唐顾德谦、南宋僧梵隆、元赵子俊等画家均以此题材绘图，此卷为明代绘本。图绘六位人物，画左坐着的僧人即辩才，左手执《兰亭序》，右手举于胸前侃侃而谈，画面右侧的萧翼双手笼于袖间，沉着冷静，两人中间有一盆假山石。画面右下方为萧翼的两名随从，衣冠整洁，左下幅辩才的童子正在备茶。该图右上侧有树石为背景，山石呈方块状叠加，造型独特，全画工笔重彩设色，人物及树石等造型具有明代绘画的特点。",[1240,1154,1257,1159,1158,3749,7540,1294,3107,7541,1261,7542,7543,7544],"僧人","树石","备茶","萧翼赚兰亭","《兰亭序》","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d7369ef6326f5b81cab49e4cb54bbf.jpg","纵124厘米，横78厘米",[6],42,{"id":685,"slug":7550,"title":4238,"dynasty":1367,"author":4315,"museum":1517,"description":7551,"tags":7552,"thumbUrl":7553,"material":1227,"size":7554,"collection":6,"collections":7555,"showCount":7548,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"xian-ren-tu-yan-hui-219567","苍古松壑间，三位仙者围坐清谈。左侧童子恭谨侍立，执器物垂首静听；居中仙者虬眉圆睁，神态矍铄灵动；右侧长髯仙人安坐抚膝，意态萧散出尘。\n\n画家以粗简苍劲的笔触勾勒山石古松，暗沉色调晕染出幽寂山野氛围，人物衣纹顿挫凝练，兼具写意笔趣与写实精微，将仙人各异的神采刻画入微，整体冷逸清旷，尽显出世高玄的仙道意境。",[1153,1154,1155,1257,1464,1158,1210,1160,1274,1159,1465,1439,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1392a21c9e50699689313e4c79cf7f.jpg","纵144.8横82.2厘米",[6],{"id":686,"slug":7557,"title":7558,"dynasty":1203,"author":7559,"museum":1517,"description":7560,"tags":7561,"thumbUrl":7562,"material":1227,"size":1551,"collection":6,"collections":7563,"showCount":7548,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"pin-pang-tu-ni-duan-219520","聘庞图","倪端","此作以层叠山水铺就幽寂天地，远山含烟，峦峰隐现于苍莽雾气之中，将山野空阔清远之境晕染开来。近景虬木盘绕，怪石嶙峋，衬出山居的清僻冷寂。林间小径之上，聘者躬身示礼，姿态恭谨，高士神态澹然自若，将出世隐逸与入世招贤的意涵悄然对照。\n\n笔墨苍劲古雅，斧劈皴利落刻画山石肌理，枯木枝桠以折芦描写就，尽显萧寒苍劲。沉雅的设色晕开幽古氛围，以山川林泉烘托出林下高风，将先贤不慕荣利的襟怀藏于烟霞丘壑之间，院体画的精工与文人意趣相融，悠悠古意漫溢满幅。",[1153,1154,1155,1257,1158,1160,1210,1165,1837,3299,1465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50f6ffda585eb0f4926c5cca0a3fb74.jpg",[6,1538],{"id":687,"slug":7565,"title":7566,"dynasty":1203,"author":1291,"museum":1369,"description":7567,"tags":7568,"thumbUrl":7570,"material":1227,"size":7571,"collection":6,"collections":7572,"showCount":7548,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"hu-ren-qi-she-tu-yi-ming-218431","胡人骑射图","奔马四蹄腾空，尘烟似随绢纹浮动。骑手或弓弦满张如满月，箭簇欲破风而去；或俯身控缰，衣袂猎猎卷动。红带束腰、尖顶帽饰，勾勒出游牧者的剽悍身姿。马匹鬃毛飞扬，有的昂首嘶鸣，有的侧首避箭，动态十足。赭褐底色晕染出苍茫旷野的气息，古绢的纹理如岁月刻痕，将骑射的豪壮与奔放凝于方寸之间。每一笔线条都带着力量，仿佛能听见马蹄声与弓弦响交织，尽显马背民族的飒爽英姿。",[1154,1155,1240,1158,1159,1210,1389,1357,7569],"骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754cc051e9eb8b734538664b52ca4eb4.jpg","33x161",[6],{"id":688,"slug":7574,"title":7575,"dynasty":1148,"author":1768,"museum":1369,"description":7576,"tags":7577,"thumbUrl":7578,"material":1468,"size":1551,"collection":6,"collections":7579,"showCount":7548,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"bai-miao-luo-han-tu-quan-juan-li-gong-lin-218092","白描罗汉图全卷","宋朝是中国历史上的一个朝代，它的统治时间是从960年到1279年。在这个时期，许多著名的文化遗产和艺术品被创造出来，其中之一就是李公麟的《白描罗汉图全卷》。\n\n李公麟是宋朝时期的一位著名的画家，他的《白描罗汉图全卷》是他的代表作之一。这幅画共有六十张图片，描绘了罗汉（菩萨）的各种形象。罗汉是佛教中的一种神祇，被视为慈悲、智慧、勇敢的象征。\n\n《白描罗汉图全卷》画风精细，造型优美，富有表现力。李公麟在画中运用了白色的纸张，使得整幅画显得格外纯净、灵动。此外，他还运用了许多细节处理手法，如镂空、描边和拓印等，使得画面更加丰富、生动。\n\n总的来说，李公麟的《白描罗汉图全卷》是一幅精美的艺术杰作，具有极高的艺术价值和文化意义。",[1153,1240,1154,1155,1156,1275,1274,1210,1160,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259cf0e940680700b94e0d92e8fa0ef6.jpg",[6],{"id":689,"slug":7581,"title":7582,"dynasty":1252,"author":7583,"museum":1369,"description":7584,"tags":7585,"thumbUrl":7586,"material":2203,"size":1551,"collection":1538,"collections":7587,"showCount":7588,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-ceng-yan-dong-231951","七道子山水人物画册18帧","曾衍东","曾衍东生于清乾隆十五年（1750年），字青瞻，一字七如，号七如居士、七道士，祖籍山东嘉祥，为曾子第67代孙。清乾隆壬子（1792年）举人，清乾隆至道光年间画家、小说家、杂剧家。\n据嘉祥《曾氏祖谱》记载，其祖上在明代嘉靖十八年（1539年）被封为翰林院五经博士，并从此世袭爵位。曾衍东的父亲名尚渭，是个恩贡生，游宦江南，曾官居广东博罗县令。曾衍东自幼随父游走南北，童年的经历奠定了其开阔的胸襟，同时也开启了他坎坷飘荡的一生。\n他仕途坎坷，直至50岁迟暮之年由人举荐，才得任湖北江夏县令，后调任巴东县令。曾衍东个性清高、倔强。他曾在《日长随笔》里写道：“人所不能做的，我偏要做去，人所不能减的，我偏要减去。”依这种性格，他在中国官场的遭遇可想而知。63岁那年，因断案而触怒巡抚，而他坚持“此官可去案不移”，终被降罪罢官，流放温州。\n曾衍东携家小流放温州后，先住在同姓旧宦曾儒璋后人曾立亭的家中。曾立亭居温州郡西，其宅名“依绿园”。他念同姓之谊，款接曾衍东居园之“入画楼”。第二年曾衍东在园边宝庵桥附近一大榕树下自建房屋。这里面向九山湖，湖光山色正好，于是他把自己的居所命名“小西湖”。并在门上写了一副对联：“挂冠自昔曾骑虎，闭户于今好画龙。”\n嘉庆二十五年（1820），道光帝即位，曾衍东遇赦，但已贫老不得归乡，约十年后，客死于温州。\n曾衍东生性落拓不羁，工诗及书画，尤善画人物，市井风情、生活百态皆入其构中，举重若轻。在技巧上以笔墨狂放的写意风格取胜。镌图章，摩古出奇，得之者无不视为拱璧，然清贫自守。在近代画坛特别在人物画领域受曾衍东影响的画家有很多，比如王震和丰子恺。但是对他在画坛上地位的认识有所不足，因此当代著名画家程十发先生颇为其抱不平。他在曾衍东的一本人物册中写到：“七道士乃青藤（徐渭）后身，诗文词曲皆胜场，且从书画中与世俗相左而现风骚之气。余曰：近人不重曾衍东是一大遗憾也。”可以说推崇备至。",[1153,1154,1155,1492,1464,1210,1389,1357,1561,1358,2048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e31d6bfb1d8831f9c256406aa1f6a9e.jpg",[1538,6],41,{"id":690,"slug":7590,"title":7591,"dynasty":1203,"author":2898,"museum":1517,"description":7592,"tags":7593,"thumbUrl":7599,"material":1227,"size":7600,"collection":6,"collections":7601,"showCount":7588,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[1154,1155,1464,1465,1158,1160,1213,1560,7594,1210,1493,1729,1164,1494,7595,7596,1165,1222,7597,7598],"渔父","溪谷","岸石","渔人","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[6,1538],{"id":691,"slug":7603,"title":7604,"dynasty":1252,"author":1674,"museum":1237,"description":7605,"tags":7606,"thumbUrl":7607,"material":1158,"size":7608,"collection":6,"collections":7609,"showCount":7588,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"fang-guan-xiu-hua-luo-han-tu-xu-yang-219894","仿贯休画罗汉图","苍松虬枝凝霜，松针攒簇自带古拙寒意。画面分两处铺陈意趣：上方罗汉展卷沉读，侍童敛神研墨，案几陈设清雅，尽显禅房读经的静谧悠然。下方罗汉斜倚松干，捻珠垂眸，似在神游禅境。\n\n衣纹勾勒劲挺流畅，浓艳衣色与枯淡山石松枝相映成趣。淡墨皴擦山石，晕染出嶙峋肌理，人物神态灵动入微，将世外清修的雅寂禅意铺展开来，笔底藏着古意传承，静穆里暗淌悠然文心。",[1154,1155,1240,1257,1158,1209,1274,1210,1796,1296,1589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20de6f165137428706a16cb3088a0ff5.jpg","128.5x54.3",[6],{"id":692,"slug":7611,"title":7612,"dynasty":1148,"author":1291,"museum":1413,"description":7613,"tags":7614,"thumbUrl":7615,"material":1227,"size":1551,"collection":6,"collections":7616,"showCount":7588,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"lv-chun-yang-tu-yi-ming-219561","吕纯阳图","画师以劲爽写意的铁线描勾勒身形，苍髯垂覆胸腹，青巾束发，赤足卓立。宽袍裹挟清癯身姿，双手交叠腹前，面容沉凝肃穆，尽显出尘孤高的仙家气度。衣纹顿挫老辣，落笔简劲朴拙，以水墨写意的意趣晕染出幽远仙风，简淡笔墨间不见繁饰，却将仙人超然世外的风骨凝练于绢素之上，古雅朴厚，寥寥数笔便让仙道意韵溢满画面，尽显古画写意人物的风神格调。",[1153,1154,1155,1257,1274,1158,1210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80f58a4357362068c7e3accb1c5f0ea0.jpg",[6],{"id":693,"slug":7618,"title":7619,"dynasty":1367,"author":1291,"museum":1237,"description":7620,"tags":7621,"thumbUrl":7623,"material":1227,"size":7624,"collection":6,"collections":7625,"showCount":7588,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"qiu-jing-xi-ying-zhou-yi-ming-219494","秋景戏婴轴","秋郊明月下，六婴儿穿各色绣花长衫，在大树坡石间嬉戏，或捧花提篮，或抚弄兔儿，或招呼同伴，前有盤，盛秋季应时水果。",[1154,1257,1158,1159,1210,1808,2494,1438,1439,1478,7622,3348],"水果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1427670394fd3c7c1a634e14fcc05070.jpg","127x61公分；全幅 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所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 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笛吹地藏图","狩野探幽","素线勾勒的身影乘云翩跹，衣袂舒展如流霞漫卷。唇边横笛轻启，清韵似随柔风逸出，绕过身后朦胧圆月，在云气间悠悠弥散。线条柔婉却藏静定之姿，地藏的慈悲在笛音里化作淡暖光晕，与月色相融。整幅画如一首无声禅曲，空灵中裹挟着抚慰人心的力量，将佛性悲悯与艺术清雅织就成静谧天地，引人沉于这份超越尘嚣的平和安宁。",[1240,1154,1155,1257,1274,1275,1464,1210,2098,7755],"笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4950f0b0cd418d7e2e7b2082d209528.jpg","98.5x38.1",[6],{"id":708,"slug":7760,"title":4238,"dynasty":1203,"author":1291,"museum":1413,"description":7761,"tags":7762,"thumbUrl":7763,"material":1227,"size":7764,"collection":6,"collections":7765,"showCount":7671,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"xian-ren-tu-yi-ming-218292","四位仙者衣袂翩跹，神态各异。左侧长者身着浅褐长袍，双手抱胸而立，眉宇间沉静儒雅；右下者深蓝长衣加身，躬身持物，姿态恭谨。背景二人或持杖浅笑，或低语互动，似有仙缘相契。衣纹线条流畅婉转，色彩经岁月沉淀仍显古朴雅致，云雾隐现间，缥缈仙境呼之欲出。人物神情生动传神，举手投足间尽显超凡气度，仙者之姿与人间情味交融，尽显古画神韵。",[1154,1158,1159,1210,1274,1257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8688357244e4cdd1e92b2b1fed833a6.jpg","147.4x75.2",[6],{"id":709,"slug":7767,"title":2744,"dynasty":1252,"author":1291,"museum":1369,"description":7768,"tags":7769,"thumbUrl":7770,"material":1227,"size":7771,"collection":6,"collections":7772,"showCount":7671,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"luo-han-tu-yi-ming-217061","罗汉图是清朝时期的一张著名图画。这张图画描绘了一个罗汉，也就是佛教中的一种超凡脱俗的人物。罗汉图通常都会描绘罗汉坐在一个莲花座上，并且脸部表情非常平静。罗汉图被认为是一张具有深刻哲学意义的图画，它可以帮助人们思考人生、审视自己内心世界的问题。",[1153,1154,1158,1159,1274,1210,1796,1439,1478,4516,1257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0f92db8d3a95be73cc37fc1f75a538.jpg","63x39",[6],{"id":710,"slug":7774,"title":7775,"dynasty":1252,"author":1291,"museum":1413,"description":7776,"tags":7777,"thumbUrl":7778,"material":1772,"size":7779,"collection":6,"collections":7780,"showCount":7671,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"qian-dai-jun-chen-gu-shi-tu-yi-ming-214914","前代君臣故事图","前代君臣故事图是清朝时期的一幅条幅式绘画，其中描绘了前代君臣的故事。这幅画作品的画家是清朝时期的一位佚名画家。\n\n前代君臣故事图中描绘了许多传说中的君臣人物，如唐朝的李靖、西汉的范蠡、周朝的车骑将军等。这些君臣人物均以其忠心耿耿、才华横溢的形象呈现在画面中，并以细腻精巧的线条勾勒出了他们的肖像。\n\n在前代君臣故事图中，这些君臣人物被描绘成温厚谦逊、不畏权势、敬畏天命的英雄人物。他们不仅身经百战、深谙军事，而且还具有极高的政治才能，深受皇帝信任。\n\n前代君臣故事图是清朝时期一幅非常著名的绘画作品，其中所描绘的君臣人物形象鲜活生动，富有感染力，对后代的绘画艺术具有重要的影响。",[1153,1154,1155,1156,1275,1464,1210,1389,1357,2303,6219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ae494934b6299c2afccbf637aa0c5c.jpg","24.1x299.4",[6],{"id":711,"slug":7782,"title":7783,"dynasty":1252,"author":1291,"museum":1150,"description":7784,"tags":7785,"thumbUrl":7787,"material":1170,"size":1551,"collection":1667,"collections":7788,"showCount":7789,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"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。",[1154,1155,7786,1158,1159,1208,1160,1211,1210,1165,5748,1219],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded276fb2933bdf92b40267c15571dff.jpg",[1667,1538,6,1174],39,{"id":712,"slug":7791,"title":7792,"dynasty":1252,"author":1291,"museum":1237,"description":7793,"tags":7794,"thumbUrl":7797,"material":1551,"size":1551,"collection":6,"collections":7798,"showCount":7789,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[1153,1154,1155,1159,1158,1210,1165,1439,1218,7795,2187,7796],"路径","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[6,1174],{"id":713,"slug":7800,"title":7801,"dynasty":1203,"author":7802,"museum":1237,"description":7803,"tags":7804,"thumbUrl":7805,"material":1391,"size":7806,"collection":6,"collections":7807,"showCount":7789,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[1153,1154,1156,1159,1158,1210,1160,1211,1796,1439,1168,3076,1208,1465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[6,1174],{"id":714,"slug":7809,"title":7810,"dynasty":1148,"author":7132,"museum":1237,"description":7811,"tags":7812,"thumbUrl":7816,"material":1227,"size":7817,"collection":6,"collections":7818,"showCount":7789,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"fu-xi-zuo-xiang-tu-ma-lin-219599","伏羲坐像图","本幅画其坐像，散发披肩，身披鹿皮，一派远古风范。远古时期，我们的先民为了御寒，以石器或骨器加工兽皮，再以骨针等工具进行缝制。此画幅足下右图1为八卦。此八卦图形表明他创制八卦的功绩。他双目凝神，似在沉思什么似的。\n画幅上方宋理宗楷书叙赞。叙曰：“朕获承祖宗右文之绪，祗通燕谋，日奉慈极，万几馀闲，博求载籍，推迹道统之传，自伏羲迄於孟子，凡达而在上，其道行，穷而在下，其教明，采其大指，各为之赞，虽未能探颐精微，姑以寓尊其所闻之意云尔。”标题：“宓牺”。赞日：“继天立极，为百王先，法度肇建，道德纯全，八卦成文，三坟不传，无言而化，至治自然”\n此画刻画高度精练，神情表现细致人微，画法新颖别致，生动自然。人物的眉毛、胡子，粗黑浓密，只是挥洒数笔便勾画出来。衣服更为简练，鹿皮下露出一双赤脚，亦一无疏漏地表现出来，真是神奇而妥贴。设色亦甚为高雅、纯朴，头部和赤脚着浅色，衣服以淡墨渲染，加深了受光面的立体感。简朴精练的笔墨，把这位始祖的形象刻画入微，给人留下了深刻的印象。",[1153,1154,1155,1257,1158,1159,1210,1160,7813,7814,1358,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永兴弟任薰舜琴写”，钤“任薰”白文方印。",[1154,1257,1158,1159,1210,8017,1438,1616,7110,3021,8018,1532,8019,1191],"芝","柳叶","苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纵137.5厘米，横39.5厘米",[6],{"id":738,"slug":8024,"title":8025,"dynasty":1367,"author":5745,"museum":1237,"description":8026,"tags":8027,"thumbUrl":8028,"material":1227,"size":1551,"collection":6,"collections":8029,"showCount":7969,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"song-mei-shi-nv-tu-sheng-mao-218743","松梅仕女图","尺幅间松枝如铁，梅蕊凝霞，暗香似绕绢素。仕女凭石闲坐，衣袂轻垂，眸光柔落梅梢，似细品松风与寒香交织的清韵。笔墨兼工带写，松针疏密见劲健，梅朵点染含娇妍，仕女姿态温婉，神情娴静，与松梅冷艳相映成趣。题跋墨痕与淡彩相融，更添古雅。整体意境清幽淡远，如无声诗行，道尽文人心中的雅致闲逸，时光仿佛在此停驻，只余松梅与佳人的悠然对语。",[1153,1154,1155,1492,1158,1210,1649,1452,1187,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96448930cd424db7a671f6805711b6a.jpg",[6],{"id":739,"slug":8031,"title":8032,"dynasty":1148,"author":8033,"museum":2540,"description":8034,"tags":8035,"thumbUrl":8036,"material":1227,"size":8037,"collection":6,"collections":8038,"showCount":7969,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[1153,1154,1155,1240,1159,1158,1210,1560,1160,6515,1452,1213,1477,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[6],{"id":740,"slug":8040,"title":4467,"dynasty":1367,"author":1291,"museum":8041,"description":8042,"tags":8043,"thumbUrl":8044,"material":1496,"size":8045,"collection":6,"collections":8046,"showCount":7969,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"han-shan-shi-de-tu-yi-ming-218441","福冈市立美术馆","画面分呈两段意趣：左间二人相倚，笑意温软如沐春风，似是知音对语；右处禅者踞岩，虎伴身侧驯若良朋，尽显禅心化境。淡墨晕染烟岚轻笼的山野，线条简括却勾摹出人物神态的鲜活与自然的清旷。草木疏朗，山石朴拙，处处透着元人画中那份超然尘外的禅意与闲逸。素净之笔未施浓彩，却将隐逸的自在与禅理的圆融悄然铺展，观之令人忘俗。",[1153,1154,1464,1275,1465,1210,3629,1160,1165,1261,1168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0e535c4564e424c74e7b09730c1015.jpg","56x110.2",[6],{"id":741,"slug":8048,"title":8049,"dynasty":1252,"author":1291,"museum":1369,"description":8050,"tags":8051,"thumbUrl":8052,"material":1227,"size":8053,"collection":6,"collections":8054,"showCount":7969,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"xuan-zong-lin-jing-tu-yi-ming-218289","玄宗临镜图","绢色泛黄如浸旧时光，朱红栏杆圈定宫室一角，竹影斜映窗棂，案上瓶花静立。玄宗红衣临镜，眉宇间似凝沉思，侍从持物侍立，姿态恭谨；侧室仕女闲坐，衣袂轻扬，添几分柔婉。旁题“韩休为相”语，暗牵盛唐典故——玄宗因韩休直言自省，临镜之态恰与纳谏之心呼应。\n\n画作以细腻笔触摹写人物神态，场景疏密得宜，于日常起居间藏史事隐意。既见宫廷生活的雍容，亦含对为政自省的隐括，方寸绢素间，绘就一段被时光凝定的盛唐记忆，笔端流转的不仅是形色，更是史韵与哲思的交融。",[1154,1155,1159,1158,1208,1210,1211,2632,1191,1589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70abb2788b3569eccbc73c8780a21f36.jpg","30x31",[6],{"id":742,"slug":8056,"title":6049,"dynasty":1148,"author":1291,"museum":1237,"description":8057,"tags":8058,"thumbUrl":8059,"material":1227,"size":5824,"collection":6,"collections":8060,"showCount":7969,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"luo-han-zhou-yi-ming-216946","罗汉轴是一种古代中国的手卷绘画。它们通常以佚名作者为代表，出现在宋朝（960-1279年）时期。罗汉轴的主题通常是佛教经典和寺庙仪式中的罗汉（即被提升到超凡脱俗境界的佛教徒）。这些绘画通常画在绢上，并装在木质卷轴架上。它们是当时中国绘画艺术的重要组成部分，被视为宝贵的艺术品。",[1154,1155,1257,1274,1159,1158,1210,1438,1294,4126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b4b5465a9970a4423478868b05daf.jpg",[6],{"id":743,"slug":8062,"title":8063,"dynasty":1252,"author":1291,"museum":1369,"description":8064,"tags":8065,"thumbUrl":8066,"material":1227,"size":1551,"collection":6,"collections":8067,"showCount":7969,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-yi-ming-216116","职贡图巨幅彩绘册页第2册","画面绘两位人物，衣饰各具地域风貌。左侧人物着蓝紫条纹长袍，衣襟微敞露橘色内衬，腰间垂黄绒饰带，神态温婉；右侧人物头戴红顶软帽，身披绿纹长褂，内搭红衣，双手拢于袖中，面容憨厚。人物线条流畅细腻，衣料纹理清晰可触，设色古朴雅致，尽显织物质感与人物情态。旁附文字注解，似载族群风俗。整幅作品生动还原清代边疆或外域族群的服饰与神态，既是笔墨精妙的艺术佳作，亦是研究当时民族交流、文化风貌的珍贵图像凭证，尽显职贡图类作品的历史厚重与艺术灵光。",[1153,1154,1155,1492,1158,1159,1210,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1896e597091b8c11ab1ab56e5e2dcb9a.jpg",[6],{"id":744,"slug":8069,"title":8070,"dynasty":1252,"author":1291,"museum":1369,"description":8071,"tags":8072,"thumbUrl":8073,"material":1227,"size":8074,"collection":6,"collections":8075,"showCount":7969,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"qing-ren-xiao-xiang-tu-ce-yi-ming-215915","清人肖像图册","绢本泛黄的底色里，端坐的身影裹着靛蓝长袍，红顶小帽衬得面容温润沉静。案几上器物默然伫立，似凝住一室清寂时光。左侧圆窗裁取山石花木之景，墨色浅淡间晕染出中式居停的雅致意趣。衣纹线条简洁却见功底，面部晕染细腻，将人物温婉神态悄然托出。整幅画无繁复铺陈，却以简淡笔触勾勒出清代人家的日常片段——那份浸润在时光里的从容娴静，仿佛能透过画面漫溢开来，引人沉浸于岁月沉淀的悠然。",[1154,1158,1210,1159,1492,1191,1260,1261,5831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283674bde9cfd07398bfe9ae23ea3a59.jpg","44x40",[6],{"id":745,"slug":8077,"title":8078,"dynasty":1252,"author":1291,"museum":1369,"description":8079,"tags":8080,"thumbUrl":8082,"material":1496,"size":1551,"collection":6,"collections":8083,"showCount":7969,"zanCount":1177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"罗汉观音图","此作以石窟观音为视觉中心，十六罗汉错落排布于林泉幽境之间。洞窟、危桥、苍松穿插其间，将佛国胜景融于山水丘壑。设色古雅沉润，线条凝练劲挺，衣褶流转自然。\n\n各罗汉神态迥异，或趺坐静思、或临渊观流、或降龙伏怪，形神兼备；观音端踞窟内，仪容肃穆安和。画面将礼佛的庄严禅意，与文人山水的清寂雅致相融，既彰显佛造像的静穆神圣，又暗合山林隐逸的审美意趣，尽显佛画与山水画结合的精妙，把出世禅心揉入林泉幽致之中，尽显明代宗教绘画兼具工致与意韵的独特韵味。",[1154,1155,1158,1159,1274,1210,1160,1212,1213,1341,1208,1493,1211,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69873b96fabaed87f5b148d0a16d77ba.jpg",[6],{"id":753,"slug":8143,"title":8144,"dynasty":1203,"author":1291,"museum":1517,"description":8145,"tags":8146,"thumbUrl":8147,"material":1227,"size":1551,"collection":6,"collections":8148,"showCount":8099,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"tang-gao-shi-lu-lu-wang-xiang-yi-ming-219571","唐高士陆鲁望像","长髯垂胸，面容沉静端方，眉眼敛着淡然神色，尽显林下高士的清雅从容。服饰层次分明，苔青色外袍晕染出沉稳古雅的质感，玄色缘边勾勒出规整形制，系带细节写实雅致，衬出人物简淡出尘的气度。\n\n画作设色古厚沉静，绢本底色晕染出岁月沉淀的温润质感，线条凝练含蓄，形神兼备地呈现出人物温雅疏旷的气质，尽显传统肖像画的写实功力，带着古雅端严的审美意趣，将这位高士超然世俗的风骨缓缓铺陈开来。",[1153,1154,1155,1210,1257,1159,1158,1191,6138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558c5168241beb3eccf8710b5db2e2ac.jpg",[6],{"id":754,"slug":8150,"title":8151,"dynasty":1148,"author":1291,"museum":1237,"description":8152,"tags":8153,"thumbUrl":8155,"material":1227,"size":1551,"collection":6,"collections":8156,"showCount":8099,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"shan-yang-tu-yi-ming-219172","山羊图","粉面朱唇的稚子端坐羊背，衣袂鲜妍如霞，手中轻挥短鞭。群羊毛色胜雪，犄角宛转似玉，或驰于坡前，或驻于石畔，或低头嗅草，姿态灵动如生。背景松枝虬劲，梅蕊初绽，墨色浓淡间晕染出清寂古意。线条工细若蚕丝，衣纹褶皱、羊身毫毛皆刻画入微；设色沉敛温润，赭石与石青相映，既见宋画的雅致，又藏孩童嬉戏的稚趣。动静相宜间，似能听见羊蹄踏石的轻响，稚子清脆的笑声，将寻常生活的闲情，凝作千年不褪的画卷。",[1154,1155,1240,1159,1158,8154,1210,1649,1452,1439,2351],"山羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d784dda5b0462addae6b69112b558a.jpg",[6],{"id":755,"slug":8158,"title":8159,"dynasty":1148,"author":1291,"museum":1237,"description":8160,"tags":8161,"thumbUrl":8162,"material":1227,"size":1551,"collection":6,"collections":8163,"showCount":8099,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"cai-yao-xian-lv-tu-yi-ming-218862","采药仙侣图","这幅画描绘了一位白袍医生和仙人从医书中挑选药材，而他们身后是隐藏在古松和祥云中的仙山和宫殿。岩山空无一物，背上长满青苔，松树和白鹤都很逼真。",[1153,1154,1155,2543,1158,1159,1210,1160,1297,6761],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb92b197d6b8f4dd837b06346da680a16.jpg",[6],{"id":756,"slug":8165,"title":8166,"dynasty":1367,"author":1291,"museum":4175,"description":8167,"tags":8168,"thumbUrl":8169,"material":1227,"size":1551,"collection":6,"collections":8170,"showCount":8099,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"shi-jia-mo-ni-dan-sheng-tu-yi-ming-218474","释迦摩尼诞生图","云气如缕，托着衣袂翩跹的神众于天际凝眸；地面上，朱廊环伺，侍从衣纹细腻如波，簇拥着殿内新生的静谧。中央光晕轻笼，似能触到佛陀诞生的圣洁——青绿与赭红交织的图景里，古绢斑驳晕染出岁月的虔诚。右侧仪仗缓步，衣饰繁复与左侧侍从清雅相映，皆向那神圣核心汇聚。线条流转间，佛教庄严与世俗鲜活融于一帧，每一笔都似低语着千年信仰的温度，让悠远的故事在古画的肌理中静静流淌。",[1154,1155,1274,1159,1158,1208,1210,1211,1276,1532,3747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761dda8b2dede2e9e29009830b74880b.jpg",[6],{"id":757,"slug":8172,"title":2687,"dynasty":1252,"author":1291,"museum":2911,"description":8173,"tags":8174,"thumbUrl":8175,"material":1227,"size":8176,"collection":6,"collections":8177,"showCount":8099,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"zhong-kui-tu-yi-ming-218426","苍树虬枝旁，柳丝轻垂如帘，梅蕊点点绽于枝头。宽袍大袖的身影伫立其间，手持梅枝似在凝神细赏。笔墨简练却生动传神，衣纹线条婉转流畅，勾勒出人物雍容气度——昔日驱邪判官，此刻化作赏梅雅士，威严之余添了几分文人闲逸。背景疏草与古木相映，浅褐底色晕染出古朴雅韵，细节处见匠心。作品打破传统钟馗刻板印象，以清雅之境赋予神祇新的情致，于简淡中藏深意，尽显传统绘画的意趣与韵味。",[1154,1158,1159,1210,1452,1531,1477,2351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d9821f588ead48b6f3e9bad8a5520a.jpg","71x30",[6],{"id":758,"slug":8179,"title":6600,"dynasty":1203,"author":8180,"museum":2911,"description":8181,"tags":8182,"thumbUrl":8183,"material":1195,"size":8184,"collection":6,"collections":8185,"showCount":8099,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"mao-nv-tu-sun-jue-218411","孙珏","松枝苍劲盘桓，草木葱茏点缀，扇面间铺展一方清幽天地。数人衣袂轻扬，姿态闲雅，或低语浅笑，或凭杖伫立，仙逸之态尽显。笔墨细腻处，衣纹流转如行云，树石皴擦见古意；设色淡雅，晕染自然，更添悠远之韵。画面虽咫尺，却藏山林之静谧、人物之超然，似将尘嚣隔绝在外，只留一份清宁与古雅，引人沉醉于这方隐逸仙境之中。",[1153,1154,1155,2543,1158,1159,1210,1165,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F863ccaf21cf3e252db5ff5928ee8576e.jpg","25.1x23.5",[6],{"id":759,"slug":8187,"title":3276,"dynasty":1367,"author":1291,"museum":1369,"description":8188,"tags":8189,"thumbUrl":8190,"material":1772,"size":1551,"collection":6,"collections":8191,"showCount":8099,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"bu-dai-he-shang-tu-yi-ming-218276","这位布袋和尚被画上了宽大的袖子，脸上挂着微笑，地上放着一根锡杖。只用了几笔，这一幕就把一个态度简单而天真的和尚带入了现实。",[1154,1464,1210,1274,1357,1257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be83ceba1bfced12ebb72dc642dd94f.jpg",[6],{"id":760,"slug":8193,"title":8194,"dynasty":1367,"author":8195,"museum":7174,"description":8196,"tags":8197,"thumbUrl":8198,"material":1772,"size":8199,"collection":6,"collections":8200,"showCount":8099,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"bin-feng-tu-lin-zi-huan-218245","豳风图","林子奂","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[1153,1154,1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七子过关图》，均辑入《中国历代名画集》。",[1154,1155,1240,1159,1158,1274,1210,1357,2203,1344,4168,8222],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg",[6],{"id":764,"slug":8226,"title":8227,"dynasty":1148,"author":2425,"museum":1150,"description":8228,"tags":8229,"thumbUrl":8230,"material":1391,"size":8231,"collection":6,"collections":8232,"showCount":8216,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[1154,1240,1155,1492,1275,1464,1210,1493,1625,1261,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[6,1538],{"id":765,"slug":8234,"title":8235,"dynasty":1252,"author":1291,"museum":1369,"description":8236,"tags":8237,"thumbUrl":8238,"material":1551,"size":1551,"collection":6,"collections":8239,"showCount":8216,"zanCount":1177,"manualWeight":1177,"mainColor":1881},"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-san-a-ge-yin-zhi-yi-ming-230310","历代帝王贵妃大臣朝服像(三阿哥胤祉)","此帧坐像工稳端严，画中男子正襟危坐，神色沉敛肃穆，尽显贵胄威仪气度。石青朝服遍饰精繁彩绣团龙补纹，针脚细密灵动，衬出礼制华贵，领间朝珠莹润垂坠，细节考究合度。髹漆宝座雕纹磅礴大气，龙纹栩栩生动，搭配铺陈的地锦纹样，烘托出庄重肃穆的庙堂氛围。\n\n整体设色典雅厚重，晕染细腻写实，将官方肖像画纪实工致的特质尽显无疑，装裱配色沉稳古雅，晕开旧时光的沉静质感，精准描摹出人物身份礼制与肖像写实的精妙融合，是庙堂肖像画的典型佳作。",[1153,1154,1158,1159,1210,1191,1341,1257,1310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff830a08fd4c826073b69a616c453c1b.jpg",[6],{"id":766,"slug":8241,"title":8242,"dynasty":1203,"author":8243,"museum":1237,"description":8244,"tags":8245,"thumbUrl":8246,"material":4149,"size":8247,"collection":6,"collections":8248,"showCount":8216,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"qiao-lin-zhu-ming-tu-zhou-wen-zheng-ming-221991","乔林煮茗图轴","文徴明","不见鹤翁今几年，如闻仙骨瘦于前。\n只应陆羽高情在，坐荫乔林煮石泉。",[1153,1154,1160,5273,1295,1438,1464,2679,1257,2203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 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〈擣衣圖〉作於1240年，創作原型取自南朝詩人謝惠連（397-433）〈擣衣詩〉。純以白描輕墨，畫婦女卅二人，在將寒時節，循序進行搗練、剪裁、製衣、裝箱、封寄的過程。畫中諸女皆面容圓潤，衣裙寬大，猶保有唐人餘韻。人物儀態，舉止優雅，惟在眉宇間多有愁思之意，傳透出對良人從軍未歸的掛念情愫。足稱是南宋繪畫中，描寫夫妻兩地相思，最含蓄、也最成功的作品。",[1240,1154,1155,1156,1275,1210,1191,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52f0b5c8e369f08c112946b110d3131.jpg","纵27.1厘米，横266.4厘米",[1172,6,1174],{"id":768,"slug":8259,"title":8260,"dynasty":1203,"author":8261,"museum":1237,"description":8262,"tags":8263,"thumbUrl":8264,"material":1772,"size":8265,"collection":6,"collections":8266,"showCount":8216,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴","项元汴（明 1525—1590）字子京，号墨林，别号墨林山人、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏\n明鉴藏家。国子生。精于鉴赏，辨别真赝，析及毫发，当时无人可比。尝得铁琴一，上有“天籁”二字，因以名阁。又曾遴选能工巧匠制作各种器具，凡几榻、架柜、奁盒等，镌以铭识，都极精巧。 工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[1154,1155,1257,1464,1160,1210,1261,1213,1796,1439,1168,1357,1465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[6],{"id":769,"slug":8268,"title":8269,"dynasty":1148,"author":1291,"museum":1237,"description":8270,"tags":8271,"thumbUrl":8274,"material":1227,"size":8275,"collection":1172,"collections":8276,"showCount":8216,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"gao-shi-yan-qing-tu-yi-ming-219603","高士延清图","槐荫笼罩着夜色庭院，主人凭案闲坐，案上茶盏与香炉静立，暖香似随晚风漫开。侍童垂手侧立于阶下，屏气凝神消解了周遭岑寂。远处木桥隐在墨色里，晕染出幽谧的晚凉。\n\n画面与题诗相映，将林下清谈、养素含英的雅趣揉入笔底。空灵简雅的构图里，淡墨晕开夜色，人物意态松弛闲适，器物雅致沉静，把文人耽于幽寂、追寻雅静的心境铺陈开来。笔致温婉含蓄，将俗世之外的闲澹日常绘得动人，尽现雅致闲逸的生活意趣。",[1153,1154,1155,1492,1158,1561,1210,1616,1438,1783,1417,1422,8272,8273],"对坐论诗","石棚槐阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc777cd7db29c9ac0aa735d106cb662bb.jpg","纵25.4横27.2厘米",[1172,6],{"id":770,"slug":8278,"title":8279,"dynasty":1252,"author":2688,"museum":1369,"description":8280,"tags":8281,"thumbUrl":8282,"material":1496,"size":8283,"collection":6,"collections":8284,"showCount":8216,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ma-gu-xian-xiang-tu-huang-shen-219176","麻姑仙像图","画面中麻姑面容温婉，眉宇间透着仙逸之气。宽袍大袖随风轻扬，赤足踏地，姿态闲适自在。肩扛阔大芭蕉叶，叶间点缀红蕊，生机暗涌；叶下枝茎修长，握于手中似有轻摇之态。腰间悬橙黄葫芦，系蓝绦，旁缀花草，野趣盎然。笔墨简括洒脱，线条灵动，衣纹用折芦描，流畅中见顿挫，尽显人物飘逸之姿。右侧题跋笔墨纵横，与人物形象相映成趣，融书法与绘画于一体，文人画意趣浓郁。整幅作品仙气与生活气息交织，既见仙家超脱，又含人间鲜活，是写意人物画中的精妙之作。",[1153,1154,1155,2679,1158,1210,1191,1297,1589,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387ab015edbbb395537ee9821345d6c1.jpg","纵176厘米，横105.3厘米",[6],{"id":771,"slug":8286,"title":2396,"dynasty":1148,"author":1291,"museum":1237,"description":8287,"tags":8288,"thumbUrl":8289,"material":1227,"size":8290,"collection":6,"collections":8291,"showCount":8216,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"xi-yuan-ya-ji-tu-yi-ming-218734","它描绘了王诜在西园雅集的故事，一石激起千层浪，人物安排得饶有兴味，人物画风古朴，可能是南宋李公麟作品的翻版。",[1153,1154,1155,1158,1159,1210,1165,1439,1590,1422,3748,1219,1783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bc6ae28ac3a522246a2352340f410b.jpg","23.9x24",[6],{"id":772,"slug":8293,"title":8294,"dynasty":1203,"author":8295,"museum":4175,"description":8296,"tags":8297,"thumbUrl":8298,"material":1496,"size":1551,"collection":6,"collections":8299,"showCount":8216,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ri-ben-gao-shi-guan-mei-tu-zhuo-zong-deng-yang-218490","日本· 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朱文大印。",[1153,1154,1159,1158,1274,1210,5393,5377,1168,4815,2584,1344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbbf336f92353f10e54e65388754bb.jpg","146.9×81.5厘米",[6],{"id":780,"slug":8364,"title":8365,"dynasty":1203,"author":1489,"museum":1205,"description":8366,"tags":8367,"thumbUrl":8369,"material":1496,"size":8370,"collection":6,"collections":8371,"showCount":8327,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[1153,1154,1155,1156,1464,1465,1160,1438,8368,1437,1296,1166,1358,1561,1357],"桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[6],{"id":781,"slug":8373,"title":8374,"dynasty":1252,"author":8375,"museum":1571,"description":8376,"tags":8377,"thumbUrl":8378,"material":1464,"size":1551,"collection":6,"collections":8379,"showCount":8327,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"su-xiao-mei-xiang-chen-zhuan-219751","苏小妹像","陈撰","此作以极简白描勾勒仕女，凝练舒展的墨线塑就身形，少女垂首捧卷，眉梢眼底尽是沉浸书卷的静雅温婉，将才女的灵秀聪慧藏于无言。画面左侧题诗与人物相映成趣，诗画共生，晕染出清雅脱俗的文人意趣。全作不施多余敷色，纯以墨线写形传神，寥寥数笔便将闺中才女耽于诗书的娴静情态刻画入微，笔墨清逸秀朗，尽显写意雅致的格调，把人物的温婉灵韵全然铺陈开来，尽显文人仕女画的写意风神。",[1154,1155,1257,1275,1464,1210,1187,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c45638293df21733715bda30704781.jpg",[6],{"id":782,"slug":8381,"title":8382,"dynasty":1367,"author":8383,"museum":2540,"description":8384,"tags":8385,"thumbUrl":8386,"material":1772,"size":8387,"collection":6,"collections":8388,"showCount":8327,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"xia-zi-he-shang-tu-ke-weng-218404","虾子和尚图","可翁","墨色晕染间，禅僧躬身仰首，一手持网欲探枝间生灵，一手轻遮额前似凝眸细辨。衣纹简劲流畅，寥寥数笔勾出僧袍宽缓质感；树影藤蔓泼墨写意，浓淡交错见自然野趣。留白处意蕴悠长，引观者随其目光，窥见禅者与天地生灵的静默私语。禅意未拘经卷古刹，却在捕虫的专注里，藏着对生命的细微观照与悠然禅趣。笔意纵逸形神兼备，简淡中见生动，寻常小景里透出禅家自在天真，尽显水墨写意的妙境。",[1240,1154,1155,1257,1464,1275,1274,1210,1438,1261,6445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ee01580bb91979022abf804ecfce07.jpg","86.9x34.5",[6],{"id":783,"slug":8390,"title":8391,"dynasty":1367,"author":1291,"museum":1237,"description":8392,"tags":8393,"thumbUrl":8394,"material":1227,"size":8395,"collection":6,"collections":8396,"showCount":8327,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"di-yi-a-ying-a-ji-da-zun-zhe-yi-ming-218228","第一阿迎阿机达尊者","尊者趺坐石畔，衣纹流转如微风拂过的涟漪，一手托腮，眸光低垂却似洞穿万象。眉宇间凝着浅浅思索，唇边漾开若有若无的笑意，禅意便在这静默神态里漫溢。身后古木虬枝，叶影婆娑，与头顶圆光相衬，晕开温润光晕。远处峰石隐现，亭台依稀，似是尘外清境。\n\n笔墨以线塑形，婉转中见骨力，淡墨晕染出清寂氛围，将尊者的沉静与天地的悠远交织。无需浓墨重彩，只凭简淡之笔，便勾勒出禅者澄明心境，尽显元人绘佛的空灵韵致——于寻常物象藏深意，于静默观照见真如。",[1154,1155,1257,1274,1275,1464,1158,1210,1165,1439,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75cf9de2fc1b5e28c349fd7a531f9aaa.jpg","109.5x46",[6],{"id":784,"slug":8398,"title":8399,"dynasty":1252,"author":8211,"museum":1237,"description":8400,"tags":8401,"thumbUrl":8402,"material":1772,"size":8403,"collection":6,"collections":8404,"showCount":8327,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"da-shi-xiang-dong-bang-da-216962","大士像","这幅画描绘了白衣大士趺坐巨石之上，眼睛弯弯地沉思着，一脸慈祥。整个作品的笔触是松散而优雅的。",[1464,1159,1358,1357,1274,1210,1258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F961969e1bd458d855abc1f4e1b812a54.jpg","69.4x38.7",[6],{"id":785,"slug":8406,"title":8407,"dynasty":1252,"author":1291,"museum":1369,"description":8408,"tags":8409,"thumbUrl":8410,"material":1508,"size":8411,"collection":6,"collections":8412,"showCount":8413,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"hua-di-wang-ming-chen-xiang-ce-zhu-ge-liang-yi-ming-238022","画帝王名臣像册-诸葛亮","淡墨轻勾，绘出武侯宽袍博带的儒雅身形，发丝虬髯丝丝分明，眉眼间沉敛着半生尽瘁朝堂的弘毅忠忱，将其智绝忠纯的风骨凝于笔端。左侧配精整小楷题跋，录武侯生平评赞，笔墨清隽端雅，与画像彼此映衬。\n\n整作摒弃浓艳修饰，以工致写实的手法，用素净无华的笔触勾勒贤相仪容，不求繁复，只凭淡墨线条便将武侯忠贞弘毅的精神内核尽数彰显，书画合璧，尽显肖像画以形传神的精妙意趣，把一代名相的卓然风骨藏于简淡笔墨之中。",[1154,1155,1492,1275,1464,1210,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e19027ae7c4d5721732c1c5739a3d8c.jpg","纵25.1厘米，横20厘米",[6],33,{"id":786,"slug":8415,"title":8416,"dynasty":1148,"author":8417,"museum":1237,"description":8418,"tags":8419,"thumbUrl":8420,"material":1195,"size":8421,"collection":6,"collections":8422,"showCount":8413,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"bing-zhu-ye-you-tu-zhang-qi-han-219642","秉烛夜游图","张齐翰","郊野暮色初降，古木虬枝蓊郁如盖，树下士人衣袂翩然，正执言相候。另一侧马车徐行，驭者控缰缓驱，车中友人将赴夜宴。\n\n整作设色清隽沉稳，青绿山石晕染柔润，苍劲古木搭配浅翠新叶，晕开暮色沉沉的静谧氛围。人物情态宛然细腻，车马细节写实雅致，以工兼写的笔意，将名士耽恋良辰的风雅意趣融于尺幅之间。构图疏密得宜，平淡之中尽显悠然古意，藏着对林下风流的追慕，把及时行乐的雅致文心，晕染在这一方绢素之上。",[1154,1158,1159,1210,1438,7483,1616,1160,2131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853bce87cb4001a500cdc5e8979a6aa0.jpg","28.2x26.5",[6],{"id":787,"slug":8424,"title":8425,"dynasty":1252,"author":8426,"museum":1150,"description":8427,"tags":8428,"thumbUrl":8429,"material":1496,"size":8430,"collection":6,"collections":8431,"showCount":8413,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"song-zhi-jing-ting-song-feng-tu-liu-yu-219635","宋致静听松风图","柳遇","图中宋致头戴纱帽，身着长衫，临溪倚石侧坐，神情端凝。身后古松参天，枝繁叶茂，与怪石嶙峋、小草幽篁、溪水潺潺的景致形成高矮、动静的对比，有极强的视觉效果，强化了人物的宁静祥和，烘托了听松的主题。\n据《商邱县志》记载：宋致，字穉佳，商邱人。举乡贡，游太学，官至四川总藩、湖南布政使。性情慷慨轻财，有政事，录《可竹居诗集》。\n图中人物用勾填法表现，面部稍加晕染，衣纹飘逸，线条简洁，形象传神，突出了主人公朴实无华的个性与平和自然的心态。",[1153,1154,1155,1257,1158,1210,1649,1616,1358,1561,1464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8818a7ad2c54fb07fbd6b17a7bcbd712.jpg","纵102厘米，横44.6厘米",[6],{"id":788,"slug":8433,"title":8434,"dynasty":1367,"author":5667,"museum":1237,"description":8435,"tags":8436,"thumbUrl":8437,"material":1227,"size":8438,"collection":6,"collections":8439,"showCount":8413,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"chun-jiao-you-qi-tu-zhao-yong-219615","春郊游骑图","该幅画树下单骑一人，手中拿著弓，正转头回顾。人物形态生动自然，马匹肥大雄壮，都以中锋金绿勾画，线条谨密流畅。背景极为简单，仅是两株相抱的树木，树叶以近似图案的形式描绘，有古拙之意。作者似乎在追求著高古简逸的趣味。人物生动自然，马匹肥硕雄壮，都以中峰钩画，线条谨密流畅，背景极为简单，仅是两株相抱的树木，树石亦用近似图案的形式描绘，有高古简逸的意趣。",[1153,1154,1257,1158,1159,1210,1389,1438,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d75c27cf3a76a0e8374ea43a8b221a6.jpg","88×51.1公分",[6,1538,1174],{"id":789,"slug":8441,"title":8442,"dynasty":1252,"author":4198,"museum":1237,"description":8443,"tags":8444,"thumbUrl":8445,"material":8446,"size":8447,"collection":6,"collections":8448,"showCount":8413,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"fang-han-huang-qi-cai-zi-guo-guan-tu-ding-guan-peng-219527","仿韩滉七才子过关图","历史故事画题，描写唐开元年间七才子冒风雪出蓝田关，游龙门寺的故事。",[1154,1155,1159,1158,1275,1209,1210,1389,2802,1160,1438,1437,2131,1837,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eea564194f470461c7e20c843cace7b.jpg","设色,纸本","94.5X54.7cm",[6],{"id":790,"slug":8450,"title":8451,"dynasty":1148,"author":1291,"museum":1237,"description":8452,"tags":8453,"thumbUrl":8454,"material":1227,"size":8455,"collection":6,"collections":8456,"showCount":8413,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"shi-ba-luo-han-tu-di-shi-er-na-zha-la-ha-ba-la-zhui-za-zun-zhe-yi-ming-216992","十八罗汉图-第十二那楂拉哈拔喇錣襍尊者","十八罗汉图是宋朝佚名所作的一幅绘画，其中包含了十八个佛教罗汉的形象。其中之一就是第十二那楂拉哈拔喇錣襍尊者。\n\n第十二那楂拉哈拔喇錣襍尊者，是佛教中的一位辅助佛的菩萨。他有着平和的容颜和慈悲的心态，被认为是帮助人们解决烦恼的菩萨。在十八罗汉图中，他的形象通常是被描绘成端庄的姿态，身着红色的衣服，头戴金色的冠冕。",[1154,1155,1257,1274,1210,1158,1159,1438,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab69505d8bf8f8029094fac0e5776be4.jpg","128.5x74.8",[6],{"id":791,"slug":8458,"title":8459,"dynasty":1367,"author":1291,"museum":1369,"description":8460,"tags":8461,"thumbUrl":8462,"material":1468,"size":8463,"collection":6,"collections":8464,"showCount":8413,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"cai-wen-ji-gui-han-tu-juan-yi-ming-216729","蔡文姬归汉图卷","蔡文姬归汉图卷是一幅来自中国元朝时期的绘画作品，作者不详。这幅作品描绘了蔡文姬的故事，蔡文姬是中国古代传奇人物，被认为是中国历史上最伟大的女子琴师之一。\n\n蔡文姬归汉图卷描绘了蔡文姬归汉的故事，她最终回到了中国。",[1153,1240,1154,1155,1156,1275,1158,1210,1389,7966,4078,2131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa205e6ef03d2c82dc7ac2a4de33cb74.jpg","31.5x89.5",[6],{"id":792,"slug":8466,"title":8467,"dynasty":1235,"author":1611,"museum":1150,"description":8468,"tags":8469,"thumbUrl":8470,"material":1391,"size":8471,"collection":6,"collections":8472,"showCount":1383,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"xi-zi-huan-sha-tu-ye-zhou-wen-ju-238953","西子浣纱图页","中国五代南唐画家。建康句容（今江苏省句容市）人。工画佛道、人物、车马、屋木、山水，尤精于仕女，也是出色的肖像画家。作品多为摹本《宫中图》《苏武李陵逢聚图》《重屏会棋图》《琉璃堂人物图》《太真上马图》。",[1240,1154,1155,7116,1159,1158,1210,1187,1261,1193,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381a9f19e2e6a925298dc86e6198ace1.jpg","64×64cm",[6],{"id":793,"slug":8474,"title":8475,"dynasty":1148,"author":8476,"museum":3040,"description":8477,"tags":8478,"thumbUrl":8479,"material":8480,"size":8481,"collection":6,"collections":8482,"showCount":1383,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"zhao-yang-tu-hu-zhi-tian-221261","朝阳图","胡直天","此作以减笔写意写就，枯涩灵动的墨线勾勒僧人身形，顿挫转折间，衣物褶皱的厚重质感尽显。老僧垂眉敛目，持盏默坐，神态沉凝安然，似在静待晨光破暝，将禅家静定悠然的意态藏于笔底。\n\n画面简阔疏朗，以空寂绢面烘托出清远虚淡的禅意氛围，不着一笔而意蕴自生。笔意极简却形神兼备，寥寥数笔便将出尘襟怀铺展尽致，尽显禅画以形写神、以简驭繁的精妙意趣。",[1153,1240,1154,1155,1492,1275,1464,1210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37005a5ef42275a168b4eeac761cadf2.jpg","絹本","22.3×23",[6],{"id":794,"slug":8484,"title":8485,"dynasty":1203,"author":6830,"museum":1237,"description":8486,"tags":8487,"thumbUrl":8490,"material":1468,"size":8491,"collection":6,"collections":8492,"showCount":1383,"zanCount":1670,"manualWeight":1177,"mainColor":1178},"yan-bo-bu-yu-tu-zhu-zhan-ji-220446","烟波捕鱼图","朱瞻基（1398－1435年），明朝第五位皇帝，1425-1435年在位，别称明宣宗、宣德帝，他也是一位能够与宋徽宗媲美的杰出书画家。《烟波捕鱼图 》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[1153,1154,1155,1257,1464,1158,1160,1560,1729,8488,8489],"枯柳","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[6],{"id":795,"slug":8494,"title":8495,"dynasty":1252,"author":2551,"museum":1237,"description":8496,"tags":8497,"thumbUrl":8498,"material":1496,"size":8499,"collection":6,"collections":8500,"showCount":1383,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"er-xian-tu-feng-ning-220439","二仙图","冯宁，生死时年、籍贯均不详。高宗乾隆时，任职内廷画院供奉，擅长于人物画，画法似是出自明代浙派吴伟一路，用笔慓劲，衣服褶纹采取破笔粗线描法，水墨恣肆，墨气淋漓，画面充分给人一种力的感觉。画中二仙，似为八仙中的钟汉离、铁拐李二人。",[1154,1155,1240,1257,1158,1159,1210,1165,1439,7109,6312,3021],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461871e343739280aea5bb0310803e26.jpg","173.5x68.9公分",[6,1174],{"id":796,"slug":8502,"title":8503,"dynasty":1148,"author":1291,"museum":1237,"description":8504,"tags":8505,"thumbUrl":8506,"material":1227,"size":8507,"collection":6,"collections":8508,"showCount":1383,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"fan-qi-chu-lie-tu-yi-ming-219605","番骑出猎图","画面里两位骑手纵马缓行，左侧胡酋虬髯高冠，身姿沉凝端坐，坐骑鬃尾飘曳，裹挟着塞北雄悍犷野之气。右侧骑士背负箭囊、斜倚长杆，神色警觉四顾，仿佛正凝神扫视周遭，静待逐猎之机。\n\n设色简淡古雅，线条劲挺洗练，人马造型朴拙生动，荒漠底色晕染出辽远荒寒的氛围，将游牧民族出猎前的松弛与暗藏的骁勇刻画入微，寥寥笔墨便勾勒出北方草原的苍茫意趣，尽显描摹世态、传神写意的精妙功底。",[1153,1240,1154,1155,1156,1159,1158,1210,1389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a0f7f663c7add49b0108d136ef0824.jpg","纵24.4横56.3厘米",[6],{"id":797,"slug":8510,"title":8511,"dynasty":1252,"author":8512,"museum":1237,"description":8513,"tags":8514,"thumbUrl":8515,"material":1772,"size":8516,"collection":6,"collections":8517,"showCount":1383,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[1154,1155,1240,1257,1464,1159,1796,2632,4375,1478,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[6],{"id":798,"slug":8519,"title":8520,"dynasty":1203,"author":3472,"museum":1571,"description":8521,"tags":8522,"thumbUrl":8523,"material":1772,"size":8524,"collection":6,"collections":8525,"showCount":1383,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[1203,1154,1155,1156,1274,1275,1210,1439,1165,1357,1358,3909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[6],{"id":799,"slug":8527,"title":8528,"dynasty":1252,"author":1291,"museum":1254,"description":8529,"tags":8530,"thumbUrl":8538,"material":1158,"size":1551,"collection":6,"collections":8539,"showCount":1383,"zanCount":1746,"manualWeight":1177,"mainColor":1178},"zu-xian-xiang-yi-ming-219247","祖先像","层叠排布的家族群像，铺展一幅清代家族的伦理长卷。顶戴花翎的男子端坐，旗装霞帔的女眷肃立，衣袂间织锦暗纹隐现，品级补子昭示身份尊卑。面容沉静肃穆，目光似穿越时空，承载着家族的荣耀与传承。工笔细腻，设色典雅，人物神态刻画入微，服饰细节还原精准。这幅祖先像不仅是家族祭祀的精神载体，更以写实笔触定格清代世家风貌与文化基因，成为兼具艺术价值与社会意义的肖像画鲜活见证。",[1153,1154,1159,1158,1310,8531,8532,8533,1757,8534,8535,2159,1589,8536,7917,8537],"人物肖像","家族群像","清代服饰","工笔人物","设色人物","写实风格","中国传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e4a59c5c3af57ba55f005f02ec73ce.jpg",[6],{"id":800,"slug":8541,"title":8542,"dynasty":1252,"author":1291,"museum":1254,"description":8543,"tags":8544,"thumbUrl":8545,"material":1158,"size":1551,"collection":6,"collections":8546,"showCount":1383,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"gao-seng-hua-xiang-yi-ming-219246","高僧画像","层叠群像如莲台次第铺展，二十余尊高僧法相凝于尺幅间。红白袈裟相映，墨珠垂胸，法器隐手——衣纹勾勒流畅，色彩晕染沉稳，承清代肖像写实之韵。或眉蹙深思，或面含悲悯，同具肃穆却各藏性情，似触见修行路上的不同心境。素底无华，更显佛法空灵与僧团整肃。佚名画师以细腻笔触，定格高僧精神群像，岁月流转，那份沉静力量仍穿越时空，叩击观者心弦。",[1153,1154,1257,1159,1158,1274,1210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc0cbc6a57185d6c4061f87a8c95e91.jpg",[6],{"id":801,"slug":8548,"title":8549,"dynasty":1203,"author":1291,"museum":1517,"description":8550,"tags":8551,"thumbUrl":8552,"material":1227,"size":8553,"collection":6,"collections":8554,"showCount":1383,"zanCount":1177,"manualWeight":1177,"mainColor":1881},"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[1153,1154,1240,1155,1158,1464,1275,1210,1274,1261,1258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[6],{"id":802,"slug":8556,"title":8557,"dynasty":1252,"author":1291,"museum":1369,"description":8558,"tags":8559,"thumbUrl":8560,"material":1496,"size":1551,"collection":6,"collections":8561,"showCount":1383,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"da-mo-yi-jin-ba-duan-jin-yi-ming-217938","达摩易筋八段锦","达摩易筋八段锦是一部关于清朝时期佚名所著的武术典籍。这部书是在清朝末年出版的，共包含了8段关于身体动作的详细讲解，涵盖了许多中国武术的基本功和技巧。\n\n达摩易筋八段锦的作者是佚名，这个名字意思是“不知名”，因此无法确定他的真实身份。不过，有人认为他可能是一位清朝时期的武术家，并且据说他的武术技巧非常高超。",[1154,1155,1310,1158,1159,1210,1757,1274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f40741ff6e7c4e0e425e8ebaf73e0c.jpg",[6],{"id":803,"slug":8563,"title":8564,"dynasty":1203,"author":8565,"museum":1150,"description":8566,"tags":8567,"thumbUrl":8568,"material":1227,"size":8569,"collection":6,"collections":8570,"showCount":1383,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","吕纪","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 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法描绘，线条洗练流畅，背景画竹林一片，笔墨潇洒，显示出相当高的绘画技巧。",[1153,1154,1155,1156,1464,1275,1258,1210,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F819d2965a332e5986283ad45900d2c5f.jpg","纵27.7厘米，横40.5厘米",[6,1721],{"id":824,"slug":8737,"title":8738,"dynasty":1367,"author":1865,"museum":1184,"description":8739,"tags":8740,"thumbUrl":8741,"material":8742,"size":8743,"collection":6,"collections":8744,"showCount":8719,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[1153,1154,1155,1156,1158,1159,1274,1210,1438,1439,1357,1561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","纸本，手卷，设色","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[6,1174],{"id":825,"slug":8746,"title":8747,"dynasty":1252,"author":8748,"museum":1517,"description":8749,"tags":8750,"thumbUrl":8751,"material":1227,"size":1551,"collection":6,"collections":8752,"showCount":8719,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"yu-jia-miao-e-tu-min-zhen-219559","渔家媌娥图","闵贞","垂柳依依拂过空蒙水岸，将江南水乡的柔婉晕染开来。画中渔女荷秤伫立，衣袂线条简劲爽利，带着写意的疏朗，却把渔家劳作后的倦怠质朴刻画入微。人物面部晕染柔和，神情恬淡安然，静望着烟水澹澹的江天，仿佛正等候归船。\n\n背景以淡墨虚化远山，柳枝细笔密叶写出，繁而不乱，与人物的简淡形成虚实对比，烘托出幽寂清旷的氛围。整作以水墨写就，墨色干湿浓淡层次分明，尽显文人写意雅致，又饱含烟火情味，将平凡渔家日常升化为诗意图景，在简淡笔墨间蕴藏悠悠江南意趣。",[1153,1154,1155,1257,1275,1210,1187,1493,1261,1531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3e252e59b1f535e258aa0277d37b52.jpg",[6],{"id":826,"slug":8754,"title":8755,"dynasty":1148,"author":1291,"museum":1571,"description":6846,"tags":8756,"thumbUrl":8757,"material":1227,"size":6849,"collection":6,"collections":8758,"showCount":8719,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ying-luan-tu-yi-ming-219449","迎銮图",[1240,1154,1155,1156,1159,1158,1210,1389,1165,1439,3108,1278,2903,1279,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c505d6dabe982edce0ab1aacf74d41.jpg",[6],{"id":827,"slug":8760,"title":8761,"dynasty":1252,"author":3264,"museum":1237,"description":8762,"tags":8763,"thumbUrl":8764,"material":1772,"size":8765,"collection":6,"collections":8766,"showCount":8719,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"shou-xing-zhou-hua-yan-219390","寿星轴","长髯垂拂，宽袍曳地，老者持杖安坐，眉目间尽是悠然超脱。墨线婉转如流水，衣褶以淡墨轻晕，虚实相济中见出闲散风骨。题跋文字与画像相映成趣，文气与画境浑然一体，似可闻松风过耳，见云影悠悠。不事雕琢却意韵悠长，将寿星的仙逸之态与文人的旷达情怀融于笔端，简淡笔墨里藏着清灵之气，读来让人忘俗。",[1154,1155,1257,1464,1275,1210,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b572da656ae0597a2b21f63ec5bd2.jpg","178.3x93.9",[6],{"id":828,"slug":8768,"title":8769,"dynasty":1148,"author":8770,"museum":1413,"description":8771,"tags":8772,"thumbUrl":8773,"material":1772,"size":8774,"collection":6,"collections":8775,"showCount":8719,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"shi-liu-ying-zhen-tu-fan-long-217974","十六应真图","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[1153,1154,1155,1275,1274,1210,1796,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d16fbc634607e2716bf2bb96a0708.jpg","30.5x1062.5",[6],{"id":829,"slug":8777,"title":8778,"dynasty":1252,"author":1291,"museum":1369,"description":8779,"tags":8780,"thumbUrl":8782,"material":1227,"size":1551,"collection":6,"collections":8783,"showCount":8719,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"yi-shi-ji-yao-tan-2-yi-ming-215190","医士及药摊-2","画面鲜活铺展市井一隅，蓝袍长者与袒胸卖药人相对而立，前者似在探问药效，后者神情笃定，手引向摊前“大力丸”招幌。摊侧悬蓝布，地上石块与英文注脚相映，暗合“吃此可碎石”的江湖噱头，将民间卖药的鲜活与异域文字的意外融合勾勒出来。线条简括却神态毕肖，衣袂褶皱、人物表情皆透着朴拙生动，色彩明快不艳俗。既写实清代街头医药行当的烟火气，又藏着中西文化初遇的微妙趣味，凝住那个时代巷尾的热闹与市井智慧，让人窥见民间生活的鲜活底色。",[1153,1252,1158,1159,1210,1260,1492,8781],"药摊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117d915afaf21ab04f70d9fe92d1cd87.jpg",[6],{"id":830,"slug":8785,"title":8786,"dynasty":1252,"author":4198,"museum":1369,"description":8787,"tags":8788,"thumbUrl":8789,"material":1551,"size":8790,"collection":6,"collections":8791,"showCount":8792,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[1154,1155,1257,1158,1159,1274,1210,1160,1261,1213,1297,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[6],29,{"id":831,"slug":8794,"title":5474,"dynasty":1252,"author":8795,"museum":1517,"description":8796,"tags":8797,"thumbUrl":8798,"material":1227,"size":8799,"collection":6,"collections":8800,"showCount":8792,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"san-jiao-tu-chen-shi-jun-219838","陈士俊","苍松虬枝横斜，山岚轻笼幽林，铺就出古雅澹泊的林下晤面之景。三位宗师神态各殊，执白羽者清逸出尘，宽袍束带者端方持重，抱婴老者垂眉慈和，身旁侍童稚态可掬，为沉静氛围添了几分灵动生机。\n\n画师笔致精细，衣纹走线舒展流畅，将人物的风神气度描摹得形神兼备，山林晕染层次雅致，把三教汇流、圣贤交融共生的平和意涵，藏进这悠然的雅集场景中，兼具叙事意趣与人文深味。",[1153,1154,1155,1257,1158,1159,1210,1160,1796,1439,1165,6925,1808,1344,6577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3abea62ef10bb38e32d5963e7b16a1.jpg","纵121厘米 横58.9厘米",[6],{"id":832,"slug":8802,"title":8803,"dynasty":1182,"author":8804,"museum":1237,"description":8805,"tags":8806,"thumbUrl":8810,"material":1195,"size":8811,"collection":6,"collections":8812,"showCount":8792,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"du-bei-tu-zheng-fa-shi-219607","读碑图","郑法士","画面以淡墨勾勒绢素，丘壑荒疏古雅，山林间一人凝伫碑前，似在细读碑文，侍从垂手侍立身侧。线条细劲挺括，带着六朝遗韵，人物仪态萧散沉静，将凭吊古碑的幽思缓缓铺陈。\n\n山水简淡拙朴，和人物的沉静互为映衬，把文人怀古的澹远心境融在荒疏景致之中。整体笔墨清隽凝练，静谧沉凝的古意漫溢纸面，简淡里藏着沉郁的思古幽情，悠悠怀古意绪藏于简雅画面，意境澹远悠长。",[1153,1154,1240,1155,1492,1275,1464,1210,1160,7664,8807,8808,8809],"古碑","怀古","幽思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227bce08d6e766d1f00417214e49e4d7.jpg","纵26.5横39.8厘米",[6],{"id":833,"slug":8814,"title":8815,"dynasty":1203,"author":1291,"museum":2368,"description":8816,"tags":8817,"thumbUrl":8818,"material":1227,"size":8819,"collection":6,"collections":8820,"showCount":8792,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"di-shi-qi-luo-han-tu-yi-ming-219591","第十七罗汉图","主尊罗汉安坐石上，头覆圆光，神情沉静慈悲，衣纹敷色厚重雅致，红绿配色沉稳古朴。左侧深肤梵僧恭谨侍立，右侧胡貌信徒躬身礼拜，尽显虔敬姿态。背景以淡墨晕染山林，云烟隐现间错落仙灵异兽，烘托出幽寂空灵的禅林意境。\n\n整幅构图主次分明，设色古雅沉稳，线条勾勒凝练流畅，兼具宗教绘画的庄严静穆，又暗含工致细腻的笔致。将罗汉清净无染的出世之姿，与世俗礼拜的恭敬情态相融，绘就出充满禅意的佛国图景，尽显古拙端严的宗教美术气韵。",[1154,1155,1257,1158,1159,1274,1210,1160,1165,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7e73192d5c5624e3ad6338eff44cfed.jpg","纵183.5横104.8厘米",[6],{"id":834,"slug":8822,"title":8823,"dynasty":1367,"author":1865,"museum":1517,"description":8824,"tags":8825,"thumbUrl":8826,"material":1227,"size":1551,"collection":6,"collections":8827,"showCount":8792,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"ma-tu-ye-zhao-meng-fu-219562","马图页","此作以淡赭绢本为底，骏马身形丰腴劲健，以浓淡不一的墨色晕染皮毛，浓墨铺就肩臀，淡墨晕出躯干，虚实间尽显骏马肌理的柔和光泽，静立中暗含蓄力待发的动势。\n牵马胡人气度彪悍，简劲线条勾勒出毡裘纹理，虬髯卷发的样貌鲜活生动，寥寥数笔便将塞外牧人的质朴刚健全然展现。\n左上题字笔致圆熟苍秀，书画相融，更添文雅意趣。整幅脱却院体鞍马的精工繁复，以写意笔法抓取神形，兼具写实功力与文人雅韵，将人马之间的沉静张力定格绢素，尽显元代鞍马画的别致意趣。",[1153,1154,1155,1492,1158,1159,1389,1210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d15c2a7cbef3531d0fff7ae3e535dbb.jpg",[6],{"id":835,"slug":8829,"title":8830,"dynasty":1203,"author":6768,"museum":1237,"description":8831,"tags":8832,"thumbUrl":8833,"material":1158,"size":8834,"collection":6,"collections":8835,"showCount":8792,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"shi-ba-ying-zhen-xiang-zhou-ding-yun-peng-219311","十八应真像轴","祥云裹挟金芒倾泻而下，漫卷的云海间，十八应真或骑狮踞象，或趺坐参禅，或执杖笑谈，神态各异如活现眼前。衣纹线条精谨流畅，兽形憨态与威严并存，群像错落间藏着疏密有致的章法。淡墨晕染出缥缈的云雾与波澜，将神圣与世俗的气息悄然融合——既见罗汉的庄严法相，亦有生动活泼的人间意趣。每一处细节皆见匠心：或眉眼间的慈悲，或兽足踏浪的灵动，都在泛黄的绢本上沉淀出时光的厚重，尽显传统人物画的精妙神韵。",[1154,1155,1257,1274,1210,1741,1275,1158,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a6776ed79f7001c79a87c79325b796.jpg","109.1x50.9",[6],{"id":836,"slug":8837,"title":2744,"dynasty":1203,"author":1291,"museum":1413,"description":8838,"tags":8839,"thumbUrl":8840,"material":1227,"size":8841,"collection":6,"collections":8842,"showCount":8792,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"luo-han-tu-yi-ming-218298","两尊罗汉共处一隅，坐者执卷凝思，眉眼间尽是专注，似在经文中悟得禅理；立者躬身侧耳，神态恭谨，如沐智慧的低语。衣袍线条婉转流畅，色彩古雅温润，赤足踏地的细节添了几分随性自在。背景深褐如晦，圆月隐于树影，静谧禅意悄然流淌。画作以生动的神态互动，传递禅林问学的融融之境，笔墨间既有宗教肃穆，又含人间温情，尽显古画的含蓄韵味与精神深度。",[1154,1155,1257,1158,1159,1274,1210,5393,4100,1439,1298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e51e9f2411a999971874ae34ce0bb4.jpg","140.8x78.8",[6],{"id":837,"slug":8844,"title":8845,"dynasty":1203,"author":7384,"museum":1369,"description":8846,"tags":8847,"thumbUrl":8848,"material":2203,"size":1551,"collection":6,"collections":8849,"showCount":1395,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"xian-ren-cai-zhi-tu-zhou-guo-fen-ya-236959","仙人采芝图轴","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。",[1240,1154,1155,1257,1159,1275,1158,1210,1261,4375,1168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b03906855f2a9702cbd91eb476a56a.jpg",[6],{"id":838,"slug":8851,"title":8852,"dynasty":1367,"author":1865,"museum":1237,"description":8853,"tags":8854,"thumbUrl":8855,"material":4149,"size":8856,"collection":6,"collections":8857,"showCount":1395,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"diao-liang-tu-zhao-meng-fu-220832","调良图","画中仅绘一身形矫健、长鬃毛的马和一奚官，毫无背景。作者捕捉住了一阵风吹过时的瞬间来加以描绘——马儿低头避风，牵马者搭袖回望。马尾、马鬃、人须、衣襟随风飘动，作者通过细韧灵动的线条和纤毫毕现的白描手法将画面表现得栩栩如生。\n赵孟頫所画的人物画，虽然在后世盛名，但远不如他的山水、花鸟画。但对他的高超的造诣，不得不使人们所钦佩，他的画无所不精，皆造神品，尤其画马甚佳。董其昌谓其画“有唐人之致去其纤。有北宋人之雄去其犷。”他年轻时就勤于画马，并下过苦功。师法唐代曹霸、韩干，自称可以和李公麟媲美。他在继承前人传统的基础上，又亲自到实地观察，潜心琢磨，有时为了画好某种姿势的马，曾自己在床上学马的动态，此《调良图》册，就是他画马的精心之作。\n赵孟頫存世的作品中，时间最早的可能是《调良图》，中国艺术史学家李铸晋教授认为此画应属13世纪80年代的真本，当时赵孟頫只有26岁左右。\n此画为细致入微的高古游丝描，是典型的唐人风范。马的形象也是典型的唐人趣味，此马肥瘦得当，体格雄健，身披黑色毛，四肢健壮有力，在低头吃草，长长的尾巴拽在右后腿旁，尤其引人注目的马颈部根根竖立的马鬃，威风凛凛，经作者工笔细描。其人物也如此的工整细致。\n从图中可看到此画刻意学唐人，线条圆润，皴染简法，墨色浓丽，形象刻画，严谨认真，对马的形体质感，广阔田野，人物的侧立姿态，都认真的描绘，一丝不苟。\n从此画的布局来看，画面虽仅是一马一人，但给观赏者点出境外尚有无限的景物，画似尽而意犹未尽，既突出了主题，又给观赏者以回味的余地。\n北京故宫博物院研究员余辉：画家上承北宋李公麟的白描技法，渲染有度，特别是方折劲挺的铁线描形成的人物衣褶和圆活腴润的弧线勾划出的马体及风动如火焰的虬髯、马鬃、马尾显现了作者丰富精湛的表现力和藏抑不住的创作激情。\n中国美术史学家高居翰：赵孟頫的《调良图》会把人物和马匹孤立出来，衬着空荡荡的画底，这一点也和两位前辈的做法相同。虽然画中有一股强风吹过马尾、马鬃和马夫的衣服，看起来也只是在画幅之内回旋，使构图活泼了，但是基本上还是一个自成一体的世界。",[1240,1154,1155,1158,1210,1389,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a777345816f4cfc952a6c798a4d7af7.jpg","纵22.7厘米 横49厘米",[6,1721],{"id":839,"slug":8859,"title":8860,"dynasty":1235,"author":8861,"museum":1237,"description":8862,"tags":8863,"thumbUrl":8867,"material":1195,"size":8868,"collection":6,"collections":8869,"showCount":1395,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"zhang-li-qiu-shuang-tu-ju-ran-219643","杖藜秋爽图","巨然","以淡墨晕染出空蒙远山，烟岚轻笼，将秋意的清寂铺陈开来。近岸老木虬枝枯槎，劲挺中带着萧疏况味，苔点依稀，暗合秋深之态。秋水如镜，不着波澜，将天地的静穆悉数收纳。\n\n独行杖藜之人，彳亍坡岸，似在骋目遥天，与冷寂秋光相融。全幅以水墨写意，笔意松秀苍润，淡墨轻岚间，把秋爽疏阔的林下幽致尽显，带着悠悠山野闲情，观之如身临清秋郊野，沁得满身秋凉清逸。",[1240,1154,1155,1492,1464,1160,1210,3228,8864,3076,8865,2494,8866],"秋水","坡岸","闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0fbd8054be9c23123eb7c6689396b7.jpg","23.3x22.7厘米",[6],{"id":840,"slug":8871,"title":8872,"dynasty":1252,"author":8873,"museum":1150,"description":8874,"tags":8875,"thumbUrl":8876,"material":1227,"size":8877,"collection":6,"collections":8878,"showCount":1395,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"gao-feng-han-zi-hua-xiang-gao-feng-han-219636","高凤翰自画像","高凤翰","此画中的主人翁为作者自己。高凤翰身着白色宽服长袍，头戴斗笠，长髯垂胸，双手相合，双目凝视，侧身依石坐于断壁悬崖的石台上。其背景截取山河的一角。山石险峻陡峭，造型奇特。悬崖和山腰松柏怪生，有的矗立山腰平坡处，有的倒悬在悬崖壁，有的横卧在悬崖上，崖下为宽阔的江河、波涛澎湃。在画面左下侧江面上，陡峭巨石冲出水面，似一根巨大的石柱，巨石顶端屹立数株松柏，与对岸悬崖上的卧松遥相呼应，点缀着美好的湖光山色。在这幽雅谧静的环境中，作者正在俯视水面，突然长空中有孤鹤飞翔而来。",[1153,1154,1158,1210,1160,1261,1796,1465,1257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facddc378a306e418671feb475b1a42ed.jpg","纵106厘米，横53.4厘米",[6],{"id":841,"slug":8880,"title":8881,"dynasty":1148,"author":1291,"museum":1571,"description":8882,"tags":8883,"thumbUrl":8884,"material":1772,"size":1551,"collection":6,"collections":8885,"showCount":1395,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"song-xia-qi-ji-tu-yi-ming-219516","松下憩寂图","淡墨晕染开幽寂林泉，松枝斜斜探入空濛烟霭，似将山岚轻轻挑起。袒腹老僧倚石而卧，袈裟半敞，眉眼松弛自在，将浮生俗虑尽数抛却。\n\n身旁药葫芦悬于松根，石上摊开素纸，案边置着煮茶陶釜，静水流淌在咫尺之外，把山野清旷揉进笔墨里。画面以留白衬出空寂禅意，虚实相生间，将林下幽居的松弛与禅家的静穆融作一处，淡远萧散的笔意，晕开了宋人偏爱的林下雅趣，将喧嚣隔在烟岚之外，只留山风松涛伴幽人一枕清梦。",[1154,1464,1158,1210,1796,1261,1160,1274,1159,1168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adcc3f030428c1fdabd00c0eee7d3b7.jpg",[6],{"id":842,"slug":8887,"title":2744,"dynasty":1252,"author":1291,"museum":2911,"description":8888,"tags":8889,"thumbUrl":8890,"material":1227,"size":8891,"collection":6,"collections":8892,"showCount":1395,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"luo-han-tu-yi-ming-218412","绢素上的罗汉，指尖轻托腮帮，眉宇间凝着淡淡的遐思。一侧腕臂微伸，似欲触碰案前盛着鲜果的瓷碗，又若在禅意里悬停片刻。衣袂的褶皱随坐姿舒展，浅褐与灰绿的色调晕染出岁月的温厚，领口的蓝纹如溪流般轻绕。背景沉暗如古木，更衬得罗汉面容的清宁。那些纵横的冰裂纹，是时光在画纸上刻下的诗行，让这份悠然的禅意添了几分沧桑的韵致。他似在回味供果的清甜，又若沉浸于无人惊扰的禅思，将修行者的自在与生活的暖意悄然融合。",[1154,1158,1210,1274,1159,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a3c4972a91f0a0ea7c5b04d37395a2.jpg","24.1x20",[6],{"id":843,"slug":8894,"title":8895,"dynasty":1148,"author":1291,"museum":1369,"description":8896,"tags":8897,"thumbUrl":8898,"material":1227,"size":8899,"collection":6,"collections":8900,"showCount":1395,"zanCount":1822,"manualWeight":1177,"mainColor":1881},"luo-han-jiang-jing-tu-yi-ming-218321","罗汉讲经图","古朴绢色晕染着时光的厚重，罗汉群像铺展成一场静谧的法会。或趺坐凝思，衣袍褶皱如涧边流云婉转；或手持经卷，指尖轻触处似有梵音悄然流淌；或侧耳谛听，眉宇间凝着对法理的深湛探究。一旁戴帽者躬身静立，尘世恭谨与禅者淡然在此交融。线条细劲如铁线，转折处藏着温润韵致；设色淡雅却层次分明，青绿衣袂衬赭石底色，古雅中透着沉静。无繁复布景，仅以人物眼神交汇、姿态呼应，便织就禅意满溢的空间，让观者仿佛穿透千年绢层，触到那缕法音缭绕的余温。",[1240,1154,1155,1274,1210,1158,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66eb9efec33f9ac4f1cb5fe08c1463a.jpg","51x59",[6],{"id":844,"slug":8902,"title":8903,"dynasty":1252,"author":8904,"museum":1369,"description":8905,"tags":8906,"thumbUrl":8907,"material":1170,"size":1551,"collection":6,"collections":8908,"showCount":1363,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"jiu-ru-zhi-ji-ce-wang-gai-234319","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。\n王概（生卒年未详），最初名“匄”（发音：gai），可以写为“改”，也可以写为“丐”，字东郭，又字安节，浙江秀水（今嘉兴）人。一直以来居住于江宁（今江苏南京）。王概从龚贤(1618—1689)学山水画，用墨浓重，善作大幅及松石等。\n王概曾应李渔之婿沈因伯之请，与其兄王耆，其弟王臬在沈因伯保存的明末画家李流芳原有四十三幅画稿的基础上，补绘完成《芥子园画传》，后经李渔的帮助，刻印出版。\n王概兄弟皆笃行嗜古，旁及诗、画，擅名于时。一生专心艺事，不入仕途，以卖画为生。山水学龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”与当时名流汤燕生、李渔、程邃、孔尚任、周亮工等交往。",[1154,1492,1158,1159,1208,1160,1210,1211,1212,1213,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06918a767082105822cbcaec82eed402.jpg",[6],{"id":845,"slug":8910,"title":8911,"dynasty":1367,"author":1291,"museum":1237,"description":8912,"tags":8913,"thumbUrl":8915,"material":1391,"size":1551,"collection":6,"collections":8916,"showCount":1363,"zanCount":1670,"manualWeight":1177,"mainColor":1248},"yuan-wu-zong-hou-yuan-wu-zong-hou-yi-ming-221781","元武宗后；元武宗后","此画为元世祖后头戴珍珠饰罟罟冠，身着金锦衣缘朱袍的半身像。人物面容丰满，神态雍容。此肖像画造型准确，脸面丰盈、作者驱笔着墨（色）都注意到准确性和生动性，笔路清劲洒脱，设色艳而不俗。在艺术处理上，作者善于把线条和色彩提炼得十分简洁，风格上显得敦厚古朴，这是此画的用笔特点。\n彻伯尔皇后着红袍，以大袍为礼服，袍式宽大曳地，袖身肥但口部收窄。冠与袍同色，饰以珍宝花饰，面料有织金锦、丝绒等，大多以大红为主，兼有黄、绿、茶、胭脂红、鸡冠紫、泥金等色。顶缀珠花，并插羽为饰。\n元世祖后彻伯尔，元史表作昭睿顺圣皇后，名察必。济宁忠武王按陈之女。初为世祖妃，中统二年（1262）被立为皇后。彻伯尔因容貌出众，德才兼备，是众多后妃中最受世祖宠爱的一位。彻伯尔后在生活上自奉俭约，率宫女制作结实美观的服饰、实用地毯，还创制了比甲服饰等，适于骑猎穿着。受到世祖和诸大臣的称赞。至元十八年（1281）得病去世。元成宗即位后，追谥昭睿顺圣皇后。\n元代有一批职业画家服务于宫廷，创作了不少帝后肖像画。台北故宫博物院收藏了一套《元代帝后像册》，帝像8帧：计为太祖成吉思汗、太宗窝阔台、世祖忽必烈、元成宗、元武宗、元仁宗、元文帝、元宁宗；后像15幅：计为元世祖后像一、顺宗后像三、武宗后像三、仁宗后像一、英宗后像二、明宗后像一、宁宗后像一以及后纳罕像一、佚名后像四。\n元代帝后肖像的显著特点是作胸像，而其他朝代的帝后像都是完整的全身像，这可能是蒙古族和汉族不同的审美好尚所致。画像的脸部烘染细腻，用微妙的色彩擦染塑造立体感。有研究者认为这样细腻的烘染手法可能与西南地区，特别是来白尼泊尔的画师阿尼哥（Anige）有关。据载阿尼哥曾为世祖、世祖皇后画过像，虽然无法确定是否就是此幅，二者风格上的渊源是毋庸置疑的。\n《唻洎頭條元世祖后像》中，皇后彻伯尔的帽子十分引人注目，几乎占了画面的一半空间，这种帽子叫作“罟罟冠”。“罟罟冠”原名叫“古库勒”，其名称的由来少见于记载，元代丘处机认为“罟罟冠”顶有一撮禽类的羽毛故而拟其声，女真人又称野兽为“故勒故”，推测元蒙时代“罟罟冠”的称谓，与其“取禽兽羽毛”的材质和女真人的发音都有一定的关系。至于“罟罟冠”的构造，分为两部分，即上部是一个顶稍宽的长简形，用桦木、柳枝或铁丝盘出形状来，胎骨外阿糊绒锦岁绢等，链顶装饰小珠，锦鸡等玲禽羽毛，顶郭折下部分的前中央，往上嵌有耀眼的太小珠翠，由两条带于把冠同定在头顶，旁边一缀上珠饰；下部是一抹横勒在额上的抹额，抹额在中间的传统可以追溯到北朝，时称“幕罗”，晦则发展为“帷幕”，称为“滟婆勘于”。尚婆勒干和上冠台之，便为所谓的罟罟冠。\n除开画像中对“罟罟冠”的描绘外，皇后的“一字眉”也非常有特色，这种眉形不仅细长而平齐，在元代流行的时间很长是蒙古族女特有的一种妆饰。通常的做法是先将天生的眉毛剃掉，然后画上细长的“一字眉”。\n蒙古女贵族的服装样式，则明显受到汉族女装的影响，宽的袖千绣满镂盒花边的领口，体现入主中原之后的“汉化”进程。《元世祖皇后像》中，皇后的衣服颜色是大红。元代以红为贵，衣服颜色亦象征着不同的社会等级最尊贵阶层穿红色和紫色的表服，中间阶层穿青色和绿色的农服，寻常百姓则只许穿檀褐色等暗色服装。",[1153,1154,1155,1159,1158,1210,8680,1191,1192,8914,1367,3901],"古代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ec05610a71f67070ac1abd81d2630.jpg",[6,1174],{"id":846,"slug":8918,"title":2675,"dynasty":1252,"author":2688,"museum":1571,"description":8919,"tags":8920,"thumbUrl":8921,"material":1496,"size":8922,"collection":6,"collections":8923,"showCount":1363,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"su-wu-mu-yang-tu-huang-shen-219986","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（一七一九）至扬州鬻画，人争客之。雍正五年（一七二七）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。乾隆三十三年（一七六八）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。",[1154,1240,1155,1257,1464,1158,2679,1561,1358,1210,1741,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef53ca2e7ccb40467e5fb25716a2c918.jpg","纵198厘米，横109.5厘米",[6],{"id":847,"slug":8925,"title":8926,"dynasty":1252,"author":2676,"museum":1150,"description":8927,"tags":8928,"thumbUrl":8930,"material":1496,"size":8931,"collection":6,"collections":8932,"showCount":1363,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ren-yi-hua-shen-lu-ting-du-hua-tu-xiang-zhou-ren-yi-219629","任颐画沈芦汀读画图像轴","画面分为上下两段，文墨相融。下方写意绘就雅集读画的场景，对坐的主客神态专注，侍者垂手捧卷静立一旁，人物形神兼备，衣纹线条简括灵动，水墨晕染出树影苍润，浅淡设色衬出雅致清和的氛围，将文人赏画的闲散意趣尽显。上方题诗笔意舒展，与画作呼应，把寄情书画、耽于林泉的林下风流铺陈开来。整作以写意之笔，摹写文人雅事，尽显清淡隽秀的文人审美意韵。",[1153,1154,1155,1257,1158,1464,1561,8929,1210,7252,3819,1165,1357],"工笔写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e54df0d3458667c8290256debccb71.jpg","纵33cm，横40cm",[6],{"id":848,"slug":8934,"title":4238,"dynasty":1203,"author":1291,"museum":1517,"description":8935,"tags":8936,"thumbUrl":8937,"material":1227,"size":8938,"collection":6,"collections":8939,"showCount":1363,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"xian-ren-tu-yi-ming-218522","这幅画看似是微风中的烈子，衣服用粗笔，脸部用细笔勾勒，来自梁楷的传承，但笔触太直，已经属于明代风格。",[1240,1154,1155,1210,1274,1158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4932dfc1a846972a9cc06faf44422573.jpg","23x23",[6],{"id":849,"slug":8941,"title":8942,"dynasty":1252,"author":2024,"museum":1413,"description":8943,"tags":8944,"thumbUrl":8945,"material":1496,"size":1551,"collection":6,"collections":8946,"showCount":1363,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"zhong-song-tu-shi-tao-218127","种松图","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。",[1153,1154,1158,1464,1358,1357,1561,1210,1649,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c08b724a41ded1b9e47ee7bd779b63.jpg",[6],{"id":850,"slug":8948,"title":8949,"dynasty":1252,"author":2034,"museum":1237,"description":8950,"tags":8951,"thumbUrl":8952,"material":1496,"size":8953,"collection":6,"collections":8954,"showCount":1363,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"hao-liang-tu-jin-ting-biao-216976","濠梁图","庄子和惠施在濠梁上游泳时，看到一只白麋鹿的小鬼在平静地游泳，就讨论是否知道鱼的乐趣。",[1154,1158,1159,1465,1210,1160,1213,1438,1439,3011,3299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191f0402066ce0f5d7d6c21fe12d46c9.jpg","165.4x95.4",[6],{"id":851,"slug":8956,"title":8957,"dynasty":1252,"author":1674,"museum":1237,"description":8958,"tags":8959,"thumbUrl":8960,"material":1772,"size":8961,"collection":6,"collections":8962,"showCount":1363,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"ying-zhen-tu-xu-yang-216953","应真图","这是一幅罗汉在树下看神兽的画作，整幅画没有颜料，用淡墨和细色，露出没有灰尘的清晰镜面。该画法来自明末的丁云鹏，比较规整。",[1154,1155,1275,1464,1274,1210,1741,1438,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915a8ecf7dac326cda5abdac6afe273e.jpg","94.1x67",[6],{"id":852,"slug":8964,"title":8965,"dynasty":1252,"author":8966,"museum":1369,"description":8967,"tags":8968,"thumbUrl":8969,"material":1551,"size":1551,"collection":6,"collections":8970,"showCount":8971,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"san-yang-ying-xi-tu-zhou-xu-cong-long-239136","三羊婴戏图轴","许从龙","许从龙，字佐王，号虎头，浙江嘉善人，后迁江苏常熟定居。以荐入南薰殿，康熙四十五年(1706)充誊录官。卒年八十二。擅山水、花鸟，取法宋元，尤工道释神仙，开相诡奇，不资粉本，悉出胸臆。尝受江苏布政使金世扬布施，绘制《五百罗汉图》，历时六年，绘成于康熙五十一年。此画轴分置在两百纸画面上，纵274厘米，横125厘米，笔力遒劲，栩栩如生，运至江西南昌，展于佑清寺，轰动一时，后归庐山栖贤寺收藏。因迭经兵燹外盗，只存一百一十二幅，现藏江西省庐山博物馆。",[1154,1155,1257,1158,1159,1210,1741,2680,1452,3348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa11110102da6741efb477ad24036b4.jpg",[6],26,{"id":853,"slug":8973,"title":8974,"dynasty":1203,"author":3491,"museum":1369,"description":8975,"tags":8976,"thumbUrl":8977,"material":1551,"size":1551,"collection":6,"collections":8978,"showCount":8971,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"fu-lu-xian-ren-tu-zhou-zhang-lu-239072","蝠鹿仙人图轴","明代著名画家，擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名，是明代追随戴进、吴伟的重要浙派画家，在人物上师法吴伟，但秀逸不足，狂放过之，山水上有戴进的风致。张路的绘画艺术很受世人赞誉，明朝詹景风就盛赞他“足当名家”。在当时，缙绅们咸加推重，得其真迹，如若拱壁。",[1154,1155,1257,1158,1464,1210,1857,1741,1796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66513b154ce8bc8446bfcf5794e6680b.jpg",[6,1174],{"id":854,"slug":8980,"title":8981,"dynasty":1252,"author":1399,"museum":1369,"description":8982,"tags":8983,"thumbUrl":8984,"material":1551,"size":1551,"collection":6,"collections":8985,"showCount":8971,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"hua-luo-han-ce-leng-mei-236084","画罗汉册","画面右首，罗汉安坐蒲团，神情恬然松弛，四位侍者或展长衲、或持具侍立，将佛门补衲日常刻画得鲜活生动。衣纹勾勒秀劲流畅，设色清雅柔和，人物情态各有不同，写实细腻间尽显灵动意趣。\n\n左侧题诗呼应画中主题，诗画合璧暗合禅意，把修行之人朴素自在的日常铺陈开来。笔墨兼具工致细腻与空灵韵味，将清寂平和的禅门氛围晕染开来，雅致静穆的意境扑面而来，是融写实意趣与禅宗意境为一体的精妙之作。",[1240,1154,1155,7116,1274,1159,1158,1210,1357,1358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb75896d04e3b54e8ea11ec868c668f.jpg",[6,1174],{"id":855,"slug":8987,"title":8988,"dynasty":1235,"author":6254,"museum":1237,"description":8989,"tags":8990,"thumbUrl":8994,"material":8995,"size":8996,"collection":6,"collections":8997,"showCount":8971,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"hui-lie-tu-hu-gui-220248","回猎图","胡瓌，范阳（河北涿县）人，或做山后契丹人，约活动于九、十世纪之间。精于描绘契丹之人马，凡帐棚、车辆、射猎器用、生活杂物及牲畜犬马，都形容备尽。本幅描写契丹族人，携鹰出猎之情景，人物着典型契丹族之衣冠，其猎鹰、座骑亦具特色。四只猎鹰中，三只可能是不同花色的海东青。鹫鹰科及隼科之鸟类，善猎者有数种，其中以海东青为极品，产地即在契丹之领域中，以善猎天鹅而闻名。马匹似有「裂耳犁鼻」之状，据云是当时契丹（辽金）人养育马匹的特殊方式：「…..谓鼻不破裂，则气盛冲肺。耳不裂，则风传而不闻音声…..」（注 1）。胡瓌喜用狼毫笔，借其挺健之笔毫绘制精致之作品。本幅即其精描细写之佳作，与院藏胡「回猎图」之画风及尺寸大小均相似，原属同一组之作 ，皆曾经宋徽宗收藏，画幅上遗有「宣和」半印。",[1153,1154,1158,1159,1210,1389,2131,8991,1357,1534,8992,3926,8993],"山丘","平野","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a84886fe554f046fcb60e0d99942b0b.jpg","设色,绢本","全幅 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卒年四十九。有依旧草堂遗稿。",[1154,1155,1275,1210,1389,1358,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc96b52fee85089219cf472c59aba9ed.jpg",[6],24,{"id":877,"slug":9179,"title":9180,"dynasty":1203,"author":9181,"museum":1369,"description":9182,"tags":9183,"thumbUrl":9184,"material":1551,"size":1551,"collection":6,"collections":9185,"showCount":9177,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"er-xian-zhou-peng-shun-xiang-236411","二仙轴","彭舜乡","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[1154,1155,1257,1464,1158,1210,4354,6288,1165,1439,1275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[6,1721],{"id":878,"slug":9187,"title":9188,"dynasty":1252,"author":9189,"museum":1369,"description":9190,"tags":9191,"thumbUrl":9192,"material":1697,"size":1698,"collection":6,"collections":9193,"showCount":9177,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"xi-xiang-tu-ce-ye-bu-235533","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[1154,1158,1159,1208,1210,1211,1165,1358,1561,1492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac80e914df48a93e0155599076982791.jpg",[6,1721],{"id":879,"slug":9195,"title":9196,"dynasty":1148,"author":2464,"museum":1237,"description":9197,"tags":9198,"thumbUrl":9199,"material":1195,"size":9200,"collection":6,"collections":9201,"showCount":9177,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"bao-shan-shi-jing-ce-zhao-gou-221202","包山十景册","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，东京汴梁（今河南省开封市）人。 宋朝第十位皇帝（1127年6月12日-1162年7月24日在位），南宋开国皇帝，宋徽宗赵佶第九子、宋钦宗赵桓之弟。 ... 靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。",[1153,1154,1155,1492,1158,1208,1210,1211,1219,1417,1165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be219b172713f662084b76898f483ec.jpg","30.2x31.8",[6,1174],{"id":880,"slug":9203,"title":5812,"dynasty":1148,"author":1291,"museum":1237,"description":9204,"tags":9205,"thumbUrl":4384,"material":1227,"size":1551,"collection":6,"collections":9206,"showCount":9177,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ren-wu-tu-yi-ming-219613","画面雅致沉静，铺展出宋人的书斋日常。主人踞坐榻上，神色安然静穆，侍从躬身研墨，尽显仪范分寸。\n\n室内陈设错落合宜，屏间肖像映着瓶花清韵，案头书卷、香鼎、花觥排布雅致，处处流露宋代文人尚雅的审美意趣。设色古雅温润，绢底晕染着岁月沉淀的暗黄，却未减分毫沉静氛围感。线条秀逸凝练，将人物仪态、器物质感一一勾勒入微，尽显工笔精妙，让观者窥见千年前文人书斋里的闲雅日常，触摸宋人雅致的生活格调。",[1153,1240,1154,1155,1158,1159,1210,1191,1260,2276,2277,2278,2279],[6],{"id":881,"slug":9208,"title":9209,"dynasty":1203,"author":9210,"museum":1517,"description":9211,"tags":9212,"thumbUrl":9213,"material":1496,"size":9214,"collection":6,"collections":9215,"showCount":9177,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"he-he-er-xian-tu-wang-wen-219547","和合二仙图","王问","寒山与拾得两位大师，是佛教史上著名的诗僧。唐代天台山国清寺隐僧寒山与拾得，行迹怪诞，言语非常，相传是文殊菩萨与普贤菩萨的化身。千百年来，以寒山与拾得为主题的绘画作品数不尽数，此画虽名不见经传，但构图却也别具一格。此画看点在于寒山与拾得所组成的“和合二仙”与民间的旺财神兽金蟾同时出现在一幅画面中，寓意着和谐兴旺吉祥，实为稀有。",[1153,1154,1155,1257,1464,2679,1210,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e02e7e313cc92df18ce4c447322c93.jpg","156.4x86.8厘米",[6],{"id":882,"slug":9217,"title":9218,"dynasty":1203,"author":9210,"museum":1237,"description":9219,"tags":9220,"thumbUrl":9221,"material":1464,"size":9222,"collection":6,"collections":9223,"showCount":9177,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"shi-de-xiang-zhou-wang-wen-219371","拾得像轴","拾得是唐朝时能作诗的和尚。他的老师丰干禅师走在赤城的道路上，听到被遗弃小婴儿的哭声，就捡拾教养他，因此名叫“拾得”。拾得与另一位高僧寒山齐名。\n这一幅画，以狂放的笔调，大肆挥洒画出，顷刻之间，就画完成，这是大写意的画法，对于表现拾得疯疯颠颠的形象，真有传神之妙。\n拾得与当世高僧寒山友善，俱以癫狂，好吟词偈。两人传记见於唐人写的《寒山拾得诗》序文：“寒山文殊，遁迹国清；拾得普贤，状如贫子，又似疯狂。”得知时人将二人喻为佛教中的文殊、普贤菩萨。又言：“或长廊徐行，叫嗓凌人。或望空独笑，时僧逐捉打骂，乃驻立抚掌，呵呵大笑，良久而去。”日后画家描绘二人图像，大抵以此为根据，存世作品多见对幅形式，此幅或为其一，唯寒山图去向未知。 画中拾得衣著褴褛，赤足而立，手执扫帚，口张眉扬，神情奇异。疯癫拓落的形象，以写意狂放的笔调，大肆挥洒，整体流畅有致，宛如神来之笔。",[1154,1155,1257,1464,1210,1358,1357,1561,2679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f956757995f65c01ff0229243eb84a.jpg","117.8x54.4",[6],{"id":883,"slug":9225,"title":9226,"dynasty":1203,"author":9227,"museum":1237,"description":9228,"tags":9229,"thumbUrl":9230,"material":1496,"size":8834,"collection":6,"collections":9231,"showCount":9177,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"shi-ba-ying-zhen-xiang-zheng-zhong-216974","十八应真像","郑重","该图描绘了十八罗汉过海的故事，罗汉们有各种不同的身份，包括骑着神兽的罗汉和有神力的罗汉。衣服的简单描绘和优雅的色彩使这幅作品对郑重来说是一件强有力的作品。",[1154,1155,1257,1274,1210,1159,1158,1357,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a11ecd225128596dfa7d61ef7e5c7d6.jpg",[6],{"id":884,"slug":9233,"title":9234,"dynasty":1252,"author":9235,"museum":1369,"description":9236,"tags":9237,"thumbUrl":9238,"material":1697,"size":1698,"collection":6,"collections":9239,"showCount":1335,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册","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陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\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。",[1154,1155,1492,1158,1159,1210,1561,1358,1357,1165,1439,1479,1648,1344,1218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[6,1174],{"id":885,"slug":9241,"title":5544,"dynasty":1203,"author":9242,"museum":1150,"description":9243,"tags":9244,"thumbUrl":9245,"material":9246,"size":9247,"collection":6,"collections":9248,"showCount":1335,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"guan-yin-zhou-fang-wei-yi-237096","方维仪","明末清初安徽桐城才女方维仪是一位擅于图绘观音像的闺阁画家。作为富有收藏的大理少卿之女，方维仪自幼便浸淫在浓厚的热爱丹青图绘的家庭气氛中，并终其一生不断绘事。方维仪所绘白描观音大士像，被王士祯称为“妙品”，列闺秀绘画魁首。现藏于故宫博物院的《观音图》是方维仪七十一岁时所作。这种舍弃背景、不施色彩的画风，传承自宋代李公麟遗风。据说方维仪家藏有李公麟白描宗教人物画《过海揭钵图》，而她经过多年的临习，所画之白描观音“几突过龙眠”。\n方维仪多图绘观音与其坎坷的人生际遇有关。方维仪出阁嫁与姚孙棨为妻，但年仅17岁便成为寡妇，之后终身未曾再嫁。丧夫之后，方氏又遭受接二连三的打击：姐夫张秉文在抵抗清兵入济南城之战中牺牲、姐姐方孟式投水自尽、弟媳吴令仪年少早夭、堂妹方维则16岁丧夫而后孀居终生……明清鼎革之际的动乱环境带来不可言说的人生际遇，惟有慈悲为怀的观音大士最能平复失去至亲的痛苦，慰藉其寒灯守夜的孤寂。",[1154,1155,1257,1274,1210,1275,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973321fad6cac359dcd7b1b160fc7a39.jpg","纸本 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苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 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横116.5厘米",[6,1174],{"id":935,"slug":9636,"title":9637,"dynasty":1148,"author":1291,"museum":1237,"description":9638,"tags":9639,"thumbUrl":9640,"material":1227,"size":1551,"collection":6,"collections":9641,"showCount":9599,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"yao-chi-xian-hui-tu-yi-ming-219646","瑶池仙会图","苍松虬枝如盖，撑起画面清逸骨架，瑶池云气漫过山麓，晕开缥缈仙境。仙侣或围坐清谈，或乘舟凌波而来，林泉间人物情态悠然恬和，将仙家雅集的自在意趣铺陈于尺幅团扇之中。淡墨轻色晕染烟岚林樾，笔致温婉秀雅，与左侧题诗呼应成趣，把世外幽居的绝尘之思藏在每一处细节里，以咫尺天地绘就仙家雅集的恬然图景，将宋人的清雅意趣融于笔墨烟波之间。",[1154,1155,1158,1159,1492,1210,1796,1160,1274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b80a61da461404c31e4690c9ef6205.jpg",[6],{"id":936,"slug":9643,"title":9644,"dynasty":1203,"author":1291,"museum":3073,"description":9645,"tags":9646,"thumbUrl":9647,"material":1227,"size":9648,"collection":6,"collections":9649,"showCount":9599,"zanCount":1822,"manualWeight":1177,"mainColor":1178},"ming-ren-qiu-lin-mu-yang-tu-yi-ming-219619","明人秋林牧羊图","丹红叶色覆满古木虬枝，晕染出深秋萧疏又温煦的氛围。林下坡岸，一人踞坐拨弦，一人垂首静听，意态闲散悠然，尽显林下雅趣。坡麓双羊缓行啮草，野逸闲寂的田园意致油然而生。\n\n画作笔墨简淡秀润，设色清雅沉稳，人物意态生动传神，林木皴染细致写实，将秋日郊野的幽寂清旷与文人士子的山居闲情相融，勾勒出超脱尘俗的林下雅兴图景，尽显写意尚趣的审美意韵。",[1154,1158,1159,1210,2680,5927,1493,1439,2351,1165,2494,1741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaedaedf3332b4fb0340859744f2680b.jpg","纵100.5横51.5厘米",[6],{"id":937,"slug":9651,"title":9652,"dynasty":1148,"author":1291,"museum":1237,"description":9653,"tags":9654,"thumbUrl":9655,"material":1227,"size":9656,"collection":6,"collections":9657,"showCount":9599,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"liang-wu-di-ban-shen-xiang-yi-ming-219602","梁武帝半身像","此作设色古雅沉厚，绢面的岁月晕染反倒晕开旧朝古意。画师以清劲线条勾勒轮廓，梁武帝阔额朗目，虬髯垂胸，面容既有儒者的温雅沉静，亦不失君主的端凝威严。头戴冕冠，朝服的层叠质感通过简淡晕染尽显礼制气度，细节处见功力。\n\n左手执朝笏，右手虚抬似垂询议事，动态自然生动，将帝王临朝理政的肃穆情态精准定格。画风古朴写实，精准捕捉萧衍兼具文才与君威的独特气质，于尺幅间凝住中古帝王的庄重风范，岁时流转却气韵饱满不减。",[1153,1154,1240,1159,1158,1210,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9eca75cbf98ce0a4ad45b6dfe49b14.jpg","76.8x56.4公分",[6],{"id":938,"slug":9659,"title":1433,"dynasty":1148,"author":1291,"museum":1237,"description":9660,"tags":9661,"thumbUrl":9662,"material":1227,"size":9663,"collection":6,"collections":9664,"showCount":9599,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"xiang-shan-jiu-lao-tu-yi-ming-218738","一棵巨大的松树被画出来，将场景一分为二。面板右侧是两个人在对弈，一个人坐着观看，一个孩子拿着扇子站在他们旁边。画板左边有六个人，一个人拿着花在跳舞，三个人边走边说，还有两个孩子跟着他们。两人站在一个石炉后面，一起拿着卷轴，拿着卷轴的孩子从竹子里走出来。这幅画描绘了多夫特贝格的九个老人的故事。......，以胡高、济民、郑载、刘桢、陆贞、张勋、狄堪木和陆贞为主角，他们都是晚年无为的人，被人们所欣赏，被画成一幅九老图。这幅画没有标记，但其风格与刘松年的画相似。这是《花样年华相册》第十九板块的内容。",[1153,1154,2543,1158,1159,1465,1210,1438,1439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775ae482fdba366ef82d43d1b797fa51.jpg","23.8x24.8",[6],{"id":939,"slug":9666,"title":9667,"dynasty":1252,"author":3198,"museum":1150,"description":9668,"tags":9669,"thumbUrl":9670,"material":1551,"size":1551,"collection":6,"collections":9671,"showCount":9672,"zanCount":1822,"manualWeight":1177,"mainColor":1248},"wen-ji-gui-han-wan-shan-fei-dan-xu-236654","文姬归汉纨扇","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[1154,1240,1155,2543,1158,1210,1741,3228,1477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F947b3912a7c51011632d767e96514f60.jpg",[6],18,{"id":940,"slug":9674,"title":9675,"dynasty":1252,"author":1291,"museum":1150,"description":9676,"tags":9677,"thumbUrl":9679,"material":1170,"size":1551,"collection":6,"collections":9680,"showCount":9672,"zanCount":1177,"manualWeight":1177,"mainColor":1178},"hui-fei-chang-fu-xiang-zhou-yi-ming-236181","慧妃常服像轴","此作工笔设色，写实传神。画中女子端坐在明黄绣纹宝座，面容温婉娴静，眉目秀雅，神色端庄自持。石青色常服褂平整挺括，金珠纽扣点缀其间，素雅暗含华贵，绛色护指包裹双手，尽显旗人贵妇仪范。\n\n两侧几案陈设法琅供瓶、描金供器，案面缠枝纹样勾绘考究。脚下地毯翎毛瑞兽纹样繁丽饱满，配色浓艳和谐，烘托出庄重规整的宫廷氛围。画作笔法细腻写实，设色沉稳雅致，将女子温婉端凝的气度尽显于绢素之上。",[1154,1155,1257,1159,1158,1210,1187,1260,1344,9678],"装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5440d55dfc9723052992be1c527c5a.jpg",[6,1174],{"id":941,"slug":9682,"title":9683,"dynasty":1252,"author":1291,"museum":1150,"description":9684,"tags":9685,"thumbUrl":9686,"material":1391,"size":9687,"collection":6,"collections":9688,"showCount":9672,"zanCount":1177,"manualWeight":1177,"mainColor":1248},"hong-li-chao-fu-xiang-zhou-yi-ming-236175","弘历朝服像轴","爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。\n乾隆帝是中国封建社会一位赫赫有名的皇帝。乾隆帝在位期间清朝达到了康乾盛世以来的最高峰，他在康熙、雍正两朝文治武功的基础上，进一步完成了多民族国家的统一，社会经济文化有了进一步发展。乾隆重视社会的稳定，关心百姓，五次普免天下钱粮，三免八省漕粮，减轻了农民的负担，起到了保护农业生产的作用，使得清朝国库日渐充实。乾隆时期武功繁盛，在平定边疆地区叛乱方面做出了巨大成绩，并且完善了对西藏的统治，再次将新疆纳入中国版图，清朝的版图由此达到最大化，近代中国的版图也由此正式奠定。乾隆帝在位期间，实行“因俗而治”的民族政策。汉学得到了很大的发展，开博学鸿词科，修《四库全书》； [1] 同时民间艺术有很大发展，如京剧就开始形成于乾隆年间。但是后期吏治有所败坏，多地爆发起义。 [2] 严格抵制英国、俄国的侵略性行为，但闭关锁国政策拉大了和西方的差距，中国正处于近代的前夜。\n乾隆六十年（1795年），乾隆帝禅位于第十五子颙琰。嘉庆四年正月初三（1799年2月7日）去世于养心殿，享年89岁。 [3] 庙号高宗，谥号法天隆运至诚先觉体元立极敷文奋武钦明孝慈神圣纯皇帝，葬于清东陵之裕陵。",[1154,1155,1257,1158,1159,1210,1341,1191,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4f2b6e8a832241ce4b40e49f9a5ea3.jpg","257.3×151.0 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